Posts Tagged ‘potteries’

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.

Statues
Figures, more than any other category of decorative accessory, seem to say “Deco” best. The statues exhibit not only features commonly associated with Art Deco, but also they express the spirit of freedom and optimism in the future that prevailed at the time. It is not surprising that these personifications beguile collectors. As noted earlier, figures were so popular that they were fashioned into dual purpose articles as well as art objects. This section, however, contains only the latter. Statues, statuettes or figurines and a few head forms or busts are included. (For additional examples of figures, see Ashtrays, Bookends, Candle Holders, Incense Burners and Lamps.)
Most of the Deco figural subjects were women. Pieces were made with couples forming dance partners or duets. Men were also modeled as sportsmen or represented as mythical gods or even circus clowns. Animals made along Deco lines are not so rare as male examples but they are less prevalent than female themes. All kinds of animals, however, were made as decorative sculpture. Members of the cat family (jaguar, panther, tiger) and deer, elk and gazelles as well as dogs (like the greyhound) projected the essential components of the Deco image—speed, grace and sleekness. Certain animals, especially dogs, were often part of female dominated scenes. Even birds such as cockatoos, ducks, parrots and penquins were shaped in stylized forms to fit in with “modern” decor.
The nude or semi-nude female apparently was the most favorite figural topic of the period. It is held in no less esteem by collectors. Poses varied from lanquid, reclining positions to ones expressing movement. Grace and speed were implied by various dance positions or hair shaped as wings or fashioned in a “wind blown” style. Kneeling or standing figures with arms stretched forward symbolized movement into the future. Arms stretched overhead, perhaps holding a globe or sphere, seem to indicate awareness and interest in the world at large.
While the nude and semi-nude figures may suggest the spirit of the period, fully clothed models portray the dress and hair styles in vogue. Interest in other cultures was also exhibited by the figure’s costume. The Egyptian influence was dominant in the mid 1920’s, after the opening of King Tut’s tomb in 1923. Several of the figures shown in this section and some in other categories (see Lamps and Incense Burners) flaunt the trappings of Egyptian attire such as metal breastplates, harem pants and elaborate headdresses. Female figures with black finishes show the influence of African art and black American entertainers. Jazz musicians and torch singers became very popular during the 1920’s, especially in
France.
Decorative figures not only were made in a number of sizes and poses, but also they were made from many different materials, including bronze, copper, metal alloys, plaster, pottery and porcelain. The French bronzes are the most coveted and most expensive. Bronze combined with ivory and precious jewels, silver or gold is called “chryselephantine” work. D.H. Chiparus, who worked in France, is noted to have excelled in this type of sculpture. Prices for his original pieces are in the tens of thousands of dollars today. Collectors should be aware, however, that current bronze manufacturers reproduce or imitate some of his figures as well as several other famous sculptors of the period. Although advertised as manufactured with the “lost wax” method and sporting the same or similarly spelled names of well known artists such as Chiparus, Zach or Preiss, these bronzes are still only replicas and not from the period. Unfortunately, they are sometimes sold by dealers as authentic sculptures. Wholesale prices are not cheap, but do not be surprised to find that sum multiplied several times over when such an item is sold in a retail outlet.
Because bronzes were expensive to manufacture, it did not take entrepreneuers long to recognize the value of mass producing similar statues from metal alloys. Pot metal, white metal or spelter are names frequently used to identify such alloys. Psuedo bronze figures were made in both Europe and America. Even if a piece can be identified as being of French origin, do not assume the metal is bronze. Many of the pot metal pieces were executed quite well. Different patinations and finishes were used to give either a “bronze” look or colored surface. Some were even made with ivory faces and hands, imitating chryselephatine types. Fabricated ivory, often called “ivorene,” was sometimes used, however.
Patination and cold painted are two terms used to describe bronze finishes. Patination refers to a colored finish which is fired onto the metal and thus becomes pern-ranent. Cold painted means the finish was not fired onto the metal. Lacquer was applied to preserve the color, but this type of finish is not totally permanent. Some of the metal alloy figures were simply painted without any sealing coat. Consequently, over time, the paint has chipped or become noticeably worn. Those with apparent surface damage can sometimes be purchased for bargain prices. Dealers have them repainted, but prices should-not be the same as for those in good or original condition. Inspect figures carefully for detail to note signs of age and wear on finished as well as whether there are chips on the face, hair or limbs.
