View allAll Photos Tagged fireback
Taman Negara National Park, Peninsula Malaysia, Malaysia. Female.
NEAR THREATENED
See the IUCN Red List of Threatened Species listing here: www.iucnredlist.org/species/22727445/94949227
4 kinds of Pheasants in a few hours at Phu Luang
Wildlife Sanctuary. 2017.07.23
Red Junglefowl 4, Silver Pheasant 3, Green peafowl 4, Siamese Fireback 7
Siamese Fireback along Kajo Kaew road, Khao Yai National Park, Thailand, 130216. Lophura diardi. Galliformes: Phasianidae.
For a more detailed description of PhuKieo wildlife sanctuary visit my blog here: www.birdsthatfart.com/1/post/2013/08/phukhieo-wildlife-sa...
Location: Peninsular Malaysia
Range: Endemic to Peninsular Malaysia and Sumatra only.
IUCN Red List: Critically Endangered.
Information: A rare, compact pheasant of damp tropical lowland rainforest, especially peat swamp forest. Dark overall with bright red facial skin and a cocked, vertically-flattened tail. Males have fine vermiculations on the wings, deep orange (fire)back, purple rump and pale orange tail. Females are dark blue all over. Exceedingly shy, typically moving in pairs or small groups. Female is similar to Salvadori’s Pheasant male but the 2 species do not normally co-occur and the latter has often has its tail pointing downwards. Gives a relatively high-pitch “chick!” followed by a low “takrow”.
Source: eBird
Name: Crested fireback (male)
Scientific: Lophura ignita
Malay: Ayam Pegar / Ayam Pegar Mata Biru / Bornean Crested Fireback / Burung Pegar
Family: Phasianidae
IUCN Red List (v3.1, 2020): Vulnerable
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Maker: A.A.E. Disderi (1819-1889)
Born: France
Active: France
Medium: albumen print from wet plate collodion negative
Size: 2.25" x 4"
Location: France
Object No. 2022.176a
Shelf: E-19
Publication:
Other Collections:
Provenance: idlejake
Rank: 35
Notes: William Alexander Archibald Hamilton, 11th Duke of Hamilton and 8th Duke of Brandon (19 February 1811 – 8 July 1863) styled Earl of Angus before 1819 and Marquess of Douglas and Clydesdale between 1819 and 1852, was a Scottish nobleman and the Premier Peer of Scotland. He was the son of Alexander Hamilton, 10th Duke of Hamilton and Susan Euphemia Beckford, daughter of English novelist William Beckford. He was educated at Eton and Christ Church, Oxford. He was Knight Marischal of Scotland from 1846 and Lord Lieutenant of Lanarkshire from 1852 until his death. Though he had married in 1843, the duke did not succeed to his title until 1852. In that year, he purchased the house located at 22 Arlington Street in St. James's, a district of the City of Westminster in central London from Henry Somerset, 7th Duke of Beaufort for £60,000. The duke lavished expenses on the house for approximately a decade, including installing iron firebacks with his coronet and motto. Upon his death, the house passed to his widow who sold it to Ivor Guest, 1st Baron Wimborne via auction in 1867.
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Pheasants are birds of several genera within the family Phasianidae in the order Galliformes. Although they can be found all over the world in introduced (and captive) populations, the pheasant genera native range is restricted to Eurasia. The classification "pheasant" is paraphyletic, as birds referred to as pheasants are included within both the subfamilies Phasianinae and Pavoninae, and in many cases are more closely related to smaller phasianids, grouse, and turkey (formerly classified in Perdicinae, Tetraoninae, and Meleagridinae) than to other pheasants.
Pheasants are characterised by strong sexual dimorphism, males being highly decorated with bright colours and adornments such as wattles. Males are usually larger than females and have longer tails. Males play no part in rearing the young.
A pheasant's call or cry can be recognised due to the fact it sounds like a rusty sink or valve being turned.
Pheasants eat mostly seeds, grains, roots, and berries, while in the summer they take advantage of insects, fresh green shoots, spiders, earthworms, and snails. However, as an introduced species, in the UK they are a threat to endangered native adders.
The best-known is the common pheasant, which is widespread throughout the world, in introduced feral populations and in farm operations. Various other pheasant species are popular in aviaries, such as the golden pheasant (Chrysolophus pictus).
Etymology
According to the Oxford English Dictionary, the word "pheasant" ultimately comes from Phasis, the ancient name of what is now called the Rioni River in Georgia. It passed from Greek to Latin to French (spelled with an initial "f") then to English, appearing for the first time in English around 1299.
Species in taxonomic order
This list is ordered to show presumed relationships between species.
