Art Antiques London 2012

2012

Incorporating

THE INTERNATIONAL CERAMICS FAIR & SEMINAR

Private View Wednesday 13th June

11am to 9pm

Public viewing Thursday 14th June

11am to 7pm

Friday 15th June

11am to 7pm

Saturday 16th June

11am to 7pm

Sunday 17th June

11am to 6pm

Monday 18th June

11am to 7pm

Tuesday 19th June

11am to 7pm

Wednesday 20th June

11am to 6pm

Albert Memorial West Lawn Kensington Gardens London SW7

Thursday 14th June until Wednesday 20th June 2012

‘Party in the Park’ in support of Juvenile Diabetes Research Foundation Tuesday, 12th June 2012

Organised by:

Acknowledgements

Haughton International Fairs Directors: Brian and Anna Haughton

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

For further information: 15 Duke Street, St James’s London SW1Y 6DB T: +44 (0)20 7389 6555 F: +44 (0)20 7389 6556 www.haughton.com email: info@haughton.com

Our staff: Magda Grigorian (US Press Officer), Emma Jane Haughton, Giles Haughton, Mary Jones, Anthea Roberts, Beverly Simpson, Richard Webster

Press and Public Relations

Catalogue design and production: Cadman Creative Design Services

London Press Office: Cawdell Douglas 10-11 Lower John Street London W1F 9EB Tel: +44 (0)20 7439 2822 email: press@cawdelldouglas.co.uk New York Press Office: Magda Grigorian T: + 1 212 877 0202 e: Haughton.ny@prodigy.net Construction SO Group Irving Levy Exhibition Services Ltd 20-20 Events Management Ltd Flowers

‘Party in the Park’ Director: Geraldine Allen The Royal Parks

Catalogue advertising: Helena Power

While Art Antiques London, the Advisory and honorary vetting committees of ART ANTIQUES LONDON cannot be held responsible for, or warrant, the genuineness or age of any article exhibited, visitors are requested to note that all articles have been submitted for inspection by a panel of advisors. 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. The organisers and/or their agents cannot be held responsible for any items 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 seminar.

Lavenders Blue Restaurant and Bars Admirable Crichton

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any 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. © The International Ceramics Fair and Seminar 2012

Contents 6

Organisers’ Welcome

7

The Vetting of Art Antiques London

8

Lecture Programme 2012

9

The Juvenile Diabetes Research Foundation

11

22

31

41

Sprimont’s complaint: Buying and Selling Continental Porcelain in London 1730-1775 Patricia Ferguson – Independent Researcher

The Glamorous Age of Empress Elizabeth Petrovna Dr Ekaterina Khmelnitskaya – Curator of Russian Porcelain, The State Hermitage Museum

A Taste of Distinction: Elector Max Emanuel’s Collection of porcelain mounted in Paris Dr Max Tillmann – Art Historian and Lecturers

A Detective Story: Meissen Porcelains copying East Asian Models, Fakes or Originals in their own right?

Julia Weber – Scientific assistant at the Bavarian National Museum

51

Exhibitors

129

Advertisers

150

Floorplan of the Fair

Organiser’s Welcome

Welcome to Art Antiques London 2012 We are delighted to welcome you to the third edition of Art Antiques London. Its stunning setting and beautiful ambiance makes the fair a hit among collectors, who travel from all over the world to visit. Set against the unique backdrop of Kensington Gardens and The Albert Memorial, the fair has expanded this year to include an even wider variety of important international dealers and specialties. In a very short time, Art Antiques London has become an important destination for a global community of collectors, curators and interior designers. The fair’s exciting blend of culture, academia and commerce established it as an essential meeting ground and must-see event in London.

This year, Haughton International Fairs celebrates 31 years in the fair business, organising top-flight international art and antiques fairs in New York and London. This milestone anniversary is indeed a culmination of our passion and our belief that all of our lives are immeasurably enriched by the arts. Art Antiques London incorporates our longest-running fair, founded in 1982, and another established London June institution, the renowned International Ceramics Fair & Seminar. Its importance to ceramic specialists the world over, whether dealers, academics, or collectors, remains unrivalled. Our grateful thanks to The Ten Ten Foundation Inc. for their continued sponsorship of the lecture programme. We would also like to thank 1stdibs.com for their generous support of Art Antiques London.

The eminent dealers at Art Antiques London are specialists in a broad range of disciplines, including furniture, paintings, jewellery, clocks, textiles, silver and ceramics, as well as rare books and modern and contemporary objets d’art. Every object exhibited at the Fair 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.

We are delighted to be working with The Juvenile Diabetes Research Foundation for their ‘Party In The Park’ Reception and Dinner.

The honorary vetting committees are made up of advisors, 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.

We hope that your visit to Art Antiques London was enjoyable and that we will see you again next year in June here in the Park.

Anna and Brian Haughton 6

The Vetting of Art Antiques London

WHAT IT IS 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 advisers, to ensure that they are accurately described and of a quality to justify their exhibition 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 a high 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 is 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

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Lecture Programme SPONSORED BY THE TEN TEN FOUNDATION INC.

Thursday 14th June

Friday 15th June

A1 Ceramics from Vauxhall

B1 Objects of “pleasure and instruction”: J. Pierpont Morgan’s Legacy in Hartford

Anton Gabszewicz - Independent Ceramics Consultant, London

Linda H. Roth - Senior Curator and the Charles C. and Eleanor Lamont Cunningham Curator of European Decorative Arts, Wadsworth Atheneum Museum of Art, Hartford

There is a long tradition of potting on the south bank of the Thames, but the products of Vauxhall are particularly rich in their variety. They range from saltglaze stonewares and tin glazed wares of the late 17th century to the porcelains from the factory of Nicholas Crisp in the mid-18th century that were only positively identified in the 1990’s. This lecture assesses these wares in the light of subsequent scholarship. 12.00pm - 1.00pm

This talk will introduce J. Pierpont Morgan as a collector and examine some of the many ceramics and decorative arts that he gave to the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, his birthplace. Among the objects to be shown will be French soft-paste porcelain (Chantilly, Saint Cloud, Vincennes and Sevres), Meissen, and 17th-century works of art designed for the Kunstkammer. The talk will also touch upon Morgan’s transformative influence on the Atheneum, America’s first public art museum. 12.00pm - 1.00pm

A2 Johann Wolfgang von Goethe’s Collection of Italian Renaissance Maiolica Johanna Lessmann - Author, Former Curator, Herzog Anton UlrichMuseum, Braunschweig Museum für Kunst und Gewerbe, Hamburg J W von Goethe is possibly more famous as a philosopher, playwright and poet however he was also a great collector. Some 100 pieces of his Italian maiolica collection remain intact in the house in Weimar where he lived. Most of the items are decorated in the Istoriato-style and produced between circa 1535-1610. His collection includes some important documentary pieces and contrary to popular opinion that the collection must have been formed during his sojourn in Italy (1786-1788) research reveals that he collected the pieces much later and in Nuernberg (South Germany) which since the 16th century had been rich in Italian maiolica and glass. The speaker will discuss some of the documentary pieces such as the impressive plates by Xanto and the workshop of Guido di Merlino. 2.45pm - 3.45pm

B2 10.000 X Happiness. Symbols on Chinese Porcelain and their Influence on European Ceramics Dr Eva Ströber - Curator of Oriental Ceramics, Keramiekmuseum Princessehof, Leeuwarden Most Westerners love and enjoy the decorations on Chinese ceramics for their sheer beauty, indeed Chinese symbolism found its way into the designs on European ceramics; but for the Chinese, there is more than beauty, there is meaning. This meaning is hidden in a symbolic language of auspicious signs. By ‘reading’ the meaning of the design, a process of interaction takes place between the viewer and the object, a most important element of appreciation of art in traditional China.

A3 The Royal Collection on Show Jonathan Marsden - Director of the Royal Collection, United Kingdom Queen Elizabeth’s Diamond Jubilee Year in 2012 also sees the half-centenary of The Queen’s Gallery, established by HM The Queen at Buckingham Palace in 1962 and now operating on two sites in London and Edinburgh, with varied programmes of exhibitions from the Royal Collection. In this talk, the Director of the Royal Collection, Jonathan Marsden, will explore the history of the display of the Royal Collection and of the ways in which it has been possible to see it, from the time of Henry VIII to the present day. The British Royal Collection is one of the last great European princely collections to remain distinct from those owned and maintained by state authorities, and much of it remains in the settings for which it was originally created, purchased or commissioned. Much also remains in use, and this talk will explain some of the challenges of promoting public enjoyment and understanding of the Collection today. 4.30pm - 5.30pm

What is the meaning of yin and yang, dragons, the phoenix and the peaches of immortality? Why is the lotus a symbol of Buddhism and a couple of mandarin ducks a wish for a happy marriage? What is the meaning of bamboo, pine and plum, the “Three friends of the cold winter”?

With the help of masterpieces of Chinese porcelain (12th-18th centuries) from the Keramiekmuseum Princessehof, Netherlands, this talk will give answers to these questions and a lot more information on the traditional visual language of Chinese ceramic design.

2.45 - 3.45 pm

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B3 The Pleasures of Life: French Ceramics from the MaryLou Boone Collection

C3 The Farnese Service and the Neapolitan “Real Fabbrica Ferdinandea” : a Secret Revealed

Elizabeth A. Williams - Marilyn B. and Calvin B. Gross Assistant Curator, Decorative Arts and Design, LACMA, USA

Angela Carola-Perrotti - Art Historian, Naples, Italy

Collector, scholar, and donor-MaryLou Boone is all of these, as the upcoming exhibition of over 130 pieces of French ceramics at the Los Angeles County Museum of Art (October 6, 2012-March 31, 2013) and accompanying catalogue will attest. Mrs. Boone has amassed the West Coast’s finest collection of seventeenth- and eighteenth-century French faience and soft-paste porcelain, objects that provide a unique view of French life and culture. Continuing the Boone family’s tradition of exceptional philanthropy to Southern California’s arts community, Mrs. Boone has generously donated a number of these outstanding pieces to the Los Angeles County Museum of Art and the Huntington Museum. In celebration of this gift, her collection is being displayed in its entirety for the first time. And as with every fine art collection, these objects tell stories that reflect not only their own history, but the nature and predilections of their owners. Explore an overview of this outstanding collection of ceramics from leading manufactories, including Nevers, Rouen, Moustiers, Marseilles, Strasbourg, Lunéville, SaintCloud, Chantilly, Mennecy, Sceaux, and Vincennes-Sèvres.

4.30pm - 5.30pm

Manufactured around 1784-86, the Farnese Service comprises some of the most beautiful dishes ever to emerge from Naples and is the first service to be decorated with views of the Kingdom of the Two Sicilies. The speaker has identified the patron who commissioned the service - no mean feat - since the documentation of the Royal Manufactory and indeed all Neapolitan makers, has been destroyed or lost owing to the vicissitudes of war. The patron’s identity will remain a secret until it is revealed by the speaker during this lecture at Art Antiques London. It is the story of a prestigious commission and will explain the meaning of its extraordinary decoration.

4.30pm - 5.30pm

Sunday 17th June D1 From the Garden to the Table: Horticulture, Gastronomy and the Development of New Forms in French Ceramics

Saturday 16th June

Meredith Chilton - Independent Art Historian, Canada

C1 Love at Second Sight - Frederick the Great and Meissen

In the second half of the seventeenth century there were significant developments in French horticulture, which in turn had a profound impact upon French gastronomy. This lecture will look at these changes and the passion for the first nouvelle cuisine, while tracing their influence on ceramics for the table. 12.00pm - 1.00pm

Dr. Samuel Wittwer - Director of Palaces and Collections, Prussian Palaces and Gardens Foundation, Berlin-Brandenburg During the Second (1744-45) and Third (1756-1763) Silesian Wars the Prussian king Frederick the Great occupied Saxony and thus the Meissen manufactory. While at first he showed almost no interest in the products he changed his point of view around 1760, with the result that he became one of the most enthusiastic porcelain lovers among 18th century kings. The speaker will explore Frederick’s change of mind using as illustrations the treasures in the Prussian Palaces, which house maybe the finest collection of 1750-1760’s Meissen porcelain in the world. 12.00pm - 1.00pm

D2 From Canton to the City: Export Porcelain for London Angela Howard - Director, Heirloom and Howard, Wiltshire, United Kingdom The fortunes of the East India Company and the City of London were inextricably linked at the start of the 18th century and a large proportion of armorial services brought back from China during this period were for men involved in the East India trade and in the powerful financial, political and civic institutions of the capital, who were associated by commerce and enterprise as well as through family connections.

C2 Current Trends, New Directions at the MFA Boston

London remained at the heart of this highly profitable merchant trade throughout the century but the popularity of porcelain imports from China began to filter through all levels of society. It was by no means limited to armorial wares for the wealthy but in the new age of the consumer could be ordered by societies and shopkeepers, used as a medium for political and satirical comment, and was made for clients as diverse as the great City livery companies and London taverns. 2.45pm - 3.45pm

Thomas Michie - Russell B. and André Beauchamp Stearns Senior Curator of Decorative Arts & Sculpture Art of Europe, MFA, Boston, USA Recent renovations at the MFA have created opportunities for expanded displays of the museum’s renowned collections of European Ceramics. This lecture will review recent acquisitions, including the Pflueger collection, culminating in a new gallery for 18th century Continental decorative arts. Plans for forthcoming galleries devoted to Ceramics, British Silver and Furniture will also be presented. 2.45pm - 3.45pm

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Only research will find the cure: it is not a question of if, but simply when. JDRF is honoured to be involved in this year’s Art Antiques London Party in the Park.

All money raised from this evening will support vital research to cure, treat and prevent type 1 diabetes. I would like to thank Art Antiques London for choosing JDRF as their beneficiary this year and hope an enjoyable evening is had by all.

I am Karen Addington, Chief Executive of JDRF. Type 1 is often described as a full-time job. You have to constantly monitor your blood glucose level, by doing finger-prick tests and then have to do multiple insulin injections every day, to regulate it. You don’t get a break from the condition and in the short-term, you worry about episodes of low blood sugar, hypoglycaemia, which can be very frightening and dangerous. In the long term you face devastating complications including blindness, heart disease, amputation, stroke and kidney failure. Research suggests type 1 reduces life expectancy by up to 20 years.

JDRF is the type 1 diabetes charity, improving lives until we find the cure.

We fund research to cure, treat and prevent type 1 diabetes. We provide information for children, adults and parents living with the condition. We give a voice to people with type 1 diabetes and campaign for increased focus on, and funding for, research to find the cure.

As someone who works with thousands of individuals and families affected by the condition, I know how urgent it is that we cure type 1 diabetes as soon as possible. This auto-immune condition can affect anyone, so it’s vital that we prevent more of our children being diagnosed.

JDRF is dedicated to finding the cure. As the world’s leading funder of research into type 1 diabetes, we fund world-class research projects across the UK and internationally. Over the last 40 years we have funded more than £1 billion of research worldwide.

JDRF is sponsored by RLP for Art Antiques London Party in the Park.

Registered charity numbers 295716 (England and Wales) and SC040123 (Scotland) 10

Sprimont’s Complaint: Buying and Selling Continental Porcelain in London (1730 –1753)

By Patricia F. Ferguson

11

F

rom 9 June 1751, Nicholas Sprimont (1716–71), the entrepreneurial proprietor of the Chelsea porcelain manufactory, had unrestricted access to the large Meissen services at Holland House, in Kensington, London (now Holland Park), services famously acquired by the British envoy, Sir Charles Hanbury Williams (1708–59), from Augustus III as diplomatic gifts.1 This unique opportunity transformed his factory and within months he was producing convincing imitations of the latest European designs, which he sold from his new address on Pall Mall to the English nobility and gentry enamoured with the Meissen style. However, he was still discontent with the considerable quantities of Meissen for sale in London and an undated, anonymous document, entitled The Case of the Undertaker of the Chelsea Manufacture of Porcelain Ware, circa 1752–3, petitioning parliament for protection against the illegal import of Meissen porcelain as retail stock, the very paradigm, to which he owed his recent fortune, has been attributed to him.2 Though there is no evidence that this self-serving draft was ever submitted, it is an important document in the history of ceramic consumption and distribution in England.

The following discussion attempts to place Sprimont’s complaint in the context of the availability of Continental porcelain, particularly Meissen, and its sale in England during the period 1730–53.

In his draft, Sprimont claimed that ‘considerable parcels are now allowed to pass at the Custom House, as for private use, by which means the shops abound with new stock, and public sales are advertised at the very beginning of the winter and in large quantities; but there is reason to believe from the diminution in the price of the Dresden china [as Meissen porcelain was then known], that this is done on purpose to crush the manufactory established here, which was a project threatened last year’. Furthermore, he argues that

‘it is apprehended that if recourse is had to the Custom House books, it will be found that considerable quantities have been entered there for private use, besides what may have been allowed to pass as Furniture to foreign ministers, … it may be said that a certain foreign minister’s house has been, for a course of years, a warehouse for this commerce, and the large parcel, advertised for public sale on the seventh of next month, is come or is to come from thence’. Intriguingly, on 7 February 1753, the Daily Advertiser, a London newspaper, listed an anonymous three-day auction held by John Prestage (d. 1767), near Savile Row, containing: ‘A Large and valuable Collection of Fine Dresden China, useful and ornamental’. In January 1753, Jonas Hanway (1712–86), the English silk merchant who had visited Dresden, independently endorsed Sprimont’s complaint, reporting that it was ‘a subject of horror to see so many shops in the streets of LONDON supplied with the porcelain of DRESDEN, though it is importable only under oath of being for private use, and not for sale.3

Figure 1. Saucer with the arms of 9th Duke of Norfolk impaling those of Mary Blount, hard-paste porcelain with enamels and gold, Meissen, circa 1733-38.

Courtesy, Saint Louis Art Museum Figure 2. Sugar box with kylin finial, painted in the manner of J.G. Höroldt, hard-paste porcelain with enamels and gold, KPM and crossed swords mark, gilt numeral ‘57’, Meissen, circa 1724-6. The Morley Collection, Saltram, Devon, The National Trust. © National Trust Images / Rob Matheson.

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Sprimont’s plea refers to the Medieval prohibition of importing ‘painted wares’ or decorated ceramics, introduced by an act of parliament in 1464, which was amended in 1672 under Charles II, to include delftware, described as ‘painted earthenware’, but excluded Chinese porcelain. By the 1750s, this also included Continental porcelain, which according to the draft was ‘not enterable at the Custom House, otherwise than for private use, and of course becomes forfeit when offered to sale’.4 If for private use, Continental porcelain could be legally imported into England. The usual routes were to acquire it through commissioned agents or diplomats,5 who sometimes received it as diplomatic gifts6 or purchased it for practical use when abroad,7 others bought it as ‘souvenirs’ of the Grand Tour.8 Bespoke Meissen services with English coats-of-arms, though rare, were obviously intended for private use, and the earliest example is a tea and chocolate set with the arms of Edward Howard, 9th Duke of Norfolk (1685–1777), impaling those of his wife Mary Blount of Blagdon (1712–73), and dateable to about 1733–38 (Fig. 1).9 Legally, the owner was required to bring the china to the Custom House for weighing and pay the associated duty, usually a set rate of ten pence per pound weight, regardless of the condition of the porcelain, broken or whole.

In 1733–34, Charles Calvert, 5th Baron Baltimore (1699–1751), a gentleman of the Bedchamber, purchased on behalf of Frederick, Prince of Wales, ‘Dresden China’ at £25.4s, and paid the custom duty 18s,10 and in 1740, Benjamin Mildmay, Earl Fitzwalter (1672–1756), recorded ‘Paid my house porter his bill in full for expenses for a box of Dresden china from the custom house £0. 19s’.11 Avoiding Custom House import duty was something of a national sport among the aristocracy, who relied on sympathetic agents or ambassadorial privilege. Diplomatists of all ranks enjoyed exemption from custom duty on household goods, which they often abused, smuggling contraband among their personal baggage on the packet boats ferrying them home from the Continent.12 The only recorded seizure of Meissen porcelain was in 1774.13 The act was finally repealed in 1775, and replaced with an ad Valorem duty based upon the oath of the importer.14 Today, historic collections in England’s country houses, though much depleted by auctions and family divisions, contain much Meissen porcelain, yet there is often little documentary evidence of when, where or by whom it was acquired, legally or illegally.15 At Burghley, Lincolnshire, ‘Dresden china’ was inventoried in the Day-book, circa 1763–77, of Brownlow Cecil, 9th Earl of Exeter (1725–93), who in 1749 married Letitia Townshend (1726–56), before succeeding in 1754.16 Much of the documented ware survives: in the Japan Closet, there was ‘Dresden china on ye Chimney, two candlesticks supported by boys, two urns supported by boys, two pug dogs, two hartichoaks, two pair of doves, figure of a Harlequin’ and in Lady Exeter’s Dressing Room Figure 3. Watch-stand modeled as Cronus, hard-paste porcelain, modeled by J. J. Kaendler, circa 1747, with a portrait miniature of Hannah Sophia, 8th Countess of Exeter (d. 1765), by Christian Friedrich Zincke (1683-1767), Kaendler, Meissen, circa 1725. Photo: Courtesy Burghley House Preservation Trust.

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Figure 4. Tea and coffee service in the Alt-Brandenstein shape, hard-paste porcelain with enamels and gold, Meissen, circa 1745 and a pomatum-pot, circa 1750. The Trevelyan Collection, Wallington, Northumberland, The National Trust. © National Trust Images / Andreas von Einsiedel.

there were four large Meissen allegorical figures of the senses, alongside ‘a figure of time with Lady Exeter’s picture on ye chimney’, identified as a watchstand modelled as Cronus, by J. J. Kaendler, circa 1747 (Fig. 3).

Archival evidence of early Meissen consumption in England is less studied.

In 1750, the banker Henry Hoare II (1707–92), of Stourhead, Wiltshire (The National Trust), purchased a ‘Dresden cow’ from the toyman Thomas Mitchell (d.1751): a four-day auction of the late Mitchell’s stock in 1752, included a ‘Variety of the most beautiful DRESDEN PORCELAIN in Groupes and Single figures’.17 In 1751, the Hanoverian Amelia Sophia von Wallmoden, Countess of Yarmouth (1704–65), mistress of George II, procured two ‘Fine Dresden Toiletts’, presumably toilet services, for £30, for John Russell, 4th Duke of Bedford (1710–71).18 The 1753–6 inventory of Norfolk House, in St. James’s Square, the London home of the 9th Duke of Norfolk, records four Dresden

groups, including one with a ‘Shepherd, Sheep Dog, &c’.19 In 1751, Charles Wyndham, 2nd Earl of Egremont (1710–1763), paid ‘Mrs. Passavant for a set of Dresden China, £40.0.0’: Hoare and Letitia, Countess of Exeter, were both customers of the Huguenot jeweler and toyseller Susanna Passavant, whose shop was at the Plume of Feathers, Ludgate Hill, between 1748 and 1762.20 Until the advent of an English porcelain industry, around 1744, the date of the first ceramic patent of Heylyn and Frye, or even before 1750, while production was still fledgling, there was no incentive to enforce the act. Indeed, many of the wealthy English consumers of Continental porcelain, who 14

bought wares in London, were also members of parliament, such as the Hon. John Spencer (1708–46), of Althorp, Northamptonshire, an MP for Woodstock. On 9 August 1745, Spencer purchased ‘1 fine Dresden Honey Comb sugar dish and plate’ from the leading toyman or luxury goods retailer Paul Bertrand (1685–1755), of Bath, for a costly £10.10.0. The surviving Meissen écuelle and stand encrusted with small flowers, the so-called “Schneeballen” or Guelder Rose pattern, circa 1740–5, at Althorp, was probably imported illegally by Bertrand ‘for private use’ and subsequently sold in his shop.21 Whether legal or smuggled, the nobility and gentry had a taste for these imported wares almost from their inception.The 1744 ceramic patent noted above records “large sums of money … were yearly paid to the Chinese and Saxons’.22 Earlier, in 1740, a pamphlet on ‘The Ill Effects of Foreign Luxury’, states ‘Immense Sums are given for the brittle Ware of China, Dresden and St. Cloud, which if it has the Fortune to escape the Cats, or a negligent Servant a few Years, a fantastical Value is put upon it’.23 Evidently, even relatively new, but discontinued porcelain, like out-of-print books, enjoyed a prestige, which when novel, scarce, or had the added cachet of a previous aristocratic owner’s taste and discernment, were prized in second-hand markets.

By 1740, Britain had become politically and culturally secure and was more open to Continental influence, with London, the largest and most prosperous city in Europe. In 1738, Philip Stanhope, 4th Earl of Chesterfield (1694–1773) advised the English gentry that a ‘more effectual method of… frenchifying themselves’ was to visit to Soho.24 Yet as early as the mid-1730s, Meissen porcelain was found in London’s luxury shops. In 1735, Lady Elizabeth Finch (1704–1784) wrote to Lady Dorothy Boyle, Countess of Burlington (circa 1699–1758): ‘My sister is become China Mad, frequents all the Shops in Town in Order to gett either old or Dresden China, the first purchases She made of that sort of Ware were yellow & green tea Cups variously and most hidiously intermixt as like Delf as ever was seen, but They told her twas old China and that was inducement enough to her to buy ‘em however they are I hear now exchang’d for a sett of Dresden’.25 The Dresden set may have been purchased at The Great-Toy Shop owned

by George Willdey (fl. 1707–37), an entrepreneurial optical instrument maker, publisher and map-seller, whose shop, facing the steps of St. Paul’s, was later inherited by his son Thomas Willdey (d. 1748), who left it to Passavant, a former apprentice.26 A 1737 probate inventory of George Willdey’s stock included not only ‘a China Dresden Box gold Rims £3.10s.’ and five partial sets of teaware, such as ‘6 Dresden Leaf Wte Cups and Saucers £3.0.0’, but also Chantilly pomatum pots, caneheads, sauceboats, cups and saucers.27 Only two years earlier, the Chantilly factory was granted a patent to manufacture porcelain in imitation of Japanese porcelain, so these were probably new wares in the Kakiemon style. The Huguenot cutler and razor maker James Bernardeau (d. 1752/3), based at Russell Court in Drury Lane from 1726, had a trade supplying cutlery with Chantilly porcelain handles in the Kakiemnon style.28

Figure 5. Seated cat washing its face, hard-paste porcelain with enamels, modeled by J. J. Kaendler, Meissen circa 1741-45. The Morley Collection, Saltram, Devon, The National Trust. © National Trust Images / Andreas von Einsiedel.

