auctioneers and valuers
Nic Saintey
On this page....
<April 2013>

RSS 2.0     Atom 1.0     CDF

Blog Roll
About Nic Saintey
Nic Saintey is a director and a specialist in ceramics. His effervescent nature and wide experience has seen him regularly appear as an expert on the BBC's Bargain Hunt and Flog It programmes
Contact Nic Saintey
 EMail Bearnes Hampton & Littlewood Ltd Email Me
Sign In
The material published in this web log is for general purposes only. It does not constitute nor is it intended to represent professional advice. You should always seek specific professional advice in relation to particular issues. The information in this web log is provided "as is" with no warranties and confers no rights. The opinions expressed herein are my own personal opinions.

Home | The Fine Art Bloggers | About Blogging | About Bearnes Hampton & Littlewood | Our Salerooms | Future Sales | Contact Us

Review Entries for Day Monday, April 15, 2013

Having mentioned the leonine characteristic of the rather bizarre kylin I thought I may stray into less fantastical territory and focus on the depiction of lions in Staffordshire pottery. However, having said as much I have found that the lion was considered a symbol of Resurrection because medieval belief had it that lion cubs were born dead for three days until their father breathed life into their faces.

 pair of staffordshire ralph wood lions, circa 1780

Pair of Staffordshire Ralph Wood lions, circa 1780 (FS18/509)

A more commonly held belief is that lions are masters of the animal race and are symbolic of fortitude and strength. In Chinese art they were sculpted by the entrances of buildings to ward off demons. They were also popular motif for the British whose demons were probably ‘The French’. They appear in both ferocious mode like the pair of Ralph Wood lions illustrated as well as the rather unsubtle political stance depicting the British Lion and Napoleon III. (for an image see my blog of 14th August) The lion is a motif that has stayed the course one only has to look at our national football or cricketing shirts or even the name of the British rugby team.

 a staffordshire perlware performing bear group circa 1820

A Staffordshire perlware Performing Bear group circa 1820 (FS18/508)

But back to our Staffordshire potters it seems that they were not averse to recycling the lion in a somewhat ignominious way. If you look closely at the Staffordshire performing bear group you will note that the handler’s dog is in fact a miniature lion forced to be a bit part player. How the mighty have fallen.

 detail of a staffordshire performing bear group, how the mighty have fallen

Detail of a Staffordshire Performing Bear group, how the mighty have fallen (FS18/508)

More about Nic Saintey

Monday, April 15, 2013 8:32:31 AM (GMT Standard Time, UTC+00:00)  #
Comments [0] Early Pottery | General | Staffordshire Pottery | Trackback

Review Entries for Day Friday, April 12, 2013

Many Western eyes are aware of the symbolism suggested by the appearance of certain beasts in art there can be few who don’t see the dog as a metaphor for fidelity, or who recognise piety when a pelican is indicated or perceive temptation or something evil afoot when faced with a serpent.

 a chinese porcelain dragon dish, guangxu mark and period 1874-1908

A Chinese porcelain dragon dish, Guangxu mark and period 1874-1908 (FS18/338)

Unsurprisingly, whilst we may not be familiar with it, the Chinese also attribute similar implicit meanings to their pictorial bestiary. The Latin word draco signifies both our aforementioned serpent, but also the dragon a popular beast on Chinese porcelain. The dragon is the lord of the skies and emblematic of strength, authority and fecundity everything that one might expect from an emperor, but curiously being cloud based it is also seen as a bringer of rain, not necessarily a useful skill set for its fire breathing European counterpart. Initially a five clawed dragon represented the emperor and those with less digits individuals of lesser rank, but this rather specific detail was largely defunct by mid 16th century.

 a pair of late 19th century chinese porcelain phoenix

A pair of late 19th century Chinese porcelain phoenix (FS18/475)

The ideal stable mate for a dragon is the phoenix being emblematic of the empress, the warmth of the sun and harvest. Though something a little more confusing is a Kylin often referred to as a lion dog, as the latter suggests they have leonine characteristics and are said to tread so lightly on the ground they leave no marks. Despite having a name formed from the words qi-lin (which translates literally as he-she) they are seen as symbols of great wisdom and administration.

