THOMAS FRYE (ANGLO-IRISH 1710-1762) PORTRAIT OF A LADY Oil on canvas, feigned oval Signed and dated `1755' (lower right) 75 x 61cm (29½ x 24 in.) In an elaborate Rococo frame Thomas Frye was an Irish portrait painter. As a boy in Ireland he was influenced by artists such as Rosalba Carrera. In 1735, he travelled to London with Herbert Stoppelaer (active 1730 - 1775). There he studied under John Brooks of Battersea Enamel Factory. During his career Frye painted the portraits of many members of London society including Jeremy Bentham (1760), and Henry Crispe of the Custom House (1746), as well as for royalty with his later portraits showing the influence of Hogarth, including Frederick, Prince of Wales in Garter Robes (1741). The present lot was painted in 1755, a relatively late work for the artist. In 1744 Frye took out a patent for the manufacture of artificial soft-paste porcelain, which by 1749, had received the backing of the Peers family and was in full production at the Bow Porcelain Factory. By 1759 however, the prolonged exposure to the environment of the factory furnaces had taken its toll on Frye's health. He died of consumption in 1762. Condition Report: The canvas has been lined. Rubbing and abrasions to the framing edges. Stretcher marks visible. Craquelure throughout. Some light scuffs and surface scratches. Inspection under UV reveals scattered retouching and infilling throughout, but this is particularly concentrated to the sitter's face. Measurements including frame: 112 x 85cmCondition Report Disclaimer
We found 50 price guide item(s) matching your search
There are 50 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
50 item(s)/page
A large Bow model of a lion, circa 1750Modelled recumbent on an irregular rocky base, his head turned to the side in a rather anxious expression, his tail curled over his hind quarters, left in the white, 28cm wideFootnotes:ProvenanceBonhams, 20 November 2019, lot 236Mavis Bimson CollectionLions were modelled in various sizes at Bow, see lot 296 for an example on a more modest scale. Producing such a large and heavy model within the first few years of the factory must have been a challenge. One such example was in the Dudley Delevigne collection sold by Bonhams on 17 June 1988, lot 17, and subsequently the John Hewett Collection, see Albert Amor exhibition 1997, no.6. This had strangely been modelled on a base of inadequate length. Another similar lion is illustrated beside a model of a lioness by Elizabeth Adams and David Redstone, Bow Porcelain (1981), p.195, fig.122. Errol Manners and Anton Gabszewicz discuss three Bow lions and a lioness in the Nigel Morgan Collection, E & H Manners Exhibition Catalogue (2009), nos.33-35. In her catalogue Eating at the Whites' House (2022), p.93, Mary White illustrates a pair of Bow lions and refers to the large stone lions in the grounds of Chiswick House, to which these models may be related.For further information on this lot please visit Bonhams.com
A pair of Bow porcelain figures of a shepherd and shepherdess, circa 1755, she stands holding flowers in her uplifted apron a sheep beside her, he with pipes, a dog and lamb at his side, on encrusted scroll edged bases 26.5cm and 25.5cm highThe tip of her shoe is chipped. The entire right of his tricoen hat is missing. The ear of the dog and the ear of the sheep are missing, also the tail of the sheep. Factory faults to both
Szolnay blush ivory twin-handled porcelain reticulated centrepiece, factory stamps to the underside, 11.5" wide, 6" high; together with a Rudolf Wachter Bavaria porcelain vase decorated with flowers 12.5" high, Limoges jar with cover decorated with a figural scene after 'Fragonard', a Vienna style porcelain urn table lamp with decoration after 'Boucher' and a Continental porcelain centrepiece modelled as a boat with dragon head bow and figures (at fault) (5)
A GROUP OF TWENTY SEVEN GERMAN PORCELAIN MONKEY BAND FIGURES20th centuryComprising; fifteen Dresden figures including two conductor's; seven Sitzendorf examples and five larger Rudolstadt Volkstedt figures, factory marks in blue, sizes 11.5cm to 17cm high15 Dresden figures- violinist with end of violin lacking above left hand. Otherwise in good condition. Conductors 17cm high7 Sitzendorf figures- Conductor's baton lacking. Piper with a chip to his hat. Cellist to chip to end of bow. Conductor 14cm highVolkstedt figures- good condition. Conductor 16.5cm high
THOMAS FRYE (c.1710-1762)Portrait of Thomas Fane, 8th Earl of Westmorland, of Brympton D’Evercy in Somerset (1701-1771), three-quarter lengthOil on unlined canvas, and contained in its fine original carved and gilded frame, 127 x 102cm (50 x 40¼”)Provenance: By descent at Brympton D’Evercy, Somerset, to Lady Georgiana Fane (1801-1874); her nephew the Hon. Spencer Ponsonby-Fane (d. 1915), younger son of the 4th Earl of Bessborough, and thence in the Clive-Ponsonby-Fane collection until the contents were largely dispersed in 1956; Private CollectionThomas Frye, from Edenderry, County Offaly, was the most extraordinarily inventive of Irish Georgian artists, and arguably the most underappreciated – at home at least. His achievements are better appreciated internationally, indeed Martin Postle argues that he is one of the ‘most intriguing and original artists to have emerged in Britain during the eighteenth century’. His activities straddled the dividing lines between the fine, graphic and applied arts – just at the moment when specialisation was becoming the norm. As his epitaph noted he was the ‘inventor and first manufacturer of porcelain in England’ at his factory in Bow, east of London, while, as Josiah Wedgwood put it, in 1769 he was ‘famous for doing heads in mezzotinto’, and his prints (‘dazzlingly innovative’, in Toby Barnard’s phrase) are among the most sought-after of all mezzotints. However, he was first and foremost a portrait painter, and he had enjoyed great success in the profession since winning a commission to paint a full-length state portrait of Fredrick, Prince of Wales for the Saddlers’s Company in the City of London in November 1736. As his epitaph noted: ‘No one was more happy in delineating the human countenance, He had the correctness of Van Dyke, & the colouring of Rubens’. Even Ellis Waterhouse who is generally grudging in his praise of Irish artists noted that Frye was ‘one of the most original and least standardised portrait painters of his generation’.Frye’s career in London exemplifies the period’s incipient globalization – of materials and motifs. He attempted to emulate Chinese porcelain technology with, it seems, clay imported from North America, while his pioneering production of mezzotint scraping imitated, quite openly, the work of the Venetian