FROM PLEASURE TO PROPAGANDA: FRENCH 18TH CENTURY FIGURES, GROUPS, PLAQUES AND MEDALLIONS

by Ailecn Dawson Curator, Department of Medieval and Liter Antiquities, The British Museum, I-nqland

This ARTICLE will explore the development of porcelain figure making, and look at the production of medallions and plaques during the course of the 18th century in . Its range and raison d’etre and its political, economic and social context will be analysed in an attempt to give an overview, rather than concentrating on the productions of one particu­ lar factory. Our detailed knowledge of the factories has so far tended to be limited to the royal factory, the extensive archives of which have been so carefully preserved, and are easily accessible. French economic historians study­ ing the 18th century have virtually ignored the development of the many other ceramic factories established during the century. At this point we have little knowledge of the capi­ talisation of the industry.1 In Britain, despite widespread interest in ceramic studies, Josiah remains the only 18th century potter whose business has been analysed by historians,2 even though there are surviving records of other factories, such as Ducsbury’s concern at Derby.3 French historical documents, and in particular those relating to legal matters such as contracts and wills, have been systematically preserved. A series of wars in the last century and in our own has caused some unfortunate losses, and in spite of French centralisation they arc not all available in Paris, even when the factories may be in the region. Index­ ing and microfilming is still incomplete, the lack of the first making it all too often imperative to know which lawyer acted for the factory owner concerned, as the documents in the Archives Nationales for instance, are stored and referred to in this fashion. The study of the documents is vital for Figure I. Candlestick (metal fitments perhaps of later date), Saint-Cloud increasing our knowledge of the size, exact location, range of factory, unmarked, c. 1731-41, height: 23.5 cm. Ashmolean Museum. Oxford. production, outlets and prices charged for each of the facto­ ries, so that we can build up little by little a precise picture of the French porcelain industry in the 18th century. Thomire was one of the most prestigious makers whose In the 18th century figures and groups were not isolated pieces were adorned with porcelain.4 Biscuit plaques from as they are today. They were used for orna­ were also used on made from the 1780s onwards, mentation, most often on tables, or else, when mounted, as which were sometimes of monumental size.5 part of a garniture on a mantelpiece or piece of furniture. As At the end of the 17th century porcelain was almost part of a dessert sendee they replaced the sugar figures which unknown in Europe, except to monarchs or the wealthiest decorated the table before the invention of porcelain. aristocrats who owned Japanese or Chinese . In Unglazed circular medallions were used on the tops of France, as elsewhere, factories were established under the boxes, often of wood or tortoise-shell. Examples with Sevres patronage of members of the royal family, and relied on the biscuit plaques ornamented with Revolutionary subjects exist King for support, if only for the grant of a privilege authoris­ in the Musee Carnavalet, Paris. Gold boxes with biscuit ing the manufacture of porcelain in a particular area. The porcelain tops may have been made but none seems to have monarch had established an elaborate system for controlling survived. Painted plaques were apparently preferred. Biscuit ever)' aspect of life in his vast country. The structure of plaques were used in furniture and gilt bronzes towards the French society differed greatly from that in Britain, where a end of the century and into the 19th century. The brou'icr mercantile class independent of state control had existed