 detail of a canton porcelain vase showing kylins competing for a pearl

Detail of a Canton porcelain vase showing Kylins competing for a pearl (FS18/492)

More about Nic Saintey

Friday, April 12, 2013 3:05:08 PM (GMT Standard Time, UTC+00:00)  #
Comments [0] Early Porcelain | General | Oriental Ceramics | Trackback

Review Entries for Day Thursday, April 11, 2013

There is often a perception that pottery is the poorer country relative to porcelain, but if you believe that you would be guilty of trying to compare oranges with apples. Some people may prefer the earthy charms of a country lass rather than the polished finish of a metropolitan socialite and to my mind the former can if necessary put on the airs and graces to get by in the smartest of circles. Certainly when Satsuma earthenware is at it’s best it can hold its head in any company.

 a dramatically decorated, but unsigned satsuma vase

A dramatically decorated, but unsigned Satsuma vase (FS18/500)

Satsuma was first produced in the late 16th century in Kagoshima province on the southern island of Kyushu, Japan its soft white appearance and crazed glazing quickly becoming popular. Named after the Prince of Satsuma production eventually moved to Kyoto in the 19th century and became very popular in Europe after the opening up of Japan and the subsequent 1873 Vienna World Fair.

 a satsuma box and cover by kinkozan sobei vi

A Satsuma box and cover by Kinkozan Sobei VI (FS18/498)

Unlike the sparse decoration on Kakiemon porcelain or Japanese woodblock prints, Satsuma is both richly gilt and profusely decorated, often the backgrounds being embellished with precise and minute dots. Perhaps the finest exponent of the art was Kinkozan Sobei VI who headed up one of the largest Satsuma manufactories in Kyoto. However, having extolled the virtues of Satsuma, even Kinkozan Sobei could be inconsistent though this was largely as a result of buying in undecorated blanks from elsewhere. So if I was to continue the metaphor I started with it would seem that even the sassy city lass could get caught with a pair of wellies getting as mucky as anyone else.

signature of kinkozan sobei vi

Signature of Kinkozan Sobei VI (FS18/498)

More about Nic Saintey

Thursday, April 11, 2013 10:28:19 AM (GMT Standard Time, UTC+00:00)  #
Comments [0] Early Porcelain | General | Oriental Ceramics | Trackback

Review Entries for Day Wednesday, April 10, 2013

Although something of a Cinderella company that appeared on the English ceramics landscape somewhat later than the likes of Worcester, Wedgwood and Derby one cannot help but have admiration for Royal Doulton. Formed in 1815, it’s most consistent output, initially was salt glazed stoneware a resilient body used for the ‘pub’ and hotel trade for mugs and jugs, but also for sanitary wares and the tiles used outside.

 a large pair of doulton lambeth pate-sur-pate vases by florence barlow

A large pair of Doulton Lambeth pate-sur-pate vases by Florence Barlow (FS18/538)

But I guess what is most impressive is the sheer diversity of Royal Doulton, it wasn’t long before this practical stoneware was used for art pottery and if you have ever seen the work of George Tinworth, the Barlow sisters, Mark Marshall, Harry Barnard, Eliza Simmance, you would know how adaptable and innovative this most utilitarian of bodies could be. It didn’t stop there either Doulton also made porcelain tableware, commemorative and advertising pieces as well jardinières and fountains on an architectural scale. And of course the ubiquitous character jugs and figures.

 a royal  doulton dickens dream jug by charles noke

A Royal Doulton Dickens Dream jug by Charles Noke (FS18/540)

Embracing diversity and employing some of the best modellers and decorators secured Royal Doulton’s longevity, but as we all know how you treat your customers is also important. In the forthcoming Fine Art Sale on 25th April 2013, we have a ‘Dicken’s Dream’ jug designed by Charles Noke, but with it are also two letters, one type written, responding to a customer query about the level of the limited edition and the other a hand written note from Charles Noke embellished with a pencil sketch of Fagin. Now that’s customer service.

a hand written letter by charles noke regarding the dickens dream jug he designed.

