A Sèvres (Louis Phillipe) dark-blue-ground two-handled pedestal vase (Vase 'Cratère'), 1845

The production

Following completion of the Vase Cratère, the feuille d’appréciation upon entry of the vase at the manufacture’s magasin de vente on 30^th May 1846 records the costs at a total of 1,200[1]:

Vase Cratère fond bleu à deux cartels

Vue de Treport prise de l’Ecluse du Canal

et vue generale de Treport

Decor en or et platine

Fond …………………………………………………………………100

Dorure ornement     ……………………………………………… 173     

          Garniture

Or ou platine ……………………………………………………….32.50

Peinture des ornements                      

                      des figures, par

                      des paysages, marine, etc., par……………….400                      

                      des fleurs, par……………………………………3

Brunissage à l’effet                      

                      à plat ……………………………………………..12

Total des Frais directs ……………………………………………720.50

Faux frais …………………………………………………………..180.10

Valeur de la pièce en blanc, d’après le tarif, ch. ……………...125

Montage & garniture en ……………………… ……………… 135

Modèle ou dessin ……………………… ……………………..

Prix de fabrication ………………………………………………… 1160.60

Prix de vente ………………………………………………………… 1200

The painter of the two views of Tréport was Jules André. In fact, in October 1845, the vase is listed in the ‘registre des peintres’ under Mr André Jules [2]. A couple of months later, in December 1845, the scenes were retouched by Jules André: ‘Vase Cratère fond bleu à deux cartels pour retouche, d’Octobre et Novembre (vue de Treport et vue generale idem ( ?)’.[3] The vase was further decorated in March 1846 by Jules André.[4]

Similar examples

See Tamara Préaud, et al., The Sèvres Porcelain Manufactory Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847, New York, 1997, p. 287, cat. no. 90 for a drawing of the design of a related vase by Antoine-Gabriel Willermet. The form is inspired by antiquity, the term Krater described a mixing vessel made in ceramics and metal which proved influential to potters across Europe in the late 18^th and early 19^th century. Similar forms were introduced at Sèvres in 1818 and in 1836 the factory records list two identical examples (one flawed) painted with views of the château des Tuileries and Twickenham. The form appears to be particularly popular with members of the Orleans family who had a fondness for recording upon them houses which they had stayed in towards the end of their exile. The views of Orleans House in are particularly relevant to Louis Phillippe who stayed there in the late Napoleonic era from 1815-1817, after acceding to the throne in 1830 he visited Twickenham accompanied by Queen Victoria in 1843. On her first trip abroad, Queen Victoria landed at Tréport on 2^nd September 1843 and again on 8^th September 1845 on her return from a tour of Germany and Belgium before sailing to the Isle of Wight.

Interestingly, two similar Sèvres porcelain vases dated 1845 and signed by TH DuBois were offered at Christie's, Paris, 17 November 2011, lot 111, featuring similar gilt decorations and scenes of Tréport. The latter pair of vases were delivered on August 1st to "Mr. de Montmorency" by "Mr. le comte de Neuilly".

[1] Sèvres Manufacture Archives, Pb 11 bis, feuille 48

[2] Sèvres Manufacture Archives, Vj' 53, fol. 33

[3] Sèvres Manufacture Archives, Vj' 53, fol. 34

[4] Sèvres Manufacture Archives, Vj' 52, fol. 20