A Taste of Elegance
t +44 (0)20 7389 6550 f +44 (0)20 7389 6556 www.haughton.com gallery@haughton.com
Brian Haughton Gallery
15 Duke Street, St. James’s, London SW1Y 6DB
A Taste of Elegance
A Taste of Elegance Dining in eighteenth century Europe
15 Duke Street, St James’s London SW1Y 6DB Tel: +44 (0)20 7389 6550 Fax: +44 (0)20 7389 6556 Email: gallery@haughton.com www.haughton.com
All exhibits are for sale
Foreword
Foreword
The Catalogue ‘A Taste of Elegance’ charts the social history of dining in eighteenth century Europe. Within the groups of pottery and porcelain is included a Private collection of European Faience from some of the very best and rarest manufactories to specialise in this medium. Tin-glazed earthenware provided the painter with a ‘whitened’ pottery form to decorate and copy some of the ravishing and exotic forms that found their way to Europe from the far east. The first and most
their Chelsea naturalistic counterparts. During the early nineteenth century the table also groaned with fruit and flowers. Pineapples for example were placed in the Sevres Neoclassical biscuit Lions, (p. 12 and p. 13), supporting gilt reticulated baskets or ‘Corbeille Lions’. The Lions represent both the highest calibre of modelling at Sevres by Jean-Charles-
important item across the whole private collection, must be the monumental Sceaux sculpture of two fighting Cockerels, (p. 32) being
Nicholas Brachard l’ainé, and the new classical design
of the same proportions as the animals made for Augustus II’s Japanese Palace. The poise, drama during their fight and their scale
capabilities, which, in this case, were conceived by Alexandre-
create one of the most powerful renditions of pure sculpture in pottery that we have ever been able to offer. The Sceaux manufactory
Evariste Fragonard, both under the overall direction of
was in production for only ten years from 1760-1770 and surviving wares are extremely rare.
Brongniart. These lions are one of the two earliest pairs to be
The Wild Boar was of great significance and importance in the eighteenth century and was hunted only by royalty and nobility, throughout the vast territories of original forests across Europe. At the end of the day’s hunting the Boar’s head was brought to the
manufactured dating from 1818-1823. The group of Proskau bird tureens and chick boxes, (p. 34),
table with great ceremony, and treated as a very significant delicacy, to be viewed within the protocol of the host’s rank. Included are
deserve special mention as they come to us directly from the Vanderbilt
two extremely rare Faience examples, the first from St. Omer, France, (p.41), the second from Northern Germany, (p.44). These tin-
family and have not been on the market since when they were acquired from
glazed earthenware tureens would have been filled with a type of ‘cassoulet’ or ‘hunter’s stew’ containing meat from the boar. The
the great American dealer James. A. Lewis during the 1940’s. The hen and
Tureen ‘heads’ would have literally appeared as if alive, when brought to the table during the cold hunting season months. The steam,
cockerel tureens, that would have contained a thick chicken broth, sit beside tiny
in a cold Banqueting Hall would have issued from their mouths and snouts, initiating surprise and gasps from the seated, surrounded
rare chick boxes, which would have served as either spice boxes or be filled with
company. A very rare example of a Boar’s Leg complete with Ivy garland and Acorn finial, (p.39), completes this theme.
some other richly herbed condiment to add to the main dish within the larger bird forms.
Nature and the natural world was an important theme within the presentation of display, and dining, within the ‘theatre’ of food. This was to gradually engulf the table during
Tables across Europe heaved with silver gilt services and glassware, together with porcelain figures to accompany the sugar sculptures and coloured sand parterres, that were richly laid out across the ‘surtout de tables’ of the wealthy and prosperous Royal
the early to mid eighteenth century. Movement and brightly coloured botanical shapes and
and Aristocratic tables. Themes of War, as well as Peace were evoked with Military trophies in both porcelain and ‘Pastillage’, as the
forms appeared with dazzling array, as if the very fingertips of the potters and decorators
triumphs of the Ruling classes were played out during Banquets, dinners and desserts. Sugar flowers positively trembled on their
coursed with the vigour of natural creation. The very rare pair of Strasbourg Snail Spice Pots,
material mounts, as garnishes on pyramids of crystallised fruit, or arranged in baskets. These competed with the lifelike intricate
(p.14) appear as if to glide over Vine leaf dishes or halt in front of the Brussels ‘Quacking’ Duck
porcelain flowers, mounted on ormolu branches and scented with ‘eau de cologne’. The Meissen porcelain beautifully illustrates this
centrepiece, (p. 42), which stands with its webbed feet on a lusciously green naturalistic
section of the catalogue. The Dolphin and Putto, (p.15) probably appeared as part of the great Swan service made for Count Bruhl at
cabbage leaf, in view of the searching antennae of the snails!
the beginning of the 1740’s. The Meissen Elephant (p. 6) bears the mark for the ‘Royal Pastry Stores’ of Augustus III and was therefore
During this age of ‘Rococo’, man’s triumph over nature allowed for the manufacture of fruit and vegetable boxes and covers to be used at dinner and dessert. This turned the tables into the
used at Royal banquets and would have been carefully placed within a scene or tableau together with other porcelain animals such as the Hare (p.17) or figures like the Woodcutter (p.29). These would have stood on lawns and beside temples, bushes and blossoming
appearance of laden hothouses, used to grow these expensive exotic plants. We have included a
trees all made of sculpted dyed sugar paste. The groupings were designed to recreate stories and evoke symbolism and were literally
melon from the Chelsea manufactory (p.57), the largest form of this shape made under the general
a ‘Feast for the Eyes’. The glittering tables of Europe caused a sensation amongst dinner guests and those that marvelled at the
direction of the dynamic and entrepreneurial silversmith Nicholas Sprimont, who set up the factory in
splendour wrote about these extraordinary sights.
1745, to manufacture porcelain for sale to the ‘Quality and Gentry’. We also include two
The Chantilly Chinaman, (p.10), is a serene sage that begins the section of French porcelain from two English Private collections.
extremely rare Bow apples, (p. 59 and p. 60). The Bow manufactory usually catered for the
The figure which is unrecorded, rises slowly, from the yellow ground pillows that are pierced with holes to allow the scented air of rose
wider markets where expensively created objects like these apple boxes would have
petals to fill the room. Here in this scented land of slumber and fantasy, he greets the viewer as he has done since circa 1740 with a
limited appeal. Therefore, when encountered, these verdant sorbet or jelly boxes are far rarer than
youthful, ethereal smile, enough to melt anybody’s heart. The group is without doubt one of the most important pieces of French
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3
Foreword
Foreword
The Catalogue ‘A Taste of Elegance’ charts the social history of dining in eighteenth century Europe. Within the groups of pottery and porcelain is included a Private collection of European Faience from some of the very best and rarest manufactories to specialise in this medium. Tin-glazed earthenware provided the painter with a ‘whitened’ pottery form to decorate and copy some of the ravishing and exotic forms that found their way to Europe from the far east. The first and most
their Chelsea naturalistic counterparts. During the early nineteenth century the table also groaned with fruit and flowers. Pineapples for example were placed in the Sevres Neoclassical biscuit Lions, (p. 12 and p. 13), supporting gilt reticulated baskets or ‘Corbeille Lions’. The Lions represent both the highest calibre of modelling at Sevres by Jean-Charles-
important item across the whole private collection, must be the monumental Sceaux sculpture of two fighting Cockerels, (p. 32) being
Nicholas Brachard l’ainé, and the new classical design
of the same proportions as the animals made for Augustus II’s Japanese Palace. The poise, drama during their fight and their scale
capabilities, which, in this case, were conceived by Alexandre-
create one of the most powerful renditions of pure sculpture in pottery that we have ever been able to offer. The Sceaux manufactory
Evariste Fragonard, both under the overall direction of
was in production for only ten years from 1760-1770 and surviving wares are extremely rare.
Brongniart. These lions are one of the two earliest pairs to be
The Wild Boar was of great significance and importance in the eighteenth century and was hunted only by royalty and nobility, throughout the vast territories of original forests across Europe. At the end of the day’s hunting the Boar’s head was brought to the
manufactured dating from 1818-1823. The group of Proskau bird tureens and chick boxes, (p. 34),
table with great ceremony, and treated as a very significant delicacy, to be viewed within the protocol of the host’s rank. Included are
deserve special mention as they come to us directly from the Vanderbilt
two extremely rare Faience examples, the first from St. Omer, France, (p.41), the second from Northern Germany, (p.44). These tin-
family and have not been on the market since when they were acquired from
glazed earthenware tureens would have been filled with a type of ‘cassoulet’ or ‘hunter’s stew’ containing meat from the boar. The
the great American dealer James. A. Lewis during the 1940’s. The hen and
Tureen ‘heads’ would have literally appeared as if alive, when brought to the table during the cold hunting season months. The steam,
cockerel tureens, that would have contained a thick chicken broth, sit beside tiny
in a cold Banqueting Hall would have issued from their mouths and snouts, initiating surprise and gasps from the seated, surrounded
rare chick boxes, which would have served as either spice boxes or be filled with
company. A very rare example of a Boar’s Leg complete with Ivy garland and Acorn finial, (p.39), completes this theme.
some other richly herbed condiment to add to the main dish within the larger bird forms.
Nature and the natural world was an important theme within the presentation of display, and dining, within the ‘theatre’ of food. This was to gradually engulf the table during
Tables across Europe heaved with silver gilt services and glassware, together with porcelain figures to accompany the sugar sculptures and coloured sand parterres, that were richly laid out across the ‘surtout de tables’ of the wealthy and prosperous Royal
the early to mid eighteenth century. Movement and brightly coloured botanical shapes and
and Aristocratic tables. Themes of War, as well as Peace were evoked with Military trophies in both porcelain and ‘Pastillage’, as the
forms appeared with dazzling array, as if the very fingertips of the potters and decorators
triumphs of the Ruling classes were played out during Banquets, dinners and desserts. Sugar flowers positively trembled on their
coursed with the vigour of natural creation. The very rare pair of Strasbourg Snail Spice Pots,
material mounts, as garnishes on pyramids of crystallised fruit, or arranged in baskets. These competed with the lifelike intricate
(p.14) appear as if to glide over Vine leaf dishes or halt in front of the Brussels ‘Quacking’ Duck
porcelain flowers, mounted on ormolu branches and scented with ‘eau de cologne’. The Meissen porcelain beautifully illustrates this
centrepiece, (p. 42), which stands with its webbed feet on a lusciously green naturalistic
section of the catalogue. The Dolphin and Putto, (p.15) probably appeared as part of the great Swan service made for Count Bruhl at
cabbage leaf, in view of the searching antennae of the snails!
the beginning of the 1740’s. The Meissen Elephant (p. 6) bears the mark for the ‘Royal Pastry Stores’ of Augustus III and was therefore
During this age of ‘Rococo’, man’s triumph over nature allowed for the manufacture of fruit and vegetable boxes and covers to be used at dinner and dessert. This turned the tables into the
used at Royal banquets and would have been carefully placed within a scene or tableau together with other porcelain animals such as the Hare (p.17) or figures like the Woodcutter (p.29). These would have stood on lawns and beside temples, bushes and blossoming
appearance of laden hothouses, used to grow these expensive exotic plants. We have included a
trees all made of sculpted dyed sugar paste. The groupings were designed to recreate stories and evoke symbolism and were literally
melon from the Chelsea manufactory (p.57), the largest form of this shape made under the general
a ‘Feast for the Eyes’. The glittering tables of Europe caused a sensation amongst dinner guests and those that marvelled at the
direction of the dynamic and entrepreneurial silversmith Nicholas Sprimont, who set up the factory in
splendour wrote about these extraordinary sights.
