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Click here to subscribeA CHELSEA PORCELAIN SILVER-SHAPED OVAL DISH CIRCA 1756 Painted with Vincennes-style flowers, red anchor mark, 21.5cm in length: And an English porcelain armorial plate in Chinese Export style, circa 1800, possibly Spode and possibly made as a replacement for a Chinese Export service, 22cm diameter (2) Condition Report: Some fritting to the Chelsea plate. Star crack to the Armorial plate.Condition Report Disclaimer
Prächtiger Tafelleuchter mit allegorischer Figur "Flora"2-flg.; Rocailleförmiger, feuervergoldeter Bronzesockel. Mittig Porzellanfigur der Flora in antikisierendem Gewand, in ihrer rechten Hand einen, mit Blüten gefüllten Korb haltend. Zu ihren Füßen in einem Nest hockendes Huhn. Polychrome Malerei. Seitlich aufsteigenden, sich verzweigendem Rankenwerk aus vergoldetem Metall mit farbig staffierten, sog. Vincennes-Blüten, in reliefierten Tüllen mit Blattkranz endend. H. 22 cm. 29 cm x 15 cm. Provenienz: aus der Auflösung einer bedeutenden norddeutschen Privatsammlung.A gilt-bronze mounted two-light candelabra with porcelain figure of Flora arranged with Vincennes flowers.Meissen. Mitte 18. Jh.
Paar Handleuchter mit "Verkleideten Amoretten"1-flg.; Vergoldete Bronzemontierung. Von vier Knospenfüßen getragener, ornamentierter Sockel, mittig gefasste Porzellanfigur einer Amorette als Kavalier bzw. als Bergmann, umringt von Blütenbüscheln. Polychrome Malerei. Figuren-Entw. Johann Joachim Kaendler. Rückseitig blattförmiger Griff sowie aufsteigendes, sich weit verzweigendes Rankenwerk mit farbig staffierten Vincennes-Blüten reliefierter Tülle mit Blattkranz endend. 2 Tülleneinsätze. Minim. rest.; Leuchter-H. 18,5 cm. Provenienz: aus der Auflösung einer bedeutenden norddeutschen Privatsammlung.A pair of gilt-bronze mounted portable candlesticks with porcelain figures of cupids as cavalier and miner from the series "Disguised amorettes". Partly minor restored.Meissen. Mitte 18. Jh.
A pair of Louis XV-style ormolu and porcelain wall lights, 19th century, French, each with a pierced backplate issuing two foliate cast branches and sconces, with Vincennes-style polychrome flower heads,25cm wide12cm deep26cm high (2)Condition ReportOne with one driptray lacking and evidence of repair to one sconce. The porcelain flowers overall in good order but with some rubbing and tiny chips to some - see additional photos. The metal with some loss to gilding, tarnish and dust. Overall in good cosmetic condition and ready to hang.
Full title: An exceptional collection of porcelain flowers, 18th C. and laterDescription:Dia.: 6,5 cm (the largest flower) Porcelain flowers were intended to be mounted on stems in porcelain vases or on clocks and other lavish interior objects. Vincennes, Sevres and Meissen are the most important manufacturers of such flowers.Provenance:- A French private collection. Ref.:- Christie's, New York, Oct. 14, 2022, lot 32, for a set of nineteen. (sold USD 8.750) (External link available on rm-auctions.com)- Christie's, Paris, June 28, 2012, lot 195, for another set of nineteen. (sold EUR 4.375) (External link available on rm-auctions.com)Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.
An extremely rare Vincennes hookah bottle for the Turkish Market, circa 1752-55The globular body incised with three horizontal lines and painted by Francois Binet with scattered flower sprays, a gilt band around the footrim, with Ottoman silver mounts with stamped tughra, second half 19th century, and a flexible pipe with bone mouthpiece, 32cm high overall, interlaced LL monogram and painter's mark T in blue enamelFootnotes:Provenance:Anon. sale, Sotheby's London, 27 February 1979, lot 187;T.H. Clarke Collection, sold Sotheby's London, 1 March 1994, Lot 83;Acquired in the above saleLiterature:D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), pl. 56 (illustrated)For a discussion of Vincennes porcelain made for the Turkish market, see R. Savill, The Wallace Collection Catalogue of Sèvres Porcelain, II (1988), pp. 645-646. A total of fifty-one models including six bottle forms were made for the Turkish market between 1752 and 1755, of which only the ecuelle, one of the vases, a table, a coffer and possibly a drinking pot and saucer, as well as the present lot, are known today. Production for the Turkish market seems to have lasted only three years and resulted in 190 objects in all. The deterioration in Franco-Turkish relations following the Peace of Versailles in May 1756 may have been the cause.François Binet is recorded as a painter of flowers between 1750-75.For further information on this lot please visit Bonhams.com
A Sèvres yellow-ground tea service (déjeuner octogone), dated 1786Painted by Denis Levé, with trophies, birds and colourful scrollwork surrounded by scrolling floral foliage, comprising: a tray (plateau octogone), a teapot and cover (théière Calabre), a cup and saucer (gobelet litron et soucoupe), a sugar bowl and cover (pot à sucre Bouret) and a milk jug (pot à lait à trois pieds), the tray: 24.8cm across; the teapot: 10.5cm high, interlaced LL monograms enclosing date letters ii and painter's mark L for Levé in blue, incised marks (teapot professionally restored, sugar bowl cover finial replaced) (8)Footnotes:Literature:Caroline McCaffrey-Howarth and Rebecca Shaw, Presence, Vincennes and Sèvres Porcelain from a Private Collection (2021), pp.144fFor further information on this lot please visit Bonhams.com
A Vincennes bleu-lapis ground écuelle, cover and stand (écuelle 'ronde tournée' et plateau 'rond'), dated 1754Of the second size, reserved with gilt floral and folitate cartouches of polychrome birds in flight, gilt dentil borders to the rims, the écuelle with an attached silver-gilt liner, the écuelle: 13cm high; the stand: 21.3cm diam., interlaced LL monogram with dots enclosing date letter A in underglaze-blue, incised marks (haircrack to écuelle) (3)Footnotes:The écuelle 'ronde' was recorded in 1752 in four sizes, while the term écuelle 'ronde tournée' started appearing in 1753 and 1754. The model continued being produced throughout the 18th century, with the majority of pieces being of the second or third size, see R. Savill, The Wallace Collection Catalogue of Sèvres Porcelain, vol. II (1988), p.644. A very similar écuelle, cover and stand (of the first size) is in the Musée national de Céramique de Sèvres, illustrated in . Fäy-Hallé/T. Préaud, exhibition catalogue, Porcelaines de Vincennes - Les Origines de Sèvres (1977), p.50, no. 83. Another from the property of the 6th Earl of Stafford was sold at Christie's London, 16 November 2021, lot 546.For further information on this lot please visit Bonhams.com