painter and printmaker Giovanni Battista Piazzetta. Reciprocally, Frye was directly influential on artists of rather greater reputation than his own. John Singleton Copley, as a young man in Boston (where Bow porcelain was advertised as being for sale), copied Frye’s mezzotint heads, while some of Wright of Derby’s most famous – and paradoxically innovative – works have been shown to quote almost verbatim from the same series.The portrait depicts Thomas Fane (1701-1771), the second son of Henry Fane of Brympton d'Evercy in Somerset (fig. 1), a manor house often described as the prettiest in England. In 1757 Fane succeeded his unmarried elder brother Francis to their father's Brympton estate and in 1762 inherited the title of Earl of Westmoreland, and the seat at Apethorpe Hall, in Northamptonshire from John Fane, 7th Earl of Westmorland, his father's childless second-cousin – and one of Marlborough’s most distinguished officers.It was for the sitter’s grandson, John, the 10th Earl, Lord Lieutenant of Ireland between 1789 and 1794, that Westmorland Street in Dublin was named. In another historical twist, in 1762 Thomas’s daughter Mary, married Charles Blair, a wealthy owner of plantations in Jamaica, who was the great-great grandfather of Eric Arthur Blair, better known to history as George Orwell, making Frye’s sitter here Orwell’s great-great-great grandfather.An instructive comparison can be made between the present portrait, which dates from about 1740 and a later portrait of the same sitter by Sir Joshua Reynolds (fig. 2), especially interesting as we know that Frye was on very cordial terms with the younger artist. Reynolds’s full length dates from 1761 and hence shows the sitter as noticeably older but recognisably the same, genial and rather bluff individual. Perhaps helping to date the work, and certainly indicative of Frye’s studio practice, the hands, particularly that resting on his hip, are almost identically positioned in his 1739 portrait of Sir Charles Kemeys-Tynte (fig. 3) (National Gallery of Ireland). No doubt a shared preparatory drawing was reused, rather than the artist trying his sitters’ patience by depicting their hands individually.Condition Report: Good overall conditionCleaned and restoredSpots of overpainting, nothing too concerning Presentable, carved wood frameReady to hangWith three repair patches verso, please see image on our website showing the back of the painting
A ROYAL CROWN DERBY PORCELAIN ALLEGORICAL FIGURE 'FIRE', the underside with impressed marks and iron red title, decorator's name 'L. Tomlinson' and Stevenson & Hancock marks, height 18cm, together with a late 19th / early 20th century Continental porcelain figure of a man with bows on his cuffs and shoes, unidentified underglaze blue mark to underside, height 22.5cm, a 19th century British porcelain dessert plate, the blue and white border moulded in relief with birds and foliate scrolls, the centre hand painted with pink roses, rose buds and leaves, unmarked , diameter 22cm, an early 19th century New Hall bone china saucer dish with Japan style pattern, no.1542, printed factory mark, diameter 21.5cm and a late Victorian Ashworth Brothers ironstone dinner plate, printed and painted in the Imari palette (5) (Condition report: Derby figure is in good condition, the Continental figure has restoration to the hat feather, hands and ribbons as well as losses to the ends of one bow, bows on shoes and the plant at his feet, the three plates have varying degrees of wear to the gilding and the Ashworths plate has patches of black paint? to the underside and rim)
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.
John Simpson (British, 1811-after 1871): An oval enamelled copper self portrait miniature together with a rectangular enamelled copper portrait miniature of Mrs Simpson (probably Mrs William Page Simpson)the first miniature with the sitter looking to dexter with mutton chop whiskers, wearing a black silk bow tie, the rear inscribed and dated Painted by J. Simpson for his son W. P. Simpson, Jan 1865, the second miniature of canted topped rectangular form, the sitter looking to dexter, her hair dressed with long ringlets, her black silk dress with laced collar, the rear signed dated Mrs Simpson 1855., by J. Simpson', the first miniature, 4cm x 3.3cm, the second miniature, 5cm x 4cm (2)Footnotes:John Simpson (1811-after 1871) was trained as a porcelain painter at the Derby porcelain factory before moving to London in 1845. He soon established a practice as a miniature painter specialising in works on enamel, and fulfilled the first of many commissions for Queen Victoria in that year. He is last recorded describing himself at the end of his career as a 'photographic artist' (1871 census return); the date of his death is not known.For further information on this lot please visit Bonhams.com
each modelled after J.J. Kaendler, each seated on a tree-trunk and bowing deeply with his left leg extended, holding out his tan and gilt hat, wearing a multi-colored jacket and pantaloons, with bow-tied shoes, one with a sly smile the other with a jovial smile each with a slapstick on his side, atop a small mound base with applied flowers, each marked with factory mark in blue underglaze, the bearded one with impressed numerals 123, incised model number 632, with painter's numeral 66 in brown underglaze, with additional with painter's numeral M62.358 in red overglaze, the jovial one with impressed numerals 49, incisded model number 3023 with incised X, with painter's numeral M62.356 in red overglaze, all under base; bearded height: 16 cm (6 1/4 in.), jovial height: 22 cm (8 5/8 in.)LOT NOTESThe Greeting Harlequin is depicted in an engraving by Antoine Watteau, Volume II: Engravings by Various Artists after Watteau, L'oeuvre d'Antoine Watteau, c. 1740, National Gallery of Art, credit line of Widener Collection, accession number 1942.2093CONDITIONThe porcelain figures are in very good condition. Inspection under UV light shows no sign of restoration.
based on Italian Commedia dell'Arte 'Pulcinella Figure', on a mound moulded base with applied greenery, wearing a black and gilt pinstripe jacket and matching pantaloons with a billowing white cloth with a black chaperon hat, standing with slight plie with one foot out and his hands on his hips, with bright yellow shoes and a small smile, marked with factory mark in blue underglaze, raised model number 255, impressed 143, with painter's numeral 28 in red overglaze, with partially effaced X792 MKY in black overglaze, all under base; height: 8 cm (3 1/8 in.)CONDITIONThe porcelain figure is in very good condition. The bow atop his shoe of the extended leg is chipped. Inspection under UV light shows no sign of restoration.
