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 four weeks each object in 'Recent Acquisitions' will be moved to their specific category.
Recent Acquisitions; April 14, 2021.
In these categories Chinese and Japanese export porcelain objects for sale are now offered at a significantly reduced price.
If you are interested in a purchase, or want more information, one of the objects in these categories please feel free to contact me at: firstname.lastname@example.org
Kraak Porcelain wares 1570-1645 - Closed Forms
Objects 2012395 & 2012396
A pair of bottles
2012395: Height 258 mm (10.16 inch), diameter 152 mm (5.98 inch), diameter of mouthrim 35 mm (1.38 inch), diameter of footring 93 mm (3.66 inch), weight 898 grams (31.67 ounce (oz.))
2012396: Height 263 mm (10.35 inch), diameter 153 mm (6.02 inch), diameter of mouthrim 35 mm (1.38 inch), diameter of footring 90 mm (3.54 inch), weight 1,008 grams (35.56 ounce (oz.))
A pair of heavy and thickly potted bottles modelled with pear-shaped bodies, tall tapering necks, slightly flared mouths with rolled mouth rims and low, thick, V-shaped foot rings. The recessed bases are slightly convex and glazed. The bottles are decorated in deep shades of cobalt blue, darkening in some areas to a blackish blue, beneath a blue-tinged glaze. The lower bodies are moulded with six wide and narrow vertical panels. The wide panels are decorated with winged horses galloping above waves through cloud scrolls alternating with flower sprays growing from rocks. The narrow panels are decorated with vertical lines framed by curvy lines. The necks are decorated with six panels enclosing pending strings of beads, jewels and tassels, interrupted by a stylized ruyi-head border. Borders of stylized overlapping petals encircle the mouth rims. The rims are edged in blue. (Welsh 2008, p.152)
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 identically decorated bottles, please see:
- Porcelain and the Dutch East India Company, as recorded in the Dagh-registers of Batavia castle, those of Hirado and Deshima and other contemporary papers 1602-1682, (T. Volker, Rijksmuseum voor Volkenkunde, E.J. Brill, Leiden 1954, reprint 1971), Pl. VI, cat. 8b.
- The Wrestling Boys. Chinese and Japanese Ceramics from the 16th to the 18th Century in the Collection at Burghley House, (The Trustees of Burghley House, Stamford 1981), p.58, cat. 140.
- Fine and Important Late Ming and Transitional Porcelain, The second and finial part of the Hatcher Collection, recently recovered from an Asian vessel in the South China Sea, auction catalogue Christie’s Amsterdam, 12 & 13 June 1984, p.26 & p.32, lot numbers 321 - 333.
- Fine and Important Late Ming and Transitional Porcelain. The private collection of Captain Michael M. Hatcher, selected from the contents of an Asiatic vessel, which went down in the South China Sea circa 1640, auction catalogue Christie’s Amsterdam, 14 February 1985, p.49, lot 221.
- The Hatcher Porcelain Cargoes. The Complete Record, (C. Sheaf & R. Kilburn, Oxford 1988), p.41, Pl.48.
- Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam. The Ming and Qing Dynasties, (C.J.A. Jörg in collaboration with J. van Campen, London, 1997), p. 66, cat. 52.
- 600 Years of East-West Exchange through Ceramics, (National Museum of Korea, (South) Korea, 2020), p.69, cat. 43.
2012395: A firing flaw to the footring, some popped bubbles of glaze to the rim, three chips and two glaze hairlines to the rim (only visible on one side).
2012396: Hairlines to the rim and base.
Japanese Tea, Coffee and Chocolate wares 18th Century
Teacup and saucer
Late 17th century
Height of teacup 41 mm (1.61 inch), diameter of rim 75 mm (2.95 inch), diameter of footring 33 mm (1.29 inch), weight 60 gram (2.11 ounce (oz.))
Height of saucer 25 mm (0.98 inch), diameter of rim 123 mm (4.84 inch), diameter of footring 72 mm (2.83 inch), weight 104 gram (3.67 ounce (oz.))
Teacup and saucer on footrings, straight rims. Decorated in iron-red, green, black and aubergine enamels and gold with a central roundel filled with a flower spray surrounded by grass motifs. On the cavetto three weeping cherry trees with dense flowers and foliage. Round the rim a border with x's. On the reverse rim a continuous floral scroll with an arrow floret on the base. The teacup is decorated en suite.
A similar teacup and saucer, bearing the Dresden inventory number N=93 with an arrow, is in the British Museum ((BM 1099) (Impey 2002, p.195, cat. 313)
For an identically shaped, sized and decorated teacup and saucer, please see:
- Japanese Export Porcelain. Catalogue of the Collection of the Ashmolean Museum, Oxford, (O. Impey, Hotei Publishing, Amsterdam, 2002), p.195, cat. 313.
