Rococo Porcelain

Rococo Porcelain

Rococo Porcelain

15 Duke Street St James’s London SW1Y 6DB Tel: +44 (0)207 389 6550 Fax: +44 (0)207 389 6556 Email: gallery@haughton.com www.haughtongallery.com ALL ITEMS ARE FOR SALE

FOREWORD

We are very pleased to publish our new collection of pottery and porcelain from private collections drawing its inspiration from the fashion and taste of the Rococo. These playful designs emanated from Europe and reached the British Isles in the mid eighteenth century. The items we have specially chosen for inclusion exhibit this insatiable natural force both in figures and wares used within the homes of Royalty and the Aristocracy of the period.

Porcelain developed at this time had to achieve certain criteria. No other step was to be as important economically and financially to the owners of the respective manufactories than the translation of this new and novel porcelain material into the silver form. This crucial ‘silver taste’ would lure the wealthy classes into noticing porcelain in forms that they already understood and that were already part of their household inventories as silver. Europe was well advanced in this design and thought process. The earliest manufactory of Meissen pioneered the development of the hard paste used to achieve the very best and most fashionable silver forms under the design influence of Johann Jakob Irminger (1635-1724) the Court Silversmith persuaded by Augustus the strong of Saxony to become artistic director of the Meissen manufactory in 1712 and to supply silver designs to the modellers at the manufactory.

Our first piece the ormolu mounted potpourri vase and cover (page 7) however is of the French soft paste porcelain manufactured at Mennecy and dating to circa 1750. The arcanist of this early manufactory was Francois Barbin (1691-1765) who experimented and developed the paste and glaze of his porcelain recipe under the patronage of Louis-Francois-Anne de Neufville, duc de Villeroy (1695- 1766). Barbin is known to have been experimenting with making porcelain, presumably under the protection of his illustrious patron in the late 1720’s and 1730’s. This is confirmed by a parish register of January 1737 which describes him as a maker of faience and porcelain. Manufacture of porcelain by Barbin under the patronage of the duc de Villeroy continued into the 1740’s and was known as Villeroy porcelain. The laws protecting royal monopolies in France were extremely far reaching and very strict and the Royal Porcelain manufactory established by Orry de Fulvy and Louis XV at nearby Vincennes was granted an exclusive monopoly to manufacture porcelain ‘in the manner of Saxony’. It was felt that the porcelain made by Barbin impinged upon the Royal Manufactory at Vincennes and he was made to cease production and all his manufactured porcelain was seized and sold by the authorities in 1748. The Villeroy works were then closed.

In 1750 Francois Barbin and his wife Marie-Marguerite Betrand together with other close members of their family and including their son Jean-Baptiste moved to Mennecy away from the eyes of the authorities at Vincennes to continue the development and manufacture of porcelain under their patron the duc de Villeroy. The manufactory sold these Mennecy wares at a house owned by the family in the rue Saint-Honore in Paris. Mennecy porcelain develops in tandem with fashionable rococo designs of shape and form but it differs markedly to the products of the Vincennes manufactory for the reasons already given. The decoration is completely different and there is very little figural decoration or gilding to be found as this would contravene the Vincennes monopoly ruling. Some rare figural pieces, such as this vase, do however exhibit similarities to contemporary products made at Vincennes. The Vincennes manufactory had recently benefitted from the influence of the Court artist Francois Boucher, who had been asked to supply figural drawings as inspiration to the modellers at

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the royal porcelain manufactory at Vincennes. Pieces of Mennecy of this type of very rare figural ornamental form are hardly ever marked, presumably in order to hide the origins of their manufacture lest the interests of the monopoly authorities be aroused. The paste and glaze of Mennecy porcelain of this period is extremely unguent and luscious in its tactility as well as exhibiting a delicious play of light on the surface of the glaze. The model and subject matter combines many elements of the rococo, the natural modelling of the flowers, the addition of a sheep and the gushing water. There is also however an element of fantasy in this combination of natural elements which transforms into the form of a potpourri vase and cover to scent the interior of a room. This combination of nature and fantasy captures perfectly the Arcadian frivolity that is the essence of rococo in terms of form and subject matter. The vase has been mounted in ormolu and rests on a series of graceful and interlocking asymmetrical scrolls. It is surmounted by a pierced ormolu cover conceived of further scrolls and an open flower finial.

A series of incredible silver mounted and lidded Meissen porcelain tankards (pages 19, 20, 22 and 23) show a development in paste, glaze and design. Whilst these are technically Baroque period pieces they show a lightness of touch and a transition of decoration to rococo tatse.

The earliest example on (page 20) dates from the period of the mid 1720’s and is decorated by one of the most skilled early painters of the manufactory Johann Ehrenfried Stadler with a Chinese landscape and exceptional sprays of oriental flowering plants in his characteristic delicate style.

The lidded tankard (pages 22 and 23) is a documentary piece and bears the signature of Johann Gottfried Nitzschner ‘JGN’ to the underside of the base. Nitzschner was one of the greatest floral painters to work at Meissen during the 1740’s. The botanically accurate full floral specimens are taken from the engravings of Johann Wilhelm Weinmann’s important floral source book, Phytanthoza Iconographia, published in Regensberg in four volumes between the years 1737-1745. The extensive botanical illustrations which detail the collection of plants built up by the apothecary and gardener Weinmann (1683-1741) is almost the only known source for flower painting at Meissen. The use of the volumes is also clearly seen throughout the decoration of the Bruhlsche Allerlei service made for Count Heinrich Graf von Bruhl during 1742. See Dr. Joanna Lessmann, Das Bruhlsche Allerlei. The tankard also commemorates the marriage of Heinrich and Anna Tammen, inscribed with the date of 1745. The symbolism of the full blown rose placed next to the blue speedwell flower endorses their union with their combined meaning of ‘True Love’ within the ancient language of flowers. Look out for the fly painted to the reverse, a subtle reminder for the married couple of the fragility of life!

There are some superb pieces of very early Meissen within the collection. The covered milk jug (page 31) shows the mastery at Meissen of the rococo taste blending fantastical anthropomorphic features into a functional object. Modelled by the genius J.J.Kaendler the courtier’s head and hat becomes the spout of the jug and a fashionable lady with her plumed head piece appears as the thumb rest surmounting the interlocking scroll moulded handle. The painted style of flower decoration found on this piece is known as ‘Bienemuster’ or bee flowers and a beautiful specimen of stylised borage, a plant adored by bees can be seen beside the butterfly beneath the spout.

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FOREWORD

Porcelain birds and animals taken from inspiration from the natural world constitute another facet of the rococo. Man’s triumph over nature fascinated the aristocracy who revelled in the natural discoveries being made. The Age of Enlightenment was fuelled by a burgeoning interest in science and exploration across parts of the newly discovered world. Important enlightenment publications were then used as inspiration by many of the porcelain manufactories for their models. The Meissen Cock and Hen pheasants, modelled by Johann Joachim Kaendler (page 50) show how the ornithological details of the melanistic colours of the plumage have been dutifully copied perhaps from George Edward’s Natural History of Uncommon Birds or another set of contemporary bird sources. A newly invented cabinet of Nature’s curiosity then burst forth into the homes of Europe’s elite with natural rococo themes occurring in all the furnishings in their fashionable new homes.

The very amusing collection of European faience or tin glazed pottery trompe l’oeil dishes of food (Pages 66, 67 and 68), show the taste and fashion for the noble elite to have their tables dressed not only with opulent stage settings of figures at various Arcadian pursuits but also to entertain those who dined with recreations of exotic fruits and foods in pottery as well as candied or preserved fruits. Imagine the face and expression of the diner who reached over to pick a slice of egg from the dish (page 66), our sense of humour has not changed with the passing of time!

The Worcester porcelain from Dr Wall’s manufactory during the 1750’s (pages 58 through to 65) show some of the rare shapes made at this earliest period. The partnership of the Worcester Porcelain Manufactory had recently invested in acquiring the business of the porcelain manufactory belonging to Benjamin Lund in Bristol. Much of the hard work of constantly improving the paste and the glaze to take the moulding of the finest and most fashionable silver forms emanating from London had been achieved by Benjamin Lund at the end of the 1740’s. Through financial necessity Lund was forced to sell his interest within the manufactory at Bristol to Dr Wall and his other 14 partners who then transferred the going concern to Warmstry House, Worcester in 1752.

