wm 
 
 
Digitized by the Internet Archive 
 in 2016 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/catalogueofporceOOhobs 
 
CATALOGUE 
 
 OF 
 
 Porcelain, Furniture 
 
 AND OTHER WORKS OF ART 
 
. 
 
 . 
 
No. 98 
 
 
CATALOGUE 
 
 OF 
 
 Porcelain, Furniture 
 
 AND OTHER WORKS OF ART 
 
 IN THE COLLECTION OF 
 
 LADY WANTAGE 
 
 AT 
 
 2 Carlton Gardens, London 
 Lockinge House, Berks. 
 
 AND 
 
 Overstone Park, Northants. 
 
 DESCRIBED BY 
 
 R. L. HOBSON, B.A., and OLIVER BRACKETT 
 
 ^KL-iG 
 
 w 
 
 I9I2 
 
 W. H. FAIRBAIRNS 
 ENFIELD 
 
THE J. PAUL GETTY MUSEUM LIBRARY 
 
TABLE OF CONTENTS 
 
 LIST OF PLATES 
 
 INTRODUCTION TO FURNITURE 
 
 FURNITURE AT LOCKINGE HOUSE 
 
 FURNITURE AT OVERSTONE PARK 
 
 FURNITURE AT 2 CARLTON GARDENS 
 
 INTRODUCTION TO PORCELAIN— CHINESE 
 
 JAPANESE 
 
 „ „ EUROPEAN 
 
 PORCELAIN AT OVERSTONE PARK 
 
 PORCELAIN AT LOCKINGE HOUSE 
 
 PORCELAIN AT 2 CARLTON GARDENS 
 
 INTRODUCTION TO CHINESE ENAMELS, LACQUER AND JADE 
 
 CHINESE ENAMELS AT OVERSTONE PARK 
 
 CHINESE ENAMELS AT LOCKINGE HOUSE 
 
 CHINESE ENAMELS AT 2 CARLTON GARDENS 
 
 MISCELLANEOUS WORKS OF ART AT OVERSTONE PARK . 
 MISCELLANEOUS WORKS OF ART AT LOCKINGE HOUSE . 
 MISCELLANEOUS WORKS OF ART AT 2 CARLTON GARDENS . 
 
 PAGE 
 
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 5 
 
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 21 
 
 27 
 
 34 
 
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 63 
 79 
 83 
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 91 
 97 
 99 
 
 103 
 

 ' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ■ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 II ■ Ik 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
LIST OF PLATES 
 
 r 
 
 PAGE* 
 
 Frontispiece. Vase from a set of five ; Chinese Porcelain 
 
 in famille rose colours .... 65 
 
 PLATE I. Table inlaid with mother-of-pearl ... 5 
 
 ,, II. Writing-Cabinet with metal mounts . . 7 
 
 ,, III. Cabinet and Stand with marquetry designs . 9 
 
 ,, IV. Three-fold Tapestry Screen .... 21 
 
 ,, V. Chair with Aubusson Tapestry ... 22 
 
 ,, VI. Writing-Cabinet with Japanese Lacquer . 23 
 
 ,, VII. Beaker of Chinese Porcelain with ruby 
 
 ground . 49 
 
 ,, VIII. Vase of Chinese Porcelain with landscape . 52 
 
 ,, IX. Dish of Chinese Porcelain with green-black 
 
 ground 53 
 
 ,, X. Panel of della Robbia Ware ; Virgin and Child 61 
 
 ,, XI. Vase of Chinese Porcelain with French mounts 64 
 
 ,, XII. Set of five Vases and Beakers of Chinese 
 
 Porcelain with blue ground .... 65 
 
 ,, XIII. Three Chinese cloisonne Enamel Vases . . 87 
 
 ,, XIV. Chinese cloisonne Enamel Vase ... 91 
 
 ,, XV. Graeco-Roman Bronze Statuetfb : Satyr and 
 
 Boy Bacchus 101 
 
 ,, XVI. Bronze Statuette of Spartacus after Lorenzo 
 
 Vela 101 
 
 ,, XVII. Terra-cotta Figure, La Paysanne, by Jules 
 
 Dalou 102 
 
 * 
 
 */? 
 
 Description of Plates 
 
i 
 
 
FURNITURE 
 

 
 
 
INTRODUCTION 
 
 THE objects of ornamental furniture at Lockinge, Overstone, and 
 Carlton Gardens cannot properly be termed a Collection, having been 
 acquired at different times without any purpose of classification or of 
 illustrating any particular style or period ; nevertheless, interesting and 
 valuable specimens of various epochs and various countries have gradu- 
 ally been brought together. 
 
 In England, during the second half of the nineteenth century, 
 development of thought and taste led to changes of fashion in furniture. 
 First, when it began to be realized that furniture was worthy to be 
 numbered among the fine arts, came the habit of collecting works of 
 the Italian Renaissance as the fountain-head to which succeeding styles 
 owed their inspiration ; then, too, grew up the admiration for master- 
 pieces of French craftsmanship, which for brilliance of conception and 
 excellence of technique eclipsed the attempts of all the other Schools ; 
 side-issues, from time to time, drew attention to the characteristics of 
 the furniture of Spain, of Flanders, of Germany, of Holland and of 
 the Far East ; and finally dawned the appreciation of the furniture 
 of England which, condemned often to the garret in view of the claims 
 of more attractive rivals, was little by little brought back to the light of 
 day and given the proper place due to its intrinsic merits and historical 
 associations. 
 
 Examples of most of these styles are found in this Collection, but 
 more especially of the work of France in the eighteenth century. 
 Numerous pieces both at Lockinge and Carlton Gardens illustrate the 
 essentially brilliant qualities of the styles of Louis XIV, Louis XV and 
 Louis XVI. There is little doubt that the furniture of this School was 
 brought as near to a state of perfection as human endeavour is capable 
 of attaining. Every piece is stamped with the innate sense of beauty 
 which was characteristic of the French nation all through her chequered 
 history ; and the temperament of the people, alike sensitive to practical 
 and aesthetic imperfection, produced examples of furniture which are 
 as masterly from the technical view of cabinet-making as they are 
 distinguished from the standpoint of works of art. 
 
 O. B. 
 
/ uvoru"u\/v'\A/u\X/vvv>j^^ 
 
 Plate I 
 
 I 
 
 i 
 
 Lockinge House 
 No. i 
 
 !■>— - 
 
 , 
 

 
 
 
 
 
 * 
 
LOCKINGE HOUSE 
 
 1. TABLE of walnut delicately inlaid with designs in engraved mother- 
 of-pearl and bands of brass. The rectangular top is divided into 
 a variety of compartments within a border, all inlaid with vases of 
 flowers and butterflies amid floral sprays. The top is supported at 
 each end on a pair of columns with flutings expressed in ivory, 
 connected in the middle by an arcade of similar columns ; the lower 
 part is decorated in a similar manner to the top except that fleurs 
 de lis are introduced and the plinth supporting the arcade is inlaid 
 in ivory with hunting scenes. The work, throughout, is executed 
 with great skill and refinement. The table was brought from a 
 chateau at Dijon, and appears to date from the end of the sixteenth 
 century ; the process of decoration, which is of Oriental character, 
 was probably introduced into Europe through Venice, the common 
 meeting-ground of the styles of the East and West. 
 
 Plate I. 
 
 H. 2 ft. ?\ in., L. 4 ft. 2\ in., W. 2 ft. in. 
 
 2 and 3. PAIR OF MARRIAGE COFFERS ( cassoni ) of wood, carved, 
 gilt and painted. The raised centres of the lids are ornamented 
 with fillets enclosing rosettes surrounded by leaves and berries with 
 a small lion mask in the middle ; winged terminal figures are placed 
 at the front angles, and the supports are in the form of lions’ paws. 
 The subjects on the front of each coffer represent legendary scenes 
 from the life of Charlemagne : in No. 2 the Emperor, accompanied 
 by a celebrated nun, is starting from his palace on his way to Rome 
 to settle religious controversies ; on the left is depicted the incident 
 of a young knight in the Emperor’s train who accidentally rode 
 against one of his favourite pages and fatally injured him. On 
 arrival at Rome the young knight was committed to prison, and the 
 painting in No. 3 shows the Emperor seated on his throne about 
 to deliver judgment ; the knight and the nun interceding kneel at 
 his feet, and on the ground are presents intended to propitiate the 
 Emperor. 
 
6 
 
 FURNITURE 
 
 The panels at the ends of the coffers are painted with branches 
 of olive and the inscription NVL BIEN SANS POINE upon a scroll. 
 According to ‘ Dictionnaire des Devises,’ by A. Ghassant and 
 H. Tausin, the motto ( Nul bien sans peine ) was borne by the family 
 of Montemerli. 
 
 The paintings, which have been restored, are attractive com- 
 positions executed in the primitive manner of the North Italian 
 School of the fifteenth century. Paintings on such coffers have 
 been attributed on the authority of Vasari to Dello Delli and other 
 well-known painters of this School ; but in existing examples the 
 technique of the paintings hardly justifies such attributions. 
 
 Marriage coffers of this type were made in pairs to hold the 
 trousseau of the bride and bridegroom, and often the arms of the 
 lady’s family were carved on the one and those of the man’s family 
 on the other. 
 
 Italian (Florentine) ; 15th century. 
 
 H. (of each) 3 ft. 1 in., L. 6 ft. 7 in., D. 2 ft. 51 in. 
 
 4. TABLE, with rectangular top of black marble, divided into a variety 
 of shaped compartments, inlaid in marbles of many colours {pietra 
 dura), including lapis lazuli and spar. Two large octagons flanking 
 the centre are inlaid with vases of anemones, roses, tulips, and 
 narcissus ; while in the smaller panels are arranged sprays of flowers 
 with birds. The stand, of carved and gilt wood, has a border of 
 acanthus foliage and scrolls beneath the top, and rests on open-work 
 legs joined by curved stretchers meeting in the centre to support a 
 flaming vase. Formerly belonged to the first Lord Taunton. 
 
 Italian (Florentine) ; 17th century. 
 
 H. 3 ft., L. 5 ft. 0| in., D. 2 ft. 7f in. 
 
 5. TABLE, with rectangular top of inlaid marbles and rare stones, dis- 
 tinguished for great variety of colour and brilliance of quality. The 
 surface is divided into parallel bands, all filled in with stones and 
 marbles of various shapes, separated by fine lines of giallo ; in each 
 corner is a large square of lapis lazuli, and among the smaller pieces 
 can be distinguished carnelian with foil backing, green luor spar, 
 red jasper, and bloodstone. The stand, of light wood and ebony, 
 is enriched with gilt metal mounts ; on the front is a cypher mono- 
 gram formed of the letters I and L, and at the junction of the 
 
Plate II 
 
 Lockinge House 
 No. 8 
 
LOGKINGE HOUSE 
 
 7 
 
 stretchers a square piece of marble. Formerly in the Ercolani 
 Palace, Bologna, and purchased at the sale of the Rev. J. Lucy’s 
 Collection at Christie’s in 1875. 
 
 Italian. 
 
 H. 2 ft. 101 in., L. 4 ft. 7 in., D. 2 ft. 11 in. 
 
 6. TABLE (companion to No. 5). The surface is divided into three 
 
 compartments, the large central compartment containing an octagon 
 of lapis lazuli, surrounded by sections of agate jaspers, alternating 
 with green Sicilian jaspers; among the smaller pieces are found 
 agate jaspers, amethystine quartz, lapis lazuli, mottled jaspers, and 
 carnelian. The stand is similar to that of No. 5. Formerly in 
 the Ercolani Palace, Bologna, and purchased at the sale of the 
 Rev. J. Lucy’s Collection at Christie’s in 1875. 
 
 Italian. 
 
 H. 2 ft. 11 in., L. 4 ft. 6\ in., D. 3 ft. 01 in. 
 
 7. TABLE, with rectangular top inlaid with a variety of marbles, 
 
 arranged to form an oval within a large cartouche in the centre, 
 surrounded by borders of small cartouches. 
 
 Italian ; 16th century (with wooden stand of later date). 
 
 H. 3 ft., L. 5 ft. 2 in., W. 3 ft. 6 in. 
 
 8. WRITING-CABINET ( Bureau a cylindre ), veneered with rosewood, 
 
 enriched with metal mounts, chased and gilt. The cylinder bureau 
 is surmounted by a long drawer and three small drawers, above 
 which rises in the centre a pyramidal platform, fitted also with 
 a drawer ; the stand contains two long drawers. The gilt metal 
 mounts are applied to the surface of the front and sides. The 
 middle of the cylinder front is occupied by an oval medallion, finely 
 chased with a representation of ‘The Sale of Cupids’: three classical 
 female figures are shown with cupids taken from a basket. This 
 design is taken from a painting discovered at Herculaneum in June, 
 1759. Other mounts consist of festoons with musical instruments, 
 a trophy with bow and arrows and emblems of Love, borders of 
 laurel, pendants of leaves, and drop-handles in the form of wreaths 
 and ribbons ; round the top is a low gallery, and the raised centre- 
 piece is enriched with rams’ heads and festoons of drapery. Period 
 of Louis XVI. 
 
 French ; late 18th century. Plate II. 
 
 H. 5 ft. 41 in., W. 3 ft. 101 in., D. 2 ft. 3 in. 
 
8 
 
 FURNITURE 
 
 9. COMMODE of walnut wood, with veined green marble top, contain- 
 ing a row of three small drawers at the top and two long drawers 
 below ; at each of the front angles is a fluted ebony column. The 
 mounts, which are of gilt metal, consist of bands of scrolling rose 
 branches applied to the top drawers and to the upper part of each 
 side ; the two lower drawers are enriched with ribbon escutcheons 
 and handles in the form of rope and oak leaves. Style of Leleu. 
 Period of Louis XVI. 
 
 French ; late 18th century. 
 
 H. 2 ft. 11 in., L. 4 ft. 14 in., D. 2 ft. 14 in. 
 
 10. UPRIGHT SECRETAIRE (companion piece to No. 9), of walnut 
 wood, with veined green marble top. At the top is a drawer sur- 
 mounting a cabinet with falling front, and a cupboard below ; at 
 each of the front angles is a fluted ebony column. The gilt metal 
 mounts consist of bands of scrolling rose branches applied to the 
 top drawer and to the upper part of each side, and scroll-work 
 round the keyhole on the falling front. Style of Leleu. Period 
 of Louis XVI. 
 
 French ; late 18th century. 
 
 H. 4 ft. 7 in., W. 3 ft. 1 in., D. 174 in* 
 
 11. COMMODE, decorated with floral marquetry in light woods on a dark 
 ground. In the middle is a drawer with knee-hole below flanked on 
 each side by three drawers. The surface is covered with marquetry 
 designs, symmetrically arranged and composed of vases of flowers 
 on scrolled stands with masks and other ornamental devices. Early 
 period of Louis XIV. 
 
 French ; second half of 17th century. 
 
 H. 2 ft. 84 in., L. 3 ft. 104 in., D. 2 ft. 3 in. 
 
 12. CHEST OF DRAWERS (companion piece to No. 11), decorated with 
 floral marquetry in light wood on a dark ground with a scheme of 
 ornament similar to No. 11. Early period of Louis XIV. 
 
 French ; second half of 17th century. 
 
 H. 2 ft. 84 in., L. 4 ft. 34 in., D. 2 ft. 2 in. 
 
Lockinge House 
 No. i 3 
 

 
LOGKINGE HOUSE 
 
 9 
 
 13. CABINET AND STAND of walnut wood, with delicate marquetry 
 designs in light wood. In front are two hinged doors which 
 disclose an arrangement of small drawers with a small cupboard 
 in the middle ; above is a long drawer with convex front. The 
 stand is fitted with two long and three small drawers, and rests on 
 cabriole legs carved on the knees with foliage and terminating in 
 claw-and-ball feet. All the surface is covered with fine symmetrical 
 designs of arabesques and wavy leaf forms. The designs are 
 arranged with admirable taste and refinement, and much technical 
 skill is displayed in the execution. Period of Queen Anne. 
 
 English ; early 18th century. Plate III. 
 
 H. 6 ft. l\ in., L. 3 ft. 6 in., D. 201 in. 
 
 14. CABINET of oak, inlaid with mother-of-pearl and bone, and enriched 
 with applied mouldings and split balusters. It is composed of two 
 long drawers surmounting a cupboard ; to the lower drawer and the 
 cupboard doors are applied octagons enclosing circles. The ornament 
 consists of floral sprays expressed in bone and mother-of-pearl. 
 
 English; middle of 17th century. 
 
 H. 4 ft. 61 in., W. 3 ft. Ill in., D. 2 ft. 
 
 15. CHEST and stand of incised cypress wood. In the centre of the front 
 are the Royal Arms of England with the initials C.R. (Carolus Rex) 
 and the date 1680. The rest of the surface is covered with flowing 
 scroll-work in the characteristic manner of the period, amid which 
 the letters R. K.H. are introduced. Period of Charles II. 
 
 English ; dated 1680. 
 
 H. 2 ft. 81 in., L. 5 ft. 41 in., D. 2 ft. 1 in. 
 
 16. WARDROBE, decorated in marquetry of various woods with em- 
 blematic figures of Faith, Hope, Charity, and Justice, and ornament 
 of interlacing bands. 
 
 German ; first half of 18th century. 
 
 H. 7 ft., W. 7 ft. 
 
 17. BUREAU-BOOKCASE, decorated with marquetry of various woods. 
 The doors of the bookcase are inset with mirrors. The lower part 
 has a curved outline. The ornament consists of vases of flowers 
 and birds, over which are applied brass handles and escutcheons 
 pierced with amorini and rococo ornament. 
 
 Dutch ; first half of 18th century. 
 
 H. 7 ft. 10 in., W. 3 ft. 9 in. 
 
10 
 
 FURNITURE 
 
 18. TABLE, decorated with marquetry of various woods, partly stained. 
 The rectangular top is occupied by a composition in which are repre- 
 sented a man and girl with cattle amid ruined buildings ; below the 
 top are panels containing views of buildings; the tapering legs are 
 inlaid with pendants of husks. 
 
 Italian (?) ; late 18th century. 
 
 H. 2 ft. 5 in., top, 2 ft. 51 in. by 22 in. 
 
 19 and 20. PAIR OF SMALL COMMODES with marble tops, decorated 
 with floral marquetry and gilt metal mounts. Style of the period 
 of Louis XV. 
 
 French. 
 
 H. 2 ft. 10 in., W. 2 ft. 4 in. 
 
 21. WARDROBE of oak, closed by two doors each enriched with octagon 
 panels framed by deep mouldings and flanked by spiral columns 
 arranged in pairs. 
 
 Flemish ; 17th century. 
 
 H. 7 ft. 31 in., W. 6 ft. 6 in. 
 
 22. ARM-CHAIR of walnut, composed of spiral uprights and rails carved 
 with cherubs’ heads, roses and scrolls. Late period of Charles II. 
 English; second half of 17th century. 
 
 H. 4 ft., W. 1 ft. Ill in. 
 
 23. ARM-CHAIR of oak, carved with cherubs supporting a coronet, and 
 with masks, birds and scroll-work. Painted with a crest composed of 
 an eagle on a wreath and the motto SUB UMBRA TEGIMUR. 
 English; 17th century (restored). 
 
 H. 4 ft. 1 in., W. 2 ft. 2 in. 
 
 24 SETTEE of walnut, composed of two chair-backs with pierced splats ; 
 the arms terminate in eagles’ heads, and the cabriole legs have carved 
 ornament on the knees, and rest on claw-and-ball feet. The seat is 
 covered with embroidery on canvas of floral design. Style of 
 Chippendale. 
 
 English ; first half of 18th century. 
 
 H. 3 ft. 4 in., W. 3 ft. 31 in. 
 
LOGKINGE HOUSE 
 
 11 
 
 25. CHAIR with pierced splat carved at the top with a cauliflower, and 
 fitted with a footstool hinged to one of the stretchers. Originally 
 the property of the Cauliflower Club. 
 
 English ; 18th century. 
 
 H. 4 ft. 10 in., W. 2 ft. 2 in. 
 
 The Cauliflower Club. ‘The Free and Easy Counsellors under the Cauliflower’ were 
 a society of respectable London tradesmen, chiefly booksellers, which met at the 
 ‘ Three Pigeons ’ in Butcher Hall Lane, now King Edward Street, Newgate 
 Street. On the ceiling of their meeting room was painted a huge cauliflower. The 
 permanent secretary of the society was Christopher Brown, who died at a very 
 advanced age in 1807. See Notes and Queries, Series IV, Vol. XI. 
 
 26. CHAIR of walnut, with tall open-work back carved with a sym- 
 metrical arrangement of bands and scroll-work : the uprights and 
 legs are baluster shaped. Period of William and Mary. 
 
 English ; late 17th century. 
 
 H. 4 ft. 2 in., W. 194 in. 
 
 27 to 35. SOFA ( Canape ) AND EIGHT ARM-CHAIRS, of black enamelled 
 wood with gilt ornaments, covered with tapestry, probably manu- 
 factured at the factory of Aubusson. On the back are represented 
 children watering flowers and feeding chickens, and similar scenes ; 
 and on the seats are depicted * The Fox and the Crane,’ ‘ The Fox 
 and the Goat,’ ‘The Eagle and the Lamb,’ ‘The Lion and the 
 Mouse,’ and other subjects from the fables of Aesop. Period of 
 Louis XVI. 
 
 French ; late 18th century. 
 
 Sofa: H. 3 ft. 2 in., L. 5 ft. 10 in. Chairs (each) : H. 3 ft. 2 in., 
 W. 2 ft. 
 
 36. CLOCK, in glass case surmounted by a marble vase, all enriched with 
 mounts of gilt metal. Signed ‘Revel a Paris.’ Period of Louis XVI. 
 
 French ; late 18th century. See Plate II. 
 
 H. 174 in., W. 81 in., D. 51 in. 
 
 37. BAROMETER, with marquetry of tortoise-shell and brass, and mounts 
 of gilt metal ; on each side is a female figure, one holding rings and 
 the other a telescope. Period of Louis XVI. 
 
 French ; late 18th century. 
 
 H. 3 ft. 9 in., W. 104 in. 
 
 There is a similar piece in the Wallace Collection, Hertford House, London. 
 
12 
 
 FURNITURE 
 
 38. CLOCK AND THERMOMETER, with marquetry of tortoise-shell 
 and brass and mounts of gilt metal ; on each side is a female figure, 
 one holding a serpent and the other an olive branch. Period of 
 Louis XVI. 
 
 French ; late 18th century. 
 
 H. 3 ft. 9 in., W. 101 in. 
 
 39 to 42. FOUR SCONCES of carved and gilt wood inset with mirrors ; 
 each is decorated with two figures holding aside a festoon of drapery, 
 and with branching lights in front. From the Collection of the 
 Marquis D’Azeglio. 
 
 Italian ; first half of 18th century. 
 
 Each : H. 3 ft. 10 in., W. 2 ft. 3 in. 
 
 43. CLOCK of white marble, with bronze figures of a nymph and cupid, 
 and mounts of vine stems and sporting cupids. Signed ‘Gille Paine.’ 
 Period of Louis XVI. 
 
 French ; late 18th century. 
 
 H. 204 in., W. 171 in., D. 7 in. 
 
 There is a clock by Gille l’aine in the Louvre, Paris. 
 
 44 and 45. PAIR OF CANDELABRA, each consisting of a female figure 
 in bronze supporting branching lights and standing on white marble 
 base with gilt metal mounts. Period of Louis XVI. 
 
 French ; late 18th century. 
 
 H. 2 ft. 5f in. 
 
 46. CABINET of oak and other woods, consisting of two drawers and 
 a cupboard decorated with octagons enclosing circles, and split 
 balusters. 
 
 English ; third quarter of 17th century. 
 
 H. 4 ft. 2 in., W. 3 ft. Ill in., D. 2 ft. 
 
 47. ALTARPIECE with alabaster panels carved with (1) The Cruci- 
 fixion ; (2) Nailing our Lord to the Cross ; and (3) The Almighty 
 Father. The frame of carved, painted and gilt wood consists of two 
 fluted columns surmounted by a frieze and pediment, and resting 
 on a moulded base. All the surface is elaborately ornamented with 
 human figures, grotesques, satyrs and strap-work. 
 
 Flemish ; second half of 16th century. 
 
 H. 2 ft. 10 in., W. 201 in. 
 
LOGKINGE HOUSE 
 
 13 
 
 48. ALTARPIECE, consisting of a finely-executed representation of the 
 Crucifixion in carved ivory, within a frame of silver, partly gilt and 
 tortoise-shell. On the frame above the ivory carving is a plaque 
 bearing a representation of the Resurrection ; below, two angels 
 guarding the tomb of our Lord ; and at the top the Dove within 
 an aureole flanked by angels. Bought at the sale of Mr. Robert 
 Goff’s Collection at Christie’s, June 7, 1866. 
 
 Flemish ; 17th century. 
 
