An outstanding pair of Chinese export porcelain Yongzheng period armorial covered jugs, decorated in Famille Rose enamels each bearing a large roundel emblazoned with the finely detailed Arms of Woodward,  along with elegant sprays of flowers and gilded flowerhead borders, the motifs continuing around the cover along with each cover bearing the family crest.  Measuring 7 3/8″ tall, one with restoration to very minor frits to the cover and minor glaze losses to the handle, otherwise both in extraordinarily fine original condition and each with it’s own hand-carved wooden stand.  Illustrated and discussed in Howard’s Chinese Armorial Porcelain, Vol. I, page 212 and with a Chait Galleries provenance. Circa 1726.

An unusual form, this Chinese export porcelain plate has a wonderful border of openwork interlocking rings, decorated with a mottled effect most likely intended to resemble tortoiseshell. This fine piece is then centered with a beautifully enameled famille rose image of lush flowering peonies and chrysanthemums with a very exotic butterfly. Measuring 8 3/8″ in diameter and in very good condition. An example of similar form in the collections of the Rijksmuseum in the Imari palette which they attribute to the first quarter of the 18th century, this famille rose example circa 1740-1745. (condition – no restoration … the staining on the reverse is original to the piece and likely occurred in the firing process)

A charming matched of pair of Chinese export porcelain cat figures with freely painted black spots, intense green eyes and inquisitive smiles.  Measuring 6 1/2″ tall x 4 1/2″ wide and in very good condition. Dating to the late 19th/early 20th century – a happy presence for any collection!

A rather rare Chinese export porcelain Mandarin punch in an unusual 9 3/4″ size, brilliantly hand painted in Famille Rose enamels with very detailed scenes of courtly life with images of the great and the good taking their leisure in lush gardens and rich interiors and borders of smaller figural vignettes and floral bands on gilded ground.  One more often sees this kind of painting reserved for grand pieces – 18″-20″ punch bowls, but here the same attention is spent upon this jewel of a piece.  In superb condition. Dating to circa 1800-1810.  The only one we’ve had in over thirty-years.

A charming Chinese export porcelain 4″ mug brightly decorated in Famille Rose enamels with either the Arms of Wickstead or Hodge  and baskets of flowers on either side.  Illustrated and discussed in Howard’s Chinese Armorial Porcelain, Vol. II, page 296; this mug is the same one featured by David Howard and is from the great armorial Weld Collection.  With two lines sealed and rim chip filled. Circa 1760.

A very handsome pair of Chinese export molded 10 1/2″ dishes, painted in underglaze blue with a large styled lotus design with a central roundel with a courtly figural scene of a gentleman helping a lady over a small footbridge beneath a willow tree, surrounded by lotus petal form panels each filled with a profusion of flowering peony branches. Both 10 1/2″ dishes in very good condition, one with only very minor rim roughness filled.  Dating to circa 1690.  Always great to have a pair.

A charming Yongzheng period Chinese export porcelain tea pot hand-painted in Famille Rose enamels with classic images of roosters amongst rockwork and peonies, the tea pot itself modeled as a lotus with a ribbed ‘petal’ lower body supported upon a base of delicate stems, buds, and leaves, the ribbed petal motif continued on the cover as well.  Measuring 4 1/2″ tall x 6 ” wide.  Some restoration to part of the base and edge of the cover, otherwise, in good condition, a fine early piece, circa 1735.

A striking piece, this fine Chinese export porcelain punch pot is in the form of a closed lotus, the symbol of purity, with elegantly swagged tendrils with leaves and blossoms draped around the body of the piece, a lotus seed pod forming the knop on the cover. Combining great size, form, and color in bright green and Famille Rose enamels with a touch of gilded highlights, this piece must have made as dramatic and exotic impact in the 18th century as it still does today. Measuring 6 1/2″ tall by 8 1/2″ wide and in remarkably good condition with only two small flakes to the enamel at the base, and a faint hairline around the base of the handle where it joins the body.  Circa 1750-1760.

A very beautiful pair of Chinese export porcelain vases, the bodies molded into lotus leaf-shaped panels and hand painted with branches of flowering peonies and the elongated necks each mounted with elephant head bisque handles with hanging rings and the bottoms with classic artemesia leaf marks. Measuring 11″ tall and in very good condition with only a short line to the body of one vase sealed.  Dating to circa 1690 – a remarkable form and rare survivor.

