Moments of Pleasure

Juno Antiques – Moments of Pleasure, E & H Manners, 66C Kensington Church Street, W8, 27th June – 1st July 2017

Bristol or Liverpool tin-glazed charger, painted in a Ming Transitional style with a stag and surrounding figures, c.1750-60

Kensington – The Heart of Ceramics features four specialist dealers showing ceramics in Kensington Church Street

One of those taking part is Juno Antiques (Haydn Hansell, Paul McKay and Miles Thompson) who specialise in both 18th century British ceramics and pottery. This year their rather special exhibition celebrates their tenth anniversary. They also stock a good selection of 18th century European pieces as well as glass and enamels. They are certainly to be congratulated on this milestone. 

Rare large pair of hexagonal reticulated Chinese vases and covers, decorated in the London studio of James Giles, c.1750-60

http://www.junoantiques.com/

http://theheartofceramics.com/

Rare Meissen moulded sugar box and cover, painted with chinoiserie scenes reserved on a a ground of blue scales, c.1740

Treasure Houses: The homes of the Dukes of Buccleuch and Queensberry

 

BOUGHTON

The House, its People and its Collections

By Richard, Duke of Buccleuch and Queensberry

Photographs by Fritz von der Schulenburg

Published by Caique Publishing Ltd
ISBN 978 0 9565948 5 3 
£17.95 / $21.80 / 81.41 TL 

 

 

 

BOWHILL

The House, its People and its Paintings

Introduced by Richard, Duke of Buccleuch and Queensberry

Edited by John Montagu Douglas Scott

Photographs by Fritz von der Schulenburg

Published by Caique Publishing Ltd
ISBN 978 0 9565948 2 2
£12.95 / $15.73 / 58.73 TL
 

 

DRUMLANRIG

The Castle, its People and its Paintings

By Richard, Duke of Buccleuch and Queensberry

Photographs by Fritz von der Schulenburg

Published by Caique Publishing Ltd
ISBN 978 0 9565948 4 6
£10.95 / $13.30 / 49.66 TL
Paperback, 96 pages, Second Edition
 

These three guidebooks are much more than just that as they provide a fascinating introduction to the houses and collections of the incumbent Dukes.  You will encounter Rembrandt, Canaletto, Van Dyck and El Greco, as well as family portraits by Gainsborough, Reynolds and Ramsay, There are miniatures, French and English furniture, Sèvres made for Louis XV, items commemorating Sir Walter Scott and the Duke of Monmouth, silver and a huge variety of textiles and rugs. It is an extensive and engaging collection in three very different houses, two, Bowhill and Drumlanrig, are in Scotland and then Boughton in England which the late John Cornforth once described as ‘the English Versailles’.

These books are of serious appeal to anyone interested in the fine and decorative arts, architecture and historic interiors.

http://www.bowhillhouse.co.uk

http://www.boughtonhouse.co.uk

http://www.drumlanrigcastle.co.uk

http://www.caiquepublishing.com

 

Auction Alert: Rare Pair of Royal Sèvres Vases, Bonhams London, 14th June 2017

This pair is part of a group of thirteen vases which were made in 1778-1779 of either soft or hard paste. They are believed to have been a gift from Louis XVI to his sister-in-law the comtesse d’Artois. Both are decorated with Chinoiserie sea battles and on each vase a ship is depicted bearing a shield with the French Royal arms.

 They appear in Bonhams New Bond Street sale of Fine European Ceramics on June 14th:

 

A pair of Sèvres hard-paste vases, circa 1778
© Bonhams

217

A PAIR OF SÈVRES HARD-PASTE VASES, CIRCA 1778

Vases bouc du Barry, painted by Jean-Jacques Dieu with polychrome chinoiserie sea battles and flying insects, outlined in gilding, applied with gilt goat’s head handles, draped and tied goatskins below the scene and gilt flower garlands suspended from the necks, gilt collars around the necks and gilt borders to the moulded rims, 30cm high, crowned interlaced LL marks in red enclosing date letter AA (one smudged), painter’s mark for Dieu and gilder’s mark for Jean Chauvaux (le jeune) (one with a goat’s head horn replaced and two chips to foot) (2)

