one playing cymbals, signed on the reverse Marin, the other with grapes and a wine chalice with spurious signature on the reverse of the base. 

Collection du Marquis de🐎 Bailleul (according to a label on the underside), the first

RELATED LITERATURE

A. Poulet and G.Scherf, eds., Clodion (1783-1814), exh.cat., ✤Musée du Louvre, Paris, March 17-June 29, 1992, pp. 405-413, cat.no. 94.

Both with general surface abrasions and minor chipping throughout. Figure on the left: restorations include; arms, head (reattached), and drapery at her sides. The body and drapery was probably broken in several areas and well restored on the bottom half and on the base. Figure on the right: her right arm is restored and has chips around the crack at the elbow and on the cymbol. The left arm has been restored and is lacking the hand. The legs, particularly her left leg, have restorations. Minor repair in drapery and to chips and fruit on base. Beautiful hair and drapery.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The first of these statuettes, the figure playing cymbals, is very similar in the refined surface treatment and facial features to A Young Woman with a Dove by Marin in the Louvre (Poulet/Scherf, op.cit., p.406). The s⭕ignature is also similar, although here, lacking the date. 

Joseph-Charles Marin 💦was a pupil of Clodion who gained success in his own right by creating intimate terracotta statuettes of nymphs.  Marin's work was distinct from his master's in its greater sense of realism, minute detail of modelling and celebration of surface textures.