Art Antiques London 2011 Catalogue

ART ANTIQUES LONDON

www.haughton.com

2011

a HAUGHTON FAIR SM

2011

Incorporating

THE INTERNATIONAL CERAMICS FAIR & SEMINAR

Preview Wednesday 8th June

11am to 4pm

Public viewing Thursday 9th June

11am to 7pm

Friday 10th June

11am to 7pm

Saturday 11th June

11am to 7pm

Sunday 12th June

11am to 6pm

Monday 13th June

11am to 7pm

Tuesday 14th June

11am to 7pm

Wednesday 15th June

11am to 6pm

Albert Memorial West Lawn Kensington Gardens London SW7

Thursday 9th June until Wednesday 15th June 2011

First Night Party In Support of Children and Families Across Borders Wednesday 8th June 2011

Organised by:

Acknowledgements

Art Antiques London Directors: Brian and Anna Haughton 15 Duke Street, St James’s London SW1Y 6DB www.haughton.com email: info@haughton.com T: +44 (0)20 7389 6555 F: +44 (0)20 7389 6556

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

Press and Public Relations

The Royal Parks

London Press Office: Cawdell Douglas 10-11 Lower John Street London W1F 9EB Tel: +44 (0)20 7439 2822 email: press@cawdelldouglas.co.uk

Catalogue design and production: Cadman Creative Design Services

New York Press Office: Magda Grigorian T: + 1 212 877 0202 e: Haughton.ny@prodigy.net

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.

Construction – Early Action Group Flowers: Lavenders Blue Irving Levy Exhibition Services Ltd 20-20 Events Management Ltd Restaurant and Bars: Admirable Crichton

Our staff: Felicity Glanville, Emma Jane Haughton, Giles Haughton, Anthea Roberts, Beverly Simpson, Richard Webster Gala Director: Geraldine Allen

Catalogue advertising: Helena Power

The organisers reserve the right to refuse admission to the fair and/or seminar.

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 2011

Contents 6

Organisers’ Welcome

7

The Vetting of Art Antiques London

8

Lecture Programme 2011

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CFAB

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20 29

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The Doccia Factory: Artistic, Industrial and Commercial Development from Carlo Ginori to Carlo Leopoldo Ginori Lisci (1737–1837)

by Alessandro Biancalana, Fabbrica di Doccia Scholar and Author, Italy (translation Justin Raccanello)

‘A Mind to Copy’: Inspired by Meissen

by Anton Gabszewicz, Independent Ceramic Historian

‘Curiously Enchased’ Goldsmiths & Diplomats in Baroque Europe

by Philippa Glanville FSA Noted writer and social historian within the field of the Decorative Arts

Laocoön in Disguise Johann Joachim Kaendler and the Art of Antiquity

By Michaela Völkel Curator of the Ceramic Collection, Prussian Palaces and Gardens Foundation Berlin-Brandenburg

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Exhibitors

139

Advertisers

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Floorplan of the Fair

Organiser’s Welcome

Welcome to Art Antiques London 2011 We are delighted to welcome you to the second edition of Art Antiques London. Its stunning setting and beautiful ambiance made the fair an instant hit among collectors, who travelled 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.

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. The famous lecture programme, which runs alongside the fair, has been expanded to include lectures on other disciplines led by some of the world’s leading experts. Our grateful thanks to The Ten Ten Foundation Inc for their continued sponsorship of the lecture programme.

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 would like to thank Geraldine Norman, Chief Executive of the Friends of The Hermitage Foundation UK, for her hard work, and 1st Dibs.com for their generous support of Art Antiques London.

The honorary vetting committees are made up of advisers, museum curators and dealers. We are extremely grateful to the committee members for giving so freely of their knowledge, expertise and time and in particular to our Honorary Vetting Committee Chairman, Haydn Williams.

Children and Families Across Borders is our opening night benificiary and we are delighted to be working with them.

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.

This year, Haughton International Fairs celebrates 30 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

Anna and Brian Haughton

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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 9th June 12.00pm – 1.00pm • A1 SPRIMONT’S COMPLAINT: BUYING AND SELLING CONTINENTAL PORCELAIN IN LONDON 1730–1775 Patricia Ferguson – Independent Researcher 2.45pm – 3.45pm • A2 FRAGILE CARGO: IN PURSUIT OF A PRINCE AND HIS PORCELAIN Maureen Cassidy-Geiger – Educator, Curator and Author 4.30pm – 5.30pm • A3 SAUCE OR SOURCE Kate Malone- Contemporary potter

Friday 10th June 12.00pm – 1.00pm • B1 SCULPTURAL COLOUR AT SÈVRES Tamara Préaud – Former archivist of the Manufacture Nationale de Sèvres 2.45pm – 3.45pm • B2 THE GLAMOROUS AGE OF EMPRESS ELIZABETH PETROVNA Dr Ekaterina Khmelnitskaya – Curator of Russian Porcelain, The State Hermitage Museum 4.30pm – 5.30pm • B3 TANTALISING TIN-GLAZE & PROLIFIC PORCELAIN – RECENT ARCHAEOLOGICAL FINDS OF CERAMICS FROM LONDON Jacqui Pearce FSA MIFA – Specialist in Medieval and Later Ceramics, Museum of London

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Saturday 11th June 2.45pm – 3.45pm • C2 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, Munich 4.30pm – 5.30pm • C3 A TASTE OF DISTINCTION: ELECTOR MAX EMANUEL’S COLLECTION OF PORCELAIN MOUNTED IN PARIS Dr Max Tillmann – Art Historian and Lecturer

Sunday 12th June 2.45pm – 3.45pm • D2 MAGNIFICENT FAIENCE AND REDISCOVERED PORCELAIN MASTERPIECES AT THE ROUEN MUSEUM Audrey Gay-Mazuel – Chief Curator Musée de la Ceramique, Rouen 4.30pm – 5.30pm • D3 THE FRENCH INTERIOR REVEALED John Whitehead – Dealer and Author

Monday 13th June 4.30pm - 5.30pm • E3 SELLING SILVER. THREE CENTURIES’ PROMOTION BY GOLDSMITHS OF THEIR TRADE, FROM THE LATE 17TH TO THE 20TH CENTURY John Culme – Silver Consultant and Author

2.45pm – 3.45pm • E2 ‘VALHALLA-ON-TRENT’ TRENTHAM HALL AS A MEETING PLACE OF THE SCULPTURAL WORLDS OF ROME AND PARIS WITH THE MID-VICTORIAN CERAMIC INDUSTRY Dr Philip Ward-Jackson – Art Historian and Author

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On behalf of CFAB – Children and Families across Borders – it is my pleasure to welcome you to the Art Antiques London First Night Party.

Words cannot express the gratitude we feel for the support from Brian and Anna Haughton and everyone involved in making this wonderful evening possible.

Founded in 1955, CFAB exists because an ever-increasing number of vulnerable children are being put at risk of abuse and exploitation as a result of separation from their families across international borders.

CFAB is a unique independent charity and part of an international network of over 120 agencies which work to promote and protect the rights and welfare of children and vulnerable adults across international borders. We identify and protect children who have been separated from family members as a consequence of conflict, trafficking, abduction, migration, divorce and asylum, as well as other vulnerable adults for whom there are protection concerns. Last year alone CFAB’s staff handled over 1500 individual cases, providing expert advice, guidance and skilled professional services in order to ensure a positive outcome for each child. Our expertise is recognised by the UK Government, all UK Local Authorities, as well as Family Courts and many other NGOs. CFAB works in five ways. We: Provide direct casework services to benefit children and families;

Therefore this evening will not only contribute towards better outcomes for the thousands of children who benefit from our services each year but it will also ensure that our unique expertise is brought to bear on issues of national policy and the UK’s approach to some of our most vulnerable children.

Highlight under-reported issues so that more vulnerable children can be identified and assisted; Advocate for children ensuring their best interests are paramount and that their right to family life is respected;

I would like to sincerely thank Arts Antiques London for choosing CFAB as their beneficiary charity this year.

Train social workers, police officers, health staff and other key professionals so that their knowledge of international child welfare issues is enhanced and their responses to these issues improved;

Andy Elvin CEO Children and Families Across Borders

Lobby and advise Government to ensure legislation, regulations, policies and procedures support the best interests of children separated across international borders from their families.

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The Doccia Factory Artistic, industrial and commercial development from Carlo Ginori to Carlo Leopoldo Ginori Lisci (1737–1837) Alessandro Biancalana Fabricca di Doccia, Scholar and Author, Italy (translation Justin Raccanello)

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which dominates, there are also references in the documents to polychrome maiolica without, however, being able to document any examples (fig.1). The painter Antonio Baldassini (active in Doccia between 1740 and 1784), called Cappiniere, is the most well known of the maiolica decorators and there is a tray decorated a parrocchetto bearing his signature in full. There are also examples of sculpture made in maiolica: a small Pietà, after the model by Massimiliano Soldani Benzi (16501740) showing the typical colour scheme used around 1750, now in a collection in Florence (fig. 2); a crucifix for the chapel, requested in 1751 by Ginori from the factory for his private chapel in Livorno; finally, a large relief with gilding, described in 1757 in the stock lists from the Livorno warehouse on the death of the marchese, “bas relief depicting the Descent from the Cross, height two braccia, gilded”8.

The sculptural production from the Doccia factory has many links with the work of Florentine sculptors from the Mannerism, for example Giambologna (1529-1608) and his pupils and carries on in the relationship with the artists of the late Florentine Baroque, like Massimiliano Soldani Benzi (1656-1740), Giovan Battista Foggini (1652-1725), Giuseppe Piamontini (1663-1744) and Girolamo Ticciati (1679-1745).

Sculptors of the Roman Baroque, above all Gianlorenzo

arlo Ginori (1702–1757) is a well-known figure: he was a prominent personality in Florence in political, artistic and commercial fields. A great lover of chemistry, not only did he found the porcelain factory at Doccia, but was personally involved in the production process: it is he who invented pastes, glazes and colours, subsequently tested by his trusted collaborators in the factory1.

Even when away from Florence after his appointment as Governor of Livorno in 1747, his activities in support of the Factory are constant, almost daily from the evidence. The results of the tests of massi (pastes), vernici (glazes) and colori (enamels) were passed from Doccia to Livorno with annotations on the various experiments and the marquis was always ready with new suggestions for further tests, aimed at improving product quality2. It is interesting to note the presence of a Gabinetto di Chimica (Chemist’s cabinet) at his palace in Florence, and also some correspondence in Latin with the great German chemist and pharmacist Johann Heinrich Pott (16921777) on the quality of some useful materials for the production of china3.

In July 1737, overseen by the Roman kilnsman Francesco Leonelli, we have the first firing in the Ginori kilns, which almost certainly only consisted of maiolica4.

It is worth briefly mentioning the production of maiolica at Doccia, as it was a decision by Carlo Ginori himself to use the revenue from the sale of pottery to support the research of ‘true porcelain’ which was what he was really interested in. There is reference to this in the archives: Joannon de Saint Laurent from Lorraine, scientist and man of letters, taken on in 1749 by Marquis Carlo Ginori as Intendente dell’Amministrazione Patrimoniale, at the very beginning of the report commissioned for the heirs of Carlo Ginori in 1760, that the manufacture of porcelain is “the principal object of the enterprise”, while that of maiolica “is nothing but an accessory continued in the happy memory of the marquis Carlo to sustain more easily the prime production”5. In 1740 a French potter from Nevers, Nicholas Lhetournaus6, was employed to direct this department7. He had already been working in Italy since 1736, first at Lodi, then at Nove with the Antonibon factory, then at Bassano with Giovanni Antonio Caffo and finally in Faenza with the counts Ferniani.

Doccia maiolica is similar to the patterns of French blue and white Berain production and to that of Delft and while it is the blue and white decoration

C

Figure 1.Vase. Maiolica. Floral decoration and parrot. 1740–1745. Private collection.

Figure 2. ‘Pietà piccola’ (Small Lamentation). Maiolica. 1745–1750 Giovanni Pratesi Collection, Florence.

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Bernini (1598-1680) and Alessandro Algardi (1598-1654), were also used as a source, albeit with much less frequency than the Florentine artists.

The major figure in the sculpture of the Doccia factory is Gaspero Bruschi (1710-1780), having an important artistic influence on, as well as direct participation in the completion of many sculptures. Thanks to the documents we can determine with certainty a number of works executed directly by Gaspero Bruschi, some of them life-size, or quasi naturale: Pietà grande Corsini 1745, moulds purchased from Ferdinando Soldani Benzi in 1744. The recent project to recuperate all the old moulds in the Factory, made possible by the Richard Ginori 1735 SpA together with the Associazione Amici di Doccia led to the discovery that these moulds were the original ones used for the bronze as they have, under the figure of Christ, the date 1708, the signature of Massimiliano Soldani Benzi and his dedication, per sua devozione.

Monte Calvario con i 2 Ladroni, 1745; from Giovan Battista Foggini.

Arrotino, or Lo Scitta, 1745 possibly, and another in 1754, from a marble model kept since 1677 in the Galleria di Firenze.

There were two versions and we do not know if the first model derived from the moulds of Vincenzo Foggini9 who, after having granted them to the factory, then took them back, or the second from those of Francesco Lici, called Squarcione, executed in 1748 (fig. 3).

Gruppo di Putti con la Tigre (Group of Putti with Tiger), 1747, from a prototype presumably by Giuseppe Piamontini, adapted by Bruschi.

Gruppo dei Putti con la Capra (Group Figure 4. Chimneypiece. 1754. of Putti with Goat), 1747, from a Gaspero Bruschi (remodelled prototype presumably by Giuseppe over the following years by Piamontini, adapted by Bruschi himself.

Giuseppe Ettel). Museo Richard Ginori della Manifattura di Amore e Psiche, 1747, the moulds from Doccia, Sesto Fiorentino. the same year by Niccola Kinderman, sculptor and modeller till active in 1770, and Gaetano Traballesi, mentioned between 1747 and 1762, after a Hellenistic original in the Galleria di Firenze.

Caino ed Abele, 1747.

Arianna e Bacco, 1747 and then again in 1748; from a prototype by Giovan Battista Foggini.

Ercole e Jole, 1747; model executed by Vincenzo Foggini from a prototype by Giovan Battista Foggini, or Giovanni Baratta (1670-1747), in turn derived from a model by Alessandro Algardi.

Pan e Siringa, 1747; executed by Vincenzo Foggini.

Venere che si cava la spina, 1747, moulds presumably by Massimiliano Soldani Benzi after a Hellenistic model in the Galleria di Firenze. It has

Figure 3. ‘Arrotino’, o ‘Scitta’. 1745–1754. Gaspero Bruschi. Museo Richard Ginori della Manifattura di Doccia, Sesto Fiorentino.

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Monte Calvario con la Madonna, San Giovanni, Santa Maria Maddalena, 1748; model by Vincenzo Foggini (1746) from a prototype by his father Giovan Battista.

Adone, 1748, from Giovan Battista Foggini.

Diana, 1748, also from Giovan Battista Foggini.

Macchina delle Glorie della Toscana,made for the Accademia Etrusca of Cortona, 1751; it is a complex work (machine), at the centre of which is a group of Beauty captivating Time, presumably by Bruschi as well.

Lotta Grande, 1754; model by Anton Filippo Maria Weber (1744), from a prototype by Massimiliano Soldani Benzi.

Camino (Chimneypiece), 1754, prepared by Bruschi for the Factory Museum and remodelled over the following years by Giuseppe Ettel (1747-1804) (fig. 4).

Desert del Vesuvio, 1754.

Desert della Fonte, 1754.

Testa di Seneca, 1754.

Testa di Adriano,1754; model by Francesco Lici, 1754.

Macchina degli Schiavi della Marina, 1754. Most probably the reference is to a composition which drew inspiration from the statues of the so-called 4 Mori in Livorno, partly designed by Giovanni Bandini (1540-1599) and completed by Pietro Tacca (1577-1649) between 1623 and 1626, with subsequent additions by Taddeo di Michele12. We know two of these ‘Macchine’, by which we mean these composite structures supported by slaves: one that represents an allegory of Tuscany which is in London at the Victoria and Albert Museum and another, basically similar but enriched with a scroll that reads “TOTUM UT IMPLEAT ORBEM” and supposed to be completed with four side groups depicting the ‘Liberal Arts’, from models by Giuseppe Bruschi, now in a private collection in Italy. The models were made with certainty by Giuseppe Bruschi, nephew of Gaspero. It was once thought that these were later models by Giuseppe Ettel but it is possible that Gaspero himself had a hand in the lower part of this macchina, because Gaspero in August 1754 writes to Carlo Ginori that “it is possible make this machinna of sea’s Slaves”, referring to a version which included the statues of the 4 Mori13.

Incidentally the Stibbert museum in Florence has another model of the upper part with the allegory of Tuscany.

Ermafrodito, 1754; model by Vincenzo Foggini in 1753, from an original in the Galleria di Firenze taken from the antique.

Venere che spenna Amore (Venus disarming Cupid), 1755 (and already previously executed by Bruschi) presumably moulds purchased in 1744 from Ferdinando Soldani Benzi.

Amore e Psiche, 1755, previously executed by Bruschi; perhaps polychrome, the first version may have been finished in 1748 according to a letter from Alberto Pappiani to Carlo Ginori dated 14 January 174914.

Caramogi (dwarfs) certainly prior to 1757; from models of Jacques Callot (1592 c.-1635).

Bustini (small busts), certainly before 1759; difficult to identify, these were produced in good numbers in the last quarter of the 18th century, or perhaps small busts of noble or notable personages.

Manico da Vaso di Bottiglia (bottle cooler handle), executed in 1774

Figure 5. ‘Giuoco della Mea’ (Lottery). 1763–1775. Giuseppe Bruschi. From the sculpture “La Loterie”, Etienne Maurice Falconet, Sevres Manufactury 1757. Private collection.

been assumed that this might be the model of a nymph tying her shoe as she prepares to dance seen together with the Dancing Faun, now in the Museo Civico di Arte Antica di Torino, however I disagree with this as there is a precise reference by Bruschi himself in a letter to Carlo Ginori: “I have nearly finished the statue of Venus removing a thorn”10.

Pilastrino col putto (Putto with pillar), 1747, although there are numerous examples of this model, there are unfortunately not enough references for a positive identification.

Vasi con le medaglie dei Duchi e delle Duchesse di Lorena, 1747.

Bruschi himself announced to Carlo Ginori the difficulties he had modelling these two vases, and then on November 10, 1747, reported that the vases were ready to be shipped to Livorno. One of these vases is now at the Capodimonte Museum, Naples.

Fauno, 1748; model presumably derived from Massimiliano Soldani Benzi from a Hellenistic prototype in the Galleria di Firenze; most likely that which is now in the Museo Civico di Arte Antica di Torino. l’altra (Venere) is most probably the Venere dei Medici 1748; model presumably derived from Massimiliano Soldani Benzi from a Hellenistic prototype in the Galleria di Firenze.

Gruppo del Sansone, 1748, presumably from a model of the masterpiece by Vincenzo Foggini, “Samson slaying the Philistines”, today in the Victoria and Albert Museum; there is a trace of this white porcelain group, once in the Gladstone collection, in a photograph from an auction in London in 187511.

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of Sèvres (fig. 5). On 1 November 1763 Bruschi, writing to the Marquis Lorenzo could not restrain his astonishment: he was struck by “certain small groups” made in France “unpainted and unvarnished”. This is undoubtedly biscuit porcelain, something that the Florentine sculptor had never seen before16. On that subject, among the trials on the paste in the factory, is an entire section devoted to experiments intended to create a Masso lucido senza vernice (bright paste without glaze), which can be considered attempts to discover how to make biscuit porcelain.

The Baroque style of sculpture at Doccia then begins to be slowly replaced by a lighter rococo style, which, towards the end of the century, reveals itself with the creation of numerous pastoral groups and figurines of peasants and farmers, inspired by both French porcelain and German. In this light the figure of Giuseppe Ettel deserves attention. Son of Michael, an Austrian whom Carlo Ginori brought to Florence to produce stoves from 1747, was not initially an important figure but after the departure of Giuseppe Bruschi, who had seemed destined to replace his uncle Gaspero , he was entrusted with the direction of the department of sculpture and modelling. It is not possible to attribute works to him except in very rare cases; only if we identify as his some handwriting which can be found in relation to numerous works can we discover that his main activity was to both redesign moulds and sculptures, including the Chimneypiece by Gaspero Bruschi, and Figure 7. Tea caddy ‘a bassorilievo istoriato’. 1745 Previously Enrico Questa Collection, Torino.

Figure 6. St. Romolus’ church high altar in Colonnata (near Florence).

1783. Giuseppe Ettel (?). St. Romolus’ church.

together with others caramogi.

The Baroque character of the sculpture of Gaspero Bruschi is often obvious in the first independent works of his nephew, Giuseppe Bruschi. Being a good modeller, he was working in the Factory from 1749 and from 1759 worked closely with his uncle on sculptural pieces. Many works are attributed to him in the documents. In 1778, without apparent reason, he left the Doccia factory to follow Giuseppe Ginori in his unfortunate initiative to start the rival porcelain factory of San Donato in Polverosa and then went to Naples to work at the Real Fabbrica Ferdinandea15.

Between June 1763 and February 1764 Giuseppe was at Parma. Thanks to the support of the beautiful and intriguing Marchesa Anna Malaspina della Bastia (1727-1797), Lady-inwaiting at the court in Parma of the Infante of Spain, Duke Philip of Bourbon (1720-1765), Lorenzo Ginori (1734-1791), son and heir to Carlo, had been able to obtain “the grace to be able to copy the beautiful Groups”.

It is interesting that French products were considered far more beautiful and worthy of consideration than the ‘Saxon’, proof that Meissen had now lost its influence in favour of that 15

of the Ginori Factory, just to make the point that those objects decorated with the so-called bassorilievo istoriato (fig. 7) represent the link between porcelain sculpture and everyday objects, to which this material, contrary to the thoughts and intention of Carlo Ginori, seems now to have been relegated.

Certainly the pictorial decoration of Doccia did not differ greatly from that of contemporary factories: firstly the blue and white chinoiserie taken and reinterpreted in style from the late Ming and Kraak porcelain, which in Florence was well known as the Medici had been collecting it since the fifteenth century.Then Blanc de Chine, and finally the decoration based on the Kakiemon and Imari styles, this in the last quarter of the eighteenth century.

Landscape decoration in monochrome red and polychrome, both naturalistic and even heraldic show the influence of northern European culture which Carl Wendelin Anreiter (1702–1747) helped to spread at Doccia, thanks to his experience in Vienna at Du Paquier (fig. 8). The main sources were Dutch and Flemish engravings; many loose prints are still in the Archives of the Richard Ginori Museum: there are all sorts of subjects ranging from architecture, cartouches, Chinese figures, landscapes, and works by important German and Flemish engravers.

In the Ginori Family archives in Florence there are two lists of books, which are the first trace of the iconographic sources of the Doccia factory; the second of these lists contains many texts, and dates to after 1771: there are many works on antiquities in general and those from Rome in particular17.

Among these I would like to acknowledge the presence of the book Vasi Etruschi; this almost certainly refers to the work Antiquites etrusques, grecques, et romaines tirees du Cabinet de M. Hamilton, and it is documented that it was the author himself, the English nobleman Pierre Francois Hughes Hancarville (1719-1790), who sent the first two volumes of the Vasi Etruschi18 to Lorenzo Ginori in March 1771.

Figure 8. Lobed beaker entirely gilded on the inside and decorated with various figures.

The beaker: China, Dehua, 1700 i.e. (?); decoration: Doccia 1740. Signed: CARLO Anreiter W:Z: Fierenze. Private collection.

Figure 9. Teapot painted ‘con figure tutte in oro’ (with figures, all gilded). 1745. Painter Giuseppe Nincheri (?). Private collection.

make the models dictated by new fashions. It is not unlikely, that he should be the designer of the altar of the church of San Romolo Colonnata (1783) and that of the church of San Jacopo and Santa Maria at Querceto near Sesto Fiorentino (fig. 6).