 

£70,000-90,000

 

Provenance:
William Stephen Poyntz (1770-1840), thence to his daughter;
Georgiana Elizabeth, Countess Spencer (nee Poyntz);
The Earls Spencer, Althorp, Northamptonshire;
London art market, from 1986 (according to Sassoon, see below Literature)

Literature:
R.J. Charleston, Sèvres and Other French Porcelain in Earl Spencer’s Collection at Althorp, in The Connoisseur 173 (February, 1970), pp. 77-86, fig. 11;
R. Savill, A Pair of Sèvres Vases: From the Collection of Sir Richard Wallace to the J. Paul Getty Museum, in The J. Paul Getty Museum Journal. vol. 14 (1986), p. 138;
S. Eriksen & G. de Bellaigue, Sèvres Porcelain – Vincennes and Sèvres 1740-1800 (1987), p. 331f, no. 142;
R. Savill, The Wallace Collection Catalogue of Sèvres Porcelain (1988), II, p. 625;
A. Sassoon, Vincennes and Sèvres Porcelain: Catalogue of the Collections, The J. Paul Getty Museum (1992), no. 23, n. 19

 

http://www.bonhams.com

Stunning objects!

Gilded Interiors: French Masterpieces of Gilt Bronze, The Wallace Collection, Hertford House, Manchester Square, London, W1, until 30th July 2017

F292: Perfume Burner,
Pierre Gouthière, 1774 – 1775, detail.
© The Wallace Collection

We probably all have a vision of what an 18th century French interior may look like – white and gold panelling, commodes, chairs, sumptuous fabrics, tapestries or paintings, and gilded objects such as clocks or candelabra. The latter are probably the items we pay least attention too but you most certainly won’t after visiting this SUPERB exhibition.

F269: Mantel clock,
Jean-Baptiste Lepaute, 1781, detail.
© The Wallace Collection

We are able to study these objects closely and see the great attention to detail and the exquisite chasing and gilding techniques used. Two of the items on show belonged to Marie Antoinette. The comte d’Artois, the duc d’Aumont and the Prince Regent are other important patrons and clients from the 18th century whom you will discover. Only one of the wondrous pieces does not come from the Wallace Collection and that is a pair of firedogs bought by the future George IV.  They are included because they are the same model as a pair owned by the 4th Marquess of Hertford in his Paris home*.

F131: Candelabrum,
Possibly François Rémond, France, 1783 – 1786
© The Wallace Collection

These gilded wonders, which were such an important and integral part of the homes of the great and wealthy 18th century patrons, are the creation of artists such as Pierre Gouthière, François Rémond and Claude Pition and are important examples of 18th century French taste and stunning works of art in their own right.

F164: Candlestick,
Claude-Jean Pitoin, 1781, detail.
© The Wallace Collection

The exhibition is curated by Dr Helen Jacobsen, Senior Curator and Curator of French Eighteenth-century Decorative Arts at the Wallace Collection who has also written a book on this aspect of the Collection which I shall return to later.  She has also borrowed 18th century drawings from the Bibliothèque Municipale in Besançon which are by the noted architect and designer of interiors Pierre-Adrien Pâris and they reveal how Ancient Rome was a source of inspiration while others show how that inspiration was enacted upon.

F317: Table,
attributed to François Rémond, 1785 – 1787, detail.
© The Wallace Collection

I have now visited the exhibition three times but will return again and again because each time you see new details and appreciate even more the perfection of 18th century French decorative arts.

F258: Mantel clock, The Avignon Clock,
Pierre Gouthière, France, 1771
© The Wallace Collection

 

* This was not part of Sir Richard Wallace’s bequest and they are now in the Philadelphia Museum of Art.