The sauceboat (page 59) encapsulates the ‘silver taste’ successfully achieved at Worcester.

Dating from circa 1753 and using the crisp moulding to emanate the carefully chased and embossed areas of a silver object. The sauceboat is further enhanced with suitable Chinese figural scenes and an interior painted border the style of which can be compared to painting found on early rare ornamental vase forms.

The small early Worcester hexagonal vase (page 63) is a delightfully conceived piece and comes from the Grant-Dixon and Ampleforth Abbey Collections. The shape is derived from Chinese blanc de chine examples dating from the late seventeenth century and early eighteenth century. These exported vases were then bought by collectors for their China Closets made popular by Mary of Modena wife of James II and Queen Mary and the Duchess of Lauderdale, all of whom had small closets set with these collector’s pieces. The fashion for

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drinking tea was growing apace and an array of items could be used to adorn the tea table, which was invariably to be found in these small rooms. These Chinese rooms fuelled the Chinoiserie taste and fashion and evolved from the collector’s cabinet into visions of Cathay. They were sometimes even decorated with elaborate friezes of expensive Chinese wallpaper. Examples of this hexagonal form are sometimes found in saltglazed stoneware emanating from Staffordshire, these are probably contemporary and may be even a little earlier and should be perhaps dated to the mid 1740’s. This kakiemon pattern is chiefly associated with this shape but can also be found on rare small oval boxes and covers of the same early date. The phase of producing ornamental models such as this vase at Worcester is a very important development of the factory’s business sense, for during the period of 1752-55 the manufactory concentrates on developing moulding and modelling skills to create luxury products superior to the Chinese in terms of ornamentation. This would have affirmed that Worcester porcelain was a luxurious alternative to the less expensive but more readily available Chinese export wares.

We are extremely fortunate to be able to include two incredible objects created by the Artist Goldsmith Kevin Coates. The Figural Decanter and Stopper , ‘Fiasco’ pages 74 and 75 and Orpheus and Eurydice pages 76 and 77.The work of Kevin Coates is extremely special, his passionate interest in conjuring with the synchronistical links of time and characters from history introduce us to a panoply of skills and stories that re-emerge from his playful grasp of history and understanding of the principles of the renaissance . These are powerful contemporary creations that are akin to pieces from a renaissance Wunderkabinett or royal treasury. His sophisticated style succeeds in laying before the viewer a hypnotic alchemy that creates a yearning to discover the symbolic meanings which lie at the heart of each piece. Kevin Coates is a man who is led by a new and contemporary enlightenment and just as this type of work was commissioned by rulers across Europe during the renaissance his work is a revelation of discovery and a source of joy to modern day collectors of refinement.

Finally our catalogue ends with (pages 78 and 79), a group of pieces by Gunilla Maria Akesson, made especially to augment this collection. The vases and open forms that she has created for us are interpretations of her sensitive spiritual approach to potting. Her unique glazes and forms show a beguiling natural even ethereal energy at work and are a fitting inclusion into the contemporary collections of the present day.

There are many more superb examples of the potter’s art included in our selling collection and we look forward to welcoming you to fully experience the sophisticated elegance in all its attributes of our collection ‘Rococo Porcelain’.

Brian Haughton and Paul Crane St James’s London.

Rococo Porcelain 7

A very rare Mennecy Ormolu Mounted Vase and Cover, the baluster vase pierced at the shoulder and applied with the flowering branches of rose bushes, resting on a rockwork base applied with a small child to one side pouring water from a jug, the reverse with a reclined sheep. Resting on a rococo scroll moulded ormolu base support, the cover with similar scrolled ormolu mounts.

Circa 1740 10 ins. (26 cms.)

Ormolu to neck of vase initialled possible IB.

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Rococo Porcelain 9

An extremely rare and complete Nymphenburg Rechaud, probably modelled by Johann B. Haringer, the elegantly facetted twin handled cylindrical form raised up on four rococo scrolled feet, crisply moulded all over in low relief with fluid scrolls and leaf ornament, to the front and the reverse are two vent apertures neatly concealed with further rococo embellishments. The front featuring a triple arcaded opening to the interior where the silvershaped vessel for the fuel is placed, complete with the ceramic wick support. The stepped silver shaped shoulder supporting an inner liner and the domed raised rococo scroll moulded cover surmounted with a Pheonix with outspread wings rising from the flames.

Circa 1765 Height when assembled and complete: 13½ ins. (34.5 cms.)

Impressed shield marks and underglaze blue mark to the underside of the fuel vessel and the wick support.

Provenance: Prince Hohenlohe-Shillingsfurst.

An example of this model in the white is in the Bauml Collection, illustrated by Alfred Ziffer, 1997, op. cit, previously in the Dr. Paul von Ostermann Collection, sold Cassirer and Helbing, Berlin, 18th December 1928, lot 408. The author lists that only two other examples left in the white are known, one in the Grassi museum, Leipzig, inv. No. 70.74, and a base lacking its cover in the Hirth collection, (published in the collection catalogue, 1898, p. 34, no.183).

Only four examples of this model are known with painted decoration. One from the Collections of the Margraves and Grand Dukes of Baden, was sold by Sotheby’s BadenBaden, 6th October 1995, lot 804; the Stadtisches Museum, Resenheim (published by Fredrich Hofmann, Geschichte der Porzellan-Manufactur Nymphenburg, 1923, p. 69, abb.

63); the Museum of Fine Arts Boston, acc. No. 1985. 228ac, previously in the Otto and Magdalena Blohm collection, Hamburg, Sotheby’s London, 10th October 1961, lot 668; and another lacking its cover in the Bavarian National Museum, Munich, inv. No. Ker 2209.

In the mid 1750’s the Duke Philip Ernest zu HohenloeBartenstein founded the Family Order of the Pheonix, the family line divided itself into two branches, the HohenloeWaldenburg-Bartenstein and the Hohenloe-WaldenburgSchillingfurst. This connection to the stately symbol of the Pheonix may explain why this object was owned by the Hohenloe-Schillingfurst family in the eighteenth century.

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Rococo Porcelain 11

An extremely rare and large Bow Twin Handled Tureen and Cover of the ‘Scratch R’ marked Type, of compressed circular shape with twin hooped handles, painted in the Imari palette with scrolled foliage and stylised leaves with gilded highlights issuing from holed rockwork, the domed cover with Lion finial.

Circa 1748-50 Scratch R marks to the underside of both pieces.

The largest shape made at Bow in the earliest years of the manufactory, exhibiting the mastery of the ‘Silver Taste’ and form needed by the early investors and owners of the manufactory, to appeal to the Aristocracy and show the new and novel material of porcelain used in the same way and forms as Silver. The lion finial with its paw resting on a tree stump, for support in the kiln, acts as a perfectly conceived handle for the cover when upturned being used by a servant as a receptacle for service at the table. The model of the lion is also found modelled on its own and thereby is one of the earliest models of an animal in English porcelain.

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Rococo Porcelain 13

A Pair of Northern European Probably Brussels Faience Cauliflower Tureens, Covers and Stands, the stands formed as wavy leaves naturalistically coloured in tones of green and black, with white veining, the tureens formed at the lower part of the cauliflower and the covers modelled as the flowering part of the vegetable, coloured in yellow and with applied single floret finials.

Circa 1770 Diameter of Stands: 13 ins. (33 cms.)

Height of tureen: 8 ins. (20 cms.)

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Rococo Porcelain 15

An extremely rare pair of Large scale Bow Models of a Cockerel and Hen, modelled after the Meissen originals by J.J. Kaendler, both standing with brightly coloured plumage.

Circa 1765 Height: 7½ ins. (19 cms.)

Provenance: The Judge Irwin Untermyer.

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Hannoversch-Munden Quail Tureens and Covers, the two seated birds decorated with manganese plumage, the head and wings forming the cover and the bodies forming the tureen, both on fixed stands of lobed silver shape, painted with scattered sprigs of stylised flowers and sponged manganese edges.

