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; March 30, 2020.


Japanese Imari 1690-1800


Object 2012255


Covered bowl






Height with cover 95 mm (3.74 inch), height without cover 61 mm (2.40 inch), diameter 125 mm (4.92 inch), diameter of footring 56 mm (2.20 inch), weight with cover 337 grams (11.89 ounce (oz.)), weight cover 131 grams (4.62 ounce (oz.))


Covered bowl on footring. Straight sides, domed cover with strap handle. Imari, decorated with in underglaze blue, iron-red and gold. On the box three reserves filled with flowering peony and chrysanthemum plants and a fruiting pomegranate plant alternating with two flower heads on an underglaze blue ground with foliate sprays in gold. Round the footring a narrow border with a flower head between scrolls alternating with half flower heads between scrolls in gold on an underglaze blue ground. On the base a single concentric band in underglaze blue. The cover is decorated en suite. The strap handle is decorated in gold and iron-red with a single flower head on top.  


Until around 1650, all porcelain imported to Europe comprised blue-and-whitewares. Inspired by Chinese porcelain, Japanese potters experimented with coloured enamels. The Dutch East India Company, (Vereenigde Oost-Indische Compagnie, VOC) focused on these new colourful wares as trade articles from the moment they were made. The decorations on this porcelain are frequently derived from Chinese examples. Imari decorations were among those that developed during this experimental phase.

Imari porcelain is named after the port Imari, from where porcelain was shipped to the Dutch Factory on Deshima Island in Nagasaki. Imari objects are usually decorated with exuberant and lively depictions. Besides underglaze blue, the other two dominant colours are iron-red and gold.

In 1680, Private traders replaced the Dutch East India Company, (Vereenigde Oost-Indische Compagnie, VOC) as the main trading partner in Japan. They focused on porcelain made in European shapes. The high point of this production occurred around 1700. Besides tableware, garnitures and ornamental dishes were produced, As with Chinese porcelain, enamelled objects and porcelain were very popular.

(source: Keramiek Museum Princessehof, Leeuwarden)


The shape, most likely, derived from a European (silver) model, it was used as a small tureen. Jörg describes a bowl with cover on three low feet with a matching saucer this may indicate that originally the covered box also might have had a matching saucer. (Jörg 2003/1, p.110, cat. 113)


The crackled glaze is caused by the unequal contraction of the body and the glaze during cooling in the kiln after firing. (Jörg & Van Campen 1997, p.235)


For similarly shaped covered bowls, please see;

Condition: Firing flaws to the cover and base and fine crazing to the glaze all caused during the firing process.



Jörg & Van Campen 1997, p.235

London 1997, cat. 95

Jörg 2003/1, cat. 116

Keramiek Museum Princessehof


Price: Sold.


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 Blue and White wares since 1722 


Object 2012259


Tea caddy






Height with cover 114 mm (4.49 inch), height without cover 98 mm (3.86 inch), dimensions 86 mm (3.39 inch) x 55 mm (2.17 inch), diameter of mouthrim 23 mm (0.90 inch), weight with cover 276 grams (9.74 ounce (oz.)), weight cover 33 grams (1.16 ounce (oz.))


Tea caddy of rectangular form with canted corners, a flat shoulder with a short upright neck. The flat base is unglazed. The original cover is missing and replaced by silver mounts (marked). Decorated in underglaze blue. The shoulder rim is over-decorated in gold (Amsterdams Bont?). On the body a pagoda and shrubbery near a river running before a crenulated wall with a fortress and trees. The shoulder is decorated en suite. The silver mounts are marked with an unknown mark.


The scene of houses and shrubbery near a river running before a crenulated wall is unusual in Chinese Imari ware. This type of decoration, with the brick wall and the pagoda is often referred to as the 'Chinese wall' while others think it is a Chinese fortress within walls. (Gordon 1977, p.47)


2012259 1 2010567 1a 


Apparently the underglaze blue design with houses and shrubbery near a river running before a crenulated wall was popular at the time. In this comparison, between object 2012259 and sold object 2010567, we can clearly see the similarities in the underglaze blue and the Chinese Imari decoration. 


The in gold on the over-decorated shoulder rim has also been applied to spots where the glaze had already been flaked off probably due to use. This proves that the over-decorating must have been done at a later time. A previous owner might have decided to add this over-decoration himself or have it added by a workshop specialised in Amsterdams Bont over-decoration at that time. 


For identically, in Chinese Imari decorated objects, please see: 

Condition: Some shallow glaze rough spots to the edges of the shoulder and a shallow chip to a corner of the foot.



Gordon 1977, cat. 31

Kassel 1990, cat. 138

Sargent 2012, p.183


Price: € 299 - $ 321 - £ 274

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


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Chine de commande - Western Subjects 1680-1800 - Western Designers - Teyler, Johannes(1648-c.1709)


Object 2010444






Soft-paste or Steatitic Porcelain (pâte tendre)




Height 34 mm (1.33 inch), diameter of rim 62 mm (2.44 inch), diameter of footring 29 mm (1.14 inch), weight 28 grams (0.99 ounce (oz.))


Teacup on footring. Decorated in underglaze blue with a group of people on a spit of land jutting into a lake or the sea. To the left on the shore two children with outstretched hands, at the far-left rocks with trees. Around the inner rim a narrow band with honeycomb motifs. The teacup is decorated en suite.


