Art Antiques London 2016 by Haughton International

2016

Friday

24th June 11am to 9pm

Saturday

25th June 11am to 7pm

Sunday

26th June 11am to 6pm

Monday

27th June 11am to 7pm

Tuesday

28th June 11am to 7pm

Wednesday 29th June 11am to 7pm Thursday

30th June 11am to 6pm

Albert Memorial West Lawn Kensington Gardens London SW7

Friday 24th June until Thursday 30th June 2016

‘Party in the Park’ in support of JDRF and Sea Cadets Thursday 23rd June 2016

Organised by:

Acknowledgements:

Haughton International Fairs

We would like to express our gratitude to the following for their help:

Directors: Brian and Anna Haughton Our team: For further information:

Iona Sale (Press Officer) Emma Jane Haughton, Giles Haughton,

Art Antiques London

Mary Jones, Pamela Screeramalu.

15 Duke Street St Jamesâ&#x20AC;&#x2122;s London SW1Y 6DB T: +44 (0)20 7389 6555 F: +44 (0)20 7389 6556 e: info@haughton.com www.haughton.com Catalogue design: Press and Public Relations:

Creative Wisdom Ltd (creativewisdom.co.uk)

Iona Sale +44 (0)1451 832268

While Art Antiques London, the Advisory and Honorary Vetting Committees

email: iona@ionapr.com

of ART ANTIQUES LONDON cannot be held responsible for, or warrant, the genuineness or age of any article exhibited, visitors are requested to note

Flowers:

that all articles have been submitted for inspection by a panel of advisors.

Lavenders Blue

This is to ensure, as far as possible, that they conform to the regulations laid down, and that every article is authentic and of the period they represent.

Restaurant and Bars:

The organisers and/or their agents cannot be held responsible for any items

Event Oracle

sold at the Fair. This is the sole responsibility of the exhibitors selling the object/objects. Please also note that because of the early printing datelines for the catalogue, all illustrations were printed before vetting took place. Visitors are reminded that all exhibits are for sale. The organisers reserve the right to refuse admission to the Fair and/or seminars. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by an means without the prior permission in writing of the publisher, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ÂŠ The International Ceramics Fair and Seminar 2016

CONTENTS

Organisers’ Welcome

The Vetting of Art Antiques London

The Lecture Programme

The Lord Mayor’s Appeal

Exhibitors at the Fair

Articles

Carlo Giacinto Roero di Guarene and the Rossetti porcelain factory in Torino (1737-1748) Andreina D’Agliano

Silver, Bells and Nautilus Shells: Royal cabinets of curiosity and antiquarian collecting Kathryn Jones

108

Sophie Dorothea’s collection of porcelain at the Ansbach residence Dr Alfred Ziffer

119 Advertisers

132

Floorplan of the Fair

Organisers’ Welcome Welcome to Art Antiques London 2016: A true collector’s fair in the heart of London We are delighted to welcome you to Art Antiques London, the Jewel in the Crown of the London Summer “Season.” Its unrivalled setting and stunning ambiance make it one of London’s most exciting and glamorous art and antiques fairs. Art Antiques London is the first modern-day fair to take place at the historic site of the Great Exhibition of 1851. The fair’s purpose-built pavilion is set against the unique backdrop of the Albert Memorial in Kensington Gardens, opposite the Royal Albert Hall with views of Hyde Park and within walking distance of Kensington Palace, the Serpentine, the Orangery and the Princess Diana Memorial. Art Antiques London attracts the world’s most serious institutional and private buyers and is famous for its light, airy and relaxed atmosphere. A global community of collectors, dealers, curators, connoisseurs and art lovers find this summer showcase an irresistible and essential meeting place for the arts in June. The eminent dealers at Art Antiques London are specialists in a broad range of disciplines, including furniture, paintings, textiles, jewellery, silver, ceramics as well as rare books and modern and contemporary objets d’art. Every object exhibited is rigorously examined and vetted for quality and authenticity by our honorary vetting committees, so collectors can be assured that they can buy with absolute confidence. The honorary vetting committees are made up of advisers, museum curators and dealers. We are extremely grateful to the committee members for giving so freely of their knowledge, expertise and time and, in particular, to our Honorary Vetting Committee Chairman, Haydn Williams. Our grateful thanks go to our speakers, the top experts in their fields, who deliver a wide range of lectures on many disciplines in the art world and especially to Dame Rosalind Savill and Richard, 10th Duke of Buccleuch and 12th Duke of Queensberry for presenting this year’s FACE TO FACE conversation. Our thanks to the Ten Ten Foundation Inc. for their continued sponsorship of our Lecture Programme. We are delighted that this year’s ‘Party in the Park’ champagne reception hosted by The Lord Mayor’s Appeal is in support of JDRF – Juvenile Diabetes Research Foundation and The Sea Cadets. Finally, we look forward to seeing you here again next June. Anna and Brian Haughton

The Vetting of Art Antiques London What is it and Why? It has long been standard practice at all major international fine art and antique fairs for all exhibits to be examined before the opening of the fair by panels of advisors, to ensure that they are accurately described and of a quality to justify their inclusion at a prestige event. There are separate Honorary Vetting Committees for each category, such as furniture, clocks, silver, paintings, sculpture etc., and their membership is drawn from leading authorities in the field and includes many museum curators. There are two main reasons for vetting. Firstly, to reassure the public that everything submitted to the Honorary Vetting Committees conforms to the regulations laid down and that, as far as possible, all items are authentic and of the period stated. As potential purchasers may not have sufficient expertise themselves in a particular subject or category, this assurance of authenticity will we hope give them the confidence to buy. Secondly, vetting guarantees to all the exhibitors and to the public that standards are being maintained at the highest level. It is crucial to the commercial and academic success of such an event that its reputation for only having the best in all categories is never compromised. The integrity of the Fair and the reputation of the exhibitors are therefore ensured. Our thanks to all the members of the Honorary Vetting Committees for their help and co-operation.

Honorary Vetting Committee Chairman: Haydn Williams

The Lecture Programme Sponsored by The Ten Ten Foundation Inc. Advance booking: £12.50 per lecture, or at the fair: £15

Saturday 25th June A1 11.30 am - 12.30 pm

Elisabetta Dal Carlo: Curator, The Fondazione Querini Stampalia, Venice

“Geminiano Cozzi, his manufactory and its porcelain” During the 18th century, the Serenissima Repubblica was the only State which boasted no less than four porcelain factories, and it is remarkable that none of them had been founded by public decree, but by private initiative. The manufactory founded by Geminiano Cozzi in 1763 achieved a great success in Venice and was active until 1812. The factory was located in San Giobbe, Canaregio and followed a strict trade policy in order to exclude foreign imports in the Venetian market. The lecture will present the story of the manufactory, its huge production of high quality porcelain decorated with rich and brilliant colours, and will focus on the finest pieces featuring all the Venetian charm. Almost 250 years later, Venice has dedicated a fascinating exhibition to this extraordinary entrepreneur which explores the long activity of the factory and recognizes its rightful place among other European manufactures.

The exhibition is the first retrospective on the Cozzi manufactory and offers the public more than 600 items on view, an important collection from national and international museums, enriched by rare pieces from private collections that have never been displayed before. It takes place in Venice, Ca’Rezzonico, Museo del Settecento veneziano from March 18th - July 12th 2016. Elisabetta Dal Carlo is an art historian, a scholar of decorative arts between baroque and neoclassical styles and a specialist in eighteenth-century ceramics. Curator, Fondazione Querini Stampalia, Venice. She graduated in History of Art at Ca’Foscari University in Venice and she obtained her Ph.D. in History of Art at Siena University. She lectured in Italy and abroad (London and Paris) on the art of porcelain and she edited some catalogues of decorative arts collections and various publications on Venetian and Veneto art history.

A2 3.00 pm - 4.00 pm

Suzanne Findlen Hood, Curator of Ceramics and Glass, Colonial Williamsburg Foundation, Williamsburg, Virginia, USA

“Ceramic Treasures from the Colonial Williamsburg Collection” Colonial Williamsburg’s collections illuminate our understanding of colonial Virginia and the larger AngloAmerican world. In addition to objects of everyday life, Williamsburg has also collected the finest British and American arts. Explore the treasures of Colonial Williamsburg’s ceramics collection from porcelain produced by Chelsea, Bow, and Worcester to exceptional English delft; from a first edition Portland vase to seventeenth-century German stoneware; Williamsburg’s collection is full of masterpieces that illustrate that teapots and plates are more than just dishes. This lecture will reacquaint you with some old friends and introduce you to some of Colonial Williamsburg’s lesser known strengths. With two museums and more than eighty eighteenth-century buildings, “collecting colonial” in the twenty-first century offers a world of variety.

Suzanne Findlen Hood is the curator of ceramics and glass at Colonial Williamsburg. She has had the privilege of working at Colonial Williamsburg since 2002. Ms. Hood holds a B.A. in history from Wheaton College in Massachusetts and an M.A. from the Winterthur Program in Early American Culture and the University of Delaware. Prior to coming to Colonial Williamsburg, Ms. Hood was employed at The Chipstone Foundation in Milwaukee, Wisconsin. Her research has focused on ceramics owned and used in seventeenth- and eighteenth-century America with a particular emphasis on archaeological ceramics, Chinese export porcelain, salt-glazed stoneware, and British pottery. Ms. Hood is co-author with Janine Skerry of Salt-glazed Stoneware in Early America, winner of the American Ceramic Circle Book Award for 2009. Her most recent exhibition, China of the Most Fashionable Sort: Chinese Export Porcelain in Colonial America, is currently on view at the DeWitt Wallace Decorative Arts Museum, one of the Art Museums of Colonial Williamsburg.

Sunday 26th June 11.00am - 5.00pm

The Society of Jewellery Historians: Study Day: 20th Century Jewellery Speakers: Andrew Prince; Francesca Cartier Brickell; Rachel Church, Curator at the Victoria and Albert Museum; Clare Phillips, Curator in the Department of Sculpture, Metalwork, Ceramics and Glass at the Victoria and Albert Museum; Sarah Rothwell, Assistant Curator of Modern and Contemporary Design at National Museums Scotland; Martine Newby Haspeslagh. Tickets are £50 (SJH members £40). Lunch and refreshments are not included. Attendees can make prior reservations for lunch in the restaurant. Alternatively there is a café for light refreshments. Numbers are limited. If you would like to attend, please book online at www.societyofjewelleryhistorians.ac.uk

Monday 27th June B1 11.30 am - 12.30 pm

Rosalind Sword, BA Cantab, Author and Lecturer

“Coloured Worcester Porcelain of The First Period - The H.R. Marshall Collection at The Ashmolean Museum” To celebrate the publication of the new Worcester catalogue of the H.R. Marshall Collection at the Ashmolean Museum in August, Rosalind Sword, it’s author, will talk about the highlights of the Marshall collection. Drawing on Marshall’s own papers, the speaker will give further insights into how this amazing, academic and encyclopaedic collection was formed. Highlights to be discussed will include a rare garniture of five vases decorated by James Giles with naturalistic birds; the “Grubbe” tea jar also by Giles (its partner is in the Museum of Royal Worcester); O’Neale Vases and dishes; a Duvivier signed and decorated teapot; a teapot from the Theatrical Service and an amazing pair of candlesticks in under-glaze blue to name but a few. Particular attention will be paid to rare items from the first ten years of the factory such as a Wigornia type cream boat; a large jug decorated with the Stag Hunt pattern; a cylindrical vase with European Figures possibly decorated by O’Neale; tall vases and many covetable small bottles and dishes of different shapes and decoration. Examples of other items of great interest to Marshall will also be discussed such as comparative or prototype pieces from other factories and armorial porcelain not featured in depth in his own book. This unparalleled 20th century collection now redisplayed for the 21st century viewer in the Ashmolean is an amazing insight into this extraordinary Worcester collection.

B2 5.15 pm - 6.30 pm “Face to Face: Dame Rosalind Savill in conversation with Richard, 10th Duke of Buccleuch and 12th Duke of Queensberry” In this conversation Dame Rosalind and the 10th Duke of Buccleuch will discuss the extraordinary task of preserving and presenting four most wonderful houses and their sumptuous art treasures in the United Kingdom: Boughton House (The English Versailles), Drumlanrig Castle, Bowhill and Dalkeith Palace in Scotland. His legacy will not simply be one of stewardship and scholarship but also creating innovative exciting landscape projects. Dame Rosalind Savill DBE, FBA, FSA, Curator Emeritus, the Wallace Collection, London, became a Museum Assistant in the Ceramics Department of the Victoria and Albert Museum in 1973, moving to the Wallace Collection in 1974. There she worked for thirty-seven years, becoming an Assistant Director in 1979 and Director in 1992, and retired in 2011. Her major publication is The Wallace Collection: Catalogue of Sèvres Porcelain, 3 vols, 1988, which won her the National Art-Collection Fund prize for Scholarship in 1990; she has written numerous articles and papers, chiefly on Sèvres porcelain. In 1990 she became a Fellow of the Society of Antiquaries, in 2000 she was awarded a CBE for Services to the Study of Ceramics,

in 2006 she became a Fellow of the British Academy and in 2009 she was awarded a DBE for Services to the Arts. She has Visiting Professorships from the University of Buckingham and the University of the Arts London, won the European Woman of Achievement Award (Arts and Media) 2005 and was a Member of the Conseil d’Administration at Sèvres Cité de la Céramique. Currently her Trusteeships include: the Royal Collection Trust, the Buccleuch Living Heritage Trust and the Wallace Collection Foundation. Dame Rosalind is also President of the French Porcelain Society and of the Academic Committee at Waddesdon Manor.

Tuesday 28th June 11.00am - 5.00pm

The English Ceramics Circle: Study Day “A Taste for the Antique, The Neo-classical Style and Ceramics in England, c. 1770 1800” Speakers: Matthew Martin, Curator, N G Victoria; Oliver Fairclough, Hon. Research Fellow, N M Wales; James Lomax, F.S.A. - Emeritus Curator of Collections at Temple Newsam House; Diana Edwards, porcelain researcher and author; Leslie Grigsby, Senior Curator of Ceramics and Glass, Winterthur, USA; Roger Massey, porcelain researcher and author; Sir Timothy Clifford FRSE, formerly Director of the National Galleries of Scotland (to be confirmed); Nick Panes, porcelain researcher and author. Tickets (inc. three course dinner) £110 ECC members. £135 non-ECC members; Lectures only £70 ECC members, £85 non-ECC members. For further information please visit www.englishceramicscircle.org.uk

Wednesday 29th June C1 11.30 am - 12.30 pm

Sally Kevill-Davies, Independent writer and researcher

“Chelsea ‘Hans Sloane’ Botanical Porcelain: Visions of Arcadia and America in the English Landscape Garden” “Marking the 300th anniversary of the birth of Lancelot (‘Capability’) Brown (1716-1783), this lecture examines the influx of unknown American trees and shrubs into England during the first decades of the eighteenth century. This was initiated largely by Peter Collinson (1694-1768), a London cloth merchant with a passion for botany, in response to the Enlightenment interest in the natural world, and the desire by English aristocrats to find trees and shrubs with which to adorn their estates in the new fashion for landscape gardening. Through his American contacts Collinson was put in touch with John Bartram (1699-1777), a Pennsylvania farmer, whom he paid to go on hazardous expeditions into virgin territory in search of new plants. These were shipped across the Atlantic, and were eagerly cultivated by London nurserymen, Philip Miller at the Chelsea Physic Garden,

and Collinson himself, for distribution to the aristocracy for their fashionable landscape gardens. Many of the plants were painted by Georg Dionysius Ehret (17081770) and later engraved, and these images were copied onto porcelain at Nicholas Sprimont’s Chelsea porcelain factory during the 1750s. Thus, the sensational new plants of the American wilderness and of the landscape garden were, for a few years, pictured at the tables of elite Society.” Sally Kevill-Davies: Independent writer and researcher. Sally Kevill-Davies started her ceramic career as a specialist at Sotheby’s, where she worked for nine years. She also worked on re-cataloguing the English porcelain at the Fitzwilliam Museum in Cambridge, and organised an Exhibition of Chelsea porcelain for the Chelsea Festival, 1999. She wrote the Catalogue, ‘Sir Hans Sloane’s Plants on Chelsea Porcelain’ for an Exhibition in June 2015.

C2 3.00 pm - 4.00 pm

Dr Katharina Hantschmann, Curator for Ceramics at the Bavarian National Museum, Munich and The Ernst Schneider Collection of Meissen Porcelain, Lustheim Castle

“Chinese and Meissen Porcelain of the Bavarian Elector Karl Albrecht - an exercise in propaganda”

in the Munich Residenz on tiered silver stands. Was all this an exercise in propaganda? The speaker will explore these aspirations. Dr. Katharina Hantschmann MA PhD: Curator of Ceramics at the Bavarian National Museum, Munich and The Ernst Schneider Collection of Meissen Porcelain, Lustheim Castle from 1984.

When in 1740 the German Emperor Karl VI died without a male heir, it was the only time in modern history that a member of the Habsburg family was not elected emperor but one of the other German electors, the Bavarian ruler Karl Albrecht (1697-1745). He substantiated his claim to the title of emperor by detailing familial relationships dating back to the 16th century. His dynastic ambitions are reflected in the prestigious and magnificent developments he made to the Munich court decades before, such as commissioning the building of the Reiche Zimmer (rich apartment) in 1730. Also his acquisitions and presentations of exceptional Chinese and Meissen porcelain services bear witness to the elector’s aspirations. A unique service magnificently etched with Augsburg gold decoration on Chinese and Meissen porcelain was probably displayed on a buffet on festive occasions. The Bavarian electors were also early owners of Meissen porcelain, such as four early tea services with Chinese scenes, two presently displayed

Lord Mayor’s Appeal are extremely grateful to be the beneficiary charity of the Art Antiques London Party in the Park opening reception this year. The Lord Mayor’s year of office provides an opportunity to celebrate the achievements and contribution of the City beyond the world of business. The ability of those who live and work here to involve themselves in important causes, dedicating their time and effort, continues to be inspirational; for the causes to which the Lord Mayor’s Appeal contributes, it is transformational. Funds raised during the 2016 mayoral year will benefit the essential work of the Appeal’s two main beneficiaries to support their life-changing work: JDRF and the Sea Cadets.

“I am delighted that my Appeal has been chosen as the beneficiary charity of the opening reception of Art Antiques London 2016 fair. This partnership will help raise money and awareness for the Appeal’s two primary beneficiaries – JDRF, the type 1 diabetes charity, and the Sea Cadets – both of which do tremendous, life-changing work. Thank you to everybody supporting the event and I very much look forward to seeing you there.”

Alderman the Lord Mountevans The Rt. Hon. The Lord Mayor of the City of London

Lord Mayor’s Appeal 2016 beneficiary charities Researchers are on the brink of revolutionising type 1 diabetes treatment – shifting from intensive routines of multiple blood tests, injections and complex calculations every day to life-changing new automated systems, one-a-day injections and oncea-year cell transplants. The medical research that will deliver these new treatments is underway by the best scientists and the brightest minds around the world. We need your help to free these people of their life sentence. The money raised by the Lord Mayor’s Appeal will help us cure, treat and prevent type 1 diabetes. In the last five years we have achieved more progress than in the previous 50. Breakthroughs in the last year alone make us believe that a cure is closer than ever before.

With the work of the Sea Cadets there is a real opportunity for us all to invest in the next generation. As a national youth charity working with 14,000 young people in 400 communities, 45% of which are in economically challenged areas, Sea Cadets understand the importance for young people to find confidence and inspiration, helping them to develop self-belief and valuable life skills. As part of our offshore fleet of five vessels we operate two Tradewind 35 yachts which have been operating for 16 years, giving 4,600 young people the chance to experience a voyage at sea and gain accredited RYA sailing qualifications. By supporting the Lord Mayor’s Appeal you’ll be helping us to give young people a positive experience on our yacht voyages that will inspire them for life.

Small percentages will also be awarded to each of two City charities: The St Paul’s Chorister Trust and the Mansion House Scholarship Scheme.

Support us You can support the Appeal and the charities in various ways, through making a donation, being a sponsor, or attending an event. For further information on The Lord Mayor’s Appeal 2016 please Visit: www.thelordmayorsappeal.org Call: 020 7332 1582 Email: info@thelordmayorsappeal Registered charity number: 1148976

Exhibitors at the Fair

ALTEA MAPS & CHARTS B1 35 St. George Street, London W1S 2FN, UK T: +44 (0)20 7491 0010 www.alteagallery.com e: info@alteagallery.com Massimo De Martini Specialises in antique maps, plans, celestial charts and atlases dating from the fifteenth to the early twentieth centuries.

