Nature's Triumph - Botanical Themes on Porcelain by Masterart

Nature’s Triumph – Botanical Themes on Porcelain

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Brian Haughton Gallery

15 Duke Street, St. James’s, London SW1Y 6DB

Nature’s Triumph Botanical Themes on Porcelain

Natureâ&#x20AC;&#x2122;s Triumph Botanical Themes on Porcelain

15 Duke Street, St Jamesâ&#x20AC;&#x2122;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

Our Exhibition catalogue opens with a ‘Pride’ of Bow Lions and Lionesses, each in their own way very important examples of the very earliest of the Bow production. This small, but very important collection of some of the earliest English porcelain sculpture was collected during the 1960’s and has been in a Private English collection ever since. The Lion, (p.4) is exceptional, being probably after a bronze seventeenth century original. The coloured Lioness, (p.5) is one of only three examples recorded, its iron red body and green and brown mottled base echoing some of the coloured grounds found on Staffordshire salt glazed pottery of the 1740’s and early 1750’s. This item comes from one of the most celebrated collections of early English porcelain to be dispersed in the 1960’s that of Ernest Allman, sold at Sotheby’s on the 12th January 1965 under the great A.J.B. Kiddell. The Bow section continues with a very rare pair of sprigged Bow baluster Vases and Covers, on turned socle bases, (p.8 and p.9) again from a Private English collection. There is only one other vase of this form currently recorded within the literature, in the collection of the late Geoffrey Freeman at Pallant House, Chichester. The Bow Fledglings, (p.12) show how very detailed and naturalistic, these essentially one off models can be, during the earliest period of production in England at this time. There is a clear correlation with the extremely rare Finch, (p.21) from Sprimont’s Chelsea manufactory, which was then situated in a house leased from Mr. Supply in Church Lane East, Chelsea. The Finch belongs to the triangle period and was made in the formative years of the factory’s production. As there are a range of items within the catalogue from the Chelsea manufactory, we have included an introduction to the beginning of each period at Chelsea. The Chelsea within this catalogue comes from essentially two major Private American collections acquired by us over the last six months. They were built up along similar botanically themed lines, and these erstwhile collectors were able to indulge their tastes to the full, and assemble some of the very best pieces of botanically themed Chelsea porcelain to be seen on the market for over forty years. They bought from some of the great porcelain dealers of the twentieth century, such as Winifred Williams, Kathleen Tilley and James A Lewis. Amongst this literal feast for the eyes, there are some pieces that deserve mention. The rare Peach Shaped Dish, (p.58) painted by a rarely encountered hand, which bears similarity to a similarly shaped Dish formerly in the John Hewett collection, decorated with oysters on the half shell and a cooked crawfish. The Finger Bowls, (p.34 and p.35) are perhaps the very finest stellar examples out of the four that are recorded; the perfect milk glass-like quality of the best paste at Chelsea is encapsulated within these two superb Hans Sloane type decorated shapes. The Octagonal Tea Bowl and Saucer, (p.65) both decorated by Jefferyes Hammett O’Neale with matching fables, a very rare feature, comes from an extremely important Private English collection, where they have been for over thirty years. It is interesting to note that the octagonal form was copied from Meissen, though originally this form, together with the hexagonal teapot shape and various facetted vase forms were copied from Japanese shapes of circa 1700. These pieces were made at Chelsea just after the point at which the manufactory moved, just round the corner, to bigger premises on Lawrence Street to satisfy society’s demand for a far larger output. A fascinating piece of Chelsea of a rare leaf shaped form is the delightful ribbed Cream Jug, (p.29) painted with a spray of Vincennes type flower decoration, bought from Arthur Filkens in the very early 1970’s. This piece comes from a delightful Collector who has a love for the very best European flower decoration. The very rare pair of

Foreword

Chelsea lobed Sauceboats, (p.31) are also from this Private English collection and compare with a rare example in the Seattle Art Museum. The exceptional Duck Tureen, Cover and its Stand, (p.38 and p.39) is an example of the very best and rarest of the Chelsea Zoomorphic forms, and returns to us again from within the American Collections. It has a companion example in the Ashmolean Museum, Oxford, though in a slightly different pose. Some of the most interesting and aesthetically beautiful pieces are the extraordinary Leaf shaped Dishes, (p.48 and p.61) and Platters for fish, (p.49 and p.60).These oval Platters were also originally sold on their own, to take cooked or steamed fish, such as a Salmon for example, but they were also sold with porcelain Carp Tureens. The circular Leaf and basket weave moulded Dishes were sold with Eel Tureens, Duck Tureens and on their own to take some watery delicacy. Our final section comprises a superb Private Japanese Collection of Meissen Tea Caddies built up over 25 years. The standard and range of designs and shapes perfectly follow the chronological development of form at the Meissen manufactory. Chosen for their pleasing forms and that of their rarity within the service itself, these pieces were cherished and carefully displayed and moved with each changing season of the year, so each piece was ‘centre stage’ within the collection for a certain time during the year. The earliest and most pure oriental form is the lobed baluster example, (p. 76) but the collection covers some wonderful areas of taste and decoration, including the caddy of square section with ‘Robin’s Egg’ blue ground, (p.86) which mixes the oriental inspired ground colour and Turkish inspired ogival panels with European mercantile and trading scenes. The other square sectioned Caddy, (p.87) is a superb example of the painting of J.G. Heintze, showing the low highly coloured and detailed skies that he is justly famous for. Perhaps, the most important Caddy is the example, which is painted as a continuous scene with Miners and Mining subjects, (p.84) showing the Mining Official or Berghauptmann with his Mace of Office, on one side. The importance of miners and mining to the wealth of the Saxon Court made this a thoroughly appropriate subject for the painters at Meissen to commemorate. Finally, in this special collection, the one exception to the rule of collecting only the finest Meissen is the charming, rare, Hochst Caddy, (p.85) which could not be resisted. This caddy is decorated with hunting scenes, one side showing a green-jacketed huntsman holding a tether to a huge Eagle Owl, used in the hunting field in Europe. This piece has a provenance of enviable calibre, to any collector of European porcelain, that of Lady Charlotte Schreiber and her daughter Blanche Lady Bessborough of Stanstead Park, who was married to the 8th Earl of Bessborough. Surely all collectors of early English and Continental porcelain owe so much of their enjoyment and knowledge, to this most hallowed and indefatigable of Ladies. The galleries filled with porcelain at the Victoria and Albert Museum, South Kensington are a testament to Lady Charlotte’s zeal as a collector and authority. We hope that you will be as excited as we have been through the acquisition of these pieces and we look forward to seeing you all.

