Posts Tagged ‘revival style’

19th Century Mirrors. Wall Mirrors, Picture Frames. ENGLISH WALL MIRROR, ENGLISH GILTWOOD MIRROR, AMERICAN GIRANDOLE

EARLY 19TH CENTURY MIRRORS
MIRRORS, LIKE PICTURE FRAMES, are decorative so are rarely subjected to much wear. As a result, they are often gessoed and gilded. Painted examples from this period also exist, as well as Empire pier glasses, which often have mahogany frames and ormolu mounts.
From the late 18th century larger plates became available, so early 19th-century mirrors with a divided plate became less common. Although not new, convex plates became especially fashionable in Britain and the United States, and were used in dining rooms to give servants an all-round view of the table. The convex mirror plate was usually framed by an ebonized and needed slip with a gilt frame echoing the shape of the mirror. The frame
The acanthus leaves are pierced and scroll-carved.
was often surmounted with an eagle or similar motif and frequently had candle arms attached to it.
Also fashionable was the use of verrc eglomise in which glass was back-painted in black and then engraved with a design before gilding. Verne eglomise plates were frequently inserted above normal plates. Mirrors with a more rectilinear design were also popular, particularly those intended to stand above pier tables between windows. From the late 1820s, revival styles led to the reintroduction of Chippendale-style mirrors in Britain; these are often difficult to distinguish from the 18th-century originals. In Florence, boldly carved foliate frames were introduced in imitation of the Baroque originals.
The guilloche motif is stylized.

ITALIAN WALL MIRROR
This rectangular giltwood wall mirror has a carved softwood frame featuring guilloche and stylized, scrolling acanthus leaves. The whole frame has been covered in white gesso and then given an undercoat of red paint, before
being gilded. The ornate, sculptural form of the mirror frame is reminiscent of the Baroque style of the 17th century, and harks back to the designs of Andrea Brustolon and the work of the Genoese carver, Filippo Parodi.

REGENCY MIRROR
This giltwood mirror has a moulded cornice with ball decoration above a panel with a shell cresting flanked by latticework. Columns flank both sides of the mirror. Early 19th century.
ENGLISH PIER GLASS
With a concave cornice above a ring-and-leaf frieze, this giltwood and gesso pier glass has 11 plates of varying sizes divided by astragals and flanked by half columns.

AMERICAN LOOKING GLASS
This simple, late Neoclassical maple looking glass has a rectangular mirror plate set within a relatively unadorned rectangular frame. The top and sides of the mirror frame have corner blocks joined by half-section balusters with
gilded and moulded ends. Like the mirror above, this type of overmantel mirror is sometimes erroneously referred to as “Adam”, perhaps because of its rectilinear Neoclassical styling, or perhaps because such mirrors frequently featured in Robert Adam interiors. c.1835.

This giltwood and ebonized girandole has a convex mirror plate with a reeded slip. The frame is decorated with carved leaves, has four candle arms, and is surmounted by the Federal eagle. c.1825.
The circular, mirrored plate sits within a reeded ebonized slip and a ball-moulded frame. The frame is surmounted by a dragon flanked by two sea serpents. Below is a leaf-carved apron. c.1815.
This mirror is set within a moulded gadrooned frame, surmounted by a painted figure of Neptune. At the base is a giltwood figure of Triton, and foliate arms that end in candle nozzles.
This simple Regency giltwood mirror has a convex mirror plate within a circular leaf-moulded and reeded border. It might originally have had candle arms or cresting. Early 19th century. Diarn:58cm
ENGLISH WALL MIRROR
ENGLISH GILTWOOD MIRROR
OVAL MIRROR
AMERICAN GIRANDOLE

AMERICAN LOOKING GLASS
This tall, narrow, carved mahogany looking glass frame has a moulded cornice above a veneered frieze. The mirror plate is flanked by projecting blocks linked by carved urns and slender pilasters. c.1825.
AMERICAN LOOKING GLASS
The moulded cornice of this giltwood mirror is hung with ball decoration above a wreath-andacanthus moulded frieze. Below this is a tablet. The colonnettes are rope-turned. c.1800.
IRISH OVAL MIRROR
This oval mirror, one of a pair, has its original plate set within a copper frame, which is decorated with applied, alternating blue and clear crystal facets. Late 18th–early 19th century.
BIEDERMEIER PIER GLASS
The rosewood-veneered frame of this southern German pier glass has an architectural pediment above an ebonized panel depicting the Goddess Diana in gilded brass. c.1820.
AMERICAN LOOKING GLASS
This Classical mahogany and carved giltwood looking glass has an architectural pediment above a carved eagle tablet and a mirror plate flanked by colonettes. Early 19th century.
This carved and gilded looking glass has a moulded, projecting cornice above a carved frieze, with a verre tablet, and reeled pilasters. Early 19th century.
AMERICAN GILTWOOD MIRROR
This Federal mirror has a broken pediment with ball decoration above a verre eglomise panel depicting Hope with an anchor, flanked with festoons. The columns have spiral beading.

