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SEVRES 1792<br>
<em>French Hard-Paste Porcelain</em> stock n.  21335
SEVRES 1792
French Hard-Paste PorcelainAn 18th Century Sevres Porcelain Open-Work Basket, 1792. The Raised Moulded Decoration with Hand-Cut Diamond Pattern Sides , Moulded Intertwined Rim and Handles Give the Impression of this Piece Being a Woven Basket. Decorated with Garden Flowers, Blue and Gilding. The Base with Interlaced L's for the Sevres Porcelain Factory, 'OO' for 1792 an 'L' Probably for Louis-Françoise Lecos (Worked at Sevres 1763-1764 and 1773-1802)and an Unidentified Sevres Painters Mark.

A pair of Sevres Porcelain sauceboats from this service of 1792 can be found at the Victoria and Albert Museum in London see : Sevres Porcelain, Vincennes and Sevres 1740 1800 (Erikson and De Bellaigue, Faber and Faber, 1987) page 353 plate 158.
Stock n. 21335
R and G McPherson dealers in antique Chinese porcelain
CHONGZHEN. 1628 - 1644 or SHUNZHI 1644-1661.<BR>
<em>Blanc de Chine Porcelain.</em> stock n.  20352
CHONGZHEN. 1628 - 1644 or SHUNZHI 1644-1661.
Blanc de Chine Porcelain.An Unusual Transitional Blanc de Chine Porcelain Sleeve Vase c.1640 to 1650. This Very Thickly Potted 17th Century Vase is of a Form Rarely Encountered in Blanc de Chine Porcelain, However, the Form is Common Among Blue and White Transitional Porcelain of the Period c.1635 to 1645.

Provenance :
Kerteux Anyiques, Juncal 1120, Buenos Aires, Argentina (before 1960).
A Private Collection.
Stock n. 20352
R and G McPherson dealers in antique Chinese porcelain
MING DYNASTY 1368 - 1644.<br>
<em>Ming Bronze</em> stock n.  20992
MING DYNASTY 1368 - 1644.
Ming BronzeA Ming Dynasty Bronze Vase, Probably 15th Century. The Pear Shaped Bronze Vase has Aggressive Looking Dragon Heads with Curved Handles Issuing From their Mouths, Between the Handles is a Cast Diaper Pattern Which is Repeated on the Waisted Stem.

For a similar Ming Bronze vase see : China's Renaissance in Bronze, The Robert H.Clague Collection of later Chinese Bronzes 1100-1900 (Robert D.Mowery, Phoenix Art Museum,1993. ISBN 0-910407-29-0) page 45 plate 7.

Provenance :
From an American Estate.
Stock n. 20992
R and G McPherson dealers in antique Chinese porcelain
YUAN 1279 - 1368.<br>
<em>Longquan Celadon Ware.</em> stock n.  21029
YUAN 1279 - 1368.
Longquan Celadon Ware.A Longquan Celadon Ware Lotus Form Kiln-Water Bowl, Yuan Dynasty 1279-1368, Longquan Kilns, Zhejiang Province. The Step Sided Circular Bowl has an Indented Rim to Give the Impression of the Piece being Formed of a Lotus Leaf, the Incised Lines Inside Further this Impression. The Well of the Bowl has a Carefully Moulded Tortoise in the Center.

For a very similar Longquan Celadon Ware lotus form bowl see : Green Wares from Zhejiang (Exhibition catalogue jointly presented by the Fung Ping Shan Museum and the Zhejiang Provincial Museum, The University of Hong Kong,1993) page 72 plate 74.

Provenance :
G de Menasce Collection.
Spink & Son, London. G de Menasce Collection Sale, Item 72.
Stock n. 21029
R and G McPherson dealers in antique Chinese porcelain
18th CENTURY.<br>
<em>Blanc de Chine Porcelain.</em> stock n.  20542
18th CENTURY.
Blanc de Chine Porcelain.A Rare 18th Century Blanc de Chine Porcelain Pipe with Moulded Decoration.

Provenance :
R & G McPherson Antiques.
The Margaret Goldney Collection of Chinese Ceramics and Works of Art.
Stock n. 20542
R and G McPherson dealers in antique Chinese porcelain
HONGZHI 1488 - 1505 to JIAJING 1522 - 1566.<BR>
<em>Ming Dynasty.</em> stock n.  21038
HONGZHI 1488 - 1505 to JIAJING 1522 - 1566.
Ming Dynasty.A Pair of Ming Pottery Ridge Tiles, Hongzhi to Jiajing Period, Late 15th to Mid 16th Century, Probably Shanxi Province. These 'Tileworks Type' Sancai Architectural Pottery Figures Depict Immortals, One of Whom is the Immortal He Xiangu (See below). The Faces are Mould-Made but all the Rest of the Modelling and Decoration is Hand-Made, the Glaze is Clear and Bright. With Later Fitted Wood Stands.

