A LOUIS XVI MARQUETRY AND TULIPWOOD CROSS BANDED FITTED TOILET BOXLate 18th Century The box cover inlaid with a watery landscape flanked by Classical ruins with ivory Corinthian capitals, the front with a trophy inlaid with mother-of-pearl, the reverse and sides with music instrument trophies, 32cm wide; 22cm deep; 17cm high; the interior with mirror to hinged cover, fitted with three Mennecy Factory pomade pots and covers, decorated with floral sprigs, circa 1755-60, the largest, 8.5cm highThe remaining contents including four glass faceted bottles and stoppers, a scallop-edged dish, funnel and cup with scroll handles, all with gilt-heightened edge, a key This lot contains ivory and has been registered in accordance with the Ivory Act (section10). Reference No. HFRSYS1L Prospective buyers should be aware that some countries have limitations on importing items made from endangered species, including materials such as coral, ivory, and tortoiseshell. Therefore, it is advisable for potential buyers to familiarize themselves with relevant customs regulations before placing bids, particularly if they intend to import this lot into another country.
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A small group of Mennecy porcelains, c.1740-55, including two coffee cups, two custard cups or pots à jus, a preserve pot or moutardier and a small toilet pot, with a Sceaux trembleuse saucer, all variously painted with roses, tulips and sprays of other flowers, incised DV marks to some, covers lacking, 13cm max. (7)
Two Mennecy cups and a saucer, c.1755, the larger cup painted with two travellers conversing in a landscape, the smaller of flared form and painted with a couple in a pastoral setting, the saucer of small size and painted with a couple beneath a tree, blue line borders, incised DV marks, 10cm max. (3)
A small group of Continental tea wares, c.1760-1800, including a Marieberg custard cup with tight spiral moulding and painted in the Mennecy manner, a small Alcora coffee can with similar decoration, a Copenhagen saucer painted with fruit and flowers within a lilac border, a Brussels saucer painted by Louis Cretté with botanical flowers, and a teacup and saucer with yellow roses, some faults, 13.3cm max. (6)
CÉZANNE (PAUL)Autograph letter signed ('Paul Cézanne'), to Émile Solari ('Mon cher Solari'), in French, informing him that he is returning to Aix during the night of Monday 31 May, but will be visiting Paris first and suggesting they meet before he leaves, two pages on squared paper, dust-staining, marks, creased at folds, short tear along horizontal crease, 8vo (208 x 130mm.), Mennecy, Hôtel de la Belle Etoile, 24 May 1897Footnotes:Émile Solari was the son of Cézanne's childhood friend the sculptor Philippe Solari (1840-1906) and named for his father's close childhood friend author Émile Zola. Philippe produced two sculptures of Cézanne, one from memory ('Cézanne the Dreamer') and the other from life. Our letter is published in John Rewald, Paul Cézanne, Letters, 1941, no.CXXXII, p.206, and is also included in Alex Danchev, The Letters of Paul Cézanne, 2013, no.176, pp.175-176. Provenance: Artcurial, Paris, 2 April 2019, lot 326.For further information on this lot please visit Bonhams.com
A Silver-Mounted Mennecy Porcelain Snuff Box, circa 1750, naturalistically modelled and painted as a dog and puppy recumbent on a cushion, the cover painted with a flowerspray6.5cm wideNo cracks or restoration. Mounts firmly fixed and the cover closing well. Some general surface wear and slight pitting. The cover with heavy wear patches. Inside cover with a deep V-shaped scratch next to the mount.
NEUN FIGUREN UND EIN NOTENPULT AUS DER "AFFENKAPELLE". Meissen. Meister/Entwerfer: Modell J. J. Kaendler. Technik: Porzellan, farbig staffiert. Beschreibung: Insgesamt neun Figuren, bestehend aus:Dirigent, Drehleierspielerin, Flötist, Gitarrenspieler, Affe am Klavier, Affe mit Trompete, Cellist, Fagottspieler und eine Sängerin. Dazu ein Notenpult. Maße: Höhe 9,5-17,5cm. Marke: Schwertermarke, Unterglasurblau. Verschiedene Bossierer- und Malernummern. Verschiedene Jahreszeichen. Literatur:- Adams, Len and Yvonne: Meissen Portrait Figures, Leicester 1992, S.188 und 195.- Rückert, Rainer: Meissener Porzellan von 1710-1810. Kat. Nr.1064-1078.- VEB Staatliche Porzellanmanufaktur Meissen (Hrsg.): Figuren 1. Vgl. Kapitel AffenmusikerDie genaue Entstehungszeit der sogenannten "Affenkapelle" ist nicht zu belegen. Anhand der Formnummer lässt sich ein Kauf von 19 Figuren dieser Art, durch Madame de Pompadour eine Entstehung um das Jahr 1753 vermuten. Die Figuren wurden wohl von Johann Joachim Kaendler erschaffen und unter Mitwirkung Peter Reinickes im Jahr 1765/66 neu überarbeitet.Mitte des 18.Jh. erfreuten sich Affendarstellungen welche in parodistischer Weise menschliche Züge annehmen größter Beliebtheit. Dieses Genre der sog. »Singerien« (franz. »singe« = Affe) wurde nicht nur in Porzellan umgesetzt, sondern findet sich ebenso in Decken- und Wandmalereien oder auf Gobelins. Man nimmt an, dass u.a. die Wandmalereien Christophe Hüets im sog. Affenkabinett des Schlosses Chantilly als Vorbild für die Meissener Affenkapelle dienten. Eine weitere französische Vorlage könnte eine Affenkapelle der Manufaktur Mennecy aus den 40er Jahren sein.Erläuterungen zum Katalog Meissen Deutschland Porzellan 21. Jahrhundert Affenkapelle Porzellan Kaendler, Johann Joachim Voraussichtliche Versandkosten für dieses Los: Absprache nach der Auktion.
1 Large late 18th century/early 19th century waffle top porcelain. These patterned top (waffle style) porcelain buttons are considered by some to be 18th century and others to be 19th century. The Carnavalet museum in Paris has had them on display in previous years and attribute them to Mennecy and the 18th century. Whatever the case, they are beautifully hand painted and worth owning in your collection. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and aboveCondition: PLEASE NOTE: These buttons for the most part are antique and may have age related wear. We make every effort to point out any significant condition related concerns, but again they are antique and not new. We also cannot be responsible for replaced shanks or issues related to the backs of any buttons on multiple button cards as we do not remove these buttons to re-card them. Please contact us if you would like any further condition reports on any lot.
An early Mennecy tobacco jar, circa 1725-30Of tapering cylindrical shape, decorated with a moulded prunus motif after a Blanc de Chine example, painted with loose sprays of polychrome flowers, the footrim slightly wider with a moulded single band, 10.6cm highFootnotes:Provenence: With Bernard Dragesco & Didier Cramoisan, Paris;British American Tobacco Collection of Eighteenth-Century Tobacco Containers & Accessories (acquired from the above in 1984)For further information on this lot please visit Bonhams.com
A rare Mennecy silver-mounted tobacco jar and cover, circa 1730-40, in a mid 18th-century fitted marquetry caseOf cylindrical form with a domed cover and flared circular knop, painted in underglaze-blue in Saint-Cloud-style with bands of foliate scrollwork and a double-line border around the footrim, the finial painted with a stylised flowerhead on the top, in a veneered travelling box with marquetry top, lined in blue silk with an apeture for a spoon (missing), jar and cover: 15.9 cm high; the marquetry travelling case: 19 cm high; 15cm wide; 14.6cm deep incised D.V, contemporary silver mounts with discharge mark (une tete de renard) for Louis Robin, 1735-38 (minor flat rim chips below the mount) (3)Footnotes:Provenance:Sold by Ader Picard Tajan, Paris, 7 November 1985, lot 38;British American Tobacco Collection of Eighteenth-Century Tobacco Containers & Accessories (acquired in the above sale)Literature:D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), no. 16Exhibited:London, The International Ceramics Fair and Seminar, The Dorchester Hotel, Special Loan Exhibition, The British-American Tobacco Company Collection of Tobacco Containers & Accessories, 10-13 June 1988This is a very rare example of Mennecy imitating the decoration of Saint-Cloud porcelain.For further information on this lot please visit Bonhams.com
A Tournai figure group, c.1760, modelled with an impish figure, possibly Daphnis, playing the pan pipes and seated on a rocky base above a winged putto and a Classical maiden, together with a white-glazed figure of an old man, probably emblematic of Winter, incised IL mark, and a white-glazed libation cup moulded with deer, dogs and dragons in the Chinese manner, 18cm max. (3)The Tournai figure possibly modelled by Nicholas-Joseph-François Gauron, who left Mennecy c.1757-58 to start work at Tournai. He left the factory in 1764 and worked at European factories in Belgium and Holland, before coming to England and working for William Duesbury. Cf. Victoria and Albert Museum, Accession No. C.352.1909 for a Mennecy figure by Gauron. Also, a Tournai figure of Fire from the collection at Stourhead, Wiltshire.
A Mennecy silver-mounted combined etui or bodkin case and scent bottle, c.1750, possibly emblematic of Summer, modelled as a classical lady holding a basket of fruit, her head lifting to reveal the scent bottle, the lower half formed of a tapering rectangle painted with flowers, 12.7cm.This form was also adopted at Charles Gouyn's factory in London.
A rare Mennecy pot pourri jar and cover, c.1750, the rounded form applied with flowerheads in the Meissen schneeballen manner, raised on a rocky base with a long-tailed mythical beast entwining its tail; among the roots of a tree, the cover pierced with three flowerhead designs, incised DV mark, 14cm. (2)
A FRENCH SILVER-MOUNTED WHITE SNUFF BOX AND COVERSt. Cloud or Mennecy, mid 18th century Modelled as a recumbent pug dog, its coat moulded with flowering prunus branches, the oval cover moulded with rows of florets, 6.25cm wideProvenanceThe collection of the lateCountess Bunny Esterhazy (1938-2021) See Bellmans website forfurther details:https://www.bellmans.co.uk/story/works-from-the-estate-of-countess-bunny-esterh%C3%A1zyCONDITION REPORTFine haircrack running from the dog's hind quarters to the rim, approx. 4cm length.Minor loss to the silver rim
A rare Mennecy tobacco jar and cover, circa 1755Of cylindicial form with a slightly flared foot and domed cover, superbly painted with two large flower sprays and further scattered blooms and leaves, the domed cover similarly decorated and surmounted by a leafy rosebud finial, with rare guilt dentil borders to the rims, 18.5cm high overall. incised D,V (some restoration to rosebud finial, scattered wear to gilt rims) (2)Footnotes:Provenence:With Winifred Williams, London;Acquired from the above in 1981Literature:Winifred Williams, 'Eighteenth Century French Porcelain', Exhibition Catalogue, 3-20 July 1978, no. 79;D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), no. 14Exhibited:London, The International Ceramics Fair and Seminar, The Dorchester Hotel, Special Loan Exhibition, The British-American Tobacco Company Collection of Tobacco Containers & Accessories, 10-13 June 1988For further information on this lot please visit Bonhams.com
