 POLYCHROME |
 MONOCHROME |
 BLUE and WHITE |
 EARLY CHINESE |
|||||
 S. EAST ASIAN |
 EUROPEAN |
 SHIPWRECK |
 BRONZE |
| Page N. 1 of 8 |
KANGXI 1662 - 1722. Chinese Export PorcelainA Large Kangxi Blue and White Porcelain Jar and Cover c.1690-1710. Stock n. 21298 R and G McPherson dealers in antique Chinese porcelain |
KANGXI 1662 - 1722. Chinese Taste PorcelainA Kangxi Blue and White Porcelain Saucer. The Moulded Body Decorated with an Erotic Scene of a Scantly Clad Couple Together Below a Willow Tree. This Kangxi Porcelain design has been interpreted in different ways, older descriptions sometimes refer to the design as depicting acupuncture. However this does seem unlikely, as it is not normally practised without clothes on and they do look rather happy. It could be that this was a rather coy description, when the real subject was known. Erotic designs are rare on Chinese Porcelain and seem to have been made for the domestic and local export market. It is though, not possible to rule this piece out as Export Porcelain for the European market as the form is so close to other Kangxi Export Porcelain. The design is quite unusual, but is the most common erotic design found on Chinese Porcelain. It normally appearing on saucers of this size, however sometimes teabowls and saucers are encountered. To my knowledge other forms do not occur with this distinctive pattern. Stock n. 21407 R and G McPherson dealers in antique Chinese porcelain |
HATCHER CARGO c.1643. Transitional Porcelain.A Transitional Porcelain Vase Decorated in Blue and White, from the Hatcher Cargo. Well Painted with Bamboo and Rocks. This slender Transitional Porcelain shape is rarely, if ever, encountered apart from blue and white Porcelain from the Hatcher Cargo. The Hatcher Cargo : The dating of the Porcelain from the Hatcher Cargo is based on several elements. Firstly, the ceramics recovered are of a coherent group, in other words they appear to all have been made at the same time. Blue and white Porcelain dishes with a coiled serpent that have been recovered from the Hatcher Cargo match an important dish from the fall of the Ming dynasty, formerly in the Percival David Foundation, now at the British Museum London, which can be dated to 1644 - 1645. However, the most important dating reference are the two cover recovered from the wreck datable by inscription to the spring of 1643. The Ming dynasty officially ended in 1644. There were 25,000 pieces recovered from the Hatcher Cargo, most were blue and white porcelain from Jingdezhen. However a few Swatow and Blanc de Chine items were found. It seems apparent that this cargo was going to be trans-shipped, some for the local South East Asian market, including bird feeders, cricket cages and pickled dishes. However there were many items made for the West, including western shapes. The Dutch East India Company ( The V.O.C.) had been sending wooden shapes out for copying from the 1630’s. Transitional period porcelain (between the end of the Ming and the beginning of the Qing) is often of very good quality with wonderful landscape and paintings of plants. Indeed the quality of this cargo is generally very high. It dates from the very end of the Ming dynasty. Provenance : The Hatcher Cargo, Christies's Amsterdam (No label). An English Private Collection, From an 18th Century House in Cheyne Walk, Chelsea, London. Stock n. 20109 R and G McPherson dealers in antique Chinese porcelain |
KANGXI 1662 - 1722. Kangxi Porcelain.A Large Kangxi Blue and White Porcelain YenYen Vase Decorated with Peony c.1690-1720. Stock n. 21514 R and G McPherson dealers in antique Chinese porcelain |