Brian Haughton and Paul Crane St. James’s London

An extremely rare Large White Early Bow Model of a Lion, standing on an irregularly shaped rockwork base, one paw held up on a tree trunk support, the ribcage clearly defined and with modelled mane, its head inclined slightly and the long tasselled tail resting between its legs. Circa 1750 Length: 9 ins. (23 cms.) Provenance: English Private Collection Literature: Illustrated Peter Bradshaw, Bow Porcelain Figures circa 1748-1774. no. 55, (A67).

An extremely rare and highly important Coloured Bow Prowling Lioness passant and guardant, with defined ribcage and muscle tendons, her mouth full of pointed teeth and incised facial features, the body coloured in a light tone of iron red and her face detailed in black enamel, the base washed over in tones of brown and green. Circa 1750 Length: 9 ins. (23 cms.) Provenance: English Private Collection

A very rare Pair of Large White Early Bow Prowling Lions, comprising a Lion and a Lioness, each lion passant and guardant standing facing each other, the Lion with incised mane and tasselled tail, the Lioness with very defined ribcage and muscle tendons, each with mouths full of pointed teeth and incised facial features. It is a typical feature of these very early pairs of prowling Lions that the Lion is a creamy white body and that the Lioness paste is a â&#x20AC;&#x2DC;drabâ&#x20AC;&#x2122; body. See Barry Taylor, A Treasury of Bow, a survey of the Bow Factory from the First Patent until Closure, no. 175.

Circa 1748-1750 Length: 9 ins. (23 cms.) Provenance: English Private Collection Literature: See the pair in the collection of Geoffrey Freeman, illustrated Anton Gabszewicz, no. 251, p.150. Also a pair illustrated Anton Gabszewicz, Made at New Canton, Bow porcelain from the collection of the London Borough of Newham, no. 92.

A very rare Pair of Bow White Prunus Vases and Covers, each vase of double ogee shape raised up on an annulated turned socle, decorated all over with stamped and applied flowering sprays of prunus in crisp low relief, the circular double ogee covers with similarly applied prunus sprigging and pointed acorn knop finials.

Circa 1752-55. Height: 7Â˝ ins. (19 cms.) Marks: scratch marks to the underside For another of these extremely rare ornamental forms see Gabszewicz and Freeman, Bow Porcelain, no. 47, p. 45.

A fine Pair of Bow Cooks, each beautifully modelled and coloured, wearing puce lined floral jackets and gowns, he is holding a plate with a leg of mutton and two chickens and she with a raised game pie together with bones poking out of the top. Circa 1762 Height: 7 ins. (17.5 cms.)

These exceptional Bow figures are taken from drawings by Edme Bouchardon executed in 1737 from a series of the â&#x20AC;&#x2DC;Cries de Parisâ&#x20AC;&#x2122; and totally imbue the rococo style at Bow with some of the finest modelling to be encountered at this early date. The models can be dated very precisely due to the introduction of the deep powder blue enamel during 1762.

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 1755. Length: 3 ins. (7.5 cms.) Mark: black pencilled numeral 1 to the inside of the cover. 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.

An extremely rare Bow Quince Box and Cover, the mottled green, yellow and puce fruit standing upright, the top of the fruit forming the cover, applied with three leaves and a flower issuing from a twig. Circa 1755. Height: 4 ins. (10 cms.) Marks: numeral 2 to the cover and 4 to the inside of the base. Surviving Bow examples of fruit and flower boxes are far rarer than their Chelsea counterparts. They derive from Meissen porcelain and faience counterparts. Bow Quinces are otherwise unrecorded.

A rare Pair of Bow white fledglings perched on a mound of rocks with foliage surrounding the base. Circa 1750 Height: 4他 ins. (12 cms.) Width: 4 ins. (10.5 cms.)

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. Circa 1756 Diameter: 8他 ins. (21.5 cms.) Literature: 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

A very rare Bow Shell Sweetmeat Dish, the 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. Circa 1752 Height: 5â&#x2026;? ins. (14.3 cms.) Length: 7Âž ins (19.7 cms) This appears to be the only example with this type of decoration currently recorded. This shell includes the addition of the very rare feature of the crab at the front below the lip. Provenance: English Private Collection, by descent to the present owner.

An extremely rare and highly unusual Bow Small Vase or perhaps a Tea Canister, of slender baluster form, painted in colours with several agitated birds, surrounded by smaller floral sprigs, the domed cover with further flowers, brown line rims to both pieces. Circa 1758-1760 Height: 7Â˝ ins. (19 cms.)

A Rare Bow Silver Shaped Sauceboat, moulded in crisp low relief with festooned swags of roses and flowers pendant from the scrolled rim, supported on a high oval pedestal base, the ribbed and double scrolled handle applied at the interior upper terminal with a face wearing an Indian headdress, the whole enriched with gold open flowers and hatched leaves. Circa 1750 Length: 9 ins. (23 cms.) Marks: Incised C T to the underside of the foot. Provenance: Frank Arnold Collection. Sold Sotheby’s 12th November 1963 lot 14. Literature: For a similar example from the Geoffrey Freeman Collection see, Anton Gabszewicz and Geoffrey Freeman, ‘Bow Porcelain, The Collection Formed By Geoffrey Freeman’, London 1982, p. 41, no. 35.

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, surmounted by a similar circular shell for spice or ginger. There is only one other similar massive Bow shell encrusted centrepiece that is recorded. This belonged to Raymond Yarborough and is now in the Detroit Institute of Arts. Circa 1755 Height: 15 ins. (38 cms.)

An Extremely Rare and Important Pair of Bow Owls, crisply modelled with naturalistically coloured beaks their plumage lightly enriched in tones of brown, ochre and yellow, their delineated talons grasping tree stumps, applied with fungi, leaves. moss and flowers. Both resting on twentieth century ormolu bases. Circa 1755-58. Height: 8 ins. (20.5 cms.)

See: Frank Stoner, Chelsea, Bow and Derby Porcelain Figures, pl. 105, Yvonne Hackenbroch, Chelsea and other English Porcelain, in the Irwin Untermeyer Collection, pl. 78, fig. 259. A pair with similar ormolu mounts, sold at Sothebys New York Friday 18th March 2005, from the Estate of Mrs. Charles W. Engelhard, lot 150.

