Gifts of Grandeur: The Sèvres Vase Aubert No. 40, 1924-37

Crown Copyright
The Royal Collection
Courtesy of Her Majesty,
Queen Elizabeth II

This is one of a pair of vases, called “Vase Aubert No. 40” which was made in hard-paste porcelain between 1924-37. One of the pair depicts “Africa” while the other depicts “India.” The vases were presented by the President of the French Republic to King George VI and Queen Elizabeth (the Queen Mother) on the occasion of their coronation, May 12, 1937

The vases themselves were produced by Sèvres as early as 1924, but were evidently left undecorated. One, seen here, was painted in 1928 by Henry-Joseph Lasserre with a tiger hunt in the Indian sub-continent. The scene depicts huntsmen seated in howdahs on the backs of elephants, shooting at tigers in a lush jungle.

The other was painted in 1930 by Louis-Jules Trager, depicting an African scene of antelopes, camels and native dancers amongst the pyramids. In May 1937, the English royal arms was added at a cost of 6,000 francs.

The two vases, each valued at 40,000 francs, were sent in 1937 to the Minister of Foreign Affairs for presentation to King George VI and Queen Elizabeth by the President of the French Republic, Monsieur Albert Lebrun. However, after the whole Abdication Keruffle ™ with his older brother the King had announced that, as a general rule, he would not accept coronation gifts. To avoid embarrassment, the French ambassador was informed that the gift would be treated as personal rather than as official.

The Home Beautiful: Vase Hollandois Nouvelle Forme

The Vases Hollandois
French, 1761
Purchased for King George IV for Carlton House
Crown Copyright
The Royal Collection 
Image Courtesy of Her Majesty Queen Elizabeth II

A creation of the Sèvres Porcelain Factory, dating to 1761, this pair of soft-paste porcelain vases boast a petit verd ground and gilded decoration.

The pair were urchased in Paris for George IV by François Benois at a cost of £80. They were meant to be used in the now long-demolished Carlton House, George IV’s monumentally elegant palace.

When the contents of Carlton House were removed before it was pulled down, all of its contents were inventoried. According to the Royal Collection, the pair was described in the ledgers thusly:

No 10. Two Flower Vases in 4 Parts, Painted Figures & Flowers, Turquoise Blue Ground & Gold Remarks: Delivered to Mr Watier April 24th 1829 to be placed in the Store Room at St James’s Cost £80’. 

After languishing in storage for many years, Queen Victoria had the pair moved to Buckingham Palace where they remain to this day.

Crown Copyright
The Royal Collection

Crown Copyright
The Royal Collection

Crown Copyright
The Royal Collection

Gifts of Grandeur: The Sèvres Vase Aubert No. 40, 1924-37

Crown Copyright
The Royal Collection
Courtesy of Her Majesty,
Queen Elizabeth II

This is one of a pair of vases, called “Vase Aubert No. 40” which was made in hard-paste porcelain between 1924-37. One of the pair depicts “Africa” while the other depicts “India.” The vases were presented by the President of the French Republic to King George VI and Queen Elizabeth (the Queen Mother) on the occasion of their coronation, May 12, 1937

The vases themselves were produced by Sèvres as early as 1924, but were evidently left undecorated. One, seen here, was painted in 1928 by Henry-Joseph Lasserre with a tiger hunt in the Indian sub-continent. The scene depicts huntsmen seated in howdahs on the backs of elephants, shooting at tigers in a lush jungle.

The other was painted in 1930 by Louis-Jules Trager, depicting an African scene of antelopes, camels and native dancers amongst the pyramids. In May 1937, the English royal arms was added at a cost of 6,000 francs.

The two vases, each valued at 40,000 francs, were sent in 1937 to the Minister of Foreign Affairs for presentation to King George VI and Queen Elizabeth by the President of the French Republic, Monsieur Albert Lebrun. However, after the whole Abdication Keruffle ™ with his older brother the King had announced that, as a general rule, he would not accept coronation gifts. To avoid embarrassment, the French ambassador was informed that the gift would be treated as personal rather than as official.

