Posts Tagged ‘production’

THE JUDGMENT OF PARIS
Nevers, Prance, 1777. Hi. 210 mm (8-25 in.)
Verre de Nevers: This technique origin-
ated in Nevers in the late 16th century, and
it is more closely allied to lamp-working
than to the normal techniques used for
creating glass objects, such as blowing and
moulding. It flourished in Europe for
some two centuries. This delightful group,
depicting the judgment of Paris, was made
in Nevers in the heyday of the glass
figurine, between the late 17th and early
18th centuries. The figures were made by
softening rods of glass of different colours
and winding them over a metal armature.
Every fold of the garments on this group
has a metal base below the glass. When the
glass was sufficiently thick, and after
repeated reheating, it was modelled to
shape with the aid of prods and pinchers. I n
Verre de Nevers groups, decorative details
such as leaves are made entirely of glass,
with no supporting core, while such forms
as birds might be blown.
WINE-GLASS WITH LAMP-WORKED DECORATION
Saxony? early 18th century. 111. 140 mm (55 in.)
Lamp-working is a technique used by
glass-makers to make objects by using only
a single flame as a source of heat. Glass
rods are normally used, held over the
flame and melted or softened to the
desired shape. In modern times, the most
popular lamp-worked objects are small
animals made out of coloured glass rods
melted down, bent and joined to the
required form. Details like eyes are made
by putting a small drop of molten glass on
the object, with possibly another centred
on the first drop to form the pupil. The
ornate stem-work on Venetian and /aeon
de Venise wine-glasses is closely allied to
this technique. One of the rare instances of
true lamp-working on a blown glass is the
wine-glass illustrated, which is one of a
series that have a band of lamp-worked
decoration round the centre of the bowl.
The work stands out in three dimensions
from the bowl, the small Cupid being
almost free-standing; he holds a garnet in
his hand. The provenance of these vessels
is not certain.
TULIP-SHAPED JUG
Karl Kopping, Berlin, c. 1900
I It. .120 mm (126 in.)
Karl Kopping (1848-1914) was a painter
and etcher in Berlin. Between 1892 and
1900 he designed some tall decanters and
goblets made at the lamp from tube glass.
At that time Germany had lor some ten
years been under the influence of the style
for naturalism created by Emile Galle of
France. It became known in Germany as
the Jugendsttl, and Karl Kopping’s exag-
gerated Art Nouveau glass vessels form a
part of this movement. The starting point
for his designs was the flower on its stalk,
and the colours he used could be both bold
and delicate. The stem of the glass
illustrated is in blue, the leaves are in
copper-green glass and the tulip-shaped
bowl has a metallic finish. The piece is
signed on the foot: ‘C. Kopping’. 1 lis work
became popular, and several museums
bought examples of it, but today they are
regarded more as period pieces.
BIRD FOUNTAIN
England, it»th century. III. 4H9 mm (1925 in.)
(See also colour photograph 16))
It has always been the custom for glass-
blowers to amuse themselves in spare
moments by creating fantasies in glass.
These are known in the trade as ‘friggcrs’
—a word which possibly derives from the
Old English ‘Jrician’, to dance. In Scotland
they are called ‘whigmelccrics’. In the
19th and early 20th centuries friggcrs
included elaborate fountains surrounded
by birds with tails of glass fibres and fully
rigged sailing ships on spun glass seas, as
well as the objects mentioned on page 100.
The more elaborate friggcrs are usually
protected by a large glass dome. Friggers
were made for amusement, for family
presents, as an extra source of money, or
even for fully mercantile reasons. Travel-
ling glass-makers who visited fairs and
private houses produced many of these
novelties, having as their kit a bundle of
multi-coloured glass canes and a little
furnace heated by a tallow flame.
The ‘taking away’ or abrasive techniques of
glass-making have as long a history as glass
itself Even earlier, hieroglyphic inscriptions
had been engraved on hard stone vessels, and
we definitely know that as early as the 16th
century B.C. glass was being engraved in
Egypt. Most of this engraving was probably
done with pointed instruments or possibly
with a rotary wheel. Wheel-culling and
wheel-engraving are the two terms most
commonly encountered, and though they are
thought of as almost separate methods,
basically the techniques are the same. In
both, a rotating abrasive wheel cuts into the
glass surface. The mam distinction is that
large wheels are used for cutting, where the
worker holds the glass on lop oj the wheel,
between himself and his tool; and small ones
for engraving, where he holds it below the
wheel, so that he can see what he is doing.
Culling is characterised by large-scale,
geometric designs, usually relatively deeply
incised, and engraving by jine, detailed,
usually pictorial work.
Grinding and Cutting from a Raw Block of
Glass: This was the only ‘taking away’
technique that was used to produce a com-
plete vessel or other object. The method,
which was covered in the first chapter,
dealing with techniques before blowing
was invented, continued in use for a short
time after the 1st century B.C. The ring
illustrated is a good example of the method
used to produce a single decorative object.
One might imagine that a gem or even a
glass cameo was once set in the concavity
left by the glass-cutter at the front of the
ring. (lasting glass in moulds and blowing
glass were so much easier, that this tech-
nique, using rotary abrasion to shape an
object, fell into disfavour. It was con-
tinued primarily as a means of finishing off
already made glass forms, or as a means of
embellishment.
GOBLET BEARING THE NAME OF TUTHMOSIS III
(1504 1450 B.C.)
Egypt III. 130 mm (5-1 in.)
Early Wheel Engraving: The goblet illus-
trated, made of turquoise-blue opaque
glass with a gold ring at the rim and base,
is a famous example of early incised work.
Some glass vessels from the 18th Dynasty
in Egypt are decorated with incised
inscriptions such as that found by Sir
flinders Petrie at Tell el Amarna. A frag-
ment of a bowl at The Corning Museum of
C1 hiss bears a fragmentary inscription
relating to the wife of Amcnhotep III
(1412 1375 B.C.), and is said to reveal ‘the
characteristic tapering ends of wheel cuts’.
Whether the engraving on these early
vessels was done with a point or by means
of a rotating instrument has been tho-
roughly discussed by R. J. Charleston (see
Bibliography). For the most part it seems
that just a pointed instrument was used,
and it was only in the later Egyptian
period that there is evidence of wheel-
engraving on the glass, probably by the use
of a bow-lathe.
SHALLOW BOWL WITH PETAL DESIGN
Roman Empire, 7ih 5th century B.C.
Hi. 39 mm (155 in), diam. 174 mm (685 in.)
In the general Mesopotamia-Assyria-Asia-
Minor region, rotary abrasion was used to
sharpen up decorative motifs, which were
first produced by moulding processes.
There is a large family of bowls with
radiating petal motifs—one being illus-
trated here—the earliest of which is known
to date from not later than 700 B.C. These
were produced by being cast into moulds,
and finished by grinding and cutting. As
abrasive powder on the wheels, emery was
probably used; this was apparently known
in Egypt at least as early as the 18th
Dynasty. The known use by the Egyptians
of tubular metal drills in cutting granite
was probably paralleled further East in the
first millenium B.C. Some such means
must have been employed in the hollowing
out of vessels like the famous ‘Sargon vase’
(see first chapter).
It is not known what type of abrading
equipment was used in Roman times to
decorate glass. It has been suggested that
an all-purpose tool could have been used,
which could be adapted as lathe, drill or
engraving wheel as needed. The Romans
definitely used abrasives such as emery for
cutting, and pumice stone for polishing the
cuts. Probably from Egypt came a group
of facet-cut and ‘diamond’-point engraved
bowls from the ist and 2nd century A.D.
