Images

https://piction.clevelandart.org/cma/ump.di?e=044094B370C31173368076419A5E2E61269353B1FDB1E6FD98A27281399925AE&s=24247294&se=1905443271&v=0&f=1977.182_o2.jpg

https://piction.clevelandart.org/cma/ump.di?e=01D65EEA35995646805EAAA23F83C11E24B7969B6233E1B8018C5CCA7037E896&s=24247294&se=1905443271&v=0&f=%5C1977.182_o2.jpg

https://piction.clevelandart.org/cma/ump.di?e=93D2D5A5BFC947C0000502EF0781547C5AD229F26DA5243F13E3AD5C6842AB29&s=24247294&se=1905443271&v=0&f=%5C1977.182det01_o2.jpg

https://piction.clevelandart.org/cma/ump.di?e=8F0734AF29C855316FC861B2DFACE59A81B285D0BB271CBB1DE2956F64D1EBB0&s=24247294&se=1905443271&v=0&f=%5C1977.182det01_o2.jpg

https://piction.clevelandart.org/cma/ump.di?e=2A079CFC9B814A9DD725BB3FC271CD1FAF468D48E2D4B0CFE8B157932B484399&s=24247294&se=1905443271&v=0&f=%5C1977.182det02_o2.jpg

https://piction.clevelandart.org/cma/ump.di?e=37999FB8077C70DFBD09B750FA19E522E08225A7E0842D08ADDD37171FBEBCF4&s=24247294&se=1905443271&v=0&f=%5C1977.182det02_o2.jpg

https://piction.clevelandart.org/cma/ump.di?e=37999FB8077C70DF9DEB963A23E484EF59F670E4BABDA77EE9985A963582848E&s=24247294&se=1905443271&v=0&f=%5C1977.182det03_o2.jpg

Additional Views

Jan 25, 2008

Covered Tureen on Stand (Pot-à-oille)

1735–38

Part of a set. See all set records

designer

Juste-Aurèle Meissonnier

(French, 1695–1750)

maker

Pierre-François Bonnestrenne

(French)

maker

Henry Adnet

(French, 1745)

France, Paris

Silver

Overall: 36.9 x 38.4 x 31.8 cm (14 1/2 x 15 1/8 x 12 1/2 in.); Average: 35 x 38.4 x 31.8 cm (13 3/4 x 15 1/8 x 12 1/2 in.)

Weight: 18 lb. 8 oz., antennae: .5 oz.

Leonard C. Hanna, Jr. Fund 1977.182

Location

216A French and German

Did you know?

The langoustine, pigeon, and vegetables were cast using real examples giving the silver copies lifelike detail and appearance.

Description

Designed by one of Louis XV’s official architects, this tureen exemplifies the French rococo style, an artistic movement celebrating naturalistic forms that developed in Paris during the early 1700s. In contrast to classical, controlled symmetry, rococo forms morph, twist, and spill into the space around them. Meissonnier embellished this tureen in a picturesque arrangement of vegetables and creatures, transforming a utilitarian object into a decadent display of wealth and abundance. This masterpiece comes from a set of two tureens commissioned by the English Duke of Kingston during an extended stay in Paris in the 1730s.

Video

Artist biography

Pierre-François Bonnestrenne

Master 1714

Henry Adnet

Master 1712

Inscriptions

Inscription

[Maker’s mark of Pierre−François Bonnestrenne, beneath platter; inside tureen (two marks)]

Inscription

[Warden's mark for Paris, 1734−1735, beneath platter; inside tureen; inside cover]

Inscription

[Charge mark of Hubert Louvet, Paris, 1732-1738, on platter border; beneath platter; beneath tureen; inside cover; inside tureen (two marks)]

Inscription

[Discharge mark of Louis Robin mostly used for stamping small work, Paris 1738−1744, on platter border; beneath tureen]

Inscription

[Warden's mark for Paris, 1736−1737, on platter border]

