Fidelle Duvivier's second New Hall bird service

The paper discusses TRB pottery decorated with a bird bone

2016

We present an annotated list of the 63 type specimens of birds held in the collections of the Natural History Museum of Geneva, Switzerland. These specimens originate mainly from the collections of two ornithologists, Henri Jouard who worked on European passerines, and Thomas Horsfi eld who collected and described birds from Java.

Bulletin of Portuguese Japanese Studies, 2006

English Ceramic Circle Transactions Vol. 19 Part 3 2007, pp. 477-483

A critical reappraisal of the Duvivier family tree. A paper read by Charlotte Jacob-Hanson at the Courtauld Institute on 26 th November 2005. During a conversation John Twitchett had with Mme. Josine de le Vingne some four years ago 1 , she told him of her intention to write a paper on her family's Duvivier ancestors. Her late husband, Peter de le Vingne, was a descendant of Michel-Joseph Duvivier through the latter's only daughter, Amelie. Her private research had turned up some new data that had been missing in the account of those Duviviers who had worked at Chelsea and Tournai. Most important, Mme. de le Vingne discovered that Michel-Joseph Duvivier and Fidelle Duvivier were brothers and that "William Duvivier who worked at Chelsea" was not their father. Unfortunately, due to severe illness, Mme. de le Vingne was unable to write the paper she had hoped would serve to amend the record; however, she did give her valuable Duvivier family research notes to Mr. Twitchett, who published them without further commentary in Derby Porcelain, 1748-1848. An Illustrated Guide (Antique Collectors' Club, 2002), pp. 75-76. (I have listed her information in a genealogical table, together with two newly discovered items, at the end of this article). Since the publication of Major William H. Tapp's findings in Apollo Magazine between 1939 and 1941, there has been little else discovered about the relationships of these persons. In his first article concerning "Joseph Duvivier, China Painter of Chelsea and Tournai" Major Tapp writes, "According to the birth registers kept at the Commune-Civil, Tournai, Joseph was born in the parish of St. Jacques on September 3rd, 1740 ...." and claims he was a cousin of Fidelle's. 2 This "Joseph," also called "Henri-Joseph Duvivier" in other literature, is usually identified as the son of William Duvivier of Liège who went to England ca. 1742/43, worked as a painter at the Chelsea manufactory, and died there in 1755 (his burial is recorded on 9 th March, at St. Anne's in Soho)

Handbook of the International Ceramics Fair and Seminar, London, 2008

Fidelle Duvivier, a familiar name in English porcelain literature, is well known for the landscape vignettes he painted on New Hall porcelain between the years 1785 and about 1796. Often situated next to curiously shaped smoking kilns, his figures, dogs, horses and rural buildings were rendered in an easily recognizable, naively charming style, either in colours or in a soft sepia monochrome. Besides these subjects he also depicted figures in small sailing vessels, birds, animal fables and putti (little cherubs). A few larger New Hall tankards that were presumably commissioned pieces, represent his finest work, and two of these surviving tankards bear his signature. 1

2018

This paper presents and analyses for the first time all data on the presence of birds (bone finds; 26 sites; 84 species/ genera) and their images in the art works (34 sites; 40 species/genera) from monuments of the ancient Thracian and Roman lands in Bulgaria (2200 BC – 4th c. AD), their utilisation and importance. Data of a total of 96 taxa of 29 families and 18 orders are presented. Different aspects of the use of birds have been considered: hunting, domestication, falconry, decorative faunisation, including secondary use (as a source of bone material for the production of tools and adornments). The main groups of birds (waterfowl, eagles, pigeons, peacocks, etc.) and their symbolic mythological significance are presented. The images of some monuments represent exotic birds (purple swamphen, Egyptian goose, ring-necked parakeet, helmeted guineafowl, Abyssinian lovebird, African green pigeon, spur-winged goose) which are now spread beyond the former Roman Empire (and Bulgarian) lan...

The article publishes for the first time two related ornithological projects in the New-York Historical Society comprised of 215 watercolors of birds and one bat, once mounted in four albums with a provenance from the Dukes of Devonshire. Its best-known artist was Pierre Vase or Eskrich, who worked with Isaac La Grese and Michel Petit. The sheets with texts belong to the first project, whose author, Benoît (Benedictus) Textor, was a physician and a friend of John Calvin. The earliest watercolors predate the first two illustrated ornithological treatises published in 1555: Pierre Belon’s L’histoire de la nature des oyseaux… and Conrad Gesner’s Qui est de avium natura, part of his Historia animalium, while the second project dates from 1559–81.These extraordinary “portraits” of birds document one of the most complex, early scientific efforts to catalogue taxonomically natural phenomena that is linked to the physician and natural scientist Jacques Delachamps. It involved the humanistic cultures of Lyon and Geneva and was encouraged by the freedoms nurtured in a reformist environment. These prescient watercolors belong to a fragmentary group that helps reconstruct a missing chapter in the history of Renaissance science and ornithological illustration.

French Porcelain Society Journal, 2024

In t h e l as t m i l l e n n ium , w h e n pri n t c o l l e c t i o n s belonging to porcelain factories were a particular focus of my research, I noticed a possible source for the Capodimonte figure of St. John in the Metropolitan Museum of Art (Figure 1) among the engravings which survive in the Meissen factory archives, namely A Scholar's Porcelain Miscellany MAUREEN CASSIDY-GEIGER the french p orcel ain so ciet y journal, volume x, 2024

L'or et la couleur dans la céramique en France, 1730-1790, 2021

An illustrated account of the life and career of arcanist and porcelain decorator, Louis Victor Gerverot (1747-1829), who received training in Sèvres, and worked at many ceramic manufactories - e.g. Niderviller, Kassel, Fürstenberg, Frankenthal, Weesp, Höchst, Schrezheim, Loosdrecht, and England (J. Turner), before becoming managing director at Fürstenberg. He is best remembered for his imaginative and jaunty birds of fantasy. This paper was submitted to the Colloque L'or et la couleur dans la céramique en France, 1730-1790, held in Paris, 20-21 November 2021, translated and published in an accompanying catalogue of the same title. Sponsored by the Association pour l'Ètude de la Céramique. (The published French text is also uploaded below). The author has written many articles on Gerverot and lectured about him internationally.