(See Diamond-Point Engraving.) These
are the parent group from which are
descended all late Roman cut and engraved
glasses with figured scenes. The quality of
Alexandrian engraved work deteriorated
during the 3rd and 4th centuries A.D.
However, in the west, from some time in
the 3rd century A.D. onwards, a great
quantity of figured cut or engraved glass
began to be produced in Italy and the
neighbouring provinces, of which the dish
illustrated above is an example.
Figured decoration in engraved work was
not altogether abandoned by workers in
the eastern workshops, as is seen in some
later exports to the west from the east.
However, in general they began to con-
centrate on easier designs, suited to less
skilful engravers, and presumably for more
speedy production. The jug illustrated,
with geometric decoration in friezes, is an
example of the rather rough designs the
West Syrian/Egyptian workshops fav-
oured. It is in dark yellowish-green glass,
which is of rather poor quality, being
bubbly and streaky with impurities. The
fine linear and facet cutting of the earlier
period is not in evidence. Wheel-engraving
was now used to imitate facet cutting, with
designs of curved lines, circles and ovals.
The style took particular root in Egypt,
and probably in Syria also. Many of the
vessels of this type found in the west must
have been imports from these areas.
Diatreta are the most extraordinary and
most outstanding examples of the tech-
nique of abrasion ever made. From experi-
ments carried out by Fritz W. Schafer in
Germany and Barbini and Fuga in Italy it
has been proved with almost complete
certainty that these delicate cage cups were
produced by lapidary means, and not by
any other technique (see Bibliography). A
small battery of wheels and readily avail-
able abrasives, plus the skill of the en-
graver, are all that is needed to make a
diairelum from a solid, carefully annealed
blank. Diatreta are the finest product of
the Cologne and Trier glass-makers in the
4th century A.D. They have been found
in the Rhineland, on the Danube, in
Northern Italy and in Greece. The three
most beautiful, all with inscriptions, came
to light in Cologne. The inscription on the
one illustrated is in Greek, and conveys an
exhortation to drink.
With the decline of the Roman Empire in
the West, glass engraving died out. This
was largely because there was no (ine-
quality glass made after this time that was
suitable for engraving. In the East the
technique never ceased, and glasses with
cut decoration can be traced in unbroken
continuity through Sassanian to Islamic
times. Baghdad and Basra were noted for
cut glass in the 9th century A.D. and later.
In the 9th and ioth cerfturies, after a
renaissance under the dynasty of the
Samanids, a school of relief-cutting flour-
ished in Persia and probably in Meso-
potamia, which in Europe was not rivalled
until the end of the 17th century. The flask
illustrated is an early example of a shape
that was to remain popular throughout the
Islamic period. The scrolling engraved
design was to exert a great influence on the
mind of the Islamic artist.
Hedwigsglas in light brown clear glass, the
gilt-copper foot a later addition
So-called Hedwigsgldser represent the last
wheel-cut glass vessels to be produced in
the Orient, and are recognised as master-
pieces of Egyptian skill. Their origin is by
no means absolutely certain. These thick-
walled glasses carved in hochschnitl (deep
cutting) are maintained by B. Shelkov-
nikov to be the work of a 12th-century
White Russian workshop in Novogrudok,
which was presumably under the influence
of Byzantium. They are certainly a con-
tinuation of the art of rock-crystal cutting,
and more probably originated in Egypt.
The motifs used include stylised lions
and griffins between palm branches, as in
the illustrated example. Two of these
glasses reputedly belonged at one time to
St. Hedwig (1174-1243), wife of the Duke
of Silesia, and it is from her that the glasses
take their name. (Legend has it that the
saint caused water to change into wine in
one of these glasses.) Her niece, St.
Elizabeth (1207-31) also had a Hedwigs-
glas, reputed to give strength to women in
labour, which eventually came into Martin
Luther’s possession.
clp with facet-cltting
Barnwell, Cambridgeshire, England, lasi quarter of
1st century or early 2nd century A.D.
Ht. 90 mm (355 in.)
Facet-Culting is a form of decoration that
goes back certainly to the early Roman
period. Large, broad wheels were needed
to make the facets in the glass. R. J.
Charleston points out that Pliny mentions
some of the abrasives used for grinding in
Roman times, such as ’sand of Naxos’ for
emery, ’sands’ from India, Egypt and
Nubia, and certain stones from Armenia
and Cyprus. He also points out that
Theophrastus mentions pumice and also
emery in his History of Stones. Pliny
mentions Thebaic stone from Egypt and
pumice for the final polishing of marbles.
A wheel with a broad cutting or grinding
edge was certainly used to produce the
facet-cutting on this cup, which is in clear
glass with a greenish tint. Cups like this
found in England and Cyprus are thought
to originate from Western Syria or Egypt
and, in the later 2nd century A.D., from
East Syria.
During the 2nd century A.D. the East
Syrian glass-makers and decorators devel-
oped their knowledge of the art of glass-
engraving including facet-cutting. The
art lived on through Sassanian to Islamic
times. The flask illustrated, in clear glass
with a slight blue tinge, is a typical example
of the continued tradition of wheel-cut
decoration. Oval concave facets cover the
body of the flask, and the neck also has a
ring of facets. Previous to this, in Sassanian
times, wheel-cutting, particularly facet-
cutting, resulted in some striking glass-
ware. Most of the surviving examples from
this period arc cither facet- or linear-cut,
including characteristic shapes such as the
hemispherical bowls with concave cut
facets which were exported to the West
and East, even as far as Japan.
Facet-cutting, particularly for stem-work,
became popular in the second half of the
18th century. Facetted tumblers and
bottles were current in Bohemia, and in
Germany facet-cut knops appear on wine-
glasses from the Laucnstein and other
Hessian glass-houses in the first half of the
18th century. In England at the same time
glass-grinders were facetting the edges of
mirrors, and simple diamond-facetting
was beginning to appear on some glasses.
Scent bottles of opaque white glass and
blue glass, and snuff bottles dating from
about 1770, had all-over facetting and
were often enamelled and gilt. Once
thought to have originated from Bristol,
they more probably came from the Birm-
ingham, South Staffordshire or even Lon-
don area. From the middle of the 18th
century, facet-cutting became an estab-
lished form of decoration in England,
appearing particularly on wine-glass stems,
between c. 1760 to f.1810. Examples can be
found through to the modern period.
VASE WITH FACET CUTTING
By Keith Murray. Stevens & Williams, England,
1939. Ht. 206 mm (8-13 in.)
The architect Keith Murray (b.1893) first
began to take an interest in glass after the
Exhibition in Paris in 1925. He asked
himself why he found the conventional cut
crystal of England so unsatisfactory. After
analysing old English glass, he decided the
glass was better if left plain, or when it was
cut, if the cutting was in a ‘well organised
decoration’, flat cutting being particularly
appealing. The idea of an artist designing
for industry was beginning to be accepted
in England, and in 1932 it was arranged
that Murray should act as designer for
glass for Stevens & Williams at Brierley
Hill, near Stourbridge. During the seven
years he worked in glass he produced
designs for simple unornamented table
services and for some larger pieces. His
most important works are the large vases
and dishes in heavy metal decorated with
facet-cutting reminiscent of early Georgi-
an work. They powerfully express his
architectural feeling, and the decoration
matches the material superbly.