A recent discovery shows that this composition is taken from a part of a colour print by Johannes Teyler (1648-c.1709) from his Opus Typochromaticum (1688-98), depicting The Fall of Phaëton. Two other prints from this Opus are known on Chinese export porcelain. (, REF No. 6375)


Johannes Teyler (1648–1709?), a philosopher, mathematician and military engineer – not an artist or engraver – was granted a privilege for the States of Holland and West-Frisia for printing engravings and etchings in colour in 1688. His exact working manner is not described in the privilege, but from the production of the workshop that he financed can be seen that all prints were inked à la poupée in multiple bright colours. From 1695 Amsterdam print dealers also started publishing prints in Teyler's manner. The so-called 'Teyler prints' are known to print historians and antiquarian print dealers. The production from the workshop of Johannes Teyler is estimated at over 400 unique prints. (source:The New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts Johannes Teyler and Dutch Colour Prints, (A.Stijnman (compiler) and S.Turner (editor), Sound & Vision Publishers B.V., Ouderkerk aan de Amstel, 2017))


1 (2)



a colour print by Johannes Teyler (1648-c.1709) from his Opus Typochromaticum, depicting The Fall of Phaethon collectie Rijksmuseum Amsterdam 2

A colour print by Johannes Teyler (1648-c.1709) from his Opus Typochromaticum, depicting The Fall of Phaëthon (1688-98). (pictures courtesy (, REF No. 6375)


Phaëthon, the son of the Sun God Helios, had begged his father to prove his paternity to his friends, so Helios had sworn an oath on the River Styx to grant any wish that the youth wanted. Phaëthon chose to ride the famous sun chariot and despite his father’s warning that the steeds were too strong for him, the young man took the reins. His lack of control soon led to disasters when he flew too low and scorched the earth. (, REF No. 6375)

The part of the Teyler print here shows a group of River Gods in distress, who had petitioned Zeus to stop Pheëton’s uncontrolled Chariot ride because it had caused their rivers to dry up. When Zeus kills Phaëthon with a thunderbolt he falls into the River Eridanus where he is drowned. (, REF No. 6375)


Soft-paste porcelain, which is quite different from European soft-paste, originated about 1700 and became popular in the second quarter of the 18th century as part of the export assortment. Unlike ordinary porcelain, it is not translucent and often has a creamy-white appearance. The glaze is often finely crackled as the result of a difference in cooling between the glaze and the body. The latter is made of a white-firing clay, called "huashi" or "slippery stone", the use of which is documented in the reports of 1712 and 1722 by the Jesuit Père d'Entrecolles. As this clay was expensive, soft-paste pieces are usually small and thinly potted. They are also well-painted, as the body is particularly suitable for detailed drawing. Besides this "true" soft-paste, there are pieces with an ordinary porcelain body and a coating of "huashi" clay, which gives the same effect. Due to the porous nature of the fired "huashi" clay, soft paste objects are overall lighter than hard paste objects. The production for export flourished between 1725-1745 and came to a stand around 1750, twenty years later the production revived but the quality of the objects produced never reached the quality level of the previous production. Only a few Chine de commande objects are known to be made of soft paste porcelain, most famous being 'Neptune' and this mythological design formerly known as 'Castaways or slaves' or 'The wreck of the Grosvenor' design because it seemed to depict a famous incident when the Grosvenor, returning from India to London was lost off the coast of South Africa in 1782. Of the 123 survivors who were cast ashore only 18 made it to Cape town. (Oort & Kater 1982, p.155), (Jörg & Van Campen 1997, p.117), (Sargent 2012, p.304), (, REF No. 6375)


For identically decorated objects, please see:

For a similarly decorated dish, please see:

Condition: Perfect.



Lunsingh Scheurleer 1977, cat. 246

Oort & Kater 1982, p.155

Hervouët 1986, cat. 9.42

Jörg & Van Campen 1997, cat. 119

Jörg 2002/2, cat. 100

Jörg 2002/3, pp. 167-176

Sargent 2012, p.304, REF No. 6375


Price: € 499 - $ 534 - £ 458

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


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Japanese Tea, Coffee and Chocolate wares 18th Century


Object 2012626








Height 23 mm (0.91 inch), diameter of rim 112 mm (4.41 inch), diameter of footring 47 mm (1.85 inch), weight 77 grams (2.72 ounce (oz.))


Saucer on footring, slightly spreading rim. Imari decorated in underglaze blue, overglaze iron-red and gold with an all-over design of a shaped jardiniere filled with a rock, flowering iris and camellia. The pot has a ribbon and a tassel on each side and stands on a long table near a fence and a swirl of water. Above the pot a single large ruyi-motif filled with a simplified flower and leaves on a gold ground; below the motif pendent wisteria and prunus. The reverse is undecorated.


The well-executed design is a good example of the painter's eclectic approach. He combined common motifs such as the flowerpot, the fence, the ruyi-design and the pendent flowers without attempting to depict a realistic and coherent scene, intent only on making a pleasant decoration and composition. (Jörg 1989/2, p.200, cat. 254)


For an identically shaped, sized and decorated teacup and saucer, please see:

In his description of this identically shaped, sized and decorated teacup and saucer Jörg notes 'No comparable tea wares seem to be known'.


Condition: Some glaze firing flaws to the reverse rim.



Jörg 1989/2, cat. 254


Price: € 149 - $ 162 - £ 137

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


More pictures >>