Among London merchants, it is primarily toymen, well-financed dealers in luxury goods, rather than chinamen, who advertised ‘Dresden China’. In a chapter on marketing in his seminal study of the English porcelain industry, Hilary Young identified many of the leading goldsmiths, jewellers and toymen, such as Mrs. Chenevix, William and Mary Deards, and Thomas Harrache, as retailers of Dresden china, the latter two even advertising it on their trade cards in the 1750s.29 Yet, in the 1740s, some chinaman included Meissen porcelain in their stock: in 1747, Bernard Warren, held an auction at his Great Room over Durham-Yard in the Strand, of the stock-in-trade of James Anderson, a ‘Chinaman, leaving off trade’, listed in the General Advertiser, which included ‘some fine Dresden’ as well as ‘some antique Pieces of Roman 15

Count’, John James Heidegger (1666–1749). Heidegger had arrived in London penniless and rose to become an assistant manager of the Haymarket Theatre, organizing countless masquerades and ridottos, patronized by members of the royal family. When Heidegger died in September of the same year, he left the following legacy: ‘I give to my Lady Dacre, a complete Equipage of Tea, of Dresden China, Green and Gold with landskips’.32 The description corresponds to the so-called “Green Watteau” pattern, first produced at Meissen from 1745 on an armorial service for Maria Amalia, Queen of Naples (1724–60), a pattern apparently reserved for the Saxon royal household.33 Heidegger’s service illustrates how rapidly Meissen patterns were available in London; in fact, he may have purchased it directly from the factory in 1746 or 1748.

Walpole was also a customer of the goldsmith Paul Daniel Chenevix (1695–1742) and his wife, describing her, in June 1747, as ‘the toy woman à la mode’, who promised to furnish him ‘now and then with some Dresden china cows’.34 Mrs. Chenevix, née Elizabeth Deards (d. 1755) was a member of the famous retail dynasty, her brother William I Deards (d. 1761) owned a toyshop on Fleet Street and in 1730, her sister, Mary Deards, became the second wife of Paul Bertrand, with whom she ran the family’s seasonal toyshop in Bath until 1747.35 ‘Chenevix’s Toyshop’, prominently sited on a thoroughfare linking Pall Mall to the Strand from 1725, was perhaps that immortalized in a much published satirical print (Fig. 8). In addition to Walpole, who was a client from as early as 1736, Mrs. Chenevix, ‘famous for her high prices and fine language’, enjoyed the custom of the Hon. John Spencer, between 1732 and 1741;William Capel, 3rd Earl of Essex (1697–1748), of Cassiobury Park, Hertfordshire, in 1735; and Sarah Lennox, Duchess of Richmond (1705–51), in 1739.36 Significantly, important documents have recently come to light, establishing that Paul Daniel Chenevix, perhaps the Bonnêt von Chenevix Compagnie Handlung, and his wife, along with John James Heiddeger and three other London merchants, purchased Meissen porcelain either directly from the manufactory’s warehouses or at the Leipzig Meße, a semi-annual international trade fair.37 They were customers of Johann Christian Rost (1700–84), who, from January 1738 onwards, was the administrator of the Meissen manufactory’s warehouses in Dresden and Leipzig, and their names are in the yearly reports as follows: in January 1739, the name of a London dealer ‘Daniel MacEnne’ appears relating to transactions in the previous year and again in 1740, along with the Bonnêt von Chenevix Compagnie Handlung; in 1741 and 1742, only Paul Daniel Chenevix is listed; in 1743, the widows of both ‘Daniel Macennens’ and Paul Daniel Chenevix were noted; and in 1746 and 1748, Mrs. Chenevix, Jean Jacques Heiddeger and ‘Elisabeth Hartley’ are named as customers.38 Unfortunately, information about what was purchased or the amounts spent is unrecorded with one notable exception.

As a result of a shipping accident, MacEnne’s order is reported in detail on 16 March 1739: it included nine snuff boxes, 13 cane handles, 12 yellow-

Figure 6. Shagreen knife box with twenty-four soft-paste porcelain handled knives and forks, Saint-Cloud, circa 1750, with silver ferrules and steel blades stamped "GIBBS" for Joseph Gibbs, cutler, at the Half Moon & Star, in New Bond Street, circa 1750-55, Courtesy of E & H Manners, London

Earthen Ware’.30 In the same year in the General Advertiser,Warren advertised the ‘Sale of Remaining Stock-in-Trade: Chinaman & Dealer’: ‘Fine old Japan and modern china, including a matchless white St. Clues Tea-Pot’.

Horace Walpole provides tantalizing evidence of the entertaining methods of porcelain retailing in London. In 1749, he described ‘a jubilee masquerade in the Venetian manner’ at Ranelagh Gardens, the public pleasure gardens in Chelsea, where the amphitheatre was surrounded by shops filled with Dresden china staffed with shopkeepers in masks.31 The proprietor, according to Walpole, ‘is a German and belongs to Court, and had got Lady Yarmouth to persuade the King to order it’. This was presumably the self-styled ‘Swiss 16

glazed white and red (the factory used the term ‘red’ to denote coloured enamels) cups and saucers with handle and spouts, (weiß u. rothe Schälgen und Copgen mit Henkel und Schnautzen, gelb glasurt), 12 white and red water beakers with cut-out stands (Waßerbecher samt ausgeschnittenen Unterschalen), and a fine enamelled tea and coffee service of celadon ground with gold decoration, having six chocolate beakers and stands and six cups and saucers, the total value was 372 Thalers.39 The porcelain was apparently ordered on credit at Michaelmas at the Leipzig Meße. It was packed in a box marked with his initials, ‘DM’, and shipped to Amsterdam via Hamburg through an agent, Heinrich Julius Kämrichen, who was based in Lüneburg.

Figure 7. Stand Coachman, or the Haughty Lady Well Fitted’. Copper engraving and etching, published by J. Wakelin, 1750. Image courtesy of Sanders of Oxford, rare prints & maps. www.sandersofoxford.com.

However, the ship ran aground in Danish territory near Husum Bay, in the North Sea, and some of the porcelain went missing.

By the 1740s, attending auctions and previews was an acceptable social activity among the nobility and gentry. During this period, the term “Dresden China” appears with increasing frequency in newspaper advertisements for auctions or estate sales, often highlighted in bold or italic type, and in most 17

of fine landskip Dresden China’. In the same year, the contents of the London townhouse on Old Bond Street of the late MP William Northey (1690–1738), of Compton Basset, Wiltshire, included ‘rare old China, Japan and Dresden Porcelain’. In 1741, the entire collection of the late William Hubert (d. 1740), a leading marchandmercier, of St. Martin’s Lane was auctioned and included ‘some curious Dresden China, and valuable pieces of old Japan, with other matchless Curiosities from the celebrated Cabinets in Europe’.41 Auctioneers clearly understood the cachet of this material, which was not only highly valued, but guaranteed to draw an audience.

Rarely are the wares identifiable in these auction advertisements, however, a unique cache of Meissen and Kakiemon-style porcelain at Dumfries House, Ayrshire, survives along with the invoice listing the lots purchased at a 1756 auction by William CrichtonDalyrmple, 5th Earl of Dumfries (1699–1768). The 5th Earl was between wives and furnishing his new seat designed by the Adam brothers with the most fashionable Thomas Chippendale furniture to entice a suitable bride.42 The porcelain purchases included a pair of girandoles with Meissen bullfinches perched on branches with small birds and frogs, a subject first modelled by Kaendler in 1733 (Fig. 8).The ormolu mounts with their original

Figure 8. Pair of two-light candelabra with Bullfinch and Sparrow, hard-paste porcelain with enamels, modeled by J. J. Kaendler, Meissen, circa 1735-45, flowers, soft-paste porcelain, possibly Chantilly, mounted in Paris, circa 1740-45. Dumfries House, Ayshire.

Christie’s Images.

instances includes the name of the seller to underscore its legitimacy. The earliest mention found to date, was in 1739, when Warren advertised in the Daily Advertiser a forced auction of household goods belonging to the cartographer and now debtor, Henry Popple, F.R.S. (d. 1743): Popple had published at his own expense in 1733 the first large-scale map of the British Empire in North America. Along with valuable ‘Copper-Plates of his Map of America’, the sale included ‘his matchless Set of Dresden China and Case’.

The fitted case, presumably of leather, suggests a high-value item and a type frequently associated with diplomatic gifts. One of Popple’s relatives,William Popple (1700–64), served as Secretary to the Board of Trade and was in Paris from 1723–30, as Secretary to the British Ambassador to France, Horatio Walpole, 1st Baron of Walpole of Wolterton (1678–1755), who had received a diplomatic gift of Meissen porcelain in 1735.40 In 1740, the London Daily Post, announced the auction of the household furnishing of the late Sir Joseph Eyles (circa 1690–1740), of Alderman’s Walk, Bishopsgate. Eyles was a second generation Turkey merchant with extensive investments in the Levant Company, a director of the Bank of England and the East India Company, as well as a London alderman.The auction, advertised by the auctioneer Christopher Cock (d. 1748), at the Great Piazza, CoventGarden, included in addition to old Japanese porcelain, ‘a most exquisite Set

Figure 9. Pair of pot-pourri, hard-paste porcelain with enamels, Meissen, circa 1740-45.

Dumfries House, Ayrshire. Christie’s Images.

18

Figure 10. Pair of seaux à verre or seaux à liqueur rond, soft-paste porcelain with enamels, Vincennes, circa 1751, and a later cover, soft-paste porcelain, Worcester, circa 1762.

Courtesy E & H Manners, London.

painted metal stems and leaves, incorporating brightly coloured porcelain flowers, possibly made at Chantilly, was probably assembled in Paris by a marchand-mercier, such as Lazare Duvaux, before 1745. In the Bute archives there is an invoice signed by a James Crabtree, who acted as the 5th Earl’s agent at the auction of the ‘Genuine, Scarce and Valuable Cabinet of fine China, belonging to John de Pesters, Esq., of Hanover Square…sold by Mr. Prestage at his Great Room the end of Savile-Row next Conduit Street’.The girandoles, described as ‘A pair of girandoles for two candles each, curiously ornamented with flowers and Dresden Birds’, sold for £3.3s, while ‘Two curious Dresden poupary pots and covers ornamented with flowers, sold for £3.16.’ (Fig. 9).

John de Pesters, a Dutchman, was a cousin and confidant of Isabella de Jong (1693–1769). He was naturalized in 1740, but appears to have left London in 1756, when he sold his cabinet of china, along with his important collection of Old Masters and a vast library. His house in Hanover Square was described in 1744 by Marie Claire Deschamps de Marcilly St. John,Viscountess Bolingbroke (1675–1750), the French second wife of Henry St. John, 1st Viscount Bolingbroke (1678–1751), as a ‘petit palais’: his chimney-piece in the French manner was published in Isaac Ware, A Complete Body of Architecture, 1756, plate 91.43 De Pesters, who may have been an amateur gentlemandealer, was clearly a man of taste, recognized by the beau-monde, including Caroline, Countess of Ailesbury, (1721–1803), the daughter of John Campbell, 4th Duke of Argyll, who encouraged Horace Walpole to attend the sale on her behalf.44 The collection of his china, which survives at Dumfries, suggests

an archetypal taste of the period 1730 to 1750, to which the English gentry aspired, including Kakiemon-style wares, both originals and Meissen copies, and mounted Meissen for the French market.

Evidence of Meissen’s escalating presence throughout the United Kingdom appeared in The London Magazine: or Gentleman’s Monthly Intelligencer, in May 1753, in a lengthy promotional article entitled ‘Some Account of the Porcelain Manufacture at Meissen, commonly called Dresden’; this so-called “puff” reappeared the following month in the Edinburgh Evening Courant.The essay promoted the superiority of Dresden china and the variety of its wares, ordered by all the courts of Europe, including Turkey, and notes the prices of tea services at 16 to 60 guineas, table services at 160 to 300 guineas, and figures at about a guinea per inch. Prices were fixed at the ‘King’s Magazine’ or warehouse in Saxony. Interestingly, in August of 1751, Sprimont had been keen to discover the prices Meissen charged for their wares and in his advertisement of February 1752, he announced the apparently novel gesture that ‘to save trouble, the Price is fix’d to everything’. The author of this later ‘advertisement’ is not identified, but if the publication of Meissen’s prices undercut Chelsea’s, it is hard not to imagine it was not a deliberate ploy.

Rumours of Chelsea’s successes in the summer of 1751, advertised by Sprimont, along with news of other successful English porcelain factories, 19

staghounds with Charles Spencer, 3rd Duke of Marlborough (1706-58), along with Hanbury Williams and Heinrich, Graf von Brühl (1700-63), the director of the Meissen factory from 1730, who was created Prime Minister in 1746; the negotiations resulted in the gift of a large Meissen table and dessert service in February 1751.50 With such a direct connection to the factory through Graf von Brühl, the foreign ministers would have had access to the best and most fashionable Meissen wares.

In contrast to other English factories, the term ‘Dresden China’ never appears in any of Sprimont’s advertisements or catalogues, yet words were superfluous, as the visual reference was obvious to his cosmopolitan customers already familiar with Meissen porcelain. How much Meissen porcelain was available for sale in London is impossible to determine. Certainly, the evidence includes the most current patterns purchased directly from the manufacturer, but perhaps acquired in limited quantities. In addition, as early as 1740, there was a market for second-hand Continental porcelain, for which ‘collectors’ willingly paid a premium. Unconfirmed reports of the participation of foreign diplomats in its illicit distribution remain rumors. Yet faced with new competition from local English manufactories, following the loss of the lucrative French market, Meissen would have been imprudent not to have tried to ‘crush the manufactory’. Sprimont and the proprietors of the English porcelain factories owed a great debt to Meissen for so successfully branding their wares among English consumers and in the process created a demand for these luxury goods that continues today.

must have reached Dresden. But, did Saxony initiate an aggressive marketing campaign, flooding the London market with cut-priced porcelain to weaken any potential English competition? If Chelsea was a threat, it suggests that either England had been an important market for Meissen and was worth protecting, or else that London was a potentially lucrative one, particularly in light of the fact that the French market, established by 1728, was hurting following the commercial successes of the Vincennes factory from 1748.45 There is little documentary evidence of Vincennes porcelain in England before 1751, though as early as 1749, ‘les Anglais’ were requesting white wares, which were more costly than painted examples.46 Consequently, a pair of Vincennes seaux à verre or seaux à liqueur rond, circa 1751, later fitted with matching covers, bespoke orders from the Worcester porcelain manufactory, circa 1762, are rare evidence of this traffic (Fig. 10). The Vincennes coolers presumably arrived before the start of the Seven Years’ War, though it was always possible for French merchants to reroute wares via Holland, Flanders or Germany, as was common within the print trade.47 Finally, Sprimont’s accusation that a foreign minister, presumably Saxon, had been using his London house as a commercial warehouse and that excess ‘stock’ was sold at auction is worth investigating. The frequent dinners held at an ambassador’s home would have provided an ideal showroom for the display of the latest in Continental fashions and design, a marketing tool not available to Sprimont. As to the auctions, it was not uncommon for foreign diplomats to sell household goods at auction before returning home, or in the unfortunate circumstances of a death. In 1740, the death of Louis Dominique, comte de Cambis (1669–1740), the French Ambassador Extraordinary to the Court of St. James’s, between 1737 and 1739, living in Hanover Square, prompted an auction, probably held by Aaron Lambe (d. 1777), which according to the Daily Advertiser, included ‘curious old China, Japan, Dresden and St. Cloud Porcelaine’.

Diplomatists were often involved in the planning and exchange of diplomatic gifts, which included porcelain, and it is clear that Hanbury Williams acted as an agent in the purchase and commissioning of items from the factory.48 Josiah Wedgwood had engaged British envoys as agents to promote his trading interests, such as Charles Cathcart, 9th Lord Cathcart (1721–76), Ambassador to the Court of Saint Petersburg. Therefore, it would not be surprising if Saxon ministers were also involved in the promotion of the Saxon manufactory. In 1742, Frederick, Prince of Wales purchased a large Meissen table service from Baron Adam Adolph von Ütterodt, the Saxon envoy extraordinary to the Court of St. James’s between 1739 and 1742, for £207.9s.6d, perhaps significant, there is no mention in the royal household accounts of the duty paid to the Custom House. Between 1744 and 1751, the Saxon envoy extraordinary, was Karl Georg Friedrich, Frieherr (later Graf) von Flemming (1705–67), who apparently continued to have a base in London until 1755, and in 1752, it was Karl August Graf von Rex (1701–65), minister plenipotentiary.49 Flemming was involved in negotiations over

Acknowledgments Alfred Ziffer, Julia Weber, Anthony du Boulay, Vanessa Brett, Errol Manners, David Conradsen, Maureen Cassidy-Geiger, Dominic Simpson, Louise Phelps, Tom Johans, Susan Jenkins, Hilary Young, Dr. Peter Braun.

Notes 1

2

3 4 5 6

20

Meredith Chilton, ‘Dogs and Diplomats: Meissen Porcelain in England 1732-54’, in Maureen Cassidy-Geiger (ed.), Fragile Diplomacy: Meissen Porcelain for European Courts, circa 1710-63, New York, 2007, pp. 275-299.

British Library, Lansdowne MSS 829, folio 21, published in full in Joseph Marryat, A History of Pottery and Porcelain: Mediaeval and Modern, London, 1857, Appendix V, pp.

430-2. In 1878, Llewellynn Jewitt, Ceramic Art of Great Britain, quoting A. W. Franks, dated the draft to between 1752 and 1759, based on the internal evidence (p. 114), and later Aubrey J. Toppin ‘The China Trade and Some London Chinamen’, T.E.C.C., No. 3 (1935), pp. 37-56, provided an unsubstantiated date of 1752-3, which has been adopted by most authors.

Jonas Hanway, An historical account of the British trade over the Caspian Sea, London 1753, part III, p. 228.

Hilary Young, English porcelain, 1745-95: its makers, design, marketing and consumption, London, 1999, p. 161-2.

Patricia. F. Ferguson ‘Digby, Tollemache and Hervey: three Aristocrats and their ceramics, Part III’, T.E.C.C, Vol. 22 (2011), in press.

In 1710 a Meissen Böttger stoneware teapot was given by Augustus II to Field Marshal John Dalrymple, 2nd Earl of Stair. I thank Henriette and Errol Manners for

7

8

9

10 11

12 13 14

15

16 17 18

19 20

21 22

23 24 25

26

this information.

In 1743, Horace Mann, British Minister at Florence, served coffee in ‘Saxon cups’, in W. S. Lewis (ed.), The Yale Edition of Horace Walpole’s Correspondence, New Haven and London, 1955, vol. 18, p. 162.

In 1754, Sir Matthew Fetherstonhaugh, of Uppark, West Sussex (The National Trust), while on the Grand Tour recorded the following custom duty: ‘Dresden China 11s’, see Christopher Hussey, ‘Uppark II’, Country Life, June 21 1941, p. 544.

Chilton 2007; Errol Manners, ‘Some Continental Influences on English Porcelain’, T.E.C.C., Vol. 19, Part 3 (2007), pp. 437-449; and D. Hoffmeister, Meissener Porzellan des 18. Jahrhunderts: Katalog der Sammlung Hoffmeister, Hamburg, 1999, cat. nos. 47, 301, 366, 374 and 375.

The Duchy of Cornwall, Bound Mss, Household Accounts of Frederick, Prince of Wales (1707-51), 1728-72, vol. VI, (I), fol. 293.

A. C. Edwards, The Account Books of Benjamin Mildmay, Earl Fitzwalter, London and New York, 1977, pp. 76. Four years later he paid his wife £3.3s for ‘6 cups and saucers and milk jug of white Dresden china’, purchased in London, p. 78.

D. B. Horn, ‘Rank and Emolument in the British Diplomatic Service 1689-1789’, Transactions of the Royal Historical Society, Fifth Series, Vol. 9 (1959), pp. 19-49, p. 33.

London Chronicle, or Universal Evening Post, May 19, 1774, the case was against John Deard (d. 1794), who was acquitted. I thank Vanessa Brett for this reference.

For a discussion of the illegal commerce in French textiles, including the use of false bottomed trunks, see Susan North, ‘The Physical Manifestation of an Abstraction: A pair of 1750s Waistcoat Shapes’, Textile History, 39 (1), May 2008, pp. 92-104. I thank Lesley Miller for this reference.

Gervase Jackson-Stops (ed.), The Treasure Houses of Britain. 500 years of Private Patronage and Art Collecting, New Haven and London, 1985, cat. nos. 392, 393, and 394.

Gordon Lang and Sebastian Kuhn, European ceramics at Burghley House, Stamford, 1991, cat. nos. 44, 46, 53, 54 & 57. I thank Jon Culverhouse for his assistance.

Patricia F. Ferguson, The ‘Magnificent’s’ china: the porcelain purchases of Henry Hoare II of London and Stourhead’, T.E.C.C., Vol. 20, Part 1, (2008), pp.46-52.

Julia Poole, ‘Ceramics in the Household of the 4th Duke of Bedford Bills and Other Evidence’, T.E.C.C., Vol. 18, Part 1 (2002), p. 126, quoted by kind permission of the Duke of Bedford and the Trustees of the Bedford Estates; and Chilton 2007, p. 290.

Arundel Castle Archives, IN5, quoted by kind permission of His Grace The Duke of Norfolk; I thank Sara Rodger for her assistance.

Petworth House Archives (PHA7454 & 7456). I thank Alison McCann Assistant County Archivist, West Sussex Record Office for confirming these references and with the acknowledgement to Lord Egremont as owner of the Petworth House Archives.

Selma Schwartz, ‘Open Althorp’s A-Z of Porcelain’, Country Life, June 3, 1999, pp.170173; and British Library, Althorp Papers, Add. 78,026.

W. R. H. Ramsay, F. A. Davenport & E. G. Ramsay. ‘The 1744 ceramic patent of Heylyn and Frye: ‘Unworkable unaker formula’ or landmark document in the history of English ceramics?’ Proceedings of The Royal Society of Victoria, 118 (1) 2006: pp. 11-34, p. 13.

An enquiry into the melancholy circumstances of Great Britain, London, 1740, p. 9.

J. O. Justamond (ed.), Miscellaneous Works of late Philip Dormer Stanhope, Earl of Chesterfield, Dublin, 1777, vol. 2, pp. 102-3.

Susan Jenkins, ‘Queen Caroline’s taste: The furnishing and functioning of the Queen’s private apartments at Hampton Court’, Apollo, Vol. CXLIII, No. 411 (May 1996), pp. 20-24, fn. 33.

Helen Clifford, ‘In Defence of the Toyshop: the Intriguing Case of George Willdey

27 28

29 30 31 32 33 34 35

36

37

38 39

40 41 42 43 44

45 46 47 48 49 50

21

and the Huguenots’, Proceedings of the Huguenot Society, XXVII (No. 2) 1999, pp.171-188 Ferguson 2009.

Ghenete Zelleke, ‘From Chantilly to Sèvres: French porcelain and the Dukes of Richmond’, French Porcelain Society, Series 7, London, 1991; Aileen Dawson, French Porcelain: A Catalogue of the British Museum Collection, London, 1994, cat. no. 41 and Sotheby’s, Olympia, 29 June 2004, lot 80; and a Chantilly mounted clock case, circa 1745, in the Metropolitan Museum of Art, New York (1974.28.91), with a contemporary English movement.

Young 1999, p. 161-2.

Robin Hildyard, ‘London Chinamen and Others’, T.E.C.C., Vol. 18, Part 3 (2004), pp.

447-524.

Lewis, Correspondence, 1960, Vol. 20. p. 46-7.

National Archives, Kew, PROB 11/773; possibly Anne Lennard, 16th Baroness Dacre.

Selma Schwartz and Jeffrey Munger, ‘Gifts of Meissen Porcelain to the French Court, 1728-50’ in Cassidy-Geiger 2007, pp. 161-2.

Lewis, Correspondence, 1955, Vol. 19, p. 414.

Brian Beet, ‘Foreign snuffbox makers in eighteenth century London’, The Silver Society Journal, No. 14 (2002), pp. 49-78, p.64-5; and Vanessa Brett, ‘The greater (and lesser) toyshops,’ Silver Studies, No. 16, 2004, pp. 117-124.

Lewis, Correspondence, 1948, Vols. 13-14, p. 103, fn. 11; British Library, MSS Add. 61678, f. 64; British Library, MSS Add. 27734, f. 202; Suffolk Record Office, Adair Family Archives, HA12/A3/2; British Library, Althorp Papers. MSS Add. 78026.

