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A Louis XV gilt-bronze mounted Chinese red lacquer pot pourri, circa 1740
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Description
A Louis XV gilt-bronze mounted Chinese red lacquer pot pourri, circa 1740
the lacquer bowl and lid encircled by a ring of foliage fitted with an assortment of French porcelain flowerheads, the bowl flanked by scrolled leaf-cast handles and supported on three leafy branches above a voluted triangular ormolu base cast with scrolling foliate motifs and fitted with three Meissen porcelain birds perched on tree trunks
25cm. high, 19cm. wide; 9¾in., 7½in.
Provenance
Michel Meyer, Paris.
Literature
Pierre Kjellberg, Objets montés du Moyen Âge à nous jours, Paris, 2000, p.74.
Catalogue note
The present lot typifies and embraces many of the fashionable trends prevailing in the mid-18th century when there was a great demand for small luxurious objects. The taste for the East was highly developed at this time, and the combination of lacquer, porcelain with French mounts was highly desirable. This combination can be found in a number of examples, for example see a pair with Japanese lacquer, Meissen porcelain birds and French mounts sold at Sotheby’s, New York, 24th October 2003, lot 45 ($131,200), the lids with a cat and a dog figure respectively instead of a flowerhead. A similar, yet singular example, with a finial in the shape of a pug, was sold from the collection of Ezra & Cecile Zilkha at Sotheby’s, New York, 20th November 2020, lot 178 ($75,600).
Pots-pourris emerged around the end of the 17th century out of a desire to imbue interiors with a pleasant smells combining dried herbs and flowers. There were no appropriate shapes suited to the purpose of this new-found need among the repertoire of Chinese and Japanese forms, so the ever-imaginative marchand-merciers adapted existing pieces to create new pieces. One option, as is the case here, was the use of lidded bowls, either with additional holes pierced into the lids, or with the addition of a pierced silver or bronze frieze to separate the two pieces. Another alternative was to match two similarly-sized porcelain bowls were to create a unit with base and a cover. In both cases, the holes and the space between the top and bottom enabled the pleasant perfume to drift away.
the lacquer bowl and lid encircled by a ring of foliage fitted with an assortment of French porcelain flowerheads, the bowl flanked by scrolled leaf-cast handles and supported on three leafy branches above a voluted triangular ormolu base cast with scrolling foliate motifs and fitted with three Meissen porcelain birds perched on tree trunks
25cm. high, 19cm. wide; 9¾in., 7½in.
Provenance
Michel Meyer, Paris.
Literature
Pierre Kjellberg, Objets montés du Moyen Âge à nous jours, Paris, 2000, p.74.
Catalogue note
The present lot typifies and embraces many of the fashionable trends prevailing in the mid-18th century when there was a great demand for small luxurious objects. The taste for the East was highly developed at this time, and the combination of lacquer, porcelain with French mounts was highly desirable. This combination can be found in a number of examples, for example see a pair with Japanese lacquer, Meissen porcelain birds and French mounts sold at Sotheby’s, New York, 24th October 2003, lot 45 ($131,200), the lids with a cat and a dog figure respectively instead of a flowerhead. A similar, yet singular example, with a finial in the shape of a pug, was sold from the collection of Ezra & Cecile Zilkha at Sotheby’s, New York, 20th November 2020, lot 178 ($75,600).
Pots-pourris emerged around the end of the 17th century out of a desire to imbue interiors with a pleasant smells combining dried herbs and flowers. There were no appropriate shapes suited to the purpose of this new-found need among the repertoire of Chinese and Japanese forms, so the ever-imaginative marchand-merciers adapted existing pieces to create new pieces. One option, as is the case here, was the use of lidded bowls, either with additional holes pierced into the lids, or with the addition of a pierced silver or bronze frieze to separate the two pieces. Another alternative was to match two similarly-sized porcelain bowls were to create a unit with base and a cover. In both cases, the holes and the space between the top and bottom enabled the pleasant perfume to drift away.
