A Saint-Cloud silver-mounted pagoda snuff box, circa 1735His robes painted with polychrome chinoiserie vignettes with flowers, buildings and figures, his face embellished in iron-red and blue, the cover with similar vignettes inside and out, 6.7cm high, the silver mounts with Paris discharge mark (une tete de renard) for Louis Robin, 1735-8Footnotes:Provenance:With Gary Atkins, London;British American Tobacco Collection of Eighteenth-Century Tobacco Containers & Accessories (acquired from the above in 1986)Literature:D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), no. 24Exhibited: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 1988Three similar boxes in the Musée des Arts décoratifs, Paris, are published by B. Rondot (ed.), Discovering the Secrets of Soft-Paste Porcelain at the Saint-Cloud Manufactory, ca. 1690-1766 (1999), no. 192.For further information on this lot please visit Bonhams.com
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A rare black-ground Sèvres hard-paste plate, circa 1791Asiette uni, fond noir chinois en or platine, decorated with a black ground over its entire surface in imitation of Chinese lacquer, the chinoiseries after Jean-Baptiste Pillement, in two-tone tooled gold and platinum, the rim with three individual cartouches in the same manner, 24.4cm diam., interlace double L enclosing date letters oo for 1791, painters mark 2000 in gold for Henri-François Vincent (le jeune) and Bn for Nicolas Bulidon, (flat chip inside footrim)Footnotes:The Production and Legacy of Black-Ground Sèvres Porcelain (1778-1794)For a discussion of decoration in imitation of lacquer, see Selma Schwartz, Chinoiserie Decoration on Black-ground Sèvres Porcelain, in M. Köpplin (ed.), Schwartz Porcelain - The Lacquer Craze and its Impact on European Porcelain, vol. III (2003), pp. 98-107.With the rise of Neoclassicism in the 1770s, there was renewed interest in the furniture of André-Charles Boulle (1642-1732) as well as furniture inspired by his designs. Their materials: tortoiseshell, brass, and tin, in their black, gold, and silver appearance matched perfectly with lacquer objects. In fact, the inventories of some of the most prominent lacquer collectors show that their furniture was more often in the Boulle genre rather than made from lacquer. Selma Schwartz (op.cit., pp.98-107) explains the incorporation of lacquer imitation beyond the obvious technical advancements. In the late 1780s, a series of important lacquer furniture was delivered to the French court, including pieces for Versailles, Saint Cloud, Compiègne, and Bellevue; for Louis XVI, his aunt Adelaide, and Madame Victoire. Notably, Jean Henri Riesener created furniture for Marie Antoinette in 1783 (now in the Metropolitan Museum of Art, see catalogue illustration), intended for her Grand Cabinet Intérieur at Versailles. This furniture harmonised with the collection of Japanese lacquer boxes inherited from her mother, Empress Maria Theresa (1717–80) of Austria, by reusing choice fragments of seventeenth-century Japanese lacquer as veneer.The interest in creating porcelain that resembled lacquer and related experiments seem to have started in Sèvres around 1769, shortly after the manufactory began producing hard-paste porcelain. This was driven by the new technical possibilities and the ongoing fascination with East Asian lacquer. Two documents in the Sèvres archives (Archives, Cité de la céramique, C2/9) suggest that the manufactory explored the process of producing lacquer, possibly for applying lacquer decoration to already fired pieces. In one letter, a Parisian manufacturer of vernis (imitated lacquer) describes his recipes and the process of using black and white lacquer on porcelain. The second document, signed by the director of the manufactory, Melchior François Parent (1772-78), specifies the mixture ratios for black and red lacquer and the application of gold. However, it would take another ten years before the first lacquer imitations were produced.Between 1778 and 1782, the Sèvres manufactory produced a remarkable series of porcelain decorated in imitation of lacquer. This included a notable series from 1779 with black ground colours, achieved using a combination of iron oxide, cobalt, and manganese. These black backgrounds were often adorned with gold and silver decorations, echoing the renewed taste