The Home Beautiful: A Silver Vase and Stand, 1852-9

Silver Vase and
Stand
1852-1859
The Royal Collection

This silver vase and stand is the only surviving member of a pair commissioned by Queen Victoria and Prince Albert. The Queen and her consort shared a love of Italian Renaissance style and commissioned several monumental silver pieces in designs reminiscent of the Renaissance.


This vase was created in 1852 by Victoria from the goldsmiths Hunt & Roskell, Ltd. Curiously, though the vase is visible in paintings from 1852, it was not hallmarked until 1854. The stand is a later creation—being fashioned for Queen Victoria’s birthday in 1859. This vase with its intricate chasing and sculpting shows scenes of Venus and Apollo. While this model is purely silver, the Prince’s companion vase was inlaid with precious stones.

The Home Beautiful: Vase cannelé or vase à corset, 1755-1757

Pair of Vases
French, c. 1755
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

The Sèvres Porcelain Factory created these playful vases between 1755 and 1757. The vessels are made of soft-paste porcelain, blue lapis enamel on a white ground and gilded adornment with ormolu.

These fanciful corset-shaped designs are typical of production at Vincennes in the early years and stylistically match the work Jean-Claude Duplessis--one of the most influential artistic directors at Vincennes and Sèvres between 1745 and 1774. Vases in this style quickly went out of fashion, however, as the more staid and severe neoclassical style became the dominant look. 

The Home Beautiful: Vase Hollandois Nouvelle Forme

The Vases Hollandois
French, 1761
Purchased for King George IV for Carlton House
Crown Copyright
The Royal Collection
Image Courtesy of Her Majesty Queen Elizabeth II

A creation of the Sèvres Porcelain Factory, dating to 1761, this pair of soft-paste porcelain vases boast a petit verd ground and gilded decoration.

The pair were urchased in Paris for George IV by François Benois at a cost of £80. They were meant to be used in the now long-demolished Carlton House, George IV’s monumentally elegant palace.

When the contents of Carlton House were removed before it was pulled down, all of its contents were inventoried. According to the Royal Collection, the pair was described in the ledgers thusly:

No 10. Two Flower Vases in 4 Parts, Painted Figures & Flowers, Turquoise Blue Ground & Gold Remarks: Delivered to Mr Watier April 24th 1829 to be placed in the Store Room at St James’s Cost £80’. 

After languishing in storage for many years, Queen Victoria had the pair moved to Buckingham Palace where they remain to this day.

Crown Copyright
The Royal Collection

Crown Copyright
The Royal Collection

Crown Copyright
The Royal Collection

The Home Beautiful: The Deroche Spill Vase, 1830

Spill Vase
Deroche, 1830
The Victoria & Albert Museum

We all know what a spill vase is.  Well, just in case you don’t—spills were long curls or sticks of rolled paper which were used to transfer fire from the hearth to a lamp or candle, or used to help light the fire in the grate.  These were kept in “spill vases” on or near a mantelpiece.  Very often, these spill vases were figural, or, in this case, highly decorative.

This spill vase was made, in 1830, in the Gothic revival style-- one of the most enduring and widespread architectural and design movements of the Nineteenth Century.  It’s the work of the Deroche Firm about whom we know very little except that it mainly operated as a decorating studio and producer of wares in a vast variety of styles.

The vase of porcelain boasts molded decoration in the form of gothic tracery against a deep green background.  Gilt on the arches, base and rim add dimension and shimmer which would have looked quite handsome on a mantelpiece.  

Gifts of Grandeur: The Sèvres Vase Aubert No. 40, 1924-37

Crown Copyright
The Royal Collection
Courtesy of Her Majesty,
Queen Elizabeth II

This is one of a pair of vases, called “Vase Aubert No. 40” which was made in hard-paste porcelain between 1924-37. One of the pair depicts “Africa” while the other depicts “India.” The vases were presented by the President of the French Republic to King George VI and Queen Elizabeth (the Queen Mother) on the occasion of their coronation, May 12, 1937

The vases themselves were produced by Sèvres as early as 1924, but were evidently left undecorated. One, seen here, was painted in 1928 by Henry-Joseph Lasserre with a tiger hunt in the Indian sub-continent. The scene depicts huntsmen seated in howdahs on the backs of elephants, shooting at tigers in a lush jungle.

