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A pair of mid 19th century Paris porcelain 'cushion' shaped scent bottles decorated in Sevres style with pink roses (lacking stoppers)

A pair of Paris porcelain two handled vases, first half 19th century, 12cm

A 'OLD PARIS' FRENCH LANDSCAPE PORCELAIN AND GILT VASEoblong baluster form, with two handles terminating from the body formed as horse heads extending from acanthus, the body featuring an active hunting scene framed in gilt, the lower edge reading, grotte de bonard palle de l'gervais mont-blanc, the verso featuring two Grecian busts framed by a wreath of laurel, all against a deep pink maroon ground atop a gilt square plinth; height including plinth: 47 cm (18 1/2 in.)PROVENANCEPrivate Collector, Westchester

Group of porcelain wares including a Paris porcelain botanical cup and saucer, small Berlin figure, Chinese porcelain saucers one with tobacco leaf design and others (quantity in the lot) (damages)

A 19th century Jacob Petit Porcelain French mantel clock on stand, with Henry Marc Paris two train movement and dial A pretty blue porcelain case with gilded swags and leaves three Medallions showing flowers to the base. Base signed JP and flower motif 2 1/2" porcelain dial with brass bezel and gilded hands signed Hry Marc a' Paris With two train spring driven movement striking on a bell stamped Henry Marc serial number 13*44 Silk thread regulation mechanism.Dimensions14" x 8" x 4 1/2Condition reportGood overall condition Very small crack between 4 and 5 on the dial pendulum missing Movement cover missing. Movement not tested. 

French school of the late 17th century."Lady".Oil on canvas (oval).Frame, 19th century.Frame (later) with woodworm. It presents restorations of different periods, slight faults in the painting.Measurements: 69 x 58 cm; 85 x 75 cm (frame).This court portrait can be related to the refined royal portraits painted by Pierre II Mignard, a painter of important artistic lineage (son of Nicolas Mignard and nephew of Pierre Mignard) who developed his work between Paris and Avignon. In this half-length oval portrait, the lady of the high aristocracy is depicted with verisimilitude and attentive psychological capture. Her features and her perceptive gaze, framed by her arched eyebrows, denote a singular character. The porcelain flesh tones and full lips give the young woman a sensuality, although her features are not idealised. A ringlet falls over her neckline, and a pearl necklace enhances the profile of her neck. The blue silk dress, draped with naturalistic drapery, is fringed with gold brooches, and rich brocades complete the sumptuous attire. At the neckline there is a pleated border with rich lace. The present painter was able to imbibe the novelties of the neoclassical painting of his time, while inheriting the exquisiteness of his rococo ancestors.

LATE 19TH CENTURY FRENCH GILT BRASS MANTEL CLOCK,by Le Roy & Fils of Paris, enamled porcelain mounts, the chapter ring set with Roman numerals, the eight day movement numbered 6495, 33cm high, on standWithout key or pendulum, there is no glass covering the dial, not tested, both front supports have been knocked and are at angles so the clock does not sit evenly on a flat surface, otherwise light general wear with some rubbing to gilding, rubbing to enamels, etc

Two pairs of Samson of Paris armorial porcelain dishes, 17cm and 23cm diameter.

A late 19th century French porcelain mantel clock with moulded and floral encrusted decoration in the form of a tree surrounding the central enamelled dial bearing Roman numerals, signed Leroy a Paris, height 21.5cm, width 30cm.Additional InformationLight wear to the gilding, losses to the floral encrusted decoration, the enamel dial is cracked, the back case is missing, minor chipping and losses.

A group of six Minton porcelain coffee canswith gilt decoration on a blue ground, with five saucers,cans 5.8cm hightogether with five Royal Copenhagen porcelain cupswith sepia floral decoration, and six saucers, all with printed marks and numbered 688/9069 (excluding three different saucers)a cream jug, no. 688/9179,10.5cm highand Paris porcelain coffee can and cup,6cm and 9cm high (qty.)Provenance: The Estate of Sir Jack and Lady Baer.Condition ReportMinton - one can with chips to foot rim, saucers no obvious major faults.Copenhagen - two cups cracked, saucers - one cracked, one cracked and chipped, all decoration rubbed.Paris - gilding rubbed.

Henry Marc, Paris a gilt-metal and porcelain mantel clock: the eight-day duration movement striking the hours and half-hours on a gong with an outside countwheel, the backplate stamped with the trademark of the retailer Henry Marc and the movement maker Japy Frères, the round white enamel dial having black Roman hour numerals, blued steel moon hands and signed Hry Marc, Paris, the classical gilt-metal case having inset porcelain panels, gilt-metal mounts and with a figure of a boy seated writing in a journal, height 22cm.

A 19th Century French ormolu and porcelain mantel clock, cylinder movement stamped Rollin a Paris striking on a bell, 38cm.

Chinese Wukai vase, Qing dynasty, Kangxi period. First quarter of the 18th century.Hand-painted porcelain.Slightly chipped and hair on the mouth.Seal on the reverse.Measurements: 60 cm (height); 24 cm (largest diameter).Wukai porcelain vase from the "Green Family" of the Kangxi period (1662-1722), with circular forms, elongated neck and open circular mouthpiece. Hand-painted with scenes of warriors, plant decorations and borders.The Kangxi Emperor was a great promoter and patron of the porcelain industry. It was during his rule that the ailing industry received a major revival. The artistic achievements made between the late 17th and early 18th centuries place these pieces among the finest in history. Wucai or Wu tsai porcelain for export, produced by folk kilns during the Kangxi period, has historically been referred to by Westerners as "green family porcelain". This name was given by Albert Jacquemart in the book Historie artistique, industrielle et commerciale de la porcelain, Paris 1862, to denote a group of wares where the green glaze presents a certain leadership in the decorative composition. The term 'famille verte' sometimes refers to a range of wares which, in the opinion of Chinese experts, is often erroneous. Wucai porcelain of the Kangxi period is a type of porcelain produced between the late 17th and early 18th centuries, the distinctive feature of which is a polychrome decoration based on the use of low-temperature glazes of various colours.