According to traditional Chinese belief, roofs are platforms of communication between the words of the living and spirit realms. Consequently they were decorated to ward off evil and to act as a magnet for blessings and good fortune.

The Eight Immortals are a group of legendary Xian, immortals or transcendents in Chinese mythology. Each Immortals power can be transferred to a power tool that can give life or destroy evil. Together, these eight tools are called 'Covert Eight Immortals'. Most of them are said to have been born in the Tang Dynasty or Song Dynasty. They are revered by the Taoists, and are also a popular element in the secular Chinese culture. They are said to live on Penglai Mountain-Island.
The Immortals are : Immortal Woman He (He Xiangu),Royal Uncle Cao (Cao Guojiu),Iron-Crutch Li (LiTieguai),Lan Caihe,Lü Dongbin, (leader)Philosopher Han Xiang (Han Xiang Zi),Elder Zhang Guo(Zhang Guo Lao),and Zhongli Quan.

For more information about Ming Architectural Ceramics see Jessica Harrison-Hall's excellent book : Catalogue of Late Yuan and Ming Ceramics in the British Museum.(Jessica Harrison-Hall.The British Museum Press, 2001. ISBN 0-7141-1488-X.) Chapter 18.
Stock n. 21038
R and G McPherson dealers in antique Chinese porcelain
KANGXI 1662 - 1722.<BR>
<em>Chinese Export Porcelain.</em> stock n.  19470
KANGXI 1662 - 1722.
Chinese Export Porcelain.A Chinese Export Porcelain 'Rotterdam Riot' Plate, Kangxi c.1692-1695. Painted in Blue and White, The Base with a Chenghua Mark (Ming Dynasty 1465-1487).

The central scene is taken from a medal by Jan Smeltzing (1656-1693) after an engraving by Gerard van Loon. The Medal was struck in silver, pewter and gold (L.S.Forrer Biographical Dictionary of Medallists, Vol V, p550) despite the 1688 Dutch edict that prohibited the making, printing, and retailing of "scandalous and infamous lampoons". The Smeltzing medal was secretly set to China as a model for a large porcelain order. Howard & Ayers, China for the West, vol.I, p. 60, gives a detailed account of this riot following the execution of Cornelis Kosterman in 1690. The chief bailiff, Van Zuylen van Nijevelt, had sentenced this young guard from the Rotterdam City Hall to death in his attempt to steal some wine from the cellars for a celebration with his colleagues. Howard & Ayers illustrate, China for the West, no. 15, a severed head of Cornelis Kosterman on a funerary monument, which was taken from the reverse of the medal is show in the well of the teabowls. This pattern is usually encountered on standard 8 1/2 inch plates. Small teabowls and saucers appear to be the only other form used for this design. I have given a very precise date for this plate, as the interest in this design must have been quite ephemeral. By the time the medal was stuck, sent to China to be copied and sent back the following year, the event depicted would have been 'old news'. The scene of this riot in Rotterdam is the first depiction of a European political event on Chinese porcelain that I know of.

Provenance :
Robert McPherson Antiques
The John Drew Collection of Chinese and Japanese Ceramics.


Stock n. 19470
R and G McPherson dealers in antique Chinese porcelain
QIANLONG 1736 - 1795.<br>
<EM>Chinese Export Porcelain</em> stock n.  20772
QIANLONG 1736 - 1795.
Chinese Export PorcelainA Pair of Rare Chinese Export Porcelain Stands or Plates, Qianlong c.1760-1780. Painted with Scattered Flowers in Blue and White. The Center of the Dishes with a Square Recess.

This rare Chinese Export Porcelain form is of a type that I can not find in the literature, it was presumably made to take a square stand or bowl.

Provenance :
Wilbert Smit, Amsterdam 27th October 1988.
An American Private Collection of Chinese Export Porcelain.
Stock n. 20772
R and G McPherson dealers in antique Chinese porcelain
HATCHER CARGO c.1643.<br>
<em>Transitional Porcelain.</EM> stock n.  19963
HATCHER CARGO c.1643.
Transitional Porcelain.A Transitional Blue Glazed Stem Cup from the Hatcher Cargo c.1643.
Stock n. 19963
R and G McPherson dealers in antique Chinese porcelain
YUAN 1279 - 1368.<br>
<em>Early Blue and White Porcelain.</em> stock n.  21094
YUAN 1279 - 1368.
Early Blue and White Porcelain.A Yuan Blue and White Porcelain Jarlet, Jingdezhen Kilns c.1320 - 1368. This Early Chinese Blue and White Porcelain Jarlet is Decorated with Scrolling Flowers.

