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Click here to subscribe‡ William Bill Marshall (1923-2007) attributeda Leach Pottery stoneware jug, circa 1954, painted with simple cobalt blue flower stem on ash glaze, a Leach Pottery small pot and cover and a storage jar and coverimpressed Leach Pottery marks,21.5cm. high (5) ProvenanceThe Estate of Richard Batterham
'Gay Day' a Clarice Cliff Bizarre small Beehive honey pot and cover, painted in colours, a large Clarice Cliff flower wall plaque, a Clarice Cliff bowl moulded with blossom and a Clarice Cliff leaf shaped sandwich set for six shape no.925, printed factory marks, Gayday cover restuck, 7cm. high (11)
Carved Chinese jade flower pot with prunus flowers and magpies. Carved from a single piece of jade following its natural shape and with russet inclusions.Height: 3 in x width: 4 1/4 in x depth: 2 1/4 in.Condition: The item is in generally good condition with no major losses or visible chips. Light wear throughout as expected. Towards the underside of the exterior, there is a crack, approximately 5 inches long. There is a loss to one of the leaves near the rim. Natural lines, as expected. No visible sign of restoration when inspected under UV light.
A coverlet of cream silk18th century, probably ItalianDesigned with snails and insects on an upright stem of flower blooms and leaves, placed in a lattice design pot, each corner with a flower spray highlighted in gold thread, having gold braid edge, linen lined, the ground and some details reworked in the 19th century, 116cm x 116cmFor further information on this lot please visit Bonhams.com
A block printed cotton panelLate 19th century, possibly Neuchâtel or HéricourtThe centre designed with a repeating flower and stem design, either end with pot plants, printed in mainly blue, red and purple on cream ground, mounted on stretcher, 111cm x 180cmThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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
A Worcester fluted coffee pot and cover and a Flight mask jug, circa 1780-90The fluted coffee pot and domed cover with a flower finial, stylised underglaze blue and gilt flowers below elaborate foliate and scrolled borders and gilt dentil rims, 24cm high, unmarked, the globular, leaf-moulded jug applied with a double scroll handle, painted with colourful flower sprays below floral swags suspended from a gilt band, the bearded mask spout picked out in enamels, 17.7cm high, unmarked (3)For further information on this lot please visit Bonhams.com
A needlework rugMid-18th century, probably EnglishThe centre designed with a pot of a carnation and roses, the surround with a lattice pattern of flower heads and the border with scrolling leaf motif, working in coloured wools, with cross and tent stitches, 152cm x 101cmThis lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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
A Vincennes Bleu Celeste Porcelain Sugar Bowl and Cover (Pot a Sucre et son Couvercle)Circa 1755bearing blue interlaced Ls enclosing date letter B and unidentified flower painter's mark of a P; of tapering hemispheric form with slightly everted mouth, the domed cover with gilt ranunculus finial, painted in colors with loose bouquets reserved on the rich turquoise ground in shaped oval cartouches with gilt cisele €˜thorn' bands, with gilt dentil rims.Height 4 1/2 x diameter 3 1/2 inches.This lot is located in Chicago.Provenance:Drouot Richelieu, Paris, Anonymous sale, 21 April 1997, Lot 33, catalogue cover illustrationJohn Whitehead, London, 13 June 1997 (purchased at the International Ceramics Fair, London; with invoice)Note: Although the present sugar bowl is not a form to which a specific name was given by the Vincennes factory and although the identity of neither the painter nor the gilder can be confirmed, there can be no doubt that it is a fine early example of the royal factory" work and of its first essays with a ground color.An un-named drawing dated 28 April 1752 corresponding to the shape of the present sugar bowl is retained in the factory" archives. See Porcelaines de Vincennes: Les Origines de