for lacquered furniture. However, the production was marred by technical difficulties related to the tarnishing nature of silver. Platinum, which does not tarnish, quickly replaced silver.In April 1790, the Comte d'Angiviller, Director-General of the King's Buildings and in charge of the Sèvres Manufactory, wrote to Antoine Régnier , the new director of the manufactory (1778-93), congratulating him on acquiring 3.5 pounds of platinum:It was an acquisition not to be missed, and I strongly approve of it. For I rely heavily on this new kind of decoration that no other manufactory will certainly achieve(Archives, Cité de la céramique, H5 vol.1, sincere thanks to Cyrille Froissart who first published this reference).Notable Productions and SalesBetween 1790 and 1793, Sèvres created around forty pieces with black grounds, decorated with coloured gold and platinum. These included vases, flower bowls, water pots, candlesticks, tea services, and table services. The first of these services, though with a sparser decoration of polychrome flowers on the cavetto, was sold on May 6, 1791, to the Marquis de Sémonville (1759-1839), Louis XVI's ambassador to Genoa. A second service was purchased on 4 April, 1792, by James Milmes (sic), consisting of 48 plates at 48 livres each. Some plates featured enamel flowers, while others had entirely black backgrounds with Chinese figures in gold and platinum, similar to our plate. James Milmes, as listed in the Sèvres archives, likely refers to James Milnes (1755-1805), heir to a wealthy Wakefield woollen merchant and member of Parliament. Milnes was an inconspicuous Member. He joined Brooks's Club, sponsored by Fox, on 17 May 1803 and a week later voted with the Whigs on the failure of negotiations to prevent the resumption of war with France.In late 1794, Citoyen Empaytaz & Compagnie, a company acting as agents for the King of Prussia, bought part of a black-ground service produced in 1791 that remained in stock. This service, composed of 71 pieces including 21 plates, a mix of black ground pieces with others featuring polychrome flowers on a white background. Provenance and LegacyIn the 19th century, specifically in 1844, Prince Nicolay Borisovich Yusupov (1750-1831) owned 107 pieces of the black-ground service. By 1887, the Yusupov family possessed only 32 pieces. Fifteen of these are now housed at the Hermitage Museum in Saint Petersburg, including five plates with entirely black backgrounds (see Nina Birioukova and Natalia Kazakevitch 'La porcelaine de Sèvres du XVIII siècle' The Hermitage Museum (2005), pp. 189-193, nos. 946-954). Twelve plates are in the Metropolitan Museum of Art, New York (Christian Dauterman, Sèvres (1969), p. 52, pl. II); and two others are in the Nelson-Atkins Museum of Art, Kansas City (cat.no. 33-1369 and 33-1370). Two 'seau à demi bouteille' dated 1791 are in the Getty Museum, Malibu (Adrian Sassoon, The J. Paul Getty Museum, Vincennes and Sèvres Porcelain (1991), no. 30, pp. 152-157). A jug and two hexagonal double-gourd bottles are in the collection of Belton House, Lincolnshire, NT 433527 (Patricia F. Ferguson, Ceramics: 400 Years of British Collecting in 100 Masterpieces (2016), p..). Two plates were sold at Christie's in New York in 2010 (Christie's, New York, 22 October, 2010, lot 639) and another plate was sold in 2018 from the collection of Christophe Perlès, Pescheteau-Badin, 18 June, 2018, lot 120). The source for the central scenes on the plate can found in the work of Jean-Baptiste Pillement (1728-1808). The prints after Pillement used at Sèvres can be found in Jean Avril's 'Cahier de Balançoires chinoises' of circa 1770, and the image used for this plate is on the title page (see catalogue illustration). For a study on Sèvres black-ground dessert services, see David Peters, Sèvres Plates and Services of the 18th Century (2015), Vol. IV, no. 91-4, pp. 943-945; no. 92-4, pp. 965-968, and vol. V, no. 94-11, pp. 1075-1078.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 SAMSON PORCELAIN BOWLAFTER SAINT CLOUD, LATE 19TH CENTURYdecorated with raised gilding in the manner of the Fromery workshop, with birds and small figures after Jean Pillement, within Rococo scrolls, between underglaze blue panelled borders10.7cm highProvenanceParker & Morris: The Art of Decorating.PLEASE NOTE THAT THIS LOT IS TO BE OFFERED WITHOUT RESERVE.
