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A GILT BRONZE MOUNTED MEISSEN PORCELAIN TIMEPIECE GARNITURE 18TH CENTURY AND LATER ASSEMBLED The mounts associated and including a 20th century Swiss watch movement, central timepiece holder in the Louis XV manner with extensive hard paste flower decoration in the Vincennes manner and a central 18th century putto holding a basket of flowers, the candelabra in the Louis XVI manner with 18th century figures modelled as Mars and Juno Centrepiece 31cm high overall, 28cm high, candlesticks 19cm high Provenance: The Hon. Claude John Yorke, and thence by descent.   Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. Only one base of the figures is vaguely visible and it has plaster or infill obscuring most of it- the other two figures with glued metal bases. All figures and most of the flowers with old damages, losses and restoration- yellow under strong light and strong fluorescing under UV. Vacant metal branches with missing flowers, damages to leaves to bocage. Time piece non operative Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer

A Sevres soft paste porcelain liqueur bottle cooler (seaux a liqueur ovale), pained mark for 1768, bleu celeste ground, designed by Jean Claude Duplessis for the Louis XV service, ogee rimmed with twin foliate scroll handles, painted with carotuches to each side of putti in clouds, possibly by Charles Nicolas Dodin, within raised gilt cisele Rococo foliate and trellis borders, the underside with incised H and ! painted interlaced foliate Ls and date letter P, 32cm longNote: Duplessi originally designed the bottle cooler for the Vincennes service of Louis XV in 1755 as a 'seaux a liqueur ovale bleu celeste', an example of which sold at Christie's in New York, 5th April 2022, lot 16, which had the same incised ! and H marks to the porcelain. Other examples of the form are in the collection of the Metropolitan Museum, New York, 1976.240.2a,b dated 1771 and painted by Francois Aloncle

A Vincennes Porcelain Coffee Cup and Saucer, circa 1753, of fluted form, the bleu lapis ground with white reserves highlighted in gilt, cup with interlaced Ls in underglaze blue, both pieces with incised marksProvenance: Bears label for Klaber & KlaberSee Eriksen (Svend) & De Bellaigue (Geoffrey) Sèvres Porcelain, Vincennes and Sèvres 1740-1800, pg.276 for a similar example and it is there discussed that Jean Claude Thomas Duplessis received instructions to design a cup and saucer with flutes on 19th February 1753. His annotated drawing shows a cup that is broader and more bowl shaped than the present example, but these cups and their saucers have twenty-four flutes; his notes refer to them as Tasse Gaudrone and Souscope Gaudrone Hair crack to the rim of the saucer. Some light wear and scratches. Some loss to gilding, see images. From a private collection in the North of England.

A Sèvres Porcelain Seaux à Demi-Bouteille, circa 1760, with twin scroll handles, painted with scattered flowersprays and sprigs within blue line and gilt borders, painter's mark attributed to Charles François Becquet, painted marks in blue 12cm highSee Peters (David) Decorator and Dates Marks on 18th Century Vincennes and Sèvres Porcelain, pg.90 where it is discussed that flower painting with the associated decorator's mark of a chalice appear on pieces dated 1754-58 and 1767. This mark was ascribed in a publication of 1874 to Charles François Becquet but there is no archival evidence to support this attribution Three restored rim chips. General surface wear and scratches to the gilding, enamel and glaze.

A VINCENNES PORCELAIN TREMBLEUSE SAUCER circa 1750, decorated with flower sprigs, 11cm diameterProvenance: Acquired from Simon Spero, Kensington Church Street, 1997.The collection of Dinah Reynolds, author of Worcester Porcelain 1751-1783, published 1989.

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 Dresden porcelain leaf shaped dish decorated with flowers together with a Vincennes porcelain box and cover

A Vincennes porcelain bleu-lapis ground cup and saucer (gobelet à la reine et soucoupe), the porcelain circa 1752-53, blue interlaced L marks to both, incised c to cup and f to saucer, the blue ground contemporary, the bird and gilt decoration later, the cup reserved with a shaped panel with a vignette of two birds by shrubs within an elaborate gilt cartouche, the ground with gilt marbling, the centre of the saucer similarly decorated with birds enclosed by a blue-ground border with similar marbling, gilt dentil borders, the cup 7.8cm diameter, 7.5cm high; the saucer 15cm diameter (2)Footnotes: Note: For a gobelet à la reine with a similar marbled bleu lapis ground in the Belvedere Collection, see Joanna Gwilt, Vincennes and Early Sèvres Porcelain, London, 2014, p. 164.Condition Report: There is a glazed firing crack to the base of the handle terminal, which probably explains why the decoration of this piece was not completed by the factory at the time (the blue ground appears to date to this period, but the other decoration looks later). There is some ‘sanding’ to the footrim of the cup, suggestive of later decoration. Please see additional images for reference here: https://we.tl/t-VjKg1WlTmk 

An English porcelain vase, perhaps Chelsea/Derby. Circa 1770, in the Vincennes style, the twin handles with gilt lion mask terminals and spiralled turquoise and gilt moulded baluster body, with swags and drapes, height 23cm.Rubbing to gilt, glaze flaws.

A Vincennes porcelain candlestick, 1745-50, conical hyacinth vase form with ogee rim, the body painted in the round with a Meissen style Kauffahrtei scene of Moorish and European traders in a coastal encampment with ships in the distance, the external rim decorated with a Rococo border of foliate scrolls and diaper panels, the interior with floral sprigs, incised marks A M to underside, 11cm highNote: see the Metropolitan Museum of Art, New York, accession number 54.147.27, for an example of this form with similar border and painted decoration, also bearing the same incised marks to the underside; the French Royal Porcelain Works operated outside Paris in Vincennes from 1740 until its relocation to Sevres in 1756. The mark is illustrated in Dauteman, C C, 1986, Sevres Porcelain; Makers and Marks of the Eighteenth Century, New York: Metropolitan Museum of Art, p.174 and 218, 219

A Vincennes porcelain candlestick, 1745-50, conical hyacinth vase form with ogee rim, the body painted in the round with a Meissen style Claudian landscape of ruins with courting shepherd and shepherdess, figure on horseback and attendant overlooking a coastal view of ships, the external rim decorated with a Rococo border of foliate scrolls segmented rosettes, the interior with similar border, incised marks A M to underside, 10.6cm highNote: see the Metropolitan Museum of Art, New York, accession number 54.147.27, for an example of this form with similar border and painted decoration, also bearing the same incised marks to the underside; the French Royal Porcelain Works operated outside Paris in Vincennes from 1740 until its relocation to Sevres in 1756. The mark is illustrated in Dauteman, C C, 1986, Sevres Porcelain; Makers and Marks of the Eighteenth Century, New York: Metropolitan Museum of Art, p.174 and 218, 219

A CHELSEA PORCELAIN SILVER-SHAPED OVAL DISH CIRCA 1756 Painted with Vincennes-style flowers, red anchor mark, 21.5cm in length: And an English porcelain armorial plate in Chinese Export style, circa 1800, possibly Spode and possibly made as a replacement for a Chinese Export service, 22cm diameter (2) Condition Report: Some fritting to the Chelsea plate. Star crack to the Armorial plate.Condition Report Disclaimer

Prächtiger Tafelleuchter mit allegorischer Figur "Flora"2-flg.; Rocailleförmiger, feuervergoldeter Bronzesockel. Mittig Porzellanfigur der Flora in antikisierendem Gewand, in ihrer rechten Hand einen, mit Blüten gefüllten Korb haltend. Zu ihren Füßen in einem Nest hockendes Huhn. Polychrome Malerei. Seitlich aufsteigenden, sich verzweigendem Rankenwerk aus vergoldetem Metall mit farbig staffierten, sog. Vincennes-Blüten, in reliefierten Tüllen mit Blattkranz endend. H. 22 cm. 29 cm x 15 cm. Provenienz: aus der Auflösung einer bedeutenden norddeutschen Privatsammlung.A gilt-bronze mounted two-light candelabra with porcelain figure of Flora arranged with Vincennes flowers.Meissen. Mitte 18. Jh.

Paar Handleuchter mit "Verkleideten Amoretten"1-flg.; Vergoldete Bronzemontierung. Von vier Knospenfüßen getragener, ornamentierter Sockel, mittig gefasste Porzellanfigur einer Amorette als Kavalier bzw. als Bergmann, umringt von Blütenbüscheln. Polychrome Malerei. Figuren-Entw. Johann Joachim Kaendler. Rückseitig blattförmiger Griff sowie aufsteigendes, sich weit verzweigendes Rankenwerk mit farbig staffierten Vincennes-Blüten reliefierter Tülle mit Blattkranz endend. 2 Tülleneinsätze. Minim. rest.; Leuchter-H. 18,5 cm. Provenienz: aus der Auflösung einer bedeutenden norddeutschen Privatsammlung.A pair of gilt-bronze mounted portable candlesticks with porcelain figures of cupids as cavalier and miner from the series "Disguised amorettes". Partly minor restored.Meissen. Mitte 18. Jh.

A VINCENNES BLUE LAPIS GROUND SAUCER mid 18th century, decorated with two birds in flight amidst gilt flowers and scalloped edge, 13cm diameterProvenance: Klaber & Klaber Rare Antique Porcelain & Enamels, London, June 14th 2002.

Vincennes 18th century. A three-legged milk jug in soft porcelain with lapis blue background. Marked with the blue interlaced L's. Height: 10 cm.

Paire de candélabres Louis XV à deux bras de lumière en bronze doré et porcelaine Meissen, circa 1755-60, montés sur des bases probablement milieu XVIIIe et d'époque postérieureA pair of Louis XV ormolu-mounted two-branch candelabra mounted with Meissen figures, circa 1755-60, the bases probably mid-18th century and laterEach with a Meissen standing figure of pastoral musician with a sheep to the base, she playing the flute, he signing, on a pierced scrolling foliate rocaille ormolu base issuing the foliate and berried branches with Vincennes-style flowers, terminating in floral drip-pans and foliate nozzles, and beyond a shaped trellis gazebo, the porcelain with crossed swords mark in underglaze-blue to the reverse, 33cm high, 31cm wide (13in high, 12 1/4in wide) (2)Footnotes:ProvenanceWith Röbbig, Munich.Private European CollectionFor further information on this lot please visit Bonhams.com

A pair of Louis XV-style ormolu and porcelain wall lights, 19th century, French, each with a pierced backplate issuing two foliate cast branches and sconces, with Vincennes-style polychrome flower heads,25cm wide12cm deep26cm high (2)Condition ReportOne with one driptray lacking and evidence of repair to one sconce. The porcelain flowers overall in good order but with some rubbing and tiny chips to some - see additional photos. The metal with some loss to gilding, tarnish and dust. Overall in good cosmetic condition and ready to hang.

Full title: An exceptional collection of porcelain flowers, 18th C. and laterDescription:Dia.: 6,5 cm (the largest flower) Porcelain flowers were intended to be mounted on stems in porcelain vases or on clocks and other lavish interior objects. Vincennes, Sevres and Meissen are the most important manufacturers of such flowers.Provenance:- A French private collection. Ref.:- Christie's, New York, Oct. 14, 2022, lot 32, for a set of nineteen. (sold USD 8.750) (External link available on rm-auctions.com)- Christie's, Paris, June 28, 2012, lot 195, for another set of nineteen. (sold EUR 4.375) (External link available on rm-auctions.com)Condition reports:Condition reports (unless otherwise specified above):Please contact us on info@rm-auctions.com to request a condition report. Condition reports and high resolution pictures are made available on our website at www.rm-auctions.com. The full list of available condition reports for this sale is available on this link: https://www.rm-auctions.com/en/condition-report/77.

BH Porcelain of Vincennes porcelain box with gold bonsai tree decoration. Stamped to base, BH Porcellaine de Vincennes, France. Dimensions: 2.75"L x 2"W x 1.25"HCountry of Origin: FranceCondition: Age related wear.

An extremely rare Vincennes hookah bottle for the Turkish Market, circa 1752-55The globular body incised with three horizontal lines and painted by Francois Binet with scattered flower sprays, a gilt band around the footrim, with Ottoman silver mounts with stamped tughra, second half 19th century, and a flexible pipe with bone mouthpiece, 32cm high overall, interlaced LL monogram and painter's mark T in blue enamelFootnotes:Provenance:Anon. sale, Sotheby's London, 27 February 1979, lot 187;T.H. Clarke Collection, sold Sotheby's London, 1 March 1994, Lot 83;Acquired in the above saleLiterature:D. Gage/M. Marsh, Tobacco Containers & Accessories (1988), pl. 56 (illustrated)For a discussion of Vincennes porcelain made for the Turkish market, see R. Savill, The Wallace Collection Catalogue of Sèvres Porcelain, II (1988), pp. 645-646. A total of fifty-one models including six bottle forms were made for the Turkish market between 1752 and 1755, of which only the ecuelle, one of the vases, a table, a coffer and possibly a drinking pot and saucer, as well as the present lot, are known today. Production for the Turkish market seems to have lasted only three years and resulted in 190 objects in all. The deterioration in Franco-Turkish relations following the Peace of Versailles in May 1756 may have been the cause.François Binet is recorded as a painter of flowers between 1750-75.For further information on this lot please visit Bonhams.com

A Sèvres yellow-ground tea service (déjeuner octogone), dated 1786Painted by Denis Levé, with trophies, birds and colourful scrollwork surrounded by scrolling floral foliage, comprising: a tray (plateau octogone), a teapot and cover (théière Calabre), a cup and saucer (gobelet litron et soucoupe), a sugar bowl and cover (pot à sucre Bouret) and a milk jug (pot à lait à trois pieds), the tray: 24.8cm across; the teapot: 10.5cm high, interlaced LL monograms enclosing date letters ii and painter's mark L for Levé in blue, incised marks (teapot professionally restored, sugar bowl cover finial replaced) (8)Footnotes:Literature:Caroline McCaffrey-Howarth and Rebecca Shaw, Presence, Vincennes and Sèvres Porcelain from a Private Collection (2021), pp.144fFor further information on this lot please visit Bonhams.com

A Vincennes bleu-lapis ground écuelle, cover and stand (écuelle 'ronde tournée' et plateau 'rond'), dated 1754Of the second size, reserved with gilt floral and folitate cartouches of polychrome birds in flight, gilt dentil borders to the rims, the écuelle with an attached silver-gilt liner, the écuelle: 13cm high; the stand: 21.3cm diam., interlaced LL monogram with dots enclosing date letter A in underglaze-blue, incised marks (haircrack to écuelle) (3)Footnotes:The écuelle 'ronde' was recorded in 1752 in four sizes, while the term écuelle 'ronde tournée' started appearing in 1753 and 1754. The model continued being produced throughout the 18th century, with the majority of pieces being of the second or third size, see R. Savill, The Wallace Collection Catalogue of Sèvres Porcelain, vol. II (1988), p.644. A very similar écuelle, cover and stand (of the first size) is in the Musée national de Céramique de Sèvres, illustrated in . Fäy-Hallé/T. Préaud, exhibition catalogue, Porcelaines de Vincennes - Les Origines de Sèvres (1977), p.50, no. 83. Another from the property of the 6th Earl of Stafford was sold at Christie's London, 16 November 2021, lot 546.For further information on this lot please visit Bonhams.com

A porcelain Cream Jug standing on three legs, painted with roses and gilded enhancement, the body probably Vincennes 18th century (date code A), the decoration being later,5'' high.

A pair of Louis XV ormolu mounted Chinese crackle glazed ewersThe porcelain 18th century, the mounts possibly by Jean-Claude Duplessis, mid-18th centuryThe baluster 'Ge-type' vase bodies rising from slightly splayed feet to slender waisted necks, the exterior covered with a blue-grey glaze suffused with cracks, the acanthus scrolling handles cast with bull rushes, the lip mounts with rocaille acanthus sprays, on scrolling footed bases, minor losses to bull rushes to the handle of one vase, 17.5cm wide, 14cm deep, 31.5cm high (6 1/2in wide, 5 1/2in deep, 12in high) (2)Footnotes:十八世紀 仿哥窯瓶一對（嵌十八世紀中期或为吉恩-克勞德·查姆貝蘭·迪普萊西所作鎏金銅飾）Provenance Rosenberg & Stiebel, New York, 1984.Galerie Michel Meyer, Paris.來源Rosenberg & Stiebel，紐約，1984年Galerie Michel Meyer，巴黎Related LiteratureRosenberg & Stiebel, New York, Elements of Style: The Art of the Bronze Mount in 18th and 19th Century France, exhibition catalogue, April-June 1984, no.13, fig 12.Jean-Claude Chambellan Duplessis (1699-1774)Duplessis was a sculptor, ceramics modeller, bronzier and artistic director of the Vincennes and Sèvres Manufactory. From 1752, he assisted his father in creating models for the porcelain manufactures. On 12 June 1765 he became maître fondeur en terre et sable, having, as was customary at the time, mastered the disciplines of drawing and sculpture. Duplessis' illustrious career is mainly recognized today for having perfected the rocaille symmetrisé style. One of the most talented and influential designers and bronziers of his day, only a few pieces can be firmly attributed to him, including a pair of ormolu braziers commissioned by Jean-Baptiste Machault d'Arnouville for royal presentation in 1742 to the Ambassador of Turkey, one of which is today conserved at the Topkapi Palace Museum, Istanbul.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

Groupe en bronze représentant le Chasseur au repos, Jean-Claude Chambellan Duplessis (1699-1774), vers 1750, d'après un modèle de Nicolas Coustou (1658-1733)A bronze group depicting the resting Hunter, Jean-Claude Chambellan Duplessis (1699-1774), French, Paris, circa 1750 after a model by Nicolas Coustou (1658-1733).Signed Duplessis fec; dark brown patina with green highlights, resting on a square wooden later socle, 37cm high, 45cm total high, (14 1/2in high, 17 1/2in total high)Footnotes:Provenance:By repute collection Charles François de Vintimille, Comte du Luc, Provence, his sale, C.F. Julliot et F.C. Joullain, Paris, 22-23 December 1777, lot 18;Defining Taste, Sotheby's London, 12 Novembre 2013, lot 162;Private Parisian collectionThe bronze presented, equally called Adonis se reposant de la chasse is a reduction of the famous marble sculpted by Nicolas Coustou in 1710, once conserved in the gardens of Marly (inv. no MR 1796). Several bronze versions of Adonis seated were commissioned throughout the 18th century to decorate the Parisian hôtels particuliers.Our bronze is the work of Jean-Claude Chambellan Duplessis, best known for his Vincennes and Sèvres porcelain creations. In 1751, Duplessis is commissioned by Louis XV to design the drawings of the first large scale service de table. In 1758, he is granted the status of Orfèvre du Roi.See the following for comparable examples:The French Bronze, 1500-1800, exh. cat. Galerie Knoedler & Co., New York, 1968, no.45;F. Souchal, French Sculptors of the 17th and 18th centuries. The reign of Louis XIV (1977), pp. 168-169, no.52;G. Bresc-Bauthier, Sculptures des jardins du Louvre (1986), p. 115;S. Lami, Dictionnaire des sculpteurs de l'école française au XVIIIe siècle, III, 1910For further information on this lot please visit Bonhams.com

AN ENSEMBLE OF A MEISSEN PIERCED OVAL AND GILT METAL MOUNTED BASKET AND GILT METAL AND PORCELAIN FLOWERS, IN VINCENNES STYLE THE MEISSEN PORCELAIN LATE 19TH CENTURY, THE FLOWERS PROBABLY LATER The Meissen basket of navette shaped two-handled form Approximately 23cm wide Height overall approximately 42cm Condition Report: Chips and losses, restoration to flowers. Three of the four feet of the basket are chipped to the ends and there is some green paint loss to the metal stems.But overall appears presentable, do not buy assuming 'perfect'. See addition images available from the Dept. upon request.Condition Report Disclaimer

A GROUP OF THIRTEEN CONTINENTAL PORCELAIN FLOWERS PROBABLY FRENCH, LATE 19TH CENTURY AND LATER In the Vincennes style, possibly previously mounted the largest 7.5cm diameter Condition Report: Some chips to edgesCondition Report Disclaimer

A PAIR OF FRENCH PORCELAIN CAMPANA VASESPROBABLY VINCENNES, EARLY 19TH CENTURYpainted with cartouches of birds in gilt frames on mazarin blue ground, the feet moulded with scallop shells, with gilt metal rims and bases (2)17.3cm highProvenanceKenneth Neame: An Enduring Legacy.Purchased Christie’s, 9th June 2011, Monsieur and Madame François-A Lifetime of Collecting, Lot 118.Exhibited Masterpiece 2012. PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

An ormolu-mounted Sèvres porcelain bleu nouveau-ground pot-pourri-vase and cover, c.1787, interlaced L mark and painter’s mark for Jean Bouchet, the mounts later, the blue ground reserved with gilt dot ornament, the front and reverse reserved with oval pastoral scenes, the cover similarly decorated, mounted with foliate scroll handles with satyr mask terminals joined by a pierced gallery, with a reeded lower part, socle and plinth base, 17.5 cm high overallProvenance: Property of a Lady    Footnotes: Note: This piece is a Sèvres sugar-bowl which has been mounted as a pot-pourri vase, probably by a marchand-mercier.  The underside of the porcelain bowl bears the painter’s mark of a shrub which has been newly attributed to Jean Bouchet, who was active at Sèvres from 1757 to 1793.  Bouchet is associated with this style of landscape painting and he initially used a caduceus mark, but later changed his mark to that of a tree or shrub; see David Peters, Decorator and Date marks on 18th Century Vincennes and Sèvres Porcelain, Little Berkhamsted, 2019, p. 23.Condition Report: There is a small restored chip to the rim of the cover, and there is some slight overpainting to the rim which presumably disguises very small minor chips or flaking – this is not particularly noticeable.  There is some minute wear to the gilt finial and the leaf terminals – this is very minor.  

A PAIR OF CONTINENTAL PORCELAIN AND GILT METAL MOUNTED TABLE LAMPS IN THE 18TH CENTURY MEISSEN/VINCENNES STYLE LATE 19TH & 20TH CENTURIES Later adapted to electricity, modelled with goldfinches and flowers, 21.5cm high to tulip sconcePlease note this lot is to be sold without reserve Condition Report: Occasional minute chips to flowers. They will need re-wiring.Condition Report Disclaimer

18th Century Continental porcelain figure group, possibly Vincennes or Tournai, modelled as Classical gods including Apollo and Hercules (in Nemean lion fur cloak), on naturalistic base with martial trophies, 40cm high, together with a second group of similar age, depicting a family harvesting vines of grapes, 24cm high, both groups a/f, (2)

A GOOD VINCENNES SEVRES WHITE PORCELAIN GROUP of a mother, baby and child by her side, on a square ormolu base.

A PAIR OF CONTINENTAL PORCELAIN AND GILT METAL MOUNTED AND FLOWER ENCRUSTED TWIN-BRANCH TABLE LAMPSLATE 19TH CENTURYTypically modelled in the 18th century manner with two models of birds, possibly Edme Samson or similar and porcelain flowers in the Vincennes style Approximately 32cm high including fittingsCondition Report: Some chips to flowers. No other serious condition issues detectedCondition Report Disclaimer

A 19th century porcelain figure of a Lady in the style of Meissen, standing in a period costume stepping over a gap (river?) in the form of a mirror, interlinking underglaze blue marks with a letter A, possibly Vincennes, Sevres, height 13cm.

A very rare Chelsea fluted sugar bowl, circa 1752Of generous size and of fluted form, finely painted in Vincennes style with colourful European flowers with amongst a variety of insects including a green centipede, further insects and flowerheads to the interior below a brown line rim, 7.8cm highFootnotes:Although fluted teabowls of this form appear in Chelsea of the raised anchor and red anchor periods, this larger example, presumably a sugar bowl is incredibly rare. The delicate botanical sprays seen on Vincennes and quirky yet highly detailed insects are found on a number of raised anchor wares. For a pair of similarly decorated plinths marked with red raised anchors, see F Severne Mackenna, Chelsea Porcelain: The Triangle and Raised Anchor Wares (1948), pl.27, no.60.For further information on this lot please visit Bonhams.com

"Tanzende Tirolerin"mit französischer, feuervergoldeter Bronzemontierung. Von geschweiften, plastischen Rocaillen getragener Sockel. Rückseitig aufsteigende, sich verzweigende, dunkelgrün gefasste Ranken mit Blättern und kalt bemalten Blumen sowie fein modellierten, teilw. farbig staffierten, sog. Vincennes-Blüten aus Porzellan, seitlich in blattreliefierte Tüllen über Blattkranz übergehend. Mittig stehende Figur einer tanzenden Tirolerin in purpurfarbenem Kleid mit zartgelber Jacke sowie Strohhut, mit den Händen die Enden der weißen, von Indianischen Blumen gemusterten Schürze haltend. Das Gegenstück mit der Figur eines Bäckers aus der Serie der Straßenverkäufer in purpurfarbener Hose, geblümtem Hemd und gelber Jacke, in der erhobenen Hand eine Brotschaufel tragend. Polychrome Malerei mit Goldstaffage. Entw. Johann Joachim Kaendler und Friedrich Elias Meyer. Unw. rest./best.; Schwertermarke. Meissen. Mitte 18. Jh.; Ges.-H. 27 cm - 28 cm. Figuren-H. ca. 13,5 cm. Im 18. Jh. kombinierten Pariser Luxuswarenhändler erstklassige europäische und ostasiatische Porzellane mit feuervergoldeten, französischen Bronzemontierungen zu exklusiven Luxusgütern, die nicht nur wegen der Schönheit der Porzellane, sondern auch wegen der exzellent gearbeiteten, fein ziselierten Bronzearbeiten geschätzt wurden. Diese Art der Arrangements waren als repräsentative Dekorationsstücke in Kabinetträumen aufgestellt. Vgl. Kunze-Köllensperger, Kat. Slg. Burda, Nr. 70, 110; Kat. Slg. Pauls, Abb. S. 385; Röbbig, Kabinettstücke, S. 259ff., 26ff, Menzhausen, In Porzellan verzaubert, S. 195, Rückert, Kat. Bayer. Nationalmuseum, Nr. 1008, Schnorr von Carolsfeld, Lepke's Auction Slg. Darmstaedter, 1925, Nr. 56.A pair of gilt-bronze mounted candlesticks with porcelain figures of a baker from the series "Street sellers", a dancing "Tyrolean woman" and Vincennes blossoms. Insignificantly restored/chipped. Crossed swords mark.Meissen. Mitte 18. Jh.

A PAIR OF GILT METAL AND PORCELAIN MOUNTED THREE BRANCH WALL APPLIQUES IN LOUIS XV AND VINCENNES STYLE53cm high Condition Report: Occasional minute chips to porcelain flowersCondition Report Disclaimer

Paire d'appliques à deux bras de lumière de style Louis XV en bronze doré et porcelaine, XIXe siècleA pair of Louis XV style ormolu and Vincennes-style porcelain two light wall-lights, 19th centuryEach with pierced scrolling backplate issuing the shaped foliate branches with polychrome flowerheads and terminating in foliate drip-pans and conforming nozzles, losses to flowers, 35cm high, 26cm wide (13 3/4in high, 10 1/4in wide)For further information on this lot please visit Bonhams.com

A NEAR SET OF FOUR LOUIS XV ORMOLU THREE BRANCH WALL LIGHTS IN THE MANNER OF JEAN-CLAUDE DUPLESSIS, MID 18TH CENTURY The bras de lumière of three branch form with foliate scrolling stems and nozzles, fitted for electricity slight size variance but approximately-the gilt metal 65cm high, 43cm wide, 88cm high overall Provenance: An Important Collection from a Cadogan Square HousePerrin Antiquaires, Paris, acquired in 1998. A pair of very similar design, with richer detailing to the edge furls and with the 'C' couronné poinçon, is in the Wrightsman Collection at the Metropolitan Museum of Art, New York (1971.206.30-31). As well as being the Royal goldsmith, Duplessis was director of the Vincennes porcelain factory and later Sèvres. Among his most famous designs for gilt bronze are the elaborate and rich mounts for the Bureau du Roi in Versailles by Oeben and Riesener. Literature: Hans Ottomeyer/Peter Pröschel, Vergoldete Bronzen, Munich, 1986, p. 143, ill. Condition Report: Now wired for electricity. The floral pans with some slight variances in design, some sitting off centre to their stems. Some old repairs to floral elements notably to tops. Almost certainly re-gilded and with some drilled holes and evidence of earlier rewiring. Will require electrician testing and probably re-wiring. Bulbs with losses and breaks - some minor breaks and cuttings to candle sleeves. Please see additional images for visual reference to condition.Condition Report Disclaimer

A Vincennes Bleu Celeste Porcelain Sugar Bowl and Cover (Pot a Sucre et son Couvercle)Circa 1755bearing blue interlaced Ls enclosing date letter B and unidentified flower painter's mark of a P; of tapering hemispheric form with slightly everted mouth, the domed cover with gilt ranunculus finial, painted in colors with loose bouquets reserved on the rich turquoise ground in shaped oval cartouches with gilt cisele €˜thorn' bands, with gilt dentil rims.Height 4 1/2 x diameter 3 1/2 inches.This lot is located in Chicago.Provenance:Drouot Richelieu, Paris, Anonymous sale, 21 April 1997, Lot 33, catalogue cover illustrationJohn Whitehead, London, 13 June 1997 (purchased at the International Ceramics Fair, London; with invoice)Note: Although the present sugar bowl is not a form to which a specific name was given by the Vincennes factory and although the identity of neither the painter nor the gilder can be confirmed, there can be no doubt that it is a fine early example of the royal factory" work and of its first essays with a ground color.An un-named drawing dated 28 April 1752 corresponding to the shape of the present sugar bowl is retained in the factory" archives. See Porcelaines de Vincennes: Les Origines de Sevres, Exhibition Catalogue, Grand Palais, Paris, 14 October 1977-16 January 1978, cat. no. 207 for an example of the same form, painted in monochrome green with landscape vignettes, its ranunculus knop lacking.The gilding pattern of rose thorns is associated with the first service made for Louis XV, also decorated with a bleu celeste ground. However, neither the ground color nor the gilding pattern was exclusive to the service. Its unidentified flower painter" mark of a 'P' or 'p' is found on Vincennes and early Sevres porcelain of 1755-1756.Excellent condition with minor chip to finial leaf, minute fritting to edges of flower petals and wear to gilt rim of the bowl caused by the cover rubbing.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 Sevres Green Ribbon Decorated Porcelain Plate (Assiette 'a Guirlandes')Circa 1760bearing blue interlaced Ls enclosing date letter G, painter's mark of a fleur-de-lis for Taillandier and incised 6o; painted with a flower spray, the wide border with a looped gilt-edged green ribbon suspending flower garlands arching into the curve of the loop, the scalloped rim of the plate molded with a trailing vine, gilt cisele crossed flowering branches at the intersection of each ribbon loop, the same green filling the scallop behind, with gilt line rim.Diameter 10 inches.This lot is located in Chicago.Provenance:Dragesco-Cramoisan, Paris, no. D.1375, 14 June 1999 (purchased at the International Ceramics Fair, London; with copy of invoice)Note:Two services were made at Sevres in 1760 to which the present plate may belong:One service, its 48 plates priced at 30 livres each, was sold on 29 March to the Marquis de Paulmy. Antoine-Rene de Voyer d'Argenson, Marquis de Paulmy, was Minister of War (1757-1758), French Ambassador to Poland (1760-1764), Ambassador Extraordinary to Saxony (1760-1763) and Ambassador to Venice (1767-1768).A second service, its 48 plates for some reason priced at double or 60 livres, was sold during the second quarter of 1760 to Madame Lair. Madame Marie Herbin Lair was a marchand-mercier whose name appears regularly in the Sevres sales records. She was the widow of Michel-Joseph Lair and successor in business to Gilles Bazin, rue de Roule, Paris. Both services are discussed by David Peters, Sevres Plates and Services of the 18th Century, Little Berkhamsted, 2005, pp. 317-320, service nos. 60-1 and 60-2 respectively.Three plates from one of these two services, each with flowers painted by Louis-Jean Thevenet, were sold by Christie's, London on 12 May 2010, lot 235; 3 June 2014, lot 38 and 24 November 2014, lot 13. The present example was painted by his colleague Vincent Taillandier (active 1753-1790), recorded at Vincennes and Sevres as a painter specializing in flowers as well as patterns and ground patterns.Light wear to the gilding edging the ribbon; light surface scratches and stacking wear.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 Vincennes Gilt-Metal Mounted Porcelain Orange Tubs (Caisses a Fleurs Carrees, 2eme Grandeur) Fitted with Porcelain Flowers on Papier-Mâche StemsThe Porcelain Pots 1755one bearing blue interlaced Ls enclosing date letter B and unidentified flower painter's mark O, the other with a mark of four dots forming a lozenge for Fontaine, the finials later metal replacements, the porcelain flowers also of later date; each square tub on bracket feet with each panel painted in colors with a loose bouquet within a camieu bleu trailing vine, fitted with papier-mâche-wrapped metal stems, paper leaves and porcelain flowerheads issuing from the papier-mâche €˜earth'.Height of cache pots overall 5 5/8 inches; height overall (including plants) 15 1/2 inches.This lot is located in Chicago.Provenance:Carlton Hobbs, London, 8 July 1996 (with invoice)Note:The present flowerpots are in the shape of the large square tubs designed specifically to hold orange trees. They were produced at both Vincennes and at Sevres in a variety of sizes of which the present pair are an example of the second largest. A pair of orange tubs, similar in size and decoration to the present two, both with blue interlaced Ls and the painter" mark of a comma for Charles-Louis Mereaud, one also with date letter G for 1760, is in the collection of The Metropolitan Museum of Art, Gift of Barbara Lowe Fallas, 1964 (64.159.2a, b, .3a, b).The flower painting on the present caisses carrees is by Jacques Fontaine (active 1752-1807), recorded at Vincennes and Sevres as a painter specializing in flowers, figures, patterns and the highly specialized techniques of cameo decoration popular in the late 1770s and 1780s. He is also recorded as a gilder. His younger sister Mlle. Marie-Louise Fontaine also used a similar mark, but as she is recorded as a painter specializing in flowers and patterns from 1777-1794, the mark on the present orange tubs cannot be hers.There is a very slight difference in size that is so minimal that it is fair to assume them to be a pair. The one with the more robust flower painting (painter O) has firing issues €“ the side with the yellow tulip bows out a bit, one of its leaves is snapped off. As mentioned, all finials are metal replacements €“ wear to gilding. A crack is visible to the inner angle of the smaller pot. They could benefit from cleaning but in overall presentable condition.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 Sevres White Biscuit Porcelain Figure of 'La Petit Fille au Tablier'1757-1766incised F to the underside; modelled by Falconet, the girl standing holding grapes in her apron, her head tied with a scarf, standing barefoot by a tree stump on a shaped oval rockwork base.Height 9 inches.This lot is located in Chicago.Provenance:Dragesco-Cramoisan, Paris, 1997 Note:The present figure and her pair, 'Le Jeune Suppliant', were both first modelled after Boucher by Blondeau in 1752. The original drawing for Le Jeune Suppliant is still at Sevres and the reverse of the drawing is inscribed 'dessein de m. Boucher apartenant a la Manufacture de Vincennes, ce 23 aoust 1749'. A similar pair of figures from the renowned collection of Elizabeth Firestone were sold by Christie's, New York, 21 March 1991, lot 108. The incised capital F on the underside of the base definitively dates this example to 1757-1766 during which years the renowned sculptor etienne Maurice Falconet served as head of the sculpture studio at the Sevres porcelain manufactory. His initial on the completed work indicates his approval of its production and finishing.In generally good condition. with chips to the edge of her bodice hem, typical minor firing lines and chips/losses to the fruit and leaves in her apron.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.

Two Vincennes Bleu Celeste Ribbon Decorated Porcelain Plates (Assiettes 'a Guirlandes')Circa 1757bearing blue interlaced Ls enclosing date letter D and painter's mark of a fleur-de-lis for Taillandier to one, the other unmarked but with incised script Bp; each painted with a flower spray, that of the unmarked example including a tulip, the wide border with a looped gilt-edged bleu celeste ribbon suspending crossed flower garlands or tight bouquets beneath alternate curves of the loop, the scalloped rim of the plate molded with a trailing vine, gilt cisele crossed flowering branches at the intersection of each ribbon loop and the same mottled turquoise ground filling the scallop behind, with gilt line rim.Diameter 10 inches.This lot is located in Chicago.Provenance: Dragesco-Cramoisan, Paris, nos. 1231 and 1232, 18 September 1996 (with copy of invoice)Note:The present two plates are probably from a service in the possession of M. de Laborde in the 18th century. David Peters suggests that M. de Laborde's service was formed from a delivery of recent stock acquired by Duvaux in 1758. See David Peters, Sevres Plates and Services of the 18th Century, Little Berkhamsted, 2005, Vol. II, pp. 299-302, service no. 58-1. Between 1 January 1758-1 July 1758, the Sevres sales records note a delivery to M. Duvaux of 78 assiettes fond bleu celeste et verd, 60 (livres each) 4680 (livres in total) (Vy 2 fol. 65).Although the factory records do not specify the exact number of green and blue plates in the delivery, we know from the Livre Journal de Lazare Duvaux that the twelve plates delivered to Louis XV (no. 3072) and the six delivered to Mme. de Pompadour (no. 3073) were verd and cost 60 livres each. As the service for M. de Laborde included sixty plates, they must have included examples with bleu celeste ribbons scrolling around the border.Jean-Joseph de Laborde was a merchant, financier and politician from Bayonne who acquired his fortune through maritime trade, particularly supplying the American colonies, became Fermier General in 1759 and later financier to the French Court during the Seven Years War.Vincent Taillandier (active 1753-1790) is recorded at Vincennes and Sevres as a painter specializing in flowers as well as patterns and ground patterns.Both in good condition. With negligible wear to the gilding, minor stacking and surface wear.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 Sevres Bleu Celeste Porcelain Seven-Piece Tea Service (Dejeuner 'Courteille')Circa 1780each bearing blue interlaced Ls enclosing date letters cc below painter's mark of a comma for Mereaud le jeune and above gilder's mark '#' for Chavaux pere, with various incised marks; painted with trailing flower garlands and wreaths, the shaped turquoise border richly gilt and chased with a laurel garland, echoing the shape of the border edged with a gilt cisele band, comprising a shaped rectangular two-handled tray, a teapot and cover, a sugar bowl and cover and four cups and saucers; 7 items total.Length of tray over handles 14 1/4 inches.This lot is located in Chicago.Note:A 'dejeuner' is the name given to a small tea or coffee set with a matching tray, the name for the overall set dictated by the shape name given the tray. In this case, it is a shaped serpentine rectangular tray or plateau 'Courteille' with rounded corners and angled side handles, named after the marquis de Courteille, the King" representative in charge of the Vincennes/Sevres manufactory, to whom the first example of this tray was presented in December 1753. Sales records show Dejeuner 'Courteille' produced from 1757 into the 1780s.The selection of pieces making up the set can vary, as can the size and shape of the tray and of the individual pieces, the complement of pieces dictating the use for the dejeuner. The present dejeuner of a theiere 'Calabre', 3eme grandeur, a pot a sucre 'Bouret', 2eme grandeur, and four gobelets 'Litron' et soucoupes, 3eme grandeur resting on a plateau 'Courteille' originally will have included a pot a lait a trois pieds, likely 2eme grandeur. The individual pieces comprising the set will have been completed at the same time by the same decorators, resulting in identical factory, painters and gilders marks on each piece, as is the case here. With four cups, it is the largest such service produced, although the cups themselves are likely the smallest.Dejeuner 'Courteille' can be found in The Wallace Collection, the Wadsworth Atheneum, and the Victoria and Albert Museum, among others. Cf. Rosalind Savill, The Wallace Collection - Catalogue of Sevres Porcelain, London, 1988, cat. no, C401-6, pp. 615-621; Linda H. Roth and Clare Le Corbeiller, French Eighteenth-Century Porcelain at the Wadsworth Atheneum - The J. Pierpont Morgan Collection, 2000, cat. no. 83, pp. 175-178.Charles-Louis Mereaud le jeune (active 1756-1780) is recorded at Sevres as a painter specializing in flowers and patterns. Michel-Barnabe Chavaux pere (active 1752-1788) is recorded at Vincennes and at Sevres as a gilder. Their work on the present dejeuner is typical of that found on tablewares of the late 1770s-1780s, showcasing their talent and expertise of their specialties honed over many years at the factory.Teapot and cover: height 4 1/2 inches; incised 44 oo and 5.Sugar bowl and cover: height 4 inches; incised 40 and a.Four cans and saucers: height of cups 2 3/8 inches, each incised 48a; diameter of saucers 4 5/8 inches, each incised 48a.In overall excellent condition. The tray with no incised marks, having a tiny nick to the edge of one handle terminal leaf, a touch of wear to the leaf terminal diagonally opposite, very very light surface scratching. The teapot and cover with minute nick to tip of spout. The sugar bowl and cover with wear to gilt dentil rim, gilting on the berry finial possibly refreshed.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 Vincennes Bleu Celeste Plein Porcelain Sugar Bowl and Cover (Pot a Sucre 'a Cerceau' ou 'a Cuvier', 1ere Grandeur)Circa 1754 bearing blue interlaced Ls enclosing date letter A, incised 3; of flaring cylindrical form, the conforming cover with bracket finial, the finial and molded edges gilt, with gilt dentil rims.Height 4 1/2 x width 5 inches.This lot is located in Chicago.Provenance: Dragesco-Cramoisan, Paris, June 1996 (purchased at the International Ceramics Fair, London)Note:The Sevres archive retains a drawing dated 19 February 1753 that corresponds to the present Vincennes form, describing it as an accompaniment to both a gobelet 'a cuvier' and a gobelet 'a cerceau' (2011.3.249.1, reproduced here). A simplified variant without the molded banding also exists, designed to pair with a gobelet a la reine. The present bleu celeste plein pot a sucre 'a cerceaux', made the following year (1754), is covered in the first ground color produced by the factory, famously used for the first service made for King Louis XV of France, patron of the factory. It displays the lovely 'cloudy' yet translucent quality for which early bleu celeste is so prized.Of the 42 sugar bowls of this rare model recorded, the present lot and the pot exhibited at the Grand Palais in a seminal exhibition of Vincennes porcelain held October 1977- January 1978 would appear to be the only survivors. Later sold in The Arts of France, Christie's, New York, 16 November 2000, lot 113, this second pot, decorated with loose bouquets (fleurs detachees) between blue-line-and-gilt-dash banding, is an example of one of the least expensive versions-flower-decorated examples were priced at 18 livres. The present lot is an example of the most expensive version, priced at 54 livres for a sugar bowl covered overall with a turquoise sky blue (bleu celeste plein) ground. Cf. Porcelaines de Vincennes, les origins de Sevres, Exhibition Catalogue, Grand Palais, 14 October 1977-16 January 1978, no. 184.Photo Credit: © RMN-Grand Palais / Art Resource, NYIn very good condition with negligible wear to gilding on cover finial. Having some wear to gilt dentil rim of the bowl from rubbing by the cover.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 large and rare Vincennes porcelain bowl, c. 1752-3, painted with flowers by Prisette Quenecque; conjoined Ls mark without date and a Q below for Quenecque; 10'' diameter, works by this artist, who worked at Sevres between 1753 and 1755, are rarely seen; there is a cup in the collection at Waddesdon; see Dauterman, 'Sevres Porcelain Makers and Marks of the 18th Century'.