Sevres, Exhibition Catalogue, Grand Palais, Paris, 14 October 1977-16 January 1978, cat. no. 207 for an example of the same form, painted in monochrome green with landscape vignettes, its ranunculus knop lacking.The gilding pattern of rose thorns is associated with the first service made for Louis XV, also decorated with a bleu celeste ground. However, neither the ground color nor the gilding pattern was exclusive to the service. Its unidentified flower painter" mark of a 'P' or 'p' is found on Vincennes and early Sevres porcelain of 1755-1756.Excellent condition with minor chip to finial leaf, minute fritting to edges of flower petals and wear to gilt rim of the bowl caused by the cover rubbing.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Sevres Silver-Gilt Mounted Bleu Celeste Porcelain Hot Milk Jug and Cover (Pot a Lait 'Duvaux')Circa 1763bearing blue interlaced Ls enclosing date letter K, painter's mark of an anchor for Buteux and incised M; the small squat pear-shaped pot with flat slightly domed cover hinged to the loop handle with a silver-gilt mount and shell-shaped thumb rest, painted front and back either with a trophy emblematic of Autumn (ribbon-tied thyrsus, wine ewer, fruiting vine) or of Spring (pilgrim's straw hat with scallop shells on the brim, walking stick, Cupid's arrow and flaming torch, flower garland) reserved on the bleu celeste ground within a concentric gilt cisele band and a further trailing vine, the cover with a less elaborate trophy, the handle and applied spout left in the white within gilt banding, with gilt dentil rims.Height 4 1/4 inches.This lot is located in Chicago.Provenance: Elizabeth Parke Firestone, Detroit, Michigan;Christie", New York, The Elizabeth Parke Firestone Collection, Part I, 21 March 1991, Sale 7254, Lot 246 (as part of a dejeuner losange a baguette)Dragesco-Cramoisan, Paris, no. D.1062, 18 September 1996 (as a marabou; with copy of invoice)Exhibited:Detroit Institute of Arts, Detroit, French Taste in the Eighteenth Century, 2 April-2 June 1956, loan nos. 469a-d as a part dejeuner losange a baguette comprising a lozenge-shaped tray, the present hot milk jug and cover, a sugar bowl and cover, a cup and saucerNote:The shape of the present squat pear-shaped hot-milk jug and cover takes its name from a plateau 'Duvaux', a serpentine pentagonal two-handled tray for a tea or coffee service. One such dejeuner is in the Rothschild Collection at Waddesdon Manor, painted with reserves on a bleu nouveau ground after David Teniers. See Tamara Preaud and Marcelle Brunet, Sevres des origines nos jours, Fribourg, 1978, plate XXXI, no. 121 and Svend Erikson, The James A. De Rothschild Collection at Waddesdon Manor: Sevres, Fribourg, 1968, no. 58. When its loop handle is replaced with a vari-baluster handle repositioned to the side, the shape of the present model is known as a 'marabou'. Described as a coffee pot when the handle is at the side, an example painted with loose bouquets within blue-line-and-gilt-dash rims was included in Elizabeth Parke Firestone" collection sale, lot 216. Whether sold on their own or as part of a small service, neither pots a lait 'Duvaux' nor marabou are commonly found. A gold-mounted example painted with a muddy landscape reserved on a rose marbre ground from the New England Collection was sold Christie", New York, 5 May 1999, sale 9182, lot 63. A frises riches Dejeuner Losange of 1763 that included a marabou as a coffee pot along with a sugar bowl and cover and a cup and saucer, was sold Christie", New York, Treasures of France, sale 2762, 23 October 2012, lot 157. Charles Buteux l'aïne, later pere (active 1756-1782), is recorded at Sevres as a painter specializing in figures, trophies and flowers, but it is trophy painting for which he is best known and on which his reputation as a skilled decorator rests.In excellent condition with negligible wear.