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.
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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.
Three French porcelain bonbonnieres, c.1740, two St Cloud and modelled as buckled heeled shoes, one painted with small flower sprays in Kakiemon enamels, the other applied with grapevine, and last Mennecy and modelled as a bird with head turned to the left, with an egg-shaped silver-mounted lid, one shoe missing its lid, 8.3cm max. (3)
A Duc de Villeroy or Mennecy anthropomorphic cane handle, circa 1740Modelled as a man wearing an elongated hat, decorated in polychrome colours with kakiemon sprays, the face of the man picked out in colours, 13.5cm long, (minor wear to enamel colours)Footnotes:ProvenanceThe Elizabeth Parke Firestone Collection, Christie's, New York, 21 March 1991, lot 379;Christie's, New York, A Marriage of Collections: The Property of Dr. Julius and Dena K. Tarshis, 20 April 2010, lot 167This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
MEISSENTitel: 14 Figuren aus der Affenkapelle. Datierung: 20. Jh. Bestehend aus: Querflötist, 2 Sängerinnen, Trommelträger, Triangelspieler, Violinist, Dudelsackspieler, Dirigent, Harfenistin, Hornbläser, Drehleierspielerin, Affe mit Trommelstöcken, Affe reitend mit Klavier, Trommler mit Flöte. Technik: Entwurf J. J. Kaendler auf Porzellan, farbig und gold staffiert. Maße: Höhe 12,5 bis 18,5 x Schwertermarke, einmal mit 4 Schleifstrichen, zweimal mit 2 Schleifstrichen, 3/11/15/19/20/60001/60006/60008/60009/60012-60015/60018. Provenienz:Kölner Privatsammlung.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 04.03.2020).Die in aufwendiger Kleidung des Rokokos gestalteten Affenfiguren parodieren in höchst überspitzter Form die oberste Gesellschaftsschicht des 18. Jahrhunderts und ihre Allüren. Historischen Überlieferungen nach sollen sie zudem im speziellen eine Karikatur der Kapelle des Grafen Brühl sein. Die männlichen Affen nehmen die Rollen der Musiker ein, während die weiblichen Affen als Sängerinnen dargestellt werden.Die genaue 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 KapelleMeissen Deutschland Porzellan 20. Jahrhundert Affenkapelle Porzellan Kaendler, Johann JoachimErläuterungen zum Katalog
A pair of Chelsea tripod salts c.1765, the interiors painted with fruit and flowers, each raised on three paw feet issuing from lion masks, an inkwell painted with flower sprays on a blue ground, and a Mennecy custard cup and cover of spiral-fluted form painted with flowers, a foot of each salt repaired, 12cm max. (6)
![A pair of Mennecy porcelain pots à jus and covers, c.1760, incised D.V mark to one and DV / UU [?] to other, of spirall](https://cdn.globalauctionplatform.com/b85a43de-a93c-440a-bad7-aec30116c972/d18a4eca-0e11-4a98-848d-aec400c2e4b0/468x382.jpg)
A pair of Mennecy porcelain pots à jus and covers, c.1760, incised D.V mark to one and DV / UU [?] to other, of spirally-fluted bombé form, painted with loose bouquets, the domed covers with puce cherry finials and puce band rims, 9.1cm high (2) Note: In 18th century France pot à jus were used for drinking thin hot soup or meat-juices, a fashion which spread to other countries. For a discussion of this practice and pot à jus, see Ulla Stafford, Custard Cups, Pots à Jus, Over Wallop (no publication date), where a similar Mennecy example is illustrated on p. 13. These pot à jus are in good condition. A small tendril or leaf is lacking from the terminal of one of the finials – this is not very noticeable and is extremely minor.
Franklin Mint - The Victoria & Albert Museum Porcelain collection - An assortment of vintage 20th century Franklin Mint porcelain in a variety of pattern to include Chinese, Furstenberg, Tournay, Mennecy, Chelsea-Derby, Venice, Hochst and Bow. Together with an unmarked example. Various conditions. Measures 12cm tall.