13 since the 16th century. The first factor)' to manufacture porcelain in France, at Saint-Cloud in the Paris region, was closely connected to the Orleans clan, which was extremely powerful. Henri Trou, the second husband of Barbc Coudray, whose first husband Pierre Chicanneau had carried out experiments to make porcelain at his factor)', was responsible for the organisation of the first porcelain factor)' in France in the 1690s/' A master faience maker (faience and porcelain were often, although not invariably, made on the same site) he was also huissicr de (or bailiff of) I’antichambrc du due d’Orleans and an officicr dc SAR Monsieur. ‘Monsieur’ was the brother of Louis XIV, Philippe, due d’Orleans (1640-1701). The factor)' was under his patronage, either direct or indirect, since it was located in the park of the chateau at Saint- Cloud, property of the Duke. This is no place for a discussion of the power of the Orleans clan and their indi­ vidual characteristics. Suffice it to say that one fairly recently published book on the subject is entitled the Apanage of the Figure 2. Pair of dwarfs, glazed soft-paste porcelain, unmarked, Mcnnccy Orleans.7 An apanage is defined as a province granted to the factor^-, c. 1755, height of left-hand figure: 14 cm. Ashmolean Museum, younger children of a king, and in some respects is almost Oxford. the equivalent of a kingdom. Although the monarch himself gave his name in the early 1680s to the territory in the New sortes de figures Grotesques & Troncs d’Arbrcs, pour faire World ‘in the south west of New France’ (Louisiana), the dcs Girandoles’.9 An unusual example surmounted by a city on the banks of the Mississippi established in 1718 was rather sinister-looking bird is in the Ashmolean Museum, named New Orleans for the Regent, Philippe d’Orleans, Oxford (fig. I). nephew of Louis XIV.8 In the course of the century the Some of these ‘grotesques’ were doubtless what some now members of the Orleans family, including its most notorious call ‘pagods’, that is figures inspired by oriental porcelain member, the due de Chartres, known during the Revolu­ deities. Japanese porcelain figures were reaching western tionary period as Philippe Egalitc, and who voted in 1793 Europe in some quantity in the late 17th century,10 and were for the execution of his King and blood relation, had a great ever more in demand in the succeeding decades. They were deal to do with various porcelain enterprises in Paris and often mounted in gilt bronze. They were first copied in elsewhere. porcelain at the factory for Augustus the Strong and The factor)' at Saint-Cloud enjoyed the custom of the his Court in the second decade of the 18th century, and the most powerful and wealthy members of France around the French soft-paste versions probably followed soon after in turn of the century. This is evident from the well-known the 1720s. According to Colbert’s economic theory, which account published in the Mcreure in October 1770 of a visit long survived his death in 1683, France should make things of the duchessc de Bourgogne. Marie-Adelaide de Savoie herself rather than lose specie (gold and silver) by importing (1685-1712) was a princess in her own right, and the child them, and lie was particularly keen on the establishment of bride of Louis, due de Bourgogne, the son of the Grand luxury industries. Like many of the Meissen examples, the Dauphin, and therefore in direct line of succession. The versions made at Saint-Cloud were interpretations rather duchcssc dc Bourgogne was not only a great favourite with than direct copies of the oriental prototypes. Louis XIV, but she was also his grand-niece. The account of An extraordinary dwarf on a pedestal in the Bowes her visit to the factor)' on the banks of the Seine is clearly a Museum, Barnard Castle, County Durham, a fine example sort of ‘puff and describes the porcelains as decorated with of French , may well have been called a grotesque at designs which were more regular and better executed than the time it was first sold. Measuring 25.4 cm in height, it those of the porcelaines de Indes, now called ‘Chinese Export’. belongs stylistically to the late 1720s and early 1730s. As we These, then, were the products with which the factor)' was shall sec, dwarfs were also made at Mcnnccy-Villcroy. They originally competing as far as was concerned. The arc known at such factories as Capodimontc and Vienna same account mentions that Their Highnesses Monsieur and several decades later, and at Derby too. The taste for dwarfs Madame (Philippe d’Orleans, the King’s brother and his in art, which we find difficult to understand, may perhaps wife, the Princess Palatine) often honoured the factory with have functioned as a way of coming to terms with physical visits, as did princes, seigneurs, ambassadors and ‘toutes sortes deformity, then much more visible in everyday life, through de curieux’. humour. Dwarfs were first made in porcelain at the Court of It is still not clear when the use of coloured, as opposed to , where they were also popular as fabulous jewels -blue decoration began at Saint-Cloud, and when fashioned of gold and misshapen pearls. A masked female figures were first made. However, by 1731, both were in dwarf and a dwarf in court costume of , production and were on sale at an outlet in Paris in the rue both in the Bayerischcs Nationalmuseum," probably date to de la Madeleine, faubourg St. Honore. An advertisement first before Bottger’s death in mid 1719. The Saint-Cloud issued in that year and apparently reprinted ten years later example may well have been made around 1725-1730. describes a variety of porcelain articles, including ‘routes In the 1730s the Saint-Cloud factory had to face competi-