Teacup: A hairline and frit to the rim.
Saucers: Two chips to the rim, one with a connected hairline.
Chine de commande - Western Subjects 1680-1800
Height 100 mm (3.94 inch), diameter 72 mm (2.83 inch), diameter of rim 37 mm (1.46 inch), diameter of footring 39 mm (1.54 inch), weight 175 grams (6.17 ounce (oz.))
Milk jug on footring, pear shaped body with handle, small triangular spout at the rim. The handle is placed opposite the spout. Rim unglazed inside for cover, now missing. Decorated in encre de Chine and gold with an elegant fisherman with a fishing net on his shoulder presenting his catch to a seated young woman who is also fishing. On the rim a border of panels edged in strapwork, floral festoons and foliate-scrolls after an early 18th century laub- und bandelwerk Viennese design.
(Engraving reproduced from: www.ghilli.it, this engraving is not included in this sale)
A painting titled L' Acqua' by the Venetian painter Jacopo Amigoni (ca.1682-1752) was the inspiration for an engraving by Joseph Wagner (1706-1780), This scene clearly is based on a version of this engraving. The engraving was part from a set of four 18th century engravings by Jacopo Amiconi, Allegory of the four elements, Water, Air, Earth and Fire engraved in Venice, by Joseph Wagner (1706-1780). The engravings show a gardener presenting a woman with flowers for Earth; a couple removing a bird’s nest from a tree for Air; figures fleeing a burning house for Fire and finally a scene of two anglers for Water, similar to those on this milk jug.
Jacopo Amigoni (ca.1682-1752), a Venetian painter, lived in England between 1729-1739 and attempted to set up a print shop with Joseph Wagner before both returned to Venice. Patronised by Queen Caroline (wife of George II) he is credited with introducing Venetian rococo to British royal portraiture (www.ghilli.it, Hervouët 1986, p.65)
Hervouët states that the design was very successful in the 18th century. Interestingly, this decoration can also be found on earthenware from Marseille. (Hervouët 1986, p.65)
For teapots decorated in encre de Chine with an identical scene, please see:
- The Philadelphia Museum of Art - Accession number 1948-62-107a,b
- La porcelaine des Compagnies des Indes a décor Occidental, (F. & N. Hervouët & Y. Bruneau, Flammarion - Pere Castor, Paris 1986), p.65, cat. 3.6.
Price: € 999 - $ 1,174 - £ 849
(the $ and £ prices are approximates and depend on the € price exchange rate)
Japanese wares over-decorated in the West 18th Century - Dutch over-decorated Amsterdams Bont
Teacup and saucer
1700-1730, over-decorated in the Netherlands, Amsterdams Bont, c.1750
Height of teacup 34 mm (1.34 inch), diameter or rim 57 mm (2.24 inch), diameter of footring 23 mm (0.91 inch), weight 29 grams (1.02 ounce (oz.))
Height of saucer 15 mm (0.59 inch), diameter of rim 101 mm (3.98 inch), diameter of footring 41 mm (1.61 inch), weight 46 grams (1.62 ounce (oz.))
Teacup and saucer on footrings, slightly everted rims. Over-decorated in iron-red and gold in The Netherlands, Amsterdams Bont c.1740 with with a squirrel climbing through branches of vine. The teacup is decorated en suite.
In traditional Chinese and Japanese cultures, images of squirrels and grapes together formed a rebus signifying a wish to have many sons. Squirrels and grape images appear in Chinese painting as early as the thirteenth century an in Chinese porcelain as early as the sixteenth century. Japanese decorators began using the design on Kakiemon-style porcelains in the seventeenth century, and it spread to Europe in the eighteenth century. The design was first copied in Europe at the Meissen factory and was imitated later by many other factories in France and England, Because the Europeans did not know the origin of the design, they sometimes mistook the squirrel for a rat and called it the 'rat and grape' design. (Impey, Jörg & Mason 2009, p.146, Fig, 102)
The depiction of vines with squirrels was a very popular, repeated pattern on a range of craftwork since the Ming Dynasty, but especially on porcelain, stoneware and snuff bottles. The squirrel, which can bear offspring more than once a year, symbolizes fertility, as does the vine with abundant grapes, and both motifs were used primarily as auspicious symbols intended to bring to the recipient a great number of sons and grandsons. Symbolism of this kind was developed as early as in the Tang Dynasty and later also reached Japan, where similar patterns always represented a tradition adopted from continental Asia, The pattern appeared quite frequently on Chinese porcelain as is demonstrated by several examples in a range of collections worldwide. (Suchomel 2015, p.228, cat.109)
For other objects decorated with the 'squirrel and grape' pattern, please see:
- Dragons, Tigers and Bamboo: Japanese Porcelain and its impact in Europe - The Mac-Donald Collection, (O.Impey, C.J.A. Jörg and C. Mason, Douglas & McIntyre Publishers Inc., Vancouver/Toronto/Berkeley 2009), p.146, Fig. 102.