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Sevres Lilac-Ground Hexagonal Hard-Paste Porcelain Teapot and Cover (Theiere 'Chinoise Fragonard')Circa 1819bearing stenciled blue interlaced Ls enclosing a fleur-de-lis mark with incised kiln date cypher 14-10 for October 1814 and gilt m, 11, n, 18 (sic) M... for gilding on 11 November 1818 (sic) possibly by Moyer; the hexagonal baluster pot with conforming slightly domed hexagonal cover with gilt coral flower finial, a molded gilt-edged central frieze painted in coral red with a key pattern, the applied upright loop handle also coral with stylized gilt leaf terminals, the angled faceted spout with gilt wolf-head mouth with a bell suspended as the terminal, the neck of the pot coral with a gilt ball resting at the angle of each of the six facets.Height 5 1/2 inches.This lot is located in Chicago.Provenance:Nicolier, Paris (labeled)Dragesco-Cramoisan, Paris, 16 June 1995 (purchased at the International Ceramics Fair, London; with invoice)Exhibited:New York, Bard Graduate Center for Studies in the Decorative Arts, The Porcelain Manufactory at Sevres, 1800-1847: Alexandre Brongniart and the Triumph of Art and Innovation, 14 October 1997-31 January 1998, cat. no. 47Washington, D.C., Hillwood Museum and Gardens, Sevres Then and Now: Tradition and Innovation in Porcelain 1750-2000, 12 September-10 December 2006, cat. no. 41Literature:Tamara Preaud, ed., The Porcelain Manufactory at Sevres, 1800-1847: Alexandre Brongniart and the Triumph of Art and Innovation, Exhibition Catalogue, Bard Graduate Center for Studies in the Decorative Arts, 1997, cat. no. 47Liana Paredes, Sevres Then and Now: Tradition and Innovation in Porcelain 1750-2000, London, 2009, cat. no. 41, pp. 84-85Note:Designed for Sevres by Alexandre-Evariste Fragonard in April 1818, the theiere chinoise Fragonard was put into production immediately. The present teapot and the other example in this sale (lot 104) are two of the earliest examples made, the form produced between 1818 and 1846 as a stand-alone teapot. Later examples featured more elaborate decoration such as that of 1827 now in the collection at Sevres-Cite de la ceramique (MNS 24.784).Three of the five easily located extant examples were at one time in the collection of Mr. and Mrs. Fred Krehbiel. The third, an agate blue-ground pot painted and gilt in the style of Chinese cloisonne enamel, purchased from Dragesco-Cramoisan in October 2006, was a gift to the Art Institute of Chicago in 2010.Fragonard was paid 30 francs for his design. His watercolor of it, retained in the factory" archives (2011.3.900, reproduced here), is almost identical to the present pot, with decoration of a coral red fretwork frieze enriched in gilt on a powdered lavender ground.The salesroom entry records for 26 December 1818 include the first eight examples of the theiere chinoise Fragonard. The Sevres factory held its annual selling exhibition at the Palais du Louvre 29 December 1818-8 January 1819. In total, seventeen examples are recorded between 1818 and 1821, each priced at 36 francs. These were almost certainly a solid ground color with a fretwork frieze similar to the two examples in the present sale. The present example, with its incised kiln date of October 1819 is obviously from this group. Two with a blue ground enriched in gilt and priced at 55 francs may be similar to an example of 1819-1820 sold at auction at Drouot by Audap & Associes, Paris, 10 December 2020, lot 134. Between 1827 and 1846, eight further examples of the form are recorded with richer decoration. The teapot now at the Art Institute dated 1832-1835 (2010.583a-b) may be from this group. The factory markings on this teapot present a conundrum, in that the gilder" mark appears to predate the kiln date. The incised kiln date 19-10 is written in a typical 18th century hand, the loop of the 9 not closing completely. It is the inscribed gilding date of 1818 that must be incorrect. M…. may be for Jean-Louis Moyer (active 1818-1848), recorded at Sevres as a gilder who used a wide capital M as his mark. Looking at the dates involved, the present teapot with its patently incorrect gilding year will have been one of his first pieces, so perhaps one can excuse the error.Photo Credit: © RMN-Grand Palais / Art Resource, NYIn good condition with negligible wear to the angles of both pot and cover. Having a tiny chip to the gilt foot rim to the left of the spout and a miniscule chip to the edge of a finial petal which ha been retouched. Very minor wear to gilding.