A few examples of appraisal values for
PATE T

• FINE PAIR OF INSCRIBED BLUE AND
  FINE PAIR OF INSCRIBED BLUE AND WHITE TEA TRAYS QING DYNASTY, JIAQING MARK AND OF THE PERIOD ??? ??????????????? ????????????each with shallow lobed sides of quatrefoil section, supported on four short bracket feet, the interior inscribed with an imperial poem pertaining to the preparation of tea and dated to the dingsiyear of the Jiaqing reign (corresponding to 1797), surrounded by a band of scrolling lotus and florets repeated on the interior and exterior walls with a variation on the central bloom, the base inscribed with a six-character Jiaqing seal mark in underglaze blue and surrounded by spur-marks, with fitted wooden stand(2)16.1cm wide eachProvenance: Private Scottish collection; inherited from the family who worked and travelled extensively in Asia during the 1920s-1940s.Note: The poem on these small dishes, composed by the Jiaqing Emperor, praises the pleasure of drinking tea and appears on tea trays and teapots of different palettes. S.W. Bushell translates the poem in Oriental Ceramic Art, London, 1981, p. 239, as:'Finest tribute tea of the first picking.And a bright full moon prompts a line of verse.A lively fire glows in the bamboo stove,The water is boiling in the stone griddle,Small bubbles rise like ears of fish or crab.Of rare Chi'i-ch'iang tea, rolled into tiny balls,One cup is enough to lighten the heart,And dissipate the early winter chill.'A similar blue and white tray is illustrated by H.A. Van Oort, Chinese Porcelain of the 19th and 20th Centuries, The Netherlands, 1977, p. 19, pl. 2. Closely comparable pairs of dishes of this pattern and date were sold at Christie's London,15 May 2012, lot 395 and Sotheby's Hong Kong, 9 October 2012, lot 3081.
• Locke & Co. Worcester Pâte-sur-Pâte
  Locke & Co. Worcester Pâte-sur-Pâte Two-Handled Vase, c.1900 height 7.2 in — 18.4 cm
• MINTON PATE SUR PATE TWIN HANDLED
  MINTON PATE SUR PATE TWIN HANDLED VASEMinton pate-Sur-Pate Two-Handled Mauve ground vase, Crica 1870-80, of slender oviform with twin loop handles and flared neck, the frton tooled in white slip with a winged putti holding a laurel branch and a sprig, the reverse with a bouquet suspended from a tied ribbon, the sides with black ground panels decorated in white slip with garden and agricultreal tools suspending a fruiting garland, the polychrome slip greek gemetric shapes to the rim, the neck and foot gilt with flutes, greek key pattern and pendant husks. Impressed uppercase Mintons mark. Identified as shape number 1986. Previously Sold: Christie's London, June 11th 2013, Sale 8893, Lot #281. Measures: 15 7/8 inches tall. Domesting Shipping: $40
• DOULTON LAMBETH FLORENCE BARLOW
  DOULTON LAMBETH FLORENCE BARLOW PATE SUR PATE TEAPOTExquisite glaze with raised decoration of birds. Artist signed. An exemplary Art Nouveau Doulton Lambeth teapot by Florence Barlow with pate sur pate decoration, birds, flora. Separate lid. DOULTON LAMBETH ENGLAND backstamp. Artist signed. Artist: Florence Barlow Issued: c. 1895 Dimensions: 5.5"H x 9"L Manufacturer: Doulton Lambeth Country of Origin: England
• MINTON PATE SUR PATE TRAY BY SOLON,
  MINTON PATE SUR PATE TRAY BY SOLON, PARIS EXHIBITION 18...Important Minton Pate-Sur-Pate porcelain tray with colored paste by Louis Marc Solon (1835-1913), made for the Paris Exposition Universelle of 1878. Rectangular "Hildesheim" form with Neoclassical handles accented in gold and platinum having dark brown-black ground with white relief decoration of four female figures in a dressing room or toilette setting; two use a ewer at a sink, while one admires herself in a hand mirror, and another selects a necklace from a box. A blue-colored paste shadow figure of Cupid stands at the center behind a draped cloth. Signed and dated "L. Solon '78" in the paste lower right, with gilded fleur de lis Minton mark for the Paris Exhibition of 1878 en verso along with incised mark and shape number 1765. 1 1/4" H x 13" W x 7" D. Metric width: 33 cm. Note: Solon rarely used colored pastes in his pate sur pate work; it usually appears only on pieces made for exhibitions. Condition: Two rim chips, both under 1/4" (about 5 mm), one to underside of handle at center left side (only visible from back), the other to tip of lowermost right edge of handle. Otherwise very good condition with minimal scattered wear.
