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Nature’s Triumph: Botanical Themes on Porcelain. Brian Haughton Gallery's 2011 Summer catalogue.
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Nature’s TriumphBotanical Themes
on Porcelain
Nature’s Trium
ph–Botanical Them
es on Porcelain
Brian H
aughton G
allery
15 Duke Street, St. James’s, London SW1Y 6DB
t +44 (0)20 7389 6550 f +44 (0)20 7389 6556
www.haughton.com [email protected]
Nature’s TriumphBotanical Themes
on Porcelain
15 Duke Street, St James’s, London SW1Y 6DB
Tel: +44 (0)20 7389 6550 Fax: +44 (0)20 7389 6556
Email: [email protected]
www.haughton.com
All exhibits are for sale
2
Our Exhibition catalogue opens with a ‘Pride’ of Bow Lions and
Lionesses, each in their own way very important examples of the
very earliest of the Bow production. This small, but very important
collection of some of the earliest English porcelain sculpture was col-
lected during the 1960’s and has been in a Private English collection ever since.
The Lion, (p.4) is exceptional, being probably after a bronze seventeenth century
original. The coloured Lioness, (p.5) is one of only three examples recorded, its
iron red body and green and brown mottled base echoing some of the coloured
grounds found on Staffordshire salt glazed pottery of the 1740’s and early 1750’s. This item comes from one of the most
celebrated collections of early English porcelain to be dispersed in the 1960’s that of Ernest Allman, sold at Sotheby’s on
the 12th January 1965 under the great A.J.B. Kiddell. The Bow section continues with a very rare pair of sprigged Bow
baluster Vases and Covers, on turned socle bases, (p.8 and p.9) again from a Private English collection. There is only one
other vase of this form currently recorded within the literature, in the collection of the late Geoffrey Freeman at Pallant
House, Chichester. The Bow Fledglings, (p.12) show how very detailed and naturalistic, these essentially one off models
can be, during the earliest period of production in England at this time. There is a clear correlation with the extremely rare
Finch, (p.21) from Sprimont’s Chelsea manufactory, which was then situated in a house leased from Mr. Supply in Church
Lane East, Chelsea. The Finch belongs to the triangle period and was made in the formative years of the factory’s pro-
duction. As there are a range of items within the catalogue from the Chelsea manufactory, we have included an introduction
to the beginning of each period at Chelsea.
The Chelsea within this catalogue comes from essentially two major Private American collections acquired by us over
the last six months. They were built up along similar botanically themed lines, and these erstwhile collectors were able to
indulge their tastes to the full, and assemble some of the very best pieces of botanically themed Chelsea porcelain to be
seen on the market for over forty years. They bought from some of the great porcelain dealers of the twentieth century,
such as Winifred Williams, Kathleen Tilley and James A Lewis. Amongst this literal feast for the eyes, there are some pieces
that deserve mention. The rare Peach Shaped Dish, (p.58) painted by a rarely encountered hand, which bears similarity
to a similarly shaped Dish formerly in the John Hewett collection, decorated with oysters on the half shell and a cooked
crawfish. The Finger Bowls, (p.34 and p.35) are perhaps the very finest stellar examples out of the four that are recorded;
the perfect milk glass-like quality of the best paste at Chelsea is encapsulated within these two superb Hans Sloane type
decorated shapes. The Octagonal Tea Bowl and Saucer, (p.65) both decorated by Jefferyes Hammett
O’Neale with matching fables, a very rare feature, comes from an extremely important Private
English collection, where they have been for over thirty years. It is interesting to note that
the octagonal form was copied from Meissen, though originally this form, together with the
hexagonal teapot shape and various facetted vase forms were copied from Japanese shapes
of circa 1700. These pieces were made at Chelsea just after the point at which the manufac-
tory moved, just round the corner, to bigger premises on Lawrence Street to satisfy society’s
demand for a far larger output. A fascinating piece of Chelsea of a rare leaf shaped form
is the delightful ribbed Cream Jug, (p.29) painted with a spray of Vincennes type flower dec-
oration, bought from Arthur Filkens in the very early 1970’s. This piece comes from a delightful
Collector who has a love for the very best European flower decoration. The very rare pair of
Foreword
3
Chelsea lobed Sauceboats, (p.31) are also from this Private English collection and
compare with a rare example in the Seattle Art Museum. The exceptional Duck Tureen,
Cover and its Stand, (p.38 and p.39) is an example of the very best and rarest of the Chelsea Zoomorphic
forms, and returns to us again from within the American Collections. It has a companion example in the Ashmolean
Museum, Oxford, though in a slightly different pose. Some of the most interesting and aesthetically beautiful pieces are
the extraordinary Leaf shaped Dishes, (p.48 and p.61) and Platters for fish, (p.49 and p.60).These oval Platters were also
originally sold on their own, to take cooked or steamed fish, such as a Salmon for example, but they were also sold with
porcelain Carp Tureens. The circular Leaf and basket weave moulded Dishes were sold with Eel Tureens, Duck
Tureens and on their own to take some watery delicacy.
Our final section comprises a superb Private Japanese Collection of Meissen Tea Caddies
built up over 25 years. The standard and range of designs and shapes perfectly follow the
chronological development of form at the Meissen manufactory. Chosen for their pleasing forms
and that of their rarity within the service itself, these pieces were cherished and carefully displayed
and moved with each changing season of the year, so each piece was ‘centre stage’ within the
collection for a certain time during the year. The earliest and most pure oriental form is the lobed
baluster example, (p. 76) but the collection covers some wonderful areas of taste and decora-
tion, including the caddy of square section with ‘Robin’s Egg’ blue ground, (p.86) which mixes the
oriental inspired ground colour and Turkish inspired ogival panels with European mercantile and trad-
ing scenes. The other square sectioned Caddy, (p.87) is a superb example of the painting of J.G.
Heintze, showing the low highly coloured and detailed skies that he is justly famous for. Perhaps, the most important Caddy
is the example, which is painted as a continuous scene with Miners and Mining subjects, (p.84) showing the Mining Official
or Berghauptmann with his Mace of Office, on one side. The importance of miners and mining to the wealth of the Saxon
Court made this a thoroughly appropriate subject for the painters at Meissen to commemorate. Finally, in this special col-
lection, the one exception to the rule of collecting only the finest Meissen is the charming, rare, Hochst Caddy, (p.85)
which could not be resisted. This caddy is decorated with hunting scenes, one side showing a green-jacketed
huntsman holding a tether to a huge Eagle Owl, used in the hunting field in Europe. This piece has a prove-
nance of enviable calibre, to any collector of European porcelain, that of Lady Charlotte Schreiber and
her daughter Blanche Lady Bessborough of Stanstead Park, who was married to the 8th Earl of Bess-
borough. Surely all collectors of early English and Continental porcelain owe so much of their enjoyment
and knowledge, to this most hallowed and indefatigable of Ladies. The galleries filled with porcelain at the
Victoria and Albert Museum, South Kensington are a testament to Lady Charlotte’s zeal as a collector and
authority. We hope that you will be as excited as we have been through the acquisition of these pieces
and we look forward to seeing you all.