BOWL WITH  FACETTING
By Miluse Roubiekova, Borske sklo, Czechoslovakia,
1958. Diam. 450 mm (17-7 in.)
After the political revolution in Czecho-
slovakia in 1948 the glass industry was
nationalised. The Creative Glass Centre in
Prague was set up in 1952, in order to
establish contact between the glass-works
and the artists and designers, and to
encourage research into new methods of
decorating glass. Czechoslovakian glass
has long been known for its great tradition
in lead crystal cutting, and like its British
counterpart, Bohemian crystal still enjoys
a large public all over the world. The
tradition continues, but finds new expres-
sion in less rigid cut-glass patterns, softer
patterns of a gently formalised character
being increasingly favoured. A good exam-
ple of the new trend is the free irregular
facet-cutting on this bowl designed by
Miluse Roubiekova made at the Borske
sklo, Novy Bor. The usual diamond or
star motifs are no longer in evidence, but
the unsymmetrical lines of the bowl still
enhance the brilliance of the glass.
Later Wheel Engraving: In gem-cutting,
wheels of various materials were certainly
being used by the 15th century to engrave
and polish. By the 16th century, the prin-
ciple of continuous rotary movement had
been established. Engraving equipment
driven by a foot treadle was in use by glass
engravers in the early 17th century. Caspar
I.ehmann, the greatest name in the revival
of glass-engraving in Europe in the late 16th
century, was an engraver of hard-stones
before he was a glass-engraver, and one-
can assume his equipment was more or less
the same for both crafts. Lehmann was
‘Imperial gem-engraver’ to the Emperor
Rudolph II at Prague in 1601, and in 1608
was described as ‘Imperial gem-engraver
and glass-engraver’. From the very begin-
ning, then, the glass-cutter undoubtedly
borrowed his ideas from the gem-cutter,
whose art was so closely allied to his own.
This was a tradition that was to continue
into relatively modern times.
Caspar Lehmann’s engraving is shallow—
because of the thinness of the glass—two-
dimensional and unpolished. Prague was
one of the centres for rock crystal cutting,
and this is reflected in the style of the
engraving, which is flatly cut and gains its
effect from the contrast between the white
engraved lines and the’dark background of
the clear glass. In 1600 I.ehmann obtained
an Imperial Privilege conferring on him
alone the right to practise the art of glass-
engraving in the Imperial domains I le
bequeathed his privilege to his pupil
Gcorg Schwanhardt the Elder, born in
Nuremberg, who worked with him at
Prague. In 1622 Schwanhardt returned to
Nuremberg, where he founded a brilliant
school of wheel-engraving which flourished
to the 18th century. The new potash-lime
glass developed in Bohemia and Germany
in the early 17th century was eminently
suitable for the technique of wheel-
engraving.
COVERED GOBLET IN GREEN GLASS WITH CLEAR GLASS
STEM (DETAIL)
Probably engraved by Hermann Schwinger,
Nuremberg, Germany, about 1665- 80
Hi. 394 mm (15-5 in.)
Schwanhardt’s work in rock crystal and in
glass shows a complete mastery of the
technique of wheel-engraving. His work
was both polished and unpolished, and he
often used as motifs landscapes with
figures, with formal baroque scroll work.
He sometimes added delicate diamond-
point work to his glasses. Among his
pupils were members of his own family,
his sons, Georg the younger and Hcinrich,
and three of his daughters. Other notable
artists among the Nuremberg engravers
were Hermann Schwinger (1640-83) and
Georg Friedrich Killinger (first recorded
1694, died 1726). They all engraved the
same characteristic type of tall goblet,
with hollow knopped stem. The family
of Johann Hess at Frankfort-on-Main
engraved similar glasses in the second half
of the 17th century. Johann Heel (1637-
1709) glass-engraver, silversmith, faience-
painter and engraver of prints in Nurem-
berg also engraved glass in a somewhat
different style, following the motifs he
used in faience painting.
COVERED GOBLET WITH HOCHSCHNITT CUTTING
By Friedrich Winter, Silesia, end of 171I1 century
Ht. 280 mm (11 in.)
{See also colour photograph iH)
During its most flourishing period (c. 1685-
1775) German glass-engraving was done
mainly by unknown artisans working for
themselves in north-eastern Bohemia and
Silesia. However, the best-known work
was done by the engravers to three German
courts. Friedrich Winter set up the first of
these workshops in 1687, with permission
from Count Christoph Leopold von Schaff-
gotsch, at Petersdorf in the Hirschbcrger
Tal. He used water power, and produced
many glasses in the Hochschnitt technique.
Under the patronage of Friedrich Wilhelm,
Elector of Brandenburg, Friedrich Win-
ter’s brother Martin (died 1702) set up an
engraving workshop in Potsdam near
Berlin in 1687. This was also run by a
water-power mill specifically to produce
works in Hochschnitt (deep cutting) and
Tiefschnitt (intaglio work). Martin Win-
ter’s highly gifted nephew Gottfried Spiller
worked here, becoming a partner in 1683.
His engraving included flowers, allegories,
portraits, coats of arms, sometimes in
Hochschnitt, and occasionally he used the
ruby glass of the Potsdam glass-house.

Tables, Dressers and Sideboards
Medieval boards and trestles—survival of the term “board”—the Tudor refectory table—pull-out or draw-leaf tables—the cre• dence and origin of the gate-leg table—long period of the gate-leg—occasional joined tables-18th-century patterns with club legs—the composite “D” end table—tripod tea tables with dished and pie-crust tops—dating by shape of feet—early games tables-18thcentury card tables–Sheraton quartette or nest tables—variations of the Pembroke style—sofa tables and early 19th-century folding tables—early dressers—dressers developed from side tables—Welsh dressers—appearance of the sideboard—Victorian chiffoniers mason’s patent ironstone china .
In the communal life of medieval times the servant ate with his master and his place at the table was a kind of status symbol regency revival furniture . The master would sit at the head with his guests and family; next would come the retainers of importance such as the steward and the priest and finally the servants expensive antique plates . Accordingly the table was a very long one and as the great hall was also used for recreation and even for sleeping the table had to be constructed so that, in spite of its size, it could be easily dismantled and put to one side when not required furniture+scallop+wheat .
Tables of the Gothic period were referred to as boards and trestles and were made in a variety of styles edwardian c19th construction buildings . Sometimes the supports were as those illustrated in the Luttrell Psalter and later they took the form of pedestals french words for dinner stand . Until the middle of the 16th century the table top consisted of a massive board of oak or elm boards nailed together 1600 century scroll back chair . When laid over the trestles or pedestals the very weight preserved its stability table consoul antiques caried or gold “rococo” . Even to this day, landladies advertise “board and lodging” and we still speak of a board of directors, a board room and a board of governors flemish trestle table . It is interesting to note how this term, used to describe a council of men and women meeting around a table, is a survival in our language from a very distant past catherine the great of russia plates .
By 1550 the communal life of the hall had begun to disappear john bell, porcelain, value . Houses were being built with a greater number of rooms and master and man took their meals apart kent silversmiths bread basket . There was no longer a need for the long trestle table and so a smaller table with a permanent underframe and legs was taken into general use writing cabinet officers antique . It was probably a smaller adaptation of the joined tables used in the abbey refectories and nowadays the term, refectory table, is used to describe it, although it was a purely domestic piece of furniture types of bureaux .
The refectory table, which was in everyday use from about 1550 to 1660, was usually 8 to 12 feet in length art deco brass stool . It was stoutly constructed with four, six or eight legs with bottom rails between them, and the top permanently fixed 19th century chairs’ . The underframing was made of oak but the top was often of elmwood, because of the wide boards which could be obtained from that tree antique neoclassical .