• PAIR OF CHINESE CELADON
  PAIR OF CHINESE CELADON PÂTE-SUR-PÂTE TABLE LAMPS EARLY 20TH CENTURY BASE HEIGHTS 13”. TOTAL HEIGHTS 22”.PAIR OF CHINESE CELADON PÂTE-SUR-PÂTE TABLE LAMPS, Early 20th Century, With gilt mounts. Dimensions: Base heights 13". Total heights 22".
• TWO RUSSIAN SILVERPATE TEA GLASS
  TWO RUSSIAN SILVERPATE TEA GLASS HOLDERS 20th century, filigree silverpate on copper, "Czarina" and "Petrograd" models from the Alexander Nevsky Collection, each with "OIOMMFT" mark to underside, each holder includes glass insert.
• CHINESE KANGXI TYPE MARK CELADON
  CHINESE KANGXI TYPE MARK CELADON GLAZED BOWL WITH CALLIGRAPHY AND PATE-SUR-PATE TYPE FLOWER AND BIRD DECORATION, H: 4-5/8, D: 8-1/2 INChinese Kangxi Type Mark Celadon Glazed Bowl with Calligraphy and Pate-sur-Pate Type Flower and Bird Decoration, H: 4-5/8, D: 8-1/2 in
• MINTON CELADON RELIEF-MOLDED AND
  MINTON CELADON RELIEF-MOLDED AND CELADON-GLAZED DOUBLE-WALLED VASEMINTON CELADON RELIEF-MOLDED AND CELADON-GLAZED DOUBLE-WALLED VASE, dated 1862, in the Chinese taste, modeled as a water jar tied with ropes, the double-walled neck pierced as fretwork, above relief-molded and tooled Japonesque panels of exotic birds in landscapes and floral sprays divided by applied knotted double rope borders, the conforming socle and base with reticulated scrollwork - h:12in. Literature: The rope-tied form without bas-relief detail was first shown at the London International Exhibition of 1862. See the engraving in The Art Journal Illustrated Catalogue of that year, p. 8. For a nearly identical example to the present vase, see J. Jones, Minton, The First Two Hundred Years of Design & Production, Shrewsbury, 1993, p. 188. A pair of vases of this type was sold as part of a selection of items offered by the Minton Museum at Bonhams, London, 23 July 2002, lot 249. In the Jones entry (cited above) the author speculates that this type of applied relief decoration, produced prior to Louis Solon's arrival at the manufactory, represents the naissance of the pâte-sur-pâte technique at Minton. See P. Atterbury and M. Batkin, The Dictionary of Minton, Suffolk, 1990, p. 103 for a page from J.B Waring's Masterpieces at the International Exhibition 1862 showing this form decorated in the Japanese taste with butterflies among foliage.
• FRENCH PILLIVUYT TROMPE L'OEIL
  FRENCH PILLIVUYT TROMPE L'OEIL PORCELAIN PâTé TUREENS Circa early 1900s, a mallard duck impressed "5" (7 x 10 in.), a hare with inset glass eyes impressed "3" (5 3/4 x 9 in.) and a 1920 era hare form tureen, also with inset glass eyes, impressed "2" (5 1/2 x 8 in.).
• PAIR FRENCH PATE-SUR-PATE TABLE
  PAIR FRENCH PATE-SUR-PATE TABLE LAMPS 19th/20th c., attributed to Gagneau, good quality, two-light, celadon porcelain decorated with raised white enameled flowers, gilt bronze collars and bases, unmarked, approx. 24"h x 5"w
• THREE VINTAGE PATE TUREENS Two by
  THREE VINTAGE PATE TUREENS Two by Pillivuyt, France, unglazed exterior with bird finial (larger 6 1/2 x 10 in.) and a Majolica server made in Italy (5 1/2 x 9 in.)
