These blue rabbits were described as mid-century modern from Japan. They came in a Japanese box, but the translation and description does not match the type of pottery. Google image searches and ChatGPT cannot find anything similar or other figures in this style. I am wondering if it is even from Japan. There is no writing or marking on the bases which have green felt.
(Fair warning: This is a deep dive! I love documenting the details of each item, the thrill of the hunt, and my reasons for collecting them. I am mapping everything out now because this writing will serve as the script for my future videos. Rest assured, I’m a real person sharing a real passion—not an AI bot.)
Hello everyone!
Following up on my recent threads, today I want to share my 35th collection post, focusing on a group of intimate, functional items: covered boxes and lidded jars.
The Evolution of My Collection
For those who have been following my posts, you know my obsession with teapots and Totai Shippo (cloisonné on porcelain) branched off 28 years ago due to a fortunate car breakdown. However, my foundational love for Japanese cloisonné actually began 34 years ago.
It all started when my wife and I stumbled into an antique store and were completely spellbound by a Japanese cloisonné vase. The absolute beauty, precision, and artistry of that single piece sparked a lifelong passion. Over the last three decades, that initial spark has led us to curate a collection of more than 40 pieces, spanning various sizes, shapes, materials, colors, and functions.
Bringing Luxury to the Desk and Vanity
This brings us to today's beautiful subset of vanity and desk vessels. These objects brought the luxury of cloisonné (Shippo) directly onto the vanity tables, writing desks, and dressing areas of the Meiji and Victorian eras.
If you read my 33rd collection thread on Totai cloisonné, you will recognize two of the pieces in this family portrait: the small, dark-green round box and the light-blue patterned box. Because they are functional boxes as well as Totai ware, I wanted to include them here to show how they fit into the broader narrative of lidded vessels.
In this group, you can see how Meiji artisans pushed boundaries with different geometries, materials, and background textures:
This rectangular box is an absolute standout. It utilizes sharp geometric framing, featuring arched ogival panels (resembling Gothic church windows) that segment individual floral sprays and butterflies against a dark background. This dense panel work gives the piece the heavy, luxurious look of a medieval jeweled chest tailored for the Western market.
This round, bulbous covered box with peach finial (Kogo) serves as a magnificent centerpiece. The entire body is blanketed in a vibrant turquoise ground filled with a dense, repeating cloud-scroll pattern. The crown jewel is the lid, featuring an elegantly sculpted finial shaped like a peach knob—a universal symbol of peace and longevity.
This small, dark green circular box features delicate floral sprays on the lid and a dotted border. It is a wonderful example of early-to-mid Meiji experimentation with cloisonné on a porcelain body.
Sitting right in the center is a low, round tripod box that beautifully mirrors the technique of my finest teapots. The shoulder features a heavy concentration of shimmering Aventurine glass (Goldstone), creating a starry, glittering contrast against the intricate blue and brown floral scroll panels below.
Decorated with floating butterflies and traditional geometric borders, its tight patterns prove that craftsmen didn’t cut corners just because a vessel was compact.
My Collecting Rule of Thumb: The Power of Variety
When you look at this new group of lidded boxes alongside my previous teapot and Totai collections, my core philosophy becomes clear: Never collect the same item twice. Instead, chase maximum variety.
By following this rule, this collection deliberately covers every possible variable:
The Shapes: Shifting from sharp, architectural rectangles to perfectly smooth, low rounds.
The Scales: Spanning from heavy, large statement pieces down to delicate, palm-sized miniatures.
The Handles & Lids: Moving from flat, flush lids to high domes, complex spouts, and overhead handles.
The Materials & Colors: Contrasting delicate Totai porcelain bases with heavy metal foundations, using backgrounds that range from midnight black to vibrant turquoise.
Why do this?
Because a varied collection turns a simple hobby into a living historical archive. It highlights the incredible versatility of Japanese master enamelers. Firing glass onto a flat surface is difficult, but wrapping wires and flowing enamel across a curved teapot spout, a square corner, or a miniature box lid requires absolute genius. Grouping these contrasting pieces together tells the complete, engaging story of artistic evolution!
Market Insights & Lessons Learned Along the Way
For fellow hobbyists looking to get into Japanese cloisonné, small vanity boxes and covered jars remain an incredible, highly accessible entry point. While masterwork presentation vases can easily fetch thousands of dollars, beautiful, unsigned pieces like these can regularly be found at antique shops, estate sales, or online auctions for between $30 to $250, depending on condition and enamel complexity.
