Getty AAT keywords: porcelain (material) | porcelain (visual works) | gilding-technique | portraits | biscuit (porcelain, material)]]> Dr. Fritzsche’s complete Collector’s Notes are available for viewing here (Dr. Ulrich Fritzsche, “Ulrich & Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives, 2018). In this document, Dr. Ulrich Fritzsche recounts the details of every object in his collection, such as provenance and historical notes.

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Complete Bibliography for the Fritzsche Porcelain Collection]]>
Getty AAT keywords: porcelain (material) | porcelain (visual works) | gilding-technique | portraits | biscuit (porcelain, material)]]> Dr. Fritzsche’s complete Collector’s Notes are available for viewing here (Dr. Ulrich Fritzsche, “Ulrich & Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives, 2018). In this document, Dr. Ulrich Fritzsche recounts the details of every object in his collection, such as provenance and historical notes.

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Complete Bibliography for the Fritzsche Porcelain Collection]]>
gobelet Bouillard et soucoupe)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | saucers (plates) | cups (drinking vessels) | porcelain painting (image-making) | gilding-technique | flower (motif) | floral patterns]]> rocaille shells, palm shapes, and flower heads, which is highlighted by undulating flower garlands. Above the frieze along the rims is a band of dark blue punctuated by gilded dots. A similar example of Méreaud’s style is the “Diamond-Shaped Breakfast Service" (déjeuner losange, slide 36). The gobelet Bouillard (Bouillard cup) was named after Antoine-Augustin Bouillard, a shareholder in the Vincennes and Sèvres factories. The words “1760 painter Méreaud” and the number 31 are both handwritten on the slide.]]> See the Fritzsche Porcelain Exhibit for more details on Méreaud and Bouillard cups.]]> Dr. Fritzsche’s complete Collector’s Notes are available for viewing here (Dr. Ulrich Fritzsche, “Ulrich & Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives, 2018). In this document, Dr. Ulrich Fritzsche recounts the details of every object in his collection, such as provenance and historical notes.

