Pater Gratia Oriental Art

Recent Acquisitions

On this page you'll find my latest acquisitions, It may, however, take some time for all objects to load.


This way you can quickly browse through my recently acquired objects without having to browse through all the various categories.


After some time, each object in 'Recent Acquisitions' will be moved to their specific category.


Latest update:


Recent Acquisitions; February 27, 2024.


Delft Faience 1640-1730 / Other Earthenware - Other Earthenware


Object 2012589A




England (Staffordshire)




Height with cover 125 mm (4.92 inch), height without cover 95 mm (3.74 inch), diameter handle to spout 180 mm (7.08 inch), dimension of mouthrim 50 mm (1.97 inch), diameter of footring 60 mm (2.36 inch), weight with cover 211 grams (7.44 ounce (oz.)), weight cover 30 grams (1.06 ounce (oz.))


Teapot of globular shape on spreading footring. Moulded handle and bent spout. The domed cover with a lion shaped finial. (Over?)-decorated in iron-red, green and gold. On the belly flowering plants in oval shaped panels surrounded bij incisions. On the shoulder Tudor roses, leafs and fruiting grapevine in low relief. On the cover Tudor roses, leafs and fruiting grapevine in low relief and a lion shaped finial.


In the mid-18th century, porcelain was rare and expensive in Europe. Because Staffordshire potters initially did not have the technique and materials to make the real commodity, they made white stoneware as imitation porcelain. White clay from southern England was mixed with crushed, heat-treated flint to form a material that could be superbly sculpted. Pots were then fired at a temperature of over 1000 degrees Celsius and ordinary salt, which oxidized to form the glaze, was thrown into the kiln. (Tippett 1996, p.39)



(An almost identically, shaped and sized English teapot (Staffordshire, dated 1750) in the collection of the Groningen Museum (Inv. nr. 2003.0100) (not included in this sale/offer)).


Condition: Three short hairlines to the neck. Chips to the tip of the spout and the rim of the cover and a hole chip to the belly.



Tippett 1996, p.39


Price: € 499 Currency Converter


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Chine de commande - Armorial / Pseudo-Armorial wares 1700-1800 - Armorial - Dutch


Object 2012590


Bowl with cover and stand





Dish: height 33 mm (1.30 inch), diameter of rim 264 mm (10.39 inch), diameter of footring 141 mm (5.55 inch), weight 488 grams (17.211 ounce (oz.))


Bowl (without cover): height 85 mm (3.35 inch), diameter of rim 193 mm (7.60 inch), diameter of footring 72 mm (2.83 inch), weight 466 grams (16.43 ounce (oz.))


Cover: height 92 mm (3.62 inch), diameter of rim 168 mm (6.61 inch), weight 303 grams (10.69 ounce (oz.))


Bowl on footring, steep sides with a flared lip. Dish or plate or stand on footring flat rim, everted lobed edge, the cover with a gilded Buddhist lion finial. Chinese Imari, decorated in underglaze blue and overglaze iron-red and gold on the rim there is an underglaze blue band with four reserves, each with three red flowers, alternating with four blue lappets and four ju-i reserves with a rouge-de-fer and gilt flower, The centre has a foliate scroll with the coat of arms of Van Gellicum. The reverse is undecorated. On the inside of the cover abroad unglazed band. The bowl and cover are decorated en suite.