Subfamily Phasianinae
Tribe Ithaginini
Blood pheasant (genus Ithaginis)
Blood pheasant (I. cruentus)
Tribe Pucrasiini
Koklass (genus Pucrasia)
Koklass pheasant (P. macrolopha)
Tribe Phasianini
Long-tailed pheasants (genus Syrmaticus)
Reeves's pheasant (S. reevesi)
Elliot's pheasant (S. ellioti)
Mrs. Hume's pheasant (S. humiae)
Mikado pheasant (S. mikado)
Copper pheasant (S. soemmerringi)
Ruffed pheasants (genus Chrysolophus)
Golden pheasant (C. pictus)
Lady Amherst's pheasant (C. amherstiae)
Typical pheasants (genus Phasianus)
Green pheasant (P. versicolor)
Common pheasant (P. colchicus)
Caucasus pheasants, Phasianus colchicus colchicus group
White-winged pheasants, Phasianus colchicus chrysomelas/principalis group
Prince of Wales pheasant, Phasianus colchicus principalis
Mongolian ring-necked pheasants or white-winged ring-necked pheasants, Phasianus colchicus mongolicus group
Tarim pheasants, Phasianus colchicus tarimensis group
Chinese ring-necked pheasants, Phasianus colchicus torquatus group
Taiwan pheasant, Phasianus colchicus formosanus
Cheer pheasant (genus Catreus)
Cheer pheasant (C. wallichi)
Gallopheasants (genus Lophura)
Kalij pheasant (L. leucomelanos)
White-crested kalij pheasant (L. l. hamiltoni)
Nepal kalij pheasant (L. l. leucomelanos)
Black-backed kalij pheasant (L. l. melanota)
Black kalij pheasant (L. l. moffitti)
Black-breasted kalij pheasant (L. l. lathami)
William's kalij pheasant (L. l. williamsi)
Oates' kalij pheasant (L. l. oatesi)
Crawfurd's kalij pheasant (L. l. crawfurdi)
Lineated kalij pheasant (L. l. lineata)
Silver pheasant (L. nycthemera)
Imperial pheasant (L. imperialis)
Edwards's pheasant (L. edwardsi)
Vietnamese pheasant (L. hatinhensis)
Swinhoe's pheasant (L. swinhoii)
Salvadori's pheasant (L. inornata)
Hoogerwerf's pheasant (L. i. hoogerwerfi)
Malayan crestless fireback (L. erythrophthalma)
Bornean crestless fireback (L. pyronota)
Bornean crested fireback (L. ignita)
Lesser Bornean crested fireback (L. i. ignita)
Greater Bornean crested fireback (L. i. nobilis)
Malayan crested fireback (L. rufa)
Siamese fireback (L. diardi)
Bulwer's pheasant (L. bulweri)
Eared pheasants (genus Crossoptilon)
White eared pheasant (C. crossoptilon)
Tibetan eared pheasant (C. harmani)
Brown eared pheasant (C. mantchuricum)
Blue eared pheasant (C. auritum)
Subfamily Pavoninae
Tribe Pavonini
Crested argus (genus Rheinardia)
Vietnamese crested argus (R. ocellata)
Malayan crested argus (R. nigrescens)
Great argus (genus Argusianus)
Great argus (A. argus)
Tribe Polyprectronini
Peacock-pheasants (genus Polyplectron)
Bronze-tailed peacock-pheasant (P. chalcurum)
Mountain peacock-pheasant (P. inopinatum)
Germain's peacock-pheasant (P. germaini)
Grey peacock-pheasant (P. bicalcaratum
Hainan peacock-pheasant (Polyplectron katsumatae)
Malayan peacock-pheasant (P. malacense)
Bornean peacock-pheasant (P. schleiermacheri)
Palawan peacock-pheasant (P. emphanum)
Down in the basement of Newark House, next to the kitchen, was the servants social room in which this Tudor fireplace is set into a 6 feet thick wall with its arch firmly stapled to hold it in position; the fireback is dated 1634.
The floor is of the original flagstones from when the house was first built. To the left of the fireplace is a door opening to the steps leading down into the cellar, where there is the well which supplied the water for the house.
Malayan Crested Fireback - Lophura rufa
Vulnerable (IUCN 3.1)
Taman Negara National Park, Pahang, Malaysia, 10\25\2023
Spent a lovely afternoon with my WFC friends ~ beautiful location, gorgeous weather and fabulous company as always.. thanks to everyone for a wonderful day :-) xx **so thrilled that this photo was chosen as Picture of the Week in the Wales on Sunday (8th Dec 2013) ~ a first for me ! :-)
St Fagans Castle is a Grade 1 listed building and one of the finest Elizabethan manor houses in Wales, though much of the interior was remodelled during the 19th century. In 1946 the Castle, together with eighteen acres of land, was donated by the Earl of Plymouth to the National Museum of Wales as a site for a national open-air museum.
The present house was begun by a local lawyer, Dr John Gibbon, in 1580, though he may never have actually lived here. The house and estate were purchased in 1616 by Edward Lewis of Y Fan, Caerphilly, and it was Edward and his wife Blanche who completed many of the internal fittings of the building in 1620. Their initials EBL and the date 1620 can be seen on panelling and on firebacks within the building. The Lewis heiress Elizabeth married Other, 3rd Earl of Plymouth in 1730, and the estate was inherited by their infant son in 1736.
The house was rented out to various tenants during the 18th century, and was later used for temporary accommodation by local people, including the local schoolmaster, who kept school in the withdrawing room.
In 1850 a huge refurbishing scheme was begun to provide a home for the heir to the Plymouth estate, Robert Windsor-Clive, and his new bride. They married in 1852 but lived in St Fagans for a short time only, until his early death. It was not until later in the century that St Fagans was to see a family living within its walls. From the mid-1880s Lord Robert Windsor, later to be Earl of Plymouth, spent part of every summer at St Fagans with his wife, three sons and daughter, and their many guests. The rooms are furnished to reflect the lives of the family in residence at the beginning of the 20th century.
(lophura diardi) The Siamese Fireback is distributed to the lowland and evergreen forests of Cambodia, Laos, Thailand and Vietnam in Southeast Asia. This species is also designated as the national bird of Thailand.
(lophura diardi) The Siamese Fireback is distributed to the lowland and evergreen forests of Cambodia, Laos, Thailand and Vietnam in Southeast Asia. This species is also designated as the national bird of Thailand.