SHUNZHI 1644 - 1661. Transitional PorcelainA Transitional Porcelain Vase, Shunzhi Period c.1645-1655. The Thickly Potted Baluster Form Decorated in Blue and White in the 'High Transitional' Style with a Qilin (Kylin) in a Landscape with 'V' Shaped Grass, a Banana Plant and an Ornamental Rock. With a Later Wood Cover and Stand. Qilin or Kylin. A Qilin (Kylin) is a mythical hooved Chinese chimerical creature. Despite its fierce demeanour it is a good omen that brings Rui (roughly translated as 'serenity' or 'prosperity'), longevity, illustrious offspring and wise administration. The scaly body has a dragons head, hooves and can appear to have fire issuing from its body. The male Qilin is called a Qi and the female a Lin. The male often has horns. These creatures carefully tread to avoid all living insects or destroy grass under foot, it is reputed to be able to walk on water as well as land. Qilin only appear to mankind when an emperor of the highest benevolence sits on the throne or when a sage is about to be born. There is a strong argument that the Qilin is a stylised representation of the giraffe. This is because the Qilin is referred to only since the Ming Dynasty. The time of its first reference correspond roughly with the voyages of Zheng He, there were seven voyages between 1405 and 1433 (Zheng He lived c.1371–1435). It is known that on Zheng He's voyage to East Africa (landing, among other places, in modern-day Kenya), the fleet brought back two giraffes to Beijing. It is also known that these two giraffes were referred to as Qilins. The Emperor proclaimed the giraffes magical creatures, whose capture signalled the greatness of his power. The Transitional Period. The roots of this unsettled period starts during the later part of Wanli's reign (1573-1620). At the begging of his reign China was doing very well, new crops from the Americas such as peanuts, maize and sweet potatoes increased food production, while simplified taxes helped the state run smoothly. But this was not due to Wanli's enlightened reign, but to his Mother championing a man that was to become the Ming dynasties most able minister, Zhang Zhuzheng (1525—1583). Wanli became resentful of Zhuzheng's control but upon his death became withdrawn from court life. Between 1589 to 1615 he didn't appear at imperial audiences, leaving a power vacuum that was filled by squabbling ministers. Mongols from the North raided as Japan invaded Korea. Wanli re-opened the silver mines and imposed new taxes but the money was lost due to corruption, as well as being frittered away by the indulgent Emperor himself . The next emperor of Ming China, Tianqi (1621-1627), was bought up in this self indulgent disorganised environment, at the very young age 15 his short reign started. He didn't stand a chance. Tianqi made the mistake of entrusting eunuch Wei Zhongxian (1568-1627) who Anna Paludan in her excellent book "Chronicle of the Chinese Emperors" (Thames and Hudson, 1998) describes as "a gangster of the first order". Tianqi was deemed to have lost the Mandate of heaven by the Ming people. Tianqi's younger brother, the last of the Ming Emperors, Chongzhen (1628-1644), was not able to save the situation. The systems of administration had broken down, corruption was rife and so when a sever famine broke out in 1628 nothing much could be done. Anna Paludan describes the tragic end to the great Ming Dynasty "The final drama was worthy of a Greek tragedy. The emperor called a last council in which 'all were silent and many wept', the imperial troops fled or surrendered, and the emperor, after helping his two sons escape in disguise, got drunk and rushed through the palace ordering the women to kill themselves. The empress and Tianqi's widow committed suicide; the emperor hacked off the arm of one daughter before killing her sister and the concubines. At dawn he laid his dragon robe aside and dressed in purple and yellow, with one foot bare, climbed the hill behind the now silent palace and hanged himself on a locust tree". The Great Wall of China, started 2,000 years ago was built to protect China from the Northern barbarian hoards, it was often tested and sometimes failed. The Jin people invaded China, ruling the North between 1115 and 1234, it was their descendants the Manchus, Jurchens from south east Manchuria that took full advantage of the problems of the Ming dynasty. In 1636 they adopted a Chinese dynastic name, the 'Great Qing' (Qing meaning pure). The first of the Qing emperors was Shunzhi (1644-1661) but for most of his reign his uncle ran the state. War raged on during this period and it wasn't until the second Qing emperor Kangxi (1662-1722) that true peace