This coat of arms, a Chevron between three eagles and a bezant, in chief an unidentified charge; the crest is a heron-like bird with an eel (or snake) in its beak between two wings, was borne by the Van Gellicum family. It can be seen on a seal of 1921 which belonged to J.A. van Gellicum, who was a cavalry major. He descended from a family of probably wealthy farmers in the village of Deil in the Betuwe, Gelderland, The Netherlands. In this family either Jan Roelofs van Gellicum (1684-) or his son, Roelof van Gellicum (1708-), could have ordered this armorial porcelain. Jan Roelof married in 1707 and his son Roelof in 1749, the latter to Elisabeth Hoeken (1718-). In the 18th century three members of another branch of the Van Gellicum family (who are not related to the Deil family as far as is known) could have ordered these armorial dishes. The first two are the surgeon Chr. van Gellekom living in Amsterdam in 1742 and Hermanus van Gellicum, who also lived in Amsterdam about 1750-1760. The third is most interesting, Harmen van Gellecom, a native from Gorinchem The Netherlands, who was kwartiermeester (quarter-master or leading seaman), on four East Indiamen sailing on behalf of the Dutch East India Company, (Vereenigde Oost-Indische Compagnie, VOC), Chamber of Zeeland to Batavia between the years 1728 and 1736. The date of this porcelain correlates with his time in the Indies. This dish was part of a very large set of dishes, over 100 recorded examples (so far only dishes have been identified) Three sizes are known 380 mm (14.96 inch), 355 mm (13.98 inch) and 225 mm (8.86 inch). On the sides a floral scroll border, the rim with rocks, flowers, leaves and zig-zag lines. The zig-zag lines represent a thunderbolt, seen on Delft faience of the first quarter of the 18th century and based on Japanese patterns. (Kroes 2007, pp.118-119)


At least eight other dishes are recorded. All these dishes were probably used as stands for covered bowls. A minimum of four examples of the matching bowls have been identified. There is only one complete set with a covered bowl and stand and one other set of a bowl with a stand, but the cover missing. The deep circular bowls have a flared lip and a diameter of 19 to 20 cm and are decorated both inside and outside. The cover has a gilded Buddhist lion finial. There is a bowl in the J. Paul Getty Museum which has a gilt bronze, probably German, mount dated 1740. It is very likely that this service was ordered by the same person as the first armorial service with the Van Gellicum arms, possibly shortly afterwards. (Kroes 2007, p,119)


For an identically, shaped, and sized dish, plate or stand decorated with the Van Gellicum II, c.1720-1730 armorial design, please see:

For dishes decorated with the Van Gellicum I, c.1720-1730 armorial design, please see:

2011499 2010C142 12012590 c

Comparison between Van Gellicum I, c.1720-1730 (left) and Van Gellicum II, c.1720-1730) (right).


The center of the Van Gellicum II, c.1720-1730 (right) set has a foliate scroll with the coat of arms painted in almost exactly the same way as the first armorial set, Van Gellicum !, c.1720-1730 (left), Slight variations can be seen on the helmet and the objects in chief of the shield. This set seems to be more richly decorated, with more gold which is also better preserved and rather more accurately painted than the first set.  (Kroes 2007, p,119)     


For dishes decorated with the Van Gellicum I, c.1720-1730 armorial design, please see:

2012590 q2012590 r

A broad unglazed band on the inside of the cover decorated with zig-zag lines in iron-red on the biscuit. A rare feature selden seen on Chinese export porcelain.


Condition: Some wear to gilding of the cover and a hairline to the cover.



Jörg & Van Campen 1997, cat. 353

Kroes 2007, 20a, 20b & 21


Price: Sold.


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 Kraak Porcelain wares 1570-1645 - Closed Forms


Object 2010C325








Height 286 mm (11.26 inch), diameter 151 mm (5.94 inch), diameter of mouthrim 25 mm (0.98 inch), diameter of footring 86 mm (3.58 inch), weight 961 grams (33.90 ounce (oz.))


A heavy and thickly potted bottle modelled with pear-shaped body, tall tapering neck, slightly flared mouth with rolled mouth rim and low, thick, V-shaped footring. The recessed base is slightly convex and glazed. The bottle is decorated in deep shades of cobalt blue, darkening in some areas to a blackish blue, beneath a blue-tinged glaze. The lower body is moulded with six wide and narrow vertical panels. The wide panels are decorated with flowering plants growing from rocks and a butterfly in flight, a bird perched on a rock with flowering plants and grasses and various flowering plants with swirling clouds. The narrow panels are decorated with vertical lines framed by beaded pendants ending with tassels enclosed by a coin and a knotted ribbon. The neck is decorated with six panels enclosing beaded pendants interrupted by a stylized ruyi-head border and four dots with a tassel. A border of stylized overlapping scrolls encircles the footrim. (Welsh 2008, p.148)


