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 Ulrich Fritzsche, “Ulrich & Stella Fritzsche Collection of Vincennes–Sèvres Porcelain,” unpublished manuscript, Seattle Art Museum Library Archives, 2018).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]]> assiette à cordonnet, slide 8)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | decorative plates | plates (general, dishes) | porcelain marks]]> bleu lapis ground color (lapis blue); this caused marks to run at the edges (Eriksen and De Bellaigue 1987, 145). The number 8 is handwritten on the slide.]]> Complete Bibliography for the Fritzsche Porcelain Collection]]> assiette à cordonnet)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | decorative plates | plates (general, dishes) | porcelain painting (image-making) | gilding-technique | fruit (plant components) | Insecta (class)]]> assiette à cordonnet) because the design imitates cord or braid, in this case on the gilded rim decoration (Dawson 1996, 60). The ground color along the rim is dark blue (known as bleu lapis). At the center of the white well is a painting of clustered fruit, with a few tiny insects scattered around it. The number 8 is handwritten on the slide.]]> Find more details on bleu lapis (lapis-lazuli blue) in the Fritzsche Porcelain Exhibit.]]> 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) | dinnerware | bowls (vessels) | porcelain painting (image-making) | gilding-technique | floral patterns | flower (motif) | Serpentes (suborder)]]> here.]]> Complete Bibliography for the Fritzsche Porcelain Collection]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | bowls (vessels) | porcelain painting (image-making) | gilding-technique | floral patterns | flower (motif) | Serpentes (suborder)]]> From Dr. Fritzsche’s Collector’s Notes: “painted with ‘Meissen style flowers.’ ... Snake handles, the only known example? Acquired from Kate Foster, London. 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.]]> 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]]>
seau à verre)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | wine glass coolers | porcelain painting (image-making) | floral patterns | flower (motif) | butterflies]]> seau à verre (glass cooler) was a smaller version of the traditional wine bottle cooler produced at Vincennes. It was meant “for holding an individual wine glass, bowl down” (Huntington 2019, no. 27.52). The number 5 is handwritten on the slide.]]> Fitzhenry Collection. A tobacco jar, soft-paste, with the same translucency and decoration as our seau à verre, is in the collection of the Seattle Art Museum [see SAM, no. 87.142.30—eds.], originally thought to be made at the Capo Di Monte factory, but a closer examination showed that both pieces had their decoration most likely done by the same painter during the early years of the Vincennes porcelain manufacture” (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]]> seau à verre)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | wine glass coolers | porcelain painting (image-making) | floral patterns | flower (motif) | butterflies]]> seau à verre (glass cooler) was a smaller version of the traditional wine bottle cooler produced at Vincennes. It was meant “for holding an individual wine glass, bowl down” (Huntington 2019, no. 27.52). The number 5 is handwritten on the slide.]]> Fitzhenry Collection. A tobacco jar, soft-paste, with the same translucency and decoration as our seau à verre, is in the collection of the Seattle Art Museum [see SAM, no. 87.142.30—eds.], originally thought to be made at the Capo Di Monte factory, but a closer examination showed that both pieces had their decoration most likely done by the same painter during the early years of the Vincennes porcelain manufacture” (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]]> seau à verre)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | wine glass coolers | porcelain painting (image-making) | floral patterns | flower (motif)]]> seau à verre (glass cooler) was a smaller version of the traditional wine bottle cooler produced at Vincennes. It was meant “for holding an individual wine glass, bowl down” (Huntington 2019, no. 27.52). The number 5 is handwritten on the slide.]]> From Dr. Fritzsche’s Collector’s Notes: “The first piece I bought from Kate Foster. She had one handle mended and several chips at the rim filled in. The companion piece, no. 289, also unmarked, was in the 1909 Fitzhenry Collection. A tobacco jar, soft-paste, with the same translucency and decoration as our seau à verre, is in the collection of the Seattle Art Museum [see SAM, no. 87.142.30—eds.], originally thought to be made at the Capo Di Monte factory, but a closer examination showed that both pieces had their decoration most likely done by the same painter during the early years of the Vincennes porcelain manufacture” (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]]>
théière à trois pieds)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | teapots | gilding-technique | Aves (class) | Odonata (class) | birdcages (containers)]]> Gilbert Lévy Collection, no. 118, there described as ‘théière à trois pieds rocailles, décor adornments floraux et oiseaux.’ It probably was the same teapot, which was later in Mme. Polles’ extensive private collection of teapots; a well- known Parisian dealer in continental porcelains, she was very reluctant to part with it. Of interest, 1976, when I bought the teapot at the Grand Palais, Bernard Dragesco was still learning the trade at her shop….We gave our teapot 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]]>