Daggers and Angels: Exploring Mughal Wonders at the Victoria and Albert Museum

Posted on February 6, 2025February 6, 2025 by Ashley Crawford

As an Islamic art enthusiast, I had the pleasure of recently visiting the exhibition The Great Mughals: Art, Architecture, and Opulence at the V&A. This exhibition focuses on the Golden Age of Mughal art, spanning the reigns of Akbar (1556-1605), Jahangir (1605-1627), and Shah Jahan (1628-1658). The arts flourished during these periods due to economic prosperity, religious tolerance, international trade and its resulting artistic influences, and an immense artistic production across media types. This was reflected in the wide range on display at the exhibition, including objects such as manuscript paintings, arms and armor, ceramics, tiles, and textiles. There were many wonderful items to choose from, but I will explore the topics of daggers and paintings with angels here, which were some personal favorites.

Mughal Daggers

The splendor of the Mughal Empire resulted in bountiful dazzling objects, especially gems and jewelry. Some of the most captivating gems on display at the exhibition were found in ornately decorated imperial daggers. Weapons from each reign had their own distinctive style. My favorite example from this exhibition was a Jahangir nephrite jade dagger with a hilt and scabbard (the sheath attached to the wearer’s belt), all set with emeralds, rubies, and a pearl set in gold.

There are several factors that make this Imperial dagger so noteworthy. Aside from the gems themselves, the size and quality of the nephrite jade would have made this dagger all the rarer, as jade was a coveted material in the 17^th-cetury Mughal Empire. The most delightful aspect, in my opinion, was the presence of neither the jade nor the gems, but rather of the delicate red ostriches made of rubies and stacked vertically, picturesquely framed by gold vines of emeralds and rubies. Ostriches were a further symbol of opulence and would have been brought from abroad to Jahangir’s court. While Imperial Mughal daggers are difficult to obtain on the market (such as this dagger owned by Shah Jahan, which sold for well over $3,000,000 in 2019), Mughal daggers and other weapons are frequently offered at auction at a wider range of price points. High-quality 17^th-century jade examples with gems have always performed strongly, such as here, here, and here.

In Jahangir-period paintings, daggers were reserved for use by the emperor and others with high rank. Similar daggers are frequently visible in miniature paintings of the various Mughal rulers. This exhibition provided many examples of emperors wearing such daggers on their belts (which are also ornately decorated with gems); one is even visible in the title image for this exhibition!

Angels

One of my other favorite objects from this exhibition was a painting depicting the angel Raphael. There is a common misconception that all religious Islamic art is aniconic. While this rule does apply to art in strictly religious settings, it does not apply to religious art produced by laypeople for lay settings, especially when used as a visual aid in manuscripts (you can learn more about iconic representation and religious art here). The Western term “Islamic art” itself may be a contributor to this confusion, as it serves as an umbrella term encompassing both religious and secular art. Angels are common subjects in Islamic art and appeared in several works in this exhibition. A common story featuring angels used in early Mughal paintings is that of Tobias and the angel Raphael. This story was the focus of the painting The Angel of Tobias by Husayn from the Mughal court workshops during Akbar’s reign around 1590-1600, which depicts the biblical encounter of the angel Raphael assisting Tobias in catching a fish. Raphael is shown here surrounded by colorful flowers and dressed in exquisitely decorated gold clothing. His wings are the most commanding feature, delicately painted in layers of blue, red, green, and black. Raphael is set against a plain beige background, enhancing the boldness of his clothing. The scene is framed with a pattern of gold scrolling leaves with flowers. Angel paintings of similar quality periodically appear in London auctions and perform well, including this example with very similar multicolored wings and this lot from a 2024 sale.

The Great Mughals: Art, Architecture, and Opulence exhibition in on display at the Victoria and Albert Museum through 5 May, 2025 and is definitely worth a visit for both Islamic art novices and seasoned collectors alike! The V&A is also home to impressive permanent collections of antique Islamic art, as well as the Jameel Prize for those interested in contemporary Islamic art.

Lunar New Year 2025: Year of the Snake

Posted on January 27, 2025January 29, 2025 by Ashley Crawford

新年快乐! – Happy Lunar New Year from Doerr Dallas! We wish you all a healthy and prosperous year for 2025, the Year of the Snake (蛇), which begins on 29 January.

