Antique Limoges France

Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8

Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8
Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8
Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8
Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8
Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8
Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8
Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8
Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8
Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8
Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8
Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8

Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8    Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8

Great Pair celadon Limoges Pate-sur-Pate framed signed Plaques Camille Tharaud 7 1/8. Antique Treasures from Paris to your Door. A pair of very fine Pate-sur-pate. The plaques are signed by hand with the « CT » monogram and « Limoges on paste and with the Tharaud within plaque stamped mark on the back. A true matching pair showing on the right a little girl seating on a branch with flowers charming butterflies with her flute and, on the left, a young boy among vines tasting grapes.

An allegory of youth and innocence. The pâte-sur-pâte artist is extremely talented, giving precise and smooth smallest details to an elegant and charming composition in the « Grande Tradition » of the lost pâte-sur-pâte Art. Very few French artists of the 20th century were able to produce such high quality works. Despite the fact the pair bears the artist « CT » mark, Camille Tharaud never had in his manufactory an in-house a pâte-sur-pâte artist of this higher grade. The Tharaud marks history show that signed Riffaterre works with his own signature on Tharaud plaques start just after 1920.

Further, the « CT » paste mark appears on models created by Auguste Riffaterre. These two « CT » plaques were most likely painted and sculpted by Auguste Riffaterre himself. Strangely, pâte-sur-pâte works became quite common after the mid-1930s, even those made by Tharauds brother-in-law Lucien Crèlerot, who was better in sculpture than in pâte-sur-pâte, a royal and demanding art made for true trained artists who where able to master equally drawing and sculpture like Louis Solon in Sèvres and at Minton's or even Joe Descomps. The plaques are set in their original ormolu frames with top ribbon and small ranking pearls around.

Except on a few spots, the gilding is mostly preserved. Perfect condition for the porcelain. Height (plaques) : 6 1/8 (15,5 cm). 4 1/4 (10,5 cm).

Frames : 4 5/8" x 7 1/8" (11,5 x 18 cm). Weight : 455 g (boy) 487 g (girl). Pâte-sur-Pâte : a splendid 100 years Journey. You probably already know a little or more about Pâte-sur-Pâte. Discovered accidentally at the Sèvres Manufactory in 1849 C.

Ebelmen, this porcelain decorating technique requires both high painting and sculpture skills. A "relief painting" that demands a great artist hand gifted in both major Fine Arts. Most of the pioneer masters were already retired. Pâte-sur-Pâte painting, made of 30-40 superimposed slip layers after drying and polishing of each thin slip application is extremely different from cameo.

Moulded porcelain like Wedgwood parianware : the final scenes show incredible transparencies to the colored ground, allowing unique and breathtaking representations of dancing nymphs with veils, flames, wings, flowers and leaves, etc. Further, each pâte-sur-pâte work is original and unique as a contrary to parianware, which is easy to reproduce ad libitum. History of the Pâte-sur-Pâte Art is well documented until WW1 cf.

The major reference work Pâte-sur-Pâte , Bernard Bumpus, Barrie & Jenkins, London 1992. Extremely little is known about Pâte-sur-Pâte afterwards even though Limoges continually produced hgh quality works therefore quite interesting for smart investors until the 1960s. Thomas and Camille Tharaud are regularly offered in this listing.

To expensive to produce, too difficult to teach, high quality Pâte-sur-Pâte is'nt produced anymore since almost half a century. Some low quality vintage pieces produced after WW2. Most of the antique pieces produced before WW1 are now very valuable. Works by the Old Masters reach extreme high prices (see below 1903) and high quality pieces made before WW2 at still affordable prices will remain unique and a clever investment for collectors and lovers of fine Art Objects. 1849 First Pâte-sur-Pâte work ('sucrier' with celadon ground) at the Sèvres Manufactory. 1857 Marc Louis Solon, a 22 years old Art student in Paris is hired by the Sèvres Manufactory. He works there with the pioneering first Pâte-sur-Pâte artists, H. 1855 The Gibus & Redon and the Pouyat Limoges factories show their first high quality Pâte-sur-Pâte objects at the Paris International Exhibition. The long enamel painting tradition of the city allows Limoges to offer premium works very early in both design and porcelain. 1870 Marc Louis Solon leaves France during the French-Prussian War and starts his glorious career at Mintons in Stoke-on-Trent the day after his arrival. 1884 The sculptor Auguste Rodin, who used to work for the Sèvres Manufactory until 1882 shows a pair of revolutionary Pâte-sur-Pâte vases, "The Day" and "The Night" with incised designs. 1887 The fabulous "Golden Jubilee Vase", a masterwork of Louis Solon who spent 78 days to achieve it, is presented to Queen Victoria by Mintons (Osborne House, Isle of Wight). 1889 A group of independent Pâte-sur-Pâte artists trained at the Limoges National School create an association Collectivité des céramistes Chambrelans de Limoges for developing porcelain design and techniques. They show their works at the Chicago exhibition 1893 and existed until WW1. Numerous Limoges Pâte-sur-Pâte artists of the XX. Century were trained by independent older artists in Limoges until the end of the Pâte-sur-Pâte era after WW2. 1897 The Sèvres Manufactory stops producing Pâte-sur-Pâte. 1900 The Innocence and Truth Cabinet by Pr. Ludwig Sturm, Meissen, exhibited at the Paris Centennial World Exhibition. Among the 177 works by Doat, F.

And Mabel Lewis or S. Robineau exhibited 1911 in Turin by the University workshop, Adelaide Robineau wins a Grand Prix. The long tradition of enamel painting in Limoges joins the close art of Pâte-sur-Pâte porcelain painting. 1937 Alboin Birks, the last direct pupil of Louis Solon, retires from Mintons.

1938 Taxile Doat produces privately a few works until his death in Sèvres. 1966 Death of Marcel Chaufriasse, who worked closely with J. He was the only Limoges artist able to give within the general poor quality production after 1945, a last glimpse of the ancient glory of the. _gsrx_vers_841 GS 7.0.16 (841).

The item "Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8" is in sale since Monday, May 20, 2019. This item is in the category "Antiques\Decorative Arts\Ceramics & Porcelain\Other Antique Ceramics". The seller is "bourgdun" and is located in Paris. This item can be shipped worldwide.

  • Type: Plaque
  • Maker: Camille Tharaud Limoges
  • Age: 1900-1940
  • Original/Reproduction: Original
  • Color: Green White Gold
  • Style: Classical
  • Country/Region of Origin: France
  • Primary Material: Porcelain Ormolu


Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8    Great Pair celadon Limoges Pate-sur-Pate framed Plaques Camille Tharaud 7 1/8