was achieved. Kangxi was a wise and educated man, he became a highly successful emperor bringing China a long period of wealth and stability. Shunzhi was emperor of Manchuria between Oct. 8, 1643-Oct. 30, 1644. Officially proclaimed emperor of China on Oct. 30, 1644. The Shunzhi Emperor (March 15, 1638–February 5, 1661?) was the second emperor of the Manchu Qing dynasty, and the first Qing emperor to rule over China proper from 1644 to 1661. For a Blue and White Transitional Porcelain jar with similar Qilin see 17570 and for another see 21409 in our Archives. Stock n. 21519 R and G McPherson dealers in antique Chinese porcelain |
MING DYNASTY 15th Century. Longquan Celadon Ware.A Large Early Ming Dynasty Longquan Celadon Ware Vase, Longquan Kilns, Zhejiang Province, 15th Century. This Substantial Vase is Carved with Scrolling Lotus and Stiff Leaves. Stock n. 21330 R and G McPherson dealers in antique Chinese porcelain |
JIAJING 1522 - 1566. Ming PorcelainA Large Ming Porcelain Bowl, Jiajing Period 1522-1566. Decorated in Blue and White with Roundels of Deer and Birds, the Well of the Bowl with a Large Hare. The Base with an Apocryphal Xuande Six Character Mark, Ming Dynasty (1426-1435). Jiajing 1522-1566. From the beginning of Jiajing's reign, he was infatuated with young women and Taoist pursuits. He was known to be a cruel and self-aggrandizing emperor and he also chose to reside outside of the Forbidden city in Beijing so he could live in isolation while ignoring state affairs. Jiajing employed incapable individuals such as Zhang Cong and Yan Gao, on whom he thoroughly relied to handle affairs of state. He abandoned the practice of seeing his ministers altogether from 1539 onwards and for a period of almost 25 years refused to give official audiences, choosing instead to relay his wishes through eunuchs and officials. This eventually led to corruption at all levels of the Ming government. Jiajing's ruthlessness also led to an internal plot by his concubines to assassinate him in 1542 by strangling him while he slept. The plot was ultimately foiled and all of the concubines involved were summarily executed. References : For a very similar Ming Porcelain bowl see : Chinese Blue and White Ceramics (S.T. Yeo & Jean Martin, South East Asian Ceramic Society, 1978) page 152, plate 57. A Further very similar Ming Porcelain bowl can be seen in : Chinese Ceramics in the Topkapi Saray Museum Istanbul, A Complete Catalogue II, Yuan and Ming Porcelains (Regina Krahl, Sotheby's 1986) page 643 plate 973. Stock n. 215411 R and G McPherson dealers in antique Chinese porcelain |
NORTHERN SONG DYNASTY 960 - 1127. Song Qingbai Ware.A Northern Song Dynasty (960 - 1127) Qingbai Dish of Flower Shape with a Carved Notched Rim. The Piece has Been Doubled Dipped in Glaze Resulting in a Wave of Thicker Glaze to the Inside of the Dish. £480 Another Northern Song Dynasty (960 - 1127) Qingbai Dish of Flower Shape with a Carved Notched Rim. The Piece has Been Doubled Dipped in Glaze Resulting in a Wave of Thicker Glaze to the Inside of the Dish. £480 Stock n. 21189 R and G McPherson dealers in antique Chinese porcelain |
CHONGZHEN 1628-1644. Transitional Porcelain.An Unusual Transitional Blue and White Porcelain Bowl, Late Ming, Chongzhen Period 1628-1644. This Blue and White Porcelain Bowl was Probably Made for the Japanese Market, the Unusual Decoration is Extremely Freely and Vigorously Painting. The Subject of Birds and Plants has Become Almost Lost in a Maze of Calligraphic Swirls, lines and Dots. The Base with an Apocryphal Chenghua Six Character Mark, Ming Dynasty 1465-1487. Stock n. 21496 R and G McPherson dealers in antique Chinese porcelain |
