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 four weeks each object in 'Recent Acquisitions' will be moved to their specific category.

 

Latest update; June 22, 2018.

2011586
2011586

Monochromes 1700-1900

 

Object 2011586

 

Storage jar

 

China

 

c.1700

 

Height 157 mm (6.18 inch), diameter 125 mm (4.92 inch), diameter of mouthrim 51 mm (2.01 inch), diameter of footring 61 mm (2.40 inch), weight 925 grams (32.63 ounce (oz.))

 

Conical storage jar on footring, a marked shoulder ending in a wide mouth with a low rim. Covered with a greyish / greenish glaze, undecorated. The concave base is unglazed

 

These types of heavily potted, sturdy storage jars were widely mass-produced in south Chinese kilns for export. The impurities of the glaze and the horizontal ribbons on the body, the result of throwing the pots on the wheel, which were not removed in a finishing stage, show the quickness and the efficiency with which these pieces were made. These type of storage jars represent a well-known type, apparently made during long stretches of time during which there is no discernible development in potting, shape and glaze. They were widely used in Southeast Asia as containers for salt and all kinds of food and liquid. Round the rim a piece of parchment, oiled paper or textile could be bound, sealing the contents. Their shape designed to store them economically in the shipholds, lying with the mouth alternatingly up or down. These storage jars were multi-purpose pieces, to be used again and again, filled with new commodities, sold and shipped to new destinations. (Jörg & Flecker 2001, pp.90-91)

 

Porcelain from the Vung Tau Wreck, Jorg en Flecker pp 90 91 fig 94

Similarly shaped storage jars salvaged from the cargo of the The Vung Tau Cargo, c.1690 shipwreck.

(Reproduced from: Porcelain from the Vung Tau Wreck. The Hallstrom Excavation, (C.J.A. Jörg & M. Flecker, UK, 2001), pp.90-91, cat. 94)

 

Condition: Overall fine crazing to the glaze with various firing flaws, a glaze imperfection to the body and a chip to the footring.

 

References: 

Jörg & Flecker 2001, pp.90-91, cat. 94

 

Price: € 199 - $ 229 - £ 173

(the $ and £ prices are approximates and depend on the € price exchange rate)

 

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2011150
2011150

Chinese wares over-decorated in the West 1700-1800 - Dutch over-decorated Amsterdams Bont wares

 

Object 2011150

 

Bowl

 

China

1730-1750, over-decorated in the Netherlands, Amsterdams Bont, c.1750-1770

 

Height 59 mm (2.32 inch), diameter of rim 112 mm (4.41 inch), diameter of footring 41 mm (1.61 inch), weight 170 grams (6.00 ounce (oz.))

 

Bowl on footring, steeply rounded sides and a straight rim. Decorated in underglaze blue with four groups of flowering plants, round the rim a trellis-pattern border with four reserves filled with flower sprays. On the bottom a flower spray in a concentric band and round the inner rim a single concentric band. Over-decorated in iron-red, green and black enamel and gold in the Netherlands, Amsterdams Bont, c.1750-1770 with four panels filled with a flowering plant, in between the panels leafy branches round the foot a descending lotus leaves-pattern border. On the bottom a single flower spray and on the inner wall six single flower sprays.

 

Condition: A firing tension hairline to the footring , a popped bubble of glaze (caused by the firing process) and two fleabites to the rim.

 

Price: € 99 - $ 115 - £ 86

(the $ and £ prices are approximates and depend on the € price exchange rate)

 

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2012166
2012166

Japanese Blue and White wares 17th Century - Other wares - Page 1

 

Object 2012166

 

Kendi

 

Japan

 

1670-1690

 

Height 215 mm (8.46 inch), diameter 158 mm (6.22 inch), diameter of mouthrim 45 mm (1.77 inch), diameter of footring 85 mm (3.34 inch), weight 1,042 grams (36.76 ounce (oz.))

 

Kendi on footring, spout, fitted with a silver mount (unmarked), on the shoulder, long cylindrical neck ending in a splayed mouth with overturned rim. Decorated in underglaze blue with a simplified, rather sketchily painted, river scene with a bridge, a small pavilion on a shore with trees, rocks and mountains in the background. Round the shoulder a band with stripes and two broad monochrome underglaze blue bands. On the neck a simplified 'tulip' design, on the rim a floret between scrolls and on the spout floral sprays.

 

The tulip motif is reminiscent of Chinese Transitional designs, but the sketchily rendered river scene and the floret between scrolls are part of the established repertoire of Japanese designs.

 

Jörg states that the kendi is a drinking and pouring vessel widely used in Asia. Its basic shape is a bulbous body, a long neck and a tubular or breast-shaped (mammiform) spout on the shoulder. The kendi has no handle and one holds it by the neck and drinks from the spout. The kendi seems to have evolved from the Indian kundika and spread throughout Asia, changing shape and adapting to existing local vessels for similar use. Kendis of Chinese kraak porcelain of the first half of the 17th century and Japanese kendis of the second half were part of the Dutch East India Company's (VOC) porcelain assortment for the inter-Asian trade. Apparently, they also reached The Netherlands in small quantities, probably as part of the belongings of retiring VOC employees. They were not used according to their traditional function in The Netherlands and must only have been decorative items or were filled with flowers as shown on paintings. Kendis were not used in Japan (or China) and were made exclusively for export in Arita from the 1660s. Kendis usually have a smooth body, but Japanese potters frequently made a variety that is vertically ribbed by moulding the piece. Another characteristic of Japanese kendis is the broad overturned mouthrim, seen less often in Chinese pieces.

 

Arts states that the gorgelet (Portuguese: gorgoletta) or ghendi of the Japanese was originally a drinking vessel in general use everywhere in Asian countries. The porcelain form originated during the Ming period probably from a far older earthenware prototype. Later on, after the habit of tobacco-smoking appeared in Asia at the beginning of the 17th century, it was also used as a nargileh base in many Mohammadan countries. The VOC registers indicate that ghendi were made by the Japanese more or less from the beginning, as an imitation of the Chinese examples. In 1669 Begal ordered from Deshima twenty large and small ghendi. The biggest market was South East Asia. In 1671 Chinese junks carried a consignment of 700 Japanese-made ghendi from Deshima to Batavia and another 600 in the following year.