Often referred to as Chinese New Year in Western countries, Lunar New Year is the largest festival in many East and Southeast Asian cultures. Each year, a different animal from the twelve animals of the Chinese zodiac is celebrated. Last year was the Year of the Dragon, one of the most iconic symbols in East Asian material culture. The snake is the sixth animal in the zodiac progression. People born during the Year of the Snake are characterized as intellectually curious, comical, and sophisticated. As snakes somewhat resemble East Asian dragons, this year can also be called the Year of the Small Dragon. While snakes are not quite as prevalent as dragons in Asian art, they still have a varied history dating back thousands of years and hold an important role in East Asian material culture, especially in China. Forms featuring snakes include porcelain, jade, coins, terracotta, cloisonné, and other popular Chinese media.

While zodiac animals are most typically depicted individually in Chinese art, sometimes all twelve figures of the Chinese zodiac appear together as a complete set (known as shi-er shengxiao), especially in ceramics. Collectors display these animals together in a semicircle in the chronological order of the zodiac. This was frequently done during the Tang Dynasty (618-907), when zodiac animals were crafted as semi-anthropomorphic terracotta figurines, such as this in this complete set on display at the Metropolitan Museum of Art. Tang zodiac figurines possess animal heads with human bodies. They are dressed in traditional Tang robes and pose like Tang court ladies, who were the quintessential subject of Tang terracotta figurines. Complete sets are rare on the market, but are occasionally offered at auction, as recently as this set offered at Sotheby’s last year or this set sold at Galerie Zacke in 2023. The Zacke set is in particularly good condition, with more pigment remaining and carving in the faces revealing characterful expressions. Because the market is generally flooded with Tang figurines, it is not currently particularly strong unless the object is unusual, large, or in excellent condition. Complete zodiac sets such as the one offered at Galerie Zacke would definitely fall under this category. Because the quality of Tang figurines can vary widely, there are many avenues for purchase, including the online retail marketplace, Chinese art galleries, and both regional and larger auction houses.

Anthropomorphic scenes also sometimes appear in other three-dimensional forms, such as jade. Only a fraction of the size of their Tang terracotta counterparts, these jade works were particularly prevalent during the Qing Dynasty (1644-1912). There were two recent examples of jade zodiac snakes sold at Sotheby’s, including this individual anthropomorphic snake and this complete set. The Chinese jade market has largely recovered from the pandemic, but like Tang figurines, the quality and size of jade can vary widely, so objects that are strong in both areas are likelier to retain their value over time. Provenance, literature, and exhibition history also support these values. For those across the pond, there will likely be a selection of higher-end Tang terracotta and Qing jade figurines available at the auction houses and galleries participating in Asia Week New York this year.

Snakes are also found in animal groupings outside of the zodiac. In all cultures, snakes can sometimes suffer a bad reputation, and while East Asia is no exception, in this case, snakes can use their venom for good! This is the case for the Five Poisons, which along with snakes consists of centipedes, scorpions, toads, and spiders. Despite the belief that these creatures bring bad luck, people also believed that depicting the Five Poisons artistically and keeping them nearby would have the opposite effect, combatting any bad luck that came their away. In this sense, the Five Poisons then become protectors. This grouping appears together frequently in Chinese art, from old charm coins that people would carry with them to items with more stationary purposes, such as jade, porcelain, and cloisonné.

During the Wanli period (1572-1620), the Five Poisons sometimes appeared on wucai porcelain, decorating the exteriors of dishes. Such examples are not common, but they occasionally appear in auctions, such as this Bonhams sale in 2023. For those in London wishing to view one in person, there is a characteristic example currently on display in the Percival David Collection at the British Museum. The market for high-quality Wanli porcelain in good condition has always been strong, especially when depicting the Five Poisons. There are many options for purchasing Ming Dynasty (1368-1644) porcelain in London, such as the major auction houses, Marchant Gallery, and Eskenazi Gallery.

No matter where you fall within the zodiac, we hope you will find some snakes you enjoy this year – ideally from the safe distance of viewing them artistically!

To arrange an asian art valuation, email us at [email protected] or call us on 01883 722736.

A Glimpse into Asian Art in London: Highlights from a Vibrant 2024 Edition

Posted on November 7, 2024November 11, 2024 by Ashley Crawford

Over the past few days, I have enjoyed attending Asian Art in London (AAL), which is always a focal point of the year. Whether you are an arts professional, a seasoned collector, or a complete newcomer to the world of Asian art, AAL offers a multitude of valuable experiences for everyone.

