Holy water font - 1850-1900

Vieux Paris – exceptionally richly polychrome porcelain bénitier with winged angel and cross, circa 1850–1870

Vieux Paris, France, mid-19th century
Porcelain, polychrome painted and richly gilded
Approximately 20 × 18 × 10 cm

A particularly decorative and atmospheric 19th‑century French porcelain bénitier (holy water font), executed in the characteristic style of the so‑called Vieux Paris. The object is built around a beautifully modeled winged angel, kneeling beside the shell‑shaped holy water basin and holding a large cross.

What makes this specimen especially attractive is the unusually rich and vivid color palette. The angel’s robe is rendered in intense turquoise to cobalt blue, which strongly contrasts with the warm white of the porcelain and the numerous refined gold accents. Numerous gilded stars are applied over the blue robe, giving it an almost heavenly appearance. The wings are finely modeled and contrast beautifully with the colorful robe.

Also striking is the angel’s face. The soft features, the slightly downcast gaze and the calm, almost serene expression give the figure a particularly peaceful and nearly heavenly appearance. The angel seems less a theatrical figure and more a protective and devout presence.

The whole sits on a very richly modeled Rococo/Rocaille foot, with scroll ornaments, relief decorations and abundant gilding. The combination of white porcelain, deep blue, turquoise, warm brown tones and gold creates a very characteristic Second Empire‑ish decorative effect, while the form clearly harkens back to Rococo.

The term Vieux Paris does not refer to a single factory, but to the many porcelain manufactories and workshops in and around Paris that were active mainly in the 18th and 19th centuries. Religious objects such as this were made for domestic devotion, small home altars and private chapels. The absence of a factory mark is not unusual for this kind of Vieux‑Paris porcelain. Comparable Vieux‑Paris bénitiers from the mid‑19th century are also unmarked.

The base of this example shows, in addition to the absence of a factory mark, a engraved/pressed number that appears to read “83”. This may possibly be a model or form number, although this cannot be stated with certainty. Interestingly, other Vieux-Paris bénitiers have shown similar numbers, for example the number “418” on another example.

The object is in good antique condition, with normal signs of age and use.

The gilding shows localized wear and slight losses, especially on the most protruding and handled areas. This actually gives the piece an attractive, time‑worn patina and clearly shows its age and use.

On the left index finger of the angel a small portion is missing. This is clearly visible upon close inspection. Other than that, no major structural damage has been observed.

Given the age, the delicate modeling and the many excellent decorative elements, the overall condition is good for such an object.

Vieux Paris, France, probably circa 1850–1870.