White Gold by Haughton International

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

ALL ITEMS ARE FOR SALE

WHITE GOLD

FOREWORD Our Catalogue White Gold is a celebration of both the discovery of porcelain in Europe at Meissen in 1708 and its evolution throughout the eighteenth century to its Golden Age of manufacture and the high point of decoration at Worcester in the early nineteenth century. Therefore the white and gold porcelain seen in this selling exhibition encompasses our theme of ‘White Gold’ which was the term used for Meissen porcelain in the eighteenth century. Several of the pieces that are included in this catalogue are otherwise previously unrecorded and therefore of great academic interest as well as aesthetically beautiful. The story begins in Saxony in 1708, Johann Frederich Bottger , the court alchemist is all but imprisoned in the Albrechtsburg Castle at Meissen. Augustus the Strong, King of Poland and Elector of Saxony is the ruler and despot of the country. He has an insatiable appetite for porcelain and indeed owns the largest collection of Chinese porcelain amassed outside China. The extensive sums Augustus spent on collecting this art, brought the scientist Ehrenfried Walther von Tschirnhaus (1651-1708) to refer to the Chinese as 'Saxony's porcelain bloodsuckers'. Augustus also acknowledged his addiction in a letter to Count Jacob Heinrich von Flemming (1667-1728), the king's Prime Minister and one of the most influential persons at the Dresden court, and Augustus’s most trusted advisor, writing: 'Do you not know that it is the same with the oranges as with porcelain? Namely, that those who have one sickness or the other never believe that they have enough but always feel that they need to have more?'. Bottger, while trying to create precious stones by subjecting clays to intense pressures, discovers the secret of being able to make first red stoneware, followed some years later in 1715, by white porcelain. The Meissen manufactory opened its doors in 1710 and soon Augustus’s Chinese porcelain was mirrored by an equally impressive collection of his own porcelain. The Court silversmith Johann Jacob Irminger was appointed artistic director of the Meissen factory in 1712. His knowledge of shape and form was to prove vital to the evolution of the manufactory and his designs were translated into the new and novel material of the stoneware and the porcelain. Thus the silver style was established as a preeminent requirement for all manufactories to achieve in their first years, to pique the interest of the ruling classes who would then acquire the porcelain either for their own use or for diplomatic gifts. The stoneware, a hard body, could be treated with an approach much like jewellers would adopt, wheel engraving, polishing and enamelling were all techniques used for decoration. Soon Augustus required a new set of surroundings to display and show off the vast quantities of porcelain that he had ordered from the Meissen manufactory. Plans were drawn up in 1725 for a new Palace to display his collection. The new building was to incorporate the displays already assembled in a regal setting. It was to be known as the Japanese Palace and it was to be a Porzellanschloss a place entirely devoted to his porcelain. His oriental porcelain was to be exhibited on the ground floor and the Meissen porcelain on the first floor. The collections were to be displayed in a series of thirty rooms within complex tiered arrangements around the walls and panels of the rooms. Courtiers would process through a series of grand state rooms each coloured in a different way to represent the temporal and spiritual powers that were possessed by the ruler; red for power, green for humility, yellow for splendour and blue for divinity. Finally the throne room at the end of the progress of rooms was

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coloured purple for authority. Therefore the courtier or visitor was to be conducted on a journey that completely endorsed the powers vested in Augustus that was to place them in no doubt of the order of precedence within the hierarchy of Saxony or indeed the world. In 1730 the plans were to take on a natural theme, Johann Gottlieb Kirchner, one of the most gifted modellers of his oeuvre was tasked with the unenviable task of producing a grand series of animals and birds to be modelled in porcelain and coloured in cold colours for the naturalistic details. Two hundred and ninety six animals and two hundred and ninety seven birds were eventually produced, this is documented in the inventory of the Japanese Palace at the point of Augustus’s death. The task was so immense that Johann Kirchner was to take on an assistant, and on the 22nd June 1731 Johann Joachim Kaendler joined the manufactory with the explicit directive to help Kirchner. Kaendler was no ordinary choice, he had been apprenticed under the important Dresden court sculptor Johann Benjamin Thomae and now he himself was court sculptor to the King. Some of the most extraordinary animal and bird creations were conceived by the two modellers, showing a level of sculpture and knowledge of the animal kingdom that is unsurpassed in porcelain terms. Kaendler’s birds are intensely naturalistic and have perhaps been forged in the unending visits that he made to the royal menageries at Moritzburg to observe the animals and birds from life. The Capercaille (page 53), is inspired by these precise original eighteenth century Meissen models. Manufactured circa 1880, the model benefits from the evolution and success of the development of the paste to insure a perfectly fired naturalistic model. The bird is beautifully modelled by Sigmund Karl August Ringler, known for his very realistic bird groups, and is inspired by a game bird from the original series modelled by Kirchner and Kaendler. Pages 41 and 51, the Coffee Jug and seated Pagoda, date from the earliest period of the production of white porcelain at Meissen. The Pagoda draws inspiration from the Chinese porcelain Fukien blanc de chine models that found their way to Europe during the sixteenth and early seventeenth centuries and were placed within the Chinese rooms that were becoming popular in Country houses of the period. The model can be found in two sizes, this being the smaller. Pagodas figures are found recorded in the first inventory of Bottger and porcelain in Augustus the Strong’s Collection, ‘das Palais zu Alt Dresden Anno 1721’. This Hollandische Palais was acquired by the Elector in 1717 and was later to be transformed into the Japanese Palace. The Coffee Jug, page 51, at one time in the Anderson collection and on loan at the Orlando Museum of Art dates from about 1718 and is marked in silver for that year, maker’s mark Elias Adam. It is however possible the manufacture of the porcelain would have been perhaps a year beforehand as it has been sent to be gilded at the Seuter workshop in Augsburg before being mounted. Undeniably silver in inspiration the jug is imbued with a sense of exotic rococo frivolousness with the scenes of the Chinamen at various activities, within garden settings, around the body of the form. The skill of the gilder and burnisher is to be marvelled at.

