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LA PORCELAINE DYNASTIE QING, ÉPOQUE KANGXI (1662-1722), LES BRONZES VERS 1760
细节
POT-POURRI D'ÉPOQUE LOUIS XV
LA PORCELAINE DYNASTIE QING, ÉPOQUE KANGXI (1662-1722), LES BRONZES VERS 1760
En porcelaine de Chine émaillée turquoise, ornementation de bronze ciselé et doré, le couvercle sommé d'une conque en enroulement, le col ajouré ceint d'une frise de losanges flanquée de deux rangs de feuillages, le corps en forme de coquille d'escargot, sur des pieds tronconiques à la manière d'une coquille
H. 17 cm. (6 ¾ in.) ; L. 19 cm. (7 ½ in.) ; P. 14 cm. (5 ½ in.)
LA PORCELAINE DYNASTIE QING, ÉPOQUE KANGXI (1662-1722), LES BRONZES VERS 1760
En porcelaine de Chine émaillée turquoise, ornementation de bronze ciselé et doré, le couvercle sommé d'une conque en enroulement, le col ajouré ceint d'une frise de losanges flanquée de deux rangs de feuillages, le corps en forme de coquille d'escargot, sur des pieds tronconiques à la manière d'une coquille
H. 17 cm. (6 ¾ in.) ; L. 19 cm. (7 ½ in.) ; P. 14 cm. (5 ½ in.)
来源
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965), Hôtel Blumenthal, Paris, salon carré ;
Puis par descendance.
Puis par descendance.
出版
"Un collectionneur parisien retrouve le faste des salons Louis XV", Connaissance des Arts, décembre 1955, no. 46, Paris, pp. 62-67 (ill.).
Bibliographie comparative :
Strawberry Hill, George Robin's sale of the contents, 25 April-24 May 1842, 11th day, lot 8.
R. Keyszelitz, Chinesisches und japanisches Porzellan in europäischen Fassungen, Berlin, 1980. p. 316. Abb. 289.
Sir Francis Watson, Mounted Oriental Porcelain, Exhibition catalogue, Washington, 1986, cat. No. 3, p. 88, illustrated.
T. Préaud, M. Brunet, Des origines à nos jours, Fribourg, 1978, pp. 82-83, pl. XXXII.
Cholmondeley-Sassoon, Houghton sale, Christie’s, London, 8 décembre 1994, lot 13.
P. Kjellberg, Objets montés du Moyen-Âge à nos jours, Paris, 2000, p. 114.
P. Verlet, Les bronzes d’ameublement du Louvre, Paris, 2004, p. 216.
G. et R. Wannenes, Les bronzes ornementaux et les objets montés, Londres, 2004, p. 143.
G. Wilson, Mounted Oriental Porcelain in the J. Paul Getty Museum, Los Angeles, 2006, p. 80-84.
A. Pradère, 'L'hôtel de Blondel de Gagny (1697-1777), place Vendôme, décor intérieur, ameublement et objets d’art', Bulletin de la Société de l’histoire de l’art français, Année 2017 (2024), p. 50, fig. 34.
Bibliographie comparative :
Strawberry Hill, George Robin's sale of the contents, 25 April-24 May 1842, 11th day, lot 8.
R. Keyszelitz, Chinesisches und japanisches Porzellan in europäischen Fassungen, Berlin, 1980. p. 316. Abb. 289.
Sir Francis Watson, Mounted Oriental Porcelain, Exhibition catalogue, Washington, 1986, cat. No. 3, p. 88, illustrated.
T. Préaud, M. Brunet, Des origines à nos jours, Fribourg, 1978, pp. 82-83, pl. XXXII.
Cholmondeley-Sassoon, Houghton sale, Christie’s, London, 8 décembre 1994, lot 13.
P. Kjellberg, Objets montés du Moyen-Âge à nos jours, Paris, 2000, p. 114.
P. Verlet, Les bronzes d’ameublement du Louvre, Paris, 2004, p. 216.
G. et R. Wannenes, Les bronzes ornementaux et les objets montés, Londres, 2004, p. 143.
G. Wilson, Mounted Oriental Porcelain in the J. Paul Getty Museum, Los Angeles, 2006, p. 80-84.
A. Pradère, 'L'hôtel de Blondel de Gagny (1697-1777), place Vendôme, décor intérieur, ameublement et objets d’art', Bulletin de la Société de l’histoire de l’art français, Année 2017 (2024), p. 50, fig. 34.
更多详情
A LOUIS XV ORMOLU-MOUNTED KANGXI CHINESE TURQUOISE PORCELAIN POT-POURRI, THE PORCELAIN KANGXI (1662-1722), THE MOUNTS CIRCA 1760
Shaped as a shell, more specifically that of the Asian gastropod luosi, this pot-pourri belongs to the long tradition of Chinese turquoise-glaze porcelain. Of Islamic origin, these wares appeared in China as early as the Song dynasty (960–1279) and flourished during the Kangxi period (1662–1722), when the present shell was produced.
