Man & Nature by Haughton International

Man & Nature

All exhibits are for sale 15 Duke Street St Jamesâ&#x20AC;&#x2122;s, London SW1Y 6DB Tel: +44 (0)207 389 6550 Email: gallery@haughton.com www.haughtongallery.com

Man & Nature

FOREWORD Our catalogue Man & Nature brings together a cross-section of ceramic works of art representing not only man’s triumph over nature in the eighteenth century but also a reflection of man’s evolving relationship with nature. ‘On Man, On Nature, On Human Life’, these words written by the poet William Wordsworth (1770-1850) in his posthumously published poem The Recluse, are the inspiration for this catalogue. While his unfinished work is a product of English Romanticism, the roots of his introspection can be traced to earlier Enlightenment thinking, which examined man’s role and impact on society and the environment. European discovery of the porcelain arcanum in the eighteenth century was a groundbreaking innovation

that was first developed by the alchemist Johann Friedrich Böttger (1682-1719) and produced at Meissen in 1710. Its secret soon spread throughout continental Europe and Britain where the earliest wares across manufactories were closely modelled after oriental prototypes. They incorporated decorative chinoiserie elements, reflecting the European fascination with the mysteries of the Orient. This was executed by directly copying designs such as the Japanese Kakiemon ‘Flying Squirrel’ motif, as seen on the extremely rare Chantilly Melon Shaped Teapot and Cover (Page 19). Forms were also adapted to suit European consumption, such as the Pair of Duke du Villeroy or Early Mennecy French porcelain Ormolu Mounted Chinese Seated Pagoda or Magot Candlesticks (Pages 82-83).

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forms for display in cabinets or on wall brackets. Native species and domestic animals such as the Meissen Pair of Goldfinches (Page 16) and the Pair of Canaries (Page 17) are also found in the royal Conditorei or ‘Pantry’ inventory records, demonstrating that these figures were used as table ornaments during dessert. For Count Heinrich Von Bruhl (1700-1763), Prime Minister of Saxony and Director of the Meissen manufactory, his inventory records listed 146 birds in the chapter ‘An Feder Viehe’ (Of Feathered Wildlife). A cross analysis between various Conditorei inventories indicates that these miniature polychrome enamelled birds were rare compared to the greater numbers of animal and white figures. While these birds and beasts brought visual delight and conversation to the dining table, they also represent a changing relationship between man and nature where the savage and wild could become tame and groomed.

As the trade routes to the Far East and the Americas became more established, the increased import of exotic goods revolutionised European daily life. Detailed accounts of other civilisations and the introduction of new plant and animal species expanded scientific understanding of the known world. Ornithology, as a scientific discipline, emerged with the Linnaean taxonomy of bird species in the eighteenth century. This new age of scientific progress affected all walks of life and in turn provided new sources of design inspiration for the ceramic industry.

In the eighteenth century, the circulation of detailed botanical and animal print illustrations captivated the public interest and inspired the porcelain manufactories. Published works by George Edwards’ Histoire Naturelle de Divers Oiseaux (1745) and Robert Sayer’s The Ladies Amusement (1762) encouraged the study of natural subjects, making it accessible and a source for porcelain designs. Naturalistically modelled objects such as the Chelsea Gilt-Mounted Bonbonniere in the Form of a Hen and Eight Chicks (Pages 86-87) were easily carried in the palm of one’s hand, providing amusement and function to daily life while facilitating safe encounters with nature.

At Meissen, production was impacted by the tradition of collecting naturalia rooted in the Kunstkammer or ‘Cabinet of Curiosities’. As a royal pursuit, the assemblage of natural wonders was integral to demonstrating the might of a ruler whose reach extended beyond their domain. For Augustus the Strong (1670-1733), King of Poland and Elector of Saxony, his collecting practice manifested itself as la maladie de porcelaine, which ultimately resulted in a personal collection of Chinese and Japanese porcelain of some 29,000 pieces, as well as his porcelain commission of large-scale exotic animal sculptures. These birds and beasts were modelled after print illustrations and also from his own live examples, which were kept in the royal menagerie at Schloss Moritzburg. While labour intensive to produce, the success of these sculptures translated into miniature

Man & Nature

FOREWORD In the very rare Pair of First Period Dr Wall Worcester ‘Blue Scale’ Bough Pots (Pages 68-69), we see how illustrated prints inspired the painted ‘Fancy Bird’ motif. These birds are harmoniously painted in verdant landscapes along the surface of these bough pots, which were used to cultivate bulbs indoors such as tulips and the fashionable hyacinth. Filled with water, bulbs held in the lobed interior cavity would take root and force flowers to bloom indoors out of season. The pierced holes on top could be filled with cut flowers and sprigs and these bough pots were displayed either on a mantelpiece or perhaps even hanging on a wall in a demonstration of man’s prowess over nature.

This unique style of ‘Blue Scale’ porcelain was a technical triumph of the Worcester manufactory translated successfully across forms, as seen in the individual examples of a group of First Period ‘Blue Scale’ Worcester (Pages 62-74). To achieve this decorative style, the reserved panels were first covered after the vessel was formed. A light underglaze cobalt oxide wash was then applied over the surface. Once dry, concentrated cobalt was hand painted to achieve the characteristic scale effect. After firing, the reserved panels were then painted in overglaze enamel, where each colour of these depicted ‘Fancy Birds’ were fired to achieve its vibrant plumage. Proudly strutting or swooping overhead in the distance, these exotic birds brought nature into the interior spaces of private apartments and were enhanced with a final gilt finish, which served to both outline borders and strategically cover blemishes resulting from the initial firing process. In the Chelsea Triple Scent Bottle and Stoppers in the Form of a Hen and Chicks (Pages 86-87), we see how porcelain was naturalistically moulded to cleverly contain three different scents within the bodies of the hen and chicks. Perfume and the rituals of the toilette became the height of fashion in the eighteenth century. The popularity of perfume is the result of the successful distillation of new fragrances, as well as the need to mask the offensive odours of urban life. Perfume and the toilette were initially intended to treat ailments and aid hygiene but their practice became a social engagement. The complex chemistry of perfumes was regarded as an artform and gifted in their whimsical porcelain containers. Friends and merchants made social visits and conducted business in a lady’s private apartment during the second toilette, as her hair was perfumed and cosmetics applied to transform her into an ‘ideal’ beauty. 4

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Along with perfume, stimulants such as tobacco introduced new social interactions. Consuming tobacco ground as snuff became an established social grace shared between friends and foes of the upper classes and its properties were widely praised, as is evident in the following verses: What introduces Whig or Tory, And reconciles them in their story, When each is boasting in his glory? A pinch of snuff! What warms without a conflagration Excites without intoxication, And rouses without irritation? A pinch of snuff! When friendship fades, and fortune‘s spent, And hope seems gone the way they went, One cheering ray of joy is sent— A pinch of snuff! Then let us sing in praise of snuff! And call it not such ‘horrid stuff,’ At which some frown, and others puff, And seem to flinch. But when a friend presents a box, Avoid the scruples and the shocks Of him who laughs and he who mocks, And take a pinch! Consumed by both men and women, snuff was scented using floral and animal extracts such as ambergris and musk to further enhance its qualities. It was carried in snuff boxes such as the St. Cloud Snuff Box modelled after a Budai (Pages 86-87), where the novel form with floral decoration alluded to the exotic origins of snuff. Like scent bottles, these innovatively formed and beautifully decorated porcelain containers could ease conversation while exhibiting refined taste as a fashionable luxury worn with one’s outfit, as in the example of Count Heinrich von Brühl who had a matching snuff box for each suit of clothing. While snuff was enjoyed by the highest ranks of society, it also had detractors who disapproved of the habit. A letter published in 1712 in the English periodical The Spectator describes the practice of women taking snuff where ‘This silly Trick is attended with such a Coquet Air in some Ladies, and such a sedate masculine one in others, that I cannot tell which most to complain of; but they are to me equally disagreeable’. Differing opinion on the refined habits of the upper classes opened a debate on the moral consumption of luxuries. For the philosopher JeanJacques Rousseau (1712-1778), who writes in The Social Contract and Discourses, ‘luxury is diametrically opposed to good morals’ whereby ‘it corrupts at once rich and poor, the rich by possession and the poor by covetousness; it sells the country to softness and vanity’. For Rousseau, the excessive consumption of luxurious objects led to moral decay and he looked to nature as a source of unadulterated pleasure. 5

Man & Nature

FOREWORD Where Rousseau saw vice, the philosopher David Hume (1711–1776) argued that the trade and domestic production of luxury demonstrated man’s pursuit of progress, uplifting not only the individual but also society. In Hume’s essay ‘Of Commerce’ he writes: Thus men become acquainted with the pleasures of luxury, and the profits of commerce; and their delicacy and industry being once awakened, carry them on to further improvements in every branch of domestic as well as foreign trade; and this perhaps is the chief advantage which arises from a commerce with strangers. It rouses men from their indolence; and, presenting the gayer and more opulent part of the nation with objects of luxury which they never before dreamed of, raises in them a desire of a more splendid way of life than what their ancestors enjoyed. While Rousseau and Hume presented conflicting opinions, their positions reflected the unescapable reality of their time which manifested itself in the decorative arts with the emergence of a new aesthetic. The Rococo style reflected a transition from the grand formality of the Baroque, where the mysteries of the world and nature once revered could now be enjoyed.

