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The bowl featured here is indeed marked ‘1409’ (see image 8) alongside a form of the name ‘Spode’ which dates to before 1821 (Leonard Whiter : Spode p224). It most likely derives from the service which Whiter once saw complete but has now, presumably, been dispersed. The pattern with its vivid palette of red, blue and gold and floral decoration is a lavish reinterpretation of the ‘Imari’ wares which had been exported to the West in great quantities by the Chinese in the eighteenth century and the Japanese before them. These pieces took their name from their port of export in Japan, Imari; they were actually made at Arita in the former Hizen province. Amongst the wares exported by the Chinese were extensive dinner services and their popularity caused them to be copied and imitated by many of the English potteries from early 1800s onwards, indeed a near identical and contemporary version of this pattern was produced by Coalport.

The square form bowl, indented at the corners and curving inwards towards the base, was a classic Chinese form and is usually referred to as a salad bowl. The standard Chinese dinner service would have had a pair of these, but the shape is rarely found in the English dinner wares made in imitation. Its occurrence here combined with a firmly dateable early nineteenth century pattern in an opulent design which has survived in a remarkable state of preservation makes this very much a ‘one off’ piece and a highly desirable addition to a collection of nineteenth century decorative ceramics.

The Famille Rose palette (the term was coined by the French art historian Albert Jacquemart, 1808 – 1875, who produced a classification system for Chinese porcelains) with its emphasis on pink colourings was introduced during the Yongzheng period (1723-1735) and used prolifically by the decorators of Chinese ceramics during the eighteenth century, being found in a variety of styles on vases, jardinieres and tablewares. The format of the decoration here shows the pattern at its best and unusually repeats the front design on the reverse with the cover matching this. More usually the main design simply trails round to the back with near blank space between the two meeting floral branches. The form, too, is not often found and is more likely to have been conceived as an independent object, perhaps one of an original pair, rather than as a component of a dinner service. In a sense it is a ‘first cousin’ to the well known ginger jar shape, examples of which can carry near identical decoration. Surviving in near perfect condition it would be a fine addition to a collection of Chinese eighteenth century export ware as well as a highly attractive decorative object in its own right.

The potiche is sold with a later Chinese wood stand, probably dating to the late nineteenth century, which is an added enhancement.

This piece comes from an original tea service which would have comprised a wide variety of objects decorated in the same pattern to include a teapot, cover and stand, a caddy and cover, a sugar bowl, a cream jug and cover, bowls and saucers and so forth. The form can be seen (along with a matching teapot stand) at Lunsingh Scheurleer, Chinese Export Porcelain pl 149. Dating is to the middle of the Qianlong period (1736-1795) around 1760. The quality of the decoration speaks for itself and this piece has survived intact with very little wear to the decoration.

This écuelle and cover, possibly intended as a sugar bowl, was made by the Herend Porcelain factory. Founded in Hungary in 1826 it almost immediately enjoyed enormous popularity with wealthy customers including members of the European aristocracy. Production continued into the twentieth century through nationalistion in 1948 and reprivatisation in 1993 and continues to the present day. The designs produced in recent years often copy those of an earlier period and this is most likely the case here where resemblances can be seen to the nineteenth century productions from Meissen. The format of the mark indicates a fairly recent date of manufacture, probably in the later years of the twentieth century, but the quality of the execution is in no way diminished and the modelling of the finial in particular of the highest standard.

This is an excellent example of the Victorian static panorama view allowing a broad sweep of the subject to be represented. It was, perhaps, a deluxe souvenir, for visitors to Windsor Castle at that time. The shading effects in the printing suggest an aquatint rather than an engraving, the acid technique used allowing gradations of tone. It is possible that there was the addition of some hand colouring as well. The maple veneer frame along with gilt edging is most likely original and probably fitted with the original glass making it a fine and complementary setting for this virtuoso production.

Panels in this form are referred to as ‘windows’ and are modelled on the decorations to be found in the temples and architecture of Nepal. Some have a peacock roundel, as here, and some an openwork ‘window’. Created by the woodcarvers of the Nevar people who live mainly in the Katmandu valley and its surrounding areas they are known locally as ‘Ankhi Jhyal’ made up of two words, 'Ankhi' meaning eye and 'Jhyal' meaning window which explains the two images of an eye seen here and the inclusion of a peacock with its typical feathers. These ‘windows’ were made over a long period of time and are even produced today but this example most likely dates to the second half of the twentieth century and is a fine example of the genre in excellent condition.

Carving was originally done by the Seri people, a nomadic tribe of no more than 500 who live in Mexico and then by town and city dwellers from Sonora and Baja California, who embarked on the trade after the figures became commercially popular. Seri carvings were essentially hand made whereas the mass produced pieces were created with the use of power tools.

The forms are derived from wildlife and are often abstract in style. While it may owe some elements to the use of machine tools, this carving is a fine example of the ‘ironwood’ style with its sleek lines imaginatively representing its subject. The modelling is expressive and well complemented by the patina and finish of the wood. From the above, dating is clearly to the second half of the twentieth century and perhaps more to its later years if this is an example of the ‘commercial’ pieces produced at that time.