A hand written letter by Charles Noke regarding the Dickens Dream jug he designed (FS18/540)

More about Nic Saintey

Wednesday, April 10, 2013 9:23:46 AM (GMT Standard Time, UTC+00:00)  #
Comments [0] Art Pottery | General | Modern Ceramics | The Antiques Business | Trackback

Review Entries for Day Tuesday, April 09, 2013

For collectors of Oriental porcelain with more modest pockets there are still plenty of interesting items to spend your money on, not everything is out of reach.

 a chinese porcelain taper stick after cornelius pronk circa 1740-50

A Chinese porcelain taper stick after Cornelius Pronk circa 1740-50 (FS18/469)

Take for instance the rather charming taper stick holder in the form of a chubby child’s arm. Although decorated in a rather garish palette it doesn’t look entirely Chinese, but Chinese it undoubtedly is. After a design by Cornelius Pronk, a topographical artist employed by the Dutch East India Company in 1734, this ‘chine de commande’ was initially popular but hideously expensive. A set of Pronk plates would cost the same as a house in Amsterdam. The original order for these taper sticks was in1740 – ironically the year that Pronk’s contract was terminated as it proved just too expensive for even the deepest of pockets.

 a chinese porcelain vase of fanghu form circa 1874-1908

A Chinese porcelain vase of Fanghu form circa 1874-1908 (FS18/483)

Another piece of Chinese porcelain worthy of note is the Gaungxu (1874-1908) mark and period Fanghu vase. Being of a traditional archaic bronze form, Fanghu translates literally to mean square base. A striking and bold shape typically under flambé and lavender tinged glazes is mentioned as being of a form used as an award of special merit to deserving individuals. I’m sure you’ll agree it is a beautiful thing although I’m rather amused at the idea of receiving a Fanghu as a thank you.

detail of fanghu vase showing shape and colour

Detail of Fanghu vase showing shape and colour (FS18/483)

More about Nic Saintey

Tuesday, April 09, 2013 7:41:40 AM (GMT Standard Time, UTC+00:00)  #
Comments [0] General | Oriental Ceramics | Trackback

Review Entries for Day Monday, April 08, 2013

Josiah Wedgwood was an arch experimenter when it came to ceramic bodies and perhaps his most ubiquitous invention was jasper ware. The Dictionary of Wedgwood states it as ‘the most significant innovation in ceramic history since the Chinese invention of porcelain’. It sounds something of an exaggeration, but Wedgwood thought so highly of it that he would only pass the secret recipe to his colleague Bentley in 1776, in code, in two separate letters, however as England was then a hot bed of industrial spies there was wisdom in his actions.

 a pair of wedgwood pale blue jasper ware portland vases

A pair of Wedgwood pale blue jasper ware Portland vases (FS18/514)

Another body championed by Wedgwood was Black Basalt; ironically the principle constituent of this fine body was ‘Car’, sediment carried in the water drained from coal mines! First trialled in 1767 it took the addition of manganese and Devon china clay and a couple of years to perfect. Had Wedgwood not found a skilled carver to ‘tinker all the black vases that are crooked’ and provide the factory seconds with blackened or bronzed wooden bases he would have been bankrupted.

 wedgwood black bassalt plaque king james crowned by peace and justice above the body of discord

Wedgwood black bassalt plaque King James crowned by Peace and Justice above the body of Discord (FS18/516)

Whilst many other producers of fine porcelain looked to the Orient Wedgwood favoured Greco-Roman mythology and intaglio or cameo portraits of European worthies as his primary source of artistic inspiration and wasn’t afraid to use the best pottery techniques of engine turning, polishing, laminating and polishing to enhance his finest porcelain.


a wedgwood pegasus vase with medusa handles depicting the apothiosis of virgil

A Wedgwood Pegasus vase with medusa handles depicting the Apothiosis of Virgil (FS18/510)

More about Nic Saintey

Monday, April 08, 2013 2:54:01 PM (GMT Standard Time, UTC+00:00)  #
Comments [0] Early Porcelain | General | Trackback