This bottle can be classified as a closed Forms, pear-shaped bottle. The name defines the shape of these bottles: a rounded body low on the footring with a neck of varying length, often ending with a garlic-shaped protuberance. These bottles are often referred to as Persian flasks. Unlike Kraak bowls and dishes, footrims on bottles are thick, low almost rolled. Bases are glazed. The Hatcher cargo produced a large amount of full-size bottles, which are truly representative of the term "pear-shaped". In these late pieces the border on the shoulder is wide and may have a meander pattern or thick lines. A series of dots covers the rest of the neck. When it is present, the garlic shape at the end of the neck is decorated with triangular motifs connected by straight lines. The large panels sport the unusual decorations but the flying horse, painted vertically and head down, is a favourite motif. All these bottles are heavily potted. (Rinaldi 1989, pp.166-191)


Such pear-shaped bottles were common in the cargoes of the Dutch East India Company (VOC) ships returning to the Netherlands and frequently figure in the Company's records as pear-shaped bottles and "Persian" bottles are mentioned as separate items, but the difference between them is not yet clear. Several pieces of the same shape and with rather casual and simplified decoration were found in the Hatcher wreck, a Chinese Junk which sank c.1643. Thus this bottle is dated accordingly. Unlike dishes, saucers and bowls of Kraak porcelain, hollow forms such as bottles, ewers and jars do not have the characteristic thin body of Kraak porcelain and are more heavily potted. Nevertheless, all authors accept them as Kraak ware because of their decoration in - usually moulded - panels. (Jörg & Van Campen 1997, p.66)


For an identically shaped and similarly decorated bottle, please see:

Condition: Perfect.



Rinaldi 1989, Pl.211

Jörg & Van Campen 1997, p.66

Welsh 2008, p.148


Price: € 2.499 Currency Converter


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Famille Rose wares 1725-1800


Object 2012589






Height 26 mm (1.02 inch), diameter of rim 229 mm (9.02 inch), diameter of footring 131 mm (5.16 inch), weight 359 grams (12.66 ounce (oz.))


Dish on footring with a flat rim. Decorated in various famille rose enamels and gold with 

two ladies standing in a fenced garden with threes, plants and taihu (garden) rocks, observing a man jumping over a wall. On the rim a diaper-pattern border. The reverse is undecorated.


Romance of the Western Chamber


The love story' Romance of the Western Chamber' (Xixiang ji) ranks among the most famous literary works of China. Its importance for young people can be compared to that of Shakespeare's 'Romeo and Juliet' in the West. 'Romance of the Western Chamber' was written by Wang Shifu (1260-1336). There already existed a short story in the Tang dynasty titled 'Biography of Yingying' (Yingying Zhuan) by Yuan Zhen (779-831), but Wang Shifu adapted it by adding details and giving it a happy rather than a sad ending. It tells the story of a forbidden love affair between the civil servant Zhang Sheng, who is gifted, but of a poor family background, and the pretty Cui Yingying, daughter of the Prime Minister. The two young people have their first encounter in a Buddhist temple, where Yingying and her mother have taken lodgings when accompanying the coffin of the recently deceased father back home. Suddenly, the temple is besieged by a local gang of outlaws, who demand the daughter to be handed over. Yingying's mother promises her daughter's hand in marriage to whoever saves the daughter from falling into the hands of the gang leader. However, when Zhang succeeds in doing so with the help of General Du, his childhood friend, she does not keep her promise. The young couple start a secret affair, supported by Hongniang ('Lady in Red'), Yingying's maid. When Yingying's mother discovers the affair, she consents to the marriage on the condition that Zhang passes the final examination for the highest position in the civil service of the capital, Zhang does so well, that he is granted a top position. (Suebsman 2019, p.43)


On this dish we see the probably best-known scene of the Romance. Zhang climbs over the wall which separates his home from Yingying's abode by way of a willow. In her room in the west wing of the building, the Western Chamber, the two of them finally become intimate. (Suebsman 2019, p.51)


For a similarly in polychrome enamels decorated objects, please see:

For a similarly in underglaze blue decorated milk jug, please see:

Condition: Perfect.