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FOREWORD The first part of our catalogue embraces the very fine gilded porcelain of the Worcester Manufactory from the end of the eighteenth and early nineteenth centuries. The Golden Age of production under the proprietorship of the Flight and Barr families, that was to create the finest porcelain to be created in the British Isles. The items from the O’Donaghue collection that begin the catalogue and run to page 29 are some of the finer pieces illustrated in Henry Sandon’s book, ‘Flight and Barr Worcester Porcelain 1783-1840’. The pieces are the last portion and favourite pieces of a collector who devoted his life’s passion to collecting Worcester porcelain of this dazzling period. After the death of Dr Wall 1776, the manufactory under the direction of William Davis senior suffered a number of business setbacks that were to lower the quality seen in production. Thomas Flight, whose family had been closely related to Wall’s first period of production at Worcester since about 1768 when he became their London Agent operating out of Bread Street. The porcelain at this stage was poor though, the goods were being sabotaged at the kiln firing stage and factory direction was fairly weak artistically. It was even considered that the manufactory might affect a move to Swansea. This was to change in August 1788 when an extremely important set of visitors came to visit the Manufactory. The Three Choirs Festival, which had been specially arranged that year to accommodate a special royal visit, proved to be very auspicious for the Flight Manufactory. The King, Queen, three princesses and several of the attending nobility, visited Mr. Flight’s china manufactory completely unannounced on 10 o’clock on Saturday 9th August. The visit culminated in great success and several orders were then taken for services. Their Majesties then gave leave of the request of the Flight Manufactory to style themselves ‘China Manufacturers to the King’. The manufactory of John and Joseph Flight then went from strength to strength with the sure foundation laid by this Royal visit and the manufacturing of the very best porcelain for the King, Queen and Nobility for the next two hundred and twenty years. Amongst the very fine pieces from the two Private collections of Flight and Barr Porcelain that we have within this selling exhibition are several that deserve special note. Page 7, is an exceptional Teapot and cover painted with shells and seaweed on both sides probably by John Barker, with a background of pale marble blue and the characteristic fine gilding of the manufactory. Page 11 shows a trumpet shaped vase with shells painted probably by Samuel Smith, his seaweed taking on a more flowing and loose aspect of character, together with a slightly paler palette. The orange ground being particularly well gilded with stylised foliage and Greek key pattern. Page 18, is one of our favourite pieces and indeed one of the most ingenious vase forms conjured at Worcester during the very early years of the Flight Barr and Barr period, circa 1815. The Kingfisher vase is probably painted by Doe and shows that most fleeting of all English birds poised for a moment and engaging the viewer. The ingenious nature of the delicate twisted support is further strengthened by the three 4

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gilded dolphins which rise from the trefoil base. These balanced with the border of pearls and the gilded flame finial make for an extremely pleasing neoclassical form. The largest and most impressive piece, in terms of size, of the Flight Barr and Barr porcelain is the great Hunting Vase and cover, pages 21-28, painted with named scenes from the hunt, ‘Swishing at a rasper’ and ‘Topping a flight of rails’, the landscape is curiously very similar to the rolling topography of the Worcestershire Gloucestershire border with the Malvern hills as the possible backdrop, making this a possible scene from the famous Croome hunt of the 7th Earl of Coventry. The vase with its marvellous gilded pineapple finial to the cover must be one of the largest pieces to be manufactured at this period, it is composed of three pieces; the cover, the socle and base and the urn itself. Some of the most curiously beautiful pieces of the collections are the two incredibly rare Honey Pots, pages 8 and 9. One is brilliantly painted with brightly coloured butterflies in flight within canted rectangular panels and reserved on a gilt orange ground. The other painted with shells and seaweeds on a coloured marbled ground. The shape of course is based on the ‘beehive’ form and thus would indicate the substance that lay within. Inspiration comes also from the silver forms, made fashionable by those rare examples bearing the marks of the London silversmith Paul Storr. Finally the group of white and early Bow and Worcester porcelain deserves mention, comprising; the two pairs of shell encrusted salts or sweetmeat dishes and the Worcester triple shell salt which was modelled by the great modeller John Toulouse, who had worked at the Bow manufactory and brought the knowledge of flower and shell modelling to the Worcester Porcelain Manufactory of Dr Wall in the first period of production. The Bow shells on pages 62-65 are supported on bases composed of shells cast from life, three Strombus gigas, from the Caribbean and English estuary shells such as whelks, turret shells, limpits, cockles and European cowries, however there is also a pelican’s foot and auger shells that can be found. These models are derived from the original designs of the Orfevre du Roi, Juste Aurèle Meissonier, the Court silversmith to Louis XV, the designs are for a series of salts that have then been engraved by Gabriel Huquier of the rue St. Jacques. The designs are centred by the model of triple shells that inspires the Worcester example on page 72. ‘White Gold’, the term that porcelain began to be associated with at its beginning in Europe in the early eighteenth century provides the collector with a chance to empathise through its story of discovery with the alchemical beginnings of this material. The objects that we have highlighted within this foreword are a small group of the porcelain that we have included. We therefore look forward to welcoming you to explore the sophisticated simplicity and elegance of our collection that comprises the work of Europe’s finest potters and decorators from the eighteenth to the present day. Brian Haughton and Paul Crane St. James’s, London. 5

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An extremely fine Barr Flight and Barr Worcester Teapot and Cover, of elyptical oval shape with navette fluted neck, silver shaped gilded spout and scrolled handle, the rising domed cover with flamed finial, painted probably by Thomas Baxter with canted rectangular panels of tropical shells, seaweed and coral, the front panel with Cypraea tigris, Mitra mitra and Conus litteratus, the reverse panel with Harpa ventricosa, Strombus lentiginosus and Trochus niloticus, framed within thick gold bands, reserved on a pale grey marbled ground, gilt with embelishments.

Reverse side

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Circa 1803-1805 Height: 7Â˝ ins. (19 cms.) Mark: Incised B and X to the inside of the cover and script mark in puce to the underside. Provenance: The Oâ&#x20AC;&#x2122;Donaghue Collection. Exhibited at the International Art Treasures Exhibition, Victoria and Albert Museum 1962. No. 442.

