Antique Sèvres Louis XVI Hand-Painted Porcelain Tray Platter

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Antique Sèvres Louis XVI Hand-Painted Porcelain Tray Platter

About the Item

Antique Sèvres Louis XVI hand-painted porcelain tray platter. Sèvres porcelain, French hard-paste, or true, porcelain as well as soft-paste porcelain (a porcellaneous material rather than true porcelain) made at the royal factory (now the national porcelain factory) of Sèvres, near Versailles, from 1756 until the present; the industry was located earlier at Vincennes. On the decline of Meissen after 1756 from its supreme position as the arbiter of fashion, Sèvres became the leading porcelain factory in Europe. Perhaps the major factor contributing to its success was the patronage of Louis XV’s mistress Madame de Pompadour. It was through her influence that the move was made from Vincennes to Sèvres, where she had a château, and through her that some of the foremost artists of the time, such as the painter François Boucher and the sculptor Étienne-Maurice Falconet (who directed Sèvres modeling between 1757 and 1766), became involved in the enterprise. It was after her that rose Pompadour was named in 1757; this was one of many new background colors developed at Sèvres, one of which, bleu de roi (circa 1757), has passed into the dictionary as a universal term. One of the central preoccupations at Sèvres, in which such notable chemists as Jean Hellot were engaged, was the secret of hard-paste porcelain. Soft paste had been made at Vincennes from 1745, but the Sèvres factory did not obtain the secret of hard paste until 1761, when it was bought from Pierre-Antoine Hannong. The necessary raw materials, however, were still lacking in France; and it was not until these were found (1769) at Saint-Yrieix, in the Périgord district, that hard-paste porcelain could be produced. Thereafter a distinction was made in nomenclature between porcelaine de France or vieuse Sèvres (soft paste, or pâte tendre) and porcelaine royale (hard paste, or pâte dure). Of the many styles and techniques for which Sèvres became famous, a few leading examples may be listed: white figures, either biscuit (unglazed) or rarely glazed, representing Boucher-like cupids, shepherdesses, or nymphs that are nude, draped, or in contemporary dress; vessels decorated with flowers, putti, exotic birds, and marine subjects painted in reserves, or white spaces, on brilliantly colored grounds, such as pink, turquoise, pea green, jonquil yellow, and royal blue; the frequent embellishment of grounds with various minute patterns in gold, such as partridge’s eye (circles with dots in them), pebble (plain ovals massed together), and fish scales; reserves framed and accentuated by fine gilding in curls, scrolls, and trellis patterns; narrative scenes, from classical mythology and contemporary pastoral life; and jeweled decoration, in which gilt and colors are laid on like encrusted gems. Some dinner services were decorated with naturalistic birds from the famous Natural History of Birds (1771) of Georges-Louis-Leclerc Buffon. Sèvres porcelain went through the gamut of 18th-century styles, including those associated with the reign of Louis XVI (1774-1792).

Creator:
Manufacture Nationale de Sèvres (Manufacturer)
Dimensions:
Height: 11.75 in (29.85 cm)Width: 11.75 in (29.85 cm)Depth: 1 in (2.54 cm)
Style:
Louis XVI (Of the Period)
Materials and Techniques:
Porcelain
Place of Origin:
France
Period:
Late 18th Century
Date of Manufacture:
Unknown
Condition:
Wear consistent with age and use.
Seller Location:
Washington Crossing, PA
Reference Number:
1stDibs: LU238138902843

Shop All Manufacture Nationale de Sèvres

Manufacture Nationale de Sèvres

A maker of exemplary European ceramics for hundreds of years, Manufacture Nationale de Sèvres has produced porcelain of the highest quality since 1740.

The factory enjoyed royal patronage from its earliest days, and its most prominent patrons in the late 1700s — King Louis XV of France and his mistress, Madame de Pompadour — commissioned some of the period’s most elegant and striking pieces (only the truly wealthy could afford porcelain at this time). The company was originally established in Vincennes but was moved at the request of Madame de Pompadour, in 1756, to Sèvres, near Versailles, so that its operations would be closer to her château.

Sèvres became a mighty and much-revered factory working under a special grant from King Louis XV — the company’s owner as of 1759 and whose abundance of orders for special state gifts put financial strain on the company. Madame de Pompadour is said to have commissioned Sèvres to create an entire indoor garden of porcelain botanicals, for example.

While Sèvres gained a sterling reputation for its soft-paste porcelain wares, the company was late in entering into the production of hard-paste porcelain.

Hard-paste porcelain is the most common type of Chinese porcelain, then a widely exported and profitable product that was not made in Europe until the 18th century. The resources at Sèvres were largely relegated to meeting the demands of Louis XV, and secondly, it did not acquire the secret formula for hard-paste porcelain until 1761. Until it obtained the coveted secrets behind hard-paste porcelain from a chemist named Pierre-Antoine Hannong — and, years later, gained access to the elusive raw materials to make hard-paste porcelain — Sèvres produced soft-paste porcelain for decades that was widely celebrated but is comparatively a far weaker type as opposed to the hard-paste productions of the company’s rival, Meissen, in Saxony, the first to produce true porcelain outside of Asia.

The artisans at Sèvres applied the rarest and most difficult-to-produce colors to their decorative objects and dinner services. One such color, the bright bleu de roi, became the manufacturer’s signature shade and is found on many of their objects. Sèvres also experimented with rarely glazed or unglazed works that bore no decoration at all — bisque porcelain, French for “biscuit,” refers to unadorned white porcelain sculptures made at Sèvres that resemble white marble after being kiln-fired.

Sèvres marks were applied over the glaze or rendered with cuts by a sharp tool — authentic Sèvres porcelain is most commonly marked with two interlaced Ls that are painted in blue and enclose a third letter. Painters and potters were tasked with affixing marks to record their role in the creation of a particular piece, and as a lot of these artisans’ names are recorded in archival factory materials — and there is also much to be learned at the Sèvres museum — it’s likely that you can accurately identify your Sèvres piece.

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