A MONOGRAMMED & CRESTED FRENCH PARIS PORCELAIN TEAPOT (C1845) 2 OTHER PARIS ITEMS & A SIGNED LIMOGES DISH & CLOISSONE BOWL

Two Hermes, Paris porcelain ashtrays: one golfing related (boxed), the other hunting related,golf ashtray 19 cmsx 15 cams,

A 19th century pair of Paris porcelain flowers pot with Chinese figural heads, a chain of flowers and four gilt bands and a Continental circular plaque painted with a lady on a brown groundflower pots 14.5 cms high,

A Paris porcelain two-handled vase urn, with floral decoration, 16cm tall

A group of early 19th century porcelain. Including an armorial yellow ground sauce tureen and cover with figures and arabesque's, perhaps Coalport, a Spode blue ground botanical teacup and saucer, a Derby coffee-can with gilt and blue leaf decoration, and English porcelain coffee cup or small mug painted with a view of Tintern Abbey and a Paris porcelain (Pouyat & Ruffinger) coffee-cup painted with cattle Condition Report: The oval sauce tureen and cover - very small chip to flange of cover, some slight wear to gilding. The size:18cm wideThe Tintern Abbey cup or small mug with short stained hairline crack to base and rubbing to gilding. The remaining items with some wear to gilding and minor wear to enamels.Tureen measures L18.5cm x D11cm x H13.5cm

A French Belle Epoque gilt metal garniture mantle clock, incorporating Sevres style porcelain, retailed by Robinson & Co Paris, the movement marked "F. & P. F. 148", on a double base under a glass dome, clock 30 cm, overall 52 cm, [running when catalogued, accuracy and reliability un-tested]

A mixed lot of ceramics, to include: a Royal Copenhagen figure, 18cm high; a similar trout, 20.5cm long; and a Paris porcelain twin handled cup, cover & stand, 17cm high, (chip to rim). (6)  

A FINE PAIR OF GEORGE III BLUE JOHN AND ORMOLU MOUNTED VASE PERFUME BURNERS BY MATTHEW BOULTON AND JOHN FOTHERGILL, C.1775 of ovoid form, each with a domed foliate cover with a flower bud finial above a pierced rim, with a pair of scrollin foliate handles with ram's head terminals and hung with laurel garlands, with ribboned oak leaf swags, above a fluted socle, on a stepped square foot with an egg and dart border, in turn on a white marble waisted socle with a guilloche cast ormolu band with scrolling ribbon and flowerhead decoration (2) 24cm high Literature Nicholas Goodison, Matthew Boulton: Ormolu, London 2002, p305, pl 279 where our lot is illustrated. Catalogue Note The year 1765 saw Matthew Boulton, engineer and entrepreneur, visit Paris to learn about the ormolu workshops and the wares they were providing to satiate the Georgian demand for 'antique' inspired works of art. This visit led to his partnership with John Fothergill to create, in 1768, a new ormolu workshop at their premises in Birmingham to decorate the vases they were creating using various polished stones, the most popular being blue john, a feldspar only found in one seam in Derbyshire. In fact, so popular were these blue john vases that at around the same time Boulton attempted to purchase or lease the blue john mines. By 1770, the design seen in the current example had been fine tuned to the point of production and is found in Boulton and Fothergill's Pattern Book 1 on page 171 (Goodison, (N), Matthew Boulton: Ormolu, p305, pl. 278). The popularity of this design was ensured after Boulton sold several vases to Queen Charlotte and they were eventually produced in a number of variations. The most popular were blue john 'candle vases', with reversible covers, and perfume burners as seen here. Other variations include different designs of the socle, resulting in the vase being mounted on a lower socle either in ormolu or white marble, alongside the use of white marble or porcelain as the primary ovoid body. For similar examples, see Canterbury Auction Galleries, Fine Art and Antiques, 6th June 2020, lot 630 for a pair of George III ormolu mounted blue john candle vases; Sworders, Fine Interiors, 3rd December 2019, lot 257 for a pair of gilt bronze and porcelain cassolettes; Christie's, European Furniture and Works of Art, 6th July 2016, lot 88 for a pair of George III ormolu and white marble perfume burners; Christie's, East & West: A Private Collection from Eaton Square & Anouska Hempel, 2nd May 2013, lot 9 for pair of George III ormolu and white marble perfume burners; Woolley and Wallis, English and Continental Furniture, Barometers, Clocks and Works of Art, 13th March 2007, lot 128 for a pair of George III ormolu mounted blue john 'candle vases' by Matthew Boulton.

Deckeltasse mit Untertasse, Paris, Manufacture de la Reine, Rue Thiroux, um 1800/ Anf.19. Jh. Porzellan, Form mit taillierter Wandung und geflochtenem Henkel. Wandung, Deckel und Untertasse dekoriert mit Ovalmedaillons mit zartgelbem Fond, von Rosen und Vergissmeinnicht gerahmt, mit dem Blüten-Monogramm "FE". Ornamentkante mit Girlanden in Gold, Zahnkante in Gold. Tasse Haarriss, Deckel am Innenrand min. best. Marke "A" unterglasurblau, Prägezeichen, Sammlungs-Nr. "B 9". H. (T) 10,2 cm, D. (UT) 13,5 cm. Provenienz: Sammlung Prof. Dr. Dr. G. Sterba, hier katalogisiert als "Ansbach". Cup with lid and saucer, Paris, Manufacture de la Reine, Rue Thiroux. Porcelain, painted monogram "FE", gold ornamental border. Hairline crack to cup, minor damage to inner rim of lid. Blue underglaze mark. Collector's number "B 9". From the Sterba collection.

A FRENCH GILTWOOD FIRESCREEN, ECRAN A FEU IN THE MANNER OF JEAN-BAPTISTE TILLIARD (FRENCH 1685-1766), IN LOUIS XV STYLE, MID-19TH CENTURY inset with an 18th century 'Enfant de Boucher' tapestry panel attributed to Jacques Neilson of the Gobelins Manufactory, woven with a bucolic scene of two children, within a ribbon tied floral border, the moulded frame carved with scrolls, leaves and trailing flowers, the underside with an applied metal label, inscribed 'Halton Collection' and with a paper label, inscribed 'Halton' 121.8cm high, 81cm wide, 40cm deep Provenance Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'Two fire-screens formed of panels of Gobelins tapestry woven with Boucher subjects of children in upright panels enclosed by garlands of flowers in rose pompadour border, the frame-work of gilt wood, £3,000.0.0.' Catalogue Note The Gobelins factory was established in 1663 as "Manufacture Royale des Meubles de la Couronne", with the purpose to supply tapestry and furnishings needed for the Royal palaces. In the 1720's under the directorship of Jean-Baptiste Oudry (1686-1755) the applcation of cartoons was introduced. In 1736, Oudry asked Francois Boucher (1703-1770) to create cartoons and Boucher's collaboration with the Gobelins factory lasted until 1765. Francois Boucher was born in Paris and was granted a scholarship to study art in Italy for four years. His work was inspired by his years spent in Rome and by the work of Rubens and Watteau. His prominence rose quickly after the 1730's and he became a protégé of Madame Pompadour, Louis XV's mistress and around 1755 he was appointed as the King's artist. Boucher created a series of charming paintings depicting children mostly in a rural setting, outdoors and engaging in some kind of activity, like feeding chickens or playing a bag pipe. Frequently found decorations of Gobelins upholstery are representations of these pictures, often referred to as 'Enfant de Boucher'. See Country Children, The Metropolitan Museum Journal v.29. 1994 for an illustration of a similar example, titled 'Two children warming themselves at a fire'. The illustrated piece is signed by Jacques Nielson, director of the low-warp Gobelins tapestry factory, Paris, from 1749 to 1788. A similar painting to our example, with two children watching a trap to catch birds instead of warming by a fire, can also be seen painted on a porcelain tray at the Louvre.