CHRISTOPHER BUCK ANTIQUES E14 56-60 Sandgate High Street, Sandgate, Folkestone, Kent CT20 3AP, UK T & F: +44(0) 1303 221229 M: +44 (0)7836 551515 www.christopherbuck.co.uk e: cb@christopherbuck.co.uk Christopher Buck, Jane Buck Fine quality Georgian furniture and accessories

BABBINGTON FINE ART 18 Towerside, 146 Wapping High Street, London E1W 3PE, UK www.babbingtonfineart.com e: info@babbingtonfineart.com T: +44 (0)7770 917961 Late 19th & 20th century paintings & drawings

PETER CAMERON D32 Vault 57, The London Silver Vaults, 53-64 Chancery Lane, London WC2A 1QS T: +44 (0)7836 210759 www.petercameronantiquesilver.com e: peter.cameron@idnet.co.uk Peter Cameron Specialising in unusual British and European silver of all periods and 18th century British base metals.

BADA The British Antique Dealers’ Association 20 Rutland Gate, London SW7 1BD, UK T: +44 (0)20 7589 4128 F: +44 (0)20 7581 9083 www.bada.org e: info@bada.org

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BAZAART F16 M: +44 (0)7710 461627 www.bazaart.co.uk e: justin@bazaart.co.uk Justin Raccanello Ceramics and works of art LAURA BORDIGNON PO Box 6247, Finchingfield, Essex CM7 4ER, UK T:+44 (0)1371 811791 M:+44 (0)7778 787929 www.laurabordignon.co.uk e: laurabordignon@hotmail.com Laura Bordignon Japanese works of art from the Meiji period

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J.H. BOURDON-SMITH LTD C38 24 Mason’s Yard, St. James’s, London SW1Y 6BU, UK T: +44 (0)20 7839 4714 M: +44 (0)7769 974366 www.bourdonsmith.co.uk e: enquiries@bourdonsmith.co.uk John H Bourdon-Smith, Edward J Bourdon-Smith, Julia Bourdon-Smith Antique silver from the 16th century, specialising in early spoons, collectables and good house-furnishing objects; particularly Georgian and Victorian periods, with an emphasis on English, Scottish and Irish silver.

LUCY B CAMPBELL GALLERY C26 3 The Village, 101 Amies Street, London SW11 2JW, UK T: +44 (0)20 7727 2205 M: +44 (0)7590 985880 www.lucybcampbell.com e: tessa@lucybcampbell.co.uk Lucy Campbell (Owner), Tessa Campbell (Manager) Specialises in Contemporary British, European and American Artists dealing in paintings, sculpture and photography. THE CANON GALLERY Nr Oundle, Northants T: +44 (0)1832 280451 M: +44 (0)7831 760511 www.thecanongallery.co.uk e: jeremygreen16@googlemail.com Jeremy Green, Anne Green Oil paintings and watercolours VANESSA CLEWES SALMON MODERN & CONTEMPORARY ART By appointment, London T: +44 (0)20 8458 3288 M: +44 (0)7769 665031 www.moderncontemporaryart.co.uk e: vanessa.wildwood@gmail.com Vanessa Clewes Salmon, Charles Salmon Modern & contemporary paintings

DELOMOSNE & SON LTD D3 Court Close, North Wraxall, Chippenham, Wiltshire, SN14 7AD, UK T: +44 (0)1225 891505 M: +44 (0)7785 565345 www.delomosne.co.uk e: delomosne@delomosne.co.uk Timothy Osborne, Victoria Osborne, Jane Holdsworth English and Irish 18th and 19th century glass

GIBSON ANTIQUES LIMITED D14 7 Georgian House, 10 Bury Street St James’s, London SW1Y 6AA T: +44 (0) 7831 645 468 www.gibsonantiques.com e: alastair@gibsonantiques.com Alastair Gibson Specialising in Oriental Ceramics and Works of Art

TED FEW D4 14 Tankerville Road, London SW16 5LL, UK T: +44 (0)208 767 2314 M: +44 (0)7940 747928 Ted Few Idiosyncratic works of art; romantic paintings and drawings; academic sculpture; antiquities, tribal art; eighteenth century English hardwood furniture; picture frames; curiosities.

GOULDEN & THOMAS FINE PAINTINGS E18 London & Cornwall T: +44 (0)7742 668089 M: +44 (0)7832 117175 www.gouldenandthomas.com e: sales@gouldenandthomas.co.uk Yvette Goulden, Barnes Thomas Specialises in 20th century art concentrating largely on Cornwall and the West Country sourced from auctions, galleries, artists, private estates and private collections. The ever-changing collection includes Bryan Wynter, Mary Fedden, Ben Nicholson, Winifred Nicholson, Breon O’Casey, Alfred Wallis, Paul Feiller and William Scott.

D & M FREEDMAN ORIENTAL ART E7 Chinese and Japanese Porcelain and Works of Art By appointment only, UK M: +44 (0)7976 708913 www.freedmanantiques.com e: dandmfreedman@blueyonder..co.uk David Freedman, Mercedes Freedman Chinese and Japanese porcelain and other works of art MARILYN GARROW FINE TEXTILE ART E17 Saxmundham, Suffolk, IP17 3NS, UK T: +44 (0)1728 648671 M: +44(0) 7774 842074 www.marilyngarrow.com e: marilyn@marilyngarrow.com Marilyn Garrow, Anthony Laws, John Walshe Specialising in antique textiles since 1978. Specialist areas; magnificent embroideries, printed and woven textiles from Europe and the Orient GANDER & WHITE SHIPPING LTD Unit 1, St Martin’s Way, Wimbledon, London SW17 0JH, UK T: +44 (0)20 8971 7160 F:+44 (0)20 8946 8062 www.ganderandwhite.com e: oliver.howell@ganderandwhite.com

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MARK GOODGER D16 Hampton Antiques By appointment only, UK T: +44 (0)1604 863979 M: +44 (0)7779 654 879 www.hamptonantiques.co.uk e: info@hamptonantiques.co.uk Mark Goodger Treen, boxes, tea caddies, silver, objects of vertu, glass, art deco, art nouveau HALL-BAKKER DECORATIVE ARTS B25 Woodstock, Oxfordshire, OX20 1TA, UK T: +44 (0)1993 705275 M: +44 (0)750 1788817 www.hall-bakker.com e: hallbakker@fsmail.net Les Hall Specialising in Post 20C design: Arts & Crafts, Art Nouveau, Art Deco. Ceramics; Glass; Metalwork. GRAY MCA E24 By appointment only, UK T: +44 (0)1747 840725 M: +44 (0)7872 171111 www.graymca.co.uk e: info@graymca.co.uk Ashley Gray Modern British Painters & Textiles, Contemporary Art & Original Fashion Illustration

JULIAN HARTNOLL fine artmonger est 1968 B20 37 Duke Street St. James’s, London SW1Y 6DF, UK T: +44 (0)20 7839 3842 M: +44 (0)7775 893842 www.julianhartnoll.com e: info@julianhartnoll.com Julian Hartnoll, Fiona Barry, Lizzie Hartnoll 19th & 20th century English and French paintings with an emphasis on the unjustly forgotten BRIAN HAUGHTON GALLERY E26 15 Duke Street St James’s, London SW1Y 6DB, UK T: +44 (0)20 7389 6550 F: +44 (0)20 7389 6556 www.haughton.com e: gallery@haughton.com Brian Haughton, Paul Crane Brian Haughton started his gallery in 1965, going on to found international art fairs in both New York and London. The gallery specialises in the finest 18th/19th century English and Continental ceramics and supplies objects to both museums and leading private collectors. Catalogues are published annually. HEIRLOOM & HOWARD B21 Manor Farm, West Yatton, Chippenham, Wiltshire SN14 7EU, UK T: +44 (0)1249 783038 M: +44 (0)7785 282290 www.heirloomandhoward.com e: office@heirloomandhoward.com Angela Howard 18th Century Chinese Porcelain & English Porcelain JOHN HOWARD D8 Woodstock, Oxfordshire OX20 1TA, UK M: +44 (0)7831 850544 www.antiquepottery.co.uk e: john@johnhoward.co.uk John Howard Specialising in 17th – 19th century British pottery, delftware, creamware, slipware, early Staffordshire figures, lustre and rare decorative pieces. THE HUNT GALLERY E30 33 Strand Street, Sandwich, Kent, CT13 9DS, UK T: +44 (0)1304 612792 M: +44 (0)7885 766491 www.thehuntgallery.com e: info@thehuntgallery.com Philip B. Hunt, Michael J. Hunt, Rosemary A. Hunt Specialises in original paintings of traditional interiors and landscapes

ICONASTAS RUSSIAN WORKS OF ART LTD E31 5 Piccadilly Arcade, London SW1Y 6NH, UK T: +44 (0)20 7629 1433 M: +44 (0)7736 501759 www.iconastas.com e: info@iconastas.com Specialises in Russian and Greek icons and Russian works of art MANYA IGEL FINE ART C30 21/22 Peters Court, Porchester Road, London W2 5DR, UK T: +44 (0)20 7229 1669, +44 (0)207 229 8429 www.manyaigelfinearts.com e: paintings@manyaigelfinearts.com Manya Igel, David Duncan, Debbie Hunter, Florence Pike Traditional modern British art. Specialising in Royal Academicians. ILLUSTRATIONCUPBOARD GALLERY E16 22 Bury Street St James’s, London SW1Y 6AL, UK T: +44 (0)20 7976 1727 www.illustrationcupboard.com e: gallery@illustrationcupboard.com John Huddy (Managing Partner Hsiag-Chun (Daphne) Shen (Assistant Gallery Manager) Jessica Charleston (Registrar) Stella Bianca (Administrator) A three-floor gallery in the heart of the world-famous art district of St James’s representing and exhibiting original illustration art by international illustrators and artists from the world of books, film, theatre, reportage, graphic novels and political cartoons. The gallery displays and sells work from the early twentieth century up to cutting-edge illustration artwork produced for current publications today. IMAGES - FAIRHEAD FINE ART LIMITED E8 19 Helenslea Avenue, London NW11 8NE, UK T: +44 (0)20 8455 2700 M: +44 (0)7976 967216 e: nfairhead@gmail.com Niall Fairhead, Christina Fairhead, Andrew Lamont A substantial stock of Original Prints, Drawings and ceramics by leading “School of Paris” artists such as Picasso, Matisse, Chagall, Miro, Dali Cocteau and Braque

IMPERIAL FINE BOOKS B5 790 Madison Avenue, New York, NY 10065 T: 001 212-861-6620 M: 001 201-294-3874 www.imperialfinebooks.com e: info@imperialfinebooks.com Bibi Mohamed, Selina Mohamed, J Ramsawak Leather Bound sets, Fine Bindings, Children’s, Illustrated, Colour Plate, First Editions, Rare Books 17th – 19th Century. PETER LAYTON LONDON GLASSBLOWING C24 62 – 66 Bermondsey Street, London SE1 3UD, UK T: +44 (0)20 7403 2800 M: +44 (0)7800 983369 www.londonglassblowing.co.uk e: gallery@londonglassblowing.co.uk Peter Layton – Director, Ann Layton – Director, Laura McKinley – Gallery Manager, Coralie de Robert – Sales and Marketing Manager, Amy Reeve – Gallery Assistant Specialises in contemporary glass art sculpture LICHT & MORRISON LTD By appointment only, London, UK T: +44 (0)7810 540307 e: robin@lichtandmorrison.com Robin Cook Jewellery 1890 - 1960

SANDA LIPTON E2 By appointment only, Suite 202, 2 Lansdowne Row, Berkeley Square, London W1J 6HL, UK T: +44 (0)20 7431 2688 M: +44 (0)7836 660008 www.antique-silver.com e: sanda@antique-silver.com Sanda Lipton Specialising in fine antique silver, early English spoons, historic and commemorative medals, objects of vertu and collectors’ items. LOVE WOOD GALLERY, ANTWERP/PARIS Janvanrijswicklaan, Antwerp 2018, Belgium T: +33 631 290513 www.lovewoodgallery.com e: standonart@hotmail.com Dee OLeary, Gallery Director, Rene Dupont Specialises in contemporary sculptural art

LUCAS RARITIES Mayfair, London W1, UK T: +44 (0)20 7100 8881 www.lucasrarities.com e: info@lucasrarities.com Sam Loxton, Francesca Martin-Gutierrez Antique and period jewellery

E & H MANNERS E32 66C Kensington Church Street, London W8 4BY, UK T: +44 (0)20 7229 5516 M: +44 (0)7767 250763 www.europeanporcelain.com e: manners@europeanporcelain.com Errol Manners, Henriette Manners, Henry Manners Specialising in European ceramics of the 16th to the 20th century TIMOTHY MILLETT E22 P.O. Box 20851, London SE22 OYN, UK T: +44 (0)20 8693 1111 M: +44 (0)7778 637898 www.historicmedals.com e: tim@historicmedals.com Tim Millett Historic medals and works of art FREYA MITTON D36 Somerset. By appointment only T: +44 (0)1761 241198 M: +44 (0)7968 562499 www.freyamitton.com e: freya@freyamitton.com Freya Mitton, Britta Bia, Isabelle Howe 20th Century British Art MOORE-GWYN FINE ART C6 By appointment only, London W8 and near Burford, Oxfordshire M: +44 (0)7765 966256 www.mooregwynfineart.co.uk e: harry@mooregwynfineart.co.uk Harry Moore-Gwyn, Camilla Moore-Gwyn Specialising in British paintings and drawings, mainly from the period 1870-1970, including works by the Camden Town Group (in particular Robert Bevan), Stanley Spencer, Lucian Freud, John Piper, Paul and John Nash and Ethelbert White. A particular interest in unjustly neglected artists of the period.

MORELLE DAVIDSON 53 Maddox Street, London W1S 2PH, UK T: +44 (0)20 7408 0066 F: +44 (0)20 7495 8885 www.morelleddavidson.com e: raphael@morelledavidson.com Morris Abramov Specialising in Edwardian/Victorian/Art Deco/Retro Jewellery Gemstones Objets d’Art

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MUSE, THE SCULPTURE COMPANY/ AMADEUS GALLERY B27 Tetbury, Gloucestershire Midhurst, Sussex T: +44 (0)1285 841609 T: +44 (0)1730 812024 M: +44(0)7828 174679 M: +44(0)7962 899754 www.thesculpturecompany.co.uk e: Justin@thesculpturecompany.co.uk SUSAN OLLEMANS 13 Georgian House, 10 Bury Street, London SW1Y 6AA, UK T: +44 (0)7775 566356 www.ollemans.com e: ollemans178@btinternet.com Specialises in Asian Jewellery

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PANTER & HALL 11-12 Pall Mall, London SW1Y 5LU, UK T: +44 (0)20 7399 9999 www.panterandhall.com e: enquiries@panterandhall.com Matthew Hall, Tiffany Panter Specialising in modern British and contemporary figurative painting

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CHRISTOPHE PERLÈS F12 20 rue de Beaune, 75007 Paris, France T & F: +33 (0)1 4926 0324 www.cperles.com e: christopheperles@hotmail.com Christophe Perlès Specialising in Continental European ceramics, showing a selection of faïence and porcelain from the late 15th to the early 19th century

DAVID PICKUP ANTIQUES C32 P.O. Box 1244, Cheltenham, Gloucestershire, GL50 9YE, UK T: +44 (0)7860 469959 www.davidpickupantiques.com e: the.pickups@btinternet.com David Pickup, Jane Pickup Specialising in fine English furniture, arts & crafts, works of art POTTERTON BOOKS F14 The Old Rectory, Sessay, Thirsk, North Yorkshire YO7 3LZ, UK T: +44 (0)1845 501218 M: +44 (0)7787 575795 www.pottertonbooks.co.uk e: ros@pottertonbooks.co.uk Clare Jameson, Simon Barton Potterton Books are international specialist booksellers in the Fine and Decorative Arts, Interior Decoration, Design, Architecture and Antiques. From the Renaissance to the 21st Century. SYLVIA POWELL DECORATIVE ARTS C23 By appointment only, Suite 400, Ceramic House, 571 Finchley Road, London NW3 7BN, UK T: +44 (0)308 201 5880 M: +44 (0)7802 714 998 www.sylviapowell.com e: Sylvia@sylviapowell.com Rare and perfect art pottery. Specializing in the best examples of works by Picasso, Jean Cocteau, William De Morgan, Wedgwood Fairland, Martin Brothers, Moorcroft and many others. PRIESTLEY & FERRARO D14 Priestley & Ferraro, 17 King Street St James’s, London SW1Y 6QU, UK T: +44 (0)20 7930 6228 www.priestleyandferraro.com e: info@priestleyandferraro.com David Priestley Early Chinese Works of Art QUANTUM CONTEMPORARY ART A1 The Imperial Laundry, 71-73 Warriner Gardens, London SW11 4XW, UK T: +44 (0)207 498 6868 M: +44 (0)7765 255800 www.quantumart.co.uk e: info@quantumart.co.uk Johnny Gorman, Tara Williams, Amelia Durie Specialises in contemporary figurative painting and drawing.

RAFFETY D34 79 Kensington Church Street, London W8 4BG, UK T: +44 (0)20 7937 2220 M: +44 (0)7831 514216 www.raffetyclocks.com e: info@raffetyclocks.com Nigel Raffety, Tara Draper-Stumm, Harrison Goldman English longcase and bracket clocks, selected barometers and antique furniture

SILVERMAN ANTIQUES C2 109 Kensington Church Street, W8 7LN T: +44 (0)20 7985 0555 www.silverman-london.com e: silver@silverman-london.com Robin Silverman, William Brackenbury Specialising in fine 18th century silverware, objets d’art, early spoons, fine quality silver tableware

ROBYN ROBB 72 Rivermead Court, Ranelagh Gardens, London SW6 9DR, UK T&F: +44 (0)20 7731 2878 e: robynrobb@clara.co.uk Robyn Robb Specialising in 18th century English porcelain

SIM FINE ART C10 By appointment only, UK M: +44 (0)7919 356150 www.simfineart.com e: simfineart@btinternet.com

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RÖELL FINE ART B24 Tongersestraat 2, 6211LN Maastricht, Netherlands T: +31 (0)65 32 11 649 www.guusroell.com e: g.roell@xs4all.nl Specialising in Portuguese, Dutch and English colonial furniture, works of art, silver and paintings from the 16th to the 19th century. SAMINA INC D30 By appointment only, 33 St. James’s Square, London SW1Y 4JS, UK T: +44 (0)20 31706076 M: +44 (0)7775 872960 F: +44 (0)20 7286 3633 www.saminainc.com e: saminainc@hotmail.com Dr. Samina Khanyari, Miss Noor Hasan, Miss Chantal Sparwasser Rare collectable Indian jewels Indian and Islamic works of art. Samina Inc specialises in rare and collectable antique jewellery and jewelled arts of India. The gallery collection reflects the opulence of Mughal and Deccan Court Life from the 17th to the 19th centuries, showing the extraordinary craftsmanship of the Imperial workshops at these Courts.

JACQUELINE SIMCOX LTD 54 Linton Street, Islington, London N1 7AS, UK T: +44 (0)20 7359 8939 M: +44 (0)7775 566388 www.jacquelinesimcox.com e: js@jacquelinesimcox.com Jacqueline Simcox Specialising in Chinese and Central Asian Textile

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MARY WISE & GROSENOR ANTIQUES B22 58-60 Kensington Church Street, London W8 4DB, UK T: +44 (0)20 7937 8649 M: +44 (0)7850 863050 www.wiseantiques.com e: info@wiseantiques.com Elizabeth Lorie Specialising in 18th and early 19th century English porcelain; some Continental porcelain of the same period; bronze and ormolu artefacts; small works of art. YVEL D17 1 Yechiel Steinberg St, Ramat Motza, Jerusalem, Israel T: +972-2-6735811 www.yvel.com e: yvel@yvel.com Yvel is a prestigious and industry leading jewelry brand founded in 1986 by husband and wife team, Isaac and Orna Levy. Yvel’s innovative designers and talented artisans create exquisite pieces of wearable art using only the very best pearls, precious gems and metals that Mother Nature has to offer.

Map of London from Actual Survey Made in the Years 1824, 1825 & 1826. GREENWOOD, C. & J. Circa 1827 Medium: Engraving

The First Edition of this monumental map of London, on a scale of 8 inches to a mile. The extents are Kentish Town in the north, clockwise to the River Lea, Greenwich, and Kensington. Under the map is a dedication to George IV, a key and inset views of Westminster Abbey and St Paul’s Cathedral. In later editions the dedication was moved to the title, with this florid script replaced by further mapping. Brothers Christopher & John Greenwood spent three years on their new survey of London, capturing Thomas Cubitt’s plans for the development of Belgravia, outlines of new roads in Bayswater, the completion of the Grand Surrey Canal (1826) and Regent’s Park the year before completion (1828). The plan was then engraved by James and Josiah Neele.