As an Asian art valuer, I always make sure to attend as many Asian art fairs as possible to assess current market trends, widen my knowledge of objects outside of my specialties, meet new colleagues, and, of course, enjoy some world-class Asian art! This year, I attended Asia Week in New York, Printemps Asiatique in Paris, and AAL, which is currently running through 8 November. Over a 10-day period, AAL celebrates galleries from all over the world, local Asian art auctions, and, for the first time ever, a full-day symposium on various Asian art topics at SOAS, University of London. While all of the Asian art fairs I’ve attended have been very successful, Asian Art in London is unique because it is the oldest, currently celebrating its 27^th year. This is the third year I’ve attended, and thus far, 2024 has been my favorite. Here are three highlights from my experience this year:

The Asian Art in London Gala

The annual gala was held at the V&A this year, where guests networked, learned about the winners of each of Asian Art in London’s prize categories, and were able to view the Asian galleries outside of the hustle and bustle of opening hours. I enjoyed attending a curator-led tour of the Japan collections, particularly the kimonos on display. One of my favorite kimonos was a bright and bold contemporary work by Ueoka Taro, which was a striking juxtaposition placed next to the traditional kimonos.

Ming Gu Gallery’s Lecture with Artist Li Chevalier

This year, Sotheby’s is hosting several gallery participants from AAL. Ming Gu Gallery, a contemporary gallery specializing in East Asian art, very kindly invited me to attend a lecture with Li Chevalier, the artist of the gallery’s solo exhibition Unveiled Silence. As an antiques specialist, I greatly benefitted from learning more about contemporary Asian art trends and techniques. Chevalier has led a fascinating and international life, reflected in her mixture of Chinese and Italian art techniques. Her career began in music, rather than art, at the age of 15, when she joined the Chinese army as an opera singer. She has since lived in Italy and France and often works in the UK. Today, her work remains heavily influenced by music, poetry, and a multicultural identity. This is demonstrated in her painting In der Fremde (In a Foreign Land), named after Robert Schumann’s Lied. [1]

The SOAS Symposium

As a SOAS alumna of both the Postgraduate Diploma in Asian Art and the MA in History of Art, I was excited to attend SOAS’ first ever symposium for AAL, Asian Art: Objects in Focus. I attended to learn more about the specialist topics offered, but also as a Travel Hands volunteer guide for a deafblind participant, as I frequently provide museum tours for this organization. SOAS has a very engaged alumni community, so it was wonderful to see so many familiar faces. Two major recurring themes across the lectures were provenance and dating, topics that are always at the forefront of an Asian antiques valuer’s mind!

My favorite lecture was Dr Johnson’s Chinese Teapot: Tracing the History of a Celebrity Object by Professor Stacey Pierson. This keynote presentation explored the fascinating and complex provenance of a teapot at the British Museum that had been incorrectly labeled as having been owned by Dr Samuel Johnson, the British lexicographer. Professor Pierson raised important questions about the implications of naming an object after a famous person or place, a term called “provenance branding”. She cited other examples such as the Hope Diamond and the Benin Bronzes. In the case of the Dr Johnson teapot, the issue extended far beyond a single object, as many stylistically similar teapots were also misattributed. Going a step further, auction lots of similar teapots (such as here and here) that had no contact with Dr Johnson at all often still include reference to this celebrity somewhere in the listing.

As valuers, we employ the same provenance research skills when assessing objects. The correct provenance is crucial when determining values, and, as Professor Pierson’s lecture demonstrated, it’s important not to automatically assume that the provided provenance is accurate! I learned so much from the various case studies at the SOAS symposium and was very grateful for the invitation from the SOAS-Alphawood Diploma in Asian Art. I hope the symposium will become an AAL tradition in future years!

Asian Art in London runs through Friday, 8 November. You can learn more about the events offered here.

You can learn more about Ming Gu Gallery’s current exhibition Unveiled Silence here.

You can learn more about the SOAS-Alphawood Postgraduate Diploma in Asian Art here.

You can read Professor Pierson’s article about the Dr Johnson teapot here.

[1] Some examples of her previous similar paintings are here and here.

To arrange a valuation of your Asian Art call us on 01883 722736 or email [email protected]

Lunar New Year

Posted on February 6, 2024December 13, 2024 by Ashley Crawford

Lunar New Year, which begins on 10 February in 2024, is the largest festival in many East and Central Asian cultures. Lunar New Year typically falls on the second new moon following the winter solstice. In China, this festival is also called Chinese New Year or the Spring Festival. Each year highlights one of twelve animals in the Shengxiao, the Chinese Zodiac.

This year will be the year of the dragon, one of the most prevalent symbols in East and Central Asian material culture. People born in the year of the dragon are characterized as intelligent, lucky, and charismatic. Dragons have historically been depicted in forms such as embroidery, porcelain, sculpture, paintings, jade, ivory, and furniture.

Dragons are particularly popular in embroidery, one of East Asia’s oldest decorative arts traditions, originating in China during the late Neolithic period. From the first century CE, silk embroidery technology spread to Japan, Korea, and Central Asia. Throughout the centuries, Chinese symbols, imagery, and embroidery techniques continued to have significant influences on embroidery practices across Asia. Dragons, also originating in China, have a long history in East Asian art forms. Dragon imagery dates to at least the Zhou period (1046-256 BCE), where it functioned as a totem to which small agricultural clans prayed for rain and protection from fires. This is why many East Asian dragons, such as those depicted in the much later Meiji tapestry below, are often depicted in ponds or seas. Water dragons symbolize prosperity for the owner. While imperial robes are the most famous form of dragon embroidery today, everyday water dragons comprise a far larger quantity of objects that have survived. This is particularly a result of the Ming Dynasty’s (1368-1644) rapidly growing merchant class, which increased the demand for silk embroidery and continued into the Qing Dynasty (1644-1911).

In the late nineteenth and early twentieth centuries, there was unprecedented Western demand for Chinese and Japanese silk embroidery, as China and especially Japan opened foreign trade. Export markets were already popular within Asia and Europeans had long enjoyed fine examples of handwoven dragon embroideries. As foreign demand grew, China and Japan mass produced silk embroidery in export markets for the first time. Improved technology and the advent of embroidery factories also contributed to this rapidly increasing market, which catered to Western tastes. In the early 20th century, silk was China’s largest export commodity. By the 1930s, this demand subsided due to the rise of synthetic fibers. Today, regardless of the medium, dragons continue to enjoy popularity in Asia and throughout the world.

Year of the Dragon

Posted on January 23, 2024August 9, 2024 by Alastair Meiklejon

In East Asian cultures, the Year of The Dragon in the Zodiac is marked with power, energy and fortune, with strength and intelligence assured of those born during this period.

Whilst every symbol holds a special place in East Asian cultures, the dragon has always held a significant place in the nations folklore and history, with emperors associating themselves with the dragon as a symbol of imperial authority and strength.

The dragon has often been used for many decorative items throughout history in the art world and even further afield. At Doerr Dallas we thought we would talk you through some of the most glorious examples of this most auspicious figure.

1. Vacheron Constantin Les Cabinotiers – Recits de Voyages collection

Vacheron Constantin, despite usually being a very conservative watch brand have recently introduced this impactful piece in a series of multicultural one-offs. Included in the stunning line-up is an ode to China, with a five-clawed dragon realised in grisaille enamel. The 16th century technique uses white enamel on a dark enamel base to emphasise the interplay of light and shadow without the use of vibrant colours.

2. An early 20th century Chinese Dragon carpet

The carpets of the far east have always been fascinating to many people and this example is no different.

Stunning golden dragons on a deep indigo blue background with a classical T pattern border design, it is supposed that the figures from which they were derived, once symbolised thunder and clouds.

3. A mid 19th century Tibetan painted chest of drawers

The number 12 figures prominently in Tibetan astrology, making this simple chest’s dozen drawers the perfect canvas to honour the year of the dragon. Tibetan astrology recognizes a 12-year cycle, characterized by 12 animals, including the dragons that wind their way on this expressively painted cabinet. The gessoed dragons symbolize ambition, dignity and success. Camouflaged by lush flowers and vines, each writhing dragon clutches in its claws a lotus flower, a symbol of purity and perfection, and a peach, a symbol of immortality.

4. A 20th century Chinese Jardiniere upon stand

This monumental cloisonné enamel jardinière is a superb example of 20th century Chinese design. The jardinière is of traditional form, rising from a narrow foot to a flared shoulder and culminating in a rolled rim. The body is profusely adorned with cloisonné enamel designs over the white enamel ground: dragons, waves, floral patterns, and other motifs abound. The piece is supported by a wooden stand, each of the stand’s four legs ornately carved and finished.