An interesting point, only recently confirmed by the archives, is the provision of models to Lorenzo Ginori in 1787 by the famous Roman goldsmith, architect, designer and bronze founder, Giuseppe Valadier (1762-1839); some of these casts are taken from the great and important service in silver produced between 1783 and 1784 for Prince Marcantonio Borghese (1730 – 1800) by Luigi Valadier (1726–1785), father of Giuseppe. We know that Carlo Ginori had a great interest in gemstones, so much so that in November 1741 he had a collection of intaglios and cameos in the Factory Museum, as reported during a visit by the doctor and naturalist Antonio Cocchi (16951758). It was probably Joannon de Saint Laurent, who developed the idea for Carlo Ginori to recreate these objects in porcelain. Saint Laurent seems to have been the author of a new method for carrying out the production of cameos in porcelain and this method was described by erudite Florentine noble Giuseppe Pelli Bencivenni (1729–1808) in one of his papers of 1759 (fig. 8).

We can now take a brief look at bassorilievo sculpture, another speciality 16

Together with these sources, the Factory is also distinguished by a unique eclectic style, which originates from the strange combination of artistic experience and close ties with rural life which embodied the very manufacture.

Worth mentioning are some examples of decoration: a palazzi chinesi, alla Sassona, all painted ad oro ricchissimo (fig. 9), a fiori di vari colori alla Chinese con oro o senza, perhaps today referred to as a tulipano (or a peonia), a galli, or a giuochi di bimbi; but the most typical of these we now call the stampino (in the factory defined as a stampa) and a riporto techniques.

The first, which continues at least until the first quarter of the nineteenth century, I believe to be connected to the very beginnings of the factory when Carlo Ginori took the most able of the tenant farmers from his country house at Doccia to be the original staff at the porcelain factory.

He needed a simple decorative technique, usually floral, occasionally with heraldic devices: the name refers more to the technique, not the decoration itself, in which a stencil is made from drawings on sheets of paper, thin copper plates or lamb skins (the first two were used for flat surfaces, the third for curved). Placed over the objects, the cobalt blue colour is passed over with a brush, so that through the stencil, the paint makes the design on the unfired porcelain.

The a riporto technique, used at Doccia between 1750 and 1752/1753, was in effect an anticipation of transfer printing, which was to be very popular with the English factories. It consisted of transferring the decoration onto the porcelain body from a plate engraved on copper; the pieces produced at Doccia were always underglaze blue with some details painted in free hand (fig. 10).

In subsequent years there were two other types of decoration peculiar to Doccia: those that are now commonly described as a mazzetto began to appear around 1770 and a fruttino, around 1790.

The first is a version of the famous Deutsche Blumen; flowers strewn across the surface of objects and variously entwined with each other with leaves and foliage. In the last quarter of the eighteenth century they were described as ‘handfuls of flowers in the German manner’ and also ‘two panels in blue fields with gold arabesques, flowers in the middle and gold borders’, reminding one of the use of ‘blue lapis’ so in vogue at the Manufacture of Sèvres.The decoration that we now call a fruttino, is found on the lists of the late eighteenth century as ‘with flowers, and various fruits’.

Rural scenes decorated in polychrome or with only red or purple monochrome reappeared in the last part of the eighteenth century and especially by the painter Giovan Battista Fanciullacci (1745–1825); his masterpiece, however, must be the door of the tabernacle on the altar of the church of San Romolo Colonnata, painted in 1783. Another important work signed and dated by him is an ecuelle and underplate with polychrome mythological scenes, now in the Victoria and Albert Museum: the first is marked “F. 1783” and the second “G.B.F. 1782”. Still in London, at the British Museum, is a tankard painted with putti in monochrome red on a gold and blue ground, which can be attributed to the hand of Fanciullacci, especially given the reference in 1774 to the artist having painted un Vaso da birra ed altro (a tankard and other)19.

Despite not being original to Doccia, deriving as it did from the Factory of King Ferdinand in Naples, a decoration in the early nineteenth century that was a great success was a vedute, its best interpreter, the Florentine

Figure 10. Plate depicting ‘Flora’, ‘a riporto’ technique (transfer-print). 1750–1752/1753. Private collection.

Ferdinando Ammannati20, was renowned in Naples as a view painter (fig. 11).

Returning to Florence around 1809, the first document that confirms his presence there dates to January 3, 1810, when Carlo Leopoldo Ginori Lisci (1788-1837) gives him a fair sum to compensate him for the views and designs he brought from Naples and gave to the Doccia Factory.

Another type of object in vogue during the early nineteenth century were the so-called portavasi (jardinières) for which the best artists of the factory were employed; important examples were often decorated in grisaille with mythological scenes (fig. 12) or architectural.

On looking at some of the organizational aspects of the Doccia factory, Carlo Ginori, as already mentioned, chose the ablest tenant farmers from his country villa to be the artisans and labourers in the Factory. However, in order to direct the various departments he needed people in whom he could trust.There were essentially five important people with whom he established a privileged relationship: Johann Georg Deledori, or Johann Georg Delaturi, director of the kilns; Jacopo Fanciullacci (1705–1793) first Deledori’s assistant, then his replacement; Gaspero Bruschi, head of the sculptors and turners, and a sort of artistic director of the factory, whom we have already discussed; Carl Wendelin Anreiter von Ziernfeld, head painter, and Joannon de Saint Laurent, consultant to Carlo, and then the essential architect of the industrial reorganization and economic revival of the factory with Lorenzo.

The first, who at Doccia was called Giorgio delle Torri, has always been a 17

One of the characteristics of the industrial philosophy desired by Carlo Ginori and preserved by subsequent owners is the importance given to teaching young artists. The school of painting, brought into being in 1737 by Angiolo Fiaschi, mentioned between 1737 and 1774, and developed by Carl Anreiter, gave good results. This philosophy continued, so much so that in June of 1802, the decision was made to give a prize to all workers according to merit and even to give a fixed wage to those young artists who made the best impression in the School. Again in 1819 guidelines were laid down in a document entitled Ricordi per la Scuola (memories for the school) for the training of young people within the factory; the boys were then taken as young as 11 years old into the Factory as ‘helpers’ and for a trial period of about six months received no salary, except food and lodging.

Finally, I am going to examine the commercial development of the Ginori factory. From the early years (1742-1743 in Florence) there were stores where the porcelain produced by the Factory was sold. For example, there were stores abroad, in Lisbon and Tarragona. Deliveries were also made to distant lands with great ceramic tradition. In 1747 Carlo Ginori sent to Constantinople ‘various articles in porcelain and works in precious stones’ to Isaac and Moses di Samuel Angel, ‘Merchants in Constantinople’, and to Frederick Hibsch, shopkeeper in Constantinople.These were 10 boxes containing several hundred cups, many with blue flowers, plates of various sizes, coffee pots, tureens, bowls, snuff boxes, and flower vases22. In May 1751, a shipment was made to India, Ginori demanding the maximum effort to make sure that the products were fine, transparent and light, and in particular white23. In

Figure 11. Cooler for a bottle and stand. Decoration ‘a vedute’ (with views). 1810.

Painter Ferdinando Ammannati (?). Private collection.

shadowy figure and his influence ill-defined, although his presence in the factory may well have been decisive for the production of porcelain. Today, in light of some papers found in Vienna which relate to the years before the beginning of the du Paquier factory, it is possible that delle Torri can be identified with a potter who worked in the Austrian capital21.

Jacopo Fanciullacci, also known familiarly as Pino or Jacopino, together with Gaspero Bruschi, was far more important for the affairs of the Factory for almost half a century. Working there from 1737 to 1792, the young farmer, hired as ‘helper’ in the department of clays and enamels, became a key element in the factory first with Carlo and then with Lorenzo Ginori, to whom he always remained faithful, even in times of increased tension with his brothers.

The painter Carl Johan Wendelin Anreiter was born in Schemnitz (now Banska Štiavnica in Slovakia). He first studied painting in Bolzano between 1716 and 1720 in the workshop of Franz Rottensteiner. After his apprenticeship during 1720 Anreiter left Bolzano to go to stay for some time in Innsbruck. Then, as early as August 1721, he is documented in Vienna and in late 1737 or early 1738 is at Doccia.

Saint Laurent, already mentioned above, was a leading figure in the literary, scientific and artistic landscape of Florence under the Lorraine and had already been, directly or indirectly, the promoter of certain particular activities in the Doccia factory, stimulating the fervent scientific curiosity of Carlo Ginori. As well as the invention of porcelain cameos, he was responsible for the development from 1752 until at least 1754 for the small sculptural groups that were designed to be cast into the sea to examine the growth of coral.

Today it is possible to determine exactly where they left such groups ‘in faccia a Val di Vetro’, that is in front of the port of Vada, south of Livorno. More importantly, after the death of Carlo Ginori in 1759 his three sons asked Saint Laurent to prepare a report on the factory, which not only made a careful analysis of the state of the Factory in 1760, investigating activity and production, but also outlined a series of interventions aimed at improving the quality of products, which, when acted upon, was to give new impetus to the factory.

This was vital after the loss of its guiding light.

Figure 12. Jardiniere ‘painted with a miniature in grisaille representing The Judgement of Paris, gilded festoons and Chrome green narrow band’. 1812. Private collection.

18

11 Christie’s, Auction W.E. Gladstone, June 23, 1875, London, lot no. 272 12 Taddeo di Michele, a pupil of Tacca, executed a group of barbarian trophies, now in the Louvre, to be placed at the base of the equestrian monument.

13 AGL, Ginori Sen. Carlo. Lettere diverse dirette al medesimo dal 1755 al 1760, File 23, XII, 5, doc. 50.

14 AGL, Ginori Sen. Carlo. Lettere diverse dirette al medesimo.1749 – 1750, File 15, XII, 4, doc. 593v.

15 Biancalana A., La Manifattura di Giuseppe Ginori a san Donato in Polverosa: 1778 – 1781, in Amici di Doccia - Quaderni, II – 2008.

16 d’Agliano A., Influssi tedeschi, viennesi e napoletani sui modelli della manifattura di Doccia; also Biancalana A., Il viaggio di Giuseppe Bruschi a Parma. I prototipi delle porcellane di origine francese a Doccia, both in Amici di Doccia - Quaderni, IV – 2010.

17 AGL, Manifattura di Doccia. Documenti vari, File137, II, doc. 395.

18 AGL, Lorenzo Ginori. Lettere diverse dirette al medesimo. 1768 – 1775, File 4, XIII, 1, doc. 634.

19 AGL, Manifattura di Doccia. Documenti vari, File 138, doc. 851.

20 The Florentine painter and miniaturist was active in Naples at the Real Fabbrica Ferdinandea from 1781 i.e. and at Manifattura di Doccia from 1807 to 1823.

21 For the figures of Carl Wendelin Anreiter and Georg Deledori see, among others, Biancalana A, Carl Wndelin Anreiter von Ziernfeld and Giorgio delle Torri, in Kraeftner J. / Lehener-Jobst C. / d’Agliano A. (ed.), Baroque Luxury Porcelain, The Manufacturies of Du Paquier in Vienna and of Carlo Ginori in Florence, Bad Voslau 2005, with relative bibliography.

22 AGL, Fabbrica delle Porcellane di Doccia. Scritture e Documenti, File 39, doc. 5.

23 AGL, Fabbrica delle Porcellane di Doccia. Scritture e Documenti, File 137, I, doc. 976.

24 AGL, Ginori Sen. Carlo. Lettere diverse dirette al medesimo. 1756, File 24, XII, 5, doc. 521.

25 AGL, Lorenzo Ginori. Lettere diverse dirette al medesimo. 1757 – 1761, File 1, XIII, 1, doc. 472.

1756 Carlo Ginori received a letter giving notice of a sale of Doccia porcelain in Lisbon, where his family had long had many interests. This also stressed the difficulties encountered by competition from Asian porcelain, which having been delivered by a ship from the English East India Company, was being sold on the quay in the port ‘at the lowest prices’24.

Ginori porcelain was also exported to Madrid, but there were difficulties.

Lorenzo Ginori received a letter on October 25, 1760, in which he was made aware that the porcelain he sent ‘is much preferred to that of the manufacture of the King’ (Buen Retiro), but that potential buyers would not run the risk of paying before the goods had arrived25. One marketing strategy put in place by Carlo Ginori and continued by his successors was to donate pieces of porcelain to noble families and members of the clergy, often adorned with the family coat of arms. This not only became a great advertising tool but also a source of future purchases. The Museum of the Doccia Factory can be regarded in the same vein, where the best pieces were collected and displayed, especially sculptural works.This Museum, from which the present Ginori factory museum is the natural successor, was founded around 1740 and was a source of great prestige for the Factory. The Prince of Viano gives us an idea of how it looked in 1754 when, visiting the Villa of Doccia, he reports that “in a large gallery were both larger pieces of porcelain, that is, statues, groups, triumphs, surtouts de table as well as the smaller and more highly decorated pieces.”

Over the years the importance of the Museum has remained undiminished and it has always been a showcase for potential customers at the factory. In this article, I have attempted to capture the spirit of an 18th century porcelain factory with characteristics that set it aside from other manufacturies of the time, revealing a bridge between the cultural world of Granducal Florence and the newly emerging industrial ideas which were to dominate the 19th century.

Bibliography d’Agliano Andreina, Influssi tedeschi, viennesi e napoletani sui modelli della manifattura di Doccia, in Amici di Doccia - Quaderni, IV – 2010.

Biancalana Alessandro, Terre, massi, vernici e colori della Manifattura Ginori dalla sua nascita agli albori del XIX secolo, in Faenza, Anno 2006, Fascicolo IV – VI. Biancalana Alessandro, La Manifattura di Giuseppe Ginori a san Donato in Polverosa: 1778 – 1781, in Amici di Doccia - Quaderni, II – 2008.

Biancalana Alessandro, Porcellane e maioliche a Doccia. La Fabbrica dei marchesi Ginori. I primi cento anni, Firenze 2009.

Biancalana Alessandro, Il viaggio di Giuseppe Bruschi a Parma. I prototipi delle porcellane di origine francese a Doccia, in Amici di Doccia - Quaderni, IV – 2010.

Ginori Lisci Leonardo / Liverani Giuseppe, Maioliche settecentesche della manifattura Ginori, in Faenza, Annata XLI, Anno 1955, Fascicolo IV. Kraeftner Johann / Lehener-Jobst Claudia / d’Agliano Andreina (ed.), Baroque Luxory Porcelain, The Manufacturies of Du Paquier in Vienna and of Carlo Ginori in Florence, Bad Voslau 2005.

Acknowledgements Most of what has been said draws on the work of many scholars and comes from decades of studies carried out in the Florentine archive of the Ginori Lisci family and is largely collated in my book, released in the summer of 2009. It is important therefore to thank the Marquis Lorenzo Lionardo, the archivist of the Ginori household, Ivaldo Baglioni, and my wife Laura Pergola, who has done much of the research work.

Notes 1

Biancalana A., Terre, massi, vernici e colori della Manifattura Ginori dalla sua nascita agli albori del XIX secolo, in Faenza, 2006, IV – VI. 2 Biancalana A., Porcellane e maioliche a Doccia. La Fabbrica dei marchesi Ginori. I primi cento anni, Firenze 2009.

3 AGL, Ginori Sen. Carlo. Lettere diverse dirette al medesimo 1750, File 16, XII, 4, doc. 563.

4 AGL, Spoglio di Villa. Anno 1737. Volume 94, pag. 74.

5 AGL, Manifattura di Doccia. Documenti vari, File 138, dossier 2.

6 See also, Ginori Lisci L. / Liverani G., Maioliche settecentesche della manifattura Ginori, in Faenza,Vol. XLI, 1955, IV. 7 AGL, Manifattura di Doccia. Documenti vari, File 137, II, doc. 793/794.

8 AGL, Fabbrica delle Porcellane di Doccia. Scritture e Documenti, File 37, dossier 6.

9 Vincenzo, son of Giovan Battista, was active as a sculptor between 1725 and 1753.

10 AGL, Ginori Sen. Carlo. Lettere diverse dirette al medesimo. 1747 – 1748, File 13, XII, 3, doc. 86.

Abbreviations AGL, Archivio Ginori-Lisci, Firenze, Ginori.Lisci Family Archives, Florence

Photographic credits Massimiliano Fantini: Fig.1; Giovanni Pratesi: Fig.2; Bulgarelli: Fig.3; Alessio Ferrari, Museo della Ceramica di Montelupo Fiorentino: Figs.4, 5, 6, 7, 8, 9, 10; Foto Boccardi: Fig.11; Elisa Biancalana: Fig.12.

19

‘A Mind to Copy’: Inspired by Meissen Anton Gabszewicz Independent Ceramic Historian, London

Figure 1. Sir Charles Hanbury Williams by John Giles Eccardt. 1746 (National Portrait Gallery, London.)

20

he association between Nicholas Sprimont, part owner of the Chelsea Porcelain Manufactory, Sir Everard Fawkener, private secretary to William Augustus, Duke of Cumberland, the second son of King George II, and Sir Charles Hanbury Williams, diplomat and sometime British Envoy to the Saxon Court at Dresden was one that had far-reaching effects on the development and history of the ceramic industry in England. The well-known and oft cited letter of 9th June 1751 from Hanbury Williams (fig. 1) to his friend Henry Fox at Holland House, Kensington, where his china was stored, sets the scene. Fawkener had asked Hanbury Williams ‘…to send over models for different Pieces from hence, in order to furnish the Undertakers with good designs... But I thought it better and cheaper for the manufacturers to give them leave to take away any of my china from Holland House, and to copy what they like.’ Thus allowing Fawkener ‘… and anybody He brings with him, to see my China & to take away such pieces as they have a mind to Copy.’

The result of this exchange of correspondence and Hanbury Williams’ generous offer led to an almost instant influx of Meissen designs at Chelsea, a tremendous impetus to the nascent porcelain industry that was to influence the course of events across the industry in England. Just in taking a casual look through the products of most English porcelain factories during the first twenty years, from 1751 to the early1970s it is difficult not to find some influence from Meissen either in form or decoration.

However, prior to this event one can see some influence that appears to have come from Meissen, perhaps introduced indirectly to our manufacturers, in this case Thomas Frye and Edward Heylyn who were experimenting with making a material whereby ‘a ware might be made of the same nature or kind and equal to, if not exceeding in goodness and beauty, china or porcelain ware imported from abroad’. This wording taken from the first patent granted on 6th December 1744 most probably refers to the porcelains known as ‘The ‘A’ marked class’ and, if this is correct, they were among the first made in England and adopted the formula described in this patent. The small fluted cup (fig. 2) of this class shows perhaps the earliest example of a Meissen influence, not in the form, but in the flower decoration whose whole tone of palette and the manner of drawing are markedly similar to the indianische Blumen so favoured by J.G. Höroldt and his fellow decorators in the enamelling workshop at the Meissen factory in the 1720s. The peculiar tone of the palette and the combination of purple, iron-red, yellow and the green foliage outlined in red may be seen on other pieces from Bow, most particularly several mugs in the Freeman Collection.1 Also from this period comes the two-handled cup form with two moulded scroll handles that appears at

T

Figure 2. Fluted cup: ‘A’ mark class. Attributed to Heylyn & Frye, Bow First Patent porcelain, 1744-46. (Private Collection)

Figure 3. Bow sweetmeat-figure, 1750.

8⅝ in. (22 cm) high (London Borough of Newham)

21

Bow circa 1750 and later at Chelsea and Derby.2 The sweetmeat-figure modelled as a Negress with a Basket, glazed and biscuit sherds of which have been recovered from the factory site, is directly copied from the original Meissen example first conceived by Eberlein in 1741 (fig. 3) there is a dated Bow version of this of 1750 in the Katz Collection in the Museum of Fine Arts, Boston.3 Another example of a direct adaptation from Meissen is the Piedmontese Bagpiper

by J.J. Kaendler (1741) after an engraving of 1739 Le Jouer de Musette

by Daullé from J. Dumont le Romain.

Figure 4. Meissen basket, Kaendler, 1735 (Errol Manners)

pieces to the St. James’s Factory of Charles Gouyn. The situation was financially precarious for Sprimont and it appears Sir Everard Fawkener came to his rescue and he was refinanced and then able to advertise in the Daily Advertiser a ‘ … Variety of Services for Tea, Coffee, Chocolate, Porringers, Dishes and Plates, of different Forms and Patterns, and a great Variety of Pieces for Ornament in a Taste entirely new.’ At the same time he took additional premises in Lawrence Street, he also made some changes to the paste and the factory mark became a raised anchor on an oval pad. Now, this ‘taste entirely new’ took the form of elegant wares decorated in the Japanese manner inspired by Arita wares and most particularly those decorated in the Kakiemon style, sometimes using Sprimont’s own silver designs as the basis for form, but also a large number of pieces adopted the simple octagonal and decagonal forms so popular in Japan. Pieces with the well-known Arita pattern of radiating red panels of white scrolls divided by precious objects.7 The Japanese patterns The Red Dragon, Flying Fox, Flaming Tortoise, Squirrel and Vine, The Three Friends (pine, prunus and bamboo issuing from banded hedges) were all well established at Meissen by 1735 and the Chelsea copies could have come from Meissen via Hanbury Williams or they may have come from Japanese originals already in England. Many of these patterns occur in the 1688 Inventory and a schedule of 1690 relating to the porcelains at Burghley House.8 The Red Dragon pattern, for example, is thought to have been a late

A moulded oval two-handled basket with rope twist and Frauenkopf handles modelled by Kaendler in the 1730s reappears at Bow as early as 175052 with typically vibrant famille rose decoration of flowering peony issuing from pierced rockwork.4 (fig. 4) These few isolated examples predate the Hanbury Williams intervention at Chelsea and looking at pieces from the Chelsea factory anything that bares a Meissen resemblance before 1751 appears to have appeared by way of China. An illustration of this is a very rare Chelsea blanc de chine teapot of the raised anchor period of globular form with moulded leaves and a leafmoulded cover that has a Chinese counterpart from Dehua of circa 1700 and Meissen parallel of 1735, although Chelsea taking the model from Meissen example should not be entirely discounted.5 It is interesting to note that Sprimont in the 1740s, during the triangle period, was greatly influenced by his own silver forms and there appears to be no direct influence from Saxony.

In 1749 the situation at Chelsea had been difficult for Sprimont as his partner, Charles Gouyn, had left the concern ‘with the loss of part of his funds, and makes at his house, in St. James’s Street, very beautiful small porcelain figures’6 The astonishing discovery of this document by Jean Hellot, in the library at Caen, led Dragesco to give the former so-called Girl-in-a-Swing 22

in the Untermyer Collection in the Metropolitan Museum of Art, New York. (figs. 5 & 6) The finials of the various tureens from the service make an interesting comparison: a partridge, a chick and two small pheasants all appear as Chelsea models. A dinner plate with a stag in rut has a Chelsea counterpart in a lobed circular dish, the design having its origin in an engraving by J. E. Ridinger of circa 1738-40 ‘Ein Brunst Hirsch’ and the flowers after Johann Wilhelm Weinmann’s Phytanthoza-Iconographia, published in Regensburg 1737-45. Clarke continues his discussion with details of the dessert service, described briefly as having ‘a brown edge and painted with flowers’. He publishes three lists and then discusses the possible pieces that may have been a source for Chelsea and Sprimont and might have seen on his visit to Holland House in 1751.

The first documentary piece of undoubted Meissen inspiration is the fluted oval dish in the Museum of Fine Arts, Boston. It is painted with a typical Meissen style harbour scene of a type associated with F. Herold or perhaps Heintze, the border has typical deutsche Blumen and is supposedly signed with the initials WD and the date 1751. Although other pieces of this genre exist including peach-shaped cream-jugs and other tea wares painted with idyllic wooded landscapes with figures and distant buildings; there are also wares precisely painted with Holzschnitt Blumen, one such example shows not only Figure 5. Meissen Platmenage, 1745-48 (The Duke of Northumberland)

Figure 6. Chelsea oval dish, 1755. 12¾ in. (32.5 cm) wide Untermyer Collection, Metropolitan Museum of Art, New York.

Japanese pattern of 1740 and not of 17th century origin as once considered. The Japanese examples of this however occur on Meissen shapes and it has been suggested this was a Meissen invention rather than Japanese.9 The curious Arita pattern, called in England Lady in a Pavilion pattern occurs at Chelsea and Bow after an Arita original, but the pattern does not occur at Meissen.10 The point to be learnt here is that it is not necessarily a straightforward borrowing from Meissen, but a direct copy from an oriental original.