- 300 Treasures, (F. Suchomel, Academy of Arts, Architecture and Design in Prague, Prague, 2015), p.228, cat. 109.
Condition teacup: A frit to the footring.
Condition saucer: Perfect.
Japanese Blue and White wares 17th Century - Dishes
Height 64 mm (2.52 inch), diameter of rim 345 mm (13.58 inch), diameter of footring 190 mm (7.48 inch), weight 1,242 grams (43.81 ounce (oz.))
Deep dish on footring, spreading sides. On the base five spur-marks in a X-pattern. Decorated in underglaze blue with large branches of peaches and 'Buddha's hand' or finger-lemon fruit, covering the whole surface. Around the rim, a single line. On the reverse three peach sprays, a double line round the footring, a single line within.
Dishes of this shape and size with identical design are also known with a central small circle filled with the VOC (Vereenigde Oost-Indische Compagnie) monogram. The VOC (Vereenigde Oost-Indische Compagnie) monogram is repeated on the base. This type, marked on both sides, is mentioned in the Batavia order of 1686 where it is stated that it was destined for the Governor-General's residence. The monogram is remarkably small. Dishes with a similar design, but without the monogram are well known. (Jörg 2003/1, p.228)
In his Fine & Curious on page 228, cat. 289 Jörg shows an example of a dish with an identical design and a central small circle filled with the VOC (Vereenigde Oost-Indische Compagnie) monogram (this dish is not included in this sale/offer). Reproduced from: Fine & Curious. Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam, 2003), p.40, cat. 22. (copyright in bibliographic data and images is held by the publisher or by their respective licensors: all rights reserved)
The design on this dish was selected by the Dutch for the Arita potters to copy with the addition of the VOC (Vereenigde Oost-Indische Compagnie) monogram. A large branch of three peaches is combined with another of three finger citrons in a symbolic union signifying a long and happy life. The finger citron is a fragrant, inedible fruit also known as Buddha's hand because it evokes one of the hand positions in Buddhist ritual. It is an indispensable offering to the Chinese God at New Year and is one of the three symbolic fruits. Anyone fortunate enough to witness a Chinese spring when he parched brown earth is miraculously clothed in a mantle of delicate pink blossoms will readily understand why the peach, the second symbolic fruit, is believed to possess more vitality than any other tree and represents longevity and immortality. This symbolism, as is often the case, is reinforced by the spoken language for the Chinese sound shou implies both peach and longevity.
The contrast between the soft rounded flesh of the peaches and the hard inedible fingers of the citron is vividly caught and exemplifies the fidelity to nature characteristic of much Transitional art.
It is fully understandable that the Dutch were attracted by both the originality and beauty of this design but they betrayed a lack of judgement in selecting it for the addition of their monogram.
To achieve its full effect decoration of this type requires an uninterrupted 'canvas'; it is totally unsuited to additions, and, no matter how skilled the artist, a cypher cannot be incorporated with complete success.
Japanese versions of this pattern were made with and without the monogram and inevitably the unmonogrammed are the more attractive. In Japanese hands the design, even at its best, lacks both the botanical fidelity and the rhythmic coherence. Almost certainly the Japanese potter had a Chinese example before him when he made the first of his copies. Not only is the main motif faithfully reproduced but the shape and size as well, and even the three branches of fruiting peach found on the outer walls are included.