Brian Haughton and Paul Crane
St. James’s
London
Foreword
4
An extremely rare Large White Early Bow Model of a Lion,standing on an irregularly shaped rockwork base, one paw heldup on a tree trunk support, the ribcage clearly defined and withmodelled mane, its head inclined slightly and the long tasselledtail resting between its legs. Circa 1750Length: 9 ins. (23 cms.)
Provenance: English Private Collection Literature: Illustrated Peter Bradshaw, Bow Porcelain Figurescirca 1748-1774. no. 55, (A67).
1
5
An extremely rare and highly important Coloured Bow ProwlingLioness passant and guardant, with defined ribcage and muscletendons, her mouth full of pointed teeth and incised facial features,the body coloured in a light tone of iron red and her face detailed inblack enamel, the base washed over in tones of brown and green. Circa 1750Length: 9 ins. (23 cms.) Provenance: English Private Collection
2
6
A very rare Pair of Large White Early Bow Prowling Lions, comprising a Lion and a Lioness,each lion passant and guardant standing facing each other, the Lion with incised mane andtasselled tail, the Lioness with very defined ribcage and muscle tendons, each with mouths fullof pointed teeth and incised facial features. It is a typical feature of these very early pairs of prowling Lions that the Lion is a creamy whitebody and that the Lioness paste is a ‘drab’ body. See Barry Taylor, A Treasury of Bow, asurvey of the Bow Factory from the First Patent until Closure, no. 175.
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7
Circa 1748-1750Length: 9 ins. (23 cms.)
Provenance: English Private Collection Literature: See the pair in the collection of Geoffrey Freeman, illustrated AntonGabszewicz, no. 251, p.150. Also a pair illustrated Anton Gabszewicz, Made at NewCanton, Bow porcelain from the collection of the London Borough of Newham, no. 92.
8
A very rare Pair of Bow White Prunus Vasesand Covers, each vase of double ogeeshape raised up on an annulated turnedsocle, decorated all over with stamped andapplied flowering sprays of prunus in crisplow relief, the circular double ogee coverswith similarly applied prunus sprigging andpointed acorn knop finials.
4
9
Circa 1752-55.Height: 7½ ins. (19 cms.)Marks: scratch marks to the underside
For another of these extremely rareornamental forms see Gabszewicz andFreeman, Bow Porcelain, no. 47, p. 45.
10
A fine Pair of Bow Cooks, each beautifully modelled and coloured, wearingpuce lined floral jackets and gowns, he is holding a plate with a leg of muttonand two chickens and she with a raised game pie together with bones pokingout of the top. Circa 1762Height: 7 ins. (17.5 cms.)
5
These exceptional Bow figures are taken from drawings by EdmeBouchardon executed in 1737 from a series of the ‘Cries de Paris’ andtotally imbue the rococo style at Bow with some of the finest modelling tobe encountered at this early date. The models can be dated very preciselydue to the introduction of the deep powder blue enamel during 1762.
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6
7
An extremely rare Bow Apple Box and Cover, beautifullynaturalistically modelled, painted in tones of green, yellow, puceand brown the upper half forming the cover and applied with atwisted twig handle together with four leaves.
Circa 1755.Length: 3 ins. (7.5 cms.)Mark: black pencilled numeral 1 to the inside of the cover.
For a similar pair of these very rare forms, having caterpillarhandles, see Simon Spero, The Bowles Collection of EighteenthCentury English and French Porcelain, p.57, no. 48.
An extremely rare Bow Quince Box and Cover, the mottled green,yellow and puce fruit standing upright, the top of the fruit forming thecover, applied with three leaves and a flower issuing from a twig.
Circa 1755.Height: 4 ins. (10 cms.)Marks: numeral 2 to the cover and 4 to the inside of the base.
Surviving Bow examples of fruit and flower boxes are far rarer thantheir Chelsea counterparts. They derive from Meissen porcelain andfaience counterparts. Bow Quinces are otherwise unrecorded.
12
A rare Pair of Bow white fledglings perched on amound of rocks with foliage surrounding the base. Circa 1750 Height: 4¾ ins. (12 cms.) Width: 4 ins. (10.5 cms.)
8
13
Rare Bow Botanical Plate, painted with a full spray of fruiting white currants and leavesissuing from a twig together with two ripe damsons, a colourful butterfly, several mothsand two ladybirds to one side, both plates with chocolate brown line rims. Circa 1756Diameter: 8¾ ins. (21.5 cms.) Literature: This plate should be compared with a large basin in the PassemoreEdwards Collection, see Anton Gabszewicz Made at New Canton, Bow porcelain fromthe London borough of Newham, exhib.cat.2000 p.62
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14
A very rare Bow Shell Sweetmeat Dish, the deep scallop shell painted on theinterior with sprigs and sprays of kakiemon flowers and grasses, in tones of yellowand red, together with some slight sprigs of green, supported on three large conchshaped shells applied in between with further smaller shells, including cockles,whelks and other specimens, at the front sits a live small crab waving its pincers. Circa 1752Height: 5⅝ ins. (14.3 cms.) Length: 7¾ ins (19.7 cms) This appears to be the only example with this type of decoration currentlyrecorded. This shell includes the addition of the very rare feature of the crab at thefront below the lip. Provenance: English Private Collection, by descent to the present owner.
10
15
An extremely rare and highlyunusual Bow Small Vase orperhaps a Tea Canister, ofslender baluster form,painted in colours withseveral agitated birds,surrounded by smaller floralsprigs, the domed cover withfurther flowers, brown linerims to both pieces. Circa 1758-1760Height: 7½ ins. (19 cms.)
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A Rare Bow Silver Shaped Sauceboat, moulded in crisp low relief with festooned swags of roses andflowers pendant from the scrolled rim, supported on a high oval pedestal base, the ribbed and doublescrolled handle applied at the interior upper terminal with a face wearing an Indian headdress, the wholeenriched with gold open flowers and hatched leaves. Circa 1750Length: 9 ins. (23 cms.)Marks: Incised C T to the underside of the foot. Provenance: Frank Arnold Collection. Sold Sotheby’s 12th November 1963 lot 14.
Literature: For a similar example from the Geoffrey Freeman Collection see, Anton Gabszewicz and GeoffreyFreeman, ‘Bow Porcelain, The Collection Formed By Geoffrey Freeman’, London 1982, p. 41, no. 35.
12
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A massive and very rare Bow ShellCentrepiece, the whole of thequadripartite levelled support appliedand encrusted with shells and corals, allin vivid bright colours, surmounted by asimilar circular shell for spice or ginger.
There is only one other similar massiveBow shell encrusted centrepiece that isrecorded. This belonged to RaymondYarborough and is now in the DetroitInstitute of Arts.
Circa 1755 Height: 15 ins. (38 cms.)
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14 An Extremely Rare andImportant Pair of Bow Owls,crisply modelled withnaturalistically colouredbeaks their plumage lightlyenriched in tones of brown,ochre and yellow, theirdelineated talons graspingtree stumps, applied withfungi, leaves. moss andflowers. Both resting on twentieth century ormolubases.
Circa 1755-58.Height: 8 ins. (20.5 cms.)
19
See: Frank Stoner, Chelsea, Bow and Derby Porcelain Figures, pl. 105, Yvonne Hackenbroch, Chelsea andother English Porcelain, in the Irwin Untermeyer Collection, pl. 78, fig. 259. A pair with similar ormolu mounts,sold at Sothebys New York Friday 18th March 2005, from the Estate of Mrs. Charles W. Engelhard, lot 150.
