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A late 19th century French gilt metal mantel clock, with Sèvres style porcelain plaques, retailed by Boxells, Brighton, H 36cm, with giltwood stand ( no key or pendulum )

Vase mit Vogelbeeren Sèvres, 1881 Auf grauem Fond ein üppigerzweig der Eberesche in polychromer Aufglasurmalerei. Konturenzeichnungen in Gold. Überhalb des Standes und unterhalb der Mündung Palmettenfries. Am Boden mit unterglasurroter Manufakturmarke sowie verschiedenen geritzen Ziffern. H. 34 cm.

Prunktasse und Untertasse im Sèvres-Stil. Kobaltblauer Fond, teils mit reliefierten Rocaillen in Gold. Schauseite der Tasse und Spiegel der Untertasse mit bunt gemalten Amoretten auf Wolken. Pinsel- bzw. Stempelmarke im Sèvres-Stil, Frankreich, um 1900.

Tasse in Schwanenform auf Untertasse. Biskuitporzellan, weiß bzw. Glamzvergoldung. Sèvres imitierende Marke, 19. Jh.

A Sèvres porcelain green ground teabowl and saucer, date code for 1768, painter's mark for Chappuis (senior), painted with gilt framed panels of exotic birds, both rims with a narrow border of gilt oeil de perdrix edged with a wavy garland of berried laurel, blue painted interlaced 'L's' mark to saucer and other indistinct incised marks, diameter of saucer 12.4cm (minor restoration).

A large Continental porcelain Sèvres style circular tray, late 19th/early 20th century, the bleu celeste ground painted with a central half length portrait of King Louis XVI of France within gilt framing, surrounded by six smaller head and shoulder portraits of lady's of the French court, within gilt foliate scrollwork framing, pseudo blue painted interlaced L's mark to base, diameter 50cm (wear to gilding, some restoration to footrim).

A large Sèvres style cobalt blue ground gilt metal mounted casket, circa 1900, of bombe shape, painted to the hinged lid with figures enjoying a picnic, indistinctly signed Lauque, within elaborate gilt foliate scroll and trellis work, the base sides with similarly framed landscape views, applied paper label to base inscribed 'W. F. Greenwood & Sons, Ld., Art Dealers, York', with pseudo blue painted Sèvres style mark, 32cm long by 15cm high by 20cm wide.

A gilt metal mounted French porcelain Sèvres style box, early 20th century, of rectangular shape, the cobalt blue body painted to the hinged lid with a shepherd and female companion seated beneath a tree, within a gilt frame surround, the underside of the lid painted with a floral arrangement, black painted mark 'FRANCE' to base, 15.5cm by 12.5cm by 7cm.

A mixed group of mostly Scandinavian glass, 20th century, including an Orrefors Fuga olive green tinted vase engraved with a ship, height 12.3cm, a Holmegaard Per Lutkin leaf shaped dish, length 16cm, a Mats Jonasson bowl moulded as cracked ice, a Baccarat clear flower form bowl, a Sèvres Cristal abstract sculptural bowl, three Orrefors vases, one engraved with a bird of paradise, two Orrefors bowls and a dish, a Timo Sarpaneva bowl and a Strombergshytten bowl (minor faults). Provenance: from the collection of John and Poppy Stallebrass.

A Sèvres porcelain cabinet coffee can and saucer, date code for 1769, painter's mark for Charles Buteux (senior), the can painted with a representation of war and peace, depicting a pair of doves perched on a quiver of arrows, bow and a flaming torch, in a landscape setting, the saucer with a maiden's bag hung on a tree branch above a bonnet and musical instruments, a village in the background, both against a geometric patterned ground of stylized flowerheads in green, yellow, puce and blue, blue painted interlaced 'L's' and incised marks to bases, diameter of saucer 12cm, together with a matching Sèvres cream jug (Pot-a-Lait 'a Trois Pieds), painted with a panel depicting figures fishing by and from a bridge, with three branch feet and handle with relief foliate terminals, unmarked, height 8cm.

A Sèvres porcelain pink ground cabinet cup and saucer, date code for 1767, painter's mark for Theodore, both the can shaped cup and saucer painted with exotic birds within gilt foliate framing beneath a gilt dentil rim, blue painted interlaced 'L's' mark to bases with incised numerals to can, diameter of saucer 13.5cm, together with a similarly painted Sèvres porcelain pink ground teapot, 19th century, with matched later silver gilt cover hallmarked for 1897, height 9.5cm (minor faults).

A French porcelain Sèvres style gilt metal mounted square box, early 20th century, the hinged lid painted with a romanticised couple in a landscape, indistinctly signed Gilles(?), within a gilt frame against a cobalt blue ground, the interior painted with two floral displays, red printed and blue painted pseudo Sèvres marks to base, 12.5cm by 12.5cm by 8.5cm.

A Minton porcelain Sèvres style square shaped planter or jardiniere, dated 1860, decorated in puce with opposing cupids flanked by floral arrangements within gilt line edges, impressed marks to base, height 28cm (faults).

A Boda glass decanter and stopper, circa 1960, of faceted form engraved with a female nude emerging from a lotus flower, engraved marks to base with numerals, height 22cm, together with a graduated pair of Kosta Boda Pippi design decanters and stoppers, tallest 31.5cm, a similar Kosta decanter bottle and stopper, a Sèvres Cristal decanter and stopper, a similar unmarked example and five Orrefors decanters and stoppers, including one engraved with a ship in sail and another with a lion, various engraved marks and some original applied paper labels. Provenance: from the collection of John and Poppy Stallebrass.