The late Tim Clarke wrote extensively on Sir Charles Hanbury Williams and the Chelsea factory and discussed in detail the Meissen dinner and dessert service given by Augustus III to Hanbury Williams as a diplomatic gift.xi It was Clarke who identified this as being the service now belonging to the Duke of Northumberland at Alnwick. Of particular interest to us now is the ‘Epargne’ as it was listed or Platmenage painted with a rhinoceros after Durer’s woodcut of 1515, the design for this exists as a watercolour drawing at Alnwick by an unknown hand but dating from circa 1749-53, there is also a circular Meissen dish with this design and a Chelsea oval dish 23

the proprietors advertised in the Daily Advertiser offering for auction in London ‘fine Figures, Jars et after the finest Dresden models’ and in May 1757 they were advertising ‘the largest variety of the Derby or second Dresden’ yet his products are perhaps rather more influenced by Chelsea than direct copies from Meissen.

The proliferation of Meissen style in England did not always come via Chelsea, for example the unusual Bow octagonal sugar-box decorated with scroll panels was perhaps taken from an Arita original, and the exact form came from Meissen in the 1730s, yet the Chelsea version of this is of a form unknown elsewhere. This plagiarism and copying is a complicated mixture of blending style and form from different sources. Some patterns used at Meissen have oriental origins, especially the Arita and Kakiemon patterns, for example the well-known Two Quail pattern originating in Japan in the 1680s, copied at Meissen in the 1730s, Chinese porcelain was painted with this design in Holland in the 1730s, variations occur at Chantilly 1735-40, at Chelsea and at Bow in the 1750s where the pattern was called Partridge; it is mentioned in Bowcock’s contemporary Memorandum Book of 1756, it occurs later at Worcester in 1770s and 80s.

The so-called Hampton Court hexagonal vase and cover form occurs in Arita porcelain, Meissen and Chelsea; in one instance the decoration of Höroldt chinoiserie figures appears on a Chelsea vase directly copying the Meissen original.12 In this case the Turkish figures in these scenes are taken from Charles François Silvestre (1667-1738) engravings entitled ‘Differents Habillements de Turcs Dediez A Monseigneur Le Duc de Bourgogne’. Direct copying of Höroldt chinoiseries is extremely rare on English porcelain. The extremely rare Worcester helmet-shaped jug after a silver model has a Dehua, Meissen and Bow counterpart (figs. 8a & b).Yet, the frequently seen cos-lettuce leaf-moulded sauceboat, so popular at Worcester and later copied by William Littler at Longton Hall in Staffordshire and West Pans in Scotland is apparently taken from Meissen. While delivering this lecture at Art Antiques London I asked the audience if anyone had seen a Meissen example and one gentleman assured me the model exists and that he had one, I hoped to be able to illustrate it here but the owner has fallen silent.

Among the successful English factories Worcester is perhaps the least inspired by Meissen. The early chinoiseries of the 1750’s show no connection with the factory, yet the trailing flowers are perhaps loosely inspired by Stadler style indianische Blumen. Their rare forays into European figure painting in idyllic landscapes may however owe themselves to a Meissen origin and the flower painting of deutsche Blumen ultimately derive from Meissen, as is the case with the other English factories. By the 1770s,when Worcester was producing wares with lavish ground colours, most notably scale and wet

Figure 7. Chelsea oval dish, inscribed WD 1751, raised anchor mark. 8 in. (20.5 cm) wide (Katz Collection, Museum of Fine Arts, Boston)

this type of flower decoration but a leaf-dish form taken from Meissen and later copied at Bow. By the mid 1750s naturalism in general was the fashion and deutsche Blumen dominate the scene, not just at Chelsea, but all the English porcelain factories adopted this idiom, each displaying their own nuances of style and palette.

The moulded service made at Meissen for the Berlin merchant Johann Ernst Gotzkowsky by Eberlein in 1741 was decorated in relief with a wreath of flowers and became a popular design at Meissen that was then copied at Chelsea, perhaps via the Hanbury Williams pieces and appears as a staple part of the Chelsea repertoire throughout the 1750s and described in the 1755 and 1756 sale catalogues as ‘damask’d’. Flower painting at most factories was the least expensive and among the most popular of decorative styles.

The vogue for naturalism extended to some magnificent bird painting; the three vases shown here span two decades but show admirably how the style was handled when it came to England, the Chelsea and Worcester examples being mid 1750s following the Meissen example of circa 1745. The extensive range of Chelsea leaf-moulded tablewares are Meissen inspired but Sprimont made a great show of the variety he produced which is apparent from a study of the auction sale catalogues of 1755 and 1756. Some of these forms are mentioned in Francis Thomas’s Stock Book as early as 1751, by the mid 1750’s however the list of various forms including tureens and boxes is extensive. By 1756, when Derby came under William Duesbury’s management, 24

on the wares decorated in London. There was clearly a perception among the buying public that Dresden or Saxon china was considered prestigious and upmarket.

It was Sprimont as the ‘Undertaker’ of the Chelsea concern that petitioned parliament in the early 1750’s to stop the import of Saxon china to encourage the growth of his factory.13 Very occasionally Worcester seems to have copied Meissen direct, perhaps even as a replacement as is the case with a teabowl with the Meissen Tishchenmuster pattern, but this is exceptional. The ogee moulded chocolate-cup form is taken directly from Meissen, a popular form at Worcester and there is a dated Bow blue and white example of 1764 recently acquired by the British Museum.14 The partridge tureens based on a Kaendler model of the 1740s and copied at Chelsea, Bow, Worcester and Derby are another example of the quick transition from London to the provinces.

A rare lobed oval Bow teapot, circa 1752-53, with Kakiemon style flowering prunus in the Freeman Collection, after a Japanese original, has a Meissen counterpart in the Arnhold Collection.15 Turning to the production of figures, the English factories relied heavily on Meissen models for their inspiration. The Chelsea figures of the triangle period with the exception of a Print Seller after Bouchardon have no Meissen parallels. In 1749 Joseph Willems arrived from Tournai to take charge of modelling at Chelsea, he was a skilled modeller in terracotta and he introduced a peculiarly Flemish style to the modelling at Chelsea. However he began with an outstanding series of birds based on engravings by George Edwards.16 There are a few rare Italian Comedy figure models of the raised

Figure 8. Meissen ewer, 1730. 6¼ in. (16 cm) high (Errol Manners) Worcester ewer, 1752. 4⅞ in. (12.4 cm) high (Simon Spero)

blue, green and yellow, they were looking to Sèvres rather than Meissen for their lead although Meissen had introduced a large range of different ground colours in the 1730s. Their huge output of wares decorated in underglaze blue and the overglaze transfer printed pieces owe little to Saxony. The exception here is a plate and a teacup and saucer painted in underglaze blue with deutsche Blumen. The cup form is certainly taken from a Meissen model, the imitation blue crossed swords mark of Meissen, adapted from the Electoral Arms of Saxony. This was a familiar mark at Worcester, frequently seen 25

François Boucher appears in the raised/ red anchor period and was later modelled by Kaendler, Reinicke and Meyer for Meissen in about 1750; in this instance the source was the engraving rather than the Meissen interpretation.

A very rare group of Pantalone and Columbine after Kaendler’s model of 1736 later remodelled in 1741, was produced at Chelsea and a seated Columbine playing the hurdy-gurdy has parallels at Chelsea, Bow and Longton Hall. A small raised anchor Chinaman has its origins in a model by P. Reinicke (fig. 9). The list of parallels is endless and it would be tedious to list them all here, but I wish to emphasise how very important Meissen was as a source of design and decoration on English porcelain. London was the first port of call, Chelsea and Bow, and then this quickly spread to Derby and Longton Hall. Although Willems at Chelsea was creative in his own right, producing models without Meissen prototypes, in his distinctive style, many figures and groups are ultimately taken from Meissen’s broad repertoire. Kaendler’s spirited group of the Indiscreet Harlequin of 1740 occurs at Bow and The Mockery of Age inspired a Derby version.20 The Vauxhall factory made a figure of a Man playing the Lute in circa 1755 after Kaendler’s model of some ten years earlier. The well known Tyrolean Dancers, that wonderfully swirling model by Eberlein from the 1730’s was copied at Chelsea in the late red/early gold anchor period, and also at Bow and Derby. Kaendler’s Count Bruhl’s Tailor has a parallel in the Derby Welsh Taylor and His Wife. The small standing goat by Kaendler has a striking counterpart at Derby in the early ‘dry edge’ period of the 1750’s. The Stallions with a Turkish and Blackamoor Attendant, a strong but late Meissen model of 1753 were successfully copied at Longton Hall.21 The striking figures of a Turk and Companion were also taken directly from Meissen and occur at Longton Hall, Liverpool, currently attributed to Samuel Gilbody’s factory and also in creamware and saltglaze versions from Staffordshire.22 The Meissen Monkey Band Affenkapelle by Kaendler were modelled before 1753 and later reworked by Kaendler and Reinicke in the 60s; there are rare copies from Derby in the 1750s and Chelsea of the gold anchor period, 1760. (fig. 12) Pug dogs, so familiar in English porcelain, were made at most factories and most derive from the series of mops conceived by Kaendler in the 1740s, in both recumbent and seated form. The larger group of a Pug bitch with her Puppy by Kaendler of 1741 was copied in England in the early 19th century either at Coalport or Chamberlain’s factory, Worcester.Various small models of sheep by Kaendler, a recumbent ewe and lamb occur at Chelsea in the raised /red anchor period and also at Longton Hall. Among these animal models William Cookworthy’s factory at Plymouth made a very wooden copy of a Seated Hare after Kaendler’s spirited model of the 1740’s. (figs. 11a & b)

Figure 9. Chelsea Chinaman, raised red anchor mark, circa 1750-52. 4⅛ in. (10.5 cm) high (Private Collection)

anchor period, for example Dr. Boloardo, Pantalone17 and Scaramouche based on models by Peter Reinicke and another figure of a Peasant with a hurdygurdy and of a Chinese Boy with a leaf hat,18 yet the Meissen influence didn’t begin to make itself strongly felt until the red anchor period. The soft Chelsea paste gave a much gentler appearance to these figures, the colouring frequently pale and sparse. A range of Italian Comedy figures appear based on the Meissen models by J.J. Kaendler and Peter Reinicke for the Duke of Weissenfels of 1743-45 largely derived from Joullain after Callot.19 A Chinese family group based on an engraving Les délices de l’ Enfance by J.J. Balechou after 26

Figure 10. Chelsea Nun, red anchor mark, circa 1755. 5½ in. (14 cm) high (Private Collection) Liverpool nun, Richard Chaffers’ factory, circa 1762- (whereabouts unknown)

Acknowledgements Of the many who have willingly discussed this project with me I am especially indebted to Errol Manners for his generous advice and expertise, always so willingly and amusingly delivered. Also my grateful thanks go to Mary and Peter White for supplying images and as always for their stimulating enthusiasm.

Religious figures, especially the Holy Family and Saints are exceptionally rare in Protestant England, but monks and nuns are plentiful, the seated version of a nun by Kaendler occurs at Chelsea, Bow, Longton Hall and Chaffers’ factory, Liverpool (figs 10a & b).

Shortly after delivering this lecture at Art Antiques London I went to Dresden and Meissen to see the exhibitions commemorating the 300th anniversary of the founding of the factory.23 It was gratifying to see there so many pieces that inspired our manufacturers to emulate their innovative and sophisticated designs. Here too was an exhibition showing contemporary Meissen porcelain, as cutting edge in its way as in the early years yet not as easily plagiarised by our contemporary manufacturers who are bound by regulations limiting the industrial espionage, which was rife in the 18th century.

Notes 1.

27

Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain The Collection formed

by Geoffrey Freeman, London 1982, pp. 23 & 28, nos. 1, 10 & 11.

2.

Anton Gabszewicz and Geoffrey Freeman, op.cit., London 1982, p. 42, no. 40.

3.

Exhibition Catalogue ‘Bow Porcelain 1744-1776’, British Museum October 1959-April 1960, figs. 6 & 7, no. 44 and Anton Gabszewicz and Geoffrey Freeman, op.cit., London 1982, p. 121, no. 184.

4.

Maureen Cassidy-Geiger, The Arnhold Collection of Meissen Porcelain 1710-50,

Figure 11. Hare: Meissen, Kaendler, 1745. 6 in (15.2 cm) high (Brian Haughton Antiques) Plymouth, circa 1768. 6⅛ in. (15.5 cm) high (National Trust, Fenton House, Hampstead)

New York 2008, p. 448, no. 195.

5.

Frank Tilley, Teapots and Tea, Newport 1954, p. 34, no. 57, pl. XV1 for the example then in the Statham Collection.

6.

Bernard Dragesco, English Ceramics in French Archives, London 1993, p. 14.

7.

Referred to in the 1755 Chelsea sale catalogue as ‘Red Panel Pattern’

8.

Exhibition Catalogue, ‘The Burghley Porcelains, An Exhibition from the Burghley House Collection and based on the 1688 Inventory and 1690 Devonshire Schedule’, Japan Society, New York 1986.

9.

John Ayers, Oliver Impey, J.V.G. Mallet et al., Porcelain for Palaces, OCS London 1990, p. 262

10. Mentioned in the Chelsea sale catalogue of 1756 as ‘Old Lady Pattern’ 11. T.H. Clarke, ‘Sir Charles Hanbury Williams and the Chelsea Factory’, ECC Transactions,Vol. 13, Pt. 2 (1988), pp. 110-120. 55-78.

12. Abraham L. den Blaauwen, Meissen Porcelain in the Rijksmuseum, Amsterdam 2000, pp. 127-129, no. 75 13. Elizabeth Adams, Chelsea Porcelain, London 1990, p. 14, fn. 11 (British Library, Lansdown MSS, no. 829, fol. 21.

Figure 12. Derby monkey musician, 1756 (Errol Manners)

14. Inscribed ‘Elizth, Mackly./ 1764’ Anon. sale, Woolley & Wallis, Salisbury, u 15. Anton Gabszewicz & Geoffrey Freeman, op. cit., 1982, p. 48, no. 51, col. pl. III and Maureen Cassidy-Geiger, op. cit., 2008, p. 357, no. 125.

19. Published in Riccoboni, Histoire du Théâtre Italien, Paris 1727.

16. George Edwards, Natural History of Uncommon Birds, London 1743-1751.

20. For the Meissen originals in the Arnholt Collection, see Maureen CassidyGeiger, op. cit., 2008, pp. 263 & 264, nos. 51 & 52.

17. Yvonne Hackenbroch, Chelsea and other English Porcelain Pottery and Enamel in the Irwin Untermyer Collection, London 1957, p. 22, Pl. 39, Fig. 14 after Reinicke’s model of 1743-44 and ibid. p. 21, Pl. 21, Fig. 13.

21. Bernard Watney, Longton Hall Porcelain, London 1957, p. 44, pls. 63B & 22. Bernard Watney, op. cit., London 1957, Pls. 42 & 43.

23. Ulrich Pietsch and Claudia Banz (eds.), Triumph of the Blue Swords, Dresden 2010.

18. F. Severne Mackenna, Chelsea Porcelain The Gold Anchor Wares, Leigh on Sea, 1952, Pl. 36, Fig. 74.

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‘Curiously Enchased’ Goldsmiths & Diplomats in Baroque Europe Philippa Glanville FSA. Noted writer and social histororian within the field of the Decorative Arts

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n 1557 Mary I, Queen of England, instructed Thomas Randolph her ambassador to Ivan the Terrible as to how to present her gifts; the highlight was a “rich standing cup containing a great number of pieces of plate artificially wrought…you shall recommend it for the Rarity of the fashion, assuring him that We do send it him rather for the newness of the devise than for the value, it being the first that was made in these parts in that manner“.

The Queen’s instructions sum up the essence of gift-exchange in early modern statecraft. Emphasized for their novelty and exceptional workmanship, objects fashioned in gold and silver lay at the heart of these exchanges, since they perfectly combined the finest craftsmanship with a recognised expression of value, as indeed they still do. A young enameller Fiona Rae, who received the Royal Warrant in 2001, makes silver boxes with the Prince of Wales’s Feathers, which Prince Charles dispenses on appropriate occasions. Intended to delight, to impress and ultimately to persuade, these values are exemplified in Berlin’s famous baroque buffet, to which this essay will return.

The Berlin buffet embodies some earlier diplomatic associations: two Elizabethan bottles with chains, made in London in 1579–80 were recently rediscovered. Imbued with significance beyond their actual form, they had travelled to Brandenburg after a failed marriage negotiation with King James I, almost certainly presented to the returning German ambassador. (figure 1).1 Presenting beautiful, costly and preferably rare objects has always been central to diplomacy, alongside lavish hospitality. Both were public acts, played out before an audience. When monarchs conducted diplomacy personally, an exchange of presents helped to cement alliances; prized for their prestige, such gifts were widely displayed and publicised through the reports which diplomats sent home. Many anthropologists and art historians have written from their contrasting perspectives about the theory and practice of gift exchange. Historians have been slower to recognise how much exceptional objects embodied subtle messages, messages which call for curatorial skills in decoding meanings and context.2 As we know from studies of the French, Danish, Swedish, English and Russian courts, pres-tigious, hard to come by and luxurious products were central to the gift exchange. Recent international exhibitions have explored specific themes from Goa to Moscow. Landmarks were the Lisbon exhibition in 1996, The Heritage of Rauluchantim, on the impact of Indian goldsmiths on Portuguese diplomatic gifts and in 2002 Gifts to the Tsars 1500-1700, Treasures from the Kremlin, at the Indianapolis Museum of Art. In 2000 Treasures of Catherine the Great opened the Hermitage Rooms at Somerset House and

Baroque Style in the Age of Magnificence 1620-1800,The Victoria & Albert Museum 2009 explored the world of the court.3 Objects of exceptional quality and workmanship which have lost their history may have been devised originally as diplomatic gifts. For goldsmiths’ work, the paper trail allows this to be reconstructed, even if conjecturally. Francis I, for instance, chose exotic Indian goods, notably mother of pearl, which had been imported into Europe through Lisbon, by Queen Joanna of Portugal, sister to his second wife Eleanor.

A handsome Goanese mother of pearl casket, embellished in Paris by the royal goldsmith Pierre Mangot with silvergilt mounts in 1532, now in the Louvre but for many years in English ownership., could well have been a French royal gift to Anne Boleyn on her honeymoon visit to France in 1532. When King Henry VIII died in 1547, his huge inventory included seven treasured caskets of mother of pearl, one of which had mounts of precious metal & was comparable in size to this rare survivor.4 Rulers chose gifts carefully. Flattering phrases such as ‘From the Kings own hand ’ might be deployed by the agent handing over the gift. Accounts by diplomats make it clear that these presentations were observed, judged and their effect on relations evaluated. Gifts were graded, so that a ruler with a son still unmarried might be sent personal weapons suitable for a boy.

When the Russian Tsar sent a bundle of costly and prestigious black sables to James I, King of England in 1617, to cement their trade treaty, he added a gold dagger set with emeralds and rubies for the King’s son, Prince Charles, as a symbol of young manly values. In fact this ‘Ritch dagger beset with stones’ was Persian, itself a gift from Isfahan to the Russian ruler. A jewelled Persian dagger with a known English ownership from the 17th century preserved in the Portland Collection may well represent that princely gift. But even a fashionable and costly choice might actually be inappropriate. In the 1650s, when the Emperor ordered a suite of silver furniture in Augsburg for the Sultan from D. Schwestermuller, he found that it was quite unsuitable to send to Muslim Constantinople, as the tabletop was chased with three naked women (The Judgement of Paris).5 When an ambassador took his wife, she played a part in these ceremonial exchanges. Protocol might deny or discourage male visitors to the significant women of the court, but these women could contact, entertain and exchange gifts with the Queen, the King’s mistress or his mother.These entertainments also involved exchanges of precious metal. In the 1660s gifts to Lady Anne Fanshawe, wife of the English ambassador to Madrid included ‘a very noble present of India plate’ from the Governor’s wife. In the 1680s when Louis XIV

I

Figure 1. One of a pair of silvergilt bottles, London 1579–80. Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg/A.Hagemann

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wanted to make an alliance with the Ottoman Sultan, he sent magnificent official presents to Constantinople and apparently added a gold mirror enamelled with flowers and set with gems, in recognition of the particular influence of the Sultana Valide, the Sultan’s mother.6 In April 1687 the Levant Company presented the gold Trumbull Beaker, marked by George Garthorne for 1685 to Katherine, Lady Trumbull, first wife of Sir William Trumbull, as they were taking a ship at Greenwich for Constantinople, where he had been appointed Ambassador. Lady Trumbull could consume sherbets and other cool non-alcoholic drinks from her gold beaker with ladies of the Ottoman court in the manner befitting a royal representative. According to the Levant Company’s minute book, ‘the Lord Amb[assador]s Lady was in expectation of a Present as her Ladyship had understood other Amb[assador]s Ladys had had, it was left to Mr Husband to provide a piece of gold plate to the value of about £60 to be presented to her Lady[ship] in the Company’s name’.7 The memoirs of Lady Anne Fanshawe, widow of Sir Richard Fanshawe, Charles II’s ambassador to Lisbon in 1662, and subsequently to Madrid, record how gold and silver glistened in their official world. Lady Anne appreciated the lavish furnishings issued from the Stuart Wardrobe:‘a crimson velvet cloth of state, fringed and laced with gold, with a chair, a footstool, and cushions, and two other stools of the same, with a Persian carpet to lay under them, and a suit of fine tapestry hanging for that room ’. Their Chapel had two velvet altarcloths fringed with gold, and their table and buffet were dressed with eight hundred ounces of gilt plate, and four thousand ounces of white plate, all on loan from the Crown. Displayed in a room of state, beneath a cloth and a portrait of the monarch, the sumptuous silver issued to English ambassadors glistened by candlelight at official receptions and dinners.8 Diplomacy was costly, since the choice of gifts had to be carefully matched to the recipients. We can see this, indirectly, in 1604. After making the obligatory presentations to the Spanish ambassadors at their peace negotiations, James I had to replenish the English Jewel House. Fifteen thousand ounces of plate, including some early 16th century Spanish buffet plate, had been taken from his Great Cupboard of Estate, deliberately selected as fitting for the high status Spanish legates. These great pots had probably accompanied

Figure 2. Dagger and scabbard, gold and silvergilt, set with hessonite garnets and emeralds.

Traditionally called ‘Henry VIII’s dagger’. Iranian, early 17th century. Portland Collection/D. Adlam

C a t h e rine of Aragon to England a century earlier. Sadly they have not survived although the senior nobleman, the Constable of Castile, received one of the greatest, or at least oldest, treasures in the Jewel House, the 14th century Royal Gold Cup, now in the British Museum.9 Official gifts could include exceptionally costly regional specialities, such as Tokay from Hungary, Champagne from France, furs from Russia, hardstones from Saxony, exotic birds from North Africa and even a polar bear, sent from the Tsarina to Dresden. Jerome Horsey, an English merchant who travelled to Russia on behalf of the Muscovy Company in 1586 took to Boris Gudonov an eclectic mix of rarities; ‘2 lions, dappled bulls, 2 mastiffs, bulldogs (presumably for the sport of bullbaiting), gilt halberds, pistols, guns, armour, wine, store of drugs of all kinds (spices), organs, virginals , musicians, scarlets (dyed cloth), pearl chains, plate of curious making … ’. In 1663 Charles II’s embassy to Moscow took pigs of Cornish tin, as well as examples of London-made fire-arms. The latest technology, notably guns and clocks, became an English speciality.10 Porcelain opened a new phase in diplomatic gifts. In 1713 only two years 31

Figure 3. Dessert table in Rome, arranged for the English ambassador Viscount James Castlemaine.