An unmonogrammed dish at the Princessehof Museum, Leeuwarden is a handsome piece of fine quality. It is carefully and forcefully painted but when compared to the Chinese prototypes it is clear that the Japanese copyist, by a slight rearrangement, has faild to capture the subtle rhythm of the originals which he has further dissipated by introducing a number of small, leafless. spiky twigs beloved of the Japanese. By these apparently minor changes a harmonious and tranquil design has become restless. (Woodward 1974, pp.71-73)
The 'Fingered citron or Buddha's hand' (Citrus medica) is a small, open citrus with distinctive fruit, native to the foothills of the Himalayas. Around 320 BC, Greeks and Romans used the fruit as a source of fragrance and the leaves as a moth repellent. The fruit has also been used for centuries to perfume clothes and rooms, as ornaments in religious ceremonies and is appreciated for its medicinal qualities. This explains why the Chinese treated it as a precious decorative object in the old days. When the pomegranate ripens it opens up and exposes lots of seeds inside. Chinese people like it's pretty appearance, signifying many offspring /children to come. (I am indebted to Mr S. Fan for this information)
For identically shaped, sized and in underglaze blue decorated dishes, please see:
- Oriental Ceramics at the Cape of Good Hope 1652-1795. An account of the porcelain trade of the Dutch East India Company with particular reference to ceramics with the V.O.C. monogram, the Cape Market and South African Collections, (C.S. Woodward, Cape Town & Rotterdam, 1974), p.72, cat 72.
- Japans porselein met blauwe decoraties uit de tweede helft van de zeventiende en de eerste helft van de achttiende eeuw, (D.F. Lunsingh Scheurleer, in, Mededelingenblad Nederlandse Vereniging van Vrienden van de Ceramiek, 64/65, 1971), p.70, cat. 56.
For identically shaped, sized and decorated dishes, with the VOC (Vereenigde Oost-Indische Compagnie) monogram. please see:
- Japans porselein met blauwe decoraties uit de tweede helft van de zeventiende en de eerste helft van de achttiende eeuw, (D.F. Lunsingh Scheurleer, in, Mededelingenblad Nederlandse Vereniging van Vrienden van de Ceramiek, 64/65, 1971), p.70, cat. 55.
- Porcelain for Palaces. The Fashion for Japan in Europe 1650-1750, (J. Ayers, O. Impey & J.V.G. Mallet, Oriental Ceramic Society & The British Museum, London 1990), p.94, cat. 33.
- Japanese Export Porcelain. Catalogue of the Collection of the Ashmolean Museum, Oxford, (O. Impey, Hotei Publishing, Amsterdam, 2002), p.55, cat. 35.
- Fine & Curious: Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam 2003), p.228, cat. 289.
For a similarly in underglaze blue decorated dish, please see:
Similarly decorated dishes were also found amongst the cargo of the Ca Mau shipweck, c.1725, please see:
- Made in Imperial China. 76,000 pieces of Chinese Export Porcelain from the Ca Mau Shipwreck, circa 1725, auction catalogue Sotheby’s Amsterdam, 29, 30 & 31 January 2007, p.179, lot number 757.
For an identically shaped, and similarly in famille verte enamels decorated dish, please see:
- Jan Menze van Diepen Stichting. Selectie uit de collectie Oosterse keramiek. (Jan Menze van Diepen Foundation. A Selection from the Collection of Oriental Ceramics), (C.J.A. Jörg, Slochteren, 2002), pp.112-113, cat. 75.
Condition: A hairline in the centre.
Japanese Imari 1690-1800
Objects 2012391, 2012392, 2012393, 2012394 & 2012194
A set of five bowls
2012391: Height 74 mm (2.91 inch), diameter 149 mm (5.87 inch), diameter of footring 55 mm (2.17 inch), weight 282 grams (9.95 ounce (oz.))
2012392: Height 75 mm (2.95 inch), diameter 145 mm (5.71 inch), diameter of footring 53 mm (2.09 inch), weight 262 grams (9.24 ounce (oz.))
2012393: Height 74 mm (2.91 inch), diameter 150 mm (5.91 inch), diameter of footring 53 mm (2.09 inch), weight 279 grams (9.84 ounce (oz.))
2012394: Height 76 mm (2.99 inch), diameter 148 mm (5.83 inch), diameter of footring 54 mm (2.13 inch), weight 283 grams (9.98 ounce (oz.))
2012194: Height 74 mm (2.91 inch), diameter 152 mm (5.98 inch), diameter of footring 54 mm (2.13 inch), weight 308 grams (10.86 ounce (oz.))
Five bowls on footrings, straight rims. Imari, decorated in underglaze blue, iron-red and gold with flowering peony plants alternating with lozenge shaped panels filled with flower sprays. Round the foot a stylised waves pattern border. On the outer and inner rim a single line. On the bottom a flowering peony growing from behind an fence.
Underglaze blue objects were ready after one firing. Enamelled, 'coloured' wares had to be fired a second time in a 'muffle' kiln at a lower temperature of about 800° degrees Celsius. Enamels were made of a powdered mixture of glaze and mineral oxides, copper being used for green, iron for red, and iron or antimony for yellow. Suspended in a binding agent such as vegetable oil, they were painted onto the glaze of a single-fired piece, which was fired a second time once the enamel decoration had dried. The lower temperature is required because enamels 'cook', 'burn' and are wasted when high-fired. Gold and silver require a third firing at an even lower temperature of about 600° degrees Celsius. (Jörg 2003/1, p.15)
This rare set of five identically shapes, sized and decorated bowls is a good example of later Japanese export ware, which is surprisingly rare in Dutch collections.