The other was painted in 1930 by Louis-Jules Trager, depicting an African scene of antelopes, camels and native dancers amongst the pyramids. In May 1937, the English royal arms was added at a cost of 6,000 francs.

The two vases, each valued at 40,000 francs, were sent in 1937 to the Minister of Foreign Affairs for presentation to King George VI and Queen Elizabeth by the President of the French Republic, Monsieur Albert Lebrun. However, after the whole Abdication Keruffle ™ with his older brother the King had announced that, as a general rule, he would not accept coronation gifts. To avoid embarrassment, the French ambassador was informed that the gift would be treated as personal rather than as official.

Object of the Day: A Pair of Unique Bristol Glass Vases

These delicate Bristol Glass vases show that Victorian design ranged from simple elegance to the grandest of opulence. With their traditional milk-white color, these vases rely on form and shape. The silhouette mimics classical pottery, but adds a distinctly Victorian flare with the pointed scallops at the top of each.


Understated gold detailing completes the look. This pair would have acted as a garniture on a mantle or sideboard and would have acted as the perfect accent to more ornate lusters or more brightly-colored items.

Mastery of Design: A Silver Vase and Stand, 1852-9

Silver Vase and
Stand
1852-1859
The Royal Collection

This silver vase and stand is the only surviving member of a pair commissioned by Queen Victoria and Prince Albert. The Queen and her consort shared a love of Italian Renaissance style and commissioned several monumental silver pieces in designs reminiscent of the Renaissance.


This vase was created in 1852 by Victoria from the goldsmiths Hunt & Roskell, Ltd. Curiously, though the vase is visible in paintings from 1852, it was not hallmarked until 1854. The stand is a later creation—being fashioned for Queen Victoria’s birthday in 1859. This vase with its intricate chasing and sculpting shows scenes of Venus and Apollo. While this model is purely silver, the Prince’s companion vase was inlaid with precious stones.

Object of the Day: A Glittering Bristol Glass Vase

We’ve talked about several Bristol glass pieces here at Stalking the Belle Époque. My fondness for the medium is evident and I’ve collected many examples over the years. Bristol glass allowed designers to have a newfound freedom with the shapes of their objects and afforded households with an opportunity to display unusual art glass that they previously had no access to.


This Bristol glass vase dates to about 1870 and represents a favorite shape of vase with a delicate base and scalloped top. What sets this piece apart is the hand-painted design. On one hand, the pattern is quite typical—an organic scene of flowers contrasted against the milky-white background. However, the design has been elevated by the inclusion of pearlescent paint and raised gilding which gives the pattern a sparkle and dimension not evident in other examples from the time period. Even on a shelf in a rather dark corner of the room, this vase always catches the light and glitters brilliantly. Our Victorian forebears were very interested in making the most of low-light conditions and allowing natural colors and forms to show through. Pieces such as this one show their triumph over the dark.

Her Majesty’s Furniture: A Pair of Porcelain Vases, 1720

Pair of Vases
Japan, 1720
Adapted and Mounted: 1750, France
Purchased by George IV, recorded 1826
The Royal Collection

These brightly painted vases began their lives as a pair of wide-shouldered flasks designed to hold spirits. They were made in Japan for export to the Netherlands. In the 1750’s the flasks were adapted by a French artist who cut them down and added gilded mounts to them. The mounts—in the form of elaborate scroll-work—were crafted to very neatly match the asymmetrical painted pattern of carp, lions and flowers (three things not typically found together—at least without effort).


King George IV purchased this pair for display at his Brighton Pavilion. They were first recorded in the Royal Collection in 1826 and were simply described as “Japan China Jars.” Royal record-keeping has come a long way.

Objects of the Day: A Pair of Bristol Glass Vases

Bristol glass proved to be an extremely versatile medium, providing beautiful, milky colors and the necessary strength to be shaped into a variety of sizes and shapes. While many antique Bristol glass creations are large in scale, I often myself drawn to the smaller examples such as this pair of late Victorian vases.