The origins of Chinese blue and white porcelain start, not in China, but in the Middle East, decoration using blue and white was originally developed in Mesopotamia. The source of the first cobalt blue pigment used in China was also not Chinese and the dynastic power in charge of China at the time, the Mongol's of the Yuan dynasty, was a foreign power. Yet blue and white porcelain will for ever be linked to China because of the ceramics produced at Jingdezhen from the beginning of the 14th century.
Blue cobalt pigment was sometime used in China during the Tang dynasty (618-907) nearly always as an additional colour in Sancai pottery but the first use on porcelain was at the start of the 14th century. It was used in a very different way, unlike the Tang where splashes of cobalt were used to add colour, the Yuan potters used it to create carefully painted designs. This would have been very difficult to achieve using the the high-flux lead-glazes of Tang pottery.
The body developed for blue and white porcelain at Jingdezhen was almost from the very beginning of exceptionally high quality, as was the glaze, which was midway between a Qingbai and Shufu glaze. This true lime-alkaline glaze was less fluid than Qingbai glazes so the blue was less likely to run and less opaque than Shufu glazes so the painting appeared more brilliant. Most of the imported cobalt blue pigment used for Chinese blue and white porcelain of the 14th and 15th centuries came from Kashan in Persia.

For further reading about early Chinese blue and white porcelain see : Chinese Glazes, Their Origins, Chemistry and Recreation (Nigel Wood, A & C Black, London, 1999).


Stock n. 21094
R and G McPherson dealers in antique Chinese porcelain
MENNECY c.1750.<BR>
<EM>French Soft Paste Porcelain.</eM> stock n.  20662
MENNECY c.1750.
French Soft Paste Porcelain.An 18th Century Mennecy Porcelain Oval Box and Cover. Decorated with a Moulded Design of Flower-Heads Against an Incised Ground. The Original Mount Appears to be Unmarked Silver.

Produced at the Mennecy porcelain factory of of Francois Barbin under the protection of the Duc de Villeroy. The factory was started in Paris in 1734 but had to move to Mennecy in 1748 because Francois Barbin did not have letters of patent from the king and so was refused permission to produce porcelain in Paris.
Stock n. 20662
R and G McPherson dealers in antique Chinese porcelain
ARITA c.1680 - 1720.<BR>
<EM>Japanese Porcelain</em> stock n.  21147
ARITA c.1680 - 1720.
Japanese PorcelainA Japanese Blue and White Porcelain Dish in the Kraak Style. Produced at the Arita Kiln in North-Western Kyūshū c.1680-1720. Decorated with a Deer in a Landscape Next to a Pine Tree Growing Out of the Rocks. The Borders Include Taotie Masks and Flowers.

Kraak Porcelain is a type of Chinese Export Porcelain produced from the Ming Dynasty reign of emperor Wanli (1573-1620) until the end of the Ming Dynasty in the 1640's. Kraak ware was exported to Japan, Europe and the Near East, hardly any pieces were retained in China. It was copied at Japanese Porcelain factories from as early as c.1660.

For a Japanese Kakiemon enamel dish of this shape and design, previously from R & G McPherson Antique, now in a private Australian collection see : The Japanese Aesthetic, Three Centuries of Japanese Porcelain Design and Western Interpretations (The Ceramic and Glass Circle of Australia, 2006)pages 18 and 19 item 33.
Stock n. 21147
R and G McPherson dealers in antique Chinese porcelain
MEISSEN c.1750 - 1755.<br>
<em>German Hard-Paste Porcelain.</em> stock n.  21211
MEISSEN c.1750 - 1755.
German Hard-Paste Porcelain.An 18th Century Meissen Porcelain Teabowl and Saucer Decorated with Two Rustic Couples in the Countryside, the Scenes Framed by Highly Elaborate Gilt Surrounds in the Rococo Style . Mark to Both Bases, Crossed Swords in Underglaze Blue for the Meissen Porcelain Factory. Gilders Mark '41' to Both Bases. Impressed Marks Saucer '63' and Cup '66'.
Stock n. 21211
R and G McPherson dealers in antique Chinese porcelain
QIANLONG 1736 - 1795.<br>
<em>Turquoise Glazed Porcelain</em> stock n.  21033
QIANLONG 1736 - 1795.
Turquoise Glazed PorcelainAn 18th Century Chinese Turquoise Glazed Porcelain Vase, Qianlong Period (1736-1795). Thickly Potted with a Translucent Turquoise Glaze That Showing the Striations of the Potting Underneath. The Recessed Base is Unglazed.

Despite appearing to be an object with an obvious appeal to Chinese taste, such vases were popular in Europe, especially France, during the 18th Century. French taste in the second quarter of the 18th century tired of Chinese blue and white porcelain, indeed by this time France was producing it's own blue and white porcelain at St.Cloud among other factories. Collectors like the duc d'Aumont had a large collection of monochrome Chinese porcelain, with celadons as a favourite. They were made more French by the addition of ormolu mounts, 43 % of his collection had mounts.

Provenance :
Bluett London (label to base).
Stock n. 21033
R and G McPherson dealers in antique Chinese porcelain
KANGXI 1662 - 1722.<BR>
<em>Chinese Export Porcelain.</em> stock n.  16957
KANGXI 1662 - 1722.
Chinese Export Porcelain.A Kangxi Blue and White Porcelain Hookah Base (reduced) with a 19th Century Silver Mount.