So whilst the images of other Zodiac figures such as the Rat, Dog, Rabbit and others all have their fans, it’s clear that the Dragon really does hold a special place in the heart of the Chinese people and judging by the popularity of the items relating to it, all over the world.

Decoding Bencharong Porcelain

Posted on September 12, 2023January 3, 2025 by Ashley Crawford

During the eighteenth and nineteenth centuries, Bencharong porcelain was considered Thailand’s most valuable ceramic ware and is still widely celebrated in Thai culture today.

First commissioned by the royal Thai court from the late Ayutthaya period (1351-1767), Bencharong wares were produced in a variety of shapes, colours, and sizes, featuring both religious and secular motifs.

Three Bencharong wares on display at the newly reopened Humboldt Forum.

These pieces are instantly recognizable for their bright palette, geometric patterns, and frequent appearance of Thai Buddhist scenes. The name “Bencharong” means “five colours” in Thai; however, most Bencharong palettes range from three to eight colours.

The Bencharong palette first included yellow, black, white, red, and turquoise. Later, blue, orange, purple, and pink increasingly appeared.There is more than meets the eye, however, as this quintessentially “Thai” form was crafted entirely in China at Jingdezhen!

The most common theory for Bencharong’s name cites a literal translation from Bencharong’s Chinese Ming predecessor, wucai (“five colours” in Chinese). Another theory links the name to bencharongse, a Thai cotton dyeing technique with a similar five-colour palette, dating to the Sukhothai period (1238-1438).

Techniques

Bencharong techniques closely resemble those of Ming and Qing wucai (sometimes called yingcai in the Qing Dynasty or famille verte, noire, or jaune). Like Bencharong, wucai was also glazed, double fired, and decorated with three-to-eight polychrome enamels.

The primary differences between domestic wuai and Bencharong are Bencharong’s different colour palette (particularly turquoise), which catered to Thai tastes, its lack of underglaze blue, and its enamel, which was more thickly applied.Bencharong enamels also cover the entire surface of the body, displaying no white porcelain, unlike many of their domestic Chinese counterparts.

Bencharong’s production history is difficult to reconstruct, as no commission records remain. However, recent excavations at Jingdezhen have revealed decorated Bencharong sherds, suggesting that Bencharong wares were both fired and decorated at Jingdezhen, during a period when some export wares were only fired at Jingdezhen and decorated after export.

Closeup of a wucai famille verte dish on display at the Holburne Museum. Both familie verte and Bencharong emply the same porcelain techniques.

Dating and Uses

One useful technique to date Bencharong objects is by palette. Objects such as the one below (currently on display at the Humboldt Forum in Berlin) can be dated to the eighteenth century because nineteenth- century pieces often heavily feature pink or gold, a technique called Lai Nam Thong.

This piece also minimizes use of purple and blue, meaning that it was unlikely produced after 1800. When examining an object, don’t forget to examine the interior, which can provide useful clues! For example, turquoise interiors are only found in earlier Bencharong wares. Precise dating is typically unreliable, as Bencharong styles did not always align with Thai reigns.

18th century Bencharong lidded bowl on display at the Humboldt Forum, featuring a Thai Buddhist figure called a thephanom.

Bencharong was often used as a dining ware, and therefore often came in matching sets.

Early Bencharong court wares also sometimes served as containers for cosmetics or medicine.

Initially, Bencharong was only produced for the Thai court, but high nineteenth-century demand necessitated expanded production for Thai nobility and merchants.

In the nineteenth century, King Rama II so admired Bencharong that he attempted to produce copies himself, as he was an amateur artist!

Visual Characteristics

Bencharong decorations often reflect traditional artistic tastes across Thai media. Bencharong’s most common motifs include geometric patterns, Buddhist or Hindu iconography, mythic or literary creatures, and Thai flora and fauna.

The entire surface of the Buddhist lidded bowl at the Humboldt Forum is covered with polychrome enamels in red, navy, turquoise, white, yellow, and green, with floral bands and motifs surrounding Buddhist figures. These bands typically frame primary motifs and are either plain or subtly decorated.

The various floral patterns, particularly the yellow stem pattern at the top of the bowl, are commonly found in Buddhist Bencharong wares. The red band near the bottom of the bowl and repeated throughout the lid is a lai kruay cherng pattern (a funnel motif) depicting repeating tri-lobed flowers.

