Marchant

Marchant Leading authorities in Chinese Porcelain & Works of Art since 1925. The company was founded in 1925 by Samuel Sydney Marchant (1897-1975).

Initially situated on Cursitor Street near Chancery Lane in the city of London, it held a large stock of Oriental art, but also dealt in arms and armour, paintings and continental porcelain. In 1952 it moved to its present address at 120 Kensington Church Street, London W8 4BH. The trading name was Marchant from 1925-1936 when it was renamed S. Marchant & Son with the birth of Richard Marchant. Th

is name was retained until 2009 when the partnership reverted to its original name of Marchant. Richard Marchant joined his father in 1953 and it is from that time the partnership specialised only in Oriental art. He was elected treasurer of the British Antique Dealers Association from June 2003-2005. He then became Chairman for four years until 2009. He was the Chairman of the Oriental Vetting Committee at the Grosvenor House Art & Antiques Fair for ten years until 2009 when the fair closed. Marchants exhibited at the fair from 1975-2009 and also for eleven years at the international Asian Art fair in New York. Stuart Marchant, the third generation, joined the company in 1985, after five years apprenticeship. He is now the main buyer. The specialties are Imperial Chinese Ming and Qing porcelains, jades, cloisonné, pottery and works of art. Emphasis is placed on rarity, quality and provenance. Exhibitions at their gallery have been held since 1980 accompanied by scholarly catalogues. Most entirely illustrated in colour with introductions by John Ayers, former curator at the Victoria and Albert Museum. Marchants pride themselves on fine pieces that have passed through their hands, many now in major museums and collections worldwide. Services that can be undertaken are valuations; advice and commission bidding at auctions around the world; buying and selling private collections. Simon Abraham-Gregory joined the company in March 1988 and is a loyal factotum. In 2011 Natalie Marchant joined the firm as the fourth generation and specialises in the photography of the catalogues, website managing and advertising, as well as accompanying Richard and Stuart viewing auctions. In 2014 a second Gallery at 101 Kensington Church Street, specialised in Chinese Export Porcelain, was opened.

21/05/2026

Stuart Marchant presents a superb Kangxi blue and white baluster vase (guanyin zun), circa 1700.

Standing at an impressive 43 cm high, this magnificent vessel serves as a dynamic canvas for Daoist mythology and blessings.

The front of the vase comes alive with legendary Immortals.

The reverse is equally extraordinary, inscribed with thirty distinct “fu” (blessing) characters framing the central phrase, “bai fu cheng xiang “ - “hundreds of blessings, longevity, and happiness.”

For the first time, we have aligned this highlight piece with an article sent directly to our newsletter subscribers.

If you want to further explore the significance of this piece, the specific iconography of the Immortals depicted here, or learn a little more about the provenance, check your inbox or tap the link in our bio to subscribe to future newsletters.

马钱特（Stuart Marchant）为您呈现一件约1700年的康熙青花观音尊杰作。
此尊高达43厘米，气势恢宏，堪称展现道教神话与祈愿祝福的动态画布。
尊身正面描绘了多位传奇道教人物栩栩如生。
器身背面同样瞩目，饰有三十个字形各异的“福”字，并环绕着核心吉语“百福呈祥”，寓意福寿绵长、吉祥如意。
值此之际，我们首次将本周的焦点藏品与一篇文章相结合，并已直接推送给我们的专属通讯（Newsletter）订户。
如果您想进一步探究这件藏品的非凡意义、画中仙人的特殊图像学意涵，或是了解更多关于其流传有序的背景，欢迎查收您的邮箱，或点击我们主页的链接，订阅未来的专属通讯。

20/05/2026

✨Just added to our display at the gallery and not yet on our website! ✨

Chinese porcelain wucai, ko-akai lobed plate, painted with a scholar leaning on a fence while his attendant carries a plant, all on a rocky promontory beside a lake with lotus flowers, leaves and plants and beside an overhanging willow tree.

The base with a four-character mark of tian xia taiping, “happiness and universal peace” within a double square and within a single underglaze blue ring.
Tianqi/Early Chongzhen, circa 1630.
21 cm diameter.
Inventory no. M4892.

