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Lot Essay
As detailed in the Bard Center publication, ibid., p. 229, no. 48, the term 'diatrète' derived from the Latin diatreta, in turn referring to ancient classical cameo-decorated vessels. The manufacture of 'diatrète' vases and bowls at Sèvres was complex and problematic. Initially, it was the production of the glass medallions that proved difficult; as Sèvres did not produce glass at the time, it was left to the glass makers. Of those, it was Honoré Boudon de Saint-Amans who eventually perfected the technique of safely enclosing the Sèvres porcelain busts and figures ('sulphides') in glass without overfiring or destroying them. Having resolved the technique, he applied for a brevet for their manufacture in 1818. Sèvres then began the process of designing and making vessels which included the medallions.
The design of the coupe is a fusion of eclectic influences. Essentially a classical form which features classically-inspired cameo-type medallions, the decoration of both the porcelain and mounts features Egyptianesque motifs and elements, some of which may have been drawn from the designs of Percier and Fontaine. However, the combination of all these elements, the colours and the coloured gem-set border result in an overall appearance that is quasi-gothic; Le Courier Frandâis, 29th December 1820, wrote that it was '..a loan from the fifteenth century, but a copy in which richness is allied perfectly with good taste' (ibid., pp. 48, 49).
Of the design and manufacture itself, Brogniart wrote, in 1819: 'M. Gérard 1: will produce coloured sketches capable of conveying the effect of execution in the three manners..' (that is in three different colour schemes; see his preparatory design, illustrated above right) '..2: will consult with M. Constans regarding the mode of impression and the engraving of the plate..' (the underlying design was transfer-printed and the decoration applied over it) '..3. will consult with Messieurs de Saint-Amand, Windinger, and Blaqui©re regarding the execution of the coloured stones and cameos and the way they are to be fitted in.'
The complexity of these processes meant that although other vessels are recorded as having been on the work-benches, they do not seem to have reached eventual completion. The present lot would therefore appear to be the only extant example of this design.
The design of the coupe is a fusion of eclectic influences. Essentially a classical form which features classically-inspired cameo-type medallions, the decoration of both the porcelain and mounts features Egyptianesque motifs and elements, some of which may have been drawn from the designs of Percier and Fontaine. However, the combination of all these elements, the colours and the coloured gem-set border result in an overall appearance that is quasi-gothic; Le Courier Frandâis, 29th December 1820, wrote that it was '..a loan from the fifteenth century, but a copy in which richness is allied perfectly with good taste' (ibid., pp. 48, 49).
Of the design and manufacture itself, Brogniart wrote, in 1819: 'M. Gérard 1: will produce coloured sketches capable of conveying the effect of execution in the three manners..' (that is in three different colour schemes; see his preparatory design, illustrated above right) '..2: will consult with M. Constans regarding the mode of impression and the engraving of the plate..' (the underlying design was transfer-printed and the decoration applied over it) '..3. will consult with Messieurs de Saint-Amand, Windinger, and Blaqui©re regarding the execution of the coloured stones and cameos and the way they are to be fitted in.'
The complexity of these processes meant that although other vessels are recorded as having been on the work-benches, they do not seem to have reached eventual completion. The present lot would therefore appear to be the only extant example of this design.