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; July 10, 2020.

A new category 'Bargain SALE' has been created.

 

The category can be found in the side menu, it contains existing objects now being offered at a significant reduced price.

 

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

2012268
2012268

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

 

Object 2012268

 

Bowl

 

China

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

 

Height 73 mm (2.87 inch), diameter of rim 150 mm (5.91 inch), diameter of footring 59 mm (2.32 inch), weight 268 grams (9.45 ounce (oz.))

 

Bowl on footring with a straight underglaze brown-edged rim (jia mangkou). Carved anhua (secret) decoration of leafy branches. Decorated in underglaze blue with two diaper pattern borders one near the foorting the other round the rim. On the bottom a flower head in a single concentric band. Over-decorated in iron-red, black, gold and other overglaze enamels, in the Netherlands, Amsterdams Bont, c.1750-1770 with two figures in a landscape with trees, bushes, a pond and a house. One figure is sitting under a tree his elbow resting on his leg while his hand is supporting his head. The other figure is approaching while holding a stick, his scarf is being blown up by the wind.

 

The impression of the over-decoration on this bowl is clearly of famille verte. Very few examples copying famille verte porcelains are known suggesting that there was a plentiful supply of Chinese originals and that there was therefore no gap in the market for the European decorators to fill. As Dutch and English decorators copied so few famille verte pieces it is tempting to allocate all the European decorated pieces which have a predominantly green palette to the famille verte style even though they may hardly resemble the Chinese originals. (Espir 2005, pp.97-102

 

Anhua is a Chinese term meaning 'secret or hidden decoration', it is incised or carved into the body below the glaze. (Espir 2005, p.254

 

For a similarly Dutch over-decorated Amsterdams Bont covered bowl, formerly in the Helen Espir collection, please see:

Condition: Two hairlines to the rim.

 

References:

Sargent 2012, cat. 329

Salisbury 2014, cat. 372

 

Price: € 299 - $ 337 - £ 268

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

 

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2012270
2012270

Japanese Imari 1690-1800

 

Object 2012270

 

Dish

 

Japan

 

1700-1720

 

Height 38 mm (1.49 inch), diameter 242 mm (9.53 inch), diameter of footring 127 mm (5.00 inch), weight 660 grams (23.28 ounce (oz.))

 

Dish on footring, flat rim. On the base three spur-marks (one with the cone still intact and attached) in a V-pattern. Imari, decorated in underglaze blue, iron-red and gold with river scape with trees, mountains and clouds surrounded by a narrow border with florets between scrolls alternating with leafy scrolls in gold on an underglaze blue ground. The sides and rim with three shaped panels filled with a bird in flight alternating with three panels filled with a flower head surrounded by leafy scrolls on a underglaze blue ground with flower heads in iron-red and leafy scrolls in gold. On the reverse three prunus sprays.

 

Condition: Some firing flaws to the rim.

 

Price: Sold.

 

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2012251
2012251

Japanese Imari 1690-1800

 

Object 2012251

 

Covered bowl

 

Japan

 

1700-1720

  

Height with cover 95 mm (3.74 inch), height without cover 65 mm (2.56 inch), diameter 132 mm (5.20 inch), diameter of footring 64 mm (2.52 inch), weight with cover 418 grams (14.74 ounce (oz.)), weight cover 198 grams (6.98 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 chrysanthemum plants growing from banded hedges, three connected bamboo sticks and a butterfly in flight alternating with a flower head on an underglaze blue ground with foliate sprays in gold. On the outer footring two concentric bands in underglaze blue. The cover is decorated en suite. The strap handle decorated in gold and iron-red is flanked by two groups of half flower heads with leafy scrolls and is surrounded by a border with three groups of wide spread leaves.

 

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)

 

For similarly shaped covered bowls, please see;

Condition: Two firing tension hairlines, caused during the firing process, to the base, two frits to the footring and a hairline with fleabite to the bowl.

