A Pair of Gilt-Bronze Mounted Sèvres Style Porcelain Vases and Covers. The painted reserves signed 'G. Poitevin.'. This fine pair of pair of vases...
尺寸Height: 78 cm (31 in)
A Pair of Gilt-Bronze Mounted Sèvres Style Porcelain Vases and Covers.
The painted reserves signed ‘G. Poitevin.’.
This fine pair of pair of vases are of inverted ovoid form with finely painted reserves of ‘Fêtes galante’ to the front and ‘picturesque’ landscapes scenes to the reverse, within gilt-tooled borders on a deep cobalt blue ground, mounted to the shoulders with finely cast gilt-bronze mask form handles beneath flared trumpet form necks with finely tooled gilt reserves of musical trophies, surmounted by domed lids with gilt-bronze acorn finials; each vase raised on a spreading foot put down on square section gilt bronze bases with re-entrant corners.
The reserves to the front of each vase contain finely painted panels depicting romantic courting scenes drawing inspiration from Watteau’s fêtes galantes and the pastoral paintings of Boucher. The reverse sides depict corresponding picturesque scenes of a naturalistic landscape with buildings and a river to the middle distance.
Gilt-Bronze and Porcelain
The painted reserves signed 'G. Poitevin'.
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.
See W. Neuwirth, ‘Porzellanmaler-Lexikon, 1840-1914’, Band II, p.163-4 for a listing of three painters with the surname Poitevin, noted as working in Paris studios in the late nineteenth century. These entries are accompanied by illustrations of vases painted in a similar manner.