A hookah (Arabic: حقہ) is a multi-stemmed, often times glass or ceramics based water pipe device for smoking, originating from India. From India, it was made popular as the form we now see it in today in Turkey. A hookah operates by water-filtration and indirect heat. It can be used for smoking many substances, such as herbal fruits, tobacco, or cannabis.
Stock n. 16957
R and G McPherson dealers in antique Chinese porcelain
SONG or JIN DYNASTY 12th Century.<br>
<em>Cizhou Type Stoneware</em> stock n.  21196
SONG or JIN DYNASTY 12th Century.
Cizhou Type StonewareA Song or Jin Dynasty Cizhou Type Stoneware Bowl, 12th Century. Decorated With a Lustrous Thick Black Iron Oxide Glaze and Splashed With Russet Brown Markings Containing a Lower level of Iron Oxide.

For a similar Song or Jin Bowl of this type See : Chinese Ceramics from the Meiyintang Collection Volume 1 (Regina Krahl, Azimuth Editions, 1994) Item 467.
For a further related Cizhou type bowl see : The Falk Collection II, Chinese and Japanese Works of Art, Christie's New York. 21 September 2001. Lot Number 442.
Stock n. 21196
R and G McPherson dealers in antique Chinese porcelain
YONGZHENG 1723 - 1735 or QIANLONG 1736 - 1795.<BR>
<EM>Turquoise Glazed Porcelain.</em> stock n.  21225
YONGZHENG 1723 - 1735 or QIANLONG 1736 - 1795.
Turquoise Glazed Porcelain.A Pair of 18th Century Chinese Turquoise Glazed Porcelain Archaistic Style Libation Cups, Yongzheng or Qianlong c.1730-1760. Decorated with Two Small Supporting Archaistic Dragons with Ruyi Shaped Heads to the Squared Cut Handles. Under the Lip of these Libation Cup are are Further Pair of Dragon Appliqué.
Stock n. 21225
R and G McPherson dealers in antique Chinese porcelain
NORTHERN SONG 960 - 1127 or JIN DYNASTY 1115 - 1234.<BR>
<EM>Yaozhou Celadon.</em> stock n.  21186
NORTHERN SONG 960 - 1127 or JIN DYNASTY 1115 - 1234.
Yaozhou Celadon.A Small Yaozhou Celadon Dish from the Yaozhou Kilns in Shaanxi or Henan Province, Northern Song or Jin Dynasty. The Center with Carved and Combed Stylised Foliage.

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. 21186
R and G McPherson dealers in antique Chinese porcelain
KANGXI 1662 - 1722.<BR>
<em>Chinese Export Porcelain.</em> stock n.  18501
KANGXI 1662 - 1722.
Chinese Export Porcelain.A Kangxi Blue and White Export Porcelain Mug. The European Silver Shape Decorated with Scholar's Rock and Flowers.
Stock n. 18501
R and G McPherson dealers in antique Chinese porcelain
KANGXI 1662 - 1722.<BR>
<em>Chinese Export Porcelain.</em> stock n.  18912
KANGXI 1662 - 1722.
Chinese Export Porcelain.A Pair of Unusual Chinese Export Porcelain Plates, Kangxi Period c.1700-1710. Decorated in a European Style with a Palm Wreath Tided with a Loveknot (liefdeknoop) the Center with a Passion Flower. The Border with Flowering and Fruiting Passion Flowers.

This unusual design is normally found on large Blue and White Kangxi Porcelain plates such as the present examples, the European style of the border is similar to that found on the reverse side of the 'Canal House' vases of the Vung Tau Cargo (Kangxi c.1690-1700).

For a similar Blue and White Kangxi Porcelain plate with initials in the center see : Chinese Armorial Porcelain For The Dutch Market (Dr Jochen Kroes, Waanders Publishers,2007.ISBN978-90-400-83310) Item 3.
The author states that palms and loveknots, liefdeknoop in Dutch, were particularly used by married women and that plates such as the example with initials were from an unknown commission from a woman, probably for the Dutch market.
Stock n. 18912
R and G McPherson dealers in antique Chinese porcelain
QIANLONG 1736 - 1795.<BR>
<EM>Turquoise Glazed Porcelain.</EM>

 stock n.  21224
QIANLONG 1736 - 1795.
Turquoise Glazed Porcelain. An Unusual 18th Century Chinese Turquoise Glazed Porcelain Incense-Stick Burner in the Form of Budai, Qianlong Period (1736-1795).

Budai (Hotei in Japanese) is a Chinese deity. His name means 'Cloth Sack', and comes from the bag that he carries. According to Chinese tradition, Budai was an eccentric Chinese Zen monk who lived during the 10th Century. He is almost always shown smiling or laughing, hence his nickname in Chinese, the Laughing Buddha. In English speaking countries, he is popularly known also as the 'Fat Buddha'(For more information click on the image).

