Pater Gratia Oriental Art

Bargain SALE Chinese

On this page you'll find existing Chinese export porcelain objects for sale now offered at a significantly reduced price.

 

If you are interested in a purchase, or want more information on one of the objects, please feel free to contact me at: patergratiaorientalart@hotmail.com.

 

New objects will be added on a nearly daily basis, latest addition: September 14, 2020.

2011344
2011344

Mandarin wares 1750-1790 - Page 1

 

Object 2011344

 

Dish

 

China

 

1740-1745

 

Height 33 mm (1.29 inch), diameter of rim 161 mm (6.34 inch), diameter of footring 96 mm (3.78 inch), weight 146 grams (5.15 ounce (oz.))

 

Dish on footring, straight underglaze brown-edged rim (jia mangkou). Polychrome decorated in iron-red, black, gold and other overglaze enamels, with a family of three and a nanny/servant on a fenced terrace with trees, houses and mountains. The seated father is waving his hand while the mother is holding a teacup and looks down on their child who is standing at a table pointing his finger to the ground. The nanny/servant is standing apart from the family near a tree observing he family scene. On the table a vase with blooming flowerings and two rectangular open hard binders each containing a volume of books. The reverse is undecorated.

 

The decoration on this small dish illustrates the traditional Chinese value of education, starting from the family. Nannies or servants are often respected by the families and treated in a lot of ways as part of the family in a kind of mutual respect.

 

This type of decoration on Chinese porcelain is called 'Mandarin'. A Mandarin is a Chinese official, either civil or military, but the word itself is not Chinese, it comes from the Portuguese word mandar meaning 'to command'. Mandarin porcelain was produced in China for export in the late 18th century. It is called Mandarin because of the groups of figures in Mandarin dress that appear in the decorative panels. (source: Britannica Online Encyclopaedia)

 

The decoration is characteristic of the group called mandarijn (mandarin) in The Netherlands, a generic term used in the West to refer to all Chinese officials. Purple, orange, yellow a hard pink and brown enamels were often added and decorations consisted mainly of Chinese figures and family scenes. In Groningen, herenmandarijn (gentlemen's mandarin), the variation with gold, as here, was regarded as suitable for the upper classes, while boerenmandarijn (farmers' mandarin), without gold was for the middle and lower classes. (Jörg 200/22, p.138)

 

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

Condition: Two short hairlines to the rim.

 

References:

Jörg 200/22, cat. 94

Suchomel 2015, cat. 263

 

Price: reduced from € 499 - $ 555 - £ 450 now with 40% discount to € 299 - $ 345 - £ 275

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

 

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2011479 & 2011480
2011479 & 2011480

Polychrome wares other since 1722 - Page 1

 

Objects 2011479 and 2011480

 

Pair of dishes

 

China

 

c.1720

 

2011479: height 47 mm (1.85 inch), diameter of rim 255 mm (10.00 inch), diameter of footring 145 mm (5.71 inch), weight 516 grams (18.20 ounce (oz.))

2011480: height 47 mm (1.85 inch), diameter of rim  260 mm (10.23 inch), diameter of footring 147 mm (5.79 inch), weight 518 grams (18.27 ounce (oz.))

 

A pair of fluted dishes on footrings, with gently curving ribbed sides, ribbed rims and scalloped underglaze brown-edges (jia mangkou). Polychrome decorated in iron-red, black, gold and other overglaze enamels. The central medallion shows a flowering peony, chrysanthemum and bamboo tree growing from pierced rockwork, in double concentric band. On the cavetto four groups of flowering chrysanthemum alternating with flowering peony. On the inside rim a decorative pattern border with four rosettes and four cartouches filled with a flower spray. On the exterior rim a decorative pattern border with four rosettes and on the exterior wall two flower sprays.