 H. 2 ft. 5 in., W. 16f in. 
 
OVERSTONE PARK 
 
 1. GASKET of carved oak bearing the following inscriptions : at the 
 top, running round the front, sides and back, LADIE ALETHEIA 
 TALBOTE WORSTROP (Worksop) YE XX DAIE OF APRIEL 1603; 
 and below in two lines on the front only and broken in the middle 
 by the profile portrait of James I, IAGOBVS • D • G * ANG • SCO • 
 FRAN • ET * HIB • REX • (James, by the Grace of God, King of 
 England, Scotland, France and Ireland). The coved lid and the 
 panels below the inscription on the sides and back of the box 
 are covered with admirable designs of flowering sprays amid 
 which the rose, shamrock, thistle and fleur de lis are introduced. 
 
 No. 1 
 
16 
 
 FURNITURE 
 
 Inside are two hinged compartments placed one above the other, 
 the upper lid carved with the letters A * T • W • and the inner surface 
 of the lower lid cut with the same date as appears on the back of 
 the box. Such a box would probably be used by a lady to hold 
 small objects of personal value. 
 
 The Lady Alethea Talbot was the third daughter of Gilbert, 
 Earl of Shrewsbury, who signed the proclamation naming James VI 
 of Scotland the successor to Queen Elizabeth. Worksop, the Earl 
 of Shrewsbury’s seat in Nottinghamshire, lay on the route from 
 Edinburgh which it was arranged that the Royal Progress should 
 follow, and James stayed there on the night of April 20, 1603, the 
 date carved on the box bearing his inscription and that of his host’s 
 daughter, Lady Alethea Talbot. There seems no doubt, then, that 
 the box was designed to commemorate this important visit. Three 
 years later Lady Alethea Talbot married Thomas, Earl of Arundel. 
 
 English ; dated April 20, 1603. 
 
 H. 141 in., L. 17f in., D. Ill in. 
 
 See ‘ Worksop,’ by Robert White. London, 1875. 
 
 This Casket has now been transferred to Lockinge. 
 
 2. CABINET of carved ebony. The front is closed by two hinged doors, 
 each carved with a representation of the healing of a sick woman 
 (perhaps our Lord restoring the daughter of Jairus to life), sur- 
 rounded in one case by emblematic figures of the four seasons, and 
 in the other case of the elements, Earth, Air, Fire and Water ; the 
 inner surface of one door is incised in the middle with a female figure 
 holding a mirror and serpent (Truth), and of the other door with 
 a similar figure pouring water into a chalice (Temperance) : both 
 figures are bordered by floral sprays. The interior is occupied by 
 drawers incised with floral scroll-work, with two hinged doors in the 
 middle ornamented with cupids ; the latter, when open, disclose a 
 miniature representation of an architectural interior with mirrors, 
 gilt spiral columns and parquetry floor. At the top of the cabinet 
 are two drawers, the fronts of which are carved with children 
 driving goats ; and there are two similar drawers in the top of the 
 stand carved with children and dolphins. 
 
 Flemish ; 17th century (the stand for the most part is of later 
 date). 
 
 H. 6 ft. 6 in., L. 5 ft. 3 in., D. 231 in. 
 
OVERSTONE PARK 
 
 17 
 
 3. CABINET with marquetry of ebony and brass (boule work) enriched 
 with mounts of chased and gilt metal. The cabinet is composed of 
 eighteen drawers surrounding a central compartment closed by a 
 hinged door ; within this compartment are three drawers. On the 
 top of the cabinet is a low platform, and the whole rests on a 
 stand fitted with a long drawer. All the marquetry designs are 
 skilfully executed in the style of Andre Charles Boule. On the 
 central door is represented a fantastic composition with dancing 
 figures suggestive of the drawings of Berain ; the rest of the surface 
 is covered with symmetrical designs of sphinxes, fine strap-work and 
 scrolled leafage. To the middle of each side is applied a boldly 
 executed mask of a bacchanal in gilt metal, in one case a male 
 and in the other case a female ; further metal enrichments consist 
 of bands of leafage, drop-handles and escutcheons. The drawers 
 open by means of a spring within the central compartment. Period 
 of Louis XIV. 
 
 French ; early 18th century. 
 
 H. 5 ft. lOf in., W. 3 ft. 7 \ in., D. 20f in. 
 
 4. CABINET of carved wood, composed of small drawers and a central 
 architectural composition consisting of a pediment with caryatid 
 columns enclosing the figure of a child within a niche ; the niche 
 forms the door of a small cupboard and the pediment represents 
 the front of a drawer ; the cupboard contains two drawers concealing 
 deep trays within secret compartments. The cornice is supported 
 on human figures in high relief ; in the centre is a plain shield 
 supported by two children and on each side a drawer with handle 
 in the form of a child. At the angles of the cabinet are placed 
 figures of men standing on brackets. 
 
 Italian (Florentine) ; late 16th century. 
 
 H. 2 ft. in., W. 2 ft. 2 \ in., D. 1 ft. If in. 
 
 5. CABINET of ebony and ivory inlay, composed of small drawers and 
 a central architectural composition consisting of pediment with two 
 spiral columns resting on a base and enclosing a niche ; the pediment 
 and base each form drawer-fronts, and the niche represents the 
 
18 
 
 FURNITURE 
 
 door of a cupboard containing small drawers. The centre-piece 
 and the drawers within the cupboard are inset with ivory plaques 
 engraved with hunting scenes ; the fronts of the other drawers are 
 inlaid with cornucopias and scrolls. 
 
 Italian ; 17th century (on a stand of later date). 
 
 H. 2 ft. H in., L. 3 ft. 10^ in., D. 13J in. 
 
 6. CABINET of ebony inset with engraved ivory plaques. A companion 
 
 piece to No. 5 but differing in the following points: the architectural 
 centre-piece has four spiral columns ; the drawers inside the cup- 
 board have ivory plaques ornamented with butterflies, beetles and 
 bees, and the others with amorini sporting and landscape scenes. 
 [Same measurements.] 
 
 7. CABINET of ebony and ivory with hinged doors. The interior 
 
 consists of small drawers and a central compartment ; the door 
 of the latter bears the figure of Fame blowing a trumpet, while 
 the fronts of the drawers have arabesque designs in ebony and 
 ivory. The hinged doors of the cabinet are decorated each with 
 designs of grotesques outside and with the figure of a warrior on 
 the inside. 
 
 Italian (?) ; 17th century. 
 
 H. 17 in., L. 21 in., D. 12^ in. 
 
 8. CABINET of shisham wood inlaid with ivory. On the falling front 
 
 are represented the figures of men bearing hawks on their wrists, 
 amid conventional flowering trees and birds ; on each side tigers 
 with dead stags ; and on the top men bearing hawks and others 
 riding on elephants. The interior is occupied by small drawers. 
 On the back is inlaid a large arabesque. 
 
 Indian (Panjab) ; 17th century. 
 
 H. 14 in., W. 20j in., D. 15| in. 
 
 9. CABINET with marquetry of various woods, composed of small 
 
 drawers and a central cupboard ; the latter contains six drawers 
 and is closed by a door of architectural design consisting of pedi- 
 ment supported on columns ; the handle of the door is in the form 
 of a warrior’s head. The fronts of the drawers are decorated with 
 scroll-work terminating in grotesques. 
 
 South German ; 17th century. 
 
 H. 2 ft. 4 in., W. 2 ft. 11£ in., D. 13 in. 
 
OVERSTONE PARK 
 
 19 
 
 10. CABINET of ebony inlaid with wood, ivory and mother-of-pearl. 
 The cabinet contains eighteen drawers and is closed by hinged doors ; 
 the latter are decorated with bunches of flowers in wood bordered 
 by mother-of-pearl medallions and ivory plaques. 
 
 Italian ; 19th century. 
 
 H. 4 ft. 7 in., W. 3 ft. 3 in., D. 14 in. 
 
 11. CABINET (companion to No. 10) : but the doors have each the 
 medallion of a Roman Emperor in the middle and plaques bearing 
 Venus, Bacchus and other classical figures on the borders. 
 
 [Same measurements.] 
 
 12. TABLE of ebony with marquetry of tortoise-shell and brass in the 
 style of Boule. On the top is a circular panel of black marble 
 inlaid with a bunch of fruit encircled by sprays of flowers in 
 coloured marbles. The curved legs have each a woman’s mask 
 on the knee ; the rails between them are enriched with representa- 
 tions of Venus and Cupid. 
 
 Italian work of the 19th century in the style of Boule. 
 
 H. 2 ft. 10 in., W. (of top) 3 ft. Ill in. 
 
 13. SECRETAIRE with marquetry of various woods ; the designs consist 
 of classical compositions and medallions of Alexander and Amyntas. 
 
 Probably Italian work of the 19th century. 
 
 H. 6 ft. 10 in., W. 3 ft. Ill in., D. 2 ft. 21 in. 
 
 14. SECRETAIRE with bulging front decorated with marquetry of various 
 woods ; the ornament consists of birds and scroll-work. 
 
 Probably Italian work of the 19th century. 
 
 H. 6 ft. Ill in., W. 4 ft. 1 in., D. 2 ft. 61 in. 
 
 15. SIDEBOARD of walnut, consisting of a cupboard with doors, sup- 
 ported on baluster legs with a shelf below ; carved with grotesque 
 terminal figures, masks and strap-work. 
 
 Made in the 19th century in the style of French work of the 
 16th century. 
 
 H. 4 ft. 91 in., W. 3 ft. 41 in., D. 19f in. 
 
20 
 
 FURNITURE 
 
 16. CABINET of dark wood, inlaid and encrusted with figure com- 
 positions, birds and flowers in lacquer, ivory, mother-of-pearl and 
 soapstone. The disposition of the various parts of the cabinet is 
 arranged on unsymmetrical lines, and produces an effect of irregu- 
 larity from the standpoint of Western ideas. 
 
 Japanese. 
 
 H. 7 ft. 1 in., W. 4 ft. 10 in., D. 16f in. 
 
 17. CHEST OF DRAWERS with marquetry of various woods and floral 
 designs in gilt lacquer ; fitted with bronze mounts. Composed of 
 two hinged doors closing three drawers ; and three drawers below. 
 
 Japanese. 
 
 H. 3 ft. 3 in., W. 3 ft. 3 in., D. 18 in. 
 
 18. CABINET, lacquered and inlaid with porcelain plaques : composed 
 of sliding doors above, hinged doors in the middle and a drawer 
 at the bottom. 
 
 Japanese. 
 
 H. 2 ft. 1(H in., W. 2 ft. 3§ in., D. 17 in. 
 
2 CARLTON GARDENS 
 
 1. COMMODE with marquetry of brass and red tortoise-shell, in the 
 manner of Andr6 Charles Boule. Composed of three drawers on 
 each side flanking a knee-hole in the middle with a drawer above ; 
 eight legs with ball feet, joined by curved stretchers. All the surface 
 covered with symmetrical designs of arabesques and scroll-work in 
 the style of the period of Louis XIV. 
 
 French ; end of 17th century. 
 
 H. 2 ft. 8 in., L. 3 ft. 10| in., D. 2 ft. 34 in. 
 
 2. THREE-FOLD SCREEN with panels of tapestry, probably Savon- 
 
 nerie, in frame of gilt wood and glass. The central panel contains 
 two groups : a woman singing to the accompaniment of a mandolin 
 played by a man, and a parrot with another bird on a branch, the 
 two designs being separated by rococo ornament and festoons of 
 flowers ; there is a similar arrangement on each of the side-wings, 
 one having a man seated in meditation and the other a sportsman 
 sleeping, with a parrot and another bird below in each case. The 
 frame is of irregular outline carved and gilt with rococo ornament 
 and pierced above the tapestry with a variety of shaped openings 
 filled in with glass. Period of Louis XV. 
 
 French ; middle of 18th century. Plate IV. 
 
 H. 6 ft. i\ in., W. (of centre) 1 ft. 11| in.; side-wings, 19 j in. 
 
 3. THREE SOFAS {Canapes) AND SIX ARM-CHAIRS of carved and 
 
 gilt wood covered with Aubusson Tapestry. The subjects are as 
 follows 
 
 (a) Sofa. On the back, children playing see-saw ; on the seat, 
 hounds seizing a fox. 
 
 H. 3 ft. 4\ in., W. 5 ft. 2\ in. 
 
 {b) Sofa. On the back, two girls gathering flowers ; on the seat, 
 rabbits, a goat and a lamb. 
 
 H. 3 ft. 2f in., W. 4 ft. 1 in. 
 
22 
 
 FURNITURE 
 
 (c) Sofa. On the back, a girl with basket of flowers and a boy 
 
 drinking ; on the seat, a cow, a sheep, a goat, and a bird on 
 a bough. 
 
 H. 3 ft. 3 in., W. 4 ft. 1 in. 
 
 ( d ) Chair. On the back, a girl carrying flowers ; on the seat, two 
 
 cows. 
 
 H. 3 ft. 2f in., W. 2 ft. 4 in. 
 
 ( e ) Chair. On the back, a boy fishing ; on the seat, a lion attack- 
 
 ing a bull. 
 
 H. 3 ft. 2f in., W. 2 ft. 4 in. 
 
 (/) Chair. On the back, a girl drinking ; on the seat, a horse 
 and a (?) goat. 
 
 H. 3 ft. 2f in., W. 2 ft. 4 in. 
 
 (£) Chair. On the back, a boy carrying (?) fishing tackle ; on the 
 seat, a lamb and a dog. 
 
 H. 3 ft. 2f in., W. 2 ft. 4 in. 
 
 (A) Chair. On the back, a ragged boy holding his (?) hat in his 
 hand ; on the seat, two sheep. 
 
 H. 3 ft. 2f in., W. 2 ft. 4 in. 
 
 (*) Chair. On the back, a boy walking with a stick in his hands ; 
 on the seat, two dogs, one sleeping, the other barking. 
 
 H. 3 ft. 2\ in., W. 2 ft. 4 in. 
 
 All the designs are framed by festoons of drapery and wreaths 
 of flowers. The gilt frames of the chairs are carved with bands of 
 ornament and have curved legs. Transitional style between the 
 periods of Louis XV and Louis XVI. 
 
 French ; second half of 18th century. Plate V. 
 
 4. WRITING-TABLE of walnut wood inlaid with ivory. Composed of 
 a cabinet with sloping front and drawers below ; the sloping front 
 inlaid with a figure beneath a canopy and other ornament, and the 
 rest of the surface with floral designs. 
 
 Portuguese (?) ; 17th century. 
 
 H. 3 ft. 8 in., W. 3 ft. 7 in. 
 
 Formerly in the possession of Viscount Stratford de Redcliflfe. 
 
Plate V 
 
 2 Carlton Gardens 
 No. 3 
 

 
CARLTON GARDENS 
 
 23 
 
 5. WORK-TABLE of painted wood with gilt metal mounts. Kidney- 
 shaped. Painted on the top with a group of figures, and on the 
 shelf joining the legs with a trophy of musical instruments. 
 
 Late 18th century. 
 
 H. 2 ft. in., W. 22 in. 
 
 6. WRITING-CABINET {Bureau a cylindre ) decorated on front, sides 
 and back with Japanese lacquer raised and gilt on a black ground, 
 enriched with metal mounts, chased and gilt. Composed of a 
 cabinet of drawers and pigeon-holes closed by a cylinder front with 
 drawers above, on a stand fitted with drawers resting on straight 
 fluted legs. The cylinder front is lacquered with a landscape scene 
 in which are represented two groups of figures, one with a man 
 throwing a line from a boat rowed by two oarsmen, and the other 
 with men bearing a trunk ; on the back and sides are cranes flying 
 and other scenes. Each side of the cylinder front is fitted with the 
 figure of a cupid in gilt metal bearing four branching lights, and 
 further metal enrichments consist of lock escutcheons, acanthus 
 foliage and bands of ornament. On the top is inset a panel of 
 variegated marble partly surrounded by a pierced gallery of gilt 
 metal. Style of J. Dubois. Late period of Louis XV. 
 
 French ; 18th century. Plate VI. 
 
 H. 3 ft. Ill in., L. 4 ft. 4 in. 
 
 7. CABINET ( Appui ) of mahogany with marble top and gilt metal mounts ; 
 composed of drawers in the middle flanked on each side by angle 
 shelves with mirrors. Period of Louis XVI. 
 
 French ; late 18th century. 
 
 H. 2 ft. 11 in., L. 3 ft. 61 in. 
 
 8. SIDEBOARD (companion piece to above) composed of drawers 
 beneath the top and a shelf below ; the middle is ornamented with 
 a panel of sporting cupids. 
 
 H. 2 ft, 11 in., L. 4 ft. 31 in. 
 
 9 and 10. PAIR OF ENCOIGNURES (companion pieces to Nos. 7 and 8). 
 Each : H. 4 ft. 6 in., W. 231 in. 
 
24 
 
 FURNITURE 
 
 11. CLOCK, with round-arched top, of various-coloured stones decorated 
 with bunches of fruit partly inlaid in mosaic and partly encrusted 
 in relief, and further enriched with gilt metal mounts ; on each 
 side of the dial is a pilaster with Corinthian capital in gilt metal. 
 
 Italian (Florentine) ; 19th century. 
 
 H. 211 in., W. lOf in. 
 
 12. UPRIGHT SECRETAIRE of curved outline, decorated with chequered 
 marquetry and gilt metal mounts of rococo design. Period of 
 Louis XV. 
 
 French ; middle of 18th century. 
 
 H. 3 ft. 101 in., W. 211 in. 
 
 13. UPRIGHT CABINET OF DRAWERS with veined green marble top ; 
 the surface decorated with marquetry and gilt metal mounts. 
 
 French; 18th century. 
 
 H. 3 ft. 10 in., W. 19f in. 
 
 14. ALTARPIECE of ebony with inlay of stones of various colours and 
 gilt metal mounts, enclosing a silver plaque bearing the ‘ Assumption 
 of the Virgin.’ 
 
 Italian (Florentine) ; 17th century. 
 
 H. 2 ft. 61 in., W. 191 in. 
 

 
PORCELAIN 
 
* 
 
 
 
INTRODUCTION 
 
 CHINESE PORCELAIN 
 
 ALTHOUGH common pottery may be traced back to prehistoric times 
 in China as in every other part of the globe, Chinese antiquaries have 
 not yet decided the exact period when the beautiful material porcelain 
 was first evolved. It is sufficient to say that the earliest date which 
 they claim for this remarkable discovery is during the Han Dynasty 
 (220 B.C.-A.D. 206), and the latest during the T’ang Dynasty (A.D. 
 608-906). To describe the progress made by the ware during the Sung 
 Dynasty (960-1279), and its brilliant development during the Ming 
 (1368-1643), interesting as they both are, would be scarcely relevant to 
 the present catalogue, which is almost entirely concerned with the riper 
 products of the present Dynasty. Before proceeding further with this 
 brief account of the ware it may be well to explain that the word 
 porcelain is derived from porcellana (the Venus shell), the nacreous 
 surface of which suggested a simile for the clear shell-like substance, 1 
 and that porcelain is distinguished from earthenware by its whiteness, 
 translucence and advanced state of vitrification. In its simplest form 
 the Chinese porcelain is compounded of two minerals, a white infusible 
 clay known as kaolin , 2 and a fusible felspathic stone known as petuntse , 3 
 which binds the kaolin and gives the mixture its translucency. There 
 are other varieties of the ware used by Chinese potters in which different 
 or additional ingredients such as steatite ( hua shih ) are admitted into the 
 composition, but all of them belong to the broad category of ‘ true ’ or 
 * hard-paste ’ porcelain, being composed of natural materials only and 
 differing entirely from the artificial compounds invented in Europe (see 
 below). It should be added that the glaze, though admitting of many 
 modifications, consists as a rule of the fusible petuntse softened with a 
 little lime. An important instance of a modification is seen in No. 55, 
 which has a greyish white glaze variegated by a network of cracks into 
 
 1 Marco Polo writing at the end of the thirteenth century applies the word porcellana both 
 to Chinese porcelain and to European ornaments encrusted with mother-of-pearl. 
 
 2 F rom Kao ling (a high ridge) on which it was mined. 
 
 3 F rom pai tun tz’ii (white bricks for porcelain) alluding to the form in which the prepared 
 material is delivered at the factories. 
 
28 
 
 INTRODUCTION 
 
 which a dark pigment has been rubbed to accentuate their lines. This 
 crackle is probably formed by mixing steatite with the felspathic glaze 
 and so causing it to shrink in the kiln (as all fired ware does) in a 
 different proportion to the body which it covers. The art of crackling 
 the glaze was understood as early as the Sung Dynasty (A.D. 960-1279). 
 Indeed No. 55 must be regarded as a direct imitation of a Sung ware 
 known as Ko yao. 
 
 There is another kind of crackle distinguished by a narrower mesh 
 and not emphasized by pigment. This is an accidental but constant 
 feature of certain coloured glazes which contain a large proportion of 
 alkali and are fired at a lower temperature than that required to melt the 
 ordinary white felspathic glaze. To this class, described by the French 
 as glazes du demi-grand feu , belongs the beautiful turquoise or kingfisher 
 blue ( fei ts’ui) of such examples as 75-77 and 108-111. The colouring 
 of the glaze itself is a modification which should be explained. All the 
 ceramic colours are derived from metallic oxides, the chief minerals being 
 cobaltiferous manganese which supplies blues, purples and certain blacks : 
 copper which produces turquoise, certain reds such as the sang de bceuf 
 of No. 49, and many shades of green : iron which gives the browns of 
 Nos. 72 and 113, the celadon green of No. 70, coral red and certain tones 
 of yellow ; and antimony which produces other shades of yellow. The 
 oxides may be mixed with the glazd itself, painted or powdered on 
 the ware before the glaze is applied, or mixed with a vitreous flux and 
 painted like enamels on the fired and finished glaze. In the last case 
 they are melted at a low temperature and in a special muffle-kiln. A 
 distinction is made throughout the catalogue between (1) the ‘ underglaze 
 colours * such as blue and maroon red (No. 66) which are applied before 
 glazing and developed in the full heat of the porcelain furnace, and (2) 
 the overglaze colours called throughout ‘enamel colours,’ which are 
 melted on to the glaze in the muffle-kiln. Both of these kinds are used 
 in the pictorial designs applied with the painter’s brush. Gilding is added 
 in a method resembling the application of enamel colours, the gold being 
 made to adhere in the first place by mixture with a sticky medium 
 and eventually by partial incorporation with the glaze in the fire of the 
 muffle-kiln. But the decoration of porcelain is not limited to coloured 
 glazes or painting under and over the glaze. The Chinese excelled in 
 carving the surface of the ware, in tracing delicate designs with a 
 finely pointed instrument, and in the reliefs which are formed by cutting 
 away the ground, by pressing the clay into moulds or by the application 
 of separately moulded ornaments attached by means of liquid clay. 
 Examples of all these processes are described in the catalogue. 
 
CHINESE PORCELAIN 
 
 29 
 
 To glance for a moment at the history of the ware, the Ming 
 Dynasty is represented by a single but remarkable specimen, No. 50, a 
 tall beaker with etched design under a beautiful leaf green glaze, though 
 a pair of blue and white bottles with landscapes on the body and a 
 peculiar tulip-like pattern on the neck (No. 1) belong to a class which 
 can be placed upon the border line between the Ming and the present 
 Dynasty. But the best pieces in this as in most European collections 
 belong to that brilliant period of Chinese ceramics which extends from 
 1662 to 1800, and includes the two long reigns denominated K’ang Hsi 
 (1662-1722) and Ch’ien Lung (1736-95), and the short but important 
 Yung Cheng period (1723-35). The K’ang Hsi porcelains are dis- 
 tinguished by a boldness and breadth of treatment in which the spirit 
 of the Ming art still breathes, combined with skilful potting and finished 
 technique which foreshadows the manipulative triumphs of the Ch’ien Lung 
 potters. The intermediate Yung Cheng period, though an age of transi- 
 tion, was marked by many new departures and special attention was paid 
 to coloured glazes and crackles, the old Sung glazes being successfully 
 reproduced. The ware of this short period has a peculiar neatness and 
 refinement. In the Ch’ien Lung period the Chinese potter reached 
 the zenith of technical skill. None of the triumphs of past ages were 
 beyond his powers and all the existing processes were brought to 
 perfection. Such was his command of the material that he could make 
 it simulate iron, bronze, jade, wood, lacquer, almost any substance in 
 fact which is used in China for the construction of artistic objects. As 
 might be expected in this age of tours de force the porcelain arrests us 
 more by its extraordinary finish and elaborate ornaments than by the 
 larger qualities of bold colouring and strength of design. At the 
 beginning of the nineteenth century the inevitable reaction began. The 
 decorative force of the K’ang Hsi porcelains had already disappeared 
 and the manipulative skill of the Ch’ien Lung potters began to evaporate. 
 The destruction of the Imperial factories during the T’aiping rebellion 
 in 1854 was a fitting culmination to fifty years of gradual decadence. 
 Since then the factories have been rebuilt, but the modern porcelains 
 give little promise of a revival worthy of their ancient traditions. 
 