A FRENCH GILT METAL AND SÈVRES-STYLE PORCELAIN-MOUNTED MANTEL CLOCKBy LeRoy & Fils, Palais Royal, Galerie Montpellier 13-15, Paris and 296 Regent Street, London, Circa 1870Modelled with two cherubs, one holding a staff, the other seated on a rock with a fishing net and a basket of fish at his feet, on a naturalistic base, the lower part centred by the clock with a convex glass and bead-moulded bezel, signed white enamel dial with blue chapters, flanked to each side by an inset porcelain panel above a break-front stepped plinth, with three further panels and flanked to each side with a scroll, on bun feet, the drum-shaped movement signed and numbered 6133, with countwheel strike on a bell46cm highCONDITION REPORTNo key or pendulum.  In unrestored condition.  The case has been painted.  The porcelain panels are not damaged.  The glass on the back door is broken.  The movement requires a service.

A FRENCH GILT METAL AND SÈVRES STYLE PORCELAIN-MOUNTED MANTEL CLOCKBy LeRoy & Fils, Gallerie Monpensier 13-15, A Paris and 296 Regent Street, London, No 5933, Circa 1880Modelled as a seated lady, her right arm resting on the drum-shaped case, the 3 1/2in circular convex enamelled dial with blue Roman chapters, above a naturalistic cast base, on spreading plinth inset with a pair of foliate decorated Sèvres-style rectangular panels, on shaped feet, the circular movement with countwheel strike on a bellThe clock 35cm high, on a salmon-pink velvet and gilt plinth, with an ebonised base and cracked glass shadeCONDITION REPORTWith pendulum and key.  The clock case is in very good fresh, crisp condition.  The movement appears well cared for and with a service should be functional.  The glass dome is cracked.

A FRENCH ORMOLU AND PINK SÈVRES-STYLE PORCELAIN MANTEL CLOCKRetailed by Klaftenberger, 157 Regent Street, London, circa 1890Of oval shape, surmounted by an urn, with two berried finials, the front panel with 3 3/4in signed white enamel dial, blued steel Breguet moon hands, the drum-shaped movement with strike on a bell, on a leaf-cast stepped base on bun feet35cm highCONDITION REPORTWith pendulum and key.Overall in excellent condition.  The movement appears clean and capable of functioning subject to a service.

A Sèvres porcelain later-decorated bleu-celeste ground lozenge-shaped tray, the porcelain c.1775, the decoration 19th century, manganese interlaced L cypher enclosing date letter x, painter’s BN mark for François Bourdin, painted with figures playing with a dog in a river landscape within an elaborate gilt cartouche, the border reserved with four panels of flowers, the border on the reverse with gilt marbling, 29cm wide Footnotes: Note: François Bourdin was a painter of flowers at Sèvres from 1774 to 1775. The flowers at the corners of this tray are probably 18th century, and the rest of the decoration was added later.Condition Report: Some heavy pitting is evident to the foot of the dish, along with a small chip, a firing flaw is visible to the underside, some crazing is visible to the rim and under-rim, the decoration and gilding is largely intact. 

A pair of Minton porcelain pierced dessert-plates, retailed by A. B. Daniell & Sons of Wigmore St., London, c.1873-91, impressed factory marks, printed crowned globe mark and retailer's mark to both, the centres painted with putti as Venus and Neptune, each signed A. Boullemier, the pierced borders with radiating interlocking arches enriched in gilding, one with BADA label to underside, 23.7cm diameter (2)Footnotes: Note: Antonin Boullemier (1840-1900) was a painter active c.1872-1900, the son of a decorator at the Sèvres porcelain manufactory. Antonin emigrated to England c.1871 and was subsequently employed by Minton as a figure painter specialising in portraits, cupids, and mythological subjects, for which he earned £400 a year, making him one of the highest paid decorators at the factory. Condition Report: Each of these smartly painted plates are in overall very good condition with no evidence of damages or restoration detected. Some minor surface dirt is present including in the hard-to-reach nooks of the trellis arch borders. One plate has an old collector's label to the reverse, the other has the remains of a dealer's label and a BADA label to the underside.  

A gilt-metal mounted Sèvres-style porcelain large two-handled bowl centrepiece of Louis Philippe type, second half 19th century, pseudo blue crowned LP cypher flanked by SEVRES and 1846, green crowned LP monogram marks flanked by SV and 56 (?) and iron-red Chateau d’Eu mark, one side of the bowl printed with a crowned Royal cypher for Louis Philippe, the mount with a pierced rocaille gallery and large foliate and floral handles, the lower part with pendant swags and four foliate scroll feet, approx 48cm wide and 31.5cm highCondition Report: The porcelain appears to be in overall good condition with only a few light scratches and general surface dirt to the interior, the unglazed foot with general expected wear, the underside with some light scratches, the marks slightly faded. The mounts in generally good condition with light tarnishing and general surface dirt. 

After Claude Michel, called Clodion, French, 1738-1814, three gilt-bronze mounted biscuit porcelain figural groups, early 20th century, each with incised pseudo-Sèvres interlaced Ls and incised CLODION to the bases, on giltwood stands, comprising: a group of a faun and two putti - 32cm high; the satyr - 40.5cm; the bacchante - 38cm overall (3)   Condition Report: The right foot of the faun in the group has been repaired, but otherwise the figure group is in good condition. The satyr has a small loss to the garland around his head, some small firing cracks to the right leg near the tree stump, and further small firing cracks to his back, otherwise it is in good condition. The bacchante is in overall good condition. The gilt-bronze mounts are in overall good condition, the figure group of a faun and two putti is somewhat loose from its mount and will benefit from tightening the fixings. 