FRANCE: RESTAURATION
THE RESTAURATION STYLE, as its name
suggests, refers to the restoration of the Bourbon monarchy from the expulsion and final exile of Napoleon in 1815, until its fall in 1830.
Louis XVIII became King of France in 1815 and was followed by Charles X in 1824, who finally abdicated in 1830 in favour of the exiled Due d’Orleans, Louis Philippe. It was a period of considerable political unrest, culminating in the revolutions of 1830 and 1848, which forced Louis Philippe to flee to England.
The market for furniture also changed, with growing interest from the middle classes and the increasing
industrialization of furniture-making due to improved tools and the use of steam. Fortuitously, this coincided with the need to furnish apartments, which, for the first time, the middle classes could rent.
CHANGING STYLES
Empire decoration remained the leading style of furniture and many of the cabinet-makers who had worked in the Empire style, such as JacobDesmalter, Felix Remond, and P.A. Bellanger, continued to produce furniture with a great deal of success.
However, Napoleonic motifs and
mounts gradually disappeared, and the
Empire style was slowly watered down as severity gave way to comfort. Strict linearity eventually relaxed into the occasional curve in a nostalgia for Rococo style. Overall, forms became heavier and more solid, replacing the Empire love of rectilinear elegance. As elsewhere in Europe, furniture became bulkier. Inlays became more common and mounts gradually became smaller, or disappeared altogether.
STYLE DIFFERENCES Restauration-style furniture can sometimes be difficult to distinguish from the
simpler, more domestic Empire pieces (see pp.200-01). The surfaces of Restauration pieces tend to be even simpler and less decorated than those found on French Empire furniture, which was typically designed to create an opulent effect.
SECRETAIRE A ABATTANT
This flame-veneered mahogany writing cabinet is raised on claw feet and has a moulded cornice above a pair of Gothic-carved, glazed doors, enclosing shelves, above drawers. A frieze drawer fitted for writing is set above cupboard doors flanked by scrolls. c.1820.
DRESSING TABLE
This is a mahogany dressing table with a swing-frame mirror set above a platform with two small drawers above another drawer. The dressing table stands on C-scroll supports and has a shaped platform base. c.1825.
FAUTEUILS AUX DAUPHINS
This set of six mahogany armchairs, made by Pierre-Antoine Bellanger, has straight top rails terminating in carved scrolls. The curved arms are carved with dolphin heads and each chair has a padded, upholstered seat with a plain seat rail and is supported on sabre legs. c.1815.
CHARLES X DRESSING TABLE
This dressing table is made of burr elm inlaid with amaranth depicting stylized foliage. The top section has an oval mirror with carved supports in the shape of swans. The table top is made of white marble. The lower section consists of a frieze drawer above two carved consoles. The piece terminates in a shaped platform base and flattened bun feet. 1825
BOIS CLAIRS
Restauration furniture was usually made of oak, but it was increasingly veneered in lighter woods, the so-called bois clairs. This change in tone began in 1806, when the British blockaded the importation of mahogany to France from its colonies. As a result, local woods became more popular, including walnut, sycamore, ash, elm, yew, plane, beech, and, perhaps most characteristically of all, decorative bird’s-eye maple.
Mahogany, being expensive, was reserved for the most lavish interiors, so its use was often an indicator of the high value of a piece of furniture.
Traditionally, the Duchesse de Berry the daughter-in-law of Charles X, is credited with the introduction of bois clairs, but this appears to be an unfounded myth. Mahogany, however, continued to be extensively employed both as a veneer – where the decorative effect of its figure was much exploited – and in the solid.
With the decline in use of mounts, various timbers, particularly ebony, and metals such as brass or pewter, were inlaid instead. However, their treatment was always restrained. Some furniture even included plaques of painted porcelain.
GOTHIC STYLE
Towards the end of the Restauration period, the Romantic-revival styles gradually became evident in French furniture design.
These were probably first hinted at in Pierre de La Mesangere’s Collection de meubles et objets de goat, published between 1802 and 1835 in the Journal des Dames et des Modes. Here, La Mesangere adapted the severe, architectural style of Perrier and Fontaine to create a simple, domestic style for the middle classes. He also began introducing the motifs that
would dominate the next epoch –Gothic motifs, otherwise known as the Troubadour style.
Unlike the Chinese style, which was completely forgotten in early 19th-century France but played an important role in Britain at the time, the Gothic style did create a small impact. For example, in 1804, the cabinetmaker, Mansion the Younger, suggested a Gothic-style piece for Napoleon.
However, it was not until the late 1820s and 30s, that the pointed arches so typical of the Gothic style started appearing on Empire-style furniture.
CIRCULAR CENTRE TABLE
This table is made from rosewood inlaid with fruitwood and marquetry. The circular top, and the four frieze drawers below, are raised on a columnar support, which has four splayed legs that terminate in paw feet on brass casters. c.1830.
CHARLES X OCCASIONAL TABLE
The top of this oval rosewood table is inlaid with a panel of Gothic tracery and is bordered with a boxwood rolled moulding. The frieze has a single writing-slide drawer. The table stands on six turned legs joined by a double-baluster stretcher. c.1830.
This mahogany meridienne has one end higher than the other, and an elegant, curved, padded back. The frame of the sofa has scrolling sides, a plain frieze, and stands on volute feet. 1820
This table has a black-and-grey-veined Saint Anne marble top set above a plain frieze. The massive columnar support is baluster shaped although it has been facetted. The three scrolled feet are similarly angular and are square in section.
MERIDIENNE
MARBLE-TOPPED TABLE
The mahogany frieze is unadorned Will) the mounts typical of the French Empire style.
The scrolled feet show a move away from the strict angular design of the previous epoch.