A Samson Sèvres-style miniature vase and associated stand, late 19th century, the vase painted with flowers and set with a metal mounted porcelain flower arrangement, the stand with flower garlands on a green and gilt trellis, a Samson ice cup painted with an exotic bird on a dark blue ground, a Paris porcelain small saucepan or warming pot with a wooden handle, pseudo interlaced Ls marks, and a Mennecy (Bourg-la-Reine) toilet pot and cover painted with blue flower sprigs, incised BR mark, some faults, 19.7cm max. (7)
Rare 18th century Mennecy-Villeroy porcelain figure of a man holding two buckets, shown standing on a naturalistic base, wearing a pink jacket trimmed with yellow over a yellow and white shirt, blue breeches with purple lining, and black shoes with pink bows, 9.5cm highCondition report: Very light hairlines on the base. There is some restoration to the right arm and bucket, left bucket handle and small part of left bucket. Some nibbles to the decoration.
Chinoises Louis XV-Schreibzeug mit PenduleHöhe: 37 cm. Gefäßeinsätze punziert „C coronné“ (Steuerstempel 1745-1749 für feuervergoldete Arbeiten). Frankreich, Manufaktur Mennecy-Villeroy, um 1750 und später.Über à jour gearbeiteten Rocaillefüßen das Tableau in Vernis noir Uferlandschaft mit Architekturstaffage in Goldlackmalerei. Darauf zwei Schreibzeuggefäße in Porzellan polychrom staffiert mit à jour gearbeiteten Deckeln. Auf dem Tableau montiert zwei chinoise Figuren in braun patinierter Bronze, hinter ihnen an einem Stamm das Gehäuse in Imari-Porzellan sowie zwei Astarmen mit Porzellanblütenbesatz und Blattwerktüllen. Verglastes Zifferblatt. Dieses mit römischen Stunden und arabischen Minuten. Aufzugslöchlein über der V und neben der IX, à jour gearbeitete Zeiger für Stunden und Minuten. Ein Schlüssel vorhanden. Nicht auf Funktionsfähigkeit getestet. Minimal besch.Anmerkung: Vgl. Louis XV-Schreibzeug im Metropolitan Museum of Art, New York, von Charles Wrightsman, 1976 (inv. 1976.155.155). (12818214) (13)Louis XV Chinoiserie desk set with pendulum clockHeight: 37 cm.Inserts hallmarked “C coronné” (tax stamp 1745-1749 for fire-gilt works).France, Manufactory Mennecy-Villeroy, ca. 1750 and later.Notes:cf. Louis XV desk set in the Metropolitan Museum of Art, New York, by Charles Wrightsman, 1976 (inv. 1976.155.155)
A Mennecy silver-mounted snuff box, circa 1760Moulded with a basketwork pattern and painted with flowers, the mount with discharge marks for Paris, 1756-1762, 2.7cm high, 6.7cm wide (very minor wear)Footnotes:Provenance:Sèvres Porcelain from an International Private CollectionThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
MEISSEN16 FIGUREN AUS DER AFFENKAPELLE UND EIN PULT. Datierung: 20.Jh./21.Jh. Meister/Entwerfer: Modell J.J. Kaendler. Technik: Porzellan, farbig und gold staffiert. Beschreibung: Bestehend aus: Dirigent mit Pult, vier Sängerinnen, Flötist mit Trommel, Affe mit Querflöte, Fagottist, Dudelsackspieler, Hornist, Trompetenspieler, Harfenistin, Geigenspieler, Cellist, Gitarrenspieler, Trommelträger. Maße: Höhe 12-19cm. Signatur: Schwertermarke, einmal ein Schleifstrich, einmal zwei Schleifstriche, versch. Modellnummern, Bossierernummern und Jahreszeichen, teilweise Malernummern in rot und schwarz. 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 04.03.2020).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 genaue 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. Erläuterungen zum KatalogMeissen Deutschland Porzellan 20./21. Jahrhundert Affenkapelle Kaendler, Johann Joachim MEISSEN16 PORCELAIN FIGURINES AND A MUSIC DESK FROM THE APE CHAPEL. Date: 20th/21st century. Maker/Designer: Model J.J. Kaendler. Technique: Porcelain, enriched in colours and gold. Description: Consisting of: ape as music director with music desk, 4 singers, flute player with drum, flute player, bassoon player, ape playing backpipes, horn player, trumpet player, harp player, violinist, ape playing the cello, guitar player, ape carrying a drum. Measurement: Height 12-19cm. Signature: Swordsmark, once with one grind, once with two grinds, different model numbers, porcelain former's numbers and year marks, some with painter's numbers in red and black. Literature:- Adams, Len and Yvonne: Meissen Portrait Figures, Leicester 1992, P.188 und 195.