modelled after Peter Reinicke and J.J. Kaendler and based on Italian Commedia dell'Arte, comprising: a) Scaramouche from the Duke of Weissenfels Series, on a hard-paste mound moulded base, standing before a tree-trunk with his left leg forward and right arm slightly raised, positioned in a dancing pose, wearing a black snood and cropped cape, with a pink and white striped tunic and matching breeches, with gilt-edges and black bow accents, with black shoes with yellow rosettes, marked with factory mark in blue underglaze, incised model number F. 126, with impressed numeral 6, carved square, with with painter's numeral M62.310 in red overglaze, all under base; height: 15 cm (5 7/8 in.)b) Jouant Harlequin, on a mound moulded base with applied flowers, standing before a tree-trunk in a turned out position, wearing a peach and gilt tunic with matching pinstripe breeches, with a turquoise sash and cropped black and yellow cape, his head adorned with a muted brown pointed hat matching his mask, holding a sword across his thighs, marked with factory mark in blue underglaze, with incised model number 1163 , impressed numeral 144 all under base; height: 14.5 cm (5 3/4 in.)c) Lute Playing Harlequin, on a mound moulded base with applied flowers, standing before a tree-trunk, in playful position, with one leg resting on the other, playing a lute, wearing a blue onesie with gilt buttons and blue feathered skull cap and black mask, marked with factory mark in blue underglaze, incised model number 5123, with painter's numeral 6 in brown underglaze, with additional painter's numeral M62.164 in red underglaze; height: 15.5 cm (6 1/8 in.)CONDITION The porcelain figures are in very good condition. B, sword with visible repair near handle. A visible chip resulting in loss to the orange feather of c. Inspection under UV shows no apparent sign of restoration to b and c. Variant fluorescence to the head and collar of a.
A Bow porcelain model of a classical lady standing by a pillar, dagger and anchor mark, 20cm high; a Bow porcelain model of a seated Turkish lady 17cm high Provenance: From a Norfolk Country HouseCondition report: Turkish lady, badly restored which is now cracking, missing a thumb. Other figure has restoration to the hands, factory crack to the bottom rim
Five Herend porcelain Animals, all (a/f), comprising a Peewit, decorated in Vieux Herend (VHB) blue fish scale design, the wings in bright colours, gold highlights, blue factory marks and original Harrods price sticker to base, tip of gold beak off; together with a Dog, front right paw tip broken; a rabbit, right ear off; a butterfly with chip to leaf; a cat with gold bow, decorated in Vieux Herend (VHV) green fish scale design, total restoration. (5)
A Worcester Porcelain Large Tea Bowl and Saucer, circa 1758, painted in underglaze blue with the Dragon pattern, painted mark in underglaze blue, tea bowl 10cm diameter, saucer 16cm diameterFootnote: See Branyan, French & Sandon Worcester Blue and White Porcelain 1751-1790, pg.181 where the origin of this pattern is discussed and that the presence of crescent marks on some later Bow examples suggests that the Bow factory was copying Worcester pieces rather than the Chinese originalsCondition report: No chips, cracks or repair. Very minor surface wear located mainly to glaze scratches in the well of each piece.
A Bow White Porcelain Figure of Harlequin, circa 1755, modelled sitting on a tree stump, his right hand raised to the rim of his hat, his slapstick under is left arm, on a square base, 12.5cm highFrom the Collection of Mrs Hoff of Hoff Antiques, Kensington High Street, LondonFootnote: For a similar example see Bradshaw Bow Porcelain Figures 1748-1774, pg.115The Bow model bears some similarities to the Meissen figure from the Duke of Weissenfel's series modelled by Peter Reinicke. In his Northern Ceramics Society article Some Rare Porcelain Harlequins, Dr Bradshaw suggests that the source for the model may be an anonymous Ausberg engraving of around 1700, also used at Meissen around 1750. Bradshaw states that a set of the engravings was sent to Count von Brühl, director of the Meissen factory, by his friend Count Johann Charles von HennickeCondition report: Some restoration to brim of hat, right arm and shoulder, left hand and slapstick. Some flakes to base and extremities.
THOMAS FRYE (1710-1762) Portrait of an Elderly Gentleman in Brown Velvet Jacket Oil on canvas, 75 x 62cm Signed, dated 1745 and inscribed 'Aged 88' Provenance: With Gimbel Brothers, New York; Sale, Sotheby's New York, 17th January 1991, Lot no. 124, where purchased. Born in Edenderry, Co. Offaly into an Anglo-Irish family, he went as a young man to London where he commenced painting portraits in oils, pastel, charcoal and in miniature. Frye’s big break came with the commission from the Hall of the Saddlers, Cheapside in London to paint a full-length portrait of Frederick, Prince of Wales. This important work brought the young artist a great deal of attention and was the catalyst for a successful practice as a portrait painter. He developed a close and life-long friendship with Sir Joshua Reynolds. Described by Walter Strickland as a clever and versatile artist, in 1744 he became interested in a project for making porcelain and with Edward Heyleyn developed the Bow factory. Frye became manager and for a period of fifteen years devoted virtually all his time and energy to the creation of porcelain of distinction. However, he was forced in 1759 to withdraw from the management of the business due to ill-health and resumed his portraiture practice. Frye’s artistic legacy also includes the development of the mezzotint into an artform in itself - a printmaking process which enabled half-tones to be produced without using line or dot-based techniques, achieving tonality with a high level of quality and richness which was particularly useful in the production of portraits. In the 18th century the mezzotint was viewed largely as a reproductive process slavishly copying the fashionable portraits of the day. However, Frye was using mezzotint as a form of artistic expression in itself, his head series of portraits were conceived as mezzotints, executed as mezzotints, as original works of art and so from an 18th century point of view his approach was completely unique.