A PARIS PORCELAIN AMPHORAFIRST HALF 19TH CENTURYWith gilt scroll handles, painted in iron red, greens and gilt with scrolling foliage and harebells, on an associated gilt socle and rectangular marble base45.5cm highProvenance: Supplied by Oliver Messel Condition Report: Extensively restored throughout, condition reflects estimate.Condition Report Disclaimer

A GROUP OF VICTORIAN OIL LAMPS comprising two cast iron lamp bases with brass Duplex fittings one has a clear glass reservoir, height 33cm, the other is hand painted on turquoise glass with fruit and vines, height 30cm, a Royal Doulton collector's plate ' The Old Balloon Seller' D6649 1979, diameter 25cm, a pair of early 20th century French 'Deraisme' Paris opera glasses, decorated with mother of pearl, together with original silk lined, pale green velvet pouch (velvet is showing signs of age), a late 19th century twin handled porcelain oil lamp, hand painted with cobalt blue and gold, with a lovers scene on one panel and flowers on the other on a stepped cast base, height 45cm to top of brass fitting, clear glass chimney and white glass domed shade with clear glass frill, a small framed print of a steam liner coming into harbour, length 29cm x height 19cm (10) (Condition report: two lamps are missing shades, painted porcelain lamp has very worn gilt handles)

A French porcelain-mounted gilt-bronze mantel clock, c. 1880, the cream enamel dial with Roman numerals within a drumhead case surmounted by a garlanded flower-filled urn and flanked by a pair of putti, above a Sevres-style porcelain panel painted with putti, on a scroll cast and fluted base, eight day movement striking on a bell signed Popon Paris, with key and pendulum. Height 48cm

TWO NANTGARW PORCELAIN PLATES & A SWANSEA PORCELAIN PARIS FLUTE SAUCER-DISH each decorated formally with cornflower-heads, impressed marks to Nantgarw items, SWANSEA stencilled to saucer / standComments: no obvious damage or restoration, wear, please enquire / examine by appointmentProvenance: private collection Swansea

IMPRESSIVE CONTINENTAL PORCELAIN ICE PAIL, COVER & LINER believed Paris, circa 1810-1830, decorated in the Nantgarw style, with displays of pink roses in all sections including a large spray to both sides of the body with hovering butterflies, and with panels of graduated roses to lavishly gilded bands, significant twin-handles of caryatid form with the figure's cloaks richly gilded, complete with its dome cover having a sunken top and bearing fine gilded acorn knop finial, the decoration of roses on beds of lavish gilding is repeated in the liner, unmarked, 35cms highComments: stapled repair to foot

A RARE RED LACQUER 'MONGOL HUNT' BOWL, ATTRIBUTED TO ZHOU ZHUChina, 16th-17th century. The deep rounded sides rising from a short straight foot to an everted rim. Deeply carved with a continuous scene of four Mongolian hunters on horseback brandishing spears, one having just killed a wolf with his weapon, riding through a rocky landscape with grass and lingzhi as well as trees including paulownia, willow, and pine, against a floral diaper ground, the interior lacquered black. Provenance: Captain W. F. Collins (1865-1948), Beijing. Bluett & Sons, London, 26 May 1926. The Parry Collection of Chinese Art, London, acquired from the above and thence by descent. The base with an old collector's label, '341', partly obscuring a label from Bluett & Sons below. A copy of the original typed, stamped, and signed invoice from Bluett & Sons, dated 26 May 1926, addressed to “E. A. Parry, Esq.”, dating the present lot to the Ming dynasty, accompanies this lot. Captain Collins (1865-1948), was Bluett's main supplier in China from February 1925 to January 1928. He also sold pieces to John Sparks and other dealers in London and Paris between the 1920s and 1940s. The Parry Collection was an important English private collection of Imperial enamel, lacquer, porcelain, and jades, started by Edward Arthur Parry (1879-1946), a barrister by trade, and his wife Angela Parry (nee Scully, 1879-1977) from as early as 1919. The collection has passed down three generations of the Parry family, with many of the pieces having been acquired from the famous London dealers Spink and Bluett's.Condition: Good condition with old wear, natural age cracks and few minuscule losses to the red lacquer, the black lacquer with several shallow losses to the rim and associated old minor touchups.Weight: 119.0 gDimensions: Diameter 10.7 cmWith a finely carved hardwood stand dating to the Qing dynasty. (2)Lacquer bowls depicting hunting are extremely rare. Although hunting was extolled by early Ming Emperors who had inherited the tradition from the Mongol Yuan as a sign of military prowess and state authority, by the mid and late Ming period it was seen by the literati as a distraction from grave matters of state. The role of hunting became a charged area of contestation, where Ming Emperors and senior court ministers staked claims about rulership, ruler-minister relations, and the role of the military in the polity. The heirless Zhengde Emperor (1505-1521) was particularly passionate about hunting, much to the consternation of his ministers, see D. M. Robinson, Martial Spectacles of the Ming Court, Cambridge MA, 2013, pp. 214-220.Expert's note: Research conducted by Hugh M. Moss of the Water, Pine and Stone Retreat, concerning a red lacquer box and cover carved with a closely related scene of five Mongolian hunters (see Auction result comparison), has found that box “to be a lacquer version of inlaid wooden boxes decorated with a hunting scene and attributed to the 16th-century artist Zhou Zhu.” For this reason, we do attribute the present bowl, identical in quality to the aforementioned box, to Zhou Zhu as well.Zhou Zhu is recorded in the writings of the Ming and Qing literati as having worked in Yangzhou in Jiangsu province during the reign of the Jiajing Emperor. He was famous for his perfection of the technique of inlaying a wide variety of precious stones and other materials onto wood and lacquer. What distinguishes Zhou's works from others is his use of a much broader range of material and the complexity of the inlay itself. By skillfully utilizing kaleidoscopic materials to depict extraordinarily vivid scenes adorning precious woods, Zhou pioneered a range of beautifully inlaid works of art distinctive for their three-dimensional quality with eye-catching effects. His work provided inspiration for numerous subsequent interpretations. Literature comparison: Compare a hardstone-inlaid box and cover, attributed to Zhou Zhu and depicting a Mongolian hunting scene, dated by inscription to 1537, at Sotheby's Hong Kong in Water, Pine and Stone Retreat Collection – Scholarly Art on 7 October 2010, lot 2192. See also two related hardstone-inlaid zitan boxes and covers, early Qing dynasty, decorated with equestrian hunting figures, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn, Hong Kong, 2002, nos. 230-231. A similar hunting scene can be found on a two-colored lacquer tray in the Tokugawa Art Museum, Nagoya, illustrated in Karamono. Imported Lacquerwork – Chinese, Korean and Ryukyuan, Selections from the Tokugawa Art Museum, no. 2, Nagoya, 1997, pl. 95, attributed to the Yuan or Ming period.Auction result comparison:Type: RelatedAuction: Sotheby's Hong Kong, 7 October 2010, lot 2213Price: HKD 860,000 or approx. EUR 155,000 converted and adjusted for inflation at the time of writingDescription: A cinnabar lacquer box and cover attributed to Zhou Zhu Ming dynasty, 16th / 17th centuryExpert remark: Compare the related Mongolian hunting scene, and also attributed to Zhou Zhu.周柱風格罕見剔紅狩獵圖碗中國，十六至十七世紀。 來源：北京W. F. Collins (1865-1948) 上尉。倫敦Bluett & Sons 藝廊，1926年5月26日。倫敦Parry Collection中國藝術收藏，購於上述藝廊並保存至今。底部可見收藏老標籤“341”，Bluett & Sons 的標籤局部被遮蓋。隨附Bluett & Sons藝廊出具的蓋章發票副本，時間爲1926年5月26日，收件人地址爲 “E. A. Parry, Esq.”。發票上注明此拍品為明代。 品相：狀況良好，有舊磨損、自然老化裂縫，紅漆和黑漆的邊緣有幾處輕微的缺失，存在相關的輕微修補。 重量：119.0 克 尺寸：直徑10.7 厘米 清代硬木底座。 (2) 由於字數限制，完整中文敘述請至www.zacke.at查看。