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Sevres Powdered Pale Blueish Grey-Ground Hexagonal Hard-Paste Porcelain Teapot and Cover (Theiere 'Chinois Fragonard')Circa 1819-1820bearing stenciled blue interlaced Ls enclosing a fleur-de-lis with incised kiln date cypher 19-10 for October 1819 and gilt m 24 Mr 20 for an unknown gilder on 24 March 1820; the hexagonal baluster pot with conforming slightly domed hexagonal cover with gilt coral flower finial, a molded gilt-edged central frieze painted in coral red with a key pattern, the applied upright loop handle also coral with stylized gilt leaf terminals, the angled faceted spout with gilt wolf-head mouth with a bell suspended as the terminal, the neck of the pot coral with a gilt ball resting at the angle of each of the six facets.Height 5 1/2 inches.This lot is located in Chicago.Provenance: Dragesco-Cramoisan, Paris, 16 June 2001 (with copy of invoice)Note: The present teapot was likely gilt by Jean-Louis Moyer (active 1818-1848), recorded at Sevres as a gilder and using a wide capital M as his mark.In good condition with negligible wear to gilding at the high points.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Pair of Vincennes Gilt-Metal Mounted Porcelain Orange Tubs (Caisses a Fleurs Carrees, 2eme Grandeur) Fitted with Porcelain Flowers on Papier-Mâche StemsThe Porcelain Pots 1755one bearing blue interlaced Ls enclosing date letter B and unidentified flower painter's mark O, the other with a mark of four dots forming a lozenge for Fontaine, the finials later metal replacements, the porcelain flowers also of later date; each square tub on bracket feet with each panel painted in colors with a loose bouquet within a camieu bleu trailing vine, fitted with papier-mâche-wrapped metal stems, paper leaves and porcelain flowerheads issuing from the papier-mâche €˜earth'.Height of cache pots overall 5 5/8 inches; height overall (including plants) 15 1/2 inches.This lot is located in Chicago.Provenance:Carlton Hobbs, London, 8 July 1996 (with invoice)Note:The present flowerpots are in the shape of the large square tubs designed specifically to hold orange trees. They were produced at both Vincennes and at Sevres in a variety of sizes of which the present pair are an example of the second largest. A pair of orange tubs, similar in size and decoration to the present two, both with blue interlaced Ls and the painter" mark of a comma for Charles-Louis Mereaud, one also with date letter G for 1760, is in the collection of The Metropolitan Museum of Art, Gift of Barbara Lowe Fallas, 1964 (64.159.2a, b, .3a, b).The flower painting on the present caisses carrees is by Jacques Fontaine (active 1752-1807), recorded at Vincennes and Sevres as a painter specializing in flowers, figures, patterns and the highly specialized techniques of cameo decoration popular in the late 1770s and 1780s. He is also recorded as a gilder. His younger sister Mlle. Marie-Louise Fontaine also used a similar mark, but as she is recorded as a painter specializing in flowers and patterns from 1777-1794, the mark on the present orange tubs cannot be hers.There is a very slight difference in size that is so minimal that it is fair to assume them to be a pair. The one with the more robust flower painting (painter O) has firing issues €“ the side with the yellow tulip bows out a bit, one of its leaves is snapped off. As mentioned, all finials are metal replacements €“ wear to gilding. A crack is visible to the inner angle of the smaller pot. They could benefit from cleaning but in overall presentable condition.