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Mug, Qianlong, glazed Vase, Qing Dynasty, Impair Dish, Meiji Period, Pair of Satsuma Vases, Meiji Period
Tuesday, January 12th, 2010
Mug, Qianlong, glazed Vase, Qing Dynasty, Impair Dish, Meiji Period, Pair of Satsuma Vases, Meiji Period
A ‘family-rose’ export ware Mug, Qianlong, cylindrical with dragon handle, painted in mandarin colours with a scene of figures framed within a ‘Y’-diaper ground, minor rim
hairlines, 13cm.;
A Pair of ‘family-rose’ cylinder Vases, Guangxu, each pink ground filled with green tendrils and reserved with yellow-framed figure panels, hair-crack, 35.5cm.; 14in.
A Pair of enamelled crackleware
Vases, Guangxu, each of broad true baluster
form enamelled with scenes of hunting parties
under applied ‘bronzed’ mask and ring
handles, minor chips, 48cm.; 18in., Chenghua.A blue and white ovoid Jar,Kanji,
the ‘cracked ice’ ground reserved with three
quatrefoil panels of Precious Objects, rim
repair, 21.5cm.; 8in., wood stand and cover.A Chinese blue and white octagonal Meat Plate, Qianlong, of canted form, painted with a landscape between four flower sprays, rim repair, 37.5cm.;
A lavender glazed Vase, Qing Dynasty, of attenuated hexagonal form covered in a well-graded glaze, 33.5cm.; incised four-character mark.
A Chinese export ware Teapot and Cover, painted with landscape under complex brocade borders, 13cm.;
A Satsuma Bowl, Meiji Period, finely enamelled and gilt with chrysanthemum between brocaded roundels and key-fret borders, butterflies within, chip, 11.1cm.;
A Japanese earthenware Wine Pot, Meiji, of wide flared form, on three short feet, the concave sides enamelled with basin panels, small chip, 12cm.;
A Satsuma Koro and Wine or Teapot, Meiji, damage to leg, lacking covers .
An hexagonal Botde and Stopper, Meiji, enamelled with kidney panels under a brocade shoulder, 10.3cm.;
An Hirado monogram Ewer and Cover, tail arched over its back to form the handle, the carapace picked out with flowers, cover repaired, 17.8cm.;
An Impair Vase, Meiji Period, probably Fukagawa, each complex brocade ground reserved with oval garden panels, 30cm.;
A Pair of Kutani Vases, Meiji Period, each iron-red ground brocaded in gilding and filled with panels of birds, a cat catching a butterfly underneath, applied mask and ring
handles, 31cm.;
An Impair Dish, Meiji Period,
enamelled with a complex brocade of
overlapping scrolls and fans over hexagon
fragments filled with garden flowers and
dragons, 45.5cm.;A Fukagawa Vase, Meiji Period, the ovoid body finely enamelled with colourful flowers between brocade borders, 26cm.;
A Pair of Impair Vases, Meiji Period, each of hexagonal ovoid form, the blue ground reserved with garden panels framed by brocade elements, restoration to one, 24.5cm.;
A Pair of Satsuma Vases, Meiji Period,
each of pear form, applied with a pair of dragon handles crouching over intricately enamelled scenes of samurai, rim repair to one, 24.2cm.;A Set of five Impair Dishes, Meiji Period, each of lozenge outline, filled with a bird framed by brocade, two damaged, 29.5cm.;
A Kinkozan Satsuma Jarlet and Cover, Meiji Period, enamelled with begin and with a performance between lappet borders, rubbed signature, 8.7cm.;
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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: ‘family-rose’ Charger, Qianlong, Figure, Ming Dynasty, Chinese armorial Punch Bowl
Tuesday, January 12th, 2010
Сhinese Ceramics: ‘family-rose’ Charger, Qianlong, Figure, Ming Dynasty, Chinese armorial Punch Bowl
A large ‘family-rose’ Charger, Qianlong, the centre Filled with an almost pyrotechnically multi-coloured peony in a final framed by a whorl ground border
billed with placed flowers, cracks, 42cm.;wood stand.A ‘family-rose’ baluster ‘wawa’ Jar, Guangxu, painted with hundreds of boys performing out-of-doors festivities, drilled, 38cm.; 15m., wood stand .
A blue and white export Plate, Qianlong, painted with a river scene, a boat overshadowed by trees on a shore under a barbed cavetto and complex brocade on the rim, 25.8cm.A Pair of ‘prunes’ ‘ Jars, Guangxu, ea of ovoid form, painted with blossoming whim branches against a blue ground, 25.5cm.; low four character mark of Kanji . with a kylie and
phoenix framed by four auspicious beasts in panels with auspicious flowers in-between, extensive riveting, 36.2cm.; 141/4in., seal mark in under glaze-blue.
A Chinese Imari Bowl, Kanji, well painted with two orange pheasants on rocks a peony garden, two cracks, 26cm.
A powder-blue Vase, Qianlong, of
hexagonal mallet form, with pierced long
handles, traces of gilt landscape and figure
designs, 41cm.; 16in.A ‘Companies-des-Indies’ Tea Caddy and Cover, Qianlong, of arched rectangular form, each side painted with a tied spray of European flowers, chipped cover, 13.2cm.
A gilt-metal mounted ‘Companies-de Indies’ Bowl, Qianlong and 19th Century, painted with figures out-of-doors between upright acanthus, cast gilt-metal handles linking rim and
wasted foot, 28cm.
An aubergine glazed kylie Seal Box and Cover, 19th Century, standing four-square, 6.2cm.
A yellow glazed Ridge-tile Figure, Ming Dynasty, a sitting mythical beast with flame-
A ‘family-rose’ Peach, 19th Century, green with a flush of rose, moulded with a leafy branch, 11cm..
A yellow ground ‘family-rose’ Dish, 19th Century, enamelled with dragon and phoenix amongst clouds, 34cm.; 133in., six-character mark in iron-red of Qianlong, box .
A Pair of export ware Saucers, circa
1800, decorated with Bianca –copra - Bianca sprays
between pencilled borders, 15.5cm.; 6Vsin.; and
a Douay Cup, painted with a formal cloud
design, mark of Yongzheng, wood stand .A blue and white Dish, Kanji,
painted with cut flowers in a medallion centre
rammed by two tiers of lappets containing
further flower heads under a barbed rim,
15.7cm.; 6in., us spray mark.A Chinese armorial Punch Bowl,
Qianlong, twice charged with the full arms of
Baron King between scattered flowers under a
plain turquoise ribbon border incorporating
two racially panels, restored, 35.5cm.; 14in.Possibly the arms of the Fifth Baron King of Ockham, his wife’s arms in pretence.
Canton ‘family-rose’ Bowl, Daoguang, the exterior finely painted with a
continuous scene of figures out-of-doors, the
interior with framed panels of figures, both under mille fiery borders, 36.8cm.; 141/2in.
Another Canton ‘family-rose’ Bowl, mid-19th Century, painted inside and out with continuous scenes of figures in the grounds about a house under a border of fruit, crack,36.8cm.;
A Canton ‘family-rose’ Bowl, mid-19th Century, painted inside and out with continuous figure scenes under flower and fruit borders, 35cm.;
A Canton ‘family-rose’ Bowl, mid-19th Century, painted inside and out with panelled scenes against a flower-strewn ground, 34cm.;
A Garniture of five Samson armorial ‘Compagnie-des-Indes’ Vases, late 19th Century, three of baluster form with covers, two trumpet beakers, all of hexagonal section, repairs to
covers, 12 and 16cm.;
A ‘family-rose’ Mug, Qianlong, the cylindrical body painted with a circular medallion of a man shooting between beaded’ borders under an incurved rim, applied twin strap
handles, 13cm.;
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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.