B1 ALTEA MAPS & CHARTS

35 St. George Street, London W1S 2FN, UK T: +44 (0)20 7491 0010 e: info@alteagallery.com www.alteagallery.com

1260 mm x 1860 mm 23

Study of a Fisherman Stanhope Alexander Forbes (1857-1947) Oil on canvas 76 x 60 cms It has been suggested that this is a study for a fisherman in ‘Off to Skibbereen’ (1901) Provenance: Newlyn Orion Galleries Limited (now the Newlyn Art Gallery) Stanhope & Elizabeth Forbes exhibition 1981 no. 45

C34 BABBINGTON FINE ART

18 Towerside, 146 Wapping High Street, London E1W 3PE, UK www.babbingtonfineart.com e: info@babbingtonfineart.com T: +44 (0)7770 917961 24

A LARGE MAIOLICA ARMORIAL PILGRIM FLASK With the arms of Medici and Lorraine, the body with four lug handles. Montelupo, c.1591-2. 39 cms

F16 BAZAART

M: +44 (0)7710 461627 www.bazaart.co.uk e: justin@bazaart.co.uk Justin Raccanello

Japanese Bronze Hawk Artist: Masatsune Chu Japanese Bronze Hawk with silvered body perched on a tree stump, signed in a reserve Masatsune chū, Meiji Period. The Artist Masatsune was very accomplished in bird subjects. For other birds by Masatsune see “The Golden Age of Japanese Okimono, Dr. Kanter Collection” Metalwork no. 248. “Meiji no Takara, The Nasser D. Khalili Collection” Metalwork no. 104-105.

C18 LAURA BORDIGNON

PO Box 6247, Finchingfield, Essex CM7 4ER, UK T: +44 (0)1371 811791 M: +44 (0)7778 787929 www.laurabordignon.co.uk e: laurabordignon@hotmail.com 26

A very rare early Victorian Card Case, Birmingham 1847 by David Pettifer, depicting Shakespeare’s birthplace at Stratford-on-Avon. Dimensions: 3.3 ins (8.5 cms) x 2.3 ins (6 cms) 1.5oz (48gr)

C38 J.H. BOURDON-SMITH LTD

24 Mason’s Yard, St. James’s, London SW1Y 6BU, UK T: +44 (0)20 7839 4714 F: +44 (0)20 7839 3951 www.bourdonsmith.co.uk e: enquiries@bourdonsmith.co.uk 27

Fine and rare late 18th century Waterfall Bookcase in West Indian Satinwood England Circa 1795

E14 CHRISTOPHER BUCK ANTIQUES

56-60 Sandgate High Street, Sandgate, Folkestone, Kent CT20 3AP, UK T & F: +44 (0)1303 221229 M: +44 (0)7836 551515 www.christopherbuck.co.uk e: cb@christopherbuck.co.uk 28

An unmarked octagonal Tobacco Box, English, circa 1670: inset with tortoiseshell panels to the sides; with a dial locking mechanism to the lid; and engraved with a perpetual calendar to the base. The box is engraved with the arms of Swinfen of Swinfen, near Lichfield, Staffordshire. Dimensions of box: 8.5 cms long 6 cms wide 2.2 cms deep

D32 PETER CAMERON

Vault 57, The London Silver Vaults, 53-64 Chancery Lane, London WC2A 1QS T: +44 (0)7836 210759 www.petercameronantiquesilver.com e: peter.cameron@idnet.co.uk 29

C26 LUCY B CAMPBELL GALLERY

3 The Village, 101 Amies Street, London SW11 2JW, UK T: +44 (0)20 7727 2205 M: +44 (0)7590 985880 www.lucybcampbell.com e: tessa@lucybcampbell.co.uk 30

Artist: Marco Ramasso Title: White Soul Size: 19¾ ins x 27½ ins / 50 cms x 70 cms Medium: Oil on Linen Year: 2016

Alfred William Hunt RWS (1830-1896) “The Silver Birch Wood” Signed Circa 1860 Watercolour 7½ ins x 10¼ ins

A3 THE CANON GALLERY

Nr Oundle, Northants T: +44 (0)1832 280451 M: +44 (0)7831 760511 www.thecanongallery.co.uk e: jeremygreen16@googlemail.com 31

E6 VANESSA CLEWES SALMON MODERN & CONTEMPORARY ART

By appointment, London T: +44 (0)20 8458 3288 M: +44 (0)7769 665031 www.moderncontemporaryart.co.uk e: vanessa.wildwood@gmail.com 32

Keith Vaughan CBE (1912-1977) Standing Figure Pastel and charcoal on board 37 cms x 29 cms Signed and dated 1961

A fine and large loving cup with triple annulated strap handles and central applied band. English c. 1730-50 Height: 20.2 cms

D3 DELOMOSNE & SON LTD

Court Close, North Wraxall, Chippenham, Wiltshire, SN14 7AD, UK T: +44 (0)1225 891505 M: +44 (0)7785 565345 www.delomosne.co.uk e: delomosne@delomosne.co.uk 33

A rare ancient standing bronze figure of Heracles 3rd-2nd century B.C. 7.6 cms Provenance: The Hohenzollern Collection of Ancient Bronze Statuettes from Sigmaringen, to be exhibited publicly as a group for the first time at Art Antiques London.

D4 TED FEW

14 Tankerville Road, London SW16 5LL, UK T: +44 (0)208 767 2314 M: +44 (0)7940 747928

Zou Daya/Zou Ya (1916-1974) 邹雅 Landscape Ink and colour on paper, hanging scroll 53 cms x 34.5 cms (21 ins x 13½ ins) Inscribed, signed Daya and dated cyclically (1962) Seals: Zou Ya, Da Ya, and a collector’s seal, Bo Te (Poetter). Zou Daya/Zou Ya was from the Jiangsu province. He was active as a wood engraver in Shanghai in the 1930s/1940s, after which time he took up guohua, influenced by Huang Binhong and Li Keran. He was a member of the Beijing Academy of Painting and became known for both his powerful woodcuts of workers, including miners, and for his work with ink and colour on paper. He died in Shanxi in a mining accident. A memorial exhibition of his woodcuts was held in 1980 in the National Art Gallery, Beijing, while The Collected Paintings of Zou Ya was published in Beijing in 1982 by Jiang Feng and Shao Yu. Bibliography Feng, Jiang and Yu, Shao. Collected Paintings of Zou Ya. Beijing, 1982. Sullivan, Michael. Modern Chinese Artists. A Biographical Dictionary. Berkeley and Los Angeles, 2006. Von Spee, Clarissa. Modern Chinese Ink Paintings. The British Museum, 2012.

E7 D & M FREEDMAN ORIENTAL ART

Chinese and Japanese Porcelain and Works of Art By appointment only M: +44 (0)7976 708913 www.freedmanantiques.co.uk e: info@freedmanantiques.co.uk 35

This magnificent embroidered cushion cover belonged to Empress Eugénie consort to Napoléon III.

E17 MARILYN GARROW FINE TEXTILE ART

Saxmundham, Suffolk, IP17 3NS, UK T: +44 (0)1728 648671 M: +44 (0)7774 842074 www.marilyngarrow.com e: marilyn@marilyngarrow.com 36

After the defeat of the second Empire during the Franco-Prussian war in 1870 Napoléon III and his consort Empress Eugénie of France took refuge in England. The embroidery would have been worked in England between 1870 – 1920. The embroidery symbolizes her status with her initial E embroidered in gilt thread at the centre,

on each corner her Imperial crown, the golden eagle of the Second French Empire wearing the Imperial crown and contained on each side by a laurel branch symbolizing France and an oak branch symbolizing England. The cushion was given by Empress Eugénie to her English lady-in-waiting and has come down by decent through the Harrison and Hathaway families before being purchased by me. The embroidery is worked in silk, wool, gilt thread and chenille on a cream silk ground.

A rare ‘tea production’ painting, Tingqua, Guan Lianchang, (1809-1870) Ink and colour on paper, signed Tingqua lower foreground Framed and glazed 64 cms x 97cms (80 cms x 111 cms including frame)

D14 GIBSON ANTIQUES LTD

7 Georgian House, 10 Bury Street St James’s, London SW1Y 6AA T: +44 (0) 7831 645 468 www.gibsonantiques.com e: alastair@gibsonantiques.com 37

E18 GOULDEN & THOMAS FINE PAINTINGS

London & Cornwall T: + 44 (0)7742 668089 or + 44 (0)7832 117175 www.gouldenandthomas.com e: sales@gouldenandthomas.co.uk 38

Mary Fedden (1915-2012) Still Life on Shore 1974

Henry Clay Caddies A rare pair of George III papier mache oval tea caddies, attributed to Henry Clay. Decorated using the grisaille method, with classical figures in the Etruscan style. Each caddy is decorated with bands of classical anthemions, one has a chevron pattern, the other a floral decoration on the lid. This was done purposely, probably to enable the caddies’ owners to distinguish which caddy contained green or black tea. Each features a solid silver handle stamped “HC”, bearing the assay office mark for Birmingham. The gilt metalrimmed tops open to reveal tin foil lined interiors, which retain their original silver-handled floating lids. The caddies originally formed part of the display in the Etruscan Dressing Room at the famous ‘palace of palaces’, Osterley Park in Isleworth, designed by the architect Robert Adam. They were believed to have sat on a table, also by Clay, in the Dressing Room (still displayed at the house today). The table was described in the 1782 inventory as ‘a Pembroke table richly Japanned by Clay’. George Child Villiers, 9th Earl of Jersey, gave Osterley Park to the National Trust in 1949. At the same time, he gave his sister, Lady Joan Child Villiers, this beautiful pair of caddies. They left the house when they were sold to a family friend and avid tea caddy collector around thirty years ago. Henry Clay produced items ranging from small caddies, trays, knife boxes and dressing cases to small pieces of japanned furniture. Clay moved to London from Birmingham, first establishing a workshop at 18 King Street in Covent Garden, where his array of clients included the Royal Family, eventually becoming ‘Japanner in Ordinary to His Majesty and His Royal Highness the Prince of Wales’. Other clients included members of high society, notably Robert Child of Osterley, the Dukes of Bedford, Horace Walpole and Baron Scarsdale of Kedleston. Circa: 1790

D16 MARK GOODGER

Hampton Antiques By appointment only, UK T: +44 (0)1604 863979 M: +44 (0)7779 654 879 www.hamptonantiques.co.uk e: info@hamptonantiques.co.uk 39

Henry Moore (1898 - 1986) Reclining Figures 1944 - 46 50 cms x 48 cms Medium: Serigraphy In 6 Colours, Cotton Provenance: Ascher Private Collection, USA Lida & Zika Ascher were true visionaries who introduced Modern Artists to new audiences worldwide by commissioning artwork for textile design. The Ascher’s worked particularly closely with Henry Moore between 1943 & 1949. Long before the 1951 Festival of Britain, Moore’s textile designs anticipated the end of an era of rationing and the strictly controlled dour utility fabrics that pervaded post-war Britain. The notion that leading artists could collaborate with modern industry to produce textiles that were contemporary in both design and material led the Illustrated London News to predict that women would soon be ‘blossoming out as walking art galleries.’ Many of these original textile designs are now in the permanent collection of the Victoria and Albert Museum and the Henry Moore Foundation.

E24 GRAY MCA

By appointment only, UK T: +44 (0)1747 840725 M: +44 (0)7872 171111 www.graymca.co.uk e: info@graymca.co.uk 40

Flower vases Pair of art nouveau silvered metal and crystal glass flower vases by the WMF manufacturer, Geislingen, Germany. Design illustrated in the published 1906 catalogue “Art Nouveau Domestic Metalwork”. WMF. (Wurttembergische Metallwaren Fabrik) Circa 1910 Height: 13 ins (33 cms) WMF Ostrich trade marks

B25 HALL-BAKKER DECORATIVE ARTS

Woodstock, Oxfordshire, OX20 1TA, UK T: +44 (0)1993 705275 M: +44 (0)750 1788817 www.hall-bakker.com e: hallbakker@fsmail.net 41

A Meissen Comedy Figure of Harlequin from an extremely rare and early series of Characters from the Commedia dell’Arte. He stands astride with a ringed tree support behind him. Dressed in a cape, raised up on a bevelled rectangular architectural plinth with traces of Augsburg gilding. Circa 1725 Height: 6 ins (15 cms) This unique porcelain figure is a hitherto unknown model which almost certainly depicts Harlequin. Not only is the model of exceptional rarity, but the pose of the figure is most unusual. The Harlequin is probably part of a group of 161 small plaster models of dwarves of various nationalities, chess pieces and other sculptures, which were acquired by Meissen from Augsburg in 1725. Some were inspired by engravings by Jacques Callot and Caspar Luyken. Those that survive are marked with crossed swords and stand on similar pedestals, they include a figure of a Dutchman, a Pole from the Spitzner Collection, as well as a Janissary and a Shepherd, from the collection of Siegfried Salz. Meredith Chilton, Independent Art Historian and Author of ‘Harlequin Unmasked: The Commedia dell’ Arte and Porcelain Sculpture’.

E26 BRIAN HAUGHTON GALLERY

15 Duke Street St James’s, London SW1Y 6DB, UK T: +44 (0)20 7389 6550 F: +44 (0)20 7389 6556 www.haughton.com e: gallery@haughton.com 42

An extremely rare oval Meissen Portrait Medallion Augustus III, modelled in profile and looking to the left, the ‘Roman headed’ King of Poland and Elector of Saxony modelled head and shoulders, wearing official stylised ‘Roman’ vestments or toga and the order and sash of the Golden Fleece. Suspension hooks applied to the partially glazed reverse. Circa 1737 Height: 4 3/4 ins ( 12 cms) This portrait plaque of Augustus III is previously unrecorded.The King wears a furlined outergarment and hairstyle of the Polish ruling class. Augustus III was the only legitimate son of Augustus II of Poland, he followed his father’s example by joining the Roman Catholic Church in 1712. In 1719 he married Maria Josepha, daughter of the Holy Roman emperor Joseph I and became elector of Saxony on his father’s death in 1733.

E26 BRIAN HAUGHTON GALLERY

15 Duke Street St James’s, London SW1Y 6DB, UK T: +44 (0)20 7389 6550 F: +44 (0)20 7389 6556 www.haughton.com e: gallery@haughton.com 43

An extremely rare and highly Important Du Paquier Covered Jug of Silver Shape, the elegant baluster form with moulded silver shaped spout and scrolled handle, the high domed cover with double annulated knop. Painted in underglaze blue with sprays and smaller sprigs of stylised oriental flowers and leaves. Circa 1725 Height: 11 ins (27.5 cms) For a discussion on underglaze blue decoration on Du Paquier porcelain see the article by A. Busson, op. cit. where this coffee pot is illustrated. The pattern on this coffee pot differs from that on the earliest types at Du Paquier, which were often decorated in red enamel, and is very close to the decoration of the pieces recently identified at the Sankt Florian Abbey in Upper Austria, dating from circa 1728; See Meredith Chilton, Fired By Passionâ&#x20AC;&#x2122; vol. 2 p. 772 and vol 3. nos. 210 and 211.

E26 BRIAN HAUGHTON GALLERY

15 Duke Street St Jamesâ&#x20AC;&#x2122;s, London SW1Y 6DB, UK T: +44 (0)20 7389 6550 F: +44 (0)20 7389 6556 www.haughton.com e: gallery@haughton.com 44

An extremely rare Longton Hall Hexafoil Leaf Shape Teapot and Cover, of cusped naturalistic shape formed as a series of six large cabbage leaves grouped together, the spout similarly formed with two leaves and the flattened cover with tripartite leaf finial, applied at one side with vine tendril handle, the green edged leaves veined in puce. Circa 1755 Height: 4¾ ins (11 cms) The only other recorded example of this rare form, also sold by Brian Haughton Gallery, from the Dr. and Mrs. Statham collection, Sotheby’s 16th October 1956 lot 104. Published by Bernard Watney, Longton Hall Porcelain. 1957. p. 40 pl. 46B. and now in the Rosalie Wise Sharpe Collection, Toronto.

E26 BRIAN HAUGHTON GALLERY

15 Duke Street St James’s, London SW1Y 6DB, UK T: +44 (0)20 7389 6550 F: +44 (0)20 7389 6556 www.haughton.com e: gallery@haughton.com 45

FREDERIC, LORD LEIGHTON, P.R.A. 1830-1896 STUDY FOR SOLITUDE pencil and white chalk on brown paper 43 cms x 23 cms (17 ins by 9 ins) Provenance: Julian Hartnoll, London, c.1985; Morris Gallery, Toronto The oil painting Solitude (Maryhill Museum of Art, Washington) was exhibited at the Royal Academy in 1890. It almost certainly depicts Leightonâ&#x20AC;&#x2122;s favourite model Dorothy Dene, seated amongst an imposing background of rocks and looking down into murky waters as she reflects on her solitariness. There is a similar study at the Yale Centre for British Art in New Haven and other studies for Solitude at the William Morris Gallery in Walthamstow, the Royal Library at Windsor, Laing Art Gallery in Newcastle and in the collection of drawings at the Royal Academy.

B20 JULIAN HARTNOLL

fine artmonger est 1968

37 Duke Street St. Jamesâ&#x20AC;&#x2122;s, London SW1Y 6DF, UK T: +44 (0)20 7839 3842 M: +44 (0)7775 893842 www.julianhartnoll.com e: info@julianhartnoll.com 46

Chinese armorial plate, Qianlong circa 1739, with the quarterly arms of Okeover impaling Nichol

From a fine documentary service which proved the most elaborate and most expensive of all the eighteenth century Chinese armorial services. Painted in the newly emerging rococo style from a design by the artist Arthur Devis Senior, on the reverse of which was written ‘The Arms of Leake Okeover Esqre. of Okeover near Ashbourn in the Peak in the County of Derbyshire – a pattern for China plate. Pattern to be returned’. Uniquely, both the pattern and the two original invoices are still extant. The first invoice was sent from the Jerusalem Coffee House on the 16th January 1740, each of the 70 plates and 30 dishes averaging the exceptional sum of one pound per piece. Leake Okeover spent that decade refurbishing Okeover Hall at profligate cost, but so severely over-extended himself, not just with his porcelain, that in 1751 he fled to Dunkirk for a year to escape his creditors, going under the pseudonym of ‘Monsieur William Scrimshaw’. In the Sotheby catalogue A Tale of Three Cities these pieces are described thus, ‘there is no more faultless service of porcelain from China for the Western market’. Literature: Howard, David S.; Chinese Armorial Porcelain, Vol. I, page 398; A Tale of Three Cities, pp. 57-58

B21 HEIRLOOM & HOWARD

Manor Farm, West Yatton, Chippenham, Wiltshire SN14 7EU, UK T: +44 (0)1249 783038 M: +44 (0)7785 282290 www.heirloomandhoward.com e: office@heirloomandhoward.com 47

D8 JOHN HOWARD

Woodstock, Oxfordshire OX20 1TA, UK M: +44 (0)7831 850544 www.antiquepottery.co.uk e: john@johnhoward.co.uk

A fine and rare English delftware pottery blue dash charger with the royal portrait of Queen Anne and initials A R. The Queen is crowned and holding an orbe and sceptre. Circa 1702 Diameter: 13.25 ins

Wynkoop Parlor Michael John Hunt Acrylic on canvas Signed

E30 THE HUNT GALLERY

33 Strand Street, Sandwich, Kent, CT13 9DS, UK T: +44 (0)1304 612792 Mob: +44 (0)7885 766491 www.thehuntgallery.com e: info@thehuntgallery.com

34 ins x 34 ins 49

Miniature Folded Travelling Russian Icon Circa 1800 Silver gilt and wood A very rare Russian silver gilt cased miniature folding Icon of 13 panels, depicting the Orthodox Festivals centred by the Anastasis. The outer cover with the crucified Christ, the back with the All Seeing Eye of God. St. Petersburg townmark, makers and assay marks are indistinct. Each panel is numbered on the top edge. Open 33½ ins (85cms) long, closed 3½ ins x 2½ ins (9 cms x 6½ cms)

E31 ICONASTAS RUSSIAN WORKS OF ART LTD

5 Piccadilly Arcade, London SW1Y 6NH, UK T: +44 (0)20 7629 1433 M: +44 (0)7736 501759 www.iconastas.com e: info@iconastas.com

Susan Ryder, RP NEAC (B. 1944) “Red Interior” Signed Oil on canvas 30 ins x 36 ins Purchased direct from Artist

C30 MANYA IGEL FINE ART

21/22 Peters Court, Porchester Road, London W2 5DR, UK T: +44 (0)20 7229 1669, +44 (0)207 229 8429 www.manyaigelfinearts.com e: paintings@manyaigelfinearts.com 51

E16 ILLUSTRATIONCUPBOARD GALLERY

22 Bury Street, St James’s, London SW1Y 6AL, UK T: +44 (0)20 7976 1727 www.illustrationcupboard.com e: gallery@illustrationcupboard.com

Brian Wildsmith (B. 1930) The Arabian Nights Gouache on paper

Produced for, and the published front cover artwork of Tales From The Arabian Nights, Oxford Illustrated Classics, Oxford University Press, 1961, illustrated by Brian Wildsmith.

