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A METAL-MOUNTED CHANTILLY KAKIEMON EWER AND HINGED COVER FRANCE, CIRCA 1740 of typical form with loop handle and sparrow beak, decorated in iron red, green, black yellow and blue enamels, with an insect among chrysanthemums, the shoulder and slightly domed cover with a band of flowers and foliage, iron-red hunting horn mark, silvered copper mounts, possibly Hubert Louvert (1732-38) 16 cm highProvenance: Christie's London, Important French Porcelain and Faience, 29th October 1973, Lot 140 Winifred Williams, acquired on 2nd July 1975 Henry Lawrence Collection (1925-2016) and thence by descentExhibited: Metropolitan Museum of Art (The MET), New York, International China Exhibition, Grand Gallery, 1974, no. 65 Winifred Williams, London, An Exhibition of 18th Century French Porcelain, Vincennes, Sèvres, St. Cloud, Chantilly & Mennecy', 3-20 July 1978, cat. no. 71 Pictured in The Times, 22nd July 1978, in an article by Geraldine Norman entitled, 'China's Fragile Secret.' Bristol Museum & Art Gallery, Bristol, England, 2002-2023 Condition Report: Some light fritting generally. Interior discoloured. Minor wear commensurate with age and use. No damage or restoration detected. Condition Report Disclaimer

A pair of large Sèvres-style porcelain vases and covers, late 19th/early 20th century, French, each vase of baluster form with twin gilt-metal mask handles and raised on a stand imitating drapery, the body painted with gilt-heightened medallions enclosing figures in pastoral landscapes on a bleu en lapis ground, with conforming detachable cover, each marked 'Sèvres' to the inside, the covers marked with interlaced 'L's' and 'Chateau de Vincennes',39cm wide27cm deep94cm high (4)Condition ReportOverall the vases are in good condition but with light traces of age and wear. There are no apparent cracks or chips to the bases or covers. Minimal fading to porcelain. There is rubbing and wear to the gilding throughout - see additional images. No apparent restoration. Underside of both covers marked; the bases both with blue painted 'Sèvres' - see images. Light tarnish and rubbing to gilding to the bases.

A pair of vintage 20th century gilt enamelled urn shaped lamps. Each lamp with gilt relief enamel detailing, of urn shaped form with brass twin ring handles to either side. Central panel of hand painted Regency scene of courting couple signed Garnier. Mounted on circular foot in brass squared surround. Mark to underside Porcelain de BH Vincennes, France. Sold as untested.Each lamp measuring approx. 46cm tall incl. fitting.

A VINCENNES PORCELAIN CLAM SHAPED DISHBlue ground with central painted floral spray and gilt detailing.25cm W

Großes Konvolut Porzellan-Fachbücher13-tlg.; Martin Eberle, "Cris de Paris Meissner Porzellanfiguren des 18. Jahrhunderts", Leipzig, 2001; Kat. Porzellan Sammlung Dresden, "Führer durch die ständige Ausstellung im Zwinger", Meißen 1998; Elisabeth Kessler-Slotta, "Zweibrücker Porzellan 1767-1775", Saarbrücken, 1990; Marion Roehmer, "Ostfriesisches Teeporzellan vom Thüringer Wald an die Nordseeküste", Norden, 2010; Hans Sonntag, "Die Sprache der Blumen Meissner Porzellan", Leipzig, 1999; Ausstellungskat., "Alt-Ludwigsburger Porzellan Schloß Ludwigsburg", Stuttgart, 1959; Album der Erzeugnisse der ehemaligen Württembergischen Manufaktur Alt-Ludwigsburg, limitierte Auflage, Nr. 40 von 500, Stuttgart, 1991; Kat. "Königliches Porzellan aus Frankreich, Sammlerstücke und Service aus der Manufaktur Vincennes/Sèvres", Eichenzell, 1999; Sonderdruck aus dem Buch "Johann Peter Melchior 1747- 1825 Bildhauer und Modellmeister in Höchst, Frankenthal und Nymphenburg", Gelsenkirchen; Ausstellungskat. "Meissener Blaumalerei aus drei Jahrhunderten", Leipzig, 1989; Edgar Pelichet, "Merveilleuse Porcelaine de Nyon", Lausanne, 1985; Ausstellungskat. "Meissener Konturen 1960-1990", Leipzig, 1991; Emil Heuser, Faksimile "Porzellan aus Straßburg und Frankenthal im 18. Jahrhundert", Neustadt an der Haardt, 1988. Nicht kollationiert.A collection of 13 specialist books about porcelain. Not collated.

Fünf Speiseteller aus dem Grünen Watteau-ServicePorzellan, farbiger Aufglasurdekor, Goldränderung. Modell Gotzkowsky. In Spiegelmitte jeweils ein höfisches Paar auf einer Landschaftsinsel in kupfergrüner Camaieumalerei. Auf der Fahne vier farbige Blumengebinde. Blaumarke Schwerter, Pressnummern 21 und 22. D ca, 24,8 cm.Meissen, um 1750.Maureen Cassidy-Geiger bezeichnet die grüne Dekorfarbe als Referenz auf die königlich sächsische Farbe. Der Dekor war ausschließlich dem Hof vorbehalten. Aber er gefiel auch außerhalb Sachsens so sehr, dass die Manufakturen in Vincennes und Capodimonte Ähnliches in Weichprozellan produzierten (ibd S. 238).ProvenienzRheinische Privatsammlung.LiteraturVgl. Kat. Triumph der blauen Schwerter. Meissener Porzellan für Adel und Bürgertum 1710 - 1815, Dresden-Leipzig 2010, Kat. Nr. 282 ff.Zum ersten Toilette-Service mit kupfergrünen Watteauszenen für den zehnten Hochzeitstag von Maria Amalia mit König Karl von Neapel-Sizilien 1748 s. Cassidy-Geiger, Princes and Porcelain on the Grand Tour of Italy, in: dies., Fragile Diplomacy Meissen Porcelain for European Courts, New York 2007, S. 237 ff.

Dekorative Pendule im Louis XV-StilPorzellan, polychrom staffiert sowie Messing, vergoldet. Über passig geschweiftem, durchbrochen gearbeitetem Sockel vollplastische Darstellung eines Elefanten mit dekorativer Satteldecke als Träger für rundes Uhrengehäuse. Üppiger Dekor aus sog. Vincennes-Blüten. Verglastes Emailzifferblatt. Werk mit Echappement sowie Halbstundenschlag auf Glocke. H. 40 cm. 36 cm x 21 cm.A French porcelain and gilt brass mantel clock. Strikes half hour on a bell.Frankreich. 19./20. Jh.

Eleganter Louis XV-Tafelleuchter mit Tanzfigur von MeissenRocailleförmig durchbrochen gearbeiteter, vergoldeter Bronzesockel mit runder Einlassung für die auf einem rocailleartig reliefierten Sockel neben einem Baumstumpf mit aufsteigendem Blütenzweig auf einem Bein stehende Darstellung eines Tänzers in barocker Tracht. Polychrome Malerei mit dezenter Vergoldung. Entw. Friedrich Elias Meyer, 1752. Rücks. aufsteigende Blütenzweige mit farbig staffierten, sog. Vincennes-Blüten und drei kelchförmigen Tüllen mit blattreliefierten Traufschalen. Minim. best./rest.; Figuren-H. 17,5 cm. Ges.-H. 27 cm. B. 37 cm.Vgl. Kat. Staatl. Porzellan-Manufaktur Meissen, Figuren I, Blatt 7, Nr. 1782.Provenienz: Auflösung einer bedeutenden deutschen Privatsammlung - Teil I.An elegant gilt bronze-mounted Louis XV table candlestick with dancing porcelain figure. Minor chipped/restored. Meissen/Frankreich. Um 1750 - 1760.

Seltene Meissen Tischdekoration mit Figurenensembleauf vergoldeter Bronzemontierung. Von großen, reliefplastischen Voluten getragener, durchbrochen gearbeiteter, ovaler Sockel. Seitlich zwei Einlassungen für Porzellanfiguren. Auf felsiger, mit Blättern und Blüten belegter Anhöhe sitzender, junger Harlekin mit Dudelsack. Als Gegenstück junge Tirolerin (bzw. Columbine) in sommerlicher Tracht, eine Drehleier spielend. Rücks. aufsteigende Äste mit filigran geformten, farblich staffierten sog. Vincennes-Blüten. Zentral sitzender Mops mit erhobener Pfote. Polychrome Malerei mit Goldstaffage. Entw. Johann Joachim Kaendler. Unw. rest.; Minim. best.; Figuren-H. 5,5 cm - 14 cm. Ges.-H. 19 cm. B. 27,5 cm.Eine Reihe seltener, derartiger mit Möpsen bzw. Commedia dell' Arte-Figuren arrangierter Tafeldekorationen befinden sich in bedeutenden Kollektionen wie der T & T Collection oder der Sammlung Burda.Vgl. Kat. The T&T Collection. Porcelain Pugs. A Passion, Nr. 86 (Mops).; Vgl. Kunze-Köllensperger, Slg. Guttmann, Nr. 38 (Mops).; Kat. Kunze-Köllensperger, Slg. Burda, Nr. 110 (Figurenpaar).Provenienz: Auflösung einer bedeutenden deutschen Privatsammlung - Teil I.A rare gilt-bronze mounted table decoration arranged with porcelain figures of a harlequin with bagpipe and a Tyrolean girl (or Columbine) with hurdy-gurdy. Insignificantly restored. Minor chipped.Meissen/Frankreich. Mitte 18. Jh.

A VINCENNES PORCELAIN GARNITURETallest 19cm H

Garniture Louis XV comprenant une pendule en bronze doré, figure en porcelaine Meissen et fleurettes de Vincennes, et une paire de candélabres à trois bras de lumière et figures en porcelaine, milieu du XVIIIe siècle et époque postérieureA Louis XV ormolu-mounted Meissen porcelain, Vincennes flowers and tôle peinte clock garniture with matching pair of three branch figural candelabra, mid-18th century and laterThe porcelain mid-18th century, the ormolu probably mid-18th century and later, the circular enamelled dial signed 'DE SAINT JEAN A PARIS' within a circular case and foliate surround, mounted with figure of a singer flanked by a group with sheep, on a rocaille pierced stepped and balustrated base, issuing a naturalistic branch with tole leaves and polychrome flowers; the pair of candelabra with Meissen figures of gardeners watering flowers, the tôle branches mounted with Vincennes-style porcelain flowers and terminating in foliate drip-pans and conforming nozzles, the clock: 41cm high, 26cm wide, 17cm deep (16in high, 10 1/4in, 6 3/4in deep); the candelabra: 26cm high, 28cm wide, 14cm deep (10 1/4in high, 11in wide, 5 1/4in deep) (some restoration to book in her hand and sheep, overall in very good condition, some minor chips to extremities) (3)Footnotes:ProvenanceWith Röbbig, Munich, from where purchased by the present ownerThis garniture, as with the ormolu-mounted figures also offered in this sale (lot 53), was created around the middle of the 18th century to supply a craving for the latest fashion of a new clientèle of buyers in the luxury market. They were furnished in every whim and demand by a group of Marchands Merciers active in mainly Paris. They were importers and dealers, but also interior designers and decorators, with a reach that extended to imported Chinese porcelain, exotic fabrics and the rarest of materials. Paris offered perfect conditions for a booming business, not least through its proximity to the most fashionable court in Europe. The main source of income for many Marchands did not principally come through the Court and its entourage, but through those aspiring to follow the newest fashion introduced by the French King and his family. The Marchands Merciers played a key role in the promotion of French art and luxury far beyond the French borders. The prerequisite of their business was that the Marchands Merciers were not allowed to create objects, unlike other artisans that would have had to obtain a license to create works with Royal approval. Diderot famously said in his Encyclopédie that Marchand Merciers were 'sellers of everything, makers of nothing'. They acquired items, too, directly from porcelain manufacturers such as Sèvres and Meissen, whose objects they re-modelled and grouped together to the exact fashions of the period with the help of goldsmiths, bronziers and cabinetmakers. The success of these merchants is often attributed to their excellent self-promotion. The most successful Marchands Merciers were able to secure exclusive rights and monopolies in certain lucrative areas of the market, and, through the creation of business cards and advertisement, were able to build up a true brand identity. For further reading on Meissen porcelain mounted in France see: V. Bastien/S. Castelluccio/S. Vris et al., La Fabrique du Luxe, Les Marchands Merciers Parisiens au XVIIIe Siècle, exhibition catalogue (2018) and M. Deldique (ed.), La Fabrique de l'Extravagance, Porcelaines de Meissen et de Chantilly (2020). Orders at the Meissen factory by French Marchands Merciers in Paris are discussed in detail by J. Weber, Von Moskau bis Lissabon, von Dublin bis Konstantinopel. Der Handel mit Meissener Porzellan im 18. Jahrhundert (1719-1773), in Keramos 212 (2016), where the author discusses the orders placed at the factory, the French and other European dealers involved, and the lists of orders following the Arbeitsberichte.For further information on this lot please visit Bonhams.com

CERAMICS. ERIKSEN, Svend and Geoffrey de Bellaigue. Sevres Porcelain: Vincennes and Sevres 1740-1800, Faber & Faber 1987, cloth, dj, 4to; AYERS, John et al. Porcelain for Palaces: The Fashion for Japan in Europe 1650-1750, London 1990, cloth, dj, 4to; HONEY, William Bower. European Ceramic Art from the ends of the Middle Ages to about 1815, illustrated Historical Survey, Faber & Faber 1952, cloth, remains of dustjacket, 4to; and others mainly European porcelain. (1 box)

A Sèvres porcelain ‘parasol chinois’ plate, 1792, blue interlaced L cypher enclosing date letters PP, painter’s blue LB mark for Jean-Nicolas Le Bel, gilder’s 2000 mark for Vincent, incised marks, the centre painted with pink roses, the border with pendant cornflowers and foliate swags suspended from a simulated pleated pale-yellow and green ribbon, gilt line rim, 24.2cm diameter Provenance: Probably from a service acquired by William Beckford of Fonthill Abbey in 1792. Property of the Late Hugo Morley-Fletcher MA FSA (1940-2022).Note: The Sèvres factory Sales Registers record that 72 plates of ‘Parasol Chinois, Arabesques’ design were bought on 13th March 1792 by ‘Milord Betfort’ at the cost of 33 livres each. It is now thought that ‘Betfort’ was a misspelling of Beckford, as from 1791 to 1793 William Beckford lived in Paris, where he acquired a huge quantity of works of art. It is thought that these plates were almost certainly bought by him in 1792 and taken to Fonthill Abbey which was refurbished by James Wyatt between 1796 and 1813. Following financial problems Fonthill was ultimately sold in 1822 and the contents were dispersed at Christie’s, but it is not clear if the plates were in the sale, or if they went with him to his new house in Lansdown Crescent in Bath, as the Christie’s sale catalogue descriptions, and the descriptions in Mr Philips’s auction of the remaining contents at Fonthill Abbey in 1823 (held on behalf of its new owner, John Farquhar), are not precise enough to identify them. See Rebecca Shaw (Wintgens), A Thing of Beauty is a Joy For Ever, Vincennes and Sèvres Porcelain from a Private Collection, London, 2017, pp. 202-203, and see David Peters, Sèvres Plates and Services of the 18th century, Little Berkhamsted, 2015, Vol. I, p. 222, p. 226, and Vol. VI, p. 1472, Artists’ List 121. Also see John Whitehead, ‘Some French Purchases by William Beckford’, in The Beckford Journal, Vol. 2, Spring 1996, pp. 39-44. Jean-Nicolas Le Bel (le jeune and later père) was a painter of flowers and patterns at Sèvres from 1765 to 1793, and Henry-François Vincent (le jeune, and later père) was a gilder at Sèvres from 1753 to 1806. Another plate from this service from the Zeiseniss Collection was sold by Christie's, Paris, on 5-6 December 2001, lot 302.Condition Report: This fine plate has some slight wear to the gilding around the central medallion and to the edge of the well and minute scratches (from use) to the centre – this is all relatively minor. The border is in good condition and is bright and fresh in appearance.

A pair of Vincennes porcelain campana-shaped miniature vases, c.1745-50, blue interlaced L cypher marks and dot marks, painted with bouquets of flowers, one pink rose with a caterpillar, with gilt line rims and domed flared circular feet with gilt line borders, 9cm high (2)Provenance: Property of the Late Hugo Morley-Fletcher MA FSA (1940-2022). Condition Report: On the side of one vase (the vase with a caterpillar) there is a small minor chip to the underside of the rim which has been restored. This restoration has yellowed a little with time and is larger than the chip it covers. The other vase has a similarly sized small chip to the underside of the rim. Both of these chips could be restored again more discreetly. These charming vases are otherwise in nice condition, with only minute specs of wear to the gilt rims (which is extremely minor).  

A Vincennes porcelain cup and a saucer (gobelet lizonné et soucoupe), c.1750, blue interlaced L cypher marks to both, the cup of tapering octagonal form, the scrolling handle with a gilt thumbpiece, painted with bouquets of flowers and flower-sprays, gilt line borders to the rim and footrim, the octagonal saucer similarly decorated and with a butterfly within a brown line rim, the cup - 7cm high; the saucer - 11cm wide (2)Provenance: Property of the Late Hugo Morley-Fletcher MA FSA (1940-2022).Note: For a cup and saucer of the same form with similar decoration, see E.&H. Manners, Early French Soft Paste Porcelain, exhibition catalogue, 2001, pp. 73-74, no. 30. A cup and saucer (of gobelet à la Reine form) in the British Museum which is painted with birds bears a very similar foliate interlaced L cypher which appears to have a crescent at its base, see Aileen Dawson, French Porcelain, A Catalogue of the British Museum Collection, London, 1994, p. 82. Condition Report: There is some very slight wear to the gilt rim of the cup – this is minor. The rim of the saucer has some slight chipping and minute flaking to the brown line border.

A Sèvres porcelain bleu-céleste-ground cup and two Vincennes bleu-céleste-ground saucers, the cup 1756, the saucers 1755, blue interlaced L cypher marks with date letters C and B, incised marks, the cup with painter’s compass mark for Mutel, one saucer with painter’s mark for F. Binet, the other with mark for D. Levé, the cup reserved with a panel painted with two birds in flight within a gilt floral cartouche, 4.4cm high; each pentafoil saucer reserved with pentafoil panels edged with gilt floral garlands, further flowers trailing from the intersections, gilt dentil rims, 14.2cm and 13.5cm wide (3) Provenance: Property of the late Hugo Morley-Fletcher MA FSA (1940-2022).Note: The painter’s mark on the cup is presumably for Mutel, a painter of birds, landscapes and edgings at Sèvres from 1754 to 1759 and then between 1765 and 1767 and ultimately between 1771 and 1774. François Binet was a flower painter at Sèvres from 1750 to 1775, and Denis Levé was a painter of flowers, patterns and birds at Sèvres from 1754 to 1793, and from 1795 to 1805.Condition Report: The cup appears to be in very good condition. Overall, the smaller saucer is also in good condition, but there is some very minute wear to part of the dentil edging of the central gilt border (this is very minor) and some slight wear to the gilt branches at the tips of the bleu-céleste ground (this is also minor). The larger saucer has some areas of wear to the gilt rim, the gilt foliate edging to the ground and the gilt dentil edge of the central well.

A Chelsea octagonal saucer, c.1750-52, the well painted in the Vincennes manner with a view thought to be of Chelsea church from the river bank at Battersea, within a red and puce tramline border, the rim with scattered flower sprays, raised anchor mark, a 5mm rim chip, 11.5cm.Exhibited: National Exhibition of Works of Art, Leeds New Infirmary, 1868. Item 2322, contributed by W Edkins Esq. William Edkins was a Bristolian dealer in porcelain and grandson of Michael Edkins, china painter at Bristol. His collection was sold at Sotheby's on 21st March 1874, with the remainder being dispersed at the same saleroom on 21st May 1891.Formerly in the Wass Collection. Paper label dated 1901.

A large Chelsea cabinet cup, c.1760, finely gilded in the Vincennes manner with two Chinese musicians seated and playing the mandolin in a garden setting, a trellis arch framing the background, all reserved on a mazarin blue ground, applied with a reticulated scroll handle, 7.3cm high.Cf. Elizabeth Adams, Chelsea Porcelain, p.149, fig.11.11 for a beaker with similar decoration from the British Museum.

Große prachtvolle Pendule mit Meissen Figur als Minerva3-tlg.; Hoher rocailleförmig durchbrochen gearbeiteter, vergoldeter Bronzesockel mit seitlich eingelassener Bodenplatte. Darin stehende Minerva, die römische Göttin der Weisheit und klugen Kriegsführung in selbstbewusster Pose, gekleidet in einen Brustpanzer über langem, von Goldblüten gemustertem Gewand sowie weißem Mantel und Helm mit Federbusch. Mit ihrer rechten Hand einen langen Speer tragend, mit den Fingerspitzen der linken Hand nach dem Medusenschild greifend. Polychrome Malerei mit Goldstaffage. Entw. Johann Joachim Kaendler, 1747. Rücks. aufsteigende Blütenzweige mit farbig staffierten, sog. Vincennes-Blüten. Hoher, verästelter Bronzestamm als Träger für das kartuschenartig gerahmte, runde Uhrengehäuse. Verglastes Emailzifferblatt mit schwarzen arabischen Zahlen. Speer passend erg.; Blüten teilw. unw. best.; Figuren-H. 37 cm. Gesamt-H. 48 cm x 35 cm.Die Porzellanmanufaktur Meissen gab der Manufaktur Vincennes-Sèvres in Paris den Auftrag, derartige Blütenzweige zu fertigen. Luxuriöse Arrangements aus wertvollen Porzellanfiguren in Verbindung mit feuervergoldeten Bronzemontierungen waren eine Spezialität der "Marchands merciers". Diese in Paris ansässigen Händler für Luxusgüter hatten die Privilegien, die importierten Waren zu "kombinieren und durch die Transformation zu materialübergreifenden Ensembles noch aufzuwerten". Diese Stücke fanden Aufnahme in höfischen Sammlungen und gelangten auch als Kabinettstücke in den Besitz reicher Finanziers, um bei Festveranstaltungen die Räume zu schmücken. Die Figur der Minerva schuf Kaendler ursprünglich für eine Cascade bzw. Wassergrotte mit dem Urteil des Paris.Vgl. Andres-Acevedo, Die autonomen figürlichen Plastiken, Bd. 2, Nr. 693 (Figur).; Deldicque, Meissen and Chantilly Porcelain, Fig. 81 (Pendule mit Blüten).A large splendid Parisian gilt-bronze mounted Rococo clock arranged with a Meissen porcelain figure of Minerva and Vincennes flowers. Lance added. Flowers partly insignificantly chipped.Meissen/Paris. Um 1750.

Prächtiger Tafelaufsatz als Puttenwagen von MeissenPorzellan mit feuervergoldeter Bronze. Auf einem schalenförmigen, blattreliefierten Wagen mit vier Rädern, zwei erhöht sitzende Amoretten mit leger übergestreiften Umhängen, die Quadriga führend. Der Sockel mit plastischen Blättern und Blüten belegt, im Boden des Wagens ein Blumenbukett. Über ihm ein aufsteigender Bronzebaum mit farbig staffierten Porzellanblüten aus Vincennes. Polychrome Malerei. Minim. best./rest.; H. 34 cm. L. 41 cm.Derartige Wagen dienten als prestigeträchtige höfische Tafeldekorationen. Die feuervergoldeten, französischen Bronzemontierungen waren eine Spezialität der "Marchands merciers" im 18. Jh.; Die in Paris ansässigen Händler hatten das Privileg, importierte Luxusgüter zu "kombinieren und durch die Transformation zu materialübergreifenden Emsembles noch aufzuwerten".Vgl. Röbbig, Kabinettstücke, S.59 ff.A splendid bronze mounted porcelain centrepiece as carriage with cupids. Minor chipped/restored.Meissen. Um 1750-1760.

An 18th century Sèvres Vincennes porcelain pink ground dish, painted by Barr, the central roundel painted with a pair of exotic birds on a tree bough, flanked by a pair of vignettes of putti draped in scarves, each holding torches and arrows, with Rococo-style gilt decoration, painted mark to base, circa 1753, width 26.5cm.Condition Report: The gilt is rubbed and has started to crack, some scratches, no chips or cracks.

Books. Antique French and European ceramic reference, 20th c, comprising Dauterman (Carl Christian), Sèvres Porcelain: Makers and Marks of the Eighteenth Century, New York: The Metropolitan Museum of Art, 1986, green cloth over boards, 8vo; Garnier (Édouard), The Soft Porcelain of Sèvres, Chartwell Books, Inc., 1988, illustrated in colour, dj, hb, folio; Dawson (Aileen), A Catalogue of French Porcelain in The British Museum, 1994, illustrated, dj, hb, 4to; Rondot (Bertrand, editor), Discovering the Secrets of Soft-Paste Porcelain at The Saint-Cloud Manufactory ca. 1690-1766, Yale University Press, 1999, illustrated, dj, hb, 4to; Eriksen (Svend) & Bellaigue (Geoffrey de), Sèvres Porcelain: Vincennes and Sèvres, 1740-1800, Faber and Faber, 1987, b/w illustrations, Ex-Libris Geoffrey Godden, dj, hb, 4to; d'Albis (Antotine), The Creation of Hard-Paste Porcelain at Sèvres, French Porcelain Society, 1998, original wrappers, 4to; Honey's European Ceramic Art Dictionary, 1952, cloth, 4to; etc., (11)

An 18th century Sevres/Vincennes factory reticulated tray (Plateau Carre Corbeille a Jour), designed by Jean-Claude du Plessis, soft paste porcelain date letter E for 1757. Shapes of this kind were included in the service supplied to Louis XV in 1753-55, pierced sides, heightened with gilt, decorated with fruit and flowers painted in enamels, approx 18 x 18 x 5 h cms. (af) Condition Report The gilding and enamel is in very good condition, the top right corner has been subject to restoration (see photo). Small chip to the outside edge (see photo).

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.