By courtesy of Julia Weber, quoting from original documents in the Meissen factory archives, for the period 1738 to 1748 (Unternehmensarchiv der Staatlichen PorzellanManufaktur Meissen GmbH); I am indebted to Dr. Peter Braun, Staatliche PorzellanManufaktur Meissen GmbH, for permission to publish this information.

The reports for reports for 1744, 1745 and 1747 have not been examined.

For the cups with handles and spouts probably rare pouring cups with their twohandled saucers, see Renate Eikelmann (ed.) Meißener Porzellan des 18. Jahrhunderts.

Die Stiftung Ernst Schneider in Schloß Lustheim, Munich, 2004, no. 58, ill. page 178; the handless water beakers may have had openwork trembleuse-type stands.

Chilton 2007, p. 277.

Tessa Murdoch, ‘London Ormolu lighting from George II to George IV’, The Magazine Antiques, March 2004, pp. 92-99, p. 94.

Christie’s, Dumfries House: A Chippendale Commission, Vol. I & II, July 12-13, 2007.

Lewis, Correspondence, 1974, Vol. 37, p. 465, fn. 5.

Lady Caroline Bruce (1721-1803), was the daughter of John Campbell, 4th Duke of Argyll, and third wife of Charles Bruce, 3rd Earl of Ailesbury and 4th Earl of Elgin (1687-1747), Ibid; and Sir Joshua Reynolds purchased a Jacob van Ruisdael at the sale, now in the Metropolitan Museum of Art (32.100.14).

Schwartz and Munger 2007, p. 141.

Manners 2007, pp. 454-60.

Iain Pears, The Discovery of Painting: The Growth of Interest in the Arts in England 16801768, New Haven and London, 1988, p. 55.

Chilton 2007, p. 289.

In 1744, Flemming was living in a house on ‘Jermain-street, and in 1751, a house in St. James’s Street was leased for his use.

Chilton 2007, p. 293; the service, consisting of ‘Turenes, Setts of Plates, and fantastic figures’, was displayed in the Chinese Closet, below stairs, at Blenheim, see The New Oxford Guide, Oxford, 1759, p. 89.

The Glamorous Age of Empress Elizabeth Petrovna and Early Russian Porcelain

By Dr Ekaterina Khmelnitskaya, Curator of Russian Porcelain, The State Hermitage Museum 22

T

he establishment of porcelain manufacture in Russia is thought to have been a personal whim of Empress Elizabeth Petrovna. (Fig. 1) In the XVIII century manufactories were owned by royal households that pursued unorthodoxy and splendour; therefore the Empress, was determined to have one by any means possible. The first items from the Saint Petersburg Porcelain Manufactory were rather small in size and made for the entertainment of Her Majesty Elizabeth Petrovna. During her rule the porcelain never left the palaces and was valued not so much for its practical use but for its rarity, inaccessibility and the mystery of its creation.

Whilst the first attempts to start a porcelain business in Russia were made by Peter I, it was his daughter Elizabeth who succeeded in establishing one. (Fig. 2). Owing to her irrepressible energy, ambition and the desire for a beautiful life, Elizabeth Petrovna generously sponsored the development of a state-owned manufactory, which began functioning in Saint Petersburg in 1744.

The appearance of Russian porcelain should be attributed to the Russian scientist and founder of Russian porcelain, Dmitriy Ivanovich Vinogradov (circa 1720–1758) and the early period of the Saint Petersburg manufacture was named Vinogradovskiy after him. At first there were certain difficulties with the technical processes, as the manufactory had not developed enough and lacked highly qualified professionals. Due to this, it was not always possible to create Russian porcelain ‘the Meissen way.’ However, the fact that replicas of Saxon pieces were produced proves that porcelain techniques

1

2

3

5

4

Figure 3.

Early marks on Russian Imperial Porcelain

were adopted quickly by the craftsmen from the Saint Petersburg factory.

‘At the time the development of a new form was perceived not as an act of creation, but as a witty creative invention, which would sometimes take a popular motive or plot and develop and transpose it in a completely unexpected way.’ 1 The earliest Russian porcelain works were marked with D.I.Vinogradov’s individual stamp which was usually placed near the date of production. A double-headed eagle under a crown served as the mark of Vinogradovskiy porcelain. The Russian coat of arms was pressed into the porcelain and painted with black overglaze, dark blue underglaze cobalt, overglaze purple or gold in a leaf corona (Fig. 3). Pieces of Russian Imperial porcelain of the 1750s – 1760s have special impressed signs: a circle with an adjacent arrow (the so-called signs of Mercury; symbol of iron), a circle with a dot in the centre (symbol of gold), a circle with a dot in the centre and an adjacent arrow (symbol of brass) and a circle (symbol of alum).These signs were supposedly key codes specifying the porcelain formulae of D.I.Vinogradov, which the master was strictly instructed to keep secret. The stamps, marks and signs of the Vinogradovskiy porcelain were not always placed on the bottom of the pieces, as practiced in the following years. Monteiths, for example, have these signs on the outer side of the body under the handles (Fig. 4).This novelty may be explained by the cautionary measures not to damage the bases of the objects, especially the flat ones, or the marks during poorly organized firing.

The Largest Kiln for porcelain firing, constructed by Vinogradov in 1756, was the impetus for the development of porcelain production. This made it possible to create, what were at that time considered large decorative and sculptural works. After Vinogradov’s death, a German craftsman called Miller, who had previously worked at the Meissen manufactory, created decorative vases for palace interiors. The objectives of the Nevskaya porcelain manufactory were firmly stated by Elizabeth – to serve the private life of the Empress in her everyday life and for representative purposes.

Elizabeth embodied Peter the Great’s fame and was the true heiress of her father’s heritage. For many, the fact that Peter’s daughter was on the throne was a symbol of Russia’s successes during her father’s time and she adhered to the policy determined by her father, both at home and in foreign politics. According to her contemporaries’ opinions, she was an amazingly beautiful woman. The Empress loved social life with all its festivities and entertainment and, from her appearance to everything else she had the rare

Figure 1. (opposite) V. Eriksen. Empress Elizabeth of Russia, c. 1750

Figure 2.

B B Patersen Imperial Porcelain Factory St. Petersburg 1793

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Figure 4 Bowl Russian Imperial Porcelain c 1750 and detail of handle

Holidays always ended with a banquet. The vast court property, was maintained by special services and the court office and its affiliate, the Hofmarshall corps, were in charge of keeping and maintaining the Royal residences and organizing feasts. The Department of Ceremonial Affairs scheduled detailed programmes of feasts, identifying the order of tables in the halls of the Winter Palace and other Royal residences, with the names of guests and dishes served. The headwaiters, butlers and cooks were responsible for the tables.

Elizabeth’s rule at the Russian court was noted for its luxurious table dressings, by Francesco Bartolomeo Rastrelli, who created the most elegant decorations. Rastrelli, an architect, was able to realise many of his creative ideas and aims and the decoration of the wedding table for Petr Fyodorovich and Ekaterina Alekseevna was one of his most impressive commissions. (Fig. 5) One of his contemporaries wrote, ‘in the centre of the table there was a ledge covered with grass. 50 pyramids with Italian flowers in pots decorated with aureate carving with festoons made of the same flowers were placed on the grass. Between them, two in a row, were little crystal bowls with burning candles of the purest white wax. In the corners of the second table there were 8 fountains in the shape of mushrooms, three feet in diameter. There were marble statues on the sides of each fountain.

Pyramids of burning candles, eight thousand in all, adorned the arch. These candles combined with the music, which never stopped playing and the noise of water from the fountains were a magnificent sight.’3 The endless imagination of Rastrelli gave birth to a great number of decorations. Unfortunately, many of these images have not survived to this day, but plenty of sketches do. Tables of various shapes were constructed, e.g. double-headed eagles, harps, etc., their shapes and themes enhancing the festive feeling.

The tables at the Winter Palace and in Tsarskoye Selo, were constructed taking into account the public nature of XVIII century banquets with spectators on the balconies and galleries. Usually, Elizabeth examined the table decorations after morning mass whilst being accompanied by the diplomatic corps and grandees who went with her to her private quarters for a daytime repast. Elizabeth ordered descriptions of Versailles court banquets from Paris

gift of never being boring. She almost never wore the same dress twice, and was always looking for new clothes, jewellery and fashionable novelties for different festivities.

In the middle of the XVIII century there were 66 court holidays, holy days and festivals in the Russian court almanac. As some of them appeared on the same days, there were 59 holidays per year in total. Celebrations such as birthdays, weddings, victories, royal visits and in particular, famous guests were marked with great pomp. Court holidays lasted for several weeks and included a series of balls, fireworks, concerts and dinners. The Empress adored music and theatre and furthermore, to the horror of her escort, she could spend 10-12 hours at the opera and sometimes organized concerts for her citizens. The only ones not allowed to attend were drunken people, prostitutes and lackeys. Thus the court life of Elizabeth Petrovna was ruled by a succession of grand and small receptions, audiences, balls and masquerades. According to her contemporaries, the whole week was divided into different types of entertainment – a ball at the palace for the city on Sunday, a party at the Grand Duke’s on Monday, a concert on Wednesday, a trip to the Hermitage on Thursday and again a ball with fireworks on Saturday.2

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ing and knights at ‘fruhstucks’ (breakfasts), ‘ordinary’ (everyday) dinners and evening meals.The tables were richly decorated regardless of whether it was just a family gathering or whether there were guests. Usually there were 17 to 30 pieces of cutlery per person on the table with the meals finishing ‘at one after midnight.’4 Large banqueting tables were laid in accordance with the change of dishes and, porcelain banqueting services, were fashioned in the form of silver shapes. These included dinner and dessert pieces depending on the change of dishes and wine. In the second half of the XVIII century even the richest Russians could barely afford extensive porcelain services and even the richest man, Sheremetyev, had a gold set. Nevertheless, single porcelain pieces and table services had been used at the Russian court since the time of Peter I, being mostly diplomatic gifts from Saxon electors and other European rulers.

The first Russian-made service was a private dining and dessert service for the personal use of Elizabeth Petrovna. Elizabeth’s personal table, which always stood in the centre of the hall, was laid with pieces from this service.

(Fig. 7) It was called the private or lattice service.The number and variety of its pieces adhered to European rules and standards and comprised 400 pieces for 60 people. It was decorated with an embossed net of forgetme-nots and pierced with gold and purple rampant garlands of bright flowers.

The decoration of each piece is unique as each figural component was handmade under the personal guidance of Vinogradov. Bouquets of flowers, garlands and separate flowers are typical of the Vinogradovskiy style. ‘Bright German Flowers’ (Bunten Deutschen Blumen) by the Meissen Manufactory were prototypes for the polychrome pictures. ‘However, even when copied, Russian Figure 6.

Saar Grange pavilion (The Hermitage pavilion) in Tsarskoe Celo. Engraving.

Figure 5.

Rastrelli table decoration for Petyr Fyodorovich and Ekaterina Alekseevna.

Engraving.

and she liked decorations devoted to different themes, from triumphal allegories to hunting scenes and church decorations, to be arranged.

The Empress also enjoyed giving dinners at her favourite Saar Grange – the Hermitage pavilion in Tsarskoye Selo. (Fig. 6). In the central hall there were five dining tables equipped with lifting mechanisms. The largest table was designed for 18 people, and the smallest triangular table was for 3 people. These mechanisms were designed in such a way that it was possible not only to lift the central part of the table with food and the plates with the ordered dishes, but also, when needed, the tables were lowered and the parquet blocks were moved together, thus allowing the dining hall to be turned into a hall for dancing.

During Elizabeth Petrovna’s reign, table decorations developed into an independent art form.The Empress often spent time with her ladies in wait25

porcelain has always had peculiar national patterns which are characteristic of only Russian artistic porcelain.’ i The Personal Tea Service of Empress Elizabeth Petrovna is also notable for the splendour of its decoration. (Fig. 8) The top of the lid is in the form of a rosebud, echoed by a handle representing a green stem with leaves.The outer surfaces of the pieces are decorated with picturesque ‘garlands’ of forget-me-nots and roses against a gilded background.The Hermitage collection has other pieces from the dessert part of the ‘Personal’ service: a teapot with a lid, a plate and a cache-pot. The images of birds on the medallions were copied from engravings by F. Martine 5 and pictures with Chinese scenes were very popular. Among the earliest works of the factory were pear-shaped cups, decorated after similar paintings on Meissen porcelain in the Chinoiserie style. (Fig. 9) At the end of the 1750s – beginning of the 1760s the manufactory produced several series of items with different types of Chinoiserie style paintings with the conventional images of exotic Chinese figures against the background of semi-fantastic landscapes.

At the court of Elizabeth Petrovna, the dessert table was especially exquisite. It had compositions with many figures, bushes of living plants, temples made of sugar and other similar wonders of ‘culinary sculpture’. A formaldress dinner in 1755 became one of the most unusual examples of XVIIIcentury court display. A contemporary wrote: ‘Instead of waiting for the usual dessert at the end of the meal, all the notable guests left the table and headed for a cavern next to the hall. An excellently decorated dessert was placed on a table in the middle of the cavern. It was a large mountain composed of different stones and minerals and on the top of this tower was a mine, beautifully constructed and decorated with allegorical statues. Figures of people were seen performing the usual mining operations. On the other side was a large river flowing into a coastal harbour in which several vessels, with all the rigging as well as a few boats were setting off for seal and whale hunting. There was a splendid bridge across the river leading to a mountain castle…’ 6.

Ceremonial meals held in magnificent interiors, which doubled the effect, could last for up to seven hours. The suppers were always accompanied by an orchestra and singers. A contemporary wrote: ‘At 11 the oberhofmeister announced that supper was ready. The guests went to the big, richly decorated hall. In the centre stood a table for 400 people <…> There was food from all European countries possible <…> toasts were given constantly: ‘Best health’, ‘To the Empire’s Prosperity’, with fireworks after every toast.’7 (Fig. 10) Fireworks and illuminations were an indispensable final part of all the festivities.

The most notable products from the Imperial Porcelain Manufactory were snuffboxes (Fig. 11) and contemporaries even called the first decade of the porcelain enterprise ‘the snuffbox period’. It resulted from the fashion for snuff that flourished during the rule of Elizabeth.The Empress loved tobacco grown in Tsarskoye Selo and always took a pinch of snuff with her left hand whilst the right hand was reserved for kisses. There were a great number of snuffboxes in her study so she could take snuff at any time she wished. Ad-

Figure 7.

The personal service of Empress Elizabeth. Porcelain, overglaze painting, gilding, c.1750

Figure 8.

Detail of rosebud. The personal service of Empress Elizabeth. Porcelain, overglaze painting, gilding

ditionally, she had small neat porcelain snuffboxes with gems that were portable. Snuffboxes, along with other bibelots, became not only elegant accessories for clothes, but also part of a high-society game. ‘Almost the whole range of plots and decorative motives seen in the paintings on Russian porcelain in the second half of the XVIII century is concentrated ii on these luxury goods.’

The role of snuffboxes at the Russian court ranged from courtly ‘mail coaches for letters of love’ to a sign of membership in a secret order. One of 26

boxes were offered for sale, in an advertisement in the Sankt Peterburgskie Vedomosti newspaper. It said: ‘Burgmeister Vinogradov invites all noble and court people of both sexes who wish to possess envelope-shaped porcelain snuffboxes with inscriptions to kindly send their orders specifying their wishes regarding inscriptions and preferred language.’ 9 Despite the fact that envelope snuffboxes enjoyed the greatest success and became the first products for sale, today these works are enormously rare – there are no more than ten of them left in Russian museums.

An envelope-shaped snuffbox resembles a sealed envelope with an imitation stamp and emblem or coat of arms with a commemorative inscription in the front.The inscriptions looked like personal messages with even a copy of the presenter’s handwriting.To achieve this, the Priporoshka technique was adopted from icon painters. The client’s note was impressed along the lines of the letters and covered with powder and afterwards, it was rewritten over the lines of the letters. Flamboyant painting was performed by the students, appointed to the factory, from the engraving chamber of the Russian Academy of Sciences.

The lids of porcelain ‘letters’ bore the names and addresses of different contemporaries ‘from the most diverse social classes, beginning with the Empress

Figure 9.

Cup and plate in chinoiserie style. Imperial Porcelain Factory, c 1750

Elizabeth Petrovna’s contemporaries wrote the following about porcelain snuffboxes at court: “Their function consists of being a sort of love mail: serving as a secret mail coach, in which Lothario sends his letters, love nonsense and romantic fantasies, as snuffboxes of many women and maids have become nothing more than mail coaches for letters of love.” 8 A large number of snuffbox painting themes resemble the theatrical ornament compositions by J.-A. Watteau. These snuffboxes, as most were, are gilded on the inside. The embossed golden casing is also worth mentioning.

In the XVIII century ‘some snuffboxes were even specially selected to match rings, so that the jewels and diamonds could shine in harmony.’ iii The majority of snuffboxes from the Saint Petersburg porcelain manufactory were mounted at the Mint under the supervision of Ivan Andreevich Shlatter, the presiding judge of the finance office.

Envelope snuffboxes enjoyed the greatest popularity.They were produced in 2 sizes – large and small. (Fig. 12 ) Those decorated with inscriptions cost 9 rubles 30 kopeks, those decorated with painting cost 22 rubles.These snuff27

In Russia, black servants appeared at the Imperial Court during the reign of Peter I.vii The ‘Chinese’ series, also known as ‘People’s figures in Oriental clothes’ consisted of over ten figures (Fig. 14). Long costumes, imitated those of the Chinese, and long fake moustaches on the ‘Chinese women’ refer to the magnificent masked balls at the court of Elizabeth Petrovna. One of the curiosities of this series is the figure of a woman with a moustache, possibly showing a masked ball disguise. It is worth remembering that the long-legged, beautiful Elizabeth Petrovna loved changing into male costumes for receptions and fancy-balls.

Elizabeth personified the magnificent beauty of mid-18th century style.

Indeed, she herself was the main player in this ‘huge decorative theatre’ of the palace, with her courtiers as supporting actors in a golden glow. The table regulations, etiquette and eternal feasts were brought to life by the Italian Figure 11. (below) Snuff box The Pugs. Porcelain, overglaze painting, gilding, c. 1750 Figure 10.

Fireworks at the Court of Elizabeth. Engravingx

Figure 12. (opposite) Snuff box with inscription to Madame la Comtesse de Varanzoff. Porcelain, overglaze painting, gilding, c. 1750

herself and finishing with a cabinet messenger.’ iv The envelope-shaped snuffbox addressed to the founder of the first porcelain manufactory, Empress Elizabeth Petrovna, is of special value. In the XVIII century snuffboxes were considered to be a generous gift of gratitude. The Empress granted these boxes to foreign guests and her attendants: “ …to Razumovskiy, Shuvalov and others; in 1753 baron Cherkasov sent snuffboxes produced in Petersburg to England as a gift for Lord Gindfort and Nitleton; in 1757 Count Shuvalov sent a snuffbox to France for the spouse of a diploma a”. v Apart from snuffboxes the Saint Petersburg state property inventory description included ‘smaller scale’ porcelain: bowls, waistcoat and jupe buttons, smoking pipes, cane handgrips, small sword grips, bells, etc. Among the first products of the Nevskaya porcelain manufactory were Easter eggs with vertical holes to hang on a band. (Pic 13) As Vinogradov wrote in his scientific records, ‘The eggs were created and formed.’ vi The egg in the Hermitage collection is one of the first samples of this production, to be made by Russian craftsmen. At present there are only three Easter eggs known – one belongs to the State Russian Museum collection, the second one is in the Whitback private collection and the third one is in the Hermitage.

Interest in exoticism, common in the XVIII century, was reflected in two sculptural series created at the Imperial porcelain factory: Negroes and Chinese. The Negroes series is also called Inhabitants of Tropical Countries and apparently there were little more than ten figures in Elizabeth Petrovna’s collection. In the mid-18th century black figures were manufactured at the European porcelain factories: in Meissen, Kloster-Feilsdorf, Limbach, and others.

The cultural background for the production of these sculptures was the fashion for black children who worked as servants in many European countries.

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Figure 13.

Easter egg. Porcelain, overglaze painting, c. 1750

Figure 14.

Figures from the series People in Oriental clothes. Porcelain, overglaze painting, gilding, c. 1750

painter, Giuseppe Valeriani, who devoted all of his extraordinary talent to organizing the fairy tail life of Elizabeth. Thus, the palace was a precious setting for the beautiful Empress who, according to historian V.O. Klyuchevskiy, lived â&#x20AC;&#x2DC;without taking her eyes off herself.â&#x20AC;&#x2122; 10 For Elizabeth, life in all its aspects was true art.The beauty and splendour of her times were honoured, not only by the magnificent series of palaces and gardens of Saint Petersburg and its environs; but also by the works of decorative and applied arts, including the Russian porcelain, produced with love for the beautiful, merry and glorious Elizabeth.

8. N.V. Sipovskaya Porcelain in Russia in the XVIII century. Moscow, 2008, p. 227.

9. M.A. Bezborodov. D.I. Vinogradov â&#x20AC;&#x201C; The Creator of Russian Porcelain. Moscow, Leningrad, 1950, p. 352.

10. Empress Elizabeth Petrovna. Text and summary by E. Anisimov, L. Bardovskaya, I. Bott. Saint Petersburg., 1996, p. 77. i. i. ii.

ЭППо . . Ń&#x192;Ń Ń ĐşĐ¸Đš Ń&#x2026;Ń&#x192;Đ´ĐžĐśĐľŃ Ń&#x201A;воннŃ&#x2039;Đš Ń&#x201E;Đ°Ń&#x20AC;Ń&#x201E;ĐžŃ&#x20AC;. ., ., 1950, . 18. Ń&#x192;Đ´Ń&#x20AC;Ń?вŃ&#x2020;ова . . Ń&#x192;Ń Ń ĐşĐ¸Đš иПпоŃ&#x20AC;Đ°Ń&#x201A;ĐžŃ&#x20AC;Ń ĐşĐ¸Đš Ń&#x201E;Đ°Ń&#x20AC;Ń&#x201E;ĐžŃ&#x20AC;, "Đą., 2003. . 17.

Gage D., Marsh M. Tobacco containers & accessories. Their Place in Eighteenth Century European Social History. London, 1988. P. 23. i. аСнакОв . . "акоŃ&#x201A;ОвŃ&#x2039;Đľ Ń&#x201A;айакоŃ&#x20AC;ки %ПпоŃ&#x20AC;Đ°Ń&#x201A;ĐžŃ&#x20AC;Ń ĐşĐžĐłĐž Ń&#x201E;Đ°Ń&#x20AC;Ń&#x201E;ĐžŃ&#x20AC;ОвОгО СавОда. "Đą., 1913, . 18. v. %ПпоŃ&#x20AC;Đ°Ń&#x201A;ĐžŃ&#x20AC;Ń ĐşĐ¸Đš Ń&#x201E;Đ°Ń&#x20AC;Ń&#x201E;ĐžŃ&#x20AC;ОвŃ&#x2039;Đš СавОд. 1744 â&#x20AC;&#x201C; 1904 / CĐžŃ Ń&#x201A;. . . ОНŃ&#x152;Ń&#x201E;, . Đ?. ОСанОв, . . пиНиОŃ&#x201A;и, Đ?. . онŃ&#x192;Đ°. "Đą., 1906, . 45. v. инОгŃ&#x20AC;адОв +. %. -Đ°ĐżĐ¸Ń ĐşĐ¸ Đž Ń&#x201E;Đ°Ń&#x20AC;Ń&#x201E;ĐžŃ&#x20AC;Đľ, как ОнОК ĐżŃ&#x20AC;ОиСвОдиŃ&#x201A;Ń Ń? в ПОŃ&#x17D; ĐąŃ&#x2039;Ń&#x201A;Đ˝ĐžŃ Ń&#x201A;Ń&#x152; на киŃ&#x20AC;пиŃ&#x2021;Đ˝Ń&#x2039;Ń&#x2026; СавОдаŃ&#x2026;. 1749 â&#x20AC;&#x201C; 1751 // оСйОŃ&#x20AC;ОдОв . Đ?. +. %. инОгŃ&#x20AC;адОв â&#x20AC;&#x201C; Ń ĐžĐˇĐ´Đ°Ń&#x201A;оНŃ&#x152; Ń&#x20AC;Ń&#x192;Ń Ń ĐşĐžĐłĐž Ń&#x201E;Đ°Ń&#x20AC;Ń&#x201E;ĐžŃ&#x20AC;Đ°. ., ., 1950, . 386. vi. Đ°Ń&#x20AC;Đ°Ń ĐžĐ˛Đ° . %. ÂŤĐ?Ń&#x20AC;Đ°ĐąŃ&#x2039; Ń&#x2039;Ń ĐžŃ&#x2021;Đ°ĐšŃ&#x2C6;огО двОŃ&#x20AC;Đ°Âť на Ń ĐťŃ&#x192;Мйо Ń&#x192; Ń&#x20AC;ĐžŃ Ń Đ¸ĐšŃ ĐşĐ¸Ń&#x2026; иПпоŃ&#x20AC;Đ°Ń&#x201A;ĐžŃ&#x20AC;Ов в кОнŃ&#x2020;Đľ XIX â&#x20AC;&#x201C; наŃ&#x2021;аНо XX в. // Ń&#x20AC;Ń&#x192;Đ´Ń&#x2039; =ĐžŃ Ń&#x192;Đ´Đ°Ń&#x20AC;Ń Ń&#x201A;воннОгО Đ­Ń&#x20AC;ПиŃ&#x201A;аМа. . XL: Ń&#x192;ĐťŃ&#x152;Ń&#x201A;Ń&#x192;Ń&#x20AC;Đ° и Đ¸Ń ĐşŃ&#x192;Ń Ń Ń&#x201A;вО ĐžŃ Ń Đ¸Đ¸. "Đą., 2008. . 230.