The Drewe Arms pub named after the lords of the manor , at the entrance to the church of St Andrew Broadhembury
The rear is also extremely pretty www.flickr.com/gp/52219527@N00/2V20t7ja34
Part of the Broadhembury Estate it of creamwashed rendered cob and stone; The core of the house is a late medieval open hall at the thatched (south-east) end of the main range. The passage and lower end was partly rebuilt in the early /mid 18c with different floor levels possibly following a fire. The higher (left) end retains one massive smoke-blackened jointed cruck truss with a later roof structure above it, the inner room may always have been storeyed, it retains a fine circa early 16c window on the front and was lined with linenfold panelling. The hall was probably floored in the 17c with a stack introduced backing on to the passage and a ceiling of intersecting beams. The rear wing may have been added at the same time, it retains one principal of a curved foot truss which had a mortised collar. The ground floor of the lower end is now the cellar, with steps down from the through passage and 2 C18 rooms on the first floor, one very large with a massive chimney-piece. A straight stair rises against the rear wall of the lower end from the through passage, a second stair rises adjacent to the passage within the higher end. The inner room has been subdivided axially into 2 rooms, and these 2 rooms, with the C17 hall are the public rooms of the public house and have entirely escaped brewery modernization. The only comparable unspoiled public house interior in Devon is the Drewe Arms at Drewsteignton. Exterior: 2 storeys. Asymmetrical 4 window front with regular fenestration. The eaves thatch is eyebrowed over the 2 left hand first floor windows, lower roofline to the slated lower end at the right. Probably C16 gabled porch to the through passage at the left of the slated block: the porch has a wide segmental arched outer doorway, a cusped slit window on the right return, slate-topped porch seats, a wide moulded, timber inner doorframe with urn stops, a Tudor arch and a large C17 or C18 plank door. The ground floor window left, lighting the former inner room, is a fine C16 stone mullioned window with a moulded frame and mullions, carved spandrels, saddlebars and stanchions. It is glazed with square leaded panes. To the left of the porch, lighting the hall, a tall 4-light casement with square leaded panes with a smaller similar window above, first floor left is a 3-light C20 timber casement with glazing bars. The right hand block, slightly set back, has deep eaves and 2 first floor early/mid C18 paired 18-pane sashes with thick moulded glazing bars, the right hand window with a moulded frame. A fine, possibly C18 wrought iron inn sign incorporates a probably later lamp and armorial bearings crowned with a lion rampant. A probably C18 ramped ashlar stone wall adjoins the pub at the right enclosing the rear courtyard. Interior: The lower side screen of the through passage is probably C19 with chamfered muntins. The C17 hall has an open fireplace, the fireback re-lined in brick, with a chamfered lintel with mason's mitres. The front part of the room has a ceiling of chamfered intersecting beams. The inner room is divided axially into 2 with a cross beam surviving in the rear room only. A disused hatch survives between the 2 smaller rooms. The front room is plain. The lower end rooms, now with public house cellar, are unheated with chamfered crossbeams. A small section of linenfold panelling survives on the partition wall of the higher end stair. On the first floor, the 2 C18 rooms of the lower end have massive chimney-pieces, the right hand room is very large and must have been used for public functions; the chimney-piece has a broken pediment and carved heads, the smaller room has an Adam style chimney- piece with very large-scale detail. Roof: One medieval side-pegged jointed cruck truss of massive scantling survives over the hall. No access to apex at time of survey but there is evidence of a soot crust on the timbers. The front purlins have been truncated to accommodate the window. The rear wing retains the remains of a curved foot truss of circa mid C17 date. The lower end trusses are X apex and probably C18. In 1888 W.H. Hamilton Rogers visited Broadhembury in the course of researching the biography of Toplady, the author of 'Rock of Ages, who was vicar of Broadhembury 1768-78. He described the Drewe Arms, mentioning "an antiquated gateway to the yard in the rear". He and his companion were "ushered through several large rooms into the special parlour for strangers" - evidently the inner room - where they were refreshed with "a dainty spread and sparkling cider, a huge home-made loaf, and a roll of sweet butter, the whole evidently manufactured on the premises". The inner room is described although it is not clear whether it had been subdivided at this date: "Its dimensions are small, but the walls, from floor to ceiling, are wainscotted with multidudinous panels of oak, carved into the well-known linen pattern so much used during the reigns of the 7th and 8th Henrys, and a rich cornice of boldly-carved masks and allegorical devices runs round the top. A large stone window, consisting of a series of narrow Tudor arched openings, and defended from outside intrusion by iron lattice bars of enormous strength, throws a subdued light into the quaint old apartment." It seems likely that most of the linenfold panelling was re-used in Broadhembury House, (qv) when that building was remodelled by Harbottle Reed sometime between 1903 and 1914. An extremely interesting building, not only for high quality medieval origins but also for the C18 partial rebuilding and its very rare unspoiled pub interior. One of 8 closely-spaced medieval houses in the village.
60goingon16.typepad.com/my_weblog/2013/06/at-broadhembury...
The exterior of Dyffryn House at Dyffryn Gardens.
It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).
Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.
Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.
The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.
The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.
In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.
The house is Grade II* listed.
Location
Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.
History
Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.
Interior
Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.
Exterior
Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.
Reason for Listing
Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.
References
Information from Mrs P Moore;
Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Notes:
Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.
Source: Cadw
Listed building text is © Crown Copyright. Reproduced under licence.
South Front
English:
Crestless Fireback
Czech:
bažant červenolící
German:
Gabelschwanzfasan
Danish:
Topløs Ildryg
Spanish:
Faisán Colicanelo
Finnish:
punaperäfasaani
French:
Faisan à queue rousse
Icelandic:
Crestless Fireback
Italian:
Dorso di fuoco senzacresta
Japanese:
uchiwakiji
Japanese:
ウチワキジ
Dutch:
Vuurrugfazant
Norwegian:
Gulhalefasan
Polish:
kisciec zóltosterny
Portuguese:
Faisão-de-dorso-canela
Portuguese (Brazil):
Crestless Fireback
Russian:
Вилохвостая лофура
Slovak:
bažant červenolíci
Swedish:
släthuvad eldrygg
Chinese:
棕尾火背鹇
4 kinds of Pheasants in a few hours at Phu Luang
Wildlife Sanctuary. 2017.07.23
Red Junglefowl 4, Silver Pheasant 3, Green peafowl 4, Siamese Fireback 7
The Furness Clough Colliery and associated firebrick works was purchased by Richard Knowles in 1905. The mine produced mainly fireclay but also yielded coal for the kilns. The mine closed in 1963 but the works continued into the 1980s. A significant market at the time of my visit was firebacks exported to Saudi Arabia and several of these can be seen in front of the fork lift outside the kiln.
(lophura diardi) The Siamese Fireback is distributed to the lowland and evergreen forests of Cambodia, Laos, Thailand and Vietnam in Southeast Asia. This species is also designated as the national bird of Thailand.
I brightened this one up. I do not like gloomy pics or dark pics.
My blog is here: www.birdsthatfart.com/1/post/2013/08/phukhieo-wildlife-sa...
15th century tower house remodelled 1606 (dated); E wing added 1629; tower raised and W wing added 1670-89; NE corner wing with chapel added 1679-83 and restored 1866; W wing demolished 1775 and rebuilt 1798-1801; Baronial wing to E 1891; later 20th century modernisation by James Dunbar-Nasmith. 5-storey, L-plan main block with central stair tower and ogee caphouse, pinnacled turrets and roofwalk; 2-storey and basement, 4-bay battlemented angle wings with outer towers and corbelled turrets; lower 3-storey and attic, 7-bay crowstepped E wing and 2-storey service wing. Red sandstone.
MAIN BLOCK: coursed rubble with string courses, carved heraldic panels and windowheads, corbels, roll-moulded and chamfered arrises; stair tower of stugged squared rubble with carved band and string courses, and crenellated parapet, pilastered and corniced ashlar doorcase, corbels, roll-moulded openings and carved heraldic panels.