Incised Triangle Period Chelsea 1745-49.

The earliest production of porcelain at the Chelsea Manufactory began in 1744-45, a tumultuous year in England’s History, with the on set of the second Jacobite uprising later in that year. Nicholas Sprimont, a silversmith from Liege, had registered his mark at the Worshipful Company of Goldsmiths in January 1743 and by 1744 had leased a property belonging to Mr. Supply in Church Lane East, Chelsea. On the 5th March 1745 the first mention of porcelain appears in the Daily Advertiser. ‘Chelsea China is arrived to such perfection, as to equal if not surpass the finest old Japan’. We associate the mark of the triangle with the earliest wares, the alchemical symbol of Fire, an association linked to the firing process. The characteristics of this body and paste is that of a thinly, pliable body, easy to throw and take the moulded details at high temperatures. The addition of lead or crushed glass, or ‘cullet’, as it is also known, creates the typical high translucence and notable pin pricks of luminosity. The fired paste and body is warm in colour and highly tactile and extremely similar to contemporary soft paste Vincennes porcelain. It is very evident that the early productions of Chelsea were linked with designs that emanated from Silver forms, and for instance, the Crayfish salts crafted from Silver, that are in the Royal collection find their exact counterparts in porcelain. The rococo period of design dictated Man’s triumph over nature and iconography particularly of the sea transformed the tables of Sprimont’s, ‘Esteemed Nobility’ and newly rich mercantile classes, into shell encrusted seaweed festooned stands and dishes to be arrayed with the fruits and fish that are the very essence of our island nation. Chinese inspired bearded, sage-like figures, embracing both the rococo asymmetry and inferred chinoiserie ideals of dreamed up scenes of Cathay, appeared as if to creep over teetering mounds of facetted rockwork in search of Neptune’s fish. Above all, the period created individual models, sometimes without parallel, of the highest standard of design and modelling, with acute observation and naturalism, fit for the Monarch and Court of the day.

An extremely rare and highly important Early Chelsea Model of a Finch perched on an Oak tree amongst oak leaves and trailing branches. Circa 1745-49 Height: 7½ ins. (19 cms.) Provenance: Formerly Thomas Burn, the Rous Lench Collection, Worcestershire.

Exhibited: Chelsea China Exhibition, Royal Hospital Chelsea, 1951, no. 22 Literature: Frank Tilley, ‘The Clue of the Oak Leaf: Its place in identifying Unrecorded Triangle Period Chelsea’, Antique Collector, January-February 1950, pp. 13-15 and Arthur Lane and Robert Charleston ‘Girl in a Swing Porcelain and Chelsea’, E.C.C. Trans, vol. 5, pt.3, pp.119 and 120.

A rare Chelsea Lobed Beaker of flared form, decorated in the Kakiemon style with the ‘Red Tiger’ pattern. Circa 1745-49 Height: 2¾ ins. (7 cms.) Provenance: The Paul and Helga Riley Collection. Literature: llustrated Dr. F. Severne Mackenna, Chelsea Porcelain, ‘The Triangle and Raised Anchor Wares’, pl. 10. No. 25. There are just three of these beakers bearing this pattern recorded. When the paste is looked at through transmitted light, pinpricks of luminosity can be seen, which is a characteristic of the paste in the triangle period. This is the same hand as that found on the two rare coloured acanthus moulded beakers from the Schreiber Collection.

The Raised Anchor Period Chelsea. 1749-52.

By 1749 the Chelsea Manufactory had become both successful and well patronised with the sauntering society of the nearby Ranelagh and Vauxhall pleasure Gardens, eager to view and acquire the latest tastes and designs of the season’s decoration and ornament. The Chelsea Manufactory grew and moved to larger premises at Lawrence Street to facilitate the greater level of demand. This move coincided and culminated in the ‘Raised Anchor’ period at Chelsea, the porcelain, literally marked with an applied pad showing an anchor in relief within an oval, Sprimont’s mark of quality. Indeed, the advertisement of the 9th January 1750 heralds, ‘different forms and patterns, and of a great variety of Pieces for Ornament in a taste entirely new’. The characteristics of the new and improved paste and body are diverse, the addition of more lime, in the form of calcined sea shells, and less lead had the result of making the body even more pliable than before, but much more stable creating sturdy figures and wares. The addition of tin oxide makes the pieces whiter and look more refined, though less translucent than their incised triangle marked predecessors, however, it is a characteristic of the body that through transmitted light appear the sometimes rather mysterious moons that characterise this new paste. The moons are in fact air bubbles held fast in the viscous paste and are the very hallmarks of the Raised Anchor marked pieces. An ‘Entirely New’ taste evolves here and copies the stylised, complete and defined patterns that emanated from the Imperial Court of Japan. These powerful and stately patterns were so admired at the Court of Saxony that they became part of, and influenced, production and design at Meissen. Patterns such as the ‘Flaming Tortoise’, ‘Flying Fox’ and the ‘Three Friends’ are encountered whilst Red Tigers, Flying sinuous Dragons and Ho Ho birds abound. The shapes are usually free of moulded ornament, with a few exceptions, such as the Scalopendrium wares. It was the simple faceted forms, such as the octagonal teawares that could be produced in some quantity that reigned supreme. Shapes that derived from silver forms remained popular, for example, the oval moulded stands with shell thumbpieces, developed in the previous period, though there was a sense of burgeoning design that was soon to develop.

An Important Pair of Chelsea Owls, beautifully naturalistically modelled with wide open eyes, hooked beaks and accurate ruffled plumage, the birds of prey standing on irregularly moulded bases, grasping the simulated rockwork with their talons. Both resting on twentieth century ormolu bases. Circa 1745-49. Height: 8 ins. (20.5 cms.) Provenance: John Hewett Collection.

The present examples may have original design sources amongst Italian bronze sculpture of the seventeenth century, indeed the Scops owl that the model copies is very prevalent in the Mediterranean area and often stayed within rigging of ships until docked in London. Related models are found in saltglaze and creamware pottery and also at Bow. Another version of the Owl model is known and was exhibited at the International Ceramics Fair and Seminar in 1984. It can be said that these highly accomplished models are the first in English porcelain.

