Posts Tagged ‘mass production’

Antique Glass Overview

‘Glass is one of the most Noble things which man hath at this day, for
his use upon the earth,’ declared Antonio Neri, the author of the first
modern textbook of glass-making published in Florence in 1612. ‘It is
more delightful, polite and sightly, than any other material at this day
known to the world.’
His opinion has been shared in civilised communities for at least
3,500 years. For instance, the glass-makers of Rome were given a special
street in the better part of the city where they could practise their art.
In the Byzantine period, in 438 A.D., the Theodosian Code exempted
glass-makers from taxation. Glass-makers ranked with the nobility in
Venice and l’Altare in Italy during the Renaissance period, and the only
trade a French aristocrat might engage in without loss of rank was glass-
making. The ‘Charte des Verriers’ granted to the Lorraine glass-makers
in 1448 gave them the right to describe themselves as ‘gentlemen glass-
makers’, and to rank equally with noblemen, with exemption from certain
taxes from which persons of rank were free. In Britain the highest in the
land could be involved with glass-making with no loss of prestige.
It is only in the last 150 years, with the advent of mechanised mass
production, that glass has largely become taken for granted as a common
material for our everyday use.
Glass, chemically speaking, is a super-cooled liquid which is formed
from a fusion of silica (usually sand, flint or quartz) with an alkaline
flux (usually potash or soda), with the addition of lime to make the glass
or ‘metal’ more durable.
These ingredients are put into crucibles (pots made of fireclay) which
are placed in a furnace where they are heated to such a temperature that
the ingredients fuse and become an orange-red molten liquid.
The glass-maker can gather some of the hot glass on the end of an
iron tube, known as a blowing-iron, by repeatedly dipping it in the
crucible and twisting it. The resulting ‘gather’ can then be blown, by
breathing through the iron tube, and ‘marvcred’, by smoothing the
gather on a flat stone or metal surface; it can be moulded, by blowing
the bubble or ‘paraison’ into a wooden or metal mould, or elongated, by
swinging the bubble on the end of the blowing-iron, or manipulated into
A 15th-century drawing of a glass-house, probably in Bohemia. In the top half of the
picture the raw materials for glass-making are being mixed and carried down to the glass
furnace. Crucibles containing the melt of raw materials arc seen inside the main furnace.
A glass-blower is ‘marvering’ (smoothing) the bubble of hot glass at the end of his
blowing-iron on a flat slab. The glass-blower to his right is reaching for another gather
of glass from the crucibles in the furnace. Glass vessels they have just made are being
placed inside the annealing oven (attached to the main furnace) to cool slowly. A man
behind the annealing oven is examining a finished vessel. (Photo: Add. Ms. 24189,
courtesy of the Trusted of the British Museum.)
Introduction
shape by the use of metal tongs, pincers, shears or other simple tools.
Repeated reheating at the furnace is necessary to maintain the plasticity
of the glass or ‘metal’ during these operations.
The leading glass-maker in a team producing the vessels sits on a
‘chair’ with long, flat, parallel arms on which he rotates his blowing-iron
(also called pontil rod or puntee—a solid iron rod to which a partly
formed vessel can be transferred) while he manipulates the glass.
Once a vessel has been formed and detached from the pontil rod it is
put into a separate furnace, where it is ‘annealed’, or slowly cooled to
relieve the tensions in the glass. Glass that has not been annealed but
allowed to cool naturally will shatter very easily.
Glass can be coloured by the addition of metallic oxides, or decolourised
by adding antimony or manganese to the mix.
When the vessel has been annealed it can be further decorated by
removing part of its surface through the various ‘taking away’ or abrasive
techniques: or by the ‘adding’ techniques of giving decoration such as
trails or blobs, enamelling or gilding. In modern times techniques of
forming and decorating glass have multiplied and form a whole subject
in themselves.
When visiting a glass collection or when buying glass, one is first of all
struck by the physical appearance of the glass—whether it is clear,
coloured, blown, moulded, enamelled, gilded, cut, engraved, and so
forth. This book is written with that fact in mind. It attempts to cover
the history of every technique of vessel glass-making in all the main
glass-making countries throughout the ages.
One further point: following modern practice, the measurements are
quoted in both metric and imperial terms, but are sometimes rounded
up a little for the sake of convenience. Occasionally the dimensions were
not available.

MODERNISM
CHAIRS
AS FURNITURE PRODUCTION steadily
shifted emphasis from craft-based manufacturing to industrial methods, so the look of the chair changed dramatically Ornament was doggedly erased from designs as structure became more important to the aesthetic look. Solid wood began to fall from favour (too expensive and inflexible) as moulded plywood and tubular steel stepped into the spotlight.
Just as the notion of open-plan space was creeping into Western architecture, so furniture was freed from fulfilling just one function. Chairs became
increasingly ambiguous, with some made for indoor and outdoor use, and others equally at home in an office or dining room. Chairs became lighter, too, as they were frequently moved around the house.
With mass production in mind, designers began to concentrate their efforts on fixtures. The aim became
to produce a chair made of a minimum number of components that fitted together easily and quickly It’s no surprise, then, that the cantilever chair became so popular, as the continuous loop of legs and base eradicated the need for numerous nuts and bolts.
While the structure of the chair became increasingly celebrated in its design, as opposed to any stylistic conceits, so the designer as an
individual receded into the background. Industry became more important than art, as designers sought to express nothing more romantic than the manufacturing process.
The reason the chair dominated the focus of designers’ effort`_ is because a person’s emotional attachment is far greater to a chair than to, say, a shelving unit. If Modernist designers wanted to alter their audience’s emotional and intellectual outlook, it was through the chair that they tried to do so.
The slender armrests display a use of cushioning that is rare fora chair by Marcel Breuer.
The steel struts beneath the seat have been bowed so they cannot be felt by the sitter.
The chair is made from non-reinforced tubular steel, thereby making it less rigid.
B34 CHAIR WITH ARMS
The frame of this cantilever chair is made from one continuous loop of tubular steel. Although the base looks as though it is all in contact with the floor, the side pieces bend slightly so that only the corners touch the floor — the idea
being that most floors are slightly uneven and the smallest change in level would make the chair wobble. This chair has arms with elbow supports, and a blue canvas seat and back. Designed by Marcel Breuer and produced by Thonet. 1928. H:85cm (33Vzin); W.57.5cm (22Vain); D:63cm (24-Xin), Qu I
This armchair was inspired by a model made by Alvar Aalto. The chair’s seat and back are made from a single sheet of laminated wood and sit within an oak open-arm frame. H:76cm (30in) CA
LANDI CHAIR
This easy chair comprises a series of square-section planks of pine, joined by wooden dowels. It has a slatted section on both seat and chair back. Designed by Hein Stolle. c.1930. BonBay 2
SIDE CHAIR
The seat and back of this early cantilevered chair are made of ebonized moulded plywood and sit on a chrome-plated tubular-steel frame. The armrests are ebonized beech. Mart Stam for Thonet. c.1930. BonBay 2
ZIG-ZAG CHAIR
One of a pair, this chair has a tubular-steel frame reminiscent of Rietveld’s Zig-Zag chair. The wooden seat is supported on steel rods and has a later vinyl cover. H: 82.5cm (321in); W.41.5cm (161in); D:63.5cm (25in). Qu I
Lightweight and durable, this stacking chair is made from pressed and bent aluminium. Each armrest and pair of legs is from one piece of aluminium. Hans Coray. 1938. H: 76cm (290); W.51cm (19in); D:55cm (21in). BonBay 2
CLUB CHAIR
AALTO-INSPIRED CHAIR
EASY CHAIR
The rectilinear frame is made from stained pearwood secured with brass fittings. The chair is upholstered in hand-woven woolen fabric. Peter Keler, Bauhaus Weimar. 1925. H:69cm (27in); W.62cm (24V:ln); D:68cm (26%0). WKA
LOUNGE CHAIR
CANTILEVERED ARMCHAIR
One of a pair, this armchair has a tubular-chrome frame and seat with cushions upholstered in a dark brown, brushed fabric with red trim. The armrests are black-enamelled. H:86.5cm (34in). SDR I
Designed by Gilbert Rohde, this cantilevered armchair has a bright chrome base and black laminated armrests. The cushions are upholstered in ivory leather with a black trim. H:94cm (37in). SDR 1
THE STACKING CHAIR
STILL FOUND IN CAFES WORLDWIDE, THIS ICONIC DESIGN IS PERHAPS THE FIRST STACKING CHAIR, AND CERTAINLY THE FIRST WIDESPREAD DESIGN, OF ITS KIND.
The so-called Bistro chairs These have a pressed-steel frame and are painted red; with plywood seats. c.1926. H:82cm (32Vin). DOR 3
The origins of this chair, despite the efforts of numerous historians, have proved murky at best. The design is most likely to have been developed in France some time around 1925, specifically for the country’s booming cafe culture. The chair bears a strong, albeit rather crude, resemblance to chairs designed by Emile Jacques Ruhlmann, although it’s doubtful whether the French high-society designer ever had a hand in its conception.
What is perhaps most impressive about the chair, apart from its stackability, is its economy of materials. The steel used is incredibly thin and, to give the legs rigidity, the steel has been subtly curved. To save further on metal, holes have been cut from the seat back. While the perfect low-cost, space-saving chair was to become something of a holy grail for 20th-century furniture designers, few ever bettered the chair design that first set the ball rolling.
FREE SWINGER ARMCHAIR
The base of this chromed-steel cantilevered armchair from Austria is the only part of the structure that is exposed. The chair seat and back are filled with down and upholstered in sand-coloured velour. H:84cm (331in). DOR 3
LAMINATED LOUNGE CHAIR
This chair has been made from one sheet of cut and moulded laminated birch and resembles the Gerald Summers classic (see p.438). The arms are fixed to the back with metal brackets. Hans Pieck. 1944. H:76cm (30in). Bon Bay 4
BAUHAUS ARMCHAIR
This chair was designed by Erich Dieckmann for the Weimer Bauhaus, in collaboration with Ernst Mayo. Made from solid beech, it has a bowed back and slatted seat. c.1930. H:81.5cm (321:in); W.52.5cm (21in). WKA
DINING CHAIR
This is one of a pair of stacking birch plywood dining chairs that were produced by Artek. The chair has a circular wooden seat and a pierced plywood back, supported on L-shaped plywood uprights. c.1930s.
DIAGONAL CHAIR
This chrome-plated, tubular steel chair is named after the supports between the seat back and legs. The arms, seat, and back are of laminated wood. W.H. Gispen. c.1927. H:82.5cm (321-in); W-54cm (2111n): D:60cm (23,Xln). QU 2
SLATTED CHAIR
This Viennese chair has a tubular-steel frame and solid, stained-beech wooden slats for the seat and back. The arms have wooden armrests. One of a set of four. 1925. H:84.5cm (33V4in). DOR 3

Novelty clocks
Clocks have always exerted fascination because of their complex mechanisms. Since the 17th century clockmakers have created unique timekeepers that incorporate musical work, mechanical figures, elaborate cases and dials, and complicated striking mechanisms. Most novelty clocks available today were produced during the 19th century (particularly in France), when in the face of mass production there was a great demand for unusual clocks. These novelty clocks were fashioned in numerous designs and with a great variety of intricate and complicated mechanisms.
AUTOMATON CLOCKS
One of the most popular types of novelty clock was
the automaton clock, featuring automata or mechanical figures. The earliest automaton clocks were made in the late 16th century, especially in Germany and central Europe, and include such devices as griffins that flapped their wings and opened and closed their beaks at the striking of each hour. In the 18th and 19th centuries rocking ships, phases of the moon (on a revolving dial), and figures of musicians playing were
common. These features were often fitted in the dial arch of longcase and bracket clocks. Some of the most elaborate 19th-century examples from France and Switzerland have very ornate cases with figures appearing through doors, windmills with turning sails, and rocking ships.
Most automaton clocks available today are of eight-day duration and are spring-driven, with a third winding hole for winding the concealed automaton mechanism, musical work,
and/or a quarter-hour striking mechanism. Many automata have minor damage, and prospective buyers should always make sure that the automata work before purchasing.
BLACK FOREST CLOCKS
Clocks have been made in Germany’s Black Forest region since the late 17th century, but most pieces on the market today are from the 18th and 19th centuries. In the 18th century a cottage clockmaking industry grew up, making wall-hung, weight-driven, 30-hour clocks with anchor escapements and long pendulums. With the great local tradition of woodcarving, and the high cost of brass, clockmakers used wood for almost all features of the clock: the shield-shaped, painted wooden dial, often decorated with floral motifs, was fixed onto a wooden
frame housing the movement – also mostly of wood.
In the 19th century the clockmaking industry turned to mass production in the face of competition from mass-produced, wooden-cased clocks from the USA. Painted shield clocks were still popular, but most
19th-century examples have steel or brass rather than wooden movements. One of the most famous types of Black Forest clock is the cuckoo clock, supposedly first made by Franz Anton Kctterer c.1730; table
cuckoo clocks were made from the 1850s. Cuckoo
clocks have elaborate, carved wood cases, often in the form of a hunting lodge or chalet. Some have a matching carved pendulum bob and
weights modelled as pine-cones. The wooden
cuckoo usually pops out of an aperture on
the hour and the half hour; the finest clocks
also feature musical work, with birdsong
emitted by two small pipes with miniature
bellows inside the case. The more unusual
trumpeter clocks, from c.1857, are similar,
but have trumpeters rather than a cuckoo.
SKELETON CLOCKS
The skeleton clock evolved in France in the mid-18th century, probably out of the desire of the great French сдщсльфлукы of the time to show off their skill. The pierced or fretted brass frame revealed the mechanism, which typically featured cut and pierced brass plates secured by blued-steel screws. The base was usually of marble or wood, decorated with elaborate gilt-bronze Mounts, and the clock was covered with a glass dome to protect the movement from dust. Most dials were of white enamel, with the centre often cut out to reveal the movement behind. Usually made to commission for wealthy patrons, French clocks were of extremely high quality, featuring sophisticated mechanical refinements, calendar-work, and often fine gridiron pendulums.
The skeleton clock was not introduced in Britain until c.1820; production tailed off by 1890 and stopped in 1910. British skeletons usually have a fusee movement, an anchor escapement, an engraved and silvered or lute-painted brass dial, and blued-steel hands. Dials ere often pierced or fretted, with the dial centre cut out. Because the movements were on display, they were usually very finely finished, and the frame was lacquered gilded. Like French skeletons, British pieces usually ,at on marble or wooden bases, often with a velvet creel centre; the base had a step or groove to hold -lit glass dome cover.
Before the mid-19th century fine skeleton clocks were made in Britain by a few individual makers; after that time following the Great Exhibition of 1851) they were produced in large numbers by specialized manufacturers. Skeleton clocks became virtuoso pieces of design, with elaborate, scalloped, pierced, and fretted frames, often modelled on famous buildings — on some pieces the hands are hardly visible against the profusion of miniature spires and arches. Early skeleton clocks are timepieces, whereas these complex clocks strike the hour and sometimes the half hour on a gong, visible behind the clock. Some of the most elaborate skeleton clocks strike on two or more bells or have musical chimes.
MYSTERY CLOCKS
The earliest mystery clocks date from the 17th century, but the principal period of mystery clock production was the 19th century in France. They are so called because there is no apparent connection between the pendulum and the movement; or no apparent connection between the movement and the hands. These perplexing clocks were usually spring-driven, and the visible pendulum, which mysteriously appears to swing unaided, was therefore a mainly decorative feature added for intrigue. The pendulum was often held by a bronze or spelter (an alloy of zinc) figure, and the movement in the marble base: each impulse of the escapement caused the figure to rotate virtually imperceptibly to the right and left, and this rotating movement in turn enabled the pendulum to swing. Another design was that of a glass dial supported by a column: the dial kept the time without any visible connection to the movement. The quality of the figure determines the price of the clock — those with bronze statues are the most highly sought after.
Automaton clocks
• DESIGNS automata were often combined with complex musical workings
• CONDITION automata should always be original and in good working order as they are difficult to fix
Black Forest clocks
• CONDITION wooden cases, dials, and movements may suffer from woodworm or be cracked or split; wooden carvings should be intact
• COLLECTING the finest examples also play music
Skeleton clocks
• DESIGNS the best pieces have ornate pierced and fretted frames (perhaps modelled as a cathedral), an original glass dome, complex striking, and sometimes chimes
• CARE cleaning should be carried out by specialists; broken or missing glass domes are difficult to replace
• COLLECTING the more complicated the design and mechanism, the more collectable the clock; original domes are important
Mystery clocks
• COLLECTING figures should be original; bronze is more desirable than spelter; bad repairs reduce value