Jacquemart & Le Blant 1862, pp. 77-105

Jörg 1982, fig. 46

Harrisson 1985, cat. 123 & 124

Jörg 1986/1, fig. 56

Jörg 1995, cat. 25

Jörg & Van Campen 1997, cat. 240 

Jörg 2003/2, cat. 8

Schölvinck 2010, pp. 33-36

Jörg 2011/2, Scene 16

Suebsman 2019, p.43 & p.51 


Price: Sold.


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Japanese Blue and White wares 17th Century


Object 2012582






Last quarter 17th century


Height 216 mm (8.50 inch), diameter belly 142 mm (5.59 inch), diameter of mouthrim 38 mm (1.50 inch), diameter of footring 86 mm (3.39 inch), weight 843 grams (29.74 ounce (oz.))


Globular flask on footring, short narrowing neck with spreading mouthrim. Decorated in underglaze blue with a flowering chrysanthemum plant growing from rockwork alternating with bamboo growing from rockwork, in between plants and grasses growing from rockwork. On the shoulder and neck bands with lappets.


On this flask we can see that the two styles - Chinese and Japanese - mingled, and although Chinese pictorial elements were always strong, the Japanese porcelain painters introduced a touch of their own. The underglaze blue painting on this flask is bold, 'free'', more individual than on Chinese pieces and unmistakenly Japanese and clearly recognisable as such. Identification is also helped by the uneven blue (which is sometimes very dark due to impurities in the cobalt), the grey-blue hue of the glaze, the greenish pooling of the glaze in recesses, and the relatively heavy weight. (Jörg 2003/1, p.24)


For similarly shaped, sized and decorated flasks, please see;

Condition: A restored mouthrim.



Kyushu 1991, cat. 527, 528, 529 & 530

Jörg 2003/1, p.24


Price: Sold.


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Chine de commande - Western Subjects 1680-1800 - Various Subjects - Outdoor Scenes


Object 2012574








Height 30 mm (1.18 inch), diameter of rim 222 mm (8.74 inch), diameter of footring 120 mm (4.72 inch), weight 443 grams (15.63 ounce (oz.))


Dish on footring with shaped rim. Polychrome decorated in rich famille rose enamels with a Western figure seated on pierced taihu (ornamental garden) rockwork encircled by a border of rich rose-pink scroll-and-shell pattern. On the sides a gilt spearhead border and on the rim a border of six panels, each with a Western figure dancing or playing an instrument and flanked by flower sprays. The reverse is undecorated.


There is a series of such plates with different musicians, but the meaning is obscure, and because there is little realism it seems probable the Chinese painters were copying a series of sketches, which may have originated in the East rather than from any Western source. Such porcelain may well have been as popular within China as it was for export.  (Howard & Ayers 1978, vol. II, p.359)


Picturesque subjects


This wide classification of themes - most of them concerned with the subjects of love, beauty and happiness - derive from the great variety of prints and pictures with subjects based on artistic engravings or variations (usually erotic) of these which flowed to China from 1740 onwards. If they had any common factor it must have been the popularity which, it was hoped, would attend their advent in the form of porcelain in the markets of Europe.

Unlike the mythological and literary subjects, the earliest probably preceded Pronk, or were at least unaffected by his efforts, and the more standardized products which emerged after 1740. Such early examples appear to be, in the main, of a style designed by the Chinese themselves with musicians and bird sellers showing only rudimentary signs of European draughtsmanship. (Howard & Ayers 1978, vol. II, p.359)


For an identically shaped, sized and similarly decorated dish, please see:

Hervouët and Bruneau also show other designs of a young European man playing an instrument and although not belonging to the same series they nevertheless have an obvious family resemblance. (Hervouët 1986, p.184)


For examples of these other objects, please see:

Mudge illustrates a Chinese shaving basin polychrome decorated with a young European man playing a oboe while standing in a garden landscape with various flowering plants.

