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Lot Essay
The application of the rose marbré ground was tedious, involving the application of a blue ground over a fired pink ground and the scraping away of the blue to reveal the pink below in a desired marbled pattern. Often subtle differences in the treatment of the rose marbré ground on the long and short sides of pieces of form were used.
See Aileen Dawson, French Porcelain, A Catalogue of the Collection of the British Museum, London, 1994, p. 115, no. 103, color plate 16 for a discussion of this technique. Given the difficulty and expense of its execution, the factory produced rose marbré for only a few years, with almost all marked pieces executed between 1761 and 1763.
See www.adriansassoon/soldworks/fstableware for another cup and saucer from the same service as the present example, without a date letter but with the painter's mark for Jacques Fontaine.
Guillaume Nöel is recorded at Sèvres as a painter specializing in flowers and in complicated patterns such as rose marbré and frises riches 1755-1807.
See Aileen Dawson, French Porcelain, A Catalogue of the Collection of the British Museum, London, 1994, p. 115, no. 103, color plate 16 for a discussion of this technique. Given the difficulty and expense of its execution, the factory produced rose marbré for only a few years, with almost all marked pieces executed between 1761 and 1763.
See www.adriansassoon/soldworks/fstableware for another cup and saucer from the same service as the present example, without a date letter but with the painter's mark for Jacques Fontaine.
Guillaume Nöel is recorded at Sèvres as a painter specializing in flowers and in complicated patterns such as rose marbré and frises riches 1755-1807.