 

http://www.wallacecollection.org

The Palais Rose recalled

Boni de Castellane & Anna Gould, La Mémoire Du Palais Rose, Christie’s Paris, 9 avenue Matignon, 75008 Paris, 7th March 2017

GRAND SALON, Diane de Castellane’s apartment rue d’Andigné, Paris ©Christie’s Images, Ltd, 2017

GRAND SALON, Diane de Castellane’s apartment rue d’Andigné, Paris
©Christie’s Images, Ltd, 2017

This sale takes us back into the Belle Époque where Boniface de Castellane, known as Boni, was one of the more famous dandies of the time and regarded as a tastemaker.  In 1895 he married the American railway heiress Anna Gould and her substantial dowry allowed them the following year to start building the Grand Trianon inspired Palais Rose which was completed in 1902.  It became a major centre in Parisian social life where Kings, Queens and aristocracy were received. The house was sumptuously furnished with old master paintings and drawings, furniture and porcelain of the best quality.

LOT 19 NÉCESSAIRE DE BUREAU ART DÉCO « JARDIN JAPONAIS », PAR CARTIER Estimation : €1.000.000-1.500.000 AN ART DECO 'JARDIN JAPONAIS' DESK SET, BY CARTIER Mouvement no. 2968872 ©Christie’s Images Ltd, 2017

LOT 19
NÉCESSAIRE DE BUREAU ART DÉCO « JARDIN JAPONAIS », PAR CARTIER
Estimation : €1.000.000-1.500.000
AN ART DECO ‘JARDIN JAPONAIS’ DESK SET, BY CARTIER
Mouvement no. 2968872
©Christie’s Images Ltd, 2017

However this idyll was not long-lived for in early 1906 Anna filed for divorce with Boni’s extravagances and expenditure being a major cause. Some of their collections were disposed of after the divorce and more after Anna’s death in 1961.  Anna however did leave a mixture of wonderful things to her grand-daughter Diane de Castellane and she lived surrounded by these elegant pieces, including the group of Boulle furniture which so evocatively recalls the interiors, sadly not photographed for posterity, with the exception of the staircase and a fireplace of the Palais Rose.  The building was demolished in 1969 but its large Salon des Arts decorated with marble carvings celebrating the arts by Jean-Paul Aubé are remembered in the four tinted plaster preparatory studies which hung in the dining room of Diane de Castellane’s apartment.

SALLE À MANGER, Diane de Castellane’s apartment rue d’Andigné, Paris ©Christie’s Images, Ltd, 2017

SALLE À MANGER, Diane de Castellane’s apartment rue d’Andigné, Paris
©Christie’s Images, Ltd, 2017

I think you will agree with me that the photographs of the apartment show what a beautiful place it was, filled with great treasures and giving us a fascinating glimpse into a world gone by.

BIBLIOTHÈQUE, Diane de Castellane’s apartment rue d’Andigné, Paris ©Christie’s Images, Ltd, 2017

BIBLIOTHÈQUE, Diane de Castellane’s apartment rue d’Andigné, Paris
©Christie’s Images, Ltd, 2017

 

LOT 74 JEAN-HONORÉ FRAGONARD (GRASSE 1732-1806 PARIS) L’heureux ménage huile sur toile, circulaire Diam.: 34,2 cm. (12.3/4 in.) Estimation : €500.000-700.000 J.-H. FRAGONARD, THE HAPPY HOUSEHOLD, OIL ON CANVAS, CIRCULAR ©Christie’s Images Ltd, 2017

LOT 74
JEAN-HONORÉ FRAGONARD (GRASSE 1732-1806 PARIS)
L’heureux ménage
huile sur toile, circulaire
Diam.: 34,2 cm. (12.3/4 in.)
Estimation : €500.000-700.000
J.-H. FRAGONARD, THE HAPPY HOUSEHOLD, OIL ON CANVAS, CIRCULAR
©Christie’s Images Ltd, 2017

 

SALLE À MANGER, Diane de Castellane’s apartment rue d’Andigné, Paris ©Christie’s Images, Ltd, 2017

SALLE À MANGER, Diane de Castellane’s apartment rue d’Andigné, Paris
©Christie’s Images, Ltd, 2017

 

 

 

 

 

 

 

 

 

GRAND SALON, Diane de Castellane’s apartment rue d’Andigné, Paris ©Christie’s Images, Ltd, 2017