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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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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 -
A Pair of Canton Vases and Covers - A large Canton ‘famille-rose’ Vase - A Samson Punch Bowl - A Chinese celadon Vase, Qing Dynasty
Thursday, December 3rd, 2009
A Pair of Canton Vases and Covers - A large Canton ‘famille-rose’ Vase - A Samson Punch Bowl - A Chinese celadon Vase, Qing Dynasty
A Samson `Compagnie-des-Indes’ Ewer and Basin, late 19th Century, based on a Portuguese silver and a Chinese exportporcelain original, the ribbed ewer and shell-form basin enamelled with Oriental flowers, ewer
and basin repaired
A Pair of Canton Vases and Covers, mid-19th Century, each ovoid body intricately enamelled with figure panels under a waisted neck scattered with flower baskets and Precious Objects, lotus flower finials; A Chinese ‘famille-rose’ Vase, Guangxu, painted with a scene of figures in a garden between an octagonal foot and a galleried rim, six character mark of Kangxi
A Chinese ‘famille-verte’ ovoid Jar, Guangxu, painted with a scene of children playing games in a garden supervised by maidens, mark of Kangxi in underglaze-blue
A Canton ‘famille-rose’ Basin,
Jiaqing/Daoguang, a central female portrait Mon framed by the Eight Immortals and Shoulao, repaired., wood frame
A provincial Chinese porcelain Bowl, perhaps Swatow, painted with an underglaze- blue lion medallion framed by red and green formal lotus scrolls, birds alternating with flowers on the exterior
A Canton celadon ground bottle Vase, Daoguang, painted with kylin and Buddhistic lions amongst Precious Objects and scattered flowers, neck repaired
A large `famille-rose’ Vase, 2nd half 19th Century, of bottle form, the blue enamel ground filled with colourful formal lotus and reserved with barbed panels of figures in landscapes under a show medallioned shoulderencompassed by a band of bats amongst colourful clouds, beneath a waisted neck applied with iron-red mask and ring handles under an overhanging rim with petalled edge, crack in base, minor rubbing, red script
mark of Qianlong, on white enamel square wood stand
A’famille-verte’ baluster Vase, mid-19th Century, the exaggerated body enamelled with full-length figures of the Eight Immortals carrying their respective attributes between fine borders of ‘cracked ice’ whorls, flames, ruyi and stiff leaf lappets, small chip to foot
A large Canton ‘famille-rose’ Vase, Daoguang/Yongzhi, the celadon ground painted with expansive figure panels under gilt Buddhistic lions and dragons under a turn-over rim with petalled edge .
Set of three Chinese blue and white exportware Teabowls and six Saucers, Jigging; and seven other Chinese Teabowls and nine Saucers
A Pair of Chinese `famille-rose’ octagonal Cups and Saucers, Qianlong; and a `famille-rose’ Saucer, YongzhenglQianlong
Eight Chinese `famille-rose’ Teabowls and ten Saucers, Qianlong/Jiaqing, various designs
A Chinese ‘famille-rose’ Teabowl and two Saucers, Qianlong; and nine Japanese Teabowls/Wine Cups and a Saucer
A Chinese ’sang-de-boeuf’ Vase, 19th Century, of stout true baluster form, covered in a dark ox-blood glaze, rim repair
A Canton ‘famille-rose’ Bowl and Cover, Jiaqing/Daoguang, painted with a continuous scene of figures with rickshaws, gilt lychee finial, handles broken, edge chipped
A Canton ‘famille-rose’ leaf moulded Service, mid-19th Century, of lotus and artemisia leaf form, veined in gilding and enamelled with scattered flowers and insects on a celadon ground, comprising: seven Dishes (in
three sizes), four Bowls (in two sizes), four small Trays and another Dish, chips and repairs
A Canton Vase, 19th Century, T of tall mallet form, painted in enamels an with deer grazing under pine trees inhabited by monkeys against a green washed ground
A Pair of ‘Canton’ Vases, 20th Century, of mallet form, with green Buddhistic lion handles over painted scenes of the Eight Immortals
A Chinese flambe Dish, 18thtearly 19th Century, of shallow form with inturned rim, the ox-blood glaze splashed and streaked in mottled blue
A Samson `armorial’ Punch Bowl, late 19th/20th Century, painted in ‘Coqagnie- des-Indes’ style, 25cm.; 9314in.; and three Chinese teaware Bowls
A Chinese `famille-rose’ Bowl, Qianlong, the ‘chicken-skin’ ground reserved with panels of flowers and shells, a puce scale border within, cracked
A Canton `famille-rose’ Chamber-Pot, 19th Century, panelled with bird and figure groups, 27.5cm.; 103/4in.; and a Canton `famille-rose’ Basin, repaired
A good Canton oval Dish, Jigging/ Daoguang, finely painted with three dignitaries seated at separate tables in a columned loggia, servants in attendance, all within a border of green flushed white flowers in a pale-blue ground
A Chinese celadon Vase, Qing Dynasty, of pleated bi-conical form, base repair
A Chinese Bowl, Qing Dynasty, painted inside and out with five deer amongst rocks, the crags pierced by translucent rice grain openings, chip, mark of Qianlong
A later enamelled late Ming Meipin mark and period of Wanli, enamelled `famille-verte’ palette with phoenix flying between elongated lappet and ruyi borders, replacement silver mouth and silver plug-in base, six
character mark incised on shoulder -
Antique German and Austrian Pottery
Sunday, October 25th, 2009
Germany and Austria
Until at least 1770 the pottery fashions in Europe were dictated by those of China and Japan. These wares were imported into Europe in increasing quantities and dominated popular taste until the rise of first Meissen, then Sevres.