20
Incised Triangle Period Chelsea 1745-49.
The earliest production of porcelain at the Chelsea Manufactory began in 1744-45, a
tumultuous year in England’s History, with the on set of the second Jacobite uprising later
in that year. Nicholas Sprimont, a silversmith from Liege, had registered his mark at the
Worshipful Company of Goldsmiths in January 1743 and by 1744 had leased a property
belonging to Mr. Supply in Church Lane East, Chelsea. On the 5th March 1745 the first
mention of porcelain appears in the Daily Advertiser. ‘Chelsea China is arrived to such
perfection, as to equal if not surpass the finest old Japan’.
We associate the mark of the triangle with the earliest wares, the alchemical symbol of
Fire, an association linked to the firing process. The characteristics of this body and paste
is that of a thinly, pliable body, easy to throw and take the moulded details at high
temperatures. The addition of lead or crushed glass, or ‘cullet’, as it is also known, creates
the typical high translucence and notable pin pricks of luminosity. The fired paste and
body is warm in colour and highly tactile and extremely similar to contemporary soft paste
Vincennes porcelain.
It is very evident that the early productions of Chelsea were linked with designs that
emanated from Silver forms, and for instance, the Crayfish salts crafted from Silver, that are
in the Royal collection find their exact counterparts in porcelain. The rococo period of
design dictated Man’s triumph over nature and iconography particularly of the sea
transformed the tables of Sprimont’s, ‘Esteemed Nobility’ and newly rich mercantile
classes, into shell encrusted seaweed festooned stands and dishes to be arrayed with the
fruits and fish that are the very essence of our island nation. Chinese inspired bearded,
sage-like figures, embracing both the rococo asymmetry and inferred chinoiserie ideals of
dreamed up scenes of Cathay, appeared as if to creep over teetering mounds of facetted
rockwork in search of Neptune’s fish. Above all, the period created individual models,
sometimes without parallel, of the highest standard of design and modelling, with acute
observation and naturalism, fit for the Monarch and Court of the day.
21
An extremely rare and highly important EarlyChelsea Model of a Finch perched on an Oak treeamongst oak leaves and trailing branches. Circa 1745-49Height: 7½ ins. (19 cms.) Provenance: Formerly Thomas Burn, the Rous LenchCollection, Worcestershire.
15
Exhibited: Chelsea China Exhibition, RoyalHospital Chelsea, 1951, no. 22 Literature: Frank Tilley, ‘The Clue of the OakLeaf: Its place in identifying UnrecordedTriangle Period Chelsea’, Antique Collector,January-February 1950, pp. 13-15 and ArthurLane and Robert Charleston ‘Girl in a SwingPorcelain and Chelsea’, E.C.C. Trans, vol. 5,pt.3, pp.119 and 120.
22
A rare Chelsea Lobed Beaker of flared form, decorated in the Kakiemon stylewith the ‘Red Tiger’ pattern. Circa 1745-49Height: 2¾ ins. (7 cms.) Provenance: The Paul and Helga Riley Collection. Literature: llustrated Dr. F. Severne Mackenna, Chelsea Porcelain, ‘The Triangleand Raised Anchor Wares’, pl. 10. No. 25. There are just three of these beakersbearing this pattern recorded. When the paste is looked at through transmittedlight, pinpricks of luminosity can be seen, which is a characteristic of the pastein the triangle period. This is the same hand as that found on the two rarecoloured acanthus moulded beakers from the Schreiber Collection.
16
23
The Raised Anchor Period Chelsea. 1749-52.
By 1749 the Chelsea Manufactory had become both successful and well patronised with
the sauntering society of the nearby Ranelagh and Vauxhall pleasure Gardens, eager to
view and acquire the latest tastes and designs of the season’s decoration and ornament.
The Chelsea Manufactory grew and moved to larger premises at Lawrence Street to
facilitate the greater level of demand. This move coincided and culminated in the ‘Raised
Anchor’ period at Chelsea, the porcelain, literally marked with an applied pad showing an
anchor in relief within an oval, Sprimont’s mark of quality. Indeed, the advertisement of the
9th January 1750 heralds, ‘different forms and patterns, and of a great variety of Pieces
for Ornament in a taste entirely new’.
The characteristics of the new and
improved paste and body are diverse,
the addition of more lime, in the form of
calcined sea shells, and less lead had
the result of making the body even more pliable
than before, but much more stable creating sturdy figures and
wares. The addition of tin oxide makes the pieces whiter and look more
refined, though less translucent than their incised triangle marked predecessors,
however, it is a characteristic of the body that through transmitted light appear the
sometimes rather mysterious moons that characterise this new paste. The moons are in
fact air bubbles held fast in the viscous paste and are the very hallmarks of the Raised
Anchor marked pieces.
An ‘Entirely New’ taste evolves here and copies the stylised, complete and defined
patterns that emanated from the Imperial Court of Japan. These powerful and stately
patterns were so admired at the Court of Saxony that they became part of, and
influenced, production and design at Meissen. Patterns such as the ‘Flaming Tortoise’,
‘Flying Fox’ and the ‘Three Friends’ are encountered whilst Red Tigers, Flying sinuous
Dragons and Ho Ho birds abound. The shapes are usually free of moulded ornament, with
a few exceptions, such as the Scalopendrium wares. It was the simple faceted forms, such
as the octagonal teawares that could be produced in some quantity that reigned supreme.
Shapes that derived from silver forms remained popular, for example, the oval moulded
stands with shell thumbpieces, developed in the previous period, though there was a
sense of burgeoning design that was soon to develop.
24
An Important Pair ofChelsea Owls, beautifullynaturalistically modelled withwide open eyes, hookedbeaks and accurate ruffledplumage, the birds of preystanding on irregularlymoulded bases, graspingthe simulated rockwork withtheir talons. Both resting ontwentieth century ormolubases.
Circa 1745-49.Height: 8 ins. (20.5 cms.)
Provenance: John HewettCollection.
17
25
The present examples may have original design sources amongst Italian bronze sculpture ofthe seventeenth century, indeed the Scops owl that the model copies is very prevalent in theMediterranean area and often stayed within rigging of ships until docked in London. Relatedmodels are found in saltglaze and creamware pottery and also at Bow. Another version of theOwl model is known and was exhibited at the International Ceramics Fair and Seminar in1984. It can be said that these highly accomplished models are the first in English porcelain.
26
A very rare Chelsea Model of Two RecumbentKid Goats, nestled one against the other, theirbodies naturalistically moulded in low relief andpicked out in tones of brown and black.
Circa 1749-52Length: 4½ ins. (11 cms.)Mark: Applied raised anchor mark, picked out in red.
Provenance: The Paul and Helga Riley Collection. Literature: After a Meissen original modelled by J.J.Kaendler, illustrated Elizabeth Adams Chelsea Porcelain, p.94, fig. 7.38.
18
A very rare Chelsea Model ofTwo Recumbent Sheep, modelledlying together, one beside theother, their heads alert andinclined upon a slightly domedoval base applied with colourfulflowers and leaves. Circa 1749-1752Length: 4½ ins. (11.5 cms.) Mark: applied raised anchormark to the reverse, picked out inred enamel. Provenance: The Paul and HelgaRiley Collection. Literature: Illustrated ElizabethAdams, Chelsea Porcelain,fig. 7.38, p.94.