Engraving Rome 1687

lect plate from the Crown’s reserves, or to have new services made at the Crown’s expense but to their own taste. Lent for the period of duty, these services were often then converted into family possessions later, by the simple step of obtaining a writ of discharge under the Privy Seal. This process cost little more than a hundred pounds , whereas a single tureen might cost as much or more.11 For ambassadors in northern Europe cisterns for cooling wine set out at dinners and receptions, were a prestigious necessity, particularly before the concept of a matching dinner service emerged. They became larger and larger. In 1663 a cistern and sconces appear in the issue to the Earl of Carlisle for his embassy to Russia and the Earl of Peterborough was issued with a cistern weighing 1185 ounces for his embassy to the Emperor in 1672. Famously, the Earl, later Duke of Marlborough, as Ambassador to the States General selected in September 1701 a trend setting issue of silver dining furniture, much of it still at Althorp: one large cistern of 1944 ounces, with a smaller cistern and fountain for rinsing glasses and two ice pails.To this was added in December ‘a paire of large Bottles curiously enchaised’ weighing 653 ounces, display plate for the buffet. Having been lent 7,390 ounces for his embassy he received another 7,351 ounces on being appointed Captain General of His Majesty’s forces in Holland.12 A case study linking England and Brandenburg-Prussia illuminates the role of goldsmiths’ work in diplomatic exchanges. Its origins lie in the War of the Grand Alliance 1688-1697, which ended with the Treaty of Ryswick. Silver featured in a set of showy reciprocal gifts. Only the common enemy Louis XIV was excluded, and in effect mocked in the Dutch press, for having sacrificed his palace silver to the melting pot in 1689.

The basis of the famous Augsburg buffet, a prestigious suite of display silver set up in Berlin in 1701, had originated in London. (figure 4) This was a massive pair of cisterns and fountains with the Garter Badge, ordered by William III in January 1693 and completed in 1694 for his German cousin and ally. Described in the Jewel House books as “ One large silver cesterne curiously chased and embossed with the Duke of Brandenberg’s arms 5129 ounces.

One other the like 5073 ounces’, the English royal gift came complete with ‘(cuir bouilli) leather cases’.When melted in 1745, these weighed 10,203 Troy ounces or 317.3 kilos. For comparison the Raby cistern sold in July 2010 weighs 2,514 ounces or 80 kilos. William III’s exceptional order for cisterns from the English Jewel House, by far the largest ever recorded, might have

after the secret of the magical ‘white gold ’ had been discovered, August II the Elector sent the first gift of this dazzling novelty to his cousin, King Frederick IV of Denmark. We are now familiar with its prestigious role, from its first discovery, exemplified by the Fragile Diplomacy Meissen Porcelain for Foreign Courts 1710–1763 exhibition at the Bard in New York, through the Imperial exploitation of the products of the Du Paquier factory, to its full flowering under the kings of Prussia and of France. But goldsmiths’ work maintained its special status.

Diplomats had great prestige and attracted many gifts of plate from their merchant communities. In Madrid, Lady Anne recorded ‘…the English Consul with all the merchants brought us a present of two silver basins and ewers, with a hundred weight of chocolate, with crimson taffeta clothes, laced with silver laces, and voiders, which were made in the Indies, as were also the basins and ewers… the English merchants of Seville, with their Consul, presented us with a quantity of chocolate and as much sugar, with twelve fine sarcenet napkins laced thereunto belonging, with a very large silver pot to make it in, and twelve very fine cups to drink it out of, filigree, with covers of the same, with two very large salvers to set them upon, of silver.’

Until the 1820s English ambassadors, the embodiment of the monarch, were equipped with silver from the Jewel House for public entertainments, to support their role as royal representatives.This generous English system, which explains the former royal origin of plate in many aristocratic collections such as Althorp, Anglesey Abbey,Woburn Abbey,Welbeck Abbey, Belton and Burghley House, required ambassadors and other officers of state to se32

Figure 4. The Berlin Buffet. Painting of the Rittersaal by T. Kjellberg, 1847 Stiftung Preußische Schlösser und Gärten BerlinBrandenburg

been partly a courteous response to the Elector’s gift of a suite of cabinet, stands and mirror made of white Baltic amber to Queen Mary, which John Evelyn saw at Whitehall Palace in July 1693.13 Prince Elector Friedrich III of Brandenburg (1657–1713) thought he might become King William’s heir to the Orange title in the Netherlands, so the massive Augsburg buffet he commissioned in the late 1690s for the Rittersall (Knights Hall) or throne room of the Berlin Palace is ornamented with the red eagle of Brandenburg and the lions of Holland.

This episode of princely extravagance had an aftermath. In 1701 Thomas Wentworth, Lord Raby, was a witness in Berlin when the Elector declared himself King of Prussia. The largest elements in his new buffet, literally its dual foundations, were the two massive cisterns ordered by William III as presents for the Elector in 1694. By the time Raby was appointed Ambassador in 1706, the English throne was occupied by Queen Anne, and her successor was to be another cousin of William’s, the Elector of Hanover. Raby needed to reinforce the message of friendship between monarchs and give exceptional honour to the new King of Prussia, a valuable future ally in the north. In 1706, the unusually large Raby cistern made up the greater part of the plate issued to Thomas Wentworth, 3rd Baron Raby. He was clearly determined to have it made as heavy as possible, as his instructions spell out; ‘The cistern cant be to(o) big so all the plate that is Left out of the other things must be put in that to make up the full weight ’. However, this was not merely self-aggrandisement but a necessary piece of statesmanship on behalf of Queen Anne’s reputation as a generous and wealthy monarch and worthy successor to William III.14 Diplomatic dinners were a kind of competitive warfare, carried out without shots being fired in anger. In the 18th century as the buffet declined, so the table became the main vehicle for displaying silver.The French court was again the innovator. From the 1670s, Louis XIV’s designers and artists generated new ideas, from ways of eating to the form of gifts, ideas which rapidly spread across Europe. Lacking easy access to silver and exploiting the newly arrived technique of gem-cutting, Louis XIV started presenting foreign diplomats with gold boxes set with diamonds, accompanied by some delicious Paris-made novelty, such as a jewelled mirror, a watch or a fan, for the ladies.

Goldsmiths’ work ‘in the new fashion ’ was perceived as a symbol of national or at least royal policy. Embracing this strategy, the French court pur-

sued Colbert’s policy of emphasizing the luxury trades and L’Art du Vivre as national characteristics. For many years silver historians have cited references in the Mercure de France in the 1690s to Louis XIV’s newly invented tableware, from the surtout to the sauceboat ‘avec deux anses et deux becs’ devised by the royal goldsmiths for his private dining room at Marly . However, the true meaning of these newspaper stories has been missed; they are propaganda, inserted to demonstrate the King’s continuing wealth and his inventive menus. The policy worked. French innovations in tableware were emulated by other courts, as the news spread, so that by 1700 English ambassadors were also rapidly demanding tureens, this new kind of centrepiece or surtout (as depicted by Francois Massialot in the 1712 edition of his famous Cuisiniers roial et bourgeois) and the more convenient deeper sauceboats for their services. Although the French King had lost a huge amount of face and damaged his international standing by the colossal sacrifices of plate and silver furniture to the melting pots in 1689 and indeed again in 1708/9, he had found a way to create a more positive image through these new commissions.15 In an age when royal marriages cemented alliances, these were a high point of diplomacy, requiring many gifts for the attendants, themselves aristocrats, who would bear witness later as to the successful achievement of the occasion. In 1740 George II arranged the marriage of his daughter Princess Mary to Prince Frederick of Hesse, later Landgrave of Hesse. Her English retinue was led to Kassel by the Duchess of Dorset. Immediately after their arrival Frances Countess of Hertford wrote back to the Countess of Pomfret describing their reception, the dinner and public ball and empha33

sizing the nature of the gifts, carefully selected as fitting for a noblewoman ‘The whole was conducted with surprising magnificence and order; and the English who were present were treated with all imaginable distinction and politeness. The Duchess of Dorset was presented with a fine diamond ring; a set of Dresden china; and a tea table with a gold tea-canister, kettle and lamp.’ This personal witness would be passed on, shared within court circles and redound to the honour of both parties.16 Although the dry entries in court ledgers may seem opaque, silver has the unique advantage that its weight was usually recorded. Jet Pijsel Dommisse’s recent research on Hague silver identified the origin of two magnificent silver Buires or waterfountains in the Portland Collection in England.

Unmarked and with no contemporary documentation in family papers, these great buffet pieces, clearly French in design, have a parallel in a Paris fountain of the early 1660s (now at the Getty), but are not French in their execution and workmanship. We now know that the States General ordered them in 1681 as a present for William of Orange. The Dutch goldsmith Adam Loofs had indeed spent many years in Paris working for Louis XIV, but returned to the Hague in time to be given this prestigious commission, which he executed with high baroque bravura. He had not yet been re-admitted to the Hague guild, hence the absence of marks.

These spectacular objects left the Hague after William

became King of England; they are now crowned with the stag crest of the Cavendish family.17 Gifts of gold and silver had to be showy, eye-catching, and if not actually ‘in the latest fashion’, at least curious, or incorporating flattering messages or historical associations. Why in 1706 did the city of Luneburg in the north German duchy of Celle choose a cup already a hundred years old as a presentation to the Elector George Ludwig (later King George I of England)?

Understanding the context explains the choice. This spectacular cup, Hamburg work of about 1600, stands almost 30 inches tall and is crowned with a figure of Justice. More important, it is chased with portraits of northern European rulers who were Protestant or sympathetic to reform. As elucidated recently for the Schroder exhibition at the Wallace Collection, the portraits probably depict the kings of Sweden, Poland and France, and the rulers of Braunschweig-Wolfenbüttel, Brandenburg and Hesse-Kassel. The link appears to be the various roles they played in the German Reformation.

Originally one of a pair presented to Luneburg by Leonhardt Tobing in 1602, this massive cup also bears three coldenamelled figures of Fortitude, Temperance and Prudence. In 1706 the city of Luneberg needed to mark its homage to the Elector; a new relationship had emerged, since the Duchy of Celle was now united with the Electorate of Hanover under his rule. The

Figure 5. The Raby Cistern, London 1706. Sold at Sothebys 10 July 2010

34

Protestant theme was entirely appropriate to the Elector, who had been fighting the French for most of his adult life.18 Publicity was also a feature of the gift-exchange. Moscow’s policy of publicising tributes from foreign monarchs is particularly well-documented. Carried in ceremonious processions through the streets and accompanied by music, gifts such as a spectacular set of tall cups from Sweden or a rock crystal chandelier and fifty nine pieces of plate from the States General were an essential element in the formal reception of an arriving ambassador. However, from Constantinople to London the public were given the opportunity to enjoy these spectacles. Until the late 17th century the Banqueting House in Whitehall was the setting for ambassadorial receptions; the Russian embassy of 1662 was a particularly impressive occasion. As the diarist John Evelyn noted, 165 of the retinue carried the presents of sables, fox and ermine, Persian carpets, ‘hawks , such as they said never came the like; horses said to be Persian’ into the Banqueting House.When the Moroccan ambassador brought 2 lions and 30 ostriches, Charles II joked that all he could send in return was a flock of geese.19 Plate contributed to a realm’s self-presentation. Court officials arranged exhibitions of exceptionally large objects intended for foreign recipients, as occurred several times in London’s West End in the 1720s and 1730s, when the King himself was shown the cistern (or bath) ordered from Paul Crespin by the King of Portugal. Newspapers in London, Paris and the Hague published stories about exceptional silver commissions, no doubt fed by the contemporary equivalent of press agents. When George III wanted to promote British support against Napoleon’s invasion of his electorate of Hanover, he held a magnificent party for princes, dukes and diplomats at Windsor Castle on 25 February 1805 with a German theme. For the press, the highlight of the event was the ‘choice and valuable furniture saved from the plundering hands of the common enemy, when he unjustly invaded the King’s electoral dominions’; that is the dazzling silver tables, mirrors, chandeliers and tableware from Hanover, accumulated over the previous hundred and fifty years and seen for the first time in Britain. The sheer splendour of his Hanover silver, some of which is now on show at the Museum of Fine Arts

Figure 6. Dinner for William of Orange and Mary Stuart at the Hague, c.1680; detail of engraving by Romeyn de Hooghe. Ann Eatwell/VandA

35

Figure 7. The White Drawing Room at Waddesdon Manor, laid for a royal dinner.

George III Service by R-J Auguste, Paris and F P Bundsen, Hanover,1775–1824. ©The National Trust. Waddesdon Manor/ the Rothschild Collection, Rothschild Family Trust/M.Fear

in Boston, with a French dinner service split between The Louvre and Waddesdon Manor, was intended to impress and persuade the British audience that the Electorate was worth defending.

Not necessarily accurate, newspaper stories in fact might be a deliberate snub to a recently defeated enemy. This motive lies behind a Dutch newspaper story in 1698, reporting a story from London about a new and impressive suite of silver furniture being made for William III. This, the newspaper claimed, was intended as a gift for Louis XIV, who had been forced at the Treaty of Ryswick in 1697 to make peace with the Dutch Republic and England. His costly military campaigns had famously forced him to sacrifice twenty tons of precious metal in 1689 including one hundred and twenty pieces of silver furniture from Versailles, plus even his showy tableware. So the story was a calculated public insult. In fact, William III ordered this suite as his celebration of the Treaty of Ryswick; intended for prominent display at his evening Appartements in the State Rooms of Kensington Palace, the silver table, gueridons & mirror are still in the Royal Collection.21 In London there was always acute and competitive awareness of Paris

design and craftsmanship in goldsmiths’ work. French plate cost more, just as French chefs demanded higher wages and more expensive ingredients. Because of the sheer cost of warfare, Louis XV found it necessary to call plate into the melt in 1759, to finance his war against England and her allies. At once, a caricature was published in London showing Louis XV and his favourite, the notoriously extravagant Mme de Pompadour wielding shears to cut up the royal tableware, including a rococo tureen, a candelabrum and a fancy casket bearing the signature of the famous Meissonier. However, these ancient enmities and the exorbitant cost of Paris-made plate were no bar to Figure 8. Pair of fountains or Buires, the Hague, Adam Loofs 1680–1.

Portland Collection/D. Adlam

36

37

foreign courts commissioning from French royal goldsmiths. When George III, as Elector of Hanover, required a new service in the fashionable neoclassical style for his Electoral palace, his German officials commissioned designs from Joseph and Ignaz Wurth in Vienna and Luigi Valadier in Rome. But it was in Paris, and to the royal goldsmith Robert Joseph August, that the commission was made, as Dr Lorenz Seelig has demonstrated.22 Connoisseurship has its limitations; we now benefit from a subtler historical understanding of the mysterious world of diplomatic gifts.The messages embedded within exceptional objects can be unlocked only by archival probing. In the last twenty five years we have benefitted from a flowering of reconstructive history; the Society for Court Studies published valuable conference papers in 2009. Equally, sales of major objects attract stimulate research, as with the

Raby cistern which was export-stopped in autumn 2010.

Thanks are due to Derek Adlam, Deborah Lambert, Felicity Glanville, Alfred Hagemann and Diana Stone for their kind assistance with images NOTES 1

A. Hagemann, “A Prussian Rediscovery Two Elizabethan chain bottles in Oranienburg Palace” Silver Studies Journal of the Silver Society, no.23, 2008, pp.135-140 2 A. Morrall, Introduction, The Court Historian Gift-giving in eighteenth-century courts, The Society for Court Studies, vol.14, no.2, 2009 3 Royal Treasures from Denmark 1709 Frederik IV in Florence, Museo degli Argenti, Florence 1994, dealt with the unusual event of a king travelling abroad, with goldsmiths work lavishly deployed.

4 M.Bimbenet Privat, L’Orfevrerie Parisienne de la Renaissance Trésors Disperses, Centre Culturel du Panthéon Paris 1995, no.73a, pp.110-111 5 The National Archives, State Papers, vol.91, part 2, f 37.

“The Emperour of Russia his Presents to the Kings Majesty”.

Figure 10. The Hanover Cup. Schroder Collection

Figure 11. Silver furniture and chandeliers acquired by George II for Hanover, evacuated from Hanover in 1803 and displayed in the Ballroom, Windsor Castle from 1805 to 1816. Aquatint from W.H. Pyne, Royal Residences 1819. ©The National Trust. Waddesdon Manor, the Rothschild Collection/M. Fear

Figure 9. William of Orange (William III).

Drawing in crayon by Kneller. Portland Collection/D. Adlam

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princely family, was recently on the London market The Trumbull Beaker is in the British Museum. Horatio Walpole Envoy to France in the 1720s, complained bitterly “I have little or no plate and must be obliged to have a handsome sett”. P and G Glanville” French fancy Silver from Paris and its English patrons”Rococo silver in England and its colonies, edited by V.Brett Silver Studies Special Paper, vol 20, 2006, pp.27-28 8 Lady Anne Fanshawe, Memoirs, online Gutenberg Project 9 The Royal Gold Cup, Paris c.1370-80, is in the British Museum.

P.Glanville, Silver in Tudor and Early Stuart England, Victoria & Albert Museum 1990, p.122 10 Y.Yablonskaya, “Seventeenth-Century Firearms in the Kremlin” Britannia and Muscovy English Silver at the Court of the Tsars, Yale 2006.

M.Cassidy Geiger,“The Politics of Porcelain”, The 25th International Ceramics Fair and Seminar 2006, pp.28-30 11 J.Lomax, “Royalty and silver: the role of the Jewel House in the eighteenth century” Silver Society Journal vol 11,1999, pp.133-139 12 P and G Glanville, “A la Cour des Stuarts” Château de Versailles, Quand Versailles etait meuble d’argent, Réunion des musées nationaux, 2007, pp.198-200 13 M.Winterbottom and A Hagemann, “New discoveries concerning the Berlin silver buffet”, Silver Studies Journal of the Silver Society, no.22, 2007, p117-122. Also discussed by L.Seelig,”Late baroque wallmounted buffets in Berlin and Dresden” in Silver and Gold Courtly Splendour from Augsburg, Prestel Munich/New York 1995 14 H. Jacobsen, “Ambassadorial plate of the late Stuart period and the collection of the Earl of Strafford”, Journal of the History of Collections, vol 19, no.1, 2007, pp.1-14 15 Versailles et les tables royales en Europe XVIIième-XIXième siècles, Château de Versailles /Réunion des musées nationaux, 1993 16 Correspondance between Frances Countess, of Hartford afterwards Duchess of Somerset and Henrietta Louisa Countess of Pomfret, 2nd ed, 1806, vol. 2, p.12, to the Countess of Pomfret Richkings 23 July 1740.

17 J. Pijsel Dommisse, Haags goud en zilver, Gemeentemuseum Den Haag 2005, pp.25-27 18 R. Hatton, George I Elector and King, Thames & Hudson 1978, p. 89 and passim. T.Schroder, Renaissance Silver from the Schroder Collection, Wallace Collection/Holberton 2007, p.158-9 19 A.Kudriavtseva ”Ambassadorial ceremony at the Tsar’s court”, Gifts to the Tsars. pp.43-62; Diary of John Evelyn, 27 Nov and 29 Dec 1662 20. The Times 26 February 1805 .E Alcorn, English Silver in the Museum of Fine Arts Boston vol 2 Silver from 1697, MFA Boston 2000, pp.72-75, col.pl. 3 and 4 21 Royal Treasures A Golden Jubilee Celebration ,edited by J.Roberts , The Royal Collection 2000, pp.149-51.M.Winterbottom “Such massy pieces of plate; Silver furnishings in the English royal palaces 1660–1702,” Apollo, August 2002, pp.19-26 22 L.Seelig, “The King George III silver service by RJ Auguste and FP Bundsen”, Silver Society of Canada Journal, vol 13, 2010, pp.44-91 7

Figure 12. Detail of the George III Service by R-J Auguste, Paris and FP Bundsen in the White Drawing Room at Waddesdon Manor. Waddesdon Manor ©The National Trust/ the Rothschild Collection. Rothschild Family Trust/M.Fear

6

S. Korner, “Une Ambition royale Le mobilier d’argent des Princes Esterhazy” Quand Versailles etait meuble d’argent, Chateau de Versailles/ Réunion des musées nationaux, 2007, pp.169-186, fig.169.

The offending table is on show at the Esterhazy Castle outside Vienna Mirrors had a special significance at the Ottoman court. The Parismarked gold mirror, which had passed by marriage to an Indian

39

Laocoรถn in Disguise Johann Joachim Kaendler and the Art of Antiquity Michaela Vรถlkel Curator of the Ceramic Collection, Prussian Palaces and Gardens Foundation Berlin-Brandenburg

Figure 1. Johann Joachim Kaendler, Aeneas and Anchises, Meissen, c. 1755, Staatliches Museum Schwerin, Kunstsammlungen.

40

J

ohann Joachim Kaendler (1706–75) was even for his time an exceptionally well-read and highly educated artist. As the anonymous author of his obituary stressed, the foundations of a solid humanist education had already been laid in his parental home, and he had continued his education as an adult, above all in classical mythology.1 One of the most significant publications on the subject, Benjamin Hederich’s Gründlichem Mythologischen Lexikon, which Kaendler is known to have owned, served the artist as a reference work.2 Therefore, it is not surprising that Kaendler was clearly concerned with achieving the maximum amount of realism in his mythological, historical and allegorical works. In this context it might appear anachronistic that the artist often based the form and appearance of his gods and heroes, on seventeenth and eighteenth-century engravings. Various Baroque paintings and prints have recently been suggested as the visual sources for the Nereids that crown the tureens of the Swan Service (1738).3 The model for the group of Aeneas, Anchises and Ascanius from around 1755 turns out to be a print dated 1734 by Bernhard Picard (1673–1733) (figs. 1 and 2).4 In contrast, Joachim von Sandrart’s influential Teutscher Academie (1675– 79) had long been urging artists north of the Alps to base their depictions of ancient mythology and history on works of classical art in order to avoid mistakes in iconography and especially in depictions of costumes and weapons, while Benjamin Hederich advises ‘painters, sculptors, medallists ... and the like, whose works are inspired by antiquity and represent gods, goddesses and the like, to model these on the art of the Ancient world.’5 Until now there has been no evidence that Kaendler sourced classical motifs from anything but engravings and paintings of the time. The opportunity of studying the art of antiquity from the original and drawing on it for his creative work already existed, due to Dresden being one of the few courts in the Holy Roman Empire to possess a major collection of classical sculptures at this early stage, through the acquisition in 1728 of the collections of Agostino Chigi and Alessandro Albani. Kaendler and his colleagues enjoyed unrestricted access to the ruler’s art and natural history cabinets; for Augustus the Strong and his successors it was natural to grant their artists, including porcelain painters and modellers, unfettered access to their collections, in order to study and therefore improve the quality of their manufacturing. Although Kaendler is known to have made use of the opportunity to visit the Elector’s natural history collection to do drawings,6 it has not been possible to show that he had an interest in the princely collection of classical sculpture. This is astonishing, given that Kaendler’s open letter of December 1738 concerning proposals for improving the organisation of the sculpture workshop, advises providing apprentices with copies of classical

Figure 2. Bernhard Picard, The Sack of Troy, 1734, Staatliche Kunstsammlungen Dresden, Kupferstichkabinett.

works: ‘It is incidentally my humblest request that if the manufactory be permitted to spend thirty or forty talers to acquire modern plaster copies of the famous Roman sculptures, like the Apollo [of Belvedere], the Greek Venus, the Hercules, the Laocoön with his sons, the Wrestlers, the Claudiateve, the Mercury, the Leda, the Atlantem and so on, to be brought here for the purpose of convenient study, but especially for the edification of the yet so inexperienced youth as in an academy. I would like to teach the many young lads within the shortest space of time to the greatest benefit of the factory and would promise without vain aspirations that a high commission would indeed witness such an effect.’7 So we know that Kaendler was familiar with the classical style of the early modern period. It is also remarkable that a whole twenty-six years before the opening of an art academy in Dresden, Kaendler was seeking to improve the artistic qualities of Meissen porcelain by promoting the study and copying of classical reproductions. However, the copies of famous classical sculptures that Kaendler calls for in his letter were not to arrive in Dresden until 1783, with the purchase of 833 plaster casts from the collection of the painter Anton Raphael Mengs.8 Although Kaendler was not to have any casts of classical sculptures available to him during his 41

lifetime, the elector’s collections did include numerous engravings depicting famous Greek and Roman sculptures and small-scale bronze copies. As already mentioned, artists working for the court enjoyed almost unrestricted access to these collections. As we will see, Kaendler did indeed make use of the opportunity of using engravings and bronze copies as media to study classical sculptures, but rather than applying the inspiration of classical antiquity to mythological or historical motifs, as one would expect, Kaendler adopted classical patterns for some of his Comedia dell’Arte figures.

