The Lost Art of Pâte sur Pâte: The Surprising Link Between Chinese Porcelain and 19th-Century French Ceramics
During my advanced journey into collecting Western porcelain, I discovered a particularly unique technique known in French as pâte sur pâte. This method involves layering underglaze decoration with a subtle, translucent effect, adding a new depth to the surface by applying white or colored porcelain paste. The craftsmanship involved in creating these delicate layers, with their nuanced transparency, is nothing short of remarkable.
After discussing this technique with several prominent French Sèvres porcelain collectors, I learned that its origin was quite accidental and, interestingly, deeply rooted in Chinese porcelain traditions. Intrigued by its backstory, I decided to acquire a fine example for personal study and admiration. The piece I chose is a Sèvres pâte sur pâte vase from 1876, adorned with gilding. The front features a Chinese blue pigeon, while the back depicts two butterflies in a double-hearted flight, all crafted with the pâte sur pâte technique. The tree branches are done in underglaze decoration. What struck me most was the gradual color change on the blue-crowned bird, the thickness of the porcelain paste, and its extraordinary transparency. At least five layers of porcelain paste were used to create this effect. This vase is, by far, the most exquisite example of Sèvres porcelain I have seen, and it has certainly earned a place among my favorite acquisitions of the year.
Many people mistakenly translate pâte sur pâte as "stacking white," but this technique differs significantly from what is known in Chinese porcelain as "tui bai" (the filling of white glaze). The traditional "tui bai" technique involves applying a milky white glaze to the surface of a fired porcelain piece to create a relief pattern. The piece is then refired at high temperature with colored glazes to achieve the final decoration. The practice originated during the Yuan Dynasty and reached its peak during the Qing Dynasty, particularly in the Yongzheng period. While refined and elegant, "tui bai" typically only uses white glaze, while pâte sur pâte allows for the use of white, colored, and even multi-hued porcelain pastes.
The pâte sur pâte technique originated in the mid-19th century when a Sèvres artist accidentally discovered it while attempting to replicate a Chinese vase. This complex method requires high-temperature firing of the porcelain paste, making the technique extraordinarily delicate and precise. The background glazes must be able to withstand such heat, which is why the resulting pieces are so intricate. In 1862, this technique was showcased at the London World's Fair, and it quickly became a focal point, solidifying its place as one of the most significant contributions to European ceramic revival in the 19th century. Sèvres displayed its Bertin Vase Series at the exhibition, created between 1859 and 1860 and designed by Leopold-Jules-Joseph Gély (1820–1893). The series, themed around the four seasons, marked the beginning of pâte sur pâte's prominence.
Under Gély’s leadership, Sèvres continued to refine the technique, achieving remarkable results. His works frequently depicted nature, including flowers, birds, and insects, often using pale blue or delicate pink backgrounds—a clear nod to Eastern aesthetics. Gély’s creations demonstrated a remarkable balance of color and transparency, with the layers of porcelain paste meticulously built up to form the final design.
Another key figure in the development of pâte sur pâte was Marc-Louis Solon (1835–1913), who joined Sèvres in the 1870s. Solon’s style was heavily influenced by classical Greek and Renaissance art, as well as Victorian-era imagery. His specialty was creating detailed depictions of female silhouettes, angels (putti), small animals, and birds. His works often displayed intricate use of the pâte sur pâte technique to create a three-dimensional effect.
In the 1870s, Solon moved to England to escape the turmoil of war, where he began working at the Minton factory. Minton, known for emulating Sèvres porcelain, produced many works using pâte sur pâte, thereby continuing the technique’s legacy. Later, Solon’s son, Léon-Victor Solon, is believed to have carried the technique with him to the United States, spreading its influence even further.
The pâte sur pâte technique, however, is not easily mastered. The porcelain paste must be carefully controlled: too dry, and it cracks; too wet, and it becomes opaque, failing to showcase the desired layers. Any mistake during the creation process can ruin the piece. As a result, only large, well-established factories such as Sèvres, Minton, and Meissen could afford to produce such works. Today, these masterpieces command high prices at auction. For example, a pair of 1857 Sèvres pâte sur pâte vases fetched an estimated price of $15,000–$20,000 at a Christie’s auction in New York in April 2019.
The pâte sur pâte technique not only represents the pinnacle of 19th-century French ceramic artistry but also serves as a testament to the exchange between Eastern and Western cultures. Sèvres’ Peacock Vase, for instance, is a direct tribute to Chinese design, with its turquoise blue glaze and intricate floral patterns. This vase, along with others from the Bertin series, demonstrates the European fascination with Chinese porcelain techniques, blending both Eastern motifs and Western artistry.
In summary, pâte sur pâte is a rare and complex technique that changed the way porcelain was decorated in the 19th century, offering a more intricate and nuanced approach to ceramic art. Today, these masterpieces are highly prized by collectors, not only for their technical brilliance but also for their role in the cultural dialogue between East and West. These porcelain treasures, whether housed in museums or auctioned to the highest bidder, remain timeless symbols of artistic achievement and historical exchange.