• CHINESE NORTHERN YAOZHOU CELADON
  CHINESE NORTHERN YAOZHOU CELADON PEONY BOWL, SONG DYNASTY. 1 1/4"H X 6 3/4"DIAM.Chinese Northern Yaozhou Celadon Peony bowl, Song Dynasty., Olive green flaring bowl, the low relief design on the bowl is that of peonies and floral scroll. The foot reveals a pate that is buff grey in color., slightly brownish as a result of oxidation. The glaze has a net of medium sized crazing. Koyama and other authoritis have labeled this a Ju ware. The color is of the kind found among Northern celadon. Province: Honan, Period: Sung Dynasty. Heavy crazing throughout. Provenance: from Taylor University's Dr. Neil and Mrs. Renee Compton Collection. Proceeds benefit Taylor University endowed scholarship funds. Dimensions: 1 1/4"H x 6 3/4"Diam.
• PAIR OF METTLACH PHANOLITH GERMAN
  PAIR OF METTLACH PHANOLITH GERMAN PLAQUESPair of Mettlach Phanolith German plaques, early 20th C. Blue ground with pate-sur-pate type figures of warriors and maidens in landscape scenes. Numbers incised on verso '7025 & 7026 Mettlach', mounted in wood frames. Measures 20.25"H x 17"W framed; 15.25"H x 11.75"W unframed.
• FRENCH GILT METAL MOUNTED
  FRENCH GILT METAL MOUNTED PÂTE-SUR-PÂTE TABLE LAMP LATE 19TH CENTURY decorated to one side with a Grecian maiden, and to the other with stylised scrolling foliage41cm high (excluding shade)Provenance: Sir Maurice William Ernest de Bunsen (1852-1932), and then by descent
• A Limoges Pate sur Pate Trinket Box
  A Limoges Pate sur Pate Trinket Box With an elongated hexagonal shape, approx. 6-1/2"w x 4-3/8"D x 2-1/4"H, the body decorated with gilt designs and a cobalt blue stripe, the lid with gild borders and the center in blue pate sur pate in the image of a butterfly and flowers on a blue background, with partial gilt signature at the lower right. Marked in under glaze on the underside, gilt "10" under the lid.
• PATE-SUR-PATE TRAY. Germany
  PATE-SUR-PATE TRAY. Germany late 19th-early 20th century. Marked for Heuback Brothers. Mythical scene of a woman and a man in a well. 9'' x 13''.
• Simplex, France, Ivory-Glazed
  Simplex, France, Ivory-Glazed Pottery Pate Tureen, the sides of the base with molded lion masques, the cover centered with a rosette finial, the base fully backstamped in charcoal gray, h. 3-1/2", dia. 4-1/2".
• DAVART PATE SUR PATE TYPE PORCELAIN
  DAVART PATE SUR PATE TYPE PORCELAIN SWAN LAMP: Blue porcelain lamp with a swan design. Hand made shade. Measures 15'' tall.
• Diminutive Simplex, France,
  Diminutive Simplex, France, Ivory-Glazed Pottery Covered Pate Tureen, first quarter 20th century, the sides of the base with molded lion masques, the cover centered with a stylized rosette finial, the base fully backstamped in brown, h. 2-3/4", dia. 3".