In China Porcelain figures such as the present example would have had a slender incense-stick burning at the side in the nozzle provided, they would have been used in a family shrine while offering prayers but in the West they would be seen as exotic curiosities, sometimes referred to as Magot or Pagod.. The term Magot was used from as early as the mid 17th century to describe the European heavy set or bizarre representations in clay, plaster, copper or porcelain of Chinese or Indian figures. The term is usually used to describe the European porcelain. Pagoda Figure comes from the term pagode or religious figures housed in pagoda shrines. (Kisluk-Grosheide, 'The Reign of Magots and Pagods', Metropolitan Museum Journal 73, 2002, pp. 177, 181, 182, 184).
Stock n. 21224
R and G McPherson dealers in antique Chinese porcelain
KANGXI 1662 - 1722.<BR>
<em>Chinese Export Porcelain.</em> stock n.  19336
KANGXI 1662 - 1722.
Chinese Export Porcelain.A Chinese Export Blue and White Porcelain Ewer and Cover, Kangxi Period (1662-1722). In the Islamic Style.

For a similar Kangxi Blue and White Porcelain ewer See : Pronken Met Oosters Porcelein (Stephen Hartog, Uitgeverij Waaders b.v. 1990) Page 73 Item 61.
Stock n. 19336
R and G McPherson dealers in antique Chinese porcelain
NORTHERN SONG 960 - 1127.<br>
<EM>Northern White Ware</em> stock n.  20363
NORTHERN SONG 960 - 1127.
Northern White WareA Northern Song Dynasty Miniature White Ware Ewer.

Provenance :
The Carl Kemp Collection of Early Chinese Ceramics.
Johan Carl Kempe (8 December 1884 – 8 July 1967) was one of the greatest collectors of Early Chinese Ceramics, like many he started off with Ming and Qing polychrome Porcelain before becoming interested in the more restrained palette of Early Chinese Stoneware and Porcelain.

Exhibited :
Mostra D'Arte Cinese, Venezia 1954.
Stock n. 20363
R and G McPherson dealers in antique Chinese porcelain
MEISSEN c.1740 - 1745.<BR>
<EM>German Hard-Paste Porcelain</em> stock n.  21207
MEISSEN c.1740 - 1745.
German Hard-Paste PorcelainAn 18th Century Meissen Porcelain Teabowl and Saucer. The Yellow Ground Porcelain Decorated with Cartouches of Finely Painted Landscapes in Purple with Further Purple Flower Decoration Over the Yellow Ground. Both Pieces Marked in Underglaze Cobalt Blue with Crossed Swords for the Meissen Factory.

Provenance :
From a Private Collection of 18th Century European Porcelain.
Stock n. 21207
R and G McPherson dealers in antique Chinese porcelain
KANGXI 1662 - 1722. stock n.  19161
KANGXI 1662 - 1722.A Small Kangxi Celadon Glazed Porcelain Stem Cup with Anhua Decoration, Kangxi, Early 18th Century. Decorated with Flowering Branches.

Anhua can be translated as secret decoration, it is a technique that can be employed on its own or in combination with other types of decoration, for example it is often found on the rims of Transitional Blue and White Porcelain vases and brushpots of the mid-17th century. It is a technique where a sharp implement is used to incise the surface of the porcelain when it is leather hard, the glaze, either coloured or clear is then applied. The result is that the glaze fills the incised decoration, leaving a smooth surface over the object but with the incised lines full of glaze. When the glaze is coloured the density of the colour in the incised lines is greater than the colour of the surrounding glaze, so the design can be seen quite clearly, however if the glaze is clear this contrast is far less pronounced.

Provenance :
Gerald Davison Collection. CP152.


Stock n. 19161
R and G McPherson dealers in antique Chinese porcelain
TANG DYNASTY 618 - 907.<BR>
<EM>Early Chinese Pottery</em> stock n.  19849
TANG DYNASTY 618 - 907.
Early Chinese PotteryA Tang Sancai Glazed Pottery Tazza from Henan. This Tang Pottery Tazza has a Streaky Lead Glaze, the Center of The Dish Shaped Top is Unglazed, Part of the Glazed Top Shows Iridescence.

For a similar Tang Pottery tazza see : Chinese Ceramics from the Meiyintang Collection Volume 1 (Regina Krahl, Azimuth Editions, 1994) Page 153 Item 273.

Provenance :
An English Private Collection.


Stock n. 19849
R and G McPherson dealers in antique Chinese porcelain
QIANLONG 1736 - 1795.<BR>
<EM>Blue Glazed Porcelain</em> stock n.  21064
QIANLONG 1736 - 1795.
Blue Glazed PorcelainA Qianlong Porcelain Vase Decorated in a Monochrome Blue Glaze. The Rough Unglazed Base with a Brown Iron Oxide Finish.