 

The Pæonia arborea, or tree peony, is an emblem of love and affection, King of flowers and a symbol of Spring and feminine beauty. The Chrysanthemum indicum is an emblem of mid-autumn and symbol of joviality. Flower of the 9th month and generally associated with a life of ease, and retirement from public office. The Bambusa arundinacea, or bamboo, is an emblem of longevity owing probably to its durability, and to the fact that it is evergreen and flourishes throughout the winter. It is commonly known as "the friend of China" and in ancient times bamboo tablets were used instead of books. (Williams 1976, pp.33-34, 69-70 & 320-321)

 

Condition:

2011479: A fleabite to the exterior rim and a shallow frit to the footring. Wear to the golden decoration.

2011480: Two firing flaws and two popped bubbles of glaze to the exterior rim. A shallow frit to the interior rim. Some wear to the iron-red decoration.

 

References:

Williams 1976, pp.33-34, 69-70 & 320-321

Sargent 2012, p.183

 

Price: reduced from € 1.499 - $ 1,669 - £ 1.354 now with 45% discount to € 824 - $ 975 - £ 762

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

 

More pictures of object 2011479 >> 

More pictures of object 2011480 >>

2011980
2011980

Polychrome wares other since 1722 - Page 1

 

Object 2011980

 

Saucer

 

China

 

c.1730

 

Height 33 mm (1.30 inch), diameter of rim 155 mm (6.10 inch), diameter of footring 90 mm (3.54 inch), weight 114 grams (4.02 ounce (oz.))

 

Saucer on footring, spreading straight sides. Decorated in overglaze iron-red, gold and black enamel with two birds perched on a rock flanked by various flowering plants and a butterfly in flight. Round the rim a floral scroll border with flower heads. The reverse is undecorated.

 

This saucer is a good example of a very varied group from the Yongzheng period (1723-1736) painted with birds and insects which was probably appreciated by 18th century Chinese as well as Western buyers.

 

For a similarly sized and shaped saucer, decorated with a remarkable combination of shells, flowers, plants and butterflies. please see:

For a sold and published Yongzheng bowl decorated with butterflies insects, please see:

Condition: Wear to the decoration, three hairlines, two fleabites a frit and a frit with a connected hairline to the rim. A X-shaped hairline to the base.

 

Reference:

Jörg 1995, cat. 35

 

Price: reduced from € 349 - $ 266 - £ 315 now with 35% discount to € 226 - $ 259 - £ 204

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

 

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2011824
2011824

Famille Rose wares 1725-1800 - Page 1

 

Object 2011824

 

Dish

 

China

 

1740-1760

 

Height 30 mm (1.18 inch), diameter of rim 226 mm (8.90 inch), diameter of footring 120 mm (4.72 inch), weight 345 grams (12.17 ounce (oz.))

 

Dish on footring, flat, underglaze brown-edged, rim (jia mangkou). Decorated in various famille rose enamels including pink, some black, overglaze blue, green, yellow and coral red with two figures in a partial opened roll surrounded by various flower sprays. On the rim and sides ruyi heads tied with swirling ribbons to large pomegranates in between geometrical patterns on a frogspawn ground alternating with panels filled with flowerheads on a pink ground and a yellow ruyi heads with a tassel. The reverse is undecorated. On the base a rectangular paper collectors label with the number '179' and a rectangular paper label that reads: 'Epoque Kien-Long. Oojrofe, Paris 3.500 frs Décor au rouleau'..

 

Condition: Some shallow wear to the enamel.

 

Reference:

Jacquemart & Le Blant 1862, pp. 77-105

 

Price: reduced from € 399 - $ 424 - £ 345 now with 45% discount to € 219 - $ 259 - £ 195

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

 

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2011109
2011109

Chinese wares over-decorated in the West 1700-1800 - Dutch over-decorated Amsterdams Bont wares - Page 1

 

Object 2011109

 

Teapot

 

China

 

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

 

Height with cover 113 mm (4.44 inch), height without cover 97 mm (3.82 inch), diameter handle to spout 174 mm (6.85 inch), diameter of mouthrim 45 mm (1.77 inch), diameter of footring 52 mm (2.05 inch), weight with cover 362 grams (12.77 ounce (oz.)), weight cover 30 grams (1.06 ounce (oz.))

