Recent Acquisitions
On this page you'll find my latest acquisitions.
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; June 24, 2025.
Japanese Tea, Coffee and Chocolate wares 18th Century
Object 2012648
Saucer
Japan
Late 17th century
Height of saucer 24 mm (0.95 inch), diameter of rim 120 mm (4.72 inch), diameter of footring 66 mm (2.60 inch), weight 75 gram (2.65 ounce (oz.))
Saucer on footring, straight rim. 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.
A similarly decorated 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:
Condition: A firing flaw with a connected Y-shaped hairline, caused by the firing process.
Reference:
Price: Sold.
Japanese Imari 1690-1800
Object 2012646
Dish
Japan
1700-1730
Height 41 mm (1.61 inch), diameter of rim 212 mm (8.35 inch), diameter of footring 116 mm (4.57 inch), weight 427 grams (15.06 ounce (oz.))
Dish on footring, straight rim and slightly spreading edge. On the base five spur-marks in a Y-pattern. Imari, decorated in underglaze blue, iron-red and gold with a jardiniere filled with camellia surrounded by a blue band with scrolls in gold. On the sides two half kiku-flower motifs in brocade style, a branch of flowering peony and a bunch of flowers including chrysanthemums. The rim with karakusa scrolls divided by six single cherry blossoms. The reverse with three prunus branches.
The dish belonged to an identical bowl with a cover, both now lost.
The half kiku-flower, here alternately painted in gold and dark blue with a geometric pattern and a gold spray on white, is a common motif and was probably derived from embroidered Japanese textiles.
For an identically decorated bowl with cover and saucer, please see:
Condition: Perfect.
Reference:
Price: Sold.
Japanese Imari 1690-1800
Object 2012647
Small dish
Japan
1670-1690
Height 22 mm (0.86 inch), diameter 155 mm (6.10 inch), diameter of footring 65 mm (2.56 inch), weight 161 grams (5.68 ounce (oz.))
Small dish on footring, broad flat rim. On the base a single spur-mark, Decorated in underglaze blue and enamels within the centre a chrysanthemum flower spray in a double concentric band in underglaze blue. The sides and rims are divided into Chinese kraak-style panels filled with flowering plants, in between the panel's chrysanthemum flowerheads with leafy branches. The reverse with three widespread flowering peony plants growing from rockwork round the foot a double concentric band in underglaze blue.
The shape of this small dish is interesting, originally it probably came with a covered bowl that is now lost. These type of small (under) dishes with the broad flat rim and early Imari decoration are rare. The predominant use of green enamel feeds the thought that the decorators copied Chinese famille verte wares from that period as well as the use of the Chinese kraak style panelled border. Considering the early dating (1670-1690) of this small dish it could very well have been made and painted by a generation of Chinese potters and decorators, or immediate pupils trained by them working at that time at Japanese kiln sites.
Jörg describes a similarly decorated dish in his Fine & Curious. Japanese Export Porcelain in Dutch Collections. This rare dish can be considered an interesting intermediate piece. It combines the underglaze blue kraak-style (fuyō-de) with early Imari enamelling. (Arts 1983, p.48 plate 19a), (Jörg 2003/1, p.94, cat. 87 & p.291)
For similarly decorated intermediate objects (positioned between early enamel and later traditional Imari), please see.
- Fine & Curious: Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei publishing, Amsterdam, 2003), p.94, cat. 87.
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Sold Ceramics - Sold Japanese Imari 1690-1800 - Dishes - Page 1 - Object 2011490.
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Sold Ceramics - Sold Japanese Imari 1690-1800 - Dishes - Page 1 - Objects 2012462.
- Collection Groninger Museum.
The dense design, combination of underglaze blue with enamels already shows the early stages of the mature Imari style, which developed somewhere between 1670-1690. This was in all likelyhood stimulated by the orders from the Dutch who liked the bright colours, strong designs, and complex compositions. (Jörg 2003/1, p.91)
Another hybrid style dish which offers an interesting comparison can be found in the collection of the Royal Trust (inv. nr. RCIN 58828). The underglaze blue kraak design still clearly prevails here. The enamels show an opaque, strong green and dark brick-red, which resembles the early enamels colour scheme more closely. Therefore, this piece can probably be dated slightly earlier than our dish(es).
Condition: A hairline to the rim.
