assiette, œil de perdrix, oiseau Buffon)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | decorative plates | plates (general, dishes) | porcelain painting (image-making) | gilding-technique | plant-derived motifs | trees | Aves (class)]]> œil de perdrix), which consists of white circles framed by colored dots, each highlighted by a prominent gilded dot at the center.  The well of the plate has a white ground and is painted with a bird inspired by the works of Georges-Louis Leclerc, comte de Buffon, in particular his celebrated work on birds, The Natural History of Birds (Histoire naturelle des oiseaux, 1770–86). This plate was painted by Charles-Nicolas Dodin (1734–1803; active 1754–1802), a painter whose “meticulous technique” was “unrivalled” at the porcelain factory (Savill 1988, 3:1029–30). The number 59 is handwritten on the slide.]]> See the Fritzsche Porcelain Exhibit for more details on Dodin, painter's marks, and dotted grounds such as “partridge eye” (œil de perdrix).]]> From Dr. Fritzsche’s Collector’s Notes: “This plate probably was made as replacement for a dinner service that had left the Sèvres factory five years previously. It matches plates from the celebrated ‘Auckland service,’ a gift by Louis XVI to William Eden, envoy from the Court of St. James to the Court of Versailles, 1786…. [In] 2003, our plate ended up with Adrian Sassoon, London dealer, and was pictured in his ‘Sold Library’ # 92. We first met Sassoon in the mid 1980s at the Getty Museum, Malibu; he gave us a rather brief and somewhat hurried tour of the museum’s holdings of its Sèvres porcelain” (Dr. Ulrich Fritzsche, “Ulrich and Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives, 2018). The complete Collector’s Notes are available for viewing here.

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Complete Bibliography for the Fritzsche Porcelain Collection]]>
plateau Duplessis)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | trays | porcelain painting (image-making) | gilding-technique | landscapes (representations) | floral patterns | plant-derived motifs | trees | Aves (class)]]> plateau Duvaux (Duvaux Tray), but Linda Roth, Clare Le Corbeiller, and Rosalind Savill identify it as a plateau Duplessis (Duplessis Tray), named after Jean-Claude Chambellan Duplessis, a goldsmith and the artistic director at Vincennes and Sèvres (active ca. 1745/48–1774) (Savill 1988, 3:977–79; Roth and Le Corbeiller 2000, 198–99). The curving, branch-like handles of the tray are white with gilded trim. In the center is a colored reserve with a painting of three birds amongst trees. The wavy gilded decoration on the dark blue ground is known as “vermiculated gilding” or simply vermiculé (wormhole gilding). The number 44 is handwritten on the slide.]]> Find more details on this décor in the Fritzsche Porcelain Exhibit.]]> here.]]> Complete Bibliography for the Fritzsche Porcelain Collection]]> assiette)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | decorative plates | plates (general, dishes) | porcelain painting (image-making) | gilding-technique | plant-derived motifs | Aves (class)]]> aîné (the elder; 1743–87; active 1756– or 1761–87), who specialized in birds, landscapes, and flowers (Savill 1988, 3:1018–20; Tardy 1981, 532; Eriksen and De Bellaigue 1987, 158). The number 43 is handwritten on the slide.]]> Find more details on Chappuis and painters’ marks in the Fritzsche Porcelain Exhibit.]]> here.]]> Complete Bibliography for the Fritzsche Porcelain Collection]]> pot à pommade à ornements)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | cosmetics jars | porcelain painting (image-making) | gilding-technique | plant-derived motifs | trees | Aves (class)]]> à ornements (with ornaments), which referred to the layered and sculpted molding used to decorate the pieces. Pomade pots were used for hair grease or face creams, while the pomade itself, as noted in Diderot’s Encyclopédie of 1765, “was made from apples and goat’s fat, mixed with lemon juice, white wine, almond oil, and perfumes” (la graisse de chevreau, des pommes de court-pendu…) (Savill 1988, 2:720–21). This particular object from the Fritzsche Collection is noted by Savill 1988, 2:721, 727n26. The mark is for Étienne Evans (active 1752–1806), a painter of “birds, butterflies, landscapes, and flowers,” whose painter’s mark was a dagger (Eriksen and De Bellaigue 1987, 149, 154 no. 202, 174n202; see also Tardy 1981, 539). The number 33 is handwritten on the slide.]]> here.]]> Complete Bibliography for the Fritzsche Porcelain Collection]]> théière Calabre)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | teapots | gilding-technique | porcelain painting (image-making) | trees | Aves (class)]]> théière Calabre (Calabre teapot) was named in honor of Pierre Calabre, one of the factory’s shareholders, and later became “the most commonly made of all Sèvres teapots” (Dawson 1994, 101). This teapot has an unusual design, known as rose marbré (marbled pink): an overall pink ground color is overlaid with jagged lightning-bolts of textured gilding bordered in blue of varying tints, creating a dynamically marbled effect. At the center is a shaped white reserve with a brilliantly colored blue-and-red bird perched in a tree. The object is described in a Christie’s sale: “Oviform with ranunculus finial, loop handle and angled spout…. Given its rare small size, the present teapot would likely have formed part of a solitaire, matched with a cup and saucer on a small tray” (2010, no. 5353601). Fritzsche (2018) notes that this teapot is from the collection of Count Henry Costa de Beauregard, at whose house Marcel Proust was a frequent guest. On the bottom is the painter’s mark for Antoine-Joseph Chappuis, known as Chappuis aîné (the elder; 1743–87; active 1756– or 1761–87), who specialized in birds, landscapes, and flowers (Savill 1988, 3:1018–20; Tardy 1981, 532; Eriksen and De Bellaigue 1987, 158). The number 28 is handwritten on the slide.]]> See the Fritzsche Porcelain Exhibit for more details on marbled pink décor, Calabre teapots, Chappuis, and porcelain marks.]]> From Dr. Fritzsche’s Collector’s Notes: “Our little teapot appeared twice since we sold it: a) May 19, 2004, Christie’s, New York, pictured, no. 80, it brought $10,158. b) Six years later, October 22, 2010, no. 619, pictured, Christie’s, New York. It fetched $11,875.00. For the latter sale I provided additional provenance information for their catalogue” (Dr. Ulrich Fritzsche, “Ulrich and Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives, 2018). The complete Collector’s Notes are available for viewing here.