Rococo, which derives from the French word rocaille, references the shell work of grottoes and demonstrates how this style drew inspiration from and celebrated the delights of nature. In the Staffordshire Agateware Pecten Shell Teapot and Cover (Page 27), we see how the body is made to simulate mineral agate, incorporating marine life with the lamprey fish handle and shell form. The finial is formed in the shape

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These porcelain tureens were statement pieces for the table and, unlike earlier metal models, were heat resistant. Their naturalistic forms kept with the fashion and perhaps indicate the type of soup served. Given their preserved condition, it is also likely that these vessels were used simply for presentation but they reflect a changing relationship between man and food. Advancements in horticulture extended the growing season of fruits and vegetables, introducing species typically suited to warmer climates. Improvements such as hot houses, irrigation systems and enclosures which were introduced at Versailles thus provided year-round produce to satisfy the court. With such abundance, the preparation of meals became a sophisticated art with the emergence of the professional chef but even amateurs such as King Louis XV of France (1710-1774) indulged in the food craze, enjoying his own brew of coffee and privately entertaining guests with eggs he prepared himself. Ceramic manufactories also drew inspiration from food, where objects like the Northern French Faience Trompe L’oeil Dish of Eggs (Page 10) were amusing deceits placed on the table among other food dishes. Sculptural figures on the dining table such as the Pair of Meissen Figures of a Lemon and Pastry Sellers (Page 90) reflected the rise in urban economies and the role

of a recumbent kylin, perhaps a reference to the oriental origins of tea. Near the end of the eighteenth century, the consumption of tea and coffee was widespread throughout Europe and the new Americas, where such Staffordshire earthenware vessels were popular exports. Not even Rousseau was immune to the enticing qualities of caffeine as we see his eponymous character Julie in his novel Julie, or the New Heloise (1761) enjoying coffee, albeit ‘only when she has guests’, ‘in order to heighten her taste for it’. Dining and entertaining adopted a new informality in the eighteenth century. Where formal meals were previously a public affair with dishes served all at once in the great hall, dining à la française introduced individual courses where dishes were arranged symmetrically on the table for guests to help themselves. The first course included soups which were served both as a clear broth and a thicker soup similar to a ragout, in tureens such as the Northern European, Probably German Fayence Turkey Cock Tureen and Cover (Pages 80-81) and the Vauxhall Porcelain Hare Tureen and Cover (Page 47). 7

Man & Nature

FOREWORD

of street food vendors in the local and wider food network, in contrast to the pastoral roles of farming and husbandry as seen in the Mennecy Goat Herder/Peasant grouped with his Pair of Mennecy Porcelain Figures of Goats (Page 54).

This would set the foundation for the English Romantics and works such as Man and Nature, Or, Physical Geography as Modified by Human Action (1864) by American diplomat George Perkins Marsh (1801-1882).

Even cats on the table, such as the Pair of Meissen Cats modelled by J.J. Kaendler (Pages 52-53), served to remind diners how rodents were kept at bay as they enjoyed their meals.

Fundamental changes in everyday life was felt throughout society in the eighteenth century. The rise of the bourgeoisie and improved living circumstances introduced new opportunities to advance one’s station and indulge in leisurely pursuits. With this came moral dilemmas regarding man’s true nature and self-governance when confronted with the seductions of city life. Theatre was a popular and important forum to act out these changing realities. In London, actor, playwright, theatre manager and producer David Garrick’s (1717-1779) farce Lethe explores the subject of morality, where

As quality of life improved, luxuries formerly reserved for the aristocracy became accessible for the emerging bourgeoisie. Innovations like the use of glass cloches in winter forced vegetables such as asparagus to grow out of season. Their prevalence inspired porcelain replicas, as in the example of the Chelsea Asparagus Box and Cover (Page 14). With such plentiful food supply came new diet philosophies where writers such as Thomas Tryon (1634-1704) and John Evelyn (16201706) advocated vegetarianism for health and moral reasons against the cruelty of animals. For Rousseau, he disapproved of the gluttony of ‘those vulgar epicureans’ and proposed a moderate diet of select foods. This meant avoiding meat, eating locally produced and seasonal foods prepared simply so as to enhance one’s taste. Across Europe and in America, figures like Founding Father of the United States Benjamin Franklin (1706-1790) were persuaded to adopt a vegetarian diet. By embracing nature’s bounty, man could avoid corruption and vice and we begin to see a realisation that man’s dominion also includes a responsibility to nature. 8

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flawed characters approach Aesop looking to forget their woes by drinking from the river Lethe. Through their dialogue, Aesop realises ‘that you [mortals] have mistaken the effect of your distempers for the cause — you wou’d willingly be relieved from many things which interfere with your passions, and affections, while your vices, from which all your cares and misfortunes arise, are totally forgotten and neglected’. In offering the waters of Lethe, Aesop sends off his audience pronouncing ‘Tis vice alone, disturbs the human breast; care dies with guilt; be virtuous, and be blest’. Lethe became a huge success and the realistic performances of the debased Mrs Riot and The Fine Gentleman resulted in instant fame for actors Kitty Clive (1711-1785) and Henry Woodward (1714-1777) (Pages 3235), as well as Garrick (Page 36-37) who are immortalised in clay by the Bow manufactory. The Age of Enlightenment culminated in the French Revolution (1789-1799), which completely upended society. Nature, in its constancy, was revisited and exalted by Romantics such as Wordsworth, but its reverence can be traced back to the scientific curiosity and achievements of the earlier century, as reflected in the varied ceramic forms produced in nature’s likeness. The relationship between man and nature, and the struggle to find peace in man’s nature continues today but we hope you find joy and inspiration in Man & Nature. Brian Haughton and Daniel Chen St James’s, London.

Man & Nature

1. A Very Fine Northern French Faience Trompe Lâ&#x20AC;&#x2122;oeil Dish of Eggs, the lobed shallow dish painted with a green and blue line and berry border enclosing a band of interlaced trailing foliage, the centre of the dish applied with quartered, half and whole shelled eggs. Circa 1770 Diameter: 9 ins. (23 cms.) 10

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2. A Fine and Unusual Northern European, probably Brussels, pottery model of a startled hen laying. The animated bird standing alert and looking to one side with red comb and wattles on its yellow plumed head and raised up on an oval irregular moulded stand having just laid an egg. The birdâ&#x20AC;&#x2122;s plumage picked out in tones of brown, puce and yellow. Circa 1770 Height: 8 ins. (21 cms.)

Man & Nature

3. A Very Rare Bow Figure of a Peacock, naturalistically modelled and painted in vibrant hues. The plumage along its head and neck painted in iridescent blue with streaks of puce around the eye, its green tipped crest stands upright and its beak closed. The wing feathers painted in variegated tones of manganese, highlighted with yellow and iron-red along the tips. Its long train of green tail feathers are marked with eyespots painted in yellow, blue, and puce. It stands, feet spread wide, perched upon a flower-encrusted white tree stump.

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Literature: A similar example is illustrated in Ann McNair, Catalogue of the Lady Ludlow Collection of English Porcelain at the Bowes Museum (2007), p. 52, no. 26. See also Frank Hurlbutt, Bow Porcelain (1926), pl.30. Similar examples are found in the Untermyer Collection at the Metropolitan Museum, New York (64.101.726), in the Museum of Fine Arts, Boston (30.380) and in the Lady Ludlow Collection at the Bowes Museum (2004.26.1 & 2/Cer.) Circa 1760 Height: 6

ins. (16.3 cms.)

Man & Nature

4. A Rare Chelsea Asparagus Box and Cover, the elegantly slip cast form moulded as a bunch of pale cut asparagus spears, cut ends and side shoots tinged with puce carmine and very pale green, tied over the top with brown painted rataffia, the cover with rising sprigs of asparagus being half of the bunch. Circa 1755 Length: 7 ins. (18 cms.) Mark: Red anchor mark and numeral 13 to the interior of the cover. Provenance: Private English Collection.

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5. A Rare French Faience Trompe L’oeil Box and Cover, formed as a tiered dish of plums or small species peaches, set in an oval lobed dish of silver form, the top tier of the yellow and pink flushed fruit forming the cover of a concealed ‘surprise’ within the dish. Circa 1760 Length: 11 ins. (28 cms.) Provenance: Private English Collection.

Man & Nature

6. A Very Rare Pair of Meissen Porcelain Gold Finches modelled by J.J. Kaendler each brightly coloured bird perched on a tree support applied with green leaves. Circa 1740-45 Marks: Cross swords in underglaze blue. Height: 5Â˝ ins. (14 cms.) 16

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7. A Fine Pair of Meissen Canaries, modelled by J.J. Kaendler, each perched on a low tree stump, their pale primrose yellow plumage picked out with black enamel detail. A similar pair in the collection of Sir Gawaine and Lady Olive Baillie, Leeds Castle. Circa 1745 Marks: Crossed swords marks to underside of each. Height: 4Âź ins. (11 cms.) Provenance: The Judge Untermyer Collection.

Man & Nature

8. An Extremely Rare and Important Mennecy Teapot and Cover, of double ogival shape, beautifully painted with full sprays of European flowers including: roses, tulips, mimosa and other flowers and leaves. The applied twisted branch handle with leaves and rose buds at each terminal. Both the handle and facetted spout enriched with puce detailing. The domed cover with applied plum finial and similar floral decoration.

Literature: A milk jug probably from the same service in Elizabeth Williams, Daily Pleasures: French Ceramics from the MaryLou Boone Collection (2012), no. 103, p. 320. Circa 1760 Marks: A leaf to the underside of the teapot. Height: 6Â˝ ins. (16.5 cms.) Provenance: Private English Collection.

