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An Impair Plate, Impair Vases, Meiji Period, Satsuma booted Vases, Fukagawa Imari Vase
Tuesday, January 12th, 2010
An Impair Plate, Impair Vases, Meiji Period, Satsuma booted Vases, Fukagawa Imari Vase
An Impair Plate, late I7th/early 18th Century, centred by a basket of flowers framed by flower and bird panels, 24cm.;
A Kutani Cat, Meiji/Taisho Period, curled up asleep with brocade bow and bells on its collar, ear chip.
A Pair of Impair Vases, Meiji Period,
each tapering body decorated with ho-o flying
in and out of a dense ground of leaves and
flowers under a concave trumpet neck filled
with brocade, 61.8cm.;A finely enamelled Kinkozan
earthenware Figure of a begin, Meiji/Taisho,
the young woman wearing a kimono
meticulously painted with a design of
overlapping flower carriages against a
pale-purple ground, her obi carrying dragon
moon in a simulated gold file woven cloud
ground incorporating the signature, fan broken,
head glued, 43cm.; 17in.A Satsuma Vase, Meiji/Taisho Period, of short ovoid form, enamelled with broad panels of samurai and potentates against and between a brocade ground.
A Pair of Satsuma booted Vases, Meiji/Taisho Period, each blue enamelled ground decorated with samurai seen through flowering prunes’ under a brocaded neck, 31cm.;
A Pair of Satsuma Vases,
Meiji/Taisho Period, each tapering slender
body lavishly gilt with panels of samurai and
female deities between fabric moulded and
enamelled brocade borders, 46cm.; 18in.,Yabu Meizan: A Satsuma hexagonal Jar, Stopper and Cover, Meiji Period, finely enamelled with flower, fan, landscape and procession scenes, glued, 13.8cm.;
A Pair of Satsuma Vases, Meiji, of shouldered squared ovoid form, painted with figure and landscape panels within an under glaze-blue ground embellished in gilding, rubbed
hair-crack in one, 36cm.;
A Satsuma Bowl, Meiji Period, of
cinquefoil outline, the deep-blue ground
reserved on the inside with a smaller cinquefoil
panel scene of begin with children, 21.8cm.;A Kinkozan Satsuma Koro, Cover and
inner Cover, Meiji Period, with bamboo leaf
moulded handles and bamboo borders
training gill spruce against a deep-blue
ground.Yabu Meizan: Seven Satsuma Cups, art Saucers and a Sugar Bowl, Meiji, each enamelled with different flowers or shrubs.
An enamelled Arita Dish, 18th Century, painted in soft under glaze-blue heightened in over glaze enamels with three children jumping about a lady in a garden where an Immortal
appears upon a cloud, framed by eight repeated figure panels radiating between repeated bird panels under a prunes bordered rim, riveted, pseudo Chinese mark, fu gui chang chun
(riches, honour and enduring spring), 31.2cm.;
Yabu Meizan: A Satsuma Koro and Cover, Meiji, the low cylindrical sides painted with boats in a bay under curled-over short strap handles, the shoulder and pierced cover filled
with millefiori, on three bracket feet, handle repair, signed Yabu Meizan, 6.5cm.;
A Pair of Japanese turquoise glazed porcelain Tigers, 19th Century, recumbent with closed and half-open mouth, chips, paw missing, 17.8cm.;
A Satsuma Tea Service, Meiji/Taisho period, painted with quail and other birds amongst flowering plants and shrubs, comprising: Teapot and Cover, Sugar Bowl and Cover, Jug and
Cover, six Cups, Saucers and Plates.
A Fukagawa Imari Vase, Meiji Period, of broad ovoid form, the flower-filled ground reserved with four barbed panels of flower baskets and landscapes, 25.5cm.; signed in
iron-red.
A Fukagawa Imari Bowl, Meiji Period, the fluted interior filled with four garden panels in a deep blue ground centred by a vase of flowers, a continuous flower meander on the
exterior, 27.8cm.; bamboo signature in under glaze-blue.
Kinkozan: A Satsuma Vase, Meiji, of cylindrical form between waited foot and neck, the body finely decorated with three kidney-shaped panels of figures reserved against a blue
ground and separated by moulded bamboo borders, 14.2cm.; 5Vsin., signed on body in gilding, impressed mark, Kinkozan.
An Arita Plate, late I7th/early 18th Century, painted in inky tones of under glaze-blue with flowers on a fence framed by six radiating panels of alternating flowers, 22cm.
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Сhinese Ceramics: Canton ‘hundred antiques’ Jardiniere, 19th Century, A carved celadon Dish, Ming Dynasty, white Bowl, Qing Dynasty, Plate, Kanji
Tuesday, January 12th, 2010
Сhinese Ceramics: Canton ‘hundred antiques’ Jardiniere, 19th Century, A carved celadon Dish, Ming Dynasty, white Bowl, Qing Dynasty, Plate, Kanji
A sang de beef Vase, 18th Century,
of bronze hub form, a pair of applied dog-of-For masks biting rings upon a shoulder horizontally zoned by a pair of moulded lines, the characteristically streaky glaze drainingfrom the rim, bevelled foot, 32.7cm.
A Canton ‘hundred antiques’
Jardiniere, 19th Century, of flared square
form, on bracket feet, the celadon sides
attractively enamelled with auspicious vessels
and arrangements of plants amongst scattered
medallions between key-fret and foliate
borders, crack, 27.8cm.A celadon bottle Vase, Qing Dynasty, mark of Qianlong, the stout spheroid body slip-trailed with archaistic fang scroll medallions centred by a lengthy fungus, all filled in
cobalt blue, the wasted neck similarly decorated with bats between fang moulded pierced handles, 37.5cm.; 143In, six character seal mark in under glaze-blue .
A carved celadon Dish, Ming Dynasty, and a tripod Censer, the first carved with a central flower, the second supported on the backs of three boys, 16 and 10cm., one boxed, one
on wood stand (4).