 The bulk of the porcelains described in this catalogue are either 
 painted in underglaze blue or in enamel colours on the glaze, though 
 in a few cases these two methods of decoration are combined. The 
 former method was largely used on Ming porcelain from the earliest 
 reigns, but the most admired blue and white was not made till the 
 K’ang Hsi period of the present Dynasty. A fine example of this age 
 of perfection is seen in the ‘ prunus ’ jar (No. 94), which is conspicuous 
 
30 
 
 INTRODUCTION 
 
 for the depth and purity of the sapphire blue laid on in washes of 
 varying strength. These graded depths of colour, which seem to throb 
 with life, are one of the chief features of the K’ang Hsi blue and white, 
 and they are missed in the blue and white of later reigns on which a 
 preference is shown for intricacy of line rather than broad washes. 
 Hardly less characteristic of the best period is the fine smooth paste and 
 pure limpid glaze of the ware. It is worthy of note that in the Ch’ien 
 Lung period (1736-95) the large specimens frequently have an uneven, 
 undulating glaze, not unlike orange peel, which gives the surface additional 
 play of light and shade. 
 
 Painting in enamel colours on the glaze likewise dates back to early 
 Ming times, though examples before the sixteenth century are virtually 
 unknown. The Chinese name for this polychrome decoration is zvu ts’ai 
 (lit. five colours), and the Wan Li wu ts’ai or enamelled decoration of 
 the Wan Li period (1573-1619) includes transparent greens, yellow, 
 aubergine purple and coral red (or rouge de fer) assisted by underglaze 
 blue. Early in the present Dynasty a transparent blue enamel was 
 generally substituted for the underglaze blue, and we have the colour 
 scheme which is universally known as famille verte from the prominence 
 of green enamels of various tones. Transparency of the enamels is 
 the distinguishing feature of this scheme of decoration, and the much- 
 prized black which occurs on the famille verte porcelain is formed by 
 a dull brown-black pigment overlaid with a transparent green enamel 
 from which it obtains its peculiar greenish lustre. The famille verte 
 was at its best in the K’ang Hsi period (1662-1722), but it did not 
 cease with that reign, for no style of ornamentation once adopted in 
 China ever falls into entire disuse. A new development in this form 
 of decoration began in the Yung Cheng period (1723-35) when thin 
 washes of pale famille verte colours were used over underglaze blue 
 outlines. The effect is delicate and refined though somewhat weak, as 
 may be seen in No. 105. Meanwhile a much more drastic change was 
 inaugurated by the invention of an opaque rose pink derived from gold, 
 first used at the end of the K’ang Hsi period and fully developed in the 
 succeeding reigns. With it came a range of opaque enamels including 
 blues, yellow, greens and opaque white, which by judicious blending 
 produce many intermediate tints. This colour scheme, known as the 
 famille rose, practically superseded the transparent enamels in the reign 
 of Ch’ien Lung. The decadent wares of the nineteenth century often 
 combine both transparent and opaque enamels with results which are 
 far from pleasing. 
 
 The porcelain industry of China since the beginning of the Ming 
 
CHINESE PORCELAIN 
 
 31 
 
 Dynasty has been centred in the huge ceramic metropolis of Ching-te- 
 chen in the province of Kiangsi, and it is safe to assume that every 
 Chinese specimen in this catalogue was made there. It does not, 
 however, follow that the decoration was all completed in the same 
 place, for there are extensive enamelling establishments at Canton where 
 large quantities of porcelain have been painted in famille rose colours 
 since the Yung Cheng period. The decorators here were in close touch 
 with the European merchants from whom they received orders and 
 even patterns (armorial in particular) for the large services in which 
 our ancestors of the eighteenth century delighted. It is even probable 
 that some of the beautiful eggshell plates and vases with ruby pink 
 ground were decorated here, a theory which is supported by their 
 similarity in style to the Canton enamels on metal (see below). But 
 whether such magnificent examples of the famille rose as the set of fine 
 vases and beakers (No. 98) at Carlton Gardens were finished at Ching- 
 te-chen or Canton is a question which is never likely to be decided. 
 
 Apart from the beauty of design and colour, the skilful distribution 
 of the ornament and the simple but stately shapes to which Chinese 
 porcelain owes its pre-eminence in the ceramic world, great interest 
 attaches to the symbolic meaning which is rarely if ever absent from 
 Chinese decoration. But as much of the Oriental design is strange and 
 foreign to European eyes, a few words of explanation are desirable if 
 only as a commentary on the terms used in the catalogue. Religious 
 or semi-religious ideas for instance underlie a great part of what seem 
 at first purely ornamental designs. Of the three principal religions 
 of China, Buddhism and Taoism are most frequently reflected in the 
 decorative motives, the former chiefly in figures of Buddhas and 
 Bodhisattvas, or in groups of the Buddhist apostles, the eighteen 
 Arhats, but most commonly by designs of the sacred lotus or by the 
 Eight Emblems of Happy Augury (/>« chi hsiang ) which appeared on 
 the feet of Buddha. These are (1) the wheel of law, sometimes replaced 
 by a bell, (2) the conch-shell of victory, (3) the State umbrella, (4) the 
 canopy, (5) the lotus flower, (6) the vase, (7) the pair of fish, which 
 is also emblematic of conjugal felicity, and (8) the endless knot, also 
 regarded as an emblem of long life. These and other emblems 1 are 
 represented with flowing fillets attached. But the Taoist creed is respon- 
 sible for by far the largest part of Chinese symbolical ornament. The 
 
 1 Another group of eight symbols, the pa pao (eight precious things), consists of (1) a round 
 jewel ; (2) a cash ’ or round coin with square hole in the middle ; (3) lozenge ; (4) pair of 
 books ; (5) a painting represented by a lozenge-shaped tablet ; (6) a musical stone ; (7) a pair 
 of rhinoceros horn cups ; (8) an artemisia leaf. 
 
32 
 
 INTRODUCTION 
 
 attractive ideals of Long Life, Happiness and Worldly Success, which 
 hold the most prominent place in Taoist philosophy, are continually 
 reflected in Chinese decorative art. The God of Longevity (Shou Lao) 
 and his companions of Happiness and Rank are shown together in No. 23. 
 The Eight Immortals are frequently depicted visiting Shou Lao or 
 crossing the sea to the Taoist Paradise. Hsi Wang Mu, the Queen 
 of West, in whose garden grows the peach tree of Immortality, and 
 the two laughing boyish figures, the Twin Gods of Union and Harmony, 
 are also common subjects. There are besides innumerable legends of 
 sages, fortunate discoverers of the elixir of life, which form suitable 
 motives for panel decoration, and various objects animate and inanimate 
 which are regarded as emblems of longevity. Of the latter the deer 
 and the crane, the companions of Shou Lao, the fungus (ling chih ), pine 
 and peach are the commonest. Another emblem, the ju-i sceptre, a 
 curved wand with a head whose form seems to derive from the ling 
 chih fungus, is carried by Shou Lao and symbolizes longevity, though 
 the literal meaning of ju-i (as you wish) shows that it was also regarded 
 as a magic wand which brings fulfilment of wishes. Finally, orna- 
 mental forms of the character Shou (long life) are freely used, 
 sometimes with the swastika interwoven, the swastika (Fig. A) 
 being used in Chinese for the character wan (ten thousand) and FlG A 
 the whole (Fig. B) representing wan shou , ten thousand 
 longevities. The commonest emblem of happiness is the 
 ]Uq\ bat, because the character fu (bat) has the same sound 
 1 as fu (happiness), though in appearance the two are 
 
 entirely different. The bats are often highly convention- 
 1 — alized in form and are usually painted red, which is ‘ the 
 
 Fig. B 
 
 colour of happiness,’ and displayed in groups of five. 
 The ‘cash’ is an emblem of wealth and prosperity. Among the fruits the 
 peach, finger citron and pomegranate symbolize the Three Abundances 
 of Years, Happiness and Male Children. The orange is also a symbol 
 of happiness. A pair of mandarin ducks and a pair of fishes suggest 
 conjugal felicity. The cock is a symbol of fame and occurs in combi- 
 nation with the peony, the fu kuo^ (riches and honour) flower, as illus- 
 trated on No. 47. Other flowers of frequent occurrence are the season 
 flowers — prunus for Winter, peony for Spring, lotus for Summer and 
 the chrysanthemum for Autumn (see No. 104). Cranes or ducks 
 among lotuses and rats in a vine are also common patterns. Of the 
 mythical creatures and animals the dragon supplies the commonest 
 motive. He is either depicted as a lizard-like creature with divided 
 tail (this is the archaic dragon or chih lung ) or as a fierce saurian with 
 
CHINESE PORCELAIN 
 
 33 
 
 scaly body, ferocious, horned head and formidable claws. He is the 
 power of rain and storm and is depicted rising from the sea or hurtling 
 through clouds. He is moreover the symbol of the Emperor, and as 
 such is shown with five claws on each foot. The symbol of the 
 Empress is the feng huang, a mythical, phoenix-like bird with crested 
 head and flowing tail. Another creature of frequent occurrence in 
 decorative art is the mythical lion, which is represented as sporting with 
 a ball of silk brocade, and with features not unlike a Pekingese dog 
 (see No. 59 and illustration). He guards the Buddhist temples and on 
 this account is sometimes described as the dog of Fo (Buddha). The 
 lion is quite distinct from the Kylin, which is a composite animal with the 
 head and horn of a dragon, body and legs of a deer, bushy tail and 
 flame-like tufts. The latter is a creature of good omen and his appear- 
 ance foretells the coming of a virtuous emperor. There are besides 
 numerous patterns of a conventional nature used to form borders 
 to the decoration, and of these perhaps the commonest are the fret, 
 the ju-i head, and wave and rock patterns, all of which have an 
 element of symbolism. The fret, also known as the Grecian key 
 pattern, is of world-wide use, but in China it is often complicated by 
 the inclusion of the swastika (see p. 32), which carries a suggestion 
 of the ever-present wish for longevity. Again the border pattern 
 illustrated on No. 97, composed of a series of forms resembling the 
 head of a ju-i sceptre (see p. 32) conveys a like benevolent idea, 
 though no doubt it soon came to be employed as pure ornament 
 without any regard for its concealed meaning. Lastly the border of 
 conventional waves punctuated by stiff conical rock-designs derives from 
 a picture of the Shou Shan or Hills of Immortality, the sea-girt Paradise 
 of the Taoists. 
 
 The marks on the Chinese porcelain in this catalogue are confined 
 to a few symbols and the reign-names (nien haoj of Emperors. The 
 nien hao (lit. : period name) is not strictly the name of the Emperor but 
 the title by which each Emperor decides that his reign shall be known, 
 his own personal name being too sacred for ordinary mention. Conse- 
 quently it is more correct to speak of the K’ang Hsi period than the 
 reign of K’ang Hsi. It is common knowledge that these nien hao cannot 
 always (I might even say often) be regarded as true indications of date, 
 owing to the archaising propensities of the Chinese, who delight in 
 placing on modern wares the period-names of early and classic Emperors. 
 An exceptional substitute for a mark is the square panel on the base 
 of No. 59, containing the familiar design of a lion sporting with a 
 ball of brocade. 
 
34 
 
 INTRODUCTION 
 
 The few examples of Japanese porcelain included in this catalogue 
 are almost all from the Arita district of the province of Hizen, and 
 belong to the group known as Imari porcelain from the seaport of that 
 name. When the Portuguese had been expelled from Nagasaki in 1632 
 the trade was monopolized by the privileged Dutch, who were granted 
 a station in the neighbouring island of Deshima. It has been suggested 
 that the somewhat overcrowded and un-Japanese style of decoration of 
 the greater part of the Old Imari porcelain was inspired by Dutch ideas. 
 It was certainly made for the European market. This ware is dis- 
 tinguished by a somewhat coarse, greyish material painted in a dark indigo 
 blue, Indian red, with touches of green, yellow and purple, and freely- 
 used gilding. The ornament is crowded and often confused and mean- 
 ingless, but the bold masses of blue and red give the ware a striking and 
 decorative appearance. It was at any rate, whatever the modern opinion 
 may be, thought worthy of imitation by the old European porcelain 
 makers ; and No. 48 describes a remarkable pair of covered vases which 
 might well pass at a casual glance for Old Imari, though closer inspection 
 reveals a European touch in the painting and, what is still more con- 
 vincing, the actual mark of the Florentine firm of Ginori. The Arita 
 factories are active to the present day, and for a short period after the 
 re-opening of the country to European trade in 1858 they made the large 
 vases which were decorated with gold and black lacquer and shipped to 
 Europe under the name of Nagasaki ware (see Nos. 33, 65 and 120). 
 Arita porcelain dishes usually have ‘ spur marks ’ under the base, made 
 by the points of the supports on which the ware rested in the kiln. 
 
 While Japanese porcelain is a comparatively recent manufacture, 
 dating (with one exception) no further back than the seventeenth century, 
 pottery is a much older institution in Japan, and its fabrication seems to 
 have been found particularly congenial. The most generally admired 
 Japanese pottery is the ivory-white Satsuma, a fine greyish white stone- 
 ware with a creamy glaze, minutely crackled. At the end of the 
 eighteenth century enamelled and gilt decoration was sparingly applied 
 to this beautiful ware, and it was not till some sixty years later that the 
 bowls, incense burners, vases, etc., completely covered with minute 
 designs, were finished in the Tokio decorating studios for the European 
 trade. Other factories at Ota and Kioto supplied the Tokio decorators 
 with wares closely resembling Satsuma and the finished articles are 
 freely sold as Satsuma both in Europe and Japan. 
 
 The practice of furnishing Old Chinese and Japanese porcelain 
 with ormolu mounts, which prevailed in the eighteenth century, is 
 
CHINESE PORCELAIN 
 
 35 
 
 reflected in several items of this catalogue. Needless to say the style 
 of the mount was dictated by the furniture with which it had to consort 
 rather than by the porcelain itself. The practice was much in vogue in 
 Paris where the names of a large number of mounters has been pre- 
 served, though it is at present rarely possible to identify the work of 
 any but the most celebrated, such as Gouthiere, Caffieri, Germain, and 
 Duplessis. The mid-eighteenth century mounts, with their complicated 
 scrolls and shellwork, bespeak the rococo taste, while the more classical 
 ornaments with columns, rams’ heads and festoons belong to the end of 
 the century. 
 
 The European wares in the catalogue are so few and so miscel- 
 laneous that it is only possible to notice them in the most general terms. 
 The problems suggested by the imported Chinese porcelain, which 
 stirred the ambitions of European potters as early as the fifteenth 
 century, were solved by two distinct methods. Approaching the material 
 from the glassmaker’s point of view one group of potters invented a 
 composite substance which had the qualities of porcelain, in so far as it 
 was translucent and highly vitrified. This is the artificial or ‘ soft-paste ’ 
 porcelain (made of glass, sand and marl, with other ingredients) which the 
 French succeeded in manufacturing at Rouen and St. Cloud in the seven- 
 teenth century and perfected at Vincennes and Sevres about half a cen- 
 tury later. On the other hand Bottger, the alchymist, at Dresden, by 
 pursuing the knowledge of earths which he had acquired in his attempts 
 to manufacture precious stones, discovered not only the natural materials 
 for the making of true porcelain in the Chinese manner but the proper 
 methods of combining them. This discovery took place in 1707, and 
 though every effort was made to preserve the secret for the benefit of 
 Bottger’s royal patron, Augustus the Strong, it was divulged as early as 
 1720, and factories sprang up one after another in Germany, Austria, 
 and elsewhere, always under princely patronage. Thus one half of 
 Europe was making hard-paste porcelain, while the other was trying to 
 perfect the beautiful but less practical soft paste, and it was not till the 
 end of the eighteenth century that the early composite porcelain was 
 universally abandoned in favour of the true hard paste on the Conti- 
 nent, and in favour of a special porcelain in England which combined 
 the virtues of both. With the exception of Plymouth and Bristol the 
 early English factories followed the French methods, and various kinds 
 of soft-paste porcelain were made at Bow, Chelsea, Worcester, and 
 Derby (to mention the principal factories only) in the middle of the 
 eighteenth century. These early porcelains were largely experimental, 
 
36 
 
 INTRODUCTION 
 
 and in Chelsea alone, no less than four slightly differing types of ware 
 can be distinguished. The beauty of the old soft pastes is undeniable 
 and to the collector they are extremely attractive, but for practical 
 purposes they must be regarded as a failure, the difficulty of firing, the 
 cost of manufacture, and their liability to crack under sudden changes 
 of temperature being among their many drawbacks. At the end of the 
 eighteenth century there were two kindred materials which actively 
 competed with porcelain, in the ornamental category the blue and 
 white jasper ware (No. 86), and in the useful, the cream ware. The 
 former is closely akin to unglazed porcelain and the latter is a cream- 
 coloured earthenware. Both were perfected by Josiah Wedgwood, and 
 the former was actually invented by him. 
 
 In the two examples of della Robbia ware (Nos. 90 and 91) we 
 see the potter’s art impressed into the service of the sculptor. The 
 idea of protecting terra-cotta reliefs with a potter’s glaze was familiar 
 in the East quite two thousand years before Luca della Robbia was 
 born, but it is a particular application of the process which is for ever 
 associated with that great sculptor’s name. The sculptures and archi- 
 tectural ornaments which issued from the workshop of Luca and of his 
 immediate descendants in the sixteenth century are distinguished by a 
 buff terra-cotta body coated, as a rule, with white stanniferous enamel 
 on the reliefs against a blue ground. Other coloured glazes were used in 
 the details of the ornament, but white on blue were the prevailing tints. 
 Luca della Robbia was born 1399 — 1400, and died in 1482 ; but his 
 son Andrea (d. 1525), and his grandsons Giovanni (d. about 1529) and 
 Girolamo continued the work, which ceased after Girolamo’s death in 
 1566. 
 
 A similar process, though on a minor scale, was used about the 
 same time in Germany, and has continued in the specialized form of 
 stove-tiles to the present day. No. 92 is a good example of this class 
 of relief ornament coated with a pleasing green glaze, and of sixteenth 
 century manufacture. 
 
 R. L. H. 
 
OVERSTONE 
 
 1. PAIR OF VASES, bottle-shaped, with globular body, and tall slender 
 neck with bulb in the middle ; porcelain, painted in vivid underglaze 
 blue ; on the body, landscape and figure subjects illustrating Chinese 
 stories ; a band of floral scroll on the shoulder ; on the neck, stiff 
 tulip-like flowers, and on the bulb a lotus scroll. 
 
 Chinese ; 17th century. 
 
 H. 101 in., D. 71 in. 
 
 2. PAIR OF OVIFORM JARS with dome-shaped covers ; porcelain, with 
 
 brilliant powder-blue ground, on which are detached floral sprays, 
 gilt ; four large shaped reserve-panels decorated in underglaze blue 
 and red with touches of translucent enamel and gilding ; the subjects 
 (1) storks and lotuses ; (2) sages in rocky landscape ; (3) a deer and 
 flying stork, rocky landscape and aged pine tree in a mist ; (4) vases 
 and symbols from the Hundred Antiques ; four small quatrefoil 
 panels on the shoulders with growing flowers ; covers to match. 
 Empty double ring under the base. 
 
 Chinese ; early 18th century. 
 
 Total H. 19 in., D. 10| in. 
 
 The deer, stork and pine tree are all symbolical of long life. The Hundred Antiques 
 are a comprehensive group of symbolical ornaments, selections of which are com- 
 monly used in Chinese decoration, especially in panels. 
 
 3. VASE, club-shaped, with cylindrical body, cylindrical neck and slightly 
 
 expanded mouth ; decoration to match No. 2. 
 
 H. in., D. 7 \ in. 
 
 4. PAIR OF DISHES with scalloped sides and rims ; porcelain, painted 
 
 in dark underglaze blue ; central design of cranes and lotuses ; 
 borders of lotus scrolls and symbols (the cash, lozenge, leaf and 
 sounding stones) repeated ; three clumps of flowering flags on the 
 reverse. 
 
 Mark : a lotus flower. 
 
 Chinese ; late K’ang Hsi period (1662-1722). 
 
 D. 13f in. 
 
38 
 
 PORCELAIN 
 
 5. THREE DISHES, porcelain, painted in underglaze blue and enamel 
 
 colours, including a little black ; in the centre a large lotus with red 
 and gold blossoms and blue leaf, a willow tree, flags and flowers ; 
 border with blue ground, in which are red chrysanthemum flowers 
 and gold scrolls, broken by three irregular panels containing a 
 rockery and fence, bamboo, peonies and other flowers ; the panels 
 bordered with black ; two sprays on reverse. 
 
 Chinese ; late K’ang Hsi period (1662-1722). 
 
 D. 131 in. 
 
 6. PUNCH-BOWL, porcelain, painted in famille rose colours ; inside, a 
 
 peony spray, and border of trellis diaper in opaque pink and pale 
 green with chrysanthemum medallions, broken by four panels of 
 floral sprays ; two large peony sprays outside. 
 
 Chinese ; early Ch’ien Lung period (1736-95). 
 
 H. 4f in., D. 101 in. 
 
 7. PUNCH-BOWL, porcelain, painted in enamels with gilding ; outside, 
 
 two panels of landscapes with European figures, edged with feather 
 scrolls in red and pink ; between them, lotus scrolls in red, black 
 and gold ; inside, a similar panel and border of gold lace work. 
 
 Chinese ; early Ch’ien Lung period (1736-95). 
 
 H. 41 in., D. 101 in. 
 
 8. PUNCH-BOWL, porcelain, painted in famille rose enamels ; outside, 
 
 a lotus scroll with large circular blooms in various colours ; inside, 
 a lotus and foliage, and deep border with panels containing alter- 
 nately baskets of fruit and peony sprays. 
 
 Chinese ; early Ch’ien Lung period (1736-95). 
 
 H. 41 in., D. 11 in. 
 
 9. VASE with ovoid body, high neck and trumpet mouth ; two con- 
 
 ventional dragon handles ; porcelain, painted in two shades of blue 
 under the glaze ; on the body, peony scrolls with borders of ju-i 
 pattern ; stiff foliage design on neck and foot ; band of key pattern 
 on the shoulder, and of hexagon diaper on the neck ; base unglazed. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 
 H. 32 in., D. 141 in. 
 
OVERSTONE 
 
 39 
 
 10. BOWL on high stem ; porcelain, painted in famille rose enamels ; on 
 the outside of the bowl, four groups of peach, pomegranate, finger 
 citron and orange, over each a bat ; on the stem, a band of stiff leaves. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 
 H. 5f in., D. 6f in. 
 
 The peach, pomegranate and citron symbolize the Three Abundances of years, male 
 children and happiness. The orange also is a symbol of good fortune. 
 
 11. VASE, bottle-shaped, of ingenious construction ; an inner body of 
 slender form with outer casing pierced with four medallions of 
 archaic dragons in fungus scrolls ; this outer casing works free and 
 can be turned round by the neck, to which it is attached ; the body 
 is overlapped at the shoulders and above the base by the upper and 
 lower sections of the vase ; porcelain, painted in famille rose enamels ; 
 on the body, lotus scrolls and cloud ornament in colours in a pale 
 yellow ground ; on the neck and foot, bats and lotus scrolls in colours 
 in a deep ruby-pink ground ; the overlapping parts are wavy at the 
 edges and bordered with ju-i scrolls ; pale bluish green enamel inside 
 the mouth and under the base ; the inner body is painted with bats 
 and fungus scrolls. 
 
 Chinese; Ch’ien Lung period (1736-95). 
 
 H. Ill in., D. 7\ in. 
 
 Bats are emblems of happiness and the ling chih fungus of longevity. 
 
 12. TWO BASINS, porcelain, painted in famille rose enamels with gilding ; 
 two panels of figures and two smaller panels of peonies, with gilt 
 foliage scrolls in the spaces between ; a peony inside. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 
 H. 31 in., D. 81 in. 
 
 13. PAIR OF BOTTLES, of flattened quatrefoil elevation ; decorated in 
 . underglaze blue, famille rose enamels and gilding ; large panels of 
 figures in colours with blue composite borders ; vignettes in red 
 between, surrounded by blue flowers and gilt scroll-work ; small 
 panels of similar design on the neck. 
 
 Chinese ; late Ch’ien Lung period (1736-95). 
 
 H. 91 in., D. 41 in. 
 
40 
 
 PORCELAIN 
 
 14. PAIR OF SLENDER OVOID VASES with domed covers, sur- 
 mounted by a lion ; porcelain, painted in underglaze blue, famille 
 rose enamels and gilding ; two large panels with figure subjects in 
 colour and composite borders in blue, the spaces between filled with 
 flowers and fish-roe diaper ; small panels with red landscapes and 
 flowers on the shoulder, with blue designs between ; covers to match. 
 
 Chinese ; late Ch’ien Lung period (1736-95). 
 
 H. 13 in., D. 4f in. 
 
 15. PUNCH-BOWL, porcelain, painted in famille rose enamels with gild- 
 ing ; outside, two large panels with Chinese figures and landscape 
 background, and smaller panels of flowers ; ground of Y diaper in 
 red and gold ; inside, a peony and a band of red bats, between 
 feather scrolls with small landscape vignettes and passages of red 
 diaper with gold ; formal borders. 
 
 Chinese ; late Ch’ien Lung period (1736-95). 
 
 H. 4j in., D. 10f in. 
 
 16. TWO VASES (see description of No. 72, a third of the same set). 
 
 17. TALL JAR of slender ovoid form with domed cover; porcelain, with 
 deep blue glaze on which is a gilt design consisting of groups of 
 prunus blossom on a ground of network ; formal borders ; floral 
 sprays on the neck ; base unglazed. 
 
 Chinese ; 18th century. 
 
 H. 281 in., D. 121 in. 
 
 18. HEXAGONAL JAR with cover surmounted by a gilt kylin ; porce- 
 lain, with uneven ‘ orange-peel ’ glaze, painted in famille rose enamels 
 with gilding ; on the sides, large panels of Chinese garden scenes 
 with groups of men, women, children and animals ; smaller panels 
 below with flowers ; and panels on the neck with birds and blossom- 
 ing boughs, and figures in landscape ; flowers and insects in the 
 panels of the cover ; the spaces between are filled with delicate gilt 
 foliage scrolls, and the panels are edged with dragon scrolls in gold. 
 
 Chinese (‘ Mandarin ’ ware) ; late 18th century. 
 
 H. 23 in., D. 9j in. 
 
OVERSTONE 
 
 41 
 
 19. PAIR OF JARS with slender ovoid body and short neck ; opaque 
 and dead-white steatitic porcelain (see p. 27), ornamented with panels 
 of low reliefs, between which are butterflies and flowers in under- 
 glaze blue ; two large oblong panels with (1) a rock, flowering 
 peony and a phoenix flying ; (2) balustrade, flowering magnolia and 
 a pheasant on a rock ; two leaf-shaped panels below with rock and 
 flower, and rat and vine designs ; and two quatrefoil panels on the 
 shoulders with rocks and flowers. 
 
 Chinese ; late 18th century. 
 
 H. 11 in., D. in. 
 
 20. BOWL with spreading lip ; porcelain, painted in famille rose enamels ; 
 on the outside a continuous landscape with buildings and water ; 
 inside and under the base covered with pale bluish 
 green enamel. 
 
 Red seal mark in six characters, ta ch’ing chia 
 ch ’ing nien chih ; made in the Chia Ch’ing period of 
 the great Ch’ing dynasty (i.e. 1796-1820). 
 
 H. 31 in., D. 6f in. 
 
 21. PAIR OF VASES with slender ovoid body, cylindrical neck, with 
 two conventional dragon handles, and spreading mouth ; porcelain, 
 richly enamelled in famille rose colours with gilding ; two large panels 
 on the body with Court scenes of many figures, enclosed by gilt 
 fret borders wreathed with flowers ; similar panels on the neck with 
 (1) ladies and children in a garden ; (2) ladies playing go (a kind 
 of chess) ; the field enriched with flying birds and naturalistic 
 flowers against an opaque blue enamel background ; borders of 
 flowers in gilt ground ; base unglazed ; opaque pale blue enamel 
 inside the mouth. 
 
 Chinese ; early 19th century. 
 
 H. 251 in., D. 104 in. 
 
 22. PAIR OF Tall SLENDER VASES with contracted neck and flaring 
 mouth ; porcelain, painted with famille rose enamels and gilding ; on 
 the body, four large and four smaller panels with figure subjects 
 and interiors ; gilt ground diapered with flowers and insects and 
 curly green scrolls ; on the shoulders, a band of rat and vine scroll 
 
42 
 
 PORCELAIN 
 
 on a white ground ; on the neck, two panels of figures and two of 
 flowers and birds, the ground as on the body ; border of flowers in 
 gold background under the lip ; floral scroll inside the mouth. 
 
 Chinese ; early 19th century. 
 
 H. 25j in., D. in. 
 
 23. PAIR OF VASES with slender ovoid body, high neck and wide mouth; 
 two conventional dragon handles on the neck ; porcelain, with pale 
 green celadon glaze, painted in underglaze blue and famille rose 
 enamels with gilding ; on one side, the three Star Gods and a female 
 figure, with the two genii of Union and Harmony below in a 
 landscape with hills, trees and balustrade ; on the other side, two 
 pheasants on a rock, a deer and a toad and a squirrel, flowering 
 peonies, lotus, peach, mulberries, citrons, butterflies and birds ; 
 borders with butterflies, flowers and pomegranates on a gilt ground ; 
 the handles enamelled blue with gilt edges ; floral sprays inside 
 the mouth. 
 
 Chinese ; early 19th century. 
 
 H. 23^ in., D. 9\ in. 
 
 The Taoist triad of Happiness, Rank, and Longevity consist of the three Star Gods : 
 Fu Hsing, who carries a babe and a peach; Lu Hsing, in mandarin costume and 
 carrying a ja-i sceptre ; and Shou Hsing, who holds a long staff (at the end of which 
 is a scroll) and a peach. The Twin Genii of Union and Harmony {ho ho erh hsien) 
 are also Taoist divinities, a laughing pair of boyish persons who appear in various 
 guises. In Japan the pair are known by the names of Kanzan and Jitoku. 
 
 24. OCTAGONAL JAR with domed cover, surmounted by a shishi 
 (Chinese lion with ball of brocade) on a rock ; painted in dark 
 blue, red and gold, with touches of pale green ; four panels con- 
 taining (two) a stork and minogame (hairy tailed tortoise) with 
 kiri (paulonia) and flowering mume (prunus) branches ; and (two) 
 a balustrade, birds and blossoming peach boughs, the ground filled 
 with flowering peonies, etc. ; and on the shoulders dragon panels 
 and shishi ; cover to match ; the shishi on the cover stained brown 
 with traces of gilding. 
 
 Japanese (‘ Imari ' ware) ; about 1700. 
 
 H. 24^ in., D. 12 in. 
 
OVERSTONE 
 
 43 
 
 25. BOWL, painted in underglaze blue with enamel colours and gilding ; 
 inside, a peony medallion with wreath border, four floral sprays, 
 including a chrysanthemum (with a kikumon beside it), and border 
 of key pattern, chiefly in blue, red and gold ; outside, in blue and 
 enamels, prunus ( mume ) and peach boughs, and wreath border. 
 Mark : a formal chrysanthemum in red and gold. 
 
 Japanese (‘ Imari ’ ware) ; about 1700. 
 
 H. 31 in., D. 7 in. 
 
 The kikumon is an imperial badge resembling a conventional chrysanthemum flower. 
 
 26. BOWL, porcelain, painted in underglaze blue, red and gilding ; inside, 
 a medallion with peony and wreath border ; on the sides, chrysan- 
 themums and chrysanthemum devices ( kikumon ) and detached 
 blossoms ; border of blue with gilt leaf scroll and red flowers at 
 intervals ; outside, four floral sprays and similar border. 
 
 Mark : a formal chrysanthemum in colours. 
 
 Japanese (‘Imari* ware); about 1700. 
 
 H. 3f in., D. 7\ in. 
 
 27. DISH, saucer-shaped ; porcelain, painted in dark underglaze blue 
 with red and gold ; a prunus (mume) spray medallion, surrounded 
 by three chrysanthemum sprays ; four branches of mume and peony 
 on the reverse ; nine spur-marks under the base. 
 
 Japanese (‘ Imari ’ ware) ; early 18th century. 
 
 D. 101 in. 
 
 28. DISH with deep centre and wide sloping rim ; porcelain, painted in 
 dark underglaze blue with a little red and gilding ; in the centre, 
 a double-gourd vase with flowers ; on the sides and rim, two vases 
 of flowers in red, and feathery foliage scrolls in blue with small 
 red blossoms and sprays ; sprays of chrysanthemum, peony and 
 plum on the reverse ; spur-marks and projecting ‘ spurs ’ under the 
 base. 
 
 Japanese (‘ Imari ’ ware) ; 18th century. 
 
 D. 211 in. 
 
44 
 
 PORCELAIN 
 
 29. BEAKER with flaring mouth ; porcelain, painted in underglaze blue 
 with continuous landscape ; Vandyke border ; glaze slightly crackled. 
 
 Japanese (‘Imari’ ware); late 18th century. 
 
 H. 19 j in., D. 9 in. 
 
 30. COMPOSITE VASE, in form of a gourd, made up of a double bowl 
 and a bottle, fitting one above the other ; porcelain, painted in two 
 shades of underglaze blue with three coiled dragon medallions in 
 a ground of lozenge checker ; lacquer mount and stopper. 
 
 Japanese (‘ Imari ’ ware) ; early 19th century. 
 
 H. 14| in., D. 7 in. 
 
 31. DISH, saucer-shaped ; porcelain, painted under the glaze in two 
 shades of blue ; a coiled dragon and three doves in a ground of 
 foliage scrolls ; on the reverse, wave pattern ; one 
 
 spur mark. 
 
 Mark of the Chinese period Ch’eng Hua (1465-87). 
 Japanese (‘ Imari ’ ware) ; 19th century. 
 
 D. 23 in. 
 
 * 
 
 $ 
 
 32. DISH, saucer-shaped ; porcelain, painted in underglaze blue, with 
 a mountainous landscape and buildings ; water in the foreground 
 with boats, the trees and clouds behind executed in gold lacquer on 
 a black ground ; on the reverse, black lacquer with gold scrolls. 
 
 Japanese (‘ Nagasaki ’ ware) ; made at Arita about 1860. 
 
 D. 25 in. 
 
 33. PAIR OF VASES with ovoid body, tall neck and trumpet mouth ; 
 standing on drum-shaped bases ; porcelain, with cloud-scrolls in dull 
 underglaze blue, almost entirely covered by a lacquered design in 
 gold on a black ground, viz. a dragon in slight relief rising from 
 waves ; clouds design under the lip, and foliage scrolls on base ; 
 wooden plinths. 
 
 ‘Nagasaki’ ware; made at Arita about 1860. 
 
 Total H. 56 in., D. (at base) 23 in. 
 
OVERSTONE 
 
 45 
 
 34. TWO TEACUPS AND SAUCERS, without handles ; soft-paste 
 porcelain, painted in colours, with a bouquet of flowers and detached 
 sprays ; three spur-marks ; paste of fine quality. 
 
 Mark : a red anchor. 
 
 Chelsea ; third period (1753-58). 
 
 H. of cup If in., D. of saucer 5 in. 
 
 35. PAIR OF CANDLESTICKS, the nozzles flower-shaped, and supported 
 on the heads of a girl shepherdess and boy shepherd ; the former 
 holds a bunch of flowers in her left hand, and the boy is playing 
 a flute ; the girl has a lamb and the boy a dog beside him ; both 
 are supported by a tree-stump, with foliage and blossoms in full 
 relief, and a handle at the back ; rococo scroll bases ; soft-paste 
 porcelain, painted in colours with gilding. 
 
 Derby-Chelsea (1770-84). 
 
 H. 9 in. 
 
 36. PAIR OF VASES, campana-shaped, with cover, two handles, slender 
 stem, spreading foot and square plinth ; soft-paste porcelain ; 
 painted in colours with gilding ; on the body, a broad band of lily 
 scrolls in a pale salmon pink ground ; below is a band of stiff 
 acanthus leaves in brown and dull gold on white ; marbled stem 
 and plinth ; gilt borders. 
 
 Mark in puce: a crown, cross-batons and dots, above a D ^ 
 and repairer’s mark incised (an asterisk), said to be that used 
 by Isaac Farnsworth. 
 
 Derby ; about 1790. 
 
 H. 7f in., D. 3| in. 
 
 37. CENTRE-PIECE, boat-shaped, with slender stem and oval foot ; 
 domed cover with knob ; soft-paste porcelain ; shaped after a metal 
 model ; two high handles with satyr-masks at the upper attach- 
 ment ; reeding on the lower part of the body, and on the dome 
 of the cover ; acanthus leaf band moulded on the foot ; painted 
 chiefly in brown and gold in classical taste ; on the body, trophies 
 of arms, etc., between wreathed columns; similar trophies on cover; 
 foot and handles richly gilt. 
 
46 
 
 PORCELAIN 
 
 Mark in red : crown, cross-batons and D, and incised mould 
 number, 80, and 2 with an asterisk, the mark of a workman 
 named Isaac Farnsworth. 
 
 Derby ; late 18th century. 
 
 H. 8f in., L. 9f in. 
 
 Knob restored. 
 
 38. COFFEE-CUP, of conical form, with spreading mouth and low 
 foot ; wing-shaped handle ; hard-paste porcelain, decorated in gold ; 
 arabesque band with pendant masks and festoons on the side ; the 
 rest of the surface heavily gilt. Shell-shaped saucer with gilt ribs. 
 
 Nast 
 
 Mark in gold : a 
 
 Paris 
 
 Early 19th century. 
 
 H. of cup with handle, 4 in. ; D. of saucer, 6f in. 
 
 Made at the factory in the Rue de Popincourt, which was bought by Nast in 1783. 
 
 39. ANOTHER, with plain handle and palmette attachments ; painted in 
 colours, with a cupid in a landscape ; the rest of the surface heavily 
 gilt. Similar saucer. 
 
 H. of cup, 3i in. ; D. of saucer, 6 \ in. 
 
 40. COFFEE-CUP, cylindrical ; hard-paste porcelain, with oval panel 
 painted in colours, with a boy Bacchus holding a wine-cup ; on 
 the rest of the exterior a design of vine and thyrsus arches, with 
 tazze on scroll pedestals between ; gilt edges. 
 
 Mark in gold : Nast. 
 
 H. 2 \ in. 
 
 41. FIGURE OF AN AMORINO wielding a pick ; white porcelain, with 
 details in enamel colours, the drapery deep blue ; rocky base, with 
 a few flowers in applied relief. 
 
 Meissen porcelain ; early 19th century. 
 
 H. 91 in. 
 
OVERSTONE 
 
 47 
 
 42. FIGURE OF COUNT BRUHL’S tailor mounted on a goat, carrying 
 on his back a basket of kids and brandishing a pair of scissors in 
 his right hand ; porcelain, painted in enamel colours, with gilding ; 
 the coat richly flowered, and the goat coloured after nature ; on 
 a conventional base. 
 
 concerned in the Meissen porcelain factory between 1733 and 1763. The story runs 
 that his tailor importuned him for permission to be present at a Court function, and 
 received the assurance that he should be there. The promise was satirically fulfilled 
 
 43. DISH, saucer shaped, with eight -foil rim, and a heap of green 
 olives in full relief in the centre ; white tin-enamelled faience, 
 with red edges. 
 
 Mark : the crossed swords in blue in the hollow under 
 
 the base ; and .X, incised mould number, No. 171. 
 Meissen ; 19th century. 
 
 H. 9 \ in. 
 
 Count Briihl, the minister and favourite of Augustus III of Saxony, was intimately 
 
 by the presence of the tailor and his wife caricatured in porcelain and mounted on 
 goats. The original figures are said to have been modelled by the sculptor Kandler. 
 
 at Strasburg (1739-54). 
 D. 9f in. 
 
LOCKINGE 
 
 44. VASE, club-shaped, with neck and body cylindrical ; spreading 
 mouth; fine porcelain delicately painted in sepia, red and gold; on 
 the body a landscape with rock and aged pine, through which a 
 mist is floating, and deer in various attitudes ; on the ground are 
 ling-chih funguses ; on the shoulder a star- diaper, broken by four 
 panels of vases and symbols from the Hundred Antiques ; on the 
 neck four groups of three peaches below a band of Shou (long- 
 evity) characters in seal form ; formal borders. 
 
 Chinese; Yung Cheng period (1723-35). 
 
 H. 17| in., D. in. 
 
 Almost every part of the ornament on this vase expresses a wish for the long life of the 
 possessor. The aged pine, the deer and the funguses are symbolical of the longevity 
 which is expressed by the character Shou on the neck and symbolized by the groups 
 of peaches, the fruit of longevity. 
 
 45. VASE of beautiful oval outline, with re-entrant curve above the 
 base; short neck; wide mouth and domed cover; fine white porce- 
 lain, painted in famille rose enamels with a little gilding ; on the 
 sides, two basket-vases containing chrysanthemum, magnolia and 
 peony flowers ; and between them vases of pomegranate and other 
 sprays, jars and various symbolical ornaments set out on low tables 
 (e.g. an incense vase on four feet, two cases of books, a picture 
 scroll, a brush-pot containing brushes, rolls of paper, a ju-i sceptre 
 and a fly-whisk); below is a band of chrysanthemum scroll outlined 
 in black on a pink ground ; and above, a border of fanciful escallops, 
 alternately pink and pale blue, and ornamented with prunus and 
 lotus designs, fish-roe and other diapers ; on the neck, sprays of 
 chrysanthemum and peony ; black band above the base ; cover with 
 blue knob, and enamelled decoration to match the body. 
 
 Chinese ; about 1740. 
 
 H. 23f in., D. 13£ in. 
 
Plate VII 
 

 
 
LOGKINGE 
 
 49 
 
 46. PAIR OF VASES of similar form, with domed covers, and knobs in 
 form of lion-like monsters, blue and gilt ; fine porcelain, painted in 
 famille rose enamels ; on the sides, three large and fancifully-shaped 
 baskets full of flowers ; above and below, a wide eight-foil border 
 of deep ruby pink with six white lotus flowers and blue foliage 
 scrolls reserved ; and on the neck, quatrefoil panels of flowers and 
 four small yellow quatrefoils, similarly reserved ; eight similar yellow 
 quatrefoils in the border below: cover to match, but with narrow 
 edging of diaper patterns ; gilt metal bands on the lid and base. 
 
 Chinese; about 1740. 
 
 H. 17f in., D. 91 in. 
 
 47. PAIR OF BEAKERS with tall slender body, swelling above the base 
 and spreading into a trumpet-shaped mouth ; porcelain, painted in 
 famille rose enamels ; a deep ruby - pink ground, in which are 
 reserved panels of various forms, fan, picture-scroll and leaf-shaped; 
 above are two fan-shaped panels with cocks and peonies ; below 
 this, two long narrow picture-scroll shaped panels falling obliquely 
 and painted with birds on pendant flowering boughs ; across these 
 are two fan-shaped vignettes of landscapes and below two small 
 leaf-reserves with insects and flowers ; in the ground are scattered 
 chrysanthemum blooms in various colours and leaves ; below the 
 lip, a band of green hexagon diaper broken by two panels of lotus 
 scrolls ; gilt metal mounts on foot. 
 
 Chinese; Ch’ien Lung period (1736-95). Plate VII. 
 
 H. 141 in., D. 7 \ in. 
 
 From the Collection of Mr. S. Addington. 
 
 48. PAIR OF OVIFORM JARS with domed covers mounted with lion 
 knobs ; hard-paste porcelain of greyish tint painted in underglaze 
 blue and enamel colours, chiefly green and red, with gilding ; on 
 the sides, flowering prunus trees and fantastic birds of phoenix type ; 
 deep irregular borders with formal lotus scrolls in blue and gold ; 
 red borders with dragons on the neck and cover. A remarkable 
 imitation of Old Imari porcelain (see page 34). 
 
 Mark stamped several times on the base: GINORI. 
 
 Doccia ; early 19th century. 
 
 H. 25 in., D. 121 in* 
 
 The celebrated factory at Doccia, near Florence, was started by the Marchese Carlo 
 Ginori about 1737, and has been continued by the Ginori family to the present day. 
 
50 
 
 PORCELAIN 
 
 49. PAIR OF VASES with slender oval body, high contracted neck and 
 flaring mouth; porcelain, with deep sang de boeuf red glaze faintly 
 crackled : the colour has flown away from the lip and the glaze 
 has collected on the base rim and has been ground off. 
 
 Chinese : early 19th century. 
 
 H. 21\ in., D. 9f in. 
 
 50. BEAKER with slightly tapering body and spreading mouth ; por- 
 celain, with designs strongly etched with a point under a deep leaf- 
 green glaze ; on the upper part, a landscape with palm tree, rock, 
 and a seated Kylin : below this, a broad belt of lotus scroll ; from 
 which radiate downwards four large leaves with four small leaves 
 between ; narrow scroll-border below lip ; base unglazed. 
 
 Chinese ; 16th century. 
 
 A remarkable and rare Ming piece, but, unfortunately, damaged. 
 
 H. 24 in., D. 94 in. 
 
 51. VASE, bottle-shaped with wide cylindrical neck ; porcelain, with 
 ornament reserved in a faintly crackled lavender glaze ; on the 
 body, three medallions with pairs of archaic dragons confronted, in 
 low relief in white on a dark brown ground, between them three 
 bats and pendant ornament in white ; on the shoulder, a key pattern 
 deeply engraved and coloured brown ; on the neck, stiff leaves, 
 coloured brown, and border of false gadroons above base ; grey 
 crackled glaze inside and black under the base ; mouth-rim brown. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 
 H. 13f in., D. 8f in. 
 
 52. PAIR OF FLOWER POTS, bowl-shaped, with flat rim ; two lion- 
 mask handles, gilt ; porcelain painted in famille rose enamels ; out- 
 side, a deep blue glaze with gilt net diaper, and white reserves ; 
 two large panels with balustrade, flowering peonies, pomegranates, 
 etc. ; and smaller panels with various flowers ; on the rim, a band 
 of diaper patterns interrupted by panels of flowering plants. 
 Carved wood stand. 
 
 Chinese ; early 19th century. 
 
 H. 154 in., D. 24 in. 
 
LOGKINGE 
 
 51 
 
 53. PUNCH BOWL, porcelain, painted in famille verte enamels with 
 gilding ; outside, a flowering magnolia, a clump of chrysanthemums 
 and other flowers, detached sprays and a border of fish-roe diaper 
 in red, broken by four panels of flowers ; inside, a medallion with 
 blue ring enclosing a large peony and other plants ; border of red 
 and gold hatched diaper broken by four panels of flowers ; brown 
 edges. 
 
 Chinese ; K’ang Hsi period (1662-1722). 
 
 H. 41 in., D. Ilf in. 
 
 54. LARGE BOWL, porcelain, with uneven ‘ orange - peel ’ glaze ; 
 painted in famille rose enamels ; the exterior representing a lotus 
 flower with petals alternately in graded pink and blue, with etched 
 veins ; this design is broken by four shaped panels containing rocks 
 and flowering peonies ; floral scroll borders in red and gold. The 
 bowl is mounted in ormolu, with elaborate scroll band on the rim, 
 two large scroll handles and tall open-work stand, all enriched 
 with complicated acanthus foliage, feather scrolls, and floral fes- 
 toons, shells and frills in rococo taste. Wooden plinth. 
 
 Chinese porcelain (about 1750), and French mounts. 
 
 Total H. 42 in., D. (with handles) 33 in. 
 
 55. FLOWER POT, in form of a lotus leaf, with buds and tendrils in 
 relief on the sides and forming two handles ; porcelain with boldly 
 crackled grey glaze, the cracks filled with black. Carved wood 
 tripod stand. 
 
 Chinese ; 18th century. 
 
 H. 8f in., D. 9f in. 
 
 This grey crackled ware is made in imitation of the Ko yao of the Sung dynasty (see p. 28). 
 
 56. PILGRIM BOTTLE, flask-shaped, with circular body; cylindrical 
 neck with two dragon-scroll handles ; low foot ; two round bosses 
 in the middle of the body ; porcelain painted in dark and light 
 blue under the glaze ; on the body, a formal rosette design with 
 
52 
 
 PORCELAIN 
 
 eight petals enclosing the eight Buddhist emblems ; band of lotus 
 scrolls on the sides and of fungus scrolls on neck and foot ; key 
 pattern borders. 
 
 Chinese. 
 
 Seal mark in six characters of the Ch’ien Lung period 
 (1736-95) ; see No. 58. 
 
 H. 18f in., D. 14 in. 
 
 The eight Buddhist emblems, or Eight Happy Omens {pa chi hsiang) which appeared 
 among the signs on the foot of Buddha, are (1) the wheel of the law or chakra, some- 
 times replaced by a bell, (2) the conch shell of victory, (3) the umbrella of state, (4) 
 the tasselled canopy, (5) the lotus flower, (6) the vase (holding a ju-i sceptre or pea- 
 cock’s feather), (7) the pair of fish, emblems of fertility ; and (8) the angular endless 
 knot which represents the intestines, and is an emblem of longevity. 
 
 57. VASE, bottle-shaped, with slender neck ; porcelain painted in 
 enamels of the famille rose type ; a terrace with balustrade and 
 vase with stunted tree, a lady and two children, and beyond, a pine 
 tree and two ducks, one on water and one in the air. 
 
 Japanese ; late 19th century. Kioto ware. 
 