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9. An Extremely Rare Chantilly Melon Shaped Teapot and Cover, delicately painted in the kakiemon palette and style with yellow squirrels climbing in sprays of oriental stylised fruiting vine. The square section handle with painted scroll ornament. Circa 1735 Height: 4 ins. (10 cms.) Provenance: Private English Collection.

Man & Nature

10. A Pair of Faience Models of Seated Cats by Emile GallĂŠ (1846-1904), the whimsical models seated on their haunches and looking quizzically at the viewer, painted with blue circles and heart or arrow head forms, reserved on a bright yellow ground colour. The eyes set with glass. Circa 1895-1900 Marks: E GallĂŠ Nancy in blue to the undersides. Height: 13 ins. (33 cms.) Provenance: Private English Collection.

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Man & Nature

11. An Extremely Rare and Highly Important Bow porcelain model of The Great Horned Owl, taken from George Edwards, A Natural History of Uncommon Birds, Vol. 2, pl. 60. The Owl modelled standing and perched upon an irregularly moulded base simulating a tree stump with a branch extended to one side, applied with leaves and brightly coloured flowers and painted with several naturalistic floral sprigs in a puce monochrome. The body and plumage of the owl highly naturalistically coloured in tones of puce, lilac, browns, black and grey as to resemble The Great Horned Owl in absolute colouring. Circa 1755 Marks: Numeral 2 to the underside of the base. Height: 8 ins. (20.5 cms.)

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12. An Extremely Rare and Highly Important Bow porcelain model of The Great Horned Owl, taken from George Edwards, A Natural History of Uncommon Birds, Vol. 2, Pl. 60. The Owl modelled standing and perched upon an irregularly moulded base simulating a tree stump with a branch extended to one side, applied with a brightly coloured flower between its yellow ridged talons together with a rare feature of three mushrooms and stippled green coloured moss, further painted with several stylised famille Rose floral springs. The plumage of the owl sparsely picked out in tones of grey and brown. Literature: Frank Stoner, Chelsea, Bow and Derby Porcelain Figures (1955), pl. 105; Yvonne Hackenbroch, Chelsea and Other English Porcelain: The Collection of Irwin Untermyer (1957), pl. 79, fig. 259, and Mrs. Charles W. Engelhard Collection, sold Sothebyâ&#x20AC;&#x2122;s New York, 18th March 2005, Lot 150. Circa 1755 Marks: Numeral 2 to the underside of the base. Height: 8 ins. (20.5 cms.)

Man & Nature

13. An Exceedingly Rare Bow Model of a Hen, modelled seated on an irregularly moulded base applied with small flowers and leaves, the head, breast and tail with picked out feathers in brown, blue, black and red, with red wattles and comb. Literature: For the example from the Untermyer collection in the Metropolitan Museum in New York, see Yvonne Hackenbroch (1957), pl.92, fig. 256. And the example in the Geoffrey Freeman collection, previously in the Lady Ludlow Collection, see Anton Gabszewicz, Bow Porcelain (1982), no. 266, and colour plate IX. Circa 1755-58 Height: 3Â˝ ins. (9 cms.)

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14. A Fine and Very Rare Set of Four Derby Duck Form Sauce Boats, the body and handle naturalistically modelled as a white duck with red bill and legs. The wing and breast feathers moulded in relief, while the head with open eyes gazes downward to form the handle as the tail forms the spout. Further Details: The N mark dates from the Chelsea merger and it is likely that the N would have been used at Nottingham Road. John Twitchett writes that the form was â&#x20AC;&#x2DC;probably taken from the Old Bow mouldsâ&#x20AC;&#x2122;. Literature: See an example in the Victoria and Albert Museum, London (2993-1901). Circa 1810 Marks: Blue painted script N. Length: 4

ins. (10.5 cms.) 25

Man & Nature

15. An Extremely Rare and Fine Staffordshire Whieldon Glazed Model of a Boy Riding a Water Buffalo, beautifully modelled and glazed in tones of brown, blue and green in imitation of Chinese wares. The Boy seated sideways on the animal holding a fan and staff of office. The Buffalo with open mouth and wide staring eyes. Literature: Both the modelling and colouring closely follow a Chinese original. Another example is illustrated by Leslie B Grigsby, The Henry H Weldon Collection (1990), p.354. Circa 1745-55 Height: 8 ins. (19.8 cms.) Length: 10 ins. (25.5 cms.)

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16. A Rare Staffordshire Agateware Pecten Shell Teapot and Cover with lamprey fish handle and bird spout. The body is moulded with marbleised cream, blue, and ochre clay in high relief to form two scallop shells. Atop the domed cover lies a recumbent lion which forms the finial. Literature: See a similar example in the Metropolitan Museum, New York (14.68.4a, b). See also The Fitzwilliam Museum of Art, Cambridge (C.7 & A-1999) and the Nelson Atkins Museum of Art, Kansas City (52-43/1,2). Circa 1750 Height 4Âž ins. (12 cms.) Provenance: Alfred Schlosser Collection. 27

Man & Nature

17. An Extremely Rare and Highly Important Meissen Porcelain model of a Bolognese Hound, Modelled by J.J. Kaendler, seated, his tail curling to one side, modelled with hair in crisp low relief and decorated in further naturalistic tones. The hound in scratching attitude, the right hind leg raised to the underside of his head which is inclined over his shoulder, the model raised up on a contemporary eighteenth century ormolu mount composed of rococo scroll support. Literature: See Carl Albiker, Die Meissner Porzellantiere Im 18. Jahrhundert (1959) for a similar Kaendler model of a Bolognese hound dated to c. 1748, pl. 187.

See also Kaendler Taxa 1740-48: ‘2. Pologneser oder Zottligte Hunde, gegen einander sehend auf Camine zu setzen, davon einer sich krazet, der andere aber auffrecht sitzet, pro 1 Stück...4. Thlr.’ [2 Bolognese or shaggy dogs, to sit on a chimney looking at each other, one of which scratching itself, the other sitting upright...4. Thlr.] Circa 1745 Marks: Crossed swords in underglaze blue. Height: 7

ins. (20 cms.) with mounting 9 ins. (23 cms.)

Provenance: Private Swiss Collection.

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A Rare & Important Collection of Early Bow Porcelain Circa 1750 â&#x20AC;&#x201C; 1755

Man & Nature

18. An Extremely Rare Pair of Bow Figures of Two Putti Playing with a Dolphin Mounted as Candlesticks, where a tôle peinte branch with foliage supports Bow sconces and a variety of English and Continental white flowers. It is affixed to the square aperture of the nozzle erupting from the dolphin’s gaping mouth. A standing putto, buttocks exposed in scantily clad drape over the left shoulder, wraps his arms around the sinuous body of the dolphin. The other scantily clad putto

has fallen, supporting himself with one leg on the oval rockwork base, while the other is kicked up with his right arm in the air, his left hand braced against the standing putto’s knee. For a similar example without tôle peinte, see Two Putti Playing with a Dolphin in the Glaisher Collection, Fitzwilliam Museum, Cambridge (C.3028-1928).

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Literature: See Anton Gabszewicz, Made at New Canton: Bow Porcelain from the Collection of the London Borough of Newham (2000), pl. 77, p. 90 for a similarly modelled candlestick-group of two putti with a dolphin decorated with overglaze enamels. See T.H. Clark, ‘French Influence at Chelsea,’ E.C.C Transactions, Vol 4, Pt. 5 (1959) pl. 24a for a bronze model mould at Vincennes which produced a Vincennes model in white porcelain pl. 24c. (where it was recorded in 1754 as ‘enfant tenant un dauphin’, made in two

sizes at 15 and 21 livres). This group was modelled after a Vincennes or Meissen original, where Clark considers that it ‘possibly derives from an Italian fountain group’. Circa 1750-1755 Height: 17 ins. (43 cms.) Width: 14½ ins. (37 cms.) Provenance: Private American Collection.

Man & Nature

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19. An Extremely Important and Very Rare Pair of Bow White Figures of Kitty Clive and Henry Woodward. The actress Kitty Clive and the actor Henry Woodward are modelled in the role of Mrs Riot and The Fine Gentleman in David Garrick’s farce ‘Lethe’ where these roles were added by the playwright/actor David Garrick for Clive and Woodward in 1749. (See full text on pages 34-35). Circa 1750 Kitty Clive: Height: 10¼ ins. (26 cms.) Henry Woodward: Height: 10¾ ins. (27 cms.)