A 'BLEU DE HUE' PORCELAIN BOWL, NOI PHU THI NAM MARKChina for the Annamese court, 18th - 19th century. The deep rounded sides supported on a thick straight foot, the exterior finely painted in shades of cobalt-blue with a lotus pond, large blossoms, pods, leaves rising from the water, and two small crabs.Inscriptions: To base, 'Neifu shizhong'.Provenance: From a German private collection. Condition: Excellent condition with minor wear and firing irregularities.Weight: 471.5 g Dimensions: Diameter 19.3 cmFrom the 1700s onwards, kings of the Le-Trinh dynasty in Vietnam ordered porcelain from China for their court. This type is named after Hue, the 19th-century capital of the last royal dynasty in Vietnam, the Nguyen dynasty (1802-1945). Although Chinese artisans executed the painting, the Vietnamese rulers dictated the designs. Each ruler ordered ceramics of his own liking for use in his court, as well as presentation pieces to give to members of royal families and mandarin officials.The marks on bleu de Hue are frequently puzzling, the more so when one thinks one can read Chinese. Sometimes they appear to be readily legible, but that can be deceiving, because the meanings derive from adaptations of Chinese script by the scholar Nguyen Thuyen in the thirteenth century. Sometimes the characters are used in the Chinese sense, and sometimes they represent Vietnamese pronunciations or phrases.Auction result comparison: Type: Related Auction: Sotheby's Paris, 9 November 2021, lot 7 Price: EUR 10,710 or approx. EUR 11,500 adjusted for inflation at the time of writing Description: A 'Bleu de Hue' porcelain dragon bowl, China for the Annamese court, mark of Thieu TriExpert remark: Note that the bowl is likely later than the present lot as Thieu Tri reigned from 1841 until 1847. Note the smaller size (13.5 cm).青花《荷塘圖》碗中國為越南王室所做，十八至十九世紀。深圓腹，厚圈足，外壁青花描繪荷塘荷花荷葉，并有嬉戲的小蟹。 款識：内府侍中 來源：德國私人收藏。 品相：狀況極好，輕微磨損，燒製瑕疵。 重量：471.5 克 尺寸：直徑19.3 厘米 從 1700 年代起，越南的後黎朝的王室從中國訂購瓷器供宮廷使用。這種類型以順化命名，順化是越南最後一個皇家王朝阮朝（1802-1945）的十九世紀首都。中國工匠設計了此類紋樣，越南王室決定使用並訂購自己喜歡的陶瓷供宮廷使用，以及贈送給皇室成員。 拍賣結果比較： 形制：相近 拍賣：巴黎蘇富比， 2021年11月9日，lot 7 價格：EUR 10,710（相當於今日EUR 11,500） 描述：清十九世紀外銷安南青花游龍戲珠紋盌，《紹治年製》款 專家評論：請注意此碗年代較晚，紹治年為1841年至1847年。請注意尺寸稍小 (13.5 厘米)。

A FAMILLE ROSE 'HUNDRED DEER' HU-FORM VASE, GUANGXU MARK AND PERIODOpinion: While hu-form vases with the 'hundred deer' motif that date from the 19th century frequently appear on the market, they almost always have apocryphal Qianlong reign marks. The present lot, however, with its fine enameling and large deer-head handles, belongs to the extremely rare group of Guangxu mark and period vases with this motif.China, 1875-1908. The vase of pear shape is finely decorated with a continuous scene of the 'hundred deer' motif depicting a gathering of deer amidst various trees including pine and peach, in a landscape of blue-green rocks and mountains, and a river fed by a waterfall on one side. The neck is flanked by a pair of handles in the form of deer heads with black antlers. The base with a neatly painted iron-red six-character mark da Qing Guangxu nianzhi and of the period.Provenance: From an old European private collection, assembled before 1965. Thence by descent to the last owner.Condition: Very good condition with minor old wear, glaze flaking, shallow surface scratches and firing irregularities, a single hairline (approx. 14 cm long) above the foot, possibly original to the firing process.Weight: 10.3 kg Dimensions: Height 45.3 cmThe 'hundred deer' motif was very popular, as the landscape depicted contains important symbolic references. The subject of deer has a long history in Chinese art, as it refers to the rebus where the Chinese word for 'deer' is a homophone for 'emolument' or 'civil service salary'. The 'hundred deer' motif therefore represents the ultimate success, a career in government service in Imperial China.Literature comparison: A Qianlong-marked vase of closely related size (45 cm) in the Beijing Palace Museum is illustrated in The Complete Collection of Treasures of the Palace Museum - 39 - Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 85. Other examples include a pair in the Shanghai Museum, illustrated in Selected Ceramics from the Collection of Mr. and Mrs. J. M. Hu, Shanghai, 1989, pl. 67; one in the Nanjing Museum, included in the joint exhibition with The Chinese University of Hong Kong, Qing Imperial Porcelain, 1995, no. 86; and another from the Grandidier Collection in the Musee Guimet, Paris, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1981, vol. 7, pl. 190.Auction result comparison: Type: Closely related Auction: Christie's New York, 23 March 2018, lot 834 Price: USD 47,500 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing Description: An unusual famille rose 'hundred deer' hu-form vase, Guangxu six-character mark in iron-red and of the periodExpert remark: Compare the near identical form and decoration. Note the similar size (37.4 cm) and that this example also bears the rare Guangxu mark. 光緒款及年代粉彩百鹿尊中國，1875-1908年。圓口，垂腹，圈足。通體施白釉，肩部飾鹿首耳。器身繪粉彩山水苑百鹿圖。畫面中山石、樹葉多以綠彩繪成，施彩濃厚;群鹿、枝幹以赭、黑等彩作畫，群鹿活現，枝幹蒼勁，筆繪生動細膩。底書“大清光緒年製”六字篆書款。專家注釋：十九世紀的粉彩百鹿尊雖然經常出現，但大多都是杜撰乾隆款。此拍品琺瑯精美，鹿首耳，極爲稀有。 來源：歐洲私人舊藏，購於1965年，保存到現任藏家。 品相：品相極好，有輕微磨損、釉料剝落、表面淺劃痕和燒製不規則，足部上方有一條冲線（約 14 厘米長），可能是燒製過程中產生的。 重量：10.3 公斤 尺寸：高45.3 厘米 以鹿為紋飾在中國藝術中有著悠久的歷史，鹿是長壽的仙獸，自然也受到歷代帝王的青睞，這在皇宮常見的百鹿尊上可見一斑。 文獻比較： 一件尺寸非常相近乾隆時期的花瓶(45 厘米)，收藏於北京故宮博物院，見《故宮博物院藏文物珍品全集‧琺瑯彩‧粉彩》，香港，1999年，圖85。其他例子包括上海博物館的一對花瓶，見《胡惠春先生,王華雲女士捐贈瓷器精品選》，上海，1989年，頁67；另一件收藏於南京博物院，見香港中文大學的聯合展覽《淸瓷萃珍 : 淸代康雍乾官窯瓷器》，1995年，編號86；還有一件來自吉美國立亞洲藝術博物館的Grandidier收藏，見《Oriental Ceramics, The World's Great Collections》，東京，1981，卷7，頁190。由於字數限制，完整中文敘述請至www.zacke.at查看。