 

2012166 and other Kendi

 

Comparison between object 2012166 and a similar model made of copper. (the coper model is not included in this sale/offer)

 

For similarly decorated kendis, please see:

Condition: Crazing to the glaze of the lower part of the kendi with three firing tension hairlines.

 

References:

Lunsingh Scheurleer 1971, p.108, cat. 172

Lunsingh Scheurleer 1977, p.88, cat. 257

Arts 1983, p.50, Pl. 23

Jörg 2003/1, pp.63-66

 

Price: € 699 - $ 825 - £ 616

(the $ and £ prices are approximates and depend on the € price exchange rate)

 

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2012170
2012170

Blue and White Kangxi Period 1662-1722 - Western Shapes

 

Object 2012170

 

Salt

 

China

 

c.1700

 

Height 57 mm (2.24 inch), diameter concave top 48 mm (1.89 inch), diameter foot 74 mm (2.91 inch), weight 129 grams (4.55 ounce (oz.))

 

Salt of hexagonal waisted form on an open base. The inside unglazed, the lower hexagonal part tapering to the waist, the spreading top with a recessed centre, the rim extending downwards. Decorated in underglaze blue with a border of moulded descending lotus leaves alternating with lotus leaf-shaped panels filled with a flower head. Round the waist a border with flower heads and dots. On the rim a border with moulded lotus leaves alternating with lotus leaf-shaped panels filled with a a flower head, on the circular concave top moulded lotus leaves.

 

Modelled after an European pewter or earthenware salt, the material and the Chinese style decoration made this salt an exotic object that was prominently placed on a richly laid table. At this time salts were ordered separately, and only much later as part of a dinner service. With many Christian connotations, salt was an important seasoning at dinner before the 19th century and salts were larger and more elaborate than they are today. (Howard 1994, p.125), (Jörg 2011/2, p.148)

 

Condition: Some discolouration and fine crazing to the glaze, a few firing flaws and popped bubble of glaze, caused by the firing process, and a glaze rough spot to one edge.

 

References:

Howard 1994, cat. 127

Jörg 2011/2, cat. 142

 

Price: € 449 - $ 529 - £ 395

(the $ and £ prices are approximates and depend on the € price exchange rate)

 

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2010C308
2010C308

Japanese Blue and White wares 18th Century

 

Object 2010C308

 

Dish

 

Japan, Arita, Nangawara valley, Higuchi kiln.

 

1760-1770

 

Height 33 mm (1.30 inch), diameter of rim 220 mm (8.66 inch), diameter of footring 137 mm (5.39 inch), weight 479 grams (16.90 ounce (oz.))

 

Dish on footring, straight sides, short flat rim with an upturned scalloped underglaze brown edge. On the base four spur-marks. The glaze a greyish-white colour with many pin-pricks. Decorated with a moulded low relief of two elephants under the glaze, walking to the left in a landscape with rocks, their trunks on the ground, a monk herding them. Above the elephants a text of ten characters in four lines; on the left another text of ten characters in two lines, both groups in underglaze blue. On the rim a circling line of separate small underglaze blue dots and flowering branches moulded in low relief under the glaze. On the base a square shopmark within a circle in underglaze blue.

 

In general, in Asian cultures the high intelligence and good memory of Asian elephants is admired. As such, they symbolise wisdom and royal power. In Japanese mythology the elephant is a tusked, fanged mythical beast which appears in both Buddhist and Shinto iconography.

The Japanese had not seen elephants until the 16th century, so representations tend to be elaborated by the fancy of the artist. Presumably because of its watery associations the elephant serves to protect wooden structures against fire and to bring about the rain. Hence it is often seen as a tusked-and-fanged short-trunked finial of roof and ceiling beams (Michael Ashkenazi, Handbook of Japanese Mythology, Oxford University Press 2008, pp. 117-118

 

Around the middle of the 18th century Arita was depending on the Japanese market again for their sales. Although there was still private trade, the era of large orders for export to the West had passed by. About the same time moulded relief decoration on white porcelain or combined with underglaze blue came into fashion on the more expensive Arita porcelain. According to Fitski, the well-cared for style and brown rim reminds of pieces from the Kakiemon ovens. As a matter of fact, a template for a similar plate has been handed down in the Kakiemon family (Fitski 2002, p. 37/ note 64)

 

The story depicted is taken from the Neo-Confucian text known as the "Twenty-four Filial Exemplars" written by the Chinese scholar Guo Jujing (Japanese: Kaku Kyokei) during the Yuan dynasty (1260–1368). The book recounts the self-sacrificing behaviour of twenty-four sons and daughters who go to extreme lengths to honour their parents, stepparents, grandparents, and parents-in-law. The text was extremely influential in the mediaeval Far East and was used to teach Confucian moral values.

The scene on the plate shows the story of the Chinese (Ta) Shun (舜, Japanese Taishun (大舜) who was exemplar for modesty and selfless filial piety (xiao 孝). This story was set in his childhood. Shun's mother died when he was young, so his father remarried and had another son with Shun's stepmother. Shun remained filial to his father, respected his stepmother and loved his half-brother even though they tried to kill him. His filial piety moved the gods, so they protected him from harm and made the animals help him in his daily farming chores. At one time he was sent by his father to clear land in the wilderness on Mount Li, where he was aided in his task by herds of Elephants and flocks of birds. 

 

Tashunprint

 

Taishun (大舜), from: Mirror of the Twenty-four Paragons of Filial Piety (Nijûshi-kô dôji kagami, 二十四孝童子鑑)

Publisher: Wakasa-ya Yoichi (若狭屋与市), 1840.Size called ôban, 250 mm (9.84 inch) x 36 mm (14.17 inch); graded coloration (bokashi)

 

The poem on the dish translates something like this: 

 

"Herds of Elephants plough in the Spring, Flocks of birds pull the weeds; He is the heir of Yao and mounts its Throne; the spirit of filial piety moves the Heart of Heaven".

 

Shuns selfless acts of filial piety eventually brought him to the attention of the Emperor, who married his daughter to him and subsequently made him his heir. Shun, also known as Emperor Shun and Chonghua, became a legendary leader of ancient China, regarded by some sources as one of the Three Sovereigns and Five Emperors. Oral tradition holds that he lived sometime between 2294 and 2184 BC.