A very rare Chelsea Model of Two Recumbent Kid Goats, nestled one against the other, their bodies naturalistically moulded in low relief and picked out in tones of brown and black. Circa 1749-52 Length: 4Â˝ ins. (11 cms.) Mark: Applied raised anchor mark, picked out in red. Provenance: The Paul and Helga Riley Collection. Literature: After a Meissen original modelled by J.J.Kaendler, illustrated Elizabeth Adams Chelsea Porcelain, p.94, fig. 7.38.

A very rare Chelsea Model of Two Recumbent Sheep, modelled lying together, one beside the other, their heads alert and inclined upon a slightly domed oval base applied with colourful flowers and leaves. Circa 1749-1752 Length: 4Â˝ ins. (11.5 cms.) Mark: applied raised anchor mark to the reverse, picked out in red enamel. Provenance: The Paul and Helga Riley Collection. Literature: Illustrated Elizabeth Adams, Chelsea Porcelain, fig. 7.38, p.94.

A rare Chelsea Sugar Bowl, the fluted form decorated in the Kakiemon palette with the â&#x20AC;&#x2DC;Red Tigerâ&#x20AC;&#x2122; pattern, showing a tiger snarling at a dragon flying above a flowering prunus bush. Circa 1750 Diameter: 4 ins. (10 cms.) Provenance: The Paul and Helga Riley Collection. Literature: Larger than the tea bowls and beakers of the period, John Austin illustrates a fable decorated example of the same type, see Chelsea Porcelain at Williamsburg, no. 59, p. 74. Dr. Riley notes that this shape is a sugar bowl.

A rare and early Chelsea Silver shaped Dish painted with sprays of colourful European flowers, including a divergent tulip, a rose, a chrysanthemum and hyssop together with a yellow and blue spotted hairy caterpillar and a butterfly in flight. The form is known in silver bearing the marks of Nicholas Sprimont himself. The reverse of the dish is flat and unglazed, it was only towards the end of the raised anchor period that these dishes were given a footrim. Circa 1749 Length: 9Â˝ ins. (24 cms.) Mark: An applied raised anchor mark has been manufactured for Dr. Riley and has been applied to where the original had fallen off during the manufacture. Provenance: The Paul and Helga Riley Collection.

An extremely rare and fine Chelsea ribbed Creamboat, of elegantly flared form moulded with narrow ribs to form a leaf shape and applied stalk handle, painted in the Vincennes style with a spray of yellow dahlia and red and purple seed poppy, with hairbells and mimosa, together with scattered sprigs of European flowers, the interior with similar decoration and a ladybird.

Circa 1752 Length: 4Â˝ ins. (11 cms.)

The Red Anchor Period Chelsea 1752-58.

Between the years 1752 and 1758 The Lawrence Street factory of Chelsea changed in inspiration from the Orient to the Occident as a more European form of taste grew and imbued the already established Rococo taste, with a sense of natural vigour. Plants and botany, creatures and science all appeared in the ‘melting pot’ of enlightened design, at the Chelsea manufactory and sometimes still with some silver precedents, the role of nature breathed life as if from a Garden of Eden upon the tables of an Aristocracy keen to show off the level of nurture afforded by these interpretations of God’s dazzling creation. The paste and body of this new period is marked with a small anchor in red enamel and stating approval on what is widely and justly considered to be the finest English porcelain paste to be developed. A fine tightly fitting white glaze, covering a closely grained body, characterises production during this period and this evenly mixed paste took the very detailed crisply moulded designs and elegantly lobed edges encountered on wares. It was now that the boldest of natural forms creating breathtaking trompe l’oeil effects and themes could be created by practised masters, who excelled at their craft, to make Chelsea porcelain of this period, the envy of Europe. Collectors down the ages have rivalled with one an other to collect this the most eagerly sought after and rare range of objects in English Ceramic History, with a roll call of names of collectors ranging from Queen Elizabeth the Queen Mother, Queen Mary, Wallace Elliot and F.Severne Mackenna to Paul Riley and the great Duveen. Small tureens and boxes were the new features of this Trompe l’oeil period of naturalism, throughout the catalogue of the Sale of Chelsea porcelain referred to as the Chelsea sale of 1755, conducted by Richard Ford at his ‘Great Room in the Haymarket’, pairs and sets of natural shapes such as ‘Roses’, ‘Apples’, Bunches of Asparagus and ‘Artichokes with bird knops’, are seen. ‘Hens as big as Life’ seated with chicks beneath, grace the larger and ambitious forms that were created which reached their zenith with a Boar’s Head created for Queen Charlotte. Melons and Sunflowers in their heady open bloom are encountered along with Peonies and extraordinary leaf moulded stands to take Duck tureens and seated partridges sitting tightly on their feathered nests. Even the plates on which the Aristocracy now ate were to be painted from Life from Sir Hans Sloane’s leased Physic Garden under the curatorship of Phillip Miller or copied from botanical engravings from Miller’s Figures of Plants published in 1752, or from Illustrations from Plantae Selectae, published by Dr. Trew from 1750 onwards and illustrated by Georg Dionysius Ehret, who was Phillip Miller’s Brother-in-Law.

An Extremely Rare Pair of Chelsea Lobed Sauceboats of oval silver shape, applied with scrolled bevelled handle with bifurcated lower terminal, each painted with full sprays of European flowers including roses, honeysuckle, hairbells and pansies, the interiors with a convolvulus and a spray of yellow crocus, brown line rims.

Circa 1755 Length: 8 ins. (20 cms.) Mark: One with red anchor mark to the underside. See: Nick Panes, British Porcelain Sauceboats of the Eighteenth Century, figure 60. From the Seattle Art Museum.

A rare Chelsea Melon Tureen and Cover, of the large size, the lobed body moulded in crisp low relief with the crackled skin, painted in tones of yellow applied with tendrils, leaves and flowers forming the handle. Circa 1755 Length: 6½ ins. (17 cms.) 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’.

An Extremely Rare and Highly Important Chelsea Hans Sloane Finger Bowl, of circular slightly bulbous form with lobed rim, decorated with broad leaves rising from the base in tones of green and yellow with puce veining over which fly shadowed moths and butterflies in tones of puce, blue, lilac and yellow together with wood wasps, fruit flies and other insects. The interior with a flying blue butterfly with yellow spots and a wood wasp. Circa 1752 Height: 3 ins. (7Â˝ cms.) Diameter: 3 ins. (7Â˝ cms.)

