{"id":269905,"date":"2023-05-23T13:55:53","date_gmt":"2023-05-23T13:55:53","guid":{"rendered":"https:\/\/veritas.art\/lot\/an-unusual-set-of-2-dagoty-1771-1840-plates-246746822\/"},"modified":"2023-05-24T13:23:10","modified_gmt":"2023-05-24T13:23:10","slug":"an-unusual-set-of-2-dagoty-1771-1840-plates-246746822","status":"publish","type":"lot","link":"https:\/\/veritas.art\/en\/lot\/an-unusual-set-of-2-dagoty-1771-1840-plates-246746822\/","title":{"rendered":"[Auction 128] Lot 1 &#8211; An unusual set of 2 DAGOTY (1771-1840) plates"},"content":{"rendered":"French porcelain\r\nShell shaped of reliefs and part gilt decoration\r\nFrench Empire, ca. 1810\r\nMarked to base &#8220;Manufacture de sa majest\u00e9 l&#8217;imp\u00e9ratrice, P.L. Dagoty \u00e0 Paris&#8221;","protected":false},"featured_media":271393,"template":"","categories":[32],"class_list":["post-269905","lot","type-lot","status-publish","has-post-thumbnail","hentry","category-porcelain"],"acf":{"auction_number":"128","number":"1","ref":"1","letter":"0","hammer_value":"420","show_hammer_value":true,"estimation_min":"400","estimation_max":"600","price_on_request":false,"author":false,"auction":{"ID":269896,"post_author":"44","post_date":"2023-05-10 14:47:26","post_date_gmt":"2023-05-10 14:47:26","post_content":"","post_title":"Auction 128 - Antiques & Works of Art, Silver & Jewellery","post_excerpt":"","post_status":"publish","comment_status":"closed","ping_status":"closed","post_password":"","post_name":"auction-128-antiques-works-of-art-silver-jewellery","to_ping":"","pinged":"","post_modified":"2023-06-07 14:04:40","post_modified_gmt":"2023-06-07 14:04:40","post_content_filtered":"","post_parent":0,"guid":"https:\/\/veritas.art\/?post_type=auction&#038;p=269896","menu_order":0,"post_type":"auction","post_mime_type":"","comment_count":"0","filter":"raw"},"name":"An unusual set of 2 DAGOTY (1771-1840) plates","dimensions":"14,5x14 cm","description":"French porcelain<br \/>\r\nShell shaped of reliefs and part gilt decoration<br \/>\r\nFrench Empire, ca. 1810<br \/>\r\nMarked to base \"Manufacture de sa majest\u00e9 l'imp\u00e9ratrice, P.L. Dagoty \u00e0 Paris\" ","additional_info":[{"title":"A TEA SET BY PIERRE-LOUIS DAGOTY","text":"Pierre-Louis Dagoty (1771-1840) was born in Paris on July 2nd, 1771, at the heart of a family of painters and sculptors. His father, Jean-Baptiste Andr\u00e9 Gauthier Dagoty (1740-1786), was a court painter for Kings Louis XV (1710-1774) and Louis XVI (1754-1793), and it was him who was commissioned, in 1775, to paint the first official portrait of the Austrian Archduchess Marie Antoinette (1755-1793) as Queen of France, now displayed at the Ch\u00e2teau de Versailles (inv.MV8061).<br \/>\r\nOrphaned in 1785, the 14-year-old Pierre-Louis, together with his brother \u00c9tienne (ca. 1772-1800), entered an apprenticeship at Dihl & Gerhard\u2019s porcelain manufactory, through which they developed a robust knowledge of producing and decorating porcelain. In 1800, the brothers signed a nine-year contract for the purpose of reforming the production of a decaying firm located at 4 Rue de Chevreuse, in Paris. Curiously, on January 1st, 1800, the Dagoty published the following advertisement in the Courrier des Spectacles newspaper:<br \/>\r\n\u201cLes fr\u00e8res Dagoty, fabricants de Porcelaines, pr\u00e9viennent le public qu'ils ont repris totalement la fabrication de la porcelaines; ils se fluttent que l'on trouvera un nouveau, comme artistes et fils d\u2019artistes distingues, ils chercheront \u00e0 donner \u00e0 cette branche de commerce tout le go\u00fbt et l'\u00e9l\u00e9gance dont ele est susceptible.<br \/>\r\nUn avantafe que les citoyens n\u00e9gocians trouveront, c\u2019est que ne vendant \u00e0 aucuns d\u00e9tailans, ils \u00e9virtent par ce moyean de voir r\u00e9p\u00e9ter dans les magasins les formes et les dessins qui peuvent plaire, ce qui leur paroit essential dans cette partie.