 

Teapot of globular shape on footring. Large moulded handle with thumb rest and moulded bent spout. The inlaying flat cover with round knob. Decorated in underglaze blue with on both sides a wide flower spray, round the mouthrim a zig-zag-lines pattern border with reserves filled with florets between scrolls. On the handle and spout a single flowering stem. On the cover two flower sprays and on top of the knob a flower head. Over-decorated in iron-red, black and gold and overglaze green enamel, in the Netherlands, Amsterdams Bont c.1750-1770 with four panels, reserved on an iron-red and gold zig-zag-lines pattern ground, filled with a basket containing flowering plants and hanging ribbons alternating with a fisherman by a sentry house. On the cover two panels, one filled with a basket containing flowering plants and hanging ribbons, the other is filled with a fisherman by a sentry house.

 

The flower basket, in Dutch de bloemenmand was by far the most popular motif used on Amsterdams Bont pieces decorated in the Netherlands. (Jörg & Van Campen 1997, p.328)

 

Condition: Some unglazed spots to the handle, a few tiny frits to the inner mouthrim, two frits to the top of the spout one with a short-connected hairline. A frit to the rim of the cover.

 

References:

Lunsingh Scheurleer 1966, cat. 342 & 343

Jörg & Van Campen 1997, cat. 390

Mudge 2000, cat. 176

 

Price: reduced from € 699 - $ 778 - £ 631 now with 35% discount to € 454 - $ 537 - £ 404

(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:reduced from € 499 - $ 615 - £ 443 now with 45% discount to € 275 - $ 327 - £ 246

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

 

More pictures >>

2011588
2011588

Chine de commande - Western Subjects 1680-1800 - Various Subjects - Various - Page 1

 

Object 2011588

 

Dish

 

China

 

c.1850 or later

 

Height 28 mm (1.38 inch), diameter of rim 141 mm (9.45 inch), diameter of footring 73 mm (4.84 inch), weight 168 grams (5.93 ounce (oz.))

 

Dish on footring, straight rim. Decorated in underglaze blue with a large displayed eagle clasping in his right talons two arrows and in his left two leafy vines, above his head a indecipherable motto inscribed upside down. The reverse, washed in a pale celadon, is undecorated. Marked on the base with a square shop mark in underglaze blue. (New York 2000, p.149)

 

This Chinese export porcelain saucer was made for the American-market, there seems good reason to suggest that this saucer may have commemorated the joining of the State of New Mexico with the Union in 1850. New Mexico was subsequently enlarged by the Gadsden Purchase in 1854 and reduced in 1863 by the detachment of what is now the State of Arizona, while in 1876 a further part was added to Colorado. It is not clear at exactly what date the present seal was adopted - certainly it was in use before the end of the nineteenth century - but it is more likely that this unusual piece could have derived from a flag of the State, or a piece of commemorative needlework. Decorated in imitation of a late seventeenth-century style. The ware is almost certainly provincial. The central eagle is very rare, but is similar to the Napoleonic eagle on coins of the period; the Mexican eagle (with leafy branch); and the Seal of New Mexico, which has two eagles (a small one below the other's wing) and the principal eagle in exactly this stance, holding in its claws three arrows. The eagle appears to be executed in the style of needlework stitches, particularly on its neck, tail and wings, and also on the flowers near the rim. The border, too, could have been copied from the binding stitching on the edge of a flag or badge. (Howard & Ayers 1978, vol. 2, p.512)

 

Interestingly, this bottle has an old original Japanese gold lacquer restoration which could indicate it was used as such in Japan. Kintsugi (金継ぎ) (Japanese: golden joinery) or Kintsukuroi (金繕い) (Japanese: golden repair) is the Japanese art of repairing broken pottery with lacquer dusted or mixed with powdered gold, silver, or platinum, a method similar to the maki-e technique. As a philosophy it treats breakage and repair as part of the history of an object, rather than something to disguise. (source: wikipedia.org/wiki/Kintsugi

 

For a similarly decorated (larger) dishes please see:

Condition: A firing flaw and a chip with a connected hairline restored with an old original Japanese gold lacquer restoration. Some fine crazing to the glaze.