A strikingly beautiful Chinese export porcelain Raspberry FitzHugh plate, the classic pattern here hand-painted in a deep raspberry enamel with gilded highlights including a scrolling leaf cavetto border and a very finely rendered central roundel featuring a landscape with a horse drawn cart and driver.  Measuring 9 3/4″ in diameter and in remarkably fine condition. One of the rarest and most sought-after of the FitzHugh patterns. Early 19th century.

A rare example of Chinese export porcelain specifically made for the Portuguese market, this 10″plate plate is well-painted with a central detailed image of a Portuguese merchant ship named the BRILLIANTE, within cavetto and rim borders of a double keyfret design in a bright blue enamel. The ship flies a flag inscribed MAS for its owner Miguel Alva Sousa of Macau and the service was most likely used onboard the ship. Discussed and illustrated in Howard & Ayers’ book China for the West, Vol. I, page 228.  With only two very minor short lines to the reverse sealed and minor enamel abrasion, otherwise very good condition.  Circa 1825.

A similar plate from this service sold at Christies on January 20, 2021, Lot 13 for $30,000.00, ours more moderately priced at $5,000.00

One of the rarer colors in the FitzHugh palette, this very finely hand-painted 6″ plate is rendered all in black and is almost certainly from a special order service as it bears a central monogram, inscribed ASC.  The grisaille draftsmanship of the peony and ‘antique objects’ design virtually resembles a pen and ink drawing. With only a short line to the reverse rim sealed, this charming piece is in otherwise great condition – a great addition to any FitzHugh collection.  Early 19th century.

One of several rare colored FitzHugh patterned plates that we have acquired from a private collection, the famous pattern is here rendered in gold enamel producing a very rich and elegant effect with this finely detailed design. This must have obviously been an expensive service to produce and most likely a one-off special order as we have handled very few examples of this colorway over the years. Measuring 9 1/2″ in diameter and with only two short 1/4″ lines to the reverse rim sealed. First half of the 19th century.

An especially attractive and unusual Chinese export porcelain FitzHugh patterned plate hand-painted in two colors of enamel – sepia and green.  The popular FitzHugh pattern was produced over the years in a variety of colors and in usually just a single color.  This plate is part a small group where they experimented with using two colors and, as is apparent, to a really striking effect. Not very common and highly collectible, the intricate hand-rendered pattern is only accented more by the colors used here.  Measuring 9 1/2″ in diameter and in very good condition.  First quarter of the 19th century.

A Chinese export porcelain soup plate hand-painted in the classic FitzHugh pattern in a rare yellow enamel.  This popular pattern went through a range of colors from the late 18th century into the 19th century and among the various versions yellow is among the rarest, most likely because it is one of the most difficult (and therefore expensive) colors to fire successfully in the kiln.  It has also special meaning to the Chinese who associate it with the emperor. That all said, it is just a vibrantly attractive object!  This example measures 9″ in diameter and has an L-shaped line that runs across the rim into the cavetto and across the base to the foot rim, as well as a second line to the rim and partially into the cavetto, and two very short rim lines – all professionally sealed. 1st half of the 19th century.

A very handsome Chinese export porcelain American market hot water dish hand-painted in the rich Orange FitzHugh pattern and centered with a large spread eagle based upon an early version of the Great Seal of the United States bearing an E Pluribus Unum banner in its beak.  From a service made for Robert Stockton of New Jersey (1766-1828).  he was a son of a signer of the Declaration of Independence and was himself a Representative to the U.S. Congress and later, a Senator. Measuring approximately 101/4″ in diameter and with only a small chip to the spout restored and very minor re-touch to the enamels, otherwise brilliant condition. Circa 1820).

A brilliant example of the Yongzheng potter’s and painter’s masterful skills, this fine eggshell porcelain 8 1/4″ soup plate is elaborately hand-painted with a central scene of two cockerels upon rockwork with stems of peonies, the rim bordered with a soft pink cellwork ground with reserves of lotus and prunus and roundels of dragons. The imagery seems to have been popular, appearing on dinner and tea wares – the rooster being a symbolism of strength and punctuality, and the peony a symbol of wealth and nobility and the Famille Rose palette of enamels had only been recently developed, but it is evident here how quickly it was mastered. There appears to be a piece out of the rim, going down into the cavetto, but with the expert restoration it is very difficult to ascertain as the piece came to us in this condition – but the painting remains a superb example of class Yongzheng painting.  Circa 1730.