Given Buddhism’s predominance in Thailand, many Bencharong wares depict scenes specific to Thai Theravada Buddhism. This scene takes place in the Himaphan forest, a lower Buddhist heaven. At the center of the primary scene sits a thephanom on a red medallion shaped like a lotus petal, with his hands in anjali mudra.

The thephanom is a minor celestial being in Thai Theravada Buddhism, often mistaken by contemporary viewers for a Buddha. He wears jewellery and an ornate Thai headdress.

Although he is featured alone here, he is often surrounded by norasinghs, Thai Buddhist semi-deities who flank the thephanom and can be identified by their human upper body and lion/ deer mixture lower body.

Collecting Bencharong

Bencharong remains a popular form in museums and in private collections throughout the world, with a demand for a contemporary reproduction market in Thailand. Taking your Bencharong wares to a valuer may help you determine whether your objects are antiques or are contemporary reproductions.

Bencharong reveals a rich history of trade, religious activity at Thailand’s royal court, and upper-class desires to emulate royal tastes.

Further academic examination of the history of Bencharong may result in a better understanding of China’s historical relationship with Thailand, religious and secular imagery in Early-Bangkok Period art, merchant trade culture, and the upper class’ relationship with the royal Thai court.

Meanwhile, there is plenty Bencharong for us to enjoy in public collections, such as the Humboldt Forum, the V&A, and the British Museum!

Year of the Rabbit – Rabbits in art

Posted on January 23, 2023January 15, 2025 by Jenny Knott

To celebrate the Chinese New Year and the start of the Lunar New Year on the 22nd January we thought we would look at the rabbit, our friendly bunny.

So, what might we expect from this new year?

The rabbit is a symbol of longevity, peace, and prosperity in Chinese culture. 2023 is predicted to be a year of hope. People born in a Year of the Rabbit are believed to be vigilant, witty, quick-minded, and ingenious.

Rabbits have been seen as a symbol of sex and fertility since antiquity. In ancient Rome rabbits were frequently depicted as the animal of Venus. Conversely the rabbit was used by artists of the Middle Ages and Renaissance as a symbol of sexual purity and was often depicted alongside the Madonna and Child.

For those wanting to celebrate the Year of the Rabbit, you can purchase a £5 gold coin from The Royal Mint. If you have something more elaborate in mind, Christian Dior have produced a watch for this auspicious year, which retails at £29,000.

We could, however, simply celebrate the role of the rabbit in art over many centuries. See how the furry creature has inspired artists throughout the years.

Wishing everyone a Happy Year of the Rabbit.

Caring for Ceramics

Posted on November 2, 2020August 22, 2024 by Mark Longley

Tips on Handling and Examination

Ideally, ceramics should be handled as little as possible and with great care, never picking pieces up by handles or rims, being aware of loose parts like lids. Wear thin nitrile gloves when handling unglazed wares or if the glaze is flaking. See tips on cleaning below. If you are carrying items use both hands to cradle objects. Handle pieces over a soft cloth or towel.
Ideally one should have a knowledge of those pieces that are restored or damaged. Examine pieces for losses to the rims, applied decoration or projecting parts of a piece. Hairline cracks and firing faults are usually noticeable. If you are unsure, call a professional Fine Art surveyor.
Restoration may involve an element of over-painting a damage. This paint will be softer than the hard glaze and can be felt with a soft application of a coin or metal point. Some people might use their teeth on a clean area of repair as this method, while not professionally used and advisable, enhances sensitivity. Older repairs are often apparent because old paint yellows with age. Examine pieces under a strong light for repairs. Use a UV light or a UV torch in a dark room for a more thorough examination of potential restoration. Repairs and natural faults both shine with a white light.

A poorly repaired English tin glazed earthenware bowl,
late-17th to mid-18th century

Tips on Display and Storage

Never crowd shelves or display cabinets and place smaller items at the front. Using a display cabinet will reduce the risk of dust and grime attaching itself to your collection and will be protective.
Resist the temptation to stack too many plates in a pile. The resulting weight can easily lead to accidents. Use plate stands or specially designed stands for display.
A collection of vintage plate stands
Take care that when hanging plates, that you use the correct size devices otherwise you may put a considerable strain on the plate. Do not hang plates with hairline cracks.
Remove old style plate hangers that have springs to tension the attachment hooks. Replace those with wire hangers. Investigate adhesive hanging devices but be aware that this adhesive might affect certain surfaces.
Store ceramics by wrapping in acid-free tissue paper and bubble wrap, and packing into a strong plastic crate.

