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.

08/06/2026

A charming group of sweetmeat dishes (mukozuke) all published in our ‘Kosometsuke & Shonzui’ exhibition*.

Crafted during the Tianqi period (1621–1627) at the famous Jingdezhen kilns, these dishes were made especially for the Japanese tea ceremony market.

Each piece is selected for its rarity - in fact, no other examples of the pair of horses with this design are known to be recorded.

All available on our website, click the link in our bio to explore more, or send us a message.

*no. 22 - elephant, no. 23 - buffalo, no. 24 - two horses, no. 25 - Buddhist lion, no. 26 - shell.



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精选自我们《古染付与祥瑞》展览的一组精美向付(小食碟)。
这些向付瓷器皆烧制于明天启年间(1621–1627年)的景德镇名窑,是专门为日本茶道市场倾力打造的实用珍品。
每件器物皆因其罕见性而被悉心甄选,事实上,目前尚未见诸于任何关于同款双马纹饰设计的公开记载。

现已全部上架我们的官方网站。点击主页链接探索更多内容,或直接私信我们了解详情。

02/06/2026

Natalie presents a spectacular piece of imperial history that was featured as No. 7 in our landmark centenary exhibition: a Chinese imperial porcelain iron-red dragon bowl (wan), Kangxi mark and period (1662-1722).

This thinly potted bowl features exceptionally crisp painting on the exterior, depicting two five-clawed iron-red enamel dragons. Each is captured in dynamic pursuit of a flaming pearl among ruyi-clouds and bursts of flame. Notice how the dragons’ eyes are subtly heightened in black enamel to give them a fierce, lifelike intensity.

The flaming pearl represents wealth, while the imperial dragon’s pursuit of it beautifully symbolises the Emperor’s own wish for longevity.

Measuring 15.7 cm in diameter, this bowl boasts a wonderful provenance. It was formerly in the collection of R. I. C. Herridge, Esq., and sold by Sotheby’s Hong Kong in 1978. It was then sold by Marchant in August 1979, passing into a distinguished English private collection in Holland Park, London, where it was preserved by family descent until it sold in Hong Kong again in 2019.

A closely related imperial example is housed in the permanent collection of the Palace Museum, Beijing.

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Natalie 为您呈现一件曾作为我们百年庆典展览中第7号展品的宫廷御制重器:大清康熙年制款及年代(1662-1722)的矾红双龙戏珠纹碗。

此碗胎体轻薄,外壁彩绘极为精细传神。画面展现了两条五爪矾红御龙在如意云纹与火焰间奋力追逐火珠的矫健雄姿。细观其龙眼,特以黑彩点睛,使神龙尽显威严逼真之感。

在宫廷图像学中,宝珠象征着财富,而御龙对宝珠的追逐则完美地寓意着皇帝本人对万寿无疆的祈愿。

该碗直径15.7厘米,流传有序,来源不凡。其曾为 R. I. C. Herridge 先生珍藏,并于1978年经香港苏富比售出。随后于1979年8月由马钱特售出,后入藏伦敦荷兰公园一处显赫的英国私人收藏,由家族后人悉心承袭,直至2019年再次于香港释出。

北京故宫博物院中亦珍藏有一件与之高度相似的御制范例。

21/05/2026

Stuart Marchant presents a superb Kangxi blue and white baluster vase (guanyin zun), circa 1700.

Standing at an impressive 43 cm high, this magnificent vessel serves as a dynamic canvas for Daoist mythology and blessings.

The front of the vase comes alive with legendary Immortals.

The reverse is equally extraordinary, inscribed with thirty distinct “fu” (blessing) characters framing the central phrase, “bai fu cheng xiang “ - “hundreds of blessings, longevity, and happiness.”

For the first time, we have aligned this highlight piece with an article sent directly to our newsletter subscribers.

If you want to further explore the significance of this piece, the specific iconography of the Immortals depicted here, or learn a little more about the provenance, check your inbox or tap the link in our bio to subscribe to future newsletters.

马钱特(Stuart Marchant)为您呈现一件约1700年的康熙青花观音尊杰作。
此尊高达43厘米,气势恢宏,堪称展现道教神话与祈愿祝福的动态画布。
尊身正面描绘了多位传奇道教人物栩栩如生。
器身背面同样瞩目,饰有三十个字形各异的“福”字,并环绕着核心吉语“百福呈祥”,寓意福寿绵长、吉祥如意。
值此之际,我们首次将本周的焦点藏品与一篇文章相结合,并已直接推送给我们的专属通讯(Newsletter)订户。
如果您想进一步探究这件藏品的非凡意义、画中仙人的特殊图像学意涵,或是了解更多关于其流传有序的背景,欢迎查收您的邮箱,或点击我们主页的链接,订阅未来的专属通讯。

20/05/2026

✨Just added to our display at the gallery and not yet on our website! ✨

Chinese porcelain wucai, ko-akai lobed plate, painted with a scholar leaning on a fence while his attendant carries a plant, all on a rocky promontory beside a lake with lotus flowers, leaves and plants and beside an overhanging willow tree.