 H. in., D. 9 in. 
 
 58. VASE with ovoid body, angular shoulders, tall contracted neck, 
 and flaring mouth ; two handles on the neck in the form of archaic 
 lizard-like dragons ; porcelain, with undulating orange-peel glaze, 
 richly painted in famille rose enamels ; on the body, a continuous 
 picture representing a hilly landscape, with water, bridges, pavilions, 
 etc., and groups of graceful ladies playing on musical instruments, 
 feasting, or carrying baskets of flowers, a mist floating over the 
 trees. The scene probably represents an Imperial pleasure ground 
 and the ladies of the harem. Above and below, are scalloped borders 
 with formal floral ornament in colours in grounds, respectively 
 yellow and deep ruby-red ; on the shoulders, a band of stiff foliage ; 
 on the neck, enamelled designs in a deep ruby ground, lotus scrolls, 
 the character Shou (longevity) highly conventionalized with a bat 
 (emblem of happiness) above, and a double ‘ cash * symbol below ; 
 border of ju-i heads below the mouth ; band of key pattern on base 
 rim ; inside the mouth and under base a pale bluish-green enamel. 
 
 Chinese. Plate VIII. 
 
 Mark, in red seal characters: Ta Ch’ing Ch’ien 
 Lung nien chih; made in the Ch’ien Lung period of 
 the great Ch’ing dynasty (1736-95). 
 
 H. 30 in., D. 16| in. 
 
No. 58 
 
LOGKINGE 
 
 53 
 
 59. PAIR OF FINE DISHES of saucer - shape ; porcelain painted in 
 famille rose enamel colours ; in the centre is a lotus, surrounded 
 by a lily scroll in colours, in a ground of dense foliage reserved in 
 black and washed over with transparent green ; rich border of pink 
 hexagon diaper broken by irregular panels, with formal floral orna- 
 ment. Under the base, a square panel with a lion and ball of 
 brocade outlined in black in a ground of pale blue-green enamel. 
 
 Chinese ; Ch’ien Lung period (1736-95). Plate IX. 
 
 D. 231 in* 
 
 See No. 59 
 
 60. PAIR OF COCKS, standing on rocky bases ; finely modelled ; 
 porcelain painted in opaque enamels of the famille rose class ; 
 the body white, with etched feathers ; tail, black and red ; comb 
 and wattles, pink ; wings in pink, green and blue. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 
 H. 12 in. 
 
54 
 
 PORCELAIN 
 
 61. BOWL, porcelain painted in enamel colours ; inside, a circular seal 
 character Shou (longevity) surrounded by five bats ; outside, lotus 
 scrolls and four pairs of fishes reserved and coloured in a rose-pink 
 ground ; formal borders. 
 
 Chinese. 
 
 Mark in red seal characters : Ta Ch’ing Chia CKing nien chih , 
 made in the Chia Ch’ing period of the great Ch’ing dynasty 
 (1796-1820); see No. 20. 
 
 H. 74 in., D. 34 in. 
 
 The five bats symbolize the five principal happinesses. The pair of fishes symbolize 
 conjugal happiness and fertility. 
 
 62. BOWL, porcelain painted in enamel colours ; inside, the sun 
 over stormy waves in the centre and five red bats on the sides ; 
 outside, coral-red ground with gilt scrolls and four reserved medal- 
 lions, with the season flowers, viz. : prunus, peony, lotus, and 
 chrysanthemum, representing severally Winter, Spring, Summer, 
 and Autumn. 
 
 Chinese. 
 
 Seal mark in blue in six characters of the Ch’ien Lung period 
 (1736-95) ; see No. 58. 
 
 H. 34 in., D. 74 im 
 
 The colour red is associated with happiness in China, where it may be said to repre- 
 sent the colour of happiness. 
 
 63. OCTAGONAL PLATE, porcelain painted in famille rose enamel 
 colours ; in the centre, a rosette surrounded by flowering sprays of 
 chrysanthemum, peony, and other flowers, over which is a ribbon 
 knot of eight loops in pink ; on the sides and rim, a band of deep 
 ruby-pink with four prunus sprays reserved, broken by four lappets 
 with peony scrolls reserved in a green-black ground ; narrow 
 edging of pink scrolls on a grey ground. 
 
 Chinese ; about 1750. 
 
 D. 84 in. 
 
 64. PLATE with wavy eight - foil rim ; porcelain painted in famille rose 
 enamels ; in the centre, a Chinese scene ; a man fishing with a creel 
 in a stream and handing a fish to a woman on the bank, who holds 
 a bowl for it ; she is accompanied by two children ; rockery and 
 
LOGKINGE 
 
 55 
 
 peonies in the background ; deep border in eight compartments 
 with lotus, peony, and other flowers reserved and coloured in a 
 green-black ground. 
 
 Chinese ; about 1740. 
 
 D. 81 in. 
 
 65. PAIR OF VASES with ovoid body, high cylindrical neck, trumpet- 
 shaped mouth with crinkled rim. Porcelain coated with black and 
 gold lacquer, silvering and mother-of-pearl inlay. The design 
 consists of waves and rocks from which spring a pine tree with 
 peacocks on the stem, blossoming peonies and other flowers ; border 
 of cloud diaper, with dragon medallions and fret band below the 
 mouth; foliage scrolls inside the lip. Twelve -sided pedestal of 
 black-lacquered wood, with gold diapers inlaid with white plum 
 blossoms, stork medallions and blue lozenges, all in porcelain. 
 
 Japanese ‘Nagasaki’ ware, made at Arita about 1860. 
 
 Total height, 56 in. 
 
 66. FOUR VASES, of double-gourd shape, with pagoda covers ; por- 
 celain painted in pale underglaze blue and maroon ; design of four 
 large scallops on each gourd, decorated with peony flowers and 
 foliage reserved in a blue ground and partly coloured maroon ; in 
 the spaces are formal floral ornaments ; on the waist is a band of 
 mosaic diaper, broken by four panels containing symbols ; covers 
 to match. Carved wood stands. 
 
 Chinese ; 18th century. 
 
 H. 37 in., D. 141 in. 
 
 67. PAIR OF VASES, of slender oval form, with high neck and dome- 
 shaped cover with lotus knob ; porcelain painted in underglaze 
 blue ; on the sides, a continuous landscape with mountains and 
 streams, in parts of which are hostile bands, afloat and ashore, 
 attacking each other, while in other places are men engaged in 
 peaceful occupations, such as fishing, cultivating rice-fields, etc. ; 
 on the neck and cover are also landscapes ; border of wave pattern 
 above base, and of various kinds of formal ornament on shoulders,, 
 neck, and cover ; base unglazed. Carved wood stands. 
 
 Chinese ; early 19th century. 
 
 H. 55 in., D. 18 in. 
 
56 
 
 PORCELAIN 
 
 68. PAIR OF HEXAGONAL JARS with covers mounted with a lion ; 
 porcelain with uneven ‘ orange - peel ’ glaze painted in enamel 
 (famille rose ) colours with large irregular panels with cloud-pattern 
 borders containing figure-subjects illustrating Chinese stories, and 
 small panels of similar form enclosing ladies with children, flowers 
 with birds and insects ; the ground is filled with close feathery 
 scroll-work in gold ; borders of gilt key pattern on red ground ; 
 the lions are gilt. 
 
 Chinese ; late 18th century. 
 
 H. YI\ in., D. 6f in. 
 
 From the Duke of Buckingham’s Collection at Stowe. 
 
 69. PAIR OF VASES with cylindrical bodies, contracted neck and flaring 
 mouth ; two handles on the neck in form of conventionalized 
 archaic dragons ; porcelain painted in famille rose enamels, panels 
 with Chinese court and domestic scenes framed in floral scroll- 
 borders, the ground covered with vases, flowers and symbols in 
 colours in a gilt background ; three rose sprays inside the mouth. 
 
 Chinese ; early 19th century. 
 
 H. 23f in., D. 10 in. 
 
 70. VASE with ovoid body, contracted neck and spreading mouth ; low 
 foot ; porcelain, with designs after a bronze model carved in relief 
 and engraved under a pale celadon green glaze ; the decoration 
 consists of four bands of archaic fret design in low relief separated 
 by engraved lozenge - fret diaper ; borders of key pattern ; two 
 handles in form of lion masks in relief with rings ; base unglazed. 
 Wooden stand. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 
 H. 21f in., D. 14 in. 
 
 71. VASE with ovoid body and wide mouth (shaped after a bronze 
 model) ; two monster handles ; porcelain richly decorated with 
 famille rose enamels ; on the body is a broad belt of ornament 
 consisting of lotus flowers, the eight Buddhist symbols, bats and 
 peaches in colour, in a green ground ; below this, a double border 
 of false gadroons and above, a band of ju-i pattern ; on the neck, 
 a belt of similar ornament with lotus flowers, Shou (longevity) 
 
Plate IX 
 
 No. 59 
 
 

LOGKINGE 
 
 57 
 
 characters, and pomegranates between borders of stiff leaves and 
 ju-i heads ; handles gilt ; base unglazed. Wooden stand. 
 
 Chinese. 
 
 Seal mark of the Chia Ch’ing period in six characters (1796- 
 1820) ; see No. 20. 
 
 H. 19| in., D. 16 in. 
 
 In the ornament the bats are emblems of happiness, the peach of longevity, and the 
 pomegranate of fertility ; for the eight Buddhist symbols, see No. 56. 
 
 72. PAIR OF VASES with ovoid body and wide mouth (shaped after a 
 bronze model) ; pair of monster handles ; porcelain, with ornament 
 partly moulded in low relief and partly painted on the flat ; a broad 
 band on the body with lotus flowers and Buddhist emblems coloured 
 blue and underglaze red with blue foliage in relief in a coffee- 
 brown ground ; another band on neck similarly ornamented with 
 vases and emblems among clouds and bats ; between these broad 
 bands are borders of formal designs, painted in blue and red ; the 
 handles are brown. Base unglazed, with mark Ta ming Cheng Te 
 nien chih incised (1506-22) ; period of manufacture Ch’ien Lung 
 (1736-95). Wood stand. 
 
 H. 19f in., D. 16 in. 
 
 Two others at Overstone, see No. 16. 
 
 73. VASE, hexagonal ; bottle-shaped with tall neck and spreading 
 mouth ; porcelain painted in underglaze blue ; on the sides, growing 
 flowers and fruit alternately, the fruit being peach, pomegranate, 
 and finger citron (typifying the Three Abundances of years, male 
 children, and happiness) ; on the neck, flowering sprays and arab- 
 esques ; formal borders. Carved wood stand. 
 
 Square seal mark of the Ch’ien Lung period (1736-95) ; see 
 No. 58. 
 
 H. 26 in., D. 13| in. 
 
 Similar vase in the British Museum with blue ornament, the ground enamelled yellow. 
 
 74. VASE, bottle shaped, with globular body and narrow cylindrical 
 neck ; porcelain with crackled turquoise glaze ; the base brown 
 underneath and the glaze ground from the foot-rim. 
 
 Chinese ; early 19th century. 
 
 H. 12# in., D. 8 in. 
 
58 
 
 PORCELAIN 
 
 75. SQUARE VASE on four low feet ; open-work sides carved with the 
 flowers of the four seasons, viz. peony, lotus, chrysanthemum, 
 and prunus ; porcelain with finely crackled turquoise glaze. 
 Chinese ; late 18th century. 
 
 H. 41 in., D. 4 in. 
 
 76. PAIR OF BOWLS, porcelain, with finely crackled turquoise glaze of 
 beautiful quality ; mounted in ormolu on high tripod stands with 
 rams’ head handles connected by chains ; leaf and tongue band 
 round the mouth ; acanthus ornament underneath ; flat circular 
 base with grape and acanthus ornament erected in the centres, 
 cable borders and milled band on the sides. 
 
 Chinese ; late 18th century. French mounts. 
 
 H. 9j in., D. 9 in. 
 
 77. INCENSE BURNER in form of a Kylin seated with mouth open 
 to emit the fumes ; porcelain with finely crackled turquoise glaze. 
 Carved wood stand. 
 
 Chinese ; early 19th century. 
 
 H. 6f in., L. 6j in. 
 
 78. VASE with pear-shaped body, contracted neck and wide mouth ; 
 two elephant handles ; Kioto ware painted at Tokio with enamels 
 and gold ; a broad belt with badges of various Daimios in lustrous 
 black and gold on a dull black ground, which is diapered with a 
 curious pattern resembling coral branches ; border of chevron 
 pattern below, and of fret pattern and chrysanthemum devices 
 above ; on the neck, two phoenixes in gold and paulonia branches 
 in colour ; above this a band of stiff pointed leaves and formal 
 borders. 
 
 Japanese ; late 19th century. 
 
 H. 12^ in., D. 7\ in. 
 
 79. TEA-BOWL on small foot ; finely crackled pale buff Satsuma ware 
 decorated at Tokio with enamels and gilding ; outside, flowering 
 chrysanthemum and prunus ( tnume ) boughs ; similar design inside, 
 with Vandyke border. 
 
 Japanese ; 19th century. 
 
 H. 2 in., D. 4f in. 
 
LOGKINGE 
 
 59 
 
 80. BOWL, on foot, the sides scalloped in shell pattern ; Kioto ware 
 (painted at Tokio) with enamels and gold ; outside are small flying 
 phoenixes and green scroll pattern ; within, two phoenixes, formal 
 foliage and sprays of maple and paulonia imperialis. 
 
 Japanese ; late 19th century. 
 
 H. 4f in., D. 10f in. 
 
 81. TEA-BOWL ; pale buff Satsuma ware, decorated with enamels and 
 gilding at Tokio ; a band of gadroons with various diaper patterns, 
 between a border of quatrefoil pattern above and arched ornament 
 below ; quatrefoil pattern band inside mouth. 
 
 Japanese ; late 19th century. 
 
 H. 2 \ in., D. 41 in. 
 
 / 
 
 82. SAKE EWER of double gourd shape, with long spout and double- 
 twisted handle ; greyish white crackled (?) Ota ware beautifully 
 painted at Tokio with enamels and gilding ; on the sides, a wattle 
 fence and flowering shrubs and birds ; formal border below the 
 mouth ; at the attachments of the handle and spout are large 
 leaves in applied relief alternately green and gold. 
 
 Japanese ; late 19th century. 
 
 H. 71 in., D. (with spout and handle) 71 in. 
 
 83. TEA-BOWL, ivory-white Satsuma ware decorated with a frog, a 
 snail, and various insects in dull enamels in a background of 
 powdered gold. 
 
 Japanese ; early 19th century. 
 
 H. 31 in., D. 5 in. 
 
 A good piece, but much restored. 
 
 84. DISH with deep centre and narrow, sloping rim ; white body of 
 sandy texture, and colourless silicious glaze ; painted in underglaze 
 colours : blue, green, yellow and brown, and red Armenian bol ; 
 sprays of tulips and roses in half conventional Turkish style and a 
 palmette above ; border of cloud-scrolls (Ammonite scrolls) in brown. 
 
 Turkish faience ; 16th century. 
 
 D. Ill in. 
 
 This ware, which is distinguished by thick, upstanding red obtained from Armenian bol, 
 was made in various parts of the Turkish Empire, and particularly in North-Western 
 Asia Minor. It was wrongly supposed to have all come from the island of Rhodes, 
 hence the name * Rhodian ’ by which it is often inaccurately described. 
 
60 
 
 PORCELAIN 
 
 85. ANOTHER, of similar ware, with sprays of rose, tulip and other 
 flowers ; border of cloud-scrolls in blue and brown ; some bluish- 
 green glaze under the base. 
 
 D. Ilf in. 
 
 86. OVAL PLAQUE with white reliefs on a blue ground ; subject, ‘The 
 Triumph of Bacchus.’ The reliefs are much restored and the 
 ground has been polished. 
 
 Wedgwood, jasper ware. 
 
 L. 9f in., B. 7 in. 
 
 This subject was modelled by William Hackwood for Wedgwood in 1776. See Catalogue 
 of the English Pottery in the British Museum, I 575. 
 
 87. OBLONG PLAQUE, for a chimney piece ; white relief on blue 
 ground ; jasper ware ; subject, * A Triumph of Cupids ’ ; four 
 chariots with vases and trophies, drawn by pairs of gryphons, 
 lionesses, horses and rams, and driven by cupids. 
 
 Mark stamped: WEDGWOOD. 
 
 19th century. 
 
 L. 19f in., B. 5 in. 
 
 88. VASE with slender ovoid body and cylindrical neck ; hard-paste 
 porcelain decorated with stiff flowers and foliage in Turkish style, in 
 turquoise, pink, green, yellow and white enamels with black outlines ; 
 the ground is granulated and pierced with a multitude of tiny holes 
 into which the glaze has run, forming transparencies after the 
 fashion of ‘ rice-grain ’ porcelain ; plain ormolu mounts on mouth 
 and foot. Carved wood stand. 
 
 Mark inside, printed in red : a crowned N and decore a ||$ T 
 Sevres 63. |Nl 
 
 Sevres, 1863. 
 
 H. 13 in., D. 6 in. 
 
 89. VASE with ovoid body and cover of porcelain ; panels with trees 
 and birds in enamels and richly gilt borders : royal blue ground 
 gilt ; ormolu mounts, including base and stem ; satyr-mask handles 
 and open-work neck. 
 
 H. 8f in., D. 4f in. 
 
Plate X 
 
 No. 90 
 
 -*«-*•*■ 
 
LOGKINGE 
 
 61 
 
 COMPANION PIECE, with turquoise ground and slight differences 
 in the mount. 
 
 Mark with crossed L’s in gold in the cover. 
 
 H. 81 in., D. 41 in. 
 
 Probably of Sevres porcelain decorated outside the factory. 
 
 90. ARCHED PANEL, of della Robbia ware, with a three-quarter length 
 figure of The Virgin holding a standing figure of her Child ; terra- 
 cotta, the figures in high relief coated with white tin-enamel and the 
 background enamelled greyish blue ; traces of gilding on the halos. 
 Carved oak frame in Renaissance taste. 
 
 Italian ; probably by Andrea della Robbia. Early 16th century. 
 Plate X. 
 
 H. 24 in., B. 15f in. 
 
 91. ARCHED PANEL, of della Robbia ware, with seated figure of The 
 Virgin holding her Child on a cushion on her right knee ; at the 
 back, two child seraphs and conventional groundwork ; terra-cotta, 
 the design in high relief coated with white tin-enamel and the back- 
 ground enamelled deep blue. Carved wood frame. 
 
 Italian ; probably from the workshop of Girolamo della Robbia. 
 Mid 16th century. 
 
 H. 19f in., B. 12f in. 
 
 The original of this design, The Madonna with her Child on a cushion, by Andrea 
 della Robbia, is in the Museo Civico, Palermo. 
 
 92. RECTANGULAR PANEL from a tile - stove ; ornament in sunk 
 relief ; the central design is the Ascension, with figures modelled 
 finely in relief ; elaborate arcade with caryatid pillars and angels 
 in the spandrels holding drapery festoons ; along the bottom border 
 is strap-work scroll ornament, with masks at the corners ; terra- 
 cotta, with green glaze. 
 
 Probably German. 16th century. 
 
 H. 251 in., B. 191 in. 
 
 93. VASE with ovoid body ; straight, wide neck slightly contracting 
 towards mouth ; small foot ; hard red pottery with brown-black 
 surface and a band of running scroll in white slip. 
 
 Castor ware. Second century A.D. 
 
 Roman. Found on the property in Northamptonshire. 
 
 H. 41 in., D. 31 in. 
 
2 CARLTON GARDENS 
 
 94. JAR, of ovoid form, with sharply-contracted shoulders and small 
 neck ; cover wanting ; fine porcelain painted in brilliant sapphire 
 blue under the glaze. The design consists of groups of prunus blos- 
 soms and isolated flowers reserved in white in a ground of graded 
 blue, netted with lines to resemble cracked ice ; dentate border on 
 the shoulders and above the base. The biscuit, the white glaze 
 and the blue colour are all of fine quality. 
 
 Chinese ; K’ang Hsi period (1662-1722). 
 
 H. 8f in., D. 8f in. 
 
 The prunus-flower jars ( mei hua kuan), though vulgarly known as ‘ Hawthorn ginger jars,’ 
 were originally designed to contain gifts of fragrant tea sent on the New Year, 
 which falls in China three to five weeks later than with us. The design is typical 
 of the season and represents the flowers of the winter-blossoming prunus fallen on 
 the cracking ice, which is already feeling the warmth of the nascent Spring. 
 
 95. PAIR OF JARS with ovoid body and low neck ; porcelain painted 
 in underglaze blue ; the design consists of two upright and two 
 inverted sprays of blossoming prunus reserved in white in a 
 graded blue ground netted over with lines resembling ice-cracks ; 
 dentate border on the shoulders. 
 
 Chinese ; K’ang Hsi period (1662-1722). 
 
 H. 81 in., D. 81 in. 
 
 Furnished with covers formed of a disc of porcelain with ‘prunus pattern,’ mounted 
 in silver. 
 
 96. PAIR OF VASES with ovoid body, short, straight neck, and dome- 
 shaped covers ; porcelain painted in underglaze blue ; on the body, 
 a design of four large lappets with ju-i shaped ends covering the 
 greater part of the sides, and two small circular pendants between 
 them ; these lappets are decorated with a dense peony pattern 
 reserved in deep blue ground ; below are four lozenge - shaped 
 panels with similar ornament, and lotus arabesques ; on the shoulder, 
 a hatched border, and on the neck, peony scrolls reserved in blue 
 ground ; cover to match ; knobs replaced by metal. 
 
 Chinese ; K’ang Hsi period (1662-1722). 
 
 H. 301 in., D. 19 in. 
 
64 
 
 PORCELAIN 
 
 97. VASE of slender, ovoid body, with high shoulders, short, con- 
 tracted neck with swelling below the mouth ; porcelain painted in 
 underglaze blue, iron -red, and gilding; on the sides a band of 
 waves (on which are floating prunus blossoms) and rocks, with 
 four conical rocks standing out in prominence from which spring 
 flowering plants, including peony and chrysanthemum ; on the 
 shoulder a band of ju-i shaped lappets with floral ornaments in 
 grounds alternately blue and red, and above this a band of hexagon 
 diaper broken by panels of formal flowers ; on the neck a lotus 
 scroll in red and gold in a blue ground, and under the lip a 
 border of ju-i pattern and a series of red lozenges. 
 
 Chinese porcelain ; early 18th century. 
 
 Ormolu mounts : on the mouth, a collar with reeded band 
 bound with acanthus leaves ; on the foot, an elaborate open-work 
 mount with feathery scrolls and shellwork in rococo taste. French 
 work, about 1760. Plate XI. 
 
 Height of vase, 40 in. 
 
 Total H. 48 in., D. 20 in. 
 
 A splendid and graceful vase, but considerably damaged. The style of the decoration 
 is somewhat Japanese. 
 
 98. SUPERB SET OF FIVE VASES, consisting of three covered jars 
 and two beakers ; the jars have oviform body with short, straight 
 neck, and domed cover surmounted by lions ; the beakers are tall 
 cylinders expanding slightly at the base and spreading into wide 
 trumpet mouths at the top. Fine porcelain painted in famille rose 
 enamels ; on the jars are two rounded and two angular basket- 
 vases full of flowers, among which the peony, magnolia, chrysan- 
 themum, prunus, and pear are conspicuous, branches of ling-chih 
 fungus being also included ; on the shoulders and neck is a deep 
 border of ruby-pink with eight-foil edging, in which are reserved 
 lily blossoms and formal foliage enamelled in colours (on shoulders), 
 and four narrow panels (on neck) of floral sprays with chrysan- 
 themum blossoms between ; above the base is a similar border, 
 below which is a narrow band of straw-plait pattern outlined in 
 black and washed over with green enamel. The dome of the 
 covers is similarly decorated with deep ruby-pink border, and in 
 the central space, which is white, are the eight Buddhist emblems. 
 The lion-knobs are well modelled and the hair is enamelled blue, 
 while the rest has been coated with red pigment over which 
 
Plate XI 
 
 No. 97 
 
CARLTON GARDENS 
 
 65 
 
 gilding has been applied ; the flange of the covers is painted with 
 lozenge diaper on a bluish-green ground, broken by four panels 
 of flowers and four chrysanthemum blossoms ; lustrous brown 
 edges ; base unglazed. 
 
 Total H. 34 in., D. 184 in. 
 
 The beakers are decorated to match, but their limited surface 
 only admits of two basket-vases of flowers. 
 
 Chinese; Yung Cheng period (1723-35). Frontispiece. 
 
 H. 26# in., D. 104 in. 
 
 These five vases, probably the finest of their kind, were formerly in the Ercolani Palace 
 at Bologna. They were purchased by Lord Overstone in 1875. 
 
 99. SET OF FIVE VASES, consisting of three covered jars and two 
 beakers ; the jars have a slender, oviform body, slightly spreading 
 at the base, short, straight neck, and domed cover surmounted by 
 a lion. Porcelain painted in famille rose enamels with gilding. 
 The ground of the vases is covered with a deep blue glaze of soft 
 melting appearance and slightly fluescent nature which has caused 
 it to form thickly on the lower edges ; this glaze is embellished 
 with a design of prunus blossoms on a netted ground resembling 
 cracked ice, executed in thin gilding which has to a large extent 
 been worn away. The blue ground is broken by white reserves, 
 three of which, shaped like long leaves with jagged edges, extend 
 almost the entire length of the sides, while six others, small and of 
 quatrefoil outline, are ranged on the upper and lower spaces. In the 
 large reserves are painted a rockery and balustrade with flowering 
 peonies, and a ling chih fungus growing beside them ; in the smaller 
 panels are peony flowers. On the cover are three of the smaller 
 panels in similarly treated blue ground and the knob is a well- 
 modelled figure of a fantastic lion coloured with apple-green and 
 blue enamels, iron-red, and some gilding. Lustrous brown edges 
 and unglazed base. The leaf panels on the central jar are pointed 
 at the base. Two of the lions have been lost, and replaced by 
 gilt models. 
 