<br \/>\r\nLeur manufacture est rue de Chevreuse boulevard Mont-Parnasse. <br \/>\r\nLeur magasin est rue du Faubourg Poissonni\u00e8re, N. 2.\u201d <br \/>\r\nSadly, \u00c9tienne died later that same year, soon followed by their youngest brother Isidore, leaving the production entirely in Pierre-Louis hands. As such, it was him who steered the firm to its well-deserved place amongst the eighteen most important early-19th century Paris porcelain producers (R\u00e9gine Plinval de Guillebon - Dagoty \u00e0 Paris: La manufacture de porcelaine de l'Imp\u00e9ratrice Jos\u00e9phine, 2006, p.26). Significantly, four years into his leadership the firm employed over one hundred workers and counted five plants and four stores (Plinval de Guillebon, 1985, p.85).<br \/>\r\nThe Dagoty brand would significantly benefit from the patronage of Empress Josephine de Beauharnais (1763-1814), Napoleon\u2019s wife, being granted the title of \u201cManufacture de S.M. l'Imp\u00e9ratrice, P.L. Dagoty \u00e0 Paris\u201d in December 1804. Upon the fall of the French Empire in 1814, it once again changed its name, becoming the Manufacture of Her Royal Highness the Duchess of Angoul\u00eame. P.L. Dagoty.<br \/>\r\nHighly successful, in 1806 alone Dagoty sold over 350 thousand porcelain bottles. Its creations were supplied to most European courts and to the highest ranks of the aristocracy, such as Great Duchess Elisa Baciocchi, who acquired a dessert set for her Villa di Marlia, in Lucca, now part of the exceptional collections of Florence\u2019s Pitti Palace.<br \/>\r\nIn 1816 Pierre-Louis Dagoty established a partnership with two other porcelain manufacturers, Fran\u00e7ois Maurice Honor\u00e9 and Edouard Honor\u00e9, the former\u2019s firm based at Rue de Chevreuse since the previous century. This alliance would prove determinant for the luxurious production that ensued.<br \/>\r\nThe various pieces that we are presenting for sale at auction are superb examples of Dagoty\u2019s elegant production, diverse in its shapes and characterised by decorative motifs of highly unusual, gilded surfaces (de Plinval de Guillebon 1985, 84). Upon the dissolution of the partnership in 1820, Pierre-Louis Dagoty maintained his Paris porcelain production, which, on his retirement, would be sold to Dominique Denuelle.<br \/>\r\nAt its peak, Dagoty porcelain was renowned by a characteristic that set it apart from its contemporary productions, as Pierre-Louis had adopted a technique consisting in lining the pieces inner surfaces, namely cups, with a thick layer of gold, that contrasted with the sophisticated dark colours, Empire green and various shades of gold, of their exterior. This technique, mastered by Dihl & Gerhard, made porcelain wares highly attractive to European courtly patrons, and equally desirable to wealthy American clients. It is known that King George IV (1762-1830) of the United Kingdom, acquired a tea and coffee set in 1810, followed in 1816 by the American President James Monroe (1758-1831), who commissioned a 30-piece dining set from Dagoty & Honor\u00e9.<br \/>\r\nNowadays, in addition to the Royal Collection Trust and to the White House, Dagoty porcelain is present in various museum collections, such as the S\u00e8vres National C\u00e9ramique Museum, the Museum delle Porcellane in Florence, the Malmaison Ch\u00e2teau Museum, and the Metropolitan Museum in New York. It is however at the Lambert Castle Museum, in New Jersey, that pieces identical to the lots on sale by Veritas, can be found.