The base with a four-character mark of tian xia taiping, “happiness and universal peace” within a double square and within a single underglaze blue ring.
Tianqi/Early Chongzhen, circa 1630.
21 cm diameter.
Inventory no. M4892.

13/05/2026

The Ultimate Imperial Blessing: Nine Peaches for Eternity

Covered in a radiant lemon-yellow ground, this imperial Qianlong period dish (1736–1795) is a masterclass in porcelain symbolism and craftsmanship.

At the heart of the design are nine peaches (jiutao), forming the rebus jiutao xianshou: “nine peaches offering longevity.”

• Jiu (nine): A pun for “eternity” and the highest yang (male principle) number, representing the Emperor himself.
• Morning Glory: Wrapping the underside, these scrolling vines date back to the Yuan dynasty. Beyond their beauty, their seeds were traditionally prized for healing properties - doubling the dish’s wish for health and long life.

This piece carries a storied history, having resided in the prestigious American collections of Harry Nail and John Yeon, as well as appearing at Christie’s New York (2007) and Marchant’s 2008 exhibition.

With sister pieces held in the , and the (Percival David Collection), this dish is a true Imperial beauty. Note the “heaped and piled” effect on the underglaze blue painting - a deliberate technique used to mimic 15th-century Ming wares, showcasing the Emperor’s profound respect for antiquity.



清乾隆(1736–1795) 黄地青花九桃盘

此盘通体施娇艳明亮的柠檬黄釉,盘心以青花绘九枚寿桃,构成寓意吉祥的“九桃献寿”图样,堪称乾隆御瓷中兼具象征意味与高超工艺的代表之作。

“九”与“久”谐音,寓意福寿绵长;同时,“九”为阳数之极,亦象征皇权至尊。寿桃自古为长寿象征,九桃并陈,更强化了延年益寿、万寿无疆的祝愿。外壁饰缠枝牵牛花纹,此类纹样最早可追溯至元代青花瓷传统。除其繁缛优雅的装饰效果外,牵牛花籽在传统医学中亦被视具药用价值,从而进一步深化了健康长寿的吉祥寓意。

此器来源显赫,传承有序,曾为美国重要藏家 Harry Nail 及 John Yeon 递藏,后出现于 2007 年纽约佳士得拍卖,并载录于 2008 年马钱特(Marcha

Standing at 47 cm (18 ½ inches) high, these early Kangxi period garden seats (zuodun) feature a vibrant apple-green glaz...
06/05/2026

Standing at 47 cm (18 ½ inches) high, these early Kangxi period garden seats (zuodun) feature a vibrant apple-green glaze contrasted by rich amber and high-relief studs.

The classic form with a pierced interlocking drum design can be found in related examples held in the Palace Museum, Beijing, and the Percival David Foundation at the British Museum.

Formerly in a French private collection formed between 1924–1941, and published in the 2023 Marchant exhibition, “Kangxi Biscuit and Pottery,” no.25, this pair is a rare example of the 17th-century craftsmanship of its type.

It is an incredible feat that these stools have survived as a pair with only minor chip restorations. Given their immense weight and originally utilitarian use, surviving four centuries with such structural integrity is a true testament to their quality and the care of their collectors.

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這對清康熙早期的五彩素三彩鼓釘坐墩,高 47 釐米(18 ½ 英寸)。器身施以明亮的蘋果綠釉,兩端則飾以濃郁的琥珀釉,並綴有高浮雕鼓釘紋。

此類開光鏤空鼓式坐墩的經典造型,可見於北京故宮博物院及大英博物館大維德基金會的相關館藏。

這對坐墩來源卓越,曾為 1924 年至 1941 年間成書的重要法國私人收藏,並收錄於 2023 年馬錢特(Marchant)「康熙素三彩與陶器:法國私人珍藏」展覽(編號 25)。

鑑於此類坐墩器體沉重且具實用性質,歷經四個世紀仍能以成對形式存世,且僅有微小局部修補,實屬難得,充分體現了其卓越的品質與歷代藏家的悉心呵護。

17thcenturyart

05/05/2026

Chinese spinach jade large double trunk spill-holder, naturalistically carved with a standing crane and a standing phoenix bird amongst openwork branches of pine and prunus in high relief, above further branches of bamboo and lingzhi fungus, the underside also naturalistically carved as a gnarled trunk.