Notes 1.

2.

3.

4.

N.V. Sipovskaya Porcelain in Russia in the XVIII century. Moscow, 2008, p. 227.

N.V. Sipovskaya Porcelain in Russia in the XVIII century. Moscow, 2008, p. 217.

N.V. Sipovskaya Porcelain in Russia in the XVIII century. Moscow, 2008, p. 110.

Empress Elizabeth Petrovna. Text and summary by E. Anisimov, L. Bardovskaya, I. Bott. Saint Petersburg., 1996, p. 77.

5. T.V. Kudryavtseva, Russian Imperial Porcelain. Saint Petersburg. 2003, p. 14.

6. N.V. Sipovskaya Porcelain in Russia in the XVIII century. Moscow, 2008, p.. 240.

7. De La Messelierre, Notes. Russian archive. Saint Petersburg, 1874, Book 12, p. 970-971.

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A Taste of Distinction: Elector Max Emanuelâ&#x20AC;&#x2122;s Collection of Porcelain mounted in Paris Dr Max Tillmann, Art Historian and Lecturer

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T

he splendid collection of Far Eastern porcelains exhibited today in the Munich Residenz Palace and which also include several pieces now in the possession of the Bavarian National Museum (Munich) is, in essence, a product of the purchases made by the Bavarian Elector Max Emanuel (1662–1726) and his son and successor Charles Albert (1697–1745) (fig. 1).1 Elector Max Emanuel had a particular and personal interest in Far Eastern porcelain and mounted items known as objets d’art. Considering Max Emanuel’s initiative and impact on the collecting of porcelains, this article will focus on the late periods of Louis XIV and the Régence. Although Elector Charles Albert’s artistic interests were less profound, he continued to commission luxury goods from Paris, profiting from an already-established network of contacts with artisans, agents and dealers. Given the focus of this essay, I chose however, not to include Charles Albert’s acquisitions, which form an important collection of the Rococo period. Generally, the provenance of porcelain can rarely be determined due to the lack of reliable inventories. Hence one is quite fortunate to have in Dresden the inventory of Augustus the Strong’s porcelain collection, drawn up in 1721.2 Yet the case of the Bavarian holdings of Far Eastern porcelains which were set in metal mounts in Paris during the latter part of the reign of the Louis XIV and roughly until the beginning of the independent reign of Louis XV in 1743 are quite different. Given the loss of the French collections of the ancien régime origin and, indeed, even with regards to Dresden little can equal the collection in beauty, coherence and provenance.This historic singularity calls for some explanation.

Even after the middle of the 17th century, when large amounts of porcelain came to Europe3, the tradition of mounting in both precious metals and less costly alloys was maintained.At the same time the appreciation of porcelain underwent some changes. The exotic and imaginative character of the pieces became more interesting than their rarity to the collector.4 Not only the French engaged in this practice, but also the Dutch (mainly during the

17th and to a much lesser extent in the 18th century).The Germans also applied mounts but to locally manufactured products rather than Far Eastern porcelain. Due to the decidedly French taste for porcelain with precious metal mounts, Paris was both the commercial and aesthetic centre for this. These things were produced by the marchands merciers, who led the Parisian art trade.

Their guild rules permitted the members to use a combination of different materials from a variety of geographical areas when assembling their finished products. By setting the Far Eastern artefacts in mounts of European style the prevailing taste of the Louis XIV and Louis XV periods sought to harmonize their ‘foreign’ character with the fashionable decor of the up-to-date Régence and Rococo interiors. Due to this artificial creative impulse to deal with the exotic, the merciers gained access to a major lucrative market which they stimulated again and again by introducing ever new styles.

Max Emanuel’s most important source for East Asian artefacts was the Parisian marchand mercier Laurent Danet (c. 1650–1720), who was one of

Figure 1. Elector Max Emanuel of Bavaria, engraving, Jean Mariette (publisher), Paris about 1710–1715, Paris, Bibliothèque Nationale de France, département des Estampes et de la Photographie Figure 2. The Golden Coffee Service, Johann Melchior Dinglinger, Dresden, 1697–1701, Height 97 cm, Width 76 cm, Diameter 50 cm, Dresden, The Grünes Gewölbe, Staatliche Kunstsammlungen, Dresden

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commissioned Danet to deliver a ‘present magnifique’ to the Brussels court,5 supposedly a wedding gift on account of the new marriage between the Elector and the Polish Princess Therese Kunigonde. My thanks to Lorenz Seelig for this new information that the gift was, in fact, a so-called cabaret; a type of circular tray, sometimes composed of two or three shelves, on which small services mostly for tea or coffee were displayed, in accordance with its East Asian origins.6 Sourches specifies the object in his Mémoires of the 9 January 1695: ‘On vit, ce jour-là, chez la princesse douairière de Conti, le présent que Monseigneur envoyoit au duc de Bavière, qui étoit egalement galant et magnifique; c‘étoit un cabaret composé de diverses pieces d’or et de porcelaines doublées du même métal, avec un grand nombre de montres, d’étuis et autres curiosités semblables.’7 In fact the cabaret itself was made of gold and thereby comparable in costliness and fashion to the cabarets de métal that Louis XIV presented to the Duchesse of Burgundy in 1704: ‘deux cabarets, un d‘or et un d‘argent, travaillés à la perfection.’8 The cabaret displayed porcelains mounted with gold combined with precious objets de vertu, everything arranged beautifully and each object assigned a fixed place.With regards to the shape of this lost type of cabaret from Versailles as well as their regular arrangement, it is significant to refer to Johann Melchior Dinglinger’s Golden Coffee Service, created between 1697 and 1701 for Augustus the Strong (fig. 2). Today the epitome of a magnificent coffee service as it unites 45 vessels of gold and other costly materials on a silver gilt pyramid, while the enamelled cups and saucers imitate porcelains in Kangxi colours whilst being of European design. There is much to the idea that these Dresden creations have their origins in what

Figure 3. Teapot with Kakiemon decoration, Japan, late 17th century; gilt silver mounts, Paris c. 1695–1710, Height 10.8 cm, Munich, Residenz, Ostasiensammlung

the very influential marchands merciers during the reign of the Sun King. Danet had been a specialist in jewellery and Old Master paintings since the 1670s.

He built up a wide-ranging network of business contacts abroad, which allowed him to bring together objects of the highest quality for whose further refinement only the best artisans were chosen. Amongst his high-ranking clients were Louis XIV, the Princess Conti and most importantly the Grand Dauphin Louis (1661–1711), heir to the French throne. At the very latest in 1686, when the Siamese embassy created a veritable fascination for all that was Asian, Danet too began widening his stock to include East Asian works of art. Meeting the clientele’s desire for prestige and exotic refinement was surely a prerequisite. However, French imports were hindered by the chronic financial difficulties of Colbert’s Compagnie des Indes, founded in 1666. The Mercure Gallant reported that in 1687 only 3 ships had returned from India and Siam. On top of this without a single piece of porcelain according to the shipping lists. Danet, therefore, had to turn to Holland in order to acquire the East Asian wares, from which country French dealers had been importing porcelain via the VOC since the 1640s. In this context it seems quite peculiar that Max Emanuel as governor of the Spanish Netherlands residing in Brussels and therefore close to the importing Dutch ports, acquired his mounted East Asian lacquer and porcelain exclusively from distant Paris. It is both astonishing and telling at the same time with regards to the cultural orientation of the prince.

In fact, the first contact between the Paris dealer Danet and Max Emanuel had been created by the Grand Dauphin. On 2nd January 1695, the Dauphin

Figure 4. The Ducal and Imperial Palace of Brussels, engraving, Jan Blaeu (publisher), Amsterdam 1649

33

Figure 5. Pair of jars, Chinese (five-colour porcelain, so-called wucai), c. 1650; gilt bronze mounts, Paris c. 1700, Height 22,6 cm, Munich, Residenz, Ostasiensammlung

had been conceived at the court of Versailles. Coming back to Max Emanuel’s cabaret of 1694–95, in his function as a mercer, Laurent Danet is likely to have been the general contractor for the commission and therefore also responsible for the design and the production of the ensemble which was then accentuated by the galanteries specifically chosen by Monseigneur. In accordance with its function, the cabaret displayed some ‘porcelaines doublées (d‘or)’, i.e. double gilt mounts. Double gilding was always undertaken in order to prevent signs of use developing and is evidence that the objects were intended for use. Thus the pieces of porcelain may well have shaped the uniform design of a small service, such as the ‘dejune de porcelaine double d’or’ which Max Emanuel acquired in 1708, and another example bought in 1715 from the Parisian mercer Jean-Baptiste de La Fresnaye (d. 1725).9 A déjeuner was used for the three new exotic hot beverages (tea, coffee and chocolate) and comprised a tray on which the cups, saucers, sugar bowl, pots for tea, coffee or chocolate and milk were placed. A single remaining Japanese teapot with Kakiemon-decoration of the late 17th century is preserved in the Munich Residence (fig. 3).The teapot of the well-known Japanese type takes the miniature form, in Europe also called égoïste due to the fact that it was part of a service designed for a single person. The silver gilt mounts with a duck serving as the finial were intended to prevent the lid from falling off when pouring out tea.The charming yet simple design of the mounts suggests that they are early, that is to say, dating from the c. 1700. The little teapot might perhaps be too humble to be considered a piece of the cabaret of 1695. We cannot, however, exclude it. Nonetheless, it was quite likely part of the déjeuners which Max Emanuel acquired on several occasions, in 1708 and 1715.

At any event, the extraordinary gift of state sent in 1695 by the Grand

Figure 6. One of a pair of lidded jars, Chinese (Kangxi), 1662–1722; gilt bronze mounts, Paris c. 1700, Height 34.5 cm, Munich, Residenz, Ostasiensammlung

Dauphin, who himself was both an avid collector of Chinese porcelain and had a distinct taste for mounted objects, should be considered the beginning for Bavarian collections of this kind.

Yet before being able to engage in his own and more extensive business relations with the Parisian dealer, the Bavarian Elector was forced to wait until 1697, when peace with France was granted by the Treaty of Rijswijk. A brief peaceful and prosperous period ensued which allowed Max Emanuel to personally supervise the reconstruction of the war-affected city of his residence, Brussels. At the same time, he commenced the building up of the court and the collections at his Brussels palace, the former Ducal and Imperial Palace of Coudenberg, with vigour (fig. 4). The spectacular starting point was marked by the purchase of a so-called ‘diamant incarnat’, a very rare fleshcoloured diamond, a fancy diamond, sold by Danet for 52.000 livres in the same year, 1697.10 This was followed by further acquisitions of literally royal 34

shows a five-colour decoration, so-called wucai, of the late Ming dynasty, i. e. the first half of the 17th century. The gilt bronze handles were of sophisticated design split in the middle, representing the finest quality in bronzes of the grand gôut of the Louis Quartorze era.

The description in the list of sold items could also relate to a pair of lidded jars (blue-and-white Chinese porcelain of the Kangxi period), i.e. of the late 17th century (fig. 6). It is worth noting the design and function of the gilt-bronze mounts:The foot is held in a simple circular mount of gilt bronze with a gadrooned shoulder between plain borders.This is linked at each side to a similar moulding that encircles the rim of the vase by pierced straps.

Each strap is attached above and below by pinned hinges and is of strapwork.

This incorporates acanthus leaves, C-scrolls and a mascaron in the centre.To the upper part of each side is attached a ribbed handle that is interrupted at the centre by stylised leaf ornament .The lower part of the lid is the shoulder of the vase. This has been cut at the original luted joint; the cylindrical neck has been removed. It has been re-attached to the reduced original lid, which has had the plain porcelain knop replaced with a gilt bronze finial in the form of a foliated cup filled with berries that rest on a circular gadrooned base of gilt bronze. A pair of lidded jars, of almost identical shape and mounting are in the Getty Museum.14 The strap-work mounts of these follow a similar design which is close to the decorative repertoire of Daniel Marot and were probably made by the same bronzier.

Also part of Danet’s delivery of March 1700 were ‘une Urne d’ancienne porcelaine garnie de Bronze’ which cost 390 livres and ‘trois autres pieces d’ancienne Porcelaine garnie de bronze doré d’or moulu’15, for which 585 livres were paid. The archival sources convey that the Elector developed a distinct taste for these exotic materials and that he systematically collected Far Eastern porcelains. In the sales lists Danet designated the pieces as ‘ancien’, i.e antique (as in old) and distinguished them from the more recently made wares called ‘nouveau’. The pieces were automatically classified as being of high quality by merit of this description.What is more, the aesthetic quality of any individual piece is best conveyed by its price. The type, origin of date of the ceramic body – be it Chinese, Japanese or Persian - was not a distinguishable factor in Paris around 1700. Only in the 1720s did Parisian mercers first begin to distinguish porcelain by provenance. Before this dealers and connoisseurs alike judged the visual characteristics of porcelains in relation to their rarity.

Thus, that which was in fact Japanese was valued proportionally higher than all other porcelains due to its scarcity. Only the monochrome, grey crackle glaze porcelain, which was greatly esteemed on account of being judged antique, was an exception to this rule. The same relates to the appreciation of Japanese lacquer the quality of which was noticed and pieces made from it therefore more highly esteemed than the lower quality Chinese Export lacquer. Amateurs appreciated the aesthetics of exotic decoration; its symbolic quality seems to have been little known.To Max Emanuel and other members of the social elite, the collecting of these highly stylised objects had nothing

Figure 7. Chinese (Kangxi) porcelain with Parisian gilt bronze mounts (c. 1730–1735) on a lacquer commode in the State Bedroom of the Munich Residenz

magnificence in 1698 and again in April 1699, when whole carriage loads of Boulle and lacquer furniture, Old Master paintings (Poussin and Rubens), clocks and jewellery arrived in Brussels.11 A garniture of three vases of ancient Far Eastern porcelain mounted in gilt bronze described as ‘trois belles urnes de pourcelaine anciennes garnies de bronze doré d’or moulu ...’ commanding the unheard price of 4000 livres formed part of these deliveries.12 This arrival really meant the sensational beginning to the new and exclusive creation of a collection of the decorative arts at the electoral court. A comparison with another un-mounted vase purchased for 400 livres highlights the profit generated by the dealer for mounting. But the elector feared no expense. On 1 March 1700 Danet supplied Max Emanuel in Brussels with ‘deux Urnes d’ancienne Porcelaine garnies de bronze doré’ valued at 650 livres,13 probably to be identified with a pair of jars with gilded bronze handles in the Residenzmuseum (fig. 5).The porcelain 35

Figure 8. Silver-mounted Imari garniture, Japanese and Chinese, late 17th century; silver mounts Paris, 1697–1717, Munich, Bayerisches Nationalmuseum

interpretation of the supersession of silver-gilt by gilt bronze for the mounting of East Asian porcelain.16 According to an inventory drawn up in 1689,17 the most prestigious collector of porcelain in France, the Grand Dauphin, appears to have chosen gilt-bronze mounts over the traditional silver-gilt for the most important pieces in his collection. It was most certainly not for economic reasons that Monseigneur opted for gilt-bronze (the argument with which some scholars have explained the phenomenon by the melting down campaigns of the years 1689 and 1709). The more and indeed most likely reason for the exchange of silver for a golden tone is an aesthetic motivation linked with making the still relatively unfamiliar forms of this exotic material conform more readily with the character of French interiors.18 However, looking at the practical use of mounted porcelain can help us to say more about the choice of material, something I will explore in the following.

scientific about it, but might rather be compared to the idea of visiting an Oriental bazaar.This notion of an exotic world was invoked by the marchands merciers with their shops which bore such evocative names as À la Pagode (Gersaint), Au Roi de Siam (Hébert), and Au chagrin de Turquie (Duvaux).

Laurent Danet supplied the Elector with porcelain mounted with gilt bronze, silver gilt and white silver. The high price of the pieces with gilt bronze, such as the afore-mentioned set of three vases with gilt bronze decoration valued 4000 livres, is particularly striking. Indeed, it was less common to mount porcelain with gilt bronze than with silver gilt or even silver in the 17th century; exactly the opposite practice was popular during the Louis XV and Louis XVI periods. In this context, it is helpful to refer to Gillian Wilson’s 36

Figure 9. Paris mark, so-called poinçon de décharge (small fleur-de-lys) for the years 1697–1704), detail of the large bowl (Figure12) Figure 10. Paris contre-marque (cockerel with lifted claw), 2nd semester 1713 to first October 1717, detail of the large bowl with blue fond Figure 11. Paris maker’s stamp (two letters, ‘G’ legible), detail of the large bowl with blue fond

Regarding the Grand Dauphin as a collector, it should be noted that as heir to the French throne his taste was of paramount importance to the formation of taste among his contemporaries. The Dauphin’s predilection for porcelain in gilt bronzes combined with lacquer furniture – both purchased from the dealer Danet – took on representational meaning and was turned into a ceremonial sign, that is to say the aesthetic qualities of mounted porcelain correlated with representational and ceremonial ends.A trend was set, according to which porcelains with gilt bronze became elements of the furnishings in the State apartments, displayed on console tables, chimney pieces and cabinets on stands (fig. 7). On the other hand, un-mounted porcelain wares – in their form less appealing to the courtly decorum – went on to be amassed in the individual china cabinets. This new hierarchy of value applied to the porcelains of the Dauphin was the model emulated by Max Emanuel as an expression of distinction at his court in the Spanish Netherlands.

Not affected by the popularity of gilt bronze mounts in the 18th century, silver-gilt and white silver continued to be used to mount porcelains in order to create tableware. Elector Max Emanuel’s garniture of silver-mounted Imari porcelain is a case in point and was investigated for the 2009 exhibition The House of Wittelbach and the Middle Kingdom at the Bavarian National Museum (fig. 8).19 The ensemble is comparable to the well-known silver-mounted Imari service of Charles Alexandre de Lorraine (1712–1780) in the Viennese Hofsilberkammer. For the generation of 1700, such a garniture was something new and extraordinary, a fact that also held true for the electoral court of Bavaria. Max Emanuel went on to complete the ensemble by making several additional acquisitions.

Figure 12. Large bowl, Japan, late 17th century; silver mounts, Paris, 1697–1704, Height 16.3 cm, Width 36.5 cm, Diameter 27.5 cm, Bayerisches Nationalmuseum, Munich

First the Elector acquired two small bowls, a pair of round-bodied coolers and a large bowl. Thanks to their identical silver mounts, these five vessels are characterised as a garniture. The mounts of lips are of identical design and are encircled by high relief bead-and-chain moulding. The feet echo the base of an antique column (fig. 8, 12, 13). The base and lip of each vessel is linked by straps decorated with a string of pearls issuing from a shell, attached above and below by a pinned hinge. In the case of the small bowls, they are 37

marque for the years 1713–1717 (fig. 10)21 and with the maker’s stamp including the initials of the goldsmith (fig. 11. Only the second letter G is legible, above which is the grape-like device of the goldsmith and the usual two grains below a fleur-de-lys and a crown. This maker’s stamp has yet to be identified. Regarding the porcelain, it is evident that the marchand mercier, arguably Danet selling to Max Emanuel, had selected the Far Eastern pieces according to their shapes, colours and decoration. Japanese Imari, produced in Arita between 1680 and 1720, with its characteristic colour scheme of underglaze blue combined with iron red and gilding is dominant. All the same, the mercer mixed both Chinese and Japanese wares – as the aesthetic impression alone was important.

A pair of lidded tureens were also part of the ensemble (fig. 14). While the majority of pieces from this set remained in the Munich Residence until the mid 19th century before being transferred to the newly founded Bavarian National Museum, these pieces remained and were transferred to Veitshöchheim Palace in Franconia in the 1930s where I rediscovered them in 2008.

Once again in part of the collection where they historically belong, they are nearly identical to the well-known silver-mounted Imari tureen in the J. Paul Getty Museum.22 The mounts of both the Getty tureen and the Munich pair are unmarked. The style of the delicate and engraved mounts differs from those of the earlier ensemble and might instead be linked to the Parisian acquisition of ‘Silbern beschlagene Porcellan’ in 1709.23 With their lids in two stages, the tureens are mounted in a similar fashion to the earlier pair of jars (fig. 6).The technical sophistication of the mounts is astonishing, which is evidence for the actual use of the vessels.The pins of the hinges can be expelled sideways; the screw threads at the lids of the tureens are fixed with nuts which allow the porcelain to be removed for cleaning. The examined garniture is now what remains of a service that Max Emanuel added to on several occasions and used for dessert, for instance while in his pleasure palaces.The pair of tureens is recorded as being in the Grüne Galerie in 1769. This gallery, designed by François Cuvilliés in 1731–1733, was the sumptuous showpiece of the appartement de societé in the Munich Residence. Placed in the midst of porcelain on the second console table in the gallery’s Hall of Mirrors, it is interesting to note that the pair of tureens was described as being ‘2 round lidded Potaoilen, which below are mounted with a rim of silver, then on both sides fitted with silver handles. The lids however are twice mounted with silver rims and decorated with silver finials on top.’24 Thus these round tureens were called and justly considered to be pots à oille, as they were used to serve the Spanish meat soup olla podrida, much liked by contemporaries. On the same console table next to the tureens were the other vessels from Max Emanuel’s garniture, described as ‘2 Kielgeschirr’ referring to the pair of coolers and respective vessels, namely ‘ 2 Cooler Services of floral Porcelain, without lid, with Silver handles. They are fitted above and below with solid Silver Rims, which from the bottom up to the top are silver mounted on 4 sides ’.25 That the garniture of the Elector was once part of a larger service is strongly suggested by the Inven-

Figure 13. Small bowl, Japan, late 17th century; silver mounts, Paris, 1697–1704, Height 10.7 cm, Width 28 cm, Diameter 22,5 cm, Munich, Bayerisches Nationalmuseum

flanked on each side by a handle in the shape of elegant three-tailed scrolls (fig. 13). The handles of the other vessels take the form of the stylised leaf ornament that we have seen before. The larger vessels are applied beneath the handle with a maskaron with exquisitely modelled facial features and a headdress (fig. 12).

The silver mounts are marked with a small lily in a quatrefoil (une petite fleur-de-lys), a so-called poinçon de décharge, the Paris mark for the years 1697 to 1704 (fig. 9).20 Two further bottle coolers, which are also dated between 1697–1704, form part of the garniture as does a large bowl of powder-blue Chinese porcelain. The mounts of this large bowl, shown in the right foreground of fig. 8, are marked with a cockerel with a raised leg, the Paris contre38

Figure 15. Surtout, Japan and China, early 18th century; silver mounts, Eliza Godfrey, London, 1755–1756 and Jacques-François Van der Donck, Brussels, 1766–1767, Height 44 cm, Diameter 68 cm, inheritance of C. A. de Lorraine,Vienna, Hofburg, Silberkammer

Figure 14. One of a pair of lidded tureens, Japan, late 17th century; silver mounts, Paris, c. 1697–1717, Height 27 cm, Width 31.2 cm, Diameter 25.8 cm, Munich, Bayerische Schlösserverwaltung

tory of the Silberkammer of 1774.26 Here we find tableware that complements the cooler services listed as a group of Japanese porcelain: ‘55 large, middle scale and smaller bowls mounted with silver rims, Of the same porcelain 56 silver mounted plates, 2 saucers with silver lips and handles’. This service seems to have been dispersed in the early 19th century. Several Imari-dishes in the Residenzmuseum, their mounts now lacking, show signs of abrasion and come into consideration as the plates of the service or indeed as the unidentified stands of the tureens. The Elector‘s garniture may well be the earliest documented service in which Far Eastern porcelain and Parisian silver mounts are combined.The taste for silver in combination with the typical Imari colours and designs radiated from Paris throughout Europe and inspired Augustus the Strong to acquire a now lost Chinese silver mounted porcelain service of 77 pieces in Paris in 1715.27 Similar to the services of Max Emanuel and Augustus the Strong is the already-mentioned extensive service which belonged to Charles Alexandre de Lorraine and which was put together between 1717 and 1767 (fig. 15). From the 1720s onwards, the Parisian silversmith Paul Leriche was known as specialising in catering to this taste. His maker’s stamp appears on a number of known vessels, such as a pair of Imari tureens, dated to between 1722 and 1732 in the Musée des Arts Décoratifs, Paris; another Imari tureen of 1722– 1726 was sold in Paris in 2008.28

To conclude we may state that Far Eastern porcelains refashioned in Paris held a high-ranking position amongst the acquisitions made by the Munich court in the early 18th century. In collecting as well as displaying these Far Eastern rarities – be it porcelain or lacquer – the electoral court followed the criteria established by the heir to the French throne, the Grand Dauphin.

At court, a new ceremonial use and meaning became attached to these exclusive, exotic materials. By collecting in this novel way, where the foreign served as both a reference point and projection, the Bavarian elector intended to document his cultural superiority over other competing courts.

The ensuing collections are thus to be understood as a symbol of the cultural impact of France as well as a sign of political alliance with its kings.

39

Illustrations

(Frankreichbündnis), p. 232.

Bayerisches Nationalmuseum, München: © Photo Walter Haberland: 8, 9, 10, 11, 12, 13

Staatliche Kunstsammlungen, Dresden: © Photo Jürgen Karpinski: 2

11 See Max Tillmann, ‚Le mobilier Boulle sous le Saint-Empire. Étude de la culture du goût, à l’exemple de l’électorat de Bavière’, in exhb. cat. André Charles Boulle (16421732). Un nouveau Style pour l’Europe, Paris 2009, pp. 152–165.

