Chinese Export 19th Century Porcelain Urn

A very fine pair of 19th century Chinese Export porcelain lidded urns on French Louis XVI st. ormolu mounts. Each urn is raised by circular ormolu bases with scrolled supports below ...

A beautifully detailed French 19th century Louis XV st. Chinese export porcelain and Ormolu lidded urn. This wonderful lidded pot pourri urn is supported by four foliate Ormolu feet ...

A very decorative 19th century Famille Verte Chinese porcelain lidded urn. The urn has a wonderful design of water lilies with butterflies and assorted foliage amidst a yellow backgr...

An exceptional pair of Italian 19th century Louis XVI st. Capo di Monte porcelain urns. Each urn is raised by a square base with a fine wrap around acanthus leaf design and beautiful...

An important and large pair of mid 19th century Japanese Imari porcelain baluster shaped urns. The pair is richly detailed throughout with a foliate landscape décor and a large Peaco...

A beautiful pair of French 19th century Louis XVI st. Sèvres porcelain urns. Each campagna shaped vase is raised by a circular base with a lovely gilt accent bubble like design below...

An unusual serving piece: an early 19th century Nanking sauceboat with associated leaf form undertray. This pattern is a close cousin to blue and white Canton porcelain...

Chinese Famille rose medallion export porcelain jardiniere, 19th century.  

Canton Export porcelain charger, 19th century.  

Extra large Cantonese porcelain urn vase from the late 19th century. The vase is hand-painted and depicts scenes of flowers and birds in a nature m...

Absolutely beautiful pair of French, hand-painted and gilded porcelain, hydria-style urns featuring rich layers of faux-tortoise and foliate designs on the body and feet. Each mounte...

A museum quality early 19th century Paris porcelain urn. The twin handled vase sits on a rectangular porcelain base (modelled as part of the vase), which is decorated on all four sides with finely painted scenes titled 'Gene de Corrinte', 'Gene de Mytilene', 'Gene de Sparte', and 'Gene de Chiu' in reference to various Greek city states. The ovoid body of the vase is richly decorated with Greek key and stylized acanthus designs over and below a large gilt framed oval cameo of Athena on one side and a similar cameo on the other side bearing an undecipherable name. The overall background colour scheme of the vase is dark red/burgundy and dark emerald green, two colours which were more commonly used by the Dagoty factory in Paris than other porcelain manufacturing firms at the time. The vase is unsigned. Note: Pierre Louis Dagoty's porcelain was characterized by the use of vivid colours and the thick application of burnished gold leaf. He borrowed from the repertoire of Neoclassical ornament but his designs also included Egyptian and Chinoiseries motifs. Dagoty's elegant ceramics won him the patronage of Empress Joséphine. At the height of production, in 1807, he employed over a hundred workers, and exported his wares to Russia. After the fall of the First French Empire in 1814, manufacture continued under the Duchesse d'Angoulême, the only surviving child of Louis XVI and Marie-Antoinette. Between 1816 and 1820, Dagoty worked in partnership with François Maurice Honoré. In 1817. Dagoty and Honoré received a commission from President James Monroe...