References:
Jörg 2003/1, cat. 62, 63 & 87, p.91 & p.291
www.royalcollection.org.uk/, inv. nr. RCIN 58828
Price: Sold.
Japanese Blue and White wares 17th Century
Object 2012643
Sleeve vase / Rolwagen
Japan
1670-1690
Height 240 mm (9.44 inch), diameter of mouthrim 85 mm (3.35 inch), diameter of footring 80 mm (3.15 inch), weight 678 grams (23.92 ounce (oz.))
Cylindrical sleeve vase or rolwagen, the flat base partially glazed leaving areas of the body exposed and burnt orange during the firing. Short neck, spreading rim. Decorated in underglaze blue with grasses, pine and a large flowering peony plant growing from pierced rockwork. In between these plants a bird and a moth in flight with two flocks of birds. Round the foot and on the shoulder a zig-zag lines pattern border and on the neck and rim a border with descending pointed leaves.
The shape and decoration indicate a model of Chinese 'Transitional' porcelain. Chinese rolwagens - slender, cylindrical vases - were part of the VOC export assortment and enjoyed great popularity in Europe as decorative objects. Considerable number still exists. Therefore, one expects a large production of Japanese imitations, but this is not the case. They are relatively rare and never as large as the Chinese models. The name 'rolwagen' now common in English, is the traditional Dutch name for this type of vase. It may have derived this name (literally, 'rolling wagon') from an element in a scene which frequently occurs on these Chinese vases, namely a figure seated in a cart with two big wheels, the rolwagen. Most surviving Arita examples are small, larger examples are rare. A pair is in the Burghley House Collection, Stamford. (Jörg & Van Campen 1997, p.78, cat. 66), (Jörg 2003/1, p. 32, cat. 15)
The decoration on this rolwagen, shows a Japanisation of the Japanese copy of the original Chinese rolwagen where the figures in a landscape (see sold object 2011857) have been replaced by a more Japanese floral style. The floral decoration refers to the arrival of autumn season. It was used in Japan to decorate the interior during to this season and by doing so creating a different interior atmosphere during each season.
Until now it was believed that these Japanese rolwagens only came in two sizes, small about (c.180 mm 7.08 inch) and the large (c.280 mm 11.02 inch). The height of this rolwagen 240 mm (9.44 inch) clearly indicates that there must have been a third (middle) size as well.
For a similarly shaped small, c.182 mm (7.17 inch), rolwagens, please see:
For identically shaped large, c.280 mm (11.02 inch) rolwagens, please see:
- H.A. Daendels, Catalogus tentoonstelling Japans blauw wit Porselein. Op Hollandse bestelling en in de Japanse smaak, exhibition catalogue Gemeentelijk Museum Het Princessehof, Leeuwarden 1981. Also Published as Mededelingenblad Nederlandse Vereniging van Vrienden van de Ceramiek, vols. 101/102, p.55, cat. 72.
- 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.59, cat. 142.
- Fine & Curious, Japanese export porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam, 2003), p.17, cat. 50.
- 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.97, cat. 38.
For a similarly decorated Chinese 'Transitional' rolwagen, please see:
Condition: A firing flaw to the base.
References:
Ayers, Impey & Mallet 1990, cat. 38
Jörg & Van Campen 1997, cat. 66
Price: Sold.
Shipwreck Porcelains - The Diana Cargo, 1817
Objects 2011187 and 2011189
A glazed toy duck and toy duckling
China
c.1816
Provenance: The Diana Cargo sale, Christie's Amsterdam, 6-7 March 1995
2011187: height 74 mm (2.91 inch), dimensions 125 mm (4.92 inch) x 65 mm (2.56 inch), weight 114 grams (4.02 ounce (oz.))
2011189: height 38 mm (1.50 inch), dimensions 30 mm (1.18 inch) x 55 mm (2.16 inch), weight 25 grams (0.88 ounce (oz.))
Glazed toy duck and duckling each moulded with naturalistic legs, wing and tail feathers and impressed circular eye, under a straw glaze with scattered green and brown spots. On both toy duck and toy duckling the original 'Christie's Diana Cargo March 1995'' sale lot 942 label proving they have been two of four toy ducks, and four toy ducklings sold in lot 942.