1745, to manufacture porcelain for sale to the ‘Quality and Gentry’. We also include two
The Chantilly Chinaman, (p.10), is a serene sage that begins the section of French porcelain from two English Private collections.
extremely rare Bow apples, (p. 59 and p. 60). The Bow manufactory usually catered for the
The figure which is unrecorded, rises slowly, from the yellow ground pillows that are pierced with holes to allow the scented air of rose
wider markets where expensively created objects like these apple boxes would have
petals to fill the room. Here in this scented land of slumber and fantasy, he greets the viewer as he has done since circa 1740 with a
limited appeal. Therefore, when encountered, these verdant sorbet or jelly boxes are far rarer than
youthful, ethereal smile, enough to melt anybody’s heart. The group is without doubt one of the most important pieces of French
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Foreword
porcelain to have ever passed through our hands and perfectly embodies, together with the other French porcelain included, the decadent period and nature of the ‘Ancienne Regime’ in prerevolutionary France. The claret and gold ecuelle, (p. 20), with initialled medallions and jewelling by Phillipe Parpette, has a very interesting provenance, it was made for the personal use of Louis Philippe Marc Antoine de Noailles, Prince de Poix, Governor of Versailles and Captain of the King’s bodyguard, and is dated to 1783. The Prince de Poix was a tiny proud man and his lack of height gave rise to his rather endearing nickname of ‘Petit Poix’! Conjecture must sadly remain to the significance of the various cursive gilded initials, which inhabit the medallions on the cover, but this adds to the enigma of this piece manufactured in a ‘gilded age’ that was soon to be shattered by the blade of the guillotine. The same level of courtly intrigue can be seen in the Furstenburg snuffbox, (p. 26), one of the very few pieces to come out of Tyntesfield, the latest property to be taken on by the National Trust, the former country seat of the Lords Wraxall. Covered with symbols of the ‘Triumph of Love’ it is a tribute to the love of a member of the Court for a lady of very high rank. The devotion between the two can be seen when the intimate cover is prised open from the base to reveal the coloured scene, as if coming into glaring focus from the scenes of love, in puce, around the sides, cover and base of the exterior. Finally, and connected with the above examples of courtly love is the Sevres Plateau Bouret from the Starhemburg Service, (p. 22), now nearly all held in the great Rothschild house at Waddesdon, in Buckinghamshire. Although this piece was connected with love in a slightly different way, it is one of the eight plateaux Bouret, each costing 60 livres, which formed part of the service delivered on the 6th October 1766, to Georg Adam, Prince Starhemberg (1724-1807), the Austrian ambassador to the French Court at Versailles, from 1755-1766. The Prince played an important role in the negotiation of the proposed marriage of Louis XV’s grandson, the future Louis XVI, to Marie-Antoinette of Austria. The Plateaux Bouret were very much part of the dessert service and held the pyramids of marron glaces and other crystalised sweetmeats that were the height of all delicacies in the mid to late eighteenth century. We have enjoyed ‘our’ tribute to the ‘theatre and drama’ of dining and hope that we will see as many of you as possible, either at
An extremely rare Nymphenburg Shell Butter Box and Cover, beautifully modelled, by Dominikus Auliczek, in the white as an Abalone shell, supported on three conch shell feet, the cover formed as the other half of the shell and applied with another conch shell as the finial.
our Gallery, or at one of our International Haughton Fairs, where these carefully chosen pieces and many more, will be for sale. We hope that you will agree with us that the items on show are simply ‘A Feast for the Eyes’ in all aspects.
Circa 1765-70. Length: 6 ins. (15 cms.) Marks: Impressed shield marks and incised 41 to each piece.
Brian Haughton and Paul Crane. London.
4
There is a single example of a Meissen shell butter box and cover at the Porcelain museum at Dresden. We are grateful to Dr. Alfred Ziffer for his help in cataloguing this rare piece.
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1
Foreword
porcelain to have ever passed through our hands and perfectly embodies, together with the other French porcelain included, the decadent period and nature of the ‘Ancienne Regime’ in prerevolutionary France. The claret and gold ecuelle, (p. 20), with initialled medallions and jewelling by Phillipe Parpette, has a very interesting provenance, it was made for the personal use of Louis Philippe Marc Antoine de Noailles, Prince de Poix, Governor of Versailles and Captain of the King’s bodyguard, and is dated to 1783. The Prince de Poix was a tiny proud man and his lack of height gave rise to his rather endearing nickname of ‘Petit Poix’! Conjecture must sadly remain to the significance of the various cursive gilded initials, which inhabit the medallions on the cover, but this adds to the enigma of this piece manufactured in a ‘gilded age’ that was soon to be shattered by the blade of the guillotine. The same level of courtly intrigue can be seen in the Furstenburg snuffbox, (p. 26), one of the very few pieces to come out of Tyntesfield, the latest property to be taken on by the National Trust, the former country seat of the Lords Wraxall. Covered with symbols of the ‘Triumph of Love’ it is a tribute to the love of a member of the Court for a lady of very high rank. The devotion between the two can be seen when the intimate cover is prised open from the base to reveal the coloured scene, as if coming into glaring focus from the scenes of love, in puce, around the sides, cover and base of the exterior. Finally, and connected with the above examples of courtly love is the Sevres Plateau Bouret from the Starhemburg Service, (p. 22), now nearly all held in the great Rothschild house at Waddesdon, in Buckinghamshire. Although this piece was connected with love in a slightly different way, it is one of the eight plateaux Bouret, each costing 60 livres, which formed part of the service delivered on the 6th October 1766, to Georg Adam, Prince Starhemberg (1724-1807), the Austrian ambassador to the French Court at Versailles, from 1755-1766. The Prince played an important role in the negotiation of the proposed marriage of Louis XV’s grandson, the future Louis XVI, to Marie-Antoinette of Austria. The Plateaux Bouret were very much part of the dessert service and held the pyramids of marron glaces and other crystalised sweetmeats that were the height of all delicacies in the mid to late eighteenth century. We have enjoyed ‘our’ tribute to the ‘theatre and drama’ of dining and hope that we will see as many of you as possible, either at
An extremely rare Nymphenburg Shell Butter Box and Cover, beautifully modelled, by Dominikus Auliczek, in the white as an Abalone shell, supported on three conch shell feet, the cover formed as the other half of the shell and applied with another conch shell as the finial.
our Gallery, or at one of our International Haughton Fairs, where these carefully chosen pieces and many more, will be for sale. We hope that you will agree with us that the items on show are simply ‘A Feast for the Eyes’ in all aspects.
Circa 1765-70. Length: 6 ins. (15 cms.) Marks: Impressed shield marks and incised 41 to each piece.
Brian Haughton and Paul Crane. London.
4
There is a single example of a Meissen shell butter box and cover at the Porcelain museum at Dresden. We are grateful to Dr. Alfred Ziffer for his help in cataloguing this rare piece.
5
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A very rare Meissen Model of an Elephant from the Royal Court Pantry Stores in Dresden, modelled by J.J. Kaendler and Paul Reinicke, the beast modelled standing on four legs with trunk raised, naturalistically modelled with big ears and coloured in tones of grey and brown. Circa 1740-45 Height: 3 ins. (7.6 cms.) Mark: The very rare ‘K.H.C.’ in puce, on the underside of the figure. Königliche Hof-Conditorei. Provenance: Royal Court Pantry Stores of Augustus III, Dresden. The Anderson Collection formerly exhibited at the Orlando Museum of Art. U.S.A.
An extremely rare Böttger White Porcelain Coffee Pot and Cover, of slender baluster shape with scrolled handle, moulded with basal fluting to the lower part and the neck of the jug, gilt with Chinese figures playing in a garden surrounded by trees and willows, one group on one side with a juggler holding a tray in one hand and a bird in the other, trying to step over a child, whilst a figure holds a parasol and shades a swan that stands upon a table. The other side with a Magician holding a large ring above his head that is hung with bells, as he performs a trick, the scene is divided by a classical pillar issuing bushes on either side, chinamen take tea under a parasol on the other side of the pillar with a begging dog at their feet, the spout, handle and cover gilt with formal gold bands and highlights. The slightly domed cover with cusped knop and mounted onto the jug in silver.
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Circa 1718-20. Height: 7½ ins. (19cms.) Mark: Lustred mark ‘dm’ to the underside of the base of the jug. Provenance: The Anderson Collection formerly exhibited at the Orlando Museum of Art. U.S.A.
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A very rare Meissen Model of an Elephant from the Royal Court Pantry Stores in Dresden, modelled by J.J. Kaendler and Paul Reinicke, the beast modelled standing on four legs with trunk raised, naturalistically modelled with big ears and coloured in tones of grey and brown. Circa 1740-45 Height: 3 ins. (7.6 cms.) Mark: The very rare ‘K.H.C.’ in puce, on the underside of the figure. Königliche Hof-Conditorei. Provenance: Royal Court Pantry Stores of Augustus III, Dresden. The Anderson Collection formerly exhibited at the Orlando Museum of Art. U.S.A.
An extremely rare Böttger White Porcelain Coffee Pot and Cover, of slender baluster shape with scrolled handle, moulded with basal fluting to the lower part and the neck of the jug, gilt with Chinese figures playing in a garden surrounded by trees and willows, one group on one side with a juggler holding a tray in one hand and a bird in the other, trying to step over a child, whilst a figure holds a parasol and shades a swan that stands upon a table. The other side with a Magician holding a large ring above his head that is hung with bells, as he performs a trick, the scene is divided by a classical pillar issuing bushes on either side, chinamen take tea under a parasol on the other side of the pillar with a begging dog at their feet, the spout, handle and cover gilt with formal gold bands and highlights. The slightly domed cover with cusped knop and mounted onto the jug in silver.
3
Circa 1718-20. Height: 7½ ins. (19cms.) Mark: Lustred mark ‘dm’ to the underside of the base of the jug. Provenance: The Anderson Collection formerly exhibited at the Orlando Museum of Art. U.S.A.
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A very rare Meissen Coffee Pot and Cover, of baluster form with scrolled ‘Tau’ rococo handle and spout, delicately moulded with basketweave border, gloriously painted in full blazing colours with a huge brightly coloured butterfly on one side and a very exotic large Grasshopper in flight on the other, a Caterpillar under the lower handle terminal and further scattered insects, the cover with blue open rose finial, the whole enriched with gold highlights. Circa 1740-45. Height: 9 ins. (23 cms.) Mark: crossed swords marks in underglaze blue.
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A very rare Meissen Coffee Pot and Cover, of baluster form with scrolled ‘Tau’ rococo handle and spout, delicately moulded with basketweave border, gloriously painted in full blazing colours with a huge brightly coloured butterfly on one side and a very exotic large Grasshopper in flight on the other, a Caterpillar under the lower handle terminal and further scattered insects, the cover with blue open rose finial, the whole enriched with gold highlights. Circa 1740-45. Height: 9 ins. (23 cms.) Mark: crossed swords marks in underglaze blue.
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An extremely rare Chantilly Chinaman Perfume Burner Group, the seated sage wearing a carefully modelled green bordered gown painted with sprigs and sprays of oriental flowering plants, birds and insects, he sits on a cushion tied together with rope as a parcel, next to him at his back a similarly tied yellow cushion, the side with circular floral reserves, the top pierced with flower heads and leaf forms. Circa 1735-40. Height: 6 ins. (15 cms.) Length: 5 ins. (12.5 cms.) Provenance: English Private Collection.
An extremely rare Mennecy Model of a Parrot, perched on a pierced mound, standing with wings tightly together and beak open as if calling, painted in tones of turquoise, iron red and manganese with detailed dark markings to differentiate feather types. Circa 1735-40 Height: 7 ins. (18 cms.) Provenance: English Private Collection. It would appear that this model is unrecorded in the literature.