2012393: A firing flaw to the footring.
2012194: Two firing flaws, a frit to the footring and a chip to the inner rim.
Chine de commande - Armorial / Pseudo-Armorial wares 1700-1800 - Armorial - Dutch
Teacup and saucer
Provenance: Suchow & Seigel, New York City, Fine Antiques est.1968.
Height of teacup 49 mm (1.93 inch), diameter of rim 88 mm (3.46 inch), diameter of footring 42 mm (1.65 inch), weight 72 grams (2.54 ounce (oz.))
Height of saucer 30 mm (1.18 inch), diameter of rim 140 mm (5.51 inch), diameter of footring 84 mm (3.31 inch), weight 107 grams (3.77 ounce (oz.))
Teacup and saucer on footrings, straight rims. Decorated in various overglaze enamels, iron-red, black and gold with two coats of arms accolée The shields are in a rococo style cartouche edged by scrollwork, flower festoons and shells above a gold coronet and surrounded by four flower sprays in European style. Round the rims a framework of deutsche blumen (German flowers) joined by fonds of bamboo. The teacup is decorated en suite. On the base of the saucer an oval paper dealers label that reads: Suchow & Seigel, New York City, Fine Antiques est.1968 and a crossed out old hand written collectors number / museum inventory number (201974d) in red. On the base of the teacup an oval paper dealers label that reads: Suchow & Seigel, New York City, Fine Antiques est.1968 and a crossed out old hand written collectors number / museum inventory number (201974-9L) in red.
Decorated with two coats of arms accolée. The dexter side is quarterly, 1. and 4. on a blue background a silver swan; 2. and 3. on a gold background three black cauldrons (two-one) on a gold background three cauldrons (two-one). The arms at the sinister side have two gold millrinds, in a quarter on a gold background a walking lion.
The dexster arms are those of Van de Leur, borne by an ancestor of the Krayenhoff van de Leur line, Anna Jacoba van de Leur (1747-1785), as shown on her tomb in Ceylon. She married in 1769 Cornelius Dionysius Krayenhoff (1744-1792) who was a senior merchant and director of Galle and Mature, Ceylon. The armorial quarters of Dick Arnold Krayenhoff van de Leur are those of Krayenhoff van de Leur - Loke, Krayenhoff van de Leur - Kolff, Loke - Muntz and Krayenhoff - Van de Leur.
However the sinister arms remain unidentified as none of those family arms resemble the millrinds and lion quarter which were, however, borne by at least six armigerous families, all from the province of North Brabant; Gommaerts or Gommers, Van der Hoeven (Heusden and Vrijhoeve, 18th century), Coenen, Nolleken, (Rover) van der Poorten and De Rode, the latter four in 's-Hertogenbosch during the 15th century.
The Van de Leur family is also from Brabant descending from Philippus van de Leur who was a wine merchant in Bergen op Zoom in the early 18th century. His son was appointed schout or bailiff of villages and small towns in western Brabant and Zeeland, such as Oude Tonge, Prinsenland and Willemstad. Philippus' son, Jacob van de Leur (born 1717), a bailiff and dike reeve of Willemstad (1749) was the father of Anna Jacoba who married into the Krayenhoff family. (Kroes 2007, p.523)
Kroes states that a (Chinese?) porcelain service with two coats of arms accolée was, in 1927, in the collection of Dirk Arnold Krayenhoff van de Leur (1855-1939) in the Dutch city Haarlem.
Condition teacup: Perfect.
Condition saucer: Perfect with slight wear to the golden decoration.
Price: € 749 - $ 894 - £ 640
(the $ and £ prices are approximates and depend on the € price exchange rate)
Japanese Blue and White wares 17th Century
Height 32 mm (1.26 inch), diameter of rim 209 mm (8.23 inch), diameter of footring 118 mm (4.65 inch), weight 289 grams (10.19 ounce (oz.))
Dish on footring, flat rim. On the base five spur-marks in a X-pattern. Decorated in underglaze blue with prunus flower sprays, a bare branch and a bird on rockwork in a low flowerpot, the flower pot is flanked by two small bamboo plants. This has been placed in a sketchily painted landscape near a lake. On the sides and rim large-scale spiralling karakusa scrolls with lotus flowers The reverse is undecorated.
