.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
拍品专文
ROZE ET VERD: THE TASTE OF THE COURT
Following the success of combining green and bleu lapis ground colors the previous year, in 1760 the Sèvres manufactory introduced a whimsical new blend of green and pink. The popularity of the novel roze et verd color combination is seen in Madame de Pompadour’s order, placed at the Hôtel d'Evreux, of five vases in the scheme(1), as well as in purchases by numerous other courtiers, including Madame Adélaïde (a pair of square orange tubs); Madame Louise (two pedestals); the Dauphine and Madame de Courteilles (a déjeuner carré, each); and Minister Henri Léonard Bertin (a gift of three vases). The most important buyer of roze et verd works was by Louis XV himself, who is known to have purchased a vase pot-pourri fountaine à dauphins, five vases Hollandois et à bobèches and three déjeuners, including the large déjeuner Hébert, the tray of which is preserved in the Wadsworth Atheneum, Hartford(3). The king also purchased numerous vases at substantial prices, including a vase à têtes d’éléphant (later in the collection of Ferdinand de Rothschild and now at Waddesdon Manor)(2) and a garniture of three cuvettes Courteille costing 912 livres and a cuvette Verdun costing 512 livres(4). This steep price indicates the likelihood of it being a cuvette Verdun of the first size, and the piece likely corresponds with the example in the Wallace Collection, London(5). The Wallace Collection's cuvette shares very similar decorative elements to the present pair, including peasants inspired by David Téniers and nearly identical green motifs on its pink ground. It is plausible that these three cuvettes may have initially been intended to form a garniture.
DODIN AND THE 'TESNIÈRES'
Nicolas Charles Dodin (1734-1803) is today recognized as the finest painter en miniature working at Vincennes and Sèvres in the 18th century. Hired in 1754 as a figure-painter at a salary of 24 livres per month, he first worked in monochrome, faithfully copying the engravings by Aveline, de la Rue and Huquier, of putti painted by François Boucher. Once confident of his technique, Dodin quickly began working in a full color palette and progressed to the detailed scenes for which he earned his great reputation. His skill was recognized by the managers at the factory, and he was routinely called upon to decorate pieces destined for the most important collectors of the day, including Louis XV, his two mistresses Madame de Pompadour and Madame du Barry, Louis XVI, his two brothers—Louis Stanislas Xavier, comte de Provence (later Louis XVIII) and Charles Philippe, comte d'Artois (later Charles X)—and Catherine the Great, Empress of all the Russias.
In accordance with the mid-18th century French fashionable taste for 17th century Flemish painting, porcelain painted after works by David Teniers the Younger (1610-1690) enjoyed particularly popularity at Sèvres between 1759 and 1764, and the manufactory’s archives refer to them 'Tesnières'. The painted scenes, including those by Dodin on the present pair of cuvettes, often derived from Teniers by way of engravings by Jacques Philippe Le Bas (1707-1783), published as La quatrième fête flamande and Fête de village. The scene on the present cuvette depicting four figures surrounding a table is after the Feste de Village and three of the same figures are also painted on a green-ground cuvette Mahon now in the collection of the Rijksmuseum in Amsterdam (R.B.K. 17512).
Conceived by one of the shareholders of Vincennes manufactory, Jean-François Verdun de Monchiroux, the present vase form, cuvette Verdun was introduced in three sizes in 1754.
1. Rosalind Savill, Everyday Rococo, Madame de Pompadour & Sèvres porcelain, 2021, Norwich, vol. II, p. 837, fig. 17.3-4.
2. Rosalind Savill, The Wallace Collection, Catalogue of Sèvres porcelain, London, 1988, vol. I, C255, pp.187-190 and Svend Eriksen, The James A. de Rothschild Collection at Waddesdon Manor, Sèvres Porcelain, Freiburg, 1968, no. 43, pp. 126-127.
3. Linda Roth, Clare Le Corbeiller, French Eighteenth-Century Porcelain at the Wadsworth Atheneum¸ The J. Pierpont Morgan Collection, 2000, no. 86, pp. 184-186); the teapot, sugar bowl and a cup kept at the Museum of Fine Arts, Boston; a cup and saucer, formerly in a New England Collection, were sold by Christie's, New York, 5 May 1999 lot 37; another cup from the same collection was sold by Christie's, New York, 2 November 2000, lot 101; the cream-jug was previously in the collection of René Fribourg, and sold by Sotheby's, London, 15 October 1963, lot 448.
