STOCKSPRING ANTIQUES
London W8 4BH; www.antique-porcelain.co.uk;
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The Dragon and the Quail -
English Kakiemon Porcelain
Internet Loan Exhibition
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| Quail Patterns |
Quails are one of the commoner Kakiemon motifs. They were associated
with autumn and the South, but also represented courage or poverty.
The designs were often inspired by the Tosa School of painters who
had been official artists to the Imperial Court at Kyoto. Under Tosa Mitsuoki
in the 17th Century the quail and millet became the most celebrated subjects.
In England the quail were mistaken for partridges, hence the Bow account
books and the Chelsea sale catalogues refer to the "partridge" pattern. |
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Exhibits 34, 35 and 36
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34. Saucer Dish
Japan, Arita c.1680-1700
Fuku mark
Burghley House Collection D. 21.4cm, 8.5"
Decorated with two quail beside a clump of chrysanthemum, in underglaze
blue and enamels, the underside of the rim and cavetto painted in underglaze
blue with two birds each perched on a blossoming branch.
35. Dish
China c.1710-20 D. 35.5cm,14"
Painted with two quail pecking millet seeds fallen from an overhanging
millet plant growing among flowering plants, the border of half-florets
around the rim.
It is very rare to find the Chinese copying exactly a Japanese Kakiemon
piece. For the original Japanese pattern, see Ashmolean Museum, Oxford,
1978.574, Reitlinger Gift.
Chelsea also copied this Japanese pattern exactly, see British Museum,
M&LA PC 1 34, Franks Bequest, illustrated in "Porcelain for Palaces",
pl.359, p.297.
36. Soup Plate
Chelsea c.1750-52 D. 24cm, 9.25"
Of octagonal form, painted with two quails, one by prunus and bamboo
issuing from banded hedges and the other by millet, within a border of
meandering scrolling flowers and foliage.
Provenance: Albrecht Collection
This is an exact copy of a Japanese pattern, with the addition of the
border.
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Exhibits 37, 38, 39 and 40
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37. Saki Bucket
Japan c.1690-1700, probably decorated in Japan. H. 18.5cm, 7"
Of square form, lacking handles, painted with two separate scenes extending
over two sides each. The first is of a lion (shi shi) standing beneath
prunus and bamboo branches on which perches a long tailed bird with two
birds flying above, and two quails standing between the prunus plant and
a three petalled flower (orchid?), with a phoenix flying above. The second
scene is derived from the Chinese and depicts an old man smoking a pipe
beneath a flowering tree with two hedge stooks at his feet. The top of
the bucket vase has a flowering prunus and a bluebird. |
| The "Two Quail" Pattern |
| Two quail, one red and one blue with a green patch on its
wing, beneath a prunus tree and facing a flowering shrub with three large
petals. The Bow factory added an iron red meandering leaf border taken
from a different Japanese design - see Exhibition No. 55. |
38. Teabowl and Saucer
China c.1700-20, late decorated in Holland c.1720-25 D. 11cm, 4.25"
Decorated with the "Two Quail" pattern with a brown line rim.
39. Teapot
Chelsea c.1750-52 H. 13.5cm, 5.24"
Of fluted form, decorated with the "Two Quail" pattern, with
stylized flower sprigs on the handle and the spout.
Provenance:- Gwen Smith Collection
This is a very close copy of the Japanese original.
40. Teacup and Saucer
Chelsea c.1750-52
Raised Anchor mark on both. D. 12cm, 4.75"
Of fluted form with a scroll handle, ensuite to the teapot.
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Exhibits 42, 43 and 41
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41. Dish
Meissen c.1735-40
Crossed swords in underglaze blue, imp. workman's mark. D. 15.5cm,
6"
Of indented square form, decorated with the "Two Quail" pattern, with
brown line rim.
42. Dish
Longton Hall c.1758-60 or West Pans c.1764-68 L. 20cm,7.8"
Of scalloped leaf shape, leaf stalk handle missing, decorated with
the "Two Quail" pattern and various subsidiary flower sprigs and florets.
The details of the flowers and the style of the painting suggests a
Meissen prototype for this version of the pattern.
43. Beaker and Saucer
Chantilly c.1735-45 D. 21cm, 4.75"
Of indented octafoil form with two quails between two stylized flowering
shrubs and with two insects flying above, beneath a brown line rim.
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Exhibits 44 and 45
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44. Sweetmeat Stand
Bow c.1755-6 H. 7.5cm, 3"
The dish of six pointed star form on a knopped stem with small domed
circular foot, decorated with the "Two Quail" pattern.
This shape is possibly derived from a Chinese Kangxi seven piece condiment
set, the six surrounding dishes would have been a modified fan shape.
45. Pair of Baskets
Bow c.1755 13cm, 6"
Of reticulated circular form, decorated with the "Two Quail" pattern.
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Exhibits 47, 48 and 46
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46. Knife and Fork
Bow c.1755-58 L. 10cm, 4"(k)
Of pistol grip form painted with a variant of the "Two Quail" pattern,
with the introduction of carmine instead of iron red.
Provenance:- Tony Stevenson Collection.
47. Spoon Tray
Bow c.1755-56 L. 12.5cm, 5"
Of slightly lobed oval form, decorated with the "Two Quail" pattern.
Provenance:- Gosford Castle Collection.
48. Plate
Chelsea c.1752-4 D. 23.5 cm, 9.25"
With basket moulding to the well, and pierced basketwork rim, decorated
with the "Two Quail" pattern. |
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| Exhibits 51, 49 and 50 |
49. Dish
Bow c.1755-58 W. 20cm., 8"
Of shell form supported on moulded shell encrusted base, decorated
with the "Two Quail" pattern.
50. Salt
Bow c.1755
Incised arrow and annulet mark H. 10cm, 4"
Of deep shell form on triple shell encrusted base, the base decorated
in bright famille rose enamels, the "Two Quail" pattern to the interior.
51. Butter Dish and Cover
Bow c.1755-60 D. 12.5cm, 5"
Of circular form with leaf form handles and flat cover, the "Two Quail"
pattern around the base and on the cover.
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| Exhibits 53, 52 and 54 |
52. Beaker
Bow c.1755 H. 6.5 cm, 2.5"
Of quatrefoil lobed form, decorated with the "Two Quail" pattern.
53. Beaker and Saucer
Worcester c.1770-80
Gold open crescent mark on both. D. 12.3 cm, 4.8"
Of plain flared cylindrical form, decorated with the "Two Quail" pattern.
A yellow-green colour is used instead of gold.
This Worcester version of the pattern is very close to the Japanese
original.
54. Jug
Worcester c.1770 H. 10.2cm, 4"
Of fluted sparrowbeak form, the "Two Quail" pattern beneath an elaborate
turquoise border.
In this version of the pattern, the peripheral details have developed
away from the original Japanese design although the main motifs remain
unchanged.
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