14 Figure 3. Pair of mastiffs, soft-paste porcelain painted in brown and black, instance, the nature of the material used for the models and the bases green, and with pink and blue collars. Mennecy factory, moulds has not yet been determined. unmarked, c. 1750-60, max. height: 12.5 cm. Ashmolcan Museum, Oxford. White figures of Chinese deities with a bowl for pot­ pourri are likely to be amongst the earliest in this phase of the factory’s activity. They were probably intended to be don. Letters patent of 1735 authorised Ciquaire Cirou to mounted in gilt-bronze, or for putting on shelves as in a make ‘porcclaine fine de toutes coulcurs, cspeces, fa^ens et painting by Boucher of 1739 called Lc Dejeuner.'3 There was grandeurs a Limitation de Japon’ for a period of 20 years. clearly a considerable demand since several different versions The enterprise was under the protection of the due de of the porcelain figure are known, both painted and unpaint- Condc, also known as Monsieur Lc Due (1692-1740), who cd, and with different jars. had been exiled to his chateau at Chantilly in 1726. His Another theme which is treated throughout the century is collection included numerous textiles and porcelains from that of more or less realistically depicted men and women the Near and Far East, and these probably inspired the earli­ carrying out their daily occupations or trades. Such figures est pieces made at the factor)7. appear to have been introduced into the repertoire by Chan­ The origins of figure making at Chantilly remain shrouded tilly, probably in imitation of Meissen examples, and were in obscurity. It is reasonable to assume that it was under way quickly taken up elsewhere. A pair of male and female by the early 1740s, if not slightly earlier. In 1736, the master harvesters carrying baskets on their backs ([hotteur and hottcuse) sculptor Nicholas Goujon, who came from Rouen, is was made at Mennecy, Tournay, Strasbourg and Luneville, recorded in 1736 as working for Cirou at Chantilly.’' He according Madame Nicole Ballu.14 later lived at Saint-Cloud. As in England there is ample In the 1750s elaborate and magnificent clock cases, such as evidence that modellers moved from factory to factor)', often those at the Metropolitan Museum, New York, and the over a considerable period of time, so that figure production Getty Museum, Malibu,’5 showed that the Chantilly factory had a certain uniformity. The subjects represented at Chan­ was capable of combining flowers and figures in a pleasing tilly were initially similar to those made at Saint-Cloud, and whole. the two were clearly serving the same market. Porcelain was What happened to figure and group production at both still a relatively new material, especially for three-dimension­ Chantilly and Saint-Cloud during the late 1750s and 1760s is al pieces, and its possibilities were still being explored. still unclear. The Saint-Cloud factory continued in produc­ Figures were made by press-moulding, although the exact tion until 1766. An inventor)7 dated 29 September 1766 nature of the process has not yet been fully explored. For shows that figures and groups were almost certainly still

15 being made.16 A large group (subject unspecified) was even valued at 108 limes, which doubtless means that its selling price was even higher. Another “groupe a 5 figures" was valued at 150 liwrcs, the most expensive single item except for a “grand cn miniature a tete de bcl or" at the same price. However, there are many more toilet and tablewares listed than figures and groups. The sculptor Louis Fournier began working at Chantilly in 1752 and was still there in 1756, leaving in 1759 to found a porcelain factory in Copenhagen. Chantilly continued in production throughout the 1760s, 1770s and 1780s despite a change of management. After the 1750s there is little evidence of figure and group production, and we may safely conclude that competition from Vincennes/Sevres, whilst it did not kill off the tableware side, put paid to ornamental production at both Saint-Cloud and Chantilly. In order to cum' favour with Louis XV and his mistress the upper ranks were obliged to purchase their