"Every Who down in Whoville liked Christmas a lot.

But the Grinch, who lived just north of Whoville, did not."

He stole all Who presents - he took the Who trees.

He tried to make Christmas disappear with the breeze.

But each Who down in Whoville, the tall and the small,

Kept singing - and hopeful - without presents at all....

Their joy touched old Grinch, and thrice grew his heart -

And "himself" returned every toy and plum tart!


"So welcome Christmas. Bring your cheer.

Cheer to all Whos - far and near.

Christmas Day is in our grasp

As long as we have hands to clasp.

Christmas Day will be

Just as long as we have we.

Welcome Christmas while we stand

Heart to heart and hand in hand"



   (With thanks to Dr. Seuss and Michelangelo)




The first plates were leaves. The first cups were shells.

We've learned about this from legends and tells.

One sunny day - by hand and by luck - 

A clay vessel was formed by some handsome young buck.

Whether dropped in the fire or hardened by sun,

We can only surmise as to how 'twas begun.


The ceramics and glass below are 2011 acquisitions, & listed chronologically by dating.

Click on the images for more information.




Associated Pair of Ming Kraak Dishes, Rinaldi Border Type VII

China, c1595-1615



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.




Kangxi Blue & White Barbed & Molded Dish

China, c1700-1710


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.





George II Engraved Baluster with Unusual Spiral Tear & Folded Foot

England, c1730


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.




  Chinese Export Famille Rose Silver-Mounted Jug

   Qianlong, c1750


   The molded jug bearing a Continental Coat of Arms

    to the lid

    9" High






Bow Octagonal Two Quail Deep Dish in the Arita Manner

England, c1755


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





Bow Porcelain Oval Sauce Boat on Three Paw Feet

England, c1755


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.




First Period Worcester Gu Beaker Vase

England, c1765


"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 11th - 13th 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)





First Period Worcester Punch Bowl, The Precipice

England, c1765-75


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.
























Large First Period Worcester Mug (Pillement)

England, c1770


'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.





First Period Worcester Dessert Dish, Bishop Sumner Pattern

England, c1770-75


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).





Fine Pair of George III Engraved Tapering Decanters

England, c1780


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.





Chinese Export Famille Rose Mug

Qianlong, China, c1780


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





Pair of Regency Cut Barrel Decanters

England, c1815-20


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.




For more ceramics and glassware, please see :

Ceramics Page :  https://www.mfordcreech.com/ceramics.html

Glassware Page :  https://www.mfordcreech.com/glassware.html


Also please see :

Christmas Catalog - Part II / Silver

Christmas Catalog - Part III / Fine Art

Christmas Catalog 2011 - Part IV



Should you have further questions, please email, call or come to visit.


Millicent Ford Creech


901-761-1163 (gallery) / 901-827-4668 (cell)



Hours : Wed.-Sat. 11-6, or by appointment

Complimentary Gift Wrapping


mfcreech@bellsouth.net  or  mfordcreech@gmail.com



To receive our periodic email catalogs, please click here.


American Express, Mastercard, Visa and Discover accepted




Home    Accessories    Ceramics    Early Asian Ceramics    Fine Art    Furniture    Glassware    Silver


Christmas Catalog - Part I / Ceramics & Glass



© Images and some text are copyrighted by this gallery.

Please reproduce with our specific written permission only.