A Vincennes green-ground ewer and basin, circa 1757. Estimate £20,000 – 30,000 (€25,000 – 38,000). Photo: Bonhams.
LONDON.- A fascinating selection of delicate porcelain and glass treasures are to be offered in the Fine European Ceramics and Glass sale, on the 26th of November at Bonhams New Bond Street salerooms.
A star lot is an extremely rare Du Paquier tankard and cover, circa 1725-30. Estimated at £40,000-60,000, the only other recorded example of this rare shape is in a private collection.
The flared body of the tankard is mounted with a handle in the form of a fabulously coloured lizard, holding a branch with fruit in its mouth. The piece is decorated with a purple monochrome panel depicting a Chinoiserie scene, and the cover is topped with a recumbent lion finial.
An extremely rare Du Paquier tankard and cover, circa 1725-30. Estimate £40,000 – 60,000 (€50,000 – 75,000). Photo: Bonhams
The flared body applied with a handle in the form of a naturalistically coloured lizard holding a branch with fruit in its mouth, painted in purple monochrome with a shaped rectangular panel depicting a Chinoiserie scene of two figures on horseback flanked by trees with buildings to one side, enclosed by a band of colourful flowers, foliage, gilt strapwork, trellis panels and birds, the rim edged in blue above a purple and green foliate band, the cover with a gilt lobed rim enclosing a floral band and a recumbent lion finial, the cover and handle pierced for mounting, 20cm high (rim of cover repaired) (2)
Literature: M. Chilton (ed.), Fired by Passion (2009), no. 163, ill. 8.50, p. 731
Notes: The only other recorded example of this rare shape, differently decorated and without a cover, is in the Sullivan Collection (Chilton, op. cit., no. 164). The recumbent lion finial was also used by the Du Paquier factory for the covers of sugar boxes (Chilton, op. cit., nos. 103 and 104)
Other highlights are pieces from the Meissen factory’s famed Swan Service- a large oval tray circa 1742, estimated at £30,000-50,000; a circular dish circa 1738-40, £15,000-25,000; and a dinner plate, £7,000-9,000. The Swan Service was ordered in 1736 for the director of the Meissen manufactory, Heinrich Graf von Brühl. The pieces are painted with the marriage arms of Brühl and his wife, Maria Anna, who married in April 1734.
The service originally comprised over 2,200 pieces, of which most remained in the family’s possession until the Second World War. From around 1880, pieces were lent to museums in Dresden and Berlin or passed to collectors, so that by 1900 only 1,400 pieces remained at the family’s ancestral home, Schloss Pförten. These remaining pieces were either destroyed along with the castle, or stolen at the end of the Second World War.
A Meissen large oval tray from the Swan Service, circa 1742. Estimate £30,000 – 50,000 (€38,000 – 63,000). Photo: Bonhams.
Modelled by J.F. Eberlein, moulded with swans swimming amidst bulrushes, a heron to the left and another in flight overhead, the shell-moulded gilt-edged border painted with the arms of Brühl and Kolowrat-Krakowska and with scattered indianische Blumen, a gilt-edged bulrush handle on either side, 35.2cm long, crossed swords mark in underglaze-blue, impressed Dreher’s mark (minor restoration to tips on each handle)
Provenance: Guido Rossi Collection, Milan (collectors label)
Notes: The Swan Service was ordered in 1736 for the director of the Meissen manufactory, Heinrich Graf von Brühl (1700-1763). A manufactory report of May 1736 states that: ‘Ein neues Taffel Servis vor des H. Geh. Cabinet Minister von Brühl Excellenz von ganz neuer Façon verlanget worden sei’ [a new table service was ordered for His Excellency the Privy Cabinet Minister von Brühl of entirely new design]. The pieces are painted with the marriage arms of Brühl and his wife, Maria Anna Franziska von Kolowrat-Krakowska (1712-1762), who married in April 1734.
The service originally comprised over 2,200 pieces, of which most remained in the family’s possession until the Second World War. From around 1880, pieces were lent to museums in Dresden and Berlin or passed to collectors, so that by 1900 only 1,400 pieces remained at the family’s Silesian seat, Schloss Pförten. These remaining pieces were either destroyed along with the castle, or stolen, at the end of the Second World War.
Other examples of this shape are in the Detroit Institute of Art, Detroit, the Carnegie Museum of Art, Pittsburg, the Muzeum Narodowe, Warsaw, the Museum für angewandte Kunst, Cologne and the Ernst Schneider Collection in Schloss Lustheim, near Munich (illustrated in U. Pietsch (ed.), Schwanenservice – Meissener Porzellan für Heinrich Graf von Brühl (2000), p.155, no. 25). An unpainted version is in the collection of the Museum für Kunst und Gewerbe, Hamburg. One dish sold at Christie’s London, 12 May 2010, lot 80, and another in these Rooms, 18 June 2014, lot 95.
See Pietsch, op. cit., for a comprehensive discussion of the service, and Maureen Cassidy-Geiger, From Barlow to Büggel, in Keramos, 119 (1988), pp. 54-68, for a discussion of the graphic sources.
A Meissen plate from the Swan Service, circa 1737-39. Estimate £7,000 – 9,000 (€8,800 – 11,000). Photo: Bonhams.
Modelled by J.J. Kaendler in low relief with swans swimming among bulrushes and a crane to the left with another in flight overhead, all on a shell-moulded ground, the rim painted with the arms of Brühl/Kolowrat-Krakowska, three flower sprigs and further scattered blooms, the rim with a gilt border, 23cm diam., crossed swords mark in underglaze-blue
A large and rare Dutch Delft garden urn made for King William III at the end of the 17th century is set to achieve £6,000-8,000. Made by the Griekse A, one of the most important Dutch Delft workshops, there are only three other known examples of complete garden urns of a similar size and decorated with a Royal monogram.
Mary, daughter of James II, married her Dutch cousin, William III, Prince of Orange in 1677. Making her new home in the Dutch Republic, Mary developed a deep love for her adopted country and its products, especially ceramics. Written inventories and also excavated shards found at both the Dutch royal palace of Het Loo and Hampton Court, the Royal Residence of the couple from 1689, show how deep the taste for Dutch Delftware influenced the interior decoration at both these residences. A number of Delft shards excavated at Het Loo belong to large, open-topped urn-shaped pots, found where in the 17th century the Orangery was located. This is a strong indication of their use as garden urns for exotic plants which had to be brought inside in the winter on account of the climate. This urn is lacking the monogram for Queen Mary, and it can therefore be asserted that it was made after her death in 1694.
A large and rare Dutch Delft garden urn made for King William III, circa 1694-1700. Estimate £6,000 – 8,000 (€7,500 – 10,000). Photo: Bonhams.
Most likely made at De Griekse A factory, of Baroque shape with two scroll handles, decorated with a crowned escutcheon enclosing the monogram of King-Stadholder William III surrounded by a formal border and drapery supported by caryatides and flanked by large cornucopia of flowering vines and fruit, the reverse with the same decoration,the lower part of the vase with a wide rim of formal Baroque strapwork after Daniel Marot, on a later circular foot, 52cm high (neck of the foot and foot replaced, some crazing and restored haircrack)
Notes: There are three complete garden urns of a similar size and with Royal cypher known, one in Erddig near Wrexham (now National Trust), two in Schloss Favorite and one in the Dutch Royal Collection at Het Loo. In addition to this top segment there is one more which can be constructed from shards, and another amount of shards that cannot be reconstructed.
These Royal garden urns are discussed and illustrated by A.M.L.E. Erkelens ‘Delffs Porcelijn’ van koningin Mary II. The author notes that Mary, daughter of James II, married her cousin, William III, Prince of Orange in 1677 at the age of 15. She set up house with her husband in the Dutch Republic and Mary developed a deep love for her adopted country and its products. Their Royal Residence of Het Loo in Holland was entirely built by William and Mary. Mary’s apartments reflected her taste for flower decorations and ceramics. An inventory was made of its contents in 1713. The interiors were decorated by Daniel Marot (1661-1752) who had come to the Netherlands in 1686 as a Huguenot, bringing with him a distinctly French taste. The written inventories and also the excavated shards found at both Het Loo and Hampton Court, the Royal Residence of the couple from 1689, show how deep the taste for Dutch Delftware influenced the interior decoration at Het Loo and Hampton Court.
A number of Delft shards excavated at Het Loo belong to large, open-topped urn-shaped pots. They were found in the Queen’s gardens, in the lower garden and at the front of the palace opposite the wing, where in the 17th century the Orangery was located. The places, where the shards were found, are a strong indication of their use as garden urns for exotic plants which had to be brought inside in the winter on account of the climate. These plants formed a separate and important part of the gardens. This urn is lacking the cypher for Queen Mary, and it can therefore be asserted that it was made after her death in 1694. According to the 1713 inventory of Het Loo, all 167 plants and trees were kept in backen or in containers.
One of the most important Dutch Delft workshops was that of the Griekse A. It was founded in 1658 by Wouter van Eenhoorn, and passed onto his son Samuel on the occasion of his marriage in 1678. Samuel van Eenhoorn died in 1686 and his widow sold the factory on his death to his brother-in-law Adriaen Kocks, who died in 1701. Various of the above named large urns with Royal Cyphers and Arms are marked AK. There are similar vases in the Swedish Royal Collection marked AK and in Chatsworth House there is a garden urn marked AK bearing the arms of William Cavedish. It can therefore be assumed that also this garden urn would have been marked AK on the original foot which is now missing.
There has long been a discussion, whether the idea of faience garden urns originates in France or England, and it is certain that with the arrival of Daniel Marot at the Dutch Court the influence of the French formal interior and gardens is brought to a flourish. A recent publication by Camille Leprince, La faience baroque française et es jardins de Le Nôtreaddresses this issue in detail (p. 88-95). Le Prince also shows that the Dutch were by no means the only ones producing these large-scale ornamental garden urns, namely the Nevers faience production shows a large amount of urns made with a similar purpose for the French court.
A Vincennes green-ground ewer and basin, circa 1757, is estimated at £20,000-30,000. Vincennes was the forerunner to the world-renowned Sèvres porcelain factory.
The pieces were purchased by the Paris dealer Lazare Duvaux. There is a possibility they were then purchased by Frederick, 3rd Viscount St. John, 2nd Viscount Bolingbroke (1734-1787), Lydiard Park, Wiltshire. Duvaux’s records from December 1757 state that ‘Un broc dans sa jatte ovale, à fleurs en relief, fond vert peint à fleurs dans les cartouches’ [green ground painted with cartouches of flowers] was purchased by Lord Bolingbroke- indicating a definite possibility that this is the set formerly in the collection of the 2nd Viscount.
A Vincennes green-ground ewer and basin, circa 1757. Estimate £20,000 – 30,000 (€25,000 – 38,000). Photo: Bonhams.
Pot ‘à l’eau la Boissière’ and jatte ‘ovale à bord de relief’, the inside and outside of the basin reserved with four gilt floral and foliate cartouches enclosing large flower sprays, the rim moulded with relief flowers and gilt scrollwork, the ewer reserved with a similar cartouche enclosing flowers and fruit, the green ground with gilt-edged wave-like moulding, the jug: 18.6cm high, the basin: 31.8cm across, interlaced LL monogram in blue enclosing indistinct date letter, probably D (basin restored, restored chip to ewer) (2)
Notes: The pieces were ordered by Lazare Duvaux. There is a possibility they were then purchased by Frederick, 3rd Viscount St. John, 2nd Viscount Bolingbroke (1734-1787), Lydiard Park, Wiltshire.
The model of the ewer was actually sometimes called a broc ‘Roussel’, but a drawing in the Sèvres archives, dated 19 February 1753, designates it as a pot ‘à l’eau la Boissière’(Rosalind Savill, The Wallace Collection Catalogue of Sèvres Porcelain, vol. II (1988), p. 697).
Sixteen basins of the shape jatte ‘ovale à bord de relief’ are listed in the Sèvres sales records between June 1754 and December 1758. Fourteen were matched with a broc ‘Roussel’, one with a broc ‘feuille d’eau’ and another survives with a pot ‘à l’eau la Boissière’ (Savill, vol. II (1988), p. 700). All, except for the most expensive (given by Louis XV to the Empress Maria-Theresa), were purchased by Lazare Duvaux. The set with the pot ‘à l’eau la Boissière’ is of the right shape, but the decoration described is that of a turquoise-blue-ground painted with children (now in the Château de Thoiry), whereas the set with the broc ‘feuille d’eau’ is of the right decoration (a green ground and flowers), but the ewer is not specifically of the right shape. However, as the decoration does have the motif known as ‘feuille d’eau’ within its design, it could possibly have been called that within the sales records. The records also mention another ewer and basin set with a green ground and flowers, consisting of a pot ‘à l’eau’ and an unspecified basin, purchased by Duvaux at the same time. Either may well have been the set in this lot.
Duvaux’s records from December 1757 state that ‘Un broc dans sa jatte ovale, à fleurs en relief, fond vert peint à fleurs dans les cartouches‘ [green ground painted with cartouches of flowers] was purchased by Lord Bolingbroke. Rosalind Savill has connected this entry with the before-mentioned jatte and broc ‘feuille d’eau’ with a green ground and flowers (Savill, vol.II (1988), p.700). Due to the ‘feuille d’eau’‘ decoration on the ewer and the existing combination of shapes used for the pieces in the Château de Thoiry, there is a definite possibility that the set in this lot was formerly in the collection of the 2nd Viscount Bolinbroke.