The period of Eclecticism,
The Biedermeier style is regarded as the last creative style of the nineteenth century. Furniture makers had started casting their eyes back to examples in classical antiquity during the period of
It became fashionable to decorate and furnish in oriental style at the end of the nineteenth century. Furnishings such as carpets and rugs, vases, mother-of-pearl decorated furniture, and divans were widely found at this time.
The heroic style of the first Napoleon was overwhelmed beneath a welter of large upholstered pieces and drapes in the France of Napoleon III.
This excess and ostentation covered up a lack of creativity on the part of the citoyens who now held the leading positions in industry and commerce. This also brought about an increase in mass production. The flood of cheap and indiscriminate furniture led to a marked reduction in fine hand-made furniture by craftsmen. This process was also hastened by the attitude of the schools for the applies arts.
Eclecticism manifested itself in virtually every branch of the arts. Only Michael Thonnet contributed new creativity at this time. He discovered in about 1830 that it was possible to make thin lightweight sheets of oak veneer which could be bent and laminated in order to make furniture. He bent laminated sheets of oak veneer with the help of steam.
Another raw material which was also popular in the past for making lightweight chairs is rattan.
Jugendstil, Art Nouveau, and Art Deco
Opposition to Eclecticism arose in the late nineteenth century. The imitations of old styles and tasteless mass produced items were detested. Artists formed themselves into groups in many countries and strove for pure craftmanship and simple art. Above all objects were to be functional, original, and logically constructed.
Munich became an important centre in this movement. A publication entitled Die Jugend was established there and this gave its name to style which arose: Jugendstil.
This was more of a movement and trend than a style in itself with many different approaches in different countries.
An important group formed around John Ruskin in England for which the social aspect was also important. The emphasis was placed on craft traditions that still existed and had done so since the Middle Ages. The Arts and Crafts movement, as it was known, placed its main emphasis on craftmanship in the making of pieces. Another group of artists in Scotland, led by the architect Charles Rennie Macintosh, went its own way. Another important centre was Vienna where Sezession was formed, under leadership of the artists J.M. Olbricht and Gustav Klimt.
France had been pushed into the background during the previous period of furniture making and Art Nouveau arose as an innovative movement which tied in with activities elsewhere at that time. The main centres of French Art Nouveau were Paris and Nancy.
The British Arts and Crafts movement had hardly any effect on France and certainly none on its furniture designs. Hence the French developed a style of their own. French artists produced many delightful decorations with elegant and original designs, using expensive materials. Generally these new styles started from a standpoint that the eclectic character of nineteenth century furniture was pompous. The new designs were therefore lighter, more transparent in their construction, more fluid, and more `honest’. The silhouettes used were still of classical origin. Decorative elements were drawn from nature and the extent to which these were then stylised depend on the individual movement. This can be seen in the difference between Jugendstil and French Art Nouveau. Jugendstil’s decorations are more naturalistic than the stylised forms of Art Nouveau.
Major names of furniture designers of the time are Van der Velde and Horta in Belgium, Bugatti in Italy, and Louis Majorelle and Emile GaIIe in France. The German makers included names such as tioners in Britain. In addition to Macintosh, another great name from around the turn of the century is C.F.A. Voysey.
A further detail tends more towards Art Nouveau.
The Viennese Werkstatte was led by Josef Hoffmann who found himself drawn to the work of the Scot Macintosh. In common with other centres, the artists of the Werkstdtte did not fully subscribe to the ruling ideas of either Jugendstil or Art Nouveau. They did not consider that only traditional hand-crafting was valid and they also used machinery. Reproductions of the popular main great styles continued to be made up to the outbreak of World War I.
The styles of the French Kings Louis, Sheraton, and Chippendale continued to be very popular and not everyone admired the modern art approach of Jugendstil and Art Nouveau. After World War I a new style was discerned — Art Deco. Art Deco absorbed much of Art Nouveau but rejected its adherence to hand craftmanship and expressly chose to machine make objects. It was not furniture of the mid eighteenth century that inspired Art Deco designers, rather than that of Louis XVI and the Directoire at the end of the century.
The influence of Cubism can be readily seen in the modern designs of this time.

19th Century Victorian English Busts and Statues
Parian, or “statuary porcelain”, was possibly the most significant ceramics development in Britain during the Victorian period. Named after the Greek island of Paros for its resemblance to the white marble quarried there, parian was a bone china that contained a high degree of feldspar, which meant that it did not need a separate glaze. Decorative wares could therefore be displayed without becoming dirty, unlike earlier biscuit, or unglazed, white porcelain, which was coarse and difficult to clean. First made in the 1840s, parian was capable of being moulded without losing any detail, with the result that contemporary sculptors could have their works successfully reproduced for the mass market. Parian was also made in the USA at the United States Pottery in Bennington, Vermont.
IMPORTANT MAKERS
There remains Uncertainty as to which factory invented parian. The firms of Minton & Co. (est. 1793) and Copeland (1833-1933), both in Stoke-on-Trent, claimed to have discovered the secret; both were making parianlike porcelain by the mid-1840x, and at the Great Exhibition of 1851 in London they displayed an extensive range of parian subjects. Other famous makers included Royal Worcester (est. 1862), Coalport (est. c.1796), and Wedgwood (est. 1759), all of whom made a range of wares, figures, and busts, while Wedgwood also made impressive, large figure groups. Smaller portrait busts were the speciality of Robinson & Leadbeater (est. early 1860s), in Hanley, and others were made by the firm of Goss ( 1858-1940), in Stoke-on-Trent. Parian dominated English porcelain production for display objects for about 40 years, and a great deal survives.
PORCELAIN BUSTS AND STATUES
Models for parian were provided by eminent Victorian sculptors, whose full-sized statues could be reduced in size and reproduced in quantity for commercial sale without losing quality. The work of contemporary sculptors such as John Bell (1812-95), Raphaelle Monti (1818-81), and Sir Thomas Brock (1847-1922), together with famous Classical statues housed in museums, could be reproduced and sold to a wide public. A device known as “Cheverton’s
Reducing Machine”, patented by Benjamin Cheverton in 1844, was developed to allow subjects to be scaled down and cast in moulds for the ceramics factories. Busts were made of various subjects, including royalty, politicians, philanthropists, poets, composers, and
characters from antiquity. Figures ranged from meaningful allegories to barely disguised eroticism; for example, The Greek Slave, a controversial sculpture by the American sculptor Hiram Powers (1805-73), was displayed at the Great Exhibition of 1851 and copied by Minton & Co. Many parian figures were made either for the Art Union of London or for the Ceramic and Crystal Palace Art Union, which were lotteries set up by philanthropic Victorians to raise funds for the arts; parian works were frequently offered as prizes. The manufacture of artistic parian gradually diminished in favour of the large-scale mass production of portrait busts, and little of any consequence was nude after c.1880.
• BODY fine, highly vitrified, generally pure white
• FINISH matt, semi-matt, or with a slight surface sheen
• PRODUCTION usually slip-cast, therefore quite light
• FORMS sentimental figures; figures Of politicians, royalty, and composers; literary, religious, and allegorical subjects; copies of famous Classical statues housed in museums; works by Victorian sculptors
• IMPORTANT MANUFACTURERS Minton & CO.,
Copeland, and Robinson & Leadbeater

Staffordshire factories
The “Five Towns” of Burslem, Stoke-on-Trent, Hanley, Tunstall, and Longton, in Staffordshire, were home to many pottery and porcelain factories during the 19th century, to the extent that the area became known as the “Potteries”. Because workers and designers moved from one factory to another, and factories supplied the same china dealers – few factories had their own shops –many shapes and patterns were very similiar. These china shops wanted the continuing patronage of their customers and so discouraged manufacturers from using any kind of factory mark. As a result most English porcelain of this period was sold anonymously and is very difficult to identify accurately.
MASS PRODUCTION
By the 1820s the recipe for bone china was no longer a secret; the ingredients were easy to obtain, and many new factories opened in Staffordshire making fine, affordable wares. Different factories copied each other, making similar pastes and glazes and nearly identical shapes. Pattern numbers painted on certain pieces are sometimes the only clue to the identity of the maker, and the variety of these is huge. Some of the leading factories grew to a great size and made a range of bodies, from very costly porcelain that involved expensive processes and materials to inexpensive earthenware intended for export. Their success lay in the popularity of English bone-china tea and dinner services; these were thinly potted in a pleasing white porcelain, and
attractively and fashionably but inexpensively decorated with transfer-printed botanical scenes, birds, topographical views, and “Oriental” patterns and styles, such as “Imari”.
IMPORTANT FACTORIES AND LESSER MAKERS Spode (est. 1776), in Stoke-on-Trent, produced fine painting and Japanese Imari patterns, and a number of services decorated with “bat-printed” designs. An alternative to paper transfers, ers, bat printing involved the application of tiny dots of oil to the surface of the porcelain, using bats of glue; finely powdered colour was then dusted onto the oil to form the design. The Davenport factory (c.1793-1887), which first produced porcelain c.1810, had one of the largest outputs of all the Staffordshire factories. Ridgway (est. 1792) also had a vast production, with a great many different patterns, particularly in the Rococo Revival style with brightly coloured grounds; these can be identified by their pattern numbers. Minton & Co. (est. 1793) became the most important porcelain factory in Stoke-on-Trent during the Victorian period; in the 1820s to 1830s it concentrated on quality, with careful gilding and delicate painting.
Many makers of bone china subsidized their richest productions by making inexpensive earthenware, and all had to compete for their share of the market. Other Staffordshire factories included Samuel Alcock & Co. (est. 1826) and H. & R. Daniel (1832-54), both of which carried out very fine work.
• FORMS wide, shallow teacups in 1830s to 1840s; elaborate shapes with complicated handles
• STYLES Rococo Revival was the most popular
• DECORATION rich and elaborate; coloured grounds with reserved panels; use of elaborate gilding
• IMPORTANT FACTORIES Spode (est. 1776); Davenport (c.1793-1887); Minton & Co. (est. 1793); Ridgway (1792-1848); H. & R. Daniel (1832-54)
Marks
Few factories marked on a regular basis; pattern numbers vary in style but often appear as fractions on the base of the piece; certain pattern-number sequences are unique and allow the identification of Unmarked tableware
Spode: (c. 1790-1830s) 790-18330s) red painted mark Spode

Brocade, Gilt Brass Mounts, Louis Xvi, Leaf Scroll Handles, Meiji, 14 X 22 X 13 In.

Imari Beaker
Armorial, Trellis Diaper Border, Early 18th Century, 2 3/4 In.

Imari Biscuit Jar
Cover, Japan, 1900-1920, 7 1/2 In.

Imari Biscuit Jar
Cover, Florals, Hand Painted, Red, Blue, Silver Plated Handle, 7 In.

Imari Biscuit Jar
Nickel Plated Cover, Ironstone China Handle, Porcelain, 7 In.

Imari Bottle
6 In., Pair

Imari Bottle
Gourd Form, Cobalt, Red & Gilt Flowers, Phoenix Birds & Dragons, 18 1/4 In.

Flared, 19th Century, 4 X 9 1/2 In.

Mounted, Wood Stand, 3 1/4 X 2 3/4 In.

Octagonal, Fukagawa, 19th Century, 5 In.

Polychrome, 9 1/2 In.

Potted Flowers Center, Alternating Flowers & Birds, 10 In.

Soup, Flowers & Butterflies, Blue Border, Gilt Rim, 9 In., Pair

Blue & Orange Panels, 6 Character Mark, C.1900, 9 1/2 In.

Cover, Polychrome, Marked Lid, 19th Century, 4 1/4 In., 6 Piece

Fish, Blue & Iron Red Floral & Figural Design, 14 In.

Flower Shape, Cartouches Of Carp & Flowers, 11 In.

Flower Shape, Scrolling Floral Panels, Late 19th Century, 15 In.

Flowers & Vines, Peony Center, Landscape Cartouches Interior, 13 1/2 In.

Foliage & Birds, Scrolled Handles, Bronze Mounted, 12 1/2 In.

Polychrome Herons, Brown Rim, 6 In.

Round, Figures On Exterior, Interior Landscape, 7 1/4 In.

C.1850, 9 1/2 In.

Cover, Ormolu Frame, Winged Lizard Handles, Scrolling Leaf Rim, 16 1/2 In.

Dragons & Birds, 2 Ladies In Garden, 1900, 14 1/2 In. ~illus

Floral Form Rim, Floral, Straight Sided, 20th Century, 9 In., 2 Piece

Floral Form, Reticulated Rim, 20th Century, 7 1/2 In., 4 Piece

Polychrome, 5 In.

Polychrome, Oval, 3 1/4 In.

Scalloped, Fluted Edge, C.1855, 6 In.

3 Friends Center, Flower Form, 9 In.

Black Ship, Figures & Ships In Typical Palette, 19th Century, 7 3/8 In.

Brocade Design, Floral Center, 4-lobed, 4 1/2 In.

Carp Design, Mid-19th Century, 8 1/2 In.

Dragon, Scalloped Edge, Ribbed Sides, 19th Century, 9 3/4 In.

Fan, Scroll Design, 8 1/2 In.

Farmer, Under Bamboo Tree, Karabitsu Shell Design, Early 19th Century, 10 In.

Floral Reserves & Fan Design, Blue Ground, Pierced Turned Out Rim, 8 x 7 In.

Flower Basket Center, Flower Form, 10 In.

Flower Form, Flower Basket Design, 12 In.

Geometric Design, Japan, 19th Century, 8 3/4 In.

Gold Floral Panels, Enclosing Vase Of Flowers, Oval, 10 1/4 x 9 1/4 In.