• Thomas L. McKenney (American
  Thomas L. McKenney (American 1785-1859) and James Hall (1793-1868): the George Strother Gaines (1784-1873) Original Subscriber Set of the History of the Indian Tribes of North America 1837-1844 3 vols. in folio 20 in. x 14 1/4 in. with 120 hand-colored lithographic plates after James Otto Lewis Charles Bird King Karl Bodmer P. Rhindesbacher and R. M. Sully drawn on stone by A. Newsome A. Hoffy Ralph Trembley Henry Dacre and others printed and colored by J. T. Bowen; a leaf titled "The Genuineness of the Portrait of Pocahontas" a page of lithographed maps "Localities of all the Indian Tribes in North America in 1833" 17 pp of facsimile signatures of the original subscribers including "Geo. S. Gaines" under the heading for Mobile & Ala. three-quarter red leather over marbled boards. Provenance: Descended in the family of pioneer and statesman George Strother Gaines to the present owner. Gaines was a prominent figure in 19th century Alabama and Mississippi who played a pivotal role in the development of those states. As Assistant Trader with the Choctaw Trading House Gaines established close relationships with the local Indian tribes including the Choctaw and the Chickasaw. Gaines later oversaw the relocation of approximately 6 000 Choctaws from Mississippi to Oklahoma with very few casualties and was praised by the Mobile Commercial Register for his consideration for the well-being of the Choctaw travelers although the expense was three times greater than the original estimate for the relocation effort. Note: Thomas McKenney's and James Hall's monumental History of the Indian Tribes constitutes the most important opening chapter of a closely linked series of intimately related works on the great subject of the native populations of North America. It is true that it had been - somewhat unfairly - preceded by a couple of years with the hurried publication of the "Portfolio" of 1835 by James Otto Lewis who had been a crucial and major contributor (in 1826-27) to McKenney's original idea of recording visually the distinctive costumes and accessories of the major Indian chiefs to negotiate treaties with the Federal Government. But Charles Bird King in fact repainted almost all Lewis's images for this much larger edition and Bowen did a much improved version of publishing them; the 120 plates of this definitive edition draw on the talents of many other artists and the fame of their results has justly eclipsed by far the essentially unimportant plates of the 1835 "Portfolio". McKenney himself was a kind of inspired functionary who as Superintendent of the Indian Trade Bureau under Presidents Madison and Monroe (2 April 1816 to 22 May 1822 when the post was abolished) quickly succeeded himself as first Superintendent of the Bureau of Indian Affairs under the aegis of the War Department (11 March 1824) in which capacity he served also Presidents J. Q. Adams and Andrew Jackson; he was finally dismissed by the latter on 1 October 1830. The 15 years of his incumbency were industriously spent in securing portraits of the notable chieftains who negotiated the Federal treaties both in Washington and in the field. McKenney traveled indefatigably and entertained the chiefs very lavishly in Washington - so much so that (unjustified) enquiries into his expenses eventually forced him from office. His original gallery of Indian portraits (in the former War Department on the site of the Old Executive Office Building) perished in the burning of the Smithsonian Institution in 1865; it had been providentially copied for this publication by the young Henry Inman (1801-1846) and his own expanded-format portraits are now at Harvard University. James Hall was an able writer who was found by McKenney after he left office: it took a half-dozen years for Hall to undertake the subscriptions and arrange the publication for which the original subscribers' contributions were $120 per set. In the midst of the tragic saga of the Indian "removals" to the eventual state of Oklahoma (principally occurring in 1838-1842) and of this great work by McKenney and Hall (1837-1844) a younger artist of extraordinary field experience George Catlin (1796-1872) brought out his Letters and Notes on the Manners Customs and Condition of the North American Indian in 2 volumes in London in 1841. The second definitive set of Catlin's paintings (numbering some 500 items) was acquired by Paul Mellon for the National Gallery of Art in Washington: Catlin's engaging narrative style provides the best 19th-century source for the lives rituals and ceremonies of his directly-experienced subjects. Finally The North American Indian lavishly sponsored by J. Pierpont Morgan under the patronage of President Theodore Roosevelt brought to the public the marvelous photogravures of Edward Sheriff Curtis (1868-1954) in 20 volumes over the years 1907 to 1930. Indeed it may justly be said that the collected images of Catlin as well as of McKenney and Hall were both destined for supererogation only by the new invention of photography. Introduced into America as it was in the earliest days of the 1840s with striking portraits of North America's native peoples in many successive techniques over the next 60 years photography achieved a kind of bittersweet closure to the saga of "the vanishing race" in the poignant images of E. S. Curtis - a fitting culmination of the efforts of the preceding century nowhere better epitomized than in McKenney and Hall to celebrate the grandeur and dignity of the earliest populations of the American frontier. Reference: James P. Pate The Reminiscences of George Strother Gaines Pioneer and Statesman of Early Alabama and Mississippi 1805-1843 The University of Alabama Press 1998. Special PDF
• A 19th Century Pate-Sur-Pate Tile
  A 19th Century Pate-Sur-Pate Tile Beautifully executed with a cobalt blue glaze and with a gilt painted trellis with meandering vines surrounding the central figure of a nymph standing before and two cherubs on a pedestal or fountain. One cherub holds up a string of pearls and the other holds a ewer. The lady in the customary diaphanous dress suspends her long tresses over the cherubs. The plaque measures approx. 5-3/4" x 5", and is framed in a small gilt frame overall approx. 6-5/8" x 5-7/8". Unsigned.