 

References:

Howard & Ayers 1978, vol. 2, p.512

Mudge 2000, cat. 367

New York 2000, lot 337

wikipedia.org/wiki/Kintsugi

 

Price: reduced from € 999 - $ 1.122 - £ 872 now with 40% discount to € 599 - $ 706 - £ 540

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

 

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2011596
2011596

Soft-paste / Steatitic / Pâte tendre 1700-1800 - Page 1

 

Object 2011596

 

Flask

 

China 

 

1700-1720

 

Height 112 mm (4.41 inch), diameter 40 mm (1.57 inch), diameter of mouthrim 10 mm (0.40 inch), diameter of footring 35 mm (1.38 inch), weight 102 grams (3.60 ounce (oz.)), 

 

Cylindrical flask on a footring with a short neck. Contemporary Dutch silver mount (unmarked). Decorated in underglaze blue with a 'Long Eliza' figure alternating with a flowerpot on a low table or antiquities. On the shoulder three precious objects and around the neck a silk worm pattern border. Marked on the base with the four-character mark: Cheng hua nian zhi, (Prepared during the Chenghua reign of the Great Ming Dynasty (1465-1487)), underglaze blue.

  

For a similarly, soft-paste, steatiticpâte tendreshaped and decorated flask, please see:

Condition: A firing flaw and a frit to the inner footring.

 

References:

Jansen 1976, cat. 221 

Oort & Kater 1982, p.155

Davison 1994, cat. 86033

Jörg & Van Campen 1997, p. 117

Sargent 2012, p.304

 

Price: reduced from € 699 - $ 785 - £ 610 now with 50% discount to € 349 - $ 410 - £ 314

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

 

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2011028
2011028

Batavia Brown (Capucin wares) 1700-1800 - Page 1

 

Object 2011028

 

Covered jar

 

China

 

1730-1745

 

Height including the cover 132 mm (5.20 inch), height excluding the cover 95 mm (3.74 inch), diameter 117 mm (4.61 inch), diameter of rim: 113 mm (4.45 inch), diameter of footring 68 mm (2.68 inch), weight with cover 497 grams (17.53 ounce (oz.)), weight cover 164 grams (5.79 ounce (oz.))

 

Covered jar on footring. A domed cover with ring knob. Batavia Brown covered with underglaze dark brown. Polychrome decorated in various, famille rose, overglaze enamels with flowering plants in all leaf-shaped medallions on the body and cover.

 

Porcelain decorated in this type of underglaze dark brown has historically been called 'Batavia Brown' or "Capucijnergoed" ('Chicl-pea ware'. after the legume). Occasionally, a gold decoration has been painted on the brown glaze. The term famille rose was first coined by the 19th-century French author Albert Jacquemart, who distinguished between specific groups in his descriptions of Oriental ceramics. (Jacquemart & Le Blant 1862, pp.77-105), (Jörg 2002/2, p.120)

 

Condition: Perfect.

 

References:

Jacquemart & Le Blant 1862, pp.77-105

Lunsingh Scheurleer 1968, cat. 137

Jörg 2002/2, cat. 82

Jörg 2003/3, cat. 8

 

Price: reduced from € 399 - $ 448 - £ 348 now with 40% discount to € 239 - $ 281 - £ 215

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

 

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2011947
2011947

Chinese Imari 1700-1800 - Page 2 

 

Object 2011947

 

Teapot

 

China

 

1710-1720

 

Height including the cover 119 mm (4.69 inch), diameter handle to spout 175 mm (6.89 inch), diameter of mouthrim 43 mm (1.69 inch), diameter of footring 52 mm (2.05 inch), weight with cover 414 grams (14.60 ounce (oz.)), weight cover 39 grams (1.38 ounce (oz.))