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Sevres Beau Bleu Porcelain Coffee Can and a Saucer (Gobelet 'Litron', 2eme Grandeur et sa Soucoupe, 3eme Grandeur)Circa 1785the cup with gilt interlaced Ls and incised 36D F, the still life painting attributed to Micaud, the gilding to Le Guay, the saucer with blue interlaced Ls enclosing date letter HH, painter's mark for Julien le jeune, unidentified PR and incised 117; the cup painted in colors with a still life of fruit and flowers in a basket on a marble ledge reserved within a gilt cisele band and with tiny gold foil stars applied to the cobalt blue ground, the substitute saucer with a central jewelled star within a sunburst, the border with gilt foil stars between gilt bands.Height of cup 2 3/4 inches; diameter of saucer 4 5/8 inches.This lot is located in Chicago.Provenance:Mary Poter Walsh, Oklahoma City;Christie", New York, Fine French and Continental & European Ceramics and [...], 16-18 November 1999, Lot 221 Rinceaux, Palm Beach, no. 1101, 30 May 2000 (with invoice) Note:The present gobelet 'Litron' is almost certainly a cup missing from a part cabaret retained in the British Royal Collection. In 1826, an inventory of the Confectionary at Carlton House noted 'no. 239: A Dejeuni of blue with gold stars, painted in fruit and flowers. Consisting of five Cups & Saucers, Teapot, Sugar Bason and Cover, Cream Ewer and Slop Bason.' Of these, only the sugar bowl and cover (pot a sucre 'Calabre' 1ere grandeur), one cup (gobelet 'Litron', 2eme grandeur) and two saucers (soucoupes, 2eme grandeur) remain in the Royal Collection. A comparison of the present cup with the illustrations in Sir Geoffrey" comprehensive catalogue leave little doubt that the still lifes of a basket of flowers on a marble table found on each piece are by the same hand. That the factory mark on the present cup also corresponds to the other pieces in this cabaret helps solidify the attribution of the lush still life painting on the present cup to Jacques-Francois Micaud pere (active 1757-1810 as a flower painter), the stars and gilding to Le Guay (active 1751-1797 as a gilder), and the piece itself as originally part of this service.See Sir Geoffrey de Bellaigue, French Porcelain: In the Collection of Her Majesty the Queen, London, Vol. III, cat. no. 251, pp. 895-898 for a detailed discussion of these pieces and of what is almost certainly the payment records for Micaud and Le Guay when they worked on this service, executed between May 1784 and April 1785.Julien le jeune (active 1784-1786), is recorded at Sevres as a painter specializing in flowers and as a gilder. His mark appears only on the slightly small replacement saucer with gilt decoration.In generally good condition, some foil stars starting to lift or lacking a point here and there.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Sevres Bleu Celeste Porcelain Seven-Piece Tea Service (Dejeuner 'Courteille')Circa 1780each bearing blue interlaced Ls enclosing date letters cc below painter's mark of a comma for Mereaud le jeune and above gilder's mark '#' for Chavaux pere, with various incised marks; painted with trailing flower garlands and wreaths, the shaped turquoise border richly gilt and chased with a laurel garland, echoing the shape of the border edged with a gilt cisele band, comprising a shaped rectangular two-handled tray, a teapot and cover, a sugar bowl and cover and four cups and saucers; 7 items total.Length of tray over handles 14 1/4 inches.This lot is located in Chicago.Note:A 'dejeuner' is the name given to a small tea or coffee set with a matching tray, the name for the overall set dictated by the shape name given the tray. In this case, it is a shaped serpentine rectangular tray or plateau 'Courteille' with rounded corners and angled side handles, named after the marquis de Courteille, the King" representative in charge of the Vincennes/Sevres manufactory, to whom the first example of this tray was presented in December 1753. Sales records show Dejeuner 'Courteille' produced from 1757 into the 1780s.The selection of pieces making up the set can vary, as can the size and shape of the tray and of the individual pieces, the complement of pieces dictating the use for the dejeuner. The present dejeuner of a theiere 'Calabre', 3eme grandeur, a pot a sucre 'Bouret', 2eme grandeur, and four gobelets 'Litron' et soucoupes, 3eme grandeur resting on a plateau 'Courteille' originally will have included a pot a lait a trois pieds, likely 2eme grandeur. The individual pieces comprising the set will have been completed at the same