Simply Stunning! The bulbous form gives it a feel of a jug without handles.

There are two patterns that alternate.

The first is a Japonais style of 梅 Ume/Japanese Apricot Tree/Chinese Plum Blossoms, are all common names for Prunus mume. The pattern is a "kakiemon" style interpretation. The flowers are geometrically stylized to possibly distinguish from "sakura" cherry blossoms? The various blossoms are done in ochre, yellow enamel and gilt. The younger branches are done in green completing the traditional color palette of kakiemon. It's a beautiful pattern! Below and in front of the main trunk is an azure and delft blue gnarly looking thingy with holes in it. (In other depictions, these holes have other flowers growing inside the holes) Always wondered what they were as I seen them in both floral patterns from China and in Chinois floral patterns in Western pieces? I’ve come to the conclusion until enlightened by someone that these are Japanese or Chinese “rock gardens” containing “taihu stones” of eroded limestone in fantastical and grotesque shapes! (When the Dutch [and other faience producers] painters were flatteringly imitating the Ming designs and Arita designs, there was a cultural gap. I've seen this as the Dutch copied the Ming, then the Qing copied the Dutch to recapture their lost market and some of the scenes get almost off-worldly...haha!)

The second features primitive 菊 Kiku Chrysanthemum blossoms also done in ochre, yellow enamel and gilt. The leaves are done primarily in azure and green, again completing the palette of kakiemon. There is one leaf done in yellow that's different from the yellow enamels of the blossoms, hmm! The base is comprised of three different color "kakine" reed fences.

The top four medallions arches in red border contain 唐草 "karakusa" = arabesque curlicues in blue with green scroll-type leaves almost acanthus-like. The overall effect leaves an impression of arabesque art. From the feel, the enamels seem to be all over-glaze.

The top and bottom border bands feature a zig-zag green pattern with red flowers with yellow stamen centers.

I've another vase done in brocade raised enamel style, please have a look see >

https://www.etsy.com/listing/244522369/rare-fukagawa-vase-m-dn-botan-peony-dark

Searching for that PERFECT VASE? Then stroll my shop with over 200+ Antique Vases from Delft to Fukagawa/Koransha >

https://www.etsy.com/shop/GuamAntiquesNstuff?section_id=17084253&ref=shopsection

Would make a perfect gift for MOM'S BIRTHDAY or an excellent affordable addition to your own collection!

* SHIPPING - MOST COUNTRIES
* Guahan Local PU Only
- Please click on the tab above below the pics for SHIPPING & POLICIES
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PHOTOS - integral to description, please use zoom feature for detailed views.

MARK - Pic 5
- I haven't been able to find any info on this mark
- when originally purchased, owner mentioned that Khoury Le Raincy was a firm that converted porcelain vases into lamp. I found a sugar pot with a different mark that the antique expert said was S. SLAVICEK - KHOURY LE RAINCY?

SPECS- about 10"H x 8.25"W

CONDITION - Excellent!
- the gilt rim seems complete around the sides, but the top of the rim has heavy gilt loss
- no hairlines, cracks, chips or crazing that I can discern
- there are 2 light brown stains of about 2 and 4mm that I will try to remove, but they are close to some enamel. They are barely discernible in this busy pattern.
- the bottom has been drilled for lamp conversion

MY SUBJECTIVE GRADING GUIDE >

Outstanding - pristine, like new
Excellent - excellent as it's antique/vintage (minor issues)
Good - moderate issues
Fair - more than moderate issues, okay for display, but not a prized piece
Poor - major issues = a bargain deserving of continued existence

🌴 🌴 🌴 🌴 🌴 WHERE AMERICA'S DAY BEGINS! 🌴 🌴 🌴 🌴 🌴

🌺 HÅFA ADAI from the tropical island paradise of GUAHAN (Guam/USA) 🌺

"Faience or faïence (/faɪˈɑːns/ or /feɪ-/; French: [fajɑ̃s]) is the conventional name in English for fine tin-glazed pottery on a delicate pale buff earthenware body, originally associated by French speakers with wares exported from Faenza in northern Italy. 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.

The first northerners to imitate the tin-glazed earthenwares being imported from Italy were the Dutch. Delftware is a kind of faience, made at potteries round Delft in the Netherlands, characteristically decorated in blue on white, in imitation of the blue and white porcelain that was imported from China in the early sixteenth century, but it quickly developed its own recognizably Dutch décor.
"English Delftware" produced in Lambeth, London, and at other centers, from the late sixteenth century, provided apothecaries with jars for wet and dry drugs. Many of the early potters in London were Flemish. By about 1600, blue-and-white wares were being produced, labeling the contents within decorative borders. The production was slowly superseded in the second half of the eighteenth century with the introduction of cheap creamware.

