Pair of Rococo Style "Pots à Feu" Vases, A. Brault Choisy-Le-Roy, 19th Century

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Pair of Rococo Style "Pots à Feu" Vases, A. Brault Choisy-Le-Roy, 19th Century

$15,188.23List Priceper set

About the Item

Powerful pair of rococo style "POTS À FEU" Vases, A. Brault Choisy-Le-Roy manufactory. Terra cotta, 19th century, circa 1880. The design of our vases epitomizes the fantastical asymmetric rococo spirit. Indeed, the stylistic movement known as rococo, which began in eighteenth- century France, has infused design objects with a sinuous, organic, and sensuous impulse for three centuries. Rococo motifs, initially based on the shell, from which characteristic scrolling of C- and S-curve designs developed, were widely circulated in ornamental prints. In its original manifestation, rococo dominated French design from 1730 to 1765, during the reign of Louis XV. The king and his mistress Madame de Pompadour endorsed the rococo spirit, as it reflected their predilection for an intimate lifestyle and their love of extravagance. Rococo turned away from the contraints of classicism's geometry toward nature for models, celebrating the tactile as well as the visual, the fantastical over the intellectual. Designers competed to produce highly original, eccentric, and exotic designs in silver, refined woods, textiles, and ceramics, all of which appealed to the senses and emotions. Rococo design ideas, transmitted by decorative-arts prints, objects, and the traveling designers themselves, quickly spread to England, the Netherlands, the German states, the Iberian Peninsula, Italy, and America. The rococo impulse went underground during the late 18th and early 19th centuries, when neoclassicism prevailed, then resurfaced in England under the flamboyant Prince Regent, later George IV, and in France during the Second Empire (1852-70). Our pair of « pots à feu » is highly significant of this artistic trend, illustrating the enthusiasm for both developped and bold shapes. Rococo's most significant later interpretation occurred internationally from about 1880 to 1915, when designers found inspiration in the natural flow of the rococo aesthetic for a new design concept known as Art Nouveau. While the austere geometry of modernism governed much of design thinking during the twentieth century, designers continually returned to organic, natural curves as a source of inspiration in the 1930s, 1950s, and the psychedelic 1960s. More recently, the rococo spirit has burst forth once again as a creative force. Through the past 300 years, the generative influences behind rococo and its revivals appear to be similar. Rococo erupts in reaction to periods of severe constraint and thrives in times of burgeoning economic prosperity. Rococo objects speak to human desires that go beyond simple necessity, and many are works of extreme craftsmanship. They tap into the sensuous, pleasure-seeking aspects of design when designers and their patrons seek creative freedom and fantasy. Finally, rococo reflects increased respect for the feminine, with objects referencing the female form and places the exuberant movement within the historic continuum, bringing together an unprecedented collection of designers and objects of different eras to celebrate the joyful and liberating spirit of rococo. Related works: (1) “Rococo Designs” by Franz Xavier Habermann for Potsdam Castle, 1735. (2) Design for the Decoration of the Window Door Wall of a Rococo Room with a Coved Ceiling and Covec Central Fanlight (Section), by Thomas Lightoler (British, active 1742-1775), pen and ink and wash. (3) Livre Nouveau de Douze Morceaux de Fantaisie utile à divers usages dédié à Monseigneur Louis Antoine de Pardaillan de Gontrin, Duc d’Antin, par Jacques de Lajoue, Jean-Baptiste Antoine Guélard, Simon François Ravenet, Charles Nicolas Cochin, circa 1730. (4) Surtout de table et deux faces d’une des deux terrines pour le duc de Kingston, 1735, par Juste-Aurèle Meissonnier. Pierre noire, réhaussée de blanc, sur papier bleu. 30 x63 cm; Paris, BnF, Département des Estampes et de la Photographie, RESERVE B-11 (A)-FT 4. Bibliography: John Harris, Catalogue of British Drawings for Architecture, Decoration, Sculpture and Landscape Gardening 1550-1900 in American Collection. “Seeing Metamorphosis in Sculpture and the Decorative Arts.” Taking Shape: Finding Sculpture in the Decorativ Arts. Los Angeles: Getty Publications, 2009. Anthologie des arts décoratifs : Régence-Louis XV : symétrie et asymétrie, proportions légères et courbes capricieuses. Architecture, décoration et ameublement pendant le dix-huitième siècle, Léon Roger-Milès, édité par Edouard Rouveyre, 1899. English Country Houses, Christopher Hussey, ed. Country Life, 1955. De Paris à Versailles, 1699-1736 : les sculpteurs ornemanistes parisiens et l’art décoratif des bâtiments du roi. Description sommaire des statues, figures, bustes, vases et autres morceaux de sculpture, tant en marbre qu’en bronze & des modèles en terre cuite, porcelaines et faïences d’Urbin, provenants du cabinet de feu M. Crozat dont la vente se fera le 14 décembre 1750 & jours suivants, en l’Hôtel où est décédé M. Le Marquis du Châtel, rue de Richelieu, par Jean-Pierre Mariette; source Bibliothèque de l’Institut National d’Histoire de l’Art (INHA).

Creator:
A. Brault et Cie 1 (Manufacturer)
Dimensions:
Height: 42.52 in (108 cm)Width: 27.56 in (70 cm)Depth: 20.48 in (52 cm)
Sold As:
Set of 2
Style:
Rococo Revival (In the Style Of)
Materials and Techniques:
Terracotta
Place of Origin:
France
Period:
1880-1889
Date of Manufacture:
circa 1880
Condition:
Beautiful patine Without dammages.
Seller Location:
Saint-Ouen, FR
Reference Number:
1stDibs: LU200736332313

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