A pair of large gilt-metal mounted Sèvres-style porcelain two-handled vases and covers, late 19th century, pseudo blue Sèvres marks, each painted with courtly figures in 18th century dress in park landscapes within elaborate gilt foliate cartouches, the shoulders and socles with ribbon-tied trophies within gilt foliate and diaper cartouches, the domed covers gilt with vases of flowers on tablet supports, with scrolling foliate handles, the socles resting on gilt-metal berried garlands and serpentine plinth bases chased with berried laurel and with bracket feet, approx 79cm high overall (2) Condition Report: As can be seen from the photograph, one of the gilt-bronze handles of one vase is loose and will need re-attaching. The cover of the same vase has a hairline crack to the finial. The rim of the socle has a large chip just beneath the gilt-bronze mount. The porcelain of this vase is otherwise in good condition, there are some dirt marks to the areas which have been in contact with the gilt-bronze mounts. Regarding the other vase: the finial of the cover is somewhat loose and hides a large chip and some discolouration to the porcelain, the rest of the porcelain in this vase is overall in fair condition with some noticeable scratches and dirt marks from contact with the gilt-bronze. The mounts to both are heavily tarnished but largely intact.

Teller nach dem Service für die Comtesse du Barry Frankreich, 19. Jh. Gering geschweifter Rand. Im Spiegel das aus Goldblättchen und bunten Blüten geformte Monogramm DB. Auf der Fahne bunte Blumenkörbe, Kränze und fliegende Kinder auf Wolkenbank in goldgerahmten Ovalreserven. Blau-goldene Schuppenkante. Goldrand. D. 24 cm (kl. Randrep.). Sèvres-imitierende Marke mit Jahresbuchstabe und Malermonogramm. (61115)

René Crevel (nach), Bodenvase 'Le Cavalier à l'oiseau', 1934H. 50 cm. Ausführung: Manufacture Nationale de Sèvres, 1934. Porzellan, weiß, glasiert, polychrome Unterglasur. Reiter mit Taube in stilisierter Landschaft. Hals/Mündung und Stand silberfarben. Bez.: R. Sivault d'après R. CREVEL (schwarz, handschriftlich), Manufakturmarke SEVRES mit Jahresbuchstabe g (schwarzer Glasurstempel), CU oder M, 1292 PN (geritzt), Rest eines Papieretiketts. Der in Rouen in der Normandie geborene René Crevel gehört zu der Gruppe der letzten Allround-Talente. Nach seinem Architekturstudium 1906 bis 1912 und der Fortbildung in verschiedene Architekturbüros in der Region, zog er 1913 in die Hauptstadt Paris um. Neben Architekturentwürfen schuf er autodidaktisch Illustrationen, Skizzen für Kunsthandwerk, Zeichnungen und Ölgemälde. Für die großen Kaufhäuser der Hauptstadt lieferte er Entwürfe wie Tapeten, Stoffmuster, Lampen und Möbel. Auch Bühnenbilder und Theaterkostüme gehörten zu seinem Repertoire. Nebenbei fand er immer wieder Zeit, zu malen. Zu seinen Vorbildern und Einflüssen gehörten die Künstler der Avantgarde, Fauvismus, Kubismus, Futurismus und Nabis.Seinen größten Erfolg feierte Crevel mit der Ausstattung des Pavillons der Grands Magasins du Louvre auf der berühmten Exposition internationale des Arts décoratifs 1925. Er realisiert hier die Ausstellungsräume unter anderem zusammen mit Paul Follot (1877-1942). Im November des selben Jahres begann die lange Zusammenarbeit mit der Manufacture nationale de Sèvres für die er in diesem Jahr gleich mehrere Tellerdekore und eine große Vase entwarf.https://www.rene-crevel.com/detail.php?id_oeuvre=8&id_cat=1 Ölgemälde, 1931.

ROYAL CROWN DERBY; a vase with painted cartouche of flowers on a pink ground, with applied gilt swags, printed mark to base, height 14.5cm, together with a small collection of other ceramics to include a French metal mounted trinket pot with painted floral decoration, the interior of the lid with a courting couple, stamped 'Sèvres' to the base, a pair of miniature vases, etc.

A Continental porcelain and gilt metal mounted vase, 19th century, in Sèvres style, the pink ground body reserved with two panels, one painted with cherubs, the opposing on with flowers, acanthus divided handles, the base cast with fruiting vine and raised on four feet31 x 44cm

Bresdin, Rodolphe: (1822 Montrelais - Sèvres 1885). La Comédie de la mort. Lithographie, (1854). 22 x 15 cm. Auf die Darstellung beschnitten. Auf Papier mont. Van Gelder 84,4. Aus dem Besitz von Dr. Ewald Rathke; Kunsthändler, Wols-Experte und ehemaliger Leiter des Kunstvereins Frankfurt am Main. D

Two Sèvres bleu céleste-ground cups and saucers, circa 1780Gobelets 'litron' et soucoupe, of the third size, each with a gilt-edged bleu céleste-ground band of Vitruvian scrolls with gilt foliage and bands of trailing roses painted by Jacques-François Micaud, a rose in the centre of each saucer, the gilt dentil borders to the rims, the handles embellished in gilding, the cups: 5.9cm high; the saucers: 12.3cm diam. (approx.), interlaced LL monorgams enclosing date letters cc and painter's mark x for Micaud père in blue, gilder's mark for Michel-Barnabé Chauvaux, incised numerals (one cup with rim chip and associated crack) (4)Footnotes:Provenance:Anon. sale, Christie's New York, 15 October 2019, lot 202 (part)For further information on this lot please visit Bonhams.com

