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Lot Essay
The sales registers of the Sèvres Manufactory records the sale of three identical garnitures.
The first was bought by Monsieur, the comte de Provence on 24 December 1775 at the traditional exhibition/sale which was held at Versailles in the King's dining-room. The garniture is succintly described in the register: une garniture de vases chinois...3000 livres.
An inventory carried out of the comte de Provence's appartements at the Petit-Luxembourg, when his appartements were stripped of their furniture in 1794, describes this garniture succinctly:
The second garniture is described in the same way as the first: une garniture de trois vases chinois...3,000 livres and was bought by Queen Marie-Antoinette between 1774 and 1776.
This garniture was displayed in the private appartements of the Queen at Versailles and was subsequently sent to Saint-Cloud after 1785.
The last inventory of the Queen's appartements carried out in 1794, describes the garniture precisely: une garniture de trois vases de porcelaine de Sèvres, fond blanc à dessins chinois, à gorges à jour, cordes, glands et anses en cuivre doré prisée 700 livres.
It was sold shortly afterwards.
The third was purchased by General Smith on 11 March 1778. In his Mémoires Secrets, Bachaumont mentions General Smith on the 7 December 1777:
On parle beaucoup d'un certain Smith, Anglais, venu ici pendant le voyage de Fontainebleau avec 200 000 louis à perdre au jeu. Cela a amorcé la cupidté des joueurs de la Cour, et quoiqu'il soit d'une extraction vile, on a fait valoir sa qualité de colonel qu'il a eue dans l'Inde pour le présenter à la Reine et à la famille royale. Il a été en conséquence admis au jeu de sa Majesté, est devenu familier chez nos princes, qu'il ruine, ainsi que beaucoup de seigneurs. On prétend qu'il a gagné déjà 1 500 000 livres. Il est d'un insolence que donne aisément la prospérité. On l'a vu l'autre jour à table avec M. le comte d'Artois et le duc de Chartres, les coudes sur la table et de la manière la plus libre.
Smith profited considerably from his stay in Paris enabling him to buy from the best dealers. On 11 March 1778, in addition to the garniture he purchased a dinner service decorated with roses and myrtle at the Sèvres Manufactory.
All three garnitures are known today:
One, dated 1775, is now in a private collection and was exhibited in 1995 at the Jerusalem Museum ('Princely Taste, Treasures from Great Private Collections', The Israel Museum, Jerusalem, Exhibition Catalogue, 1995, p.133).
The second is offered here. Its central vase is marked with the letter 'Y' for 1776, like the vase in the following garniture, but is also dated 1775 which suggests that it was made some months or some weeks before the central vase of the following garniture.
The third was purchased by the Musée National du château de Versailles in 1983 (Inv. V5225-1-3; the principal vase illustrated in A. Gruber, et al., The History of the Decorative Arts: Classicism and the Baroque in Europe, 1996, p. 320) and is now exhibited in the grand cabinet intérieur de la reine. Its central vase bears the date letter 'Y' for 1776 and the flanking vases the letter 'X' for 1775, as well as LECOT, the exceptional signature of the painter Louis-François Lécot (Christian Baulez, 'Versailles vers un retour des Sèvres', Revue du Louvre (December 1991), pp.72-73, fig.14).
We can deduce from the above that the garniture exhibited at the Jerusalem Museum in 1995 is certainly that of the comte de Provence. It is dated 1775, whilst the central vases of the two others are dated 1776. On the face of it, it would seem impossible to differentiate between this garniture and the garniture now at Versailles. In that the central vase of this garniture is dated both for 1775 and 1776, this would suggest that this garniture was probably made a few weeks before the garniture now at Versailles, and this in turn would tend to suggest that the offered garniture, being the first of the two made, was the one purchased by the Queen.
THE MODEL OF VASE OEUF
Vases oeuf or en forme d'oeuf are mentioned for the first time in the list of new models in the 1 January 1766 inventory (the first size), the second size being listed in the 1767 inventory. The plaster model with cover for this vase oeuf à monter is in the Sèvres archives, inventoried in 1814. The vase is listed in two sizes, the model corresponding with the first size at 47cm. high and 22.5cm. diameter.
THE ORIGIN OF THE FORM
Symbolic of life, the egg has always fascinated artists. In the 18th century, the egg represented the world in a more general fashion.
The Sèvres Manufactory offered a choice of models described as oeuf, vase oeuf, or en forme d'oeuf, oeuf monté, or garniture de vases oeuf.
These models were produced in both different sizes and levels of quality in the decoration, as is suggested by the large variation in price between 7 livres, 10 and 1344 livres each.
Other elaborately decorated vases were bought by private individuals ranging between 480 and 1344 livres. They were fitted out with ormolu mounts in the most fashionable taste by the bronziers attached to the Sèvres Manufactory.
The sales registers list four garnitures de vases oeuf, three of which comprise three vases, and one five vases, targeting the Manufactory's most sophisticated clients.
