Cane and eroticism

   
 

Feasts at the Palais Royal

the cane becomes licencious

the feasts at the "Palais Royal" are more intimate, warmer. Bingo and prostitution are in power. So, what about the cane?

Pommeau femme allongée

This nice cane which handle in brass is surrounded with a glass protecting a painted glazing representing a bare woman in a languid attitude was undoubtedly created later on.

The king wearing a cane, the walking stick becomes a must and follow the fashion. It is high because the king want it such. Sometimes, the making is licentious, portraying the merry parties organised by the monarch.

Not to say that these licentious handle are extremely rare.

Scène Stainart

For my own, I had been so lucky to be the depository -we are never the final owner of a cane- of which the high handle in ivory was sculpted of a drinking orgy stage in the gardens of the "Palais Royal" and that was said to have been made by the studio of the sculptor Dominikus Stainhart (1655-1712).

Women allowing to undress them in lascivious postures, nevertheless keeping their necklaces with rows of pearls and their hair dressed "A la Fontange" directly inspired from the antique Roma, a typical style for the Women at the Palais Royal.

Canne par Dominikus Stainhart


Men dressed in roman officers, fall over or pawing women of easy virtue moving in the groves. Strangely, a bare man is visible at the top of a tree, voyeur observing the stage.

Rare erotic cane with a high pommel, sculpted in ivory with a festive orgy and debauchery scene, most probably in the gardens of the Palais-Royal. A wide wild rose if sculpted in terrace, the ring is made of silver, as well as the eyes. The shaft is made of rattan from Malacca ending in a silver ferrule with a heel in brass. Handle: 9,5 cm x 3,5 cm; total height: 1 m; ca 1675.

Canne par Daebler

I could also admire in a private collection a cane which knob was sculpted by Michel Däbeler (1635-1702). The beautiful work on ivory represents putti and a pyramid, drinking the goblet, playing panpipes, happily poncing around and caressing each other in fine clothes. Evocation of a passed party? Simple desire of the sculptor to create an erotic work or specific order?

Opposite, we may see a well known pommel by Michael Däbeler, of which only the picture remains, representing a group of interlaced children, keeping in their hands rolls of parchment. This pommel is dated from 1690. It was signed with the monogram of the artist.




 

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