<br \/>\r\n<br \/>\r\n<br \/>\r\nTHE EMPIRE STYLE<br \/>\r\nThe desire to return to the decorative aesthetics of the ancient classical decorative grammar, became evident in the mid-18th century, during the reign of King Louis XV, as evidenced by the so called \u201cgo\u00fbt \u00e0 la Grecque\u201d, which would eventually evolve in the following reign, under King Louis XVI. Reaching its peak with the Empire (1803-1821) this New Style was formalised by the designer and architect Charles Percier (1764-1838) and by his peer and contemporary, Pierre Fran\u00e7ois L\u00e9onard Fontaine (1762-1853).<br \/>\r\nInspired by Rome\u2019s Imperial past, as well as by the Egyptian art revealed by Napoleon\u2019s campaigns in Egypt, the Empire Style dominated the European decorative arts, particularly in furniture, jewellery, and costume design (Boulanger, 1960). Ever present, the Eagle was associated to the emperor, while the Swan was associated to Empress Josephine, whose fondness and interest for these birds is illustrated by the conspicuous presence of such decorative imagery in her private apartments at the Palaces of Malmaison and Fontainebleau. Eventually the Empress was also the first to succeed in breeding black swans in captivity.<br \/>\r\nIn addition to our tea set, in which the cups, teapot, milk jug and sugar bowl were modelled as swans, the extant Dagoty catalogue at the Victoria and Albert Museum, features a range of other designs that portray swans, being perhaps a means of honouring the Empress, or a reminder to its clients of the firm\u2019s Imperial connections.<br \/>\r\n<br \/>\r\n<br \/>\r\nTHE DECORATING OF 19TH CENTURY EUROPEAN PORCELAIN<br \/>\r\nAlexandre Brongniart (1770-1847), artistic director of the S\u00e8vres Manufactory, considered porcelain the best support for recording the most accomplished paintings ever produced. As such, in the late 18th and the early 19th centuries examples appear of paintings by the greatest masters, such as Rembrandt or Rubens, accurately and comprehensively copied from published engravings, onto porcelain. Illustrative of this trend are three t\u00eate-a-t\u00eate sets made for the Portuguese Crown by the Vienna Porcelain Manufactory, which are now belong to the National Palace of Ajuda and National Palace of Queluz collections. These sets, destined for serving hot chocolate, were decorated with copies of paintings by such artists as Orazio Gentileschi (1563\u20131639), Peter Paul Rubens (1577-1640) and Philip James Loutherbourg (1740-1812).<br \/>\r\nNonetheless, porcelain decoration went well beyond the replicating of famous old masterpieces, encompassing highly detailed and accomplished paintings of birds, flowers, mythological scenes, and landscapes (Coutts, 2001). Towards the late-18th century, the taste for birds and flowers reflected the prevalent interest for scientific and precise depictions of nature, and the porcelain manufacturers focused on the production of realistic portraits of a selection of species, mainly eagles, swans, parrots, owls and even chickens. Simultaneously they would produce images of utopian birds wrapped in eccentric and imaginative plumage (Bol\u00e9o, 2014).<br \/>\r\nIn parallel, some sets represented mythological imagery, perceived as illustrative of their owner\u2019s high culture and social status, and landscape views (Coutts, 2001). This latter group can be subdivided into imaginary compositions, in the Dutch of Italian styles, and accurate, real depictions, classed as \u201clandscape portraits\u201d and \u201cvistas\u201d (Coutts, 2001).