ANGLE WINGS: some dressed and snecked squared rubble bands; raised base course, decorative eaves cornice and battlemented parapets; trefoil-headed basement openings, architraved windows to 1st floor W, horizontal gunloops, and corbels. BARONIAL WING: rubble with corbel course and crowsteps; carved pedimented windowheads and panels, roll-moulded surrounds. REAR: coursed rubble with corbel courses and crenellated parapets, pedimented and crowstepped dormer gableheads and some pointed-arch openings.
S (PRINCIPAL) ELEVATION MAIN BLOCK: largely symmetrical. 5-storey tower with 3-stage, 3-bay round stair tower to centre in re-entrant angle, centre bay with 2 steps up to pilastered doorcase, studded timber door with iron knocker dated 1687, and carved panel with Royal Arms below circular niche containing bust of Patrick 1st Earl of Strathmore, blank 2nd stage and small corbelled turret to 3rd stage with tripartite window masked by clock face, battlemented parapet and set-back ogee caphouse with flanking tall round stacks; flanking bays with 2 vertically aligned windows and alternate carved panels to 1st and 2nd stages, windows only to 3rd stage. Bay to left of centre with small openings to ground and 1st floor below band of heraldic panels, large pedimented window and further small windows over giving way to small corbelled turret with tripartite window and larger corbelled angle turret with 3 small windows and 3 oval openings to outer left. Narrow bay to right with small window to ground and 1st floor below band (projecting into angled wing to right) with pedimented heraldic panel, further window over and tiny window close to base of corbelled angle turret as above.
SE ELEVATION MAIN BLOCK: engaged below 4th floor. 3 vertically aligned windows (that to centre with carved pediment) flanked by corbelled turrets and giving way to pierced parapet with lion-finialled, ogee-topped gazebo.
SW ELEVATION MAIN BLOCK: as SE elevation but without window pediment.
N ELEVATION MAIN BLOCK: low crenellated projections to ground and 1st floor, 5 regularly fenestrated bays to top 2 floors, those to 5th floor breaking eaves into crowstepped dormerheads except to centre which is raised to further attic window; corbelled turret to outer right angle and corbelled caphouse with arrowslit to outer left.
SE ELEVATION E WING: 4 bay elevation with 3 blinded basement openings below windows to each floor, small window between bays 2 and 3, and gunloops below parapet; 3 vertically aligned windows to conical-roofed tower at outer right and small corbelled turret to outer left angle. Return to left with variety of small asymmetrical openings to left and regular fenestration to centre and right bays.
SW ELEVATION W WING: 4 bay elevation mirrors E wing, 2 regularly fenestrated bays on return to right.
REAR (NW) ELEVATION: 3-storey and attic, 3-bay wing (with Chapel) projecting from NE of Main Block. Door with flanking windows at ground, 3 windows above and 3 4-light transomed and mullioned Chapel windows high up at 2nd floor, outer bays with further windows breaking eaves into dormer gableheads. Tall 2-storey, 4-bay wing adjoining to left with 4 tall pointed-arch openings at ground and regular fenestration above. 2-storey and attic, 8-bay later wing beyond to left, with finialled dormer windowheads and crowstepped gable with flanking turrets to outer left.
Predominantly diamond-pattern leaded glazing in 3- and 4-light casement windows to Main Block; 12- and 24-pane glazing patterns in timber sash and case windows to rear; decorative astragals to pointed-arch windows. Stained glass to Chapel and Dining Room. Grey slates. Coped ashlar stacks and ashlar-coped skews with crowsteps, moulded skewputts and stone finials. Cast-iron downpipes and decorative rainwater hoppers (some dated 1882), decorative wrought-iron roof-walk railings and finials.
INTERIOR: DINING ROOM: 1798-1801; Scotch Baronial revival interior 1851-53 by Hon Thomas Liddell. Heraldic emblems to oak panelling and stained glass; oak fireplace with paired fluted pilasters, carved frieze, cornice and overmantel with arms of 12th Earl of Strathmore; fluted pilasters and frieze to sideboard alcove and windows, latter also with decorative cresting. Fine plasterwork ceiling (originally panelled and painted with Ovid's Metamorphosis) with thistles, roses and lions. THE CRYPT: formerly lower hall of 15th century tower house. Stone flagged floor, dressed stone in vault, deeply embrasured windows, stop-chamfered and moulded jambs. 9th century stair to centre leading to ground floor entrance, further stair to well; stripped of plasterwork 19th century. DRAWING ROOM: formerly Great Hall. Vaulted, 60ft x 20ft with 8ft thick walls and 3 deeply embrasured windows, chamber to W end (well room) in wall thickness. Carved stone fireplace with paired caryatids flanking heraldic overmantel with royal arms now in heraldic colours. Plasterwork frieze and ceiling (by artist of Muchalls and Craigevar) dated 1621 with monograms of John (2nd Earl of Kinghorne) and Margaret Erskine. CHAPEL: 1679-83 (wing to NE corner), lined with Joseph de Wit panel paintings 1688, restored 1866. 4-light transomed and mullioned windows with stained glass by Kempe of London 1867-8 and 1882-3, paintings restored 1979-80 by Stenhouse Conservation Centre, Edinburgh. BILLIARD ROOM: former dining room over 16th century kitchen. 1773-1776; 1903 ceiling with monograms and coronet for 13th Earl's Golden Wedding. Carved fireplace with caryatids supporting corniced frieze and overmantel with coat of arms of the Blakistons of Gibside (from Gibside, Co Durham, seat of Bowes family). KING MALCOLM'S ROOM: plasterwork frieze and strapwork ceiling with monograms of 2nd Earl of Kinghorne and Lady Margaret Erskine, and medallion heads of Roman characters. Fireplace with Dutch tile slips, iron fireback, carved timber and embossed leather overmantel with arms of 2nd Earl above. ROYAL APARTMENTS: suite of rooms (King's Room, Queen Mother's Bedroom and Sitting Room) converted after 1923 marriage of Lady Elizabeth Bowes Lyon into royal family. Queen Mother's Sitting Room (former Tapestry Room) with stone ledge at door (possibly sentry seat) and carved oak fireplace lined with blue and white Dutch tiles and carved overmantel with inset tapestry. KITCHEN: formed from 16th century barrel-vaulted cellars; restored 1990. NEWEL STAIR: circa 1600, hollow newel containing clock mechanism
(Source: Historic Scotland)
(lophura diardi) The Siamese Fireback is distributed to the lowland and evergreen forests of Cambodia, Laos, Thailand and Vietnam in Southeast Asia. This species is also designated as the national bird of Thailand.