13/05/2026

The Ultimate Imperial Blessing: Nine Peaches for Eternity

Covered in a radiant lemon-yellow ground, this imperial Qianlong period dish (1736–1795) is a masterclass in porcelain symbolism and craftsmanship.

At the heart of the design are nine peaches (jiutao), forming the rebus jiutao xianshou: “nine peaches offering longevity.”

• Jiu (nine): A pun for “eternity” and the highest yang (male principle) number, representing the Emperor himself.
• Morning Glory: Wrapping the underside, these scrolling vines date back to the Yuan dynasty. Beyond their beauty, their seeds were traditionally prized for healing properties - doubling the dish’s wish for health and long life.

This piece carries a storied history, having resided in the prestigious American collections of Harry Nail and John Yeon, as well as appearing at Christie’s New York (2007) and Marchant’s 2008 exhibition.

With sister pieces held in the , and the (Percival David Collection), this dish is a true Imperial beauty. Note the “heaped and piled” effect on the underglaze blue painting - a deliberate technique used to mimic 15th-century Ming wares, showcasing the Emperor’s profound respect for antiquity.



清乾隆（1736–1795） 黄地青花九桃盘

此盘通体施娇艳明亮的柠檬黄釉，盘心以青花绘九枚寿桃，构成寓意吉祥的“九桃献寿”图样，堪称乾隆御瓷中兼具象征意味与高超工艺的代表之作。

“九”与“久”谐音，寓意福寿绵长；同时，“九”为阳数之极，亦象征皇权至尊。寿桃自古为长寿象征，九桃并陈，更强化了延年益寿、万寿无疆的祝愿。外壁饰缠枝牵牛花纹，此类纹样最早可追溯至元代青花瓷传统。除其繁缛优雅的装饰效果外，牵牛花籽在传统医学中亦被视具药用价值，从而进一步深化了健康长寿的吉祥寓意。

此器来源显赫，传承有序，曾为美国重要藏家 Harry Nail 及 John Yeon 递藏，后出现于 2007 年纽约佳士得拍卖，并载录于 2008 年马钱特（Marcha

Standing at 47 cm (18 ½ inches) high, these early Kangxi period garden seats (zuodun) feature a vibrant apple-green glaz...
06/05/2026

Standing at 47 cm (18 ½ inches) high, these early Kangxi period garden seats (zuodun) feature a vibrant apple-green glaze contrasted by rich amber and high-relief studs.

The classic form with a pierced interlocking drum design can be found in related examples held in the Palace Museum, Beijing, and the Percival David Foundation at the British Museum.

Formerly in a French private collection formed between 1924–1941, and published in the 2023 Marchant exhibition, “Kangxi Biscuit and Pottery,” no.25, this pair is a rare example of the 17th-century craftsmanship of its type.

It is an incredible feat that these stools have survived as a pair with only minor chip restorations. Given their immense weight and originally utilitarian use, surviving four centuries with such structural integrity is a true testament to their quality and the care of their collectors.

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這對清康熙早期的五彩素三彩鼓釘坐墩，高 47 釐米（18 ½ 英寸）。器身施以明亮的蘋果綠釉，兩端則飾以濃郁的琥珀釉，並綴有高浮雕鼓釘紋。

此類開光鏤空鼓式坐墩的經典造型，可見於北京故宮博物院及大英博物館大維德基金會的相關館藏。

這對坐墩來源卓越，曾為 1924 年至 1941 年間成書的重要法國私人收藏，並收錄於 2023 年馬錢特（Marchant）「康熙素三彩與陶器：法國私人珍藏」展覽（編號 25）。

鑑於此類坐墩器體沉重且具實用性質，歷經四個世紀仍能以成對形式存世，且僅有微小局部修補，實屬難得，充分體現了其卓越的品質與歷代藏家的悉心呵護。

17thcenturyart

05/05/2026

Chinese spinach jade large double trunk spill-holder, naturalistically carved with a standing crane and a standing phoenix bird amongst openwork branches of pine and prunus in high relief, above further branches of bamboo and lingzhi fungus, the underside also naturalistically carved as a gnarled trunk.

