Each with a slightly flared and foliated edge and rounded cavetto, painted in nicely shaded underglaze blue with central bracketed auspicious symbols (the gourd of Li Tieguai – protecting children from smallpox, and enhancing longevity)

Ref : See Rinaldi, p. 109-10; for a similar dish from Rinaldi’s personal collection, see Pl. 104

Kraak porcelains are so named after the Dutch capture of two Portuguese vessels (in 1602 & 1604) called "carracks" - these vessels containing thousands of pieces of Chinese porcelain.  The ships and porcelains were renamed by the Dutch, "Kraak".  This capture simultaneously set forth a mania for Chinese porcelains in all of Europe.

The verso painted with a most unusual decoration of border of petals and precious objects

surrounding a fantasy mark (possibly a lotus) within concentric circles.

In 1662, Emperor Kangxi of the new Manchu Qing (Ch'ing) dynasty assumed the throne.  Despite the kilns being destroyed twice by the outgoing Ming Dynasty, his rule produced from 1682-1722 the finest blue and white ever produced, both technically and visually.  The ceramic became quite thin, with a glassy glaze, the blues even more like sapphires beneath it.  Painting was free and precise at the same time.  To protect his wares from continued Ming destruction, he introduced a marking we still see copied today - that of two concentric circled.  The circles often contained a fantasy mark.

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Heavy and light baluster wine glasses were the first forms of the early 18th century.  Decoration is rare, and when seen usually reflects the use, as grapes and vines above in this light baluster wine.  In addition, the stem carries a seemingly intentional tear of spiral formation. This is not a lighter airtwist - that form coming from about 1750 as a result of a 1745 excise tax on glass "by weight" - supposedly to make the glass blower re-use some of their shards & use less wood in the firing - leaving the wood for boat-building.  The tax caused glass blowers to seek ways to lighten glass  introducing the airtwist stem about 1750.

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Molded and shaped in the Arita manner, of heavy weight and having a molded rim and "corners",

the verso marked with an iron red 2

The Two Quail, or Partridge pattern, is derived from a Japanese Kakiemon original.

The name “Kakiemon” was bestowed upon Japanese potter Sakaida (1596-1666), who presented the emperor with a particularly arresting design of two persimmons.  This pleased the emperor so much that he gave Sakaida the name “Kakeimon” – meaning “persimmon man”.  Kakiemon designs are usually very elegant and spare, and of asymmetrical balance

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An early example painted in blue and white in the "Desirable Residence" pattern,

the verso with a painter's mark

In the 1750's porcelain was in its infancy in England.  The paw feet (as seen above) are a reflection of silver shapes, and of Chinese porcelains.  These raised feet were used on some of the earliest wares, including candlesticks and sauceboats.  I find their use to be among the most charming - and probably the most fragile - of all Bow and early English porcelains.

"Fruit Sprays" pattern with Crescent mark verso,  6" High

The gu form dates to Neolithic ceramics in the lower and middle basins of the Yangxi River in China.  A 6.25” ritual beaker from the 11^th - 13^th century BC (Shang Dynasty), is spoken of as having “a bulging waist with flanges, a feature also noted on contemporary bronze vessels” (He Li, Chinese Ceramics)

The Precipice pattern depicts a bridge separated by two pavilions, one on a high precipice,

the interior depicting a further pavilion between two precipices and Wan Li style diapering

This punch bowl measures 4" high x 8.75" wide.  These large bowls are not plentiful among early

Worcester wares.

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'La Promenade Chinoise' and  'La Peche', blue crescent mark

The two prints always occur together and therefore should be regarded as a single pattern.

The designs were first published in ‘Le Livres Chinoise’ after designs by Jean Pillement, but engraved by Canot in 1758. The adapted form used at Worcester by Hancock also appears in the ‘Ladies Amusement’ published by Robert Sayer in 1760.

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After a Kangxi famille verte original, square shaped dish depicts a central roundel of a mythical kylin

 below a flying dragon in a fenced landscape, surrounded by eight panels of flowers, birds and further mythical animals - no two panels being alike. It is marked verso by a gold crescent mark

Although this pattern originates from the 18th century, it apparently acquired its name in the 19th century – probably from one of the two Bishop Sumner’s (John Sumner, Archbishop of Canterbury, or Charles Sumner, Bishop of Winchester).

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The bodies with floral and swag engraving above berry clusters, narrow upright flutes at the base,

the ovoid stoppers with facetted flat surfaces and edges

Tapering decanters are the earliest forms of stoppered decanters in England.  Facet cutting was introduced after an excise tax on glass - particularly on colored enamels in drinking glasses  - was imposed, following the war with the Americas.  Popular at the time were Adam brothers chandeliers with facet cut prisms - which proved to be very decorative and highly reflective of light.  You see this decorative form of illumination in the facet cut stoppers above.

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A large well painted Chinese export mug, molded with raised panels, insects and flora, and painted in overglaze famille rose enamels reserved on a "chicken-skin" ground, the applied interlaced handles issuing from molded acanthus leaves

5.25" High x 6" Wide

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Each barrel shaped decanter with three applied neck rings and slice-cut shoulders over a fine diamond-cut panel and vertically fluted base; cut mushroom stoppers; good footrim wear 

This form of decanter was popular from c1811, when the future George IV became Prince Regent, until c1840 and the entry into the Victorian period of taste.  Later 19th and 20th century copies had molded rather than applied neck rings, and the diamond and slice cutting was as finely wrought.

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