During the reign of Elizabeth I a variant of the refectory table, known as a draw-leaf table, appeared on the scene earthenware mixing bowls antique with handles . It enabled a comparatively short table to be extended to nearly twice its length by pulling out under-leaves from both ends dinnerware silver tureen . It was a design introduced from Flanders and France and it enjoyed an equal popularity with the refectory table botanical whimsies are considered some of the finest examples of art nouveau glass . Both of these types were displaced by the gate-leg table after the Restoration but the draw-leaf table has been revived during the 20th century and many modern homes possess similar, but lighter versions of the Elizabethan prototype steel dining table germany .
During the second half of the 16th and the early years
of the 17th centuries, table legs were massively made and often took the form of heavy bulbous turnings english creamware marks . On Flemish tables these swollen shapes are often spherical, like a melon, but the English versions were considerably more elongated with rounded tops and bottoms dresden german antiques . It has been said that these bulbous legs were functional in that they were designed to prevent rats climbing on to the table tops ant cherry antique dictionary tables . I have it on good authority from a biologist friend that any self-respecting rat could easily leap on to a table without any climbing aids 19th century gothic bedside tables .
Between 1600 and 1630, a small but sturdily constructed kind of side table was developed antique chippendale “solid mahogany” dining table lions paw . It must be considered a somewhat rare example of early Stuart furniture as examples these days are seldom encountered ernst archibald furniture . The tabletop was of the folding type, that is, it consisted of two halves hinged together and normally kept closed cherry ladies writing desk by pennsylvania house . When required for use, the upper leaf would be opened outwards and this would be supported by a fifth leg, which could be swung out as in a gate-leg table serpentine pembroke table . Actually, this small table was the forerunner of the gate-leg pattern turkish style sideboards uk . It is sometimes referred to as a credence table, which was placed at the side of the altar in the churches and on which the wine vessels and plate were arranged for use in the Communion service antique “trestle table” kent .
The gate-leg table, as already mentioned in Chapter 1, became generally fashionable after the Restoration and, in one form or another it is the one type of table which has been in continuous service ever since art deco polished matte lost-wax castings o nude women in bronze by viennese artisans . Usually made with a gate on each side, some larger tables are to be found with quadruple gates “art deco dresser” and “marble top” . These were of the period when spiral twist legs were in vogue and were made of walnut or, occasionally, of oak louis xv antique french commode .
A small type of side table, with a drawer and bobbin turned or baluster legs, must have been made in large numbers towards the end of the 17th century as they are frequently to be found in sale-rooms and antique shops antique music cabinete with mirror at the top . The finer versions are sometimes veneered and have curved stretchers as illustrated in Chapter 2 federal style table with brass paws . A more common and probably country-made variety is the so-called tavern table with its top overhanging the ends to a more than usual degree trent potteries designs by george jones . The drawers of these tables are sometimes found with joiner’s slides on the sides porcelain wincanton .
After being generally adopted as a dining table during the Restoration period, the gate-leg table was given a variety of leg shapes over the next hundred years rene lalique nude woman art deco lamp . Baluster and spiral twists gave place to scrolled legs and eventually to a type of cabriole shape known as the club leg italian,furniture,maker,address . Except for use on extending card tables, the cabriole leg was not ideally suited to larger table design, but the club leg variation remained in vogue until the introduction of the Chippendale square leg and the tapered legs of the Adam and Hepplewhite eras deco style dressing table .
It was customary during the late Stuart and William and Mary periods for a host to seat his guests at several gate-leg dining tables if the company was a large one sheffield rote iron . By the mid-18th century, however, long mahogany dining tables at which all the company could be seated, began to appear in the more important households antique wood cutlery urns . For over fifty years, these long dining tables consisted of one or several gate-leg tables, with rectangular side-leaves, which were joined together and semi-circular “D” end tables were placed at each end to make up the piece ruhimann table . The wide mahogany boards, introduced during the previous decades, rendered the construction of the broad table-tops a relatively simple matter antiques antique oak sideboards dutch style .
When only a few people were at dinner, the “D” ends would be placed against the wall to serve as side tables and only the gate-leg would be in use new york antiques light art deco . These “D” end tables are quite often to be seen in antique shops, either singly or in pairs, and it is not always realised that they have originally been part of a long Georgian dining table antique mahogany handkerchief table . When placed together, a pair of these tables make a very attractive circular dining table, which would be admirably suited to a present-day flat or smaller modern house http://antcollectors.com . The long “D” end tables continued in use well into the 19th century but the tapered legs were in time replaced by centre pedestals, each supported on four long curved feet antique furniture spanish art nouveaux . These were usually reeded and had brass-capped ends with castors or brass leopard-paw ends wheat antique dresser .
Designed during the closing years of the 17th century, but not becoming generally popular until fifty years later, the small, snap-top, tripod table with a circular top is probably one of the commonest pieces of antique furniture to be found today walnut escutcheons . The hinged top of the simpler country-made examples is usually flat but a tea table with a dished or slightly hollow top is not uncommon reproduced oval shaped dinnig table with lion’s paw . The dished top was designed to prevent spilt tea or milk running over on to the carpet campaign furniture pottery furniture . A more elaborate type of the dished top was known as a pie crust early 19th century mahogany desks with lion feet . Here the edge was carved into a series of scallop shapes, but genuine pie-crust tops are rare and there are many reproductions about value of george iii english mahogany gateleg card table? . Some tripod tea tables have an open, box-like structure fitted underneath, known as a birdcage and into which the single, central pillar is made to fit dutch silver 17th century . With this device, the table top not only folds upwards but can also be rotated so that any dish upon the table may be brought within reach of the guests period antique mahonany dining table with lions paw pedestal legs .
It is possible to date a tripod table, to within twenty years, by the shape of the feet tilt-top birdcage tea table . As illustrated on p small antique pembroke table fold-over . 63, the feet of around 1750 to 1770 have a flatter curve with a wider spread, while those of 1770 to 1790 have a more pronounced hump at the knee antique imari porcelain . From 1790 to 1810 approximately, the curve of the feet was reversed and by the time of the Regency, slender, concave shaped feet had been introduced toilet habits during 1800th century . The early Victorian period saw the revival of the “S” shape, but this was usually rather thick in proportion and decorated with elaborate carving bassano maiolica .
Tables which were specially designed for playing games were rare during the 17th century but an interesting piece, known as a shuffleboard table, is sometimes to be found in the long galleries of our greater country houses 18th century antique american gateleg . The long galleries were built for leisure and relaxation so that during the winter months, while the gentlemen went hunting, the ladies could take more gentle exercise indoors dressing table with small tables . The shuffleboard table can best be compared with a shove-ha’penny board, save that large brass discs were used instead of coins and the table top was often very long rh vase austria . There is one at Astley Hall in Lancashire which has twenty stout legs and is 2712 feet long jennens and bettridge . It must have been prefabricated and then assembled in the long gallery as it is far too large ever to have been brought up the staircase in one piece botanical antique ceramics collectors .
During the reign of Queen Anne and the Georgian period, card games were extremely popular and folding top tables with cabriole legs were in general use during that time finmar alvar aalto stool . These tables were, mostly made of walnut and had small recesses near the edges of the top to hold the guineas or counters while small circular platforms were provided at each corner to hold candlesticks for the night’s play fashion in the 16th century netherlands .
