sic and have not been proofread.]]> the Fritzsche Porcelain Exhibit, a digital exhibit devoted to the history of the objects in this slide collection, which covers topics such as porcelain marks, painters' biographies, birds, types of teacups, teapots, and winecoolers, and varieties of both décor and blue ground color. The exhibit also includes a page devoted to objects from the Fritzsche Collection that are now in the Seattle Art Museum, as well as information drawn from interviews with Dr. Ulrich and Stella Fritzsche, highlighting their experiences as collectors.]]> Fritzsche Porcelain Exhibit]]> assiette, œil de perdrix, oiseaux Buffon, slide 59)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | decorative plates | plates (general, dishes) | porcelain marks]]> See the Fritzsche Porcelain Exhibit for more details on Dodin, painter's marks, and dotted grounds such as “partridge eye” (œil de perdrix).]]> Complete Bibliography for the Fritzsche Porcelain Collection]]> 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.

]]>
Complete Bibliography for the Fritzsche Porcelain Collection]]>
gobelet litron et soucoupe, slide 58a)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | cups (drinking vessels) | porcelain marks]]> See the Fritzsche Porcelain Exhibit for more details on the litron cup, Dodin, and blue ground colors such as the king's blue (bleu du roi).]]> Complete Bibliography for the Fritzsche Porcelain Collection]]> gobelet litron)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | cups (drinking vessels) | porcelain painting (image-making) | gilding-technique | flower (motif) | floral patterns | plant-derived motifs | urns]]> bleu du roi), overlaid with tooled gilding of garlands, scrolls, foliage, and urns. This is a side view of Slide 58b. The number 58 is handwritten on the slide.]]> See the Fritzsche Porcelain Exhibit for more details on the litron cup, Dodin, and diverse blue ground colors such as the king's blue (bleu du roi).]]> here.]]> Complete Bibliography for the Fritzsche Porcelain Collection]]> gobelet litron)]]> Getty AAT keywords: porcelain (material) | porcelain (visual works) | dinnerware | cups (drinking vessels) | porcelain painting (image-making) | gilding-technique | landscapes (representations) | floral patterns | plant-derived motifs | trees | Aves (class) | nudes (representations)]]> bleu du roi), overlaid with tooled gilding of garlands, scrolls, foliage, and urns. The central reserve depicts two nude women, pointing to doves in the foreground, and framed by trees in the background. Fritzsche (2018) notes that the scene in the reserve was painted by Charles-Nicolas Dodin (1734–1803; active 1754–1802), and based on a work by François Lemoyne (1688–1737). Dodin was a painter whose “meticulous technique” was “unrivalled” at the porcelain factory (Savill 1988, 3:1029–30). The cup is an example of a gobelet litron (litron cup), which has a distinctive, straight-sided, cylindrical shape, and was the most common form of teacup produced at the Sèvres factory. For a side-view of this cup, see Slide 58c. For the matching saucer, see Slide 58a. The number 58 is handwritten on the slide.]]> Fritzsche Porcelain Exhibit for more details on the litron cup, Dodin, and diverse blue ground colors such as the king's blue (bleu du roi).]]> From Dr. Fritzsche’s Collector’s Notes: “Sold at Sotheby’s, no. 28, March 14, 1967, to Newman & Newman, London dealers. My very first piece of important Sèvres porcelain, bought in 1974 for $750 from Joe Watkins Antiques, Vancouver, B.C.; he had acquired it from Mr. Wardlaw, an eccentric Englishman, then living in Vancouver. I had driven up several times to look at the cup and saucer before buying it. I just couldn’t make up my mind about buying such an expensive piece of porcelain (for me anyway at the time). I never regretted it! Subsequently I visited Mr. Wardlaw in his apartment to look at potential further pieces. He was visibly disappointed when I left having bought only the small tea caddy (slide 38)” (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 litron et soucoupe)]]> 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) | nudes (representations) | putti (children) | urns]]> bleu du roi), overlaid with tooled gilding of garlands, scrolls, foliage, and urns. The central reserve on the saucer depicts a female nude with Cupid; his colorful quiver of arrows is prominently displayed behind them. Behind them is a stylized landscape with a tree and a mountain. On the cup, the central reserve depicts two nude women, pointing to doves in the foreground, and framed by trees in the background. Fritzsche (2018) notes that the scene in the reserve 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). Dodin’s painting was based on a work by François Lemoyne (1688–1737). The cup is an example of a gobelet litron (litron cup), which has a distinctive, straight-sided, cylindrical shape, and was the most common form of teacup produced at the Sèvres factory. For an enlarged view of the cup, see Slide 58b and Slide 58c. The number 58 is handwritten on the slide.]]> See the Fritzsche Porcelain Exhibit for more details on the litron cup, Dodin, and diverse blue ground colors such as the king's blue (bleu du roi).]]> From Dr. Fritzsche’s Collector’s Notes: “Sold at Sotheby’s, no. 28, March 14, 1967, to Newman & Newman, London dealers. My very first piece of important Sèvres porcelain, bought in 1974 for $750 from Joe Watkins Antiques, Vancouver, B.C.; he had acquired it from Mr. Wardlaw, an eccentric Englishman, then living in Vancouver. I had driven up several times to look at the cup and saucer before buying it. I just couldn’t make up my mind about buying such an expensive piece of porcelain (for me anyway at the time). I never regretted it! Subsequently I visited Mr. Wardlaw in his apartment to look at potential further pieces. He was visibly disappointed when I left having bought only the small tea caddy (slide 38)” (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]]>