The exterior of Dyffryn House at Dyffryn Gardens.
It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).
Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.
Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.
The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.
The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.
In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.
The house is Grade II* listed.
Location
Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.
History
Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.
Interior
Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.
Exterior
Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.
Reason for Listing
Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.
References
Information from Mrs P Moore;
Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Notes:
Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.
Source: Cadw
Listed building text is © Crown Copyright. Reproduced under licence.
Leonardslee Lakes and Gardens
The name Leonardslee derives from the lea or valley of St Leonard's Forest, one of the ancient forests of the High Weald. In the Middle Ages the soil was too acidic for agriculture and so it remained as a natural woodland with wild animals and deer for the chase. There was extensive felling of the forest trees in the 16th and 17th centuries when the Weald became the centre of England's iron industry, producing cannon and cannonballs, firebacks, hinges, horseshoes and nails.
Most of the forest trees were felled for charcoal, which was used to reduce the ore and to generate heat to smelt it. The valley streams were dammed to provide a head of water that powered, via a water wheel, bellows that blasted air into the furnace, which was called Gosden furnace. A string of ponds was therefore created through a series of dams in the long, steep-sided valley to act as reservoirs; these would be drained as necessary to keep the flow of water going over the wheel. With the demise of the Wealden iron industry in the 17th century Gosden furnace was silenced, leaving behind the ponds, which later became a picturesque feature of the gardens, and allowing the woodlands to regenerate.
(Wikipedia)
The spectacular Great Bedchamber wasn’t for sleeping in but for the King to be dressed in public. In the Great Bedchamber the king might receive senior courtiers and ministers while dressing, a French royal custom, known as the levée. The King was attended by Gentlemen of the Bedchamber in this room, which is appropriately one of the most sumptuous in the Palace.
The Great Bedchamber was William III’s inner sanctum; access was strictly controlled by the Groom of the Stool. Those privileged to attend while the king was dressed were kept at a suitable distance behind a gilded rail.
Footstool
A set of beech and giltwood footstools with over upholstered seats. S-scroll shape legs at front and straight turned legs are the rear, all with feet of square fluted section joined by a serpentine X-frame stretcher.
•Provenance: Made c.1695-1705 and acquired by William III c. 1700.
•People Involved:
oCreator(s): English (nationality)
•Physical Properties:
oMedium and Techniques: Beechwood and gilded wood, fabric
beech; velvet; burlap
carved; gilded; upholstered; woven (gold)
oMeasurements: 47.0 x 63.5 x 49.5 cm (whole object)
Barometer
A free standing, portable barometer made c.1695-1705 contained in an ivory tapering tube with a screw-type portable cistern on a stand supported by four gilt bronze male terms. The dial at the top in three stages with inscriptions in English and French and in engraved gilt brass frames. Traces of the Royal Monogram “ЯWR” on each side.
•Provenance: Acquired by William III c. 1700. Daniel Quare made several clocks, watches and barometers for William III. He was a clockmaker and instrument maker who invented a repeating watch movement in 1680 and a portable barometer in 1695. He was a Quaker, born in Somerset c.1647, who became a Brother in the Clockmakers’ Company in London in 1671 and Master of the Company in 1708. Quare was offered but declined the Royal Warrant as a practicing Quaker he was unable to sign an oath of allegiance. Notwithstanding he was “free of the back stairs” at royal residences.
•People Involved:
oCreator(s): Daniel Quare (1649?-1724) (manufacturer); English (nationality)
oAcquirer(s): William III, King of Great Britain (1650-1702)
•Physical Properties:
oMedium and Techniques: Ivory, gilt metal, glass
ivory; animal materials; bronze; brass; glass (material)
turned; gilded; cast; engraved (incised)
oMeasurements: 95.0 × 11.0 cm (whole object)
Candlestand
Each with circular top with gadrooned edge, on a central tripartite shaft carved with scrolls, foliate and husks, the whole of the central shaft on three scrolled legs. The Pelletier family of carvers and gilders were of French origin and by 1682, Jean Pelletier had arrived in London. His workshop also comprised his two sons, Thomas and Rene. It was in all likelihood due to the patronage of the francophile Master of the Great Wardrobe, Ralph, Duke of Montagu, that the Pelletier family came to enjoy royal patronage. The candlestands, or torcheres, form part of the commission to furnish the King’s Apartments at Hampton Court Palace that Montagu obtained for Jean Pelletier. Between 1699 and 1702, furniture costing nearly £600 was delivered. A warrant dated October 25, 1701 included a quantity of tables and stands for “ye Drawing Room, Privy Chamber, Eating Room, Gallery, &c., at Hampton Court”, comprising “six pair of large stands at £30 p. pair”, ten of which survive [RCIN 1002.1-8 & RCIN 1015.1-2]. Within this set, one pair is of very slightly lesser quality in their carved detail [RCIN 1015]. A further four candlestands of more elaborate design were also supplied [RCIN 57029].
•Provenance: Supplied to William III, October 25, 1701; for the State Apartments, Hampton Court Palace.
•People Involved:
oCreator(s): Jean Pelletier (active c.1681-d. 1705) (furniture maker); English (nationality)
oAcquirer(s): William III, King of Great Britain (1650-1702)
•Physical Properties
oMedium and Techniques: Carved and gilded oak and lime wood
oak; limewood
carved; gilded
oMeasurements: 154.0 × 57.5 × 50.5 cm (whole object)
Fireback
Square fireback with arched crest. Central scene depicts a nude with a putto embracing a warrior in armor (Venus & Adonis?) with a dog. Surrounded by a thick border of fruit, flowers and shells, topped by a crown flanked by two dolphins.
•People Involved:
oCreator(s): English (nationality)
•Physical Properties:
oMedium and Techniques:
iron
cast
oMeasurements: 118.0 × 84.0 cm (whole object)
Pair of Firedogs
Pair of baluster-shaped, silver plated firedogs.
