Posts Tagged ‘porcelain factory’

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.

Worcester
Worcester was not perhaps the most obvious location for a major British porcelain manufacturer to be established because there were no local deposits of clay or coal; these had to be brought in by river. Nonetheless, it was there in 1751 that Dr John Wall and William Davis invested in a new porcelain factory.
1751-70
The new factory suffered heavy kiln losses, and in 1752 the partners bought up Benjamin Lund’s factory in Bristol and with it Lund’s secret porcelain formula that included Cornish soapstone. The use of soapstone gave Worcester porcelain increased durability, enabling its teapots to withstand hot liquids – those of most other British makers tended to crack in contact with boiling water. During the 1750s and 1760s Worcester specialized in teawares, sauceboats, pots for pate, meats and tarts, and pickle-dishes.
Early blue-and-white Worcester shows the influence of the Bristol factory, with shapes derived from British silver. Worcester’s coloured patterns were in the factory’s Unique form of chinoiserie that combined elements from China, Japan, Meissen, early Staffordshire, stoneware, and glass. This proved popular in the 1750s and is highly sought after by collectors today. By 1755 Worcester had perfected its blue-and-white wares by eliminating heavy blurring,
and was making fine tea services. Worcester can claim the credit for
the invention of printing on porcelain, and it used this technique extensively to produce overglaze black enamel and underglaze-blue printed decoration.
blue ground and also invented its famous “scale blue” (in which the underglaze blue ground was painted using a tiny fish-scale pattern) and developed other coloured grounds previously made famous by Sevres and Chelsea. The reserved panels on the coloured grounds were decorated with flowers and exotic “fancy birds”.
In the 1780s, with competition from Derby and imported French porcelain, and the influx of inexpensive Chinese wares, Worcester lost its premier position. Its recovery was slow, because the success of blueand-white printed pottery led to the decline of other, more expensive wares. In 1783 Davis, who had managed the firm since 1774, was bought out by
Thomas Flight, whose son, John
Flight, was to reverse Worcester’s ailing fortunes.
• BODY soft-paste porcelain with grey-blue cast
• GLAZE fully glazed inside the foot-rims and under the rims of lids
• FORMS teawares, sauceboats, and pickle-dishes
• DECORATION blue-and-white copies of Chinese wares; polychrome chinoiseries; overglaze black transfer-printing and underglaze-blue printing introduced
Marks
Most blue-and-white wares bear a workman’s mark, usually a simple sign of uncertain meaning
• GLAZE evenly controlled with slight yellow-green cast; under-rims of covers unglazed; to avoid glaze running down onto the kiln during firing it was wiped away from the inside of feet c.1758-83 in a technique known as “pegging”
• FORMS teawares, plates, dishes, and vases
• DECORATION blue-and-white printing, much of it for export; Chinese decoration less important; in London Giles decorated many pieces in Meissen or Sevres style
Marks
Mark used on printed wares (1758-85)
Mark used on blue-ground wares (c.1762-85)
“Pseudo-Meissen” mark used on some coloured wares in a European style (c.1760-70)
1774-92
• BODY paste declined in quality; a more straw-coloured or yellowish cast; not well controlled
• FORMS traditional styles continued to be made, but were not so well executed
• DECORATION very bright-blue printing, prone to blurring; slow transition from Rococo to Neo-classical decoration; greater French influence
Marks
Crescent mark still used in addition to this
cursive “W” printed in blue (c.1770-75)

Chelsea
The first successful British porcelain factory was founded c.1744 at Chelsea, then a village on the outskirts of London, by the Huguenot silversmith Nicholas Sprimont (c.1716-71). Unsurprisingly, the Shapes of British silverwares were to have a considerable influence on the porcelain made at Chelsea. Production at the factory falls into five periods, four of which are named after marks used at the time.
THE TRIANGLE PERIOD
During the “Triangle” period (c.1744-9), Chelsea porcelain was of a beautiful white glassy body, and the shapes were mostly copied directly from British Rococo silver. Early Chelsea porcelain was difficult to control during firing; wares were small-scale and included cream-jugs, beakers, and teapots. The factory was proud of the pure white appearance of its porcelain, and painted decoration was therefore kept to a minimum.
THE RAISED ANCHOR AND THE RED ANCHOR PERIODS
Changes were made to the body and glaze in the second phase (c.1749-52), known as the “Raised Anchor”
iraised from the mark of a tiny anchor embossed on a sed pad. The body was now more robust, and tin Oxide was added to the glaze to opacity it, which alsogave
it a silky feel. Popular decoration included copies Of 17th-century Japanese Kakiemon porcelain, and landscapes painted in the style of imported European wares from the factories of Meissen in Germany and Vincennes in France. Scenes from Aesop’s Fables, painted in rich colours, became a Chelsea speciality. A few figures and models of birds were also produced at this time, but these are rare.
During the “Red Anchor” period (1752-6) original forms of decoration were introduced, as well as others copied from Meissen. This period is famous for its dessert table settings, especially covered tureens in the forms of fruit, vegetables, animals, birds, and fish. painted botanical decoration, a Chelsea invention, was used on “Hans Sloane” wares, named after Sir Hans Sloane, an eminent scientist and patron of the Physic Garden, a botanical garden in Chelsea. Chelsea also made small “toys” – tiny scent bottles and seals in the form of fruit, animals, and people.
Figures became an important part of the factory’s production, owing to the skills of the Flemish modeller Josef Willems (c.1715–66). When held up to a strong light, Red Anchor porcelain should exhibit the famous Chelsea “moons” – bubbles trapped in the paste, which appear as lighter spots in the body.
GOLD ANCHOR PERIOD
The coloured grounds and Rococo shapes of the French factories of Vincennes and Sevres were the dominant influences in the subsequent “Gold Anchor” period (c.1756-69), when the factory’s anchor mark was neatly applied in gold rather than red. The use of gilding was significantly increased. Figures, designed for display on mantelpieces or in cabinets and intended to be viewed only from the front, became more elaborate, with masses of bocage (small modelled trees and flowers). Although at the end of the 19th century Gold Anchor wares were extremely valuable, their popularity has decreased throughout the 20th century.