A striking yellow-ground tea bowl and saucer from a service made for the very prominent Chew family of Philadelphia, decorated with classical style artefacts and figures in profile, all in the highly fashionable Greek-Revival style of the very early 19th century. It is very unusual to have a yellow ground as it was a difficult and costly thing to fire in the kiln. The Chews were a very wealthy China-trading family and their Philadelphia home and Germantown country house, Cliveden, were decorated in the latest and most stylish fashions. Illustrated and discussed in The Philadelphians and the China Trade, page 48. The saucer 5 1/2″ in diameter, the tea bowl 3 3/8″. Both in ‘as found’ condition with hairlines, otherwise good condition and rare decoration. Circa 1805.

A rare pair of Chinese export porcelain Orange FitzHugh patterned shaped oval serving dishes from a special-ordered service made for the ship(s) RED ROVER.  Each with the elaborately painted FitzHugh borders and centered with a roundel inscribed Red Rover.  The conundrum being that, to our knowledge, there were three 19th century clipper ships named the Red Rover! The first one being English, built in 1829, with the dubious honor of being the fastest ship in the opium trade running between Calcutta, India and Lintin, China.  The second ship, Red Rover, was American, built in 1852 for the California trade and broke records running between New York and San Francisco in 120 days.  And the third Red Rover was a Union Army hospital ship stationed in the Mississippi River above New Orleans in the Civil War. Either way, two very attractive artefacts from the great age of sail in the 19th century. Measuring 8 /12″ x 10″, one with a minor line to the foot rim, but other than some slight stacking wear, both in fine condition. Second quarter of the 19th century.

What color, exuberance, and symbolism in such small, personal objects!  This pair of Chinese porcelain Kangxi period libation cups are finely modeled and decorated with dragon figures and designs with both the handle and the spout of each cup  supported by a pair of dragons set against a detailed ground of  Famille Verte enamel colors. The dragon symbolizes great power, strength, authority, and good luck with special powers over water, typhoons, rainfall, and floods. Measuring 4 1/2″ wide by 2″ tall and in remarkably good condition with only small rim frits and chips and a line to the edge of one lip, otherwise the detailed handles and dragon figures have survived the centuries unscathed. Kangxi period, circa 1700.

A rare pair of Chinese export porcelain octagonal footed spice boxes, hand-painted in Famille Verte enamels with images of flowering lotus, almost certainly modeled after European silver forms of the period, even attempting to recreate the mask handles one sees on silver of this period.  In addition another unusual feature is the interior of both boxes both with three spice compartments which we have not seen before.  These would have been truly novel and luxurious items to adorn one’s table with at the end of 17th century. Measuring 3 1/4″ tall by 5″ long and 3 1/2″ wide.  One box with evidence of an interior rim restoration, otherwise both pieces in very good condition and great examples of the decorative cultural exchange between Europe and China at this period. Circa 1700.

A fine example of one of the rarer enamels in the FitzHugh pattern, this lovely Chinese export porcelain 9 1/2″ dinner plate is hand-rendered in a rich raspberry red with gilded highlights. Very good condition, late 18th century.

Exemplifying the refinement of the Yongzheng period, this lovely octagonal form Chinese export tea bowl and saucer are hand-painted in Famille Rose enamels with two cockerels (the symbol of strength and punctuality) on rockwork beneath arching branches of lush peonies, these motifs continuing around the body of the tea bowl as well. Also interesting to note is the fact that both pieces are borderless and lack the confines of the usually highly detailed diapered borders – the imagery being treated more like a painting on an open surface such as a scroll or screen. The saucer measuring 5 1/4″ in diameter , the 3 1/3″ tea bowl professionally restored. Yongzheng period, circa 1730. Acquired from the Chinese Porcelain Company by the Nelson Kline Collection. Circa 1730.