 Chinese; Yung Cheng period (1723-35). Plate XII. 
 
 Total H. 28 in., D. 124 in. 
 
 The beakers are decorated to match with two large and 
 four smaller panels. 
 
 H. 234 in., D. 10# in. 
 
66 
 
 PORCELAIN 
 
 100. PAIR OF JARS, of squat ovoid form, with dome-shaped covers ; 
 porcelain, with deep lustrous coffee-brown glaze, in which are 
 reserved four quatrefoil panels and eight small medallions painted 
 with flowering plants and birds in famille rose enamels. 
 
 Chinese ; about 1730. 
 
 H. 101 in., D. 71 in. 
 
 Batavian ware, so called from the Dutch entrepot in the East Indies, through which 
 much of this ware came for shipment to Europe. 
 
 Covers not original ; one old Chinese and the other made to match. 
 
 101. PAIR OF CANDELABRA, formed each of a covered porcelain 
 jar and beaker mounted in ormolu. The jars are oviform and 
 the beakers tall and almost cylindrical in body with spreading 
 base and mouth ; the jar in each case forms the base on which 
 stands the beaker with the cover of the jar on the top. The 
 porcelain is ornamented with large leaf-shaped panels and smaller 
 panels between in a ground of deep-blue glaze. The larger 
 panels, of which there are three on the jars, are painted in famille 
 rose enamels with figures in landscape and blossoming shrubs, in 
 one panel the Immortal Gardener, Lan Ts’ai-ho, with hoe and 
 basket of flowers, attended by a stag ; in the two large panels on 
 the beakers and in all the smaller panels are clumps of flowers. 
 
 The whole structure is held together by elaborate ormolu 
 mounts in rococo taste with feathery foliage, scrolls and shells, fine 
 negro masks and three dolphin feet. On the top are ten branches 
 mounting the candle sockets. 
 
 Chinese porcelain, about 1740, and French mounts. 
 
 H. of jar, 181 in. ; H. of beaker, 23 in. 
 
 Total H. 52 in. 
 
 102. COVERED BOWL of porcelain, painted in famille rose enamels ; 
 on the sides two half-rolled picture-scrolls on which are peaches, 
 flanked by flowering peonies, and between them fan and fungus 
 symbols ; irregular border in eight scallops with blossoms in 
 grounds, alternately of ruby pink and of iron-red ‘ fish roe ’ 
 diaper edged with black ; cover to match with formal chrysan- 
 themum on the nob. 
 
 Chinese ; about 1730. 
 
 H. 7f in., D. 104 in. 
 
 The porcelain and painting are of fine quality. 
 
CARLTON GARDENS 
 
 67 
 
 103. PAIR OF FISH-BOWLS, or flower-pots, with straight sides and 
 flat, broad rims with bevelled edges ; two lion-mask handles with 
 large metal rings ; porcelain finely painted in famille rose enamels ; 
 large designs of flowering peonies, chrysanthemums and other 
 plants with a pheasant-like bird perched in the branches, repeated 
 on each side ; below this, a narrow band with four flowering sprays 
 of prunus and peony, and a thin border of green scroll pattern 
 interrupted by blossoms ; on the rim, six panels containing sages 
 in landscape and between them passages of rosette and hexagon 
 diaper, in the middle of which is a large flower alternately 
 peony and chrysanthemum ; on the edge, a narrow band of 
 brocade pattern of flowers and foliage in green ground diapered 
 with black scrolls. Mounted on high, black wood pedestals. 
 Chinese ; about 1740. 
 
 H. 14 in., D. 24 in. 
 
 104. SQUARE VASE with straight body contracted at the shoulders 
 and above the base ; porcelain delicately painted in famille rose 
 enamels, with four large panels containing the flowers of the 
 four seasons : peony, lotus, chrysanthemum and prunus ; the rest 
 of the exterior is covered with a deep-blue glaze on which are 
 lotus scrolls traced in gold. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 
 H. 12 in., D. 8 in. 
 
 105. PAIR OF VASES with pear-shaped body, contracted neck and 
 slightly spreading mouth and base ; on the shoulders, two conven- 
 tional tiger masks with rings, and on the sides, three narrow, 
 double hoops, slightly raised ; the whole after a bronze design. 
 Porcelain painted in underglaze blue with touches of pale famille 
 verte enamel colours ; on the body, three belts of lotus scroll with 
 conventional foliage in blue, the flowers coloured ; on the neck, 
 a deep band of stiff leaves and a narrow border of coloured 
 lappets ; under the lip, a band of dragon-fret in blue ; on the 
 base, a band of ju-i pattern in blue and yellow counterchanged. 
 
 Chinese. 
 
 Seal mark in six characters of the Ch’ien Lung period 
 (1736-95) ; see No. 58. 
 
 H. 211 in., D. 14 in. 
 
68 
 
 PORCELAIN 
 
 106. PAIR OF VASES of cylindrical form rounded above and below, 
 short neck and slightly spreading mouth ; porcelain, with designs 
 reserved in a ground of bluish-green enamel and themselves 
 painted in famille rose enamels with gilding ; on the body are two 
 circular designs consisting of a formal lotus flower from which 
 issues a ling-chih fungus and foliage scrolls, round which are three 
 formalized bats, two peach sprays, and a fungus scroll ; between 
 these are two upright designs in which a knot-symbol is enshrined 
 hanging from a musical stone decked with tasselled ornament ; 
 round this is floral scroll-work, and above and below are for- 
 malized bats ; floral scroll-work fills the remaining spaces, and on 
 the shoulders and above the base are borders of ju-i head 
 pattern and floral ornaments between circular Shou (longevity) 
 characters ; a band of swastika fret on the neck and key pattern 
 on the base. Pale bluish-green enamel inside the neck and under 
 the foot. 
 
 Chinese. 
 
 Seal mark in six characters of the Ch’ien Lung period 
 (1736-95), incised in the enamel under the base and gilt ; see 
 No. 58. 
 
 H. 18f in., D. 1 7\ in. 
 
 107. RICE-BOWL, porcelain, with etched designs coloured green in a 
 ‘ chestnut ’ yellow ground ; on the outside, two five-clawed dragons 
 and pearls and two phoenixes ( feng huang ), among flames and 
 cloud-scrolls ; border of false gadroons below ; inside, a medallion 
 with the seal character Shou (longevity). 
 
 Chinese. 
 
 Seal mark in blue in six characters of the Ch’ien Lung 
 period (1736-95) ; See No. 58. 
 
 An imperial piece. 
 
 H. 2\ in., D. 4f in. 
 
 With it a SAUCER with wavy edge, similar in colouring 
 and somewhat similar in design. 
 
 Same mark. 
 
 108. VASE, bottle-shaped, with ovoid body and tall, slender neck ; por- 
 celain, with strongly etched design under a deep turquoise-blue 
 glaze, finely crackled ; the design consists of a beautiful floral 
 
CARLTON GARDENS 
 
 69 
 
 scroll, which covers the whole surface. Gilt silver cover with 
 open-work key-pattern border, surmounted by a bronze lion with 
 a ball of brocade. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 
 H. 20 in., D. 101 in. 
 
 109. VASE with ovoid body, high neck slightly contracted in the middle 
 and with a bulbous swelling below the lip ; fine porcelain, with 
 deep turquoise glaze minutely crackled and varying in tone from 
 blue to green, the latter tint predominating. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 
 H. 121 in., D. 71 in. 
 
 Good quality, the blue specially fine inside the mouth and on the shoulders. 
 
 110. VASE, bottle-shaped, with globular body and high cylindrical 
 neck ; porcelain with light and vivid turquoise glaze minutely 
 crackled and mottled with blue ; base unglazed. Silver collar on 
 the mouth with pierced fret border. 
 
 Chinese ; late 18th century. 
 
 H. 13 in., D. 81 in. 
 
 111. VASE, bottle-shaped, with globular body and tall cylindrical neck ; 
 porcelain with dark turquoise blue glaze with green mottling, 
 minutely crackled ; base unglazed. 
 
 Chinese ; late 18th century. 
 
 H. 14 in., D. 8f in. 
 
 112. VASE, bottle-shaped ; globular body and cylindrical neck ; porcelain 
 painted in maroon-red and blue, both under the glaze ; on the 
 body, three dragons holding branches of ling-chih fungus in their 
 claws, and flying amid cloud scrolls over conventional waves; two 
 of them are exhaling clouds in which are two ‘ cash ’ symbols 
 and a bat respectively ; on the shoulders, borders of ju-i pattern 
 and red trellis diaper with blue prunus blossoms, broken by eight 
 cartouches with curious archaic designs ending in phoenix heads ; 
 similar ornament on the neck ; band of false gadroons above 
 the base. 
 
 Chinese ; late 18th century. 
 
 H. 174 in., D. 10! in. 
 
70 
 
 PORCELAIN 
 
 113. VASE of square elevation, expanding slightly towards the shoulders, 
 from which point it contracts to the mouth ; two handles in form 
 of lion masks with rings, in biscuit-coloured brown to resemble 
 metal ; porcelain painted in enamel colours, with a continuous 
 landscape with trees and cloud-wreathed mountains, water and 
 pavilions. The latter have names attached, e.g. : nan shan t’ing 
 (pavilion of the southern mountain) in the hills above ; yu shu 
 t’ing (pavilion of Imperial books) below, and on the other side 
 nan kao feng (high peak of the south), and yii pei t’ing (pavilion 
 of the Imperial tablets). Round the lip, a border of green quatre- 
 foil diaper ; the mouth-rim stained brown ; base unglazed and 
 marked with a square seal in low relief coloured brown, Hsuan 
 Te nien chih , made in the Hsiian Te period (1426-35) ; but the 
 period of manufacture is about 1800. Black wood cover carved 
 in open-work, with rat and vine design. 
 
 Chinese. 
 
 H. 14 in., D. 6 in. 
 
 114. PAIR OF VASES with ovoid body, contracted neck and spreading 
 cup-shaped mouth ; on the neck, two conventional dragon handles ; 
 porcelain painted in enamel colours with figures of heroes in 
 history and romance, with tablets, seals and various symbolical 
 objects between them, besides written inscriptions giving their 
 names and stories ; pale green enamel inside the mouth. 
 
 Chinese ; early 19th century. 
 
 H. 241 in., D. 10 in. 
 
 115. PAIR OF VASES with body almost cylindrical ; high neck, con- 
 tracted at the middle and spreading at the mouth ; porcelain painted 
 in bright enamel colours ; on the sides, two large panels with 
 flowering shrubs, birds and rockery, the spaces between filled with 
 lotus designs in a blue ground, broken by small shaped panels of 
 flowers, etc. ; dotted green border on the shoulders and above 
 the base with four panels of fish and crustaceans ; similar orna- 
 ment on the neck ; pale greenish-blue enamel outside the mouth. 
 
 Chinese ; 19th century. 
 
 H. 16f in., D. 6f in. 
 
CARLTON GARDENS 
 
 71 
 
 116. VASE with globular body, high, straight neck with flaring mouth 
 and low, spreading foot ; porcelain painted in enamel colours ; 
 on the body, a blossoming peony ; on the neck, a prunus ; and on 
 the foot, floral sprays. 
 
 Chinese ; 19th century. 
 
 H. 12f in., D. 9i in. 
 
 117. PAIR OF CANDELABRA, the body made up in each case of a 
 porcelain covered jar and beaker ; the body of the jar, elaborately 
 mounted, forming the base, the beaker rising from the mouth of 
 the jar, and the jar’s cover superposed on a mount above the 
 beaker and sustaining the branches of the candelabrum. The 
 jar is oviform with short, straight neck and domed cover ; the 
 beaker is a tall cylinder with flaring mouth and an angular 
 swelling immediately above the base ; both are decorated in a deep 
 impure blue under the glaze, iron-red and gold with touches of 
 green enamel. The designs consist of large scroll-edged panels 
 with rockery, peonies, and other flowering plants, between which 
 are irregular borders containing phoenix (Jto ho) medallions, kiri 
 leaves and tasselled ornaments reserved in a blue ground ; the 
 panels are edged with red and brown-black borders, and on the 
 neck are gilt dragons among clouds and blue fungus designs in 
 a red ground. The mounts are ormolu in elaborate rococo style, 
 with feathery foliage scrolls, shellwork, etc. ; the candelabra have 
 thirteen branches each and twelve nozzles, and are probably 
 French work about 1750. 
 
 The porcelain is Japanese ‘ Old Imari,’ made about 1700. 
 
 H. of jar, 15f in. ; H. of beaker, 141 in. 
 
 Total H. 74 in. 
 
 118. PAIR OF VASES of octagonal elevation with body of oviform sec- 
 tion, short, straight neck and low rounded base ; porcelain painted 
 in dark underglaze blue, iron-red and gilding ; on the sides, garden 
 scenes with flowers and figures alternating with vase-shaped 
 designs in deep blue with gilt scroll-work, and reserved lotus 
 designs in red and gold ; on the shoulders are chrysanthemums 
 and other flowers issuing from the vases, and between them 
 lappets of dark blue with gilt scroll designs ; on the neck and 
 above the base, lotus flowers in white and red in gilt background,, 
 alternating with a peony flower in gilt blue ground. 
 
72 
 
 PORCELAIN 
 
 The vases are Japanese ‘ Old Imari ’ ware, about 1700. 
 
 They are furnished with elaborate ormolu mounts and fitted with 
 candelabra, designed as a clump of eleven lilies, the candle-sockets 
 mounted in the flowers ; open-work base with four feet, two of 
 which are enriched with crowned masks. The metal work is 
 French of the last half of the 18th century. 
 
 H. of vases 24 in., D. 12 j in. 
 
 Total H. 60 in. 
 
 119. DISH, of shallow, saucer - shape ; porcelain painted in enamel 
 colours with gilding ; the surface is divided into four panels by a 
 cruciform design in gold with reserved foliage scrolls and flowers 
 in colour ; a similar band borders the dish, and in the panels are 
 butterflies and flowers, some of which overlap the borders ; edges 
 in underglaze blue, with gilding. The reverse is decorated in 
 underglaze blue with floral scrolls and formal borders ; and under 
 the base are the ends of six cock-spurs adhering. Mounted as a 
 table in black wood. 
 
 Japanese ; ‘ Arita ’ ware, 19th century. 
 
 D. 25 in. 
 
 An exceptionally fine dish. 
 
 120. PAIR OF BOTTLE - SHAPED VASES with stoppers, the body of 
 double-gourd form ; porcelain painted in enamel colours and gilding 
 and black lacquer ; four fan-shaped panels with birds, flowering 
 plants and rockery, the spaces between filled with irregular pas- 
 sages of diaper and floral brocade patterns, parts of which are in 
 gold on a ground of black lacquer ; wooden stoppers with black 
 and red lacquer ; black lacquer under the base. 
 
 Japanese ‘Nagasaki’ ware, made at Arita about 1860. 
 
 H. 30f in., D. 13 in. 
 
 121. FIGURE OF PAN as a shepherd, half nude, with a skin slung 
 over his back and crook at his side, seated on a tree-stump ; he 
 is wearing an ivy wreath, and playing a flute ; the pan-pipes are 
 hanging from the tree stump ; formal base representing the soil 
 with scattered blossoms, etc., in applied relief : porcelain with 
 details enamelled in natural colours. 
 
 Marks in blue and incised 
 
 Ftirstenberg, J about 1770. 
 
 H. 91 in. 
 
Plate XII 
 
 No. 99 
 
CARLTON GARDENS 
 
 73 
 
 122. PAIR OF PLATES, hard -paste porcelain painted in blue and 
 enamel colours with gilding ; in the centre, two cupids in clouds, 
 with a dove and cage in one case, and with a wine-cup and 
 grapes in the other, enclosed by a gilt lace-work border ; on the 
 sides, a dull gold band tooled with burnished cable pattern ; the 
 rim is in deep marbled blue with gilt edges and crowned cypher 
 of Louis Philippe delicately pencilled in gold. 
 
 Marks : 
 touche in- 
 and work- 
 
 SYC[]>46 
 
 in black, and a printed red crowned car- 
 scribed Chateaux de Trianon; incised numbers 
 man’s signs. 
 
 Sevres, 1846. 
 D. 9f in. 
 
 123. TWO SMALL COFFEE JUGS AND COVERS, with lip-spout and 
 strainer ; jasper ware with blue and white checkered ground, the 
 blue squares ribbed and the white ornamented with green 
 quatrefoils in applied relief ; acanthus border in white relief on 
 blue-dip ground below and laurel wreath, white on blue, on the 
 neck ; spout and handle white, the former ornamented with a laurel 
 wreath, and the latter with acanthus leaves ; covers to match. 
 Mark stamped WEDGWOOD. 
 
 About 1790. 3 
 
 H. 51 in., D. (with handle and spout) in. 
 
 124. PAIR OF VASES, known as the Wine and Water Ewers, with 
 bell-shaped body, slender stem with projecting belt and spreading 
 foot ; contracted neck with lip-spout and handles, supported in 
 one case by a figure of a Satyr, and in the other by a Triton ; 
 on the shoulders, a goat’s head and a dolphin mask respectively, 
 and on the sides, a wreath of vine in one case, and bulrushes in 
 the other. Black basaltes, or ‘ Egyptian black ’ ware, with highly- 
 polished surface. 
 
 The original models for these vases were supplied by John 
 Flaxman (probably the father of the celebrated artist) in 1775. 
 
 Marks impressed WEDGWOOD and 
 and ASO. N 
 
 The combination of three letters added 
 date subsequent to 1868. 
 
 THO : WEDGWOOD 
 W 
 
 to the mark implies a 
 
 H. 161 in. (wine), D. 8 in. 
 H. 151 in., D. 8 in. 
 
74 
 
 PORCELAIN 
 
 125. PLATE, with slightly slanting rim and turned-up eight-foil edge; 
 soft-paste porcelain painted in enamel colours on the glaze; a 
 bouquet and detached flowers and insects ; brown edges. Three 
 spur-marks underneath. 
 
 Mark : an anchor in red. 
 
 Chelsea ; period III ; 1753-8. 
 
 D. 9 in. 
 
 Part of a Dessert Service of forty-two pieces at Lockinge ; cf. No. 34. 
 
 126. PLATE, with narrow rim, lightly scalloped and wavy turned-up 
 edge ; soft-paste porcelain painted in colours with gilding ; in the 
 centre, a bright-plumaged bird in a conventional landscape ; on 
 the rim, a narrow border of deep blue with richly gilt edging from 
 which depend six gilt festoons of foliage and flowers falling down 
 the side of the plate. 
 
 Mark : a crescent in blue. 
 
 Worcester ; about 1770. 
 
 D. 8f in. 
 
 Part of a Dessert Service of thirty-three pieces at Lockinge. 
 
 127. SERVICE of Crown Derby, soft-paste porcelain painted in under- 
 glaze blue with enamel colours and gilding, with landscape views 
 and rich border ; e.g. a plate with scalloped rim on which is a 
 broad blue band broken by six oblong quatrefoil panels containing 
 roses, the ground ornamented with a cable design in gold with 
 white beading ; and in the centre of the plate, a medallion with 
 blue edge wreathed with gold, enclosing a view in colours. Under 
 the base is the Crown Derby mark in puce (a Crown and D, 
 separated by crossed batons with two groups of three dots between 
 the points, as on No. 36, and the pattern number 35) and the 
 legend ‘ View of Oxford.’ 
 
 About 1790. 
 
 The Service consists of forty-six pieces. 
 
 128. SERVICE of cream ware painted in enamel colours, with a design 
 of strawberries and gilt wreath borders with dark red edging. 
 
 The Service consists of thirty pieces. 
 
 No mark. 
 
 Probably made by one of Wedgwood’s competitors in Staffordshire, about 1800. 
 
CARLTON GARDENS 
 
 75 
 
 129. PLATE, with broad rim and moulded scroll edges pierced at three 
 points ; fine earthenware with faintly bluish white glaze, consider- 
 ably crackled in use ; decorated with a sprig of flowers and foliage 
 in the centre, naturalistically rendered, with printed outlines and 
 colours washed on : on the rim, three butterflies ; the reliefs at 
 the edges picked out with gold. 
 
 Staffordshire ; perhaps made by Davenport, of Longport, 
 about 1800. 
 
 D. 9 in. 
 
 Part of a Dessert Service of twenty-three pieces at Lockinge. 
 
 130. PLATE, with slanting edge, hard-paste porcelain ; in the centre a 
 star design in pale gold, with arabesque scrolls between the points, 
 and a formal border ; on the rim, rich scroll-work in which are 
 involved birds and animals in delicate colours, the design inter- 
 rupted by three oval and three lozenge-shaped medallions, in the 
 former, fruit and trophies poetical and musical, in the latter the 
 cypher LP crowned. 
 
 Marks : 
 
 s rqp 46 printed in black ; 
 
 printed in red; 
 
 CHATEAU 
 
 and a crowned circular frame, containing the words DE 
 
 F. BLEAU 
 
 i.e. Ch&teau de Fontainebleau, printed in red. 
 
 D. 9j in. 
 
 Part of a Dessert Service of fifty-nine pieces at Lockinge, identified at Sevres 
 as made for Louis Philippe. 
 
CHINESE ENAMELS 
 LACQUER AND JADE 
 
INTRODUCTION 
 
 CHINESE ENAMELS, LACQUER AND JADE 
 
 THE word enamel, 1 which implies the fusion of a glassy substance, 
 usually coloured with metallic oxides, on to metal or any other medium 
 by means of heat, is a comprehensive term, applicable alike to the 
 glazes and overglaze colours used on porcelain and pottery and to the 
 more specialized form of enamels on a metal base. Three methods of 
 applying enamel to metal, usually copper, are employed in China : (1) 
 champleve, in which the bed for the enamel is hollowed out of the metal ; 
 (2) cloisonne , in which the design is first traced in thin strips of metal 
 attached to the copper body and forming cells to contain the enamel ; 
 and (3) painting or spreading the enamel thinly over the copper surface 
 by means of a brush or spatula. In every case the enamel is applied 
 in the form of a paste made of coloured glass ground to a fine powder 
 and mixed with water, which is fused in a muffle-kiln into a solid 
 glassy substance. 
 
 The majority of the enamels described hereafter are of the cloisonne 
 type. This method of enamelling, known in Roman times 2 and freely 
 practised at Constantinople from the early Middle Ages to the fifteenth 
 century, was probably introduced into China by Byzantine craftsmen as 
 early as the eighth century, 3 if we may judge from a few isolated 
 examples of T’ang period, though it does not appear to have been 
 naturalized there till some six centuries later. 
 
 Cloisonne enamel is known in China as fo-lang , or fa-lan , inlay, a 
 phrase which the Chinese derive from Fu-lin, the name given about the 
 seventh century to the Byzantine Empire. Another name for the 
 material is Ta-shik (Arab) ware, which points to its importation by the 
 Arab traders in Southern China. The second edition of the Ko ku yao 
 
 1 The word enamel, like the French esmail and email, is derived from the old Teutonic 
 smaltjan, to melt. 
 
 2 See ‘The Guide to the Mediaeval Room in the British Museum,’ p. 112. 
 
 3 See ‘Burlington Magazine,’ June, 1912, on ‘Chinese Cloisonne Enamel.’ 
 
80 
 
 INTRODUCTION 
 
 lun ,* one of the oldest Chinese books on works of art, gives the fol- 
 lowing note on Ta-shih ware : — 
 
 ‘ The body is made of copper, and chemicals are used and fired 
 to produce five-colour decoration. The ware is exactly like the Fo- 
 lang inlay ( fo-lang ch’ien). I have seen incense burners, flower vases, 
 boxes, bowls and the like, but they are only fit for use in the women’s 
 and girls’ apartments and not for ornaments in the study of a scholar 
 or minister. They are also called ware of the devil’s kingdom ( Kuei 
 Kuo yao ). Recently the Yunnanese in the capital have made many 
 wine-cups, commonly called inlay of the devil’s kingdom ( Kuei Kuo 
 ch’ien ). The objects made for use in the palace are fine, lustrous, 
 and pleasing.’ 
 
 Whatever the literary estimate of their cloisonne may have been, 
 the Chinese deemed it a worthy material for the splendid altar sets 
 in their Buddhist Temples, and to Western eyes the imposing forms 
 and sumptuous colour of the finer specimens make a powerful appeal. 
 The altar sets include a tripod incense burner, such as E 22 ; a pair 
 of vases sometimes of beaker shape, sometimes mounted on elephants 
 (E 13) ; and a pair of pricket candlesticks (see E 24). For vessels 
 dedicated to such ritual purposes the lotus scroll formed an appropriate 
 ornament, and its prevalence on Chinese cloisonne work is thus explained. 
 For the rest the ornament is chiefly of a symbolical nature and similar 
 to the porcelain decoration already described, though the structure of 
 the cloisons rendered free delineation difficult, and was in favour of 
 formal and suggestive designs. 
 