Economic problems coupled with the ill health of the founder led to the closure of the Chelsea factory in 1769. John Heath and William Duesbury, the owners of the Derby porcelain factory (est. c.1748), bought the works in 1770 and ran the two premises in London and
Derby in tandem. This period of production
is known as the “Chelsea-Derby”
period. The factory finally
closed in 1784.
Triangle period (c.1744-9)
• BODY white, glassy, and translucent
• FORMS based on British silverware shapes
• DECORATION often left uncoloured
• COLLECTING wares arc rare and valuable
Raised Anchor period (c.1749-52)
• BODY milky white and silky; contains impurity specks
• GLAZE tin oxide added to glaze to opacify it; silky feel
• FOOT-RIMS ground flat
• DECORATION based on Japanese porcelain, Vincennes, and Meissen
Red Anchor period (c.1752-6)
• BODY creamy white with dribbling glaze; “moons” appear in paste-firing support marks (”spur marks”)
• DECORATION Meissen-style flowers
Gold Anchor period (c.1756-69)
• BODY creamy, prone to staining; bone-ash was added
• GLAZE clear, thickly applied; pools and tends to craze
• STYLE Rococo; influenced by Sevres
• FAKES beware of 19th-century fakes, usually made in French hard-paste porcelain, the body of which is too white and glassy; they are often marked with gold anchors far bigger than those on genuine pieces
Marks
c.1744–c.1749: usually incised or painted in underglaze blue
c.1749-52: anchor embossed on a raised pad 1752-6: the mark of a very small anchor in red enamel appears on the backs of figures and on the bases of plates and cups
c.1756-69: anchor painted in gold
c.1769-84: Chelsea–Derby mark

Experimental porcelain
A great deal remains to be learned about the early years of British porcelain, although much is being revealed through research. The first attempts to produce porcelain in England can be traced back to
John Dwight ( 1635-1703), a
potter based in Fulham, London, who succeeded only in producing a fine stoneware. An itinerant chemist, Thomas Briand Id. 1747), is likely to have made some kind of porcelain in London in the early 1740s, and, although none has been identified, his experimental pieces may have contributed to the success of Chelsea from c.1744, since it is believed that it
was from him that the formula was acquired.
THE LONDON FACTORIES
During the 17th and 18th centuries Chinese porcelain found a ready market in London, and manufacturers were aware that the production of viable British substitutes would be extremely profitable. The founders of the factory at Bow on the city’s eastern outskirts received their first patent c.1744, although the works was probably not active until 1747. Joseph Wilson had established a factory at nearby Limehouse by 1746, when blue-and-white Limehouse porcelain was advertised for sale. No examples of Limehouse were identified until 1989, when archeologists discovered the site and dug up shards that had been discarded during manufacture. acture. These matched exactly a type of porcelain previously believed to have been made at the Liverpool factory of William Reid, which is now ascribed to Limehouse. Wares included shell-shaped pickle dishes, sauceboats, and teapots, with blue-and-white chinoiserie decoration. However, Limehouse porcelain clearly proved too difficult to manufacture, and the works closed in 1748.
Charles Gouyn, a jeweller and china retailer, operated a porcelain factory in St James’s from c.1749 to 1759, but to date no excavations have been possible to confirm the identity of the items produced. However, it is believed that Gouyn made the porcelain figures, scent bottles, and other miniature “toys” (small novelties) referred to as “Girl-in-a-Swing” wares (after the first such figures to be identified), now in the Victoria and Albert Museum, London, and the Museum of Fine Arts, Boston.
About 1752 Nicholas Crisp set up a small factory in Vauxhall on the south bank of the river Thames, making distinctive blue-and-white porcelain, the forms and decoration of which were influenced by Chinese export wares and British and Dutch Delftware. Vauxhall also made rare and very beautiful, brightly painted wares decorated with flowers executed in the style of
Meissen. In addition, the factory experimented with polyglaze printing – a form of overglaze printing using several colours at once – but very few of these wares survive. Vauxhall products, like those of Limehouse, were only recently identified, following the discovery of broken porcelain shards on the site of the original factory. The factory closed in 1764.
LUND’S BRISTOL
One of the proprietors of Limehouse moved to Bristol to join Benjamin Lund, and together they produced blu and-white porcelain from c.1749. Lund’s Bristol porcelain was not unlike that of Limehouse, but it was more durable owing to its secret ingredient: Cornish soapstone, a substitute for the petuntse (china clay) required to make true porcelain. At Worcester, Dr John Wall and William Davis realized the potential of soapstone and purchased Fund’s factory – together with its secret formula for porcelain – in 1752. Worcester became the most successful 18th-century British porcelain factory, and its proprietors went to great pains to protect their secret formula. However, a Worcester employee stole the formula and sold it in 1756 to Richard Chaffers, who made porcelain in Liverpool during the 1750s and I760s.
• BODY all the early factories made soft-paste porcelainGLAZE
• Vauxhall: glaze may be “peppered”
• DECORATION Vauxhall: underglaze blue may be inky, wet-looking, and rather smudged; polychrome painting and transfer-printing; designs inspired by Chinese export porcelain and Meissen; Limehouse: wares may resemble Chinese export porcelain unevenly fired
• COLLECTING early porcelain is very rare, and there is a great deal of interest especially in Vauxhall, Limehouse, and the earliest Worcester
Marks
Factory marks were very seldom used by the early porcelain manufacturers, which makes identification a challenge for new collectors; any marks that do appear must be treated with suspicion

Sevres
In the 19th century Sevres remained the pre-eminent porcelain factory in France both in quality and in innovation. Receiving state subsidies and patronage, it employed many eminent chemists, who developed new pastes, glazes, and decorative techniques, which kept the factory in the forefront of fashion. However, during this period there was an increasing divide between domestic or utilitarian wares and the very elaborate ornamental pieces, such as vases and large services, made for the State, for international exhibitions, and as diplomatic gifts.
A Plate from the Service des P6ches painted by L. Garneray This plate illustrates how the Sevres painters continued the late 18th-century tradition of using porcelain primarily as a medium for painting However, the motifs are no longer strictly Classical as they would have been during the 18th century Such an elaborate piece as this would have been used only for display in a cabinet.
