Below are some examples and price guides of polychrome ceramics including a Chinese tulip vase and a Victorian Italian bisque whippet dog.

A POLYCHROME-ENAMELED TULIP VASE
China, 19th/20th century, five-lobed with a high central neck surmounted with a lotus bud-form mouth, the body decorated with interior scenes alternating with bird-and-flower designs, four-character Qianlong mark on base,
ht. 10 3/8 in.

Sold for US$332.80 inc. premium at Bonham’s in 2024

PAIR OF MEXICAN POLYCHROME-DECORATED AND PARCEL-GILT EARTHENWARE OVOID JARS OR BUCAROS
17TH CENTURY, POSSIBLY TONALA, ON LATE 17TH-CENTURY ENGLISH EBONISED STANDS
Each with everted rim flanked by small loop handles, one side to each decorated with three arches, the bases of the vases or jars, rounded; the wrought-iron-mounted ebonised stands each with three figural supports.
The vases: 34 ½ in. (87 cm.) high; 22.5 in. (57 cm.) wide; the stands 20 in. (51 cm.) high; 22 in. (56 cm.) diameter; 48 in. (122 cm.) high overall, and similar

Sold for GBP 113,400 at Christie’s in 2023

Chinese Polychrome Porcelain Figure of Guanyin, modeled standing on a dragon and wave base holding a lotus leaf and a basket with fish, h. 16 in., now mounted as a lamp, h. (incl. socket) 23 1/4 in.
Sold for £120 at TimeLine Auctions Ltd in 2022

Sold for US$425 at Neal Auction Company in 2024

Whippet Italian Greyhound Polychrome Victorian Bisque Dog 19th Century

DIMENSIONS APPROX 14.5x5x12CM

Sold for US$100 at Passion For Antiques in 2024

A Pre-Columbian Moche polychrome face form pot with two handles 7″h

Sold for US$325 at Clars Auction Gallery in 2024

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Below are some examples and price guides of T & R Boote’s antique ceramics including a tile panel and examples of their maker’s marks.

T & R Boote incised maker’s mark alongside the diamond registration mark.

T & R Boote maker’s transfer mark with Royal Patent.

GREENAWAY – T & R BOOTE AND MINTON TILES
Twenty-six tiles in various sets, earthenware, dust-pressed body with transfer-printed illustrations depicting children at play and the four seasons, after designs by Kate Greenaway, bordered with Aesthetic Movement Japonesque motifs, reverse of 18 tiles with printed diamond registration marks, 4 polychrome tiles with moulded marks for ‘Minton’s China Works Stoke on Trent’, 155 x 155mm., 1881 and 1883 (26)

Sold for £382.50 inc. premium at Bonham’s in 2022

Antique Ironstone White Pitcher

Ironstone T and R Boote. Measures 12 1/4 x 8 1/2 x 7 1/2 inches

Sold for US$45 at Matthew Bullock Auctioneers in 2023

Mid-19th c. English Ironstone Lidded Tureen by T&R Boote, Sydenham Shape, with underplate, all pieces with registry stamp indicating manufacture in 1853 and 1854, tureen: 14 3/4″ high, 12 1/2″ wide, underplate: 16 1/4″ x 13 3/4″; PLUS Ironstone ladle, not original to this tureen, 13″ long.

Sold for US$300 at Vintage Accents Auctions in 2022

T. & R. BOOTE LTD., BURSLEM TILE PANEL, CIRCA 1880 glazed and painted earthenware, later framed (15cm x 87cm)

Sold for £280 at Lyon & Turnbull in 2022

A pedestal dish / tazza of squared form decorated by Florence Upton for T & R Boote, titled ‘The Golli… Bicycle Club’. Approx. 1 1/2″ high x 6″ x 6 3/4″

Sold for £32 at Claydon Auctioneers Ltd in 2021

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Below are some examples and price guides of ceramics from the aesthetic movement including a Minton vase and a Christopher Dresser plate.

Minton Aesthetic-style Porcelain Vase,
England, c. 1873,
vibrant bleu celeste ground with enameled and gilded blossoms with birds and butterflies, impressed mark, ht. 12 1/2 in.

Sold for US$892.50 inc. premium at Bonham’s in 2022

Royal Worcester Company Ltd. Aesthetic Movement Gilt and Enameled Porcelain Beverage Set
Comprising two graduated pitchers with elephant head handles, height of taller 7 3/4 inches; a tapering cylindrical beaker, height 4 3/4 inches; and a shaped triangular tray, length 10 3/8 inches;
Together with Two Similar Royal Worcester Aesthetic Movement Gilt and Enameled Porcelain Graduated Ewers. Height of taller 7 3/4 inches.

Sold for $157 (includes buyer’s premium) at Doyle in 2022

Christopher Dresser for Minton, an Aesthetic Movement plate, circa 1870, the central panel enamelled and gilded with cloisonne type Japonesque still life of flowers and bonsai, within a geometric chevron and honeysuckle border, printed marks for Cauldwell, Philadelphia, 24cm diameter

Sold for £350 at Kinghams Auctioneers in 2022

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Below are some examples of antique and collectible items portraying Kate Greenaway characters including some Tiles and a porcelain wash stand.