•People Involved:
oCreator(s): English (nationality)
•Physical Properties:
oMedium and Techniques:
metal
cast; silver plated
oMeasurements: 46.5 × 32.5 cm (whole object)
Fire Screen
A cheval firescreen on a gilded wood swivel stand with a carcase of oak. The upright rectangular frame has a panel of crimson velvet and silver galon borders. Pierced carved cresting with, in the center on either side, male and female masks flanked by foliate scrolling. The baluster shaped supports are surmounted by pineapple motifs and carved with floral and foliate motifs. The border at the base of the screen is also pierced and incorporates H-motifs and eagle heads. All mounted on square blocks decorated with pateræ and square section reeded s-scroll tripod feet.
•Provenance: R. Macquoid & R. Edwards in The Dictionary of English Furniture, London, 1927, vol. III, pp. 67 & 71 suggest that the fire screen is “strongly imbued with French influence”. Edwards & Jourdain suggest that the screen was made by John (Jean) Pelletier, a Huguenot French immigrant craftsman (Georgian Cabinet-Makers, London, 1944, p. 16 & fig. 4). Made c.1695-1705 and supplied to William III, c.1700, for Hampton Court Palace.
•People Involved:
oCreator(s): English (nationality)
Attributed to: Jean Pelletier (active c.1681-d. 1705) (furniture maker)
oAcquirer(s): William III, King of Great Britain (1650-1702)
•Physical Properties:
oMedium and Techniques: Carved and pierced giltwood, with velvet and woven silver (galon)
oak; velvet; metal
carved; pierced; gilded; woven (silver)
oMeasurements: 141.0 × 110.0 × 34.5 cm (whole object)
Mirror
An overmantle mirror made c.1695-1705 to fit arched gap above the chimney piece in the King’s Great Bedchamber at Hampton Court Palace. Palladian or Venetian style in three sections with a central arched section, flanked by upright rectangular sections, surrounded and divided by blue glass bands applied with white glass rosettes and attached to the wall with glass screws.
•Provenance: Supplied to William III for the Great Bedchamber, Hampton Court Palace, c.1700 by Garrett Johnson, glassmaker (most likely to be Gerrit Jensen). He submitted his invoice of c.1700, which included the following: “For a glass 48in. long 31in. broad Diamd Cutt round Ye Topps for Ye Grt Bed Chamb 40 : 00 : 00” Gerrit Jensen (active 1680-d.1715) was of Dutch or Flemish origin. He was known to be working in London from premises in St. Martin’s Lane by 1680 where he was known as a pre-eminent “Cabbinet maker and Glasse seller”. He was the only cabinetmaker working in England during this period known to have used metal inlays and elaborate “seaweed” or “arabesque” marquetry. His furniture reflects the fashionable French court styles of Pierre Golle, André Charles Boulle and Daniel Marot.
•People Involved:
oCreator(s): Gerrit Jensen (active 1680-d.1715) (manufacturer); English (nationality)
oCommissioner(s): William III, King of Great Britain (1650-1702)
•Physical Properties:
oMedium and Techniques: Cut and colored glass
reflective glass
cut
oMeasurements: 131.0 × 191.0 cm (whole object)
Guanyin, Goddess of Mercy
A Chinese white porcelain (blanc de Chine) figure of Guanyin, Goddess of Mercy made from 1660 to 1690. Hollow, with head and hands inserted. With downcast eyes and a benign expression, the deity stands on a hollow mound base with clouds. She has elongated ear lobes (as befits a Bodhisattva), and her hair is dressed in plaits and coiled on top, with a diadem bearing an image of Amitabha Buddha (celestial Buddha, often called the Buddha of infinite light) seated on a lotus. A mantle covering the head falls to the shoulders, and her long robes hang in folds across the chest below a chain necklace with a ruyi-head ornament; from the long sleeves project arms adorned with wrist bands, with hands clasped. Below is an under-robe falling to her projecting feet. The robes were later picked out in red, green and black pigments, now largely worn off, and the base and mantle in a greenish pigment with vestiges of gilding.
Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.
•People Involved:
oCreator(s): Dehua, Fujian Province [China] (porcelain manufacturer); Chinese (nationality)
•Physical Properties:
oMedium and Techniques: White porcelain with remains of painting in colors and gilt added in Europe
porcelain
molded; painted
oMeasurements: 47.5 × 13.5 × 12.2 cm (whole object)
Guanyin, Goddess of Mercy
A Chinese white porcelain (blanc de Chine) figure of Guanyin, Goddess of Mercy made from 1660 to 1690. With downcast eyes and a benign expression, the deity stands on a hollow mound base with clouds. She has elongated ear lobes (as befits a Bodhisattva), and her hair is dressed in plaits and coiled on top, with a diadem in front now partly broken. A mantle covers the head and the long robes are open at the chest, revealing a necklace with a lotus ornament; the arms projecting from the long sleeves are adorned with wrist bands above the clasped hands. A long pendent jewel chain appears over an under-robe from which the feet protrude below. The figure was colored in Europe with red, green, black and gold pigments which are now largely worn away.
Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.
•People Involved:
oCreator(s): Dehua, Fujian Province [China] (porcelain manufacturer); Chinese (Nationality)
•Physical Properties:
oMedium and Techniques: White porcelain with remains of painting in colors and gilt added in Europe
porcelain
molded; painted
oMeasurements: 44.5 × 11.8 × 10.4 cm (whole object)
Four Vases
Four blue-and-white Ming porcelain vases made c.1635-45. Each of hexagonal baluster shape, the broad-shouldered body spreading towards the foot, short hexagonal neck, and recessed, unglazed, circular base. Painted in uneven violet blue round the body is a scene depicting four standard-bearers, an attendant with a fan, and an official, to whom a bearded figure offers a tray holding a vase containing three arrows (for the ancient Chinese game of pitchpot, touhu), among banana trees, with V-shaped grasses underfoot, views of distant mountain peaks and a city wall, and a scene-ending cliff swathed in mist. Round the shoulder is a frieze of “cloud-collar” panels with lotus plants in white reserve, and round the neck, a dentate border; above the foot, a band of stiff leaves.
Many jars of this type, with covers, were found in the “Hatcher” wreck of c.1643 in the South China Sea.
Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.