(1840, diam. 24.5cm19lin; value J)
THE RESTORATION PERIOD
After France’s monarchy was restored in 1815, the country enjoyed a period of relative prosperity and stability until the 1840s. The Sevres factory continued to produce wares in the Empire style in the 1820s and 1830x, and continued the fashion of treating porcelain as a medium for painting; restrained Neo-classical forms were decorated all over, with little or none of the porcelain left showing. The royal family commissioned large display services, each piece painted with a scene surrounded by gilt borders with motifs such as acanthus, eagles, and trophies. However, portraits of the imperial family, and scenes commemorating the battles and deeds of the Emperor, were replaced by views of France, birds, or scenes of various crafts and trades. The finest examples of this style are the table or breakfast services illustrating industries, agriculture, and history for the palace of Fontainebleau.
The mixture of Classical, Egyptian, and chinoiserie motifs already evident in porcelain decoration before 1830 became more apparent and more complex with the introduction of Gothic and Renaissance Revival shapes
and motifs, such as grotesques and miniature
pinnacles and (rockets. Vases were painte
in imitation of 16th-century Limoges enamels with grotesques, flower swags, mythological scenes, and
scrollwork in grey on blue; this
was so successful that a specialis
enamelling workshop was set up
which operated between 1845
and 1872. Table services made
in the 1830s and 1840s for the
Duke of Orleans and the Duke
of Nemours, based on 18th-
century Rococo designs by Jean- Claude Duplessis (1690-1774), marked the revival of Rococo. From the 1840s the fashion for
treating porcelain as a canvas for painting declined. Areas of white porcelain again
became visible, particularly on everyday services. For example, the large services made for the royal residences (including those for staff use) tended to be simply ornamented, with a gilt or blue royal monogram in the centre and gold-leaf borders around the rims. This decoration was printed rather than painted, since from (.1845 the lithographic process was in use at Sevres, allowing printing in several colours.
THE SECOND REPUBLIC AND SECOND EMPIRE During the Second Republic (1848-52) Sevres suffered financial problems because there was little demand for luxury goods. Production increased again during the Second Empire ( 1852-70), when much of the factory’s output was intended either for the residences of Emperor Napoleon III, and as diplomatic gifts, or for display in the many international exhibitions. Plain domestic wares were also made in large quantities.
During the directorship of the chemist Victor Regnauld during the Second Empire there were several important developments in manufacturing and decoration. The production of soft paste was revived, although mainly at an experimental level, and slip-casting was introduced, meaning that very thin or large hollow pieces could be made. In the 1850s the chemist Alphonse-Louis Salvetat created a flambe glaze imitating Chinese porcelain, which was perfected in the 1880s; underglaze brown colours and coloured pastes imitating marble and hardstones were also introduced. One of the most popular techniques created during the 1850s was pate-sur pate: a process of building up a design in low relief on a tinted ground by applying layer upon laver of white slip and carving the details before firing.
From 1852 the Rococo Revival was the most popular style. The 18th-century forms were reproduced for tablewares and vases, but the gilding and decoration of scrolls, shells, figures, and flowers is more crowded and exaggerated than on original 18th-century pieces. The factory revived landscape panels with figures in the manner of the Rococo artists Watteau and Boucher, as well as coloured grounds, particularly turquoise and pink. Factories in Germany and France that had bought the white wares earlier sold off by Sevres to alleviate its financial problems copied this style in the late 19th century; these copies are usually described by dealers and auctioneers as “Sevres”, too, or as “Sevres-style”.
There was also a revival of the Pompeian and Classical Greek styles between 1845 and 1855, evident in the use of motifs and designs based on engravings of the antiquities of Pompeii. However, the shapes are not always Classical in inspiration, and the colours and decorative techniques, such as painting in matt colours on biscuit porcelain to imitate Classical vases, are different from those used in the 18th-century Neoclassical period. The factory was able to keep up with fashion because it had retained the moulds of Neoclassical wares produced in the late 18th century under Louis XVI. This also led to a limited revival of biscuit porcelain figures c.1860.
THE LATE 19TH CENTURY
After the establishment of France’s Third Republic in 1871 the factory continued largely to produce ornamental pieces for embassies, ministries, and government buildings, as well as simpler pieces as prizes for lotteries and public competitions.
In 1877 the sculptor Albert-Ernest Carrier-Belleuse 1824-87) was appointed director. He introduced Japanese-inspired designs that contrasted strongly with the overdecorated pieces in a confused mixture of historical styles. The factory also developed a new paste in the 1880s, which was fired at the lower temperature. This made possible an increased range of colours and the perfection of the flambe glazes imitating Oriental porcelain. These wares were particularly fashionable in the 1880s, when there was a vogue for Japanese art.
SEVRES COPIES
Many thousands of imitations of the 18th-century Sevres style were produced by French and other European manufacturers in the 19th century. After the Revolution huge numbers of blank Sevres wares were sold off to decorators. Later decorated pieces tend to have poorer-quality decoration and gilding and, if a piece has been refired, there is usually black speckling on the base.
he Restoration period
• BODY fine, white hard paste with a clear, glassy glaze; some items made in soft paste and coloured pastes imitating marble and hardstones
• STYLE continuation of Empire style, with introduction of Rococo, Gothic, and Renaissance elements
• FIGURES biscuit portraits and busts in the 18th-century Neo-classical style
Marks
This mark was used from 1834 to 1848; the letters “LP’ stand for “Louis-Philippe”, who succeeded to the French throne in 1830
The Second Republic and Second Empire
• STYLE Rococo Revival, often combined with Gothic and Renaissance motifs
• DECORATION painting of landscapes in the style of Watteau and Boucher, or large flowers, with gilding, coloured grounds, and scrollwork; pate-sur-pate
• FIGURES small classically inspired biscuit figures revived c.1860
The late 19th century
• STYLE continuation of mid-19th-century styles; Japanesque
• DECORATION plain grounds and glazes in pure colours for Japanese-style wares; Art Nouveau stylized flower motifs in pastel shades

Early porcelain
The porcelain factories established in France in the early 18th century manufactured soft-paste porcelain, since the kaolin necessary for the production of hard paste was not discovered in France until 1768. Early French porcelain, particularly that of Chantilly, is considered especially attractive by collectors because of its soft ivory or creamy colour. The first factory was established in the 1670s in Rouen by the Poterat family, but its output was much less significant than the later factories of Saint-Cloud, Chantilly, and Mennecy.
SAINT-CLOUD
In 1664 Claude Reverend obtained a privilege to experiment with the manufacture of porcelain in and around Paris. In 1674 he employed Pierre Chicaneau (d.1677), who is said to have discovered the recipe for soft-paste porcelain. Through the patronage of the Duke of Orleans, Chicaneau’s widow, Barbe Coudray (d.1717), was granted a privilege for the manufacture of faience and porcelain at Saint-Cloud in 1702.
A large range of wares was made at the factory, including ice pails, spice-boxes, snuff-boxes, bonbonnieres, and cutlery handles. A speciality was pot-pourri vases, usually left unpainted. Early decoration comprised underglaze blue borders of lambrequins. From c.1730 wares were left in the white and decorated with moulded prunes blossom, imitating Mane-de-Chine wares from Dehua in Fujian Province, China. More European designs, such as overlapping leaves and wading birds, were introduced as moulded decoration. In the same period, the painters copied Japanese wares in the Kakiemon and Imari patterns.
CHANTILLY
In 172.5 Louis-Henri of Bourbon, Prince of Conde, founded a porcelain factory on his estate at Chantilly. The factory is celebrated for its wares decorated in the style of Japanese Kakiemon and Chinese famine-vote porcelain. Many items – jardinieres, teapots, jugs, and plates – were probably copied directly from Oriental originals in the Duke’s collection. Figures of Chinese and Japanese characters were also a speciality of the factory before c.1750 and were decorated in the Kakiemon style.
After the mid-18th century, decoration of small scattered sprays of European flowers was introduced. In 1753 Louis XV issued an edict restricting the use of gilding and certain colours by French porcelain factories to protect the commercial interests of Vincennes. Permitted decoration generally consisted of simple floral designs in underglaze blue, or blue or pink enamels. During the 19th century Chantilly porcelain was extensively copied by the factory of Edme Samson & Cie in Paris.
MENNECY
In 1734 the faience manufacturer Francois Barbin (1689-1765) opened a factory producing soft-paste porcelain in Paris under the patronage of the Duke of Villeroy. Wares in the style of Vincennes, Saint-Cloud, and Meissen as well as imitations of Japanese Kakiemon porcelain were made. In 1748 the factory moved to Mennecy, near Paris, where custard-cups and covers, moulded with spiral or vertical fluting, and bell-shaped ice-cups, influenced by Vincennes and Sevres, were produced. These were painted with sprays Of flowers in a palette dominated by puce and red. Before 1750 the factory produced stiffly modelled Oriental figures, usually decorated in the Kakiemon palette, and after 1750 rustic peasants, children at play, allegorical figures, and, more rarely, commedia dell’arte figures.
Saint-Cloud (1664-1766)
• BODY creamy-white or ivory soft paste, with a soft glaze that is greenish where it gathers
• DECORATION ION lambrequin borders in underglaze blue; moulded prunes blossom; stiffly painted copies of Japanese Kakiemon and Imari patterns and palettes

• BODY soft-paste porcelain with a distinctive opaque, creamy tin glaze, which makes it look similar to faience; 19th-century copies are greyish and glassy
• DECORATION before the 1750s Kakiemon and famille verte patterns outlined in black – these wares are the most collectable; from the 1750s European flowers in underglaze blue, or blue or pink monochrome
• FIGURES Oriental figures painted in Kakiemon palette

Mennecy (1734-1806)
• BODY similar to Saint-Cloud, with a soft, ivory tone and a slightly green tint to the glaze
• DECORATION Kakiemon style; sprays of European flowers in a pastel palette dominated by puce and red
• FIGURES stiffly modelled figures of Orientals, painted in Kakiemon style; later, figures of peasants, children, putti, and allegorical subjects in line with Rococo taste

Capodimonte, Buen Retiro, and Naples
The first porcelain produced in Europe was made in Florence at the factory started by Francesco I de’ Medici, a member of one of the most powerful ruling families in Europe. The duke had a great interest in the applied arts and chemistry, and in the 1570s he initiated experiments in porcelain manufacture that would produce the first successful European soft-paste, or “artificial”, porcelain in 1575. The Medici porcelain enterprise was short-lived, however, and it was not until more than 150 years later that soft paste was again produced in Italy.
CAPODIMONTE AND BUEN RETIRO
The most famous porcelain factory in Italy was founded by Charles IV, King of Naples and Sicily (later Charles III of Spain), in 1743 at the royal palace of
Capodimonte. Although wares generally imitated those made at Meissen and Vienna in shape and decoration, a distinctive soft palette and stippled designs were used. Subjects included chinoiseries, landscapes with small figures and fruit and flowers, and battle scenes.
Capodimonte figures by the chief modeller, Giuseppe Gricci rank with those of Franz Anton Bustelli (1722-63) at Nymphenburg and Johann Joachim Kandler (1706-75) at Meissen. Gricci’s elegant yet lively modelling is particularly well set off by the fine soft paste, which heightens the effect of the flowing lines.
Naples
Many of the figures are undecorated, revealing the beautiful material, while others are painted in muted pastel shades. Gricci gave his figures disproportionately small heads, a feature peculiar to Capodimonte. He is also well known for his fabulous porcelain room in the royal palace at Portici, which is covered entirely with porcelain panels ornamented with chinoiserie figures.
In 1759 Charles succeeded his father as King of Spain, and moved the factory to the palace of Buen Retiro in Madrid. Early Buen Retiro wares are almost indistinguishable from Capodimonte. However, in the 1770s the factory ceased to import materials from Italy, and the quality of the paste deteriorated, becoming greyer and less refined. The Buen Retiro factory concentrated on the production of figures rather than wares; these are generally fairly sculptural in style and include allegorical subjects, peasants, and saints. hits.