Ball states that of the 877 terracotta statues, animal statue predominated. There were crowing cocks, seated dogs, paddling ducks, horses and buffalo. The finest one of all was the boy on a buffalo. Amazingly, the paint had survived on many of them and apart from their desirability for reasons of religion or superstition, they would make attractive display pieces too. The objects were especially popular with the more superstitious southern Chinese communities in Guandong, Fujian, and Zhejiary provinces, and little secular groups. Figures were normally carried as "private" cargo, not in bulk; but there is evidence that there were several hundred on Diana, so maybe the Madrassi principals thought it was worth experimenting with the local markets in India. The Chinese never regarded ceramic sculptures as a serious art form. Unlike Western potters, who were excited by trying to recreate in a ceramic medium the achievements of the European stone and wood sculptural tradition, the Chinese made pottery and porcelain figures as a very cheap substitute only for other media like stone, wood or even ivory and soapstone) in Fujian province'. Ceramic figures never formed the bulk part of a cargo coming back from the West+ except for a brief period a century before Diana, when blanc de Chine figures became sufficiently popular for large quantities to be shipped from a temporary entrepôt at Amoy. Apart from that moment, Diana tells us, more than any other excavated ship's cargo, about what figures the Chinese were producing, and what was popular abroad even when largely divorced from their original context. (Ball 1995, pp.145-149)
In total 74 glazed toy ducks and 88 glazed toy ducklings were sold divided over the lots: 919-944. (Amsterdam 1995)
For other, earlier sold duck and duckling, please see:
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Sold Ceramics - Sold Shipwreck Porcelains - The Diana Cargo, 1817 - Page 1 - Object 2011191.
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Sold Ceramics - Sold Shipwreck Porcelains - The Diana Cargo, 1817 - Page 1 - Object 2011186.
Condition: Both perfect.
References:
Price: Sold.
Dehua wares 1600-1900
Objects 2012644 & 2012645
A pair of (Adam and Eve) figurines
China
c.1700
Provenance object 2010C332 (Eve): Guest & Gray, object number Y269, The United Kingdom.
Provenance object 2010C333 (Adam): J.B.A.M. Ott Fine Arts, Zutphen, The Netherlands.
2012644 (Eve) Height 227 mm (5.24 inch), dimensions 75 mm (2.24 inch) x 60 mm (1.77 inch), weight 470 grams (7.44 ounce (oz.))
2012645 (Adam) Height 231 mm (5.24 inch), dimensions 75 mm (2.24 inch) x 65 mm (1.77 inch), weight 531 grams (7.44 ounce (oz.))
Two figures, blanc de Chine, Dehua kilns representing a half-naked man and a half-naked woman both with a robe wrapped around their lower bodies. Both standing on a pedestal in the form of a boulder. On the base of object 2010C332 (Eve) a circular paper dealers label with the text: Guest & Gray, a rectangular paper label with the handwritten text: Y269 Chinese blanc de chine Figure of Eve Kangxi (1662-1722) and a rectangular paper label with the text :259. * Statuette af frittelignende, elfenbenshvidt Porcellaen. En nogen, staande Kineserinde med Draperi. Prov. Fuhkien, 18. Aarh. >>Chien-yao<< Blanc de Chine. H. 22 Ctm. On the base of object 2010C333 (Adam) a rectangular paper dealers label with the text: J.B.A.M. Ott Fine Arts Zutphen, The Netherlands.
The white, undecorated blanc de Chine with its ivory-grey or creamy-white glaze on a thick, pure-white body was produced in kilns in and around Dehua in southern China. Since the late 16th century, potters there specialised in figures of animals and Chinese Immortals, especially of Guanyin, the patroness of womenSoutheast Asia / Other Ceramics, poor people and fishermen. Unusually for Chinese depictions of women, Guanyin has bare feet. Occasionally figures of Europeans were made, sometimes riding a mythical animal, and even statues of Mary and Child or Mary and a monk are known. Apart for export, these figures might also have served as curiosities or 'Western exotics' for Chinese collectors. Figures and other items such as teapots, covered boxes and vases were made in moulds. Interesting are the so-called libation cups, modelled after examples made from rhinoceros's horn. The rough surface and sometimes even the imprint of the potter's fingers can be seen on the inside of hollow figures. Decorations in relief, for instance of plum blossom, are hardly detailed. It is the thick, shiny glaze emphasising the simple form that makes blanc de Chine so attractive. In particular on figures, blanc de Chine may have a potter's or workshop mark. Blanc de Chine was much in demand in Europe as an exotic curiosity and figures were often overdecorated locally in black or red cold paint. Blanc de Chine figures are still being made in Dehua, often using the traditional techniques.
