A GILT-BRONZE MOUNTED SÈVRES 'BEAU BLEU' HARD PASTE PORCELAIN POT-POURRI, 'ROUGE GRIOTTE' MARBLE, LOUIS XVI, CIRCA 1785, MADE UNDER THE DIRECTION OF DOMINIQUE DAGUERRE, THE MOUNTS ATTRIBUTED TO PIERRE-PHILIPPE THOMIRE |

the cover surmounted by a pine cone finial, on a gadrooned and palmette pierced frieze, the nave-shape body with spiral twisted handles and acanthus leaves, on a fluted berried laurel leaf socle, the square gilt bronze base on a square red veined marble and red veined pedestal; (the cover later)

RELATED LITERATURE
- H. Jacobsen, Gilden Interiors, Parisian Luxury & the Antique, London, 2017
- R. Savill, The Wallace Collection of Sèvres porcelain, London, 1988

The image is accurate. Very attractive model in good condition. Please note that, as said in the catalogue, the porcelain and gilt-bronze cover has been entirely replaced. The porcelain in good condition with a nice deep blue color. The bronzes with a very fine chasing; the gilding has a good color (needs a light cleaning) and the flat surfaces of the base have a different gilding color (slightly pinkish) which is usual for pieces of this quality. Marble base in good condition.
"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."

Sèvres, Daguerre, Thomire and Rémond, a prolific collaboration The archives at the Sèvres Manufactory explain that this type of blue porcelain vase was made between 1784 and 1790. Described as a "cassolette to mount", two versions were created, i.e., round and oval.

The involvement of the marchand-mercier Dominique Daguerre with the oval-shaped vase is verified by an annotated drawing of this vase kept at the Manufactory, "Vase of Monsieur Daguerre oval given to make according to a wooden model, the month of 9bre (November) 1786". It is also known that this model is described in his posthumous inventory of 1796: "two ornamental Sèvres porcelain vases gro bleu elongated oval shape with feet, bracket, handles and openwork frieze of gilt copper ormolu priced 300 francs".

There are two known drawings pertaining to the rounded vase form which appear prior to Daguerre's involvement with the oval shaped vase, even though he is known to have promoted the former. Directly inspired by the Antique, Daguerre is credited with adapting the pot-pourri covered vases by affixing a pierced frieze with palmette motives between the lid and the midsection of the vase. These vases are found on lists pertaining to several deliveries undertaken by the decorative arts dealer.

The collaboration between the bronzier Pierre-Philippe Thomire and the Sèvres Manufactory is documented with specific instructions for the round-shaped vase, based on drawings conserved in their archives. The following caption appears on 20 April 1784: "cassolette vase to be mounted by Mr. Thomir (sic) made of a 10th larger than the model" (fig. 1). Daguerre had these vases mounted by the bronze artist Pierre-Philippe Thomire, supplier to the Manufactory after the death of Jean-Claude Duplessis. During the second half of 1786, Daguerre bought four vases to be fitted with mounts. The price, higher than previous purchases, suggests that this was the new oval shape. In November of that year, Daguerre paid François Rémond 900 livres for matted gilding for bronzes intended to adorn four vases with spiral twisted grasps. Although Daguerre seems to have favoured Thomire because of his status as the main supplier to the Manufactory, he nonetheless solicited Rémond extensively for gilding work from the end of 1784.

Several oval vases are listed, often in pairs and with variations and can be found in the most prestigious collections such as that of the British Royal Collection, the Wallace Collection in London, the Getty Museum, Pavlovsk Palace (fig. 2) and the Condé Museum in Chantilly. A similar vase was also part of the former Denise Boas Collection (auctioned with Ader, Charpentier Gallery, 9 June 1937, lot 82). With regard to the round shaped vases, we cite a pair formerly in the Aaron Gallery, Paris (fig. 3).