KANGXI 1662 - 1722. Chinese Export Porcelain.A Kangxi Blue and White Porcelain Bowl. Painted with a Hunting Scene, One Side Shows a Man on a Charging Horse-Back Chasing a Hare with His Arrow ready to be fired. The Reverse with a Woman on a Dappled Horse with a Sword. The Base with a Ming Chenghua Six Character Mark. Blue and white Kangxi bowls such as the present example are well represented in Dutch collections, many of which were ordered by the V.O.C. for the Dutch upper and middle class market. The style of painting, potting and the style of painting used for the Ming mark links this type with the 'Rotterdam Riot' plates that can be dated to the early 1690's. Apocryphal marks are frequently encountered on Kangxi Blue and White Porcelain, the mark of the Ming Emperor Chenghua who reigned from 1465 to 1487 being by far the most common, other Ming marks include Jiajing (1522-1566) and less frequently Wanli (1573-1620). These marks were not added to the piece to deceive, but more as a sign of reverence to earlier potters of the Ming dynasty (1368-1644). Occasionally they are used on pieces copying Ming Porcelain, these objects were probably made for collectors who could not afford the Ming original. Stock n. 19250 R and G McPherson dealers in antique Chinese porcelain |
SOUTHERN SONG or YUAN DYNASTY c.13th or 14th Century. Northern Black Stoneware.A Southern Song or Yuan Northern Black Stoneware Vase, c.13th or 14th Century. Stock n. 21487 R and G McPherson dealers in antique Chinese porcelain |
FIVE DYNASTIES or NORTHERN SONG DYNASTY 10th or 11th Century. Yaozhou Celadon Ware.A Five Dynasties or Northern Song Yaozhou Celadon Ware Bowl with Steep Sides. Yaozhou Celadon Ware from in Shaanxi or Henan Province. Yaozhou Celadon : Yaozhou Celadon ware comes in many forms, but small crisply moulded or carved bowls were a popular product, as were miniature press-moulded figures or animals, toys and everyday utensils. The Yaozhou kilns main production at Shaanxi was celadon, but they also produced black and brown wares as well. Song Yaozhou glazes are rather different to both earlier and later Chinese Celadons. Later celadons from Longquan of the Yuan and Ming Dynasties have a very thick rich glaze suffused with bubbles throughout, these diffuse the light hitting the glaze, creating a very soft rich sheen. Yaozhou Celadons have a thinner glaze with smaller bubbles. Yaozhou celadons have a more obvious green than earlier wares but the thinness of the glaze means that the ceramic body is far more likely to be visible than on Longquan celadons. The colour of Yaozhou celadons tends to be more to wards olive green rather than the Longquan celadon which is normally richer and nearer a true green. Stock n. 21197 R and G McPherson dealers in antique Chinese porcelain |
CHANTILLY c.1735 - 1740. French Soft-Paste Porcelain.An 18th Century Chantilly Soft-Paste Porcelain Saucer in the Kakiemon Style c.1735-40 with Banded Hedges and Flower. Banded Hedges were a formal device within Japanese traditional gardens, they were often incorporated in Japanese Kakiemon, Imari and Blue and White designs, includes 'The Three Friends of Winter' (Pine, Bamboo and Prunus). 18th Century European Porcelain versions of the Banded Hedge often appear to have been interpreted as wheat sheaves. For a pair of 18th Century Chantilly Porcelain leaf shaped dishes of this design see : Porcelaine Tendre de Chantilly au XVIIIe Siecle (Genevieve le Duc, Hazan. ISBN 2-85025-459-Z) page 112. Stock n. 21584 R and G McPherson dealers in antique Chinese porcelain |
TANG DYNASTY 619 - 906. Tang Stoneware.A Late Tang Dynasty White Stoneware Bowl, Probably from Hebei Province, 9th Century. Since the Tang dynasty (618-906) writers have paid homage to the beauty of white wares leaving tangible evidence of their value. However, the class and refinement displayed in wares of complete whiteness had been sought after hundreds of years before the Tang dynasty and would be cultivated for hundreds of years after its demise. This infatuation generated a variety of white wares which vary in degree of whiteness, refinement of materials, and decoration as a large number of kilns produced white wares even if it was not their specialty. Importantly white wares are not confined to one way of production or from one kiln or geographic area. Until the Southern Song dynasty white wares were considered a product of northern China, however, white wares were still manufactured in the south. Thus, within this commentary, white wares are loosely defined as a body (porcelain or stoneware), slip, glaze, or any combination therein, that creates a white or white-toned ware. Additionally, only a few of the most influential white wares produced during the Song dynasty (960-1279) are discussed as scholars are still debating over the many types of white wares. Future excavation and research hold many exciting discoveries for this discipline. Stock n. 21462 R and G McPherson dealers in antique Chinese porcelain |
