A Japanese Imari Porcelain Plate From the Royal Collection at the Japanese Palace Dresden in 1721.

c.1690 - 1720.

A Japanese Imari Plate from the Royal Collection at the Japanese Palace Dresden in 1721, Arita Kilns. Engraved Dresden Palace mark N:92 + which has traces of black. This thickly potted plate is decorated with polychrome enamels and gilding, with blue under-glazed cobalt blue decoration. This colour scheme is sometimes seen as a sub-group of Japanese Imari, which is under-glaze blue, with over-glaze red and gilding. It’s akin to the so-called Chinese verte-Imari. This plate is enamelled in green, yellow, red, and pale blue with the addition of gilding. The design consists of a large double handled three-legged censer form vessel on a low table with Chrysanthemum, flanked by a pair of coloured waisted vases with Dianthus (pinks). The border is decorated with a hōō bird (Hiragana) on a rocky slope, with flowering camellia and chrysanthemum. Another hōō bird, with differently coloured feathers is inflight among stylised flowers to the left. The Japanese Palace has two plates from this set, donated by Robert McPherson Antiques (see below).

See Below for More Photographs and Information.

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Condition: In excellent condition, some minor wear.
Size: Diameter 22 cm (8 3/4 inches).
Provenance: Formerly Royal Porcelain Collection Dresden, Japanese Palace. Royal Collection at the Japanese Palace Dresden in 1721, engraved Dresden Palace mark N:92 + which has traces of black. Two Imari plates of this design were donated by Robert McPherson Antiques (stock numbers 27061 and 27062), The Netherlands to Royal Porcelain Collection Dresden, Japanese Palace. Via Stichting vor Aziatische Kunst en Kunstnijverheid (Anders Foundation). The Netherlands Porzellansammlung (Staatliche Kunstsammlungen Dresden) on 15 November 2022; received on 22 November 2022.
Stock number: 27065
References: For a larger Japanese imari plate of this of this design in the collection of Royal Collection Trust, see : Chinese and Japanese Works of Art, in the Collection of Her Majesty The Queen. Volume 2 (John Ayres, Thames and Hudson, November 2016. ISBN-10 ‏ 1905686498) page 662, plate 1556.

Photos

Information

Augustus the Strong 1670 – 1733
Augustus II (1670-1733) King of Poland and Elector of Saxony known as Augustus the Strong. Augustus`s great physical strength earned him the nicknames `the Strong`, `Saxon Hercules` and `Iron Hand`. He liked to show that he lived up to his name by breaking horse shoes with his bare hands. His ancestor Cymburgis of Masovia was also noted for her strength. Augustus the Strong owed allegiance to the Imperial Habsburgs as a member of the Order of the Golden Fleece. Augustus the Strong owed allegiance to the Imperial Habsburgs as a member of the Order of the Golden Fleece. As Elector of Saxony, he is perhaps best remembered as a patron of the arts and architecture. He established the Saxon capital of Dresden as a major cultural centre, attracting artists and musicians from across Europe to his court. Augustus also amassed an impressive art collection and built fantastic baroque palaces at Dresden and at Warsaw. As a politician, he is nowadays not held in high esteem in Poland, getting blamed for embroiling the Polish-Lithuanian Commonwealth in the Great Northern War. His attempts at internal reforms and at bolstering the royal power are considered to have come to naught, while his policies are said to have allowed the Russian Empire to strengthen its influence over the Polish-Lithuanian Commonwealth.

Augustus-the-Strong. Augustus II (1670-1733) King of Poland and Elector of Saxony known as Augustus the Strong.Meissen Porcelain c.1715. — Augustus the Strong. Augustus II (1670-1733) King of Poland and Elector of Saxony known as Augustus the Strong.

Royal Porcelain Collection Dresden, Japanese Palace.

Robert McPherson Antiques Donation

To The Royal Porcelain Collection Dresden, Japanese Palace.

The collection did not have any of these plates with the Dresden Inventory mark of N: 92 with a cross.

They now have two, donated by Robert McPherson Antiques (stock numbers 27061 and 27062). Robert McPherson Antiques, The Netherlands via
Stichting vor Aziatische Kunst en Kunstnijverheid (Anders Foundation), The Netherlands.
Porzellansammlung (Staatliche Kunstsammlungen Dresden) on 15 November 2022; received on 22 November 2022.

Two plates Donated to the Royal Porcelain Collection, Japanese Palace by Robert McPherson Antiques. — One of Two Japanese Imari Porcelain Plates Donated to the Royal Porcelain Collection, Japanese Palace, Dresden, by Robert McPherson Antiques.

Royal Porcelain Collection Dresden, Japanese Palace. Palace Inventory of 1721 Relating to This Plate.

1721 Palace Inventory Number incised and blackened N: 92 with a cross.

Formerly Royal Porcelain Collection Dresden, Japanese Palace
Donated by Robert McPherson Antiques, The Netherlands.
Stichting vor Aziatische Kunst en Kunstnijverheid (Anders Foundation). The Netherlands
Porzellansammlung (Staatliche Kunstsammlungen Dresden) on 15 November 2022; received on 22 November 2022.

For a larger Japanese Imari Plate of this design in the Royal Collection Trust.

Dated to 1690-1730.

See : Chinese and Japanese Works of Art, in the Collection of Her Majesty The Queen.

Volume 2, page 662, plate 1556 (John Ayres, Thames and Hudson, November 2016. ISBN-10 ‏ 1905686498)

The Royal Collection includes some of the most historic examples of eastern arts now in the western world. With more than 2,000 items distributed among the royal residences in England and Scotland, this collection presents a rich cross-section of the porcelains, jades, lacquer and other works of art produced in China and Japan and brought here over a period of several centuries, reflecting the West’s long-standing appetite for rarities from distant lands. A striking feature of the collection is the mounting in the eighteenth and nineteenth centuries of many objects in gilt bronze: the mounts themselves, made in French and British workshops, are often of superb quality and of great historical importance and will be published here for the first time.

Hōō or Ho-Ho Bird
The Japanese Hōō bird or Hiragana, is type of auspicious phoenix and is similar to the Chinese Fenghuang. the Hō-ō appears only in peaceful and prosperous times (nesting, it is said, in paulownia trees), and hides itself when there is trouble. As the herald of a new age, the Hō-ō descends from heaven to earth to do good deeds, and then it returns to its celestial abode to await a new era. It is both a symbol of peace (when the bird appears) and a symbol of disharmony (when the bird disappears). The Ho-o Bird appears frequently in Japanese porcelain of the late 17th and early 18th centuries, especially in Kakiemon wares. Ho-Ho is often used when referring to English porcelain versions of these Kakiemon designs.