Green & Coral, 10 In.

Japan, 9 5/8 x 4 1/4 In.

Peony Center Surrounded By Landscape, Flower Cartouches, Flower Mark

Scalloped Rim, 19th Century, Pair

Scalloped Rim, Early 20th Century, 5 3/4 x 15 In.

Shaving, Early 18th Century

Black Ship Design, Everted Rim, 9 In.

Butterfly & Chrysanthemum Design, Lobed Form, 6 In.

Fluted, Porcelain, 9 In.

Fruit, Scalloped, 10 In.

Honeycomb, 19th Century, 7 In.

Landscape Scene, Passion Flower Border, Octagonal, 19th Century, 5 1/2 In.

Nesting, Chidori Design, Kitani, 7 In., 8 1/2 In., 9 1/2 In., 3 Piece

Plant-stand Center, Floral Spray Reserves, 19th Century, 5 x 13 In.

Allover Floral, Off-white Ground, 4 Character Mark, 11 1/4 In.

Aristocratic Lady, Terraced Lakeside Garden, C.1890, 11 In.

Blue, Red, Porcelain, 12 In.

Brocade, Chrysanthemum Shape, C.1880, 9 1/2 In.

Dutch Exploration Of Japan, Black Sailing Ship Center, 13 1/2 In.

Fisherman In Landscape, Polychromed Celestial Dragon, C.1890, 9 3/4 In.

Flower Basket Design Interior, Bird & Flower Exterior, 11 In.

Petal Shape, Scalloped Edge, Green, Blue, Rust, Ivory, 3 x 10 In.

Shishi Center, Landscape Surround, Phoenix Panels, 10 In.

Asymmetrical Floral Interior, Exterior Panels, Scalloped Mouth, 8 1/2 In.

Chrysanthemum Form, Enamel Floral Center, Brocade, 1860, 9 5/8 In.

Cover, Allover Red, Blue & Gold Floral, 18th Century, 4 x 5 1/2 In.

Fan Form, Phoenix Design, 10 1/2 In.

Floral Design, Iron Red, Cobalt, Gold Interior, 3 x 7 1/2 In.

Floral Design, Shallow, 12 1/4 In.

Floral Filled Panel, Hexagonal, 9 In.

Floral Medallion, Shield-shaped Panels, Flowers, Signed, 18th Century, 13 In.

Floral Reserve Center, Gold Outlined, Scalloped Rim, Late 19th Century, 15 In.

Kwannon Bosatsu, Blue Drip Rim, Cloud Ground, 19th Century, 6 In.

Overall Fan Shaped Panels With Exotic Birds, Free-form Leaf, Floral Design, 8 In.

Prunus Boughs With Roosting Birds, Brocaded Fan Panels, 10 In.

Red & Blue Chrysanthemums, Panels, Gate, Butterflies, Fukagawa Mark, 9 1/2 In.

Scalloped Edge, Circular, 10 In.

Armorial, Figures In Cartouches, Center Coat Of Arms, Late 19th Century, 15 In.

Armorial, Flared Rim, Horsemonden Of Kent, Buildings, Flowers, C.1716, 7 3/4 In.

Blue, Landscape, Phoenix, Flowers, Orange & Gilt, Scalloped, 11 x 3 1/4 In.

Brocade Design, 4 Petals, Chrysanthemum Shape, Gilt, Scalloped Edge, 7 In.

Butterfly, Flowers, Late 19th Century, 9 1/4 In.

Cover, Phoenix & Shishi, Melon Ribbed, 18th Century, 5 In.

Cover, Polychrome, Alternating Panels, Birds, Flowering Branches, 9 1/2 In.

Cranes Among Flowering Branches, Brocade Design, 11 In.

Cranes In Center, Surrounded By Ginko Leaves, 19th Century, 7 1/4 In.

Floral Brocades Around Central Landscape, Late 19th Century, 8 1/2 In.

Floral Design, 19th Century, +9 1/4 In.

Floral Geometric Design, Orange, Blue, Gold Enamel, 19th Century, 4 In., Pair

Floral, Scalloped Rim & Sides, Footed, 11 x 4 In.

Flower Filled Jardiniere Medallion, Flying Corners, Late 19th Century, 12 In.

Flower Form, Butterfly Rim, Crane & Prunus Center, 6 1/2 In.

Flowers & Animal Panels, Gilt, Ribbed, 11 In.

Landscape Design, 19th Century, 4 1/4 In.

Lobed, Central Medallion, Flower Jardiniere, Panels, Iron Red, Gilt, 2 x 12 In.

Polychrome Enamel & Gilt Brocade On Underglaze, 10 In.

Ribbed, Scalloped Edge, Triangular, 19th Century

Shishi On Interior, Yellow, Green Maple Leaves, 18th Century, 7 In.

Triangular, C.1879, 11 1/2 In.

Wave Design, Rabbit, 8 1/4 In.

Bell Shape, Pinwheel Brocade, Late 19th Century, 9 3/4 In.

Brocade Flowers, Metal Rim, Early 19th Century, 10 In.

Center, Bronze Dore, Floral & Leaf Design, 2 Handles, Pedestal, C.1860, 13 In.

Central Reserve Design, 3 Schooners, Sailors, Flower Sprays, Nanban, 3 1/2 In.

Cover, Blue & White, Red & Gold Overlay, 1900, 4 1/4 x 3 1/4 In.

Cover, Crane & Flower Panels, Gold Leaves Between, 1860, 4 1/4 x 3 In.

Cover, Garden Medallion, Blue & White, Gold & Red Accents, 5 1/4 x 4 In.

Cover, Multicolored Scene, Fence, Pine & Willow Branches, 1860, 4 1/4 In.

Decorated Interior, Outside Rim, 3 1/2 x 7 1/4 In.

Dragons, Vertical, Tapering Sides, Flared Rim, Cobalt, Gold Border, 5 x 12 1/4 In.

Figure Standing On Rock, Mt. Fuji Ground, Gold, Red, 1860, 8 1/4 x 3 1/4 In.

Fish, Blue Birds, Flowers, Paneled Scenes, Footed, Teakwood Stand, 5 x 12 In.

Flower Shape, Late 19th Century, 9 1/2 In.

Grass & Flowers, 3 Petal Blue Center, Scalloped, 4 x 10 In.

Lotus, Cranes, Flowers, Central Medallion, Scalloped, Ribbed, 4 3/4 x 9 1/2 In.

Scalloped, 4 x 8 1/4 In.

Brocade Pattern Around Minogame Center, C.1870, 8 1/2 In.

Center, Anton Scene, Blue, Red, Green, Footed, 19th Century, 4 x 9 1/2 In.

Chrysanthemum, Polychrome, C.1912, 11 3/4 In., 3 Piece

Crane, Marsh Medallion, Dragon, Phoenix, Flower Border, C.1860, 11 In.

Figure Of Dragon, Shallow, Scalloped Rim, 1800s, 9 In.

Flower Medallion, Garden Scenes, Scalloped Rim, 19th Century, 11 In.

Flowers, Fan-shaped Reserves, Meiji, 10 In.

Landscape, Karako Landscape, 19th Century, 8 3/4 In.

Lion & Brocade Border, Kirin Center, 11 1/4 In.

Melon Shape, Scalloped Rim, C.1890, 9 1/2 In.

Phoenix Center, Red & Blue, 19th Century, 7 1/4 In.

Ribbed, Scalloped Rim, Red Ground, Blue Underglaze, 19th Century, 12 In.

Ribs, Scalloped Rim, Enamels, 19th Century, Japan, 8 1/2 In.

Serving, Phoenix Medallion, C.1975, 8 1/2 In.

Ship & Pine Tree Center, Flowers, 8 Sides, 19th Century, 12 In.

10 Petals, Japan, Late 19th Century, 9 1/2 In.

Alternating Swirls Of Underglaze Blue & Red, Gilt, Japan, 1800s, 9 3/4 In.

Bamboo, Pine, Prunus, 3 Friends, Leaf Edges, Cover, 1800s, 9 1/2 In., Pair

Blue, White Design, Scalloped Rim, 3 1/2 x 8 1/2 In.

Calligraphy Outer Panels, 4 Inner Panel Scenes, C.1815, 9 1/2 In.

Central Flower Rondel, Dragons, Phoenixes, 1800s, 12 In.

Central Medallion, Blue Flowers, Gilt, 3 x 15 1/4 In.

Chrysanthemum Shape, Flower Brocade Design, 1800s, 4 3/4 In.

Chrysanthemums, Japan, 1800s, 14 In.

Flowering Vine, Cover, Japan, 19th Century, 4 3/4 In.

Flowers, Chinese, C.1740, 7 3/4 In.

Flowers, Pinwheel Border, Late 1800s, 13 3/4 In.

Foo Dog, Brocade Ball Center, 3 Friends, Brocade Border, 1800s, 8 1/2 In.

Fukagawa, Center Carp, Japan, Late 19th Century, 7 1/2 x 14 In.

Low, Fukagawa, Dragon Design, Late 19th Century, 10 1/2 In.

Nut, Flower Center, Brocade Border, Multicolored Enamels, Japan, C.1900, 6 In.

Orange, Blue, Scalloped Rim, 11 In.

Paneled Egg Shape, Flower Garden, Shishi, 1800s, 10 In.

12 3/8 X 5 3/4 In.

Floral Design, 19th Century, 10 In.

3 Friends, Flower Center, C.1850, 11 1/2 In., Pair

Bell Shape, Bird, Prunus Tree, Phoenix, Paulownia Flowers, Early 1800s, 7 1/2 In.

Bell Shape, Clamshell, Bird, Flower Garden, Landscape, 19th Century, 6 3/4 In.

Bell Shape, Sages, Bamboo Grove, Brocade, Early 1800s, 9 In.

Birds, Rabbits, Blue, White, Paneled Sides, C.1740, 5 3/4 In.

Chrysanthemum Shape, Crest, Brocade, Late 1800s, 5 In.

Chrysanthemum Shape, Phoenix, Flowers, Early 1800s, 5 In.

Chrysanthemum, Multicolored, Concentric Double Foot, C.1912, 13 1/2 In.

Cover, Phoenix Interior, Bird & Flower Exterior, C.1820, 10 1/2 In.

Cover, Women, Pomegranates, C.1840, 4 1/2 In., Pair

Cylinder Shape, Flared Rim, Landscape, Crane, Mythical Beast, Grass, 1700s, 7 In.

Dome Lid, Flowers, Multicolored Enamels, Applied Handle, C.1900, 10 In.

Dragon, Landscape, Birds, Flowers, C.1850, 8 1/2 In.

Floral, Urn Of Flowers Center, Scalloped Rim, Footed, Signed, 9 1/2 In.

Flower Shape, Crane, Pine Tree, C.1850, 7 1/2 In.

Flower, Landscape, Early 19th Century, 8 3/4 In.

Geese, Marsh Grass, Flower Gardens, C.1800, 13 1/2 In.

Landscape, Phoenix, Flowers, Early 1800s, 10 3/4 In.

Oval, Leaf Shape Feet, C.1770, 3 X 12 X 10 In.

Samurai Helmet Shape, Dragon, Lion, Flowers, Stylized Vines, C.1760, 11 In.

Scalloped Rim, Reeded Body, Red, Green, Gold, C.1880, 5 X 12 In.

Scroll Cartouche, Leaves, Banner, C.1830, 9 1/2 In.

Tassels, Flowers, Birds & Flower Lattice Exterior, 19th Century, 6 1/2 In.

Black Ships, Portuguese Figures, Eagle Center, Japan, 1800s, 3 1/2 X 9 1/2 In.

Blue Scrolls, Orange Peonies, 8-sided, Hardwood Stand, 1800s, 2 3/4 X 9 In.

Blue, White, Leaves, Flowers, Karakusa Design, Early 1800s, 6 In.

Flared Sides, Scalloped Rim, Flowers, Gold Trim, 1800s, 14 1/8 In.

Flat Rim, Double Foot Ring, Rabbit, Waves, 3 Friends Border, 3 X 9 In.

Flowers, Brocade, Pagoda, 16 In.

Flowers, Fukugawa, Japan, Late 19th Century, 9 3/4 In.

Flowers, Japan, Late 19th Century, 3 1/4 X 11 In.

Footed, Flat, Inverted Rim, Trellis, Fence, Birds, Prunus, Ruyi Head Border, 3 X 12 In.

Footed, Flower Vase, Paneled Sides, 4 X 10 In.

Oval, Footed, Ribbed, Scalloped Border, Phoenix, Vine, 2 7/8 X 13 1/2 X 9 7/8 In.

Reserve Decoration, Japan, 19th Century, 3 1/4 X 8 3/4 In.

Ribbed, Oval, Scalloped Edge, Central Flowers, Vines, 2 1/2 X 8 7/8 In.

Scalloped Border, Cobalt Blue & Iron Red Flowers, 2 1/2 X 13 3/4 In., Illustrated

Scalloped Everted Rim, Shishi, Peony, Scrolling Vine, Insect, Flower, 2 3/4 X 8 1/2 In.

Set
Flower Shape, 6 Poets, Pine Landscape, Japan, 19th Century, 6 In., 12 Piece

Set
Nesting, Peony Center, Flower Brocade Border, Japan, 19th Century, 3 Piece

Set
Nesting, Phoenix Center, Cranes, Prunus, 1800s, 7 1/2 & 8 In.

Set
Nesting, Stylized Bird, 1800s, 7 1/4, 8 1/2 & 9 3/4 In.

Set
Shoe Design, Crane, Flowers, Late 1800s, 4 3/4 In., 4 Piece

Set
Dragons, Auspicious Emblems, 19th Century, 6 In., 12 Bowls

Set
Pine, Bamboo, Prunus Tree, Bird, Wave, Early 1800s, 6 1/4 In., 4 Bowls

Imari Box
Scholars & Scroll, Egg Shape, Flower Borders, Koransha, Japan, C.1810, 3 3/4 In.

Imari Box
Passion Flower, Medallions, Karakusa Ground, 2 Parts, Cylindrical, Early 1800s, 3 In.

Imari Brush Pot
6 In.

Imari Cachepot
Courtesans In Garden, Japan, 1800s, 10 1/2 x 13 1/2 In.

Imari Censer
Polychrome, Lobed Body, Scroll Handles, C.1912, 8 In., Pair

Imari Centerpiece
Dore Bronze, Bowl Supported By 3 Female Figures, 20 X 16 In.

Imari Changer
Iron Red, Blue, Green, Central Medallion, Flower Vase, 12 In.

Birds, Flowers, Shaped Panels, Red Background, Meiji Period, 18 1/4 In.

Multicolored Carp, Enameled, Gilt, 19th Century, Signed

Pomegranate Center, 6 Bird Alternating Flowers Panels

6 Panels, Alternating Scenes, Stylized Florals, Gold, 16 In.

Blossoming Peony In Vase, Phoenix Amid Branches, 12 1/2 In.

Blue & White, 15 3/4 In.

Flower Shape, Peony Center, 12 1/2 In.

Round Center Design, 18 1/2 In.

Center Urn With Flowers, Chrysanthemum Border, Sprays On Back, 15 1/2 In.

Figural & Bird Panels, Fluted Sides, 18 In.