 

Teapot of globular shape on footring with low rim and a flat cover with round knob. Straight spout with a curved C-shaped handle. Chinese Imari, decorated in underglaze blue, iron-red, green and black enamel and gold enclosing two panels, one with a flowering chrysanthemum growing from a brushwood fence, the other with a flowering peony growing from a brushwood fence. The panels are divided by golden scrolls and half flower heads on an underglaze blue ground. On the handle and spout florets between scrolls. The cover is decorated en suite.

 

This brushwood fence, made up of bundles of twigs tied together is frequently combined with a bamboo trellis, an enlarged branch of a flowering peony tree and a shishi. It is a motif that occurs frequently on Kakiemon, and one which evidently appealed greatly to the European consumer, given the fact that it is often seen on European imitations of Kakiemon. (Fitski 2011, p.148)

 

Japanese Imari was exported to Europe from the last quarter of the 17th century by the Dutch. The Chinese began copying Imari porcelain - far more cheaply, just as adeptly and in an ever larger range of shapes - in the early 18th century. The early 18th century has left little written documentary evidence of Chinese Imari. It was often entered as Japanese in inventories such as those drawn up at Dresden, whilst in shipping lists it was not described in sufficient detail to be identified. Dutch private traders began importing enormous quantities of imari of around 1720. Their shapes were likewise often geared towards European source material in silver, stoneware or glass. (Düsseldorf 2015, pp.222-223)

 

For a pair of bowls, decorated in the same style, please see:

Condition: Three firing flaws to the underside of the cover and a few very shallow rough spots to the footring.

 

References:

Fitski 2011, p.148

Düsseldorf 2015, pp.222-223 & cat.126

 

Price: reduced from € 899 - $ 1,010 - £ 784 now with 45% discount to € 494 - $ 572 - £ 450

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

 

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2010233
2010233

Chinese Imari 1700-1800 - Page 1

 

Object 2010233

 

Tankard

 

China

 

1710-1730

 

Provenance: Mrs Elburg-van Dam, Groningen, The Netherlands.

 

Height 130 mm (5.12 inch), diameter 85 mm (3.35 inch), diameter of mouthrim 85 mm (3.35 inch), diameter of footring 65 mm (2.56 inch), weight 441 grams (15.56 ounce (oz.))

 

Tankard on footring. C-shaped handle and an underglaze brown-edged rim (jia mangkou). Chinese Imari, decorated in underglaze blue, iron-red and gold. The cylindrical sides are decorated with two panels filled with a flowering peony tree. In between the panels flower heads on a whorl pattern ground. On the a trellis pattern border with four reserves filled with flower heads. A single flower spray on the C-shaped handle which ends in a ruyi-shaped ornament.

 

For centuries lo-alcoholic beer had been a common less risky alternative to water, which often was quite polluted. There has therefore been a long design tradition of beer ware such as beer jugs, mugs and crucibles. As soon as the possibility arose of having porcelain copies of all kinds of practical Dutch (household) ware manufactured in China, beer jugs were also often made to order there. Both tall straight models as well as bulbous types were available. In Japan beer mugs were only manufactured for trade during a short period of time in the late 17th century. The existence of Delft copies of these jugs illustrates that there must have been a considerable demand for them in the Netherlands in those days. (source: Groninger Museum)

 

For a similarly shaped and decorated tankard, please see:

Condition: Two firing flaws to the outer footring, a fleabite to the rim and a frit to the underside of the ruyi- shaped ornament.

 

References:

Sargent 2012, p.183

Emden 2015/1, cat. 46

Emden 2015/2, cat. 46

Groninger Museum

 

Price: reduced from € 799 - $ 897 - £ 721 now with 40% discount to € 479 - $ 546 - £ 435

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2011644
2011644

Red & Gold / Rouge-de-Fer 1690-1730 - Page 1

 

Object 2011644

 

Bowl

 

China

 

1700-1720

 

Height 87 mm (3.43 inch), diameter of rim 191 mm (7.52 inch), diameter of footring 76 mm (2.99 inch), weight 471 grams (16.61 ounce (oz.))