A Berlin topographical dessert plate, circa 1832-37Finely painted with a view of 'Altenstein, titled in black on the reverse, within a burnished gilt band, the pink-ground rim with a gilt foliate border, edged with a moulded gilt pearl border, 24.2cm diam., sceptre mark in blue, eagle and KPM stencilled in manganese, gilder's mark, impressed 32 and III inside footrim, incised 40Footnotes:Literature:Witter, Samuel. Raffinesse & Eleganz: Königliche Porzellane des frühen 19. Jahrhunderts aus der Twinight Collection, New York, 2007, no. 107aExhibited:Rafinesse & Eleganz - Königliche Porzellane des frühen 19. Jahrhunders aus einer amerikanischen Privatsammlung, Berlin, Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Schloss Charlottenburg, 28 July-4 November 2007;Die Sammlung Cohen. Porzellane der grossen Manufakturen 1800-1840, Vienna, Liechtenstein Museum, 16 November 2007-11 February 2008;Sèvres - Vienne - Berlin, Ors et décors : 1800-1850, Paris, Musée national de la céramique à Sèvres, 26 March-13 July 2008;Refinement & Elegance - Early Nineteenth Century Royal porcelain from an American private collection, New York, Metropolitan Museum of Art, 9 September 2008-19 April 2009One of a series of pink-ground dessert plates painted with titled views of Thuringia and several different gilt foliate borders to the rims; another from the Twinight Collection was sold in these Rooms, 4 July 2024, lot 110.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 Louis XVI gilt-bronze mounted Sèvres soft-paste porcelain 'vase à monter,' mounts attributed to Pierre Gouthière, circa 1785The urn-shaped vase with a beau bleu ground, mounted with gilt-bronze floral swags and flared neck mounts, lute-playing fauns atop ribbon-tied draped garlands, berried leaves radiating from lower body atop a square base, 28.6 cm high,Footnotes:Provenance:Acquired by Samuel Cunliffe-Lister, 1st Baron Masham of Swinton (1815-1906), circa 1890 for Swinton Park, North Yorkshire;thence by descent to his granddaughter and heir Mary Constance 'Molly' Boynton (d.1890-1974), who married Philip Lloyd-Greame, later 1st Earl of Swinton;sold at Sotheby's London, 17th January 2024 (Property of the Trustees of the Lord Swinton Will Trust).The corresponding drawing to this 'vase à monter' is in the Sèvres archive, whose form seems to be a variation of the 'vase 'bouteille en écharpes'' (ill. in Rosalind Savill, The Wallace Collection Catalogue of Sèvres Porcelain, vol. I, 1988, p. 271). The gilt-bronze mounts are attributable to Pierre Gouthière (1732-1813), one of the leading ciseleur-modeleur of the eighteenth century with royal patrons such as Queen Marie Antoinette and Madame Du Barry. Specifically, the trumpet-blowing fauns on the present example are traceable to another design by Gouthière for a chandelier in Versailles from 1780 (ill. in Hans Ottomeyer and Peter Pröschel, Vergoldete Bronzen vol. I, 1989, p. 238, fig. 4.4.2.).The unadorned form of the present example and its ground colour are listed in the factory records as a 'flacon de Mr Poirier, D, 1775 du 11 Juillet, 2 pareille dont 1 fond vers [sic] idem bleux du Roy.' The client in question was Simon-Philippe Poirier, a marchand-mercier (dealer-decorator) who regularly commissioned Gouthière to ornament Sèvres porcelain with gilt-bronze mounts. From 1772 to 1777, Poirier worked adroitly with his cousin-in-law, Dominique Daguerre, after whom several similarly shaped and mounted vases are named. Once Daguerre assumed sole managerial responsibility for their firm in 1777, he commissioned several similarly shaped and mounted vases recorded as 'vases à monter Daguerre,' a pair of which are in the Royal Collection (RCIN 35514) and another with snake gilt-bronze mounts sold at Christie's Paris on 17th November 2010, lot 108.For further information on this lot please visit Bonhams.com