NAPLES
After Charles III left for Spain, his son became King of Naples and Sicily as Ferdinand IV. In 1771 he revived the production Of porcelain, which continued until 1806 when lie was deposed by the French. Biscuit figures and Classical groups were created by the chief modeller, Filippo Tagliolini (1745-1808); the factory also made biscuit copies of antique sculpture from nearby Pompeii and Herculaneum. Most popular with collectors are the figures of peasants and bourgeois in brightly coloured contemporary dress. Tea, coffee, and dinner services and vases arc typical wares, decorated with views of Naples and its surroundings, including Mount Etna.
Capodimonte (1743-59) and Buen Retiro (1760-1812)
• BODY pure white and translucent with brilliant glaze, giving a slightly creamy tone; at Buen Retiro greyer and less refined, replaced by hard paste 1803
• DECORATION small figures in landscapes; fruit and flowers; chinoiseries in very pale, soft palette, often in stippled technique; continuous battle scenes
• FIGURES elegant and vigorously modelled; most have heads; most undecorated or sparingly painted
Marks
Capodimonte: this mark was used from c.1745: blue painted in gold or in underglaze blue
Buen Retiro: this underglaze blue marls was used in various forms from c.1760
Naples (1771-1806)
• Body glassy, white paste, similar to Capodimonte but lacking ivory-toned translucency
• DECORATION views of Naples and surroundings, sometimes very finely painted; also “Etruscan” style in black, white, and terracotta, imitating Greek vases
• FIGURES Classical biscuit groups; miniatures of antique statues; stiffly modelled peasants and bourgeoisie in brightly coloured contemporary costume
Vezzi, Cozzi, and Doccia
The production of hard-paste porcelain in Italy- only ten years after the founding of the Meissen factory. The manufacture of hard paste in Italy was in some ways more successful than that of soft paste; whereas the Naples factory closed in the I 9th century, the Doccia factory continues today.
KEY FACTS
Vezzi (1720-27)
• BODY translucent paste varying in colour from pure white through creamy white to almost grey with a clear glaze
• PALETTE strong brownish-red or leaf-green enamels; Underglaze blue
• DECORATION floral patterns, chinoiserie, large commedia dell’arte characters
VEZZI
The factory was founded in Venice in 1720 by the goldsmith Francesco Vezzi ( 1651-1740) and Christoph Conrad Hunger, an arcanist who had worked at Meissen and Vienna. The factory was short-lived, and very few pieces of Vezzi porcelain are known today. Production consisted mainly of cups and saucers, coffee- and teapots, and plates. As the material was still experimental, wares were thickly potted so that they did not collapse in the kiln. Vezzi forms were often inspired by contemporary Baroque silver or Oriental porcelain shapes. Among the popular subjects for painting were stylized floral motifs, large commedia dell’arte figures, and chinoiseries.
lam
The second hard-paste porcelain factory in Venice was established in 1764 by Geminiano Cozzi 1 –28-97). Its output was larger and more
successful than that of Vezzi. Cozzi introduced the lighter Rococo style. Some wares have applied flowers, but most are painted, in a palette dominated iron red, puce, and an iridescent green. The most common themes are flowers, unframed landscapes, and Classical figures in scrollwork or solid borders. Cozzi figures include Meissen-style pagoda figures, characters from the commedia dell’arte, and dwarfs modelled after engravings by the French artist Jacques Callot (1592-1635). They do not often appear on the market today and so are highly prized by collectors.
DOCCIA
The Doccia factory was founded near Florence in 1737 Carlo Ginori (1702-57). The earliest porcelain was a hybrid hard paste that had a rough, smeared surface and often cracked when fired. The quality improved after 1770, when a glaze that included tin oxide was used to make it whiter and opaque.
The largest part of the factory’s output was small and decorative wares, and tea and table services. The factory used some very distinctive types of decoration that make its wares easily recognizable, including designs known asa galetto
rosso” (Chinese-style cockerels painted in iron red and gold), “a tulipano” (iron-red peonies in the Oriental style), and classical figures moulded in low relief, with strong flesh tones and gilded details. The style was much imitated in the 19th century, but 18th-century examples are rare. Other techniques included decoration with stencilling (”stampino”) in blue and hire. The factory also produced figures with well-defined musculature on elaborate scroll bases. Some were left in the white, but others were painted in intense colours or, more rarely, in iron-red monochrome.
In the 19th century the factory continued to produce wares and figures in its 18th-century patterns. In 1896 it was incorporated with the Societa Richard of Milan under the name Richard-Ginori.
Marks
This mark was usually in underglaze blue, or gold or red enamel
Cozzi (1764-1812)
• Body greyish paste with distinctive wet-looking glaze; can vary in quality
• PALLETTE dominated by iron red, puce, and an unusual iridescent green
• DECORATION painted flowers, untrained landscapes with buildings, chinoiseries, and Classical figures; applied flowers
Marks
This mark was enamelled in red
Doccia (est. 1737)BODY
• grey, somewhat crude paste with distinctive, thin, sticky-looking glaze
• PALL I I E dominated by iron red and puce
• DECORATION moulded low-relief Classical figures, detailed in bright colours and gilding; Chinese cockerels; red peonies; transfer-printing and stencilling
• FIGURES slip-cast, modelled with stong musculature

Berlin
The Royal Porcelain Factory in Berlin (est. 1752) is best known for its superb porcelain made during the late 18th and early 19th centuries, when Neo-classicism was at its height. At this time Prussia was one of the most powerful states in Europe, and it became even stronger after the defeat of Napoleon in 1815. Its prosperity -was reflected in the great building schemes undertaken in Berlin and Potsdam, and some of the finest Neo-classical architecture of the age was designed by German architects such as Karl Friedrich Schinkel (1781-1841). Schinkel and the leading sculptor Johann Gottfried Schadow ( 1764-18-50) were among prominent Contemporary artists commissioned to design porcelain in the rich Empire style associated with Napoleon, and in the Biedermeier style, a simpler, heavier, Classical sty le popular with the German middle classes. In contrast to many other European factories, which concentrated on reviving 18th-century styles, the Berlin factory continued to manufacture innovative and stylish wares and figures throughout the century.
