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拍品專文
The present cup, cover and stand is virtually identical to those in the Wallace Collection, acquired by the 4th Marquess of Hertford by 1865. The three matching pieces are of the same size, are incised with the same marks, and the same hand has inscribed the distinctive elongated interlaced L's, the date letter of a lower case 'g', and the painter's mark of an M for Morin.
In her discussion of the Wallace Collection example, Rosalind Savill describes it as having cherubs painted early in the career of Jean-Louis Morin, a painter at Sèvres (active 1754-1787) perhaps better known for his marine and quayside scenes. She describes the ground colors and the gilding as later additions, mentioning the present example as existing but making no claim as to whether or not it too has later ground colours and gilding.
A close comparison of the present example with the illustration in the catalogue of the Wallace example reveals that the pink grounds on both have the yellow halo along the gilding usually associated with early pink grounds. The green ground on the Wallace example would appear to have more yellow in it, a shade usually associated with later decoration of the 1840's. But it is very possible that this difference in hue is the result of printing and is not found on the actual porcelain. The putti on both do appear to be painted by the same hand. Both have fairly dark skin tones and are seated on very purple/yellow clouds.
The question of later decoration on these pieces is facinating and very much open for debate. It is possible that the present example is also later decorated. But it is equally possible that both it and the Wallace example were decorated in 1759. Regardless, there can be no question about them having originated together.
In her discussion of the Wallace Collection example, Rosalind Savill describes it as having cherubs painted early in the career of Jean-Louis Morin, a painter at Sèvres (active 1754-1787) perhaps better known for his marine and quayside scenes. She describes the ground colors and the gilding as later additions, mentioning the present example as existing but making no claim as to whether or not it too has later ground colours and gilding.
A close comparison of the present example with the illustration in the catalogue of the Wallace example reveals that the pink grounds on both have the yellow halo along the gilding usually associated with early pink grounds. The green ground on the Wallace example would appear to have more yellow in it, a shade usually associated with later decoration of the 1840's. But it is very possible that this difference in hue is the result of printing and is not found on the actual porcelain. The putti on both do appear to be painted by the same hand. Both have fairly dark skin tones and are seated on very purple/yellow clouds.
The question of later decoration on these pieces is facinating and very much open for debate. It is possible that the present example is also later decorated. But it is equally possible that both it and the Wallace example were decorated in 1759. Regardless, there can be no question about them having originated together.