Front panel

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A very rare Barr Flight and Barr Honey Pot and Cover, of beehive shape the lower part fixed to a circular base, painted with a canted rectangular panel of two tropical shells and a small red cowrie shell amongst seaweed, framed with thicks gold bands and reserved on a multicoloured simulated cut specimen stone ground. The domed cover with formal gold greek key border and pointed gold knop finial.

Circa 1805-1808 Height: 5Â˝ ins. (14 cms.) Script marks in puce to the underside. Provenance: The Oâ&#x20AC;&#x2122;Donaghue Collection. Illustrated Henry Sandon, Flight and Barr Worcester Porcelain 1783-1840, p. 37.

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An extremely rare and highly unusual Flight and Barr Honey Pot and Cover, of beehive shape the lower part fixed to a circular base, painted with canted rectangular panels of brightly coloured butterflies in flight, framed within canted rectangular gold edged panels, reserved on a salmon pink ground gilt with neoclassical formal honey combe cells gilt with anthemion and crimped ribbon together with gilded dots and border of Greek key. The domed cover with similar Greek key border and pointed gold knop finial set above a sunburst.

Circa 1800-1805 Marks: Incised B to the underside of the pot. Provenance: Private English Collection. An extremely unusual form, taken in inspiration from the London silver examples seen at that time. The Butterflies should be compared with micro mosaic work or inlaid Grand Ducal Florentine semi precious stones, mounted into furniture.

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An extremely rare Barr Flight and Barr Worcester Twin Handled Vase, the Grecian ogival panelled form raised up on a gilded square base and turned marbleised socle, the subject panel showing a shepherd pointing the way in an elaborate Arcadian wooded landscape with hills and valleys and a lake in the background, framed on either side with an ancient oak tree, within thick gold bands the reverse with a dark marbleised border matching the neck and socle, on a 10

lighter pale grey marbled ground. The twin gilded handles modelled as dolphins. Circa 1805-1813 Height: 10Âž ins. (27.5 cms.) Mark: Script marks in puce to the underside. Provenance: The Oâ&#x20AC;&#x2122;Donaghue Collection.

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An extremely rare Flight and Barr Worcester Trumpet Vase, of flared shape with a spreading circular base, moulded at each side in high relief with gold ring handles. Painted with a full canted rectangular panel showing three tropical shells amidst seaweed, including Cymbiola deshayesi, Epitonium angulatum, Conus lividus, within thick gold bands, reserved on a salmon pink ground gilt with Greek key and stylised acanthus leaf gilding.

Circa 1800 Height: 6 ins. (16 cms.) Mark: Incised B and puce painted script marks to the underside. Provenance: The Oâ&#x20AC;&#x2122;Donaghue Collection. Illustrated Hanry Sandon, Flight and Barr Worcester 1783-1840.

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A very rare and fine pair of Flight Barr and Barr Worcester Vases, of the Empire shape, of ovoid form in two sections, painted with oval portrait medallions by Baxter, the first with St. Cecelia, the second with Sappho, each within a raised gold scrolled anthemium border reserved upon a pea green ground, rising gold scrolled handles, with acanthus leaf finials, the flared trumpet gold necks with moulded formal border at the rims enriched with gilding, raised up on square bases with further gilt ornamentation.

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Circa 1820 Height: 8Â˝ ins. (21.5 cms.) Marks: Impressed FBB beneath a crown and script marks in puce to the underside of each. Provenance: Private English Collection.

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An extremely rare Pair of Barr Flight and Barr 'Music' Candlesticks, of cylindrical shape, the sconces with flared rims, raised up on canted octagonal bases, each painted with a ruined Monastery or Abbey, framed within a thick gold rectangular panel reserved on a salmon pink ground gilt with panels of vermiculi and Greek key pattern. Circa 1804-10 Height: 7 ins. (18 cms.) Marks: Incised B and Crescent marks to the underside of each and painted script marks. Provenance: The O'Donaghue Collection. Exhibited: The International Art Treasures Exhibition, The Victoria and Albert Museum, 1962. Literature: Illustrated Henry Sandon, Flight and Barr Worcester Porcelain 1783-1840. pl 57. p. 75.

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An exceptionally fine and rare pair of Worcester Barr, Flight and Barr Candlesticks, painted by William Billingsley, each modelled in the form of a winged gilt and bronzed Griffin, seated passant guardant, each supporting on their back and between the wings a single sconce gilt with a gold stellar diaper pattern on a salmon pink ground, supported on a high rectangular base with bevelled edges, the top gilt with cailloutĂŠ, the front panel elaborately painted bouquets of flowering European plants including:- passion flowers, roses, peonies, poppies and asters, the reverse and side panels gilt with further stellar diaper with Greek key border, on a salmon pink ground.

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For a discussion on underglaze blue decoration on Du An extremely rare and highly Important Du Paquier Covered Paquier porcelain see the article by A. Busson, op. cit. where Jug of Silver Shape, the elegant baluster form with moulded this coffee pot is illustrated alongside another which was sold silver shaped spout and scrolled handle, the high domed at Sotheby’s Zurich, 26th June 1971, lot 74. The pattern on cover with double annulated knop. Painted in underglaze Although the heraldic be found a support coffeeas pot differs from that on the earliest types at Du blue with sprays and smaller sprigs of stylised oriental griffin can this for elaborate vase forms or urns, and in some cases Paquier, which wereaoften decorated in red enamel, and is flowers and leaves. scaled down version can be found as close a finial, as an of the pieces recently identified very tothe theuse decoration incorporated form within a candlestick is highly unusual andin Upper Austria, dating from circa at the Saint Florian Abbey Circa 1725 of the greatest rarity, creating a highly form for Chilton, the 1728;exotic See Meredith Fired By Passion’ vol. 2 p. 772 lavish Regency interior. and vol 3. nos. 210 and 211. The form is also a rare variant, Height: 11 ins. (27.5 cms.) more elaborately scrolled than usual, see also Bonhams Circa: 1804 –1813 decemeber 2009 lot 136. Height: 7 ins. (18 cms.) A Busson, Unterglasurblaue Dekors auf Du Paquier Porzellanen, in Keramos, 60, April 1973, pp. 3-16, Abb. 2. Length: 5 ins. (12.7 cms.) Depth: 2½ ins. (6.5 cms.) Marks: Impressed crown and BFB marks to underside of both.

