There are 130 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA Continental Porcelain Coffee Can and Saucer, Late 19th Century, enamelled in colours with a portrait of the Duchess d'Angouleme, with spurious Vincennes mark, a Vienna porcelain coffee cup and saucer, early 19th Century, painted en camaieu with "La Loyaute" and "La Douceur", a covered cup and saucer after a Vincennes original, and a red mark Derby porter mug painted with "View of Rome", 5.25ins high
Jagdliche Tafeldekoration mit Figur eines Rothirsches Von stark reliefplastisch gearbeiteten Blattvoluten getragene, vergoldete Bronzemontierung mit stehendem, vollplastisch gearbeitetem Zehnender in naturalistischer Ausführung über reliefiertem, von plastischen Blüten und Blättern belegtem Terrainsockel. Rückseitig aufsteigende Äste mit filigran geformten, farblich staffierten sog. Vincennes-Blüten aus Porzellan. Polychrome Malerei. Entw. Johann Joachim Kaendler. Minim. rest.; Schwertermarke. Ges.-H. 21 cm. 25 cm x 13 cm. Der Hirsch als Jagdtier wurde von J.J. Kaendler in den 1740er und 1750er Jahren in zahlreichen Varianten ausgeformt, in stehender und springender Haltung sowie erlegt von Jagdhunden in einer Rehhatz. Das Jagen des als königlich geltenden Rothirsches war im 18. Jh. auf sog. Parforce- und Französischen Jagden üblich. Nur dem Landesherrn oder einer ihm vertrauten Person war es erlaubt, den Beutehirsch zu erlegen. Derartige Plastiken von Jagdtieren waren größtenteils Bestandteil einer dekorativen Tafel für eine höfische Jagdgesellschaft.Vgl. Peitsch, Kat. Porzellan Parforce, Nr. 28ff.; Kunze-Köllensperger, Slg. Guttmann, S. 40ff.; Albiker, Porzellantiere, Nr. 201ff.A table decoration with gilt-bronze mounted porcelain figure of a red stag. Minor restored. Crossed swords mark.Meissen. Um 1750 - 1760.
Kleiner Kerzenhalter "Japanerin mit Schirm" Vergoldete, französische Bronzemontierung. Aus stark geschweiften, reliefplastischen Blattvoluten gearbeiteter Sockel mit vollplastischer Darstellung einer Japanerin, in den Händen einen roten Schirm haltend. Seitlich aufsteigende Blattranken mit Kerzenhalter in Gestalt einer Chrysantheme aus farbig gefasstem Metall sowie fein modellierte "Vincennes"-Porzellanblüten. Polychrome Malerei mit Goldstaffage. Entw. Peter Reinicke, um 1743. Bronzemontierung mit "Couronne-Marke" als französische Steuermarke für Paris, 1745 - 1749. Minim. rest.; Schwertermarke. H. 14,5 cm. A small candlestick with a porcelain figure of a Japanese woman with umbrella. Bronze-mounted "Couronne" mark as Paris tax stamp between 1745 - 1749. Minor restored. Crossed swords mark.Meissen. Um 1740 - 1750.
Zweiflammiger Leuchter mit Spindeltaschenuhr, Meissenfigur und Vincennes-BlütenFrankreich/Meissen, 18. Jh. Vergoldete Bronze bzw. Porzellan mit Farb- und Goldstaffage. Auf durchbrochenem Rankensockel vor mit Porzellanblüten bestückten Blattranken und zwei Leuchtertüllen steht eine kleine Gärtnerin unter einer von einem Papagei bekrönten Rankenkartusche. Spindeltaschenuhr mit Emailzifferblatt und römischen Ziffern sowie ornamental durchbrochener Spindelbrücke. Gärtnerin mit blauer Schwertermarke. Schlüssel. Rest., besch. 32 x 28 x 13 cm. Two-light candlestick with a pocket watch, Meissen figure and Vincennes flowersFrance / Meissen, 18th century Gilt bronze / porcelain with coloured and gold decoration. Verge pocket watch with enamel dial and Roman numerals and bar. Gardener with blue crossed swords mark. Key. Restored, damaged. 32 x 28 x 13 cm.
