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Flower vase and stand

  • Place of origin:

    Sèvres (made)

  • Date:

    1760 (made)

  • Artist/Maker:

    Vielliard, André-Vincent père (painter)
    Tandart, Jean-Baptiste l'aîné (painter)
    Sèvres porcelain factory (manufacturer)

  • Materials and Techniques:

    Soft paste porcelain, applied with ground colour, pierced, painted in enamels, gilded

  • Credit Line:

    Bequeathed by John Jones

  • Museum number:

    756A/1, 2-1882

  • Gallery location:

    Ceramics, Room 139, The Curtain Foundation Gallery, case W, shelf 2 []

This shape is listed as 'Vase hollandois' in the Sèvres factory records, indicating its shape originated in Holland and was copied from Dutch Delftwares. Vases of this type would have been used for planting and growing bulbs in season, hence the pierced separate stands which allowed for watering the growing bulbs. Out of season, porcelain flowers on painted metal stems are known to have been displayed in vases of this type. They were usually grouped in pairs with other shapes to form sets known as 'garnitures', and placed on mantelpieces and pieces of furniture, often with mirrors behind them, adding to the rich decorative effect.

Physical description

Flower vase and stand of soft-paste porcelain decorated with a green ground reserved with scenes and flowers painted in enamels, the rims and ground with gilded patterns.

Place of Origin

Sèvres (made)

Date

1760 (made)

Artist/maker

Vielliard, André-Vincent père (painter)
Tandart, Jean-Baptiste l'aîné (painter)
Sèvres porcelain factory (manufacturer)

Materials and Techniques

Soft paste porcelain, applied with ground colour, pierced, painted in enamels, gilded

Marks and inscriptions

crossed Ls mark enclosing date letter G
for 1760

mark of three dots
for the flower painter Tandart

Object history note

One of a pair with 756:1, 2-1882.

Descriptive line

Flower vase and stand of soft-paste porcelain, probably painted by André-Vincent Vielliard, Sèvres porcelain factory, Sèvres, 1760.

Bibliographic References (Citation, Note/Abstract, NAL no)

Carey, Juliet. Peasants on porcelain: Sèvres and the taste for Teniers. Oliver Fairclough, John Whitehead and Aileen Dawson eds. French Porcelain Society Journal III , 2007. pp. 111-130 ISSN 1479-8042
Savill, Rosalind. The Wallace Collection, Catalogue of Sèvres Porcelain The Trustees of the Wallace Collection, London, 1988, pp. 106-109, C230-1. pp. 69-91
King, William. Catalogue of the Jones Collection, II, Ceramics, ormolu, goldsmiths' work, enamels, sculpture, tapestry, books, and prints. Victoria and Albert Museum: 1924. 8 p., no. 115, ill. plate 5.
Peters, David. An examination of Vincennes and early Sèvres date letters. The French Porcelain Society, A transcript of the talk given at the French Porcelain Society Study Day on 17 June 2014. London, 2014. Following a detailed analysis of the records against existing pieces, Peters has suggested 'G’ is now for 1760, not 1759-60 as formerly thought.
William King, Catalogue of the Jones Collection, II, Ceramics, ormolu, goldsmiths' work, enamels, sculpture, tapestry, books, and prints (London: Victoria and Albert Museum, 1924), p. 8, no. 114.

Production Note

The enamel painting and subject matter on these vases are typical of Vielliard at this period, despite not bearing his mark. Tandart specialised in flower painting and presumably painted the flower panels only.

Materials

Soft paste porcelain

Techniques

Applied; Painted; Gilded; Pierced

Subjects depicted

Bulbs; Figures; Flowers; Tavern

Categories

Porcelain; Ceramics

Collection

Ceramics Collection

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