Because of the demand for Deco figures, pot metal statues are far from cheap. Those in good condition, depending on size, will cost several hundred dollars. It is not uncommon for examples to cost $1,000 or more, especially if it can be determined the piece was made in France. It is rare to find any authentic Deco metal figure for less than $100.
Porcelain figurines were made by several European factories prior to World War II. Goldscheider, an Austrian company, is well known for its Deco pieces. Some of the firms who are more famous for their table wares also produced figural items during that time. The Lenox china company in Trenton, New Jersey, made porcelain figures which portrayed Deco themes. Porcelain pieces are generally much more moderately priced than metal statues, but they still are not cheap. Few cost less than $200.
Earthenware or simple pottery figures were also made in this country and abroad. Usually earthenware
items are less expensive than those made of hard paste porcelain or bone china. Not only was the manufacturing process cheaper, but also earthenware is not as strong. It chips and breaks easily and also can become discolored or crazed over time. Pottery figures, however, are often comparable or higher in price than porcelain ones. Those made by American art potteries are very collectible. Some made by American companies, which produced inexpensive pottery dishes and accessories, also made a few figures. Such items were not the company’s main product, and thus the figures are scarce, as well as popular, and bring high prices compared with other items they manufactured.
The statues and figurines are grouped here according to their composition: Ceramic (pottery and porcelain), Plaster and Metals (bronze, copper & metal alloys).

Lead-glazed ware
The earliest British lead-glazed potter) was made in the I0th or the 11th century. Recent evacuations Of sites at Winchester and Stamford have revealed crude and sometimes partially glazed cooking pots, pitchers, and bottles. In the 17th century a more idiosyncratic type of British pottery developed, including the bold slipwares 4 Staffordshire and of Wrotham, Kent. A considerable range of different pottery types were covered in lead glaze; red, buff, or white-bodied clays were covered
a clear or coloured lead glaze similar to that of the Chinese sancai tomb pottery made during the Tang Dynasty (618-907). During the 18th and 19th centuries
Staffordshire emerged as one of the most important ceramics regions of the modern age. All the necessary ingredients for high-quality production were found in
a area: first-rate clays, local supplies of coal to fuel sic kilns, and an extensive waterway system for transporting the finished product.
pitchers, pie plates, salts, tygs (a type of large mug), and dishes. Thickly potted, most wares were boldly decorated with figures, animals, birds, or coats of arms. This latter type remained popular well into the 19th Century, especially on oblong oven dishes. Some fine slipwares have the names of such potters as Thomas Tort (d.1689), Ralph Simpson 1651-1724), and William Taylor (b.c. 1630) prominently displayed in the decoration. Because such documentary wares are very expensive, this type has been faked at least since the latter half of the 19th century.
TORTOISESHELL, AGATE, AND
JACKFIELD WARE
Thomas Whieldon ( 1719-95) is usually associated with the production of tortoiseshell ware, although many potteries in north Staffordshire made similar wares from the mid-18th century. They are distinguished by the use Of translucent coloured glazes, Only partially mixed, or mottled, to produce an effect suggested by their title. Combinations of manganese brown, copper green, and cobalt blue were used on domestic wares or figures. Agate ware differs from tortoiseshell in that,
instead of differently coloured glazes being mixed, it
is made by mixing differently coloured clays to produce an effect similar to hardstones – hence the name. First made c.1740, these salt- or lead-glazed wares were later developed by Josiah Wedgwood (1730-95). The term “Jackfield” has been traditionalIy given to a reddish-brown ware covered in a very glossy black glaze. This type of ware was probably first made in Jackfield, Shropshire, from C.1750, and later produced in many potteries in Staffordshire and elsewhere in the second and third quarters of the 18th century. Production was predominantly of hollow-ware decorated with moulding, gilding, or enamelling.
Slipware
• COLOURED) slips dark brown, tan, and white
• Forms dishes, tygs, puzzle jugs, and chargers
• DECORATION trailing, combing, marbling; designs: heraldic devices, figures, animals, birds, coats of arms
Tortoiseshell, agate, and Jackfield wares
• GLAZES tortoiseshell: mottled green, yellow, white, manganese, and blue; Jackfield: black and very shiny
• FORMS mainly teawares
• SPUR MARKS two or three left by supporting pins on the base of plates during firing
• DECORATION applied motifs, crabstock handles
• COLLECTING cow creamers are very popular
Tobyjugs
• COLLECTING extremely popular area of collecting; Prattware types were made after c.1780; the most desirable are those of the so-called “Ralph Wood” type; the most typical and popular figure is the “Tope”

Tin-glazed earthenware has been produced in The Netherlands since the end of the 15th century. Introduced by immigrant Italian craftsmen who settled in Antwerp (c.1500), the techniques and the decorative style gradually spread north during the troubled years of the 1560s and 1570s. While many potteries were established at Haarlem, Rotterdam, and Amsterdam, it was the town of Delft that rose to prominence in the mid-17th century and from which the term “Delftware” is derived.
THE INFLUENCE OF ITALY
During the early to mid-16th century, potters produced what is known as the “Italian-Antwerp” style of wares, which were decorated with pine-cone motifs, scrolling stylized foliage, geometric patterns, and, later in the century, strapwork and half-shaded petal borders (sometimes termed “false gadroons”). Designs are often painted in high-fired colours copper green, yellow, and ochre) and usually boldly Outlined in blackish cobalt blue. Early wares include dishes, plates, albarelli (drug jars), and syrup-jugs. Although small household objects such as jugs or double-eared pots were probably made in large numbers, few are extant. Albarelli have survived in some quantity and can be recognized by their pronounced flanged bases and crisp mouth-rims. From around the middle of the 16th century the tortuous strapwork and adapted grotesque ornament of the Fontainebleau School in France are seen on more accomplished wares. Northern designers such as Vredeman de Vries of Leeuwarden and Cornelis Bos of Antwerp were also used as sources for this type of decoration.
Time and distance, however, gradually diluted both these influences (although they did not entirely disappear for another century). By the end of the 16th century new, more humble patterns had appeared, employing simple repeated motifs such as dashes, chevrons, or zigzags, and concentric circles enclosing stylized leaves, fruit, or flowers. Tiles were also made in large quantities, first for floors and later for walls.
Decoration was usually in blue but also in polychrome, and comprised mainly stylized leaves, flowers, and such fruit as pomegranates, and, later, figures with small corner motifs. The most important centres of production for tiles were Rotterdam, Haarlem, Delft, Gouda, Utrecht, and, later, Harlingen and Makkum.
During the period from 1600 to 1650, the influence of Italian maiolica was still felt. Decorative subjects were extensive and included shadowed foliage, whole and sliced fruit in the manner of Venice or Faenza, scrolling bryony-type flowers, zigzag patterns, and concentric bands of simplified foliage encircling formal flower-heads that resembled “targets”. Faenza-style putti and fern-type borders, leaping hounds, equestrian subjects, isolated standing figures, and blue-dash borders were also popular. However, a more local type of decoration that included religious subjects, shipping scenes, and milkmaids was gradually introduced.
THE BLUE-AND-WHITE PERIOD
From the beginning of the 17th century, the Dutch East India Company (V.O.C.) imported blue-and-white Chinese porcelain, known as kraak porcelain, into The Netherlands. The name derives from the Portuguese carracks, or merchant ships, that carried large cargoes
of Chinese export porcelain, two of which were captured by the Dutch in 1602 and 1604. During the early years of the 17th century, the type of Chinese ornament featured on this porcelain was introduced on Delftware. Within a few decades the high-fired Italian maiolica colours were largely displaced by a palette of blue and white, a switch that demonstrates the growing passion for blue-and-white Chinese porcelain.
As the Dutch brewing industry declined, many of the disused breweries in Delft were turned over to the potters, and from c.1650 Delft became the most important centre of production for tin-glazed earthenware. Factories at
this time included the Porceleynen Schotel and the Porceleynen Lampetkan.