A French late 19th century hand painted porcelain jewellery box, with central floral spray to lid, the box with gilt acanthus scrolls on a royal blue ground, the underside with crossed L mark, possibly Sevres or Vincennes, 12.5 cm wide, together with a small hand painted spill vase, 8.5 cm highLocation: RWB
Continental Porcelain - a rare Seguin's Factory at Vincennes shaped circular hard-paste porcelain plate, well-painted with summer flowers, pink line border, 23.5cm diam, underglaze blue heraldic label mark, numbered 4 in pink script, c. 1775/80, erroneous collector's manuscript label to verso with an Orléans attribution; a Sèvres soft-paste porcelain shaped circular plate (assiette à palmes), well-painted with summer flowers, moulded in shallow relief with palms picked out in blue, gilt line borders, 24.5cm diam, interlaced L cypher in blue, date code for 1767; a Mennecy-Villeroy famille rose sparrow beak cream jug, painted onglaze with flowers, 11cm high, c. 1770; a Höchst porcelain baluster jug, well-painted in polychrome with an Italianate harbour scene, 20cm high, wheel mark with electoral crown in underglaze blue, c. 1775; a Meissen shell-shaped salt, 10.5cm long, underglaze crossed swords; another, as a basket; a Vienna baluster mask jug, of silver shape, painted in underglaze blue with a chinoiserie pattern, scroll handle, 15cm high, shield-shaped and impressed mark, 18th/19th century; a Vienna tea bowl, 6.5cm diam, 18th century/19th century; a Naples porcelain bottle vase, 20.5cm high, impressed N, 19th century, [9]
A Vincennes circular dish (plat d'entremets) from the first Louis XV service c.1754-55, painted with a loose central spray of flowers, the moulded rim with three panels of further flowers reserved within gilt foliate and scroll borders on a bleu celeste ground, 31.5cm. Provenance: a private UK collection. Purchased in London during the 1950s and thence by familial descent. The bleu celeste (heavenly blue) ground was created by the chemist, Jean Hellot, specifically for this service and it was the first time such a colour had been used on porcelain in this way. This service, the first full service that Vincennes had delivered, was first used on 4th February 1754 and remained in use until the end of the Ancien regime. 120 components were delivered to Louis XV at the end of 1753, with a further 133 pieces being delivered a year later. Factory records detail 28 plat d'entrées et d'entremets delivered among the third part of the service, on 31st December 1755, each at a cost of 240 livres, and it is likely that this is one of those. Only three survivals of this shape are recorded; one in the Musée des Arts Decoratifs in Paris, the other was sold in these salerooms on 4th February 2020 as part of the Judith Howard Collection. Other items from the service remain in the collection at the palace of Versailles, with a large part of the service in the collection of the Duke of Buccleuch at Boughton House (this part of the service apparently gifted to the duc de Choiseul and then sold to the Duke of Buccleuch by Beau Brummell).
A French Silver-Gilt Mounted Porcelain Double Scent-Bottle, The Mounts Maker's Mark JM, Hammer and Stars Above, Retailed by Boucheron, With English Import Marks for Barr, Moering and Co., London, 1907, The Porcelain in the Style of Vincennes, the porcelain body cylindrical, painted in blue with gilt bordered oval cartouches, painted with exotic birds on a white ground, the mounts chased with foliage, 15cm long . Marked on the neck of each mount with French standard and maker's marks and English import marks. One neck further stamped 'Boucheron Paris-Londres' and with engraved inventory number '1370'. The marks are generally clear. There is overall some surface scratching to both the mounts and the porcelain. There is some wear to the gilding on the mounts which is very pale. There is also wear to the gilding on the porcelain body.