Silberkammer, Hofburg, Wien: © Bundesmobilienverwaltung, Photo Marianne Haller: 15

12 A. N., T 153/47, pièce 186. Quoted in Tillmann 2009 (Frankreichbündnis), p. 241.

In Paul Cornu, Le Château de Béarn (Ancienne Maison de l‘Electeur) à Saint-Cloud, Versailles, 1907: 1

13 Ibid., p. 241.

In Krista de Jonge, ‚Der herzogliche und kaiserliche Palast zu Brüssel und die Entwicklung des höfischen Zeremoniells im 16. und 17. Jahrhundert‘, in Jahrbuch des Zentralinstituts für Kunstgeschichte 5/6, 1989–1990: 4

15 A. N., T 153/47, pièce 186. Quoted in Tillmann 2009 (Frankreichbündnis), p. 241.

Bayerische Verwaltung der staatlichen Schlösser, Gärten und Seen, München: 3, 5, 6, 7, 14

14 Wilson 1999, pp. 36– 41, no. 5.

16 Wilson 1999, pp.10–12.

17 On 2nd December 1998 Sotheby’s, London, sold the original inventory of the collections of the Grand Dauphin (Jaime-Ortiz-Patino-Sale, lot 11). The Bibliothèque d’art et d’archéologie, fondation Jacques Doucet, Paris owns a copy of this valuable archival source (Ms. 1046).

Notes 1

2

3

Max Emanuel, Elector of Bavaria (1662–1726), was made governor general (stattholder) of the Spanish Netherlands in 1691 and held court at Brussels after 1692. During the War of the Spanish Succession (1701–1715) he sided with the French. After defeats at the battle of Blenheim in 1704 and Ramillies in 1706, he was driven from Bavaria and became an émigré associated with the court of Louis XIV and enjoying Paris society. He was restored to his Bavarian electorship after the Treaty of Baden in 1714 and reluctantly returned to Munich 1715. For an analysis of Max Emanuel’s patronage and collecting, see the author‘s book, Ein Frankreichbündnis der Kunst. Kurfürst Max Emanuel als Auftraggeber und Sammler, Munich: Deutscher Kunstverlag, 2009.

18 Wilson 1999, pp.11.

19 Max Tillmann, ‘Die Ankäufe chinoiser Kunst unter den bayerischen Herrschern Max Emanuel und Karl Albrecht’, ‘“Exotische“ Raumschöpfungen in den Münchner Schlössern’, cat. nos. 103–108,110, in exhb. cat. Die Wittelsbacher und das Reich der Mitte. 400 Jahre China und Bayern, München, Bayerisches Nationalmuseum 2009, ed.

by Renate Eikelmann, München 2009, pp. 226−247, 272–277, 278–279.

20 Michèle Bimbenet-Privat, Les Orfèvres et l’orfèvrerie de Paris au XVIIe siècle, vol. 1, Les hommes, vol. 2, Les œuvres, Paris, Comité des travaux historiques de la Ville de Paris, Paris–musées 2002, here vol. 1, pp. 65–68, décharge no. 277.

See Eva Ströber, “La maladie de porcelaine …“ Ostasiatisches Porzellan aus der Sammlung August des Starken, ed. by the Staatlichen Kunstsammlungen Dresden, Porzellansammlung, Leipzig 2001, p. 11.

21 Michèle Bimbenet-Privat, La Datation de l’Orfèvrerie parisienne sous l’Ancien Régime, poinçons de jurande et poinçons de la Marque 1507–1792, Commission des travaux historiques de La Ville de Paris, Paris-musées, 1995, p. 61.

According to estimates the VOC brought more than three million Chinese porcelains to Europe between 1602–1657. See Ströber, op. cit., p. 9.

4

For the history of mounted Oriental porcelain, see Francis Watson, Mounted Oriental Porcelain, Washington, D.C. 1986, and Gillian Wilson, Mounted Oriental Porcelain in the J. Paul Getty Museum, Los Angeles 1999.

5

Philippe de Courcillon, Marquis de Dangeau, Journal du marquis de Dangeau, ed. by Soulier, Dussieux, de Chennevières, Mautz, de Montaiglon Paris, Firmin-Didot 1854– 1860, vol. V, pp. 91– 92, 129.

6

Given the Far Eastern provenance of the cabaret it is interesting to note that these cabarets were originally designed to be used to serve foods in such a way as can still be found in Chinese restaurants today.

7

Louis-François du Bouchet, Marquis de Sourches, Mémoires du Marquis de Sourches sur le règne de Louis XIV, ed. by Cte de Cognac and Arthur Bertrand,Paris, Hachette et Cie. 1882–1893, vol. IV, p. 419.

8

See Henry Havard, Dictionnaire de l’ameublement et de la décoration depuis le XIIIe siècle jusqu’à nos jours, Paris, n.d.: 2nd edn 1894, vol. 1, pp. 477–478.

9

Bayerisches Hauptstaatsarchiv, München (hereafter BHStAM) MF 19583 / Geheimer Rat 1, 1712, Memoire, Deceque le Baron de Simeony a exposé par ordre et pour le service de S.A. E. de Baviere a commancer depuis l’année1708. Quoted in Tillmann 2009 (Frankreichbündnis), p. 247

22 Wilson 1999, pp. 33-35, no. 4. The tureen also features the cover of this catalogue.

23 A.N., T 153/44, Extract / Hofausgaben bis Decemb. 1709 [...] Paris, den 20. März 1711, fol: 71, Nr. 262. Quoted in Tillmann 2009 (Frankreichbündnis), p. 246.

24 Bayerische Verwaltung der staatlichen Schlösser, Gärten und Seen, Inventar der Residenz München von 1769, BSV.Inv0001.02, fol. 34v. Quoted in Cat. Die Möbel der Residenz München, ed. by Gerhard Hoyer and Hans Ottomeyer, vol. I, Die französischen Möbel des 18. Jahrhunderts, München 1995, pp. 300–319.

25 Ibid., fol. 34v–fol. 35.

26 BHStAM, HR I Fasz. 72/71, fol. 1, Inventarium Ueber des Durchläuchtigsten Fürsten und Herrn Maximilian Joseph, in ober- und Niederbaiern, auch der oberen Pfalz Herzog, Pfalzgrafen bey Rhein, des Heiligen Römischen Reichs Erztruchsess und Churfürsten, Landgrafen zu Leuchtenberg pp., Silberkammer 1774, fol. 52v, ,An Porcelain Und zwar restlich an Japonesischem 55 grosse, mittlere und kleine Schalen, mit silbernen Reifen beschlagen 56 dergleichen deller und Silbernen Raifen 2 Sauciers mit Silbernen Raifen und Handhöben‘.Many thanks to Alfred Ziffer for pointing out this source to me.

27 Virginie Spenlé, ,Die Kunsterwerbungen von Raymond Leplat in Paris‘, in Dresdener Kunstblätter, 2006 (Zweimonatsschrift der Staatlichen Kunstsammlungen Dresden; 4), pp. 222–223.

28 Sotheby‘s, Paris, April 10, 2008, lot 117.

10 Archives nationales, Paris (hereafter A.N.) T 153/38, pièce 139, Memoire concernant les affaires de Bombarda, and T 153/36, pièce 120, 14 pièces. Quted in Tillmann 2009

40

A detective story: Meissen porcelains copying East Asian models. Fakes or originals in their own right?

Julia Weber, Keeper of Ceramics at the Bavarian National Museum, Munich

T

he â&#x20AC;&#x2DC;detective storyâ&#x20AC;&#x2122; I want to tell relates to how the French merchant Rodolphe Lemaire managed, around 1730, to have accurate copies of mostly Japanese porcelain made at Meissen and to sell them as East Asian originals in Paris. I will then follow the trail of the fakes and reveal what became of them in France. Finally, I will return briefly to Dresden to demonstrate that the immediate success of the Saxon copies on the Parisian art market not only changed how they were regarded in France but also in Saxony itself.

Sometime around 1728, Lemaire, the son of a Parisian family of marchand faĂŻencier, became acquainted with Meissen porcelain for the first time whilst visiting the Netherlands where he sourced new wares. Having had success in selling some of the Saxon porcelain in the French capital he decided to approach the Meissen manufactory directly. Lemaire caught on quickly to the

fact that Saxon porcelain was the first in Europe to be seriously capable of competing with imported goods from China and Japan. Indeed, based on their high-quality bodies alone, he appreciated just how easily one might take them for East Asian originals.This realisation inspired Lemaire to embark on a new business concept. As 1728 drew to a close, Lemaire travelled to Dresden. He bought Meissen porcelains in the local warehouse in the new market place and ordered more in the manufactory. In doing this he was much the same as other merchants but Lemaire also played a more ambitious game: in a bold letter he personally asked Augustus the Strong, Elector of Saxony and of Poland, to permit an exclusive agreement with the Meissen manufactory.With the help of his younger brother (who was secretary to the French ambassador to the permanent diet of the Holy Roman Empire in Regensburg and who also recommended Lemaire to the secretary of the absent French envoy 41

Chinese and Japanese wares bringing significant revenue to Saxony. Augustus the Strong clearly weakened when faced with Lemaire’s argument: the Meissen manufactory was ordered to work out an agreement in accordance with the conditions requested by the French merchant.

The manufactory committee met for the first time on December 17, 1728 to decide on the seven points that Lemaire had laid out. His actual intention – which he had presumably not explicitly expressed during his meeting with Augustus the Strong – became apparent in the fifth clause: Lemaire did not want to have his pieces signed with the usual trademark of the two crossed swords deriving from the Saxon coat of arms and which would also have branded the porcelain as having been ‘made in Saxony’. He preferred his wares to bear no mark because the majority of the Japanese porcelains themselves were unmarked. If the pieces had to be marked at all, he insisted that Chinese style signs should be used before the crossed swords. The members of the committee clearly saw through Lemaire: they rightly guessed that the Frenchman planned to sell the Saxon copies as Japanese originals in Paris. But since Lemaire was promising to buy large quantities, to pay for them in cash, and not to sell them in Saxony itself, they advised Augustus the Strong to accept this exceptional condition. They compared the situation with the trade in Saxon wines, which were shipped to Hamburg and once there, transformed into sparkling wine to be resold with a high profit margin.Though perhaps not immediately obvious, the committee reminded the Elector that this trade was lucrative and turned a good profit for Saxony nonetheless.

The contract negotiations prove that Lemaire was really mostly interested in porcelain in the Kakiemon style. According to him, he had bought white porcelain in Dresden and sent it to Holland to have it decorated in the Japanese manner. He hoped that these models would inspire the Meissen painter Gregorius Höroldt to adopt the colours of the old Japanese wares.

Lemaire made it clear to the committee that he was only prepared to accept the coloured porcelains if they were painted to his specification.

We do not know what bogged the negotiations down after the first session of the committee. All the same, Lemaire was able to order porcelain made to his specification at the manufactory. Five days after the session was convened, a specification lists one hundred and seventy eight pieces of tableware and six figures to be modelled after wooden examples and drawings submitted by Lemaire. With the exception of the “six pagodas with nodding heads and hands after a model, entirely white” (fig. 1), the descriptions are too vague to determine what kind of wares Lemaire was requesting.Wooden seated Buddhas with moving heads, tongues and hands were imported from Japan to Europe and we know that they were also copied in wood in Berlin and Dresden. In the six months that followed, Lemaire ordered quite a few more porcelains sending further wooden models and drawings to Meissen.

Figure 1. Meissen pagoda with nodding head and hands, c. 1730–1735, height c. 6 inches (15 cm), Bayerisches Nationalmuseum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, inv. ES 1041. © Bastian Krack

in Dresden) the Parisian merchant was able to approach the Saxon elector.

Augustus the Strong not only accepted Lemaire’s letter, but also granted him a personal audience at the Japanese Palace surrounded by his collection of East Asian and Saxon porcelain.The French secretary reported to Versailles that Lemaire was cordially received by the Elector with whom he conversed for about forty-five minutes. What they spoke of is not recorded. We know from Lemaire’s letter, however, what he intended to offer: he promised that, if the pieces were made to his specification and using the models he provided, Saxon porcelains would soon be outdoing the goods being imported from China, and indeed, even equal old Japanese wares. Old Japanese meant porcelains in the Kakiemon style, which were then very popular in France but since they were no longer being produced in Japan, they could only be bought second hand and at high prices. It was the wares in the Kakiemon style that Lemaire wanted to have copied for himself, exclusively in Meissen. In return, he suggested that under his direction Meissen porcelain would surpass 42

Figure 3. Caduceus mark, 1729–1731, Bayerisches Nationalmuseum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, Inv. ES 1032. © Karl-Michael Vetters

other customers. Lemaire, for his part, was still dissatisfied with the amount of porcelain he was receiving from Meissen and therefore petitioned the King once again.

Only after the Saxon minister, the Count of Hoym, became the new director of the Meissen manufactory in June 1729 were the contract negotiations revived. Lemaire arranged to be introduced to Hoym and showed him some of the Meissen porcelain he had had painted in Holland in the Kakiemon style. Hoym immediately liked the pieces. As Saxon envoy, he had been living in Paris for years and was familiar with French fashion. Back in Dresden, he was mistrusted by his fellow citizens on account of his obvious Francophilia. After being forced from his position in 1731, a contemporary wrote that Hoym was utterly ‘frenchified’; indeed, the recollection that he was German was almost unbearable for him. Dogs, cats, hens and everything he needed in order to live, had been brought by Hoym to Dresden from Paris. Though this portrayal of the disgraced Hoym is certainly exaggerated, it contains an element of truth.While in Paris Hoym had collected the thenfashionable East Asian porcelain and had also owned several Japanese pieces in the Kakiemon style. It was probably because of his own penchant for this type of porcelain that Hoym was – as the story goes – immediately convinced of the advantages to be had for the manufactory in copying Lemaire’s models.

At any rate, he used his new position to help the French merchant advance.

Hoym obtained the King’s approval of the contract, which was finally signed on September 30, 1729. It secured that Lemaire was to be exclusively supplied with porcelain made to his specification and that his orders were treated preferentially. Only royal orders would be given priority over his. In return, Lemaire promised to buy all of the porcelain produced for him and to pay in cash. Moreover, he guaranteed not to have the white wares decorated outside the manufactory and not to sell any of these in Saxony itself.

A critical point was the question of prices. A list of existing models with their fixed prices was appended to the contract. When it came to the newly introduced models, the taxes had to be negotiated individually.

Interestingly, there is no mention of the issue of the marks in the contract.

Augustus the Strong had given unmistakable instructions after returning from his extended stay in Warsaw, only a few days before the contract was signed.

An as yet unconsidered monthly report from the Meissen manufactory dated October 1 states that the King had commanded anew that all porcelain should be marked with the Saxon crossed swords henceforth. He explicitly ordered that the pieces destined for Lemaire should also be marked in this

Figure 2. Meissen beaker copying a Japanese model in the Kakiemon style, 1729–1731, height c. 4 inches (10.5 cm), Bayerisches Nationalmuseum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, inv. ES 4. © Bastian Krack

He also made his selection from current models at the Meissen warehouse.

It was not until June that he was able to obtain sparsely painted porcelains made to his specification. One might assume that he had stipulated Kakiemon-style decoration, as characterized by asymmetrical compositions which spare much of the white ground (fig. 2).Two other documents suggest that these first porcelains delivered to Lemaire were either unmarked or signed with the so-called caduceus in underglaze blue (fig. 3). Although referred to as the wand of the Greek god Hermes as early as 1730, this mark should be regarded as a pseudo-Chinese symbol just as the French merchant requested. At the end of June, the warehouse in Dresden provided Lemaire with porcelain amounting to the sum of two thousand talers. The directors in Meissen complained time and time again that Lemaire’s orders exceeded the capacity of the manufactory and that the French merchant had not taken into consideration the time and manpower involved in the production of so many new shapes. They feared that they would no longer be able to serve 43

way to prevent the French merchant being able to continue to sell them as Japanese originals. Augustus the Strong would no longer tolerate his royal manufactory delivering fakes to a Parisian dealer. Quite to the contrary, his aim was to propagate the glory of Saxon porcelain across Europe.

However, Hoym and Lemaire knew how to disobey royal instructions.

The Meissen painter Höroldt later testified that Hoym had explicitly directed him to sign all pieces for Lemaire in blue enamel rather than with the common blue swords in underglaze blue.Though Höroldt had protested, pointing to the royal instruction, Hoym had nonetheless insisted on having blue enamel swords on the Lemaire ware (fig. 4). He even smilingly added that these could be easily removed afterwards using nitric acid. The arcanist, Stöltzel, recalled that Hoym hoped to erase the blue enamel marks using a hard stone. On questioning, Lemaire admitted that he had indeed received porcelains with blue enamel swords although he knew very well that this went against the royal order. Lemaire argued, however, that Hoym and not he had insisted on the enamel marks, saying that the porcelains were more easily sold in Paris without the Saxon swords.This sounds rather unbelievable since it was Lemaire who originally demanded that pseudo-Chinese signs be used instead of the crossed swords. Höroldt reported, in fact, that the French merchant had refused to accept porcelain that had been signed in underglaze blue. He had insisted on having the swords painted over with a golden pattern so that the manufactory’s mark became a kind of dealer’s mark (fig. 4). It was only with the help of the Saxon minister that Lemaire managed to obtain porcelain without the common trademarks from Meissen for a period of more than one and a half years, and against the King’s explicit orders. This becomes apparent from the negotiations prior to the extension of Lemaire’s contract in March 1731: it was initially specified in the new draft that all porcelain for the Parisian dealer had to be marked with the blue swords, but Hoym pushed the previous contract through and ensured its re-adoption without any modifications.

In fact Hoym pushed the boundaries even further: Lemaire had originally been sending his own models to the Meissen manufactory and had made complaints about the expenses arising from this. Shortly after the first contract was closed, Hoym arranged for two hundred and twenty pieces of East Asian porcelain from the royal collection in the Japanese Palace to be shipped to Meissen. The existing shipping lists say that this happened on the verbal order of the King, but if this was the case then the King’s intention was surely to have copies made for himself and not for Lemaire, as I will argue later on.

One or several accurate copies were made of one hundred and twenty of these Far Eastern originals at Meissen and these were supposed to serve as models for the modellers and painters.To distinguish them from one another, the first copies were signed with the inventory numbers of their East Asian prototypes. With the help of the shipping lists which indicate the inventory numbers of the originals, the corresponding inventory books, preserved pieces which were formerly in the royal collection, the Meissen models and

Figure 4. Blue enamel swords mark and swords mark in underglaze blue painted over with a golden pattern (“Koselmarke”), 1729–1731, Malcolm Gutter Collection, San Francisco.

later copies with blue enamel swords (fig. 5), we are able to accurately determine the date and circumstances under which the majority of the East Asian shapes and decorations – most of them in the Japanese Kakiemon style – were introduced at Meissen.The advantages that Hoym had hoped to gain from this situation become obvious on reading the evidence given by a man called Rost who worked at the Dresden warehouse: he asserted that the Meissen copies were sent to Hoym’s Dresden town house where the minister chose the best pieces for himself before the rest was taken to the attic where Lemaire stored his wares. In February 1731, Hoym actually had some one thousand eight hundred pieces of porcelain for himself at home in addition to another two thousand five hundred for the Parisian dealer.

At Meissen the use to which Hoym and Lemaire put the royal Far Eastern porcelains did not conform to the King’s intentions. Before Augustus the Strong left Dresden for Warsaw in August 1730, he drew up a list of fifteen charges against Hoym that he presented to the minister in order to give him the opportunity to improve. Point twelve stated that the King was displeased with Hoym’s conduct at Meissen. Judging from Hoym’s reply it is clear that the King’s criticism mainly concerned the removal of the East Asian porce44

his part, was first arrested and then interrogated before being expelled from Saxony.We do not know what became of him. All of the porcelain in Hoym’s town house, about four thousand four hundred pieces, was seized and incorporated into the royal collection (figs. 6, 7). The same happened with the Meissen copies sold by Lemaire to Saxon noblemen in contravention of the contractual provision.

What became of the porcelains sent to Paris by Lemaire before his detention? The person probably responsible for organizing their sale in Paris was Lemaire’s associate partner, Jean Charles Huet, who had come to Dresden on at least three occasions. He was also in close contact with Hoym. Huet may well have sold some of the porcelain to private customers directly. At any rate, he acted as a wholesale dealer providing other merchants with Meissen porcelain.

From an article in the Mercure de France dating from February 1731 we learn that probably his most important customer was a certain Henri Le Brun, a marchand bijoutier in the rue Dauphine. In addition to Le Brun, there was at least one more Parisian merchant, a certain Plâtrier, who dealt in the Meissen porcelain imported by Lemaire and Huet.

In Paris, the Meissen copies were being brought onto a market where Japanese porcelain in the Kakiemon style was highly regarded, very rare and subsequently relatively expensive. In light of this, selling the comparatively cheap Saxon copies as Japanese originals must have seemed an extremely lucrative business. As Figure 5. Two Meissen bottles copying a Japanese model in the Kakiemon style, 1729–1731, height c. 8 inches (20 cm), Bayerisches Nationalmuseum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, inv. ES 152, ES 153. © Bastian Krack

lains from the Japanese Palace: Hoym assured him that this had taken place for the benefit of the manufactory and that most of the pieces had already been returned to the Palace. This, however, did not appease the King. In an autograph note written by Augustus the Strong, he pointedly expressed just to what extent he felt that his interests had been violated: he had never intended the East Asian porcelains for which he had paid huge sums of money to be copied in such a way that reduced their status and lessened their value.

On the contrary, he had intended to destroy the Meissen models afterwards so that the prototypes would remain unique. In the future, he would no longer allow his East Asian originals to be copied except for himself or by his command. We can deduce from this that Augustus the Strong had actually ordered copies in Meissen, probably to complement his collection of East Asian originals in the Japanese Palace, but had never intended to sell them publicly. Shortly after returning from Warsaw in March 1731 Augustus the Strong dismissed his prime minister, exiling Hoym to his estate. Lemaire, for

Figure 6. Two Meissen bowls copying a Japanese model in the Kakiemon style, 1729–1731, diameter c. 10 inches (26 cm), Bayerisches Nationalmuseum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, inv. ES 345, ES 1900. © Bastian Krack Figure 7. Bottom side of one bowl in Figure 6, blue enamel swords mark and old inventory number of the Japanese Palace in Dresden. © Karl-Michael Vetters

45

Figure 8. Auction catalogue of the Vicomte de Fonspertuis Collection edited by the Parisian dealer Edme-François Gersaint in 1747, front page.

mentioned before, it was suspected that Lemaire was deliberately selling the Meissen wares as fakes. An as yet unnoticed document in the Dresden archive confirms this suspicion: it is the duplicate of a memorandum written by an anonymous Frenchman calling himself a specialist in the production and merchandizing of porcelain and suggesting improvements to the marketing of the Saxon porcelain in France and other European countries.

This self-named ‘specialist’ refers to the Parisian trade in Meissen copies of Japanese and Chinese prototypes. One might guess that the author knew of Lemaire’s disgrace and hoped to assume his role.

The memorandum begins by praising Saxon porcelains the standard of which have now equaled imports from the Far East and, in some respects, even outshone them.The author assures that the Japanese originals were by no means better than the Saxon copies and even the most distinguished of connoisseurs was wont to err when confronted with the latter. This was proven by the example of a certain porcelain dealer called Plâtrier who had on a number of occasions sold Meissen fakes to the Marquis de la Faye, the Comtesse de Verrue, the Marshal d’Estré, and the Duc de Gramont, not to mention a number of other merchants. Indeed Plâtrier had rubbed off the Saxon marks with the help of a diamond in order to achieve this and this practice had affected his reputation.

Though they are better known for their collections of paintings today the Marquis de la Faye and the Comtesse de Verrue, apparently both duped by the Meissen copies, were considered to be the utmost connoisseurs of their time. According to a contemporary rumour the Comtesse de Verrue preferred Dutch to Italian paintings because she had been told that there was no risk of being deceived by forgeries with the Dutch. It seems that nobody warned her about faked porcelains. Regrettably no such counterfeits can be identified with certainty in the inventories of the estates of the Marquis de la Faye and the Comtesse de Verrue drawn up in September 1731 and December 1736 respectively. Both specify Far Eastern and Saxon porcelains. Could it be that the Meissen copies had already been exposed as such and thus listed as Saxon? Or equally, were they as yet still to be uncovered and therefore registered as being Japanese?

There is further evidence to the effect that the Meissen copies made for Lemaire were sold as Japanese in Paris: in the 1747 sale catalogue of the assets of the Vicomte de Fonspertuis (fig. 8), the famous Parisian dealer EdmeFrançois Gersaint listed a pair of deep polygonal Meissen dishes painted with pagodas which were copied after old Japanese originals.The description probably refers to dishes like one in the Schneider Collection (fig. 9). Octagonal Meissen examples closely based on their Japanese prototypes are more common. However, the ones mentioned in the catalogue were probably of the less frequent twelve-sided kind since it states ‘with small angles’. Gersaint’s 46

of the Fonspertuis Collection, for example, Gersaint also lists Japanese jugs in the shape of cockbirds which were apparently among the most treasured Far Eastern porcelains in France due to their liveliness and variegated colouration. Gersaint notes as well that several Saxon copies were known (fig. 10). Two belonged to the industrialist Jean de Julienne.

When his estate was auctioned in 1767, the two birds achieved the sum of one hundred Livres. All known Saxon examples feature caduceus marks and therefore must have been originally intended for Lemaire.

