Results: 1
-
View: Detail
-
- Jaques-François Paris (or Deparis) (1735 - 1797)
-
- View Contemporaries
- Bookmarkable URL
- Works of Art
-
Results: 4
-
Sorting:
Artist/Maker
-
View: Lightbox 3x4
-
-
-
-
- Vase and Cover
- Vase 'Paris', probably 'Paris de milieu' of the second size
- Manufacture de Sèvres
- Sèvres, France
- c. 1779
- C330
- Study
- Bookmarkable URLThe laurel garlands draped around the acanthus-leaf handles of this vase were a popular motif in neoclassical design. The model is named after its designer, Jacques-François Paris (op. 1746-97), who created several new models for Sèvres in the late 1770s.
The landscape on the back was probably painted by Edme-François Bouillat (op. 1758-1810) and the figure scene on the front possibly by Nicolas-Pierre Pithou (op. 1759/60-67, 1769-95). The gallant shepherd and shepherdess are taken from a painting by François Boucher, and the Sèvres painter would have used one of the many prints after it as a reference.
The cover is possibly a replacement made at Sèvres in the nineteenth century, as the original lid was missing by 1865.
-
-
-
- Vase and Cover
- Vase 'Paris', probably 'Paris de milieu' of the second size
- Manufacture de Sèvres
- Sèvres, France
- c. 1779
- C331-2
- Study
- Bookmarkable URLThese vases were named after Jacques-François Paris (op. 1746-97) who designed several new shapes in the late 1770s.
They are among the few pieces of hard-paste porcelain in the Wallace Collection. Hard-paste wares weren’t introduced at Sèvres until the late 1760s and such large arabesque designs were specifically created for these early examples, as Sèvres was still experimenting to recreate the vibrant ground colours of their soft-paste products.
Details in the decoration suggest that the vases were made on the occasion of a marriage or birth: one side depicts two amorous birds, the bow and quiver above them also symbolising love, while other shows them nesting in a tree.
The novelty of adding silver to the decoration was not successful as it would quickly tarnish to an unsightly black, and soon the factory was to use platinum instead.
-
-
-
- Garniture of Three Vases and Covers
- Vase 'E de 1780' of the first size and vases 'E de 1780' of the second size
- Manufacture de Sèvres
- Sèvres, France
- 1781
- C334-6
- Study
- Bookmarkable URLThis splendid garniture comprises three vases of the same model, set on lions' -paw feet, whose unusual name is probably a creation of the early nineteenth century. Originally it might have been known as the vase ‘Paris de nouvelle forme’ which would suggest that it was designed by Jacques-François Paris (op. 1746-97).
The striking jewel-like decoration was achieved by applying enamelled gold-leaf foils on the 'beau bleu ground'. Joseph Coteau (op. 1780-4) perfected this intricate and exceptionally rich technique, and may also have decorated this garniture. Despite his success at Sèvres, Couteau's service terminated after only four years because of his difficult personality.
On their fronts the vases are painted with mythological scenes from Ovid’s Metamorphoses, after compositions by François Boucher and Charles Eisen: Pygmalion and Galatea, Primavera with two Cherubs and Bacchus accompanied by two child satyrs. While these were possibly painted by Charles-Eloi Asselin, the bucolic landscapes on the backs are attributed to Edme-François Bouilliat.
Sèvres pieces decorated in the rare and costly jewelled enamelling technique were often given by Louis XVI as diplomatic gifts. This garniture, originally probably bought by Marie Antoinette, was later presented by the king to Prince Henry of Prussia, brother of Frederick the Great, during a diplomatic visit to Paris in 1784.
The gilt-bronze stands are French, possibly eighteenth century.
-
-
-
- Tray and Tea Service
- Plateau 'Paris', three gobelets 'litron' et soucoupes of the third size, pot à lait 'à trois pieds'
- Manufacture de Sèvres
- Sèvres, France
- 1779
- C407-13
- Study
- Bookmarkable URLA 'déjeuner' was a tea set which included cups, saucers and sometimes other items used for breakfast, as well as a matching tray. This one is named not after the city of Paris but after the designer, Jacques-François Paris (op. 1775-1781). It would originally have comprised a fourth cup and saucer and a lid for the sugar bowl.
The set is in hard-paste porcelain, a technique which had been introduced at Sèvres in the late 1760s and could not yet take the same vibrant ground colours of the earlier soft-paste wares. The fanciful decoration is in keeping with the taste for idealised visions of the Far East, known as 'chinoiseries', but the motifs as such are very unusual. The exotic figures in landscapes and ship battle on the tray may be influenced by earlier designs from the Meissen factory and seventeenth-century Dutch ship paintings, but the exact sources have not yet been identified. They were painted by Louis-François Lécot (op. 1761-4, 1772-1800), who seems to have specialised in chinoiserie decoration in on hard-paste.
The gilded band on the edges imitates Chinese 'cloisonné' decoration.
Sèvres chinoiserie déjeuners were owned by the duchesse de Mazarin and Louis XVI.
-
Sorting:
Artist/Maker
Follow us on: