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.

11/09/2026

From a 17th-century kiln to modern AI movement: this large Shunzhi/early Kangxi dish (c.1655-1665) features a qilin beneath the moon amidst plantain, swirling flames and rockwork.

Painted with incredibly luminous underglaze blue pigment intensity and finished with a classic brown-dressed rim, it represents the absolute peak of mid-17th-century porcelain painting.

Measuring an impressive 34.6 cm, it also boasts a rich provenance, passing through Spink & Son, Ralph M. Chait Galleries, and the famed Jie Rui Tang Collection - with similar examples in the Palace Museum and Ashmolean. It even has a collectors mark incised da zhai (Grand Hall) to the base.

What detail draws you in first - the vivid qilin or the deep blue tones?

从17世纪的窑火到现代AI的灵动：这件顺治/康熙早期（约1655–1665年）的青花大盘，描绘了月下芭蕉、火焰与山石之中的麒麟形象。作品采用发色极其明艳的青花料绘制，配以经典的酱釉口沿，代表了17世纪中期瓷器绘画的巅峰之作。

本品口径达34.6厘米，体量宏大，更兼具显赫流传。曾经Spink & Son、Ralph M. Chait Galleries以及著名的“洁蕊堂”（Jie Rui Tang）等名家收藏，故宫博物院及阿什莫林博物馆亦藏有类似之作。盘底更带有珍贵的藏家刻款。
底足刻“大宅”藏家款。

最吸引您的细节是什么——是生动的麒麟，还是深邃浓艳的青花色调？

09/09/2026

Further to Stuart’s recent video, Samuel has discovered the true - and highly important provenance for the spinach jade buffalo - including Royalty, a famous collector and having been handled by very well-known Japanese dealers! Watch this update for the new information about this wonderful piece in our gallery.

We always do as much research on provenance as possible, but thanks to Samuels eager eye - he noticed a discrepancy with the collection label and investigated it!

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继 Stuart 近期发布的视频之后，Samuel 又有了一项重要发现—这尊碧玉水牛的真实来源，远比此前所知更为重要。

经进一步考证，其递藏经历涉及皇室、著名私人藏家，以及日本数位享有盛誉的中国艺术品古董商。如此重要且流传有序的来源，为这件精美碧玉雕刻增添了更为丰富的历史背景与收藏价值。

敬请观看我们的最新视频，了解这件现藏于我们伦敦画廊的珍贵作品，以及其来源背后的最新发现。

我们一向致力于尽可能深入地考证每一件器物的来源。此次发现，则源于 Samuel 敏锐的鉴藏眼光—他注意到收藏标签上的一处细微出入，并进一步展开调查，由此揭开了这尊碧玉水牛一段此前未被充分认识的重要收藏史。

07/09/2026

This fantastic “Romance of the Western Chamber” vase is currently gracing our window display at 120 Kensington Church Street and looking very striking indeed!

The scene on this piece, which dates from the Kangxi period (1662-1722), depicts Zhang Sheng thanking General Du Que for saving his love Cui Yingying, surrounded by various high-ranking soldiers and officials inside the General’s tent.

More information and photos on our website (stock no. M5505). Link in bio.

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这件精美的青花《西厢记》瓷瓶现正展出于 我们Kensington Church Street 120 号的窗口。
瓶身图案的历史可追溯至康熙时期（1662-1722年），展现了在将军帐篷内、众高阶将士与官员的环绕下，张生表达对杜确将军拯救其心上人崔莺莺谢意的场景。
更多详情及图片请访问我们的网站（库存编号：M5505）。链接见个人主页简介。

04/09/2026

Acquired personally by Richard Marchant in 1966, these exquisite blue and white imperial porcelain bianhu remained in his private collection for decades, with one featured in his historic 1976 lecture to the Oriental Ceramic Society in Hong Kong.

Beyond the deliberate, stippled cobalt brushwork, the design carries a silent imperial blessing, well worthy of a birthday gift to the Qianlong Emperor:

* Bats (fu) & Peaches (shoutao): Fushou shuangquan - wishing for both abundant blessings and longevity.
* Lingzhi Fungus: Fuzhi xinling - symbolizing a heart enriched with wisdom.

These moon-flasks represent a true masterclass in Qing Dynasty craftsmanship and symbolic depth.

Explore the full history of this pair on our website (No. 30 from our Centenary Exhibition) via the link in our bio.

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由 Richard Marchant 于 1966 年亲手收藏，这对精美的御制青花抱月瓶在他的私人珍藏中静静传承了数十年。其中一件更曾亮相于他 1976 年在香港东方陶瓷学会（Hong Kong OCS）举办的历史性讲座中。
除了精妙的点染青花技法，其纹饰更蕴含着深沉的皇家祝愿，极具乾隆皇帝万寿贺礼之意：
蝙蝠（福）与桃子（寿桃）：福寿双全 —寓意福气与长寿兼得。
灵芝：福至心灵 —象征福气降临，心智聪慧。
这对方瓶堪称清代精湛工艺与深刻象征意义的集大成之作。
欢迎点击个人主页中的链接，进入我们的官方网站，探索这对抱月瓶（百年纪念特展第 30 号）的完整历史。

27/08/2026

Stuart presents an exceptional spinach jade carving of a recumbent buffalo.