A pair of Louis XV ormolu mounted Chinese crackle glazed ewersThe porcelain 18th century, the mounts possibly by Jean-Claude Duplessis, mid-18th centuryThe baluster 'Ge-type' vase bodies rising from slightly splayed feet to slender waisted necks, the exterior covered with a blue-grey glaze suffused with cracks, the acanthus scrolling handles cast with bull rushes, the lip mounts with rocaille acanthus sprays, on scrolling footed bases, minor losses to bull rushes to the handle of one vase, 17.5cm wide, 14cm deep, 31.5cm high (6 1/2in wide, 5 1/2in deep, 12in high) (2)Footnotes:十八世紀 仿哥窯瓶一對（嵌十八世紀中期或为吉恩-克勞德·查姆貝蘭·迪普萊西所作鎏金銅飾）Provenance Rosenberg & Stiebel, New York, 1984.Galerie Michel Meyer, Paris.來源Rosenberg & Stiebel，紐約，1984年Galerie Michel Meyer，巴黎Related LiteratureRosenberg & Stiebel, New York, Elements of Style: The Art of the Bronze Mount in 18th and 19th Century France, exhibition catalogue, April-June 1984, no.13, fig 12.Jean-Claude Chambellan Duplessis (1699-1774)Duplessis was a sculptor, ceramics modeller, bronzier and artistic director of the Vincennes and Sèvres Manufactory. From 1752, he assisted his father in creating models for the porcelain manufactures. On 12 June 1765 he became maître fondeur en terre et sable, having, as was customary at the time, mastered the disciplines of drawing and sculpture. Duplessis' illustrious career is mainly recognized today for having perfected the rocaille symmetrisé style. One of the most talented and influential designers and bronziers of his day, only a few pieces can be firmly attributed to him, including a pair of ormolu braziers commissioned by Jean-Baptiste Machault d'Arnouville for royal presentation in 1742 to the Ambassador of Turkey, one of which is today conserved at the Topkapi Palace Museum, Istanbul.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Groupe en bronze représentant le Chasseur au repos, Jean-Claude Chambellan Duplessis (1699-1774), vers 1750, d'après un modèle de Nicolas Coustou (1658-1733)A bronze group depicting the resting Hunter, Jean-Claude Chambellan Duplessis (1699-1774), French, Paris, circa 1750 after a model by Nicolas Coustou (1658-1733).Signed Duplessis fec; dark brown patina with green highlights, resting on a square wooden later socle, 37cm high, 45cm total high, (14 1/2in high, 17 1/2in total high)Footnotes:Provenance:By repute collection Charles François de Vintimille, Comte du Luc, Provence, his sale, C.F. Julliot et F.C. Joullain, Paris, 22-23 December 1777, lot 18;Defining Taste, Sotheby's London, 12 Novembre 2013, lot 162;Private Parisian collectionThe bronze presented, equally called Adonis se reposant de la chasse is a reduction of the famous marble sculpted by Nicolas Coustou in 1710, once conserved in the gardens of Marly (inv. no MR 1796). Several bronze versions of Adonis seated were commissioned throughout the 18th century to decorate the Parisian hôtels particuliers.Our bronze is the work of Jean-Claude Chambellan Duplessis, best known for his Vincennes and Sèvres porcelain creations. In 1751, Duplessis is commissioned by Louis XV to design the drawings of the first large scale service de table. In 1758, he is granted the status of Orfèvre du Roi.See the following for comparable examples:The French Bronze, 1500-1800, exh. cat. Galerie Knoedler & Co., New York, 1968, no.45;F. Souchal, French Sculptors of the 17th and 18th centuries. The reign of Louis XIV (1977), pp. 168-169, no.52;G. Bresc-Bauthier, Sculptures des jardins du Louvre (1986), p. 115;S. Lami, Dictionnaire des sculpteurs de l'école française au XVIIIe siècle, III, 1910For further information on this lot please visit Bonhams.com
AN ENSEMBLE OF A MEISSEN PIERCED OVAL AND GILT METAL MOUNTED BASKET AND GILT METAL AND PORCELAIN FLOWERS, IN VINCENNES STYLE THE MEISSEN PORCELAIN LATE 19TH CENTURY, THE FLOWERS PROBABLY LATER The Meissen basket of navette shaped two-handled form Approximately 23cm wide Height overall approximately 42cm Condition Report: Chips and losses, restoration to flowers. Three of the four feet of the basket are chipped to the ends and there is some green paint loss to the metal stems.But overall appears presentable, do not buy assuming 'perfect'. See addition images available from the Dept. upon request.Condition Report Disclaimer
A PAIR OF FRENCH PORCELAIN CAMPANA VASESPROBABLY VINCENNES, EARLY 19TH CENTURYpainted with cartouches of birds in gilt frames on mazarin blue ground, the feet moulded with scallop shells, with gilt metal rims and bases (2)17.3cm highProvenanceKenneth Neame: An Enduring Legacy.Purchased Christie’s, 9th June 2011, Monsieur and Madame François-A Lifetime of Collecting, Lot 118.Exhibited Masterpiece 2012. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
An ormolu-mounted Sèvres porcelain bleu nouveau-ground pot-pourri-vase and cover, c.1787, interlaced L mark and painter’s mark for Jean Bouchet, the mounts later, the blue ground reserved with gilt dot ornament, the front and reverse reserved with oval pastoral scenes, the cover similarly decorated, mounted with foliate scroll handles with satyr mask terminals joined by a pierced gallery, with a reeded lower part, socle and plinth base, 17.5 cm high overallProvenance: Property of a Lady Footnotes: Note: This piece is a Sèvres sugar-bowl which has been mounted as a pot-pourri vase, probably by a marchand-mercier. The underside of the porcelain bowl bears the painter’s mark of a shrub which has been newly attributed to Jean Bouchet, who was active at Sèvres from 1757 to 1793. Bouchet is associated with this style of landscape painting and he initially used a caduceus mark, but later changed his mark to that of a tree or shrub; see David Peters, Decorator and Date marks on 18th Century Vincennes and Sèvres Porcelain, Little Berkhamsted, 2019, p. 23.Condition Report: There is a small restored chip to the rim of the cover, and there is some slight overpainting to the rim which presumably disguises very small minor chips or flaking – this is not particularly noticeable. There is some minute wear to the gilt finial and the leaf terminals – this is very minor.