 

References:

London 1997, cat. 95

Jörg 2003/1, cat. 116

Keramiek Museum Princessehof

 

Price: € 249 - $ 280 - £ 223

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

 

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2011976
2011976

Brown (Capucin wares) 1700-1800 - Tea, Coffee and Chocolate wares

 

Object 2011976

 

Teacup and saucer

 

China

 

1720-1750

 

Height of teacup 43 mm (1.69 inch), diameter of rim 82 mm (3.22 inch), diameter of footring 39 mm (1.54 inch), weight 70 grams (2.47 ounce (oz.))

Height of saucer 23 mm (0.91 inch), diameter of rim 135 mm (5.31 inch), diameter of footring 72 mm (2.83 inch), weight 111 grams (3.92 ounce (oz.))

 

Teacup and saucer on footrings, slightly everted rims. Batavia Brown covered with underglaze dark brown. 

Chinese Imari, decorated in underglaze blue, overglaze iron-red and gold with a central flower spray in a roundel surrounded by wave-shaped panels filled with a riverscape alternating with a flowering plant growing from rockwork. On the rim a zig zag lines-pattern border with reserves filled with flowerheads. The teacup is decorated en suite. On the base of the saucer an old rectangular paper collectors label with the handwritten number '185' in blue ink.

 

In the Netherlands, porcelain decorated in this type of underglaze brown has historically been called 'Batavia Brown' or Capucijnergoed ('Chick-pea ware', after the legume). The first name may have been coined because most goods exported to The Netherlands from the East were sent via Batavia and has nothing to do with a Batavian production or decoration, It is a very common type with the decoration usually contained within medallions. Occasionally, a gold decoration has been painted on the brown glaze. The brown color is achieved by using iron oxide as a pigment, which like underglaze blue, needs to be fired at high temperatures. Considerable quantities were exported to the Western and Inter-Asian markets from c.1700. The pieces are rarely refined and can be considered as articles for everyday use by the middle-classes. (Jörg 2002/2, p.120)

 

Batavia Brown is known in China as shanyu huang (eel yellow) or shan yu pi (eel-skin), that belongs to the family of tea-dust glazes (chayemo). (Sargent 2012, p. 533)

 

Condition:

Teacup: Perfect.

Saucer: A tiny fleabite to the rim and some fleabites to the footring.

 

References:

Jörg 2002/2, p.120

Sargent 2012, p.533

 

Price: Sold.

 

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2012064
2012064

Japanese Blue and White wares 17th Century - Tableware and other Porcelain with Western Shapes

 

Object 2012064

 

Tankard / Beer mug

 

Japan

 

1660-1680

 

Height 184 mm (7.24 inch), diameter 123 mm (4.84 inch), diameter of mouthrim 80 mm (3.15 inch), diameter of footring 70 mm (2.76 inch), weight 820 grams (28.92 ounce (oz.))

 

Tankard / beer mug on footring. Oviform body with broad neck. Curved pierced handle. Decorated in underglaze blue with three shaped panels reserved on a ground of karakusa scrolls divided by different stylised flowers. In each panel a mountainous landscape with fir trees, a pavilion and birds.

 

This is the most common type of beer mug and occurs in a number of sizes. A similar decoration is also seen on ewers. Beer mug were supplied without lids, which were mounted in the Netherlands later. However, a possibly unique example in the Imaemon Museum, Arita, has a flat porcelain cover decorated with karakusa scrolls and a loop ring. (Jörg 2003/1. p.169)

 

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 similarly shaped or decorated tankards / beer mugs, please see:

Condition: A restored chip to the rim with a connected hairline.

 

References:

Lunsingh Scheurleer 1971, cat. 131, 132 & 134

Lunsingh Scheurleer 1980, cat. 408, 409, 410 & 411

Daendels 1981, cat. 105, 106, 107 & 108

London 1997, cat. 11

Impey 2002, cat. 34

Jörg 2003/1, cat. 200

Groninger Museum

 

Price: Sold.

