Antique Pottery

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.;

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.

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 Japanese Satsuma Vase - A Satsuma octagonal Jar - A Pair of Arita Vases - An Imari Jar and Cover - A Japanese Imari Basket

Thursday, December 3rd, 2009

A Japanese Satsuma Vase - A Satsuma octagonal Jar - A Pair of Arita Vases -  An Imari Jar and Cover - A Japanese Imari Basket

A Japanese Satsuma Vase, Meiji, of stout ovoid form, the blue ground reserved with panels of bijin in a house and a garden, scattered gilt brocade and leaves in between.
A Satsuma Moon Flask, Meiji ‘ enamelled and gilt with Immortals framed by gilt dragons in relief between a neck and foot scattered with brocades in a blue ground.
A Satsuma Dish, Meiji, painted with Immortals and arhats against a matt black ground within a petal-edged rim.
A Pair of Satsuma bottle Vases, Meiji, decorated with figure panels under a richly gilt brocaded neck.
A Pair of Satsuma Vases, Meiji, each enamelled with a scene of cranes in a pond between brocade bands on foot and waisted neck, body crack.
A Satsuma. Bowl, Meiji, the interior painted with overlapping panels of children and flowers, the exterior with a continuous garden under a border of zig-zagged lappets.
A small Satsuma Vase, Meiji, of globular form, the deep blue ground painted in rich gilding and enamels with a panel of samurai and one of women framed by gilt brocade.
A small Satsuma Vase, Meiji, of ovoid form, the gilt brocaded deep blue ground reserved with panels of women and children and with a conference of warriors.
A Pair of Satsuma Vases, Meiji, each of barrel form, finely enamelled and gilt with scenes of figures about a palace and beside streams, narrower panels of birds and flowers under an enamelled net mesh in between,
A well modelled Satsuma Figure of a bijin, Meiji, serving tea, her well sculpted kimono enamelled in red, blue, green and gilding with scattered flowers and fans, head repaired, signed on canted square base.
A Pair of Satsuma Vases, Meiji, of shouldered ovoid form, decorated with samurai under a brocade border of mon and fans.
A Satsuma bottle Vase, Meiji, painted with bird panels on the low pear-form body, neck broken.
A Satsuma small Jar and Cover, Meiji, of hexagonal ovoid form, finely enamelled and gilt with bird and figure panels.
A Satsuma Censer and Cover, Meiji, of flared form with pierced rim; and an ovoid Vase.
A Pair of Japanese fine brown stoneware Models of shi-shi, 19th Century, seated in sentinel pose with frowning eyebrows, impressed signatures
A Satsuma octagonal Jar, Meiji, painted with arhats and kannon between Cade bands.
A Pair of Satsuma koro jars and Covers, Meiji, each spherical body painted with arhat panels between applied and gilt tassels, the domed cover surmounted by a seated shi-shi, one shi-shi repaired.
A Pair of Imari Vases, Meiji, enamelled withanels of birds in branches within brocade Flames against a flower-strewn ground.
An Imari Dish and a Bowl, Meiji, the latter of hike form, typically panelled with panels of brocade and garden scenes, the former reserved with baskets and shi-shi, both repaired.
An Arita Figure of a sage, Meiji, studying a book, wearing a long green robe and standing on a rock.
A Pair of Imari Vases, Meiji each ovoid body vertically quartered with barbed panels of trees and ho-o.
An Imari Vase, late 17th Century, of ovoid form, decorated with blue roundels in an upper band alternating with quail below with chrysanthemum.
A Kutani double-gourd Bottle, Meiji, finely painted in iron-red and gilding with panels of auspicious animals and birds between geometric lappet frames, small rim restoration, Kutani mark
A Pair of Arita Vases, Meiji, possibly Hichosan Shino, each of club-like form, decorated with a crested bird perched on a rock before overlapping brocade panels in a flowering garden, the trumpet mouth with an iron-red brocade border, repair to one rim.
A Pair of Kutani Vases, Meiji, of inverted baluster form, the iron-red and gilt brocade ground reserved with panels of figures and ducks on a pond, one repaired, 24cm.
An Imari Jar and Cover, Meiji, of ribbed ovoid form, covered in a typical brocade reserved with circular flower medallions, cover finial lacking.
An Arita blue and white Dish, 18th Century, painted with tied tendrils bearing curled fronds between notched ends, pseudo Chenghua mark
A Japanese anese blue and white dessert
MService, ice Meiji’ each piece conceived as a lotus painted in underglaze-blue with birds and flowers, comprising: six Dishes and three socle Feet, cracks, chip
A Japanese Imari Basket, Meiji, of shell moulded lozenge outline, on a socle foot, the pierced sides reserved with marine panels against broken brocade elements
A Japanese Imari Jardiniere, Meiji, of ribbed short barrel form, panelled with dragon medallions and flowers reserved against a brocade stripe ground, repair.
A Kutani Model of a cat, Meiji, sleeping in comfortable curled-up position, minor chip to ear.
Fel A litter of eleven sleeping Kittens, in similar pose to the preceding rat
A Pair of Imari ovoid Jars and Covers, Meiji each ribbed ovoid body panelled brocade flowers against a complex ocade ground, the domed cover surmounted by a seated shi-shi staring upwards, crack, other damage