A PAIR OF CONTINENTAL PORCELAIN AND GILT METAL MOUNTED TABLE LAMPS IN THE 18TH CENTURY MEISSEN/VINCENNES STYLE LATE 19TH & 20TH CENTURIES Later adapted to electricity, modelled with goldfinches and flowers, 21.5cm high to tulip sconcePlease note this lot is to be sold without reserve Condition Report: Occasional minute chips to flowers. They will need re-wiring.Condition Report Disclaimer
18th Century Continental porcelain figure group, possibly Vincennes or Tournai, modelled as Classical gods including Apollo and Hercules (in Nemean lion fur cloak), on naturalistic base with martial trophies, 40cm high, together with a second group of similar age, depicting a family harvesting vines of grapes, 24cm high, both groups a/f, (2)
A PAIR OF CONTINENTAL PORCELAIN AND GILT METAL MOUNTED AND FLOWER ENCRUSTED TWIN-BRANCH TABLE LAMPSLATE 19TH CENTURYTypically modelled in the 18th century manner with two models of birds, possibly Edme Samson or similar and porcelain flowers in the Vincennes style Approximately 32cm high including fittingsCondition Report: Some chips to flowers. No other serious condition issues detectedCondition Report Disclaimer
A very rare Chelsea fluted sugar bowl, circa 1752Of generous size and of fluted form, finely painted in Vincennes style with colourful European flowers with amongst a variety of insects including a green centipede, further insects and flowerheads to the interior below a brown line rim, 7.8cm highFootnotes:Although fluted teabowls of this form appear in Chelsea of the raised anchor and red anchor periods, this larger example, presumably a sugar bowl is incredibly rare. The delicate botanical sprays seen on Vincennes and quirky yet highly detailed insects are found on a number of raised anchor wares. For a pair of similarly decorated plinths marked with red raised anchors, see F Severne Mackenna, Chelsea Porcelain: The Triangle and Raised Anchor Wares (1948), pl.27, no.60.For further information on this lot please visit Bonhams.com
"Tanzende Tirolerin"mit französischer, feuervergoldeter Bronzemontierung. Von geschweiften, plastischen Rocaillen getragener Sockel. Rückseitig aufsteigende, sich verzweigende, dunkelgrün gefasste Ranken mit Blättern und kalt bemalten Blumen sowie fein modellierten, teilw. farbig staffierten, sog. Vincennes-Blüten aus Porzellan, seitlich in blattreliefierte Tüllen über Blattkranz übergehend. Mittig stehende Figur einer tanzenden Tirolerin in purpurfarbenem Kleid mit zartgelber Jacke sowie Strohhut, mit den Händen die Enden der weißen, von Indianischen Blumen gemusterten Schürze haltend. Das Gegenstück mit der Figur eines Bäckers aus der Serie der Straßenverkäufer in purpurfarbener Hose, geblümtem Hemd und gelber Jacke, in der erhobenen Hand eine Brotschaufel tragend. Polychrome Malerei mit Goldstaffage. Entw. Johann Joachim Kaendler und Friedrich Elias Meyer. Unw. rest./best.; Schwertermarke. Meissen. Mitte 18. Jh.; Ges.-H. 27 cm - 28 cm. Figuren-H. ca. 13,5 cm. Im 18. Jh. kombinierten Pariser Luxuswarenhändler erstklassige europäische und ostasiatische Porzellane mit feuervergoldeten, französischen Bronzemontierungen zu exklusiven Luxusgütern, die nicht nur wegen der Schönheit der Porzellane, sondern auch wegen der exzellent gearbeiteten, fein ziselierten Bronzearbeiten geschätzt wurden. Diese Art der Arrangements waren als repräsentative Dekorationsstücke in Kabinetträumen aufgestellt. Vgl. Kunze-Köllensperger, Kat. Slg. Burda, Nr. 70, 110; Kat. Slg. Pauls, Abb. S. 385; Röbbig, Kabinettstücke, S. 259ff., 26ff, Menzhausen, In Porzellan verzaubert, S. 195, Rückert, Kat. Bayer. Nationalmuseum, Nr. 1008, Schnorr von Carolsfeld, Lepke's Auction Slg. Darmstaedter, 1925, Nr. 56.A pair of gilt-bronze mounted candlesticks with porcelain figures of a baker from the series "Street sellers", a dancing "Tyrolean woman" and Vincennes blossoms. Insignificantly restored/chipped. Crossed swords mark.Meissen. Mitte 18. Jh.
Paire d'appliques à deux bras de lumière de style Louis XV en bronze doré et porcelaine, XIXe siècleA pair of Louis XV style ormolu and Vincennes-style porcelain two light wall-lights, 19th centuryEach with pierced scrolling backplate issuing the shaped foliate branches with polychrome flowerheads and terminating in foliate drip-pans and conforming nozzles, losses to flowers, 35cm high, 26cm wide (13 3/4in high, 10 1/4in wide)For further information on this lot please visit Bonhams.com
A NEAR SET OF FOUR LOUIS XV ORMOLU THREE BRANCH WALL LIGHTS IN THE MANNER OF JEAN-CLAUDE DUPLESSIS, MID 18TH CENTURY The bras de lumière of three branch form with foliate scrolling stems and nozzles, fitted for electricity slight size variance but approximately-the gilt metal 65cm high, 43cm wide, 88cm high overall Provenance: An Important Collection from a Cadogan Square HousePerrin Antiquaires, Paris, acquired in 1998. A pair of very similar design, with richer detailing to the edge furls and with the 'C' couronné poinçon, is in the Wrightsman Collection at the Metropolitan Museum of Art, New York (1971.206.30-31). As well as being the Royal goldsmith, Duplessis was director of the Vincennes porcelain factory and later Sèvres. Among his most famous designs for gilt bronze are the elaborate and rich mounts for the Bureau du Roi in Versailles by Oeben and Riesener. Literature: Hans Ottomeyer/Peter Pröschel, Vergoldete Bronzen, Munich, 1986, p. 143, ill. Condition Report: Now wired for electricity. The floral pans with some slight variances in design, some sitting off centre to their stems. Some old repairs to floral elements notably to tops. Almost certainly re-gilded and with some drilled holes and evidence of earlier rewiring. Will require electrician testing and probably re-wiring. Bulbs with losses and breaks - some minor breaks and cuttings to candle sleeves. Please see additional images for visual reference to condition.Condition Report Disclaimer
A Vincennes Bleu Celeste Porcelain Sugar Bowl and Cover (Pot a Sucre et son Couvercle)Circa 1755bearing blue interlaced Ls enclosing date letter B and unidentified flower painter's mark of a P; of tapering hemispheric form with slightly everted mouth, the domed cover with gilt ranunculus finial, painted in colors with loose bouquets reserved on the rich turquoise ground in shaped oval cartouches with gilt cisele €˜thorn' bands, with gilt dentil rims.Height 4 1/2 x diameter 3 1/2 inches.This lot is located in Chicago.Provenance:Drouot Richelieu, Paris, Anonymous sale, 21 April 1997, Lot 33, catalogue cover illustrationJohn Whitehead, London, 13 June 1997 (purchased at the International Ceramics Fair, London; with invoice)Note: Although the present sugar bowl is not a form to which a specific name was given by the Vincennes factory and although the identity of neither the painter nor the gilder can be confirmed, there can be no doubt that it is a fine early example of the royal factory" work and of its first essays with a ground color.An un-named drawing dated 28 April 1752 corresponding to the shape of the present sugar bowl is retained in the factory" archives. See Porcelaines de Vincennes: Les Origines de Sevres, Exhibition Catalogue, Grand Palais, Paris, 14 October 1977-16 January 1978, cat. no. 207 for an example of the same form, painted in monochrome green with landscape vignettes, its ranunculus knop lacking.The gilding pattern of rose thorns is associated with the first service made for Louis XV, also decorated with a bleu celeste ground. However, neither the ground color nor the gilding pattern was exclusive to the service. Its unidentified flower painter" mark of a 'P' or 'p' is found on Vincennes and early Sevres porcelain of 1755-1756.Excellent condition with minor chip to finial leaf, minute fritting to edges of flower petals and wear to gilt rim of the bowl caused by the cover rubbing.