 

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2012238
2012238

Japanese Imari 1690-1800

 

Object 2012238

 

Bowl

 

Japan

 

1700-1720

 

Height 103 mm (4.06 inch), diameter of rim 216 mm (8.50 inch), diameter of footring 88 mm (3.46 inch), weight 828 grams (29.21 ounce (oz.))

 

Lobbed bowl on footring, scalloped rim. Imari, decorated in underglaze blue, iron red, green, turquoise, aubergine, yellow and gold. The central lobbed panel with a prunus spray. The sides with flowering chrysanthemums, single kiku-flowers and branches of lespedeza flowers. One chrysanthemum and the kiku-fllowers are moulded in low relief. The outside is divided into four panels with double cherry blossoms and four two-sided panels, one side with foliate scrolls in gold on a dark blue ground, the other with a blossoming prunus tree. The two sides connected by a roundel showing a violet with long leaves. (Jörg 2003/1, p.100)

 

This bowl can be considered a good example of elaborate Imari with raised motifs. The scalloped rim of this bowl is meant to resemble a kiku-flower, a shape mirrored in the decoration. A similar bowl is in the Shibata Collection. (Jörg 2003/1, p.112)

 

This pattern was copied in China and in many European porcelain factories, including Chelsea and Worcester. For a Chelsea copy, see Porcelain for Palaces, no. 345. There are Chelsea and Worcester copies in the Marshall Collection, nos 190,191. (Impey 2002, p.189)

 

For an identically shaped and decorated bowl, please see:

For an similarly decorated bowl, please see:

For an identically decorated dish, please see:

Condition: A restored frit and a re-stuck piece to the rim with four filled holes (remains from old removed clamps) with a connected hairline. 

 

References:

Visser 1930, cat. 51

Jenyns 1979, cat. 47a (i)

Ayers, Impey & Mallet 1990, no. 345

Kyushu 1991, cat. 665

Fitski 2002, cat. 29

Impey 2002, cat. 300

Jörg 2003/1, cat. 100

Kyushu 2003, cat. 2810

Victoria & Albert Museum, Museum number 834-1892

Victoria & Albert Museum, London, Museum number C.1507-1910

 

Price: Sold. 

 

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2011854
2011854

Japanese wares with Western Shapes or Designs 1653-1800

 

Object 2011854

 

Ewer

 

Japan

 

1700-1720

 

Height 89 mm (3.50 inch), diameter 70 mm (2.76 inch), diameter of mouthrim 28 mm (1.10 inch), diameter of footring 42 mm (1.96 inch), weight 121 grams (4.27 ounce (oz.))

 

Oviform ewer on footring, wide neck with pinched spout . Curved pierced handle placed at an angle to the spout. Fitted with an contemporary unmarked silver mount. Imari decorated in underglaze blue, iron-red and gold with flowering prunus branches  and a reserved roundel with the initial 'A' for the Dutch word azijn (vinegar), the underglaze blue handle and spout set at right angles.

 

A specific group of ewers is decorated with the letters 'O', 'A', or 'S' indicating their contents: 'O' stands for olie (oil), 'A' for azijn (vinegar), 'L' for limoen (lemon), the 'S' or 'Z' for soya or zoja (soy). They were used at the dinner table in The Netherlands. Arts adds the letter 'C' for conserven (?) (preserves). (Arts 1983, p.50), (Jörg 2003/1, p.176)

 

For identically decorated ewers, please see:

 For an identically decorated ewer with the initial 'O', please see: 

 For an identically decorated ewer with the initial 'Z', please see: 

Condition: A firing tension hairline, caused by the firing processs, to the handle and a chip to to underside of the spout.

 

References:

Howard & Ayers 1978, cat. 111

Arts 1983, Plate 22

New York 1985, lot 63

Jörg 1999, cat. 97-1 & 97-2

New York 1985, lot 63

Jörg 2003/1, pp.176-177

 

Price: € 199 - $ 215 - £ 174

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

 

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2011523
2011523

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

 

Object 2011523

 

Teacup and saucer

 

China

 

1760-1780

 

Height of teacup 44 mm (1.73 inch), diameter of rim 75 mm (2.95 inch), diameter of footring 35 mm (1.37 inch), weight 52 grams (1.83 ounce (oz.))

