collective-history:

Boiler, hard-paste porcelain, Manufacture de Monsieur, 1780.

Clignancourt porcelain was a type of French hard-paste porcelain, established by Deruelle in January 1775 at Rue de Clignancourt, Paris. Soon after, the manufacturing patent was transferred to Monsieur, the King’s brother, and future Louis XVIII. The porcelain was then called Porcelaine de Monsieur

Bouteilles à vodka : Homme (Napoléon ?) ; Alsacienne; Cosaque (?); éditées pour Robj

vers 1922-1924

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Mameluke Clock - Jacob Petit

Circa 1845

Paris porcelain

56 x 44 x 26 cm

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A porcelain-maker based in Paris and then Avon near Fontainebleau, Jacob-Petit is famous for his decorative objects, bottles, nightlights, inkwells and clocks, whose baroque exuberance was inspired by 18th-century French and German styles.

The figure of the Mameluke horseman was inspired by a work by Debucourt, The Retreating Mameluke, engraved in 1803 after a watercolour by Carle Vernet. The profusion of gold that emphasises the rocaille contours of the ornamentation, the exuberance of the ornamentation and the shimmering, harmonious colours express the verve and inventiveness of the most famous French porcelain-maker of 1830-1860.

Fruit or flower basket, 1823
Sèvres Manufactory (French, 1740–present); Designer: Louis-Martin Berthault (French,1770–1823); Designer: Pierre-Louis Micaud (French, active 1795–1834)
Hard-paste porcelain

H. 14 3/16 in. (36 cm), Gr. Diam. 16 in. (40.6 cm)
Marks: [1] crossed Ls enclosing fleur-de-lis and Sèvres 23 stamped in blue (factory mark and year letter for 1823); [2] MC 6 mars 23 in gold (decorator’s mark); [3] 2-g incised
Purchase, Gift of Mr. and Mrs. Charles Wrightsman, by exchange, 1985 (1985.119)

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This basket is one of the most spectacular products of the Sèvres factory made during the first quarter of the nineteenth century. While the factory archives often provide copious amounts of information concerning the manufacture and sale of important objects such as this basket, surprisingly little is known about its origins and history. It may have been one of a pair, and one can assume that they were intended to be the focal points of a complex, multipart centerpiece intended to decorate the table during the dessert course. The large size and ambitious design of the basket, which perhaps was intended for fruit or flowers, conveys a sense of the scale and grandeur of the dining table setting in the first third of the nineteenth century.

The design for the basket is attributed to Louis-Martin Berthault (active 1785–1823), and it appears that he included it among the designs he submitted to Empress Joséphine in 1814 for a new dessert service. Joséphine’s service was never produced, however, and it remains unknown why and for whom this basket was made nine years later.

a-l-ancien-regime:

Johann Christian Neuber (1736–1808)

The Bre­teuil Table top

Dres­den, 1779–80

The Bre­teuil Table is regarded as one of the most extra­or­di­nary pieces of eighteenth-century fur­ni­ture ever made, dis­tin­guished not only by the mate­ri­als used in its con­struc­tion: a mosaic of one-hundred-and-twenty-eight gem­stones and Meis­sen porce­lain plaques. 

The table was pre­sented in 1781 by Friedrich Augus­tus III to Louis Auguste de Bre­teuil, Baron de Bre­teuil (1730–1807), a French diplo­mat, as recog­ni­tion for the role he had played in the nego­ti­a­tion of the Treaty of Teschen, which offi­cially ended the War of Bavar­ian Suc­ces­sion. 

Service à thé/café (boissons exotiques), manufacture des terres de Bordes, Bordeaux, 18e siècle

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