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Sevres Green Ribbon Decorated Porcelain Plate (Assiette 'a Guirlandes')Circa 1760bearing blue interlaced Ls enclosing date letter G, painter's mark of a fleur-de-lis for Taillandier and incised 6o; painted with a flower spray, the wide border with a looped gilt-edged green ribbon suspending flower garlands arching into the curve of the loop, the scalloped rim of the plate molded with a trailing vine, gilt cisele crossed flowering branches at the intersection of each ribbon loop, the same green filling the scallop behind, with gilt line rim.Diameter 10 inches.This lot is located in Chicago.Provenance:Dragesco-Cramoisan, Paris, no. D.1375, 14 June 1999 (purchased at the International Ceramics Fair, London; with copy of invoice)Note:Two services were made at Sevres in 1760 to which the present plate may belong:One service, its 48 plates priced at 30 livres each, was sold on 29 March to the Marquis de Paulmy. Antoine-Rene de Voyer d'Argenson, Marquis de Paulmy, was Minister of War (1757-1758), French Ambassador to Poland (1760-1764), Ambassador Extraordinary to Saxony (1760-1763) and Ambassador to Venice (1767-1768).A second service, its 48 plates for some reason priced at double or 60 livres, was sold during the second quarter of 1760 to Madame Lair. Madame Marie Herbin Lair was a marchand-mercier whose name appears regularly in the Sevres sales records. She was the widow of Michel-Joseph Lair and successor in business to Gilles Bazin, rue de Roule, Paris. Both services are discussed by David Peters, Sevres Plates and Services of the 18th Century, Little Berkhamsted, 2005, pp. 317-320, service nos. 60-1 and 60-2 respectively.Three plates from one of these two services, each with flowers painted by Louis-Jean Thevenet, were sold by Christie's, London on 12 May 2010, lot 235; 3 June 2014, lot 38 and 24 November 2014, lot 13. The present example was painted by his colleague Vincent Taillandier (active 1753-1790), recorded at Vincennes and Sevres as a painter specializing in flowers as well as patterns and ground patterns.Light wear to the gilding edging the ribbon; light surface scratches and stacking wear.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Pair of Vincennes Gilt-Metal Mounted Porcelain Orange Tubs (Caisses a Fleurs Carrees, 2eme Grandeur) Fitted with Porcelain Flowers on Papier-Mâche StemsThe Porcelain Pots 1755one bearing blue interlaced Ls enclosing date letter B and unidentified flower painter's mark O, the other with a mark of four dots forming a lozenge for Fontaine, the finials later metal replacements, the porcelain flowers also of later date; each square tub on bracket feet with each panel painted in colors with a loose bouquet within a camieu bleu trailing vine, fitted with papier-mâche-wrapped metal stems, paper leaves and porcelain flowerheads issuing from the papier-mâche €˜earth'.Height of cache pots overall 5 5/8 inches; height overall (including plants) 15 1/2 inches.This lot is located in Chicago.Provenance:Carlton Hobbs, London, 8 July 1996 (with invoice)Note:The present flowerpots are in the shape of the large square tubs designed specifically to hold orange trees. They were produced at both Vincennes and at Sevres in a variety of sizes of which the present pair are an example of the second largest. A pair of orange tubs, similar in size and decoration to the present two, both with blue interlaced Ls and the painter" mark of a comma for Charles-Louis Mereaud, one also with date letter G for 1760, is in the collection of The Metropolitan Museum of Art, Gift of Barbara Lowe Fallas, 1964 (64.159.2a, b, .3a, b).The flower painting on the present caisses carrees is by Jacques Fontaine (active 1752-1807), recorded at Vincennes and Sevres as a painter specializing in flowers, figures, patterns and the highly specialized techniques of cameo decoration popular in the late 1770s and 1780s. He is also recorded as a gilder. His younger sister Mlle. Marie-Louise Fontaine also used a similar mark, but as she is recorded as a painter specializing in flowers and patterns from 1777-1794, the mark on the present orange tubs cannot be hers.There is a very slight difference in size that is so minimal that it is fair to assume them to be a pair. The one with the more robust flower painting (painter O) has firing issues €“ the side with the yellow tulip bows out a bit, one of its leaves is snapped off. As mentioned, all finials are metal replacements €“ wear to gilding. A crack is visible to the inner angle of the smaller pot. They could benefit from cleaning but in overall presentable condition.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Sevres White Biscuit Porcelain Figure of 'La Petit Fille au Tablier'1757-1766incised F to the underside; modelled by Falconet, the girl standing holding grapes in her apron, her head tied with a scarf, standing barefoot by a tree stump on a shaped oval rockwork base.Height 9 inches.This lot is located in Chicago.Provenance:Dragesco-Cramoisan, Paris, 1997 Note:The present figure and her pair, 'Le Jeune Suppliant', were both first modelled after Boucher by Blondeau in 1752. The original drawing for Le Jeune Suppliant is still at Sevres and the reverse of the drawing is inscribed 'dessein de m. Boucher apartenant a la Manufacture de Vincennes, ce 23 aoust 1749'. A similar pair of figures from the renowned collection of Elizabeth Firestone were sold by Christie's, New York, 21 March 1991, lot 108. The incised capital F on the underside of the base definitively dates this example to 1757-1766 during which years the renowned sculptor etienne Maurice Falconet served as head of the sculpture studio at the Sevres porcelain manufactory. His initial on the completed work indicates his approval of its production and finishing.In generally good condition. with chips to the edge of her bodice hem, typical minor firing lines and chips/losses to the fruit and leaves in her apron.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
