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A Collection of Continental Porcelain, including a Herend coffee pot and cover, Sèvres style fluted bowl, similar wine cooler, Kaiser platter with a Flemish style still life, and a Bavarian centrepiece with swan formed handles (5)Coffee pot - 21cm high, good condition, no damage or repairFluted bowl - 29.5cm diameter, no damage or repair, gilt wearWine cooler - 17.5cm high, ground flat chip to the inner rimPlatter - 32cm diameter, good condition, no damage or repairCentrepiece - 34cm wide, good condition

Sèvres Tête-à-Tête im Koffer6-tlg., Sèvres, 1804-1814, Ausführung wohl später, in einem lederbezogenen Koffer, Porzellan, weiß, kobaltblauer Fond, polychrom bemalt, gold staffiert, in den Kartuschen Schlachtenszenen aus dem Leben Napoleons, signiert L. Chevillard, bestehend aus 1 Tablett, L 46 cm, 1 Kaffeekanne, H 16 cm, 2 Tassen, 1 Milchkännchen, H 9,5 cm und 1 Zuckerdeckeldose, H 12 cm, Stempelmarke in rot, die 2 Unterteller absent und Sahnekännchen an der Tülle bestoßen, partiell GoldabriebSèvres tête-à-tête in case6-piece, Sèvres, 1804-1814, probably later, in a leather-covered case, porcelain, white, cobalt blue background, polychrome painted, gold painted, in the cartouches battle scenes from the life of Napoleon, signed L. Chevillard, consisting of 1 tray, l 46 cm, 1 coffeepot, h 16 cm, 2 cups, 1 creamer, h 9,5 cm and 1 sugar cover box, h 12 cm, stamp mark in red, the 2 saucers absent and creamer bumped at the spout, partial gold abrasion

Deckeldose / Bonbonniere (Sèvres, Frankreich), Porzellan, Entw.: Georges Mathieu(1921-2012), Unterboden in Goldschrift "Mathieu 68", am Unterboden Markenstempel, Maße ca. H: 9 cm, Dm. 15 cm.

Prächtige Louis XVIII-Ziertasse auf Untertasse. Auf kannelierten Rundstand trompetenförmiger Korpus, seitlicher Ohrenhenkel mit Palmettenansatz. Auf der Wandung und im Spiegel reicher, teilw. radierter Golddekor aus Akanthus- und Efeublattbordüren sowie Rosetten auf framboisefarbenem und teilw. weißem Fond. Schauseitig gerahmte Reserve mit ländlicher Szene in polychromer Malerei. Innenwandvergoldung. Minim. rest.; Manufakturmarke. H. 9,5 cm. Teller-D. 16 cm. A splendid finely gold-decorated French Louis XVIII porcelain cup and saucer with figural depiction. Minor restored. Manufacturer's mark.Frankreich. Sèvres. Um 1814 - 1824.

Prunkvolle Meissen Potpourri-Ziervase mit Pâte-sur-Pâte-MalereiÜber ausgestellten, von reliefplastischen Rocaillen umzogenem Sockel balusterförmiger Korpus mit eingezogenem Hals, in geschweiften Rand übergehend. Aufgewölbter, durchbrochen gearbeiteter Deckel mit plastischem Rocailleknauf. Die Seiten mit vertikaler Profillinie durchzogen sowie mit Blattrocaillehenkel appliziert. Beidseitig der Wandung, in zart-pastelltonigem, apricotfarbenen Fond ausgesparte, von Blattrocaillen umzogene Reliefkartuschen, darin ein zwischen Wolken schwebender Putto mit Blütensträngen in weißer, erhabener Pâte-sur-Pâte-Malerei auf bläulich-grauem Fond. Teilw. rest.; Schwertermarke. H. 29 cm. Bei der Pâte-sur-Pâte-Malerei handelt es sich um eine Schlickermalerei, wobei durch das schichtweise Auftragen von flüssiger, teilw. durchscheinender Schlickermasse ein erhabenes, kameenartiges Relief entsteht. Diese hochqualitative Maltechnik wurde erstmals auf der Londoner Weltausstellung im Jahr 1851 von der Manufaktur Sèvres vorgestellt. Der Durchbruch auf Meißener Porzellan erfolgte 1878 durch den Chemiker Dr. Heintze und erreichte seinen Höhepunkt auf der Weltausstellung 1893 in Chicago mit ca. 1000 dort vertretenen Ausstellungsstücken.Vgl. Kat. Königl. Sächs. Porzellan Manufactur, 1904, Bl. 61, Nr. H 147; Jedding, Nr. 94ff., S. 176. A splendid lidded potpourri porcelain vase with cupid decor painted in pâte-sur-pâte. Partly restored. Crossed swords mark.Meissen. Ende 19. Jh.

Paar monumentale Meissen Vasen mit Darstellungen aus dem Zyklus "Einzug Alexander des Großen nach Babylon"Über eingezogenem Stand balusterförmiger Korpus mit gerundeter Schulter und kurzem, zylindrischem Hals. Aufgewölbter, überkragender Deckel mit stilisiertem Zapfenknauf. Kobaltblauer Fond. Auf der Wandung umlaufender, antikisierender Figurenfries mit verschiedenen, frei komponierten Darstellungen aus dem sog. „Alexanderzug“, arrangiert auf breitem Ornamentsockel aus volutiertem Laubwerk mit Maskaron- und Blumenmedaillons sowie Blumenhörnern. Nach Vorbild des Marmorfrieses von Bertel Thorvaldsen (1770 – 1844) im Schloss Christiansborg in Kopenhagen sowie Zeichnungen und Stichen von Johann Friedrich Overbeck bzw. Samuel Amsler. Der Deckel mit korrespondierendem Ornamentband. Reliefartige, in Weiß aufgetragene Emailmalerei sowie Teilvergoldung des Knaufs und Goldrand. Schwertermarke. H. 64 cm. Auf kobaltblauem Grund effektvoll plastisch hervortretende Darstellungen in weißer Emailmalerei. In Anlehnung an Sèvres und Royal Worcester-Porzellane wurde diese Technik im Stil der Limosiner Maleremail-Arbeiten erstmals 1865 in Meissen ausgeführt und 1867 auf der Weltausstellung in Paris präsentiert. Diese zeigte szenische Darstellungen des Einzuges Alexanders des Großen in Babylon nach Thorvaldsens Vorlagen. Thorvaldsen fertigte den Triumphzug erstmals für Napoleon Bonaparte, danach im Jahre 1829 für Schloss Christiansborg in Kopenhagen, von denen Samuel Amsler Kupferstiche nach Zeichnungen von Friedrich Overbeck anfertigte. Amslers Kupferstiche, die zudem in Hermann Lückes "Der Einzug Alexander des Grossen in Babylon: Marmorfries von B. Thorwaldsen" erschienen sind, boten die Motivgrundlage für die Darstellungen auf der Meissener Weltausstellungsvase wie auch auf diesen Vasen, wobei die Motive hier in größerem Maßstab wiedergegeben sind.Vgl. Jedding, Meißener Porzellan, Farbtaf. I und S. 86f., Berling, S. 91; Siemen, Nr. 42, S. 368, 377; Klassisches Meissen, S. 103; Thorvaldsen-Museum, Kopenhagen, Inv.-Nr. E 35,0; 10, 11, 14, 15.A splendid pair of monumental lidded porcelain vases with depictions of "Alexander the Great‘s entry into Babylon" after a marble frieze by Bertel Thorvaldsen, drawings by F. Overbeck and engravings by Samuel Amsler painted in white enamel in Limoges style on cobalt-blue ground. Crossed swords mark.Meissen. Um 1924 - 1934.

