A SÈVRES PÂTE-SUR-PÂTE VASE 1887-88
vase de Mycène, decorated by Leopold-Jules-Joseph Gèly, signed L.GÉLY in black slip, decorated with four blue and white classical portrait medallions simulating cameos against a green band enriched with white hanging garlands and coloured flowers and billing doves above further medallions alternating with crossed flaming torches and tambourines, the whole enriched in raised gilding, stencilled RF DECORE A SEVRES 88 within two circles in iron-red, stencilled S.87 in a lozenge, partially legible incised 11. 87-2-N.
Height 10⅝ in.
In good appearance. There is a small shallow chip to the shoulder edge, measuring approximately 0.6 x 0.2 cm at widest points.
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. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
Christie's New York, April 20, 2006. lot 401
In Reports on the Paris universal exposition published for the Illustrated London News, 1867, p. 408, Mr Leon Arnoux, comments: "..the principal feature in the Sèvres court is the great number of vases in that hard porcelain called pâte sur pâte. For the last 15 years the manufactory has chiefly directed its exertions on its production, and, thanks to Mr. Gely, they have been crowned with perfect success." Bernard Bumpus, in Pâte-sur-Pâte, The Art of Ceramic Relief Decoration, 1849-1992, 1992, cites Marc Louis Solon's complimentary remarks on Gèly on p. 21: 'Gifted with an extraordinary skill of hand, he could chisel the porcelain paste with a surety and neatness of touch usually reserved to the treatment of precious metals..." Bumpus further notes that Gèly was awarded a second class medal for his work at the Paris Universal Exhibition in 1855, where he was described as a 'sculpteur en pâte porcelanique', ibid. p. 21, whereas other well-known artists of this technique, such as Régnier or Choisalat were described simply as 'sculpteur'.