 

Bowl on footring, straight underglaze brown-edged rim (jia mangkou). Decorated in 'Red & Gold' / 'Rouge-de-fer' with a light (pink-wash), iron-red and gold on the glaze with three groups of peony and chrysanthemum plants. Around the inside rim a border with four cartouches on a trellis pattern ground with a single flower head, filled with flower sprays. On the bottom a large peony flower spray.  

 

Schölvinck states that objects decorated in 'Red & Gold' / 'Rouge-de-fer' were very much appreciated in the Netherlands, especially in the Northern province Groningen. (Schölvinck 2010, p.42)

 

Condition: A small restored chip and two very small restored fleabites to the rim.

 

References:

Schölvinck 2010, p.42

Sargent 2012, p.183

 

Price: reduced from € 699 - $ 785 - £ 610 now with 40% discount to € 419 - $ 477 - £ 379

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2011331
2011331

Blue and White Kangxi Period 1662-1722 - Other wares - Page 1

 

Object 2011331

 

Spice dish

 

China

 

1700-1720

 

Height 27 mm (1.06 inch), diameter width 117 mm (4.61 inch), diameter length 137 mm (5.39 inch), weight 154 grams (5.43 ounce (oz.))

 

A single spice dish of tapered lotus leaf-shape. Decorated in underglaze blue with a ´Long Eliza´ figure with three little boys in a fenced garden landscape. On the interior walls four sprays of foliated scrolls. The reverser is undecorated.

 

This spice dish was once part of a Chine de commande spices set, comprising of an eight pointed star-shaped central dish surrounded by eight tapered lotus leaf-shaped radial form dishes.

 

The philosopher (Mengzi (also: Mencius, 370-290BC) is considered the second-greatest sage of China after Confucius. There is a saying in China, mengu sanqian (Mengzi's mother moved three time), meaning that a family simply has to move house if the surroundings of the home harm the development of a child's character, Legend has it that after the father's death. mendzi's family moved near to the graveyard in order to be close to the father's grave. Soon Mengzi and the children in the neighbourhood started to imitate mourners. The mother did not think this a suitable atmosphere for a Confucian education and moved to the vicinity of a marketplace, where Mengzi imitated the shouts of the stallholders. At long last the mother moved to live in the vicinity of a school, where Mengzi tried to be like the teachers and eventually became a scholar himself. The number 'Three' in the saying of course does not mean exactly three, but 'many' moves instead. From the various versions of the story, this baluster vase depicts a fight between little Mengzi and a boy next door as the reason for moving. Hence the scene on the baluster vase exemplifies motherly care. (Suebsman 2019, p.38)

 

Slender Chinese women in a garden may reflect a literary source, or may merely be depictions of beautiful ladies, but in combination with a dancing boy, his arm in the long sleeves of his garment, this motif probably comes from a deeper, older cultural layer. As recent research has shown, the dancing boy is connected to New Year's festivities and exorcism practises. In this context, the woman may be a personification of Xiwangmu, The Queen Mother of the West and a symbol of immortality. In the Netherlands, the lady and the boy were known by their Dutch names Lange Lijs and Zotje, names that were taken over in English as 'Long Eliza' and 'the Fool'. They were the epitome of Chinese exoticism for the Western beholder and served as a model for numerous imitations in chinoiserie settings. (Jörg 2011/2, p. 37)

 