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An extremely rare Chantilly Chinaman Perfume Burner Group, the seated sage wearing a carefully modelled green bordered gown painted with sprigs and sprays of oriental flowering plants, birds and insects, he sits on a cushion tied together with rope as a parcel, next to him at his back a similarly tied yellow cushion, the side with circular floral reserves, the top pierced with flower heads and leaf forms. Circa 1735-40. Height: 6 ins. (15 cms.) Length: 5 ins. (12.5 cms.) Provenance: English Private Collection.
An extremely rare Mennecy Model of a Parrot, perched on a pierced mound, standing with wings tightly together and beak open as if calling, painted in tones of turquoise, iron red and manganese with detailed dark markings to differentiate feather types. Circa 1735-40 Height: 7 ins. (18 cms.) Provenance: English Private Collection. It would appear that this model is unrecorded in the literature.
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Pair Sèvres Biscuit models of Lions supporting gilt-white reticulated Baskets (Lions ‘canéphores’) after a model by Jean-Charles-Nicholas Brachard l’ainé, after a drawing by Fragonard Circa 1818-1820 Height: 13 7⁄8 ins. (30 cm) Length: 15 1⁄8 ins. (38.5 cm)
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Exhibited: New York, The Bard Graduate Centre for Studies in the Decorative Arts, The Sevres Porcelain Manufactory: Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847, 17 October 1997-1 February 1998, cat. No. 143 a.b. Literature: Tamara Preaud, et al., The Sevres Porcelain Manufactory: Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847, London, 1997, p.223, cat. No. 44 a.b. and p. 358, cat. No. 143 a.b.
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Pair Sèvres Biscuit models of Lions supporting gilt-white reticulated Baskets (Lions ‘canéphores’) after a model by Jean-Charles-Nicholas Brachard l’ainé, after a drawing by Fragonard Circa 1818-1820 Height: 13 7⁄8 ins. (30 cm) Length: 15 1⁄8 ins. (38.5 cm)
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Exhibited: New York, The Bard Graduate Centre for Studies in the Decorative Arts, The Sevres Porcelain Manufactory: Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847, 17 October 1997-1 February 1998, cat. No. 143 a.b. Literature: Tamara Preaud, et al., The Sevres Porcelain Manufactory: Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847, London, 1997, p.223, cat. No. 44 a.b. and p. 358, cat. No. 143 a.b.
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A very rare pair of Strasbourg Faience Snail Pots and Covers, each modelled as a creeping snail complete with antennae painted in yellow with a large shell in naturalistic browns and manganese on its back, the spiral cover applied with a single blue flower, the irregularly moulded oblong base painted with light green and turquoise vegetation on which it munches. Circa 1755-60. Length: 4¾ ins. (12 cms.) Height: 3 ins. (8 cms.) No Marks
Provenance: English Private Collection. These smaller companion models of creatures are exceptionally rare survivals and are always of the highest quality to emanate from the Strasbourg modellers, the colouring on these snails links to Chinese models of the Kangxi period. 9
A Meissen figure of a Putto riding a Dolphin, modelled by J.J.Kaendler, the corpulent winged child wearing turquoise and puce drapery holding onto the tail of an upturned sea monster whilst blowing a conch shell. Circa 1750. Height: 4¾ ins. (12 cms.) Mark: crossed swords mark in underglaze blue to the base. This item was conceived at part of an elaborate table decoration depicting creatures associated with the sea, it is highly possible that this model was conceived as part of the Swan Service, ordered by Count Brühl. See Yvonne Adams, Meissen Figures, 1730-1775 The Kaendler period. P. 119, 324.
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A very rare pair of Strasbourg Faience Snail Pots and Covers, each modelled as a creeping snail complete with antennae painted in yellow with a large shell in naturalistic browns and manganese on its back, the spiral cover applied with a single blue flower, the irregularly moulded oblong base painted with light green and turquoise vegetation on which it munches. Circa 1755-60. Length: 4¾ ins. (12 cms.) Height: 3 ins. (8 cms.) No Marks
Provenance: English Private Collection. These smaller companion models of creatures are exceptionally rare survivals and are always of the highest quality to emanate from the Strasbourg modellers, the colouring on these snails links to Chinese models of the Kangxi period. 9
A Meissen figure of a Putto riding a Dolphin, modelled by J.J.Kaendler, the corpulent winged child wearing turquoise and puce drapery holding onto the tail of an upturned sea monster whilst blowing a conch shell. Circa 1750. Height: 4¾ ins. (12 cms.) Mark: crossed swords mark in underglaze blue to the base. This item was conceived at part of an elaborate table decoration depicting creatures associated with the sea, it is highly possible that this model was conceived as part of the Swan Service, ordered by Count Brühl. See Yvonne Adams, Meissen Figures, 1730-1775 The Kaendler period. P. 119, 324.
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A Meissen Model of a Recumbent Hare, modelled by J.J.Kaendler, at lodge and looking alert, the ears flat and pointing down its back, painted in naturalistic colours, on an oval base applied with brightly coloured flowers and leaves.
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Circa 1750. Height: 2¾ ins. (7 cms.) Length: 4¼ ins. (10 cms.) Mark: crossed swords marks in underglaze blue to the reverse of the base. On the 1st October 1753 ten Hares were listed in the inventory of Count Brühl’s Konditorei. A pair of Hares of slightly different poses sold Christies, 7th October 1996, lot 456. See also Rainer Ruckert, Meissener Porzellan (Munich 1966), no. 1176. Another pair in the James A. de Rothschild Collection at Waddesdon Manor. This model was directly copied by Chelsea, probably from the collection of Sir Charles Hanbury-Williams at Holland House by arrangement.
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Rare pair of large Meissen Spoons or Ladles ‘after a silver original’ with shaped handles, the gilt-edged bowls painted on each side with a spray of ‘Deutsche Blumen’, the handles with smaller sprigs and gilt bellflowers at the base. Circa 1750. Height: 12 ins. (30.7 cms) Marks: Hermitage inventory number painted on one in iron-red.
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A Meissen Model of a Recumbent Hare, modelled by J.J.Kaendler, at lodge and looking alert, the ears flat and pointing down its back, painted in naturalistic colours, on an oval base applied with brightly coloured flowers and leaves.
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Circa 1750. Height: 2¾ ins. (7 cms.) Length: 4¼ ins. (10 cms.) Mark: crossed swords marks in underglaze blue to the reverse of the base. On the 1st October 1753 ten Hares were listed in the inventory of Count Brühl’s Konditorei. A pair of Hares of slightly different poses sold Christies, 7th October 1996, lot 456. See also Rainer Ruckert, Meissener Porzellan (Munich 1966), no. 1176. Another pair in the James A. de Rothschild Collection at Waddesdon Manor. This model was directly copied by Chelsea, probably from the collection of Sir Charles Hanbury-Williams at Holland House by arrangement.
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Rare pair of large Meissen Spoons or Ladles ‘after a silver original’ with shaped handles, the gilt-edged bowls painted on each side with a spray of ‘Deutsche Blumen’, the handles with smaller sprigs and gilt bellflowers at the base. Circa 1750. Height: 12 ins. (30.7 cms) Marks: Hermitage inventory number painted on one in iron-red.
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A Meissen Yellow Ground Teacaddy and Cover, of shouldered rectangular form painted by an extremely detailed hand, with quatrefoil gold and black framed panels containing harbour and landscape scenes, the shoulder with scattered sprigs of European flowers, the slightly domed cover with similar floral decoration and flower finial.
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Circa 1745. Height: 5 ins. (12.5 cms.) Marks: crossed swords mark in underglaze blue and dreher’s mark H to the underside of the base.
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Meissen oval sugar box and cover each painted in ‘Kakiemon’ style with two sprigs of ‘Indianische Blumen’ and a phoenix in flight, the domed cover surmounted by a rabbit finial. Circa 1730. Length: 4¾ ins. (12 cms.) Marks: Crossed swords marks in underglaze blue and incised V. The shape taken from a Nuremburg silver form.
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A Meissen Yellow Ground Teacaddy and Cover, of shouldered rectangular form painted by an extremely detailed hand, with quatrefoil gold and black framed panels containing harbour and landscape scenes, the shoulder with scattered sprigs of European flowers, the slightly domed cover with similar floral decoration and flower finial.
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Circa 1745. Height: 5 ins. (12.5 cms.) Marks: crossed swords mark in underglaze blue and dreher’s mark H to the underside of the base.
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Meissen oval sugar box and cover each painted in ‘Kakiemon’ style with two sprigs of ‘Indianische Blumen’ and a phoenix in flight, the domed cover surmounted by a rabbit finial. Circa 1730. Length: 4¾ ins. (12 cms.) Marks: Crossed swords marks in underglaze blue and incised V. The shape taken from a Nuremburg silver form.
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A highly Important Sèvres Écuelle, Cover and Stand or Covered Bowl on Stand (Écuelle ronde tournée, troisieme grandeur, avec le plateau ovale). The mauve ground with concentrically placed gilt dots, on the edge of each piece, on a white band, continuous gilt leaf-trail with opaque white and translucent red jewelled berries. On the cover, in seven individual circular reserves bordered by opaque white jewelling, individual initials L P A L P B D.
Sèvres Bleu Fallot two-handled Écuelle Cover and Stand (écuelle ronde tournée et plateau ovale), the kidney-shaped panels painted with garlands of garden flowers tied by coloured ribbons within chased gilt bands on a blue ground gilt with oeil-de-perdrix, the écuelle with entwined twig handles and the cover with a berried laurel finial, blue interlaced L marks enclosing date letter L for 1764, painter’s mark ... for Tandart, incised d u and T to écuelle and I.M to stand.
Dated: ff for 1783. Length of stand: 8ins. (19.5cms) Height of the écuelle: 4ins. (10cms.) Marks: Gilt mark of interlaced L’s, on the stand date-letter ff.
Width of Stand: 10 7⁄16 ins. (26.5 cms)
Provenence: Louis Philippe Marc Antoine de Noailles, Prince de Poix. Governor of Versailles and Captain of the King’s bodyguard; Private English Collection.
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Provenance: W. Somerset Maugham, Sotheby’s 20th November 1967, lot 143; Miss Baume, Christie’s 5th July 1971, lot 8; Private English Collection.
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A highly Important Sèvres Écuelle, Cover and Stand or Covered Bowl on Stand (Écuelle ronde tournée, troisieme grandeur, avec le plateau ovale). The mauve ground with concentrically placed gilt dots, on the edge of each piece, on a white band, continuous gilt leaf-trail with opaque white and translucent red jewelled berries. On the cover, in seven individual circular reserves bordered by opaque white jewelling, individual initials L P A L P B D.
Sèvres Bleu Fallot two-handled Écuelle Cover and Stand (écuelle ronde tournée et plateau ovale), the kidney-shaped panels painted with garlands of garden flowers tied by coloured ribbons within chased gilt bands on a blue ground gilt with oeil-de-perdrix, the écuelle with entwined twig handles and the cover with a berried laurel finial, blue interlaced L marks enclosing date letter L for 1764, painter’s mark ... for Tandart, incised d u and T to écuelle and I.M to stand.
Dated: ff for 1783. Length of stand: 8ins. (19.5cms) Height of the écuelle: 4ins. (10cms.) Marks: Gilt mark of interlaced L’s, on the stand date-letter ff.
Width of Stand: 10 7⁄16 ins. (26.5 cms)
Provenence: Louis Philippe Marc Antoine de Noailles, Prince de Poix. Governor of Versailles and Captain of the King’s bodyguard; Private English Collection.
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Provenance: W. Somerset Maugham, Sotheby’s 20th November 1967, lot 143; Miss Baume, Christie’s 5th July 1971, lot 8; Private English Collection.