An Extremely Rare and Highly Important Chelsea Hans Sloane Finger Bowl, of circular slightly bulbous form with lobed rim, decorated with broad leaves rising from the base in tones of green and yellow with puce veining over which fly shadowed moths and butterflies in tones of puce, blue and lilac together with a long tailed May fly, within brown line rim. The interior with a flying butterfly and a green ladybird.

Circa 1752 Height: 3 ins. (7.6 cms.) Diameter: 3 ins. (7.6 cms.)

A very rare Large Chelsea Artichoke Tureen and Cover decorated in tones of green and yellow with puce detailing, the similarly moulded domed cover with ‘Tom Tit’ finial. Circa 1754-56 Height: 7 ins. (17.7 cms) Diameter: 5¾ ins. (14.6 cms.) Mark: Red Anchor Mark to the underside of each base.

These extremely rare forms are listed twice within the Chelsea Porcelain Sales held by Mr. Ford. Firstly, ‘Two fine artichokes, second size’ lot 47, Monday 10 March 1755. Secondly, ‘Two large artichokes and leaves’, Tuesday, 30th March 1756, lot 81. The leaves that originally accompanied this larger size have never been identified.

A very rare Large Chelsea Artichoke Tureen and Cover decorated in tones of green and yellow with puce detailing, the similarly moulded domed cover with ‘Tom Tit’ finial.

Circa 1754-56 Height: 7 ins. (17.7 cms) Diameter: 5¾ ins. (14.6 cms.) Mark: Red Anchor Mark to the underside of each base

See: A large pair illustrated by Patrick Synge-Hutchinson, The Connoisseur, August 1954, ‘Some Chelsea Porcelain In the Collection of Her Majesty Queen Elizabeth the Queen Mother at Clarence House’. Also Reginald Blunt, The Cheyne Book of Chelsea China, pl.15 no. 305.

An extremely rare and highly important Chelsea Zoomorphic Tureen and Cover in the form of a Duck, modelled swimming vigorously, the lower part of the tureen formed as the breast and wings, on one side the webbed foot dips into water weed, the cover formed as the upper part of the duck, its grinning head with bill slightly to one side, together with a rare circular stand, moulded in the form of a basket base over which are draped specimens of marsh plants, including the celery-like King Cups leaves and the species Water Lily.

Reverse view

Both Circa 1755 Length of Duck: 6Âž ins. (17.2 cms.) Height of Duck: 3Âź ins. (8.4 cms.) Diameter of the stand: 10 ins. (25.5 cms.) Marks: the tureen with red anchor marks and numeral 26 to both pieces, the stand with red anchor mark to the underside of the base.

Front view

Literature: There are 51 duck tureens within the 1755 Chelsea sale. They are variously described as ‘Four fine small ducks in different postures’, see Second Day’s sale, Tuesday, March 11th, lot 55. They are now extremely rare survivals. As far as we know this, and only one other at the Fitzwilliam Museum, Cambridge, are currently recorded. This circular stand has been with the duck always, and although these stands are seen with the eel tureens, it is the view of Dr. Paul Riley that, due to the lack of a specifically designed stand for the duck, there is every possibility that this stand doubled for dual use. When looking at the reeds on the lower part of the tureen and the circular stand, they match perfectly.

A very rare Chelsea Asparagus Box and Cover, the elegantly slip cast form moulded as a bunch of pale cut asparagus spears, tied over the top with brown painted rataffia, the cover with rising sprigs of asparagus being half of the bunch. Circa 1755 Length: 7 ins. (18 cms.) Marks: The base with red numeral 12 to the inside.

A very rare Chelsea 32 fluted Botanical Tea bowl and Saucer, exceptionally well painted with a specimen of the Cosmea flower, the teabowl with double gilt dentil rim. Circa 1755-58 Marks: Red anchor mark to the underside of both pieces.

An Impressive and Very Rare Chelsea Hans Sloane Oval Platter, painted with a huge Rhubarb leaf, a group of three turnips and a group of long parsnips in tones of puce and natural white, a fritillary type butterfly, damsel fly, devilâ&#x20AC;&#x2122;s coachman beetle and a ladybird fill the decorative space. Circa 1752-55 Length: 14Â˝ ins. (37 cms.) Marks: Red Anchor mark to the underside.

An Impressive and Very Rare Chelsea Hans Sloane Oval Platter, painted with a spray of fruiting Vine, with two bunches of purple grapes, a gourd plant and several growing fruits, beneath a spray of flowering Lily of the Valley, a shadowed cabbage white butterfly, hawk moth caterpillar and further insects. Circa 1752-55

A Rare Chelsea Cos Lettuce Tureen and Cover, moulded in raised low relief with overlapping leaves painted in green and yellow with puce carmine veining the finial formed as an upturned leaf. Circa 1755. Length: 5他 ins. (14.2 cms.) Marks: Red anchor mark to the underside of the base.

An Extremely Rare Chelsea Peony Dish, the deeply cusped dessert dish beautifully moulded in low relief with an open white peony bloom tinged with blue, puce and yellow, two serrated yellow and green leaves laid at the front and back of the bloom with puce veining crabstock handle. Circa 1754 Length: 9 ins. (23 cms.)

An Extremely Fine and Rare Chelsea Sunflower Dish, beautifully modelled as an open sunflower in full bloom, a stalk handle issuing two green leaves both veined in yellow and puce with dark markings, lie over the front and the back of the bloom. Circa 1754 Length: 9 ins. (23 cms.)

A Rare Chelsea Circular Leaf and Basket Weave Moulded Stand, moulded in raised low relief with an array of Marsh plants including, Marsh Marigolds, Bull Rushes, each coloured in bright tones of greens and yellows and rich turquoise, resting on, and overlapping at the rim, a circular basket weave moulded stand. Circa 1755 Diameter: 9Â˝ ins. (24 cms.) Marks: Red anchor mark to the underside. Provenance: James A Lewis

An Extremely Rare Chelsea Oval Leaf and Basket Weave Stand, for use with the Carp Tureen and Cover, moulded with wide and narrow basket weave, strewn with brightly coloured Marsh plants including Marsh Marigold and Native English Water Lily and colourful sprays and sprigs of European flowers, a brown line rim. Circa 1755. Length: 15 ins. (38.5 cms.)