MID 19TH CENTURY CHESTS OF DRAWERS

MANY OF THE CHESTS made and sold in this period were direct descendants of their 18th-century counterparts. The chest was still in widespread use, both in the bedroom as a clothes store and in the salon, very often for display purposes only. Examples with specialist uses, such as music cabinets and folio chests, augmented the range of commodes, cabinets, and vitrines already found in the home. The traditional low, broad chest was frequently of very fluid form, incorporating serpentine, bombe, or bowfront curves reminiscent of 18th-century styles. Elaborate commodes were rare, however, and, in the drawing room, were often replaced by credenzas, or side cabinets.
CONTRASTING STYLES
A more contemporary look was provided by a new generation of tall and slender, rather elegant, filing cabinets, precipitated by the bestselling Wellington chest. These filing
cabinets tended to be less fussy than the more old-fashioned chests of drawers, particularly those in the Rococo-revival style, which were often excessively ornamented. Profuse use of gilt-metal mounts, sabots, and inlays combined with marble tops, carved skirts, friezes and aprons, and intricate marquetry decoration often made these very busy items of furniture. Neoclassical and Gothic forms sat alongside chests in the Rococo style, although these labels often referred to little more than token applied decoration, used by cabinetmakers to distinguish an otherwise plain piece of furniture.
FAVOURED WOODS
Tropical hardwoods, such as mahogany and rosewood, were frequently used for chests, although Dutch cabinetmakers often substituted walnut for their marquetry-decorated pieces, and cherry wood was sometimes used in the United States.
FRENCH COMMODE
This 18th-century-style commode has a moulded, veined marble top above a Rococo-style, rosewood- and walnut-veneered bombe case with polished, gilded, bronze mounts. The front of the piece is inlaid with colourful
marquetry, and shows an asymmetrical floral pattern. The case is set on cabriole legs. It is an accurate copy of a Louis XV commode and uses expensive materials. However, this mid 19th-century example was constructed by
machine rather than by hand.
ITALIAN PARQUETRY COMMODE
This kingwood parquetry commode is of bombe form and has a moulded Siena marble top above two chequer-veneered drawers. Each drawer has a flower-head motif centred over
the escutcheon plate. The same motif appears on the sides of the case. It is raised on square, cabriole legs, terminating in sabots. Although almost an exact copy of an 18th-century piece, its excessively slender legs reveal its 19th-
century origins.
DUTCH CHEST OF DRAWERS
The moulded top of this Dutch, Empire-style, walnut and marquetry tall chest of drawers has an outset frieze drawer. Below this are five equal-sized drawers, decorated sans traverse with fine floral marquetry inlaywork, which
exhibits a mixture of mid 18th- and late 18th-century styles in its overall design. The oval border is Neoclassical in inspiration, while the floral design within it is asymmetrical and, therefore, more Rococo in style. The case is supported on tapering, square-section feet. 1880.
FRENCH FILING CHEST
This late Louis XVI-style ebony and brass filing chest has a moulded edge above eight drawers. The drawers have leather fronts and brass catches and are supported on a plinth base. c,1900.
ANGLO-INDIAN WELLINGTON CHEST
Made of the distinctively striped coromandel wood — a type of ebony from the Coromandel coast of India —this Wellington chest also features surface carving typical of the subcontinent. c.1880.
BRITISH WELLINGTON CHEST
The moulded top of this figured maple chest protrudes above its frieze. Beneath the frieze are seven graduated drawers, flanked on either side by a locking flap. At the top of each flap is an applied scroll-leaf decoration. 1860.
GERMAN COMMODE.
This mahogany commode has a protruding rectangular top above four flame-mahogany veneered drawers. The front of the case has canted corners, with a carved scroll and acanthus top and bottom. The case is supported on carved scroll, bracket feet. c.1850.
FRENCH COMMODE
This bowfront kingwood commode has a moulded, veined marble top. The four drawers have veneered fronts, and are divided and flanked by brass-lined flutes. A veneered herringbone pattern is on each side. The commode has a shaped apron with gilt mounts and stands on bracket feet. c.1900.
AMERICAN CHEST OF DRAWERS
This chest has been grain-painted in ochre and yellow with dark green mouldings and recessed side panels. The backboard is dark green with the initials “A” and V’ in gold and copper. The chest has two short above four long drawers. Each side panel is stencilled with a vase of flowers.
AMERICAN BUTLER’S CHEST
This cherry wood chest has panelled sides and four dovetailed drawers with glass handles. The top drawer has a drop front with spindle columns and opens onto a fitted interior with four drawers, eight cubbyholes, and a central prospect door. Mid 19th century.
BRITISH CREST OF DRAWERS
This rectilinear chest of drawers has two short above three long, equal-sized drawers. Each drawer is decorated with laurel swags, and the long drawers also feature a central carved rosette. The chest is supported on a shaped plinth base. Late 19th century.
GERMAN COMMODE
This small commode is made from solid mahogany and veneered in various exotic woods. There is a single frieze drawer below the moulded top and two additional, bombe-form drawers decorated, sans traverse, with flowers, figures, and rocaille. c.1900.

BELTERAND THE ROCOCO REVIVAL
BELTER WAS THE STAR OF THE AMERICAN ROCOCO REVIVAL - HIS FURNITURE COMBINED TECHNICAL WIZARDRY WITH TRADITIONAL SKILL AND WON HIM THE ADORATION OF NEW YORK’S GLITTERATI.