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An extremely Rare and Highly Important Plateau Bouret from the Starhemberg Service, of trefoil shape with indented raised rim, the central tripartite panel painted with a spray of European flowers, including a rose, tulip, chrysanthemum, milkweed and aster, reserved upon a fond Taillandier, which consists of red dot circles or oeil de perdrix within gilt edged reserves, on a bleu Fallot ground gilt with further oeil de perdrix, all framed within a thick gold edged rim. Circa 1766 Diameter: 8 ins. (20 cms.) Mark: blue interlaced L's mark
Provenance: This is one of the eight plateaux Bouret, each costing 60 livres, which formed part of the service delivered on the 6th October 1766, to Georg Adam, Prince Starhemberg (1724-1807), the Austrian ambassador to the French Court at Versailles, from 1755-1766. The Prince played an important role in the negotiation of the proposed marriage of Louis V’s grandson, the future Louis XVI, to Marie-Antoinette of Austria. Private English Collection.
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A very interesting Vincennes/Sèvres Mancerina, the porcelain beaker formed with two side hooks, painted in tones of rare underglaze blue by AntoineToussaint Cornaille with flowering oriental plants issuing from stylised rocks framed within blue line rims, the interior with a double ‘ruji’ border. The porcelain circa 1755-60. Height: 3¼ ins. (8 cms.) Marks: Incised C.D., double interlaced L’s and crotchet or quaver marks in underglaze blue to the underside.
See Rosalind Savill, The Wallace Collection, catalogue of Sèvres Porcelain, p. 1026, part III. The general opinion surrounding the inception of this rare piece is that it is a replacement for an earlier Chinese blue and white Kangxi beaker. The mounts immediately secured to the beaker date from nearer the beginning of the eighteenth century.
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An extremely Rare and Highly Important Plateau Bouret from the Starhemberg Service, of trefoil shape with indented raised rim, the central tripartite panel painted with a spray of European flowers, including a rose, tulip, chrysanthemum, milkweed and aster, reserved upon a fond Taillandier, which consists of red dot circles or oeil de perdrix within gilt edged reserves, on a bleu Fallot ground gilt with further oeil de perdrix, all framed within a thick gold edged rim. Circa 1766 Diameter: 8 ins. (20 cms.) Mark: blue interlaced L's mark
Provenance: This is one of the eight plateaux Bouret, each costing 60 livres, which formed part of the service delivered on the 6th October 1766, to Georg Adam, Prince Starhemberg (1724-1807), the Austrian ambassador to the French Court at Versailles, from 1755-1766. The Prince played an important role in the negotiation of the proposed marriage of Louis V’s grandson, the future Louis XVI, to Marie-Antoinette of Austria. Private English Collection.
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A very interesting Vincennes/Sèvres Mancerina, the porcelain beaker formed with two side hooks, painted in tones of rare underglaze blue by AntoineToussaint Cornaille with flowering oriental plants issuing from stylised rocks framed within blue line rims, the interior with a double ‘ruji’ border. The porcelain circa 1755-60. Height: 3¼ ins. (8 cms.) Marks: Incised C.D., double interlaced L’s and crotchet or quaver marks in underglaze blue to the underside.
See Rosalind Savill, The Wallace Collection, catalogue of Sèvres Porcelain, p. 1026, part III. The general opinion surrounding the inception of this rare piece is that it is a replacement for an earlier Chinese blue and white Kangxi beaker. The mounts immediately secured to the beaker date from nearer the beginning of the eighteenth century.
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Important and Rare Equestrian Statue of François Ier (Sèvres hard-paste porcelain, dated 1842). Overall Height: 16 ins. (41 cms) Overall Length: 12½ ins. (32 cms) Overall Depth: 6 ins. (15 cms) The model of this exceptional equestrian statue was created at Sèvres in 1817 by Alexandre Brachard aîné (the elder). It was part of a series of six equestrian statues. The others are as follows: 1. Louis IX, Saint Louis. 1226-1270 2. Louis XII, Father of his People. 1498-1515 3. Charles V, The Wise. 1364-1380 4. Henri IV. 1589-1610 5. Louis XIV, The Sun King. 1643-1715 The very first set of six were exhibited at the Musée Royal (now the Louvre) as part of the 1818 New Year exhibition of Sèvres products held there on 1st January. François Ier was number 24 of the catalogue. Immediately after the exhibition they were delivered to the Garde-Meuble de la Couronne (The Crown furnishings store) at a price of 500 Francs each (with base and glass “cage”). (Sèvres archives, Vbb 5, f.15). These figures were then produced in very small numbers over the following thirty years.
This present example bears the incised mark “242”, which is a date-code for February 1842. Only one statue of François Ier was produced that year at Sèvres. It was modelled by Jean Mascret, “sculpteur-répareur”. It was very elaborate work because of the intricacy of the model, which necessitated 47 moulds. Mascret worked on this figure in January 1842, and finished it the following month, when he was paid 160 Francs for his work (for minor work paid “per day”, he earned 6 Francs a day). Modelling François Ier was therefore a whole month’s work! (Sèvres archives, Vv 3, fol. 131 VO –17). It has unfortunately not been possible to trace who the purchaser was. In 1846, one figure of François Ier was delivered to King Louis-Philippe of France (together with one Saint-Louis, and one Henri IV), and in 1848, one was delivered to the Ministry of the Interior. To date, despite extensive research, we have found only two other surviving examples. One is at the Capodimonte Museum in Naples, and is dated 1836 (inventory number 6958) and another at Palace of Versailles.
Only two cash sales are recorded: 1) In October 1825, to Monsieur Benois, maître d’hôtel of George IV, King of England (the purchase was for the King himself). It was sold together with a figure of Louis XII at 440 Francs (Sèvres archives, V2 4, f.201). A few credit sales are also recorded, including that of 12 equestrian figures delivered on July 6th, 1821 to the French Crown, for the Palace of SaintCloud.
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Important and Rare Equestrian Statue of François Ier (Sèvres hard-paste porcelain, dated 1842). Overall Height: 16 ins. (41 cms) Overall Length: 12½ ins. (32 cms) Overall Depth: 6 ins. (15 cms) The model of this exceptional equestrian statue was created at Sèvres in 1817 by Alexandre Brachard aîné (the elder). It was part of a series of six equestrian statues. The others are as follows: 1. Louis IX, Saint Louis. 1226-1270 2. Louis XII, Father of his People. 1498-1515 3. Charles V, The Wise. 1364-1380 4. Henri IV. 1589-1610 5. Louis XIV, The Sun King. 1643-1715 The very first set of six were exhibited at the Musée Royal (now the Louvre) as part of the 1818 New Year exhibition of Sèvres products held there on 1st January. François Ier was number 24 of the catalogue. Immediately after the exhibition they were delivered to the Garde-Meuble de la Couronne (The Crown furnishings store) at a price of 500 Francs each (with base and glass “cage”). (Sèvres archives, Vbb 5, f.15). These figures were then produced in very small numbers over the following thirty years.
This present example bears the incised mark “242”, which is a date-code for February 1842. Only one statue of François Ier was produced that year at Sèvres. It was modelled by Jean Mascret, “sculpteur-répareur”. It was very elaborate work because of the intricacy of the model, which necessitated 47 moulds. Mascret worked on this figure in January 1842, and finished it the following month, when he was paid 160 Francs for his work (for minor work paid “per day”, he earned 6 Francs a day). Modelling François Ier was therefore a whole month’s work! (Sèvres archives, Vv 3, fol. 131 VO –17). It has unfortunately not been possible to trace who the purchaser was. In 1846, one figure of François Ier was delivered to King Louis-Philippe of France (together with one Saint-Louis, and one Henri IV), and in 1848, one was delivered to the Ministry of the Interior. To date, despite extensive research, we have found only two other surviving examples. One is at the Capodimonte Museum in Naples, and is dated 1836 (inventory number 6958) and another at Palace of Versailles.
Only two cash sales are recorded: 1) In October 1825, to Monsieur Benois, maître d’hôtel of George IV, King of England (the purchase was for the King himself). It was sold together with a figure of Louis XII at 440 Francs (Sèvres archives, V2 4, f.201). A few credit sales are also recorded, including that of 12 equestrian figures delivered on July 6th, 1821 to the French Crown, for the Palace of SaintCloud.
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A fine Meissen Ewer The lobed helmet-shaped body finely painted with a continuous landscape scene in the manner of C.F. Herold with Kauffahrtei scenes depicting figures of Oriental and European merchants and their wares by a quayside with ships and buildings in the distance, applied with a gilt-edged scroll handle, the lower section moulded as a shell, the lobed, flared foot painted with sprigs of deutsche Blumen within a gilt border, the inside rim with a border of elaborate gilt scrollwork. Circa 1745. Height: 8 ins. (20.2 cms) Marks: Crossed swords in underglaze blue
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A very rare Fürstenberg gilt-metal mounted snuff box of bombé form, delicately painted in puce with a vignette of Cupid, blindfolded and shooting hearts, the lower part of the box painted with putti, love birds and swans on a lake. The interior of the cover painted in colours with a gallant gazing at a portrait of a lady. Circa 1760 Width: 3½ ins. (9 cms.) Provenance: The property of the late Richard Gibbs 2nd Baron Wraxall, removed from Tyntesfield. See Barbara Beauchamp-Maskousky, Boîtes en Porcelaine, des Manufactures Européenes au 18th siècle (Fribourg, 1985), p.298, no. 246 for a box with similar moulding. The decoration of the interior of the cover is probably after an engraving by J.E. Nilson.
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A fine Meissen Ewer The lobed helmet-shaped body finely painted with a continuous landscape scene in the manner of C.F. Herold with Kauffahrtei scenes depicting figures of Oriental and European merchants and their wares by a quayside with ships and buildings in the distance, applied with a gilt-edged scroll handle, the lower section moulded as a shell, the lobed, flared foot painted with sprigs of deutsche Blumen within a gilt border, the inside rim with a border of elaborate gilt scrollwork. Circa 1745. Height: 8 ins. (20.2 cms) Marks: Crossed swords in underglaze blue
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A very rare Fürstenberg gilt-metal mounted snuff box of bombé form, delicately painted in puce with a vignette of Cupid, blindfolded and shooting hearts, the lower part of the box painted with putti, love birds and swans on a lake. The interior of the cover painted in colours with a gallant gazing at a portrait of a lady. Circa 1760 Width: 3½ ins. (9 cms.) Provenance: The property of the late Richard Gibbs 2nd Baron Wraxall, removed from Tyntesfield. See Barbara Beauchamp-Maskousky, Boîtes en Porcelaine, des Manufactures Européenes au 18th siècle (Fribourg, 1985), p.298, no. 246 for a box with similar moulding. The decoration of the interior of the cover is probably after an engraving by J.E. Nilson.
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A very rare French Faience, probably Sceaux Parrot, modelled after a Meissen original by J.J.Kaendler, the green, red and blue bird with manganese detailing to the feathers perched on a tree stump and looking to one side, the stump applied with single flowers and leaves. Circa 1760. Height: 7½ ins. (19 cms.) Length: 6 ins. (15 cms.) Mark: Fleur de lys to the underside Provenance: English Private Collection.
A Fine Meissen Figure of a Woodcutter, modelled by J.J.Kaendler, in chopping attitude, stepping forward on a length of wood striking with his axe, wearing a grey tricorn hat, white chemise with gilt buttons, his yellow breeches with pink rosettes, his shoes with iron red bows. Circa 1745. Height: 6¾ ins. (13.5 cms.) Marks: Crossed swords mark in underglaze blue to the base. Kaendler’s taxa report for November 1745 lists ‘a farm worker chopping or splitting wood, to Count Brühl’s Confectionary’.
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A very rare French Faience, probably Sceaux Parrot, modelled after a Meissen original by J.J.Kaendler, the green, red and blue bird with manganese detailing to the feathers perched on a tree stump and looking to one side, the stump applied with single flowers and leaves. Circa 1760. Height: 7½ ins. (19 cms.) Length: 6 ins. (15 cms.) Mark: Fleur de lys to the underside Provenance: English Private Collection.