A FAMILLE VERTE 'DRAGON' SWEETMEAT SET, KANGXI PERIODChina, 1662-1722. The central dish of six-lobed form enameled in green, yellow, aubergine, black, and white with three fierce sinuous dragons chasing flaming pearls amid wispy flames, the rim with a diapered pattern interrupted by plum blossoms, the exterior with stylized bamboo sprays. The six surrounding fan-shaped dishes with foliate upper rims similarly decorated with a single dragon each. (7)Expert's note: It is extremely rare to find a complete seven-piece set from the Kangxi period with both the biscuit porcelain and the enamels in such pristine condition.Provenance: Stefanos Lagonico, Alexandria, and thence by descent over several generations in the same family. Each dish with an old printed and handwritten label 'No. 4603' to base. Stefanos Lagonico was a member of the wealthy Greek community of Alexandria whose family settled in Egypt in the late 19th century. His collection of important Iznik ceramics was formed after the First World War, comprising mostly plates and jugs from the classic period (post 1570). At least six pieces from this collection were included in the important 1925 Exposition d'Art Musulman in Alexandria. Lagonico eventually left Egypt for Switzerland, just before the rise of nationalism and the abolition of the Capitulations in May 1937. His son Jean, an importer of dried fruits and nuts from the Levant, inherited most of the collection, and kept it in obscurity at his house in southern France until its dispersal at auction beginning in 1991.Condition: Superb condition with only minor old wear, some expected firing flaws, and light surface scratches.Weight: 389.6 g (the central dish) and 1,252 g (the six surrounding dishes in total) Dimensions: Diameter 39.5 cm (total) and 19 cm (the central dish), length 19 cm (each of the six surrounding dishes)Auction result comparison: Type: Closely related Auction: Aguttes, Paris, 31 May 2022, lot 66 Price: EUR 20,150Description: Ensemble de sept raviers en biscuit et emaux de la famille verte, XVIIIe Siècle, periode Kangxi Expert remark: Compare the closely related form, diapered band with plum blossoms, and famille verte decoration on the biscuit porcelain. Note the similar size (40 cm).康熙素三彩龍紋攢盤中國，1662-1722年。此攢盤是由一個內盤和六個外盤共同組成葵花式，造型優美，設色雅緻明麗，構圖疏朗有致；綠地龍紋，線條挺拔，畫工精良。如此完好的康熙龍紋攢盤，實屬難得。 來源：亞歷山大港Stefanos Lagonico，在同一家族保存了幾代。每一個盤底都有一個打印並手寫的標籤No. 4603。 Stefanos Lagonico是富有的亞歷山大希臘社區的成員，他的家人在十九世紀後期定居在埃及。他的重要伊茲尼克陶瓷收藏是在第一次世界大戰後建立的，主要包括古典時期（1570 年後）的盤子和水壺。該系列中至少有六件作品曾在 1925 年亞歷山大港藝術博覽會中展覽。後來，Lagonico 離開埃及前往瑞士，就在 1937 年 5 月民族主義興起和投降條約廢除之前。他的兒子 Jean 是黎凡特干果和堅果的進口商，他繼承了大部分藏品，並一直默默無聞地保存在他法國南部的房子裏，直到 1991 年開始被拍賣。 品相：狀況極佳，只有輕微的磨損、一些燒製缺陷和輕微的表面劃痕。 重量：内盤389.6克，六個外盤1,252 克 尺寸：直徑 39.5 厘米(總)，内盤19 厘米，外盤分別19 厘米 拍賣結果比較： 形制：非常相近 拍賣：巴黎Agutte，2022年5月31日，lot 66 價格：EUR 20,150 描述：康熙素三彩攢盤 專家評論：比較非常相近的外型、梅花邊裝飾、素三彩。請注意相似的尺寸(40厘米)。

A FAMILLE ROSE MODEL OF A PAIR OF QUAILS, QING DYNASTYChina, 19th century. The birds perched side by side, their heads slightly turned towards one another, their wings finely molded and plumage neatly painted in pale shades of blue, green, and black, the eyes detailed with red dots, all supported on an oval base painted in bright enamels with leafy peony sprays against a red-dotted ground, the interior glazed turquoise.Provenance: A French private estate. Christie's Paris, 8 December 2021, lot 196 (label to base), unsold.Condition: Very good condition with minor wear and firing irregularities, a shallow minor chip to the top of the base, occasional light scratches.Weight: 1,338 g (excl. stand) and 1,958 g (incl. stand)Dimensions: Length 28.5 cm (the model) and 29.5 cm (the stand)With a well carved and fitted wood stand dating from the same period. (2)Quails are known for their courage, while the word for quail in Chinese ('an') provides a homophone for the word for peace. Two quails can be read as shuang an, or 'double peace', and thus, these birds appear as a pair on paintings, porcelains, and textiles from as early as the Song dynasty.Literature comparison: Compare a related, slightly later porcelain figure of a quail, dated ca. 1910-1930, in the collection of the Victoria & Albert Museum, accession number C.36-1962.清代一對粉彩鵪鶉中國，十九世紀。鵪鶉一對並排而坐，很親暱地頭對頭，翅膀造型精巧，細節精緻，使用淺藍色、綠色和黑色描繪；眼睛上點綴著紅色的圓點，底座呈橢圓形，紅點為地，飾琺瑯彩綠葉牡丹。底足內綠松石色釉。 來源：法國私人收藏；巴黎佳士得，2021年12月8日，見底部標籤，流拍。 品相：狀況極好，有輕微磨損和燒製不規則，底座頂部有輕微的磕損，局部有輕微劃痕。 重量：不含底座1,338 克，含底座1,958 克 尺寸：長 28.5 厘米(鵪鶉) ，底座29.5 厘米 匹配木製底座，來自同一時期。 在古代“鵪”和“鶉”本是兩種鳥。鵪鶉之“鵪”與安全、安康、安居、安詳之“安”的諧音，因此又具有“事事平安”和“安居樂業”的象徵意義。一對鵪鶉早在宋代就經常出現在繪畫、陶瓷以及織物上。 文獻比較： 比較一件相近的1910-1930年琺瑯彩鵪鶉，收藏於維多利亞與亞伯特博物館，編號C.36-1962。

TWO HERMES OF PARIS PORCELAIN ASH TRAYS painted with horses. 7.5ins x 6ins.