Card tables and tea tables, particularly the folding, semi-circular variety with tapered legs, were made to an almost identical pattern, the only difference being that the games tables had inset baize tops while the tea tables were of polished wood how a goldsmith made a candlestick . The early 19th century saw the production of many small games tables with tops inlaid for chess and backgammon and with drawers beneath to hold the apparatus for the games end tables lions head table with brass eagle claws on legs .
To Sheraton must be given the credit of designing the nest of tables, the idea for which appeared in his Cabinet Directory in 1803 antique kidney shaped dressing table . The nest comprises four small, separate tables which all fit one under another splay leg sofa table . They were originally referred to as quartette tables and being very lightly con-structed and somewhat fragile, it is uncommon to find an original, complete set of four istoriato china . Luckily, I have such a set in my possession which I believe was made by Gillow of Lancaster old gateleg wooden drop leaf tables . It was salvaged from a second-hand furniture shop, the tables being scattered around among the jumble and the shopkeeper having no idea, apparently, that they formed a unique set kakiemon bow price .
Small Pembroke tables with side flaps supported by hinged brackets and said to have been designed originally at the request of the Duchess of Pembroke for occasional use, appeared about 1775 mahogany french dining chairs . They were common in late Georgian homes and in the early part of the 19th century a larger version was made to serve as a supper or breakfast table rectangular drop leaf table antique .
Sofa tables were designed to stand behind a sofa and to carry such things as reading and writing matter, trays of refreshments and candelabras rococo display cabinet . A few years ago, they were fairly common but are now in such great demand as bedroom dressing tables, that they have become a somewhat rare and expensive item pop up cigarette deco dispenser .
The Regency and early Victorian periods saw a vast number of tables with folding tops, made to stand on a central pedestal with three or four feet value of clawfoot cabriole legged dressing table? . In this type, the double top, when opened out, could be rotated so that it was supported by a rectangular underframing odiot tureen . These tables were used for games, writing, serving tea and a whole host of leisure activites french scrolling art nouveau style chairs .
A necessary adjunct to every dining room is a sideboard and to every kitchen or living room, a dresser trestle draw leaf table . The sideboard, as its name implies, was a small side table in those far off days when a dining table was referred to as a board gateleg drop leaf table 19th century . As the piece of furniture we know, it did not appear until the second half of the 18th century 18th century french fashion . The dresser, on the other hand, is of far more ancient lineage and in the painting of the More family by Holbein, referred to in Chapter there is shown in the background a high-backed, canopied Gothic dresser, or, as it was called in that period, a dressoir dutch rococo walnut cupboard . These dressers were really related to the cupboard or buffet and further reference will be made to them in the chapter on Cupboards vintage porcelain plate with brass pedestal .
Dressers with a high back were out of fashion during the early Stuart and Commonwealth times but there were two simpler types in general use aaron burr antique furniture . One was made in the form of a long, narrow side table with three or four deep drawers refectory tables trestle . It stood on four or six legs and had an under shelf, as wide as the dresser top, near the floor level antique epergne glass . This was, no doubt, used for the display of brass and copper ware what were wood tables with porcelain tops used for . The other type was a development of the chest and presented a more solid appearance, the entire front being filled with drawers and small cupboards demilune chiffonier . This second kind of dresser was not generally adopted until after the Restoration but both types were used then until the end of the 17th century drop leaf table with lion claw feet .
By the beginning of the Georgian period most dressers were fitted with a set of plate shelves which stood at the rear of the dresser top poole pottery est. 1873 . This version was usually referred to as a Welsh dresser and while it may have been popular in the Welsh farmhouse kitchen, it was undoubtedly made throughout Britain during the 18th and 19th centuries drop leaf table with spiral turned legs . Occasionally dressers are found made in walnut but more frequently in oak with the edges of the drawer fronts and the cupboard doors cross-banded in walnut or mahogany antique cabinets coat of arms .
Long sidetables were normally used as sideboards in early Georgian dining rooms and on these would be placed the knife and fork boxes with the cellaret for wines underneath antique french ormulu furniture . It was about 1775 that the first sideboards were designed with drawers for the silver and cutlery and deep cupboards on either side to hold the wines boulle table . Sheraton is supposed to have added the low brass rail with a small silk curtain at the back to the designs for bow-fronted sideboards, which had originated during the Hepplewhite period goldscheider staffordshire myott .
In Victorian times, some monstrous sideboards were created with the addition of the most elaborate carving chamber pot cabinet . In the great dining room at Charlecote Park, near Stratford upon Avon, there is installed such a piece of furniture with carved effigies of every variety of edible fish, animal and fowl hanging in great swags from every point and corner chestnut tables antique . This monument to the questionable good taste of the Victorians is all meticulously worked in varnished oak, a spectacle which must have made the shade of Grinling Gibbons sadly shake its head turn a silver tray into a table .
On the other hand, it was during the mid-Victorian period that a very attractive little sideboard, known as a chiffonier, made its appearance antique claw foot table . It was equally useful as a sideboard for a small dining room or as a cabinet for a drawing room fish tail knife 16th century fruit knife 15th . Made in mahogany or veneered with burr walnut, it was certainly one of the more commendable inspirations of the designers during the Victorian era american antique slant front desk .

SHERATON PERIOD
THE last of the eighteenth century designers, Thomas Sheraton, came to London from his native town of
Stockton-on-Tees about 1790 rare antique marble . Although he had undoubtedly been a practical cabinet maker, there is no evidence that he ever made any furniture in London myott son & co from the 1920s . Certainly he never had a prosperous business such as Chippendale and Hepplewhite had had antique gilt wood mirror frame . His fame in the furniture world rests upon his book, The Cabinet Maker and Upholsterer’s Drawing Book, published in 1791-1794, and appearing in further editions in later years antique mahogany tea table with glass tray .
It was essentially different from Chippendale’s book, the purpose of which was mainly that of a catalogue to appeal to wealthy patrons 1700’s trestle table . Sheraton’s drawing book was primarily a trade book intended to help the practical man, not only in providing designs but also in supplying a treatise in geometry, perspective, and drawing eighteenth century tripod table . In the long run it brought him posthumous fame, but as a commercial proposition it was a failure 17th/18th century style, open-rack oak dresser . Probably few practical men were interested in learning to draw in perspective or to know of the problems in geometry (except in the limited way it affected the setting out of their work), and in looking back the whole thing certainly seems an ambitious undertaking wellinton chest of drawers .
So far as the designs were concerned, Sheraton certainly showed originality in many of the mechanical movements he introduced, and in the design of his chairs, but it must be confessed that the general run of furniture was little more than a representation of the general style prevailing at the time antique oak drawleaf trestle table . It was noted in Chapter VIII that Hepplewhite and Sheraton furniture (excepting chairs) had a great deal in common ; so much so that it is often impossible to say to which it belongs for sale louis 16th walnut sideboard cabinet . It will be realised then that in speaking of Sheraton furniture it represents for the most part the work of a school of craftsmen working in a certain style sheraton 18th century dresser .
antiquegames writing table . BEECHWOOD
ARMCHAIR antique tripod tilt table .
About 180 mahogany bow fronted chest of drawers scottish .
The chair is painted In
black and gilt, and the
rails of the back have
small decorative panels
painted with floral and
musical Instrument sub-
jects masons patent ironstone chinese peony .
FIG english antique reproduction dining table round with add on leaves . 142a carved seating . MAHOGANY
ARMCHAIR where can i buy a rennie mackintosh table with brass lion paws .
Late 18th century thonet bentwood rocker .