19
27
A rare Chelsea Sugar Bowl, the fluted form decorated in the Kakiemon palettewith the ‘Red Tiger’ pattern, showing a tiger snarling at a dragon flying above aflowering prunus bush. Circa 1750Diameter: 4 ins. (10 cms.)
Provenance: The Paul and Helga Riley Collection. Literature: Larger than the tea bowls and beakers of the period, John Austinillustrates a fable decorated example of the same type, see Chelsea Porcelainat Williamsburg, no. 59, p. 74. Dr. Riley notes that this shape is a sugar bowl.
20
28
A rare and early Chelsea Silver shaped Dish painted with sprays of colourfulEuropean flowers, including a divergent tulip, a rose, a chrysanthemum and hyssoptogether with a yellow and blue spotted hairy caterpillar and a butterfly in flight. The form is known in silver bearing the marks of Nicholas Sprimont himself. Thereverse of the dish is flat and unglazed, it was only towards the end of the raisedanchor period that these dishes were given a footrim.
Circa 1749Length: 9½ ins. (24 cms.)Mark: An applied raised anchor mark has been manufactured for Dr. Riley and hasbeen applied to where the original had fallen off during the manufacture. Provenance: The Paul and Helga Riley Collection.
21
29
An extremely rare and fine Chelsea ribbed Creamboat, ofelegantly flared form moulded with narrow ribs to form a leafshape and applied stalk handle, painted in the Vincennesstyle with a spray of yellow dahlia and red and purple seedpoppy, with hairbells and mimosa, together with scatteredsprigs of European flowers, the interior with similar decorationand a ladybird.
Circa 1752Length: 4½ ins. (11 cms.)
22
30
The Red Anchor Period Chelsea 1752-58.
Between the years 1752 and 1758 The Lawrence Street factory of Chelsea changed in
inspiration from the Orient to the Occident as a more European form of taste grew and
imbued the already established Rococo taste, with a sense of natural vigour. Plants and
botany, creatures and science all appeared in the ‘melting pot’ of enlightened design, at
the Chelsea manufactory and sometimes still with some silver precedents, the role of
nature breathed life as if from a Garden of Eden upon the tables of an Aristocracy keen to
show off the level of nurture afforded by these interpretations of God’s dazzling creation.
The paste and body of this new period is marked with a small anchor in red enamel and
stating approval on what is widely and justly considered to be the finest English porcelain
paste to be developed. A fine tightly fitting white glaze, covering a closely grained body,
characterises production during this period and this evenly mixed paste took the very
detailed crisply moulded designs and elegantly lobed edges encountered on wares. It was
now that the boldest of natural forms creating breathtaking trompe l’oeil effects and themes
could be created by practised masters, who excelled at their craft, to make Chelsea
porcelain of this period, the envy of Europe. Collectors down the ages have rivalled with
one an other to collect this the most eagerly sought after and rare range of objects in
English Ceramic History, with a roll call of names of collectors ranging from Queen
Elizabeth the Queen Mother, Queen Mary, Wallace Elliot and F.Severne Mackenna to Paul
Riley and the great Duveen.
Small tureens and boxes were the new features of this Trompe l’oeil period of naturalism,
throughout the catalogue of the Sale of Chelsea porcelain referred to as the Chelsea sale
of 1755, conducted by Richard Ford at his ‘Great Room in the Haymarket’, pairs and sets
of natural shapes such as ‘Roses’, ‘Apples’, Bunches of Asparagus and ‘Artichokes with
bird knops’, are seen. ‘Hens as big as Life’ seated with chicks beneath, grace the larger
and ambitious forms that were created which reached their zenith with a Boar’s Head
created for Queen Charlotte. Melons and Sunflowers in their heady open bloom are
encountered along with Peonies and extraordinary leaf moulded stands to take Duck
tureens and seated partridges sitting tightly on their feathered nests.
Even the plates on which the Aristocracy now ate were to be painted
from Life from Sir Hans Sloane’s leased Physic Garden under the
curatorship of Phillip Miller or copied from botanical
engravings from Miller’s Figures of Plants published in
1752, or from Illustrations from Plantae Selectae,
published by Dr. Trew from 1750 onwards and illustrated by
Georg Dionysius Ehret, who was Phillip Miller’s Brother-in-Law.
31
An Extremely Rare Pair of Chelsea Lobed Sauceboats of oval silver shape,applied with scrolled bevelled handle with bifurcated lower terminal, eachpainted with full sprays of European flowers including roses, honeysuckle,hairbells and pansies, the interiors with a convolvulus and a spray of yellowcrocus, brown line rims.
Circa 1755Length: 8 ins. (20 cms.)Mark: One with red anchor mark to the underside.
See: Nick Panes, British Porcelain Sauceboats of the Eighteenth Century, figure60. From the Seattle Art Museum.
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32
A rare Chelsea Melon Tureen and Cover, of the large size, the lobed bodymoulded in crisp low relief with the crackled skin, painted in tones of yellowapplied with tendrils, leaves and flowers forming the handle. Circa 1755Length: 6½ ins. (17 cms.) Melon tureens are mentioned in the Chelsea 1755 catalogue; First Day’s Sale,Monday 10th March, p.4, lot 38: ‘Two fine melons for desart’.
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33
A rare Chelsea Melon Tureen and Cover, of the large size, the lobed bodymoulded in crisp low relief with the crackled skin, painted in tones of yellowapplied with tendrils, leaves and flowers forming the handle. Circa 1755Length: 6½ ins. (17 cms.)
Melon tureens are mentioned in the Chelsea 1755 catalogue; First Day’s Sale, Monday 10th March, p.4, lot 38: ‘Two fine melons for desart’.
25
An Extremely Rare and Highly Important Chelsea Hans Sloane Finger Bowl, ofcircular slightly bulbous form with lobed rim, decorated with broad leaves risingfrom the base in tones of green and yellow with puce veining over which flyshadowed moths and butterflies in tones of puce, blue, lilac and yellow togetherwith wood wasps, fruit flies and other insects. The interior with a flying bluebutterfly with yellow spots and a wood wasp. Circa 1752Height: 3 ins. (7½ cms.)Diameter: 3 ins. (7½ cms.)
34
26
35
27An Extremely Rare and Highly Important Chelsea Hans Sloane Finger Bowl, ofcircular slightly bulbous form with lobed rim, decorated with broad leaves risingfrom the base in tones of green and yellow with puce veining over which flyshadowed moths and butterflies in tones of puce, blue and lilac together with along tailed May fly, within brown line rim. The interior with a flying butterfly and agreen ladybird. Circa 1752Height: 3 ins. (7.6 cms.)Diameter: 3 ins. (7.6 cms.)
36
A very rare Large Chelsea Artichoke Tureen and Coverdecorated in tones of green and yellow with puce detailing, thesimilarly moulded domed cover with ‘Tom Tit’ finial. Circa 1754-56Height: 7 ins. (17.7 cms)Diameter: 5¾ ins. (14.6 cms.)Mark: Red Anchor Mark to the underside of each base.
