|18th/19th Century Porcelain|
In this version of Worcester's "Scarlet Japan" pattern, four scarlet orange panels alterna...
In this version of Worcester's "Scarlet Japan" pattern, four scarlet orange panels alternate with white floral panels around the perimeter of this scalloped soft paste porcelain dessert plate. The orange panels are each studded with a simple stylized chrysanthemum and decorated with a Japanese grid pattern executed in gilt. The remaining four panels are decorated in pairs, two with floral groups and two with prunus sprays, all executed in heavy blue, red, orange and green enamels with gilt detail.
Terminating at the center, the panels create a circular open space which is decorated with a single stylized chrysanthemum executed in orange with a touch of gilt. This central space is enclosed by a heavy orange band resist painted with a floral and vine decoration. The dish is finished with a thin orange pinstripe around the inner foot of the molded band and gilt around the outside edge.
|Date:||Mid 1760's to late 1780's|
|Dimensions:||Diameter 7 3/8 in.|
Simon Spero and John Sandon in Worcester Porcelain, 1751-1790, The Zorensky Collection not...
Simon Spero and John Sandon in Worcester Porcelain, 1751-1790, The Zorensky Collection note that the "Scarlet Japan" pattern was very popular, surviving over some twenty plus years with application to a wide variety of pieces. The pattern is an outgrowth of Worcester's attempt to move into the position the defunct Chelsea factory had held in the London market. Rather than expand their offerings toward the brightly colored decorative wares Chelsea had been known for, Worcester chose to incorporate the vivid colors into patterns which would showcase the colorful grounds on the teawares Worcester was noted for.. Also rather than using the color as an all-over, difficult -to-control ground, Worcester chose to showcase the colors in panels. The "Scarlet Japan" pattern is derived from a Chinese version of a Japanese pattern. Ironically, this failsafe would come to be emulated on Chinese wares imported "in the white" and decorated in London studios. (p. 212-218, plts. 244-249)