The backs of Sheraton chairs were usually lower than those of other contemporary work cutlery boxes . The sweep of the arms into the back is a characteristic Sheraton touch central part of the library has a display cabinet .
Details found in Sheraton Chairs
In his chairs, however, he undoubtedly did strike an original note georgian kneehole cabinet . They are lighter than the majority of other late eighteenth century examples, the backs are lower, and instead of the top rail forming a more or less continuous sweep with the uprights (see Fig french console table 1830 . 131) it was frankly a separate item tenoned between the uprights dining tables art deco . The legs were either turned or square tapered (see Fig antique 2-tier pedestal table . 151), and the arms, instead of bowing out sideways, were usually shaped in
FIG antique maple desks . 143 arts and crafts +jupe table . MAHOGANY CHAIR art deco kneeling dancer lamp .
Late 18th century georgian peat bucket .
Sheraton used both square tapered and turned legs horses as allegorical figures in art . The cabriole
type was never used old english pattern forks with four tines .
side elevation only, generally springing from the back in a continuous sweep fine porcelain arc .
A good example is given in Fig smith furniture gateleg drop leaf table . 142 empire hall bench . Note the obvious way in which the back rails fit between the uprights (compare with Fig fake brass antiques . 131), and the sweep of the arms into the uprights spanish lacquered cabinet inlaid . The whole thing is different from anything else being made at the period art deco console and germany . The curve of the arms into the turned uprights, the curved turned legs, and the graceful design of the pierced back are typically Sheraton 19th century american rosewood rococo console table . It is painted all over (something else that no other designers SIDEBOARD DECORATED WITH SATINWOOD INLAY BANDINGS catherine the great of russia plates . Late i8th century charles neo classism boulle .
The bow front sideboard became extremely popular at this time antique trestle refectory table . Sometimes the space between the centre
legs was title in with a cupboard having a tambour front made to slide sideways pottery german weimar art deco .
Tapered Legs in Sheraton Chairs
attempted), and some extremely fine art work is put into the small panels of the back florence lamps giuseppe antique .
Another Sheraton chair, this time with tapered legs, is given in Fig who sells maggiolini furniture . 142a decoration metal bureau table desing . In this case the arms meet the turned uprights more or less at right angles, but they sweep into the back as in the previous example extending glass table with wrought iron legs . The back is practically square, and the uprights which continue down to form
II how drop leaf table evolved .C; antique serving cabinet . 1 a & s smee finsbury .15 round “dining table” “six legs” . WHEEL BACK CHAIR irish cabinet makers antique wine coolers .
About i800 antique porclean handled sheffeld flatware .
The finest chairs of this kind came from Norfolk and Suffolk value of primitive antique work bench . They became popular towards the end of the 18th century, and into the 19th century lowenfink . Earlier models had curved arm supports at the front instead of turnings antique drum shaped table .
the legs are shaped only in side elevation wood furniture legs clawfoot . They are straight when looked at from from the front art glass vases antique . This is another feature invariably found in Sheraton chairs, and never in contemporary work of other designers scriptoire . All these features also appear in the chair in Fig oak table 5 legs built in leaves rectangular antique . 143•
Sheraton died in i8o6, and it is unfortunate that towards the end his designs suffered severely decorative spindle legs from antique card table . Probably no man, no matter how individual, is quite free from extraneous circumstances bread/cake baskets 17th century . Prevailing fashions exert their sway, and designers
146 varguenos . TWO WRITING DESKS IN MAHOGANY WITH SATINWOOD BANDINGS antique pedestal mahogany table .
Late i8th century bauhaus style furniture +scale .
The Importation of Ykirious foreir4n fancy woods, satinwood, am boyna, rosewood, ebony, and so on led to the free use of
these for use in inlay bandint!s art nouveau antique drinking cabinet . Satinwood, too, was freely used in the solid, entire pieces being made up in it antique 17th century dresser .
Deterioration of Late Sheraton Work
are often faced with the choice of either following them or retiring from the scene antique mahogany card table, imperial . Many things were happening in Europe at the close of the eighteenth and beginning of the nineteenth century which were to affect design gilt metal mounted pier table . The French revolution, culminating in the establishment of the First Empire, produced a style in France which rapidly found its counterpart this side of the Channel, and the naval victories of this country had an extraordinary effect on furniture 1800 hundred french mantel and candle clock .
FIG antique art deco furniture black lacquer . 147 maurice adams art deco . MAHOGANY SIDE TABLE WITH BANDED DRAWERS anglo indian cabinets .
Late i8th century vintage buttterfly dropleaf tables .
A prominent feature of the Sheraton school was the very limited use of
carving antique 17th century dresser . Probably it was a reaction from its free use in the Chippendale
period dutch cabinet marquetry 18 .
Just as topical events of thirty or forty years ago were commemorated in fretwork designs, so the furniture of the early nineteenth century showed its reaction to the events then happening gillows bow front mahogany chest drawers .
Sheraton fell into the general line and published his E’?IcYc10P,Tdia of 1804-1807, in which was one of the most extraordinary collections of furniture designs ever put together regency occasional table . Naval emblems of all kinds—anchors, lifebelts, pulley blocks, ropes, and so on—abound, and it is a mercy that more of them were not made up,
To revert to his earlier and happier period, Sheraton’s chief form of decoration was inlay 19th century parian busts . Cross-bandings of fine
MAHOGANY WARDROBE WITH BUILT-UP VENEERED
DOORS
Late i8ti century antique chinese circular revolving bookcase .
The fine mahogany imported at this time led to the revival of the built-up
patterns in veneer as the grain had splendid decorative value 17 century elm gateleg table .
foreign woods, such as satinwood, rosewood, tulip wood, ebony, amboyna, and so on, were inlaid around the edges of drawer fronts and panels, and various built-up patterns in veneer were made use of with great effect period style display cabinets . The bow front sideboard in Fig antique ceramic tambour german mantle clocks . 144 shows the use of this cross-banding italy spoons that might be antiques . Painting also he used considerably, naturalesque floral subjects and panels in the style of Angelica Kauffman being the chief forms it took nicholas sprimont solid silver . Carving he used
E; <
FIG value of an antique pembroke table . 152 antique mahogany french bedside commode . MOULDINGS OF THE SHERATON PERIOD dutch 18th century walnut chest on chest .
Mouldings were invariably small and delicate islamic influence furniture . Occasionally carving and inlay
were introduced, though they were usually plain dining tables with wood inlay work .
sparingly and never in the full scrolling form favoured by Chippendale french console table 1830 .
A small Sheraton side table is given in Fig arts and crafts furniture, antique collectors . 147 flemish refectory table . Here again the drawers have an inlaid cross-banding around the edges antique german breakfast table . The turned legs are reeded down their length dresser accessories . Two other Sheraton pieces are given in Fig russian chippendale trays . 146 silver candleabras made in england . Note the inlay again decorative writing styles . Desks of this kind were often fitted with elaborate secret contrivances in which stationery boxes, drawers, and cupboards rose up at the touch of a spring how common is walnut drop leaf table .
The Sheraton Wardrobe
Fig antique chinese chamber pot . 148 shows a fine inlaid wardrobe in which built-up patterns in veneer are used effectively myott son&co hanley 1880 . The dentils in the cornice and the flutes in the frieze are carried out entirely in inlay american crafts armchair upholstered . The curved bracket feet are a typical feature of the late 18th century 17th century oak side table .
CHAIR WITH SABRE LEGS AND
CANED SEAT rococo style flower arranging .