Man & Nature

An Extremely Important and Very Rare Pair of Bow White Figures of Kitty Clive and Henry Woodward. The actress Kitty Clive and the actor Henry Woodward are modelled in the role of Mrs Riot and The Fine Gentleman in David Garrick’s farce ‘Lethe’, where these roles were added by the playwright David Garrick for Clive and Woodward in 1749. Kitty Clive wears a lace mobcap and laced edged jacket over an incised bodice and broad crinoline dress. She lifts her skirt with her left hand, sleeves ruffled, while her dog is tucked beneath her right arm, standing on a square base, left shoe with ribbon bow peeking out from beneath her voluminous skirt. Henry Woodward is modelled in tasselled jacket and buttoned waistcoat, incised with scrolls, wearing a tricorn hat and tight breeches, his sword behind his leg, standing before a ruined pillar on an incised diaper-patter square base. Further Details: The play Lethe opened in 1740 at Drury Lane but Kitty Clive did not join the cast until 1749. As Peter Bradshaw writes ‘The scenario relates to fashionable characters from contemporary London who pour out their woes to Old Aesop as they cross the river Styx, hoping thereby to gain access to the waters of Lethe and obtain oblivion’. The character of Mrs Riot is described by the playwright David Garrick, who wrote: ‘She lies abed all morning, rattles about all day, sits up all night; she goes everywhere and sees everything; she knows everybody and loves nobody; ridicules her friends, coquets with her lovers, sets ‘em together by their ears, tells fibs, makes mischief, buys china, cheats at cards, keeps a pet dog and hates parsons…’ Mrs Clive (1711-1785) was born in Kilkenny, Ireland and made her theatre debut at Drury Lane in 1728. In her later years, she befriended Horace Walpole and lived in a cottage on his Strawberry Hill estate. In describing her, he writes for her epitaph: ‘Here lived the laughter-loving dame, // A matchless actress, Clive her name. // The Comic Muse with her retired // And shed a tear when she expir’d’. Of Henry Woodward’s companion character, Garrick wrote: ‘Faith, my existence is merely supported by amusements. I dress, visit, study, taste, write sonnets; by birth, travel, education and natural abilities I am entitled to lead the fashion. I am the principal connoisseur at all auctions, the chief arbiter at assemblies, professional critic at the theatre and a Fine Gentleman everywhere…’

Brian Haughton Gallery

Kitty Clive is modelled after a mezzotint by Charles Mosley after a drawing by Thomas Worlidge published in 1750. Henry Woodward is modelled after an undated mezzotint by James McArdell after a drawing by Francis Hayman. These figures are the earliest full-length portrait figures in English porcelain. A similar pair can be found in the British Museum, London (1887,0307,I.5 & 1887,0307,I.6), a pair in the Holborne Museum, Bath (P23 & P443), a pair in the J. W. L. Glaisher Collection bequeathed to the Fitzwilliam Museum, Cambridge (C.3026B-1928 & EC.3-1938). See a pair in the National Victoria Gallery, Australia (3804A.1-2-D3). See a pair as gifts of Irwin Untermyer in The Metropolitan Museum of Art, New York (64.101.691 & 64.101.690), a pair in the Jessie and Sigmund Katz Collection, Museum of Fine Arts, Boston (1988.572 & 57.757), and a pair in the Folger Shakespeare Library, Washington, DC (ART 241006 & ART 241007.1). Literature: See Raymond C. Yarbrough, Bow Porcelain and the London Theatre (1996), Cat. 3, p. 21 & Cat. 4, p. 28, as well as p. 19-34 for a discussion on the theatre history and production of these Bow figures. See Geoffrey Godden, EighteenthCentury English Porcelain, A Selection from the Godden Reference Collection (1985), colour pl. III, pl. 19, p. 24-28. See Peter Bradshaw, Bow Porcelain Figures, 1748-1774 (1992), p. 50-51 for a discussion on the pair, pl. 1 & 2. See also Anton Gabszewicz, Made at New Canton: Bow Porcelain from the Collection of the London Borough of Newham (2000), pl. 71 & 72, p. 84-85. See Rosalie Wise Sharp, Ceramics, Ethics and Scandal (2002), p. 126. Circa 1750-1755 Kitty Clive: Height: 10Âź ins. (26 cms.) Henry Woodward: Height: 10Âž ins. (27 cms.) Provenance: Private American Collection.

Man & Nature

20. An Extremely Rare and Important Bow White Figure of David Garrick, possibly in the role of Archer in George Farquhar's Beaux Stratagem, standing in a theatrical contrapposto pose on a square base. He wears a flared coat over a buttoned waistcoat with tufted edge, and shirt with ruffled cuffs. He has a tricorn hat tucked under his right arm, right hand in breeches worn over stockings with incised decoration and buckled shoes. His left hand holds open his coat. He wears a cravat around his neck and ribbon tied wig on his head. The play Beaux’ Stratagem was first produced in London 1707, where the plot follows the characters Archer and Aimwell as the beaux who have lost their fortunes. To recover their losses, they devise a stratagem to wed heiresses. David Garrick was an eminent actor, playwright, and theatre manager. His performances were well received for his realistic portrayals compared to the earlier declamatory style delivered by actors such as Colley Cibber and James Quin, where bodily action was absent or minimal. In David Garrick: A Critical Biography, the authors George M. Kahrl and George Winchester Stone describe Garrick’s friendships and connections across members of society from ‘the churchman, the brewer and publisher, the artist, the lawyer, several doctors, the bankers and the country gentlemen…with instincts for collecting books and pictures all shared interests in Garrick’s profession.’ As

successful theatre manager, he introduced new lighting, stage setting, and costumes from Paris to London and was the subject of over four hundred portraits, drawings, and engravings by artists such as Hogarth, Reynolds, and Gainsborough. As he inspired artists, so too was his craft inspired by art, as demonstrated in his ‘Essay on Acting’, dated 1744, when describing how his character Abbel Drugger ‘will unavoidably give himself a Tremor in the Knees and if his Fingers, at the same time, seem convuls’d, it finishes the completest low Picture of Grotesque Terror that can be imagin’d by a Dutch painter.’ See the Jessie and Sigmund Katz Collection in the Museum of Fine Arts, Boston (1988.599) for a similar figure decorated in overglaze enamels. See the Victoria and Albert Museum, London (S.435-1997) for an print engraving by Robert Sayer (1724-1794) depicting Garrick in the role of Archer, dated 1771. See the Walker Art Gallery, Liverpool (634) for a painting by William Hogarth (1697-1764), David Garrick as Richard III, c. 1745. See the National Portrait Gallery, London (NPG 1167) for a profile portrait of David Garrick by Johan Zoffany (1733-1810) dated 1763. Literature: See Raymond C. Yarbrough, Bow Porcelain and the London Theatre (1996), Cat. 6, p. 38. Circa 1750 Height: 8¼ ins. (20.5 cms.) Provenance: Private American Collection.

Brian Haughton Gallery

Man & Nature

A magical theatrical scene of early Bow porcelain of the actors Henry Woodward, Kitty Clive and David Garrick surrounded by Putti playing with dolphins mounted as candlesticks.

Brian Haughton Gallery

Man & Nature

21. A Very Rare Meissen Monkey Wine Pot/Teapot and Cover Modelled by J.J. Kaendler, naturalistically moulded and painted as a monkey mother with its two young. The mother sitting on a mound, cradling her young which clings to her arms with arched back and open mouth to form the wine pot/teapot’s spout. The other young monkey, with belted waist and gilt decorated buckle, climbs onto the mother’s back with a fruit in its hands to form the handle and cover. The green painted leaves and twig form the cover’s finial. See also an undecorated example in Hans Syz, J. Jefferson Miller II, Rainer Rückert, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei (1979), p. 272-273.

Further Details: This model is mentioned in the Kaendler Taxa of 1735 which records ‘Einen Thee Pott in Gestalt eines Affens Welcher einen Jungen auf dem rücken und einen Vornen in den Händen hält, Woraus der Thee lauffen thut, geändert und in gehörige Gestalt gebracht, sitzet auf einem kleinen postamentgen Woran er mit einer Kette under Vorlege Schloß befestiget ist’ [A teapot in the form of a monkey, holding a young one on its back and another in its hands, from which the tea flows, modified and given its final shape, seated on a small plinth to which it is chained with a chain and padlock]. See discussion in Highlights of the Untermyer Collection of English and Continental Decorative Arts (1977), p. 110-111, no. 200. Monkey teapots like this may have derived from ‘trinkspiele’ models made in Augsburg, see an example in the Chitra Collection (225).

Brian Haughton Gallery

Exotic animals such as monkeys were pets kept at court and fascinated both aristocrats and naturalists by their resemblance to humans which inspired a series of singerie type decorative designs. See a similar example in the Irwin Untermyer Collection in the Metropolitan Museum of Art, New York (64.101.200). For a similar but undecorated example, see the Hans C. Syz Collection in the Smithsonian Museum, Washington (1984.1140.15). See also The Marjorie Eichenlaub West Collection in the High Museum, Atlanta (2018.172), the Hillwood Estate, Museum & Gardens, Washington (26.79), and the Cecil Higgins Art Gallery, Bedford (C851).

See also an undecorated example in Hans Syz, J. Jefferson Miller II, Rainer RĂźckert, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei (1979), p. 272-273. For another example, but with a chain belt, see Yvonne Hackenbroch, Meissen and Other Continental Porcelain, Faience and Enamel in the Irwin Untermyer Collection (1956), pl. 91, fig. 146. Circa 1735 Height 7

ins. (19.4 cms.)

See a similar example but without cover in Ulrich Pietsch, Early Meissen Porcelain: The Wark Collection from the Cummer Museum of Art and Gardens (2011), p. 492.

Man & Nature

22. A Very Fine and Rare Meissen Rooster Teapot and Cover, modelled by J.J. Kaendler, the seated brightly coloured Rooster modelled with closed wings and delineated feathers forming the teapot. Teapots of these rare animal forms are first mentioned by Kaendler in 1734: ‘[1 teapot in the form of an old hen, but of middling size, which has 9 chicks with it that it shelters. A chick is seated on top of the hen, which forms the cover to the opening, the tea pours from the hen’s beak]’. Similar teapots in Schloss Friedenstein, Gotha, and in Schloss Lustheim, Meissener Porzellan-Sammlung, Stiftung Ernst Schneider. Similar examples of a teapot in the form of a cockerel are 42

published in Maureen Cassidy-Geiger, The Arnhold Collection of Meissen Porcelain 1710-50 (2008), p. 365, pl. 133. See also Ulrich Pietsch, Passion for Meissen: The Said and Roswitha Marouf Collection (2010), p. 279-281, pl. 138. Circa 1735-40 Marks: Traces of cross swords in underglaze blue to the underside. Height: 5¾ ins. (14.5 cms.) Width: 8¼ ins. (21 cms.)