SEVRES c.1760 - 1780 French Soft-Paste PorcelainAn 18th Century Sevres Soft-Paste Porcelain Coffee Cup and Saucer c.1760-1780. Plain Apart from an Indented Gilded Rim. Both Bases Marked with Double Interlaced L's for the Sevres Porcelain Factory. It is possible this Sevres Porcelain cup and saucer was left undecorated apart from the gilded rim as there is a small amount of kiln dust in the glaze (see condition report), the piece would then have been sold at a much lower price. It is unusual to fined such plain pieces of 18th Century Sevres Porcelain as so many pieces were re-decorated in whole or part during the 19th century. Provenance : Old label to base in copper plate writing 'Sevres'. Stock n. 20492 R and G McPherson dealers in antique Chinese porcelain |
JIAJING to Early WANLI c.1550 - 1580. Ming Porcelain.A Large 16th Century Ming Porcelain Dish Decorated in Blue and White with an Extensive Landscape, Jiajing, Longqing or Early Wanli c.1550-1580. The Scene Shows a Scholar on Horseback with his Attendant Crossing a Bridge on Their Way to a Large Building set into the rocks. The Background Shows a Pagoda, Pine Trees with Cranes or Egets and to the Right of the Background is a Sanpan. The Border Comprises Egrets or Cranes among Lotus. The Back Shows Tree shrews Among Vines. References : For similar 16th century Ming Porcelain dishes see : Chinese Ceramics in the Topkapi Saray Museum Istanbul, A Complete Catalogue II, Yuan and Ming Porcelains (Regina Krahl, Published in association with the Directorate of the Topkapi Saray Museum by Sotheby's Publications 1986) Pages 684 - 687. For another Ming dish with a very similar design see : An Important Collection of Chinese Ceramics, Christie's, London, 12th and 13th of May 1986. For another Ming Porcelain dish of this type see our Archives stock number 17522. Provenance : From a Private American Collection. Stock n. 21368 R and G McPherson dealers in antique Chinese porcelain |
TANG DYNASTY 618 - 907 Tang PotteryA Tang Dynasty White Stoneware Box and Cover, Northern China. Stock n. 21481 R and G McPherson dealers in antique Chinese porcelain |
CHANTILLY c.1735. French Soft-Paste Porcelain.An 18th Century Chantilly Soft-Paste Porcelain Pot in the Kakiemon Style c.1735. The Base with an Iron-Red Hunting Horn Mark for Chantilly. Published : Porcelaine Tendre de Chantilly au XVIIIe Siecle (Genevieve le Duc, Hazan. ISBN 2-85025-459-Z) page 112. Stock n. 21581 R and G McPherson dealers in antique Chinese porcelain |
CHONGZHEN 1628-1644. Transitional Porcelain.A Transitional Porcelain Blue and White Jar, Late Ming, Chongzhen Period 1628-1644. Decorated with a Scholar in a Garden Landscape Under a Parasol, a Further Figure can be Seen in a Building. The Base with a Hare Mark. The present Transitional Blue and White Porcelain jar is from a well known group which share many Kraak Ware characteristics. The shoulder decoration, quality of porcelain as well as the finish relate closely to kraak ware of the period, however this does not necessarily mean they were made at the same Jingdezhen kilns as Kraak Ware. For two similar Transitional Porcelain jars recovered from the Hatcher Cargo see : Catalogue of Late Yuan and Ming Ceramics in the British Museum.(Jessica Harrison-Hall.The British Museum Press, 2001. ISBN 0-7141-1488-X.) page 377. Stock n. 21527 R and G McPherson dealers in antique Chinese porcelain |