A pair of 18th century French Saint Cloud porcelain silver mounted miniature tobacco jars and covers in original wooden box with engraved lock plate, the jars 3.5cms high. (Reference see Bonham's 6th December 2023 lot 36 sold for £11,520 inc premium).Condition ReportThere is a hairline crack to the cover of one and a deep surface scratch to the side of the body of one, some minor pitting to the porcelain otherwise good overall condition
A rare Saint-Cloud ormolu-mounted tobacco jar and cover with gold Paillon decoration, circa 1710-30Of cylindrical form with a domed cover, each moulded with flowering prunus branches and applied with fine die-stamped gold appliqués, the jar with a military trophy flanked by two landscape vignettes with classical figures and birds in flight, all between bands of foliate scrollwork motifs alternating with flowerheads, the cover with three vignettes with a putto and scattered flowers and a bird, the mounts finely tooled with birds in a scroll- and strapwork border, 14cm high (some crazing to glaze surface)Footnotes:Provenance:With Georges Lévy-Lacaze, Paris (applied paper label);Private Collection, France;Acquired in 2003 from Manuela Finaz de Villaine, ParisOnly two similarly decorated Saint-Cloud tobacco jars are recorded by (E. Manners, Gold Decoration on French, German, and Oriental Porcelain in the early 18th Century, in The French Porcelain Society Journal IV (2011), figs. 11 and 12). The first is in the Hermitage Museum, St. Petersburg; the second also has similar mounts and moulded flower sprigs.For further information on this lot please visit Bonhams.com
A rare silver-mounted Saint-Cloud circular snuff box, circa 1720-40Painted in a 'famille verte' palette, the cover with a perched on stylised rockwork with flowering branches, the base with a similar scene, the side with a vignette with a red pavilion flanked by trees, and flower sprigs and leaves, the inside cover with a vignette of a seated chinoiserie figure flanked by plants, and another with a red pavilion, the inside with a flower, the hinge mounted with rivets, 5.5cm diam.; 3cm high the mount with Paris discharge mark for 1732-38Footnotes:Provenence:With Bernard Dragesco & Didier Cramoisan, Paris;Acquired in 1986Literature:D. Gage/M/ Marsh, Tobacco Containers & Accessories (1988), no. 22;D. Gage, A Quintessential Art Rediscovered, in The Antique Collector Magazine, June 1988, pp. 71-75, fig. 7Exhibited: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 earliest French porcelain snuff boxes were made at Saint-Cloud: an advertisement of 1731 listing the wares offered by the Paris branch of the factory included 'Tabatières de toute sortes de contours, garnie & non garnie' (quoted by C. Le Corbeiller, European and American Snuff Boxes 1730-1830 (1966), p.69).For further information on this lot please visit Bonhams.com
A Pair of White Metal-Mounted St Cloud White Porcelain Jars and Covers (Pot à Tabac), circa 1730, of cylindrical form, moulded and applied with leafy fronds and with flowers, incised SC/T 13.5cm highFor a similar pair see Rondot (Bertrand) The Saint-Cloud Manufactory, circa 1690-1750, pg.175 Pots in good order with glaze pitting. Covers both with heavy losses to knops, one cover broken into three and re-stuck.
*A Saint Cloud trembleuse porcelain coffee cup and saucer circa 1730, white with half gadrooned moulding and blue scroll decoration, the cup 7 cm high, the saucer 12.5 cm diameterQTY: (1)NOTE:Provenance: The David & Sarah Battie Collection.Herbert Wolfe Collection; Juno Antiques London, labelled on the base of the saucer.
A mixed lot of Continental porcelain, late 18th/19th century including a set of five Sèvres white and gilt plates with crowned LP monogram for Louis Philippe, factory and Chateau De Dreaux marks, 1847; a Saint-Cloud white cup and cover, probably Samson; a Nast Paris plate; a Vienna sepia and blue 'L'Amitie' coffee can; a Dagoty Paris sauceboat; a figure of Mars etc [some damage].