Brian Haughton Gallery

23. A Rare Pair of Meissen Porcelain Models of Leverets, modelled by J.J. Kaendler, crouched on mound bases applied with flowers. Circa 1750 Marks: Blue cross sword mark in underglaze blue. Width: 4 ins. (10.2 cms.)

Man & Nature

24. A Very Rare Silver Form Bow Platter in the Kakiemon Quail Pattern, depicting a scene of two quails, one painted in iron-red, the other in blue and green tipped wing feathers, beneath an arched prunus tree with blue painted trunk and iron-red and gilt decorated flowers in bloom. Literature: For a discussion on Bow ware with Kakiemon decoration, see Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain (1982), p. 47-54. A similar shaped Chelsea Kakiemon Dish in the â&#x20AC;&#x2DC;Twisted Dragon Patternâ&#x20AC;&#x2122; is in the British Museum, London

(1887,0307,II.65). Another similarly shaped Chelsea Kakiemon Dish with dragon motif is in the Jessie and Sigmund Katz Collection in the Museum of Fine Arts, Boston (61.1261a-b). A similar Bow Platter of octagonal shape with the Kakiemon Quail Pattern is in the Colin Templeton Collection in the National Gallery of Victoria, Melbourne (279-D4). Circa 1752-1755 Width: 13

ins. (34.1 cms.)

Provenance: The Judy and Phelps Bell Collection.

Brian Haughton Gallery

25. A Rare Meissen Ice Pail and Cover with Double Scroll ‘Frauenkopf’ Handles Modelled by Johann Christoph Ludwig Lücke (1703-1780), the domed cover with gilt rim and artichoke finial in green and yellow is painted with scattered flowers and a prominent parrot tulip with petals unfurled in iron red and yellow. Literature: For a discussion on the handles modelled by Johann Christoph Ludwig Lücke, see Ulrich Pietsch, Early Meissen Porcelain: the Wark Collection from the Cummer Museum of Art and Gardens (2011), p. 246-247. See also Rainer Rückert, Meissener Porzellan 1710-1810 (1966), cat. 525, pl. 133 where the form is discussed in Lücke’s ‘Spezification’ between 1728-1729 which states, ‘Einen Henckel in Forma einer Sirena auf einen Eyß Topf’ [a handle in the form of a Siren on an ice cream pot].

A similar modelled example is published in Abraham L. den Blaauwen, Meissen Porcelain in the Rijksmuseum (2000), cat. 86, p. 152-153. See also an example in the Hans Syz Collection, in the American History Smithsonian Museum, Washington (63.268 ab). See an earlier underglaze blue example in the Ernst Schneider Collection, in the Bavarian National Museum, Munich (D16171). Circa 1735 Marks: Underglaze blue crossed swords. Height: 11

ins. (30 cms.)

Diameter: 7 ins. (18 cms.)

Man & Nature

26. A Rare Doccia Porcelain Figure of a Turk, the noble bearded figure wearing a long flowing gown and an astrakhan hat, in greeting attitude and standing in contrapposto pose, raised up on a rococo scroll moulded base. Circa 1750 Height: 7 ins. (18 cms.) Provenance: French Private Collection.

Brian Haughton Gallery

27. An Extremely Rare and Previously Unrecorded Hare Tureen and Cover, London Porcelain of Nicholas Crisp at Vauxhall, modelled in the white as a Hare, seated at lodge, the head and back forming the cover with the ears as the finial, the body forming the tureen itself. Exhibited at Phillips 1997 Liverpool Exhibition, alongside the bust of George II. Both these pieces have been analysed and found to contain soaprock. It is much more likely that under current research that these pieces were made at Vauxhall, and this particular model may have been based on the Chelsea contemporary model. There are no other examples recorded in the literature. Circa 1755 Length: 11Â˝ ins. (29.5 cms.) Provenance: Morley Hewitt and Watney Collections and Captain Charles Woollett.

Man & Nature

Brian Haughton Gallery

28. A Very Large and Fine Urbino Maiolica Istoriato Dish, Probably from the Workshop of Orazio Fontana, the shallow bowl with flared rim and painted with a scene of the Adoration of the Magi after Giovanni Battista Franco (called il Semolei), showing the Three Kings arriving before the Virgin Mary and the Christ Child and offering their sacred royal gifts. The town of Bethlehem extends in the background to a distant lake and mountains, the Star shining brightly above the Manger. Giovanni Battista Franco (ca.1510-61) the Italian Mannerist worked in an array of mediums including printmaking, etching and painting. His works survive in the Palazzo of Ottaviano de Medici that he completed with Georgio Vasari (ca. 1511-74) and a fresco in the Oratory of San Giovanni Decollato. As recorded by Vasari in his biography, Franco made 'Infiniti designi' for the Guidobaldo II, Duke of Urbino's maiolica factory at Castel Durante. The Duke comissioned a series of designs from Battista Franco which were to be used in services presented as gifts for the Emperor Charles V and for the Cardinal Alessandro Farnese. His designs were also used by the neighbouring maiolica factories. Literature: Depiction of this subject matter by Battista Franco is discussed by R.W.Gaston, ‘A Drawing by Battista Franco and its Venetian context‘, Art Bulletin of Victoria, 18, 1977, p. 25ff. Circa 1540-60 Diameter: 17¾ Ins. (44.8 cms.)

Man & Nature

29. An Extremely Rare Pair of Meissen Cats modelled by J.J.Kaendler, painted tawny grey, one with russet and brindled stripes, seated on their haunches, the first looking to one side, tail curled out in front and the right paw raised up to the face, the second in similar pose but with a mouse in its mouth, its left paw raised up to support the mouse, both beautifully decorated and very finely painted in tones of ginger, grey and black and each with white undersides to their bellies, the ears pricked up and the alert eyes wide open, raised up on a floral pad bases. The models are first recorded in Kaendlerâ&#x20AC;&#x2122;s Taxa report for September 1736, which lists: â&#x20AC;&#x2DC;Stuk Kleine Katzgen aufs Lager in Thon poussiert, Davon eine sitzend, die andere aber, wie sie eine Maus in Maule hat vorgestellet ist.â&#x20AC;&#x2122;

Brian Haughton Gallery

(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 (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 in the collection of Sir Gawaine and Lady Bailey, Leeds Castle. Another in Devon, Saltram House, National Trust, see inv. no. NT 870949. 1/2; Turin, Giulio Ometto Collection, published in Andreina Dâ&#x20AC;&#x2122;Agliano and Luca Melegati, I Fragili Lussi: Porcellane di Meissen da Musei e Collezioni Italiane (2001), p. 134, cat. 111. Also a pair in the collection of The Prince Amyn Aga Khan. Circa 1740 Marks: Cross swords mark in underglaze blue. Height: 7Âž ins. (18.3 cms.)

Man & Nature

Brian Haughton Gallery

30. An Extremely Rare Pair of Meissen Models of Reclining Cats, modelled by J.J. Kaendler, one seated on all four legs and looking to one side, its alert expression further enhanced by strikingly pricked up ears, beautifully painted with brown and black marking and yellow eyes, its tail curled round at the end, the other with its front paws outstretched and tail curled round the back haunch, Its head slightly inclined up to the viewer.

Circa 1740 Marks: Traces of cross swords in underglaze blue to the underside. Height: 4 ins. (10 cms.) Length: 5Â˝ ins. (14 cms.)

Man & Nature

31. Pair of Mennecy Porcelain Figures of Goats. Both the ‘Billy’ Goat and the ‘Nanny’ Goat standing on green grass bases. Circa 1750

Circa 1750

Marks: DV Mark.

Marks: DV Mark to base of tree trunk.

Height: 4 ins. (10 cms.)

Height: 6 ins. (15 cms.)

Width: 4 ins. (10 cms.)

32. Finely Modelled Mennecy Goat Herder / Peasant standing on a grassy base with two walking sticks. Carrying a yellow basket containg land produce.

Brian Haughton Gallery

33. A Rare Pair of Meissen Partridge or Quail Boxes and Covers modelled by J.J. Kaendler each bird crouching and raised up on a green enamelled oval base, the lower part tail and head constituting the box, the back and wings the covers. Their plumage beautifully depicted and picked out in tones of brown, black and orange. Circa 1740-45 Height: 3 ins. (7.5 cms.)

34. A Very Rare Pair of Meissen Models of Bears modelled by J.J Kaendler. Each bear in walking attitude, their heads turned to one side to look at the viewer. Their finely modelled coats picked out in tones of brown, ginger, black and grey. Circa 1730 Marks: Blue cross swords in underglaze blue to underside of foot. Length: 5 ins. (12.5 cms.)

Man & Nature

35. An Extremely Fine and Rare Early Meissen, Silver Gilt Mounted, Covered Water or Wine Ewer, modelled by J.G. Ehder, with ozier basket weave enclosing scrolled reserves showing courtly scenes in the style of Watteau with a scrolled handle with ‘Frauenkopf’ upper thumb piece, modelled as a maiden looking to one side with plunging décolletage. For a similar rare example see Maureen Cassidy-Geiger, The Arnhold Collection of Meissen Porcelain circa 1710-1750 (2008), cat. 265, p. 550. The model is derived from French silver of the period, the silvergilt is French and like the Arnhold example is mounted in Paris circa 175662 by Eloy Brichard. The Taxa report for Ehder’s work in July 1745 states, ‘newly modelled in clay one handle with a woman’s head and ornament to an ewer.’ Circa 1745 Marks: Blue crossed swords mark in underglaze blue to the underside of the Ewer. Height: 9½ ins. (24 cms.) Provenance: English Private Collection.