Even after 34 years, my Japanese cloisonné collection is still missing two major types: wireless cloisonné (Musen Shippo) and Plique-à-jour (Shotai Shippo).
I do own a pair of Chinese plique-à-jour ducks, but I had never encountered a Japanese example until recently. After sharing my duck collection, another collector reached out to tell me they collect Japanese plique-à-jour vases and bowls, so I hope to acquire one in the near future!
The search for a wireless piece also led to a funny (and slightly disappointing) collecting story. I saw a vase on eBay listed simply as "cloisonné" that looked exactly like wireless work. Since I had never owned a piece before, it was hard to confirm from the pictures alone. I even asked an AI tool, which assured me it was wireless cloisonné! Excited by the great price, I bought it immediately. When it arrived, I discovered it wasn't cloisonné at all—it was a porcelain vase painted to look like it. It was a classic collecting misstep, but those little surprises and learning moments are all part of the fun of the journey.
If you love my collection and like to see the fake wireless vase I mistakenly bought, please keep an eye out for my upcoming 36th Collection post! In that thread, I will be showcasing my 10 genuine Japanese cloisonné vases right alongside this fake wireless one to break down the differences up close.
I would love to hear your thoughts! When you make a series of collections, do you have a rule of thumb?
Purchased this Fang Yuan Pai Yixing tea set, and I'm trying to get some more info on the set. The set consists of a teapot, 5 cups (4 with stickers, 1 without), and three dishes/saucers. The pot and saucers are stamped Yixing, China; the cups apparently have a mark, but I can't make out any details.
I know Fang Yuan Pai's sticker design varied with time, but I'm having trouble identifying what info (time period, factory number) it gives. If anyone can identify the teapot form, the clay, or anything to look for authenticity-wise, I'd appreciate it.
I also can't read the writing on the side of the cups, so please let me know what it says.
Hi everyone! I am trying to identify the specific potter behind this lovely matching set.
Details: It features wheel-thrown stoneware with a dipped cobalt/periwinkle blue rim and hand-painted violet/wildflower details.
The Mark: The bottom has an incised hand-written signature that reads "John 1996" on a raw clay foot.
Provenance: The mug was originally purchased in Fernandina Beach, Florida at the Isle of Eight Flags Shrimp Festival back in the 90s. He said he also sold pottery at a shop/gallery across the street from a toy store in downtown fernandina, down the street from Brett’s restaurant.
I also recently tracked down a matching 6" pitcher with the exact same design and signature. I'm hoping to find his full name or studio name so I can search for more matching mugs to fill out a set. Does anyone recognize this signature style or remember this specific vendor from the 90s Southeast festival circuit? My mom bought the mug in the 90s and it has been a beloved piece in my family for decades. I would love to buy my mom another one or find more pieces. Thank you!
Hi all!
Recently added this piece to my collection and hoping for an ID and potential identification of the signature/monogram on the back
Many thanks in advance :)
Details:
Authentic Royal Dux Bohemia black circular backstamp.
Approximately 16 inches tall.
Matching pair.
Art Nouveau style.
Asymmetrical open handles.
Three applied roses on the front with leaves above and below.
Organic, flowing design with sculpted leaves on the back.
Excellent condition with no repairs that I can find.
A quick note before you read: I know my posts are exceptionally long, highly structured, and deeply systematic—to the point where people on Reddit sometimes mistake me for an AI bot! I promise I am very much a human collector. Antique collecting is purely my personal passion, not my profession. However, my unique approach comes from my 40-year career as a scientific researcher. I naturally treat my hobby like a research project—online researches, interviewing art experts, taking meticulous notes, and even speaking directly with artists and experts to truly understand the authenticity, techniques, culture, and history behind each piece. Thank you for your patience with my academic writing style!
Hello everyone,
Today, I want to share my 34th featured collection here on Reddit. If you caught my last post about my 33rd collection, you already know how my wife and I fell completely in love with the sheer beauty and master craftsmanship of Japanese cloisonné.My journey into Japanese cloisonné actually began 34 years ago with a single vase.