In 1738, the very year he asked for plaster copies of classical sculptures to be acquired for the training of young modellers, Kaendler created a harlequin whose expressive movements turn out on closer examination to be a free but clearly identifiable paraphrasing of the right-hand son in the Laocoön group (fig. 4).

We cannot know for certain whether Kaendler used the almost seventy centimetre tall bronze copy that Raymond Le Plat purchased for Augustus the Strong in 1714 in Paris (fig. 3), or whether he was working from one of the numerous copperplate engravings Figure 3. Laocoön, first half of the famous sculpture (fig. 7). of 17th century, Staatliche Either way the similarities with Kunstsammlungen the model are striking:The right Dresden, leg of the porcelain figure rests, Skulpturensammlung. like that of the famous original, on the ground, the knee slightly bent.

Kaendler places the left foot – lifted in the original to kick away a snake – on a tree stump; here it lacks the snake as motivation for the movement, but without a support the porcelain leg would probably have collapsed during firing. In both figures the torso follows the arms, turning to the right but bending slightly left from the waist, the gaze following the extended right arm. In the original the son’s arm is raised imploringly towards his father. In Kaendler’s version the gesture is greatly toned down and reinterpreted as the waving of a hat. Whereas the left hand in the original is grasping the snake, Kaendler’s harlequin is holding a large beer tankard.

So what might have led Kaendler to take such an interest in the Laocoön group, which came to us as an Au-

gustan marble copy of a sculpture produced around 200 BC? Why take the stirring death struggle of the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus as the model for characters from the Commedia dell’Arte?

Kaendler had a broad selection of engravings showing characters from the Commedia dell’Arte available to him, on which he demonstrably drew for other porcelain commedians.9 Was he merely interested in the pose and movement of the Greek statue? Or did the porcelain sculptor Kaendler deliberately set out to quote in a different, lesser genre what is perhaps the most famous of all classical marble sculptures – regarded since Pliny the Elder’s Naturalis Historia (vol. 36) as ‘opus omnibus et picturae et statuariae artis praeponendum’, a work superior to all other works of painting and sculpture? I would like to examine this question further.

In the example owned by the Porcelain Collection of the Staatliche Kunstsammlungen Dresden the tankard held by harlequin bears the monogram ‘Z M’ and the year ‘1738’ (fig. 5). Hans Sonntag interprets the conspicuous monogram ‘Z M’ as the initials of the actor and theatre director Joseph Ferdinand ‘Zanni’ Müller (1700–61).10 Müller’s theatre company toured the German-speaking courts performing political, historical and mythological dramas with comic interludes, comedies in the style of the Commedia Dell’Arte and translations of Molière. Müller became famous in his role as Hanswurst or Harlequin.This is also how he gained the epithet Zanni, for in the Commedia Dell’Arte, Harlequin is one of the servants, or Zanni. Until the mid-eighteenth century visiting comedy troupes regularly played at the Saxon court. In 1750 Johann Joachim Winckelmann (1717–68) wrote from Dresden to his childhood friend Uden: ‘The opera of Sign. Metastasio entitled Regulo [i.e. Attilo Regulo by Pietro Trapassi alias Antonio Pietro Metastasio] has been playing here since the New Year and I have watched it several times, as well as some Italian comedies that for all their splendour are so absurd that I am forced to wonder how taste has deteriorated.’11 As we see, in favour of the Saxon court the coarse slapstick of the Commedia Dell’Arte seems to have coexisted relatively peacefully alongside the serious classical themes of opera and tragedy.

In 1733 Zanni Müller and his comedy troupe were granted the Saxon-Polish court comedy award, entitling them to play at the Leipzig theatre, a privilege previously held by Friederike Caroline Neuber and her company. Together with Johann Christoph Gottsched, Neuber had been fighting a long struggle against the Commedia Dell’Arte, which she regarded as unclassical, tasteless and devoid of any educational content, respectively, Müller’s the Commedia Dell’Arte’s triumph in Leipzig represented a dev-

astating blow for Neuber and Gottsched, whose theatre followed the tradition of the French tragédie classique.

Their response in 1737 was to go down in theatrical history. During a guest performance in Leipzig, where Zanni Müller was celebrating success after success, Neuber’s company began the evening with an allegorical prelude entitled Der alte und neue Geschmack (The old taste and the new; unfortunately lost), which culminated in the symbolic banishment of Hanswurst/Harlequin from the German stage. This situation earned Neuber so much popularity that she was able to keep going in Leipzig alongside Müller’s repertoire until 1738. Incidentally, we know that while they were based in Leipzig, Friederike Caroline Neuber and her company regularly performed before Frederick Augustus II and his guests at the hunting lodge, Hubertusburg. One may safely assume that the debate over the merits of classical Enlightenment theatre versus the harlequinade was in full swing at the Dresden court when Kaendler created his Laocoön harlequin in 1738.12 Against the background of these events, Kaendler’s humour with elements borrowed from classical antiquity

Figure 4. Johann Joachim Kaendler, Harlequin, Meissen, 1738, Staatliche Kunstsammlungen Dresden, Porzellansammlung.

Figure 5. Johann Joachim Kaendler, Harlequin, Meissen, 1738, Staatliche Kunstsammlungen Dresden, Porzellansammlung (detail during restauration).

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seem to be making a statement about the debate on classicism of 1737–38, holding up a mirror to dogmatic classicism. In fact, the means Kaendler uses to achieve that end are those of the theatre itself, for the Commedia Dell’Arte and farces that made up the repertoire of the comedy troupe often themselves parodied classicism. In the farces, classical heroic themes were accompanied, commented on and interrupted by the grotesque running jokes of Harlequin and his friends – to the general merriment of the audience – while numerous Commedia Dell’Arte plays satirised the revered classics of the French stage.The structure of these satires, where the original plot original is reduced to farce by Harlequin and Columbine, while retaining the classical metre, certainly exhibits parallels with Kaendler’s Laocoön adaptation.13 Contemporaries designated such parodying mixtures the héroï-comique genre.

Kaendler’s harlequin in the pose of Laocoön’s son can be understood as héroï-comique in this sense, as a tongue-in-cheek interpretation of a classic that challenges the singularity of classicism and stands up for unheroic genres – to which porcelain art belonged.

At this point it should be mentioned that Kaendler’s harlequin is but one of many Laocoön parodies produced during early modern times.14 The Cabinet of Prints and Drawings of the Staatliche Kunstsammlungen Dresden possesses a copy of the famous woodcut, formerly attributed to Titian in which Laocoön and his sons are replaced by apes (fig. 11).15 In the absence of contemporary inventory lists, however, we cannot know whether it was already in the collection during Kaendler’s time and whether the artist might have known it.

Kaendlers first Laocoön harlequin was not to remain alone for long.

Around 1738 the artist created another comedian, for which he now chose the second son in the Laocoön group as his model (fig. 6). On a print dating from 1585 that could have served Kaendler as his inspiration (and is still in the Print Collection in Dresden today) the son on the left extends his right arm above his head in a mannered pose (fig. 7).The porcelain harlequin clearly emulates this movement, although the slapstick in its hand is an addition of Kaendler’s of course.16 In its left hand, which in the original is warding off a snake, Kaendler’s figure holds a candle. The harlequin’s left leg is bent and raised in an apparently unmotivated fashion; the inspiration for this unsteady stance is easily recognised in the bent legs of the original, which the snake has already lifted clear off the ground. Kaendler of course had to change one into a supporting leg in order to ensure his figure could stand.

In contrast to the classical copies of the late eighteenth century, which seek to faithfully reproduce the originals, and even attempt to imitate their material using biscuit porcelain, Kaendler chose to make his adaptations of the Laocoön sculpture a hidden reference for those who understood.There

Figure 6. Johann Joachim Kaendler, Harlequin, Meissen, c. 1738, Hamburg, Museum für Kunst und Gewerbe.

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were two main occasions at court for shared discovery of such hidden classical references: at table and in the cabinet. Since the Middle Ages the princely table had been decorated for special occasions with figurines, and, since the 1730s, porcelain figures.They served to entertain guests by offering rich material for conversation. Whereas the political allegories placed on the table at official state banquets were intended to ‘provoke intelligent discussion among those present’,17 hunting scenes and the Commedia Dell’Arte steered table talk towards innocuous topics. At less formal meals guests were expected to avoid serious talk or controversial issues. We know, for example, that Louis XV only tolerated hunting and theatrical conversations at his table.18 By allowing guests to unveil a classical parody with a contemporary background, and thus impress one another with their knowledge of art, Kaendler’s harlequins undoubtedly, fulfilled their purpose as conversation pieces.

The same applied to conversation in the cabinet, the small room at the end of a succession of official chambers to which only the selected few were admitted. Cabinets tended to house those parts of the art collection that demanded closer scrutiny. The ruler and his spouse made a point of sharing access to their cabinet pieces with only a handful of favourites. Here too, art served as an occasion for intellectual conversation where an intimate circle could show off their knowledge of science and art. No gentleman could afford to encounter unprepared ‘such things of mythology, and he will be ashamed of himself if he must look on them like a cow looking at a new gate, maybe knowing not what such things actually are and mean, perhaps even through his ignorance embarrassing himself before others if his interpretation and reasoning are wrong or he is asked a question and must excuse his ignorance. This very same may afflict the noble cavalier just as the courteous merchant and suchlike, thus each and every man who wishes to raise himself above the common rabble must know something of this learned gallantry.’19 A person who was able to hold their own in discussions about art, interpret the classical iconography and even discover a hidden reference to antiquity was undoubtedly able to profit from that ability. In such circumstances, Kaendler’s Laocoön harlequins make perfect cabinet pieces. In the art cabinet it would even have been possible to juxtapose the porcelain figure with a bronze miniature of Laocoön. Indeed, a French auction catalogue from 1777 describes the fashion for placing porcelains and bronzes together for the purposes of comparison: ‘The old porcelains have always been regarded as essential to the harmonious beauty every enthusiast seeks in a cabinet … what pleasure for the eye, to glimpse them tastefully arranged among marble vases and bronze figurines. The splendour of the one successfully awakens our learned interest in the other.’20

Figure 7. Laocoön, in: Giovanni Battista Cavalieri: Antiquarum Statuarum Urbis Romae Liber, vol. 1, Rom 1585, Staatliche Kunstsammlungen Dresden, Kupferstichkabinett.

In 1764, twenty-six years after the first two, Kaendler created a third harlequin whose movement and, even facial expression, was influenced by Laocoön (fig. 8).21 This time Kaendler’s model is the central figure of the group, the priest Laocoön himself. When the ancient sculpture was unearthed in 1504 Laocoön’s right arm was missing. A new outstretched arm was added in 1532 and is to be seen on all reproductions until the original arm was found in 1960. The porcelain harlequin’s right arm reproduces this Renaissance-era 45

Figure 10. Johann Joachim Kaendler, Three Harlequins, Meissen, 1738 and 1764, (photomontage).

The playful, tongue-in-cheek undertone with which Kaendler had his harlequins copy the poses of the Laocoön sons in 1738 seems to have completely disappeared in this figure created in 1764, just a year after the Peace of Hubertusburg ended the Seven Years’ War.This new piece reflects the turbulence of its time.The devastation of war and the deaths in 1763 of Augustus III and Heinrich Count Brühl brought about the end of an era in Saxony.

Aesthetically, sentimentalism and classicism superseded the lightness and frivolity of the Rococo. Meissen, where Höroldt and Kaendler had held the artistic reins until 1763, had to adapt to the new spirit or get left behind completely. In 1764 the newly founded art academy in Dresden was put in charge of drawing lessons for the manufactory and the Frenchman Michel Victor Acier was appointed as the new artistic director at Meissen. To all intents and purposes Höroldt and Kaendler were left out in the cold.The year 1764 also saw the publication in Dresden of a book that was to spread the idea of the precedence of Greek art, like wildfire throughout Europe: Johann Joachim Winckelmann’s opus magnum, the Geschichte der Kunst des Altertums.

From that point, ideas about what was good, true and beautiful were defined by what classical antiquity had (or was believed to have) brought forth, along with works of contemporary classicism. Winckelmann regarded Laocoön as

Figure 8. (Opposite) Johann Joachim Kaendler, Harlequin, Meissen, 1764, private collection.

Figure 9. (Detail) Johann Joachim Kaendler, Harlequin, Meissen, 1764, private collection

repair. In its left hand Kaendler’s figure holds a hat rather than, as in the original, keeping the snake at bay but the actual positioning of the fingers is uncannily similar in both cases. The anatomically well-defined torso of the original is also closely followed in the harlequin figure, through whose closefitting doublet the muscular contours show in a manner that is unusual for Kaendler. At first glance the stance of the harlequin’s legs bears little resemblance to the original. But closer examination suggests that Kaendler has in his imagination lifted Laocoön from his seat and shifted his weight to the left leg; this turns the right leg into the free one, angled to the rear. The beard (atypical for a harlequin) and the plaintive open mouth, clearly emulate the original.

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parody seems to have been a means of coping with the aesthetic and personal turmoils of the post-war period. If we follow Dieter Lamping’s definition, parody adapts an original ‘in order to distance itself from it … it always expresses a non-affirmative attitude towards the original… its intention is to create a discrepancy between form and content. It always seeks a comic effect … to make fun.

The laughter it provokes is more than a matter of cognition and recognition, it is a laughter of schadenfreude and aggression.’24. By 1764 Kaendler found that he was trapped in the role of the representative of an artistic taste that had been stamped trivial by selfanointed high art. ‘Most porcelain is formed into laughable dolls, with the resulting effect of disseminating this childish taste everywhere, rather than reproducing the eternal works of ancient art and thus to teach as well as entertain,’ is how Winckelmann was to mock Meissen in his Anmerkungen über die Geschichte der Kunst des Alterthums in 1767.25 Kaendler for his part was left with the ‘laughter of schadenfreude and aggression’ over a classical reference that in the end he alone may have understood.

Figure 11. Monkey Laocoön, 1550, Staatliche Kunstsammlungen Dresden, Kupferstichkabinett.

the quintessence of art, believing it to embody the much-quoted, ‘noble simplicity and quiet greatness’ that to him defined the essence of the art of Ancient Greece. Winckelmann describes the facial expression of Laocoön as follows: ‘His face is plaintive without shouting, his eyes are raised in search of salvation. The mouth is full of melancholy, the bottom lip heavy with the same; in the upper lip this mingles with pain, sending an impulse of vexation at his unworthy, undeserved plight to the nose, causing it to swell and showing itself in the flared and upward-drawn nostrils.’22 A close look at Kaendler’s harlequin of 1764 gives reason to suppose that Kaendler might have read Winckelmann’s Geschichte der Kunst des Altertums immediately after its publication and has tried to model the face of his harlequin Laocoön according to the written description there (fig. 9).

Not until the third harlequin had been completed did it become possible to recreate the whole Laocoön group with porcelain harlequins (fig. 10). Although Kaendler did not match the design of the base, he certainly made sure the size of his bearded harlequin fitted with the two harlequins of 1738.23 Placing the three figures together would have made the connection to the famous original much more obvious than the single figures could, although there are sufficient grounds for doubting that a porcelain collector would have really appreciated this in the age of classicism. For Kaendler, the

Translated from German by Meredith Dale Illustrations Staatliche Kunstsammlungen, Dresden: 1, 2, 3, 4, 5, 7, 11 Museum für Kunst und Gewerbe, Hamburg: 6 Angela von Wallwitz, Munich: 8, 9 Notes

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1.

Anonymous obituary for Johann Joachim Kaendler, in: Neue Bibliothek der schönen Wissenschaften und der freyen Künste, vol. 18/2 (1776), p. 302: ‘He studied the classics with such success in his youth that even in old age they were still his delight, and it is worth noting that even for many years after taking up his important post in Meissen he still took daily lessons to learn about the finer points of the mythological poets ...’ (translated from the German).

2.

M. Benjamin Hederich: Gründliches Lexicon Mythologicum, worinne so wohl die fabelhafte … Historie derer alten und bekannten Römischen, griechischen und Együtischen Götter … entfasset. Anbey ein so nöthiges als nützliches Genealogicon Mythistoricum mit angehänget, Leipzig 1724.

Hederich (1675–1748) became headteacher of a school in Großenhain near Dresden in 1705 and wrote numerous works on the language and culture of classical antiquity. The second edition of his Gründliches Lexicon, revised by Johann Joachim Schwabe, was hugely influential on the literature of Weimar Classicism. On Kaendler’s ownership of the Lexikon see Jürgen Schärer: Verschiedene außerordentlich feine Mahlerey und vergoldete geschirre, die jederzeit ihren Liebhaber gefunden. Begleitende Publikation für die gleichnamige Ausstellung im Schloß Albrechtsburg zu Meißen aus Anlaß des 300. Geburtstags von Johann Gregorius Höroldt, Meißen 1996, p. 219.

3.

Claudia Valter: Die »Historia von der Galatee« Figurenschmuck für die Terrinen des Schwanenservices, in: Schwanenservice. Meissener Porzellan für Heinrich Graf von Brühl, exh. cat., ed. Ulrich Pietsch, Berlin 2000, pp.

61–71.

4.

This is the first time the engraving has been linked to a work of Kaendler’s.

5.

Translated from Hederich (see note 2), Vorrede, para. 9.

6.

Ulrich Pietsch, ed.: Die Arbeitsberichte des Meissener Porzellanmodelleurs Johann Joachim Kaendler 1706–1775, Leipzig 2002. In 1734 Kaendler modelled from the stuffed animals kept in the art cabinet (p. 25), in 1738 he did preparatory drawings of shells for the Swan Service (p. 51, no. 2).

7.

Translated from ‘Pflichtmäßige Anzeige Wie in der Königlichen Porcelain Manufactur die Bildhauerey und andere coerperliche Arbeit beßer als Zeithero geschehen geförtert, dadurch die Königliche und andere bestallungen zu rechter Zeit geliefert, daneben Schaden und Nachtheil abgewendet werden könne’, cited from Richard Seyffarth: Johann Gregorius Höroldt. Vom Porzellanmaler zum ersten Arkanisten der Königlichen Porzellan-Manufaktur Meißen, Dresden 1981, p. 189.

8.

The Meissen manufactory then immediately began reproducing classical sculptures in biscuit porcelain. For example, Johann Gottfried Jüchtzer began work straight away in 1783 on his miniature modelled on a cast of a second century BC satyr with kroupezion (today in the Uffizi) that had come to Dresden with Meng’s collection. Anette Loesch: Liebe, Moral und Sentiment.Das Meißner Porzellan mit dem Stern, ex. cat., Hoyerswerda, Cottbus 2005, p. 28; See also Pauline von Spee: Die klassizistische Porzellanplastik der Meissener Manufaktur von 1764 bis 1814, Diss. phil.

Bonn, 2004, no. 191 (http://hss.ulb.unibonn.de/diss_online/phil_fak/2004/spee_pauline).

9.

See the numerous examples in Meredith Chilton: Harlequin Unmasked. The Commedia Dell’Arte and Porcelain Sculpture, Toronto 2001, esp. figs. 199, 268, 315–322.

10.

Hans Sonntag; Zanni Müller mit Deckelkanne. Zwei Meißner Harlekinfiguren von Johann Joachim Kaendler, in: Weltkunst 65 (1996), p.

582–83. Even if Heike Ulbricht’s recently expressed doubts about the dating of this version turn out to be correct, it is likely that a later painter would have kept the monogram and year of the older version rather than simply making them up. See Heike Ulbricht: Der zerbrochene Krug. Anmerkung zum Harlekin mit Weinkanne von Johann Joachim Kaendler, in: Keramos 205 (2009), p. 29–32.

11.

Translated from Johann Joachim Winckelmann: Briefe, vol. 1, 1742–1759, ed.

Walther Rehm with Hans Diepolder, Berlin 1952, p. 97 (letter of 23 February 1750).

49

12.

See the biography of Friederike Caroline Neuber in: Allgemeine Deutsche Biographie, vol. 23 (1889), p. 474.

13.

For example in Arlequin lingère du palais by Anne Mauduit de Fatouville, a parody on Corneille’s famous Le Cid of 1636, Harlequin turns Chimène’s promise ‘de ne respirer pas un moment après toi’ (I will be unable to breathe when you are gone) into ‘de m’enivrer, enfin de crever après toi’ (I will drink till I burst when you are gone); see Charles Mazouer: Le Théatre d’Arlequin. Comédies et comédiens italiens en France au XVIIe siècle, Paris 2001, p. 177.

14.

Max Kunze, ed.: Antiken, auf die Schippe genommen. Bilder und Motive aus der Alten Welt in der Karikatur, exh. cat., Mainz 1998.

15.

Michel Hochmann: Laocoön à Venise, in: Le Laocoön. Histoire et réception, ed. Élisabeth Décultot, Jacques Le Rider and François Queyrel. Revue germanique internationale 19 (2003), pp. 91ff.

16.

In a reworked version that Kaendler created after 1740 and described in detail in his Taxa of 1746, the slapstick is replaced with a pair of glasses and the candle with a pinch of tobacco taken from a newly added snuff box; see Reinhard Jansen, ed.: Commedia dell’Arte – Fest der Komödianten.

Keramische Kostbarkeiten aus den Museen der Welt, exh. cat. Stuttgart, 2001, vol. 1, p. 46, no. 21; Angela v. Wallwitz, ed.: Celebrating Kaendler: Meissen Porcelain Sculpture. Zum 300. Geburtstag Johann Joachim Kaendlers 1706–1775. Porzellanskulpturen aus Meissen, Taufkirchen 2006, pp. 77–78.

17.

Translated from Georg Philipp Harsdörffer: Vollständiges und von neuem vermehrtes Trincir-Buch, Nuremberg, 1665, book 4.

18.

Ole Villumsen Krog: Plans de table à la cour de Danemark avant et après la visite du roi Christian VII en France en 1768. Influence française?, in: Tables royales et festins de cour en Europe 1661–1789. Acts du colloque international Versailles 25–26 février 1994 (XIIIes Rencontres de l’ècole du Louvre), ed. Catherine Arminjon und Béatrix Saule, Paris 2005, pp. 225–245, here p. 245.

19.

M. Benjamin Hederichs (see not 2).

20.

Translated from C.-F. Juillot’s foreword in the supplement to Randon de Bosset catalogue for auction on 7 February 1777, quoted from Genevieve le Duc: Rudolphe Lemaire und das Meissner Porzellan. Fernöstlicher Stil oder französischer Geschmack?, in: Keramos 158 (1997), pp. 37–52, here p.

37.

21.

For dating by way of form number 3023 see v. Wallwitz: Celebrating Kaendler (see note 16), p. 167, with warmest thanks for the photograph.

22.

Translated from Johann Joachim Winckelmann: Geschichte der Kunst des Altertums, Dresden 1764. New edition with an introduction by Wilhelm Waetzoldt (Berlin, 1942), pp. 270f.

23.

The bending harlequin on the right is 16.8 cm at its tallest point, the bearded harlequin 22.5 cm to the end of its outstretched arm.

24.

Translated from Dieter Lamping: Parodie, in: Formen der Literatur, ed. Otto Knörrich, Stuttgart 1981, pp. 291–2.

25.

Translated from Johann Joachim Winckelmann: Anmerkungen über die Geschichte der Kunst des Alterthums Theil 1, Dresden 1767, p. 8.

