1985.R.873.A-C Tureen-on-stand

This tureen-on-stand is a magnificent example of a Chinese adaptation of a European prototype. Although the actual model sent to China could have been made of pottery, wax, wood, or pewter, the ultimate inspiration was likely a French silver tureen in the late rococo taste. During the third quarter of the 18th century, French silversmiths produced many tureens featuring elaborate finials, handles, and feet. The fluted top and sides are also suggestive of metal examples in the emerging neoclassical taste. A date of 1775 for the manufacture of this porcelain example is indicated by the fact that a tureen of the same form was part of the Royal Swedish Gripsholm Service given in 1775 to King Gustav III by the Swedish East India Company.

Even though tureens of this model must have been expensive because of the large amount of labor required to produce porcelain of such complexity, they were popular among Europe’s wealthy, and examples with various decorative schemes are known. Ribbed, leaf-footed, and with cabbage finial, this tureen features delicately painted neoclassical-style garlands and sprigs of flowers similar to painting found on contemporary French porcelain made at the Sèvres factory, but the scrolled plumed mask handles relate more closely to earlier work done at Meissen, Germany.

This tureen is a magnificent example of a Chinese adaptation of a European silver design. Ribbed, leaf-footed, and with cabbage finial, its form is possibly derived from a tureen like the one in the huge French silver service made for Empress Catherine the Great of Russia in 1775 and presented by her to her favorite, Count Orloff.

The scrolled Indian plumed mask handles, which trace to the headdresses of oriental and South American princes seen in 17th century European travel engravings, and the delicately painted naturalistic European style strewn flowers, are holdovers from earlier Rococo Meissen porcelain.

The tureen's four-squared stance, faciated leaf-and-berry molded border, and the entwined green and gold leaf painted border, are neo-classic elements in later 18th century taste. The sparing use of overglaze enamel colors -- rose, green, iron-red, purple -- as well as gold, embellish the lovely white porcelain rather than obscuring it as in often overdecorated 19th century porcelain. 

Dallas Museum of Art, The Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1985), 204.

This tureen-on-stand was modeled after a European prototype. Although the actual model sent to China could have been made of pottery, wax, wood, or pewter, the ultimate inspiration was likely a French silver tureen in the late rococo taste. During the third quarter of the 18th century, French silversmiths produced many tureens featuring elaborate finials, handles, and feet. The fluted top and sides are also suggestive of metal examples in the emerging neoclassical taste. A date of 1775 for the manufacture of this porcelain example is indicated by the fact that a tureen of the same form was part of the Royal Swedish Gripsholm Service given in 1775 to King Gustav III by the Swedish East India Company.

Even though tureens of this model must have been expensive because of the large amount of labor required to produce porcelain of such complexity, they were popular among Europe’s wealthy, and examples with various decorative schemes are known. The Dallas version features neoclassical-style garlands and sprigs of flowers similar to painting found on contemporary French porcelain made at the Sèvres factory, but the masks on the scrolled handles relate more closely to earlier work done at Meissen, Germany.

Dallas Museum of Art, Decorative Arts Highlights from the Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1995), 112.

Gilt

c. 1775 

Until 1985: Emery Reves (1904-1983) and Wendy Reves (1916-2007) (owned jointly), La Pausa, Roquebrune-Cap-Martin, France [1]

From 1985: Dallas Museum of Art, The Wendy and Emery Reves Collection, gift of Wendy Reves (1916-2007) [1]

[1] According to: Olivier Meslay and Martha MacLeod, From Chanel to Reves (Dallas, Texas: Dallas Museum of Art, 2015), 4-5.

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