Art Antiques London 2014

2014

PRIVATE VIEW Wednesday

11th June

11am - 9pm

PUBLIC VIEWING Thursday

12th June

11am to 7pm

Friday

13th June

11am to 7pm

Saturday

14th June

11am to 7pm

Sunday

15th June

11am to 6pm

Monday

16th June

11am to 7pm

Tuesday

17th June

11am to 7pm

Wednesday

18th June

11am to 6pm

Sponsored By

速

Albert Memorial West Lawn Kensington Gardens London SW7

Wednesday 11th June until Wednesday 18th June 2014

‘Party in the Park’ in support of Children in Crisis Tuesday 10th June 2014

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 team: For further information:

Magda Grigorian (Press Officer), Emma Jane Haughton, Giles Haughton, Mary Jones,

Art Antiques London

Anthea Roberts, Fern Roberts, Richard Webster

15 Duke Street St James’s London SW1Y 6DB T: +44 (0)20 7389 6555 F: +44 (0)20 7389 6556 e: info@haughton.com www.haughton.com Catalogue design and production: Press and Public Relations:

Creative Wisdom Ltd

Magda Grigorian T: + 1 212 877 0202

Catalogue advertising:

e: haughton.ny@prodigy.net

Helena Power

Flowers:

While Art Antiques London, the Advisory and Honorary Vetting Committees of ART ANTIQUES

Lavenders Blue

LONDON cannot be held responsible for, or warrant, the genuineness or age of any article exhibited, visitors are requested to note that all articles have been submitted for inspection by

Restaurant and Bars:

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

Prestige Venues & Events

down, and that every article is authentic and of the period they represent. The organisers and/or their agents cannot be held responsible for any items sold at the Fair. This is the sole responsibility of the exhibitors selling the object/objects. Please also note that because of the early printing datelines for the catalogue, all illustrations were printed before vetting took place.

Visitors are reminded that all exhibits are for sale.

The organisers reserve the right to refuse admission to the Fair and/or 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. Š The International Ceramics Fair and Seminar 2014

Contents

6

Organisers’ Welcome

7

The Vetting of Art Antiques London

8

The Lecture Programme

12

About Children In Crisis

13

Message from HRH Princess Eugenie of York

14

Exhibitors at the Fair

85

Articles

86

French Empire Silver versus English Regency Silver

98

Russian Imperial Porcelain & Serge Diaghilev’s Ballets Russes

118

Meissen Porcelains with East Asian decoration in the Ernst Schneider Collection

129

Advertisers

146

Floorplan of the Fair

Organisers’ Welcome Welcome to Art Antiques London 2014: A true collector’s fair in the heart of London We are delighted to welcome you to Art Antiques London. Its unrivalled setting and stunning ambiance make it one of London’s most exciting and glamorous art and antiques fairs and the jewel in the crown of the London summer season. Art Antiques London is the first modern-day fair to take place at the historic site of the Great Exhibition of 1851. The fair’s purpose-built pavilion is set against the unique backdrop of the Albert Memorial in Kensington Gardens, opposite the Royal Albert Hall with views of Hyde Park and within walking distance of Kensington Palace, the Serpentine, the Orangery and the Princess Diana Memorial. Art Antiques London attracts the world’s most serious institutional and private buyers and is famous for its light, airy and relaxed atmosphere. A global community of collectors, dealers, curators, connoisseurs and art lovers find this summer showcase an irresistible and essential meeting place for the arts in June.

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 go to our world-class speakers, the top experts in their fields, who deliver 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 Children in Crisis 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 8

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 ensured.

Our thanks to all the members of the Honorary Vetting Committees for their help and co-operation.

Honorary Vetting Committee Chairman: Haydn Williams

9

The Lecture Programme Sponsored by The Ten Ten Foundation Inc.

Thursday 12th June 11.30am - 12.30pm A1 Jewellery in the age of Queen Victoria: a mirror to the world Judy Rudoe FSA - Curator of Jewellery and Decorative Arts The British Museum, London This lecture emerges from the speaker’s recent book coauthored with Charlotte Gere (see biography). The “age of Victoria” is taken in its widest sense to encompass jewellery from across Europe and America, at a time when expanding foreign trade, the new illustrated press and a growing tourist industry brought jewellery from many parts of the world to a wide audience. Queen Victoria played a huge role: what she wore and did had tremendous impact, so what might seem a narrow subject acts as a key to our understanding of the entire Victorian age. Using examples from the British Museum and collections worldwide, Judy Rudoe considers Victorian jewellery against its global background and uncovers what jewellery meant to those who wore it, both literally and metaphorically.

She will show how it was used in private and in public to reveal that politics, nationalism and even humour of the period are all embodied in jewellery.

2.30pm - 3.30pm A2 JMW Turner: the artist and his house at Twickenham Catherine Parry-Wingfield - Art Historian and Chairman of Turner’s House Trust Turner is rightly one of the most famous names in the history of British art, and remains an inspiration to painters today.

Tucked away in Twickenham is a small unknown work by this great artist, not a painting, but a work in three dimensions.

Sandycombe Lodge was designed by Turner himself as a country retreat from the pressures of the London art world; his ‘old Dad’ kept house here, Turner sketched, fished the river and occasionally entertained. This talk will explore a little-known side of Turner’s life and work, against the backdrop of the ‘Matchless Vale of Thames’, the beautiful Thames scenery which inspired much of his work. Sandycombe Lodge is now owned by Turner’s House Trust - www.turnerintwickenham.org.uk - which is developing plans for major conservation and future use of this beautiful and important building.

10

Friday 13th June 11.30am - 12.30pm

4.30pm - 5.30pm

B1 A matter of fashion: the collecting of English ceramics Anton Gabszewicz - Independent ceramics researcher

B3 Nature, porcelain and enlightenment: A natural history of early English porcelain and its place in the eighteenth century home Paul Crane - Lecturer, researcher & dealer

Since the death of Lady Charlotte Schreiber in 1895, English ceramics have been collected with increasing enthusiasm. The founding of the English Porcelain Circle in 1927, under the Presidency of Mrs Radford, brought leading enthusiasts together and since then, through the yearly publication of the ECC Transactions their knowledge has been disseminated to a wider public. Yet the collections the speaker will discuss are markedly varied in their content and in the way they have been assembled.

The names form a roll call of the influential collectors of the last 70 years. This lecture identifies those influences and how they informed the taste of succeeding generations.

2.30pm - 3.30pm B2 Of Soup and Love...The Campbell Collection of soup tureens at Winterthur Museum Pat Halfpenny - Independent Researcher The Campbell collection of soup tureens is the finest collection of its type in the world. Although this lecture will focus on the magnificent ceramic pieces, they will be set in a context that includes highly prized silver and gilt examples that will help us understand the evolution of high style in the 18th and early 19th centuries. As grand gilded baroque examples, fanciful rococo porcelain, and elegant neoclassical forms will be discussed, the speaker will share some of the changes in social life and dining practices that created the environment in which tureens were first introduced, rose to great prominence, declined, and found new purpose in the 20th & 21st centuries.

England in the mid eighteenth century was a country riveted by an insatiable appetite for knowledge, exploration and discovery.

This forged a new scientific approach which was to spearhead the Age of Enlightenment. Through new eminent publications Science and Nature became the pinnacle of taste and fashion within the Aristocracy, who decorated their homes with this organic natural force. The birth of English porcelain in London in the 1740’s provided an opportunity for enlightenment to fuse with the arts. Examples of the production at the porcelain manufactories of Bow, Chelsea, Worcester and Vauxhall together with the Liverpool factories of Samuel Gilbody, William Reid and Richard Chaffers, will illustrate these natural recreations that were to fill the eighteenth century home with a totally reinvented Cabinet of Natural Curiosity.

Saturday 14th June 11.00am - 6.00pm The Silver Society Study Day: New Silver Projects: re-assessing the evidence of the past Please note that The Silver Society Study Day is booked separately from the Art Antiques London lecture programme.

To book, visit www.thesilversociety.org or email: events@thesilversociety.org

11

Sunday 15th June

Monday 16th June

11.30am - 12.30pm

11.30am - 12.30pm

C1 Around the world in 80 figures: Highlights of the PaulsEisenbeiss-Stiftung, Basel Dr Samuel Wittwer - Director of Palaces and Collections, Prussian Palaces and Gardens Foundation, Berlin-Brandenburg

D1 A behind the scenes look at Ming - 50 years that changed China Jessica Harrison-Hall - Curator of Chinese Ceramics - British Museum and Sir Percival David Collections and Vietnamese Art

Established in 1975 in Basel, the Pauls-Eisenbeiss Foundation is one of the world’s leading collections of 18th century German porcelain figures. The collection concentrates on four leading manufactories (Meissen, Frankenthal, Ludwigsburg and Höchst) bringing together 750 objects, mainly figures. This treasure trove of German porcelain has been open to the public since 1977. It is not just a collection of important examples of each manufactory; it is a collection cleverly put together in the 1950’s and 1960’s and is the perfect study base enabling collectors to compare variations of decoration and modelling, discovering unique pieces and also enabling students to gain insight to a wide range of topics such as fashion and social aspects of the 18th century. This lecture introduces us to this important collection in a multifaceted way by giving us a general overview as well as concentrating on new aspects of research and details.

3.30pm - 4.30pm C2 Freedom of expression:The fantastic range of du Paquier porcelain Claudia Lehner-Jobst - Art Historian and Curator, Vienna This lecture will pay homage to two personalities: Claudius Innocentius du Paquier, the founder of the first porcelain manufactory in Vienna and his artistic resourcefulness and to one of the first collectors of his work, Marchese Emanuele d’Azeglio whose objects now form the heart of the ceramics collection at the Palazzo Madama in Turin. The speaker will discuss the history of that collection and some outstanding objects in depth.

This year the British Museum will open a major exhibition on Ming courts and their international engagement. Ming: 50 years that changed China shows how fifty years of the Ming dynasty transformed China in ways which still affect the country we know today. Ming China was thoroughly connected with the rest of the world in these years and absorbed many influences.

The staggering wealth of the courts included some of the most beautiful porcelain, gold, jewellery, furniture, paintings, sculptures and textiles ever made. Many of these objects were undiscovered until recently and have never been shown within the context of China’s multiple courts and of Ming China’s interaction with foreign countries ranging from Mogadishu to Kyoto. This lecture takes a behind the scenes look at the four years of collaborative research and international co-operation which culminate in the exhibition.

4.00pm - 5.00pm D3 Face to Face: Dame Rosalind Savill in conversation with The Duke of Devonshire Where do you find the essential combination of sensibility and pizzazz needed to cherish the traditional and celebrate the innovative in a great country house? The answer is simple: at Chatsworth with the Duke and Duchess of Devonshire.

Throughout its history the individual contribution of each generation has enabled it to evolve and flourish, often against huge odds, but the pressures and challenges today are more formidable than ever. Stoker and Amanda Devonshire have spent the last ten years reinventing Chatsworth in a myriad of inspirational ways, giving it a new twenty-first century lease of life, and using their magic touch to turn a possible millstone into a marvel. This discussion will attempt to discover the secrets of their success in bringing a thrilling new edge to Chatsworth. It will touch on the history of the house and its great collections, and will explore their daunting responsibilities and prospects when he inherited in 2004, how their grand plans took shape, the highs and lows of achievement, and the continuing excitement of future projects and dreams.

Conversation sponsored by

12

Tuesday 17th June

Wednesday 18th June

11.00am - 5.30pm

2.30pm - 3.30pm

The French Porcelain Society Study Day: Sèvres & China

E2 Porcelain figures in the Royal Court Pantries in Dresden, Warsaw and Hubertusburg: A crash course in the Hof-Conditorei inventories Maureen Cassidy Geiger - Independent Ceramic researcher

Please note that The French Porcelain Study Day is booked separately from the Art Antiques London lecture programme.

To book, visit www.thefrenchporcelainsociety.com email: mcpherson@orientalceramics.com or call +44 (0)20 8789 8200

Meissen figures have typically been studied via the work reports in the manufactory archives, which were suspended from 1748 to 1764, or the Japanese Palace inventories. By comparison, the highly detailed inventories of the court pantries of the Saxon-Polish realm have been overlooked as an essential resource for understanding the types and numbers of figures produced for table decoration, especially during the gap in the work reports. This Hof-Conditorei crash course will focus on three inventories taken between 1750 and 1755 at three royal palaces: Dresden, Warsaw and Hubertusburg.

4.30pm - 5.30pm E3 Dining culture in Enlightenment Europe Ivan Day - British Food Historian From the town houses of Edinburgh to the palaces of St Petersburg, from the chocolate houses of Madrid to the grand salons of Stockholm, the cuisine and dining protocol of the French ancien regime spread rapidly during the course of the eighteenth century to all of the great European centres, frequently obliterating the native high status food traditions of those who adopted it. In this illustrated lecture, British food historian Ivan Day will examine the dramatic cultural impact that the spread of French court dining protocol had on the non-French speaking aristocratic world. He will not only discuss the remarkable food itself, with a particular emphasis on the dessert course, but also its mode of service and the glittering material culture it spawned.

13

Children in Crisis is delighted to have been chosen as the beneficiary of the 2014 Art Antiques London and we hope to raise much needed funds to continue our work.

Children in Crisis, established in 1993, by the Duchess of York, provides children in some of the world’s poorest countries with the education they need to help transform their lives.

Where resources are few, where education is needed to heal the nation and where it is too remote for others, our aim is to support children to read, write, think, pursue their life goals and contribute positively to their communities. Since 1993, Children in Crisis has reached 1,402,431 children and families with its work, and remains committed to helping the most isolated and vulnerable.

At Children in Crisis, we believe that every child is equal and should be able to grow up cared for, educated and protected – wherever they are in the world. However the reality is that far too many young people are deprived of a childhood and enter adult life without even the safety net that a primary education can provide.

We work to ensure the wellbeing of as many children we can reach. We work within countries in which conflict and poverty have left children particularly vulnerable, in remote and hardto-reach areas which have often been isolated from any other kind of outside help. We currently work in Afghanistan, Burundi, Democratic Republic of Congo, Liberia and Sierra Leone.

Education is a powerful transformative tool and is often at the heart of the support that we bring. We work alongside communities and parents to help identify and address the problems that threaten their children’s wellbeing, whilst always

14

listening to and learning from the children that we are there to help. We provide lasting solutions that can be carried forward when we are gone. The money raised throughout the Party in the Park will raise funds to enable us to continue these vital programmes of work.

Children in Crisis would like to extend and express their deepest appreciation to the Haughton Family and Art Antiques London for choosing Children in Crisis as their beneficiary this year. To learn more about our work, please come and visit our stand.

UK Registered Charity No. 1020488

“At first, my family did not allow me to join the centre for education. They said that it was not important for girls to go to school or to get an education. After several visits of team leader and teachers now my family agree to allow me to go.”

A 12 year old girl, at one of our Education Centres

It has been such an honour to co-chair the Art Antiques London ‘Party in the Park’ in aid of Children in Crisis. I am so grateful for all the support and dedication that the Haughton team and Children in Crisis have given to make this an evening that will be remembered.

Through my passion for art and commitment to this charity, I can marry together two interests in my life that can bring about a marked change in forgotten countries. Your support will better the lives of so many children that currently do not have access to basic education, something we all take for granted.

Through education we can give these young people the tools with which to make their own decisions in life.

Thank you so much for being here and for supporting a cause so close to our hearts.

HRH Princess Eugenie of York

15

Exhibitors at the Fair

16

AD ANTIQUES B23 PO Box 51, Chipping Campden, Gloucestershire GL55 6UQ, UK M: +44 (0)7811 783518 www.adantiques.com e: alison@adantiques.com Alison Davey British art pottery 1870 – 1930 and contemporary 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 Laura Bordignon Japanese works of art from the Meiji period

APOLLO – THE INTERNATIONAL MAGAZINE E11 22 Old Queen Street, London SW1H 9HP, UK T: +44 (0)20 7961 0064 www.apollo-magazine.com e: @dwilson@pressholdings.com

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, Tim Kent Antique silver from the 16th century, specialising in early spoons, collectables and good house-furnishing objects; particularly Georgian and Victorian periods, with an emphasis on English, Scottish and Irish silver

ASIAN ART IN LONDON A1 20 Rutland Gate, London SW7 1BD T: +44 (0)20 7499 2215 www.asianartinlondon.com e: info@asianartinlondon.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

E10

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 JOANNA BOOTH PO Box 50886, London SW3 5YH T: +44 (0)20 7352 5992 M: +44 (0)7711 047640 www.joannabooth.co.uk e: joanna@joannabooth.co.uk Joanna Booth, Victor Hutchins, Ian White Early sculpture, tapestries and textiles, old master drawings

C32

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 THE CANON GALLERY E6 Nr Oundle, Northants T: +44 (0)1832 280451 M: +44 (0)7831 760511 www.thecanongallery.co.uk e: jeremygreen16@googlemail.com Jeremy Green, Anne Green Oil paintings and watercolours

17

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 Fine antique jewellery 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 Osborne, Victoria Osborne, Eleanor Osborne, Jane Holdsworth English and Irish glass of the 18th and early 19th centuries.

English porcelain of the 18th and early 19th centuries

D6

GANDER & WHITE SHIPPING LTD B26 Unit 1, St Martin’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

MARTIN DU LOUVRE C26 69 rue du Faubourg Saint Honoré, 75008 Paris, France T: +33 (0)1 40170689 M: +33 (0)680 175101 www.martindulouvre.com e: martin.du.louvre@online.fr David Le Louarn Modern and contemporary sculpture, paintings, drawings, photography and design TED FEW 3 Playfield Crescent, London SE22 8QR, UK T: +44 (0)20 8767 2314 Ted Few Idiosyncratic works of art, pictures and sculpture

D4

FITZGERALD FINE ARTS B16 41 Greene Street, New York, NY 10013 T: +1 212 966 5754 www.fitzgeraldfinearts.com e: inquiries@fitzgeraldfinearts.com Benjamin Walker, Director Contemporary Chinese Porcelain and Ink Paintings. Contemporary Chinese Art

18

D & M FREEDMAN B25 By appointment only, UK M: +44 (0)7976 708913 www.freedmanantiques.com e: dandmfreedman@blueyonder.co.uk David Freedman, Mercedes Freedman Chinese porcelain and other works of art 15th to 19th century European 16th and 17th century maps

THE GILDED LILY 145/146 Grays, 58 Davies Street, London W1K 5LP, UK T: +44 (0)20 7499 6260 M: +44 (0)7740 428358 www.graysantiques.com e: jewellery@gilded-lily.co.uk Korin Harvey, Brian Murray-Smith Fine jewellery from the 19th century to the present

C30

GOODMAN FINE ART E23 Admirals Walk, Hampstead, London, NW3 6RS, UK T: +44 (0)20 7431 3210 M: +44 (0)7702 102850 www.goodmanfineart.com e: contact@goodmanfineart.com Mark Goodman, Marina Goodman, Timothy Beale Late 19th century and modern British especially 1950’s and 1960’s GOULDEN & THOMAS B18 London & Cornwall T: +44 (0)7742 668089 www.gouldenandthomas.com e: sales@gouldenandthomas.co.uk Specialises in 20th Century Art concentrating largely on Cornwall and the west country.

GRAY M.C.A By appointment only, UK T: +44 (0)1935 881696 M: +44 7872 171111 www.graymca.co.uk e: info@graymca.co.uk Ashley Gray Modern British & Contemporary Art Original Fashion Illustration & Textiles

E24

GRIMA C10 By appointment, London M: +44(0)7900 590123 www.grimajewellery.com e: info@grimajewellery.com Jojo Grima, Francesca Grima Contemporary and vintage jewellery

BRIAN HAUGHTON GALLERY E26 15 Duke Street St James’s, London SW1Y 6DB, UK T: +44 (0)20 7389 6550 F+44 (0)20 7389 6556 www.haughton.com e: gallery@haughton.com Brian Haughton, Paul Crane 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.

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

ANTHONY HEPWORTH B27 16, Margaret’s Buildings, off Brock Street, Bath, Somerset, BA1 2LP, UK T: +44 (0)1225 310694 M: +44 (0)7970 480650 www.anthonyhepworth.com e: anthony.hepwor@btconnect.com Anthony Hepworth, Rose Hepworth Specialist dealers in modern British and Post War painting and sculpture.

JULIAN HARTNOLL artmonger est 1968 B20 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 Paintings, drawings and prints by unjustly forgotten artists of the 19th & 20th century

JOHN HOWARD Heritage, 6 Market Place, Woodstock, Oxfordshire OX20 1TA, UK M: +44 (0)7831 850544 www.antiquepottery.co.uk e: john@johnhoward.co.uk John Howard Specialising in 18th and 19th century British pottery

D8

IMPERIAL FINE BOOKS B5 790 Madison Avenue, New York, NY 10065 T: 001 212-861-6620 M: 001 201294-3874 www.imperialfinebooks.com e: info@imperialfinebooks.com Bibi Mohamed, Selina Mohamed, J Ramsawak

19

ISAAC & EDE 10 St James’s Place, London SW1A 1NP T: +44 (020)7629 9040 M: +44 (0)7817 207673 www.isaacandede.com e: info@isaacandede.com David Isaac Eighteenth and nineteenth century decorative prints

E4

LESLEY KEHOE GALLERIES D34 Ground Floor 101 Collins Street, Melbourne, Victoria 3000, Australia T: +61 3 9671 4311 M: +61 407 671 431 www.kehoe.com.au e: gallery@kehoe.com.au Lesley Kehoe, Byron Kehoe JULIA KORNER B7 The River House, 52 Strand on the Green, London W4 3PD T: +44 (0)20 8747 1652 M: +44 (0)7771 713980 www.juliakorner.com e: julia@juliakorner.com Julia Korner, Jamie Korner Specialises in works on paper from the 18th, 19th and 20th centuries; also runs a studio for conservation of paintings, polychrome sculpture and frames, and makes bespoke frames.

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

C8

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 www.antique-silver.com e: sanda@antique-silver.com Sanda Lipton Specialising in fine antique silver, early English spoons, historic and commemorative medals, objects of vertu and collectors’ items

20

LUCAS RARITIES Mayfair, London W1, UK T: +44 (0)20 7100 8881 www.lucasrarities.com e: info@lucasrarities.com Sam Loxton, Francesca Martin-Gutierrez Antique and period jewellery

D1

E & H MANNERS E32 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 Specialising in European ceramics of the 17th and 18th centuries MARCHANT E16 120 Kensington Church Street, London W8 4BH, UK T: +44 (0)20 7229 5319 www.marchantancientart.com e: gallery@marchantasianart.com Simon Abraham Gregory – Gallery Manager, Weishi Sun – Gallery Assistant, Natalie Marchant – Gallery Assistant Chinese Imperial Porcelain (Ming to Qing) Chinese Export Porcelain (17th / 18th Century) Chinese Antique Jade Carvings & Works of Art MAYFLOWER ANTIQUES WORCESTERSHIRE D15 PO Box 6828, Bewdley, Worcestershire, DY12 9AU, UK T: +44 (0)1299 401463 M: +44 (0)7815 917074 www.mayflower-antiques.co.uk e: susan@mayflower-antiques.com Susan Harrington James Specialising in early 16th / 17th century silver, glass, furniture, caskets, metal works

TIMOTHY MILLETT 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 Tim Millett Historic medals and works of art

E22

JOHN MITCHELL FINE PAINTINGS D14 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 Specialising in Old master paintings; English paintings; 19th Century paintings MOORE-GWYN FINE ART C6 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 Harry Moore-Gwyn, Camilla Moore-Gwyn Specialising in 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 B1 Tetbury, Gloucestershire Midhurst Sussex T: +44 (0)1285 841609 T: +44 (0)1730 812024 M: +44 (0)7828 174679 M: +44 (0)7962 899754 www.thesculpture.co.uk e: justin@thesculpture.co.uk www.amadeusgallery.co.uk Justin Gardner Leading dealers in contemporary British Sculpture. Featuring the award winning sculptor Philip Jackson CVO DL MA FRBS FRSA

RICHARD OGDEN 28 Burlington Arcade, London W1J 0NX, UK T: +44 (0)20 7493 9136 www.richardogden.com e: jewels@richardogden.com Robert Ogden, Silvia Kobi Fine jewellery from the 19th century to present day GUY PEPPIATT FINE ART LTD 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 Specialising in 18th and 19th century British drawings and watercolours

C3

C34

CHRISTOPHE PERLÈS F12 20 rue de Beaune, 75007 Paris, France T & F: +33 (0)1 49260324 www.cperles.com e: christopheperles@hotmail.com Christophe Perlès Specialising in 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 Potterton Books will be exhibiting a wide variety of books on the fine and decorative arts

21

SYLVIA POWELL DECORATIVE ARTS B21

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 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.