50

Exhibitors at the Fair

51

Christopher Buck • E14 • page 64 56-60 Sandgate High Street, Sandgate, Folkestone, Kent CT20 3AP, UK T & F: +44 (0)844 335 0845 M: +44 (0)7836 551515 www.christopherbuck.co.uk e: chris@christopherbuck.co.uk Gallery personnel: Christopher Buck, Jane Buck

Exhibitor Listing 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 Gallery personnel: Philip Athill, Tom Edwards, Elias Kelson, James McAuslan

English furniture of the Georgian periods and associated accessories Peter Cameron • C2 • page 65 42 Ponton Road, London SW8 5BA, UK T: +44 (0)7836 210759 e: peter.cameron@idnet.co.uk Gallery personnel: Peter Cameron

British watercolours, drawings, paintings and prints 1750 – present Arthur Ackermann • C26 • page 59 27 Lowndes Street, London SW1X 9HY, UK T: +44 (0)20 7235 6464 M: +44 (0)7900 693428 www.arthurackermann.com e: art@arthurackermann.com Gallery personnel: Francis Jeffcock

Specialising in unusual British and European silver of all periods and 18th century British base metals Lucy B. Campbell Fine Art • E18 • page 66 123 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 Gallery personnel: Lucy Campbell, Tessa Campbell

English 18th and 19th century sporting, marine and landscape painting 20th and 21st century British painting W. Agnew & Company Ltd • C24 • page 60 58 Englefield Road, London N1 4HA, UK M: +44 (0)7973 188272 e: agnewsculpture @aol.com Gallery personnel: William Agnew

Specialising in works by contemporary British and international artists The Canon Gallery • E6 • page 67 Huntingdon, Cambridgeshire, UK T: +44 (0)1832 293206 M: +44 (0)7831 760511 www:thecanongallery.co.uk e: jeremygreen16@google.com Gallery personnel: Jeremy Green

European sculpture and works of art Bazaart • F31 • page 61 7 Hanover Road, London NW10 3DJ, UK M: +44 (0)7710 461627 www.bazaart.co.uk e: justin@bazaart.co.uk Gallery personnel: Justin Raccanello

Dealers in 18th,19th and 20th century oils and watercolours Jonathan Cooper • B18 • page 68 Park Walk Gallery, 20 Park Walk, London SW10 0AQ, UK T: +44 (0)20 7351 0410 M: +44 (0)7768 824940 www.jonathancooper.co.uk e: mail@jonathancooper.co.uk Gallery personnel: Jonathan Cooper, Emma Finlay, Alice Phillimore

Italian ceramics and works of art Laura Bordignon • B12 • page 62 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 Gallery personnel: Laura Bordignon

Dealers in contemporary art, will be exhibiting contemporary botanical, figurative and wildlife art by artists represented by the gallery Sandra Cronan Ltd • C23 • page 69 1st floor, 16 Albemarle Street, London W1S 4HW, UK T: +44 (0)20 7491 4851 www. sandracronan.com e: enquiries@sandracronan.com Gallery personnel: Sandra Cronan, Catherine Taylor, Catherine Edwards

Specialist in Japanese ivories and bronzes of the Meiji period J.H. Bourdon-Smith Ltd • C38 • page 63 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 Gallery personnel: John Bourdon-Smith, Edward J. Bourdon-Smith, Julia Bourdon-Smith, Anthony Werneke

Fine antique and period Jewels Darnley Fine Art • B16 • page 70 18 Milner Street, London SW3 2PU, UK T: +44 (0)20 8288 9094 www.darnleyfineart.com e: enquiries@darnleyfineart.com Gallery personnel: Adrian Pett

Silver specialists in early English and provincial spoons, Georgian and Victorian periods objects, 18th century English drinking glasses

Fine paintings and watercolours, specialist areas include 19th century pictures of the Middle East, portraiture and original artwork for travel posters.

52

Gander & White Shipping Ltd • B30 Unit 1, St Martin’s Way, Wimbledon, London SW17 OJH, UK T: +44 (0)20 8971 7160 F: +44 (0)20 8946 8062 www.ganderandwhite.com e: oliver.howell@ganderandwhite.com

Mary Deeming • D2 • page 71 By appointment only, UK T: +44 (0)20 8290 1246 M: +44 (0)7930 134711 F: + 44 (0)208 290 1246 www. japaneseprintauction.com e: japaneseprintauction@btclick.com Gallery personnel: Mary Deeming, Mystry Deeming

The Gilded Lily Jewellery Ltd • C30 • page 78 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 Gallery personnel: Korin Harvey, Brian Murray Smith

Japanese woodblock prints 1780–1930. Japanese works of art, textiles, silver 1880–1930 Delomosne & Son Ltd • D6 • page 72 Court Close, North Wraxall, Chippenham, Wiltshire SN14 7AD, UK www.delomosne.co.uk e: delomosne@delomosne.co.uk T: +44 (0)1225 891505 Gallery personnel: Timothy Osborne, Victoria Osborne, Jane Holdsworth

Fine jewellery, late 19th century to the present Michael Goedhuis • B10 • page 79 Flat 3, 61 Cadogan Square, London SW1X 0HZ, UK T: +44 (0)20 7823 1395 M: +44 (0)7760 625375 F: +44 (0)20 7823 2794 www.michaelgoedhuis.com e: london@michaelgoedhuis.com Gallery personnel: Michael Goedhuis – Owner, Joanna Sparber – Gallery Director , Rebecca Kozlen – Executive Gallery Assistant, Camille Watts – Executive Gallery Assistant

English and Irish glass of the 18th and 19th centuries; English porcelain of 18th and 19th centuries Dragesco – Cramoisan • F16 • page 73 13 rue de Beaune, 75007 Paris, France T: +33 (0)142 61 1820 F: +33 (0)32173 7797 e: Bdragesco@aol.com Gallery personnel: Bernard Dragesco, Didier Cramoisan

Ancient to contemporary Chinese works of art Granocchia Fine Art • B25 • page 80 Corso Italia 85, Cortina d’Ampezzo, Italy 3 Lonsdale Road, London W11 2BY, UK Viale Piave 28, Milan, Italy M: +44 (0)7988 190695 / +39 3386 065205 e: fulviofineart@gmail.com Gallery personnel: Fulvio Granocchia

Specialists in museum quality French 18th and 19th century porcelain and European glass before 1830 Ellison Fine Art • D36 • page 74 By appointment only, Beaconsfield, Buckinghamshire, UK T: +44 (0)1494 678880 M: +44 (0)7720 317899 www.ellisonfineart.com e: claudia.hill@ellisonfineart.co.uk Gallery personnel: Claudia Hill

Anita Gray Oriental Works of Art • C3 • page 81 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 Gallery personnel: Anita Gray, Anna Tebelius, Jan Anjou

Fine portrait miniatures from the 17th century through to the late 19th century Esch Kunstandel • E31 • page 75 Duesseldorf, 40213 Germany T: +49 (0)211 328280 M: +49 1785578280 F: +49 (0)211 134704 e: esch-kunsthandel@arcor.de Gallery personnel: Heinz Josef Esch

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

18th century European ceramics and glass

Guest & Gray • B3 • page 82 1–7 Davies Mews, London W1K 5AB, UK T: +44 (0) 7408 1252 M: +44 (0)7968 719496 F: +44 (0)20 7499 1445 www.chinese-porcelain-art.com e: info@chinese-porcelain-art.com Gallery personnel: C. Anthony Gray, Louise Gray, Sig Au

Ted Few • D4 • page 76 97 Drakefield Road, London SW17 8RS, UK T: +44 (0)20 8767 2314 Gallery personnel: Ted Few

Oriental and European ceramics and works of art, pre 1800

Idiosyncratic works of art, pictures and sculpture

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 Gallery personnel: Julian Hartnoll, Fiona Barry

Liliane Fredericks • E4 • page 77 By appointment only, London W11 3SG, UK T: +44 (0)20 7229 6188 M: +44 (0)7780 710909 F: +44 (0)20 7221 5488 e: drawings@lilianefredericks.com Gallery personnel: Liliane Fredericks

19th and 20th century paintings and drawings. Works of curiosity and interest to the collector and specialist

Old Master and 19th century drawings

53

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 Gallery personnel: Daniela Kumpf, Claudia Clark

Exhibitor Listing 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 Gallery personnel: Brian Haughton, Paul Crane

18th, 19th and early 20th century ceramics Constantine Lindsay • C8 • page 93 22 Georgian House, 10 Bury Street, St James’s, London SW1Y, UK T: +44 (0)7967 738193 M: +44 (0)7967 738193 www.constantineart.com e: art@constantineart.com Gallery personnel: 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.

19th and 20th century British and European paintings 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: sand@antique-silver.com Gallery personnel: Sanda Lipton

Heirloom & Howard Ltd • 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 Gallery personnel: Angela Howard

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

Specialists in 18th century Chinese armorial and other export porcelain, and also in English decorative heraldic objects

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 Gallery personnel: Sam Loxton, Sophie Stevens

J.A.N. Fine Art • F4 • page 89 134 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 Gallery personnel: Fusa Kiku Shimizu

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

Specialises in Chinese, Japanese, Korean and South East Asian Porcelain, Paintings and Works of Art

Lukacs & Donath di Giampaolo Lukacs • E7 • page 96 Via Vittorio Veneto, 183, Rome, 00187, Italy T: +39 06482 1824 M: +39 335 382996 F: +39 06 489 12043 e: european.ceramics@tiscali.it Gallery personnel: Giampaolo Lukacs, Catia Dessi, Luigi Centra

Holly Johnson Antiques • D34 • page 90 The Woodwork Shop, Lyme Green Settlement, Lyme Green, Macclesfield, Cheshire SK11 0LD, UK T: +44 (0)1260 253110 F: +44 (0)1260 253180 www.hollyjohnsonantiques.com e: holly@hollyjohnsonantiques.com Gallery personnel: Holly Johnson, Benjamin Aardewerk

17th and 18th century porcelain, Maiolica and Faience MacConnal-Mason Gallery • D12 • page 97 14 & 17 Duke Street, St. James’s, London SW1Y 6DB, UK T: +44 (0)20 7839 7693 F: +44 (0)20 7839 6797 www.macconnal-mason.com e: fineart@macconnal-mason.com Gallery personnel: David L Mason OBE, David M Mason, Marcus Halliwell, Simon Carter

Gillows, Farnasetti, 18th, 19th and 20th century 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 Gallery personnel: Jane Kahan, Charles Mathes

19th and 20th century paintings including Dutch Romantic, Impressionist, Post Impressionist, Modern British, sporting and marine paintings, watercolours and sculptures

20th century European and American masters: paintings, prints, sculpture, ceramics, tapestries

54

Mark Mitchell Paintings & Drawings • B4 • page 105 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 Gallery personnel: Mark Mitchell, Mary Ross-Trevor, Paul Mitchell, Lynn Roberts

Mackinnon Fine Furniture • B1 • page 98 5 Ryder Street, St James’s, London SW1Y 6PY, UK T: +44 (0)20 7839 5671 M: +44 7725 332665 www.mackinnonfineart.com e:charlie@mackinnonfineart.com Gallery personnel: Charles Mackinnon Fine furniture, paintings and works of art.

E. & H. Manners • E32 • page 99 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 Gallery personnel: Errol Manners, Henriette Manners

19th–20th century mainly, with some contemporary British and continental paintings, drawings and watercolours Moore-Gwyn Fine Art Ltd • C6 • page 106 By appointment, 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.k Gallery personnel: Harry Moore-Gwyn, Camilla Moore-Gwyn

European ceramics of the 17th & 18th centuries Martin Du Louvre • E22 • page 100 69 rue du Faubourg Saint Honoré, 75008 Paris, France T: +33 (0)1 4017 0689 M: +33 (0)68017 5101 F: +33 (0)1 40170810 www.martindulouvre.com e: martin.du.louvre@online.fr Gallery personnel: David Le Louarn

British paintings, drawings and watercolours, mainly from the period 1870–1970 Nigel Norman • G1 • page 107 Stand 335/6 Grays Antiques, 58 Davies Street, London W1K 5LP, UK T: +44 (0)20 7495 3066 M: +44 (0)7801 789316 www.nigelnorman.co.uk www.cufflinksofallperiods.co.uk e: jewels@nigelnorman.co.uk Gallery personnel: Alexandra Kennedy, David Sugarman

Kaye Michie • G2 • page 101 By appointment, Richmond, Surrey TW10 6QX, UK T: +44 (0)20 8940 2463 M: +44 (0)7973 113126 www.kayemichie.co.uk e: watercolours@kayemichie.co.uk Gallery personnel: Kaye Michie

Fine jewels of all periods, cufflinks a speciality, and all sporting items Susan Ollemans Oriental Art • D8 • page 108 13 Georgian House, 10 Bury Street, London SW1Y 6AA, UK T: +44 (0)20 7381 4518 M: +44 (0)7775 566356 F: +44 (0)20 7381 4518 www.ollemans.com e: ollemans@tiscali.co.uk Gallery personnel: Susan Ollemans

Watercolours, drawings and illustrations. 19th, 20th and 21st centuries Duncan R Miller Fine Arts • D16 • page 102 6 Bury Street, St James’s, London SW1Y 6AB, UK T & F: +44 (0)20 7839 8806 M: +44 (0)7977 497670 www.duncanmiller.com e: art@duncanmiller.com Gallery personnel: Duncan Miller, Alexander Miller, Mary Miller, Sue Palmer

Mughal Jewellery and related articles

Modern British paintings and sculpture, Scottish colourists Stephen Ongpin Fine Art • C34 • page 109 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 Gallery personnel: Stephen Ongpin, Lara Smith-Bosanquet

Timothy Millett Historic Medals & Works of Art • A6 • page 103 P.O. Box 20851, London SE22 OYN, UK T: +44 (0)20 8693 1111 M: +44 (0)7778 637898 www.historicmedals.com e: tim@historicmedals.com Gallery personnel: Timothy Millett Works of art and historical medals 1500–1900

Old Masters, 19th century and 20th century drawings

Millington Adams • G3 • page 104 By appointment only, Knutsford, Cheshire, UK T: +44 (0)1565 745012 F: +44 (0)1565 745013 www.millingtonadams.com e: info@millingtonadams.com Gallery personnel: Marcus Adams, Sharon Adams, Nigel Lees

Guy Peppiatt Fine Art • C32 • page 114 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 Gallery personnel: Guy Peppiatt, Lucy Peppiatt 18th and 19th century British drawings and watercolours

55

Rolleston Ltd • C18 • page 120 104a Kensington Church Street, London W8 4BU, UK T: +44 (0)20 7229 5892 F: +44 (0)20 7229 5892 www.brianrolleston.com e: info@brianrolleston.com Gallery personnel: Brian Rolleston, James Rolleston, Camilla Pinsent

Exhibitor Listing Christophe Perles • F12 • pages 110-113 20 rue de Beaune, 75007 Paris, France T & F: +33 (0)1 4926 0324 www.cperles.com e: christopheperles@hotmail.com Gallery personnel: Christophe Perles

Fine 18th century English furniture Rountree Fine Art • B6 • page 121 118 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 Gallery personnel: Jamie Rountree (Director), Illa Steen (Gallery Manager), Rowland Rhodes (Gallery Assistant)

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

Potterton Books • F14 • page 115 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 Gallery personnel: Clare Jameson, Simon Barton

18th and 19th century paintings, specifically: maritime art, sporting art, travel paintings Samina Inc • D30 • page 122 By appointment only, 33 St James’s Square, London SW1Y 4JS, UK T: +44 (0)20 3170 6076/6078 M: +44 (0)7775 872960 F: +44 (0)20 7286 3633 e: saminainc@hotmail.com Gallery personnel: Dr Samina Khanyari, Chantal Spar

International booksellers of new and unusual out of print titles, specialising in architecture, design, interior decoration, antiques and the fine and decorative arts Raffety & Walwyn Ltd • E16 • page 116 79 Kensington Church Street, London W8 4BG, UK T: +44 (0)20 7938 1100 F: +44 (0)20 7938 2519 www: raffetyantiqueclocks.com e: raffety@globalnet.co.uk Gallery personnel: Howard Walwyn, Nigel Raffety

Rare, collectable Indian jewels: from the Royal Moghal and Deccan Courts.

17th and 19th century. Objects of jewelled arts from India 17th–19th century (some exclusive pieces of modern contemporary Indian jewellery) Adrian Sassoon • E24 • page 123 By appointment only, 14 Rutland Gate, London SW7 1BB, UK T: +44 (0)20 7581 9888 M: +44 (0)7825 611 888 / +44 (0)7770 321 888 F: +44 (0)20 7823 8473 www.adriansassoon.com email@adriansassoon.com Gallery personnel: Adrian Sassoon, Alexa Gray, Kathleen Slater, Mark Piolet, Andrew Wicks, Angus McCrum

English longcase and bracket clocks; barometers; marine chronometers; 17th and 18th century English furniture Paul Reeves • B26 • page 117

By Appointment Only, 15 Gosditch Street, Cirencester, Glos GL7 2AG, UK T: +44 (0)1285 643917 M: +44 (0)7774 682056 / (0)770 6247510 www.paulreeveslondon.com e: paul@paulreeveslondon.com Gallery personnel: Paul Reeves, Kevin Davies, Siobhan Lancaster

French 18th century porcelain, contemporary ceramics, glass and metalworks Christopher Sheppard Antique & Ancient Glass • A8 • page 124 By appointment only, London, UK M: +44 (0)7788 426640 e: christophersheppardglass@hotmail.com Gallery personnel: Christopher Sheppard, Bele Zemlin

Furniture, textiles, metalwork, British ceramics 1850–1950 Robyn Robb • F30 • page 118 PO Box 66256, Ranelagh Gardens, London SW6 9DR, UK T & F: +44 (0)20 7731 2878 e: robynrobb@clara.co.uk Gallery personnel: Robyn Robb

Antique and ancient glass from 1500 BC up to 1900 AD Silverman • E12 • page 125 4 Campden Street (off Kensington Church Street), London W8 7EP, UK T: +44 (0)20 7985 0555 M: +44 (0)7787 124601 www.silverman-london.com e: silver@silverman-london.com Gallery personnel: Robin Silverman, William Brackenbury

18th century English porcelain J Roger (Antiques) Ltd • B14 • page 119 By appointment only, London W14, UK T: +44 (0)20 7603 7627 M: +44 (0)7867 747521 e: jrogerantiques@btinternet.com Gallery personnel: Carolyn Bayley

17th–20th century English and continental silverware and objects d’art

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

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Sim Fine Art • E9 • page 126 By appointment, London, UK M: +44 (0)7919 356150 www.simfineart.com e: simfineart@btinternet.com Gallery personnel: Andrew Sim, Diane Sim

Erik Thomsen • B17 • page 133 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 Gallery personnel: Erik Thomsen

Intriguing British pictures 1750–1950, drawings, watercolours and oils

Japanese fine art from the 14th to the early 20th century, specialising in screens, paintings, tea ceramics, gold lacquer and ikebaba baskets

John Spink • B22 • page 127 9 Richard Burbidge Mansions, 1 Brasenose Drive, Barnes, SW13 8RB, UK T: +44 (0)20 8741 6152 M: +44 (0)7808 614168 e: john@johnspink.com Gallery personnel: John Spink

Van Den Bosch • G6 • page 134 123 Grays, 58 Davies Street, Mayfair, London W1K 5LP, UK T: +44 (0)2076291900 M: 07899 021428 www.vandenbosch.co.uk e: info@vandenbosch.co.uk Gallery personnel: Jan Van Den Bosch, Carole Van Den Bosch

British watercolours from the 18th and 19th century

Late 19th and early 20th century, silver, jewellery and enamels from the arts and crafts, art nouveau and Jugendstil movements

Stockspring Antiques • F2 • page 128 114 Kensington Church Street, London W8 4BH, UK T & F: +44 (0)20 7727 7995 M: +44 (0)7984 315123 www.antique-porcelain.co.uk e: stockspring@antique-porcelain.co.uk Gallery personnel: Felicity Marno, Antonia Agnew

Voltaire Antiquité Vandermeersch SA • E8 • page 135 21 quai Voltaire, Paris F-75007, France T: +33 (0)1 4261 2310 e: m.vandermeersch@wanadoo.fr Gallery personnel: Michel Vandermeersch

English and continental 18th century porcelain Strachan Fine Art • B24 • page 129 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 Gallery personnel: Russell Strachan, Régine Strachan

John Whitehead • E10 • page 136 By appointment, Suite 404, Albany House, 324-326 Regent Street, London W1B 3HH, UK T: +44 (0)20 7736 067 041 www: john-whitehead.co.uk e: john@john-whitehead.co.uk Gallery personnel: John Whitehead, Rebecca Whitehead, Alice Whitehead, Giles Ellwood, Joanna Gwilt, Cyrille Froissart

Portrait paintings from the 16th century onwards. English medieval alabaster carvings

French 18th and 19th century porcelain and works of art.

Peter Szuhay • D32 • page 130 Grays, 58 Davies Street, London W1K 5LP, UK T: +44 (0)207408 0154 www.peterszuhay.com e: peter@peterszuhay.com Gallery personnel: Peter Szuhay

Mary Wise Antiques • A10 • page 137 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 Gallery personnel: Mary Wise, Patrick Jackson, Michael Howard, Stephen Wild

European silver and works of art

English and continental porcelain 18th and early 19th century; bronze and ormolu objects; small works of art including pictures.

TAI Gallery • A14 • page 131 1601 B Paseo de Peralta, Santa Fe, New Mexico, USA T: +1 505 984 1387 www.taigallery.com e: gallery@taigallery.com Gallery personnel: David Halpern, Koichi Okada, Everett Cole Since 1978, visually dazzling, museum quality Japanese bamboo art and textiles from around the world. In 2006 Tai added the field of contemporary Japanese photography to its collections.

The Silver Fund • B23 • page 132 472 Jackson Street, San Francisco, CA 94111, USA T: +1 917 447 1911 (US) / +44 (0)7710 032453 (UK) www.thesilverfund.com e: michael@thesilverfund.com personnel: Michael James, Jason Laskey, Joshua Burcham Exceptional Georg Jensen and 20th century silver and specialists in the work of Jean Puiforicat and other great 20th century makers 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

Abbott and Holder Ltd • B32 Mary Armour R.S.A. (1902–2000) Sailors Ashore Oil on card Signed, c. 1935 Painted for the Mess of HMS Cochrane, Rosyth 33 x 45 inches (84 x 114 cm)

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Arthur Ackermann • C26

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27 Lowndes Street, London SW1X 9HY, UK T: +44 (0)20 7235 6464 M: +44 (0)7900 693428 www.arthurackermann.com e: art@arthurackermann.com

Ken Howard R.A. 'The Silonian' Summer morning 2003 Signed Oil on canvas 20 x 24 inches (51cm x 61cm)

Provenance: One other example is known, dated 1919, and is now in a Private Collection in London

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

W. Agnew & Company Ltd • C24

Alfred Drury, RA (1859–1944) The Kiss Signed: A. Drury, 1919 Bronze, with onyx base

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Bazaart • F31

The Factory of Nathaniel Friedrich and Maria Dorotea Hewelcke A group of gallants with a gentlewoman Venice, 1758–63 (11.2 cm) Provenance: Ex. Leproni Collection

7 Hanover Road, London NW10 3DJ, UK M: +44 (0)7710 461627 www.bazaart.co.uk e: justin@bazaart.co.uk

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Laura Bordignon • B12 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

Japanese bronze okimono of a man holding a lantern upon which a bird is perched Signed in a rectangular gilt plaque Miyao Ei (of Miyao Eisuke), Meiji period Height: 10½ inches (27 cm) Width: 6 inches (15 cm)

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J.H. Bourdon-Smith Ltd • C38

A pair of magnificent French silver gilt art nouveau vases with applied chased floral motifs.

Made in Paris circa 1890 by Lucien Falize Height: 18½ inches (47 cm) Weight together: 310 oz One of the vases is signed by Lucien Falize, as was his custom, while the liners bear the French control marks of the appropriate period Lucien is credited with making the finest silver items for the house of Falize over three generations of production. Falize is now valued as one of the most meticulous and tasteful of jewellers and goldsmiths

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

Another pair of vases of the same form, but chased in the Louis XV taste and bearing dedicatory insignia and inscriptions, were presented to the Queen of Sweden by French President Armand Fallieres. The vases and a portrait of King Karl XIV, presented in 1900, are still preserved in the Royal Collections and are illustrated in Katherine Purcell of Wartski’s published Falize: A Dynasty of Jewelers

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Christopher Buck Antiques • E14 56-60 Sandgate High Street, Sandgate, Folkestone, Kent CT20 3AP, UK T & F: +44 (0)844 335 0845 M: +44 (0)7836 551515 www.christopherbuck.co.uk e: chris@christopherbuck.co.uk

A small Chippendale period mahogany bedside pot cupboard constructed in well figured timber of excellent colour and patina Circa 1760 Height: 27 inches (68.6 cm) Width: 12 inches (30.5 cm) Depth: 12 inches (30.5 cm) Provenance: Christopher Pringle Collection

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Peter Cameron • C2

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

A Set of three George III Condiment Vases London 1777,Thomas Heming, each engraved with the crest of Webb of Clifford, Somerset.