 The Ching T’ai period (1450-56) of the Ming dynasty appears to 
 have been celebrated for cloisonne enamels. Indeed, the Ming cloisonne 
 in general is distinguished by bold designs and beautiful colours, of 
 which a turquoise blue and deep coral red are perhaps the most suc- 
 cessful, and white and black the least (see E 4 and 21). The faults 
 of Ming cloisonne are occasional unevenness of surface, absence of lustre 
 in some of the colours and pitting of the enamels, faults which the 
 improved technique in after times was able to obviate. In the present 
 dynasty splendid work was done in the K’ang Hsi period (1662-1722) 
 
 14 Discussion of the Principal Criteria of Antiquities,’ a work first published in 1387. 
 Dr. Bushell, ‘ Chinese Art,’ Vol. II, p. 71, quotes practically the same passage ‘from the second 
 edition, which was issued in 1459.’ The above version, which differs only in unimportant details 
 from Dr. Bushell’s, is taken from ‘ the new and revised edition ’ in the British Museum. The 
 opening words of the last sentence however are rendered by Dr. Bushell : ‘ The similar 
 enamels made now at Yunnanfu, the provincial capital,’ which seems an excessive amount to 
 extract from the four words of the original which in the British Museum copy are merely nei 
 fu tso che. 
 
# ipi 
 
 Plate XIII 
 

 
 
 V 
 
CHINESE ENAMELS, LACQUER AND JADE 
 
 81 
 
 under the encouragement of the Emperor, who summoned expert crafts- 
 men from all parts of the empire, in 1680, to work in the imperial 
 factories which he founded at Peking for no less than twenty-seven 
 artistic handicrafts, among which cloisonne enamels ranked sixth. 1 The 
 cloisonne enamels of the Ch’ien Lung period (1736-95), like the contem- 
 porary porcelain, are distinguished by extraordinary finish and refine- 
 ment, pure and brilliant colours, and richly gilt metal work; but in 
 this as in other arts, the productions of the nineteenth century bespeak 
 an age of decadence. The third class of enamels, in which the decoration 
 is painted as on porcelain, is represented in the Collection by a few 
 interesting examples. Canton seems to have been the chief centre of 
 their manufacture, and, indeed, they are commonly described as Canton 
 enamels. The existence of decorating establishments at Canton in which 
 porcelain was painted in famille rose colours, particularly for foreign 
 markets, has already been noticed (see p. 31), as well as the striking 
 analogies in style and colours between the Canton enamels on copper and 
 some of the beautiful ruby-backed eggshell porcelain plates and dishes. 
 Both kinds of ware are regarded in China as of foreign taste, and while the 
 porcelain is described as yang ts'ai (foreign colours), the Canton enamels 
 are paradoxically called yang tz’u (foreign porcelain). The principal 
 period of manufacture for the latter was that of Ch’ien Lung (1736-95) 
 and several examples in the catalogue bear the nien hao of that Emperor 
 (see E 6 and 11). 
 
 Of the other materials employed in Chinese handicrafts specimens 
 of jade and lacquer are included in the miscellaneous section of the 
 catalogue. * 
 
 The lacquer itself is derived chiefly from the lac tree ( rhus vernicifera ) 
 which is cultivated specially for the purpose, and Chinese lacquer was 
 celebrated at least as early as the Sung dynasty (A.D. 960-1279). The 
 examples in this Collection are all of the kind known as Peking lacquer, 
 which is chiefly a thick red lacquer, the colour derived from cinnabar 
 or red sulphide of mercury, decorated with deeply carved designs. 
 Another name for this material is cinnabar lac, and one of the factories 
 founded by the Emperor in 1680 (see above) was devoted to its 
 production. 
 
 Jade 2 has been highly prized in China from the earliest times, and 
 the first aim of the old potters seems to have been to produce a ware 
 which rivalled jade in colour and surface. The stone itself partakes of 
 
 1 See Bushell, op. cit. Vol. I, p. 116. 
 
 2 The name is derived from the Spanish piedra de hijada (stone of the loins) through the 
 French pierre de I’ejade. 
 
82 
 
 INTRODUCTION 
 
 two varieties, nephrite and jadeite, which for ordinary purposes are 
 scarcely differentiated. The former appears in many shades of colour, 
 due, as a rule, to the presence of iron. Tones of green, from pale grey- 
 green to dark spinach colour, yellow, blue, red, and even black exist, 
 but the ‘ pure limpid white, compared to mutton fat ’ by the Chinese, is 
 among the most highly prized varieties. The colouring of jadeite is even 
 brighter and more vivid, including lavender, apple green, and emerald 
 green. The last mentioned (called by the Chinese fei-ts’uf) is of great 
 value. The nephrite is obtained from the mountains of Eastern Turke- 
 stan, and the jadeite principally from Burmah. Canton, Soochow, and 
 Peking are the chief centres of the jade-carving industry, in which the 
 Chinese display extraordinary skill. The work is done with lathe and 
 diamond drill, supplemented with a great array of special instruments, 
 and the material is shaped into almost every conceivable form for use 
 and ornament. It is in fact a formidable rival to porcelain itself. Its 
 value is moreover enhanced by superstitions which surround it, endowing 
 it with talismanic virtue against demons and sickness. It is even supposed 
 to be the food of the Taoist Immortals. But the subjects of jade and 
 lacquer and of Chinese art in general have been admirably treated in the 
 ‘ Handbook on Chinese Art,’ prepared in two small volumes for the 
 Victoria and Albert Museum, by the late Dr. S. W. Bushell. This work 
 has been freely used in the preparation of these introductory notes, and 
 the reader is referred to it for further and fuller information. 
 
 R. L. H. 
 
OVERSTONE 
 
 E 1. BEAKER of slender form, with bulb on stem, spreading foot and 
 trumpet mouth ; cloisonne enamel on copper ; four notched metal 
 strips applied on bulb and foot and projecting below. The colours 
 are dark blue, turquoise, Indian red, yellow, green, and white ; the 
 pattern consists of four large leaves on the upper and lower parts 
 with archaic arabesques and lily designs in dark blue ground ; the 
 remaining spaces filled with lotus scrolls in a turquoise ground, 
 except on the bulb which has ju-i ornament, ogre-eyes and cloud- 
 scrolls in turquoise ground ; border of key-fret above the bulb. 
 
 Chinese ; 17th century. 
 
 H. 14f in., D. 8f in. 
 
 E 2. VASE with globular body and small lobed neck ; cloisonne enamel 
 on copper, the exposed metal gilt. The colours are dark blue, 
 turquoise, black, green, yellow, Indian red and white ; on the 
 body, four large lobed compartments with intricate lotus scroll in 
 a turquoise ground ; the remaining spaces filled with bats, ling-chih 
 fungus and cloud ornaments in a white ground ; scroll border in 
 dark blue ground on the foot. 
 
 Chinese ; K’ang Hsi period (1662-1722). 
 
 H. 91 in., D. 10 in. 
 
 E 3. TRIPOD VASE of hexagonal form with domed cover ; cloisonne 
 enamel on copper, metal adjuncts richly gilt. The colours are 
 dark blue, turquoise, green, yellow, Indian red and white ; on 
 each side, a circular device powdered with annulets, the remaining 
 spaces filled with lotus scrolls in a turquoise ground ; similar 
 scrolls on the cover. Two dragon handles in metal ; the legs 
 topped with lion heads and enamelled on the sides with lotus 
 scrolls in a turquoise ground ; open-work metal knob of peony 
 scroll design ; tooled key pattern on rim. 
 
 Chinese ; 19th century. 
 
 Total H. 20 in., D. 15f in. 
 
84 
 
 CHINESE ENAMELS 
 
 E 4. DEEP DISH with flat rim shaped in an eight-foil at the edge ; 
 cloisonne enamel on copper, the exposed metal gilt. The colours 
 are dark blue, turquoise, green, yellow, Indian red and white ; in 
 the centre, a flaming ‘pearl’ between a four-clawed dragon and 
 a phoenix ; lotus scrolls on the sides and rim and exterior ; all 
 the ornament in a beautiful turquoise ground. 
 
 Chinese ; probably Wan Li period (1573-1619). 
 
 D. 194 in. 
 
 E 5. FLOWER POT STAND, bowl-shaped with straight sides ; cloisonne 
 enamel on copper, the exposed metal gilt. The colours are dark 
 blue, turquoise, red, green, yellow and white ; on the sides, a lily 
 scroll in colours in a red ground ; on the rim, a band of squares 
 enclosing formal lily blossoms ; four feet and square pierced 
 handles with palmettes. Furnished with a tin lining. 
 
 Chinese ; 19th century. 
 
 H. with handles 12 in., D. 19| in. 
 
LOCKINGE 
 
 E 6. PAIR OF VASES, club-shaped, with bodies and necks cylindrical 
 and spreading mouth ; cloisonne enamel on copper, the exposed 
 metal gilt. The colours are dark blue, turquoise, white, black, 
 green, yellow and Indian red. On the body are two large oblong 
 panels with (1) deer and a pine tree ; (2) birds and insects among 
 flowering plants, the backgrounds in each case an impure white ; 
 between these are two square panels with phoenixes and peonies 
 in a black ground, and two round medallions with water, lotuses, 
 fish and frogs in a yellow ground. The groundwork of the vase 
 is turquoise diapered with T -shaped cloisons ; on the shoulder, a 
 band of lotus scrolls in a turquoise ground ; on the neck, four 
 butterflies in a T -diapered turquoise ground ; band of prunus 
 blossoms on netted turquoise ground under the lip ; key pattern 
 on the mouth and base rims. 
 
 E 7. PAIR OF VASES with ovoid body, contracted neck and spread- 
 ing mouth ; cloisonne enamel on copper, the exposed metal gilt. 
 The colours are dark blue, turquoise, green, red, yellow, black and 
 white: on the body, a continuous landscape with water, bridges, 
 gateways, temples and pagodas treated in a stiff and formal 
 manner, the ground colour turquoise ; formal borders ; on the 
 neck a lotus scroll in a white ground, and border of stiff pointed 
 leaves and quatrefoils. 
 
 Chinese. 
 
 Mark incised in a cartouche under the base : Ta 
 Ch ’ing Ch ’ ien Lung nien chih ; made in the Ch’ien 
 Lung period (1736-95) of the great Ch’ing Dynasty. 
 
 t it 
 
 H. 19 in., D. 7\ in. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 H. 16 in., D. 8 in. 
 
86 
 
 CHINESE ENAMELS 
 
 E 8. PAIR OF DOUBLE-GOURD SHAPED VASES ; cloisonne enamel 
 on copper, the exposed metal gilt. The colours are deep lapis 
 lazuli blue, Indian red, turquoise, green, yellow, black and white ; 
 on both gourds, elaborate scrolls of Indian lotus in deep blue 
 ground ; on the waist, a band of scale diaper in light green ; 
 formal borders. 
 
 Chinese ; 18th century. 
 
 H. 11 in., D. 61 in. 
 
 E 9. PAIR OF VASES, bottle-shaped, with globular body, high wide 
 neck and slightly spreading mouth ; cloisonne enamel on copper, 
 the exposed metal gilt. The colours are dark blue, turquoise, 
 green, yellow, red and white. On the body, branches of peach, 
 pomegranate and finger citron in fruit, in a ground of turquoise 
 diapered with T -shaped cloisons ; on the neck, butterflies and 
 ring ornaments in a similar ground ; above, a band of stiff" leaves ; * 
 formal borders ; on the rim, a band of key pattern in champleve. 
 
 Chinese ; 19th century. 
 
 H. 16f in., D. 11 in. 
 
 E 10. LARGE DISH, saucer-shaped, standing on three elephant heads ; 
 cloisonne enamel on copper, the exposed metal gilt. The colours 
 are dark blue, turquoise, green, yellow, red, black and white. 
 Inside, a central medallion with squirrel and vine pattern on a 
 black ground ; round this, a broad belt with six lions in blue 
 and yellow sporting with three balls of brocade, from which flow 
 scroll-like streamers, among cloud-scrolls, in a white ground. 
 Outer border of turquoise diapered with T-shaped cloisons, in 
 which are eight medallions with dishes of the three symbolic 
 fruits and three bats below ; ju-i borders ; outside, butterflies in 
 turquoise ground, diapered with T-shaped cloisons. 
 
 Chinese ; K’ang Hsi period (1662-1722). 
 
 D. 21f in., H. 7\ in. 
 
 E 11. VASE of baluster shape, with rectangular elevation ; tall neck 
 and spreading mouth ; two square handles on neck. Painted in 
 coloured enamels on copper ; on the two wide sides are large 
 scroll-edged panels with rockery, flowering chrysanthemums, 
 roses and birds ; the rest of the vase, except for narrow borders 
 
LOCKINGE 
 
 87 
 
 of formal design, is covered with conventional rosette-like flowers 
 and foliage scrolls in a deep blue background ; bluish-green 
 enamel inside mouth ; white enamel under base. 
 
 Mark in blue in a cartouche, Ch’ien Lung nien 
 chih ; made in the Ch’ien Lung period (1736-95). 
 Made at Canton. 
 
 H. 151 in., B. 71 in. 
 
 E 12. VASE with ovoid body, small spreading foot, tall slender neck, 
 with flaring mouth ; two handles on neck, in form of conven- 
 tionalized archaic dragons ; cloisonne enamel on copper, the 
 exposed metal gilt. The colours are blue, turquoise, green, 
 yellow, white and Indian red. The body is covered with a 
 peony scroll ; there is a milled metal ridge on shoulder, and 
 above it a peony scroll ; on the neck, a passage of peony scroll 
 between bands of stiff leaves ; stiff leaves round the foot ; tooled 
 key fret, and foliage scroll patterns on the metal borders. 
 
 Chinese ; Ch’ien Lung period (1736-95). Plate XIII. 
 
 H. 21\ in., D. 9 in. 
 
 E 13. PAIR OF ALTAR VASES in the form of an elephant with a 
 vase on its back ; cloisonne enamel on copper, the exposed metal 
 richly gilt. The colours are deep blue, turquoise, Indian red, 
 green and white. The elephant’s skin is rendered in wavy 
 cloisons in a white ground ; the trappings in blue ; the saddle 
 cloth is enriched with lotus scrolls and bats, and there are two 
 dragon medallions inset in the sides ; the saddle has a raised 
 lotus scroll in champleve ; the vase has four medallions with Shou 
 (longevity) characters in circular seal form among lotus scrolls. 
 The mouth is fitted with a diaphragm with five holes to which 
 
 tubes are attached below, a long tube in the centre passing 
 
 into a long square socket which connects the bottom of the 
 
 vase with the body of the elephant ; the trunk and mouth are 
 
 open, and the ears detachable. 
 
 Chinese ; Ch’ien Lung period (1736-95). Plate XIII. 
 
 H. (total) 13f in., L. 101 in. 
 
 In the Victoria and Albert Museum is a similar elephant carrying a vase, in cloisonne 
 enamel; figured Bushell, ‘Chinese Art,’ Vol. II, Fig. 91, and described as ‘an 
 elephant with a vase on its back, intended originally to be posed on a Buddhist 
 altar, as the sacred animal of the law.’ 
 
88 
 
 CHINESE ENAMELS 
 
 E 14. PAIR OF KETTLES with depressed globular body, domed cover, 
 spout in the form of a phoenix head, on the top of which is a 
 rat, arched handle in form of an archaic dragon, and three legs 
 in form of garudas ; cloisonne enamel on copper, the cloisons and 
 exposed metal richly gilt. The colours are vivid blue, turquoise, 
 Indian red, green, yellow, white and black ; on the body, storks, 
 small birds and insects among lotus scrolls, rising from waves on 
 which are ducks and leaping fish ; concentric bands of formal 
 ornament underneath ; on the neck, a band of swastikas ; lotus 
 scrolls on the cover. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 
 H. 9 in., D. (with spout) in. 
 
 E 15. BOWL with spreading mouth ; cloisonne enamel on copper, the 
 cloisons and borders gilt. The colours are blue, pale turquoise, 
 red, brown, yellow, white and black. Inside is a carp leaping 
 from the waves towards formal clouds, surrounded by a border of 
 lozenge ornaments in a red ground ; on the sides, a broad band 
 of scale pattern broken by four curled archaic dragons, between 
 a border of stiff petals below and a floral scroll above ; ornament 
 in four bands outside, the principal band containing four 
 phoenixes and a peony scroll, and two others floral scroll-work. 
 
 Chinese ; late 17th century. 
 
 H. 4f in., D. 94 in. 
 
 E 16. BOWL with straight sides and flaring mouth ; resting on three 
 feet ; copper gilt and ornamented with cloisonne enamel on the 
 exterior and base, and on the upper part inside. The colours 
 are dark blue and turquoise, yellow, red, green and white ; 
 lotus scrolls and formal borders ; two handles in form of con- 
 ventional lion heads ; parts of the enamel restored. 
 
 Chinese ; 18th century. 
 
 H. 4 in., D. 6f in. 
 
 E 17. PAIR OF STORKS, standing on bases shaped like two bowls, the 
 lower one inverted and supporting the upper ; cloisonne enamel 
 on copper with gilt details ; the birds are white with passages of 
 black on the wings, neck and tail ; the stands are ornamented 
 
LOGKINGE 
 
 89 
 
 with a pattern of overlapping chevrons (perhaps representing the 
 pointed petals of a lotus flower) in blue, turquoise, green and red. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 
 H. 35 in., D. of stands, 10 in. 
 
 E 18. CIRCULAR PLATEAU : cloisonne enamel on copper with gilt 
 details. The colours are green, yellow, red, white, blue and 
 turquoise ; central medallion with asters, surrounded by six 
 radiating compartments with coloured flowers in a turquoise blue 
 ground ; the panels are bordered with pattern of octagons 
 enclosing rosettes. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 
 D. 28 in. 
 
 E 19. PAIR OF PRICKET CANDLESTICKS, supported by swans with 
 outstretched wings standing on a base representing waves ; cloisonne 
 enamel on copper, the colours being blue, turquoise and red; the 
 exposed metal gilt ; the trays of the candlesticks ornamented on 
 the sides with formal patterns. 
 
 Probably Chinese ; early 19th century. 
 
 H. 11 in. 
 
 E 20. BOWL of conical form, with small base and slightly contracted 
 mouth ; brass with ornament outside in champleve , with intense 
 transparent blue and green enamels ; a broad band with six 
 shaped medallions enclosing formal floral designs, the spaces 
 between filled with floral scrolls ; borders of floral scroll-work 
 and small arched pattern band above ; concave base with 
 rosette ; the groundwork is blue and the flowers are enamelled 
 green. 
 
 Bahalpur enamel bowl given by Major-General H. Bracken- 
 bury, C.B., to Lady Wantage, 1887. 
 
 H. 3 in., D. 51 in. 
 
 This bowl was made by enamellers who worked exclusively for the Rajah of 
 Bahalpur, and it is one of a few pieces given by the Rajah to Sir Alfred Lyall, 
 by whom they were sent to General Brackenbury. 
 

Plate 2fV 
 
 E 2 i 
 
a CARLTON GARDENS 
 
 E 21. VASE with pear-shaped body, contracted neck and low spreading 
 foot ; cloisonne enamel on copper, the exposed metal lightly gilt. 
 The colours are turquoise, deep blue, green, yellow, red, 
 white and black. The body is partitioned by three horizontal 
 belts ornamented with formal floral designs in deep blue ground, 
 the spaces between containing broad bands of lotus scrolls in 
 turquoise ground ; similar ornament on neck and foot ; two 
 handles in form of conventional tiger-masks with rings attached. 
 
 Chinese ; probably 16th century. Plate XIV. 
 
 H. 23 in., D. 16 in. 
 
 The colours are deep and soft, the turquoise blue and dark Indian red being 
 particularly beautiful. 
 
 E 22. INCENSE VASE, probably from an altar set, in form of a deep 
 bowl on three feet of elephant design ; two handles in form of 
 elephant heads with trunks uplifted ; dome-shaped cover, sur- 
 mounted by kneeling elephant bearing a vase, in which are 
 Buddhist emblems in a bag, including the three pearls represent- 
 ing the Three Moral Excellences of Buddha ; cloisonne enamel 
 on copper, the exposed metal gilt, and in parts richly chased 
 and jewelled with cabochon stones. The colours are dark blue, 
 turquoise, red, yellow, green, white and black. On the sides, dense 
 lotus scrolls enclosing four medallions with seal forms of the 
 character Shou (longevity) involving two swastikas (see p. 32), 
 border of ju-i pattern ; on the cover, similar designs on the top 
 and in four large ju-i shaped lappets falling down the sides, 
 the remaining spaces filled with a rich lotus scroll in gilt metal, 
 pierced and chased ; the elephant’s cloth is enamelled with bats 
 flying above rocks and waves, and the trappings on the elephant 
 and on the elephant-feet below are partly enamelled, and partly 
 in relief set with cabochon stones ; the ground of the enamel 
 patterns is turquoise blue, except in the narrow borders. 
 
 Chinese ; early 18th century. 
 
 H. 26£ in., D. (with handles) 26f in. 
 
 The elephant is the sacred animal of the Buddhist law, and as such he figures 
 frequently in the altar sets. He is also a symbol of ‘great peace.’ 
 
92 
 
 CHINESE ENAMELS 
 
 E 23. DISH with deep centre and narrow rim with nine-foil edge ; 
 cloisonne enamel on copper, the exposed metal gilt. The colours 
 are dark blue, turquoise, green, yellow, red and white. In the 
 centre, an ornate form of the character Shou (longevity) involving 
 two swastikas, surrounded by the eight Buddhist emblems among 
 clouds and eight red bats, all in a turquoise ground ; lotus scrolls 
 in deep blue ground on the edge ; on the reverse, floral scrolls in 
 dark blue ground on the sides, and similar ornament in turquoise 
 ground under the base. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 
 D. 64 in. 
 
 A choice example and of fine workmanship. 
 
 E 24. CANDLESTICK, probably from an altar set ; bell-shaped base, 
 baluster stem, wide saucer and high cylindrical neck with smaller 
 saucer, the pricket replaced by a European nozzle. Cloisonne 
 enamel on copper, the exposed metal gilt ; the colours being dark 
 blue, turquoise, green, yellow, red, white and black. On the base, 
 the eight Buddhist emblems mounted on lotus flowers, between 
 borders of ju-i heads ; on the stem, two lotus designs between 
 seal forms of the character Shou (longevity) and bats, borders of 
 stiff leaves and ju-i heads ; on the trays, lotus scrolls on the sides 
 and formal floral scrolls elsewhere ; both kinds of scroll blended 
 on the stem ; the ground colour throughout is turquoise. 
 
 Chinese ; Ch’ien Lung period (1736-95). 
 
 H. 14 in., D. 6\ in. 
 
 E 25. COVERED BOWL with two lion-mask handles furnished with 
 rings ; cloisonne enamel on copper, the exposed metal gilt. On 
 the sides, six formal lotus scrolls in colour in a vivid blue ground, 
 between a border of ju-i heads above, and of false gadroons 
 below ; cover to match. 
 
 Chinese ; 19th century. 
 
 H. \\ in., D. (with handles) 5f in. 
 
 E 26. VASE, bottle-shaped, with globular body, slender neck and 
 slightly spreading mouth ; copper, painted with enamels in famille 
 rose colours on a yellow ground ; on the body and neck, a lotus 
 
CARLTON GARDENS 
 
 93 
 
 scroll ; border of ju-i heads on the shoulder, and floral scroll on 
 the foot ; pale bluish-green enamel inside the mouth. 
 
 Mark in blue in a square panel under the base : Ch’ien 
 Lung nien chih ; made in the Ch’ien Lung period (1736-95): see 
 E 11. 
 
 Made at Canton. 
 
 H. lOf in., D. 7 in. 
 
 E 27. PAIR OF VASES with ovoid body, tall, straight neck and flaring 
 mouth ; a double curve on the shoulders ; low spreading foot ; 
 two ear-handles on the neck of highly conventionalized dragon- 
 form. Copper, painted with enamels in famille rose colours ; 
 on the body, complex designs of flowers and foliage with 
 butterflies and symbolical fruit, including the peach, pomegranate 
 and finger citron (typifying the Three Abundances), and the 
 gourd (symbol of longevity), all in a pale blue ground ; borders 
 of stiff acanthus leaves and of ju-i pattern above and below ; 
 floral scroll on the foot ; bluish-green enamel inside the mouth. 
 
 Ch’ien Lung period (1736-95). 
 
 Made at Canton. 
 