Probably the single most important impetus for the vast increase in production of tin-glazed earthenwares was the cessation of imports of Chinese porcelain between 1645 and 1650, when the kilns in Jingdezhen were devastated by the invading Manchus. Between c.1650 and c.1680 the number of potteries in Delft rose from eight to nearly thirty. Production of blue-and-white “porcelain”, as the Dutch termed their tin-glazed earthenware, focused on reproducing Chinese wares made during the reign of Emperor Wanli ( 1,573-1619) and Transitional porcelain (1620-44), or kraak porcelain. Decoration also included Dutch landscapes and biblical subjects. Frederik van Frytom (1632-1702) was the best-known painter of plaques, plates, and dishes decorated with detailed landscapes, with dark-toned foregrounds, lighter-hued middle grounds, and hazy backgrounds. Tiles, drug jars, ewers and other hollow-wares, dishes, and flower-holders, some of great complexity (such as tall tulip vases), were produced. The most important factories included The Metal Pot, whose owner Adriacnus Kocks (d. 1701) supplied wares to the court of William and Mary, and The Rose, The Axe, The Three Bells, The White Star, The Greek A, and The Peacock. The still-life paintings of luscious flower displays by Dutch artists such as Jean-Baptiste Monnoyer and Jan van Huysum were very influential on the design of Delftware at this time.
POLYCHROME WARES
From c.1683 imports of Chinese porcelain were resumed, affecting the production of Delftware, which was aimed at the same market. From the end of the century, potters in Delft began to experiment with a polychrome palette. Wares follow the colourful famille-verte (green, red, yellow, purple, and red) and famille-rose (an opaque pink, white, and yellow) export porcelains made in China, which sometimes employed gilding. Another important influence were the Japanese Imari and Kakiemon porcelains, which were imported into The Netherlands in the middle of the 17th century while the Chinese imports were suspended. Dutch polychome wares tended to be restricted to a palette of yellow, blue, purple, green, red, and black. An important producer of polychrome wares in Delft was The Greek A factory (est. 1658), run by the Van Eenhoorn family.
Most of the wares produced during the 18th century are somewhat mundane, decorated with small repeating
patterns. Biblical subjects, plates painted with images of the months, and whaling and seal-hunting scenes were all popular forms of decoration. Production during the 18th century was extremely diverse and included wall plaques, flower-holders, coffee and tea services, butter-tubs, drug jars, candlesticks, garnitures or vases, punch-bowls, dishes, and small models of shoes. There were more than 30 potteries in Delft in the late-17th and 18th centuries, some specializing in tile production, although it seems that only two of these continued production in the 19th century. The increased popularity of English creamware (cream-coloured earthenware) caused the demise of the tin-glazed industry in The Netherlands from the early 19th century.
• BODY extremely fine, soft, and generally thinly potted
• GLAZE thick, white, and with a “peppered” effect due to air bubbles exploding during firing, seen most clearly on the backs of dishes
• STYLE until c.1600: Italianate/Fontainebleau; c.1610-20: Chinese kraak designs; c.1620-50: local styles; from c.1650: Chinese-style blue and white; from the early 18th century: an increase in polychrome in the style of Chinese and Japanese wares
• CENTRES OF PRODUCTION Delft, Antwerp, Amsterdam, Haarlem, Middelburg, and Rotterdam
• COLLECTING the choice for the collector is wide since so much was made; the condition wit] vary, but expect to find chipping on the rims of wares

Stoneware
Stoneware was first made in Europe in the 12th century by potters in the Rhine valley, where there were abundant supplies of wood for fuel. Steinzeug as stoneware is known in Germany, was made mostly in the Rhineland, but also in Saxony. Cologne was the first important centre for the production of Renaissance-style Rhenish stoneware in the first half of the 16th century. There are obvious regional differences, it is not always easy to distinguish the wares of different Potteries located close to each other. In terms of production, almost the entire output was of drinking vessels fitted with pewter lids. The few exceptions include flasks (resembling tea-caddies), inkwells, table salts, and small tureens. The complete absence of stoneware dishes or plates indicates a German preference for pewter or wood for use on the table.
SIEGBURG
Siegburg became a centre for stoneware production in the I 5th century. The most celebrated wares, dating from the second half of the 16th century, are Schnelle tall, tapered tankards), decorated with shallow reliefs Moulded separately and carefully scaled onto the sides. Subject-matter tends to be either biblical, allegorical, or heraldic. Other wares include Sturzbecber (”somersault cups”) and Schnabelkanne (”beak jugs”). The most important family of potters were the Knutgen, active during the late 16th century. At the beginning of the 17th century the industry declined, owing to increased competition from other Rhenish centres.