Review Entries for Day Friday, April 05, 2013

I believe it was the art historian Ernst Gombrich who suggested that nobody can look at an art object with an innocent eye, meaning that it is futile to try and look at something without bringing to bare all ones personal prejudices be they positive or negative.

 two early bow porcelain figures of fish sellers circa 1755-62

Two early Bow porcelain figures of fish sellers circa 1755-62 (FS18/548)

I can appreciate the workmanship that went into the pair of early Bow porcelain fish sellers in our forthcoming sale on 25th April, colourful, well modelled and charming examples of early English porcelain, but ultimately they where rather over sentimentalised bourgeois things. Give me something in which the hand of the maker is obvious, something like a North Devon pottery harvest jug.

 a documentary north devon pottery harvest jug

A documentary North Devon pottery harvest jug (FS18/507)

To consider it solely as rustic country pottery is a disservice. Dug from the red soil of North Devon and brim full of all the agricultural and maritime symbolism you might expect from the county, decorated with a galleon in full sail, compass, sun, moon and stars, fish, birds and foliage. As well as a Bideford attribution, a local name and dated too! What more could you want?

 a north devon pottery harvest jug inscribed for richard ching, bideford, 1855

A North Devon pottery harvest jug inscribed for Richard Ching, Bideford, 1855 (FS18/507)

Having waxed lyrical about this North Devon pottery harvest jug, you might be forgiven for thinking that I once lived in Bideford, well I just couldn’t say.


a north devon pottery harvest jug showing typical scroll terminal and thumrest

A North Devon pottery harvest jug showing typical scroll terminal and thumrest (FS18/507)

More about Nic Saintey

Friday, April 05, 2013 11:52:37 AM (GMT Standard Time, UTC+00:00)  #
Comments [0] Early Porcelain | Early Pottery | General | Trackback

Review Entries for Day Tuesday, January 29, 2013

Today was a success which apart from a couple of lots, which will find homes tomorrow, was a 100% sold - the 154 lots totalling just over £100,000. The personal favourites mentioned in yesterday’s blog, the pair of Kakiemon porcelain dishes certainly did well selling for £3000 (obviously I have taste)! However, they were ‘pipped to the post’ for top spot by lot 3 the Bow porcelain bottle vase in the Kakiemon manner which sold for £3100 with yet another Bow porcelain bottle vase taking third spot at £2700.

 a bow porcelain vase with kakiemon decoration circa 1755

A Bow porcelain vase with Kakiemon decoration circa 1755 (FS17/3)

After that honours seemed pretty evenly spread amongst Worcester, Longton Hall, Chelsea and Champions Bristol each having a couple of candidates above the £1400 mark. But rather than make this a roll call of prices achieved I guess I ought to tell you how the two ‘ugly ducklings’ I also featured yesterday got on. The ‘comely’ Bow porcelain cream jug, achieved £340 and the ‘ugly’ Plymouth porcelain cream jug £640 it seems I am not the only pragmatist in town.

 a champion's bristol porcelain teapot circa 1770-75

A Champion's Bristol porcelain teapot circa 1770-75 (FS17/41)

Were there any surprises? The answer is yes, but we had to wait till the last lot of the day. It seems that the Japanese porcelain dish painted in blue with rather windswept cranes and a silver lustre repair might have been earlier than late 17th century and made for the Chinese market somebody rated it enough to pay £1850 for it.


a 17th century arita porcelain dish  for the chinese market

A 17th century Arita porcelain dish  for the Chinese market (FS17/154)

More about Nic Saintey

Tuesday, January 29, 2013 6:18:49 PM (GMT Standard Time, UTC+00:00)  #
Comments [0] Early Porcelain | General | Trackback

RSS 2.0 Feed

If you enjoyed reading an article on this blog, why not subscribe to the RSS 2.0 feed to receive future articles?
Bearnes Hampton & Littlewood Logo Visit the Bearnes Hampton & Littlewood Web Site if you want to learn more about this fine art auction house and valuers.