A German porcelain and gilt metal mounted twin light table lamp, late 19th/early 20th century, the central figural group with two amorini milking a goat and bocage, set inside a birdcage frame mounted with Vincennes-style flowers, enclosing twin light fitments, 42cm high, approximately 25cm wide; and a French gilt metal and porcelain mounted three light table lamp, with rouge griotte and ebonised base, and pleated silk shade, 73cm high overall
A Vincennes bleu lapis-ground two-handled toilet pot, cover and stand (tasse à toilette et soucoupe), circa 1754Each reserved with panels painted in polychrome enamels with a bird holding a branch with berries, within a gilt cartouche of reeds and flowers, gilt dentil borders to the rims, the stand with another bird in the centre, the cover with a gilt branch finial with foliate terminals, the scroll handles embellished in gilding, the stand: 12.5cm across, interlaced LL monograms in blue, with date letter A and unidentified painter's mark on the stand, incised 4 to cup and stand (3)Footnotes:Provenance:Private collection, U.K.A similar toilet pot, cover and stand decorated with gilt flowers within the cartouches is in the British Museum (A. Dawson, French Porcelain (1994), no. 72).For further information on this lot please visit Bonhams.com
A Vincennes circular dish (plat d'entremets) from the first Louis XV service date code for 1754-55, painted by Pierre-Antoine Méreaud with a loose central spray of flowers, the moulded rim with three panels of further flowers reserved within gilt foliate and scroll borders on a bleu celeste ground, blue interlaced Ls mark enclosing the date letter B, painter's mark S, a section broken out and repaired with rivets, 31.5cm. The bleu celeste (heavenly blue) ground was created by the chemist, Jean Hellot, specifically for this service and it was the first time such a colour had been used on porcelain in this way. This service, the first full service that Vincennes had delivered, was first used on 4th February 1754 and remained in use until the end of the Ancien regime. 120 components were delivered to Louis XV at the end of 1753, with a further 133 pieces being delivered a year later. Factory records detail 28 plat d'entrées et d'entremets delivered among the third part of the service, on 31st December 1795, each at a cost of 240 livres, and it is likely that this is one of those. Items from the service remain in the collection at the palaces of Versailles, with a large part of the service in the collection of the Duke of Buccleuch at Boughton House (this part of the service apparently gifted to the duc de Choiseul and then sold to the Duke of Buccleuch by Beau Brummell). Provenance: purchased in Hungerford in 1982.
A Vincennes or early Sèvres wine glass cooler (seau à verre échancré) c.1750-60, of six-lobed form with small scroll handles, painted in green camaieu with flower sprays, traces of blue interlaced Ls mark, a chip to the footrim, 10.5cm high. Provenance: purchased from George Archdale, 4th August 1984. This rounded lobed shape is recorded at Sèvres in the 1750s and is found in the service produced for Madame du Barry in 1771. The unusual green monochrome decoration, which copied Meissen porcelain of the 1740s, can be seen on other Vincennes pieces, including a sucrier in the Victoria and Albert Museum.
Literature: 'Vincennes and Early Sèvres Porcelain' by Joanna Gwilt: 'French Porcelain' by Aileen Dawson; 'La Porcelaine de Vincennes' by Tamara Préaud and Antoine d'Albis; 'Sèvres at the Time of Louis XV' and 'Sèvres at the Time of Louis XVI' by John Whitehead; 'The Soft Porcelain of Sèvres' by Garnier; and a number of other books relating to Sèvres and other French porcelains, including a number relating to private and museum collections. (qty)
A pair of Continental porcelain mounted gilt-metal twin-light figural candelabra in Louis XV style, early 20th century, the Rocaille cast sconces on scrolled arms wrought with foliage and mounted with Vincennes-style flowers, issuing from conforming oval bases each with a figure in pastoral dress, 24cm high, 39cm wide
A Chelsea-Derby cylindrical toilette pot, inspired by Vincennes, painted in polychrome enamels with sprays of country flowers within circular tooled gilt reserves, Mazarin blue groud with gilt laurels, further flowering foliage to interior, gilt dentil rim and band to base, 5.4cm high, entwined gold anchor and D mark, c. 1770For similar examples see: Twitchett, Derby Porcelain 1748-1848: An Illustrated Guide, 2002, page 247, fig. 244. Provenance: the Wilders Collection, labelled. Condition Report: Nice piece. Lacking cover. Some light surface wear and scratches. Minor rub to gilding. Stable 3.5cm hairline crack, discoloured to interior only and displaying well externally.