A Sèvres plate from the Duchesse de Berry Service, circa 1826Painted by Moïse Jacobber, with a bunch of grapes, placed on a large leaf, the reverse titled 'Raisins Morillon', under a lapis lazuli imitation border with rich gilt scrollwork bands, 24.2cm diam., stencilled factory mark in blue with date 26, '16At 22 P' in green , 'h.27.J. m' in gold and 'Jacobber' in puceFootnotes:Provenance:Marie-Caroline de Bourbon-Siciles, Duchesse de Berry;Her sale, the contents of Palazzo Vendramini, Paris, Hôtel Drouot, Maître Pillet, 8 mai 1865 (and following days), lot 166Exhibited:Exposition des Produits de l'Industrie, Palais du Louvre, 1er janvier 1826.This plate is one of 48 from the dessert service described as 'fond bleu lapis, ornements en or, fruits peints sur des feuilles,' which entered the Sèvres sales store on December 20, 1825 (Arch. Sèvres, Vu1, 245-1). It was delivered in January 1826 to Madame la Duchesse de Berry, who had noticed it at the Exposition des Produits de l'Industrie and acquired it immediately (Arch. Sèvres, Vbb7, 12 and Pb6, 1825, n°12). The service was expanded until 1828, when it reached 130 plates. Each plate is painted by the famous still life and fruit painter, Moïse Jacobber, with a different fruit, titled on the reverse, and enhanced with gold by the gilder Vaubertrand.A larger group of pieces from this service was sold at Drouot, Doitrebente, 25 November 2005, lot 161 (subsequenty Christie's Paris, Oeuvres provenant des collections du Comte M.A, 28 November 2017 and Sotheby's Paris, Hôtel Lambert, Volume IV, lot 822).For further reading see: Entre cour et jardin, Marie-Caroline, Duchesse de Berry, Musée de l'Ile-de-France, 2007, p. 169, where two plates of this service ('Poires de St Germain' and 'Néflier du Japon') are illustrated.The Duchesse de Berry (1798-1870) was the daughter of Francis I, King of the Two Sicilies and his wife Maria Clementina, Archduchess of Austria. Her grandmother was the Queen Carolina of Naples, herself a daughter of Austrian Empress Maria Theresa and sister of Marie Antoinette. In 1816, aged eighteen, the young princess was married to Charles Ferdinand, Duc de Berry, who was the heir to the French throne. The Duchess was a well-known patron of the decorative arts and, by all accounts, a leader in fashion. She purchased many pieces of Sèvres porcelain and received famous gifts from various family members including her uncle, King Louis XVIII.Two plates from this service were most recently sold in these rooms, 4 July 2024, lots 241 and 242.For further information on this lot please visit Bonhams.com

A Sèvres plate from the service made for Louis XV for the Château de Fontainebleau, circa 1757-63Assiette à palmes, painted in puce camaieu with a central stylised floral and scrollwork motif including four interlaced LL monograms in gilding, the rim with flower garlands hanging from ribbon bows between moulded scrolls heightened in gilding, 24.9cm diam., incised marks (minor wear)Footnotes:Provenance:Supplied to Louis XV for the Château de Fontainebleau;Property from the Valentine Collection, sold Christie's New York, 21 October 2005, lot 82;Acquired in the above salePurchased for specific use at the Château de Fontainebleau, the service remained in use in the royal household and was supplemented various times between 1763 and 1787; see David Peters, Sèvres Plates and Services, revised edition 2015, vol. II, no. 57-1, pp. 297-299, where the present lot is mentioned as a circa 'D' plate (p. 299).For further information on this lot please visit Bonhams.com

A large Sèvres porcelain gilt-bronze mounted vase 'Oeuf,' dated 1874Decorated with a 'lapis lazuli' ground speckled with gilding for a more luxurious finish, constructed in three parts, the ormolu handles with caryatid heads at the flared base, 70cm high, various Sèvres date marks to the base, including in green and red stencilled technique, showing the vase was modelled in 1871 and decorated 1874 (small restored chip to footrim)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 oval tray, circa 1780Plateau ovale polylobé, the centre with a gilt-edged bleu céleste-ground panel with four Virtuvian scrolls with gilt trailing foliage, and painted by Jacques-François Micaud with polychrome trailing flowers from each tip, the moulded, gilt-edged lobed rim with scrolls and pierced handles entwined with a ribbon tied in a bow, 38.5cm across handles, interlaced LL monogram enclosing date letters cc, and painter's mark x in blue, gilder's mark for Michel-Barnabé ChauvauxFootnotes:Provenance:Anon. sale, Christie's New York, 15 October 2019, lot 202 (part)For further information on this lot please visit Bonhams.com

A Berlin topgraphical dessert plate, circa 1832-37Painted with a named view of 'Meiningen, titled in black on the reverse, within a burnished gilt border, the pink-ground rim with a gilt foliate border and moulded and gilt pearl edge, 24.5cm, sceptre mark in underglaze-blue, KPM and orb stencilled in manganese, gilder's mark, impressed 32 and III inside footrimFootnotes:Literature:Wittwer, Samuel. Raffinesse & Eleganz: Königliche Porzellane des frühen 19. Jahrhunderts aus der Twinight Collection, New York, 2007, no. 207bExhibited:Rafinesse & Eleganz - Königliche Porzellane des frühen 19. Jahrhunders aus einer amerikanischen Privatsammlung, Berlin, Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, Schloss Charlottenburg, 28 July-4 November 2007;Die Sammlung Cohen. Porzellane der grossen Manufakturen 1800-1840, Vienna, Liechtenstein Museum, 16 November 2007-11 February 2008;Sèvres - Vienne - Berlin, Ors et décors : 1800-1850, Paris, Musée national de la céramique à Sèvres, 26 March-13 July 2008;Refinement & Elegance - Early Nineteenth Century Royal porcelain from an American private collection, New York, Metropolitan Museum of Art, 9 September 2008-19 April 2009See footnote to lot 82This 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

An important Derby plate by William Billingsley, circa 1790Painted in his distinctive style with an oval basket overflowing with flowers including roses, stocks, morning glory and a variegated tulip, supported on a grey marble plinth, a formal gilded border around the cavetto, a border of brightly coloured florets inside the rim, 23.3cm diam, crown, crossed batons, D mark and pattern number 132 in puceFootnotes:Provenance:E. Alison Rose Collection;Twinight CollectionLitarature:John, W.D., William Billingsley, 1968, col. pl. 1William Billingsley worked at the Derby porcelain factory between the years 1774 and 1796, having begun as an apprentice at just 16 years old. He demonstrated great ingenuity in his experiments to create a soft paste porcelain body to rival that produced at Sèvres but perhaps it is for his flower painting that Billingsley is best known. Indeed, his sensitivity as a painter and the intricacy of his works has lead him to be considered one of the finest flower painters on English porcelain. A new paper on the development of Billingsley's style by Penelope Hines was recently published in the English Ceramic Circle Transactions, Vol. 34, pp. 213 – 220.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