However, my specific obsession with teapots and Totai Shippo (cloisonné on ceramic/porcelain) began 28 years ago due to a total stroke of luck. My car overheated and broke down during my morning commute. While waiting for repairs, I wandered into a nearby antique store to pass the time and ended up buying my very first Totai teapot.
That single breakdown sparked a lifelong passion for both of us. Over the last 34 years, we have gathered more than 40 pieces of Japanese cloisonné, but this specific family of 16 teapots took us over 28 years to piece together.
Fun collector challenge: One of these teapots is currently missing its lid! As a collector, I still love it just as much, and I hope to find its matching pair one day. Can you spot the lidless one in the first photo?
To me, this group represents a complete masterclass in Meiji-period experimentation with materials, shapes, light, and shadow. I categorize its historical and artistic value into five deep dimensions:
It is incredibly rare to assemble a collection that simultaneously showcases the three most iconic base techniques of the Meiji era:
Copper Base (The Classic): Features incredibly precise wire cloisonné (Yusen-shippo), demonstrating strict line work and geometric perfection.
Ceramic Base (The Rarest): This includes the light-blue tea set. Firing enamel onto a ceramic body (Totai Shippo) has an incredibly high failure rate in the kiln. Very few pieces survive today, giving them a soft, porcelain-like artistic quality.
Foil-Backed Base (Gin-bari): The pinnacle of light and shadow. Embossed silver or tin foil is laid under the translucent enamel glaze. It catches the light beautifully, making the colors glow like brilliant rubies and sapphires.
These teapots do not just use one method; they push the limits of complex material mixing. On several pieces, you can see hair-thin copper wiring layered right alongside shimmering under-glaze silver foil, and even accents of Goldstone (Aventurine glass with sparkling copper crystals). Fusing these precious materials on such a small scale required world-class technical skill.
These 16 pieces witness a historic cultural dialogue between East and West. The shapes range from traditional Eastern three-legged round pots to Western-style coffee ewers and complete English afternoon tea sets. They document how Meiji artisans used cloisonné to transform traditional Eastern motifs (butterflies, phoenixes, flowers) into luxury goods tailored specifically for Western aristocratic living rooms.
Another element that makes this 28-year curation journey so fulfilling is the incredible variety in scale and silhouette. The collection spans from palm-sized miniatures (ranging from 2.5 to 3.5 inches) up to standard regular sizes.
In Victorian Europe and America, these intricate miniatures were highly sought after as "cabinet pieces"—treasures meant purely for aristocratic display cabinets rather than daily functional use. Looking across the 16 pieces, you can see a distinct anatomical evolution:
Traditional Tripods: Several round-bodied pieces sit elegantly on three delicate metal feet, adapted directly from ancient Japanese koro (incense burner) architecture.
Lobed and Wavy Rims: One of the crown jewels of the set completely abandons the standard round neck, featuring a custom-contoured, undulating wavy rim that requires master-level metalsmithing.
Tall Ewers vs. Squat Pots: The shapes transition fluidly from low, globe-like traditional teapots to tall, narrow, square-profile coffee pitchers designed to cater specifically to Western tastes.
As a complete set, these pieces form an evolutionary map of cloisonné technology. They cover everything from deep, solid black background work to luminous, translucent foil pieces, and from individual showpieces to functional sets. This kind of systematic collecting holds much higher research value and market premium than scattered, individual items.
An Accessible Passion for Everyday Collectors
The best part about collecting Japanese export cloisonné teapots is that it is a hobby regular, everyday people can enjoy. The market prices for these standard-shaped, unsigned Meiji-era teapots have remained relatively stable over the years. With a bit of patience, most of the standard round-bodied or gin-bari pieces shown here can still be tracked down at antique shops or auctions for anywhere between $50 to $300.
The only major exceptions in this group are the highly rare Totai (ceramic-based) teapots and the tall, square-profile coffee ewers, which naturally command a premium due to their scarcity.
A Crucial Tip on Spotting Fakes: Japanese vs. Chinese Antiques
In the early days of my collecting journey, I focused heavily on Chinese porcelain. I learned some incredibly tough, valuable lessons about just how flooded that market is with convincing replicas and masterful modern fakes. That experience is exactly why I eventually shifted my passion toward fields like Japanese cloisonné, belt buckles, hooks, ..., inner painted bottles, tibetan brass cups, tsatsa.
