  About the Artwork
  
  
  Made at the Sèvres factory outside of Paris, this rare, richly ornamented lidded bowl was used to serve roasted, or perhaps sugared, chestnuts. The cover’s gilded foliage that frames the white fields with sprays of flowers surrounds carved openwork, which would have allowed fragrant chestnut steam to escape. The Sèvres modeler achieved this striking effect by cutting into the sugar bowl while it was still pliable in the wet paste. There are only a few extant examples of this model, which in 1759 was superseded by the marronnière à ozier, or chestnut bowl shaped like a basket. This chestnut bowl and stand, once owned by Baron Gustave de Rothschild of Paris, is also the first pink-ground porcelain to enter the museum’s significant collection of Sèvres porcelain.
  
  
  Title
  Chestnut Bowl and Stand
  
  
  Artwork Date
  between 1757 and 1758
  
  Artist
  Sèvres Porcelain Manufactory
  
  
  
  Life Dates
  active 1756 - present
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  French
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
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  Medium
  Soft-paste porcelain with enamel decoration and gilding
  
  
  Dimensions
  Overall: 4 3/4 × 6 3/8 × 5 inches (12.1 × 16.2 × 12.7 cm)
  
  
  Classification
  Ceramics
  
  
  Department
  European Sculpture and Dec Arts
  
  
  Credit
  Museum Purchase, Joseph M. de Grimme Memorial Fund and Bernard J. Reilly Fund
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  2002.68
  
  
  Copyright
  Public Domain