BEFORE 1840
In the early 19th century Berlin’s particular speciality was wares with finely tooled gilt borders and gilt-ground sections framing sumptuous paintings, creating an opulent effect. In contrast to the vignettes popular in the 18th century, these paintings were highly finished so as to imitate works in oil, and none of the white porcelain was left showing. The most popular painted subjects included profile portraits (sometimes silhouettes) within oval medallions, and Classical themes, but the factory is most renowned for its fine topographical views depicting such celebrated buildings in Berlin as the Royal Palace and the Opera, or the scenery around Potsdam. Topographical views generally feature on cups and saucers, plates, and vases (where they are sometimes titled) intended for display.
Frederick the Great, King of Prussia, was an enthusiastic patron of the factory, commissioning and even designing table services for his palaces in Berlin and Potsdam. This tradition continued under Frederick William III; after the defeat of Napoleon, the King ordered elaborate Neo-classical services for both Prussian and foreign generals in celebration of their victory. The most famous of these is the “Prussian” service made between 1817 and 1819 for the Duke of Wellington, which is now displayed at Apsley House in London, his former residence.
One of the most significant developments in Europe during the first half of the 19th century was the increasing power and patronage of the middle classes,
a result of the economic boom brought by the Industrial Revolution. Instead of the elaborate table services made for royalty and aristocracy, there was much greater demand for single decorative pieces or small services. The factory adapted to the new market by producing large numbers of “cabinet” cups for display, generally cylindrical and often with covers, and similar to those made in Vienna. From c.1815 an elongated, slightly flared version, painted with portrait panels or Classical motifs, was introduced. Also typical of Berlin were octagonal tea services with fine paintings of ancient ruins, birds, or butterflies, surrounded with gilding and elaborate enamels imitating Roman mosaics and pietre dare (hardstone) panels.
Vases in a variety of sizes were popular for display and were a major part of the output of Berlin from c.1830. Based on antique forms such as urns and kraters, they were usually embellished with topographical paintings or elaborate Classical motifs in panels, surrounded by tooled gilt borders with Neo-classical motifs. The supreme technical and artistic quality of these vases was unmatched.
Like tablewares, figures were inspired by Classical models; they were usually left unpainted or unglazed, in imitation of antique statues, and set on simple cylindrical pedestals moulded with regular geometric borders. Although most of the subjects were allegorical or taken from Classical antiquity, the factory also made portraits of the Prussian royal family, and of Prussian generals who had defeated Napoleon. From the 1830s a figure of
the Princesses Louise and Frederike was mass-produced with a stepped base or plinth rather than a simple slab.
Portrait medallions in biscuit porcelain, mostly depicting the royal family, were also made on a large scale.
Porcelain Easter eggs were a distinctive product of the
Berlin factory from c.1820 to the end of the century. They were decorated all over with paintings reserved on coloured grounds.
LATER CLASSICAL AND OTHER STYLES
The Berlin factor y continued to make high-quality decorated porcelain until the end of the 19th century, even though there was a general decline in European porcelain manufacture because of competition from mass-produced goods. Most mid- and late 19th-century Berlin porcelain displays mainly Classical influences, while other factories such as Meissen concentrated on the revival of 18th-century Rococo models. However, such forms as vases became larger and heavier, and decoration often more ornate: the simple, angular shape for handles, for example, was replaced by animal heads.
Berlin’s tradition of treating porcelain primarily as a medium for painting reached its apogee c.1840 with the development of porcelain plaques. Like paintings, these were usually rectangular and enclosed in richly modelled gilt frames. They were sold as blanks to outside workshops and painted by independent decorators (Hausmaler). The very finely executed subjects were initially copies or details of Old Master works; however, during the last third of the 19th century the themes were less profound: exotic maidens in traditional costume, scantily clad nymphs among flowers, or rather sentimental religious subjects.
From c.18,50 Rococo Revival elements, such as curling scrollwork, flowers, and shells, appeared in the decoration of tablewares and vases. This decoration, combined with the gilded and coloured grounds and topographical views, resulted in an overdecorated effect. This would never have occurred in the 18th century, when restrained decoration was used to create balance. The factory also experimented in mid-century with the Renaissance Revival style by manufacturing copies of Italian Renaissance maiolica and 17th-century German stoneware. These pieces have much heavier forms than the originals. The production of figures at this time was confined mainly to busts and figures of the royal family, ladies in contemporary dress on pedestals, and a limited revival of 18th-century models of such subjects as pastoral figures and tradesmen.
During the 1870s the factory suffered severe financial setbacks, but Hermann Seger, appointed technical director in 18787
, revived its fortunes and ensured its future by developing a series of new glazes. The subtle glaze effects on Oriental porcelain were particularly fashionable in the late 19th century, especially after Japanese and Chinese ceramics were displayed at the numerous European international exhibitions. Seger was the first manufacturer in Europe to reproduce rich flambe and sang-de-boeuf glazes by developing the “Seger cones”, which allowed accurate control of firing temperatures. This type of Oriental-inspired porcelain was known as “Seger-Porzellan”, and the new technology was taken up in porcelain factories throughout Europe. The Berlin factory continues to produce fine porcelain today.
• BODY high-quality, white, hard-paste porcelain with a glassy glaze and a slightly cold, bluish tinge
Before c.1840
• STYLE restrained Neo-classical
• FORMS cabinet cups and saucers; Easter eggs
• DECORATION gilt borders finely tooled with Classical motifs; highly finished topographical paintings imitating oils; coloured and gilt grounds
After c.1840
• STYLE eclectic, combining both Rococo and Classical elements
• FORMS painted plaques with elaborate gilt frames
• DECORATION very ornate, with applied gilt motifs such as shells and curling scrollwork combined with coloured grounds and paintings; paintings of sentimental religious subjects or exotic maidens on plaques
Marks

Meissen Porcelain of the 18th Century.
The great secret and success story of the Far East, porcelain was discovered a thousand years before the establishment of the ceramics industry in the West. Its properties were envied and widely imitated, but never matched, and its quality far outstripped that of early Western ceramic production, which was based on stoneware.
The first examples of Chinese porcelain arrived in Europe in the early 1500s and caused a near-revolution in the ceramics world, resulting in a thriving export industry from the East that had far-reaching effects on trade. Today, examples of fine-quality porcelain from both the East and the West command the highest prices, and many museums around the world have outstanding collections.
Early Meissen
Imported from the Middle Ages through trade with China, Oriental porcelain was a rare and expensive commodity in Europe. As demand for (and imports of) porcelain became greater, alchemists in the courts of Europe attempted to discover the formula to create “true”, or hard-paste, porcelain. The production of the first European hard-paste porcelain was the result of a collaboration between the alchemist Johann Friedrich Bottger (1682-1719) and the scientist Flurcriftied Walther von Tschirnhausen ( 1651-1708) at the court of Augustus the Strong, Elector of Saxony, in Dresden.
EXPERIMENTAL WARES
Bottger had become famous for his claims that he was on the brink of producing artificial gold. His experiments in this regard failed, but his fame and talents were such that Augustus seized Bottger after he fled from Prussia to Saxony and ordered him to help in von Tschirnhausen’s porcelain experiments. The basic formula, which was discovered c.1706-7, produced a fine, brownish-red stoneware. After further experimentation in 1708, Bottger finally v produced a white hard paste, and in 1710 Augustus established Europe’s first hard-paste porcelain factory in the Albrechtsburg, a palace in Meissen.
Bottger’s stoneware was an extremely hard and finely textured material, and is sometimes described as “Jaspisporzellan” (”jasper porcelain”) because of its resemblance to hardstone. The types of ware produced included and coffee- and teapots, bowls, teacups, and teajars, often imitating Oriental porcelain. One of the first artists to be involved in the modelling of this stoneware was the court goldsmith Johann Jakob Irminger (1635-1724), and maro, stoneware pieces were based on gold and silver designs. As the material was so hard, typical decoration included polishing or faceting -techniques derived from gem-cutting - although lacquering, enamelling, and gilding were also used.
EARLY PORCELAIN
Early Meissen porcelain (”Bottgerporzellan”), first produced commercially c.17 L3, generally followed the stoneware forms, but technical developments at the factory led to a greater range of ss ares: statuettes of dwarves and saints, copies of Chinese Mane-de-Chine wares, and “pagoda” figures. The porcelain was often left white to display the precious material, but some pieces have moulded leaf or floral borders, thickly applied and clumsily drawn polychrome enamels, or gilt or silvered scrollwork borders. While all Bottger porcelain is rare, figures and enamelled pieces are particularly scarce.
During the 1720s there were rapid technical and artistic advances in the development of porcelain at Meissen, due in part to the arrival in 1720 of the colour-chemist and painter Johann Gregorius Horoldt (1696-1775). In the early v 1720s, under his leadership, a new source of clay was found from which a slightly creamy white paste was produced. This was used to make a much wider range of wares, including vases, garnitures, bottles copied from Japanese originals, and small vessels with covers, as well as tea and coffeewares.
During the 1720s Horoldt perfected the enamelling process, increasing the range of
colours. Until the early 1730s the’ factory owed its success to the skilled painters who copied or adapted Oriental porcelain decoration and eventually developed a distinctive European style of painting. In the , i rly 1720s, underglaze blue decoration was used for copying Chinese originals in the style of wares made during the reign of Emperor Kangxi (1662-1722), and polychrome enamels were employed for making exact copies of Chinese and Japanese wares, including those in the Imari and Kakicinon palettes. Horoldt also produced his own designs for vignettes and chinoiserie scenes. During the mid-1720s the first European-style landscape decoration was introduced; the scenes are typically set within heavy gilt scrollwork cartouches, often embellished with coloured enamels. The factory also introduced Kauffahrtei (”sea trade”) scenes of quaysides, although these became more common in the 1730s.
Meissen figures and services
From the early 1730s beautifully modelled and painted figures and table services were produced at the Meissen porcelain factory in Germany, establishing its reputation as the pre-eminent porcelain factory in Europe. The extensive range of figures and wares was characterized by an extraordinary virtuosity of modelling, lively expression, and sense of movement, and remains a testimony to the skill of the painters, modellers, and other artisans employed. The factory dominated the mid-18th-century style of porcelain, and Meissen wares Lind figures were imitated by craftsmen at other porcelain factories throughout Europe.
EARLY FIGURES
Small figures used to decorate the dining-tables of the wealthy were originally modelled in sugar, wax, or gum by cooks and confectioners. Demand for pieces in a more permanent material led to the production of the first porcelain figures at Meissen in 1727, when the modeller Johann Gottlieb Kirchner (1706–after 1738) was appointed the first chief modeller. Kirchner initially produced figures of saints and animals in a strong Baroque style. In the same year Frederick-Augustus 1, Elector of Saxony (known as “Augustus the Strong”),entrusted him with the task of creating 910 monumental figures of animals and birds to decorate his Japanese Palace in Dresden, specially built to accommodate his vast collection of Oriental porcelain. However, the thick body of the porcelain meant that pieces tended to crack or even completely collapse in the kiln. The most famous Meissen modeller,
Johann Joachim Kandler (1706-75), joined the factory in 1731 to assist Kirchner, but he too could not solve the technical problems. These difficulties and the high cost of producing such works encouraged Kandler to experiment with the production of small-scale figures.
LATER FIGURES
In 1733 Kandler was appointed chief modeller at Meissen, and during the 1730s and 1740s he was responsible for some of the finest individual figures and groups ever made there. Kandler’s early figures have a wonderful sense of liveliness and movement unmatched by his imitators. They are vigorously modelled, dramatic, and sculptural, and make flamboyant or theatrical gestures. Among the extraordinary range of subjects were exotic birds, figures from distant lands, couples in romantic or chivalric poses (known as “crinoline” groups), and humorous depictions of court jesters. Some of the best-known and most popular figures by Kandler are the characters such as Harlequin, Columbine, and ScaramOLIche from the connniediar dell’arte, the Italian theatre tradition. Kandler also depicted street vendors in two series called the “Cris dc Paris” and the “Cris do Londres”, some of which were inspired by prints based on the drawings of the French artists Latrine BOLIcharclon and Christophe IT act. Sonic of these figures were produced in collaboration with other highly skilled modellers who joined the factory in the mid-18th century: Johann Friedrich Eberlein (169,5-1749), Friedrich Elias Meyer (1723-85), and Peter Reinicke (1715-68).