•People Involved:
oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality)
•Physical Properties:
oMedium and Techniques: Porcelain painted in underglaze blue
porcelain
painted
oMeasurements:
Height: 31.2 cm, 31.0 cm, 31.2 cm, 30.2 cm (whole object)
Pair of “Rolwagen” Vases
A pair of cylindrical porcelain vases made from 1645 to 1665 painted in underglaze blue and famille verte enamels. Each with open mouth constricted at the base of a short neck, with unglazed base; the neck of RCIN 1048.2 somewhat taller. Painted on one side is a bold, rampant dragon with two-horned blue head and green mane, red scaly body, yellow spine and claws outlined in black, with green whiskers and feet, among red, green and blue flames extending to the reverse, with a red sacred jewel. Round the neck are two flower sprays and a jewel.
Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.
•People Involved:
oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality)
•Physical Properties:
oMedium and techniques: Porcelain painted in underglaze blue and famille verte enamels
porcelain; enamel
painted; blue underglazed
oMeasurements:
Height: 28.8 cm, 28.5 cm (whole object)
Pair of Bottles
A pair of porcelain bottles made from 1670 to1690, each with pear-shaped body and tall tapering neck; low foot. Painted in vivid green, bright blue, yellow, red and black enamels, with a design differing somewhat on the two pieces. Round the body in sketchy style is a water landscape with a red boat, rocky shores and a willow tree, a promontory with temple buildings and distant mountains, the water indicated by broad strokes of green outlined in black. Round the neck are red rings enclosing a band with a pendent jewel chain on either side, and a frieze of pointed leaves below; similar rings mark out an empty band above the foot.
Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.
•People Involved:
oCreator(s): Arita, Hizen province [Japan] (place of production)
oStyle of: Japanese; Kakiemon (style); Japan [Asia] (nationality)
•Physical Properties:
oMedium and Techniques: Porcelain painted in “Kakiemon-style” enamel colors
porcelain
painted
oMeasurements:
Height: 24.4 cm, 23.4 cm (whole object)
Vase
A Chinese porcelain vase made from 1650 to 1680 painted in underglaze blue. Of slender, baluster shape, with spreading foot, narrow, waisted neck and spreading lip, below which the mouth is slightly cupped; the recessed base glazed. Painted round the body are leafy scrolls, with blooms of peony and hibiscus; round the foot is a border of ill-defined dabs of blue; round the shoulder is a border of chevron pattern; and round the neck, two rows of leaf patterns.
Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.
•People Involved:
oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality)
•Physical Properties:
oMedium and Techniques: Porcelain painted in underglaze blue
porcelain
painted
oMeasurements: 22.2 × 8.5 cm (whole object)
Vase
A porcelain vase made from 1650 to 1680 painted in underglaze blue. Of slender, baluster shape, with spreading foot, narrow, waisted neck and spreading lip; the recessed base glazed. Painted round the body are leafy scrolls, with blooms of peony, hibiscus and convolvulus; round the foot is a border of ill-defined dabs of blue; round the shoulder is a border of chevron pattern; and round the neck, two rows of leaf patterns.
Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.
•People Involved:
oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality)
•Physical Properties:
oMedium and Techniques: Porcelain painted in underglaze blue
porcelain
painted
oMeasurements: 20.2 × 8.5 cm (whole object)
Pair of Flasks
Two Chinese porcelain flasks made from 1630 to 1650, with mounts from the 17th century, painted in underglaze blue with silver mounts. Each with flattened, pear-shaped body, tall, tapering, squared neck and rectangular, unglazed base with a mold line. The back is flat and the front face rounded, an unusual form apparently copied from “Spa water” glass bottles made for Spa, a town near Liège, in Belgium. On each flask, the upper part of the neck is encased in a square silver mount, perhaps of Dutch workmanship, chased with leafy pendants and one with a screw-threaded top with small silver cap, possibly a replacement. Painted on the front is a landscape with a European church, its steeple topped by a cross, with buildings and trees and a large cross standing in the foreground, a mountain peak visible beyond. On the reverse are two different flowering plants; on both faces of the necks, long leafy sprays; and along each side a band of rosettes. RCIN 1058.1 has lost its silver threaded screw-cap.
These flasks are among the earliest Chinese porcelains on which the Christian church and cross are represented. Certain square bottles after the form of contemporary ships’ flasks are painted with a similar large cross and with the instruments of the Passion.
Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.
•People Involved:
oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality)
•Physical Properties:
oMedium and Techniques: Porcelain painted in underglaze blue; silver mounts
porcelain; paint; silver
painted; blue underglazed
oMeasurements:
Height: (overall) 20.5 cm, 20.5 cm (whole object)
Pair of Vases with Covers
A pair of hexagonal porcelain jars with covers made from 1670 to 90. Each with six gently curved sides tapering to the foot, rounded shoulder and straight hexagonal neck, the flat base unglazed; the low, domed cover with projecting rim, unglazed infitting flange, and flat knob finial.
Painted in rich blue, green, red and brown enamels (without black or gold). On alternate sides appear a long-tailed, long-necked, brown-bodied bird perched on a flowering stem, and one of two other designs of tall flowering plants. Round the shoulder is a band of scrollwork in green on a red ground, interrupted at the corners, alternately, by quatrefoil panels displaying a bird with outstretched blue wings and fan-shaped green tail, and by blue blooms with red centers. Round the neck is a border of key-fret in red; the cover repeating the shoulder design.
The vases are identical in design but not a “matched pair”, unlike RCIN 1094 where one vase repeats the design of the other in reverse.
Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.
•People Involved:
oCreator(s): Arita, Hizen province [Japan] (place of production); Japan [Asia] (nationality)
oStyle of: Japanese; Kakiemon (style)
•Physical Properties:
oMedium and Techniques: Porcelain painted in “Kakiemon-style” enamel
porcelain
painted
oMeasurements:
Height: (overall) 31.5 cm, 31.5 cm, (jar only) 26.9 cm, 26.9 cm (whole object)
31.5 × 19.0 cm (whole object)
27.0 × 19.0 cm (excluding case, cover, etc):
Pair of Bottles
A pair of Ming white and blue porcelain bottles made from 1625 to 40. Each with globular body tapering into a tall neck, spreading towards the mouth; low foot and glazed base. Painted in violet blue round the body are floral sprays in a broad band divided by a formal central border, which is interrupted by four roundels containing rustic scenes: a peasant in a paddy field, a fisherman with a lobster pot, a farmer with a sheaf on his shoulder, and a scholar reclining with a book, enclosed within petal borders. Round the neck are four “tulip” motifs with blooms resembling pinks.