time by the same decorators, resulting in identical factory, painters and gilders marks on each piece, as is the case here. With four cups, it is the largest such service produced, although the cups themselves are likely the smallest.Dejeuner 'Courteille' can be found in The Wallace Collection, the Wadsworth Atheneum, and the Victoria and Albert Museum, among others. Cf. Rosalind Savill, The Wallace Collection - Catalogue of Sevres Porcelain, London, 1988, cat. no, C401-6, pp. 615-621; Linda H. Roth and Clare Le Corbeiller, French Eighteenth-Century Porcelain at the Wadsworth Atheneum - The J. Pierpont Morgan Collection, 2000, cat. no. 83, pp. 175-178.Charles-Louis Mereaud le jeune (active 1756-1780) is recorded at Sevres as a painter specializing in flowers and patterns. Michel-Barnabe Chavaux pere (active 1752-1788) is recorded at Vincennes and at Sevres as a gilder. Their work on the present dejeuner is typical of that found on tablewares of the late 1770s-1780s, showcasing their talent and expertise of their specialties honed over many years at the factory.Teapot and cover: height 4 1/2 inches; incised 44 oo and 5.Sugar bowl and cover: height 4 inches; incised 40 and a.Four cans and saucers: height of cups 2 3/8 inches, each incised 48a; diameter of saucers 4 5/8 inches, each incised 48a.In overall excellent condition. The tray with no incised marks, having a tiny nick to the edge of one handle terminal leaf, a touch of wear to the leaf terminal diagonally opposite, very very light surface scratching. The teapot and cover with minute nick to tip of spout. The sugar bowl and cover with wear to gilt dentil rim, gilting on the berry finial possibly refreshed.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Vincennes Bleu Celeste Plein Porcelain Sugar Bowl and Cover (Pot a Sucre 'a Cerceau' ou 'a Cuvier', 1ere Grandeur)Circa 1754 bearing blue interlaced Ls enclosing date letter A, incised 3; of flaring cylindrical form, the conforming cover with bracket finial, the finial and molded edges gilt, with gilt dentil rims.Height 4 1/2 x width 5 inches.This lot is located in Chicago.Provenance: Dragesco-Cramoisan, Paris, June 1996 (purchased at the International Ceramics Fair, London)Note:The Sevres archive retains a drawing dated 19 February 1753 that corresponds to the present Vincennes form, describing it as an accompaniment to both a gobelet 'a cuvier' and a gobelet 'a cerceau' (2011.3.249.1, reproduced here). A simplified variant without the molded banding also exists, designed to pair with a gobelet a la reine. The present bleu celeste plein pot a sucre 'a cerceaux', made the following year (1754), is covered in the first ground color produced by the factory, famously used for the first service made for King Louis XV of France, patron of the factory. It displays the lovely 'cloudy' yet translucent quality for which early bleu celeste is so prized.Of the 42 sugar bowls of this rare model recorded, the present lot and the pot exhibited at the Grand Palais in a seminal exhibition of Vincennes porcelain held October 1977- January 1978 would appear to be the only survivors. Later sold in The Arts of France, Christie's, New York, 16 November 2000, lot 113, this second pot, decorated with loose bouquets (fleurs detachees) between blue-line-and-gilt-dash banding, is an example of one of the least expensive versions-flower-decorated examples were priced at 18 livres. The present lot is an example of the most expensive version, priced at 54 livres for a sugar bowl covered overall with a turquoise sky blue (bleu celeste plein) ground. Cf. Porcelaines de Vincennes, les origins de Sevres, Exhibition Catalogue, Grand Palais, 14 October 1977-16 January 1978, no. 184.Photo Credit: © RMN-Grand Palais / Art Resource, NYIn very good condition with negligible wear to gilding on cover finial. Having some wear to gilt dentil rim of the bowl from rubbing by the cover.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A graduated set of six 19th century Mason's Ironstone snake handled jugs and a similar Masons jug in green, a German figural table centre piece bowl with encrusted flower decoration in relief, a pair of Victorian glass candlestick lustres, a Masons blue and white pot and cover and an Italian Spode pattern Copeland trefoil serving dish