Measuring 19.8cm long, this large and superbly sculpted piece features skilfully ridged horns, folded-back ears, and naturalistically carved nostrils. The spine is brilliantly rendered with a raised nape, subtle folds of neck fat resting on the front left flank, and finely detailed hairwork along the tail. It rests on a fitted wood stand carved as rockwork and grass, both date to the Qianlong period (1736–1795).

In Chinese culture, the buffalo is a beloved symbol of strength, endurance, and tranquil rural life - frequently associated with Daoist philosophy, harmony with nature, and agricultural prosperity. Large jade carvings of this calibre were highly prized by the Imperial court and elite scholars for their grounded elegance and masterly craftsmanship.

Beyond its striking artistic quality, this piece boasts an outstanding provenance. Formerly in the collection of E.R. Butler, it was acquired in New York in 1992 and published in Marchant – One Hundred Years, Volume II: 2001–2005 (no. 1990). A related example resides in the Fitzwilliam Museum, Cambridge (The Immortal Stone, no. 36).

Visit our website for more information, or message us directly.

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Stuart呈现一件极为出色的乾隆时期（1736-1795）碧玉卧牛雕像。

此件藏品体量宏大，雕工精湛，长19.8厘米。水牛双角纹理细腻，双耳后收，鼻孔雕刻栩栩如生。背脊线条流畅自然，颈脊隆起，颈部褶皱巧妙地搭于左前腿旁，尾部毛发丝丝分明。卧牛置于乾隆时期（1736–1795）所制的配座之上，木座精雕成山石与苔草之姿。

在中国传统文化中，水牛是力量、坚韧与恬静乡村生活的象征，常与道家思想、天人合一及五谷丰登联系在一起。如此体量与品质的玉雕水牛，因其浑厚雅致的气度与鬼斧神工的艺技，深受清代宫廷与文人雅士的青睐。

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20/08/2026

Natalie presents a standout Kangxi period (1662–1722) blue and white beaker vase, gu.

Standing at 44.5cm, this vase features four meticulously painted panels of Buddhist lions amidst dynamic waves, flames, and clouds. The central bulb is framed by raised ribs, key-fret borders, scrolling foliage, and classic ruyi clouds around the rim and foot—complete with a double-ring mark in underglaze blue on the base.

In Chinese art, Buddhist lions (Foo Dogs) are powerful symbols of protection, power, and majesty. When displayed within the home, they take on an added domestic meaning - acting as vigilant guardians to ward off negative energy, safeguard the household, and promote harmony, longevity, and family prosperity.

Beyond its artistic quality, this piece boasts an exceptional provenance. It comes from the private collection of John Oswald Liddell (1858–1918), co-founder of the Shanghai trading firm Liddell Bros. & Co.

Visit our website (inventory no. M5725) for more information and price, or message us directly.

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Natalie 为您呈现一件极为杰出的清康熙时期（1662–1722）青花太狮少狮纹觚。

此觚高44.5厘米，瓶身精绘四大开光，内置瑞兽太狮少狮，穿行于波涛、火焰与祥云之间。中部的鼓腹由凸起的双弦纹、回纹边饰、卷草纹以及口沿与圈足处的经典如意云头纹所环绕，底足青花双圈款。

在中国艺术中，瑞狮是庇佑、权势与威严的象征。置于家中时，它们更赋予了居家吉祥的深意扮演着忠诚守护者的角色，以辟邪祛灾、保佑合家平安，并寓意家宅和睦、福寿绵长与兴旺发达。

除了极高的艺术价值外，此件佳器还拥有卓越的流传有序显赫来源。它出自John Oswald Liddell，(1858–1918）的私人珍藏，他曾是上海知名洋行“利德尔兄弟公司”（Liddell Bros. & Co.）的联合创始人。

欲了解更多详情及价格，请访问我们的网站（编号：M5725），或直接向我们发送私信。

10/08/2026

Chinese imperial porcelain underglaze blue and white bowl, decorated with scrolling lotus design.
7 1/2 inches, 19.1 cm diameter.
Six-character mark of Kangxi, and of the period,
1662-1722.

* An identical bowl in the Gu Gong Palace Museum, is illustrated by Chen Ren Min in, “Qing Dynasty, Shunzhi Period and Kangxi Period Porcelain in Underglaze Blue”, no. 126, p. 205.
* This bowl is one of a pair included by Marchant in their exhibition of, “Important Chinese Porcelain from Private Collections”, 2012, no. 10, pp. 28-29.

04/08/2026

You could easily be forgiven for thinking this glaze and form belong to a modern design piece…

…but it’s actually nearly 300 years old!