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An extremely rare Flight Barr and Barr Triple Dolphin Vase and Cover, formed as a Grecian urn raised up on a spirally fluted central socle supported by three gold dolphins on a shaped trefoil base, the vase painted with a panel of a Kingfisher seated on a river bank with the river beyond, framed within thick gold bands on a pink ground, beneath a pearl border, the rising domed cover with flame finial.

Circa 1815-1820 Height: 7Â˝ ins. (19 cms.) Mark: Puce painted script marks to the underside. Provenance: The Oâ&#x20AC;&#x2122;Donoghue Collection. The International Art Treasures Exhibition, The Victoria and Albert Museum, 1962. No. 446. Illustrated Henry Sandon, Flight and Barr Worcester Porcelain 1783-1840, p 140, pl. 127.

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WHITE GOLD

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An extremely rare and highly important Flight and Barr Triple Spill Vase, the three cylindrical vases gathered together and rising from a stepped trefoil base, each vase painted with oval gold framed panels enclosing three tropical shells amidst seaweed, left; Phalium bandatum, Gemophus tinctus, Lottia scutum, centre; Conus striatus, Bolinus brandaris, Donax trunculus, right; Turbo marmoratus and Architectonica sperspectiva. The central vase slightly taller, reserved on a salmon pink ground gilt with Greek key and stylised acanthus leaf gilding.

Circa 1800 Height: 5Âž ins. (14.5 cms.) Mark: Incised B mark to the underside. Provenance: The Oâ&#x20AC;&#x2122;Donaghue Collection. The International Art Treasures Exhibition, The Victoria and Albert Museum, 1962. No. 445.

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A Flight and Barr Worcester Covered Chocolate Cup and Stand, with twin handles, the orange ground with formal large gold â&#x20AC;&#x2DC;Greek Keyâ&#x20AC;&#x2122; borders, the slightly domed cover with ring and ribbon finial. Circa 1790-1800 Mark: Incised B and crescent mark to the underside of each piece. Provenance: Private English Collection.

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ROCOCO PORCELAIN 23

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An Important and Massive Flight Barr and Barr Worcester Hunting Vase and Cover, made in three separate parts, the grecian urn shape of huge proportions with twin solid gold rope twist handles with Fox head terminals, raised up on a square base and socle with gadrooned central support. Painted with two panels, one entitled ‘Swishing at a rasper’ and the other ‘Topping a flight of rails’, showing equestrian hunting scenes in full flight with hounds and huntsmen within typical Worcestershire landscapes with the Malvern Hills in the background, perhaps on the Croome Estate, framed within raised gold borders taken in inspiration from

the antique composed of heavy gold scrolls and stylised acanthus leaves, reserved on a deep claret ground, beneath a gold gadrooned rim, the flared neck with further gold patterned borders, the slightly domed cover surmounted with a solid gold pineapple. Circa: 1820 Height: 20 ins. (51 cms.) Provenance: The O’Donaghue Collection. Illustrated, Henry Sandon, Flight and Barr Worcester Porcelain 1783-1840. P. 195, pl. 186.

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Flight Barr and Barr cabinet cup and saucer with two handles with a fine painting of â&#x20AC;&#x2DC;The Bard from Grayâ&#x20AC;&#x2122; on a green ground. Jewelled decoration to cartouche. Circa 1814-1830 Provenance: Private English Collection.

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Barr Flight and Barr Worcester. A pair of large vases of unusual shape with lids of unusual shape. Landscape scenes of ‘Mill Bay, near Plymouth’ and ‘Thaugh Bridge, Devon’ on a pink ground. Circa 1805-1813 Height: 11 ins. (28 cms.) Provenance: Private English Collection.

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A very Fine Pair of Worcester Barr Flight and Barr Dessert Plates, of circular shape, each painted with a named landscape reserved on a salmon pink ground gilt with vermicule, the first with Mucrafs Abbey, Killarney and the second with a view from Port Elliot Cornwall.

Circa 1804-1813 Diameter: 8 ins. (20 cms.) Marks: Impressed BFB and crown and printed marks in puce to the underside of each piece. Provenance: Private English Collection.

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Vienna gold-ground pot-pourri vase and cover of halfspherical form with flared lip, painted with garden flowers on a matt gilt band, resting on sphinx supports seated on a circular plinth, the domed cover with radiating gadroons and flower finial. 36

Circa 1790 Height: 89/10 ins. (22.5 cms.) Marks: Blue beehive mark, incised W and S3.

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A very rare impressive Barr Flight and Barr Worcester Porcelain Twin Handled Sorbet or Ice Cooler, Cover and Liner, of compressed circular form with twin handles modelled as gold satyr masks, beautifully decorated with brightly coloured European flowers including roses, auriculars, heartsease, iris and speedwells, framed within gold scrolled rococo cartouches from which issue sprays of berried laurel, reserved on a deep bleu de roi or deep ‘King’s Blue’ ground enriched with large gold sprays of European flowers.

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. 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. Circa 1805–1813 Marks: Impressed and printed mark, with royal warrants, in puce to the underside of the cover.

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A Fine Worcester Barr Flight and Barr Lemonade Beaker, of flared trumpet shape bat printed with rustic figural scenes, after designs by Pyne, between gilt lines, a monogram of JR in gold beneath. For a similar example see Henry Sandon, Flight and Barr Worcester Porcelain 1783-1840. Circa 1808 Height: 3Âž ins. (9.5 cms.) Provenance: Private English Collection.