Besides inventories and sale catalogues, surviving porcelains given mounts in France furnish us with clues as to the appreciation of the Lemaire wares in Paris. The expensive mounts enhanced the effect of these curiosities and underlined their exceptional character. Several such extravagant ensembles are kept in the Residence in Munich. These include groups comprising small porcelain peacocks and deer that were for a long time taken to be Chinese (fig. 11, 12). In fact, comparable Chinese originals do actually exist. The removal of the Munich examples from their mounts in the 1960s revealed blue caduceus marks. I believe that, by means of these marks, the peacocks and deer can be identified as Meissen pieces originally delivered to Lemaire. This assumption is supported by the mounting of a pot pourri together with one of the peacocks.The introduction of the motif used to decorate this pot pourri can be traced back to Lemaire’s orders at Meissen around 1730. The French mounts, on the other hand, can be dated around 1730 to 1737. In exactly these years the so-called Rich Rooms of the Munich residence were refurbished after a Figure 9. Meissen dish copying a Japanese model in the Kakiemon style, 1729–1731, diameter c. 103⁄8 inches (26,4 cm), Bayerisches Nationalmuseum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, inv. ES 341. © Bastian Krack

comments on the two Meissen dishes provide us with some insights: he praises the quality of the copies which could easily be taken for Japanese and he admits that he himself had almost been duped by them. Indeed, in the inventory of Fonspertuis’ bequest, which had preceded the auction catalogue, Gersaint had actually designated them as being Japanese. However, his suspicions were confirmed by the discovery that the Saxon sword marks on their undersides had been covered with seals. To protect the honour of the collector, Gersaint stated that he assumed that Fonspertuis was well aware of their true origin and that he enjoyed testing his friends with these deceptive pieces.

A few more Meissen copies in the Kakiemon style can be uncovered in Parisian sale catalogues of the time. In the previously mentioned catalogue

Figure 10. Two Meissen cockbirds copying a Japanese model in the Kakiemon style, 1729–1731, height c. 6½ inches (16,5 cm), Bayerisches Nationalmuseum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, inv. ES 55, ES 56. © Bastian Krack

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Figure 11. Three Meissen peacocks and a Meissen container with French ormolu mounts and Chinese and French porcelain flowers, 1729–1731, mounts c. 1730–1737, height c. 8 5⁄8 inches (21.8 cm), Bayerische Verwaltung der staatlichen Schlösser, Gärten und Seen, Munich Residence, inv. ResMü.K.I.Mei 155, ResMü.K.III.Mei 249, 250.

that they were regarded as Far Eastern curiosities in Munich: and surrounded by exotic imported goods they were surely perceived as such.This seems all the more plausible if one considers – as Edgar Bierende convincingly demonstrated – that the hierarchy of the porcelains was taken into consideration when displaying them in the Rich Rooms. The Meissen figures originally adorned the two most prestigious rooms. In Munich, however, porcelains that were believed to be very old were judged the most highly and as a consequence recent copies from Meissen probably less so.

In conclusion, I would like to briefly outline the consequences of the ‘Lemaire affair’ which were wide reaching and changed the reputation of Saxon porcelains in France as well as in Saxony itself in the long run. An article published in the monthly journal Mercure de France in February 1731 is the earliest evidence that Meissen porcelain was being held in increased esteem in Paris. The anonymous author points out that porcelain was arriving from Dresden which was comparable with the most beautiful pieces from

disastrous blaze.The splendid enfilade of apartments was intended to demonstrate Bavarian electoral claims to imperial honours. To this effect, not only did Karl Albrecht order expensive pieces of furniture with gilt bronze fittings in Paris but he also had the pieces intended for display on top of this furniture adapted. From the historical inventory dating from 1769 we know that the Meissen deer were on display in the state bedroom and the peacocks in the adjacent Chamber of Mirrors, the culmination of the enfilade.

We will probably never know whether Lemaire sold the Meissen figures as East Asian or whether their actual origin was known to the Parisian marchands mercier who had them mounted. Whatever the case, it is likely 48

Figure 12. Two Meissen deer with French ormolu mounts on a Parisian varnished chest of drawers in the Rich Rooms of the Munich Residence, 1729–1731, mounts c. 1730– 1737, height c. 9 inches (22.9 cm), Bayerische Verwaltung der staatlichen Schlösser, Gärten und Seen, Munich Residence, inv. P.V.c. 77.9, K.V.c. 255.

China and Japan and he stresses that some connoisseurs even gave them preference over originals from the Far East – to the outrage of a number of stubborn amateurs.The uproar is understandable. Many had spent enormous sums to obtain rare old Japanese porcelain the value of which was certainly jeopardized by the much cheaper, high-quality Meissen copies. For precisely this reason Gersaint argued in favour of the East Asian originals. Writing in 1745, he admitted that the old Japanese porcelains had become less sought after in France now that the Saxon ones had come into vogue. Admittedly true connoisseurs still considered them to be counterfeits.A comment made around two years later makes it evident that Gersaint had an ulterior motive: he complains that the competing products from Dresden had lowered the prices for the old Japanese porcelains which he hoped to auction to his advantage. He attempted to discredit the Saxon wares by saying that though they were fine looking they were not genuine porcelain, rather a kind of glass.

As it was the Parisian dealers Pierre Rémy and Jean-Baptiste Glomy could not avoid admitting, in 1756, that Saxon porcelains had achieved their share of connoisseurial attention by copying the unique older models. From being fakes they had become originals in their own right.

In Saxony they were very well aware of the success of their own products in Paris, then the leading European art market. When Augustus the Strong died in February 1733 an anonymous biographer praised the work of the royal porcelain manufactory using precisely the same wording used in the article in the Mercure de France published two years previously. He repeated the compliment that certain connoisseurs even preferred the Meissen copies to the East Asian originals and extrapolates from this that, under the wise governance of Augustus the Strong and to the astonishment of other nations, Saxony had outdone the Chinese Empire. This was precisely the core message of the then unfinished Japanese Palace. Begun in 1727, the original building having been massively extended to house the increasing royal collection of East Asian and Saxon porcelain. Augustus the Strong had originally planned to arrange his Far Eastern originals and accurate Meissen copies of them side by side in order to demonstrate the parity of the latter. He changed his mind in 1730 when thousands of copies of Japanese porcelains in the Kakiemon style were delivered to Hoym and Lemaire. Instead, he decided that the Saxon wares should be displayed separately from the East Asian pieces and then in the piano nobile where they could demonstrate their superiority even more effectively. It is not without significance that the copies made after Japanese Kakiemon originals destined for the central throne gallery were supposed to provide the final proof for the pre-eminence of Saxon porcelain. The great success of these wares in Paris obviously had an impact on local appreciation of this Saxon product.

Acknowledgments This article is based on research undertaken in preparation for a catalogue of Meissen porcelain with East Asian decoration in the Ernst Schneider Collection on display at Schloss Lustheim near Munich, a branch of the Bavarian National Museum.

The majority of relevant archival documents it uses were published in 1980 by the independent scholar Claus Boltz whom I cordially thank for his generous and obliging help. I have sought to bring a vast amount of material together – supplemented by some important extra pieces of evidence – as a coherent story and to set it in its wider context. This article summarizes my findings, which are dealt with in greater length and fully substantiated in the forthcoming Schneider catalogue. I would also like to thank Dr. Rachel King for reading and commenting on different versions of this paper (date of issue c. November 2012).

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Exhibitors at the Fair

51

Exhibitor Listing

Christopher Buck Antiques • E14 • page 63 56-60 Sandgate High Street, Sandgate, Folkestone, Kent CT20 3AP, UK T & F: +44 (0)8443 350845 M: +44 (0)7836 551515 www.christopherbuck.co.uk e: chris@christopherbuck.co.uk Christopher Buck, Jane Buck

Abbott and Holder Ltd • B32 • page 58 30 Museum Street (opposite the British Museum), London WC1A 1LH, UK T: +44 (0)20 7637 3981 F: +44 (0)20 7631 0575 www.abbottandholder.co.uk e: gallery@abbottandholder.co.uk Philip Athill, Tom Edwards, James McAuslan

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Galerie Couvrat Desvergnes • B23 • page 69 3 Quai Voltaire, 75007 Paris, France T: +33 1 40 15 02 89 F: +33 1 40 15 92 11 www.galeriecouvrat.com e: tadesvergnes@gmail.com

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Sandra Cronan Ltd • C23 • page 70 16 Albemarle Street, London W1S 4HW, UK T: +44 (0)20 7491 4851 www. sandracronan.com e: enquiries@sandracronan.com Sandra Cronan, Catherine Taylor, Catherine Edwards

European prints and drawings, 16th-19th century, caricature and satire a speciality Ellison Fine Art • D36 • page 76 By appointment, Beaconsfield, UK T: +44 (0)1494 678880 M: +44 (0)7720 317899 www.ellisonfineart.com e: claudia.hill@ellisonfineart.co.uk Claudia Hill

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Fine antiques portrait miniatures and silhouettes from the 16th through to the mid-19th century Ted Few • D4 • page 77 97 Drakefield Road, London SW17 8RS, UK T: +44 (0)20 8767 2314 Ted Few

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Dragesco – Cramoisan • F16 • page 74 13 rue de Beaune, 75007 Paris, France T: +33 (0)1 42 61 18 20 F: +33 (0)3 21 73 77 97 e: bdragesco@orange.fr Bernard Dragesco and Didier Cramoisan

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Exhibitor Listing

Heirloom & Howard • B3 • page 88 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

Anita Gray Oriental Works of Art • C3 • page 80 58 Davies Street, London W1K 5LP, UK T: +44 (0)20 7408 1638 M: +44 (0)7968 719431 F: +44 (0)20 7495 0707 www.chinese-porcelain.com e: info@chinese-porcelain.com Anita Gray, Anna Tebelius, Jan Anjou

Stephanie Hoppen Gallery • D12 • page 89 17 Walton Street, London SW3 2HX, UK T: +44 (0)20 7589 3678 F: +44 (0)20 7584 3731 www.stephaniehoppen.com e: info@stephaniehoppen.com Charlotte McInnes, Stephanie Hoppen, Anastasia Shelkovenko, Catherine DeRivaz

Oriental porcelain and works of art 16th to the 18th century, European porcelain and works of art 16th to the 18th century

Contemporary international art Grima • D34 • page 81 First Floor, 16 Albemarle Street, London W1S 4HW, UK T: +44 (0)7900 590123 www.grimajewellery.com e: info@grimajewellery.com Jojo Grima, Francesca Grima

J.A.N. Fine Art • B16 • page 90 134 Kensington Church Street, London W8 4BH, UK T: +44 (0)20 7792 0736 F: +44 (0)20 7221 1380 www.jan-fineart-london.com e: info@jan-fineart-london.com Mrs. Fusa Kiku Shimizu, Mr. Carl Ridley, Mrs. Kazue Umeki

Grima jewellery from the 60s and 70s up to today.

Specialises in Chinese, Korean and Japanese painting, porcelain and works of art, period covers over 2,000 years from B.C. to 20th century.

Hampton Antiques • B2 • page 82 35 Stoke Road, Ashton, Northants NN7 2JN, UK T: + 44 (0)1604 863979 www.hamptonantiques.co.uk e: info@hamptonantiques.co.uk

Jane Kahan Gallery • D17 • page 91 922 Madison Avenue, New York, NY 10021, USA T: +1 212 744 1490 F: +1 212 744 1598 www.janekahan.com e: janekahan@janekahan.com Jane Kahan

Treeb, boxes, tea caddies, silver, objects of virtue, glass, art deco, art nouveau Julian Hartnoll • B33 • page 83 37 Duke Street St. James’s, London SW1Y 6DF, UK T: +44 (0)20 7839 3842 M: +44 (0)777589 3842 www.julianhartnoll.com e: info@julianhartnoll.com Julian Hartnoll, Fiona Barry

20th century European and American Masters: paintings, prints, sculpture, ceramics, tapestries Daniela Kumpf Kunsthandel • E30 • page 92 Parkstraße 33, 65189 Wiesbaden, Germany T: +49 611 528 357 M: +49 172 611 4884 e: Daniela.Kumpf@t-online.de Daniela Kumpf, Claudia Clark

19th and 20th century paintings and drawings; works of curiosity and interest to the collector and specialist Brian Haughton Gallery • E26 • pages 84-87 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

18th, 19th and early 20th century ceramics Constantine Lindsay Ltd • C8 • page 93 405 Kings Road, Chelsea, London SW10 0BB, UK T: +44 (0)7967 738193 www.constantineart.com e: art@constantineart.com Constantine Lindsay

Brian Haughton started as a ceramics dealer in 1965, going on to found The International Ceramics Fair & Seminar in London in 1982 (now called Art Antiques London), as well as international fairs in New York. He specialises in the finest 18th and 19th century English and Continental porcelain and pottery and contributes to some of the world’s leading private collections.

He supplies museums. Catalogues are published annually.

20th century modern British & European paintings

54

Sanda Lipton • E2 • page 94 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 Sanda Lipton

Timothy Millett • A6 • page 100 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 Timothy Millett

Specialising in antique silver, early English spoons, historical and commemorative medals, objects of vertu and collectors’ items 16th – 17th centuries

Works of art and historical medals 1500 - 1900 Mark Mitchell Paintings & Drawings • B4 • page 101 17 Avery Row, Brook Street, London W1K 4BF, UK T: +44 (0)20 7493 8732 M: +44 (0)7876 033391 F: +44 (0)20 7409 7136 www.markmitchellpaintings.com e: mark@paulmitchell.co.uk Mark Mitchell, Mary Ross-Trevor, Paul Mitchell, Lynn Roberts

Lucas Rarities Ltd • A12 • page 95 Mayfair, London W1, UK T: +44 (0)20 7100 8881 M: +44 (0)7867 547965 F: +44 (0)20 7100 8882 www.lucasrarities.com e: info@lucasrarities.com Sam Loxton, Sophie Stevens, Francesca Martin-Gutierrez

19th–20th century mainly, with some contemporary British & Continental paintings, drawings and watercolours

Rare and exceptional pieces of antique jewellery and objets d’art from all periods, with particular emphasis on signed pieces from the Art Deco era until the 1970’s

Harry Moore-Gwyn • C6 • page 102 By appointment only 7 Phillimore Terrace, Allen Street, London W8 6BJ, UK T: +44 (0)20 7937 2131 M: +44 (0)7765 966256 www.mooregwynfineart.co.uk e: harry@mooregwynfineart.co.uk Harry Moore-Gwyn, Camilla Moore-Gwyn

Mackinnon Fine Furniture • C26 • page 96 5 Ryder Street, St James’s, London SW1Y 6PY, UK T: +44 (0)20 7839 5671 M: +44 (0)7725 332665 www.mackinnonfineart.com e: charlie@mackinnonfineart.com Charles Mackinnon

British paintings, drawings and watercolours from 1870 to the present day

Fine furniture, paintings and works of art Martin Murray • C18 • page 103 By appointment, London, UK T: +44 (0)20 8883 0755 M: +44 (0)7970 625359 www.martinmurraycountryantiques.co.uk e: sales@martinmurraycountryantiques.co.uk

E. & H. Manners • E32 • page 97 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 European ceramics of the 17th & 18th centuries

Nigel Norman • F14 • page 104 Stand 335/6 Grays Antiques, 58 Davies Street, London W1K 5LP T: +44 (0)20 7495 3066 M: +44 (0)7801 789316 www.nigelnorman.co.uk www.cufflinksofallperiods.co.uk e: jewels@nigelnorman.co.uk Alexandra Kennedy, David Sugarman

Martin Du Louvre • E22 • page 98 69 rue du Faubourg Saint Honoré, 75008 Paris, France T: +33 (0)1 40 17 06 89 M: +33 (0)68017 5101 F: +33 (0)1 40 17 08 10 www.martindulouvre.com e: martin.du.louvre@online.fr David Le Louarn

Fine Jewels of all periods, cufflinks a speciality, and all sporting items

Mathaf Gallery Ltd • D14 • page 99 By appointment, The Clock House, 48c Rutland Gate, London SW7 1PL, UK T: +44 (0)20 7584 2396 M: +44 (0)7785 250 953 www.mathafgallery.com e: art@mathafgallery.com Gina MacDermot, Brian MacDermot

Susan Ollemans Oriental Art • D8 • page 105 13 Georgian House, 10 Bury Street, London SW1Y 6AA, UK M: +44 (0)7775 566356 www.ollemans.com e: ollemans@tiscali.co.uk Susan Ollemans

Orientalist art 19th century and contemporary paintings of the Middle East

Mughal Jewellery and related articles

55

Exhibitor Listing

Robyn Robb • F20 • page 112 P.O. Box 66256, Ranelagh Gardens, London SW6 9DR, UK T & F: +44 (0)20 7731 2878 e: robynrobb@clara.co.uk Robyn Robb

Stephen Ongpin Fine Art • C34 • page 106 Riverwide House, 6 Mason’s Yard, Duke Street, St James’s, London SW1Y 6BU, UK T: +44 (0)20 7930 8813 M: +44 (0)7710 328627 F: +44 (0)20 7839 1504 www.stephenongpinfineart.com e: info@stephenongpinfineart.com Stephen Ongpin, Lara Smith-Bosanquet

18th century English porcelain J. Roger (Antiques) Ltd • B14 • page 113 By appointment only, London W14, UK T: +44 (0)20 7603 7627 M: +44 (0)7867 747521 e: jrogerantiques@btinternet.com Carolyn Bayley

Old masters, 19th century and 20th century works on paper.

European works of art.

Small, elegant pieces of 18th and early 19th century furniture, mirrors and decorative items

Guy Peppiatt Fine Art Ltd • C32 • page 107 Riverwide House, 6 Mason’s Yard, Duke Street, St. James’s, London SW1Y 6BU, UK T: +44 (0)20 7930 3839 M: +44 (0)7956 968284 F: +44 (0)20 7839 1504 www.peppiattfineart.co.uk e: guy@peppiattfineart.co.uk Guy Peppiatt, Lucy Peppiatt

Rountree Fine Art • B6 • page 114 118 Fulham Road, Chelsea, London SW3 6HU, UK T: +44 (0)20 7370 3939 F: +44 (0)5603 427562 www.rountreefineart.com e: info@rountreefineart.com Jamie Rountree,Illa Steen, Rowland Rhodes, Chantelle Rountree

18th and 19th century British drawings and watercolours

18th and 19th century British art, specialists in sporting and maritime paintings Christophe Perlès • F12 • pages 108-109 20 rue de Beaune, 75007 Paris, France T & F: +33 (0)1 4926 0324 www: cperles.com e: christopheperles@hotmail.com Christophe Perles

Rowntree Clark • E12 • page 115 By appointment, 27 Georgian House, 10 Bury Street, London SW11 5NR, UK T: +44 (0)7974 967406 www.rowntreeclark.com e: ed@rowntreeclark.com Edward Clark

Continental European ceramics, showing a selection of faience and porcelain from late the 15th to early 19th century.

20th century British art with particular emphasis to post-war abstraction

Potterton Books • E16 • page 110 The Old Rectory,Thirsk, North Yorkshire YO7 3LZ, UK T: +44 (0)1845 501218 F: +44 (0)1845 501439 www.pottertonbooks.co.uk e: ros@pottertonbooks.co.uk Mrs Clare Jameson

Samina Inc • D30 • page 116 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 e: saminainc@hotmail.com Rare, collectable Indian jewels. Indian and Islamic works of art

International booksellers of new and unusual out of print titles, specialising in architecture, design, interior decoration, antiques and the fine and decorative arts

Adrian Sassoon • E8 • page 117 By appointment only, 14 Rutland Gate, London SW7 1BB, UK T: +44 (0)20 7581 9888 M: +44 (0)7825 611888 / +44 (0)7770 321888 F: +44 (0)20 7823 8473 www.adriansassoon.com e: email@adriansassoon.com Adrian Sassoon, Alexa Gray, Kathleen Slater, Mark Piolet, Andrew Wicks, Angus McCrum

Paul Reeves • B26 • page 111 15 Gosditch Street, Cirencester, Gloucestershire GL7 2AG, UK T: +44 (0)1285 643917 www.paulreeveslondon.com e: paul@paulreeveslondon.com Furniture, textiles, metalwork, British ceramics 1850–1930

French 18th century porcelain, contemporary ceramics, glass and metalwork

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AAL Prelims and Listings 2012 11/05/2012 10:50 Page 57

The Silver Fund • B10 • page 124 T: +1 917 447 1911 (US) or +44 (0)7710 032453 (UK) www.thesilverfund.com e: michael@thesilverfund.com Michael James, Jason Laskey, Joshua Burcham

Sim Fine Art • E9 • page 118 By appointment, London, UK M: +44 (0)7919 356150 www.simfineart.com e: simfineart@btinternet.com Andrew Sim, Diane Sim Intriguing British pictures 1750-1950, drawings, watercolours and oils

Exceptional Georg Jensen and 20th century silver and specialists in the work of Jean Puiforicat and other great 20th century makers

Peta Smyth Antique Textiles • B17 • page 119 42 Moreton Street, Pimlico, London SW1V 2PB, UK T: +44 (0)20 7630 9898 M: +44 (0)7956 420194 F: +44 (0)20 7630 5398 www.petasmyth.com e: gallery@petasmyth.com Peta Smyth, Joseph Sullivan

Erik Thomsen • A16 • page 125 23 East 67th Street, New York, NY 10065, USA T: +1 212 288 2588 F: +1 212 535 6787 www.erikthomsen.com e: info@erikthomsen.com Erik Thomsen

European textiles, and textiles from further afield, intended for the European market, of the period spanning the 16th century to the 19th century.

Tapestries, needlework for the upholstery of antique furniture, silk brocades, damasks and velvets, crewelwork and other embroidery, appliquéd and printed textiles, cushions and passementerie.

Japanese fine art from the 14th to the early 20th century, specialising in screens, paintings, tea ceramics, gold lacquer and ikebaba baskets John Whitehead • E10 • page 126 By appointment, Third Floor, 207 Regent Street, London W1B 3HH, UK M: +44 (0)7736 067041 www: john-whitehead.co.uk e: john@john-whitehead.co.uk John Whitehead

John Spink Fine Watercolours • B22 • page 120 9 Richard Burbidge Mansions, 1 Brasenose Drive, Barnes SW13 8RB, UK T: +44 (0)20 8741 6152 M: +44 (0)7808 614168 www.johnspink.com e: john@johnspink.com John Spink

Mary Wise Antiques • A10 • page 127 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 Mary Wise, Stephen Wild, Patrick Jackson

British watercolours from the 18th and 19th century Stockspring Antiques • E24 • page 121 114 Kensington Church Street, London W8 4BH, UK T & F: +44 (0)20 7727 7995 M: +44 (0)7415 621767 www.antique-porcelain.co.uk e: stockspring@antique-porcelain.co.uk Antonia Agnew, Felicity Marno

We are primarily English porcelain dealers but also deal in some continental porcelain, small works of art and Chinese reverse glass and pith paper paintings 1740–1880

English and continental ceramics, 18th and early 19th centuries Strachan Fine Art • B24 • page 122 PO Box 50471, London W8 9DJ, UK T: +44 (0)20 7938 2622 M: +44 (0)7860 579126 F: +44 (0)20 7938 2622 www.strachanfineart.com e: enquiries@strachanfineart.com Russell Strachan, Régine Strachan Paintings (mainly portraits) from the16th to 20th century, drawings, medieval sculpture, 20th century British sculpture (bronze) Peter Szuhay • D32 • page 123 Grays, 58 Davies Street, London W1K 5LP, UK T: +44 (0)20 7408 0154 www.peterszuhay.com e: pgszuhay@aol.com Peter Szuhay European silver and works of art

57

30 Museum Street (opposite the British Museum), London WC1A 1LH, UK T: +44 (0)20 7637 3981 F: +44 (0)20 7631 0575 www.abbottandholder.co.uk e: gallery@abbottandholder.co.uk

Johann Albrecht Friedrich Rauscher (1754â&#x20AC;&#x201C;1808) Thuringian capriccio.

Circa 1800.

Gouache.

Original frame and glass.

22 x 30 inches (56 x 77 cm) One of a set of three.

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Abbott and Holder Ltd â&#x20AC;˘ B32

W. Agnew & Company Ltd • C24

Sir William Reid Dick, KCVO, R.A. (1879–1961) The Kelpie Circa 1914 Bronze Height: 11 inches (28 cm) Length: 11 inches (28 cm) The Kelpie was a supernatural water horse from Celtic mythology, that could transform itself into a beautiful woman.

Two other casts are recorded.

58 Englefield Road, London N1 4HA, UK M: +44 (0)7973 188 272 e: agnewsculpture@aol.com

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Bazaart • F18 15 Dawson Road, Cricklewood, London NW2 6UB, UK M: +44 (0)7710 461627 www.bazaart.co.uk e: justin@bazaart.co.uk

The Judgement of Solomon A maiolica charger depicting the biblical scene with a border of foliage and putti.

Attributed to Giacomo Gentili il vecchio, 1668–1713, Castelli.

Diameter: 15¾ inches (40 cm)

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Exhibited: The artist Nagai Tetsujirõ Kõzan of Tokyo exhibited at the Fifth National Industrial Exhibition in 1903.

Reference: - catalogue of objects "Tokyo Kokuritsu bunzakai kenky ujo", exhibited at the National Expositions-Tokyo 1996.