Inscription

[Possibly British import mark, London, 1925, on platter border]

Inscription

[Possibly mark of the British firm Charles & Richard Comyns, on platter border]

Inscription

[Discharge of Louis Robin mostly used for stamping gold and silver between 1738 and 1744, beneath tureen; outside cover]

Inscription

[Maker’s mark of Henry-Guillaume Adnet, inside cover]

Inscription

[Two small undefined marks, inside cover]

Inscription

[Under the surface of the platter the engraved signature]: “FAIT-PAR-I-A-MEISSONIER-ARCHITECTTE”; [and the weight] “673=5"; “No. [v] I 50 £ b76Sol”; [and the numbers] “A nº 1”; “A nº2”

Inscription

[On tureen lip]: "MEISSONIER"

Inscription

[On tureen lip]: “A nº 3”; “A nº2” [in order to place the tureen correctly on the stand]

Inscription

[Numbers engraved on the stand, the tureen, and the cover to show how the piece should be assembled]: “A nº 1” [on the base of the tureen; beneath the cover; on the platter], “A nº 2” [on the platter], “A nº 3” [on the exterior rim of the tureen], “A nº4”; “A nº 5” [outside the cover], “A nº 7” [on the border of the platter]

Inscription

[Two warden's marks for Paris, 1735-1736, beneath tureen]

Provenance

1740-1773

Evelyn Pierrepont, 2nd Duke of Kingston [1711–1773], England, by descent to his wife, Elizabeth Chudleigh

1773-1788

Elizabeth Chudleigh, sometime Duchess of Kingston [1721–1788], England

1788-1799 (?)

Prince Alexander Bezborodko [1747–1799], Russia

1799-1815 (?)

Count Elie Bezborodko [1756–1815], Russia

1815-1855 (?)

Count Alexander Kushelev-Bezborodko [1800-1855], Russia

1855-1909 (?)

Alexander Alexandrovich Polovtsoff [1832-1909], Russia, by descent to his heirs

(Jacques Seligmann [1858-1923], Paris, France, 1909, sold to John Pierpont Morgan)

1909-1913 (?)

John Pierpont Morgan [1837-1913]

1925-1926

(Charles and Richard Comyns, London, England, 1925-1926, sold to anonymous buyer)

1977

(Peter Zervudachi [b. 1921], Galerie du Lac, Vevey, Switzerland, sold to The Cleveland Museum of Art)

1977-

Cleveland Museum of Art, Cleveland, Ohio

Citations

The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. Reproduced: p. 177 archive.org

Cleveland Museum of Art, “Cleveland Museum of Art Has Purchased Jointly with Stichting Collectie Thyssen—Bornemisza the Kingston Tureens,” January 4, 1978, Cleveland Museum of Art Archives. archive.org

Hawley, Henry H. "Meissonnier's Silver for the Duke of Kingston." The Bulletin of the Cleveland Museum of Art 65, no. 10 (December 1978): 312-52. Reproduced: figs. 3, 7, 16 wwww.jstor.org

Truman, Charles. Sotheby's Concise Encyclopedia of Silver. London: Conran Octopus, 1996. Mentioned: p. 93 library.clevelandart.org

Donley, Gregory M, "A Discerning Eye", Cleveland Museum of Art. Cleveland Art: The Cleveland Museum of Art Members Magazine. Vol. 39 no. 05, May 1999 Mentioned & reproduced: p. 6 archive.org

May, Sally Ruth. Knockouts: A Pocket Guide. Cleveland: Cleveland Museum of Art, 2001. Reproduced: no. 40, p. 42

Jolly, Anna. Seidengewebe des 18. Jahrhunderts. 2. Riggisberg: Abegg-Stiftung, 2002. Mentioned: p. 34

Fuhring, Peter. "The Silver Inventory from 1741 of Louis, duc d'Orleans." Cleveland Studies in the History of Art 8 (2003): 130-145. Mentioned and reproduced: P. 130-131, fig. 1 www.jstor.org

Caillaud-de Guido, Laurence. "La courbe rocaille, lien entre les siècles." L'Estampille, l'objet d'art, no. 435 (May 2008).