A ‘devils work’ white Bowl, Qing Dynasty, mark of Qianlong, finely pierced with dragons amongst clouds over combed Anhui’ waves, the main design filled with a wash of glaze,
13.6cm.; 53in., seal mark in under glaze-blue, boxed.
An nhui’ eggshell porcelain Bowl, Qing Dynasty, finely incised with dragons amongst flames, 12.7cm.; 5in., archaic mark, (a myriad ages without ending), boxed.
A Chinese export armorial Soup Plate, Qianlong, octagonal, charged on the rim with the crest and arms
A Group of Export ware, 18th Century:
two blue and white Plates, a ‘family-rose’ Plate,
two Tea bowls and a Saucer .A Samson armorial Bowl, late 19th
Century, charged with a variant of the arms of
Hamilton within under glaze-blue bands and scattered flower sprays, 30cm.; 12in., marked.
An export ware bell-shaped Mug, Qianlong, painted in ‘family-rose’ enamels with four ladies and two boys about a table under a gilt border, 13cm.A ‘family-rose’ Teapot and Cover, Qianlong, enamelled with a family in a garden, serpent moulded spout, small crack, 16cm.; 6in. (2).
A ‘family-rose’ sparrow beak Jug, Qianlong, enamelled with maidens and boys in a garden, 8.5cm.; 33in.; and a Saucer .
A Pair of ‘family-rose’ miniature
trumpet beaker Vases, Qianlong, each wasted
body enamelled with a blue and yellow bird
upon a flowering shrub, 8.2cm.An early Ming celadon Figure of Guan Yin, 14th/15th Century A.D., seated with a small vase in one hand, the other hand resting on her knee, her biscuit face washed in lustrous
iron oxide, the glaze of clear sea green colour with an overall crackle, 17cm.
A ‘family-verte’ Plate, Kanji,
enamelled with a rider and attendant dwarfed by a scholar’s table by a fence and palace, scholar’s implements on the rim, crack, 22cm.; 83in., ding mark in under glaze-blue .Two ‘family-rose’ Figures, Jiaqing,
one of Ganging with a diminutive child,
20.5cm.; 8Vsin.; the other of a have spirit,
chipped, 17.8cm.; 7in.A blanch -de-Chine Figure of Butyl, 18l Century, the jovial god seated with a rope of beads on his knee, finely incised facial festoon 8.5cm.; 33in., impressed potter’s square
seal mark huang haul stand (2) .
A transitional blue and white ’sleeve’ Vase, 2nd quarter 17th Century, well painted with a kingfisher perched above water fowl, two landing on a us pond, crack and chip,
26.5cm..
An attractive blue and white small Dish, early 17th Century, of saucer form, simply painted with a bird on the branch of peach tree, 10.3cm.; 4in.
A carved celadon Jar let, early Ming Dynasty, of stout ovoid form, carved with meandering us beneath a pale sea green glaze, 10.8cm.; 4/4in.A sang-de-beef ‘dome of heaven’
Vase, 18th Century, of bottle form, with a
dark greyish-maroon glaze draining from the
rim, chipped foot rim, 31cm.A Chinese ‘family-rose’ double Vase, Guangxu, painted with Immortals on a shore inspecting a scroll and smaller landscapes, reserved in a flower-strewn green ground under a pair
of masked and loose rii handles, rim chip, 37.2cm.; seal mark Qianlong in iron-red.
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Сhinese Ceramics: ivory glazed Bulb Bowl, Ming Dynasty, Wine Cup and Saucer, Yongzheng, Canton ‘family-rose’ Vases, Guangxu
Tuesday, January 12th, 2010
Сhinese Ceramics: ivory glazed Bulb Bowl, Ming Dynasty, Wine Cup and Saucer, Yongzheng, Canton ‘family-rose’ Vases, Guangxu
A ‘family -verte’ Jardiniere, Guangx the rounded sides enamelled with a pheasant amongst flowers and rocks, lipped rim, 26cn 10 in.; and a carved wood Stand (2).
An ivory glazed Bulb Bowl, Ming Dynasty, with bombe sides over three paw few carved with flowers, crack, feet loose, 29cm.; and a cream glazed Vase, 24.3cm.; 9/2in.
A matched Set of four blue and white small Plates, Kanji, each painted with a ‘Jumping Boy’ pattern framed by a trellis bordered rim, hair-cracks, chip, approx. 10cm.; 4in.,
three with apocryphal Chengdu marks, one marked tang (made for the hall of precious jade) .
A ‘family -rose’ bottle Vase, Daogu the low body and cylindrical neck enamelled with richly blossoming branches, 30cm.
A Pair of ‘family-rose’ Lanterns and Stands, Guangxu/later, each decorated with wa-wa scenes of children celebrating the New Year with processional dragons and fireworks (4) .
A Pair of Chinese crackleware balls Vases, Guangxu, with ‘bronzed’ dragon relief under prunes’ handles, 25.3cm.; Win.
A ‘family-rose’ octagonal Bowl, mark
and period of Tongzhi, eight figures
accompanied by auspicious animals arranged
about the sides, puce interior, chip, minor
repairs, 18.6cm.; 7 in., seal mark in red.A Pair of ‘Mandarin’ palette baluster Vases, Qianlong, each ‘fish roe’ blue ground reserved with enamelled domestic scenes of figures, hair-crack, 17.8cm.; 7in.
A good ‘rose-verte’ Wine Cup and Saucer, Yongzheng, each piece painted with maidens accompanied by deer in a blossoming garden, small glaze chip, three cracks in saucer; and a
‘family-rose’ Rice Bowl and Stand, painted with an iron-red bird amongst flower repair, bears Marryat Collection label; and a ‘Queens’ pattern Saucer .
A Samson ‘family-rose’ Plate, late 19th
Century, painted in Chinese style with a lady
observing foul deeds in a garden framed by a
complex brocade border, 22.7cm.
.
A transitional blue and white Food Jar,
mid- 17th Century, painted in soft tones of
under glaze cobalt blue with two fabulous
beasts among rocks, one a dragon-headed scaly
animal, the other of ram-like appearance,
hung with metal swing handles, 21cm.; 8in.
diam.An Aria blue and white Coffee Urn,
late 17th Century, of conical form, the
tapering sides painted with two birds among
flowers, rocks and fruiting pomegranate,
square spigot button, 26.5cm.; 10′/2in.A Pair of Canton ‘family-rose’ Vases, Guangxu, each of mallet form with applied gilt dragons and dogs-of-For over figure and bird panels, chip, 25.8cm.; Win.
A Chinese Imari Charger,Kanji, closely following a Japanese original with panels of shish birds and butterfly separated by three under glaze-blue wave-edged panels filled with
peony and radiating from a flower basket medallion centre, repaired, 46cm.; 18in.
A Group of export ware, 18th Century,
comprising: two Teapots, a Canton enamel Bowl, Cover and Stand, a Cup and Saucer, a Worcester ‘Lowestoft’ Teapot and a He rend arrow beak Jug and Cover, some damage .A spinach green jade Bowl and Cover, 18th Century, repaired, 15cm.; 57in., wood ; tend .
An attractive Longue celadon Dish, early Ming Dynasty, of characteristic form with fluted interior radiating to a lipped rim, ill covered in a rich bluish-green glaze front madeback, the biscuit firing ring oxidized to range.
A Pair of Chinese Stick Stands, of
cylindrical form, painted with green dragons, drilled, one damaged, 65cm.; 25/2in.A Pair of turquoise glazed Dogs-of-For, 20th Century, seated on cube bases, 32cm.; 12/2in.
A coral-red ground Dish, reserved with a partially unrolled scroll filled with a river landscape, gilt flower sprays scattered round about, 23.3cm.; Win., seal mark of Qianlong
in under glaze-blue (boxed).
Chinese export armorial wares, late Qianlong, comprising: a Pair of Fitzhugh border pierced Dishes bearing the arms of Brent, distressed, 25.6cm.; and a Pair of Vegetable
Tureens bearing the crest Farquason over a festooned shield monogrammed J.F., damaged handles .
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Сhinese Ceramics: Tea bowl and Stand, Qianlong, Teapots and Covers, Qianlong, Tea wares, Qianlong
Tuesday, January 12th, 2010
Сhinese Ceramics: Tea bowl and Stand, Qianlong, Teapots and Covers, Qianlong, Tea wares, Qianlong
A Swatow Dish, 16th Century, of Split Pagoda’ family, enamelled in turquoise and green with five leaping carp between iron-red sprays revolving about a central medallion, chips,
38.7cm.;
A black ground Vase, Qing Dynasty, of lively baluster form, decorated in gilding with Buddhistic lions, rim repair, 58.5cm.; 23m.
A blank-de-Chine Figure of Guanyin, 18th Century, seated with robes falling down to the ground to one side, in her raised right hand a small scroll, chips to fingers, 20.5cm.;
8in.
A blank-de-Chine Group of Guan Yin, 18th Century, seated upon a rock between two acolytes, missing vases, 22.8cm.; 9in.
A large ‘family-rose’ Tea bowl and Stand, Qianlong, each piece painted with six radiating panels of figures alternating with flowers under a gilt vermicular border.
A Group of export Tea wares, Qianlong, comprising: three ‘family-rose’ Tea bowls, one with Meissen-style panels of European hunters and Chinese riflemen in grisaille and
rouge-de-far palette, and a Saucer with a central panel of three ladies and a gentleman, 15.8cm.; 6′Ain., some damage or rubbing.
A Set of four ‘Companies-des-Indies’ Plates, Qianlong/Jialing, each painted with a pavilion ‘floating’ in a lake, 24cm.;
Two ‘family-rose’ Punch-Bowls,
Qianlong, one painted with puce scale borders
over flower sprays, the other with a Chinese
landscape, restored, 26.5 and 24cm.Three ‘family-rose’ Teapots and Covers, Qianlong, one in Mandarin palette, one in Impair colours and one ‘family-rose’, restoration .
A good celadon Jar, 18th Century, the compressed ovoid body sprigged and carved with a continuous meandering stem bearing four flower heads and fleshy leaves between studded
borders, all under a glutinous bluish glaze, 24cm.
A Chinese ‘family-rose’ Bowl, 19th Century, of us flower form, the celadon ground painted with insects and flowers, rubbed; and a ‘family-rose’ Bowl, decorated with dogs-of-For .
A Southern Chinese stoneware Figure of a man, 19th Century, finely modelled seated on a rock peeping into a double-gourd bottle, 14cm. 51/2in.; and a Southern Chinese stoneware
Figure of a seated sage, 14cm.
The companion Saucer Dish, mark and period of Dialoguing, rim repair, 24.8cm. 93 in.
A turquoise glazed mythical Beast, 19th Century, part lion, part ram and of benevolent intent, seated and looking to its right, 19cm. 77/2m., wood stand .
A blue and white barrel-form Garden Seat, Gangue, painted with a pair of dragons confronted across pierced pairs of cash between studs and chrysanthemum-filled ruby collars, 48.5cm.
A blue and white tureen Stand,
Qianlong, painted with a pair of deer in a
Peony garden framed by a trellis, under flower
sprays trailing from the canted and notched
rim, 38.3cm.; 15m.
A blue and white Meat Dish,
Qianlong, painted with a maiden punting a
boat framed by a hatched cavetto under a
and scroll brocade border, 44.3cm.; 17in.
A Group of export Tea wares, Qianlong, comprising: a Set of six Tea bowls and four Tea bowls and Slop Bowl, cracks and repair; also a Spoon Tray, Milk Jug and en suite .