The flowerpot evokes Chinese kraak porcelain where this motif sometimes occurs differently. Otherwise the motifs, the composition and the style are decidedly Japanese. For example, by giving the large spiny karakusa scroll (kara meaning Chinese and kusa meaning grass) a bold continuous frame, the centre decoration is made the focus of attention and has more depth than is usual on kraak porcelain. This dish exemplifies the rapid change in Japanese export porcelain from meticulously imitating Chinese examples towards a more unrestrained, Japanese decorative style. (Jörg 2003/1, p.181)
For identically decorated dishes, please see;
- Japans porselein met blauwe decoraties uit de tweede helft van de zeventiende en de eerste helft van de achttiende eeuw. (D.F. Lunsingh Scheurleer in Mededelingenblad Nederlandse Vereniging van Vrienden van de Ceramiek, vols. 64/65, 1971), p.64, cat. 37.
- Aziatische ceramiek uit vijf eeuwen, (D.F. Lunsingh Scheurleer, exhibition catalogue of the J.M. van Diepen Collection, Fraeylemaborg Slochteren, 1977), pp.86-87, cat. 253.
- Ko-Imari from the collection of Oliver Impey, (Barry Davies Oriental Art, London, 1997), pp. 60-61, cat. 27.
- Fine & Curious, Japanese export porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam, 2003), p.181, cat. 123.
Japanese Figures 1690-1800
Figure of a small seated dog
Height 75 mm (2.95 inch), dimensions 42 mm (1.65 inch) x 35 mm (1.38 inch), weight 54 grams (1.90 ounce (oz.)),
Small figure of a seated dog with a curled tail and a collar. A small hole in the unglazed base with a vague textile imprint. Decorated in overglaze iron-red, orange, yellow, black and green enamel and gold. The dog has enamelled patches, a collar with a pendant, and whiskers around the beak.
Japanese porcelain workshops began producing ornamental sculptures at least as early as the middle of the seventeenth century. Somewhat similar to okimono carvings, these sculptures may have been made initially for the domestic market as light-hearted playthings to be included in certain types of holiday and other seasonal displays. But as soon as the sculptures came to the attention of Dutch and Chinese buyers, they became popular export products as well, and by the end of the seventeenth century, actually have eclipsed domestic consumption. The animal figures illustrated here are all symbols of certain years in the traditional Chinese and Japanese zodiac and could have been used within Japan as gifts or decorations for the New Year's festival. If so, they would likely have been stored away once the festivities were over. In Europe, by contrast, animal sculptures such as these were seen simply as charming nature studies and were often left on display all year. (Impey, Jörg & Mason 2009, p. 102)
Apparently, porcelain figures of humans and animals (leaping carp, cats, dogs and birds) were a successful export item. The Dutch ordered figures from the very start of the Japanese porcelain trade making use of an already existing market for such figures. The origin of the shapes of the models is still a puzzle, although it seems logical that the Japanese potters used Japanese sources when making the moulds, perhaps referring to the indigenous doll tradition, to prints or to carved figures. These 'exotic' figures played their part in the export assortment, and were either bought by the Dutch East India Company, (Vereenigde Oost-Indische Compagnie (VOC)), privately by Dutch merchants, or by the Chinese. Three main groups of figures can be discerned: figures in the Kakiemon palette, Imari figures and figures after European models. Enamelled figures come in many shapes and varieties and were included in the export assortment from the beginning of the Dutch porcelain trade. ((Jörg 2003/1, pp.273-274)
This amusing figure of a small seated dog fits comfortably into the group of animals and figures that reached Europe in the early 18th century and were regard as exotica.(Jörg 2003/1, p.283)
No comparable figure of a seated small dog could be found in literature.
For an early Japanese Arita model of a puppy, please see:
- Dragons, Tigers and Bamboo: Japanese Porcelain and its impact in Europe - The Mac-Donald Collection, (O.Impey, C.J.A. Jörg and C. Mason, Douglas & McIntyre Publishers Inc., Vancouver/Toronto/Berkeley 2009), p.102, Fig. 52.
For a similarly decorated figure seated on an animal, please see:
- Fine & Curious. Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam, 2003), p.283, cat. 357.
Condition: A small and shallow glaze rough spot to the tip of the nose.
Kakiemon / Kakiemon style wares- Kakiemon style wares
Height 34 mm (1.34 inch), diameter of rim 210 mm (8.27 inch), diameter of footring 132 mm (5.20 inch), weight 410 grams (14.46 ounce (oz.))