Provenance :
Gerald Davison (label to base ; Gerald Davison, Kangxi CP088).
Stock n. 21064
R and G McPherson dealers in antique Chinese porcelain
WANLI 1573 - 1620.<br>
<EM>Ming Porcelain</em>. stock n.  21161
WANLI 1573 - 1620.
Ming Porcelain.A Ming Blue and White Porcelain Plate, Early Wanli c.1580-1600. The Barbed Rim Porcelain Plate Decorated in Cobalt Blue with a Fenghuang, the Chinese Phoenix, in a Landscape with Border Containing Bajixiang, Precious Buddhist Objects Tied with Ribbons. The Back with a Double Line in Blue Around the Outside of the Foot. The Plain Base Exhibiting 'Chatter Marks' from the Potters Finishing Tool, a Feature Frequently Encountered on Kraak Porcelain of the 16th and Early 17th Centuries.

Fenghuang are mythological birds of East Asia that reign over all other birds. The males are called Feng and the females Huang. In modern times, however, such a distinction of gender is often no longer made and the Feng and Huang are blurred into a single feminine entity so that the bird can be paired with the Chinese dragon, which has male connotations. The Fenghuang is also called the 'August Cockerel' since it sometimes takes the place of the cockerel in the Chinese Zodiac. In the West, it is commonly referred to as the Chinese phoenix. The Fenghuang has very positive connotations. It is a symbol of high virtue and grace. The Fenghuang also symbolizes the union of yin and yang.
In ancient China, they can often be found in the decorations for weddings or royalty, along with dragons. This is because the Chinese considered the dragon and phoenix symbolic of blissful relations between husband and wife, another common yin and yang metaphor.
In some traditions it appears in good times but hides during times of trouble, while in other traditions it appeared only to mark the beginning of a new era. In China and Japan it was a symbol of the imperial house, and it represented 'fire, the sun, justice, obedience, and fidelity'.
Stock n. 21161
R and G McPherson dealers in antique Chinese porcelain
KAKIEMON. c.1680 - 1700.<BR>
<em>Japanese Porcelain.</em> stock n.  18945
KAKIEMON. c.1680 - 1700.
Japanese Porcelain.A Pair 17th Century Japanese Kakiemon Porcelain Shallow Bowls. Decorated on a 'Nigoshide' Body with a 'Shishi' and Flowering Branch.

Sakaida Kakiemon (1596-1666) is popularly credited with being one of the first in Japan to discover enamel decoration on porcelain, known as Akae or persimmon red, it is said to have been developed by the potter Sakaida Kakiemon from 1643. The name 'Kakiemon' was bestowed on Sakaida by his overlord, the development of this distinctive palette of soft red, yellow, blue and turquoise green with the use of black for outlines and shading typifies Kakiemon porcelain. Kakiemon is sometimes used as a generic term describing wares made in the Arita factories using the characteristic Kakiemon overglaze enamels and decorative styles. However, Kakiemon porcelain is supposed to have been produced by direct descendants of kakiemon, now Sakaida Kakiemon XIV (1934-). Shards from the Kakiemon kiln site at Nangawara show that blue and white as well as celadon wares were also produced.

Kakiemon decoration is usually of high quality, often delicate and with well-balanced asymmetric designs. The designs were normally quite sparse emphasizing the fine white porcelain body known in Japan as Nigoshide (milky white). The opaque white milky Nigoshide body was used on the finest pieces, it appears that it was reserved for fine quality enamelled decoration. Kakiemon porcelain was decorated with a great variety of imaginative designs which include elements such as the 'banded hedge', 'flying squirrel', and the 'Quail and Millet' design. The 'Three Friends of Winter' were also a very popular group of designs, other subject taken from nature include flowers (especially the chrysanthemum, the national flower of Japan) as well as birds and rockwork. Figural subjects such as the 'Hob in the Well' were also popular. This design illustrates a Chinese folk tale where a sage saves his friend who has fallen into a large fishbowl by throwing stones at it, braking open the pot. Banded-Hedges were a formal device within Japanese traditional gardens, they were often incorporated in designs, includes 'The Three Friends of Winter' (Pine, Bamboo and Prunus). These three plants signify perseverance, as neither the pine nor the bamboo shed their leaves in winter and the plumb (Prunus) flowers at the very end of the winter, heralding the arrival of spring.

The Nigoshide (milky white) body was a new whiter porcelain body introduced between about 1660 - 1680, solely for use on Kakiemon Wares. Indeed the Kakiemon Palette evolved at the same time. It has recently been proposed that the Nigoshide Body is not a new body at all, rather it is just made from a clay that has been levigated and washed more thoroughly.
Stock n. 18945
R and G McPherson dealers in antique Chinese porcelain
MEISSEN. c.1740 - 1750.<BR>
<em>German Hard-Paste Porcelain.</em> stock n.  21213
MEISSEN. c.1740 - 1750.
German Hard-Paste Porcelain.An 18th Century Meissen Porcelain Coffee Cup and Saucer. The Purple Ground Porcelain is Decorated with Cartouches Containing Deutsche Blumen (German Flowers). The Handel is of 'Wish Bone' Form. Both Pieces Marked in Underglaze Cobalt Blue with Crossed Swords for the Meissen Factory. Impressed Marks, Saucer '63' Cup '9' or '6'.