Signed by Brian Wildsmith

Exhibited: The Master of Colour – Brian Wildsmith at 80, 2010, London

310 mm x 420 mm

Provenance: From the studio of the artist.

Salvador Dali (1904 – 1989) Le Neurologiste, 1977 Medium: Chine ink and pen on card, in four different colours: brown, black, red and green. Signed in red felt pen to centre “Dali”. Dated in the centre to the right “1977”. Signed a second time in Chine ink lower centre “Dali”. Provenance: Spanish Auction House Note: This drawing is of similar style, colour and composition to the three franc stamp, designed by Dali in 1978, for Postes de Francia, which went on sale through the French postal service in November 1979, according to Robert Descharnes, in “Dali: la obra y al hombre” – (Dali, the work and the man) published by Tusquets, 1984, page 412. This is of a subject matter of interest to the artist whose interest in psychology and medical related questions was profound. He had a great admiration for Freud whom he met on several occasions. Neurology is a science for treating diseases of the nervous system which includes the brain, the spinal cord and the nerves and the artist no doubt had a fascination for this also. Authentification The work has been shown to Nicholas Descharnes, the internationally renowned Dali expert who confirms authenticity. The certificate is dated 22nd January 2016. We have a photocopy of the certificate of Authenticity dated 1989 issued by D. Enrique Sabater, Salvador Dali’s secretary from 1968 to 1980. This is a document signed by the Notary Public, Ramon Coli Figa and bearing stamps to the value of 30 Pesetas. Exhibitions: This work of art was included in an exhibition of unpublished Salvador Dali drawings which took place in ‘La Galeria Barcelona Dondo’ (whose Director was Jairne Gil Aluja), Barcelona in 1988. We have a photocopy of the article published in ‘El periodico’ on 9th June 1988, in which this drawing illustrated being described as ‘Uno de los dibujos indictor de Salvador Dali’. The show consisted of 48 works in total. Size 655 mm x 488 mm

E8 IMAGES - FAIRHEAD FINE ART LIMITED

219 Helenslea Avenue, London NW11 8NE, UK T: +44 (0)20 8455 2700 M: +44 (0)7976 967216 e: nfairhead@gmail.com

60 vols. Charles Dickens with l69 original watercolors.

B5 IMPERIAL FINE BOOKS

790 Madison Avenue, New York, NY 10065 T: 001 212-861-6620 M: 001 201294-3874 www.imperialfinebooks.com e: info@imperialfinebooks.com 54

Black Paradiso Stoneform Peter Layton 2016 Height 43 cms, Width 23 cms “The Paradiso series has long been one of the most successful and sought-after of my series. It has gone through a number of evolutionary phases and colour-ways. For me, its gestural painterly qualities are given a greater sense of mystery and depth in the subtle tonal overlays of this latest incarnation. It is called Black Paradiso, but in fact the salient difference is the inclusion of a reactive purple.” Peter Layton

C24 PETER LAYTON LONDON GLASSBLOWING

62 – 66 Bermondsey Street, London SE1 3UD, UK T: +44 (0)20 7403 2800 M: +44 (0)7800 983369 www.londonglassblowing.co.uk e: gallery@londonglassblowing.co.uk 55

A magnificent Art Deco platinum set diamond clip in the fluid form of a â&#x20AC;&#x153;Featherâ&#x20AC;?. Set with a combination of round old brilliant cut and French cut diamonds. Of exceptional quality, design and manufacture. French Circa 1930

C3 LICHT & MORRISON LTD

Robin Cook

By appointment only T: +44 (0)7810 540307 e: robin@lichtandmorrison.com

Pair elegant Victorian Elkington Plate wine coolers. Made by Elkington, Mason & Co. in 1857. Height: 12 ins (30 cms) to top of handle Width: 13.8 ins (35.3 cms) overall

E2 SANDA LIPTON

By appointment only, Suite 202, 2 Lansdowne Row, Berkeley Square, London W1J 6HL, UK T: +44 (0)20 7431 2688 M: +44 (0)7836 660008 F: +44 (0)20 7431 3224 www.antique-silver.com e: sanda@antique-silver.com 57

h ollary b “Who will you be tomorrow?” 2016 Signed 20 20-15 Medium: Ohio Valley American Cherrywood 180 cms height x 105 cms width Exhibited: Love Wood Gallery Antwerp. 8c Avenue Art Fair, Champs Elysee Paris, Oct 2016

A2 LOVE WOOD GALLERY

Antwerp/Paris

Janvanrijswicklaan, Antwerp 2018, Belgium T: +33 631 290513 www.lovewoodgallery.com standonart@hotmail.com 58

An enamel, opal, emerald, and ruby serpent pendant by Gustave-Roger Sandoz. Circa 1901.

D1 LUCAS RARITIES LTD

Mayfair, London W1, UK T: +44 (0)20 7100 8881 www.lucasrarities.com e: info@lucasrarities.com

E32 E & H MANNERS

66C Kensington Church Street, London W8 4BY, UK T: +44 (0) 20 7229 5516 M: +44 (0)7767 250763 www.europeanporcelain.com e: manners@europeanporcelain.com 60

Meissen Chinoiserie groups Modelled by J.J. Kaendler and Paul Reinicke. 1745-55 14.2 cms to 28.6 cms high

Shakespeareâ&#x20AC;&#x2122;s Mulberry Tree, Covered Jar Circa 1780 Height: 180 mm Width: 105 mm

E22 TIMOTHY MILLETT

Historic medals & Works of Art P.O. Box 20851, London SE22 0YN, UK T: +44 (0)20 8693 1111 M: +44 (0)7778 637898 www.historicmedals.com e: tim@historicmedals.com 61

Sir Terry Frost, RA (1915-2003) Black & White Movement Signed, titled, inscribed Tredavoe and dated â&#x20AC;&#x2122;95 Collage and oil on canvas 153 cms x 92 cms (60 ins x 36 ins)

D36 FREYA MITTON

By appointment only Somerset BA3 T: +44 (0)1761 241198 M: +44 (0)7968 562499 www.freyamitton.com e: freya@freyamitton.com

Sir John Everett Millais, Bt., PRA (1829-1896) Studies of a Foxhound Dated u.l.: March 1st/1856 Pencil, 6 Â˝ ins x 7 ins (17 cms x 17.75 cms) Provenance: Raoul Millais

Millais made some sensitive studies of a greyhound for his great emotive Crimean War painting Peace Concluded which was executed in the same year as this drawing. Although a different breed of dog, a comparison can possibly be drawn between the pose of the dog in a premilinary drawing for that picture in the British Museum (inv.1901,0516.14) and the resting foxhound in the upper part of this drawing.

C6 MOORE-GWYN FINE ART

By appointment only London W8 and near Burford, Oxfordshire M: +44 (0)7765 966256 www.mooregwynfineart.co.uk e: harry@mooregwynfineart.co.uk 63

F15 MORELLE DAVIDSON

A Platinum, Diamond and Sapphire â&#x20AC;&#x153;Torsadeâ&#x20AC;? Necklace by Cartier

Composed of twisted rows of round diamonds, set with six cabochon sapphires.

53 Maddox Street, London W1S 2PH, UK T: +44 (0)20 7408 0066 F: +44 (0)20 7495 8885 www.morelleddavidson.com e: raphael@morelledavidson.com 64

Circa 1956 Sapphire weight: 129 cts. Diamond weight: 14.82 cts. Accompanied by a certificate of authenticity by Cartier.

Silent Contemplation Philip Jackson CVO DL MA FRBS height 1430 mm / bronze edition of 8

B27 MUSE, THE SCULPTURE COMPANY/ AMADEUS GALLERY

Tetbury, Gloucestershire, T: +44 (0)1285 841609 M: +44 (0)7828 174679 www.thesculpturecompany.co.uk e: Justin@thesculpturecompany.co.uk

London, T: +44 (0)203 675 1456 M: +44 (0)7962 899754 www.amadeusgallery.co.uk e: info@amadeusgallery.co.uk 65

A JEWELLED EARPIECE Newari Malla Period, Nepal 13 - 14th Century 3.4 cms x 3.3 cms, with pearls 6 cms high

The earpiece is decorated with delicate carved figures of Vishnu riding on the back of Garuda. Vishnu is carved from turquoise and crowned with emeralds. The conch in his right hand is intricately carved from ivory. Garuda with arms outstretched is carved in hessonite and ruby, the feathers inset with slivers of emerald, ruby and mother-of -pearl. The feet of the bird resting on emeralds, rubies, sapphires, diamonds, pearls and glass. Garuda is a large bird-like creature, or humanoid bird that appears in Garuda is the mount (vahana) of the Lord Vishnu, Garuda is the Hindu name for the constellation Aquila. There are different types of incarnations of the Supreme personality of the Godhead. In the sastras it is said that Garuda (the carrier of Lord Vishnu) and Lord Shiva and Ananta are all very powerful incarnations of the Brahman feature of the Lord.

D12 SUSAN OLLEMANS

13 Georgian House, 10 Bury Street, London SW1Y 6AA, UK T: +44 (0)7775 566356 www.ollemans.com e: ollemans178@btinternet.com

Arvid Lorentz Fougstedt (1888 â&#x20AC;&#x201C;1949) Portrait of a Lady 20th century 32 ins x 25.5 ins

E15 PANTER & HALL

11-12 Pall Mall, London SW1Y 5LU, UK T: +44 (0)20 7399 9999 www.panterandhall.com e: enquiries@panterandhall.com

Doccia Porcelain Figure A very rare figure representing “Il Fauno” from a statue attributed to Proxitele kept at the Uffizi Gallery in Florence. Circa 1760 Height: 26.2 cms

F12 CHRISTOPHE PERLÈS

20 rue de Beaune, 75007 Paris, France T&F: +33 (0)1 49260324 www.cperles.com e: christopheperles@hotmail.com

C32 DAVID PICKUP ANTIQUES

A rare 17th century sixteen light brass chandelier of unusual form, bearing a contemporary presentation inscription and date. English 1688

P O Box 1244, Cheltenham, Gloucestershire, GL50 9YE, UK T: +44 (0)7860 469959 www.davidpickupantiques.com e: the.pickups@btinternet.com

F14 POTTERTON BOOKS

The Old Rectory, Sessay, Thirsk, North Yorkshire YO7 3LZ, UK T: +44 (0)1845 501218 M: +44 (0)7787 575795 www.pottertonbooks.co.uk e: ros@pottertonbooks.co.uk 70

The book was published to coincide with an exhibition held at the Musée national de Céramique-Sèvres – “La Manufacture des Lumières, La Sculpture a Sèvres de Louis XV a La Revolution”. 16th September 2015 to 18th January 2016

Pablo PICASSO (1881-1973) Tête de faune - 1956 Original painting on ceramic tile. Unique Dated on the front 8.8.56 10.5 cms x 10.5 cms (unframed); 30 cms x 30 cms (framed) Certificate from Monsieur Claude Picasso dated 1st September 2014. Provenance: Succession Pablo Picasso. Collection Jacqueline Picasso. Collection Sassi Exhibited: “Unique ceramics from the Estate of Jacqueline Picasso” Metropolitan Museum of Art, NY, 1999; Hammer Galleries NY, 1999

C23 SYLVIA POWELL DECORATIVE ARTS

By appointment only, Suite 400, Ceramic House, 571 Finchley Road, London NW3 7BN, UK T: +44 (0)208 201 5880 M: +44 (0)7802 714 998 www.sylviapowell.com e: Sylvia@sylviapowell.com 71

D14 PRIESTLEY & FERRARO

17 King Street, St James’s, London SW1Y 6QU, UK T: +44 (0)20 7930 6228 www.priestleyandferraro.com e: info@priestleyandferraro.com 72

A large Longquan celadon ‘twin fish’ dish Yuan dynasty (1279-1368) Diameter: 35.6 cms (14 ins)

Still Life with Lemons and Silver Jug Jessica Brown 2016 Oil on limewood panel 8 ins x 10 ins More work by Jessica Brown can be seen on our stand.

A1 QUANTUM CONTEMPORARY ART

The Imperial Laundry, 71-73 Warriner Gardens, London SW11 4XW, UK T: +44 (0)207 498 6868 M: +44 (0)7765 255800 www.quantumart.co.uk e: info@quantumart.co.uk 73

D34 RAFFETY

79 Kensington Church Street, London W8 4BG, UK T: +44 (0)20 7937 2220 M: +44 (0)7831 514216 www.raffetyclocks.com e: info@raffetyclocks.com

Edward Burgis, London A rare James II ebony and gilt-metal basket top quarter-repeating spring table clock. Circa 1685 Height: 13 ins (33 cms)

A very rare early Worcester sparrow beak jug delicately painted in bright colours with three Chinese figures. Height: 3.5 ins (8.9 cms) Circa 1754-55 This decoration is very rare on jugs. The only other known example appears to be the one in the A J Smith Collection in Bristol Museum which is illustrated by Simon Spero, Lundâ&#x20AC;&#x2122;s Bristol and Early Worcester Porcelain, fig 106. A rare teapot with the same decoration is illustrated by Samuel Clarke. Worcester porcelain in the Colonial Williamsburg Collection, pl 9.

E33 ROBYN ROBB

PO Box 66256, Ranelagh Gardens, London SW6 9DR, UK T: +44 (0)20 7731 2878 e: robynrobb@clara.co.uk

Japanese Glass Telescope with lacquered leather case

B24 RÖELL FINE ART

Tongersestraat 2, 6211LN Maastricht, Netherlands T: +31 (0)65 32 11 649 www.guusroell.com e: g.roell@xs4all.nl 76

Edo period late 18th, early 19th century Length: 56.7 cms Provenance: Collection of Mr Nakata, Japan. Exhibited in the Suntozy Museum of Art Japanese glass “Stylish vessels, playful shapes, 27 March – 23 May 2010”. Illustrated in exhibition catalogue Tokyo, 2010, no. 18).

Necklace Western India 20th Century (Blue sapphire beads, fluted or melon-cut: Mughal, 17th /18th Century) Gold-mounted carved and faceted blue sapphire gem stones and diamond necklace. Created in a Euro-Indian design incorporating the Mughal concept of combining in one necklace various gemstones and beads, carved, faceted and pierced. (Weight: 40 Mughal carved and fluted sapphire beads – 96.08c, 13 sapphire pears – 50.84c, 12 diamond pears – 8.23c, diamond beads as spacers – 19.49c, one pendant diamond pear – 1.60c and one pendant sapphire drop 17.36c)

D30 SAMINA INC

By appointment only 33 St. James’s Square, London SW1Y 4JS, UK T: +44 (0)20 3170 6076 M: +44 (0)7775 872960 F: +44 (0)20 7286 3633 www.saminainc.com e: saminainc@hotmail.com 77

C2 SILVERMAN ANTIQUES

109 Kensington Church Street, W8 7LN T: +44 (0)20 7985 0555 www.silverman-london.com e: silver@silverman-london.com

A superb pair of silver-mounted carved crystal-glass claret jugs by Charles Edwards London 1901

Charles Quiller-Orchardson MC (1873-1917) R.O.I, R.B.A ‘Souvenir du Bal’ (Souvenir of the Ball) Oil on canvas, signed and dated 1913 Exhibited Royal Institute of Oil Painters 1913. No.118.

C10 SIM FINE ART

By appointment only, UK M: +44 (0)7919 356150 www.simfineart.com e: simfineart@btinternet.com

D14 JACQUELINE SIMCOX LTD

54 Linton Street, Islington, London N1 7AS, UK T: +44 (0)20 7359 8939 M: +44 (0)7775 566388 www.jacquelinesimcox.com e: js@jacquelinesimcox.com

Detail from an embroidered bed back depicting a bird observing an insect. The main scene of mermaids holding aloft fruit baskets with flowering branches. Chinese, for the western market, circa 1730. Length: 263 cms; width: 211 cms Provenance: From a private European Collection

A Bow piper and drum player Circa 1758 Bow musicians are an interesting group as they reflect instruments popular at the time. A figure playing 2 instruments is unusual. By the end of the 1750’s a high standard of modelling and decorative skill was being achieved. Height 7½ ins (19 cms) Literature: Peter Bradshaw “Bow Porcelain Figures’ p. 147 plate 148

B22 MARY WISE & GROSVENOR ANTIQUES

58-60 Kensington Church Street, London W8 4DB, UK T: +44 (0)20 7937 8649 M: +44 (0)7850 863050 www.wiseantiques.com e: info@wiseantiques.com 81

D17 YVEL

1 Yechiel Steinberg St, Jerusalem, Israel T: +972-2-6735811 www.yvel.com e: yvel@yvel.com

Yvel - one of a kind collection 18k brushed gold combining South Sea pearls and diamonds 2016

Articles

Carlo Giacinto Roero di Guarene and the Rossetti porcelain factory in Torino (1737-1748) Andreina Dâ&#x20AC;&#x2122;Agliano Independent Curator and Art Historian, Torino

Figure 1. Villa della Regina. Interior with decoration by Pietro Massa (1732-1735)

In the late XVII century Turin was an international city which had diplomatic and dynastic relationships with the most important European capitals: in fact the niece of Louis XIV (1638-1715), Anna Maria d’Orléans (16691728), daughter of Philippe d’Orléans (1640-1701), founder of the St Cloud porcelain factory, married in 1684 Vittorio Amedeo II (166-1732), Duke of Savoy. After the treaty of Utrecht in 1713, Vittorio Amedeo was named King of Sicily and in 1720 King of Sardinia: this upgrade of the Savoy dynasty needed an artistic and architectural reorganization of the capital, Turin. The task was commissioned to the Sicilian architect Filippo Juvarra (1678-1736), who, having lived in Turin since 1714, would have been responsible for the refurbishing of numerous residences, among which the most

favourite of Anna d Orléans was Villa della Regina built at the beginning of the XVII century by Ascanio Vitozzi (1539-1615) and completed by Carlo di Castellamonte (1560-1640) and Amedeo di Castellamonte (1613-1683). The interiors were refurbished between 1732 and 1735 under the direction of Juvarra. (1) The decoration of the interiors, due to Pietro Massa (2), reflects the predominating taste for chinoiserie: the Kuan Yin scagliola figures (fig 1), made by a Piemontese laboratory as well as the stucco and pastiglia decoration of the King’s cabinet assigned to artists from Tessin and to the Piemontese decorator Giovanni Maria Andreoli, reflect the interest for Chinese Dehua porcelain which was collected either by the Court as well as by the

preeminent local families (3). The Courtâ&#x20AC;&#x2122;s strong taste for porcelain is also evident from different payments registered between 1715-17 for blue cups for chocolate arriving from China as well as four pagoda figures, bought in 1730 for the Villa della Regina (4). The good diplomatic relationship between Augustus the Strong (1670-1733) and Vittorio Amedeo II was fundamental for the arrival in Turin of diplomatic gifts of Meissen porcelain: in 1725 twelve cases with ca. 300 pieces were sent to Torino (5). Among these were five garnitures and nine breakfast services, two small table services and two vases. A cup and saucer with the coat of arms of Vittorio Amedeo of Sardinia, painted by J.G. Hoeroldt and part of a breakfast service, which today is kept at the Museo Civico of Palazzo Madama in Turin and two vases, still in the royal palace in Turin, are part of the original garniture de cheminĂŠe in seven pieces designed by R. Leplat and produced in Boettger porcelain (6) (fig 2). 86

Figure 2a and b. Meissen, Vases and cover, 1715, part of the garniture originally in the collection of Vittorio Amedeo II of Sardinia a) Private Collection Zerilli Marimo b)Torino Palazzo Reale

In Piemonte the interest in porcelain was not only high at the Savoy court, but many aristocratic families collected Meissen as well as Du Paquier porcelain, although the main acquisitions in the first thirty years of the XVIII century remained that of Chinese export ware (7). The political and cultural situation would have presumed the existence of a porcelain factory, but at the end of the reign of Vittorio Amedeo II (1732) no porcelain was produced in Turin. On the other hand, the maiolica production had already begun with the the Regio Parco manufactory which had started working in 1646 thanks to an authorization of the Duke Carlo Emanuele II (8).