Various different vase models were created from the basic egg form, such as the vase oeuf à couronne et effigie royale, vase oeuf Louis XVI garni, vase oeuf à plaques, vase à oeuf gaudronné ou cannelé, vases oeuf cygnes...600/1200, vase oeuf guirlandes...360 livres.
THE ICONOGRAPHIC SOURCES FOR THE CHINESE SCENES
Lécot used the same compositional scheme on each vase, with two large scenes on the main body and two on the lid, imitating Japanese decoration. Each garniture thus presented twelve scenes which were inspired by the oeuvre of Jean Pillement (1728-1808).
LÉCOT
Lécot (circa 1741-before 1803) started at the Sèvres Manufactory as an apprentice in October 1761. He did not start definitively until October 1772 as a painter, and from May 1773 he worked as a gilder on hard-paste porcelain. From 1773 onwards, he specialized in chinoisiere decoration, very much in fashion throughout the 1770's. He decorated several expensive items for the Royal family including:
-probably, in 1775, two déjeuners chinois...720/1 440 livres intended for Louis XVI.
-in December 1775 a déjeuners chinois...600 livres intended for Madame Victoire, daughter of Louis XV.
-and, on 27 January 1776, un cabaret chinois...600 livres intended for Madame Adélaïde, Madame Victoire's sister.
The Château de Versailles has acquired a number of pieces which are marked L for the painter Denis Levé, although their decoration is attributed to Lécot rather than Levé. The kiln registers mention 10 cups (gobelets).
In 1776, Lécot was paid 168 livres to decorate une garniture de vase, one of the three garnitures of vases oeuf discussed above made at virtually the same time in 1775 and completed at the end of 1775 for one and in 1776 for the two others.
DUPLESSIS AND THE ORMOLU MOUNTS
Jean-Claude-Thomas Chambellan-Duplessis (d.1773), was the son of the sculptor, bronzier and artistic director of the Vincennes-Sèvres Manufactory. From 1752, he assisted his father in creating models. On 12 June 1765 he became maître fondeur en terre et sable, having, as was customary at the time mastered the disciplines of drawing and sculpture.
The 1777 Almanach des Artistes described him as a bon dessinateur, travaille d'après ses dessins. He became the appointed bronzier to the Sèvres Manufactory and was replaced after his death by Pierre-Philippe Thomire.
The ormolu mounts on the central vase echo the porcelain model created in early 1774. In the 18th century, all three pairs were hung with chains and tassels which were probably damaged and are now lacking.
The first was bought by Monsieur, the comte de Provence on 24 December 1775 at the traditional exhibition/sale which was held at Versailles in the King's dining-room. The garniture is succintly described in the register: une garniture de vases chinois...3000 livres.
An inventory carried out of the comte de Provence's appartements at the Petit-Luxembourg, when his appartements were stripped of their furniture in 1794, describes this garniture succinctly:
The second garniture is described in the same way as the first: une garniture de trois vases chinois...3,000 livres and was bought by Queen Marie-Antoinette between 1774 and 1776.
This garniture was displayed in the private appartements of the Queen at Versailles and was subsequently sent to Saint-Cloud after 1785.
The last inventory of the Queen's appartements carried out in 1794, describes the garniture precisely: une garniture de trois vases de porcelaine de Sèvres, fond blanc à dessins chinois, à gorges à jour, cordes, glands et anses en cuivre doré prisée 700 livres.
It was sold shortly afterwards.
The third was purchased by General Smith on 11 March 1778. In his Mémoires Secrets, Bachaumont mentions General Smith on the 7 December 1777:
On parle beaucoup d'un certain Smith, Anglais, venu ici pendant le voyage de Fontainebleau avec 200 000 louis à perdre au jeu. Cela a amorcé la cupidté des joueurs de la Cour, et quoiqu'il soit d'une extraction vile, on a fait valoir sa qualité de colonel qu'il a eue dans l'Inde pour le présenter à la Reine et à la famille royale. Il a été en conséquence admis au jeu de sa Majesté, est devenu familier chez nos princes, qu'il ruine, ainsi que beaucoup de seigneurs. On prétend qu'il a gagné déjà 1 500 000 livres. Il est d'un insolence que donne aisément la prospérité. On l'a vu l'autre jour à table avec M. le comte d'Artois et le duc de Chartres, les coudes sur la table et de la manière la plus libre.
Smith profited considerably from his stay in Paris enabling him to buy from the best dealers. On 11 March 1778, in addition to the garniture he purchased a dinner service decorated with roses and myrtle at the Sèvres Manufactory.
All three garnitures are known today:
One, dated 1775, is now in a private collection and was exhibited in 1995 at the Jerusalem Museum ('Princely Taste, Treasures from Great Private Collections', The Israel Museum, Jerusalem, Exhibition Catalogue, 1995, p.133).