RAEREN
Stoneware appears to have been produced in Raeren near Aachen (Aix-la-Chapelle) from the mid-1 5th century. Early wares arc virtually indistinguishable from those of Cologne or other Rhenish areas, and it was not until after the mid-16th century that an individual style developed. This was a grey-bodied stoneware covered In a lustrous brown glaze. The leading makers were members of the Mennicken family, particularly Jan Emens Mennicken. Wares include handsome, bulbous-bodied drinking jugs, the profiles of which reflect the legs on late Elizabethan tables or buffets; these are decorated with a broad central band of relief-moulded panels containing arcading, religious subjects, Holy Roman Emperors, or dancing peasants. With their complex, graduated borders of tiny medallions and Kerbschnitt (carved, diagonal crosshatching), these vessels have a weighty, architectonic appeal. Raeren continued as a major centre through the 19th century, producing 16th- and 17th-century-style wares and beer-mugs.
WESTERWALD AND CREUSSEN
The region known as the Westerwald is noted for its manufacture of grey stoneware detailed in cobalt blue and manganese brown. From what survives it is evident that the output was almost wholly of hollow vessels such as the Enhhalskrug (narrow-necked jug) and the
(bulbous globular tankard). Many of these jugs are stamped with a date and the monograms of English monarchs, such as “Anna Regina” and “Georgius Rex”, suggesting that they were intended for export to England. Production has continued in the region up to the present day.
Creussen (Kreussen), near Bayreuth, was a centre for the production of stoneware from the late 16th century until the 1730s. The product was a light-brownish-grey ware covered in a rich, chocolate-brown salt glaze,
and output consisted mainly of tankards and flasks with metal screw-tops. Decoration was applied, moulded, or enamelled, and included hunting scenes, the 12 Apostles, and figures symbolizing the planets.
• BODY off-white (Siegburg), grey (Frechen, Cologne, Raeren, and Westerwald), or dark brown (Creussen)
• GLAZE salt glaze
• FORMS tankards, narrow-necked and spouted jugs, bellarmincs (globular bottles with a bearded mask at the neck, made famous by those produced in Cologne)
• DECORATION applied, enamelled, and moulded: strapwork and ornamental motifs taken from pattern books; biblical scenes; Holy Roman Emperors; rich figural scenes; coats of arms
• FAKES beware of 19th-century copies of 16th-century Schnellen, the bases of which are too finely finished and very flat
Marks
Early wares may bear the initials of the potter or decorator incorporated into the design; marks never appear on the base until the 19th century; factory marks
as opposed to individual’s initials were unknown before the 19th century
Faience
The technique of manufacturing tin-glazed earthenware was spread throughout Europe to France, the Netherlands, Britain, and the German-speaking world in the early I 6th century by itinerant potters. German tradition has it that tin-glazed earthenware was first produced by the stove-makers of the south in Bavaria and the Tyrol, and there are a few pieces dated to this time. The majority of German faience, however, dates from the late 17th
I until the early 19th century.
BEFORE 1700
The arrival of Dutch potters in Frankfurt and Berlin in the later 17th century encouraged the development of German pottery. The first centres of production were Hanau (1661), Frankfurt ( 1666), and Berlin ( 1678). Much of the output at this time is in the manner of Dutch Delftware and indeed is frequently wrongly identified as such. Decoration is mainly blue on a white ground, inspired by decoration on Chinese export porcelain, landscapes and figure subjects. Chinese-inspired themes carry on throughout the golden age of German faience in the 18th century, although local themes do sometimes appear. One of the most popular was songbirds among scattered foliage and flowers.
A small proportion of the late 17th- and early 18th-century faience is painted in manganese and yellow as well as blue. Although petit-feu (low-fired) enamelling was developed here at least as early as the 1680s it is
scarce and therefore. As well as plain contoured dishes and hollow-wares the potters made lobed wares – both deep dishes, often with 30 or more lobes, and Enghalskrugen (narrow-necked jugs).
AFTER 1700
In the 18th century a large number of potteries were established; apart from Hanover (1732) these were principally in the southern and central regions, including Ansbach (1708), Nuremberg ( 1712), Bayreuth (1719), Brunswick (1719), Fulda (1741), Hochst ( 1746), and Crailsheim ( 1749). After 1700 the decorators’ repertory included a continuation of their love affair with Chinese ornament – although now in a much-debased form. However, as the century developed, the Chinese designs were gradually replaced by a more native style. Among the most popular themes were birds and foliage, naively painted buildings, figures, landscapes, chinoiserie riverscapes, the double-headed eagle, and coats of arms. Decoration was executed in both the high-fired palette (blue, yellow, and red against a speckled manganese ground) and low-fired enamels.