Early Qianlong, circa 1740.
6 inches, 15.2 cm high
Fitted antique wood stand

* Sold by Sotheby’s London in their auction of Fine Chinese Ceramics, Jades and Works of Art, 6th December 1994, lot 81.
*Formerly in an English private collection, East Anglia.

30/04/2026

Rare, refined, and deeply symbolic - this piece is a true testament to the best production of of ‘high Qing’ Chinese porcelain.

This censer would have been the centerpiece of a five-piece garniture (wu gong). In the Qing dynasty Imperial courts, these sets, consisting of a censer, two vases, and two candleholders - were the focal point of ritual worship. As the central vessel, the censer held the burning incense, its smoke rising, to bridge the gap between the earthly and the divine.

It features the complex doucai (“joined colors”) technique, where underglaze blue outlines meet vibrant overglaze enamels and the body is adorned with the Eight Auspicious Buddhist Emblems, the Bajixiang and the rim bears a six-character seal mark of the Qianlong emperor, marking it for official Palace use.

Formerly in an English private collection in North Yorkshire and included in the Marchant Centenary Exhibition (no. 23, 2025).

The Eight Emblems (Bajixiang) represent:
1. ☸️ The Wheel: The Buddha’s teachings.
2. 🐚 The Conch: The call to awaken.
3. ⛱️ The Parasol: Protection from suffering.
4. 🚩 The Victory Banner: Triumph over ignorance.
5. 🪷 The Lotus: Purity of mind and body.
6. 🏺 The Vase: Spiritual abundance.
7. 🐟 The Twin Fish: Fearlessness and freedom.
8. ♾️ The Endless Knot: Infinite wisdom and harmony.

🏛️ 大清乾隆斗彩八吉祥纹三足炉
稀有、精致且寓意深远——此件三足炉是“康乾盛世”时期御窑制瓷工艺的巅峰之作。

**【祭祀之魂：五供之首】**
此炉曾是一组五供（香炉，供瓶两件，烛台两件）中的核心器物。在清代宫廷中，五供是皇家祭祀仪式中的视觉中心。作为整套器物的主位，香炉承载着升腾的香烟，被视为连接凡间与神圣境界的桥梁。

**【匠心工艺：斗彩艺术】**
本品采用复杂的“斗彩”工艺制作，先以釉下青花勾勒轮廓，再填入绚丽的釉上五彩。炉身绘有佛教“八吉祥”纹饰，口沿处横书“大清乾隆年制”六字青花篆书款，彰显其纯正的皇家御用血统。

**【流传有序】**
此器原为北约克郡英国私人藏家旧藏，现收录于马钱特百周年庆典特展（2025年，第23号展品）。
**【八吉祥及其寓意】：**
1. ☸️ **法轮**：佛法不息，代代相传。
2. 🐚 **法螺**：妙音吉祥，觉醒人心。
3. ⛱️ **宝伞**：张弛自如，曲覆众生。
4. 🚩 **胜利幢**：解脱贫病，战胜烦恼。
5. 🪷 **莲花**：出尘清净，圣洁无暇。
6. 🏺 **宝瓶**：福智圆满，财源恒具。
7. 🐟 **金鱼**：活泼健康，自由丰足。
8. ♾️ **盘长**：回环贯彻，长乐永康。

28/04/2026

This Wanli period (1573–1619) panel is a formidable rarity. To find a Ming dynasty cloisonné of this scale and complexity in excellent condition is a feat in itself.

Having been cherished for hundreds of years, this piece remains remarkably intact, with only minor restoration that honours its original brilliance.

Large rectangular panels are significantly harder to find than circular forms, making this a cornerstone for any serious collection.

Its rarity is confirmed by its twin in the Linden-Museum, Stuttgart. Provenance from an important French collection and also included in our Centenary publication, Marchant – One Hundred Years.

