Enchanting Louis XVI bisque porcelain group by Locré Manufactory in Paris. It features a "fête champêtre" or pastoral concert with ladies and gentlemen playing music together in a landscape with plants and animals. The biscuit exhibits classical artistry, beautiful detail and delicate craftsmanship. Features a monogram under the base.
Dim: W: 7,9 in - D: 7,9in - H: 14,6in.
Dim: L:20cm, P:20cm, H:37cm.
In overall very good condition. Small restorations to the fingers and goat's horns, and tiny chips to the leaves.
The Locre and Russinger porcelain factory was one of the many factories that set up in Paris during the final quarter of the 18th century. Jean-Baptiste Locre was a businessman who invested his fortune in building the factory at La Courtille. In 1772 he hired Laurentius Russinger, a porcelain specialist and sculptor who had worked at the Hochst factory. In 1777, Locre promoted Russinger to manager. By the late 1760’s, the kind of clay (kaolin) used to make glassy Meissen-style porcelain had been discovered in France at Saint-Yrieux, near Limoges. This clay was used by Russinger to produce a hard-paste porcelain similar to Meissen that could withstand boiling water. This was an important selling point for the factory’s wares that they used in their advertisements. The factory also adopted the mark of a pair of crossed, flaming torches, reminiscent of Meissen’s crossed swords mark. Sometimes known as “La Courtille” after its location in Paris, the factory is also sometimes referred to as Locre, Russinger, and Pouyat. Francois Pouyat was a porcelain dealer in Limoges who supplied the clay. He became one of its partners, then he and his three sons took over.
According to Regine Plinval de Guillebon, by 1779 this factory ranked among the three most important porcelain works in Paris, the others being Rue Thiroux and Clignancourt. They made the same type of objects as the famous (but much more expensive) Sèvres factory: a wide range of table and tea wares as well as useful items such as writing sets, toiletry items, and tobacco. They used a variety of painted and gilded decorations, ranging from simple floral sprigs to elaborate Etruscan, neo-classical, and other fashionable designs. The factory excelled in biscuit sculpture, which is not surprising given that this was Russinger’s specialty. They produced many different mythological, allegorical, and family groups, as well as individual subjects.
Regine de Plinval de Guillebon, Les biscuits de porcelaine de Paris XVIIIe-XIXe siècle, Paris, Editions Faton, 2012, pp. 266-273.