28
These extremely rare forms are listed twice within the Chelsea Porcelain Sales heldby Mr. Ford. Firstly, ‘Two fine artichokes, second size’ lot 47, Monday 10 March 1755.Secondly, ‘Two large artichokes and leaves’, Tuesday, 30th March 1756, lot 81. Theleaves that originally accompanied this larger size have never been identified.
37
A very rare Large Chelsea Artichoke Tureen and Cover decorated intones of green and yellow with puce detailing, the similarly mouldeddomed cover with ‘Tom Tit’ finial. Circa 1754-56Height: 7 ins. (17.7 cms)Diameter: 5¾ ins. (14.6 cms.)Mark: Red Anchor Mark to the underside of each base
29
See: A large pair illustrated by Patrick Synge-Hutchinson, The Connoisseur,August 1954, ‘Some Chelsea Porcelain In the Collection of Her Majesty QueenElizabeth the Queen Mother at Clarence House’. Also Reginald Blunt, TheCheyne Book of Chelsea China, pl.15 no. 305.
38
An extremely rare and highly important Chelsea Zoomorphic Tureen and Coverin the form of a Duck, modelled swimming vigorously, the lower part of thetureen formed as the breast and wings, on one side the webbed foot dips intowater weed, the cover formed as the upper part of the duck, its grinning headwith bill slightly to one side, together with a rare circular stand, moulded in theform of a basket base over which are draped specimens of marsh plants,including the celery-like King Cups leaves and the species Water Lily.
30
Both Circa 1755Length of Duck: 6¾ ins. (17.2 cms.) Height of Duck: 3¼ ins. (8.4 cms.)Diameter of the stand: 10 ins. (25.5 cms.)Marks: the tureen with red anchor marks and numeral26 to both pieces, the stand with red anchor mark tothe underside of the base.
Reverse view
Front view
39
Literature: There are 51 duck tureens within the 1755 Chelsea sale. They are variously described as ‘Four finesmall ducks in different postures’, see Second Day’s sale, Tuesday, March 11th, lot 55. They are now extremelyrare survivals. As far as we know this, and only one other at the Fitzwilliam Museum, Cambridge, are currentlyrecorded. This circular stand has been with the duck always, and although these stands are seen with the eeltureens, it is the view of Dr. Paul Riley that, due to the lack of a specifically designed stand for the duck, there isevery possibility that this stand doubled for dual use. When looking at the reeds on the lower part of the tureenand the circular stand, they match perfectly.
40
A very rare Chelsea Asparagus Box and Cover, the elegantlyslip cast form moulded as a bunch of pale cut asparagusspears, tied over the top with brown painted rataffia, the coverwith rising sprigs of asparagus being half of the bunch.
Circa 1755Length: 7 ins. (18 cms.)Marks: The base with red numeral 12 to the inside.
31
41
A very rare Chelseafluted Botanical Teabowl and Saucer,exceptionally wellpainted with aspecimen of theCosmea flower, theteabowl with double giltdentil rim. Circa 1755-58Marks: Red anchormark to the undersideof both pieces.
32
42
An Impressive and Very Rare Chelsea Hans Sloane Oval Platter, painted with ahuge Rhubarb leaf, a group of three turnips and a group of long parsnips intones of puce and natural white, a fritillary type butterfly, damsel fly, devil’scoachman beetle and a ladybird fill the decorative space. Circa 1752-55Length: 14½ ins. (37 cms.)Marks: Red Anchor mark to the underside.
33
43
An Impressive and Very Rare Chelsea Hans Sloane Oval Platter, painted with aspray of fruiting Vine, with two bunches of purple grapes, a gourd plant andseveral growing fruits, beneath a spray of flowering Lily of the Valley, ashadowed cabbage white butterfly, hawk moth caterpillar and further insects.
Circa 1752-55
34
44
A Rare Chelsea Cos Lettuce Tureen and Cover, moulded in raised low relief withoverlapping leaves painted in green and yellow with puce carmine veining thefinial formed as an upturned leaf. Circa 1755.Length: 5¾ ins. (14.2 cms.)Marks: Red anchor mark to the underside of the base.
35
45
An Extremely Rare Chelsea Peony Dish, the deeply cusped dessert dishbeautifully moulded in low relief with an open white peony bloom tinged withblue, puce and yellow, two serrated yellow and green leaves laid at the front andback of the bloom with puce veining crabstock handle. Circa 1754Length: 9 ins. (23 cms.)
36
46
An Extremely Fine and Rare Chelsea Sunflower Dish, beautifully modelled as an opensunflower in full bloom, a stalk handle issuing two green leaves both veined in yellowand puce with dark markings, lie over the front and the back of the bloom. Circa 1754Length: 9 ins. (23 cms.)
37
47
An Extremely Fine and Rare Chelsea Sunflower Dish, beautifully modelled as an opensunflower in full bloom, a stalk handle issuing two green leaves both veined in yellowand puce with dark markings, lie over the front and the back of the bloom. Circa 1754Length: 9 ins. (23 cms.)
38
48
A Rare Chelsea Circular Leaf and Basket Weave Moulded Stand, moulded inraised low relief with an array of Marsh plants including, Marsh Marigolds, BullRushes, each coloured in bright tones of greens and yellows and rich turquoise,resting on, and overlapping at the rim, a circular basket weave moulded stand. Circa 1755Diameter: 9½ ins. (24 cms.)Marks: Red anchor mark to the underside.Provenance: James A Lewis
39
An Extremely Rare Chelsea Oval Leaf and Basket Weave Stand, for use with theCarp Tureen and Cover, moulded with wide and narrow basket weave, strewn withbrightly coloured Marsh plants including Marsh Marigold and Native English WaterLily and colourful sprays and sprigs of European flowers, a brown line rim. Circa 1755. Length: 15 ins. (38.5 cms.)
49
40
50
41 An Extremely Important Chelsea Hans Sloane Botanical Deep Plate, of lobedshape, beautifully painted with a Rhubarb leaf and stalk, a spray of millet andan exotic seed pod or fruit, surrounded by flowering sprigs, butterflies and ablue caterpillar, within a brown line rim. Circa 1755Diameter: 9 ins. (23 cms.)Marks: Red anchor mark to the underside.
42
51
A Rare Chelsea Hans Sloane Deep Plate, painted with a swirling spray of blueflowering artemesia, a swallowtail type butterfly and a small sprig of yellowflowers, within a brown line rim. Circa 1755Diameter: 9 ins. (23 cms.)Marks: Red anchor mark to the underside.
52
43 An Extremely Important Chelsea Hans Sloane Botanical Deep Plate, of lobedshape, painted with a huge spiralling spray of Lilia Alba, a poppy bud andcabbage leaves, surrounded by two large butterflies, decorated in tones ofpuce and blue and a spray of blue mimosa. Circa 1755.Diameter: 9 ins. (23 cms.)Marks: Red anchor mark to the underside.
