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View: Detail
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- Works of Art
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- Tripod vase
- Attributed to Pierre-Philippe Thomire (1751–1843)
- France
- 1785 - 1786
- F342
- Landing
- Bookmarkable URLNeo-classical tripod vases such as this one and its pair, F343, were inspired by the antique bronze tripods found during excavations at Herculaneum and Pompeii from the 1740s onwards and illustrated in many eighteenth-century folio editions such as the comte de Caylus' Recueil d'antiquités égyptiennes, étruscanes, grecques et romaines, published in 7 volumes from 1752. One of Caylus’s protégés was the architect François-Joseph Belanger, who established the workshop for cutting and mounting hardstones in the Hôtel des Menus-Plaisirs.
The mounts can be attributed to Pierre-Philippe Thomire (1751-1843, master 1772) and dated to 1785-6. They are similar to those on a mounted vase of dark blue Chinese porcelain in the Royal Collection and mounts on various mounted vases of Sèvres porcelain known to have been made by Thomire. A successful entrepreneur and a sculptor by training, Thomire was one of the most important bronze workers of the late eighteenth century and managed to remain successful even during the Revolution. He was an accredited supplier to the Emperor Napoleon in 1809 and yet was able to retain his privileged position even after the Restoration.
The vases were recorded in the 4th Marquess of Hertford's Parisian apartment at 3 rue Taitbout in 1871 and in the Vestibule at Hertford House by 1890.
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- Tripod vase
- Attributed to Pierre-Philippe Thomire (1751–1843)
- France
- 1785 - 1786
- F343
- Landing
- Bookmarkable URLNeo-classical tripod vases such as this one and its pair, F342, were inspired by the antique bronze tripods found during excavations at Herculaneum and Pompeii from the 1740s onwards and illustrated in many eighteenth-century folio editions such as the comte de Caylus's Recueil d'antiquités égyptiennes, étruscanes, grecques et romaines, published in 7 volumes from 1752. One of Caylus’s protégés was the architect François-Joseph Belanger, who established the workshop for cutting and mounting hardstones in the Hôtel des Menus-Plaisirs.
The mounts can be attributed to Pierre-Philippe Thomire (1751-1843, master 1772) and dated to 1785-6. They are similar to those on a mounted vase of dark blue Chinese porcelain in the Royal Collection and mounts on various mounted vases of Sèvres porcelain known to have been made by Thomire. A successful entrepreneur and a sculptor by training, Thomire was one of the most important bronze workers of the late eighteenth century and managed to remain successful even during the Revolution. He was an accredited supplier to the Emperor Napoleon in 1809 and yet was able to retain his privileged position even after the Restoration.
The vases were recorded in the 4th Marquess of Hertford's Parisian apartment at 3 rue Taitbout in 1871 and in the Vestibule at Hertford House by 1890.
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- Vase
- France
- c. 1765
- F345
- Landing
- Bookmarkable URLDisplayed with its pair, F346, and a similar ewer, F347, as a garniture.
Fluorspar comes from Derbyshire, and is commonly known as Blue John. Mining for it began in about 1760. Parisian marchands-merciers, or luxury goods dealers, were very inventive at selling new and exciting objects in their shops, so it is likely that the Blue John was cut in Derbyshire, then imported to Paris where the mounts were added and the objects sold in a fashionable shop. The style of the mounts on the vases, and their probable date, may indicate that the marchands-merciers were exploiting the decorative possibilities of fluorspar even before Matthew Boulton in England, who made his first substantial purchases of it in 1769.
Although these are displayed together as a garniture, the ewer is a little later than the vases and the mounts are different in style. The kneeling female satyr of the ewer shows the influence of the type of mounts first made by Pierre Gouthière (1732-1813) for Madame du Barry in about 1770, in which one ewer has a gilt-bronze kneeling satyr and the other a kneeling mermaid.
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- Vase
- France
- c. 1765
- F346
- Landing
- Bookmarkable URLDisplayed with its pair, F345, and a similar ewer, F347, as a garniture.
Fluorspar comes from Derbyshire, and is commonly known as Blue John. Mining for it began in about 1760. Parisian marchands-merciers, or luxury goods dealers, were very inventive at selling new and exciting objects in their shops, so it is likely that the Blue John was cut in Derbyshire, then imported to Paris where the mounts were added and the objects sold in a fashionable shop. The style of the mounts on the vases, and their probable date, may indicate that the marchands-merciers were exploiting the decorative possibilities of fluorspar even before Matthew Boulton in England, who made his first substantial purchases of it in 1769.
Although these are displayed together as a garniture, the ewer is a little later than the vases and the mounts are different in style. The kneeling female satyr of the ewer shows the influence of the type of mounts first made by Pierre Gouthière (1732-1813) for Madame du Barry in about 1770, in which one ewer has a gilt-bronze kneeling satyr and the other a kneeling mermaid.
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- Ewer
- France
- c. 1775
- F347
- Landing
- Bookmarkable URLDisplayed with a pair of similar vases, F345 and F346, as a garniture.
Fluorspar comes from Derbyshire, and is commonly known as Blue John. Mining for it began in about 1760. Parisian marchands-merciers, or luxury goods dealers, were very inventive at selling new and exciting objects in their shops, so it is likely that the Blue John was cut in Derbyshire, then imported to Paris where the mounts were added and the objects sold in a fashionable shop. The style of the mounts on the vases, and their probable date, may indicate that the marchands-merciers were exploiting the decorative possibilities of fluorspar even before Matthew Boulton in England, who made his first substantial purchases of it in 1769.
Although these are displayed together as a garniture, the ewer is a little later than the vases and the mounts are different in style. The kneeling female satyr of the ewer shows the influence of the type of mounts first made by Pierre Gouthière (1732-1813) for Madame du Barry in about 1770, in which one ewer has a gilt-bronze kneeling satyr and the other a kneeling mermaid.
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- Vase and cover
- France
- 1770 - 1775
- F352
- Landing
- Bookmarkable URLOval vase of red jasper, streaked with grey, white and buff, mounted with two seated gilt-bronze infant satyrs holding vine swags looped behind their backs. The pedestal of each vase has been cast in several sections: an upper rectangular plinth set on a half-round moulding decorated with a scale pattern; a lower, large rectangular plinth and eight pairs of goats’ hooves, each pair cast separately. Although not by Gouthière, the mounts may date from the same period (1770-5) as the hardstone vases mounted for Gouthière by the duc d’Aumont, including the perfume-burner (F292) displayed in the Study at the Wallace Collection. Although the gilt-bronze mounts are heavier than on Gouthière’s authenticated works, they are nonetheless of very high quality.