Kangxi

Rare English Chelsea Octagonal Teabowl, Raised Anchor Period (1749-52)

Meissen Lobed Teabowl and Saucer, Circa 1730

A Chantilly 'Red Dragon' Saucer Dish, C.1740

Worcester Kakiemon Vine Leaf Dessert Dish, 18th Century

Pair of Meissen Saucers, C.1735

Pair of Meissen Porcelain 'Bienenmuster' Soup Plates, Circa 1740

Pair of Meissen Teabowls, C.1722

Bow Blanc De Chine Cup with Crabstock Handle and Saucer, Circa 1752

Meissen Lobed Teabowl, C.1730

Meissen Teabowl, Circa 1740

Meissen Porcelain Figure of a Lady Shepherdess, Circa 1755

Meissen 'Indianische Blumen' Plate, C. 1730

Pair of Meissen Circular Tureens and Covers, Circa 1740

A Worcester Cider Jug, Circa 1753-4, of 'Scratch Cross' Type

Meissen Böttger White Teapot and Cover, Circa 1715

A Meissen Commedia Dell'arte Figure of Il Capitano Spavento, C.1744

German Meissen Model of a Bolognese Hound (Bologner Hund), Late 19th Century

Worcester Sauceboat

Vienna Group, 18th Century

Large Meissen Lobed Dish, Late 18th Century

Bohemian Porcelain Tureen of a Partridge, C.1845-72

Meissen Figure of Autumn, 18th Century

Meissen Soup Plate, Circa 1740

Bow 'Golfer and Caddy' Sauceboat, Circa 1756

Meissen Cup and Saucer, Mid 18th Century

Meissen Salt of Moulded Form, Circa 1760

Chantilly Egg-Cup with Kakiemon-Inspired Decoration, C.1760

Meissen Leaf-Shaped Saucer Dish, Second Half of 18th Century

Meissen Teabowl and Saucer, C. 1750

Miniature Russian Figure of a Lady

Chaffers Liverpool ‘Jumping Boy’ Pattern Teabowl, C.1760

Wedgwood Tri-Colour Jasper Octagonal Medallion, Circa 1790-1800

Circular Wedgwood Blue Jasper Portrait Medallion, 19th Century

Wedgwood Circular Blue Jasper Medallion, 19th Century

Willian Tassie Glass Oval Intaglio

* Any prices shown are subject to availability and market conditions.

The first European porcelain was successfully developed by Johann Friedrich Bottger, an alchemist in the service of August II in the early eighteenth century. A factory at Dresden was established in 1710 and, though technical issues blighted production in the first years, developments and experimentation continued and a consistent and high-quality output was established. Initial designs, largely owing to the technical brilliance and knowledge of the artists Samuel Stotzel (1685-1737) and Johann Gregorius Horoldt (1696-1775), took their inspiration from the East, with Chinoiserie representing a cultural fascination with the relatively unknown lands of China and Japan. The initial drive to produce porcelain in Europe was in order to source a cheaper, native alternative to export Chinese wares, which, though popular, were exceedingly expensive to ship to Europe and, especially given the porcelain-mania of Augusts, put severe strain on national coffers. Over time Meissen designs became more stylised and experimental, diverting from Asian models and including European landscape scenes.

Meissen's trademark crossed sword symbol first appeared in 1723-24, and were initially applied in overglaze enamel colour along with the initials KPM. After 1724, the crossed swords were applied alone; a tradition which continues to this day. A wide stylistic variety of this symbol is seen across Meissen wares, but cannot be used to accurately date pieces. Certain impressed marks began to appear on pieces in around 1735, and much work has been done in recent years to attribute these marks, known as 'formers marks' to specific potters. These formers marks were replaced by impressed numbers in 1739, and are generally found on the base, near the foot rim. Numbers or marks in gilt represent the 'guilder's mark' and other letters and numerals can refer to individual painters.

As the secret of 'true' porcelain spread across Europe during the eighteenth century, local production centres produced their own interpretations of the popular oriental designs. Soft-pastse porcelain manufactories already established in France, England, Italy and Spain turned their attention to hard-paste porcelain.