MODELLED AFTER C.G. JUCHTZER A LATE 19TH CENTURY MEISSEN PORCELAIN FIGURAL GROUP 'AMORS FESSELUNG'modeled as Cupid being untethered by a young classical maiden, his bow, quiver and wreath at their feet, seated next to them an attendant feeding two lovebirds, atop a natural base, marked with factory mark in blue underglaze, hand painted 2 in brown overglaze, incised in paste 3.N and J.70 all under base; overall height: 32 cm (12 5/8 in.) CONDITION The figural group appears in good condition. Overall light surface dust visible to the naked eye, most notably between crevasses. Inspection under UV shows retouching along the front of the natural base and to the ribbons on Cupid's wings. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
A large Sèvres cup and saucer (Gobelet 'litron' et soucoupe), circa 1765Of the first size, possibly decorated by Jacques Fontaine, with a bleu-lapis ground and central cartouche of laurel wreath between bands of tooled gilding enclosing on the cup a grisaille scene of Amor seated on a cloud holding a bow and wreath, on the saucer his attributes of quiver and arrows and a wreath deposed on clouds, the rims of cup and saucer with a pointillé ground alternated by interlacing wreaths of gilt leaves, the cup: 8cm high, the saucer: 15.2cm diam., interlaced LL monogram over a single dot in blue, the saucer with incised X in square (minimal rubbing) (2)Footnotes:Provenance:Property from the Collection of Dr. Johannes Ralph LafrenzAccording to Rosalind Savill, The Wallace Collection Catalogue of Sèvres Porcelain (1988), Vol III, pp. 1033-1034, Jacques Fontaine worked as a painter, gilder and burnisher at the Sèvres factory between 1752-1800, and from 1767 he specialised in cherubs, grisaille trophies and children or cherubs in grisaille. In overtime 1767-69 he earned 4 livres each for reserves of monochrome children in landscapes, and 1 livre 10 sous each for 160 Médaillons et trophés en gris (op.cit. p.1034).A sugar bowl and cover with a comparable decoration previously with Michel Vandermeersch was sold at Drouot, 17 February 2016, lot 104.For further information on this lot please visit Bonhams.com
A good pair of Bow figures of Cooks, circa 1756Modelled standing, she holding a joint of meat on a platter held before her, the folds of her apron used to protect her hands from the heat of the dish, wearing a pale yellow coat with puce cuffs, her skirt painted with black florets, he holding a circular dish laid with a cooked chicken and lemon slices, wearing a turban-like cap and yellow striped breeches, his bright blue frock coat with a pale pink lining, the mound bases applied with flowers, 17cm high, she with impressed 'B' to reverse of base, he with incised 'T' underneath base (2)Footnotes:ProvenanceDistinguished Private CollectionExhibitedAshmolean Museum, OxfordThese celebrated figures are mentioned in the 1756 memorandum book of John Bowcock, clerk to the Bow factory. Sixteen pairs were ordered from him by the dealer Fogg in 1756. A pair from the Peter Bradshaw Collection is illustrated in his book, Bow Porcelain Figures (1992), p.138, pl.127 and col. pl.III and was sold by Bonhams on 24 January 2007, lot 18. Others are illustrated by Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain (1982), p.132-3, no.213 and in Yvonne Hackenbroch's Untermeyer Catalogue (1957), pl.81, fig.244. The male cook is also recorded in Chelsea.For further information on this lot please visit Bonhams.com
A Worcester pot of modelled flowers, circa 1768-70Probably modelled by John Toulouse, the pot moulded with a gadrooned rim, with three false handles picked out in red and two horizontal bands in yellow, painted with scattered sprigs and leaves, the cover modelled as a pyramid of brightly coloured flowers including a rose, carnation and convolvulus, 13.7cm high, incised number 3 inside cover (2)Footnotes:ProvenanceRalph Kenber CollectionClosely comparable models are found more commonly at Bow. It is likely that the Bow modeller John Toulouse moved to the Worcester factory in the late 1760s and may be responsible for both versions. A similar pot from the Zorensky Collection was sold by Bonhams on 22 February 2006, lot 210 and a pair in the H Rissik Marshall Collection is illustrated in Coloured Worcester Porcelain (1954), pl.20, no.383. A related biscuit waster is illustrated by Henry Sandon, Worcester Porcelain (1969), pl.147.For further information on this lot please visit Bonhams.com
Thomas Frye (Irish 1710-1762)Portrait of a Gentleman, seated three-quarter-length, at a table Oil on canvas125 x 104cm (49 x 40¾ in.)Original 18th century carved and gilded frame. Provenance:Sale, Christie's, London, 19 June 2012, lot 100 The Irish-born Thomas Frye was one of the most original artists and designers of the 18th century. He engraved a celebrated series of life-size heads in mezzotint as well as being the founder and manager of the Bow porcelain factory in East London where he designed many of the early figures. Ill-health from the factory caused him to retire to Wales in 1759 when he took up oil painting again, from when this portrait likely dates. Condition Report: The canvas has been relined. There is surface dirt, including white blemishes and craquelure throughout. There are light stretcher marks visible. Inspection under ultraviolet light reveals scattered retouching throughout and a heavy varnish. In overall reasonable condition.Condition Report Disclaimer
THE BREADALBANE HEATHER PATTERN WORCESTER PORCELAIN BREAKFAST SERVICE CIRCA 1840 an extensive service, each piece painted with sprigs of heather on a white ground, centred with the Breadalbane coronet of a B below a crown, with gold rim, the service includes pieces commissioned from Flight, Barr and Barr, with brown printed mark Flight, Barr & Barr, Worcester and Coventry St London, and slightly later unmarked pieces. Comprising: twenty five small saucers, 14.5cm diameter (nine marked Flight, Barr and Barr) fifty four large saucers, 17.2cm diameter (thirty marked Flight, Barr and Barr) thirty one side plates, 19.6cm diameter (eighteen marked Flight, Barr and Barr) sixty five plates, 21.5-22.5cm diameter (thirty one marked Flight, Barr and Barr) twenty one plates, 25.5cm diameter (twelve marked Flight, Barr and Barr) fifteen egg cups four sugar bowls with covers three tall jugs, 18cm high two small cream jugs, 9.5cm high four small hot water pots (covers lacking), 12cm high one hot water pot with cover 13.5cm high three jugs with branch formed, handles 15cm high one round bowl, 11.5cm diameter five slop bowls, 18.5cm diameter fourty three large tea cups twelve coffee cups three cylindrical jars with domed covers, on stands, jars 11.5cm diameter (with an additional stand and an additional cover) four round muffin dishes with domed covers, 22cm diameter (with an additional cover)Provenance: Taymouth Castle, Perthshire Wooton House, Bedfordshire Thence by descent.Footnote: Note: This extensive rare and historic service comprises pieces from