Dish on footring. On the base four spur-marks in a Y-pattern. Decorated in Kakiemon type enamels with a peony spray within a double circle in underglaze blue. On the sides two groups of rocks with flowering plants. On the reverse three flower sprays. Round the foot three underglaze blue lines, on the base a wide circle in underglaze blue.
The enamelling is the main characteristic of Kakiemon and Kakiemon-style porcelain. As Imari, the enamel colours also developed out of the early enamels and became more transparent in time. In fact, the differences are minimal; it is the combination and the way of painting that makes it 'Kakiemon'. The vivid overglaze blue, the soft bluish-green, the brownish to light yellow, the light aubergine and especially the bight vermilion-red are characteristic. Black and gold are often used for details. Outlines are done in thin black lines drawn by a skilled and steady hand. A coffee-brown iron oxide is used on the edge of rims but never in the main decoration. (Jörg 2003/1, p.68)
Fitski states that Kakiemon production can be divided into two groups: pieces made in Nangawara which we call 'Kakiemon' and pieces made in Uchiyama, for which we use the appellation 'Kakiemon style'. This dish is representative of a group of pieces, mainly dishes, without the milky-white nigoshide body which is the main characteristic of Kakiemon. In this case, the porcelain is greyish with some impurities or kiln grit on the front and back. Such pieces were not made by the Kakiemon kiln, but by contemporary competitors and are therefore referred to as Kakiemon style. (Fitski 2011, pp.70-71, p. 90 & p.97)
For very similarly decorated dishes, please see:
- Aritaporzellan im sogenannten 'Kakiemonstil' als Vorbild für die Meissener Porzellanmanufactur, (M. Shono, München, 1973), cat. 86.
- Complete Catalogue of the Shibata Collection, (The Kyushu Ceramic Museum, Kyushu 2003), p.255, cat. 1984.
- Japanese Export Porcelain. Catalogue of the Collection of the Ashmolean Museum, Oxford, (O. Impey, Hotei Publishing, Amsterdam, 2002), p.88, cat. 85, 86 & 87.
- Fine & Curious. Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam, 2003), p.75, cat. 62.
Condition: Two hairlines to the rim.
Japanese wares with Western Shapes or Designs 1653-1800
Height 22 mm (0.87 inch), diameter of rim 128 mm (5.04 inch) x 103 mm (4.06 inch), diameter of footring 80 mm (3.15 inch) x 62 mm (2.44 inch), weight 76 grams (2.68 ounce (oz.))
Saucer or pattipan of lobed oval shape on a four-lobed footring. Decorated in underglaze blue with a European landscape with trees, a house and a bridge with two men and a horseman. Round the rim a dark blue border. The reverse in undecorated. Marked on the base with a six-character Chenghua mark.
Frederik van Frijtom (c.1632-1702)
Frederik van Frijtom (c.1632-1702) was a delft faience painter who specialised in plates, dishes and plaques with landscapes in blue. The elements that characterise his work include the wide blank rims of his plates and dishes, the detailed painting of trees and landscapes, and a specific way of drawing clouds, outlining them with small bows. His work shows idyllic, pastoral scenes with people riding horses, fishing from a boat, walking or hunting. Other Delft factories made pieces with similar scenes (and related scenes feature in the work of Dutch engravers and artists of that period), but Van Frijtom produced pieces of outstanding quality. He seemed to have made single items only, because no two pieces of the same design are known. (Jörg 2003/1, p.211)
It is unknown when and where Van Frijtom was born. He married Lijntge Stevens, a spinster from Pernis, in Delft in 1652. They lived in 'In den gulden Brack' in the Molslaan in Delft, and had several children. He was doing well and bought real estate in Delft several times. After his wife died he married again with Elisabeth Verschouw, under a prenuptial agreement. His works are known from 1652 to 1702. He made paintings, often landscapes, mostly on panel and sometimes on canvas. However, he specialized for the Delft pottery industry in plate decorations and tile paintings. He found original decorative possibilities without using the usual symbols. A will in 1701 showed that he was ill. After his death in 1702, twelve porters carried him to his grave in the Nieuwe Kerk in Delft. (Wikipedia)
Reproduced from: Frederik van Frytom 1632-1702. Life and work of a Delft pottery-decorator. (A. Vecht, Scheltema & Holkema N.V., Amsterdam, 1968), p.26. This autogragph is not included in this sale/offer. (copyright in bibliographic data and images is held by the publisher or by their respective licensors: all rights reserved)
The Frederik van Frijtom (c.1632-1702) style.
The Groninger Museum has two interesting, very rare early plates, each with a design clearly taken from a Delftware example, and it is tempting to connect them to the models brought over from The Netherlands in 1662. The Japanese copied not only the decoration from the Delft pieces, but also the flat base without a footring. They may represent a short-lived fashion, as it is difficult to find other examples of Dutch style decorations in the second half of the 17th century, apart from the pieces mentioned above.