Attributed to Claude Galle (French, 1759-1815): A good early 19th century French gilt bronze and rouge griotte marble figural mantel clockThe figural mount perhaps in the manner of Louis-Simon Boizot (French, 1743-1809)The arched rectangular case on a stepped rectangular pedestal, with applied winged flambé torch and fruiting laurel and oak leaf wreath mounts, and with foliate and stiff leaf cast borders, the front with an applied figural mount formed as a classical maiden, holding aloft drapery to partially conceal the dial, the whole raised on conforming rectangular plinth base and moulded foot, the rotating dial with Roman enamelled chapter ring with milled centre and poker hands, the brass twin train movement with silk suspension and outside count wheel striking on a bell, with pendulum, 53.5cm highFootnotes:ProvenanceNorman Mackinnon (1923-1989), former MD of Drambuie, Scotland and self-proclaimed 'Whisky Baron' and a collector of fine art, furniture and objects, cars, and properties. The clock stood on the mantlepiece in the grand dining room of his Edinburgh home and at the end of a dinner party when it chimed midnight he would announce to his guests that the evening was over. By repute it had been inherited from his mother Gina Mackinnon who was famous for safeguarding the Drambuie recipe. Thence by decent to the present owner.The offered lot is thought to be one of three known examples of this model attributed to Claude Galle, one of the other two being a near identical clock, excepting the case, which is in green marble, which is in the permanent collection of clocks at Belmont House, Kent. Known as the 'Amitea clock', the name is perhaps derived from 'Laudatio Luliae Amitae' which was a funeral oration that Julius Caesar gave in 68 BC to honour his dead aunt Julia, the widow of Marius with the figure to the front of the clock perhaps representing a mourning praeficae. One of the leading French bronziers of his day, Claude Galle created numerous gilt bronzes for the Royal and subsequently Imperial household. Born at Villepreux near Versailles, he was apprenticed to the fondeur, Pierre Foy at rue du Four. In 1784 he married Foy's daughter and after his masters death, took over the workshop and built it into one of the finest of its kind, eventually employing about 400 craftsmen. In 1786 he became a maitre-fondeur and in the same year received the first of many commissions from the Garde-Meuble to furnish the royal palaces. Galle moved the business to Quai de la Monnaie and from 1805 traded from 60 Rue Vivienne.Louis-Simon Boizot worked in the atelier of the sculptor René-Michel Slodtz (1705–1764) who also trained Houdon. In 1778 he was admitted to the Académie royale de peinture et de sculpture and exhibited at the yearly salons until 1800. His portrait busts of Louis XVI and Joseph II were created in 1777 and made in bisque porcelain at Sèvres. From 1773 to 1800 Boizot directed the sculpture workshop of the Sèvres porcelain Manufactory, producing the series of unglazed biscuit figures with a matte finish resembling that of marble. Boizot also created terracotta designs for gilt-bronze clock cases including the allegorical 'Avignon' clock, now in the Wallace Collection in London, which was cast and chased by Pierre Gouthière in 1777.This 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

An early Victorian porcelain and ormolu mounted rosewood and tulipwood jewellery coffer on stand or coffre a bijoux attributed to Johann Martin Levien (1811-1871)Circa 1845, an identical model forms part of the Royal CollectionThe quarter veneered box superstructure mounted with five oval Sevres style porcelain plaques painted with a trio of putti and four pairs of putti, variously allegorical of viniculture, geography, astronomy, literature, music and fire making, each plaque set within a shaped C- and S-scroll, floral, foliate and rocaille panel mount, the superstructure comprised of a hinged top enclosing a velvet lined interior, above a cavetto leaf mounted panelled frieze, with canted floral clasped angles, over a re-entrant panel mounted hinged fall front enclosing two pigeon holes, two short mahogany lined tulipwood veneered drawers and one shelf, on a stand with a shaped apron mounted with four oval Sevres style painted porcelain plaques, each within a ribbon tied entwined twin oak leaf branch and oak leaf wreath mount, on keeled cabriole legs each headed by a floral swagged, paterae embedded scrolled corbel, beaded and acanthus clasped mount, with guilloche cast chutes terminating in scrolled foliate sabots, approximately: 54cm wide x 49cm deep x 110cm high, (21in wide x 19in deep x 43in high)Footnotes:An identical model of jewellery cabinet on stand (referred to as a coffre a bijoux in French), which is dated 1846 and is also, as with the present lot, attributed to Johann Martin Levien, forms part of the Royal collection, see www.rct.uk, RCIN 169.Although Levien is famed for his furniture executed in assorted exotic specimen woods, the latter of which were predominantly sourced from New Zealand, the vast majority of his work was in fact made from more traditional timbers. And this seems to have been the case for his output in French styles, particularly those in the Louis XV taste as with the offered model and the Royal comparable. The latter coffre a bijoux, along with the above example, are representative of the endorsement of Queen Victoria and Prince Albert, especially during the 1840s, for French-inspired pieces. The modified or updated Louis XV (or Rococo revival) style was evidently the one preferred by the Royal couple at that time. The porcelain plaques on both of these jewellery cabinets, which are painted in the Sèvres style with scènes galantes, birds and flowers within gilded cartouches, are almost certainly of English manufacture, for more information please refer to Victoria & Albert: Art and Love, 2010, London.Johann Martin LevienLevien was born in Barth on the Baltic coast, in what is today part of Germany. During his youth he was apprenticed to a cabinet maker there before travelling extensively across Europe. Following a trip to Brazil in 1837, Levien took the decision to set himself up there as both a cabinet maker and dealer responsible for making and selling pieces comprised of or incorporating a wide array of exotic timbers. However, the trade in this area evidently proved too competitive at that time in South America and represented too difficult a prospect for the young Levien. Consequently he chose a different course, specifically by boarding an English ship destined for New Zealand in 1840. By the end of the following year, Johann Martin had established a new furniture enterprise in New Zealand. Also, even in what was a relatively brief period, the diligent cabinet maker had greatly expanded his collection of exotic specimen wood samples. And although clearly prospering there, in 1843 Levien moved once again, but on this particular occasion to England. Interestingly he would never return to New Zealand thereafter.His career and renown progressed so rapidly in London, that in hardly any time after his arrival there, Levien was able to set up workshops at New Zealand Company on Broad Street, as well as develop the main room at this location as a space in which to properly display his firm's impressive 'wares'. His most notable clients tended to be affluent and aristocratic, whilst on occasion they were even members of the Royal family, tending to be either from the British or Prussian courts.Included among Levien's most important and illustrious patrons were figures such as: the Prussian ambassador, Christian Charles Josias von Bunsen (later Baron von Bunsen); Frederick William IV, King of Prussia; Baron von Stockmar, Baron Rothschild, Stewart Marjoribanks, Lord Ilchester, John Abel Smith, Lord Ingestre and of course most significantly Queen Victoria.In 1846 a Royal appointment was bestowed upon Levien and this honour was triumphantly announced by 'The London Sun' only a couple of weeks afterwards in the following way: 'We are happy to announce that Her Majesty has been pleased to confer upon Mr Levien the appointment of cabinet-maker to Her Majesty, in token of the very elegant specimens of workmanship made by him... Her Majesty the Queen was the first to patronise him. And he has secured great favour with Her Majesty by his workmanship, his skill, and his woods.'A mere two years later, in 1848, Johann Levien was awarded both a gold medal and a further Royal appointment, albeit on this occasion from the King of Prussia. In fact that year was an especially successful one for Levien's business since they were doing well enough to re-establish themselves at the exclusive and highly sought after 10 Davies Street address, located in Grosvenor Square. Subsequently Levien submitted four pieces to the famous 1851 Great Exhibition.Despite his prolific output and widespread renown, only a very small number of stamped or documented examples of Levien's furniture are known to exist or remain. This seems particularly odd considering the fact that by the time the cabinet maker retired and subsequently sold the firm in 1868, hundreds of works must have been produced in his name. Although it does seem extremely likely that the vast majority of his output was almost certainly left unsigned or unmarked, whilst a great deal of it also went on to be later sold by retailers such as R. Lucas & Co.This lot is subject to the following lot symbols: TP YTP 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com

A SÈVRES HARD PASTE PEAR-SHAPED MILK JUG gilt marks and “Z” for 1778, painted by Lecot, with a branch formed handle and three feet, painted in colours with figures under a parasol, and one figure seated fishing, 12cm highProvenance: Bt. John Whitehead June 2011.The collection of the late Anthony du Boulay FSA (1929-2022).

BODENVASE/ BALUSTERVASE, Porzellanmanufaktur Sèvres,1896, kobaltblauer Fond, Goldfädenkanten, schwarze Stempelmarken über Glasur, H ca. 48,5 cm, 1 Stelle mit minimalem Glasurkratzer

Porzellan. Kataloge. Dauterman, Carl Christian. The Wrightsman Collection. Volume IV Porcelain. The Metropolitan Museum of Art. New York, Graphic Society, Greenwich 1970. 4°. Mit Abb. überwiegend in Farbe. X, 486 S. Orig. roter Leinenband mit goldgeprägtem Medaillon auf Vorderdeckel und Rückentitel. (50) * Der Band enthält: Meissen Porcelain; Sèvres and other French Porcelain; Chelsea and other English Porcelain; Oriental Porcelain. Beiliegt Ausstellungskatalog: Horvitz Roth, Linda. (Edited) J. Pierpont Morgan, Collector. European Decorative Arts from the Wadsworth Atheneum. Hartford. 4°. Mit Abb. 205 Seiten. Orig. schwarzer Leinenband. Zustand: Innen vereinzelt mit Notizen oder Widmungen. Die Einbände sind gering berieben und bestoßen.

Große Tasse mit seitl. Handhaben, darauf rundum gekehlter Aufsatz mit zwei Mulden für Eier u. eine blattförmige Menage mit Asthenkeln. Hoch gewölbter Deckel mit Blütenbekrönung. Auf großer Untertasse. (Min. Best.). Auf der Wandung Dekor von blauem Zierband über polychromer Blumenmalerei, goldstaffierte Ränder. Unter dem Boden blaue Manufakturmarke Sèvres, 19./20. Jh. H. 20,5 cm.

TWO 'PARIS PORCELAIN' SWAN SAUCEBOATS ON STANDS, LATE 19TH CENTURY each boat formed as the bird with neck bent to form the handle, on oval stands, gilded overall excepting the wings to the boats and borders to the stands exposing the biscuit body, bearing apocryphal marks, one set with crowned 'N', the other 'M. Imple / de Sèvres', stands 15.5 and 15cm long respectively; together with a 'Paris Porcelain' cabinet cup and saucer, 19th century, gilded including roundels of a helmeted mask on a green ground band painted between with formal flowers, the cup additionally with gilt palmettes against the red band, the handle (repaired) with patera terminal (6)