Two Vincennes Bleu Celeste Ribbon Decorated Porcelain Plates (Assiettes 'a Guirlandes')Circa 1757bearing blue interlaced Ls enclosing date letter D and painter's mark of a fleur-de-lis for Taillandier to one, the other unmarked but with incised script Bp; each painted with a flower spray, that of the unmarked example including a tulip, the wide border with a looped gilt-edged bleu celeste ribbon suspending crossed flower garlands or tight bouquets beneath alternate curves of the loop, the scalloped rim of the plate molded with a trailing vine, gilt cisele crossed flowering branches at the intersection of each ribbon loop and the same mottled turquoise ground filling the scallop behind, with gilt line rim.Diameter 10 inches.This lot is located in Chicago.Provenance: Dragesco-Cramoisan, Paris, nos. 1231 and 1232, 18 September 1996 (with copy of invoice)Note:The present two plates are probably from a service in the possession of M. de Laborde in the 18th century. David Peters suggests that M. de Laborde's service was formed from a delivery of recent stock acquired by Duvaux in 1758. See David Peters, Sevres Plates and Services of the 18th Century, Little Berkhamsted, 2005, Vol. II, pp. 299-302, service no. 58-1. Between 1 January 1758-1 July 1758, the Sevres sales records note a delivery to M. Duvaux of 78 assiettes fond bleu celeste et verd, 60 (livres each) 4680 (livres in total) (Vy 2 fol. 65).Although the factory records do not specify the exact number of green and blue plates in the delivery, we know from the Livre Journal de Lazare Duvaux that the twelve plates delivered to Louis XV (no. 3072) and the six delivered to Mme. de Pompadour (no. 3073) were verd and cost 60 livres each. As the service for M. de Laborde included sixty plates, they must have included examples with bleu celeste ribbons scrolling around the border.Jean-Joseph de Laborde was a merchant, financier and politician from Bayonne who acquired his fortune through maritime trade, particularly supplying the American colonies, became Fermier General in 1759 and later financier to the French Court during the Seven Years War.Vincent Taillandier (active 1753-1790) is recorded at Vincennes and Sevres as a painter specializing in flowers as well as patterns and ground patterns.Both in good condition. With negligible wear to the gilding, minor stacking and surface wear.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Sevres Bleu Celeste Porcelain Seven-Piece Tea Service (Dejeuner 'Courteille')Circa 1780each bearing blue interlaced Ls enclosing date letters cc below painter's mark of a comma for Mereaud le jeune and above gilder's mark '#' for Chavaux pere, with various incised marks; painted with trailing flower garlands and wreaths, the shaped turquoise border richly gilt and chased with a laurel garland, echoing the shape of the border edged with a gilt cisele band, comprising a shaped rectangular two-handled tray, a teapot and cover, a sugar bowl and cover and four cups and saucers; 7 items total.Length of tray over handles 14 1/4 inches.This lot is located in Chicago.Note:A 'dejeuner' is the name given to a small tea or coffee set with a matching tray, the name for the overall set dictated by the shape name given the tray. In this case, it is a shaped serpentine rectangular tray or plateau 'Courteille' with rounded corners and angled side handles, named after the marquis de Courteille, the King" representative in charge of the Vincennes/Sevres manufactory, to whom the first example of this tray was presented in December 1753. Sales records show Dejeuner 'Courteille' produced from 1757 into the 1780s.The selection of pieces making up the set can vary, as can the size and shape of the tray and of the individual pieces, the complement of pieces dictating the use for the dejeuner. The present dejeuner of a theiere 'Calabre', 3eme grandeur, a pot a sucre 'Bouret', 2eme grandeur, and four gobelets 'Litron' et soucoupes, 3eme grandeur resting on a plateau 'Courteille' originally will have included a pot a lait a trois pieds, likely 2eme grandeur. The individual pieces comprising the set will have been completed at the same time by the same decorators, resulting in identical factory, painters and gilders marks on each piece, as is the case here. With four cups, it is the largest such service produced, although the cups themselves are likely the smallest.Dejeuner 'Courteille' can be found in The Wallace Collection, the Wadsworth Atheneum, and the Victoria and Albert Museum, among others. Cf. Rosalind Savill, The Wallace Collection - Catalogue of Sevres Porcelain, London, 1988, cat. no, C401-6, pp. 615-621; Linda H. Roth and Clare Le Corbeiller, French Eighteenth-Century Porcelain at the Wadsworth Atheneum - The J. Pierpont Morgan Collection, 2000, cat. no. 83, pp. 175-178.Charles-Louis Mereaud le jeune (active 1756-1780) is recorded at Sevres as a painter specializing in flowers and patterns. Michel-Barnabe Chavaux pere (active 1752-1788) is recorded at Vincennes and at Sevres as a gilder. Their work on the present dejeuner is typical of that found on tablewares of the late 1770s-1780s, showcasing their talent and expertise of their specialties honed over many years at the factory.Teapot and cover: height 4 1/2 inches; incised 44 oo and 5.Sugar bowl and cover: height 4 inches; incised 40 and a.Four cans and saucers: height of cups 2 3/8 inches, each incised 48a; diameter of saucers 4 5/8 inches, each incised 48a.In overall excellent condition. The tray with no incised marks, having a tiny nick to the edge of one handle terminal leaf, a touch of wear to the leaf terminal diagonally opposite, very very light surface scratching. The teapot and cover with minute nick to tip of spout. The sugar bowl and cover with wear to gilt dentil rim, gilting on the berry finial possibly refreshed.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Vincennes Bleu Celeste Plein Porcelain Sugar Bowl and Cover (Pot a Sucre 'a Cerceau' ou 'a Cuvier', 1ere Grandeur)Circa 1754 bearing blue interlaced Ls enclosing date letter A, incised 3; of flaring cylindrical form, the conforming cover with bracket finial, the finial and molded edges gilt, with gilt dentil rims.Height 4 1/2 x width 5 inches.This lot is located in Chicago.Provenance: Dragesco-Cramoisan, Paris, June 1996 (purchased at the International Ceramics Fair, London)Note:The Sevres archive retains a drawing dated 19 February 1753 that corresponds to the present Vincennes form, describing it as an accompaniment to both a gobelet 'a cuvier' and a gobelet 'a cerceau' (2011.3.249.1, reproduced here). A simplified variant without the molded banding also exists, designed to pair with a gobelet a la reine. The present bleu celeste plein pot a sucre 'a cerceaux', made the following year (1754), is covered in the first ground color produced by the factory, famously used for the first service made for King Louis XV of France, patron of the factory. It displays the lovely 'cloudy' yet translucent quality for which early bleu celeste is so prized.Of the 42 sugar bowls of this rare model recorded, the present lot and the pot exhibited at the Grand Palais in a seminal exhibition of Vincennes porcelain held October 1977- January 1978 would appear to be the only survivors. Later sold in The Arts of France, Christie's, New York, 16 November 2000, lot 113, this second pot, decorated with loose bouquets (fleurs detachees) between blue-line-and-gilt-dash banding, is an example of one of the least expensive versions-flower-decorated examples were priced at 18 livres. The present lot is an example of the most expensive version, priced at 54 livres for a sugar bowl covered overall with a turquoise sky blue (bleu celeste plein) ground. Cf. Porcelaines de Vincennes, les origins de Sevres, Exhibition Catalogue, Grand Palais, 14 October 1977-16 January 1978, no. 184.Photo Credit: © RMN-Grand Palais / Art Resource, NYIn very good condition with negligible wear to gilding on cover finial. Having some wear to gilt dentil rim of the bowl from rubbing by the cover.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A large and rare Vincennes porcelain bowl, c. 1752-3, painted with flowers by Prisette Quenecque; conjoined Ls mark without date and a Q below for Quenecque; 10'' diameter, works by this artist, who worked at Sevres between 1753 and 1755, are rarely seen; there is a cup in the collection at Waddesdon; see Dauterman, 'Sevres Porcelain Makers and Marks of the 18th Century'.