JOHN HENRY BELTER ( 1804-63), as he came to be
known, was born Johann Heinrich Belter, near Osnabruck in present-day Germany. He was trained in the art of wood-carving in Wurttemberg, a town steeped in the traditional Black Forest traditions of hewing complex designs from the native hard woods. Befter left his homeland for America, arriving in New York in 1833. Within six years he had become a naturalized citizen of the United States, and was in business as a cabinet-maker in his newly adopted city as early as 1844. It was not long before his name, like that of Thomas Chippendale, became synonymous with the type of furniture he produced.
A SINGULAR TALENT
Unlike many of his contemporaries in the furniture business, Belter only ever worked within one idiom. Somewhat fortuitously, but also due in no small part to Belter’s own great skill, the Rococo-revival style in which he excelled remained in vogue throughout his career and long after his death. His great triumph, and the exclusive feature of his work that kept him in the vanguard of the competition, was the series of breakthroughs he made in the lamination process.
BELTER PATENTS
AT THE TIME BELTER WAS WORKING, THE US PATENT OFFICE WAS PROCESSING THOUSANDS OF APPLICATIONS A YEAR TO HELP FOSTER A CLIMATE OF INNOVATION. The distinctive style in which John Henry Belter worked would not have been possible
without his innovative technical and methodical achievements. A patent effectively acted as a limited monopoly sanctioned by the State, and could prove extremely
lucrative if used wisely. Although Belter was successful in securing a number of patents during his career, he apparently failed to exploit them to their full potential as he never became very wealthy.
Better fashioned strong laminate panels by affixing thin strips of wood together, the grain in each layer lying perpendicular to that of the layer below. This practice enhanced the natural strength of the wood, rendering it extremely resistant to cracking or Splitting. Rosewood was especially fashionable at the time – Better sourced his from Brazil and India – but he also worked in oak, mahogany and other hard oods, sometimes ebonizing them.
DRAMATIC CURVES
A typical Better piece might be constructed from a series of eight-ply laminate boards, although he sometimes used up to 16 layers of wood. Additional panels carrying carved decoration were often glued on to the frame of a piece of furniture. These panels had been bent under extreme pressure with the application of steam to produce the dramatic curves that are a hallmark of Belter’s oeuvre, along with tight C” and “S” scrolls. The hardiness leant to wood by Belter’s lamination process enabled him to produce elaborate open crestings and aprons.
High-backed chairs provided him with an ideal canvas for his carving skills. Naturalistic depictions of flowers and fruits – vines were a favourite –feature alongside more Classical motifs such as scrolls. It is often only the quality of the carving and the audacity of the openwork that show that a piece came from his workshops. Better’s furniture was of a
consistently high quality and he was patronized
by some very wealthy New York clients. He
also designed a table in ebony and ivory for
display at the 1853 “Exhibition of the
Industry of All Nations”.
EXCLUSIVE TO A FAULT
Better’s refusal to cater to the mass market left him open to rivals who had no such qualms and made small fortunes selling a diluted version of Better’s pieces to aspiring, less wealthy consumers. Despite this, however, Better was not unsuccessful. In 1854, he had his own five-storey factory erected on Third Avenue, on the Upper West Side of
Manhattan. Two years later, he was joined in business by his brother-in-law, John H. Springmeyer. In 1861, William and Frederick Springmeyer also came aboard. When Better succumbed to tuberculosis in 1863, the Springmeyers continued in business. It is a testament to the singular skill of John Better that they were unable to survive for more than four years, despite the
unabated popularity of the Rococo-revival style that the firm had made its own. Better’s absence was felt keenly, and in 1867 the company was forced into closure.

Antique Mid 19th Century American Furniture.

