Page 60 - catalogue 2016
P. 60
An important Louis XV gilt bronze-mounted Chinese celadon porcelain vase
of exceptional size – circa 1755-1760
The mounts attributed to Jean-Claude Duplessis (1695-1774)
The porcelain Qianlong Period (1736-1795)
Overall: Height 108 cm. (42 ½ in.) Width: 56.5 cm. (22 ¼ in.) Depth: 44 cm. (17 ¼ in.)
Width of base: 45.5 cm. (18 in.) Depth of base: 45 cm. (17 ¾ in.)
Vase only: Height 74.5 cm. (29 ¼ in.) Width 36 cm. (14 ¼ in.)
Provenance: to Jean-Baptiste Machault d’Arnouville (sold Sotheby’s Paris, 23 June
2004, lot 58).
Private Collection, Brittany, sold Etude Jack-Philippe Ruellan, Vannes, 19
November 2011 Other entries describe one sold in January 1752 to the Prince de Turenne
Sotheby’s London, 3 July 2012, lot 37 for 1680 livres as Un vase en hauteur de porcelaine céladon, monté en bronze
doré d'ormoulu. In September 1750, the Marquis de Voyer d’Argenson
This extraordinary object brings together on un-precedented scale a bought Deux gros vases de porcelaine céladon, montés par Duplessis en bronze
Chinese vase of exceptional proportions with virtuoso French rococo doré d'ormoulu for 3000 livres, a huge sum at the time. (Livre-Journal de
metalwork. It perfectly illustrates the 18th century French appreciation for Lazare Duvaux: Marchand-Bijoutier Ordinaire du Roy 1748-1758, vol. II, Paris,
Chinese ceramics as well as the ability to take an Asian piece and transform 1873, p. 111, n° 1017 and p. 60, n° 601). Unfortunately, the absence of
it into a uniquely European work of art. dimensions and more precise descriptions makes it impossible to associate
this vase with any of these entries.
It is mounted in richly chased and gilded bronzes: the base is composed of
asymmetrically designed pierced scrolling foliage ending in two lateral The upper section of the handle mounts of this vase is identical in scale,
scrolling supports below two large applied foliate clasps. The handles start design and execution to the handles on a smaller porphyry vase (H. 65 cm.)
on the shoulder of the vase with twin double scrolls and frame the porcelain now in the Louvre. According to Pierre Verlet, it could have been one of
handles with contrasting foliage ending in paired leaves framing a massive two bought by the Marquis de Marigny either from Lazare Duvaux or at
bunch of bulrushes. The outswept rim is cast as foliate edged scrolls the sale of the Duc de Tallard and which Marigny bequeathed to the Crown
centering foliate clasps in the front and back of the vase. in 1779 (illustrated in D. Alcouffe, Les bronzes d’ameublement du Louvre,
Dijon, Editions Faton, 2004, pp. 98-99, n° 45). A close examination of both
The vase is of baluster form decorated overall with an under-glaze incised vases confirms that the handles must have originated in the same
honeycomb pattern. The body has four central reserves filled with stylized workshop.
clouds and the character shou surrounded by four (sic) bats, symbolizing
long life and good fortune (hongfu). The flaring neck is decorated with It is tempting to attribute the mounts to Jean-Claude Duplessis (1695-
alternating tall leaves and bamboo and ends in a rim with a border of key- 1774), the celebrated bronzier and designer who worked extensively for
fret pattern (leiwen). It is flanked by two pierced handles in the form of Lazare Duvaux mounting Asian porcelain. However, the mounts that have
clouds. been firmly attributed to Duplessis (such as those found on the Machault
vase discussed above and on a vase from the collections of the Earl of
The underside of the vase is inscribed in ink IR 10. Harewood, (sold Christie’s London, 5 July 2012, lot 29) are more
symmetrical and restrained in design and closer in date to 1760-1765. They
Comparative Literature: lack the un-restrained rococo exuberance so present in the gilt bronzes of
this vase.
A thorough review of public collections and sale records reveals that this
is possibly the largest 18th century ormolu-mounted Oriental porcelain Détail de l’anse Détail de l’anse du vase au Louvre
object known. It is part of a small group of large single vases of different
sorts of Asian ceramics that were mounted in Paris in the 18th century
under the direction of the marchand-mericers, the dealers and taste-
makers who were behind so much of the trade in luxury and exotic goods
at the time.
The size and quality of the porcelain indicate that it was produced in the
Jingdezhen kilns. There was a strong French demand specifically for certain
types of Chinese porcelain for mounting and notably celadon wares.
The vase was likely made to the order of the most famous of all mid-18th
century marchand-merciers, Lazare Duvaux, the preferred dealer of the
Marquise de Pompadour, the Court and high aristocracy. He kept a
detailed account book (Livre-journal) which lists all of his sales together
with the name of the purchaser and the price. It includes a gros vase en
porcelaine celadon with Qianlong porcelain and slightly later mounts by
Duplessis costing 1500 livres which was offered by Mme de Pompadour
54
of exceptional size – circa 1755-1760
The mounts attributed to Jean-Claude Duplessis (1695-1774)
The porcelain Qianlong Period (1736-1795)
Overall: Height 108 cm. (42 ½ in.) Width: 56.5 cm. (22 ¼ in.) Depth: 44 cm. (17 ¼ in.)
