Kangxi Dragon Charger with Wucai Enamels

A Chinese Wucai/famille verte dragon charger; Kangxi period…
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A Chinese Wucai/famille verte dragon charger; Kangxi period (1661-1722); decorated to the front with dynamic four-clawed dragon in wucai enamels chasing a gilded flaming pearl, the reverse with an underglaze blue ruyi mark within a double circle. 6.5 cm high, 35.25 cm diameter; Provenance: The Estate of Hylton G Grimmer

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  • Charger - A charger is a type of large plate, typically used as a decorative base for smaller plates or bowls. They are often used in formal settings, such as at a banquet or a special occasion.

    The history of chargers can be traced back to medieval times, when they were used as a base for serving dishes in banquet settings. They were typically made of metal, such as silver or pewter, and were highly decorative, often featuring intricate engravings or designs.

    During the Renaissance period, chargers began to be made of porcelain, and their designs became more ornate. They were often used in the homes of the wealthy and were considered a symbol of wealth and status.

    In the 18th and 19th centuries, chargers were produced in great numbers by European porcelain manufacturers, and they were exported to America and other parts of the world. They were highly sought after by the upper class and were often used as a decorative element in formal table settings.
  • Gilding - Gilding is a method of ornamentation whereby a thin sheet of gold metal is applied to items made of wood, leather, ceramics, glass and silver for decorative purposes.

    For furniture including mirrors, the sheet of gold is usually applied over a coating of gesso. Gesso is a mixture of plaster of Paris and gypsum mixed with water and then applied to the carved wooden frames of mirrors and picture frames as a base for applying the gold leaf. After numerous coats of gesso have been applied, allowed to dry and then sanded a coat of "bole", a usually red coloured mixture of clay and glue is brushed on and allowed to dry, after which the gold leaf is applied. Over time parts of the gilding will rub off so the base colour can be seen. In water gilding, this was generally a blue colour, while in oil gilding, the under layer was often yellow. In Victorian times, gilders frequently used red as a pigment beneath the gold leaf.

    Metal was often gilded by a process known as fire gilding. Gold mixed with mercury was applied and heated, causing the mercury to evaporate, the long-term effect of which was to kill or disable the craftsman or woman from mercury poisoning. The pursuit of beauty has claimed many victims, not the least of which were the artists who made those pieces so highly sought after today.

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