A RENEWED RUSH of immigration from
northern Europe swelled America’s population in the mid-19th century. After the Civil War (1861-65), the victorious North was imbued with new vigour and wealth as the tide of industrialization swept across the states.
The Gothic style also remained popular during the second half of the 19th century. Examples of solid dark wood furniture crowned by cathedral-style trefoils and quatrefoils could be found in many middle-class homes.
UNITED STATES
APPROPRIATIONS FROM EUROPE The American Empire style reached its zenith around 1840, when the tide of fashion turned in favour of plain surfaces. Heavy furniture in mahogany and rosewood veneers dominated the later American Empire period.
The Empire manner was gradually ousted from its central position in American taste by an influx of European craftsmen, who helped to disseminate the Rococo-revival style. The Classical motifs of Empire furniture gave way to emblems drawn from the natural world, and rounded Rococo forms replaced the earlier architectural structures. The development of laminate veneers greatly aided the practitioners of the Rococo revival, led by German-born New Yorker J.H. Belter (see pp.296-97). Some American designers, such as Alexander Roux, eschewed the use of laminated bentwood in favour of a more authentic Rococo look. Roux was a French immigrant whose elaborately carved pieces featured decorative motifs drawn from hunting, such as grouse, dogs, and deer.
HOMEGROWN INGENUITY George Hunzinger, a German who arrived in the United States in 1855, devised ingenious space-saving, mechanical furniture. He amassed more then 20 patents during his career, for furniture that folded, extended, collapsed, or converted. William Wooton, a native of Indiana, secured a patent for an equally clever, but altogether more immutable form in the 1870s. The Wooton Patent Secretary was a large desk that concealed innumerable small drawers and compartments for the storage of documents and chattels.
A NEW AMERICAN RENAISSANCE Renaissance forms were rediscovered after the Civil War and incorporated into a new, distinctly American look. The 1876 Philadelphia Centennial
Exhibition was a statement of the nation’s confidence and marked the culmination of the Renaissance revival. Luminaries of the Gilded Age, such as j.P. Morgan, commissioned grand houses designed in the Renaissance style. The Centennial also spawned an interest in a revival of American colonial furniture forms.
The American people had long been fascinated with Egyptology, and a number of exhibitions of ancient Egyptian artefacts drew vast crowds during the latter half of the 19th century. It is therefore no surprise that Egyptian motifs found their way on to furniture of the period. Actual Egyptian forms were rarely used. Instead, lotus, sphinx, and other emblems were applied to Renaissance-revival furniture.
CHIPPENDALE-STYLE CHAIR
This mahogany side chair with an upholstered drop-in seat has an openwork splat, shaped top rail, and scrolled ears. Elegant cabriole legs terminate in claw-and-ball feet. It is one of a set of six chairs. c.1900.
GOTHIC-REVIVAL ARMCHAIR
This walnut armchair has a carved and pierced crest. The back is flanked by spiral spindles and stiles. The ring-turned arms terminate in ball-turned hand-holds, and the seat is raised on spiral-turned legs.
CHEST-ON-CHEST
This Colonial-revival chest-on-chest is made from mahogany. The upper section of the chest consists of an outset gadroon-carved top, two moulded frieze drawers, and three graduated drawers. The lower section has two
long drawers positioned above a gadroon-carved base and the piece is supported on claw-andball feet. The overall form is based on a mid 18th-century original. The legs are inspired by a mid 18th-century form, while the moulded top drawer is 19th century in style. Mid 19th century.
This tea table or card table, is an exact copy of a late 18th-century piece, with a top that opens out to provide a larger surface. Made from mahogany, the table is inlaid with boxwood. The frieze is inlaid with an urn motif, and the table is raised on square, tapering legs. Mid 19th century.
This Renaissance-revival, laminated walnut, triple-arch sofa is influenced by Louis XV style. It has a pierced foliate, scroll-and-grape clustered frame, centred by a carved mask crest. The tufted back of the sofa is in three sections above a padded serpentine seat with a floral-carved apron on cabriole legs.
The pediment has a central domed crest.
WOOTON DESK
Panel doors are lined with shelves and divisions.
This imposing variation of the fall-front desk has an elaborate, domed pediment. Two lockable, hinged front panels open to reveal an extensive, complex arrangement of interior drawers and divisions. The writing surface, also hinged, lifts from horizontal to vertical so the panel doors can close. The doors are also fitted with shelves and divisions. Late 19th century.
The wooden knobs are in a darker wood than the drawers.