GRAND SALON, Diane de Castellane’s apartment rue d’Andigné, Paris
©Christie’s Images, Ltd, 2017

 

LOT 52 PAIRE DE "VASES" EN PORCELAINE TENDRE DE SEVRES DU XVIIIe SIECLE, A MONTURES EN BRONZE DORE CIRCA 1770, MARQUE EN CREUX P Hauteur totale: 44 cm. (17.3/8 in.) Estimation : €80.000-120.000 Provenance: Boni de Castellane et Anna Gould, Palais Rose, Paris A PAIR OF 18TH CENTURY SEVRES PORCELAIN "VASES", WITH ORMOLU MOUNTS ©Christie’s Images, Ltd, 2017

LOT 52
PAIRE DE “VASES” EN PORCELAINE TENDRE DE SEVRES DU XVIIIe SIECLE, A MONTURES EN BRONZE DORE
CIRCA 1770, MARQUE EN CREUX P
Hauteur totale: 44 cm. (17.3/8 in.)
Estimation : €80.000-120.000
Provenance: Boni de Castellane et Anna Gould, Palais Rose, Paris
A PAIR OF 18TH CENTURY SEVRES PORCELAIN “VASES”, WITH ORMOLU MOUNTS
©Christie’s Images, Ltd, 2017

 

LOT 142 PAIRE DE MEUBLES À HAUTEUR D’APPUI DU DÉBUT DE L’ÉPOQUE LOUIS XVI ESTAMPILLE DE JEAN-LOUIS-FAIZELOT DELORME, VERS 1770-1780, RÉEMPLOYANT DES ÉLÉMENTS DE MARQUETERIE D’ÉPOQUE LOUIS XIV Estimation: €1.000.000-1.500.000 Provenance: Boni de Castellane et Anna Gould, Palais Rose, Paris. A PAIR OF LOUIS XVI ORMOLU-MOUNTED TORTOISESHELL AND COPPER BOULLE MARQUETRY AND EBONY MEUBLES-A-HAUTEUR-D’APPUI STAMPED BY JEAN-LOUIS-FAIZELOT DELORME, CIRCA 1770-1780, REUSING SOME LOUIS XIV MARQUETRY ELEMENTS ©Christie’s Images Ltd, 2017

LOT 142
PAIRE DE MEUBLES À HAUTEUR D’APPUI
DU DÉBUT DE L’ÉPOQUE LOUIS XVI
ESTAMPILLE DE JEAN-LOUIS-FAIZELOT DELORME, VERS 1770-1780, RÉEMPLOYANT DES ÉLÉMENTS DE MARQUETERIE D’ÉPOQUE LOUIS XIV
Estimation: €1.000.000-1.500.000
Provenance: Boni de Castellane et Anna Gould, Palais Rose, Paris.
A PAIR OF LOUIS XVI ORMOLU-MOUNTED TORTOISESHELL AND COPPER BOULLE MARQUETRY AND EBONY MEUBLES-A-HAUTEUR-D’APPUI STAMPED BY JEAN-LOUIS-FAIZELOT DELORME, CIRCA 1770-1780, REUSING SOME LOUIS XIV MARQUETRY ELEMENTS
©Christie’s Images Ltd, 2017

 

 

 

 

 

 

 

 

 

 

www.christies.com

The Artist Depicted!

Portrait of the Artist, The Queen’s Gallery, Buckingham Palace, London SW1, until 17th April 2017

Daniel Mytens, A Self-Portrait, c.1630 Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

Daniel Mytens,
A Self-Portrait, c.1630
Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

This extensive exhibition encompasses portraits of artists from the reign of Charles I to the present day. A whole variety of disciplines have been used in creating these works of art, including Hockney’s 2013 self-portrait created on an iPad.  It was a gift to Her Majesty The Queen to mark his receiving the Order of Merit.

Giovanni Battista Cipriani, Bartolozzi Sleeping,c.1770 Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

Giovanni Battista Cipriani,
Bartolozzi Sleeping,c.1770
Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

Several portraits were in the collection of Charles I such as the Self-Portrait as the Allegory of Painting (La Pittura) (c.1638–9) by Artemisia Gentileschi.  The Rembrandt portrait was acquired by George IV. Dating from the 1950s are the reciprocal portraits of HRH The Duke of Edinburgh and Edward Seago.