Figure 3. Rossetti Maiolica factory,1736, Dish with mythological decoration, Sèvres Musée National de la Cèramique Figure 4. M. Van Meyetens Giacinto Roero di Guarene, 1728 ca

A regular production of maiolica in Turin was started by Giorgio Rossetti of Cavour and his nephew Gio Battista di Macello, who in 1725 received the royal privileges and activated them in 1726 having received a loan of 8,000 liras. They decided to produce maiolica in Chinese taste at the same price as in Savona and adopted the blue underglaze mark TR (Torino Rossetti) (9) (fig 3).

But the real innovation of the ceramic output in Torino is due to the personal interest of Carlo Giacinto Roero di Guarene (fig 4), an enlightened aristocrat who in the spring of 1727 stipulated a “scrittura di associamento”with Giovan Battista Rossetti, brother of Giacinto, and with Ludovico Roveda (10). In the following year 1728, Roero di Guarene acquired the factory through a nominal head, the banker Pietro Bistorto(11) as Piemontese conventions didn’t accept an aristocrat dealing with a commercial enterprise: a big difference from the beginning of the factory of Carlo Ginori in Florence, where the owner had important duties at the Tuscan court and was highly appreciated for his enterprise(12). As soon as he became the factory owner, the Count of Guarene built a new factory in Turin in Vigna Cumiana, on the other side of the river Po beside the Villa della Regina. In 1735, Guarene wrote to Giorgio Giacinto Rossetti, who in the meanwhile had gone to Lodi and asked him to come back to Torino. Rossetti returned in 1736 and in April of the same year the count of Guarene wrote a document in favour of Pietro Bistorto, in which he relieved him of any 87

economic responsibility for the maiolica factory (13). The production which most interested the Count of Guarene was that of porcelain: so in September 1736 he stipulated an agreement with Antonio Billotto and Giorgio Giacinto Rossetti and the following year, on the 21st of June 1737, the King Carlo Emauele III granted to the new porcelain factory the same privileges as to the maiolica factory. In the first week of July we find details for the purchase of a small porcelain furnace (fig 5) and, as we can see from the documents, the same workers were employed for both maiolica and porcelain production: among the most well known artists mentioned were Giovanni and Pasquale Rubati, who, a few years later transferred to Milano with Giorgio Giacinto Rossetti, who was the first of the painters (14). As already pointed out, the main porcelain collections in Turin at the beginning of the XVIII century were of Chinese porcelain from Dehua and Carlo Giacinto Roero di Guarene had himself been a great collector of Chinese as well as of Japanese porcelain. Different

Figure 5. Figure 6a and b. ossetti, 17371742: Cup in soft paste porcelain, Torino, Museo Civico Palazzo Madama

Kuan Yin figures still in his collection today, have been used as prototypes and inspiration for the models of the Rossetti factory. A payment of July 1737 quotes “models acquired from Conte di Guarene” and Pagode were indicated in both inventories, of 1738 and 1742 (15). Chemical analysis made in Turin’s University on a few marked examples kept in the Museo Civico of Palazzo Madama (16) points out that figures made by the Rossetti factory are of soft paste porcelain, with an abundance of silicon (Silicion) tin and lead, totally different from the hard paste of Vezzi, Du Paquier and Doccia porcelain, to which some of the Rossetti objects had already been assigned. This kind of composition, already mistaken for maiolica, is traceable on two small busts marked with an incised Savoy cross identified as Rossetti porcelain by Vittorio Viale in 1948. The mark Torino in underglaze blue and GR incised in the paste also occur. Also a cup, painted in cobalt blue on a white ground, marked TR in underglaze blue and identified by Silvana Pettenati, belongs to the few objects which could be assigned with security to the Rossetti porcelain factory (fig 6) (17).

Figure 7. Rossetti, Kuan –Yin Soft paste porcelain, Zerilli Marimo Collection France

To these already known objects we can add today a figure of Kuan Yin in soft paste porcelain, marked with the inscription Torino in underglaze blue and two incised capital FF, acquired by the British Museum in 1987 (18): this statuette is identical to another one, traced in the Zerilli MarimĂ˛ collection and marked with a double rhomboidal mark which resembles the Savoy cross (fig 7). Both examples are very similar to a third figure of Kuan Yin, unmarked, which was originally in the Roero di Guarene Collection. These comparisons enable us to assign for the first time to the Turinese factory different figures of orientals (19) . However, the most astonishing discovery has been the figure of a Magot in a private collection, representing the monk Budai Ho Shang (fig 8): the porcelain is a sort of hybrid paste, soft, very thick and with a lead varnish with numerous bubbles and firing imperfections. The mark Torino in underglaze blue is the same as the one which appears on the busts at the Museo Civico of Turin, published by Viale in 1948, which enables us to assign to Rossetti two other unmarked Budai white figures which had been previously given to other Italian manufactories (fig 9) (20). The chemical experiments also allow us to assign to Rossetti the vase in Palazzo Madama (fig 10), previously attributed to the Vezzi factory: the similarity of the paste and glaze, with a great abundance of silicon, modest presence of aluminium, lead and tin in small quantities 90

Figure 8. Rossetti, Figure of Bu-dai 1737-1742 ca. Soft paste porcelain. Private collection Figure 9. Rossetti, Figure of Bu-dai ,Torino, Museo di Arti Decorative Accorsi-Ometto Figure 10. Manifattura Rossetti, vase and cover, soft paste porcelain,Turin, Museo CivicoPalazzo Madama

have nothing to do with the composition of Vezzi but is a soft paste porcelain similar in composition to the one of the Rossetti busts at the Palazzo. Madama (21). From inventory notes of 1738 we gather that Rossetti produced not only white porcelain, but also had experience in the use of red and gold: it is important to note that in these first archival references there Is no mention of the purple colour which – on the contrary-is mentioned in the final inventory of 1742, before the factory had been sold to the Billotto brothers (22). As already documented by Morazzoni in his work of 1935 (23), Giorgio Giacinto Rossetti travelled in 1740 to Paris, Vienna and Venice to improve his technique and knowledge. Unfortunately the documents consulted by Morazzoni have disappeared from the Turin Archives, however, new information has been brought to light through the research carried out in Vienna by Claudia Lehner Jobst and the information from Michelangelo’s Schipa book of 1905: Lehner Jobst found out that, thanks to the intervention of the Ambassador of the King of Sardinia in Vienna, Count Luigi Gerolamo Malabaila di Canale (1704-1773), two archanists and collaborators of Du Paquier had travelled to Turin in great secrecy. Lehner Jobst believes that in 1741, Anton Magner and Jacob Helchis left Vienna and reached Turin at the same time as the painting collection of Prinz Eugen of Savoy (1663-1736), which had been transferred from Vienna to Turin on the order of Carlo Emanuele III of Sardinia (1701-1773) and escorted by the painter Adam Wehrlin (24). In fact, the Viennese “arcanists“ are never directly mentioned by name, but “arena all ‘uso di Vienna“ (clay in the use of Vienna) is mentioned in the list made in 1742 before the factory had been sold to the Billotto brothers (25). In the same year 1742, in September, Helchis writes a letter from Turin to Tommaso Boldoni, charged by King Charles of Bourbon (1716-1788) to bring to Naples the Viennese archanists (26): all this proves the presence in Turin of the archanists Magner and Helchis between 1741 and September 1742 (27).

Figure 11. Rossetti 1737-1748 (attributed to) Vase, The British Museum

Thanks to the collaboration with Viennese archanists, the Rossetti manufactory had been able to produce four categories of porcelain, the less expensive being the blue and white and the most precious the one painted in purple and red in combination with gold. It is interesting to read that the factory used two kinds of red - one made by Rossetti (composto da me) and another one including “purple and red arriving from Venice“ as well as gold from Milano (28). 91

In this part of the article we will try to identify those porcelains which, according to the inventories , were painted “with red, purple and gold”, a style which could be identified with that of the Hausmaler Jacob Helchis (29) . To his hand are attributed two Du Paquier vases with lids, one in the British Museum and the other one in Vienna, at the museum fuer Angewandte Kunst (29). A similar decoration, which also presents some points in common with that of the Hausmaler Johann Friedrich Metzch, occur on a vase painted with a monochrome view and a frieze with trophies, polycrhome flowers and leaves, today in the British Museum in London (30) (fig 11). The vase is covered with tin glaze and is marked with the initials TR in gold, very similar to the ones on a cup in Rossetti maiolica published by S Pettenati (31). 92

Figure 12. a) Rossetti, 1737-1742 Sugar bowl and cover, soft paste porcelain, Rome, Lukacs-Donat Collection. b) Rossetti 1737-1742, Two cups, soft paste porcelain, Turin, Museo Civico d’Arte Antica, Palazzo Madama

Figure 13. a) Rossetti, 1737-1748 teapot and cover, Giovanni Lokar coll.Trieste. b) Rossetti 1737-1748 ca: Vase, The British Museum

In effect the vase, although missing its lid, has a typical Northern Italian shape, although the decoration resembles very much that of J Helchis. Stylistically, we can individuate a link with the prints of Johann Jacob Riedinger which have been a source for Helchis for the service in Du Paquier porcelain made for the Duke Antonio Tolomeo Trivulzio, governor of Lodi from 1731. Giorgio Giacinto Rossetti was in fact working in Lodi at that time (32).

Figure 14. Rossetti, 1737-1782: a) Teapot ,Giovanni Lokar Collection Trieste b-c) Rossetti ( 1737-1748) Jug (London Errol Manners Collection)

The stylistic similarities with the Rossetti vase in the British Museum have permitted us to attribute also to Rossetti two cups in the Civico Museo of Turin and a sugar bowl with lid presently in the Lukacs collection: all these objects are in soft paste porcelain and have (fig 12) a similarity with the monochrome decoration on the vase in the British Museum. This comparison also enables us to attribute to Rossetti a teapot previously attributed to Du Paquier (fig 13): looking at it carefully, one identifies a similar iconography (the male and female deer) but also a naivety and a symmetry of motives which are not common in the Du Paquier factory. This attribution has been reinforced by a jug in soft paste porcelain, kindly pointed out to me by Errol Manners, already known as Chantilly, painted with some tin glaze and a large quantity of silicon (33). The detail of the leaf painting on the vase and its palette bring to mind some devices of the early production of the Milanese Clerici maiolica factory but what is most interesting is the subjects on the jug as on the red painted teapot are the same (fig 14). 93

Although many new experiments had been carried out, the porcelain production was not prosperous and on the 4th of April 1743 the factory was sold to the BIllotto brothers. From this date onwards, the Count of Guarene was not the owner of the Rossetti factory, which continued for another five years: in 1748 the porcelain production stopped officially in Torino, and only private painting ateliers continued (34). From research published by Raffaella Ausenda and Piero Romanello, we know that the painter Pasquale Rubati was documented with his father Giovanni at the Rossetti manufactory until at least 1740. In 1744 Rubati was still in Torino but we donâ&#x20AC;&#x2122;t know whether he was with Rossetti or was already an independent ceramic painter. He is documented as working and active in Milano for Felice Clerici in 1746; in fact Ausenda had already pointed out in her publications that the similarity in the painting between Rossetti and early Clerici maiolica makes it rather difficult to procede to a secure attribution (35). If we compare the decoration on some pieces of maiolica attributed to Clerici /Rossetti and the decoration on two cups in a private collection (36) and a vase, all in soft paste porcelain (36) (fig 15), we find various points in common with the Clerici early production; the leaf decoration on these cups and the vase are not only identical in shape, but some chinoiserie figures occur on both Rossetti porcelain and Clerici maiolica. Evidently the fact that the painter Pasquale Rubati had been active either for Rossetti in Torino and a few years later for Clerici in Milano makes this similarity possible. Therefore, going back to the fact that the Rossetti vase in the British Museum as well as a maiolica cup published by Pettenati (37) bear an over glaze mark, I thought 94

Figure 15. Rossetti( 1737-1748) vase and cover, soft paste porcelain. Private Collection Rossetti (?) 1737-1748 Two cups, Private Collection

that we might conclude that some of the Rossetti production might have been painted after the Count of Guarene had sold the factory. The porcelain painters, like Pasquale Rubati, might have taken some pieces with them, first to their ateliers in Turin and then, like Rubati, probably also to Milano. In conclusion, we can write that the porcelain production of the Rossetti factory included four categories as stated in the inventories of June 1742, before the factory had been sold to the brothers Billotto (38). 1) The statuettes in soft white porcelain representing oriental pagodas and Kuan Yins. 2) Cups and saucers in blue and white, like the cup today in Palazzo Madama in Turin.

Figure 16. North Italian (Rossetti?) Vase with cover, soft paste porcelain. Errol Manners Collection. Rossetti (1737-1748?), Two cups , Private collection.

3) Vessels painted in black, purple and red monochrome with gilded edges and scrollworks, made between 1741 and 1743, in the manner introduced in the factory by Helchis and Magner. 4) Porcelain most probably produced by Rossetti and shared among the decorators after the factoryâ&#x20AC;&#x2122;s closure: these pieces could have been painted either by Giorgio Giacinto Rossetti or by Pasquale Rubati, after the factory had been sold to Billotto. In conclusion, a question could also arise regarding the overglaze TR mark - is it meant to be Torino Rossetti or could it eventually also be Torino Rubati? New research ought to be carried out since two other objects in soft paste porcelain turned up - a vase with lid in the Errrol Manners collection (fig 16) typically North Italian in shape and painted with gilded chinoiseries very similar to those on the Clerici maiolica production. The same origin might be possible for the wonderful magot in soft paste porcelain, today at the Villa Cagnola (39), still with uncertain attribution, which repeats a well known Clerici maiolica model and reflects an order of taste which seems to be typical of North Italian ceramic production. 95

This article refers to the exhibiton La Porcellana in Piemonte (1737-1825) Le manifatture Rossetti, Vische, Vinovo held at the Museo di Arti Decorative Accorsi -Ometto 29th of January 2015 -24th of June 2015 (catalogue by Andreina d Agliano and Cristina Maritano, ed. Silvana Editoriale, Cinisello Balsamo 2015). My particular gratitude goes to Umberta Boetti Villanis, for allowing the consultation of the archives of the Castle of Guarene, which enabled to throw new light on the Rossetti porcelain factory. My best thanks also to Errol Manners, Aileen Dawson, Giles Ellwood, Cristina Maritano, Raffaella Ausenda and to the French Porcelain Society for supporting this research. The British Museum, Massimo Soncini, Luca Mana for their help and for allowing publication of photos. 1 For Villa della Regina, see the publication of L. Caterina, C. Mossetti, Villa della Regina.Il riflesso dell’Oriente nel Piemonte del Seicento,Torino, 2005 2 For the chinoiserie in Piemonte F. Morena Fragili Esotismi: la cineseria nel Piemonte del Settecento, in exhibition catalogue La porcellana in Piemonte (1737-1825) Le manifatture Rossetti, Vische; Vinovo.Turin, Museo di Arti Decorative Accorsi-Ometto, 29 .1.2015- 24 -6.2015 catalogue Cinisello Balsamo, 2015 pp.31-35 3 For porcelain collection in Piemonte, see C. Maritano Mercato e collezionismo della porcellana a Torino fra Sette e Ottocento, in cat Turin 2015, pp.37-43 4 See A. d’Agliano, Arcanum e imprenditoria in Piemonte: Giacinto Roero di Guarene e la porcellana della manifattura Rossetti (circa 1737-1748) in cat Turin 2015, pp.52-67 5 For the gift of Augustus the Strong to Vittorio Amedeo of Sardinia, see M. Cassidy Geiger, Princes and Porcelain on the Grand Tour of Italy, in Fragile Diplomacy: Meissen porcelain for European Courts, cat of the exhibition, New York, Bard Graduate Center for Studies in the Decorative Arts Design and Culture, 15-11.2007-10.02.2008, pp 209-210, and appendix pp. 327-331 6 A. d’Agliano, European Porcelain from the Zerilli - Marimò Collection. Porcellane europee dalla collezione Zerilli - Marimò, Milano 2014, pp.50-53 and related bibliography 7 See d’Agliano, 2015, op. cit 8 For the Regio Parco maiolica factory R. Ausenda “Terre genovesi”, in “Guido Fabris e la maiolica torinese del Seicento”, pp. 111-122, Genova 2011. J. Mallet Transfer Printing in Italy and England in Transactions of the English Ceramic Circle, vol. 22, 2011 9 For the Rossetti maiolica factory see Ornella Graffione, Le Manifatture Rossetti e Ardizzone: alcune precisazioni storiche e una prima indagine sulle fonti iconografiche in “Palazzo Madama.Studi e notizie”, 2, 2011(2012) pp.202-213 and related bibliography

10 The contract dates 29 of April 1727 “scrittura di amministrazione ossia associamento del sig. Conte di Guarene cogli impresari Roveda e Rossetti concernenti la fabbrica della maiolica (Archivio del Castello di Guarene( ACG) Fabbrica di Maiolica, Titoli e Scritture,cat 59, Fascicolo 748 and d’Agliano in Turin 2015, note 22 Giacinto Roero di Guarene (1675-1749)was a typical enlightened personality: musician, militarian and architect, he was a friend of Filippo Juvarra who dedicated to him a drawing album (for news on Roero di Guarene, d’Agliano in Turin 2015, pp.52-53 and R. Antonetto, Guarene. Un castello nella storia, Torino 2006). 11 See d’Agliano, in Turin 2015 p.55 and note 25: ACG, Fabbrica di Maiolica, Titoli e Scritture, cat 59, Fascicolo 748, 3 ottobre 1728: “Nelle suddette patenti prestò il signor Bistorto il semplice e puro nome come fu dichiarato da scritture.” 12 On Carlo Ginori, see L. Ginori Lisci La porcellana di Doccia, Milano 1963; A. Biancalana La manifattura dei marchesi Ginori a Doccia. I primi cento anni Firenze 2009¸ and A. d’Agliano, Die Gruendung der Manufaktur Doccia. Ihre Umsetzung der Wiener Palette, Ornamente und Graphischen Vorlagen in J. Kraeftner, Barocker Luxus Porzellan. Die Manufakturen von Du Paquier in Wien und Carlo Ginori in Florenz, exhibition catalog, Vienna, Liechtenstein Museum, 10 .11. 2005-29.12006, pp 76-93 13 See d’Agliano in Turin 2015, p.55 note 27-230; Antonetto 2006, pp.269-271; Graffione 2011 op. cit p.202 14 Three artist who were active for Rossetti , the painters Pasquale Rubati and Carlo Franco as well as the turner Giacomo Taberna will be active for the Milanese Clerici factory (see R. Ausenda, Mercanti cinesi a gran fuoco. Un bellissimo piatto della manifattura Rossetti, in “Ceramicantica”, 2, 112, XI, 2001,pp.12-21 15 D’Agliano, in Turin 2015 p.57-58 and Appendix, p.69. See also AGC, Fabbrica di Maiolica, Titoli e Scritture, cat.59, Fascicolo 748. The list, without date, is kept among papers of 1738. “Effetti spettanti alla Fabbrica delle Porcellane. Nota ossia inventario di tutti li mobili edifici paste vernici colori e altro che si è ritrovato di fondo del residuo delle prove fatte da Giorgio Giacinto Rossetti circa alle prove per le porcellane” The other inventory was made on the 30th of June 1740, before the factory was sold to the Billotto brothers 16 On this argument see d’Agliano in Turin 2015 p. 59 and P. Davit, F. Turco, L.Operti ,G. Fenoglio , A. Agostino Caratterizzazione chimica delle manifatture piemontesi di porcellana del XVIII secolo, in Turin 2015, pp.148-153 17 See Turin 2015, cat nr 10 a &b and nr 11; V. Viale Porcellane della Fabbrica Rossetti di Torino in “Faenza” 4-6, 1948, pp 118-119; S. Pettenati La production de céramiques dans les Etats de la Maison de Savoie, in M. Di Macco-P. Astrua, “Batir une ville au siècle des lumieres. Carouge: modele et réalité, exhibition catalogue (Carouge 29.5.1986-30.9.1986) pp. 622-628

18 See A. Dawson Eighteenth Century Italian porcelain from the British Museum from Florence, Venice, Naples and Rome in Amici di Doccia. Quaderni 5, 2011(2012) pp. 64-81 19 See A. d’Agliano, 2014, p.268 n 89 and d’Agliano, Turin 2015 nn 3-6; two statuettes in white soft porcelain, representing chinese dignitaries, today in the Philadelphia Museum of Art, a gift of Mrs Morris Hawkes (Inv 1942-59.42,43 also belong to the Rossetti porcelain factory( d’Agliano in Turin 2015, fig 6-7 pp.59). I’m thankful to Errol Manners and Donna Corbin for sharing with me this notice. 20 See cat Turin 2015, nn 7-9; I’m thankful to Cristina Maritano for having pointed out this object to me. Recently, an identical figure in maiolica has come out on the market (Paris, Pescheteau Badin 9-10 of June 2015 lot227) 21 See Turin 2015, n 12, Torino, Palazzo Madama, Museo Civico d’Arte Antica, Inv. 2260/C 22 See d’Agliano in Turin 2015, Appendix pp.69-71: AGC, Fabbrica di Maiolica, Titoli e Scritture, cat 59,fascicolo 748, 30 giugno 1742: Inventario della Porcellana Terza categoria alquanto più fine, buone e resistenti, parte dipinte alla chinesa con rosso, e porpora e altri coloreti (:::) Quarta categoria di tazze e tondini con oro.. 23 See G. Morazzoni Le porcellane italiane, Milano-Roma 1935,pp.194-196 24) C. Lehner-Jobst “Primo fra i virtuosi”. Da Vienna a Torino: Jacob Helchis e il suo sodale in Cat.Turin 2015, pp.45-51 .M. Schipa, Il Regno di Napoli al tempo di Carlo di Borbone, Milano-Roma-Napoli 1904, p.687, note 4; 25 Luigi Malabaila di Canale (1704-1773 ) was a good client of Du Paquier, as one can see from his coat of arms which occurs on Du Paquier porcelain, Lehner Jobst, 2015, op.cit Turin 2015, p.49. See also d’Agliano in Turin 2015, note 67 p. 66-67 and ACG, Fabbriche di Maioliche, Titoli e Scritture, cat 59, fascicolo 738, 30 Giugno1742 “Inventario (…) per sassofino macinato e arena per la composizione della vernice all’uso di Viena esistente in una cassa e casella di peso di rubbi 13… Per cristallina del Tedesco già composta in caselle altre… 26 Tommaso Boldoni, born in Parma in 1673, was charged to follow in Vienna the interest of Charles of Bourbon (1716-1788). He also tried to convince the two viennese archanists (Carl Wendelin Anreiter von Ziernfeldt and Giorgio Delle Dori) active in the manufactory of Doccia to leave for Naples. See Lehner Jobst, in Turin 2015 pp. 50-51, note 23. 27 Although Morazzoni writes on his presence in Venice, this notice has never been proved. However, Helchis is documented in Nymphenburg in 1748. Lehner Jobst in Turin 2015,p 46-47 and note 6..