Circa 1745 Height: 5 ins. (12.8 cms.)

Length: 9 ins. (23 cms.) numeral 3 to one cover and base and numeral 5 and P to the other.

Rococo Porcelain 17

An extremely rare and highly important Pair of Hochst Fayence Seated Pug Dogs, the seated male and female of characteristic shape and beautifully modelled each holding a paw up, highly naturalistically painted with a cream body washed in yellow and with black detailing to the hair and the face, both on slightly domed green oval bases.

Circa 1750 Height: 4 ins. (10 cms.)

Length: 5 ins. (12.8 cms.)

H and wheel mark in black.

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An extremely rare and highly Important Du Paquier Covered Jug of Silver Shape, the elegant baluster form with moulded silver shaped spout and scrolled handle, the high domed cover with double annulated knop. Painted in underglaze blue with sprays and smaller sprigs of stylised oriental flowers and leaves.

Circa 1725 Height: 11 ins. (27.5 cms.)

For a discussion on underglaze blue decoration on Du Paquier porcelain see the article by A. Busson, op. cit. where this coffee pot is illustrated alongside another which was sold at Sotheby’s Zurich, 26th June 1971, lot 74. The pattern on this coffee pot differs from that on the earliest types at Du Paquier, which were often decorated in red enamel, and is very close to the decoration of the pieces recently identified at the Saint Florian Abbey in Upper Austria, dating from circa 1728; See Meredith Chilton, Fired By Passion’ vol. 2 p. 772 and vol 3. nos. 210 and 211. The form is also a rare variant, more elaborately scrolled than usual, see also Bonhams decemeber 2009 lot 136.

A Busson, Unterglasurblaue Dekors auf Du Paquier Porzellanen, in Keramos, 60, April 1973, pp. 3-16, Abb. 2.

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A very rare Meissen Equestrian Group of a Polish Cavalry Officer on Horseback, exceptionally well modelled with great detail, the caparisoned spirited horse fully saddled and complete with bridle, reins and martingale. The cavalry officer with caped jacket, buttoned up tunic with frogging and bearskin hat, brandishing a sword that rests upon his shoulder, raised up on an oval base applied with flowers and leaves, an oak stump providing support to the underside of the horse.

Circa 1750 Height: 11 ins. (28 cms.)

Length: 9 ins. (23 cms.)

Mark: Crossed swords mark in underglaze blue to the reverse of the base edge.

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A rare and fine Silver-Gilt Mounted Meissen Tankard, beautifully painted with large sprays of Indianische Blumen, the characteristically richly decorated floral sprays inhabited with luscious foliage and a parrot in flight beneath a double concentric lines in underglaze blue and above a border of alternating diaper and stylised floral panels, the applied handle with similar floral sprays.

The silver-gilt mounts engraved with quartered arms of the Stein von Altenstein family of Bavaria and Prussia, marked CD and M. The Stein von Altensteins were created Barons of the Holy Roman Empire by Leopold I on the 11th February 1695.

Circa 1735 Height: 7½ ins. (19 cms.)

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A very fine Meissen Tankard, with Dresden Silver-Gilt Mounts, gloriously painted by Johann Ehrenfried Stadler, with a Chinese pavilion coloured in blue, puce and green flying a lustred and starred flag beside a rock and on either side large and colourful sprays of Indianishe Blumen, with birds and insects in flight overhead, between colourful stylised cell and scalework borders. The applied strap handle with blue scrolls and iron red flowerhead. The mounts with maker’s mark H E over Z, Dresden.

Circa 1725

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6ž ins. (16.5 cms.)

Crossed swords marks in overglaze blue enamel.

Provenance: Sammlung Osterle, Munich.

Ulrich Pietsch, Preziosen, einer suddeutschen Kunstsammlung, 2001, p. 33.

See: R. Seyffarth, Johann Ehrenfried Stadler, der Meister der Facherchinsen, Keramos, no. 10, 1960, pp. 151-159.

A Meissen Tobacco Jar and Cover, of slender cylindrical shape the slightly domed cover applied with green tendrils and flowers, painted with holzschnitt blumen in the manner of J.G.Nitzschner with full sprays of European flowers including roses, tulips and other herbaceous specimens.

Circa 1745 Height: 6Âź ins. (15.2 cms.)

Crossed swords marks in underglaze blue.

Rococo Porcelain 23 ROCOCO PORCELAIN

A rare and Documentary Meissen Silver-Mounted Meissen Tankard dated 1745, painted by Johann Gottfried Nitzschner with a huge spray of European flowers including: a rose, stocks, auricula and papaver on one side and a spray of dianthus and heartsease on the reverse, the handle with puce lambrequin and stylised acanthus leaves.

Dated 1745 Height: 8 ins. (21 cms.)

Crossed swords mark in underglaze blue to the underside, pressnummer 20 and painter’s monogram JGN in puce.

The silver-gilt mounts set with a Brunswick coin of 1688 and inscribed Hinrich Tamm / Anna Tammen/ HS 1745, maker’s mark PS struck twice.

The flowers will almost certainly be copied from the engravings of Johann Wilhelm Weinmann’s Phytanthoza Iconographia, published in Regensberg in four volumes between 1737-1745. The extensive botanical illustrations which detail the collection of plants built up by the apothecary and gardener Weinmann (1683-1741) is almost the only known source for flower painting at Meissen. The use of the volumes is also clearly seen throughout the decoration of the Bruhlsche Allerlei service made for Count Heinrich Graf von Bruhl during 1742. See Dr. Joanna Lessmann, Das Bruhlsche Allerlei. Ein Service fur Heinrich Graf von Bruhl in Schwanenservice: Meissener Porzellan fur Heinrich Graf von Bruhl. Dresden: Staatliche Kunstsammlungen Dresden, Porzellansammlung im Zwinger 2000: 106-118.

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Rococo Porcelain 25

A rare Meissen Tea Caddy depicting Mining subjects, the rectangular form painted in the manner of Bonaventura Gottlieb Häuer with miners at various activities running continuously around all sides, within a wooded rocky landscape beneath a gitterwerk border, the cover with similar decoration.

Circa 1740 Height: 5 ins. (12.5 cms.)

Mark: Crossed swords in underglaze blue to base.

Häuer joined the Meissen factory in 1724 and by 1731 was painting figures in landscapes. His dark rocks to the foreground silhouetted against lighter landscapes behind is a particular sign of his work. Häuer is also the person associated with wares depicting miners. Minerals, coal and gold were a considerable source of revenue for Saxony and this therefore interested Augustus III massively. Augustus revered his miners greatly and lent his monogram as their badge on their uniforms. When looking at the heaps of stone and coal on this tea caddy, one can see that many of the stones are in fact gilded, showing in fact the sheer variety of minerals mined in Saxony.

Very rare Meissen rectangular Tea Caddy and domed Cover with ozier moulded shoulder, painted with scenes of peasants fighting and a wife expelling her drunken husband, each side with a dwarf playing a musical instrument. The cover with similar decoration and flower finial.

Circa 1745 Height: 5 ins. (13 cms.)

The “Callot Dwarfs” taken from The Complete Gobbi (Grotesque Dwarfs), a series of 21 etchings, c. 1622.

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A rare Meissen Hexagonal Tea Caddy and Cover, of facetted baluster shape, beautifully painted in the style of Christian Friedrich Herold.

Circa 1725-30 Height: 4Âź ins. (10.3 cms.)

Small Meissen gilt-metal mounted Tea Caddy and Cover painted with putti holding garlands of roses, seated on clouds beneath a purple scale and gilded border. The cover with similar decoration.

Circa 1760 Height: 3ž ins. (9.5 cms.)

Crossed swords mark in underglaze blue. Painters mark in purple 31.

Rococo Porcelain 27

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An extremely rare oval Meissen Portrait Medallion of Augustus III, modelled in profile and looking to the left, the ‘Roman headed’ King of Poland and Elector of Saxony modelled head and shoulders, wearing official stylised ‘Roman’ vestments or toga and the order and sash of the Golden Fleece. Suspension hooks applied to the partially glazed reverse.