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Complete Bibliography for the Fritzsche Porcelain Collection]]>
gobelet Bouillard et soucoupe, décor à coquille)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | saucers (plates) | cups (drinking vessels) | porcelain painting (image-making) | gilding-technique]]> décor à coquille). In her description of décor à coquille, Savill mentions this particular object in the Fritzsche collection as an example (1988, 2:537 no. C362, 2:543n38), noting that it bears the mark for Charles Louis Méreaud jeune (the younger; ca. 1735–80; active 1756–80).The gobelet Bouillard (Bouillard cup) was named after Antoine-Augustin Bouillard, a shareholder in the Vincennes and Sèvres factories. The number 38 is handwritten on the slide.]]> See the Fritzsche Porcelain Exhibit for more details on shell décor, Méreaud, and Bouillard cups.]]> here.]]> Complete Bibliography for the Fritzsche Porcelain Collection]]> écuelle)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | bowls (vessels) | porcelain painting (image-making) | gilding-technique | floral patterns | plant-derived motifs | seascapes | marines (visual works) | boats | full-rigged ships | ruins]]> SAM, no. 2005.178). The set has marks for Philippe Castel (active 1772–97), a painter of birds, ornaments, and landscapes, and for Henri-Martin Prévost (active 1757–97), a gilder (Eriksen and De Bellaigue 1987, 153 no. 22, no. 63, 158n22, 161n63; Savill 1988, 3:1013). The number 50 is handwritten on the slide.]]> From Dr. Fritzsche’s Collector’s Notes: “Originally this écuelle [bowl with cover and stand—eds.] was offered at Sotheby-Parke-Bernet, New York, coming from a South American Collection; it didn’t sell. New York dealer Armin Allen acquired it for me after the sale. We gave the écuelle to the Seattle Art Museum” (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]]>
écuelle), Detail]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | bowls (vessels) | porcelain painting (image-making) | gilding-technique | floral patterns | plant-derived motifs | seascapes | marines (visual works) | boats | full-rigged ships | ruins]]> écuelle, slide 50a). “These scenes with exotic gentlemen in Turkish dress recall the bustling harbor scenes fashionable on porcelain earlier in the eighteenth century. Philippe Castel placed his exotic figures in harbor scenes dominated by classical ruins, inspired by the interest in ancient Greece and Rome that captivated Europe during the last quarter of the eighteenth century” (SAM, no. 2005.178). The bowl and its stand have marks for Philippe Castel (active 1772–97), a painter of birds, ornaments, and landscapes, and for Henri-Martin Prévost (active 1757–97), a gilder (Eriksen and De Bellaigue 1987, 153 no. 22, no. 63, 158n22, 161n63; Savill 1988, 3:1013). The number 50 is handwritten on the slide.]]> écuelle [bowl with cover and stand—eds.] was offered at Sotheby-Parke-Bernet, New York, coming from a South American Collection; it didn’t sell. New York dealer Armin Allen acquired it for me after the sale. We gave the écuelle to the Seattle Art Museum” (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.]]> Complete Bibliography for the Fritzsche Porcelain Collection]]> écuelle), Detail]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | bowls (vessels) | porcelain painting (image-making) | gilding-technique | floral patterns | plant-derived motifs | seascapes | marines (visual works) | boats | full-rigged ships | ruins]]> SAM, no. 2005.178). The bowl and its stand have marks for Philippe Castel (active 1772–97), a painter of birds, ornaments, and landscapes, and for Henri-Martin Prévost (active 1757–97), a gilder (Eriksen and De Bellaigue 1987, 153 no. 22, no. 63, 158n22, 161n63; Savill 1988, 3:1013). The number 50 is handwritten on the slide.]]> écuelle [bowl with cover and stand—eds.] was offered at Sotheby-Parke-Bernet, New York, coming from a South American Collection; it didn’t sell. New York dealer Armin Allen acquired it for me after the sale. We gave the écuelle to the Seattle Art Museum” (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.]]> Complete Bibliography for the Fritzsche Porcelain Collection]]> plateau du déjeuner du roi) and Four Bouillard Cups (gobelets Bouillard)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | tea trays | cups (drinking vessels) | porcelain painting (image-making) | gilding-technique | landscapes (representations) | flower (motif) | floral patterns | trees | plant-derived motifs | fruit (plant components) | Aves (class) | fishing | children]]> camaïeu bleu). Rosalind Savill confirms that these are Bouillard cups, not Bouret cups, although she notes the difficulty in distinguishing the two shapes from each other. Savill also notes details of this particular object in the Fritzsche Collection: “Seattle private collection, length 25 cm., with four cups Bouillard of the third size without saucers” (2:596, note 3k). She describes the décor on these objects as “white ground with children in blue monochrome and flesh colors” (enfants camayeux chaires colorées) (Savill 1988, 2:527, 532n11, 592, 596 note 3k, 596n16). Each cup depicts a single child occupied with activities such as fishing or playing with birds. The tray depicts two children together against a landscape. This type of breakfast tray, termed a plateau du déjeuner du roi (breakfast tray in the King’s style), was being produced by 1753. It usually served as a tray for tea services or jam pots (Savill 1988, 2:590–92; Dawson 1994, 137, 164; Roth and Le Corbeiller 2000, 167). All five pieces have a painter’s mark for André-Vincent Vielliard (1717–90; active 1752–90; known as Vielliard père or Vielliard aîné [the elder], sometimes spelled Vieillard), who was one of the most prolific and well-known painters at Vincennes and Sèvres (Eriksen and De Bellaigue 1987, 97; Savill 3:1074). The number 9 is handwritten on the slide but it is overlaid on top of an earlier notation of the number 8.]]> Find more details on Vielliard and painters’ marks in the Fritzsche Porcelain Exhibit.]]> here (Dr. Ulrich Fritzsche, “Ulrich & Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives, 2018). In this document, Dr. Ulrich Fritzsche recounts the details of every object in his collection, such as provenance and historical notes.]]> Complete Bibliography for the Fritzsche Porcelain Collection]]> gobelet et soucoupe feuille de choux)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | saucers (plates) | cups (drinking vessels) | porcelain painting (image-making) | gilding-technique | flower (motif) | floral patterns]]> feuille de choux (cabbage-leaf). Rosalind Savill suggests that the term feuille de choux refers not only to the white reserves, which are shaped like cabbage leaves, but also to the lobed edges of the saucer. The white reserves on both objects are painted with multicolored floral bouquets, and edged with feathered “shell-like” gilding. The cup has a gilt dentil rim. The pale turquoise ground color is considered unusual; Savill identifies it as the ground color known as petit verd (little green), introduced around 1760 (Savill 1988, 2:536, 555–56, 3:1175). The number 34 is handwritten on the slide.]]> Dr. Fritzsche’s complete Collector’s Notes are available for viewing here (Dr. Ulrich Fritzsche, “Ulrich & Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives, 2018). In this document, Dr. Ulrich Fritzsche recounts the details of every object in his collection, such as provenance and historical notes.

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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) | floral patterns | flower (motif) | plant-derived motifs]]> 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). The number 12 is handwritten on the slide.]]> Find more on the Calabre teapot in the Fritzsche Porcelain Exhibit.]]> here.]]> Complete Bibliography for the Fritzsche Porcelain Collection]]>