Offered by Franck Baptiste Paris
Rare pair of parrots in green enameled cookie for the birds and yellow and green for the pierced rocks.
Good condition, minor restorations to the cookies.
Rocaille base in finely chased bronze gilded with mercury.
China, Jiangxi province, Jingdezhen, Qing dynasty, era of Emperor Kangxi (1662-1722) for the parrots.
France, Paris, Louis XV period circa 1750 for the bronze mount.
Dimensions :
Height : 23 cm
Related models :
-Victoria & Albert Museum (N° Inv 813-1882)
-Antony Gustav de Rothschild Collection (1887-1961)
Our view :
In the 18th century, the parrot was an absolute symbol of beauty and exoticism, conjuring up images of exuberant nature, warm seas and pirates.
The parrot is endowed with a great capacity for learning, can repeat the most diverse tasks and even possesses the gift of eloquence, which is exceptional in nature.
For these virtues, the bird is highly prized by the cultivated elite, who don't hesitate to install aviaries in the parks of castles, or to depict the bird in numerous paintings.
The bird symbolizes freedom, air and speech, as well as the playful way it carries food in its beak.
Finally, our bird is also a symbol of purity, with its waterproof plumage on which water slides but does not penetrate.
This is why, from the Middle Ages onwards, it was used to embellish certain depictions of the Virgin and Child.
The parrot's popularity with princely courts peaked during the "singeries" fashion, when it took second place in the satirical imitation of the human race.
During this period, Parisian haberdashery dealers placed numerous orders, notably with the Compagnie des Indes, which imported large quantities of these porcelain parrots from China.
The technical mastery achieved by Chinese ceramists enabled them to imitate the bird’s plumage, with glazes in shimmering hues.
Once in Paris, these precious porcelains were mounted on bronze and sold to members of the nobility, who were delighted to “perch” these multicolored birds on small gilded wooden consoles.