THE REDFERN GALLERY D17 20 Cork Street, London W1S 3HL, UK T: + 44 (0)20 7734 1732 / 0578 Fax: +44 (0)207 494 2908 www.redfern-gallery.com e: art@redfern-gallery.com The Redfern Gallery is one of London’s longest established commercial galleries. Founded in 1923 as an artists’ co-operative, the gallery soon evolved to become a leading innovator in the field of modern and contemporary art, forging connections with a broad spectrum of contemporary artists – all of whom represented the very best of the avant garde. In the 21st Century, the Redfern continues its activities in very much the same spirit in which it was founded. Now representing over thirty artists and estates it covers an eclectic mix of Modern and Contemporary art - both British and international.

ROBYN ROBB E33 PO 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 Specialising in 18th century English porcelain RÖELL FINE ART D12 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 Specialising in Portuguese, Dutch and English colonial furniture, works of art, silver and paintings from the 17th to the 19th century

22

ROWNTREE CLARK E18 By appointment M: +44 (0)7974 967406 www.rowntreeclark.com e: ed@rowntreeclark.com Edward Clark Specialist consultants and dealers in British Art from 17th century to the end of the 20th century, with a particular interest in 1950’s and 1960’s Abstraction SAMINA INC D30 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 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 www.adriansassoon.com e: email@adriansassoon.com Adrian Sassoon, Alexa Gray 18th century European porcelain, contemporary studio ceramics, glass and silver THE SILVER FUND B10 330 Worth Avenue, Palm Beach, FL 33480, USA M: +1 917 447 1911 (USA) M: +44 (0)7710 032453 (UK) www.thesilverfund.com e: michael@thesilverfund.com Michael James, Jason Laskey, Joshua Burcham Exceptional Georg Jensen and 20th century silver. Specialists in the work of Jean Puiforcat and other great 20th century makers

SILVERMAN ANTIQUES C2 109 Kensington Church Street, W8 7LN 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 SIM FINE ART By appointment, London, UK M: +44 (0)7919 356150 www.simfineart.com e: simfineart@btinternet.com Andrew Sim, Diane Sim Intriguing British pictures 1800-1945

E9

PETA SMYTH ANTIQUE TEXTILES B17 42 Moreton Street, Pimlico, London SW1V 2PB, UK T: +44 (0)20 7630 9898 M: +44 (0)7956 420194 www.petasmyth.com e: gallery@petasmyth.com Peta Smyth, Joseph Sullivan 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 JOHN SPINK FINE WATERCOLOURS 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 John Spink, Michele Spink Specialising in British watercolours from the Eighteenth and Nineteenth centuries

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, Régine Strachan Portrait paintings from 16th to 20th century. Sculpture 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 European silver and works of art

D32

CAROLLE THIBAUT-POMERANTZ C24 By appointment only: Paris and New York T: Paris: + 33 609 053 598 New York: +1 212 759 6048 www.antique-wallpaper.com e: carolle@ctpdecorativearts.com Carolle Thibault-Pomerantz Vintage Wallpaper Panels (18th to 20th Century) European Decorative Arts (19th and 20th Century, Contemporary) MARY WISE ANTIQUES B14 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 Elizabeth Lorie Specialising in 18th and early 19th century English porcelain; some continental porcelain of the same period; bronze and ormolu artefacts; small unusual works of art RODNEY WOOLLEY E30 By appointment, London, UK M: +44(0)7450 286335 www.rodneywoolley.com e: rw@rodneywoolley.com Rodney Woolley European ceramics and glass 17th-19th century. Delftware pottery.

23

B23 AD Antiques

P O Box 51, Chipping Camden, Gloucestershire GL55 6UQ, UK

M: +44 (0)7811 783518

e: alison@adantiques.com www.adantiques.com 24

Martin Brothers 1895 Tobacco jar modelled as three grotesque birds Salt glazed stoneware 6ž ins high x 6½ ins wide

David Baker Oriental Art • Gregg Baker • Berwald Oriental Art • Brandt Asian Art Prahlad Bubbar • Rob Dean Art • Fleurdelys Antiquités • Francesca Galloway • Gibson Antiques Michael Goedhuis • Grosvenor Gallery • Hanga Ten • Christophe Hioco • Marchant Sydney L. Moss • Simon Pilling • Priestley & Ferraro • Rossi & Rossi • Max Rutherston

A1

Asian Art In London

T: +44 (0)20 7499 2215 e: info@asianartinlondon.com www.asianartinlondon.com

Jacqueline Simcox • A&J Speelman • The Tolman Collection 25

A rare terracotta vase and base, painted in earth tone colours and modelled with peacocks and elephants, decorated with a representation of Krishna and Radha with attendant Gopi on a floral ground with a frieze of turbaned mask faces.

Signed or marked “Pirusa Setji� in Devangari script.

Wonderland Pottery, Bombay School of Art, Bombay, India.

Circa 1880 65 cms

F16 Bazaart

15 Dawson Road, Cricklewood, London NW2 6UB. UK T: +44 (0)208 2083313 M: +44 (0)7710 461627 e: justin@bazaart.co.uk www.bazaart.co.uk 26

Flemish, Brussels circa 1560 Tapestry Woven in wool and silk Brussels town mark on right of lower border Height 26½ ins x 6’ 9 ins (68 cms x 206 cms) This interesting small but complete tapestry with the motto ‘Ne Decipiaris’ woven within a banderole would have been a special commission. The Latin translates as ‘Do not be Deceived’ and presumably was a sentiment associated with the patron. It is a small version of a game park subject with courtly couples in front of a chateau surrounded by a formal garden which makes a contrast to the active hunting scene taking place within the wooded landscape elsewhere.

C32 Joanna Booth

PO Box 50886, London SW3 5YH

T: +44 (0)20 7352 5992

M: +44 (0)7711 047640 www.joannabooth.co.uk e: joanna@joannabooth.co.uk 27

Japanese gold lacquer vase with body decorated with two panels encrusted with artisans making parasols, flowers and birds in mother-of-pearl, abalone and coconutshell, raised on a silver and cloisonné enamel mount and neck, signed Kaneko sei 金子製 , Meiji Period.

Size Height 20 cms x Width 8 cms

Provenance: This piece was in the Collection assembled over 40 years by the Chinese painter Mr. Lű Xiaguang (1906-1994). He settled in Paris at age 24 during the 1930’s with his friend Wu Zuoren, both pupils of Xu Beihong the famous painter known for his Chinese ink paintings of horses and birds, and studied at the Beaux-Arts and in Brussels.

He returned to China in 1936 to join the Kuomintang, the Chinese National People’s Party, which used his talent for the war propaganda, rising through the ranks as general in the Chang Kai-Check army during the Sino-Japanese conflict in 1937.

In 1946 he returned to France and resumed his painting career and as an art’s dealer until his death in 1994. He exhibited at the Biennale des Antiquaires in the 1960’s and together with his wife in the 1980’s sponsored many Chinese artists to study in Paris by establishing a studio for the National Chinese Artists Association.

In 1993 he gifted to the Zhejiang Province Museum in Hangzou part of his Chinese and European paintings collection, notably paintings of his contemporaries Qi Baishi, Wu Zuoren and his teacher Xu Beihong.

Reference: for the artist Kaneko see “Japanese Imperial Craftsmen, Meiji Art from the Khalili Collection” by V. Harris, pg. 104 no. 68, and pg. 228 no.151.

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 e: laurabordignon@hotmail.com www.laurabordignon.co.uk 28

A fine and historically important Irish gold Freedom Box bearing Dublin hallmarks for 1780 and maker’s mark of Alexander Tickell.

The cover is engraved with the Arms of the Borough of Drogheda with the motto Deus Presidium Mercatura Decus (God our Protection Trade our Ornament).

The base is finely engraved with the Arms of the 2nd Earl of Buckinghamshire impaling Conolly for John 2nd Earl of Buckinghamshire (1723-1793) who was Viceroy of Ireland between 1777 and 1780. The Earl of Buckinghamshire was educated at Westminster and Christ’s College Cambridge and before becoming Viceroy of Ireland was Ambassador to St Petersburg between 1762-1765. In 1770 he married as his second wife Caroline (died 1817) the daughter of William Conolly of Stratford Hall co.

Stafford, whose arms are impaled by those of her husband John Hobart 2nd Earl of Buckinghamshire.

Diameter: 2.6 ins (6.5cms) Height: 1.1 ins (2.9cms) Weight: 3oz (93gr)

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 e: enquiries@bourdonsmith.co.uk www.bourdonsmith.co.uk 29

E14 Christopher Buck Antiques

Attributable to Thomas Chippendale

An outstanding mid 18th Century mahogany twin flap Supper Table with wire mesh enclosed cage, conforming to designs in the ‘Director’ and other tables known to have been supplied by Chippendale.

56-60 Sandgate High Street, Sandgate, Folkestone, Kent CT20 3AP, UK T & F: +44(0)1303 221229 M: +44(0)7836 551515 e: cb@christopherbuck.co.uk www.christopherbuck.co.uk 30

Circa 1755

Edward Bawden RA 1903-1999 Audley End trees Watercolour, signed 28 ins x 22 ins

E6

The Canon Gallery

Nr Oundle, Northants T: +44 (0)1832 280451 M: +44(0)7831 760511 e: jeremygreen16@googlemail.com www.thecanongallery.co.uk 31

A fine gem-set pendant in the form of clover, set with calibre rubies and diamonds and a pearl drop.

French Circa 1905

C23 Sandra Cronan Ltd

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

32

A rare shouldered decanter of double magnum capacity engraved SIR RALPH ABERCROMBY English Circa 1775 – 95 Sir Ralph Abercromby, 1734 – 1801 He had a long and distinguished career in the army, was Commander in Chief of the British Forces in the West Indies and was MP for Clackmannanshire.

He was knighted in 1795.

D6 Delomosne & Son Ltd

Court Close, North Wraxall, Chippenham, Wiltshire, SN14 7AD, UK T: +44 (0)1225 891505 M: +44 (0)7785 565345 e: delomosne@delomosne.co.uk www.delomosne.co.uk 33

Marcel Renard 1893-1974 French School

Adolescent holding a Bathrobe (project for the Piscine Garibaldi, Lyons 1923) Lost wax bronze cast Signed and dated on the right and rear surface of self-base: MARCEL RENARD 1923. Inscribed ARM (Atelier Renard Marcel) in a rectangular cartouche and numbered 5/8 on rear face Base 16 x 20 cms Height: 81 cms

Provenance: The sculptor’s estate, Lyon.

C26 Martin Du Louvre

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

34

David Craig

D4 Ted Few

“And her mother came too”

Oil on canvas

3 Playfield Crescent, London SE22 8QR, UK T: +44 (0)20 8767 2314

1948

35

Name: Gan Daofu Title: Explicit Stratums Year: 2013 Medium: Jingdezhen Porcelain Dimensions: 9 ins x 10 ins (22 cms x 23 cms)

B16 FitzGerald Fine Arts

41 Greene Street, New York, NY 10013 T: +1 212 966 5754 e: inquiries@fitzgeraldfinearts.com www.fitzgeraldfinearts.com

36

Name: Zhu Di Title: Mountains in Snow: After Mi Youren Year: 2013 Medium: Jingdezhen Porcelain Panels 72½ ins x 15½ ins (184 cms x 39.5 cms)

B16 FitzGerald Fine Arts

41 Greene Street, New York, NY 10013 T: +1 212 966 5754 e: inquiries@fitzgeraldfinearts.com www.fitzgeraldfinearts.com

37

B25 D & M Freedman

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

Chinese porcelain blue and white bowl (klapmuts), painted on one side with two ladies in a garden with climbing wisteria, on the other with a gentleman observing two ladies on a terrace conversing under a starry sky.

Kangxi, Circa 1690 7.8 ins (20 cms) diameter

38

A concealed watch bracelet and a fine Burma ruby ring by Van Cleef & Arpels, a five carat natural emerald dress ring and a three carat GIA certificated diamond ring, a rare pair of sapphire set cufflinks by Cartier, an 18ct gold and malachite watch bracelet by Piaget and a flamboyant three colour gold bangle bracelet.

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 e: jewellery@gilded-lily.co.uk www.graysantiques.com 39

Bryan Wynter

Landscape with Stone Hedge Signed and dated 1952 Medium: Gouache 35.5 cms x 23.5 cms

Exhibited: Arts Council 1976 Newlyn Orion Gallery The Royal West of England Academy Southampton Art Gallery Provenance: Acquired from the artist’s family

E23 Goodman Fine Art

Admirals Walk, Hampstead, London, NW3 6RS, UK T: +44 (0)20 7431 3210 M: +44 (0)7702 102850 e: contact@goodmanfineart.com www.goodmanfineart.com 40

Winifred Nicholson (1893 – 1981)

Bunch from the Ivinsons’ Garden 1971 Oil on board Signed 24 ins x 20 ins

No 1 in Winifred Nicholson, Crane Kalman Gallery, Feb 22 – March 11 1972

Private Collection

B18 Goulden & Thomas

London & Cornwall T: +44 (0)7832 117175 M: +44 (0)7742 668089

e: sales@gouldenandthomas.co.uk www.gouldenandthomas.com 41

Eva Aldbrook (1925-) Mixed Media Signed 54 cms x 36 cms

Provenance: Artist’s Studio Eva was favoured by the British press during the 1950’s and 1960’s, receiving commissions from all of the most respected fashion editors of the time, including British Vogue Editor, Alisa Garland (1961 – 1964). Eileen Ashcroft at The Evening Standard and the doyenne of London’s newspaper and fashion world Ernestine Carter (1955 – 1972), Associate Editor of the Sunday Times.

Eva worked with top models, such as the leading British fashion model of the time, Christine Tidmarch, who posed for this illustration; she was recognisable whenever she was featured whether in photography shoots or within illustrations. Christine was one of the hand-picked models that Christian Dior used for all his shows and she was the chosen British model for Yves St Laurent’s first ever catwalk collection, when he was a young designer at Dior.

Eva’s understanding of movement and fashion allowed her to illustrate with great flair and grace, her subjects epitomised the essence of 1950’s and 1960’s fashion.

E24 GRAY M.C.A

By appointment only, UK T: +44 (0)1935 881696 M: +44 (0)7872 171111 e: info@graymca.co.uk www.graymca.co.uk 42

A pyrite ring set with diamonds in white gold

By Francesca Grima 2013

C10 GRIMA

By appointment, London M: +44 (0)7900 590123 e: info@grimajewellery.com www.grimajewellery.com Personnel: Jojo Grima, Francesca Grima 43

A gift from Queen Victoria Ortner & Houle Dressing Case Circa 1870

D16 Hampton Antiques

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

44

Belonged to Elizabeth Lucy Cuffe, the Countess of Desart and Lady of the Bedchamber to Queen Victoria (between 1845 & 1864). Veneered in Coromandel with brass edging. The underside of the lid is lined with green velvet and embroidered with Countess coronet and monogram. Behind this is a removable gilded freestanding mirror, concealing a leather letter-case lined with silk. The interior back edge is stamped by the manufacturer, Ortner and Houle of St. James, London who were also engravers to Queen Victoria and Royal family. Contains an assortment of fifteen shaped glass travelling containers with silver gilt lids housed in velvet. The glass has a star cut base and stunning silver gilt lids with applied solid gold Countess coronet and initials, by Tween and Purnell 1866.

John William Waterhouse 1849 - 1917

Study for the central figure in Ansaldo’s Magic Garden Oil on artists board 9½ ins x 5¾ ins Framed 15 ins x 11 ins From the collection of the artist’s great nephew John Physick The final picture is in the Lady Lever Art Gallery

B20 Julian Hartnoll artmonger est 1968

37 Duke Street St James’s, London SW1Y 6DF, UK T: +44 (0)20 7839 3842 M: +44 (0)777589 3842 e: info@julianhartnoll.com www.julianhartnoll.com 45

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 e: gallery@haughton.com www.haughton.com 46

A fine and rare Chelsea ‘Hans Sloane’ botanical dessert plate of small size, of the Red Anchor period, beautifully painted with a spray of flowering Becconia after a design by G.D.Ehret.

Circa 1754

Diameter: 8¼ ins (21 cms) Provenance: Sold at Mr Young’s rooms Cork Hill, Dublin on 1-4th July 1758.

An extremely rare Meissen baluster hot milk jug and cover, modelled by J J Kaendler with Frauenkopf finial, malemask spout and elaborate gold enriched Rococo handle painted with Bienemuster flowers and butterflies.

Circa 1738-40

Height: 6 ¼ ins (16 cms) Mark: Crossed swords in blue and pressnummer 11 Literature: Ulrich Pietsch, Passion for Meissen, no. 153. Mentioned in Kaendler’s work report for April 1738, moulded for his excellency Graff Von Bruhl.

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 e: gallery@haughton.com www.haughton.com 47

A very rare Alcora Spanish Porcelain Figure of a Turk.

Circa 1750-60 Height: 13 ins (33 cms)

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 e: gallery@haughton.com www.haughton.com 48

An extremely rare and highly important Early Chelsea Model of a Finch, of the Incised Triangle Period Circa 1745-49 Height: 7 ½ ins (19 cms)

Provenance: Thomas Burn, the Rous Lench Collection, Worcestershire.

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

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 e: gallery@haughton.com www.haughton.com 49

Christopher Wood 1901 – 1930

B27 Anthony Hepworth

16, Margaret’s Buildings, off Brock Street, Bath, Somerset, BA1 2LP, UK T: +44 (0)1225 310694 M: +44 (0)7970 480650 e: anthony.hepwor@btconnect.com www.anthonyhepworth.com

‘Dahlias in White Jar, Tréboul’ (also known as: ‘The White Vase’) 1929 Oil on board 38 x 46 cms Signed, inscribed and dedicated to reverse

Provenance: Lucy Carrington Wertheim and by descent 50

A rare saltglaze bear jug and cover Staffordshire Ex. Rous Lench Collection Circa 1745 8 ½ ins high

D8 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 51

B5

Imperial Fine Books

790 Madison Avenue, New York, NY 10065 T: 001 212-861-6620 M: 001 201294-3874 e: info@imperialfinebooks.com www.imperialfinebooks.com

52

20 volumes William Shakespeare.

Complete works.

Bound in full Morocco with doublers.

Limited to 15 sets Illustrated with watercolours.

Pub. Edinburgh: T.A.Constable 1903

James Hopwood after Peter Henderson

A Group of Auriculas Published in London in 1803 One of the strikingly atmospheric illustrations published in Dr. Robert Thornton’s famous botanical work “The Temple of Flora”.

Mixed method engraving 14 ins x 19 ins

E4

Isaac & Ede

10 St James’s Place, London SW1A 1NP T: +44 (0)20 7629 9040 M: +44 (0)7817 207673 e: info@isaacandede.com www.isaacandede.com

53

D34 Lesley Kehoe Galleries

Ground Floor 101 Collins Street, Melbourne, Victoria 3000, Australia T: +61 3 9671 4311 M: +61 407 671 431 e: gallery@kehoe.com.au www.kehoe.com.au 54

Maio Motoko (b. 1948) Fleeting Moments Koku Pair of Folding Screens Signed Antique textiles, paint, pigments 513 x 183 cms

Company School, Calcutta, Early 19th Century after Nicholas Robert (1614 – 1685) A rare set of nine ornithological portraits, watercolour heightened with body colour and traces of gum Arabic, each on a crested card bearing the arms of Man Singh II, Maharajah of Jaipur (1922-49).

B7

Julia Korner

A set of nine (9)

These pictures form part of a small collection executed by those who travelled within the confines of the Empire from the 1750s onwards.

The River House, 52 Strand on the Green, London W4 3PD T: +44 (0)20 8747 1652 M: +44 (0)7771 713980 e: julia@juliakorner.com www.juliakorner.com

Each 5 ž ins x 4 ins (15 x 10 cms) 55

Charles Olivier de Penne (1831 - 1897)

Three hounds resting by a wooded path Oil on panel Signed lower right 55.5 cms x 45 cms Charles de Penne was a skilled painter, watercolourist, draughtsman, caricaturist and illustrator. He was taught by Léon Cogniet and Charles Jacques and produced caricatures for L’Illustration before moving onto historical subjects. He had a love of animals and started to paint them after 1855, specializing in dogs. It was his great friend Charles Jacques who noted de Penne’s talent for painting dogs and encouraged him to specialize in that genre.

As this charming work demonstrates, he had a great understanding of their character and his works became very popular. In 1857 he was awarded second prize in the Grand Prix de Rome and he exhibited regularly at the Paris Salon and the Salon des Artistes Français, winning a silver medal at the Exposition Universelle of 1889. He was a friend of Corot, Millet and Rouseau and his work were highly thought of in his time. This beautiful painting of hounds resting is undoubtedly one of his finest and most charming works and was gifted to his great friend Charles Jacques with a dedication to him on the back of the panel. Charles de Penne is represented in the Fine Art Museums of Chantilly, La Rochelle and Montreal.

C8 Constantine Lindsay Ltd

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

56

Pair of George I Hanoverian pattern silver Hash Spoons of substantial weight by Philip Robinson.

London, 1718 Engraved on reverse in Latin “Ex Dono Henrici Davis Unius Seniorum 1718.” (“The Gift of Henry Davis one of the Seniors.”)

Arms: Staple’s Inn

E2

Sanda Lipton

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

14.2 ins (36.1 cms) long 57

Roethel / Pollinger

D1

Lucas Rarities Ltd

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

1969 Yellow gold and platinum Signed Nach Kandinsky 5/20 Schweben, inspired by Kandinsky’s 1927 work ‘Schweben’.

This piece forms part of the Kandinsky kollektion of jewellery which was produced in 1969 by Cornelia Roethel and Max Pollinger. The pieces are their interpretation of Kandinsky’s original jewellery designs and paintings.

Exhibited in Munch, Paris and New York this is the first time since 1969 the entire collection has been offered for sale.

3.9 cms x 4.8 cms

58

Two views of a Meissen Bรถttger porcelain figure of Augustus the Strong in Roman armour Circa 1713-14 10.8 cms high This model of the King was made in the earliest years of porcelain production at Meissen. It is probably taken from a carved ivory or boxwood figure

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 59

Qianlong, 1736-1795.

A Chinese porcelain rouge-de-fer and grisaille large goose tureen with detailed feather work in different tones of iron-red, the interior white, the base unglazed.

Perfect condition. *Formerly in a European private collection *Included by Marchant in their exhibition of Chinese Ceramics from Tang to Qing, 2014, no. 53, pp. 106/7 35 cms high, 35.5 cms long, 23 cms deep.

E16 Marchant

120 Kensington Church Street, London W8 4BH T: +44 (0)20 7229 5319 e: gallery@marchantasianart.com www.marchantasianart.com

60

Spanish Colonial tortoiseshell casket, late 16th /early 17th century, the decoration highlighted with a pattern of silver and gold studs.

An Elizabethan silver communion chalice, made

by Lawrence Stratford of Dorchester c. 1575.

Two Portuguese silver pyxes with gilt interiors, early 17th century.

D15 Mayflower Antiques

PO Box 6828, Bewdley, Worcestershire, DY12 9AU, UK T: +44 (0)1299 401463 M: +44 (0)7815 917074 e: susan@mayflower-antiques.co.uk www.mayflower-antiques.co.uk 61

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 e: tim@historicmedals.com www.historicmedals.com 62

A pair of wax and hair portraits British Circa 1780

Medium: Wax and hair 158 x 132 mm

Charles Brooking (1723-1759)

A Frigate and two yachts becalmed in the Solent Oil on canvas 24½ ins x 29 ins (62 x 73.6 cms)

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 e: enquiries@johnmitchell.net www.johnmitchell.net 63

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 e: harry@mooregwynfineart.co.uk www.mooregwynfineart.co.uk 64

James Boswell (1906-1971)

Guatemala Signed and dated l.l.: Boswell/56 Pencil 68 cms x 45 cms

‘Skittles with Scarlatti’ Philip Jackson CVO DL MA FRBS FRSA An original bronze from a worldwide edition of eight Height 78.7 ins (200 cms)

B1

Muse. The Sculpture Company /Amadeus Gallery

Tetbury, Gloucestershire Midhurst Sussex T: +44 (0)1285 841609 T: +44 (0)1730 812024 M: +44 (0)7828 174679 M: +44 (0)7962 899754 www.thesculpturecompany.co.uk e: justin@thesculpturecompany.co.uk 65

C3

Richard Ogden

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

66

Three fine quality Art Deco diamond bracelets and a sapphire and diamond bracelet by Chaumet, all platinum mounted.

Circa 1930

William Alexander (1767-1816)

View near Tientsin on the Peiho River, China

C34 Guy Peppiatt Fine Art Ltd

Signed with initials lower right

Watercolour over pencil on laid paper

9 ¼ ins by 15 ins ( 23.9 cms by 38.3 cms)

Provenance: Private Collection, Portugal

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 67

Important Rouen faience ‘ocre niellé’ decoration. Circa 1725.

F12 Christophe Perlès

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

68

F14 Potterton Books

The Old Rectory, Sessay, Thirsk, North Yorkshire, YO7 3LZ, UK T: +44 (0)1845 501218 F: +44 (0)1845 501439 e: ros@pottertonbooks.co.uk www.pottertonbooks.co.uk 69

FERNAND LÉGER 1881–1955

Visage aux deux mains sur fond orange Circa 1950 Glazed ceramic 18.5 ins h x 13 ins w x 2.75 ins d This work is numbered 7 from the edition of 250 published by the Musée National Fernand Léger, Biot.

B21 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 e: Sylvia@sylviapowell.com www.sylviapowell.com 70

PAUL FEILER (1918-2013)

Florence in Spring VII 1954 Oil on canvas 63.5 cms x 76.2 cms

D17 The Redfern Gallery

20 Cork Street, London W1S 3HL, UK T: + 44 (0)20 7734 1732 / 0578 F: +44 (0)20 7494 2908 e: art@redfern-gallery.com www.redfern-gallery.com 71

An extremely rare Worcester milk jug and cover decorated in the London workshop of James Giles with flowers, fruit and vegetables including gooseberries, mushrooms and peapods.

Circa 1768 – 70 Height 5.5 ins (14 cms)

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

72

A cabinet, Cape of Good Hope, last quarter 18th century.

Stinkwood, amboyna, satin wood, oak and pine with original silver escutcheons and handles by Daniel Heinrich Schmidt (1741-1811)

Height: 255 cms, width: 180 cms, depth: 75 cms

D12 Rรถell Fine Art

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

73

Peter Lanyon 1918-1964

Deep Blue Coast 1961 Oil on canvas Signed, dated lower left and further signed, dated & titled on reverse 122 x 76 cms

Provenance: Gimpel Fils, London 1961; Simon Askin Esq., 1962; Private Collection, until 2014

Literature: A. Causey, Peter Lanyon, Lund Humphries 1971, p.62, cat 153;

E18 Rowntree Clark

By appointment M: +44 (0)7974 967406 e: ed@rowntreeclark.com www.rowntreeclark.com

74

Cup (detail) Probably for opium water Mughal or Deccan, India 17th Century Fabricated from gold, with champlevĂŠ and painted enamels.

Height: 3.1 cms Diameter: 3.7 cms

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 e: saminainc@hotmail.com www.saminainc.com 75

E8

Adrian Sassoon

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

76

A Selection of Sèvres Porcelain Cups and Saucers, French, 1760’s and 1770’s

Important Large Scale Portuguese Wine Cooler Sterling silver Portugal Circa 1930 Height 14 ins Diameter 11 ins

B10 The Silver Fund

330 Worth Avenue, Palm Beach, FL 33480, USA M: +1 917 447 1911 (USA) M: +44 (0)7710 032453 e: Michael@thesilverfund.com www.thesilverfund.com 77

A fine pair Regency silver sauce tureens

by Paul Storr The Royal Silversmith George III, London 1813

C2

Silverman Antiques

109 Kensington Church Street, W8 7LN T: +44 (0)20 7985 0555 e: silver@silverman-london.com www.silverman-london.com

78

Leonard John Fuller R.O.I.

My Family (left to right: Florence Mostyn, John Fuller, Tom Mostyn, Marjorie Mostyn) Oil on canvas, signed 30 ins x 40 ins

E9

Sim Fine Art

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

Illustrated ‘Dictionary of British Artists’ 79

B17 Peta Smyth Antique Textiles

A French needlework panel

Harlequin & Columbine

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 e: gallery@petasmyth.com www.petasmyth.com 80

c. 1720 – 1740 32 ½ ins x 25 ins (82.5 cms x 63.5 cms) Framed

William Evans of Eton (1778 – 1877)

Eton College, Berkshire from Fellows’ Eyot

B22 John Spink Fine Watercolours

Watercolour heightened with white

9 ¼ ins x 13 ½ ins (23.3 cms x 34 cms)

William Evans was drawing master and later house master at Eton College and there is now a house named after him – Evans House

9 Richard Burbidge Mansions, 1 Brasenose Drive, Barnes, London SW13 8RB, UK T: +44 (0)20 8741 6152 M: +44 (0)7808 614168 e: john@johnspink.com www.johnspink.com 81

B24 Strachan Fine Art

PO Box 50471, London W8 9DJ, UK T: +44 (0)20 7938 2622 M: +44 (0)7860 579126 e: enquiries@strachanfineart.com www.strachanfineart.com 82

Sir Joshua Reynolds 1766 Mrs Letitia Sparrow (née Popham) 1746 – 1838 Sittings recorded in May 1766 David Mannings catalogue no. 1656 Oil on canvas, 29 ½ ins x 24 ins (75 cms x 61 cms) Provenance: By family descent until recently

D32 Peter Szuhay

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

83

C24 Carolle Thibaut-Pomerantz

By appointment only: Paris and New York T: Paris: + 33 609 053 598 New York: 1 212 759 6048 e: carolle@ctpdecorativearts.com www.antique-wallpaper.com

84

Carle Vernet, Jacquemart & Benard 1812-1815 Wood Block Printed on Paper “Les Chasses de Compiègne” (Stag Hunt at the Chateau de Compiègne): The Quarry (La Curée), 1 of 4 scenes.

Mounted on canvas and stretcher This is the only scenic panoramique designed by the painter Carle Vernet who specialized in hunt and horse scenes.The panels were wood-block printed by Jacquemart & Bénard, successor of Réveillon.

Provenance: Private collection of Jean Zuber (founder of the manufacture Zuber and rival of Jacquemart) for his dining room of the Commanderie in Rixheim, Alsace, 1815.

One version of “Les Chasses” is in the collection of the Victoria and Albert Museum, London, and one is in the Musée de la Chasse, Paris.

H: 7 ft 5 ins x W: 9 ft 3 ½ ins (H: 2.25 m x W: 2.83 m )

A rare Portuguese faience jug Circa 1635 – 50, Lisbon 10 ins (25.4 cms) high

E30 Rodney Woolley

By appointment, 1 Princes Place, Duke Street St James’s, London SW1Y 6DE, UK M: +44 (0)7450 286335 e: rw@rodneywoolley.com www.rodneywoolley.com 85

A rare Bow Harlequin Circa 1762 Height 7 ¾ ins (19.5 cms) Harlequin was a principal player in the Italian Comedy (Commedia dell’Arte) which probably originated from Roman farces known as ‘Fabulae Atellanae’.

Bow produced several Harlequin models undoubtedly inspired by Meissen originals. These in turn were copied from various sources including Luigi Ricoboni’s ‘Histoire du Theatre Italien’ and a 1735 folio entitled ‘Recueil Julienne’.

Literature: English Pottery and Porcelain 1948 ECC Exhibition Catalogue, fig.174 plate 40; (same model on a low base).

Hugo Morley-Fletcher, Investing in Pottery and Porcelain, p.90; (Harlequin and Columbine group).

B14 Mary Wise Antiques

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

86

Articles

French Empire Silver versus English Regency Silver Dr Godfrey Evans Principal Curator of European Decorative Arts, National Museums Scotland, Edinburgh

88

Biennais was born and raised in La Cochère, a small village about 115 miles west of Paris, and acquired a modest business in Paris in 1788 as a tabletier – a maker and seller of items made of wood, mother-of-pearl, ivory, horn and non-precious metals. He was not a trained goldsmith, but broke into the closed world of the goldsmiths after the French Revolution and the collapse of the Parisian guilds. His initial success was due to the very well-equipped travelling services he assembled and supplied to Napoleon and other generals for use on their campaigns during the 1790s.

In essence, Biennais was a brilliant manager and organiser.

He used his expertise and experience as a tabletier to develop wooden cases incorporating writing slopes and slides, secret money trays, and numerous space-saving storage features. Some of the larger cases could even be screwed down to flooring, using internal, hidden rods, to reduce the risk of theft. Biennais imaginatively fitted out these cases with dozens of items in precious and base metals, glass, tortoiseshell and ivory for eating, drinking, washing, dressing, correspondence, maintenance and repairs.

The selection was intended to make the owner virtually selfsufficient during his or her travels, and could even include multi-purpose tools and a tongue-scraper!

The early nineteenth century saw the production of enormous quantities of large, heavy silver items that were a visual expression of power, status and wealth and were intended to promote rulers, nations or individual aristocrats.

Many pieces were coated with a thin layer of gold to give the impression that they were made of solid gold and were twenty times more valuable than was the case.

Figure 1.

Martin-Guillaume Biennais, The travelling service of Princess Pauline Borghese, c.1803.

Silver-gilt, gold, glass and other materials in a mahogany chest with inlaid brass decoration.

National Museums Scotland, Edinburgh.

Sadly, relatively little of the magnificent silver made for the Emperor Napoleon and his family survives today. A number of leading Parisian goldsmiths worked for the Emperor, but the most important was undoubtedly Martin-Guillaume Biennais (1764-1843), who had a truly astonishing career. Biennais rose from provincial obscurity to the position of Napoleon’s official goldsmith, and then went on to coordinate the activities of hundreds of craftsmen and the supply of tons of superb silver not only to the French court but right across Europe, from Spain to Russia.1

In these early days, Biennais obtained the silver and gold items from independent goldsmiths, notably hollow-ware from Marie-Joseph-Gabriel Genu (master 1788, d.1810) and forks and spoons from the specialist flatware maker Pierre-Benoît Lorillon. Many pieces were made smaller than their normal equivalents. Some had handles or parts that unscrewed, like the handles on chocolate pots or the stems and bases of chamber candlesticks. Teapots were made with pull-off lids that enabled tea caddies to be placed inside them, while glass tumblers were stored inside cylindrical silver-gilt containers that had many potential uses.

The travelling service of Napoleon’s favourite sister, Princess Pauline Borghese (Fig. 1), is directly related to Pauline’s marriage to the Italian Prince Camillo Borghese in 1803 and clearly reflects both Biennais’s mastery in assembling a complex de-luxe travelling service and his close involvement with Napoleon during the Consulate.

89

After Napoleon became Emperor in 1804, Biennais was able to make use of the talents of Napoleon’s architects and designers Charles Percier and Pierre-François-Léonard Fontaine, whose Recueil de Décorations Intérieures (Collection of Interior Designs), published between 1801 and 1812, is rightly regarded as the main visual manifesto of the French Empire style. The high point of this collaboration was the use of Percier’s specially commissioned designs for the main pieces in the spectacular silver-gilt ‘tea service’ which was ordered for Napoleon in connection with his marriage to the Archduchess Marie-Louise of Austria in April 1810, at a cost of 40,000 francs (Fig. 2).2 90

This extremely impressive service could not be more imperial. It is decorated with Imperial eagles, Napoleonic bees, Napoleon’s arms, the Emperor’s portrait in profile, and a plethora of classical gods and other classical references.

Appropriately, the theme of love also runs through the service, with small statuettes of Venus, goddess of love, surmounting the double-salts, the mythological lovers Cupid and Psyche on the sugar bowl, and a relief copy of the Roman wall painting of the Aldobrandini Wedding on the tea caddy.

One could devote the rest of this article to the 1810 service, but two main points must suffice here. First, Biennais did

Figure 2.

Martin-Guillaume Biennais, Part of tea service of the Emperor Napoleon, 1810.

Silver-gilt, glass and other materials stored in two leather chests.

Musée du Louvre, Paris, and National Museums Scotland, Edinburgh.

not slavishly follow Percier’s designs. On the sugar bowl, for instance, he simplified Percier’s design, omitting the bees on the cover and the leaves on the underside of the bowl.

He also added the crowned ‘N’ for Napoleon and a band of foliate motifs to the cover and replaced the scrolling foliage on the sides of the bowl with four reliefs of Cupid and Psyche.

The second point is that, although Biennais now had his own workshop, he was still willing to involve other goldsmiths. The huge hot water urn is by Antoine Boullier, who was probably co-opted because he had worked on an even larger, onemetre-high urn that had been awarded a medal in 1806.

Figure 3.

Jean-Baptiste-Claude Odiot, Dessert dishes, c.1806-9.

Silver-gilt, later engraved with the arms of Archibald, 12th Earl of Cassillis.

National Museums Scotland, Edinburgh.

Biennais’s silver is characterized by relatively simple elegant shapes, plain areas of brilliant, burnished silver enriched with precisely represented and rendered relief decoration of classically-inspired subject matter, and a contrast between polished areas and matt decoration. His great ability and achievement was to produce huge quantities of extremely refined silver of the highest quality without a hitch or a drop in standards. That said, there is very little stylistic development in Biennais’s later work. This is clearly evident in the examples from the huge coffee and tea service commissioned between 1815 and 1817 by the Grand Duke Nicholas Pavlovich (later Tsar Nicholas I) now in the Rijksmuseum, Amsterdam, and

the Gulbenkian Museum, Lisbon.3 These are basically larger reworkings of the 1810 pieces with more detailed decoration and more tooling of the surfaces.

Many Parisian goldsmiths imitated Biennais’s classic Napoleonic court style. A very telling illustration of the predominance of the ‘Biennais style’ are the dessert dishes by Biennais’s chief rival, Jean-Baptiste-Claude Odiot (1763-1850), which could easily be mistaken for works produced in the official goldsmith’s own workshop (Fig. 3). This is particularly interesting because Odiot was the proud successor of a prominent dynasty of Parisian goldsmiths active from the early eighteenth century.4 He had become a master goldsmith in 1785 and took over his father’s business around the time of his death in 1788. One might have expected Odiot to have ‘bucked the trend’ and to have come up with a very different style, but that did not happen.

This was not due to a lack of alternative designs. The dessert dishes were designed by the painter-architect Jean-CharlesAlexandre Moreau and the painter-theatrical designer Auguste Garneray. A few years later, Odiot benefited greatly from acquiring the models and designs of the great French goldsmith Henri Auguste (1759-1816), the only son of the 91

royal goldsmith Robert-Joseph Auguste. Henri Auguste had become bankrupt in 1806 and was caught trying to flee to England in 1809 and declared a fraudulent bankrupt. One of his drawings was subsequently used for the basic design of the two-handled cup presented to Sir David Dundas, 1st Baronet of Richmond, the surgeon and physician to George III and the British royal household, by eleven French aristocrats in recognition of his help and hospitality during their exile in England after the French Revolution (Fig. 4).

On this cup, Odiot also made use of another design by the painter Pierre-Paul Prud’hon, who was intermittently employed by Napoleon, and the architect and designer Adrien-Louis-Marie Cavelier (1785-1867).5 Like Biennais, Odiot received important orders from Russia after the fall of Napoleon. These included two services made for the Count and Countess Branicki (a niece of Prince Potemkin, Catherine the Great’s principal lover and the creator of the new Russian empire around the Black Sea) and the immensely wealthy industrialist Nikolai Demidov.6 Both services were designed by Cavelier, who created his own original designs but also worked up or reworked those of others. The individual items were even larger and more ‘imperial’ than those in many Napoleonic services, and – not surprisingly – both services were shown at the major exhibition of the products of French industry held at the Louvre in 1819.

What emerges from this brief review of French Empire silver is the predominance of Biennais-style silver, the conservatism of later Parisian silver (coupled with the importance of the later Russian orders), and the reliance of Biennais and Odiot on architects, designers and painters, rather than sculptors and modellers, for their designs. Generally speaking, modellers such as Henri-Victor Roguier, Denis-Antoine Chaudet and Jacques-Edmé Dumont seem to have realized the designs of others, rather than decided the basic idea or composition and then freely developed it themselves.

As we shall see, English Regency silver would evolve in a different way, but before we move on we should notice one interesting technical feature of Odiot’s work. The Biennais style required very high-quality soldering of the cast parts to the main shapes, which necessitated considerable skill 92

and entailed a good deal of expense. Odiot attached some of the decoration on some of his later items using threaded rods and nuts. For instance, over four dozen nuts were used to secure the decoration on the Dundas Cup (Fig. 5). It was a sensible course of action, based on the existing practice of attaching ormolu mounts to furniture, but soldering continued to be preferred and there was a remarkable reluctance to follow Odiot’s lead.

We turn now to Britain and the royal goldsmiths Rundell, Bridge and Rundell, who dominated the world of English Regency silver. We are extremely fortunate in having the printed forty-two-page Memoirs of the late Philip Rundell, Esq., published shortly after Rundell’s death in 1827; a shorter and more gossipy version by W. Doran; and a fifty-sheet manuscript history of the firm written by George Fox directly after the dissolution of the business in 1843. All three are informed accounts. The writer of the first Memoirs is stated to have been ‘a gentleman many years connected with the firm’, while Doran’s Memoirs are alleged to be by someone ‘sixteen years confidentially employed by the deceased’. For his part, Fox worked in Rundell’s famous shop on Ludgate Hill for thirty-seven years, from 1806 to 1843, and was actually bequeathed one hundred pounds

by Rundell.

All three writers were absolutely clear about the scale of the achievements of Philip Rundell (1746-1827) and his main partner, John Bridge (1755-1834). On the covers of both Memoirs, it is stated that Rundell had ‘accumulated the immense’ ‘Fortune’ or ‘Property’ ‘of One Million and a Half’ pounds, and Doran credits him with ‘establish[ing] a concern that has been truly called the Wonder of the World’.

Figure 4.

Jean-Baptiste-Claude Odiot, The Dundas Cup, c.1820.

Silver-gilt.

National Museums Scotland, Edinburgh.

were obtained and consequently great profits made by them as Rundell, Bridge and Rundell were the only purchasers, because they only had a Market for them.7 The profits from these and other sales of jewellery enabled Rundell and Bridge to expand into selling important silver services and other significant pieces and to set up or control two major silver-making operations. The goldsmiths Digby Scott (c.1763-1816) and Benjamin Smith (1764-1823) opened a workshop for Rundell’s in Lime Kiln Lane, Greenwich, around 1801-2, while Paul Storr (1771-1844) was established in large premises in Dean Street, Soho, in 1807.

It is interesting to see that – like Biennais – Rundell and Bridge were neither trained goldsmiths nor from leading families of craftsmen or merchants in the metropolis. They had grown up in Somerset and Dorset and begun their careers in the provinces. Both had been apprenticed to the Bath jeweller William Rogers and they came to London as ambitious outsiders. Rundell arrived in the capital around 1767 and worked for William Pickett in Ludgate Hill. He took over the business in 1786, and Bridge joined him as a partner, in Rundell and Bridge, the following year.

Along with the writers of the Memoirs, Fox draws attention to the primal importance of jewellery to the partners in their early years, and he notes the large quantities sold to Catherine the Great of Russia between 1786 and the empress’s death a decade later:

Figure 5.

The interior of the Dundas Cup.

[M]any splendid Articles of Diamond work such as Necklaces, Earrings, Ornaments for the head, Lockets, Broaches &c were purchased by her [Catherine the Great] for her own use, or for the purpose of being used as Diplomatic Presents and for this latter purpose very many splendid Snuff Boxes enriched with Brilliants & having her Miniature were constantly required as were also Rings of different values. These were generally not with Brilliants and having small miniatures of Catherine covered over with thin flat diamonds commonly called Picture diamonds and for these Diamonds large sums

Whilst the writers of the Memoirs quickly sketch out the ways in which Rundell and Bridge complemented one another, Fox provides a more detailed and highly revealing account. It is somewhat exaggerated, but nevertheless deserves to be quoted at length – especially as the unpublished manuscript is at Harvard University and not easily accessible.

‘It has often been remarked’, writes Fox, by those persons who were best acquainted with them, that Nature evidently formed both with an express intention that they should be united in business together for the purpose of supplying each other’s lack of moral qualifications, and of correcting each other’s weak or evil intentions. No two men could have been more opposite in temper & disposition than were Mr Rundell & Mr Bridge, indeed so opposite were they that many designated them by the names of Oil and Vinegar.

Mr Rundell was naturally of a violent disposition, very sly, and cunning & suspicious in the extreme and Avarice, Covetousness and mean[n]ess were so deeply rooted in him that it affected every feature of his face and entered into every action of his life! not but that he would often perform deeds which would have entitled any other Man to the Character of a generous person but when performed by him they seemed to lose all their value in the manner they were performed […]

In his shop he was ever the petty despotic King, not only over his Servants, but also over his Partners, and all the Trades people he employed, and swearing, scolding & noise were the order of the day, and of every day. He 93

was a perfect Actor, on his own Stage; and it is thought that had he been brought up for the public Stage he would have rivalled if not completely excelled all his contemporaries for he could Rave, Swear, Scold, Stamp & Cry in the most violent manner to carry his point; and in [an] instant, he could lay aside all his violence, turn round with an apparent placid face, and with a graceful bow, salute his fair Customer, with a good morning My Lady; I hope your Ladyship is quite well. Or if need be he could with the same ease join in a hearty laugh, and when this was finished and the party gone, he could as quickly return to the repetition of his former passions & violence.

All this he did systematically and generally turned it well to his own Interest […]8 Moving on to the other partner, Fox claimed to find almost the exact opposite: Mr Bridge was […] quite a different man. He was naturally of a timid quiet disposition and he had Philosophically learnt to keep down a violent temper he might have had and he would bear any insult or brook any 94

imposition rather than he would contend against his more violent Partner and this he did not more from the love of peace and quietness than from a strong desire to carry on the business in such a manner as eventually to produce for him the large Fortune which he in process of time obtained.

He too could perform well on his own Stage or amongst his Customers out of doors for although he possessed as much Pride as any Person need have yet to any one and to every one by whom he expected to gain any thing he was apparently the most humble and obedient Person that could well be imagined. His back was exceedingly flexible and no Man in London could bow lower or oftener than could Mr Bridge.

In fact he was a complete Courtier and was highly respected both in the Palaces of Princes, and the Halls of Servants, for his deep humility […] He well knew it was of great importance to him to stand well with all the Servants in a great House and he had learnt (as he often expressed it) that the nearest way to My Lady’s Boudoir was down the Area Steps through the Servants Hall and from thence to the Housekeeper’s Room and so up stairs to My Lady!9

Figure 6.

Silver-gilt items by Paul Storr owned by the Ferguson of Pitfour family, Aberdeenshire.

The pieces include four triton saltcellars, 1813-14; a reduced copy of the Warwick Vase, 1821-22; and a pair of wine coolers decorated with Ariadne and Dionysus in a quadriga and Ceres in a chariot drawn by a serpent, 1831-33, mounted on later plinths by Hunt and Roskell.

National Museums Scotland, Edinburgh.

According to Fox, Rundell was a very demanding man, compelling staff to work until about 2 o’clock on Sunday afternoons. His ruthless requirements resulted in the production of huge amounts of splendid silver, with Storr supplying 10,000 ounces of finished work a month at one stage. Unfortunately, Rundell’s demands ultimately alienated his manufacturing goldsmiths.

Benjamin Smith broke away between 1812 and 1814 and Paul Storr followed suit in 1818-19.

Figure 7.

Paul Storr, Candelabrum-centrepiece presented to Dr Charles Longley, Headmaster of Harrow, on his leaving in 1836 to take up the Bishopric of Ripon.

Longley went on to become Archbishop of York and later of Canterbury.

National Museums Scotland, Edinburgh.

This was the ‘bad side’ of Rundell’s character and organisation, but there was also a very positive side.

Rundell recruited a cluster of highly talented designers and modellers, beginning with the immigrant French designer Jean-Jacques Boileau (active in England 1787-1851) and the painter and sculptor William Theed (1764-1817), who became the firm’s chief modeller and was responsible for the well-known triton saltcellars (Fig. 6).

Rundell further improved the quality of his goods and the strength of the business by commissioning drawings from the leading Neoclassical sculptor and brilliant draughtsman John Flaxman (1755-1826), who had worked for Josiah Wedgwood at the start of his career, and the painter Thomas Stothard (1755-1834), who was also a prolific designer and illustrator.

Both were highly regarded Royal Academicians: Flaxman became the Academy’s Professor of Sculpture in 1810, while Stothard was appointed its Librarian in 1812.

Stothard and Flaxman both contributed to Rundell’s success and prestige, but Flaxman made the greatest impact.

Flaxman is believed to have designed the ‘Trafalgar Vases’ presented by Lloyd’s Patriotic Fund to naval and military officers, and he definitely went on to design the two colossal centrepieces celebrating the Duke of Wellington’s Peninsular campaigns (now at Apsley House) and the pair of candelabra representing Mercury presenting the infant Bacchus to the Nymphs and the Garden of the Hesperides that were made for the Prince Regent (now in the Royal Collection).10 Rundell built on these high-profile pieces. He decided that he needed a very intellectual and technically difficult large item that would demonstrate and trumpet the pre-eminence of the royal goldsmiths, and he commissioned Flaxman to design and model the ‘Shield of Achilles’ – a recreation of the shield made for the hero Achilles by the god Hephaestus, as described

by Homer in the Iliad.11 This was a huge project, spread over at least eleven years. The payments to Flaxman alone came to over £725, and Rundell showed exceptional and uncharacteristic patience. According to the writer of the main Memoirs, he ‘surprized all those persons who were acquainted with him’ by listening patiently, night after night, to Flaxman reading out long extracts from the Iliad, ‘adding his comments, and entering into disquisitions, that, if not unintelligible, were at all events tedious to his auditor’ (i.e. to Rundell).12 Over the years, Flaxman was also responsible for the designs for the ‘Theocritus Cup’, the ‘National Cup’ (in the Royal Collection), and various other pieces. However, his contribution to the royal goldsmiths and to British silver extended beyond the supply of good drawings and models.

Flaxman’s involvement with Rundell’s led directly to the engagement of his pupil and assistant, the sculptor Edward Hodges Baily (1788-1867), as the firm’s chief modeller and designer. Baily was an important sculptor in his own right, who went on to produce the statue of Nelson in Trafalgar Square, and his activities at Rundell’s and later at Storr and Mortimer (later Hunt and Roskell) reinforced the sculptural slant of top-quality London silver (Fig. 7). The work of Flaxman and Baily encouraged Hunt and Roskell, Garrard’s, Barnard and Sons and other major London goldsmiths to employ another generation of modellers and sculptors – including Baily’s pupil and son-in-law, the sculptor Edgar George Papworth – and to design and make hundreds of massive figural centrepieces, candelabra and sporting trophies between 1830 and 1890 (Fig. 8).

95

If English Regency silver is more sculptural than French Empire silver, it is also visually heavier and more ponderous. It is also much more overtly classical than French Empire silver. It does not wear its learning lightly and is often the result of dedicated study and almost seriously educational in appearance. An excellent example is the wine cooler by Paul Storr which is in the form of a Greek krater and decorated with a Bacchic triumphal procession based on a 2nd-century AD Roman relief.

One could expand on this, but it is more interesting to consider the significance or prominence of the dining service in the activities and prosperity of Rundell’s and other London firms. The dining service was obviously very important in terms of manufacturing large quantities of items and cash flow, but, in Britain, it involved state and personal patronage, individual choice, and the introduction of new styles and variants. It is tempting to say that Biennais and Odiot were able to flood Europe with basically the same type of services, whereas in Britain one sees much greater differentiation and development.

Many Britons wanted magnificent silver dinner services.

Needless to say, the Prince of Wales, later George IV – Rundell’s ‘greatest patron & best friend’ in the partners’ own words – reflected this desire and was the most profligate.

His ‘Grand Service’ of 1811 comprised 4,000 pieces and cost a staggering £61,340. The expense for lesser mortals could be devastating. One Highland laird, Lord Clanranald, foolishly acquired a large service from Rundell’s around 1809.

It apparently cost at least £13,856 and three years later, in December 1812, Rundell’s were seeking payment of £15,252, including ‘two years Interest after giving a year[’]s Credit’ of £1,395 12s 2d.13 As a result, Lord Clanranald totally lost control of his affairs to others.

George Fox says that it was not unusual for work on fifteen or sixteen services, costing five to thirty thousand pounds each, to be going on at any one time. Some of these services were obviously straightforward private commissions, but there were also many orders for ambassadorial services – services for the use of British ambassadors overseas. In the early nineteenth century, British ambassadors generally received a standard quantity of 5,893 or 5,895 ounces of white silver and 1,066 ounces of silver-gilt, which they were normally allowed to keep as partial recompense for all the 96

expenditure incurred during the course of their service to the Crown and Government.

The price of these ambassadorial services varied: the official 1803 Madrid service cost the Government £3,137 16s 9d, while the Marquis of Douglas’s official 1806 St Petersburg service came to £3,575 9s 1d. The total cost of all these services has still to be worked out, but between 1798 and 1812 the Lord Chamberlain’s Office paid Rundell’s over £54,000 for ambassadorial services and other items.

An ambassador could, of course, simply use and keep his ambassadorial service, but it seems likely that many ambassadors and former ambassadors added to them and transformed them into much grander assemblages.

The Marquis of Douglas, later 10th Duke of Hamilton (17671852), supplemented his official service with additional pieces by Paul Storr, ordered in 1806. Writing to Lord Archibald Hamilton about his brother’s debts in January 1808, Alexander Young, Douglas’s main Edinburgh lawyer, refers to the ‘large sum’ for a ‘Service of Plate’ as being ‘almost the only proper and legitimate article of that ruinous Expence’ connected with ‘that Embassy’. In a later letter to Douglas sent in December 1808, Young notes ‘a Balance of rather more than £5000. due to Rundell & Bridge’. Thus, Douglas could conceivably have doubled the size of the official service with his supplementary order.

Figure 8.

Illustration of the 45-inch-high candelabrum-centrepiece, weighing 1,191 ounces, presented to the 10th Duke of Hamilton by the tenantry on his Scottish estates in 1849.

Published in the Illustrated London News, 14 July 1849.

Even for the Marquis of Douglas, as Commissioner of the ‘retired’ 9th Duke of Hamilton’s Scottish estates and the next premier peer of Scotland, all this extra expenditure was dangerous, especially when large sums were also being spent on very expensive jewellery from Rundell’s and on other improvements to Hamilton Palace and the Hamilton estates. Despite gaining money from Susan and from Beckford as part of the marriage settlement, Douglas was obliged to return a later order of a fourth pair of candelabra and some other items, and begin to retrench.21 Four payments totalling £3,500 were sent to Rundell’s between September 1812 and Junes 1815, and there is a fascinating exchange of letters in the Hamilton archive between Rundell’s and Douglas’s representatives, leading to a series of seven more payments amounting to over £5,720 between March 1818 and March 1821, which would have finally cleared the 1808-10 account.

As he got into his stride as a triple Duke and premier peer of Scotland, the 10th Duke continued to add to the ambassadorial service. An early 1830s inventory of the silver in Hamilton

Figure 9.

Paul Storr, Tureen from the official ambassadorial service of the Marquis of Douglas on a stand privately ordered by Douglas, both hallmarked 1806-7.

National Museums Scotland, Edinburgh.

Figure 10.

Tea caddy by Michael Plummer, 179697, engraved with cinquefoils, crosses and martlets (birds) from William Beckford’s coat of arms.

Part of a silver-gilt tea service made up from an old caddy and teapot and a new sugar bowl and milk jug by Rundell’s which were decorated with Beckford’s heraldic motifs around 1819-20.

National Museums Scotland, Edinburgh.

A close study of the bill for the official service16 reveals that Douglas definitely added stands to the pair of tureens to make them more imposing (Fig. 9). Among other items privately ordered in 1806 were the four-frame cruet service now in the Gans Collection,Virginia Museum of Fine Arts;17 the entrée dishes now in the Huntington Collection, San Marino, California;18 and the pair of triangular covered dishes sold at Christie’s New York in December 2005.19 Further items were added a few weeks after Douglas’s return from Russia and in the run-up to his marriage to William Beckford’s daughter, Susan, in April 1810. Rundell’s bills in the Hamilton archive record the purchase of twelve triangular, octagonal and oblong salts costing over £120 in November 1808, and of three pairs of candlesticks, weighing 1,138 ounces and amounting to £998 10s 4d, in December 1809.20

97

Palace records additions of white silver in 1832 and 1833, including pieces from Birmingham and Glasgow. The silvergilt, dessert side of the service was neatly augmented by buying Napoleon’s stupendous 1810 ‘tea service’ (Fig. 2) in 1830, for less than half the 40,000 francs it had cost the Emperor. The end result was the largest dinner service in Scotland.

Looking back, perhaps the other main difference between French and British silver of this period is the close participation of a number of individuals with particular or unusual tastes, who commissioned atypical silver. The foremost figures are William Beckford (1760-1844) and Frederick, Duke of York (1763-1827). Just to concentrate on the former, ‘England’s wealthiest son’ used some of the enormous income from his Jamaican sugar estates to commission silver made to his own designs and those of his Portuguese friend and assistant Gregorio Franchi. This very carefully conceived silver was often elaborately decorated with Beckford’s armorial devices (Fig. 10), while some forms were inspired by Beckford’s extensive collection of Chinese and other Asian ceramics (Fig.11). Other items were based on German sixteenth-century prints and French treen of the seventeenth century.22 Beckford’s esoteric, refined silver and the extraordinary, dynamic, historicist candelabra made by Edward Farrell for the Duke of York around 182423 give an amazing range to British Regency silver which is much greater than that found in contemporary French silver. In Paris, Biennais’s successor, Jean-Charles Cahier, and the Odiot workshop continued to produce silver based on models of the first decade of the nineteenth century. Sadly, the political conservatism of Louis XVIII and Charles X was matched by huge quantities of conservative silver!

It is also worth noting that George IV and some other British patrons and collectors were much more appreciative of old silver than their French counterparts, and that Rundell’s benefited quite considerably from the sale of antique silver. Many examples can be cited. One that has recently come to light is Rundell’s purchase, in 1811, of a solid gold, mid-sixteenth-century monstrance that had been looted from the royal monastery of the Escorial, 98

outside Madrid, during the Peninsular War. The following year, Rundell’s sold the enamelled gold foot, weighing over 38 ounces, to the 10th Duke of Hamilton, for the princely sum of £241 18s 6d. Whilst in St Petersburg, the Duke had acquired a very large Byzantine sardonyx bowl which he believed to be the holy water stoup of the Emperor Charlemagne, and he mounted this potent (alleged) relic of the first Holy Roman Emperor on the gold foot commissioned by the Emperor Philip II of Spain for use as the Hamilton family’s baptismal bowl (Fig.12).

There seem to be few comparable French parallels, and the diversity of taste, production and selling in Britain becomes all the more pronounced. Nevertheless, we should not get bogged down in analysis. If we have discovered or learnt anything, it is that some of the finest silver ever made was produced in Paris and London in the early nineteenth century, and that French Empire and English Regency silver merit much more serious attention and appreciation.

Figure 11.

Paul Storr, Teapot and stand made for William Beckford, 1812-14.

This remarkable melon-shaped teapot derives its shape and decoration from Chinese ceramics and Indian hardstone.

National Museums Scotland, Edinburgh.

1. For more on Biennais see Anne Dion-Tenenbaum, L’orfèvre de Napoléon: Martin-Guillaume Biennais, Paris, 2003.

2. For further information and illustrations, including some of Percier’s drawings, see Julia E. Poole, ‘A Napoleonic silver-gilt Service by Martin-Guillaume Biennais’, Burlington Magazine, Vol. 119, June 1977, pp.388-96.

3. The examples in the Rijksmuseum are published in Reiner Baarsen, Paris 1650-1900: Decorative Arts in the Rijksmuseum, New Haven and London, 2013, pp.474-79.

4. For more on Odiot see Jean-Marie Pinçon and Olivier Gaube du Gers, Odiot l’Orfèvre, Paris, 1990.

5. Both drawings are illustrated in Christie’s New York, The C. Ruxton and Audrey B. Love Collection, 19 October 2004, p.64 (lot 157).

6. The examples from the Branicki service in the Rijksmuseum are discussed and illustrated by Baarsen (see note 3), pp.480-87.

7. Harvard Business School, Baker Library Historical Collections, Business Manuscripts Mss 597 1843, column 26. I have slightly edited Fox’s quickly written text in this and the following two passages.

8. Ibid., columns 9 and 10.

9. Ibid., columns 10 and 11.

10. For good illustrations of both candelabra see Jane Roberts (ed.), Royal Treasures: A Golden Jubilee Celebration, London, 2002, p.261.

11. For a good colour illustration of The Shield of Achilles see ibid., p.266.

12. Memoirs of the Late Philip Rundell, Esq., London, 1827, p.22.

13. Hamilton archive, bundle 1585.

14. Hamilton archive, bundle 603, Alexander Young to Lord Archibald Hamilton, 15 January 1808.

15. Hamilton archive, bundle 603, Alexander Young to the Marquis of Douglas, 5 December 1808.

16. National Archives, Kew, LC 9/350, ff.148 verso and 149 recto.

17. See Christopher Hartop, A Noble Feast. English Silver from the Jerome and Rita Gans Collection at the Virginia Museum of Fine Arts, Richmond, Virginia, and Cambridge, England, 2007, p.54.

18. See Robert R. Wark, British Silver in the Huntington Collection, San Marino, 1978, p.124.

19. See Christie’s New York, The John W. Kluge Morven Collection, 16 December 2005, lot 75.

20. Hamilton archive, M12/5/18, p.1.

21. Ibid., pp.1-3.

Figure 12.

The Hamilton-Rothschild Tazza.

Byzantine sardonyx bowl mounted on a mid-16th-century enamelled gold foot purchased from Rundell, Bridge and Rundell by the 10th Duke of Hamilton in 1812.

National Museums Scotland, Edinburgh.

22. For more on Beckford’s silver see Michael Snodin and Malcolm Baker, ‘William Beckford’s Silver’, Burlington Magazine, Vol. 122, 1980, pp.735-48 and 820-34.

23. For illustrations of key pieces see Anthony Phillips and Jeanne Sloane, Antiquity Revisited: English and French Silver-gilt from the Collection of Audrey Love, London, 1997, pp.62-71.

24. Hamilton archive, M12/5/19, p.2.

99

Russian Imperial Porcelain & Serge Diaghilev’s Ballets Russes

By Dr Ekaterina Khmelnitskaya, curator Russian Porcelain, the State Hermitage Museum, St Petersburg

100

In the beginning of the 20th century amongst the symbolic phenomena of the Russian cultural renaissance were the famous S. Diaghilev Russian Seasons. Diaghilev’s greatest achievement was his dance company - the Ballets Russes. Created a century ago, the productions of the “Ballets Russes” revolutionised early 20th-century arts and continue to influence the cultural activity of today. On 19 May 1909, Diaghilev launched his first season of Russian ballet in Paris. Audiences were dazzled by the dancing and the striking designs of the costumes and decorations.

The first “Ballets Russes” seasons were marked by the exotic designs of the Russian-born artist Léon Bakst. His bejewelled colours, swirling Art Nouveau elements and sense of the erotic re-envisioned dance productions as total works of art. Diaghilev, as the driving force of the company, gathered a wide range of composers, choreographers, designers, artists and sculptors.

Figure 1.

S. Soudbinine. Sculpture “Anna Pavlova in Giselle”. 1914 Model 1913. Imperial porcelain factory.

Porcelain, polychrome underglaze painting, 33,5 х 14,5 х 14,5 Inv.№ ЭРФ – 4043. The State Hermitage Museum

The Russian sculptor Seraphim Soudbinine was the first to bring together Diaghilev’s Ballet with the Russian Imperial Porcelain manufactory. He won fame with his statuettes of participants of “les saisons russe” which vividly portrayed all the resplendence and originality of the Russian culture.

Soudbinine began his career as an actor at Stanislavsky’s theatre and then moved to Paris where he began studying sculpture at the workshop of O. Rodin1. Amongst his early sculptures were portraits of Stanislavsky and Rodin.

Soudbinine had many admirers in Europe as both sculptor and as an actor, which partly explains the choice of the Minister of the Russian Imperial Court Count E.Volkov to ask him to create figurines of the participants of S. Diaghilev’s Russian Ballet Seasons at the Imperial Porcelain Factory. But the original idea belonged to the factory’s Head of production

Nikolay Kachalov. In early 1913, during his trip to Paris, Kachalov visited the Sèvres Museum, where he was shown the highlights of French porcelain. Kachalov wrote: “Finally I saw the last masterpiece.

Under a glass dome was a small biscuit statuette of a ballerina in a light puffy skirt. Its peculiarity was that the figure wasn’t leaning upon anything and was standing just on tiptoes. It was there that I came across a slightly more complicated idea. At that time, Paris was raving about so-called “Diaghilev seasons”.

Russian opera and Russian ballet won over and overwhelmed Parisian audiences. Everyone spoke of Glinka, Musorgsky, Sobinov, Shalyapin and Pavlova. Karsavina was one of the most popular among our ballerinas. It was a statuette of her that I suggested to order from the Russian sculptor Soudbinine, who at that time lived in Paris and had much experience himself working in the theatre”2. The contract with Soudbinine was signed in early 1913 and he immediately started to work for the Imperial porcelain factory.

First, Soudbinine made four models of Pavlova in the ballets of “ The Swan,” “Bacchanalia” and “Giselle. 3 ” (Fig.1). Only the last one was created in the Imperial porcelain factory. The factory administration put high hopes upon this porcelain figurine, because at this time Pavlova was at the height of her career and the whole world was at her feet. There is an archived document where Soudbinine wrote to the Minister of the Imperial Court E.Volkov, “Your Excellence, I dare to assure you, that in London only 500 porcelain copies of Pavlova will be sold in one day. Pavlova is incredibly popular here, and after a number of articles in London newspapers that her figure will be executed at the Imperial Porcelain Factory in St. Petersburg, everyone here are is waiting for it to appear.4” 101

In London it happened after a journalist of the “Pall-mall Gazette” named Pavlova’s performance the “sensation of the century.5” A “Times” correspondent wrote, “Pavlova and other Russian dancers… have shown something absolutely new: feeling of the rhythm, elegance and passion for dance.” Anna Pavlova’s dance is an example of a “unique beauty,” which was perfectly embodied by Soudbinine in porcelain6.

Soudbinine chose the image of Giselle in the fortune telling scene from the first act of the well-known ballet “Giselle”. A.Volynsky, a ballet critic, wrote that “Pavlova in this particular scene showed real tragedy, real drama, and thus for the first time in the ballet history showed how the feelings can be transmitted through dance.”7 It was this moment that was captured by Soudbinine. He perfectly understood where her highest artistry was expressed – in two-three abrupt gestures and a deathly pale face. Everything was said without words, with the mute expression concealing absolute hopelessness.

Perhaps, Soudbinine can be reproached for the exterior static of the figure, which is based motionlessly and without an “impulse” forward. Still, this moment is masterfully embodied in porcelain with a touching expression of love and despair.

According to A. L.Volynsk’s fair remarks, this work belongs to “masterpieces of real tragic art.8” The dress Pavlova is wearing in Soudbinine’s work differs from all known costumes confirmed for the role of Giselle by the Imperial Mariinsky Theatre. L. Bakst made a sketch of the dress in 1912 (Fig. 2). The first time the artist published a drawing titled “Giselle, Kostümzeichnung für Anna Pawlowa von Leon Baxt” was in 1913 in the book called “Anna Pawlowa”9. This edition coincided with Pavlova’s tour in Berlin.

102

Their friendship began in 1907 when Bakst created her most well-known dress for M. Fokin’s choreographic composition “The Swan.”

Soudbinine being unable to come to St. Petersburg personally asked the porcelain factory administration if the factory painters could paint the figurine of Anna Pavlova as Giselle, based on the drawing of the costume. He sent the plaster model to the factory, where the technicians created a mould and fired the first 10 sculptures. Soudbinine also left the description of Pavlova’s scenic costume. G. Zimin painted the figure precisely following the author’s description of the costume. Most likely Soudbinine was not eager to paint the figurine. According to the art historian V. M. Farmakovski, “[He] worked a lot with marble and was known for his taste in using its best qualities; but porcelain is a foreign material for him and he is not used to thinking in colours; painting for him was either casual and depended on the painter, or simply was not necessary for his figurines.10” In the summer of 1913 in London Soudbinine was working on Pavlova’s portrait in choreographic composition for the “Dying swan”. Pavlova had just started performing with her company, but at that time due to some family circumstances

Figure 2.

L.Bakst. The sketch for Giselle costume.

1912 Reproduced from: “Anna Pavlova”. Сборник статей. Предисл. О.Bie. Verlag Bruno Cassirer. Berlin, 1913, P. 44, image 13 Figure 3.

Cover of the newspaper “Sketch” with photo of A. Pavlova posing for S. Soudbinine.

“The Sketch”, No. 1069, July 23, 1913

sculptor in the costume for “The Swan” appeared on the cover of the July issue of “The Sketch” newspaper (Fig. 3).

At the same time, Soudbinine executed two sculptural portraits of Anna Pavlova in the ballet “Bacchanalia.” (Fig. 4) However, in September 1913, Soudbinine sent a letter to the factory administration saying, “Bacchanalia unfortunately could not be executed in porcelain because of its instability which you will be able to observe when you receive the photographs of the plaster model that I will send you.13” Soudbinine created it only in bronze.

Soudbinine was pleased to have the opportunity to create another portrait of Pavlova in the same ballet - “Bacchanalia”, but this time it was her portrait. Since Pavlova was very busy and didn’t have a lot of free time to pose, Soudbinine used popular photographs of Anna Pavlova to create this portrait.

Unfortunately the Imperial porcelain factory in St. Petersburg rejected the proposal of Soudbine’s proposal to make this portrait, since they were expecting the figures of the ballerina while dancing.

Figure 4.

S. Soudbinine. Sculpture A.Pavlova in ballet “Bacchanalia”.1910s Bronze, H. 38, 7 Signatures: S. Soudbininee. Sondon. A. Rudier. Fondeur. Paris Inv. № T&D1962.132. Fine Arts Museums of San Francisco (Legion of Honor)

she decided to move to London. Soudbinine arrived in London from Paris and for several months he stayed at the Abbotsford Hotel. After a few weeks of work, he sent a letter to the Minister of the Imperial Court E.Volkov, informing him that “Anna Pavlova is very happy with the work and is posing with great pleasure.11” Pavlova posed to Soudbinine at her house in Hampstead. The English newspaper “The Sketch,” wrote on July 23rd that, “the Emperor has rendered honour to mademoiselle Pavlova, a well-known Russian ballerina, having sent to London sculptor Soudbinine for executing a special order – her models – at the porcelain factory belonging to His Imperial Majesty.”12 The photo of Pavlova posing for the

Obviously, the biggest success Soudbinine had was two portraits of Anna Pavlova in the “Dying Swan”. These portraits couldn’t have gone unnoticed by European art critics. (Fig. 5, 6) Having outstanding press for his figurines, Soudbinine signed a contract for their execution in biscuit with the Sèvres factory in Paris, and thus, became perhaps the only Russian sculptor whose works were produced by the renowned French manufactory. The contracts for manufacturing Pavlova’s busts as a Swan with the Sèvres factory were renewed every five years until the early 1940s and their moulds still exist in the Sèvres factory archive14.

According to archived documents, especially at the beginning of his cooperation with Sèvres, Soudbinine was personally supervising the work. The statuette of Pavlova as a swan was priced at 300 francs and of her in Bacchanalia, 100 francs. Soudbinine received 25% of the sales revenues of each statuette that was sold in the museum shop or sent to Continental Europe and England15.

In compliance with the contract terms, at the end of 1913, Soudbinine submitted to the Imperial Porcelain Factory a model of a figurine of Tamara Karsavina in the role of the Sylph in Les Sylphides, also known as “Karsavina on one toe.”

(Fig. 7) “La Karsavina” was a phenomenon in the history of 103

ballet and became a superstar for all ballet lovers. The figurine of the dancer, a prima ballerina of the Imperial Mariinsky Theatre, who perfectly embodied M. Fokin’s innovative ideas, was repeatedly reproduced at the porcelain factory both before and after the Revolution and still is today. The sculpture of Karsavina standing on one foot still remains an example for sculptors working with porcelain.

N. Kachalov wrote that, “the main condition of the order was that it is essential the ballerina should stand on one tiptoe and not on two feet.This is the pith.16” Soudbinine, however, deviated from this condition. He wrote from London, “As a “pillar” for Karsavina, I have moulded two small cherubs who seem to stop the flight of the dancer. Tamara liked this idea a lot.17” He was asking the factory whether, from the technical point of view, it would be sufficient to make just one cherub who would support Karsavina “by embracing her leg.18” When the plaster original arrived at St. Petersburg, it turned out that the ballerina was indeed supported by two graceful cherubs (this version of the model is now in the State museum of ceramics “18th century Estate Kuskovo”). N. Kachalov wrote, “I ordered them to cut off the cherubs, and our masters have made this really remarkable thing in terms of technique and beauty. 19” It was preceded by the long and 104

laborious work of factory employees. Chief sculptor of the factory - A. Timus reported that “technicians of the Imperial Porcelain Factory, find that a figure having only one point of support is difficult to be made in biscuit and the percentage of good copies is very small and in general it cannot be fired and glazed when supports are not acceptable.20” Still, A. Lukin, a master at the porcelain factory was able to overcome all the technical difficulties and make a figurine without a support. Without stepping away from the author’s intention he managed to convey the romantic, airy and light dancing of Karsavina. Kachalov was very proud of this figure saying, “the ballerina is just about to get off the ground and fly ‘as down from Aeolus’ lips.21’” The sculpture was manufactured without painting, but the factory reports for 1913 have instructions from the author on its painting. Karsavina had graciously given her costume for work on the portrait and after the model was completed in plaster gave the costume to the Imperial porcelain factory Soudbinine had created several portraits of Karsavina, including in the role of the Ballerina in the ballet “Petrushka”.

(Fig. 8) He hoped that the factory would consider purchasing this figure as well, but that didn’t happen. The sculptor rightfully believed that this figurine should appeal to the

Figure 5.

S. Soudbinine. A.Pavlova in choreographic composition “Dying swan”.

1910th photo. RGALiI. F. 2741, оp. 1, е.h.4, l.3-4.

Figure 6.

S. Soudbinine. A.Pavlova in choreographic composition “Dying swan”.

1910th photo. RGALiI. F. 2741, оp. 1, е.h.4, l.3-4.

Figure 7.

S. Soudbinine. Sculpture “Ballerina T. Кarsavina”. 1930s Model of 1913. The State porcelain factory Biscuit, 29,7 х 17,0 х 7,0 Inv.№ ЭРФ – 8589. The State Hermitage Museum Figure 8.

S. Soudbinine. Sculpture T.Karsavina in the role of the Ballerina in ballet “Petrouchka”.

1910s photo. RGALiI. F. 2741, оp. 1, е.h.4, l.5-6.

Figure 9.

E.Eropkina. Sculpture T.Karsavina in the role of the Ballerina in ballet “Petrouchka”. 1989 Lomonosovskiy porcelain factory.

Porcelain, polychrome underglaze painting, gilding, 30,5 х 13,7 х 10,4 Inv.№ ЭРФ-9461. The State Hermitage Museum, St. Petersburg

public. Soudbinine has executed the figure in marble and in bronze, and was not mistaken in his expectations – it was a hit! Simultaneously, some admirers of Russian art purchased it for private and museum collections in Europe and America. Throughout the 20th century, this piece continued to draw attention. In 1988, E. Eropkina, a sculptor from the Lomonosov porcelain factory, made a “remake” of “T. Karsavina in the Ballet “Petrushka,” and a twin figure of V. Nizhinsky as “Petrushka.” (Fig. 9) The sculptor petitioned the director of the Imperial porcelain factory for permission to execute figurines in other materials, and about the possibility of showing them at exhibitions.

Soudbinine made from bronze and silver figures of Pavlova and Karsavina, which were displayed at the Parisian Salon in 1915. The same year a figurine of Pavlova in “Giselle” was exhibited at the 13th art exhibition of the Union of Russian artists in Moscow23. Five bronze figurines of ballerinas Pavlova

and Karsavina are now in the collection of the San Francisco Museum of Decorative Arts (Legion of Honour).

A new epoch in art history began with the events of the October Revolution in 1917. Never before had Russian art experienced such dramatic changes in opinions, customs and values. This period was also an important stage in the history of the former Imperial Porcelain Factory, which was renamed the State Porcelain Factory and then the Lomonosov Porcelain Factory. At a time when a new state ideology permeated the whole of society and all factory employees responded to its demands, pre-revolutionary figures of Russian ballerinas were nearly the only exceptions and were still produced at the factory; surprisingly, at the same time it was allowed to design new theatre-related compositions and create new figures of the world-famous “Saisons Russes” by S. Diaghilev. In the middle of the 1920s the sculptor Dmitry Ivanov designed figures of T. Karsavina 105

as the Firebird and M. Fokin as Prince Ivan Tsarevich in the ballet “the Firebird” (Fig. 10). The drawing by Ivanov is the only one preserved in the collection of the State Hermitage Museum sketch for this series of figurines. In 1923 Dmitry Ivanov created another figure of Karsavina as Zobeida in Rimsky-Korsakov’s ballet “Scheherezada”. The costume for Tamara Karsavina was also designed by Leo Bakst.

The tradition of creating porcelain figurines was continued by the wonderful artist Natalia Danko. The statuette of Vaslav Nijinski in the ballet “Le Spectre de la Rose” was created in 1920. The virtuosity and charisma of V. Nijinsky were such that no one who saw him perform ever forgot him. He transformed himself for each role he danced and N. Danko perfectly conveyed the feeling of his dance and charisma in porcelain.

In early 1930s Danko began working on the sculpture of Anna Pavlova in the “Dying Swan” (Fig. 11) It was a request by the factory administration to make a statuette of the famous ballerina, so that the factory could sell it abroad as an exquisite Soviet export porcelain piece. Before the revolution Danko saw Pavlova several times performing in the “Dying Swan”. She tried to create a model based on her memoirs, but at the same time she studied carefully the available materials and photographs of Pavlova in this choreographic composition, which Pavlova performed all over the world.

Danko finished her figurine in January 1931. And a few weeks later Anna Pavlova, on her deathbed uttered her last words: “Prepare my swan costume.24”

Figure 10.

I. Ivanov. Sculpture T.Karsavina in the role of the Firebird and M. Forin in the role of Ivan Tsarevich in the ballet “Firebird”. 1920 Model of 1920. The State porcelain factory Porcelain, polychrome underglaze painting, gilding, 29,7 х 17,0 х 7,0 cm Inv.№ ЭРФ – 8593а,б. The State Hermitage museum 106

1. Russian state archive of literature and arts. F.660, cat.1, unit 1012, l.2.

13. Russian state historical archive, f.503, cat.2, un.443, l.15 reverse.

2. Kachalov N. Glass. Leningrad, 1959, P. 272.

14. AMS, Archives de la manufacture de Sevres, dossier Soudbinine.

3. Russian state historical archive, f.503, cat.2, un.443, l.10 reverse.

15. AMS, Archives de la manufacture de Sevres, dossier Soudbinine.

4. Russian state historical archive, f.503, cat.2, un.443, l.10 reverse.

16. Kachalov N. Glass. Leningrad, 1959, P. 275.

5. Quoted by: Francs A.G. Bibliography essay // Anna Pavlova 18811931 Preface and notes by E.Ya.Surits; translated from English by Yu.A.Dobrovolskaya. Moscow, 1956. P.42.

17. Russian state historical archive, f.503, cat.2, un.443, l.13.

6. Quoted by: Roslavleva N.P. English Ballet. Moscow, 1959. P.11.

7. Volynski A.L. Giselle // Stock bulletin. 1914, January 14, P. 4.

8. Volynski A.L. Giselle // Stock bulletin. 1914, January 14, P. 8.

Figure 11.

N. Danko. A.Pavlova in choreographic composition “Dying swan”. 1936 Model of 1931. The State porcelain factory Porcelain, polychrome underglaze painting, gilding. H. 12,3 cm Private collection

9. Anna Pawlowa. Berlin, 1913.

10. V.M. Farmakovsky. Sculpture of State Porcelain factory. Russian Art Porcelain: collected works on the State porcelain factory. Leningrad, 1924. P. 34.

11. Russian state historical archive, f.503, cat.2, un.443, l.12 reverse.

18. Russian state historical archive, f.503, cat.2, un.443, l.26 reverser.

19. Kachalov N. Glass. Leningrad, 1959, P. 275.

20. Russian state historical archive, f.503, cat.2, un.443, l.2.

21. Alyanski Yu. “Magic Chrystal of Professor Kachalov”. Leningard, 1966, P.35.

22. Russian state historical archive, f.503, cat.2, un.443, l.28 reverse.

23. Catalogue of the XIIth exhibition of the Moscow Union of Russian Artists. 191501916. Moscow, 1915. P.36 reverse.

24. Russian state historical archive, f.503, cat.2, un.443, l.16.

12. “The Sketch”, No. 1069, Wednesday, July 23, 1913.

107

Science, Art and Passion: Treasures from the Imperial Habsburg Kunstkammer

Claudia Lehner-Jobst Art Historian and Curator, Vienna

108

The new Kunstkammer galleries at the Kunsthistorisches Museum in Vienna were opened in March 2013 after a period of ten years of restoration, construction work, and the design of a contemporary form of presentation. This most important and largest collection of Kunstkammer objects in the world is displayed in a space of 2.700 square metres.

2200 pieces, chosen from a tight “short list” of four thousand, thus found new and old places within the extensive holdings of the former imperial museum. To understand the new display, which aims to act as a stage for those members of the Habsburg family who were outstanding collectors, art lovers and initiators of new artistic styles, consideration first has to be given to certain other matters and facts, such as the Museum building itself, and the complexity of another “house”, namely, the House of Habsburg.

Figure 1.

Julius Victor Berger Habsburg Patrons of the Fine Arts Ceiling painting, 1890/91 Kunstkammer, Room XIX ©Kunsthistorisches Museum, Vienna

The Kunsthistorisches Museum was designed – appropriately – in the Renaissance style by the architects Carl von Hasenauer (1833–1894) and Gottfried Semper (1803–1879) under Emperor Franz Joseph I (1830–1916). It was opened in 1891 as a home for the Imperial Collection, which was thus united under one roof for the first time. For the new Kunstkammer display, the museum building itself had to be respected as a space that could not be subjected to substantial change. As part of the historic city centre of Vienna it has been protected as a UNESCO World Heritage site since 2001.

This meant that the twenty rooms had to be restored in the extant nineteenth-century historicist style and their structure had to be maintained. There are now the most advanced air-conditioning systems hidden behind the walls, and similar wonders have been worked in the three hundred display cases. Fifty-one “star brick” chandeliers, to a design by Olafur Eliasson (b. 1967), add a contemporary element to rooms that formerly had no electric lighting at ceiling level.

The last of this suite of rooms, the Goldsaal (“Golden Hall”) bears an important ceiling painting entitled Die Mäcene der bildenden Künste im Hause Habsburg – Habsburg Patrons of the Fine Arts (fig. 1). This programmatic depiction was executed

by Julius Victor Berger (1850–1902) in 1890/91 and shows the Habsburg emperors and their artists gathered around the throne with Maximilian I (1459–1519), after a portrait

by Holbein, and the double-headed eagle of the Holy Roman Empire behind him. The painting also features the reigning Austrian Emperor Franz Joseph in the form of a bust above the throne. Maximilian I is about to study a drawing by Albrecht Dürer (1471–1528), one of his favorite artists, who is standing next to him. On the right, Archduke Albrecht VII (1559–1621) can be seen with his spouse, the Infanta Isabella Clara Eugenia, both residents of the Spanish Netherlands, alongside their portraitist Peter Paul Rubens. On the left are Giambologna (1529–1608), Titian (d. 1576) and Benvenuto Cellini (1500–1571), who is holding his famous Saliera, 109

probably the best known work of art of the Kunstkammer collection in Vienna (see fig. 6). Many more archdukes and emperors parade their treasures on this ceiling painting, almost on eye level with their admired artists.

The term “Kunstkammer” literally means a chamber filled with art, but it also implies a new view of the world. It is not without reason that the Kunstkammer is a phenomenon of the Renaissance. The objects of such a collection were meant to represent the richness of the world; the Kunstkammer was thus a microcosm that could be controlled by its owner and therefore also symbolized sovereignty. The Kunstkammer as an “art chamber” reflects an idea that originated in the early treasure vaults of fourteenth- and fifteenth-century European princes. To own a treasury has always been regarded as a sign of power. A ruling house must be decorated with crowns and other insignia, relics, robes, jewellery, coins and objects of representation – its “objects of state”. These had to be kept in safe places, mostly towers or vaults, and ideally – for security reasons – be distributed around a number of different residences. Sometimes the treasures were even hidden too well, so that the heirs had a difficult time finding them. Even as Emperor Friedrich III (1415 – 1593) was making his last confession on his deathbed in 1493, his son and heir Maximilian I was desperately trying to discover where his father had secretly stored his precious belongings.

The intention behind collecting in this period is well illustrated by a woodcut by Albrecht Altdorfer from around 1515 showing Maximilian I’s fortified treasure vault in his residence in Wiener Neustadt, south of Vienna.1 The inscription reads: “He alone owns the biggest treasury, of silver, gold and precious stones, of good pearls too, and sumptuous robes. Never was there a prince known to have given and to give so much to serve God and His great glory.”

The treasury consisted of a profane and an ecclesiastical section, which were not usually displayed as depicted on the woodcut, but were stored in locked and sealed trunks that could easily be transported to other locations in times of war or other forms of crisis. According to the posthumous inventory of Maximilian’s estate, he had forty trunks filled with precious objects in the vaults that can be seen on the woodcut – and this was a treasury in just one of his many 110

Figure 2.

“Maximilianspokal” Goblet with thistle flowers and pears, decorated inside the lid with the double-headed eagle and the coat-of-arms of Emperor Maximilian I. Nuremberg, circa 1510 Silver, partially gilded and enamelled; H. 56 cm ©Kunsthistorisches Museum, Vienna, inv. no. KK 110

residences. The so-called “Maximilianspokal”, a silver-gilt goblet with thistle flowers and pears formed with a naturalism typical of the Renaissance, is one of the few objects which can be ascribed with relative certainty to this emperor´s collection (fig. 2).

Even though inventories of the Habsburg treasuries of these periods are rare and incomplete, one can observe an increase in the number and genres of Kunstkammer objects in the second half of the fifteenth century. From this period on, it was not only preciousness that counted: the archdukes began to collect objects notable for their rarity and scientific interest or for their magical and exotic character. One side effect was a new awareness of the objects themselves, rather than their value, which happily improved their chances of being preserved for later generations. New family laws were established which forbade the selling or giving away of certain objects, which became the “Unveräußerlicher Hausschatz” or the “inalienable treasure of the House”.

If the Habsburg family treasuries of medieval times were made up of items in precious materials, this was not only done in order to represent the family’s princely power and wealth, but also for a very practical reason: so that they could if necessary be turned into money. The heirs of Emperor Maximilan I, among them Charles V (1500–1558), not only had to divide up the treasure but also had to melt down parts of it to finance wars and new representational requirements as they stepped into more powerful positions.

Elsewhere a more refined sense for the artistic aspects of precious objects had established itself, notably in France, especially at the court of Duc Jean de Berry (1340–1460), and also at Italian courts such as that of the Medici in Florence.

This led to the more visionary practice of collecting objects also for the sake of their non-material and artistic qualities.

This new spirit was only introduced to the Habsburgs in the late fifteenth century, by a female member of the House, Archduchess Margarete (1480–1530) (fig. 3).

Figure 3.

Archduchess Margarete (1480–1530) as a widow Dutch, after 1506 Oil on wood; 31 x 20 cm ©Kunsthistorisches Museum, Vienna, inv. no. GG 5615

Margarete, daughter of Maximilian I and Mary of Burgundy and sister of Philip the Beautiful, became the governor of the Austrian Netherlands in 1507. She had a magnificent palais built in Mechelen (today used as a courthouse), one wing of which was dedicated specifically to her splendid

collection, which according to later writings contained all the necessary aspects of the world and the arts and thus formed a microcosm in accordance with the logic of a Kunstkammer: artificialia, naturalia, scientifica, exotica and mirabilia, and antiquitas. Her guests, among them Albrecht Dürer (1471–1528), were shown around the Kunstkammer by the sophisticated and knowledgeable Archduchess in person.

It was no longer a “Hausschatz” in the former sense, though it was precious enough, but a collection to enjoy, to learn from, and to marvel at. Such a collection could no longer be sealed and shut away in trunks, but cried out to be displayed 111

in a proper and approachable manner. After all, Kunstkammer objects were also intended to communicate meaning and wisdom, which one could only fully understand and “grasp” if one held the objects in one´s hand.

Margarete´s nephew, the future Emperor Ferdinand I (1503–1564), brother of Charles V, knew her collection and her passionate approach to the arts. He resided in Vienna from 1530. Interestingly, it was his Chamberlain who first used the term “Kunstkammer”, when recording the Emperor´s new 112

acquisitions in 1554. In 1558 Ferdinand I had a Kunstkammer built within the complex of the Imperial Palace (the Hofburg), which may be regarded as the first museum building in Europe. Although all evidence of its location has been lost, fragmentary inventories can at least give us a glimpse of what Ferdinand´s collection was like. Among the objects were coins, Greek and Roman antiquities, portraits, armour, glass, a famous agate bowl, and a very refined gaming board.

Ferdinand also owned a unicorn’s horn, which was of course a narwhal´s horn, as part of his “Wunderkammer”, another

Figure 4.

Three characters from the Commedia dell´arte Probably the Innsbruck court glass house or Murano, last quarter 16th century Glass, enamelled, iron thread construction; H. 21.4 cm; 19.6 cm; 20.4 cm ©Kunsthistorisches Museum, Vienna, inv. nos. KK 2705, KK 2711, KK 2714

was often cited as an example of a well-composed collection.

In 1565, the Belgian Samuel Quiccheberg (1529–1567), a custodian at the court in Munich, promoter of the educational aspect of art collections and founder of museum theory as a science in Germany, called it an “archive of wisdom” in his writings.2 But in addition to the theory of the Kunstkammer and its instructive goals, there was always a certain amount of pleasure involved.

Figure 5.

Christoph Gandtner (circa 1560/65 1605 Meran): Tantalus Innsbruck, 1580/90 Earthenware, tin glaze, cold painting H. 26.6 cm ©Kunsthistorisches Museum, Vienna, inv. no. 3155

term for a collection of rare and curious objects, which explains the aspects of “wonder”, magic and surprise attached to the admirable trouvailles from the realms of nature and art.

His son, later Maximilian II (1527–1576), inherited the coin collection from his father with the instruction to regard it as something valuable not merely for its material but also for its age and its diversity. He began to collect tapestries and built up a famous Kunstkammer at his residence in Graz, Styria.

He also commissioned many breathtakingly artistic works from the stonecutter Gaspare Miseroni. His Kunstkammer

One of the most remarkable collectors of Kunstkammer objects was Maximilian II´s brother Archduke Ferdinand II (1529–1595). After serving as governor in Bohemia, he moved to Innsbruck in Tyrol together with his morganatic wife Philippine Welser (1527–1580), the daughter of a wealthy but untitled southern German banker and trader. While Ferdinand II had already collected when he was in Prague, he now had several buildings constructed adjacent to his residence, Schloss Ambras, in order to house his various collections. He was in contact with other great collectors of his time, and many northern princes envied him for his refined Italianate taste and his “Kunst- und Wunderkammer”, his arms and armour collection, his paintings and his curiosities. The Archduke was also interested in turning ivory and in woodwork, and had several workshops installed in the gardens of the Innsbruck Hofburg. But his greatest passion was for the delicate glass of Venice. A richly mounted glass beaker presented at the Kunsthistorisches Museum is said to have been blown by the Emperor himself and is used as one of the key pieces to illustrate this patron´s personality.

Ferdinand II’s is the best documented of all the Habsburg treasuries. The inventory of 1596 mentions exotic animals, such as crocodiles, suspended from the ceilings, as well as paintings densely arranged on the walls. We even know about the appearance of the cabinets in which objects were displayed. Painted in different colours, probably to give the objects a suitable background and to structure them visually, these cabinets were filled with treasures in accordance with a scheme based on the materials. Glass was displayed in a cabinet painted in black to provide the transparent material with a setting that would enhance its subtle shapes and decoration.

Because of his great love of glass, Ferdinand initially placed large orders from Venice, as well as from Hall in Tyrol, and 113

finally founded his own Court glasshouse in Tyrol in 1570, also in the garden of the Hofburg Palace in Innsbruck. He even succeeded in concluding an agreement with the Serenissima Signoria in Venice specifying that Venetian glass workers should be allowed to travel across the Alps to Tyrol to teach the Archduke their art. They executed some of his commissions in Tyrol, and were in fact only allowed to stay until they had finished their task. It is quite impossible to distinguish some of the glass objects made at the Court glasshouse from those made at the glass works of Murano, as the Venetian masters not only transferred their skills to Tyrol, but also their secret and exclusive recipes and formulas, with notable ingredients such as soda. The most highly coveted objects are covered goblets with diamond engraving, cold painting and gilding. They reflect the taste of the Archduke and his time for sumptuous ornamental decoration, which is also documented by a series of albums in which Ferdinand II collected cut-outs from ornamental prints.1 Amongst the works made in Innsbruck 114

by and with the help of Venetian masters are a large variety of amusing glass toys – “joke” or “puzzle” glasses – and glass jewellery as well as the famous glass pictures and figural scenes inside goblets and architectural constructions. The three bizarre figures of commedia dell’ arte actors illustrate the fact that a Kunstkammer was no longer a place for a serious treasure only (fig. 4). These three elongated figures are admired both for their originality and amusing qualities and also for the artistic and scientific skills of the glassmakers.

The Archduke also owned a large number of entertaining tinglazed earthenware figures. While these represent caricatures of vices, many of them could also be used as vessels for alcoholic drinks (fig. 5). They were made by the Tyrolean potter Christoph Gandtner, who worked for the court in Innsbruck around 1580/90. Apart from these light-hearted objects he also made jugs and jars and other everyday wares.

His style is very much in accord with the rough humour of

Figure 6.

Benvenuto Cellini (Florence 1500–1572 Florence): Saliera Paris, 1540-43 Gold, enamel, ebony, ivory; H. 26.3 cm, L. 28.5 cm, W. 21.5 cm ©Kunsthistorisches Museum, Vienna, inv. no. KK 881

Figure 7.

Richard Toutain the Younger (Master in 1558, d. 1579 Paris): Onyx Jug Paris, 1570 Sardonyx, agate, gold, enamel, diamonds, rubies, emeralds, pearls H. 27.9 cm, L. 18.4 cm Kunsthistorisches Museum, Vienna, inv. no. KK 1096 Figure 8.

Goldsmith: Anton Schweinberger (Augsburg circa 1550 – 1603 Prague), Carving: Nikolaus Pfaff (Nuremberg 1556? – 1612 Prague): Jug with Seychelles nut (coco de mer) Prague, 1602 Seychelles nut (Lodoicea Seychellarum), silver, partially gilded, niello, H. 38.5 cm ©Kunsthistorisches Museum, Vienna, inv. no. KK 6872

the northern countries, where the games played at table were suitable only for robust, hard-drinking guests. The tin glaze, on the other hand, with its yellows, greens, browns and purples, looks southward to the majolica production of Urbino. The mythological King Tantalus is the model for one particularly diverting ceramic object. Tantalus was eternally punished by the Gods for having stolen their nectar and ambrosia and had to stand in a pool of water, which receded whenever the poor king wanted to take a sip. At the same time, a tree laden with fruit tempted, but refused to feed him. Here, Christoph Gandtner has created a witty character, with the vine wreath of Bacchus and a wine jug as his headgear, riding on a barrel and held fast by a collar in the shape of a table top offering all kinds of delicacies. Alas, the dishes cannot be reached.

The barrel bears the coat-of-arms of Andreas Unterberger, a member of the household of the second wife of Ferdinand II, Anna Caterina Gonzaga, which clearly places this Tyrolean production within the Archduke’s circle of interests.

One of the most famous objects at the Kunsthistorisches

Museum in Vienna is a salt cellar: the “Saliera”, as it was named by its creator Benvenuto Cellini (fig. 6). It was given to Ferdinand II in 1570 by Charles IX of France for having acted as the King’s proxy at his wedding with Archduchess Elisabeth of Austria. The precious salt cellar had been made for the French king François I, and is now presented in a setting which illustrates the refinement of the French court.

Originally, the Saliera was destined to adorn the collection of the cardinal Ippolito d´Este, who cancelled his commission on account of the high price and because he did not believe in the possibility of its creation, given the technical challenges of chasing the gold in such extreme ways. On its underside are ivory balls, which enabled the object to be moved across the table, much to the delight and astonishment of the guests.

The reclining couple who guard their containers for pepper and salt, represent the elements of earth and water. Symbolic creatures, allegories of the times of day, the four winds and many more symbols and motifs, such as musical trophies, support the allegory and the manifold story which was 115

certainly read with ease by the contemporary spectator.

Among the four objects given to Ferdinand by the king of France was another courtly object: the richly mounted sardonyx jug made by the Parisian artist Richard Toutain the Younger in 1570 (fig. 7), which in fact consists of two parts, a jug and a bowl. The object was created in parts from fragments of Byzantine vessels.

Of all the Habsburg collectors the best known is almost certainly Emperor Rudolph II (1552–1612), son of Maximilian II (1552–1612) and nephew of Archduke Ferdinand II whose collection he got to know well. He grew up at the court of his uncle Philip II in Spain, yet another of the great collectors of his time. Rudolph established his court in Prague in 1583 and surrounded himself with the most able scholars and artists of his time. He also had antiquaries to systematize his collection, which was housed in various halls, partly in numbered cabinets, in trunks and on tables so that it could be viewed. Even though scattered or lost due to the hazards of history, his collection is well documented. Emperor Rudolph, who was shy and suffered constantly under his exalted position, was intensely involved in the making of objects and thus also in the creation of artistic styles. He was especially fond of the cut stone objects crafted by the Milanese dynasty of the Miseroni, and also pieces in rock crystal, ivory and other rare products of nature which were mounted according 116

to the taste for imperial splendour, such as the wonderfully mannerist jug with its fluid formal motifs, which uses a carved Seychelles nut as its body (fig. 8). The Kunstkammer room dedicated the Emperor´s glory has display cases arranged centrally around the famous bronze bust of Rudolph II by Adriaen de Vries (fig. 9). Rudolph had a love of cheerful, sometimes mischievous, but always programmatic automata, which played an important role within the settings of table culture and festive representation. One of the most impressive objects is an automaton in the shape of a battle ship (fig. 10). It even includes a figure of the Emperor himself as its Commander. Not only does a little orchestra play sumptuous melodies, but the cannons fire and the ship moves across the table whenever it is turned on. Its inscription teaches the spectators a lesson: their sovereign is invincible.

During the restoration phase of the objects a film was produced to demonstrate some of the automata and their functions, so that visitors can get an impression of the former use of these objects, the meaning and intentions of which can only be fully understood when they are seen in action.

In all he did, Emperor Leopold I (1640–1705) had one major concern: the identity and standing of the House of Habsburg in Europe. This is strongly reflected in his collection.

Threatened on one side by the Turks and by the Reformation on the other, his particular interest was in Baroque objects

Figure 9.

View of Room XXVII dedicated to Rudolph II and his collections at the court of Prague with the bust by Adriaen de Vries (Den Haag 1545 – 1626 Prag): Emperor Rudolph II Signed and dated: ADRIANVUS FRIES HAGIEN FECIT 1603 Inscription: „RVD. II. ROM. IMP. CAES. AVG. SVAE. LI. ANNO 103“ Prague, 1603 Bronze; H. 112 cm Kunsthistorisches Museum, Vienna, inv. no. KK 5506 Figure 10.

Hans Schlottheim (Naumburg /Saale 1544/47 – 1624/25 Augsburg): Automaton in the shape of a naval vessel Augsburg, 1585 Silver, gilded, bronze, cold enamels, oil painting, works made of iron H. 67 cm, L. 66 cm Inscription (translated): „Anno 1585/ I am called the double eagle, well known amongst all princes and noblemen. I am sailing strongly, no wind can be as mighty as to do me any harm. I say this honestly and know you sailors that you mustn´t stand against me as there is no storm which could make me fail nor stop. Against him who wishes me evil I will stand and won´t spare my cannons“. ©Kunsthistorisches Museum, Vienna, inv. no. KK 874

with a refined propaganda value. Amongst his private passions were ivoryturning and collecting ivory sculptures. His favourite artist in this field was Mathias Steinl, his highly accomplished “Kammerbeinstecher” or chamber ivory-cutter.

Steinl created a number of most impressive small sculptures, which show his ability to bring the delicate ivory to life with just the right measure of virtuoso drama (fig. 11). The exalted movement of a charging horse, of its mane and the riders clothing as well as their inner dynamic result in an intense elevation of the spectator´s feelings and spirit – very much in the taste of the baroque era.

Figure 11.

View of Room XX dedicated to Emperor Leopold I Matthias Steinl (Mattsee/Salzburg?

1643/44 – 1727 Wien): Emperor Leopold I as the victor over the Turks Vienna 1690/93 Ivory on an ebony plinth © Kunsthistorisches Museum, Vienna, inv. no. KK 4662

After Emperor Joseph I came Charles VI, who was in principle not so interested in pomp and splendour but, rather, in a scholarly approach to the arts. He ordered the new display of the famous collection of Archduke Leopold Willhelm (1614 – 1662), the midseventeenth-century governor of the Austrian Netherlands who on returning to Vienna from Brussels had enriched the Habsburg trove of artistic treasures with a collection that had a new and personal emphasis on painting and sculpture. The new presentation ordered by Charles VI was documented by the artist Ferdinand Storffer in gouache on parchment.

This magnificent painted inventory reveals the ideas of order and aesthetics of display in the early eighteenth century. A famous painting by Francesco Solimena of 1728 depicts the presentation of this inventory to the Emperor and emphasizes the importance of the collection to the image of the House of Habsburg.

In the early Enlightenment period, Maria Theresa’s husband Emperor Franz Stephan of Lorraine focused mainly on his scientific interests (fig. 12). He began to distribute the collections around various newly founded institutions. The Treasury itself (the “Schatzkammer”) was now dedicated to objects with dynastic meaning and special value. In 1747, Maria Theresa had splendid walnut cabinets built for this purpose, and in 1776 took a further step in structuring the collections by transferring the pictures from the Stallburg to the Belvedere Palace, where a newly classified picture gallery was founded.

One splendid object, which endured several alterations during the second half of the eighteenth century, is a surtout, the only remaining element of a large gold service made in Brussels in 1755, which once belonged to the Emperor´s brother, Karl Alexander of Lorraine, as governor of the Austrian Netherlands (fig. 13). The jugs and jars for the condiments consist of Eastern Asian and later additions of Vienna porcelain; the porcelain bouquet was also an addition, as it had adorned the wedding table of Joseph II and Isabella of Parma in 1760.3 This example shows the care which was taken to assemble precious “souvenirs” of various members of the family to create an intact object for the use of later generations. This kind of “recycling” of materially and artistically valuable items can be found often within the imperial household, which has always disliked unnecessary wastefulness.

For all that the Kunstkammer of the Renaissance is the original predecessor of our modern-day museums, from that period onwards they tended to fall into disrepute, precisely because they exemplified the acquisition of knowledge in order to consolidate power, which was a practice at odds with the Renaissance and post-Renaissance spirit. The idea that knowledge was founded on awe, on blank amazement, was suspicious, as it seemed to be perpetuating old views.

Too much “wonderment” can be negative – as Descartes noted – because it prevents and distorts the right use of the mind. The “holistic” principle of objects being perceived by the whole man – heart and mind – had to give way to intellectual analysis and the concept of classification. As a result, a great many of the Kunstkammer collections disappeared, with their contents being distributed around the up-and-coming specialist museums.

117

In the nineteenth century, the new science of art history focused on the fine arts of selected periods and separated objects of applied art from the lofty Olympus of creative “high art”. A perfect example is the destiny of the Tyrolean Kunstkammer of Archduke Ferdinand II, which was rescued from the Napoleonic threat and transferred from Schloss Ambras in Innsbruck to the Belvedere Palace in Vienna in 1806. There, it was displayed as a relic of days gone by, while Schloss Ambras itself was temporarily changed into a nineteenth-century gothic dream with additional small towers and other decorations.

In 1891, the imperial Kunstkammer collection was arranged in accordance with its materials, techniques and genres. The medieval collection was displayed in one separate room, following the prevalent taste of the time. In 1908 the art historian Julius Schlosser published a book with a general overview on the Renaissance Kunstkammer, which marked a certain interest in the topic. In 1919, after the end of the monarchy, and according to the art historical views at the time, the collections were even called quite soberly “collections of sculpture and applied arts”. The intention was to dissolve the historic order of the now former imperial collections completely, but the economic and political difficulties of the period prevented the museum´s officials from realizing this project. In 1934 a new order was established, which had the cultural and historical contexts of the collection in mind as well as some of the collecting personalities from the House of Habsburg, but still under the somewhat dry title of 1919.4 Only in 1990 was the evocative and historically correct term Kunstkammer revived, to be followed by new research in the field and a revision of the concept of display.

The past two decades have seen a remarkably strong interest in the subject of the Kunst- and Wunderkammer, in art history, in literature, and among collectors and art dealers.

One reason may be a new longing for true astonishment in a world of all too much in the way of naked realities. All these “wonder-ful” objects are able to reveal to us a certain sense of “Wunder”, somewhere between miracle and surprise – which is precisely what enchanted their first owners.

118

Figure 12.

Johann Zoffany (Frankfurt/Main 1733 – 1810 Strand-on-the-Green/Kew): Emperor Franz I Stephan of Lorraine with his naturalia collections 1776/77 Oil on canvas, 232 x 149 cm © Kunsthistorisches Museum, Vienna, inv. no. GG 6389 Figure 13.

Pierre-Joseph Fonson (Mons 1713– 1799 Brussels), Jaques-François Van der Donck (Brussels 1724–1801 Brussels): Surtout for Archduke Karl Alexander of Lorraine 1755, with alterations in 1770 and 1794 Gold, porcelain; H. 54.5 cm; L. 63.2 cm; W. 46 cm © Kunsthistorisches Museum, Vienna, inv. no. KK 1268 – KK 1284

1. Illustrated in Sabine Haag and Franz Kirchweger (eds.), Die Kunstkammer. Schätze der Habsburger (Vienna 2012), p. 15, fig. 4.

2. Samuel Quiccheberg, Inscriptiones vel Tituli Theatri Amplissimi..., 1565, quoted from Franz Kirchweger, “Die Schätze des Hauses Habsburg und die Kunstkammer. Ihre Geschichte und ihre Bestände”, in Sabine Haag and Franz Kirchweger (eds.), Die Kunstkammer. Schätze der Habsburger (Vienna 2012), p. 19.

3. The Kunsthistorisches Museum catalogues the flowers as Vincennes, John Whitehead suggests that the porcelain flowers mounted on this object are not of French origin. The Imperial porcelain manufactory in

Vienna produced naturalistic flowers of average quality, mainly used for knobs on lids around 1760. The only known spectacular flower garlands surround a Du Paquier wine cooler of circa 1740/44 (see Meredith Chilton, ed. , Fired by Passion (Stuttgart 2009), vol. 1, figs. 1.11 and 4.87, vol. 2, fig. 8.59, and vol. 3, cat. no. 146, p. 1254).

4. For more details on the history of the collections in the 19th and 20th century, see Franz Kirchweger, “Die Schätze des Hauses Habsburg und die Kunstkammer. Ihre Geschichte und ihre Bestände”, in Sabine Haag and Franz Kirchweger (eds.), Die Kunstkammer. Schätze der Habsburger (Vienna 2012), pp. 12–14.

119

Meissen Porcelains with East Asian decoration in the Ernst Schneider Collection Dr Julia Weber, Ceramics Curator, Bayerisches Nationalmuseum, Munich

120

particular appeal that East Asian art and culture exerted on him was the starting point for a collection of porcelain which he passionately put together. At the grand opening of The Lustheim palace in June 1971, Schneider recalled his first encounter with East Asian ceramics shortly after the First World War. The moment made such an impression upon him that it incited him to make his first acquisition. He was mainly interested in the influence of East Asia on the decor of European porcelain which early Meissen porcelains reflect particularly well. Meissen pieces with Far-Eastern decoration marked the beginning of Schneider’s collection and form the largest part of it. This is why the first inventory catalogue recently published by the Bavarian National Museum covering about one third of Schneider’s collection is dedicated to this type of porcelain.1 The following gives a résumé of some research results based on selected examples.

The first piece to discuss is a rare vase with an underglaze-blue ground and Chinese landscapes in the reserves (Fig. 1). 2 The rounded cover is unfortunately missing. Curiously enough, nothing but the lid of a Chinese prototype has survived in the Dresden Porcelain Collection which today is placed on a Meissen copy.

Figure 1.

Meissen vase copying a Chinese model with famille verte-landscapes, c. 1730, height c. 14 inches (35,6 cm), Bavarian National Museum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, inv. ES 802 a. © Bastian Krack

In 1968, the German industrialist Dr Ernst Schneider donated his world-famous collection of Meissen porcelains to the Bavarian State. As a 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 Bavarian National Museum. It now contains the second biggest collection in this field, one which can only be compared with the Porcelain Collection in Dresden. From an early age, Ernst Schneider was fascinated by the Far East. The

Two Chinese vases of this type, then still in Dresden, are pictured in a publication of 1923. The illustration shows that the Meissen replicas are very accurate copies of the Chinese prototypes. The latter cannot, however, be identified with certainty in the historical inventory of the Japanese Palace. It seems nevertheless quite likely that the Meissen examples were copied after a Chinese original in the possession of Augustus the Strong, Elector of Saxony and King of Poland. The AugustusRex-marks in underglaze blue indicate that the Meissen copies were made exclusively for the king. When and for what, is revealed by different documents: The Japanese Palace inventory lists several Meissen vases of this type with underglaze blue grounds, as well as with yellow and green grounds, bearing the inventory numbers 118, 119 and 124. They were apparently delivered at the same time as a series of copies of Japanese so-called ‘birdcage vases’ itemised under numbers 115, 116, 122 and 123. Thanks to their characteristic shape – with their elephant head handles and birdcage bodies – these vases are quite easily recognized in contemporary documents. In March 1730, Augustus the Strong ordered nearly 1500 Meissen vases and dishes copying East Asian examples for the Japanese 121

Palace. Included in this order the king had also asked for 20 ‘birdcages’ painted in blue and gold. They were earmarked for the two corner rooms in the upper floor where blue and gold vases were to be displayed. Dating from around 1729/30, the hand-drawn designs for the rooms in the upper floor are preserved.3 On looking closely, one can actually see the characteristic outlines of the birdcage vases. Judging from the existing drawings, 26 birdcage vases would have been necessary to complete the symmetrical composition of the walls.Yet the inventory of the Japanese Palace lists only 20 of these extremely rare Japanese originals. Augustus the Strong therefore had to order copies from his royal manufactory to complement his stock. In his commission of March 1730, the king ordered not only birdcage vases, but also several vases or urns with underglaze blue grounds for the room in which dark blue porcelains were to be displayed. Indeed, the drawn designs for this room show oval pots with rounded lids (Fig. 2). It is therefore very likely that the Meissen lidded vases with underglaze blue grounds were commissioned by Augustus the Strong with regard to the fitting out of the Japanese Palace, then still under construction, just as he did the blue and gold birdcage vases.

The works had begun three years earlier, in April 1727.

The previous building on the site which already contained the royal porcelain collection was to be extended to be an impressive, residence-like palace with four wings surrounding an inner courtyard. Certainly, it was the very promising progress of the porcelain manufactory which prompted these ambitious steps in building. Encouraged by the king, Meissen had succeeded in producing pieces not only similar in size to the Chinese and Japanese pieces but also successfully painting them in an equally wide range of colours. Thanks to his unique manufactory, Augustus the Strong was the only European ruler who was capable of designing and carrying out such a project – a palace where the walls of all rooms were to be covered with porcelains of a certain type and colour.

Only Augustus the Strong was able to order the necessary complementary pieces in his own royal manufactory.Visitors would have been shown around by the governor of the Japanese Palace who was coordinating the supplies from Meissen. He would have been capable of differentiating between the originals and the replicas. Imagine the surprise of his guests when they were alerted to the fact that deceptively 122

accurate copies were actually produced in Meissen. They would have been forced to accept the intended message of the Japanese Palace, namely that the Saxon products indeed equalled the much-admired imports from China and Japan.

However, it was not only Augustus the Strong ordering copies of East Asian prototypes in Meissen in around 1730, but also a Parisian dealer called Lemaire. The ulterior motives of the latter were quite different, of course. For a discussion on the so-called Hoym-Lemaire-affair see the article in the 2012 ART ANTIQUES LONDON catalogue; the events will only be summarised here with regard to examples in the Schneider Collection: Lemaire was mainly interested in commissioning accurate copies of Japanese porcelains in the Kakiemon style, much admired in Paris. It was his aim to sell these copies in Paris as Japanese originals at a large profit and this was obvious from the beginning as he did not want to have the common crossed swords mark painted on the bottom of his pieces. At first, Lemaire received Meissen porcelains with no

Figure 2.

Japanese Palace, design for a room with dark blue porcelains in the upper floor, c. 1729/30, Sächsisches Staatsarchiv, Hauptstaatsarchiv Dresden, 10006 Oberhofmarschallamt, P, cap. II, no. 15, fol. 26d/1.

whether this piece once bore the blue enamel swords mark which has since been removed. It might be one of the pieces that was sold in Paris as being Japanese. The aforementioned document reveals that such distinguished collectors as the Marquis de la Faye, the Countess de Verrue and the marshal d’Estrée had actually been duped by the Saxon copies ordered by Lemaire.

Figure 3.

Meissen dish with the Yellow Lion copying a Japanese model in the Kakiemon style, 1730/31, diameter c. 10 inches (25,7 cm) Bavarian National Museum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, inv. ES 411. © Marianne Frank

marks at all or with pseudo Chinese letters as he had desired.

It was not long, however, before Augustus the Strong ordered that every single piece had to be signed with the crossed swords taken from the Saxon coat of arms. He explicitly stated that also Lemaire’s porcelains were to bear this mark thus preventing the Parisian dealer from continuing to sell them as anything other than Saxon pieces. Of course, the king was interested in promoting the products of his unique manufactory all over Europe. However, with the help of the Count of Hoym, Saxon minister and director of the Meissen manufactory, Lemaire obtained copies with the crossed swords painted in enamel blue and not in underglaze blue as was customary. A document in the Dresden archive proves that these enamelled marks were initially scraped off again with the help of a diamond. In Lustheim, there is an early dish with the Yellow Lion which bears no mark (Fig. 3)4. However, the glaze on the bottom is scratched. One might wonder

Hoym and Lemaire not only betrayed the king with regard to the marks, they also had the nerve to use Augustus the Strong’s East Asian originals as models for their fakes.

From November 1729 to April 1730, they shipped nearly 220 Chinese and Japanese porcelains from the Japanese Palace down the Elbe to Meissen. Augustus the Strong knew of this happening as detailed shipping lists have survived.

However, the king most probably wanted them to be copied to complete the Japanese Palace, as had been the case with the aforementioned blue urns. Later, he would note that he had not intended for the sale of the copies thus causing his expensive originals to be reduced to something common.

Fortunately, the shipping lists include the respective inventory numbers of the porcelains which are painted onto, or carved into, the underneath of the actual pieces. Although the numbering in every chapter of the inventory book starts at one, it is nevertheless possible to determine a number of the East Asian prototypes that were sent to Meissen. For example, three hexagonal jars with the inventory numbers 1, 2 and 3 were amongst the selected pieces. Corresponding Japanese originals bearing three different decors in the Kakiemon style are still in Dresden today. The squares painted underneath the numbers designate the Kakiemon style porcelains in the royal collection. Not all of the 220 originals were actually copied in Meissen. Lemaire’s orders were so many that they exceeded the capacity of the young Royal manufactory. To complete them even the royal orders had to be shelved.

Additional lists give information about which prototypes were reproduced: At that time the painters’ workshop headed up

by Johann Gregorius Höroldt, was still independent from the manufactory. Höroldt therefore had to pay for the very first copies. These were then used as models by his painters for the pieces delivered to Lemaire. Probably in order to ease and speed the process, these models were signed with the inventory numbers of the East Asian prototypes. These prototypes were then sent back to Dresden. When, one year 123

later, Höroldt’s workshop was integrated into the manufactory, he requested that he be reimbursed for his models and therefore lists them on two occasions. In most cases, he also noted the inventory numbers they bore. According to these lists there was only one model of the hexagonal jar with the number 2. Two such Meissen vases with a matching black inscription are known today: one in Dresden and one in Lustheim (Figs.

4, 5). This raises the question whether the latter is actually an authentic piece. However, a close examination does not substantiate the suspicion. The two lists drawn up

by Höroldt differ slightly and one might debate whether they are actually complete.

Moreover, it is not impossible that Höroldt had already sold one of the models to the manufactory by the time of the making up of the second list. Recent analyses carried out with x-ray flourescence spectroscopy actually sustain a dating around 1730.

A number of models from the Höroldt workshop are preserved in the Dresden porcelain collection such as two sake bottles in the Kakiemon style with blue enamel swords and the inventory number of the Dresden porcelain collection in red (Figs.

6, 7). The square bottle additionally bears a “N 12” and a square in black which indeed corresponds to the historical inventory number of the Japanese prototype which is also still in Dresden. This number has later been crossed out, but is still clearly visible. As regards the octagonal bottle, it is obvious that a former double-spaced inscription in black has been erased and replaced by a new inventory number which is combined with a “w”. The “w” denotes the “white Saxon porcelains” in contrast to the red Saxon stoneware bearing an “R”. By comparing the relevant entries of the inventory book with existing shipping 124

lists, it is to be deduced that a great many of Höroldt’s models were sent from the Meissen manufactory to the Japanese Palace in 1734. At this moment they entered in the royal collection. Apparently they were no longer of any use to the manufactory. To prevent confusion, the inventory numbers of the East Asian prototypes were more or less deleted on this occasion. The Schneider Collection owns another model from the Höroldt workshop: a copy of a Chinese teapot with a blue ground and with red and golden lions in the reserves (fig. 8)6. Two more copies are in Dresden, as is the Chinese prototype, which bears the historical inventory number 161 and a zigzag line designating the blue and white porcelains. Two teapots with this number were brought to Meissen in 1730 where Höroldt – according to the two differing lists – had three or five copies made to serve as models for his painters. Both teapots in Dresden, as well as the one in Lustheim are models: on the bottom of all three pieces the former inventory number 161 has been scratched out and replaced by the new number 461 and a “w”. As no other copies are known, it seems that these models never served as such – possibly because of lack of time. In spring 1731, Augustus the Strong made an end to the Hoym-Lemaire-affair by coming back from a long stay at Warsaw.

Amongst other complaints, he bemoaned that his will had not been respected when it came to the Japanese Palace. Both Hoym and Lemaire were jailed and interrogated. Hoym lost all of his positions and was banished to his country estate. Lemaire in turn was exiled from Saxony. The king himself took control of the board of the manufactory.

He commanded that henceforth copies after his East Asian originals should only be executed on his authority or with his explicit permission.

Figure 4.

Meissen vase copying a Japanese model in the Kakiemon style, 1729–1731, height c. 12 inches (31,2 cm), Bavarian National Museum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, inv. ES 5 a–b. © Bastian Krack

Figure 5.

Bottom side of the vase in Figure 4, old inventory number of the Japanese prototype from the Japanese Palace Collection. © Karl-Michael Vetters

At this point a short excursus is required: Another aim of the current catalogue was to research the provenance of the pieces in the Schneider Collection. This proved difficult as only a few cursory bills have been preserved. If Schneider did keep an account of his purchases, he didn’t pass it on to the museum. However, it could be determined that the aforementioned tea pot, as well as a vase with lotus flowers and a small soup pot,7 formerly belonged to the famous Dresden collection of Gustav von Klemperer. His Meissen porcelains were published in 1928 in a lavish catalogue with several large plates. Thanks to the good quality of reproduction there is no doubt about the provenance of the three Lustheim pieces. They were among the many precious artifacts that Klemperer’s sons had to leave behind in 1938 when escaping to South Africa after Kristallnacht. Their highly-important collection was seized by the Nazis and the porcelains were stored in the Dresden porcelain collection.

In 1943 they were then removed from there, together with all the other porcelains. It seems probable that the pieces now in Lustheim were stolen at that time. Unfortunately, it is unknown when and from whom Schneider acquired them.

After the discovery of their provenance the heirs were contacted. They agreed to sell the pieces to the museum so that all of them can still be admired at Lustheim palace.8

Figure 6.

Two Meissen sake bottles copying Japanese models in the Kakiemon style, 1729–1731, height c. 9 inches (22,5 and 22,9 cm) Staatliche Kunstsammlungen Dresden, Porcelain Collection, inv. PE 5016, PE 5028. © Jürgen Lösel

Figure 7. Bottom sides of the sake bottles in Figure 6, scratched inventory numbers of the Japanese prototypes and old inventory numbers of the Japanese Palace Collection. © Jürgen Lösel

Back to the story: In spring 1731, Augustus the Strong not only captured Hoym and Lemaire; he also seized all the porcelains delivered to them that were still in Saxony and had them brought to the Japanese Palace. Again the shipping lists, as well as the inventory book of the royal collection give detailed information about these confiscated porcelains, which were originally intended for the Parisian market. The Schneider Collection has several of these pieces. Most of them indeed bear the enamelled blue swords mark; a few are signed with the so-called caduceus, a pseudo Chinese symbol. Additionally, they were marked with the royal inventory numbers. All of them gained a truly new purpose in the context of the Japanese Palace. In summer 1730, Augustus the Strong changed his plans for the Japanese Palace despite the fact that the planning of the interiors was already in its mature stages. The reason for this shift was the unexpected success of the Meissen copies in Paris. As would become known in Saxony too, a number of French connoisseurs actually ranked them higher than the Japanese originals. Even if this was not the general consensus, 125

Augustus the Strong understood and realized how he could take advantage of the position now seeing his Saxon products through new eyes: they had not only equaled the Far Eastern imports, they had surpassed them. Therefore, they were no longer to be displayed side by side with the prototypes, but separately in the piano nobile. It was those very Meissen copies in the Kakiemon style, so sought after in Paris, which were intended for the central hall of the first floor: the throne gallery. The ceiling of this gallery was actually never painted, but a written concept of its intended iconographic programme has survived showing The Elector of Saxony and King of Poland receiving an imaginary delegation from the Far East bringing with them their distinguished porcelains as diplomatic gifts. These highly treasured exotica were to have been judged by Minerva, the goddess of wisdom and the patron of the arts, and compared with the Meissen porcelains presented by Saxonia. Minerva was to have given the crown to the latter, rejecting as inferior the gifts offered by the visiting delegation. Envy and Jealousy were to have given a sign to the Japanese to take their porcelains back to the Far East . There was no need for them as the Meissen manufactory would henceforth satisfy the demand. Augustus the Strong was convinced that Saxony was about to become the king of Europe’s very lucrative market for porcelain. The Meissen copies in the Kakiemon style which had conquered the leading art market in Paris and which were to be displayed on the walls of the throne gallery were supposed to serve as actual proof of the Saxon triumph.

In this way, the Kakiemon designs on Meissen porcelain took on a specific symbolic meaning: they symbolized Meissen’s superiority over Far Eastern porcelains and Augustus the Strong interpreted and promoted this as a triumph of the Saxon elector and Polish king over the omnipotent Chinese Emperor. This is how the hostile reception of the imaginary Far Eastern delegation in the throne gallery of the Japanese Palace has to be understood. It comes therefore as no 126

Figure 8.

Meissen tea pot copying a Chinese model from the Japanese Palace Collection, 1729–1731, height c. 4 2/3 inches (11,9 cm), Bavarian National Museum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, inv. L ES 324 a–b. © Bastian Krack Figure 9.

Meissen dish with the Red Dragon copying a Japanese model in the Kakiemon style, 1729–1731, diameter c. 19 2/3 inches (50 cm), Bavarian National Museum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, inv. ES 627. © Walter Haberland Figure 10.

Meissen sauce boat with the Yellow Lion, model by Johann Friedrich Eberlein, March/August 1736, moulding and painting probably January 1739, length c. 10 inches (25,3 cm), Bavarian National Museum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, inv. ES 1490. © Bastian Krack Figure 11.

Meissen tureen with the Yellow Lion, model by Johann Friedrich Eberlein and Johann Gottlieb Eder, March/July 1744, moulding and painting c. 1745–1750, height c. 9 2/3 inches (24,5 cm), Bavarian National Museum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, inv. ES 1528 a–b. © Bastian Krack

surprise that two Kakiemon motifs were chosen for the first Meissen services for the Saxon-Polish court: the Red Dragon (Fig. 9) and the Yellow Lion (Figs. 3, 10, 11). The selection of these two decors was by no means random. With its striped coat, the yellow lion, is of course, is a tiger. However in all contemporary documents it is called a lion – the king of beasts. Since antiquity, it has served as a symbol of power in Europe, as was stated in contemporary travel reports, the dragon was the symbol of the Emperor of China. The onesided competition of the Saxon ruler with the Emperor of China is obvious – the latter was naturally utterly unaware of it. The Schneider Collection comprises an impressive quantity of dishes from the Red Dragon and the Yellow Lion service which is why their history is traced from 1730 to around 1774.9 In the following paragraphs, the results shall be briefly outlined again with regard to the pieces in the Schneider Collection.

Contrary to a current opinion, it was not Augustus the Strong who introduced these decors at Meissen which has already been demonstrated by Claus Boltz in a ground-breaking article in 1980. 10 This is not only proved by documents, but also by actual examples bearing the caduceus mark or blue enamel swords.

Both decors are slavish copies of now-quite-rare Japanese originals. At this time the only two known examples are in Tokyo and Seattle. 11 The Red Dragon is more common in a slightly different variation. Contrary to cases mentioned before, it is not possible to identify models in the collection of Augustus the Strong. It remains undecided whether prototypes were sent from the Japanese Palace or if Lemaire himself provided the manufactory with models. A clue to when these motifs were reserved for the Saxon-Polish court is provided by three dishes with the Red Dragon and an “Augustus Rex”-mark.12 According to their inventory number, they were delivered to the Japanese Palace shortly before the death of Augustus the Strong in February 1733. The “AR”-marks which designate the porcelains made exclusively for the king possibly signifies he had reserved the Red Dragon for himself.

With regard to the Yellow Lion, the case is clearer: There is written evidence that at the time of his accession to the Polish throne in January 1734, Augustus III, son of Augustus 127

the Strong, reserved a certain number of Kakiemon designs for the Saxon court. It is stated that he chose from several examples which he had incised with an “AR” for “Augustus Rex” or with a “NB”, the abbreviation for “nota bene”.

The decors of the former were no longer allowed to be made at Meissen except when they were being made for the king. The only dish known to date with just such an incised “AR”-mark belongs to a second part of the Schneider Collection which he donated to the Hetjens-Museum in Düsseldorf and which remained at the Jägerhof Palace while most of the Meissen porcelains moved to Lustheim. The large dish painted with the Yellow Lion bears blue enamel swords and was therefore originally made for Hoym and Lemaire.13 From January 1734, the Meissen manufactory worked on a table service with this decor for the king, which was delivered the same year to the Japanese Palace. Just like his father before him, Augustus III desired a table service from the unique Meissen manufactory with which to emphasize his recently gained royal status.

For the first Meissen service that was actually intended to be used on the royal table, Augustus III came back to the Red Dragon. With the help of a so far unnoticed shipping list in the Meissen archive it was possible to establish that from January 1735 onwards, dishes with the Red Dragon were sent to the Dresden court pantry. A very useful, and generally unexploited source in this regard, are the monthly reports of the manufactory concerning the quantities of fired porcelains. In the 1730s, these reports also included lists of pieces delivered in the same month to the Japanese Palace, to the different court offices or to members of the royal family. Transcriptions of these lists are also published in an appendix to the catalogue. With the help of these documents, an exceptionally large dish in the Schneider Collection measuring 50 centimeters in diameter can be dated to December 1735 when only four dishes of this impressive size were manufactured(Fig. 9).14 This document also proves that at this early date the dishes were not yet signed with the “K.H.C.”-mark which was placed on additions to this service intended for the Dresden court pantry called Königliche HofConditorey from about 1739 onwards. That is to say that from 1735 onwards the Dresden court had a Meissen service for the dessert at its disposal and from 1739 a table service for 128

the main courses. As King of Poland, Augustus III maintained separate court offices in Warsaw. New evidence shows that dishes with the Yellow Lion were delivered there in 1738.

During the reign of Augustus III, the Red Dragon service was used in Dresden and the Yellow Lion in Warsaw.

To build up a stock in Warsaw, dishes from the collection in the Japanese Palace were sent to Poland and new tableware was ordered in Meissen. Among others, four sauce boats were crafted the following year in January 1739. This is documented in the aforementioned monthly reports of the Meissen manufactory. Most probably, the example in the Schneider Collection was one of these four sauce boats destined for Warsaw (Fig. 10).15 This is suggested by a comparison piece that bears an early former’s mark in use until August 1739.

Figure 12.

Chinese dish in the famille verte style from the Japanese Palace Collection, Quing Dynasty, reign of Kangxi, 1662– 1722, diameter c. 15½ inches (39,4 cm), Staatliche Kunstsammlungen Dresden, Porcelain Collection, inv. PO 3040

Figure 13.

Meissen plate copying a Chinese model in the famille verte style, model by Johann Joachim Kändler, July 1735, moulding and painting c. 1735–1739, diameter c. 9 ½ inches (24 cm), Bavarian National Museum, Ernst Schneider Collection of Meissen porcelain at Schloss Lustheim, inv. ES 775. © Karl-Michael Vetters

Two other known sauce boats with the Yellow Lion and later former’s marks slightly differ in design. For the sauce boats older models were reused.

The shape had actually been designed in 1736 for the table service ordered by the Saxon Minister Count Sulkowsky. But new shapes were also developed explicitly for the royal service. This applies to the model of a tureen that was used for the Yellow Lion, as well as for the Red Dragon (Fig. 11).16 The Meissen modeller Johann Friedrich Eberlein noted in his work report of March 1744 that he had crafted a lion’s head for the tureens for His Majesty. Later reports specify that these lion’s heads in two different sizes and adjusted for both round and oval tureens were meant to function as handles. Two months later, in May 1744, Johann Gottlieb Ehder modelled two knops shaped as both round and oval artichokes for the tureens of His Majesty.

Unfortunately, no inventory of the Warsaw court pantry from the reign of Augustus III has survived in which a service for the main course is recorded. However, when the SaxonPolish union ended with his death in 1764, the tableware was brought back from Warsaw to Dresden and was added to the court pantry there. In the corresponding inventory of the same year, 13 round and 3 oval tureens of this type, painted with the Yellow Dragon, are listed. A later inventory regularly updated until 1774 indicates that in the following decade a few more similar tureens were delivered from Meissen to complement the stock.

In the 1730’s, Chinese porcelains painted in famille verte colours must have been sent from the Japanese Palace to be copied at Meissen as suggested by the examples showing one, two or three birds sitting on a flowering tree (Figs. 12, 13).17 The prototypes are still in Dresden. It can be assumed that

this time the king was well aware of what was happening, though this is not documented, possibly because nothing was as obviously suspicious as before. It is - noticeable that in all three cases the motifs were reduced to a scheme that resembles the Kakiemon style with its asymmetrical compositions with much white ground showing. Small scattered flowers in the Kakiemon style replace the patterned borders of the East Asian models.

It was only possible to discuss here a small selection of the porcelains with East Asian decoration in the Schneider Collection. All of them are thoroughly documented in the recent inventory catalogue. The presentation at Lustheim palace is of course much richer and gives a brilliant overview of Meissen porcelain in the early 18th century. A visit to the Palace is therefore highly recommended!

129

1. Julia Weber, Meißener Porzellane mit Dekoren nach ostasiatischen Vorbildern. Stiftung Ernst Schneider in Schloss Lustheim. Munich 2013 2. See ibid., vol. I, pp. 31–32; vol. II, cat. 320.

3. See ibid., vol. I, p. 30, figs. 11, 12.

4. See ibid., vol. II, cat. 254.

5. See ibid., vol. II, p. 120, figs. 21–23. In one case, the historical inventory number painted in black on the unglazed bottom has been changed later on, probably from three to one.

6. See ibid., vol. II, cat. 321.

7. See ibid., vol. II, cat. 322, 442.

8. The vase had already been acquired in 1995 by the museum. The tea pot and soup pot are now on permanent loan from the Friends of the Bavarian National Museum.

9. See ibid., vol. II, pp. 246–254, 265–277.

10. Claus Boltz, Hoym, Lemaire and Meißen. Ein Beitrag zur Geschichte der Dresdner Porzellansammlung. In: Keramos 88 (1980), pp. 3–101.

11. See Julia Weber, op. cit., vol. II, p. 246, fig. 39; p. 265, fig. 41.

12. See ibid., vol. I, p. 88, figs. 38a,b.

13. See ibid., vol. I, p. 90, figs. 39a–c.

14. See ibid., vol. II, cat. 237.

15. See ibid., vol. II, cat. 267.

16. See ibid., vol. II, cat. 270.

17. See ibid., vol. II, cat. 355–377.

130

Advertisers

THE MOST BEAUTIFUL THINGS ON EARTH FROM THE WORLD’S BEST DEALERS www.1stdibs.com

6 issues for £18 SUBSCRIBE and save 50% (off the cover price)

Published monthly, this diverse international art magazine covers everything from antiquities to contemporary work, exhibition reviews and interviews with major art collectors.

Don’t miss out on this special offer.

To subscribe go to www.apollo-magazine.com/APAA14 or call +44 (0)1795 592884 quoting APAA14.

Terms and conditions: You will pay £18 for your first 6 issues and just £26 every 6 months thereafter. Prices are for new UK subscribers only. Offer closes 31 July 2014. The Spectator (1828) Ltd, Apollo and Press Holdings Media Group may use your information for administration, customer services and targeted marketing. In order to fulfil our commitments to you we will disclose your information to our service providers and agents. We would like to keep you informed of new products and services. Please tick here to be contacted by:  email  sms  phone. We would also like to keep you informed of new products and services by post.

Please tick here if you would rather not be contacted by us  or by carefully selected third parties .

Apollo magazine is monthly but The Muse Room blog is daily.

Visit www.apollo-magazine.com for the latest comment on the art world.

THE INTERNATIONAL ART MAGAZINE

Tendencias del Mercado del Arte is the most authoritative magazine for art collectors in Spanish.

Tailored for a reader whose passion is acquiring and living with art, antiques and ďŹ ne collectibles. 10 times per year you experience everything you need to know about art, from Ancient to Contemporary.

International in scope, publishes the news regarding the important auctions, art and antiques fairs worldwide.

With intelligent in-depth articles on everything from the visual arts to museums, galleries, photography and design, plus interviews with major collectors and important personalities from the art world. www.tendenciasdelarte.com

THE ESSENTIAL GUIDE FOR ART COLLECTORS

ASIAN ART

THE NEWSPAPER FOR COLLECTORS, DEALERS, MUSEUMS AND GALLERIES

Asian Art hires logo

Keep up to date with the Asian and Islamic Art Worlds 15/8/05 8:34 am Page 1

ASIAN ART

THE NEWSPAPERfor FORcollectors, COLLECTORS, dealers, DEALERS, MUSEUMS GALLERIES • MARCH • £5.00/US$10/€10 The newspaper museumsAND and galleries • june2014 2005 • £5.00/ US$8/ €10

Yuanmingyuan Columns to Return to China from Norway Asian Art hires logo 15/8/05 8:34 am

Paintings from the Courts of India & Persia

March 13th-22nd 11-6pm

CHINESE SCULPTURE RETURNS TO HARVARD

Inside

BAMIYAN WORLD HERITAGE SITE, AFGHANISTAN

The World Heritage site in Bamiyan has received further support with the government of South Korea committing to provide US$5.4 million to build a museum and cultural centre. The cultural centre and museum aim to maximise the role that culture can contribute towards nation-building in Afghanistan. Its temporary and permanent exhibitions, training and function rooms will promote the knowledge of Afghan millennial history as a crossroad of different civilisations.

The centre will also run training on traditional skills and handicrafts which provide a number of economic, social and cultural benefits including employment, large scale involvement of women and minorities, generation of off-season employment and the promotion of exports. Korea’s commitment will cover a range of activities including the physical construction of the building, heritage training, creative industries promotion and development, and public education.

The first phase of the project is the design and construction of the building that will host the Museum and Cultural Centre. Expanding the museum sector outside of Kabul also means that more people can have access to learning about history and culture. The Director of the National Museum of Afghanistan, Mr Massoudi, said that ‘the museum will provide an important space to safeguard cultural artefacts in Bamiyan and is also a way for local people to improve their livelihoods through skills training’.

2 The Korean artist Lee Ufan

8 Byobu: The Grandeur of 12

16 20 22 24 28 29 42 46 50 51 52 54

Japanese Screens at Yale University Art Gallery Treasures from Korea: Arts and Culture of the Joseon Dynasty in Philadelphia Luxuriance: Silks from Islamic Lands 1250-1900, in Cleveland Women in Chinese Painting in Washington DC Imari porcelain in Tokyo Our annual guide to the events of Asia Week New York Gallery shows New York listings New York map New York museum exhibitions New York auction previews Hong Kong auction previews Fairs: Maastricht and New York Museum exhibitions Listings Islamic Arts Diary

Art Passages, San Francisco, CA 94114, 415.690.9077 www.artpassages.com info@artpassages.com detail: Ambika (Devi) Confronts Shumbha, No. 45 from a Devimahatmya series, Pahari, Guler, ca. 1780

An 18th-century Chinese incense burner was returned to Harvard in January, 35 years after it disappeared from the university art museum. Ernest Dane, a businessman and art collector who graduated from Harvard University in 1892, and his wife, Helen Pratt Dane, donated the Qing dynasty jade censer to the Fogg Museum in 1942.

In 1979, after the museum opened a small exhibition featuring a selection of jades the Danes had donated, museum officials discovered the censer was missing

Lee Ufan

8 Byobu: The Grandeur of Japanese Screens at Yale University Art Gallery Culture of the Joseon Dynasty in Philadelphia

16 Luxuriance: Silks from Islamic Lands 1250-1900, in Cleveland

20 Women in Chinese Painting in Washington DC

22 Imari porcelain in Tokyo 24 Our annual guide to the events of

28 29 42 46 50 51 52 54

Asia Week New York Gallery shows New York listings New York map New York museum exhibitions New York auction previews Hong Kong auction previews Fairs: Maastricht and New York Museum exhibitions Listings Islamic Arts Diary

Next issue April 2014 South Asian focus

Contact us

ASIAN ART

THE NEWSPAPERfor FORcollectors, COLLECTORS, dealers, DEALERS, MUSEUMS GALLERIES • MARCH • £5.00/US$10/€10 The newspaper museumsAND and galleries • june2014 2005 • £5.00/ US$8/ €10

Yuanmingyuan Columns to Return to China from Norway THE KODE Art Museum, Bergen, Norway, has announced that it will be returning seven columns, out of the 21 the museum holds, from the Yuanmingyuan, Summer Palace, in Beijing to the Chinese government later this year. The deal was brokered with the help of a Chinese businessman, Huang Nubo. The museum decided to return the columns after it received a US$1.63 donation from Huang Nubo, a real estate developer and philanthropist, to refurbish its China exhibition space. The pillars will be displayed at Peking University, which is located next to the Old Summer Palace.

As well as the return of the columns, the university has also established an academic cooperation programme with the museum.

The columns form part of the collection of Chinese works of art that were originally donated by Johan Wilhelm Normann Munthe between 1907 and 1935. Johan Munthe began his career as a cavalry officer in the Norwegian army, but in 1886 made his

way to China, where he worked in the Chinese customs service. He fought on the Chinese side in the 1894-95 SinoJapanese War and was named a lieutenant general by Yuan Shikai, who would later become the first president of the Republic of China. Munthe became an avid collector of Chinese sculpture, pottery and other artefacts, including the seven plinths. However, it is unclear how they came into his possession.

It is believed that Mr Huang’s donation will comprise half the amount the museum has budgeted to refurbish its China exhibition space. A burglary at the museum in January 2013, when thieves made off with more than two dozen objects from the China collection, left considerable damage. It was the second recent theft from the collection, following a break-in in 2010.

Huang told the government owned China Daily that the museum donation was not a trade or ‘throwing away money’, but ‘a very meaningful action that shows patriotism, as well as a way

The seven columns that are currently held at the Kode Art Museum in Bergen, Norway, with an image of the Yuanmingyuan in the background

of repaying back the mother country, which made me rich’. Karin Hindsbo, director of the Kode Art Museum in Bergen also spoke to China Daily and commented that ‘the donation would be used on academic research and the general care of our collections of Chinese art’.

news in brief

art passages Paintings from the Courts of India & Persia

March 13th-22nd 11-6pm at Isselbacher Gallery 41 E. 78th Street New York, NY 10075

See page 2 for details Subscription form page 53

Visit us online www.asianartnewspaper.com Follow us on twitter AsianArtPaper Join our Facebook page Asian Art Newspaper

The marble columns, representing a combination of old Chinese stone arts and Western artistic influence, were originally installed in the Westernstyled part of the garden. The Xiyang Lou area (Western-style mansions) is in the Old Summer Palace (Yuan mingyuan) grounds, where the 18th-

Inside

BAMIYAN WORLD HERITAGE SITE, AFGHANISTAN

The World Heritage site in Bamiyan has received further support with the government of South Korea committing to provide US$5.4 million to build a museum and cultural centre. The cultural centre and museum aim to maximise the role that culture can contribute towards nation-building in Afghanistan. Its temporary and permanent exhibitions, training and function rooms will promote the knowledge of Afghan millennial history as a crossroad of different civilisations.

The centre will also run training on traditional skills and handicrafts which provide a number of economic, social and cultural benefits including employment, large scale involvement of women and minorities, generation of off-season employment and the promotion of exports. Korea’s commitment will cover a range of activities including the physical construction of the building, heritage training, creative industries promotion and development, and public education.

The first phase of the project is the design and construction of the building that will host the Museum and Cultural Centre. Expanding the museum sector outside of Kabul also means that more people can have access to learning about history and culture. The Director of the National Museum of Afghanistan, Mr Massoudi, said that ‘the museum will provide an important space to safeguard cultural artefacts in Bamiyan and is also a way for local people to improve their livelihoods through skills training’.

CHINESE SCULPTURE RETURNS TO HARVARD

Art Passages, San Francisco, CA 94114, 415.690.9077 www.artpassages.com info@artpassages.com detail: Ambika (Devi) Confronts Shumbha, No. 45 from a Devimahatmya series, Pahari, Guler, ca. 1780

century European-style palaces, fountains and waterworks, and formal gardens were created. However, these European-style buildings only occupied an area along the back of the Eternal Spring Garden and was small compared to the overall area of the gardens – only about 5% of the Imperial Gardens – most of which were built in the Chinese style. The most controversial works of art from Xiyang Lou are the zodiac heads, which were originally part of a 12-part water clock rendered as over life-sized sculptures of the Twelve Zodiac Animals. The heads were fitted atop seated, robed figures and served as the spouts for water, which ran for two hours each as part of the 12 hours of the Chinese 24-hour calculation.

The buildings survived just over 100 years before they were destroyed and their contents, including the 12 zodiac heads, were either stolen or destroyed by invading French and British troops in 1860 during the Second Opium War.

An 18th-century Chinese incense burner was returned to Harvard in January, 35 years after it disappeared from the university art museum. Ernest Dane, a businessman and art collector who graduated from Harvard University in 1892, and his wife, Helen Pratt Dane, donated the Qing dynasty jade censer to the Fogg Museum in 1942.

In 1979, after the museum opened a small exhibition featuring a selection of jades the Danes had donated, museum officials discovered the censer was missing

2 The Korean artist Lee Ufan

8 Byobu: The Grandeur of Japanese Screens at Yale University Art Gallery

12 Treasures from Korea: Arts and Culture of the Joseon Dynasty in Philadelphia

16 Luxuriance: Silks from Islamic Lands 1250-1900, in Cleveland

20 Women in Chinese Painting in Washington DC

ASIAN ART

THE NEWSPAPERfor FORcollectors, COLLECTORS, dealers, DEALERS, MUSEUMS GALLERIES • MARCH • £5.00/US$10/€10 The newspaper museumsAND and galleries • june2014 2005 • £5.00/ US$8/ €10

Yuanmingyuan Columns to Return to China from Norway THE KODE Art Museum, Bergen, Norway, has announced that it will be returning seven columns, out of the 21 the museum holds, from the Yuanmingyuan, Summer Palace, in Beijing to the Chinese government later this year. The deal was brokered with the help of a Chinese businessman, Huang Nubo. The museum decided to return the columns after it received a US$1.63 donation from Huang Nubo, a real estate developer and philanthropist, to refurbish its China exhibition space. The pillars will be displayed at Peking University, which is located next to the Old Summer Palace.

As well as the return of the columns, the university has also established an academic cooperation programme with the museum.

The columns form part of the collection of Chinese works of art that were originally donated by Johan Wilhelm Normann Munthe between 1907 and 1935. Johan Munthe began his career as a cavalry officer in the Norwegian army, but in 1886 made his

Islamic Arts Diary

The seven columns that are currently held at the Kode Art Museum in Bergen, Norway, with an image of the Yuanmingyuan in the background

of repaying back the mother country, which made me rich’. Karin Hindsbo, director of the Kode Art Museum in Bergen also spoke to China Daily and commented that ‘the donation would be used on academic research and the general care of our collections of Chinese art’.

art passages

Asia Week New York Gallery shows

Next issue

way to China, where he worked in the Chinese customs service. He fought on the Chinese side in the 1894-95 SinoJapanese War and was named a lieutenant general by Yuan Shikai, who would later become the first president of the Republic of China. Munthe became an avid collector of Chinese sculpture, pottery and other artefacts, including the seven plinths. However, it is unclear how they came into his possession.

It is believed that Mr Huang’s donation will comprise half the amount the museum has budgeted to refurbish its China exhibition space. A burglary at the museum in January 2013, when thieves made off with more than two dozen objects from the China collection, left considerable damage. It was the second recent theft from the collection, following a break-in in 2010.

Huang told the government owned China Daily that the museum donation was not a trade or ‘throwing away money’, but ‘a very meaningful action that shows patriotism, as well as a way

Paintings from the Courts of India & Persia

March 13th-22nd 11-6pm at Isselbacher Gallery 41 E. 78th Street New York, NY 10075

April 2014 South Asian focus

Contact us Art Passages, San Francisco, CA 94114, 415.690.9077 www.artpassages.com info@artpassages.com detail: Ambika (Devi) Confronts Shumbha, No. 45 from a Devimahatmya series, Pahari, Guler, ca. 1780

century European-style palaces, fountains and waterworks, and formal gardens were created. However, these European-style buildings only occupied an area along the back of the Eternal Spring Garden and was small compared to the overall area of the gardens – only about 5% of the Imperial Gardens – most of which were built in the Chinese style. The most controversial works of art from Xiyang Lou are the zodiac heads, which were originally part of a 12-part water clock rendered as over life-sized sculptures of the Twelve Zodiac Animals. The heads were fitted atop seated, robed figures and served as the spouts for water, which ran for two hours each as part of the 12 hours of the Chinese 24-hour calculation.

The buildings survived just over 100 years before they were destroyed and their contents, including the 12 zodiac heads, were either stolen or destroyed by invading French and British troops in 1860 during the Second Opium War.

Inside

BAMIYAN WORLD HERITAGE SITE, AFGHANISTAN

The World Heritage site in Bamiyan has received further support with the government of South Korea committing to provide US$5.4 million to build a museum and cultural centre. The cultural centre and museum aim to maximise the role that culture can contribute towards nation-building in Afghanistan. Its temporary and permanent exhibitions, training and function rooms will promote the knowledge of Afghan millennial history as a crossroad of different civilisations.

The centre will also run training on traditional skills and handicrafts which provide a number of economic, social and cultural benefits including employment, large scale involvement of women and minorities, generation of off-season employment and the promotion of exports. Korea’s commitment will cover a range of activities including the physical construction of the building, heritage training, creative industries promotion and development, and public education.

The first phase of the project is the design and construction of the building that will host the Museum and Cultural Centre. Expanding the museum sector outside of Kabul also means that more people can have access to learning about history and culture. The Director of the National Museum of Afghanistan, Mr Massoudi, said that ‘the museum will provide an important space to safeguard cultural artefacts in Bamiyan and is also a way for local people to improve their livelihoods through skills training’.

CHINESE SCULPTURE RETURNS TO HARVARD

See page 2 for details Subscription form page 53

Visit us online www.asianartnewspaper.com Follow us on twitter AsianArtPaper Join our Facebook page Asian Art Newspaper

The marble columns, representing a combination of old Chinese stone arts and Western artistic influence, were originally installed in the Westernstyled part of the garden. The Xiyang Lou area (Western-style mansions) is in the Old Summer Palace (Yuan mingyuan) grounds, where the 18th-

news in brief

22 Imari porcelain in Tokyo 24 Our annual guide to the events of 28 New York listings 29 New York map 42 New York museum exhibitions 46 New York auction previews 50 Hong Kong auction previews 51 Fairs: Maastricht and New York 52 Museum exhibitions 54 Listings

Page 1

art passages

at Isselbacher Gallery 41 E. 78th Street New York, NY 10075

2 The Korean artist

12 Treasures from Korea: Arts and

8:34 am

news in brief

March 13th-22nd 11-6pm

Inside

BAMIYAN WORLD HERITAGE SITE, AFGHANISTAN

The World Heritage site in Bamiyan has received further support with the government of South Korea committing to provide US$5.4 million to build a museum and cultural centre. The cultural centre and museum aim to maximise the role that culture can contribute towards nation-building in Afghanistan. Its temporary and permanent exhibitions, training and function rooms will promote the knowledge of Afghan millennial history as a crossroad of different civilisations.

The centre will also run training on traditional skills and handicrafts which provide a number of economic, social and cultural benefits including employment, large scale involvement of women and minorities, generation of off-season employment and the promotion of exports. Korea’s commitment will cover a range of activities including the physical construction of the building, heritage training, creative industries promotion and development, and public education.

The first phase of the project is the design and construction of the building that will host the Museum and Cultural Centre. Expanding the museum sector outside of Kabul also means that more people can have access to learning about history and culture. The Director of the National Museum of Afghanistan, Mr Massoudi, said that ‘the museum will provide an important space to safeguard cultural artefacts in Bamiyan and is also a way for local people to improve their livelihoods through skills training’.

15/8/05

The marble columns, representing a combination of old Chinese stone arts and Western artistic influence, were originally installed in the Westernstyled part of the garden. The Xiyang Lou area (Western-style mansions) is in the Old Summer Palace (Yuan mingyuan) grounds, where the 18th-

news in brief

art passages Paintings from the Courts of India & Persia

Asian Art hires logo

of repaying back the mother country, which made me rich’. Karin Hindsbo, director of the Kode Art Museum in Bergen also spoke to China Daily and commented that ‘the donation would be used on academic research and the general care of our collections of Chinese art’.

The marble columns, representing a combination of old Chinese stone arts and Western artistic influence, were originally installed in the Westernstyled part of the garden. The Xiyang Lou area (Western-style mansions) is in the Old Summer Palace (Yuan mingyuan) grounds, where the 18th-

Page 1

The seven columns that are currently held at the Kode Art Museum in Bergen, Norway, with an image of the Yuanmingyuan in the background

century European-style palaces, fountains and waterworks, and formal gardens were created. However, these European-style buildings only occupied an area along the back of the Eternal Spring Garden and was small compared to the overall area of the gardens – only about 5% of the Imperial Gardens – most of which were built in the Chinese style. The most controversial works of art from Xiyang Lou are the zodiac heads, which were originally part of a 12-part water clock rendered as over life-sized sculptures of the Twelve Zodiac Animals. The heads were fitted atop seated, robed figures and served as the spouts for water, which ran for two hours each as part of the 12 hours of the Chinese 24-hour calculation.

The buildings survived just over 100 years before they were destroyed and their contents, including the 12 zodiac heads, were either stolen or destroyed by invading French and British troops in 1860 during the Second Opium War.

of repaying back the mother country, which made me rich’. Karin Hindsbo, director of the Kode Art Museum in Bergen also spoke to China Daily and commented that ‘the donation would be used on academic research and the general care of our collections of Chinese art’.

8:34 am

way to China, where he worked in the Chinese customs service. He fought on the Chinese side in the 1894-95 SinoJapanese War and was named a lieutenant general by Yuan Shikai, who would later become the first president of the Republic of China. Munthe became an avid collector of Chinese sculpture, pottery and other artefacts, including the seven plinths. However, it is unclear how they came into his possession.

It is believed that Mr Huang’s donation will comprise half the amount the museum has budgeted to refurbish its China exhibition space. A burglary at the museum in January 2013, when thieves made off with more than two dozen objects from the China collection, left considerable damage. It was the second recent theft from the collection, following a break-in in 2010.

Huang told the government owned China Daily that the museum donation was not a trade or ‘throwing away money’, but ‘a very meaningful action that shows patriotism, as well as a way

The seven columns that are currently held at the Kode Art Museum in Bergen, Norway, with an image of the Yuanmingyuan in the background

century European-style palaces, fountains and waterworks, and formal gardens were created. However, these European-style buildings only occupied an area along the back of the Eternal Spring Garden and was small compared to the overall area of the gardens – only about 5% of the Imperial Gardens – most of which were built in the Chinese style. The most controversial works of art from Xiyang Lou are the zodiac heads, which were originally part of a 12-part water clock rendered as over life-sized sculptures of the Twelve Zodiac Animals. The heads were fitted atop seated, robed figures and served as the spouts for water, which ran for two hours each as part of the 12 hours of the Chinese 24-hour calculation.

The buildings survived just over 100 years before they were destroyed and their contents, including the 12 zodiac heads, were either stolen or destroyed by invading French and British troops in 1860 during the Second Opium War.

15/8/05

THE KODE Art Museum, Bergen, Norway, has announced that it will be returning seven columns, out of the 21 the museum holds, from the Yuanmingyuan, Summer Palace, in Beijing to the Chinese government later this year. The deal was brokered with the help of a Chinese businessman, Huang Nubo. The museum decided to return the columns after it received a US$1.63 donation from Huang Nubo, a real estate developer and philanthropist, to refurbish its China exhibition space. The pillars will be displayed at Peking University, which is located next to the Old Summer Palace.

As well as the return of the columns, the university has also established an academic cooperation programme with the museum.

The columns form part of the collection of Chinese works of art that were originally donated by Johan Wilhelm Normann Munthe between 1907 and 1935. Johan Munthe began his career as a cavalry officer in the Norwegian army, but in 1886 made his

way to China, where he worked in the Chinese customs service. He fought on the Chinese side in the 1894-95 SinoJapanese War and was named a lieutenant general by Yuan Shikai, who would later become the first president of the Republic of China. Munthe became an avid collector of Chinese sculpture, pottery and other artefacts, including the seven plinths. However, it is unclear how they came into his possession.

It is believed that Mr Huang’s donation will comprise half the amount the museum has budgeted to refurbish its China exhibition space. A burglary at the museum in January 2013, when thieves made off with more than two dozen objects from the China collection, left considerable damage. It was the second recent theft from the collection, following a break-in in 2010.

Huang told the government owned China Daily that the museum donation was not a trade or ‘throwing away money’, but ‘a very meaningful action that shows patriotism, as well as a way

Asian Art hires logo

Yuanmingyuan Columns to Return to China from Norway

Page 1

ASIAN ART

THE NEWSPAPERfor FORcollectors, COLLECTORS, dealers, DEALERS, MUSEUMS GALLERIES • MARCH • £5.00/US$10/€10 The newspaper museumsAND and galleries • june2014 2005 • £5.00/ US$8/ €10

THE KODE Art Museum, Bergen, Norway, has announced that it will be returning seven columns, out of the 21 the museum holds, from the Yuanmingyuan, Summer Palace, in Beijing to the Chinese government later this year. The deal was brokered with the help of a Chinese businessman, Huang Nubo. The museum decided to return the columns after it received a US$1.63 donation from Huang Nubo, a real estate developer and philanthropist, to refurbish its China exhibition space. The pillars will be displayed at Peking University, which is located next to the Old Summer Palace.

As well as the return of the columns, the university has also established an academic cooperation programme with the museum.

The columns form part of the collection of Chinese works of art that were originally donated by Johan Wilhelm Normann Munthe between 1907 and 1935. Johan Munthe began his career as a cavalry officer in the Norwegian army, but in 1886 made his

An 18th-century Chinese incense burner was returned to Harvard in January, 35 years after it disappeared from the university art museum. Ernest Dane, a businessman and art collector who graduated from Harvard University in 1892, and his wife, Helen Pratt Dane, donated the Qing dynasty jade censer to the Fogg Museum in 1942.

In 1979, after the museum opened a small exhibition featuring a selection of jades the Danes had donated, museum officials discovered the censer was missing

2 The Korean artist Lee Ufan

8 Byobu: The Grandeur of Japanese Screens at Yale University Art Gallery

12 Treasures from Korea: Arts and Culture of the Joseon Dynasty in Philadelphia

16 Luxuriance: Silks from Islamic Lands 1250-1900, in Cleveland

20 Women in Chinese Painting in Washington DC

22 Imari porcelain in Tokyo 24 Our annual guide to the events of Asia Week New York Gallery shows

28 New York listings 29 New York map 42 New York museum exhibitions 46 New York auction previews 50 Hong Kong auction previews 51 Fairs: Maastricht and New York 52 Museum exhibitions 54 Listings Islamic Arts Diary

Next issue April 2014 South Asian focus

Contact us See page 2 for details Subscription form page 53

Visit us online www.asianartnewspaper.com Follow us on twitter AsianArtPaper Join our Facebook page Asian Art Newspaper Scan this code with your smartphone. QR reader available from App Store

Continued on page 2

Scan this code with your smartphone. QR reader available from App Store

Continued on page 2

Scan this code with your smartphone. QR reader available from App Store

Continued on page 2

with our print and digital editions at Isselbacher Gallery 41 E. 78th Street New York, NY 10075

CHINESE SCULPTURE RETURNS TO HARVARD

Art Passages, San Francisco, CA 94114, 415.690.9077 www.artpassages.com info@artpassages.com

detail: Ambika (Devi) Confronts Shumbha, No. 45 from a Devimahatmya series, Pahari, Guler, ca. 1780

An 18th-century Chinese incense burner was returned to Harvard in January, 35 years after it disappeared from the university art museum. Ernest Dane, a businessman and art collector who graduated from Harvard University in 1892, and his wife, Helen Pratt Dane, donated the Qing dynasty jade censer to the Fogg Museum in 1942.

In 1979, after the museum opened a small exhibition featuring a selection of jades the Danes had donated, museum officials discovered the censer was missing

Next issue April 2014 South Asian focus

Contact us

See page 2 for details Subscription form page 53

Visit us online www.asianartnewspaper.com Follow us on twitter AsianArtPaper Join our Facebook page Asian Art Newspaper Scan this code with your smartphone. QR reader available from App Store

Continued on page 2

From the ancient to contemporary, Asian Art Newspaper offers you a snapshot of what’s happening in the world of Asian and Islamic art around the globe. Each month there’s our news section, an interview with a prominent or emerging artist, special features, as well reviews of major exhibitions, auctions, art and antiques fairs and events. We also include the performing arts, film and books to link the past with the future. For more details visit

asianartnewspaper.com

Save 25% on a print subscription email: info.asianart@btinternet.com, quoting AALondon 14 Print Subscriptions UK £45, Rest of Europe £50, Rest of World £55 (US$90).

A digital only annual subscription is just £30 (US$48).

masterart.com

Looking for quality?

Search now over 15,000 works of art from the world’s leading art dealers

Where can you find us?

HIRSCHL & ADLER

GERALD PETERS GALLERY

MODERNE GALLERY

SUZANNE LOVELL, INC.

THE NEW WAY TO

FIND AND BUY ART, ANTIQUES & DESIGN

WOO L LE Y & WA L LI S 威立士

FINE ART AUCTIONEERS

SPECIALIST CHINESE ART AUCTIONS

A fine Chinese white jade carving of a Buddhist lion dog, Qianlong 1736-95, 15cm.

Provenance: the collection of Queen Amelia of Portugal.

SOLD FOR £134,200 清乾隆

青白玉雕臥獅擺件

來源：英國私人收藏，葡萄牙最後一位女 王艾瑪麗舊藏（附標籤）

新浪微博 @艾思福

ENQUIRIES John Axford +44 (0)1722 424506

johnaxford@woolleyandwallis.co.uk

www.woolleyandwallis.co.uk 51-61 Castle Street, Salisbury, Wiltshire, SP1 3SU, UK

make yourself at home at the athenaeum... a luxury London hotel like no other.

Intimate and sophisticated, we are big on personality and pride ourselves on providing the highest standards of guest service and flexibility to tailor your stay with us.

• Outstanding Mayfair location • Contemporary bedrooms and suites • Elegant townhouse apartments Complimentary mini-bar and free Wi-Fi • Best Afternoon Tea in London 2012 • Award winning restaurant • Discreet Whisky bar (with over 300 whiskies) • Luxurious spa and well equipped gym • Concierge team & Kids Concierge

For more details call 020 7499 3464 or visit www.athenaeumhotel.com

116 Piccadilly, London W1J 7BJ. Tel: +44 (0) 20 7499 3464

Fine european CeramiCs

Wednesday 18 June 2014 New Bond Street, London

an important Vezzi Vase painted by LudoViCo ortoLani, CirCa 1725 ÂŁ70,000 - 100,000

Viewing 15 - 17 June 101 New Bond Street London ContaCt +44 (0) 20 7468 8384

sebastian.kuhn@bonhams.com

bonhams.com/ceramics

Art Antiques London Stand Plan

AD Antiques. . . . . . . . . . . . . . . . . . . . . . . . . . B23 Apollo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E11 Asian Art In London. . . . . . . . . . . . . . . . . . . . . A1 The British Antique Dealers’ Association . . . E10 Bazaart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . F16 Joanna Booth. . . . . . . . . . . . . . . . . . . . . . . . . . C32 Laura Bordignon. . . . . . . . . . . . . . . . . . . . . . . C18 J.H. Bourdon-Smith Ltd. . . . . . . . . . . . . . . . . . C38 Christopher Buck Antiques . . . . . . . . . . . . . . E14 The Canon Gallery. . . . . . . . . . . . . . . . . . . . . . E6 James Cohen Carpets. . . . . . . . . . . . . . . . . . . . D2 148

Sandra Cronan Ltd . . . . . . . . . . . . . . . . . . . . C23 Delomosne & Son Ltd . . . . . . . . . . . . . . . . . . . D6 Martin Du Louvre. . . . . . . . . . . . . . . . . . . . . . C26 Ted Few. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . D4 Fitzgerald Fine Arts. . . . . . . . . . . . . . . . . . . . . B16 D & M Freedman . . . . . . . . . . . . . . . . . . . . . . B25 Gander & White Shipping Ltd. . . . . . . . . . . . . B26 The Gilded Lily. . . . . . . . . . . . . . . . . . . . . . . . C30 Goodman Fine Art. . . . . . . . . . . . . . . . . . . . . E23 Goulden & Thomas . . . . . . . . . . . . . . . . . . . . B18 Gray M.C.A. . . . . . . . . . . . . . . . . . . . . . . . . . . E24

Grima . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . C10 Hampton Antiques . . . . . . . . . . . . . . . . . . . . . D16 Julian Hartnoll. . . . . . . . . . . . . . . . . . . . . . . . . B20 Brian Haughton Gallery. . . . . . . . . . . . . . . . . E26 Anthony Hepworth. . . . . . . . . . . . . . . . . . . . .B27 John Howard. . . . . . . . . . . . . . . . . . . . . . . . . . . D8 Imperial Fine Books . . . . . . . . . . . . . . . . . . . . . B5 Isaac & Ede. . . . . . . . . . . . . . . . . . . . . . . . . . . . E4 Lesley Kehoe Galleries. . . . . . . . . . . . . . . . . . D34 Julia Korner. . . . . . . . . . . . . . . . . . . . . . . . . . . . B7 Constantine Lindsay Ltd. . . . . . . . . . . . . . . . . . C8

Sanda Lipton. . . . . . . . . . . . . . . . . . . . . . . . . . . E2 Lucas Rarities . . . . . . . . . . . . . . . . . . . . . . . . . . D1 E & H Manners. . . . . . . . . . . . . . . . . . . . . . . . E32 Marchant. . . . . . . . . . . . . . . . . . . . . . . . . . . . . E16 Mayflower Antiques . . . . . . . . . . . . . . . . . . . . D15 Timothy Millett. . . . . . . . . . . . . . . . . . . . . . . . E22 John Mitchell Fine Paintings . . . . . . . . . . . . . . D14 Moore-Gwyn Fine Art . . . . . . . . . . . . . . . . . . . C6 Muse. The Sculpture Company. . . . . . . . . . . . . B1 Richard Ogden. . . . . . . . . . . . . . . . . . . . . . . . . C3

Guy Peppiatt Fine Art Ltd. . . . . . . . . . . . . . . . C34 Christophe Perlès. . . . . . . . . . . . . . . . . . . . . . F12 Potterton Books. . . . . . . . . . . . . . . . . . . . . . . F14 Sylvia Powell Decorative Arts . . . . . . . . . . . . B21 The Redfern Gallery. . . . . . . . . . . . . . . . . . . . D17 Robyn Robb . . . . . . . . . . . . . . . . . . . . . . . . . . E33 Röell Fine Art. . . . . . . . . . . . . . . . . . . . . . . . . D12 Rowntree Clark . . . . . . . . . . . . . . . . . . . . . . . E18 Samina Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . D30 Adrian Sassoon. . . . . . . . . . . . . . . . . . . . . . . . . E8

The Silver Fund. . . . . . . . . . . . . . . . . . . . . . . . B10 Silverman Antiques. . . . . . . . . . . . . . . . . . . . . . C2 Sim Fine Art . . . . . . . . . . . . . . . . . . . . . . . . . . . E9 Peta Smyth Antique Textiles. . . . . . . . . . . . . . B17 John Spink London. . . . . . . . . . . . . . . . . . . . . B22 Strachan Fine Art . . . . . . . . . . . . . . . . . . . . . . B24 Peter Szuhay. . . . . . . . . . . . . . . . . . . . . . . . . . D32 Carolle Thibaut-Pomerantz. . . . . . . . . . . . . . . C24 Mary Wise Antiques. . . . . . . . . . . . . . . . . . . . B14 Rodney Woolley. . . . . . . . . . . . . . . . . . . . . . . E30

149

October 17 – 23 2014

11-17 June 2015

Private View 10 June Albert Memorial West Lawn Kensington Gardens, London The West Lawn is next to The Albert Memorial and directly opposite The Royal Albert Hall

Tel: +44 (0)20 7389 6555

www.haughton.com

The Park Avenue Armory @ 67th Street, New York Preview Party Benefitting The Society of Memorial Sloan-Kettering Cancer Center, October 16

New York:+ 1 212 642 8572 London:+ 44 (0)20 7389 6555

www.haughton.com

www.haughton.com