A Chinese blue and white ‘yen yen’ Vase, Kanji, painted in vivid blue with six auspicious mythical beasts upon spume fleck cracks divided between trumpet neck and baluster body, broken rim, 45.5cm.; 177.
A Companies-des-Indies Dish, Qianlong, painted in under glaze-blue with three scattered flower and pomegranate spray under a barbed and hatched rim border, 35.3 cm. -
A wood Netsuke, 19th Century - An ivory Netsuke - An ivory Manju - An ivory manju Netsuke
Thursday, December 3rd, 2009
A wood Netsuke, 19th Century - An ivory Netsuke - An ivory Manju - An ivory manju Netsuke
Eleven ivory okimono Netsuke, 19th Century and later, various subjects
Two ivory Netsuke, 19th Century, of traveller, one loaded with a large kettle, the other with a Daruma doll, approx.
A miniature ivory Netsuke, 19th Century, of a monk sitting asleep.
Three wood Netsuke, 19th Century, one of a man with toothache, another of a beast concealed in a fruit, the last of Fukurokuju with a minogame
An ivory manju Netsuke, 19th Century, well carved in sunken relief with children riding piggy-back and playing with a top, crack, and a red lacquer Manju carved with pine
Two ivory Netsuke, 18th Century, one of a sennin reposing upon the back of a shi-shi upon a base, the other of a lion seated to attention
Two ivory Qjime, 19th Century, one carved with two masks, the other with a boy chasing a rabbit and hamster; and a walnut Carving of Okame with a young monkey
An ivory Carving, of the Gods of Good Fortune, 19th Century, happily at sea in a bowl
Ten Netsuke, various dates, two of Okame, one of two boys beating a drum, one of Hotei, one of Fukurokuju and five others
An ivory Netsuke of Daruma, 19th Century, standing in voluminous robe, a flywhisk trailing over his shoulder, stained
An ivory Netsuke, 19th Century, a man dancing on one leg, one hand above head
An ivory okimono Netsuke, 19th Century, two boys chasing one another about a large snowball, inlaid hair knots, signed
A four-case gilt lacquer Inro, 19th
Century, decorated with birds and deer amongst rocks, cornelian ojime
A wood Netsuke, 19th Century:
- of a rearing horse, hair finely detailed, inlaid eyes, signed Masamichi
- a rat amongst mushrooms in a winnowing basket, inlaid eyes, unsigned
- small 17′ tortoise upon a large lotus pod carve with movable seeds, rubbed signature, Sessan
- of Hanya with inlaid gilt-metal eyes and silvered metal teeth, unsigned
- carved as a gnarled shi-shi turned round upon its hind quarters, a small bead in its open mouth, indistinct signature
A wood Netsuke of a mokugyo bell, 19th Century, carved as a scaley fish flexed back in the attitude of biting its tail
An ivory Netsuke, late 18th/19th Century, carved as a ‘tongue cut’ sparrow with incised wings and tail anc inlaid eyes, unsigned
An Netsuke, 19th Century, a cluster of eight masks back-to-back, metal himatishi, unsigned
An ivory Netsuke of a turtle, 18th Century, dozing with semi-retracted head, feet curled up beneath its body, unsigned
An ivory Manju, 18di/early 19th Century, carved in low relief with Hotei looking out of his linen bag, unsigned
An ivory Netsuke, 19th Century, of an eagle perched with talons locked upon a small rabbit, inlaid eyes, signed Hoichi
An ivory Netsuke, 19th Century, a Dutchman with beard and curly hair holding onto his wind-swept hat, inlaid black buttons to his frock coat
Two Pairs of Japanese cloisonne Vases, Meiji, one of pear form, decorated with flower sprays against a black ground, 15.5cm.; 6in., the other of barrel form and small size, decorated with mon against a red ground,
small bruise.
Three Japanese cloisonne Vases, Meiji, comprising: a Pair of Vases decorated in part Ginbari technique with flowers in a blue ground, and a single Vase decorated with iris against a celadon ground, stress crack. -
A Chinese blue and white Dish - A Chinese ‘famille-verte’ Dish, Kangxi - A wood Netsuke - A Chinese blue and white saucer Dish, Kangxi - A Chinese blue and white Jar
Thursday, December 3rd, 2009
A Chinese blue and white Dish - A Chinese ‘famille-verte’ Dish, Kangxi - A wood Netsuke - A Chinese blue and white saucer Dish, Kangxi - A Chinese blue and white Jar
A Set of three provincial Chinese blue and white saucer Dishes, 18th Century, each boldly painted with a dragon amongst clouds, its hind quarters trailing over the underside, crack, repair Compagnie-des-Indes deep Dish, Qianlong, of European silver form, pencilled with European rose sprays under a hatched border bearing flower sprays inside the iron-oxideedged rim
A Batavianware ‘famille-rose’ Punch Bowl, the cafe-au-laic ground reserved with barbed panels of peony, cracks, 25cm.; 9314in.; and an Imari Bowl, Meiji, the interior painted with ho-o birds ‘famille-rose’ Bowl, mark and period of Yongzheng, the exterior finely enamelled on one side with feathery peony, the other side with a spotted yellow butterfly, two small sprays within, very small chip to rim, six character mark in
underglaze-blue, wood stand
A large Chinese baluster punch Jug and Cover, Qianlong, painted in underglazeblue and enamels with figures in a continuous Lakeland scene, scroll spout, repair to rim, replacement metal handle Pair of Chinese
blanc-de-Chine lion joss-stick Holders, 18th Century, each Buddhistic beast sitting on a cube base, a brocade ball under its left paw, both bases cracked
A Chinese blue and white Jar, Wanli, of stout shouldered ovoid form, the sides painted in underglaze-blue with a Ion -tailed
‘d perched on a rock in a garden of peony, the shoulder panelled with stylised chrysanthemum in a wan-diaper ground
A ‘Compagnie-des-Indes’ Basket and Stand, Qianlong, with trellis pierced sides framing a river scene within brocade and trellis borders, handles repaired, hair-crack in stand
A Pair of Chinese Imari Pots and Covers, Kangxi, each of cylindrical form, painted with hibiscus sprays, both cracked
Three ‘famille-rose’ Teapots, Qianlong and later, enamelled with figures and flowers, one repaired
A Chinese ‘Mandarin’ palette Punch Bowl, Qianlong, the Y-diaper ground reserved with two figure scenes between panels containing birds in branches, a complex brocade and butterfly border within, hair-cracks, A
‘Compagnie-des-Indes’ blue and white tureen Stand, Qianlong, painted with a willow in a garden before peaks under a cavetto and rim of complex and panelled brocade, chips
Two `famille-rose’ Plates, Yongzheng/ Qianlong, one painted with a pheasant framed by a panelled pink cavetto and four flower
Trays on the rim, 22cm.; 8314in., the other with flowers within an octagonal frame with panelled turquoise trellis border, hair-crack
A Chinese blue and white saucer Dish, Kangxi, a central fan panel framed by four flower and vase groups under a complex border incorporating further fans and scrolls separated by scattered flowers .