Rémy Martin Louis XIII Cognac Jeroboam Presentation Set - A 3 Litre decanter of Louis XIII Grande Champagne Cognac, with a stopper marked "Cristal Sèvres Z049"; a set of 4 glasses, each engraved with the fleur-de-lis symbol, display stand, and booklet, all contained within a brass bound oak case with 2 handles and plaque, 61 x 44.5 x 48.5cm overall. (Proceeds from the sale of this Lot will be donated to the Aldro School Bursary Fund)

Vase mit Ochsenblutglasur, Paul Milet (1870-1950) für die Manufacture de Sèvres, um 1930 Kugelform, vieleckig, eingezogene Mündung, H.29cm, D.ca.29,5cm, tlw. leichte oberfl. Kratzer

ZWEI PRUNKVASEN MIT BLUMENBOUQUET Frankreich, Bronze gegossen und feuervergoldet, blauer Porzellankörper Sèvres, 2. Hälfte 19. Jh. H: 55 cm

Deckeltasse mit Untertasse im Sèvres-Stil - 20. Jh., Porzellan, heller Türkisfond, Reserven mit polychromer Blumenmalerei, goldfarben staffiert, runde Tasse mit Doppelhenkel und leicht gewölbtem Deckel, H. ohne/mit Deckel: 5,5 / 9 cm, Untertasse Dm. ca. 14,5 cm, unterseitig jeweils goldfarbene Doppel-C-Marke

Große prachtvolle Pendule mit Meissen Figur als Minerva3-tlg.; Hoher rocailleförmig durchbrochen gearbeiteter, vergoldeter Bronzesockel mit seitlich eingelassener Bodenplatte. Darin stehende Minerva, die römische Göttin der Weisheit und klugen Kriegsführung in selbstbewusster Pose, gekleidet in einen Brustpanzer über langem, von Goldblüten gemustertem Gewand sowie weißem Mantel und Helm mit Federbusch. Mit ihrer rechten Hand einen langen Speer tragend, mit den Fingerspitzen der linken Hand nach dem Medusenschild greifend. Polychrome Malerei mit Goldstaffage. Entw. Johann Joachim Kaendler, 1747. Rücks. aufsteigende Blütenzweige mit farbig staffierten, sog. Vincennes-Blüten. Hoher, verästelter Bronzestamm als Träger für das kartuschenartig gerahmte, runde Uhrengehäuse. Verglastes Emailzifferblatt mit schwarzen arabischen Zahlen. Speer passend erg.; Blüten teilw. unw. best.; Figuren-H. 37 cm. Gesamt-H. 48 cm x 35 cm.Die Porzellanmanufaktur Meissen gab der Manufaktur Vincennes-Sèvres in Paris den Auftrag, derartige Blütenzweige zu fertigen. Luxuriöse Arrangements aus wertvollen Porzellanfiguren in Verbindung mit feuervergoldeten Bronzemontierungen waren eine Spezialität der "Marchands merciers". Diese in Paris ansässigen Händler für Luxusgüter hatten die Privilegien, die importierten Waren zu "kombinieren und durch die Transformation zu materialübergreifenden Ensembles noch aufzuwerten". Diese Stücke fanden Aufnahme in höfischen Sammlungen und gelangten auch als Kabinettstücke in den Besitz reicher Finanziers, um bei Festveranstaltungen die Räume zu schmücken. Die Figur der Minerva schuf Kaendler ursprünglich für eine Cascade bzw. Wassergrotte mit dem Urteil des Paris.Vgl. Andres-Acevedo, Die autonomen figürlichen Plastiken, Bd. 2, Nr. 693 (Figur).; Deldicque, Meissen and Chantilly Porcelain, Fig. 81 (Pendule mit Blüten).A large splendid Parisian gilt-bronze mounted Rococo clock arranged with a Meissen porcelain figure of Minerva and Vincennes flowers. Lance added. Flowers partly insignificantly chipped.Meissen/Paris. Um 1750.

Große Napoleon III-Vase im Sèvres-StilKeramik mit kobaltblauem Fond bzw. polychrom staffiert sowie Messing, vergoldet. Über profiliertem Sockel balusterförmiger Korpus mit stark geschwungenen Henkeln aus Blattwerk. Umlaufend der Wandung flächendeckende, szenische Darstellung eines Landschaftsgartens mit Putten in zarten Pastelltönen im Rokoko-Stil. Herstellerzeichen. Rest.; H. 110 cm.A large French ceramic and gilt brass Napoleon III vase. Manufacturer's mark. Restored.Frankreich. Um 1900.

Paar prächtige Meissen Flakons mit Pâte-sur-pâte-MalereiÜber dem zylindrischen Rundstand balusterförmig sich aufwölbender Korpus, mittig eingeschnürt und von einem vergoldeten Perlstabband umzogen, in den verjüngenden Hals mit auskragendem Rand übergehend. Passig gewölbte Deckel mit Goldknauf und Reliefgold. Gelber Fond mit vertieften Ornamenten. Beidseitig der Wandung ovale Reliefgoldkartuschen mit grauviolettem Grund. Darin verschiedene antikisierende Damenporträts in äußerst feiner, weißer Pâte-sur-pâte-Malerei. Reiche Goldstaffage. Deckel partiell best. und nicht abnehmbar. Schwertermarke. H. 12 cm.Diese hochqualitative Maltechnik der Pâte-sur-pâte-Malerei wurde erstmals auf der Londoner Weltausstellung im Jahr 1851 von der Manufaktur Sèvres vorgestellt. Der Durchbruch dieser Maltechnik auf Meissener Porzellan erfolgte 1878 durch den Chemiker Dr. Heintze und erreichte ihren Höhepunkt auf der Weltausstellung 1893 in Chicago mit ca. 1000 dort vertretenen Ausstellungsstücken.Vgl. Jedding, Nr. 95 ff., S. 176.; Vgl. Krockenberger, Meissen Porzellan, S. 162, F. 138a.A pair of splendid yellow ground porcelain flacons with portraits of women. Finely painted in white pâte-sur-pâte. Lid partly chipped and not removable. Crossed swords mark.Meissen. Ende 19. Jh.

