Art Antiques London 2013 by Haughton International

2013

PRIVATE VIEW Wednesday 12th June

11am - 9pm

PUBLIC VIEWING Thursday 13th June

11am to 7pm

Friday 14th June

11am to 7pm

Saturday 15th June

11am to 7pm

Sunday 16th June

11am to 6pm

Monday 17th June

11am to 7pm

Tuesday 18th June

11am to 7pm

Wednesday 19th June

11am to 6pm

速

Albert Memorial West Lawn Kensington Gardens London SW7

Thursday 13th June until Wednesday 19th June 2013

‘Party in the Park’ in support of Great Ormond Street Hospital Children’s Charity Tuesday 11th June 2013

Organised by:

Acknowledgements

Haughton International Fairs

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

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

Marie Constance Arguello, Emma Jane Haughton, Giles Haughton, Mary Jones, Anthea Roberts,

Art Antiques London

Richard Webster, Anne Winton

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

Creative Wisdom Ltd

London Press Office: Cawdell Douglas 10-11 Lower John Street

Catalogue advertising:

London W1F 9EB

Helena Power

Tel: +44 (0)20 7439 2822 Email: press@cawdelldouglas.co.uk

While Art Antiques London, the Advisory and Honorary Vetting Committees of ART ANTIQUES LONDON cannot be held responsible for, or warrant, the genuineness or age of any article

New York Press Office: Magda Grigorian

exhibited, visitors are requested to note that all articles have been submitted for inspection by

T: + 1 212 877 0202

a panel of advisors. This is to ensure, as far as possible, that they conform to the regulations laid

E: haughton.ny@prodigy.net

down, and that every article is authentic and of the period they represent. The organisers and/or their agents cannot be held responsible for any items sold at the Fair. This is the sole responsibility

Flowers

of the exhibitors selling the object/objects. Please also note that because of the early printing

Lavenders Blue

datelines for the catalogue, all illustrations were printed before vetting took place. Visitors are reminded that all exhibits are for sale.

Restaurant and Bars The Admirable Crichton

The organisers reserve the right to refuse admission to the Fair and/or seminars. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by an means without the prior permission in writing of the publisher, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. ÂŠ ICFS Ltd

Contents

Organisersâ&#x20AC;&#x2122; Welcome

The Vetting of Art Antiques London

The Lecture Programme

About Great Ormond Street Hospital Charity

Exhibitors

Articles

104

115

130

From the Garden to the Table: The transformation of gastronomy and dining in seventeenth- and eighteenth- century France

Love at second sight: Frederick the Great of Prussia and Meissen

From Canton to the City: Export Porcelain for London

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Floorplan of the Fair

Organisers’ Welcome Welcome to Art Antiques London 2013 We are delighted to welcome you to Art Antiques London. Its stunning setting and wonderful ambiance set against the unique backdrop of the Albert Memorial in Kensington Gardens makes it one of London’s most exciting and glamorous art and antiques fairs. In fact, it has been described as ‘The Jewel in the Crown of London’s summer season’ making it a hit amongst collectors, who travel from all over the world to visit. The Fair’s exciting blend of culture, academia and commerce makes it an essential meeting place for collectors, dealers and museum curators at this strictly vetted, sumptuous summer showcase for the arts. The eminent dealers at Art Antiques London are specialists in a broad range of disciplines, including furniture, paintings, textiles, jewellery, silver, ceramics, as well as rare books and modern and contemporary objets d’art. Every object exhibited is rigorously examined and vetted for quality and authenticity by our honorary vetting committees, so collectors can be assured that they can buy with absolute confidence. The honorary vetting committees are made up of advisers, museum curators and dealers. We are extremely grateful to the committee members for giving so freely of their knowledge, expertise and time and, in particular, to our Honorary Vetting Committee Chairman, Haydn Williams. Our grateful thanks to our speakers, who have come from all over the world, giving a wide range of lectures on many disciplines in the art world. Our thanks to the Ten Ten Foundation Inc. for their continued sponsorship of our lecture programme. We would also like to thank 1stdibs.com for their generous support of Art Antiques London. We are delighted to be working with Great Ormond Street Hospital Children’s Charity for their ‘Party in the Park’ Reception and Dinner. Finally, we look forward to seeing you here again next June. Anna and Brian Haughton

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

Honorary Vetting Committee Chairman: Haydn Williams

The Lecture Programme Sponsored by The Ten Ten Foundation Inc.

Thursday 13th June A1 Franz Anton Bustelli: The Legacy of a Genius Dr Katharina Hantschmann - Bayerisches Nationalmuseum, Munich, 12–1pm 2013 marks the 250th Anniversary of the death of one of the world’s greatest ceramic sculptors: Franz Anton Bustelli. Almost nothing is known about his life - even the birthdate of 1723 which appears in many lexicons, belongs to someone else. What is certain however is that from November 1754 until his death on 18th April 1763 Bustelli was the modeller at the Bavarian Court porcelain Manufactory, first in Neudeck castle then at Nymphenburg. The 150 or so elegant and expressive figural models which he created in those eight and a half years prove not only his great sculptural education but also the incredible quality and sensitivity of his modelling. His unexpected death caused major problems at the manufactory which had enlarged considerably when it moved to Nymphenburg in 1761, particularly with their lack of new models. This problem was faced by reproducing and adapting Bustelli’s figurines in different arrangements, which however did not replicate his unique and special wit that was a major part of Bustelli’s success. The lecture will discuss his greatest works and the development of the manufactory after his death. His successors in their desperation even copied some Meissen models. The development of Nymphenburg was more under the influence of Meissen than had previously been realised.

A2 Science, Art and Passion:Treasures from the Imperial Habsburg Kunstkammer Dr Claudia Lehner-Jobst - Art Historian and Curator, Vienna, 3-4pm The Kunsthistorisches Museum in Vienna which houses the Imperial art collections reopens its splendid Kunstkammer in March 2013, after more than a decade of restoration and reinstallation of its outstanding objects. In a series of twenty rooms, visitors are introduced to the idea of the Kunstkammer as it was perceived by the art collecting emperors and archdukes of the Habsburg Empire throughout the centuries, with all its wonders of nature and the arts. This lecture focuses on various disciplines including ceramics and glass representing the passage of time and meaning, from the mysterious alchemist´s creations to precious items of refined taste.

Friday 14th June French Porcelain Society Study Day, 11am-5.30pm Speakers: Dame Rosalind Savill, Tamara Préaud, Donna Corbin, Nette Megens, Dr Kelly Domoney, Errol Manners, and Susan Newell.

Art Antiques London 2013

Saturday 15th June

Sunday 16th June

B1 Russian Imperial Porcelain and Serge Diaghilev’s Ballets Russes Dr Ekaterina Khmelnitskaya - Curator Russian Porcelain, The State Hermitage Museum, St Petersburg, 12-1pm

C1 Taking Flemish Tapestries to Market 1470-1770 Dr Guy Delmarcel - Emeritus Professor of History of Art, University of Leuven, 2.45-3.45pm

On the threshold of the 20th century, a cultural and artistic boom was about to happen in Russia. Among the symbolic phenomena of the Russian cultural renaissance was Serge Diaghilev’s Ballets Russes. The Imperial Porcelain Factory in St. Petersburg was the first porcelain factory in Russia to bring together 20th century theatre and porcelain production. Sculptures of Anna Pavlova and Tamara Karsavina created by S. Soudbinine became the first figures produced The figure of Karsavina standing on one foot still remains an example for sculptors working with porcelain and is now a calling card of the factory today. Sculptures created by Soudbinine and other porcelain artists go beyond the theatre stage and exist in the overall cultural context of the time. This tradition was not broken after 1917 and figures of M. Fokin, T. Karsavina and many others were continued to be created during the early Soviet period.

In centuries past tapestries functioned as major wall ornaments in palaces, castles and churches. The “Industrial” production of these huge woven works of art possibly consisting of many pieces were woven in “textile chambers” and their production and marketing were submitted to a complex process. Tapestry sets could be ordered by individual customers with specific designs and destinations. The vast majority however were not custom made and were destined for the open market, therefore subjecting them to the market forces of the period. Their design and subject matter were also affected by the fashions of the time. Key aspects of their marketing and production will be discussed by the speaker using existing examples of the ancient Flemish Art 1470-1770.

B2 Vase-Mania: Garnitures de Cheminée in the National Trust Patricia Ferguson - Independent Researcher, 3-4pm For ceramic enthusiasts the term ‘garniture’ defines sets of matching vases designed to be displayed together on the mantelshelf of a chimney-piece. Its history follows closely the development of the fireplace from 1650 onwards. Where better to study garnitures than the encyclopedic ceramic collections of The National Trust with thousands of chimney surrounds in its care. This survey of their historic Chinese, Japanese, Dutch, English, French and German garnitures, dating from 1650 to 1850, will explore the origins of the fashion and the mania that ensued.

C2 Bourbon Renaissance: Louis XVIII to Louis-Philippe 1814-1848 Dr Philip Mansel - historian and author, Editor of the Court Historian, 4.30-5.30pm Louis XVIII in 1814, his brother Charles X in 1824 and their cousin Louis-Philippe in 1830 all began their reigns in a blaze of popularity. The royal factories of Sèvres and Gobelins and the royal museums of the Louvre and Versailles flourished thanks to their personal interest and patronage. Louis XVIII visited Sèvres and thought painting on porcelain as good as Raphael. The Kings lived in the palaces of the Tuileries and Saint Cloud (both destroyed in 1870-1). The Tuileries was too small to contain all those who wished to attend receptions in it; SaintCloud was the Versailles of the nineteenth century. Writers like Chateaubriand, Victor Hugo and Lamartine placed their pens at the service of the monarchy. Even Louis Philippe, who began as a ‘citizen king’, entertained in a way which made ‘all our fetes seem mean in comparison’, according to Charles Greville. The kings helped make Paris, more than ever, Europe’s capital of fashion and the arts. During the ‘Bourbon Renaissance’, all Europe, from Donizetti to Marx, came to live in Paris. It was a golden age.

The Lecture Programme

Monday 17th June

Tuesday 18th June

D1 Dazzling and Magnificent Jewels of the 19th Century Alexandra Rhodes FGA - Senior International Jewellery Specialist Sotheby’s, 12-1pm

E1 Meissen Porcelains with East Asian Decoration in the Ernst Schneider Collection Dr Julia Weber - Ceramics Curator, Bayerisches Nationalmuseum, Munich, 12-1pm

D2 French Empire Silver versus English Regency Silver Dr Godfrey Evans - Principal Curator European Decorative Arts, National Museums Scotland, Edinburgh, 3-4pm The establishment of the French Empire led to the production of huge quantities of magnificent silver in Paris, both for the Emperor Napoleon and the new French élite and for other rulers and aristocrats across Europe. Godfrey Evans will explore the rise of Martin-Guillaume Biennais from a retailer of items made of wood to the Emperor’s official goldsmith. He will focus on the two outstanding works by Biennais now in Edinburgh: the amazing travelling service of Napoleon’s sister, Princess Pauline Borghese, and the stupendous silver-gilt service supplied in connection with the Emperor’s marriage to the Archduchess Marie-Louise of Austria in 1810, based on drawings by Napoleon’s architect and designer Charles Percier. After studying some little-known major pieces by Biennais’s rival Odiot, Dr Evans will discuss the activities of the British royal goldsmiths Rundell, Bridge and Rundell and Paul Storr, the patronage of the Prince Regent, and the importance of Rundell’s ambassadorial services in the history of British silver.

In 1968, the German industrialist Dr. Ernst Schneider donated his world-famous collection of Meissen porcelains to the Bavarian State. In response to this generous gift Lustheim close to Munich, a beautiful Wittelsbach palace was renovated and opened to the public as the first branch museum of the Bayerisches Nationalmuseum. It now contains the second biggest compilation in this field, a collection which can only be compared with the Porcelain Collection in Dresden. Schneider had a predilection for porcelains painted in the East-Asian style. These comprised about a third of his collection. In a comprehensive catalogue of these pieces published earlier this year, Julia Weber discusses - based on new evidence found in the archives at Meissen and Dresden - the origins of the shapes and decors of all pieces. Her talk aims to present some highlights and to give insights into the results of her research. E2 Cleveland Renaissance: Maiolica, Palissy and Saint-Porchaire at the Cleveland Museum of Art Stephen Harrison - Curator of Decorative Art and Design, Cleveland Museum of Art, Cleveland, Ohio, 3-4pm After an eight-year $350 million renovation and expansion under the direction of architect Rafael Vinoly, the Cleveland Museum of Art is nearing completion of a top to bottom reinstallation of its world renowned collections. This transformative reassessment of its galleries has resulted in the most extensive analysis of the collection since the museum was founded in 1916. The fully illustrated lecture will chronicle the history of ceramics collecting in Cleveland, one of America’s great mid-western industrial cities and home to oil magnate John D Rockefeller. Curator of decorative art and design Stephen Harrison will also discuss various generations of display, scholarship and interpretation of the museum’s newly installed galleries of Renaissance works, including its extensive collections of Italian maiolica, French faience attributed to Bernard Palissy and important works from the region of Saint-Porchaire.

Art Antiques London 2013

About Great Ormond Street Hospital Charity Great Ormond Street Hospital Children’s Charity is delighted to have been chosen as the beneficiary of the 2013 Art Antiques London and we hope to raise much needed funds to support the hospital’s world-class research team. Research can play a vital role in saving the lives of children in critical conditions. When doctors discovered Ciaran needed a new windpipe to keep him alive, the surgical and research teams at Great Ormond Street Hospital worked with units across Europe to grow him a new one using his own stem cells. This operation was a pioneering step in the field of transplant medicine and Ciaran was the first child ever to benefit from the use of this remarkable new technique to replace a windpipe.

Great Ormond Street Hospital Children’s Charity would like to express their deepest appreciation to the Haughtons and Art Antiques London for choosing Great Ormond Street Hospital Children’s Charity as their beneficiary this year and we hope that the evening is a huge success.

Our doctors and nurses are renowned for providing worldclass clinical care but they are also motivated every day to find new treatments and cures for the thousands of children they see each year who, like Ciaran, suffer from rare and complex conditions. Child healthcare has progressed significantly in the last fifty years and Great Ormond Street Hospital is proud of its role at the forefront of innovative children’s medicine. Today, our doctors are able to replace faulty heart valves without the need for invasive surgery and provide mini bone marrow transplants that avoid high doses of chemotherapy. The money raised through Party in the Park will help fund vital child health research in four key areas. We want to invest in pioneering new stem cell treatments for children with lifethreatening gut disorders and those suffering from inherited blindness. We aim to map the long-term survival in children with heart disease and to design surgeries with the best chance of success. Finally, we want to support some of the hospital’s most vulnerable patients by ensuring the voices of children with learning disabilities are heard and that hospital care is structured to meet their unique needs. Medical research has the potential to transform the lives of children like Ciaran and their families. The money raised through Party in the Park will help us develop more ground breaking techniques, treat more children and, save more lives. 11

Exhibitors

Exhibitors A D ANTIQUES PO Box 51, Chipping Campden, Gloucestershire GL55 6UQ, UK M: +44(0)7811 783518 www.adantiques.com e: alison@adantiques.com Alison Davey, Heidi Warr, Nancy Elvins

A16

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

Specialising in British art pottery and contemporary ceramics APOLLO – THE INTERNATIONAL ART MAGAZINE B12 22 Old Queen Street, London SW1H 9HP, UK T: +44 (0) 20 7961 0064 www.apollo-magazine.com e: dwilson@pressholdings.com BADA The British Antique Dealers’ Association 20 Rutland Gate, London SW7 1BD, UK T: +44(0)20 7589 4128 F: +44(0) 20 7581 9083 www.bada.org e: info@bada.org

D15

BAZAART F16 15 Dawson Road, Cricklewood, London NW2 6UB, UK T: +44(0)20 8208 3313 M: +44(0)7710 461627 www.bazaart.co.uk e: justin@bazaart.co.uk Justin Raccanello Italian ceramics LAURA BORDIGNON C18 PO Box 6247, Finchingfield, Essex CM7 4ER, UK T:+44(0)1371 811791 M:+44(0)7778 787929 F:+44(0)1371 811792 www.laurabordignon.co.uk e: laurabordignon@hotmail.com Mrs Laura Bordignon Japanese ivories and bronzes from the Meiji period

J.H. BOURDON-SMITH LTD C38 24 Mason’s Yard, St. James’s, London SW1Y 6BU, UK T: +44(0)20 7839 4714 F: +44(0)20 7839 3951 www.bourdonsmith.co.uk e: enquiries@bourdonsmith.co.uk John Bourdon-Smith, Edward J. Bourdon-Smith, Julia Bourdon-Smith, Robyn Mercer

CHRISTOPHER BUCK ANTIQUES E14 56-60 Sandgate High Street, Sandgate, Folkestone, Kent CT20 3AP, UK T & F: +44(0)1303 221229 M: +44(0)7836 551515 www.christopherbuck.co.uk e: cb@christopherbuck.co.uk Christopher Buck, Jane Buck Fine quality Georgian furniture and accessories JENNA BURLINGHAM FINE ART B27 2a George Street, Kingsclere, Newbury, Hampshire RG20 5NQ, UK T: +44(0)1635 298855 M: +44(0)7970 057789 www.jennaburlingham.com e: info@jennaburlingham.com Jenna Burlingham Paintings, prints, ceramics and sculpture. Specialising in twentieth century, modern British and selected contemporary art. PETER CAMERON Vault 57, The London Silver Vaults, 53-64 Chancery Lane, London WC2A 1QS, UK T: +44(0)20 7242 3878 M:+44(0)7836 210759 www.petercameronantiquesilver.com e: peter.cameron@idnet.co.uk Peter Cameron, Linda Jackson Specialising in silver and silvered brass 1650-1980 THE CANON GALLERY E6 Huntingdon, Cambridgeshire, UK T: +44(0)1832 293206 M: +44(0)7831 760511 www.thecanongallery.co.uk e: jeremygreen16@googlemail.com Jeremy Green Dealers in 18th, 19th and 20th century oils and watercolours

Art Antiques London 2013

SANDRA CRONAN LTD C23 First Floor, 16 Albemarle Street, London W1S 4HW, UK T: +44(0)20 7491 4851 www.sandracronan.com e: enquiries@sandracronan.com Sandra Cronan, Catherine Taylor, Catherine Edwards

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

Idiosyncratic works of art, pictures and sculpture

Fine antique and period jewellery DARNLEY FINE ART LTD E4 18 Milner Street, Chelsea, London SW3 2PU, UK T: +44(0)20 8288 9094 M: +44(0)77650 890463 www.darnleyfineart.com e: enquiries@darnleyfineart.com Adrian Pett Fine paintings from the 16th and 20th centuries. We specialise in 19th century Orientalist paintings of the Middle East, portraits of all periods and original paintings for railway posters. MARY DEEMING By appointment only, UK T & F: +44(0)20 8290 1246 M: +44(0)7930 134711 www.japaneseprintauction.com e: japaneseprintauction@btclick.com Mary Deeming, Mystry Deeming

Japanese woodblock prints 1780-1930. Japanese works of art, textiles, silver 1880-1930 DELOMOSNE & SON LTD Court Close, North Wraxall, Chippenham, Wiltshire, SN14 7AD, UK T: +44(0)1225 891505 M: +44(0)7785 565345 www.delomosne.co.uk e: delomosne@delemosne.co.uk Timothy N.M. Osborne, Victoria E. de C. Osborne

English and Irish glass of the 18th and 19th centuries. English porcelain of the 18th and 19th centuries.