Provenance :
From a Private Collection of 18th Century European Porcelain.
Stock n. 21213
R and G McPherson dealers in antique Chinese porcelain
LATE WESTERN or EASTERN HAN DYNASTY. c.1st Century B.C. - 2nd Century A.D.<BR>
<EM>Early Chinese Pottery.</em> stock n.  21124
LATE WESTERN or EASTERN HAN DYNASTY. c.1st Century B.C. - 2nd Century A.D.
Early Chinese Pottery.A Han Pottery Hu Vase. Thickly Potted with a Streaky Green Lead Glaze. The Finely Moulded Central Register with Animals Including Tigers, Standing Bears, Mythical Beasts and an Archer on Horseback, the Sides with a Pair of Taotie Handles.This is Probably a Mingqi Object.

The term Mingqi denotes items made exclusively for the tomb, these objects are sometimes fully functional, where as others are made as models to represent functional or spiritual objects. Most Han Mingqi Pottery consists of copies of bronze or lacquer vessels or are models of architecture forms, figures or 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.

For a similar but larger Han Hu vase in the Metropolitan Museum of Art New York see : A Handbook of Chinese Ceramics (Suzanne G. Valenstein, Weidenfield and Nicolson, London, Revised Edition 1989) page 47. plate 41.
For another green glazed Han Dynasty Hu vase, dated as Eastern Han, see : Spirit of Han, Ceramics for the After-Life (Editor Aileen Lau, The Southeast Asian Ceramics Society & Sun Tree Publishing) page 124 plates 107 and 108.

Provenance :
Christie's London, 11th May 1970, Lot 132.
The Plesch Collection (Cv37).

Stock n. 21124
R and G McPherson dealers in antique Chinese porcelain
SHUNZHI 1644-1661 or KANGXI 1662-1722. <BR>
<em>Blanc de Chine Porcelain.</em> stock n.  20479
SHUNZHI 1644-1661 or KANGXI 1662-1722.
Blanc de Chine Porcelain.A Moulded 17th Century Blanc de Chine Porcelain Wine Cup in the Form of a Veined Lotus Leaf Stem from the Outside with a Flowering Peony Overlaid on Each Side. The Recessed Base has Five Spur Type Feet on which the Cup sits.