SÈVRES box, 19th century.Enamelled porcelain.With seal.Measurements: 34 x 20 x 20 x 12 cm.Porcelain enamelled box with mainly low-temperature colours, including gilding, a typical aspect of the Sèvres manufacture. The lid is decorated with a rococo-inspired scene depicting ladies and gallant couples in bucolic settings. The decorative details are overlaid with fine gold.Originally founded in Vincennes in 1740, the Manufacture Nationale de Sèvres was transferred to Vincennes in 1756. One of the leading European porcelain factories, the Manufacture was successively named after different political regimes: royal, imperial and national manufactory. Still active today, the firm continues to produce objects created since 1740, although its current production is largely oriented towards contemporary creation. Up to 1800, the company produced mainly porcelain and soft-paste pieces, both tableware and small-scale ornamental sculpture. In the 19th century, decoration became richer, especially in the context of historicism.
Rocailleförmiger Sockel. Rückseitig aufsteigende, sich verzweigende Blumenranken mit verschiedenfarbig staffierten, sog. Vincennes-Blüten, in blattförmiger Tülle mit Wachsfänger endend. Schauseitig die Porzellanfigur eines springenden Rottiers in naturalistischer Ausführung mit feiner Fellzeichnung über ovalem, blütenbelegtem Sockel. Entw. Johann Joachim Kaendler. Polychrome Malerei. Unw. rest.; Schwertermarke. Leuchter-H. 20 cm.Vgl. Pietsch, Kat. Porzellan Parforce, Nr. 28.A gilt bronze candlestick with Vincennes blossoms, mounted with a porcelain figure of a leaping roe deer. Insignificantly restored. Crossed swords mark.Meissen. Mitte 18. Jh.
Sèvres style table centre, 19th century.Porcelain and gilt bronze. Painted decoration.Measurements: 25 x 23,5 x 17 cm.Sèvres porcelain centrepiece in the shape of a classic goblet, decorated on the outside in the style of the 18th century Sèvres coloured backgrounds, in this case with a cobalt blue background, specifically the one known as "Bleu Lapis", characterised by its irregular appearance, with waters of different tones. The decorations are painted in gilt enamel, following neoclassical models. The interior is decorated with a delicate floral motif.Originally founded in Vincennes in 1740, the Manufacture Nationale de Sèvres was transferred to Vincennes in 1756. One of the leading European porcelain factories, the Manufacture was successively named after different political regimes: royal, imperial and national manufactory. Still active today, the firm continues to produce objects created since 1740, although its current production is largely oriented towards contemporary creation. The Manufacture de Vincennes was founded with the support of Louis XV and Madame de Pompadour, with the idea of creating pieces for the court and competing with the porcelain productions of Meissen and Chantilly.
Important SÈVRES vase. France, Napoleon III period, second half of the 19th century.Enamelled porcelain and gilt bronze.Signed "Georges Émile Poitevin" on the front.With Sèvres stamp inside the base and inside the lid.Measurements: 98 x 38 x 30 cm.Ornamental vase decorated with pictorial scenes, the front with an allegorical theme and the back with a landscape theme, both by Georges Émile Poitevin, a Parisian painter recorded as exhibiting many porcelain themes in the Paris Salons of the 1870s and early 1880s and listed by W.Neuwirth, Porzellanmaler-Lexicon 1840-1914. Poitevin has decorated the front with great care, depicting a robed lady in the classical manner surrounded by little angels of love dancing around her, one of them carrying a bow. Both the base on which the main body rests and the mouth of the vase are decorated with gilt fretwork, characteristic of the Sèvres style, combined with finely delineated floral and animalistic representations. Also noteworthy are the attributes of Cupid depicted on the mouth of the vase, with a quiver, a bow and a torch, objects closely related to the allegorical ornamentation on the front. The design of the vase is completed by bronze handles decorated with scrolls, as well as a circular base decorated with masks, an aspect typical of the aesthetic of the Sevrès manufacture.Originally founded in Vincennes in 1740, the Manufacture Nationale de Sèvres was transferred to Vincennes in 1756. One of the leading European porcelain factories, the Manufacture was successively named after different political regimes: royal, imperial and national manufactory. Still active today, the firm continues to produce objects created since 1740, although its current production is largely oriented towards contemporary creation. The Manufacture de Vincennes was founded with the support of Louis XV and Madame de Pompadour, with the idea of creating pieces for the court and competing with the porcelain productions of Meissen and Chantilly. In fact, the first experiments were carried out by the brothers Robert and Gilles Dubois, who came from the Chantilly manufactory. By 1745, under the direction of the Gravant couple, important results had already been achieved, in particular the creation of models of porcelain flowers to decorate all kinds of pieces. The new building in Sèvres, where the manufactory moved in 1756, was built on the initiative of Madame de Pompadur. Three years later, it was designated a royal factory, and from that time onwards it was the only one in France to use fine gold. In its early years, the factory produced mainly soft paste; hard porcelain, with kaolin, was not marketed in Sèvres until 1770. Among the innovations of this manufactory in the 18th century were coloured backgrounds and the use of biscuit for small sculptures. During the French Revolution, the factory suffered a decline in production, but experienced a revival between 1800 and 1847 under the direction of Alexandre Brongniart, who brought the factory international fame. During these years, many important technical innovations were made, and a number of contemporary artists collaborated with the manufacture. During this period, a new gilding technique was introduced, which was made shiny by burnishing the surface with an agate stone. The pieces were also decorated with opaque gilding, which was done by rubbing the gold with very fine sand. It was at this time that, for ornamental vases, a cartouche became established as a central theme, in the manner of an oil painting, with a gilt cartouche on a monochrome background. From the mid-19th century onwards, the dominant styles were eclecticism and historicism, and some models revived typologies from the past, such as the Mannerism of Fontainebleau and the Baroque of Versailles.