Circa 1737 Height: 4¾ ins. (12 cms.)

This portrait plaque of Augustus III is previously unrecorded and appears to be the only example. The King wears a furlined outer garment and hairstyle of the Polish ruling class.

Augustus III was the only legitimate son of Augustus II of Poland, he followed his father’s example by joining the Roman Catholic Church in 1712. In 1719 he married Maria Josepha, daughter of the Holy Roman emperor Joseph I and became elector of Saxony on his father’s death in 1733.

As a candidate for the Polish crown, he secured the support of the Emperor Charles VI by assenting to the Pragmatic Sanction of 1713, designed to preserve the integrity of the Habsburg inheritance, and that of the Russian Empress Anna by supporting Russia’s claim to Courland. Chosen King by a small minority of electors on October 5, 1733, he drove his rival, the former Polish King Stanisław I, into exile. He was crowned in Kraków on January 17, 1734, and was generally recognised as king in Warsaw in June 1736.

Augustus gave Saxon support to Austria against Prussia in the War of the Austrian Succession (1742) and again in the Seven Years War (1756). His last years were marked by the increasing influence of the Czartoryski and Poniatowski families, and by the intervention of Catherine the Great in Polish affairs. His rule deepened the anarchism in Poland and increased the country’s dependence on its neighbours.

The Russian Empire, which had assisted him in his bid to succeed his father, prevented him from installing his family on the Polish throne, supporting instead the aristocrat Stanisław August Poniatowski. During his reign, Augustus spent little time in Poland and more interested in ease and pleasure than in affairs of state, this notable patron of the arts left the administration of Saxony and Poland to his chief adviser, Count Heinrich von Brühl, who also ran the Meissen manufactory, who in turn left Polish administration chiefly to the powerful Czartoryski family.

Rococo Porcelain 29

Meissen Comedy Figure of Harlequin from an extremely rare and early series of Characters from the Commedia dell’Arte.

He stands astride with a ringed tree support behind him.

Dressed in a cape, frilled lace collar over a pied buttoned waistcoat and pantaloons, his one arm outstretched, raised up on a bevelled rectangular architectural plinth with traces of Augsburg gilding.

Circa 1725 Height: 6 ins. (15 cms.)

Comedy Figure, probably Harlequin.

Hard-paste porcelain with traces of gilding.

Mark: Crossed swords in underglaze blue.

Germany, Meissen, c. 1725, decoration in Dresden or Augsburg.

This unique porcelain figure is a hitherto unknown model which almost certainly depicts Harlequin, one of the central figures of the Commedia dell’Arte. He is wearing a traditional costume of a short jacket and trousers delineated with diamond shapes. What is more unusual is the short cape he sports on his left shoulder, a feature found more commonly on other zanni figures of the Commedia, such as Mezzetin or Scaramouche.

Harlequin is standing in an atypical pose, facing forward in a confrontational stance, with his legs apart. One fist is clenched, while the other holds a whistle, or pan pipes.

Although no engraved source is known, the figure may have been inspired by an engraving, or perhaps from an actual performance. Harlequin is known to be a wily servant, often acting as a go-between for illicit lovers, or as a plot stirrer who encourages false rumours between the older protagonists of the Commedia. He is always hungry and eager to earn money. Could this pose show Harlequin in an argument about money or music? Does his clenched fist and the whistle mean he is is threatening someone to “whistle down the wind” for payment?

There are a number of small Meissen porcelain sculptures which were made around 1725, some of which, such as this example, have underglaze blue crossed sword marks. Most are found on porcelain plinths of various heights and range in size between 10 cm to 16.9 cm. Some are found without decoration, or with gold which was applied in Augsburg or Dresden; occasionally they have coloured faces. More rarely they are found decorated in early, rather muddy, enamel colours. The subjects of these figures vary from dwarves in various costumes, many of which were inspired by engravings by Jacques Callot, or of Dwarf musicians. There are also small figures of various nationalities, some inspired by engravings by Caspar Luyken, such as Poles, a Dutchman, Turks and a Chinese, as well as an American Indian. There is also at least one Beggar, a Shepherd, and a figure from the Commedia, usually identified as the Captain, along with this Harlequin.

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These small sculptures are usually associated with a group of 161 plaster models of dwarves of various nationalities, chess pieces and other figures that were acquired by Meissen from Augsburg in 1725. They were clearly made by a number of different artists, whose names are unknown. Closest to this Harlequin in style are a small sub-group of these figures on similar plinths, also marked with underglaze blue crossed swords, including the Dutchman (whose splayed legs are similarly filled in with porcelain) and the Pole (identified as N 232 W in the 1779 Inventory of the Japanese Palace) from the Spitzner collection, and two figures from the collection of Siegfried Salz of a Janissary and a Shepherd.

This charming and previously unknown Meissen Commedia figure is among the earliest depictions of this genre in porcelain.

For costumes and the identification of Commedia dell’Arte characters see Meredith Chilton, Harlequin Unmasked, The Commedia dell’Arte and Porcelain Sculpture, Yale University Press with the Gardiner Museum, New Haven, 2001, ch. 2.

Klaus-Peter Arnold, Figürliches Porzellan aus der Sammlung Spitzner, Exhibition catalgoue, Staatliche Kunstsammlungen Dresden, Porzellansammlung im Zwinger, Dresden, 1988.

For dwarves inspired by Callot engravings see figs. 14-17; for a dwarf musician see fig. 18. Other dwarf musicians can be seen in 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, October 2002, 60-62.

For figures of Turks, Poles, the Dutchman and a Chinese see Arnold, fig. 19 and 20, figs. 22 and 23; fig. 24 and fig. 21; for two Turkish figures inspired by engravings by Caspar Luyken, see Maureen Cassidy-Geiger, The Arnhold Collection of Meissen Porcelain 1710 – 50, The Frick Collection, New York, 2008, cat. 279a,b. For the American Indian see Boltz, fig. 58.

Arnold, 26, and Chilton, 292.

Rainer Rückert, Meissener Porzellan, 1710 – 1810, Exhibition catalgue, Bayerisches Nationalmuseum, Munich, 1966, 15.

See notes iii and iv. The figures of the Shepherd and the Janissary from the Sammlung Siegfried Salz were illustrated in the Cassirer und Helbring, Berlin, auction catalogue of March 1929, no. 53 and 54, fig. IX. The connection of these figures was made by Alfred Ziffer.

We thank Meredith Chilton Independent Art Historian and Author of ‘Harlequin Unmasked: The Commedia dell’Arte and Porcelain Sculpture’ (Yale University Press and Gardiner Museum: 2001) for her assistance with the cataloguing of this piece.

Rococo Porcelain 31

A rare Meissen Cabaret Tea Service Painted with Mining Decoration, comprising: a quatrelobed tray with stylised puce edged handles, a teapot, milk jug, sugar box and cover, two teacups and saucers and one spoon. Each piece exceptionally well painted with Miners, Inspector Generals and Officials at various activities of their work, beside mining shafts, heaps of gilded coal, chopping wood and a rare scene of rest and playful pursuits.

Circa 1760 Length of tray: 17 ins. (44.5 cms.)

Height of teapot: 3½ ins. (9cms.)

Height of milk jug: 3½ ins. (9cms.)

Crossed swords marks and dots in underglaze blue to the underside of most pieces.

32

Provenance: From the collection of Dr Karl Lanz bought from Hugo Helbing Auction Munich 1930, lot 69. And Private Swiss collection.

Mining decoration was extremely important and is highly prized. The miners in Saxony were the ‘backbone’ of the economy and the royal Treasury of Saxony derived 27% of the mining revenue annually. Experienced miners, on the orders of Augustus the Strong, had helped Bottger with his porcelain experiments and in setting up the original Meissen manufactory. Gilding the coal, which can be seen in some scenes, is symbolic of the ‘richness’ of the mining industry.

The ‘Officials’ and ‘Inspector Generals’ can be picked out with their gilded ‘AR’ cap badges and their golden buttons. Mine Foremen and lower ranks have the crossed hammer and chisel. Bonaventura Gottlieb Hauer was one of the greatest miner subject painters, he was the son of a member of the Miners’ welfare fund in Freiburg.

