Coppia di grandi vasi triple-zucca faïence Berlino

Oggetto venduto

Rare pair of large triple-gourd Berlin earthenware vases with decoration of Chinese figures in landscapes with pagodas against a red ground

Circa 1840

Height: 58 cm (22-3/4 in.).

One rim has accident and re-glued. Minor chips and losses

Estate of Marquis de Bonardi, grand salon from de Plancy Chateau

Famous home of de Champagne, the de Plancy Chateau was built in 1764 by the Marquis Claude Godard d’Aucour de Plancy (1716-1795). Involved in farming then Receiver of General Finances, he is the author of Turkish Memories, story of two gallant young Turks during their stay in France (1745), a novel which was a great success when it was published. In 1747, he married Claire Poisson, a cousin of the Marquise de Pompadour, who was involved in the liquidation of the East India Company in 1793 among other major shareholders.
Their grandson, Adrian, lived between his townhouse on the rue Vivienne (at No. 22) and the de Plancy Chateau. He married Sophie-Dorothé Lebrun (daughter of Third Consul daughter, Duke of Plaisance and the Empire, Prince-Arch treasurer of the Empire). The fate of the Aucour de Plancy family was closely linked to that of the Emperor. The marriage contract between Adrien de Plancy and Sophia-Dorothée Lebrun was also signed by the first Consul and the entire Bonaparte family in 1802. At the end of the Empire, the Aucour’s were among Napoleon’s faithful friends, who also spent the night before the Arcis battle at de Plancy Chateau. Auguste Godar d’Aucour, a son of Adrian, was also one of the first riders for Jerome Bonaparte.
The chateau and all its furniture descended in the 20th century to the Bonardi family.

Berlin Earthenware

Berlin is known in the pottery world for realizing earthenware vases, often large, glazed with a layer of orangish-red, brown or black lacquer, imitating the Japanese process.

The shape of these vases refers to oriental models, Chinese or Japanese, known in Europe since the 17th century through exporting porcelain from the East.
After the 17th century, the shape of the vases such as those presented by Expertissim had been adapted by European potters. The Decorative Arts department at the Louvre also has a pair of vases quite similar to the ones presented here but of Nevers earthenware with Persian blue ground and adorned with solid white Chinese decoration (1680, OA3831- 3832).
The lacquered decorations on Berlin earthenware vases are often decorated with delicate floral motifs, such as this pair of vases, and painted with lively palace scenes or Chinese strolling in landscapes.
These objects are fully displayed in the Chinoiserie style, the European vision of a dreamy Orient, where the world is peaceful and idealized. Flourishing particularly in France and more widely in Europe in the 18th century, Chinoiserie persisted in the German states until the late 18th century. It even had a revival in the first half of the 19th century in Prussia. It manifested particularly a trend for lacquer ware and porcelain from China.
The dating of this type of vases is not clearly defined. Some scholars dated the Berlin earthenware of the 18th century but according to Prof. Samuel Wittwer (Mr. Kopplin, Schwartz Porcelain: Die Leidenschaft Lack für das auf und ihre Wirkung Europaïsche Porzellan, Münster, 2003, p. 237-249) they seem to have been made in Berlin in the early 19th century to please a small circle of enthusiasts. It was around 1840 that it is first noted that these vases were recorded in the accounts of Hohenzollern, the royal family of Prussia. Some of these ceramics are still in the collections of the Charlottenburg Palace in Berlin, Potsdam, New Palace in Postdam and the Museum of Lacq in Münster. Finally, an important set of Berlin earthenware vases was sold at the estate sale of the Count of Iveagh’s collections at Elveden Hall (Christie's, May 22-24, 1984, lot 2333 - 2336).

The employed technique, the sudden influences, the different shapes and unusual decoration contributes to this Berlin pottery production as undoubtedly among the finest of its time.

Comparable objects:
- For a pair of similar vases in the collections of the Museum für Kunst und Gewerbe, Hamburg, see M. Kopplin, Schwartz Porcelain: Die Leidenschaft Lack für das auf und ihre Wirkung Europaïsche Porzellan, Münster, 2003, p. 238.
-For a pair of baluster vases with black ground, see Christie's New York, Rockefeller Plaza, May 22, 2002, lot 458
-For a very large baluster vase, see Christie's London, King Street, July 7, 2005, lot 347
- For a pair of baluster vases, see Christie's London, King Street, July 7, 2005, lot 348
- For a pair of baluster vases (without lids), see Christie's London, King Street, July 7, 2005, lot 349
- For a rare five-piece garniture set consisting of three horn vases horn and two glazed vases with a black ground, see Sotheby's New York, November 4, 2011, Property from the Collection of Carl DeSantis, lot 241
-For a pair of large scroll vases from the Galerie Ariane Dandois, see Sotheby's, Paris, April 20, 2012, lot 60
-For a baluster vase with gilt bronze mounts, see Mallett Antiques Gallery, 2012.

W. Holzhausen, Lackkunst in Europa, Munich, 1982, p. 271-281
Mr. Kopplin, Schwartz Porcelain: Die Leidenschaft Lack für das auf und ihre Wirkung Europaïsche Porzellan, Münster, 2003
Mr. Kopplin, Europäische Lackkunst, Münster, 1999, cat. 30, p. 184-187
G. de Plancy, Le marquisat de Plancy, par, ed. Le Livre d'Histoire, 2005
Philippe Seydoux, Châteaux et manoirs de Champagne, ed. de la Morande, 1993

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