A Fine Meissen Figure of a Woodcutter, modelled by J.J.Kaendler, in chopping attitude, stepping forward on a length of wood striking with his axe, wearing a grey tricorn hat, white chemise with gilt buttons, his yellow breeches with pink rosettes, his shoes with iron red bows. Circa 1745. Height: 6¾ ins. (13.5 cms.) Marks: Crossed swords mark in underglaze blue to the base. Kaendler’s taxa report for November 1745 lists ‘a farm worker chopping or splitting wood, to Count Brühl’s Confectionary’.
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An Important Meissen Cream Pot, Cover and Stand, decorated with Campaign scenes, painted by B.G.Haüer on one side with horses being stabled and tents in the background before a distant view of the camp and on the other side with a white coated officer on horseback and an infantry man beside tents, before a distant coastal landscape. The stand with a large open scene of soldiers led by a mounted officer wearing a red cloak. Circa 1740. Height of the creampot with cover in place: 5½ ins. (14 cms.) Diameter of the stand: 6¾ ins. (16.5 cms.) Marks: dreher’s marks in gold to the underside of all three pieces and crossed swords marks in underglaze blue to the underside of the creampot and the stand.
A fine pair of Bow Sweetmeat Figures, modelled as a Turk and Levantine Lady, each seated on tree stumps and supporting shells, he wearing a puce detailed yellow gown over a blue shirt and she wearing a yellow undergarment and puce gown, both on scrolled bases enriched in puce, applied with flowers and leaves. Circa 1756. Height: 17cms. No Marks. See Peter Bradshaw, Bow Porcelain Figures, p.135, pl.119 and 120.
For a signed example of the work of Bonaventura Gottlieb Haüer, see the Mocenigo-Cornaro Service (Marks Collection, Chicago) exhibited at The Bard Graduate Center, New York, 2007 and listed in Maureen Cassidy Geiger, Fragile Diplomacy, Meissen Porcelain for European Courts circa 1710-63 p.226, fig 10-36. B.G. Haüer was arguably the most accomplished detailed painter working at Meissen in the 1740’s, on battle and campaign scenes.
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An Important Meissen Cream Pot, Cover and Stand, decorated with Campaign scenes, painted by B.G.Haüer on one side with horses being stabled and tents in the background before a distant view of the camp and on the other side with a white coated officer on horseback and an infantry man beside tents, before a distant coastal landscape. The stand with a large open scene of soldiers led by a mounted officer wearing a red cloak. Circa 1740. Height of the creampot with cover in place: 5½ ins. (14 cms.) Diameter of the stand: 6¾ ins. (16.5 cms.) Marks: dreher’s marks in gold to the underside of all three pieces and crossed swords marks in underglaze blue to the underside of the creampot and the stand.
A fine pair of Bow Sweetmeat Figures, modelled as a Turk and Levantine Lady, each seated on tree stumps and supporting shells, he wearing a puce detailed yellow gown over a blue shirt and she wearing a yellow undergarment and puce gown, both on scrolled bases enriched in puce, applied with flowers and leaves. Circa 1756. Height: 17cms. No Marks. See Peter Bradshaw, Bow Porcelain Figures, p.135, pl.119 and 120.
For a signed example of the work of Bonaventura Gottlieb Haüer, see the Mocenigo-Cornaro Service (Marks Collection, Chicago) exhibited at The Bard Graduate Center, New York, 2007 and listed in Maureen Cassidy Geiger, Fragile Diplomacy, Meissen Porcelain for European Courts circa 1710-63 p.226, fig 10-36. B.G. Haüer was arguably the most accomplished detailed painter working at Meissen in the 1740’s, on battle and campaign scenes.
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An extremely rare and important large Sceaux Faience Group of Fighting Cockerels, painted in strong ‘grand and petit feu’ colours in tones of manganese, iron red, blues, antimony, greens and browns. Each with blazing red wattles and combs, on a naturalistic slightly sculpted rocky base applied with deep green vegetation. Circa 1760-70. Height: 26 ins. (66 cms.) Length: 37 ins. (94 cms.) Width: 14 ins. (36 cms.)
This large sculptural group bears immense similarities to the Wall Cistern and Basin in the Musée de l’Ile de France, Sceaux, Seine. See French Faience, Jeanne Giacomotti, p. 234, which is one of the only large sculptural pieces of Sceaux faience to exist from the very early period, as Giacomotti explains.
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An extremely rare and important large Sceaux Faience Group of Fighting Cockerels, painted in strong ‘grand and petit feu’ colours in tones of manganese, iron red, blues, antimony, greens and browns. Each with blazing red wattles and combs, on a naturalistic slightly sculpted rocky base applied with deep green vegetation. Circa 1760-70. Height: 26 ins. (66 cms.) Length: 37 ins. (94 cms.) Width: 14 ins. (36 cms.)
This large sculptural group bears immense similarities to the Wall Cistern and Basin in the Musée de l’Ile de France, Sceaux, Seine. See French Faience, Jeanne Giacomotti, p. 234, which is one of the only large sculptural pieces of Sceaux faience to exist from the very early period, as Giacomotti explains.
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A rare Italian Faience Trompe L’Oeil Bowl, of ribbed lobed silver form, decorated with ochre and manganese edged panels containing stylised sprigs of lavender and buttercups, the bowl filled and applied with life size ripe Green Figs, coloured in yellows and greens together with their characteristic blemishes. The footrim pierced for hanging.
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A very rare pair of fayence, probably Proskau Exotic Bird Tureens and Covers, modelled seated and looking to one side, with fanned-out tails and ruffed necks. Decorated in grand feu colours in tones of manganese, blue, ochre and brown, the covers incorporating the wings and seated chicks as the finials.
Circa 1765-70. Diameter: 10ins. (25cms.) No Marks. Provenance: Private English Collection.
Circa 1760. Height: 6½ ins. (16 cms.) Length: 11 ins. (28 cms.) Provenance: Vanderbilt family collection. Purchased from James A. Lewis inc. New York.
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A very rare pair of Miniature fayence Chick Tureens and Covers,probably Proskau, each seated and looking to one side. Circa 1760. Height: 2½ ins. (6 cms.) Length: 3 ins. (7.5 cms.) Provenance: Vanderbilt family collection Purchased from James A. Lewis inc. New York
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A rare Italian Faience Trompe L’Oeil Bowl, of ribbed lobed silver form, decorated with ochre and manganese edged panels containing stylised sprigs of lavender and buttercups, the bowl filled and applied with life size ripe Green Figs, coloured in yellows and greens together with their characteristic blemishes. The footrim pierced for hanging.
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A very rare pair of fayence, probably Proskau Exotic Bird Tureens and Covers, modelled seated and looking to one side, with fanned-out tails and ruffed necks. Decorated in grand feu colours in tones of manganese, blue, ochre and brown, the covers incorporating the wings and seated chicks as the finials.
Circa 1765-70. Diameter: 10ins. (25cms.) No Marks. Provenance: Private English Collection.
Circa 1760. Height: 6½ ins. (16 cms.) Length: 11 ins. (28 cms.) Provenance: Vanderbilt family collection. Purchased from James A. Lewis inc. New York.
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A very rare pair of Miniature fayence Chick Tureens and Covers,probably Proskau, each seated and looking to one side. Circa 1760. Height: 2½ ins. (6 cms.) Length: 3 ins. (7.5 cms.) Provenance: Vanderbilt family collection Purchased from James A. Lewis inc. New York
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A rare French Faience Trompe L’Oeil Box and Cover, formed as a tiered dish of Plums or small species Peaches, set in an oval lobed dish of silver form, the top tier of the yellow and pink flushed fruit forming the cover of a concealed ‘surprise’ within the dish. Circa 1760. Length: 11 ins. (28 cms.) No Mark. Provenance: Private English Collection.
A rare French Faience Strasbourg Trompe L’Oeil Plate, of lobed silver form, painted with sprays of European flowers and edged with red scrolling lines and feuille de choux, applied with life size Figs and Greengages set on a vine leaf around a bunch of black grapes. Circa 1765. Diameter: 10 ins. (25.5 cms.) No Marks. Provenance: Private English Collection.
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A rare French Faience Trompe L’Oeil Box and Cover, formed as a tiered dish of Plums or small species Peaches, set in an oval lobed dish of silver form, the top tier of the yellow and pink flushed fruit forming the cover of a concealed ‘surprise’ within the dish. Circa 1760. Length: 11 ins. (28 cms.) No Mark. Provenance: Private English Collection.
A rare French Faience Strasbourg Trompe L’Oeil Plate, of lobed silver form, painted with sprays of European flowers and edged with red scrolling lines and feuille de choux, applied with life size Figs and Greengages set on a vine leaf around a bunch of black grapes. Circa 1765. Diameter: 10 ins. (25.5 cms.) No Marks. Provenance: Private English Collection.
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A very rare pair of Sceaux Faience Asparagus Boxes and Covers, each formed as a neat bundle of blanched spears of asparagus tied twice with simulated twine, painted in naturalistic tones of puce, green, with delicately modelled dark tips and flat cut ends. Circa 1760. Length: 6½ ins. (16 cms.) Mark: Fleur de lys mark in blue enamel to the underside of each base. Provenance: Private English Collection.
A very rare Northern German Faience Trompe L’Oeil Cooked Boar’s Leg Tureen and Cover, the hind leg laid flat and cut at one end whilst revealing the bone marrow at the other, decorated in grand feu colours of manganese, iron red and ochre to great naturalistic effect, the cover applied with a wreath of ivy for remembrance and a pair of acorns in their cups forming the finial.
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Circa 1755. Length: 18 ins. (46 cms.) No Mark. Provenance: Private English Collection.
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A very rare pair of Sceaux Faience Asparagus Boxes and Covers, each formed as a neat bundle of blanched spears of asparagus tied twice with simulated twine, painted in naturalistic tones of puce, green, with delicately modelled dark tips and flat cut ends. Circa 1760. Length: 6½ ins. (16 cms.) Mark: Fleur de lys mark in blue enamel to the underside of each base. Provenance: Private English Collection.
A very rare Northern German Faience Trompe L’Oeil Cooked Boar’s Leg Tureen and Cover, the hind leg laid flat and cut at one end whilst revealing the bone marrow at the other, decorated in grand feu colours of manganese, iron red and ochre to great naturalistic effect, the cover applied with a wreath of ivy for remembrance and a pair of acorns in their cups forming the finial.
32
Circa 1755. Length: 18 ins. (46 cms.) No Mark. Provenance: Private English Collection.
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33
A very rare Wedgwood Pearlware Trompe L’Oeil Oyster Barrel, Cover and Stand, the stand and barrel painted as faux bois with darker iron banding to the barrel, the edge of the stand and the cover moulded and painted to simulate oysters.
An extremely rare Saint Omer Faience Boar Tureen and Cover, modelled life-size the neck and lower mouth forming the tureen, the head which forms the cover with wild staring eyes, snout and tusks, painted in ‘grand feu’ colours in tones of manganese, red and dark browns, the mouth baring teeth and wide open.
Circa 1850-60. Height: 12 ins. (30 cms.) Diameter of the stand at the widest point: 12½ ins. (32 cms.) Mark: Impressed ‘Wedgwood Pearl’ to the underside of the barrel and stand.
Circa 1751-1788. Height: 10 ins. (25.5 cms.) Length: 17 ins. (43 cms.)
Provenance: Private English Collection.
40
Provenance: Private English Collection. An example at the Museum of Hambourg illustrated ‘Augenlust und Gaumenfreud Museum fur Kunst unde Gewerbe Hambourg’, p. 71.
41
34
33
A very rare Wedgwood Pearlware Trompe L’Oeil Oyster Barrel, Cover and Stand, the stand and barrel painted as faux bois with darker iron banding to the barrel, the edge of the stand and the cover moulded and painted to simulate oysters.