A French gilt-metal and porcelain flower-mounted clock ensemble with Meissen Commedia dell'Arte group of Scaramouche and companion, late 19th century, the clock with two-train eight-day movement, the enamelled round dial inscribed Julien A PARIS, the Meissen group with blue crossed swords mark, 17.5cm high, the whole in the 18th century French manner and with flowers in the Vincennes manner, 41cm high overall
A Chantilly Saucer Dish, circa 1770, painted in underglaze blue with flowersprigs within an ozier border, painted mark, 9.5cm diameter; A Vincennes Porcelain Pot, painted with a lamb beside a basket of flowers, painted mark, 7.5cm high, originally with handle; and A Thuringian Porcelain Saucer, painted in puce monochrome with a flowerspray, painted mark (3)
A pair of Meissen and Paris porcelain mounted gilt metal twin light candelabra in Louis XV style, probably late 18th century, with a Meissen figurine representing a girl and boy in pastoral dress respectively, the foliate cast urn sconces above scrolled arms modelled as leafy branches mounted with Vincennes-style porcelain flowers, on spreading rocaille cast circular bases, 20cm high, 19cm wide
A PAIR OF TOURNAI WHITE GROUPS, CIRCA 1765 'Les Mangeurs des Raisins' and 'Les Flûteurs' (or 'L'agréable leçon'), modelled seated on rocks as the amorous characters The Little Shepherd feeding the shepherdess Lisette grapes or teaching her the flute 15.5cm and 16.5cm high These models were first produced at the Vincennes factory in the early 1750s, directly inspired by François Boucher's (1703-70) set designs for the Comic Opera 'Les Vendanges de Tempé' written by Charles-Simon Favart (1710-1792). First performed in 1745, the production was revised in 1752 at the Théâtre Italien in Paris. The plot revolves around the complicated romance of the porcelain groups' subjects, The Little Shepherd and the shepherdess, Lisette. Descriptions in both printed and on-line catalogue formats do not include condition reports and all lots are sold as viewed. The absence of a condition statement does not imply that the lot is in good condition. Prospective bidders are recommended to request a condition report prior to bidding, wherever possible satisfying themselves in person at the gallery as to the condition of a lot.
A French gilt-metal-mounted porcelain mantel timepiece in Louis XV style and of Edme Samson type , late 19th century, the dial with Arabic numerals and inscribed Barancourt, with a bird and Vincennes style flowers, 30cm high, 23cm wide overallPlease note: The provenance for this lot should read ‘Property from the estate of Philippa Bradstock of Longbottom House, Biddesden
A selection of books, comprising; George Savage - 'Seventeenth & Eighteenth Century French Porcelain,' George Savage - '18th Century German Porcelain,' Rosalind Savill - 'The Wallace Collection, Catalogue of Sevres Porcelain II, 'George Savage & Harold Newman - 'An Illustrated Dictionary of Ceramics,' Svend Erikson & Geoffrey DE Bellaigue - 'Sevres Porcelain Vincennes and Sevres 1740-1800,' Laurence Mitchell - 'Meissen Collector's Catalogue.' Generally in good condition.
An 18thC Sevres biscuit group of two lovers eating grapes, seated against a tree-stump encrusted with a fruiting vine and with a Spaniel at their feet, entitled 'Les Mangeurs de Raisin', and further incised 'Bachelier', and '1779' to the base, with impressed Sevres mark, on a detachable shaped ormolu plinth, 25cm high overall. Catalogue Note: This group was designed by Jean-Jaques Bachelier (1724-1806), after Francois Boucher. Jean-Jaques Bachelier was appointed Art Director at Vincennes in 1751, and invented this type of biscuit porcelain. Naturally he became the first of the sculptors at Sevres to favour the use of biscuit porcelain for such decorative figural pieces.
