This vase shape was introduced in three sizes in 1754 and the name of the form evolved from 'à la hollandoise' to 'hollandois' by 1756. For a discussion of the form, and for illustrations of the vases in the Wallace Collection, London, see Rosalind Savill, The Wallace Collection, Catalogue of Sèvres Porcelain, London, 1988, Vol. I, pp. 69-91.
The scene painted on the front is based on engravings of fêtes flamandes by Jacques-Philippe Le Bas after paintings by David Teniers the Younger. Two engravings in the archives at Sèvres show drunken men on the ground and one, entitled La Quatrième Fête flamade has on its reverse an ink drawing of a seated drunken character that mirrors that on the present lot. See Adrian Sassoon, The J.Paul Getty Museum, Vincennes and Sèvres Porcelain Catalogue of the Collections, Malibu, 1991, pp. 49-56, no. 10 for a pot-pourri vase (pot pourri 'vaisseau') painted with a very similar figural composition in the foreground but lacking the figures seated at a table seen in the background on the present lot. Carl Christian Dauterman has attributed the ink drawing at Sèvres to Dodin1 and the scene on this vase and on the J. Paul Getty vase relate closely in style to another version of this scene on a cuvette 'Courteille' in the Musée Jacquemart-André in Paris. This version is signed by Dodin. The same scene with slight adaptations is also depicted on several other pieces of Sèvres porcelain between 1759 and 1769 by the painters André-Vincent Vielliard, Jean-Louis Morin and Antoine Caton. Given that Tandart has mainly been recorded as a painter of flowers it seems likely that he completed the flower panels on the present lot and on stylistic grounds it seems possible that the Teniers scene was executed by André-Vincent Vielliard.
Jean-Baptiste Tandart was a painter active at Vincennes and Sèvres from 1754 until 1800.
1. Carl Christian Dauterman, 'Sèvres Figure Painting in the Anna Thompson Dodge Collection', Burlington Magazine, No. 118, November 1977, pp. 753-762.