Monumental Porcelain Vase With Lid, “greek Vase With Rosettes”, Gilded Louis XVI Style

After a model from the Manufacture de Sèvres attributed to Jean-Claude Duplessis (circa 1695–1774), designed in 1765. An imposing cobalt-blue glazed porcelain vase with refined gilt decoration. The piece takes the form of a slender urn, decorated with a wide frieze of circular medallions in relief and a partially gadrooned conical neck, resting on a chalice-shaped pedestal with a spiral motif. The finely crafted gilt-bronze mounts feature laurel garlands, rosettes, beaded friezes, floral motifs, oak leaves, and pine knobs. The gilt handles elegantly frame the body of the piece. The whole is placed on a square onyx base. Height: 105 cm. Some visible wear from use: bronze slightly scratched, gilding faded in places, lid accessory slightly bent. Historical reference This “Greek vase with rosettes” model is inspired by a Louis XVI creation attributed to Duplessis for the Manufacture de Sèvres in 1765. It illustrates the return to classicism that marked the second half of the 18th century, then its revival at the end of the 19th century in the “neo” styles. Comparable pieces can be found in major European collections: Wallace Collection, London — “bleu nouveau” (inv. C272-3 and C272-5) Rijksmuseum, Amsterdam — pink dotted background (inv. BK-17515-A) International renown: The Sèvres porcelain factory enjoyed immense prestige, which extended as far as Russia. In 1782, when Sophie, Princess of Württemberg, visited the factory with the future Tsar Paul I and his wife, Louis XVI presented them with porcelain pieces as a diplomatic gift. The imperial couple subsequently acquired others—some of these pieces are still preserved today at Pavlovsk Palace (Rijksmuseum, inv. BK-17515-A). Historical influence: The vase's design is inspired by the work of Jean-Claude Duplessis for Sèvres. This design was reproduced and produced in many variations in the 19th century. Algerian onyx and bronze production: A similar monumental model, made of Algerian onyx with bronze mounts, was presented in 1878 at the “Société des marbres et onyx d'Algérie” stand at the Paris World's Fair (visible in an engraving by D. Lancelot). Notable examples: Another comparable vase was in the entrance of the Cornelia M. Stewart House in New York (photo from 1883). “CL” monogram: The vase bears a “CL” monogram engraved on the bronze mount. Stylistic analyses indicate that this is probably the monogram of the bronzier rather than the original owner. Aesthetics and context: This type of vase combines blue and gilt porcelain with gilt bronze, often mounted on an onyx base. It illustrates the rediscovery and reinterpretation of classical Louis XVI forms in the 19th century - notably in large aristocratic and bourgeois residences.