HRH The Duke of Edinburgh, Seago Painting, 1956-57 © HRH The Duke of Edinburgh

HRH The Duke of Edinburgh,
Seago Painting, 1956-57
© HRH The Duke of Edinburgh

Displayed in their entirety for the first time are the 224 miniatures created by the Italian artist Giuseppe Macpherson for Lord Cowper in the 1760s who presented them to George III.  They depict the artists’ self-portraits hung in the Vasari Corridor of the Galleria degli Uffizi in Florence and which are the most important such group in the world.

Attributed to Francesco Melzi, Leonardo da Vinci, c.1515-18 Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

Attributed to Francesco Melzi,
Leonardo da Vinci, c.1515-18
Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

I can only give a taste of what awaits you in this exhibition but I feel sure you will want to visit more than once – so don’t forget your ticket allows you free re-admission for a year if you ask them to treat your ticket purchase as a donation.

Johann Michael Wittmer, Raphael's First Sketch of the 'Madonna della Sedia', 1853 Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

Johann Michael Wittmer,
Raphael’s First Sketch of the ‘Madonna della Sedia’, 1853
Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

 

Lucian Freud, Self-Portrait: Reflection, 1996 Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

Lucian Freud,
Self-Portrait: Reflection, 1996
Royal Collection Trust /© Her Majesty Queen Elizabeth II 2016.

 

http://www.royalcollection.org.uk

Garnitures at the V&A

Garnitures: Vase Sets from National Trust HousesV&A Museum, Cromwell Road, London SW7, until 30th April 2017

Set of Chinese porcelain vases, 17th century, Victoria and Albert Museum, London

Set of Chinese porcelain vases, 17th century,
Victoria and Albert Museum, London

This exhibition is a partnership between the National Trust and the V&A and is well worth visiting.

It consists of a mixture of ceramic and silver vases that truly do reflect the wealth and taste of their original owners in the 17th to 19th centuries when the garniture had its heyday. Garnitures usually consist of an odd number of vases which are united by their decoration and they would be displayed symmetrically on mantelpieces, on door cases and on the top of furniture.

Covered pot-pourri vase from Upton House, Warwickshire, soft-paste porcelain, 1762 – 64, Chelsea factory, London, England. © National Trust. Photograph Robert Morris

Covered pot-pourri vase from Upton House, Warwickshire, soft-paste porcelain, 1762 – 64, Chelsea factory, London, England.
© National Trust. Photograph Robert Morris

The first such sets were made up from pieces of Chinese porcelain in the 17thcentury but eventually they were made as sets in both China and Japan and of course from the 18th century onwards by British and European porcelain factories.  The decline in the popularity of garnitures meant that many were split up – a Sevres set from Upton House proves this point – and so complete sets are rare nowadays.

Three-piece ‘Hamilton’ vases from Saltram, Devon, about 1770 – 80, black basalt, Wedgwood and Bentley, Etruria, Staffordshire, England. © National Trust. Photograph Robert Morris

Three-piece ‘Hamilton’ vases from Saltram, Devon, about 1770 – 80, black basalt, Wedgwood and Bentley, Etruria, Staffordshire, England.
© National Trust. Photograph Robert Morris

The National Trust’s External Adviser on Ceramics, Patricia Ferguson, who has worked alongside the V&A’s senior curator Reino Liefkes, said: : “This display promises to change the way you see historic vases; they were almost always designed to be part of a set”.  She is also the author of the accompanying V&A and National Trust exhibition book: Garnitures: Vase Sets from National Trust Houses.

Five-piece chimney garniture from Blickling Hall, about 1804 – 7, soft-paste porcelain, Barr, Flight and Barr factory, Worcester, England. © National Trust. Photograph Robert Morris

Five-piece chimney garniture from Blickling Hall, about 1804 – 7, soft-paste porcelain, Barr, Flight and Barr factory, Worcester, England.
© National Trust. Photograph Robert Morris

vam.ac.uk/exhibitions/garnitures