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A Sevres pâte-sur-pâte celadon-ground vase (vase Socibius) decorated by Hyacinthe-Jean Regnier

SIGNED AND DATED 1867, RED PRINTED MARK DATED 1873

Details

A Sevres pâte-sur-pâte celadon-ground vase (vase Socibius) decorated by Hyacinthe-Jean Regnier
Signed and dated 1867, red printed mark dated 1873
Oviform, the flared neck with handles with duckshead terminals and enamelled and gilt in a Pompeian style with bands of anthemion on a mottled orange-ground, the shoulder gilt with false gadroons and enamelled with stylised swags and scrolls, the body decorated in raised white pâte-sur-pâte with a continous scene perhaps allegorical of marriage of two women in flowing robes in chariots, one pulled by four horses accompanied by a helmeted soldier, another attended by a groom who attempts to calm the rearing horses, on a spreading circular foot and an associated metal base (handles largely deficient with associated damages, large chips to rim and footrim, crack to lower section)
31in. (79cm.) high

Exhibited

Exposition Universelle Paris, 1878.

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Lot Essay

The archives at the Musée Nationale de la Céramique at Sèvres record:
Un vase Socibius rectifié fond sous émail, pate d'application - Course de Chevaux. No. d'entrée: Vv8 68.42. Sortie: 05.1867. Exposition Universelle Paris 1867 no. 534. Entreposé en magasin. Livré au Musée de la Céramique le 08-1875 avec Vv8 23-56 (datant de 04.1874) (in Vaa 3 fol 88 vo.). Exposition universelle Paris 1878: la paire. 1 livré á la loterie Naitionale de L'Exposition Universelle en décembre 1878.
It would therefore seem that there were a pair of vases of this type made circa 1867, the first of which was ready for the 1867 Exhibition; the second seems to have been completed slightly later and not exhibited until 1878.

See Marcelle Brunet and Tamara Préaud, Sèvres, Des origines á nos jours (Fribourg, 1878), p. 300, no. 406, for another vase decorated in Pompeian style, this time by Solon. See also Bernard Bumpus Pâte-sur-Pâte, The Art of Ceramic Relief Decoration 1849-1992 (London, 1992), p. 223, for a note on the artist's work at Sèvres, and who '..with Gély was responsible for much of the early development of the pâte-sur-pâte technique there.'

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