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How to collect Satsuma

How to collect Satsuma

Following the high demand from the West for Japanese art in the 19th century, there appeared many small and large ceramic factories producing earthenware in Japan.

Satsuma ware were produced in large quantities which flooded European and American export markets and as a result, its quality suffered. This fact probably explains why the majority of Satsuma ware were unmarked.

Satsuma Han originated in the late 16th century in Satsuma province on the south of Kyushu island.

The first stoneware were covered with a thick dark glaze. They were produced by Korean potters who settled on the island.  Shimazu mon or the family crest of the ruling clan Satsuma Han appeared on Satsuma ware as a distinctive symbol of this style of Japanese pottery.

High Quality Satsuma

In the second half of 19th century until 1920s , especially during Meiji Period (1868-1912)  together with low quality satsuma appeared incredibly elaborate pieces of beauty absolute masterpieces of this type of earthenware.

satsuma Jar

Satsuma earthenware tea storage jar (chatsubo) with paulownia and thunder pattern, late Edo period, circa 1800-1850 – Japan, late Edo period (1615-1868), circa 1800-1850 Furnishings; Serviceware Satsuma ware; earthenware with overglaze enamels and gold a) Lid height: 2 1/8 in. (5.4 cm); a) Lid diameter: 6 in. (15.24 cm); b) Vase height: 14 3/4 in. (37.47 cm); b) Vase diameter: 13 in. (33.02 cm); Overall height: 16 1/2 in. (41.91 cm); Overall diameter: 13 in. (33.02 cm) Gift of Leslie Prince Salzman (M.2007.130a-b) (https://en.wikipedia.org/wiki/Satsuma_ware#/media/File:Tea_Storage_Jar_with_Paulownia_and_Thunder_Pattern_LACMA_M.2007.130a-b.jpg)

Places where satsuma factories were established included Kagoshima, Kyoto, Tokyo, Osaka, Kobe, Kanazawa, Nagoya, Yokohama.

The most prominent factories were established in Kyoto, Tokyo, Nagoya, Yokohama.

How to identify Satsuma ware.

SATSUMA MARKS

Circled Cross –Shimazu mon – this mark is usually depicted on the top of the main mark and is the family crest of the Satsuma clan.

Often satsuma marks can be painted in gold on the black or red field of a rectangular or square shaped background, sometimes it can be just a painted or be a stamped signature  without any background.

Satsuma ware is earthenware type of ceramics, it is not porcelain or fine bone china. It is much thicker and has an ivory, slightly yellowish tint on its glaze.  To identify earthenware, look at the chips, which would be beige earthy colour, as opposite to white colour on thinner, Chinese porcelain.

Its ivory tint glaze is usually cracked because of being thinly applied. On the old Satsuma ware glaze cracks would be tiny, sometimes hardly noticeable. They are sign of age being a genuine Satsuma ware produced until 1920s. Later there were made multiple copies of Satsuma, copying the most popular designs but mass produced of much poorer quality.

If you see even cracks on the glaze, large in size, then this would be a modern copy of classical Satsuma ware. The real antique Satsuma glaze would have tiny and uneven cracks, as a result of natural ageing.

Due to the fact that real satsuma is made of earthenware, the rim of a vase’s foot, for example, would be quite thick and the vase itself would have some weight.  While choosing Satsuma, always have a proper look at the way it has been painted. Look for details, how well they are depicted. The more intricate details and elaborated design an object would have, more desirable it would be, hence more expensive. Painting on Satsuma ware would often be adorned with golden colours. Gold was usually applied on top of  painting, after an item has been fired in the kiln. Because of it, golden decoration is often worn out in time as a result of methodical cleaning.More golden decoration is preserved, more valuable an item can be (taking into account other characteristics, such as age and the name of an artist).

Pricing Satsuma ware.

Unsigned Satsuma ware of 1920s-1930s and of the later periods are now collectable but they are not as expensive as items produced by famous artists. Their price would usually range between £80 -120.