An extremely rare Saint Omer Faience Boar Tureen and Cover, modelled life-size the neck and lower mouth forming the tureen, the head which forms the cover with wild staring eyes, snout and tusks, painted in ‘grand feu’ colours in tones of manganese, red and dark browns, the mouth baring teeth and wide open.
Circa 1850-60. Height: 12 ins. (30 cms.) Diameter of the stand at the widest point: 12½ ins. (32 cms.) Mark: Impressed ‘Wedgwood Pearl’ to the underside of the barrel and stand.
Circa 1751-1788. Height: 10 ins. (25.5 cms.) Length: 17 ins. (43 cms.)
Provenance: Private English Collection.
40
Provenance: Private English Collection. An example at the Museum of Hambourg illustrated ‘Augenlust und Gaumenfreud Museum fur Kunst unde Gewerbe Hambourg’, p. 71.
41
34
An extremely rare large Derby Group of ‘Isabella, the Gallant and the Jester’, the two lovers modelled seated on the trunk of a tree, the Jester who creeps in from the right wearing a brilliant multicoloured costume together with a ruff. He offers an assortment of delicacies. 35
A very rare and impressive Northern European or Brussells Faience Model of a Duck, modelled seated on a green cabbage leaf with white veining, looking over its back over its right wing with an open bill, decorated in grand feu colours of manganese and ochre, the feathers with very detailed enamel work, its white head with some sponged decoration.
Provenance: Edward James Collection West Dean Park; Private English Collection. This very rare large Derby group is based on the Meissen original modelled by J.J.Kaendler circa 1745 and entitled ‘The Mockery of Age’.
Circa 1765. Height: 11 ins. (28 cms.) Length: 10 ins. (25.5 cms.) Marks: Patch marks to the underside.
Circa 1760. Height: 12 ins. (31 cms.) Length: 13½ ins. (34.5 cms.) Provenance: Private English Collection.
42
43
36
An extremely rare large Derby Group of ‘Isabella, the Gallant and the Jester’, the two lovers modelled seated on the trunk of a tree, the Jester who creeps in from the right wearing a brilliant multicoloured costume together with a ruff. He offers an assortment of delicacies. 35
A very rare and impressive Northern European or Brussells Faience Model of a Duck, modelled seated on a green cabbage leaf with white veining, looking over its back over its right wing with an open bill, decorated in grand feu colours of manganese and ochre, the feathers with very detailed enamel work, its white head with some sponged decoration.
Provenance: Edward James Collection West Dean Park; Private English Collection. This very rare large Derby group is based on the Meissen original modelled by J.J.Kaendler circa 1745 and entitled ‘The Mockery of Age’.
Circa 1765. Height: 11 ins. (28 cms.) Length: 10 ins. (25.5 cms.) Marks: Patch marks to the underside.
Circa 1760. Height: 12 ins. (31 cms.) Length: 13½ ins. (34.5 cms.) Provenance: Private English Collection.
42
43
36
An amusing and very fine and rare Fayence Goose tureen and cover, Northern European, the seated bird bends its smiling head to one side, forming the handle, its upper body forming the cover and the lower body forming the base, resting on a green oval mound.
38
Last quarter of the eighteenth century. Height: 14 ins. (36 cms.) Length: 13 ins. (33 cms.)
37
An impressive North German Faience Wild Boar’s Head Tureen and Cover, the head modelled with wide open ears and snarling open mouth, bearing tusks and teeth, its flared nostrils pointing upwards, decorated in grand feu colours of manganese and red with darker manganese detailing. Circa 1750-1760. Length: 18 ins. (46 cms.) Height: 11ž ins. (30 cms.) Provenance: Private English Collection.
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An amusing and very fine and rare Fayence Goose tureen and cover, Northern European, the seated bird bends its smiling head to one side, forming the handle, its upper body forming the cover and the lower body forming the base, resting on a green oval mound.
38
Last quarter of the eighteenth century. Height: 14 ins. (36 cms.) Length: 13 ins. (33 cms.)
37
An impressive North German Faience Wild Boar’s Head Tureen and Cover, the head modelled with wide open ears and snarling open mouth, bearing tusks and teeth, its flared nostrils pointing upwards, decorated in grand feu colours of manganese and red with darker manganese detailing. Circa 1750-1760. Length: 18 ins. (46 cms.) Height: 11ž ins. (30 cms.) Provenance: Private English Collection.
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45
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A pair of Ludwigsburg Massive Deep Circular Dishes, painted with travellers in a wooded river landscape before a bridge with a house in the distance, supported on an elaborate rocaille, blue, puce, yellow, black and gilt scroll half-cartouche with garlands of foliage within an ozier moulded border with six similar river landscape vignettes, gilt line rims.
Circa 1770 Marks: Blue crowned interlaced C’s over 8 marks, both with impressed 3 and M, Pressnummer 8 to footrims and incised H marks. Diameter: 18 ins. (45.5 cms.) Provenance: These dishes are from the service made for the Baroness Van Zuylen van Nyeveld; Lord Normanton, Somerely House, Hampshire
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A pair of Ludwigsburg Massive Deep Circular Dishes, painted with travellers in a wooded river landscape before a bridge with a house in the distance, supported on an elaborate rocaille, blue, puce, yellow, black and gilt scroll half-cartouche with garlands of foliage within an ozier moulded border with six similar river landscape vignettes, gilt line rims.
Circa 1770 Marks: Blue crowned interlaced C’s over 8 marks, both with impressed 3 and M, Pressnummer 8 to footrims and incised H marks. Diameter: 18 ins. (45.5 cms.) Provenance: These dishes are from the service made for the Baroness Van Zuylen van Nyeveld; Lord Normanton, Somerely House, Hampshire
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40
Strasbourg-rare Pigeon-Tureen and Cover naturally modelled and painted in ‘petit feu’ colours with pale-puce and yellow beak and eyes, dark grey head, the pale-grey plumage of its neck, chest and back with dark-grey dotted markings, a white patch to its chest, some of the white plumage of its wings, abdomen and tail with grey markings and tips, with pale-puce clawed feet on a shaped rectangular shallow grassy mound base with two branch supports.
Strasbourg-Rare Pigeon- Tureen and Cover naturally modelled and painted in ‘petit feu’ colours with brown beak and yellow eyes, its dark-grey and purple head with dark-grey markings, its grey chest with a white patch, the white plumage of its wings, abdomen and tail with grey markings and tips, with puce clawed feet on a shaped rectangular shallow grassy mound base with two foliage supports.
Circa 1754-60. Height: 10 ins. (25.3 cms.) Marks: Blue PH monogram of Paul Antoine Hannong, blue I to both.
Circa 1748-54. Height: 9¾ ins. (24.8 cms.)
41
Provenance: The Otto and Magdalena Blohm collection Provenance: The Otto and Magdalena Blohm collection. See the Pflueger Coll. P.108 for another pair from the collection of Clemens August, Elector Archbishop of Cologne.
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49
40
Strasbourg-rare Pigeon-Tureen and Cover naturally modelled and painted in ‘petit feu’ colours with pale-puce and yellow beak and eyes, dark grey head, the pale-grey plumage of its neck, chest and back with dark-grey dotted markings, a white patch to its chest, some of the white plumage of its wings, abdomen and tail with grey markings and tips, with pale-puce clawed feet on a shaped rectangular shallow grassy mound base with two branch supports.
Strasbourg-Rare Pigeon- Tureen and Cover naturally modelled and painted in ‘petit feu’ colours with brown beak and yellow eyes, its dark-grey and purple head with dark-grey markings, its grey chest with a white patch, the white plumage of its wings, abdomen and tail with grey markings and tips, with puce clawed feet on a shaped rectangular shallow grassy mound base with two foliage supports.
Circa 1754-60. Height: 10 ins. (25.3 cms.) Marks: Blue PH monogram of Paul Antoine Hannong, blue I to both.
Circa 1748-54. Height: 9¾ ins. (24.8 cms.)
41
Provenance: The Otto and Magdalena Blohm collection Provenance: The Otto and Magdalena Blohm collection. See the Pflueger Coll. P.108 for another pair from the collection of Clemens August, Elector Archbishop of Cologne.
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49
42
An Important Pair of Chelsea Partridge Tureens and Covers together with their Stand, each partridge modelled seated on a nest, the lower part of the tureen moulded in crisp low relief, with basket weave beneath applied sieved clay decoration and feathers, the cock and the hen bird each looking to one side, painted in tones of brown, yellow, red and black. The simulated basket weave stand moulded in relief with ears of corn, stalks and feathers strewn across the dish, with a brown line edge. Circa 1755. Length of tureen: 5½ ins. (14 cms.) Length of Stand: 11¾ ins. (30 cms.) Marks: red anchor marks and numerals to the inside of each bird. Provenance: The Paul and Helga Riley Collection.
A rare Mennecy Teapot, of slender pear shape, with silver shaped handle and facetted spout, the body applied with garlands of leaves and flowers pendant from the shoulded, the domed cover with open flower finial, with silver mounts.
43
Circa 1740. Height: 5¼ ins. (13.5cms.) Marks: Silver dechargé marks for Leschaudel, Paris (1744-50)
See Chelsea Sale Catalogue of 1755, second day’s sale, Tuesday March 11th, lot 75. ‘Two very fine Partridges and a dish for ditto, finely ornamented’ and the following lot. 76. ‘Two ditto’. The dish is an extremely rare survival with only three other examples currently recorded, all in Private English Collections.
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51
42
An Important Pair of Chelsea Partridge Tureens and Covers together with their Stand, each partridge modelled seated on a nest, the lower part of the tureen moulded in crisp low relief, with basket weave beneath applied sieved clay decoration and feathers, the cock and the hen bird each looking to one side, painted in tones of brown, yellow, red and black. The simulated basket weave stand moulded in relief with ears of corn, stalks and feathers strewn across the dish, with a brown line edge. Circa 1755. Length of tureen: 5½ ins. (14 cms.) Length of Stand: 11¾ ins. (30 cms.) Marks: red anchor marks and numerals to the inside of each bird. Provenance: The Paul and Helga Riley Collection.
A rare Mennecy Teapot, of slender pear shape, with silver shaped handle and facetted spout, the body applied with garlands of leaves and flowers pendant from the shoulded, the domed cover with open flower finial, with silver mounts.
43
Circa 1740. Height: 5¼ ins. (13.5cms.) Marks: Silver dechargé marks for Leschaudel, Paris (1744-50)
See Chelsea Sale Catalogue of 1755, second day’s sale, Tuesday March 11th, lot 75. ‘Two very fine Partridges and a dish for ditto, finely ornamented’ and the following lot. 76. ‘Two ditto’. The dish is an extremely rare survival with only three other examples currently recorded, all in Private English Collections.
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A very rare Bow figure of a putto emblematic of Astronomy, seated on a tree trunk and holding a sphere mounted on a socle, the young female clothed in flowing drapery, her head adorned with a star ornament, the irregularly moulded base applied with leaves and flowers. Circa 1758-60. Height: 5Âź ins. (13.5 cms.) See Peter Bradshaw, Bow Figures, p. 157, fig B131 for a similar coloured example.
44
An extremely Rare Pair of Large Worcester Partridge Sauce Tureens and Covers, both the Hen and the Cock bird very naturalistically modelled seated on nests, coloured with a very close attention to the detail of the colours of the English Partridge. Circa 1755-58. Height: 4ž ins. (12 cms.) Length: 7 ins. (18 cms.) No Marks. The largest of three sizes produced by the Worcester Factory and from a close examination of the paste and the glaze from the production of the first decade. Worcester produced only two naturalistic tureens and covers, the cauliflower and the partridge. Examples that are more naturalistic in colour are the earlier forms and a look at the greyish paste and basketweave moulding confirms the early date. The holes for sauce ladles are very rare.