 

The Chinese theme and poem fits very well with the popularity of the Literati movement in Japan. During the 18th century a movement with a craving for Chinese culture and philosophy arose, which had its origin in the middle of the 17th century, when after the fall of the Ming dynasty in 1644 a lot of Chinese intellectuals and monks fled to Japan. This was the beginning of a renewed interest in Chinese culture, especially Confucian studies, poetry and painting. The influence of the Southern Chinese painting school of literates (the movement was called ‘Nanga painting’ in Japan) was also visible in the decoration of porcelain, such as this dish.

 

A similary decorated set of bowls and nine small dishes are in a private collection in England.

 

For an identically shaped and decorated dish, please see;

For similar dishes with moulded relief and calligraphy, please see:

Condition: Perfect.

 

References:

Kyushu 1991, cat. 783 & 784

Kyushu 2002, cat. 226 t/m 228

Fitski 2002, pp. 36-37, cat.37 & p.62 (note 64); p. 47

Ashkenazi 2008, pp. 117-118

Wikipedia

 

Price: Sold.

 

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2012145
2012145

Shipwreck Porcelains - The Nanking Cargo, 1752

 

Object 2012145

 

Teacup and saucer

 

China

 

1752

 

Provenance: The Nanking Cargo sale, Christie's Amsterdam, 28 April - 2 May 1986

 

Height of teacup 41 mm (1.61 inch), diameter of rim 89 mm (3.50 inch), diameter of footring 38 mm (1.50 inch), weight 70 grams (2.47 ounce (oz.))

Height of saucer 27 mm (1.06 inch), diameter of rim 136 mm (5.35 inch), diameter of footring 75 mm (2.95 inch), weight 122 grams (4.30 ounce (oz.))

 

Teacup and saucer on footrings, slightly everted rims. Chinese Imari, decorated in underglaze blue, iron-red and gold with the 'Chrysanthemum Rock' pattern in blue and enamels. Painted with chrysanthemum, bamboo and daisy issuing around a jagged outcrop of blue rockwork. On the rim a trellis-pattern border. The teacup is decorated en suite. On the saucer and teacup the original circular paper Christie's The Nanking Cargo sale label and on the teacup the original rectangular paper Christie's lot 5703/48 label, proving they have been one of 48 similar teacups and saucers sold in lot 5703. (Amsterdam 1986, p.263)

 

On Monday January 3, 1752, the Dutch East India Company, (Vereenigde Oost-Indische Compagnie, VOC) vessel Geldermalsen, struck a reef on her return journey to the Netherlands and sank in the South China Sea. Of the crew 32 survived and 80 went down with the ship and her cargo of tea, raw silk, textiles, dried wares, groceries, lacquer and porcelain. 

 

The cargo of Chinese porcelain was originally potted in Jingdezhen, Jiangzi province then shipped to Nanking for delivery to the Dutch East India Company, (Vereenigde Oost-Indische Compagnie, VOC) vessel Geldermalsen for final transportation to the Netherlands. The Geldermalsen struck a reef on her return journey to the Netherlands and sank in the South China Sea on January 3, 1752. The cargo was recovered by Captain Michael Hatcher and his team in 1985 and sold by Christie's Amsterdam on 28 April - 2 May 1985 as 'The Nanking Cargo. Chinese Export Porcelain and Gold' two hundred and thirty-five years later. (Jörg 1986/1. pp.39-59)

 

An interesting detail is that Captain Michael Hatcher found the wreck of the Geldermalsen on the same reef as he earlier, in 1983, found the wreck of a Chinese junk. both wrecks were about a mile apart. This Chinese Junk wreck came to be known as "The Hatcher Junk" she had a cargo of Kraak and Transitional porcelain objects that were dated c.1643. (Sheaf & Kilburn 1988, p.27) 

 

In total 1,382 teacups and saucers and 394 saucers without bowls with the 'Chrysanthemum Rock' pattern in blue and enamels were sold divided over the lots: 5693-5709 and 5710-5715. (Amsterdam 1986)

 

Condition: Both perfect.

 

References:

Amsterdam 1986, lot 5710-5715

Jörg 1986/1, pp.39-59

Sheaf & Kilburn 1988, p. 27 & Pl.146

 

Price: € 399 - $ 464 - £ 349

(the $ and £ prices are approximates and depend on the € price exchange rate)

 

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2012008
2012008

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

  

Object 2012008

 

Saucer

China

1700-1720

 

Height 20 mm (0.79 inch), diameter of rim 106 mm (4.17 inch), diameter of footring 50 mm (1.97 inch), weight 57 grams (2.01 ounce (oz.))

 

Published: Melk en Bloed. Erlesenes Porzellan aud dem Reich der Mitte, (Exhibition catalogue, Matthias Stenger, Norden, 2018), p.57, cat. 17.

 

Exhibited: Melk en Bloed. Erlesenes Porzellan aud dem Reich der Mitte held from 20 May 2018 to 6 January 2019 at the Ostfriesisches Teemuseum Norden Germany.

 

Saucer on footring, slightly everted rim. Decorated in 'Red & Gold' or 'Rouge de Fer' with iron-red and gold on the glaze with a yin-yang symbol in a central roundel surrounded by two groups of two winged angels holding a crown above a teapot on a stove separated from each other by cloud motifs.  On the reverse two flower sprays.

 

Suebsman states that the design is to be interpreted as an allegory to tea, tea as the King of beverages. No other objects with this design are known, it was probably made, by special order, for a tea trader. (Suebsman 2018, p.57

 

Objects with a Chine de commande design decorated in 'Red & Gold' or 'Rouge de Fer' with iron-red and gold on the glaze are rare we know of a dish with a biblical design of Christ's Baptism and a dish with a river scene with a Dutch drawbridge. For these two examples please see:

The yin-yang motif is a very old Chinese cosmological symbol for positive and negative, male and female, dark and light, hot and cold and other pairs of opposites.

 

For other objects decorated with a yin-yang symbol, please see;

Condition: Two frits and three shallow glaze rough spots to the rim.

 

References:

Jörg & Van Campen 1997, cat. 78 & 150

Jörg 2002/2, cat. 80

Emden 2015/1, cat. 87

Suebsman 2018, cat. 17 

 

Price: Sold.