Then, unexpectedly, there was a varied output of pieces painted with Dutch landscapes, ships and harbour scenes in underglaze blue - no polychrome examples are known. Shapes include teapots. teacups and saucers, pattipans (saucers for teapots and milk jugs), plates and bowls. This type of decoration has been labelled the 'Frijtom' style.
This saucer or pattipan (a stand for a teapot or milk jug, or used as spoon tray) belongs to another category within the 'Frijtom' Group. The shape and decoration imitate a Delftware model in the Prinsenhof Museum, Delf, painted in the Frijtom style and dated to 1684, as part of a set of five different saucers. The motif of the horseman, the main element of the design, is also seen on other export ware. Two teacups with this design are in the Amsterdam Rijksmuseum (Arita 2000, cat.70); two others from the Gerry Collection are in the Metropolitan Museum of Art, New York (Ford 1989).
In his Fine & Curious on page 244, cat. 314a Jörg shows an example of an Dutch Delftware saucer, on the flat surface, within a blue line, a water landscape with a wooden bridge on which there is a horseman followed by two other men. To the right in the distance tall trees and a farmhouse. Blue border. Marked on the base: MB 1684, Prinsenhof Museum, Delft TDA126c. Reproduced from: Fine & Curious. Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam, 2003), p.244, cat. 314a. This saucer is not included in this sale/offer. (copyright in bibliographic data and images is held by the publisher or by their respective licensors: all rights reserved)
It is a curiosity that these Japanese dishes / saucers were in turn copied in England at the Bow factory from c.1752 and there is even a Chinese version in the Ashmolean Collection. (Ayers, Impey & Mallet 1990, p.114, Impey 2002, p.228 )
For an identically shaped and decorated saucers, please see:
- The Wrestling Boys. Chinese and Japanese Ceramics from the 16th to the 18th Century in the Collection at Burghley House, (The Trustees of Burghley House, Stamford 1981), p.12, cat. 36.
- The Voyage of Old-Imari Porcelains, (Kyushu Ceramic Museum, Arita 2000), p.47, cat. 39.
- Fine & Curious: Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei publishing, Amsterdam, 2003), p.244, cat. 314.
For an originally shaped and decorated Delftware saucer, please see:
- Frederik van Frytom 1632-1702. Life and work of a Delft pottery-decorator. (A. Vecht, Scheltema & Holkema N.V., Amsterdam, 1968), p.77, cat.43.
- The Wrestling Boys. Chinese and Japanese Ceramics from the 16th to the 18th Century in the Collection at Burghley House, (The Trustees of Burghley House, Stamford 1981), p.13, cat. 38.
- Fine & Curious: Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei publishing, Amsterdam, 2003), p.244, cat. 314a.
Condition: Poor, professionally restored after being broken in two pieces, also a filled chip to the reverse rim.
Price: € 399 - $ 483 - £ 349
(the $ and £ prices are approximates and depend on the € price exchange rate)
Japanese Imari 1690-1800
2nd half 18th century
Height including the cover 82 mm (3.23 inch), height excluding the cover 64 mm (2.60 inch), diameter of rim bowl 116 mm (4.41 inch), diameter of footring bowl 46 mm (1.65 inch), diameter of ring knob cover 37 mm (1.34 inch), diameter of rim cover 105 mm (4.09 inch), weight bowl 184 grams (4.82 ounce (oz.)), weight cover 84 grams (2.79 ounce (oz.)).
Bowl on footring, narrow spreading rim, domed cover with ring knob. Imari, decorated in underglaze blue, iron-red, green and black enamel and gold with groups of flowering bamboo, pine and prunus. Near the footring a pointed lotus leaves pattern border. Inside the bowl and cover flowering bamboo plants and a blossoming prunus spray, round the rims zig zag lines pattern borders. On the outside of the cover flowering bamboo, pine and prunus plants and round the outside of the ring knob a lotus leaves pattern border. Marked on the base of the bowl and in the centre of the covers ring knob with a fuku ['luck'] mark within a double-lined square in seal script.
The lavish decoration on the inside of the cover is unusual and rarely found on Japanese export porcelain. The decorative pattern of the, rather coarse, blossoming prunus branches is characteristic for the later second half of the 18th century.
Condition: A firing flaw to the outer rim of the bowl and a frit to the outer ring knob.
Price: € 299 - $ 361 - £ 265
(the $ and £ prices are approximates and depend on the € price exchange rate)