D & M FREEDMAN By appointment only, UK M: +44(0)7976 708913 www.freedmanantiques.com e: dandmfreedman@blueyonder.co.uk David and Mercedes Freedman

B25

Chinese porcelain and other works of art 15th to 19th century European 16th and 17th century maps GANDER & WHITE SHIPPING LTD B18 Unit 1, St Martinâ&#x20AC;&#x2122;s Way, Wimbledon, London SW17 0JH, UK T: +44(0)20 8971 7160 F:+44(0)20 8946 8062 www.ganderandwhite.com e: oliver.howell@ganderandwhite.com THE GILDED LILY London W1K 5LP, UK T: +44(0)20 499 6260 M: +44(0)7740 428358 F: +44(0)20 7 499 6260 www.graysantiques.com e: jewellery@gilded-lily.co.uk Korin Harvey, Brian Murray-Smith

C30

Fine jewellery from the 19th century to the present GRIMA D34 First Floor, 16 Albemarle Street, London W1S 4HW, UK M: +44(0)7900 590123 www.grimajewellery.com e: info@grimajewellery.com Jojo Grima, Francesca Grima Grima jewellery from the 60s and 70s up to today

ELLISON FINE ART D36 By appointment, Beaconsfield, Buckinghamshire, UK T: +44(0)1494 678880 M:+44(0)7720 317899 www.ellisonfineart.com e: claudia.hill@ellisonfineart.co.uk Claudia and Richard Hill Fine antique portrait miniatures dating from the 17th through to the 20th century, including portraits in enamel, plumbago, oils on copper and watercolour on card

HAMPTON ANTIQUES D16 By appointment only, UK T: +44(0)1604 863979 www.hamptonantiques.co.uk e: info@hamptonantiques.co.uk Mark Goodger Treen, boxes, tea caddies, silver, objects of vertu, glass, art deco, art nouveau 15

Exhibitors

JULIAN HARTNOLL 37 Duke Street St. James’s, London SW1Y 6DF, UK T: +44(0)20 7839 3842 M: +44(0)7775 893842 www.julianhartnoll.com e: info@julianhartnoll.com Julian Hartnoll, Fiona Barry

B33

19th and 20th century paintings, drawings and prints BRIAN HAUGHTON GALLERY 15 Duke Street St James’s, London SW1Y 6DB, UK T: +44(0)20 7389 6550 F+44(0)20 7389 6556 www.haughton.com e: gallery@haughton.com Brian Haughton, Paul Crane

E26

E23

17th and 18th century drinking glasses, 19th century cut, coloured and engraved table glass and collectors’ items. 20th century European glass by major designers HEIRLOOM & HOWARD Manor Farm, West Yatton, Chippenham, Wiltshire, SN14 7EU, UK T: +44(0)1249 783038 M: +44(0)7785 282290 F: +44(0)1249 783039 www.heirloomandhoward.com e: office@heirloomandhoward.com Angela Howard, Rebecca Wise

Specialising in Chinese armorial and Chinese export porcelain 18th to early 19th Century. 19th Century English armorial coach panels

JOHN HOWARD 6 Market Place, Woodstock, Oxon. OX20 1TA, UK M: +44(0)7831 850544 F: +44(0)1993 812580 www.antiquepottery.co.uk e: john@johnhoward.co.uk John Howard, Linda Howard, Kerry Howard

E18

Specialising in 18th and 19th century British pottery

Brian Haughton started as a ceramics dealer in 1965, going on to found the International Ceramics Fair & Seminar in London in 1982 (now called Art Antiques London), as well as international fairs in New York. Specialises in the finest 18th and 19th century English and Continental porcelain and pottery and contributes to some of the world’s leading private collections. He supplies museums. Catalogues are published annually. JEANETTE HAYHURST ANTIQUE GLASS P.O. Box 83, Tetbury, Gloucestershire GL8 0AL, UK M: +44(0)7831 209814 www.jeanettehayhurst.com e: jeanettehayhurstantiqueglass@btinternet.com Malcolm Hayhurst, Jeanette Hayhurst

THE HERMITAGE FOUNDATION UK 5a Bloomsbury Square, London WC1A 2TA, UK www.hermitagefriends.org

CONSTANTINE LINDSAY LTD M: +44(0)7967 738193 www.constantineart.com e: art@constantineart.com Constantine Lindsay

19th and 20th century British and European paintings SANDA LIPTON E2 By appointment only, Suite 202, 2 Lansdowne Row, Berkeley Square, London W1J 6HL, UK T: +44(0)20 7431 2688 M: +44(0)7836 660008 F: +44(0)20 7431 3224 www.antique-silver.com e: sanda@antique-silver.com Sanda Lipton Specialising in fine antique silver, early English spoons, historical and commemorative medals, objects of vertu and collectors’ items 16th to early 20th centuries LUCAS RARITIES Mayfair, London W1, UK T: +44(0)20 7100 8881 F: +44(0)20 7100 8882 www.lucasrarities.com e: info@lucasrarities.com Sam Loxton, Sophie Stevens, Francesca Martin-Gutierrez

A12

Lucas Rarities specialise in rare and exceptional pieces of period jewellery and objets d’art, with a particular emphasis on signed pieces from the Art Deco era to the 1970s. Our collection includes a range of jewellery that fully captures the stylistic shift during the first half of the twentieth century, which saw the evolution of jewellery design into an art form.

Art Antiques London 2013

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

JOHN MITCHELL FINE PAINTINGS 44 Old Bond Street, London W1S 4GB, UK T: +44(0)20 7493 7567 F: +44(0)20 7493 5537 www.johnmitchell.net e: enquiries@johnmitchell.net James Mitchell, William Mitchell, David Gaskin

English 18th century antique furniture and works of art

Old master paintings; English paintings; 19th Century paintings

E & H MANNERS 66C Kensington Church Street, London W8 4BY, UK T: +44(0)20 7229 5516 M: +44 (0)7767 250763 www.europeanporcelain.com e: manners@europeanporcelain.com Errol Manners, Henriette Manners

E32

European ceramics of the 17th and 18th centuries MARTIN DU LOUVRE 69 rue du Faubourg Saint Honoré, 75008 Paris, France T: +33(0)1 40170689 M: +33(0)680 175101 www.martindulouvre.com e: 69faubourg@gmail.com David Le Louarn

C24

Modern and contemporary sculpture, paintings, drawings, photography and design DUNCAN R MILLER FINE ARTS D17 6 Bury Street, St James’s, London SW1Y 6AB, UK T: +44(0)20 7839 8806 M: +44(0)7977 497670 F: +44(0)20 7389 0626 www.duncanmiller.com e: art@duncanmiller.com Duncan R. Miller, Alexander Miller, Mary Miller, Sue Palmer, Derek Chapman Paintings and sculpture (Modern British and contemporary) TIMOTHY MILLETT Historic Medals & Works of Art, P. O. Box 20851, London SE22 OYN, UK T: +44(0)20 8693 1111 M: +44(0)7778 637898 www.historicmedals.com e: tim@historicmedals.com Timothy Millett

E22

D14

MOORE-GWYN FINE ART C6 By appointment only, 23 Sinclair Gardens, London W14 0AU and P.O. Box 293, Lechlade GL7 3WG, UK M: (0)7765 966256 www.mooregwynfineart.co.uk e: harry@mooregwynfineart.co.uk Harry Moore-Gwyn, Camilla Moore-Gwyn British paintings and drawings, mainly from the period 1870-1970, including works by the Camden Town Group (in particular Robert Bevan), Stanley Spencer, Lucian Freud, John Piper, Paul and John Nash and Ethelbert White. A particular interest in unjustly neglected artists of the period. MUSE. THE SCULPTURE COMPANY B6 By Appointment Trull Farm Buildings, Tetbury, Gloucestershire GL8 85Q, UK M: +44(0)7828 174679 www.thesculpturecompany.co.uk e: Justin@thesculpturecompany.co.uk Justin Gardner NIGEL NORMAN Stand 335/6 Grays Antiques, 58 Davies Street, London W1K 5LP, UK T: +44(0)20 7495 3066 M: +44(0)7801 789316 www.nigelnorman.co.uk www.cufflinksofallperiods.co.uk e: jewels@nigelnorman.co.uk Alexandra Kennedy, David Sugarman

E24

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

Works of art and historic medals 1500 - 1900

Exhibitors

RICHARD OGDEN 28 Burlington Arcade, London W1J 0NX, UK T: +44(0)20 7493 9136 www.richardogden.com e: jewels@richardogden.com Robert Ogden, Andrew Prince, Silvia Kobi

Potterton Books will be exhibiting a wide variety of books on the fine and decorative arts

19th and 20th century fine jewellery and objets de vertu SUSAN OLLEMANS ORIENTAL ART D8 13 Georgian House, 10 Bury Street, London SW1Y 6AA, UK M: +44(0)7775 566356 www.ollemans.com e: ollemans178@btinternet.com Sue Ollemans, Georgie Donnelly Antique jewellery from the Indian Sub-Continent from the Gupta period through the Mughal period to the 19th century. There will be a group of related pieces from South East Asia, Burma, Cambodia, Thailand and Indonesia, as well as a group of early Chinese jewels from the Song, Liao and Ming periods. GUY PEPPIATT FINE ART LTD C34 Riverwide House, Mason’s Yard, Duke Street St. James’s, London SW1Y 6BU, UK T: +44(0)20 7930 3839 M: +44(0)7956 968284 F: +44(0)20 7839 1504 www.peppiattfineart.co.uk e: guy@peppiattfineart.co.uk Guy Peppiatt 18th and 19th century British drawings and watercolours CHRISTOPHE PERLÈS 20 rue de Beaune, 75007 Paris, France T & F: +33 (0)1 49260324 www.cperles.com e: christopheperles@hotmail.com Christophe Perlès

SYLVIA POWELL DECORATIVE ARTS By Appointment only Suite 400 Ceramic House, 571 Finchley Road, London NW3 7BN, UK T: +44 (0)20 8201 5880 M: +44 (0)7802 714 998 www.sylviapowell.com e: Sylvia@sylviapowell.com Sylvia Powell

B32

Rare and perfect art pottery. Specializing in the best examples of works by Picasso, Jean Cocteau, William De Morgan, Wedgwood Fairland, Martin Brothers, Moorcroft and many others. ROBYN ROBB E33 P.O. Box 66256, Ranelagh Gardens, London SW6 9DR, UK T&F: +44(0)20 7731 2878 e: robynrobb@clara.co.uk Robyn Robb, Michelle Rae, Jenny Martin Smith 18th century English porcelain

F12

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

POTTERTON BOOKS F14 The Old Rectory, Sessay, Thirsk, North Yorkshire YO7 3LZ, UK T: +44(0)1845 501218 F: +44(0)1845 501439 www.pottertonbooks.co.uk e: ros@pottertonbooks.co.uk Mrs Clare Jameson

RÖELL FINE ART Tongersestraat 2, 6211LN Maastricht, Netherlands T: + 31(0)65 32 11 649 www.guusroell.com e: g.roell@planet.nl Guus Röell, Allan Hare, Theo Hare

D12

Portuguese, Dutch and English colonial furniture, works of art, silver and paintings from the 17th to the 19th century

Art Antiques London 2013

ROWNTREE CLARK E16 By appointment, 27 Georgian House, 10 Bury Street, St. James’s, London SW1Y 6AA, UK M: +44(0)7974 967406 www.rowntreeclark.com e: ed@rowntreeclark.com Edward Clark 20th Century British art with particular emphasis on post-War abstraction SABBADINI E12 Via Montenapoleone 8, 20121 Milan, Italy T: +39(0)2 76008228 F: +39(0)2 76001994 589 Fifth Avenue , New York T:+1 212 6884012 www.sabbadini.com e: info@sabbadini.com Mr. Alberto Sabbadini, Mrs. Stefania Sabbadini, Mr. Pierandrea Sabbadini, Mrs. Samantha Dernini, Elisabetta Folco, Donatella Biagiotti

B10

Exceptional Georg Jensen and 20th century silver. Specialists in the work of Jean Puiforcat and other great 20th century makers SILVERMAN ANTIQUES A14 4 Campden Street, Off Kensington Church Street, London W8 7EP, UK T: +44(0)20 7985 0555 www.silverman-london.com e: silver@silverman-london.com Robin Silverman, William Brackenbury Specialising in fine 18th century silverware, objets d’art, early spoons, fine quality silver tableware

Specialising in the design and creation of high fashion jewellery SAMINA INC By appointment only, 33 St. James’s Square, London SW1Y 4JS, UK T: +44(0)20 31706076 M: +44(0)7775 872960 F: +44(0)20 7286 3633 www.saminainc.com e: saminainc@hotmail.com Dr. Samina Khanyari, Chantal Spar

THE SILVER FUND USA M: +1 917 447 1911 (USA) M: +44(0)7710 032453 www.thesilverfund.com e: michael@thesilverfund.com Michael James, Jason Laskey, Joshua Burcham

D30

Rare collectable Indian jewels, Indian and Islamic works of art ADRIAN SASSOON E8 By appointment only, 14 Rutland Gate, London SW7 1BB, UK T: +44(0)20 7581 9888 M: +44(0)7825 611888 F: +44(0)20 7823 8473 www.adriansassoon.com e: email@adriansassoon.com Adrian Sassoon, Alexa Gray, Kathleen Slater, Mark Piolet, Andrew Wicks, Angus McCrum, Clare Beck French 18th century porcelain, contemporary ceramics, glass and metalwork

SIM FINE ART By appointment, London, UK M: +44(0)7919 356150 www.simfineart.com e: simfineart@btinternet.com Andrew Sim, Diane Sim

E10

Intriguing British pictures 1750-1950, drawings, watercolours and oils PETA SMYTH ANTIQUE TEXTILES 42 Moreton Street, Pimlico, London SW1V 2PB, UK T: +44(0)20 7630 9898 M: +44(0)7956 420194 F: +44(0)20 7630 5398 www.petasmyth.com e: gallery@petasmyth.com Peta Smyth, Joseph Sullivan

B17

European textiles and textiles for the European market of the period spanning the 16th century to the 19th century, encompassing tapestries, needlework for the upholstery of antique furniture, silk brocades, damasks and velvets, crewelwork and other embroidery, appliquéd and printed textiles, cushions and passementerie

Exhibitors

JOHN SPINK LONDON B22 9 Richard Burbidge Mansions, 1 Brasenose Drive, Barnes, London SW13 8RB, UK T: +44(0)20 8741 6152 M: +44(0)7808 614168 www.johnspink.com e: john@johnspink.com Michele Spink, John Spink, Eleanor Cowen, Francesca Herrick

WALKER GALLERIES 6 Montpellier Gardens, Harrogate, North Yorkshire HG1 2TF, UK T: + 44(0)1423 567933 www.walkergalleries.com e: wgltd@aol.com Ian Walker, Shirley Walker, Kevin McSwiggan

English watercolours

Specialising in 19th and 20th century English and European paintings and watercolours

STRACHAN FINE ART B24 PO Box 50471, London W8 9DJ, UK www.strachanfineart.com e enquiries@strachanfineart.com T: +44(0)20 7938 2622 M: +44(0)7860 579126 Russell Strachan, RĂŠgine Strachan Paintings (mainly portraits) from the 16th to the 20th century, drawings, medieval sculpture, 20th century British sculpture (bronze) PETER SZUHAY Grays, 58 Davies Street, London W1K 5LP, UK T: +44(0)20 7408 0154 www.peterszuhay.com e: pgszuhay@aol.com Peter Szuhay

D32

MARY WISE ANTIQUES 58-60 Kensington Church Street, London W8 4DB, UK T: +44(0)20 7937 8649 M: +44(0)7850 863050 www.wiseantiques.com e: info@wiseantiques.com Mary Wise, Stephen Wild, Michael Howard

B14

18th and early 19th century English porcelain; some continental porcelain of the same period; bronze and ormolu artefacts; small unusual works of art

European silver and works of art WILLIAM THUILLIER OLD MASTER PAINTINGS 14 Old Bond Street, London W1S 4PP, UK T: +44(0)20 7499 0106 M: +44(0)7831 238760 F: +44(0)207233 8965 www.thuillart.com e: thuillart@aol.com William Thuillier, Fion Shuzheng, Alvaro Picardo

HEIDI WARR CERAMIC DESIGNS 95 Herne Rise, Ilminster, Somerset TA19 0HH, UK T: + 44(0)1460 394319 www.heidiwarr.co.uk e: heidiwarr@hotmail.co.uk Heidi Warr

C32

B16

Mainly European paintings 1600-2000. Some European furniture 18th and 19th centuries. Possibly some European ceramics and 20th century bronzes by Elisabeth Frink

WOOLLAHRA TRADING CO. LTD. By appointment, UK T: +44(0)20 7792 8154 e: dominicj99@yahoo.com Robert Compton Jones, Dominic Compton Jones

B23

Old master paintings and antiquities RODNEY WOOLLEY CERAMICS AND WORKS OF ART By appointment, London, UK M: +44(0)7450 286335 www.rodneywoolley.com e: rw@rodneywoolley.com Rodney Woolley

E30

European ceramics and glass 17th-19th century. Delftware pottery.