About i8io pembroke style end tables .
This is an extremely fine example of the chairmaker’s craft 18th century marquetry . Despite the somewhat complicated curvature of the back the construction follows conventional methods, the tops of the back legs being tenoned into the cresting rail and the moulded shaping worked across the joints mark vezzi porcelain . The curved rails fit together with a form of halved joint cylindrical crock eared handles cobalt blue .

Easy chairs before 1840
As the Baroque movement swept through Europe during the late 17th century, the design of seat furniture became increasingly luxurious, elaborate, and more importantly comfortable. Caned and leather chairs, which until this time had sufficed, were largely abandoned in favour of richly upholstered easy chairs as stiff upright backs were discarded and were replaced by sloped and subsequently shaped backs. The number of types of chairs also increased enourmously.
ITALY AND FRANCE
It was in Italy, particularly in Venice, Florence, and Rome, during the late 17th and early 18th centuries, that the Baroque style found its clearest expression. The most elaborate open armchairs of this period are usually of either boxwood or giltwood. They are carved with scrolling acanthus, espagnolette masks, and even mythological figures emblematic of the four seasons. Some Venetian examples feature seahorses in deference to the city’s seafaring tradition. Such pieces were usually the work of trained sculptors who had turned their hand to furniture-making; the most celebrated of these was undoubtedly Andreas Brustolon (1662-1732).
In France, under the influence of Cardinal Mazarin, the court of Louis XIV (1643-1715) became increasingly hungry for foreign luxuries and fashions, especially those from Italy. In the mid-17th century French easy chairs became increasingly comfortable and elaborate, owing to their generous proportions, richly turned decoration, and lavish use of velvet upholstery from Genoa or Utrecht.
The Regence period (1715-23) saw significant developments in the design of seat furniture. Although the menuisiers (joiners) were slow to abandon the traditional Louis XIV fauteuil (armchair) form, they were increasingly lavish in their carving. Chairs were decorated with gadroons, shells, and rosettes, and even richly upholstered in velvet or lavish textiles made at the Savonnerie in Paris (est. 1604 in the Louvre for the production of textiles; from 1627 at the Savonnerie). The stretcher became more sinuous, and was abandoned by the 1720s. Further changes in form and design were
dictated by the fashion for wearing hooped dresses, introduced c.1720, which resulted in the arms of easy chairs being set back by a quarter of the length of the side-rail. The introduction of upholstery it    allowed the loose covering to be changed according to the season.
Under Louis XV (1715-74) the fashion
for placing chairs around the sides of the room was abandoned in favour of a more relaxed arrangement that encouraged intimate conversation and gave birth to the fauteuil en cabriolet, with its Rococo form and exuberant carving in the round. Louis XV seat furniture is usually made of either walnut or beech, the latter wood
always either gilded or painted; a
pegged construction was used, and pieces are very often stamped by the menuisier responsible, in accordance with the strict rules of the furniture-
makers’ guild (Corporation des Menuisiers-Ebenistes). During the 1730s numerous styles of informal easy chair emerged, all of them richly carved. The most luxurious was the bergere, which was popular throughout the 18th century and characterized by its deep seat, padded back and sides, and squab cushion. Widely copied throughout Europe, it was to prove inspirational to chair-makers during the Regency period (c.1790-1830) in Britain, and was also much copied in the late 19th and
20th centuries.
BRITAIN AND NORTH AMERICA
The earliest-recorded wing armchairs, known as bergere en confessionnal because the identity of the sitter was hidden by the side wings, are French examples from the early 1670s. Invariably of walnut, this form was rapidly adopted in Britain. The wing armchairs made during the late 17th and very early 18th centuries were usually of walnut or, in more provincial examples, of beech stained to simulate walnut. These armchairs are characterized by the exaggerated scroll of the arms, the high, slanted back flanked by high wings, and the stylized carving of scrolls and foliage on the legs and stretchers.
The most celebrated form of wing armchair was made from the early 18th century until c.1750. Examples are usually of walnut, and are
supported on cabriole legs, which, unlike their 17th-century prototypes, are rarely joined by stretchers. Wing armchairs made in Britain during the reigns of Queen Anne and George I are often carved with trailed husks and scallop shells on the top of the knees and stand on pad feet, although some later examples have hoof or claw-and-ball feet. The most refined wing armchairs of this period were upholstered in gros and petit point needlework, often with figures on the back (but never on the seat) within a flower-strewn border.
Wing armchairs continued to be made throughout the 18th century in mahogany, and were widely copied in walnut in the 19th and 20th centuries. North American early 18th-century wing chairs were generally of walnut or maple, with a high arched crest, and block and vase turned legs joined by a stretcher. During the 1720s short cabriole legs with “Spanish” feet, were used and front stretchers were eliminated. From the mid-18th century mahogany was used. Stretchers continued to be used in New England, while easy chairs made in Philadelphia generally did not have them. In 1760 the serpentine crest design was introduced, modifying the verticality, and it was used along with the rounded profile until the 1780s. Between 1780 and 1800 American chair-makers used George Hepplewhite’s design for a “Saddle Check Chair”, an easy chair with serpentine contoured wings, straight legs, and “H” stretchers, a chair design also associated with Thomas Chippendale (1718-79). There are regional differences in construction and upholstery. Maple was often used for the one-piece rear legs and stiles in New England chairs, stained to match the mahogany of the front legs.

A Library bergere or “Uxbridge” chair
This British armchair is of a style introduced in the early I8th century for use in the library. It has a cane-filled back and sides, and leather-covered cushions, the best examples have reeled or fluted front legs (early 19th century; ht 1.2ml3ft 1 lin; value 1)
Other types of late 18th-century easy chair were based on designs in The Cabinet-Maker and Upholsterer’s Drawing Book (1791-1802) by Thomas Sheraton (1751-1806) including “conversation” chairs, with deep upholstered seats and padded toprails on which the sitter, facing backward, could rest his or her arms. In Sheraton’s The Cabinet Dictionary (1803) there is a reference to a “curricle” chair, so-called after a tub-shaped carriage, which was popular in libraries at the time. About 1810 to 1820 bergere-type armchairs with deep, upholstered or leather seats and backs, and cane or upholstered sides, were also widely used in libraries.
SCANDINAVIA
Trade between England and Scandinavia was well established by  the mid-17th century, and some English furniture had been exported to Scandinavia by the end of the century. Craftsmen in these countries produced good copies of English furniture; the joiners (although not the cabinet-makers) were very conservative, with the result that early 18th-century styles continued to be produced until c.1800. Around this time, too, mahogany was introduced; before this, walnut was used for expensive pieces. More commonly employed, however, were native light-coloured woods such as birch, ash, and pine; these were left bare, stained, or painted in colours.
By the late 1730s French designs had become increasingly popular at the Swedish and Danish courts and also with the upper classes in these countries; the middle classes did not generally adopt the new fashions until the end of the century. French styles were particularly influential in Sweden, and from the Rococo period court architects were trained in Paris. One of the most influential Swedish designers of the period was Jean Eric Rehn (1717-93). Danish court architects learned their trade in Germany, but this situation changed after the reign of Louis XVI, when both countries adopted the French Neo-
classical style. In Sweden the cabinetmaker Georg Haupt (1741-84), who had trained in both Paris and London is well known for his work in the Louis XVI style. This style developed into the Neo-classical Gustavian style during the I 770S.