For many years a great deal of wealth was spent in the purchase of Far Eastern pottery for use at the court of Augustus II, Elector of Saxony, King of Poland. In order to try to remedy this vast expenditure, Count von Tschirnhaus was given the task of researching into the mineral wealth of Saxony, in an effort to produce the necessary materials for the manufacture of a true pottery and fine glass, which at that time was only being made in Bohemia. From 1704, Tschirnhaus was assisted in his experiments by a young alchemist, Johann Friedrich Bottger, who claimed to possess the secret of producing gold from a base metal. Their first combined success was to produce a hard fine-grained stoneware, which could be ground and polished in the manner of a semi-precious stone. This red stoneware had the appearance of the Chinese Yi-hsing ware, usually used to produce the teapots for the European market. Some of Bottger’s lower-fired red wares remained porous and so were given a dark-brown glaze, with added gold or lacquer decoration.
Tschirnhaus died in 1708, leaving Bottger to take all the credit for the production of a form of white pottery, resulting in the establishment in 1710 of the Royal Saxon pottery Manufactory, in the Albrechtsburg fortress at Meissen, 12 miles from the city of Dresden. The early Meissen pottery was made from the white-burning China-clay (kaolin) from Colditz, near Zwickau, and a calcareous flux in the form of alabaster. It was in about 1718 that the correct material of China-stone (petuntse) was put to use, resulting in the Saxon hard-paste pottery being an even whiter ware than that made in the Far East.
The early white potterys produced prior to the death of Bottger, in 1719, were mostly inspired by contemporary metalwork, sometimes from the designs of the court silversmith, Irminger. The figures were often modelled after the 17th century prints of Jacques Callot’s grotesque dwarfs, who were a favourite subject in the early 18th century, when there was a morbid curiosity in those suffering from various afflictions.
The year 1720 marked a further milestone in their success, being the time Johann Gregor Horoldt was introduced to the factory by the disloyal kiln-master, Samuel Stolzel. He persuaded Horoldt to leave the services of De Paquier at the early rival pottery factory of Vienna. Within two years, the influence of Horoldt was clearly seen in their improved decoration. A new range of vivid enamel colours was used in a wide variety of patterns, including copies from engravings telling of Far Eastern travel, and far more original chinoiseries – fairy-land fantasies based on the Court and social life of China (Horoldt’s original sketches still exist).
The new enamel colours were also used to depict stylized oriental flowers. These were wrongly termed ‘India flowers’, as they were developed from paintings on late 17th century Chinese pottery brought to Europe by the vessels of the East India Companies. These oriental flowers were replaced in about 1740 with naturalistic flower paintings, often inspired by the engravings of recorded botanists. Between 1725 and 1730, harbour-scenes and landscapes were also extremely popular and many are attributed to the painters J. G. Heintze and C. F. Herold.
In 1727 Gottlieb Kirchner was appointed as the first Chief Modeller, his earliest creations being the life-size figures of animals, as requested by Augustus for the furnishing of his Japanese Palace. Kirchner was soon to be overshadowed by the more famous modeller J. J. Kaendler, who was appointed in 1731. Kaendler excelled not only in decorative figures for table decoration, but in designing other large heavily modelled table-wares, including the famous Swan Service for Count Bruhl, who was appointed Director of the factory following the death of Augustus II in 1733. This was a post he retained until he died in 1763.
By 1738 Kaendler had produced a wide variety of small pottery figures based upon characters featured in the traditional theatre of Italian Comedy, made to ‘wander among groves of curled paper . . .’ (Horace Walpole, 1753). These figures were far more animated when placed upon the simple mound bases of the Baroque period, but by 1750 the more ornate bases, in the now popular Rococo styles, seemed to arrest their movement.