Foliage Design, Japan, 15 In.

Ho-os Circling Black & White Gourd Design, 13 In.

Panel Design, C.1865, Round, 12 In.

Pea Fowl, Mums, Blue & White, 12 In.

Scalloped Rim, Floral Cartouches, 12 1/4 In.

Scalloped, Fluted, C.1865, 12 1/2 In., Pair

Sugar, Cover, 19th Century, 4 1/4 In.

Blue, Red, Green Glaze, White Ground, Japan, 18 1/4 In.

Crane, Peony Design, 12 In., Pair

Figural, Floral Design, 4 Character Mark On Base, 21 3/4 In.

Floral Center, 16 1/4 In., Pair

Polychrome Scene Of 7 Figures, Orange Border, 26 1/2 In.

Red, Cobalt Blue, Green, Black, Japan, 18 1/2 In.

Stylized Green, Splash Of Colors, 1840s, 16 In.

3 Panels Of Foliate Design, Blue Exterior, Blue Design, White Ground, 18 In.

3 Panels, Bird On Branch With Flowers, Butterfly, Blue, Rust Floral Spray

Blue Bird, Floral, Foliate Design, Off-white Ground, 18 In.

Blue Ground, 15 3/8 In.

Blue, White, Celadon Glaze, 18 In.

Center Fu Lions In Landscape, Floral & Foliage Border, 16 In.

Central Floral Medallion, Late 19th Century, 15 1/2 In.

Floral Center, Landscape Surround, 16 In.

Flower & Bird Design Panel, 1850, 12 1/4 In.

Green Dragon, 18 1/4 In.

Landscape Scene, Iron Red, Green, Gold, Porcelain, 1890, 15 1/2 In.

Landscape Scene, Porcelain, 1900, 12 In.

Rockery, Pavilion, Flying Peacock On Wave, 18 1/2 In.

Rockery, Pavilion, Flying Peacock, Brocade Ground, 18 1/2 In.

Still Life Of Flowers, 19th Century, 18 In.

Warrior & Landscape Cartouches, 21 3/4 In.

Blue Center Design, Flowers, Butterflies In Various Shapes, 18 1/4 In.

Central Vase Of Floral Design, 18 1/4 In.

Floral Design, Late 19th Century, 13 1/4 In.

Floral Landscape, Birds, Late 19th Century, 15 3/4 In.

Foo Dogs, House Boats, Floral Design In Windows, Blue & Red Reverse, 18 In.

Landscape, Horse Filled, Prunus Center, Bird, Floral Cartouches, 18 In.

Mandarin Duck Scene, Early 19th Century, 14 1/2 In.

Peony Flowers, 3 Panels, Foo Dogs, Fans, Cobalt Zigzag Border, 18 In.

Phoenix, Landscape, Floral & Foliate Design, 8 1/2 In.

Pine Tree Design, Cobalt Bamboo, Deep Red, Green, Yellow, Gold Border, 3 In.

Polychrome, Man On Boat, Heron, Panels, Red & Blue On Reverse, 18 1/2 In.

Stand, 19 In.

Birds, Flower Design, Late 19th Century, 18 In.

Carp, Goose, Landscape, 17 1/2 In.

Center Chrysanthemum, Alternating Birds & Buildings Cartouche, 16 In.

Center Floral, Floral Border, Insect & Phoenix Scene, Polychrome, 18 In.

Center Flower Jardiniere, Flower Head Panels, Arabesques, 3 x 18 In.

Center Quatrefoil Flower, Cartouche Of Birds In Flight, 20th Century, 21 5/8 In.

Central Jardiniere Of Flowers, Flowers Panels, Early 19th Century, 18 In.

Central Landscape, Cranes & Foo Dogs Border, 19th Century, 16 In.

Chrysanthemum, Wide Floral & Insect Border, Phoenix, 13 In.

Figures, Floral Landscapes, Medallion, Raised Edge, Late 1800s, 3 x 5 1/2 In.

Floral, Paneled Border, Birds & Flowers On Reverse, 18 In.

Flower Medallion, Paneled Floral, Blue & White, Scalloped, 12 In.

Flower Shape, 2 Ships, Rolling Sea, Prowling Dragon, Enamel, Gilt, 14 1/2 In.

Foo Lions, Brocade, 19th Century, 18 In.

Hoteh & Karako Design, 12 1/4 In.

Landscape, Bats On Reverse, 12 In.

Panel Of 3 Friends, Brocade Border With Phoenix, Leaves, 16 In.

Phoenix, Blue Border, Floral Reserves, Late 19th Century, 14 In.

Riverscape, Dragon, Scalloped Rim, 20th Century, 15 In.

White Ground, Gilt Highlights, Early 19th Century, 16 In.

2 Crane Reserves, 2 Landscapes, Center Bonsai Tree, 1870s, 25 In.

3 Medallions, Overlapping Circle Border, Early 1800s, 12 In.

4 Large Flowering Plants, Blue Border, Lattice Design Between, 12 1/4 In.

Birds, Flowers, Serpent, Panels, Blue Border, 18 In.

Bowl, Flowers, Landscapes, Raised Rim, Panels, Late 19th Century, 3 x 12 In.

Central Medallion, Coiled Dragon, Flaming Pearl, C.1900, 22 In.

Central Medallion, Flowers, Lotus, Red Ground, 19th Century, 18 In.

Central Medallion, Peonies, Reserve Panels, Flowers, Birds, 20th Century, 18 In.

Central Medallions, Blossoming Trees, Birds, 10 Leaf Panels, 12 3/4 In., Pair

Deer In Wood, Border Of Birds, 21 3/4 In.

Fan Reserves, Floral Sprays, Alternating Cranes, Meiji, 18 1/2 In.

Figures, Birds, Flowers, Asymmetric Panel, Geometric, C.1880, 15 1/2 In.

Floral Panels Over Whirling Ground, 18 1/2 In.

Floral Spray, Medallions, Scalloped Reeded Rim, C.1860, 18 1/2 In.

Floral, Center Cartouche, Fan Shaped Panels, C.1860, 14 1/2 In.

Flowers, Birds, Blue, Rust, Red, Vignettes, Folding Stand, 24 1/2 In.

Foo Dog & Phoenix, Yellow, Green, Blue & Red Border, C.1860, 27 x 4 1/2 In.

Geometric & Floral, Polychrome Panels, 18 In.

Gilt, Fan Shaped Panels, 19th Century, 18 In.

Hoo-birds In Well, 1870s, 12 3/8 In.

Landscape, Fruit, Alternating Medallions, Late 19th Century, 14 In.

Mountainous Scene, Medallion, Birds & Fans Reserves, 8 Sides, Meiji, 12 In.

Oriental Man At Table, Floral On Reverse, Paneled Borders, 18 1/2 In.

Pheasant Center, Red & Gold Polychrome Design, 6 Sections, 18 In.

Phoenix Bird & Bull, C.1880, 18 1/4 In.

Scalloped, Reeded Rim, Body, Alternate Panels, C.1880, 12 In.

Sleeping Oriental Woman, Interior Medallion, Floral Rim, 15 5/8 In.

Tomato Red Pagoda, Dragons, Birds & Flowers, 15 3/4 In.

Bamboo, Children At Play, Meiji Period, Japan

Basket With Flowers In Center, 2 Boats, Scrolling Leaves, Japan, 20 In.

Bird On Blooming Branch, Late 19th Century, 17 3/4 In. ~illus

Blue, White, Chrysanthemum, Prunus Reserves, 12 In.

Butterflies, Cranes, Flowers, Medallions, 19th Century, 13 In.

Central Flowers, Grape & Brocade Borders, Japan, 19th Century, 14 1/2 In.

Central Medallion, 3 Friends, Blue & White, Aster Border, 16 1/2 In.

Flowers & Figural, Meiji, 18 5/8 In.

Flowers, Crane & Minogame Border, Late 19th Century, 13 1/2 In.

Ladies, Birds, Flowers, Fans, C.1880, 15 1/2 In. ~illus

Landscape, Floral Cartouches, Women, Scroll, 19th Century, 18 1/4 In.

Octagonal, Flower, Brocade, Meiji Period, Japan, 11 1/2 In.

Polychrome, Gilt Edge, C.1912, 21 1/2 In.

Red, Blue, Green, Orange, Gold, Family At Table Under Tree, 23 1/2 In.

Scalloped, Reeded Rim, Body, Alternate Panels, 1880, 12 In. ~illus

Scenic Cartouches, Mount Fuji, Birds, C.1870, 22 In.

3 Phoenix Bird Panels, First Half 19th Century, 21 1/2 In.

Blue, Red, Green, Gilt Highlights, 14 3/4 In.

Blue, White, Peonies, Scalloped Rim, 18 In.

Carp, Flowers, 21 In.

Chrysanthemum, Multicolored, 20th Century, 17 1/2 In.

Court Scene, Gilt Ground, Brocade Borders, Japan, 1800s, 22 In.

Curtain Center, Shishi, Peonies, Prunus, Bamboo, 1800s, 24 1/4 In.

Dragon Center, Sparrow & Flower Cartouches, C.1850, 22 In.

Figural & Lion Fan Form Cartouche, 1800s, 18 In.

Floral Reserve Panels, Underglaze Blue & Multicolored Enamels, 1800s, 16 In.

Flower Center, Birds, Cranes, 1800s, 15 In.

Flower Form, Bamboo & Peacock Design, Late 1800s, 11 In.

Flower Form, Flower Basket Center, Peonies, Blue Flowers, 1800s, 14 1/2 In.

Flower Form, Phoenix, Blue Flowers, Mandarin Duck, 1800s, 16 In.

Flower Vase, Veranda, Brocade, 6 Spurs & Flowers On Base, 1700s, 13 In.

Flowering Branch, Floral Medallions, Rust, Gold Scrolls, Exterior Horses, 19 In.

Flowers, 6 Panels, 19th Century, 16 In.

Flowers, Central Medallion, Brocade, Japan, 19th Century, 22 In., Pair

Landscape Screens, Brocade Ground, Late 1800s, 12 In., Pair

Landscape, 19th Century, 18 1/4 In.

Multicolored Enamel, Bamboo Medallion, Garden, Japan, C.1910, 12 1/4 In.

Paneled, Multicolored, Blue, Rust, Green, 19th Century, 11 3/4 In.

Phoenix, Blue Flower Center, Lion-dog, 1800s, 18 In.

Phoenix, Blue Flowers, Cranes, Pavilions, 1800s, 12 1/2 In., Pair

Phoenix, Peony Garden, Octagonal Form, 1800s, 13 In.

Scalloped Edge, Flower Basket, Fan Shape Border, Japan, 1800s, 18 In., Pair

Scalloped Rim, Cranes & Tortoises Border, Japan, C.1860, 12 3/4 In.

Shishi & Peony, C.1850, 18 In.

Upswept Rim, Phoenix, Trees, Flowers, Japan, Late 1800s, 12 In.

Vase Of Flowers, Geometric Decorations, Scalloped Border, 18 1/4 In. , Illustrated

Wisteria, Figures, Dragon Screen, Flower, 1800s, 14 1/2 In.

100 Flowers, Blue Flower Border, 19th Century, 18 In.

100 Flowers, Red & Blue Flower Border, 19th Century, 18 In.

Birds, Snails, Butterflies, On Red, White Scrolls, Cobalt Blue Boat Center, 12 In.

Blue, Rust, Fan, Bird, Dragon, Flowers, Hanging Cross Strap, 22 In.

Central Flower Basket, Foo Dogs, Brocade Balls, 17 3/4 In.

Cranes, Tortoises On Border, Scalloped Rim, C.1860, 12 3/4 In.

Drunken Sprite, Wine Barrel, Brocade Border, Flower, Vine, 1800s, 24 In., Pair

Flower Medallion, Hearts, Foo Dogs, Peacocks, Lotus Blossoms, 16 In.

Flowering Plants, Central Medallion, Red, Blue, Gilt, Circles, 1 3/4 X 15 1/2 In.

Landscape, Boy, Fruit, Flowers, C.1750, 17 3/4 In.

Open Books, Figures, Landscapes, Dragons, Flowers, 1700s, 18 In.

6 Panels, Multicolored, 15 1/2 In.

Bamboo, Pine, Prunus, Brocades, Shishi, Peonies, Japan, Late 1800s, 18 In.

Bird, Flower, Brocade, Japan, Late 19th Century, 18 1/2 In.

Birds, Landscapes, Red Ground, 1850-90, 2 3/4 X 15 5/8 In.

Birds, Trees, Multicolored, Early 1900s, 18 In.

Brocade, Flower Lotus Petals, Panels, Center Phoenix Medallion, 12 3/4 In.

Carp, Relief, Waves, Japan, 19th Century, 18 1/2 In.

Central Medallion, Pagoda, Birds, Flowers, Flying Crane, 19 In.

Chrysanthemums, Tree, Bird, Flowers, 1800s, 15 3/4 In.

Dragon & Banner Center, 3 Friends Border, Japan, 1800s, 15 1/2 In.

Dragon, Palace Lions, Lotus Blossoms, 1800s, 13 1/2 In.

Fans, Multicolored, Japan, 1800s, 18 In.

Flower Basket, Passion Flower Border, Japan, Late 1700s, 17 1/4 In.

Flower Reserves, Leaf Edge, Brocade Borders, 17 In.

Flower Shape, Bird, Flower, Japan, Late 19th Century, 12 1/2 In.

Flower Shape, Juemrous Bat, Chrysanthemum Center, Japan, Late 1800s, 16 In.

Flowers, Landscape, Peony, Wisteria Bonsai, Late 1800s, 22 In.

Geometrics, Blue, White, 18 1/2 In.

Medallion, Stylized Flower, Shaped Cartouches, Leaf, Vine, 3 X 21 3/4 In.

Peonies, Shishi Over Waves Cartouches, Leaves, Green, Lavender, 1 1/2 X 12 1/2 In.

Ribbed, 3 Central Flowers, Flower Ground, 1 7/8 X 12 In.

Scalloped Rim, Reticulated Cavetto, Flowers, Japan, 18 1/4 In., Pair

Swirling Brocade, Center Flower Roundel, Japan, 1800s, 14 3/4 In.

Underglaze Blue, Multicolored Enamels, Gilt, Floral Panels, Ground, 24 In.

Imari Chawan
Flame & Cloud, Early 19th Century, 4 In., Pair

Imari Chop Plate
Blue & White, Japan, 12 1/4 In.

Imari Chop Plate
Floral Design, 3 Panels, 2 Birds, Cobalt & Geometric Design, 14 1/2 In.

Imari Chop Plate
Dragon Faces & Leaves, White Panels, Gold Trim, 12 1/4 In.

Imari Coffeepot
Dome Cover, Hinged, Silver Mounted, Early 1700s, 9 1/4 In.

Imari Compote
Chrysanthemum, Floral Design, Bowl Form, Flared Pedestal Base, 4 In., Pair

Imari Compote
Flowers & Waves, 2 Blue & 1 Pink Fish Interior, 1850, 5 1/4 x 4 1/4 In.

Imari Compote
Sea Waves, Blue Carp Interior, Double Crimped Rim, 1860, 6 1/4 x 4 1/2 In.