AMERICAN “CHIPPENDALE”
The carvers of the most elaborate American Rococo furniture were immigrants from England, Scotland, and Ireland, who had served their apprenticeship in London before going to North America. The first of them arrived in the 1740s, but the great wave of craftsmen tsmen was in the 1760s. Philadelphia was the city most hospitable to immigrants, and more Rococo furniture was produced there than in other colonies. The major cities in America developed distinctive furniture styles, due to the taste of the gentry, the mix of native born and immigrant craftsmen, and the availability of imported
furniture and English pattern books. It is known that there were copies of Chippendale’s Director in Philadelphia. The Library Company of Philadelphia acquired a copy between 1764 and 1769, and two cabinet-makers Thomas Affleck (1740-95) and Benjamin Randolph, owned copies. In America furniture was mostly made of solid pieces of primary wood, rather than veneers over a seconday wood carcase as in England.

RUSSIA
Throughout the 18th century Russian furniture was inspired by French and to a lesser degree English designs; by c.1815 German influence is also apparent. Generally the timbers used for Russian furniture were indigenous; during the early 18th century, when designs were dictated by early Georgian furniture from Britain, they included oak, beech, and walnut. By the 1720s Russian armchairs had tall curved backs with a vase splat and cabriole legs. By the mid-18th century, the taste for Rococo and Chinese ornament had spread to Russia due to the publication of such influential pattern-books as The Gentleman and Cabinet-Maker’s Director (1754-62) by the English cabinet-maker Thomas Chippendale (1718-79). English-style chairs with pierced splats and sweeping cabriole legs with claw-and-ball feet, usually made in mahogany, were increasingly popular.
However, from the beginning of the 19th century the clearest influence on Russian furniture manufacture was that of France. Particularly favoured was the Empire style of the cabinet-maker Georges Jacob (1739-1814), who was based in Paris. About this time, light-coloured woods also became popular, anticipating the Biedermeier style in Germany and Scandinavia. From c.1815 chairs were executed in indigenous woods such as Karelian birch, maple, and poplar, decorated with restrained stringing.
HALL CHAIRS
Hall chairs (and also hall benches) were introduced in Britain from the late 17th century. They may have been inspired by similar chairs known as sgabelli, which were popular in the great Italian palaces during the 16th century. Hall chairs were designed to be placed in the entrance hall or passageways used by servants and tradesmen waiting to be called into one of the main rooms. Consequently such chairs were never upholstered, and generally they lacked arms; however, they were increasingly made of mahogany, with solid backs and dished or shaped scats. The designs were bold and simple and were frequently embellished with the painted crest or coat of arms of the family who commissioned them. In some cases they were carved with motifs intended to impress guests and to emphasize the social status of the owner. The importance given to hall chairs is suggested by the fact that there are six designs for such chairs in The Gentleman and Cabinet-Maker’s Director by Thomas Chippendale, three in The Cabinet-Maker and Upholsterer’s Guide (1788-94) by George Hepplewhite (d.1786), and two in The Cabinet Dictionary (1803) by Thomas Sheraton (1751-1806).

THE BIEDERMEIER STYLE
This decorative style was popular in Germany, Austria, and Scandinavia between c.1815 and c.1848. The name was invented by two German poets who wrote under the pseudonym Gottlieb Biedermeier, formed from a combination of bieder (meaning conventional or honest) and Meier, a common German surname. The solid, comfortable appearance of Biedermeier pieces was thought to mirror the unpretentious elegance of the German bourgeoisie. The simple, geometic designs, which eschewed ornate decoration, were inspired by French furniture of the Empire period. Function and comfort were of supreme importance to the Biedermeier craftsmen and to achieve this end they used coil-spring upholstery.

•    UPHOLSTERY gros and petit point arc very rare and greatly contribute to the value of a wing armchair
•    REGILDING well-executed regilding should not dramatically affect the value of an object; French Louis XV beechwood chairs were usually originally gilded or painted and traces are often found in the crevices
•    HALL CHAIRS these arc usually found in sets of four or more, although it is possible to find single chairs; they are often decorated on the back with a cartouche featuring the armorial of the family who commissioned them; they are generally very good value for money
•    COPIES AND FAKES Brustolon-style chairs were widely copied in the 19th century; Biedermeier chairs have been been widely faked in the 20th century, with many side chairs converted into armchairs – this should be obvious if the proportions seem wrong

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.

Dress Accessories
Style and fashion were an important part of the Deco era. Styles changed drastically for women, reflecting a more practical and carefree or casual attitude toward life. The clothing from the Deco years chronicles that transition. The long, corseted gowns of the late Victorian period changed to the knee length skirt and flat chested “boyish” look of the 1920’s. Padded shoulders, tight skirts and baggy trousers followed in the late 1930’s and 1940’s. Although there were changes in men’s clothing, styles remained conservative compared to the trends which came about with women’s apparel.
Although time has been unkind to old garments, vintage Deco clothing is collectible, and there are dealers who specialize in fine examples salvaged from the period. Markets for this type of clothing are usually commercial or public, sold for store displays, museum exhibits or theatrical production rather than for individual use. But dresses, suits and coats made from the 1920’s through the 1940’s currently attract some of the teen and college age generations who enjoy actually wearing the outfits. Estate sales and thrift shops may yield some amusing examples at nominal prices.
While it may be difficult to find a piece of Deco clothing which one would care to wear, a number of items used to accessorize such clothing can be worn with enjoyment. Purses, compacts, belt buckles, dress clips and all types of jewelry are quite compatible with today’s fashion. Dress accessories offer the collector an intriguing and almost unending source of Deco designs. It is apparent from the items shown, as is true for most surveys of the era, that dress accessories were primarily confined to women’s articles. But cuff links, stickpins and watches, for example, were made in Deco styles for men.
Compacts are a product of the Deco age. These neat items made for checking or repairing one’s make up, slipped easily into a purse or evening bag. While most contained a bit of mirror and a cake of powder, some were made with lipstick cases, change holders and money clips as well. The most expensive are made of gold and silver, but lower priced varieties made of plated or enamelled metals and celluloid or plastic are also available. Although small in size, compacts exhibit striking Deco traits. Notice the Egyptian influence on two examples, one with hierglyphics and one with Egyptian figures.
Mesh evening bags made from enamelled metals by American manufacturers such as Whiting and Davis were in demand during the 1920’s. Small beaded and fringed bags were also popular accessories for the jazz age costume. Evening bags have become a special topic of collector interest and there are few bargains to be found. It is difficult to find one for less than $50. Large beaded
purses, like the one illustrated, made during the latter part of the era do not cost nearly as much.
Collections of compacts and evening bags can be framed or housed in glass cases to add attractive touches to a room. The same can also be done for much less money with buttons or belt and shoe buckles. These little adornments are sometimes overlooked, but they often created the Deco accent for a garment. Such pieces usually outlived the clothing and many have been saved. Rummage through a box of old buttons and buckles, a Deco souvenir may be found—even a pair of fancy garters!
Jewelry is undoubtedly the most fascinating of all dress accessories. Although gold, silver and precious stones were fashioned into Deco designs, costume jewelry was born and thrived during those years. Many pieces were made from glass, enamelled metals, bakelite, celluloid and plastic. Rhinestones, like other good pieces of Deco costume jewelry, are attracting wide interest today. It is obvious that Deco designs have had a great influence on contemporary costume pieces. Reproductions also are surfacing on antique and collectible markets. Buyers should inspectjewelry carefully to determine if an item is new. Prices for authentic “period” period” pieces are often comparable with those of good quality modern costume jewelry.