The second is offered here. Its central vase is marked with the letter 'Y' for 1776, like the vase in the following garniture, but is also dated 1775 which suggests that it was made some months or some weeks before the central vase of the following garniture.
The third was purchased by the Musée National du château de Versailles in 1983 (Inv. V5225-1-3; the principal vase illustrated in A. Gruber, et al., The History of the Decorative Arts: Classicism and the Baroque in Europe, 1996, p. 320) and is now exhibited in the grand cabinet intérieur de la reine. Its central vase bears the date letter 'Y' for 1776 and the flanking vases the letter 'X' for 1775, as well as LECOT, the exceptional signature of the painter Louis-François Lécot (Christian Baulez, 'Versailles vers un retour des Sèvres', Revue du Louvre (December 1991), pp.72-73, fig.14).
We can deduce from the above that the garniture exhibited at the Jerusalem Museum in 1995 is certainly that of the comte de Provence. It is dated 1775, whilst the central vases of the two others are dated 1776. On the face of it, it would seem impossible to differentiate between this garniture and the garniture now at Versailles. In that the central vase of this garniture is dated both for 1775 and 1776, this would suggest that this garniture was probably made a few weeks before the garniture now at Versailles, and this in turn would tend to suggest that the offered garniture, being the first of the two made, was the one purchased by the Queen.
THE MODEL OF VASE OEUF
Vases oeuf or en forme d'oeuf are mentioned for the first time in the list of new models in the 1 January 1766 inventory (the first size), the second size being listed in the 1767 inventory. The plaster model with cover for this vase oeuf à monter is in the Sèvres archives, inventoried in 1814. The vase is listed in two sizes, the model corresponding with the first size at 47cm. high and 22.5cm. diameter.
THE ORIGIN OF THE FORM
Symbolic of life, the egg has always fascinated artists. In the 18th century, the egg represented the world in a more general fashion.
The Sèvres Manufactory offered a choice of models described as oeuf, vase oeuf, or en forme d'oeuf, oeuf monté, or garniture de vases oeuf.
These models were produced in both different sizes and levels of quality in the decoration, as is suggested by the large variation in price between 7 livres, 10 and 1344 livres each.
Other elaborately decorated vases were bought by private individuals ranging between 480 and 1344 livres. They were fitted out with ormolu mounts in the most fashionable taste by the bronziers attached to the Sèvres Manufactory.
The sales registers list four garnitures de vases oeuf, three of which comprise three vases, and one five vases, targeting the Manufactory's most sophisticated clients.
Various different vase models were created from the basic egg form, such as the vase oeuf à couronne et effigie royale, vase oeuf Louis XVI garni, vase oeuf à plaques, vase à oeuf gaudronné ou cannelé, vases oeuf cygnes...600/1200, vase oeuf guirlandes...360 livres.
THE ICONOGRAPHIC SOURCES FOR THE CHINESE SCENES
Lécot used the same compositional scheme on each vase, with two large scenes on the main body and two on the lid, imitating Japanese decoration. Each garniture thus presented twelve scenes which were inspired by the oeuvre of Jean Pillement (1728-1808).
LÉCOT
Lécot (circa 1741-before 1803) started at the Sèvres Manufactory as an apprentice in October 1761. He did not start definitively until October 1772 as a painter, and from May 1773 he worked as a gilder on hard-paste porcelain. From 1773 onwards, he specialized in chinoisiere decoration, very much in fashion throughout the 1770's. He decorated several expensive items for the Royal family including:
-probably, in 1775, two déjeuners chinois...720/1 440 livres intended for Louis XVI.
-in December 1775 a déjeuners chinois...600 livres intended for Madame Victoire, daughter of Louis XV.
-and, on 27 January 1776, un cabaret chinois...600 livres intended for Madame Adélaïde, Madame Victoire's sister.
The Château de Versailles has acquired a number of pieces which are marked L for the painter Denis Levé, although their decoration is attributed to Lécot rather than Levé. The kiln registers mention 10 cups (gobelets).
In 1776, Lécot was paid 168 livres to decorate une garniture de vase, one of the three garnitures of vases oeuf discussed above made at virtually the same time in 1775 and completed at the end of 1775 for one and in 1776 for the two others.
DUPLESSIS AND THE ORMOLU MOUNTS
Jean-Claude-Thomas Chambellan-Duplessis (d.1773), was the son of the sculptor, bronzier and artistic director of the Vincennes-Sèvres Manufactory. From 1752, he assisted his father in creating models. On 12 June 1765 he became maître fondeur en terre et sable, having, as was customary at the time mastered the disciplines of drawing and sculpture.
The 1777 Almanach des Artistes described him as a bon dessinateur, travaille d'après ses dessins. He became the appointed bronzier to the Sèvres Manufactory and was replaced after his death by Pierre-Philippe Thomire.
The ormolu mounts on the central vase echo the porcelain model created in early 1774. In the 18th century, all three pairs were hung with chains and tassels which were probably damaged and are now lacking.