Laura Bordignon • B12

Kõzan Meiji Period 1868-1912 Ivory Height: 10¼ inches (26 cm) Width: 113⁄8 inches (29 cm) Depth: 9¼ (23.5 cm) Japanese Ivory Group of a Father with his children amused by their puppy looking at the owl, signed in a square reserve Kõzan on a wood base, late Meiji period

PO Box 6247, Finchingfield, Essex CM7 4ER, UK T: +44 (0)1371 811791 M: +44 (0)7778 787929 F: +44 (0)1371 811792 www.laurabordignon.co.uk e: laurabordignon@hotmail.com

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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 F: +44 (0)20 7839 3951 e: enquiries@bourdonsmith.co.uk

A magnificent Victorian silver-gilt cow creamer made in London in 1865 by George Fox. Length: 6¼ inches (16 cm) Height: 4¼ inches (11 cm) Weight: 204 gr (6.5 oz)

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Christopher Buck Antiques â&#x20AC;˘ E14

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56-60 Sandgate High Street, Sandgate, Folkestone, Kent CT20 3AP, UK T & F: +44 (0)8443 350845 M: +44 (0)7836 551515 www.christopherbuck.co.uk e: chris@christopherbuck.co.uk

An outstanding satinwood cylinder bureau attributed to Gillows of Lancaster.

Circa 1785 Height: 45 inches (114.3 cm) Width: 36 inches (91.4 cm) Depth: 20 inches (50.8 cm)

George Street, Kingsclere, Nr Newbury, Hampshire RG20 5NQ, UK T: +44 (0)1635 298855 M: +44 (0)7970 057789 www.jennaburlingham.com e: info@jennaburlingham.com

Jenna Burlingham Fine Art • A14

Edward Wolfe Still life with wine bottle Signed 1920 Oil on canvas 123⁄8 x 8¼ inches (31.8 x 21 cm) Provenance: Private collection, UK

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Peter Cameron â&#x20AC;˘ C2

An 18th century silver-gilt messengersâ&#x20AC;&#x2122; badge

42 Ponton Road, London SW8 5BA, UK T: +44 (0)7836 210759 e: peter.cameron@idnet.co.uk

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123 Kensington Church Street, London W8 7LP, UK T: +44 (0)20 7727 2205 M: +44 (0)7887 851626 F: +44 (0)20 7229 4252 www.lucybcampbell.com e: lucy@lucybcampbell.co.uk

Lucy B. Campbell Fine Art • E18 Manuel Lopez Herrera Papaver Rhoeas 2012 Signed lower right Oil on board 39½ x 39½ inches (100 x 100 cm)

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The Canon Gallery â&#x20AC;˘ E6

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Huntingdon, Cambridgeshire, UK T: +44 (0)1832 293206 M: +44 (0)7831 760511 www:thecanongallery.co.uk e: jeremygreen16@google.com

Jan Willem Van Borselen (1825â&#x20AC;&#x201C;1892) Dutch river landscape Oil on canvas Signed, in original frame 18 x 30 inches (45.7 x 76.2 cm)

Park Walk Gallery, 20 Park Walk, London SW10 0AQ, UK T: +44 (0)2073 510410 M: +44 (0)7768 824940 www.jonathancooper.co.uk e: mail@jonathancooper.co.uk

Michael J Austin Head IX Contemporary 2011 Signed Oil on canvas 54 x 34 inches (137 x 86.5 cm)

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Jonathan Cooper â&#x20AC;˘ B18

Galerie Couvrat Desvergnes â&#x20AC;˘ B23

69

3 Quai Voltaire, 75007 Paris, France T: +33 1 40 15 02 89 F: +33 1 40 15 92 11 www.galeriecouvrat.com e: tadesvergnes@gmail.com

A mirror designed and signed by Albert Cheuret (detail) Moonlight flight of a stork around a lake France, circa 1940 Silver bronze with an alabaster shade featuring the moon.

Lilly of the Valley brooch, set with diamonds, Cartier, Paris, circa 1935 Aquamarine, diamond and sapphire cocktail ring. Sterlé, Paris, circa 1950

16 Albemarle Street, London W1S 4HW, UK T: +44 (0)20 7491 4851 www.sandracronan.com e: enquiries@sandracronan.com

Sandra Cronan Ltd • C23

Twisted gold bracelet, pavé set with diamonds. Sterlé. Paris, circa 1940

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Darnley Fine Art • E4

Jean Raymond Hippolyte Lazerges French (1817–1887) Cafe scene Signed and dated: 1878 Oil on panel, 28½ x 22 inches (11.2 x 9.5 cm)

18 Milner Street, Chelsea, London SW3 2PU, UK T: +44 (0)20 8288 9094 www.darnleyfineart.com e: enquiries@darnleyfineart.com

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By appointment only, UK T & F: +44 (0)20 8290 1246 M: +44 (0)7930 134711 www. Japaneseprintauction.com e: japaneseprintauction@btclick.com

Overseas Sales Director, Mita Arts Gallery, Tokyo

Mary Deeming • D2

Hiroshige (1797–1858) Kambara (Night Snow) Circa 1833-34 Japanese woodblock print From the series: 53 Stations of the Tokaido Road, published by Hoeido

72

Delomosne & Son Ltd â&#x20AC;˘ D6

A fine and rare wineglass enamelled with the arms of John Thomas, later Bishop of Rochester, by William Beilby, the reverse with fruiting vine.

English, circa 1765 Glass and enamel Height: 6 inches (15.2 cm) This glass is one of only six known.

In 1762 Thomas was appointed Sub-almoner to the Archbishop of York, a position he held for four years. It is thought he commissioned these glasses within this period. He was made Bishop of Rochester in 1774.

Literature: For a companion glass see The Durrington Collection, Broadfield House Glass Museum 2006.

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

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Dragesco – Cramoisan • F16 13 rue de Beaune, 75007 Paris, France T: +33 (0)1 42 61 18 20 F: +33 (0) 3 21 73 77 97 e: bdragesco@orange.fr

Two views of the same rare Sèvres porcelain vase.

A gold medallist prize at the 1924 Paris Olympic Games.

This vase is decorated in the ‘pâtesur-pâte’ technique with the following sports: rugby football, soccer, rowing and diving. Surprisingly, the sports displayed on our vase are being performed naked, perhaps as a reference to the ancient Greek Olympic games.

Height: 13 inches (33 cm)

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Andrew Edmunds • B33

Circa 1815 Watercolour & black ink, signed lower centre 7½ x 8¼ inches (19 x 21 cm)

75

44 Lexington Street, London W1F 0LW, UK T: +44 (0)20 7437 8594 e: prints@andrewedmunds.com

Georg Emmanuel Opitz (1775–1841) A Restaurant Kitchen in the Palais Royal

By appointment, Beaconsfield, UK T: +44 (0)1494 678880 M: +44 (0)7720 317899 www.ellisonfineart.com e: claudia.hill@ellisonfineart.co.uk

Nicholas Dixon Circa 1665 Gouache on vellum 6½ x 4¾ inches (16.5 x 12 cm) A fine and important cabinet miniature of James II, when Duke of York

76

Ellison Fine Art • D36

Provenance: Walter Pach

Ted Few • D4

William Hunt Diederich (1884–1953) Pugilists Bronze, cast by “A.Kunst, Bronze Works, Astoria, L.I.N.Y.” Height: 11 inches (27.9 cm) Width: 15 inches (38.1 cm) Depth: 6½ inches (16.5 cm)

97 Drakefield Road, London SW17 8RS, UK T: +44 (0)20 8767 2314

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By appointment only M: +44 (0)7976 708913 www.freedmanantiques.com e: dandmfreedman@blueyonder.co.uk

A Chinese porcelain late Ming transitional ewer and cover.

Circa 1640 Height: 9½ inches (24 cm)

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D & M Freedman â&#x20AC;˘ B25

The Gilded Lily • C30

A diamond set jewellery suite consisting of a necklace, the ornament of which may be removed and worn as a brooch, a pair of convertible tassel earrings and a bracelet containing a concealed wristwatch revealed by activating the sprung diamond set cover.

Maker’s mark, RT and poinçons for 18ct gold and platinum Paris, circa 1955

London W1K 5LP, UK T: +44 (0)20 7499 6260 M: +44 (0)7740 428358 F: +44 (0)20 7499 6260 www: graysantiques.com e: jewellery@gilded-lily.co.uk

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58 Davies Street, London W1K 5LP, UK T: +44 (0)20 7408 1638 M: +44 (0)7968 719431 F: +44 (0)20 7495 0707 www.chinese-porcelain.com e: info@chinese-porcelain.com

Anita Gray Oriental Works of Art â&#x20AC;˘ C3

Kangxi period (1662â&#x20AC;&#x201C;1722)

At a desolate village, under rain and dew, you need to sleep early.

In a wild hostel, under wind and frost, you must get up late.

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Grima â&#x20AC;˘ D34

A pair of yellow gold, diamond and turquoise asymmetric earclips and a yellow gold, diamond and coral brooch.

By Francesca Grima for GRIMA

First Floor, 16 Albemarle Street, London W1S 4HW, UK T: +44 (0)7900 590123 www.grimajewellery.com e: info@grimajewellery.com

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Hampton Antiques â&#x20AC;˘ B2 35 Stoke Road, Ashton, Northants NN7 2JN, UK T: +44 (0)1604 863979 www.hamptonantiques.co.uk e: info@hamptonantiques.co.uk

The front has three hand-held mirrors with two further jewellery drawers which can only be accessed by pressing secret buttons. There is also an elaborate gilded removable vanity mirror to the top, two removable accoutrement pads which when removed reveal six equal compartments for jewellery. One of the highlights of this magnificent piece is its removable horseshoe shaped clock.

Silver Vanity box by Jenner & Knewstub makers to the Queen, St. James Street, London.

This splendid Vanity box is veneered in luxurious Coromandel with flush fitting carrying handles, all bound and inlaid with brass, containing sixteen silver gilt and hobnail jars all hallmarked William Neal, London 1870, and decorated with a turquoise & white pearl encrusted monogram.

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Julian Hartnoll • B33

Marie Spartali Stillman (1844–1927) By a Clear Well Signed and dated 1888 Watercolour and bodycolour 21¼ x 18½ inches (54 x 47 cm)

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

83

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

An extremely rare Bow model of a hen and her chick, naturalistically modelled and brightly coloured, on a rococo scrolled base with puce highlights.

Circa 1755 Height 4½ inches (11.5 cm)

84

Brian Haughton Gallery • E26

An extremely fine Vienna Du Paquier silver mounted tankard, painted with open cabbage roses and poppies together with a Goldfinch and other birds in flight.

Circa 1730.

Height: 6½ inches (16.5 cm)

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

Literature: Elizabeth Sturm-Bednarczyk, Claudius Innocentius du Paquier, Weiner Porzellan der Fruhzeit 1718-1744, p.111, no.126 for a tureen and cover painted with oriental flowers and similar small birds.

85

Brian Haughton Gallery â&#x20AC;˘ E26

Circa 1762 Height: 5 inches (12.5 cm) Marked with an open crescent mark and a seal mark in underglaze blue, one of the rarest patterns of this period probably from a single service.

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

An extremely unusual First Period Dr. Wall Worcester teapot and cover, painted in underglaze blue with fan shaped reserves depicting Chinese river scenes and circular floral sprigged panels on a very rare powder blue ground, gilt with delicate floral embellishments.

86

Brian Haughton Gallery • E26

An extremely rare and highly important ormolu mounted St. Cloud brûle-parfum and cover, the hexa-lobed melon shape pierced with stylised sun bursts and applied with flowering oriental plants, on a rockwork base and resting on its original 18th century finely tooled rococo scrolled ormolu base.

Circa 1730–1735 Height (including ormolu base): 8¾ inches (22 cm) Inspired by Japanese censers and Chinese Dehua blanc de chine porcelain. Oriental examples had reached the Dresden collection by 1721 and the forms were adapted and used by St. Cloud.

See B.Rondot, The St. Cloud Manufactory, p. 292.

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

87

Heirloom & Howard • B3 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

Fine Yongzheng plate with unique gold vine and diaper border, circa 1735. One of a pair with the arms of Hanbury with Osgood in pretence

He was a friend and banker to Lord Baltimore in Maryland, and also to Thomas Lee of Stratford Hall with whom, in 1747, he became one of the founding members of the Ohio Company of Virginia. In June 1758, the year before she married George Washington, a letter from Martha Dandridge Custis to John Hanbury & Company informs that she is sending 17 hogsheads of tobacco with the comment that ‘as it is now very scarce … I hope I shall get an uncommon Price’.

This exceptional service was made for the Quaker John Hanbury, who left Monmouthshire for London and established himself as a Virginia merchant in Tower Street in 1724, marrying Anna Osgood four years later.

He became the wealthiest and most influential tobacco merchant of his day, though attracted the disapproval of his Quaker friends for arming his ships and for permitting slavery on his American estates.

He played an important role in the development of the Chesapeake colonies, and influenced public appointments while defending the rights of Pennsylvania Quakers against taking the loyal oath.

Literature: Howard, David S.; Chinese Armorial Porcelain, Volume I 88

Stephanie Hoppen Gallery â&#x20AC;˘ D12

Christian de Laubadere Signed and dated 2011 on front Mixed media and antique fabric on canvas 60 x 28ž inches (152 x 73 cm) Produced by the artist in Shanghai for exhibition in London by Stephanie Hoppen Gallery

17 Walton Street, London SW3 2HX, UK T: +44 (0)20 7589 3678 F: +44 (0)20 7584 3731 www.stephaniehoppen.com e: info@stephaniehoppen.com

Exhibited: Dorchester Hotel, London, 28 May-18 June 1931, no. 384. The Loan exhibition held at Dorchester Hotel in 1931 coincided with the arrival of Sir Percival David, the renowned collector of Chinese porcelain who lived at the Dorchester Hotel with his collection when it opened in April 1931 until it was evacuated to the countryside during World War II.

The saucer moulded as a flower head delicately enamelled with a shepherd in a turquoise coloured coat seated beside rockwork tending three sheep, the deep beaker similarly enamelled and lightly moulded.

When the saucer is held up to the light the veins in the petals may be clearly seen. This idea being carried out in the under-glaze decoration.

It is a fine example of the Chinese Taste and unusual excellence, of particular rarity and very highly esteemed by Chinese collectors.

Literature: Dr. George C. Williamson, The Book of Famille Rose, published 1970, ill. p.50, plate XVI Provenance: Martin Hurst Collection, S. Marchant & Son

134 Kensington Church Street, London W8 4BH, UK T: +44 (0)20 7792 0736 F: +44 (0)20 7221 1380 www.jan-fineart-london.com e: info@jan-fineart-london.com

J.A.N. Fine Art • B16

Saucer diameter: 53⁄8 inches (13.5 cm) Beaker height: 3 inches (7.5 cm)

A famille rose semi-eggshell beaker and saucer Chinese, Yongzheng Period (1723–35), Jingdezhen

90

Jane Kahan Gallery • D17

Fernand Leger Les Constructeurs 1950/circa 1990s Aubusson tapestry 96½ x 69¼ inches (245 x 176 cm)

922 Madison Avenue, New York, NY 10021, USA T: +1 212 744 1490 F: +1 212 744 1598 www.janekahan.com e: janekahan@janekahan.com

91

Literature: Mechthild Landenberger, Alt Ludwigsburger Porzellan. Stuttgart 1959, pl. 17; Otto Wanner-Brandt, Album der Erzeugnisse der ehemaligen Württembergischen Manufaktur Alt-Ludwigsburg, Stuttgart, pl. 95.

Parkstraße 33, 65189 Wiesbaden, Germany T: +49 611 528 357 M: +49 172 611 4884 e: Daniela.Kumpf@t-online.de

Daniela Kumpf Kunsthandel • E30

A fine and rare Ludwigsburg rococo pastoral group

by Johann Christoph Haselmeyer Circa 1765 Height: 91⁄8 inches (23.3 cm)

92

Constantine Lindsay Ltd • C8

Georges d’Espagnat (1870–1950) Nude in an interior Oil on canvas 13¾ x 15 inches (46 x 38 cm) Provenance: Gallery Durand – Ruel, Avenue de Friedland, Paris, Exposition: G. d’Espagnat 15 March–21 May 1967 (No. 45)

405 Kings Road, Chelsea, London SW10 0BB, UK T: +44 (0)7967 738193 www.constantineart.com e: art@constantineart.com

93

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

Set of 6 William and Mary silver gilt engraved teaspoons by Jean Harache London, circa 1690

94

Sanda Lipton â&#x20AC;˘ E2

Provenance: Formerly the property of Millicent Rogers Balcom, the Standard Oil heiress.

Literature: Françoise Cailles, p.333, René Boivin Jewellery

Lucas Rarities Ltd • A12

Maison Boivin, the hippocamp brooch, circa 1939.

A unique fantasy brooch comprising emeralds, rubies and a fine natural light grey pearl pendant weighing approximately 100 grains.

The original design for this piece was executed in 1938.

Mayfair, London W1, UK T: +44 (0)20 7100 8881 M: +44 (0)7867 547965 F: +44 (0)20 7100 8882 www.lucasrarities.com e: info@lucasrarities.com

95

5 Ryder Street, St James’s, London SW1Y 6PY, UK T: +44 (0)20 7839 5671 M: +44 (0)7725 332665 www.mackinnonfineart.com e: charlie@mackinnonfineart.com

Mackinnon Fine Furniture • C26

A fine George II mahogany wing chair English, circa 1740

96

A Sèvres petit vert plateau tiroir à jours painted by Evans 1760–61 Width: 7 inches (18 cm)

A Meissen Seladon fond milk jug and cover Circa 1735 Height: 6¼ inches (16 cm)

E. & H. Manners • E32

A Capodimonte figure of a lady modelled by Guiseppe Gricci Circa 1750 Height: 5¾ inches (14.5 cm)

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

97

Martin Du Louvre • E22 69 rue du Faubourg Saint Honoré, 75008 Paris, France T: +33 (0)1 40 17 06 89 M: +33 (0)68017 5101 F: +33 (0)1 40 17 08 10 www.martindulouvre.com e: martin.du.louvre@online.fr

Georges Hugnet (1906–1974) French School Ondins (Objet-poème, 1955) Cardboard, glass, stone, dried algae, oil, paint, ink.

21⁄8 x 7¾ x 87⁄8 inches (5.5 x 19.5 x 22.5 cm) Monogrammed and dated on lower right: GH 55

Provenance: Private collection of the artist’s widow, Myrtille Hugnet Exhibitions: Galerie de l’Institut, 6, rue de Seine, Paris. Georges Hugnet – Cailloux, Ecorces, Bois Flotté, Bois Blanc. February 22 – March 12, 1957. (N° 87 of the catalogue); Schirn Kunsthalle, Frankfurt, Germany, Surreale Dinge. February 10 – May 29 2011 (full page color reproduction. p. 151); Mjellby Konstmuseum, Halmstad, Sweden, Surrealistika Ting, June 1 – October 17 2012.

98

Mathaf Gallery Ltd • D14

Provenance: Private Collection, Belgium 99

By appointment, The Clock House, 48c Rutland Gate, London SW7 1PL, UK T: +44 (0)20 7584 2396 M: +44 (0)7785 250953 www.mathafgallery.com e: art@mathafgallery.com

Jan-Baptist Huysmans (1826–1906) Visite de la Marchande Signed J Bt Huysmans (lower right) Oil on panel 23 x 31 inches (60 x 80 cm) Framed size: 30½ x 38½ inches (77 x 97.5 cm)

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

Queen Victoria Coronation, gold and enamel brooch Circa 1838 After R. J. Lane

100

Historic Medals & Works of Art

Timothy Millett â&#x20AC;˘ A6

101

17 Avery Row, Brook Street, London W1K 4BF, UK T: +44 (0)20 7493 8732 M: +44 (0)7876 033391 F: +44 (0)20 7409 7136 www.markmitchellpaintings.com e: mark@paulmitchell.co.uk

Reproduction French circa late 19th avant garde Artist’s frame, laurel leaf moulding, water gilded Overall framed size 40¼ x 40¼ inches (102.2 x 102.2 cm)

Mark Mitchell • B4

Paintings & Drawings

Josef Kopf (1873–1953) Still life with blue-&-white porcelain Signed Jos Köpf Oil on canvas 31½ x 31½ inhes (80 x 80 cm)7

By appontment only, 7 Phillimore Terrace, Allen Street, London W8 6BJ, UK T: +44 (0)20 7937 2131 M: +44 (0)7765 966256 www.mooregwynfineart.co.uk e: harry@mooregwynfineart.co.uk

Reginald Brill (1902–1974) The Fruit and Vegetable Stall Signed, Reginald Brill Oil on board 25 x 32 inches (63.5 x 81.3 cm)

102

Harry Moore-Gwyn • C6

Martin Murray â&#x20AC;˘ C18

103

By appointment, London, UK T: +44 (0)20 8883 0755 M: +44 (0)7970 625359 www.martinmurraycountryantiques.co.uk e: sales@martinmurraycountryantiques.co.uk

A fine mid 18th century cricket table with a single piece Elm top, unusually deep shaped frieze, and silhouette cabriole legs in cherry wood.

English, East Anglia, circa 1740 Height: 26 inches (66 cm) Width: 20½ inches (52 cm)

Nigel Norman • F14

Cabochon ruby and diamond ring French, circa 1950

Aquamarine ring.

Triangular Diamond shoulders Circa 1950

Gold, diamond, enamel earrings Tiffany & Co. Circa 1960 Sapphire and diamond Royal Thames Yacht Club Brooch

Stand 335/6 Grays Antiques, 58 Davies Street, London W1K 5LP T: +44 (0)20 7495 3066 M: +44 (0)7801 789316 www.nigelnorman.co.uk www.cufflinksofallperiods.co.uk e: jewels@nigelnorman.co.uk

Ruby and diamond Royal Yacht Squadron Brooch Natural pearl and diamond pendant Circa 1890

Lapis and Gold Ring Kutchinsky Circa 1960

Platinum mounted diamond bow brooch French, circa 1925

Pair diamond baguette and marquise fan earrings Circa 1960’s Pair gold and painted crystal game bird cufflinks Austrian, circa 1900

Gold and diamond whorl brooch Boucheron of Paris Circa 1950

104

Susan Ollemans Oriental Art â&#x20AC;˘ D8

A fine bazuband (armband) slightly curved with a raised central medallion in the form of a curled tiger with delicately enameled black stripes. Around the central medallion is a row of rose-cut diamonds set against a background of striking red enamel. The reverse has enamel work in the form of a large central flower set in green foliage and surrounded by a band of navy blue and green enamel, in turn surrounded by flowers.

North India Rajasthan 19th century 2 x 1½ inches (6 x 4 cm)

13 Georgian House, 10 Bury Street, London SW1Y 6AA, UK M: +44 (0)7775 566356 www.ollemans.com e: ollemans@tiscali.co.uk

105

Stephen Ongpin Fine Art • C34 Riverwide House, 6 Mason’s Yard, Duke Street, St James’s, London SW1Y 6BU, UK T: +44 (0)20 7930 8813 M: +44 (0)7710 328627 F: +44 (0)20 7839 1504 www.stephenongpinfineart.com e: info@stephenongpinfineart.com

John Martin (Haydon Bridge 1789–1854 Douglas) The Annunciation to the Shepherds Watercolour, heightened with bodycolour and gum arabic and scratching out Signed and dated J. Martin 1833 in brown ink at the lower left.

71⁄8 x 51⁄8 inches (18.1 x 13 cm)

106

Literature: A.P. Oppé, Francis Towne, Landscape Painter’, Walpole Society, vol. VIII, 1919-20, pp. 95-126, p.107; Adrian Bury, Francis Towne, 1962, pp. 71, 95 and 140, pl. XXXVI Exhibited: York City Art Gallery, Watercolours by Francis Towne, 1950, no. 1.

107

Riverwide House, 6 Mason’s Yard, Duke Street, St. James’s, London SW1Y 6BU, UK T: +44 (0)20 7930 3839 M: +44 (0)7956 968284 F: +44 (0)20 7839 1504 www.peppiattfineart.co.uk e: guy@peppiattfineart.co.uk

Provenance: James White; Merivale Family; Mrs Solly 1944; With Thos. Agnew; Sir William Worsley of Hovingham Hall; Anonymous sale, Christie’s, 9th November 1999, lot 74; Private collection, London until 2011

Guy Peppiatt Fine Art Ltd • C32

Francis Towne (1740–1816) Ludlow Castle, Shropshire Signed lower left: F. Towne/delt. 1777/no 46 and inscribed verso: a view of Ludlow Castle, Shropshire./ Drawn on the spot/ by/Francis Towne July 21st 1777 Pen and grey ink and watercolour on five sheets of paper joined on original washline mount 11¾ x 22¼ inches (30 x 57 cm)

20 rue de Beaune, 75007 Paris, France T & F: +33 (0)1 49 26 03 24 www.cperles.com e: christopheperles@hotmail.com

Collection of Delft faïence, end of 17th century

108

Christophe Perlès • F12

Christophe Perlès • F12

109

20 rue de Beaune, 75007 Paris, France T & F: +33 (0)1 49 26 03 24 www.cperles.com e: christopheperles@hotmail.com

Highly important garniture attributed to Plaue an der Havel Circa 1712–1715

The Old Rectory,Thirsk, North Yorkshire YO7 3LZ, UK T: +44 (0)1845 501218 F: +44 (0)1845 501439 www.pottertonbooks.co.uk e: ros@pottertonbooks.co.uk

20th Century Pewter Art Nouveau to Modernism by Paul Carter Robinson

110

Potterton Books â&#x20AC;˘ E16

Paul Reeves â&#x20AC;˘ B26

A silver and glass snuff bottle, designed by William Burges, made by Jes Barkentin Makerâ&#x20AC;&#x2122;s mark London, 1875 A closely related snuff bottle designed by William Burges for his own use is in the collection of Birmingham Museum and Art Gallery (Accession Number: 1998M7)

15 Gosditch Street, Cirencester, Gloucestershire GL7 2AG, UK T: +44 (0)1285 643917 www.paulreeveslondon.com e: paul@paulreeveslondon.com

111

Robyn Robb â&#x20AC;˘ F20 PO Box 66256, Ranelagh Gardens, London SW6 9DR, UK T & F: +44 (0)20 7731 2878 e: robynrobb@clara.co.uk

An extremely rare Worcester coffee cup and saucer painted in the Giles workshop with reserved panels of exotic birds and fruit on a claret ground gilded with fine ciselee gilding.