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A very interesting Vincennes/Sèvres Mancerina, the porcelain beaker formed with two side hooks, painted in tones of rare underglaze blue by Antoine-Toussaint Cornaille with flowering oriental plants issuing from stylised rocks framed within blue line rims, the interior with a double ‘ruji’ border. The porcelain: Circa 1755-60 Height: 3¼ ins. (8 cms.)

Marks: Incised C.D., double interlaced L’s and crochet or quaver marks in underglaze blue to the inside. See Rosalind Savill, The Wallace Collection, Catalogue of Sèvres Porcelain, p. 1026, part lll. The general opinion surrounding the inception of this rare piece is that it is a replacement for an earlier Chinese blue and white Kangxi beaker. The mounts immediately secured to the beaker from nearer the beginning of the eighteenth century.

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A Pair of Chamberlain Worcester Porcelain Plaques, the plaque incorporating a beautifully modelled frame enriched with elaborate gilding, reserved on a claret ground. Each painted with detailed still lifes of shells, including examples of Nautilus, Urchin, Conch and Oysters, before a background of seaweed and corals and resting on a marbled-topped table. Pierced for hanging in the upper part of the frame.

Circa 1825-30 Height: 6Âž ins. (16.5 cms.) Width: 5Â˝ ins. (14 cms.)

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A very fine and unusual Chamberlains Worcester Basket, beautifully moulded with acanthus leaves and picked out in gros blue with gold embellishments, the central panel painted with ‘Westwood’ the seat of Sir John Packington, Near Droitwich, Worcestershire. Showing the Jacobean sandstone House at its finest angle, its leaded towers over the rectangular shell, with rising gold scrolled handle. Circa 1825 Diameter: 9¾ ins. (24 cms.)

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An extremely rare Bottger White Porcelain Coffee Pot and Cover, of slender baluster shape with scrolled handle, moulded with basal fluting to the lower part and the neck of the jug, gilt with Chinese figures playing in a garden surrounded by trees and willows, one group on one side with a juggler holding a tray in one hand and a bird in the other, trying to step over a child, whilst a figure holds a parasol and shades a swan that stands upon a table. The other side with a Magician holding a large ring above his head that is hung with bells, as he performs a trick, the scene is divided by a classical pillar issuing bushes on either side, chinamen take tea under a parasol on the other side of the pillar with a begging dog at their feet, the spout, handle and cover gilt with formal gold bands and highlights. The slightly domed cover with cusped knop and mounted onto the jug in silver.

Provenance: The Anderson Collection formerly exhibited at the Orlando Museum of Art. Circa 1718-1720 Height: 7Â˝ ins. (19 cms.) Marks: Lustred mark â&#x20AC;&#x2DC;dmâ&#x20AC;&#x2122; to the underside of the base of the jug. The hallmark EA for Elias Adam, working in Augsburg and active 1703-1745.

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Pair of Sèvres Biscuit models of Lions supporting gilt-white reticulated Baskets (Lions ‘canéphores’) after a model by Jean-Charles-Nicholas Brachard l’ainé, after a drawing by Fragonard. Circa 1818–20 137/8 ins. (30 cms.) high 151/8 ins. (38.5 cms.) long Exhibited: New York, The Bard Graduate Centre for Studies in the Decorative Arts, The Sevres Porcelain Manufactory: Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847, 17 October 1997-1 February 1998, cat. No. 143 a.b. Literature: Tamara Preaud, et al., The Sevres Porcelain Manufactory: Alexandre Brongniart and the Triumph of Art and Industry, 1800-1847, London, 1997, p.223, cat. No. 44 a.b. and p. 358, cat. No. 143 a.b. The present model of a pacing lion was conceived in 1817 as a pair with a lioness, designed by Alexandre-Evariste Fragonard to accompany Egyptian canephoric figures bearing baskets as part of an elaborate dessert service and to flank a central basket or corbeille canephore supported by four female figures. Jean-Charles-Nicholas Brachard l’aine, employed at Sevres as a sculptor, translated Fragonard’s fantasy into three-dimensional reality two years later. It would appear that only the lion was ever made, never the lioness. Drawings of Fragonard’s project for both and a plaster of Brachard’s original model are retained by Sevres. The marks on the present two corbeilles ‘Lion’, as the model is also known, provide precise information as to the identities of those who worked on them and the dates when this work was done. The first lion and its basket both have incised marks indicating a firing date of October 1818. The lion was assembled by Alexandre Brachard. However he seems to have been paid for his work prior to the firing. Records for September 1818 note a payment to him of 45 francs for each of two ‘baskets-bearing lions’; those for June 1818 list a bonus of 10 francs for one ‘basket-bearing Lion’ No. 1 of 10 October 1818’. The gilding on the basket was executed 29 june 1819 by Catherine Elizabeth Godin for which she was paid 10 francs each The second lion is incised with a kiln date of 3 July 1819; its basket has a gilder’s mark for 24 April of the following year. Its basket is incised with the initials ‘Ch’ for the assembler Mathias Chanou. Records indicate a payment to him in July 1819 of 20 francs for each of the two lion baskets. The first entry in the sales records for a ‘Lion Canephore’ is dated 1818 and notes 150 francs for the lion, 100 francs for the basket, and 40 francs for the tole-peinte base as the basis for the 290 franc selling price. Entering the saleroom26 December 1818 and exhibited at the Louvre in January 1819, the ‘pair’ were delivered to Monsieur le chevalier de la Malle conseiller d’Etat Membre du comite du contentieux on 2 February 1820. The first of the present ‘pair’, incised with the same date as that of the payment record and with ‘No. 2’ is almost certainly one of these. Given its gilding date of 24 April 1820, the second of the two present examples is likely to have been delivered to the ‘prefet’ M. Destouches 2 June 1820, oddly entered in the saleroom ledger on 1 July of that year. Further saleroom entries are dated 1823, 1845 and 1849. A single example is retained in the ministry of foreign affaires, see Tamara Preaud and Marcelle Brunet, Sevres des origines a nos jours, p. 291, no. 354. Our thanks to Tamara Preaud for this information.

