French Porcelain for English Palaces


Book Description

This book provides a guide to the history of SSvres porcelain as epitomised by seventy of the most important examples in the Royal Collection.




Sèvres Porcelain of Buckingham Palace and Windsor Castle (Classic Reprint)


Book Description

Excerpt from Sèvres Porcelain of Buckingham Palace and Windsor Castle In England, during the first quarter of the nineteenth century, the taste for Sevres Porcelain was universal among the many rich collectors of the time, who naturally followed the example set by the Prince Regent. Evidence of this taste is to be found in the collections belonging to the nobility, which for the most part were brought together about this period. Amongst them were many splendid examples Of Sevres Porcelain. It is to be regretted, however, that many of the finest specimens, through the dispersal Of some of these Old collections, have left the country, never to return. One reason for the acquisition of Sevres, on the part of wealthy English connoisseurs, to the exclusion of other and contemporary productions, was the general and intense antagonism to all Napoleonic forms of art. Sevres Porcelain of the best periods found a ready market in England; and many French nobles fallen on evil times, and who, under the Bourbon monarchy, would rather have sold their domains than their valued porcelains, Royal gifts as they were, secretly disposed Of them to English purchasers. The appreciation of Sevres Porcelain, unlike that of many other Ceramic arts, has been little influenced by passing fashion or fancy. The writer, however, ventures to assert that it is only in more recent years that its artistic and technical excellence has been adequately recognised. In the first half Of the nineteenth century a Sevres vase was regarded by most people simply as a Sevres vase, very little count being taken of its artistic quality or period of manufacture, provided Of course that it came under the designation of soft paste. At the present day it is satisfactory to note a desire for purity Of design and sound principles Of construction and decoration rather than over - exuberance Of enrichment. The result Of this change Of sentiment is that a collector nowadays would rather possess a small and dainty vase or cabaret made within the first dozen years of the foundation of the Factory, than a vase or pair of vases of greater magnitude and later style Of decoration. Happily the Royal Collection, while including amongst its many specimens every representative type. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.







Revolutionary Things


Book Description

How objects associated with the American, French, and Haitian revolutions drew diverse people throughout the Atlantic world into debates over revolutionary ideals “By excavating the power of material objects and visual images to express the fervor and fear of the revolutionary era, Ashli White brings us closer to more fully embodied, more fully human, figures.”—Richard Rabinowitz, author of Objects of Love and Regret: A Brooklyn Story “In this important, innovative book, Ashli White moves nimbly between North America, Europe, and the Caribbean to capture the richness and complexity of material culture in the Age of Revolutions.”—Michael Kwass, Johns Hopkins University Historian Ashli White explores the circulation of material culture during the American, French, and Haitian revolutions, arguing that in the late eighteenth century, radical ideals were contested through objects as well as in texts. She considers how revolutionary things, as they moved throughout the Atlantic, brought people into contact with these transformative political movements in visceral, multiple, and provocative ways. Focusing on a range of objects—ceramics and furniture, garments and accessories, prints, maps, and public amusements—White shows how material culture held political meaning for diverse populations. Enslaved and free, women and men, poor and elite—all turned to things as a means to realize their varied and sometimes competing visions of revolutionary change.




French Porcelain of the 18th Century in the Victoria & Albert Museum


Book Description

Throughout the eighteenth century, France was a place of intense scientific enquiry and innovative research. One of the most exciting discoveries of the period was the successful manufacture of porcelain. Known as 'white gold', porcelain was produced for use in all aspects of fashionable public and private life; from banquets to boudoirs, from tea drinking to the toilette. Of all the factories in France, the most renowned was the Royal Porcelain Manufacture at Sevres. The protection of Louis XV and the patronage of his mistress, Madame de Pompadour, drew to Sevres the best alchemists, designers and artists in Europe. The porcelain they produced was unequalled in quality, design and decoration. French Porcelain explores this extraordinary period through the V+A's own superb collection.




A History and Description of French Porcelain


Book Description

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1905 edition. Excerpt: ...manufacture of the most sumptuous "garnitures " for the palace of Louveciennes, and on the production in "biscuit" of the famous bust of Madame Dubarry, modelled by Pajou. Although Marie-Antoinette was immediately interested in the productions of the factor', she had no direct influence upon it until after her coronation in 1774. Yet she soon became a patroness of Sevres for, from 1771 to 1774, part of the personnel was employed in making, for her, furniture and garnitures of all kinds analogous to, or identical with, those which had been made for the Dubarry. The director of the works, who was a good courtier, had already produced in 1772 a "biscuit" group, modelled by Pajou, and called " The Marriage of Louis XVI." In this group the Dauphin is on the left, the Dauphiness on the right, clasping their hands on a kind of altar surmounted by a globe ornamented with "fleurs-de-lys." The front of the altar had the inscription "Au bonheur public" while the pedestal bore, in low relief, garlands of flowers, and a royal monogram composed of the initials "L." and "A." intertwined. About 1773, the sculptor Pajou made a bust of MarieAntoinette in which, while we cannot but admire the regal attitude of the daughter of an empress and the wife of a mighty prince, we are still more charmed by the juvenile freshness and grace of the woman, the beauty of her features, and the arrangement of her hair. In this model Pajou certainly produced one of the finest works of the eighteenth century, and it seems like the irony of fate that it can only be compared with the busts of the Dubarry produced by the same sculptor. In the Petit Trianon an example of this bust, doubtless made at...




The Portrait Bust and French Cultural Politics in the Eighteenth Century


Book Description

In The Portrait Bust and French Cultural Politics in the Eighteenth Century, Ronit Milano probes the rich and complex aesthetic and intellectual charge of a remarkably concise art form, and explores its role as a powerful agent of epistemological change during one of the most seismic moments in French history. The pre-Revolutionary portrait bust was inextricably tied to the formation of modern selfhood and to the construction of individual identity during the Enlightenment, while positioning both sitters and viewers as part of a collective of individuals who together formed French society. In analyzing the contribution of the portrait bust to the construction of interiority and the formulation of new gender roles and political ideals, this book touches upon a set of concerns that constitute the very core of our modernity.