这件万历时期（1573–1619）的掐丝珐琅挂屏堪称传世精品。能发现如此体量且工艺复杂的明代掐丝珐琅，并保持极佳的品相，实属难能可贵。

历经数百年的珍藏，此作整体保存得惊人地完好；仅有极少量的修补，展现了其十六世纪的艺术原貌。

相比于常见的圆盘，大型长方形挂屏的存世量极为稀少，使其成为资深收藏家眼中不可或缺的重器。

此件作品的稀有性在其馆藏级的参照中得到了印证：斯图加特林登博物馆（Linden-Museum）亦藏有与之几乎完全相同的作品。此屏出自法国重要私人收藏，并收录于我们的百年庆典出版物《马钱特——百年珍藏》（Marchant – One Hundred Years）中。

23/04/2026

Chinese Porcelain Blue and White Large Deep Dish
Shunzhi / early Kangxi, circa 1655–1665

This striking dish is finely painted with a seated Qilin, the mythical beast of benevolence, amidst a landscape of rockwork and plantain leaves under a crescent moon. In Chinese iconography, the Qilin is an auspicious omen of prosperity, while the plantain leaf - a traditional substitute for paper - alludes to scholarly diligence and the pursuit of learning.

The underside features the characteristic deep channel foot rim, a definitive structural hallmark of mid-17th-century manufacture, designed to accommodate a formal stand. The rim finished with a traditional brown-dressed rim to protect the vessel’s edge.

Interestingly, the base is incised with a Chinese collection mark, 大宅 (Da Zhai), meaning “Grand Residence,” signifying its history within an elite household.

Provenance:
• Sold by Spink & Son, London.
• Sold by Ralph M. Chait Galleries, Inc., New York, 2001.
• From the collection of Jeffrey Stamen, Boston, no. 1387.

A superb example of transitional porcelain, balancing robust form and symbolism with a refined and luminous blue palette.

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青花麒麟芭蕉图大盘
清顺治/康熙早期，约1655–1665年
此盘形制宏大，盘心绘麒麟盘踞，神态生动。麒麟为仁兽，在传统纹饰中寓意太平盛世与吉祥。背景衬以山石、芭蕉及明月；芭蕉在古代常被文人当作代纸习字之用，故亦有勤学勉励之意。
工艺特征：
此盘足部呈典型的深槽状双圈足（双圈底足），这是17世纪中期转折期瓷器的断代重要特征，专为稳固放置于木座上而设计。口沿涂抹酱釉（酱口），以保护胎釉边缘。
藏家印记：
尤为难得的是，盘底刻有“大宅”二字收藏款，表明此器曾为显赫府邸所藏。
来源：
• 伦敦 Spink & Son
• 纽约 Ralph M. Chait Galleries，2001年
• 波士顿 Jeffrey Stamen 珍藏，编号 1387
此器造型敦厚，纹饰寓意深远，青花发色明艳，堪称转变期瓷器之佳作。

22/04/2026

Captured in the luminous even and creamy glaze of Dehua, this exceptional Blanc de Chine figure depicts Guanyin, the Goddess of Mercy, seated in royal ease upon a powerful Buddhist lion.

Every detail of this late Ming dynasty figure (circa 1620–1640) speaks to the virtuosity of the Fujian potters; Guanyin holds a sacred scroll, her cowl subtly revealing a finely carved lingzhi tiara. The Lion is a marvel of texture, featuring elaborate curled hairwork, a stippled nose, and a saddlecloth delicately incised with floral branches.

* Formerly in the collection of Marvin Davidson, New York.
• Published by Marchant, Blanc de Chine, 2024, no. 3.

On display at Marchant and on their website - link in bio



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此尊珍罕的德化白瓷观音坐像，通体施以滋润莹洁的奶油色釉。观音菩萨慈悲肃穆，自在坐于雄健的狮吼背上，尽显宁静与威仪。
这件明代晚期（约1620-1640年）的精品生动展现了福建匠人的卓越造诣：
• 观音像： 手持经卷，头戴风帽，露出精雕细琢的灵芝纹宝冠。
• 狮吼： 细节处理堪称一绝，毛发卷曲繁密，鼻部与两颊施以点状纹理；狮身的鞍布上精细刻划着花卉枝叶纹。
来源与出版：
• 曾为纽约 Marvin Davidson 私人珍藏。
• 出版：Marchant，《中国白瓷展》，2024年，编号 3。
✨ 欢迎莅临 Marchant 画廊亲临鉴赏，或访问官网了解更多详情（链接见个人主页）。

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