Terracotta Sculpture Titled "young Girl With A Donkey," Marked "jc," Liège School, Ca. 1970

Belgian school, probably from the Liège region — Young Woman with a Donkey, partially glazed terracotta group, monogrammed “JC,” ca. 1970–1980.

In perfect condition.
Dimensions: 50 x 35 x 21 cm.
Weight: 12 kg.

This terracotta sculpture, partially glazed or patinated in shades of brown and ochre, depicts a young woman accompanied by a donkey. The group is entirely hand-modeled from a material deliberately left in its raw state, whose irregularities, imprints, and surface imperfections fully contribute to the work’s expression.

The simplified treatment of the faces and figures, combined with the elongated forms and the vigor of the modeling, suggests that this piece was likely created in the 1970s or 1980s. The subject, both familiar and poetic, stands out for its originality: the silent connection between the young woman and the animal evokes closeness, trust, and a form of rural tenderness.

Given its provenance and artistic language, this work can be linked to the Liège school of sculpture, which was particularly active in the field of expressive figurative art during this period. It shares certain affinities with the work of Mady Andrien, notably in its focus on simple gestures, emotional connections, and scenes from everyday life. Mady Andrien worked extensively with terracotta, bronze, and other materials, developing a refined figurative style centered on tenderness, friendship, and human relationships. 

The more spontaneous and almost naive nature of her modeling may also bring to mind the work of Louise Tournay, known as Loulou, a Liège-based artist associated with Art Brut. Tournay created numerous small terracotta figures, sometimes painted, depicting people and animals she observed in her surroundings. She also attended the Royal Academy of Fine Arts in Liège, where she took classes taught by Mady Andrien, among others. 

However, this sculpture cannot be attributed with certainty to either Mady Andrien or Louise Tournay. Rather, it seems to reflect the same artistic climate in Liège, straddling the boundary between figurative sculpture, expressive ceramics, and folk art. Its quality lies less in a pursuit of anatomical perfection than in the accuracy of the pose, the balance of the composition, and the group’s strong emotional presence.

The monogram “JC,” imprinted in the clay, has yet to be identified. Pending comparison with an authenticated signature, the work can be attributed to the Liège school, ca. 1970–1980, within the stylistic circle of Mady Andrien and Louise Tournay.