A Meissen Baluster Hot-Milk Jug and Cover, modelled by J.J. Kaendler, the elaborate interlocking scroll handle enriched in gilding and applied with a rare Frauenkopf thumbpiece at the upper terminal. The spout formed as a gentleman courtier, his tricorn hat pierced with an aperture.

The jug painted with Bienemuster and butterflies below a band of ozier moulding edged with gilt lines, the slightly domed cover with ozier moulding and scattered indianische Blumen about a stylised palm fruit finial.

Circa 1735

Blue crossed swords mark and Pressnummer 11.

Anon., sale Galerie Jürg Stuker, Berne, November 1966, lot 2.

Provenance: From a distinguished private continental collection of early Meissen and continental ceramics.

See the tea and coffee service formerly in the Grossherzöge von Baden Collection sold by Sotheby’s on 7th October 1995, lot 1296.

Height: 6¼ ins. (16 cms.)

Rococo Porcelain 33

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 delineated teeth.

Circa 1720 3 ins. (7.6 cms.)

Similar models were delivered to the Japanese Palace the 1770 Inventory lists 38 white Pagodas.

See Claus Boltz, ‘Japanisches Palais-Inventar 1770 und Turmzimmer-Inventar 1769’ Keramos 153.

34

An extremely rare Chelsea Sun Flower Box, Cover and Stand, the box formed as the base of the flower with filled out yellow petals and the slightly domed cover formed as the central seed and stamens, a slender leaf applied to form a rising finial. The Stand similarly moulded with a flowering sunflower and two leaves and a tendril and stem forming the handle to one side.

The stand: 91/8 ins. in length (23.2 cms.) red anchor mark and numeral 2 to the underside of the stand.

Chelsea sunflower boxes, covers and stands are mentioned in the 1755 Chelsea Sale catalogue. Third day’s sale 12th March lot 31: ‘Four large sun flower leaves, and 4 sun flowers to ditto’.

Circa 1755

Rococo Porcelain 35

A massive Chelsea Circular Warren Hastings Moulded Charger of the Largest Size, the crisply moulded silver shaped charger with three rococo scrolled panels enriched with puce detailing, enclosing figural harbour scenes beautifully painted by Jefferyes Hamett O’Neale, showing figures at conversation, beside quaysides at the harbour, with ships in distance and building and trees on either side. The centre painted with large formal sprays of European flowers and butterflies, together with smaller scattered floral sprigs, brown line rim.

Circa 1755 18½ ins. (47 cms.)

Red anchor mark to the underside.

36

Rococo Porcelain 37

An extremely rare Longton Hall Leaf Shape Teapot and Cover, of cusped naturalistic shape formed as a series of 6 large cabbage leaves grouped together, the spout similarly formed with two leaves and the flattened cover with tripartite leaf finial, applied at one side with vine tendril handle, the green edged leaves veined in puce.

Circa 1755 Height: 4ž ins. (11 cms.)

Another example of this exceptionally rare form from the Dr. and Mrs. Statham collection Sotheby’s 16th October 1956 lot 104. Published by Bernard Watney, Longton Hall Porcelain. 1957. p. 40 pl. 46B.

38

A very rare Longton Hall Cauliflower Tureen and Cover, beautifully naturalistically moulded and formed as an upright Cauliflower, the cut leaves, painted in delicate tones of green, forming the base and the irregularly moulded white massed cloud-like flowers forming the cover, with a single white stalk of flowers forming the finial. The interior of the base with a sprig of European flowers.

Circa 1755 Height: 6 ins. (15 cms.)

Rococo Porcelain 39

Fine Pair of Longton Hall Peony Dishes, moulded in crisp low relief, the red and yellow floral sprays with central seed bosses and overlapping leaves forming the dish, applied to one side with tendrils, stalks and buds forming the handles.

Circa 1755 Width: 8Âź ins. (21 cms.)

40

Rococo Porcelain 41

A rare Meissen Twin Handled Ecuelle, Cover and Stand, the plain turned circular form applied with rococo scrolled handles at either side, painted with brightly coloured butterflies in flight and other smaller butterflies. The domed cover with flower finial.

Circa 1740 Diameter of stand: 7 ins. (18 cms.)

Diameter of the vessel without the handles: 4ž ins. (12 cms.)

Crossed swords marks in underglaze blue to the underside.

42

A Meissen Model of a Lioness, standing and looking up to one side, the tail curled slightly round one of the back legs, naturalistically painted in tones of brown and black.

Circa 1745 Height: 3Âź ins. (8 cms.)

Crossed swords mark in blue to the underside of the front nearside paw.

It was the taste and fashion of the seventeenth century and beginning of the eighteenth century that sugar sculpture was placed in the centre of the table for decoration at the dessert course, but by the 2nd quarter of the eighteenth century Meissen porcelain replaced the sugar sculpture as a more permanent feature. The dessert service presented in Dresden in 1748 to Sir Charles Hanbury-Williams, the English Ambassador to Dresden, included a large assemblage of figures, animals and rustic models such as stables, farms, cottages and churches of Meissen porcelain.

Rococo Porcelain 43

A rare Meissen Twin Handled Ecuelle, Cover and Stand, painted with European flowers including: tulips, poppies and corn flowers, together with insects and beetles and mayfly.

Applied with scrolled Rococo handles at either side.

Circa 1738 Diameter of dish: 7 ins. (18 cms.)

Diameter of vessel without the handles: 4ž ins (12 cms.)

Crossed swords marks in underglaze blue to the underside of each piece.

44

An extremely rare Meissen Cat modelled by J.J. Kaendler, seated on its haunches, looking to one side, finely painted in tones of brown and ginger, raised up on a green pad base.

Circa 1740 Height: 7¾ ins. (18.3 cms) Cross swords marked in underglaze blue.

The model and its companion 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 very similar example of the model in the collection of Sir Gawaine and Lady Bailey. Leeds Castle.

Rococo Porcelain 45

A very fine Pair of large Meissen Chargers, crisply moulded with Neu-Brandenstein borders, painted with colourful European Birds, including: Chaffinchs, Aurioles, a Kingfisher and various finches, all perched in trees, surrounded with butterflies in flight. Gold line rims.

Circa 1745 Diameter: 13½ ins. (34.5 cms.) crossed swords marks in underglaze blue and pressnumen 22.

46

Rococo Porcelain 47

A rare Meissen Puce Scale Teapot and Cover, of pear shape with Rococo scrolled tau shaped handle, beautifully painted with colourful European birds, perched within trees beneath a puce scale ground with irregular gold scrolled Rococo border with flowers pendant from the gilded edge, the stylised bird’s head spout crisply moulded with leaves heightened with gilding. The slightly domed cover with similar decoration and rose bud finial.

Circa 1750 Height: 4Âź ins. (11 cms.)

Crossed swords marks in underglaze blue to the underside.

48

A very fine and rare St. Cloud Figural Oval Silver Mounted Snuff Box and Cover, modelled as a reclined sportsman, wearing typical bucolic attire with blue order sash, his head resting on his hand, and a yellow walking stick to one side, painted in the kakiemon palette with sprigs of stylised oriental plants and flowers, the cover with similar decoration.

Circa 1735 Length: 3 ins. (7.5 cms.)

Paris decharge mark to silver mount.

Rococo Porcelain 49

An Extremely Rare Pair of Strasbourg Faience Apple Boxes and Covers, each naturalistic box and cover beautifully modelled and richly coloured in tones of red and green, the lower part of each box formed as half the apple, leaves and branch and the cover formed as the upper part of the fruit.

Circa 1745 Length: 4 ins. (10 cms.)

50

Rococo Porcelain 51

A pair of Meissen Models of a Cock and Hen Pheasant, modelled by J.J. Kaendler, each with the front of their breasts lowered to the ground with their tails up in the air, the Hen with a brood of chicks, beautifully naturalistically coloured with melanistic colours.

Circa 1745 Height: 7 ins. (18 cms.)

Marks: the Cock bird with impressed numeral 4 to the base.