Width of base: 45.5 cm. (18 in.) Depth of base: 45 cm. (17 ¾ in.)
Vase only: Height 74.5 cm. (29 ¼ in.) Width 36 cm. (14 ¼ in.)
Provenance: to Jean-Baptiste Machault d’Arnouville (sold Sotheby’s Paris, 23 June
2004, lot 58).
Private Collection, Brittany, sold Etude Jack-Philippe Ruellan, Vannes, 19
November 2011 Other entries describe one sold in January 1752 to the Prince de Turenne
Sotheby’s London, 3 July 2012, lot 37 for 1680 livres as Un vase en hauteur de porcelaine céladon, monté en bronze
doré d'ormoulu. In September 1750, the Marquis de Voyer d’Argenson
This extraordinary object brings together on un-precedented scale a bought Deux gros vases de porcelaine céladon, montés par Duplessis en bronze
Chinese vase of exceptional proportions with virtuoso French rococo doré d'ormoulu for 3000 livres, a huge sum at the time. (Livre-Journal de
metalwork. It perfectly illustrates the 18th century French appreciation for Lazare Duvaux: Marchand-Bijoutier Ordinaire du Roy 1748-1758, vol. II, Paris,
Chinese ceramics as well as the ability to take an Asian piece and transform 1873, p. 111, n° 1017 and p. 60, n° 601). Unfortunately, the absence of
it into a uniquely European work of art. dimensions and more precise descriptions makes it impossible to associate
this vase with any of these entries.
It is mounted in richly chased and gilded bronzes: the base is composed of
asymmetrically designed pierced scrolling foliage ending in two lateral The upper section of the handle mounts of this vase is identical in scale,
scrolling supports below two large applied foliate clasps. The handles start design and execution to the handles on a smaller porphyry vase (H. 65 cm.)
on the shoulder of the vase with twin double scrolls and frame the porcelain now in the Louvre. According to Pierre Verlet, it could have been one of
handles with contrasting foliage ending in paired leaves framing a massive two bought by the Marquis de Marigny either from Lazare Duvaux or at
bunch of bulrushes. The outswept rim is cast as foliate edged scrolls the sale of the Duc de Tallard and which Marigny bequeathed to the Crown
centering foliate clasps in the front and back of the vase. in 1779 (illustrated in D. Alcouffe, Les bronzes d’ameublement du Louvre,
Dijon, Editions Faton, 2004, pp. 98-99, n° 45). A close examination of both
The vase is of baluster form decorated overall with an under-glaze incised vases confirms that the handles must have originated in the same
honeycomb pattern. The body has four central reserves filled with stylized workshop.
clouds and the character shou surrounded by four (sic) bats, symbolizing
long life and good fortune (hongfu). The flaring neck is decorated with It is tempting to attribute the mounts to Jean-Claude Duplessis (1695-
alternating tall leaves and bamboo and ends in a rim with a border of key- 1774), the celebrated bronzier and designer who worked extensively for
fret pattern (leiwen). It is flanked by two pierced handles in the form of Lazare Duvaux mounting Asian porcelain. However, the mounts that have
clouds. been firmly attributed to Duplessis (such as those found on the Machault
vase discussed above and on a vase from the collections of the Earl of
The underside of the vase is inscribed in ink IR 10. Harewood, (sold Christie’s London, 5 July 2012, lot 29) are more
symmetrical and restrained in design and closer in date to 1760-1765. They
Comparative Literature: lack the un-restrained rococo exuberance so present in the gilt bronzes of
this vase.
A thorough review of public collections and sale records reveals that this
is possibly the largest 18th century ormolu-mounted Oriental porcelain Détail de l’anse Détail de l’anse du vase au Louvre
object known. It is part of a small group of large single vases of different
sorts of Asian ceramics that were mounted in Paris in the 18th century
under the direction of the marchand-mericers, the dealers and taste-
makers who were behind so much of the trade in luxury and exotic goods
at the time.
The size and quality of the porcelain indicate that it was produced in the
Jingdezhen kilns. There was a strong French demand specifically for certain
types of Chinese porcelain for mounting and notably celadon wares.
The vase was likely made to the order of the most famous of all mid-18th
century marchand-merciers, Lazare Duvaux, the preferred dealer of the
Marquise de Pompadour, the Court and high aristocracy. He kept a
detailed account book (Livre-journal) which lists all of his sales together
with the name of the purchaser and the price. It includes a gros vase en
porcelaine celadon with Qianlong porcelain and slightly later mounts by
Duplessis costing 1500 livres which was offered by Mme de Pompadour
54