A Chinese export porcelain turquoise-glazed brush rest in the form of a stylized range of five mountains resting upon an openwork floral base centered with a moth which was considered a bearer of messages from departed loved ones.  An object of utility and contemplation for the scholar’s desk, measuring 3 1/2″ x 5″ and in good condition with only a small chip to one peak. Late 19th/early 20th century.

An especially fine and charming pair of Chinese export porcelain scalloped edge and molded tea bowls and saucers, meticulously hand-painted in famille rose enamels, each saucer centered with a rather rare image of a lovely European lady with her hair down, sensuously lounging upon a Chinese bed in a somewhat louche and come-hither pose, her shoes casually tossed off beneath her. (Not a very flattering interpretation of European women!). The borders with alternating panels of peony and chrysanthemum blossoms against variously complex diapered grounds. Each saucer 4 1/4″ in diameter, amazing quality and in great condition, ex-collection of Marchant of London. Circa 1740-1745.

A rare size with a rare European decoration, fine Chinese export porcelain punch pot is decorated in Famille Rose enamels on both sides with a scene of European figures in a landscape gardening – with a lady watering flowers while a gentleman leaning on his shovel flirts with another young woman with a basket of blossoms. Entitled Le Printemps after a drawing by Nicolas Lancret (1690-1743) and engraved by Nicolas De Laermessin III 1684-1755. Illustrated in Beurdeley’s Porcelain of the East India Company, page 55. Measuring 8″ x 9″ and with restoration to the spout and a line to the cover sealed, otherwise fine condition, a rare and charming scene. Ex- Suchow & Siegel Collection. Circa 1760.

Truly representative of some of the best decoration from a period that excelled in quality, this Chinese export porcelain Yongzheng period covered jug is hand-painted with elegant and intriguing images. There are two aspects of the design – one features a beautiful woman as seen through a draped moon window, seated at her writing table with a letter, outside the window is a profusion of extremely detailed palms, trees, and rockwork. The second image depicts an interior scene with a mother and her child standing in a furnished interior with lattice windows (note the tree leaves seen through the lattice) and two cranes, as an open doorway looks out onto a courtyard. What remains a mystery, is the presence of two cranes standing about inside the house, although the birds are venerated as the ‘Prince of all Feathered Creatures’ and symbols of longevity and peace. The meticulous detail is carried onto the cover with more trees and a Chinese roofline.  The jug measures 4 1/2″ x 4″. There is restoration to the cover and the knop is replaced and a small line sealed to the interior, but otherwise in good condition. Imagine what a spectacular tea set this was part of.  Circa 1730-1735. Ex-Nelson Kline Collection.

An especially elegant Chinese export Yongzheng period porcelain soup plate delicately hand-painted in Famille Rose enamels with a central image of a courtly lady bidding farewell to a gentleman on horseback who is accompanied by his attendant (perhaps a departing husband, or a scholar taking leave of his mother?) Either way, a beautiful snapshot of a scene from almost three centuries ago. The 9 1/2″ plate bordered with chrysanthemum demi-lunes against a diapered ground. The reverse bearing an old note identifying the piece from the Martin Hurst Collection, as well as a dealer sticker from Henry Moog, Atlanta. Rim line sealed, otherwise good condition with no wear to the ‘proud’ enamels. Yongzheng period, circa 1725-1730.

A classic example of some of the masterful decoration so typical of the Yongzheng period, this very finely eggshell  tea bowl and saucer are painstakingly hand-painted in Famille Rose enamels with a highly elaborate design centered with a vase of peonies surrounded by a finely rendered diapered ground with reserves of stylized peony, the motifs continued around the borders, all with gilded highlights. A treasure that fits in the palm of your hand, the measuring  4 1/2″ in diameter, the tea bowl 2 3/4″. The saucer professionally restored, the tea bowl in fine condition. Circa 1730.  Ex-Nelson Kline collection.

A very fine Chinese export porcelain soup plate made for Swedish market, from a special-order service and bearing the Arms of Klinkostrom.  The central arms within a scrolling gilded cavetto border, the rim with beautiful arching branches of peony – a revered flower in China, this piece combining both European and Chinese design elements exemplifying the worldwide cultural connections of the China Trade, and the superb quality achieved during this period. Measuring 9″ in diameter and in very good condition. Circa 1730.  Ex-Nelson Kline Collection.