French open faced pocket watch with white porcelain dial and enamelled back. With name Gregson a Paris on the dial. Arabic numerals lovely gold hands and winding from the front. The movement is also signed Gregson, Paris - N 575.Engraved 575 to chain loop, with CF engraved to loop mount. 45mm dial diameter. Untested W:5cm x D:1.5cm x H:7.5cm

Skizzenbücher - - 7 Zeichenalben und eine Sammlung von Porzellanentwürfen. Um 1870-1942. Verschiedene Techniken: u.a. Graphit, Ölkreide, Kohle, Feder, Aquarelle. Verschiedene Formate: von ca. 18,5 x 11,5 bis 31 x 21,5 cm. Einbände berieben und teilweise leicht angeschmutzt. Enthält: 1 Skizzenbuch von Andrea Heinlein. 1 Skizzenbuch von Clara Schanzenbach mit Ansichten von Stuttgart um 1888-1893. 1 Skizzenbuch eines unbekannten Künstlers u.a. mit Ansichten von Wien um 1877-1880. 1 Skizzenbuch des Zugführers Johannes Hirsch mit Landschaftsansichten um 1883. 1 Skizzenbuch von M.R. mit Ornamentikstudien und Landschaftsansichten um 1887. 2 Skizzenbücher des Obegefreiten Herbert Knüwe mit in Paris angefertigten Zeichnungen, 1942. 1 Sammlung mit ca. 35 Entwurfszeichnungen einer Porzellanmanufaktur in Passau, um 1940. (Bll. teilweise gefaltet und knickspurig.) - Bll. teilweise altersbedingt gebräunt. Insgesamt wohl erhalten. 7 sketchbooks and 1 collection of designs of a porcelain manufacture.

A part Aynsley fruit pattern Tea Service, comprising six cups, six saucers, six plates, a sugar and cream and a bread plate, together with another French porcelain part tea service, decorated with floral panels and leaf sprays in gilt "Le Caffec au Paris" (two part-sets).

A fine large porcelain Group, probably Samson of Paris modelled with figure rolling a barrel and a man and woman standing (some loss) 30cms (12"). (1)

A 19th century twenty-four piece Paris gilt porcelain part tea and coffee serviceEach piece painted with boys at various pastimes in rural landscapes, comprising: a baluster-shaped teapot and cover; a pear-shaped coffee-pot and cover; a helmet-shaped cream-jug; a two-handled sugar-bowl and cover; a slops bowl, and nine cups and ten saucers, (some damages), the teapot: 25cm (9 1/2in) high (24)For further information on this lot please visit Bonhams.com

VINTAGE DOLLS - porcelain head 'Paris' stamped 'S.F.B.J', 49cms tall, another larger vintage doll, a German doll 'K R Simon and Halbig' 126, 28cms tall

A garniture - clock and pair of urns, blue porcelain and gilt bronze en relief, clock with "Putti sculptures, goats' heads and flower garlands", urns with "Faun's heads and flower garlands" sculptures, clock with enamel dial with blue Roman and black Arabic numerals, 8-day autonomy, hour and half hour striking, speed adjustment on the dial, French, 19th C. (2nd half), missing of a garland, small hairlines and wear on the dial, mechanism working, dial marked BORDEAUX, another illegible mark, mechanism signed ROLLIN A PARIS, Dim. - (relógio) 67 cm; (urnas) 50 cm

A 19th century French porcelain mounted ormolu mantel clock, by Dent, Paris, 7cm circular enamel dial, twin winding holes, eight-day movement striking on a bell, the case cast with an allegories of hope and plenty, the panels painted en camieu with putti and ribbon-tied trophies on a bleu royale ground, knop feet, 28cm high, c.1870

An early 19th century Paris porcelain cache pot or glass cooler with two handles painted with corrnflowers,9.5 cms high,

A LATE 19TH CENTURY CONTINENTAL PORCELAIN SCHNEEBALLEN VASE AND COVER, possibly Paris, the domed cover lacking the finial, the whole decorated with the usual white blossom and encrusted with a variety of trailing flowers, bears underglaze marks to base, height 46cm (Condition report: finial is missing and the tip of the screw is visible, damage to the petals and leaves throughout)

A COLLECTION OF 18TH, 19TH AND EARLY 20TH CENTURY BRITISH AND CHINESE PORCELAIN AND POTTERY, comprising a late 18th / early 19th century Chinese blue and white porcelain mug, height 10cm, an early 19th century Staffordshire pearlware jug, printed and painted with the Farmers Arms, a fox hunting scene and motto 'May the honest heart never know distress', height 25cm, a late 18th century English porcelain bowl, polychrome decorated in the Famille Rose style with figures, flowers, moths and beasts, diameter 18.5cm x height 8.5cm, a Worcester? pine cone pattern footed bowl, a.f., diameter 21.5cm x height 9.5cm, two Victorian framed pot lids of 'Paris Exhibition 1878' and The Town Square, a Victorian Staffordshire pottery figure of a lady on horseback, height 19.5cm, a Victorian nursery plate with moulded alphabet to the rim, diameter 15.5cm, a Wedgwood bone china gourd shaped vase printed and painted with classical designs, printed brown Portland vase mark, height 11.5cm and a Victorian porcelain bowl with inverted rim, broken handles to the rim, blue ground and two oval panels painted with flowers, height 3cm (9) (Condition report: Chinese mug is in good condition, pearlware jug has crazing, staining and a stained crack, some scratches below the lip and some wear to the decoration, the polychrome bowl has a stained crack in the base, wear to the bowl interior and a stained hairline crack, the blue and white bowl has a chipped rim and crack, further cracks and crazing and a chipped foot, the two pot lids both have crazing, the Staffordshire figure has a few glaze chips around the ears and head, the nursery plate is crazed and has an underglaze rim chip and a crack in it, the Wedgwood vase has a small inner rim chip and the small bowl lacks both handles)

PRUNKPENDULE IM LOUIS XV-STIL Frankreich, 19.Jh., das Zifferblatt bez. "LE FAUCHEUR PARIS, die Figuren von Samson-Paris, vergoldete Bronze bzw. Porzellan mit Farb- und Goldstaffage, auf durchbrochenem Rankensockel vor mit Porzellanblüten bestückten Blattranken, stehende Minervafigur, Emaille-Zifferblatt mit arabischen Stundenzahlen, Spindelwerk mit 1/2-Stundenschlag auf Glocke, H: ca. 60 cm. Rest. und teilw.ergänzt, kl. Bestoßungen. | LOUIS XV-STYLE MAGNIFICENT PENDULUMFrance, 19th century, the dial inscribed "LE FAUCHEUR PARIS, the figures of Samson-Paris, gilt bronze or porcelain with colour and gold decoration, on an openwork vine base in front of leafy vines decorated with porcelain flowers, standing minerva figure, enamel dial with Arabic hour numerals, verge movement with 1/2-hour strike on bell, h: approx. 60 cm. Rest. and partly replaced, small chips.