A considerable portion of the surviving output is the Walzenkrug (cylindrical tankard), one of the most characteristic forms of German faience. Also popular were Enghalskrugen, dishes, tureens in the form of animals, birds, or vegetables, plates, salts, inkwells, and vases (sometimes in garnitures, or sets). Figures were made by some manufacturers, the majority from the north of the region, such as Brunswick and Munden. Although competition from English creamware (cream-coloured earthenware) forced many of the factories to close at the end of the 18th century, some factories actories continued into the 19th century. The potteries in Kellinghusen established in the 18th century made good-quality peasant-style wares decorated in high-temperature colours with bold flowers; one factory continued until -.1860.
• FORMS multi-lobed dishes and hollow-wares, WaIzenkrugen and narrow-necked jugs; figures are rare
• DI CIO RATION based on Chinese wares; from -.1750 replaced by a more native style
• COPIES in the late 19th and early 20th century, copies of the more exotic petit-feu enamelled wares were made; 18th-century wares tend to have a pinkish took where the glaze is thin – most evident on the base
• BASES 18th-century wares, particularly from south ave a s -called “thumb print” on the base,
Germany,have so-calle
when the item was removed with a string from the wheel; these do not appear on 19th-century wares
Marks
Marked examples are rare before c.1700; a considerable number of faience makers used factory marks, but not on every piece
Bayreuth: this is the mark for Johann Georg Pfeiffer, owner between 1760 and 1767Hanau
: mark used between 1661 and 1806
k Dish from Nuremberg
This is a typical example of Nuremberg faience, complex in form and decoration. The finely fluted or ribbed form is washed in pale blue and then painted in greyish cobalt with a highly formalized design - a jardiniere charged with flowers enclosed within a corona of demi-lune panels and a rim of stylized Oriental flower-heads and floral cartouches. This entire arrangement is a fairly stiff descendant of the Rouen or Delft motifs that were dominant at the turn of the 17th century.

The use of tiles as an architectural element, either as roofing or as decoration for walls, floors, or ceilings, has been a feature of most cultures. In the Middle East, glazed tiles have had a long tradition
in creating cool interiors. After the death of Muhammad (AD 632), the culture of Islam expanded rapidly throughout the region, spreading Islamic philosophy and arts. In Iberia, the westernmost outpost of the Islamic world, this influence is particularly evident in such building, as the Alhambra in Granada.
EUROPE
In Italy tin-glazed earthenware reached new heights in the late-15th and 16th centuries, and Italian tiles were first used for pavements in churches. Migrating potters transmitted their skills from Italy to France
and The Netherlands, and the tin-glazed tiling tradition continued from its epicentre in Antwerp (now in Belgium). In order to escape persecution by their Spanish overlords in the 1560s, many potters fled Antwerp for Rotterdam, Middelburg, Amsterdam, and Delft in the northern Netherlands. By the 1660s and 1670s Dutch potters had adopted a sober blue-and-white palette depicting local interests and activities. In Germany, and many other northern and central European countries, decorative tiles, mostly moulded in relief and covered in either a brown or a green monochrome glaze, were used mainly for cladding the exteriors of stoves.
From the 16th century until the latter half of the
18th century, when they went out of fashion, tin-glazed riles were made in large quantities in Britain. The range and variety of British tiles is great and offers the collector a fertile hunting-ground. From the late 18th century until the latter half of the 19th, decorative tileworks formed little or no part of Western interiors, but after the Great Exhibition of 1851 in London, tiles began to reappear, mainly as fire surrounds but sometimes used either as a tile picture or as a series of repeated patterns creating an exotic interior. Both Minton & Co. (est. 1798) and the designer William De Morgan (1839-1917) embraced the Aesthetic Movement and designed tiles
in Japanese, Turkish, and Persian styles. Although a few were hand-painted, the majority were transfer-printed.
