Pot de café Charles Donze 1768–69 initialement pris comme boisson médicinale, la réception à la cour française de Suleyman Aga Mustafa Raca, envoyé du sultan ottoman Mehmet IV en 1669, a rendu le café à la mode en France. Devenant rapidement populaire à tous les niveaux de la société, la boisson était appréciée dans les salons et les cafés. Le café était brassé avec du Marc finement poudré à la manière turque et servi à partir du même récipient. Contrairement à la théière, le bec verseur de la cafetière, s'élevant de la base du col du récipient, était placé le plus haut possible, de sorte que le Marc de café

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• ID de l’image: 2T2EM3A
• Taille du fichier: 6 MB (191,8 KB Téléchargement compressé)
• Autorisations: Modèle - non | Propriété - non
• Dimensions: 1288 x 1628 px | 21,8 x 27,6 cm | 8,6 x 10,9 inches | 150dpi

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Coffeepot Charles Donze 1768–69 Initially taken as a medicinal drink, the reception at the French court of Suleyman Aga Mustafa Raca, the envoy of the Ottoman Sultan Mehmet IV in 1669, made coffee drinking fashionable in France. Quickly becoming popular at all levels of society, the beverage was enjoyed in salons and coffee-houses. Coffee was brewed with finely powdered grounds in the Turkish manner and served from the same vessel. In contrast with the teapot, the spout on the coffee-pot, rising from the base of the neck of the vessel, was placed as high as possible, so that the coffee-grounds could settle and would not be poured into the cups. The more commonly found type of coffeepot has a pear-shaped body mounted on three feet, a flattened lid, a short spout, and a wooden handle, sometimes placed at a straight angle to the spout or directly opposite it. A three-legged pot could accommodate a burner placed between the feet to keep the beverage warm. As seen in this example by the Paris silversmith Charles Donze, a different type of coffeepot was also known. Referred to as a Marabout or a Coquemar, this kind of pot was considerably smaller in size, had a bulbous body and a flat short base which would have been placed directly on a burner. Made in 1768-69, this Marabout coffeepot epitomizes the fully developed Rococo style with its swirling spirals, curved spout and vegetal and rocaille motifs on the lid and cartouche. Daughter of one of the founders of the Weyerhaeuser Timber Company, Catherine D. Wentworth (1865–1948) was an art student and painter who lived in France for thirty years. She became one of the most important American collectors of eighteenth-century French silver and on her death in 1948 bequeathed part of her significant collection of silver, gold boxes, French furniture, and textiles to the Metropolitan Museum. The collection is particularly strong in domestic silver as illustrated by this coffeepot.