Eriksen (Svend and Bellaigue, Geoffrey). SŠvres Porcelain, Vincennes and SŠvres 1740-1800, 1st edition, 1987, numerous colour and black and white illustrations, original blue cloth in dust jacket, spine slightly faded, 4to, together with Britton (Frank), English Delftware in the Bristol Collection, 1st edition, 1982, numerous colour and black and white illustrations, original blue cloth in dust jacket, covers and spine slightly faded, 4to, and Ericani (Giuliana & Marini, Paola), La ceramica nel Vento, La Terraferma dal XIII al XVIII Secolo, 1990, numerous colour and black and white illustrations, original blue cloth in dust jacket, covers slightly marked, large 8vo, plus other modern ceramics, porcelain and pottery reference, including publications by Soame Jenyns, Batsford, Antique Collectors' Club, all original cloth in dust jackets, G/VG, 8vo/4to (25)
Ten pieces of damaged eighteenth century porcelain including a cabbage moulded jug and French saucer dish, possibly eighteenth century Vincennes CONDITION REPORT: Plate conditions: Circular scalloped plate labelled 'Early Chelsea' - originally broken in three and now glued, three rim chips Oval scalloped plate - 3cm hairline crack, repaired chip, painting rubbed 'Vincennes' plate with hairline crack two thirds across, surface scratching
A French porcelain chocolate pot, 18th century, marks for the Vincennes Seguin factory, with metal hinges to lid, the lid with gilded fruit finial, above bulbous body with loop handle, overall painted and gilded with pendant leaves and swags of flowers, blue mark to base, 13cm high, in a red Moroccan leather and gilt tooled case, with retailers inscriptions to interior lid for Boin Taburet 3 Rue Pasquier Paris CONDITION REPORT: overall losses of gilding to the decoration, original mounts gilded, mostly removed, case is rubbed but otherwise in good condtion
A collection of seven 18th century Continental porcelain plates and dishes, comprising a Vienna oval platter; a Vienna circular plate with gilt rim; a Vienna porcelain plate with basket weave border; a Vincennes plate with pink border; two Sevres plates and a Meissen bowl, largest 32.5cm (a/f)
A collection of continental porcelain reference books, to include COLLECTION DE FEU M. HENRI CHASLES, 1907; HOFMANN (F), DAS EUROPAISCHE PORZELLAN DES BAYER NATIONALMUSEUMS, 1908; DIE SAMMLUNG ERICH VON GOLDSCHMIDT ROTHSCHILD, 2 vols 1931; DUCRET (S), DIE LANDGRAFLICHE PORZELLANMANUFAKTUR KASSEL 1766-1788; NEWMAN (H), VEILLEUSES; BAUML (S), NYMPHENBURGER PORZELLAN; ERIKSEN (S), SEVRES PORCELAIN VINCENNES AND SEVRES 1740-1800, Faber & Faber etc
[ANTIQUES & COLLECTING]. CERAMICS Eriksen, Svend, & Bellaigue, Geoffrey de. Sevres Porcelain. Vincennes and Sevres 1740-1800, first edition, Faber & Faber, London, 1987, cloth, dustjacket, illustrations, quarto; Adams, Len & Yvonne. Meissen Portrait Figures, first edition, Barrie & Jenkins, London, 1987, boards, dustjacket, illustrations, quarto; Rice, Dennis. Derby Porcelain. The Golden Years 1750-1770, first edition, David & Charles, Newton Abbot, 1983, cloth, dustjacket, illustrations, quarto; Bradshaw, Peter. 18th Century English Porcelain Figures 1745-1795, first edition, Antique Collectors Club, Woodbridge, 1981, cloth, dustjacket, illustrations, quarto; and a further four assorted works, (8).
