Sadler Blue Willow

This is a vintage ginger jar, tea caddy is decorated with a Chinoiserie, Blue Willow pattern. The underside is stamped “Sadler England” and would date to the 1930s.

http://stores.ebay.co.uk/littlebitoftexasinswansea/

Old Ming Pot

Could it be Ming?

I am to believe I may have an antique Chinese koi Bowl from the Ming Period in my procession.

It is bronze and is a cloisonné enamel bowl. The bowl measures 11.2 inches across at its widest and 3.4 inches high.

The bowl is bronze with beautiful multi color enameling throughout the piece. The iron work and rims have a dark patina or color which is all original to the piece. Incredible find.

What makes this bowl very special is that the outside and interior of the bowl are decorated with fine and enamelings and there is a scroll border along the top rim.

The bronze is glazed in a dark blue green with gilded scrolls, koi and lotus flowers.

The center bowl is in excellent condition, as is the stand.

If you look at the many photographs for more on the look and condition as they are an important part of the description.

The Zhengde Emperor (Chinese: 正德; pinyin: Zhèngdé) was the Ming dynasty Emperor of China between 1505–1521.

Reign: 19 June 1505 – 20 April 15

What do you think?

Is it Ming…or just an old Ming Pot.

There be Dragons

Dragons brilliantly painted in vivid colours and varying tones of cobalt blue with characteristic ‘heaping and piling’ effects. Imagine standing there before you two striding five-clawed dragons chasing after one another amidst wispy clouds. Bands of lotus leaves encircling the top of border. Glazed interior well painted with a six-character mark within a blue border on the base.

Chinese antique Jiajing mark Blue and White Dragon Bowl. Two floating dragons under the sea with lotus leaves surrounding the top with just a faint gold leaf border. Sounds like a lucid dream.

The Jiajing mark Period Make”. This is possibly very old of high quality porcelain.

The Willow Pattern: History and Lore

The Willow Pattern: History and Lore

A plate of willow ware, the familiar household pattern, is the subject of one of the intalgio-gravure pictures illustrating “China and Pottery of Our Forefathers.”

Thomas Turner, who went from Worcester in 1772 to Caughley in Shropshire, brought his factory into prominence. His body and glaze soon rivaled Worcester, where he had learned his trade. Turner made a specialty of Chinese designs in blue under-glaze; and in 1780 he introduced the famous “willow pattern,” which was engraved for him by Thomas Minton.

The original copper plate, worn to the thinness of paper, the first and earliest rendering of this celebrated deisgn, is preserved at Coalport, a treasured relic.

Thomas Minton (born 1765), later to be a famous potter, was at first an engraver. He was apprenticed to Turner at Caughley, and afterward to Josiah Spode.

The Caughley willow pattern was introduced by Spode into Staffordshire in 1784, and it was taken up by Adams, Wedgewood, Davenport, and Clews, and at Leeds, Swansea, etc., with differences, particularly in the fretted border and fence in the background.

The story is of two faithful lovers. On the right hand side is seen a large and magnificent Chinese dwelling, by the side of which rare trees are growing. It is the home of a mandarin. His secretary, Chang, had fallen in love with the mandarin’s daughter, Koong-see. She loved in return, and they met clandestinely.

The mandarin, on discovering the affair, forbade the youth to come near the house on pain of death, and confined his daughter within the dwelling, also building a high wooden fence from the wall to the water’s edge. He also betrothed his daughter to a rich viceroy, Ta-jin.

The wedding was to take place when the “peach tree shall blossom in the spring.”

Koong-see watched with apprehension the budding of the tree, whose branches grew close to the walls of her apartment.

One day half a cocoanut shell floated on the waves. She found in it a paper containing a verse. It was from Chang. He threatened suicide. Koong-see wrote an answer, “The fruit you most prize will be gathered when the willow blossom droops upon the bough,” and told him to come for her.

The mandarin now brought Koong-see a box of jewels from Ta-jin, who soon arrived with his suite, and the nuptial ceremonies began. In the confusion Chang slipped into the house, and the lovers eloped; for “the willow blossom already droops upon the bough.” They gained the foot of the bridge by the willow tree.

The mandarin saw and pursued them. To represent the story there are three figures on the bridge, — Koong-see carrying a distaff (emblem of virginity); Chang carrying the jewel box; and the irate mandarin with a whip.

Chang and Koong-see took refuge in the humble house of two of Koong-see’s former servants. This is represented at the foot of the bridge. Here Chang and Koong-see were solemnly betrothed. The mandarin, having now issued a proclamation offering rewards for the return of his daughter and the person of Chang, soldiers came to the gardener’s house to read it. Chang jumped from the window into the river and returned with a boat.

Koong-see jumped into it, and the lovers were soon borne away on the rushing tide of the Yangtse Kiang and lost in the great mass of boats in that river. Chang bought an island with some of Ta-jin’s jewels, and the lovers settled upon it, building their house themselves.

The island is shown on the plate with its small trees. Several years elapsed. Chang had prospered by tilling his island, and now turned to literature. He wrote a book, which attracted the attention of Ta-jin. He discovered Chang’s residence. He vowed revenge. Had not Chang stolen his bride and — still worse — his jewels?

With a military escort Ta-jin sallied forth to attack the island, to seize Koong-see, and to kill Chang. The peaceful inhabitants were not prepared. Chang was run through the body and mortally wounded; his terrified servants fled; and Koong-see, in despair, set fire to the house, perishing in the flames.

The pitying gods now transformed Koong-see and Chang into two immortal doves, emblems of the constancy that united them in death. From the top of the willow plate, therefore, Kiing-see and Chang survey the scenes of their romantic lives.

Note

• Prepared as an article entitled “The Willow Pattern” by the editorial staff of the Mentor Association. Illustration for The Mentor, Vol. 3 No. 10, Serial No. 86. Copyright, 1915, by the Mentor Association, Inc.

Zhong Guo Zhi Zao

Vintage Chinese rice Vintage Chinese rice bowls hand painted. A gilded cloisonné porcelain bowl. A set of 6 Bowls from 1970s hand painted.

Zhong Guo Zhi Zao ‘MADE IN CHINA’ in a diamond shape in 1973 marked on the base from kilns in China. Some marks of quality are important because they validate the quality and authenticity of the product you are investing in.

Although some true antique Chinese pieces will not have a mark or stamp. It wasn’t until the 1890’s when Chinese imports were required by law.

Marks tell you where they come, the year, the quality and the maker and from which kiln they were crafted in.

After all if I’m going to spend £10.00 on a bowl; I don’t want to find out it was mass produced and available at the Pound shop for a £1.00 Quid.

Blue background gilded rims and Floral. Each bowl is with 2 white Cranes floating on a white cloud on each side. and Chinese story about the birds. The story has a mark on it. That red mark is the artist personal stamp. See picture.

The bowls have a white centre. Very elegant and useful. Easy to clean. Complete set. Looks wonderful on any table. Makes a great cereal, salad, porridge or soup bowl.

The height is 5,5 cm / 2.16 ” x diameter 11,5 cm / 4.5 “.

EXCELLENT CONDITION with no chips, no

I found them in an antique shop in Antwerp and in EXCELLENT CONDITION with no chips, no cracks, no damages!

Extraordinary I love them.