A very rare Mennecy silver-mounted tobacco jar and cover on the form of a bunch of long radishes, circa 1755-60Naturalistically modelled and painted in shades of purple and green for the tips on the cover, with a ribbon at the top rim and bottom edge of the cover, the inside and base with leaves painted over a firing crack, 16cm high, incised 'D.V.' mark, the silver mount bearing a Paris discharge mark of a scallop shell (1756 to 1762) (three shallow chips to cover retouched in green) (2)Footnotes:Provenance:Collection of Aymé-Henry Darblay (1854-1899);Acquired in 2008 from Manuela Finaz de Villaine, ParisTrompe-l'oeil fruit, vegetables, fish and game were popular with a number of faience factories in the 18th century; being produced with varying degrees of accuracy and quality, the best examples stemming from Sceaux and Strasbourg. In France, Mennecy is the only factory known to have produced trompe-l'oeil porcelain, of which only very few examples have survived.This is the only known example with a silver mount. A pair of unmounted Mennecy jars and covers, slightly smaller and of slightly bulbous form, was sold by Sotheby's London, 27 November 1956, lot 43 (described as carrots), and again by Christe's New York, 18 March 2005, lot 276; and another similar unmounted and bulbous example is in the Musée des Arts Décoratifs, Paris, inv. no. 32982 A.For further information on this lot please visit Bonhams.com
A pair of Mennecy tobacco jars and lids, circa 1755, in a fitted Louis XV marquetry travelling caseOf cylindrical form with domed covers applied with leafy flower-bud finials, painted with flower sprays and further scattered blooms, the covers with brown-edged rims, in a fitted box with marquetry decoration of flower sprigs within shaped cartouches and lined in blue silk, the jars: 16cm high overall; the case: 18.7cm high; 24.6cm across; 13.8cm deep incised D.V to one jar (5)Footnotes:Provenance:Jacob Stodel, London;Acquired in 1984Literature:D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), no. 15;S. Fellner, Die lasterhafte Panazee (1992), no. II/56Exhibited:London, The International Ceramics Fair and Seminar, The Dorchester Hotel, Special Loan Exhibition, The British-American Tobacco Company Collection of Tobacco Containers & Accessories, 10-13 June 1988;Vienna, Österreichisches Tabakmuseum, Die lasterhafte Panazee 500 Jahre Tabakkultur in Europa, 11 June-4 October 1992Although not stamped, the marquetry travelling case may be attributed on stylistic grounds Balthazar Lieutaud (d. 1780), who became maître-ébéniste in 1749 and specialised in clock cases. Travelling cases such as this were often objects of great luxury made of expensive materials, such as lacquer or inlaid marquetry. The journals of Lazare Duvaux include several tobacco jars in fitted boxes including one purchased on 20 December 1752 by Madame de Pompadour (see Gage/Marsh, p. 101).For further information on this lot please visit Bonhams.com
A very rare Crépy-en-Valois tobacco jar and cover in the form of a wild boar, circa 1762-70Of cylindrical form with the fur, dorsal line, legs and tail, as well as a leady branch on the underside moulded in relief, the head also naturalistically modelled to form the cover, 22.3cm high, incised 'DCO' (small restored chips to rim of cover and small repair to cover flange) (2)Footnotes:Provenance:Mr. and Mrs. William Brown Meloney, New York;With The Antique Porcelain Company, New York;Acquired from the above in 1981Literature:The Connoisseur, Vol. CXLIII, no. 577, April 1959, p. 140, no. 12;D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), no. 13Exhibited:Zurich, Credit Suisse, Meisterwerke des Europäischen Porzellans 1710-1820, 17 September 1985-17 January 1986, cat. no. 188;London, The International Ceramics Fair and Seminar, The Dorchester Hotel, Special Loan Exhibition, The British-American Tobacco Company Collection of Tobacco Containers & Accessories, 10-13 June 1988The only other recorded examples of this form are the two in a fitted leather case in the British Museum, Sir A.W. Franks Collection (inv. Franks 359); published by A. Dawson, French Porcelain A Catalogue of the British Museum (1994), no. 201 (where other examples of Crépy-en-Valois porcelain are recorded), and by G. Le Duc, Porcelaine tendre de Chantilly (1996), p. 326.The short-lived porcelain factory in Crépy-en-Valois was apparently founded in October 1762 by Louis-François Gaignepain - a former worker at the Mennecy factory - together with a Paris marchand-mercier, Pierre Bourgeois. The new factory experienced financial difficulties in 1767 and is thought to have closed after the death of Gaignepain in 1770. The attribution of these wild boar jars and covers to Crépy is based on the Livres Journal de Vente pur la manufacture de Crépy, in which sales of 'pot a tabac blanc En hure de Sanglier et de Chien are recorded on three occasions in 1765 and 1766 (quoted by A. Dawson, op. cit., p.253 (no corresponding jars in the forms of a dog are recorded).For further information on this lot please visit Bonhams.com
A MENNECY PORCELAIN TABLE SPICE BOX, c.1755, modelled as a serpentine chest of two short over two long drawers on a herringbone moulded ground, painted in polychrome enamels with scattered sprigs, French silver marked mounts, 3" wide (Est. plus 24% premium inc. VAT)Condition Report: one lid lacks a corner section but otherwise good, both hinges sprung
A Victoria and Albert Museum Franklin Mint Collection of twelve historic miniature teapots Contained within a hardwood cabinet with swan neck pediments, the teapots copies of 18th century examples by Meissen, Mennecy, Kyoto, Fürstenburg, anonymous Chinese, Venice, Chelsea-Derby, Bow, anonymous Kangxi, Tournay, Höchst and Worcester, the largest teapot 12.5cm high, the cabinet 52cm wide, 18cm deep, 70cm high. (13)
A Mennecy silver-mounted porcelain rectangular snuff box and cover, c.1765, moulded with basketwork to the cover, sides and base, painted with floral sprays and scattered blooms to all sides and the cover interior, bearing paper label to the interior, the box - 3.2cm high, 7cm high, 4cm deep Provenance: Private UK collectionCondition Report: A hairline crack reaching diagonally across the right side, and a second hairline crack partially across the left side. The silver heavily tarnished.
Three French porcelain sugar ladles or caster spoons, mid 18th century, one Chantilly and pierced with a central starburst design, another Mennecy and painted with small insects, the terminal with flowers, the last left in the white, and two Meissen salt spoons painted in blue with straw flowers, 21.2cm max. (5)
A Vincennes beaker, circa 1756, together with a Mennecy white pot, circa 1750Each decorated with moulded prunus branches, the Vincennes beaker with gilt rims, the pot: 11cm high; the beaker: 8.3cm high; incised DV mark to the Mennecy pot, interlaced LL monogram in gilding with traces of gilder's mark and incised mark to Vincennes beaker (the Vincennes beaker restuck) (2)For further information on this lot please visit Bonhams.com
A Mennecy porcelain pot and cover, c.1755, incised DV mark, painted with scattered flower-sprays, the domed hexafoil cover with a purple flower finial, puce line rims, 9cm high Provenance: The Property of John Kenworthy-Browne FSA.Footnotes: Pots with covers were made in various sizes for use in toilet-sets or as tobacco-jars. For a tobacco-pot in the British Museum, see Aileen Dawson, A Catalogue of French Porcelain in the British Museum, London, 1994, pp. 54-55, no. 55.Condition Report: There is some chipping to the petals of the flower finial, and minute and very minor chipping to the foliage of the finial. There is a hairline crack from the rim of the box with some minute associated losses adjacent to the rim. There is some slight wear to the puce rim of the box, which has been re-touched in places.