Sèvres vase. France, 18th century.Hand-painted porcelain and gilt bronze mount.With stamp on the inside of the lid indicating that the date of production was around 1753.Measurements: 48 x 25 x 19 cm.Ornamental vase with bronze base and structure. It is decorated with pictorial scenes, the front with winged angels and the back with musical instruments, both delicately worked in its brushstrokes. Originally founded in Vincennes in 1740, the Manufacture Nationale de Sèvres was moved here in 1756. One of Europe's leading porcelain factories, the Manufacture was successively named after different political regimes: royal, imperial and national manufactory. Still active today, the firm continues to produce objects created since 1740, although its current production is largely oriented towards contemporary creation. The Manufacture de Vincennes was founded with the support of Louis XV and Madame de Pompadour, with the idea of creating pieces for the court and competing with the porcelain productions of Meissen and Chantilly. In fact, the first experiments were carried out by the brothers Robert and Gilles Dubois, who came from the Chantilly manufactory. By 1745, under the direction of the Gravant couple, important results had already been achieved, in particular the creation of models of porcelain flowers to decorate all kinds of pieces. The new building in Sèvres, where the manufactory moved in 1756, was built on the initiative of Madame de Pompadur. Three years later, it was designated a royal factory, and from that time onwards it was the only one in France to use fine gold. In its early years, the factory produced mainly soft paste; hard porcelain, with kaolin, was not marketed in Sèvres until 1770. Among the innovations of this manufactory in the 18th century were coloured backgrounds and the use of biscuit for small sculptures. During the French Revolution, the factory suffered a decline in production, but experienced a revival between 1800 and 1847 under the direction of Alexandre Brongniart, who brought the factory international fame. During these years, many important technical innovations were made, and a number of contemporary artists collaborated with the manufacture. During this period, a new gilding technique was introduced, which was made shiny by burnishing the surface with an agate stone. The pieces were also decorated with opaque gilding, which was done by rubbing the gold with very fine sand. It was at this time that, for ornamental vases, a cartouche became established as the central theme, in the manner of an oil painting, with a gilt cartouche on a monochrome background. From the mid-19th century onwards, the dominant styles were eclecticism and historicism, and some models revived typologies from the past, such as the Mannerism of Fontainebleau and the Baroque of Versailles.
A collection of hand painted fine porcelain, including a Vincennes Limoges French porcelain trinket box with a gold eagle, a Coalport saucer, a Burleigh ware florette tea pot, an Aynsley hand painted fruit plate with gilded rim and six floral design ashtrays. Maker's mark to the base. H.16 W.23cm (largest)
Books, Antiques Reference - European Porcelain, including De Bellaigue's French Porcelain in the Royal Collection, three-volume set, dustjackets over cloth, slipcase en suite, folio, (3); further French porcelain reference, including Sèvres and Vincennes; Meissen Snuff Boxes of the Eighteenth Century, dj, hb, folio, (1); The Marouf Meissen Colection; Röbbig München catalogues; Klaber & Klaber catalogues; others, Galerie Vandermeersch, Christie's, Sotheby's & Bonhams, qty; Sevres; etc., [approx. 30]
A NEAR SET OF FOUR LOUIS XV ORMOLU THREE BRANCH WALL LIGHTS IN THE MANNER OF JEAN-CLAUDE DUPLESSIS, MID 18TH CENTURY The bras de lumière of three branch form with foliate scrolling stems and nozzles, fitted for electricity slight size variance but approximately-the gilt metal 65cm high, 43cm wide, 88cm high overall Provenance:An Important Collection from a Cadogan Square HousePerrin Antiquaires, Paris, acquired in 1998. A pair of very similar design, with richer detailing to the edge furls and with the 'C' couronné poinçon, is in the Wrightsman Collection at the Metropolitan Museum of Art, New York (1971.206.30-31). As well as being the Royal goldsmith, Duplessis was director of the Vincennes porcelain factory and later Sèvres. Among his most famous designs for gilt bronze are the elaborate and rich mounts for the Bureau du Roi in Versailles by Oeben and Riesener.Literature: Hans Ottomeyer/Peter Pröschel, Vergoldete Bronzen, Munich, 1986, p. 143, ill.Condition Report: Now wired for electricity. The floral pans with some slight variances in design, some sitting off centre to their stems. Some old repairs to floral elements notably to tops.Almost certainly re-gilded and with some drilled holes and evidence of earlier rewiring.Will require electrician testing and probably re-wiring.Bulbs with losses and breaks - some minor breaks and cuttings to candle sleeves.Please see additional images for visual reference to condition.Condition Report Disclaimer
A Sèvres pomade pot and cover (pot à pommade et couvercle), dated 1759Painted by Vincent Taillandier, with cartouches of flower sprays on a green and bleu-lapis ground, gilt rims, the cover similarly decorated and applied with a flower finial, 7.3cm high, interlaced LL monogram enclosing date letter f, painter's mark for V. Taillandier, incised 3 (tiny restuck flake to cover) (2)Footnotes:Provenance:Otto Blohm Collection, Hamburg (sold by Sotheby & Co., London, 5 July 1960, lot 120);Sir John Plumb F.B.A., no. 26;Vincennes & Sevres from a New England Collection, Christie's New York, 5 May 1999, lot 69;The Pompey Collection, sold Christie's New York, 23 May 2002, lot 18;Sèvres Porcelain from an International Private CollectionLiterature: Robert Schmidt, Early European Porcelain as collected by Otto Blohm (1953), no. 372, p.252.For a cup and saucer with blue- and green-ground decoration and a full discussion of this type of decoration, see Linda H. Roth and Clare Le Corbeiller, French Eighteenth-Century Porcelain at the Wadsworth Atheneum, The J. Pierpont Morgan Collection (2000), no. 84, pp. 178-180. The combination of bleu-lapis and green grounds was mainly used during the years from 1758 to 1762, although the factory seems to have attempted the combination earlier, for instance in 1752, when they listed several pomade pots with landscape decoration with a fond bleu et verd. The colour combination was also described as saffre et vert in the factory sale records.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Vincennes bleu-lapis ground sugar bowl and cover (sucrier ovale à Compartiments), dated 1754Decorated with finely tooled gilt floral and trelliswork cartouches enclosing gilt birds in flight, the rims with gilt dentil borders, the cover similarly decorated and applied with a foliate entwined loop handle, 12cm high, 15.9cm long, 10.9cm wide, interlaced LL monogram enclosing date letter A in blue, incised mark (2)Footnotes:For a brief discussion of the shape, see Geoffrey de Bellaigue, French Porcelain in the Collection of Her Majesty The Queen, vol. II, (2009), no. 137.