An Extremely Important Chelsea Hans Sloane Botanical Deep Plate, of lobed shape, beautifully painted with a Rhubarb leaf and stalk, a spray of millet and an exotic seed pod or fruit, surrounded by flowering sprigs, butterflies and a blue caterpillar, within a brown line rim. Circa 1755 Diameter: 9 ins. (23 cms.) Marks: Red anchor mark to the underside.

A Rare Chelsea Hans Sloane Deep Plate, painted with a swirling spray of blue flowering artemesia, a swallowtail type butterfly and a small sprig of yellow flowers, within a brown line rim. Circa 1755 Diameter: 9 ins. (23 cms.) Marks: Red anchor mark to the underside.

An Extremely Important Chelsea Hans Sloane Botanical Deep Plate, of lobed shape, painted with a huge spiralling spray of Lilia Alba, a poppy bud and cabbage leaves, surrounded by two large butterflies, decorated in tones of puce and blue and a spray of blue mimosa. Circa 1755. Diameter: 9 ins. (23 cms.) Marks: Red anchor mark to the underside.

An Extremely rare Chelsea Hans Sloane Deep Plate, of lobed shape, beautifully naturalistically painted with a spray of Blue Anemone, Hollyhock buds and Foxglove leaves, surrounded by a green veined butterfly and a large lacewing. Circa 1755 Diameter: 9 ins. (23 cms.) Marks: Tiny Red Anchor mark to the underside

A very Rare Chelsea Scent Bottle in the form of a small Pear, the naturalistic form moulded with a twig and leaves at its shoulder, with gold neck and stopper together with the chain attached. Circa 1755 Height: 2Â˝ ins. (6 cms.) An exceptionally rare naturalistic fruit form from the Red Anchor Period Provenence: Private Australian Collection, Illustrated Flowers and Fables, a survey of Chelsea Porcelain 1745-1769. No. 217. Page 86.

A Rare Pair of Worcester Cauliflower Boxes and Covers and a Leaf Shaped Stand, each cauliflower naturalistically formed lying on its side the covers formed as the upper part of the vegetable, their leaves painted a bluish green and printed in black with small butterflies, the serrated leaf shaped stand similar decoration. Circa 1755 Height of Cauliflowers: 4 ins. (10 cms.) Length of stand: 7Â˝ ins. (19 cms.)

An Important Pair of Chelsea Partridge Tureens and Covers together with their Stand, each partridge modelled seated on a nest. 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. Literature: 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.

An Extremely Important Chelsea Hans Sloane Peach Shaped Dish, decorated with a celery crossed over a carrot, under which flies a large carrot or damsel fly and above which flutters a Swallowtail butterfly, within a brown line rim, with moulded vein to the underside. Circa 1752-53 Marks: Red Anchor to the underside.

A Rare Chelsea ‘Blind Earl’ Moulded Sweetmeat Dish, of circular form moulded in slightly raised low relief with a spray of rose leaves and buds in tones of green with a delicately moulded crabstock handle, within a gold line rim.

Circa 1755 Diameter: 6 ins. (15 cms.) Marks: Red Anchor to the underside

A Rare Chelsea ‘Blind Earl’ Moulded Sweetmeat Dish, of circular form moulded in raised low relief with a spray of rose leaves and buds in tones of green with a delicately moulded crabstock handle, within a gold line rim. Circa 1755. Diameter: 6 ins. (15 cms.) Marks: Red Anchor to the underside.

An Extremely Rare Chelsea Oval Leaf and Basket Weave Stand, for use with the Carp Tureen and Cover, moulded with wide and narrow basket weave, strewn with brightly coloured Marsh plants including Marsh Marigold and Native English Water Lily and colourful sprays and sprigs of European flowers, brown line rim. Circa 1755 Length: 15 ins. (38.5 cms.) Marks: Red anchor mark to the underside

Circa 1755 Diameter: 9Â˝ ins. (24 cms.) Marks: Red anchor mark to the underside. Provenance: James A Lewis.

A Chelsea Sugar Bowl, of elegant fluted form painted with iron red flowering prunus blossom, the reverse with a butterfly and the interior with further single prunus flowerheads. Circa 1754/55. Height: 3 ins. (7.5 cms.) Provenance: The Paul and Helga Riley Collection

A rare Chelsea Vase, of baluster shape with conical foot and turned neck, painted with three European birds perched in a leafy tree, the reverse with insects and a butterfly in flight. Circa 1755 Height: 6Â˝ ins. (16 cms.) A larger vase with this type of European bird decoration was in the collection of Lady Charlotte Schreiber and descended through her family to the Ponsonbyâ&#x20AC;&#x2122;s, The Earls of Bessborough.

A very rare Chelsea Circular Dish, of hexafoil shape, decorated in the Chinese famille rose palette with sprays of flowering poeny alternating with butterflies. Circa 1755 Diameter: 8Â˝ ins. (20.5 cms.)

An Extremely Rare and Important Chelsea Octagonal Teabowl and Saucer, painted by Jefferyes Hamett O’Neale, both pieces matching with the fable of the Lion and the Mice, the Lion stretched out, catching mice beneath a tree, within an Arcadian landscape, birds in flight within blue skies, the scene on the saucer surrounded by sprigs of flowers and a butterfly, with chocolate brown rims, the teabowl with a butterfly to the interior. Circa 1752-55 Provenance: Private English Collection. This extremely fine teabowl and saucer should be compared with the service of eight teabowls and saucers from the collection of Lord Brownlow of Belton House, sold Christie’s, on the premises 2nd May 1984. See Stephen Hanscombe, Jefferyes Hamett O’Neale China Painter and Illustrator, Nos.13, 14, 15 and 16.

A fine and rare Chelsea Strawberry Leaf moulded Sauceboat of deep cusped shape, supported on four smaller moulded leaf feet together with tendrils across the base, the sides painted with sprays of European flowers including: roses, convolvulus and lilies, applied with a green branch handle with strawberry flowers. Circa 1755. Marks: Red Anchor Mark Literature: For an example of this rare rococo form see Dr. F. Severne MacKenna, Chelsea Porcelain, The Red Anchor Wares, 1952, p. 87.

A rare Meissen Cup with Spout, painted by Johann Ehrenfried Stadler with Chinese figures holding parasols beside flowering plants, within quatrefoil cartouches reserved on a yellow background, the loop handle painted with iron red floral detail. Circa 1730 Height: 2 ins. (5 cms.) Length: 4¼ ins. (11 cms.) A similar example formerly in the Franz Oppenheimer Collection and then the Dr. Fritz Mannheimer Coll. now in the Rijksmuseum, see Abraham L-den Blaauwen ‘Meissen Porcelain in the Rijksmuseum’, no. 214.

