A Pair of Chamberlain Worcester Crested Plates, Circa 1796-1800 The plate with a scalloped rim and a band of pink between two gilt shaped bands, the interior band  More »

A Pair of Chamberlain Worcester Crested Plates, Circa 1796-1800 The plate with a scalloped rim and a band of pink between two gilt shaped bands, the interior band issuing alternating gilt and brown coloured leaves. ;The centre with a large dramatic crest of an eagle, wings raised with fire at its feet with large gilt initials below, surrounded by a laurel wreath in gold and brown. ;Scattered onto the plate are gilt plants with flowerheads rendered in brown. Diameter: 9 1/2 inches Mark: Chamberlains Worcester in small red script. Reference: Chamberlain-Worcester Porcelain, 1788-1852, Geoffrey A. Godden, page88, #92 for shape of plate; page 73, #59 for a very similar leave border; page 315, #412 for another crested piece with gilt initials.   « Less

A Worcester Porcelain Queen''s Pattern Blind Earl Sweetmeat Dish, Circa 1768-70. The leaf moulded circular dish has been painted with the Gold Queen''s pattern in iron  More »

A Worcester Porcelain Queen''s Pattern Blind Earl Sweetmeat Dish, Circa 1768-70. The leaf moulded circular dish has been painted with the Gold Queen''s pattern in iron red, green and blue. Diameter: 6 inches Mark: Square fret mark in underglaze blue. Reference: Worcester Porcelain, 1751-1790, The Zorensky Collection, page 458, plate 623, for a blue & white example The Dictionary of Worcester Porcelain, Volume I, 1751-1851, ;John Sandon, page 273 for a discussion of the Queen''s pattern.   « Less

A Chinese Export Underglaze Blue and White Tankard, Circa 1770 The barrel-form tankard is fully decorated in underglaze blue and white with a river and landscape scene.  More »

A Chinese Export Underglaze Blue and White Tankard, Circa 1770 The barrel-form tankard is fully decorated in underglaze blue and white with a river and landscape scene. ;On the wide right bank are buildings and pagodas with various figures walking about. ;In the river are numerous craft ;moving from shore to shore. ;The handle with a blue heart-shaped thumb rest. Height: 5 1/4 inches   « Less

A First Period Worcester James Giles decorated Porcelain Large Leaf-Shaped Dish, Circa 1770. This moulded overlapping leaf dish was decorated by the famous London  More »

A First Period Worcester James Giles decorated Porcelain Large Leaf-Shaped Dish, Circa 1770. This moulded overlapping leaf dish was decorated by the famous London ;painter, James Giles. ;The rim of the dish is gilded with a thin line and the centres of the large moulded leaves is painted in puce. ;The design of fruit and butterflies is characteristic of Giles''s workshop painting as discussed by Stephen Hanscombe in James Giles, China and Glass Painter 1718-80 (see the reference section below). Dimensions: 14 inches x 9 3/4 inches Reference: Worcester Porcelain 1751-1790, The Zorensky Collection, Simon Spero & John Sandon, page 187, #215 for a smaller version of the shape. James Giles, China and Glass Painter 1718-80, Stephen Hanscombe. See chapter 5 for photographic examples of characteristic painting mannerisms such as the upturned mushroom with the pleated underside and butterflies with unnaturally long thin wings and curiously folded ;legs overlapping antennae. ;See plate 40 for leaf dish with similar fruit and butterflies.   « Less

A Pair Chinese Export Underglaze Blue and White Oval Dishes, Circa 1770-85 The oval dishes with a border consisting of various overlapping designs which is overlaid with  More »

A Pair Chinese Export Underglaze Blue and White Oval Dishes, Circa 1770-85 The oval dishes with a border consisting of various overlapping designs which is overlaid with butterflies. ;The central well is completely covered with a design of buildings either side of a river. One dish with very minor frits to top edge. Length: 8 1/2 inches x 7 inches   « Less

A Chelsea Porcelain Grape Leaf Dish, Circa 1755. The dish in the form of a leaf painted in the centre with a floral bouquet superimposed on a network of veining, the  More »

A Chelsea Porcelain Grape Leaf Dish, Circa 1755. The dish in the form of a leaf painted in the centre with a floral bouquet superimposed on a network of veining, the rim is serrated. Condition: Good with inner stem repaired. Length: 8 inches   « Less

An English Porcelain Blue-Ground Plate, Coalport, Circa 1805. The plate is decorated with a wet blue or gros blue ground. ;The rim has a gilt dentil design and the  More »

An English Porcelain Blue-Ground Plate, Coalport, Circa 1805. The plate is decorated with a wet blue or gros blue ground. ;The rim has a gilt dentil design and the central well has a circular white reserve painted with a duck standing on a grassy river bank with a tree behind and two birds flying overhead, ;Surrounding the reserve is a well painted gilt design of trellis work between two gilt bands the outer wavy band with cornucopia-like designs at each tip. Diameter: 7 1/4 inches This unusual plate is related to the famous Animal Service made at Coalport in the early 19th Century.   « Less

A Rare Chelsea Porcelain of the Noble Canon of San Marco, Likely Modelled by Joseph Willems, Circa 1756. The figure posed in what seems to be mid-speech, wearing a  More »

A Rare Chelsea Porcelain of the Noble Canon of San Marco, Likely Modelled by Joseph Willems, Circa 1756. The figure posed in what seems to be mid-speech, wearing a black four-corner hat and with an ermine fur draped over his arm. Reference: The source for this model was identified by Anthony du Boulay (Country Life, Religious Rococo Revived, June 1986, pl.3), as an early 18th century engraving by Philippo Bonanni entitled ''Canonia Regulari de San Marco'' in his ''Historie de L''Institution des Ordres Religiosorun in Ecclesia Miltianti Catalogus'', (Rome, 1706 and 1710). A companion figure of a Canoness or Abbess derives from another engraving by the same artist. Given there was no Meissen source for the models, they are likely to have been modelled by Joseph Willems. Another example of this model is at Wallington Hall, Northumberland, (UK National Trust) see Chelsea Porcelain, E. Adams (2001), fig. 9.24, p. 136 and Bradshaw, ''Comedy of Errors'', Antique Dealer and Collectors Guide (May 1996), fig. 6, p. 21 Reference: The figure was, in the past, identified as The Italian Comedy Figure, The Lawyer. ; MacKenna, F. Severne. Chelsea Porcelain: The Red Anchor Wares. F. Lewis, Publishers, Limited. The Tithe House, Leigh-on-Sea, England. 1951. Plate 67, no. 134 for a similar example. In describing the characters of the Italian Comedy: "Quickwitted and sparkling improvisation were the essential characteristics of the Italian Comedy, the main figure of which was Harlequin, a character of great licence and sardonic wit. Supporting him were, inter alia, Pantaloon, an elderly buffoon; Mezzetino and Scaramouche, intriguing, double-crossing servants and accomplices; Columbine, alternately wooed and scorned; the Doctor, a long-winded nonentity; the Lawyer, equally ineffectual; the Captain; and a milling horde of lesser characters to add spice and interest to the proceedings... Mezzetino, the Captain, the Lawyer, for instance, all appear in attractive guise, standing or sitting in attitudes of varying degrees of animation..." (pp. 33-34)   « Less

A Chinese Export European Spoon Tray, Circa 1765 The tray depicts Orpheus playing his lyre, looking behind him and thus losing Eurydice forever. He is loosely covered by  More »

A Chinese Export European Spoon Tray, Circa 1765 The tray depicts Orpheus playing his lyre, looking behind him and thus losing Eurydice forever. He is loosely covered by a flowing red robe. He grieved so at her death that the gods took pity on him and told him to lead her out of Hades- if he did so without looking back to check on her, they would be reunited. At the final steps, Orpheus turned around and she faded away. Dimensions: 5 x 3.5 inches Reference: Howard, David and John Ayers. China for the West: Chinese Porcelain & Other Decorative Arts for Export illustrated from the Mottahedeh Collection. Sotheby Parke Bernet Publications, Great Britain. 1978. pp.337 for example of subject, thought to have originated from a Dutch-decorated porcelain piece sent as a pattern: “...decorated with a naïve drawing en grisalle of Orpheus playing his lyre, seated on what appears to be a vaulting horse with a bushy tree toppling over one end. Clearly the Chinese painter had no idea what this background was… The irregular ‘vaulting horse’ may originally have been a dark cloud.” Hervouet, Francois and Nicole, Yves Bruneau. La Porcelaine des Compagnies des Indes: A Decor Occidental. Flammarion, Paris, France. p. 296, plate 13.20 for illustration of Orpheus, done c. 1745. Dimensions: 5 x 3.5 inches   « Less

A Chinese Export European Teapot Stand, Circa 1765 The tray depicts Orpheus playing his lyre, looking behind him and thus losing Eurydice forever. He is loosely covered  More »

A Chinese Export European Teapot Stand, Circa 1765 The tray depicts Orpheus playing his lyre, looking behind him and thus losing Eurydice forever. He is loosely covered by a flowing red robe. Dimensions: 5 x 3.5 inches NY05967 Reference: Howard, David and John Ayers. China for the West: Chinese Porcelain & Other Decorative Arts for Export illustrated from the Mottahedeh Collection. Sotheby Parke Bernet Publications, Great Britain. 1978. pp.337 for example of subject, thought to have originated from a Dutch-decorated porcelain piece sent as a pattern: “...decorated with a naïve drawing en grisalle of Orpheus playing his lyre, seated on what appears to be a vaulting horse with a bushy tree toppling over one end. Clearly the Chinese painter had no idea what this background was… The irregular ‘vaulting horse’ may originally have been a dark cloud.” Hervouet, Francois and Nicole, Yves Bruneau. La Porcelaine des Compagnies des Indes: A Decor Occidental. Flammarion, Paris, France. p. 296, plate 13.20 for illustration of Orpheus, ;c. 1745.   « Less