28 D’Agliano in Turin 2015, Appendix, p.70 29 London, British Museum, Inv 1930.0714.1 CR; Vienna, Museum fuer Angewandte Kunst, Inv Ke 6954 M.CHilton - C.Lehner Jobst, Fired for Passion, Vienna baroque porcelain of Claudius Innocentius Du Paquier, Stuttgart, vol III nn 286-287 and related bibliography 30 D’Agliano in Turin 2015, pp62-63 and fig 9 p. 61 31 The vase, with evident traces of tin glaze, had been acquired by Sir Augustus Wollaston Franks in 1897 (London, British Museum, inv. AF3185) See also Pettenati, 1986 op. cit 32 The Duke Antonio Tolomeo Gallio Trivulzio (16??-1766) had been Governor of Lodi from 1731 and it is probable that Giorgio Giacinto Rossetti had known this Du Paquier service. See also G. Zelleke, in Chilton-Lehner-Jobst 2009, III, p. 1276, nn 235-237 33 See Turin 2015, nn 15-18 The Rossetti manufactory has among its iconographic sources the prints of Elias Ridinger (1698-1767). 34 D’Agliano in Turin 2015 p.62 and AGC, Fabbrica di majolica,Titoli e Scritture, cat 59, fascicolo 748 “Il Signor Conte farà la vendita al Signor Carlo Giuseppe Bilot della fabbrica in cuisi lavorano maioliche e porcellane...” 35 Pasquale Rubati married in Turin in 1744. See R. Ausenda Maioliche settecentesche. Milano e altre fabbriche. Ceramiche della collezione Gianetti, III, Saronno 1996 p.114 e P. Romanello, Contributo alla conoscenza della storia della ceramica torinese, in Atti XVII convegno internazionale della ceramica.Temi liberi, atti del convegno (Albisola 25-27 maggio 1984) Firenze 1984, pp .45-49 36 Two cups had already been attributed to Vezzi (see L. Melegati Doccia Vezzi Du Paquier: von gegenseitiger Beeinflussung und problematischen Zuschreibungen, in Kraeftner 2005, (exhibition catalogue, Vienna Liechtenstein Museum) Munich pp.126-135.The other cup, already in the Leproni collection, was published by Stazzi Porcellane della Casa Eccellentissima Vezzi, 1720-1727, Milano 1967, tav CV and CVI. The author confirmed the attribution of G. Morazzoni (G. Morazzoni-S. Levy, Le porcellane italiane, Milano 1960) I, tav 282. An identical vase without a lid is today in Wawel Castle, in Cracow (Inv 6214). I ‘m grateful to Giles Ellwood for this notice. 37 Pettenati 1986, pp622-628 and n 461 p. 629 38 See d’Agliano in Turin 2015, p. 64 and Appendix pp.69-71 39 I’m thankful to Errol Manners for having pointed out to me this figure. See also L. Melegati, in La collezione Cagnola. Le arti decorative, Busto Arsizio 1999 n.177 p 270

Silver, Bells and Nautilus Shells: Royal cabinets of curiosity and antiquarian collecting Kathryn Jones Curator of Decorative Arts at Royal Collection Trust, London

In 1812 James Wyatt, architect to the Prince Regent, was given instructions to complete the Plate Closet in Carlton House, the Prince’s residence on Pall Mall. The plans included a large proportion of plate glass. James Wyatt noted this glass although expensive was ‘indispensably necessary, as it is intended that the Plate shall be seen and as the Plate is chiefly if not entirely ornamental, any glass but Plate [glass] therefore would cripple the forms and perhaps the most ornamental parts would be the most injured.’1 The Plate Closet was to be a place of wonder, where visitors would be surrounded by great treasures of wrought silver and gilt. George IV’s collections, particularly of silver for the Wunderkammer, show an interest in an area of collecting that was largely unfashionable in the early-nineteenth century and suggest a yearning to recreate the past glories of the English court. What follows is a suggestion of where this interest was born.

The term Wunderkammer, usually translated as a ‘Cabinet of Curiosities’, encompassed far more than the traditional piece of furniture containing unusual works of art and items of natural history (fig 1). The concept of a Wunderkammer was essentially born in the 16th century as the princely courts of Europe became less peripatetic and as humanist philosophy spread. The idea was to create a collection to hold the sum of man’s knowledge. This was clarified by Francis Bacon in the 17th century 2 who stated that the first principle of a ruler was to gather together a ‘most perfect and general library’ holding every branch of knowledge then published. Secondly a prince should create a spacious and wonderful garden to contain plants and fauna ‘so that you may have in small compass a model of universal nature made private’. The third essential was ‘a goodly huge cabinet wherein whatsoever the hand of man by exquisite art or engine hath made rare in stuff, form or motion; whatsoever

Figure 1. Frans Francken the Younger (1581-1642), The Cabinet of a Collector, 1617. Oil on panel. RCIN 405781

singularity, chance and the shuffle of things hath produced; whatsoever nature hath wrought in things that want life and may be kept, shall be sorted and included’. As Bacon stated ‘Thus your Excellency shall have added depth of knowledge to the fineness of your spirits and greatness of your power’… Bacon was not the first to discuss these ideas. Other philosophers had laid out the ideal formula for the Wunderkammer – these treasure troves were to house items created by the earth – fossils and mineral ores; items that were drawn from nature – shells, corals, specimens of plant and animal life, stuffed animals and birds, bones, and unusual natural phenomena – petrified items of wood, unicorn horns and mermaids; items wrought by man – including turned ivories, works of silver and gold, mounted jewels, cameos, medals and small sculptures – together with items from the wider world and items that brought a greater understanding of the universe – scientific instruments, tools and mathematical tables and items relating to history. Together these works created an empirical and humanistic view of learning, but at the same time they showed the prince’s extensive powers over the natural world, as well as his trade links and his ancestral credentials as ruler. One of the great theoreticians of this philosophy was Samuel Quiccheberg who put together in essence a manual for collectors in 1565, to tie in with Albrecht V of Bavaria’s building of a new set of rooms in Munich for this purpose 3. Quiccheberg called these rooms a ‘theatre of wisdom’, a secure space under lock and key where all knowledge was collected. We might call it a museum. These rooms were usually only intended for a very few – they were private spaces to contemplate and amaze only a handful of privileged guests. Some of the great princely collections survive today – famously in Dresden in the Grünes Gewölbe, a collection compiled by Augustus II of Saxony and later expanded by Augustus the Strong. It was Augustus the Strong who directed the collections towards the more opulent decorative arts of the type produced in the German cities of Augsburg and Nuremberg. Another magnificent collection was compiled by Rudolf II in Prague – a Kunstkammer packed with the natural, the man-made and the scientific, and reflecting the Emperor’s own tastes for astrology and works of hardstone. Much of the collection was later moved to Vienna and was combined with the Holy Roman Emperor’s regalia and other opulent treasures. Other examples were found in the Rosenborg in Copenhagen, Schloss Ambras in Innsbruck and the Residenz in Munich. In England the idea of a Wunderkammer was slow to take on. The great inventory of Henry VIII’s collections, drawn up after his death in 1547, lists extraordinary treasures 4. These include great jewels and items of turned ivory, works wrought from ostrich eggs and unicorn horns, coconuts, alabaster and ebony. One description at least seems to relate to a nautilus or turbo shell cup, listing: ‘A snail of mother of pearl borne up by an antique man of silver and gilt’. Among the hardstones and gemstones were items of agate, jasper, beryl, rock crystal, pearls, rubies, sapphires, diamonds, emeralds, turquoises, topaz, garnets and serpentine as well as enamel, glass and mother of pearl. Most of these objects were housed in the Tower of London, the secure repository of the King’s treasures, with the Jewel House holding the regalia alongside. However the King also had ‘secret Jewel Houses’ in the privy apartments at Whitehall Palace, placed next to his bedchamber, and at Hampton Court. Some designs for the type of 100

Figure 2. Hans Holbein the Younger (c. 1497-1543), Design for a clock-salt, 1543. Pen, ink and wash. British Museum 1850,0713.14

objects collected by Henry VIII survive among the works of Hans Holbein, for example, including an ornamental clock thought to be the design for a gift from Anthony Denny to the King in 1543 (fig 2). An inventory of 1574 of Elizabeth I’s property is equally revealing 5. It lists first the items of regalia themselves. But the second category in value are the ‘Cups and bowls of gold set with stone’ – that is the great jewelled and hardstone standing cups which are described in detail. Cups of crystal and serpentine follow on and so through lesser bowls and cups, crosses, candlesticks, salts, spoons and forks, ewers and basins and finally ‘sundry parcels’. Among the quantities of jewels, silver plate, and items inherited from her father, are numbers of German double cups, and others of Spanish, French and Venetian making, which were undoubtedly items of the type found in a Wunderkammer. The final count of silver and gilded cups is somewhere in the region of 230. The natural world was represented by unicorn horns decorated with plates of silver, a vessel listed as ‘white bone garnished with silver and gilt’ – probably an animal horn of some kind, and there were also corals and even a pelican skeleton. Science was represented by clocks and hourglasses, as well as a touchstone for determining gold and silver. The Tudor collections were largely dispersed in the early 17th century. The Stuart kings on the whole preferred their New Year’s Gifts in the form of cash rather than great wrought treasures, although notably James I did commission a new ‘New Years’ Gift Room’ at Whitehall Palace in a space adjoining Inigo Jones’s new Banqueting House. James I and his son had already depleted the Jewel House long before the depredations of the Civil War caused Charles I to sell off treasures from the Royal Collection – giving away items of plate to foreign ambassadors, godchildren and on the marriages of courtiers or offering them as perquisites to the officers of the court.

Figure 3. Roman, Emperor Claudius, AD 43-5, with 17th century mount. Sardonyx with gilt copper mount. RCIN 65238 Figure 4. Hans Holbein the Younger (c. 1497-1543), Sir Thomas More (1478-1535), 15267. Black and coloured chalks. RCIN 912268

Small glimpses into the 17th century closet however give a hint of continuing princely collecting. It was Henry, Prince of Wales, James I’s elder son, who persuaded the coin and medal specialist Abraham van der Doort to come to England from the Netherlands in 1612, apparently on the promise of employment in cataloguing and curating the Prince’s cabinet of curiosities. In fact, Henry died shortly afterwards but van der Doort remained in the court until the accession of Charles I when he was finally appointed Keeper of the Cabinet Room. Van der Doort claimed to have suffered several difficulties with the Cabinet Room, reporting that at least one of the court removed various medals, agates and other objects from Henry’s collection. It is however just possible that at least one or two of the cameos from 101

Henry’s closet survive. Among them was an extremely large cameo of the Emperor Claudius, dating to around AD 43-5 (fig 3). Henry’s younger brother Charles used his private cabinet rooms at Whitehall for the collection of small sculptural works especially bronzes and relief plaques, medals and coins, if not for the showier items of the Wunderkammer. An inventory drawn up by Elias Ashmole 6 offers some insight into these objects, and wax impressions of the intaglios survive, if not the works themselves. These items were clearly intended purely for private use and contemplation, in the manner of the studiolo of Italy – an intellectual closet of small paintings, miniatures and drawings, small carvings and sculpture. Intriguingly van der Doort catalogues an ivory carving of Neptune in Charles’ closet, noting ‘this is said to have come from Emperor Rudolph’s cabinet’ 7. The attribution is given to the Imperial court’s ivory carver Nikolaus Pfaff and the object was presented to Charles I by Edward Sackville, Earl of Dorset, who was Lord Chamberlain to Henrietta Maria. The carving does not reappear in later inventories and was presumably one of the objects sold off by Cromwell. The list of Charles I’s goods, drawn up in 1649 after the execution of the King 8, includes a nugget of Irish gold split in half by a hammer, a lodestone, a royal spur, crystals, a magnifying lens, and a jewel inset with diamonds and rubies representing figures at an altar (perhaps an Adoration scene) together with an unknown ‘musical instrument’. The fact remains however that the Stuart monarchs showed little of their fellow European princes’ keenness for the collecting of wonders for the closet. Charles I’s enthusiasms lay with paintings, Charles II was more of a supporter of great scientific works. Where James I had had three possible spaces to house his collections off the Privy Gallery in Whitehall – a closet, a green room and a coffer, Charles II only retained one such space – preferring to give greater allowance to his own bedchamber and converting the bathing room into a laboratory. The most important royal collector before George IV was Caroline of Ansbach, the consort of George II. An educated and enlightened figure who enjoyed philosophical discussion and artistic patronage, Caroline had grown up in the courts of Berlin and Dresden. 102

She was well aware therefore of the great Grünes Gewölbe with its rooms of amber, ivory, silver, minerals and insignia. Other relations such as Anton Ulrich in Brunswick and her mother-in-law, the Empress Sophia were also great collectors. Caroline was the first member of the royal family to introduce a regulated series of closet rooms into a British royal residence. Two inventories of these rooms exist – one drawn up in the 1750s by Caroline’s dresser Mrs Purcell, the other by the great antiquary Horace Walpole 9. These closet rooms were situated in the private apartments of Kensington Palace. Among the apartments were spaces dedicated to British royal history, in part to establish the Hanoverian claim to throne and to emphasise the credentials of George II and Caroline themselves. These included extensive

Figure 5. French, Pendant with thirteen cameos, early 17th century; mounts 18th century. Gold, enamel, sardonyx, turquoise, onyx, sard, agate, niccolo. RCIN 65256

runs of miniature portraits of the royal families of Europe, together with carved waxes, ivories, drawings, watercolours, small paintings, and carved stone reliefs. In particular the Queen is said to have mounted and framed the drawings of Holbein, which had been in the Collection since the Restoration and which she claimed had lain unattended in a cabinet in Kensington. Whether or not this was the case, Caroline certainly had the drawings displayed in full series on the walls of the closet rooms (fig 4). George Vertue, who knew these rooms well, described them as ‘the greatest store of portraits of the English’ 10. Alongside these was a library, harking back to Bacon’s treatises on the best practice for such spaces. This room was packed with atlases, books of history and philosophy and works in a wide range of languages. It also contained various cabinets used to hold what might be termed the naturalia – branches of red and white coral, shells and a stuffed humming bird. She is also known to have received a number of tortoise eggs from her friend Elizabeth Charlotte of the Palatine. Works of art were well represented – cups and boxes in crystal were especially common but agate, bloodstone, amethyst, onyx, lapis lazuli, garnet and aventurine quartz also appear. There was a small bust of Charles I carved in rock crystal. Other drawers in the cabinet contained rings, seals and cameos. Among these was a distinctive ‘hanging jewel of onyxes containing 12 heads and a piece of figures in the middle’ (fig 5) 11. In another cabinet were works from the wider world – a collection of daggers, listed as Turkish and Indian, with tortoiseshell or jewelled handles, a belt set with pearls, a cat’s head of serpentine, Chinese porcelain figures of a man and a monkey and as a nod to the scientific - a portable brass sundial. A third cabinet held the wide selection of bezoar stones – the natural accretions formed in the stomachs of ruminants which were said to have miraculous anti-venomous properties. Caroline collected such stones from all sorts of animals including goats, deer, stags, and one described as a ‘serpent’ bezoar. In the drawers below were the minerals – uncut onyxes, pieces of silver ore, a lode stone, an amber box, an ivory box containing gold dust and a case of Venetian perfumes. In the same cabinet were around 1,000 medals.

Figure 6. Attributed to Johann Gottfried Frisch (active 16891716)?; mounts South German, with later additions by Rundell, Bridge & Rundell, Cup and cover, c. 1700 with later additions. Ivory, silver gilt, emerald, ruby, turquoise. RCIN 50554

Walpole’s inventory of the Closet also includes ‘precious vases, several flagons of ivory, carved and a very fine shock-dog in marble’, as well as silver relief housed in an ebony frame – probably a portable altar of the type produced in Augsburg in the 17th century. The most specific description lists ‘a vase made of a unicorn’s horn & supported by unicorns’. In a later memorandum, Walpole noted other items of porcelain, an agate font and ewers. In 1821 many of these items reappeared in the royal inventories. The clerk at George IV’s Carlton House noted the receipt of a group of objects including a group of daggers, an agate vase and canister, a jewel casket, crystal bottles and ‘a vase made like a horn mounted in silver gilt with chimera handles and four unicorn feet’. The branches of coral, red and white, were still intact as was a crimson glass vase, two agate goblets and an ancient powder horn. One object was listed as a quartz crystal jug ‘flaw’d’ with gilt rim, sent from Buckingham House with a crystal goblet and a small crystal ewer with a chimera-head spout. These descriptions may refer to three items which seem to have been remounted for George IV by the royal goldsmiths Rundell, Bridge & Rundell. 103

At Queen Caroline’s death her cabinets do not appear to have been dispersed although it has been difficult to trace with certainty what remains of her collections. There is a record of some of the items being in Buckingham House under Queen Charlotte. Charlotte appears to have added to Caroline’s collections herself, and the sale of the latter Queen’s goods after her death suggests that although not an avid collector of such curiosities, she did own several coconut cups, a cup described in the sale catalogue as ‘beautiful semitransparent agate, on stem and foot of the same, with enamelled mountings, set with pearls and turquoises, and a small vase composed of emeralds, rubies and pearls, gold mounted’, and a baroque pearl mounted as a figure of Harlequin. She also owned a rhinoceros horn cup and a casket of mother of pearl. Among the items sold after her death was a mahogany wardrobe 104

containing items of natural history, a large assortment of shells, ores, minerals, exotic birds and frames containing preserved butterflies. It appears to have been Queen Charlotte who put her eldest son on the route to antiquarian collecting in the style of his forebears. From Queen Charlotte came gifts of several sideboard dishes, which were presented to her son while he was Prince of Wales. Otherwise George had little precedent for his cabinet of curiosities, with the possible exception of William Beckford’s great collections at Fonthill. In many ways, William Beckford used the entire building of Fonthill as a great cabinet of curiosities, packing every space with treasures and works of art. Indeed, the Prince acquired one or two of Beckford’s works for himself later in life – a silver-gilt jewel coffer which he later gave away, and a carved ivory cup (fig 6). The cup, which dates to around 1700,

Figure 7. John Bridge (17551834), Tankard, 1823/4. Silver gilt, agate, onyx, sardonyx, jasper, amethyst, chrysoprase, emerald, ruby, aquamarine, beryl, sapphire, turquoise. RCIN 50608 Figure 8. Lorenz Biller II (16491720), Nautilus cup, late 17th century with later additions. Nautilus shell, silver gilt, diamond, ruby, emerald, garnet, sapphire, quartz, turquoise. RCIN 50610

is thought to be southern German. The early history of this piece is not known although it arrived in England from Vienna in around 1788 and was later acquired by Beckford, where it was illustrated on show in Fonthill Abbey, on display in King Edward’s Gallery. Beckford’s collection was largely sold by auction in 1823, when George IV purchased the work for 90 guineas. George IV’s Wunderkammer objects were always intended to be seen. The plate pantry at Carlton House was designed specifically so that visitors could view the curiosities on display. Many of the works were sold with accompanying turntables and glass domes so that they could stand alone on table tops and be admired from every angle. George would readily remount works on larger bases to make them more visible or jewels would be added from Rundells’ own stock or the royal coffers to increase the opulence and spectacle of individual works of art. The best example of this was perhaps the tankard created by Rundells in 1823 which is inset with gemstones and numerous cameos (fig 7). Tankards of this type were produced in 17th-century France and Flanders and more rarely in Dresden in the early18th century. Rundells’ 19th-century re-working was a handsome version of the same type. Some at least of the stones date from the 16th century and it is likely that they were drawn from existing stock in the Royal Collection.