William De Morgan Triple Lustre Plaque in “Serpent Island” design by Charles Passenger Circa 1890 Diameter 11 ins (27.5 cms)

A16 A D Antiques

PO Box 51, Chipping Campden, Gloucestershire GL55 6UQ UK M: +44 (0)7811 783518 www.adantiques.com e: alison@adantiques.com 21

A massive two-handled ‘terracotta maiolicata’ vase with the coat of arms of Medici impaling Toledo. Decorated with grotesque figures on an orange, blue and yellow ground. Made for the Ospedale di Santa Nuova in Florence. Perhaps workshop of Dante di Guido Maffei, Montelupo 1571-76 Circa 1575 Height 16 ¾ ins (42.cms)

F16 Bazaart

15 Dawson Road, Cricklewood, London NW2 6UB. UK T: +44 (0)208 2083313 M: +44(0)7710 461627 www.bazaart.co.uk e: justin@bazaart.co.uk 22

Genryu–sai Seiya Japanese bronze tiger on a gnarled wood base signed in a reserve Genryu–sai Seiya zo–, Meiji period Height 13 ½ ins (34 cms) width 23 ¼ ins (58 cms) depth 10 ins (25 cms)

C18 Laura Bordignon

PO Box 6247, Finchingfield, Essex CM7 4ER, UK T: +44 (0)1371 811791 M: +44 (0)7778 787929 F: +44 (0)1371 811792 www.laurabordignon.co.uk e: laurabordignon@hotmail.com 23

A set of four George III silver candlesticks made in London in 1762 by William Cafe, each on square gadrooned base, the column stems terminating in openwork Corinthian capital sockets. The bases are engraved with contemporary coat of arms featuring a cross patonce fitchy argent impaling another (lion rampant), the detachable nozzles each numbered to match the candlesticks. Height: 12 ¼ ins (31 cms) Weight: 72.4 oz 2254gr

C38 J.H. Bourdon-Smith Ltd

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

A fine quality George I walnut wing armchair of classical design with four cabriole legs, the front two with lapetcarved legs and â&#x20AC;&#x2DC;Câ&#x20AC;&#x2122; scrolls. Upholstered in a modern Gainsborough silk fabric. Circa 1720 / George I Walnut Width 35 ins (87.5cms) Height 43 ins (107.5cms) Depth 30ins (75cms)

E14 Christopher Buck Antiques

56-60 Sandgate High Street, Sandgate, Folkestone, Kent CT20 3AP, UK T & F: +44(0)1303 221229 M: +44(0)7836 551515 www.christopherbuck.co.uk e: cb@christopherbuck.co.uk 25

B27 Jenna Burlingham Fine Art

2a George Street, Kingsclere, Newbury, Hampshire RG20 5NQ, UK T: +44(0)1635 298855 M: +44(0)7970 057789 www.jennaburlingham.com e: info@jennaburlingham.com 26

Anne Redpath Summer Flowers in a Blue Dish Oil on board Signed, dated 1959 and inscribed on artist’s label verso 24 ⅜ x 29 ½ ins (62x75 cms) Provenance: Private collection U.K. Exhibitions: Edinburgh, Society of Scottish Artists, 1959

Hunt and Roskell, late Storr and Mortimer London 1865 Silver-gilt mounted Dressing Set Mirror 17 Â˝ ins (44cms) high

Peter Cameron

Vault 57, The London Silver Vaults, 53-64 Chancery Lane, London WC2A 1QS, UK T: +44 (0)20 7242 3878 M: +44 (0)7836 210759 www.petercameronantiquesilver.com. e: peter.cameron@idnet.co.uk 27

The Canon Gallery Huntingdon, Cambridgeshire, UK T: +44(0)1832 293206 M: +44(0)7831 760511 www.thecanongallery.co.uk e: jeremygreen16@googlemail.com 28

Charles Thomas Burt Wedding Day Oil on canvas Signed and dated 1850 20x30 ins (50x75 cms)

Fancy vivid yellow pear-shaped diamond ring, 1.27ct. English, c.1930 Yard. Important multi-coloured fancy diamond bracelet. American, 2005 Tiffany & Co. Art Deco fancy yellow and white diamond clip. American, c.1930 Edwardian diamond and natural Oriental pearl drop earrings. English, c.1910

C23 Sandra Cronan Ltd

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

Darnley Fine Art 18 Milner Street, Chelsea, London SW3 2PU, UK T: +44 (0)20 8288 9094 M: +44 (0)77650 890463 www.darnleyfineart.com e: enquiries@darnleyfineart.com 30

William Bromley A Carriage to the Ball Oil on canvas Signed and dated 1869 33 x 43 他 ins (82.5 x 109.4 cms)

Tsunetomi Kitano (1880-1947) The Heron Maiden Japanese woodblock print c. 1925 First Edition

D2 Mary Deeming

By appointment only, UK T & F: +44 (0)20 8290 1246 M: (0)7930 134711 www.japaneseprintauction.com e: japaneseprintauction@btclick.com 31

A very rare wineglass, the bucket bowl engraved with a frigate and inscribed â&#x20AC;&#x2DC;Sucefs to the LYON privateerâ&#x20AC;&#x2122; on a single series opaque twist stem and a plain conical foot. English c. 1756 Height 6 ins (15.2 cms) Collections: Sir Hugh Dawson Walter F. Smith Seton Veitch Trevor Davis Illustrated: Percy Bate, English Table Glass, Newnes, 1905, Fig. 246 A.Churchill Ltd., History in Glass, Coronation Exhibition 1937, Pl. 22 E.B. Haynes, Apollo, May 1940, Fig. 9 E.B. Haynes, Glass Through the Ages, Penguin 1948, Pl. 85e Exhibited: The Seton Veitch Collection, Delomosne & Son Ltd., 2006

D6 Delomosne & Son Ltd

Court Close, North Wraxall, Chippenham, Wiltshire, SN14 7AD, UK T: +44 (0)1225 891505 M: +44 (0)7785 565345 www.delomosne.co.uk e: delomosne@delemosne.co.uk 32

Louis Vaslet of Bath 1780 Portrait miniature of a lady seated, holding a dove Watercolour on ivory in turned pear wood frame oval 3Â˝ ins x 2Âž ins (8.75x 6.8 cms)

D36 Ellison Fine Art

By appointment, Beaconsfield, UK T: +44 (0)1494 678880 M: +44 (0)77203 17899 www.ellisonfineart.com e: claudia.hill@ellisonfineart.co.uk 33

William Hamo Thornycroft â&#x20AC;&#x153;Charity and Justiceâ&#x20AC;? Plaster painted to simulate bronze, in the original ebonised frame c. 1888 66x44 ins (168x111 cms)

D4 Ted Few

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

Chinese porcelain famille verte circular dish, painted with ladies in a terraced garden by a lotus pond, with rococo fruit and floral border 13 他 ins (34.7 cms) diameter Kangxi / Yongzheng Circa 1725

B25 D & M Freedman

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

C30 The Gilded Lily

London W1K 5LP, UK T: +44 (0)20 7499 6260 M: +44 (0)7740 428358 F: +44 (0)20 7499 6260 www.graysantiques.com e: jewellery@gilded-lily.co.uk 36

A selection of our fine period jewellery by makers including Cartier, Gubelin and Kutchinsky

BROOCH – Brilliant cut pavé diamonds set in white gold. Hallmark 1973 RING – A large Paraiba Tourmaline set in white gold and diamonds. 2009

D34 Grima

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

D16 Hampton Antiques

By appointment only, UK T: +44(0)1604 863979 www.hamptonantiques.co.uk e: info@hamptonantiques.co.uk

Very rare pair of Ivory and Tortoiseshell Tented Top ribbed Tea Caddies with gold mounts, circa 1790; either side a Papier MachĂŠ Tea Caddy by Henry Clay, with gold mounts and gold framed cameos of classical figures, circa 1790

Jacques Nam (1881-1974) Le Chat Blanc watercolour and gouache Signed 18 Âž x 12 ins (47x30 cms)

B33 Julian Hartnoll

37 Duke Street St. Jamesâ&#x20AC;&#x2122;s, London SW1Y 6DF, UK T: +44 (0)20 7839 3842 M: +44 (0)777589 3842 www.julianhartnoll.com e: info@julianhartnoll.com 39

E26 Brian Haughton Gallery

15 Duke Street St Jamesâ&#x20AC;&#x2122;s, London SW1Y 6DB, UK T: +44 (0)20 7389 6550 F: +44 (0)20 7389 6556 www.haughton.com e: gallery@haughton.com 40

An extremely rare pair of Meissen seated Chinamen Pastille Burners modelled by J.F.Eberlein, both sages with brightly coloured robes and oriental hats. She holds a parrot and he a monkey, both figures and animals pierced with hidden apertures for the incense to rise.

Circa 1735 Height: 6 Âź ins (15.5cms) Marks: Blue Crossed Swords to the underside. For another important pair in the Metropolitan Museum, New York, see Yvonne Hackenbroch, Meissen and other Continental Porcelain, The Collection of Irwin Untermeyer, fig. 25, pl. 19.

A rare Chelsea Asparagus Box and Cover, beautifully naturalistically modelled and decorated as a gathered bunch of blanched spears, tied with raffia. Circa 1755 and of the Red Anchor period Length: 7 ins (18 cms) The inside cover with red anchor mark.

E26 Brian Haughton Gallery

15 Duke Street St Jamesâ&#x20AC;&#x2122;s, London SW1Y 6DB, UK T: +44 (0)20 7389 6550 F: +44 (0)20 7389 6556 www.haughton.com e: gallery@haughton.com 41

An extremely rare and impressive Meissen Model of a Cockerel or Rooster, modelled by J.J.Kaendler, the finely incised plumage painted with a bright palette of exotic tones. Circa 1742 Height: 9 ¼ ins (23cms) Literature: Ulrich Pietsch, Passion for Meissen, no. 136 Mentioned by Kaendler in his Taxa report 1740-48 ‘1 rooster rather large after nature, standing on the grass crowing’ This model and the matching Hen was originally conceived for Johanna Charlotta of Anhalt-Dessau, the Abbess of Herford (16821750). Both models are in the Metropolitan Museum of Art New York (see Y. Hackenbroch, Meissen and other Continental Porcelain, fig. 17)

E26 Brian Haughton Gallery

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

St. Cloud Silver Mounted Snuffbox in the form of a Bowing Oriental. Circa 1740. Height: 2 ½ ins (5.3cms)

Mennecy Silver Mounted Snuffbox in the Form of a Lion and Cub. Circa 1730. 2 ¼ ins (5.3cms) Unrecorded Bow Miniature Model of Reclined Goat. Circa 1755. Diameter: 1 ½ ins (4cms)

E26 Brian Haughton Gallery

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

A rare pipe tamper with prunted reeded ring on prunted knop Over single series opaque twist section Circa 1765 4 1/8 ins (10.5 cms) Provenance: Michael Parkington Collection part 2, Lot 228, Christies South Kensington 8.4.1988 A rare ribbed bud vase on petal foot Circa 1740-50 Height 3 ins (7.5 cms)

E23 Jeanette Hayhurst Antique Glass

P.O. Box 83, Tetbury, Gloucestershire GL8 0AL, UK M: +44(0)7831 209814 www.jeanettehayhurst.com e: jeanettehayhurstantiqueglass@btinternet.com

A rare toy tankard in opalescent glass with silver coloured mount. Last quarter 17th Century 2 ins (5 cms) A small tankard with a similar mount in the Victoria and Albert Museum collection, No.C156-1997, is inscribed â&#x20AC;&#x2DC;bought on ye Thames ice Janua:ye 17 1683/84â&#x20AC;&#x2122;

Chinese armorial plate, Yongzheng circa 1728, from a documentary service with the arms of Tower

From one of four armorial services made for Thomas Tower of Weald Hall in Essex, lawyer and MP, High Sheriff of Essex; or for his brother Christopher Tower of Huntsmore Park, MP and a director of the Bank of England, who were together Joint Auditors of His Majesty’s Revenue and Trustees of the Colony of Georgia. Both brothers were considered ‘Walpole’s creatures’ and the board of the Georgia Society had its suspicions that ‘… Mr Tower would, to oblige Sir Robert, who never cared for our colony, hazard the colony itself and acquaint him with all our proceedings in too open a manner …’ Distinguishing this service from all others of Chinese armorial porcelain, is that part of the original handwritten order which was sent to Jingdezhen in China to be copied is still extant, with a Chinese translation on the reverse written and signed by the Canton merchant Dao Zai. [Illustration of the painting courtesy of the Tower Trust]

Literature: Howard, D.S.; Chinese Armorial Porcelain, Vol. I, page 229, and Vol. II, page 142

Heirloom & Howard Ltd Manor Farm, West Yatton, Chippenham, Wiltshire, SN14 7EU, UK T: +44 (0)1249 783038 M: +44 (0)7785 282290 F: +44(0)1249 783039 www.heirloomandhoward.com e: office@heirloomandhoward.com 45

Wood Family Cockerel Circa 1790-1800 Pearl ware pottery, Staffordshire Height 9 Â˝ ins (23.75 cms)

John Howard 6 Market Place, Woodstock, Oxon. OX20 1TA, UK M: +44(0)7831 850544 F: +44(0)1993 812580 www.antiquepottery.co.uk e: john@johnhoward.co.uk 46

Raoul Du Gardier (1871-1952)

Islanders of the Indian Ocean welcoming a sailing boat Oil on canvas

Signed: Raoul du Gardier Measures: 19 5/8 x 24in (50 x 61 cm) Raoul du Gardier was a painter of marine and oriental scenes. He was a pupil of Théobald Chartran, Jules-Elie Delaunay and trained with Matisse under Gustave Moreau who encouraged them both to express themselves freely. He exhibited at the Salon des Artistes Français in 1894 and was to receive his first honourable mention in 1897. He had a studio at 12 Boulevard de Montparnass and became highly regarded as a painter and engraver. He was a keen explorer and travelled around the world twice receiving a bronze medal at the l’Exposition Universelle of 1900 for his work of the Kabyles women of Algeria. He also illustrated several books, one of which was les Grandes Croisieres by Paul Chack. In 1923 he was awarded the title of Peintre de la Marine in recognition of the quality of his marine pictures. He exhibited his work in London, Munich, Amsterdam, Rome, Montreal and America. Today his work can be found in numerous museums, including the Louvre, Museum of Modern Art Strasbourg, Museum of Fine Art Orleans and the Telfair Museum, USA.

C8 Constantine Lindsay Ltd

M: +44 (0)7967 738193 www.constantineart.com e: art@constantineart.com

Rare, gold Scottish Clan Badge With crest and battle cry of Lord Byron’s family – GORDON of GIGHT, Aberdeenshire Circa 1880s Diameter 1 ½ ins (3.83 cms) Weight 12.90 gms

Sanda Lipton

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

A French silver gilt brooch stylized as a strawberry with round faceted paste and green enamel leaves With French assay marks for silver and makerâ&#x20AC;&#x2122;s mark Circa 1930s

A12 Lucas Rarities Ltd

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

A rare George II green japanned mirror in the manner of Giles Grendey English, circa 1730

C26 Mackinnon

5 Ryder Street, St Jamesâ&#x20AC;&#x2122;s, London SW1Y 6PY, UK T: +44 (0)20 7839 5671 M: +44 (0)7725 332665 www.mackinnonfineart.com e: charlie@mackinnonfineart.com 50

A Meissen Bรถttger porcelain teapot, circa 1715 A Meissen Bรถttger porcelain tea bowl and saucer decorated by Georg Funke, circa 1716 A Nymphenburg figure of a Chinaman modelled by Franz Anton Bustelli, circa 1760

E32 E & H Manners

66C Kensington Church Street, London W8 4BY, UK T: +44 ((0) 20 7229 5516 M: +44 (0)7767250763 www.europeanporcelain.com e: manners@europeanporcelain.com 51

C24 Martin Du Louvre

69 rue du Faubourg Saint HonorĂŠ, 75008 Paris, France T: +33(0)1 40170689 M: +33(0)680 175101 www.martindulouvre.com e: 69faubourg@gmail.com 52

Enrico Baj (1924-2003) Italian School Horatius Nelson, Duke of BrontĂŤ (1758-1805) Shells, medals of honour, compasses, buttons, washers, black silk brocade Signed and numbered on verso (with explanatory key) 32 x 28 ins (80x70 cms)

Samuel John Peploe R.S.A. (1871 - 1935) Etaples Oil on panel Signed 1907 Size: 7 1/2 x 9 1/2 ins (19 x 24 cms) Provenance: With Aitken Dott & Son, Edinburgh Collection of George Thomson Private collection, UK

D17 Duncan R Miller Fine Arts

6 Bury Street, St Jamesâ&#x20AC;&#x2122;s, London SW1Y 6AB, UK T: +44 (0)20 7839 8806 M: +44 (0)7977 497670 F: +44(0)20 7389 0626 www.duncanmiller.com e: art@duncanmiller.com 53

E22 Timothy Millett

Historic medals & Works of Art P.O. Box 20851, London SE22 0YN, UK T: +44 (0)20 8693 1111 M: +44(0)7778 637898 www.historicmedals.com e: tim@historicmedals.com 54

Duke of Wellington, equestrian figure,1888, by SIR JOSEPH EDGAR BOEHM, R. A. (1834-1890) For ELKINGTON & CO H 20 ins (51 cms) W 16 ⅞ (43 cms) D 4 ¾ ins (12 cms) It is a copy by Elkington of the Boehm equestrian statue of Wellington which was unveiled opposite Apsley House in 1888 following alterations to Hyde Park Corner.

James Ward, R.A. (1769-1859) Worthy, a favourite hunter Oil on panel Signed and indistinctly dated 1820(?) 32x44Âź ins (81.3 x 112.7 cms) Provenance: Commissioned by William Wigram (1780-1858) and thence by descent Literature: (probably) C.R. Grundy, James Ward RA, p. 45, no. 387

D14 John Mitchell Fine Paintings

44 Old Bond Street, London W1S 4GB, UK T: +44(0)20 7493 7567 F: +44(0)20 7493 5537 www.johnmitchell.net e: enquiries@johnmitchell.net 55

C6 Moore-Gwyn Fine Art

By appointment only: 23 Sinclair Gardens, London W14 0AU and P.O. Box 293, Lechlade GL7 3WG, UK M: +44 (0)7765 966256 www.mooregwynfineart.co.uk e: harry@mooregwynfineart.co.uk 56

Sir Stanley Spencer, R.A. (1891-1959)

Dilapidated houses near Cookham Pen and black ink Signed verso: S. Spencer/”Fernlea”/ Cookham 10 ¼ x 14 ¼ ins (25.5 x 35.5 cms)

Provenance: A relative of the artist

Gale Force Nun Philip Jackson CVO DL MA FRBS h. 74 ins (185 cms) w. 46 ½ ins (116 cms) d. 47 ½ ins (119 cms)

B6 Muse. The Sculpture Company

By Appointment Trull Farm Buildings, Tetbury, Gloucestershire GL8 85Q, UK M: +44 (0)7828 174679 www.thesculpturecompany.co.uk e: Justin@thesculpturecompany.co.uk 57

An unusual gold Stirrup brooch with spur by HermĂ¨s of Paris, c1950 A Brazilian Topaz and diamond shouldered ring c.1950 A French, ruby, sapphire and diamond tied ribbon brooch, c.1920 Pair of Diamond and green guilloche enamel cufflinks by Cartier of Paris, c.1900 Pair of Diamond set, gold hoop earrings, Cartier of Paris, c.1960 A gold and diamond, fan shaped brooch, Tiffany and Co, c.1950 A finely made gold Rose spray, Bulgari, c.1960 Platinum mounted, diamond and ruby brooch of the Coldstream Guards, c.1910.

E24 Nigel Norman

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

An 18th century gold mounted agate nécessaire box with openwork Rococo decoration of leaves, flowers and scrolls, the front also featuring a dog, two birds and a swan, garnet set push button. The rim of the lid inscribed in capitals ‘votre amitié fait mon bonheur’ against a white enamel ground. Contents complete. English, circa 1755-60. Gold topped scent bottles, penknife, spoon, etc. from another similar smaller nécessaire inscribed ‘rien de plus doux que l’amour’, probably made by the same hand.

Richard Ogden

28 Burlington Arcade, London, W1J 0NX, UK T: +44(0)20 74939136 www.richardogden.com e: jewels@richardogden.com

A ruby, emerald and diamond pendant North India, Jaipur 19th Century Diameter 2他 ins (6.8cms) A fine pierced pendant set with rubies, emeralds and diamonds in the Kundan technique. The central rectangular ruby is surrounded by diamond petals, then by a row of emerald petals, the outer rim of alternating rubies and diamonds. The pendant is mounted with two Basra pearls. Fine enamelling to the reverse.