 

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2012158
2012158

Japanese Tea, Coffee and Chocolate wares 18th Century

 

Object 2012158

 

Saucer

 

Japan

 

1700 -1720

 

Height 22 mm (0.87 inch), diameter of rim 126 mm (4.96 inch), diameter of footring 50 mm (1.97 inch), weight 81 grams (3.07 ounce (oz.)) 

 

Saucer on footring, wide flat rim. Imari decorated in underglaze blue, iron-red, overglaze green, yellow and black enamel and gold with a central flower spray surrounded by knotted ribbons with intertwined tassels. On the rim groups of various flowering plants alternating with a bird in flight. On the reverse a continuous floral scroll.

 

Condition: Perfect.

 

Price: Sold.

 

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2011374
2011374

Blue and White Kangxi Period 1662-1722 - Other Vases

 

Object 2011374

 

Baluster vase

 

China

 

1700-1720

 

Height with cover 135 mm (5.31 inch), diameter 60 mm (2.36 inch), diameter of mouthrim 23 mm (0.91 inch), diameter of base 40 mm (1.57 inch), weight with cover 275 grams (9.70 ounce (oz.)), weight cover 13 grams (0.46 ounce (oz.))

 

Baluster vase on footring. Fitted with marked (1845) and engraved Dutch silver mounts. Decorated in underglaze blue with a parrot, perched on a branch, in a lobbed medallion alternating with flowering plants within two broad bands filled with scroll work. Round the foot a descending lotus leaves-pattern border, the mouthrim with a lappet-pattern border and two butterflies in flight. The silver marks explained: the makers mark or year letter 'L' which stands for the date mark 1845, the sword mark was used (1814-1905) as the standard mark on articles too small for the full hallmarking. 

 

The parrot exists as a well documented, independent European design that was widely popular at a time when merchants and travelers first collected parrots as emblems of exotic lands. As early as 1580, the Antwerp engraver Adrian Collaert (1560-1618) published a series of bird prints, among which was an image of two birds on stumps, one of which eats cherries. (Sargent 2012, pp.510-511)

 

Condition: Perfect.

 

Reference:

Sargent 2012, pp.510-511

 

Price: Sold.

 

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2012165
2012165

Blue and White Kangxi Period 1662-1722 - Western Shapes

 

Object 2012165

 

Salt

 

China

 

c.1700

 

Height 68 mm (2.68 inch), diameter concave top 63 mm (2.48 inch), diameter foot 66 mm (2.60 inch), weight 162 grams (5.71 ounce (oz.))

 

Salt of hexagonal waisted form on an open base. The inside glazed, the lower hexagonal part tapering to the waist, the spreading top with a recessed centre, the rim extending downwards. Decorated in underglaze blue with on each of the facet sides panels filled with flowering plants and leaves. On the rim flowering plants, alternating with auspicious symbols, in reserves flanked by dense leaves. The circular concave top decorated with two wide spread flower sprays.

 

Modelled after an European pewter or earthenware salt, the material and the Chinese style decoration made this salt an exotic object that was prominently placed on a richly laid table. At this time salts were ordered separately, and only much later as part of a dinner service. With many Christian connotations, salt was an important seasoning at dinner before the 19th century and salts were larger and more elaborate than they are today. (Howard 1994, p.125), (Jörg 2011/2, p.148)

 

Condition: A popped bubble of glaze, caused by the firing process, to the rim, some firing flaws and tiny glaze rough spots to the rim and foot.

 

References:

Howard 1994, cat. 127

Jörg 2011/2, cat. 142

 

Price: € 749 - $ 911 - £ 655

(the $ and £ prices are approximates and depend on the € price exchange rate)

 

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2012143
2012143

Japanese Imari 1690-1800 - 'Gold' Imari

 

Object 2012143

 

Teacup and saucer

 

Japan

 

1710-1715

 

Height of teacup 39 mm (1.53 inch), diameter of rim 73 mm (2.87 inch), diameter of footring 29 mm (1.14 inch), weight 42 grams (1.48 ounce (oz.))

Height of saucer 38 mm (1.50 inch), diameter of rim 116 mm (4.57 inch), diameter of footring 62 mm or (2.44 inch), weight 91 grams (3.21 ounce (oz.))

 

Teacup on footring and saucer on a wide flat unglazed footring with three small outward turned tapering feet ending in a globule, lobed sides and everted fluted rims. 'Gold' Imari, decorated in gold, iron-red and a light-pinkish gold wash with a single flower spray on the sides and reserves filled with flowering plants alternating with a pagoda near a pine tree in a mountainous landscape. The reverse is undecorated. The teacup is decorated en suite.

 

The saucer with small feet is very unusual. Apparently, no other published examples are known, which makes this an extremely rare set. At first it was considered that the saucer might in fact have been a leak tray for a milk jug or a small teapot and that the teacup together with a matching saucer, without three small feet, once belonged to the same tea service.  

 

Delving some more into the occurrence of ‘small feet’ in Japanese porcelain, various larger Japanese porcelain objects came to light with all kinds of differently shaped feet or legs. Recorded in literature are items such as kakiemon incense burners (koro) (Impey 2002, cat. 272Ayers, Impey & Mallet 1990, cat. 104; Arts 1983, cat. 35), Imari boxes with covers (Jörg 2003/1 cat. 103, 105, 106; Arita 2000, cat. 216) [, a blue and white tripod dish (Kyushu 1998, p.53, cat. 84) and even larger and rare milk bowls, probably made after European earthenware models (Jörg 2003/1, cat. 212/213; Arita 2000, cat. 123 t/m 125). 

 

More comparable because of its small size is an odd Ko-Imari pouring vessel with gilded handles and tripod feet in the collection of Burghley House (The Burghley Porcelains ,1986, p. 264, cat. 116)

However, even more interesting for comparison is a kakiemon saucer (diameter 124 mm (4.88 inch)) with three bracket-feet, which was surely at one time accompanied by a matching cup. When discussing this saucer Impey states that while larger pieces with bracket-feet are well known, they are very rare in this small size (Impey 2002, p. 166 cat. 255; The Burghley Porcelains, 1986, p. 258 cat. 112).