THREE RARE PLYMOUTH MUGS of baluster shape and graduated in size, brilliantly enamelled by Soquoi with `Fancy Birds` in a continuous landscape beneath a gilt looped line border, 10.5-15cm h, painted alchemical sign for tin in red enamel or gilt, collector`s label [or part thereof], c1768-70 Provenance: Trapnell Collection (No 609); purchased with the rest of Trapnell`s Plymouth and Bristol porcelain by Albert Amor in 1912 and by whom sold ("A set of three Plymouth mugs, very richly and brilliantly decorated with exotic birds and foliage") to A S Hitchins of St Austell for£170; thence by descent to the previous owner. Literature: Trapnell (A), A Catalogue of Bristol and Plymouth Porcelain... forming the Collection made by Mr Alfred Trapnell, London: A Amor, 1912, No 609; Transactions of the English Ceramic Circle vol II, no 9, 1946, plt LXX(A); Mackenna (F S), Cookworthy`s Plymouth and Bristol Porcelain, Leigh-on-Sea 1947, fig 7; The F S Mackenna Collection of English Porcelain Part III, Leigh-on-Sea 1975, p116, Sotheby & Co, anon sale, 17 Oct 1967, lot 300. These fine Plymouth mugs were once part of the highly important collection of English porcelain, especially rich in Plymouth and Bristol formed by Alfred Trapnell. According to The Times, the value of the 1000 or so pieces of Trapnell`s porcelain bought by Amor was almost£15,000, a staggering sum even by the standards of the day when the prices of the best 18th century English porcelain were near their peak. Amor had it transported to London by rail and thence to his St James`s shop in a horse-drawn vehicle with newly patented pneumatic wheels and under armed guard (source www.albertamor.co.uk) The distinctive painting of `Fancy` or exotic birds on Plymouth and some early Bristol porcelains has long been associated with the enigmatic `Mons Soquoi`, a painter who joined William Cookworthy`s small factory in January 1769. It has been suggested that he may be identified as Michel Soquet, a French painter working at Vincennes in 1752 and also at Sèvres between 1756-1764 and again from 1773-74. He was employed at Plymouth to develop painting in enamels and gilding, requiring a room to himself according to a letter written by Cookworthy in 1769. `Soquoi` commanded the high wage of 24 shillings (£2) a week. At least two other hands have been identified as painting in this style and similar Plymouth wares were painted at the London atelier of the independent decorator, James Giles. Sold with Albert Amor receipt dated April 1, 1912. In fine condition, no wear etc, no restoration
A SÈVRES TREMBLEUSE CUP AND SAUCER (GOBELET ET SOUCOUPE ENFONCE PREMIER GRANDEUR) painted by Francois-Joseph Aloncle with vignettes of richly plumaged birds reserved on an intense Bleu Beau ground of gilt vermiculi, dentil rims, saucer 15cm diam, painted interlaced Ls, painter`s mark and date letter for 1763 A similar example is in the J Paul Getty Museum, (`Catalogue of Vincennes & Sevres Porcelain` No.15, illustrated in colour). The present lot and that in the Getty Collection are of the larger size produced in this form and employ the same intense Bleu Beau ground colour. The Getty example bears the date letter for 1761. Fine condition. No restoration
A rare Vincennes ecuelle or fish broth bowl, cover and stand. c.1750, soft paste porcelain, with blue interlaced L`s to bowl and stand, no date letter, old paper collection label beneath cover, the stand of circular form with silver rim, the bowl with twin twisted branch handles and the cover with fish, shell and onion finial, all decorated in Meissen style puce camaïeu with figures in pastoral landscapes alternating with floral sprigs and sprays, the decoration enriched with gilding, with gilded dentil borders, the stand 8¾in. (22.25cm.) diameter, the bowl 8¼in. (21cm.) diameter, including handles, chips to finial, crack and possible chip to rim of cover beneath old overpainted floral sprig. (3). * Provenance: Included in a 1949 inventory of porcelain bequeathed to Dr. John Alistair Burkhardt by his aunt, Miss Charlotte Mary Sandford of 27, The Little Boltons, South Kensington. The inventory was prepared by White Berry & Catford, Valuers, 28 Cadogan Place, SW1 and dated 3rd March 1949. Most of the pieces on this inventory are included in our auction catalogue (lots 15 to 49). Photographs of the inventory are available via e-mail by request and a copy of the inventory will be provided to purchasers of these lots after the sale.
