The present vases are named after the répareur and thrower Jacques-François Paris or Deparis (1735-97), who began his tenure at Vincennes at the tender age of 11 in 1746. By 1752 he was a full répareur and not long after he was made chief assistant to Jean-Claude Duplessis (1699-1774). Paris was elevated to head of the répareurs after the death of Duplessis, and he is thought to have helped contriubute to the modeling of the present shape, likely in tandem with the director of sclupture, Louis-Simon Boizot (1743-1809).
The first and second sizes of this form are easily distinguished. The first, or largest, size has acanthus leaves at the top terminal of the handle, while the second size has the top terminal suspending a laurel garland. Another pair of vases of this first size, formerly in the Rothschild collection, is in the Huntington Museum, Pasadena, California (object no. 27.139). Also compare the example painted by Genest in the Victoria & Albert Museum, London (museum no. 781A-1882); and the example sold as part of a garniture by Tajan, Paris, 19 February 1988, lot 75. For an example of the second size, see R. Savill, The Wallace Collection Catalogue of Sèvres Porcelain, London, 1988, pp. 434-446, nos. C330-2, C330 and C331-2.
Charles-Eloi Asselin is recorded as the chief of painters, specializing in figures and patterns, at the manufactory from 1765-1800. Henri-Martin Prévost is recorded as a gilder at the manufactory from 1757-97.