As with a lot of fine Yongzheng pieces – there is a lot of detail masterfully painted in a very small space – here is no exception with this charming handled cup painted in Famille Rose enamels with an elegant lady with a fan seated a fine table with what appears to be an unfurled scroll that she has been contemplating, her attention diverted by what we assume to be her small son who is carrying a ruyi scepter, his presence dwarfed by being sandwiched between two large vases, all as a large cat looks bemusedly out at the viewer. What did the rest of the tea set look like one wonders? The cup   2 5/8″ tall and dating to circa 1730, in very good condition. Coming to the Nelson Kline Collection from Marchant of London.

A very decorative pair of Chinese export porcelain square tapering vases hand-painted in Famille Rose enamels with courtly Mandarin scenes with figures taking their leisure in a garden conversing, playing music, and doing calligraphy. Both with gilded foo lion handles and measuring 9″ tall with restoration to chips along the edges of the shoulders, otherwise good condition.  Circa 1820.

A very elegant Chinese export eggshell porcelain tea bowl and saucer hand-painted in Famille Rose enamels with a charming central scene of a courting couple seated beneath a tree being spied upon by a young boy (which seems to be a popular motif in Chinese art) all within a scrolling gilded peony and grisaille diapered border – the same motif appearing on the delicate little tea bowl as well. Excellent quality and in very good condition. The saucer measuring  4 1/2″, the tea bowl 2 3/4″ in diameter. Circa 1730.

A charming Chinese export porcelain reticulated plate from a service made for Theodore and Lydia Lyman of Massachusetts, with a central ermine mantle-and-shield decoration bearing their gilded initials TLL, the rim with a hand-cut reticulated border edged with a floral and foliate rose band of decoration. Born in York, Maine, Theodore (1753-1839) moved to Boston and successfully established himself in the shipping business, expanding his business to the Northwest fur trade and on to China, and prospering to enough to retire and commission Samuel McIntyre of Salem to design and build a grand Federal style country seat outside Boston called The Vale.  The house still stands to this day and is an Historic New England Property.  Examples of this service are in the collections of both the Peabody Essex Museum and Historic New England.  Measuring 7 1/2″ in diameter and in very good condition.  Circa 1786. And with many thanks to Ched and Sandy Cluthe for sharing their usual thorough research.  

A really lavishly painted Chinese export porcelain breakfast tea bowl and saucer, dating from the Yongzheng period and richly decorated and detailed in Famille Rose enamels from a special order service bearing The Arms of Grice. The saucer centered with the full armorial shield crest and flourishes including what appears to be black boars all against a very detailed pink diapered ground with additional reserves of peony, prunus, lotus and chrysanthemums denoting the Four Seasons and edged with an intricate gilded scrolling border. The oversized tea bowl continues the same motifs, but centers on the image of the boar crest without the arms. Illustrated and discussed in Howard’s Chinese Armorial Porcelain, Vol. II, page 154. The saucer measuring 6 1/2″ in diameter and with a glaze line to the reverse on the rim.  The tea bowl is 4 3/8″ inches in diameter and with a piece out professionally restored. Remarkable quality decoration. Circa 1730.  Ex-Nelson Kline Collection.

A very interesting and charmingly decorated pair of Chinese export porcelain covered mustard pots, each taking the form of pots-de-creme of the period with their gilded berry knops and double strap handles, but with each cover notched to accommodate a small mustard spoon.  The hand-painted Famille Rose enameled decoration with figural Mandarin scenes, the covers with elaborate borders of flowers, insects and exotic birds. Measuring 3 1/2″ x 3 1/2″, in great condition with gilded detail. A very rare form. Circa 1820.

A finely painted and thinly potted Chinese export porcelain coffee cup and saucer from the Yongzheng period made for the English market, from a bespoke service bearing the Arms of Hesketh of Lancashire. Decorated with a central lobed roundel with a grisaille vase holding gilded peonies surrounded by four reserves – three with more finely detailed floral decoration en grisaille, the top reserve with the Hesketh arms and crest, all against the most minutely rendered Y-shaped gilded diapering, the handled cup continuing the motifs with quatrefoil reserves with the arms and floral designs against a gilded diapered ground. The 4 1/2″ saucer with minute rim frits and two glaze lines sealed to the reverse, the 2 1/2″ tall cup in good condition, both with very faint wear to the grisaille in places. Illustrated and discussed in Howard’s Chinese Armorial Porcelain, Vol. I, page 257.  A wonderful survivor from circa 1733.  From the Nelson Kline Collection, acquired from Henry Moog of Atlanta.