D8 Susan Ollemans Oriental Art

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

Joseph Mallord William Turner, R.A. (1775-1851) A Limekiln at Briton Ferry, South Wales - Moonlight Watercolour over traces of pencil Signed lower right 7 ½ x 10 ¾ ins (19.5 by 27.3 cms) Provenance: Anonymous sale, Christie’s, 23rd April 1844, lot 81, bt. Murray; John Murray III (1808-1892); by descent to the present owner

C34 Guy Peppiatt Fine Art Ltd

Riverwide House, 6 Mason’s Yard, Duke Street St. James’s, London SW1Y 6BU, UK T: +44(0)20 7930 3839 M: +44(0)7956 968284 F: +44(0)20 78391504 www.peppiattfineart.co.uk e: guy@peppiattfineart.co.uk 61

F12 Christophe PerlĂ¨s

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

Pair of Chantilly figures holding baskets Unrecorded Mennecy musician figure Pair of Saint-Cloud figures XVIII century

SĂ¨vres - pieces from the service delivered to Cardinal Caprara Circa 1797-1800

F14 Potterton Books

The Old Rectory, Sessay, Thirsk, North Yorkshire, YO7 3LZ, UK T: +44(0)1845 501218 F: +44 (0)1845 501439 www.pottertonbooks.co.uk e: ros@pottertonbooks.co.uk 64

The James A. De Rothschild Collection at Waddesdon Manor: Meissen and Oriental Porcelain

Picasso (1881-1973) Canard pique-fleurs, Vallauris France, 1951 (Ltd. Ed. 46/50). h. 17 ins (43 cms) w. 8 ins (20 cms) l. 18 ins (46 cms) Painted marks to the underneath Literature: Picasso: Catalogue of the edited ceramic works 1947-1971, Alain RamiĂŠ, Madoura 1988. p.68, a similar vase illustrated.

B32 Sylvia Powell Decorative Arts

By Appointment only Suite 400 Ceramic House, 571 Finchley Road, London NW3 7BN, UK T: +44(0)20 8201 5880 M:+44(0)7802 714 998 www.sylviapowell.com e: Sylvia@sylviapowell.com

An extremely rare Worcester teacup and saucer, with interlaced branch handles, decorated in the London atelier of James Giles in Meissen style with naturalistic birds perched on leafy branches below a yellow border diapered in brown. Marks: crossed swords and 9 marks Circa 1768 Most of the pieces from the only recorded service of this pattern are in the Worcester Porcelain Museum. A coffee cup, teacup and saucer from the Anthony Wood collection was illustrated by Robyn Robb, 2003 exhibition catalogue, cat. No. 10

E33 Robyn Robb

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

Anonymous Chinese artist Canton, circa 1809 Gouache on paper 13 Â˝ x 18 ins (34 x 45 cms) One of a set of twelve paintings illustrating the growing, transport and selling of tea. Series of pictures such as these, depicting various Chinese trades and industries, were popular with European visitors to Canton in the eighteenth and nineteen centuries. Provenance: This set was bought by Captain Johannes Adolphus van de Putte (Zutphen 1764 â&#x20AC;&#x201C; Cape Town 1819) in Hong Kong in 1809 and has been with the Van de Putte family since then. Literature: Carl Crossman, The decorative arts of the China Trade, Woodbridge 1819 Martyn Gregory, From the Pearl River, exhibition catalogue 2006-7

D12 Roell Fine Art

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

Roger Hilton was a pioneer of abstract art in post-war Britain. During the 1950s and 1960s Hilton began to spend more time in west Cornwall, moving there permanently in 1965. He became a prominent member of the St. Ives School and gained an international reputation. He won the 1963 John Moores Painting Prize and the Unesco prize at the 1964 Venice Biennale. Hilton ‘thought deeply about painting; acutely perceptive about art and people, he was often discomfiting company, particularly when inflamed by alcohol, when he often became verbally aggressive, though he had a deep streak of tenderness. Like his art, he could be both abrasive and life-enhancing’

E16 Rowntree Clark

By appointment, 27 Georgian House, 10 Bury Street, St. James’s, London SW1Y 6AA, UK M: +44 (0)7974 967406 www.rowntreeclark.com e: ed@rowntreeclark.com 68

Roger Hilton (1911-1975) May 1961 Oil on canvas Signed and dated ‘Roger Hilton/MAY ‘61’ (on the reverse) 25 ½ x 30 ½ ins (63.5 x 76.2 cm) Provenance: Waddington Galleries 1962; Private Collection; Waddington Galleries, London, August 1990; Sale: Christie’s. London, 6 Nov 1998, lot 4; Austin Desmond, London 1999; from whom purchased by the present owner in Jan 1999 Exhibited: London, Waddington Galleries, Hilton, April 1962, no.10

Multicolour “bee” brooches suite: pavé diamond wings and body invisibly set with diamonds, rubies, amethysts, green garnets and Ceylon multicolour sapphires: blue, yellow, orange and black

E12 Sabbadini

Via Montenapoleone 8, 20121 Milan, Italy T: +39 02 76008228 F: +39 02 76001994 589 Fifth Avenue , New York T: +1 212 6884012 www.sabbadini.com e: info@sabbadini.com 69

D30 Samina Inc

By appointment only, 33 St. James’s Square, London SW1Y 4JS, UK T: +44(0)20 3170 6076 M: +44(0)7775 872960 F: +44 (0)20 7286 3633 www.saminainc.com e: saminainc@hotmail.com 70

Box Deccan probably Bijapur or Goa, India Later 16th – earlier 17th Century Carved from rock crystal; inlaid with gold in kundan technique and set with rubies and emerald; the fittings fabricated from gold. Overall height: 2½ ins (6 cms) Width: 2¾ ins (7 cms) Circumference: 6¾ ins (17.5cms)

St. Cloud porcelain figure of a Chinese Hermit inside a tree Circa 1730-40 Height 9 ins (22.5 cms) Width 6Â˝ ins (16.5 cms) Depth 4 ins (10 cms)

Adrian Sassoon By appointment only, 14 Rutland Gate, London SW7 1BB, UK T: +44 (0)20 7581 9888 M: +44 (0)7825 611888 / +44 (0)7770 321888 F: +44 (0)20 7823 8473 www.adriansassoon.com e: email@adriansassoon.com 71

Christofle Two-handled Champagne Bucket Sterling silver France, circa 1930 Height 8¾ ins (21.8 cms) width 10½ ins (26.25 cms) across handles

B10 The Silver Fund

USA M: +1 917 447 1911 (USA) M: +44 (0)7710 032453 www.thesilverfund.com e: Michael@thesilverfund.com 72

A superb George IV silver tea caddy, by William Eley II, London 1824, the sliding cover beautifully executed and each of the four sides finely chased with classical and rural scenes. Height 63â &#x201E;8ins (16 cms) 28 ozs. After being in partnership for many years, William Eley entered his first mark alone in 1825. The hallmarking year runs from May to April so in January 1825 they were still using the 1824 punch.

A14 Silverman Antiques

4 Campden Street, Off Kensington Church Street, London W8 7EP, UK T: +44 (0)20 7985 0555 www.silverman-london.com e: silver@silverman-london.com 73

E10 Sim Fine Art

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

Henry Stacy Marks, RA, RWS, HRCA, HRPE (1829-1898) Mr. Punch and Toby Oil on board (original Dolman frame) 7 Â˝ x 6 ins (18.75x15 cms)

An English needlework picture, very finely worked in silk on a woollen ground. Last third of the 17th Century In perfect condition 8 他 x 9 ins (22.3x22.9cms)

B17 Peta Smyth Antique Textiles

42 Moreton Street, Pimlico, London SW1V 2PB, UK T: +44 (0)20 7630 9898 M: +44 (0)7956 420194 F: +44 (0)20 7630 5398 www.petasmyth.com e: gallery@petasmyth.com 75

B22 John Spink Fine Watercolours

9 Richard Burbidge Mansions, 1 Brasenose Drive, Barnes, London SW13 8RB, UK T: +44(0)20 8741 6152 M: (0)7808 614168 www.johnspink.com e: john@johnspink.com 76

Thomas Miles Richardson Jnr (1813-1890) View on Lake Maggiore Watercolour Signed and dated 1840 11 Âź x 18 ins (28 x 45 cms)

William Hoare of Bath, R.A. (1707/8-1792) Portrait of Susan, Mrs. Henry Hoare of Stourhead (1707-1743) Oil on canvas Painted c.1742-43 Later inscription verso: â&#x20AC;&#x153;Ms. Hoare Mother to Susanna, Countess of Ailesburyâ&#x20AC;? 36x28 ins (91.5x71 cms) Provenance: By descent from the sitter to her daughter, Susanna, Countess of Ailesbury (1732-1783) who was 11 when her mother died. Thence by descent in the family at Tottenham Park, Savernake, until 2012 when sold by the Trustees of the Savernake Estate.

B24 Strachan Fine Art

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

D32 Peter Szuhay

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

GIACOMO VAN LINT (Rome 1723 – 1790) A capriccio view of the Arch of Titus in Rome, with travellers and soldiers playing cards in the foreground Oil on canvas: 28 ¾ x 23 5/8 in. (73 x 60 cms) 37 3/8 x 32 1/8 in. (95 x 82 cms) framed Provenance: Private European Collection Expertise from Professor Giancarlo Sestieri confirming the authorship of Giacomo van Lint. The name of Van Lint is synonymous with early Italian veduta painting. The chief exponent was Hendrick van Lint whose broad panoramas describe Rome and Venice at the turn of the eighteenth century. Giacomo was Hendrick’s son and also specialised in views of Rome – the Piazza Novona, the Quirinal, the Piazza del Popolo as well as the bridges of the Tiber. Naturally these landscapes made him enormously popular with Grand Tourists, so that many of his works now reside in English private collections, nestling between Paninis and Canalettos. However, Giacomo van Lint had a voice of his own, and was adept at capturing the raking light of the Eternal City as well as fastidiously describing its remaining architectural details, the cornices, coffered arches and friezes that still decorated Roman monuments in his day. The bas-relief behind the column in our work depicts a fierce clash of Roman arms.

B16 William Thuillier Old Master Paintings

14 Old Bond Street, London W1S 4PP, UK T: +44(0)20 7499 0106 F: +44(0)207 233 8965 M: +44(0)7831 238760 www.thuillart.com e: thuillart@aol.com 79

C32 Walker Galleries

6 Montpellier Gardens, Harrogate, North Yorkshire HG1 2TF, UK T: +44 (0)1423 567933 www.walkergalleries.com e: wgltd@aol.com

Delphin Enjolras (1857-1945) Au coin du feu Oil on canvas Signed 29x21 ins (72.5x52.5cms)

A Vauxhall ‘fruit seller’ Porcelain c. 1755 height 5 ins (12.7cms) The Vauxhall factory was started in 1751 by Nicholas Crisp and John Sanders and continued until 1763 when Crisp went bankrupt. This rare figure belongs to a class of models which in recent years has been re-assigned from the Longton Hall to the Vauxhall factory. References: 1. E.C.C. English Pottery and Porcelain, Exhibition catalogue 1948, Plate 79, No.356 Lord and Lady Fisher collection 2. The collection of Hanns and Elisabeth Weinberg and the Antique Company of New York Sotheby’s, New York, November 10 and 11 2006, page 437, No. 725

B14 Mary Wise Antiques

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

B23 Woollahra Trading Co. Ltd.

By appointment, UK T: +44 (0)20 7792 8154 e: dominicj99@yahoo.com

Winter Scene by Philips Wouwerman (1619-1668) Comic theatre mask, marble Roman, Hadrianic Pair of Attic red-figure lekythoi c. 450 B.C. Pair of Egyptian fa誰ence wings of Nut c. Dynasty XIX - XXI

An English Delftware vase Circa 1675-80 Height 15 3â &#x201E;8 ins (39 cms) English private collection

E30 Rodney Woolley Ceramics

And Works Of Art

By appointment, London, UK M: (0)7450 286335 www.rodneywoolley.com e: rw@rodneywoolley.com

Articles

From the Garden to the Table:

The transformation of gastronomy and dining in seventeenth- and eighteenth-century France Meredith Chilton Independent Art Historian, Canada

The publication of a new catalogue, Daily Pleasures: French Ceramics from the MaryLou Boone Collection (Los Angeles County Museum of Art, 2012) presented a special opportunity to examine why many new wares were created for the French dining table in the late seventeenth and early eighteenth centuries, and in particular, to see whether there was a connection between these new forms and gastronomy at the period. What emerged was fascinating. It seems that the expanding variety of foods, the development of modern cooking techniques, and the evolution of serving and presentation practices at this time were all part of the profound changes that began in the garden and ended with the transformation of the French table. As ceramics manufacturers responded to the changing fashions and demands, they produced a new and sophisticated repertoire of objects for the table and the buffet (fig. 1). Louis XIV (1638-1718) had conservative gastronomic tastes. In his Mémoires, Louis de Rouvroy, duc de Saint-Simon (16751755), noted that the king liked food that was spiced as least twice as much as ordinary dishes and ate with his fingers and a knife, rather than with a fork.1 Despite the preponderance of meat in the royal menus, Louis was particularly fond of melons, figs, strawberries, and asparagus, but is known to have favoured green peas above all other vegetables.2

Figure 1. Mustard pot (moutardier), c.1745-1749 Grand feu faïence Moustiers, France Collection of MaryLou Boone Photograph: Susan Einstein

Fortunately, Louis was able to acquire the services of JeanBaptiste La Quintinie (1626-1688), a gifted horticulturist who had been inspired by his visits to Italy. He was appointed in 1670 as the director of kitchen gardens and orchards for the royal households. At Versailles, La Quintinie was given nine hectares of land close to the château, which he transformed between 1678 and 1683 into the royal potager, or vegetable garden, along with fruit gardens that supplied the royal kitchens. La Quintinie was able to force vegetables and fruit, including the king’s favourite asparagus, green peas, and strawberries,

to produce through the winter months by using angled hot beds enriched with decomposed donkey and horse manure to help early germination. He used domed glass cloches to cover the young plants resulting in microclimates that encouraged out-of season growth. 3 He planted different varieties of fruit trees to expand their season: forty-seven types of pear were cultivated at Versailles, providing ripe fruit for cooking and eating almost all year round.4 Other temperaturesensitive fruits – citrus and figs, for example – were planted in moveable wooden containers so they could be kept warm in hothouses, where they were guarded from drafts and cold weather in the winter, then taken outside in the warmer months. Jardinières of faience or porcelain could also be used, and were particularly popular for displaying flowers or fruiting exotic trees or plants during garden festivities (fig. 2). All this bounty satisfied the king’s cravings, but also demonstrated the baroque concept of man’s mastery of nature. La Quintinie worked and consulted with other nobles on their gardens, including the kitchen gardens of the prince de Condé at Chantilly, but his ideas were disseminated primarily through the posthumous publication in 1690 of his book of instructions for fruit and vegetable gardens.5 Other influential works on horticulture had appeared previously, including Le jardinier françois by Nicolas de Bonnefons, first published in 1651. It was intended to be used specifically by the rising middle classes or by those recently ennobled who had country houses with kitchen and fruit gardens in the area surrounding Paris. Interestingly, de Bonnefons ended his publication with a section of recipes for preserving fruit and flowers, making the link between the garden and the table. Farmers and market gardeners supplied town and city markets for those who could not enjoy the produce of their own kitchen gardens or estates. Many peasants and even some working-class town dwellers were able to grow vegetables, 87

From the Garden to the Table: The transformation of gastronomy and dining in seventeenth- and eighteenth-century France

and some also kept chickens or rabbits. Whether in the city or the country, the poor existed mostly on bread and gruel, supplemented by soup made with cabbage, turnips, and other vegetables. Many were chronically undernourished.6 In Paris at least, however, the average diet improved during the course of the eighteenth century, and most people were able to eat some meat.7 The situation for the well-to-do – the nobility and landed gentry, the bourgeoisie and the merchant classes – was very different. These people could afford the wide variety of fruits and vegetables, meats and poultry, eggs and dairy products that cookbook writers focused on from the 1650s through to the French Revolution and beyond. In 1651 François Pierre de La Varenne (1615-1678) published Le Cuisinier François, the foundation work of French cuisine. Three years later it was followed by Nicolas de Bonnefons’ sequel to his work on gardening, Les Délices de la Campagne. These two authors advocated a new “delicate” style of cooking where herbs played an important role in seasoning, sauces were thickened with flour and butter or cream with egg yolks, and natural ingredients took centre stage.8 Spices such as nutmeg, cinnamon, and cloves, which had been a flavouring staple of the medieval and Renaissance kitchen, still had a small role in La Varenne’s and de Bonnefons’ cooking but were used far more sparingly. They were to be rejected for savoury cooking by subsequent French cooks. La Varenne and Bonnefons were followed by other authors who produced important cookbooks, such as the anonymous “L.S.R” and François Massialot (1660-1733), whose influential Le Cuisinier roïal et bourgeois was first published in 1691.9 Massialot’s cookbook was the first to bring together a group of core recipes that could also be prepared in advance, such as marinades, coulis, glazes, and concentrated extracts known as jus or essences. He recognized that many of his recipes were extremely complex, but declared them “the most delicate and the most fashionable.” In addition, he provided menu plans, stipulating the variety and number of dishes that should be prepared, and illustrated how different courses should be laid out on the table. By the late 1730s, cooks were beginning to rebel against Massialot’s formulas, and a new, simpler style of cooking was introduced by François Marin and François Menon, one they 88

respectively called cuisine moderne and cuisine nouvelle. Curiously, this original cuisine nouvelle broke away from established elaborate cooking, just as its twentieth-century counterpart did, and introduced a lighter, healthier cuisine focused on fresh ingredients. Marin wrote, “I am for the simplest method, and I believe that it is the best for health.”10 Menon’s highly popular cookbook, La Cuisiniere Bourgeois, first published in 1746, shows how this simpler form of cooking could be readily adopted by cooks who worked in smaller, modest households, where less-expensive ingredients and fewer servants were available. By the mid-century even more revolutionary ideas for food were being proposed by philosophers such as Jean-Jacques Rousseau (1712-1778), who condemned eating meat in favour of simple locally grown seasonal vegetables prepared without sauces, eggs, bread, cheeses, butter, milk, and wine.11 Whether elaborate or simple, a number of different dishes were presented for the two principal meals of the day, dinner (in the middle of the day) and supper. At the beginning of his cookbook, Massialot states: “The pleasures of the table are for every age, each sex and for every nationality; and there is noone who does not want to be served à la Françoise.”12 Dining à la Française involved being served three or more courses followed by dessert, presented on a series of dishes of different

Figure 2. Jardinière, c.1670 Grand feu faïence Nevers, France Los Angeles County Museum of Art, gift of MaryLou Boone Photograph: Susan Einstein