Brian Haughton Gallery

36. An Extremely Rare and Early St Cloud Petal Moulded Teapot and Cover, press moulded with a design of interlocking petals, of shouldered pear shape, applied with square sectioned handle and faceted spout, the cover similarly moulded and with turned knop finial and attached to the handle with a delicate silver chain. Circa 1720 Height: 4Âž ins. (12 cms.) Provenance: Private French Collection, Paris.

Man & Nature

37. A Very Rare German Faience Box and Cover in the Form of a Tortoise, Probably Schrezheim, naturalistically modelled and painted in ochre, manganese, and black. The removable shell is painted in speckled tortoiseshell pattern, while the body features scaled feet and tail. The tortoise pokes its head out with a grimace, eyes wide open and outlined in yellow. Literature: Similar tortoise boxes and covers are illustrated by H. Erdner and G. Nagel, Die Fayencefabrik zu Schrezheim (1972), nos. 307 and 307a. See another example in the Metropolitan Museum of Art, New York (1974.356.250a, b).

See a similar example in the Boston Museum of Fine Arts (2006.902a-b) published in Hugo Morley-Fletcher, Early European Porcelain & Faience: As Collected by Kiyi and Edward Pflueger (1993), p. 154. For similar examples in Hochst, see Horst Reber, Die Kurmainzische Porzellan-Manufaktur Hochst, Vol. II (1986), p. 70. For a discussion of the model see Thomas Rudi, Augenlust und Gaumenfreude: Fayence-Geschirre des 18. Jahrhunderts im Museum für Kunst und Gewerbe Hamburg (1998) where Rudi references a similar example in the Museum für Kunst und Gewerbe, Hamburg and examples in the collections of the Württembergisches Landesmuseum, Stuttgart, the Museum für Kunsthandwerk, Frankfurt, the Reiss-Museum, Mannheim, the Hetjens-Museum, Düsseldorf, and the Bielefeld City Collection.

Brian Haughton Gallery

Further Details: Box and Covers modelled as turtles were used as sweetmeat and butter dishes and were also produced by manufactories such as Fulda and Hochst. Circa 1750 Length: 9

ins. (24 cms.)

Height: 3

ins. (8.5 cms.)

Provenance: Erich Tgarht Collection.

Man & Nature

38. An Extremely Rare and Highly Important Chelsea Raised Anchor Model of a Green Indian Fly Catcher, taken from George Edwards, Natural History of Uncommon Birds, vol. 2 pl. 79. The plumage of the bird coloured in tones of purple, brown, black and yellow, the base painted with roses and butterflies. This example, probably decorated outside the Chelsea Manufactory possibly in the London Atelier of William Duesbury by the artist that we also see enamelling the rare class of ‘Girl in a Swing’ or St. James’s teawares. See Sotheby’s Rous Lench Collection, June 1986 for a cream jug with this type of rose or floral decoration. Literature: For another example of this extremely rare bird see Paul Crane, ‘Nature, Porcelain and Enlightenment: George Edwards and the Chelsea Porcelain Birds’, ECC Transactions, vol. 28, 2017, p. 55 fig. 59 for the engraved source and fig. 60 for the example in the Untermyer bequest, Metropolitan Museum New York, 1964 (64. 101. 434). Circa 1749-50 Mark: Applied raised anchor mark in oval. Height: 4 ins. (10 cms.) Provenance: Private English Collection.

Brian Haughton Gallery

Important Collection of First Period Dr. Wall ‘Blue Scale’ Decorated Porcelain

Man & Nature

39. A Fine First Period Dr. Wall Worcester ‘Blue Scale’ CabbageLeaf Moulded Mask Jug moulded with overlapping cabbage leaves over the body in ‘Dutch’ jug form inspired by Meissen. The spout features a moulded male mask with grey painted beard and delicately painted facial features. Along the rim, a gilt decorated border consists of painted floral sprays between a green tinted lappet band. Beneath the border, gilt decorated c-scroll cartouches are painted with butterflies against a blue scale ground.

The body features gilt decorated c-scroll reserved cartouches on the front and back displaying a flock of exotic birds. One bird perched on fruiting trees, a pair with outspread wings swoop overhead, while a pair are found strutting in the foreground, one standing upright while the other pecks at the ground. Similar panelled cartouches with birds and insects are painted on the sides. The doublescroll handle is further enhanced with scroll decoration painted in puce. The base is outlined with gilt.

Brian Haughton Gallery

Literature: See a similar example in the Radlett Collection of 18th Century English Porcelain in the Gardiner Museum, Toronto (G05.18.46). Another similar, albeit, smaller example is in the British Museum, London (1921,1215.151.CR) and is discussed in R.L. Hobson ‘The Frank Lloyd Collection at the British Museum’, The Burlington Magazine for Connoisseurs Vol. 40, No. 227 (Feb., 1922), p. 90-91+ 93.

Circa 1768-1770 Marks: Underglaze blue fretted square. Height: 11½ ins. (29.2 cms.) Provenance: Alfred Schlosser Collection.

Reverse View 63

Man & Nature

40. A Rare Pair of First Period Dr. Wall Worcester â&#x20AC;&#x2DC;Blue Scaleâ&#x20AC;&#x2122; Hexagonal Vases and Covers, the front and reverse panels painted with huge exotic birds strutting amongst flowering and fruiting vegetation surrounded with smaller birds perched within leafy branches and others in flight above, within elaborate gold scrolled rococo cartouches, the shoulder panels, triangular in form, decorated with

butterflies and insects in flight and at the neck narrow panels of fruiting vegetation, the whole reserved upon a very well executed blue scale ground, the domed covers with further panels of exotic birds, butterflies and insects, on a blue scale ground, the acorn knops with gilt embellishments. For further details and reverse view see page 65.

Brian Haughton Gallery

Reverse View

Further Details: The shape is derived from Japanese Kakiemon examples referred to as ‘Hampton Court’ jars. The form was produced at Chelsea only during the 1750s while it was produced at Worcester during the 1760s. As Aileen Dawson explains, ‘Hexagonal moulded vases are uncommon at Worcester’.

Literature: A similar, though larger example measuring 15½ ins. high is illustrated in H.R. Marshall, Coloured Worcester Porcelain of the First Period (1954), pl. 38 no. 822. See also a larger pair measuring 14 ins. high in S. Spero and J. Sandon, Worcester Porcelain 1751-1790 The Zorensky Collection (1996), cat. 325, p. 271. Circa 1765-1768 Marks: Underglaze blue fretted square. Height: 12 ins. (30.4 cms.) 65

Man & Nature

Brian Haughton Gallery

Man & Nature

41. A Very Rare Pair of First Period Dr. Wall Worcester ‘Blue Scale’ Bough Pots in ornate rocaille design with gilt decoration along its scroll-moulded form. The body is painted in ‘blue scale’ ground, where the front features three reserved panels gilt decorated with c-scoll borders and painted with ‘fancy birds’ in vibrant hues of red, orange, puce, and yellow against verdant green

landscapes of mature trees and blooming florals. The reverse is painted with a gilt-decorated c-scroll panel depicting a flying bird and insects. The top interior is perforated with small holes for cut flowers while a larger aperture would hold flowering bulbs. The back is pierced with two holes indicating that these bough pots could be hung on a wall, though they may well have been displayed as a pair on a mantel.

Brian Haughton Gallery

Literature: See a similar single example illustrated in S. Spero and J. Sandon, Worcester Porcelain 1751-1790 The Zorensky Collection (1996), cat. 328, p. 273. See also a similar single example in the Victoria and Albert Museum, London (3182-1901), the Rhode Island School of Design Museum, Providence (55.010), as well as a pair painted in the ‘Rich Kakiemon’ style in The Rienzi Collection at the Museum of Fine Arts, Houston (84.684.1,.2). Circa 1768 Marks: Underglaze blue fretted square. Height: 7 ins. (17.7 cms.) Length: 8½ ins. (21.5 cms.) Width: 5 ins. (12.7 cms.) Provenance: Alfred Schlosser Collection.

Man & Nature

42. A Remarkable Pair of First Period Dr. Wall Worcester Dessert Dishes, of shaped oval form, extremely well painted with exceptionally large rococo gold scrolled panels of exotic birds and smaller similar panels containing insects and birds in flight, reserved upon a blue scale ground. The dishes are very superior examples of the finest type of large bird painting to emanate from the factory, the panels being larger than those encountered usually thus allowing one of the best painters to show his style to full effect. Circa 1768-1770 Marks: Blue seal marks. Length: 11Âž ins. (30 cms.)

Brian Haughton Gallery

Man & Nature

43. A Very Fine First Period Dr. Wall Worcester Garniture of Three Vases, comprising: two ovoid vases with everted rims and a single central baluster shaped vase, each painted with panels of extremely detailed large exotic birds with colourful plumage, within classical arcadian landscape vignettes, framed within gold scrolled rococo panels, reserved on a blue scale ground, gilt with embellishments. Circa 1770 Height: The larger vase: 7 ins. (18 cms.) The smaller vases: 6 ins. (15 cms.) Provenance: A.W. Tuke Collection.