Mid 19th Century Italian Furniture

Despite a nationalistic fervour that eventually resulted in the creation of the modern Italian state in 1861, furniture production in mid-19th century holy was a fragmented affair, concentrated around the cities of Rome, Milan, Venice, and Florence, in the north. The poorer states and kingdoms of the south of Italy, with the exception of Naples seemed
content to continue using simpler, vernacular forms of furniture.
PERSISTENT FRENCH INFLUENCE Until the Risorgimento movement gathered pace, climaxing in the revolutions of 1848, Italy lived in the Cultural shadow of France, her more powerful neighbour to the north. The
prominence of the Rococo and Empire styles in Italy is a direct consequence of this relationship and, despite a wave of anti-French feeling following
Napoleonic occupation during the early 19th century, this influence persisted. The growing importance of Piedmont as the cultural and political apex
around which the emerging Italian state revolved, only served to protract this lingering Francophilia. The
Rococo- revival style was,
therefore, one of the most prominent in mid-19th-century Italy. Fussy forms, such as the canape en cabriolet, a padded sofa, were richly carved and enveloped in gilt. Side tables with pierced and scrolled detail were covered with marble tops in a typically Italian twist. The grotto or fantasy style, originating in medieval France, was one that Italian craftsmen had adopted with relish. Meticulously detailed representations of timber and shell forms characterized this look, which was particularly indebted to the work of French designer Bernard Palissy (1509-90). Although examples of- fantasy furniture from the mid-19th century are generally considered interior to earlier pieces, it was nevertheless a popular revival style.
ITALIAN TRADITIONS
The Renaissance revival was more representative of Italian history, and
the quality of furniture made in this style by Italian craftsmen demonstrates the high esteem in which it was held. The Florentine cabinet-maker Andrea Baccetti and the Sienese wood-carver Angelo Barbetti both produced
particularly fine pieces in the Renaissance style. Archaic forms, Stich as the settle and architectural wall mirrors, were made in walnut, with deep carving depicting Classical and grotesque forms.
Blackamoors, an 18th-century Venetian invention, remained popular well into the 19th century, either as bases for torcheres or as decorative objets in their own right. Venetian glass-makers continued to produce mirrors of the highest quality Particularly fine examples of mirrors with intricately etched glass frames
speak of the greatness of the glass-masters of Murano. Elaborate decorative techniques, such as micromosaic, provided a forum for the most accomplished artisans to demonstrate their proficiency.
In the later 19th century, the regional Italian furniture industry began to flourish, and regions such as Brianza and Pesaro, which are
famous today for their line
work, started to develop the
infrastructures and traditions
that would ensure their
future success.
Round table Designed by Michaelangelo Barberi, the micromosaic table top features a medallion design on a red, square-shaped cartouche and a black marble ground. In the centre is a view of St Peter’s Square, which is surrounded by ovals, representing
the four epochs of Rome. The ebony base has ornate ormolu mounts. c.1850. Dorn:102cm (40%in). DN
Four epochs of Rome
Micromosaic was developed within the Vatican in the 17th century as an alternative means of decorating altars with devotional tableaux. The paintings in the vast basilica of St Peter’s had been damaged by damp, and the enamel tesserae used in micromosaic overcame this problem. They became known in Rome as la vera pillura per eternita, meaning “eternal paintings”.
The technique is an evolution of the ancient architectural mosaics developed in the Greco-Roman period. An image is built up using tiny components, or tesserae, of different-coloured enamel or glass. Each tessera is a thread about 3mm ong with a diameter slightly wider than a hair. The thread is pushed into the putty of the mosaic base, leaving the end visible. The attention to detail and level of expertise
involved in then creation are remarkable –the finest examples include 775 tesserae per cm2 (5,000 per in’).
European gentlemen on the Grand Tour would purchase trinkets, such as boxes and jewellery decorated with micromosaic as mementoes of their time in Rome. The
wealthiest tourists brought home table tops made by craftsmen operating in work-shops in the Vatican. Typically, these table tops depicted scenes from antiquity or famous Roman vistas. They were highly prized throughout Western Europe as Fine-art objects. Other tables might have plain marble tops with panels of micromosaic incorporated within them.
There is a collection of micromosaic artefacts in the Gilbert Collection Museum in London and another in the Hermitage Museum in St Petersburg, Russia.

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.