A small Saint-Cloud silver-mounted circular snuff box, circa 1735Decorated in Kakiemon style with flowering branches and shrubs, the cover with a basket of flowers surrounded by insects, 5.8cm diam., 2.9cm high (minor wear)Footnotes:A very similar snuff box with identical mount is in the collection of the Musée des Arts décoratifs, Paris; illustrated in B. Rondot (ed.), Discovering the Secrets of Soft-Paste Porcelain at the Saint-Cloud Manufactory ca. 1690-1766 (1999), p.192, no. 114.For further information on this lot please visit Bonhams.com
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 Saint-Cloud porcelain figural cane handle, mid 18th centuryModelled with the face of a bearded mask and scrolls, decorated in Kakiemon style with flower sprays, 12.7cm wide (restoration to tip of scroll above mask)Footnotes:Provenance:Céramiques anciennes, Collection de Madame X, et à divers, Audap & Mirabaud, Paris, 19 May 2014, lot 119;With Laurence Jantzen, Le Louvre des Antiquaires, Paris, 2014Another example in the Musée des Arts Décoratifs, Paris, is illustrated in G. Bezzaz/C. Dike, La Canne object d'art (1988), p. 242.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Saint-Cloud porcelain figural cane handle, circa 1740Modelled in the shape of a bearded man's head wearing a hood with green and blue decoration, 4.3cm highFootnotes:Provenance:Laurence Jantzen, Le Louvre des Antiquaires, Paris, 2001A cane handle of a different shape but similar face from the collection of the Musée des Arts Décoratifs, Paris, is illustrated in B. Rondot (ed.), Discovering the Secrets of Soft-Paste Porcelain at the Saint-Cloud Manufactory ca. 1690-1766 (1999), no. 148.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Saint-Cloud porcelain lobed cane handle, first half 18th centuryDecorated in underglaze-blue with lambrequins of floral and foliate scrollwork, the top with a flower spray, mounted on a Malacca shaft with a gilt metal collar and metal ferrule, the handle: 5.5cm high; the full cane: 117cm longFootnotes:Provenance:With Injuka-Kunst GMBH, Munich, 1998Similar cane handles are illustrated in G. Bezzaz/C. Dike, La Canne object d'art (1988), p. 238. A very similar handle is in the collection of the Victoria and Albert Museum, London (accession no. C.484-1909), and another in the British Museum, London (museum no. Franks.334).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Saint-Cloud porcelain cane handle, circa 1740Painted in kakiemon style with chinoiserie landscape vignettes, the end moulded with foliage, mounted on a Malacca shaft with a metal ring and ferrule, the handle: 8.7cm high; the full cane: 92cm long (faint haircrack)Footnotes:Provenance:Tradewinds Antique Cane Auctions, May 2018This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Saint-Cloud porcelain cane handle modelled as a bird's head, circa 1730-50The beak and face decorated in yellow, green and blue enamels, a dancing figure on the back of the cane with an inscription 'tu est content de ton sort' [you are happy with your lot] in iron red, the sides with sprays of kakiemon flowers in polychrome colours, set with a metal mount onto a wooden cane, mounted on a Malacca cane with metal collar and ferrule, the handle: 11.2cm wide; the full cane: 94cm longFootnotes:Provenance:Millon et Ass., 22 December 2006, lot 234;Gilbert Segas, Passage Jouffroy, Paris, 2010Two cane handles of simpler shapes without the bird's head and attributed to Chantilly and decorated with similar figures and inscriptions in iron-red are in the collection of the British Museum, London, illustrated by Aileen Dawson, French Porcelain - A catalogue of the British Museum Collection (1994), nos. 53 and 54. Another comparable cane with inscription and iron-red figure is illustrated in B. Rondot (ed.), Discovering the secrets of soft-paste porcelain at the Saint-Cloud manufactory, circa 1690-1766, cat. no. 149. Another cane handle with the same figure and different motto was previously in the collection of Elizabeth Parke Firestone, sold by Christie's, 21 March 1991, lot 378 (here catalogued as Villeroy).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A rare Saint-Cloud porcelain cane handle, circa 1740Modelled as a bird being held by a hand and decorated in shades of green, blue, yellow and red, mounted on a Malacca shaft with metal ring and horn ferrule, the handle: 11.5cm wide; the full cane: 106.8cm long (fine haircrack to edge)Footnotes:Provenance:With Vandermeersch, Paris;Laurence Jantzen, Le Louvre des Antiquaires, ParisThis lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A Saint-Cloud silver-gilt mounted snuff box in the shape of a dog, circa 1740Decorated in polychrome colours and heightened in gilding with chinoiserie figures, insects and foliage, the mount with a Paris discharge mark for 1738-44, 7cm long, 5cm high (fine haircrack to the back edge)Footnotes:A similar model with moulded prunus decoration is illustrated in B. Rondot (ed.), Discovering the Secrets of Soft-Paste Porcelain at the Saint-Cloud Manufactory ca. 1690-1766 (1999), no. 199.For further information on this lot please visit Bonhams.com
A Saint-Cloud silver-mounted snuff box in the form of a fox, circa 1750Modelled reclining with its tail wrapped around its back, painted with polychrome flower and foliate sprigs, the mounts Paris, probably circa 1748 with a charge and décharge of Antoine Leschaudel 1744-50, 6.3cm high, 6.5cm long, indistinct maker's mark (minor wear)Footnotes:Provenance:Anon. sale, Christie's London, 24 February 1997, lot 205Similar animal-shaped boxes are illustrated in B. Rondot (ed.), Discovering the Secrets of Soft-Paste Porcelain at the Saint-Cloud Manufactory ca. 1690-1766 (1999), nos. 193-202.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A rare Chinese porcelain Dehua Buddha, late Ming Dynasty, circa 1630, seated in meditation with his legs crossed in padmasana, the lotus posture, with both feet exposed, his hands resting on his feet in dhyanamudra, wearing loose robes draped over the shoulders and tied above the waist exposing his chest, with a central wan character and elaborate necklace, the placid face with eyes looking down between elongated earlobes and broad nostrils beneath an urna on his forehead and an intricate mass of tight curls covering the head, all on a stylised lotus form base, covered in a rich cream glaze, 29.2 cm high. Provenance: Formerly from an important French collection of a lady in Saint Cloud, France. Another seated example with a wan character, and the similar elaborate necklace, is illustrated by Michel Beurdeley and Guy Raindre, Qing Porcelain, Famille Verte, Famille Rose, p. 237A; a related Buddha without a lotus throne, seated in the same position, now in the British Museum, is illustrated by Margaret Medley in, The World's Great Collections, volume 6, Percival David Foundation of Chinese Art, no. 203, collection no. 488, where the author also illustrates a standing example with a wan character and the similar elaborate necklace, no. 205, collection no. 414. 明晚期约1630年 德化白釉佛拍品来源：法国巴黎圣克卢县女士私人珍藏Condition Report: firing cracks to front and back and the front firing crack with infill and hair crack around centre of body and possibly from this firing crack is an extended crack and faults to glaze with contrasting cream coloured areas of glaze mainly on the back Condition Report Disclaimer
A Meissen figure of St. John Nepomuk, circa 1731Modelled by Johann Gottlieb Kirchner, in two parts, the group kneeling on a cloud borne by four angels, on it five gilt relief stars (symbolising the word 'tacui' [I am silent]), the Saint wearing an ermine cloak trimmed in gold, the angels and saint coloured in flesh tones, their wings picked out in gilding, fitted on an ormolu metal base fitting onto the elaborate scrollwork base surmounted by another angel holding a biretta, the scrollwork elaborately detailed in relief, the strapwork picked out in gilding, the trefoil base with gilt scrollwork and stylised floral patterns in gold, 54 cm high, crossed swords mark to the base (some restoration) (2)Footnotes:The martyr St. John