VUNG TAU CARGO c.1690 - 1700. Kangxi PorcelainAn Unusual Kangxi Blue and White Porcelain Tazza from the Vung Tau Cargo Shipwreck. This rare form is almost unknown apart from the pieces recovered from the Vung Tau shipwreck of c.1690 to 1700. Stem cups and footed dishes are shapes used in China, however the present example is a European form, it would have been based on Dutch glass or pewter. Jorg states that these blue and white Kangxi tazza were probably used for serving sweets or lumps of sugar, he also states that it has been suggested that they were used for wine. This appears an unlikely use. Provenance : Christie's Amsterdam, The Vung Tau Cargo, Chinese Export Porcelain, April 1992. Label to base lot 15. A Private collection. For a very similar Kangxi Porcelain tazza see : Porcelain From The Vung Tau Wreck - The Hallstrom Excavation (By Christian J.A. Jorg and Michael Fletcher.Sun Tree Publishing Ltd, U.K. ISBN 981-04-5208-X.) page 71 figure 62. Stock n. 21491 R and G McPherson dealers in antique Chinese porcelain |
CHONGZHEN 1628-1644. Transitional Porcelain.A Transitional Porcelain Blue and White Jar, Late Ming, Chongzhen Period 1628-1644. Decorated with a Scholar in a Garden Landscape Under a Parasol, a Further Figure can be Seen in a Building. The Base with a Hare Mark. The present Transitional Blue and White Porcelain jar is from a well known group which share many Kraak Ware characteristics. The shoulder decoration, quality of porcelain as well as the finish relate closely to kraak ware of the period, however this does not necessarily mean they were made at the same Jingdezhen kilns as Kraak Ware. For two similar Transitional Porcelain jars recovered from the Hatcher Cargo see : Catalogue of Late Yuan and Ming Ceramics in the British Museum.(Jessica Harrison-Hall.The British Museum Press, 2001. ISBN 0-7141-1488-X.) page 377. Stock n. 21528 R and G McPherson dealers in antique Chinese porcelain |
MING DYNASTY 1368 - 1644. Ming Cast IronA Ming Cast Iron Model of a Luohan on a Shaped Base, 16th or 17th Century. A Luohan is the Chinese word for a Arhat. The name signified a spiritual practitioner who had – to use an expression common in the tipitaka – "laid down the burden", realising the goal of nirvana, the culmination of the brahmacarya (spiritual life). Such a person, having removed all causes for future becoming, is not reborn after biological death into any samsaric realm (the cycle of birth, death and rebirth). Stock n. 21448 R and G McPherson dealers in antique Chinese porcelain |
SOUTHERN SONG or YUAN 13th or 14th Century. Longquan Celadon WareA Small Song or Yuan Celadon Ware Vase from the Longquan Kilns, 13th or 14th Century. The Bronze Form Pear Shaped Vase has Two Large Loop Handles. Old Collection Labels to the Base. Celadon Ware. Celadon is a term used to describe several types of Chinese stoneware and porcelain, as well a ceramics from other countries, notably from Korea and Japan. The term is a imprecise one, applying to various types of green glazed ceramics, but not all ceramics with green glazes, there are several wares that have a green glaze that are not refereed to as celadon. For example Green Jun and Ge Ware. For this reason there has been a move to try to clarify the situation by using the term 'Green Ware'. But for now Celadon is a more familiar and therefore useful term. The origins of the term Celadon are not clear, one theory is that the term first appeared in France in the 17th century and that it is named after the shepherd Celadon in Honoré d'Urfé's French pastoral romance, L'Astrée (1627), who wore pale green ribbons. (D'Urfe, in turn, borrowed his character from Ovid's Metamorphoses.) Another theory is that the term is a corruption of the name of Saladin, the Ayyubid Sultan, who in 1171 sent forty pieces of the ceramic to Nur ad-Din, Sultan of Syria. Yet a third theory is that the word derives from the Sanskrit sila and dhara, which mean "stone" and "green" respectively. Celadon ware originated in Zhejiang Province in the Eastern Han Dynasty, however green monochrome glazes can be found on stoneware much before that date. Zhejiang is were the famous Longquan Celadons were made but Celadon wares were also produced at Jiangsu, Hubei, Hunan and Jiangxi. The production of Celadon Ware required a reducing atmosphere of around 1300 degrees C., the colouring agent was a mixture of iron oxide and titanium. The glaze was applied very thickly, and was full of tiny bubbles which defuse the light giving the appearance of richness and softness. Stock n. 21028 R and G McPherson dealers in antique Chinese porcelain |