Dresden and other Meissen imitators
The success of the Meissen factory in reviving, from the 1840s, its-18th-century figures and wares was reflected in the large number of smaller porcelain factories and decoration workshops that produced less expensive copies and adaptations of 18th-century Meissen in the second half of the 19th century. Most of these enterprises were in and around the Saxon capital of Dresden, but several were also established in the neighbouring regions of Thuringia, Silesia, and Bohemia.
DRESDEN DECORATORS
The most obvious difference between 19th-century pieces and Meissen originals is the quality, and style of decoration. Most 19th-century pieces are in the popular Rococo Revival style. Compared
with the delicacy and sparing decoration of original Rococo, they appear over-ornate, with flowers, shells, scrollwork, and figures all together, and are less carefully painted in more garish tones. A distinctive feature is intricate lacework,
made by dipping real lace into the liquid paste and firing it.
The workshop of Helena Wolfsohn
(est. 1843) in Dresden was one of the most prolific decorating workshops. Wolfsohn specialized in painting vases and tea and coffee wares, often in imitation of Meissen; the decoration was typically divided into quarters decorated with figures in landscapes and flowers, in the style of the French painter Antoine Watteau. Other Dresden workshops included Donath & Co. (est. c.1872), Richard Klemm (est. late 1860s), Oswald
Lorenz (est. c.1880), and Adolph Hammann (est. mid-1860s). These workshops used floral sprays with gilt scroll borders on cups and saucers, and green, blue, or pink scale or “mosaic” borders on ornamental wares.
IMPORTANT MANUFACTURERS
In the late 19th and early 20th centuries there were at least 40 porcelain workshops or decorators in and around Dresden, most of them copying the Meissen style. The best pieces may be mistaken for Meissen, but the hard paste used by most workshops is less white and refined than Meissen porcelain. The most common products are individual figures and groups, vases, centrepieces, clockcases, baskets, candelabra, and candlesticks. Figures usually wear 18th-century costume but are larger and far more elaborate than Meissen originals, and groups may include several heavily decorated figures crammed onto one base.
One of the best and most prolific of the Meissen imitators was the factory established by Carl Thieme at Potschappel in 1872, specializing in high-quality items such as candelabra and mirror frames. Other notable manufacturers included the Schlesische porcelain factory in Tiefenfurt, Silesia, the factory of the Voigt brothers in Sitzendorf, Thuringia, and several workshops in Volkstedt, also in Thuringia.
• BODY hard-paste porcelain, not as white and refined as that of Meissen
• Forms elaborate figures and groups, ornamental vases, clockcases, baskets, candelabra, mirror frames, tea and coffee services
• PALETTE strong greens, yellows, pinks, reds, and blues, which were never used on originals
• DECORATION painting was not always carefully applied; Rococo Revival style: usually every part of the piece was decorated with painted scenes in the manner of 18th-century French artists such as Watteau and Boucher, or encrusted with heavily modelled or cast flowers, scrolls, and shells; ornamental pieces with richly modelled or cast and painted mythological, allegorical, and pastoral figures, birds, and animals
• COLLECTING wares from such factories as Carl Thieme in Potschappel and the Voigt factory in Sitzendorf are the most collectable
Fairings, ribbon plates, and lithophanes