Art Antiques London 2013

sizes and sometimes of different shapes, which were all set on the table in an elaborate symmetrical pattern. Distinctive patterns of serving vessels could be set for each course. This method of presenting food was widespread until the early nineteenth century. In general, the first course always included soup. In Massiolot’s plan for the first course of a very grand dinner for thirty, there were twenty-seven numbered dishes composed of various meats, game, and fowl. The menu included four soups as well as a large dish of beef with chicken rissoles, two entrées of carp and pike, and six small entrées. In addition, there were twelve hors d’oeuvres, so called because they were placed outside the main dishes. Hors d’oeuvres dishes could either remain on the table until it was cleared for dessert, or be removed after the first course. Figure 3. Charger, 1739-1749 Grand feu faïence Olerys-Laugier Manufactory, Moustiers, France Collection of MaryLou Boone Photograph: Susan Einstein

For the second course, the beef dish was replaced with one of salmon, and the soups and main entrées gave way to dishes of veal à la crème and boar as well as roasts of lamb and milk-fed piglet. Typically, salads were also served at this time. The third course brought on the entremets – lighter fare where savoury was sometimes mixed with sweet. The final course was dessert, which was prepared in a separate kitchen known as the Office. This dinner may sound overwhelming, but guests partook of only the few dishes closest to them or were served what they requested from further away.13 This type of elaborate dining required large numbers of different serving dishes for each course. Massialot specified at the beginning of the first edition of his cookbook in 1691 that five different sizes of round dish were necessary to serve his food: large round dishes of 16½ inches in diameter, medium dishes of 15 inches, and small dishes of 12 inches, as well as two types of dishes of 10¼ inches for hors d’oeuvres, with either narrow or broad rims.14 Oval dishes for principal dishes and roasts were also specified in later editions. Forty years later, Vincent La Chapelle (d. 1745) illustrated a far more complex variety of serving dishes he considered necessary in The Modern Cook, which was published in English in 1733 and in French in 1742. With so

many different types of food being placed on the table at once – soups or roasts, large and small entrées, entremets and hors d’oeuvres – I believe the introduction of many different forms for serving dishes must have been essential both for the cooks and for those who set the dishes on the tables. Having specific shapes and sizes of serving dish for every element of each course would have been of particular help in the organization and setting of the dense geometric patterns of dishes that were a fundamental element of dining à la française. These differences also helped diners to choose between dishes that would be removed at the end of each course and those that would remain on the table until the dessert. The material from which dishes for dining were made depended on rank and wealth. In general in the seventeenth and eighteenth centuries, metal plates were used to dine from for the first three (or more) savoury courses. In France, plates, special objects, and cutlery made of gold were restricted to the king and his immediate family, who were served with platters and tureens of silver for at least the first three decades of the eighteenth century. 15 Silver plates and serving dishes were used by the nobility, the newly ennobled, and wealthy members of the bourgeoisie, while base metals such as pewter and tin were in widespread use by everyone else.16 Both faience and porcelain were used, particularly for the dessert course, from the seventeenth century on and increasingly during the eighteenth century, as ceramics began to replace silver on the table (fig. 3). Complex porcelain services, became both fashionable and popular in France by the middle of the eighteenth century. They were imported from east Asia or Meissen (Louis-Henri, duc de Bourbon and prince de Condé, had services of both Chinese and Meissen porcelain listed in the inventory taken after he died in 1740) or were made at Vincennes, and later at Sèvres. Eventually, porcelain or faience was used for the whole meal. Giacomo Casanova (1675-1755), a connoisseur of food and champagne as well as women, describes an intimate dinner for two: “The service was made of Sèvres porcelain. The supper was composed of eight made dishes: they were set on silver boxes filled with hot water which kept the food always hot. It was a choice and delicious supper. I exclaimed that the cook must be French … We drank only Burgundy, and then we 89

From the Garden to the Table: The transformation of gastronomy and dining in seventeenth- and eighteenth-century France

emptied a bottle of oeil de perdrix champagne and another of some sparkling wine for gaiety. It was she who dressed the salad; her appetite was equal to mine. She rang only to have the dessert brought in.”17

the mid seventeenth century. In addition, it appears that elements of the silver or silver-gilt surtout, which seems to have been introduced in the 1690s, were imitated in faience and porcelain.21 In 1691 Massialot illustrated a “Machine, also called Surtout, to stand in the middle of a large Table, which one leaves in place during all Courses.” It had a raised platter with two sugar casters, four open salts, vessels for oil and vinegar, and a closed double pepper or spice box arranged around an imposing terrine-shaped vessel that supported candleholders, all likely made of silver.

The most famous incident of faience or porcelain replacing silver and gold occurred in 1709, when Louis XIV’s exchequer became seriously short of funds following the great frost of 1708 and its consequent famine along with eight years of the ruinously expensive Wars of the Spanish Succession. The duc de Saint-Simon recounts how Louis XIV responded positively to a suggestion that silver services be donated to the crown – much to the dismay of his courtiers. The main objection to the plan stemmed from the unseemly possibility of the court and the nobility dining from earthenware while private gentlemen of lesser rank in Paris and the provinces continued to eat from silver. Saint-Simon reported that, finally, the nobles of the court and the gross têtes (big-wigs) of Paris reluctantly donated their silver: “No-one dared not to offer his; everyone regretted it.” He continued: “All the nobility took to earthenware within eight days, stripped the shops and set prices on fire, while the middle classes continued to use silver. The King himself talked about adopting faience, and sent his gold plate to the Mint … The King and the royal family were served on silver-gilt and on silver; the royal princes and princesses on faience.”18 Saint-Simon reports that he himself only gave up a few pieces of his silver and “locked the rest away.”19 And even the King’s nephew, the duc d’Orléans, “has given all his gold plate and some of his silver, but not all,” according to his mother.20 It seems this edict was not far-reaching, was quickly forgotten, and silver became used again.

Ewers, as well as sugar casters, mustard pots, salts, and pepper pots were made in faience at Rouen, and in porcelain at SaintCloud (fig. 4). The impact of the new délicat form of cooking had evidently had an impact on condiment dishes. The use of spices, such as cinnamon, cloves and nutmeg in savory dishes had been widely discarded by chefs in the second half of the seventeenth century, and replaced with reductions, coulis and herbs. Three-part dishes, traditionally called spice boxes are always called poivrières in inventories; in a drawing of 1702 of the French royal silver there is a poivrière a trois au roy attributed to Nicolas-Ambroise Cousinet after Nicolas Delaunay (16461727) (fig. 5). It is interesting that these ceramic condiment vessels, which copy silver forms, also imitate in high-fired colours on faience and underglaze blue on porcelain the Régence ornament found on surviving period silver and on designs for silver tablewares. Obviously the makers and decorators of these ceramics were aware of the latest fashions and decorative elements in silver and closely followed them in their own products.

Even before this incident, members of the bourgeoisie and lesser nobles who could not afford to use silver were using faience on their tables. Faience plates and chargers, in imitation of Chinese porcelain were being used for dessert as early as

Soups, and olio for grand events, were both the gastronomic and the visual focus of the first course. Massialot published no fewer than ninety-nine soup recipes (fifty-three for everyday use, and forty-six for days of fasting).22 Everyone, from the king

Figure 4. Sugar caster, plate, mustard pot and pitcher, 1700-1730 Grand feu faïence Rouen, France Los Angeles County Museum of Art, gift of MaryLou Boone, and Collection of MaryLou Boone Photograph: Susan Einstein Figure 5. Pepper box (poivrière), c.1715-30 Soft-paste porcelain Saint-Cloud, France Collection of MaryLou Boone Photograph: Susan Einstein

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down to the peasantry, enjoyed soup: Elizabeth Charlotte (16521722), the Princess Palatine and second wife of the king’s younger brother, Philippe I, duc d’Orléans, remarked that she had seen Louis XIV eat no fewer than “four full plates of different soups” at one sitting.23 (At the same meal, the king consumed an entire pheasant, a partridge, a large plate of salad, two large slices of ham, lamb with jus and garlic, a plate of patisserie, and then more fruit and boiled eggs.) The fashion for soup led by the early 1690s to the invention of the soup tureen. The practical advantage of large soup tureens was twofold: they retained heat much better than smaller vessels, and they provided a spectacular display for the table.

Figure 6. Tureen, middle or second half of the 18th century Grand feu faïence Moustiers or Marseilles, France Collection of MaryLou Boone Photograph: Susan Einstein Figure 7. Hors d’oeuvres dish (ravier) or sauceboat, c.1745-50 Soft-paste porcelain Saint-Cloud, France Collection of MaryLou Boone Photograph: Susan Einstein

Two large olio pots and two tureens appear on the table design by Vincent La Chapelle of 1742.24 Possibly because olio was considered such an important soup, it was always served in the largest and most elaborate tureen – a presentation that may also have helped servers and diners to distinguish it from other soups. Olio probably originated in the Spanish court during the Renaissance and involved multiple ingredients including many different types of meats and fowl as well as a complex list of vegetables and took a great deal of time to prepare. Its traditional, old fashioned origins are revealed by the presence of spices such as nutmeg and ginger. In all probability, porcelain and faience tureens and stands became a popular alternative simply to avoid the high cost of these complex forms in silver. The earliest porcelain olio pots, circular in form, raised on feet, and with elaborate lids, were made at Saint-Cloud in about 1720.25 Later ones often follow the same general style, though it seems that tureens for soup

or ragouts were sometimes oval and were often (but not always) made without feet (fig. 6). They were usually fitted with silver liners which helped to protect the precious and fragile porcelain. Perhaps the first recorded instance of Louis XIV eating soup from porcelain (which was Chinese or Japanese in origin) was in 1702. A drawing of the layout of a table at Versailles for the first course of the Grand Couvert is preserved in the Nationalmuseum in Stockholm.26 The drawing shows that Louis sat by himself on the long side of the table, and that there were settings for six other people. The details of the table arrangement have been carefully recorded. Six different soups and eight entrées are set in a symmetrical pattern, along with a variety of dishes including the porcelaine du Roy ou il trempe son bouillon avec du pain (“the king’s porcelain, where he dips his bouillon with bread”). This bowl was described as “very fine … garnished on the foot with a circle of gold and on the sides with two handles of twisted serpents, also of gold.”27 A small number of porcelain vessels made at Saint-Cloud from the 1720s onward were intended for serving food, including covered pots à jus, egg cups, sauceboats, platters and hors d’oeuvre dishes (fig. 7). It was not until the 1750s, however, that soup plates, along with a variety of serving dishes, large oval dishes for roast meats, salad bowls, and other elements for the first and even the second course, were included in the earliest complex French porcelain service, the Bleu-Celeste service made at Vincennes for Louis XV (1715-1744) between 17531755.28 All these pieces considerably expanded the repertoire of porcelain on the table. 91

From the Garden to the Table: The transformation of gastronomy and dining in seventeenth- and eighteenth-century France

Other French porcelain and faience manufacturers were swift to follow. Although they copied the styles already established by silversmiths and goldsmiths for serving savoury foods, they were also responding to the demand for vessels that would suit both the cuisine and the table presentation of the period. Multiple sizes and shapes of serving dishes, pots à jus, sauceboats, and salad bowls are cases in point (fig. 8). Massialot and his colleagues used jus (meat, fish or vegetable extracts) as an essential flavouring element in their savoury dishes, and the presence of these semi-jellied embellishments on the table in pots à jus may mean that diners were able to adjust the taste of their food at will, or simply enjoy them on their own as they were considered good for the digestion. There were also recipes for jus made with fruit juices. When sauces began to be served separately during both the savoury and the sweet courses in the early eighteenth century, sauceboats became a necessity. Bowls of faience or porcelain were perfect for serving salads because, unlike silver or other metals, they did not react to the acidity of vinaigrettes. During the second half of the seventeenth century and often in the eighteenth, dessert was the only course to be served in and eaten from porcelain. In France this custom appears to have begun in the early 1650s, when Chinese porcelain chargers and bowls were used to serve fruit, often piled in the form of pyramids. Pyramids were often created with porcelain plates of diminishing sizes inserted between the layers of fruit, or with footed silver salvers to help create height. To help make the arrangement stable, the chefs sometimes drizzled caramel over it all. Alternatively they constructed the pyramid in a tin cone that was stuffed with leaves and layers of flowers as well as fruit or filled with water and frozen and inverted for serving.29 These fruit pyramids remained in fashion for the dessert table well into the eighteenth century. The dishes used in creating the pyramids, and for serving dessert generally, were always called porcelaines, even if they were made of other materials such as faience, silver, or base metals. In the great houses, the preparation of fruit and confections for the dessert occurred in the Office, a completely separate kitchen from the principal one which is why early recipes for dessert almost always appear in separate, specialist cookbooks. Because of the extended growing seasons for fruit and the wide variety of different species that had been developed in the seventeenth century, confectionery chefs could choose among 92

a huge selection of produce. Of course, the dessert course also enabled the host to show off the extent and the fruitfulness of his gardens. Massialot included recipes for thirty-six named types of pear in his Nouvelle instruction pour les confitures, les liqueurs et les fruits (1692). A particularly firm variety of pear was grown for use in pyramids of fruit, which were rarely actually consumed, while softer and more flavourful varieties were preferred for eating. Fruit could be also be preserved with sugar, which, by the midseventeenth century, had become much less expensive as plantations in the French West Indies flourished. Detailed instructions for boiling sugar, and its various stages of hardening, were given as early at 1660 by La Varenne in his Confiturier françois. Compotes, which were eaten immediately after they were made, were “served hot on Porcelains or bowls (jattes), which are today the most fashionable vessels for this,”said one cookbook author in 170830(fig. 9). Moulded fruit pastes, coloured red with cochineal or yellow derived from the stamens of lilies, were served in garnished boxes (böettes) with white paper. Fruit marmalades (half-liquid fruit pastes) were presented in pots. Jellies and creams, as well as fruit and custard sauces, were popular. Biscuits, tiny meringues, macaroons, and small cakes perhaps flavoured with coffee or chocolate were served on dishes ; while marzipan and sugar paste could be modelled in the form “of little rocks, or fortresses and other things that genius inspires and the industry and art of those that undertake it make perfect.”31 The dessert table was designed to be a visual feast, with baskets of fresh fruit, conserves, and confections laid out in a

Figure 8. Pair of pots for meat or fruit extracts (pots à jus), c.1755-60 Soft-paste porcelain Mennecy, France Collection of MaryLou Boone Photograph: Susan Einstein Figure 9. Lobed bowl, c.1740 Soft-paste porcelain Chantilly, France The Huntington Art Collections, gift of MaryLou Boone Photograph: Susan Einstein

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symmetrical pattern. For grand events, the confectionery chef might dazzle with an artificial garden ornamented with sugarpaste pavilions, fanciful marzipan rocks or obelisks, and sugar, porcelain, or faience figures, all set out on a mirrored stand with paths made of sand and a parterre of artificial hedges trimmed with silk chenille. The Bleu Celeste service of Louis XV included dishes of various sizes from original designs by Jean-Claude Duplessis père (1699-1774) and comprised of pieces for the first and second service as well as for dessert.32 It included eight different shapes of comportiers (serving vessels) for dessert, dishes and pots for jam, butter tubs, a dish for cheese, and covered sugar bowls as well as cups for ice cream and matching dessert plates.33 The different shapes of dessert serving dishes would have enabled the servers to set the table symmetrically in a complex, balanced design, in a similar manner (but different pattern) to the way the table was set for the savoury courses. This symmetry was most likely reinforced by each type of serving dish being used for a particular type of dessert: for example, the porcelain baskets for fresh fruit such as apricots or peaches; the dishes with raised sides for fruit compotes; other shaped dishes for moulded fruit pastes; and the shell and leaf shapes for nuts or biscuits.

frozen, as well as sets of handled ice cream cups. Similar cups being filled with ice cream appear in frontispiece of M. Emy’s recipe book. The revolution that began in the kitchen garden in the seventeenth century and spread to the kitchen was to result in a transformation of the French table in the eighteenth century. Manufacturers of ceramics clearly seized the opportunity that these changes presented, developing a wide new repertoire of dishes. One can imagine the many visual and gustatory pleasures of eating in France at the period, from the gleaming silver and ceramic dishes to the abundance of carefully prepared food. Once again, the discerning Casanova best describes these delights, “I gave them a dinner both sumptuous and delicate. I had spared no expense to have everything of the best … Sallies of wit, jests, good stories and enjoyment, were the soul of the banquet. We did not separate till midnight.”35 This article is abridged from the introductory essay in Williams, Elizabeth and Meredith Chilton. Daily Pleasures: French Ceramics from the MaryLou Boone Collection. Los Angeles: 2012. With the permission of the Los Angeles County Museum of Art. The author thanks the Museum, the photographer Susan Einstein, and MaryLou Boone.

By the middle of the eighteenth century, naturalism and trompe l’œuil were in vogue, resulting in such novelties as dishes in the shape of shells or leaves (fig. 10). Sugar paste or porcelain flowers, so realistic as to fool the eye, were arranged in vases or baskets, while seemingly edible items such as bowls full of faience “almonds” created as an amusing illusion. This whimsical fashion also appeared in fanciful ice-cream moulds in the shape of crayfish, salmon heads, or haunches of boar and in recipes for unusual ice-cream flavours such as artichoke or parmesan.34 By the mid- eighteenth century, ice cream had become a dessert craze – the greatest luxury – as it required ice that had been gathered during the winter months and stored in special ice houses in noble gardens.

Figure 10. Cabbage-leaf dish, (feuille de choux), c.1754 Soft-paste porcelain Vincennes, France The Huntington Art Collections, gift of MaryLou Boone Photograph: Susan Einstein

Ice cream became so popular that L’Art de bien faire des glaces d’Office, by M. Emy was published in Paris in 1768. This dealt solely with iced desserts and is one of the first examples of a specialised recipe book. In response to the new fashion, Vincennes and Sevres produced ice cream coolers, whose lids and bases could be packed with ice to keep the confections 93

From the Garden to the Table: The transformation of gastronomy and dining in seventeenth- and eighteenth-century France

1 Wheaton, Barbara Ketcham. Savoring the Past: The French Kitchen and Table from 1300 to 1789. Philadelphia:1983, 136, and Pinkard, Susan. A Revolution in Taste: The Rise of French Cuisine 1650-1800. Cambridge, U.K., and New York: 2009 , 79-80. 2 Noël-Waldteufel, Marie France. “Manger à la Cour: alimentation et gastronomie aux XVIIe et XVIIIe siècles,” in Jean-Pierre Babelon, ed. Versailles et les tables royales en Europe. Exh. cat. Musée National des Châteaux de Versailles et de Trianon:1993, 82, notes 44 and 46. 3 La Quintinie, Jean-Baptiste de. Instructions pour les jardins fruitiers et potagers... Paris:1690, 848-907. 4 La Quininie, 381-82. 5 La Quintinie 1690.