Imari Compote
Small Fish, 2 Blue Carp Swimming In Seaweed Interior, 1860, 6 x 4 1/2 In.

Imari Condiment Set
Sterling Silver Frame, Center Handle, C.1910

Imari Cup
Prunus Branches, Bamboo, Peony, C.1860, 3 In., 10 Piece

Hand Painted, Gold, 1892-1899, England

Floral Design, Porcelain

Gold Rim

Gilt

Chrysanthemum Form, Floral Brocade Design, 1800s

Floral Design, Porcelain, 19th Century

Gold Rim, Demitasse

Gilt, 1800-1825

Chrysanthemum Form, Floral Brocade Design, 1800s, 3 In.

England, Early 19th Century, 3 1/4 X 5 1/4 In.

Hand Painted, Gold, 1892-1899, England

Imari Cup Set
Sake, Poets, Pine Tree Landscape, Blue Ground, 19th Century, 12 Piece

Boat, 19th Century, 13 1/4 In.

Dragon, Blue & White, 18th Century

Fish Shape, 10 In.

Fluted, Scalloped, 12 1/2 In.

Fluted Edge, Four Character Mark, C.1795

Fluted, Floral Design, Scalloped Rim, C.1850, 12 In.

Panel Design, Scalloped Rim, C.1860, 8 3/4 In.

Panel Design, Scalloped Rim, C.1850, 12 In.

Panels & Country Scene, C.1860

Red & Green Design, Blue, Gilt, Ring Feet, 6 In., Pair

3 Friends Center Surrounded By Crane, Flowers, Rectangular, 8 1/2 In.

Bamboo Surrounded By Seated Foo Lion, Iron Red, Gilt Scrolling, 8 7/8 In.

Fish & Turtle, 8 In.

Fish Form, Bamboo, Prunus Design, 9 In.

Lozenge Form, Flower Garden Design, 6 3/4 In.

Blue, Red, Green Floral Design, Tree, Floral Exterior, 19th Century, 3 1/2 In., Pair

Chrysanthemum, Scalloped, 8 In., Pair

Crane, Floral Design, 18th Century, 4 1/2 In., Pair

Passion Flower, Rectangular, 8 1/2 In.

Serving, Flower Basket Center Surrounded By Phoenix & Flowers, 18 1/2 In.

4-masted Ship, Trellis Border, Porcelain, 8 1/2 In.

Bird, Flower & Book Design, Ginko Leaf Shape, 8 1/2 In.

Stag, Bamboo Design, Oval, 6 3/4 In., Pair

Scallop Shell, Painted Clumps Of Flowering Plants, 7 2/3 In., 6 Pair

Awabi Shell Form, Chidori & Waves, 6 1/2 In.

Cover, Crane & Carp Design, 8 1/2 In.

Diamond Shape, Geometric Panels, Flowers, Birds & Plants, 1910, 11 1/4 In.

Diamond Shape, Iron Red, Cobalt, Green, Gilt, Flowers, Birds, 1 1/2 x 11 x 12 In.

Horse & Landscape, 19th Century, 7 In., Pair

Oval, Asymmetrical Panels, Flowers, Pale Blue Scroll Ground, 2 x 13 x 11 1/2 In.

Oval, Palette Colors, Fluted Rim, England, 8 1/2 In.

Shaving, Lotus Sprays & Flowers, Blue, Iron Red, Gold Enamel Glaze, 11 In.

Awabi Shell Shape, Butterfly, Paulownia Flower, Silver Lacquered, Early 1800s

Blue & Iron Red Enamels, Floral Rim, Unglazed Foot, 1880s, 8 1/4 In., 4 Piece

Scalloped, Reeded Body, Alternate Panels, Late 19th Century, 8 1/2 x 10 In., Pair

Birds, Feathers, Flowers, 1 1/2 x 8 1/2 In.

Flower Sprays, 18th Century, 11 In.

Lozenge Form, Peacock, Swallow, Floral, 19th Century, 11 1/2 In.

Seashell Design, Flower Shape Rim, Mid 19th Century, 8 3/4 In., Pair

Abalone Shell Shape, Aquatic Scene, Japan, Early 1900s, 9 In.

Deep, Oval, Scalloped Rim, Japan, 12 x 9 3/8 In.

Fan Form, Flowers, 1800s, 10 In.

Rabbit, Chrysanthemum, Fuku Mark, Square, 1800s, 5 1/2 In., 6 Piece

Butterfly, Flower, Lozenge Shape, 7 1/4 In., 5 Piece

Figures, Bird, Flower, C.1850, 9 1/2 In., 9 Piece

Figures, Birds, Flowers, Rectangular, C.1850, 7 1/2 In., 5 Piece

Ginko Leaf, Bird, Flower, Book, 7 1/4 In.

Landscape, Rectangular, 8 3/4 In.

Mount Fuji, Blue, Gold, Early 1800s, 6 1/4 In.

Scallop Shell Shape, Lake, Landscape, C.1880, 6 1/2 In., 10 Piece

3 Friends, Cranes, Karako, Rectangular, Japan, Late 19th Century, 7 1/4 In., Pair

Fish, Nesting, Japan, 18 1/2 & 16 1/2 In.

Kirin, Cherry Tree, Rectangular, Japan, 1800s, 10 X 8 In.

Shrimp, Boat Shape, 13 In.

Set
Chrysanthemum, Central Medallion, Leaves, Flowers, C.1926, 9 1/2 In.

Set
Boat Shape, Polychrome, 20th Century, 12 1/4 In., 5 Piece

Set
Bird, Flowers, Clamshell Shape, Blue, White, 1690-1730, 3 1/4 In., 6 Piece

Set
3 Friends, Flower Border, Karakusa Exterior, Blue, White, C.1850, 7 In., 8 Piece

Imari Figure
Gama Sennin, Seated, Holding Frog, White Glaze, 7 1/2 In.

Imari Figure
Kwannon, Woman Holding Scroll, Phoenix & Cloud Robe, 19 3/4 In.

Imari Figurine
Shishi, Crouched On Gilt Rockery Base, 7 In.

Imari Figurine
Beautiful Woman, Court Costume, 13 1/2 In.

Imari Figurine
Beautiful Woman, Kimono, Dragons, Late 19th Century, 19 1/4 In.

Imari Figurine
Beautiful Woman, Kimono, Morning Glories, 19th Century, 17 In.

Imari Figurine
Geisha Wearing Kimono, Cat, 11 1/2 In.

Imari Fish Set
Late 19th Century, 17-in. Platter, 10-in. Plate, 7 Piece

Imari Fishbowl
Floral Reserve, Everted Rim, Gilt, Meiji, 18 x 19 1/2 In., Pair

Imari Fruit Bowl
Shell Shape, 10 In.

Imari Garden Seat
Multicolored, Pierced, Riveted Barrel Shape, 20th Century, 19 3/4 In., Pair

Imari Ginger Jar
Floral Panels, Ribbed Ground, Early 19th Century, 14 1/2 In.

Imari Ginger Jar
Arita Style, Blue & White, Floral, Dragons, Foo Dog Finial, 12 1/2 In.

Imari Ginger Jar
Polychrome, Warrior On Horse, Panel Of Birds & Flowers, Ball Finial, 13 In.

Imari Ginger Jar
Domed Cover, Mushroom Finial, Landscapes, Vertical Ribs, 1900s, 12 In.

Imari Ginger Jar
Finial Cover, 6 In.

Imari Hibachi
Scholars In Bamboo Grove, 10 In.

Temple, 32 1/2 In.

Temple, Birds In Flowers Panels, Vertical Rib, Foo Dog Finial, 19 In.

Flower, Butterfly Design, 7 1/4 In., Pair

Inverted Pear Shape, Melon Ribbing, Flowering Tree Design, 1800, 6 1/2 In.

Temple, Foo Lion Finial, 20 In., Pair

Cover, Floral Design, 7 5/8 In.

Rose Petal, 6 In.

Barrel Form, Flower Garden, Brocade Design, 1900, 7 In.

Cover, Bird, Floral & Foliate, Foo Dog Finial, 21 In.

Asymmetrical Panels, Florals, Gilt Tassels, 19th Century, 13 x 11 1/2 In.

Cover, Blue, Red & Gilt Floral, Celadon Foo Dog Finial, Egg Shape, 9 1/2 In.

Cover, Bridge & Bird In Tree, Red, Blue, Gilt Trim, 13 In.

Cover, Landscapes & Flowers, White Reserves, Gilt, Ribbed, 6 1/8 In.

Domed Cover, Floral Design, 19th Century, 12 In.

Domed Cover, Foo Dog Finial, Bluebirds, Roses, Butterflies, Gilt Trim, Signed, 14 In.

Domed Cover, Inverted Pear Shape, Kirin In Clouds, 24 1/2 In.

Domed Cover, Shishi Border, Floral Design, Hexagonal, 12 1/2 In.

Dragon Chasing The Flaming Pearl Of Wisdom, Octagonal, 8 In.

Flowering Tree Design, 19th Century, 6 In.

Rose, Cover, Polychrome, Panels, Late 19th Century, 10 3/4 In.

Domed Cover, Dragon, Peonies, Bamboo, Cylindrical, Polychrome, C.1912, 12 3/4 In.

Tomato Red Panels, Polychrome, Dog Finials, 7 1/2 In., Pair

Cover, Ribbed, Shishi Finials, Japan, 19th Century, 26 In., Pair

Dome Cover, Inverted Pear Shape, Melon Ribbing, Bird, Flower, 1800s, 16 In.

Brocade Ground, Inverted Pear Shape, 8 In.

Cover, 19th Century, 10 In.

Lid, Birds, Flowers, Urn Shape, Fluted, Finial, Blue & Gold Ground, C.1870, 17 In.

Mounted As Lamp, Late 19th Century, 12 1/4 X 26 In.

8-sided, Peony, Fruit Tree, Figural & Iris Band, Japan, Early 1700s, 22 In.

Cover, Animals, Birds, Flowers, Blue Ground, Gilt Accents, Japan, 18th Century, 17 1/2 In.

Cover, Dragon, Brocade Bands, 19th Century, 18 1/2 In.

Cover, Phoenix, Late 19th Century, 8 1/2 X 6 1/2 In., Pair, Illustrated

diniere
Blue, Orange & Yellow, 19th Century, 9 1/2 In.

diniere
Oriental Design, 8 In.

diniere
Cobalt Blue, Orange, Gold, Silver Plate Rim, 9 X 4 1/2 In.

diniere
Floral Design, Hexagonal Form, 6 In.

diniere
Bird & Floral Design, 19th Century, 16 1/4 In.

diniere
Flowers, Bird, & Landscape, 14 x 19 In.

diniere
Ormolu Mounted, Landscape, Dragon Form Handles, 14 In.

diniere
Deer, Floral, Egg Shape, Cobalt Cartouches, Leaves, C.1910, 8 1/2 x 10 In.

diniere
Garden Scenes, Bulbous, Medallions, Late 19th Century, 11 1/2 In.

diniere
Underglaze Blue, Lacquer Paint, Reserves Of Flowers, 1860s, 9 3/4 In.

diniere
Polychrome, Lobed, C.1926, 15 1/4 In., Pair

diniere
Ribbed Form, Flower Molded Edge, 1800s, 8 x 12 In.

diniere
Dragon, Samurai, 19th Century, 16 In.

diniere
Flowers, Geometrics, Winged Horses, Clouds, 3 Scalloped Feet, 15 X 21 In.

diniere Base
Cobalt Blue & Orange Floral, 24 1/2 In.

Imari Jug
Cream, Cover, Prunus Design, Pear Shape, 5 In.

Imari Jug
Inverted Pear Shape, Melon Ribbed Body, Dome Cover, Lion Finial, 1800s, 27 In., Pair

Imari Lamp
Vase, Flowers, Blue, Gold, Rust, Green, 32 In.

Imari Mug
Floral, Bulbous, 19th Century, 3 1/2 In.

Imari Mug
Floral, Blue & Red Cartouches, Ear Handle, C.1800, 6 1/2 In.

Imari Pitcher
Floral Spray, Iron Red & Cobalt Blue, White Ground

Imari Planter
Tapered, Potted Flowers, Birds, 11 1/2 X 15 In.

11 In.

8 1/2 In.

Pierced Edge, 9 In.

Polychrome, 11 5/8 In.

Scenic, Blue, White, Red, Octagonal, 10 1/4 In.

4 Character Mark, 9 In.

Octagonal, 11 1/2 In.

Scalloped, 8 1/2 In.

Floral Panel Design, Cobalt Blue, Scalloped Rim, C.1850

Fluted Edge, Scalloped Rim, C.1840, 10 1/2 In.

Scalloped Edge, C.1870, 14 In.

Birds & Flowers, Hand Painted, Gold, 9 In.

Chidori, Wave Design, 9 In., Pair

Chrysanthemum, Brocade Ball Design Surrounded By Karakusa, 9 1/2 In.

Fish, Flower Design, 9 1/2 In.

Floral, With Pheasant, Black Background, 8 In.

Gourd, Leaf Center Surrounded By Figural Landscape, 10 In.

Leaf Shape, Grapevine, Squirrel, Leaf Design, 9 In.

Passion Flower Center Surrounded By Butterflies, 8 1/2 In.

Passion Flower Design, 8 1/4 In.

Scalloped Edge, Octagonal, 13 In.

Symbolic Design, Blue, White, 7 In.

Flower Shape, Brocade Design, Raised Chrysanthemum Center, 19th Century, 9 In.

Flower Shape, Floral Center Surrounded By Brocade Design, 8 1/4 In.

Flower Shape, Floral Transfer Center, Flower Border, 19th Century, 8 1/2 In.

Flower Shape, Garden Design, 11 In., 9 Piece

Foo Dog & Bird Reserves, Fluted, 8 1/2 In.

Gadroon Border, Ironstone, Geo. Ashworth, 1920s, 8 Piece

Kirin Center, Surrounded By Fans, 7 1/2 In., 5 Piece

La Dame Au Parasol, China, 1770-1775, 9 1/8 & 9 3/8 In., Pair

Prunus, Bamboo, Chrysanthemums, Polychrome, Late 19th Century, 8 1/4 In.

Fan Designs & Phoenix Birds, 2 Piece

Floral Design, Porcelain, 8 1/2 In.

Oranges, Cobalt Blue, 8 1/2 In.

Alternating Floral, Brocade, Garden Trellis, Blue, Gilt Floral Center, 13 In.

Floral Center, Floral Border, Scalloped Edge, 19th Century, 8 1/2 In.

Floral Spray, Butterfly, Floral Border With Swimming Carp, 1 1/2 x 11 3/8 In.

Flower Form, Brush & Floral Center, 8 1/2 In.

Flower Form, Peach Center, Porcelain, 19th Century, 9 1/2 In.

Flowers, Bird Border Reserves, 1850-1875, 9 5/8 In.

Hundred Butterflies, Allover Butterflies & Insects, Multicolored Enamels, 8 1/4 In.

Nobleman Crossing Bridge, Flowering Foliage, 8 1/2 In., 6 Piece

Scalloped & Fluted, 13 1/2 In.