NORTH AMERICA
Tiles were manufactured in North America from the second half of the 19th century. By the mid-1870s such firms as the American Encaustic Tiling Co. (est. 1875) in Zanesville, Ohio, and the Star Encaustic Tile Co. (est. 1876) in Pittsburg, Pennsylvania, were making mosaic and inlaid floor-tiles. The Low Art Tile Co. (1877-93) in Chelsea, Massachusetts, produced glazed relief tiles that could compete with the best English tiles. At the Grueby Pottery (est. 1894) in Boston, Massachusetts, a variety of tiles in soft colours with matt glazes was made. Other factories making art tiles included the Trent Tile Co. (est. 1882) in Trenton, New Jersey, and the Rookwood Pottery (est.. 1880) in Cincinnati, Ohio.
• early tiles tend to be much thicker than the usual 6mm (approx.) of 18th- and 19th-century tiles; sizes became more uniform in the 19th century
• REPRODUCTIONS collectors should beware of reproduction transfer-printed tiles made in the late 1980s and 1990s
• COLLECTING tiles from Victorian fireplaces arc available in large numbers; Dutch tiles can be expensive; tile panels and pictures are rare and are usually very expensive; Iznik tiles are among the most expensive tiles available and can measure about 38cm ( 15in) in width

Although Italian maiolica reached its apogee in the masterpieces of the 16th century, there is still much to admire in the products of the following 100 years. Potteries in Deruta continued to make colourful albarelli (drug jars), although these
Undoubtedly lack the vigour of their 16th-century predecessors; and, while embossed wall plaques of the Madonna and Child were now virtually mass-produced at Deruta, some still convey a spirit befitting their imagery. The great istoriato (narrative) painting of Urbino became debased, and Montelupo dishes are of inferior quality. However, the depiction of soldiers boldly standing with legs apart – the characteristic Montelupo decoration of arlecchini – remained a powerful image on dishes and plates.
1650-1800
New varieties of fine maiolica were developed in the second half of the 17th century. At Castelli thin potting was combined with careful painting that employed perspective, quite unlike the Italian maiolica of the previous century. The workshops of the Gentile and Grue families in Castelli produced a large number of high-quality wares, including dishes, vases, and pharmacy jars, the best being made by Francesco Antonio Xaverio Grue 1686-1746) and Carmine Gentile. Most of their wares were essentially functional, but they also included plaques made purely for display. Dishes depicting Classical heroes, spirited hunting scenes,or biblical epics are the successors of 16th-century istoriato wares. Production continued at Castelli until the mid-18th century, although there was a gradual decline in quality.
Drug jars continued to be made, although with less spirit than in the past. Instead of [)right colours, the influence of Chinese porcelain led to borders of blueand-white scrollwork or naive landscapes, which were both pleasing and original. From the late 17th century, dishes produced in Savona represented the istoriato ato tradition in a fresh and lively fashion, combining somewhat sketchy painting with high-quality potting. The standard of maiolica produced by the various Savona workshops varies considerably.
In the 18th century, Italy was no longer the leading force in European pottery. Nevertheless the centres of Le Nove, Bassano, Turin, Milan, and Faenza produced good pottery influenced by silver forms, French faience, and Chinese porcelain. Potters in Milan made dinner services decorated with the Chinese famille-rose palette and Japanese Imari patterns. The Ferniani family in Faenza made good-quality dinnerware often decorated with potato flowers or carnations.
AFTER 1800
In the 19th century, Italian pottery was dominated by mostly debased copies of earlier models. Among these, the bold flower painting of G.B. Viero at the faience factory (est. 1728) in Le Nove stands out, as does the work of probably the best-known 19th-century Italian maiolica potter, Ulysse Cantagalli (1839-1901) of Florence. Original 16th-century dishes were already very valuable, and there was an eager market for high-quality reproductions. Cantagalli’s famous copies of wares from Urbino and other centres of Italian maiolica production were so good that they fooled many connoisseurs in the 19th century. Many other 19th-century potters also reproduced the glories of the past, maintaining a tradition that continues to the present day.