porcelain from the factory which he supported and, from 1759, owned. Yet a paradox remains. The Mennccy/Villeroy factory does not seem to have suffered to such an extent and even manufactured figures, busts and medallions depicting members of the royal family both past and present, which Saint-Cloud apparently never managed to do. Chantilly made a bust of Louis XV '7, but never produced medallions. Both these factories barely progressed beyond figures in an oriental style or animals, although the animals made at Chan­ tilly, most of which are clearly based on Meissen originals and prcsumablv therefore dateable to the late 1740s or early 1750s, are often of wonderful quality. The Mennecv/Villeroy factory productions had a much wider scope. Founded around 1737 by Francois Barbin at Villcroy, near Mennecy, the factor)' was in the grounds or outbuildings (dependences) of the chateau owned by the fourth due de Villeroy, grandson of the marechal de Villcroy. He too, like Monsieur le Due, had been exiled to his estates, for scan­ dalous behaviour. Current opinion assigns pieces painted in Figure 4. White soft-paste porcelain figure of a woman holding a the Kakicmon style and with tin in the glaze bearing the bundle, possibly Orleans factor)', about 1760-70, height: 20 cm. Ashmolcan mark DV painted in brown or black, or occasionally in blue Museum, Oxford. on a few underglazc-bluc decorated items, with full stops separating the letters, to the Villeroy factor)'.,s A bagpiper Most of these lack the qualities of movement so evident in from the Linsky Collection at the Metropolitan Museum, the Mennecy figures. A goat (there is an example in the forms part of this production before the factor)' moved to Ashmolcan Museum, Oxford) has an undeniable charm, and Mennccy in 1750.1V A dwarf is based on an engraving by is considerably more refined than the mastiffs, showing that Jacques Callot in Varii figure gobbi probably first published in Mennecy products exhibit a wide diversity. A white figure Nancy in 1622, and subsequently reissued. This is marked of a fish seller in the Getty Museum is based on an engraving DV in black. Another dwarf is marked DV in blue.2" Dwarfs by Edme Bouchardon.22 The paste is as white as that of were also sold undecoratcd, as in the case of two from the Vincennes and the artistic quality as high, but we do not yet collection of the Ashmolcan Museum, Oxford (fig. 2). These know the original selling price of this figure, nor the clients bear the incised DV mark, and arc therefore likely to have for pieces of this kind. It contrasts with a diminutive figure been made after 1750. A small figure of a boy representing of a girl dancer, reminiscent of the many 18th century Summer also in the Ashmolcan is at least as distinguished as engravings of named French dancers.2' A white glazed figure, the Vincennes Seasons, which were being made by 1752. (fig. 4) hitherto attributed to Mennecy, may perhaps have Autumn also forms part of the Mcnnecy scries. been made elsewhere around 1760-70. It is a rare example of The Mennccy animals, such as two mastiffs (fig. 3) are a truly realistic depiction in porcelain of womankind. In the particularly lively. They arc quite different from the National Museum of American History, Smithsonian Vincennes products, and perhaps have more in common Museum, Washington, D.C., is a remarkable biscuit group with English porcelain figures. However, they probably (fig. 5) dated 1771 and signed by J. M6 (fig. 6) representing a competed well with the chien doguin21 one of three or four theatrical subject. It is a direct forerunner of the groups made different dogs made at Vincennes in the 1750s to mid 1760s. at Paris factories such as Locre, and which were also in

16 Mcnnccy groups, and were probably sold at fairs. The Orleans factory was set up in 1753 by Jacques Dcssaux dc Romilly, who was director of the Saint-Gobain mirror factory, and was taken over in 1757 by Claude Charles Gcrault d’Arcaubcrt. We know too little of the influence of the Orleans family in the town which bears their name but this deserves further investigation. In June 1777 Louis XVI’s brother the comtc dc Provence, visited the factory. He also went round the Marseilles factory in the following month. At this very time he was the protector of a factory’ in Paris at Clignancourt, Montmartre, and had been since at least January 1775. There was a considerable ceramic industry in Eastern France in the 18th century. Territories in this region enjoyed a rather exceptional political status at this time. They had only recently become part of the French kingdom, and