Getty Buys Mme Pompadour's Cat

Louis XV Ormolu-Mounted Chinese Turquoise-Glaze Porcelain Cat ("Pompadour Cat"), early 18th century (cat) and second half of 18th century (cushion and stool). Getty Museum

The Getty Museum has acquired a gilt bronze-mounted Chinese porcelain cat that was owned by Madame de Pompadour, mistress of Louis XV. Poised between East and West, beautiful and bizarre, the work exemplifies the 18th-century French fascination with Chinese porcelain. 

The cat is a rediscovery, identified in 2017 and published on the cover of the Mar. 2019 issue of Colnaghi Journal. Christie's offered it for private sale in 2021. The porcelain figure was created for export in Qianlong China. Its turquoise blue color—variously described as celestial blue, celadon blue, or violet—was especially sought after by European collectors. Only a few Chinese cats of this color, size, and quality survive. Inclusive of the gilt base, it measures 17-1/8 in. high.

François-Hubert Drouais, Madame de Pompadour at her Tambour Frame, 1763-64. National Gallery, London
A hole on the cat's back may have been for inserting a candle or incense. In China cat figurines were used as nightlights, as in a small (3.7 in. high) black-and-white example in the British Museum.
Cat Nightlight, Kangxi China, 1690-1722. British Museum

The ancien régime's attitude towards Asian porcelain was paradoxical. They prized its otherness, yet preferred to domesticate it with Rococo or Neoclassical ornament alien to China. Pompadour's cat is a deeply hybrid object. It's believed that Parisian luxury-goods dealer Lazare Duvaux commissioned French artisans to produce the cat's gilt-bronze cushion and the rose enamel-colored glass eyes. The dealer invoiced the Countess d'Estrades for the cat (or a similar one?) in Dec. 1754. The Countess may have given it to Madame Pompadour, a voracious collector of porcelain, as a New Year's gift. In any case, an inventory made the day of Pompadour's 1764 death describes a "cat of antique violet porcelain on a base of gilt bronze valued at two hundred livres." It was displayed in a Cabinet des Muses in her Paris apartment.

Pompadour's brother inherited the cat and flipped it to wealthy tax collector Pierre-Louis-Paul Randon de Boisset. It was apparently Randon de Boisset who added the Neoclassical stool with acorn legs, by 1776. The cat was subsequently sold to Jean-Baptiste-Pierre Le Brun, husband of painter Élisabeth Vigée Le Brun. After Le Brun's death it fell out of sight until recently.

Mme Pompadour's cat joins about two dozen pieces of French-mounted Chinese and Japanese porcelain in the Getty collection and is the only example with a figurative subject. As a unique object with a royal provenance, it becomes the most significant addition to the French decorative arts holdings in years. 

Detail of Pompadour Cat
Back view, Pompadour Cat

Comments

Anonymous said…
If I saw that object sitting in a Marshall's or Walmart, I admit I'd think it was a mass-produced tchotchke from Shenzhen. Do'h! However, something about the details (eyes, animation-style fur) have a modern-day look about them.

I have seen over the past few weeks documentaries about Pompeii, ancient Rome, ancient Egypt and what crafts or trades people are doing in today's India, Asia, etc, and the skills, talent and resourcefulness of such humans through the centuries never cease to amaze.
The Dreamer said…
Random purchase but still interesting
So much to know more about.
To start, it makes sense that the glass eyes are European additions. I know of no Qing period cats in any Asian collections, including the imperial ones in Taipei or Beijing, with such eyes.
Having read your link with Alain Truong's good piece (but not yet Colagni's), I can't see yet why this is indubitably ex coll. Marquise de Pompadour. There's a 2-century gap in the provenance record. More must be proven, to my mind.
The purchase is a coup, in any event. Getty is strong in 18th C. France, indeed. This supports that.
Were both the legged table AND the tassels later additions, or just the legged table?
Gilding like this may/must be garish to modernists' sensibilities, as made clear by other commentators, above. The ultra-riche in 18th C. Paris were starved for light, particularly in their wintry clime.
Recall, Paris latitude matches that of the south shore of Hudson Bay in Canada. This new gilt, back then, would have been blazingblazing. A great pick-me-up, day or night, if one could afford it.
My understanding, mostly from the Colnaghi article, is that Pompadour's brother sold the cat to Randon de Boisset, and the latter added the stand with acorn feet. Ergo, even if there was more than one turquoise-cat-on-a-cushion—which is possible—the acorns ought to identify it as the one that Pompadour owned. Confirming this is a 1777 inventory made for Randon de Boisset that mentions Pompadour's ownership.
I'm curious about the tassels too. It doesn't look like the cushion could sit flat unless the tassels are hinged(?) The 1777 inventory appears to be the first to mention the tassels.
My sense is this cat was not produced for the imperial household. The abrupt color changes to the glaze, particularly at the shoulders and especially at the tail, would not have been acceptable. If it was, it would have been rendered a waster, I suspect.
"Give it to the West," I can hear some potter at some other, lesser kiln saying. Snark.
Hinged? Indeed. That's a matter of fact. Getty?
Does anyone there ever pick up the phone (on a cushion)?
I started reading Colnaghi.
Page 97 answers the tassels question. See under Fig. 1: "...cushion attributed to ...Duplessis, c. 1750-1755 with later bronze feet __and tassels__ .
Now I wonder if the base beneath the cushion is original or later-added?