Repräsentative Napoleon III-Vase im Sèvres-StilPorzellan mit kobaltblauem Fond, teilw. polychrom bemalt. Messing vergoldet. Über hohem Podestsockel balusterförmiger Korpus, flankiert von plastischen Maskarons für stark geschwungene Henkel aus Blattvoluten. Schauseitig auf der Wandung von goldradierten Voluten gerahmtes Tondo mit Rokoko-Interieurszene. Rücks. schnäbelndes Taubenpaar. Manufakturmarke. H. 105 cm.A large French porcelain and bronze Napoleon III vase. Manufacturer's mark.Frankreich. Um 1900.

Repräsentative Napoleon III-Vase im Sèvres-StilPorzellan mit kobaltblauem Fond, teilw. polychrom bemalt. Messing vergoldet. Über flachem Podestsockel balusterförmiger Korpus, flankiert von plastischen Volutenhenkeln. Schauseitig auf der Wandung von goldradierten Voluten gerahmtes Tondo mit Watteauszene. Rücks. Landschaftsdarstellung. H. 92 cm.A large French porcelain and bronze Napoleon III vase.Frankreich. Um 1900.

Tête-à-tête Mokkaservice6-tlg.; Mokkakanne, Sahnegießer, Zuckerdose, zwei Tassen mit Unterteller, Presentoir. Bemalt in Schwarz mit Blatt- und Floraldekor. Goldstaffage. Im Boden bez. "seint à la main". Kannendeckel best.; Eine Untertasse minim. best.; Manufakturmarke. Kannen-H. 11,5 cm.A 6-piece mocha set for two people, so called "tête-à-tête", with monochrome black leaf decoration and gold. Can lid and saucer chipped. Manufacturer's mark.Sèvres. 20. Jh.

Große moderne Sèvres-VaseFarbloses Kristallglas, geschliffen und poliert. Sechseckige Becherform mit leicht geschweifter bzw. schräg hochgezogener, an den Ecken gerippter Wandung. Runder Firmen-Ätzstempel "CRISTAL SEVRES FRANCE". H. 36,2 cm.A large French Cristal de Sèvres glass vase. Acid factory mark.Frankreich. Cristal de Sèvres. Ende 20. Jh.

CLAIRE BERTRAND-EISENSCHITZ* (Sèvres 1890 - 1969 Cachan)IbizaÖl/Leinwand 33 x 41,5 cmsigniert Claire Bertrandverso Etikett: Claire Bertrand 1890-1996, "à Ibiza"SCHÄTZPREIS / ESTIMATE € 400 - 600STARTPREIS / STARTING PRICE € 400Die französische expressionistische Malerin Claire Bertrand-Eisenschitz war die Frau des österreichisch-französischen Malers Willy Eisenschitz, Mutter der Malerin Eveline Marc (Évelyn Marc, Evely Marc) und des Fotografen David Eisenschitz und Großmutter der Malerin und Bildhauerin Délie Duparc (Estelle Delvolvé). Ihr Vater war der Geologe Marcel Bertrand, ihre Mutter die Pianistin and Mathilde Mascart. Claire Bertrand war die Enkelin des Mathematikers Joseph Bertrand. Bertrand studierte in Paris an der Académie Julien und an der Académie de la Grande Chaumière, in der Klasse von René Ménard und Lucien Simon. Dort lernte sie Willy Eisenschitz kennen, den sie 1913 heiratete. Eisenschitz wurde für die Dauer des Ersten Weltkrieges interniert. Sie folgte ihm freiwillig ins Internierungslager. Dort kamen David und Evelyne zur Welt. 1921 und 1922 stellte sie in der Société nationale des Beaux-arts aus und 1922 bis 1938 im Salon d’automne. Weitere Ausstellungen: Salon des artistes indépendants, (1922 à 1930), Salon d'automne, de 1922 à 1938, Billiet (1927 und 1937), Salon des Tuileries (1928 bis 1943), Les vingt-deux, groupe féminin (Édith Auerbach, Claire Bertrand, Chériane, Rolande Dechorain, Adrienne Jouclard; Galerie Bonaparte, Paris, 1937), Une famille de peintres (Galerie Allard, mit Willy Eisenschitz und Evelyn Marc).Bitte beachten: Der Kaufpreis besteht aus Meistbot zuzüglich des Aufgeldes, der Umsatzsteuer sowie gegebenenfalls der Folgerechtsabgabe. Bei Normalbesteuerung (mit ° beim Schätzpreis gekennzeichnet) kommt auf das Meistbot ein Aufgeld in der Höhe von 24% hinzu. Auf die Summe von Meistbot und Aufgeld kommt die gesetzliche Umsatzsteuer hinzu. Diese beträgt 13% bei Gemälden, Aquarellen, Zeichnungen, Grafiken sowie Skulpturen und 20% bei Fotografien und allen anderen Objekten. Bei Differenzbesteuerung beträgt das Aufgeld 28%. Die Umsatzsteuer ist bei der Differenzbesteuerung inkludiert.

