Painting On Porcelain Plaque, Portrait Of A Woman And Man In Costume, E. Yvetot Limoges X 2, 19th Century

Eliane Yvetot, pair of portraits on porcelain plaques Napoleon III Beautiful Limoges porcelain plaques painted and mounted in period giltwood frames, late 19th century Two bust portraits, presented as pendants, painted on Limoges porcelain plaques and set in the same decorative scheme: an oval medallion with a pearly grey background (very soft modeling, almost “velvety”), encircled by an ornamented gold border, standing out against a cobalt blue background with a reticulated decoration of arabesques and stylized scrolls, highlighted with gold. The piece is mounted in two period giltwood frames, molded and carved, typical of late 19th-century framing, reinforcing the "cabinet picture" effect and its bourgeois decorative purpose. The rendering is remarkable in several respects: translucent flesh tones, blended transitions (rosy cheeks, lips, eyelids), precise rendering of features and eyes, and above all, a mastery of the black of the garment (reflections, depth, textures), difficult to achieve on porcelain. The saturated and perfectly taut blue of the surrounding area creates a very "jewelry-like" contrast with the gold, while framing the medallion like an enlarged miniature. The male portrait conveys a confident presence. Dark suit, black bow tie/tie, meticulous attire: the image of a young man, still young, but already socially established. The young woman poses in three-quarter view, her expression calm and composed, her gaze slightly averted; a restrained elegance. High hairstyle, dark dress, blouse/embroidered collar, small piece of jewelry (earring/chain), suggesting a wealthy background and a desire for understated elegance. Both plaques are signed E. Yvetot (signature visible on the right side of the medallion, near the gilt border). Artist: Elina Yvetot, a porcelain painter active in the last quarter of the 19th century, associated with the Limoges art scene and Parisian addresses. Sales records and Salon catalogs present her as having been born in Limoges, a student of M.A. Lafond, and based in Limoges and Paris (at M.E. Meinhard's, 30 rue Laffitte). She specialized in porcelain painting, prized for its quality, and exhibited at the Paris Salon from 1876 to 1888. She is also documented in connection with the ceramic arts (particularly with Paul Soyer, an enameller), which sheds light on the technical and decorative style of these plaques. These portraits are fully in keeping with the bourgeois aesthetic inherited from the Second Empire (Napoleonic taste for precious objects, gilded frames, textural effects, and blue and gold decoration), but the available documentary references place Elina Yvetot's Salon activity from 1876 onwards. There is a well-documented reference in Limoges (Musée national Adrien Dubouché): a signed and dated porcelain portrait by Elina Yvetot depicting Jacques-Joseph Maquart (1803–1873). Dimensions: Frames: 37 x 32 cm each. Plaques: 23 x 17 cm each.