In the opaque-white color scheme which was extremely popular for the medium in the 1880’s, this pair of vases has a simple elegance. Gently, arcing from turned pedestals, they are adorned with delicate gold trim and a pattern of dots. Such objects would have been used as accents for more ornate pieces. Here, they are the perfect companions to more heavily painted lusters.

Object of the Day: An Antique Bristol Glass Vase

The beauty of Bristol glass vases and other objects is emblematic of the design sensibilities of the late Nineteenth Century. Delicacy of shape and vibrant colors defined this time period. Bristol glass afforded a richness of color which was only heightened when illuminated. Being somewhat opaque, Bristol glass provides an uninterrupted evenness of color which is lost in more translucent glass. Furthermore, the relatively sturdy nature of the medium gave rise to delicate shapes which mimicked the curvilinear furniture styles which had become so prevalent.


This Bristol glass vase dates to the 1860’s-1870’s. Its pale rose color is somewhat unusual inasmuch as the majority of Bristol glass pieces of the era where white or blue. The vase features wide “shoulders” and a slender neck which gives the piece a neoclassical flavor. Decorated simply with swags of “lily of the valley” and elegant crests, the vase relies on shape more than it does on ornament. While many Bristol glass objects are heavily painted with naturalistic scenes, this one creates a statement with its rich color and striking silhouette.

Object of the Day: A Pair of Victorian Murano Glass Vases

Long known for their masterful art glass creations, the glass blowers of Murano, Italy, are heralded for their handling of colored glass. In England, during the reign of Queen Victoria, Murano glass became the height of fashion and was collected for its brilliant color and exquisite workmanship.


Contrary to popular belief, Victorian households embraced bright colors and sought to incorporate brilliant hues into home décor. This pair of small Murano glass vases is testament to that. Swirls of cadmium yellow and white engulf these classically shaped budvases. Their bold hue is further heightened by raised crimson beads and hand-painted pink flowers surrounded by gilt leaves and tendrils. There’s nothing sedate whatsoever about these vases. In fact, they’re a brave shock of color in even the darkest of rooms.

Object of the Day: An Antique Bisque Portrait Vase

The term “bisque” is often used in the U.S. to refer to the material properly called “biscuit.” Biscuit porcelain is unglazed and highly porous, however it can be painted and embellished as is the case of this attractive portrait vase.


Dating to the mid-Nineteenth-Century, this vase is English in origin. Painted in a rusty red and embellished with gold scroll-work, the central decoration of the vase is a hand-painted portrait of a young woman in profile. Portrait vases were quite popular during the Victorian era. Often, a member of the family was represented on a specially commissioned vase. Others were sold commercially with idealized images of beauty. Our Victorian counterparts liked things with faces.

Because of biscuit’s natural matte finish and its ability to take color neatly, it was often employed to make the heads and limbs of dolls. The result was a very realistic looking figure with an eerily lifelike skin-tone. Biscuit figures (often called parian ware) are very fragile. Because of this they’re quite difficult to find. If you have a biscuit object in your possession, make sure to handle it with care.

Objects of the Day: A Pair of Art Nouveau Vases

The Art Nouveau period (approximately 1890-1905) was defined by fluid shapes, free-flowing curves and a reliance on stylized natural themes. The style of the “new art” was undulating with life. A popular medium during the art nouveau, art glass reached a stylistic apex often featuring bright colors set against the contrast of clear and frosted glass.


This pair of French art-glass vases defines the Art Nouveau style. Rising to a gentle, tapered trumpet from the bulbous base which was characteristic of the style, these vases speak of the delicacy of natural forms which so inspired artists of the day.

Garnet-colored, hand-painted designs with roots in the Rococo, effortlessly reinforce the shape of the vase. They’re accentuated by gold paint which shimmers against the frosted glass. Clear glass adds an extra layer of dimension along the edges of the vases. Thin and delicate, these vases stand at fifteen inches in height. They seem to be untouched by time and continue to represent their origins with pride.