In the mid-18th century the fashion for the Baroque style declined, to be replaced by the delicate, lighthearted Rococo style. Figures of lovers in idyllic pastoral settings, as well as allegorical and mythological figures representing the seasons, the months, and Classical gods and goddesses, were made in keeping with the new, more romantic, frivolous style. From c.1750 to 1755 the factory made smaller-scale figures, which were painted with such pastel colours as pale mauve, lemon yellow, and soft green. The simple, flower-encrusted pad or rockivork bases that had been employed during the 1730s and 1740s were abandoned in the 1750s in favour of more elaborately scrolled bases.
Africa and Asia by Meyer Allegorical figures and groups representing the seasons and the continents were particularly popular during the Rococo period In this group, Africa is represented by a black putts, wearing an elephant-shaped head-dress and seated on a lion, while Asia is depicted as a white putts, wearing a jewelled necklace - two contrasting depictions that are very much a European fantasy of the inhabitants of these two continents The highly scrolled base and somewhat elongated heads are typical features of Meyer’s work and of mid-18thcentury Meissen figures. Although Meyer’s figures are of very high quality, they are riot as collectable as those by Kandler.
TABLEWARES AND SERVICES
In addition to figures, Kandler and his team of designers and modellers created an extensive range of dinner services, tea and coffee services, centrepieces, candlesticks, ladies’ toilet sets, and other useful and decorative wares. By the 1730s Meissen porcelain had become extremely fashionable throughout Europe, and the factory received many commissions.
The commission for Meissen’s largest, most famous, and beautifully modelled service, known as the “Swan” service, came in 1736 from the factory’s director, Count Heinrich von Bruhl, who had recently married. Each plate, painted with the coat of arms of the Count and his new, wife, is exquisitely modelled in low relief with a design of swans, herons, pelicans, and rushes, while the tureens are of sumptuous curving forms incorporating an elaborate design of dolphins, mermaids, and other marine creatures. The Count’s name, which translates as “swampy meadow” or “marshy ground”, may have inspired the theme.
The exquisite and imaginative decoration that the printer and chemist Johann Gregorius Horoldt (1696-1775) had brought to early Meissen wares continued during the 1730s. From 1729 Augustus the Strong commissioned the factory painters to make
copies of his collection of Oriental porcelain, and they adapted the decoration on Japanese Kakiemon wares and Chinese famille-verse wares to create a new style of decoration known as indianisa-bic Blumen
(”Indian flowers”), so called because much Oriental porcelain was exported into Europe by the Fist India Companies. In the early 1730s, land- and cityscapes framed with heavy gilt scrollwork
or interlaced strapwork borders were a popular alternative to dower decoration, but from c.1735 battle scenes and hunting subjects inspired by the French painter Antoine Watteau were favoured. V ith the development of the Rococo style the popularity of flower decoration increased, and European flowers were used fit painted designs.
The painter Johann Gottlieb Klinger (active 1731-46) was the best-known exponent of this style. At first petals, leaves, and stems were very precisely depicted, as the painters followed botanical prints; the design was enlivened with scattered insects and butterflies. The relaxed attitude of the Rococo led to the use of more naturalistic sprays or bouquets in a style known as deutsche Blumen (”German flowers”). By the mid-1750s this style had been replaced by looser representations of scattered flowers, described as NFiretacriblumen (”mannered flowers”).
Academic and Marcolini
After the end of the Seven Years War (1756-63) there was a period of decline at the Meissen factory, due to the deprivations of the war and the loss of several important painters and modellers. Meissen’s share of the burgeoning European porcelain market was further reduced as Austria and Prussia banned Meissen imports, and Britain, France, and Russia placed high tariffs on imported Meissen pieces in order to protect domestic production. Meissen lost its place as the dominant force of innovation, originality, and quality to other factories such as those in Berlin, Vienna, and Sevres, which it often now attempted to imitate.
THE DOT/ACADEMIC PERIOD
The period 1763 to 1774 is generally known as the “Dot” period, because the mark used at this time consisted of the familiar crossed swords with a dot added between their hilts, or the “Academic” period, because much of the factory’s output lacked originality. The factory continued to manufacture figures and wares in the mid-18th-century style hat, in a poorer-quality paste, these did not match the standard of earlier pieces. There were few innovations in the design and decoration of tableware in this period, with flowers the most popular painted subject. A debased form of deutsche Blumen (”German flowers”), these bouquets can be distinguished from earlier Meis-cnn painting by the often “painterly” style, the pale palette with a predominance of pink tones, and the smaller-scale and often scattered flowers, following the style of Sevres.
Figures were often reproduced from moulds dating from the 1730s but lack the bolder, lively decoration of the originals; the palette is sometimes pale and lacklustre, and intricate, fussy patterns
often appear. The Neo-classical style, characterized by simple, geometrical forms and the use of Greek and Roman architectural ornament, was introduced to Meissen by the French sculptor Michel-Victor Acier (1736-99), appointed to work as chief modeller with Kindler. Acier produced small-scale, sentimental figure groups characterized by stiffer modelling in line with file restrained character of the Neo-classical style.
THE MARCOLINI PERIOD
In 1774 Count Camillo Marcolini (1739-1814) was appointed director of Meissen; under his leadership Neoclassicism was more wholeheartedly adopted and the quality greatly improved. Biscuit porcelain was favoured for allegorical or Classical figures, because it resembled the marble used for ancient Classical sculpture. In the I 790s the modeller Johann Carl Schonheit (1767-1805) made figures in the Sevres style after such sculptors as Etienne Falconer.
The Neo-classical taste is also reflected in the forms and decoration of the tableware. Cylindrical coffee-cups with angular handles and covers seem to have been used for display and presentation rather than for drinking. Marcolini also introduced a wider range of very fine decoration that included mythological and pastoral scenes, portraits and landscapes, and, later, portrait medallions, topographical landscapes, and details of paintings. Flower-painting also continued during this period. The bouquets were often large and dense and somewhat stiffly painted, with fewer scattered flowers than in the designs of the 1760s.

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