Birds In Tree, Blue & White, 12 In.

Border Of Prunus Flowers Surrounding Medallion, Brick Red Ground, 12 In.

Fish & Birds, Blue & White, Scalloped, 12 In.

Floral Design, Blue Underglaze Ground, Pie Crust Edge, 11 1/4 In.

Floral Spray, Crabs, 9 1/4 In., Pair

Flower, Tendrils, Blue Underglaze, Enamel, Leaf Edges, Square, 8 1/2 In, Pair

Flowers, Bamboo, Reticulated, 8 7/8 In.

Flowers, Blue, Iron Red, Gilt Highlights, 18th Century, 12 In.

God & Goddesses, Border, Scalloped, 12 In.

Octagonal, Fan & Landscapes, Scalloped, Octagonal, 11 1/2 In.

3 Scenic Panels, Blue & White, 1870, 15 1/4 In.

Basket With Bonsai Tree, Birds & Plants, Cut Corners, Square, 10 1/4 x 10 1/4 In.

Blue Dragon Center, 3 Medallions, Gold Horse Borders, 1800, 9 3/4 In.

Chop, Orange Flowers, 4 Reserves, Bird, Branch, 2 Foo Dogs, 21 5/8 In.

Crossed Bamboo Sticks, Morning Glory Vine, Blue & White, 1830, 7 3/4 In.

Fish Form, Enamel, 15 1/2 x 10 1/2 In.

Floral Panels, Scalloped Rim, 20th Century, 10 3/4 In., Pair

Flowering Tree, Blue Medallions Around Border, Square, 1860, 11 In.

Flowers, Leaves, Iron Red, Cobalt Blue, Cartouches, Gilt Vine Band, 11 In., Pair

Flowers, Tree, Bird, Rocks, Blue & White, 1870, 16 In.

Garden Scene Center, Diapering Rim, Square, 1860, 9 3/4 In.

Mums, Red & Gold, Blue Divides Mum Panels, 1820, 8 3/4 In.

Octagonal, Blue & Polychrome Enamel, 1870s, 12 1/2 In.

Pine, Bamboo, Plum Trees, Red & Gold Trim, 1860, 15 3/4 In.

Raised Floral, Blue, White, Gilt, Square, 10 3/4 In.

Sweetmeat, Alternating Tree, Plant Reserves, C.1900, 8 5/8 x 8 1/2 In., Pair

Blue, Red Flowers Triangular Cartouches, 19th Century, 8 1/2 In., 9 Piece

Central Stylized Tree, Landscape Panels, 8 Sides, 10 1/4 In.

Flower, Butterfly, Rising Sun, Flower Form, 11 In.

Flowers, Cobalt Blue, Gilt Petal Borders, C.1900, 8 1/2 In., Pair

Landscape, Flowers, 18th Century, 9 In., Pair

Phoenix Center, Flower Transfer Border, 7 1/2 In., 6 Piece

Scalloped Rim, Flower Design, Japan, 8 1/2 In., 12 Piece

Serving, Scalloped Rim, Morning Glories, 11 In.

Square, Cobalt Decoration, Scalloped Corners, Central Medallion, 12 x 12 In.

Basket Of Flowers Center, Flowerhead Shape, Japan, 19th Century, 12 In.

Bird, Flower Garden, Dragons, Phoenix, 1868-1912, 12 In.

Center Blue Dragon, 4 Alternating Designs, Fukagawa, Late 19th Century, 8 1/2 In.

Flower Basket Center, 9 1/2 In.

Flower Centers, Fish, Sea Grasses, C.1850, 4 1/2 In., Pair

Flower Shape, 3 Friends, Urns, Dragons, 1800s, 8 1/2 In., Pair

Flower Shape, 6 Poets, Bamboo Grove, 19th Century, 8 1/2 In., 12 Piece

Flower Shape, Pinwheel Design, 19th Century, 8 1/2 In.

Flower Shape, Shou Center, Books, Scrolls, 1800s, 8 1/2 In., Pair

Flower Vase Center, Flower Brocade Border, Chinese, 1700s, 9 1/4 In.

Flowers, Red & Orange Enamels, Gilt, Japan, 1700s, 9 In., 10 Piece

Fukagawa, Scalloped Edges, Ribbed, Signed, C.1820

Pomegranate Center, Stylized Flowers, 1800s, 10 In., Pair

Bird, Flower, Fan Shape, C.1750, 6 1/2 In., Pair

Bird, Flower, Fan Shape, C.1750, 7 3/4 In., Pair

Bird, Flower, Fan Shape, C.1750, 8 1/2 In., Pair

Chrysanthemum, Phoenix, Brocade Work, Early 1900s, 9 3/4 In.

Figures, Birds, Flowers, C.1850, 8 1/2 In., 8 Piece

Flower Basket Center Design, Scalloped Edge, Square, 19th Century, 17 In.

Flowers, Scalloped Border, Cobalt Blue, Red, Vase, Square 13 In.

Octagonal, Cartouche Border, Center Figures In Garden Scene, C.1875, 12 1/2 In.

Prunus Tree, Cloud, 9 1/2 In.

Fish, Cobalt Blue, Iron Red, Green Highlights, Late 19th Century, 9 1/4 X 7 1/2 In., Illustrated

Hunting Scene, Chinese, 17th Century, 8 3/4 In.

Painted, Blue Flowers, Chinese, 18th Century, 9 1/4 In., Pair

Set
Birds, Flowers, 9 In., 6 Piece

Set
Flowers, Scalloped Edge, 9 5/8 In., 6 Piece

Set
Shishi, Birds, Flowers, Japan, Late 19th Century, 9 In., 6 Piece

Imari Platter
Polychrome, Japan, 7 1/4 In.

Imari Platter
Fish Form, 23 In.

Imari Platter
Fish, Underwater Scene, Water Lilies, Oval, Large

Imari Platter
Alternating Panels Of Figures & Foliage, Trellis Work Ground, 18 In.

Imari Platter
Cobalt Blue & Iron Red, Staffordshire, 13 1/4 In.

Imari Platter
Fish Shape, Crane, Wave Design, 14 1/2 In.

Imari Platter
Ironstone, 19th Century, 20 1/4 In.

Imari Platter
Garden Scene, Butterflies, Reverse Designs, 14 x 11 In.

Imari Platter
Graduated Nest Of Four, 1820-1825, 10 1/4 x 13 x 15 1/4 In.

Imari Platter
2 Panels, Bird, Branch & Deer, Flowers, Cobalt, Red & Gold, 16 x 12 5/8 In.

Imari Platter
Birds, Bridge & Flowers, Scalloped, Square, 11 1/4 x 11 1/2 In.

Imari Platter
Gilt Birds Borders, Octagonal, 9 1/2 x 11 1/4 In.

Imari Platter
Flowers, Oval, White Ground, C.1840, 18 1/2 In.

Imari Platter
Oval, Multicolored, Pierced, C.1900, 15 3/8 In.

Imari Platter
8-sided, Gilt Chrysanthemum, Flowers, 15 1/4 X 11 1/4 In.

Imari Platter
Meat, Footed, Blue, Orange, Gold, Green, 20 1/2 X 17 In.

Imari Platter
Multicolored, Ring Decorated Border, Oval, Japan, 11 1/2 X 13 3/4 In.

Imari Punch Bowl
Ho-o Birds & Blossoms, Brocade Border, Scalloped, 14 In.

Imari Punch Bowl
Polychrome, 13 3/4 In.

Imari Punch Bowl
Bird & Floral Design, Scalloped Rim, 19th Century, 10 1/4 In.

Imari Punch Bowl
Blue & White, 19th Century, 15 In.

Imari Punch Bowl
Medallions Of Flowers, Riverscapes, 13 In.

Imari Punch Bowl
Japanese Figures, Cobalt Blue & White

Imari Punch Bowl
3 Birds, Cherry Blossom Interior, 20th Century, 11 3/8 x 6 In.

Imari Punch Bowl
Flower Basket Center, Brocade, Shishi Ground, 12 In.

Imari Punch Bowl
Carnations & Mums, Pheasants, Gold Overglaze, Teak Base, 15 3/4 In.

Imari Punch Bowl
Flower Center, Scalloped, 6 Cartouches, Cobalt Blue, 6 x 13 1/2 In.

Imari Punch Bowl
Chrysanthemum, Polychrome, C.1926, 6 3/4 In.

Imari Punch Bowl
Crane & Tortoise Inside, Peonies & Brocadework Out, 1800s, 14 1/2 In.

Imari Punch Bowl
Flower Scrolling, Brocade Patterns, Japan, 1800s, 12 1/2 In.

Imari Punch Bowl
Peacock & Flowers Interior, Phoenix & Flower Exterior, Japan, 1800s

Imari Punch Bowl
Samurai Panels, Scalloped Rim, C.1890, 15 x 6 1/2 In.

Imari Sake Bottle
Figural Landscape, Pine Branch Finial, Rectangular, 18th Century, 9 1/4 In.

Imari Sake Bottle
3 Chinese Characters, 1800s, 11 In.

Imari Sake Bottle
Birds, Flowers, Square Shape, 1700s, 9 1/2 In.

Imari Sake Bottle
Enameled Leafy Vines, Kiyomizu Ware, 1800s, 9 1/4 In.

Imari Sake Bottle
Flowers, Floating In Stream, Kakiemon Decoration, Japan, 1800s, 6 1/2 In.

Imari Sake Bottle
Gourd Shape, Leaves, Kakiemon Style Design, 1700s, 8 3/4 In.

Imari Sake Bottle
Hotei & Bag Of Wealth Shape, 1700s, 8 In.

Imari Sake Cup
Figures, Landscape, Flowers, C.1800, 2 In.

Imari Sake Cup Set
Butterfly, Flowers, Kirwood Box, 19th Century

Imari Sauce
Tree Design, Rectangular, 7 In.

Imari Sauce
Floral Rondels, 5 1/2 In., 4 Piece

Imari Sauce
Passion Flower, Figures, Birds, Flowers, C.1850, 4 3/4 In., 9 Piece

Imari Serving Bowl
Oval, 11 X 7 1/2 In.

Imari Serving Dish
Carp Design, Oval, 14 1/2 In.

Imari Serving Dish
Leaves, Open Handles, Square, England, 1815, 7 In., Pair

Imari Serving Dish
Crane & Flower Design, Phoenix, Paulowinia Centers, 12 In., Pair

Imari Serving Dish
Floral & Bird Design, Paneled Border, 11 x 13 1/2 In., Pair

Imari Serving Dish
Shell Shape, Flowers, Meiji, C.1900, 10 In.

Imari Serving Dish
Boat Shape, Fan Form Cartouches, Flowers, Fish, 19th Century, 11 In., Pair

Imari Serving Dish
Grape Vines, Oblong, Scalloped Rim, Blue, Iron Red, 10 & 12 In., 2 Piece

Imari Serving Dish
Bird, Garden, Flower Border, Rectangular, Late 1800s, 11 1/2 X 13 1/4 In.

Imari Serving Dish
Cover, 8 In.

Imari Serving Dish
Lobed, 10 In.

Imari Soup
Dish, Poets, Pine Tree Landscape, 19th Century, 4 1/2 In., 12 Piece

Imari Stand
Umbrella, Bird & Floral Design, Iron Red & Blue, 1880s, 24 In.

Imari Sugar
Polychrome, Gilt, Japan, 4 3/4 In.

Imari Sugar
Blue, Gold, Red On White, Silver Bail Handle & Cover, England

Imari Tazza
Butterflies, Figures, Chrysanthemum Border, Flared Pedestal, 7 3/4 x 9 1/2 In.

Imari Tazza
Footed, 8-point Star Shape, Circular Foot, Brocade Design, 1800s, 8 1/2 In.

Imari Tea Caddy
Insert

Imari Tea Caddy
Blue & Red Flowers, Gilded Rims, Cover, Round, C.1720, 3 3/4 x 5 In.

Imari Tea Service
Painted, Flowering Branches, C.1815, 26 Piece

Imari Teapot
Ribbed Melon, 18th Century

Imari Teapot
19th Century, 4 1/2 In.

Imari Teapot
Cover, Russet Bird, Perched On Rock, Flowering Peonies, C.1760, 5 In.

Imari Teapot
Floral Design, Globular, 19th Century, 5 In.

Imari Temple Jar
Figural Panels, Karakusa Ground, 27 1/2 In.

Imari Temple Jar
Cover, Flower Basket, Inverted Pear Shape, Sunputei, Mark, C.1800, 27 In.

Imari Temple Jar
Orange, Cobalt, Foo Dog Finial, 11 1/2 In.

Imari Temple Jar
Cover, 6-sided, Polychrome, Japan, 15 In.

Imari Tray
Polychrome, Montplaisir, Brussels, 1786-1790, 14 1/2 In.

Imari Tray
Peony, Shishi, Dragon Design, Square, 10 1/4 In.

Imari Tray
Polychrome, Scalloped Open Handles, Foo Dogs, Flowers, Vines, Gold Trim, 14 In.

Imari Tray
2 Birds On Rocks, Flowers, Round, 13 In.

Imari Tray
Upturned Rim, Double Handles, C.1920, 13 1/4 In. ~illus

Imari Tray
Multicolored, Flowers, Bow Handles, Japan, 16 In.

Imari Tureen
Peach Sprig Finial Cover, Blue Loop Handles, 1750, 9 3/16 In.

Imari Tureen
Domed Lid, Handles, Mason, 1840

Imari Tureen
Oval, Scenic Medallion, Handles, 12 3/4 In.

Imari Tureen
Sauce, Exhibition Piece, Signed, C.1870

Imari Tureen
Flowers, Rocks, Green, Blue, Yellow, Red, Gold, Japan, 1700s, 12 1/2 In.

Imari Umbrella Holder
Blue & White, Deer, Woods, Cylindrical, 24 x 8 1/2 In.

Imari Umbrella Stand
Blue & White, 24 In.

Imari Umbrella Stand
19th Century, 24 In.

Imari Umbrella Stand
Cobalt Blue Design, Phoenix, Dragons, Medallions, Flowers, 24 In.

Imari Umbrella Stand
Allover Cobalt Blue & Iron Red Floral, Banding At Top, 24 In.

Imari Umbrella Stand
Cobalt Blue, Orange, 4 Floral Reserves, 24 1/2 In.

Imari Umbrella Stand
Hexagonal Panels, Gold Pheasants, Dragons, Flowers, Plants, 25 In.

Imari Umbrella Stand
Ribbed, Blue, Red, Gilt, Japan, 19th Century, 23 In.

Imari Umbrella Stand
Multicolored, Ribbed, Cylindrical, 20th Century, 22 1/4 In.

Imari Umbrella Stand
Birds In Garden, Enameled, Multicolored, 19th Century, 23 1/2 In.

Imari Umbrella Stand
Vase, Flowers, Pheasant, 19th Century, 24 X 9 1/2 In.

Imari Urn
Allover Floral Design, 12 In., Pair

Imari Urn
Cover, Alternating Panels, Traditional Colors, C.1880, 12 In.

Imari Urn
Domed Cover, Foo Dog Finial, Oval Body, C.1900, 20 1/2 In.