Nepomuk, who was canonised in 1729, was drowned in the Vltava River in Prague in 1393 by order of the king of the Romans and of Bohemia. He was patron saint of Bohemia and greatly venerated in the Hapsburg lands and southern Germany. The Crown Princess of Saxony, the Habsburg princess Maria Josepha was particularly devoted to the Saint and the north-east chapel in the Hofkirche was later dedicated to him. Because of the manner of his death, he is regarded as the protector from floods and drowning, and bridges in Central Europe often bear his statue.Ernst Zimmermann linked this model in 1929 to an archive reference that refers to Kirchner working on a figure of Nepomuk in Autumn 1731 'so nebst Postament 1 elle lang ist [along with the pedestal 1 elle long]. In October 1731, drawings for 'Altären' [altars] had been sent by Augustus the Strong to the Meissen manufactory as a context for Kirchner's model. Due to technical difficulties, he made at least five models, of which two examples of the figure were successfully fired in November 1731 and three were ready for firing in December (J.L. Sponsel, Kabinettstücke (1900), p. 52). Among the deliveries to the Dresden depot for Augustus III on 7 March 1733, there is: '1 Johannes nepomucenus-Figur mit beschlaganem Postamente und 1 Crucifix dabey' [1 figure of St. John Nepomuk with ornamental pedestal and 1 Crucifix] (quaoted by K. Berling, Festive Publication (1911), p. 13; E. Zimmermann, E. Kirchner (1929), pp. 14-15, 30). In February 1744, J.J. Kaendler copied Kirchner's figure for his group of Nepomuk on the bridge (R. Rückert, Meissener Porzellan (1966), no. 914).Other examples of the Kirchner figure of St. John Nepumuk with the pedestal are in the Museum für Kunst und Gewerbe, Frankfurt; the Museum of Decorative Arts (UPM) in Prague (published by U. Pietsch/C. Banz (eds.), Triumph der blauen Schwerter (2000), no. 385); the Gardiner Museum, Toronto (unpublished loan); and another was sold at Galerie Koller, Zürich, 28 March 2011, lot 1591. Examples of the figure without the pedestal are in the Kunstgewerbemuseum, Berlin (S. Bursche, Meissen (1980), no. 298; the Victoria & Albert Museum, London (inv. no. C.37-1961); and the Rijksmuseum, Amsterdam (A.L. den Blaauwen, Meissen Porcelain in the Rijksmuseum (2000), no. 311).For further information on this lot please visit Bonhams.com
Nine porcelain-handled knifes and a fork, one knife and the fork probably Saint Cloud, c.1740-50, painted in underglaze blue with leaf scrolls, a large Bow blue and white knife handle and one smaller, six Continental and painted with fruit and flowers between wide pink bands, and a Chinese teapot and cover painted in the atelier of James Giles with butterflies and sprays of European flowers, some damages, 27.5cm max. (12)
NO RESERVE Ceramics.- Chaffers (William) Marks and Monograms on European and Oriental Pottery and Porcelain, edited by Frederick Litchfield, bound in half red morocco, by Sangorski & Sutcliffe, spine gilt and a little rubbed, 1912 § Rondot (B.) Discovering the Secrets of Soft-Paste Porcelain at the Saint-Cloud Manufactory ca.1690-1766, New York, 1999 § Dawson (A.) A Catalogue of French Porcelain in the British Museum, 1994 § Meyer (E.) Faïence et Porcelaine de Boisettes, Paris, 1994 § Beauchamp-Markowsky (B.) Boîtes en Porcelaine des Manufacutres Européennes au 18e siècle, Fribourg, 1985, illustrations, some colour, all but the first original cloth with dust-jackets; and 10 others on European porcelain, 8vo & 4to (15)Provenance: The Partridge Fine Arts Research Library
An 18th century porcelain blanc-de-chine teapot possibly Saint-Cloud, c.1740, the globular teapot with moulded prunus decoration, flared hexagonal spout and moulded scroll handle with stiff leaf thumbpiece, the domed cover with flared finial and prunus decoration, unmarked, 4¾in. (12cm.) high. *Condition: Two small hairlines to neck and another hairline to base of handle where it joins the body. Glaze crazing to underside and around finial to cover, with some discolouration to cracing on finial itself.