17 Casanova, Giacomo. The Complete Memoires of Jacques Casanova de Seingalt. New York:1972, vol. 4, 39. 18 Saint-Simon, Louis de Rouvroy duc de. Memoirs of the Duc de Saint-Simon. Warwick, NY:1970, vol. 1, 440. 19 Saint-Simon 1970, vol. 1, 441. 20 Kroll, Maria. Letters from Liselotte: Elizabeth Charlotte, Princess of Palatine and Duchess of Orléans, Madame, 1652-1722. London:1970, 136.

6 Pinkard 200-1, including material from Hufton, Olwen H. The Poor of Eighteenth Century France, 1750-1789. Oxford:1974, who estimated that between 50 and 90 percent of rural families were unable to grow enough food to sustain themselves.

21 A silver-gilt surtout was inventoried as part of the royal table service at Marly in 1697. See Bursche 1974, 136-137.

7 Roche, Daniel. France in the Age of the Enlightenment. Cambridge, MA, and London: 1998, 615-18. Roche uses the work of Lavisier and estimates that 50 percent of the daily calories consumed by Parisians came from bread, but that, by 1780, 13 percent of total calories came from meat, fish, and eggs. He also points out that there were no epidemics in Paris in the eighteenth century, which points to generally healthy diets.

23 Saule 1993, 52. Saint-Simon noted that the King drank soups which were “strong meat jus, exceedingly rich.” Saint-Simon 2007, vol. 2, 469.

8 Wheaton 1983,115, who quotes from the dedication of La Varenne in Le Cuisinier François: “I have discovered in your household, during ten full years’ employment, the secrets of preparing foods delicately.” 9 Massialot, François. Le Cuisinier roïal et bourgeois qui apprend à ordonner toute sorte de repas & la meilleure manière des ragouts les plus à la mode & les plus exquis (Paris 1691) was published numerous times into the third quarter of the eighteenth century, sometimes also incorporating his instructions for confectioners. It was translated into English as early as 1702. 10 Quoted by Wheaton 1983, 205, and by Pinkard 2009, 173, from Marin 1740. 11 Pinkard 2009, 195-99. 12 Massialot 1751, 1. 13 Waltdteufel 1993,75, quotes from Massialot’s “Le Nouveau Cuisinier royal et bourgeois” of 1714: “chacune puisse prendre ce qui conviendrait à son appétit” (everyone may take whatever suits his appetite) ; “…éviter le coisinage de deux plats d’une meme façon sans un intermédier d’une autre sorte … chacun n’aiment pas la meme chose” (avoid putting the same type of dish together without an intermediary of another kind… not everyone likes the same thing). 14 Massialot 1691, diagram of dishes and their measurements facing page 1. 15 Bursche, Stefan. Tafelzier das Barock. Munich:1974, 140. In 1727 a gold service was delivered to Versailles by the goldsmith Delaunay. It included an oil and vinegar cruet, a cadenas, a footed dish, two sugar dish, a pepper and salt dish, an egg cup, thirty plates and a variety of cutlery, but no serving dishes. Silver ones were still in use.

16 Saule, Béatrix. “Tables royales à Versailles 1682-1789.” In Babelon1993, 50, quotes Cronström from a letter to Tessin of February 24, 1702: “Le Roy de France pour sa personne, est servy en argent. Il n’y a que ses assiettes qui soient en argent.” See also Pardailhé-Galabrun 1991, 97 for the general use of silver and pewter.

22 Massialot 1751, vol. 1.

24 La Chapelle, Vincent. Le Cuisiner Moderne...The Hague: 1742, vol. 6. Engraving “Table de quinze à seize couverts.” 25 For an early example see Rondot, Bertrand (ed.) Discovering the Secrets of SoftPaste Porcelain at the Saint-Cloud Manufactory ca. 1690-1766. New Haven and London:1999, no. 98 26 Williams, Elizabeth and Meredith Chilton, Daily Pleasures, French Ceramics from the MaryLou Boone Collection. Los Angeles:2012, 36, fig. 32. 27 Belevitch-Stankevitch 1970, 90. 28 Whitehead, John. Sèvres at the Time of Louis XV: Birth of the Legend. Paris:2010, 81. 29 Massialot 1692, 336-37, quoted by Wheaton 1983, 188, who discusses fruit pyramids in detail. 30 David, Pierre (attrib.) L’Ecole Pairfait des Officiers de Bouche... Paris:1708, 78. 31 David 1708, 112. 32 Savill, Rosalind. “Le Premier service de porcelaine de Louis XV.” In Babelon 1993, 281-84. 33 For a complete list of the component parts of the Bleu Celeste service see Whitehead 2010, 80-81. 34 Gilliers, le Sieur. Le Cannameliste français... Nancy:1751, pl. 6. 35 Casanova 1972, vol. 12, chapter 6, Paris 1758.

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Love at second sight:

Frederick the Great of Prussia and Meissen Dr. Samuel Wittwer, Director of Palaces and Collections, Prussian Palaces and Gardens Foundation, Berlin-Brandenburg

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When Frederick the Great inherited the Prussian throne from his father in 1740, he could look back at his childhood and youth spent in palaces surrounded by porcelain. His greatgrandmother, Louise Henriette, a princess of Orange, and her sisters had introduced the fashion for porcelain cabinets from the Dutch and German countries but his grandparents, Frederick I, and Sophie Charlotte of Prussia, gave them a new look and meaning.1 Their way of displaying porcelain in the context of their iconographic programmes and in particular parts of their apartments turned those vases, cups and plates into dynastic symbols, but always relating to the glory of the Dutch-Prussian liaison. Not only the porcelain rooms, but also significant parts of the royal interiors (like mantelpieces, cabinet stands, overdoors etc.) housed masses of ceramics, mainly Chinese, Japanese (and some Mexican), sometimes in combination with ruby glass, descending from the Kunkelworkshop on Peacock Island close to Berlin. Frederick the Great’s father, Frederick William I, is known to have cared more about silver than ceramics, but nevertheless in 1713, the first year of his reign, he granted a privilege to his minister Friedrich von Görne to establish a workshop for red stoneware in Plaue, based on the technical knowledge of Samuel Kempe from Meissen. Even more than his father, it was Frederick’s mother, Sophie Dorothea, princess of BrunswickLüneburg, who may have influenced her son in his taste for ceramics. Her residence in Monbijou-Palace in Berlin (destroyed in WW II) was also a treasure house of porcelain, housing in the year of her death in 1757 more than six thousand seven hundred Asian and several hundred items of Meissen porcelain. Her Meissen collection had been either bought by herself, had been a gift from her husband or from her second cousin Augustus the Strong. 2 She received many precious items at the time of Augustus the Strong’s reciprocal visit to Berlin in June 1728, following an invitation by Frederick William I, who had visited Dresden four months earlier, accompanied by his son, the crown prince Frederick. The influence of this sojourn on the young man can hardly be overestimated. Frederick the Great was very attracted by the richness and splendour of the Dresden court during the visit of 1728 when

he was invited together with his father. His father’s court (the so called “soldier-king” Friedrich Wilhelm I) in Berlin was the exact opposite of the Dresden court. His father was of the opinion that courtly luxury distractions (gambling, masquerades, festivities) were not good for the state and attracted the wrong kind of courtiers and parasites indulging in conspicuous consumption. Although we do not know whether Frederick visited the Meissen manufactory, we know that he paid a long visit to the Japanese Palace. All these impressions seem to have influenced Frederick the Great who, shortly after becoming king in 1740, contacted a Berlin chemist and arcanist Johann Heinrich Pott and asked him to produce a Prussian porcelain (his father had done the same in the first year of his reign in 1713). Although Pott did not really manage to produce porcelain, a 1742 newspaper reported that he had and this information made the Saxon manufactory quite nervous.3 The first years of Frederick’s reign were dominated by two wars, the so-called First (1741-42) and Second Silesian war (1744-1745). When at the beginning of the latter he moved his troops through the neighbouring allied country Saxony in August 1744, the Saxon minister von Hennicke ordered that the secret documents relating to the production of porcelain at Meissen were to be hidden. Although Frederick came “as a friend”, Hennicke was still irritated by that newspaper report and did not want to risk the Prussian king expressing his wish to see the treasures. On the other hand, he ordered the storerooms to be cleaned up to make a good impression. Frederick arrived at Meissen on the 20th of August. Like many visitors before him he was guided around and shown the production areas including the kilns and the artists’ workshops. He left a tip and – of course – some commissions. They included the figures of Apollo and the nine muses. The model master Johann Joachim Kaendler started to model them in September and finished the series in March 1745. During this work, the relationship between Prussia and Saxony changed. In the first days of 1745 Saxony broke its alliance with Prussia and signed a new treaty with Austria, Frederick’s main enemy. Some weeks later and now the enemy and occupier of Saxony, 97

Love at second sight: Frederick the Great of Prussia and Meissen

Frederick visited the manufactory again. To intimidate the staff of the Albrechtsburg, he declared that he would install a new porcelain factory in Berlin with the help of Mr. Pott. The fact that one of the accompanying princes stole some clay from a turning wheel increased their nervousness even more. Towards the end of 1745 the battles came closer and closer to Meissen. The manufactory knew that another visit from Frederick would follow and that the Albrechtsburg, where the production was located, could now become involved in the war. In December 1745 all the arcanists had to pack the most important documents and take them temporarily to Dresden. The kilns, whilst still looking as if they were in working order, were not functioning, firstly so that the king and Frederick were not aware of the situation and secondly so others would not be able to learn how to construct a working kiln. Even some of the most precious porcelains were evacuated to Dresden and the drawbridge to the Albrechtsburg was pulled up and, prepared like this, they awaited the king. Three weeks later the war was over. Nothing like a cruel Prussian attack on the manufactory had happened. The only consequence was that the 18th century rules of war enabled him as victor to confiscate goods for reparation. Frederick’s court architect, Georg Wenzeslaus von Knobelsdorff visited the manufactory warehouses and surveyed the packing of the chosen pieces. By the end of December some gifts for the Prussian generals and fifty two large boxes for the king, containing some thousand pieces, had left Meissen, among them ninety vases, seventeen complete table services, one hundred and two coffee services, two hundred and thirty birds, nine dogs and five hundred and fifteen further figures. This reflected the manufactory’s production for that year, listing all those models well known to us, like the series of gods and goddesses on pedestals, blackamoors with baskets, or commedia figures including full sets like the Weissenfels commedia. The nine muses and Apollo were also included and later these were mounted as candlesticks in Berlin (fig. 1). Only a few of the porcelains noted in long lists can be traced in the inventories of the royal palaces, such as some fifteen white vases with different fruits and plants (the four seasons) for which a year later Knobelsdorff designed consoles for the little gallery of the Sanssouci Palace in order to exhibit them as war trophies. These were lost in WW II, but the last guest room of 98

the palace, nowadays known as “Voltairezimmer” still has a part garniture of four brilliantly painted vases with “indianische Blumen” and handles of women’s heads. Strangely, for some reason, two further vases belonging to this garniture were left in Meissen and are now in the Dresden collection. The whereabouts of the centrepiece for this seven piece vase set is not known (fig. 2). Most of the porcelains confiscated in Saxony were sold by the king’s secretary in Berlin or given as gifts – possibly to hismother, Queen Sophie Dorothea of Prussia - and do not appear in Frederick’s collection documents. In 1747 the manufactory calculated the value of the porcelain taken by Frederick to be in the region of more than 43.000 talers. In comparison, Frederick’s court sculptor François Gaspard Adam had an annual income of 1,000 talers and two cows cost 27 talers. These masses of porcelain seem to have satisfied the king. After the war he commissioned a new silver service, intending not to use porcelain for his table, but he had enough porcelain to decorate his palaces. This might be one of the reasons why in 1748 he stopped the regular payments to Mr. Pott and his staff, who was still not able to produce convincing results of his porcelain making. In the documents we find a discussion about engaging a French porcelain maker but nothing came of it. In 1751, Wilhelm Caspar Wegely asked for a royal privilege to install a porcelain manufactory in Berlin. He managed to produce table wares and figures three years later. But the king did not support him by commissioning porcelain and Wegely had to close his factory in 1757. One further reason may have been another war, the

Figure 1. Muse Terpsichore, 1745, in a Berlin gilt bronze mount, Potsdam, Sanssouci Palace, SPSG

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so-called Seven Years war (or 3rd Silesian war), which started in August 1756. For our subject we do not have to focus on the history of battles or the ups and downs of the Prussian army but it is most important to note that Frederick the Great, who invaded Saxony in August 1756 and – after the capitulation of the Saxon army on the 16th of October – became for the next seven years the owner of the Meissen manufactory. However, in the early part of the war he had more important problems to preoccupy him other than art and porcelain manufactory. When the Berlin porcelain manufacturer Wilhelm Caspar Wegely visited the Albrechtsburg in the autumn of 1756, he tried to see if he could get craftsmen, models or secrets to support his business. His report to the king of what he found sounded rather frustrating: the kilns and machinery had been taken apart, large quantities of the paste had been hidden and the workers’ records and books had been taken by Hoeroldt to Frankfurt. In other words, the manufactory was not capable of production and Frederick decided to close it. Figure 2. Reconstruction of a garniture, ca. 1735/40, the first, second, sixth and seventh vase Potsdam, Sanssouci Palace, SPSG; the third and fifth vase Dresden, Porcelain Collection, SKD

What he needed most was money and he needed enormous amounts to pay for the war. This is why Frederick finally looked for someone who could buy the whole stock of porcelain in the warehouses of Meißen, Dresden and Leipzig.

The adventurous merchant Carl Heinrich Schimmelmann agreed and paid 120,000 talers but he was far from wanting to become a porcelain dealer. In a secret transaction he sold the wares immediately to two people acting as go-betweens for Augustus III. The price was 130,000 talers, together with some more porcelain for another 10,000 talers and 50,000 talers to be paid in several payments. The reason why the Saxon court – although exiled to Warsaw – accepted this secret deal is understandable, as the stock was the only source of currency for the manufactory and they needed to buy wood, clay and other materials and to pay the workers. When Frederick learned that Wegely could neither profit from what he found, nor the idea of moving the manufactory to Berlin made any sense, he finally agreed to keep a small production working, but he of course did not want the Saxons to have the income. It was again Schimmelmann, still acting as official owner of the stock - even if this was not the reality - who rented the manufactory for 2,000 talers per month to be paid to Frederick the Great. Then in a secret contract he let it to the Saxon court, who installed a new arcanist called Helbig, who put the whole artistic section and production into Kaendler’s hands. 99

Love at second sight: Frederick the Great of Prussia and Meissen

Frederick, being in Bohemia and Silesia, did not know about these transactions and he probably would not have had any interest as long as his monthly fee was paid. In the following three years after many battles his army was almost destroyed and Prussia close to its demise. It was only in the autumn of 1760 that things changed. The Prussian army was again based in Saxony and the king stayed very close to Meissen. Now he had more opportunities to visit his factory. As a consequence of an anonymous newspaper report accusing the Prussians of mistreating the factory and squeezing out as much money as possible, the angry king raised the rent to 5,000 talers. Later on, in 1762, he raised it to 7,000 talers and shortly before the end of the war he considered raising it to 10,000 talers. He then started to take an interest in the manufactory’s production. The turning point in Frederick’s interest in porcelain was a small table service, a gift for his friend and art adviser, the philosopher Jean Baptiste de Boyer, Marquis d’Argens. Inspired by a letter from the Marquis who lived in Potsdam, the king designed the decoration and had the painters decorate the plates and tureens. As he wanted special handles for the tureens to go with the decoration, Kaendler modelled cupids with globes to replace the original handles, which normally went with this model. Frederick then discovered that he could not only design the painted decoration but that Kaendler could give shape to his artistic ideas as well. At this stage, it is interesting to note how commissioning art allowed Frederick some relief from the rigours of battle. Obviously, most of the King’s time was spent on the field between battles when there was little activity, so during those times his mind turned to reading, writing, entertaining and playing music. At the end of 1760 he continued his creativity by working on building concepts for Potsdam which he had already begun before the war. For example, he chose the design for the porcelain decoration for the Chinese House in the gardens at Sanssouci - a fanciful building of extraordinary design which was also a highly intellectual comment on the current fashion for chinoiserie.4 The outside of the house had been finished before the war broke out, but the interior decoration still needed to be completed. Frederick therefore took the opportunity to order some vases with palm handles and porcelain flower bouquets, together with pagoda figures which were to be placed on 100

consoles. Due to the height and dimensions of the house, these had to be larger than the models available and Kaendler had to create new versions. The Chinese House served as a summer dining room, therefore Frederick also ordered a special table service. He gave very detailed instructions and could therefore possibly be seen in some way as a design partner to Kaendler. All these commissions and new models (in 1760 the orders had a value of 84,000 talers) were a chance for Kaendler to improve his income. In the years before the war he had set up a clever scheme by continuing to work outside the factory at home or during his many holidays to create new models for special commissions for important customers. He then sold the models to the manufactory. Due to the war, this extra business collapsed and he could not maintain his standard of living. He was able to convince the art-loving King of Prussia to provide him with commissions and fill the gap. Then in December 1760 the amount of cash remaining within the manufactory was no more than 1,000 talers, so Helbig – who was not only the arcanist but administrator as well – on learning about the extent of these extra commissions, started a campaign against Kaendler, who had to defend himself vigorously. In lengthy letters the modeller explained and claimed that there was no better way of advertising or higher honour for a manufactory than to receive direct orders from a king, and that the art should not be unappreciated because of the current economic conditions.

Figure 3. Garniture with four vases representing the elements, model from 1747, pulls of 1762, Potsdam, Orangerie Palace, SPSG Figure 4. Plates from a table service, 1760, Berlin, Charlottenburg Palace, SPSG

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When in 1761 the merchant, Johann Ernst Gotzkowsky established another porcelain manufactory in Berlin, Kaendler threatened to follow the king’s invitation and leave Meissen. However, he did not and instead it was Friedrich Elias Meyer who became the master modeller in Berlin – however that is another story.