Figure 9. Nikolaus Schmidt (c.1550/5-1609), Nautilus cup, c. 1600. Nautilus shell, silver, partly gilt. RCIN 50603

In his lifetime George IV acquired 71 cups including two nautilus shells (fig 8), and 14 of mounted ivory, as well as 46 dishes and salvers, and six ewers and basins. It cannot be claimed that George IV was trying to copy Baconian principles in amassing the knowledge of the world. For the King, the craftsmanship, theatricality and opulence of the work was paramount. In 1818 for example he received at Carlton House ‘a chalice or cup and cover in gold, enamelled in flowers and mounted in pearls, in the shape of a unicorn and figures on its back – the cup ornamented with diamonds and precious stones’. The cup stood at 16 inches high and must have been spectacular. However, a note from Benjamin Jutsham, the inventory clerk, suggests that the cup was returned to Rundells with a simple addition ‘not approved of’. The King’s two greatest acquisitions 105

might be considered the nautilus cups. One of these is the work of Nicholas Schmidt of Nuremberg and dates to around 1600 (fig 9). When it was purchased in the early 19th century for the vast sum of 250 guineas it was thought to be the work of the most celebrated goldsmith of the period, Benvenuto Cellini. Minor hints are found of other strands of Wunderkammer collecting. When George IV died, vastly in debt to the royal goldsmiths, a large group of works of art were presented to Rundells to offset the debt. The collections included at this date examples of mineral ores and lodestones, pieces of petrified wood, specimens of agate, musical instruments and drawing equipment as well as quantities of snuff boxes, cups, items of insignia, dress and jewellery. To conclude it is worth considering Prince Albert’s great scheme for a Universal Exhibition to be held 106

in 1851 in London. This was in essence a recreation of Quiccheberg’s theatre of wisdom on a vast and glorious scale. The Crystal Palace was itself a cabinet of curiosities where the knowledge of the day could be encompassed within one room (fig 10). Albert’s vision was to show the fruits of the earth – its minerals, plants, fauna and anomalies, alongside the works wrought by man – both artistic and scientific. The Great Exhibition, which in turn spawned the group of museums in South Kensington, showed exactly what Bacon had written of two centuries earlier. It was ‘a goodly huge cabinet wherein whatsoever the hand of man by exquisite art or engine hath made rare in stuff, form or motion; whatsoever singularity, chance and the shuffle of things hath produced; whatsoever nature hath wrought in things that want life and may be kept, shall be sorted and included’.

Figure 10. Joseph Nash (18091878), The Great Exhibition: France, no. 4, 1851. Watercolour and bodycolour on paper. RCIN 919961

1 TNA, LCI/5, 15 January 1813 2 Francis Bacon, Gesta Grayorum, first printed 1688 3 Samuel Quiccheberg, Inscriptiones vel tituli theatri amplissimi, 1565 4 Inventory of Henry VIII, 1547, Society of Antiquaries, Ms 129A&B and British Library Harley Ms 1419. Transcript edited by David Starkey, published London, 1998. 5 A.J. Collins, The Jewels and Plate of Elizabeth I: the inventory of 1574 edited from Harley Ms.1650 and Stowe Ms.555 in the British Museum, London, 1955 6 Oxford Ms.Ashmole 1138, Bodleian Library, University of Oxford 7 See Oliver Millar, Abraham van der Doort’s Catalogue of the Collections of Charles I in Walpole Society, XXXVII, London, 1960 8 See Oliver Millar (ed.), The Inventories and Valuations of the King’s Goods, 1649-1651 in Walpole Society, XLIII, London, 1972 9 The inventory of the Curiositys and Medals [from the collection of Queen Caroline] in the Cabinet in His Majesty’s Library of wch Mrs Pursell had the original, before 1755, BM.Add.Ms.20101. and Horace Walpole, Other pictures & curiosities at Kensington, 2 June 1763, added at the back of his copy of A catalogue of the collection of pictures &c. belonging to King James the Second; to which is added, A catalogue of the Pictures & Drawings in the Closet of the late Queen Caroline… printed for W. Bathoe, London 1758, RCIN 1112557 10 George Vertue, Note Books, 5 volumes, published by the Walpole Society, XVIII, XX, XXII, XXIV, XXVI and XXX between 1929 and 1952, vol. V, p. 23 11 Mrs Purcell’s list, before 1755, BM.Add.Ms.20101 12 Benjamin Jutsham, An Account of the furniture &c received at Carlton House, June 1816-December 1829, manuscript, RCIN 1112775, 1821 13 Sale, Christie’s, London, 17-19 May 1819 14 Royal Archives/GEO/26327 15 See K. Aschengreen Piacenti and J. Boardman, Ancient and Modern Gems and Jewels in the Collection of Her Majesty The Queen, London, 2008, pp.260-3 16 Jutsham as at note 12 17 An inventory taken of sundry Jewels etc at Windsor Castle – 16 Sept. 1830 and following days, by Messrs Bridge… Manuscript copy made for Queen Mary after an original document in the collection of Mrs Bridge, November 1911. RCIN 1114749

All images are Royal Collection Trust © Her Majesty The Queen 2016 unless otherwise stated

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Sophie Dorotheaâ&#x20AC;&#x2122;s collection of porcelain at the Ansbach residence Dr Alfred Ziffer Art Historian, author and editor of KERAMOS

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Today, the mirror cabinet at the Ansbach residence is the only remaining interior in Germany decorated with Meissen porcelain figures from about 1735 to 1757. My research also includes all the porcelain in the apartments of the residence - altogether more than 250 figurines and objects which will be published in 2016. The current appearance of this main residence of the margraviate Brandenburg-Ansbach is the result of several alterations between 1709 and 1738. The margraviate Ansbach and also Bayreuth had been developed since the late Middle Ages when members of the Hohenzollern family obtained the function of the counts of Nuremberg. After a short administration by Prussia around 1800, Frankonia became part of the Kingdom of Bavaria in 1806. The money and the idea for a new residence – compared with the small size of the city the complex was very large – came from Christiane Charlotte of Württemberg (1694–1729) while her husband, Wilhelm Friedrich of Ansbach (1686–1723), was engaged in military projects. However, he is also the founder of the faience manufactory in Ansbach in 1710. His son, the so called “wild margrave” Carl Wilhelm Friedrich (1712–1757, reign 1729), was a typical absolute nobleman spending much money on hunting and an extravagant court life. At the age of 17, he married the 15 year old princess Friederike Luise of Prussia (1714–1784), sister to Frederic the Great and Wilhelmine of Bayreuth (fig 1). To cut a long story short – the marriage was very unhappy. But the new apartments at the residence – decorated between 1734 and 1745 – had been the result of French, Italian and Bavarian influences and formed the typical Ansbach Rococo.

Figure 1. Margravine Friederike Luise of Ansbach, née Princess of Prussia (1714–1784), oil on canvas, @ Alexander Biernoth, Markgrafenmuseum, Ansbach. Figure 2. Mirror cabinet in the Ansbach Residence, 1740, designed by Leopolde Retty, Paul Amadée and Jean Adolfphe Bieralle, @ Author.

The mirror cabinet in the private apartments of the margravine had been designed by Italian architect Leopoldo Retti (1704–1751), panels and ceiling painting by the French brothers, the sculptor Paul Amadée Biarelle and the painter Jean Adolphe Biarelle in 1740 (fig 2). The room is situated in the middle of the south wing in the first floor. Each wall in the cabinet is decorated with three mirror compartments. Opposite the window is a marble chimney with a singular carved mirror frame, flanked by two niches with marble boards on iron supports. In my opinion they came later, perhaps together with the porcelain. The classic furniture of the room are only two large consoles with marble tabletops, two small corner tables aside the window and six stools having a silk covering datable before 1774. The four small mirrors have the same carved frames, while the two bigger ones are differently carved with harpies, dragons, birds, flower tendrils and other ornaments. The frames of the mirrors have different types of brackets: the slim ones have only three brackets in the lower section, seven in the top section in front of the mirror and a further seven brackets with outside

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orientation. The small brackets on the paneling between the mirrors are later additions of 1773. The wide mirrors over the consoles have three large and two very small brackets in the lower section. On the frame, the positions are changing from inside to outside the glass of the mirror. The crest shows a carved rocaille work flanked by a pierced bracket aside. 21 objects could be placed on this design. No brackets were on the frame of the mirror over the chimney in the original design. The first decoration on the wall brackets had not been Meissen porcelain, but perhaps oriental porcelain or faience of the Ansbach factory founded in 1710. I prefer the latter idea and, in several museum collections, I have found many small faience vases of the same boat-shaped section, but decorated in different colours and motifs. At the Hauptstaatsarchiv in Berlin, I found what is – for the moment – the oldest inventory of the Ansbach residence, dated March 12th 1790. On page 56, the list starts with the furniture, wall paintings and textiles of “Her Serenissimae Spiegel/Mirror Cabinet” on the second floor and ends on page 58 with the words: “Nota! Die auf denen vergoldeten Konsolen stehende Figuren von Dresdner Porcellain in gleichen das auf den Tischen stehende dergleichen Porcellain gehören Serenissimae eigen“/ „Attention! All figurines on the gilded brackets of Dresden porcelain and also the porcelain standing on the tables belong to Her Highness“.

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We are talking about the Margravine Friederike Caroline of Saxony-Coburg-Saalfeld (1735–1791); here a portrait by Georg Anton Urlaub of 1772 at the Ansbach residence (fig. 3). She was married in 1754 to the Ansbach margrave Christian Friedrich Carl Alexander (1736–1806), known in his youth as Europe’s most handsome prince. The marriage was arranged by his father who tried to get financial support from the Austrian emperor when Frederik the Great stopped sending money. Of course this marriage could not become a happy one. Carl Alexander had many affairs and only waited until the death of his wife on February 18th 1791 before leaving Ansbach for good with the English Lady Elizabeth Craven (1750–1828), who had already lived with him for some years. He died at Blenham Castle near Speen in 1806. In the inheritance of his wife Friederike Caroline, all the porcelain in the mirror cabinet is listed and valued - sometimes in detail (clocks for example) or generally (“24 diverse Figuren á 2fl 24x, 140 noch kleinere Figuren á 1fl / 24 diverse figurines á 2fl 24x, 140 still lesser figurines á 1fl”).1 According to the archive material, however, it was not bought by her or her husband, but was a legacy from her mother-in-law, Alexander’s mother, Friederike Louise of Prussia, who had died in 1784. The traces go back to Berlin …. and two generations earlier. On the river Spree, a Maison de Plaisance named Monbijou was erected by the architect Johann Friedrich Eosander von Goete (1669–1728) for the nobleman Reichsgraf Johan Kasimir Kolbe von Wartenberg (1643–1712) in 1703. The first King of Prussia,

Figure 3. Margravine Friederike Caroline of Brandenburg-Ansbach (1735–1791), née Princess of Saxony-Coburg-Saalfeld, oil on canvas, 1772, Georg Anton Urlaub (1744–1788), Ansbach Residence; @ BSV (Bavarian administration of the royal palaces). Figure 4. Portrait of Sophie Dorothea of Prussia (1687-1757), née Princess of BrunswickLüneburg, oil on canvas, 1737, Antoine Pesne (1683–1757), Charlottenburg Palace, Berlin, @ Wikimedia commons.

Figure 5. Monbijou Palace, Porcelain gallery (room 22) to the east, photo 1940, @ Kemper 2005, fig. 64

Frederic I, bought the house in 1710 and gave it to his daughterin-law, Sophie Dorothea of Brunswick, as a gift for her personal use. It was her summer residence until 1740 and her favourite place to live until her death in 1757 (fig 4).2 At the centre was a room with mirrors and paintings of the ladies of the court. In the yellow Chinese Room, there was a set of seven Dresden vases with a yellow ground and “Indian miniatures painting”, as well as three pagodas, two canary birds and, on the consoles, several pieces of tableware from Dresden. Sophie Dorothea enlarged the small house several times, especially in 1738 and the last time in 1753–54 to form a long arrangement of pavilions and galleries.

which was changed into a porcelain-chamber in 1753/54. The most important had been two galleries with a great deal of porcelain she had acquired before her death in 1757 as we could reconstruct looking at the date of the models.

In the inventory of 1738, the interiors of the three galleries facing the Spree river had been decorated with copper engravings and oriental blue and white porcelain. At the end of the east Porcelain gallery, there had been a so called “Dutch Kitchen”

In her will, Sophie Dorothea decreed that the furniture should remain in the palace given to her son Frederic the Great. When the palace became the Hohenzollern Museum in 1877, some years later the porcelain galleries got copies of the original

The Englishman Jonas Hanway wrote in 1750 in his travel diary: “MONBIJOU is appointed for the residence of the queen mother, who is a sister of his Majesty the King of GREAT BRITAN. This is a little palace at the Spree, the apartments of which are small, but elegantly furnished. There is a pretty gallery of blue and white China porcelain, and an apartment called the kitchen, with several rich pieces of SAXON porcelain”.3

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consoles and wall brackets and were redecorated with porcelain from different Hohenzollern residences (fig 5). Bombed heavily in WWII, the ruins had been destroyed by the GDR in 1959. “All things of porcelain, snuffboxes, clocks, pendules, paintings and books” – were divided between the six daughters after the death of Sophie Dorothea on 28th of July 1757. Appraisers, like Johann Ernst Gotzkowsky, formed lots of the same value between 27th February till 3rd of April 1758 which were raffled to avoid any quarrel between the sisters: 1: Wilhelmine (1709–1758); ∞ Margrave Friedrich of Brandenburg-Bayreuth 2: Friederike Luise (1714–1784, see fig. 1); ∞ Margrave Karl Wilhelm Friedrich of Brandenburg-Ansbach 3: Philippine Charlotte (1716–1801); ∞ 1733 Duke Karl I. of Brunswick 4: Sophie Dorothee Marie (1719–1765); ∞ Friedrich Wilhelm of Schwedt 5: Luise Ulrike von Schweden (1720–1782); ∞ Adolf Friedrich, King of Sweden 6: unmaried Anna Amalie (1723–1787) - Abbess of Quedlinburg (1756–1787) As all objects were numbered and these numbers listed in different lots we know exactly which objects were given to which of the daughters. Some of the descriptions are precise, some rather summary. They came to Ansbach from Berlin during the year 1758 and were obviously decorated in the mirror cabinet where they still are today.

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Thanks to a hint from Dr. Kemper in Berlin I found a lot of tableware and 46 animals of Meissen porcelain in the inventory of the Dutch Kitchen 1738, but six models, some in three examples, obviously showed men and women with a hurdygurdy or a bagpipe. One of the next entries is very unusual: “Ein altes Weib mit gebrochenem Krug” / An old woman with a broken jug”.4 (fig 6). It reminded me on a figurine in the collection of Ansbach Porcelain on the ground floor of the residence, called the “Gotische Halle” (“Gothic Hall”). Here I found the peasant woman sitting on the floor with the broken jug on her knee. The model seems to be very rough and expressive. The woman really feels sorry and unhappy about the loss. The decoration is simple with unblended colours. In the first inventory of the Ansbach residence in the 20th Century, it was listed as an Ansbach figure, but even the expert for this factory, Adolf Bayer, did not quote this model in his important book in 1933. Together with “Old woman with a lyre”, “Old men with a lyre” or “Old man with a bagpipe”, we all know these early models as products of Meissen. They had been repaired in later years by Eberlein and Kaendler for further production; contrary to the “woman with the jug”, she was never made again. In my mind, the 11 cm high figurine was modeled by Johann Gottlieb Kirchner, c. 1730–1733, and is the oldest Meissen porcelain in the collection.

Figure 6. Old woman with broken jug, model by Johann Gottlieb Kirchner, Meissen 1730–33, formerly in the Dutch kitchen of Sophie Dorothea of Prussia in Monbijou, today Gotic Hall, Ansbach Residence, @ author. Figure 7. Canary birds with hatchlings, model Johann Joachim Kaendler, Meissen 1733, formerly mirror cabinet, Ansbach Residence, today storage, Munich Residence, @ BSV.

with a fan” (fig 8). Together with her lost partner, a nobleman throwing a kiss to her on the hand, the couple – noted in Kaendler’s work report in December 1736 – marked the beginning of a new kind of art in porcelain, the “cabinet pieces”. Placed mostly on mantles of fireplaces or small tables in private cabinets, you could see them only by invitation, but take them into your hand and look at them very closely – discover the details like the petticoat or the shoes of the lady. The figurine was entitled in Sophie Dorothea’s inventory as „Nr. 299 eine Dame mit der Evantaille 9 fl“/“A lady with an fan” in 1758. Unfortunately she was parted from her lover, who was available obviously in more than one example. In „No. 292. 7. Stück Figuren von solche Größe, darunter einige in Schlaf-Rücken / „Seven figurines of small size, including some in morning gowns“ were given to Sophie Dorothee Marie of Schwedt. The morning gown was an invention of Kaendler when he used the engraving „Le Baiser rendu“ („Der erwiderte Kuss“) by Pierre Fillœul after the painting by Jean Baptiste Pater (1695– 1736), published by Nicolas de Larmessin just in summer 1736. It was one of the 38 illustrations of the „Contes et nouvelles en vers“ of Jean de La Fontaine. The famous curator of the Munich Residence, Friedrich Hofmann, transferred the figurine from Ansbach to Munich in 1911 and her original provenance was lost in the last decades.

The next-oldest model in the inventory of Sophie Dorothea in 1738 could be a nest with two canary birds with hatchlings (fig 7). 5 Kaendler modelled the canary group in January 1733 and August II, King of Poland, received six copies for Christmas that year on the 23rd of December. Three of them he obviously bestowed on someone, while only three came into the inventory of the Japanese Palais No. 215.6

Figure 8. Lady with a fan, model Johann Joachim Kaendler, Meissen, December 1736, formerly in the mirror cabinet, Ansbach Residence, today in display Munich Residence, @ BSV

The nest is not in Ansbach today. Rather, I found it at the Munich residence where it was transferred in 1865. It was on display labelled as Frankenthal Porcelain in 1912, but has been in storage for decades. Another very famous and early Meissen model, also in Munich today, but on display in a showcase, fared better as the “Lady

The use of inventories was a great advantage for my research of the collection. On 16th January 1791, Charles Alexander sold his Margraviate to Prussia. The royal apartments at the residence in Ansbach were never used again to live in and became a museum of their own. In 1806, the territory came into the possession of Bavaria and in the text in the inventory of 1807 we can read: “On the mirrors and the walls fixed and gilded / 150 Consoles and marble tables / Are the following figurines and Vessels of Dresden Porcellain / arranged …. “ Some lines later follow: “17. groups, decorated and gilded, 143. bigger und smaller figurines …”, but unfortunately not described precisely. The first inventory of the Bavarian Administration of the Royal Residences when all objects got their own number was written in 1929. All these figurines will be published in detail for the catalogue. Only some objects in the list are specified which I will now show you following the order in the documents: Always mentioned in a separate entry was a clock case with the goddess Flora (1240), mould no. 1876, designed probably by Friedrich Elias Meyer and Johann Joachim Kaendler in 1753 (fig 9). The movement is signed “Le Roy A Paris”. According to latest research, the Flora is a work by Kaendler, while the clock case was modelled by Meyer. The decoration of the pedestal with “flying children” is close to Boucher, but not a copy of a certain work. The painting on several comparable objects seems to be made by the same artist, preferring a technique to paint with small little dots.