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Complete Bibliography for the Fritzsche Porcelain Collection]]>
plateau de moutardier ordinaire)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | trays | gilding-technique | porcelain painting (image-making) | flower (motif) | floral patterns | Aves (class)]]> camaïeu bleu (monochrome blue; a technique of painting with tints of a single color). Yellow was rarely used as a ground color, first appearing in 1753 (Eriksen and De Bellaigue 1987, 51). Roth and Le Corbeiller note that mustard trays with accompanying mustard pots were first produced at Vincennes beginning in about 1752. Vincennes mustard pots tended to be shaped like barrels in an evocation of the medieval tradition of storing mustard in small barrels (2000, 269). The number 14 is handwritten on the slide.]]> here.]]> Complete Bibliography for the Fritzsche Porcelain Collection]]> théière à la Reine)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | teapots | gilding-technique | porcelain painting (image-making) | landscapes (representations) | floral patterns | flower (motif) | plant-derived motifs | Aves (class)]]> bleu lapis), framed by gilded trellises and garlands of foliage and flowers. Roth and Le Corbeiller suggest that such trellis patterns “recall rococo wood or painted molding on architectural panels” (2000, 294). The white panels are decorated with colorful paintings of birds and flowering plants; a particularly exotic and striking bird with long pink tail-feathers dominates the central reserve. This kind of conical teapot is termed a théière à la Reine (teapot in the Queen’s style); Eriksen and De Bellaigue note the existence of early drawings, inscribed by Duplessis, for this style dating to 1753 (1987, 269). The teapot has a painter’s mark for Louis-Jean Thévenet, also known as Thévenet père (b. 1707–d. after 1778; active 1741 or 1745–1777), who was one of the “most skilled flower-painters” of his era (Eriksen and De Bellaigue 1987, 96; dates from Savill 1988, 3:1071). Find more details on Thévenet and painters’ marks in the Fritzsche Porcelain Exhibit. The number 13 is handwritten on the slide.]]> Find more details on Thévenet, painters’ marks, and bleu lapis in the Fritzsche Porcelain Exhibit.]]> From Dr. Fritzsche’s Collector’s Notes: “no. 79, December 1, 1986, ‘Property of the Fine Art Foundation,’ Christie’s, London. After the sale Kate Foster had a well-matched replacement lid made” (Dr. Ulrich Fritzsche, “Ulrich and Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives, 2018). The complete Collector’s Notes are available for viewing here.

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Complete Bibliography for the Fritzsche Porcelain Collection]]>
gobelet à lait à cotes, huit rondes et égales)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | cups (drinking vessels) | beakers (drinking vessels) | gilding-technique | relief (sculpture techniques) | floral patterns | flower (motif) | Aves (class) | urns]]> From Dr. Fritzsche’s Collector’s Notes: “Acquired from Kate Foster, London” (Dr. Ulrich Fritzsche, “Ulrich and Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives, 2018). The complete Collector’s Notes are available for viewing here.

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Complete Bibliography for the Fritzsche Porcelain Collection]]>