For everyday collectors, Japanese cloisonné offers a massive advantage: genuine antiques are remarkably easy to distinguish from modern reproductions. While the Chinese market relies on stylistic consistency that makes faking easier, Japanese cloisonné underwent a very distinct technical evolution. The specific glaze textures, the characteristic mirror-like polish of the Meiji period, the deliberate use of negative space, and the natural oxidation of Japanese base metals make authentic antiques stand out clearly to an observant eye. It provides a much safer harbor for collectors who want to buy with confidence.
SummaryTo summarize: These 16 teapots are built with "copper as the bones, ceramic as the soul, and silver foil as the light." The shifting colors glistening in the light reflect the relentless pursuit of perfection by Meiji craftsmen over a century ago.
I have attached a detailed close-up photo of each individual teapot for your reference. I would love to hear your thoughts and see your teapots, or connect with anyone who might help me track down a matching lid in the future!
Coming up next: For my 35th topic, I will be moving from teapots to showcase another major branch of my study: Japanese Cloisonné Boxes & Covered Jars. Stay tuned!
As the title says looking for information like creator age and value
TL;DR: A pair of blue-and-white wave cups with a non standard imperial Yongzheng mark just sold at a European auction for €300,000 against a €4,000 estimate. The internet community is deeply divided. Did a buyer find a multi-million-euro Imperial "Tribute" loophole, or did they buy a heavily romanticized narrative?
To outsiders, the market for Chinese imperial porcelain appears to be a strict science of aesthetics, chemistry, and reign marks. To seasoned collectors, however, it is an ocean where the "water is unimaginably deep" (水很深).
A recent high-stakes bidding war over a pair of wave-and-bat cups at a European auction perfectly illustrates this reality. Originally estimated at a modest €4,000, the lot exploded to a staggering €300,000 hammer price.
This extreme price variance forces us into an open, highly debatable territory of connoisseurship: Did the buyers unearth a misunderstood 18th-century transitional treasure, or did they pay a record-breaking premium for a brilliant narrative?
The Case Against Authenticity:
The Imperial Standard
The design of the cups features an iconic imperial motif: underglaze blue sea waves and crashing rocks paired with overglaze iron-red bats (Shou Shan Fu Hai - 寿山福海).
When evaluating these cups against an authenticated benchmark—such as Lot 3003 from the Beijing Hanhai 2016 Autumn Auction (a certified Yongzheng Mark and Period bowl that sold for RMB 1,368,000)—reproducible stylistic discrepancies immediately emerge:
The Calligraphic Hand:
The six-character mark on the Beijing Hanhai bowl flows with the fluid stability of a designated court calligrapher. On the €300,000 pair, characters like Nian (年) and Zheng (正) are geometrically rigid, showing the microscopic hesitations of a copyist tracing a template.The Physics of Cobalt: The authentic benchmark features smoothly layered, translucent, cloud-like cobalt washes. The disputed cups show aggressive "pooling" where dark cobalt forms heavy, unnatural blotches.
The Asymmetric Rings:
The double rings framing the mark on the disputed pair narrow on one side and widen on the other, indicating a wheel wobble that would normally cause an official imperial supervisor to reject and smash the piece instantly.
Because modern laboratory tests like XRF (X-Ray Fluorescence) and Thermoluminescence (TL) are fundamentally incapable of drawing a precise timeline for ceramics under 500 years old due to overlapping margins of error, the scientific baseline remains completely silent. The final verdict rests entirely on human argumentation.
The Case For Authenticity:
The Tang Ying and "Tribute" Variables
How do the buyers justify a €300,000 bid against these apparent flaws? They bypass the rigid "Palace Style" parameters entirely and lean into the highly nuanced history of Tribute Porcelain (Gong Ci - 贡瓷).
The Early Tang Ying Management Period (Post-1728): Tang Ying was sent to Jingdezhen in 1728 by the Yongzheng Emperor. During his earliest years as an assistant manager, the imperial kilns underwent radical administrative shifts. Proponents of the cups argue that early-reign Yongzheng wares regularly exhibited erratic calligraphy and variable cobalt quality as kiln masters attempted to replicate archaic Ming dynasty "heaping and piling" effects.
High-Official Presentation Wares:
The buyers' primary hypothesis is that these cups were not regular bureaucratic orders. Instead, they argue the pair represents a private commission by high-ranking regional leaders or wealthy salt merchants meant as an imperial gift. Because these presentation pieces were executed outside the direct oversight of the palace's strict calligraphic checkers, subtle formatting errors were tolerated.