- Rückert, Rainer: Meissener Porzellan von 1710-1810. Cat. Nr.1064-1078- www.meissen.com (Stand 04.03.2020)The monkey figurines, dressed in elaborate rococo clothing, parody the upper social class of the 18th century and its allures in a highly exaggerated manner. Historical records suggest that the eccentric apes were inspired in particular by the chapel of Count Brühl. The male monkeys take on the roles of the musicians, while the female monkeys are portrayed as singers.Even though the exact date of origin of the chapel is not precisely documented, the form numbers and a purchase of 19 such figures by Madame de Pompadour suggest that the figurines were developed around 1753. Probably created by Johann Joachim Kaendler and reviewed in 1765/66 with the assistance of Peter Reinicke, the monkeys are considered the "most bizarre classic of the Meissen Baroque" (www.meissen.com). In the middle of the 18th century depictions of monkeys, which in a parodistic way depict human traits, enjoyed great popularity. This genre of the so-called "Singerie" (French "singe" = monkey) was not only interpreted in porcelain, but can also be found in wall and ceiling frescoes or on goblins. There is a presumption that Christophe Hueet's wall paintings in the so-called monkey cabinet of Chantilly Castle may be regarded as a model for the Meissen chapel. Another French model could be a monkey chapel of the Mennecy Manufactory from the 1740s. Another example of a chapel that resembles Kaendler's models for the Meissen manufactory is an alabaster chapel from Venice, made around 1745, that today is exhibited at the Metropolitan Museum in New York. Explanations to the Catalogue
A COLLECTION OF MAINLY FRENCH ANTIQUE POTTERY including a piano shaped trinket box, a Chantilly tea jar and cover, a Mennecy jar and cover, faience plates, a pair of TPM cups and saucers etc (16) Condition Report: a piano shaped trinket box - has been in pieces and has been restored. a Chantilly style tea jar and cover - nice condition. a Mennecy jar and cover - lid is chipped and cracked, jar is good. faience plates, one with wheat sheaf restored, both heavily crazed. a pair of TPM cups and saucers - gilt to rims rubbed and decoration to saucer rubbed. two faience jugs - both have chips to top and base rims, the sparrow beak example has been restored, 13cm high. oval dish on stand (not sure what it is) chipped to rim, 4cm high x 10cm long. Sarreguemines plate - Nieder Seebach Wissembourg, lightly crazed 20cm diameter. black and cream plate - Herisau, cracked and stuck back together 19.5cm diameter. pair of blue and white plates, one cracked 18.5cm diameter. Black painted porcelain plate, has a chip under gold rim, 20cm diameter .
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 study collection of ceramics 18th century and later, including a pair of miniature Meissen vases and a pair of Italian porcelain miniature vases, applied or moulded with gilt leaf swags, a French porcelain sauce tureen cover, probably Mennecy, a Sèvres-style two-handled vase, a Sèvres pottery vase and cover in the Art Nouveau manner, a Continental egg cup, a Derby saucer painted with panels of roses, an English flared vase in the Sèvres manner and a Samson porcelain vase after the Chinese, some damages, 23.2cm max. (12)
A Mennecy custard cup and cover c.1760, of spiral moulded form, painted with bright polychrome flower sprays, and a Chantilly quatrefoil tureen base, finely painted with flower sprays, red hunting horn mark to the latter, some faults, the tureen cover lacking, 16cm max. (3) Provenance: a private collection in Sussex.
Two French porcelain spiral-moulded custard cups c.1750-60, one Mennecy and left in the white, the other Chantilly with a cover and decorated with blue sprigs, a small Sèvres coffee can, date code 1769, painted with a large yellow bird reserved on a blue and gilt caillouté ground, and an Italian porcelain jug with mask spout, painted with vertical bands of flowers, incised mark, damages and losses, 9.2cm max. (5) Provenance: the Watney Collection.