52

A Meissen Twin Handled Circular Ecuelle and Cover, applied with sprays of flowering roses, enriched in tones of puce, iron red, sea green and brown and painted in Holland with small oriental birds and insects in flight. Applied at either side with flattened silver shaped handles.

Circa 1720 Diameter: 7 ins. (18 cms.)

Rococo Porcelain 53

Rare white tin-glazed Chantilly sugar bowl and cover modelled as a partridge with a partridge chick on its back.

Circa 1745 Height: 43/8 ins. (11 cms.)

Length: 7 ins. (18 cms.)

This piece is an extremely rare form and recorded by Genevieve le Duc as the only recorded example of its type.

See: Porcelaine Tendre de Chantilly au 18iem siecle by Genevieve le Duc page 294 for photograph of this item.

54

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.)

Rococo Porcelain 55

A Pair of Large English Ironstone, Probably Davenport, Ovoid Vases and Covers, of sculptural baluster shape with turned and stepped feet, and painted wolf mask handles, the slightly domed covers with ball finials, printed in blue and painted in imari colours of orange, green, red and yellow with broad bands of stylised flowering oriental plants and trees, together with long beaked birds perched within the foliage.

Circa 1825 Height: 22Âź ins. (56.5 cms.)

56

An impressive confection of dazzling late regency splendour.

The design inspiration of these superbly decorated vases and covers is a mix of Italian, and French in terms of the urn-like shape and zoomorphic handles, which evoke the tin glazed renaissance Italian maiolica of the sixteenth and seventeenth centuries that inspired some of the great French pottery manufactories of this period such as Nevers and Rouen.

The colours are very typical of the palette used at Davenport, where interesting sculptural forms were developed and imbued with the fashionable regency interpretation of chinioserie designs.

Rococo Porcelain 57

A rare impressive Barr Flight and Barr Worcester Porcelain Twin Handled Sorbet or Ice Cooler, Cover and Liner.

Beautifully decorated with brightly coloured European flowers including roses, auriculars, heartsease, iris and speedwells, reserved on a deep ‘King’s Blue’ ground enriched with large gold floral sprays. The applied twin handles modelled as gold satyr masks, the cover with similar decoration and surmounted by a gilded palm fruit finial.

Circa 1805-1813 Height when fully assembled: 11ins. (28 cms.)

Impressed BFB and printed mark, with royal warrants, in puce to the underside of the cover.

58

Manufactured as a vessel for cooling fruit or sorbet, the inner liner would hold the sorbet and crushed ice would have been carefully packed around in the main form, the cover then would have insulated the whole cooler. A very impressive and high status piece, made in to special requirements and as requested as an addition to a dessert service. This piece would also have doubled up as a wine cooler and also a vase for flowers, making this piece one of the most versatile decorative forms as well as being functional, an extremely ingenious invention.

A very fine and early Chelsea Triangle Period Beaker, of lobed silver shape with scalloped rim, painted in the Kakiemon palette with a hoho bird painted in tones of yellow, blue and iron red and perched on a holed turquoise blue rock which issues flowering peonies.

Circa 1745-49 3 ins. (7.5 cms.)

The shape emanates from the first ‘silver taste’ shape that the manufactory developed. The palette is Kakiemon and after the inspiration from the seventeenth century wares. The paste and glaze date from circa 1748 and exhibit use of tin oxide which can be seen on the inside of the rim. The pattern came to be popular at the Worcester manufactory during the First Period under Dr Wall.

Rococo Porcelain 59

An extremely rare and very early Dr Wall Worcester Fluted Creamboat, of fluted oval flared out form with elegantly turned spout, the tau shaped handle with scrolled thumbpiece and and lower kicked terminal. Painted in the delicate famille verte palette with a stylised bird with blue, yellow and green plumage perched within a branch of flowering prunus issuing from a holed blue rock, the reverse with further branch of flowering prunus, beneath the lip a single yellow insect and the interior with a yellow and blue stylised flowerhead.

Circa 1752-53 Length 4Âź ins. (11 cms.)

One of the earliest shapes of creamboat made at the Worcester Manufactory. The press moulded form has a luted on handle that exhibits being hand modelled especially the scrolled thumbpiece which has a sculpted look about it. The early palette of famille verte should be compared with the early opaque white glass products from nearby Stoubridge that show the same hands at work. It is conceivably possible that the two manufactories, in the earliest year before the coloured techniques were developed at Worcester, worked together to enamel with colours both glass and porcelain.

The oval creamboat should also be compared to the oval creamboats with raised oval pad feet in terms of the early date of manufacture and rarity. The paste and glaze belongs to the earliest class of Worcester porcelain, that which has a creamy look and inclusions from the kiln firing.

60

An extremely rare and very early Dr Wall Worcester Sauceboat, of the silver taste and moulded in crisp low relief with oval panels the borders of which are beaded and have internal vitruvian scrollwork and acanthus ornament, either side further moulded leaf and flower ornament and two double ‘C’ scrolls beside the scrolled handle with spaniel thumb piece and kicked and scrolled lower terminal. A further oval panel beneath the spout exhibits a finely chased scrolled border. Painted in the famille rose palette, a Chinese lady in puce robes with top knot stands beckoning beside a green ginger jar filled with sticks with a gnarled fir tree to one side and a red fence and flower to the other, the other side with a similarly gnarled willow tree beside a puce compressed oval bowl and cover a blue vase filled with flowers a trumpet shaped beaker and a yellow breasted bird holding onto a single flower and stem. The interior with five trailing floral sprays and a single butterfly with multicoloured wings to the spout.

Circa 1753 Length: 9 ins. (23 cms.)

The shape of the bird and the rythmic trails of blue populated floral sprays should be compared to enamelling on the very first vase forms to emanate from the manufactory the lobed baluster examples in the A.J.Smith collection at the Bristol City Museum and Art Gallery. The early blue colour proved

extremely difficult to fire and often has burned out in the kiln with the result that the blue can sometimes completely disappear or have a very sticky granular texture. The quality of the blue on this example is quite superb and the colour is present in every detail.The shape would have been completely finished in its finely moulded state and indeed has a greyish blue to the glaze which in our opinion furthers the trompe l’oeil effect of the silver form and taste and therefore would appear to be silver on the candlelit table.

Thus the new and novel material of porcelain is successfully transposed into the silver shape and form. The prominent figural decoration which is a part of the characteristic success of the famille rose patterns at Worcester is much less prominent in other English manufactories. The mixture which is unique to Worcester in this palette and style should be compared to a mixture of enamelling found on Stourbridge Opaque white glass, enamelled saltglazed stoneware from Staffordshire and Meissen Indianische blumen together with figural decoration that is closest to Johann Ehrenfried Stadler. Each element of this design on each of the panels appears to have been composed with the utmost ingenuity and deliberation. Certainly the enamelling team must have been still very small at this stage for on some of the surviving pieces of this earliest period the same hand can be discerned. The secondary decoration on this piece is particularly vivid and carefully employed, with quite the space for a practised hand to show off their tremendous ability.

Rococo Porcelain 61

An extremely rare and very early Worcester Rococo Moulded Teabowl and Saucer, of egg shell thinness, moulded with pleats and rococo scrolled mirror shaped panels issuing with trailing sprays of leaves and flowers moulded in crisp low relief, painted in the famille rose palette with beautifully plumaged birds perched on sprays of flowering prunus and peonies, the smaller oval panels containing sprigs of iron red flowers with blue green trailing strap leaves. Each piece painted with a fine puce pencilled border of interlocking scrolls.

Circa 1754

62

Worcester teabowls and saucers of the early to middle 1750’s far excelled those of any other manufactory. The egg shell thinness is unequalled on this particular specimen making it one of the finest examples of this rare type to be recorded.

It is quite clear why the Worcester manufactory, with its greater resistance to the thermal effects of water, became pre-eminent in the production of tea services. The bird and floral elements of this particular pattern have their root in the transference of a Chinese style through Meissen and the added puce border is a European refinement to this original Chinese idiom. This ‘panelled’ moulded decoration as described in the Manufactory’s London Warehouse price card, was in production from 1754-57 only.