Antique French Pottery

Sunday, October 25th, 2009

France
From the mid-17th century various East India Companies had been bringing Far Eastern pottery into Europe in increasing quantities. In consequence, there was little incentive for potters of other countries to spend time and money trying to produce a similar type of pottery. It was eventually left to a few French potters, already engaged in the production of faience, to make an artificial or ’soft-paste’ pottery. The wares supposedly made by Louis Poterat of Rouen after he had been granted a patent in 1673 are very difficult to attribute with any certainty. However, some collectors consider a limited number of examples of a thin glassy paste, decorated in an inky underglaze-blue and with the mark A.P., to be the work of Poterat.
Records concerning early pottery made at Saint-Cloud are more readily accepted. Pierre Chicaneau, another faience maker, appears to have passed on his knowledge of the manufacture of soft-paste pottery to his son and widow before he died in 1678. The widow later married Henri Trou and the factory was continued by their descendants until 1766.
The beautiful creamy-toned soft-paste pottery of Saint-Cloud was necessarily rather thickly potted and left either in the glazed ‘white’ state or decorated in underglaze-blue with the so-called lambrequin designs, as seen on Rouen faience. Moulded scale patterns, probably suggested by the artichoke, were very popular, and handles of vessels were usually of square or rectangular section. Many saucers had a raised ring to locate the foot of the cup. This so-called trembleuse feature was probably first introduced at Saint-Cloud.
Saint-Cloud also produced a wide range of tablewares, snuff-boxes, cane-handles and so on, decorated in the bright enamel colours and gilding in the Japanese ‘Kakiemon’ style.
The early French soft-paste pottery factories rarely showed a profit, and it was only by the interest and generosity of wealthy patrons that they were able to survive. This was certainly so with Chantilly, the factory established by Louis Henri de Bourbon, Prince de Conde, in 1725. The production was directed by Ciquaire Cirou, who almost certainly acquired his knowledge at Saint-Cloud.
The Prince de Conde possessed a very large collection of Japanese pottery, which was to inspire early Chantilly decorators to use so many `Kakiemon’ designs, but such polychrome decoration did not show to advantage on creamy-toned pottery. Therefore, the majority of pieces decorated in the Japanese taste were given a white opaque glaze.
Following the death of the Prince in 1740, more original styles in French taste were introduced, including a wide range of flower decoration. These designs were later to be taken to the Vincennes factory by the Chantilly workmen, Gilles and Robert Dubois, who helped to establish the factory in 1738.
Chantilly is best known to the collector for the wares made from about 1770, when the decoration consisted almost entirely of sparse floral sprays in underglaze-blue, the much copied ‘Chantilly sprig’. The original mark of a French hunting-horn was used during the 19th century by other Chantilly potters making wares in a hard-paste body in the earlier 18th century styles. Samson of Paris also made hard-paste reproductions of the early wares, decorated in the ‘Kakiemon’ manner.
Some of the most beautiful soft-paste pottery ever to have been produced was that made at Mennecy. The factory of Francois Barbin was started in Paris in 1734, under the patronage of the Duc de Villeroy, whose initials ‘D.V.’ were used as a mark. From 1748 until 1773 production continued at Mennecy, from which time a further move was made to Bourg-la-Reine, where the factory finally closed in 1806.
The beauty of Mennecy wares was undoubtedly due to the simplicity of form. The glaze is well described as having a ‘wet’ appearance, and probably illustrates better than any other soft-paste pottery how the enamels tend to fuse into the glaze, rather than lie upon it, as seen with hard-paste. The figures of Mennecy are especially charming and were obviously intended as table decorations, which can be enjoyed from any viewpoint. The popular groups of child musicians were almost certainly inspired by the paintings of Francois Boucher. Many of the later Mennecy figures were left ‘in the biscuit’ and had a lot in common with the contemporary English Derby figures.
It is fortunate for today’s collectors that the French pottery factories did not have access to the necessary clays for the production of a hard-paste pottery until 1769. Instead, they relied upon fine quality soft-paste, such as first seen at Mennecy and then at Vincennes, and we have some very beautiful wares as a result.
The first experiments concerned with the production took place in 1738 in a royal chateau at Vincennes, on the eastern border of Paris, under the direction of a financier, Orry de Fulvy. He was aided by Gilles and Robert Dubois, who claimed to have acquired the necessary knowledge while employed at Chantilly.
