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A MONUMENTAL SEVRES (NAPOLEON III) PORCELAIN PALE-YELLOW GROUND VASE (VASE DE NIMES)
A MONUMENTAL SEVRES (NAPOLEON III) PORCELAIN PALE-YELLOW GROUND VASE (VASE DE NIMES)
A MONUMENTAL SEVRES (NAPOLEON III) PORCELAIN PALE-YELLOW GROUND VASE (VASE DE NIMES)
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On occasion, Christie’s has a direct financial int… Read more
A MONUMENTAL SEVRES (NAPOLEON III) PORCELAIN PALE-YELLOW GROUND VASE (VASE DE NIMES)

CIRCA 1858-63, IRON-RED CROWNED N MARK ABOVE 63, INCISED DS-58-7 POTTER'S MARK

Details
A MONUMENTAL SEVRES (NAPOLEON III) PORCELAIN PALE-YELLOW GROUND VASE (VASE DE NIMES)
CIRCA 1858-63, IRON-RED CROWNED N MARK ABOVE 63, INCISED DS-58-7 POTTER'S MARK
The model designed by Jules-Pierre-Michel Diéterle, of baluster form, finely painted with a continuous band of scrolling pink ribbons among laurel, blackberries and tulips, flanked by undulating scroll-handles with bearded mask terminals, a star stencilled to the front and back of the neck
56 in. (142.2 cm) high
Special notice

On occasion, Christie’s has a direct financial interest in lots consigned for sale, which may include guaranteeing a minimum price or making an advance to the consignor that is secured solely by consigned property. Christie’s may choose to assume this financial risk on its own or may contract with a third party for such third party to assume all or part of this financial risk. When a third party agrees to finance all or part of Christie’s interest in a lot, it takes on all or part of the risk of the lot not being sold, and will be remunerated in exchange for accepting this risk out of Christie’s revenues from the sale, whether or not the third party is a successful bidder. The third party may bid for the lot and may or may not have knowledge of the reserves. Where it does so, and is the successful bidder, the remuneration may be netted against the final purchase price. If the lot is not sold, the third party may incur a loss. Christie’s guarantee of a minimum price for this lot has been fully financed through third parties
This lot will be removed to Christie’s Park Royal. Christie’s will inform you if the lot has been sent offsite. Our removal and storage of the lot is subject to the terms and conditions of storage which can be found at Christies.com/storage and our fees for storage are set out in the table below - these will apply whether the lot remains with Christie’s or is removed elsewhere. Please call Christie’s Client Service 24 hours in advance to book a collection time at Christie’s Park Royal. All collections from Christie’s Park Royal will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: cscollectionsuk@christies.com. If the lot remains at Christie’s it will be available for collection on any working day 9.00 am to 5.00 pm. Lots are not available for collection at weekends.

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Giles Forster
Giles Forster

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Lot Essay

Fantastic in scale, the ‘Vase de Nîmes’ was a highly regarded form at Sèvres throughout the second half of the 19th century. It was first modelled by Jules-Pierre-Michel Diéterle (1811-1889) in 1853 and, according to the Sèvres Archives, the first models entered the salerooms in August of 1855, the year of the Exposition universelle in Paris. Other examples of this impressive form were exhibited at the 1867 Exposition universelle in Paris (painted by Roussel and noted as a “merveille,” or “wonder,” of the exhibition); the 1873 International Exhibition in Vienna (two exhibited, one with flowers and orchids by Barriat, the other with figures by Roussel); and the 1876 Centennial Exposition in Philadelphia (one painted with grapes and wisteria).

Further enhancing the prestige of this form, in the Autumn of 1896 Tsar Nicholas II of Russia and his empress, Alexandra Federovna, came on an official state visit to France where they are were given a number of presents, the most spectacular and, at 6000 francs, the most expensive of which was a ‘Vase de Nîmes.’ This incredible gift has been in the collection of the Hermitage in St. Petersburg since 1931. See N. Kazakevitch, "Le vase de Nîme, cadeau de la France au tsar Nicolas II," L’Estampille / L’Objet d’art, n° 370, June 2002, fiche 370B.

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