A very rare early Dr Wall Worcester Ribbed Coffee Cup, the elegantly ribbed form with lobed underside and flared rim, the scrolled handle with rising thumb piece and bifurcated lower terminal, painted in the famille rose palette with an extremely unusual and previously unrecorded vivid holed blue rock issuing with stylised flowering peonies and leaves.

Circa 1752 Height: 2 ins. (5 cms.)

This shape refers to the shape described in the London Warehouse price list as ‘ribb’d’ and selling for ‘8/- a dozen’.

These cups had no saucers. The shape was used for blue and white patterns too but these examples are smaller in size than the coloured counterparts. The only other manufactory to produce coffee cups of this type was the Bow manufactory and these were more cumbersome and thicker in the extreme to these highly sophisticated Worcester examples which far excel even the Chinese exported examples and beautifully earn the sophistication afforded to their ingenious development of shape at Worcester. The vastly superior Worcester product would certainly have warranted a higher price which shows the different objectives with the mass market enterprise of Bow and Chinese export porcelain. The model absolutely unique to Worcester was produced from 1751-54, coloured examples are earlier than those decorated in blue.

Rococo Porcelain 63

An extremely rare and early Dr Wall Worcester Flat bottomed Sauceboat, exceptionally well moulded in the silver taste in crisp low relief with scrolled rococo panels issuing leaves and flowers, the scrolled borderwork enclosing two panels each painted in the chinese famille verte palette with multicoloured birds looking at insects in flight perched on flowering branches of prunus. The interior with a scene of a Crane strutting on an island issuing reeds, the border and beneath the spout decorated with trailing sprays of stylised Indianische blumen of flowering oriental plants and leaves.

Circa 1753-54 Length: 6Âź ins. (16 cms.)

64

A low moulded sauceboat and only recorded in one size it is a shape that was developed at Lund’s Bristol under the keen auspices of Benjamin Lund who pioneered the development of the silver form into porcelain production through his constant evolution of paste and glaze. Absorbed too here are the elements chosen from a broad Chinese style and blended with the enameller’s idea of a sophisticated Meissen Indianische blumen style which is now incorporated into a style of pattern favoured at Worcester during the period of 1753-54. This blend of pattern also encapsulates a brief example of Kakiemon too in the stylised floral evocation of the chrysanthemum flowers.

An extremely rare and very early Dr Wall Worcester Hexagonal Vase, of sectional baluster type with elegantly flared rim, beautifully decorated in the Kakiemon palette with ‘the Three Friends’ pattern showing flowering bamboo and prunus and banded hedges, the reverse with a very rare depiction of a flying pheonix bird over two stylised plants.

Circa 1753 Height: 4¾ ins. (12 cms.)

Provenance: The Grant-Dixon and Ampleforth Abbey Collections.

The shape is derived from Chinese blanc de chine examples dating from the late seventeenth century and early eighteenth century, these were exported and bought by collectors for their China Closets made popular by Mary of Modena wife of James II and Queen Mary and the Duchess of Lauderdale at Ham House all of whom had small closets set with these collector’s pieces. The fashion for drinking tea was growing apace and an array of items could be used to adorn the tea table, which was invariably to be found in these small rooms. The rooms fuelled the Chinoiserie taste and fashion and evolved from the collector’s cabinet into visions of Cathay, sometimes decorated with elaborate friezes of expensive Chinese wallpaper. Examples are sometimes found in saltglazed stoneware emanating from Staffordshire these are probably contemporary and even a little earlier and should be perhaps dated to the mid 1740’s. This pattern is chiefly associated with this shape but can also be found on rare small boxes and covers of the same early date.

The phase of producing ornamental models such as this vase at Worcester is a very important development of the factory’s business sense for during the period of 1752-55 the manufactory concentrates on developing moulding and modelling skills to create luxury products superior to the Chinese in terms of ornamentation and to reveal that Worcester porcelain was a luxurious alternative to the less expensive but more mundane Chinese export wares.

Rococo Porcelain 65

An extremely rare and early First Period Dr Wall Worcester Cream Jug, of slender baluster shape in the ‘silver taste’ with flared rim and applied scrolled handle, painted in the famille rose palette with a spray of flowering peony and perched within a small singing finch-like bird.

Circa 1753 Height: 3 ins. (7.5 cms.)

66

An extremely rare and important pair of First Period Dr. Wall Worcester Double Handled and Double Lipped Sauceboats in the Silver Taste, moulded all over in crisp low relief with a running Guilloche of stylised acanthus leaves forming circular reserved containing panels printed with the earliest ‘smokey primitive’ prints, on one the set of the four seasons and on the other a series of ships in full sail, the interior of both with water birds after Robert Hancock, including: swans, cranes, ducks and moorhens. The borders and lips further enhanced with sprigs of flowering chrysanthemum, the lips and handles enriched with a rich purple enamel.

Circa 1754

The silver taste at Worcester is seen here in the form and ornament of the pair of sauceboats, the ‘smokey primitive’ prints further enhance the ornament to simulate silver engraving, whilst the glaze is tinted grey to increase the visual comparison of the silver taste. The sauceboats have been further enriched with coloured decoration in London within a year of their manufacture, raising their overall decoration appeal to the highest possible fashion of the day.

Provenance: English Private Collection.

Exhibited: British Art Market 1973 Exhibition.

‘Fanfare for Europe’. No. 186.

Length: 7¼ ins. (18.5 cms.)

Rococo Porcelain 67

A very fine Northern French Faience Trompe L’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.)

68

An Italian Faience Trompe l’Oeil Dish of Silver Shape, the moulded edge with lobed rim, painted with small sprigs of stylised flowers and leaves, applied in the centre with small ripening quinces.

Circa 1770 Diameter: 8½ ins. (21.5 cms.)

Rococo Porcelain 69

A French Faience Trompe L’Oeil Plate of Tomatoes, the silver shaped rim with lobed edge and painted in blue with a stylised star and looped border enclosing a band of scrolled foliage. Applied in the centre with five ribbed golden and red tomatoes of different sizes.

Circa 1800 Diameter: 12 ins. (31 cms.)

70

An interesting French Tin Glazed Model of a Porcupine, standing and wearing a gold coronet around its neck its facial features and spines picked out in manganese. circa 1760 Height: 3½ ins. (9 cms.)

Length: 5 ins. (12.5 cms.)

The symbol of the Order of the Porcupine set up in 1394 by Louis de France Duke of Orleans and consisted of 25 knights of the order with Sovereign Chief included. The Porcupine remained a symbol of the Ancient order until its termination

by Louis XII in the early 15th Century. The Coroneted Porcupine continued however to be used as a symbol of the Vallois-Orleans family and can be seen depicted in the ornamentation of the Chateau of Blois.

Rococo Porcelain 71

An important pair of Early Bow Vases, of Chinese inspired oviform shape with flared necks, the domed feet with cut out rims. Beautifully painted in underglaze blue with birds in flight, including long tailed phoenixes, cockerels and other English birds congregating around owls and a wood pecker within leafy trees. Families of Cranes inhabit reeds at the lower level of the vases and walk through watery areas to their nests, the domed bases of each vase and the flared rims with branches of flowering prunus and a border of stylised feathers.

72

Circa 1750 Height: 10½ ins. (26.5cms.)

Provenance: The Rous Lench Collection sold in the first part 1986.

Exhibited: English Ceramics Circle Exhibition 1977.

The oviform vase is inspired by a Chinese form dating to circa 1680-1720. The characteristics of the decoration are English for the most part including English and European birds together with the mythical Pheonix.

Rococo Porcelain 73

An important Massive Vauxhall Baluster Shaped Ewer or Jug, the elegantly raised and baluster form with everted rim, on a turned foot and applied with a scrolled handle with rising thumbpiece and kicked out lower terminal. Beautifully decorated in underglaze blue with an elaborate Chinese landscape showing a lady holding a basket filled with flowers beside a sacred deer, trees, flowers and rocks flank her on either side, beneath a beautiful baroque border conceived of scrolling leaves and flowers inhabited by three winged seraphim emulating the effect of chasing and engraving on silver. The inside of the rim pierced at the spout.