53
44An Extremely rare Chelsea Hans Sloane Deep Plate, of lobed shape, beautifullynaturalistically painted with a spray of Blue Anemone, Hollyhock buds andFoxglove leaves, surrounded by a green veined butterfly and a large lacewing. Circa 1755Diameter: 9 ins. (23 cms.)Marks: Tiny Red Anchor mark to the underside
54
A very Rare Chelsea Scent Bottle in theform of a small Pear, the naturalistic formmoulded with a twig and leaves at itsshoulder, with gold neck and stoppertogether with the chain attached. Circa 1755Height: 2½ ins. (6 cms.) An exceptionally rare naturalistic fruitform from the Red Anchor Period
Provenence: Private AustralianCollection, Illustrated Flowers andFables, a survey of Chelsea Porcelain1745-1769. No. 217. Page 86.
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55
A Rare Pair of Worcester Cauliflower Boxes and Covers and a Leaf ShapedStand, each cauliflower naturalistically formed lying on its side the coversformed as the upper part of the vegetable, their leaves painted a bluish greenand printed in black with small butterflies, the serrated leaf shaped stand similardecoration. Circa 1755Height of Cauliflowers: 4 ins. (10 cms.)Length of stand: 7½ ins. (19 cms.)
46
56
57
An Important Pair of Chelsea Partridge Tureens and Covers together with their Stand, each partridge modelledseated on a nest. The simulated basket weave stand moulded in relief with ears of corn, stalks and feathersstrewn across the dish, with a brown line edge. Circa 1755Length of tureen: 5½ ins. (14 cms.)Length of Stand: 11¾ ins. (30 cms.)Marks: red anchor marks and numerals to the inside of each bird. Provenance: The Paul and Helga Riley Collection. Literature: See Chelsea Sale Catalogue of 1755, second day’s sale, Tuesday March 11th, lot 75. ‘Two very finePartridges and a dish for ditto, finely ornamented’ and the following lot. 76. ‘Two ditto’. The dish is an extremelyrare survival with only three other examples currently recorded, all in Private English Collections.
47
58
An Extremely Important Chelsea Hans Sloane Peach Shaped Dish,decorated with a celery crossed over a carrot, under which flies a largecarrot or damsel fly and above which flutters a Swallowtail butterfly,within a brown line rim, with moulded vein to the underside. Circa 1752-53Marks: Red Anchor to the underside.
48
59
A Rare Chelsea ‘Blind Earl’ Moulded Sweetmeat Dish, of circular form mouldedin slightly raised low relief with a spray of rose leaves and buds in tones ofgreen with a delicately moulded crabstock handle, within a gold line rim. Circa 1755Diameter: 6 ins. (15 cms.)Marks: Red Anchor to the underside
A Rare Chelsea ‘Blind Earl’ Moulded SweetmeatDish, of circular form moulded in raised lowrelief with a spray of rose leaves and buds intones of green with a delicately mouldedcrabstock handle, within a gold line rim. Circa 1755.Diameter: 6 ins. (15 cms.)Marks: Red Anchor to the underside.
50
49
60
An Extremely Rare Chelsea Oval Leaf and Basket Weave Stand, for use with the Carp Tureen and Cover, moulded with wide and narrow basket weave, strewn withbrightly coloured Marsh plants including Marsh Marigold and Native English Water Lilyand colourful sprays and sprigs of European flowers, brown line rim. Circa 1755Length: 15 ins. (38.5 cms.)Marks: Red anchor mark to the underside
51
A Rare Chelsea Circular Leaf and Basket Weave Moulded Stand, moulded inraised low relief with an array of Marsh plants including, Marsh Marigolds, BullRushes, each coloured in bright tones of greens and yellows and rich turquoise,resting on, and overlapping at the rim, a circular basket weave moulded stand. Circa 1755Diameter: 9½ ins. (24 cms.)Marks: Red anchor mark to the underside.Provenance: James A Lewis.
61
52
62
A Chelsea Sugar Bowl, of elegant fluted form painted with iron red flowering prunus blossom,the reverse with a butterfly and the interior with further single prunus flowerheads. Circa 1754/55.Height: 3 ins. (7.5 cms.)
Provenance: The Paul and Helga Riley Collection
53
63
A rare Chelsea Vase, ofbaluster shape with conicalfoot and turned neck, paintedwith three European birdsperched in a leafy tree, thereverse with insects and abutterfly in flight. Circa 1755Height: 6½ ins. (16 cms.) A larger vase with this type ofEuropean bird decoration wasin the collection of LadyCharlotte Schreiber anddescended through her familyto the Ponsonby’s, The Earls ofBessborough.
54
64
A very rare Chelsea Circular Dish, of hexafoil shape, decorated in the Chinesefamille rose palette with sprays of flowering poeny alternating with butterflies.
Circa 1755Diameter: 8½ ins. (20.5 cms.)
55
65
An Extremely Rare and Important Chelsea Octagonal Teabowl and Saucer, painted byJefferyes Hamett O’Neale, both pieces matching with the fable of the Lion and the Mice,the Lion stretched out, catching mice beneath a tree, within an Arcadian landscape, birdsin flight within blue skies, the scene on the saucer surrounded by sprigs of flowers and abutterfly, with chocolate brown rims, the teabowl with a butterfly to the interior.
Circa 1752-55
Provenance: Private English Collection.
This extremely fine teabowl and saucer should be compared with the service of eightteabowls and saucers from the collection of Lord Brownlow of Belton House, soldChristie’s, on the premises 2nd May 1984. See Stephen Hanscombe, Jefferyes HamettO’Neale China Painter and Illustrator, Nos.13, 14, 15 and 16.
56
66
A fine and rare Chelsea Strawberry Leaf moulded Sauceboat of deep cuspedshape, supported on four smaller moulded leaf feet together with tendrilsacross the base, the sides painted with sprays of European flowers including:roses, convolvulus and lilies, applied with a green branch handle withstrawberry flowers. Circa 1755.Marks: Red Anchor Mark
Literature: For an example of this rare rococo form see Dr. F. Severne MacKenna, Chelsea Porcelain, The Red Anchor Wares, 1952, p. 87.
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67
A rare Meissen Cup with Spout, painted by Johann Ehrenfried Stadler with Chinesefigures holding parasols beside flowering plants, within quatrefoil cartouches reservedon a yellow background, the loop handle painted with iron red floral detail.
Circa 1730Height: 2 ins. (5 cms.)Length: 4¼ ins. (11 cms.)
A similar example formerly in the Franz Oppenheimer Collection and then the Dr. FritzMannheimer Coll. now in the Rijksmuseum, see Abraham L-den Blaauwen ‘MeissenPorcelain in the Rijksmuseum’, no. 214.
58
68
59 An extremely rare Doccia Figure ofa Dwarf, modelled as a dancinglady wearing contemporaryeighteenth century dress.
Height: 3¼ ins. (8 cms.)
Provenance: At one time withGioacchim Ruggiero andCollezione Procida Mirabelli diLauro, Naples, no. 60.
Literature: A series of polychrome dwarves from the Metropolitan Museum of Art is illustrated in Munger (2007), no.14, p. 14. Two other dwarves from the Collezione Guido Rossi and the Musei Civici del Castello Sforzesco arepublished by Mottola Molfino (1976), cat. No. 465-466 and others from the same collection are published by Melegati(1999), p. 76. Another coloured example in the Museo Richard Ginori della Manifattura di Doccia is illustrated in
69
60An extremely rare DocciaFigure of a Dwarf, modelled asa dancing man wearingcontemporary eighteenthcentury dress and perriwig.