HENRY MARC "KAMINUHR" Paris, Mitte 19. Jh., Bronze feuervergoldet, gestufter Korpus umlaufend mit Blattwerk verziert, oberer Abschluss mit bekrönender Vase, Sichtseitig eingefasste Porzellanplaketten, Werk mit Schlag auf Glocke zur vollen und halben Stunde, Platine Monogrammiert, HxB: 37/19 cm. Alters- und Gebrauchsspuren, im Kurztest funktionstüchtig.| HENRY MARC FIREPLACE CLOCKParis, mid-19th century, fire-gilt bronze, stepped body decorated all around with foliage, upper end with crowning vase, porcelain plaques on the visible side, movement with strike on bell on the hour and half hour, plate monogrammed, HxW: 37/19 cm. Signs of age and use, functional in a short test.

A French Porcelain Vase, signed Eugene Rousseau, Paris, decorated with finches on a blue ground, 17cmIn good condition, with a few gilding and paint scratches.

Three Sampson, Paris French porcelain armorial tea cannisters (no lids) decorated in the Chinese style

Louis XV-Elefanten-KaminuhrHöhe: 42 cm. Breite: 30,5 cm. Tiefe: 18 cm.Signiert „VIGER A PARIS“.Mitte 18. Jahrhundert.Werk: Ankerwerk, Pendel an Seidenfadenaufhängung, Schlossscheiben-Schlagwerk für Halbstunden- und Stundenschlag auf Glocke. Die Werkplatine in Gravur signiert und datiert: „Viger AParis No 665“.Dass Pendulen in dieser und ähnliche Gestaltung mit exotischen Details gerade in Frankreich beliebt wurden, geht vor allem auf das erneute naturwissenschaftliche Interesse zurück. Auch die positiven kolonialen Erfahrungen, die seit der frühen Aufklärung ein neues Bild der exotischen Kontinente schufen, haben dazu beigetragen, auch in der dekorativen Ausstattung des höfischen Ambientes die neue Weltoffenheit zu demonstrieren. Nicht zuletzt hat der Chinoiserie-Stil und der Einfluss der Kenntnisse chinesischer und japanischer Porzellan- Elefanten oder -Nashörner die Schaffung solcher Objekte gefördert. Elefantenuhren gehörten nun zu den beliebten Produkten des Kunsthandwerks. Von führenden Bronziérs unter den Hoflieferanten Louis´ XV, wie Jean-Joseph de Saint Germain (1719-1791) sind solche Exemplare geschaffen worden, in unterschiedlichsten Detailausführungen. Bei dem vorliegenden Beispiel, einer selteneren Ausführung, wird in alten Verzeichnissen und Inventaren von einer „pendule à l´ échassier“ gesprochen. Ein ähnliches Exemplar - etwa mit einem Werk von Baillon - befand sich in der Sammlung Anna Thomson Dodge, Rose Terrace, Grosse Point Farms Michigan (Christie´s, London, Juni 1971), weitere wenige Exemplare gelangten ebenfalls nur auf namhaften Auktionen in den Handel.Der Aufbau folgt einem bewährten Schema: Der Elefant, in brünierter Bronze, steht nach links mit hochgeschwungenem Rüssel auf einem vergoldeten, steinigen, mit exotischen Blättern und Blüten besetzten Terrain-Sockel. Über den Leib zieht vertikal ein vergoldetes Sattelband, auf dem floral gestalteten Sattel das zylindrische Gehäuse, umzogen von Blatt- und Blütenwerk, bekrönt mit einer Tiergruppe: Neben einem bellenden Jagdhündchen erhebt sich ein Kranich, der mit einer Kralle einen Stein hochhält. Dieses ikonografische Bildmotiv ist Symbol für die Wachsamkeit (da das Tier bei Beginn des Einschlafens den Stein fallen lässt und somit wieder geweckt wird). So steht das Figurenmotiv, zusammen mit dem bellenden Hündchen, in sinnvollem Zusammenhang mit der Uhr und dem Glockenschlag.Das Zifferblatt mit gewölbter Glasabdeckung in weißem Email, mit schwarzen römischen- und arabischen Minuten; signiert „VIGER“ – „A PARIS“. Die Zeiger filigran durchbrochen und vergoldet. In sehr guter Erhaltung und lauffähig. A.R. (†)Provenienz: Bedeutende amerikanische Privatsammlung.Literatur:Vgl. Hans Ottomeyer, Peter Pröschel, Vergoldete Bronzen, München 1986, Bd. I, S. 124 mit Abb. (13220123) (11)Louis XV elephant mantle clock Height: 42 cm. Width: 30.5 cm. Depth: 18 cm.Signed “VIGER A PARIS”.Mid-18th century.Lever movement, pendulum on silk suspension, count wheel striking mechanism for half hour and hour strike on bell. Engraved signature and date on clockwork plate: “Viger AParis No 665”. The reason that pendulum clocks in this or similar designs with exotic details became popular in France is primarily due to renewed scientific interest. Positive colonial experiences created a new image of the exotic continents since the early Enlightenment and contributed demonstrating the new cosmopolitanism in the decorative furnishings of courtly interiors. The chinoiserie style and knowledge of Chinese and Japanese porcelain elephants or rhinos encouraged the creation of such objects. Elephant clocks were now popular artisanal products. Such specimens were created by leading bronze makers among the purveyors to the court of Louis XV, such as Jean-Joseph de Saint Germain (1719 Paris – 1791), in the most varied and detailed versions. In the present, rarer example, old directories and inventories speak of a “pendule à l’échassier”. A similar example, such as a work by Baillon was held in the collection of Anna Thomson Dodge, Rose Terrace, Grosse Point Farms Michigan (Christie’s London, June 1971), a few other examples were also only sold at renowned auctions. The structure follows a proven model: the elephant, in burnished bronze, stands to the left with its trunk raised standing on a gilt rocky base decorated with exotic leaves and flowers. A gilt saddle strap runs vertically across its body, the cylindrical case on the florally designed saddle, surrounded by foliage and flowers is surmounted by a group of animals: next to a barking hunting dog, a crane rises, holding up a rock in its talon. This iconographic motif symbolizes vigilance – if the animal starts falling asleep holding the rock will wake it up again. This figural motif, together with the barking dog, is meaningfully connected to the clock and the chiming of the bell. The white enamel dial with black Roman and Arabic minutes with a domed glass cover is signed “VIGER” – “A PARIS”. The gilt hands are in delicate openwork. In very good condition and operational. (†)Provenance: Important American private collection. Literature:cf. Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen, Munich 1986, vol. I, p. 124 with ill.