4. Archives, Sèvres, MNC, Vy3, F° 43v.
5. Rosalind Savill, op. cit, 1988, C.226, pp.98-101.
Following the success of combining green and bleu lapis ground colors the previous year, in 1760 the Sèvres manufactory introduced a whimsical new blend of green and pink. The popularity of the novel roze et verd color combination is seen in Madame de Pompadour’s order, placed at the Hôtel d'Evreux, of five vases in the scheme(1), as well as in purchases by numerous other courtiers, including Madame Adélaïde (a pair of square orange tubs); Madame Louise (two pedestals); the Dauphine and Madame de Courteilles (a déjeuner carré, each); and Minister Henri Léonard Bertin (a gift of three vases). The most important buyer of roze et verd works was by Louis XV himself, who is known to have purchased a vase pot-pourri fountaine à dauphins, five vases Hollandois et à bobèches and three déjeuners, including the large déjeuner Hébert, the tray of which is preserved in the Wadsworth Atheneum, Hartford(3). The king also purchased numerous vases at substantial prices, including a vase à têtes d’éléphant (later in the collection of Ferdinand de Rothschild and now at Waddesdon Manor)(2) and a garniture of three cuvettes Courteille costing 912 livres and a cuvette Verdun costing 512 livres(4). This steep price indicates the likelihood of it being a cuvette Verdun of the first size, and the piece likely corresponds with the example in the Wallace Collection, London(5). The Wallace Collection's cuvette shares very similar decorative elements to the present pair, including peasants inspired by David Téniers and nearly identical green motifs on its pink ground. It is plausible that these three cuvettes may have initially been intended to form a garniture.
DODIN AND THE 'TESNIÈRES'
Nicolas Charles Dodin (1734-1803) is today recognized as the finest painter en miniature working at Vincennes and Sèvres in the 18th century. Hired in 1754 as a figure-painter at a salary of 24 livres per month, he first worked in monochrome, faithfully copying the engravings by Aveline, de la Rue and Huquier, of putti painted by François Boucher. Once confident of his technique, Dodin quickly began working in a full color palette and progressed to the detailed scenes for which he earned his great reputation. His skill was recognized by the managers at the factory, and he was routinely called upon to decorate pieces destined for the most important collectors of the day, including Louis XV, his two mistresses Madame de Pompadour and Madame du Barry, Louis XVI, his two brothers—Louis Stanislas Xavier, comte de Provence (later Louis XVIII) and Charles Philippe, comte d'Artois (later Charles X)—and Catherine the Great, Empress of all the Russias.
In accordance with the mid-18th century French fashionable taste for 17th century Flemish painting, porcelain painted after works by David Teniers the Younger (1610-1690) enjoyed particularly popularity at Sèvres between 1759 and 1764, and the manufactory’s archives refer to them 'Tesnières'. The painted scenes, including those by Dodin on the present pair of cuvettes, often derived from Teniers by way of engravings by Jacques Philippe Le Bas (1707-1783), published as La quatrième fête flamande and Fête de village. The scene on the present cuvette depicting four figures surrounding a table is after the Feste de Village and three of the same figures are also painted on a green-ground cuvette Mahon now in the collection of the Rijksmuseum in Amsterdam (R.B.K. 17512).
Conceived by one of the shareholders of Vincennes manufactory, Jean-François Verdun de Monchiroux, the present vase form, cuvette Verdun was introduced in three sizes in 1754.
1. Rosalind Savill, Everyday Rococo, Madame de Pompadour & Sèvres porcelain, 2021, Norwich, vol. II, p. 837, fig. 17.3-4.
2. Rosalind Savill, The Wallace Collection, Catalogue of Sèvres porcelain, London, 1988, vol. I, C255, pp.187-190 and Svend Eriksen, The James A. de Rothschild Collection at Waddesdon Manor, Sèvres Porcelain, Freiburg, 1968, no. 43, pp. 126-127.
3. Linda Roth, Clare Le Corbeiller, French Eighteenth-Century Porcelain at the Wadsworth Atheneum¸ The J. Pierpont Morgan Collection, 2000, no. 86, pp. 184-186); the teapot, sugar bowl and a cup kept at the Museum of Fine Arts, Boston; a cup and saucer, formerly in a New England Collection, were sold by Christie's, New York, 5 May 1999 lot 37; another cup from the same collection was sold by Christie's, New York, 2 November 2000, lot 101; the cream-jug was previously in the collection of René Fribourg, and sold by Sotheby's, London, 15 October 1963, lot 448.
4. Archives, Sèvres, MNC, Vy3, F° 43v.
5. Rosalind Savill, op. cit, 1988, C.226, pp.98-101.