Large collection of 20th Century Meissen blue and white, mainly onion pattern dinner and tea ware, with various other items of blue and white MeissenGenerally in good condition. There are some hairline cracks to quite a few of the items in the lot.All genuine Meissen but 1/3 appear to be seconds.Teapot, coffee pot and milk jug are all first quality.Small chip to teapot lid.Square bowl - 19cm square2x 12cm diameter pots9x 20cm diameter plates (2 with small chips)8x 21cm diameter plates (1 second, 1 with cracks)11x 25cm diameter plates (1 with chips)10x 15cm diameter cake plates (7 seconds, 1 damaged)10x knife rests (3 with chips)6 cups (1 second)7x 14.5cm diameter saucers (4 seconds)6x 13cm diameter smaller saucers (3 with chips)1 egg carrier (various cracks)8x 12cm diameter small bowls6x 12cm diameter small plates (all seconds)1x 22cm diameter ribbon bowl1x 18cm square bowl1x 22cm square bowl (second quality)9x 24cm diameter bowl1 coffee pot (chips to flower on lid)1 teapot (chips to flower on lid)1 cream jug1 cornucopia vase1 leaf plate1 small meat plate1 butter dish
A Chinese lavender and green jadeite water pot and stand, late 19th century, carved in high relief and openwork with a duck swimming on waves, an eagle perched to one side, lotus flowers, tendrils and leaves, the cover with lotus flower bud, 9.3cm at widest point, wood stand***CONDITION REPORT***Natural inclusions to the stone, the wood stand has some tack added to the top to make the water pot fit snuggly. There are remnants of the tack on the underside of the jadeite vessel which will remove and there is remnants of tack around the inside edge of the cover again which will remove. No evidence of chips cracks or restoration, good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese blue and white celadon ground flower pot, late 19th century, moulded in white slip and painted in underglaze blue with prunus, chrysanthemums and rockwork and lotus petal moulded rim, unglazed interior and base, with draining holes, 27.5cm diameter***CONDITION REPORT***Occasional scratches and scuffing to the glaze, water and mud residue to the interior and around the edge of the foot, slight blurring to some of the underglaze blue decoration, otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
18th Century and Later English and Chinese Ceramics, including a set of three pearlware plates decorated in coloured enamels with roses under ribbon and flower garlands, Newhall tea bowl and saucer, two similar Chinese tea bowls and saucers painted with figures, a Japanese plate with blue lappet boarder framing peonys, 20th century hardstone wine pot, together with various Victorian ceramics including teawares, press moulded glass, satin glass, Bristol blue flagon, binoculars, camera, medals, assorted antiques reference books,etc. (one tray and three boxes)
A LONGQUAN CELADON ARROW VASE, TOUHU, SOUTHERN SONG DYNASTYChina, 1127-1279. Delicately potted, the pear-shaped body supported on a short tapered foot and rising to a long slender neck flanked by a pair of tubular handles. Covered overall in a rich vitreous glaze of soft sea-green color, save for the unglazed foot rim revealing the ware burnt to orange in the firing.Provenance: The J. M. Hu, Zande Lou Collection. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art.Condition: Excellent condition with expected old wear and minor firing irregularities, including glaze recesses and other minuscule glaze faults. The neck is slightly leaning. The unglazed areas of the ware burnt to orange in the firing.Weight: 149.2 gDimensions: Height 12.3 cmThe form of this vase is based on arrow vases, or touhu, the primary accessory of a drinking game which involved throwing all of one's arrows into the mouth of the vessel. The loser was assessed a penalty drink for every errant throw. This game had been popular among elite men and women from the Spring and Autumn period (770-476 BC) onwards. In line with emerging trends of antiquarianism and archaism, the game was revived during the Song dynasty and touhu vases, made in various materials including bronze, cloisonne, and ceramic, remained popular throughout the Ming dynasty and later.Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Too small to actually be used in the drinking game, the present vase was probably intended to hold a single branch, a small flower, or an incense stick.Literature comparison: A pair of related Longquan arrow vases, of slightly larger size and with wider necks, was recovered from the tomb of the Yuan calligrapher Xian Yushu (1251-1302), see Zhang Yulan, Hangzhoushi faxian Yuandai Xian Yushu mu, Wenwu, 1990:9, page 24, figures 11-12. A similar vase was included in the exhibition, The Scholar as Collector: Chinese Art at Yale, Yale University Art Gallery and China Institute in America, New York, 2004, page 18, figure 8.Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1081 Price: USD 27,720 or approx. EUR 26,000 converted at the time of writing Description: A Longquan celadon 'arrow' vase, Southern Song dynasty Expert remark: Compare the related pear-shaped form and soft sea-green glaze. Note the size (16 cm).Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1033 Price: USD 119,700 or approx. EUR 113,000 converted at the time of writing Description: A small Longquan celadon bowl, Southern Song dynasty Expert remark: Compare the almost identical vitreous sea-green glaze and the similarly designed foot rim, also burnt to orange in the firing. Note that this bowl was previously also in the J. M. Hu Collection.南宋龍泉青瓷投壺中國，1127-1279年。胎體緊密，細長頸，頸部有對稱貫耳，豐腹下垂，圈足。通體覆蓋著柔和的青釉，足緣露胎，在燒製中成橙色。
John Freeman and Frank Roberts for Royal Worcester, a miniature fruit painted three piece coffee set, circa 1950-1960, baluster form coffee pot with domed cover and gilded flower finial , decorated with apples and cherries on a mossy ground, painted signature Freeman, black marks, 13cm high, together with a twin handled sucrier and cover and cream jug, painted signature Roberts, black marks, 5cm and 3cm high (3)
Two Susie Cooper bone china part services comprising;- a coffee pot and cover, six saucers and six coffee cups together with six tea cups, [one cracked] six saucers, sugar bowl, milk jug, six side plates and a bread and butter plate, both services with flower decoration, printed marks circa 1950-1965.
A GROUP OF ORIENTAL LACQUERED BOXES, comprising a wooden decorative panel with a carved blossom flower stand, a set of three graduated boxes with mother of pearl and coloured stone inlay, two hand painted lacquered boxes and a desk top pen tray, two circular lidded pots, a Royal Worcester 'Purple Vine' pattern tea cup and saucer, a brass pedestal lidded pot decorated with vine leaves and flowers, a Shelley crested ware 'Chasetown' dog kennel (tiny chip)(10) (Condition Report: the Oriental lacquered boxes have wear commensurate with age and use)
GB Aynsley 'Orchid Gold' pattern Ceramics with Hat Pin. Flower Vase, Squat Bulbous Vase, Pot Pourri Jar & Cover, small shaped Dish, Cup & Saucer, Trinket Dish and a Boxed Hatpin. Factory marks to bases and stickers. Condition is Excellent, with no damage or restoration on the pottery and little wear to the Gilt. Vase is 23cm high
A first period Worcester porcelain mustard pot and cover c.1770, blue and white decoration in the Three Flowers pattern, with shell mounted joined scroll handle and flower bud finial, crescent mark to base, 3 7/8in. (9.8cm.) high.* Provenance: Labels to base for Roderick Jellicoe, London* Condition: Two tiny chips and discolouration to the edge of two petals on the finial. Small underglaze firing crack at top of handle. Some small glaze scratches. Otherwise good, no other faults.
A George III silver teapot James McKay, Edinburgh, 1817, of half fluted squat circular form, to circular stepped spreading foot, gadroon rim, acanthus detail to reeded handle and spout, flower bud finial, 11in. (28cm.) at longest, weight 25 tr.oz., together with a similar silver plate coffee pot. (2)* Condition: Tiny little flea-bite knocks in a few places (hardly noticeable), very good.
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