Another  kakiemon tripod saucer dish (diameter 145 mm (5.70 inch)) with outward turned feet which resemble the ones on this set very closely, can be found at McPherson Antiques, London, sold stock number 23696.

 

Unexpectedly, two other 'Gold' Imari teacups and tripod saucers came to light, both decorated with the well-known quail pattern, clearly proving that this set doesn’t stand on its own but has other counterparts, rare as they may be. These three sets, all yet to be published, are part of two distinguished British private collections. Two of these sets may be shown here for comparison. 

 

1

 

Two Japanese 'Gold' Imari teacups with legged saucers, c. 1710-1720, private British collection (not included in this sale).

 

These unusual and very rare sets must have been part of a private order, made in small series, most likely by a specialised kiln. 

 

Condition:

Teacup: Perfect.

Saucer: Two tiny fleabites to the rim. 

 

References:

Arts 1983, cat. 35

The Burghley House Porcelains 1986, cat. 112 & 116

Ayers, Impey & Mallet 1990 , cat.104

Kyushu 1998, p.53, cat. 84

Arita 2000, cat.123 t/m 125, cat. 216

Impey 2002, cat. 255 & 272

Jörg 2003/1, cat. 103, 105/106, 212/213

McPherson Antiques, London, sold stock number 23696

 

Price: Sold.

 

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2012161
2012161

Japanese Blue and White wares 17th Century - Dishes

 

Object 2012161

 

Dish

 

Japan

 

1660-1690

 

Height 33 mm (1.30 inch), diameter of rim 216 mm (8.50 inch), diameter of footring 109 mm (4.29 inch), weight 413 grams (14.57 ounce (oz.))

 

Dish on footring, flat rim. Four spur-marks in a Y-pattern on the base. Decorated in underglaze blue with two Hoo-o birds, one perched on pierced rockwork amongst fruiting peach and camellia, the other in flight above. The sides and rim in kraak style with six wide panels (fuyõ-de) filled with bamboo, peony and prunus, separated from each other by narrow panels filled with scrolls in blue on blue. The reverse is undecorated.

 

Dishes with this border design are also known with the VOC initials. They were probably ordered by the High Government from 1668 when it started to require porcelain for Batavia. An armorial decorated dish dated c.1667 has a similar border design and dates the style of the border. (Jörg 2003/1, pp.225-226 & p.230), (Antonin & Suebsman 2009, pp.224-225

 

For identically decorated dishes, please see:

For other dishes with the same central design but with other sides and rim decorations, please see:

Condition: Some fine crazing to the glaze and a firing flaw to the glaze in the centre.

 

References:

Amsterdam 1972, cat. nr 3

Lunsingh Scheurleer 1971, cat. 19

Woodward 1974, cat. 84, 86 & 87

Daendels 1981, cat. 25

Jörg 2003/1, cat. 285, 286 & 291

Kyushu 2003, cat. 2495

Antonin & Suebsman 2009, cat. 91

 

Price: € 249 - $ 308 - £ 215

(the $ and £ prices are approximates and depend on the € price exchange rate)

 

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2012125
2012125

Chinese wares over-decorated in the West 1700-1800 - English over-decorated Clobbered wares - Page 1

 

Object 2012125

 

Teapot stand / Patty pan

 

China

 

1730-1740, over-decorated in London England c.1755-1765, possibly by James Giles or his workshop.

 

Provenance: The Geoffrey Godden Personal Collection.

 

Height 18 mm (0.71 inch), dimensions rim 130 mm (5.12 inch) x 123 mm (4.84 inch), dimensions base 100 mm (3.94 inch) x 90 mm (3.54 inch), weight 108 grams (3.81 ounce (oz.))

 

Teapot stand or patty pan with everted scalloped sides and an unglazed base. Decorated with carved (anhua) radiating opnened flower head leaf-shaped panels, filled with radiating lines. Over-decorated in England c.1755-1765, with iron-red and various other enamel colours with a butterfly, a caterpillar and various scattered European flowers. The rim in overglaze (dark) brown. On the side a rectangular paper collectors label that reads; 'Geoffrey Godden Personal 4/96' and on the base, a circular paper dealers label that reads; 'STOCKSPRING ANTIQUES Early James Gilles 48' and another rectangular yellow paper label that reads; 'G 17'.  

 

As early as 1728 the Dutch East India Company, (Vereenigde Oost-Indische Compagnie, VOC), "Dagh-registers" state that its ship 'Coxhorn' that left Amsterdam in 1728 with destination China, returned to the Netherlands on June 13th, 1730, fully loaded with tea and porcelain, among its cargo were, for instance, 810 tea pots, 251 pairs of small covered sugar-boxes and 600 pattipans. A pattipan was used to protect the surface of luxurious lacquer or painted tea tables, against the influence of a hot teapot or drops running from its spout. If, in certain circles, a special tea table was not at hand it served to protect the furniture or its valuable table-cloth from tea spots.  The Dutch word pattipan is most likely derived from the English word patty pan meaning a pastry mould for little pies or pastries. These patty pans were very similar, in shape and size, to our pattipannen. (Volker 1959), (Kleyn 1980, pp. 253-261)

 

These subtle anhua 'secret' carved Chinese decoration was too sophisticated for European taste and numerous bowls, plates cups and saucers with this minimal decoration provided a challenge as well as an opportunity to the European decorators. (Espir 2005, pp.66-67) 

 

In the eyes of some scholars and collectors of both Chinese and European porcelains, Chinese export porcelains decorated in Europe are a chinoiserie hybrid. Thanks to this prejudice, such wares have been long overlooked and frequently denigrated with the term clobbered. In the late 19th century European decorated oriental porcelain was called 'clobbered', a word that came into the English language in the mid-19th century meaning as a noun, 'a black paste used by clobbers to fill up and conceal cracks in leather', and as a verb, 'to patch up, to cobble'. Later it was applied to old clothes meaning 'to renovate' and by the 19th century it was it was applied to porcelain. In 1900, F.Litchfield stated, 'There is a description of Chinese known as clobbered .... overpainted with ....ornament ..... sold for decorated oriental China.' It was a derogatory term meaning that the European decorator had plastered his style of decoration all over the pot with total disregard for the original which was the case in much Chinese blue-and-white over-decorated in the early 19th century and which are to blame for the poor reputation of these wares ever since. (Espir 2005, p.75), (Sargent 2012, p.499

 

The lack of documentation and the decorators' anonymity-plus, admittedly, the lesser abilities of some independent decorators-have increased mainstream collectors' distancing from these wares. A commentator referred to such pieces as 'inoffensive, at worst a ruinous clobber', and observed that 'the Dutch in particular seem to have been firmly of the opinion that tuppence coloured was better than penny plain, and they suited the action to the word'. The term over-decorated may suggest that too much decoration was used, making it an unsatisfactory term. Over-decorated, clobbered, embellished ... none of these terms readily describes these wares. Many extremely fine European decorators used Chinese porcelains as their 'canvas', however, and it is only recently, with the work of Helen Espir, that these wares and their decorators have received their due.