Brian Haughton Gallery

44. A First Period Dr. Wall Worcester Teapot and Stand, the teapot of globular shape with loop handle painted with ‘fancy birds’ and insects in panels edged in rococo gilt scrolls reserved on ‘wet’ blue ground. The front and back features panels painted with strutting birds against fruit bearing trees. The cover is ornamented with gilt decoration along the rim and surface with butterflies vividly painted in gilt decorated panels. The hexagonal stand with a central panel with gilt decorated lambrequin border. A ‘fancy bird’ stands against a fruit bearing tree. Flocks of birds fly overhead in the distance.

Further Details: The ‘fancy bird’ is adapted from Sevres and is associated with the painters Evans, Aloncle, and Chappuis. For further discussion, see Simon Spero, Worcester Porcelain: The Klepser Collection (1984), pl. 142, p. 125. See also Simon Spero and John Sandon, Worcester Porcelain 1751-1790: The Zorensky Collection (1996), pl. 313, p. 263. Circa 1770 Marks: Underglaze blue crescent mark. Teapot Height: 6

ins. (16.8 cms.)

Provenance: R. David Butti Collection.

Literature: A similar teapot is illustrated in F Severne Mackenna, Worcester Porcelain (1950), fig. 105.

Man & Nature

45. A Fine First Period Dr. Wall Worcester â&#x20AC;&#x2DC;Blue Scaleâ&#x20AC;&#x2122; Cabbage-Leaf Moulded Mask Jug. The spout features a moulded male mask with grey painted beard and delicately painted facial features. The body features gilt decorated c-scroll reserved cartouches on the front and back displaying a central floral spray. Similar panelled cartouches with floral sprays are painted on the sides. The double-scroll handle is further enhanced with scroll decoration painted in puce. Literature: For another example with very similar decoration to the rim see Simon Spero and John Sandon, Worcester Porcelain, 1751-1790: The Zorensky

Collection (1996), p. 237, pl. 263. For another underglaze blue scale example, see p. 272, pl. 326. A similar example but with brown bearded male mask is in the British Museum, London (1921,1215.150.CR). Circa 1770 Marks: Underglaze blue square mark. Height: 7 ins. (18 cms.) Provenance: R. David Butti Collection.

Brian Haughton Gallery

46. An Extremely Fine And Rare Massive First Period Dr Wall Worcester Teapot, of the rare type known as ‘Dr. Johnson‘s Teapot’, of globular shape with a pointed acorn finial, decorated in blue on both sides with the ‘Thorny Rose’ pattern, showing full sprays of roses and lilies, the border and cover with fruit and flower sprigs tied by ribboned love knots. An identical teapot preserved at Pembroke College, Oxford belonged to Dr. Samuel Johnson and was mentioned by Boswell as holding two quarts.

It is conceivably possible that this shape and form could be used either for tea or for fruit punch, the border decoration shows pears, berries and grapes within garlands linked together with ribbons and love knots. Circa 1762-65 Marks: Crescent mark to the underside. Height: 8½ ins. (21.5 cms.) Provenance: Private English Collection.

Man & Nature

47. A Fine First Period Dr. Wall Worcester Teapot and Cover, of ribbed barrel shape with looped and kicked handle, the flattened cover with flower finial, painted, on both sides, in very vivid tones with fancy birds strutting upon an island with tall trees and flowering vegetation, a river scene behind with a further island in the distance, beneath an underglaze blue and gold scrolled border. Circa 1785 Height: 5

ins. (13.5 cms.)

Provenance: Mrs Kneller Collection.

Brian Haughton Gallery

48. A Very Rare First Period Worcester Punch Pot and Cover of globular shape and loop handle. Inscribed beneath the spout on a puce bordered banner are the words ‘TALLY HO’. A running fox is painted above. The body and domed cover are painted in the Japanese Imaristyle featuring decorated fans in blue, green, and red with gilded patterns, as well as blue enamelled roundels with gilt decoration. Literature: See an example illustrated in Aileen Dawson, The Art of Worcester Porcelain (2007), cat. 37, p. 102-103. See a similar example in the Legion of Honor, San Francisco (1997.94a-b). Further Details: This punch pot was used to serve an alcoholic beverage after a fox hunt. The Imari pattern was probably first copied in Europe at Chantilly around 1735-1740. As Aileen Dawson explains, ‘At Worcester the pattern was probably known as ‘Old Japan Pattern’ from 1769’. Circa 1770 Marks: Imitation Chinese mark in underglaze blue. Height: 9 ins. (22.8 cms.) Width: 11 ins. (27.9 cms.) Provenance: Alfred Schlosser Collection.

Man & Nature

49. A British, possibly Leeds, Pearlware Model of a Horse, standing in a strong naturally braced position, the anatomical details of the body modelled to great dramatic effect, his head lifted with an alert expression, looking to one side with the ears pointed forwards, wearing black bridle applied with blue rosettes, the black combed mane and tail modelled in a windswept fashion, standing on a chamfered rectangular plinth with bevelled edges, decorated with sponged green colouring to simulate grass, the border with blue neoclassical husk bands between puce lined borders and a blue lined base.

A similar example is illustrated by Pat Halfpenny, English Earthenware Figures, 1740-1840 (1999), p.126. Circa 1830 â&#x20AC;&#x201C; 1840 Height: 16Âž ins. (42.5 cms.) Length (of the plinth): 14Â˝ ins. (36.3 cms.)

Brian Haughton Gallery

50. A British, possibly Leeds, Pearlware model of a Horse, standing in a strong naturally braced position, the anatomical details of the body modelled to great dramatic effect, his head lifted with an alert expression, looking to one side with the ears pointed forwards, wearing black bridle and rare feature of the quilted brown saddle cloth, the brown combed mane and tail modelled in a windswept fashion, standing on a chamfered rectangular plinth with bevelled edges, decorated with sponged green colouring to simulate grass, the border with blue neoclassical husk bands between puce lined borders and a brown lined base. A similar example is illustrated by Pat Halfpenny, “English Earthenware Figures”, p. 126 For another example wearing an initialled quilted saddlecloth in the collection of the Yorkshire Museum, see J. D. Griffin, The Leeds Pottery, 1770-1881 (2005), Vol, 1, p. 224, no. 322. Also compare the example in the Estate of Mrs. John Hay Whitney sold Sotheby’s NYC 24th April 1999, Lot 654.

Circa 1830 – 1840 Height: 16¾ ins. (42.5 cms.) Length (of the plinth): 14½ ins. (36.3 cms.) Marks: LP Initials to the saddlecloth.

Man & Nature

51. A Very Rare Northern European Fayence Turkey Cock Tureen and Cover, probably German, the seated bird with beautifully modelled plumage coloured in 'grand feu' colours of iron red and manganese, the tail fanned out, the cover formed as the top of the back and a turkey chick as the finial. Similar models were made at Hochst and Fulda. Circa 1755-60 Length: 13 ins. (33 cms.) Literature: D. Fennimore, The David and Peggy Rockefeller Collection: Decorative Arts (1992) Vol. IV, p. 34-35, no. 8. Provenance: James C. Brady, Nelson A Rockefeller and David Rockefeller Collections.

Brian Haughton Gallery

Man & Nature

52. An Extremely Rare Pair of Duke De Villeroy or Early Mennecy French Porcelain Ormolu Mounted Chinese Seated Pagoda or Magot Candlesticks. The porcelain seated Chinese figures with slightly bulging paunches and wearing loose fitting sleeved silk vestments which are brightly painted in tones of full famille verte Chinese silk brocaded patterns raised up on gold scrolled irregularly cast ormolu Rococo bases from

Brian Haughton Gallery

which issue a finely stemmed candle support applied with various brightly coloured soft paste French flowers. The ormolu sconces supported with French soft paste floral drip pans. Each figure wearing an ormolu cap. Circa 1735 Height: 6Â˝ ins. (16.5 cms.)

Man & Nature

53. An Extremely Rare and Very Important Alcora Faience Box and Cover modelled as a Lion with Cub, the tin glazed lion lies recumbent upon an oval base, its tail is whisked under its hindleg. The moulded lion looks back, ears perked, at its cub resting recumbent on its back. The cub forms the finial of the cover. Its flowing mane and furrowed facial features are accented with yellow tinged glaze. Literature: See a similarly modelled example with polychrome decoration in Maria Dolors Giral, Loza y Porcelana de Alcora en El Museo de Cerámica de Barcelona (1998), pl. 220, p. 106. For a discussion of Alcora animals, see Anthony Ray, Spanish Pottery 1248-1898 (2000), p. 232. See also Manuel Escrivá de Romani, Historia de la Ceramica de Alcora (1945), pl. 85 fig. 8 for a similar lion figure. Further Details: Forming the ‘fauna’ type, this form could have been used for dining purposes as a tureen. Alcora was founded by the ninth count of Aranda in 1727, producing largely tiles and tableswares in its early production. By the last quarter of the eighteenth century, naturalistic trompe l’oeil forms produced at Alcora were produced by two modellers, Clemente Aicart (1765-ca. 1806) and Cristóbal Mas (1770-1810). The lion form with cub is rare and is found in both the white, modelled after English creamware, or polychrome decorated. Circa Last Quarter of the Eighteenth Century Length: 13 ins. (33 cms.) Height: 11 ins. (28 cms.)

