Pot-pourri vase (Sèvres)

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This vase in the shape of a masted ship stands as one of the most celebrated models ever produced by the Sèvres manufactory, and its influence can be seen in several English and Continental factories that followed suit. The intricate openwork and piercing that adorn the sails and rigging on the cover, along with the round, porthole-like openings on the shoulder, suggest that it was designed to hold a pot-pourri mixture of dried flowers, herbs, and spices. Historians believe that between 1757 and 1764, a total of 12 such vases were created, although only ten are known today, with Waddesdon proudly owning three. Given the challenges of firing soft-paste porcelain successfully in the kiln, the cover is an impressive feat of technical achievement. The vase also showcases the exceptional sculptural detail characteristic of the manufactory's production, where even the twist of the rope in the rigging can be clearly seen. At both ends, a mask with flowing hair surmounted by bulrushes proudly stands guard, indicating its association with water and, therefore, that the mask is likely that of a marine creature, despite its resemblance to a lion. Protruding from the creature's mouth is a ribbed spar reminiscent of the battering rams found on Greek and Roman battleships. The oval basin shape of the vase is related to Louis XIV's nef, a ceremonial container for the king's napkin, cutlery, and spices that was placed on the table when he dined in public. The shape also references the city of Paris, which incorporates a ship in its coat of arms. The difficulty and expense involved in producing such a sculptural object meant that the model was one of the most expensive vases sold by Sèvres. Despite the fleurs-de-lis in gilding that decorate the pennant on all the examples, this was not an object intended exclusively for the king and royal family, as several were purchased by important members of the French court. Madame de Pompadour bought two (one in the Louvre, Paris, OA10965; see P. Ennès, "Un défi au goût", Paris, 1997, pp. 34-5, 75), and another was acquired by the prince de Condé (Metropolitan Museum of Art, New York, 58.75.89a,b). The scene on the front of the vase depicts a battle taking place between two armies, one side clad in white coats, the other in blue. Only seven other vases are known with this type of unusual decoration, distinct from the generic scenes of military camps more usually found on Sèvres (see acc. no. 3013). The pieces were produced between 1761 and 1763, a time corresponding to the last three years of the Seven Years' War (1756-63) that saw France allied with Austria and Spain against Britain and Prussia. Although standardized military uniforms were not universal at this date, France and its allies mostly wore off-white, while the Prussians wore blue. It is likely, therefore, that the scenes refer to this war although the battles depicted are probably inventions of the artists. Waddesdon Manor boasts a world-renowned collection of Sèvres porcelain. After Johann Friedrich Böttger's 18th-century breakthrough in commodifying Chinese porcelain, the artform became one of the most valuable commodities across Europe. Böttger was the first to introduce 'true' porcelain to Europe, although soft-paste porcelain had been produced at Chantilly, St Cloud, and Vincennes since 1738. The factory of Vincennes, which produced fine porcelain for the royal family (Manufacture royale), was soon relocated to Sèvres, where it quickly developed its own unique forms and decoration. Many variants emerged from the Sèvres factories as painters and gilders were given permission to add a 'mark' on pieces they worked on in order to identify themselves. A full reference for matching painters with their styles can be read from 'Sèvres Plates and Services of the 18th Century', David Peters. Colour data is available for this file; please contact stw@myminifactory.com for access to this information. MyMiniFactory are currently working on supporting texture information.