In the Age Looxma Ypeij (1833-1892) collection, Princessehof Leeuwarden nationaal keramiekmuseum, one of the notable Chine de Commande objects is a spices set comprising of an eight pointed star-shaped central dish surrounded by eight tapered lotus leaf-shaped radial form dishes. At first sight one would identify this set as Dutch (Delft), infact the set is Chinese. Clearly this set is a Chinese copy of a Dutch (Delft) original. These Dutch Delftse specerijensets (Delft spices sets) were part of large dinner services of which 17th century examples are known. Around 1685 an identically shaped set with an eight pointed star-shaped central dish surrounded by eight smaller dishes was made in Delft by De Witte Starre for Wenzel Ferdinand Prins Lobkowitcz van Bilina (1656-1697). This Dutch Delft spices set is completely identical to the extremely rare and complete Chinese set in the Looxma collection. (Pohle 2006, pp.6-13

 

For an identically decorated complete spice dishes set, please see:

For an identically decorated dish, please see:

Condition: Two tiny shallow glaze rough spots to the rim and some unglazed spots to the exterior wall.

 

References:

Jörg & Van Campen 1997, cat. 91 & 116

Pohle 2006, cat. 5

Jörg 2011/2, p. 37

Suebsman 2019, cat. 8

 

Price: reduced from € 499 - $ 560 - £ 435 now with 50% discount to € 249 - $ 281 - £ 223 

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2011679
2011679

Transitional wares 1620-1683 - Page 1

 

Object 2011679

 

Ewer

 

China

 

1635-1645

 

Height 205 mm (8.07 inch), diameter 129 mm (5.08 inch), diameter of mouthrim 28 mm (1.10 inch), diameter of footring 73 mm (2.87 inch), weight 966 grams (34.08 ounce (oz.))

 

Ewer on footring, the neck ending in a short triangular spout. Curved C-shaped handle pierced at the top for a mount. The shallow conical base is glazed. Decorated in underglaze blue with a fenced garden with maple trees, precipitous rocks enveloped by billowing clouds and a resting scholar holding a fan in his right hand. To his left two servants, one holding books, the other a covered dish (?). Round the shoulder a flower scroll border and on the neck two vertical Dutch tulips with symmetrically placed leaves. Round the bottom of the body a stylised lotus-petals border and round the foot a flower scroll border. On the handle a flower spray with cloud motifs. 

 

In the period (1630-1645) the VOC (Dutch East India Company, 1602–1799) ordered Chinese porcelain through the Company's factory on Formosa (Taiwan). Besides bowls and dishes made in traditional kraak style, new shapes (like this ewer made after European models), decorations and combinations of traditional motifs emerged and the wares made in this period are quite extraordinary in their creativeness, freedom and variety. (Jörg 1984, p.14), (Jörg 2011/1, p.123)

 

Such ewers after a European (German stoneware) model were made especially for the VOC (Dutch East India Company, 1602–1799) as well as for the Dutch private traders. As they were supplied without lids, a mount could be attached in the Netherlands, Characteristic of this export Transitional porcelain is the heavy potted body, the smooth glaze, the all-over figural decoration, and the 'tulip' motif on the neck. The motif of a scholar who has retreated into nature for a picnic, to study scrolls, or for a spell of contemplation with his servants and or colleagues is common for this period. (Jörg 2002/2, p.66)

 

For a similarly shaped and decorated Japanese Arita ewer, please see:

For a similarly shaped and decorated Dutch (Delft) ewer, please see:

For identically shaped and decorated ewers, please see:

For identically shaped or similarly decorated Transitional objects, please see:

Condition: A firing flaw to the footring and two old restorations to the rim and the underside of the attachment of the handle with some scratches to the glaze.

 

References:

Lunsingh Scheurleer 1974, cat. 40 & 42

Lunsingh Scheurleer 1980, Abb. 78a

Lunsingh Scheurleer 1981, cat. 65

Stamford 1981, cat. 143

Arts 1983, Plate 11a

Jörg 1984, p.14 & cat. 16

Howard 1994, cat. 243

Jörg 2002/2, cat. 39

Jörg 2011/1, cat. 56

 

Price: reduced from € 1.499 - $ 1,701 - £ 1,283 now with 35% discount to € 974 - $ 1.103 - £ 876 

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

 

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