At the end of the 19th century, industrial investment –Coupled with an astute eye on the worldwide market – led German makers to begin the mass production of inexpensive porcelain. In due course, as less costly imported ornaments found eager British buyers, this brought about the demise of the Staffordshire figure industry. By their very nature these German novelties were of somewhat poor quality, but they can still be both decorative and enjoyable.
BISQUE FIGURES AND FAIRINGS
Although there was a tradition in Dresden, stretching back to the 18th century, of producing fine porcelain figures, less expensive figurines by Dresden manufacturers also found a ready market. Unglazed (a state called “biscuit” or “bisque”), such figures were inexpensive to produce and showed the detail of their modelling well. Since they were liable to become chipped and dirty easily, some were put under protective glass domes. Very inexpensive figures would be made in a single two-piece mould, while more elaborate examples, often pleasing and of reasonable quality, were assembled from many pieces. Most figures were issued as pairs and remain inexpensive today. The best makers included the Heubach factory at Lichte near Wallendorf in Thuringia, which was famous for its “Piano Babies” – figures of crawling or seated children designed to sit on a table or piano. Heubach also made bisque dolls’ heads.
Another popular range of German items was a series of glazed figure groups aimed mostly at the British market, with English titles on the bases. Originally marketed as “bazaar goods”, these pieces are today called “fairings” because they were frequently sold at fairgrounds. The subjects were often risque or humorous in a “saucy seaside” manner, with jokes about marriage, drink, and lavatories. The principal maker, from c.1880 to 1900, was Conta & Boehme of Possneck in eastern Germany, which also produced many other inexpensive figures and novelties, including holders for matches.
RIBBON PLATES AND LITHOPHANES
It is traditionally believed that plates with pierced borders were intended to be hung from ribbons threaded through the holes in the rims – hence the name “ribbon plates”. Many were indeed displayed in this way, but many others formed part of fruit sets, and their cut-out borders were purely decorative. A variety of subjects decorated the centres, especially popular German and English tourist towns. Most were inexpensively printed in black or sometimes with colour lithographs. Ribbon plates were particularly popular with bargees for their canal boats and also decorated many travellers’ caravans. Originally costing very little, the plates remain inexpensive today.
A lithophane is a very thin plaque of unglazed, hard-paste porcelain bearing a lightly moulded design that is fully revealed only when light is transmitted through it. A huge variety of subject exists, mostly copies of famous paintings and Rhineland views. Lithophanes enjoyed a long popularity, and were originally mounted into lampshades, firescreens, and window panes. They were also known as “‘Berlin transparencies” because that factory was a major manufacturer, as was the Plane factory at Plane an der Havel in Thuringia.
• TYPES ornamental, unglazed single figures or groups,
sometimes risque; pierced plates; decorated plaques
• DECORATION ribbon plates were mostly decorated with town views; lithophanes bear Rhineland views and copies of Old Master paintings
• COLLECTING bisque figures: usually inexpensive; lithophanes: values vary according to size and subject-matter, and hand-coloured examples are very rare; fairings: reasonably priced, the value depending on the rarity of the subject and the quality of the modelling; ribbon plates: generally inexpensive