two distinct Worcester periods. Part of the service is pre-1840 and the pieces are marked with the Flight, Barr and Barr brown printed mark. In addition to these there is a large quantity of post-1840 unmarked pieces, which were made around the time when Chamberlain’s took over the running of the factory in 1840. The slightly earlier Flight, Barr and Barr pieces have subtle differences in the decoration, and are painted with bell heather rather than the common ling heather depicted on the unmarked pieces. This service may well be the first to have been produced in the Heather pattern. However, The Duke of Sutherland ordered an identical pattern service for Dunrobin Castle in Sutherland. Dunrobin was remodelled in 1845 so the service there is likely to be later, ordered after the renovations in 1845. The service offered in this lot was supplied to John Campbell, 2nd Marquess of Breadalbane, prior to the visit to Taymouth Castle by Queen Victoria and her consort Prince Albert in 1842. It was the royal couple's first visit to Scotland and they were guests of the Marquess from 7th - 10th September. The unmarked pieces are likely to have been an additional order to increase the quantities of the service, ensuring that it would be extensive enough to cater for the large volume of guests. In the Worcester archive there is an invoice, dated 1842, for approximately 53 pieces, at the cost of £8-12-11. It was delivered to Taymouth Castle in January 1843. One can speculate that these pieces were perhaps acquired to make up for any losses and damages to the service that had been incurred during the revelery of the royal visit. The Worcester archive also contains a letter dated Sept 26th 1843, from the Worcester Porcelain Works to the Marquess of Breadalbane, respectfully asking him to pay his invoice, nine months after it had originally been received. Then, also on record at the archive, is a written instruction from the Marquess ordering the payment to Chamberlain and Co Worcester Porcelain for the additional items, dated 27th October 1843. The 2nd Marquess, made huge efforts to make the royal visit memorable and a truly 'Scottish' experience for the couple. From arches of heather at the entrance of the castle and around the village, and an array of tartan dress on display, to finer details such as the use of the Heather pattern breakfast service, there was attention given to every aspect of the visit. Mrs Maule, a wife for the Liberal MP for Perthshire, was a guest at Taymouth Castle on the day of the Queen's arrival. Below is an excerpt from her diary: At 10, people in the park beginning to collect and the mist rising gracefully from the hills. The flags flying, birds singing and the hum of voices all round… From one o’clock we began to see people flocking into the Park, all the ladies with Tartan in scarfs or ribbons. 50 of Sir Neil Menzies tenants clad in their Tartan joined the rest in front of the house. Between 3 and 4 we began to expect the Queen and Prince and everything was put in readiness for Her reception. … Outriders and part of the escort preceded Her carriage and 6 other carriages followed… HM on reaching the door was welcomed by a simultaneous burst of cheering that echoed back again and again and anything so enthusiastic I never saw or heard. Lord Breadalbane at first stood in front of his splendid Highland Guard of 200 men and then having made a bow, bonnet in hand, he came round and assisted the Queen to alight and came up stairs to the drawing room where we were all waiting to receive her. [National Records of Scotland reference: GD45/26/89, pp.2-5] The Marquess wore highland dress and Queen Victoria commented in her journal, "it seemed as if a great chieftain in olden feudal times was receiving his sovereign". During the royal visit to Taymouth meals were provided for 730 people each day, including members of the royal party, guests, staff, pipers etc. While important Royal and invited guests would have had their lunch and evening meals served on and in silver, they would have had breakfast and refreshments from the Breadalbane Heather porcelain service being offered in this lot.
A GERMAN MEISSEN PORCELAIN FIGURAL GROUP, 'AMOR IN NOTEN', AFTER C.G. JUCHTZER, MEISSEN, LATE 19TH CENTURY on an oval base, the porcelain figural group features two classical maidens one dressed in a pink dress with gold detailing draped with a blue robe with an purple headband and the other in dressed in a yellow dress with gold detailing with a pink robe draped across her lap with a green headband, a flowering vine rests across both their laps, one of the classical maidens holds Cupid in her lap and is clipping his wings, the other maiden looking on while breaking his bow and arrows, two doves sit on the base, all atop a gilt heightened oval base, marked with blue factory mark underglaze, stamped '42' and incised '3 N' underbase, dimensions: 33 x 32 cm (13 x 12 5/8 in.) CONDITION In age-appropriate condition. Overall surface dust. One of the shears on the scissors has been broken. Inspection under UV shows no apparent signs of restoration. Otherwise no other issues to report. N.B. All lots are sold in as-is condition at the time of sale. Please note that any condition statement regarding works of art is given as a courtesy to our clients in order to assist them in assessing the condition. The report is a genuine opinion held by Shapiro Auctions and should not be treated as a statement of fact. The absence of a condition report or a photograph does not preclude the absence of defects or restoration, nor does a reference to particular defects imply the absence of any others. Shapiro Auctions, LLC., including its consultants and agents, shall have no responsibility for any error or omission.
A Worcester dry mustard pot, circa 1753Of gentle baluster form, painted in famille verte style with a heron-like bird flanked by a willow tree and flowering plants, an insect in flight above, the reverse with a rock and another flying insect, 7.5cm highFootnotes:ProvenanceJohn Alchin CollectionA similar example is illustrated by Simon Spero, The Klepser Collection (1984), p.25, no.8. Dry mustard was frequently used as a spice at this period, most probably in toddies and punch.Worcester's Strutting BirdsA most appropriate name was coined by an unknown collector or auction cataloguer to describe a curious species of bird painted in enamel colours on some of the earliest Worcester porcelain. Ultimately based on porcelain from the Orient, the comical birds are far removed from their Chinese origin and it seems more likely the painters responsible had learnt their trade decorating English delftware. Strutting birds are also seen on Bow porcelain of similar date and while we will never know which factory used them first, the Worcester versions are definitely the most amusing.