Food for Thought:
The Limits of Expertise, "Minyao," and the Image Trap
This brings us to a critical, systemic issue in the antique porcelain world that every collector must ponder: What happens when a piece steps outside the textbook definitions, and how do we actually judge it?
While official imperial kilns (Guanyao 官窑) followed strict, documented blueprints, China was home to thousands of regional, provincial, and private kilns known as Folk or Private Kilns (Minyao 民窑). Relying strictly on "expert experience" to judge a true Minyao piece is incredibly difficult—if not downright impossible—unless it is a highly common, "open door" (一眼真) object of daily use by regular citizens. For high-end, customized luxury wares produced by these thousands of private kilns, there are simply no standard textbooks or referenced museum pieces to look at. An expert, no matter how seasoned, may be looking at a unique commission they have quite literally never seen before in their lifetime.
Compounding this difficulty is our modern reliance on digital auction catalogs. In this field, it is a fatal mistake to rely solely on high-resolution images to pass judgment on complex items. Unless an object is a textbook, glaringly obvious "open door" piece, a photograph cannot capture the true essence of porcelain. Digital lenses heavily distort the subtle color gradients of underglaze blue, alter the perceived depth of a glaze, and flatten the tactile weight and three-dimensional texture of the porcelain paste.
True connoisseurship requires a literal "hands-on" (上手 - shangshou) examination. A piece that looks flat or clumsy on a computer screen might reveal spectacular, silky, jade-like "mutton-fat" maturity and historical presence when rotated in the palm of an expert's hand.When an object is under 500 years old, science remains silent, images deceive, and historical templates for private kilns do not exist. This is exactly why some items require a collaborative panel of multiple experts debating back and forth to reach a subjective, democratic final determination.
Conclusion
The debate over these cups encapsulates why the Chinese porcelain market is so uniquely high-stakes. One camp sees a highly skilled early-20th-century Republic artisan fabricating a copy from an imperial blueprint. The other camp sees a rare, non-standardized milestone of 18th-century tribute history.
I trust both camps have people who flew out and examined the piece in person. Especially the buyers, who almost certainly sent their representative experts to check them out. Otherwise, they would not have chased the price all the way to a staggering €300,000.
So, I leave it to the community to think: When two world-class experts hold the exact same piece of porcelain in their hands, under the exact same magnifying loupe, and come away with two completely different histories—how deep is the water really? Is a €300,000 hammer price the cost of owning an elite, unrecognized masterpiece, or is it the ultimate price for buying a beautiful, unprovable theory?
What do you guys think? Would you have backed the conservative expert view, or would you have gambled on the buyers' "tribute ware" panel?
Today, I want to share my 33rd collection post on Reddit, along with the story behind it.
My journey with Japanese cloisonné began 34 years ago. My wife and I were immediately captivated by the incredible beauty and craftsmanship of the medium, and we have gathered almost 40 pieces over the decades.
Today, I want to focus on a very special subset of our collection: ceramic cloisonné (Totai Shippo).
What drew me to Totai Shippo 28 years ago was how it moves beyond the flashy brilliance of traditional metal-based cloisonné. It perfectly balances the gorgeous, intricate wirework of traditional enamel with the warm, tactile texture of ceramics, resulting in an incredibly delicate artistic expression.
This specific collection took us over 28 years to piece together.
The teapot you see here was the very beginning of that journey, back in August 1998. My car overheated and broke down on my morning commute. While waiting for the repairs, I wandered into a nearby antique store in Tustin, California. There, I spotted this teapot and bought it for $300. The shop owner estimated it was made around 1885 during the Meiji Period.
When I brought it home, my wife absolutely loved it, and it quickly became her favorite piece. As those who read my earlier posts know, my wife is an artist and has a very sharp eye for beauty. That single roadside breakdown completely sparked our lifelong passion for Totai Shippo.
At the very beginning of our journey, we actually had the chance to buy a complete, factory-matched 7-piece set identical in style to my teapot for $1,200 from a auction house. We seriously thought about buying it, but we realized that doing so would strip away the true joy of collecting. We decided to let things happen naturally—only buying a piece if we crossed paths with it by fate, rather than rushing just to possess it. Over the next 28 years, we slowly accumulated this group of ceramic cloisonné along with over a dozen beautiful Japanese cloisonné teapots.The pieces in my collection are not a factory set; they do not come from the same period or the same workshop. They are individual pieces crafted using similar techniques by different artisans across different eras. Hunting for them this way brought a completely different kind of joy.