A pair of Mennecy porcelain figures modelled as actors in theatrical dress, bearing incised Duché de Villeroy DV marks, mid-18th Century, 17.5 cm and 17 cm [Formerly purchased H E Backer Antiques from Comte Jules de Noailles, 18 June 1954 for £450, most recently sold by E & H Manners Ceramics and Works of Art )
A Mennecy silver-mounted white box and coverCirca 1760Applied with foliate branches, flowerbuds and flowering daisies, the cover with an inserted velvet pin cushion, mounted with silver hinges, escutcheon and small knop, 16.5cm long, 7cm highFor further information on this lot please visit Bonhams.com
A Sèvres circular plate, later painted with a bucolic trophy, the outswept border with three shaped rectangular reserves painted with roses, chrysanthemums and summer flowers, on a green ground with trailing bellhusks, leafy fronds and insects in raised gilding, gilt rim, 25cm diam, interlaced L's and date code for 1770; a Sèvres style porcelain ogee plaque, probably a furniture mount, painted in cornflowers in a gilt border, two-tone blue oeil-de-perdrix ground, 8.2cm wide, inscribed to verso, 19th century; a Mennecy-Villeroy soft-paste porcelain Campagna vase, painted with country flowers and leafy foliage in tones of pink, purple, blue, red and green, pink rim, wrythen-moulded circular foot, 7.5cm high, DV mark in black script, c.1750 [3]
A Mennecy-Villeroy porcelain pot à fard, cylinder toilette pot and domed cover, knop finial, painted in underglaze blue with scattered floral sprigs, 6.4cm high, incised D.V. mark for the Duc de Villeroy, c.1760; another similar, Bourg-la-Reine, 7.6cm high, incised BR mark, later 19th century printed and ink manuscript collector's labels, No. 1530, c.1773; another, Pont-aux-Choux, outlined and picked out in underglaze dark blue with sprigs, domed cover with peach finial, 8cm high, interlaced LP mark in underglaze blue, c.1785; a Chantilly porcelain ogee-shaped sugar bowl, painted in polychrome enamels with country flowers, 5.6cm high, 7cm diam, hunting horn in red enamel, c.1760 [4]
§ ANDRE BEAUDIN (FRENCH 1895-1979) NUDE WITH YELLOWColour lithograph, 1961, printed by Mourlot Freres atelier, and published by Editions Verve, unframed and six further lithographs from the same series (Dimensions: 29cm x 21.5cm (11.5in x 8.5in), full sheet) (Qty: 7)Biography Beaudin was born in Mennecy and known for his particular attachment to his native Ile-de-France. He studied at the École des Art Décoratifs in Paris from 1911-1913, until he was called to serve during WWI. His creation of artwork after the war was on hold until he visited Italy in 1921 with his new wife Suzanne Roger. On his return to Paris he began to paint again and, by 1923, he had an exhibition organised at Galerie Percier. The success of this show lead to further shows over the next few years at Galerie Georges Bernheim and Galerie Simon. He developed and honed his individual style during the 1930s, with his technique a reaction to the Cubism of the 1920s. In fact, Beaudin was one of the first younger artists to have responded pictorially against the formulaic Cubist movement. Although his work is considered a descendant of Cubism, Beaudin focussed on the free, intuitive and lyrical quality of paint, therefore contradicting the Cubist formula. In 1937 Beaudin exhibited at the International Paris exhibition, and the following year participated in the L’Art Français Exhibition in Buenos Aires. By the 1940’s he had established an international reputation and held both major solo shows and group shows around the world. He was furthermore awarded the prestigious Grand Prix National des Arts in 1962 in recognition of his contribution to Modern Art. His work is represented in numerous museums of modern art worldwide.
Two pairs of miniature Meissen vases 18th/19th century, one pair of Neoclassical form and applied with gilt leaf swags issuing from rams' mask handles, the other pair of inverted pear shape with scroll necks, painted with small flower sprays, and another pair, possibly Italian, with gilt leaf swags, together with a Sèvres vase in the Mennecy manner, the moulded campana shape painted by Mme Le Bel with flower sprays, on an ormolu base, some damages, one pair with later wooden bases, 8cm max. (7)
A Mennecy silver-mounted white box and coverCirca 1760Applied with foliate branches, flowerbuds and flowering daisies, the cover with an inserted velvet pin cushion, mounted with silver hinges, escutcheon and small knop, 16.5cm long, 7cm highFor further information on this lot please visit Bonhams.com
A Mennecy silver-mounted snuff box c.1750, the sides moulded with basket weave and painted with small flower sprays, the cover moulded with flowers, leaves and an acorn, delicately enamelled in a muted palette, the interior cover with further painted flowers, the silver mount with Paris discharge marks, 6.2cm across.
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