Brian Haughton Gallery

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Brian Haughton Gallery

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An extremely rare Large White Early Bow Model of a Lion, standing on an irregularly shaped rockwork base, one paw held up on a tree trunk support, the ribcage clearly defined and with modelled mane, its head inclined slightly and the long tasselled tail resting between its legs. Literature: Illustrated Peter Bradshaw, Bow Porcelain Figures circa 1748-1774. no. 55, (A67). Circa 1750 Length: 9 ins. (23 cms.)

Brian Haughton Gallery

A very rare and fine Early Bow Model of a Pug Dog, modelled reclined upon a tasselled cushion, the edges modelled in crisp low relief with geometric border patterns to simulate braiding. The dog beautifully naturalistically modelled, wearing a collar and looking over his hind side. Circa 1750-52 Length: 5 ins. (12.8 cms.) A very rare and early Bow animal model being contemporary with the first of the Bow ornamental figures such as Kitty Clive and Henry Woodward.

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A very Rare Doccia Figure of a Chatir, the attendant of the Grand Vizier, modelled in walking pose, his body with contrapposto stance, his right hand with a mace and the left hand on his hip, dressed in a long flowing gown, worn over a frogged chemise and pleated skirt with sash and brocaded border and wearing on his head a turbon with bejewelled aigrette and ankle length boots, about to step forward from the square sectioned base. An extremely rare model of the Grand Vizier’s attendant, from the very earliest period of figural modelling at Doccia. Copied from an engraving by J. B. van Mour taken from Charles de Ferriol Marquis Le Hay, “Recueil de cent estampes representant differentes nations du Levant tirees sur les tableaux peints d’apres nature en 1707 et 1708”. Circa 1750 Height: 8½ ins. (21.5 cms.)

Brian Haughton Gallery

An extremely rare Tournai figural bust of Venus, modelled, probably by Joseph Willems. She wears a triple strand of pearls at the throat and a further pearl ornament hangs at her breast, supported on a pedestal base moulded at the front with a palm leaf, with contemporary gilt metal mounts. Circa 1766 Height including base: 7Âź ins. (18.5 cms.) No mark. Provenance: John Hewett Collection. This classical figure would appear to be allegorical of beauty and therefore the Goddess Venus, the pearls that she wears are symbolic of beauty and are close attributes of the Goddess, as both were born of the sea and from shells. The palm leaf at the front of the pedestal symbolises the ultimate triumph of Love placed as it is with Venus herself. The appearance of the face is very close to the style of modelling on terracotta figures signed by Joseph Willems.

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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 the 1770 Inventory lists 38 white Pagodas. See Claus Botlz, â&#x20AC;&#x2DC;Japanisches Palais-Inventar 1770 und Turmzimmer-Inventar 1769â&#x20AC;&#x2122; Keramos 153. Circa 1720 Height: 3 ins. (7.6 cms.)

Brian Haughton Gallery

A fine and rare Sevres biscuit model of La Baigneuse modelled after Falconet, the bathing venus-like female figure scantily clad and stepping out of rushes into the water, modelled wearing a jewelled band around her arm, raised on a circular base. Circa 1758 Height: 15 ins. (35 cms.) Marks: Incised script AB to the base. Provenance: Private English Collection. First modelled by Falconet as a reduction of the marble sculpture now in the Louvre, exhibited at the Salon of 1757. See S Erikson and Geoffrey de Bellaigue, Sevres Porcelain, fig. 127 for the example in the Copenhagen Museum of Decorative Arts. See also Emile Bourgeois, Le Biscuit de Sevres au XVIIIe siecle, fig. 91.

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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.) 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 the rascal Harlequin, one of the central figures of the Commedia dellâ&#x20AC;&#x2122;Arte. Not only is the model of exceptional rarity, but the pose of the figure is also most unusual. The confrontational pose perhaps shows Harlequin in the midst of an argument about money or music. The Harlequin is most likely part of a group of 161 small plaster models of dwarves of various nationalities, chess pieces and other sculptures, that were acquired by Meissen from Augsburg in 1725, some of which, such as this example, have underglaze blue crossed sword marks. 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. Meredith Chilton Independent Art Historian and Author of 'Harlequin Unmasked: The Commedia dell' Arte and Porcelain Sculpture' (Yale University Press and Gardiner Museum: 2001).

Brian Haughton Gallery

A very large Meissen Model of a Capercaille, beautifully modelled by Sigmund Karl August Ringler, in the white, standing on a rocky base incorporating a tree stump issuing a branch of leaves. The feathers with very great detail all over the bird, the head looking to one side and wings closed over its back. Circa 1880 Height: 18 ins. (45.5 cms.) Mark: Incised model number K106 and indistinct impressed numeral. Crossed swords mark in blue. According to its incised formnummer “K 106” the model of a capercaillie was modelled by August Ringler in the year 1876. Sigmund Karl August Ringler (* 1837 in Kirchheim/ + 1918 in Meissen) studied at the Academie of Arts in Munic and joined the Meissen Manufactory in 1856. He is well-known for figurines in the “Rococo”-style and especially for his realistic groups of birds.

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The original models of the birds of the Japanese Palace, sculpted in inspiration from the royal menageries at Moritzburg, were complex commissions to realise. The scale of the commission in porcelain remains unparalleled in the history of ceramics. Please refer to the foreword for the story of the early porcelain manufactory and the reasons behind this extraordinary commission. The birds and animals required a complex evolution of the paste and understanding of moulding component parts. This required skilled experience not just of sculpting and modelling but a working knowledge of the capabilities of this very newly discovered porcelain material. Two genius modellers Johann Gottlieb Kirchner and Johann Joachim Kaendler were involved in 1730 and 1731 respectively. The manufactory under their guidance was to experiment vastly with the paste, to develop a new and improved body that would necessitate a thickening of the paste that would be able to bear the weight of the models during the second high temperature glaze firing, when the 56

Brian Haughton Gallery

models were at their most vulnerable. The formula was constantly varied, with some incised numbers indicating which variant was used. The stress was so great in the two firings that nearly all of the models exhibit firing cracks, especially around the bases. The majority of the animals and birds were in fact made by Kaendler, as Kirchner, who was deemed to be a trouble maker, was dismissed in 1733. All of the birds and beasts were to be coloured, though it was thought too risky to fire on the enamels, therefore pigments were painted on in cold unfired colours by the court lacquerer Christian Reinow. These colours have rarely survived through oxidisation and therefore when the Capercaille was manufactured it was probably thought that the originals were in fact white and therefore no enamelled colours were used. 57

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Brian Haughton Gallery

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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.