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A very rare Bow figure of a putto emblematic of Astronomy, seated on a tree trunk and holding a sphere mounted on a socle, the young female clothed in flowing drapery, her head adorned with a star ornament, the irregularly moulded base applied with leaves and flowers. Circa 1758-60. Height: 5Âź ins. (13.5 cms.) See Peter Bradshaw, Bow Figures, p. 157, fig B131 for a similar coloured example.
44
An extremely Rare Pair of Large Worcester Partridge Sauce Tureens and Covers, both the Hen and the Cock bird very naturalistically modelled seated on nests, coloured with a very close attention to the detail of the colours of the English Partridge. Circa 1755-58. Height: 4ž ins. (12 cms.) Length: 7 ins. (18 cms.) No Marks. The largest of three sizes produced by the Worcester Factory and from a close examination of the paste and the glaze from the production of the first decade. Worcester produced only two naturalistic tureens and covers, the cauliflower and the partridge. Examples that are more naturalistic in colour are the earlier forms and a look at the greyish paste and basketweave moulding confirms the early date. The holes for sauce ladles are very rare.
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53
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A massive and very rare Bow Shell centrepiece, the whole of the quadripartite levelled support applied and encrusted with shells and corals, all in vivid bright colours. The interiors of which are painted with sprays of carnations, poppies and honeysuckle, around which fly different insects, enclosed within a stylised floral border in the famille verte palette within a single iron red line rim, the exteriors washed over in puce carmine, surmounted by a similar circular shell for spice or ginger. Circa 1755. Height: 15 ins. (38 cms.) No Marks. To our knowledge there is only one other similar massive Bow shell encrusted centrepiece that is recorded, which belonged to Raymond Yarborough and is now in the Detroit Institute of Art.
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46
A massive and very rare Bow Shell centrepiece, the whole of the quadripartite levelled support applied and encrusted with shells and corals, all in vivid bright colours. The interiors of which are painted with sprays of carnations, poppies and honeysuckle, around which fly different insects, enclosed within a stylised floral border in the famille verte palette within a single iron red line rim, the exteriors washed over in puce carmine, surmounted by a similar circular shell for spice or ginger. Circa 1755. Height: 15 ins. (38 cms.) No Marks. To our knowledge there is only one other similar massive Bow shell encrusted centrepiece that is recorded, which belonged to Raymond Yarborough and is now in the Detroit Institute of Art.
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Rare Bow Botanical plate, painted with a full spray of fruiting white currants and leaves issuing from a twig together with two ripe damsons, a colourful butterfly, several moths and two ladybirds to one side, both plates with chocolate brown line rims.
A rare Chelsea Melon Tureen and Cover, of the large size, the naturalistically lobed body modelled on its side and moulded in crisp low relief with the crackled skin, beautifully painted in tones of yellow, green and brown, applied with tendrils, leaves and flowers forming the handle.
Circa 1756. Diameter: 8¾ ins (21.5 cms.) No marks
Circa 1755. Length: 6½ ins. (17 cms.)
This plate should be compared with a large basin in the Passemore Edwards Collection, see Anton Gabszewicz, Made at New Canton, Bow porcelain from the London borough of Newham, exhib.cat.2000 p.62.
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48
Melon tureens are mentioned in the Chelsea 1755 catalogue; First Day’s Sale, Monday 10th March, p.4, lot 38: ‘Two fine melons for desart’. The tureens were copied from Meissen and were made in two sizes of which this is the largest.
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47
Rare Bow Botanical plate, painted with a full spray of fruiting white currants and leaves issuing from a twig together with two ripe damsons, a colourful butterfly, several moths and two ladybirds to one side, both plates with chocolate brown line rims.
A rare Chelsea Melon Tureen and Cover, of the large size, the naturalistically lobed body modelled on its side and moulded in crisp low relief with the crackled skin, beautifully painted in tones of yellow, green and brown, applied with tendrils, leaves and flowers forming the handle.
Circa 1756. Diameter: 8¾ ins (21.5 cms.) No marks
Circa 1755. Length: 6½ ins. (17 cms.)
This plate should be compared with a large basin in the Passemore Edwards Collection, see Anton Gabszewicz, Made at New Canton, Bow porcelain from the London borough of Newham, exhib.cat.2000 p.62.
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48
Melon tureens are mentioned in the Chelsea 1755 catalogue; First Day’s Sale, Monday 10th March, p.4, lot 38: ‘Two fine melons for desart’. The tureens were copied from Meissen and were made in two sizes of which this is the largest.
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49
A very rare Bow Shell Sweetmeat Dish, the graceful deep scallop shell painted on the interior with sprigs and sprays of kakiemon flowers and grasses, in tones of yellow and red, together with some slight sprigs of green, supported on three large conch shaped shells applied in between with further smaller shells, including cockles, whelks and other specimens, at the front sits a live small crab waving its pincers.
An extremely rare Bow Apple Box and Cover, beautifully naturalistically modelled, painted in tones of green, yellow, puce and brown the upper half forming the cover and applied with a twisted twig handle together with four leaves.
Circa 1752 Height: 5 5⠄8 ins (14.3 cms) Length: 7ž ins (19.7 cms) No Marks
Circa 1755. Length: 3 ins. (7.5 cms.) Marks: black pencilled numeral 1 to the inside of the cover.
Provenance: English Private Collection.
For a similar pair of these very rare forms, having caterpillar handles, see Simon Spero, The Bowles Collection of Eighteenth Century English and French Porcelain, p.57, no. 48.
This appears to be the only example with this type of decoration currently recorded. The decoration within the shell interior is highly unusual being an interesting mix of kakiemon and famille verte colours.
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A very rare Bow Shell Sweetmeat Dish, the graceful deep scallop shell painted on the interior with sprigs and sprays of kakiemon flowers and grasses, in tones of yellow and red, together with some slight sprigs of green, supported on three large conch shaped shells applied in between with further smaller shells, including cockles, whelks and other specimens, at the front sits a live small crab waving its pincers.
An extremely rare Bow Apple Box and Cover, beautifully naturalistically modelled, painted in tones of green, yellow, puce and brown the upper half forming the cover and applied with a twisted twig handle together with four leaves.
Circa 1752 Height: 5 5⠄8 ins (14.3 cms) Length: 7ž ins (19.7 cms) No Marks
Circa 1755. Length: 3 ins. (7.5 cms.) Marks: black pencilled numeral 1 to the inside of the cover.
Provenance: English Private Collection.
For a similar pair of these very rare forms, having caterpillar handles, see Simon Spero, The Bowles Collection of Eighteenth Century English and French Porcelain, p.57, no. 48.
This appears to be the only example with this type of decoration currently recorded. The decoration within the shell interior is highly unusual being an interesting mix of kakiemon and famille verte colours.
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50
59
51
An extremely rare Bow Apple Box and Cover, beautifully and naturalistically modelled, painted in tones of green, yellow, puce and brown, the upper half forming the cover and applied with a twisted twig handle together with four leaves. Circa 1755. Length: 3 ins. (7.5 cms.) For a similar pair of these very rare forms, having caterpillar handles, see Simon Spero, The Bowles Collection of Eighteenth Century English and French Porcelain, p.57, no. 48.
60
An impressive first period Dr. Wall Worcester Junket dish, the central scroll moulded panel picked out in gold and painted with two ‘fancy’ birds before a leafy branch, within a scale blue border and a crisply moulded wide spiral band, a band of scale blue and floral panels just below the shaped and gilded rim.
52
Circa 1770. Diameter: 25.5cms. Mark: square mark in underglaze blue to the underside. See, H. R. Marshall, Coloured Worcester Porcelain of the First Period, fig. 228, for a similar example.
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51
An extremely rare Bow Apple Box and Cover, beautifully and naturalistically modelled, painted in tones of green, yellow, puce and brown, the upper half forming the cover and applied with a twisted twig handle together with four leaves. Circa 1755. Length: 3 ins. (7.5 cms.) For a similar pair of these very rare forms, having caterpillar handles, see Simon Spero, The Bowles Collection of Eighteenth Century English and French Porcelain, p.57, no. 48.
60
An impressive first period Dr. Wall Worcester Junket dish, the central scroll moulded panel picked out in gold and painted with two ‘fancy’ birds before a leafy branch, within a scale blue border and a crisply moulded wide spiral band, a band of scale blue and floral panels just below the shaped and gilded rim.
52
Circa 1770. Diameter: 25.5cms. Mark: square mark in underglaze blue to the underside. See, H. R. Marshall, Coloured Worcester Porcelain of the First Period, fig. 228, for a similar example.
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A Worcester scalloped dessert plate, the centre painted by Jeffryes Hamett O’Neale with the Fable of ‘The Stork and the Wolf’, within a simple gold scrolled border of ‘Heathcote’ type. Circa 1768-70. Diameter: 7½ ins. (19 cms.) Mark: fretted square in underglaze blue to the underside. Taken from Barlow, ‘Aesop’s Fables’, London 1687 Fable LXXXII. Provenance: Heathcote Sale, Sotheby’s, Lot 79, 21st February 1947; Sir John and Lady Heilbron Collection London; Sir Peter and Lady Cresswell collection; English Private Collection. Described by H.R.Marshall, ‘Coloured Worcester Porcelain of the First Period’, p.46.
A scalloped Worcester dessert plate, the centre painted by Jeffryes Hamett O’Neale with the Fable of ‘The Wolf and the Lamb’, within a simple gold scrolled border of ‘Heathcote’ type, on a wet blue ground, with gilt dentil edge.
54
Circa 1768-70. Diameter: 7½ ins. (19 cms.) Mark: fretted square in underglaze blue to the underside. Taken from Croxall, ‘Aesops Fables’, published London 1722, Fable No. 2. Also the fable appears in Jean de La Fontaine, ‘Fables Choisies’, 1755-59, Fable X. Provenance: Heathcote Sale, Sothebys, Lot 78, 21st February 1947; Sir Peter and Lady Cresswell collection; English Private Collection; Described by H.R.Marshall, ‘Coloured Worcester Porcelain of the First Period’, p. 46.
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A Worcester scalloped dessert plate, the centre painted by Jeffryes Hamett O’Neale with the Fable of ‘The Stork and the Wolf’, within a simple gold scrolled border of ‘Heathcote’ type. Circa 1768-70. Diameter: 7½ ins. (19 cms.) Mark: fretted square in underglaze blue to the underside. Taken from Barlow, ‘Aesop’s Fables’, London 1687 Fable LXXXII. Provenance: Heathcote Sale, Sotheby’s, Lot 79, 21st February 1947; Sir John and Lady Heilbron Collection London; Sir Peter and Lady Cresswell collection; English Private Collection. Described by H.R.Marshall, ‘Coloured Worcester Porcelain of the First Period’, p.46.
A scalloped Worcester dessert plate, the centre painted by Jeffryes Hamett O’Neale with the Fable of ‘The Wolf and the Lamb’, within a simple gold scrolled border of ‘Heathcote’ type, on a wet blue ground, with gilt dentil edge.
54
Circa 1768-70. Diameter: 7½ ins. (19 cms.) Mark: fretted square in underglaze blue to the underside. Taken from Croxall, ‘Aesops Fables’, published London 1722, Fable No. 2. Also the fable appears in Jean de La Fontaine, ‘Fables Choisies’, 1755-59, Fable X. Provenance: Heathcote Sale, Sothebys, Lot 78, 21st February 1947; Sir Peter and Lady Cresswell collection; English Private Collection; Described by H.R.Marshall, ‘Coloured Worcester Porcelain of the First Period’, p. 46.
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A fine First Period Dr. Wall Worcester Yellow Ground Mask Jug, of cabbage leaf moulded globular form with straight sided cylindrical neck, beautifully decorated with three panels of coloured transfer prints with gold highlights, ‘Milkmaids’, ‘Rural lovers’ and ‘Milking scene’, framed with puce scrolls and reserved on a yellow ground.
