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French Faience Chinoiserie Footed Tray, Marseille, Leroy Manufactory

$5,200

£3,925.67

€4,567.86

CA$7,339

A$7,362.10

CHF 4,299.38

MX$89,635.72

NOK 49,369.09

SEK 50,842.49

DKK 34,143.64

About the Item

18th Century French Faience Chinoiserie Footed Tray, Marseille, Leroy Manufactory, Knafel Collection Circa 17309 This Marseille faience footed tray, of the form known in French as a bannette, is painted in the grand feu palette of blue, olive green, ochre yellow and iron red with a chinoiserie scene of two courting couples in a garden. At the left a gentleman in a plumed flat hat and spotted tunic, holding a tall flowering staff, addresses a lady seated on a low bench with a basket of flowers in her lap. At the right a man in a conical plumed hat runs forward to offer a sprig of red blossom to a lady in a blue robe and feathered headdress standing before a red lattice fence, a vase of fruit on a pedestal behind him and a group of tall feathery red plants beyond. The two couples are divided by a luxuriant flowering plant rising from a rocky mound, its blossoms drawn in the hatched red that is characteristic of the factory, and in the foreground a spotted dog chases a blue hare across a rocky bank. Flowering sprigs extend into the well from the long sides, and the ground is scattered with small sprigs, a fanciful butterfly and fragments of trellis and pavilion at the corners, the whole enclosed by a blue line at the rim. The tray is rectangular with slightly bowed sides and rounded corners and stands on a spreading rectangular foot. The sides are painted with a running band of blue and green flowers and hatched red blossoms, and the foot with a trailing vine of red flowers and blue leaves. The rope-twist handles rising from the short ends are sponged with tiny dots of blue, ochre and olive green. The underside is glazed within an unglazed rectangular foot rim showing the reddish body. The attribution to the Leroy manufactory rests on the palette, in particular the hatched or striated red that recurs on the factory’s documented pieces, including the starfish-like red flower borders of the 1720s and 1730s that are its best-known signature (Perlès, 2016). The tray was formerly in the collection of Sidney R. Knafel, New York, where it was catalogued as no. 130 in Christophe Perlès’s 2016 catalogue of the collection, and it retains the Knafel collection label together with the earlier printed label of the d’Espezel collection, Carcassonne, numbered S42. Dimensions Length: 11¾ inches (29.9 cm) Width: 8 inches (20.3 cm) Height to top of handles: 3¼ inches (8.3 cm) Marks Unmarked. Paper collection labels to the underside: a printed label reading “COLLECTION / D’ESPEZEL / CARCASSONNE” with the manuscript number S42 within a rococo cartouche, and an oval “SIDNEY R. KNAFEL COLLECTION” label numbered 130. Provenance Collection d’Espezel, Carcassonne (label no. S42); Collection Thuile; Tajan, Hôtel Drouot, Paris, 24 October 2007, lot 131; Sidney R. Knafel Collection, New York, no. 130; Earle D. Vandekar of Knightsbridge. Condition Good, with small glaze chips to the rim edges and foot rim of the kind usual for grand feu faience. References Perlès, Christophe. French Faïence: The Sidney R. Knafel Collection. 2016, cat. no. 130. Vignon, Charlotte. Masterpieces of French Faience: Selections from the Sidney R. Knafel Collection. New York: The Frick Collection in association with D Giles Ltd, 2018. The Metropolitan Museum of Art. “French Faience.” Heilbrunn Timeline of Art History. Historical Context The Leroy manufactory descended from the pioneering Clérissy workshops of Saint-Jean-du-Désert outside Marseille. Anne Clérissy left the family’s second factory to her daughter Madeleine Héraud (1685–1749), wife of Louis Leroy, who ran it as a widow from 1706, first near the Porte d’Aix and, after the site was expropriated for street building in 1727, in the rue de la Calade within the city walls; her son Louis Leroy (1704–1778) and grandson Antoine carried it on until 1780. Its output was essentially grand feu faience, painted in the metallic-oxide colors that could survive a single high-temperature firing with the glaze: cobalt blue, copper green, antimony yellow and an iron red that was notoriously difficult to fix and became a hallmark of the house. The compositions of the early period show the influence of Rouen, and chinoiserie scenes of this kind, fanciful European visions of the East adapted from engraved sources, answered the same taste that drove the market for Chinese export porcelain. Sidney R. Knafel assembled his collection of French faience over more than fifty years, and seventy-five pieces from it were shown at The Frick Collection, New York, in 2018–2019 as Masterpieces of French Faience, when the collection was announced as a promised gift to the museum. (Ref: NY10522-nlir)

Dimensions:
Height: 3.25 in (8.26 cm)Width: 11.75 in (29.85 cm)Depth: 8 in (20.32 cm)
Style:
Rococo (Of the Period)
Materials and Techniques:
Faience
Period:
Early 18th Century
Date of Manufacture:
1730
Condition:
Wear consistent with age and use.
Seller Location:
Downingtown, PA
Reference Number:
Seller: NY10522-nlir1stDibs: LU861040394632

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