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拍品專文
Given the lack of detailed descriptions in the Sèvres factory records for the 1760’s and 1770’s and that fact that the shape of the present pair of vases goes by several different names, it is difficult to confirm their 18th century provenance. They may possibly be the pair described in the cash sales records (vendus comptant) for 6 March 1776 as 2 Vases raisin fond verd [S.C.C., Vy6, fo 71 vo] at 240 livres each or 480 livres for the pair. However, they are more likely those described as 2 id (Vases) fond verd testes de Bouc Pastoral, returned along with a single vase to the factory on 30 August 1781 by the duchesse de Narbonne for credit against the purchase of a service [credits of 528 livres and 270 livres respectively, S.C.C., Vy 8, fo 99 vo].
See Gillaume Séret, “Une Paire de vases du musée de l’Isle de France (Collection Ephrussi de Rothschild à Saint-Jean-Cap-Ferrat)”, Les Vases des Sèvres, Antoinette Fäy-Hallé, ed., Dijon, 2014, pp. 72, 119-footnote 45. In an email, M. Séret hypothesizes that, as la dame d’honneur to Madame Adélaïde, the duchesse de Narbonne was known to be the beneficiary of the royal princess’s generosity – thus not impossible that the present vases were a gift from the king’s fourth daughter, but this must be considered as a possibility, not substantiated fact.
This form of vase is probably that referred to in the factory records as vases à têtes de bouc made circa 1767-72, though similar forms are referred to as 'vase à raisins' and ‘vazes raisins’. Referred to by Albert Troude in Choix de Modèles de la Manufacture Nationale de Porcelaine de Sèvres, Appartenant au Musée Céramique (Paris, 1897) as 'vase bouc à raisins', the popular title was applied in the early 19th century and used to label the plaster original still at Sèvres (see illustration). This vase appears to have been fashionable for use in garnitures and was made with a variety of covers. Shaped like an inverted pear, Geoffrey de Bellaigue has speculated that the form is likely by Jean-Claude Duplessis, who is credited with the forms vase à oreilles and pot-pourri Hébert (see G. de Bellaigue, French Porcelain in the Collection of Her Majesty the Queen, London, 2009, vol. I, p. 289).
The painted scenes are likely by Charles Nicolas Dodin (1734-1803), one of the premier painters at the Sèvres manufactory. Dodin seemed particularly fond of this form, and examples of other vases à têtes de bouc painted by him include a green example in the collection of Dimitri Mavromatis (see M.L. de Rochebrune, Dodin et la Manufacture de Vincennes-Sèvres, Paris, 2012, pp. 118-9, no. 45) and a bleu nouveau example in the royal collection of HRH Queen Elizabeth II (see G. de Bellaigue, op cit., pp. 288-90, no. 61.) The example in the royal collection has a trophy to the reverse, much like the those on the present pair, and de Bellaigue speculates that it is likely painted Charles Buteux l’aîne or Louis-Gabriel Chulot, as both are recognized specialists in trophies.
The female subjects on the Desmarais vases are both after figures in larger scenes by François Boucher and Carle Vanloo. That of the bacchante is from Boucher's Les Bacchantes endormies (see P. Jean-Richard, L'oeuvre gravée de François Boucher dans la Collection Edmond de Rothschild, Paris, 1978, p. 262, no. 1037 for an engraving by René Gaillard). The bathing nymph is after the right-most figure in Vanloo's Les Baigneurs; the original painting is the collection of the duc d'Aumont and the engraving is by Louis-Simon Lempereur. A five-piece garniture, including two Sèvres vases of different form (vase ‘Paris’), but with these same two subjects also painted by Dodin can be found at Waddesdon Manor (see R. Savill, The Wallace Collection, Catalogue of Sèvres Porcelain, London, 1988, vol. I, p. 367).
Other notable examples of vases à têtes de bouc include the blue vase with a recumbent bacchante in the Rothschild collection at Waddeson Manor (illus. A. Faÿ-Hallé, Les Vases des Sèvres, Dijon, 2014, p. 69) and the gilt bleu nouveau pair in the Getty Museum (see A. Sassoon, Vincennes and Sèvres Porcelain, Catalogue of the Collections, Malibu, 1991, pp.88-91, no. 18).