 H. 19 1 in., D. 81 in. 
 
 E 28. VASE, beaker-shaped ; small oviform body ; tall stem and 
 spreading foot ; high neck and flaring mouth. Copper, painted 
 in enamels with designs in famille rose colours in a pale blue 
 ground ; on the body, dense scroll-work of Indian lotus enclosing 
 four of the eight Buddhist emblems (viz. the umbrella of state, 
 the conch-shell of victory, the wheel of the law, and the endless 
 knot), border of false gadroons below and of ju-i pattern above, 
 and beyond each of these a band of gilt key fret on dark blue 
 ground; on the neck, floral scroll designs enclosing the remaining 
 four Buddhist emblems (the canopy, vase, double fish, and 
 lotus flower), border of stiff acanthus leaves below and ju-i 
 pattern above ; on the stem, similar borders and floral scrolls 
 without the emblems ; on the lip and base, bands of gilt key fret 
 in a blue ground. 
 
 Ch’ien Lung period (1736-95). 
 
 Made at Canton. 
 
 H. 19 in., D. 9i in. 
 
94 
 
 CHINESE ENAMELS 
 
 E 29. PAIR OF TAZZE with shallow bowl, wavy edge and high 
 spreading foot with raised belt ; copper, painted with enamels in 
 famille rose colours. Inside the bowl, a spray of bamboo in the 
 midst of a deep blue ground, sown with prunus blossoms and 
 netted over with gilt lines representing ice-cracks ; border of 
 eight butterflies with blossoms between, in a pale bluish-green 
 ground ; on the underside are two dragons pursuing pearls amid 
 cloud-scrolls, around a design of lotus petals ; foot detachable 
 and ornamented to match the bowl. 
 
 18th century. 
 
 Made at Canton. 
 
 H. 3f in., D. 7\ in. 
 
 E 30. PAIR OF VASES with bodies of square elevation and round 
 contracted necks with spreading mouth ; cloisonne enamel on 
 copper, the exposed metal gilt. The ornament is in dark blue, 
 green, yellow, red and white in a turquoise ground, and consists 
 of four panels with flowering lotus, chrysanthemum, peony and 
 pomegranate respectively, in a ground diapered with T -fret ; on 
 the neck are lotus scrolls. 
 
 Chinese ; 19th century. 
 
 H. 13 in., D. 7 in. 
 
MISCELLANEOUS 
 WORKS OF ART 
 

 
 
 
Plate XV 
 
 M 1 6 
 

OVERSTONE 
 
 M 1. PAIR OF VASES of quatrefoil elevation, with ovoid section, high 
 neck and spreading mouth and base. Thick red lacquer outside 
 with ornament in carved relief ; on the body, four oblong panels 
 with five bats in clouds surrounding a central medallion, the spaces 
 between filled with lotus scrolls and fret ornament and the back- 
 ground engraved with wave and fret diapers ; on the shoulders 
 and stem, a band of rectangles enclosing floral arabesques ; on 
 the neck, stiff leaves filled with key fret in a ground of incised 
 hexagon diaper ; similar ornament on the foot ; black lacquer 
 inside and under the base. Fitted with bronze tubes for flowers, 
 the tops chased. 
 
 Peking lacquer ; 18th century. 
 
 H. 17f in., D. 11 in. 
 
 M 2. BOWL with thick red lacquer outside, the ornament carved in 
 relief against a dark brown ground engraved with angular wave 
 diaper ; a procession of six five-clawed dragons in clouds ; key-fret 
 border on base-rim ; black lacquer inside and under base. 
 
 Peking lacquer ; 18th century. 
 
 H. 8£ in., D. 21 in. 
 
 M 3. BOX of oblong six-foil form. Carved red lacquer ; the top 
 partitioned by scrolls enclosing a design of prunus blossoms on 
 waves ; on the sides, hexagon diaper enclosing rosettes ; black 
 inside and under the base. 
 
 Peking lacquer ; 18th century. 
 
 L. 4£ in., B. 3f in., H. 2 in. 
 
 M 4. BOX, of oval elevation contracted at the middle. Carved red 
 lacquer ; on the top, a landscape and trees and a figure holding 
 a model of a shrine, followed by an attendant with a vase slung 
 over his shoulder ; on the sides, hexagon diaper enclosing rosettes ; 
 inside and underneath, black. 
 
 Peking lacquer ; late 18th century. 
 
 L. 4£ in., B. 3£ in., H. 1£ in. 
 
98 
 
 MISCELLANEOUS WORKS OF ART 
 
 M 5. STAND for a bowl, cup-shaped, with wide six-foil flange and high 
 foot. Carved red lacquer ; ornament in high relief on a brown 
 ground with pointed wave diaper incised ; on the cup, two five- 
 clawed dragons in clouds ; three dragons in clouds on the flange ; 
 under the flange and on the foot, cloud-scrolls ; plain red 
 lacquer inside. 
 
 Peking lacquer ; 18th century. 
 
 H. 41 in., D. 8 in. 
 
 M 6. TIER OF FOUR BOXES standing on a tray, of double lozenge 
 shape. Carved red lacquer ; on the top, dragons in waves and in 
 the centre a circular Shou (longevity) character ; key-pattern 
 borders ; on the sides, panels with vases, and symbols from the 
 Hundred Antiques in a ground of lozenge diaper ; the spaces 
 filled with close peony scrolls ; the tray diapered on the sides, 
 and on the top richly tooled with formal lotus designs, the 
 character Shou (longevity) in the centre ; black lacquer inside and 
 under the tray. 
 
 Peking lacquer ; 18th century. 
 
 H. 91 in., L. 11 in. 
 
LOCKINGE 
 
 M 7. SMALL SCREEN made of two folds. Wood with coloured designs 
 carved in a black lacquer ground, the colours mostly worn away ; 
 on the obverse, lions and cloud-scrolls and in the corners symbols, 
 including a ju-i and roll, brush and cake of ink ; in the border 
 above bronze vessels are depicted, viz. a square incense vase, a 
 dish with pomegranates, a two-handled bowl and a low bowl the 
 inside of which bears the familiar inscription ‘ for sons and 
 grandsons for use, etc. ’ in archaic seal characters ; on the 
 reverse, two phoenix medallions and cloud-scrolls. 
 
 Peking lacquer ; early 18th century. 
 
 H. 321 in., L. 321 in. 
 
 M 8. INCENSE BOWL, shaped after a bronze form, with contracted 
 neck and slightly spreading mouth ; low foot ; two massive handles 
 in form of conventionalized dragons. Deep green jade speckled 
 with brown ; the outside carved with archaic bronze patterns — 
 ogre faces, etc. — in low relief on a ground of key pattern ; stiff 
 foliage on the foot ; borders of key pattern. 
 
 Chinese ; early 18th century. 
 
 H. 31 in., D. (with handles) 8| in. 
 
 M 9. BOWL in the form of a lotus leaf, surrounded by flowers and 
 tendrils in open-work ; finely carved jade of ‘ mutton fat * colour. 
 Chinese ; 18th century. 
 
 H. 21 in., L. 4f in. 
 
 M 10. BOWl of oblong quatrefoil form, with open-work handle in 
 the form of an archaic dragon ; finely carved jade of ‘ mutton 
 fat * colour ; carved wood stand. 
 
 Chinese ; 18th century. 
 
 H. If in., L. (with handle) 4 in. 
 
100 
 
 MISCELLANEOUS WORKS OF ART 
 
 M 11. SMALL BOWL with two open-work handles in the form of 
 blossoming peach boughs ; ‘ mutton fat ’ jade ; the outside lightly 
 engraved with a landscape and pine on one side, and a water 
 scene and willow on the other. 
 
 H. 1| in., D. (with handles) 4| in. 
 
 Chinese, 18th century. 
 
 With it is a stand of oblong quatrefoil form and two open- 
 work handles of fungus design ; in pale green jade. 
 
 L. 7 \ in., B. 4£ in. 
 
 M 12. NASAL HELMET with spike and plume sockets, and chain 
 curtain ; steel, with slight arabesque design in low relief on the 
 top and gold damascened border of floral scrolls. 
 
 H. (with spike) 5 in., D. 7f in. 
 
 Two arm defences to match ; flowered padding inside, and 
 studded velvet gloves. 
 
 L. 18 in. 
 
 Two ‘ mirrors ’ for back and breast, and one for the side 
 (the other side-piece wanting) ; slightly convex, and quilted at 
 the back ; designs to match. 
 
 L. 12 in. and 10f in., B. 9 \ in. and 7f in. 
 
 Indian ; probably late 18th century. 
 
 Part of a suit of similar armour is in the Tower Armoury. Catalogue No. XV, 
 465-474. 
 
 M 13. ONYX CAMEO. The design represents Zeus and Thetis, the 
 god seated under a tree, with staff in hand and eagle beside him ; 
 Thetis, half nude, standing in front of him with left hand raised ; 
 below is a formal rocky base ; metal band and plush frame with 
 leather backing. 
 
 L. 7 \ in., B. 5f in. 
 
 It is stated in a note attached that this cameo belonged to W. E. Gladstone, and 
 was bought at his sale in 1875 ; and that it was illustrated as frontispiece to 
 his translation of Homer. 
 
 M 14. TWO SHALLOW BRONZE BOWLS with bevelled rim; three 
 bands of wheel-made concentric rings inside ; two horse-shoe 
 shaped handles ; low base-rim with pierced Vandyke pattern. 
 H. 3| in., D. 101 in. (of the larger). 
 
 Found in Egypt. The form is derived from a classical model, but this type of 
 bowl belongs to the late 6th or early 7th century and is similar to those found 
 in Saxon graves. There are several examples in the British Museum where 
 they are described as of Kentish (Jutish) type. 
 
Plate XVI 
 
 M 1 7 
 

 
LOGKINGE 
 
 101 
 
 M 15. SHALLOW BOWL (patera ) with bar handle, flanged rim and 
 beaded edge ; bronze with wheel-made rings inside and out. 
 
 Roman ; 1st century A.D. 
 
 L. (with handle) 6f in., H. If in. 
 
 M 16. STATUETTE of a young Satyr advancing with cymbals in 
 outstretched hands ; straddling his neck is the boy Bacchus with 
 vine wreath in his hair and a bunch of grapes held in his right 
 hand ; the Satyr’s face is upturned and his eyes fixed on the 
 grapes ; at his left side and supporting the figure is a tree stump 
 overgrown with vine on which are hanging a faun’s skin and 
 pan-pipes ; flat rectangular base. Bronze with calcareous 
 incrustation and touches of blue patina. Exquisitely modelled. 
 
 Graeco-Roman ; 1st century B.G. Plate XV. 
 
 H. 9\ in. 
 
 Purchased at Luxor from an Arab dealer in 1896. 
 
 The type is figured in Glarac, Musee de Sculpture, pi. 704 ft, No. 1628 a (S. Reinach, 
 Repertoire . . . 1897, Vol. I, p. 397). 
 
 The same subject in marble, life size, is catalogued in the Naples Museum (253 
 in the Guida del Museo Nazionale di Napoli), the upper part of the boy, and the 
 arms and face of the Satyr having been restored in 1787. 
 
 M 17. FIGURE of Spartacus descending the steps of his prison, with 
 a knife in right hand held behind his back. He is nude, but 
 for a loose garment, which is caught up by a girdle and hangs 
 down from the waist ; fetters on his ankles ; his left hand 
 clenched ; toes of his right foot gripping the edge of the square 
 base ; strongly modelled and with ferocious mien. Bronze, the 
 surface encrusted with a calcareous deposit. 
 
 Plate XVI. 
 
 H. 24 in. 
 
 This figure is a reproduction of the Masterpiece of Lorenzo Vela, who was born at 
 Ligornetto near Lugano in 1812 and died in 1897. The original, a marble 
 statue of heroic size, represents Spartacus, the Thracian leader of a dangerous 
 insurrection of slaves in Italy in 73 B.C., escaping from his prison : it was 
 sculptured by order of Duke Pompeo Litta, and formerly stood on the staircase 
 of the Palazzo Litta in Milan. See Catalogo delle opere di scultura e di pittura legati 
 alia confederazione Svizzera dai defunti Spartaco e Lorenzo Vela (issued in 1901 by the 
 Museo Vela in Ligornetto), p. 33, No. 132, 
 
 The bronze reproduction has been treated to give it an air of antiquity. 
 
 M 18. BRONZE STATUETTE of the Shire horse Prince William, held 
 by his groom, George Robey. Modelled by George Wade. 
 Marble base with bronze top. 
 
 L. of base, 48 in. ; H. of horse, 33 in. 
 
102 
 
 MISCELLANEOUS WORKS OF ART 
 
 M 19. STATUE OF LA PAYSANNE, a young woman in peasant dress 
 and wearing clogs. She is seated on an upturned basket and 
 is nursing her baby. Light-red terra-cotta, signed on the base: 
 DALOU 
 1873 * 
 
 By Jules Dalou. Plate XVII. 
 
 H. 531 in. 
 
 Formerly in the Collection of Sir Coutts Lindsay, Bart. 
 
 M 20. TERRA-COTTA BUST of the late Archbishop Temple, full face. 
 Modelled by Lady Jane Evelyn Lindsay. Moulded plinth. 
 
 H. 27 in., B. 21 in. 
 
 M 21. WHITE MARBLE BUST of the late Lord Wantage, on a 
 serpentine plinth. From a model by Lady Jane Evelyn Lindsay. 
 
 H. 321 in., B. 22 in. 
 
2 CARLTON GARDENS 
 
 M 22. DISK of fine white ‘ mutton fat ’ jade, beautifully carved ; on 
 both sides are depicted scenes in the Shou Shan or Taoist 
 Paradise; on the obverse are the cloud-capped pavilions of the 
 T'ien T’ang (Heavenly mansion) amid rocky hills, to which are 
 approaching Shou Lao (the God of Longevity) holding a ju-i 
 sceptre and mounted on a deer ; following him are two attendants, 
 one bearing his gourd and the other his dragon-headed staff 
 with scroll attached ; and preceding him is another attendant 
 drawing a two-wheeled cart laden with peaches of immortality; 
 the figures are crossing a bridge which spans a rushing torrent ; 
 ancient pine trees, a willow and palms diversify the landscape ; 
 the designs are in high relief, exquisitely carved and deeply 
 undercut. On the reverse are rocky spires wrapped in clouds 
 and rising from foaming waves, and eight cranes — four flying and 
 one perched in a pine tree, beneath which the other three 
 have alighted beside a ling-chih fungus ; the designs on this 
 side are fainter and in low relief. 
 
 Chinese ; Gh’ien Lung period (1736-95). 
 
 D. 81 in. 
 
 Mounted on an elaborate stand with open-work designs in carved wood and 
 stained ivory. 
 
 M 23. INK SCREEN of pale-green jade, with amber splashes ; of 
 rectangular form with the two lower corners notched to fit the 
 carved wood stand. Both sides are carved in strong relief with 
 scenes in the Shou Shan , or Taoist Paradise. On the obverse, 
 a figure with a vase, probably the attendant of Hsi Wang Mu, 
 the Queen of the Genii, being ferried across a mountain 
 torrent overhung by a pine ; on the shore is a pine tree 
 beneath which stand the Twin Genii of Union and Harmony 
 (Ho ho erh hsieri), one carrying a lotus and the other a box, 
 
104 
 
 MISCELLANEOUS WORKS OF ART 
 
 and above, Hsi Wang Mu herself, peach in hand, floats in the 
 air on the back of a phoenix. On the reverse, cloud-capped 
 rocks, pine trees and two deer. 
 
 B. of jade, 7f in. Total H. Ilf in. 
 
 Chinese ; late 18th century. 
 
 The jade tablet stands on raised bearers, beneath which is a symbolical ornament 
 in deep green, brown-speckled jade carved in open-work, and representing a 
 bat (emblem of happiness), supporting a ‘cash’ (emblem of wealth), between 
 its wings, and two peaches (emblems of longevity) on its back. 
 
 M 24. SHALLOW BOWL of pale green ‘ mutton fat ’ jade faintly tinged 
 with amber in places ; the rim is bevelled and slightly folded 
 over and the contour of the outside is angular ; low foot rim. 
 Chinese ; late 18th century. 
 
 H. If in., D. 61 in. 
 
Plate XVII 
 
 M 1 9 
 

 
 
APPENDIX 
 

STATUARY, MARBLES AND BRONZES 
 AT OVERSTONE PARK 1 
 
 M 25. FlORETTA. A white marble statue of a peasant girl seated on 
 the trunk of a tree holding flowers in the folds of her dress. 
 A wreath of convolvulus is twined in her hair ; her shoulders 
 and arms are bare, but light drapery hangs down over her legs, 
 which are gracefully crossed. On a round pedestal of grey 
 marble with revolving slab. 
 
 By A. Rosetti, Rome, 1860. 
 
 H. of figure, 411 in. ; H. of pedestal, 37 in. 
 
 M 26. RELIGION. A draped female figure in white marble. The 
 head is inclined downwards and is covered by a long mantle, 
 which descends to the ground, being caught up by the left arm, 
 while the hands are closed together and the feet bare. With 
 one foot she tramples upon a serpent coiled upon the ground. 
 The base of the statue is rounded, with a square slab below. 
 
 By E. Santarelli, 1861. 
 
 H. of figure, 351 in. ; L. of slab, 111 in. 
 
 M 27. NARCISSUS. A facsimile in bronze of the beautiful figure 
 discovered at Pompeii and placed in the Museum at Naples. 
 
 By Barbedienne, of Paris. 
 
 H. 25 in. 
 
 ANIMALS IN BRONZE. By J. Haehnel. 
 
 M 28. A lion walking. 
 
 L. 131 in., H. 8 in. 
 
 M 29. A lioness lying down. 
 
 L. 141 in., H. 71 in. 
 
 1 The substance of these descriptions is taken from the Catalogue compiled by 
 Mr. G. Redford in 1878. 
 
108 
 
 APPENDIX 
 
 M 30. An ostrich with a lizard. On a round slab. 
 
 H. 221 in. 
 
 M 31. An eagle seizing a rabbit : wings outspread and standing on 
 a rock. 
 
 H. 151 in., W. 13 in. 
 
 M 32. A giraffe. 
 
 H. 171 in. (with pedestal), W. 8f in. 
 
 M 33. A lion. 
 
 M 34. TAZZA in rosso antico , of antique form, with two floriated handles, 
 fluted body and square pedestal of verd-antique ; on a square 
 base of rosso and black porphyry. In the hollow of the basin 
 is a Medusa head with wings carved in rosso ; and below the 
 brim outside, heads of a bacchante and a satyr, with grotesque 
 masks in flat relief on the body of the tazza at the junction 
 of the handles. 
 
 Fine modern Roman work. 
 
 H. 21f in., W. 211 in. Base 9| in. square. 
 
 M 35. TWO-HANDLED TAZZA in giallo antico, on square base of 
 verd-antique ; the body carved with radiating projecting flutes. 
 
 H. 241 in., W. 23 in. (with handles). Base 9f in. square. 
 
 M 36. PAIR OF TWO-HANDLED VASES, lecythus-shaped, in pinkish 
 and yellow variegated marble. The handles, which are flat and 
 rectangular, are joined at flat bands in relief at the neck and the 
 top of the body ; the feet are square. On a black marble base. 
 
 H. 30 f in., W. 81 in. 
 
 M 37. SQUARE TAZZA with four handles and fluted body, standing 
 on square plinth, the whole of black, grey and pink veined 
 marble. The handles are beneath the brim. 
 
 H. 191 in., W. 131 in. 
 
 M 38. TWO-HANDLED TAZZA in giallo antico , on verd-antique pedestal. 
 
 H. 151 in., W. 141 in. 
 
APPENDIX 
 
 109 
 
 M 39. TAZZA with twisted branch handles, in giallo antico , with radiated 
 fluted stem. On grey marble pedestal. 
 
 H. 20 in., W. 16 in. 
 
 M 40. TWO-HANDLED TAZZA, with fluted body and stem, in pale 
 giallo antico , on pedestal of brown marble. 
 
 H. 134 in., W. 101 in. 
 
 M 41. TWO-HANDLED SQUARE TAZZA in dark giallo antico , on a 
 plinth of verd-antique. 
 
 H. 94 in., W. 74 in. 
 
 M 42. LARGE CAMPANA-SHAPED VASE with long flat scrolled 
 handles, of the kind often called ‘milk and honey,’ with fluted 
 stem and square foot ; in Oriental alabaster. Mounted on an 
 ebony inlaid pedestal 3 feet high. 
 
 H. 34 in., W. (foot) Ilf in. square. 
 
 M 43. COVERED CYLINDRICAL VASE OF ALABASTER, on a 
 circular slab of rosso antico , the body fluted, with a scalloped 
 edge ; the cover, dome shaped, surmounted by a pine cone and 
 leaves. Capable of being used as a lantern. 
 
 H. 254 in., W. 9 in. 
 
 M 44. PAIR OF MALACHITE VASES, oviform, on square feet. 
 
 H. 194 in., W. 7 in. 
 
 Malachite, which is a mineral form of carbonate of oxide of copper, can only be 
 worked in small pieces, which are joined in objects of this shape. 
 
 M 45. TWO-HANDLED VASE of lecythus form with round foot in 
 black basalt. 
 
 H. 154 in., W. 64 in. 
 
110 
 
 APPENDIX 
 
 M 46. MONUMENTAL COLUMN, of antique marbles, with ormolu 
 ornaments of trophies of arms, surmounted by a figure in ormolu, 
 standing on a base of grey and red marble with steps, the whole 
 on a slab of black marble. The shaft is of alabastro fiorito with 
 a capital of white marble and a gallery of ormolu. The base of 
 the column is of white marble bearing reliefs of subjects in rosso 
 antico with mounts in ormolu. At the angles of the base are 
 eagles in ormolu holding garlands. On the front the carved 
 relief is a figure of Victory, surrounded by trophies, inscribing 
 upon a shield ; the other reliefs are trophies of arms. 
 
 H. 67 in., W. at base 21| in. 
 
 MODELS OF THE COLUMNS IN THE FORUM AT ROME 
 
 M 47. THE COLUMN OF PHOCAS, in giallo antico with the bronze 
 figure on the top and the steps at the base : mounted on a black 
 marble slab. Inscribed ‘ Optimo clementissimo felicissimoque.’ 
 Standing on a black wood, inlaid pedestal, 3 ft. lj in. high. 
 
 H. 43 in., the figure 5 in., and with steps 54 in. 
 
 The original monument which stands in the Forum at Rome was erected to the 
 Emperor Phocas by Smaragdus, the Exarch of Italy, A.D. 608. Before the year 
 1813 no one had been able even to conjecture to what personage it had been 
 set up, and thus Byron was led to say of it : — 
 
 ‘ Tully was not so eloquent as thou, 
 
 Thou nameless column with a buried base.’ 
 
 But in that year the mass of ruined masonry which covered the base was 
 removed and the inscription was discovered, though with the name of Phocas 
 erased, as it is known to have been by Heraclius in the manner of ancient 
 monarchs envious of the fame of their predecessors. Further excavations, made 
 at the expense of the Duchess of Devonshire in 1816, exposed the four flights 
 of steps. These are however of such bad work that it was concluded they were 
 of later date than the column, which had no doubt been brought from some 
 antique edifice. The shaft is of eight pieces of white marble, and in the 
 Corinthian style, and it once bore the bronze-gilt statue of the Emperor Phocas. 
 
 M 48. MODEL OF THE THREE CORINTHIAN COLUMNS in the 
 Forum at Rome, in giallo antico. Mounted on a black marble 
 slab and pedestals of black wood inlaid with white, 3 ft. 1| in. 
 high. 
 
 H. 51 in., W. 2l\ in. 
 
APPENDIX 
 
 111 
 
 M 49. MODEL OF Three COLUMNS in the Forum, of precisely 
 similar dimensions and part of the same building. 
 
 These beautiful antique columns, which are of white marble, were long supposed 
 to have formed part of the Temple of Jupiter, built by Augustus, but it was 
 shown by the Commendatore Ganina, Director of the excavations at Rome, 
 that they were the remains of the temple erected in honour of Vespasian by 
 Domitian. 
 
 M 50. TWO CAMPANA-SHAPED VASES in porphyry, mounted with 
 vine foliage, and satyr-head handles in ormolu. 
 
 H. 30 in. 
 
 M 51. TWO OVIFORM VASES WITH HANDLES, in chocolate brown 
 serpentine, with circular pedestals of the same. 
 
 H. 24 in., W. 11 in. 
 
 M 52. SQUARE FONT-SHAPED VASE in giallo antico, on pedestal, 
 fluted inside. 
 
 H. 52 in., W. 30£ in. 
 
 From the Naylor Collection. 
 
 M 53. TWO CANOPIC VASES, or ancient Egyptian funeral urns, 
 carved in limestone. One hawk-headed, the other human- 
 headed, both bearing hieroglyphics. 
 
 H. 11| in., W. 7 in. 
 
 Brought from Egypt by Admiral D. Price, R.N. 
 
 M 54. PAIR OF FINE COLUMNS in Breccia di Violetto marble. 
 
 M 55. PAIR OF COLUMNS in antique African serpentine. 
 
 M 56. AMPHORA in rosso alabastro antico , with base of cippolino. 
 
 M 57. MARBcE BUST OF LORD OVERSTONE (posthumous) 1883, 
 by H.S.H. Count Gleichen, on granite column pedestal. 
 

 
 
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