It was not until about 1745, when a further Chantilly worker, Franqois Gravant, was engaged, that any real success was achieved. He was aided by other outstanding artists and craftsmen. Precise dating of early Vincennes is difficult, the royal double ‘L’ cipher was adopted as a mark from the beginning of production, but by no means consistently, and it was not until 1753 that a letter ‘A’ was enclosed within the cipher. That was the start of an alphabetical dating system (A = 1753, B = 1754, C = 1755, and so on), which continued until 1793.
It was from the Vincennes period that most of the well applied ground colours, including bleu lapis, jonquille and apple-green, were so beautifully applied. There was also superb engraved gilding used as borders to reserves painted with polychrome enamel floral sprays, scenes after Watteau or Boucher, birds, or chubby cupids. Among the most prolific articles produced at Vincennes were pottery flowers, which can at times be seen as part of a bocage, used as a background to Meissen figures on ormolu mounts. In 1754 plans were put in hand to rehouse the pottery manufactory in a new building at Sevres, between Versailles and Paris, eventually occupied in 1756.
The move to the new factory coincided with the occupation of Meissen by the Prussians and marked the start of a period during which the French Highly decorated Sevres vase.
soft-paste was to surpass that of the Saxony concern in every respect. However, Sevres was far from successful financially and in 1759 the factory was purchased by Louis XV, from which time it was heavily subsidized as part of the royal estate.
Much of the beauty of Vincennes and early Sevres pottery was due primarily to the simplicity of decoration, allowing large areas of the fine white surface to be seen to advantage. From the late 1760s there was a tendency to apply enamels and gilding to the entire surface, which resulted in a loss of the sense of fragility. From about 1750 it was realized that some of the ground colours were too intense and various methods were introduced to break up the large areas with various gilt patterns, including cailloute (pebbling), vermicule (wormlike) or oeil-de-perdrix (partridge-eye), which were all very successful. Recent research into the archives of the factory has proved that several terms used over a long period are inaccurate, for example, the rose-pink introduced in 1757 was recorded as simply rose, never rose Pompadour.
The first pottery figures made at Vincennes were glazed, but from about 1752 it became fashionable to leave the pottery ‘in the biscuit’. Some of the finest miniature statuary of this type was modelled by Etienne-Maurice Falconet, who was trained as a sculptor. He worked as a modeller at Sevres from 1757 until 1766, when he went to Russia, where French pottery was in great demand. In about 1788 the Empress Catherine II ordered a 740 piece service, decorated with her monogram `E II’ (Ekaterina II). Tea drinking played a large part in the social lives of the French court and nobility, and services for the enjoyment of the drink were made in quantity, including cabaret services, which had the pieces necessary for ‘tea-for-two’. They were often made to be carried in fitted travelling cases.
Experiments concerned with the manufacture of hard-paste pottery following the discovery of kaolin (china-clay) at Saint Yrieix near Limoges were successful by 1769 and in 1772 true pottery was in regular production, although soft-paste was also made in limited quantities until the end of the century.
Following the death of King Louis XV in 1774, both the quality and quantity of the wares rapidly declined, caused to a large degree by competition from the newly established Paris factories. Due to the patronage of members of the royal family, these were permitted to make certain classes of wares previously reserved for the Sevres factory alone.
The royal pottery factory was taken over by the new revolutionary regime in 1793 and the mark of the royal cipher was replaced with the `R.F.’ monogram (Republique Francaise), which was used until about 1800. During these seven years very few pieces of any great importance were made, other than those with decoration including revolutionary emblems, sometimes applied together with newly introduced ground colours. These new colours were intended to imitate tortoiseshell and semi-precious hardstones.
Belgium
Francois Joseph Peterinck was granted a privilege in 1751 by the Empress Maria Theresia to establish a pottery factory at Tournai, where some very good quality soft-paste pottery was made until the time of the founder’s death in 1799, when the factory passed into the Bettignes family. The Bettignes are better known for their 19th century reproductions of Sevres, Saint-Cloud, Chantilly, Sceaux, Chelsea and Worcester.
The best known Tournai pattern is said to have been introduced in 1787 to decorate a service for the Duke of Orleans. The naturalistic bird-painting is based on drawings made by Buffon for his 1786 publication Natural History.
Because Peterinck engaged some English workmen, there is frequently a distinct similarity to the potterys of Derby and Worcester. This is especially so with the ‘biscuit’ figures, and positive attribution can be extremely difficult as there are no factory-marks. The Tournai models would be slightly earlier than those of Derby and probably modelled by either N. J. Gauron, who previously worked at Mennecy, or Joseph Willems, who was working at Chelsea for many years before modelling for Tournai from about 1766.