An extremely rare Doccia Figure of a Dwarf, modelled as a dancing lady wearing contemporary eighteenth century dress. Height: 3Âź ins. (8 cms.) Provenance: At one time with Gioacchim Ruggiero and Collezione Procida Mirabelli di Lauro, Naples, no. 60.

Literature: A series of polychrome dwarves from the Metropolitan Museum of Art is illustrated in Munger (2007), no. 14, p. 14. Two other dwarves from the Collezione Guido Rossi and the Musei Civici del Castello Sforzesco are published by Mottola Molfino (1976), cat. No. 465-466 and others from the same collection are published by Melegati (1999), p. 76. Another coloured example in the Museo Richard Ginori della Manifattura di Doccia is illustrated in

An extremely rare Doccia Figure of a Dwarf, modelled as a dancing man wearing contemporary eighteenth century dress and perriwig. Circa 1760 Height: 3Âź ins. (8 cms.) Provenance: At one time with Alessandro Orsi and Collezione Procida Mirabelli di Lauro, Naples, no. 73.

Biancalana (2009), p.55. The Doccia factory produced quite a few dwarves, it became one of their most popular type of figures, and they were modeled after the famous etchings by Jaques Callot and his Italian counterpart, Luigi Baccio del Bianco. Motola Moltini (op.cit) notes that another source for these Doccia Gobbi was also the work by Tuscan artist Gian (Giovanni) Domenico Feretti.

An extremely rare Meissen Twin Handled Portrait Beaker and Saucer, the saucer and one side of the beaker painted with a landscape vignette depicting soldiers resting at camp, with distant buildings to one side. The front of the beaker painted with a caped Hussar Officer, wearing a green tunic trimmed with fur, beneath a gilt lambrequin border. Circa 1735 Diameter of the saucer: 5Âź ins. (13.5 cms.) Height of the beaker: 3 ins. (7.5 cms.) Marks: Crossed swords marks in underglaze blue, impressed 6 on the beaker and 2 on the saucer. The soldiers depicted in red and blue are either Karlstadt border troops, or Pandurs of the Free Corps of Franz Freiherr von der Trenck. The Officer is probably a member of the Austrian Regiment of Hussars. Exhibited: Hamburg, Museum fur Kunst und Gewerbe, 1999-2009.

Detail of the saucer Detail from the reverse of the beaker

An extremely rare Meissen covered Milk Jug, of slender baluster shape, beautifully painted in the manner of Christian Frederich Herold with a winter scene showing travellers meandering through a village, a windmill on the left and a castle to the right, within ‘laub und bandelwerk’ gilt borders, containing bottger lustre panels and iron red and puce scrolling, the other side with a harbour scene, between sprigs of Kakiemon flowers, the gold spout moulded in low relief with an acanthus leaf, and the scrolled handle with solid gold thumb-piece, the cover with further landscapes and gold pine fruit finial. Circa 1728 Height: 4½ ins. (11.5 cms.) Marks: impressed former’s mark, gilder’s P to both pieces and crossed swords mark in underglaze blue to the underside of the piece.

An extremely rare Bottger 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, 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. Circa 1718-1720 Height: 7½ ins. (19 cms.) Marks: Lustred mark ‘dm’ to the underside of the base of the jug. Hallmark for Elias Adam, Augsburg, active 1703-45 on mounts. Provenance: The Anderson Collection formerly exhibited at the Orlando Museum of Art.

A Fine and Rare Meissen Teapot and Cover, of elegant small bullet shape, beautifully painted with a brightly coloured shadowed Indian Moon Butterfly on one side and scattered insects on the other, the bird and leaf moulded spout enriched with puce carmine scales and feathered details, the silver rococo scrolled tau handle, with shell moulded thumbpiece and acanthus leaf moulded upper terminal, the cover with similar basket weave moulding, palm fruit finial and scattered insects and ladybird. Circa 1735 Height: 4 ins. (10 cms.) Length: 7 ins. (18 cms.) Marks: Blue crossed swords

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. Circa 1745 Height: 5 ins (12.5 cms) Marks: Crossed swords mark in underglaze blue and dreherâ&#x20AC;&#x2122;s mark H to the underside of the base.

A very rare and early Meissen Teacaddy and Cover, of quatre-lobed baluster section, delicately painted with bold and meandering sprays of indianishe blumen in the kakiemon palette, together with insects in flight, the flat cylindrical cover with further stylised floral sprays, and moulded in low relief with a flower head. Circa 1728-30 Height: 4 1â &#x201E;16 ins. (10.3 cms.) Marks: Blue enamel crossed swords mark, Dreherâ&#x20AC;&#x2122;s mark of a cross and dots for Andreas Schieffer.

A very rare and fine Meissen Hexagonal Baluster Teacaddy and Cover, painted on each side in the manner of J.G. Horoldt with harbour scenes, together with people at conversation at the docks, all beneath gloriously coloured skies, each panel framed with thick gold bands, the top of the flattened circular cover gilt with scrollwork.

Circa 1725 Height: 4 ins. (10 cms.) Marks: Gilderâ&#x20AC;&#x2122;s 88 to both pieces.

Meissen ‘Landschaftmaleri’ Tea Caddy and Cover gilded and painted in colours with landscape vignettes depicting figures beside a river, one with a ‘Ruinenlandschaft’ depicting dilapidated architectural structures, the arched shoulders painted with sprays of ‘Deutsche Blumen’ and enhanced with ‘Goldspitzenbordüre’ motifs, the domed cover decorated “en suite” with a blue flowerbud finial. Circa 1745 Height: 5 ins. (12.4 cms.)

An extremely rare and Important Meissen Yellow Ground Rectangular Tea Caddy and Cover, the ogival quatrefoil reserves with holzschnitt blumen roses, anemones, speedwell or forget-me-not and insects, the white shoulder with chocolate brown line border and further smaller insects, the flattened cover with similar reserves and small chocolate brown topped palm fruit finial. Circa 1735-40 Height: 4 ins. (10 cms.) Marks: Press number 19 to the underside of the base.