Circa 1770 This appears to be the only coffee cup recorded with this type of decoration.

112

J. Roger (Antiques) Ltd â&#x20AC;˘ B14

An elegant George lll satinwood oval Pembroke table crossbanded in kingswood with a rosewood panel to the top. Rare small size Sheraton period, circa 1790 Height: 20 inches (51 cm) Width: 31 inches (79 cm) Length: 28 inches (72 cm)

By Appointment only, London W14, UK T: +44 (0)20 7603 7627 M: +44 (0)7867 747521 e: jrogerantiques@btinternet.com

113

118 Fulham Road, Chelsea, London SW3 6HU, UK T: +44 (0)20 7370 3939 F: +44 (0)5603 427562 www.rountreefineart.com e: info@rountreefineart.com

Peter Monamy (1681–1749) Evening gun Oil on canvas Signed (indistinctly lower left) 17¾ x 16¾ inches (45.1 x 42.5 cm)

114

Rountree Fine Art • B6

Rowntree Clark • E12

Robyn Denny (b. 1930) Painting. June. 1958 Signed and dated lower right: Denny ’58 Oil on board 72 x 48¾ inches (183 x 122 cm)

By Appointment, 27 Georgian House, 10 Bury Street, London SW11 5NR, UK T: +44 (0)797 4967406 www.rowntreeclark.com e: ed@rowntreeclark.com

This is an outstanding example of Robyn Denny’s early ‘gestural’ painting that epitomises the dynamism of the times that Denny would come to represent through his art in the late 1950’s. It dates from the short period after he shared studio with Richard Smith at the Royal College of Art producing a series of wonderful colourful gestural abstractions that epitomised the ‘new generation’ of artists which was developing as the Sixties dawned. Painting June 1958 displays the bold, non-referential marks of American Abstract Expressionism, which had been shown in London for the first time in 1956. It is just before Denny would develop what would be the beginning of his mature style that he would go on to exhibit at the exhibitions ‘Place’ in 1959, and then more so in the seminal ‘Situation’ in 1960.

Provenance: Gimpel Fils, London 1958; where purchased by Mr. Anderson, Texas; Private Collection, Houston; from whom acquired by the present owner Exhibitions: Gimpel Fils, London, July 1958

115

Samina Inc • D30

Pendant Mughal, North India 17th century Carved from nephrite jade (light, uniform grey, translucent); inlaid with gold in kundan technique and set with diamonds; the back engraved with poppy motif; the loops fabricated from gold; with pendant spinel bead.

The pendant is suspended from a string of fifty-six natural Basra pearls.

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 e: saminainc@hotmail.com

Overall height: 2½ inches (6.5 cm) Height excluding gold bail and pendant spinel: 13⁄8 inches (3.5 cm) Width: 13⁄8 inches (3.5 cm)

116

Adrian Sassoon • E8

Sèvres Porcelain Circa 1782–1785 Sugarbowl height: 3 5⁄8 inches (9.4 cm) Teapot height: 4 3⁄8 inches (11.2 cm) From a tea service decorated with so-called ‘Etruscan Figures’ in flat gilding over a dark blue ground

By appointment only, 14 Rutland Gate, London SW7 1BB, UK T: +44 (0)20 7581 9888 M: +44 (0)7825 611888 / +44 (0)7770 321888 F: +44 (0)20 7823 8473 www.adriansassoon.com e: email@adriansassoon.com

117

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

Evelyn Dunbar R.W.S., N.E.A.C., A.R.C.A. (1906–1960) April 1938 Pen and ink

118

Sim Fine Art • E9

Peta Smyth Antique Textiles • B17

One of a pair of French needlework panels Circa 1720–1730 Each panel 45 x 30½ inches (114 x 77 cm)

42 Moreton Street, Pimlico, London SW1V 2PB, UK T: +44 (0)20 7630 9898 M: +44 (0)7956 420194 F: +44 (0)20 7630 5398 www.petasmyth.com e: gallery@petasmyth.com

119

9 Richard Burbidge Mansions, 1 Brasenose Drive, Barnes SW13 8RB, UK T: +44 (0)20 8741 6152 M: +44 (0)7808 614168 www.johnspink.com e: john@johnspink.com

John Spink Fine Watercolours • B22

Samuel Owen (1768–1852) Boats in Calm Signed and dated 1805 Watercolour 6¼ x 12½ inches (16 x 32 cm)

Provenance: Bostock collection

120

Stockspring Antiques • E24 This rare pair of Chelsea casters is of closely similar form and decoration to the Mecklenburg service given by Queen Charlotte to her brother Adolphus Frederick IV, Duke of Mecklenburg-Strelitz, in 1763. The following year a second service was sold by James Christie at the Exhibition Rooms, Spring Gardens. It was exhibited by the purchaser Mr Williams who advertised in March 1764, ‘That magnificent and extensive Chelsea Table and Dessert service of the rare and curious Mazarine Blue and Gold, the same as the Royal Pattern which sold for £1150…Mr Williams is willing to oblige the Curious with a Sight of it gratis, before it is sent abroad, as they may never have an opportunity of seeing the like again’ (J. E. Nightingale, Contributions Towards the History of English Porcelain, pg. XXV).

In all probability, the pair of casters exhibited here is from this second service.

121

114 Kensington Church Street, London W8 4BH, UK T & F: +44 (0)20 7727 7995 M: +44 (0)7415 621767 www.antique-porcelain.co.uk e: stockspring@antique-porcelain.co.uk

A pair of Chelsea porcelain casters, circa 1764 Height: 7½ inches (19 cm) Gold anchor mark

Strachan Fine Art • B24 PO Box 50471, London W8 9DJ, UK T: +44 (0)20 7938 2622 M: +44 (0)7860 579126 F: +44 (0)20 7938 2622 www.strachanfineart.com e: enquiries@strachanfineart.com

Thomas Frye (1710–1762) Portrait of Miss Janet Gordon (1740–1779) later Mrs. John Hibbert Circa 1750–52 Oil on canvas 47¾ x 36¼ inches (121 x 92 cm) Provenance: By family descent to Captain J. H. W. Hibbert (1805–1875); Major P. E. Tichborne Hibbert J. P.

122

Peter Szuhay â&#x20AC;˘ D32

Small silver gilt cup and cover by Marx Merzenbach, in the shape of a pear, sitting on top of a branch with leaves also in silver, cold painted green.

Augsburg, Germany, circa 1660 Height: 6ž inches (17 cm)

Grays, 58 Davies Street, London W1K 5LP, UK T: +44 (0)20 7408 0154 www.peterszuhay.com e: peter@peterszuhay.com

123

T: +1 917 447 1911 (US) or +44 (0)7710 032453 (UK) www.thesilverfund.com e: michael@thesilverfund.com

Very Rare Jean Puiforcat Mexico Tea and Coffee Set on Tray Sterling silver with green onyx handles.

Mexico, Circa 1943

124

The Silver Fund â&#x20AC;˘ B10

Erik Thomsen • A16

Seals: 1: Seventy-seven year old Kampo 2: Artist name Tatsuan

125

23 East 67th Street, New York, NY 10065, USA T: +1 212 288 2588 F: +1 212 535 6787 www.erikthomsen.com e: info@erikthomsen.com

Signature: Kampo

Araki Kampo (1831–1915) Peacock Pair by Cliffs Meiji period (1868–1912), dated 1907 76¾ × 75¾ inches (195 x 192.4 cm) Oversized two-panel folding screen Ink, colors, gold and gold-leaf on silk

By appointment, Third Floor, 207 Regent Street, London W1B 3HH, UK M: +44 (0)7736 067041 www.john-whitehead.co.uk e: john@john-whitehead.co.uk

John Whitehead â&#x20AC;˘ E10

Villeroy figure of a seated boy with a rabbit slung over his shoulder.

Circa 1740 Height: 4 inches (10.4 cm)

126

Birds were an important part of the Bow factory’s figural output and the great variety of models included pairs of parrots, pheasants, buntings and finches. The charm of these was derived from their ‘fanciful interpretation’. Several models of buntings were issued, sometimes they appear in figural groups known as ‘birds in branches’

Literature: Chelsea and other English porcelain, The collection of Irwin Untermyer, text by Yvonne Hackenbroch, fig. 258 plate 87; Patricia Begg and Barry Taylor, A Treasury of Bow, p.69 plate 204; Peter Bradshaw, Bow porcelain figures, p.161 plate 177

Mary Wise Antiques • A10

An unusual pair of Bow buntings Circa 1756–8 Height: 2¾ / 4 inches (7cm / 10cm)

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

127

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English and European Ceramics and Glass Tuesday 2nd October 2012 Entries are now being accepted for this sale.

A Bow model of a sphinx, possibly a likeness of Margaret ‘Peg’ Woffington, c.1750-52.

Estimate: £1,500-2,000

ENQUIRIES Clare Durham Tel: 01722 424 507 claredurham@woolleyandwallis.co.uk Woolley & Wallis Salisbury Salerooms 51-61 Castle Street Salisbury Wiltshire SP1 3SU

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Holding successful sales of ceramics since 1759 Now accepting entries for our Autumn season Please contact: Geoffrey Stafford Charles gscharles@dnfa.com Dreweatts Donnington Priory Newbury, Berkshire RG14 2JE t +44 (0) 1635 553 553 f +44 (0) 1635 553 599 donnington@dnfa.com www.dnfa.com/donnington A pair of English delft polychrome chinoiserie tile panels, circa 1760 Provenance: Privately sourced near Bath Sold for £7,000 (Jan 2012)

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Van Gogh and English stained glass Toulouse-Lautrec in Catford: two cycling posters Detection in Juan Gris’s ‘The table’ Paul Klee’s ‘Small harbour scene’ recovered The ‘Nameless Exhibition’, London 1921 Paolozzi in America Postmodern acquisitions at the V. & A. Art History Reviewed XV: Rosalind Krauss Sir Denis Mahon (1910–2011)

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UN VENDREDI SUR DEUX | NumĂŠro 355 | Du 21 octobre au 3 novembre 2011

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NEW YORK Frieze New York daily edition of The Art Newspaper

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IL GIORNALE DELLâ&#x20AC;&#x2122;ARTE

ILGIORNALE DELLâ&#x20AC;&#x2122;ARTE

UMBERTO ALLEMANDI & C. TORINO~LONDRA~VENEZIA~NEW YORK MENSILE DI INFORMAZIONE, CULTURA, ECONOMIA ANNO XXIX N. 314 NOVEMBRE 2011 EURO 10,00

Arte povera: di spirito Rapporto: Il patrimonio è una gli sponsor macchina infernale salveranno Stop ad Abu Dhabi la cultura Chi autenticherà Warhol? in Italia?

Lâ&#x20AC;&#x2122;Islam al Met Arte e cinema Il primo amore di Rauschenberg I custodi dei musei

Venezia

Biennale Barattata Galanteria senza senso 23 a 23: 23 contro e 23 a favore è un punteggio da rugby. Ă&#x2C6; il punteggio della Commissione Cultura della Camera sulla nomina proposta dal ministro Galan di Giulio Malgara quale successore di Paolo Baratta alla Presidenza della Biennale di Venezia. Successione per scadenza, ma rinnovabile. Il parere della Commissione parlamentare è consultivo, non vincolante. La paritĂ di voti non è una condanna, ma non è unâ&#x20AC;&#x2122;approvazione. Se da una consultazione si deve trarre un significato, questo non è certo un via libera.

Una delle critiche piÚ frequenti verso il nostro Paese è che spesso affidiamo cariche di responsabilità a persone incompetenti. Questo dimostra la piÚ totale indifferenza per il bene pubblico rappresentato dalle Istituzioni interessate.

Le ragioni sono le piĂš diverse (è una storia vecchia come il mondo). La principale è politica e consiste nella nomina di persone fidate o amiche, benchĂŠ prive di esperienza o preparazione, perchĂŠ lâ&#x20AC;&#x2122;unica aspettativa è che esse siano affidabili e disciplinate. Numerose sono anche le nomine fatte a compenso di qualche debito o per acquisire un credito o per tacitare testimonianze imbarazzanti o per fare dispetto a qualche rivale eccetera eccetera. Un caso frequente CONTINUA A P. 4, V COL.

VENEZIA.

Si è concluso con un pareggio (23 sĂŹ e 23 no), lo scorso 26 ottobre, il voto alla Commissione Cultura della Camera che avrebbe dovuto ratificare la designazione di Giulio Malgara quale nuovo presidente della Biennale di Venezia, proposto dal ministro Galan. Per il regolamento della Camera un pareggio significa voto contrario. Ma dal momento che il voto delle Commissioni è consultivo, il risultato non ha impedito a Galan di cantare vittoria. ÂŤMolto soddisfatto del voto, si è, infatti, dichiarato il ministro: ÂŤNeppure se avessi proposto Leonardo da Vinci, lâ&#x20AC;&#x2122;esito sarebbe stato diverso, data la composizione della Commis-

sione della CameraÂť. Avanti, dunque, con la nomina di Malgara, che da parte sua non si dimostra turbato per questo stop.

La novitĂ politicamente piĂš rilevante viene dalla Lega, che si allinea alle decisioni del ministro, attenuando in tal modo il sostegno dichiarato, da parte del governatore del Veneto Luca Zaia, al presidente uscente, Paolo Baratta A Galan ha replicato a stretto giro di posta Giorgio Orsoni, sindaco di Venezia e vicepresidente di diritto della Biennale. ÂŤUn voto che sa di bocciatura, non solo di un nome, ma anche di un modello di politica culturale dellâ&#x20AC;&#x2122;enteÂť. Orsoni aveva giĂ bollato il candida-

Il tallone di Achille di A.B.O. di A.B.O.

to Malgara come inadeguato e non è certo un mistero il suo appoggio a Baratta. Il sindaco aveva anche chiesto di essere ricevuto in udienza alla Commissione, ma la presidente Angela Aprea (Pdl) si era opposta. Sembra, invece, che sarà ricevuto dalla Commissione Cultura del Senato, dove la nomina di Malgara sarà discussa dopo la metà di novembre. Anche in questo caso si tratta di un parere obbligatorio, ma non vincolante.

Paolo Baratta non ha rilasciato dichiarazioni, pago di incassare il successo di 4mila firme (al 27 ottobre) allâ&#x20AC;&#x2122;appello lanciato dal giornale ÂŤLa Nuova VeneziaÂť per la sua riconferma. Con no-

Page 4

Paris, capitale des expositions

Page 3

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mi autorevoli come quelli di Salvatore Settis, Alberto Arbasino, del rettore dello Iuav Amerigo Restucci, dei direttori della Tate Gallery, del MoMA e della Neue Pinakothek di Monaco. Oltre che del sostegno della cittĂ , fatte rare eccezioni, come il rettore di Caâ&#x20AC;&#x2122; Foscari Carlo Carraro e lâ&#x20AC;&#x2122;editore Cesare De Michelis, che si sono pronunciati a favore di Malgara.

Questo tormentone sul rinnovo delle cariche non rappresenta certo una novitĂ per lâ&#x20AC;&#x2122;ente veneziano. Da sempre le vicende della Biennale riflettono gli equilibri politici governativi o delle istituzioni locali, come è successo per questâ&#x20AC;&#x2122;ultimo quaCONTINUA A P. 4, I COL.

Governo animalista

Da bagnini ad alpinisti ÂŤBagnino, spazzami lâ&#x20AC;&#x2122;onda!Âť, intimava Totò nel suo celebre film ÂŤLâ&#x20AC;&#x2122;imperatore di CapriÂť. E lui (inteso come categoria dei semigiovani maggiordomi della critica) ha spazzato. Ha raschiato questa estate il fondo del barile del sistema dellâ&#x20AC;&#x2122;arte, girovagando per pescherie, conventi, ville e villini, per soddisfare la sensibilitĂ a ore di un diffuso popolo di bagnanti che la sera circola nelle piazzette dei diversi siti estivi cercando uno svago gratuito. Ă&#x2C6; mai possibile che in un Paese come il nostro, declassato da Aa2 a A2 da Moodyâ&#x20AC;&#x2122;s, non si possa chiedere disciplina e pudore, intelligenza e spirito selettivo alle istituzioni pubbliche e ai bamboccioni, indecisi a tutto, pronti a spazzare lâ&#x20AC;&#x2122;onda dellâ&#x20AC;&#x2122;arte fino al bagnasciuga.

Prevedo per la stagione invernale la loro trasformazione da bagnini ad alpinisti dello sguardo, scalare il Terminillo o Roccaraso, piccole stazioni sciistiche, e proporre mostre di sculture di neve fatte sul posto per artisti al di sotto dei dieci anni. Tanto alla fine non rimane niente, tutto si squaglia, tranne la nostra memoria e la vergogna di tanto spettacolo.

In Cina le ingerenze della politica nellâ&#x20AC;&#x2122;attivitĂ dei musei possono assumere molteplici forme. In questâ&#x20AC;&#x2122;opera di Zhang Huan (ÂŤConfucio n. 6Âť), realizzata per la riapertura del Rockbund Art Museum di Shanghai lo scorso mese, Confucio è ÂŤnecessariamenteÂť senza scimmie perchĂŠ il Governo non ha concesso la possibilitĂ di utilizzare nove animali vivi, previsti dallâ&#x20AC;&#x2122;artista come parte dellâ&#x20AC;&#x2122;installazione come simbolo dellâ&#x20AC;&#x2122;umanitĂ ai suoi primordi.

Philippe BĂŠlaval commente lâ&#x20AC;&#x2122;action de la direction gĂŠnĂŠrale des Patrimoines quâ&#x20AC;&#x2122;il pilote depuis bientĂ´t deux ans

Page 25

SPEDIZIONE IN A.P. - D.L. 353/2003 (CONV. IN L. 27/02/2004 N° 46) ART. 1, COMMA 1, DCB TORINO MENSILE N. 10 - NOVEMBRE 2011 1-24 Notizie 25-39 Mostre 40-45 Opinioni 46-48 Documenti 49-52 Musei 53-57 Libri

58-61 62-65 66-68 69-73 74-78 79-88

Archeologia Restauro Fotografia Antiquari Gallerie Economia

Contro la conferma di Baratta alla presidenza il ministro Galan oppone il manager Malgara, benemerito di Mediaset. Si rinnova cosĂŹ la tradizione di nomine personalistiche, soggette a tutti i cambi di Governo

$-31$3($-

La conseillère dâ&#x20AC;&#x2122;Ă&#x2030;tat Catherine Chadelat prend la prĂŠsidence du Conseil des ventes volontaires, dont elle est membre depuis 2005

Page 35

Contiene ÂŤIl Giornale degli SponsorÂť e la rivista

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NommĂŠ directeur du British Museum Ă Londres en 2002, Neil MacGregor a ouvert lâ&#x20AC;&#x2122;institution sur lâ&#x20AC;&#x2122;extĂŠrieur comme nul autre avant lui

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IL GIORNALE DELLâ&#x20AC;&#x2122;ARTE

LONDON The Art Newspaper founded 1990 www.theartnewspaper.com contains Whatâ&#x20AC;&#x2122;s On The Year Ahead plus Frieze London daily edition of The Art Newspaper

TURIN Il Giornale dellâ&#x20AC;&#x2122; Architettura founded 2002 www.ilgiornaledellarchitettura.com

TURIN Il Giornale dellâ&#x20AC;&#x2122;Arte founded 1983 www.ilgiornaledellarte.com contains Vernissage Il Giornale delle Mostre Specialist reports

contains Il Magazine dellâ&#x20AC;&#x2122; Architettura Specialist reports

Allertate 188 polizie, ma senza fotografie chi riconoscerĂ i pezzi?

TRIPOLI. Lâ&#x20AC;&#x2122;Interpol ha allertato 188 diverse polizie internazionali per il furto del cosiddetto Tesoro di Bengasi sottratto dal sotterraneo di una banca della cittĂ il 25 maggio, tre mesi dopo la conquista della capitale da parte dei ribelli, e allâ&#x20AC;&#x2122;epoca passato quasi inosservato. Il tesoro trafugato, che comprendeva ori greci e romani, era conservato allâ&#x20AC;&#x2122;interno di una cassaforte e di due bauli militari della seconda guerra mondiale chiusi con lucchetto.

Non è mai stato esposto in Libia e la sua esistenza era stata praticamente dimenticata, da tutti fuorchÊ dagli archeologi.

Francesco Bandarin, responsabile per la Cultura dellâ&#x20AC;&#x2122;Unesco, che lavora con gli archeologi libici, è determinato a dare la caccia al tesoro scomparso. Le notizie su di esso sono scarse, ma esistono nuovi eleCONTINUA A P. 6, IV COL.

VENICE Biennale guide Vedere a Venezia

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MIAMI Art Basel Miami Beach daily edition of The Art Newspaper

Georg Baselitz, Volk Ding Zero (Peuple Chose ZĂŠro), 2009, cèdre, peinture Ă lâ&#x20AC;&#x2122;huile,

+DÂąQ@OONQSÂąPTDÂąKÂ&#x192;(MRODBSHNMÂąFĂ&#x17D;MĂ&#x17D;Q@KDÂąCDRÂą@EE@HQDRÂąBTKST clous, 308 x 120 x 125 cm, QDKKDRÂąUHDMSÂąCDÂąQDLDSSQDÂą@TÂąLHMHRSĂ?QDÂąCDÂąK@Âą"TKSTQDÂą collection particulière.

SĂ&#x17D;LNHFMDÂąCTÂąBKHL@SÂąRNBH@KÂąCĂ&#x17D;KĂ&#x17D;SĂ?QDÂąPTHÂąQĂ?FMDÂą@TÂą"DMSQDÂą Courtesy galerie Thaddaeus Ropac, Paris.

CDR¹LNMTLDMSR¹M@SHNM@TW ¹(K¹ONHMSD¹CT¹CNHFS¹KD¹L@M@ Š Photo : Jochen Littkemann.

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MOSCOW The Art Newspaper Russia founded 2012 info@theartnewspaper.ru

MILAN Vedere a Milano

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PARIS Le Journal des Arts founded 1994 www.lejournaldesarts.fr

ROME Vedere a Roma

ATHENS Ta Nea tis Technis founded 1992

â&#x20AC;&#x153; The Art Newspaper is an invaluable resource for me as the director of a major institution.

International in its scope and scrupulously researched, it is a brilliant reference for the latest news from our sector. I read it avidly every month.â&#x20AC;?

Iwona Blazwick, director, Whitechapel Gallery

TH E C A M B R I A N C

OMPA N Y

n, 1806 -1808

Londo Swansea Pottery in

PU NEW BL LY n 1808 1808, JJames ames Chri Ch Christie i ti II was istie IS HE emplo yeed to sell the rremaining eem maining stock employed D

I

of the Cambrian Company, Cambrian Comp panyy, the London Wa W aarrehouse e of the S otteryy located at Warehouse Swansea Pottery wansea P 4F leet S trreeet. The auctio on sales, betw weeen 64 Fleet Street. auction between e uarry and A ebr p priil 1808, compr ised ar ound February April comprised around 4 4,000 pieces in oover ver 1,00 00 lots, similar in 14,000 1,000 c to the Wedgwood cale Weedgwood & B entley disposals in scale Bentley 781.

1781. wansea M uch of the finest pot tteryy made at S Much pottery Swansea w included in these 1808 180 08 sales – pieces was d Nelson, the t Welsh Weelsh Bard, Bard d, decorated with Nelson, Birrd ds and Butterflies Butterflies etc.. However, Howeeverr, letters Birds i Philadelphia Philadelphia prove prove that that the Warehouse, Waarrehouse, e in n months before beforre in established just eighteen showcase c the middle of 1806, wass opened to showcase Weeston Dillwyn’s Dillwyn’’s lustre. lustree.

Lewis Weston

Despite the clear artistic arttistic success, the Despite commercial auction sales point to a commercial failurree. Notwithstanding Notwithstandin ng Nelson’s Nelson’’s victory victorry failure.

Trrafalgar in 1805, the th he global economy at Trafalgar reemained i d depressed, d reessed, depr d with ith trade t d disrupted dis disrupted t d given giv i en the th actions ti s off the th British, Briitish, iti h French Freench h and a d Americans, Amer A i icans, remained culminatin ng in Jefferson’s Jefferson’’s Embargo Embargoo Act Act of 1807. culminating

Jonathan Gray

boook, based on archive arcchivve material, maateriial, studies the background backgground to the Warehouse Waareehousee and links wares warres e to This book, su urvviving sale catalogue from from Christie’s.

Christie’s. These aree reprinted reepriinted in facsimile. the only surviving hriistie’s sales provide provide firm firm dating for S w wansea’s fin ne potteryy pr oducts. IItt iss also likely that the Ch The Christie’s Swansea’s fine products.

Cambriian n Company sold porcelain, porrcelain n, nearly a decade beforee William William i Billingsley arrived arriiv iveed in Swansea Swansea in Cambrian Billingsley 1814.

www.cambrianpottery.com www w.c .cambrianpottery..com also av available ailable fr from om P Potterton otterton n Books (S (Stand tand A29)) or R eeferencce W oorks Ltd ww ww w..referenceworks.coo.uk Reference Works www.referenceworks.co.uk

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150

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