A pair of Louis XV ormolu mounted Chinese crackle glazed ewersThe porcelain 18th century, the mounts possibly by Jean-Claude Duplessis, mid-18th centuryThe baluster 'Ge-type' vase bodies rising from slightly splayed feet to slender waisted necks, the exterior covered with a blue-grey glaze suffused with cracks, the acanthus scrolling handles cast with bull rushes, the lip mounts with rocaille acanthus sprays, on scrolling footed bases, minor losses to bull rushes to the handle of one vase, 17.5cm wide, 14cm deep, 31.5cm high (6 1/2in wide, 5 1/2in deep, 12in high) (2)Footnotes:十八世紀 仿哥窯瓶一對（嵌十八世紀中期或为吉恩-克勞德·查姆貝蘭·迪普萊西所作鎏金銅飾）Provenance Rosenberg & Stiebel, New York, 1984.Galerie Michel Meyer, Paris.來源Rosenberg & Stiebel，紐約，1984年Galerie Michel Meyer，巴黎Related LiteratureRosenberg & Stiebel, New York, Elements of Style: The Art of the Bronze Mount in 18th and 19th Century France, exhibition catalogue, April-June 1984, no.13, fig 12.Jean-Claude Chambellan Duplessis (1699-1774)Duplessis was a sculptor, ceramics modeller, bronzier and artistic director of the Vincennes and Sèvres Manufactory. From 1752, he assisted his father in creating models for the porcelain manufactures. On 12 June 1765 he became maître fondeur en terre et sable, having, as was customary at the time, mastered the disciplines of drawing and sculpture. Duplessis' illustrious career is mainly recognized today for having perfected the rocaille symmetrisé style. One of the most talented and influential designers and bronziers of his day, only a few pieces can be firmly attributed to him, including a pair of ormolu braziers commissioned by Jean-Baptiste Machault d'Arnouville for royal presentation in 1742 to the Ambassador of Turkey, one of which is today conserved at the Topkapi Palace Museum, Istanbul.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 rare pair of Russian gilt bronze and cobalt blue porcelain pot pourri vases, incorporating elements of design from the coat-of-arms of Paul 1st, Tsar of Russia (1754-1801)St Petersburg, late 18th centuryThe pedestal urn bodies with double-headed winged eagle handles, the pierced girdles above medallion order mounts, the domed covers with fruiting stiff leaf and crown and cross finials, the lobed leafy socles raised on re-entrant cut corner square bases, the porcelain with internal underglaze marks (one lid fully restored, the other lid with minute restoration), 12.5cm wide, 9.5cm deep, 24.5cm high (4 1/2in wide, 3 1/2in deep, 9 1/2in high) (2)Footnotes:ProvenanceGalerie J.Kugel, Paris, February 1997.This pair of pots pourris, apparently unique examples in Russia, are directly inspired from Sèvres porcelain vases. The ormolu mounts clearly display all of the attributes of Paul 1st while highlighting the Maltese Order Cross. The celebrated Order of Malta, created during the 12th century, installed itself in Malta in 1530. It is in 1798, after Napoleon's siege of the island that most of the members of the Order fled to Russia. Paul 1st soon became the protector of the Maltese Cross Order and, just after being crowned, he returned to St Petersburg wearing the crown of the Grand Master of the Order of the Chevaliers de Saint-Jean de Jérusalem. From that moment onwards, the Maltese Cross was always present alongside his Imperial Coat-of-Arms. It is likely that this pair of pots pourris is a commission from the Emperor himself, but no supporting archival documents have yet been able to reveal the precise destination of these works of art. It is conceivable that they would have been planned to decorate the chapel of the Order of Malta in the Palace Vorontsov in St Petersburg.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 Minton part tea service with gilt and sèvres blue decoration comprising ten teacups; eight coffee cups; ten saucers; a bowl; and two serving dishesQty: qtyTea cups:Cup 1 crazing to the handle, overpainted chip to the rim, rubbing and chipping to the gilt, missing darker blue banding to the decoration.Cup 2 chipping and rubbing to the gilt around the rim, base and handle, chips on the inside of the rim of the base.Cup 3 crazing to the blue at the join of the handle, on the handle and the base, heat damaged staining to the handle, missing darker blue banding to the decoration.Cup 4 minor rubbing to the gilt rim, minor crazing to the hand and the blue.Cup 5 Crazing to the handle.Cup 6 chipping to the gilt rim, rubbing to the decoration.Cup 7 crazing throughout, looks to have been repaired: two cracks at the rim running into one and terminating half a cm from the base, heat staining to the handle.Cup 8 rubbing to the gilt on the handle and chipping to the gilt rim.Cup 9 handle stapled back on, overpainted chips to the rim, chips to the gilt in the rim.Cup 10 evidence of repair to the handle, minor crazing to the blue rim, crazing to the handle, scuffing to the decoration, chipping to the gilt one the rim.Coffee Cups:Cup 1 approximately a half cm crack running from the rim, a second approximately 1cm long crack running from the rim, chips to the inside of the rim of the base.Cup 2 approx. half cm hairline fracture running from the rim, minor chip to the rim, rubbing and chipping to the gilt on the rim.Cup 3 rubbing and chipping to the gilt on the rim.Cup 4 crazing throughout, heat damage and repair to the handle.Cup 5 chipping and rubbing to the gilt on the rim.6 staining and heat damage throughout, crazing throughout, rubbing to the decoration.Cup 7 chip to the rim running into a crap which goes three-quarters of the way down the body.Cup 8 hairline that runs to the edge of the gilt lower band from the rim.Bowl rubbing and chipping to the gilt on the rim.Dish 1 rubbing to the gilt.Dish 2 crazing to the blue rim.all of the pieces have minor scratching to the glaze and rubbing to the decoration commensurate with age an use

A Meissen porcelain plate with floral decoration and pierced border; a Sèvres style oval dish with painted decoration of two lovers, signed 'E Morin', with gilt metal mounts; and a Bloor Derby porcelain plate painted with roseshe oval dish 34cm wideQty: 3Wear to the gilding overall. Otherwise in good condition.

Großer Jugendstil Cachepot, sog. "Vase de Chalmont"Entwurf: HECTOR GUIMARD (1867 Lyon bis 1942 New York City) - Ausführung: GUSTAVE DE BRUYNE & FILS, FIVES-LILLE (Frankreich), um 1930. Steingut. Weiße Glasur, grün überlaufende mit Goldkonturen. Innen türkisfarben glasiert. Krakele. Unter dem Stand eingepresstes Reliefmarke. Eingepresste Modellnummer 1380 und 3. H. 22 cm. 24 x 24 cm. - Lit.: Vergleiche Jugendstil. Glas, Graphik, Keramik, Metall, Möbel, Skulpturen u. Textilien von 1880 - 1915 ; Bestandskatalog. Bad. Landesmuseum Karlsruhe, 1987. Bearb. von Irmela Franzke. Kat.-Nr. 155 (Arbeit von Hector Guimard für Sèvres). - Vgl. im Sammlungskatalog: Radikal schön - Jugendstil und Symbolismus, 2019, Abb. 271 u. 539 das Objekt "Vase de Chalmont" nach einem Entwurf von H. Guimard um 1904, Ausführung Sèvres. - Lit.: Zühlsdorff Nr. 16.43. - Prov.: Privatsammlung. Dieser Entwurf wurde auch in Porzellan bei der Manufaktur Sèvres gefertigt. - Zustand: Gold ber. - min. Chip am Rand.

