CIRCA 1815, THE UNDERSIDE OF THE RIM OF THE DETACHABLE UPPER SECTION INSCRIBED IN PALE RED '1815(?) JUNI 14.', THE NECK INCISED 6 R No. I, THE UNDERSIDE OF THE SOCLE INCISED S D V(?) CLODION 7 AND INDISTINCTLY INSCRIBED IN PALE RED 'JUNI 18.....14' (?)

Alexandre Brongniart, a scientist and mineralogist who was appointed head of the Sèvres manufactory in 1800, was responsible for encouraging experimentation to create new manufacturing processes and decorative effects, in particular the imitation of precious natural materials and hardstones as new ground colours. In the case of this impressive vase ‘Clodion’, it seems a natural choice that the decorator of this vase would have used the rare ‘fond écaille’ glaze that was developed by the Sèvres manufactory in the late 18th century, which was intended to imitate the lustrous mottled golden brown of tortoiseshell.1 The bold ‘fond écaille’ ground seen on the present lot was also used on the pair of vases 'Clodion' with ormolu elephant head handles in the collection of the musée du Louvre, Paris (accession number OA 11340). These vases were acquired by Louis XVIII at the Exposition of Manufactory Works of 1818 as a gift for his brother, the Count d'Artois, later Charles X. The simulated tortoiseshell ground was painted by Louis-Victor Godin. A pair of Sèvres vases also with the same ground decoration (with mounts by Pierre-Philippe Thomire and probably commissioned by Dominique Daguerre) was sold in these Rooms on 9 July 2015, lot 3.

Although the model for this vase was created by the sculptor Clodion in the late 18th century, it was adapted and used well into the 19th century with a variety of interchangeable handle designs.

This important Sèvres vase 'clodion' formed a centrepiece within Lady Jane Abdy's collection and can be seen in a portrait of her by James Reeve. Lady Abdy had a formidable knowledge of artists and collections and was a familiar and well-respected figure in the art world. The interiors that she created in Gerald Road and then in her old friend Cecil Beaton's former house in Pelham Place were a reflection of her own distinctive taste. By blending sculpture, French furniture and porcelain with her love of the Belle Epoque and Art Nouveau she created a unique and elegant style.

1. Archival sources at the Sèvres manufactory include a reference to a vase decorated in 'fond ecaille' and with 'Jupiter' handles in biscuit porcelain, possibly dating to 1807, although it is uncertain if this is the present lot.