Dating to the Yongzheng period (1723–1735) of the Qing dynasty, this rare blue-glazed vase pairs a striking flared mouth and foot with wonderful ribs around the body. Where the rich blue glaze thins over these raised edges, the bright white porcelain underneath shines through - creating a stunning contrast.

Despite its contemporary aesthetic, its age is firmly anchored in history: a closely comparable celadon glazed pair resides in the prestigious Wallace Collection, fitted with European mounts dated to 1745–1749.

A breathtaking example of 18th-century craftsmanship that was centuries ahead of its time, proving style never goes out of fashion!

📩 Enquire for more details, or visit our website, link in bio (inventory no. M5756).


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乍一看，你很可能会以为这件器物的釉色和造型出自现代设计……
……但它实际上已有近 300 年的历史！

这件罕见的蓝釉瓶可追溯至清代雍正时期（1723–1735）。撇口、外撇圈足与器身优美的出筋相得益彰。浓郁的蓝釉在凸起的棱线上微微变薄，透出底下洁白莹润的胎骨，形成令人惊叹的光影对比。

尽管它带着极具现代感的审美，其时代特征却在历史中有据可查：享誉盛名的华莱士收藏馆（Wallace Collection）中藏有一对极为相似的青釉瓶，其镶嵌的欧洲铜镀金底座明确标注铸造于1745–1749 年之间。

这件 18 世纪的杰作堪称超前于时代的工艺典范，再次证明了真正的经典永不过时！

📩 欢迎私信咨询了解更多细节，或点击主页链接访问我们的官方网站（库存编号：M5756）。

27/07/2026

Stuart Marchant shares a superb Wanli period (1573–1619) carved white jade openwork plaque, recently discovered in an old English private collection.

With seven unique shou characters among birds, bats, and ruyi scrolls, it matches the set of a longevity belt in the Qing Court Collection at the Palace Museum, Beijing.

Superbly worked and steeped in auspicious symbolism, it offers a fascinating link to imperial court jades of the Ming dynasty.

More information, images, and price are available on our website. Inventory no. M5919



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斯图尔特·马钱特（Stuart Marchant）为您呈现一件出自英国私人旧藏的明万历（1573–1619）白玉透雕吉寿纹带胯，此器近期于英国乡村重新被发现。

此带胯镂雕七个造型各异的“寿”字，间饰瑞鸟、祥蝙与如意卷草纹，其式样与北京故宫博物院清代宫廷旧藏的一套吉寿带组合如出一辙。

整器雕工精湛，寓意吉祥，为研究明代宫廷玉器提供了极具价值的实物佐证。

欲了解更多详细信息、高清晰度图片及售价，请参阅我们的官方网站。库存编号：M5919。

22/07/2026

The Generals of the Yang Family: A Story of Duty and Strategy

This large Kangxi period famille verte dish (38.3 cm) depicts a pivotal narrative from the legendary literary tale, The Generals of the Yang Family. Painted in remarkably fresh, vibrant enamels, the composition illustrates the intersection of military prowess, familial duty, and court politics during the Song dynasty.

Following severe losses along the northern border to the Western Xia forces, including the death of General Yang Ye, the Song court faced a crisis of leadership. The matriarch of the family, She Taijun, recommended her granddaughter-in-law, Mu Guiying, to assume command of the imperial forces.

A former martial rival known for her exceptional tactical genius, Mu Guiying initially resisted the appointment due to open hostility from corrupt court officials who questioned a woman’s authority.
The painter captures this exact moment of tension within a garden pavilion.

She Taijun formally offers the commander’s authority to Mu Guiying. To the side, the court official Wang Qiang observes the exchange with clear disapproval. Overcoming political opposition, Mu Guiying accepts the post, successfully repels the Western Xia army, and reclaims the lost territories.

Kangxi, 1662–1722
15 ⅛ inches (38.3 cm) diameter
* Formerly in The Heukolm Collection.
* Sold at Sotheby’s London, 17th June 1937, lot 153.
* Formerly in The Reginald and Lena Palmer Collection, no. 488.
* Included by the Oriental Ceramic Society in their Exhibition of Enamelled Polychrome Porcelain of the Manchu Dynasty 1644–1912, London, 23 May – 21 July 1951, cat. no. 14.

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《杨家将》：责任与谋略的传奇

此件清康熙五彩大盘，直径38.3厘米，以《杨家将》中的经典故事为题材。画面设色妍丽清雅，人物刻画生动传神，展现了宋代忠义精神、家族责任与朝堂权谋交织的历史传奇。

故事发生于宋夏交战之际。杨家名将杨业战死沙场后，宋廷边关告急，急需良将统兵御敌。佘太君深知穆桂英智勇双全，遂力荐其挂帅出征。穆桂英原为杨家阵前劲敌，后因比武招亲嫁入杨门，以卓越的军事

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120 Kensington Church Street
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Wednesday 10am - 6pm
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Friday 10am - 6pm

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