Figurengruppe Toilette der Venus / La Toilette de VenusManufacture Nationale de Porcelaine, Sèvres, Ende des 19. Jahrhunderts / Anfang des 20. Jahrhunderts. Biskuitporzellan. Eingepresst: Manufakturmarke mit zwei Punkten und Raute. Eingepresst: 461. H. 37 cm, Sockel D. 23,5 cm. Modell von Simon Louis Boizot (1743 - 1809) aus dem Jahr 1780. Allansichtige Darstellung der Toilette der Venus mit Putti und Nymphen. - Zustand: Sockelrand an einer Stelle rest.

Potpourri mit Blumengirlanden und BronzemontierungManufacture Nationale de Porcelaine, Sèvres. Biskuitporzellan. Feuervergoldete Bronzemontierung mit Maskarons. Im Deckel aus Biskuitporzellan eingeritzte Sevres Marke mit dem Buchstaben F. Gesamthöhe: 29,5 cm. - Zustand: Blüten und Blätter der Blumengirlanden vereinzelt best.

Sèvres Prunkteller aus dem Schloss Fontainebleaugrüne und blaue Stempelmarke 1845-1948 sowie Inventarstempel des Schlosses, glatte Form mit üppigem Dekor in polychromer Aufglasurbemalung über Linienvordruck, auf der Fahne Rollwerk mit sechs Wildtieren und Kartuschen, diese mit bekröntem Besitzermonogramm "IPL" für Louis-Philippe I. (französischer König 1830-1848) bzw. Zierrat, im Spiegel eine goldene Rosette, Ornamentband und Goldränder, guter altersgemäßer Zustand, D 24,5 cm.

Félix Bacquemond, "le haute d'un battant de porte"in der Platte signiert und datiert 1865, Stempel Cadart & Luquet Editeurs, Radierung, im Passepartout eingeheftet, Blattmaße 30 x 39,5 cm. Künstlerinfo: französischer Maler, Grafiker und Porzellanmaler (1833 Paris bis 1914 Sèvres), eigentlich Auguste Joseph Bracquemond, regte mit neuen Methoden der Radierung andere Künstler an, diese Methoden ebenfalls zu adaptieren und sich dem Zeitgeist anzupassen, Ausbildung als Lithograph, dazu Zeichenunterricht, später Schüler von Joseph Guichard, war Mitglied einer Künstlervereinigung zur Förderung des Radierens, um 1870 als Porzellanmaler für Sèvres tätig, außerdem nahm er den Posten als Direktor des Pariser Ateliers der Firma Haviland (Limoges) an, 1889 Mitbegründer der Société des peintres-graveurs français. Quelle: Wikipedia.

Bouillon couvert en porcelaine dure de Sèvres, provenant du service « à perles et barbeaux » de la Reine Marie-Antoinette, circa 1781A Sèvres hard-paste bouillon cup and cover from the 'perles et barbeaux' service for Queen Marie-Antoinette, circa 1781Painted by Nicolas Dutenda, with borders of grey pearls against a pale green ground, alternated with scattered cornflowers, set between dentil borders in gold, the finial shaped as a simple peach and two leaves in gold, the handle picked out in gilding, 8cm high, crowned interlaced LL monogram in blue, painter's mark D.T. for Dutenda, gilder's mark .F. for J.-A. Fallot , incised HI (restored) (2)Footnotes:Provenance: Purchased by Marie Antoinette, Queen of France, and entered in the end-of-year sale records for 1781-82; Lord Revelstoke (Christie's London, 28 June 1893, lots 373 and 374);Private European CollectionLiterature:C. Baulez, « Vers un Retour des Sèvres », Revue du Louvre, décembre 1991, pp. 69-70See David Peters, Sèvres Plates and Services (2005, revised edition 2015), vol. III, no. 81-13, pp. 645-646, for a full discussion on the service. Ordered in July 1781 and probably executed based on examples provided by Michel Gabriel Commelin on 7 August, this elegant simple service was delivered to the Queen on January 2, 1782, during the exhibition at Versailles. It is mentioned in the archives of the Sèvres factory under various names including 'Service de la Reine', 'Service à Perles pour la Reine' and Service à Perles et Barbeaux. It included 295 pieces, for an amount of 12,420 pounds, including 96 plates and 24 soup plates worth 30 livres each and 24 pots à jus at 18 livres each. The Service à Perles et Barbeaux may have been ordered for use at the Trianon where the Queen had two large dining rooms. Unlike the services like Service à frise riche, perles et roses both made for Marie-Antoinette and Gustave III of Sweden in 1784 and subsequently for the comtesse d'Artois in 1789, the Service à Perles et Barbeaux of 1781 was exclusively produced for the Queen. Pieces from this service come to the market rarely, and two pots à jus were sold at Sotheby's Paris, Important French Furniture And Works Of Art29 March 2007, lots 70 and 71. A rare bateau from this service was sold at Bonhams London, 25 May 2011, lot 362. A large part of this service was in the collection of Lord Revelstoke (Christie's London sale, June 28, 1893, lots 373 and 374). This same set appeared again at public sale in 1976 (Ader study, Palais Galliera, November 29, 1976, lot 113 then Geneva, May 14, 1977, lot 384)An exhibition of a loan of 75 pieces of the service was opened at the Petit Trianon in July 2023.For further information on this lot please visit Bonhams.com

Pot à sucre « Bouret » couvert en porcelaine de Sèvres, circa 1760-65A Sèvres sugar bowl and cover (pot à sucre 'Bouret'), circa 1760-65Painted with interlacing floral and foliate garlands in blue monochrome on a pink Taillandier ground, gilt dentil borders to the rims, the cover applied with flower finial, 9.2cm high, interlaced LL monogram in blue, incised S (finial restuck) (2)For further information on this lot please visit Bonhams.com

Paris, Dihl et Guerhard, vase à décor de portrait, circa 1800-1810A Paris, Dihl et Guerhard signed portrait vase, circa 1800-1810Superbly decorated with an oval portrait medallion of a young man wearing the order of the Légion d'honneur, pinned to the left lapel of his military jacket, wearing gold thread epaulettes, the reverse with the initials AI in gilt letters against a pale blue ground, the vase itself decorated with a high-finished gilding with tooled cartouches around the medallions flanked by two stylised architectural elements, the foot and neck with similar highly worked and tooled gilding, 24.3cm high, 'Dihl' in tooled script to the side of the square baseFootnotes:Christophe Erasmus Dihl was born in 1768 near Mannheim, and was trained already as a young man in chemistry. He understood the chemical processes necessary for the manufacture of porcelain, had access to moulds, and decided to found his business in buoyant Paris. He emigrated in 1778, but as a non-Parisian, he was not allowed to set up his own factory and joined forces with a couple already based in Paris called Guérhard. After Mons. Guérhard's death, Dihl married his widow, and continued the business. The factory became one of the most famous and successful factories in Paris,in some cases even outshining the Sèvres factory in output and orders. Their clients included everyone from Napoleon Bonaparte to George Washington.For further information on this lot please visit Bonhams.com