The $4,500 Full-Circle Moment:
I recently came across an online listing (included as the last screenshot in my gallery) while i was doing research for my collection showing a complete, pristine 7-piece matching set identical to the style we passed up 28 years ago. It is currently listed for $4,500! The set is listed on the 1stdibs website: https://www.1stdibs.com/furniture/asian-art-furniture/metalwork/japanese-cloisonne-enamel-ceramic-tea-set-of-7-pcs/id-f\_42731412/ It’s fascinating to see how the market value has appreciated over nearly three decades.
My assembled group actually has several more individual pieces than that set, but its market value is likely much lower because it isn't matching. To us, that doesn't matter. This journey has taught us the art of letting go. Collecting isn't about mere ownership or financial tags; it’s about the experience, the hunt, the enjoyment you collected another piece, and the appreciation of the craft.
Here is a detailed breakdown of the pieces I've gathered over the decades. The image shows the complete group of Totai Shippo gathered over 28 years, showing the unifying turquoise palette across various forms. Since this sub reddit is allowed to post only one image, please go to r/antiques if you want to see more detailed item images. The group consists of:
The Teapot - The 1885 piece that started it all. It features a stunning heart-shaped floral panel outlined in hair-thin silver wire (Yuusen Shippo).
The Tea Cups & Creamer - A closer look at the cups, saucers, and small creamer pitcher. Notice how beautifully they match the aesthetic of the formal set.
Covered Box with Peach Finial (Kogo) - A beautiful incense or trinket box topped with a molded ceramic peach knob, a symbol of longevity.
Flat Trinket Box - A slightly flatter, round box featuring a dynamic butterfly and a traditional geometric floral emblem.
Pair of Miniature Ginger Jars (Chatsubo) - These feature striking black-ground medallions enclosing delicate floral sprays, creating a brilliant contrast against the turquoise body.
Large Baluster Vase - The centerpiece anchoring the collection. It utilizes a complex three-tiered color zone layout with a regal black neck and base.
I would love to hear your thoughts! Does anyone else here collect Totai Shippo?
Picked this ceramic Christmas church up at a thrift store for $5. It was completely silver, so I gave it a makeover.
I spray painted it brown, painted the pine trees green and the bows red, then dry-brushed it with gold (some areas heavier than others) to give it an aged look. I added glitter, glued broken glass shards into the windows for a stained-glass effect, and replaced the bulbs.
One thing has me stumped; there are three small holes in the back of the roof. Does anyone know what they were originally for? Ventilation? Hanging something? Curious if anyone has seen this before.
Gey all! I’m trying to figure out who created this beautiful mug? I added the photo of the makers mark. And also does it have value? Thanks! (The white stuff are candles lol)
Hello, I purchased this beautiful flask from goodwill online, and it is huge! I was expecting something palm sized, but it’s 12x8 inches easily. Anyway, I’ve had no luck finding info on the artist, so hoping I can find some here.
Saw this set on eBay a few years ago but someone else bought it, I still think about it from time to time. Would love to find out more and buy a set myself.
I have been given this piece by my grandmother, who got it from her great-aunt. The manufacturer label on the bottom has worn off, and I can't find a match to it through reverse image searching. It is about 7" by 9". My grandmother told me it is about 160 years old and might have come from Germany. If anyone can help me find more information on it, I would appreciate it.
Hi everyone! Can someone help me find this exact bowl? My mom bought two of these in 1999 or 2000 at a flea market in Los Angeles for $1 each and, unfortunately, they both broke recently :(( huge sentimental value for us.
I’ve tried to Google Lens this, but all of them are either too wide or too narrow at the lip. It’s about 8 inches across and 3 inches tall. Around 445g in weight.
Thank you for any help! Currently trying to repair it with ceramic glue, but I’m not sure if it’s actually food safe like it claims.
Newbie here. Does this look like a Don Reitz signature? Picked this up at a yard sale for $4 bucks. Thanks in advance.
I'm looking for any photos of Hampshire Pottery hotel ware. It was produced post ww1 to 1923. I'm trying to find pictures of base markings, or something to help identify a covered dish I purchased.