Middle range Satsuma, signed and dated between 1868 -1920 can be more expensive, depending on the quality, amount of guild preserved on the object and how well and detailed it was depicted.

High price command exceptional pieces with very elaborate beautiful painting and signed by a famous Satsuma pottery artist such as Yabu Meizan, Kinkozan, Gyozan or others.

Satsuma Yabu Meizan

Bowl with a multitude of women, Meiji era, c. 1904, Kinkōzan workshop, by Yabu Meizan.This bowl was decorated by Yabu Meizan at his studio in Osaka. The exterior is decorated with an intricate pattern of hundreds of women engaged in traditional arts, crafts, and cultural practices. They are depicted in multicolored enamels that have been fired onto the bisque surface of this six-lobed foliate bowl. At the base, panels of flowrs ring the bowl. The panels contain approximately twenty identifiable species of flowers including peonies,haydrangea, wisteria, morning glories, three types of camelias, lilies, etc.. The interior features a band of wisteria ringing the rim with blossoms hanging down into the bowl’s interior. Yabu Meizan’s studio would purchase fired bisque stonewares from the Chinjyukan kiln in Kagoshima and from the Kinkozan kiln in Kyoto. They would then transfer designs to the stoneware surfaces from pattern books held in the studio.( https://en.wikipedia.org/wiki/Satsuma_ware#/media/File:Yabu_Meizan_-_Bowl_with_a_Multitude_of_Women_-_Walters_492280_-_Profile.jpg)

Price for masterpieces produced by Yabu Meizan, for example, usually start from £10 000.

We have Satsuma in our Shop

Satsuma Ginger Jar

Satsuma Ginger Jar

£220.00
  • USD: $306.10
  • EUR: € 254.54
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List of the most prominent artists and places of manufacturing Satsuma ware:

Among the artists who produced high quality Satsuma ware were:

  • Yabu Meizan (b.1853-d.1934) was one of the best Satsuma artists.
  • His works were exceptionally detailed, often pairs of vases. Being one of the most prominent artists of the turn of the 20th century, he was invited to exhibit at the International Exhibition in Paris in 1889. He worked from his studio in Osaka between 1880 and 1926.
  • His marks are ypically written or stamped in gold on the read background.
  • Kinkōzan: pottery active 1645–1927, headed by Kinkōzan Sōbei; exported heavily from 1875, especially to America; largest overall producer of Satsuma export ware
  • Gyozan Sei Zo or Gyozan from Kyoto pottery studio active in Meiji period
  • Kozan Zo (1868-1912)
  • Koshida: factory active c. 1880–1927; resumed production after 1945
  • Chōshūzan: Kyoto workshop active in late Meiji period specializing in dragon ware
  • Fuzan: workshop active in Meiji period

Also:

  • (1910-20)
  • Fuzan (1868-1912)
  • Gaho (Meiji period)
  • Gyokuzen zo(Late Meiji period)
  • Gosuido (early 20th century)
  • Gyokuzan (1868-1912)
  • Hakuzan – mid 20th century
  • Hayakawa (Meiji Period – 1920s)
  • Maruni: Kobe manufacturer active until 1938
  • Hyozan (Taisho period – 1912-1926)
  • Juzan
  • Kazan (1912-1926)
  • Kitamura Yaichiro
  • Kizan
  • Koshida company Taiso period
  • Makuzu Kozan 1842-1916
  • Kyokuzan (1920-1935)
  • Taizan/Obi-ya: family-run Kyoto kiln active c. 1673–1922; began exporting in 1872, especially to America
  • Yasuda: Kyoto-based company formally known as Yasuda Kyoto Tokiji Goshigaisha, active in Meiji period (https://en.wikipedia.org/wiki/Satsuma_ware).

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Why people collect?

Antiques and Collectibles shop online

There are a number of reasons why people like collecting antiques and more recent, 20th century artifacts.

1.  Collecting for a “Financial Reward”.

Usually antiques and collectables go up in value and one thousand pounds invested in an item can give you up to 50% return in about 10 years, which would surely be more than banks’ saving accounts interest rates. Some treat their collections as their future pension fund.

Not only private collectors are engaged in buying and selling, but businesses too.
Business entities realised that antiques and collectables held in their possession can create an extra financial cushion and treat it as an assets, a long time investment in their business, which will eventually bring a good dividend when it’s needed.

It is not always easy to take a decision about what to collect as some types of collectables go up and down in price within a certain period of time.

For example, Clarice Cliff pottery was extremely collectable about 10 years ago and commanded highest prices. Now the “fever” has largely passed and collectors have become more choosy in what type of Clarice Cliff to invest, for example, which pattern is rarer and may bring more profit in time?

There are some factors which influence whether the value of a collectible increases or decreases over the time:

• The original price of each item
• How many different items are available to collect?
• How rare or common each item is.
• How many other people seek to acquire the same items?
• Is the item trendy?
• Are the items easy to counterfeit?

Each of these factors is important to consider. The actual price and sales information should be taken into account in combination with any other factors, as the market determines value.

2. Collecting for personal gratification.

Some people are preoccupied with collecting in general, others collect certain items, which are symbolic in nature, regardless of their value.

3. Collecting because of sentimental attachments.

A person may try to regain from the present what he was not able to have during his childhood. For example someone who has never had a chance to play with a certain toy and so on…
Such person will likely show a strong attachment to something that serves as symbolic representation from his childhood in an attempt to unconsciously satisfy ungratified needs from his past. Thus, collecting antiques may be associated with individual attachments and characters.

4. Collecting for social acceptance, power and fame.

It is a common knowledge that an excessive display of wealth in the form of material things psychologically influences people.

Moreover, power and fame often go hand in hand as wealth is a way of being socially accepted among the rich.

5. Collecting as a Hobby or purposeless pursuit.

There are people who collect all the time and for them, collecting is a form of therapy.
Psychologists often encourage their clients to undergo such activity especially those who have suffered from post-traumatic stress disorder.
In these cases collecting becomes a form of diversion that temporary diverts one’s attention from an existing problem giving the person an opportunity to build a more permanent defence mechanism in a process of healing.

6. Collecting as a form of achievement associated with excellent taste, elegance, power and money to achieve financial reward.

Whatever the reasons are for collecting antiques and collectibles they should all provide contentment, financial and psychological gratification to some people.

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Why you should Collect Royal Doulton

Collect Royal Doulton

Some years ago I acquired this beautiful tureen. More than a century ago it was part of a larger dinner set. I hope you will learn a bit more about the company and will get some ideas why you should collect Royal Doulton nowadays.

Royal Doulton has been decorating English houses for two centuries.During its existence the company employed many talented artists who contributed to the success of  English Pottery.Royal Doulton is the name of an English ceramic manufacturing company, which was established in London, in 1815.At that time it was not the first porcelain producing company on the English  market.

Such companies like Royal Crown Derby, Royal Worcester, Wedgewood, Spode and Mintons were already well established and known not only in England but also internationally.

Royal Doulton  began as a partnership between John Doulton, Martha Jones and John Watts. In 1820 Martha Jones left the partnership and the name was changed to Doulton & Watts.

Since its existence, the company manufactured a wide range of ceramics.

Apart from stoneware articles and salt glaze sewer pipes, products of Royal Doulton included dinner sets, cookware, porcelain, glass items, jewellery, lighting , curtains and other gifts and collectables.

 

Antique Royal Doulton tourine

 

The company produced three main brands: Royal Doulton, Royal Albert and Mintons.

After John Watts retirement in 1853 the company was renamed Doulton & Co.In 1871 John’s  son Henry Doulton launched “Lambeth pottery” studio.

They began inviting talented artists – designers to enrich their manufacturing range.

Among them were George Rinworth, Florence, Hannah and Arthur Barlows, Frank Butter, Mark Marchall and Eliza Simmance.
In 1882 Doulton acquired a small factory in Burslem, and moved to Staffordshire – the “heart” of English pottery.
On the 5th of January 2009 Royal Doulton went into administration.
It is now part of WWRD Holdings Ltd.
Some items are being produced in Barlaston, later the production relocated to Indonesia. Recent acquisition by Fiskars Corporation (Finland) included Wedgwood, Waterford, Royal Doulton, Royal Albert and Rogaska brands.

While dating Royal Doulton one can pay particular attention to the pattern names, coded dates and numbers or sometimes artists signatures as monograms.

Towards the end of the 19th century (1886-1902) Henry Doulton was appointed a Potter to HRH Prince of Wales. As a result, a Coronet mark appeared  on their mark.
The word “ENGLAND” appeared after 1891.

The Coronet mark was used primarily between 1886-1903 though can still be found on items produced between 1903 and 1915, together with standard print mark.

In 1902  the company received the Royal Warrant by King Edward VII.
As a result a symbol of a Lion Standing on the Crown appeared on their stamp.  After 1928 the mark carries the following words:

BONE CHINA, FINE BONE CHINA OR ENGLISH TRANSLUCENT CHINA.

   They appear on Doulton ware between 1928 and 1973.  Nowadays the stamp contains words FINE ENGLISH CHINA.

In the 21st century, the factory moved on. As a result, Royal Doulton will never be the same. There are even  more reasons to collect its beautiful pieces today.

 

Please browse our Shop for Royal Doulton

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Please leave a comment or share your experience
with collecting Royal Doulton.

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Czech Glass in the First Half of the 20th Century

Czechoslovakian Art Glass - History of Czech Art Glass 20th century

About: This article explores the historical and cultural context of Czechoslovakian Glass Making Innovations such as the impact of war and political upheaval on the Czech glass industry. It also mentions the various techniques and styles that emerged in Czech glassmaking during the first half of the 20th century.

Czech glass has long been renowned for its exceptional quality and beauty and the 20th century was a time of significant innovation and development in this field. From the emergence of new techniques and styles to the contributions of prominent artists and designers, Czech glass in the 20th century left a lasting legacy that continues to inspire and captivate.

One of the most notable aspects of Czech glass in the 20th century was the sheer range of techniques and styles that emerged during this time. Glassmakers in the Czech Republic were known for their experimentation and willingness to push the boundaries of what was possible, resulting in a stunning variety of textures, colors, and shapes.

Techniques of Czechoslovakian Glass

GRAAL

One of the most significant developments in Czech glass during the 20th century was the emergence of the “graal” technique. This involved layering multiple layers of glass in different colors, and then carving away the outer layers to reveal the inner layers, creating intricate designs and patterns. This technique was pioneered by Swedish glassmakers in the early 20th century, but was further developed and refined by Czech glassmakers in the following decades.

Vase of Graal glass designed by Vicke Lindstrand .In this technique cameo cutting is followed by further furnace work and a final clear cutting

Vase of Graal glass designed by Vicke Lindstrand .In this technique cameo cutting is followed by further furnace work and a final clear cutting.
“The History of Glass” Black Cat, 1992

CUT GLASS

Another important technique that emerged in Czech glass during the 20th century was “cut glass.” This involved cutting intricate patterns into the surface of the glass, creating a dazzling array of textures and reflective surfaces. Cut glass became particularly popular in the 1920s and 1930s, and many of the most famous Czech glass designs from this era feature intricate cut patterns.

PRE WWII Styles of Czech Glass

In addition to these techniques, Czech glass in the 20th century was also known for its diverse range of styles. From the sleek and modernist designs of the 1920s and 1930s to the more organic and fluid forms of the 1960s and 1970s, Czech glass in the 20th century encompassed a wide range of aesthetics.

ART NOUVEAU

One of the most influential styles in Czech glass during the 20th century was Art Nouveau. This style emerged in Europe in the late 19th century, and was characterized by its use of flowing, organic forms and decorative motifs inspired by nature. In Czech glass, Art Nouveau was particularly associated with the work of the designer Louis Comfort Tiffany, who was known for his use of iridescent glass and intricate floral designs.

Polychrome overlay glass lamp with lightly etched cameo decoration, Czechoslovakia 1920s. Height: 38cm (15in)

Polychrome overlay glass lamp with lightly etched cameo decoration, Czechoslovakia 1920s. Height: 38cm (15in)
“The History of Glass” Black Cat, 1992

MODERNISM

Another important style in Czech glass during the 20th century was the modernist movement. This style emerged in the early 20th century, and was characterized by its focus on simplicity, functionality, and the use of new materials and techniques. In Czech glass, the modernist movement was particularly associated with the work of designers such as Josef Hoffmann and Adolf Loos, who created sleek, geometric designs that were both elegant and functional.

Despite the many innovations and achievements of Czech glass in the 20th century, this period was not without its challenges. Political upheaval and war had a significant impact on the Czech glass industry, and many glassmakers were forced to adapt to changing circumstances in order to survive.

One particularly challenging period for the Czech glass industry was the period of Nazi occupation during World War II

Czech glass industry during World War II

The period of Nazi occupation during World War II was a challenging time for the Czech glass industry, as it was for many other industries in the region. Under Nazi control, the Czech glass industry was heavily restricted in terms of its production and exports, with many glassmakers forced to adapt to new circumstances in order to survive.

One of the most significant changes that occurred during this period was the shift away from luxury goods towards more utilitarian products. With access to high-quality materials severely limited, glassmakers were forced to produce more practical items such as laboratory glassware and light bulbs. Many glass factories were also converted for use in the war effort, producing items such as munitions and aircraft parts.

Despite these challenges, however, the Czech glass industry managed to continue producing exceptional work even under difficult circumstances. One example of this was the production of glass beads, which were used as currency by American and British soldiers during the war. These beads were highly prized for their beauty and durability, and were produced in large quantities by Czech glassmakers during the war years.

Another notable achievement of the Czech glass industry during the Nazi occupation was its role in the resistance movement. Many glassmakers were involved in underground resistance activities, using their expertise in glassmaking to produce fake documents and other items needed by the resistance. This work was highly dangerous, and many glassmakers were arrested or killed as a result of their involvement.

Overall, the period of Nazi occupation was a difficult time for the Czech glass industry, but it was also a period of resilience and innovation. Despite the challenges, Czech glassmakers managed to continue producing exceptional work, adapting to new circumstances and finding new ways to use their skills and expertise.

Today, the legacy of Czech glass from this period serves as a testament to the resilience and creativity of the human spirit in the face of adversity.

We have an exceptional quality Czech Art Glass artefact in our shop.

Glass

Glass

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Chinese Antique Bronzes

Chinese Antique Bronzes

THE MOST difficult problem in the study of medieval Chinese bronzecraft, over a period embracing the Song (960–1279), Yuan (1271 to 1368 AD) and Ming  (1368 to 1644) dynasties, is the dating of archaistic work.

These pieces copy ancient bronze vessels, cherished by Chinese connaisseurs of Antique artifacts for their antiquity, and more especially by their ritual purposes.

They are described in the ancient ritual manuals, which to Confucians* ( Confucians were the followers of a tradition, a philosophy of  humanistic or rationalistic religion based on the teachings of the Chinese philosopher Confucius 551–479 BCE) were almost sacred texts. the adaptations of ancient decorative motifs came to permeate much of Chinese art.
The archaistic style bore a highly respected symbolism.

Both in China and the West, bronzes now recognizable as medieval were still accepted as ancient, alongside true products of the Shang the earliest ruling dynasty of China, which ruled from 1600 to 1046 BC., and zhou periods (zhou dynasty followed Shang Dynasty and ruled from 1046 until 771 BC ).