Brian Haughton Gallery

A rare Mennecy sucrier and cover, of bucket shape, applied with garlands of leaves and flowers pendant from the rim, the slightly domed cover with open flower finial. Circa 1740 Height: 5Âź ins. (13.5 cms.) Marks: Silver decharge mark for Leschaudel, Paris (1744-50).

A rare Mennecy covered Cream Jug, of slender baluster form, with silver shaped handle, the body applied with garlands of leaves and flowers pendant from the rim, the cover, with open flower finial and silver mounts. Circa 1740 Height: 5 ins. (12.5 cms.) Silver decharge mark for Leschaudel, Paris (1744-50).

A rare Mennecy teabowl and saucer, applied with garlands of leaves and flowers pendant from the rim. Circa 1740

St Cloud Teabowl and Trembleuse Saucer, decorated with stamped and applied sprays of flowering prunus. Circa 1735 Diameter of saucer: 5 ins. (12.5 cms.) Provenance: John Hewett Collection.

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A very handsome pair of Bow large sized salts or sweetmeats, comprising a deeply fluted shell resting on top of three conical shells, perhaps whelks, lavishly encrusted with smaller shells, clams, coral and the rope-like whelk egg casing on both the base and the large shell dish. Circa 1750-52 Height: 4Â˝ ins. (10.5 cms.) Marks: Incised arrow with annulet. A fragment of the base of a similar salt was excavated on the factory site in 1867.

Brian Haughton Gallery

The Bow invoice of 1749 in the Bute archives mentions “3 pair shell salts …£1 1s 0d”. The bills refer to items of Bow bought by Lord Dumfries for Dumfries House where the porcelain still remains and provides a valuable aid to dating. Ref: P. Begg & B. Taylor, op. cit., no 174 for a slightly smaller example; R. Wise Sharp, China to Light up a House, p. 27 for a similar pair with applied shells to the shell dish; B. Horn, op. cit., p. 87.

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A pair of very fine Bow large shell salts or sweetmeat dishes, modelled with a deeply fluted shell resting on top of three conical shells, perhaps whelks, lavishly encrusted with smaller shells, clams, coral and the rope-like whelk egg casing on both the base and the large shell dish, with the addition of crabs amongst the smaller shells and seaweed on the bases. Circa 1750 Height: 4Â˝ ins. (10.5 cms.)

Brian Haughton Gallery

The three shells forming the feet of the salts are a form of gastropod, probably cast from a actual specimen. It is interesting to note the colour difference between the two pairs (see page 62/63), cream and a bluish white, this feature also occurs on a group of extremely rare and early Lion models, the lionesses are of a bluer caste than that of the creamier Lions. It is suggested that this is as a result of the placing near the heat source within the kiln.

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A very rare pair of Bow baluster vases and covers, of turned circular shape raised up on an annulated socle and applied with flowering prunus sprigs, the domed covers with similar applied prunus sprigging and surmounted by pointed knop finials.

Brian Haughton Gallery

Circa 1755 Height: 7Â˝ ins. (19 cms.) Marks: Scratch marks to the underside. For another of thse extremely rare ornamental forms see Gabszewicz & Freeman, Bow porcelain, no. 47, p. 45.

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A very rare Bow Shell Sweetmeat Dish, the graceful deep scallop shell painted on the interior with sprigs and sprays of kakiemon flowers and grasses, in tones of yellow and red, together with some slight sprigs of green, supported on three large conch shaped shells applied in between with further smaller shells, including cockles, whelks and other specimens, at the front sits a live small crab waving its pincers. Circa 1752 Height: 55/8 ins. (14.3 cms) Length: 7Âž ins. (19.7 cms)

No marks. Provenance: John Hewett Collection. This appears to be the only example with this type of decoration currently recorded. This shell includes the addition of the very rare feature of the crab at the front below the lip. The decoration within the shell interior is highly unusual on this model and although mostly in tones of iron red, yellow and brown, due to some green enamel misfiring, one can deduce that the pattern was an interesting mix of kakiemon and famille verte.

Brian Haughton Gallery

A Rare Bow Silver Shaped Sauceboat, moulded in crisp low relief with festooned swags of roses and flowers pendant from the scrolled rim, supported on a high oval pedestal base, with a further band of roses, the strongly ribbed and double scrolled handle applied at the interior upper terminal with a face wearing an Indian headdress, the whole enriched with gold open flowers and hatched leaves interspersed, the pedestal foot with four simple stars. Circa 1750

Length: 9 ins. (23 cms.) Marks: Incised C T to the underside of the foot. Provenance: Frank Arnold Collection. Sold Sotheby’s 12th November 1963 lot 14. Literature: For a similar example from the Geoffrey Freeman Collection see, Anton Gabszewicz and Geoffrey Freeman, ‘Bow Porcelain, The Collection Formed By Geoffrey Freeman’, London 1982, p. 41, no. 35.

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An Early Bow Coffee Pot and Cover, of rare small size, of baluster shape, the looped handle with rising thumbpieces and kicked out lower scrolling terminal, applied with sprays of flowering prunus, the domed cover with further applied prunus sprays and compressed circular finial. Circa 1748-50 Height: 6Âź ins. (16 cms.) Marks: Scratch R mark to underside of the base. Provenance: John Hewett Collection.