Blanc de Chine cups of this type have been traditionally referred to as 'Libation Cups'. This is unlikely to be correct but their shape follows that of rhinoceros horn cups which was made locally, it is interesting baring in mind the important powers that the Chinese attach to this material. By having a Blanc de Chine cup of this form some of the powers of real rhinoceros horn might be conveyed to the drinker.
Stock n. 20479
R and G McPherson dealers in antique Chinese porcelain
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ROBERT AND GEORGINA McPHERSON Antique Chinese porcelain Yongzheng porcelain CHINESE EXPORT PORCELAIN MING PORCELAIN Qianlong porcelain CHINESE EXPORT PORCELAIN MING PORCELAIN CHINESE EXPORT PORCELAIN KANGXI BLUE AND WHITE PORCELAIN CHINESE EXPORT PORCELAIN, KAKIEMON PORCELAIN, BLANC DE CHINE PORCELAIN MING PORCELAIN, KANGXI BLUE AND WHITE PORCELAIN Neolithic pottery Western Zhou pottery Eastern Zhou pottery Warring States pottery Han Dynasty pottery Western Han pottery Eastern Han pottery Six Dynasties pottery Sui pottery Tang Dynasty pottery MING PORCELAIN Song Dynasty porcelain MING PORCELAIN Song porcelain KANGXI BLUE AND WHITE PORCELAIN Song porcelain Jin Dynasty porcelain MING PORCELAIN Yuan Dynasty porcelain MING PORCELAIN Ming Dynasty porcelain 1368 - 1644. Hongwu porcelain KANGXI BLUE AND WHITE PORCELAIN Jianwen porcelain Yongle porcelain Hongxi porcelain MING PORCELAIN Zhengtong porcelain MING PORCELAIN KANGXI BLUE AND WHITE PORCELAIN Jingtai porcelain MING PORCELAIN KANGXI BLUE AND WHITE PORCELAIN Chenghua porcelain MING PORCELAIN Hongzhi porcelain MING PORCELAIN Zhengde porcelain R and G McPherson dealers in Antique Chinese Porcelain London Antique Chinese porcelain Yongzheng porcelain CHINESE EXPORT PORCELAIN MING PORCELAIN, Chenghua porcelain MING PORCELAIN Hongzhi Porcelain KANGXI BLUE AND WHITE PORCELAIN MING PORCELAIN Zhengde Porcelain KANGXI BLUE AND WHITE PORCELAIN MING PORCELAIN Jiajing Porcelain KANGXI BLUE AND WHITE PORCELAIN MING PORCELAIN Longqing Porcelain Kangxi porcelain CHINESE EXPORT PORCELAIN MING PORCELAIN Wanli Porcelain MING PORCELAIN Taichang Porcelain Kangxi Porcelain CHINESE EXPORT PORCELAIN 1620 Tianqi Porcelain 1621-1627 CHINESE EXPORT Jiajing porcelain KANGXI BLUE AND WHITE PORCELAIN Longqing porcelain KANGXI BLUE AND WHITE PORCELAIN Wanli porcelain KANGXI BLUE AND WHITE PORCELAIN Taichang porcelain KANGXI BLUE AND WHITE PORCELAIN Tianqi porcelain KANGXI BLUE AND WHITE PORCELAIN Chongzhen porcelain KANGXI BLUE AND WHITE PORCELAIN R and G McPherson dealers in Antique Chinese Porcelain London Antique Chinese porcelain Yongzheng porcelain CHINESE EXPORT PORCELAIN MING PORCELAIN, Chenghua porcelain CHINESE EXPORT PORCELAIN MING PORCELAIN Hongzhi Porcelain CHINESE EXPORT PORCELAIN MING PORCELAIN Zhengde Porcelain CHINESE EXPORT PORCELAIN MING PORCELAIN Jiajing Porcelain MING PORCELAIN Longqing Porcelain Kangxi porcelain CHINESE EXPORT PORCELAIN MING PORCELAIN MING PORCELAIN Taichang Porcelain Kangxi Porcelain CHINESE EXPORT PORCELAIN Tianqi Porcelain CHINESE EXPORT Shunzhi PORCELAIN Kangxi porcelain Yongzheng porcelain Neolithic pottery Western Zhou pottery CHINESE EXPORT PORCELAIN Eastern Zhou pottery Warring States pottery CHINESE EXPORT PORCELAIN Han Dynasty pottery Western Han pottery Eastern Han pottery Sui pottery Tang Dynasty pottery Five Dynasties pottery Liao pottery Song Dynasty CERAMICS porcelain Song CERAMICS porcelain Song porcelain CHINESE EXPORT PORCELAIN Jin Dynasty porcelain Yuan Dynasty porcelain Ming Dynasty porcelain Hongwu porcelain CHINESE EXPORT PORCELAIN Jianwen porcelain Yongle porcelain Hongxi porcelain Zhengtong porcelain Jingtai porcelain Chenghua porcelain Hongzhi porcelain Zhengde porcelain CHINESE EXPORT PORCELAIN Jiajing porcelain Longqing porcelain Wanli porcelain CHINESE EXPORT PORCELAIN Taichang porcelain Tianqi porcelain CHINESE EXPORT PORCELAIN Chongzhen porcelain Shunzhi porcelain Kangxi porcelain Yongzheng porcelain Qianlong porcelain CHINESE EXPORT PORCELAIN, CHINESE EXPORT PORCELAIN, KAKIEMON PORCELAIN, BLANC DE CHINE PORCELAIN MING PORCELAIN, KANGXI BLUE AND WHITE PORCELAIN KAKIEMON PORCELAIN, CHINESE EXPORT CHINESE EXPORT PORCELAIN KAKIEMON PORCELAIN, ANTIQUE BLANC DE CHINE PORCELAIN MING PORCELAIN, KANGXI BLUE AND WHITE PORCELAIN PORCELAIN, CHINESE PORCELAIN KAKIEMON PORCELAIN, Shunzhi PORCELAIN CHINESE EXPORT PORCELAIN Kangxi porcelain CHINESE EXPORT PORCELAIN CHINESE EXPORT PORCELAIN Yongzheng porcelain CHINESE EXPORT PORCELAIN CHINESE EXPORT PORCELAIN 1796-1820 ANTIQUE BLANC DE CHINE PORCELAIN MING PORCELAIN, CHINESE EXPORT PORCELAIN, KAKIEMON PORCELAIN, BLANC DE CHINE PORCELAIN MING PORCELAIN, Shunzhi PORCELAIN CHINESE EXPORT PORCELAIN Kangxi porcelain CHINESE EXPORT PORCELAIN porcelain CHINESE EXPORT PORCELAIN Yongzheng porcelain CHINESE EXPORT PORCELAIN Qianlong CHINESE EXPORT PORCELAIN CHINESE EXPORT PORCELAIN KANGXI BLUE AND WHITE PORCELAIN KANGXI BLUE AND WHITE PORCELAIN BLANC DE CHINE PORCELAIN MING PORCELAIN, ANTIQUE KANGXI BLUE AND WHITE PORCELAIN

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