were separated by tariff barriers. In Strasbourg, for instance, the Rohan Prince-Bishops enjoyed enormous power, and the whole area was heavily influenced by its close links with nearby German-speaking lands. The founder of the factory' at Niderviller, a large and sophisticated enterprise, about which we still know too little, Jean-Louis Beyerle, was a conseiller du Roi and director and treasurer of the Strasbourg Mint. Like so many porcelain factories it operated in tandem with a Figure 5. Group Brcchjc in Love, a scene from a play by F. Van Haps a print by Tanjc based on a painting by Comelis Troost, unglazed soft-paste faience factory set up earlier. A model of a wine-harvester porcelain, for marks sec figure 6. Mcnnccy factory, modelled byj. Mo, 1771, (wine was important in the area) was produced in both height: 21.6 cm. Smithsonian Institution, National Museum of American bodies.25 Bcyerlc ran into problems when a decree passed in History, Ceramics and Glass Division. 1766 prohibited the manufacture of anything except domes­ tic porcelain decorated in blue and white, or a single colour, production at Sevres in the 1770s. Between 1753 and 1764 except by the royal factory. After losing an appeal to Benin, Mennecy employed eight sculptors including Jean Mo and the Controller of Finance, Beycrle sold up in 1770 to Count his brother Christophe. Custine, who seems to have evaded the decree. Expansion Many smaller factories also owed their existence to power­ was rapid in the 1780s and the factory at one time employed ful supporters. The signatures Louis and Pierre Renau on between 150 to 200 workers. Both Custine and his son were two figures of gardeners in the British Museum permit their executed in the Revolution, and the factory’ barely survived this troubled period. The Luneville factory in the same pan of France was established in 1768 by letters patent granted to Paul-Louis Cyffle. Cytfle had trained in the workshop of the Nancy sculptor, Barthelemy Guibal, who worked for the Dukes of Lorraine. In the mid 1770s the factory7 employed no more than 20 trained personnel and the number declined towards the end of the decade. In the 1780s moulds were offered to Lanfrey, then in charge at Niderviller. A figure of a faun in the British Museum26 is one of the masterpieces of French 18th century7 porcelain, created in the soft body called terre de Lorraine. It is based on a marble by Jacques-Francois Joseph Saly shown at the Salon in 1751, and admired by those taste makers, the writers comte de Caylus, Baron Grimm, and the collector Lalive de Jully. This survey of the social and political background as it Figure 6. Incised mark of Mennecy factory, signature of the modeller J. Mo relates to 18th century7 French porcelain production could and date 1771 on group in figure 5. Smithsonian Institution, National not exclude the royal factory7. Of all the factories it used Museum of American History, Ceramics and Glass Division. porcelain the most consistently and consciously for propa­ ganda purposes. A figure emblematic of France was in attribution to the Orleans factory7,24 as they can be traced production from around 1750.27 Soon after 1759, when the there in legal documents. Jean Louis is recorded as a King became sole owner of the factory, a small-scale biscuit modeller between 1756 and 1758. In 1767 Pierre Renau bust, probably based on a bust by Francois Lemoyne, was appeared as a witness in a dispute between the factory owner made, only a few examples of which survive.2* In addition, a and another sculptor Bernard Fluet, and was called a sailptcur whole series of busts of the King and his family were created, el repareurJignriste. These figures are a downmarket version ot which have not yet been adequately studied. A full-length

17 as an economic theorist. He was then the administrator (intendant) of the Limousin area and played a key role in the establishment of the factory. A greyish hard-paste porcelain medallion with identifying inscription (fig. 7) has been attributed to the royal factory. However it docs not conform in type to known examples and this writer is inclined to attribute it either to , or possibly to one of the Paris factories. The due dc Choiseul (1719-85) was the King’s Foreign Minister for twelve years and was immensely powerful until his disgrace at the end of 1770. This was in part due to his poor relationship with the King’s mistress, Madame du Barry. Choiseul was exiled for three years from January 1771, and it seems rather unlikely that this medallion was made after his fall from power, although it could conceivably