Christian influence
This is perhaps the point at which to introduce the figures, naked from the waist up, known in Europe as Adam and Eve (Plate 121c). The male figure is sometimes called The Slave, but this I think is no more than a dealer's term, for slaves in China were not dressed (or undressed) in this fashion. They are innocuous enough little figures, the legs rather clumsily modelled, perhaps indicative of our potter's unfamiliarity with that part of the human anatomy. they are certainly not medical figurines shown to the doctor as a substitute for physical examination, for the female figure in that case would not be partially clad, and there would be no need at all for the male one. It is easier by far to say what these figures are not that what they are. I have put them into the export category firstly because their hair styles (there is little else to go by) seem vaguely European, and secondly because they are found in Europe in fair numbers, but van Goidsenhoven published a version of the female figure with a manifestly Chinese hair style, a high comb-like roll encircling the forehead. he suggests she may be T'an-ki, a famous concubine of the Emperor Tsu of the Yin dynasty. She is said to have caused young people of both sexes to discard their clothes, and encouraged their excesses. I find myself unable to give this story any more credence than those other offerings from that author, and his explanation does nothing to explain the existence of the young man. It is curious, too, that the woman is the taller of the pair -is there any folklore significance here? The dating of these figures to the K'ang-hsi period presents no problem, since Augustus the Strong had six examples of Eve [N25] before 1721. At that time her hair was painted black, and since the cataloger records two sizes, 9 and 9 1/2 inch, he probably had the model recorded by van Goidsenhoven as well. Adam is missing unless he lurks, painted, in the red section of the inventory. The quality is good apart from the rather poor modelling already mentioned (Donnelly 1969, p.194, p.196 & p.340)
(Reproduced from: Blanc de Chine. The Porcelain of Têhua in Fukien, (P.J. Donnelly, Faber and Faber, London, 1969), fig 121c)
Normally they are not together but they are constructed as a pair. Adam and Eve is their Western name. However, they can also be figures that represent Filipino or Taiwanese aboriginals. They are fairly rare figures, certainly a couple.
For identically shaped and sized Adam and Eve figurines, please see;
- Blanc de Chine. The Porcelain of Têhua in Fukien, (P.J. Donnelly, Faber and Faber, London, 1969), fig 121c.
- SKD Online collection, PO. 3249.
Condition: Both perfect.
References:
Donnelly 1969, p.194, p.196 & p.340, fig 121c
SKD Online collection, PO. 3249.
Price: Sold.
Japanese Early Overglaze Enamelled wares 1660-1680
Object 2010C331
Ewer
Japan
c.1660
Height 218 mm (8.58 inch), diameter 101 mm (3.98 inch), diameter of mouthrim 37 mm (1.46 inch), diameter of footring 59 mm (2.32 inch), weight 530 grams (18.70 ounce (oz.))
Ewer of ovoid body on spreading foot, cylindrical neck and a large mouth with a pinched spout. Curved pierced handle. The shallow conical base is glazed. Decorated with early enamels with swirling clouds and scattered flowerheads on a red basketwork. Round the base, the foot and neck broad, red enamelled, bands and lines. Round the shoulder a stylised border with leaves and flowerheads and on the neck a border with lozenge-shaped decorative elements. On the rim a border with upturned spiky lotus leaves. On the handle a single flowerhead with a swirling scroll in red.
The background of red lines is interesting. It is also seen on other pieces of this period but does not occur on underglaze-blue decorated objects. Similar red grounds, usually of spirals or diapers, are found in Chinese Transitional wucai porcelain, and it is likely that the Japanese adopted this element from Chinese models, as was done with the panelling of the decoration. Nevertheless, the result is altogether Japanese in atmosphere. (Jörg 1999, p.57, cat. 42)
Japanese ewers decorated with early enamels are yet unrecorded in Museum collections as well as in literature.
Condition: A firing flaw, with connecting firing hairlines to the bottom, some loss of enamel to the various scattered flowerheads.
Reference:
Price: Sold.
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