- 17
A LARGE SÈVRES BISCUIT PORCELAIN TRIPOD, FIRST HALF 19TH CENTURY |
Estimate
20,000 - 30,000 EUR
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Description
- Haut. 44 cm., diam. 41 cm ; height 17⅓ in., diameter 16 in.
the same model as the service particulier de l'Empereur, the gadrooned circular basin with an egg and dart rim, centred by a relief carved lion mask, supported by three fluted pilasters with chimeras, entwined vine branches, leaves and grapes, terminating in lion paw feet, the central spiral fluted support on a shaped rectangular base; mark: incised HL; painted 2 in red; (small chips)
Literature
RELATED LITERATURE
- P. Arizzoli-Clémentel, « Les surtouts impériaux en porcelaine de Sèvres 1804-1814 », in Bulletin des Amis Suisses de la Céramique, May 1976, pp. 3-63
- B. Chevallier, « Le Service particulier de l'Empereur », in exh. cat. Trésors de la Fondation Napoléon, dans l'intimité de la Cour impériale, musée Jacquemart-André, Paris, 2004, pp. 127-130
- A. Dion-Tenebaum, in La Revue du Louvre, April 1998, n° 41
- S. Grandjean, « Un chef d'œuvre de Sèvres, le service de l'Empereur », in Art de France, 1962, pp. 170-178
- S. Grandjean, « Au Louvre : Un biscuit napoléonien de Sèvres », in Antologia di Belle Arti, Mélange Verlet, 1987, n° 31-32, pp. 3-15
- T. Préaud, The Sèvres Porcelain Manufactory, Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847, 1998, pp. 116-117 et p. 190, n° 22
- J.-P. Samoyault, « La Table Impériale », in exh. cat. Versailles et les Tables royales en Europe, 1993, p. 197, pp. 202-204
- P. Arizzoli-Clémentel, « Les surtouts impériaux en porcelaine de Sèvres 1804-1814 », in Bulletin des Amis Suisses de la Céramique, May 1976, pp. 3-63
- B. Chevallier, « Le Service particulier de l'Empereur », in exh. cat. Trésors de la Fondation Napoléon, dans l'intimité de la Cour impériale, musée Jacquemart-André, Paris, 2004, pp. 127-130
- A. Dion-Tenebaum, in La Revue du Louvre, April 1998, n° 41
- S. Grandjean, « Un chef d'œuvre de Sèvres, le service de l'Empereur », in Art de France, 1962, pp. 170-178
- S. Grandjean, « Au Louvre : Un biscuit napoléonien de Sèvres », in Antologia di Belle Arti, Mélange Verlet, 1987, n° 31-32, pp. 3-15
- T. Préaud, The Sèvres Porcelain Manufactory, Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847, 1998, pp. 116-117 et p. 190, n° 22
- J.-P. Samoyault, « La Table Impériale », in exh. cat. Versailles et les Tables royales en Europe, 1993, p. 197, pp. 202-204
Condition
A small break or crack at the base of central column on three leaves. Three small original firing haircracks inside the bowl. Four tiny insignificant small chips under top rim. A tiny chip on a corner of a capital. Two chips on sides of one pilaster Ten chips to base mostly on the corners of base. Mark: Incised HL Painted 2 in red.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
The model for this tripod is after a famous Penthelic marble antique fountain, found at the Villa Adriana at Tivoli, first kept at the Capitole and then moved to the Louvre Museum in 1797.
Alexandre Brongniart, Director of the Sèvres Manufactory, on the advice of Dominique Vivant-Denon, chose the model for the Service particulier de l'Empereur from amongst the antiquities kept at the Musée Napoleon. Two drawings of the surtout by the architect A.T. Brongniart are dated 1809 and are now in the archives of the Manufacture nationale de Sèvres. The drawing shows two large tripods (fig. 2) which were delivered to the Palais des Tuileries in March 1810 for the marriage of the Emperor to Marie-Louise on the 2nd of April 1810. The painting by Alexandre Dufay, Feast of the marriage of Napoleon I and Marie-Louise, April 2, 1810 , 1810, shows the Grand Vermeil and elements from this surtout de table (fig. 3). Two Empire tripods are now in the Louvre Museum (fig. 4).
Alexandre Brongniart, Director of the Sèvres Manufactory, on the advice of Dominique Vivant-Denon, chose the model for the Service particulier de l'Empereur from amongst the antiquities kept at the Musée Napoleon. Two drawings of the surtout by the architect A.T. Brongniart are dated 1809 and are now in the archives of the Manufacture nationale de Sèvres. The drawing shows two large tripods (fig. 2) which were delivered to the Palais des Tuileries in March 1810 for the marriage of the Emperor to Marie-Louise on the 2nd of April 1810. The painting by Alexandre Dufay, Feast of the marriage of Napoleon I and Marie-Louise, April 2, 1810 , 1810, shows the Grand Vermeil and elements from this surtout de table (fig. 3). Two Empire tripods are now in the Louvre Museum (fig. 4).