Taxile Doat "La Musique et la Danse" Vase with Stopper
Regular price
$32,500
This gourd-shaped vase by Taxile Doat, topped with a stem-shaped bottle stopper, is adorned with two oblong green plaques depicting putti in an allegory of music. The child on the left leans against a stool bearing a tympanum (hand drum), a floghera (flute), a timpani, and a gong.
Item #: C-22028
Artist: Taxile Doat
Country: France
Circa: 1903
Dimensions: 13.75" height.
Materials: Glazed Porcelain with Pâte-sur-pâte Decoration
Signed: signed and dated TDOAT Sèvres 1903 33
Literature: A. Guérinet, ed., L’Art Décoratif aux Expositions des Beaux-Arts 1903, Paris, 1903, pl. 23
Taxile Doat, Grand Feu Ceramics: A Practical Treatise on the Making of Fine Porcelain and Grès, Syracuse, 1905, p. 120, fig. 62
Laurence Buffet-Challié, Le Modern Style, Paris, 1975, p. 115, no. 1
Alastiar Duncan, The Paris Salons 1895-1914, Volume IV: Ceramics and Glass, Woodbridge, Suffolk, 1998, p. 182 (for a period photograph of this model at the La Société Nationale des Beaux-Arts, 1903)
Item #: C-22028
Artist: Taxile Doat
Country: France
Circa: 1903
Dimensions: 13.75" height.
Materials: Glazed Porcelain with Pâte-sur-pâte Decoration
Signed: signed and dated TDOAT Sèvres 1903 33
Literature: A. Guérinet, ed., L’Art Décoratif aux Expositions des Beaux-Arts 1903, Paris, 1903, pl. 23
Taxile Doat, Grand Feu Ceramics: A Practical Treatise on the Making of Fine Porcelain and Grès, Syracuse, 1905, p. 120, fig. 62
Laurence Buffet-Challié, Le Modern Style, Paris, 1975, p. 115, no. 1
Alastiar Duncan, The Paris Salons 1895-1914, Volume IV: Ceramics and Glass, Woodbridge, Suffolk, 1998, p. 182 (for a period photograph of this model at the La Société Nationale des Beaux-Arts, 1903)
Doat was among the earliest ceramists to employ pâte-sur-pâte, a technique of building up translucent, low-relief compositions using layers of porcelain slip. First developed at Sèvres in 1849, the method became a hallmark of Doat’s work—both during his tenure at the national manufactory from 1877 to 1905, and later at his own studio, the Villa Kaolin. He often chose allegorical or whimsical themes, setting them as plaques on stoneware bodies, where the luminous porcelain reliefs stood out in striking contrast against the coarse, matte ground.
Doat was among the earliest ceramists to employ pâte-sur-pâte, a technique of building up translucent, low-relief compositions using layers of porcelain slip. First developed at Sèvres in 1849, the method became a hallmark of Doat’s work—both during his tenure at the national manufactory from 1877 to 1905, and later at his own studio, the Villa Kaolin. He often chose allegorical or whimsical themes, setting them as plaques on stoneware bodies, where the luminous porcelain reliefs stood out in striking contrast against the coarse, matte ground.
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