See also RCIN 1152.
The place of the bottles’ manufacture, at Jingdezhen, is indicated by a large sherd from a similar bottle also painted with “tulip” motifs, the same border below and similar roundels (disposed, however, in two bands round the body), which was excavated at Jingdezhen from the Shibaqiao kiln-site.
Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.
•People Involved:
oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality)
•Physical Properties:
oMedium and Techniques: Porcelain painted in underglaze blue
porcelain
painted
oMeasurements:
Height: 36.8 cm, 38.3 cm (whole object)
Beaker Vase
A porcelain beaker vase of Chinese gu form made from 1670 to 1690, the waisted cylinder spreading to a trumpet mouth, with inset foot and glazed base. Painted in blue are a border of knobbed scrollwork round the lower body, punctuated by rosettes and with a frieze of pointed petals below, partly in red enamel; also blue double rings round the foot and at the lip with a smaller petal frieze. Painted round the body, in red, yellow, green and greyish purple with black outlines, are flowering chrysanthemums with some gilt blooms growing among grasses, and on the reverse a flowering fruit tree.
Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.
•People Involved:
oCreator(s): Arita, Hizen province [Japan] (maker); Japan [Asia] (nationality)
•Physical Properties:
oMedium and Techniques: Porcelain painted in underglaze blue, enamels and gilt
porcelain
painted
oMeasurements: 42.2 × 21.1 cm (whole object)
Pair of Vases
A pair of Chinese porcelain beaker vases made from 1645 to 1665. Each cylindrical, of gu form, spreading towards the mouth and foot, with unglazed base. Painted round the sides of RCIN 1216.1 is a scene, with a woman in a green robe on a balustraded terrace addressed by a bearded figure with a staff who has a disc-like object suspended from his left hand, with a bounding dog and growing plants, and a budding tree in blue growing by a rock. Above are two lines from a poem:
“Since days of old matters of matrimony have been set by fate,
How can marriage be brought about by the biddings of the mind?”
The lines are found in the short story “Qian xiucai cuo zhan fenghuang chou” (“Scholar Qian Wrongly Takes the Phoenix Companion”, also known as “The Perfect Lady by Mistake”), taken from Xingshi hengyan (“Constant Words to Awaken the World”), a book of stories by Feng Menglong (1574–1646). This collection was first published in the seventh year of the Tianqi reign of the Ming dynasty (equivalent to 1627 in the Western calendar). In the story, a lazy and unsuitable bridegroom, Yan Jun, tries to trick a beautiful bride, Qiufang, into marrying him by sending his handsome and intelligent (but impoverished) cousin, “Scholar Qian”, in his place. The deception backfires, and Qiufang marries Scholar Qian instead, while the ugly Yan Jun is exposed for what he really is, a schemer and a cheat, and publicly disgraced. The image on the vase of the young beauty and the ugly man alludes to this story through the inscription.
RCIN 1216.2 is painted with two long-tailed birds perched on a drooping branch of a tree with red and blue flowers, by a stream with three swimming fish in red, under a large yellow moon. Above are two lines from a poem:
“The watchman calls the fifth watch; it is not quite dawn,
Moonlight shines on the myrtle blossom growing by the palace steps.”
The lines are the final two lines from the four-line poem “Zhi Yutang zuo” (“Composed While Serving at the Hall of Jade”) by Hong Zikui (1176-1236) of the Southern Song dynasty. The Jade Hall in the title of this poem was an alternative name for the Hanlin Academy, the highest seat of learning at the Chinese court. The poet Hong Zikui served as a high-ranking official in the Ministry of Justice, as well as being a member of the Hanlin Academy. In the poem, officials within the Academy are drafting memorials to the emperor. The two lines that appear on the vase vividly describe the scene before dawn, the opening of the palace gates and the submission of the edicts.
Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.
•People Involved:
oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality)
•Physical Properties:
oMedium and Techniques: Porcelain painted in underglaze blue and famille verte enamels
porcelain
painted
oMeasurements:
Height: 20.5 cm, 21.7 cm (whole object)
Pair of Vases
A pair of slender Chinese porcelain baluster vases made in the 17th century with mounts from the late 17th century, each with short neck and everted lip, spreading foot and unglazed base burnt orange; the porcelain roughly finished and the glaze uneven. RCIN 1214.1 is fitted at the lip with a European gilt-bronze band with a pierced scrollwork border, and rim intended to receive a cover (now lacking), with foliate clasps under the neck; and at the foot, a matching scrollwork band with foliate clasps around the foot (some missing). There is no evidence of similar additions to RCIN 1214.2.
Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.
•People Involved:
oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality); Europe (metalworker)
•Physical Properties:
oMedium and Techniques: Porcelain with deep purplish-blue glaze and gilt-bronze mounts
oporcelain; brass; gilt bronze
oMeasurements:
Height: (overall) 12.0 cm, 11.8 cm (whole object)
Pair of Bottles
Two small octagonal porcelain bottles made from 1680 to 1700. Each with pear-shaped body tapering into a tall slender neck; low hexagonal foot and glazed base. Elegantly painted in green, red and blue enamel with black outlines and gilding. Displayed across three faces is a chrysanthemum plant with a butterfly, and on the reverse side another flowering plant; at the neck are three pendent flower sprays with gilt borders, with a red ring below the lip.
Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.
•People Involved:
oCreator(s): Arita, Hizen province [Japan] (place of production); Japan [Asia] (nationality)
•Physical Properties:
oMedium and Techniques: Porcelain painted in Imari-style enamels and gilt
porcelain
painted
oMeasurements:
Height: 23.2 cm, 22.6 cm (whole object)
Elbow Chair
A beech and giltwood upholstered chair. Caned seat, loose cushion, loose crimson velvet covers trimmed with gold galloon. Legs plain at back, inverted S-shape at front with feet of square fluted section, serpentine X-frame stretcher and supports for upholstered arms.
•Provenance: Made c.1695-1705; and acquired by William III c. 1700.
•People Involved:
oCreator(s): English (nationality)
•Physical Properties:
oMedium and Techniques: Beechwood and gilded wood, fabric
beech; cane (plant material); grass; velvet; burlap
turned; carved; gilded; woven (gold); upholstered
oMeasurements: 120.0 × 68.0 × 84.0 cm (whole object)