European CeramicsHayward, J.F. Viennese porcelain of the Du Paquier period. London: Rockliff. 4to, 72 plates, original cloth, dust jacket lacking, library stamps and book plates, slight fading to spine; Rinaldi, Maura Kraak porcelain, a moment in the history of trade. London: Bamboo Publishing, 1989. Blue cloth, dust-jacket, very slight rubbing to ends of spine, dust jacket a little tarnished; Ziffer, A. Porzellan... Munich: Callwey Verlag, [n.d.] 4to, blue cloth, dust-jacket, slight soiling to cloth, dust jacket a little faded; Kelly, Henry E. Scottish ceramics. Atglen, PA: Schiffer, 1999. 4to, dust jacket rubbed; Eriksen, S. and De Bellaigue, G. Sèvres Porcelain. London: Faber and Faber, 1987. 4to, 16 colour plates, blue cloth, dust jacket with spine slightly faded; Jacobson, Karen Vincennes and Sèvres porcelain, catalogue of the collections [in the J. Paul Getty Museum]. Malibu: J. Paul Getty Museum, 1991. 4to, green cloth gilt, dust jacke faded and bumped along the edges; Winstone, H.V.F. Royal Copenhagen. London: Stacey International, 1984. 4to, blue cloth, dust-jacket , spine of dust jacket faded, covers a little soiled; Katz, M. P. and Lehr, Robert Palissy ware... London: Athlone Press, 1996. 4to, black cloth, dust-jacket a little faded; and 21 others (29)
CF Porcelaine française Vincennes Très rare assiette en porcelaine tendre à décor polychrome de fleurs : clématites, tulipes, crucifères, narcisses et feuillage dans l’esprit de Meissen, filet brun sur le bord. XVIIIe siècle, vers 1746 48 Diamètre : 26 cm Rayures dans l’émail Provenance : Château de Plainval, Oise. La découverte de ces deux assiettes dans les collections du château de Plainval où elles sont très vraisemblablement conservées depuis le XVIIIe siècle est d’un grand intérêt pour l’histoire de la porcelaine de Vincennes Sèvres. Il s’agit, aujourd’hui, des deux plus anciennes assiettes en porcelaine de Vincennes que nous connaissions. Elles sont l’une et l’autre d’une grande blancheur, épaisses et lourdes, cuites sur le talon, bombées au centre et d’un diamètre différent. La moins grande a, au centre, un coup de feu qui semble être apparu lors de la cuisson du biscuit. Ces caractères archaïques donnent le sentiment d’être en présence de tout premiers essais d’assiette. La palette assez riche correspond aux couleurs mentionnées en avril 1747 et l’absence de dorure induit une datation avant octobre 1748, date à laquelle la manufacture achète un secret de dorure au frère Hipolyte le Fort (Antoine d’Albis et Tamara Préaud, « Les Éléments de datations des porcelaines de Vincennes avant 1753 » in The French Porcelain Society, II, 1986, p. 2 5).
CF Porcelaine française Vincennes Plateau ovale en porcelaine tendre nommé plateau de déjeuner en porte huilier ou bateau à décor en camaïeu bleu d’amours et de trophées sur des nuages dans quatre réserves cernées de palmes nouées, rinceaux rocaille, volatiles, réserves à treillage et guirlandes de fleurs en or sur fond bleu lapis, filet dentelé sur le bord. Marqué en bleu : LL entrelacés lettre date B pour 1754 1755. XVIIIe siècle, années 1754 1755 Longueur : 27,5 cm Un orifice percé au centre restauré. La manufacture de Vincennes semble employer indifféremment les termes plateau en porte huilier ou bateau pour désigner cette forme. Par exemple, Lazare Duvaux achète à la manufacture de Vincennes un plateau en porte huillier lapis enfans camayeux accompagné d’un gobelet à la Reine et d’un pot à sucre à la Reine de même décoration en décembre 1754 pour 168 livres qui est sans doute celui qu’il revend le 26 décembre 1755 à la comtesse de Forcalquier décrit un déjeuner gros bleu dans un bateau, 168 livres (no 2347). Il était ainsi généralement accompagné d’un gobelet et d’un pot à sucre– le pot à sucre Hébert vendu sous le lot suivant faisait partie du même déjeuner mais il est parfois associé à deux gobelets ou simplement à un pot à sucre ; Lazare Duvaux achète par exemple en décembre 1754 un plateau en porte huillier lapis oiseaux coloriés avec un pot à sucre id. pour 120 livres. L’enfant dessinant a pour source une gravure d’après Boucher par Louis Félix de La Rue intitulée La Peinture. Un plateau de déjeuner en porte huiler à fond bleu lapis décoré d’enfants en camaïeu bleu mais daté 1757 58 est conservé au musée Wadsworth Atheneum de Hartford et reproduit par Linda Roth, French Eighteenth Century Porcelain at the Wadsworth Atheneum, 2000, no 82, p. 173 175.