Imari Urn
Cover, Domed Cover, Foo Dog Finial, Oval Body, C.1900, 20 1/2 In. ~illus

Imari Urn
Red, Green, Mauve, Cobalt Blue, Gold, Flower Panels, Birds, 36 1/2 In.

Blue, White, Red, Frilly Rim, 15 In., Pair

Cover, Hexagonal, 19th Century, 13 1/2 In.

Floor, Peacock Design

Gilt Bronze Lion Figural Mounts, 22 1/4 In.

High Shoulder, Japan, 19th Century, 23 In.

Ovoid, Fan Design, 22 In.

Temple, Ruffle Top, Pair

Bottle, 3 1/2 In.

Faceted, 4 In.

Multiform Panels Over Floral Ground, 19th Century, 30 In.

Foo Dog Mask Handles, C.1815, 5 In.

Geometric & Foliate Pattern, Cylindrical Form, 18 In..

Panel Design, Handles, C.1835, 9 In.

Scalloped Rim, Flared Rim, C.1860, 12 1/2 In.

Trumpet Mouth, Signed, C.1900, 30 1/2 In., Pair

Trumpet Shape, Flared Rim, 1805, 10 In.

Floral Cartouche, Serrated Rim, Foliate Handles, 19th Century, 27 1/2 In., Pair

Floral Design, Fluted, 13 In.

Fluted Tops, 6 In., Pair

Lobed Form With Branches, 19 In.

4 Diapered Panels, Alternating Groups, Floral & Dragon Reserves, 7 1/2 In.

Baluster Form, 6 1/2 In., Pair

Bird, Floral Designs, Dragon In Relief, Late 19th Century, 26 3/4 In.

Bud, Flared Rim, Vasiform Top, Base Fitted With 4 Holes, 5 3/4 In., 2 Part

Dragon, Bird, Signed, 19 In.

Fowl, Lacquered Panels, 13 1/2 In., Pair

4 Floral Reserved, Baluster, C.1900, 10 1/2 In.

Baluster, Porcelain, 1840-1860, 6 3/4 In., Pair

Flower Filled Basket, Leaf Design, Porcelain, 12 1/4 In.

Flowerhead Design, Baluster, Porcelain, 1880-1885, 9 1/2 In.

Palace, Ruffled Rim, Figures On Floral Ground, 37 1/2 In.

Raised Floral Design, Double Gourd Shape, 6 1/2 In.

Stick Neck, Bulbous, Blue Floral, Off-white Ground, 18th Century, 8 1/2 In.

2 Men Play Music In Garden, 3 Children, Pink & Green Flowers, Black, 15 In.

Allover Floral, Tree, Peonies, Cobalt Border, Ruffled Rim, 18 1/2 x 8 In.

Arita Style, Blue & White, Raised Dragon On Both Sides, 12 x 6 1/2 In.

Bird, Insect & Floral, Spherical Base, 18 In.

Blue Floral Panels, Art Deco Brass Base, Late 19th Century, 9 1/4 x 6 In.

Blue, Red & Gilt Floral Panels, Exotic Birds, Creatures, Mounted As Lamp, 14 In.

Cover, Baluster, Birds & Floral Sprays, Gilt, 19th Century, 24 In.

Floral & Medallion, Bulbous, Narrow Tapering Neck, 6 1/2 In., Pair

Flower Panels, Ormolu Mounted, Dragon Form Handles, 6 Sides, 10 In., Pair

Foliate Design, Reserves Of Birds, Female Mask Handles, Late 19th Century, 9 In.

Ormolu Mounted, 6 Sides, Japan, 10 3/4 In., Pair

Overall Floral Brocading, Diapering Within Landscape Scene, 26 In.

Allover Floral, Red, Cobalt Blue, Gilt Trim, Baluster, 18 1/2 In.

Alternating Flowers, Rustic Buildings, Ribbed, Urn Shape, 18 1/2 In.

Baluster Shape, Ribbed, Splayed Rim, Enamel, Blue, Polychrome, Footed, 10 In.

Baluster, Stylized Flowers, Low Neck, Iron Red, Cobalt Blue, Gilt, 10 x 6 In., Pair

Cover, Chrysanthemum, Lotus Floral Design, Lappet Design At Base, 10 1/2 In.

Cover, Prunus, Chrysanthemum Design, Blue, Iron Red, Gold Enamel, 10 In.

Floral Rondels, Late 19th Century, 9 3/4 In.

Mirror, Blue Design, White Ground, Baluster, 4-character Mark, 12 In., Pair

Pavilion, Floral & Brocade, 10 In.

Peacocks & Brocade Design, Swirled Ribbed Shape, 19th Century, 12 In.

Trumpet Form, Carp & Prunus Panels, 19th Century, 37 In.

Various Bold Brocades, 19th Century, 8 1/4 In.

Birds, Flower Reserves, Bulbous Base, Flared Trumpet Top, Scalloped, 26 In.

Chrysanthemums, Scalloped Body, Underglaze, Blue & Iron Red, 25 1/4 In., Pair

Cranes, Other Birds, Cartouches, Oval, Pedestal Base, 1880, 15 3/4 In., Pair

Domed Cover, Painted Flowering Benches, Oval, 1840, 26 1/2 In.

Dragon At Top, Red & Blue Panels, Bottle Form, 12 In.

Floral, Red, Orange & Dark Blue, Ribbed Base, 8 1/8 In., Pair

Flowers, Trees, Baluster Shape, Alternating Panels, C.1690, 19 In.

Splayed & Leaf Rim, Ribbed Body, Unglazed Foot, Enamel, 1870s, 9 1/2 In.

Swimming Carps, Green Net, Waisted Neck, Oval, 37 1/2 In.

Bottle, Lobed, Red, Green, Aubergine Enamels, 19th Century, 11 In., Pair

Cobalt Blue & Rust, On White Ground, C.1860, 14 7/8 In., Pair ~illus

Cover, Shaped Cartouches, Bird & Flower Design, Oval, Japan, 8 1/2 In.

Double Gourd, Floral, Brocade, Insect, Meiji, 8 3/4 In.

Dragons, Birds, Baluster, 18 1/2 x 9 In.

Flower Panel, Cylindrical Neck, Faceted Body 19th Century, 14 1/2 In.

Flying Storks, 15 In.

Foo Dog, Finial Lids, 18 In., Pair

Landscape, Lion’s Head Handles, Cylindrical, 11 3/4 In.

Mei Phing Shape, Chrysanthemums, Reserve Panels, Japan, 6 In., Pair

Ribbed Body, Traditional Enamels, Flower Panels, Buddhist Books, 9 1/2 In., Pair

Tear Shaped, Flowers, 19th Century, 12 1/2 In., Pair

Cylindrical, 2 Figural Reserves, Flower Ground, 1868-1912, C.1885, 12 In., Pair

Palace, Trumpet Form, Carp Design, 1800s, 36 1/2 In.

Pencil Neck, Orange Flowers, Blue Leaves, 19th Century, 5 1/2 In.

Phoenixes, Dragons, Japan, 1800s, 18 In.

Ribbed, Pavilions In Gardens, Peony Trees, Japan, 1800s, 18 1/2 In.

Women, Children, Phoenixes, Dragons, Flowers, Japan, 1800s, 15 In.

Birds, Trees, Floral Neck, Swirling Base Bands, 4 Round Reserves, 25 In.

Chrysanthemum, Teardrop Shape, 11 In.

Egg Shape, Flared Rim, Red Over Blue Design, C.1860, 12 In.

Exotic Birds, Leaves, Painted Panels, 20th Century, 17 X 4 In.

Flowers, Trees, Gilded Accents, C.1870, 14 1/2 In.

Flowers, Trees, Oval, Ribbed, Scalloped, Flared Rim, 1800s, 12 5/8 In., Pair

Landscapes, Birds, Flared Neck, Egg Shape Body, C.1850, 30 1/2 In., Pair

Mounted As Fluid Lamp, Electrified, 15 In., Pair

Ribbed Body, Floral Panels, Gilt Detail, 14 1/2 In., Pair

Baluster Shape, Geisha Under Cherry Trees, Birds, 18 5/8 In., Pair

Brocade Pattern, Globular, Slender Neck, 19th Century, 10 In.

Cover, Baluster, Japan, C.1700, 24 3/4 In., Pair

Egg Shape, Cylindrical Neck, Maple Leaf, Flowers, Ho Birds, C.1850, 17 1/2 In., Pair

Flowers, Leaves, Japan, 1800s, 9 3/4 In., Pair

Hand Painted Designs, 7 1/2 In., Pair

Hand Painted, Mounted As Lamp, Japan, 20th Century, 15 In.

Ho Bird, Urn, Maple, Chrysanthemum, C.1860, 24 1/2 In., Pair

Molded Flower Sprig, Multicolored, Hexagonal, Japan, 1800s, 7 In., Pair

Square, Embossed Geisha, 9 In.

Trumpet Mouth, Dragon, Flower Ground, Late 1800s, 18 1/2 In.

Trumpet Shape, Melon Ribbing, Lions, Peonies, Japan, Early 1800s, 14 In, Pair

Double Gourd
Floral Design, Early 18th Century, Japan, 12 1/2 In.

Porcelain
Plymouth, Bristol, and New Hall
English porcelain belonged to a type known technically as soft-paste, or “artificial”, porcelain, which lacked the beautiful hard whiteness of hard-paste porcelain such as that produced in China or at Meissen. However, the chemist William Cookworthy (1705-80) believed that hard paste could be made in Britain and searched for suitable raw materials. Kaolin (china clay), the essential ingredient in true porcelain, had been discovered in Cornwall in 1745, and Cookworthy patented several formulas containing this mineral to make what he believed to be the finest English porcelain.
PLYMOUTH AND BRISTOL
From c.1768 Cookworthy produced England’s first commercial hard-paste porcelain at his Plymouth works, but it was dogged by serious problems. A pure white glaze was rarely achieved – the creamy surface was frequently covered with black specks that gave it a dirty appearance. Like Meissen and other European makers, Plymouth experienced difficulties with its underglaze blue, which almost turned black, with severe blurring. Painters from Worcester were attracted to Plymouth, and the factory’s shapes and Oriental designs closely follow those of Worcester. Few collectors will admit that Plymouth was a failure, but when Cookworthy moved to Bristol in 1770 he had little of any real quality to show new investors.
The porcelain made by Cookworthyat Bristol was probably identical to his Plymouth wares, and it seems likely that much of the porcelain today called “Plymouth” was really made at Bristol. Improvements were made: John Toulouse, a modeller at Bow, came via Worcester and introduced new shapes and figures, mainly direct copies of the latest patterns of Meissen’s “Academic” period (1763-74). Bristol sometimes marked its wares with a copy of the Meissen crossed swords, a feature that often confuses present-day collectors – particularly since Bristol porcelain achieved a whiteness similar to that of Meissen after Richard Champion (1743-91) took over Cookworthy’s patents
in 1774. Champion made some beautiful porcelain, especially in the Neo-classical
style, but never in any great quantity because the works continued to be plagued by firing difficulties, notably “wreathing” – spiral ridges
on the surface caused by kiln distortion. Plates and dishes were placed on clay supports during firing to prevent warping. The factory closed in 1781.
NEW HALL
Despite the failure of Bristol, Champion still saw a future for English hard-paste porcelain and visited Staffordshire to try to sell his patent. A consortium of manufacturers showed an interest but realized
that Champion’s formula had to be adapted for mass production. As the New Hall Co., the consortium opened a factory c.1781 at Shelton to exploit an improved version of Champion’s porcelain body – the type now known as “hybrid hard paste”. The glaze tended to be greenish-grey, but it could be potted very thinly, and wreathing was a less severe problem. The factory was designed to make a profit and aimed its products at a mass market, ignoring more expensive pieces such as ornamental figures and vases. Tea and coffee services in a limited range of patterns comprised the bulk of New Hall’s output. Other factories, also concentrating on teawares, were established in competition, and each firm produced its own version of standard shapes – it is therefore important for collectors to learn the differences. New Hall continued into the 1830s, although its later products are not as collectable.
Plymouth (c.1768-70)
• BODY hard-paste porcelain
• GLAZE a pure white glaze was rarely achieved, because the creamy surface was frequently covered by a smoke of black specks that gave it a dirty appearance
• UNDERGLAZE BLUE almost black, with severe blurring
• DECORATION Oriental patterns following Worcester
Marks
This alchemical sign for tin (which was the main industry in Cornwall) was sometimes used
Bristol (1770-81)
• BODY hard-paste porcelain; very white after 1774
• FEATURES “wreathing” – ridges spiralling around the surface – can often be seen on cups and other hollow shapes owing to firing difficulties
• STYLE Neo-classical, continental
• DECORATION inspired by Meissen “Academic” wares
Marks
Mark in blue enamel, sometimes accompanied by numerals; Meissen crossed-swords mark also copied
New Hall (c.1781-1830s)
• BODY hard-paste porcelain, thinly potted
• GLAZE thick, dull, and greenish grey
• FORMS specialized in tea and coffee services aimed at the mass market; other items are extremely rare
Marks
Pattern numbers were introduced to enable customers to reorder easily, and these help with identification

Clocks
Mass productions in the clock industry during the early 1800’s made some type of timepiece affordable for even the most modest household. Since Victorian times, clocks have been considered a necessary as well as a decorative object. Clocks are not only useful, they also are intriguing. Their intricate works and variety of encasements have contributed to their popularity throughout the ages. Initially clocks were expensive. By the 1920’s, however, the average home had more than one clock to keep everyone on time! In addition to large grandfather clocks for the hall, mantle sets and kitchen clocks, small table top varieties were made for the bedside, vanity or writing desk.
Examples in this section show how some of the prominent Deco themes were used in clock design. It is apparent that clock manufacturers were aware of the prevailing trends in home furnishings. Angular shapes, concepts of flight and motion and female or animal figures were part of the style or decoration of numerous clocks made to complement modern decor. These clocks were made from many different types of material, ranging from marble, bronze, brass and silver to wood, glass, ceramic, celluloid and plastic.
The French clocks were the most elaborate and those with figural adornments are especially sought by collectors. The figures were not always made of bronze although their finish may appear to be bronze. Metal
alloys were used in the production of most available examples found today. These alloys are often referred to as pot metal, spelter or white metal. In addition to bronze colors, other color finishes were used to coat the exteriors. Such examples, however, can rarely be purchased for less than several hundred dollars. French origin and extreme or “high” Deco design account for expensive prices.
Several of the mantle sets pictured have matching side panels. These were purely decorative and served no particluar function except to flank each side of the clock. Side panels evidently have not survived all of the clocks which had them originally. While their absence does not detract from the clock itself, the panels often accentuate the overall Deco design.
Art Deco clocks can be one of the most costly categories for moderate spending collectors. Plain or less interesting specimens may still be $100 or more. Wooden shelf clocks with a simple rectangular or square shape are currently imported from abroad and may be purchased for less than $100. Beware that quite a few reproductions of Deco style clocks are also on the market. If you are interested in authentic examples from the period, check them out carefully. Most reproductions are inexpensive, have clean faces, no signs of wear on the case, and are in working condition (but many vintage ones are not!).