Heights: 7¾ and 6 5⁄8 inches (19.5 cm) and (16.8 cm)

123 Kensington Church Street, London W8 7LP, UK T: +44 (0)20 7727 2205 M: +44 (0)7887 851 626 F: +44 (0)20 7229 4252 www.lucybcampbell.com e: lucy@lucybcampbell.co.uk

Lucy B. Campbell Fine Art • E18 Juan Luque (Spanish b. 1964) Breaking Waves 2010 Oil on linen and board 47¼ x 74¾ inches (120 x 190 cm)

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Exhibited: Royal Academy Summer Exhibition 1979, no 926 The Fine Art Society

The Canon Gallery • E6

Edward Bawden CBE, RA (1903–1989) The Wood in the Deer Park, Dartington Hall 1979 Signed Watercolour 26 x 20 inches (66 cm x 51 cm)

Huntingdon, Cambs, UK T: +44(0)1832 293206 M: +44 07831 760511 www.thecanongallery.co.uk e: jeremygreen16@google:.com

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Park Walk Gallery, 20 Park Walk, London SW10 0AQ, UK T: +44 (0)207 351 0410 M: +44 (0)776882 4940 www.jonathancooper.co.uk e: mail@jonathancooper.co.uk

Nicholas Phillips Chulia Street Contemporary 2010 Signed Watercolour 12¾ x 23¾ inches (32.5 cm x 60 cm)

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Jonathan Cooper • B18

Sandra Cronan Ltd • C23

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1st floor, 16 Albemarle Street, London W1S 4HW, UK T: +44 (0)207 491 4851 www. sandracronan.com e: enquiries@sandracronan.com

A stylized bow brooch by Tiffany. Alternately set with vertical lines of sapphires and diamonds, giving the illusion of all sapphires, or all diamonds, depending on the angle of view.

Graduated natural pearl borders.

American, c. 1920.

Darnley Fine Art • B16

Sophie Gengembre Anderson (1823–1903) Natural Princess Oil on canvas, signed lower right & dated 1881 36¼ x 28½ inches (92 x 72.5 cm)

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

This picture was painted whilst the artist was living in Capri

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Mary Deeming • D2 Overseas Sales Director, Mita Arts Gallery, Tokyo

Ito Shinsui (1898–1972) In Spring Circa 1917

A rare pre-earthquake print in excellent condition. Most of the pre-earthquake designs were destroyed in c1923.

By Appointment only, UK T: +44 (0)20 8290 1246 M: +44 (0) 79301 34711 F: + 44 (0)208 290 1246 www. japaneseprintauction.com e: japaneseprintauction@btclick.com

Delomosne & Son Ltd • D6

Provenance: This rinser is from the celebrated glass table service commissioned by John George Lambton (1792–1840), later Earl of Durham, for Lambton Castle, County Durham, from the Wear Flint Glass Company at Deptford, Sunderland.

Court Close, North Wraxall, Chippenham, Wiltshire SN14 7AD, UK T: +44 01225 891505 www.delomosne.co.uk e: delomosne@delomosne.co.uk

An important wine glass rinser or cooler engraved with the arms of John Lambton and signed Robert Greener in diamond point Wearside 1823 Height: 4 inches (10.3 cm) Diameter: 61⁄8 inches (15.6 cm)

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Literature: Contemporary newspapers reporting the Glass-makers Procession in Newcastleupon-Tyne, September 1823, specifically mention pieces of the Lambton service being carried through the town

Overall height of tureen and cover: 10 inches (25.3 cm) Length of tureen: 13 3⁄8 inches (34 cm) Diameter of tray: 17 3⁄16 inches (43.6 cm)

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13 rue de Beaune, 75007 Paris, France T: +33 (0)142 61 18 20 F: +33 (0)321 73 77 97 e: Bdragesco@aol.com

These pieces (pot à oille et son plateau) were the most important elements of the service, the greater part of which is now missing.

Decided by the comte d’Angiviller, the production of the service Arabesque was, in his own terms, going to “faire époque dans la manufacture par sa nouveauté et son execution”. Although intended by him for King Louis XVI, the service was eventually not delivered to the sovereign, who decided to devote his interest to his rich beau bleu service decorated with mythological scenes, by then already in production (now largely at Windsor Castle).

The service Arabesque was finally presented in December 1795 to Karl August von Hardenberg, Ministre du Roy de Prusse, by order of the ruling Comité de Salut Public, for his role in negotiating the Treaty of Basel.

Dragesco – Cramoisan • F16

Large Sèvres tureen and its impressive octagonal tray from the celebrated ‘Service Arabesque Pour Le Roi’, 1784–1785

Ellison Fine Art • D36

Walter Stephens Lethbridge The Miniature Circa 1820 Watercolour on ivory Height: 6 inches (15.2 cm) Provenance: The Paul family, Suffolk.

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

Literature: Another version is illustrated in Daphne Foskett’s Dictionary of Miniature Painters, vol II, plate 210

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Provenance: 1925 in the collection of Louis Koch, Frankfurt/Main Exhibited: 1925 Meisterwerke deutscher Fayencekunst Kunstgewerbemuseum Frankfurt/Main, ill.60 Literature: Horst Reber, Die Kurmainzische Porzellan Manufaktur Höchst, vol. II, Fayencen, München 1986, p.69, also ill.

Esch Kunsthandel • E31

Hoechst A German black grouse hen terrine Circa 1750 Faience, realistically modelled and decorated Height: 10 inches (26.3 cm)

Duesseldorf, 40213 Germany T: +49(0)211 328280 M: +49 1785578280 F: +49(0)211 134704 e: esch-kunsthandel@arcor.de

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Ted Few • D4 97 Drakefield Road, London SW17 8RS, UK T: +44 (0)20 8767 2314

Joachim Henne Portrait of a Lady Circa 1666 With the original fan-constructed gilded ebony-veneered octagonal frame

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Liliane Fredericks • E4 Alexandre Cabanel (Montpellier 1823 – 1889 Paris) Head of a Man Signed: Alex, Cabanel 11 x 7½ inches (28 x 19 cm)

By appointment only, London W11 3SG, UK T: +44 (0)20 7229 6188 M: +44 (0)7780 710 909 F: +44 (0)20 7221 5488 e: drawings@lilianefredericks.com

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The Gilded Lily Jewellery Ltd • C30 London, W1K 5LP, UK T: +44 (0)20 7499 6260 M: +44 (0)7740 42 8358 F: +44 (0)20 7499 6260 www: graysantiques.com e: jewellery@gilded-lily.co.uk

Diamond drop earrings by Kutchinsky, a ruby and diamond ring and an 18ct gold bracelet made in Paris, a massive gold and diamond ring by David Webb, an invisibly set sapphire and diamond bow brooch and a pair of yellow sapphire ear clips by Adler 78

Michael Goedhuis • B10

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Flat 3, 61 Cadogan Square, London SW1X 0HZ, UK T: +44 (0)20 7823 1395 M: +44 (0)7760 625 375 F: +44 (0)20 7823 2794 www.michaelgoedhuis.com e: london@michaelgoedhuis.com

Yang Yanping Autumn Red 2008 Artist seal Coloured ink on rice paper 26¾ x 53 inches (67.9 x 134.5 cm)

Cortina-London-Milan

A View of Rio dei Mendicanti with Campo San Giovanni e Paolo Oil on canvas (68.5 x 92.4 cm)

Corso Italia 85, Cortina d’Ampezzo, Italy 3 Lonsdale Road, London W11 2BY, UK Viale Piave 28, Milan, Italy M: +44 (0)7988 190695 / + 39 338 6065205 e: fulviofineart@gmail.com

Granocchia Fine Art • B25

A View of the Palazzo Ducale with Piazzetta and Basilica della Sulute Oil on canvas (68.5 x 92.4 cm)

Giovanni Grubacs Venice 1830, Pola 1919 Researched by Professor Egidio Martini and Dario Succi

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Kangxi 1662-1722 Diameter: 13½ inches (34 cm)

Anita Gray Oriental Works of Art • C3

A superb pair of large Chinese blue and white Kangxi bowls of round shape, with slightly everted mouths and gently foliate edges, each on a short round moulded foot, painted in brilliant underglaze blue enamels and decorated on the outside of the bowls with a row of moulded petal-shaped panels radiating from the foot, each panel painted with a single flowering branch, including lotus, prunus, chrysanthemum and peony, all below an upper band of six larger panels with scenes of mythical beasts below birds and flowering branches, one scene with a kylin looking up towards a large phoenix in the sky, the inside rims with broad bands of differing flowers, the centre of the bowls with a large roundel decorated with stylised rock-work, large flowering blossoms and butterflies, the feet decorated with double blue lines, the bases glazed

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

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1-7 Davies Mews, London W1K 5AB, UK T: +44 (0) 7408 1252 M: +44 (0)7968 719496 F: +44 (0)20 7499 1445 www.chinese-porcelain-art.com e: info@chinese-porcelain-art.com

Guest & Gray • B3 A pair of magnificent Chinese famille rose hawks Qianlong (1736–95) Porcelain Height: 11 inches (28.5 cm)

Provenance: A Noble German Family

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Julian Hartnoll • B33 Sir Frank Dicksee Old Songs 1886 Signed with initials Watercolour 12 x 10 inches (30.4 x 25.40 cm) Provenance: Sir Bruce Seton, Bart. 1920

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

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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

Marks: the tureen with red anchor marks and numeral 26 to both pieces, the stand with red anchor mark to the underside of the base.

An extremely rare and highly important Chelsea zoomorphic tureen and cover in the form of a duck, the circular stand on which it stands adorned with marsh plants.

Circa 1755.

Length of duck: 6¾ inches (17.2 cm) Height of duck: 3¼ inches (8.4 cm) Diameter of the stand: 10 inches (25.5 cm)

Literature: 1755 Chelsea sale catalogue. Variously described as ‘Four fine small ducks in different postures’, see Second Day’s sale, Tuesday, March 11th, lot 55.

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Brian Haughton Gallery • E26

An extremely rare and highly important early Chelsea model of a finch perched on a branch, of the Incised Triangle Period, modelled perched on an oak tree amongst oak leaves and branches.

Circa 1749-52 Height: 7½ inches (19 cm) Provenance: Formerly Thomas Burn, the Rous Lench Collection, Worcestershire. Chelsea China Exhibition, Royal Hospital Chelsea, 1951, no. 22

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: Frank Tilley,The Clue of the Oak Leaf: Its place in Identifying Unrecorded Triangle Period Chelsea, Antique Collector, January-February 1950, pp. 13-15.

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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 and highly important Chelsea Hans Sloane finger bowl, beautifully decorated with broad leaves, moths, wood wasps, fruit flies and other insects, within brown line rim.

Circa 1752 Height: 3 inches (7.5 cm) Diameter: 3 inches (7.5 cm)

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Brian Haughton Gallery • E26

An extremely rare and Important Meissen yellow ground rectangular tea caddy and cover Circa 1735-40 Height: 4 inches (10 cm) Press number 19 to the underside of the base

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

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Heirloom & Howard Ltd • 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

Famille verte plate Kangxi circa 1720, with the arms of Jekyll impaling Somers; the anhua rim very rare on armorial porcelain

Provenance: Made for Sir Joseph Jekyll, Master of the Rolls, who married Elizabeth, sister of Lord Somers, Lord Chancellor of England. Born in 1662 he was a distinguished lawyer and prominent Whig politician in the Walpole administration, becoming known as a conscientious legislator, a gifted debater and a ‘somewhat quixotic opposition leader’ due to his independent stance. He played a key role in persuading the government to investigate corrupt practices of ministers in the South Sea share scandal in 1720, and advocated the Georgia settlement where Jekyll Island still bears his name.

He was also a social reformer, building a number of hospitals and serving as governor, and was perhaps most noted for drafting the 88

Gin Act of 1736 in an attempt to limit national drunkenness. Jekyll amassed a considerable fortune, owning large estates in Lincoln’s Inn and Reigate, which he represented in Parliament and where he built the market hall. On his death he left £20,000 to the government to help reduce the national debt, described by Lord Mansfield as ‘a very foolish bequest ... he might as well have attempted to stop the middle arch of Blackfriars Bridge with his full-bottomed wig’. His heirs requested its return.

Literature: Howard, D.S.; Chinese Armorial Porcelain, Volume I, page 218

J. A. N. Fine Art • F4

A fine Kakiemon square section slender neck vase Japan Arita c. 1670–1690 Height: 8¾ inches (22 cm)

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

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Holly Johnson Antiques • D34 The Woodwork Shop, Lyme Green Settlement, Lyme Green, Macclesfield, Cheshire SK11 0LD UK T: +44 (0)1260 253110 M: +44 (0)7831 713956 F: +44 01260 253180 www.hollyjohnsonantiques.com e: holly@hollyjohnsonantiques.com

An important pair of card tables by Gillows of Lancaster. Veneered in Gonzalo Alves on mahogany base. The swivel tops with beed and reel edges, above moulded friezes, on leaf carved and turned end supports leading to cabriole legs with leaf and scaly claw and ball feet.

Stamped Gillows of Lancaster Circa 1820 Materials/Techniques: Gonzalo Alves on Mahogany base Height: 28¾ inches (73 cm) Width: 35¾ inches (91 cm) Depth: 20 inches (51 cm)

These card tables are illustrated in Susan Stuart’s Gillows of Lancaster and London 1730–1840 plate. 267 An identical design is seen in Gillows Estimate Sketch Books 1826 (no.3480).

Possibly the pencil signature to one table could be that of John Barrow who worked in association with Gillows from 1791–1840 or William Barrow of Liverpool who appears in the Gillows Archive 1800–1840 90

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

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Jane Kahan Gallery • D17

Stuart Davis Report from Rockport 1991 Aubusson Tapestry 72 x 90 inches (183 x 228.6 cm)

Provenance: Maria Antonia Electress of Saxony; Friedrich August III. Elector of Saxony and later as Friedrich August I. King of Saxony

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

Mantel Clock K.P.M. (Royal Porcelain Manufactory Berlin) Circa 1765 Modeller: Wilhelm Christian Meyer (1726–1786) Clock case: the sculptor Stutz Height: 23¾ inches (60 cm) Width: 117⁄8 inches (30.2 cm)

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22 Georgian House, 10 Bury Street, St James’s, London SW1, UK T: +44 (0) 7967 738193 M: +44 07967738193 www.constantineart.com e: art@constantineart.com

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Constantine Lindsay • C8

Provenance: Private collection France Madeline Lemaire (1845–1928) Signed: M Jeanne Lemaire Watercolour on paper 18¼ x 13¼ inches (46.5 x 33.5 cm)

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: sand@antique-silver.com

Sanda Lipton • E2

Rare Victorian silver-mounted, ebonised Hunting Disabler Push button opening. The finial modelled as a greyhound’s head with collar Unmarked c. 1850 Silver and ebonised wood Length: 20 inches (51 cm)

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Literature: Featured in E Irvine Bray, Paul Flato: Jeweler to the Stars, The Antique Collectors’ Club, Suffolk, 2010, pp. 58-59.

Lucas Rarities Ltd • A12

Paul Flato A ruby, sapphire, yellow diamond and enamel heart brooch designed by the Hollywood jeweller, Paul Flato and owned by Millicent Rogers Balcom, the Standard Oil heiress. Millicent was photographed wearing the brooch in Vogue in 1939.

1938 3 1⁄3 x 2 1⁄3 inches (8.5 x 6 cm)

Mayfair, London W1, UK T: +44 (0)20 7100 8881 M: +44 (0)7867 547 965 F: +44 (0)20 7100 8882 www.lucasrarities.com e: info@lucasrarities.com

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Pug dogs were immensely popular in Germany in the 1740s and were a symbol of the Order of the Pug or Mopsen Order, founded in Germany as a pseudo-masonic society following the excommunication of the Freemasons in 1738.

Porcelain pugs were very fashionable and exported to France to be mounted with gilt-bronze by the Parisian marchands-merciers. The decoration and pose of the pugs with their naturalistic colouring is typical of the wares produced at Meissen during the Rococo period.

Whilst several examples of porcelain pug dogs are recorded, it is rare to find a pair mounted on its original gilt-bronze base as the present ones.

Via Vittorio Veneto, 183, Rome, 00187, Italy, T: +39 06 4821824 M: + 39 335 382996 F: +39 06 489 12043 e: european.ceramics@tiscali.it

Lukacs & Donath di Giampaolo Lukacs • E7

A pair of ormolu-mounted candlesticks set with Meissen figures of pug dogs each mounted on an elaborate rococo ormolu base rising at the rear to leafy branches, applied with almost contemporary polychrome porcelain flowers ending with a foliate sconce Mid-18th century.

Height: 6Âź inches (16 cm)

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MacConnal-Mason Gallery • D12

Anne Redpath, OBE, RSA, ARA Poppies 1895–1965 Signed Oil on board 23½ x 20 inches (60 x 50.8cm) Provenance: Acquired directly from the artist. Then by descent.

Exhibited: Bradford, Corporation Art Gallery, Cartwright Memorial Hall, 1948, no.5

14 & 17 Duke Street, St. James’s, London SW1Y 6DB, UK T: +44 (0)20 7839 7693 F: +44 (0)20 7839 6797 www.macconnal-mason.com e: fineart@macconnal-mason.com

97

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

Mackinnon Fine Furniture • B1

A George III giltwood Rococo girandole of exceptional quality in the manner of Thomas Chippendale English, c. 1760

98

E & H Manners • E32

A Meissen figure of Apollo Modelled by Johann Joachim Kaendler From the Das Apollobad centerpiece Circa 1748 Height: 21 1⁄8 inches (53.8 cm) This is the central section of a large centrepiece which depicts Apollo at the bath of Thetis.

This appears to be the only recorded 18th century example of this model.

66C Kensington Church Street, London W8 4BY, UK T: +44 (0)20 7229 5516 M: +44 (0)77672 50763 www.europeanporcelain.com e: manners@europeanporcelain.com

The group is taken from the marble by François Giradon for the grotto in the park of Versailles. A unique bronze of this was acquired by for Augustus the Strong, in 1715 and is now in the Grünes Gewölbe, Dresden.

99

Martin Du Louvre • E22 69 rue du Faubourg Saint Honoré, 75008 Paris, France T: +33 (0)1 4017 0689 M: +33 (0)68017 5101 F: +33 (0)1 40170810 www.martindulouvre.com e: martin.du.louvre@online.fr

Joseph Csaky (1888–1971) French School Tête Cubiste (Cubist Head) Signed and annotated on rear, proper right: CSAKY / Landowski Fondeur / 2011, with the letters AC inscribed in a divided rectangular cipher. Edition of 8.

Sand cast bronze Height: 18½ inches (47 cm) Csaky, a giant of Modernist sculpture of the French School, was Hungarian by birth. He participated in the 1912 Salon de la Section d’Or, and was featured by Léonce Rosenberg in a one-man show at the Galerie l’Effort Moderne in 1920.

With Brancusi, Archipenko, Henri Laurens, Lipchitz, Miklos and Vöros, he pioneered the development of the cubist idiom in the plastic arts, and his work is held by many of the worlds major museums.

Tête Cubiste dates from Csaky’s most important and influential period.

100

Kaye Michie • G2

Dame Laura Knight RA The Skater 1877–1970 Watercolour 22 x 33 inches (55.9 x 83.8 cm)

By Appointment, Richmond, Surrey TW10 6QX, UK T: +44 (0)20 8940 2463 M: +44 (0)7973 113126 www.kayemichie.co.uk e: watercolours@kayemichie.co.uk

101

Duncan R Miller Fine Arts • D16

John Duncan Fergusson A Montmartre Nightclub 1907 Inscribed J.D. Fergusson, Paris, 1907 verso 30 x 25¼ inches (76.5 x 64 cm)

6 Bury Street, St James’s, London SW1Y 6AB, UK T: +44 (0)20 7839 8806 M: +44 (0)7977 497670 F: +44 (0)20 7839 8806 www.duncanmiller.com e: art@duncanmiller.com

Provenance: Collection of Harry MacColl Esq., Paris until 1957 when it was purchased by Margaret Morris Private Collection, UK

102

P.O. Box 20851, London SE22 OYN, UK T: +44 (0)20 8693 1111 M: +44 (0)7778 637898 www.historicmedals.com e: tim@historicmedals.com

103

Timothy Millett • A6 Historic Medals & Works of Art

Abolition of Slavery Am I not a Man and a Brother Wax and alabaster plaque Circa 1800 4 1â „3 inches (11 cm)

By Appointment Only, Knutsford, Cheshire, UK T: +44 (0)1565 745012 M: +44 (0)7957 382381 F: +44 (0)1565 745013 www.millingtonadams.com e: info@millingtonadams.com

Millington Adams • G3 A fine English William and Mary burr & figured walnut cabinet on chest of fine original colour and patina Circa 1690

104

17 Avery Row, Brook Street, London, W1K 4BF, UK T: +44 (0)20 7493 8732 M: +44 (0)787 6033391 F: +44 (0)20 7409 7136 www.markmitchellpaintings.com e: mark@paulmitchell.co.uk

This scene is typical of the social occasions in which Greenham delighted; it is also characterized by his strong contours and areas of flat colour. The vertiginous viewpoint allows the dancing couples to be depicted as a series of interlocking stylized forms, black against the opalescent pastel colours of the ballroom frocks, swirling up the canvas. The effect is of a complex formalized abstract pattern, set in the curving band between the foreground balcony sill and the outer edge of the spotlit dance floor. As in many of his works, the influence of poster art from the 1930s–60s is apparent, as perhaps also the work of M C Escher; however, the image most strongly recalled by this painting is Henri Cartier-Bresson’s photograph, a decade earlier, of Queen Charlotte’s Ball, 1959.

Mark Mitchell • B4

Paintings & Drawings

Robert Duckworth Greenham (1906–1976) British Tango Final of British Championship, Blackpool, 1969 Siged and dated 1970 Oil on canvas (91.4 x 71.1 cm) Framed (109.5 x 88.9 cm) Reproduction Continental 20th century fluted architrave frame, painted finish

105

Moore-Gwyn Fine Art Ltd • C6

Graham Sutherland, OM (1903–1980) View down a lane, Pembrokeshire Gouache and watercolour over pen and ink, 7 7⁄8 X 7 inches (20 x 18 cm)

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

Provenance: Acquired directly from the artist by Giorgio Soavi, early 1970s

106

Kutchinsky Pair of Citrine, Garnet, Aquamarine, Amethyst cufflinks Circa 1950 Boucheron of Paris Pair of diamond and lapis lazuli earrings Circa 1950

A 19th century gold, coral, diamond, green enamel oak leaf spray brooch Circa 1870

19th century French gold, Amethyst, diamond Pansy brooch Circa 1890 Tiffany & Co A fine gold Dahlia flower brooch Circa 1950

107

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

Cartier of Paris Gold and diamond set flower brooch pendant Circa 1955

Nigel Norman • G1

Hèrmes of Paris Pair of 18ct gold Boating Shackles cufflinks Circa 1950/60

13 Georgian House, 10 Bury Street, London SW1Y 6AA, UK T: +44 (0)20 7381 4518 M: +44 (0)7775 566356 F: +44 (0)20 7381 4518 www.ollemans.com e: ollemans@tiscali.co.uk

Susan Ollemans Oriental Art • D8

A diamond and pearl Tikka North India 19th century Gold Diameter: 1½ inches (4 cm)

108

Stephen Ongpin Fine Art • C34

John Frederick Lewis, R.A. London 1804–1876 Waltonon-Thames A Young Woman from Bursa Black chalk and watercolour, heightened with touches of gouache, on light brown paper.

Laid down.