A great example of this classic Yongzheng pattern, this Chinese export tea bowl and saucer in finely potted eggshell porcelain is very well painted in Famille Rose enamels with imagery of a cockerel on rockwork amongst flowering peony – the cockerel a symbol of strength and punctuality, the peony the symbol of wealth and nobility. In very good condition, the saucer 4 3/8″ in diameter, the tea bowl 2 1/2″ and with a good provenance from Santos of London and the the Nelson Kline Collection. Circa 1730.

A beautiful and somewhat unusual Yongzheng period Chinese export porcelain armorial plate, decorated in Famille Rose enamels made for the English market and bearing the Arms of Gresley quarterly with Bowyer in pretence.  Certainly typical of the Yongzheng period with this quality of porcelain and hand-painting, centered with a finely detailed armorial, the rim with delicately enameled branches of peony and butterflies.  What stands out is the Chinese crenellated wall along the bottom of the plate, its gate swung open and an exotic seven stage pagoda and Chinese roofed building seen beyond the wall. Illustrated and discussed in Howard’s Chinese Armorial Porcelain, Vol. I, page 330 where David Howard discusses the history of this early baronetcy and family, but no suggestion is made as to why this service was ordered with this particular unusual architectural design feature.  Measuring 9″ in diameter and other than a very minute enamel loss to the armorial, in very good condition. Circa 1735. Ex-Nelson Kline Collection.

A highly unusual form, this wonderful Chinese export porcelain reticulated basket is decorated in the Orange Fitzhugh pattern and centered with a central roundel with the monogram M, the basket motif continued onto the base with a molded woven pattern. Obviously from a special order service and the form most likely after English examples of the period.  Other than two small glaze losses to the rim, it is in ‘as found’ condition with a line across the bottom of the piece that does not to appear to have effected any of the reticulation; how this piece survived intact is as unusual as the form itself. Measuring 3″ x 9 1/2″, the only one we’ve had in thirty years. Circa 1820.

An impressively sized Chinese export porcelain Kangxi period punch pot (or large tea pot) decorated in Famille Verte enamels decorated around the body with floral symbols of the Four Seasons – peony, prunus, lotus, and chrysanthemum, edged with a ruyi border around the shoulder, the motifs continuing on the cover.  Measuring 71/2″ tall by 10″ wide.  Restoration to the base of the spout and the cover, along with small lines around the base of the handle; beautiful, vibrant enamels. Circa 1700.

A truly fine example of China Trade silversmithing, this exquisitely hand-wrought Chinese export silver tea pot is animated with a repousse swirling dragon amongst the clouds motif as well as a floral design on the cover and spout all with chased detail and textured background highlighting the sculptural effect of the imagery.  Measuring 4 1/2″ x 3 3/4″, dating to the mid-19th century, and bearing a Chinese mark, yet to be identified, but obviously the work of a superior craftsman or workshop.  Very slight bend in the cover, otherwise very good condition and quality.

A strikingly decorated Kangxi period rouleau form vase hand-painted in rich underglaze cobalt blue with a continuous scene of blossoming lotus – the ‘symbol of purity’. The ease and grace of the forms as they move around the vessel attest to the skills of the painter; a classic example in the Chinese taste, Measuring 11″ in height and in good condition with only restoration to the mouth of the vase. Circa 1690.

Just one of the finest ruby ground pieces of Yongzheng wares we’ve enjoyed having, this thinly potted and exquisitely decorated tea bowl and saucer bear finely rendered grisaille peony cartouches in reserve against a rich, flawless ruby red ground, both pieces edged with a gilt-diapered and floral border. This would have been part of a very expensive tea set, painstakingly produced as the even, rich ruby ground color was very difficult to fire in the kiln and produce. The saucer measuring 4 1/2″ in diameter, the tea bowl 2 7/8″, and both translucent pieces without any apparent damage or restoration with the exception of a minute flea bite on the edge of the saucer.  From the Nelson Kline Collection. Circa 1730.