Circa 1760Height: 3¼ ins. (8 cms.)
Provenance: At one time withAlessandro Orsi andCollezione Procida Mirabelli diLauro, Naples, no. 73.
Biancalana (2009), p.55. The Doccia factory produced quite a few dwarves, it became one of their most populartype of figures, and they were modeled after the famous etchings by Jaques Callot and his Italian counterpart, LuigiBaccio del Bianco. Motola Moltini (op.cit) notes that another source for these Doccia Gobbi was also the work byTuscan artist Gian (Giovanni) Domenico Feretti.
70
An extremely rare Meissen Twin Handled Portrait Beaker and Saucer, the saucer and one side of thebeaker painted with a landscape vignette depicting soldiers resting at camp, with distant buildings to oneside. The front of the beaker painted with a caped Hussar Officer, wearing a green tunic trimmed with fur,beneath a gilt lambrequin border.
Circa 1735Diameter of the saucer: 5¼ ins. (13.5 cms.)Height of the beaker: 3 ins. (7.5 cms.)Marks: Crossed swords marks in underglaze blue, impressed 6 on the beaker and 2 on the saucer.
The soldiers depicted in red and blue are either Karlstadt border troops, or Pandurs of the Free Corps ofFranz Freiherr von der Trenck. The Officer is probably a member of the Austrian Regiment of Hussars.
Exhibited: Hamburg, Museum fur Kunst und Gewerbe, 1999-2009.
61
Detail of the saucer
Detail from the reverseof thebeaker
71
72
An extremely rare Meissen covered Milk Jug, of slender baluster shape, beautifully painted in the mannerof Christian Frederich Herold with a winter scene showing travellers meandering through a village, awindmill on the left and a castle to the right, within ‘laub und bandelwerk’ gilt borders, containing bottgerlustre panels and iron red and puce scrolling, the other side with a harbour scene, between sprigs ofKakiemon flowers, the gold spout moulded in low relief with an acanthus leaf, and the scrolled handlewith solid gold thumb-piece, the cover with further landscapes and gold pine fruit finial.
Circa 1728Height: 4½ ins. (11.5 cms.)Marks: impressed former’s mark, gilder’s P to both pieces and crossed swords mark in underglaze blue to the underside of the piece.
62
73
An extremely rare Bottger White Porcelain Coffee Pot and Cover, of slender baluster shape with scrolled handle, moulded with basalfluting to the lower part and the neck of the jug, gilt with Chinese figures playing in a garden surrounded by trees and willows, thescene is divided by a classical pillar issuing bushes on either side, chinamen take tea under a parasol on the other side of the pillarwith a begging dog at their feet, the spout, handle and cover gilt with formal gold bands and highlights. The slightly domed cover withcusped knop and mounted onto the jug in silver.
Circa 1718-1720Height: 7½ ins. (19 cms.)Marks: Lustred mark ‘dm’ to the underside of the base of the jug.Hallmark for Elias Adam, Augsburg, active 1703-45 on mounts.
Provenance: The Anderson Collection formerly exhibited at the Orlando Museum of Art.
63
74
A Fine and Rare Meissen Teapot and Cover, of elegant small bullet shape, beautifullypainted with a brightly coloured shadowed Indian Moon Butterfly on one side andscattered insects on the other, the bird and leaf moulded spout enriched with pucecarmine scales and feathered details, the silver rococo scrolled tau handle, with shellmoulded thumbpiece and acanthus leaf moulded upper terminal, the cover with similarbasket weave moulding, palm fruit finial and scattered insects and ladybird.
Circa 1735Height: 4 ins. (10 cms.)Length: 7 ins. (18 cms.)Marks: Blue crossed swords
64
75
A Meissen Yellow Ground Teacaddy and Cover, of shouldered rectangular form painted by anextremely detailed hand, with quatrefoil gold and black framed panels containing harbour andlandscape scenes, the shoulder with scattered sprigs of European flowers, the slightly domed cover with similar floral decoration and flower finial.
Circa 1745Height: 5 ins (12.5 cms)Marks: Crossed swords mark in underglaze blue and dreher’s mark H to the underside of the base.
65
76
A very rare and early Meissen Teacaddy and Cover, of quatre-lobed baluster section,delicately painted with bold and meandering sprays of indianishe blumen in thekakiemon palette, together with insects in flight, the flat cylindrical cover with furtherstylised floral sprays, and moulded in low relief with a flower head.
Circa 1728-30Height: 41⁄16 ins. (10.3 cms.)Marks: Blue enamel crossed swords mark, Dreher’s mark of a cross and dots forAndreas Schieffer.
66
77
A very rare and fine Meissen Hexagonal Baluster Teacaddy and Cover, painted oneach side in the manner of J.G. Horoldt with harbour scenes, together with people atconversation at the docks, all beneath gloriously coloured skies, each panel framedwith thick gold bands, the top of the flattened circular cover gilt with scrollwork.
Circa 1725Height: 4 ins. (10 cms.)Marks: Gilder’s 88 to both pieces.
67
78
Meissen ‘Landschaftmaleri’ TeaCaddy and Cover gilded andpainted in colours with landscapevignettes depicting figures beside ariver, one with a ‘Ruinenlandschaft’depicting dilapidated architecturalstructures, the arched shoulderspainted with sprays of ‘DeutscheBlumen’ and enhanced with‘Goldspitzenbordüre’ motifs, thedomed cover decorated “en suite”with a blue flowerbud finial.
Circa 1745Height: 5 ins. (12.4 cms.)
68
79
An extremely rare and Important Meissen Yellow Ground Rectangular TeaCaddy and Cover, the ogival quatrefoil reserves with holzschnitt blumen roses,anemones, speedwell or forget-me-not and insects, the white shoulder withchocolate brown line border and further smaller insects, the flattened coverwith similar reserves and small chocolate brown topped palm fruit finial.
Circa 1735-40 Height: 4 ins. (10 cms.) Marks: Press number 19 to the underside of the base.
69
80
Small Meissen gilt-metal mounted Tea Caddy and Cover painted with puttiholding garlands of roses, seated on clouds beneath a purple scale and gildedborder. The cover with a flower finial and further putto decoration.
Circa 1760Height: 9.5 cms. (3¾ ins.)Marks: Crossed swords mark in underglaze blue. Painters mark in purple 31
70
81
Meissen Tea Caddy and Cover, withmoulded ozier shoulder finely paintedwith pastoral scenes in pucemonochrome. On one side a grotto, withtravellers at conversation and a castle inthe distance. The other side, with a villagescene and a church, within finely tooledgold trellis and scrolled frames. The sidesdecorated with ‘Holschnitt Blumen’ also inpuce. The cover with similar mouldingand gilded palm fruit finial.
Circa 1740-1745Height: 14 cms. (5½ ins.)Marks: Crossed swords mark
71
82
Meissen ‘Deutsche Blumen’ Tea Caddy and Cover painted with bouquets offlowers, the arched ‘Ozier’ moulded shoulders painted with flower sprays, theneck with a gilt line, the tiny domed cover with a rosebud finial.
Circa 1750Height: 5½ ins. (13.8 cms.)Marks: Crossed swords marks in underglaze blue.