Dutch potters in northern (and Protestant) Germany established German centres of faience: the first manufactories in Germany were opened at Hanau (1661) and Heusenstamm (1662), soon moved to nearby Frankfurt-am-Main.
In France, centres of faience manufacturing developed from the early eighteenth century led in 1690 by Quimper in Brittany, which today possesses an interesting museum devoted to faience, and followed by Rouen, Strasbourg and Lunéville. In Switzerland, Zunfthaus zur Meisen near Fraumünster church houses the porcelain and faience collection of the Swiss National Museum in Zurich.
The products of French faience manufactories, rarely marked, are identified by the usual methods of ceramic connoisseurship: the character of the body, the character and palette of the glaze, and the style of decoration, faïence blanche being left in its undecorated fired white slip. Faïence parlante bears mottoes often on decorative labels or banners. Wares for apothecaries, including albarello, can bear the names of their intended contents, generally in Latin and often so abbreviated to be unrecognizable to the untutored eye. Mottoes of fellowships and associations became popular in the 18th century, leading to the Faïence patriotique that was a specialty of the years of the French Revolution.

By the mid-18th century, glazed earthenware made in Liguria was imitating decors of its Dutch and French rivals
In the course of the later 18th century, cheap porcelain took over the market for refined faience; in the early 19th century, fine stoneware—fired so hot that the unglazed body vitrifies—closed the last of the traditional makers' ateliers even for beer steins. At the low end of the market, local manufacturers continued to supply regional markets with coarse and simple wares."

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Delft Chargers were highly sought after display pieces as an alternative to framed oil paintings. Royalty, nobility, wealthy merchants and even rich farmers acquired these examples of hand painted art! Many of the depicted themes were actually copies of popular (now famous) original oil paintings of the Dutch artists and masters. The other themes primarily were Chinois patterns copied from the Ming imports. When rich farmers held a large celebration, they would clear out the barn and then hang Delft Chargers either on the horse stalls or the walls of the barn as part of the party decor for the rustic party venue!

“Old Delft” were expensive and mostly used to flaunt their owner's status and wealth by displaying in their formal dining rooms and other public rooms of their estates. These Delft pieces were exported all over the Western world including the New World as found in Williamsburg and other colonial towns in both North and South America. Delft manufacturers were threatened by Chinese imports, but when China went through their times of troubles and the kilns destroyed and potters killed, the Delft makers capitalized on the sudden rarity of Chinese exports and imitated Ming and Wanli/Kraak patterns to supply the continually growing demand. Eventually Delft potters began using their own patterns and incorporating what has become “iconic” themes of Dutch Windmills, Canals, Nautical and Biblical renditions. When the Chinese Imperial government stabilized, kilns were rebuilt, but found they had lost most of their market share. To regain that share, they began copying the Dutch designs. The humor in all this, is that many of the Dutch designs were copies of Chinese patterns! With all these cross-copying of patterns, meaning was lost and “fanciful” unreal patterns resulted!

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July 4th Independence Day > USA
July 21st Liberation Day WWII > GUAM/USA
Sep 14th Liberation Day WWII > MAASTRICHT, NL

Just wanted to take the opportunity to share this regarding WWII and the people of Holland in regards to the people of the US >

Near Maastricht, in Margraten, is the Netherlands American Cemetery. It is the only American military cemetery in Holland and where 8,301 of our soldiers rest eternal. There are Tablets of the Missing that contain 1,722 names. It's a beautiful and fitting resting place. I mention this because, we visited in 2010 and it was early May just after Koninginnedag (Queen's Birthday) as we were meeting a Dutch aunt who's married to a German citizen and they live in Germany and Maastricht is the halfway point from where we were staying. We were surprised and amazed at the thousands of visitors and the fresh flowers on EVERY GRAVE! It turns out, that ever since the cemetery was first created, every US Soldier's grave had been adopted by a nearby local family (also Belgian and German families across the border) and is visited several times a year and flowers laid and the soldier honored and remembered on certain holidays! It brought us to tears that after all this time, that the Dutch continue to honor and remember our soldier's ultimate sacrifice in helping to liberate their country! Thank you to the anonymous Dutch, Belgian, and German families who remember and honor our fallen!

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I'm not an expert on Porcelain. The information above is based on my research as a collector. It's time to downsize and find an appreciative home for this exquisite piece!

Feel free to contact me if you have questions or need additional photos.