GREENAWAY – T & R BOOTE AND MINTON TILES
Twenty-six tiles in various sets, earthenware, dust-pressed body with transfer-printed illustrations depicting children at play and the four seasons, after designs by Kate Greenaway, bordered with Aesthetic Movement Japonesque motifs, reverse of 18 tiles with printed diamond registration marks, 4 polychrome tiles with moulded marks for ‘Minton’s China Works Stoke on Trent’, 155 x 155mm., 1881 and 1883 (26)

Sold for £382.50 inc. premium at Bonham’s in 2022

Unusual French Kate Greenaway porcelain wash stand, having a porcelain top with inset divided wash bowl, a pitcher, a covered powder jar, and a small associated vase, stamped {Sarreguemines DV}, with various whimsical scenes with children, the wood stand painted white with opposing towel bars, 19″ h., 20″ w., 14″ d.
Sold for USD 56,250 at Christie’s in 2020

Sold for US$310 at Pook & Pook, Inc. with Noel Barrett in 2019

A KATE GREENAWAY STYLE WEDGWOOD DEMI TASSE c1880 This scarce demitasse is in very good condition, free from chips. It is incised Wedgwood on its base and has the star incision too. Not a common piece. Saucer measures 9″, cup 2.25″

Sold for US$50 at Luis Porretta Fine Arts in 2022

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Below are some examples and price guides of Lladro ceramics including a figure entitled Camelot, a mermaid bust and an example of Lladro’s maker’s mark

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Below are some examples and price guides of Royal Porcelain Manufactory KPM antiques including an example of the KPM maker’s mark and a pair of wall lights.

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Faience. The term faience broadly encompassed finely glazed ceramic beads, figures and other small objects found in Egypt as early as 4000 BC, as well as in the Ancient Near East, the Indus Valley Civilisation and Europe. However, this material is not pottery at all, containing no clay, but a vitreous frit, either self-glazing or glazed. The Metropolitan Museum of Art displays a piece known as “William the Faience Hippopotamus” from Meir, Egypt, dated to the Twelfth Dynasty of Egypt, c. 1981–1885 BC. Examples of ancient faience are also found in Minoan Crete, which was likely influenced by Egyptian culture. Faience material, for instance, has been recovered from the Knossos archaeological site.

It is also the conventional name in English for fine tin-glazed pottery on a buff earthenware body, at least when there is no more usual English name for the type concerned. The invention of a white pottery glaze suitable for painted decoration, by the addition of an oxide of tin to the slip of a lead glaze, was a major advance in the history of pottery. The invention seems to have been made in Iran or the Middle East before the ninth century. A kiln capable of producing temperatures exceeding 1,000 °C (1,830 °F) was required to achieve this result, the result of millennia of refined pottery-making traditions. The term is now used for a wide variety of pottery from several parts of the world, including many types of European painted wares, often produced as cheaper versions of porcelain styles.

English generally uses various other terms for well-known sub-types of faience. Italian tin-glazed earthenware, at least the early forms, is called maiolica in English, Dutch wares are called Delftware, and their English equivalents English delftware, leaving “faience” as the normal term in English for French, German, Spanish, Portuguese wares and those of other countries not mentioned (it is also the usual French term, and fayence in German). The name faience is simply the French name for Faenza, in the Romagna near Ravenna, Italy, where a painted majolica ware on a clean, opaque pure-white ground, was produced for export as early as the fifteenth century. Reference: Wikipedia

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Blanc-de-chine is a French term generally used to refer to undecorated ivory white porcelain pieces made for export by the Dehua  kilns in the Fujian province, during the 17th-18th centuries. Many early European porcelain factories copied the style. Blanc de Chine wares are covered with a clear glaze which seamlessly seems to adhere to the porcelain body. Reference: Gotheburg.com

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Thomas Pardoe (3 July 1770 – 1823) was a British enameler noted for flower painting. He was born in Derby on 3 July 1770 and was apprenticed at the Derby (Nottingham Road) porcelain factory in the 1780s, later moving to Worcester. He painted creamware at Swansea between 1795 and 1809, coming under the influence of potter and botanist Lewis Weston Dillwyn. The following addresses are listed in the Bristol directories: Under the Bank (1809–11), 28 Bath Street (1812–16) and Thomas Street (1820–22).

In Bristol he was an independent decorator and gilder, painting china and pottery supplied in the white by John Rose of Coalport and possibly others. His Bristol pieces are the only ones he signed e.g., “Pardoe Bristol”. I assume that only the signatures that include the word “fecit” are ones he decorated, other inscriptions simply indicating retailing. According to Pountney the enamel was fired at the Temple Pottery. He also worked on glass, as the directory listing for 1813 describe him as a “China and glass enameler and gilder, wholesale and retail”. He also retailed pieces decorated at John Rose’s factory, and probably from the rival Coalport factory operated by John’s brother Thomas. Pardoe is particularly associated with botanical scenes.

He went to Nantgarw in 1821 and died in 1823. He is buried in Eglwysilan Churchyard, S.E. of Pontypridd in South Wales. His sketch book is now in the V&A Museum. In 1833 William Henry Pardoe, son of Thomas Pardoe, took over Nantgarw Pottery and began manufacturing stoneware bottles and brown glazed earthenware known as Rockingham pottery. He also began manufacturing clay tobacco pipes, many of which were exported to Ireland. The business continued under Pardoe’s descendants, and at its peak produced around 10,000 pipes a week, until its closure in 1920, when cigarettes replaced such clay pipes. Wikipedia

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The history of the ownership and management of the factory is complicated. The first formula, used in 1813-14, gave excellent results, but had an unacceptably high wastage rate, being very prone to deform (“slump”) during firing. This formula was also being used at Swansea, and pieces can be impossible to allocate between the two with confidence. After a period of experimentation, in 1817-1820 the original paste formula was used again.

After ceasing to make or decorate porcelain in the 1820s, and a period of closure, the pottery reopened in 1833, making earthenware and stoneware, as well as clay pipes, before finally closing in 1920, when cigarettes had replaced pipes. The site is now a museum, and also a working pottery. In 2017 a limited quantity of porcelain was made there, using the original formula, as reconstructed. Reference: Wikipedia

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