When Chinese turquoise porcelain reached France in the eighteenth century, their distinctive colour, known as bleu céleste (“celestial blue”), enjoyed immense popularity, to the point of inspiring the ground colour of the celebrated Vincennes services produced for King Louis XV. Without its ormolu mount, this turquoise porcelain shell closely resembles an unmounted example preserved in the Rijksmuseum, as well as a pair from the Jean-Marie Rossi Collection sold at Sotheby’s Paris, 11 March 2026, lot 161. It may also be compared to the pair preserved in the Residenz, Munich, which shares a similarly coloured glaze although modelled after a different shell species.
Rarer than Chinese celadon or blue-and-white porcelain, these turquoise wares greatly appealed to collectors, who had them mounted in ormolu according to the prevailing taste of the period. The marchands-merciers played an essential role in this process, acting as intermediaries between dealers in Asian porcelain, bronze-workers and the clientele who commissioned such objects.
This fascination with Asian exoticism found a particular expression between the end of the reign of Louis XV and the beginning of that of Louis XVI. In service of the porcelain, the gilt-bronze mounts display remarkable inventiveness while simultaneously revealing a growing restraint of form. On the present shell, the central border speckled with small dots appears intended to evoke delicate water bubbles or the texture of fish scales. The small spiral bronze feet, meanwhile, echo the conchoidal spiral of the shell itself.
The mount of the present shell is consequently later than that of the pair decorated with rocailles in the Walters Art Museum (fig. 1), although the porcelain shells themselves are very closely related. It belongs rather to the Transitional neoclassical style: the rim is framed by twin egg-and-dart borders, while the central frieze of circular motifs displays an almost neo-classical regularity. This mount dates from approximately the same period as the "à la grecque" mounts on a pair of porcelain shells preserved in the Museum of Fine Arts, Boston (65.1860a–b) (fig. 2). It differs from them, however, in one significant respect: their porcelain is not Chinese but Sèvres. The success of turquoise Chinese porcelain in France was such that the Royal Manufactory undertook to imitate it, although it never succeeded in reproducing precisely the distinctive brilliance of the Chinese turquoise glaze. One may notably cite a highly comparable pair of Sèvres porcelain pot-pourri vases mounted in gilt bronze in the mid-eighteenth century, sold from the Houghton Hall collection at Christie's, London, on 8 December 1994, lot 13.
The fascination with these rare Chinese turquoise porcelain shells mounted in ormolu endured throughout the eighteenth century. A pair with mid-eighteenth-century mounts surmounted by small figures of magots appears successively in two distinguished collections during the reign of Louis XVI: first in that of Charles-Louis de Beauchamp, Comte de Merle, sold on 1 March 1784 (lot 177), and subsequently in the collection of Joseph-Hyacinthe-François de Paule de Rigaud, dispersed on 29 November 1787 (lot 215). This pair is almost certainly that now preserved in the Royal Collection at Buckingham Palace (RCIN 3569). Comparable mounted shells were also owned by several of the period's most celebrated collectors, including the Comte de Caylus, one of the foremost advocates of Neo-Classicism, and the English collector Horace Walpole at Strawberry Hill. Marie-Antoinette herself assembled an important group of mounted turquoise porcelain, probably supplied by Dominique Daguerre. When obliged to leave Versailles in 1789, she entrusted these objects once again to the marchand-mercier; the majority are now preserved in the Musée du Louvre.
Among the finest surviving examples using turquoise porcelain from this period is a pair distinguished by its exceptional Neo-Classical ormolu mounts executed by François-Nicolas Vassoult. Formerly in the collection of Augustin Blondel de Gagny at the Place Vendôme, the pair was subsequently acquired by the royal banker Nicolas Beaujon for the Hôtel d'Évreux (now the Palais de l'Élysée), before entering the Rothschild collections at the Château de Ferrières. It was later sold at Sotheby's, New York, 7 February 2025, lot 5. Another closely related pair, mounted in the Neo-Classical taste and surmounted by Fo dogs, may likewise have originated in Blondel de Gagny’s collection before passing into the Qizilbash Collection and being sold at Sotheby's, 28 November 2016, lot 9. So highly prized did these Chinese turquoise porcelain shells remain until the close of the century that they were embellished by the foremost bronziers of the day. Pierre Gouthière created magnificent swan-neck mounts, pierced galleries and lion-paw bases of extraordinary virtuosity for two shells closely related to the present example. Mounted as perfume burners, these masterpieces are today among the highlights of the Musée du Louvre (OA 5182-1).