22 FIGUREN AUS DER AFFENKAPELLE. Meissen. Datierung: 20. Jh. Meister/Entwerfer: Entwurf J.J. Kaendler. Technik: Porzellan, farbig und gold staffiert. Beschreibung: Bestehend aus: Querflötist, 4 Sängerinnen, Trommelträger, Affe mit Trommelstöcken, Trommler, Triangelspieler, Violinist, Dudelsackspieler, Harfenistin, Hornbläser, Affe reitend mit Klavier, Lautenspielerin, Affe mit Oboe, Posaunenspieler, 2 Flötisten, Cellist, Dirigent, 2 Notenpulte. Maße: Höhe 12,5cm bis 18,5cm. Schwertermarke. Literatur:- Adams, Len and Yvonne: Meissen Portrait Figures, Leicester 1992, S.188 und 195.- Rückert, Rainer: Meissener Porzellan von 1710-1810. Kat. Nr.1064-1078.- VEB Staatliche Porzellanmanufaktur Meissen (Hrsg.): Figuren 1. Vgl. Kapitel Affenmusiker.- www.meissen.com (Stand 31.03.2023). Die in aufwendiger Kleidung des Rokokos gestalteten Affenfiguren parodieren in höchst überspitzter Form die oberste Gesellschaftsschicht im 18. Jahrhundert und ihre Allüren. Historischen Überlieferungen nach sollen sie zudem im speziellen eine Karikatur der Kapelle des Grafen Brühl sein. Die männlichen Affen nehmen hierbei die Rollen der Musiker ein, während die weiblichen Affen als Sängerinnen dargestellt sind.Die Entstehungszeit der Kapelle ist bis heute nicht genau zu belegen. Allerdings lässt sich anhand der Formnummern und einem Kauf von 19 solcher Figuren durch Madame de Pompadour eine Entstehung um das Jahr 1753 vermuten. Wohl von Johann Joachim Kaendler erschaffen und unter Mitwirkung Peter Reinickes im Jahr 1765/66 neu überarbeitet, gelten die Affen als der »skurrilste Klassiker des Meissener Barock« (www.meissen.com).Mitte des 18.Jh. erfreuten sich Affendarstellungen, welche in parodistischer Weise menschliche Züge annehmen, größter Beliebtheit. Dieses Genre der sog. »Singerien« (franz. »singe« = Affe) wurde nicht nur in Porzellan umgesetzt, sondern findet sich ebenso in Decken- und Wandmalereien oder auf Gobelins. So lässt sich vermuten, dass u.a. wohl die Wandmalereien Christophe Hüets im sog. Affenkabinett des Schlosses Chantilly als Vorbild für die Meissener Kapelle gelten dürfen. Eine weitere französische Vorlage könnte eine Affenkapelle der Manufaktur Mennecy aus den 40er Jahren sein. Ebenso erinnert eine um 1745 entstandene Alabaster-Kapelle aus Venedig im Metropolitan Museum in New York stark an die Kaendlersche Kapelle. Meissen Deutschland Porzellan 20. Jahrhundert Kaendler, Johann Joachim Erläuterungen zum Katalog
Three French porcelain box or bonbonnière bases, c.1760, one St Cloud and modelled as a huntsman reclining beside his dog and gun, the other probably Mennecy and modelled as a recumbent pug dog, the last modelled as the head of a Turk wearing a turban, the metal mounts and lids lacking, 5.8cm max. (3)
A pair of Mennecy miniature vase stands, c.1755-60, the waisted square forms painted with flower sprays, incised DV marks, a pair of Furstenberg vase or figure stands, each side painted with a portrait roundel, and two further small stands, possibly Meissen, moulded with gilt tassels or shell scrolls, 6cm max. (6)
A Vincennes teabowl and saucer, date letter for 1753-54, painted with flower sprays within a gilt dentil rim, the saucer with a slight trembleuse well, blue interlaced LL marks, date letter A and painter's mark L, together with a Mennecy cup and saucer painted with flowers, and a smaller Mennecy saucer painted with flower garlands, incised DV marks, 13.3cm max. (5)
A Mennecy porcelain pot and cover, c.1755, incised DV mark, painted with scattered flower-sprays, the domed hexafoil cover with a purple flower finial, puce line rims, 9cm highProvenance: The Property of John Kenworthy-Browne FSA.Condition Report: There is some chipping to the petals of the flower finial, and minute and very minor chipping to the foliage of the finial. There is a hairline crack from the rim of the box with some minute associated losses adjacent to the rim. There is some slight wear to the puce rim of the box, which has been re-touched in places.