Two Early 18th Century French Saint-Cloud Blue and White Soft-Paste Porcelain Covered Pommade Pots, One with Brass Mount to Base. Signed with the mark of Henri Trou (c. 1722 onward). Measure 2-7/8" H, 2-1/8" W. Condition: Very good condition. Estimate: $200.00 - $400.00 Domestic Shipping: $38.00
A Kakiemon-style Saint-Cloud porcelain silver-mounted snuff box, France, 2nd quarter 18th C. Dim.: 6,5 x 4,5 x 2,5 cm---------Please request condition reports by e-mail on info@rm-auctions.com or by using the Invaluable message system. The reports, additional images and high-resolution images will be published on our website: www.rm-auctions.com. The absence of a condition report does not imply that the lot is in perfect condition. Lots 901-1044 are available exclusively on our website.
A blanc de Chine, Meissen and Saint-Cloud porcelain ormolu-mounted group, Ateliers Bointaburet, Paris, 19th C. H.: 17,5 cm - L.: 16,5 cm We have more lots available for bidding on on our website only, see www.rm-auctions.com. Both auctions are being held simultaneously, but the extra lots are not available during our live auction nor on this platform. Condition reports and high resolution pictures are available on our website at www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
A Derby porcelain figure of a young lady collecting fish, early 19th Century, modelled standing holding two fish in her dress, on a shell moulded base with gilt key fret border, pseudo blue crossed swords and incised `No. 3` to base, height approx 17cm (arm restored and lacking net), together with a `Vienna` porcelain figure of a lady, a Continental figure of a Cupid in disguise and a Saint Cloud blue and white porcelain toilet pot and cover, 18th Century, the cylindrical body painted with foliate bands, height approx 6.5cm (chipped finial).
A FRENCH PORCELAIN CABINET PLATE, mid to late 19th century, painted in polychrome enamels with ""Chateau de Saint-Cloud"" viewed through the gardens with figures, within a gilt highlighted cobalt blue border enclosing three landscape panels, unsigned, inscribed and bears pseudo on glaze Sevres mark in black, 9 1/4"" diameter
* Gibb (William, early 20th century). Saint-Cloud porcelain toilette pot, watercolour, signed in pencil, 31.5 x 20cm (12.5 x 8ins), together with a similar watercolour of a Kangxi vase, both framed and glazed, together with a copy of “A Book of Porcelain” (A & C Black, 1910) in which the former illustration was reproduced. William Gibb was a respected book illustrator working in Edinburgh in the late 19th and early 20th century, illustrating Alfred James Hipkins’ “Musical Instruments” (1888) and A.C. Lamb’s “Dundee, Its Quaint and Historic Buildings” (1895). Both pictures have ink presentation inscriptions by the artist to the verso. (3)
Porcelaine française Saint Cloud Rare paire de seaux à verre en porcelaine tendre de forme légèrement évasée sur piédouche, à godrons en relief sur la base et le bord supérieur, les prises latérales formées de tête de dauphin crachant de l’eau, décor en camaïeu bleu de guirlandes de fleurs, réserves à treillage, lambrequins et fleurons, la base décorée d’un galon orné de fleurs formant rosace sur fond de croisillons. XVIIIe siècle, vers 1715 35 Hauteur : 11 cm Longueur : 17 cm. Ces seaux sont à rapprocher de deux seaux à bouteille en porcelaine de Saint Clouddont les anses sont également en forme de dauphin et dont la décoration esttrès proche, l’un passé en vente publique en 1971 (étude Couturier Nicolaÿ, Paris, 29 octobre 1971) puis exposé au musée municipal de Saint Cloud en 1997 (catalogue d’exposition, La Porcelaine de Saint Cloud, 30 septembre 30 novembre1997, n° 59), l’autre faisant partie de l’ancienne collection Wenz (vente Paris, étude Ferri, 16 juin 1993, lot 20) puis illustré par Bertrand Rondot dans le catalogue de l’exposition