have been issued in 1771, or possibly at the time of his death. A bust of Philippe d’Orleans (fig. 8), who was known as due de Chartres from 1752-1785, then as due d’Orleans, and as Philippe Egalite during the Revolutionary period and was executed in 1793, is of greyish hard-paste porcelain with brownish stains, presumably from iron impurities in the paste. Unmarked, it is attributed to the factory in the rue de faubourg Saint-Denis, Paris, under the protection of the comte d’Artois. It is particularly interesting as images of the Figure 7. Medallion of Eriennc-Fran^ois, due dc Choiseul (1719-85), duke are rather uncommon, perhaps because his reputation unglazed hard-paste porcelain, unmarked, factor)’ uncertain, perhaps as a regicide led to their destruction. Indeed there are rela­ Limoges or one of the Paris factories, diam: 13.3 cm. The Metropolitan tively few images in porcelain of members of the Orleans Museum of An, gift of James Hazcn Hyde (48.15.2). family, or even of the King’s immediate family (except for his wife and mistress), for reasons which are obvious. figure of Louis XV was devised by Jean-Baptiste Pigallc for a By the close of the century the royal factory had suffered tablecentre used at a dinner at Versailles in May 1770 cele­ many vicissitudes. However, it was still capable of making brating the marriage of the Dauphin and Marie-Antoinette. pieces of the highest quality, such as a blue-ground medal­ The sculptor supplied a based on his bronze for a lion of Alexandre Brachard.33 His identity is confirmed by an monument in the Place Royale, Reims, and the biscuit inscription giving his date of birth. The portrait is by his figure although only 24.6 cm. in height29 shows the monarch brother, called Brachard ante, who was a sculptor, as a commanding presence. A much cruder figure of the worker, painter and later again worked as a sculptor at Sevres King in the guise of a warrior standing by a plumed helmet from 1782. The sitter also worked as a sculptor from 1784 resting on a globe adorned with fleurs de lys was made at until at least 1791. The date ventose an 8 incised on the Mennecy.3" reverse of the medallion shows that it was made between 20 Medallions of the royal family were created during the February and 21 March 1800. This realistic portrait of a 1760s, and await systematic study. Medallic sources have been factory employee symbolises perhaps the huge political found for some examples, which may have been intended to changes which had taken place over the period in which be kept in cabinets to represent the history of the nation. porcelain manufacture began in France. They were made in at least three sizes. The largest example known to the author depicts Prince Henry of (1726- The author would like to thank Clare Lc Corbeillcr, Bonnie Lilicnjicld and 1802), brother of .3' An able soldier and Corinnc Clierrad for assistance in providing photographs and information, as diplomat, overshadowed by his brother, he visited Paris in well as Tony Stevenson, John Whitehead and Bernard Dragesco for their help. 1784 on a mission under the name of the Count d’Ocls, and was introduced to the most distinguished literary, scientific NOTES and social circles through Baron Grimm. He was presented 1. For studies on the late 18th and early 19th century factories in with a green-ground dessert service and with biscuit porce­ Paris, see R. dc Plinval de Guillcbon, La porcclaine a Paris, sous lain busts of the King and Queen to the value of 25,462 livres le Consulat ct I’Empire, Paris, 1985. 8 sons, and eventually took delivery no less than 24 figures 2. N. McKcndrick, ‘Josiah Wedgwood: an eighteenth century from the series of Great Men, originally commissioned by entrepreneur in salesmanship and marketing technique’, Louis XVI for his library at Versailles. Medallions of Prince Economic Histor)’ Review, second series, Vol.12, no.3, April Henry (apparently not based on a medallic source) which I960, pp.408-33, reprinted in Proceedings of the Wedgwood Society, Vol.I, no.4, 1961, pp.161-189; and ‘Josiah Wedgwood cost 18 livres, were purchased by the duchcssc dc Polignac in and Cost Accounting in the Industrial Revolution’ Economic December 1784, and in March 1785 by the maitre d hotel of Histor)' Review, Second series, Vol. 13, no. 1, 1970, pp.45-67. the Dutch Ambassador. 3. Sec N. Valpy, 7 lie Bemrosc Papers, documents of the Derby Turgot, whose arms appear on a hard-paste medallion Porcelain Factory in the Department of Medieval and Utter from the Grellct-Massie factory in Limoges32 is well-known Antiquities, the British Museum, International