<br \/>\r\n<br \/>\r\nLITERATURE:<br \/>\r\nAY-HALL\u00c9, Antoinette; MUNDT Barbara \u2013 Nineteenth-Century European Porcelain. London: Trefoil Books, 1983 <br \/>\r\nBAYARD, Emile \u2013 L \u0301art de reconnaitre la c\u00e9ramique. Paris: Ernest Grnd, 1924 <br \/>\r\nBLONDEL, Nicole \u2013 C\u00e9ramique, vocabulaire technique. Paris: \u00c9ditions du patrimoine 2014 <br \/>\r\nBOULANGER, Gis\u00e8le \u2013 L \u0301art de reconnaitre les styles. Paris: Hachette, 1960 <br \/>\r\nCOUTTS, Hoeard \u2013 The Art of Ceramics, European Ceramic Design 1500\u20131830. New York: Yale University Press, 2001 <br \/>\r\nDANCKERT, Ludwig, Directory of European Porcelain, London, N.A.G. Press, 2004 <br \/>\r\nPlINVAL de Guillebon, R\u00e9gine de - Dagoty \u00e0 Paris, la manufacture de porcelaine de L'Imp\u00e9ratrice. Paris: Somogy Editions d'Art, 2006. Exhibition at the Ch\u00e2teau de Malmaison of more than 300 Dagoty pieces (2006-2007)<br \/>\r\nPlINVAL de Guillebon, R\u00e9gine de - La porcelaine \u00e0 Paris sous le Consulat et l'Empire: fabrication, commerce, \u00e9tude topographique des immeubles ayant abrit\u00e9 des manufactures de porcelaine. Geneva: Droz, 1985, pp. 82-85<br \/>\r\nRODRIGUES, Tiago \u2013 Um pequeno tesouro do Pal\u00e1cio Nacional da Ajuda: Um t\u00eate-\u00e0-t\u00eate para Chocolate que pertenceu ao Infante D. Afonso, Duque do Porto in AA.VV \u2013 Artes decorativas, Artis On, N\u00ba1, ARTIS-Instituto de Hist\u00f3ria da Arte da Faculdade de Letras da Universidade de Lisboa, 2015, pp.129-141<br \/>\r\n<br \/>\r\n"}],"tags":"Porcelain","gallery":[{"image":{"ID":271392,"id":271392,"title":"128_1","filename":"1.jpg","filesize":8113643,"url":"https:\/\/veritas.art\/wp-content\/uploads\/2023\/05\/1.jpg","link":"https:\/\/veritas.art\/en\/lot\/invulgar-conjunto-de-dois-pratos-dagoty-1771-1740-688002394\/128_1\/","alt":"","author":"44","description":"","caption":"","name":"128_1","status":"inherit","uploaded_to":269904,"date":"2023-05-23 17:45:45","modified":"2023-05-23 17:45:47","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/veritas.art\/wp-includes\/images\/media\/default.png","width":7305,"height":4876,"sizes":{"thumbnail":"https:\/\/veritas.art\/wp-content\/uploads\/2023\/05\/1-150x150.jpg","thumbnail-width":150,"thumbnail-height":150,"medium":"https:\/\/veritas.art\/wp-content\/uploads\/2023\/05\/1.jpg","medium-width":300,"medium-height":200,"medium_large":"https:\/\/veritas.art\/wp-content\/uploads\/2023\/05\/1.jpg","medium_large-width":768,"medium_large-height":513,"large":"https:\/\/veritas.art\/wp-content\/uploads\/2023\/05\/1.jpg","large-width":1024,"large-height":684,"1536x1536":"https:\/\/veritas.art\/wp-content\/uploads\/2023\/05\/1.jpg","1536x1536-width":1536,"1536x1536-height":1025,"2048x2048":"https:\/\/veritas.art\/wp-content\/uploads\/2023\/05\/1.jpg","2048x2048-width":2048,"2048x2048-height":1367,"v_medium":"https:\/\/veritas.art\/wp-content\/uploads\/2023\/05\/1-640x427.jpg","v_medium-width":640,"v_medium-height":427,"gform-image-choice-sm":"https:\/\/veritas.art\/wp-content\/uploads\/2023\/05\/1.jpg","gform-image-choice-sm-width":300,"gform-image-choice-sm-height":200,"gform-image-choice-md":"https:\/\/veritas.art\/wp-content\/uploads\/2023\/05\/1.jpg","gform-image-choice-md-width":400,"gform-image-choice-md-height":267,"gform-image-choice-lg":"https:\/\/veritas.art\/wp-content\/uploads\/2023\/05\/1.jpg","gform-image-choice-lg-width":600,"gform-image-choice-lg-height":400}},"is_video":false,"video_source":"","video_id":"","use_video_thumbnail":true}],"auction_session":"1","show_in_withdrawn_lots":true},"_links":{"self":[{"href":"https:\/\/veritas.art\/en\/wp-json\/wp\/v2\/lot\/269905","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/veritas.art\/en\/wp-json\/wp\/v2\/lot"}],"about":[{"href":"https:\/\/veritas.art\/en\/wp-json\/wp\/v2\/types\/lot"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/veritas.art\/en\/wp-json\/wp\/v2\/media\/271393"}],"wp:attachment":[{"href":"https:\/\/veritas.art\/en\/wp-json\/wp\/v2\/media?parent=269905"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/veritas.art\/en\/wp-json\/wp\/v2\/categories?post=269905"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}