François Garnier, um 1600 Paris – 1672 ebenda, zug.Stillleben mit Früchten in Porzellan- und ChinaschaleÖl auf Leinwand. Doubliert.45 x 66 cm.Auf einer Marmorplatte zwei Porzellanschalen, gefüllt mit Früchten, die farblich gegeneinander konkurrieren: links hellrote Kirschen, rechts leuchtend rote Erdbeeren, dazwischen dunkle Heidelbeeren in einem Holzkistchen. Davor sind auf der Platte drei Pfirsiche leuchtend ins Zentrum gelegt, sowie weiße Versailles-Johannisbeeren. Die Schale rechts zeigt sich mit der chinesischen Blaumalerei der Ming-Periode. Das Gemälde in der Feinmalerei, wie sie bei den bekannten Werken des Malers festzustellen ist. A.R. (†) Provenienz:Sotheby‘s, Paris, 12. September 2018, Lot 37.Anmerkung 1:Werke Garnier finden sich im Pariser Louvre: „Fruits sur une table“ (Stachelbeeren und Kirschen, Öl auf Holz, signiert und datiert 1644) sowie „Erdbeerschale und Korb mit Kirschen“, Garnier zugeschrieben 1950 vom Private Property Office des Louvre Inv.Nr. MNR.36.Ein Werk seiner Hand „Stillleben mit einer Schale Kirschen unter Kastanienblättern auf einer Schachtel“ wurde verkauft für 170.185 Euro bei der Auktion, Piasa, Paris 27. März 2008.Anmerkung 2:Michel Faré hat neben dem Louvre neun weitere Werke von François Garnier veröffentlicht und reproduziert, von denen vier aus der Galerie Pardo stammen. Literatur: Michel Restaurant, Grand Century Stillleben in Frankreich, das XVII. Jahrhundert, Freiburg 1974. (13306022) (11)François Garnier, ca. 1600 Paris – 1672 ibid., attributedSTILL LIFE WITH FRUITS IN A PORCELAIN AND CHINESE BOWLOil on canvas. Relined.45 x 66 cm. (†)Provenance:Sotheby’s, Paris, 12th of September 2018, lot 37.Literature: Michel Restaurant, Grand Century Still Life in France, das XVII. Jahrhundert, Fribourg 1974.

ANTOINE GAULIN (Active in Paris from 1779 to 1830). Transitional Louis XVI-Imperial portico clock. France, late 18th-early 19th century.Belgian marble, white marble and gilt bronze.Signed Antonie Gaulin ("Gaulin à Paris").In need of overhaul and overhaul (by a watchmaker). The winding is missing. Normal wear and tear due to use and the passing of time.Watches signed by this watchmaker are kept in the collection of the Banco de España. This is a very diverse collection that includes paintings, drawings, sculptures and photographs, as well as a large number of pieces of particular value in the decorative arts.Measurements: 38 x 26 x 9 cm.Portico clock, Louis XVI-Imperial transition, made in France at the end of the 18th century, beginning of the 19th century. It is made in Belgian marble in lateral columns and upper pediment, white marble in capitals and column bases decorated with gilded bronze ornaments in its totality, base of the pendulum, dial, reliefs of columns and two zodiacal signs of Capricorn in the upper part. Half-hour and hour chimes. Porcelain dial with Arabic numerals and gilt hands, signed Gaulin a Paris. An anthropomorphic solar representation evoking Apollo decorates the pendulum.Antoine Gaulin is documented in Paris as a master watchmaker in 1788. He had a workshop at 36 Quai de la Mégisserie from 1789 to 1830. He is also mentioned in the Almanach du commerce de Paris, des départemens de l'empire français et des principales villes du monde, dated 1811. Gaulin collaborated with bronze artists of the stature of Thomire.

LOUIS MAJORELLE (France, 1859 - 1926).Very rare enamelled porcelain mirror, ca. 1880.With mark.Measurements: 37 x 56 cm.Very rare mirror in the shape of a fan, with an openwork porcelain frame and delicately decorated with enamels, including gilding. It also presents leaves in relief, moulded, in the lower area. In the centre of the upper section is a cartouche decorated with a figurative scene with a gallant theme, enamelled with a meticulous language of great pictorialism.A cabinetmaker and designer who was a member of the Ecole de Nancy, of which he was even vice-president, Louis Majorelle was the son of a furniture designer and manufacturer based in the town of Toul, from where he moved to Nancy with his family. Majorelle received his first artistic training there and then went to Paris in 1877, where he studied for two years at the Ecole Nationale Supérieure des Beaux-Arts, where his teacher was Jean-François Millet. However, the death of his father forced him to return to Nancy to run the family earthenware and furniture factory, a task he would combine with his artistic practice for the rest of his life. In the 1980s and until the early 1990s, Majorelle produced Louis XV-style furniture in the family firm, which he took to the 1894 Exhibition of Decorative and Industrial Arts in Nancy. There, however, he was able to see at first hand the works of Émile Gallé, whose influence would determine a radical change in Majorelle's production. From then on, his work was characterised by the use of naturalistic elements in his forms and marquetry. From the nineteen-nineties onwards, his furniture became fully Art Nouveau, with intertwined forms and a clear direct inspiration from nature, with motifs such as plants, water lilies, the typical Nancy thistle and the dragonfly, an icon of French modernism. In 1900, he went a step further and set up a forge workshop in his factory in order to be able to make iron fittings in accordance with his designs. Over time, this became more important and he was responsible for the handrails on staircases and the exterior details of many buildings in Nancy. That same year, 1900, Majorelle was a great success at the Universal Exhibition in Paris, which encouraged him to start mass production, enabling him to rapidly expand his catalogue. He also collaborated frequently with one of Nancy's great art glass firms, that of the Daum brothers, and in 1901 he was one of the founding members of the Nancy School, led by Gallé. His success was dazzling, and by 1910 Majorelle had furniture shops in Paris, Lyon and Lille as well as Nancy. Today his works can be found in prominent collections such as the Musée d'Orsay in Paris, the MoMA in New York, the Walters in Baltimore, the Texas College of Art, the Detroit Institute of Art, the National Gallery of Art in Washington D.C. and many others.

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.

Duc D'Angouleme Manufactory, a mythological group, bisque porcelain. Paris, France, 18th century. Dimensions: (L: 26 x W: 33 x H: 45 cm)

A collection of French porcelain, Limoges, Vieux Paris. Dimensions: (H: 14,5 cm)

A Lladro porcelain 'Cafe de Paris' figure group,printed marks, with original box,36cm wide32cm highCondition ReportThe figures are in a good condition, with no visible chips or losses. Delicate parts such as the flowers, parasol and fingers are all intact. The parasol is in a good condition but difficult to screw on. The box is worn, with marks throughout and tears around the base.

A pair of 19th century Vienna porcelain cabinet plates painted with classical subjects - 'Die Rache Amars' (Revenge of Cupid) and 'Paris & Helena', signed Edouard Baerschneider, within finely-gilded blue rims, 23 cm ; lot also includes a matching comport 'Lenzeslust' depicting a mother with four young children (3 - comport cracked)

WEDGWOOD INTEREST. A late 19th century, continental porcelain plaque with an oval portrait of John Egerton, Bishop of Durham. Engraved by John Taylor Wedgwood, the son of the potter Thomas Wedgwood & a cousin of Josiah Wedgwood. He worked as an engraver in Paris for many years. Inscribed in pencil to the reverse, 'Countess Ostheim' & 'Bought by A.G.V....? in Paris, 18 Oct 1889'. 29.5 x 24cm.

A pair of late 19th century Paris porcelain figures, tallest 50cm