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Watership
 Watership
(@watership)
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Topic starter 09/02/2019 9:18 pm  

I wasn’t impressed with this one at 1st glance. But when I took a good look I was taken. The cranes are painted with skill. The closer you get, the better it looks. The paint is raised and thick. Almost seems like etching, but its just paint I guess. Japanese? Korean maybe? Its 9 1/2 inches tall. Thanks, Todd

take it with a grain of salt


   
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tam18
 tam18
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10/02/2019 12:08 am  

this looks transfer printed, including the border detail, maybe with added paint on the birds

tam


   
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 Julia
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10/02/2019 3:41 am  

I agree, in the photo of the rim decoration you can make out what looks to be the start/end of the transfer/decal - the wear is also typical of printed decoration, on the crames you can see the same evidence.

It looks to have some age, though.


   
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 Nic
(@nicdan)
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10/02/2019 4:29 am  

I think the ‘raised’ effect on the paint is from paint bubbles bursting and leaving little craters?

The detail around the neck is definitely transfer, I suspect the cranes are too.

As Julia says, it does seem to have some age though.

Nic


   
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Watership
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Topic starter 10/02/2019 7:38 am  

When I 1st looked at it, I thought it was transfer too, it didn’t even occur to me that it might not be. But when I examined two cranes that were very similar, I can see small differences. So, I was not quite sure what to think. The top border is definitely transfer, as the design stops, and there is a gap, as Julia points out. 

take it with a grain of salt


   
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 John steward
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10/02/2019 9:23 am  

HeLlo, Watership

A loop will tell you if it transfers ware or not, my magnifying my screen does not show

the dot pattern on the cranes you look for. To me it looks Japanese, here some information and time line,JohnDecoration Japanese porcelain can be decorated in a variety of ways, including stenciling, transfer printing, under and over the glaze painting, molding and resists. The most common motifs employed were of plants (plum, cherry, chrysanthemum, peony and bamboo) and animals (usually birds). Specific decorative motifs or types of decoration can be assigned manufacture date ranges; these types are discussed below. The use of paper stencils to create decoration began around 1875, gained popularity several years later and remained so until around 1920 (Ross 2012:5). Stenciled wares could either be negative (a masking technique where the pigment is sprayed or spattered around the perimeter of the design, creating an outline) or positive (where the pigment was applied through slits or holes in the stencil paper). Motif elements in positive stenciled wares will be characterized by dashed lines or dots of pigment (the unpigmented spaces are caused by the bridges necessary to make a successful stencil). These mass-produced wares often show signs of overlapping stencils, smears and unevenly applied pigment (Ross 2012:7). Transfer printing on Japanese porcelain began in 1888 and by around 1920 had completely replaced positive stenciling as a means of decoration (Ross 2012:8). Blue underglaze printing is most commonly seen, but colors like pink, green, yellow, black and brown were also used. Phoenix Bird, a popular pattern printed in underglaze blue, features a phoenix-style bird set against a background of scrolling vines. This pattern, advertised by 1914 in the United States, likely appeared around this time (Ross 2012:5) and remained popular until World War II (Kovels 2016). Japanese Geisha Girl Porcelain, a particular subset of Japanese porcelain shows up regularly, albeit in small quantities, on late 19th to mid-20th century archaeological sites in North America. These wares are thin white-bodied porcelain with printed overglaze decoration, manufactured for the western market as an inexpensive pottery sold in variety stores or given away as advertising premiums (Kovels 2016). Because they are usually decorated with kimono-clad women in stereotypical Japanese settings (temples, pagodas, arched bridges), they are known in collector’s communities as “Kimono Lady ware” and “Geisha Girl porcelain” (Litts 1988). Over 200 patterns have been documented in Elyce Litts 1998 publication, The Collector’s Encyclopedia of Geisha Girl Porcelain. These wares are usually printed in red over the final vessel glaze—the printed lines can clearly be felt when a finger is run over the surface of the pottery. The red printed designs are further decorated with overglaze enamels in blues, reds, greens and yellows. The wares began production in the last quarter of the 19th century and continued to be manufactured into the early 1950s (Litts 1988:8, 11). Most were produced prior to the beginning of World War II, although they continued to be made during the period of Japan’s occupation by Allied forces (1945-1952). A general rule of thumb to follow for marked pieces of geisha girl porcelain is as follows: vessels marked “Nippon” dated between 1891 and 1921 and items marked “Japan” or “Made in Japan” post-date 1921 (Litts 1988:58). Vessels marked “Made in Occupied Japan” date between 1945 and 1952. Printing was done most often in red, but some geisha girl porcelain has the primary design printed in black or dark brown (Litts 1988:16). The red printed motifs are usually embellished with detailing in overglaze enamels in blues, gold, reds, greens and yellows. Gold gilt is sometimes used to decorate handles and rims. Around 1910 to 1915, white and yellow enamel dots, lines, stars and zigzags began to be used as a less expensive alternative to gold enamelling. Form Forms produced in Japanese porcelain included western-style vessels associated with food and beverages: teapots, cups and saucers, cocoa pots, creamers, plates, bowls, mustard jars, butter pats, salt shakers, eggcups and bon-bon dishes. Toiletry and household wares were also produced in forms that included hair receivers, hat pin holders, pin trays, baskets, vases and ash trays. Traditional Japanese forms are also seen on North American archaeological sites, including rice bowls, pickle dishes, sake bottles and sake cups. References Deagan 1987; Kovels 2016; Litts 1988; Montgomery Ward 1895; Ross 2012; Venable et al. 2000; Willmann 2000 Miscellaneous Japanese porcelain vessels from MAC Lab collection. Click on image to see all thumbnail images of this type. Click on image to see all image thumbnails Closeup paste shot of Japanese hard paste porcelain. Cllick image to see a larger view. Paste Shot click to see larger view


   
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 Nic
(@nicdan)
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10/02/2019 10:25 am  

What made me think the cranes might be transfer is the gapping on the feet and toes. Only because I can’t think of another explanation for the horizontal break in the line. Of course, this *could* happen if they are over glaze?

But I’m happy to be wrong because I quite like the cranes! ?

Nic

This post was modified 6 years ago by Nic

   
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Watership
 Watership
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Topic starter 10/02/2019 11:46 am  

Hi John,

I looked at it with a loupe and I don’t seem to know what I am doing, because it doesn’t look transferred. But, after further examination, I would say the cranes are transferred as well. I found three cranes that are simply too much alike. The small differences are just due to the paint and differences in quality of the transferring. I think I expected to see gaps here and there where the transfer just didn’t take. In antique transfer ware, it is blatantly obvious. But this more expertly applied transfer fooled me. It is a different sort of a look then hand painting though...I should have trusted my 1st impression, which was “obviously printed.”

Nic, You are correct, nicely spotted. Yes, I still like it too.

Best, Todd

take it with a grain of salt


   
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