Tips on Cleaning

Occasionally it may be desirable to wash objects, but usually a careful dust with a soft duster or hog’s hairbrush should be enough.
Washing may be best done by using swabs of cotton wool or cotton buds, rather than immersing the object in water. A soft toothbrush could be of assistance. Avoid extremely hot water. The addition of a little detergent may help. Never attempt to use bleach to remove stains.
Not all ceramics have a hard glaze. Great care needs to be taken with certain kinds of ceramics where these are porous or made of soft-paste, or Parian or biscuit ware, and never immerse anything which has gold decoration which may be unstable. Some decoration may be applied by a transfer technique, commonly found in antique dinner services, so be aware of rubbing surfaces with cleaning or handling.
Keep broken or damaged ceramics carefully until you can get the piece to a professional restorer.

Enter the Dragon- The rise of Chinese buyers in the Art Market

Posted on October 9, 2020August 22, 2024 by Mark Longley

From my experience in the UK Art Market the rise of interest from Chinese buyers has been enormous. For the first part of my career I worked in the European works of art and Asian Art salerooms of Christie’s South Kensington during the late 1990’s. The supply of available material for sale meant that every other week we could sell Chinese and Japanese works of art and porcelain. Very few clients were from the Asian countries, with most being drawn from the London and European trade. There was no internet and most buyers were reliant on catalogues, being present to bid or telephone bidding to buy at auction.

The current market is completely different. The availability of the internet to view sales, the use of agents for buyers in China and the global nature of the Art business has completely changed the market, with Chinese buyers coming to London especially in November to view and buy at sales and via the trade during Asian Art week. Regional salerooms have as much power to sell high value works of Chinese Art, as Christie’s, Sotheby’s and Bonhams. Regional auctioneers, while retaining their business independence, have worked together with the common interest to service and support the rise in demand for services to Chinese buyers.

The most valuable and saleable objects that are sold in the trade and via auction are those that exhibit rarity and a fine provenance. Previous ownership from a distinguished family, history and proof of trade via prestigious dealers all confirm on an object, a proof of history and by virtue of these qualities value.

At Rosebery’s Fine art auctioneers in July 2020, a rare pair of Chinese porcelain wall or sedan chair vases, from the reign of the Emperor Qianlong were sold for £324,500 including buyer’s premium. They were consigned from a private collection in the UK, and decorated in what were termed as yangcai or “foreign colours” because of the pink famille rose grounds, which came to the knowledge of Chinese craftsmen from the influence of European missionaries and craftsmen who were in China. The Emperor Qianlong was a connoisseur of porcelain and ordered his craftsmen at the Imperial porcelain works in Jingdezhen to design a vase for a sedan chair for flowers. He is known to have written poetry, some of which appears on these vases, and those sold in the past.
The Imperial poem inscribed on the offered pair of vases, titled ‘The Hanging Bottle’, is documented in The Complete Library of the Four Treasures. The Qianlong emperor composed this poem in 1758, the 23rd year of his reign, to express his delight upon viewing a sedan vase filled with fresh flowers hanging in his sedan chair on the way to a hunting trip. There are 320 Qianlong wall vases recorded in the collection of the Palace Museum in Beijing and about 138 of them are inscribed with poems by the emperor. There are thirteen wall vases in varying glazes and forms on the wall of The Hall of Three Rarities, the emperor’s special study in the Hall of Mental Cultivation in the Forbidden City.

The value achieved at auction was influenced by the colour of the decoration, the fact that they were a pair and that they had direct connection to the Emperor Qianlong. A Chinese agent eventually secured the winning bid.

A pair of Chinese porcelain wall or sedan chair vases, from the reign of the Emperor Qianlong were sold for £324,500 in July 2020. Image courtesy of Rosebery’s fine Art auctioneers.

Scholars have collected a wide range of different ceramic wares from China over the centuries. Of my favourite are the wares decorated in single colours or variations of this theme. One type of ware is called Jun ware and dates from the Song Dynasty (960-1279). Ceramics were produced in Junzhou Prefecture (today’s Yuzhou) in Henan province, found in the middle of China. Ceramic production lasted there from the Song (960-1279) to the Ming (1368-1644) dynasty and is usually typified a thick almost custard like pale purple glaze, with splashes of a deeper purple on the surface. These wares, while not greatly prized, were still revered in the Ming dynasty and continue to achieve high values at auction.