Wilenski (R.H.). Flemish Painters 1430-1830, 2 vols. (Text/Plates), 1960, tipped in col. plts., numerous b & w illusts. from photos, orig. boards in frayed d.j.s, 4to, together with Bradshaw (Peter), Derby Porcelain Figures 1750-1848, 1st ed., Faber, 1990, and Eriksen (Svend and De Bellaigue, Geoffrey), Sèvres Porcelain. Vincennes and Sèvres 1740-1800, pub. Faber, 1987, numerous col. and b & w illusts., both orig. cloth in d.j., 4to, and other miscellaneous art ref. (4 cartons)
SEVRES Saladier à mortier, à côtes à huit pans en porcelaine tendre à décor polychrome de bouquets de fleurs, filets bleus en bordure. Marqué : LL entrelacés, lettre-date P pour 1768, marque de Peirre de Pierre Jeune. XVIIIème siècle, année 1768. D : 28,5 cm. Modèle similaire dans « la porcelaine de Vincennes « Tamara Préaud Antoine d’Albis P.184 N°207 Répertorié pour la forme dans « French Porcelain in the collection of her Majesty the Queen » volume II P.565.
A 19TH CENTURY GILT METAL AND PORCELAIN INK STAND possibly Vincennes or Sevres, the gilt metal top with four open circular apertures, the well with hinged foliate moulded cover, the body with a central band of hand painted floral garlands and moulded gilt enriched handles, all between blue and gilt borders, on a short gilt metal mounted circular foot, painted ‘double L’ type mark to base. 10.5cm(h) x 10.5cm(w).
An 18thC Sevres biscuit group of two lovers eating grapes, seated against a tree-stump encrusted with a fruiting vine and with a Spaniel at their feet, entitled `Les Mangeurs de Raisin`, and further incised `Bachelier`, and `1779` to the base, with impressed Sevres mark, on a detachable shaped ormolu plinth, 25cm high overall. Catalogue Note: This group was designed by Jean-Jaques Bachelier (1724-1806), after Francois Boucher. Jean-Jaques Bachelier was appointed Art Director at Vincennes in 1751, and invented this type of biscuit porcelain. Naturally he became the first of the sculptors at Sevres to favour the use of biscuit porcelain for such decorative figural pieces.
A history of English furniture be Percy Macquoid, four volume 1st edition set, The Age of Oak; The Age of Walnut; The Age of Mahogany and The Age of Satinwood (1904-1908) with numerous b/w and 66 tissue guarded colour plates after Shirley Slocombe and Mentmore, Sotheby Parke Bernet 1977, three volume set from this famous auction: Furniture; Works of Art and Silver; Works of Vincennes and Sevres and other Continental Porcelain
A PAIR OF VINCENNES BLEU LAPIS BEAKERS finely painted to both sides with panels of musical instruments including a bass viol or bagpipes and a tambourine, or game, a rifle and table with a bottle and napkin, all in sylvan settings in cisélé gilt cartouches with flowers and reeds, the rims dentilated on the interior and exterior, 7cm h, incised A and one or two dashes, painted interlaced Ls enclosing the date letter B for 1754-55 and painter`s mark y at 12 o`clock in blue Svend Eriksen and Sir Geoffrey de Bellaigue have suggested the painter`s mark is that of Pierre-Francois Yvernel (Sèvres, p167, no 135). See also D Peters, Decorator and Date Marks on 18th century Vincennes and Sèvres Porcelain, 1997, p85. Provenance: An English private collection since the late 19th century. One with tiny chip (really only a graze) on the edge of the base, partly gilded over during manufacture. The other with several small, old filled rim chips. No recent or `professional` restoration or regilding.
A Chelsea porcelain pot pourri vase and cover after a Vincennes original of pierced and foliate moulded quadrilobed form set on four feet, the pierced cover with rose knop, enamelled with four landscape panels in green and black reserved on a blue and gold embellished ground, 22 cm high, gold anchor mark, circa. 1765, glaze flakes to feet.
A Vincennes sugar bowl and cover (pot a sucre), richly gilt with panels of exotic birds amongst foliage and reserved on a bleu lapis ground, the cover with rose-bud finial, 9cm high, blue interlaced ‘L’s’ mark, circa 1753. See Rosalind Savill, The Wallace Collection Catalogue of Sèvres Porcelain II, C377 & C378 for similar decoration. Provenance: The F.E Andrews Collection and thence by descent
Loading...
![[ANTIQUES & COLLECTING]. CERAMICS Eriksen, Svend, & Bellaigue, Geoffrey de. Sevres Porcelain. Vincennes and Sevres 1](http://lot-images.atgmedia.com/SR/10066/2901851/344-201442515731_468x382.jpg)