SONG or YUAN 12th or 13th Century. Chinese StonewareA Song or Yuan Persimmon Glazed Shallow Bowl. Possibly from the Rongxian or Jingdezhen Kilns. Persimmon glazed Song ceramics and so called 'purple Ding' have a colour that is reminiscent of Northern Song lacquer wares. Stock n. 21474 R and G McPherson dealers in antique Chinese porcelain |
KANGXI 1662 - 1722. Chinese Taste PorcelainA Kangxi Blue and White Porcelain Saucer. The Moulded Body Decorated with an Erotic Scene of a Scantly Clad Couple Together Below a Willow Tree. This Kangxi Porcelain design has been interpreted in different ways, older descriptions sometimes refer to the design as depicting acupuncture. However this does seem unlikely, as it is not normally practised without clothes on and they do look rather happy. It could be that this was a rather coy description, when the real subject was known. Erotic designs are rare on Chinese Porcelain and seem to have been made for the domestic and local export market. It is though, not possible to rule this piece out as Export Porcelain for the European market as the form is so close to other Kangxi Export Porcelain. The design is quite unusual, but is the most common erotic design found on Chinese Porcelain. It normally appearing on saucers of this size, however sometimes teabowls and saucers are encountered. To my knowledge other forms do not occur with this distinctive pattern. Stock n. 21408 R and G McPherson dealers in antique Chinese porcelain |
SONG DYNASTY 11th to 13th Century. Cizhou WareA Song Cizhou Ware Cream Coloured Bowl, 11th to 13th Century. Stock n. 21461 R and G McPherson dealers in antique Chinese porcelain |
MEISSEN c.1728 - 1730. German Hard-Paste PorcelainA Rare 18th Century Meissen Porcelain Cane-Handle Modelled by J.C.L. von Lücke in the Form of a Man's Head with an Elaborately Decorated Floppy Cloth Cap Tilted to One Side to Reveal His Curly Hair. Johann Christian Ludgwig von Lücke (c.1703-1780) came from Poland and worked at Meissen as a model maker for nine months, from 1728 to 1729. He also carved ivory and was later a modeller at the Vienna Porcelain factory (1750-1751). For an almost identical Meissen porcelain cane handle modelled by J.C.L. von Lücke see Continental Ceramics, Enamels, Snuff Boxes and Chelsea Toys, Sotheby's, London 11th April 1978, lot 334. For a similar Qianlong period Chinese Export porcelain cane handle in the Meissen style see : Important Collection de la Compagnie des Indes et Porcelaine de la Chine, Sotheby's, Monte Carlo, 27th May 1980, lot 965. For a further Chinese Export Porcelain can handle of this type see : Chinese Export Porcelain and Decorative Arts, Sotheby's, London,10th May 1988, lot 144. Stock n. 21681 R and G McPherson dealers in antique Chinese porcelain |
HÖCHST c.1760 - 1770. German Hard-Paste PorcelainAn 18th Century Höchst Hard-Paste Porcelain Coffee Cup and Saucer c.1760 - 1770. Decorated in Puce Camieux with a Landscape. The Handle of Scrolling Rococo Form. The Base with an Underglaze Blue 'Wheel' Mark for the Höchst Porcelain Factory. The Base of the Cup Incised 'NI' and the Saucer Impressed 'AI'. The Cup is Painted by a More Competent Hand than the Saucer. The Höchst Factory, based at Höchst-on-the-Main started porcelain production in 1750. However the porcelain factory was not on a sound financial basis until 1765 when it was subsidised by the Elector Emmerich Joseph. Royal patrons were vital to the viability of 18th century European porcelain factories, without them most would have failed. 'White Gold' was new and very fashionable, royal patrons lined up to be associated with porcelain production. Their patronage had a double function, it both supported the factories financially and at the same time increased an interest in porcelain among the upper classes. This association between patron and porcelain factory came to an end during the latter part of the 18th century, the finial links became severed by French Revolution. The Höchst Porcelain Factory closed in 1794. Stock n. 21450 R and G McPherson dealers in antique Chinese porcelain |