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 collection of reference books on ceramicsIncluding three volumes by F.Severne MacKenna, Chelsea Porcelain, The Triangle and Raised Anchor Wares, Ltd Edn, no.439/500, Chelsea Porcelain, The Red Anchor Wares, Ltd Edn. no.261/500 and Chelsea Porcelain, The Gold Anchor Wares, Ltd Edn., no.168/500 and signed by the author and other various volumes (qty)Footnotes:The full list comprises three volumes by F.Severne MacKenna, Chelsea Porcelain, The Triangle and Raised Anchor Wares, Ltd Edn, no.439/500, Chelsea Porcelain, The Red Anchor Wares, Ltd Edn. no.261/500 and Chelsea Porcelain, The Gold Anchor Wares, Ltd Edn., no.168/500 and signed by the author .Frank Stoner: Chelsea, Bow and Derby Porcelain FiguresYvonne Hackenbroch: Chelsea and other English porcelain in the Irwin Untermyer Collection Peter Bradshaw: Derby Porcelain Figures 1750-1848Ed. Reginald Blunt: The Cheyne book of Chelsea China and PotteryJohn Twitchett: Derby Porcelain, inscribed and signed by the authorElizabeth Adams: Chelsea Porcelain John Twitchett and Betty Bailey: Royal Crown DerbyHugo Morley-Fletcher: Meissen Porcelain in Colour John Sandon: The Dictionary of Worcester Porcelain vol 1, 1751-1851Franklin A Barrett and Arthur Thorpe: Derby PorcelainF.Brayshaw Gilhespy: Derby PorcelainJohn Twitchett: Derby Porcelain, 1748-1848, An Illustrated Guide Frank Hurlbutt: Bow PorcelainFrank Hurlbutt: Old Derby Porcelain and its artist-workmenBernard Rackham: V & A Catalogue of the Schreiber Collection, Vol 1 PorcelainDennis Rice: Derby Porcelain, The Golden Years, 1750-70John Haslem: The Old Derby China Factory, 1st ed 1876Peter Bradshaw: 18th Century English Porcelain Figures, 1745-95Hugo Morley-Fletcher: Investing in Pottery and PorcelainHenry Sandon: Royal Worcester Porcelain, 1862 to the present day, signed by the authorGeoffrey Godden: Chamberlain-Worcester Porcelain 1788-1852Janet Gleeson: The Arcanum, the story of the invention of European PorcelainJohn Twitchett: In account with Sampson Hancock 1860s to 1880sEd. Dr Colin Roth: Derby Porcelain International Society, Journal 1Geoffrey Godden: The handbook of British Pottery and Porcelain marksThis lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
NO RESERVE Ceramics.- Haslem (John) The Old Derby China Factory..., 1876 § Kidson (J.R. & Frank) Historical Notes of the Leeds Old Pottery, one of 250 copies, Leeds, 1892 § Turner (W.) The Ceramics of Swansea and Nantgarw, 1897 § Rhead (G.W. & F.A.) Staffordshire Pots & Potteries, 1906 § Bryant (G.E.) The Chelsea Porcelain Toys, 1925 § Hurlbutt (F.) Bow Porcelain, 1926 § Hayden (Arthur) Spode & his Successors, 1925, plates and illustrations, many colour, original cloth, the last with dust-jacket, most a little rubbed, some spine faded, the first with split to lower joint; and 9 others on British pottery manufactories, 4to & 8vo (16)
A Derby porcelain figural candlestick, circa 1820, modelled as Diana holding a bow, a quiver of arrows at her feet, branches behind supporting three foliate clasped candle holders, encrusted with flowers, polychrome decorated, on a Rococo scrolling pink, blue and gilt base, red painted factory mark to back, a/f damage and repairs, 25cm high, together with a large Victorian porcelain teapot in Coalport Rococo style, decorated with flowers, bands of blue and yellow and gilt highlights, a/f damage and repairs, 21cm high. (2)Provenance: Private Deceased Estate
A large Staffordshire pearlware figure of Sir Anthony van Dyck, c.1810, after Michael Rysbrack, standing with one hand on his hip, the other outstretched and holding a scroll, draped in a long cloak and standing beside a large plinth, raised on a rectangular faux marble base, some restoration, 55.5cm. The Rysbrack statues of van Dyck and Rubens were also produced at the Bow porcelain factory around 1760.
A RUSSIAN PORCELAIN FIGURAL GROUP COURT OF A RURAL CONSTABLE (SUD STANOVOGO), GARDNER PORCELAIN FACTORY, MOSCOW, LATE 19TH CENTURY realistically modelled, standing around a table with a green cloth, the judge formally dressed with a white shirt and a black bow-tie, seated on a wooden chair upholstered in purple, the official in a brown overcoat holding his black cap behind him, leaning over the table towards with accused in a simple white shirt and a beige overcoat, documents, a quill and inkstands standing on the table, a bag beside it, on shaped base imitating the floor, red overglazed Gardner factory mark, impressed factory mark and numerals 69 and 0 under base; overall height: 13.5 cm (5 1/4 in.) LOT NOTESLots 276-328 in this auction come from the estate of a prominent New York collector of European heritage. After purchasing his first Gardner figurine more than 20 years ago, he developed an interest in Russian porcelain figures, and amassed a formidable collection over the next two decades, paying particular attention to quality of craftsmanship and authenticity.
Bow, Chelsea, and Derby Porcelain, Being Further Information Relating to These Factories, Obtained from Original Documents, Not Hitherto Published, Edited with Additional Notes, by William Bemrose, Illustrated, Bemrose & Sons, Ltd., London 1898, teal buckram, 4to; Haslem (John), The Old Derby China Factory: The Workmen and their Productions, Containing Biographical Sketches of the Chief Artist Workmen, the Various Marks Used, Fac-Similies (sic) Copied from the Old Derby Pattern Books, the Original Price List of More Than 400 Figures and Groups, Etc. Etc., George Bell and Sons, London 1876, later grey buckram, 4to; Twitchett (John), Derby Porcelain, 1748 - 1848: An Illustrated Guide, Antique Collectors' Club, Woodbridge 2002, h/b, d/j, 4to; Gilhespy (F. Brayshaw, FSA), Derby Porcelain, Spring Books, London 1965, h/b, d/j, 4to; Barrett (Franklin A.) and Thorpe (Arthur L.), Derby Porcelain, Faber and Faber, London 1971, h/b, d/j, 4to; Bow Porcelain: The Collection formed by Geoffrey Freeman, Written and compiled by Anton Gabszewicz in collaboration with Geoffrey Freeman, Lund Humphries, London 1982, h/b, d/j, square 8vo, [6]
Bow, Chelsea, and Derby Porcelain, Being Further Information Relating to These Factories, Obtained from Original Documents, Not Hitherto Published, Edited with Additional Notes, by William Bemrose, Illustrated, Bemrose & Sons, Ltd., London 1898, teal buckram, 4to; Haslem (John), The Old Derby China Factory: The Workmen and their Productions, Containing Biographical Sketches of the Chief Artist Workmen, the Various Marks Used, Fac-Similies (sic) Copied from the Old Derby Pattern Books, the Original Price List of More Than 400 Figures and Groups, Etc. Etc., George Bell and Sons, London 1876, later grey buckram, 4to; Twitchett (John), Derby Porcelain, 1748 - 1848: An Illustrated Guide, Antique Collectors' Club, Woodbridge 2002, h/b, d/j, 4to; Gilhespy (F. Brayshaw, FSA), Derby Porcelain, Spring Books, London 1965, h/b, d/j, 4to; Barrett (Franklin A.) and Thorpe (Arthur L.), Derby Porcelain, Faber and Faber, London 1971, h/b, d/j, 4to; Bow Porcelain: The Collection formed by Geoffrey Freeman, Written and compiled by Anton Gabszewicz in collaboration with Geoffrey Freeman, Lund Humphries, London 1982, h/b, d/j, square 8vo, [6]