A Victorian burr-walnut breakfront side cabinet, the three central shelves flanked by cupboard doors mounted with Sevres style plaques depicting portraits of females and floral sprays, the centre with mirror back below a single shelf with central Sèvres style porcelain plaque depicting a floral spray, reeded ebonised columns to each side, raised on plinth base with turned feet, 170 x 40 x 140cms.

A pair of Sèvres style gilt-metal mounted dark blue ground ovoid vases and covers, circa 1860, each painted with Watteauesque scenes of a galante and companion with attendant in landscape, the reverse with buildings and landscapes, within gilt cartouches between moulded gadroons and stiff leaves bands, gilt with elaborate rosettes and scrolling foliage with 'jewelled' ornament, blue interlaced Ls marks to covers, 55.5cm. high CONDITION REPORT: Some jewelling loss throughout on both vases, gilding rubbed in places throughout, minor nibbles under the metal collar on the top of the vase, no obvious signs of restoration

TafelaufsatzMitte 19. JahrhundertPorzellanplatten von Sèvres Bronze feuervergoldetHöhe 26 cm, Durchmesser 31 cmAm Boden gemarkt

Paar Henkelvasen Im Stil von SèvresPorzellan bunt staffiert & vergoldetMittig Darstellungen mit BlumenbouquetsHöhe 58 cm, Breite 30 cmAm Boden gemarkt

Sèvres ParisKaffeegarnitur1 große Kaffeekanne, Höhe 23 cm, Länge 23 cm1 Zuckerdose mit Deckel, Höhe 15 cm, Länge 15 cm1 Milchkanne, Höhe 12 cm, Länge 11 cm10 Tassen mit Untertassen, Durchmesser 13 cm

Pair of large lidded vases with medallions of flowers on a cobalt blue fond, Sèvres style, 20th centuryKoppel grote dekselvazen met medaillons van bloemen op een kobaltblauwe fond, Sèvres stijl, 20e eeuw102 cm

Pair of Sèvres style lidded vases in cobalt blue with gilding and medallions with hand-painted romantic scenes signed P.FILIQUIER and marked at the bottomKoppel Sèvres stijl dekselvazen in kobalt blauw met verguldsels en medailles met handgeschilderde romantische taferelen gesigneerd P.FILIQUIER en gemerkt onderaan de voetH 56 cm

Large Sèvres bonbonnière in blue cobalt with hand-painted decoration, signed L Bertren and markedGrote Sèvres bonbonnière in blauw kobalt met handbeschilderd decor, getekend L Bertren en gemerkt11.5 x 35.5 x 22.5 cm

Garniture of a Sèvres lidded vase with hand-painted decoration of a cherub on cobalt blue ground and 2 porcelain ornamental vases with decoration of floral scrolls and cobalt blue and gilded top, all with bronze mounts, marked Sèvres and stamped château des TuileriesGarniture van een Sèvres dekselvaas met handgeschild decor van een cherubijn op kobaltblauwe fond en 2 porseleinen siervazen met decor van bloemenranken en kobaltblauw en gedoreerd bovenstuk, alles met bronzen monturen, gemerkt Sèvres en gestempeld château des Tuileries35 & 23 cm

Tête-à-Tête Wallendorf, um 1790 Sechsteiliges Déjeuner, bestehend aus einem runden Tablett (Ø 30 cm) mit vierfachem Durchbruchdekor am Anstieg, zylindrische Kaffeekanne mit Deckel (H. 15 cm) durch eine Kette mit dem eckigen Henkel verbunden, zylindrische Milchkanne mit Deckel (Hl. 11,5 cm. ebenfalls mit Kette, Zuckerdose mit Deckel (H. 8 cm), zwei Tassen mit Untertassen und Deckel (H. je 8 cm); flächendeckender königsblauer Fond mit Caillouté-Vergoldung im Stil von Sèvres. Porzellan. Am Boden Blaumarke "W". - Gold minimal berieben. - Vgl. die Form bei Scherf/Karpinsky: Thüringer Porzellan, Abb. 185. - Erworben bei Kunsthandel Amelung in Würzburg.Frühstücksgeschirr

PAAR VASEN, Sèvres-Stil, späte Historismus-Epoche,schlanke Balusterform auf Marmor-Plinthe, hochovoider Porzellankorpus mit amourösen Puttenspiel (Handmalerei, sign.) zwischen Champlevé-Emaille-Dekor, in den Seiten Maskerons aus Ormolu, H ca. 26 cm, minimalst best.

Sèvres Frankreich "Galathee"nach einer Skulptur von Laurent-Honoré Marqueste (1848 Toulouse bis 1920 Paris), Pressmarke 1928-1940, monogrammiert JHL und betitelt sowie Ritzmonogramm PZ?, naturalistische Darstellung in Biskuitporzellan, auf profiliertem Rundsockel mit reliefierter Titelplakette stehende junge Frau als Akt, sich räkelnd mit zum Kopf erhobenen Händen und verträumtem Blick, zu ihren Füßen eine Rose und ein Hammer liegend, szenische Darstellung der Nymphe Galatea aus der 1865 uraufgeführten, komisch-mythologischen Oper "Die schöne Galatée" von Franz von Suppé (1814-1895), seltene Figur, guter altersgemäßer Zustand, H 47 cm.