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Sèvres large double-handled cup, cover and saucer (gobelet à lait couvert et soucoupe), circa 1757-58Of the second size, painted by Vincent Taillandier with cartouches of birds in landscapes within a trellis pattern of apple green-ground ribbons interspersed with flower sprigs, 8.5cm high, 18.7cm diam., interlaced LL monogram, painter's mark for Taillandier, incised na to the base of the cup, incised I to the base of the saucer (cover with some restoration) (3)Footnotes:Provenance:Collection R.R.J.C., F37;Anon. sale, Sotheby's London, 13 July 1976, lot 24;With Winifred Williams;Vincennes & Sevres from a New England Collection, Christie's New York, 5 May 1999, lot 39;Sèvres Porcelain from an International Private CollectionThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Sèvres cup and saucer (gobelet hébert et soucoupe), dated 1758Of the second (cup) and third size (saucer), painted by Vincent Taillandier with a trellis pattern of green-ground ribbons heightened with gilt flower heads, interspersed with flower sprigs, the cup: 6.1cm high, the saucer: 12cm diam., interlaced LL monogram in blue enclosing date letter E, painter's mark for Taillandier, incised marks (2)Footnotes:Provenance:Anon. sale, Sotheby's London, 26 February 1963, lot 14;Sir John Plumb F.B.A., no. 36;Vincennes & Sevres Porcelain from a New England Collection, Christie's New York, 5 May 1999, lot 42;Sèvres Porcelain from an International Private CollectionOccasionally gobelet hébert of one size were matched with saucers of another size, as is the case in the present lot; see Rosalind Savill, The Wallace Collection Catalogue of Sèvres Porcelain (1988), Vol II, p. 497.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Sèvres écuelle and cover (Écuelle ronde tournée), circa 1770Of the third size, painted with baskets of flowers suspended from purple ribbon-tied bows surrounded by intertwining garlands of berried vine, the cover with a berried and foliate branch handle, gilt dentil borders to the rims, 11.8ccm high, 16.5cm across handles, interlaced LL monogram in blue, incised Jd (2)Footnotes:Provenance:Vincennes & Sevres from a New England Collection, Christie's New York, 5 May 1999, lot 53;Sèvres Porcelain from an International Private CollectionThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A pair of Sèvres chestnut baskets with pierced covers (Marronnière), circa 1760The foliate piercing heightened in gilding, applied with interlaced branch handles, 11.4cm high, 16cm long, interlaced LL monograms, gilder's marks for J-B-E Vandé (père), incised marks (missing stands)Footnotes:Provenance:Property from the Collection of Dr. Johannes Ralph LafrenzMarronnières were made at the Sèvres factory from 1757 onwards and various shapes are described in their records: unie, à compartiments, contourné, ovale, à ozier, à jour, forme Pompadour and tenant au plateau. However, it is not clear which shape refers to the present lot. Chestnut baskets were often sold singly and in pairs, which were often included in dessert services, such as in the service given by Louis XV to Maria-Theresia in 1758. See Rosalind Savill, The Wallace Collection Catalogue of Sèvres Porcelain (1988), Vol II, p.759, no. C473, and Adrian Sassoon, The J. Paul Getty Museum, Vincennes and Sèvres Porcelain - Catalogue of the Collections (1991), no. 12, for a full discussion on marronnières and a list of known examples.Another pair of chestnut baskets on fixed stands of basket shape are in the Wadsworth Atheneum, see Linda H. Roth and Clare Le Corbeiller, French Eighteenth-Century Porcelain at the Wadsworth Atheneum, The J. Pierpont Morgan Collection (2000), p. 260, no. 134, and a single one of different shape and separate stand in the David Collection, Copenhagen, illustrated in Svend Eriksen, The David Collection, French Porcelain (1980), no. 54a.For further information on this lot please visit Bonhams.com
A Vincennes pierced cheese dish (Fromager), dated 1756Of the second size, decorated with flowers between blue line borders, the sides pierced and heightened in gilding, 15.5cm long, interlaced LL monogram enclosing date letter c and unidentified painter's mark in blueFootnotes:Provenance:With Gerald Sattin, London (purchased 9 September 1988);Sèvres Porcelain from an International Private CollectionMoulds for this model can be found in the inventory of the manufactory as early as 1752, while drawings of amended designs appeared one or two years later. The shape came in two sizes, of which the present lot is the bigger of the two. Geoffrey de Bellaigue mentions that cheese dishes of the first and second size painted with flowers, such as the present lot, cost 48 and 42 livres respectively; see G. de Bellaigue, French Porcelain in the Collection of Her Majesty the Queen, vol. II (2009), pp. 570f, no. 136, for a full discussion and two fromager with a bleu-céleste ground. Another bleu céleste example is in the Victoria and Albert Museum and illustrated in Tamara Préaud and Antoine d'Albis, La Porcelaine de Vincennes, Paris, 1991, no. 196, pp. 180-181.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Continental Porcelain Coffee Can and Saucer, Late 19th Century, enamelled in colours with a portrait of the Duchess d'Angouleme, with spurious Vincennes mark, a Vienna porcelain coffee cup and saucer, early 19th Century, painted en camaieu with "La Loyaute" and "La Douceur", a covered cup and saucer after a Vincennes original, and a red mark Derby porter mug painted with "View of Rome", 5.25ins high
Jagdliche Tafeldekoration mit Figur eines Rothirsches Von stark reliefplastisch gearbeiteten Blattvoluten getragene, vergoldete Bronzemontierung mit stehendem, vollplastisch gearbeitetem Zehnender in naturalistischer Ausführung über reliefiertem, von plastischen Blüten und Blättern belegtem Terrainsockel. Rückseitig aufsteigende Äste mit filigran geformten, farblich staffierten sog. Vincennes-Blüten aus Porzellan. Polychrome Malerei. Entw. Johann Joachim Kaendler. Minim. rest.; Schwertermarke. Ges.-H. 21 cm. 25 cm x 13 cm. Der Hirsch als Jagdtier wurde von J.J. Kaendler in den 1740er und 1750er Jahren in zahlreichen Varianten ausgeformt, in stehender und springender Haltung sowie erlegt von Jagdhunden in einer Rehhatz. Das Jagen des als königlich geltenden Rothirsches war im 18. Jh. auf sog. Parforce- und Französischen Jagden üblich. Nur dem Landesherrn oder einer ihm vertrauten Person war es erlaubt, den Beutehirsch zu erlegen. Derartige Plastiken von Jagdtieren waren größtenteils Bestandteil einer dekorativen Tafel für eine höfische Jagdgesellschaft.Vgl. Peitsch, Kat. Porzellan Parforce, Nr. 28ff.; Kunze-Köllensperger, Slg. Guttmann, S. 40ff.; Albiker, Porzellantiere, Nr. 201ff.A table decoration with gilt-bronze mounted porcelain figure of a red stag. Minor restored. Crossed swords mark.Meissen. Um 1750 - 1760.
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