An important and previously unrecorded American porcelain teapot attributed to John Bartlam (Cain Hoy, South Carolina), c.1765-69, printed in underglaze blue, one side with two cranes beneath a tall palm tree beside figures in a sampan and a solitary figure in another boat, the reverse with a version of the Man on the Bridge pattern, the eponymous structure linking small islands in a Chinese pagoda landscape, the cover lacking, the handle broken off and restuck, 9cm (3 1/2 inches) high, 17.5cm (5 inches) across. This teapot has only recently been identified as a piece of early American porcelain, believed to be part of a matched tea service that reached England in in the late 1760s or 1770s. It is only the seventh recorded piece of John Bartlam's porcelain and relates to a group of wares sold at auction in 2002. Among that group were four teabowls which were found to match sherds excavated at Bartlam's factory site in Cain Hoy, South Carolina. Two of the teabowls were sold to American museums by private treaty, another to a private collector by the same method, and the fourth was sold at Christie's, New York, on 25th January 2013, lot 179; being bought by a dealer on behalf of a private collector in the US. Alongside the teabowls in 2002 were sold two saucers, which have since been reclassified as Bartlam and both sold by private treaty to separate American collectors. The design on these saucers matches exactly that on one side of the teapot. More details of one of the saucers can be found in Steven Goss's new publication British Blue and White Saucers 1745-1795. Although the pattern on the saucers is not the same as that of the teabowls (known as the Bartlam on the Wando pattern), there are a number of significant similarities. The teabowls feature an unusual palmetto as part of one of the printed landscape vignettes, a device which is echoed to the interior and not known on any recorded piece of English blue and white porcelain of this era. The Salbas Palmetto is not a tree native to China or the Far East, whose designs Western potters were used to copying and adapting, but it is the state tree of South Carolina. It features more predominantly on the two saucers and the teapot, towering above two cranes standing at the water's edge. In Chinese Art, cranes are commonly depicted alongside pine trees as a common birthday motif and a wish of long-life and happiness (cf. Terese Tse Bartholomew, Hidden Meanings in Chinese Art, p.180). However, as Sandhill Cranes are native to South Carolina then it is likely that the engraver of this print was used to witnessing such birds standing beneath palmetto on the banks of the Wando and adapted a Chinese design accordingly. The Man on the Bridge pattern on the reverse of the teapot is known at several English factories including Bow, Isleworth and (at a later date) New Hall. The pattern here most closely resembles that of the London factories and, given the skill of the engraver, it is likely that Bartlam had employed an English decorator who had previously worked for one of these concerns. Little is known of John Bartlam before he travelled to America. The UK Register of Duties Paid of Apprentice's Indentures, 1710-1811 has a record of a payment made on 30th May 1761 when one Simon Chawner is apprenticed to John Bartlam, Potter of Lane Delph, Staffordshire. Lane Delph was one of the principal areas of the ceramics industry and Bartlam would have been one of a growing number producing creamware, pearlware and other earthenwares. He left England around 1763, possibly in some debt, to settle in South Carolina and set up business as a potter, establishing himself first in Cain Hoy around 1765. The move was a canny one - South Carolina was at the time one of the wealthiest and most fashionable, with residents vying to have the latest and finest ceramics shipped over from England. South Carolina was also part of the lucrative kaolin belt, which shipped Cherokee clay by the ton over to potters in the UK, including Josiah Wedgwood. In a letter to his partner, Thomas Bentley, in May 1767 Wedgwood writes, "I am informed they have the Cherok[ee clay] to a Pottwork at Charles Town"; the potter in question undoubtedly being John Bartlam. The proximity of a supply of kaolin, the wealthy local clientele and his clear entrepreneurial spirit meant it was inevitable that Bartlam tried his hand at making porcelain to rival that being imported from England at great expense. It is almost certain that he had help from someone with knowledge of the porcelain industry, perhaps a fellow Brit from one of the London factories, since not only is the Bartlam body extremely close to several of the London concerns, the decoration also bears similarities to some established patterns at both Bow and Isleworth. As early as 1766, Josiah Wedgwood writes again (this time to his patron Sir William Meredith), "[we] have at this time among us an agent hiring a number of our hands for establishing new Pottworks in South Carolina: having one of our insolvent Master Potters there to conduct them". By 1768 it appears that once again Bartlam was having some financial difficulties and, based on a newspaper advertisement of the time, was looking to relocate his manufactory to Charlestown itself. This he seems to have achieved by the end of 1770, but the Charleston pottery failed and closed in 1772. Bartlam relocated further inland to Camden, backed by a man called Joseph Kershaw, and continued to produce pottery there until his death in 1781. Further Reading Cinda K Baldwin, A Great and Noble Jar: Traditional Stoneware of South Carolina, pp.8-9 for an account of Bartlam's financial backers and various concerns. Steven Goss, British Blue and White Saucers 1745-1795, pp.244-245 for a discussion on a John Bartlam saucer in the same pattern. Robert Hunter, "John Bartlam: America's First Porcelain Manufacturer", Ceramics in America, The Chipstone Foundation, Milwaukee, 2007, pp. 193-195. Stanley South "John Bartlam's Porcelain at Cain Hoy, 1765-1770", Ceramics in America, The Chipstone Foundation, Milwaukee, 2007, pp. 196-202. Lisa R. Hudgins, "John Bartlam's Porcelain at Cain Hoy, A Closer Look", Ceramics in America, The Chipstone Foundation, Milwaukee, 2007, pp. 203-208. J. Victor Owen, "Geochemistry of High-Fired Bartlam Ceramics", Ceramics in America, The Chipstone Foundation, Milwaukee, 2007, pp. 209-219. Robert Hunter, "A newly discovered eighteenth-century American porcelain teabowl", The Magazine Antiques, January/February 2011, pp. 254-257.
A Herend porcelain part cabaret set, 20th Century, decorated with sprays of flowers and butterflies within a moulded basket weave border, comprising an oval tray with pink tied ribbon bow handles, coffee pot and cover with yellow rose finial, cream jug, leaf shaped sugar bowl and two cups and saucers, printed and impressed factory marks and '498' to bases, length of tray approx 40cm, together with a similar teacup and saucer.