A Chinese blue and white Dish, Kangxi, two tiers of flower lappets radiating to a barbed rim from a lotus medallion centre against a trellis ground, two hair-cracks
A Chinese blue and white food Jar, Kangxi, the cylindrical sides filled with two broad antique and landscape panels, rim repair wood cover
A Pair of ‘Compagnie-des-Indes’ Sauceboats, Qianlong, painted in underglazeblue with lake scenes, brown dressed shaped rim, handle crack, other glued,
A ‘Compagnie-des-Indes’ oval Tureen and Cover, Qianlong, painted with expansive lake scenes under a cover surmounted by a pomegranate finial, handles damaged
A Chinese blue and white Ewer, Kangxi,painted in near Transitional style with two scholars seated beneath a willow, body and handle crack
A Chinese ‘famille-verte’ Dish, Kangxi, pencilled in underglaze-blue with two bands of linezhi fungus radiating from and between a medallion centre and trellis borders
A Chinese exportware Bowl and Spoon, for the Persian market, jiaqing, each piece decorated wit simple gilt interweaving ribbon borders centred by green flowerheads about an Arabic inscription clobbered Chinese Jar,
Kangxi and later, the barrel body painted with figure medallions in a reeled band later enamelled with dragons on a green ground between iron-red borders incorporating underglazeblue flower sprays, 20cm.; 8in., Manhao of Chenghua, wood cover and stand
A blanc-de-Chine Ewer, 18th Century, of hexagonal double-gourd form, moulded with recessed panels of auspicious objects against a wave ground; and a blanc-de-Chine Guanyin Group
A Chinese ‘famille-rose’ cylindrical Tankard, Qianlong, painted in Mandarin palette with a scene of three figures on a terrace
A `famille-verte’ wine Pot, Kangxi, of rectangular form, with raised roundels filled with plants and antiques, repairs to upright yoke handle, ; and an Imari clobbered blue and white Teapot and Cover A
`Compagnie-des-Indes’ Mug, Qianlong, of barrel form, painted with panels of European roses in puce and purple in scroll frames under scale borders hung with flowers, minor chips to rim interior.
A similar Mug, Qianlong, with entwined double-strap handle and beaded borders, chip
A wood Netsuke, 18th Century, simply carved as a lotus leaf, of dark colour -
An ivory Netsuke - A mutton-fat jade Carving of a Buddhistic lion - A Japanese ivory Figure of a samurai - A Group of Japanese ivory Figures and Carvings - A Qajar lacquered Bowl
Thursday, December 3rd, 2009
An ivory Netsuke - A mutton-fat jade Carving of a Buddhistic lion - A Japanese ivory Figure of a samurai - A Group of Japanese ivory Figures and Carvings - A Qajar lacquered Bowl
A mutton-fat jade Carving of a Buddhistic lion and cub, both biting the brocade ribbon attached to a ball, wood stand, cased
An Indian painted wood Carving of an ele unit, circa 1900, with driver seated on its back, possibly lacking howdah.
A Chinese carved wood Group of a boy on buffalo, Guangxu; and two Carvings of seated Buddhas
An am hors ware Group of an Arab riding a camel, early 20th Century, modelled in Royal Dux style and decorated in typical `shot’ enamels, restored, impressed mark Amphora Austria’
A Set of four Chinese leaf Paintings, 19th Century, each finely painted with a conclave of Buddhistic monks, Iohan and deities, mounted, framed and glazed.
A Qajar lacquered Bowl, 19th Century, of hemispherical form, decorated inside and out with a formal floral design.
Six Canton export watercolour Paintings on rice paper, 19th Century, each depicting a Chinese man-o’-war or river boat, framed and glazed, various sizes
A Pair of Chinese export watercolour Paintings on rice paper, 19th Century, each framed with a courtesan and two attendants,
ramed and glazed
A Japanese overmantel Mirror, circa 1900, of rectangular outline, the upper half mounted with a painted frieze of three bin,
A part lacquered and marquetry inlaid Kodanso, Meiji, with incised chequer ground simulating basketweave, the sliding front inlaid with a fair and man motifs, the case and three drawers hung with gilt-bronze handles,
one side detached; a small Cabinet; and a Headrest
Eight Japanese ivory on lacquer Panels, Meiji, comprising: three Pairs, one decorated with a sage and his acolyte, the others with figures or flowers, various sizes
A Chinese soapstone Figure of Guan Jiaqing Daoguang, standing on a pierced gnarled rock, her robes caught in a breeze, a small vase in one hand, finely incised features.
A Japanese wood theatre Mask, 19th Century, carved as a frowning ng villain with furrowed features, all covered in red, 26cm.
A Japanese ivory Figure of a samurai, 19th Century, a small dog attracting his attention with a document.