Shaped as a shell, more specifically that of the Asian gastropod luosi, this pot-pourri belongs to the long tradition of Chinese turquoise-glaze porcelain. Of Islamic origin, these wares appeared in China as early as the Song dynasty (960–1279) and flourished during the Kangxi period (1662–1722), when the present shell was produced.
When Chinese turquoise porcelain reached France in the eighteenth century, their distinctive colour, known as bleu céleste (“celestial blue”), enjoyed immense popularity, to the point of inspiring the ground colour of the celebrated Vincennes services produced for King Louis XV. Without its ormolu mount, this turquoise porcelain shell closely resembles an unmounted example preserved in the Rijksmuseum, as well as a pair from the Jean-Marie Rossi Collection sold at Sotheby’s Paris, 11 March 2026, lot 161. It may also be compared to the pair preserved in the Residenz, Munich, which shares a similarly coloured glaze although modelled after a different shell species.
Rarer than Chinese celadon or blue-and-white porcelain, these turquoise wares greatly appealed to collectors, who had them mounted in ormolu according to the prevailing taste of the period. The marchands-merciers played an essential role in this process, acting as intermediaries between dealers in Asian porcelain, bronze-workers and the clientele who commissioned such objects.
This fascination with Asian exoticism found a particular expression between the end of the reign of Louis XV and the beginning of that of Louis XVI. In service of the porcelain, the gilt-bronze mounts display remarkable inventiveness while simultaneously revealing a growing restraint of form. On the present shell, the central border speckled with small dots appears intended to evoke delicate water bubbles or the texture of fish scales. The small spiral bronze feet, meanwhile, echo the conchoidal spiral of the shell itself.
The mount of the present shell is consequently later than that of the pair decorated with rocailles in the Walters Art Museum (fig. 1), although the porcelain shells themselves are very closely related. It belongs rather to the Transitional neoclassical style: the rim is framed by twin egg-and-dart borders, while the central frieze of circular motifs displays an almost neo-classical regularity. This mount dates from approximately the same period as the "à la grecque" mounts on a pair of porcelain shells preserved in the Museum of Fine Arts, Boston (65.1860a–b) (fig. 2). It differs from them, however, in one significant respect: their porcelain is not Chinese but Sèvres. The success of turquoise Chinese porcelain in France was such that the Royal Manufactory undertook to imitate it, although it never succeeded in reproducing precisely the distinctive brilliance of the Chinese turquoise glaze. One may notably cite a highly comparable pair of Sèvres porcelain pot-pourri vases mounted in gilt bronze in the mid-eighteenth century, sold from the Houghton Hall collection at Christie's, London, on 8 December 1994, lot 13.
The fascination with these rare Chinese turquoise porcelain shells mounted in ormolu endured throughout the eighteenth century. A pair with mid-eighteenth-century mounts surmounted by small figures of magots appears successively in two distinguished collections during the reign of Louis XVI: first in that of Charles-Louis de Beauchamp, Comte de Merle, sold on 1 March 1784 (lot 177), and subsequently in the collection of Joseph-Hyacinthe-François de Paule de Rigaud, dispersed on 29 November 1787 (lot 215). This pair is almost certainly that now preserved in the Royal Collection at Buckingham Palace (RCIN 3569). Comparable mounted shells were also owned by several of the period's most celebrated collectors, including the Comte de Caylus, one of the foremost advocates of Neo-Classicism, and the English collector Horace Walpole at Strawberry Hill. Marie-Antoinette herself assembled an important group of mounted turquoise porcelain, probably supplied by Dominique Daguerre. When obliged to leave Versailles in 1789, she entrusted these objects once again to the marchand-mercier; the majority are now preserved in the Musée du Louvre.
Among the finest surviving examples using turquoise porcelain from this period is a pair distinguished by its exceptional Neo-Classical ormolu mounts executed by François-Nicolas Vassoult. Formerly in the collection of Augustin Blondel de Gagny at the Place Vendôme, the pair was subsequently acquired by the royal banker Nicolas Beaujon for the Hôtel d'Évreux (now the Palais de l'Élysée), before entering the Rothschild collections at the Château de Ferrières. It was later sold at Sotheby's, New York, 7 February 2025, lot 5. Another closely related pair, mounted in the Neo-Classical taste and surmounted by Fo dogs, may likewise have originated in Blondel de Gagny’s collection before passing into the Qizilbash Collection and being sold at Sotheby's, 28 November 2016, lot 9. So highly prized did these Chinese turquoise porcelain shells remain until the close of the century that they were embellished by the foremost bronziers of the day. Pierre Gouthière created magnificent swan-neck mounts, pierced galleries and lion-paw bases of extraordinary virtuosity for two shells closely related to the present example. Mounted as perfume burners, these masterpieces are today among the highlights of the Musée du Louvre (OA 5182-1).
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA