Art Antiques London 2015 by Haughton International

2015

Private viewing: Thursday

11th June 11am to 9pm

Public viewing: Friday

12th June 11am to 7pm

Saturday

13th June 11am to 7pm

Sunday

14th June 11am to 6pm

Monday

15th June 11am to 7pm

Tuesday

16th June 11am to 7pm

Wednesday 17th June 11am to 7pm Thursday

18th June 11am to 6pm

Albert Memorial West Lawn Kensington Gardens London SW7

Friday 12th June until Thursday 18th June 2015

‘Party in the Park’ in support of

Wednesday 10th June 2015

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,

Art Antiques London

Mary Jones, Anthea Roberts, Pamela Screeramalu

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

While Art Antiques London, the Advisory and Honorary Vetting Committees

e: haughton.ny@prodigy.net

of ART ANTIQUES LONDON cannot be held responsible for, or warrant, the genuineness or age of any article exhibited, visitors are requested to note

Flowers:

that all articles have been submitted for inspection by a panel of advisors.

Lavenders Blue

This is to ensure, as far as possible, that they conform to the regulations laid down, and that every article is authentic and of the period they represent.

Restaurant and Bars:

The organisers and/or their agents cannot be held responsible for any items

Prestige Venues & Events

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. ÂŠ The International Ceramics Fair and Seminar 2015

CONTENTS

Organisersâ&#x20AC;&#x2122; Welcome

The Vetting of Art Antiques London

The Lecture Programme

About JDRF

Exhibitors at the Fair

Articles

A legendary masterpiece from the French Royal collection: Anne of Austriaâ&#x20AC;&#x2122;s gold casket rediscovered

Meissen Porcelain Figures in the Royal Court Pantries in Dresden, Warsaw and Hubertusburg: A Crash Course in the Hof-Conditorei inventories taken ahead of the Seven Years War

Nature, Porcelain and the Age of the Enlightenment. A Natural History of Early English Porcelain and its place in the eighteenth century home

103 Advertisers

118

Floorplan of the Fair

Organisers’ Welcome Welcome to Art Antiques London 2015: A true collector’s fair in the heart of London We are delighted to welcome you to Art Antiques London, the Jewel in the Crown of the London Summer “Season.” Its unrivalled setting and stunning ambiance make it one of London’s most exciting and glamorous art and antiques fairs. 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 speakers, the top experts in their fields, who deliver a wide range of lectures on many disciplines in the art world and especially to Dame Rosalind Savill and The Duke of Wellington for presenting this year’s FACE TO FACE conversation. We would like to thank the Ten Ten Foundation Inc., AFEX and Antiques Trade Gazette for their sponsorship. We are delighted to be working with JDRF: Juvenile Diabetes Research Foundation for their ‘Party in the Park’ Reception and Dinner. We are also delighted to be working with CFAB (Children & Families Across Borders) who will host a champagne reception and gala dinner later in the week. Finally, we look forward to seeing you here again next June. Anna and Brian Haughton

Art Antiques London 2015

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 the highest 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

The Lecture Programme Sponsored by The Ten Ten Foundation Inc.

Silver, bells and nautilus shells: Royal cabinets of Curiosity and Antiquarian collecting - An English Wunderkammer A1 Friday 12th June, 11.30am - 12.30pm Kathryn Jones - Curator of Decorative Arts at Royal Collection Trust, London

The great treasuries of Henry VIII and Elizabeth I list curiosities from around the world - unicorn horns, works of amber, pelican bones and wrought pieces of silver and gold. This tradition of collecting was widespread in the courts of Europe but less well known in England and does not appear to have been widely pursued by later monarchs. Yet historic inventories and other archival documents do offer occasional glimpses of an English Wunderkammer containing humming birds, whale’s ribs and bezoar stones, as well as exquisitely carved Roman gemstones and works of art by Holbein. It was the greatest royal collector, however, who revived the tradition of his forebears in his collections of the early nineteenth century. George IV’s great collection included items of silver gilt, ivory, amber, mother of pearl, jewelled cups and nautilus shells. Kathryn Jones will look at the history of these royal cabinets of curiosities and some of the surviving wonders in the Royal Collection. Royal Collection Trust/ © HM Queen Elizabeth II 2015 10

The Growth of Knowledge about Chelsea Porcelain A2 Friday 12th June, 2.30pm - 3.30pm John Mallet - Author & Lecturer

The speaker will explore the development of understanding concerning the Chelsea Factory, considering some of the ceramic historians who have attempted to elucidate its story. A combination of history, reminiscence and appreciation of this most “continental” of all English porcelain factories.

Bejewelled Treasures - The Al-Thani Collection A3 Friday 12th June, 4.30pm - 5.30pm

Susan Stronge - Senior Curator South Asian Department, V&A, London This lecture presents highlights from the Victoria & Albert Museum exhibition, Bejewelled Treasures: the Al-Thani Collection which opens on 21 November 2015. Over 100 objects made in or inspired by, the jewelled arts of the Indian subcontinent are arranged thematically. The Treasury evokes the royal storehouses of the Mughal emperors which held precious stones of superb quality and remarkable size. The Court includes objects associated with rulers and their public assemblies, including a jade-hilted dagger owned by the Mughal emperor Shah Jahan and a jewelled gold tiger-head finial from the throne of the 18th century South Indian rule Tipu Sultan. The section on Enamel and Kundan explores two defining techniques of the Mughal jewellery which are still used today: jewelled gold ornaments set on the front with precious stones in highly refined gold (kundan) are enamelled in vivid, translucent colours on the back. The Age of Transition demonstrates the influence of Western styles and techniques on Indian jewellery in the late 19th and early 20th centuries, particularly in Hyderabad under the Nizams. Modernity introduces the transforming influence of India in Art Deco jewellery design in Europe, while Contemporary Masters highlights cross-cultural influences in modern jewellery design.

Art Antiques London 2015

Face to Face: Dame Rosalind Savill in conversation with the Duke of Wellington B1 Monday 15th June, 2.30pm - 5.00pm In this conversation Dame Rosalind and the 9th Duke of Wellington will consider the Battle of Waterloo and the bicentenary celebrations at Apsley House, its collections and the artistic legacy of the 1st Duke of Wellington. For Charles, 9th Duke of Wellington, 18 June 2015 is a stupendous day, celebrating the bicentenary of the 1st Duke’s defeat of Napoleon at the Battle of Waterloo. The 1st Duke bought Apsley House at Hyde Park Corner in 1817 as a showpiece for the extraordinary paintings and works of art bestowed on him by the grateful nations of Europe, and today it is the home of the present Duke and his family. The Duke takes a keen curatorial interest in its intimate magnificence, and his passion for the works of art it contains includes the urge to fill it with even more treasures than it has now. This discussion will consider how these collections still represent a remarkable era in our national history, and how vital the family’s interest is in the continuing success of Apsley House. Prior to the above conversation Dame Rosalind will introduce the historian Count Adam Zamoyski who will lecture on “Napoleon - The Man and the Phenomenon”. Count Zamoyski is the author of several books on the Napoleonic era. There will be a brief interval between the lecture and the conversation with the Duke of Wellington.

1st Duke of Wellington © Apsley House, The Wellington Collection

“Napoleon - the Man and the Phenomenon” The story of Napoleon is epic: a little backwoodsman from Corsica became emperor of the French and dominated Europe, creating and dismissing kings, redrawing the map of the Continent and laying down laws which govern most of it today. Although he was a brilliant strategist with extraordinary intellectual powers and a prodigious capacity for work, Napoleon could never have achieved this on his own. As well as being its leader, he was the figurehead and the conduit for a great movement of national regeneration, political, intellectual, cultural and social, which grew out of the bloody crucible of the Revolution and created not just modern France but much of the Europe of today. The most brilliant men of the time, soldiers, statesmen, scientists and artists combined in this extraordinary enterprise. As established religion had been discredited and pushed out of public life in the course of the eighteenth century, they took their moral cue from antiquity: the Age of neo-Classicism was not merely something affecting the arts and architecture, it was a harking back to the heroic times when everything was possible, great men were demigods and a new world could be created. Napoleon’s Egyptian campaign, which laid the foundations of Egyptology, his looting of works of art from all over Europe, his foundation of the Louvre, his promotion of the empire style in manufacturing, his patronage of the Sevres porcelain works and his monumental building projects were all part of this grand vision.

Highlights of European Porcelain - a new addition at the Met C1 Wednesday 17th June, 11.30am - 12.30pm Jeffrey Munger - Curator, Department of European Sculpture and Decorative Arts, Metropolitan Museum of Art, New York A pair of recently-acquired Paris porcelain vases will join approximately one hundred other works in a forthcoming volume dedicated to Highlights of European Porcelain at the Metropolitan Museum. The speaker will place these vases in the context of the Met’s holdings of French porcelain, and will explore their unusual iconography, which reflects the turmoil of Revolutionary Paris. Produced by the firm of Dihl & Guérhard, the vases demonstrate the remarkable artistic and technical skill of one of the Sèvres factory’s chief competitors. 11

Fantastical worlds - Painting on Meissen porcelains and German faïence by Adam Friederick von Löwenfinck 1714-1754 C2 Wednesday 17th June, 2.30pm - 3.30pm Prof Dr Ulrich Pietsch - Director, Staatliche Kuntsammlung, Dresden To mark the 300th anniversary of the birth of Adam Friedrich von Löwenfinck, the Porzellansammlung of the Staatliche Kunstsammlungen Dresden presented a comprehensive exhibition of this artist’s oeuvre, bringing together around 100 selected porcelain and faience exhibits from the Dresden Porzellansammlung, private collections and renowned museums, including the Metropolitan Museum of Art, New York, the Rijksmuseum, Amsterdam, the Reiss-Engelhorn Museum, Mannheim, and the Museum für Kunst und Gewerbe, Hamburg. The curator of the exhibition, Dr Ulrich Pietsch will discuss its highlights at Art Antiques London. Adam Friedrich Von Löwenfinck 1714 - 1754 was one of the most important ceramics painters of the eighteenth century. He began his career in 1728 at the Meissen Porcelain Manufactory, but left not long afterwards in 1736, without the permission a journeyman required, to escape the restrictions placed on his artistic development and the difficult working conditions in the painters’ studios. His adventurous life took him to various faience factories at Bayreuth, Ansbach, Potsdam, Fulda, Höchst and Strasbourg-Haguenau as well as to Prince Condé’s porcelain manufactory at Chantilly. The Meissen patterns and shapes he took with him had a lasting stylistic influence on the products both of the manufactories referred to and many others throughout Europe during the 18th century. Thanks not only to his exceptional artistic skills but also to his wiles and unscrupulousness, Löwenfinck eventually rose from being a simple journeyman painter to the post of manufactory director and, at Fulda and Höchst, employed not only his two brothers Carl Heinrich and Christian Wilhelm but also his wife Maria Seraphia von Löwenfinck, who took over his post as director at Strasbourg-Haguenau after his death in 1754.

The Ansbach Residence Collection: The Mirror Cabinet, the last remaining in Germany decorated with porcelain figures from about 1750 D1 Thursday 18th June, 11.30pm - 12.30pm Dr Alfred Ziffer - Art Historian, author and editor of KERAMOS Today the mirror cabinet at the Ansbach residence is the only remaining interior in Germany decorated with porcelain figures on consoles from about 1750. The actual appearance of this main residence of the margravate Brandenburg-Ansbach is the result of several alterations between 1709 and 1738. The mirror cabinet in the private apartments of the margravine was designed by Italian architect Leopold Retti (1704-1751), panels and ceiling painting by Paul Amadée and Johann Adolphe Biarelle in 1740. The wife of margrave Carl Wilhelm Friedrich (1729-1757) was princess Friederike Luise of Prussia, sister to Frederic the Great and Wilhelmine of Bayreuth. Her mother, Sophie Dorothea, queen of Prussia (1678-1757) was a famous art lover and bequeathed her various precious collections to her five daughters: royals in Sweden, Bayreuth, Brunswick, Ansbach and Berlin. As this fact was not previously known, we have a new interpretation for the different sets of vases at Ansbach, given to Sophie Dorothea by her son, Frederic the Great in 1745 and later. Also, many figurines and groups, all from Meissen and in modern taste, had been ordered between 1750 and 1755 by the queen for a porcelain gallery in her Monbijou Palace. Highlights are some Berlin objects by Wegely and the Royal Manufactory (KPM), including a chandelier given to the next margrave Christian Friedrich Carl Alexander (1736-1806) in 1772. All in all, the collection comprises 241 objects including Meissen clock cases, a Vienna bust of Emperor Joseph II of Austria, designed by Anton Grassi 1770/80 and figurines from Ansbach and Thuringia which came into the collection before 1773.

Art Antiques London 2015

New Research & attributions: White and polychrome porcelain from the Giorgio Giacinto Rossetti factory in Turin (c1737-1748) D2 Thursday 18th June, 2.30pm - 3.30pm Andreina D’Agliano - Independent Curator and Art Historian, Florence The Rossetti factory, better known for its production of maiolica, was established in Turin by Giorgio Giacinto Rossetti and by his uncle Giovan Battista in 1725. A few years later, Count Carlo Giacinto Roero di Guarene (1675-1749) became involved, first through a series of loans and then from 1728 as owner, although the nominal head of the factory was banker Pietro Bistorto. At this time Giorgio Giacinto Rossetti had left for Lodi, where he continued to produce remarkable maiolica. In 1736 Giorgio Giacinto Rossetti came back from Lodi and a year after, in June1737, thanks also to Roero di Guarene’s interest, the patents were given by King Carlo Emanuele III(1701-1773) for the establishment of a porcelain factory. In 1743 the ownership of Roero di Guarene came to an end, but the King renewed the patents for a further eight years. However, porcelain production continued apparently only for a short time, presumably up to 1748, whereas maiolica continued in production until 1823, when the factory was taken over by the Swiss ceramist Dortu. To date it has been hard to find Rossetti porcelain production in museums or private collections: the recent identification of archival sources of the Rossetti factory kept in the castle of Guarene, as well as stylistical and chemical analysis have allowed the identification of different new pieces. The production can therefore be divided in three main sections: A sculptural production which mainly reproduces Blanc de Chine objects of the original collection of Count Roero di Guarene. Painted tableware in polychrome, which copy flowers and fruits which had been also painted on Turin maiolica. Painted tableware painted with monochrome landscapes in iron red and violet which were used in the Viennese factory of Claudio Innocenzo Du Paquier: the stylistic ties to this factory are explained by the presence in Turin in 1742 of the artists Jacob Helchis and Anton Magner. In this lecture Andreina D’Agliano will at first introduce the factory and then individuate its porcelain production, discussing different patterns and stylistic influences, which should allow us to bring back to Rossetti some pieces which had been previously assigned to the Du Paquier or to the Doccia and Vezzi porcelain factories.

Private Collection 13

JDRF, the type 1 diabetes charity We are delighted to again be the beneficiary charity of the 2015 Art Antiques London Party in the Park. We are incredibly grateful for this opportunity to tell you about type 1 diabetes and raise as much money as possible to further our work to cure, treat and prevent this hidden, and sometimes devastating, condition which has a lifelong impact on those living with it and their loved ones. Just to stay alive, someone with type 1 diabetes will have an endless daily regime of multiple insulin injections or pump infusions and blood tests. In the long term, type 1 diabetes can lead to blindness, heart disease, amputations, stroke and kidney failure. Recent research indicates that type 1 reduces life expectancy by up to 15 years. There’s nothing an adult or child with type 1, or their parents, could have done to prevent type 1 from developing and until a cure is found, they’ll live with the condition for the rest of their lives. At Art Antiques London Party in the Park we have been able to give a small insight into living with type 1, and what the cure will mean to the 400,000 people in the UK, 29,000 of whom are children, and the people who love them. Our mission is to cure, treat and prevent type 1 diabetes. Internationally we are the world’s leading charitable funder of type 1 diabetes research, working across the globe to improve the lives of people living with type 1 until we find the cure. Your support at Art Antiques London Party in the Park is vital to our efforts. Thank you for joining us in finding the cure.

Simon Vinnicombe lives in Surrey with his wife Tracy and four year old son George, who was diagnosed with type 1 when he was six months old. Simon said: “When George’s blood glucose levels are out of control the feeling of failing him is crushing. Tracy is his mum, his chief protector, his number one carer. She goes to war for him every day, as all type 1 mums do for their kids. And she does it in silence.“

Art Antiques London 2015

I am thrilled to have been asked to be Patron of this year’s Art Antiques London Party in the Park in aid of JDRF, the world’s leading type 1 diabetes research charity. JDRF is a charity very close to my heart, as my sisters’ grandson Oliver was diagnosed with type 1 diabetes in 2009. I have seen how children living with type 1 do a fantastic job of coping with the endless blood testing, daily injections, carbohydrate counting and sleepless nights. Unfortunately this life threatening condition also puts tremendous stress on the whole family, as well as being an enormous round the clock challenge for those who have it, young or old. Each year the Art Antiques London Party in the Park is an exciting addition to the summer calendar and huge thanks must go to the Haughton Family, Art Antiques London and also the JDRF event committee. Your generosity and support is invaluable and will go towards further research into finding a cure for this life threatening condition. Hopefully, in the not too distant future, all people with the condition like Oliver will be living a life free of endless blood testing, carbohydrate counting and the fear of long term health complications. On behalf of all those living with type 1 diabetes, thank you for joining us in our mission to find the cure.

Susan Hampshire OBE

Exhibitors at the Fair

Art Antiques London 2015

AD ANTIQUES incorporating Signed and Designed PO Box 51, Chipping Camden, Gloucestershire GL55 6UQ, UK M: +44 (0)7811 783518 www.adantiques.com e: alison@adantiques.com www.signedanddesigned.com Alison Davey British art pottery 1870 – 1930 Contemporary ceramics, design and sculpture.

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LUIS ALEGRIA LDA D17 By appointment only Avenue Dr Antunes Guimarães 142, 4100 Porto, Portugal M: +35 191 760 0126 e: luis.alegria@iol.pt Luis Alegria Specialising in Chinese porcelain, fine furniture, tiles ALTEA MAPS & CHARTS B1 35 St. George Street, London W1S 2FN, UK T: +44 (0)20 7491 0010 www.alteagallery.com e: info@alteagallery.com Massimo De Martini Specialises in antique maps, plans, celestial charts and atlases dating from the fifteenth to the early twentieth centuries. 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

BAZAART F16 M: +44 (0)7710 461627 www.bazaart.co.uk e: justin@bazaart.co.uk Justin Raccanello Ceramics and works of art.

BELL & BIRD C32 1206 West 38th St. No.1102, Austin, Texas 78705, USA T: +1 512 407 8206 M: +1 512 965 9094 www.bellandbird.com e: Rhianna@bellandbird.com Cyrus Shennum, Rhianna Shennum 18th and 19th Century Jewellery BERWALD ORIENTAL ART A1 17 Clifford Street, London W1S 3RQ, UK T: +44 (0)20 7434 0424 M: +44 (0)7973 822724 www.berwald-oriental.com e: john@berwald-oriental.com John Berwald, Susan Groot Specialising in Chinese ceramics from the Han to Qing dynasties LAURA BORDIGNON PO Box 6247, Finchingfield, Essex CM7 4ER, UK T:+44 (0)1371 811791 M:+44 (0)7778 787929 www.laurabordignon.co.uk e: laurabordignon@hotmail.com Laura Bordignon Japanese works of art from the Meiji period.

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J.H. BOURDON-SMITH LTD C38 24 Mason’s Yard, St. James’s, London SW1Y 6BU, UK T: +44 (0)20 7839 4714 M: +44 (0)7769 974366 www.bourdonsmith.co.uk e: enquiries@bourdonsmith.co.uk John H 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. 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.

LUCY B CAMPBELL GALLERY C24 3 The Village, 101 Amies Street, London SW11 2JW, UK T: +44 (0)20 7727 2205 M: +44 (0)7590 985880 www.lucybcampbell.com e: tessa@lucybcampbell.co.uk Lucy Campbell (Owner) Tessa Campbell (Manager) Specialises in Contemporary British, European and American Artists dealing in paintings, sculpture and photography. THE CANON GALLERY 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.

VANESSA CLEWES SALMON MODERN & CONTEMPORARY ART By appointment, London T: +44 (0)20 8458 3288 M: +44 (0)7769 665031 www.moderncontemporaryart.co.uk e: vanessa.wildwood@gmail.com Vanessa Clewes Salmon, Charles Salmon Modern & contemporary paintings.

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DELOMOSNE & SON LTD D3 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 English glass 1690 - 1900. MARTIN DU LOUVRE C26 69, rue du Faubourg Saint Honoré, 75008 Paris, France T: +33 (0)6 801 75101 www.martindulouvre.com e: 69faubourg@gmail.com David Le Louarn Modern and contemporary sculpture, paintings, drawings, photography and design.

TED FEW 3 Playfield Crescent, London SE22 8QR, UK T: +44 (0) 208 767 2314 Ted Few Idiosyncratic works of art, pictures and sculpture.

D & M FREEDMAN B25 Chinese and Japanese Porcelain and Works of Art By appointment only, UK M: +44 (0)7976 708913 www.freedmanantiques.com e: dandmfreedman@blueyonder.co.uk David Freedman, Mercedes Freedman Chinese and Japanese porcelain and other works of art. GANDER & WHITE SHIPPING LTD 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 GIBSON ANTIQUES LIMITED 7 Georgian House, 10 Bury Street, St James’s, London SW1Y 6AA T: +44 (0) 7831 645 468 www.gibsonantiques.com e: alastair@gibsonantiques.com Alastair Gibson Specialising in Oriental Ceramics and Works of Art

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THE GILDED LILY C23 145/146 Grays, 58 Davies Street, London W1K 5LP, UK T: +44 (0)20 7499 6260 M: +44 (0)7740 428358 F: +44 (0)20 7499 6260 www.graysantiques.com e: jewellery@gilded-lily.co.uk Korin Harvey, Brian Murray-Smith The Gilded Lily exhibits glamorous yet wearable jewellery of outstanding quality from all periods of the past one hundred and twenty years.

Art Antiques London 2015

GOODMAN FINE ART C34 21 Perrins Walk, Hampstead, London NW3 6TH, UK T: +44 (0)20 7431 3210 M: +44 (0)7702 102850 www.goodmanfineart.com e: contact@goodmanfineart.com Mark Goodman, Marina Goodman, Timothy Beal Late 19th century and modern British especially 1950’s and 1960’s. GOULDEN & THOMAS FINE PAINTINGS E18 London & Cornwall T: +44 (0)7742 668089, +44 (0)7832 117175 www.gouldenandthomas.com e: sales@gouldenandthomas.co.uk Yvette Goulden, Barnes Thomas Specialises in 20th century art concentrating largely on Cornwall and the West Country sourced from auctions, galleries, artists, private estates and private collections. The ever-changing collection includes Bryan Wynter, Mary Fedden, Ben Nicholson, Winifred Nicholson, Breon O’Casey, Alfred Wallis, Paul Feiller and William Scott. GRAY MCA By appointment only, UK T: +44 (0)1935 881676 M: +44 (0)7872 171111 www.graymca.co.uk e: info@graymca.co.uk Ashley Gray Modern British & Contemporary Art. Original Fashion Illustration & Textiles.

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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.

JULIAN HARTNOLL fine 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, Lizzie Hartnoll 19th & 20th century English and French paintings with an emphasis on the unjustly forgotten. 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 his gallery in 1965, going on to found international art fairs in both New York (The International Show – October) and London (Art Antiques London – June). The gallery specialises in the finest 18th/19th century English and Continental ceramics and supplies objects to both museums and leading private collectors. Catalogues are published annually. ANTHONY HEPWORTH 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, Alexandra Hepworth

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JONATHAN HOPE D14 By Appointment only, London, UK T: +44 (0)20 7581 5203 M: +44 (0)7711 961937 e: jonathan.glenhope@virginmedia.com Jonathan Hope Specialising in Textiles from Asia and Africa ; 17th to 20th century Ethnographic works of art from Africa, Asia and the pacific

JOHN HOWARD D8 Woodstock, Oxfordshire OX20 1TA, UK M: +44 (0)7831 850544 www.antiquepottery.co.uk e: john@johnhoward.co.uk John Howard Specialising in 17th – 19th century British pottery, delftware, creamware, slipware, early Staffordshire figures, lustre and rare decorative pieces. IMPERIAL FINE BOOKS B5 790 Madison Avenue, New York, NY 10065 T: +1 212 861 6620 M: +1 201 294 3874 www.imperialfinebooks.com e: info@imperialfinebooks.com Bibi Mohamed, Selina Mohamed, J Ramsawak Leather Bound sets, Fine Bindings, Children’s, Illustrated, Colour Plate, First Editions, Rare Books 17th – 19th Century. LICHT & MORRISON LTD By Appointment only, London, UK T: +44 (0)7810 540307 e: robin@lichtandmorrison.com www.lichtandmorrison.com Robin Cook Jewellery and watches 1880 - 1980.

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.

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.

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 to the 20th century. MARCHANT E16 120 Kensington Church Street, London W8 4BH, UK & 101 Kensington Church Street, London W8 7LN T: +44 (0)20 7229 5319 www.marchantasianart.com e: gallery@marchantasianart.com Richard Marchant, Stuart Marchant Chinese ceramics and works of art including Qing porcelain and export porcelain. TIMOTHY MILLETT E22 PO 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. MOORE-GWYN FINE ART C6 By appointment only London W8 and near Burford, Oxfordshire 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.

Art Antiques London 2015

MORELLE DAVIDSON F15 53 Maddox Street, London W1S 2PH, UK T: +44 (0)20 7408 0066 F: +44 (0)20 7495 8885 www.morelleddavidson.com e: raphael@morelledavidson.com Specialising in fine Victorian, Edwardian, Art Deco, Retro and fine gemstones. PANTER & HALL 11-12 Pall Mall, London SW1Y 5LU, UK T: +44 (0)20 7399 9999 www.panterandhall.com e: enquiries@panterandhall.com Matthew Hall, Tiffany Panter Specialising in modern British and contemporary figurative painting.

E15

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 +44 (0)7787 575795 www.pottertonbooks.co.uk e: ros@pottertonbooks.co.uk Clare Jameson, Simon Barton Potterton Books are international specialist booksellers in the Fine and Decorative Arts, Interior Decoration, Design, Architecture and Antiques. From the Renaissance to the 21st Century.

SYLVIA POWELL DECORATIVE ARTS B21 By Appointment only, Suite 400, Ceramic House, 571 Finchley Road, London NW3 7BN, UK T: +44 (0)208 201 5880 M: +44 (0)7802 714 998 www.sylviapowell.com e: Sylvia@sylviapowell.com 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. RAFFETY D32 79 Kensington Church Street, London W8 4BG, UK T: +44 (0)20 7937 2220 M: +44 (0)7831 514216 www.raffetyclocks.com e: info@raffetyclocks.com Nigel Raffety, Tara Draper-Stumm, Harrison Goldman English longcase and bracket clocks, selected barometers and antique furniture ROBYN ROBB PO Box 66256, Ranelagh Gardens, London SW6 9DR, UK T&F: +44 (0)20 7731 2878 e: robynrobb@clara.co.uk Robyn Robb Specialising in 18th century English porcelain.

E33

RÖBBIG MÜNCHEN D34 Briennerstrasse 9, 80333 Munich, Germany T: +49 (0)89 299758, M: +49 (0)171 65 00 456 www.roebbig.de e: info@roebbig.de Alfredo Reyes, Director Situated in the centre of the Bavarian capital, we specialise in 18th century German porcelain from the most important manufactories Meissen, Frankenthal, Höchst, Nymphenburg, Fürstenberg and KPM Berlin. Also important French furniture, paintings and objets d’art from the Louis XV to the Louis XVI and early Empire period.

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. SAMINA INC D30 By appointment only, 33 St. James’s Square, London SW1Y 4JS, UK T: +44 (0)20 3170 6076 M: +44 (0)7775 872960 F: +44 (0)20 7286 3633 www.saminainc.com e: saminainc@hotmail.com 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. 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.

JACQUELINE SIMCOX LTD 54 Linton Street, Islington, London N1 7AS, UK T: +44 (0)20 7359 8939 M: +44 (0)7775 566388 www.jacquelinesimcox.com e: js@jacquelinesimcox.com Jacqueline Simcox Specialising in Chinese and Central Asian Textiles STRACHAN FINE ART 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 Early Sculpture 16th to 20th century paintings & drawings.

B24

MARY WISE ANTIQUES B22 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 works of art. RODNEY WOOLLEY E30 By appointment, 1 Princes Place, Duke Street St James’s, London SW1Y 6DE, UK M: +44 (0)7450 286335 www.rodneywoolley.com e: rw@rodneywoolley.com Rodney Woolley European ceramics and glass 17th-19th century. Delftware pottery.

Peter Beard Earthenware Vessel with inverted rim, the glaze made up of red, orange, yellow and black slip gazes with a ground finish, 2015.

C30 AD ANTIQUES

incorporating Signed and Designed PO Box 51, Chipping Camden, Gloucestershire GL55 6UQ, UK M: +44 (0)7811 783518 e: alison@adantiques.com www.adantiques.com www.signedanddesigned.com

D17 LUIS ALEGRIA LDA

A Near Pair of Chinese Famille Verte Trumpet-Necked Massive Vases.

Each decorated with panels of mythical beasts and other animals reserved on iron-red floral grounds.

By appointment only Avenue Dr Antunes GuimarĂŁes 142, 4100 Porto, Portugal M: +35 191 760 0126 e: luis.alegria@iol.pt

Kangxi Period (1662â&#x20AC;&#x201C;1722) The Larger: 75.5 cms

SOARES, A. 1939 A â&#x20AC;&#x2DC;serio-comicâ&#x20AC;&#x2122; map of Europe, a genre made famous by Frederick W. Rose in the 1870s, here revisited for the Second World War. In this Portuguese version the countries of Europe are represented by exotic animals starting to tear each other apart. The German tiger has drawn blood with each of his four paws, from the Polish rhinoceros, Czech lynx, Austrian camel and French lion. The poor rhino also has the claws of the Russian polar bear in its rump. Elsewhere the Britain is a leopard, Norway & Sweden are giraffes, Italy & Romania are snakes, Yugoslavia is a kangaroo (with a joey in its pouch), Greece a tortoise and Turkey a crocodile. 460 x 640mm

B1 ALTEA MAPS & CHARTS

35 St. George Street, London W1S 2FN, UK T: +44 (0)20 7491 0010 e: info@alteagallery.com www.alteagallery.com

Medium: Colour Lithograph 25

“Portaliquore” Wine Barrel Capodimonte Factory, Naples Circa 1750 Height 40 cms

F16 BAZAART

M: +44 (0)7710 461627 www.bazaart.co.uk e: justin@bazaart.co.uk

Hardstone cameo double portrait rings, 16th-17th century cameo in a later 18K gold mount Victorian ruby and diamond twin heart ring in a silver and gold mount Early 19th century rose diamond earrings

C32 BELL & BIRD

1206 West 38th St. No.1102, Austin, Texas 78705, USA T: 001 512 407 8206 M: 001 512 965 9094 www.bellandbird.com e: Rhianna@bellandbird.com

Prancing Horse Tang Dynasty 618-907 AD Height 25 Âź ins (64 cms) Provenance: Collection of Arthur B. Michael, Newton Centre, MA (bequest of 1942). Collection of Albright-Knox Art Gallery, Buffalo, New York, no.1942:16.19. Literature: Andrew C. Ritchie, Catalogue of the Paintings and Sculpture in the Permanent Collection, Albright-Knox Art Gallery, Buffalo, 1949, p.212, no. 213. Steven A. Nash, with Katy Kline, Charlotta Kotic and Emese Wood, Albright-Knox Art Gallery: Painting and Sculpture from Antiquity to 1942, New York, 1979, p. 106

A1 BERWALD ORIENTAL ART

17 Clifford Street, London W1S 3RQ, UK T: +44 (0)20 7434 0424 M: +44 (0)7973 822724 www.berwald-oriental.com e: john@berwald-oriental.com 28

Akasofu Gyōkō Meiji Period Japanese bronze Samurai Archer with his bow fully drawn, signed in a reserve Gyōkō, Meiji period. The Artist, Akosofu Gyōkō, was a member of the Tokyo Cast Metalworkers’ Association and produced from his workshop in Tokyo metalwork sculptures in the second half of the Meiji era.

C18 LAURA BORDIGNON

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

A pair of faceted octagonal style candlesticks made in London in the first year of George I’s reign, 1714, by Jonathan Newton and engraved with arms of the Pether family. Height 6.8 ins (17.5 cms), diameter at base 3.9 ins (10 cms) Weigh together 23 oz (715 gr).

C38 J.H. BOURDON-SMITH LTD

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

A highly unusual 19th century French walnut shell shaped carved music stool, probably for a harp. Circa 1860

E14 CHRISTOPHER BUCK ANTIQUES

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

C24 LUCY B CAMPBELL GALLERY

3 The Village, 101 Amies Street, London SW11 2JW, UK T: +44 (0)20 7727 2205 M: +44 (0)7590 985880 www.lucybcampbell.com e: tessa@lucybcampbell.co.uk

Mia Tarney (British) ‘Amarylis (Hercules)’, 2014 Signed Oil on Linen 57 x 62 ½ ins (144.7 x 162.7 cms)

Sir Edward Burne-Jones ARA (1833-1898) Study for Andromeda, The Doom Fulfilled, Perseus Series. Red Chalk and pencil. 13 ins x 10 ins Provenance: Maier Gallery Cecil Court

E6 THE CANON GALLERY

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

C10 VANESSA CLEWES SALMON MODERN & CONTEMPORARY ART

By appointment, London T: +44 (0)20 8458 3288 M: +44 (0)7769 665031 www.moderncontemporaryart.co.uk e: vanessa.wildwood@gmail.com

Sir Terry Frost RA 1915 – 2003 Untitled Acrylic on canvas Signed/dated Feb’91 on reverse 76 x 60 cms Private Collection

An exceptional pair of glass candlesticks with pedestal stems, teared knops and domed feet Height 28.1 cms English Circa 1730 A similar pair of candlesticks is illustrated: Dwight P Lanmon. 2011. The Golden Age of English Glass 1650-1755. ACC Page 232

D3 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@delomosne.co.uk

Jean Léon Gérôme 1824–1904 French School Portrait of the painter, inventor, journalist and photographer, Louis-Godefroy de Lucy de Fossarieu, 1847. (detail) Oil on canvas 56 x 47cms. Original stretcher. Inscription around perimeter of oval: L.G. DE LUCY. 1847 / ANNO AETATIS SUAE XXVII px Old annotation in India ink on median stretcher bar: Lucy de Fossarieu par Gérôme.

C26 MARTIN DU LOUVRE

69, rue du Faubourg Saint Honoré, 75008 Paris, France. T: +33 (0)6 80 175101 www.martindulouvre.com e: 69faubourg@gmail.com

Ptolemaic wooden statue of the god Thoth, Egypt, circa 200B.C., 19x11x11 cms (7.5x4.25x4.25 ins).

D4 TED FEW

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

An Important Pair of ‘Famille-Rose’ ‘Soldier’ Vases and Covers, Qing Dynasty, Yongzheng Period, 1723 – 1735

A1 GIBSON ANTIQUES LTD

7 Georgian House, 10 Bury Street St James’s, London SW1Y 6AA T: +44 (0) 7831 645 468 www.gibsonantiques.com e: alastair@gibsonantiques.com

A very rare pair of Chinese porcelain blue and white teapots and covers Kangxi circa 1690 9 cms high *Ex. Jacob Gieling collection, the Netherlands.

B25 D & M FREEDMAN

Chinese and Japanese Porcelain and Works of Art By appointment only M: +44 (0)7976 708913 www.freedmanantiques.com e: dandmfreedman@blueyonder.co.uk

C23 THE GILDED LILY

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

A magnificent Kunzite and diamond set necklace. There are more than 750 carats of fine lilac pink California Kunzites and twelve carats of brilliant cut diamonds. Made of 18ct yellow gold. Circa 1970

Alan Davie, Untitled, 1959, oil on paper, 16.25 x 20.75 ins

Fang Byeri reliquary figure, 19th century, Gabon, height 13 ins

C34 GOODMAN FINE ART

St Anne with the Virgin and Child (Anna Selbdritt), German, early to mid 15th century

21 Perrins Walk, Hampstead, NW3 6TH M: +44 (0)7702 102850 www.goodmanfineart.com e: contact@goodmanfineart.com

E18 GOULDEN & THOMAS FINE PAINTINGS

London & Cornwall T: + 44 (0)7742 668089 or + 44 (0)7832 117175 www.gouldenandthomas.com e: sales@gouldenandthomas.co.uk

Landscape with Cottages 1949 by Bryan Wynter Signed Oil on board 12 x 25 ins Provenance: Private Collection

Henry Moore 1943 Title: Three Standing Figures Artist stamp signature Screenprint in colours 157 x 117 cms Provenance: Asher Family Collection, USA. Commissioned and produced posthumously in 1989 by Zika Ascher, New York. Edition: 43/65 Linda & Zika Ascher were true visionaries and introduced many Modern Artists to new audiences worldwide by using their artwork for textile designs for the home. The Ascher’s worked particularly closely with Henry Moore. Many of these original fabric designs are in the permanent collection of the Victoria & Albert Museum and the Henry Moore Foundation. Moore designed only four large scale Wall Panels for Ascher between 1943 and 1949. Unlike the repeat fabric patterns, the Panels were produced as limited edition works of art. They were shown first in 1948 at the Lefevre Gallery, alongside textiles by Henri Matisse and later shown ‘on tour’ across the USA by the Museum of Modern Art, New York. Zika Ascher produced ‘Three Seated Figures’ posthumously in 1989 as an edition of 65.

E24 GRAY MCA

By appointment only, UK T: +44 (0)1935 881676 M: +44 (0)7872 171111 www.graymca.co.uk e: info@graymca.co.uk

D16 HAMPTON ANTIQUES

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

Early Georgian Tea Chest Rare Mahogany Tea Chest with inlaid Georgian house design to the front. The interior features two removable tin caddies, a glass mixing bowl and has a secret spring loaded compartment which contains two silver spoons. Circa 1760

Le Marche aux Puces, Paris circa 1950 By 1901 – 1971 Signed oil on board 60 x 46 cms

B20 JULIAN HARTNOLL

fine artmonger est 1968

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

A very rare Doccia Figure of a Chatir, the attendant of the Grand Vizier. Circa 1750 Height 8 ½ ins (21.5 cms) From the earliest period of figural modelling at Doccia. Copied from an engraving by J.B.van Mour taken from Charles de Ferriol Marquis Le Hay, ‘Recueil de cent estampes representant differentes nations du Levant tirees surles tableaux peints d’apres nature en 1707 et 1708.‘

E26 BRIAN HAUGHTON GALLERY

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

An extremely rare and fine Chelsea Hans Sloane Botanical Dessert Plate of the Red Anchor Period, of circular lobed shape, beautifully painted with a large spray of fruiting Fig, together with branch and leaves and a large spray of flowering Borage, with secondary floral sprigs and shadowed butterflies and insects in flight, with brown line rim. Circa 1755 Diameter: 8 Âź ins (21 cms) This plate was bought in the sale of the effects of the Lady Headford sold by Stokes and Quirke, Kildare St. Dublin 19th September 1944.

E26 BRIAN HAUGHTON GALLERY

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

An extremely rare pair of Meissen Cats modelled by J.J.Kaendler, seated on their haunches, raised up on a green pad bases. Circa 1740 The models are first recorded in Kaendler’s taxa report for sept 1736, which lists: ‘Stuk Kleine Katzgen aufs Lager in Thon poussiert, Davon eine sitzend, die andere aber, wie sie eine Maus in Maule hat vorgestellet ist.’ (2 small cats modelled in clay in the storehouse, of which one is seated, the other with a mouse in the mouth). See Carl Albiker, Die Meissner Porzellantiere in 18. Jahrhundert, Berlin, 1959, p 24, no. 216 for the companion holding a mouse and work record entries for 1736, 1741, and 1740-1748 relating to both models. A similar rare pair of cat models with ormolu mounts was in the collection of Sir Gawaine and Lady Bailey. Leeds Castle.

E26 BRIAN HAUGHTON GALLERY

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

E26 BRIAN HAUGHTON GALLERY

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

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 www.anthonyhepworth.com e: anthony.hepwor@btconnect.com

Alfred Wallis 1855 – 1942 ‘Landscape with Trees’ Oil on board with nails Signed ‘Alfred Wallis’ (by Ben Nicholson) Provenance: Ben Nicholson Private Collection since 1978

Exhibited: Tate Gallery, London 30 May – 30 June 1968, Arts Council Touring Exhibition – catalogue: ‘An Arts Council Exhibition – Alfred Wallis’ section ‘Country Subjects’ no. 64 The Graves Art Gallery, Sheffield

Catherina Van Oosterom Circa 1860 A batik sarung from the studio of Catherina Van Oosterom in Banyumas, Java. During the mid 19th century a new style of batik was invented by a small group of Indo-European women, working traditionally with natural dyes and wax applied to cotton by means of a pen (canting). This genre is known as the Indische school and combines both Asian and Western design elements. Mrs Van Oosteromâ&#x20AC;&#x2122;s somewhat humorous work is instantly recognisable and this is a fine example. See Masterpieces from the Department of Islamic Art in the Metropolitan Museum of Art; distributed by Yale University Press 2011; pp.404-405 Batik Belanda by Harmen C Veldhulsen ; Gaya Favorit Press 1993 ; pp. 48-54

D14 JONATHAN HOPE

By Appointment only, London, UK T: +44 (0)20 7581 5203 M: +44 (0)7711 961937 e: jonathan.glenhope@virginmedia.com

D8 JOHN HOWARD

Woodstock, Oxfordshire OX20 1TA, UK M: +44 (0)7831 850544 www.antiquepottery.co.uk e: john@johnhoward.co.uk

English pottery Circa 1750 / 90 English 18th century Slipware and agateware

James W. Buel and Verdi Giuseppe 10 Vols. The Great Operas with numerous illustrations. Exquisitely bound in full morocco, folios, with original boxes, each volume comes with an extra suite of plates (3 hand-coloured). Limited to 50 sets. 1899

B5 IMPERIAL FINE BOOKS

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

E2 SANDA LIPTON

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

George I sterling silver strawberry dish. Edinburgh 1721 Maker: William Ged. Assay Master: Edward Penman Arms: URQUHART of Newhall, Scotland. Old family piece with updated arms when Elizabeth Trail of Elsness married her Merchant Husband John Urquhart in 1794

A beautiful Edwardian diamond, pearl and platinum set necklace English Circa 1910

C3 LICHT & MORRISON LTD

Robin Cook By Appointment only, London, UK T: +44 (0)7810 540307 www.lichtandmorrison.com e: robin@lichtandmorrison.com

D1 LUCAS RARITIES LTD

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

A carved blue chalcedony, tourmaline, amethyst and yellow gold brooch.

ANNUNCIATION GROUP Maiolica Late 15th or early 16th century Faenza, Italy 48.6 cms high, 34.8 cms wide, 13.8 cms deep The central group of free standing figures of Gabriel before the kneeling Virgin set on a sloping ground, all enclosed within a gothic trilobed niche surmounted by scrolling flowers. For a closely related ‘Virgin and Child with Angels’ in a similar niche from the same workshop, see: Claudio Paolinelli and others, ‘Lacrime di Smalto, plastiche maiolicate tra Marche e Romagna nell’età dell rinascimento’, 2014, pp. 104 and 105.

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

Chinese porcelain famille rose, fencai, large dish painted in the centre with He Xiangu travelling on a giant peach leaf raft with her attendant steering, amongst billowing and crested waves beside a pink open winged bat in flight and beneath overhanging rockwork with fruiting peach branches, encircled by the Eight Immortals above waves in ruyi-head reserves, Han Zhongli holding a flywhisk leaning on a giant peach, Zhang Guolao holding drum sticks and riding on a donkey, L端 Dongbin carrying his sword and riding a dragon fish, He Xiangu holding a lotus branch and riding on a peach leaf, Li Tieguai with a gourd on his back riding a dragon raft, Han Xiangzi playing a flute riding a crab, Lan Caihe holding a basket and riding a giant shrimp and Cao Guojiu catching his music stones and riding a yellow horse, all on pink and turquoise diaper grounds. 15 5/8 ins (39.8 cms) diameter Yongzheng, 1723-1735. From the collection of Professor and Mrs Robert de Strycker, Belgium.

E16 MARCHANT

120 Kensington Church Street, London W8 4BH, UK & 101 Kensington Church Street, London W8 7LN T: +44 (0) 20 7229 5319 www.marchantasianart.com e: gallery@marchantasianart.com

Chinese porcelain famille rose figural group of a dancing couple, modelled after the Meissen original, the gentleman wearing a yellow hat, white-ruff collar, blue waist jacket incised with scrolls and red breeches, the lady with a red waist coat similarly incised and long flowing skirt with purple flowers, all on a shaped naturalistic form base, modelled and moulded with relief flowers. 5 5/8 ins (14.3 cms) high Qianlong, circa 1752 From an English private collection.

Birth of James Francis Edward Stuart “The Old Pretender” Ivory snuff box English Circa 1688 85 x 60 mm

E22 TIMOTHY MILLETT

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

C6 MOORE-GWYN FINE ART

By appointment only London W8 and near Burford, Oxfordshire M: +44 (0)7765 966256 www.mooregwynfineart.co.uk e: harry@mooregwynfineart.co.uk

Arthur Hacker, RA (1858-1919) A Wet Evening, Piccadilly Circus Signed, dated and inscribed with title (reverse of panel): Arthur Hacker/1910 Oil on panel 32 x 40 cms

Boucheron 1920’s Watch Pendant Made from platinum and enamelled yellow gold. The diamond and emerald pendulum hinge holds a rock crystal base which swings to reveal the watch face surrounded by a white enamel dial with gold numbers. Watch movement is cased by a black enamelled base accented by gold motifs, stepped down to a diamond bombe and cabochon emerald drop. Dial signed “Boucheron Brevete”

F15 MORELLE DAVIDSON

53 Maddox Street, London W1S 2PH, UK T: +44 20 7408 0066 F: +44 20 7495 8885 www.morelleddavidson.com e: raphael@morelledavidson.com

E15 PANTER & HALL

11-12 Pall Mall, London SW1Y 5LU, UK T: +44 (0)20 7399 9999 www.panterandhall.com e: enquiries@panterandhall.com

George Lagerstedt (1892-1982) Boxing Match Oil on canvas 25.5 x 32 ins (65 x 81 cms) Exhibited in Los Angeles Olympic Games, 1932

F12 CHRISTOPHE PERLĂ&#x2C6;S White porcelain animal figures from Vincennes, Saint-Cloud and Vienna 18th century

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

F14 POTTERTON BOOKS

The Old Rectory, Sessay, Thirsk, North Yorkshire YO7 3LZ, UK T: +44 (0)1845 501218 +44 (0)7787 575795 www.pottertonbooks.co.uk e: ros@pottertonbooks.co.uk

Pablo Picasso (1881-1973) PRIMAVERA c.1957, 40 cms x 27cms approx ARTISTS PROOF Marked to the base E. Costantini â&#x20AC;&#x201C; P. Picasso, Fucina degli Angeli, Venezia, P.A. Provenance: private collection, Germany Literature: Egidio Costantini e suoi artisti, Sculture in vetro della Fucina degli Angeli, p.83 (similar illustrated)

B21 SYLVIA POWELL DECORATIVE ARTS

By Appointment only, Suite 400, Ceramic House, 571 Finchley Road, London NW3 7BN, UK T: +44 (0)208 201 5880 M: +44 (0)7802 714 998 www.sylviapowell.com e: Sylvia@sylviapowell.com

William Tomlinson, London An exceptional William lll ebony grande-sonniere striking table clock, unmistakably the work of the celebrated fellow Quaker, Daniel Quare Circa 1695 Height: 15 ½ ins (39.5 cms), Width 10 ¼ ins (26 cms), Depth 6 ½ ins (16.5 cms) Private Collection

D32 RAFFETY

79 Kensington Church Street, London W8 4BG, UK T: +44 (0)20 7937 2220 M: +44 (0)7831 514216 www.raffetyclocks.com e: info@raffetyclocks.com

A pair of extremely rare Chelsea bell-shaped coffee cups and trembleuse saucers finely painted with butterflies and insects in the manner of J G Klinger of Meissen. The cups have rustic handles with floral terminals. Red anchor marks Diameter of saucer 4.9 ins (12.5 cms) Circa 1755

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

Chelsea teawares painted with just butterflies and insects are extremely rare and there appears to be only one service recorded. 67

Two sake bottles decorated with chinoiserie scenes by Johann Ehrenfried Stadler (1701-1741) Meissen, circa 1728 Covers in silver, engraved Underglaze blue, crossed sword marks, one bottle with L in underglaze blue Height 17.5 cms Provenance: former coll. C.H. Fischer, Dresden (Otto von Falke, Katalog der ausgewählten und erstklassigen Sammlung Alt-Meißner Porzellan, auct. cat. J.M. Häberle, Cologne 1906, no. 945, ill. p. 142).

D34 RÖBBIG MÜNCHEN

Briennerstrasse 9, 80333 Munich, Germany T: +49 (0)89 299758 M +49 (0)171 65 00 456 www.roebbig.de e: info@roebbig.de

Set of six chairs, Sri Lanka, Colombo, second half 18th century. Coromandel wood and later upholstery. Height: 101 cms, width: 52.5 cms, depth: 46.5 cms. Provenance: Dutch private collection.

D12 ROELL FINE ART

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

D30 SAMINA INC

By appointment only, 33 St. Jamesâ&#x20AC;&#x2122;s Square, London SW1Y 4JS, UK T: +44 (0)20 3170 6076 M: +44 (0)7775 872960 F: +44 (0)20 7286 3633 www.saminainc.com e: saminainc@hotmail.com

Bowl Mughal or Deccan, India 17th Century Carved from nephrite jade (translucent off-white with whitish areas) Height: 5.4 cms Length: 10.5 cms

A SĂ¨vres Porcelain Cup and Saucer, 1786

E8 ADRIAN SASSOON

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

C2 SILVERMAN ANTIQUES

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

A magnificent continental sterling silver Nef c. 1900 Dimensions 33.00 cms long 33.50 cms high 10.00 cms wide

Description / Expertise A superb quality continental sterling silver Nef bearing English Sterling silver import hallmarks for London 1929

Provenance: Private German collection since the 1960â&#x20AC;&#x2122;s For comparison: Identical examples are in the National Palace Museum, Taiwan and illustrated: Embroidery in the Collection of The National Palace Museum. Published: Gakken Co., Tokyo, 1970

Detail from a set of four embroidered silk panels Chinese, Ming dynasty, 17th century Each panel: 194 x 56.5 cms

A1 JACQUELINE SIMCOX LTD

Visit by appointment 54 Linton Street, Islington, London N1 7AS, UK T: +44 (0)20 7359 8939 M: +44 (0)7775 566388 www.jacquelinesimcox.com e: js@jacquelinesimcox.com

Charles Sargeant Jagger 1921-22 One of a pair of bronze reliefs of a nymph and satyr mocking an elderly satyr who offers jewels to a young nymph who teases him from a tree. Provenance: Mrs Evelyn Jagger-Clarke, the sculptorâ&#x20AC;&#x2122;s widow The Fine Art Society, 2001 Jagger was commissioned to model two reliefs for Sir Stephen Courtauld in 1921-22. These are the only other recorded pair of casts. Signed in cast 34.5 x 15.25 cms, 13.5 x 6 ins

B24 STRACHAN FINE ART

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

A rare Worcester leaf dish Circa 1755-58 Height 7 Â˝ ins, width 7 ins A rare Worcester leaf dish painted with a scene in red monochrome within a scroll. Ex collection of Mr & Mrs Oliver Bowlby Literature: English Porcelain of the 18th Century by J.L. Dixon

B22 MARY WISE ANTIQUES

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

Faber & Faber plate 74A 75

An English Delftware Royal Portrait Charger 1702-1714 London Probably Norfolk House Painted with a portrait of Queen Anne 13 他 ins. (35 cms.) diam.

E30 RODNEY WOOLLEY

By appointment, London, UK M: +44(0)7450 286 335 www.rodneywoolley.com e: rw@rodneywoolley.com

Articles

A legendary masterpiece from the French Royal collection: Anne of Austriaâ&#x20AC;&#x2122;s gold casket rediscovered MichĂ¨le Bimbenet-Privat

Considered as one of the great masterpieces of the collection of the Louvre, the gold chest known as « Anne of Austria’s casket » has no equivalent in the world1 (fig. 1). Although it looks like a small travel case because of its size2 and its side handles, the precious metal and its decorations raise it to the rank of an exceptional collector’s piece. Its oak carcass is entirely covered in blue silk satin, which is sumptuously adorned with lacy gold openwork depicting large acanthus scrolls, with roses, tulips, buttercups, narcissi and lilies disposed symmetrically to form coherent compositions for each of the five sides of the chest (fig. 2). All these flowers are part of an infinite web that is enriched with small vine leaves and tiny flowers embellished with tendrils and stems. The eye gets lost in these endless swirls, though they remain extremely distinct. The chest is mounted on four solid gold cushioned lion’s feet (fig. 4). At present, the interior is fitted with dark red velvet. Figure 1. Gold chest, general view. Paris, musée du Louvre, inv. MS 159 (cl. Réunion des musées nationaux). Figure 2. Gold chest, detail of the front face. Paris, musée du Louvre, inv. MS 159 (cl. Réunion des musées nationaux).

It has been known for a long time that the gold chest is one of the rare surviving examples of goldsmith’s work from the former royal collection. Even though it is not recorded in Louis XIV’s inventories, one of its legs is engraved with the number 298 that was assigned in 1718, shortly after the King’s death3. Its history can then be traced in successive royal inventories until the end 79

of the Ancien Régime. In 1784, a restoration was to be carried out by King’s jeweller Paul-Nicolas Ménière. He considered recolouring the gold elements and replacing the satin, but he finally withdrew from the commission, by his own admission, because of “the difficulty and the intricate quality of the work”4. During the Revolution, the chest was estimated at one hundred and fifty thousand pounds in The Inventory of the Diamonds of the Crown. The admiration for this “masterpiece of goldwork and taste” certainly explains why it survived. The gold chest was kept intact through the dark years after the fall of Monarchy. During the Restoration, it was placed at the Tuileries Palace. Eventually it entered the collections of the future Louvre in 1852, at which time it was catalogued as “the Jewel case of queen Anne of Austria, wife of Louis XIII”, the first interpretation of its origins5. In 1876 it was photographed in the museum for the first time by Léon Vidal, inventor of a new “photochromic” process (fig. 3). Fantasized origins, proven origins Surely the origin of this masterpiece in our national collections has been the object of many theories, sometimes even very romantic ones. According to tradition, a “paper in very old writing” found inside 80

the chest indicated that it belonged to Anne of Austria and that the Queen had received it from Cardinal Mazarin6. This document has since disappeared and it’s worth noting that the story of such a gift from Mazarin to Anne of Austria emerged in 1830, at the time when certain historians suspected or fervently believed that a relationship existed between the Queen Mother and the Cardinal (fig. 5). If this story were true, the chest would have been made between Louis XIII’s death and Mazarin’s, so before 1661. But this theory does not hold up against all of the other known documents. No reliable eye-witness account of the chest in the royal collections can be found before that of the Swedish architect Nicodème Tessin, during the reign of Louis XIV. Visiting Versailles in 1687, Tessin admired

Figure 3. Gold chest, photographed by Léon Vidal in 1876. Paris, musée d’Orsay, inv. PHO 1983-165-537-1 (cl. Réunion des musées nationaux). Figure 4. Gold chest, detail of a foot. Paris, musée du Louvre, inv. MS 159 (cl. Réunion des musées nationaux).

“an extremely finely crafted openwork golden chest” which was placed on a table in one of the smaller rooms of King’s apartments7. Could the chest be from a later period than what was previously thought?

Figure 5. Cardinal Mazarin and Anne of Austria, by Richard Parkes Bonington, 1826. Paris, musée du Louvre, inv. RF 369 (cl. Réunion des musées nationaux).

Figure 6. Front page of the book of designs for goldsmiths by Thomas Lejuge, engraving, 1676. Paris, Bibliothèque nationale de France, département des Estampes et de la Photographie, inv. AA3 (cliché M. BimbenetPrivat, copyright free).

Figure 7. The King’s shoes and their buckles adorned with diamonds, detail from Louis XIV’s portrait by Hyacinthe Rigaud, 1701. Paris, musée du Louvre, département des peintures, inv. 7492 (cl Réunion des musées nationaux).

The composite aspect of the astonishing gold casing, with its harmonious combination of more or less naturalistic flowers and powerful acanthus scrolls, could suggest it is slightly later than the regency of Anne of Austria. Such harmony between flowers and classical ornamentation was not uncommon between 1660 and 1680 (for instance in Boulle furniture). It can be found in designs published in Paris by the goldsmith Thomas Lejuge in 1676 (fig. 6). His engravings for jewellery designs show elegant acanthus and naturalistic flowers executed with the precision typical of a master goldsmith8. Lejuge specialized in small gold objects, jewels and watch cases. Most of these Paris artisans were Huguenots, and some of them had Flemish or German origins. Their style was clearly ornamental and stood apart from the more official decorative vocabulary of the royal silversmiths under the influence of Charles 81

refers to the wide range of assorted gems – diamonds, coloured stones or pearls – that were worn by the King on his court costume. His portraits show him entirely covered with jewels from the top of his head to his feet (fig. 7).

Le Brun: for instance the King’s silver furniture was emphatically sculptural and determined by a political function. The art of the jewellers of the same period has not received just recognition by historians and this omission is complicated by the fact that their work was never signed or hallmarked. As Huguenots, many were forced to work in the shadows in the years preceding the revocation of the Edict of Nantes. A recent discovery in a volume of the Journal of the Crown jewels, conserved in the archives of the Ministry of Foreign Affairs, confirmed our theory of a later dating. This volume records all the purchases of diamonds by the Royal Treasury. In it can be found the payment, in the Spring of 1676, for “a gold chest to contain all the jewels” (in French: “pour un coffre d’or pour enfermer toutes les parures”)9. The word “parures” 82

The payment was made to a certain Suzanne Lejeune, widow of the goldsmith of the King Jean Pittan, who had just died. This great Parisian goldsmith, active from the end of the 1630s, was one of the official suppliers to the Crown. His role consisted of importing and negotiating diamonds, jewelled portrait medallions, filigrees and gold plate intended both for the King as well as for diplomatic gifts. For example, in 1665, Pittan provided the 21 kgs of gold with which the goldsmith Jean Gravet made the great gold nef for Louis XIV. He supplied also a lot of Louis XIV’s “boîtes à portrait” (fig. 8). At the end of his career, Pittan10 was not so much an active goldsmith as he was a merchant. Thus, he could not have made the gold chest himself. Then who did he ask to make it? We found the answer in the inventory drawn up after his death, in which there are repeated references to gold transfers made by Pittan to a certain Jacques Blanc “to make a gold casket11. Jacques Blanc, alias Jakob Blanck, was an obscure Huguenot journeyman with German origins, for whom

Figure 8. Portrait miniature of Louis XIV (« boîte à portrait ») supplied by Jean Pittan in 1668. Musée du Louvre, dép artement des Objets d’art, inv. OA 12280 (cl. François Farges, copyright free). Figure 9. X-rays picture of the chest lid. Musée du Louvre, département des Objets d’art, inv. Ms 159 (cl. Centre de recherche et de restauration des musées de France).

we have little documentation of his work as a goldsmith. The archives do not indicate the date of his arrival in the French capital, or his place of birth. At the time of the Revocation of the Edict of Nantes in 1685, Blanck was ordered to leave the kingdom or to convert. He chose conversion and thus acquired his certification as a goldsmith. Little else is known about him12.

Figure 10. Detail of a flower. Musée du Louvre, département des Objets d’art, inv. Ms 159 (cl. Centre de recherche et de restauration des musées de France). Figure 11. Detail of tulips and tiny flowers. Musée du Louvre, département des Objets d’art, inv. Ms 159 (cl. Réunion des musées nationaux).

Scientific and technical analysis Jacob Blanck’s work merited an extensive study and, concurrently with the historical research undertaken, technical research was carried out in 2013 at the French Museums Research and Restoration Center13. The chest was submitted to radiography and examined under an electron microscope, finally revealing secrets of its components, assemblage and decoration, of which we will give a brief overview. The chest is made of five openwork gold faces: the lid, the lateral sides, the front and back panels. In total, there are at least five distinct techniques employed in the making and fitting of the ornaments. The x-rays of the lid (fig. 9) allow us to see that all these panels were assembled and adjusted in two distinct ways. First a hot consolidation by brazing between the elements that constitute each panel. Second, a cold consolidation using gold nails on the wooden frame. To cite but one example, the lid panel has a total of two hundred and twenty seven gold nails.

All the pieces of gold decoration were made by casting and then chasing. Thanks to the microscope, we can observe that the ornamentation is sometimes grainy (fig. 10). This seems to indicate that there wasn’t a significant amount of chasing done after the casting: However, with the chasing carried out by Jacob Blanck, he was able to add exquisite details to the leaves. He also curled their edges (fig. 11). Our technical study tends to demonstrate that this work was probably achieved by only one person. Jacob Blanck was indeed a master of his art! Might he have left other evidence of his talent, or must the gold chest be considered his only surviving masterpiece? Comparisons The decorations of the chest inspired the ornamentation on another work of art, a very elaborate mirror in a private collection14. This may have been a diplomatic present from the King of France to an allied prince (fig. 12). Indeed, the back of the mirror bears hallmarks in use in Paris between 1684 and 1691. This mirror was once part of the collections of the last princes of Hyderabad. However, we do not know how it got to this region of India, famous since the 17th century for the mines of Golconda. The origin of the mirror was the object of unpublished research by 83

Professor Gordon Glanville, who generously shared his findings with me15. Professor Glanville suggests an Ottoman connection, which is justified by the date of the making of the mirror – the end of the 1680s –, a brief period when diplomatic relations between France and Ottoman Empire were cordial. The mirror could have been a present from the Sun King to the mother of the Sultan. The caliphs of the Ottoman dynasty united with the princes of Hyderabad in 1933 when the daughter of the last caliph, in exile since 1924, married the Crown Prince of Hyderabad. The mirror was part of this princess’ possessions. The front of the mirror has an enamelled gold frame with scrolls and flowers scattered with diamonds, rubies and emeralds. On the back, the entire surface is covered with openwork gold acanthus scrolls and flowers set upon a golden brass plaque (fig. 13). The design of the composition, the structure of the panels centered on a flower and the assembly with small fixing nails (which indicate there was a wooden support originally) strongly evoke the gold chest. Although the composition is not identical, certain floral elements – like the tulips or some small flowers with curled petals – strongly evoke the gold chest (fig. 14). However, the complex layering, which give to the gold chest its relief and its exceptional density, are missing. In other words, the maker of the mirror doesn’t show as much technical maturity, even though he used some of the same models. In my opinion, this indicates that the mirror comes from the same workshop but was not by the hand of Jacob Blanck. This wonderful artist thus remains a mystery.

Figure 12. Front side of a mirror probably presented by King Louis XIV in the 1680s. Private collection. (copyright free) Figure 13. Back of a mirror probably presented by King Louis XIV in the 1680s. Private collection. (copyright free) 84

Musée du Louvre, département des Objets d’art, inv. MS 159.

H. 25,2 cm ; L. 47,5 cm ; D. 36,2 cm.

Paris, Archives nationales, O1 3341, fol. 302v° (the same description in the royal inventory of 1775 (Archives nationales, O1 3347, fol. 371).

Paris, Archives nationales, O1 3280.

H. Barbet de Jouy, Notice des antiquités, objets d’art du Moyen Âge, de la Renaissance et des Temps modernes composant le musée des Souverains, Paris, 1866, p. 166 n° 110.

Y. Bottineau, Catalogue de l’orfèvrerie du XVIIe, du XVIIIe et du XIXe siècle, Musée du Louvre et Musée de Cluny, Paris, 1958, p. 5-6 n° 4.

P. Francastel, “Relation de la visite de Nicodème Tessin à Marly, Versailles, Clagny, Rueil et Saint-Cloud en 1687”, Revue de l’Histoire de Versailles et de Seine-et-Oise, 1926, p. 283.

M. Bimbenet-Privat, “Thomas Lejuge : orfèvre de métier, graveur par nécessité”, dans L’Estampe au Grand Siècle. Etudes offertes à Maxime Préaud, Paris, 2010, p. 415-427.

Archives du Ministère des Affaires étrangères, Mémoires et documents France 2040, fol. 68 v°. I am grateful toward Isabelle Richefort and Alexandre Cojannot for their help during my research.

10. M ; Bimbenet-Privat, “Les pierreries de Louis XIV : objets de collection et instruments politiques”, Etudes sur l’ancienne France offertes en hommage à Michel Antoine. Textes réunis par Bernard Barbiche et Yves-Marie Bercé, Paris, 2003, p. 81-96. 11. Paris, Archives nationales, Minutier central, CXVIII, 106 ; 7 février 1676. 12. M. Bimbenet-Privat, Les orfèvres et l’orfèvrerie de Paris au XVIIe siècle, Paris, 2002, I, p. 251. 13. I am very grateful towards Emmanuel Plé, Anne-Cécile Viseux, Maria-Philomena Guerra, Marc-André Paulin and Roberta Cortopassi who were in charge of this conservation and research work. 14. I am very grateful towards the owners of this mirror who generously allowed me to publish it. 15. I deeply thank my friends Gordon and Philippa Glanville for our exchanges along this research.

Figure 14. Idem: details of the flowers and scrolls. Private collection. 85

Meissen Porcelain Figures in the Royal Court Pantries in Dresden, Warsaw and Hubertusburg: A Crash Course in the Hof-Conditorei inventories taken ahead of the Seven Years War1 Maureen Cassidy-Geiger

Clare Le Corbeiller raised our awareness of the function of porcelain figures on the dessert table in a lecture she delivered at the International Ceramics Fair and Seminar in 1987 entitled “Porcelain as Sculpture.” Subsequently published in the 1988 handbook, she noted that European porcelain figures were conspicuously absent from the mid-eighteenth-century interiors portrayed by artists. After rhetorically posing the question “If porcelain sculpture was not a collector’s medium in the salon or library, then where was it?” she answered it: “In the office, the pantry, where the chef d’office prepared the desserts. And this introduces what is perhaps the most immediate inspiration for porcelain as sculpture: sugar sculpture.”

Figure 1. A page from the 1733 Dresden Hof-Conditorei inventory (with entries to 1748).

In the intervening quarter century, notwithstanding that some Meissen figures and tablewares are marked “K.H.C.” for Königliche HofConditorei [Royal Court Pantry] and that three centuries of court pantry inventories survive in the Sächsisches Hauptstaatsarchiv in Dresden, the go-to sources have been and remain the Arbeitsberichte, the historic manufactory work reports held by the Meissen archives, and the Japanese Palace inventories deposited in the Porzellansammlung and in the Hauptstaatsarchiv in Dresden2. The Arbeitsberichte are weekly logs of the activities of the modeling studio staff and allow us to date a model and assign it to one sculptor or another. Some entries indicate who commissioned the model or the intended recipient but there is no confirmation that a model was actually cast in porcelain or how many examples of a model might have been produced. Also, the work reports were suspended from 1749-54 and again during the Seven Years War, 1756-63, so there are critical gaps just as

figural production at Meissen hit its stride3. The three inventories of the Japanese Palace (1721-27, 1770 and 1779 with later additions) record the ceramics and other furnishings of Augustus the Strong’s fantastical ‘porcelain palace’ and can be used to establish provenance but the Meissen figures displayed or stored in the palace were almost exclusively the large Meissen animals and birds that preceded small figure production for the dessert. 87

The court pantry was responsible for the edibles and table decorations for the dessert course, the grand finale of any formal meal. The figures and other porcelains required for setting the table were stored in the pantry in cabinets, wooden crates and crowded shelves that probably resembled modern museum storerooms or study storage. The pantry was one of four distinct departments involved in mounting a state banquet. The others were the court kitchen, which prepared the savories for the first three courses of the meal, the court cellar, which was responsible for the beverages and drink wares, and the silver vault, which provided the precious table wares and some porcelain dishes. The pantry was the only department with porcelain figures. The porcelains and other equipment belonging to the court pantry were inventoried at different points in time. The 1733 inventory has entries through 1748 (Fig. 1). The first figures commissioned for table decoration appear in the Arbeitsberichte in 1735 but this production was not for the king; rather, it was for Count Sulkowski and his successor, Count Br端hl. The first porcelain figures commissioned for the royal table were decorations for the three royal marriages of 1747; they appear in the Arbeitsberichte in 1746 and were delivered to the court pantry between 1746 and 1748. According to the inventory, there were three times as many white figures as enameled ones; of the approximately 1400 small porcelain sculptures, 320 were polychrome and1065 were white. This number does not include dozens of pedestals for figural sculptures, trees, regalia, small vases and the hundreds of architectural components required for a classical temple4. The 1752 inventory (with additions through 1764) lists approximately 3000 figures; around 1000 were enameled and twice as many were white (Fig. 2). 88

Figure 2. A page from the 1752 Dresden Hof-Conditorei inventory with entries to 1764 and later undates in pencil. Figure 3. A page from the 1750 Warsaw Hof-Conditorei inventory. Figure 4. Cover page to the delivery lists for the 1755 Hubertusburg Hof-Conditorei. Figure 5. A page from the 1841 Dresden Hof-Conditorei inventory.

Dresden was not the only seat in the Saxon-Polish realm with a court pantry. A 1750 inventory (with additions through 1764) exists for a pantry in Warsaw, where August III spent much of each year as King of Poland (Fig. 3). That inventory indicates around 1400 enameled figures and 1600 white ones. There was also a short-lived court pantry in the royal hunting palace of Hubertusburg, a regular stop for the court en route to the thrice-yearly Leipzig fairs and for foreign ministers; that inventory dates to 1755 and records approximately 1400 enameled figures and 1500 in white (Fig. 4). Otherwise, equipment and decorations from the Dresden court pantry were shuttled as needed to other palaces in the orbit of Dresden by the Reiseconditor. After the Seven Years War, in 1768, the royal court pantries were consolidated in Dresden. By the time of the 1774 inventory, Acier was producing decorative biscuit sculpture at Meissen and the stock of old-fashioned glazed figures had declined to approximately 1500 polychrome figures and 700 white ones5. In 1841, there were only 51 enameled figures and none of the white (Fig. 5). Although a small number of dessert-type figures are indicated in the 1768 inventory of the so-called â&#x20AC;&#x153;Porcellain-Cabinetâ&#x20AC;? in the royal Taschenberg Palais in Dresden, signaling a shift in appreciation and function from table decoration to collectorâ&#x20AC;&#x2122;s item, it is not known if they migrated there from the court pantry6. The small Meissen figures in the Porzellansammlung 89

today were acquired in the early twentieth-century to round out the eighteenth-century holdings and are not, therefore, directly descended from the royal court pantries. Small Meissen figures were also deployed on ministerial tables and accompanied diplomatic gifts. In 1753, Count von Brühl owned approximately 2000 figures, enameled and white7. 184 Meissen figures were shipped to Russia in 1745 with the St. Andrew Service, over 200 were gifted to France in 1747 and 172 figures went to Sir Charles Hanbury Williams in 1750. Add these to the numbers in the royal inventories and there were at least 11,000 Meissen dessert figures in existence by the outbreak of the Seven Years War and half were glazed white8. Comparison of the Dresden and Warsaw inventories, however, shows that dozens of figures inventoried in the Dresden Hof-Conditorei were actually transferred to Warsaw in 1748, where they were inventoried again. Thus the total of 11,000 is incorrect and must be reconsidered9. Nevertheless, the scarcity of glazed white Meissen figures today aligns with the recent scientific evidence for later enameling on rococo models (Fig. 6). 90

The 1750 Warsaw and 1752 Dresden inventories exist in duplicate. Presumably one copy was kept by the Oberhofmarschallamt (chief household administration) while the other was on-site in the pantry. At some point one copy of each inventory was updated in pencil (see Fig. 2), perhaps during the consolidation of 1768, indicating such significant losses and damage to the collection, the 1841 tally of just fifty-one figures is unsurprising. Although most of the entries are very specific in naming and describing a figure in a way that correlates with known models, helped by very precise measurements, large numbers of Commedia figures in the 1752 Dresden inventory are lumped together as if the secretary didn’t know who was who: “147 Stück, verschiedene Mannes. Masquerade- u. Theatral. Figuren” or “26. Stück Masquen in Domino.” In some instances, white figures are noted to have painting or gilding applied by the chef d’office who was accustomed to painting and gilding sugar sculpture. Children with wings are indicated in the royal court pantries (“Kinder mit Flügeln” or “stehende Cupidos mit Masquen”), as opposed to the children without wings commissioned by marchands-mercier for export to France. Monkey Band figures, likewise in the French

Figure 6. A group of white Meissen figures, animals and trees in the Residenz, Munich. Figure 7a. 7b. A plate and two of several dozen small vases for the dessert in the ‘Hubertusburg’ pattern. Meissen porcelain, ca. 1740. H. 2.3 cm. Stiftung Ernst Schneider in Schloss Lustheim.

taste, do not appear in the royal inventories though Count Brühl owned at least eighteen. Pieces marked “K.H.C.” or “K.H.C.W.” are so-noted in the inventories, for example: “598. Acht Groupgen, jede von 3. Kinder, als 1. liegend, das 2te. kniend, und das 3te. stehend 3 ¾ Zoll hoch gezeichnet K.H.C.W.” Some items marked “K.H.C.” were among those transferred to Warsaw and the Dresden mark is indicated in the Warsaw inventory. The bulk of the porcelains were unmarked, however, so an unmarked figure that conforms to an entry could rightly have a royal provenance. Porcelain from the factory in Meissen came by wagon or boat to the Warenlager (warehouse) in Dresden, the way station for porcelain destined for the Japanese Palace, the royal palaces, the fairs or for export abroad. A delivery list for the Hubertusburg court pantry indicates it was assembled between September and November 1755 from stock at the factory and items in the Dresden Warenlager (Fig. 4). King August III and his family resided in the palace of Hubertusburg between Oct. 1 and Nov. 29, 1755, spending Oct. 8-17 at the fair in Leipzig. Various family occasions were celebrated at Hubertusburg with a succession of banquets doubtless requiring elaborate desserts. A Meissen table service decorated with butterflies, a pattern long known to collectors, accompanied the dessert figures sent to Hubertusburg, indicating it was a royal pattern which could perhaps be identified hereafter as the ‘Hubertusburg’ service (Fig. 7)10. At his death in 1763, Count Brühl owned at least seven Meissen table services and a royal-size collection of porcelain figures and decorations for the dessert. The Meissen decorations included sixty-two small buildings (“Zwey und sechzig Stück Häuser von diversen Sorten”) as well as trees, animals, people, garden architecture and an imposing porcelain miniature of the Mattielli fountain at Brühl’s palace in Dresden’s Friedrichstadt district.11 Sir Charles Hanbury Williams witnessed the fountain running with rosewater at a banquet for 206 persons hosted by Brühl in 1748, where it functioned 91

as a representation of the Count’s Dresden properties and, by extension, his ministerial position and noble title12. The visual magnificence of his three-dozen palaces and properties in Saxony and his art collections were a statement of the legitimacy of his position as Prime Minister. Within the Polish realm, he likewise built a network of self-sustaining estates in Grochwitz, Nischwitz, Młociny, Wola, Nowy Świat and elsewhere to convey the same message. Akin to Schloss Pförten in Brody, the Polish estates were conceived by royal architects like Matthäus Daniel Pöppelmann and Johann Christoph Knöffel and each featured a palace with formal gardens and water features supported by a town with a church, townhouses, farms and hunting grounds (Figs. 8, 9 and 10).13 An inventory of Brühl’s pantry taken in 1753 listed nearly a hundred small buildings, naming four churches, three palaces, fifty-one ‘townhouses,’ thirteen farmhouses and six gondolas, as would be required for representing the Prime Minister’s Polish estates in a representational fashion (Figs. 11 and 12).14 Such buildings were not a feature of the royal court pantries, underscoring the individuality and originality of Brühl’s approach to white gold.15 92

Figure 8. Aerial view of the former Brühl estate of Schloss Pförten. Figure 9. Design for the palace for the Brühl estate in Nischwitz. Landesamt für Denkmalpflege Sachsen, PS-M36-II-Bl. 5. Figure 10. J. Fr. Knöbel design for a church for the Brühl estate in Wola.

I would like to acknowledge the kind assistance provided by the late Claus Boltz, Cyrille Froissart, Sebastian Kuhn, Reino Liefke, Christina Prescott-Walker, Johannes Rafael, Martin Schuster, Dominic Simpson, Julia Weber, Jody Wilkie, Samuel Wittwer, Alfred Ziffer and the staff of the Sächsisches Hauptstaatsarchiv in Dresden. Publications by Stefan Bursche, Meredith Chilton, Ivan Day and Selma Schwartz have been informative and influential.

1. The inventories under discussion are in the Sächsisches Hauptstaatsarchiv Dresden, 10006 Oberhofmarschallamt, T, XI, Nr. 53a-b, 54a-b, 60 and 61a-b. I am currently preparing transcriptions of these inventories for publication. For further background, see Maureen Cassidy-Geiger, “The Hof-Conditorey in Dresden: Traditions and Innovations in Sugar and Porcelain”, Ulrich Pietsch and Claudia Banz (eds.), Triumph of the Blue Swords: Meissen Porcelain for Aristocracy and Bourgeoisie 1710-1815 (Dresden/Leipzig, 2010), pp. 120-131. 2. A dozen drawings representing Meissen table decorations of ca. 1745-55 in the KupferstichKabinett in Dresden (inv. nrs. C6644-6659) have likewise been overlooked by Meissen scholars until recently; Reino Liefke and I will both be discussing and illustrating some of the drawings in forthcoming publications. 3. The Arbeitsberichte warrants comprehensive study and an annotated edition. Portions of a DDR-era typoscript of selected entries were published under the title Die Arbeitsberichte des Meissener Porzellanmodelleurs Johann Joachim Kaendler 1706-1775 (Leipzig, 2002). For further discussion, see Johannes Rafael, Zur “Taxa Kaendler”, KERAMOS 203/204, 2009, pp. 25-70. See as well Katharina Christiane Herzog’s dissertation “Mythologische Kleinplastik in Meissener Porzellan 1710-1775” [http://katalog.ub.uni-heidelberg.de/ cgi-bin/titel.cgi?katkey=67284063] 4. Patricia Ferguson traces the history of Meissen porcelain temples in “Felbrigg’s Folly: The Meissen ‘Temple of Honour’ in Dresden”, National Trust Historic Houses & Collections Annual 2010, pp. 12-17. 5. For more on Acier, see Pauline Gräfin von Spee’s dissertation, “Die Klassizistische Porzellanplastik der Meissener Manufaktur von 1764bis 1814” [http:// hss.ulb.uni-bonn.de/2004/0530/0530.htm] Figure 11. Church. Meissen porcelain, ca. 175060. From Melitta Kunze-Köllensperger, Idylle in Porzellan (Leipzig, 1996), p. 20, fig. 5.

7. For transcriptions of the 1753 and later inventories of Brühl’s porcelains, see Schwanenservice. Meissener Porzellan für Heinrich Graf von Brühl (Dresden, 2000). 8. The quantities exported to France by the marchands-merciers would inflate this number. 9. I have created a spreadsheet to track the numbers and types of tables decorations in the inventories, and the losses. The results will be published with the inventory transcriptions. 10. See Julia Weber, Meissener Porzellane mit Dekoren nach ostasiatischen Vorbildern, vol. II, pp. 344-356. 11. Not to be confused with his palace on the Elbe. 12. Reino Liefke has overseen the restoration of what survives of the famous porcelain fountain in the V&A and will publish his research; for some background, see http://www.vam.ac.uk/blog/creating-neweurope-1600-1800-galleries/in-the-middle-of-thetable-was-a-fountain-which-ran-all-the-while-withrose-water 13. See Anna Olenska, “Magnificentia principis: Brühl’s seats in Poland as a means of his political self-propaganda”, Tomasz Torbus, “Baustaftungen Heinrich Graf Brühl in Sachsen: Beispiel Nischwitz und Pförten (Brody)” and Jakub Sito, Architekten und Bildhauer im Dienste Heinrich von Brühls in Warschau” in Ute Christina Koch and Cristina Ruggero (eds), Premierminister und Mäzen. Heinrich Graf von Brühl (1700-1763)/ Primo ministro e mecenate. Il conte Heinrich von Brühl (1700-1763) [forthcoming] 14. Melitta Kunze-Köllensperger, Idylle in Porzellan: Kostbare Tischdekoration aus Meissen (Leipzig, 1996). The farmhouse models are known with giltbronze mounts, indicating a French clientele for this particular building type. 15. By chance, two churches and two farmhouses appear in the Hubertusburg inventory.

6. Sächsisches Hauptstaatsarchiv Dresden, Hausmarschallamt, R XVI, Nr. 37, Inventarium über das Churfürstli: Neue Flügelgebæude […] Taschenberg, fols. 39-49.

Figure 12. Townhouse. Meissen porcelain, model ca. 1750. From Melitta Kunze-Köllensperger, Idylle in Porzellan (Leipzig, 1996), p. 29, fig. 11. 93

Nature, Porcelain and the Age of the Enlightenment. A Natural History of Early English Porcelain and its place in the eighteenth century home. Paul Crane

The Age of Enlightenment in eighteenth century Europe established rules and rationalism in science and nature which swept aside the former superstitions and old medieval orders to highlight reality and learning within the educated classes. This in turn led to a fantasy of playful imagination that was to be the playground where Rococo design and form could firmly take root. Therefore just as Porcelain was a new European product and invention of the Enlightenment, it also became a substance with which modellers and designers, inspired by and developing the Rococo style, could play and entice. Europe in the mid eighteenth century was riveted by an insatiable appetite for knowledge, exploration and discovery. This forged a new scientific approach, which was to spearhead the Age of the Enlightenment. Through new eminent publications, science and nature became the pinnacle of taste and fashion amongst the aristocracy, who decorated their homes with this organic natural force of life. It is important to understand that the development of porcelain in England is directly inspired by a natural yearning to question and learn from the scientific breakthroughs and new understandings, which categorise this period of learning and discovery. Exploration and science, both essentially funded by the ruling classes now began to go hand in hand with new styles that were to capture the imagination of artists, sculptors, modellers and their patrons of the period. This led to a transformation of the theatrical baroque into a new and natural Rococo style that endorsed manâ&#x20AC;&#x2122;s triumph over nature.

Figure 1. Chelsea figure of a Chinaman, c. 1745-49. Private Collection.

It was at the Chelsea manufactory, the partnership of silversmith Nicholas Sprimont and Charles Gouyn, that porcelain was developed first in London. Nicholas Sprimont had the necessary knowledge of form and design, to appeal to the potential aristocratic clientele and Gouyn had the knowledge of paste and glaze. The new manufactory, located at the house leased from Mr. Anthony Supply in Church Lane Chelsea provided an unparalleled opportunity for enlightenment and the arts to fuse together. One can only imagine the experiments and work needed to succeed in this venture but on

the 5th March 1745 the Daily Advertiser stated that â&#x20AC;&#x2DC;Chelsea China is arrived to such perfection, as to equal if not surpass the finest old Japanâ&#x20AC;&#x2122;1. The key to success in a venture of this sort, the creation of a new and novel material, was a certainty of aristocratic support and custom, this could not be relied upon due to the fickle nature of fashion and could only be achieved with a style that would appeal to the higher orders of society or designs that would easily understand, the use to begin with of silver forms. The first period of the Chelsea Manufactory spans the period 1745-49, during which time, the new and novel products were marked with an incised triangle, the alchemical symbol of fire. When observing these extremely early and rare surviving pieces of this first period, it is quite clear that they are derived from a working knowledge of the silver form and that it is evident that the modellers have an extraordinarily high 95

degree of sculpting experience. The characteristics of the porcelain are a thinly pliable body easy to throw and model and therefore also would take moulded details easily. There was an addition of lead and crushed glass or cullet, which creates a high translucence. When light is transmitted through the glazed pieces one can see pinpricks of luminosity amongst a myriad of bubbles through the paste, producing a highly tactile and alluring body similar to that of the contemporary products of Vincennes manufactory. Nicholas Sprimont was certainly still attached to his Silversmith business in Soho, therefore it is not surprising that exact counterparts found their way into Chelsea porcelain. The unique Chelsea example of a figure of a Chinaman fisherman (Fig. 1) this Rococo piece, formerly belonged to Dr. F.Severne Mackenna2. and now resides in a ‘Chinese Room’ of an English Private Collection, dating from circa 1745-49, it is marked on the underside with an incised triangle mark. The applied shells on this piece are moulded from life and are placed together with seaweed recreated by the use of sieved clay. Juxtaposed playfully with these forms is a Chinaman surmounting the group, or rather the European vision of such a character, teetering over the shells in search of Neptune’s fish. This group illustrates a dichotomy of enlightenment and playful rococo asymmetry. The shell forms transfer from silver inspiration and knowledge of casting but also from the insatiable appetite for the collecting of shells and understanding conchology. Therefore through Man’s quest for knowledge and science through travel and exploration the Age of Enlightenment was responsible for bringing nature indoors and was recreated within the living space. As man chose to study nature, life was breathed into the Country homes of the ruling elite. A very rare silver shaped Chelsea marine salt form, (Fig. 2a) the marine shell inspired receptacle supported on two dolphins, circa 1745-49 and outside decorated probably at the workshop of William Duesbury, due to the characteristics of the rendition of the seaweeds. The pen and ink drawing (Fig. 2b) shows a very similar design attributed to Nicholas Sprimont, within the Victoria and Albert Museum3.The shell moulded Chelsea creamboat, (Fig. 3), sits on a naturalistic shell and rockwork base, it is highly naturalistic rococo but 96

Figure 2a. Chelsea Salt, outside decorated, c. 1745-49. Courtesy Christies.

Figure 2b. Pen and Ink design for a salt cellar and two spoons, attributed to Nicholas Sprimont. Victoria and Albert Museum.

extending into fantasy with the tentacle of the octopus that lurches from the inside of the shell to form the handle of this extremely interesting form, dating from the incised triangle period. The Goat and Bee jug, (Fig. 4),illustrates a playful dichotomy of naturalism and fantasy, dating from circa 1745 and bearing the incised triangle mark it is a breath taking example of symbolism, fantasy and naturalism mixed into one virtuoso model. Sadly history dictates that we do not know the gifted modeller that was involved with making this or any other Goat and Bee Jug, however its comparison to the reclined goats at the base of the silver Ashburnham centrepiece4 ,bearing the mark of Nicholas Sprimont himself, is very close indeed. Beneath the spout the cast bee carefully walks across flowering sprigs of roses. The slight asymmetry of the essentially sturdy baluster form is embued with a chinoiserie element of the design that mixes with the natural rococo element. If one views the piece from above the outline of the top of the jug appears to suggest the outline of a peach shape, with the necessary leaves issuing from the upper terminal of the oak sprigged handle to enhance this intricate suggestion. Related to this model and dating to incised triangle period circa 1745-49, is the highly naturalistically modelled model of the Finch, (Fig. 5) perched within a leafy tree stump that is effectively used as a kiln support to augment the natural capriciousness of this model. The details of the feathers, beak and extended claws of the model lead one to deduce that this bird has been carefully observed at close quarters.

Figure 3. Chelsea cream jug, c. 1745-49. Private Collection. Figure 4. Chelsea Goat and Bee Jug, c. 1745-49. Private Collection.

The man who in some way was responsible for this keen interest in naturalism and therefore source of modelling, was George Edwards known as ‘The Father of Ornithology’5. He was appointed Librarian to the Royal College of Physicians in 1743 on the recommendation of the great naturalist and collector, Sir Hans Sloane. His great enlightened publication was the ‘Natural History of Uncommon birds’ published in 4 volumes between 1743 and 1764. This astonishing set of volumes recorded some 600 species, including the Cock and Hen ‘Cold Finches’ (Fig. 6) manufactured at Bow circa 1752 and taken in inspiration from pl. No. 30, Volume 1. Edwards visited Hans Sloane on a weekly 97

basis6 and it is easy to see that the relationship was one of pupil and mentor. Sir Hans Sloane had, during and after his travels, collected an astonishing array of natural specimens, the dried and preserved examples are now seen in the Enlightenment Galleries of the British Museum and the Natural History Museum. He also had collected a good many live specimens of birds and animals, which were kept in a Menagerie at Cheyne Manor7. It was here that Edwards recorded and sketched many of the examples that we see in the four Volumes that make up the Natural History of Uncommon Birds, which in part he dedicated to Sir Hans Sloane and in part to God. Edwards notes that these particular birds were lent to him by Taylor White Esq, ‘who procur’d them from the Peak in Derbyshire’8. These porcelain examples modelled to an astonishingly high degree of natural accuracy and left in the white, show that the Bow manufactory, like that of Chelsea had access to his volumes. They provided a natural source of examples, recently recorded and modelled from life that perfectly captured the imagination of the new scientifically minded aristocracy and its quest for enlightened knowledge. The Chelsea model of the Owl, circa 1750, (Fig. 7) taken from Volume 2 pl. 60, ‘The Great Hawk of Horned Owl’, shows the skill and faithfulness of the modeller to the original plates. Botanical Designs and Leaf Forms The Raised Anchor period at Chelsea coincided with the falling out or disagreement between Sprimont and Gouyn. By this time the manufactory had become extremely successful and in need of growth and expansion. There was a need to streamline useful production to include a wider variety of new and simpler forms to sell in larger quantities to an eager larger audience. In order to facilitate the new business strategy, the manufactory moved to larger premises on Lawrence Street9. Mr. Supply’s house continued to be leased from 1751 where the training of young modellers and painters took place. On the 9th January 1750 the Daily Advertiser published a notice: ‘The Manufacturer of China ware at Chelsea… has been employed ever since his last sale in making 98

Figure 5. Chelsea Finch, c. 174549, ex Rous Lench Collection. Brian Haughton Gallery. Figure 6. Bow Cock and Hen Cold Finchs, circa 1752. Brian Haughton Gallery.

Figure 7. Chelsea Great Hawk or Horned Owl, c. 1745-49. Private Collection. Figure 8. Chelsea ‘Scalopendrium’ tea bowl and saucer, c. 1749-52, raised anchor mark. Private Collection.

a considerable Parcel…it will consist of a variety of services for tea, coffee, chocolate, porringers, dishes and plates, of different forms and patterns, and of a great variety of pieces for ornament in a taste entirely new’10. This new taste heralded a departure from silver forms although inevitably some that were easy to produce remained. The pronounced change in decoration and ornament was the Japanese taste or kakiemon palette, however it also coincided with a new and better recipe and mix of paste. The new and improved body included more lime, calcined shells, less lead (therefore more pliable) and tin oxide was also added to the glaze creating a whiter body. Leaf forms within this period of production include, the Scalopendrium moulded teabowl and saucer, (Fig. 8) complete with the new mark of the stamped and applied oval raised anchor in crisp low relief. A notable feature of the new mix are the translucent ‘moons’ or air bubbles that are characteristic of those pieces marked with the raised anchor. The village of Chelsea was sited outside of the city of London on the banks of the river Thames, thus the soil was extremely fertile being rich with alluvial deposits. In the mid eighteenth century this area also consisted of tree nurseries, which were depositories for seedlings brought back from foreign scientific exploration abroad11. There were also market gardens for the production of every kind of vegetable and fruit needed for the hungry environs of London. Sir Hans Sloane, the great long lived naturalist lived at Cheyne Manor and leased the area of the Physic garden to the Royal Society of Apothecaries in perpetuity. It was here that Phillip Miller came, on the recommendation of Sloane, to become Head Gardener or Curator. Miller’s sisterin- law Sarah Kennett was married in 1738 to a highly skilled botanical artist George Dionysius Ehret. Ehret was chosen to illustrate a number of plates in Phillip Miller’s book, ‘Figures of the most beautiful, useful and uncommon plants described in the gardener’s dictionary’, published in London in 1752. These illustrations taken from the first of Miller’s two volumes, together with those taken from Plantae Selectae, published at intervals by Dr. Trew of Nuremburg from 1750, both provided a design source for the Chelsea painters to copy. This taste for the decoration of natural 99

specimens spawned a range of naturalistic tableware that was to be fittingly named in 1758 after Sir Hans Sloane himself. The term was coined through an advertisement in Faulkner’s Dublin Journal 1st to 4th July 1758 for an auction of Chelsea Porcelain at Mr. Young’s rooms at Cork Hill. ‘Three fine tureens, one in curious plants enamelled from Sir Hans Sloanes plants’. Plants such as Cactus, Pineapple, Banana and Cocoa tree, previously all unknown to society, were presented in full bloom as well as with their fruits on the new Chelsea porcelain, bearing the red anchor mark. An original drawing by Ehret of the Coffee Bush12. Is copied, by the painters at Chelsea on the ‘Hans Sloane’ botanical plate (Fig. 9). At this time the paste was further refined and enhanced with a tight fitting glaze over a closely grained and finely mixed body, which took crisply moulded detail extremely well13. Chelsea became a melting pot of Enlightened Rococo naturalistic design as the role of nature breathed life as if from a Garden of Eden upon the tables of the Aristocracy, keen to show off their level of nurture afforded by these interpretations of God’s dazzling abundance. The melon scalloped shaped dish (Fig. 10) and the Tiger lily soup plate (Fig. 11) are some of the most dazzling examples of the refinement of painting at this heady period. The Pineapple 100

Box (Fig. 12) and Asparagus Box (Fig. 13), show the ingenious inventiveness of the modellers with the three dimensional form, in creating naturalistic tureens, boxes and covers which enhance the trompe l’oeil effect, see the Artichoke box (Fig. 14) and the Cauliflower, melon and lettuce boxes (Fig. 15). Tureens were now produced to hold a relevant part of the conceit of their image and form, to the great entertainment of the dinner guest, whether fruit, vegetable or animal. The pineapple, a symbol of abundance and wealth, for example, could be

Figure 9. Acacia, coffee bush, Chelsea plate, c. 1755, red anchor mark. After G.D.Ehret drawing. Private Collection. Figure 10. Chelsea dish, c. 1755, red anchor mark. Private Collection. Figure 11. Chelsea soup plate, c. 1755. Ex Earls Egremont. Petworth House. Private Collection.

filled with crystallised fruit pieces or exotic sorbet. The Chelsea Sale catalogue of 1755, the first day commencing 10th March, is a roll call of delicate delights and naturalistic forms, using as inspiration the produce which literally grew around the manufactory itself14. The sale conducted by Richard Ford in his rooms at the Haymarket, was the production of the previous year at Chelsea which was sold to the aristocracy and wealthy classes who were keen to acquire pieces for use in their dining rooms.

Figure 12. Chelsea pineapple box, cover and stand, c. 1755, red anchor marks. Private Collection. Figure 13. Chelsea asparagus box and cover, c. 1755, red anchor marks and numeral 12. Private Collection. Figure 14. Chelsea artichoke, c. 1754-56, red anchor marks. Lot 47 on 10th Mar. 1755. â&#x20AC;&#x2DC;Two fine Artichokes, second sizeâ&#x20AC;&#x2122;. Figure 15. Chelsea cauliflower, melon and lettuce boxes, c. 1755. Red anchor marks.

Zoomorphic Forms Meat was one of the greatest forms of luxury within the eighteenth century home and the serving and presentation of it on the tables of the aristocracy demanded a stage set of the highest calibre. The dining rooms of their stately homes showed a land of prosperity and plenty which included game related objects which endorsed their landed estates. Chelsea porcelain provided models, forms and shapes for every occasion and thereby marked the passing of each season. Hunting particularly was a symbol of power and social standing and the now refined porcelain body found its perfect use within forms representing the chase and captured quarry for the table. Some forms took their inspiration from Meissen, perhaps through objects owned by Sir Charles Hanbury-Williams, at Holland House. Chelsea took their inspiration and 101

literally grew it to invent a vast new range of forms and shapes, which heralded a natural rococo born out of enlightened publications. The Eel boxes (Fig. 16), Plaice tureen (Fig. 17), Partridge Boxes (Fig. 18), Duck tureen (Fig. 19), Swan tureen (Fig. 20), Hen and chicks tureen (Fig. 21) and Boar’s head tureen (Fig. 22), show models found within the surviving 1755 sale catalogue. The largest tureens at Chelsea include the Swan, (Fig. 20), the Hen and Chicks, (Fig. 21), and the Boar’s Head, (Fig. 22). They embrace both the Zoomorphic and the Leaf forms. The Hen and Chicks rests on the brightest of the leaf and floral stands, it is also one of the largest. The Swan and Duck tureens, together with the Fish and Eels, all rest on stands moulded with strewn river plants and their leaves, no doubt procured from the banks of the Thames near the manufactory. The illusion of the creatures themselves is strengthened by the overlapping of the leaves or shells on the rim of the stands, thus enhancing their naturalistic effect. The Boar’s Head tureen, (Fig. 22), rests on a stand formed as a quilted shield, moulded with an exotic scimitar and quiver of arrows. This may be a representation of the shield armour with which the aristocrat or hunter would dodge the charging boar or it may be representing a 102

Figure 16. Chelsea, eel boxes, covers and stands, c. 1755, red anchor marks, 15 pairs sold in 1755. Brian Haughton Gallery. Figure 17. Chelsea plaice tureen, cover and stand, c. 1756. Trustees of the British Museum. Figure 18. Chelsea partridge tureens and covers. March 10th 1755, ‘Lot 11, Two fine partridges for desart’. Figure 19. Chelsea duck tureen, cover and stand, c. 1754-56. Red anchor marks and numeral 26. Lot 65 10th Mar 1755, ‘Four very fine ducks in different postures’.

sugar sculpture. If one considers the arrows as not just the means of the killing but symbolic of the attributes of Cupid, it may be that this boar’s head could be symbolic of the culmination of the chase of love as well as the hunt.

Figure 20. Chelsea Swan tureen, cover and stand, c 1755. Cecil Higgins Museum. Figure 21. Chelsea Hen and Chicks Tureen. Lot 50, 10th Mar. 1755. Private Collection. Figure 22. Chelsea Boar’s Head tureen, cover and stand, c. 1755. Winterthur Museum, Campbell Soup Tureen Collection, bought by Mrs. Dorrance.

The rococo style in England begins with an interpretation of frivolity seen through Chinese interiors and began to interplay with naturalism through the interest of the Cabinet of Curiosity. From the invention and manufacture of porcelain in London in the 1740’s, where silver greatly influenced the form of objects in order to appeal to the aristocratic clientele, the rococo found a new and novel medium with which to conjure. A natural interest in Science, fuelled by exploration and discovery, influenced a transformation of the English rococo style from frivolity and fantasy to a real depiction of nature, essentially through the publication of Natural History, Botanical and Ornithological source books. The successful refinement of the porcelain body allowed for the modelling of large scale naturalistic and Zoomorphic tureen forms that were ‘As Big as Life’15, that brought God’s creation into the English interior, in all its dazzling organic splendour and array. 103

Elizabeth Adams. 2001 ‘Chelsea Porcelain’. Ch 2. P.20.

Dr. F. Severne Mackenna. 1948 ‘Chelsea Porcelain the Triangle and Raised Anchor Wares’. Fig 36.

Elizabeth Adams. Ch. 2 p. 18.

Dr. Philippa Glanville. Victoria and Albert Museum Exhibition Catalogue, ‘A Grand Design’. No. 147.

Through to 8. Generally. Stuart Mason. 1992 ‘George Edwards, The Bedell and his Birds’ Royal College of Physicians of London.

Elizabeth Adams, Ch. 4. And Bevis Hillier. ECC trans Vol 20. Pt 3. 2009 ‘New Findings on John Offley and Anthony Supply’.

10. Elizabeth Adams, Ch. 6. Generally. 11. Hazel le Rougetel. 1990 ‘The Chelsea Gardener, Phillip Miller 1691-1771’ Ch. 4 beginning at page 28. 12. Natural History Museum. Image 022215. Sketch 215 Ehret collection of original sketches. Botany Library. Unbound. 13. Dr. F. Severne Mackenna. 1951 ‘Chelsea Porcelain The Red Anchor Wares’ General comments and observations. Ch. 17. 14. John Austin, ‘Chelsea Porcelain at Williamsburg’. Appendix, Chelsea 1755 Sale Facsimile Copy. 15. John Austin, ‘Chelsea Porcelain at Williamsburg’. Appendix, Chelsea 1755 Sale.

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The English Ceramic Circle (ECC), founded in 1927, is the oldest society dedicated to the study of British ceramics and enamels. The Circle welcomes new members, be they archaeologists, auctioneers, collectors, curators, dealers, potters, social historians and/or valuers. You can join online at www.englishceramiccircle.org.uk Members receive the annual Transactions of the Circle, which records the scholarly papers given by speakers to the Circleâ&#x20AC;&#x2122;s meetings throughout the year. Membership also includes electronic access to the full run of ECC Transactions since 1927. These have been digitised and are now available online. They provide a fascinating and invaluable research tool for anyone with an interest in British ceramic and enamels.

All ceramic images are ÂŠ Victoria & Albert Museum, London

Registered Charity 1097063

FINE EUROPEAN CERAMICS Wednesday 17 June 2015 New Bond Street, London

A HIGHLY IMPORTANT JAPANESE LACQUER TEA CHEST Made for the Austrian Imperial Court fitted with Du Paquier porcelain bottles and agate bowl, all mounted in filigree gold Vienna, circa 1725-30 ÂŁ120,000 - 180,000

bonhams.com/ceramics

ENQUIRIES +44 (0) 20 7468 8384 porcelain@bonhams.com Preview Sunday 14 June, 11.00 - 15.00 Monday 15 June, 9.00 - 16.30 Tuesday 16 June, 9.00 - 16.30 And by appointment

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SPECIALIST CHINESE ART AUCTIONS

A fine pair of Chinese doucai lingzhi wine cups, Yongzheng marks and of the period 1723-35.

Sold for £453,800

INVITING ENTRIES ENQUIRIES: John Axford +44 (0)1722 424506 johnaxford@woolleyandwallis.co.uk

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

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Sir Jacob Epstein, 1932 Estimate: £ 5,000–8,000 Bellmans

Portrait of Alfred Hitchcock Estimate: £ 2,500–3,500 Dreweatts & Bloomsbury

Rolex, circa 1989 Estimate: £ 16,500–18,500 Watches of Knightsbridge

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Balvenie Vintage Cask 1966 Estimate: £ 900–£1,100 McTear’s

Andreas Gursky Estimate: $ 600,000–800,000 Phillips

Doucai ‘Lotus & Bats’ Vase Estimate: £ 150,000–200,000 Peter Wilson

Bernard Leach Dish, circa 1950 Estimate: £ 1,200–£1,800 Maak

Troika Pottery Mask Estimate: £ 600–800 Chorley’s

A Tahitian Necklace Estimate: $ 2,000–3,000 Aspire Auctions

Robert Indiana ‘Golden Love’ Estimate: $ 3,000–5,000 Wright

Hans Wegner Swivel Chair Estimate: $ 8,000–12,000 LA Modern

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Art Antiques London Stand Plan

Coffee Bar

B22

B24

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C26

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B20

B21

Decking

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C32

C34

C38

Reception

AD Antiques . . . . . . . . . . . . . . . . . . . . . . C30

Christopher Buck Antiques. . . . . . . . . . . E14

Gander & White Shipping Ltd. . . . . . . . . B23

Luis Alegria LDA . . . . . . . . . . . . . . . . . . . D17

Lucy B Campbell Gallery. . . . . . . . . . . . . C24

Gibson Antiques Limited . . . . . . . . . . . . A1

Altea Maps & Charts. . . . . . . . . . . . . . . . . B1

The Canon Gallery. . . . . . . . . . . . . . . . . . . E6

The Gilded Lily . . . . . . . . . . . . . . . . . . . . C23

The British Antique Dealersâ&#x20AC;&#x2122; Association. E9

Goodman Fine Art. . . . . . . . . . . . . . . . . . C34

Bazaart. . . . . . . . . . . . . . . . . . . . . . . . . . . F16

Vanessa Clewes Salmon Modern & Contemporary Art. . . . . . . . . . . . . . . . . . C10

Gray MCA. . . . . . . . . . . . . . . . . . . . . . . . E24

Goulden & Thomas Fine Paintings . . . . . E18

Bell & Bird. . . . . . . . . . . . . . . . . . . . . . . . C32

Delomosne & Son Ltd. . . . . . . . . . . . . . . . D3

Berwald Oriental Art. . . . . . . . . . . . . . . . . A1

Martin Du Louvre. . . . . . . . . . . . . . . . . . . C26

Hampton Antiques . . . . . . . . . . . . . . . . . D16

Laura Bordignon. . . . . . . . . . . . . . . . . . . C18

Ted Few. . . . . . . . . . . . . . . . . . . . . . . . . . . D4

Julian Hartnoll. . . . . . . . . . . . . . . . . . . . . B20

J.H. Bourdon-Smith Ltd. . . . . . . . . . . . . . C38

D & M Freedman. . . . . . . . . . . . . . . . . . . B25

Brian Haughton Gallery. . . . . . . . . . . . . . E26

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Washrooms

E15

D12

E14

D17

D14

E18

D16

D32

E24

E22

F12

F14

Restaurant

E16

D30

D34

E26

F16

E30

F15

E32

E33

Lecture Theatre

Anthony Hepworth . . . . . . . . . . . . . . . . . B27

Timothy Millett . . . . . . . . . . . . . . . . . . . . E22

Röbbig München. . . . . . . . . . . . . . . . . . . D34

Jonathan Hope. . . . . . . . . . . . . . . . . . . . D14

Moore-Gwyn Fine Art. . . . . . . . . . . . . . . . C6

Röell Fine Art. . . . . . . . . . . . . . . . . . . . . . D12

John Howard. . . . . . . . . . . . . . . . . . . . . . . D8

Morelle Davidson . . . . . . . . . . . . . . . . . . F15

Samina Inc. . . . . . . . . . . . . . . . . . . . . . . . D30

Imperial Fine Books. . . . . . . . . . . . . . . . . . B5

Panter & Hall. . . . . . . . . . . . . . . . . . . . . . E15

Adrian Sassoon. . . . . . . . . . . . . . . . . . . . . E8

Licht & Morrison Ltd . . . . . . . . . . . . . . . . . C3

Christophe Perlès . . . . . . . . . . . . . . . . . . F12

Silverman Antiques. . . . . . . . . . . . . . . . . . C2

Sanda Lipton. . . . . . . . . . . . . . . . . . . . . . . E2

Potterton Books. . . . . . . . . . . . . . . . . . . . F14

Jacqueline Simcox Ltd . . . . . . . . . . . . . . A1

Lucas Rarities. . . . . . . . . . . . . . . . . . . . . . . D1

Sylvia Powell Decorative Arts . . . . . . . . . B21

Strachan Fine Art. . . . . . . . . . . . . . . . . . B24

E & H Manners . . . . . . . . . . . . . . . . . . . . E32

Raffety . . . . . . . . . . . . . . . . . . . . . . . . . . . D32

Mary Wise Antiques . . . . . . . . . . . . . . . . B22

Marchant. . . . . . . . . . . . . . . . . . . . . . . . . E16

Robyn Robb. . . . . . . . . . . . . . . . . . . . . . . E33

Rodney Woolley . . . . . . . . . . . . . . . . . . . E30

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23 – 29 October 2015 The Park Avenue Armory @ 67th Street, New York New York:+ 1 212 642 8572 London:+ 44 (0)20 7389 6555 www.haughton.com

17th – 23rd June 2016 Preview 16th June

Albert Memorial West Lawn, Kensington Gardens, London

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

Art Antiques London 2015

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