A Chinese reverse glass Paintin 19th Century, depicting a family, distressed, gilt, frame.
Ando: A Japanese cloisonne Vase, Meiji, decorated with a boat approaching a shore with mountains behind and a Pair of smaller turquoise ground ovoid Vases, decorated with chrysanthemum Chinese School: A Group
of Paintings on silk, comprising: a Study of ducks, egrets beneath lotus flowers, and a Study of flowers under plantain leaves, all framed and glazed, various sizes
An ivory okimono Group, Meiji, three travellers, one on horseback signed; a stag antler Netsuke of a sennin, 18th Century, in his hands a large gourd and a plantain leaf, and a stag antler Netsuke of Fururokuyu, 19th
Century, in contorted pose, head tilted to one side.
A Group of Japanese ivory Figures and Carvings, Meiji: a man and woman eating, a man with a bowl, an oni with a bowl, a man in a shell, a duck and a man crouching.
A Japanese eight-fold Screen, mounted in a single Trame, painted with cranes by a shore.
A Group of Japanese sword Fittings, 19th Century, comprising: iron Tsuba cast and inlaid with figures and gardens, matching Fuchi and nine Menuki and similar Fittings.
A Japanese cloisonn6 Bowl, circa 1880, of flared form, the underside enamelled with ducks on a pond over applied bamboo feet.
A Canton export ivory cribbage Board, 19th Century, with arched end, the pierced telling panels framing figure panels recessed in a foliate ground.
A cloisonne Vase, Meiji, of ovoid form, the black ground finely decorated with yellow flowerheads and buds, 15.7cm.
Two Chinese cloisonne Bowls, Guangxu, one of low discoidal form, the other of punch bowl form, both decorated with yellow dragons in a black ground.
A Collection of Chinese cloisonne, circa 1900, comprising: a Pair of Candlesticks, 23.5cm.; 91/4in., a Pair of pear-form Vases, dented, a Box, a circular Box, a small Dish, a match Case, three Bowls, a Vase and a wood
Stand
A Pair of Japanese bronze censer Vases, Meiji, each with everted pan tops over reliefs of chrysanthemums, socketed into a similarly encrusted base, damage to foot.
A Pair of Japanese bronze bottle Vases, 19th Century, in Chinese 17th Century style, each cast with a dragon rising to the onion mouthed neck.
A Japanese bronze gong Figure, Meiji, hand thrust into the air to support a gong with inscribed rim, a scarf billowing about the bare-chested figure, on socketed stand, gong perhaps added.Japanese lacquered
Cabinet-on Stand, Meiji of traditional form, a pair of cupboard doors under upturned ends enclosing inner compartments and drawers over a galleried base, inlaid ivory detail, minor damage;
A Chinese archaistic bronze Vessel, Jue, Qing Dynasty, of typical ShanglZhou form with horn-shaped mouth, mask and tongue handle over the taotie moulded body upon tapering triangular blade feet, traces of gilt inlay, foot repair.
An ivory Netsuke, 19th Century, a shi-shi hatching out of a ball, apparently stuck, unsigned -
Antique American Pottery
Sunday, October 25th, 2009
Early American Potters
The first American colonists could ill afford, or have any use for, decorative tablewares. Just as 17th century English potters catered primarily for the farming community, so in 18th century America the potters were producing `redware’ or ’stoneware’ vessels for cooking or storage, but when the occasion arose, they too were able to apply their skills to fashion more decorative items. Plates or platters, various sized bowls, some suitable for tea drinking, and a wide range of jugs and pitchers, were made more attractive with brushed, ’splashed’ or trailed clay slips of contrasting colours. New England archeologists have found evidence of a wide range of wares, which has enabled the collector readily to distinguish between pottery made in America from that imported from England. Porringers in the form of a large shallow cup with a single `steadying” handle, were used at the table for multiple foods, together with mugs of tall cylindrical form.
Towards the middle of the 18th century, the American potters, many of whom had migrated from Staffordshire, became aware of the dangers of using glazes with a high lead content. As a result there was an increased manufacture of salt-glazed stoneware, of a type which had much in common with the early German Rhenish vessels, rather than the fine white body of mid-18th century Staffordshire. There was little encouragement for the American potter to try to improve upon the quality of these humble wares, for from the last quarter of the 18th century masses of white earthenware was being exported from England at a price American craftsmen could not possibly match, despite efforts to produce both tin-glazed and cream-coloured earthenware.
Due to the importation of Chinese pottery, the demand for the more expensive and vulnerable English blue-and-white soft-paste was very low. However, many wares such as Nankin China mugs and salt cellars went to America by way of England, as there was no direct trading taking place between America and China before the American Revolution.
Attempts have been made by many researchers to find proof of the type of pottery said to have been made by the Savannah potter Andrew Duche, who, according to William Stephens, Secretary to the Colony of Georgia, was making ‘translucent’ wares as early as 1741. This would pre-date any documented English pottery. South Carolina also appears to have attracted potters from England. In 1770 John Bartlam was advertising the opening of ‘A China Manufactory and Pottery’ to be staffed by ‘the properhands’ from England. A contemporary pottery in the same area was also advertising for fine clays, which were probably required for the manufacture of crearnware.
The most important finds concerning 18th century American ceramics were made at Philadelphia, where excavated fragments identify at least 20 examples of the soft-paste pottery made by Gouse Bonnin and George Morris. These identified pieces include baskets, sauce-boats, cups and saucers, sweetmeat dishes and covered jars. They are decorated in underglaze-blue, having a great deal in common with English potterys made at Bow, Derby and Worcester. It was a pity that this venture only lasted from 1770-72. -
Antique English Pottery
Sunday, October 25th, 2009
Great Britain
The British potters were comparatively late starters in the field of pottery manufacture, but in this respect it must be remembered that unlike the majority of their Continental rivals, they were only rarely subsidized by royal or noble patronage and so were entirely dependent upon the commercial success of their undertakings.
