REF NO : B71054

塞夫勒(风格)

一套精美的11个塞夫勒风格的徽章式内饰板

French, Circa 1900

£18,000

A Fine Set of Eleven Sèvres-Style Armorial Cabinet Plates. Marked to the reverse with blue underglaze interlaced ‘L’s’. Each plate is finely...

尺寸

REF NO : B71054

描述

A Fine Set of Eleven Sèvres-Style Armorial Cabinet Plates.

Marked to the reverse with blue underglaze interlaced ‘L’s’.

Each plate is finely painted and gilt with a dark powder-blue scalloped border and pendant husks, centred by the arms of the Loftus family, Earl’s of Ely.

The arms consist of a shield with supporters of two eagles, wings inverted, argent, each charged on the breast with a trefoil slipped azure, and motto ‘LOYAL AU MORT’. The Earl’s coronet is surmounted by a helmet bearing the crest of a boar’s head erased and erect.

A comparative Royal Worcester bowl with dark blue and gilt border and centred by the arms of Nicholas Loftus dating from 1766 is in the collection of the Victoria & Albert Museum, London [VAM 414:523-1885].

French, Circa 1900.

 

日期

约1900年

原产地

法国

中型

瓷器

签名

Marked to the reverse with blue underglaze interlaced ‘L’s’.

塞夫勒(风格)

The Sèvres Porcelain Manufactory was founded to the east of Paris in the disused Royal Château of Vincennes, late in 1739-40. and moved to the village of Sèvres, west of Paris in 1756, en route to King Louis XV’s palace of Versailles.

Here it was also adjacent to Louis’s mistress Madame de Pompadour’s own château at Bellevue. She was delighted with the factory’s new location – as she knew she could entice Louis to take a greater interest in it when it was so near their own residences. Indeed, the King became such a keen patron of the factory that, when it ran into financial difficulties, he bought out the shareholders and became the sole proprietor. The factory remained a royal enterprise until the French Revolution, when it was nationalised.

The popularity of the Louis XV style during the nineteenth century led to a number of companies in and around Paris, creating exceptional Sèvres-Style porcelain based on eighteenth century models and to the same exceptional quality. Often these pieces were of exhibition quality and scale, and finely painted by the best studio painters of the day such as Robert, Desprez and Poitevin.

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