Figure 5. Monumental vases with lion heads, 1757/60, Potsdam, Sanssouci Palace, SPSG Figure 6. Box for the Royal flutes, 1761, Wolfratshausen, private collection

Fortunately, Kaendler did not leave and within three years he produced some fabulous creations for the Prussian king. In 1763 seventy nine large crates, with several thousand porcelain items, left for Potsdam, but the accounts mention more, including items which served directly as gifts to generals and noblemen. In contrast to what happened in 1745, this time the crates contained hardly any wares from the manufactory’s stock, but had specially ordered garnitures of vases, table and tea services, specially decorated pieces and only a few figures, reflecting Frederick’s personal taste. Part of these treasures survived in the Prussian palaces. There were, for example, porcelains taken from models which had already been introduced in the late 1740’s and 1750’s. Amongst

them were groups of gods after LeBrun’s famous tapestry designs for the Gobelins, the models from 1755 and there was a full set of vases representing the elements, made for Count Brühl in 1747 (fig. 3). Another garniture inspired by French prints shows the four seasons and there were several of those vases with unusual figure handles and many other different vases showing the production of that period. Among the table services were general stock wares such as a service with paintings of birds and some existing models decorated in Frederick’s taste, such as the overglaze blue, flower-painted service with three gold rims (fig. 4). Frederick was already planning a large new palace to be built after the war so he ordered a large series of impressive vases to decorate the apartments. In 1763, thirty five pots-pourris with flowers and putti in different sizes were delivered to Potsdam. The interior designers of the palace (which was built in 17641769) created in the mid 1760’s a special setting to display the major part of the forty four snowball vases, which had already been delivered some years earlier. 101

Love at second sight: Frederick the Great of Prussia and Meissen

Porcelain served not only to decorate the interiors of the palace but also the gardens. In the late 1750’s, the manufactory created at least six monumental vases with lion head decoration, which were – until the beginning of the 20th century – placed on the upper terrace of the Sanssouci Palace (fig. 5). At first glance they remind one of early models made by Johann Gregorius Kirchner for the Japanese Palace in Dresden around 1730. However, the pear-shaped body and the rocaille decoration around the neck reveal the later date of the model. This mixture of old fashioned ornamentation of the Louis XIV period and rococo elements are characteristic of Frederick’s taste after 1755. According to Frederick, the Sun King was the only true ruler in Europe before him. The delivery lists to the Prussian king also mentioned two very costly porcelain boxes with gilded mounts. The decoration with fruit and flower painting suggest an object of table culture. But the shield around the keyhole showing musical instruments indicate that this is a box to store the royal flutes and indeed the records show that in 1760 the king ordered two “boxes after the model of those containing his Majesty’s flutes” (fig. 6). One of the finest tour de force works of art made for Frederick is the model of a twelve-light chandelier (fig. 7). In Potsdam there are still two 18th century examples preserved, delivered in 1761 and hanging there since 1768. They are, to my knowledge, the only remaining 18th century examples and I would be grateful for more information if any reader knows of a third. The last table service Frederick ordered from Meissen demonstrates how much the king was involved in its conception. In November 1762 Frederick ordered amongst other wares a table service “with antique hanging flower tendrils fixed on cupid heads” – a design based on his own drawing (fig. 8). Later on the king ordered a plat de ménage in the shape of an antique vase with two cupids and footed tureens with no stands like some of the designs of his earlier services, showing his preferred type of tureen. He then ordered eight large mythological pairs of figures approximately forty five centimetres high and a monumental group of the Judgement of Paris for its centre piece. The king made a list of flowers he wanted painted on the vessels as large single flowers but not as bouquets. 102

To summarize, the king had ordered three production elements: the figures, the relief and the flowers. In the centre group, the shepherd Paris has to choose the most beautiful goddess. He decides against Athena who promises wisdom and Hera who promises all the power of the world, and he chooses Aphrodite, who promises love. We know the consequence of this decision, it was the Trojan War. The eight surrounding mythological couples taken from the stories of Ovid, like Pan and Syringe, Venus and Adonis, Apollo and Daphne also struggled in their love affairs. All of those stories end in the transformation of one partner into a plant, a star, an instrument or they simply died. All of them show by instinct the failure of worldly love but having overcome that, the figures are rewarded by being immortalized in becoming a flower, a star, a musical instrument. In the case of Daphne, she turns into a laurel, as a symbol of wisdom and victory. The flower wreath ornaments in relief are now not fixed to skulls as on antique altars, but on the cupids’ heads. The relief turns the vessels into altars on which the trials of love are sacrificed and give way to the triumph of fame. Finally, all the flowers Frederick ordered were spring flowers and, as the Golden Age is compared to the eternal spring, they announce a new Golden Age. The message of the service is clear: Frederick will now, after seven years of war - analogous to the Trojan War - return home to give birth to a second Rome called Potsdam thus bringing the Golden Age to Prussia.

Figure 7. Chandelier, 1761/62, Potsdam, Neues Palais, SPSG

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Figure 8. “Cloches”, 1763, Berlin, Charlottenburg Palace, SPSG, gift of Rosemarie Pauls

This interpretation suggests that Frederick had ordered - and partly designed - the service in a short period, when the end of the war seemed close, and that he intended to use it at the occasion of a banquet to celebrate the victory. And indeed there is another aspect supporting this idea: while poor Paris got into a highly difficult situation between three ambitious goddesses it is a matter of historical facts that Frederick named three women as his real enemies in the war - Empress Maria Theresia, Tszarina Elisabeth and The Marquise de Pompadour. The peace treaty of Hubertusburg in February 1763 came too quickly and the service was not finished and the pieces which were delivered to Potsdam must have been given away immediately by the king, as they are only mentioned in the delivery lists but are not in the palace inventories. In September of the same year, Frederick the Great bought the porcelain manufactory from Gotzkowsky in Berlin and started his own porcelain production. Now he was not only the owner but also “his own best client”, who loved being involved with the artistic aspects of production, having been well trained through his Meissen adventure.

1 See: Wittwer, Samuel: Fragile splendour and political representation – baroque porcelain rooms in Prussia and Saxony as meaningful treasures, in: The international Ceramic Fair and Seminar 2004 Handbook, ed. by Brian and Anna Haughton, London 2004 p. 36-44. 2 See: Wittwer, Samuel: Liaisons Fragiles. Exchanges of Gifts between Saxony and Prussia in the Early Eighteenth Century, in: Fragile Diplomacy. Meissen Porcelain for European Courts 1710-1763, ed. by Maureen Cassidy-Geiger, exhib. cat. Bard Graduate Centre New York, Yale University Press, New Haven 2007, p. 87-110. 3 More about this story in: Wittwer, Samuel: “hat der König von Preußen die schleunige Verferttigung verschiedener Bestellungen ernstlich begehret”. Friedrich der Große und das Meißener Porzellan, in: Keramos, Heft 208, Düsseldorf 2010, p. 17-80; this lecture is mainly based on that publication. 4 See: Wittwer, Samuel: Interior Decoration and War Trophy. The porcelain table services of Frederik the Great of Prussia, in: The International Ceramic Fair and Seminar 2009 Handbook, ed. by Brian and Anna Haughton, London 2009, p. 36-47.

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From Canton to the City: Export Porcelain for London

Angela Howard, Director, Heirloom & Howard

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The fortunes of the East India Company and the City of London were inextricably linked at the turn of the 18th century: the century in which the English consolidated their dominant position in the east. A large proportion of the armorial porcelain services brought back from China during the first twenty-five years was for men involved in the East India trade and also in the powerful financial, political and civic institutions of the capital, who moved in overlapping social and business circles and were often associated through family connections as well as by commerce and enterprise. However, while London remained at the heart of this highly profitable merchant trade throughout the century, the popularity of porcelain imports from China began to filter through all levels of society. It was by no means limited to armorial wares for the wealthy: in the new age of the consumer it could be ordered by societies and shopkeepers, used as a medium for political and satirical comment, and was made for clients as diverse as the great City livery companies and London taverns. This paper will look at various different groups representing merchant life and society in 18th-century London, providing vignettes of some of its citizens and institutions.

Figure 1. Jardinière with the arms of Sir Henry Johnson and his wife, Martha Lovelace, circa 1692-97. © Bristol Museum, Galleries & Archives, N5234 (gift of A. A. de Pass in memory of his wife Nora)

The decade following the ‘Glorious Revolution’1 and accession of William III in 1688/89 had been a period of sustained commercial growth and social mobility in England. London became an international trading centre with the establishment of the Bank in 1694 and a prosperous merchant community. Expansion and power require funding and London trade provided it.2 In return, the London merchant dynasties gained political influence and increasingly adopted a gentrified way of life. Daniel Defoe, himself a merchant and a Londoner, argued in 1726 that ‘trade in England makes gentlemen, and has peopled this nation with gentlemen […their children becoming …] statesmen, parliament-men, privy-counsellors, judges, bishops and noblemen, as those of the highest birth and the most

ancient families’.3 This social aspiration was the key to the success of the trade with China, certainly in terms of armorial porcelain, which saw some 5,000 armorial services brought back to Britain in the space of a century – about ten times the number ordered by any other country in Europe. On 31st December 1600 a charter had been granted by Queen Elizabeth to The Governor and Company of Merchants of London Trading into the East Indies, the intent being to capture a part of the lucrative trade in spices. However, fortunes were mixed and this venture was largely unsuccessful during the century that followed while the Dutch maintained a dominant position in the East Indies. It was only in the 1690s, with the encouragement of a new joint stock company, The English Company Trading to the East Indies, that renewed attempts were made to counter the Dutch influence and the East Indiaman Macclesfield was finally able to bring back what was considered ‘a rich and full cargo’ after its 1699 voyage to Canton. The two companies eventually merged in 1708 to become the Honourable East India Company. The original East India Company had leased the Leadenhall Street house of Sir William Craven, Lord Mayor of London in 1610–11. This was replaced in the 1720s with a more substantial building, and then significantly expanded in 1799. The initial decision taken by the Company to build its own ships at Deptford, near Greenwich, proved unviable because the yards were too small and construction too costly. Additional yards were leased further downstream at Blackwall and the Company reverted thereafter to chartering the ships from its merchant investors. The yard owner, Sir Henry Johnson, became the principal shipbuilder of East Indiamen, and in consequence extremely wealthy. It seems appropriate then that the first armorial porcelain to arrive in England was made for his son, also Sir Henry Johnson (Fig.1). This was a set of underglaze blue jardinières of various shapes, with his arms and those of his second wife, Martha Lovelace, whom he had married in 1692 105

From Canton to the City: Export Porcelain for London

and who was to inherit a barony in her own right in 1697. The heraldry confirms that the jardinières must have been ordered in this five-year period as the armorial does not yet show her elevated rank. SOUTH SEA DIRECTORS The South Sea Company was a joint stock company which had been established in 1711 as a means of funding government debt. But a wave of speculating frenzy in late 1719 started to over-inflate the value of the stocks until inevitably the ‘bubble’ burst the following year. Some investors sold out in time, but many more were ruined. Three of those implicated in the scandal had ordered armorial services just before the crash. Sir John Fellowes, son of a London merchant, was Sub Governor of the Company and had been made a baronet only the year before. He was ruined by the crash and dispossessed of all that he owned above £10,000. An inventory was taken of all his possessions in 1721, including the known cargo of ships on the high seas, but his armorial service is not on any of the lists so probably still lay in Canton awaiting the return voyage with those of Robert Chester (Fig.2) and Hugh Raymond, fellow directors of the East India and South Sea Companies. All three services, which are the only examples with this particular baroque border style, are in the Chinese Imari palette which, like famille verte, fell out of fashion with the advent of the new rich pink enamels in the early 1720s, never to recover on armorial services. MERCHANT DYNASTIES Humphrey Parsons was a prominent and popular London figure from a wealthy brewing family and illustrates well the succession of civic duty and position which often passed from father to son through several generations. His father, knighted by James II, prospered as proprietor of the Red Lion brewery in Smithfield while serving as an MP and Lord Mayor. On more than one occasion his mother was the subject of court comment for dressing in a more magnificent style than Queen Anne. Parsons followed in his father’s footsteps, becoming Master of the Grocers’ Company and enjoying the distinction of being twice elected Lord Mayor while developing the business to become one of the largest breweries in the capital. He was a personal favourite of Louis XV of France who permitted him to import beer into France free of duty. 106

A fine armorial service in famille verte enamels was ordered from China on his marriage in 1719 to Sarah, a daughter of Sir Ambrose Crowley: ironmonger, Alderman and Sheriff of London. It is one of only six services which were produced with underglaze blue dragons chasing around the rim, while the introduction of the new iron-red decoration at the cavetto marked the transition from famille verte to famille rose enamels. This rouge-de-fer decoration was to remain fashionable throughout the new decade and is used on some 120 services, all characterised by finely executed armorials.

Two such services (Fig.3) were ordered by Sir John Frederick, a London merchant and also a promoter of the South Sea Company, whose family had settled in London in the late 16th century.4 One service was for himself, while the other in the same style was for his widowed mother, Leonora Maresco, herself descended from the Huguenot banking and East India merchant family of Lethieullier, whose arms appear on eight different table services. About 1735, an extraordinary and unique service was made – which seems to have everything and yet nothing to do with the City of London or its merchants. It has the arms of the wealthy Eldred Lancelot Lee of Coton Hall in Shropshire. Eldred had apparently no association with the City of London and yet

Figure 2. Plate with the arms of Robert Chester, circa 1720. Figure 3a and 3b. Plates made for Sir John Frederick and his widowed mother Leonora Maresco Frederick, circa 1724.

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on the rim of this plate, from one of the most sought-after of all the armorial services, are two fine views of the City of London across the Thames by London Bridge5 and two more of the Pearl River and the waterfront at Canton (Fig.4). The answer lies in a portrait by Joseph Highmore which shows the family shortly after the death of Lee in 1734: the key is the central figure of Isabella, Eldred’s wife, who holds a squirrel which is the family crest.6 Isabella Lee was the sister of the great China Trade merchant and entrepreneur Harry Gough, who had gone to China in 1692 at the age of 11 with his uncle,7 who had himself been brought up in the City by Sir James Houblon, a former Lord Mayor and director of the Bank. Harry Gough had ordered no fewer than ten armorial services the previous decade while trading with China, and his influence is evident in the designing and ordering of this unique service for his sister.

Figure 4a and 4b. Plate from a unique service with the quarterly arms of Lee, and rim vignettes of the City of London and the Canton waterfront, circa 1735.

BANKERS The Bank of England had been established in 1694 as the government’s banker, against the opposition of some London goldsmiths and bankers such as Francis Child of Osterley, a major investor in the East India Company and importer of Indian diamonds, as well as MP for the City (for whose son and daughter two fine services were made) and Sir Richard Hoare, who later attempted to force a run on their reserves.8 In 1672, Sir Richard Hoare, son of a Smithfield horse dealer and later a goldsmith and subsequently Lord Mayor of London, had founded a private bank in Cheapside at the Sign of the Golden Bottle; his clients included Pepys, Sir Godfrey Kneller and Catherine of Braganza, wife of Charles II. The business was continued by his younger son Henry Hoare, for whose children three services were made in the late 1720s (Fig.5). The plate illustrated has the arms of Hoare with the arms of Colt on a central escutcheon in pretence, showing that it was made for the eldest son, another Henry,9 who married secondly in 1728 Susan Colt. The teapot stand also has the arms of Hoare, but a tiny crescent above the eagle indicates that it was made for the second son, later Sir Richard Hoare, who was to become Lord Mayor during the tumultuous year of the 1745 Jacobite Rising. The tea canister has the arms of Hoare in a lozenge, or diamond shape, showing that it was made for one of their three sisters before marriage. A few years later, about 1735, a fine Yongzheng service with a gilt flowered border and blue enamelled cavetto was made for David Barclay, who had settled in London and set up as a merchant draper. In 1723 he married Priscilla, daughter of John Freame, a Quaker goldsmith and banker who occupied premises at 54 and 56 Lombard Street at the Sign of the ‘Black Spread Eagle’ and the ‘Three Crowns’. This was the union that was to create Barclays Bank, whose logo today is a reminder of those street signs. Although they lived reasonably modestly, the Barclays’ house was said to be the grandest in Cheapside and was visited by every monarch from Queen Anne to George III in order to gain the best vantage point for the parade on Lord Mayor’s Day.

Figure 5a, 5b and 5c. Three services made circa 1728 for the sons and daughter of Henry Hoare. (Collection of The National Trust, Stourhead.) 107

From Canton to the City: Export Porcelain for London

LORD MAYORS Of the 100 Lord Mayors of London who were elected in the course of the 18th century, no fewer than 48 ordered armorial services which makes them an important group. At the beginning of this period those who were elected to office were often directors of the Bank and (or) of the East India Company, but all had risen through the great City livery companies and most were of merchant families, some having arrived in the various waves of immigration the previous century. Although this category clearly overlaps other professions, two Lord Mayors have been included here for specific reasons. The first, Sir John Houblon, is to illustrate the extent to which these prominent families intermarried, and how porcelain commissioned from China was often a common factor. It was easy for those in the City to place orders through their East India Company connections, and certainly in the first half of the century, before the English porcelain factories became established, there was little other option for table wares that indicated your status in society other than plate silver.

POLITICS This inevitably brings us to John Wilkes, Lord Mayor and perhaps the most infamous of 18th-century politicians – certainly the most satirised. Born in Clerkenwell in London, he entered politics in 1757. He was initially a supporter of William Pitt, but when he was replaced by Lord Bute, Wilkes started a radical journal, the North Briton, to attack the government position. However, he went too far in 1763 with issue 45 in which he criticised both the Prime Minister and also the King. These were grounds for arrest for seditious libel, which he immediately challenged citing parliamentary privilege and published again.

Houblon was a second generation Londoner of Huguenot origin and of high regard in the City. As a man of influence and wealth he became the first governor of the new Bank of England in 1694 and was elected Lord Mayor the following year. Both his image and his residence remain with us today on our £50 pound note.10 Dinner services were ordered from China for the families of his sister-in-law (arms of Bates), his nephew (arms of Houblon impaling Cotton) and, through marriage, with the families of Gough, Hynde, Parsons, Crowley and James Craggs, Postmaster General to Queen Anne. The mid-century William Beckford was a different story. He was from a family of Jamaica sugar planters and politicians, originally from Worcestershire, who was sent back to England for an education. His years of prominence coincided with those of John Wilkes (see below), while his two terms of office were associated with ostentatious luxury. Despite being an outsider, he is the only Lord Mayor to have a memorial in the Guildhall today and, with Humphrey Parsons, one of only two to be elected twice that century. It is perhaps in character that the service he ordered from China about 1755 (Fig.6) was unique and somewhat grandiose – the arms and crest in the centre being repeated another eight times on the rim.11 108

Politics was always a fertile subject for popular appeal, and china was then, as now, an excellent medium for expressing support. It was clearly a money-making moment for speculative china merchants. Numerous bowls were made copying a satirical print by Hogarth showing a rakish Wilkes holding a cap of Liberty on a pole. The reverse of these bowls copied another engraving entitled The Queen’s Arms, or a Night’s Amusement.12

Figure 6. Plate from a unique service with the arms of William Beckford, circa 1755. (Christopher M. Weld Collection.)

After a period in exile Wilkes was returned as MP for Middlesex, but to escape debt surrendered himself to King’s

Figure 7a and 7b. Porcelain popularising John Wilkes circa 1770, copying a satirical broadsheet.

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Bench Prison where he remained for two years. He was again elected by radical London, a process which happened three more times. Finally, in 1774 at the height of his popularity, he was made Lord Mayor of London. As the undisputed champion for liberty and free speech, he was by then as much a hero in America as he was popular in London. Yet more porcelain satirising these events was produced, including punch bowls and tea sets with pseudoarmorials, illustrated by two sides of a coffee cup (Fig.7) which copies in every detail a satirical broadsheet issued from the King’s Bench Prison on the 18th June 1768 entitled ‘Arms of Liberty and Slavery’ and addressed to ‘The Gentlemen, Clergy and Freeholders of the County of Middlesex’. On the left is a portrait of Wilkes below an unofficial ‘crest’ of a patriotic British lion, supported by his friend and patron Lord Temple and his lawyer Serjeant Glynn, above the motto ‘Always ready in a good cause’. On the right is the Lord Chief Justice, Lord Mansfield, above the motto ‘Justice sans pitie’ and beneath a serpent, with on the left the despised Prime Minister, Lord Bute, and on the right the devil. Such pieces must have become instant best-sellers to Londoners. Figure 8a and 8b. Figure 8. Advertising bowl made for William Gloster, HatMaker of Goodman’s Fields, London, circa 1785. Figure 9. Bowl made for John Hayward, landlord of the Black Lion Inn, Water Lane, Fleet Street, circa 1760.

