………………………………………………………………………………….....................................................................................………

Trade with Japan in the seventeenth century was predominantly directed by the Dutch merchants who had a trading station at Nagasaki. It was their requirements which dictated what the potteries at Arita should make and by the 1660s they were demanding ‘red wares’, the Japanese term for pieces in the colourings of underglaze blue, red and gold, sometimes with additional colours as well. Once made, these porcelains were sent to the port of Imari from where they began their journey to the West and from which they were to take their name. They proved to be immediately popular on their arrival in Holland and the auctions of the cargoes as they arrived were extremely successful. This led to a plentiful supply of chargers, bowls and vases (many with covers and some forming part of a five piece garniture) which were to decorate the royal and aristocratic homes not only of Holland itself but throughout Europe and particularly in Great Britain, where they can be seen today.

While the forms were relatively plain, the decoration was lavish, employing panels with floral or animal elements on a densely covered ground, often with swirling designs. Two typical examples are illustrated in images (9) and (10), both dating from the late seventeenth or early eighteenth century. The popularity of the style naturally led to it being copied and the Chinese started to produce it from the late Kangxi period (1662-1722) onwards, occasionally following the originals closely but soon producing their own adaptations which were often slightly more restrained and refined. By the beginning of the nineteenth century, Imari exports from Japan and China had lapsed but their place was soon taken by pieces from the European and British manufacturers. In England both Spode and Mason’s Ironstone, amongst others, produced their own version of ‘Imari’, even attempting vases in the colourings as well as flatware. Eventually Japan re-entered the market and from 1860s onwards the West was again supplied in quantity with their Imari wares, although by the end of the century some of these were of rather poor quality.

But at their best, the Japanese workshops in the nineteenth century could well match the work of their predecessors and this charger is a prime example. The form is almost that of a very shallow bowl with the sides evenly curving upwards (see image 4) and an unglazed footrim to the reverse. The nineteenth century decorators often created their own designs, but the decoration here follows the originals very closely indeed, even in the colouring of the underglaze blue which has an almost blackish tinge which is also seen in the two earlier examples illustrated. There are three large fan shape panels with flowering peony and three smaller ones with lotus leaf borders and ‘ho ho’ birds, all on a blue ground with stylised gilt floral decoration. One can almost see a wheel here and the design nearly seems to be in motion which was, again, a feature of earlier pieces. The reverse has just three sprays of peony which allows one to see the quality of the glaze.This, combined with the paste of the foot and the general quality of the decoration all point to a mid nineteenth century dating, probably circa 1870 after trade with Japan resumed as a result of the Meiji restoration.

Japanese Imari wares deservedly retain their popularity today and this charger would be an elegant addition to a contemporary interior or even indeed to a stately home itself.