In England 'China painters' (as they were sometimes identified) included James Gilles (or Gilles), Sr., and one known only as Campman, both of whom were working in 1723. Between 1756 and 1775, both Giles's son James (1718-1780), who worked on porcelain and glass and Jefferyes Hammett O'Neale (1724-1801), who was associated with fable painting, were well-known London decorators associated with the Worcester factory. (Sargent 2012, pp.499-500

 

Till now the earliest known documentary evidence of London 'china painters' is in the 1723 Probate Inventory of Henry Akerman, a London shopkeeper selling chinaware, glassware, stoneware and tin-glazed ware, where debts are recorded to 'Gilles China Painter' and 'Campman China painter'. Giles must be James Gilis senior, who was recorded as a 'china painter' of St Giles in the Fields in 1729 when his eldest son Abraham was apprenticed to Philip Margas, another well-known 'chinaman'. Giles' brother in law was Francis bacon also of St Giles in the Fields, who was described in his will in 1737 as 'china painter', who authenticated Giles' handwriting in his Will, stating that he had 'worked with him (Giles) as a servant in his of business for some years'.... 'and to the time of his death' in 1741, was probably the son of Francis Bacon and nephew of Gilis. Giles' younger son James (1718-1780) was to have a distinguished career as a porcelain retailer and decorator from the 1750s to the 1770s. (Espir 2005, pp.213-215)

 

On his website www.orientalceramics.com, Robert McPherson states that this type of English enamel decoration on Chinese export porcelain should be seen in a different way to what is referred to as `over-decorated` or `clobbered` porcelain. Those terms refer to Chinese porcelain that was imported into Europe as finished articles but were either too plain for merchants to sell or their profits could be enhanced by adding enamels over the existing Chinese decoration. The present example was plain white when it arrived in England, it would not have been saleable and so no merchant would have ordered it to retail. However, James Giles must have ordered allot of white porcelain specifically for decoration at his workshop in London. The shapes ordered were the lasted fashion in Europe as was the decoration he added. To my mind this makes these objects separate and distinct from other Chinese porcelain, China only provided the blank `canvas` and even that was of a form dictated to by Europe. For this reason, these objects could primarily be seen as English, they would have been totally alien to the Chinese. (www.orientalceramics.com)

 

2012125 8 Geoffrey Godden Personal 4 96 label

 

Geoffrey Godden was an author, historian, collector and dealer; but to the public he was best known for his expert valuations of fine – and not-so-fine – china on BBC Television’s Antiques Roadshow.

Godden called himself a “Chinaman” – an 18th-century term for a dealer in ceramics – and over five decades created a body of reference works that has added greatly to our knowledge of the medium. He insisted, however, that ceramics should be picked up and inspected. “You have to handle and view pieces closely,” Godden said. “Possession is almost vital to understanding.”

He published some 30 books which produced a detailed survey of English porcelain makers, from Bow, Chelsea and Derby, to Lowestoft, Liverpool and Worcester. He also wrote widely on porcelain produced outside Britain.

All of his writing, he observed, aimed to “open the reader’s eyes to the pleasures that await an inquisitive collector”. So prolific was his output that his Antiques Roadshow colleague Henry Sandon nicknamed him the “Barbara Cartland of Ceramics”.

Geoffrey Arthur Godden was born on February 2, 1929 at Worthing to Leslie Godden, an antiques dealer, and his wife Molly. After leaving Worthing High School, Geoffrey joined the family antiques business, Godden of Worthing (founded in 1900 by Geoffrey’s grandfather, Arthur).

He spent part of his teenage years packing and exporting antiques to the United States to raise funds for the war effort. He also caught the collecting bug. “I just naturally began to purchase – with my modest pocket-money – broken specimens of attractive 18th-century porcelain as others of my age might have spent their allowance saving for a new bike or model train,” he recalled.

Called up for National Service in 1947, Godden served in the Hampshire Regiment at Winchester, the Royal Sussex Regiment and finally the Queen’s own Royal West Kent Regiment at Shornecliffe.

When he was demobbed, he re-joined the family firm, specialising in 18th and 19th-century English ceramics, a radical departure from the company’s focus on furniture.

Every book I and other experts take to every roadshow was written by Geoffrey Godden. John Sandon

Having been told by his father that “if you want to know about something, write a book on it”, he published his first volume, Victorian Porcelain, in 1961. His Illustrated Encyclopedia of Pottery and Porcelain (1966) followed; it was subsequently chosen by Derek Nimmo as his book on Desert Island Discs.

Godden’s first love was Lowestoft porcelain, which had been readily available and inexpensive during the 1940s. He was drawn to these wares by their honest, anglicised interpretation of Chinese ceramic designs, often painted by women and children. “There is a homely quality to English blue and white,” he noted. In 1969 he published The Illustrated Guide to Lowestoft Porcelain (revised in 1985).

Over the following decades Godden produced countless books, often focusing on individual factories, as with Minton Pottery & Porcelain of the First Period (1968); others examined decoration – Godden’s Guide to English Blue and White (2004) – and centres of production, such as Chinese Export Market Porcelain (1979). Enthusiasts refer to his 750-page Encyclopaedia of British Pottery and Porcelain Marks (1964, and still in print) as “the bible”.

When signing books Godden would add “Have Fun” or “A Trifle from Worthing”, the latter mimicking the rare “Trifle from Lowestoft” inscriptions found on some porcelains. He joked that unsigned copies of his books were much rarer, given the specialist nature of the work.