1989. Referenced: p. 14

Böhmer, Achim, and Sara Hausmann. Retrodesign: stylelab. Mainz: Verlag Hermann Schmidt, 2009. Mentioned: p. 184 library.clevelandart.org

Franklin, David, and C. Griffith Mann. Treasures from the Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art in association with, New York, NY: Scala Publishers, 2012. Reproduced & mentioned: pp. 214-215

Bailey, Gauvin Alexander. Baroque and Rococo. London: Phaidon Press Limited, 2012. Mentioned: p. 293, fig. 179 library.clevelandart.org

Truman, Charles, Seoyoung Kim, and Rebecca Wallis. The Wallace Collection: Catalogue of Gold Boxes. London: The Trustees of the Wallace Colection, 2013. Mentioned: p. 67, fig. 4.1 library.clevelandart.org

Bidwell, Frederick E., and Leslie Cade. The CMA Companion: A Guide to the Cleveland Museum of Art. Cleveland, OH: Cleveland Museum of Art in association with New York, NY: Scala Arts Publishers, 2014. Reproduced & mentioned: p. 135

Schroder, Timothy. "Rococo Silver." In Scrolls of Fantasy: The Rococo and Ceramics in England, C. 1735-C. 1775. Charles Dawson, ed., 7-26. London: English Ceramic Circle, 2015. Reproduced: p. 9, fig. 5

Manners, Errol. "The Rococo Porcelain of Europe and its influence on British Ceramics." In Scrolls of Fantasy: The Rococo and Ceramics in England, C. 1735-C. 1775. Charles Dawson, ed., 27-38. London: English Ceramic Circle, 2015. Reproduced: p. 28, fig. 4

Exhibition history

Tanke och form i rokokon (18th Century: Thought and Form in the Rococo Age). Nationalmuseum, 103 24 Stockholm, Sweden (organizer) (October 4, 1979-January 6, 1980).

Consuming Passions: The Art of Food and Drink. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 26-October 9, 1983).

All That Glitters: Great Silver Vessels in Cleveland's Collection. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 23, 1994-January 8, 1995).

Rococo: The Continuing Curve 1720-2008. Cooper Hewitt, Smithsonian Design Museum, New York, NY (organizer) (March 7-July 6, 2008).

Elegance and Intrigue: French Society in 18th-century Prints and Drawings. The Cleveland Museum of Art, Cleveland, OH (organizer) (July 16-November 6, 2016).

Cite this page

{{cite web|title=Covered Tureen on Stand (Pot-à-oille)|url=https://clevelandart.org/art/1977.182|author=Juste-Aurèle Meissonnier|year=1735–38|access-date=22 September 2023|publisher=Cleveland Museum of Art}}

Contact us

The information about this object, including provenance, may not be currently accurate. If you notice a mistake or have additional information about this object, please email collectionsdata@clevelandart.org.

To request more information about this object, study images, or bibliography, contact the Ingalls Library Reference Desk.

All images and data available through Open Access can be downloaded for free. For images not available through Open Access, a detail image, or any image with a color bar, request a digital file from Image Services.

You are here:

Images

Covered Tureen on Stand (Pot-à-oille)

Covered Tureen on Stand (Pot-à-oille)

Juste-Aurèle Meissonnier

Pierre-François Bonnestrenne

Henry Adnet

Location

Download and Share

Did you know?

Description

Video

Pierre-François Bonnestrenne

Henry Adnet

Inscription

Inscription

Inscription

Inscription

Inscription

Inscription

Inscription

Inscription

Inscription

Inscription

Inscription

Inscription

Inscription

Inscription

Inscription

Contact us