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Together with a clock decorated with figurines of Fortuna and Saturn by Kaendler (mould. No. 1050) both cases are in the list of Queen Sophie Dorothea 1758 and the abatement list of Friederike Caroline of 1791. They had always been in this room. “1 Grouppe mit 4 Figuren und einem Baum” / “One group with four figurines and a tree” is the next entry (fig 10). Only the “cherry harvest”, modeled by Meyer and Kaendler in 1753 (mould-No. 1998) correlates with the text. Queen Sophie Dorothea and also her son, Frederic the Great, spent a lot of money as they loved having cherries on the table. The groups produced first show these rather small fruits, making a lot of work for the repairers. The model was still very popular in the 19th Century, when the fruits where made bigger and the title changed to “apple harvest” – but still having the same mouldnumber. The photo shows the display in the mirror cabinet which is especially suited for groups designed to be seen from all sides.

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“2. große Figuren, 1 Chineser und 1 Chinesin” / 2 big figures, 1 Chinese man and 1 Chinese woman”, followed by the line “2 dergleich figuren, Chineser” / 2 same figurines, Chinese”. The Ansbach cabinet offers the rare chance to actually see four of these models we call “malabares” today. The first model (mould no. 764) was a lady with a fruit basket on her hip and a covered basket in her left hand (fig 11). Her attire looks extraordinary and exotic through the fur-lined gown. Eberlein modelled the “Indian lady” according to his work report in 1746, working, at the same time, on many “durchbrochene”/ “pierced” pieces for the confectionary of Count Brühl. The male counterparts, one made by Eberlein shortly before his death in 1747 (mould no. 823), was entitled correctly in Sophie Dorothea’s list and is easy to identify: „Nr. 257, ein Malabar mit seiner Frau, an dem ersten ist von dem Säbel etwas abgebrochen, 35 Rthlr.“ / No. 257, “A Malabar with his wife, a piece of his saber missing on the first” (fig 12). The funniest title

Figure 9. Clock case with Flora, model probably by Friedrich Elias Meyer and Johann Joachim Kaendler, Meissen, 1753, mirror cabinet, Ansbach Residence, @ author. Figure 10. Cherry harvest, model by Johann Joachim Kaendler and Friedrich Elias Meyer, Meissen, 1753, mirror cabinet, Ansbach residence, @ author

was given by Eugen von Mor-Sunneg 7 to the figurine in 1895 as “Prairiejäger” / “Prairie hunter” in his very early work about the porcelain treasure in Ansbach, perhaps influenced by the German author Karl May and his novels about the Apache chief Winnetou. The other model was made by Friedrich Elias Meyer in 1751. The sculptor from Erfurt had a job at the court of Weimar and came to Meissen June 1st 1748 to replace Eberlein who had fallen very ill. His design for the stand shows much more relief in the rococo style with gilded rocailles. The dress comprises the fur-lined gown as comparable clothing (mould no. 1523). The important difference from the work of Eberlein is the new movement in the position of the singing and playing men, showing vivid emotions. Figure 11. Two Malabare women, Johann Friedrich Eberlein, Meissen, 1746, mirror cabinet, Ansbach residence @ author. Figure 12. Malabare, Johann Friedrich Eberlein, Meissen, 1746 (left) – Malabare with lute, Friedrich Elias Meyer, Meissen, 1751 (right), mirror cabinet, Ansbach residence, @ author. Figure 13. One of six wall lights, Meissen, 1749, model by Johann Joachim Kaendler, mirror cabinet, Ansbach residence, @ author.

I just will follow the lines on this page: “6. größere und 2. kleinere Armleuchter, jeder zu drei Lichtern, Von den größeren leuchtern ist einer schadhaft“ / 6 bigger and 2 smaller wall lights, one of the bigger ones is damaged“ (fig 13). This Rococo model is noted in the mould book as „Leuchter, von Franz: Zierrath: klein: Wand“/ “candlestick with French ornaments, small, for the wall” and, according to its mould number 1150, was designed by Kaendler in 1749. We do not know their placement at the Monbijou palace, but, in the First Gallery, there are seven windows, having six panellings in between and built in 1753/54. For the moment, no other examples of the model are known to me.

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“A chocolate, a milk and a tea pot with a sugar bowl, a sugar and a tea box and a waste bowl are listed together with 5 chocolate cups and 8 coffee cups, with shields and landscapes in purple and gold”. This rather unusual service is practically impossible to find in the Berlin lists as the notes are rather general for tableware. The shape is not spectacular, but the small purple camaieu landscapes like in the Christie-Miller-Service in a symmetrically cartouche with branches with and without leaves, tendrils and stylized flowers is rare. Today the service is on display in a niche in the dining room next to the ballroom (fig 14). Also from Berlin in 1758 and in Munich today is this „box for playing card counters with four boxes and counters, “162. ein Marquen-Kästchen mit 4. Schaachteln und Marquen” (fig 15).“ For the next words I have to thank the Metropolitan Museum and quote them: “The card game l’Hombre was a fashionable pastime in the 18 Century, and special boxes were created at the Meissen porcelain manufactory to hold the necessary counters. Five playing cards decorate the lid; the one on top which represents the King of Hearts is based on a French deck of cards made for the German market by Claude Valentin of Lyon about 1650/75. For the Ace of Spades, the painter used

Figure 14. Chocolate pot of a coffee, tea and chocolate service, Meissen, c. 1750–55, dining room Ansbach Residence, @ author. Figure 15. Box for playing card counters, Meissen, model c. 1735/40, made 1750–1752, formerly mirror cabinet Ansbach residence, today storage Munich residence, @ BSV.

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an original card bearing the Saxon tax stamp that was imposed on all imported playing cards between 1750 and 1752. 8 The small flower bouquets in the lids follow the engravings of Jean-Baptiste Monnoyer (1636–1699) published in his Livres de plusieurs corbeilles de fleurs between 1660–1690 at Nicolas de Poilly (1627–1696) in Paris.

Figure 16. Set of five vases with the Apollo vase in the center, model by Johann Joachim Kaendler and Johann Friedrich Eberlein, Meissen, 1744/45, Reception room of the guest apartment, north wing, Ansbach residence, @ author.

Going back to the beginning of Kaendler’s naturalistic style in Meissen we find a set of five vases made in 1744. The central vase is a variation of the famous Apollo vase given to empress Elizabeth of Russia in this year. The left vase shows an allegory of the summer with a putto in front of cereals and different fruits like cherries. The right vase is the allegory of autumn with a wine-drinking putto and a bird picking grapes. The two outer vases are decorated with different flowers. At Ansbach, they had been separated to decorate several rooms, but I brought them together on a mantlepiece in the reception room of the guest apartment in the North wing of the residence (fig. 16). I am very happy about this reunion and also about the fact of finding them in the 1758 list of Sophie Dorothea „No. 197, ein gantz weißen Aufsatz von 5. Stück, 80. Rthl.“ / „A white set of

five vases, 80 fl“. The models “Apollo vase”, “Seasons” and “Apollo children” are also to be found in the list of the porcelain Frederic the Great brought from Meissen to Berlin in December 1745 in 52 boxes. 9 He wanted to sell the porcelain to get money for other unpaid invoices. However, the porcelain had been in storage – the “Waarenlager” – because it was not always of first quality. This could have been the reason to use these pieces as gifts (for example to his mother) or to decorate the gallery and rooms in Sanssouci, start of construction also in 1745. Till WWII, 16 brackets in the gallery had been decorated with white vases like these; today, only one is left. Looking at some details like a broken cereal on the vase “summer” proves this. Also all vases have a glaze with a lot of orange-peel. The most fascinating result of my research was to realize the difference between the property in official and private possession. It is not the inventories of kings and male royals which lead to the most important historical findings in art, but the lists of the personal belongings of their consorts.

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1 Geheimes Staatsarchiv Berlin, BPH-Rep 44-9-R5, 26. April 1791. 2 Thomas Kemper, Schloss Monbijou, Von der königlichen Residenz zum Hohenzollern-Museum, Nicolai Verlag Berlin 2005. 3 Kemper 2005, p. 68. 4 Kemper 2005, p. 302. 5 The list is obviously mixing up two models in two lines: „Ein Canarian Vogel (one canary bird) / Ein Eis-Vogel nebst einem Nest, worinnen Junge seyn (one kingfisher and a nest containing hatchlings).“ see Kemper 2005, p. 302. 6 Claus Boltz, 1996, S. 26. 7 Eugen von Mor-Sunnegg, Porzellanschatz im Rokokostil des königl. Bayer. Schlosses zu Ansbach, 30 Tafel im Lichtdruck im GroßFolioformat / Trésor en porcelain (style rococo) du Château Royal d’ Ansbach (Baviere) / Chine Treasure (rococo style) of the Royal Castle at Ansbach (Bavaria), Verlag von Max Eichinger k. b. Hofbuchhändler Ansbach (Bayern), o.J. (1895). 8 http://www.metmuseum.org/collection/the-collection-online/search/205638?rpp=30&pg=1&ft=1974.28.134&pos=1 (28.02.2016) 9 Samuel Wittwer, “hat der König von Preußen die schleunige Verferttigung verschiedener Bestellungen ernstlich begehret” – Friedrich der Große und das Meißener Porzellan, in: Keramos 208, 2010, p. 23.

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Two of TE Lawrence’s most iconic possessions are at risk of being exported from the UK unless a buyer can be found to match the asking prices of £122,500 for his dagger and £12,500 for his robes. Lawrence was considered one of the most recognisable figures of the First World War, following his work in the Middle East and his involvement in the Arab Revolt. The archaeologist and diplomat worked closely with numerous Arab leaders and would always be seen in traditional Arab dress. These white silk robes were made in Mecca or Medina and he wears them in the 1919 oil portrait by Augustus John (see page 16 of this issue). The steel and silver dagger was famously presented to him by Sherif Nasir in 1917 after the victory at Aqaba in Jordan. Mr Vaizey, the UK Culture Minister has placed two separate temporary export bars to provide an opportunity to keep these national treasures in the UK. A decision on the export licence application for the robes will be deferred until 1 April 2016. This may be extended until 1 July 2016 if a serious intention to raise funds to purchase the robes is made at the recommended price.

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Metropolitan Museum Opens New Space – The Met Breuer THE Metropolitan Museum of Art celebrates the opening of The Met Breuer with three days of special programmes to inaugurate its new space dedicated to modern and contemporary art. The landmark building designed by Marcel Breuer, at 945 Madison Avenue and 75th Street, opens to the public on 18 March. Through a range of exhibitions, commissions, performances, and artist residencies, The Met Breuer offers visitors the chance to engage with the art of the 20th and 21st centuries through the global breadth and historical reach of The Met’s collection and resources. ‘The reopening of Marcel Breuer’s iconic building on Madison Avenue represents an important chapter in the cultural life of New York City,’ said Thomas P Campbell, Director and CEO of The Metropolitan Museum of Art. The Met has collaborated with the Whitney Museum of American Art to upgrade the building’s infrastructure

systems in preparation for its reopening in 2016. In addition, The Met has commissioned landscape architect Günther Vogt to activate the sunken garden with a design that includes quaking aspen trees planted along the perimeter. The Met Breuer’s programmes aim to spotlight modern and contemporary art in dialogue with historic works that embrace the full range and reach of the museum’s collection. The building will host both monographic and thematic exhibitions, as well as new commissions and performances. The two inaugural exhibitions at the new space are a major, crossdepartmental curatorial initiative, Unfinished: Thoughts Left Visible, including works by some of the greatest artists of all time, ranging from Titian to Louise Bourgeois, who experimented with a non-finito style, as well as the largest exhibition to date dedicated to Indian modernist Nasreen Mohamedi (see page 45 of this issue).

Additionally, a music installation by resident artist Vijay Iyer will activate The Met Breuer’s lobby gallery, as the eminent jazz musician and composer Vijay Iyer has created an homage to Nasreen Mohamedi’s devotion to Indian classical music and her improvisatory imagery that at times evokes an abstracted rhythmic notation. Iyer is presenting the world premiere of this new composition in honour of Mohamedi – A Cosmic Rhythm with Each Stroke on Wednesday, 30 March, at 7 pm (followed by a performance on Thursday, 31 March at 7 pm). Tickets for this event start at $40. To launch its first season, the museum is offering extended hours at The Met Breuer from 10 am to 10 pm on Friday, 18 March, and Saturday, 19 March. The Met Breuer is also hosting a special family day on Sunday, 20 March, from 10 am to 5.30 pm that includes a special programme of events for visitors of all ages.

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Japan Society has announced that the Mary Livingston Griggs and Mary Griggs Burke Foundation has approved a US$2 million grant to establish the Mary Griggs Burke Endowment Fund for exhibition development as well as public and educational programming for audiences of all ages. The new director of the society’s gallery, Yukie Kamiya commented on the grant, ‘This significant gift will have an immeasurable impact on our Gallery programmes. As an institution at the forefront of presenting outstanding exhibitions of Japanese art, we are able to focus on introducing diverse practices and creativity in Japanese art from classical to the contemporary eras’.

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AN INVITATION TO CONSIGN Fine British and European Ceramics and Glass Thursday 3 November 2016 Knightsbridge Closing date for entries Thursday 1 September

Our recent sale of the Liane Richards Collection is a worthy addition to a long list of landmark single-owner ceramics sales, a tradition that started back in 1999 with the first part of the Watney Collection. Bonhams continues to offer unrivalled expertise and we are currently accepting consignments for our autumn sales

Fine European Ceramics Wednesday 16 November 2016 New Bond Street Closing date for entries Friday 16 September A LUNDâ&#x20AC;&#x2122;S BRISTOL CREAMBOAT ÂŁ12,000 - 14,000

bonhams.com/ceramics

ENQUIRIES British Ceramics and Glass +44 (0) 20 7468 8245 fergus.gambon@bonhams.com European Ceramics +44 (0) 20 7468 8384 sebastian.kuhn@bonhams.com

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400, 0 new 00 ever lots y we ek Pair of Scandinavian lounge chairs Estimate: £ 3,100 Greenwich living

Jane Peterson Fishing boat at a mooring Estimate: £ 13,900 Sotheby´s

Breitling, Chronospace Estimate: £ 3,300 Cresus

ALL AUCTIONS IN ONE PL ACE

Dolce&Gabbana handbag Estimate: £ 800 Mightychic

Head of Buddha, Shakyamuni Estimate: £ 4,000 Christie´s

John E. Ferneley, Departing Estimate: £ 7,100 Freeman´s

Sorrento tilt top table Estimate: £ 6,000 Nicholas Wells Antiques

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We are very excited to be supporting this years Art and Antiques fair as the chosen caterer. The 1851 restaurant and cafe has a wonderful reputation, and it is a great honour for us to be at the helm of such a remarkable space. Having recently won â&#x20AC;&#x153;The Caterer of the Yearâ&#x20AC;? we look forward to breathing some new life into such a wonderful pop-up restaurant.

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A rare Chinese green dragon dish, six character Zhengde mark and of the period 1506-21, 19.8cm. Provenance: from a collection of fine Chinese porcelain purchased from Bluett & Son in the 1930s.

INVITING ENTRIES ENQUIRIES: John Axford +44 (0)1722 424506 johnaxford@woolleyandwallis.co.uk www.woolleyandwallis.co.uk 51-61 Castle Street, Salisbury, Wiltshire, SP1 3SU, UK 130

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Art Antiques London Stand Plan

Coffee Bar

B22

B24

B23

B25 B27

B20

B21

Decking

ALTEA MAPS & CHARTS. . . . . . . . . . . . . . . . B1 BABBINGTON FINE ART . . . . . . . . . . . . . . C34 BADA The British Antique Dealersâ&#x20AC;&#x2122; Association . . . E9

VANESSA CLEWES SALMON MODERN & CONTEMPORARY ART. . . . . . . E6 DELOMOSNE & SON LTD . . . . . . . . . . . . . . D3 TED FEW. . . . . . . . . . . . . . . . . . . . . . . . . . . . D4

C30

C32

C10

C18

C24

C23

C26

C34

C38

Reception

HALL-BAKKER DECORATIVE ARTS . . . . . . B25 JULIAN HARTNOLL. . . . . . . . . . . . . . . . . . . B20 BRIAN HAUGHTON GALLERY . . . . . . . . . . E26 HEIRLOOM & HOWARD. . . . . . . . . . . . . . . B21

BAZAART. . . . . . . . . . . . . . . . . . . . . . . . . . . F16

D & M FREEDMAN ORIENTAL ART. . . . . . . E7

LAURA BORDIGNON. . . . . . . . . . . . . . . . . C18

GANDER & WHITE SHIPPING LTD. . . . . . . B23

J.H. BOURDON-SMITH LTD. . . . . . . . . . . . C38

MARILYN GARROW FINE TEXTILE ART. . . E17

CHRISTOPHER BUCK ANTIQUES. . . . . . . . E14

GIBSON ANTIQUES LIMITED. . . . . . . . . . . D14

ICONASTAS. . . . . . . . . . . . . . . . . . . . . . . . . E31

PETER CAMERON. . . . . . . . . . . . . . . . . . . . D32

GOULDEN & THOMAS FINE PAINTINGS. . E18

MANYA IGEL FINE ART. . . . . . . . . . . . . . . . C30

LUCY B CAMPBELL GALLERY. . . . . . . . . . . C26

GRAY MCA . . . . . . . . . . . . . . . . . . . . . . . . . E24

ILLUSTRATIONCUPBOARD GALLERY. . . . E16

THE CANON GALLERY. . . . . . . . . . . . . . . . . A3

MARK GOODGER, HAMPTON ANTIQUES. . D16

IMAGES - FAIRHEAD FINE ART LIMITED. . . E8

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JOHN HOWARD. . . . . . . . . . . . . . . . . . . . . . D8 THE HUNT GALLERY. . . . . . . . . . . . . . . . . . E30

Washrooms

D12

E15 E14

D17

D16

D30

E22

E24

F12

E26

F16

E18

E16

D32

F14

Restaurant

E17

D14

D34

D36

E30

E31

F15

E32

E33

Lecture Theatre

IMPERIAL FINE BOOKS . . . . . . . . . . . . . . . . B5

MORELLE DAVIDSON. . . . . . . . . . . . . . . . F15

RAFFETY. . . . . . . . . . . . . . . . . . . . . . . . . . . D34

PETER LAYTON LONDON GLASSBLOWING

. . . . . . . . . . C24

MUSE, THE SCULPTURE COMPANY/ AMADEUS GALLERY. . . . . . . . . . . . . . . . . . B27

ROBYN ROBB. . . . . . . . . . . . . . . . . . . . . . . E33

LICHT & MORRISON LTD. . . . . . . . . . . . . . . C3

SUSAN OLLEMANS. . . . . . . . . . . . . . . . . . . D12

RÖELL FINE ART. . . . . . . . . . . . . . . . . . . . . B24

SANDA LIPTON . . . . . . . . . . . . . . . . . . . . . . E2

PANTER & HALL . . . . . . . . . . . . . . . . . . . . . E15

SAMINA INC. . . . . . . . . . . . . . . . . . . . . . . . D30

LOVE WOOD GALLERY . . . . . . . . . . . . . . . . A2

CHRISTOPHE PERLÈS. . . . . . . . . . . . . . . . . F12

SILVERMAN ANTIQUES . . . . . . . . . . . . . . . . C2

LUCAS RARITIES. . . . . . . . . . . . . . . . . . . . . . D1

DAVID PICKUP ANTIQUES. . . . . . . . . . . . . C32

E & H MANNERS. . . . . . . . . . . . . . . . . . . . . E32

POTTERTON BOOKS. . . . . . . . . . . . . . . . . F14

TIMOTHY MILLETT. . . . . . . . . . . . . . . . . . . E22

SYLVIA POWELL DECORATIVE ARTS. . . . . C23

FREYA MITTON. . . . . . . . . . . . . . . . . . . . . . D36

PRIESTLEY & FERRARO. . . . . . . . . . . . . . . . D14

MARY WISE & GROSENOR ANTIQUES. . . B22

MOORE-GWYN FINE ART . . . . . . . . . . . . . . C6

QUANTUM CONTEMPORARY ART. . . . . . . A1

YVEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D17

SIM FINE ART. . . . . . . . . . . . . . . . . . . . . . . C10 JACQUELINE SIMCOX LTD . . . . . . . . . . . . D14

133