The Wallace Collection

The Wallace Collection, A Family Collection, A National Museum, An International Treasure House
Plateau 'carré à jour' of the third size and gobelet 'Hébert' et soucoupe of the third size
  • Tea Service
  • Plateau 'carré à jour' of the third size and gobelet 'Hébert' et soucoupe of the third size
  • Manufacture de Sèvres
  • Possibly Charles-Nicolas Dodin (1734 - 1803), Painter
    Possibly Jean-Louis Morin (1732 - 1787), Painter
  • Sèvres, France
  • 1757 - 1758
  • Soft-paste porcelain, painted and gilded
  • Tray, C382, Size: 14.8 x 14.8 cm
    Cup, C383, Height: 5.6 cm
    Saucer, C383, Diameter: 11.8 cm
  • Factory mark: Interlaced Ls and 'F.' probably the date letter for 1759 Painted
    Incised mark: '6cBl'
    Incised mark: '1757' Indistinct, beside the rim
    Incised mark: 'CM' and a cross within a circle
    Inscription: 'H' or 'I'
  • C382-3
  • Back State Room
Images & Media
Further Reading
  • The European cup for drinking tea evolved gradually during the first half of the eighteenth century, adapted from the Chinese porcelain tea bowls in which tea was originally drunk when it became fashionable in Europe at the end of the seventeenth century. By 1752, the Vincennes manufactory (the early name for Sèvres) was making a wide range of tea wares, many models of the early 1750s remaining in production for the rest of the century. Most cups and saucers could be used for tea, coffee or chocolate, often being sold with matching teapots or, more rarely, coffee pots. A ‘déjeuner’ was a small tea set on a tray, including cups and saucers and sometimes other items used for breakfast ('déjeuner' means breakfast in French).
    This set pairs a ‘gobelet Hébert et soucoupe’ (for a detailed description of this model and other examples, see Museum Nos. C343-4, C391-5 and C401-6) with a ‘plateau carré à jour’. The square tray has a pierced vitruvian scroll and harebell frieze on the rim, which is one of the earliest neoclassical details used at Sèvres.
    All pieces are decorated with a turquoise-blue ‘bleu céleste’ ground and painted with cheerful peasant scenes, probably executed by either Charles-Nicolas Dodin (op. 1754-1802/3) or Jean-Louis Morin (op. 1754-1787) who both specialized in this subject matter. Often after or inspired by Teniers, such scenes were introduced around 1758 and remained highly popular until the mid-1760s. The unusual incised mark ‘1757’ may refer to the date when the tray was moulded, while the ‘F’ on the cup is probably the date letter for 1759, applied when the decoration was finished.