A Vincennes ice cup (tasse à glace), date code for 1754-5, painted with small sprays of roses and other flowers, interlaced blue LL mark and date letter B, and a Paris porcelain egg cup painted with cornflower sprigs, incised 7, 6.5cm max. (2)

SÈVRES box, 19th century.Enamelled porcelain.With seal.Measurements: 34 x 20 x 20 x 12 cm.Porcelain enamelled box with mainly low-temperature colours, including gilding, a typical aspect of the Sèvres manufacture. The lid is decorated with a rococo-inspired scene depicting ladies and gallant couples in bucolic settings. The decorative details are overlaid with fine gold.Originally founded in Vincennes in 1740, the Manufacture Nationale de Sèvres was transferred to Vincennes in 1756. One of the leading European porcelain factories, the Manufacture was successively named after different political regimes: royal, imperial and national manufactory. Still active today, the firm continues to produce objects created since 1740, although its current production is largely oriented towards contemporary creation. Up to 1800, the company produced mainly porcelain and soft-paste pieces, both tableware and small-scale ornamental sculpture. In the 19th century, decoration became richer, especially in the context of historicism.

Rocailleförmiger Sockel. Rückseitig aufsteigende, sich verzweigende Blumenranken mit verschiedenfarbig staffierten, sog. Vincennes-Blüten, in blattförmiger Tülle mit Wachsfänger endend. Schauseitig die Porzellanfigur eines springenden Rottiers in naturalistischer Ausführung mit feiner Fellzeichnung über ovalem, blütenbelegtem Sockel. Entw. Johann Joachim Kaendler. Polychrome Malerei. Unw. rest.; Schwertermarke. Leuchter-H. 20 cm.Vgl. Pietsch, Kat. Porzellan Parforce, Nr. 28.A gilt bronze candlestick with Vincennes blossoms, mounted with a porcelain figure of a leaping roe deer. Insignificantly restored. Crossed swords mark.Meissen. Mitte 18. Jh.

French Limoges and other gilt decorated porcelain including a BH Vincennes vase, pin trays etc.

Sèvres style table centre, 19th century.Porcelain and gilt bronze. Painted decoration.Measurements: 25 x 23,5 x 17 cm.Sèvres porcelain centrepiece in the shape of a classic goblet, decorated on the outside in the style of the 18th century Sèvres coloured backgrounds, in this case with a cobalt blue background, specifically the one known as "Bleu Lapis", characterised by its irregular appearance, with waters of different tones. The decorations are painted in gilt enamel, following neoclassical models. The interior is decorated with a delicate floral motif.Originally founded in Vincennes in 1740, the Manufacture Nationale de Sèvres was transferred to Vincennes in 1756. One of the leading European porcelain factories, the Manufacture was successively named after different political regimes: royal, imperial and national manufactory. Still active today, the firm continues to produce objects created since 1740, although its current production is largely oriented towards contemporary creation. The Manufacture de Vincennes was founded with the support of Louis XV and Madame de Pompadour, with the idea of creating pieces for the court and competing with the porcelain productions of Meissen and Chantilly.