Roger père is recorded at the Sèvres manufactory from 1754 to 1779, working mainly on soft-paste porcelain pieces, including wares from services, medallions, and especially vases of complex form including animals or figures (see R. Savill, op. cit., vol. III, pp. 1121-22).
See Gillaume Séret, “Une Paire de vases du musée de l’Isle de France (Collection Ephrussi de Rothschild à Saint-Jean-Cap-Ferrat)”, Les Vases des Sèvres, Antoinette Fäy-Hallé, ed., Dijon, 2014, pp. 72, 119-footnote 45. In an email, M. Séret hypothesizes that, as la dame d’honneur to Madame Adélaïde, the duchesse de Narbonne was known to be the beneficiary of the royal princess’s generosity – thus not impossible that the present vases were a gift from the king’s fourth daughter, but this must be considered as a possibility, not substantiated fact.
This form of vase is probably that referred to in the factory records as vases à têtes de bouc made circa 1767-72, though similar forms are referred to as 'vase à raisins' and ‘vazes raisins’. Referred to by Albert Troude in Choix de Modèles de la Manufacture Nationale de Porcelaine de Sèvres, Appartenant au Musée Céramique (Paris, 1897) as 'vase bouc à raisins', the popular title was applied in the early 19th century and used to label the plaster original still at Sèvres (see illustration). This vase appears to have been fashionable for use in garnitures and was made with a variety of covers. Shaped like an inverted pear, Geoffrey de Bellaigue has speculated that the form is likely by Jean-Claude Duplessis, who is credited with the forms vase à oreilles and pot-pourri Hébert (see G. de Bellaigue, French Porcelain in the Collection of Her Majesty the Queen, London, 2009, vol. I, p. 289).
The painted scenes are likely by Charles Nicolas Dodin (1734-1803), one of the premier painters at the Sèvres manufactory. Dodin seemed particularly fond of this form, and examples of other vases à têtes de bouc painted by him include a green example in the collection of Dimitri Mavromatis (see M.L. de Rochebrune, Dodin et la Manufacture de Vincennes-Sèvres, Paris, 2012, pp. 118-9, no. 45) and a bleu nouveau example in the royal collection of HRH Queen Elizabeth II (see G. de Bellaigue, op cit., pp. 288-90, no. 61.) The example in the royal collection has a trophy to the reverse, much like the those on the present pair, and de Bellaigue speculates that it is likely painted Charles Buteux l’aîne or Louis-Gabriel Chulot, as both are recognized specialists in trophies.
The female subjects on the Desmarais vases are both after figures in larger scenes by François Boucher and Carle Vanloo. That of the bacchante is from Boucher's Les Bacchantes endormies (see P. Jean-Richard, L'oeuvre gravée de François Boucher dans la Collection Edmond de Rothschild, Paris, 1978, p. 262, no. 1037 for an engraving by René Gaillard). The bathing nymph is after the right-most figure in Vanloo's Les Baigneurs; the original painting is the collection of the duc d'Aumont and the engraving is by Louis-Simon Lempereur. A five-piece garniture, including two Sèvres vases of different form (vase ‘Paris’), but with these same two subjects also painted by Dodin can be found at Waddesdon Manor (see R. Savill, The Wallace Collection, Catalogue of Sèvres Porcelain, London, 1988, vol. I, p. 367).
Other notable examples of vases à têtes de bouc include the blue vase with a recumbent bacchante in the Rothschild collection at Waddeson Manor (illus. A. Faÿ-Hallé, Les Vases des Sèvres, Dijon, 2014, p. 69) and the gilt bleu nouveau pair in the Getty Museum (see A. Sassoon, Vincennes and Sèvres Porcelain, Catalogue of the Collections, Malibu, 1991, pp.88-91, no. 18).
Roger père is recorded at the Sèvres manufactory from 1754 to 1779, working mainly on soft-paste porcelain pieces, including wares from services, medallions, and especially vases of complex form including animals or figures (see R. Savill, op. cit., vol. III, pp. 1121-22).