Brian Haughton Gallery

A very fine Bow Teapot and Cover, of globular shape, the double scrolled handle with leaf moulded pointed thumb piece, stamped and applied with sprays of flowering prunus on either side, the slightly domed cover with further applied prunus sprigs and compressed circular knop. Circa 1750-52 Height: 4 ins. (10 cms.) Provenance: John Hewett Collection. A beautiful rare and small size, perhaps having more of a delight for a connoisseur collector of Chinese blanc de chine pieces and possibly therefore should be considered as a piece for decoration within a Chinese room.

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An extremely rare First Period Dr Wall Worcester Triple Shell Salt or Sweetmeat of 'the silver taste', modelled after J.A.Meissonier. The three shells supported on a series of shell encrusted bases, surmounted with a coral. Circa 1762-65 Diameter 6Â˝ ins. Provence: Private English Collection. See Paul Crane, 'A Question of Attribution', ECC Transactions Vol. 27 p. 33 for a discussion of this pieces and the original Meissonier design engraved by Gabriel Huquier.

Brian Haughton Gallery

An extremely rare Bow Goblet of open slightly everted bucket shape, raised on a turned foot with with chamfered edge. Applied all over with sprays of flowering prunus issuing from thorny branches. Circa 1750 Height: 3Â˝ ins. (9 cms.) An extremely rare form unrecorded in the literature. Perhaps based on a silver form of cup. Provenance: John Hewett Collection.

A very rare Bow Loving Cup, of open everted shape and raised up on a turned conical foot, applied at each side with a looped handle and scrolled lower terminal, both sides applied with sprays of flowering prunus issuing from thorny stems. Circa 1750-52 Height: 4Âź ins (10.5 cms.) A single example in the Victoria and Albert Museum. The shape and form of the Loving cup is extremely rare in early English Porcelain. Provenance: The John Hewett Collection.

A very rare Bow Piggin, of flared Pail shape, with rising and elegantly twisted handle, sprigged with three groups of crisply moulded flowering prunus, thorns and leaves. Circa 1752 Height: 3 ins. (7.5 cms.) Made for the use of the table, these pieces were sometimes referred to as Cream Pails, though it is highly likely that they were used for spice or condiment for meats, small ribbed rococo moulded spoons are sometimes found to go with these.

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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.) Marks: Ormolu to neck of vase initialled possible IB.

Brian Haughton Gallery

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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 appertures 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 suypporting 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: 13Â˝ ins. (34.5 cms.) Marks: 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 vonOstermann 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.

Brian Haughton Gallery

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The Paris Dihl and Guerhard Biscuit Porcelain Seated Infant Boy An Extremely Rare and Life Like Paris Dihl and Guerhard Biscuit Porcelain Seated Infant Boy, after the model by Charles Gabriel Sauvage, on a plinth, set on a simulated agate base. The child with gracefully curling hair and genial countenance, peering and reading from an open book, the rectangular plinth draped with folded material. Circa 1795 Height: 18Â˝ ins. (46.6 cms.) A porcelain plaque with a portrait of Dihl by Etienne Le Guay is in the Musee de Ceramique at Sevres, in the portrait dated 1797 appears the exact model of the seated child, resting on the top of his desk. There is an example of this model within the Arkhangelskoye Palace Russia.The modeller Sauvage had worked at the Niderviller porcelain manufactory, where he was chief modeller until the 1790's when he started to work for Dihl.

Brian Haughton Gallery

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Brian Haughton Gallery

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An extremely rare Wedgwood Creamware Eagle, modelled with great naturalistic effect with plumage in great detail, the wings of the eagle ruffled out in flying attitude, its head looking slightly to one side, raised up on a circular rocky mound with vegetation. Circa 1765-70 Height: 6Â˝ ins. (17 cms.) No Marks. See the marked Wedgwood example in the collection of Temple Newsham.

Brian Haughton Gallery

A Rare Set of Twelve Soft Paste French Porcelain, probably Mennecy, Forks, each pistol grip handle drilled and capped with a silver ferrule, beautifully moulded in crisp low relief with scrolling flowers and leaves issuing from the base of the pistol grip, the polished steel prongs mounted with silver bands. Circa 1740-1750 Length of porcelain handle: 3 ins. (8 cms.) Entire Length of Fork: 7Âž ins. (19.5 cms.) Provenance: Private English Collection.

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White Porcelain Cylinders hand thrown by Gunilla Maria Ã&#x2026;kesson.

Brian Haughton Gallery

‘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. (4 cms.) 85

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Brian Haughton Gallery

‘Translucent’ Celadon Southern Ice Porcelain by Gunilla Maria Åkesson. Diameter: 8 ins. (20 cms.) Height: 2½ ins. (6.5 cms.)

WHITE CYLINDERS by Gunilla Maria Åkesson Gunilla Maria Åkesson is one of Sweden’s leading ceramic artists. We are honoured to exhibit some of her latest work, which has been made especially for our Gallery. Statement from the artist: My white cylinders were conceived as I wanted to include into my work a sense of fragility and vulnerability, together with instilling strength and calmness. These two senses of awareness are difficult to convey, but I have always had an internal feeling which I have tried to convey in the concept and expression of these cylinders. For me, the working process is always a medium to understand how such feelings are a part of my life and how they affect me on a deeper level. My creative process has for many years led me to get my shapes thinner and thinner. I have taken one step at a time to achieve it, and now they have started to become really thin, like a veil between me and something else on the other side. Now the cylinder walls are so thin that you can see light through the porcelain. To get the thin fragile organic surface, I build up the cylinders in sections, about 5-7 cms each time. Then I throw each section with one hand on the sculpture’s wheel, the other spinning the wheel. I make one or maybe two sections a day. A cylinder about 50 cms high takes about two weeks to make. Gunilla Maria Åkesson

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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). We would especially like to thank the following for their help and encouragement, Dr Kevin Coates, Nell Romano, Anton Gabszewicz, Tamara Preaud, Meredith Chilton, Dame Rosalind Savill, John Mallet, Dr Katharina Hantschmann, Dr Melitta Kunze-Köllensperger and the late Dr Alred Ziffer. 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.co.uk ©2017 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