72
83
Very rare Meissen rectangularTea Caddy and domed Coverwith ozier moulded shoulder,painted with scenes ofpeasants fighting and a wifeexpelling her drunken husband,each side with a dwarf playinga musical instrument. The coverwith similar decoration andflower finial.
Circa 1750Height: 5 ins (13 cms)
The ‘Callot Dwarfs’ taken fromThe Complete Gobbi(Grotesque Dwarfs), a series of21 etchings, c.1622
73
84
A rare Meissen Tea Caddy and Cover depicting Mining subjects, the rectangular form painted in themanner of Bonaventura Gottlieb Häuer with miners at various activities running continuously aroundall sides, the front showing two miners in their green caps sieving the minerals, the side panel with aminer carrying rock to a shaft, the reverse with an overseer at discussion with a miner, both standingbefore a fence, the other side with a further miner raking golden nuggets, all within a wooded rockylandscape beneath a gittermerk border, the arched shoulders with sprigs of European flowers, thecover with a seated miner smoking and holding his pick in onehand, with open flower finial and further gittermerk border.
Circa 1740Height: 5 ins. (12.5 cms.)Mark: Crossed swords in underglaze blue to base.
Häuer joined the Meissen factory in 1724 and by1731 was painting figures in landscapes. His darkrocks to the foreground silhouetted against lighterlandscapes behind is a particular sign of hiswork. Häuer is also the person associated withwares depicting miners. Minerals, coal and goldwere a considerable source of revenue forSaxony and this therefore interestedAugustus III massively. Augustusrevered his miners greatly andlent his monogram as theirbadge on their uniforms.
74
85
A Höchst Tea Caddy and Cover of archedrectangular form, painted with a horsemanwith a tethered eagle owl in a landscapevignette, the reverse with a bird attackinga hare, the cover with a vignette of animalssupported by gilt scrollwork.
Circa 1770Height: 5¼ ins. (13 cms.) Mark: Wheel mark in underglaze blue, incised letters.
Provenance: Lady Charlotte Schreiber (1812-1895).
75
86
76 Meissen Robin’s egg blue-ground rectangular Tea Caddy and Cover. One wide and onenarrow side painted with harbour scenes beneath an expansive sky, the other two panelswith gallants and companions in park settings, each reserved within original quatrefoilpanels edged in gilt, the shoulder, footrim and sides similarly gilt, the top of the circularcover with a harbour scene, the sides with gilt bands around the ground colour, the whiteshoulder gilt with harebells at the corners.
Circa 1740Height: 4⅜ ins. (11.1 cms.)Marks: Gilder’s ZO to both pieces.
87
An extremely fine Meissen Tea Caddy and Cover, of rectangular form, painted probably byJ.G. Heintze, with European figures at discussion within river and harbour scenes, showingships and barges at dock unloading their goods, each scene framed within a coulis of treesor tall buildings under an open sky with delicate blue clouds with birds in flight overhead, atthe base of each scene, a double iron red line, the scenes divided at each corner by a thickgold band, the shoulder with a delicate lambrequin border pendant from the rim and twobrightly coloured sprays of ‘Indianische blumen’, the flat circular cover with artichoke finialwith further harbour scenes in miniature.
Circa 1730Height: 4¾ ins. (12.5 cms.)Marks: Blue crossed swords mark to the underside of the base and gilders 52 to both coverand underside of base.
Johann Georg Heintze was apprenticed at Meissen at the age of 13. He became one of the leading decorators of his day until 1748.
77
BIBLIOGRAPHY
Elizabeth Adams, Chelsea Porcelain (London, 2001)
John Austin, Chelsea Porcelain at Williamsburg (1977)
Abraham L. den Blaauwen, Meissen Porcelain in The Rijksmuseum (2000)
Maureen Cassidy-Geiger, The Arnhold Collection of Meissen Porcelain 1710-1750
Maureen Cassidy-Geiger, Fragile Diplomacy, Meissen Porcelain for the European Courts c. 1710-1763
Anton Gabszewicz and Geoffrey Freeman, Bow Porcelain, The Collection formed by Geoffrey Freeman (1982)
Anton Gabszewicz, Made in New Canton, Bow Porcelain from The Collection of the London Borough of Newham (2000)
Dr. Yvonne Hackenbroch, Chelsea and other English Porcelain, Pottery and Enamels in Irwin Untermeyer Collection(1957)
Stephen Hanscombe, Jefferyes Hamett O’Neale, China Painter and Illustrator
Arthur Lane & Robert Charleston ‘Girl in a Swing’ Porcelain and Chelsea, ECC Transactions
International Ceramics Fair & Seminar, 1987 exhibition catalogue, ‘Documentary Eighteenth Century English Porcelainfrom the British Museum
Brian Haughton Antiques, Exhibition Catalogue, ‘Splendour in the Grass’ (2004)
Brian Haughton Antiques, Exhibition Catalogue, ‘Splendour of a Golden Age, 18th Century English Porcelain 1745-1770’(2004)
Brian Haughton Antiques, Exhibition Catalogue, ‘Royal Splendour’ (2005)
Brian Haughton Antiques, Exhibition Catalogue, ‘The Elegance of Porcelain’ (2006)
Brian Haughton Gallery, Exhibition Catalogue, ‘Sculptural Splendour’ (2008)
Brian Haughton Gallery, Exhibition Catalogue, ‘A Taste of Elegance’ (2009)
Margaret Legge, Flowers and Fables, a Survey of Chelsea Porcelain, 1745-69, National Gallery of Victoria, Melbourne,Australia
Nick Panes, British Porcelain Sauceboats of the 18th Century (2009)
Jean Pillement, The Ladies Amusement, the 1959 facsimile copy of the original 1759 Publication
Rainer Ruckert, Meissner Porzellan (Munich, 1966)
F. Severne Mackenna, Chelsea Porcelain, Triangle & Raised Anchor Wares (1951)
F. Severne Mackenna, Chelsea Porcelain, The Red Anchor Wares (1952)
Rosalie Wise Sharp, Ceramics, Ethics & Scandal (2002)
Frank Stoner, Chelsea, Bow and Derby Porcelain Figures
Barry Taylor, A Treasury of Bow, ‘A Survey of The Bow Factory from the First Patent until Closure’.
Frank Tilley, The Clue of the Oak Leaf, ‘Its place in identifying unrecorded Triangle Period Chelsea’, Antique Collector, 1950
ACKNOWLEDGEMENTS
We would also like to thank the following for their academic input:Anthony Du Boulay, Anton Gabszewicz, Stephen Hanscombe, John Mallet, Dr Paul Riley, Aileen Dawson.
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any
means without the prior permission in writing of the publisher, nor be otherwise circulated in any form or by any means without the
prior permission in writing of the publisher, nor otherwise circulated in any form of binding or cover than that in which it is published
and without a similar condition including this condition being imposed on the subsequent purchaser.
© 2011 Brian Haughton Gallery
15 Duke Street, St James’s, London SW1Y 6DB, UK
88
Nature’s TriumphBotanical Themes
on Porcelain
Nature’s Trium
ph–Botanical Them
es on Porcelain
Brian H
aughton G
allery
15 Duke Street, St. James’s, London SW1Y 6DB
t +44 (0)20 7389 6550 f +44 (0)20 7389 6556
www.haughton.com [email protected]