Meissen
The attempts by Count Marcolini, director of Meissen from 1774, to improve the quality of Meissen porcelain were not entirely successful, and at the beginning of the 19th century the factory was still in decline. There were several reasons for this: competition from other porcelain factories in Europe, mass production, and the effects of the Napoleonic Wars (1799-1815). When Marcolini retired in 18 14, production was at a level j t high enough to keep the factory open.
Until the mid-19th century mass production grew steadily, thus reducing costs and meeting demand. From the 1820s the factory kept pace with new developments by using “round” kilns that led to a fourfold increase in production, and introducing new techniques and products. In the late 1820s gloss-gilding was introduced; this inexpensive method of decoration used gold mixed in a solution, which was applied to the porcelain. The time-consuming method of hand-pressing clay into moulds to produce plates with moulded decoration was replaced by pouring slip into glass moulds. One of the new mass-produced items was the lithophane (a thin, translucent plaque with moulded decoration that can be viewed by transmitted light), made from 1829, featuring religious or sentimental subjects.
The 19th-century international exhibitions popularized both new and historical styles by displaying artifacts from different cultures and civilizations, and manufacturers copied these objects using new techniques. Taste was now led by the bourgeoisie, and manufacturers’ output became more diverse to meet demand. More than one fashion was often popular at any one time, so 19th-century objects often display a bizarre combination of styles. The Biedermeier style was introduced c.1830; wares are similar in form to earlier Neo-classical pieces but are heavier, and have less elaborate decoration, often being painted with topographical views.
From the early 1830s the Rococo style was revived, and Meissen enjoyed a renaissance owing to its re-use from the late 1840s of 18th-century figure moulds. Rococo Revival figures and wares were greatly
in demand and formed the bulk of the factory’s production during the second half of the 19th century. Produced under the supervision of the chief modeller, Ernst August Leuteritz (1818-93), these figures are of Such typical 18th-century subjects as shepherds and shepherdesses, the aristocracy, and allegorical figures of the Seasons and the Four Continents. They can be distinguished from the originals by their hard, shiny gilding, harsh colours, and overelaborate decoration, such as intricate lacework, made by dipping real lace into the paste. The most notable Meissen products in other revival styles made during the second half of the 19th century include plates and cups and saucers of the 1840s, moulded or painted with Gothic arches and tracery patterns, and blue-ground krater vases painted with Classical scenes imitating medieval and Renaissance enamels. From the 1860s large-scale Renaissance Revival vases, often painted with flowers and blue-ground sections and with curling snake handles, became increasingly popular. From the 1870s the factory produced figures in contemporary costume, although these were outweighed by the number of Rococo and Neo-classical reproductions.
KEY FACTS
• BODY pure white hard-paste porcelain with a distinctive hard, glassy glaze
• STYLES Empire, Biedermeier, Rococo Revival, Neo-classical, Renaissance and Gothic Revivals
• PALETTE harsh versions of 18th-century colours, such as a strong pink and a yellowish green; figures covered completely with paint; hard, shiny gloss-gilding
• DECORATION encrusted flowers; topographical views on Biedermeier wares
Example
mythological figure group of a maiden sitting on a Neoclassical stool, binding Cupid’s wings with a ribbon, was
produced using a model that had originally been made by Christian Gottlieb Juchtzer, one of the modellers working at Meissen in the Neo-
classical style during the late 18th century The rather harsh palette, so typical of 19th-century Meissen figures and wares,
is especially
evident in the
red drapery over
the attendant’s
shoulder, which would never have been used on an 18th-century figure.

Candlesticks are among today’s most popular and collectable silver items. The earliest-surviving domestic examples date from the mid-17th century, but most found today were made from the 18th century onward. A great variety of styles is available, from the Classical column shape of the late 18th century to the inventive figural and telescopic forms of the 19th century.
Early candlesticks were cast in solid silver, but huge numbers of less expensive examples stamped from rolled silver sheet were being produced in Birmingham and Sheffield by the 1770s – these were among the first-ever items mass-produced by industrial methods. It is important to remember when buying candlesticks and candelabra that most were made as pairs.
Candlesticks Before 1800
Until the age of mass production, silver candlesticks were used mostly by the Church and the wealthy; others tended to be made of less expensive pewter. Examples made before the mid-17th century are rare. Medieval candlesticks, made largely for church altars, featured tripod feet and a pricker (metal spike) to hold the candle: sockets or sconces for the candle were not introduced until the 15th century. Candlesticks were usually made as pairs and are generally sold as such today; single candlesticksmay sometimes be worth as little as a quarter of the value of a pair.
BAROQUE AND QUEEN ANNE STYLES Silver Candlesticks
Although many candlesticks are recorded from before the 17th century, few survive; they were often melted down because they were damaged, or for conversion into coin. In particular, there are very few English candlesticks dating front before the 1650s, as much silver was melted down during the Civil War (1642-9).
In the 17th century most silver candlesticks were raised from thin, hammered sheet metal. The earliest candlesticks found on the market today, dating from the 167()s and 1680s, have stems of fluted Classical columns, or clusters of columns, and octagonal or square bases. Some rare examples have scalloped, richly embossed bases – a speciality of Dutch silversmiths. American candlesticks made before c.1760 are rare; the earliest-known pair, made in Boston, dates from 1675.
In the 1690s immigrant Huguenot silversmiths revolutionized the production of English candlesticks by casting them in solid silver rather than raising them from sheet. The base, stem, and sconce were cast separately and soldered together. The earliest pattern of cast candlesticks, •generally 15 to 18chn (6-7in) high, had a plain baluster stem with a series of knops (bulbous rings) on a square, round, or angled base. During the 17105 and 1720s octagonal and hexagonal faceted stems and bases, typical of the Queen Anne style, became fashionable. These elegant candlesticks, made in the higher-standard (”Britannia”) silver, were plain except for an engraved coat of arms at the bottom of the stem.
ROCOCO AND NEO-CLASSICAL STYLES Silver Candlesticks
The baluster shape remained the most popular design in the early and mid-18th century, but IT, the early 1730s candlesticks were slightly taller (19-23Cro/7e’2_9jlj high), with richer ornament of pleated, lobed forms on the base and stern. The influence of the Rococo style is evident in the chased shell motifs and flared, flower-like nozzles
of examples from the 17305 to the 17605. Some exceptionally fine candlesticks of this period have ornately cast and chased steins of figures holding the candle sconce above their heads. In the 1740s detachable nozzles were added to the spool-shaped sconces for saving dripping wax and for easier removal of candle stabs; some candlesticks found today have replacement nozzles because the originals were damaged or lost. Throughout this period some silversmiths specialized in the production of candlesticks; in England, the best known were the Gould and the Cafe families.
In the 1750 and 1760s simpler forms returned under the influence of the Neo-classical style. Candlesticks of this period, averaging 24 to 28.5cm (9f —I Ist) high, have plain, circular nozzles, square bases, and plain or faceted stems decorated with typically Classical gadrooning around the base, knici and sconce. By c.1765 Corinthian column
candlesticks had become fashionable, and by he 1770S and 1780s the French style of plain or fluted tapering baluster stein on a circular base, decorated with Neo-classical ornament such as reeding, beading, swags, and ram’s heads, was popular. Noted architects such as Robert Adam, James Wyatt, and Sir William Chambers also produced designs for Neo-classical candlesticks as part of their overall schemes for interior decoration.
Simple Neo-classical forms with restrained decoration were particularly v suited to new methods of manufacture. Silversmiths in the growing industrial centres of Birmingham and Sheffield used rolled sheet silver, made in flatting mills, to manufacture candlesticks on a large scale. As this silver was often of very thin gauge, the base of the candlestick was weighted, or “loaded”, with wood, pitch, or plaster of parts for stability. Mass production of loaded candlesticks in Birmingham and Sheffield increased after the opening of assay offices in those two cities in 1773; the candlesticks proved SO popular that London silversmiths often bought in provincially made pieces and overstani them with London marks. Loaded candlesticks were significantly less expensive than cast ones because much less silver was used, and they still fetch lower prices today.
SILVER TAPERSTICKS, CHAMBERSTICKS AND SNUFFERS
From the late 17th century silversmiths made taperstick, — smaller versions of candlesticks (10-13crr/4—Sin) —for holding a taper, or thin candle, with which to melt sealing wax and light tobacco pipes. Since the designs of taperstick, copy almost exactly those of candlesticks, many such pieces were probably supplied as a set, although taperstick, were usually made singly rather than as a pair. Front the irricl century the taperstick was replaced by the waxjack, featuring a central rod, around which the taper was coiled, on a circular foot.
chambersticks were used to light the way at night. Because each member of a household would need one, they were made fit large sets, but pairs were common after c.1800. They usually have a saucer-like base, decorated with reeding, beading, or gadrooning, with a central socket on a short stem, and detachable nozzles from the mid-18th century. Rare, early 17th-centUry chambersticks have long, flat handles, but ring- or scroll-shaped handles were introduced front the 1720s, with a thumb-piece and socket fora conical extinguisher. Some chambersticks also have a pierced slot under the sconce for snuffer scissors, but matching snuffer scissors and chambersticks are rarely found today.
Snuffers (scissor-like implements for trimming and collecting wicks) were an essential accessory for candles before the self-consuming wick was invented c.1800. They were produced by specialist makers. The earliest sets, from the late 17th to early 18th century, have vertical stands with faceted baluster stems and bases similar to contemporary candlesticks, sometimes with a conical extinguisher attached. Later sets have oblong or hourglass-shaped stands, like trays, with feet or handlts. Snuffer trays are sometimes sold today as pen trays.
Silver Candlesticks after 1800
By the late 18th century huge numbers of loaded sheet-silver candlesticks were being made using mechanized production in the English industrial centres of Sheffield and Buirraigham, primarily to meet demand from the newly prosperous middle classes. The Ire, mechanized techniques of rolling sheet silver, die-stamping, and die-sinking gradually began to replace laborious casting methods (although the best-quality candlesticks were still cast). Candlesticks were also among the earliest items made in Sheffield plate. As the 19th century progressed, elaborate surface ornament, in keeping with Victorian taste, and revivals of 17th- and 18th-century styles characterized the production of candlesticks. They remained popular as decorative items even after the invention of gas and oil lighting and, later, electricity.
LATE NEO-CLASSICAL CANDLESTICKS
At the end of the 18th century candlesticks of all kinds —cast, loaded sheet silver, or Sheffield plate — were made either in the Corinthian column style on a square foot, or in the plain or fluted tapering baluster form on a circular foot: both types are decorated with ornament derived from Classical architecture, such as swags, ram’s heads, vreaths, urns, and formal leaves. Thee are generally 25.5 to 31cm ( 10-12m) tall. Sheet-silver and Sheffield-plate candlesticks have Visible seaming lines where the separate sheet or plate parts have been joined. They may also have small holes in the silver (or patches Of visible copper on plate pieces), especially on areas of high relief, caused by overstretching the sheet or plate. Any die-stamped ornament should be sharply defined.
The telescopic adjustable candlestick, a speciality of Sheffield makers, was popular in the late 18th and early 19th centuries. Made in loaded sheet silver and Sheffield plate, it featured a cylindrical stem fitted with telescopic slides rising from the base. Although telescopic candlesticks occasionally appear in auctions today, most do not worl, properly; their restoration can be costly.
THE 19TH-CENTURY REVIVAL STYLES Silver Candlesticks
In the 19th century silver items were produced in an unprecedented range of historical styles, mainly as a result of developments in mechanized production, which meant that manufacturers could reproduce almost any form or type of ornament. The widespread dispersal of aristocratic collections of historic plate also provided inspiration for designers. Motifs such as trefoils and arches derived from Gothic art, while the Rococo — more ornate and bulbous than the original 18th-CCutUry version — remained one of the most popular revival styles throughout the Venture.
REGENCY AND VICTORIAN CANDLESTICKS
In the Regency period (late ISth—cariv :19th centres candlesticks became more ornate, with richer foliate and scroll decoration on the base, at the top of the stem, and around the socket. From about the 1820, and 1830, candlestick-makers concentrated on imitating 17th-and 18th-cenrur.% styles, beginning with the Rococo. Candlesticks in the Rococo Revival taste arc richly chased all over with scrolls and flowers and have undulating baluster stems, but the curves are heavier, the proportions less balanced, and the sconces more bulbous than on 18th-century originals; most were also made of loaded sheet silver, rather than cast as they would have been in the first half of the 18th century. Since mechanized manufacture resulted in less expensive products, large sets of matching candlesticks were more popular in this period than
Candlesticks in revival styles were produced in both larger and smaller versions of the originals; man, were also made as exact copies of originals to replace those that were damaged or lost, although there are although a number of fakes. Figural candlesticks were particularly popular during the 19th century, reflecting contemporary taste for novelty pieces. Subjects for figural candlesticks included caryatids, knights in armour, and rustic figures of shepherds and shepherdesses; pairs usually consist of male and female figures.
In the 1890s there was a revival of the fashion for column candlesticks, this time with stepped square bases and with inam, variations in the patterns of the borders and the capital. These are generally smaller than late 18th-centurN versions — about 14can 15′ 2111) high. Afam candlesticks in the late 19th and early 20th centuries were wired for electrical lighting as dressing-table of desklights — in such cases there mac be holes in the base for the electrical cord. During the Vogue for the Queen Anne stele in the early 20th century, sonic silversmiths produced copies of early 18th-century styles; these can be distinguished from originals by their use of sterling silver instead of the Britannia standard and by their detachable no,zlcs, which did not appear before c.1740.
With the invention of the self-consuming candle wit: in the early 19th century, snuffers became obsolete, although some were made in revival stales.
THE NEW INDUSTRIAL CENTRES
Candlesticks were among the first items mass-produced in the English cities of Birmingham and Sheffield, using newly developed mechanized methods of manufacture. With the expansion of industry in those cities in the mid-19th century, candlestick manufacture became a specialized trade. The rolling, mill, invented c.1740, enabled a silver ingot to be flattened into a sheet of uniform gauge, while the fly press, developed in the 1760, and 1770x, made accurate and repetitive piercing possil-il, Both these inventions reduced labour and manufacturing costs, since they replaced laborious hammering and hand-piercing. Decorative components were also mass-produced by die-stamping. The sheet of metal was placed oil a block with a sunken die in the form of the pattern to lie reproduced; this was struck with a hammer with a relief pattern in the sart, shape as the dic. This method was used for items in both silver and Sheffield plate, and a vast range of styles and forms was made possible by interchanging the decorative stamped components. As complete sets of dies were highly expensive, then were often used by several manufacturers, resulting in the production of identical patterns by a Nall of silversmiths. These new industrialized methods were especially well exploited by the Birmingham makers Matthew Boutton ( 1728-1809) and John Fothergill (ti. 1782), who pioneered the use of the steam-powered rolling mill in the late 18th century.

Featured on Antcollectors Silver
antique silver candlesticks
18th century silversmiths
antique silver candelabra
antique silver candle sticks
figural silver antique candlesticks
nicholas sprimont solid silver
silver candelabra made in birmingham
silver plated sauce dish with cover
16th century silverware
1700s silver trays
17th and 18th century french silver marks
17th century brass candlestick rectangle