Porcelaines (MT.ROMAN) (French Edition)
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Protection, Security, and Safeguards: Practical Approaches by Dale L. June
In the s, Jullienne , a wealthy textile manufacturer, honorary amateur, and collector, had two imposing turquoise Chinese porcelain jars transformed into potpourri containers Fig. For some recent commentators, the combination of Chinese beasts and laughing, pot-bellied figures with emphatically classicizing gilt bronze ornamentation is somewhat incongruous.
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Such objects were placed within richly suggestive ensembles of materials. Jullienne displayed his mounted porcelain jars in his gallery, where they were exhibited alongside paintings, numerous other Asian ceramics and other valuable objects including marbles, bronze statues, or hardstone vases.
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Watercolor depicting lot inserted in Pierre Remy and C. Julliot, Catalogue … du Cabinet de feu M. Watercolor depicting lots and , inserted in Pierre Remy and C. Though singled out by their placement on the columns, the porcelains were located in the company of other Asian ceramics, granite vases as well as porphyry vessels and marble and porphyry topped tables. Among the other objects in the room was a pair of vases in verde antico marble that were also depicted in one of the National Gallery watercolors Figs 5 and 6.
Pair of verde antico marble vases mounted in gilt bronze, c.
Formerly in the Randon de Boisset collection. The proximity, in such a collection, of Asian porcelains to vessels and columns in purple-red porphyry and other rare materials that came from or connoted the ancient world lent the patina of antiquity to the ceramics. In the duc de Tallard owned two.
Nearly ten years later, in , 32 were inventoried in the collection of the financier Augustin de Blondel de Gagny; in the catalog of his estate sale they were organized into seven categories according to material.
High on luxury: Lost treasures from the Roman Empire on view at Denmark's Glyptotek
Randon de Boisset owned an impressive 52 stone vases, classified by material into 13 groups. This attention to classification suggests the degree to which the substances from which the objects were made mattered.
The consideration paid in some entries to their antique origins suggests they were valued because they offered material links to the ancient world. The entry additionally emphasized the difficulty of working materials as hard as granite and porphyry. Paillet, Catalogue … cabinet de feu M. Instead he amassed a remarkable collection of marble and porphyry objects and of Asian porcelains, almost all mounted in elegant gilt bronze settings Fig. According to Pliny, it had to be mined, and it appeared that heat was essential to its final form. Caylus made a strong claim for the esteem in which the ancients held vases, highlighting their appreciation of materials and of the skill required to work them.
Asian porcelain readily lent itself to such speculation. It was made from a material whose secrets had eluded Europeans for centuries, but whose essential components were mined from the earth and hardened into their definitive form by heat. The brilliant colors of Asian glazes echoed the highly colored myrrhine wares described by Pliny, as Mariette pointed out.
Asian porcelains were also particularly difficult to date. As the dealer J.
China and Greco-Roman Antiquity: Overture to a Study of the Vase in Eighteenth-Century France
Old porcelain, though it may be ornamented with some Chinese characters, marks no point of history. Porcelain was, after all, the invention of a civilization of great antiquity, one whose founding predated the biblical flood.
It was also, according to eighteenth-century French antiquarians, a material highly prized by the ancients. Elite collectors who displayed Asian ceramics on antique columns or alongside vases made from or referring to ancient marbles could thus be said to have staged their affinities simultaneously with their Greco-Roman past and with China, the only other civilization then known to rival Europe in the duration of its history, technical achievements, and refinement.
In quotes from period sources, I have regularized accents but have otherwise retained eighteenth-century spelling. Neoclassical Form and Ornament in Europe: Yale University Press, Drawing Satire in Eighteenth-Century Paris , ed. Voltaire Foundation, , Metropolitan Museum of Art, and New Haven: A collection of them is a treasure trove of drawing.
For some recent commentators, the combination of Chinese beasts and laughing, pot-bellied figures with emphatically classicizing gilt bronze ornamentation is somewhat incongruous. Published by Editions Pierre Belfond. Glenn Adamson and Victoria Kelly Manchester: Book is As New, with no flaws; slipcase practically flawless. Folio sized book bound in decorated paper-covered boards with no dust jacket as issued. Faton, , Metropolitan Museum of Art, and New Haven:
Harry Francis Malgrave Los Angeles: Getty Research Institute, , Silver and gold; H: Achilles dragging the body of Hector around the walls of Troy. Beaker with Imagery Related to Isthmia and Corinth. Poseidon Neptune and Demeter Ceres. Cup with Masks , 1— Dedicated by Julia Sibylla. Silver and gold; Diam: Roman Silver and gold Object: Offering Bowl with a Medallion of Mercury and Maia or Rosmerta during conservation, left side cleaned , — Sardonyx set in fourteenth-century gold and enamel mount.
Perfume Flask with the Seasons , 25 B. Cameo glass with modern resin neck and enameled metal foot. The Treasure of Naix , eight necklaces, Roman, A. Aureus of Hadrian , —, Roman. Gem with Emperor Commodus , about , Roman. Ring , about 1—, Roman. Gold, pearls and emerald.
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