Hôtel Lambert, Une Collection Princière, Volume III : À travers l’Hôtel Lambert
Hôtel Lambert, Une Collection Princière, Volume III : À travers l’Hôtel Lambert
A Sèvres square tray, 1758
Auction Closed
October 13, 06:27 PM GMT
Estimate
10,000 - 15,000 EUR
Lot Details
Description
A Sèvres square tray, 1758
(plateau quarré), painted by Dodin with trophies of doves, garland, a crown, lyre and shepherdess's staff, among clouds within a quatrefoil cartouche in green with gilt oeil-de-perdrix, the trellis-pattern ground gilt with flowerheads within a border of Vitruvian scrolls, the exterior with a similar simpler border
blue interlaced L's enclosing date letter e, painter's mark for Charles-Nicolas Dodin
width 15 cm.
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Plateau en porcelaine carré, Manufacture de Sèvres, 1758
L entrelacés bleus entourant la lettre date e, marque de peintre pour Charles-Nicolas Dodin
width 15 cm.
Ader Tajan, George V Hotel, Paris, 25 October 1993, lot 147;
Baron Ribeyre & Associates Paris, March 2017, lot 122.
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Ader Tajan, Hôtel George V, Paris, 25 octobre 1993, lot 147 ;
Baron Ribeyre & Associés Paris, mars 2017, lot 122.
See S. Eriksen & G. de Bellaigue, Sèvres Porcelain Vincennes and Sèvres 1740-1800, London 1987, p. 304, pl. 116 for a discussion of this form and the related rectangular tray introduced in 1753 where the authors note that they were often sold with a cup and saucer and no. 118 for the pieced border with similar scrolls to the present example, the example illustrated from the Frederick Stafford collection bears with the same date letter E for 1757 or 1758. R. Savill, The Wallace Collection Catalogue of Sèvres Porcelain, London, 1988, Vol. II, p. 585 suggests the plateau`carré' was introduced in 1754 and the present example would appear to be the first size (1ere grandeur).Charles-Nicolas Dodin (1734-1803) was a painter active 1754-1802, in his earliest years specialising in cherubs after Boucher, landscapes and trophies in monochrome and in colours and was soon recognised as a talented painter (see Savill, op. cit., Vol. III, pp. 1030-1. By about 1758 had abandoned this subject to concentrate almost exclusively on polychrome figurative reserves in a range of subjects popular at the time. He worked on teawares, ornamental flower vases and plaques for furniture and would copy original paintings as well as work from engravings. Dodin is widely regarded as one of the finest figural painters at the factory due his precision of execution and mastery of his subtle and distinctive palette.