By the 1970s, Godden was appearing on the antiques quiz show Going For A Song with Arthur Negus and, in the 1990s and early 2000s, was a regular contributor to Antiques Roadshow as a member of its ceramics team.

On one roadshow Godden and John Sandon (the son of Henry Sandon and a director at Bonhams) were sharing a table when a woman unpacked a china tea set. Godden informed her that it was made in the 1870s. “No, you’re wrong”, she insisted, “it’s a hundred years older than that, can’t you check in those books the other experts are using? They must be written by real experts.” “I couldn’t help bursting out laughing,” Sandon recalled. “Every book I and other experts take to every roadshow was written by Geoffrey Godden.”

Godden lectured extensively in Britain and abroad, was president of the Northern Ceramics Society (2000-12) and a Fellow of the Royal Society of Arts. In 1992 he was awarded an honorary doctorate from Keele University.

Despite the lack of any formal training, Godden was a great educator. At home in Worthing he became a mentor to younger experts, giving seminars and hosting study weekends.

In his youth, Godden was a keen angler, representing Worthing Sea Anglers in national competitions. Later, he developed an interest in bowls, playing at the Worthing Bowling Club at Beach House Park. In 1988 he published his Beginner’s Guide To Bowls and would ruefully explain to ceramics audiences that this was his most popular book.

In 1964 Godden married Jean Magness, whose parents were market gardeners in Worthing and suppliers of strawberries to George VI. She predeceased him, and he is survived by their son.

Geoffrey Godden, born February 2, 1929, died May 10, 2016.

(source: www.telegraph.co.uk

 

Condition: Some wear to the enamels, popped bubbles of glaze, caused by the firing process, and a tiny fleabite to rim.

 

References:

Volker 1959

Kleyn 1980, pp. 253-261

Espir 2005, p.75 & pp.213-215

Sargent 2012, pp.499-500

www.telegraph.co.uk

www.orientalceramics.com

 

Price: € 499 - $ 615 - £ 443

(the $ and £ prices are approximates and depend on the € price exchange rate)

 

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2010100H
2010100H

Chinese Imari 1700-1800 - Tea, Coffee and Chocolate wares

 

Object 2010100H

 

Saucer

 

China

 

1720-1740

 

Height 19 mm (0.75 inch), diameter of rim 101 mm (3.98 inch), diameter of footring 56 mm (2.20 inch), ), weight 59 grams (2.08 ounce (oz.))

 

Saucer on footring, slightly everted rim. Chinese Imari, decorated in underglaze blue, overglaze iron-red and gold with flowering chrysanthemum and peony plants growing from a taihu (garden) rock and flanked by butterflies in flight. In the centre two crossed (bamboo/) reeds tied together in the middle. On the reverse two flower sprays.

 

The striking distinctive feature of the crossed reed is probably the Chinese decorators interpretation of Japanese zig-zag plank bridges (yatsuhashi) a decorating feature often seen on Japanese Imari porcelain. In his book Fine & Curious (page 182, cat. 224a) Jörg shows an early 18th century Japanese Imari decorated saucer from the collection of Oriental ceramics from the Groninger Museum which is very similarly decorated. 

 

Fine and Curious by CJA Jorg, page 182 cat 224a 1

 

Reproduced from: Fine & Curious: Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam 2003), p.182, cat. 224a. (copyright in bibliographic data and cover images is held by the publisher or by their respective licensors: all rights reserved)

 

Condition: Some tiny fleebites to the rim.

 

Price: Sold.

 

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2012144
2012144

Japanese wares over-decorated in the West 18th Century - Dutch over-decorated Amsterdams Bont - Page 1

 

Object 2012144

 

Saucer

 

Japan

 

c.1700, over-decorated in the Netherlands, Amsterdams Bont,c.1750-1770

 

Height 20 mm (0.79 inch), diameter of rim 115 mm (4.53 inch), diameter of footring 52 mm (2.05 inch), weight 85 grams (3.00 ounce (oz.)) 

 

Saucer on footring, flat rim. Imari decorated in underglaze blue, iron-red, overglaze green, yellow and black enamel and gold with flowering plants and a bird in flight. On the rim three florets between scrolls alternating with a bird in flight, over-decorated in iron-red in The Netherlands, Amsterdams Bont c.1750-1770 outlining all birds, the central florets and the original undecorated reverse with four good fortune Buddhist symbols.

 

The demand for Japanese porcelain was strong but production was restricted so here was a gap in the market that the enameller could fill most profitably by giving Chinese porcelain a Japanese look. The simplest way of transferring Chinese porcelain into 'Japanese' was to enhance Chinese blue and white porcelain with iron-red and gold to create the appearance of Imari. For European decorated oriental porcelain mostly Chinese export porcelain objects were used. Only a small proportion were Japanese. (Espir 2005, p.74)

  

Condition: Perfect.

 

Reference:

Espir 2005, p.74

 

Price: Sold.

 

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2012142
2012142

Chine de commande - Armorial / Pseudo-Armorial wares 1700-1800 - Pseudo-Armorial - Page 1

 

Object 2012142

 

Saucer

 

China

 

c.1800

 

Height 28 mm (1.10 inch), diameter of rim 128 mm (5.04 inch), diameter of footring 75 mm (2.95 inch), weight 81 grams (2.86 ounce (oz.))

 

Saucer on footring, straight rim. Decorated in various overglaze enamels and gold with the crest and moto of Robertson, A dexterhand erect holding in the hand an imperial crown all proper, with the motto 'Virtutis Gloria merces' (Glory is the reward of valour). Beneath the shield, on which are the initials C.R., the figure of a wild man in chains proper. Round the rim an ornamental border. The reverse is undecorated.   

 

This service is one of a number made for the family of Robertson of Struan (which family bore on a compartment beneath their arms a wild man in chains commemorating the capture of the murderer of King James I of Scotland in 1437 by the 4th Chief of the Clan. Four earlier services are illustrated in this volume (F4, V8, V14 and V17) which give detail of the family in the second half of the 18th Century, but although there is more than one Charles Robertson in earlier generations, and younger sons are mentioned in published records, there is no obvious owner of this service. The border design is, however, exactly as the Hon. East India Company service (Volume I, W12) which was delivered to the Governors of all the principal East India Stations in India at this time, and it would seem quite possible that the service was carried by Captain Thomas Robertson who commanded East Indiamen at Canton in 1797, 1800 and 1802 (although his crest is not recorded. (Howard 2003, p.656)

 

For a small cup/mug from the same service, please see:

The Robertsons claim to be descended from Crinan, Lord of Atholl, from whom sprang the royal house of Duncan I, the King of the Scots. The Robertson clan is more properly called ‘Clan Donnachaidh’ from their ancestor Duncan, who was a staunch supporter of Robert the Bruce, and who led the Clan at the Battle of Bannockburn.