2 Medium and Large 18th century hand painted Ceramic buttons.Here we have 2 beautiful examples of late 18th century ceramic art. The top medium example has a waffle pattern impressed design with colorful flowers and is attributed to Mennecy. Both examples have self hump style shanks. Issued: DIVISION 1=PRE 1918 AND DIVISION 3 IS AFTER 1918Dimensions: SM=Less than 3/4", Medium=3/4" to 1 1/4". Large=1 1/4" and above, extra large=1 3/4" and above
Four Mennecy Biscuit Porcelain Herm Figures Emblematic of the SeasonsCirca 1755-1760on waisted square socles, with incised factory mark D,V at the back of each, Spring and Summer further incised 'DV Pno3' beneath their socles, Fall and Winter incised beneath their respective socles 'D,V 5' and 'D,V, f'; each truncated at the shoulders and draped in a tasseled shawl tied in the front and falling over a striated flat-back pilaster, raised on a separate waisted square socle with an acanthus leaf at each corner; each with the attribute of the season: Winter as a bearded man in a fur-lined cloak, Spring as a female with a wreath of flowers in her hair, Summer similar with wheat sheaves in her hair and Fall as a bacchic nymph with fruiting vines in her hair.Height of tallest (Winter) 11 inches.This lot is located in Chicago.Provenance:Dragesco-Cramoisan, Paris, no. 1326, 14 June 1999 (purchased at the International Ceramics Fair, London; with copy of invoice)In generally good condition. Crisply molded with faint firing cracks scattered throughout, as to be expected.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Pair of French Soft-Paste Porcelain White Bouquetiere FiguresProbably Saint-Cloud or Mennecy, Circa 1750modelled as a peasant couple in mid-18th century dress, the woman seated with a shallow oval basket supported on her skirt between her knees, her hands resting on either side of the basket's rim, the man seated on a rockwork base, the man seated with a storage basket resting on the ground between his knees, both baskets with fixed covers pierced to receive flowers.Height of taller figure (man) 9 1/2 inches.This lot is located in Chicago.Provenance: Dragesco-Cramoisan, Paris, February 1998 (as Mennecy)Note:The present pair of cut flower holders modeled as flower sellers were inspired by the hard-paste porcelain models by Johann Joachim Kändler of circa 1745 for the Meissen factory.Conclusively identifying the factory responsible for unmarked French glazed soft-paste porcelain examples can be difficult. The present pair are certainly mid-18th century in date. The only question is whether they were made at Mennecy or at Saint-Cloud, as they exhibit traits of both manufactories.The corn kernel-like molding of the basket between the male figure" knees is not dissimilar to the molding of a potpourri box and cover modeled as a basket of flowers sold as Saint Cloud in the sale of French porcelain from the Collection of Elizabeth Parke Firestone, sold Christie" in New York, 21 March 1991, lot 1. Acquired by MaryLou Boone at the auction, it is now in the collection of the Los Angeles County where it is attributed instead to the Sceaux porcelain factory of Jacques Chapelle. See Elizabeth A. Williams, ed., Daily Pleasures: French Ceramics from the MaryLou Boone Collection, Exhibition Catalogue, Los Angeles County Museum of Art, 2012, cat no. 111. Cat. no. 107 in the same Boone catalogue are two French soft-paste white figures-one a cobbler, the other an itinerant worker. Attributed to Mennecy, they too share marked similarities with the present bouquetieres, particularly the color of the paste, pooling of the glaze and modeling of the clothing and facial features.Height of shorter figure (woman) 8 1/2 inches. Both in good condition with kiln speckling, minor firing cracks, and glaze pooling visible. Having enclosed bottoms making them watertight for use as proper flower vases.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A MENNECY WHITE CUP, COVER AND STAND, circa 1750, encrusted with prunus branches in relief, with foliate handle, the silver reeded rim mounted and impressed DV and with I below, 10.5cm highProvenance: Woolley and Wallis, Lot 475 (part lot) 23rd May 2017.Possibly because they only started making Dehua style wares circa 1750, they are comparatively rare. A tobacco jar with similar decoration is illustrated in "Tendre Porcelain de Mennecy" by Nicole Duchon, fig. 37, p.40.
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