Condition: Professionally restored after being broken in two and two restored chips and a frit to the rim.



Howard & Ayers 1978, vol. II, cat. 348

Hervouët 1986, cat. 8.3, 8.10 & 8.14

Mudge 2000, cat. 74


Price: Sold.


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Chine de commande - Western Subjects 1680-1800 - Various Subjects - Outdoor Scenes


Object 2011221








Height 24 mm (0.94 inch), diameter of rim 202 mm (7.95 inch), diameter of footring 118 mm (4.65 inch), weight 282 grams (9.95 ounce (oz.))


Dish on footring with a flat rim and a moulded wavy edge in relief. Decorated in underglaze blue with a village with a church and houses, a lighthouse with trees, figures with a cow, and the poles with clouds. The slightly crimped rim is painted with a wave-scroll border. On the reverse three sprays of flowering branches. The low footring is encircled with a double concentric band.


This design on this dish has traditionally been called 'Deshima' or 'Scheveningen'. It certainly does not depict the Dutch factory in Deshima (Nagasaki), a fan-shaped, man-made island in Japan to which Westerners were restricted between 1641 and 1862. Scheveningen, a fisherman´s village on the Dutch coast near The Hague, is a more appropriate name. In fact, 47 "Scheveningen" plates were already mentioned in the 1778 sale catalogue of the porcelain shop of Martha Raap in Amsterdam, clearly indicating this type. Research was undertaken to find the print that was used as a model, non with this view have come to light. it is therefore possible that another source was used, maybe a plate or dish in the so-called Frijtom style. This is the most common version of this design, copied by the Chinese. The design, almost certainly copied from a drawing by Frederick van Frijtom (1652-1702), was highly popular in The Netherlands, and possibly also in Japan as a kind of Western exoticism. The rim design is unique in Chinese export porcelain and is almost certainly after a silver original. (Howard & Ayers 1978, vol. 1, pp.72-73), (Terwee 1989, pp.494-501), (Jörg 2003/1, p.240)


These dishes with the so called 'Deshima' or 'Scheveningen' design first appeared, in underglaze blue, on Japanese dishes of around c.1700. In the collection of the Groninger Museum is a blanc Chinese porcelain dish overdecorated in Delft (the Netherlands) c.1700-1730 with identical design. (Jörg 2003/1, cat. 307a)


For identically decorated dishes, please see:

For a similarly decorated, sold, Chinese dish, please see:

For an originally decorated, sold, Japanese dish, please see:

Condition: Some popped bubbles, glaze caused during the firing process, and a chip to the rim.



Lunsingh Scheurleer 1966, cat. 272

Lunsingh Scheurleer 1971, cat. 65

Corbeiller 1974, cat. 10.

Howard & Ayers 1978, vol. 1, cat. 32

Jenyns 1979, cat. 19a, (i)

Arts 1983, Lochem 1983, Plate 57

New York 1985, lot 22

Lunsingh Scheurleer 1989, cat. 176

Terwee 1989, pp.494-501

Kassel 1990, cat. 246

Howard 1994, cat 11

New York 2000, lot 95

Jörg 2003/1, cat. 306 & 307

Amsterdam 2007, lots 223-233

Antonin & Suebsman 2009, cat. 99

Schölvinck 2010, pp. 56-58

Sargent 2012, cat. 42


Price: Sold.


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Famille Verte wares 1680-1725


Object 2012570








Height 10 mm (3.94 inch), diameter of rim 223 mm (8.78 inch), diameter of footring 100 mm (3.94 inch), weight 328 grams (11.57 ounce (oz.))


Dish on a footring with a wide, flat underglaze brown-edged rim (jia mangkou). Decorated in underglaze blue, various famille verte enamels and gold. In the centre a vase on a stand richly filled with flowering chrysanthemum, pine and peony on a fenced terrace surrounded by a border with six cartouches decorated with a butterfly alternating with a chrysanthemum flower head. The sides and rim with three shaped panels and three flowering chrysanthemums reserved on a underglaze blue ground with scrollwork in gold. The panels are filled with flowering plants, rocks, birds, or a butterfly. On the reverse rim a border with six cartouches filled with a butterfly, a fish or a shrimp: on the sides four flower sprays.


While making these dishes the Chinese potters must have been clearly inspired by Japanese Imari examples, similarities in design and technique are obvious. A large Japanese dish of this pattern is in the Museum Boymans - van Beuningen, Rotterdam. The Chinese dishes were made in various sizes, a large, 534 mm (21.02 inch), dish is in the Dresden collection of August the Strong, Elector of Saxony and King of Poland. The design is known as the 'Stanislaw pattern', named after the Polish King Stanilas Augustus Poniatowsky (r.1764-1795) who, in 1776, had earthenware copies made by the Belvedere factory in Warsaw as a present to Abdul Hamid I, Sultan of Turkey. A large part of it remains in the Topkapi Sary Museum. (Amsterdam 1972. p.35, cat. 111), (Howard & Ayers 1978, vol. 1, pp.144-145)


For this Polish earthenware copy, please see:

For identically shaped and decorated Japanese (c.1700) and Meissen (c.1725-30) dishes, please see:

Jörg suggests that the design served as a model for close copies in Polish earthenware, made for the Polish King Stanislaw II Poniatowsky (r.1764-1795) as additions to his set of Chinese originals. One of these copied earthenware dishes from the Poniatowsky service is now in the Metropolitan Museum of Art, New York. In the late 18th century, the design was also copied by the Cozzi factory in Italy. (Ayers, Impey & Mallet 1990, cat. 285), (Jörg 2011/2, p.52)


The vase filled with various kinds of flowers, derives from Chinese Kraak porcelain and symbolises riches and abundance. It is seen as an attribute of Lan Caihe, one of the "Eight Daoist Immortals" and patron of gardeners It was a highly popular motif, appearing on many Jingdezhen underglaze blue and polychrome porcelains. (Pinto de Matos 1996, p.273), (Jörg 2011/2, p,60


For identically decorated dishes, please see:

Condition: Professionally restored after being broken in two and a tiny, restored fleabite to the rim.



Amsterdam 1972. cat.111

Howard & Ayers 1978, vol. 1, cat. 126

New York 1985, lot 75

Ayers, Impey & Mallet 1990, cat. 285

Kassel 1990, cat. 139a-d

Pinto de Matos 1996, p.273

Jörg 2011/2, cat. 47

Sargent 2012, p.183

Castelluccio 2013, Fig. 64

London 2014, cat 20


Price: Sold.


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Chinese Imari 1700-1800


Object 2012580








Height with cover 105 mm (4.13 inch), height without cover 74 mm (2.91 inch), diameter handle to spout 160 mm (6.30 inch), dimension of mouthrim 50 mm (1.97 inch), diameter of footring 53 mm (2.08 inch), weight with cover 309 grams (10.90 ounce (oz.)), weight cover 49 grams (1.73 ounce (oz.))


Pear-shaped, ribbed teapot with fluted body on footring. Straight spout, curved C-shaped handle. Domed ribbed cover with a round knob. Chinese Imari, decorated in underglaze blue, overglaze iron-red and gold with various butterflies and insects in flight. On the spout and handle flower sprays. Around the rim a narrow border of lotus leaves in underglaze blue with iron-red and gold accents. On and around the rim of the cover a narrow border of lotus leaves in underglaze blue with iron-red and gold accents.


For an identically shaped, sized and decorated teapot, please see:

Condition: Firing flaws to the underside of the handle and the footring. A firing tension hairline (caused by the firing process) to the handle and a fleabite to the underside of the cover.


Price: € 499 Currency Converter


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