Important SÈVRES vase. France, Napoleon III period, second half of the 19th century.Enamelled porcelain and gilt bronze.Signed "Georges Émile Poitevin" on the front.With Sèvres stamp inside the base and inside the lid.Measurements: 98 x 38 x 30 cm.Ornamental vase decorated with pictorial scenes, the front with an allegorical theme and the back with a landscape theme, both by Georges Émile Poitevin, a Parisian painter recorded as exhibiting many porcelain themes in the Paris Salons of the 1870s and early 1880s and listed by W.Neuwirth, Porzellanmaler-Lexicon 1840-1914. Poitevin has decorated the front with great care, depicting a robed lady in the classical manner surrounded by little angels of love dancing around her, one of them carrying a bow. Both the base on which the main body rests and the mouth of the vase are decorated with gilt fretwork, characteristic of the Sèvres style, combined with finely delineated floral and animalistic representations. Also noteworthy are the attributes of Cupid depicted on the mouth of the vase, with a quiver, a bow and a torch, objects closely related to the allegorical ornamentation on the front. The design of the vase is completed by bronze handles decorated with scrolls, as well as a circular base decorated with masks, an aspect typical of the aesthetic of the Sevrès manufacture.Originally founded in Vincennes in 1740, the Manufacture Nationale de Sèvres was transferred to Vincennes in 1756. One of the leading European porcelain factories, the Manufacture was successively named after different political regimes: royal, imperial and national manufactory. Still active today, the firm continues to produce objects created since 1740, although its current production is largely oriented towards contemporary creation. The Manufacture de Vincennes was founded with the support of Louis XV and Madame de Pompadour, with the idea of creating pieces for the court and competing with the porcelain productions of Meissen and Chantilly. In fact, the first experiments were carried out by the brothers Robert and Gilles Dubois, who came from the Chantilly manufactory. By 1745, under the direction of the Gravant couple, important results had already been achieved, in particular the creation of models of porcelain flowers to decorate all kinds of pieces. The new building in Sèvres, where the manufactory moved in 1756, was built on the initiative of Madame de Pompadur. Three years later, it was designated a royal factory, and from that time onwards it was the only one in France to use fine gold. In its early years, the factory produced mainly soft paste; hard porcelain, with kaolin, was not marketed in Sèvres until 1770. Among the innovations of this manufactory in the 18th century were coloured backgrounds and the use of biscuit for small sculptures. During the French Revolution, the factory suffered a decline in production, but experienced a revival between 1800 and 1847 under the direction of Alexandre Brongniart, who brought the factory international fame. During these years, many important technical innovations were made, and a number of contemporary artists collaborated with the manufacture. During this period, a new gilding technique was introduced, which was made shiny by burnishing the surface with an agate stone. The pieces were also decorated with opaque gilding, which was done by rubbing the gold with very fine sand. It was at this time that, for ornamental vases, a cartouche became established as a central theme, in the manner of an oil painting, with a gilt cartouche on a monochrome background. From the mid-19th century onwards, the dominant styles were eclecticism and historicism, and some models revived typologies from the past, such as the Mannerism of Fontainebleau and the Baroque of Versailles.

Sèvres vase. France, 18th century.Hand-painted porcelain and gilt bronze mount.With stamp on the inside of the lid indicating that the date of production was around 1753.Measurements: 48 x 25 x 19 cm.Ornamental vase with bronze base and structure. It is decorated with pictorial scenes, the front with winged angels and the back with musical instruments, both delicately worked in its brushstrokes. Originally founded in Vincennes in 1740, the Manufacture Nationale de Sèvres was moved here in 1756. One of Europe's leading porcelain factories, the Manufacture was successively named after different political regimes: royal, imperial and national manufactory. Still active today, the firm continues to produce objects created since 1740, although its current production is largely oriented towards contemporary creation. The Manufacture de Vincennes was founded with the support of Louis XV and Madame de Pompadour, with the idea of creating pieces for the court and competing with the porcelain productions of Meissen and Chantilly. In fact, the first experiments were carried out by the brothers Robert and Gilles Dubois, who came from the Chantilly manufactory. By 1745, under the direction of the Gravant couple, important results had already been achieved, in particular the creation of models of porcelain flowers to decorate all kinds of pieces. The new building in Sèvres, where the manufactory moved in 1756, was built on the initiative of Madame de Pompadur. Three years later, it was designated a royal factory, and from that time onwards it was the only one in France to use fine gold. In its early years, the factory produced mainly soft paste; hard porcelain, with kaolin, was not marketed in Sèvres until 1770. Among the innovations of this manufactory in the 18th century were coloured backgrounds and the use of biscuit for small sculptures. During the French Revolution, the factory suffered a decline in production, but experienced a revival between 1800 and 1847 under the direction of Alexandre Brongniart, who brought the factory international fame. During these years, many important technical innovations were made, and a number of contemporary artists collaborated with the manufacture. During this period, a new gilding technique was introduced, which was made shiny by burnishing the surface with an agate stone. The pieces were also decorated with opaque gilding, which was done by rubbing the gold with very fine sand. It was at this time that, for ornamental vases, a cartouche became established as the central theme, in the manner of an oil painting, with a gilt cartouche on a monochrome background. From the mid-19th century onwards, the dominant styles were eclecticism and historicism, and some models revived typologies from the past, such as the Mannerism of Fontainebleau and the Baroque of Versailles.

A collection of hand painted fine porcelain, including a Vincennes Limoges French porcelain trinket box with a gold eagle, a Coalport saucer, a Burleigh ware florette tea pot, an Aynsley hand painted fruit plate with gilded rim and six floral design ashtrays. Maker's mark to the base. H.16 W.23cm (largest)

Collection of porcelain (5) to include; Meissen box, pair of Naples capodiamonte cups, Vincennes trinket box (1754) and miniature teapot

Books, Antiques Reference - European Porcelain, including De Bellaigue's French Porcelain in the Royal Collection, three-volume set, dustjackets over cloth, slipcase en suite, folio, (3); further French porcelain reference, including Sèvres and Vincennes; Meissen Snuff Boxes of the Eighteenth Century, dj, hb, folio, (1); The Marouf Meissen Colection; Röbbig München catalogues; Klaber & Klaber catalogues; others, Galerie Vandermeersch, Christie's, Sotheby's & Bonhams, qty; Sevres; etc., [approx. 30]

A NEAR SET OF FOUR LOUIS XV ORMOLU THREE BRANCH WALL LIGHTS IN THE MANNER OF JEAN-CLAUDE DUPLESSIS, MID 18TH CENTURY The bras de lumière of three branch form with foliate scrolling stems and nozzles, fitted for electricity slight size variance but approximately-the gilt metal 65cm high, 43cm wide, 88cm high overall Provenance:An Important Collection from a Cadogan Square HousePerrin Antiquaires, Paris, acquired in 1998. A pair of very similar design, with richer detailing to the edge furls and with the 'C' couronné poinçon, is in the Wrightsman Collection at the Metropolitan Museum of Art, New York (1971.206.30-31). As well as being the Royal goldsmith, Duplessis was director of the Vincennes porcelain factory and later Sèvres. Among his most famous designs for gilt bronze are the elaborate and rich mounts for the Bureau du Roi in Versailles by Oeben and Riesener.Literature: Hans Ottomeyer/Peter Pröschel, Vergoldete Bronzen, Munich, 1986, p. 143, ill.Condition Report: Now wired for electricity. The floral pans with some slight variances in design, some sitting off centre to their stems. Some old repairs to floral elements notably to tops.Almost certainly re-gilded and with some drilled holes and evidence of earlier rewiring.Will require electrician testing and probably re-wiring.Bulbs with losses and breaks - some minor breaks and cuttings to candle sleeves.Please see additional images for visual reference to condition.Condition Report Disclaimer

A French porcelain Vincennes porcelain table lamp base