Chinese Jun bowl produced during the Song Dynasty. Image courtesy of Woolley and Wallis.

This Chinese Jun bowl was sold on the 21^st May 2014 for £26,000 and is typical of the wares produced during the Song Dynasty, but was attributed to a rival faction of the same period, the Jin. It is typical of the type of bowl made of the period with the thick pale lavender coloured glaze over laid with abstract cloud like large purple splashes.

Bill of sale Chinese Jun bowl dated 1946

Invoice for the Chinese Jun bowl dated 1946, from John Sparks, London. Images courtesy of Woolley and Wallis.

Of importance to the piece was the provenance from the dealership of John Spark’s Ltd, a prominent London dealer, whose receipt was sold with the piece, dated the 1^st January 1946 and the former owner, the late Dowager Viscountess Harcourt. Of equal importance is the fact that a similar form of bowl is found in the collection of the Palace Museum in Beijing.

Made in China, a Brief Guide to the Meaning of Chinese Porcelain Marks

Posted on October 9, 2020October 21, 2024 by Mark Longley

As a valuer of Chinese and European ceramics, one of the main actions in assessing an item is to look at the base of an object as it can tell a thousand stories.

Mostly, this simple action will yield information, although on the rare occasion it does not, you might find the ashes of your client’s beloved relative at your feet, or indeed the corpse of a dead mouse. While I have not had the ashes of any deceased individual at my feet, passing meetings with mummified mice are a hazard of the job to which I can relate to in the hunt for an item’s history and authenticity.

The marks on Chinese porcelain wares are generally found on the base of the pot and are made up of four or six characters or a stylised seal mark, made of geometric designs that mirror the handwritten characters.

The marks will generally refer to an Emperor’s reign and confusingly are not a real indication of the age of the piece. If the age of the porcelain is considered to be of the same date as the mark in question, it is commonly described as being “of mark and period.” However, Chinese potters did mark porcelain with earlier reign marks to the date of the manufacture as a mark of respect to earlier wares and Emperors.

This can cause some confusion with dating Chinese porcelain!

Only expertise and experience can assess age, although sometimes an invasive test, such as a thermoluminescence test, might assist the valuer. Invasive tests are far from ideal as they do require a sample to be removed from a pot. Commonly, ancient Chinese terracotta tomb figures are sold on the marketplace with these tests and accompanying certificates. Oxford is currently one of the centres for issuing these certificates in the UK.

The translation of the marks one finds on Chinese porcelains are well documented in books including Gerald Davison’s excellent, “The Handbook of Marks on Chinese Ceramics”, which includes the main reign marks for the Ming and Qing dynasty emperors and other less commonly documented marks.

With practise, comparing and reading both written and seal marks on Chinese porcelain becomes easier, especially with the correct textbooks by your side. However, with a little more knowledge of written Chinese and the method of writing Chinese characters, this can be made easier and more satisfying to understand.

Each character would have been applied with a brush; the shapes made by varying the amount of pressure applied to the brush as the stroke is made. This is also relevant to forming Chinese characters in calligraphy. Each character would have been made by performing a varied number of strokes, from three to fourteen in the characters below. Understanding the order in which the strokes are written (generally left to right), their proportion and the formation of the character can help one to appreciate the character more precisely, and if one could understand the components of each character more fully, one would be able to consult a Chinese dictionary to find the meaning. Mostly marks used on Chinese porcelain appear as commonly used words in today’s modern Chinese language. For example, the character for year has not changed in hundreds of years, and can be found on Ming porcelain, and in an e mail today.

The first mark below is a Ming blue and white porcelain bowl that sold for $7,470,000 (£733,927) at Christie’s Hong Kong in May 2013 and below that, a pair of Yongzheng doucai conical Dragon bowls and covers, that sold for £212,000 at Christie’s London in November 2019.

The mark below shows from the top right down to left down, the characters for Da Ming Xuan, De Nian li, which translates as Great Ming Xuan De Year produced (in) or effectively, “this piece was produced in the reign of the Ming Emperor Xuan De.”

Ming porcelain mark. Image courtesy of Christie’s

The mark below shows from top right down and across to the left, the characters Da Qing Yong Zheng Nian li, with translates as Great Qing Yong Zheng Year produced (in), or effectively, “this piece was produced in the reign of the Qing Emperor Yong Zheng.”

Yongzheng porcelain mark . Image courtesy of Christie’s