Signed and inscribed Jf.Lewis/Brus[sa] in pencil at the lower right 16 x10 inches (41.8 x 27.1 cm)

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 328 627 F: +44 (0)20 7839 1504 www.stephenongpinfineart.com e: info@stephenongpinfineart.com

Provenance: Carl Winter, London and Cambridge; by descent to his wife, Theodora Gertrude Winter, London; Thence by descent until 2010 Literature: Michael Lewis, John Frederick Lewis, R.A. 1805–1876, Leigh-on-Sea, 1978, p.100, no.650 (‘A Turkish Lady, Brussa’); Briony Llewellyn, ‘Drawing from Life’, Cornucopia, No.45, 2011, illustrated p.66.

109

20 rue de Beaune, 75007 Paris, France T & F: +33 (0)1 4926 0324 www: cperles.com e: christopheperles@hotmail.com

Delft cashmire decoration faĂŻence Circa 1700-20

110

Christophe Perles • F12

Christophe Perles • F12

20 rue de Beaune, 75007 Paris, France T & F: +33 (0)1 4926 0324 www: cperles.com e: christopheperles@hotmail.com

Important Sèvres biscuit figure of Marie-Antoinette as Minerva Circa 1779

111

20 rue de Beaune, 75007 Paris, France T & F: +33 (0)1 4926 0324 www: cperles.com e: christopheperles@hotmail.com

Collection of porcelain animals including Meissen,Vienna and Doccia porcelain.

18th century 112

Christophe Perles • F12

Christophe Perles • F12

20 rue de Beaune, 75007 Paris, France T & F: +33 (0)1 4926 0324 www: cperles.com e: christopheperles@hotmail.com

Rare Chantilly porcelain elephant.

Circa 1750

113

Guy Peppiatt Fine Art • C32 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 968 284 F: +44 (0)20 7839 1504 www.peppiattfineart.co.uk e: guy@peppiattfineart.co.uk

David Cox (1783–1859) The Garden Gateway, Haddon Hall Signed lower left: D.C. 1845

Watercolour over black chalk 8 x 11 inches (20.6 x 28.4 cm)

Haddon Hall was one of Cox’s favourite sketching grounds. He seems to have first visited ‘delightful old Haddon’ in August 1831 as part of one of his summer tours of Derbyshire in the company of his son David Cox Junior and William Roberts. Cox returned frequently to Haddon in the late 1830s and the present watercolour dates from his visit in May 1845 in the company of his friend and patron William Ellis who eventually owned over three hundred works by Cox. The weather was bad but they stayed in the area for two weeks. Drawings from this trip were the first of Haddon in Cox’s late, loose style and are often signed with initials and dated, as with the present work.

Haddon was the Tudor seat of the Dukes of Rutland but had been supplanted by Belvoir Castle since the 1740s so it was empty at the time (and remained so until 1912), which must have added to its sense of romanticism.

114

Potterton Books • F14

Passion for Meissen Marouf Collection The publication of the Said and Roswitha Marouf Collection focuses the viewer’s eye on the magnificent art works of the Meissen porcelain manufactory

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

115

Raffety & Walwyn Ltd • E16 79 Kensington Church Street, London W8 4BG, UK T: +44 (0)20 7938 1100 F: +44 (0)20 7938 2519 www: raffetyantiqueclocks.com e: raffety@globalnet.co.uk

Daniel Delander, London A fine Queen Anne period walnut longcase clock by this well-known maker The 8-Day movement with hour strike on a single bell. c. 1710 Height: 94 inches (239 cm)

116

Paul Reeves • B26

FORMERLY OF KENSINGTON CHURCH STREET

A rare beaten and repoussé Glasgow School copper and enamel candlestick, designed by Margaret and Frances Macdonald c. 1897. (Later Mackintosh and McNair) Engraved signatures Provenance: Sold to The Hunterian / University of Glasgow 2011

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

117

Robyn Robb • F30

An extremely rare Chinese tea canister and cover decorated in the London atelier of James Giles with a dancing girl in a wooded landscape in the manner of Teniers c. 1768 Height: 5Âź inches (13.4 cm)

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

This tea canister was part of a mixed tea service sold at Puttick and Simpson on the 2nd April 1963 and decorated in the Giles atelier which included a sucrier, covered jug, waste bowl and six coffee cups of Worcester porcelain as well as this tea canister, nine teabowls and four saucers of Chinese porcelain. The milk jug and cover from the service was formerly in the Ernest Inman collection and later in the R David Butti Collection which was sold at Bonhams, 10th May 2006, lot 59. The sugar bowl and cover was in the Mrs R M Robertson Collection and was exhibited

by Albert Amor in Treasures from Toronto (1993), fig. 43.

A part service with similar decoration is now in the collection of Her Majesty the Queen, at Sandringham House, Norfolk

118

J Roger (Antiques) Ltd • B14

A very elegant George III mahogany Regency whatnot of rare design c. 1810 Height: 53½ inches (135.5 cm) Width: 19 inches (48.3 cm)

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

119

104a Kensington Church Street, London W8 4BU, UK T: +44 (0)20 7229 5892 F: +44 (0)20 7229 5892 www.brianrolleston.com e: info@brianrolleston.com

A fine George I cabinet on chest in well figured walnut of particularly fine colour and patina

120

Rolleston Ltd • C18

Rountree Fine Art • B6

121

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) Men-o’war and other craft becalmed in an anchorage, traditionally identified as the Carrick Roads, with St Mawes Castle on a bluff beyond Oil on canvas signed P: Monamy (lower centre) 28 x 35¾ inches (71.1 x 90.8 cm.)

Samina Inc. • D30

By Appointment only, 33 St James’s Square, London SW1Y 4JS, UK T: +44 (0)20 3170 6076 / +44 (0)20 3170 6078 M: +44 (0)777 5872 960 F: +44 (0)20 7286 3633 e: saminainc@hotmail.com

Manga Malai (mango) necklace Taminal Nadu South India 19th century Gold set with Burmese cabochon rubies, emeralds and white sapphires in mango shaped units.

The mangos are held in sequence by flat chains that pass through loops behind each piece.

122

Adrian Sassoon • E24

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 email@adriansassoon.com

Felicity Aylieff Xia KünChóng Summer Insects III 2009 Thrown and glazed porcelain with over-glaze enamel transfers Height: 76¾ inches (195 cm)

Provenance: Monumental Pot made by the artist in Jingdezhen, China

123

By appointment only, London, UK M: T: +44 (0)7788 426640 e: christophersheppardglass@hotmail.com

A pair of cordial decanters Workshop of James Giles, London c. 1765

124

ANTIQUE & ANCIENT GLASS

Christopher Sheppard • A8

Silverman • E12

4 Campden Street (off Kensington Church Street), London W8 7EP, UK T: +44 (0)20 7985 0555 M: +44 (0)778 712 4601 www.silverman-london.com e: silver@silverman-london.com

Zeewo of Shanghai A rare fine pair of Chinese silver salvers oval-shaped and engraved with bamboo design c. 1880 Weight: 120 ounces Troy Length: 47 cm Width: 37.6 cm

125

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

Herbert Ashwin Budd R.O.I. (1881–1950) The Circus Comes to Town Oil on canvas, laid on board

126

Sim Fine Art • E9

John Spink • B22

Provenance: Private Collection Plymouth

127

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

Samuel Prout (1783–1852) Coastal Scene Near Plymouth c. 1815 Watercolour 8¾ x 12½ inches (22.5 x 32 cm)

Stockspring Antiques • F2 114 Kensington Church Street, London W8 4BH, UK T & F: +44 (0) 20 7727 7995 M: +44 (0)7984 315 123 www.antique-porcelain.co.uk e: stockspring@antique-porcelain.co.uk

Barr, Flight and Barr Worcester topographical garniture of five vases. c. 1807–13 Campana vase height: 9 inches (22.8 cm) Script London House marks to all, the campana vase with impressed mark BFB Painted with views of Launceston; Ullswater, Cumberland; Near Crogen, On the River Dee; Kirkham Priory Gateway, Yorkshire and Beauchief Abbey, Derbyshire, respectively, identified in script on the underside.

128

Strachan Fine Art • B24

The Assumption of the Virgin England, second half of the fifteenth century Carved alabaster panel In reproduction carved and gilded wood frame 19 x 9ž inches (48.5 x 25 cm)

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

Literature: Cheetham, Alabaster Images of Medieval England Life of the Virgin, no. 74 page 99; colour plate x

129

Grays, 58 Davies Street, London W1K 5LP, UK T: +44 (0)207408 0154 www.peterszuhay.com e: peter@peterszuhay.com

A parcel gilt silver statue, c. 1500

130

Peter Szuhay • D32

TAI Gallery • A14

1601 B Paseo de Peralta, Santa Fe, New Mexico, USA T: +1 505 984 1387 www.taigallery.com e: gallery@taigallery.com

Sugita Jozan Morning Light, 1980 Bamboo and rattan

131

The Silver Fund • B23 472 Jackson Street, San Francisco, CA 94111, USA T: +1 917 447 1911 (US) or +44 (0)7710 032453 (UK)

Extremely rare geometric English art deco four piece tea set by Charles Boyton Four pieces fit together in the form of a wedge c. 1930 Sterling silver and ebony

132

Erik Thomsen • B17

133

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

Madake Bamboo by Bamboo Fence Edo period (1615–1868), 18th century, Japan Detail from a six-panel folding screen Ink, mineral colours, gofun and gold wash on paper with gold leaf 70 x 144 inches (178 x 366 cm)

Van Den Bosch • G6 123 Grays, 58 Davies Street, Mayfair, London W1K 5LP, UK T: +44 (0)2076291900 M: 07899 021428 www.vandenbosch.co.uk e: info@vandenbosch.co.uk

Professor Georg Kleeman for Theodor Fahrner A rare Jugendstil 18ct gold plique-à-jour moth brooch set with turquoise, opal ruby and pearl 18ct gold MB & Co as importer Height: 13⁄8 inches (3.5 cm) Width: 17⁄8 inches (4.8 cm) Literature: Theodor Fahrner Jewelry, Shiffer Publications, page 109.

Illustration 1.73; Schmuck in Deutschland und Osterreich 1895–1914; Ulrike von Hase, page 221. Example Pforzheim Schmuckmuseum, illustration 262 134

Voltaire Antiquité Vandermeersch SA • E8 Provenance: The Service was offered by Napoleon I to his Archchancellor Jean Jacques Régis de Cambacérès upon the occasion of the wedding of Stephanie de Beauharnais to Charles Frederik, Grand Duc of Baden on 8 April 1806; and it was delivered on April 1807.

Jean Jacques Régis de Cambacérès (1753–1824) served as second Consul under Napoléon I and as Archchancellor of the Empire. He is best remembered for being one of the authors of the Code Napoléon in 1804, the French jurisprudence.

135

21 quai Voltaire, Paris F-75007, France T: +33 01 4261 2310 e: m.vandermeersch@wanadoo.fr

A Sèvres porcelain fond pourpre Fable plate assiette unie from the Service de l’Archichancelier depicting Le Renard et le Buste.

Inscribed on the reverse Le Renard et le Buste Diameter: 9¼ inches (23.5 cm) c. 1807 Hard Paste porcelain, iron-red stenciled factory mark.

By Appointment, Suite 404, Albany House, 324-326 Regent Street, London W1B 3HH, UK T: +44 (0)20 7736 067 041 www: john-whitehead.co.uk e: john@john-whitehead.co.uk

Pair of Vincennes porcelain square orange tubs (caisse carrée) of the second size 1753 Height 5½ inches (14 cm)

136

John Whitehead • E10

Mary Wise Antiques • A10

An extremely rare Bow ‘begging pug’ c. 1755 The popularity of pugs or ‘mops’ in the eighteenth century is reflected in the output of many English porcelain factories including Chelsea, Bow, Derby, Lowestoft and Longton Hall The original model was copied from Meissen and appears beside a seated youth in a model created by J.J. Kaendler and P. Reinicke c. 1748 Pugs were a symbol of a secret eighteenth century German Society, which opposed plans by Pope Clement XII to abolish Freemasonry in 1738

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

Literature: See Meissen Portrait Figures by Len and Yvonne Adams, 1922 edition, page 26, lower right illustration

137

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LEADING THE HOSPITALITY PROFESSION BY EXAMPLE, SHAPING THE FUTURE THROUGH EDUCATION.

The Academy of Culinary Arts is Britain’s leading professional association of Head Chefs, Pastry Chefs, Restaurant Managers and suppliers. While concerned with raising standards and awareness of food, food provenance, cooking and service, its objectives are primarily focused on the education and training of young people in the hospitality industry. The Academy’s education and training initiatives include Chefs Adopt a School, the Academy of Culinary Arts Chefs Apprenticeship, the Annual Awards of Excellence, the Master of Culinary Arts, the Mutton Renaissance and FEAST – Food Education At School Today.

Chefs Adopt a School is a national charity which teaches children – in a holistic way - about food, food provenance, food growing, healthy eating, nutrition, hygiene and cookery. The charity reaches over 21,000 children every year and works with primary schools, secondary schools, SEN schools, hospital schools, pupil referral units, sports centres and food festivals. We believe that every child should be taught about the importance of food and the significance it has in our lives.

We love to cook and we think tasting the food is very important too. For a truly beneficial experience we don’t think you can beat young people growing and preparing their own food and then sitting down to eat it together. (Charity Number 1087567) TO FIND OUT MORE: Academy of Culinary Arts, 53 Cavendish Road, London SW12 0BL Tel: 020 8673 6300 E-mail: info@academyofculinaryarts.org.uk www.academyofculinaryarts.org.uk

The Helmut Joseph Collection of Important European Snuff Boxes Tuesday 5 July 2011 at 10.30am New Bond Street, London Including A magnificent goldmounted Meissen Royal snuff box, circa 1755 (illustrated) with views of Warsaw and Dresden, made for Augustus III, Elector of Saxony and King of Poland, Estimate: £100,000 - 150,000 The collection is available for viewing by appointment during the Arts and Antiques Fair.

Enquiries Sebastian Kuhn +44 (0) 20 7468 8384 sebastian.kuhn@bonhams.com Nette Megans +44 (0) 20 7468 8348 nette.megens@bonhams.com

A selection of the boxes will be on view in the following Bonhams offices:

To order a catalogue +44 (0) 1666 502 200 subscriptions@bonhams.com

Bonhams Munich 12-14 May

Bonhams 101 New Bond Street London W1S 1SR +44 (0) 20 7447 7447 +44 (0) 20 7447 7400 fax

Bonhams New York 2-6 June Bonhams Paris 16-17 June

www.bonhams.com/helmutjoseph

Fine British & European Glass and Paperweights Wednesday 15 June at 10.30am New Bond Street, London

Enquiries Simon Cottle +44 (0) 20 7468 8383 simon.cottle@bonhams.com To order a catalogue +44 (0) 1666 502 200 subscriptions@bonhams.com Illustrated A French engraved cordial glass and ďŹ tted case made for the Emperor Napoleon I, circa 1814-15 The glass 14.9cm high Estimate: ÂŁ2,000 - 3,000 Bonhams 101 New Bond Street London W1S 1SR +44 (0) 20 7447 7447 +44 (0) 20 7447 7400 fax

www.bonhams.com/eur/glass

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Framont

Hancocks

antique ¤ estate jewelry s objets d’art s furniture s silver americana s paintings s porcelain s ceramics ¤ pottery s textiles watches s clocks s sculpture s bronzes s asian art ¤ antiques art glass s oriental carpets s other antiquities ¤ 20th century design FOR MORE INFORMATION PLEASE CALL 561.822.5440 OR VISIT WWW.PALMBEACHSHOW.COM

100 superb artists

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13 great shows

Raymond Gubbay and the Royal Albert Hall present

Strictly Gershwin

Derek Deane's glamorous in-the-round dance celebration

Rhapsody in Blue Summertime I Got Rhythm An American in Paris

9 - 19 June Royal Albert Hall 020 7838 3100 www.royalalberthall.com

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1 magnificent stage

The most diverse art magazine in the world Painting | Sculpture | Decorative Arts | Antiques

Published monthly, Apollo offers you the greatest diversity of any art magazine – covering everything from antiquities to contemporary art.

International in scope, every edition brings you authoritative guidance on collecting, reviews and previews of exhibitions worldwide, plus interviews with major collectors and important personalities from the art world.

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THE SWISS ISSUE

Whatever your passion, it’s reected in Apollo.

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Unique in its conception and scope, each issue provides over 70 pages of news, interviews, features and debate.

Reporting on everything from old masters to conceptualism, each month THE ART NEWSPAPER brings you the important stories from around the globe.

“...the art world’s most respected publication” THE SUNDAY TELEGRAPH

NEWS, EVENTS, POLITICS, BUSINESS, ART, MONTHLY WWW.THEARTNEWSPAPER.COM UK SUBSCRIPTIONS: +44 1795 414 863 US SUBSCRIPTIONS: +1 888 475 5993

GOING FOR GOLD Craftsmanship and Collecting of Gold Boxes Edited by Tessa

Murdoch

Deputy Keeper Sculpture, Metalwork, Ceramics and Glass at the V&A

and Heike

Zech

This gold and enamel box has been re-attributed to Hanau, Germany, ca. 1780, and is based on French models. Picture courtesy of the Gilbert Collection on loan to the Victoria & Albert Museum, London

Curator of the Gilbert Collection

Going for Gold examines the art of the gold box in 18th and 19th century Europe. Distinguished international scholars explore the contributions made by individual workshops in major European centres of production in the context of contemporary patronage and the international market for such boxes.

Consideration is given to the design of gold boxes with reference to the V&A’s important collection of design drawings. Leading experts explore the ways in which different techniques of gold box decoration – portrait miniatures, gems, enamels, mosaics and hardstones – were developed.

Contributors to the volume include experts from Amsterdam, Berlin, Dresden, London, Munich, New York, Paris, Rome, and St Petersburg. Senior museum curators, auction house specialists and independent scholars illustrate and discuss examples from private and public collections. The result is a unique record of the state of knowledge on the European production of gold boxes and of the history of collecting.

Going for Gold will appeal to international collectors, scholars, dealers, museum curators and museum visitors, and all those interested in gold and silver fine art.

Going for Gold will be published in February 2012 (224 pp., 297 × 210 mm, with circa 200 colour illustrations, ISBN 978-1-84519-465-9).

Sussex Academic Press PO Box 139, Eastbourne BN24 9BP www.sussex-academic.co.uk

Jules-Marie-Auguste Leroux, (1871-1954), Nu (Nude) — detail, c. 1905-10, Oil on canvas,, 21 x 17 1/2 in., Carole Pinto Fine Arts, New York City

Masterpiece

F INALLY,

A MAGAZINE ALMOST AS BEAUTIFUL AS THE ARTWORKS IT FEATURES .

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THE WORLD’S LEADING ART PERIODICAL

JUNE

2011–

DISCOVERIES

AND

OLD MASTERS NEW

IDENTIFICATIONS

EDITORIAL: Vasari (b. 1511). In Honour of the 500th anniversary of Giorgio Vasari’s birth.

ELIZABETH CARROLL: An altarpiece by Bartolomeo Montagna in Vicenza.

LUKE SYSON and JILL DUNKERTON: Andrea del Verrocchio’s first surviving panel painting and other early works. Firmly attributes the National Gallery’s Virgin and Child with two angels (NG2508) to Verrocchio.

RENATA SEGRE: Identity of Giorgione’s father discovered in a new document of the inventory of his belongings when he died in 1510.

DAVID ROSAND: Veronese’s Magdalene and Pietro Aretino.

ALBERTO MARIA SARTORE: New documents show that Raphael started work on the altarpiece of the Coronation of the Virgin (Vatican) for a Perugian convent and that it was finished under the supervision of Giulio Romano and Penni.

FAUSTO NICOLAI: Unpublished fresco by Tommaso Laureti (1530-1602) in the Tor de’ Specchi monastery, Rome.

SUPPLEMENT: Sculpture acquisitions dating from the 15th to the 19th centuries at the Metropolitan Museum of Art, New York.

ANTONIO VANNUGLI: New works by Ribera, including the Martyrdom of St Lawrence (Zaragoza) to be included in the Prado’s Early Ribera exhibition (April–July 2011).

ADVERTISE | SUBSCRIBE | SINGLE ISSUES | FREE ONLINE INDEX

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WOO L LE Y & WA L LI S SA L I S B U R Y SA L E R O O M S

English and European Ceramics and Glass Tuesday 13th September 2011

Entries are currently being accepted for this sale.

ENQUIRIES Clare Durham 01722 424507 claredurham@woolleyandwallis.co.uk www.woolleyandwallis.co.uk

A pair of Chelsea Gold Anchor figures of a Chinaman and his companion.

Est: ÂŁ1,000 - 2,000

The Park Avenue Armory Park Avenue at 67th Street, New York, NY 10065

October 21–27, 2011 Daily: 11am-7.30pm. Sunday & Last Day: 11am-6pm.

Admission $20

Preview Party benefiting The Society of Memorial Sloan-Kettering Cancer Center. October 20, 5.45-9pm

All items strictly vetted for authenticity and condition

www.haughton.com

a HAUGHTON FAIRSM

Art Antiques London Stand Plan

Abbott and Holder Ltd • B32 Arthur Ackermann • C26 W. Agnew & Company Ltd • C24 Bazaart • F31 Laura Bordignon • B12 J.H. Bourdon-Smith Ltd • C38 The British Antique Dealers’ Association • A16 Christopher Buck • E14 Peter Cameron • C2 Lucy B. Campbell Fine Art • E18 The Canon Gallery • E6 Jonathan Cooper • B18 Sandra Cronan Ltd • C23

Darnley Fine Art • B16 Mary Deeming • D2 Delomosne & Son Ltd • D6 Dragesco – Cramoisan • F16 Ellison Fine Art • D36 Esch Kunstandel • E31 Ted Few • D4 Liliane Fredericks • E4 Gander & White Shipping Ltd • B30 The Gilded Lily Jewellery Ltd • C30 Michael Goedhuis • B10 Granocchia Fine Art • B25 Anita Gray Oriental Works of Art • C3 Guest & Gray • B3 162

Julian Hartnoll • B33 Brian Haughton Gallery • E26 Heirloom & Howard Ltd • B3 Hermitage Foundation UK • F18 J.A.N. Fine Art • F4 Holly Johnson Antiques • D34 Jane Kahan Gallery • D17 Daniela Kumpf Kunsthandel • E30 Constantine Lindsay • C8 Sanda Lipton • E2 Lucas Rarities Ltd • A12 Lukacs & Donath di Giampaolo Lukacs • E7 MacConnal-Mason Gallery • D12

Mackinnon Fine Furniture • B1 E. & H. Manners • E32 Martin Du Louvre • E22 Kaye Michie • G2 Duncan R Miller Fine Arts • D16 Timothy Millett • A6 Millington Adams • G3 Mark Mitchell Paintings & Drawings • B4 Moore-Gwyn Fine Art Ltd • C6 Nigel Norman • G1 Susan Ollemans Oriental Art • D8 Stephen Ongpin Fine Art • C34 Guy Peppiatt Fine Art • C32 Christophe Perles • F12

Potterton Books • F14 Raffety & Walwyn Ltd • E16 Paul Reeves • B26 Robyn Robb • F30 J Roger (Antiques) Ltd • B14 Rolleston Ltd • C18 Rountree Fine Art • B6 Samina Inc • D30 Adrian Sassoon • E24 Christopher Sheppard Antique & Ancient Glass • A8 Silverman • E12 Sim Fine Art • E9 John Spink • B22 163

Stockspring Antiques • F2 Strachan Fine Art • B24 Peter Szuhay • D32 TAI Gallery • A14 The Silver Fund • B23 Erik Thomsen • B17 Van Den Bosch • G6 Voltaire Antiquité Vandermeersch SA • E8 John Whitehead • E10 Mary Wise Antiques • A10

Art Antiques London Incorporating the renowned International Ceramics Fair & Seminar

7–13 June 2012 Preview 6 June

Albert Memorial West Lawn, Kensington Gardens, London The West Lawn is next to The Albert Memorial and directly opposite The Royal Albert Hall. a HAUGHTON FAIRSM

Tel: +44 (0)20 7389 6555 www.haughton.com

ART ANTIQUES LONDON

www.haughton.com

2011

a HAUGHTON FAIR SM

2011