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Lot 87
A group of seven famille verte dishesKangxiComprising: a 'butterfly and fruitspray' dish, apocryphal Chenghua six-character mark; a 'butterfly, grasshopper and camelia' dish; a pair of 'Eight Horses of Muwang' dishes; a 'bird and prunus blossom' dish, apocryphal Xuande six-character mark; a small dish with a gentleman and boy attendants, apocryphal Chenghua six-character mark; and a blue ground 'figural panels' dish.The largest 28cm (11in) diam. (7).Footnotes:Provenance: According to the collection inventory:The gentleman and attendants dish, George Eumorfopoulos collection, no. D 126 (label). Purchased from H.G N. Norton, Museum Street, Holborn.The butterfly and camelia dish: Oriental Ceramic Society Exhibition label, exhibited at the O.C.S 1951. Purchased at Sotheby's 6/04/54.The butterfly and fruitspray dish: purchased at Sotheby's 11/05/54.The horses dishes: bought at Morphets auction 21/07/49.The bird and prunus dish: Bought at Sotheby's 1/02/52For further information on this lot please visit Bonhams.com
Lot 93
A large Chinese Art reference libraryComprising over 200 volumes including: BING, SAMUEL, Collection Samuel Bing: Objets d'arts et peintures du Japon et de la Chine' [6 volumes in portfolio - complete], Durand-Ruel, Paris, 1906; The Chinese Exhibition - A Commemorative Catalogue of the International Exhibition of Chinese Art - Royal Academy of Arts - November 1935 - March 1936; ARS ASIATICA [Vol. V, VII, VIII, XII, XVI, XVII, XVIII], G. Van Oest, ca. 1923-1935; Mostra d'arte cinese (Exhibition of Chinese Art), Venice, Altieri Editore, 1954; FORBES, H.A., KERNAN, John and WILKINS, Ruth, 'Chinese Export Silver 1785 to 1885', Museum Of The American China Trade, 1975; BRINKER, Haelmut & LUTZ, Albert, Chinese Cloisonne: The Pierre Uldry Collection, The Asia Society Galleries, New York, 1989; DUPONT, Maurice, Les Meubles de la Chine (Deuxième Série) [54 planches], Librairie des Arts Decoratifs, 1950; HATFIELD ELLSWORTH, Chinese Furniture: Hardwood Examples of the Ming and Early Ch'Ing Dynasties, Random House, 1970; ROCHE, Odilon, Les Meubles de la Chine [54 planches], Librairie des Arts Decoratifs, 1920?; ART GALLERY, Chinese Ivories from the Kwan Collection, Art Gallery / The Chinese University of HK, 1990; LOEHR, Max, Ancient Chinese Jades from the Grenville L. Winthrop Collection, Fogg Art Museum - Harvard University, 1975; NOTT, Stanley Charles, Chinese Jade, B.T. Batsford, 1936; PELLIOT, Paul, Jades Archaiques de Chine appartenant à C.T. Loo et Cie, G. Van Oest, 1925; POPE-HENNESSY, Una, Early Chinese Jades, Ernest Benn Limited, 1923; SALMONY, Alfred, Archaic Chinese Jades from the collection of E. & L. Sonnenscheim, 1952; SALMONY, Alfred, Chinese Jade through The Wei Dynasty, Ronald Press Company, 1963; SCHNEEBERGER, Pierre F., The Baur Collection - Geneva: Chinese Jades, Collection Baur-Geneve, 1976; TSANG, Gerard & MOSS, Hugh, Arts From The Scholar's Studio, The Oriental Ceramic Society, 1986; YEE, Ip, Chinese Jade Carving, Urban Council, 1983; STRANGE, Edward, Victoria and Albert Museum, Catalogue of Chinese Lacquer, His Majesty's Stationary Office, 1925; The ORIENTAL CERAMIC SOCIETY, The Arts Of The Ch'ing Dynasty, The Arts Council Gallery, 1965; The ORIENTAL CERAMIC SOCIETY, The Arts Of The Ming Dynasty, The Arts Council Gallery, 1958; CONTAG, Victoria & CHI-CH'IEN, Wang, Seals Of Chinese Painters and Collectors of the Ming and Ch'ing Periods, Hong Kong University Press, 1966; ARDENNE DE TIZAC, H., Les Arts de l'Asie: les animaux dans l'art chinois, Editions Albert Levy, 1922; WEBER, V.F., Ko-Ji Ho-Ten [Tomes Premier et second], dictionnaire a l'usage des amateurs et collectionneurs d'objets d'art japonais et chinois, 1923. (qty).Footnotes:Provenance: Galerie Gerard Levy library, Paris.Viewable by appointment only in Paris. Please contact the department for details.For a complete list of volumes included in this lot, please refer to the departmentThis lot is subject to the following lot symbols: • TP• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.TP Lots denoted with a 'TP' will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 431