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A Louis XV gilt-bronze mounted Chinese red lacquer pot pourri, circa 1740
the lacquer bowl and lid encircled by a ring of foliage fitted with an assortment of French porcelain flowerheads, the bowl flanked by scrolled leaf-cast handles and supported on three leafy branches above a voluted triangular ormolu base cast with scrolling foliate motifs and fitted with three Meissen porcelain birds perched on tree trunks
25cm. high, 19cm. wide; 9¾in., 7½in.
Provenance
Michel Meyer, Paris.
Literature
Pierre Kjellberg, Objets montés du Moyen Âge à nous jours, Paris, 2000, p.74.
Catalogue note
The present lot typifies and embraces many of the fashionable trends prevailing in the mid-18th century when there was a great demand for small luxurious objects. The taste for the East was highly developed at this time, and the combination of lacquer, porcelain with French mounts was highly desirable. This combination can be found in a number of examples, for example see a pair with Japanese lacquer, Meissen porcelain birds and French mounts sold at Sotheby’s, New York, 24th October 2003, lot 45 ($131,200), the lids with a cat and a dog figure respectively instead of a flowerhead. A similar, yet singular example, with a finial in the shape of a pug, was sold from the collection of Ezra & Cecile Zilkha at Sotheby’s, New York, 20th November 2020, lot 178 ($75,600).
Pots-pourris emerged around the end of the 17th century out of a desire to imbue interiors with a pleasant smells combining dried herbs and flowers. There were no appropriate shapes suited to the purpose of this new-found need among the repertoire of Chinese and Japanese forms, so the ever-imaginative marchand-merciers adapted existing pieces to create new pieces. One option, as is the case here, was the use of lidded bowls, either with additional holes pierced into the lids, or with the addition of a pierced silver or bronze frieze to separate the two pieces. Another alternative was to match two similarly-sized porcelain bowls were to create a unit with base and a cover. In both cases, the holes and the space between the top and bottom enabled the pleasant perfume to drift away.
the lacquer bowl and lid encircled by a ring of foliage fitted with an assortment of French porcelain flowerheads, the bowl flanked by scrolled leaf-cast handles and supported on three leafy branches above a voluted triangular ormolu base cast with scrolling foliate motifs and fitted with three Meissen porcelain birds perched on tree trunks
25cm. high, 19cm. wide; 9¾in., 7½in.
Provenance
Michel Meyer, Paris.
Literature
Pierre Kjellberg, Objets montés du Moyen Âge à nous jours, Paris, 2000, p.74.
Catalogue note
The present lot typifies and embraces many of the fashionable trends prevailing in the mid-18th century when there was a great demand for small luxurious objects. The taste for the East was highly developed at this time, and the combination of lacquer, porcelain with French mounts was highly desirable. This combination can be found in a number of examples, for example see a pair with Japanese lacquer, Meissen porcelain birds and French mounts sold at Sotheby’s, New York, 24th October 2003, lot 45 ($131,200), the lids with a cat and a dog figure respectively instead of a flowerhead. A similar, yet singular example, with a finial in the shape of a pug, was sold from the collection of Ezra & Cecile Zilkha at Sotheby’s, New York, 20th November 2020, lot 178 ($75,600).
Pots-pourris emerged around the end of the 17th century out of a desire to imbue interiors with a pleasant smells combining dried herbs and flowers. There were no appropriate shapes suited to the purpose of this new-found need among the repertoire of Chinese and Japanese forms, so the ever-imaginative marchand-merciers adapted existing pieces to create new pieces. One option, as is the case here, was the use of lidded bowls, either with additional holes pierced into the lids, or with the addition of a pierced silver or bronze frieze to separate the two pieces. Another alternative was to match two similarly-sized porcelain bowls were to create a unit with base and a cover. In both cases, the holes and the space between the top and bottom enabled the pleasant perfume to drift away.
The Silk Road: Orientalist Paintings and Furniture from a Belgravia Residence
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34-35 New Bond Street
London
W1A 2AA
United Kingdom
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