Ecuelle couverte et présentoir en porcelaine de Meissen, circa 1765-70A Meissen ecuelle, cover and stand, circa 1765-70After the Sèvres model, of rococo shape, decorated with interlacing flower garlands interspersed with shells, the rims with blue-ground borders heightened with gilt trellis and scrolls, the cover applied with a leafy branch handle, the ecuelle: 13cm high; the stand: 22.4cm diam., crossed swords and dot marks in underglaze-blue, impressed numerals (one handle with haircrack) (3)For further information on this lot please visit Bonhams.com

GEFUßTE SCHALE UND ZEHN TELLER, KOBALTBLAU. Sèvres. Datierung: 19. Jh. Technik: Porzellan, kobaltblau und gold dekoriert. Beschreibung: Feine Goldornamente auf kobaltblauem Fond. Maße: Ø 25cm bzw. 24cm. Marke: Schale mit Malermarke II. Kaiserreich (1852-1870) mit Jahresmarker 63, Jahreszeichen für 1861. Teller Jahreszeichen für 1855/58/59. Erläuterungen zum Katalog

MINIATUR FAYENCE-BUFFETSCHRANK. Frankreich. Datierung: Mitte 19. Jahrhundert. Meister/Entwerfer: Wohl Sèvres. Technik: Heller Scherben mit weißer Glasur, farbig dekoriert. Maße: 33x20x11,5cm. Marke: Keine Marken erkennbar. Provenienz:Privatsammlung Bayern.Der französische Kabinettschrank aus Fayence gehört zu den außerordentlich seltenen "ameublement de luxe", die für große Puppenhäuser in Frankreich und Russland in der Zeit Napoléon III hergestellt wurden. Das Möbel ahmt einen Barocken Kabinettschrank des 17. Jahrhunderts nach. Obwohl keine Marken vorhanden sind, darf das Möbel der Manufaktur Sèvres zugeordnet werden. Erläuterungen zum Katalog

VICTORIAN AMBOYNA, EBONISED, PORCELAIN, AND GILT METAL MOUNTED SIDE CABINET 19TH CENTURY the breakfront top with a brass galleried central section with a mirrored recess flanked by doors with three-quarter brass galleries over panels mounted with Sèvres style porcelain plaques depicting French beauties against a blue celeste ground, all flanked and divided by fluted columns; the lower section with a moulded brass edge over three frieze drawers mounted with a rinceau frieze and further porcelain plaques, the centre drawer with a gilt tooled leather writing slope with easel support, above two mirror backed tiers flanked by fluted tapered supports, raised on toupie feetDimensions:135cm wide, 152cm high, 55cm deepProvenance:Provenance: The Ashley Hall Collection: By order of The Trustees of the J. Porter Trust & The Executors of the late Leonard Rawcliffe

FRENCH KINGWOOD AND AMARANTH PORCELAIN MOUNTED JARDINIERE TABLE LATE 19TH CENTURY with a pierced gilt bronze gallery enclosing a rectangular void with metal liner, the sides mounted with oval Sèvres style porcelain plaques painted with exotic birds within gilt bronze mounts, raised on cabriole legs outlined with gilt bronze and ending in sabotsDimensions:72cm wide, 84cm high, 42cm deepProvenance:Provenance: Property of the late Mrs. Jean Bogie

FRENCH GILT BRONZE AND SÈVRES STYLE 'BLEU DE ROI' PORCELAIN MANTEL CLOCK GARNITURE LATE 19TH CENTURY the jewelled and gilt porcelain dial painted with a landscape mask, the clock set within an a gilt bronze oval case with acanthus moulding and porcelain frieze panels, surmounted by a porcelain urn painted with reserves of courting figures and landscapes with female mask handles, the base with floral garland swag appliques on a pair of bracket and four toupie feet, the brass Japy Frères twin train movement striking a bell; with a pair of matching vases en-suiteDimensions:the clock 33cm wide, 42cm high, 21cm deep

Garnier (Édouard). The Soft Porcelain of Sèvres, with an historical introduction, 1st edition, London: John C. Nimmo, 1892, half-title, title printed in red and black, 50 chromolithograph plates heightened in gold, a few light spots, hinges repaired, all edges gilt, early 20th-century half calf gilt, small portion of leather to tailcap lifting, rubbed, folioQTY: (1)

Paire d'importants et grands candélabres de style Louis XVI d'époque Napoléon III en bronze ciselé et doré à dix lumières, milieu XIXe siècleA pair of monumental Napoleon III ormolu ten-light candelabra in the Louis XVI style, mid-19th centuryEach depicting draped dancing muses holding aloft the foliate and flowering branches terminating in rose and lily-shaped nozzles and drip-pans, on reeded columnar bases hung with berried swags, above beaded and foliate moulding, on a square plinth with canted angles, 45cm diam., 135cm high, (17 1/2in diam., 53in high)Footnotes:Provenance: Private Italian collectionThe model of these candelabra is based on two plaster casts by Etienne Maurice Falconet (1716-1791), known from a drawing by Gabriel de Saint-Aubin executed in the margin of a booklet of the Salon of 1761. Similarly, the draped nymphs or muses can be as well associated to a model by Louis Simon Boizot (1743-1809) who was director of sculpture at Sèvres in 1774 (E. Bourgeois and G. Lechevallier-Chevignard, Le Biscuit de Sèvres, Recueil des modèles de la Manufacture de Sèvres au XVIIIe Siècle, Vol.I, p.23, no.311), see F.J.B. Watson, Wallace Collection Catalogues, Furniture, London, 1956, p.89, F136-7.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com