Small Meissen gilt-metal mounted Tea Caddy and Cover painted with putti holding garlands of roses, seated on clouds beneath a purple scale and gilded border. The cover with a flower finial and further putto decoration. Circa 1760 Height: 9.5 cms. (3他 ins.) Marks: Crossed swords mark in underglaze blue. Painters mark in purple 31

Meissen Tea Caddy and Cover, with moulded ozier shoulder finely painted with pastoral scenes in puce monochrome. On one side a grotto, with travellers at conversation and a castle in the distance. The other side, with a village scene and a church, within finely tooled gold trellis and scrolled frames. The sides decorated with â&#x20AC;&#x2DC;Holschnitt Blumenâ&#x20AC;&#x2122; also in puce. The cover with similar moulding and gilded palm fruit finial. Circa 1740-1745 Height: 14 cms. (5Â˝ ins.) Marks: Crossed swords mark

Meissen ‘Deutsche Blumen’ Tea Caddy and Cover painted with bouquets of flowers, the arched ‘Ozier’ moulded shoulders painted with flower sprays, the neck with a gilt line, the tiny domed cover with a rosebud finial. Circa 1750 Height: 5½ ins. (13.8 cms.) Marks: Crossed swords marks in underglaze blue.

Very rare Meissen rectangular Tea Caddy and domed Cover with ozier moulded shoulder, painted with scenes of peasants fighting and a wife expelling her drunken husband, each side with a dwarf playing a musical instrument. The cover with similar decoration and flower finial. Circa 1750 Height: 5 ins (13 cms) The â&#x20AC;&#x2DC;Callot Dwarfsâ&#x20AC;&#x2122; taken from The Complete Gobbi (Grotesque Dwarfs), a series of 21 etchings, c.1622

A rare Meissen Tea Caddy and Cover depicting Mining subjects, the rectangular form painted in the manner of Bonaventura Gottlieb H채uer with miners at various activities running continuously around all sides, the front showing two miners in their green caps sieving the minerals, the side panel with a miner carrying rock to a shaft, the reverse with an overseer at discussion with a miner, both standing before a fence, the other side with a further miner raking golden nuggets, all within a wooded rocky landscape beneath a gittermerk border, the arched shoulders with sprigs of European flowers, the cover with a seated miner smoking and holding his pick in one hand, with open flower finial and further gittermerk border. Circa 1740 Height: 5 ins. (12.5 cms.) Mark: Crossed swords in underglaze blue to base. H채uer joined the Meissen factory in 1724 and by 1731 was painting figures in landscapes. His dark rocks to the foreground silhouetted against lighter landscapes behind is a particular sign of his work. H채uer is also the person associated with wares depicting miners. Minerals, coal and gold were a considerable source of revenue for Saxony and this therefore interested Augustus III massively. Augustus revered his miners greatly and lent his monogram as their badge on their uniforms.

A HĂśchst Tea Caddy and Cover of arched rectangular form, painted with a horseman with a tethered eagle owl in a landscape vignette, the reverse with a bird attacking a hare, the cover with a vignette of animals supported by gilt scrollwork. Circa 1770 Height: 5Âź ins. (13 cms.) Mark: Wheel mark in underglaze blue, incised letters. Provenance: Lady Charlotte Schreiber (1812-1895).

Meissen Robinâ&#x20AC;&#x2122;s egg blue-ground rectangular Tea Caddy and Cover. One wide and one narrow side painted with harbour scenes beneath an expansive sky, the other two panels with gallants and companions in park settings, each reserved within original quatrefoil panels edged in gilt, the shoulder, footrim and sides similarly gilt, the top of the circular cover with a harbour scene, the sides with gilt bands around the ground colour, the white shoulder gilt with harebells at the corners. Circa 1740 Height: 4â&#x2026;&#x153; ins. (11.1 cms.) Marks: Gilderâ&#x20AC;&#x2122;s ZO to both pieces.

An extremely fine Meissen Tea Caddy and Cover, of rectangular form, painted probably by J.G. Heintze, with European figures at discussion within river and harbour scenes, showing ships and barges at dock unloading their goods, each scene framed within a coulis of trees or tall buildings under an open sky with delicate blue clouds with birds in flight overhead, at the base of each scene, a double iron red line, the scenes divided at each corner by a thick gold band, the shoulder with a delicate lambrequin border pendant from the rim and two brightly coloured sprays of ‘Indianische blumen’, the flat circular cover with artichoke finial with further harbour scenes in miniature. Circa 1730 Height: 4¾ ins. (12.5 cms.) Marks: Blue crossed swords mark to the underside of the base and gilders 52 to both cover and underside of base. Johann Georg Heintze was apprenticed at Meissen at the age of 13. He became one of the leading decorators of his day until 1748.

BIBLIOGRAPHY Elizabeth Adams, Chelsea Porcelain (London, 2001) John Austin, Chelsea Porcelain at Williamsburg (1977) 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 c. 1710-1763 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) Stephen Hanscombe, Jefferyes Hamett O’Neale, China Painter and Illustrator Arthur Lane & Robert Charleston ‘Girl in a Swing’ Porcelain and Chelsea, ECC Transactions 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) Brian Haughton Gallery, Exhibition Catalogue, ‘A Taste of Elegance’ (2009) Margaret Legge, Flowers and Fables, a Survey of Chelsea Porcelain, 1745-69, National Gallery of Victoria, Melbourne, Australia Nick Panes, British Porcelain Sauceboats of the 18th Century (2009) Jean Pillement, The Ladies Amusement, the 1959 facsimile copy of the original 1759 Publication Rainer Ruckert, Meissner Porzellan (Munich, 1966) F. Severne Mackenna, Chelsea Porcelain, Triangle & Raised Anchor Wares (1951) F. Severne Mackenna, Chelsea Porcelain, The Red Anchor Wares (1952) Rosalie Wise Sharp, Ceramics, Ethics & Scandal (2002) Frank Stoner, Chelsea, Bow and Derby Porcelain Figures Barry Taylor, A Treasury of Bow, ‘A Survey of The Bow Factory from the First Patent until Closure’. Frank Tilley, The Clue of the Oak Leaf, ‘Its place in identifying unrecorded Triangle Period Chelsea’, Antique Collector, 1950 ACKNOWLEDGEMENTS We would also like to thank the following for their academic input: Anthony Du Boulay, Anton Gabszewicz, Stephen Hanscombe, John Mallet, Dr Paul Riley, Aileen Dawson.

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