1650-1800
• BODY new, fine maiolica types, which were thinner than those made in the previous century were
developed after c.16-50
• GLAZE high quality, and generally a greyish cream
• STYLE influenced by silverware, Chinese porcelain, and French porcelain and faience
• FORMS decorative plaques, vases, dinner services
• PALETTE Castelli: naturalistic tones of olive green, brown, and yeIlov,
• DECORATION continuation of istoriato (narrative) painting; introduction of perspective in painting of landscapes; allegorical and mythological themes; flowers and figures; Oriental motifs, including Chinese landscapes and blue-and-white scrollwork
• IMPORTANT MAKERS the Grue, Cappelletti, and Gentile families
After 1800
• FORMS a return to classic 16th-century forms; many produced as tourist wares
• DECORATION high-quality reproductions of 16th-century designs (e.g. istoriato)
Marks
In the late 19th and early 20th centuries
Cantagalli used this distinctive cockerel mark,usually in black; collectors should tic wary as
unscrupulous dealers have often removed this mark in order to pass pieces off as originals
Savona: this late 17th/early 18th-century representation of the tower or beacon in the harbour of nearby Genoa has been much imitated

The beginnings of Portuguese faience are obscure, and prior to the 17th century few pieces can be attributed with any certainty. Although written records indicate that there was production from at least the 13th century, evidence is sparse until the 16th century, when there appears to have been a flowering in this craft. In 1552 there were ten potteries in Lisbon alone. It is most likely that the industry was boosted by migrant potters, perhaps from Italy, France, or The Netherlands. While some European-type wares were made, including Italian-Style albarelli and late 19th-century wares in the style of the French potter Bernard Palissy \ (c.1510-90), 10-90), the most
wares were those decorated in the manner of Chinese export porcelain made during the late Ming Dynasty ( 1368-1644), indicating the importance of the
Portuguese trade with China at this time.
Although some of these mainly blue-and-white wares are fairly fine renditions of Chinese porcelain, most have a crowded market-place appeal, with robustly drawn if somewhat garbled motifs in what is known as the “Sinn-Portuguese” style. Motifs include the Fight Precious Things (including the artemisia leaf and the musical stone, which often appear in the broad panelled borders of dishes). With time, these designs became simplified or formalized: Chinese-border sunflowers evolved into spiky demi-lines or a radiating scale pattern; the artemisia leaf began to resemble a spider. The compartmentalized borders taken from kraal: porcelain were retained, although the diverse semi-geometric patterns of the late Ming style were replaced by a simple “cross-stitch” trellis design.
AFTER 1700
During the 18th century Portuguese faience was strongly influenced by  French potteries, especially those in Rouen,    the Portuguese wares were never as meticulously drawn as the French. In general Portuguese faience produced in Lisbon, Oporto, Coimbra, and other potteries is very similar in feeling to provincial French faience. Furthermore, there was clearly a reluctance to advance or to experiment with new designs, so wares often seem old-fashioned – the formal Baroque style of early 18th-century Rouen wares is still found in the middle of the century or even later. This time-lag can also be seen on high Rococo faience, the style
being maintained until beyond the end of the 18th century. The most important pottery centres were
given a great incentive in 1770 when
a ban was imposed on all imported porcelain, save that from East Asia, which boosted domestic production.
In the 19th century, in keeping with the European trend, Portuguese potters produced considerable quantities of revival wares, borrowing indiscriminately from the classic wares of Italy, France, and The Netherlands. Among the more frequently encountered types are the lead-glazed wares made in Caldas da Rainha that were based on the wares of Bernard Palissy – dishes or hollow-wares with applied reptiles, covered in dark lead glazes. Nineteenth-century wares were skilfully potted and painted. Much late 19th- and 20th-
century pottery is traditional in feel,
using an Italianate or a debased Ming
export style. In the latter category,
deer and rabbits cavort amid
formal small-scale vegetation,
mostly painted in blue with
brown outlines. This refined
material may have a silky-smooth
glaze of slightly pinkish tone.

•    Body- generally fairly crude; less refined than Spanish
wares
•    GLAZE quite gritty
•    DECORATION usually very  schematic and quickly executed; 17th-century bloc-and-white wares: outlined in manganese brown, based on Chinese late Ming and Transitional porcelain; 18th-century faience: inspired by French faience; 19th-Century wares: inspired by 16th-century Palissy wares
•    FEATURES flatware was generally fired on a triangular
arrangement of pins visible on the underside of the  flangeIMPORTANT
•     CENTRES OF PRODUCTION Lisbon, Oporto, Coimbra, Caldas da Rainha
Marks
Before c.177() Portuguese wares were rarely marked
Lisbon: Royal factory of Rato (1767-183.5); mark for wares made under Brunetto (1767
Caldas da Rainha: Mafra factory (est. 1853); Mark for wares made under Manuel Gomel (active 1853-7)