ADRIEN DALPAYRAT (1844-1910) HIGH-FIRED CERAMIC INKWELL, CIRCA 1900of circular form with moulded decoration, covered in a Sang de Boeuf and turquoise glaze, inscribed numerals 696/ 30(14.5cm diameter, 9cm high)Footnote: Literature: Makus H., Bieri H., Dapayrat A. et al Adrien Dalpayrat, 1844-1910: Ceramique Francaise De L' Art Nouveau, Arnoldsche 1999, p.168, no. 136 where a similar inkwell is illustrated Note:Dalpayrat primarily worked in Limoges, where he became a master of working with red sandstone, eventually giving the name 'rouge Dalpayrat' to his celebrated sang de boeuf glaze.
Lot 462
MICHAEL POWOLNY (1871-1854) FOR J & L LOBMEYR, VIENNA SECESSIONIST ENGRAVED GLASS TUMBLER, CIRCAof tapered form, engraved with a putto and bird within a scalloped border corresponding to the rim, engraved factory monogram to base(9cm high)Footnote: Literature: J. Rudoe, J. Decorative Arts 1850-1950. A catalogue of the British Museum collection, 2nd ed., p. 251, no.244 Pazaurek, G.E. Kunstglaser der Gegenwart, Leipzig 1925, pp.162-4, plates 174-5 Note: Powolny trained as a sculptor and ceramic artist at the Fachschule fur Tonindustrie in Znaim, then at the Kunstgewerbeschule in Vienna, where he taught from 1909. He made several designs for engraved glass for Lobmeyr between about 1914 and 1925, including a series of similar tumblers. The starting point for these tumblers was a goblet designed in 1914 and ornamented with allegorical motifs. The same motifs of putti were then used on the tumblers. For a similar tumbler see British Museum collection (museum number1981,1206.1)
Lot 595
SALLY TUFFIN (B. 1938) FOR DENNIS CHINA WORKS GROUP OF CERAMIC WAREScomprising TWO 'TOUCAN' CERAMIC VASES, DATED 2000 the tall shouldered vase decorated with three toucans perching on a branch, on a gradated teal ground, impressed factory marks and painted marks S.T./ DES/ TB/ NO. 21, 33cm high; the squat ovoid vase of identical decoration, impressed factory marks and painted marks S.T./ DES/ TB/ NO. 46, 16.5cm high; and a SMALL PLATE, decorated with a single toucan, printed factory marks and painted marks S.T. DES/ TP/ NO. 23, 16cm diameter; a 'SUNFLOWER' CERAMIC CHARGER, 1990S, depicting a sunflower head on a teal ground, impressed factory marks and painted marks S.T. DES/ VMW/ NO.9, 31cm diameter; and a TAPERING CYLINDRICAL VASE after a design by William Morris, depicting a female in a walled garden, bearing inscription, IMAGO THE/ BES/ BABYLIONS REGINAE MAH/ RIS, impressed factory marks and painted marks AFTER WM/ VMW/ NO. 10, 24cm high
Lot 83
ATTRIBUTED TO CHRISTOPHER DRESSER OR JOHN MOYR SMITH, POSSIBLY FOR COX & SONS, LONDON AESTHETICthe galleried top with frieze inlaid with florets, the glazed door with lined and shelved interior enclosed by panelled sides, each inlaid with figurative allegorical roundels, the whole raised on a plinth base(68cm wide, 109.5cm high, 50.5cm deep)Footnote: Literature: Lyons, H. Christopher Dresser: The People's Designer, 1834-1904 (Woodbridge, 2004), p.19, 52 and 144; plates 12, 13, 51, 52, 260 and 260A Durant, S. Christopher Dresser, Academy 1993, p.19-20 Whiteway, M. (ed.), Shock of the Old: Christopher Dresser's Design Revolution, New York, 2004, Stapleton, A. John Moyr Smith 1839-1912: A Victorian Designer, Richard Dennis 2002, pp.11-15, plates 11 and 12 Cooper, J. Victorian & Edwardian Furniture & Interiors, Thames & Hudson 1998, pp.130-132 Woolley & Wallis, Salisbury, 20th Century Design, 14 October 2009, lot 549Note: This fine cabinet, although of conventional form, has particular design characteristics which set it apart; its distinctive gallery and the fine marquetry panels inlaid to the sides. The design of two of the inlays appear to be adapted from colour plates published in Christopher Dresser’s Studies in Design of 1876 - the hares from plate VII; and the duck from bird designs in plates XLVI and VI. There are also strong similarities to an illustration in his Principles of Decorative Design of 1873 (the fish from figure 20); and bird and animal designs for Minton & Co. circa 1871. These designs were, like other output from the Christopher Dresser’s studio, often drawn up and, on occasion designed under Dresser’s supervision by an assistant. In the case of the first two examples this assistant is thought to be the Scottish-born designer John Moyr Smith. The confusion surrounding the attribution of certain designs by Dresser is largely due to a lack of information but also that the stylistic similarities of many of his designs to those of his assistants is so striking. Some assistants were to leave Dresser’s offices and pursue careers of their own and although most believe that Moyr Smith worked for Dresser in his studio for a short period it may also be the case that he collaborated with him in the supply of designs to his projects on an ongoing basis. Whether he worked for Dresser directly or not by 1872 Moyr Smith was an independent designer supplying designs to a number of manufacturers including Cox & Sons in London. The firm of Cox & Sons, originally church furnishers, were involved in the art movements in the second half of the 19th century and commissioned furniture, metalwork, stained glass and ceramic designs from several leading designers, including Bruce Talbert and E.W. Godwin. Cox & Sons also supplied stained glass to some of Christopher Dresser’s interior projects, but if Dresser used them in a wider sense is unclear. He was obliged to distance himself from their output because of the similarities of his designs to those of Moyr Smith. The attribution to Cox & Sons is strengthened by the fact that the firm is known to have used one of the designs used on this cabinet on a single-handled vase (Woolley & Wallis, October 2009, Lot 549). Many of the firms who produced Dresser's textile and carpet designs believed in his abilities as a designer and were all based in the Halifax region. A number of them also commissioned Dresser to design the interiors of their homes. Of those only two domestic commissions survive and are in very poor condition, leaving only clues to the total composition of Dresser's interiors. In 1865 The Furniture Gazette published designs for the panels in dining room supplied by Dresser to J.W. Ward of Halifax, a textile maker who used Dresser’s designs. The panels represented fish, fowl, flesh, fruit, wine and beer. The panels in the current lot, representing Game, Fowl, Fish and Mutton may also have been designed for a similar dining room scheme. The profuse, albeit restrained, marquetry inlay of this cabinet is somewhat at odds with Dresser’s more characteristically austere and pared-down aesthetic. He was, however, known to have been expedient and his ‘theoretical utterances’ did not always get in the way of the success of a busy studio where it was impossible to be entirely pure in intention. Many of Moyr Smith’s published designs of the 1870s were later ascribed to Dresser suggesting their origins in Dresser’s studio. Either way, until further information emerges, the attribution of many of these intriguing pieces remains unclear.
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