Early Qianlong, circa 1740.
6 inches, 15.2 cm high
Fitted antique wood stand

* Sold by Sotheby’s London in their auction of Fine Chinese Ceramics, Jades and Works of Art, 6th December 1994, lot 81.
*Formerly in an English private collection, East Anglia.

30/04/2026

Rare, refined, and deeply symbolic - this piece is a true testament to the best production of of ‘high Qing’ Chinese porcelain.

This censer would have been the centerpiece of a five-piece garniture (wu gong). In the Qing dynasty Imperial courts, these sets, consisting of a censer, two vases, and two candleholders - were the focal point of ritual worship. As the central vessel, the censer held the burning incense, its smoke rising, to bridge the gap between the earthly and the divine.

It features the complex doucai (“joined colors”) technique, where underglaze blue outlines meet vibrant overglaze enamels and the body is adorned with the Eight Auspicious Buddhist Emblems, the Bajixiang and the rim bears a six-character seal mark of the Qianlong emperor, marking it for official Palace use.

Formerly in an English private collection in North Yorkshire and included in the Marchant Centenary Exhibition (no. 23, 2025).

The Eight Emblems (Bajixiang) represent:
1. ☸️ The Wheel: The Buddha’s teachings.
2. 🐚 The Conch: The call to awaken.
3. ⛱️ The Parasol: Protection from suffering.
4. 🚩 The Victory Banner: Triumph over ignorance.
5. 🪷 The Lotus: Purity of mind and body.
6. 🏺 The Vase: Spiritual abundance.
7. 🐟 The Twin Fish: Fearlessness and freedom.
8. ♾️ The Endless Knot: Infinite wisdom and harmony.

🏛️ 大清乾隆斗彩八吉祥纹三足炉
稀有、精致且寓意深远——此件三足炉是“康乾盛世”时期御窑制瓷工艺的巅峰之作。

**【祭祀之魂:五供之首】**
此炉曾是一组五供(香炉,供瓶两件,烛台两件)中的核心器物。在清代宫廷中,五供是皇家祭祀仪式中的视觉中心。作为整套器物的主位,香炉承载着升腾的香烟,被视为连接凡间与神圣境界的桥梁。

**【匠心工艺:斗彩艺术】**
本品采用复杂的“斗彩”工艺制作,先以釉下青花勾勒轮廓,再填入绚丽的釉上五彩。炉身绘有佛教“八吉祥”纹饰,口沿处横书“大清乾隆年制”六字青花篆书款,彰显其纯正的皇家御用血统。

**【流传有序】**
此器原为北约克郡英国私人藏家旧藏,现收录于马钱特百周年庆典特展(2025年,第23号展品)。
**【八吉祥及其寓意】:**
1. ☸️ **法轮**:佛法不息,代代相传。
2. 🐚 **法螺**:妙音吉祥,觉醒人心。
3. ⛱️ **宝伞**:张弛自如,曲覆众生。
4. 🚩 **胜利幢**:解脱贫病,战胜烦恼。
5. 🪷 **莲花**:出尘清净,圣洁无暇。
6. 🏺 **宝瓶**:福智圆满,财源恒具。
7. 🐟 **金鱼**:活泼健康,自由丰足。
8. ♾️ **盘长**:回环贯彻,长乐永康。

28/04/2026

This Wanli period (1573–1619) panel is a formidable rarity. To find a Ming dynasty cloisonné of this scale and complexity in excellent condition is a feat in itself.

Having been cherished for hundreds of years, this piece remains remarkably intact, with only minor restoration that honours its original brilliance.

Large rectangular panels are significantly harder to find than circular forms, making this a cornerstone for any serious collection.

Its rarity is confirmed by its twin in the Linden-Museum, Stuttgart. Provenance from an important French collection and also included in our Centenary publication, Marchant – One Hundred Years.

这件万历时期(1573–1619)的掐丝珐琅挂屏堪称传世精品。能发现如此体量且工艺复杂的明代掐丝珐琅,并保持极佳的品相,实属难能可贵。

历经数百年的珍藏,此作整体保存得惊人地完好;仅有极少量的修补,展现了其十六世纪的艺术原貌。

相比于常见的圆盘,大型长方形挂屏的存世量极为稀少,使其成为资深收藏家眼中不可或缺的重器。

此件作品的稀有性在其馆藏级的参照中得到了印证:斯图加特林登博物馆(Linden-Museum)亦藏有与之几乎完全相同的作品。此屏出自法国重要私人收藏,并收录于我们的百年庆典出版物《马钱特——百年珍藏》(Marchant – One Hundred Years)中。

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