The shapes and ornament of ancient vessels were imitated through history of Chinese art. It was the effort to imitate even the accidental effects of patina on bronze vessels recovered from tombs that lead to the techniques
of variegating the colour of the metal, a special feature of the later Chinese bronze craft.

The antiquarian interest to which such copies of the antique appealed was stimulated by the revival of Confucianism in the later, or Southern, Song period.

We are at present on good ground in distinguishing Ming and Qing bronzes from those of the preceding two dynasties, but the distinction between Song and Yuan remains speculative.

PRE-MING Bronzes

Some evidence for pre-Ming date is furnished by the ingredients of the alloy. By early Ming times the use of zinc in good quantities was  established. While it is not known when the deliberate addition of zinc to the metal began, it may be presumed that its presence in a large proportion (more, say, than 8 or 9%) is an indication of Ming or later date. On the other hand many post-Yuan bronzes were cast with tin only.

**Among the bronze vessel types of established Ming date are those of the characteristic Hsuan Te style

Ming Dynasty Bronze Censer of Ting form inlaid with silver wire. Hsuan Te period (1426-35). Height 9.1cm from The British Museum, London. Photographer Wilfrid Walter

 

 

 

Those with Arabic descriptions  pieces with ornament of identifiable later style  and pieces dated by the maker’s signature , such as the work of Hu Wen-Ming . When these are eliminated there remains to be considered an important group of bronzes, of the highest quality, in which the ornament is inlaid in gold and silver with great fidelity to ancient designs (see example below)

Antique chinese bronze vase inlaid with gold and silver. Song Dynasty (11-12th C) from Victoria and Albert Museum London. Photographer Wilfrid Walter.

 

It is among those that pieces representing the first flush of Song antiquarian metalwork must be preserved.
It is noticeable  that the ornament copies that of the late Zhou and early Han periods, rather than earlier styles which through their association with Shang dynasty and the early Chou kings would be expected to commend themselves more strongly to Confucian antiquarians and collectors. It is significant therefore that Chao Hsi-ku says that in his time inlaid bronze was mistakenly held to be of Shang date.

 

MING BRONZES

Ming bronzes were often inlaid with silver wire which was inserted into deeply cut grooves in the manner first found in the first half of the 14th century.
In bronzes, as in porcelain vessels which were made in the 16th century contained  large decorative inscriptions in Arabic script perhaps through the influence of Muslim eunuchs employed. The vessels can have reddish
colour after casting, in the manner employed in the Hsuan Te period.

In the Ming period interest focuses on a large group of palace bronzes, bearing the mark of the Hsuan Te reign (1426-1435), which introduce new shapes and new methods of variegating the surface of the metal.

As happened also with the Hsuan Te imperial blue-and-white porcelain, the bronzes of this reign acquired such fame that they were imitated for long afterwards, the reign mark cast on them proclaiming their style rather than their date of manufacture.

Bronze Censer of Ting form inlaid with Gold and Silver. Ming Dynasty c.1600. Height 12cm. Garner collection. Photographer Hans Hinz, Basel

 

In our shop we have a Chinese Bronze Snuff bottle with Coral top dated around the end of the 19th century Late Qing (C.1890s), which is a rare, of high quality and a very collectable item.
The bottle is signed by, we believe, a well known Chinese artist Nei Wu Fu Zoo.

Size: 10cm (with top) x 4cm x 2 cm. Weight: 138 g.
This superb quality snuff bottle will adorn any Asian Chinese 
Art collection or will make a super present.

 

Chinese Bronze Snuff Bottle

Chinese Bronze Snuff Bottle

Chinese Bronze Snuff Bottle with a Coral top by  Nei Wu Fu Zoo.

£900.00
  • USD: $1,252.24
  • EUR: € 1,041.32
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Please watch the video ” Antique Chinese Bronze Snuff Bottle”