Circa 1753-55 Height: 12¾ ins. (32.5 cms.)

74

This vase appeared at auction in 1987 two years before the new revelations made by Bernard Watney in 1989 of the discovery of shards, from John Sanders and Nicholas Crisp’s manufactory, at Vauxhall manufactured during the 1750’s.

Bernard Watney illustrates this tall jug in his paper to the ECC, ‘The Vauxhall China Works 1751-64’ vol 13 part 3, pl 203 b. The jug is illustrated above a vase taken in inspiration from the Vincennes Vase a Oreilles. The similarity of the decoration of the ground of the vase should be compared to the border of this jug. The emulation of the ‘silver taste’ is evident in the trompe l’oeil effect of simulating a chased and engraved silver border including Angel heads in the style of the work of Paul de Lamerie of the late 1740’s and early 1750’s.

A Documentary Dated Bow Large Presentation or Christening Bowl, of deep sided form, the slightly everted rim with lobed edge.

Beautifully decorated in the Full Japanese Imari palette with an unrecorded pattern, in tones of iron red and bright blue, painted with flowering prunus trees and stylised plants beneath tied canopy draped material and on either side of large iron red lilies framed within blue leaves, the interior with further similar decoration surrounding a central flower vase standing before a fence. The underside initialled ‘IC 1752’.

Diameter: 10 ins. (25.5 cms.)

Apart from a series of blue and white and coloured inkpots that are invariably inscribed ‘Made at New Canton’ there are only five other pieces of Bow that are recorded bearing dates prior to 1754, three are figures and one is a shell. Therefore this piece should be compared in importance to the bowl in the British Museum decorated in underglaze blue and inscribed ‘William and Elizabeth Martin November 20 1750’. That is clearly a marriage bowl but there is also an example of this type of large bowl being used for Christenings, see the description written and placed on the back of the ‘Craft bowl’, also at the British Museum with Thomas Craft’s famous narrative describing the decoration, gilding and use of the bowl at the Christening of Miss Nancy Sha, daughter of late St. Patrick Blake. Therefore a hugely important piece with a pattern copied from a late seventeenth century Japanese original, but otherwise unrecorded at Bow. The initials I C could well stand for John Crowther who was a partner in the Bow manufactory.

Rococo Porcelain 75

Created during his time as Associate Artist at the Wallace Collection, this piece was made by Kevin Coates for the resulting one-man show Time Regained. It takes its initial inspiration from the Meissonier painting Polichinelle, in which a mischievous elderly actor is preparing to play his part in the Commedia...

“I have borrowed Meissonier’s worldly Polichinelle, (Punch) but returned him to his Italian stage, being unable to resist an Italian pun found in the word fiasco (in English, a dangerous concept) but which in Italian describes both a theatrical flop, and a particular form of glass bottle or flask (since the one often follows the other!). This was, in part, suggested by the contented, somewhat final, gesture of satiety with which he has folded his hands across his embonpoint, all but echoing the phrase of his English kinsman – “that’s the way to do it!”.

So for me, he now guards the contents of a flask, or decanter, of blown and reeded Venetian glass, the colour of Meissonier’s background (theatrical?) drapes. His damask costume, modelled in the round omitting what might have been a hunch-back, I have remade in part-gilded and patinated silver (he unscrews at the waist to open and close the decanter), but the dangerous red of his baggy haunches I have rendered in overlaying branches of coral: a charm against inebriation.”

The above note is a short extract from the artist’s catalogue essay, which explores the meaning and historical context of Meissonier’s satirical portrait. The full note can be found on the Brian Haughton Gallery website.

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This arresting sculpture, one of only five works in the catalogue to date to be cast in bronze, is an evocation of the power of love, that of Orpheus and Eurydice: this force is such a uniting bond that the sculpture takes the form of a double portrait, with the two lovers ‘sharing’ the middle eye – the ‘third’ eye of Tibetan mythology, and in this figure the one open to reveal a pupil of mother-of-pearl – in a double head, supported by the beautifully modelled hand of the Poet-god.

The ‘Orpheus’ head is crowned with a laurel, patinated a dark green, as are the eyebrows and lashes, whereas the rest of the bronze is of rich verdigris, apart from the ethereally-tinted lips and fingernails. The whole figure is mounted on a red jasper stand.The legend of Orpheus, whose love was strong enough to transcend even death, often recurs in this artist’s work, but this is the first larger table-piece on the theme.

Height: 12¾ ins. (33 cms.)

Signed and dated Artist’s no. 268.S.95

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White Porcelain Cylinders hand thrown

by Gunilla Maria Ă…kesson.

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‘Translucent’ Celadon Southern Ice Porcelain

by Gunilla Maria Åkesson.

Diameter: 8 ins. (20 cms.)

Height: 2½ ins. (6.5 cms.)

‘Translucent’ Southern Ice Porcelain

by Gunilla Maria Åkesson.

Diameter: 9 ins. (23 cms.)

Height: 3 ins. (8 cms.)

Porcelain ‘Open Forms‘

by Gunilla Maria Åkesson.

3 open dishes

Width: 10½ ins. (27 cms.), 7½ ins. (19 cms.), 5½ ins. (14 cms.)

Height: 1½ ins. (4cms.)

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Bibliography Elizabeth Adams, Chelsea Porcelain (2001).

Klaus-Peter Arnold, Figürliches Porzellan aus der Sammlung Spitzner, Exhibition catalogue, Staatliche Kunstsammlungen Dresden, Porzellansammlung im Zwinger, Dresden, 1988.

Karl Albiker, Die Meisssner Porzellantiere in 18. Jahrhundert Berlin 1959.

David Beevers, Chinese Whispers, Chinoiserie in Britain (1650-1930).

Abraham L. den Blaauwen, Meissen Porcelain in The Rijksmuseum (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, October 2002.

Claus Boltz, ‘Japanisches Palais-Inventar 1770 und Turmzimmer-Inventer 1769, Keramos 153.

Busson, Unterglasurblaue Dekors Auf Du Paquier Porzellanen, in Keramos 60, April 1973.

Meredith Chilton, Fired by Passion Vol. 2 and Vol 3.

Meredith Chilton, Harlequin Unmasked.

Maureen Cassidy-Geiger, The Arnhold Collection of Meissen Porcelain 1710-1750.

Maureen Cassidy-Geiger, Fragile Diplomacy, Meissen Porcelain for the European Courts c.

1710-1763.

Genevieve le Duc, Porcelaine Tendre de Chantilly au 18iem siècle.

Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain, The Collection formed by Geoffrey Freeman (1982).

Anton Gabszewicz, Made in New Canton, Bow Porcelain from The Collection of the London Borough of Newham (2000).

Dr. Yvonne Hackenbroch, Chelsea and other English Porcelain, Pottery and Enamels in the Irwin Untermyer Collection (1957).

Dr Joanna Lessmann, Das Bruhlsche Allerlei. Ein Service fur Heinrich Graf von Bruhl in Schwanenservice: Meissener Porzellan fur Heinrich Graf von Bruhl. Dresden: Staatliche Kunstsammlungen Dresden, Porzellansammlung im Zwinger 2000.

Jean Pillement, The Ladies Amusement, the 1959 facsimile copy of the original 1759 Publication.

Rainer Rückert, Meissener Porzellan, 1710 – 1810, Exhibition catalgue, Bayerisches Nationalmuseum, Munich, 1966, 15.

Dr. F. Severne Mackenna, Chelsea Porcelain, Triangle & Raised Anchor Wares (1951).

Dr. F. Severne Mackenna, Chelsea Porcelain, The Red Anchor Wares (1951).

Rosalie Wise Sharp, Ceramics, Ethics & Scandal (2002).

R. Seyffarth, Johann Ehrenfried Stadler, der Meisster der Facherchinsen, Keramos 10, 1960.

Frank Stoner, Chelsea, Bow and Derby Porcelain Figures (1955).

Acknowledgements We would especially like to thank the following for their help and encouragement, Anton Gabszewicz, Anthony du Boulay, Meredith Chilton, Dr Katharina Hantschmann, Dr Alfred Ziffer and John Mallet.

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