MEISSEN, Marcolini Period 1774 - 1814. German Hard-Paste Porcelain.A Meissen Porcelain Figure of a Female Tennis Player, Marcolini Period 1774 - 1814, Probably c.1790-1800. Marked with Crossed Swords in Underglaze Blue for Meissen and a '*' to Denote Production During Count Marcolini's Ownership of the Factory. The Based Incised Under the Glaze F.31. Marcolini Meissen : Camillo Count Marcolini-Ferretti (1739 - 1814) was a Saxon minister and general director of the fine arts. The prince-elector Frederick Christian met Marcolini's father in Rome and they agreed that in 1752 Marcolini would be sent as donze to the Saxon court. In Saxony, Marcolini gained the prince-electors and future Frederick Augustus I of Saxony's trust. In 1767 Marcolini became Lord Chamberlain, 1778 Lord Controller, 1799 Lord equerry, 1772 Privy Councillor and 1809 minister of the royal cabinet. He followed after the Battle of Dresden in 1813 the King to his exile. Marcolini died in 1814 in his exile in Prague. Beside his political career Marcolini became general director of the fine arts in 1780 and the art academy as well as director of the Meissen porcelain manufacture. His sign was between 1775 and 1814 the crossed swords with a star. This time is known as one of the best periods of Meissen porcelain. Further on he founded the zoological garden and horse breeding in Annaburg in 1792. At May, 4th, 1778 Marcolini married Baroness Anna O'Kelly, a descendant of King James II of England Stock n. 21565 R and G McPherson dealers in antique Chinese porcelain |
MEISSEN, Academic Period 1763 - 1774. German Hard-Paste Porcelain.An 18th Century Meissen Porcelain Salt, Academic Period 1763 - 1774. The Decorated Natürliche Blumen and Watteau Style Figures. The Base with a Crossed-Swords Mark with a Dot Between the Hilts, for the Meissen Porcelain Factory of the Academic Period and an Impressed T. This salt was produced during Meissen's Academic Period, commonly referred to as the Dot Period (1763 - 1774) due to the mark which included a dot between the hilts of the crossed-swords. This period comes directly after the Seven Years War (1756-63), which concluded with the treaties of Hubertusburg and Paris in 1763. It was a time when the factory and indeed much of Europe was recovering from this protracted conflict. It resulted in some 900,000 to 1,400,000 deaths. Stock n. 21601 R and G McPherson dealers in antique Chinese porcelain |
EASTERN HAN 25 - 220. Han Lead-Glazed PotteryA Han Pottery Model of a Goats in a Pen, Eastern Han Period 25-220. The Green Lead-Glazed Red Pottery Model Shows Four Seated Goats in a Circular Pen. Animal pens such as this were an important element in rural China at this time, other Mingqi pottery models of this type show farm buildings, mills, ovens and watch towers as well as the animals and the farmers themselves. Mingqi pottery objects were designed specifically for use in tombs. Most Han Mingqi pottery consists of copies of bronze or lacquer vessels or models of architecture forms, figures as well as animals. Food was an important element of Han burials, as with ancient Egypt foodstuffs were believed to provide sustenance for the next life. Richer tombs were generously supplied with raw agricultural products. Provenance : Collection of Baroness Dunn. Lydia Selina Dunn, Baroness Dunn, DBE, JP was the Senior Unofficial Member of the Legislative Council and Executive Council in Hong Kong in 1985-1988 and 1988-1995, after Rogerio Hyndman Lobo and Chung Sze Yuen respectively. She has been deputy chairman of HSBC in 1992-2008. As one of the most senior politicians in Hong Kong, Baroness Dunn had considerable influence in the Government of Hong Kong before her retirement in 1992, after Chris Patten was made Governor. Stock n. 21416 R and G McPherson dealers in antique Chinese porcelain |
SHUNZHI or KANGXI c.1650 - 1720. Blanc de Chine PorcelainA Blanc de Chine Porcelain Vase, Shunzhi 1644-1661 or Kangxi 1662-1722. This Blanc de Chine Vase from the Dehua Kilns in Fujian Province is of Compressed Baluster Form with a Slightly Flaring Neck. The Sides are Decorated with Appliqué of Flowering Tree Peony. Stock n. 21382 R and G McPherson dealers in antique Chinese porcelain |