à New York en 1999, dans lequel l’auteur identifieune gravure de Bacqueville publiée entre 1704 1709 comme ayant servi de source pour la décoration de ces deux seaux (B. Rondot, Discovering the Secrets of Soft Paste Porcelain at Saint Cloud Manufactory, c. 1690 1766, Bard Graduate Center for the Studies in the Decorative Arts, New York, 1999, p. 27, fig. 1 9 et 1 11).Il est possible que ces quatre rafraîchissoirs aient pu ainsi, peut être, constituer un ensemble au XVIIIe siècle. Deux autres seaux à bouteille, l’un conservé à la Cité de la Céramique de Sèvres, l’autre au musée Adrien Dubouché de Limoges et deux seaux à verre conservés au musée de la céramique de Rouen sont décorés en bleu de dauphins autour de corbeilles fleuries et formaient probablement tous les quatre égalementun ensemble au XVIIIe siècle (le seau de la Cité de la Céramique reproduit parF. Labayle, La Porcelaine de Saint Cloud, 1982, p. 15; je remercie Bernard Dragesco de m’avoir rappelé son existence ; les seaux à verre du musée de Rouen illustrés par B. Rondot, op. cit., p. 143, no 38) Les dauphins évoquent ils l’Eau que contenaient ces seaux? La présence régulière de dauphins sur les fontaines en faïence permet de le penser. Ou bien sont ils une allusion à la naissance du Dauphin en septembre 1729 ? Le roi Louis XV offre à Marie Leszczyńska un nécessaire en porcelaine du Japon et en vermeil pour célébrer cet événement. Plusieurs éléments de ce nécessaire, aujourd’hui conservé au musée du Louvre, sont ornés de dauphins (illustré par G. Le Duc, Porcelaine tendre de Chantilly au XVIIIe siècle, 1996, p. 30). Un demi siècle plus tard, lors de la naissance du fils de Louis XVI et Marie Antoinette, un nombre important de porcelaines de Sèvres évoquent soit dans le décor, soit dans la forme, l’arrivée de ce Dauphin (voir par exemple le gobelet dauphin que nous vendions avec PIASA le 3 décembre 2002, lot 95). En 1729, la manufacture de Saint Cloud est la seule manufacture de porcelaine en France capable de réaliser des objets de cette taille et qualité. Bernard Dragesco vient de révéler la découverte par lui des secrets de la fabrication et de la composition de la porcelaine de Saint Cloud (“How was Saint Cloud porcelain made?”, conférence du 13 avril 2012, Londres, en l’honneur de Dame Rosalind Savill, publication à venir). Ces documents découverts mentionnent notamment que la manufacture de Saint Cloud introduit une nouvelle pâte plus blanche qu’auparavant autour de 1718 1720. Nos deux seaux n’ont pas la teinte légèrement verte ou jaune des porcelaines de Saint Cloud datables des deux premières décennies du XVIIIe siècle mais plutôt la blancheur des pièces postérieures à 1720. Pour cette raison et pour des raisons stylistiques, une datation entre 1715 et 1735 nous semble plus vraisemblable que la datation autour de 1710 précédemment suggérée. Il est donc possible que ces seaux et ceux que nous citons ici célèbrent la naissance de Louis de France en 1729 mais il s’agit là d’une simple hypothèse.
A Saint Cloud porcelain tea bowl, mid-18th Century, of fluted form with underglaze blue banded decoration, underglaze blue mark to base (firing fault), a Nyon porcelain tea bowl and saucer, circa 1800, gilt with foliate swags hung from pink flowerheads, underglaze blue fish mark to base, a New Hall style tea bowl and matched saucer, and a group of other mostly cups and saucers (faults).
A Pair of French Porcelain Wine Coolers, probably Samson, circa 1880, with lion mask side handles, decorated in the Kakiemon manner with Oriental figures on a fenced veranda, and birds amongst chrysanthemums and blue rocks, in enamel colours and gilt, fluted borders, spurious incised Saint-Cloud mark, {18.2cm high} (lacking ormolu mounts, both crazed, one cracked, both with other minor damage)
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