The general surname of the clan Robertson was taken from Robert Riach (Grizzled Robert) the clan chief, who was known for his intense loyalty to the Stewarts. Riach was responsible for capturing the murderers of King James I, and was rewarded by the crown for this act by having his lands at Struan erected into a Barony.

 

Robert Riach

 

Robert Riach (source: www.scotclans.com)

 

The clan was also granted a symbolic memorial by additions to their coat of arms – subsequently the chief of clan Robertson bore as his crest a hand holding an imperial royal crown, and underneath a man in chains, representing the regicide. About a century later, the Robertson family lost the lands of Struan to the Earl of Atholl but the family regained them in 1606.

However in the seventeenth century, after the final defeat of James VII, all Robertson estates were forfeited and the chief of the Robertson clan joined the exiled court in France. To this day the chiefs of the clan Robertson still have the right and privilege of interment in the family burial ground at Struan. (source: www.scotclans.com)

 

For more information on the Clan Robertson (Clan Donnachaidh), please click here.

 

Condition: Three hairlines to the rim.

 

References:

Howard 2003, W12 Robertson

www.scotclans.com

www.donnachaidh.com

 

Price: € 499 - $ 617 - £ 435

(the $ and £ prices are approximates and depend on the € price exchange rate)

 

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2012156
2012156

Japanese Blue and White wares 17th Century - Dishes

 

Object 2012156

 

Dish

 

Japan

 

1680-1700

 

Height: 59 mm (2.32 inch), diameter of rim 310 mm (12.20 inch), diameter of footring 160 mm (6.30 inch), weight 1,113 grams (39.26 ounce (oz.))

 

Dish on footring, straight rim with a scalloped edge. On the base two spur-marks. Decorated in underglaze blue with a flower basket on a low table on a fenced terrace filled with a flowering peony plant. The sides with a continuous floral scroll pattern. The reverse with a foliate scroll.

 

In Japan porcelain is being produced since c.1600. Due to the internal conflicts in China during the second half of the 17th century kilns were destroyed, the porcelain production staggered and supply routes were cut off. In order to keep up with the ever-growing demand for porcelain from the homeland the VOC, switched to Decima, Japan. Since 1641 a Dutch trading post was based on this artificial Island in the Bay of Nagasaki. With expanding Japanese production due to Dutch demand the decorative elements, the designs and the more freely way in which they were applied by the porcelain decorators became more Japanese. It marked a clear change from the traditional Japanese interpretation of Chinese kraak designs. The powerful centre design border design on this dish are good examples of that change. (Jörg 2003/1, p.260)

 

The border design on this dish is usually dated to the late 17th century. (Jörg 2003/1, p.136, cat.145)

 

For dishes with similarly decorated sides and similarly shaped edges, please see:

 

2011805 1

 

Object 2011805 a similarly decorated dish with the typical Chinese Kraak style panelled border.

 

Condition: A firing flaw, two frits and three chips to the rim.

 

References:

Lunsingh Scheurleer 1971, cat. 29

Daendels 1981, cat. 38

Stamford 1981, cat. 50

Kyushu 1990/1, cat. 367 

London 1997, cat. 62

Jörg 2003/1, p.136 & p.260, cat. 145, 146 & 147

Kyushu 2003, cat. 2321

 

Price: € 499 - $ 615 - £ 434

(the $ and £ prices are approximates and depend on the € price exchange rate)

 

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2012140
2012140

Japanese wares with Western Shapes or Designs 1653-1800 

 

Object 2012140

 

Chamber-pot

 

Japan

 

c.1700

 

Height 60 mm (2.36 inch), diameter of mouthrim 78 mm (3.07 inch), diameter of footring 41 mm (1.61 inch), weight 119 grams (4.20 ounce (oz.))

 

Published: Fine & Curious: Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam 2003), p.165, cat. 191.

 

Exhibited: 'Japanes porselein uit Nederlandse collecties', (Japanese export porcelain in Dutch collections) held at the Groninger Museum from 4 June - 10 September 2000.

 

Small chamber-pot on footring, spreading rim, curved handle with thumb-rest. Decorated in red, green, black and aubergine enamels and gold with two groups of flowering gardenias growing from rockwork. Round the foot two red lines, on the inside of the rim a karakusa scroll partly in red, partly outlined in red, and divided by single flowers. On the handle a floret between scrolls.

 

From June 4th to September 10th 2000 the exhibition 'Japanes porselein uit Nederlandse collecties', (Japanese export porcelain in Dutch collections) held at the Groninger Museum. The exhibition formed part of the many activities in The Netherlands in that year celebrating the 400th anniversary of Dutch-Japanese relations. This chamber-pot was one the objects on display at the exhibition and was described by Jörg in his book Fine & Curious on page165, catalogue number 191. 

 

For an another indentically shaped, sized and decorated chamber-pot for sale, please see:

Jörg also shows a similarly sized and decorated cuspidor. (Jörg 2003/1, p.166, cat. 193)

 

For a slightly larger chamber-pot decorated in underglaze blue, please see:

The use of this small chamber-pot is unknown. It is too large to be placed in a doll's house. In general, miniatures were included in groups of decorative porcelain placed on shelves, brackets and consoles in the Dutch interior, or in the porcelain rooms of the grand houses such as those still in Pommersfelden and Charlottenburg, Germany. Similar miniature objects were also made of silver and glass, and the pieces of Japanese (and Chinese) porcelain fit into the general trend. (Jörg 2003/1, p.190)

 

Condition: Firing flaws to the rim and the footring, a popped bubble of glaze, a glaze rough spot and a frit and chip to rim.

 

References:

Daendels 1981, cat. 124

Jörg 2003/1, p.166, p.190, cat.191 & 193

 

Price: Sold.

 

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