In virtually the same year, a service was being made for William Pitt himself, whose grandfather, a free trader and Governor of Madras, and uncle, Lord Londonderry, had already ordered exceptional armorial services earlier in the century. It was presented to him in 1772 by the East India Company, through

John Bradbury Blake their Canton agent, and is unique in having what can only be called ‘his and hers’ coronets. Pitt was the dominant political figure of the period, famed for his oratory and perhaps best known for his determination in gaining victory over the French in the Seven Years’ War. Popularly known as the ‘Great Commoner’ he famously refused a title until 1766 when he was created Earl of Chatham. However, his wife, Hester Grenville, was clearly somewhat dissatisfied with this situation and accepted the lesser rank of baroness in her own right five years earlier. The porcelain service is painted with an earl’s coronet above his side of the impaled arms, and (although by then a countess) a baroness’s coronet above her side of the armorial.13 TRADE The mid to late 18th century saw the adoption of the armorial cartouche as the framework for inn signs and to advertise trade. These pseudo-armorials occasionally found their way on to Chinese porcelain. A punch bowl of about 1750–60 copies a trade card of one of the many ‘buck and breeches’ makers listed in the City at that date, the shield displaying a generous pair of breeches above a glove and supported by two antelopes, with a running stag as crest above a ram’s head.14 Another bowl of about 1785 (Fig.8) has a rather lengthy inscription actually painted on the porcelain: ‘William Gloster, HAT-MAKER at the Hat and Beaver, 37 Leman Street, Goodman’s Fields, London. Makes fine Beaver and other Hatts Wholesale 109

From Canton to the City: Export Porcelain for London

& Retail. NB hatts turned, dyed, lined & blocked in the Newest Manner.’ This too would have been copied from a trade card rather similar to the one illustrated, which would have been sent to China, and was clearly intended for advertising material.15 TAVERNS AND SOCIETIES Chinese porcelain was also being ordered by taverns, such as a bowl of about 1760 with the inscription John Hayward in Water Lane, Fleet Street above the pseudo-crest of a black lion (Fig.9). The Black Lion Inn was owned by the Ironmongers’ Company and John Hayward was their tenant landlord.16 A set of mugs was made for John Jounson, landlord of the Queen’s Head tavern at Gravesend, a nearby town which played an important part in the life of the river Thames and the East India trade. The tavern menu card is faithfully copied on to the porcelain, which itself copies an engraving of Queen Charlotte, wife of George III, which in turn copies a portrait by Thomas Frye. On the porcelain beneath the Queen’s Head is written: ‘NB, Clean and well-aired beds, Neat Post Chaises, a Coach to Chatham and a Boat to London every tide’. In the late 1750s Britain was at war with France and antiFrench sentiment ran high (although fashionable London did not want to be deprived of French luxury goods, and satirical prints of the hypocrisy of the city’s consumers abounded). The Anti-Gallican Society had originally been formed in London in 1745 but was re-formed at the start of the Seven Years’ War in 1754 with the aim of opposing ‘the insidious arts of the French nation; to promote British Manufactures, extend the commerce of England, and discourage the introduction of French modes and the importation of French commodities’.17 At least eight different versions of sets of porcelain were made between 1745 and 1765, all with the common theme of a pseudo-armorial with St. George on a Hanoverian white horse, trampling underfoot a dragon draped with the fleurs-de-lis of France ‘in disarray’. The motto was usually ‘St. George and Old England’ and sometimes ‘For our Country’, while inside at least one bowl – presumably in irony – is the inscription ‘May love and friendship still abound’. HERALDS An important institution in the City was the College of Arms, founded in 1484. It is the heraldic authority under the crown 110

and for over 500 years has granted arms to individuals and corporations. There is no doubt that an office associated with the College drew up many of the armorials which were sent to China: about 100 services of c.1755–75 have a style of mantling which appears specific to these designs and are decorated in conjunction with either a spearhead or chain border. In his 1726 treatise on English trade quoted above18 Daniel Defoe continued, ‘We see the tradesmen of England, as they grow wealthy, coming every day to the herald’s office to search for the coats of arms of their ancestors, in order to paint them upon their coaches, and grave them upon their plate…’. One such case is illustrated by a vellum scroll with letters patent declaring the arms, beneath the crest of a merchantman in full sail, ‘… plainly depicted to be borne and used for ever hereafter by the said David Milligan of the City of London, merchant, and his descendants’. The porcelain service ordered from China with his arms is exactly contemporary with the date of 1774 on the document (Fig.10).

Figure 10a and 10b. Grant of Arms, dated 1774, to David Milligan, London merchant, and his porcelain ordered about the same time. (Plate at Nanchang University Museum; image courtesy Winterthur Museum.) Figure 11. Punch bowl with the arms of the Worshipful Company of Bakers, circa 1755.

Art Antiques London 2013

The grant was signed by Ralph Bigland, subsequently Garter King of Arms,19 who had started his career as a cheesemonger in Fetter Lane before becoming a herald. Bigland designed and ordered a service for himself about 1760 which is unusual for two reasons: it includes the arms of both his first and second wives, and also contains a quotation from the bible. Amongst the flowers beneath the arms is the inscription Deut. 8th 7-89-10, which refers to a ‘big land flowing with milk and honey’. Only two services have a biblical inscription, the other is for a livery company (see below). LIVERY COMPANIES By the middle of the 18th century, porcelain ordered from China was available to a much wider market and the London livery companies, which had developed from the medieval trade guilds, were enthusiastic purchasers. Of the 77 companies which then existed, about 35 ordered some 80 services between them (a number being commissioned for individual liverymen) and most are characterised by their use of punning arms – the objects on the arms reflecting the particular trade. Members of the Bakers’ Company ordered probably the largest number of services, with six different sets known to date, the punch bowl illustrated (Fig.11) being the earliest in 1755. The Fishmongers had several magnificent services, including unusual shapes such as loving cups, while the Company of Watermen and Lightermen of the River Thames20 ordered five services between 1770 and 1795. The service made for the Distillers’ Company also included a biblical reference on the porcelain, Deut. 32.v.2, with its punning translation as a motto, ‘Drop as rain, distil as dew’.

Figure 12a and 12b. Tankard from one of several orders of porcelain, circa 1755, produced during the trial of Elizabeth Canning and Mary Squires. Print published The London Magazine, 1754 (image courtesy of ancestryimages.com)

Rather late in the day, members of the Company of Shipwrights ordered five separate services in the last five years of the century. None of them is particularly well, or even accurately, painted, probably because of the quality of design sent out to China. Presumably in an attempt to improve this, a further order was sent with the arms depicted on a piece of official headed stationery, perhaps an application for admission as a liveryman. The armorial was indeed much better executed, but unfortunately inadequate instructions must have been sent – for included on the porcelain above the arms are the words ‘Instituted 20th February 1794 ...’ with beneath, ‘Admitted 179...’. 111

From Canton to the City: Export Porcelain for London

MASONIC Numerous pieces of porcelain were ordered from China during the 18th century with Masonic symbols.21 Often these had fairly generalised motifs while others were produced for specific lodges or for named individuals who were masons. In 1717 the four London lodges united to become the first Grand Lodge, but within twenty years this had grown to about 130 lodges. In 1751 a rival Grand Lodge was established, claiming its title as the ‘Antients’ which, somewhat confusingly, made the older Grand Lodge the ‘Moderns’ by default. The arms of the Moderns can be seen on a bowl which is also inscribed St John’s Lodge, Bedford Head, Maiden Lane, and again on a tankard inscribed Moses Adams, Boat Builder, Gravesend, which was almost certainly copied from an inn sign in Gravesend, at the time still a centre of shipbuilding for the East India Company. LAW AND CRIME In 1753, a celebrated court case excited the attention of fashionable London. Elizabeth Canning was a young maid servant from a poor family of Aldermanbury in the City, who disappeared for several weeks, returning very much the worse for wear and with an extraordinary story. She had been abducted by a gipsy, Mary Squires, and held in a house in Enfield, north of London, from which she had eventually escaped. Reports and comments from every conceivable perspective filled the newspapers for well over a year. Canning was defended by the magistrate and novelist Henry Fielding while Squires was arrested and found guilty. However, Sir Crisp Gascoyne, the first Lord Mayor to be installed at Mansion House, was not convinced by the verdict and ordered the case to be reopened. Fashionable London was divided in its support for Canning or Squires and the case became notorious, with Gascoyne openly attacked in the street by Canningites. It was another opportunity for the speculative China merchants. A variety of tankards was produced with the portrait of Mary Squires or her accuser copying the engravings which abounded (Fig.12), while presentation dishes were also produced with a double portrait of the two litigants beneath a figure of blind Justice and above the inscription ‘One Day for Liberty the Briton Fires ... and the next he flames for Canning or Squires’. The fact that producing such porcelain would take a minimum of eighteen months between order and delivery illustrates that such 112

newsworthy events could remain topical, and indeed profitable, for a considerable period. Elizabeth Canning then made a mistake and during the second trial she told a different story to the Press. She was found guilty of perjury and deported to New England.22 BUILDINGS AND INSTITUTIONS An unusual bowl was discovered a few years ago and is now in the collection of the Peabody Essex Museum in Salem. 23 It dates from the late 18th century and unusually for that period is decorated largely in blue enamel. On one side is a heavily painted but fairly accurate view of the Tower of London, which lies immediately outside the walls of the ‘square mile’ of the City, almost certainly taken from an engraved source (Fig.13). The other side is more curious and shows soldiers, probably from the Royal Regiment of Fusiliers, loading muskets and fixing bayonets. Only one armorial service features the Tower of London in its heraldry and incidentally also includes pistols (Fig.14). This was made about1735 and has the arms of Hopkins impaling Lethieullier. The arms show descent from an armourer of the Tower to whom they were granted in 1568 and the service was made for Sir Richard Hopkins, an Alderman of the City, who married a daughter of Christopher Lethieullier (and cousin

Figure 13a and 13b. Punch bowl decorated with the Tower of London, circa 1800 (image courtesy Peabody Essex Museum) and a plate circa 1735 for Sir Richard Hopkins, Alderman of the City, descended from a Tower armourer, with Tower crest and pistols on the arms.

Art Antiques London 2013

of Leonora Maresco Frederick, see Fig.3) a wealthy Huguenot merchant and director of the Bank of England. Porcelain was also ordered from China with topographical scenes, including two fine bowls of about1800 with London views. One has a long vista of the Foundling Hospital with on the reverse the Vauxhall Gardens, both after prints published in the 1750s.The second is a magnificent bowl decorated with the Mansion House, the residence and offices of the Lord Mayor, with a view of Lombard Street and Cornhill disappearing into the distance.24 The equally detailed reverse has a view of Fenchurch Street and Ironmongers Hall, again both from prints. The quality of painting on these bowls is probably the finest recorded on Chinese porcelain of this date for the European market.25 DECLINE OF THE CHINA TRADE By the 1790s, East India Company interest in importing porcelain from China was declining rapidly, while new import duties of 50% increased to over 100% by the end of the century, largely as a result of determined lobbying by producers of English ceramic wares such as Miles Mason and Josiah Wedgwood. Curiously, the only porcelain ever ordered with the arms of the East India Company itself was produced at this very late stage, and by then it was probably just standard table ware to furnish the company offices in London and Madras. Affected by taxes, a lack of interest and prospective war, the Private Trade26 in wares from Canton had also declined by the end of the century other than for very special orders such as the Mansion House bowl. Relatively few armorial services were produced in the 19th century in response to orders from England.

East India House in Leadenhall Street was demolished in 1861 and the site is today occupied by the ultra-modern Lloyd’s Building, itself a descendant of Lloyd’s Coffee House which had opened in 1688 – the 18th-century East India Sale Room now replaced by a trading room of a rather different sort. It is perhaps fitting that virtually the last armorial dinner service to be ordered from China was in the 1930s by Lloyds of London, using arms granted to the Corporation in 1926. The arms are correctly, though somewhat crudely, drawn but their motto Fidentia has been replaced on most pieces by the puzzling HUSNM. Following discussion with the Lloyds archivist, the answer finally came to light. After 1927 the official writing paper was headed by a small logo with their new arms, the motto barely discernible. Underneath was usually typed the initial of the writer – in this case H, followed by his country (here U.S.) and the type of insurance (N.M. or non-marine). So the mistake made by the Shipwrights’ Company 130 years earlier had been repeated yet again: an amusing coda to the final chapter in the story of the merchants of London trading with China.

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From Canton to the City: Export Porcelain for London

1 The overthrow of the Catholic James II by parliamentarians in union with William of Orange in a bloodless revolution, greatly strengthening the powers of parliament and leading to the Bill of Rights. 2 Stock held in the East India Company produced dividends of about 12% throughout the century, rising as high as 40% in the best years. 3 Daniel Defoe (1726), The Complete English Tradesman, Chapter 22. See http:// www.online-literature.com/defoe/english-tradesman. 4 His great-grandfather had fled persecution in the Spanish Netherlands in the 1580s, settling in Old Jewry in the City and becoming Surgeon to James I, while his grandfather had been Lord Mayor in 1661 after the Restoration of the Monarchy, and was MP for the City, giving £5,000 towards rebuilding Christ’s Hospital after the Great Fire. Sir John Frederick’s brother Thomas served in the East India Company and was a governor of Madras. 5 A long view of the City of London from St. Clements to the Tower, with St. Paul’s in the centre and London Bridge on the right, entitled Prospectus Londinensis, had been published by Joseph Smith in the 1724 edition of Britannia Illustrata, expanding a work started by Johannes Kip after drawings by Leonard Knyff. Other panoramic engravings of London copied this, including one signed T. Davies (DuBose Collection) which is of small size and very similar to the porcelain, and was almost certainly used as the masthead for a periodical. 6 The 1736 portrait by Joseph Highmore is in the Wolverhampton Art Gallery. It is full of imagery – the recently deceased Eldred Lancelot Lee looks down from a portrait hanging on the wall, a child who died in infancy skips as a cherub on a mural, their eldest daughter displays the jewels which will become her dowry. In the centre is Eldred’s wife, Isabella, surrounded by her ten children, holding a squirrel.

political Grenville family, Hester shared her husband’s interests and was described by the banker Thomas Coutts as ‘the cleverest man of her time in politics and business’ (see the Memoirs of The Lady Hester Stanhope to her Physician, Volume III, published 1845, speaking of her grandmother). 14 Illustrated Howard, Chinese Armorial Porcelain, Volume II, p.309. 15 Illustrated Howard, The Choice of the Private Trader (1994), p.201. The bowl formerly in the Leo A. Hodroff Collection, now at Winterthur Museum. See also Heal, Sir Ambrose; The Signboards of Old London Shops (1957), p.98. 16 A watercolour of c.1855 of the Black Lion Inn in Whitefriars Street (previously Water Lane) by Thomas Hosmer Shepherd is in the Guildhall Library, which also holds a pen and wash plan of the premises in 1841 by Robert Sibley. 17 The headquarters of the Society were at ‘Lebeck’s Head’ in the Strand, and a special anniversary dinner was held in the City on St. George’s Day. One of the Grand Presidents of the Society was Stephen Janssen, Lord Mayor of London in 1754 and founder of the Battersea Enamel Factory. 18 See footnote 3. 19 The senior of the three Kings of Arms at the College of Arms. 20 The River Thames was a crucial link between London and its trade, and the Company of Watermen and Lightermen were guardians of the traffic on its waterways at a time when London had only one bridge and the streets were ill-kempt and poorly lit. 21 A comprehensive collection of Chinese Export porcelain with Masonic designs, including armorials, is on display at The Library and Museum of Freemasonry, Freemasons’ Hall. See also an article by Diane Clements, ‘Freemasonry and Chinese Export’, Antique Dealer and Collectors Guide, July 2001.

7 It was the start of a long career with the East India Company, of which Harry Gough eventually became chairman by way of being a ship’s captain, a London merchant, lawyer and member of parliament.

22 See The Canning Enigma by John Treherne, and numerous other publications and contemporary references to this famous 18th-century trial. Elizabeth Canning fared well in Connecticut, marrying a nephew of a former governor.

8 A number of governors as well as directors of the bank ordered personal armorial services, amongst others John Rudge, a London merchant, governor of the South Sea Company and MP, and his daughter-in-law, Elizabeth Howard; much of both services still remaining with descendants.

23 See William R. Sargent, Treasures of Chinese Export Ceramics from the Peabody Essex Museum (2012), pp.264–65. Illustration courtesy of Peabody Essex Museum (Museum purchase, 1994, E84062).

9 Known as Henry the Magnificent, he was a patron of the arts and on inheriting Stourhead in Wiltshire from his father (who had bought it in 1717) he established the garden and collections there while running the bank. Today it belongs to the National Trust where pieces from these three armorial services are on display in the dining room. 10 His brother James represented the City as MP and it was he who was certainly a major influence on the China trader Harry Gough. 11 An ambitious man and a social climber, he entered City politics as a stepping stone to Parliament but was widely criticised as an absentee planter and slaveowner, and regarded as a colonial with a vulgarity to match. From his immense wealth he built Fonthill Abbey in Wiltshire. A slightly later service was also made for him, while yet another was made for his sister, who became the Countess of Effingham, and a fourth for his son, William Beckford, in 1815. 12 See D.S. Howard & J. Ayers, China for the West (1978), pp.244–45 for the bowl and both engravings. The significance of the scene of boisterous revelry in which three figures force drink upon another is not certain, but one of the many societies to which Wilkes was immediately made an honorary member was the Society of Leeches, who met at the Queen’s Arms Tavern in St. Paul’s Churchyard and the depiction may relate to this association. 13 A contemporary painting by William Hoare shows her in ermine robes, her arm outstretched towards her coronet as a baroness. As a member of the powerful 114

24 The view of Mansion House copies an engraving which was published in 1751. This was two years before completion of the edifice so must have been worked from an architect’s plan. However, the topmost structure painted on the bowl was never built so has inadvertently been reproduced on the porcelain from the faulty engraving. 25 See D.S. Howard & J. Ayers, China for the West (1978), pp.268–69 for the Mansion House bowl; and D.S. Howard, The Choice of the Private Trader (1994), pp.202–3 for the Foundling Hospital bowl. An example of the latter is in the Foundling Museum (one of four such bowls known). 26 The independent but parallel trade in specially commissioned wares from China which was permitted by the East India Company to be carried out privately by its captains and officers. The Company itself was only interested in standardised mass imports, but also benefitted from the Private Trade through an auction process on arrival in London. Acknowledgements For further information about all the armorial services mentioned, as well as appendices relating to Lord Mayors of London, Livery Companies, East India directors and other related topics, see two volumes of Chinese Armorial Porcelain (1974 and 2003) by David S. Howard.

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