AN 18TH CENTURY MEISSEN GROUP OF THE INDISCREET HARLEQUIN By J.J Kandler, c. 1742Provenance : Winifred Williams Antiques, Eastbourne Sussex, 1967 Modelled as an Italian comedy group, with Columbine and Beltrame embraced in an intimate exchange.The male resting his foot on a reclining Harlequin who in turn is captured peeking up Columbine's skirt, each figure painted in brightly coloured costumes, the Harlequin wearing a jacket with scattered playing cards.Crossed Swords in underglaze blue, 16cm highIn 1731 Johann Joachaim Kandler was recruited to the Meissen factory as a modeller, working under the experienced hand of J. J Kirchner. During the first 21 months, Kandler worked together with him on projects of great difficulty.It was after the departure of Kirchner in 1733 that Kandler assumed the role of modeller-in-chief. Kandler was by now fully versed in the problems and difficulties associated with the manufacture of porcelain groups and large figures. Groups in particular, could present significant technical difficulties due to the risk involved with multiple figures being executed in one single firing process.Italian comedy, with its wide variety of risqué humour had been the subject of many prints and engravings, and these subjects were well extremely popular with the general public. Kandler’s sculpture of the 'Commedia dell'Arte' porcelain groups, 1740-45, represented some of the highest achievements produced at Meissen in the 18th century. The composition of 'The Indiscreet Harlequin', with reference to the pose of each figure, is believed to have been derived from a combination of engraved prints, namely the theatrical engravings of both Petrus Schenck and Gregorio Lambranzi.Kandler’s fascination with ‘Commedia dell'Arte’ is captured by his use of vibrant colour and the exaggerated expressions which portray the integral aspects of each character’s personality. The Harlequin, who is readily identifiable by his patchwork costume and menacing grin, is clearly shown as a figure of mischievous demeanour. Porcelain comedy groups became extremely popular amongst the highest tier of society, which up to this, had adorned their walls with flat black and white theatre engravings. The group, in contrast, was a colourful, three dimensional re-enactment of a comedy scene which could capture a moment of theatre in such a way that was impossible for the engraver.The popularity of the ‘Indiscreet Harlequin’ prompted a second phase of manufacture between 1742 and 1745. Kandler had set the stage for other porcelain factories to follow. During the subsequent years, porcelain centres such as Fürstenberg, Nymphenburg and Frankenthal attempted to re-produce the same group, whilst the Bow factory in London followed suit some ten years later.
Eleven volumes on British ceramics, W D John, Nantgarw, 1948, Swansea, 1958 and Old English Lustre Pottery, 1951, Rees and Cawley A Pictorial Encyclopedia of Goss, Bemrose, Longton Hall, 1906, Haslem, The Old Derby Factory, 1876, Rissik Marshall, Worcester, 1954, F Severne Mackenna, Chelsea (Gold Anchor) Porcelain, signed and numbered 287/500, Hurlbutt, Bow, 1926 and Hobson, Worcester, 1910 (11)
A ROYAL WORCESTER PLAQUE painted by G Johnson, signed, with a ginger kitten in a purple ribbon with a bow, seated before an empty dish, 23.5 x 15cm, printed mark and date code for 1925 George Johnson, who was employed at the Worcester factory from at least 1883 specialised in the painting of birds, in particular the exotic or fancy birds on replicas of 18th c `Dr Wall` scale blue ground wares. The present plaque is highly unusual for its charming cat subject and was perhaps made to special order. In his spare time he painted both oils and watercolours and was according to Sandon a "master in his own field". He had retired by 1933 and died in 1938 (see H Sandon, Royal Worcester Porcelain from 1862 to the Present Day, 1973, p96). In fine condition free from damages, scratches or other faults. No restoration in what is possibly the original 18th c style gilt frame and mount. For many years in the present private vendor`s family`s ownership
BARRETT (FRANKLIN A) AND ARTHUR L THORPE - DERBY PORCELAIN ILLUSTRATED, illustrated, half title, cloth, dust jacket, London: Faber & Faber, 1971; John Haslem - The Old Derby China Factory the Workmen and their Productions, 1876; - facsimile edition, 1973; H G Bradley (Editor) - Ceramics of Derbyshire 1750-1975, signed copy, 1978; Peter Bradshaw - Derby Porcelain Figures 1750-1848, 1990; Sir Stephen Mitchell - The Marks on Chelsea-Derby, wrappers, 2007; F Brayshaw Gilhespy - Derby Porcelain, two editions, 1961 & 65; - Crown Derby Porcelain, 338 of 600 signed copies, 1951; - (and D M Budd) - Royal Crown Derby China from 1876 to the Present Day including Sampson Hancock...., signed copy (by both authors), 1964; John Twitchett and Betty Bailey - Royal Crown Derby, 1976; - Derby Porcelain, two editions (one limited in slip case), 1980; William Bemrose - Bow Chelsea and Derby Porcelain....,1898; John Murdoch and J Twitchett - Painters and the Derby China Works, 1987; and The Charles Norman Collection of 18th Century Derby Porcelain, 1996 (16)
An 'A' mark porcelain fluted coffee cup, painted with six alternate panels of flowers and a bird above two scrolls before flowing red ribbons, brown line rim above a black specked and gilt scrolling border, unmarked, c.1744-45, a 2cm section broken and repaired, 9cm. Cf. English Ceramic Circle Transactions, Vol. 18 Part 2, 2003, p.270 shows a similar cup from the collection of the British Museum (M&LA 1995, 11-3.1). The group of wares that have come to be known as 'A'-marked porcelain have been a subject of much deliberation since a "curious teapot" and three cups appeared for discussion at a 1937 meeting of the English Ceramic Circle. Some forty one pieces attributed to this group are now recorded in literature; the majority of them cups similar in style to the above. The British provenance of nearly all of these examples has helped quash an early theory of an Italian source of origin. Recent scientific research on some of the objects has confirmed the proximity of both the porcelain body and the glaze to the Heylyn and Frye patent of 1744, which had previously been thought an unworkable recipe. Research by Ramsay et al (2001; 2003) put forward the view that this was an erroneous belief and this has subsequently changed the accepted chronology of British ceramics history. The currently accepted view is that these 'A'-marked wares represent the first production of porcelain in England, and that it was probably wares of this type that were shown to William Cookworthy in early 1745. The propinquity to the Heylyn and Frye patent, together with Anton Gabszewicz's stylistic comparisons to the 'drab' or 'mushroom' wares of early Bow have linked the group to an early phase of experimental production by this factory.
Loading...-
50 item(s)/page