  
  About the Artwork
  
  
  This highly imaginative tea and coffee service reflects the enduring influence of Chinese artistry and technique on European porcelain design. While the bamboo handles and spouts, as well as the dragon and floral imagery, echo Chinese motifs, the service includes such strictly European objects as handled cups, a sugar bowl, a milk pitcher, and a coffee pot. A leader in European ceramic fabrication and design, the S&Atilde;&uml;vres Manufactory catered to the tastes of royalty and aristocracy, and this set was highly favored by the family of the French King Louis-Philippe (r. 1830&acirc;&#128;&#147;48). Over the course of a decade his wife, Marie-Am&Atilde;&copy;lie, purchased seven sets for personal use and gifts. This set&acirc;&#128;&#148; the best of only three known to survive in a complete state&acirc;&#128;&#148;was acquired by their son, Louis, duc de Nemours.
From Bulletin of the Detroit Institute of Arts 89 (2015)
  
  
  Title
  Coffee Pot
  
  
  Artwork Date
  1843
  
  
  
  
  Makers
  
  
  Pierre Huard  (Artist)
  French, active 1811 - 1846/47
  Hyacinthe R&Atilde;&copy;gnier  (Designer)
  French, 1803 - 1870
  S&Atilde;&uml;vres Porcelain Manufactory  (Manufacturer)
  French, active 1756 - present
  
  
  
  Medium
  Hard-paste porcelain with polychrome enamel decoration and gilding
  
  
  Dimensions
  Overall: 7 1/2 &Atilde;&#151; 5 3/4 inches (19.1 &Atilde;&#151; 14.6 cm)
  
  
  Classification
  Ceramics
  
  
  Department
  European Sculpture and Dec Arts
  
  
  Credit
  Museum Purchase in memory of Tracey Albainy with a gift from Gordon L. and Linda A. Stewart, and the Joseph M. de Grimme Memorial Fund, Joseph H. Parsons Fund, Ralph H. Booth Bequest Fund, Edgar A. V. Jacobsen Acquisition Fund; gift of K. T. Keller by exchange,  and donations from  Gilbert B. &amp; Lila Silverman, John Stroh &amp; Vivian Day, Bonnie &amp; Bob Larson, Anthony L. Soave, Peter &amp; Tina Barnet, Dr. &amp; Mrs. Gerhardt A. Hein, Herv&Atilde;&copy; Aaron, Graham W.J. Beal, Maggie Boleyn, Antonia Bostr&Atilde;&para;m, Dr. Alan P. Darr &amp; Mrs. Mollie Fletcher, Dr. Theodore &amp; Mrs. Diana Golden, Dr.&amp; Mrs. Reginald Harnett, Armin Allen, Henry S. &amp; Charissa B. David, Gina &amp; Herbert Granger, Jennifer Moldwin Gustafson, Barbara Heller, Mr. &amp; Mrs. Joseph L. Hudson, Jr., Mary Hughes, Julian &amp; Ruth Lefkowitz, Iva Lisikewycz, George &amp; Elaine Keyes, Paul F. Palace, Jr. &amp; Pam Watson-Palace, Michele Rambour, Charlotte Robson, Donald Ross, Nancy Sojka, Victor Tahill, Curl Tutag, MaryAnn Wilkinson, Gillian Wilson, Maria Santangelo Brown, Andrew L. Camden &amp; Gayle Shaw Camden, Claudia Crable, Christina &amp; Antoine d'Albis, Aileen Dawson, Dr. Heather  Ecker, Jacquelin Eckhous, John &amp; Bonita Fike, Carol Forsythe, Paul Micio, Mary Lee Obryan, Jim &amp; Adrienne Rudolph, Mr. and Mrs. Ted Wasson, Brian Gallagher &amp; Terry Prince, Rose Ann Comstock, Kimberly K. Dziurman, Shirley Mopper, Mr. &amp; Mrs. Leonard Rynski, Michele Ryce-Elliott, Michelle Smith, Irma Stevens, Ms. Audrey Zupmore
  
  
  
  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&acirc;&#128;&#153;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&acirc;&#128;&#148;no longer assigned&acirc;&#128;&#148;that identify specific donors or museum patronage groups.
  
  
  
  2008.15.3
  
  
  Copyright
  Public Domain
  
  
  
