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Lot Essay
François Mirey, recorded at Sèvres as a gilder 1788-1792
The incised mark of 5 is found soft paste porcelain wares produced at Vincennes and Sèvres primarily between 1753 and the 1790's, although examples as early as 1747 are also known. Cf. Rosalind Savill, The Wallace Collection, Catalogue of the Sèvres Porcelain, volume III, London, 1988, p. 1127.
Sèvres candlesticks in soft-paste porcelain are extremely rare. Those that do survive are generally far more rococo in spirit than are the present neo-classic examples or were designed as mounts for large vases, for the sides of dressing tables, and for inkstands rather than as free-standing objects in their own right. The restrained decoration and gilding on the present models is typical of the factory's production during the troublesome Revolutionary period.
For stand-alone bougeoirs or sconces and vases with candlenozzles as part of the design, see Tamara Préaud and Antoine d'Albis, La porcelaine de Vincennes, Paris, 1991, no. 8; Tamara Préaud and Marcelle Brunet, Sèvres, des origines à nos jours, Paris, 1988, color plate XXXIX, nos. 96, 100, 117, 228; and Adrian Sassoon, Vincennes and Sèvres Porcelain, Catalogue of the Collection, The J. Paul Getty Museum, 1991, no. 8
The incised mark of 5 is found soft paste porcelain wares produced at Vincennes and Sèvres primarily between 1753 and the 1790's, although examples as early as 1747 are also known. Cf. Rosalind Savill, The Wallace Collection, Catalogue of the Sèvres Porcelain, volume III, London, 1988, p. 1127.
Sèvres candlesticks in soft-paste porcelain are extremely rare. Those that do survive are generally far more rococo in spirit than are the present neo-classic examples or were designed as mounts for large vases, for the sides of dressing tables, and for inkstands rather than as free-standing objects in their own right. The restrained decoration and gilding on the present models is typical of the factory's production during the troublesome Revolutionary period.
For stand-alone bougeoirs or sconces and vases with candlenozzles as part of the design, see Tamara Préaud and Antoine d'Albis, La porcelaine de Vincennes, Paris, 1991, no. 8; Tamara Préaud and Marcelle Brunet, Sèvres, des origines à nos jours, Paris, 1988, color plate XXXIX, nos. 96, 100, 117, 228; and Adrian Sassoon, Vincennes and Sèvres Porcelain, Catalogue of the Collection, The J. Paul Getty Museum, 1991, no. 8