The early factory of Chelsea, managed by the Flemish silversmith, Nicholas Sprimont, was an exception, recent research having proved that Sir Everard Fawkener, Secretary to the Duke of Cumberland, was involved with the factory on a financial basis. In common with many other European factories of the mid-18th century, Chelsea looked first to Meissen for their inspiration, and then from about 1756 to Sevres.
The years from 1745-70, during which time the Chelsea factory remained independent under Sprimont’s direction, is usually discussed under four periods, named after the marks usual at certain dates. From 1745 to about 1749 wares were often marked with a small triangle, and during this ‘triangle’ period the majority of the wares echoed the form of Sprimont’s earlier silver. In about 1749 the quality of the paste was improved, permitting a larger range of tablewares to be made, often marked with a small moulded anchor on an oval tablet, hence ‘the raised-anchor’ period, which continued until about 1752. It is generally agreed among today’s collectors that the Chelsea wares and figures made between 1752-8 were the finest they produced. During this period, when the mark was a small red enamel anchor (red-anchor period), some very fine figures were modelled by Joseph Willems, again mostly inspired by Meissen. Naturalism at the table also extended to the wares and various vessels were modelled to resemble animals, birds, fruit or vegetables.
During the ‘gold-anchor’ period, from about 1758-70, the small scale figures of about 16 cm (61 in), previously used for table decoration, were
replaced by large ungainly figures, often with a background of bocage and suitable only for side-table or cabinet decoration. During this same period the tablewares were fashioned in an exaggerated Rococo style as popularized originally at Sevres.
The slightly later production at Bow catered for the less wealthy customer, and by about 1747 a soft-paste pottery, including calcined animal bone, was being used to produce large quantities of cheap and durable wares, primarily decorated in the Chinese fashion of underglazeblue. By about 1750 many Bow wares were being decorated in enamel colours, often inspired by the Japanese ‘Kakiemon’, the Chinese famille rose or the German naturalistic flower-painting.
Bow figures were also of a type which would have particular appeal to the mid-18th century Londoner. Popular actors and actresses, such as Henry Woodward and Kitty Clive, were depicted in recognized roles, and national heroes, including General Wolfe and the Marquis of Granby, Worcester vase and cover c.1760.
were made in quantity, together with such characters as Bacchus or figures symbolizing the Four Seasons or the Elements. The early wares of Bow were comparatively simply made, but nevertheless possessed a distinct charm which is lacking in later wares, when both tablewares and figures became very clumsy, with loud and poorly applied enamelling.
The new collector may well be forgiven for confusing some examples of Bow with those made at the small Suffolk factory at Lowestoft, established in 1757 and continuing until about 1799. It is said that one of the proprietors, Robert Browne, actually obtained employment at the Bow works in order to learn the secrets of the production. Until about 1768 almost all the Lowestoft wares were decorated in underglaze-blue, and these examples are in great demand today. Many of the later wares were decorated in enamel colours in chinoiseries, a style of decoration that was probably responsible for that completely erroneous term `Chinese Lowestoft’.
The Lund and Miller factory, started in Bristol in 1748, was probably the first English factory to produce a pottery body containing the material soaprock, or steatite. There is difficulty in identifying their early unmarked wares as the factory was taken over in 1752 by the newly established Worcester concern, under the famous Dr Wall.
The new ingredient produced a ware which had almost all the advantages of a true pottery and the proprietors claimed their products could withstand the temperature of boiling water and so be less liable to crack.
Both Bristol and early Worcester concentrated on blue-and-white, although by about 1756 Worcester were also making some beautifully decorated wares in delicately applied enamelled colours. Worcester was one of the first English pottery factories to decorate their wares with enamel and underglaze-blue transfer-prints, many from the copperplates engraved by the master Robert Hancock, who had previously worked at the Battersea enamel factory.
Towards 1770, Worcester began to attract several fine painters who had previously worked for Sprimont at Chelsea. From about 1768 their wares were rather heavily decorated, often with the famous underglazeblue applied as scales, leaving reserves for enamel decoration, of flowers, birds or chinoiseries in rich gilt scrollwork frames. Worcester is the only English pottery factory to have survived to the present day with an unbroken history.
Other English pottery factories were soon to acquire knowledge of soapstone and gain access to the material, which was quarried in Cornwall, in the West of England. Caughley, the factory Thomas Turner established in Shropshire in 1772, produced a very good quality soapstone pottery, decorated in a wide range of patterns, both in underglazeblue and enamel colours. At least four major Liverpool factories made a similar class of ware, but the decoration was restricted mainly to underglaze-blue.
During the mid-18th century the only pottery factory in Staffordshire to survive for several years was at Longton Hall, where a glassy soft-paste pottery was made from 1749-60. Due to the high content of frit (glass), their early wares were subject to high kiln-losses and were often misshapen, but these difficulties were seemingly overcome by about 1755. Then some simple but highly original figures were produced, together with many tablewares, often of naturalistic form. Some Longton Hall mugs, and other wares, were decorated at Liverpool by the firm of Sadler & Green with enamel transfer-prints.
William Duesbury, who was formerly an independent pottery and pottery enameller in London, established a pottery factory at Derby in 1756, an undertaking he likened to ‘a second Dresden’. The finest wares produced at Derby were made from the time Duesbury took over the Chelsea factory. During this so-called ‘Chelsea-Derby’ period (1770-84) many well designed and tastefully painted table-wares were produced in the Neo-classical styles. It was on Derby wares that the fine naturalistic flower-painting of William Billingsley first appeared, alongside the painting of Zachariah Boreman, who excelled in the painting of landscapes of the Derbyshire countryside. The factory was taken over by Robert Bloor in about 1812 and closed in 1848.
