During July and August, we are carrying out several Conservation in Action projects focusing on our porcelain collection, including our extensive Sèvres collection. Below, we explore our Sèvres porcelain further, delving into its history and the importance of conservation work in preserving historical collections.
History
Sèvres porcelain has become a key symbol of 18th-century French decorative arts. Established in 1738, Sèvres became synonymous with its ties to the French court through its receival of royal patronage in 1748, with key patrons including King Louis XV and Marie Antoinette. Serving predominantly as decorative pieces rather than functional objects, commissions ranged from diplomatic gifts to prized collectable items.
The onset of the French Revolution saw thousands of private collections redistributed across Europe. Sèvres quickly became highly coveted within European art markets. At Waddesdon, objects acquired by Ferdinand and Alice de Rothschild provide key examples of historic artistry and are on display throughout the Manor.
How is it made?
The process of making Sèvres porcelain requires several stages. After initial designs and practice pieces are made, plaster moulds are created for the main body, handles and decorative features. Porcelain paste is then applied to the inside of each mould, left to dry, and attached together like jigsaw pieces using a watered-down paste solution called slip. The piece is then fired and glazed, ready for the decorative stage.
The base colour, also called the ground colour, is applied first. A variety of shades were used, including pinks, greens, yellows or blues, as well as black and white. Illustrations, called cartouches, are then painted onto the surface. These can include birds and flowers, as well as copies of famous paintings. Finally, several layers of gilding are applied and fired. Each stage is completed by a different contributor, illustrating each piece as an example of collaborative artistry.
Maker’s Marks
Maker’s marks play a key role in verifying an object’s authenticity. Sèvres can be identified through the motif of two interlaced L’s, often found on an object’s base. This is illustrated below through one of our vases currently on display in the West Gallery. Enclosed within the interlaced motif is the letter ‘C’. From 1754 onward, letters were used to date each object. When completed, letters were then doubled until 1793 (QQ), when the method of alphabetisation was dropped. As a result, this vase can be dated to 1756.
This piece is also unique in that it includes a painter’s mark, symbolised through the crescent moon above the manufacturer’s mark. This relates to the artist Louis-Denis Armand, whose work revolved around paintings of birds, both real and fictional. As well as being an important tool in identifying an artist’s work, the mark also acted as an artistic signature, illustrating which piece they had contributed to and how much they would therefore be paid.
Object in focus: mantlepiece vases
A key example of Sèvres porcelain within our collection are the five vases displayed on the mantlepiece in the Baron’s Room. Although shown as a full set, called a garniture, these vases form part of a 15-piece set originally bought by Louis XV in 1769. Set against the ground colour bleu nouveau, these pieces are particularly interesting for showing the different design techniques used in Sèvres porcelain. The trophies and figures featured on each vase are applied using a technique called grisaille, where illustrations are painted to imitate marble.
