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A SEVRES (HARD PASTE) PORCELAIN PATE-SUR-PATE CELADON-GROUND LARGE FOOTED BOWL (COUPE DE RIVOLI, PREMIERE GRANDEUR)
THE PROPERTY OF A BALTIMORE COLLECTION
A SEVRES (HARD PASTE) PORCELAIN '1867 PARIS UNIVERSALLE EXPOSITION' PATE-SUR-PATE CELADON-GROUND LARGE FOOTED BOWL (COUPE DE RIVOLI, PREMIERE GRANDEUR)

TWICE STENCILED GREEN LOZENGE MARK FOR 1864, IRON-RED CROWNED N DECORE A SEVRES MARK FOR 1864, POTTER'S INCISED DG-57-3 FOR MARCH 1857, THE MODEL DESIGNED BY JULES DIETERLE, THE BOWL SIGNED J. GÉLY FOR LEOPOLD-JULES-JOSEPH GELY

Details
A SEVRES (HARD PASTE) PORCELAIN '1867 PARIS UNIVERSALLE EXPOSITION' PATE-SUR-PATE CELADON-GROUND LARGE FOOTED BOWL (COUPE DE RIVOLI, PREMIERE GRANDEUR)
TWICE STENCILED GREEN LOZENGE MARK FOR 1864, IRON-RED CROWNED N DECORE A SEVRES MARK FOR 1864, POTTER'S INCISED DG-57-3 FOR MARCH 1857, THE MODEL DESIGNED BY JULES DIETERLE, THE BOWL SIGNED J. GÉLY FOR LEOPOLD-JULES-JOSEPH GELY
Finely painted and hand-tooled in white and colored slip with vocal small birds and chicks perched within a scrolling foliate and rose entwined arabesque, coiled snakes eyeing them from a precarious distance, the gadrooned and banded rims enriched in gold, on a conforming socle with a band alternating flower-heads and lappets enclosing trellis
15 in. (38 cm.) high; 18 1/8 in. (46 cm.) diameter
Exhibited
Paris Universelle Exposition, 1867.
Sale room notice
Please note that present lot was exhibited by Sèvres at the Exposition Universelle of 1867. The archival record documents the coupe entering the Salle de Ventes at the National Manufactory on the 30th of March 1867 described as a Coupe de Rivoli fond sous email oiseaux et ornements en pâte by Gély and Celos at a cost of 1038,83 francs. The same description and price can also be found in a ledger listing what Sèvres sent to the 1867 Exposition.

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Lot Essay

The award winning technique of pâte-sur-pâte decoration, known at Sèvres as pâte d'application, was developed in the early 1850's under Léopold-Jules-Joseph Gély, a sculptor-modeler and decorator (1851-1888) and Ferdinand Régnier. As mentor and collaborator with Marc Louis Solon, Pierre Adolphe Dammouse and Taxile Doat, Gély produced a series of innovative and critically acclaimed works over the period.

Gély not only produced cabinet pieces, but was responsible for the decoration on massive pâte-sur-pâte vases now in public collections in France. For an illustration of a vase with a spoonbill from the 1855 Paris Exposition Universelle, and later sold Christie's, New York, see The Exhibition of Art-Industry in Paris, Catalogue, 1855, p. 11. Also see B. Ducrot, Porcelaines et Terres de Sévres, Catalogue Musée National du Château de Compiègne, no. 212 for two of a set of four massive ormolu-mounted pâte-sur-pâte celadon-ground torcheres, made in 1862, which were exhibited at the 1862 Exposition Universelle in London and entered the Napoleon III Imperial collection.

The form 'Coupe de Rivoli' was created by Jules Diéterle in 1852. The present example is among the earliest and the only polychrome pâte-sur-pâte example known. For a closely related white and celadon example decorated by Hyacinthe Rènier for the 1855 Paris Exposition Universelle and purchased at that time by The South Kensington Museum (now the Victoria & Albert Museum), see B. Bumpus, Pâte-sur-Pâte, The of Ceramic Relief Decoration, 1849-1992, London, p. 22. Also see the 1876 work of Pierre Dammouse (now in the Mobilier National, Paris, Inv. GML 5286), illustrated B. Ducrot, Sèvres, une histoire céramique; Second Empire & IIIe Republique, Paris, 2008, p. 41. Another example created by Dammouse and exhibited at the 1878 Paris Exposition Universelle, was sold by Sotheby's, New York, 24 October 2007, lot 399.

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