Groupe en bronze représentant le Chasseur au repos, Jean-Claude Chambellan Duplessis (1699-1774), vers 1750, d'après un modèle de Nicolas Coustou (1658-1733)A bronze group depicting the resting Hunter, Jean-Claude Chambellan Duplessis (1699-1774), French, Paris, circa 1750 after a model by Nicolas Coustou (1658-1733).Signed Duplessis fec; dark brown patina with green highlights, resting on a square wooden later socle, 37cm high, 45cm total high, (14 1/2in high, 17 1/2in total high)Footnotes:Provenance:By repute collection Charles François de Vintimille, Comte du Luc, Provence, his sale, C.F. Julliot et F.C. Joullain, Paris, 22-23 December 1777, lot 18;Defining Taste, Sotheby's London, 12 Novembre 2013, lot 162;Private Parisian collectionThe bronze presented, equally called Adonis se reposant de la chasse is a reduction of the famous marble sculpted by Nicolas Coustou in 1710, once conserved in the gardens of Marly (inv. no MR 1796). Several bronze versions of Adonis seated were commissioned throughout the 18th century to decorate the Parisian hôtels particuliers.Our bronze is the work of Jean-Claude Chambellan Duplessis, best known for his Vincennes and Sèvres porcelain creations. In 1751, Duplessis is commissioned by Louis XV to design the drawings of the first large scale service de table. In 1758, he is granted the status of Orfèvre du Roi.See the following for comparable examples:The French Bronze, 1500-1800, exh. cat. Galerie Knoedler & Co., New York, 1968, no.45;F. Souchal, French Sculptors of the 17th and 18th centuries. The reign of Louis XIV (1977), pp. 168-169, no.52;G. Bresc-Bauthier, Sculptures des jardins du Louvre (1986), p. 115;S. Lami, Dictionnaire des sculpteurs de l'école française au XVIIIe siècle, III, 1910For further information on this lot please visit Bonhams.com

Two German glass cats; a glass Studio vase; a Sèvres table lamp; a Goss golf ball; etc.

19th Cent. French neoclassical Napoleon III-sideboard in ebony and ebonised wood with mountings in guilded bronze and plaquettes in Sèvres-porcelain || FRANKRIJK - ca 1850/70 neoclassicistische Napoleon III-dressoir met gegalbeerd front in ebbenhout en geëboniseerd hout, versierd met fraai, gedoreerd bronsbeslag en met plaketten in Sèvres-porselein

pair of antique Sèvres marked porcelain vase with paintings, signed Grisard, and with mountings in gilded bronze || Paar antieke cassoletvazen in gemerkt Sèvres-porselein met beschilderingen, getekend Grisard, en met een montuur in gedoreerde brons - hoogte : 57 cm

'antique' 3pc garniture in Sèvres marked porcelain with Garnier signed paintings || 'Antieke' driedelige garnituur in gemerkt Sèvres-porselein met beschilderingen, getekend Garnier : een schaal en een paar gedekselde vazen - hoogtes : 25 en 45 cm

mid 19th Cent. European neoclassical displaycabinet (sideboard model) in burr of walnut with mountings in guilded bronze and with plaques in Sèvres-porcelain || EUROPA - ca 1850 door het model vrij apart neoclassicistisch meubel in zeer mooi gevlamd wortelhout zie oa naar het bovenblad) met ranke zuiltjes met bronzen kapiteeltjes en versierd met kleine en grote plaketten in Sèvres-porselein, waarvan twee met fijnbeschilderde damesbustes - met centraal twee deuren, aan elke zijde geflankeerd door een spiegelpaneel en een gegalbeerde vitrinedeur

mid 19th Cent. European neoclassical cabinet in burr of walnut with mountings in guilded bronze and with plaques in Sèvres-porcelain || EUROPA - ca 1850 fraai neoclassicistisch tweedeursmeubel in zeer mooi gevlamd wortelhout versierd met ingelegde filets, met gedoreerd bronsbeslag en met ovale plaketten in Sèvres-porselein met mooi beschilderde vrouwenbustes

A Victorian Figured-Walnut, Kingwood and Tulipwood-Banded Serpentine Side Table, late 19th century, in Louis XV style, the mirror back with original mirror plate inset with a Sèvres-style porcelain plaque framed by ribbons and acanthus leaves, the table with a bowfront drawer, on cabriole legs with gilt foliate mounts and sabots111cm by 53cm by 136cm

A Gilt Metal Mounted Sèvres-Style Earthenware Vase, late 19th/early 20th century, of baluster form with trumpet neck, painted with Joan of Arc entering Orleans after Jean Jacques Scherrer, with dark blue borders gilt with classical ormament100cm highNo external visible signs of restoration, not examined internally due to the fixed mounts. Top mount is closed, it is possible that the urn may have had a lid. Cobalt and gilt sections also showing no signes of repair. Some wear to the gilding and some minor scratches to the decoration.

A Sèvres-Style Porcelain Dessert Service, circa 1900, decorated with putti within gilt cartouche on a blue ground with white enamel and gilt florets within strapwork borders, bear pseudo Sèvres marks, comprising:2 comports8 platesOne plate with a chip to the underside of the rim. Numerous of the white enamel petals in the borders have become detached and are lost. Some cellotape marks, may clean. Slight gilt  and decoration wear. No cracks, crazing or repair.

5 Mokkatässchen mit UntertassenKPM Berlin und Sèvres, um 1850/1900H. 4,8/D. 9,5 cmKobaltblaue KPM-Tassen, blaue Zeptermarke, rote Stempelmarke. Sèvres-Tasse mit Floraldekor und Louis-Philippe Stempel.

Vier Teller in Trompe-D'Oeil-OptikFrankreich, 19. Jh.D. 24 cmIm Stil von Sèvres. "Sèvres"-Marke in Blau. Am Rand teils leicht rest., min. ber.Privatsammlung Baden-Baden

CARRIER-BELLEUSE, ALBERT-ERNESTAnizy-le-Château 1824 - Sèvres 1887 "LISEUSE" (Originaltitel). Patinierte Bronze, Hände und Gesicht aus Bein geschnitzt. Marmorosckel. Auf der Plinthe signiert, sowie Messingplakette auf dem Sockel: "Liseuse par Carrier-Belleuse. Grand prix du salon". H.62cm. Rechte Hand min. besch.

A porcelain Art Noveau style vase with brass base, marked Sèvres.26 x 22 cm.

Two porcelain Sèvres style bronze lidded vases, hand-painted with scenes of classical figures on the front and landscape on the back, signed "Lucto", signed with Sèvres brand in the lid. 2nd half 19th century.H. 56 cm.

