France, première moitié du XVIIIe siècle Le Porteur d'oiseaux

Very good condition overall with some minor surface dirt in the crevices and a few minor firing fissures. A few very minor chips to the edges of the base. The fingers of his proper left hand may have been slightly restored. Very decorative and freshly modelled terracotta.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

A la suite de François du Quesnoy (1597-1643), dont le nom évoque une prolifique représentation de putti dormant ou s’amusant, se développe en France un goût pour de petites sculptures d’enfants ou putti associant l’innocence de l’enfance aux plaisirs champêtres, aux allégories des saisons et à celles des éléments. Par son style, son canon ramassé et les chairs potelées, cette statuette témoigne encore de l’influence flamande, avant que la manufacture de Sèvres n’exploite la veine des « enfants François » dans la production de biscuits. Le Porteur d’oiseaux en terre cuite modelé par Pierre Blondeau en 1752, pour la manufacture, d’après François Boucher (inv. MNC 7758) témoigne de la pérennité du sujet.