Brian Haughton Gallery

Man & Nature

54. A Mennecy Snuffbox with Paris Silver Mounts in the form of a seated figure on a green painted mound, modelled after a Budai/Magot shape with protruding belly and painted robes. The silver mounted base with Paris hallmark. Literature: Another example of a figural snuff box but in crouched form is in the Lesley and Emma Sheafer Collection in the Metropolitan Museum, New York (1974.356.554). Circa 1755 / Mounts Circa 1756-1762 Marks: Silver Hallmark. Width: 2 ins. (5 cms.) Height: 2 ins. (5 cms.) 55. An Extremely Rare Chelsea Gilt-Mounted Bonbonniere in the Form of a Hen and Eight Chicks, the heads of the eight chicks amusingly poking out from eight different places, the gilt metal mounted enamel hinged lid painted with flower sprays. Red anchor period. This appears to be the only example of this model bonbonniere recorded. Circa 1755 Length: 2

56. An Extremely Rare and Very Early Meissen Bottger Porcelain Seated Pagoda, modelled crossed legged with one knee raised, clothed with a loose fitting gown, his open mouth with sharp deliniated teeth. Similar models were delivered to the Japanese Palace where the 1770 Inventory lists 38 white Pagodas. See Claus Boltz, â&#x20AC;&#x2DC;Japanisches PalaisInventar 1770 und Turmzimmer-Inventar 1769â&#x20AC;&#x2122; Keramos Vol. 158, 1996. Circa 1720 Height: 3 ins. (7.6 cms.)

ins. (5.58 cms.)

Brian Haughton Gallery

57. A Rare St Cloud Snuff Box with Paris Silver Mounts, modelled after a Budai shape. The silver mounted base with Paris hallmarks features two landscape scenes. The exterior depicts a person dressed in red, blue and yellow robes walking with a parasol across a bridge. The inside is painted with a man wearing a red hat walking towards a bridge. Literature: See Bertrand Rondot, Discovering the Secrets of Soft-paste Porcelain at The Saint-Cloud Manufactory ca. 1690-1766 (1999), pl. 192, p. 238 for a similarly decorated Snuffbox in the Shape of a Seated Magot. Circa 1748 Marks: Silver Hallmarks. Width: 2

ins. (5.4 cms.)

Height: 2

ins. (5.4 cms.)

58. A Rare Chelsea Triple Scent Bottle and Stoppers in the Form of a Hen and Chicks. Their three detachable heads, gilt-mounted with chains, serve as three separate stoppers. Circa 1755 Length: 2 ins. (5.08 cms.) Height: 2 ins. (5.08 cms.)

59. A Rare St Jamesâ&#x20AC;&#x2122;s bonbonniere modelled as a woman sitting on a grass mound, with a blue scarf around her shoulder, in her left hand she holds a dove and in her right hand she is holding a Cupid who also holds a dove, gilt metal mount to the hardstone lid with the motto in gold on white enamel: MON BONHEUR VOTRE AMITIE FAIT. A similar bonbonniere is illustrated in G.E. Bryant,The Chelsea Porcelain Toys (1925), pl.46, no.158. The example he illustrates is from the Salting Collection. He doesnâ&#x20AC;&#x2122;t list any other known examples. Circa 1750-54 Length: 1

ins. (4 cms.) 87

Man & Nature

60. An Extremely Rare Staffordshire Salt Glazed Stoneware Teapot and Cover, of globular shape applied with crabstock handle and spout, beautifully decorated with flowering roses and five leaves on a rich green ground covered in ermine. The slightly domed cover with crabstock finial. An extremely rare ground colour with all over ermine sprigs. The open rose blooms on the body and small rose buds on the cover when coupled with the ermine, perhaps denote a Jacobite connection and sympathy with the cause of Bonnie Prince Charlie the last of the Stuart Pretenders. Circa 1760 Height: 5 ins. (12.5 cms.) Provenance: English Private Collection.

Brian Haughton Gallery

61. An Extremely Rare Staffordshire Blue Ground Teapot and Cover, of globular shape with grooved loop handle, the facetted spout moulded in crisp low relief with panels of formal diaper and star motifs, painted with sprays of full open rose blooms on a deep royal blue ground, the slightly domed cover with similar decoration and elegantly turned pointed acorn knop finial. An extremely rare ground colour, the open rose bloom and smaller growing bud have long been given association with the Jacobite cause. In 1745-46 Bonnie Prince Charlie brought troops as far as Derby, gaining much support, before turning North back to Scotland. Circa 1745-50 Height: 4Âž ins. (11.5 cms.) Provenance: Jonathan Horne.

Man & Nature

62. A Fine and Rare Pair of Meissen Figures of the Lemon and Pastry Seller modelled by F.E. Meyer, he wearing a floral yellow-lined tunic over purple breeches and holding lemons in his white apron, the base moulded with giltedged scrollwork and applied with leaves and flowers. She dressed exactly to match with similar floral, yellow ribbon and seagreen dress, holding a basket of breads, pastries and macaroons.

The model is illustrated in M. Eberle, Cris de Paris-Meissener Porzellanfiguren des 18.Jahrhunderts (2001), no. 7. Circa 1745 Marks: She with blue crossed swords mark to the back of her base. Height: 8 ins. (20.5 cms.)

Brian Haughton Gallery

63. Important Meissen Covered Milk Jug, of slender baluster shape painted with extremely detailed scenes in purple malerei, the first turkish quatrefoil panel painted with a bridge and townscape beyond with figures at the wharfside edge, the second with figures at conversation at the quayside with a sailmaker's yard in the background, both reserved on a rare pale yellow ground. The delicately applied spout and scrolled handle with purple floral decoration. The slightly domed cover with similar decoration and applied with a golden ball finial.

Circa 1728-30 Marks: Blue crossed swords marks to the underside of the Jug. Height: 6 ins. (15 cms.) Provenance: Private English Collection.

Man & Nature

SELECTED BIBLIOGRAPHY Elizabeth Adams, Chelsea Porcelain. London: 2001. Klaus-Peter Arnold, Figürliches Porzellan aus der Sammlung Spitzner. Ausstellung Staatliche Kunstsammlungen Dresden, Porzellansammlung im Zwinger. Dresden: 1988. Carl Albiker, Die Meissner Porzellantiere in 18. Jahrhundert. Berlin: 1959. John C. Austin, Chelsea Porcelain at Williamsburg. Williamsburg: 1977. David Beevers, Chinese Whispers, Chinoiserie in Britain 1650-1930. Brighton: 2008. Abraham L. den Blaauwen, Meissen Porcelain in The Rijksmuseum. Zwolle: 2000. Claus Boltz, ‘Die wöchentlichen Berichte über die Tätigkeit der Meissner Dreher und Former vom 6. Juni 1722 bis 31. Dezember 1728’ in Keramos, vol. 178, 2002. Claus Boltz, ‘Japanisches Palais-Inventar 1770 und Turmzimmer-Inventer 1769’, in Keramos Vol. 158, 1996. A. Busson, Unterglasurblaue Dekors auf Du Paquier Porzellanen, in Keramos Vol. 60, 1973. Meredith Chilton, Fired by Passion Vol. 2 and Vol. 3. Stuttgart: 2009. Meredith Chilton, Harlequin Unmasked. New Haven; London: 2001. Maureen Cassidy-Geiger, The Arnhold Collection of Meissen Porcelain 1710-1750. New York: 2008. Maureen Cassidy-Geiger, Fragile Diplomacy, Meissen Porcelain for the European Courts c. 1710-1763. New York: 2007. Genevieve le Duc, Porcelaine Tendre de Chantilly au 18iem siècle. Paris: 1996. Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain: The Collection formed by Geoffrey Freeman. London: 1982. Anton Gabszewicz, Made in New Canton: Bow Porcelain from The Collection of the London Borough of Newham. London: 2000. Yvonne Hackenbroch, Chelsea and other English Porcelain, Pottery and Enamels in the Irwin Untermyer Collection. London: 1957. Joanna Lessmann, ‘Das ‘Bruhlsche Allerlei’ Ein Service fur Heinrich Graf von Bruhl’ in U. Pietsch ed., Schwanenservice: Meissener Porzellan für Heinrich Graf von Brühl. Dresden: 2000. Jean Pillement, The Ladies Amusement; or, Whole art of japanning made easy ... Drawn by Pillement and other masters ... Second edition, etc. [A facsimile of the edition of 1762.]. Newport: 1959. Rainer Rückert, Meissener Porzellan 1710 – 1810. Munich, 1966. F. Severne Mackenna, Chelsea Porcelain: The Triangle and Raised Anchor Wares. Leigh-on-Sea: 1951. F. Severne Mackenna, Chelsea Porcelain: The Red Anchor Wares. Leigh-on-Sea: 1951. Rosalie Wise Sharp, Ceramics, Ethics & Scandal. Toronto: 2002. R. Seyffarth, Johann Ehrenfried Stadler, Der Meisster der Facherchinsen, Keramos Vol. 10, 1960. Frank Stoner, Chelsea Bow and Derby Porcelain Figures. Newport: 1955. Barry Taylor, A Treasury of Bow: A survey of the Bow Factory from the first patent until closure, 1744-1774. Victoria: 2000. Frank Tilley, ‘The Clue of the Oak Leaf: Its place in Identifying Unrecorded Triangle Period Chelsea”, Antique Collector, Vol. XXI, 1950. Raymond C. Yarbrough, Bow Porcelain and the London Theatre. Hancock: 1996. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means without the prior permission in writing of the publisher, nor be otherwise circulated in any form or by any means without the prior permission in writing of the publisher nor otherwise circulated in any form of binding or cover than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. Catalogue design: Martin Griffin, Creative Wisdom Ltd, www.creativewisdom.uk ©2020 Brian Haughton Gallery 15 Duke Street St James’s, London SW1Y 6DB, UK

15 Duke Street St Jamesâ&#x20AC;&#x2122;s, London SW1Y 6DB Tel: +44 (0)207 389 6550 Email: gallery@haughton.com www.haughtongallery.com