Assiette à cordonnet thumbnail 1
Assiette à cordonnet thumbnail 2
Image of Gallery in South Kensington
On display at V&A South Kensington
Ceramics, Room 139, The Curtain Foundation Gallery

Assiette à cordonnet

Plate
ca. 1751-2 (made)
Artist/Maker
Place of origin

This plate was made at the Vincennes porcelain factory in the early 1750s. Its uneven blue ground decoration, naturalistic flower sprays and rich gilding show the technological advances at the factory during this period after over a decade of experimentation.

The porcelain factory had a link to the French crown from the start as it was established in about 1740 in the semi-abandoned royal fortress of the château de Vincennes to the east of Paris. The porcelain specialists working there were intent on solving the technical challenges of porcelain production as huge sums were paid by wealthy aristocrats for this glassy white substance which, up to then, was mostly imported from East Asia or the Meissen factory in what is now Germany. During the early 1740s the majority of the Vincennes factory's products were probably experimental as the porcelain body was still being perfected and different enamel colours invented. In 1745 however, they secured a royal 'privilège' which granted them the exclusive right to produce porcelain ‘in Meissen style’ in France. As the wording suggests, the factory's earliest productions were indebted to the prestigious Meissen factory. The factory's repertoire quickly evolved however, from the emulation of East Asian or Meissen examples to incorporate the latest styles used in French gilt-bronze, woodcarving and decorative painting. The financial support and patronage of King Louis XV and his mistress, Madame de Pompadour, enabled Vincennes to secure the best technicians, artists, sculptors and designers. Jean-Claude Duplessis (director of models, 1748-74), Jean-Jacques Bachelier (director of decoration, 1751-93), Etienne-Maurice Falconet (director of sculpture, 1757-66), and the court painter François Boucher, all played a central role in the development of this entirely new French art form. By 1756 the factory had outgrown its workshops in the old château and it transferred to specially constructed premises at Sèvres (south-west of Paris). In 1759 the king purchased the factory outright and remarkably the Sèvres porcelain manufactory continues in production to the present day.


Object details

Categories
Object type
TitleAssiette à cordonnet (manufacturer's title)
Materials and techniques
Soft-paste porcelain, moulded, painted in enamels and gilt
Brief description
Porcelain plate, painted in enamels and gilt, made by Vincennes porcelain factory, France, about 1751-2
Physical description
Form: scalloped, moulded 'c' and 's' scrolls, gadrooning; Ground: bleu lapis + gold; Decoration: flowers; Rim hole
Dimensions
  • Diameter: 25cm
Marks and inscriptions
  • Interlaced 'L's in underglaze blue (Maker's mark)
  • pnv (incised)
Subjects depicted
Summary
This plate was made at the Vincennes porcelain factory in the early 1750s. Its uneven blue ground decoration, naturalistic flower sprays and rich gilding show the technological advances at the factory during this period after over a decade of experimentation.

The porcelain factory had a link to the French crown from the start as it was established in about 1740 in the semi-abandoned royal fortress of the château de Vincennes to the east of Paris. The porcelain specialists working there were intent on solving the technical challenges of porcelain production as huge sums were paid by wealthy aristocrats for this glassy white substance which, up to then, was mostly imported from East Asia or the Meissen factory in what is now Germany. During the early 1740s the majority of the Vincennes factory's products were probably experimental as the porcelain body was still being perfected and different enamel colours invented. In 1745 however, they secured a royal 'privilège' which granted them the exclusive right to produce porcelain ‘in Meissen style’ in France. As the wording suggests, the factory's earliest productions were indebted to the prestigious Meissen factory. The factory's repertoire quickly evolved however, from the emulation of East Asian or Meissen examples to incorporate the latest styles used in French gilt-bronze, woodcarving and decorative painting. The financial support and patronage of King Louis XV and his mistress, Madame de Pompadour, enabled Vincennes to secure the best technicians, artists, sculptors and designers. Jean-Claude Duplessis (director of models, 1748-74), Jean-Jacques Bachelier (director of decoration, 1751-93), Etienne-Maurice Falconet (director of sculpture, 1757-66), and the court painter François Boucher, all played a central role in the development of this entirely new French art form. By 1756 the factory had outgrown its workshops in the old château and it transferred to specially constructed premises at Sèvres (south-west of Paris). In 1759 the king purchased the factory outright and remarkably the Sèvres porcelain manufactory continues in production to the present day.
Bibliographic references
  • Tamara Préaud and Antoine d’Albis, La Porcelaine de Vincennes, Editions Adam Biro, Paris, 199.1 See no. 122, p. 154 for an early white example decorated with a putto en camaïeu in the Musée du Louvre
  • Gwilt, Joanna. Vincennes and Early Sèvres Porcelain from the Belvedere Collection. London, V & A Publishing, 2013. See no. 97, pp. 162-3 for a similar plate and a discussion of this and related examples.
Collection
Accession number
C.86-1973

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Record createdJune 7, 2004
Record URL
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