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 Ulrich Fritzsche, “Ulrich & Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives, 2018).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 Ulrich Fritzsche, “Ulrich & Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives, 2018).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]]>
chocolatière)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | chocolate pots | porcelain painting (image-making) | gilding-technique | plant-derived motifs | flower (motif) | floral patterns]]> From Dr. Fritzsche’s Collector’s Notes: “Sold no. 2, illustrated, May 16, 1939, collection of Monsieur M. D., Galérie Charpentier, Paris. Again sold February 21, 1988, no. 54, illustrated, Saint-Germain-en-Laye…. All three pieces have an interesting model of a lid with a pierced hole. The porcelain lid pulls out and has a silver-shaped handle that can be positioned upright, or can fold to the side. The single visible hole has a silver hinged cup. The underside of the cover has several metal parts, including three prongs that hold the cover on while chocolate is being poured, and three fasteners, attached to a metal disc similar to a washer, with which the silver handle and caps are anchored.” (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 Ulrich Fritzsche, “Ulrich and Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives, 2018).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]]>
tasse à glace)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | cups (drinking vessels) | porcelain painting (image-making) | gilding-technique | plant-derived motifs | Aves (class) | butterflies]]> The Natural History of Birds (Histoire naturelle des oiseaux, 1770–86). The number 52 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]]>
gobelet litron et soucoupe, décor chinois)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | saucers (plates) | cups (drinking vessels) | porcelain painting (image-making) | gilding-technique | landscapes (representations) | flower (motif) | floral patterns | plant-derived motifs | trees | Aves (class) | butterflies | Chinoiserie]]> gobelet litron (litron cup) has a distinctive, straight-sided, cylindrical shape, and was the most common form of teacup produced at the Sèvres factory. The number 51 is handwritten on the slide.]]> Find more on the litron cup and other types of teacups in the Fritzsche Porcelain Exhibit.]]> here.]]> Complete Bibliography for the Fritzsche Porcelain Collection]]> gobelet litron, décor chinois)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | saucers (plates) | cups (drinking vessels) | porcelain painting (image-making) | gilding-technique | landscapes (representations) | flower (motif) | floral patterns | plant-derived motifs | trees | Chinoiserie]]> litron cup) has a distinctive, straight-sided, cylindrical shape, and was the most common form of teacup produced at the Sèvres factory. The number 51 is handwritten on the slide.]]> Find more on the litron cup and other types of teacups in the Fritzsche Porcelain Exhibit.]]> From Dr. Fritzsche’s Collector’s Notes: “We gave this piece 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, slide 50a)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | bowls (vessels) | porcelain marks]]> 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]]> 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)]]> 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]]>