The Meissen factory was occupied by the troops of Frederick the Great of Prussia at the start of the Seven Years’ War of 1756-63 and by the end of hostilities the pottery factories of Europe were looking towards the French factory of Sevres for fresh inspiration. Meissen was never to recover fully from this disaster, but during the so-called `Marcolini’ period of 1774-1814, novel shapes were produced in the Neo-classical taste. But pottery was not an ideal body for such fashions, which were inspired by the early Grecian wares excavated at Herculaneum and Pompeii.
The success of the Vienna factory was due entirely to the disloyalty of the Meissen gilder, Hunger, and the kiln-master, Stolzel, who in 1719 deserted Meissen in order to help Du Paquier produce a good quality hard-paste pottery in Austria. The factory was taken over by the State under Empress Maria Theresa in 1744. It remained under State direction until 1784, when the concern came under the management of Konrad von Sorgenthal, eventually closing in 1866. The unmarked wares of the Du Paquier period were mostly decorated in original chinoiseries and Baroque versions of the popular leaf and strapwork designs (Laub-undBandelwerk).
The tablewares of the State period showed very little originality and owed much to Meissen. However, the figures tended to have a slightly prettier and more doll-like quality, a charm often lacking in the bold and sometimes harsh work of Kaendler.
Angry Harlequin figure by Kaendler c.1738.
By the middle of the 18th century the materials and techniques concerning the manufacture of hard-paste pottery was no longer a secret, and those possessing the knowledge were well paid by heads of other German States to part with their knowledge. Johann Josef Ringler, who obtained the secret at Vienna by ‘courting’ the Director’s daughter, is known to have helped in the establishment of at least six other factories.
The collectors of German pottery are fortunate in that nearly all the major 18th century factories adopted a recognized factory-mark, which was usually applied to the base of the wares in underglaze-blue. Without this aid, attribution to a particular concern would in most instances be very difficult.
Hochst, making pottery from 1750, adopted as their mark a six-spoked wheel, often reproduced on 19th century wares made elsewhere. Their early figures, attributed to the hand of Simon Feilner, are of a rather coarse pottery, with a milky-white glaze, but their tablewares were beautifully painted with flowers, landscapes or chinoiseries, with fine quality gilding.
By 1752 Duke Carl I of Brunswick was sponsoring a factory at Furstenberg, where some good figures are attributed to the hand of Simon Feilner, but the tablewares tended to be extremely fussy. The Furstenberg factory continues to the present time, still using a version of the original letter ‘F’ as the factory-mark.
A further factory still in production today is that of Berlin, started in 1761 by J. C. Gotzkowsky and purchased by Frederick the Great in 1763. Many skilled workers were recruited from Meissen, and their early wares, which relied primarily on fine painting, are most attractive and original. The mark remains a sceptre in blue.
Paul Hannong established the pottery factory at Frankenthal in 1753, having had to abandon his production at Strasbourg due to the monopolies enjoyed by Vincennes. Hannong’s early wares tended to be fashioned in the contemporary French styles of Vincennes and Sevres, but lacked the quality of the fine French soft-paste. The factory passed into the hands of the Elector Carl Theodor in 1762 and continued until 1800. The original moulds are being used today at the Nymphenburg factory, Bavaria. While one must accept Kaendler as the outstanding modeller during the Baroque period, there is little doubt that Franz Anton Bustelli, who worked at Nymphenburg from 1754, was the master of Rococo pottery sculpture. His models clearly indicate by their carving and postures that he had been trained initially as a woodcarver. Some of his best work is seen in the form of centrepieces for the table, where the entire group appears to be stirring in a placid wave-like motion. The Nymphenburg shield is still used as a factory-mark on modern wares produced from early moulds.
The factory, patronized originally by Duke Carl Eugen, was established in 1758. It cannot be said that it flourished, as the workers were at times compelled to accept their wages in ’seconds’ (faulty wares) which they in turn had to sell. The wares of this Ludwigsburg factory can at times be easily recognized by a rather off-white clay, but mention must be made of a charming series of miniature groups, modelled by J. J. Louis. There are several characters in a scene, such as men playing dice, Soft paste pottery Mennecy teapot.
tailors at work and inn scenes, all of which show great depth of detail despite the diminutive scale.