18 Society, 1992. 4. Sec D. Cohen, ‘Four tablcs-gueridons by Sevres’, Antologia di Belle Arti, 13-16, 1980, pp.l-l I. 5. See A. Dawson, ‘French in the style of Wedgwood’s jaspcrwarc’, Apollo, Vol. CXVI, no. 246, August 1982, pp. 94-102 and ‘Copiers or competitors? Wedgwood and the French porcelain factories’, Grosvenor House Antiques Fair 1983 Handbook, pp. 37-39. 6. For a recent study of this factory see G. Lc Due and R. dc Plinval dc Guillebon, ‘Contribution a I’ctudc dc la manufacture dc faience et de porcclainc dc Saint-Cloud pendant scs cinquantc premieres amices’, Keramik-Freunde der Schweiz, 105, March 1991, pp. 1-53. 7. 13. F. Hyslop, L‘Apanage de Philippe-Eqalitc, due d’Orleans (1785-1791), Paris, 1965. 8. See The Sun King, Louis XIV and the New World, exhibition Louisiana State Museum, April-Novembcr 1984 and Corcoran Gallery of Art, December 1984-April 1985, p. 97, p. 323. 9. Quoted by X. dc Chavagnac and Mquis dc Grollicr, Histoirc des manufactures fraiifaiscs dc porcclainc, Paris, 1906, p.32. 10. See Porcelain for Palaces, the Fashion for Japan in Europe 1650- 1750, exhibition, British Museum, London, July-Novcmbcr 1990, cat. compiled byj. Ayers, O. Impey,J.V.G. Mallet. 11. Meissener PorzeUan 1710-1810, exhibition, Baycrischc Nationalmusucm, Munich, 1964, cat. compiled by R. Riickert, nos 846-7. 12. Chavagnac and Grollicr, 1906, p. 71, and sec Le Due and Guillcbon, 1991, p. 41. 13. Reproduced by P. Dupont, Porcclaincs fran^aises aux XVIlie ct XXc sieclcs, Paris, 1987, p.9. 14. N. Ballu, ‘L’influcncc dc l’Extrc*mc-Oricnt sur lc style dc Chantilly au XVIlie sicclc’. Colliers dc la ccramique ct dcs arts du feu, 11, 1958, p. 109. 15. The Jack and Belle Linsky Collection in the Metropolitan Museum of Art, New York, 1984, no. 147, cat. entry by W. Rieder; G. Wilson, ‘Acquisitions made by the Department of Decorative Arts 1981’, The J. Paul Getty Museum Journal, 10, 1982, no. 2, pp. 66-71 and in G. Wilson, Selections from the Decorative Arts in the J. Paul Getty Museum, 1983, no. 13. pp. 26-27; The J. Paul Getty Museum Handbook of the Collections, 1986, p. 154, and 1991 ed., p. 168. 16. Chavaganac and Grollicr, 1906, pp. 18-19. 17. J. Mungcr ct ai. The Forsyth Wickcs Collection in the Museum of Fine Arts Boston, Boston 1992, no. 172, andj. Monger, ‘Chantilly Bust of Louis XV in the Museum of Fine Arts, Boston’, International Ceramics Fair Handbook, London 1988. pp. 29-34. Figure 8. Bust of the due de Chartres, unglazed hard-paste porcelain, 18. G. Le Due, La porcelahte de Villeroy, publications of the French unmarked, probably made in Paris, attributed to the factory at the rue faubourg Porcelain Society, London, 111, 1987. Saint-Denis, c. 1775-89, height: 33.3cm. Trustees of the British Museum. 19. Op. cit. in note 15, no. 282, cat. entry’ by C. Le Corbciller. 20. Ibid., nos. 283-4, cat. entry' by C. Le Corbcillcr. London, 1964, pi. 56A. 21. Porcclaincs de Vincennes les Origincs de Sevres, exhibition Grand 27. Op. Cit., in note 2, p. 166. no. 483. Palais, Paris, October 1977-January 1978, p. 157, nos 463-4. 28. For an example on a painted pedestal see Dawson, 22. ‘Acquisitions 1986’, J. Paul Getty Museum Journal, 15, 1987.no. forthcoming, no. 106; another on a different pedestal has 104, p. 213, and in B. Craven, ‘French Soft Paste Porcelain in recently been acquired by the Frick Collection, see E. the collection of Mr. and Mrs. William Brown Melonv’, Munhall, ‘A Sevres biscuit bust of Louis XV acquired by the Connoisseur, Vol. 143, May 1959, p. 142 Frick Collection in Memory' of Guy Bauman, 'Metropolitan 23. For a figure in the Musec des Arts Decoratifs, Paris, see C. Museum Journal, 27, 1992, pp. 121-8. Dauguet and D. Guilleme-Brulon, La porcclainc frait(aise, Paris, 29. Dawson, forthcoming, no. 152. For a discussion of the entire n.d., p. 27. table decoration see P. Ernies,4 Le surtout de marriage du 24. See A. Dawson, French Porcelain,a catalogue of the British Museum Dauphin, 1769-1770’, Revue de I’Art, 1987, pp.63-73. Collection, forthcoming, nos. 198-9. 30. A. Darblay, Villeroy, son passe, sa fabrique de porcclainc, son etat 25. See Dawson, forthcoming, for a biscuit example; although an acme 1, Corbeil, 1901, PI. XXXVUI. piece in the Musce historique lorrain, Nancy, is 31. Dawson, forthcoming, no. 159. considered to be modern, it is likely to represent a 32. C. Meslin-Perrier, Vie National Museum Adrien Dubouche reproduction of an earlier model. Limoges, Paris. 1992, p. 102. 26. Dawson, forthcoming, and R. Charles, Continental Porcelain, 33. Dawson, forthcoming, no. 168.

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