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Lot Essay
The attribution of the present vases to the manufactory of Darte Frères is based on a comparison of the body form, shape of handles, and style of painting as compared with a marked pair also painted with baskets of flowers on ledges, the property of a gentleman, sold Christie's London, 24 February 1997, lot 271.
Gold-ground vases were produced by the Darte brothers in several sizes, often painted with flowers as are the present examples, with religious scenes after Raphael, or with landscapes after Paulus Potter. In 1819, the firm exhibited two such vases. An example painted with a landscape is in the Musée nationale de la Céramique at Sèvres. For a further discussion, see Régine de Plinval de Guillebon, Porcelaine de Paris (1972), fig. 142 and pp. 234-235.
The ornamental decoration on this pair of vases is quite clearly derived from the designs of C. Percier and P.F.L Fontaine. Their Recueil de décorations intérieures comprenant tout ce qui a rapport à l'ameublement, included in the edition of 1812 the designs for La Salle de Vénus du Musée Napoléon among other designs incorporating rosettes, foliate scrolls and putti similar in spirit to the charming vignettes chased onto the burnished gold surface of the present examples. It is evident that the unknown designer and/or decorator of the present vases and of the similar pair sold at Christie's London was well versed in the 'language' elaborated by the images in this influential design book.
The present vases were intended for display on large chimmney mantles. The rich reflective burnished gilding on the reverse of the vases may seem extravagant for a surface that would not normally be visible. One must not forget, however, the role of the mirror, which at this date served both as a vehicle of extra light and to reflect the reverses of vases de cheminée such as the present pair.
Gold-ground vases were produced by the Darte brothers in several sizes, often painted with flowers as are the present examples, with religious scenes after Raphael, or with landscapes after Paulus Potter. In 1819, the firm exhibited two such vases. An example painted with a landscape is in the Musée nationale de la Céramique at Sèvres. For a further discussion, see Régine de Plinval de Guillebon, Porcelaine de Paris (1972), fig. 142 and pp. 234-235.
The ornamental decoration on this pair of vases is quite clearly derived from the designs of C. Percier and P.F.L Fontaine. Their Recueil de décorations intérieures comprenant tout ce qui a rapport à l'ameublement, included in the edition of 1812 the designs for La Salle de Vénus du Musée Napoléon among other designs incorporating rosettes, foliate scrolls and putti similar in spirit to the charming vignettes chased onto the burnished gold surface of the present examples. It is evident that the unknown designer and/or decorator of the present vases and of the similar pair sold at Christie's London was well versed in the 'language' elaborated by the images in this influential design book.
The present vases were intended for display on large chimmney mantles. The rich reflective burnished gilding on the reverse of the vases may seem extravagant for a surface that would not normally be visible. One must not forget, however, the role of the mirror, which at this date served both as a vehicle of extra light and to reflect the reverses of vases de cheminée such as the present pair.