Dihl et Guerhard Paris, Porzellan des Klassizismus. Die Manufaktur wurde 1781 von dem aus der Pfalz stammenden Christophe Dihl (1752-1830) gegründet und bestand bis 1828 in Paris. Von Herzog von Angoulême erhielt die überaus qualitätvoll arbeitende Manufaktur das Sonderrecht, wie Sèvres Fondfarben und Vergoldungen zu verwenden. Vorliegendes Ensemble bestehend aus einem runden Tablett, einem Zucker-Deckeltopf (Höhe: ca. 19,5 cm), einem Milchgießer (Höhe: ca. 14 cm), einer Mocca-Kanne (Höhe: ca. 20 cm) sowie einer Tasse mit Untertasse (Höhe: ca. 9 cm, Durchmesser: ca. 14,5 cm). Sowohl das Tablett als auch die Gefäßkörper mit dunkel-violetter Fondfarbe und reicher Vergoldung dekoriert. Die Moccakanne und die gefußte Zucker-Deckeldose darüber hinaus partiell bronziert. Auf allen Wandungen Kartuschen-Reserven mit blauem Fond, worin in feinster Qualität antikisierende Szenen in Reserven-Grisaille-Malerei dargestellt sind. Besonders wirkungsvolle Farb-Kombination aus Violett, Blau und Gold, aufwendige Gestaltung. Alle Teile mit Ausnahme von Tablett, Milchgießer und Zuckerdose am Boden signiert „Dihl“. Zustand: die Untertasse restauriert und im Fond partiell berieben, die Wandung der Tasse gesprungen, der Tassen-Henkel geklebt. Deckel der Mocca-Kanne fehlt, minimale Bestoßung einer Ecke der Zuckerdosen-Plinthe.

Manufacture de Sèvres - Epoque Louis-Philippe (1830-1850)Deux NAVETTES à décor de guirlandes de fleurs et palmettes Porcelaine émaillée polychromes, rehauts d'or Tampon vers 1845, tampon doré Sèvres 1846 H. 6 cm - L. 28 cm

Manufacture de Sèvres - XIXe siècle TASSE et une SOUS-TASSE Le décor d'un registre bleu nuit, l'anse en forme de feuillage stylisé à fond or La sous-tasse à motifs de palmettes rayonnantes Porcelaine émaillée polychrome Tampon vert 1946 au-dessous de la tasse, tampon vert 1934 au-dessous de la sous-tasse H. tasse 7 cm D. sous-tasse 15 cm

Jean Baptiste Baujault, "Jeune fille à sa toilette", Bronzeplastik um 1890Jean-Baptiste Baujault, 1828 La Crèche, Deux-Sèvres - 1899, französischer Bildhauer, lebte und arbeitete in Paris/ Montmartre, hier: Ein junger Frauenakt, züchtig - knapp bedeckt mit einem großen Tuch, richtet sich die Haare nach dem Baden, Bronze mit brauner Patina, H 34,5 cm, signiert, Gießereistempel: F. Barbedienne fondeur, Paris

Polyclès Langlois, Schäfer u. Mutter m. Kind, 2 Aquarelle, gerahmt & Blumensträuße, 2 Aquarelle, frühes 19. Jh., gerahmtPolyclès Langlois, 1814 Pont de l'Arche -1872 Sèvres, Maler und Schriftsteller, Landschaft mit Schäfer und Schafen, rundes Aquarell, sign., Dm 10 cm, hinter P.p. und Glas gerahmt sowie Mutter und Kind auf einem Weg gehend, rundes Aquarell, monogrammiert, Dm 6,5 cm, hinter P.p. und Glas gerahmt; Blumenstrauß, paar feine Aquarelle, Papier auf Pergament, 21,5 x 17 cm, hinter Glas in alten Goldstuckrahmen

Drei Porzellantassen des Biedermeier, 2 x Bildnistassen & zwei Porzellan-Dosen, Paris, 19.Jh.Drei Tassen auf Untertassen, einmal auf Löwentatzenfüßen, Gold mit goldradiertem Dekor, zweimal Blüchertassen mit Volutenhenkeln, einmal mit Flusslandschaft und Kirchen, einmal Frau unter Baum, Goldbänder, Golddekor, stellenweise Gold berieben, dazu viereckige Deckeldose, gelber Fond mit Kartuschen, darin Blumen und Vögel, Pinselmarke in Sèvres-Art mit C.T., 10 x 2,5 x 4 cm, runde Deckeldose mit Metallmontur, , hellblauer Fond, Blumenkartusche, "Le Tallec à Paris", Dm 4,5 cm

A 19th century French gilt metal and porcelain mounted kingwood and rosewood bonheur du jour form boudoir cabinet, pierced gallery above a pair of rectangular doors applied with plaques painted in the manner of Sèvres, drawer to frieze, serpentine legs, 131cm high, 75.5cm wide, 46cm deep, c.1870

A pair of French gilt metal mounted porcelain slender ovoid vases, painted in the manner of Sèvres with a musical serenade and a courting couple, on a bleu royale ground, 38.5cm high, c.1870

A 19th century French gilt metal and porcelain mantel clock, 10cm dial with Roman numerals, painted in the manner of Sèvres on a bleu celeste ground, twin winding holes, eight day movement striking on a bell, 51cm high, c.1870

A Napoleon III jardiniereJacaranda veneered of applied Sèvres porcelain putti and floral medallionsGilt bronze mountsFrance, 19thc century81x62x39 cm

A Napoleon III bonheur du jourRosewood and other woods veneered carcassYellow metal mountsFive drawersScalloped crest with central Sèvres style porcelain medallionGilt bronze mounts and handlesFrance, 19th century146,5x98x62 cm

Vase, Schreibzeug und Mokkatasse. Polychrom bemalt, goldstaffiert. 1x imitierte Sèvresmarke: sechseckige Balustervase mit Blumenmalerei (H 21,5 cm). / 1x POTSCHAPPEL: Schreibschale mit zwei Tintenfässern und Blumenmalerei (15,5 x 21,5 cm). / 1x ungemarkt: Zylindertasse (H 6,5 cm) mit originaler Untertasse (Ø 12,5 cm) und Blumenmalerei. Partieller Goldabrieb. Aufrufzeit 27. | Okt 2023 | voraussichtlich 18:15 Uhr (CET)Vase, stationery and demitasse. Polychrome painted, gold decorated. 1x imitation Sèvres mark: hexagonal baluster vase with floral painting (h 21,5 cm). / 1x POTSCHAPPEL: writing bowl with two inkwells and floral painting (15,5 x 21,5 cm). / 1x unmarked: cylinder cup (H 6.5 cm) with original saucer (Ø 12.5 cm) and floral painting. Partial gold abrasion. Call time 27th | Oct 2023 | expected 18:15 (CET).*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.