56
Circa 1765-68 Height: 7 ins. (18 cms.) A similar example from the Rous Lench collection was sold by Brian Haughton Gallery in June 2002. The combination of prints occurs together on large mugs and jugs.
55
An extremely rare and highly important first period Dr. Wall Worcester Punch Bowl, printed in black after Robert Hancock with hunting scenes and subjects, the exterior with ‘The Chase’, a gilt dentil border at the rim, formal florets around the footrim. Circa 1765-68. Diameter: 11 ins. (28.1 cms.) Mark: Inscribed gilt cartouche to the base ‘First on this subject WORCESTER’ The fine series of Worcester prints known as the Foxhunt were adapted from a 1755 engraving by Thomas Burford taken from James Seymour’s painting ‘The Chase’. The importance of the mark is exceptional.
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A fine First Period Dr. Wall Worcester Yellow Ground Mask Jug, of cabbage leaf moulded globular form with straight sided cylindrical neck, beautifully decorated with three panels of coloured transfer prints with gold highlights, ‘Milkmaids’, ‘Rural lovers’ and ‘Milking scene’, framed with puce scrolls and reserved on a yellow ground.
56
Circa 1765-68 Height: 7 ins. (18 cms.) A similar example from the Rous Lench collection was sold by Brian Haughton Gallery in June 2002. The combination of prints occurs together on large mugs and jugs.
55
An extremely rare and highly important first period Dr. Wall Worcester Punch Bowl, printed in black after Robert Hancock with hunting scenes and subjects, the exterior with ‘The Chase’, a gilt dentil border at the rim, formal florets around the footrim. Circa 1765-68. Diameter: 11 ins. (28.1 cms.) Mark: Inscribed gilt cartouche to the base ‘First on this subject WORCESTER’ The fine series of Worcester prints known as the Foxhunt were adapted from a 1755 engraving by Thomas Burford taken from James Seymour’s painting ‘The Chase’. The importance of the mark is exceptional.
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A Fine Early Worcester Cider Jug, of baluster shape, the applied strap handle with thumbpiece and scrolled lower terminal, painted in tones of underglaze blue with the ‘Walk in a Garden’ pattern, showing a Long Liza wearing long flowing robes and ‘top knot’ hair piece, holding a sceptre of office and an incense burner standing beside a rock and tree within a Chinese landscape. Beneath the spout a boy holds a rod perched on which is a long-tailed bird, the other side with a rambling flowering Larch tree with two long-tailed birds on a branch beside the handle.
Circa 1754-55. Height: 7 ins. (17 cms.) Mark: Workman’s mark in underglaze blue beneath the scrolled lower terminal of the handle. Provenance: Dr. Paul and Helga Riley.
An extremely rare Early Worcester Teapot, of lobed melon shape, with applied loop handle, delightfully painted in tones of underglaze blue with the ‘Prunus Root’ pattern, showing sprays and branches of flowering prunus issuing from a gnarled ancient stump, the slightly domed cover painted with further prunus sprays and applied with a turned ringed knop.
58
Circa 1755. Height: 5 ins. (12.5 cms.) Mark: Workman’s mark in underglaze blue underneath the lower terminal of the handle. This silver formed teapot was originally introduced at Worcester in 1752-53 and is found with a very small range of coloured patterns. One single Lund’s Bristol example is known, ex. Hewett collection, and is painted with Chinese figures and is curiously lavender in tone. Provenance: Dr. Paul and Helga Riley Collection.
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A Fine Early Worcester Cider Jug, of baluster shape, the applied strap handle with thumbpiece and scrolled lower terminal, painted in tones of underglaze blue with the ‘Walk in a Garden’ pattern, showing a Long Liza wearing long flowing robes and ‘top knot’ hair piece, holding a sceptre of office and an incense burner standing beside a rock and tree within a Chinese landscape. Beneath the spout a boy holds a rod perched on which is a long-tailed bird, the other side with a rambling flowering Larch tree with two long-tailed birds on a branch beside the handle.
Circa 1754-55. Height: 7 ins. (17 cms.) Mark: Workman’s mark in underglaze blue beneath the scrolled lower terminal of the handle. Provenance: Dr. Paul and Helga Riley.
An extremely rare Early Worcester Teapot, of lobed melon shape, with applied loop handle, delightfully painted in tones of underglaze blue with the ‘Prunus Root’ pattern, showing sprays and branches of flowering prunus issuing from a gnarled ancient stump, the slightly domed cover painted with further prunus sprays and applied with a turned ringed knop.
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Circa 1755. Height: 5 ins. (12.5 cms.) Mark: Workman’s mark in underglaze blue underneath the lower terminal of the handle. This silver formed teapot was originally introduced at Worcester in 1752-53 and is found with a very small range of coloured patterns. One single Lund’s Bristol example is known, ex. Hewett collection, and is painted with Chinese figures and is curiously lavender in tone. Provenance: Dr. Paul and Helga Riley Collection.
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A very fine Barr Flight & Barr Worcester Caviar Dish, collar cover, domed cover and stand, of circular form, the recessed interior within a cavity in which to put crushed ice, the collar cover having raised scroll handles, very finely decorated in the rich imari style with an Oriental landscape, the whole pattern richly enhanced with gilding. Circa: 1807-1813 Width of stand: 8 ins. (22 cms) Width of caviar dish: 6½ in (16.5 cms.) Height of caviar dish, covers and stand: 5½ ins. (14 cms.) Marks: Impressed marks to domed cover, caviar dish and stand also printed mark to stand. The interest in this type of rich oriental decoration in the early 19th Century, of course reached its zenith in the Prince Regent’s, Brighton Pavillion. Together with a set of 10 plates of the same pattern. Diameter: 20.7 cm (8 ½ in) Marks: Impressed crown and BFB marks and printed red mark referring to Coventry Street address and Royal patronage.
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A very fine Barr Flight & Barr Worcester Caviar Dish, collar cover, domed cover and stand, of circular form, the recessed interior within a cavity in which to put crushed ice, the collar cover having raised scroll handles, very finely decorated in the rich imari style with an Oriental landscape, the whole pattern richly enhanced with gilding. Circa: 1807-1813 Width of stand: 8 ins. (22 cms) Width of caviar dish: 6½ in (16.5 cms.) Height of caviar dish, covers and stand: 5½ ins. (14 cms.) Marks: Impressed marks to domed cover, caviar dish and stand also printed mark to stand. The interest in this type of rich oriental decoration in the early 19th Century, of course reached its zenith in the Prince Regent’s, Brighton Pavillion. Together with a set of 10 plates of the same pattern. Diameter: 20.7 cm (8 ½ in) Marks: Impressed crown and BFB marks and printed red mark referring to Coventry Street address and Royal patronage.
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A Fine Early Worcester Cider Jug, of baluster shape, the applied strap handle with thumbpiece and scrolled lower terminal, painted in tones of underglaze blue with the ‘Plantation’ pattern, showing a fenced Chinese garden with bamboo trees, a cliff to one side and a flowering peony, the other side with a Chinese river scene with pagodas and willow trees on an island and further geometric rocks. Circa 1754-55. Height: 7 ins. (17 cms.) Marks: Incised lines and workman’s mark in underglaze blue to the underside of the base. Provenance: Dr. Paul and Helga Riley.
61 A Rare Set of Twelve Soft Paste French Porcelain, probably Mennecy, Forks, each pistol grip handle drilled and capped with a silver ferrule, beautifully moulded in crisp low relief with scrolling flowers and leaves issuing from the base of the pistol grip, the polished steel prongs mounted with silver bands. Circa 1740-50. Length of porcelain handle: 3 ins. (8 cms.) Entire Length of Fork: 7¾ ins. (19.5 cms.) Provenance: Private English Collection.
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A Fine Early Worcester Cider Jug, of baluster shape, the applied strap handle with thumbpiece and scrolled lower terminal, painted in tones of underglaze blue with the ‘Plantation’ pattern, showing a fenced Chinese garden with bamboo trees, a cliff to one side and a flowering peony, the other side with a Chinese river scene with pagodas and willow trees on an island and further geometric rocks. Circa 1754-55. Height: 7 ins. (17 cms.) Marks: Incised lines and workman’s mark in underglaze blue to the underside of the base. Provenance: Dr. Paul and Helga Riley.
61 A Rare Set of Twelve Soft Paste French Porcelain, probably Mennecy, Forks, each pistol grip handle drilled and capped with a silver ferrule, beautifully moulded in crisp low relief with scrolling flowers and leaves issuing from the base of the pistol grip, the polished steel prongs mounted with silver bands. Circa 1740-50. Length of porcelain handle: 3 ins. (8 cms.) Entire Length of Fork: 7¾ ins. (19.5 cms.) Provenance: Private English Collection.
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BIBLIOGRAPHY Elizabeth Adams, Chelsea Porcelain (London, 1987) Elizabeth Adams, Chelsea Porcelain (London, 2001) John Austin, Chelsea Porcelain at Williamsburg (1977) Franklin Barrett, Worcester Porcelain Peter Bradshaw, Bow Porcelain Figures c.1748-1774 (1992) Abraham L den Blaauwen, Meissen Porcelain in The Rijksmuseum (2000) Maureen Cassidy-Geiger, The Arnhold Collection of Meissen Porcelain 1710–1750 Maureen Cassidy-Geiger, Fragile Diplomacy, Meissen Porcelain for the European Courts circa 1710–1763 Bernard Dragesco, English Ceramics in French Archives Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain, The Collection formed by Geoffrey Freeman (1982) Anton Gabszewicz, Made in New Canton, Bow Porcelain from the Collection of the London Borough of Newham (2000) Dr. Yvonne Hackenbroch, Chelsea and other English Porcelain, Pottery and Enamels in Irwin Untermeyer Collection (1957) International Ceramics Fair & Seminar, 1987 exhibition catalogue, ‘Documentary Eighteenth Century English Porcelain from the British Museum’ Brian Haughton Antiques, Exhibition Catalogue, ‘Splendour in the Grass’ (2004) Brian Haughton Antiques, Exhibition Catalogue, ‘Splendour of a Golden Age, 18th Century English Porcelain 1745–1770’ (2004) Brian Haughton Antiques, Exhibition Catalogue, ‘Royal Splendour’ (2005) Brian Haughton Antiques, Exhibition Catalogue, ‘The Elegance of Porcelain’ (2006) Brian Haughton Gallery, Exhibition Catalogue, ‘Sculptural Splendour’ (2008) Margaret Legge, Flowers and Fables, a Survey of Chelsea Porcelain, 1745-69, National Gallery of Victoria, Melbourne, Australia H.R. Marshall, Coloured Worcester Porcelain of the First Period. (1954) Jean Pillement, The Ladies Amusement, the 1959 facsimile copy of the original 1759 Publication. Dennis Rice, Derby Porcelain The Golden Years, 1750–1771 (1983) Rainer Ruckert, Meissner Porzellan (Munich, 1966) F. Severne Mackenna, Chelsea Porcelain, Triangle & Raised Anchor Wares (1951) George Savage, Eigthteenth Century English Porcelain Rosalie Wise Sharp, Ceramics, Ethics & Scandal (2002) Bernard Watney, Longton Hall (1957) ACKNOWLEDGEMENTS We would also like to thank the following for their academic input: Anthony Du Boulay, Didier Cramoisan, Bernard Dragesco, Anton Gabszewicz, Stephen Hanscombe, Jonathan Harris, John Mallet, Roger Massey, Geoffrey Munn, Dr. Paul Riley, Dame Rosalind Savill and John Whitehead.
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A Taste of Elegance
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Brian Haughton Gallery
15 Duke Street, St. James’s, London SW1Y 6DB
A Taste of Elegance