William Cookworthy, a chemist, eventually produced a hard-paste pottery at Plymouth, Devon, in 1768. Although it was near the source of the raw materials of china-clay and china-stone, the undertaking was moved in 1770 to Bristol, probably because of the difficulty of recruiting competent potters. It remained in production until 1781. The early Plymouth wares were often badly fired, probably due to difficulty in controlling the high temperatures, but from 1774 when Richard Champion, one of the original partners, assumed control, his claim to produce wares with the hardness of Dresden and the elegance of Sevres, was well justified. Some extremely fine tea services were made in Neoclassical styles.
In 1781 a group of Staffordshire potters purchased the unexpired years of Champion’s patent for the manufacture of hard-paste, and so gave birth to the now popular New Hall factory, where a hard-paste body, with a rather soft glaze, was used to produce a wide range of useful wares until about 1812. Then in common with most other factories making pottery, they started to produce bone-china, as introduced by Josiah Spode in about 1796, when china-clay and china-stone became legally available to any British potter for the manufacture of translucent ware.
Caughley pottery was produced at the ‘Royal Salopian pottery Manufactory’ near Broseley in Shropshire from 1775-99. The factory was founded by Thomas Turner, an engraver, who had previously worked at the Worcester pottery factory. A pottery existed at Caughley before Turner’s arrival, but was rebuilt in 1772 as a large pottery factory with three kilns.
The Caughley works produced a wide and varied range of potterys, from buttons to dinner-services, and while for a long time it was generally believed that Caughley wares were inferior to Worcester, many collectors now agree that a not insignificant number of Caughley potterys in the post-1775 period are superior to Worcester wares. If nothing else the early feelings about Caughley ware have meant it is now highly collectable.
Much of the factory’s output was devoted to wares with printed patterns in un derglaze- blue, and after 1785 when the Worcester works ceased to produce blue and white, Turner’s only competitor was Wedgwood vase showing the ‘Apotheosis of Homer’ modelled by John Flaxman.
imported Chinese products. Contrary to a previous view, it is now thought all Turner’s underglaze-blue decoration was done at the Caughley factory and not at the main Worcester factory. The Caughley marks are the word `Salopian’ found on flat-based articles and the initial ‘S’ in underglaze-blue on a variety of objects ; the initial ‘C’ was also used on hand-painted and other pieces. Turner never used his own initials.
Many of Turner’s designs proved very popular, in particular designs such as the Fisherman and Pleasure boat. It was in fact one of Turner’s fortes that he successfully copied designs that could be produced cheaply. He also made a series of potterys that show a French influence in particular in their use of the Chantilly-style sprig motifs in underglazeblue or overglaze enamels.
The Caughley factory was sold by Turner in 1799 to the nearby Coalport works of Edward Blakeway, John Rose and Richard Rose and continued operating under John Rose for some fifteen years.
From the 1780s there were as many as three factories in Worcester producing pottery, one of the earliest and most notable of which was that owned by Richard Chamberlain. Chamberlain is said to have been the first apprentice at the main Dr Wall factory in the 1750s and certainly by the 1770s, along with his son was in charge of decoration at that factory. He and his son left the Wall factory in 1783 and established their own decorating business in Worcester in 1786. The pottery blanks for their business they first bought from the main Worcester factory until about 1789 when they were obtained from Turner’s Caughley factory. Of the blanks from Caughley, the Chamberlains enamelled and gilded some to the specifications of Turner while the remainder were sold directly. Eventually the Chamberlains went into the manufacturing side themselves and by 1796 the bulk of their products was of their own manufacture and they had built up a substantial trade.
English Stonewares
From about 1720 Staffordshire and Yorkshire potters were producing salt-glazed stoneware which had been considerably improved by the addition of white Devonshire clay and calcined flints. Apart from `thrown’ tablewares, they also made a large variety of novel forms, such as teapots in the form of houses or camels by the slip-casting method (pouring watered-down clay into hollow plaster of Paris moulds). Other forms of decoration included rubbing cobalt into incised decoration (scratch-blue) and enamel painting.
The early Staffordshire lead-glazed slipwares were soon to be similarly refined to provide wares suitable for the popular beverage tea. The name of John Astbury of Shelton is today used to describe the mid-18th century wares and figures involving the use of applied or trailed clays in contrasting colours as a means of decoration. Similar wares are known to have been made by many other English potters. The name of Thomas Whieldon is similarly used to describe the variegated glazes acquired by the application of various high-temperature oxides under a fluid lead-glaze, which was again a technique used by many other potters during the same period.
Before becoming a Master Potter, Josiah Wedgwood (1730-95), was in partnership with Thomas Whieldon from 1754-9. Wedgwood is known throughout the world for his large production of blue-and-white jasperwares, made from about 1775, during the time he was in partnership with Thomas Bentley (1769-80), but in his earlier years Wedgwood produced some beautifully moulded lead-glazed wares, often aided by the modeller William Greatbatch.
If fired at a lower temperature and then covered with a refined pale yellow lead-glaze, the body of salt-glazed stoneware can be used to produce cream-coloured earthenware. A primitive creamware was being made as early as 1720, but credit is given to Josiah Wedgwood for improving this body to such perfection that he was patronized by Queen Charlotte. His ‘Queen’s Ware’ was in world-wide demand. He produced the famous ‘Frog’ service for Catherine II of Russia, now in the Hermitage, Leningrad. It was Wedgwood’s aim to convert a rural craft into a great industry, and this he achieved. Fortunately, some contemporary potters continued to make wares in the traditional manner. Foremost was the Wood family of Burslem, who are best known to collectors for their figures, many of which were modelled by the nephew of Ralph Wood, Enoch Wood. Ralph Wood died in 1772, but the production continued under his son and grandson. The early wares were decorated with lead-glazes which had been previously coloured with high-temperature oxides, resulting in a much more orderly finish than the figures of Whieldon type.
Recent research has proved that a very large production of creamware and other ceramic bodies associated with the Staffordshire potteries was also taking place during the second half of the 18th century in Yorkshire, including the Leeds Pottery, which started about 1770.