What we see here is a majestic large ornamental vase in glossy white hard porcelain on a square copper matt gold-plated base, which is recessed at the corners. The walls of its base are decorated with scrollwork and bunches of grapes. On top there is a round matte gold plated copper platform with bay leaves and knives. Above, the porcelain vase stands on a round gloss gilded base that narrows conically into a narrow cylindrical thickening, and then spreads out again in a chalice-shaped part that spreads further into a broad circular corpus. On a blue Mazarin background, two shiny gilded rectangular cartouches with C-curls in polychromy have a landscape decoration on one side and an “amourette” decoration hand-painted on a white background on the other. At the top, the corpus changes into a shiny gilded frieze and then narrows back into a fairly long cylindrical neck. On this neck there are again two shiny gilded cartouches with the same landscape decoration on the one hand, and a decoration of two elegant lovers on the other. At the top we see a spreading circular edge with two parallel shiny gold-plated bands. On this rests a round matt gold-plated copper band with leaf motifs. On the side there is always a beautiful matte gilded solid bronze statue of a sitting satyr, this as a handle. At the bottom, the white glossy glazed base is reinforced with an iron band and an old square nut. On the white porcelain base we see in underglaze blue the apocryphal mark of the intertwined L’s with the letter “E” in the center, normally standing for the year 1757, a year in which Sèvres, however, used soft porcelain and is therefore not compatible with this hard porcelain . We emphasize once again that this is a, though beautiful, copy in Sèvres style, so-called pseudo-Sèvres. Nevertheless, it is a very good implementation. Most likely made in one of the French Parisian factories in the 2nd half of the 19th century. Very solid decorative. and majestic work.

Condition: perfect.