Height of saucer 29 mm (1.14 inch), diameter of rim 121 mm (4.76 inch), diameter of footring 72 mm (2.83 inch), weight 93 grams (3.28 ounce (oz.))

 

Teacup and saucer on footrings with moulded walls in the shape of lotus leaves and lobed rims. Decorated in two shades of underglaze blue, various overglaze enamels and gold with the so-called 'tobacco leaf' design with veined broad leaves intermingled with flowers, sprouting from a stem; the upper section is left free, except for a single slender flower spray. On the reverse rim two flower heads and half a flower head. The teacup is decorated en suite.

 

The term 'tobacco leaf' is widely used now, but in fact it is not the tobacco plant that is depicted here. However the leaves are possibly not those of the tobacco plant, but are as likely to be derived, possibly with some help from a European or Indian textile designer, from the 'thick tropical, variegated-leaf foliage of Southern Asia and the Pacific' while the blossoms almost certainly are hibiscus and passion fruit. Others suggest it might be anona or custard-apple. The heavy, colourful and decorative pattern, made well into the 19th century, appealed to the European public. The several varieties (at least five principal variants of the 'tobacco leaf' motif are known which include birds and figures among the leaves) enjoyed great popularity and were copied on European ceramics as well. (Howard & Ayers 1978, vol. 2, p.542, Jörg 1989/2, pp.104-105, cat. 30, Howard 1994, p.184, cat. 211, Litzenburg 2003, p.225, cat. 231)

 

For identically decorated objects, please see: 

Condition saucer: Two fleabites to the footring, three frits to the rim and an X-shaped hairline to the base.

Condition teacup: A frit with a Y-shaped hairline. three separate hairlines and a chip to the rim.

 

References:

Gordon 1977, Plate VIII

Howard & Ayers 1978, vol. 2, cat. 557

Boulay 1984, p. 279, cat. 3

Jörg 1989/2, cat. 30 

Howard 1994, cat. 211

Jörg & Van Campen 1997, p.271, cat. 315

Litzenburg 2003, cat.  231

Sargent 2012, p.151, cat. 57

 

Price: Sold.

 

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2010729
2010729

Chinese Imari 1700-1800

 

Object 2010729

 

Tea caddy

China

1730-1740

 

Height including cover 122 mm (4.80 inch), height excluding cover 116 mm (4.57 inch), dimensions 96 mm (3.77 inch) x 54 mm (2.13 inch), weight including cover 360 grams (12.70 ounce (oz.)), weight cover 22 grams (0.78 ounce (oz.))

Tea caddy of rectangular form with canted corners. Four flat feet at the corners. On the flat top an unglazed cylindrical mouth with its original cover. Chinese Imari, decorated in underglaze blue, overglaze iron-red and gold with on the large panels a flower head on a ruyi head flanked by leafy scrolls and on the small panels flowering plants growing from behind a garden fence. The corner panels are filled with half flower heads on an underglaze blue ground with leafy scrolls in gold. On the shoulder two flower sprays. The cover is decorated on the side with flower sprays and on top with a river scape.

 

Only grown in China and Japan during the 17th Century, tea became known in the Netherlands early because the Dutch East India Company (VOC) shipped small quantities home. Its use as a beverage was established slowly, and was probably started by retired VOC employees who had become accustomed to drinking tea in the East. At a tea party, the expensive beverage was served in small teapots, one for each guest, filled with the leaves of the type he or she preferred. The tea was poured into small cups, while the teapot was refilled with hot water from a metal or sometimes ceramic kettle. Teacups should be thin (Delftware cups were too thick) and porcelain was the ideal material. Fortunately, the Chinese had a long tradition of drinking tea and their cups - without handles or matching saucers - and teapots arrived in Europe in the wake of the tea cargoes. When tea became more popular, the imports of tea (and later coffee) wares increased. Matching saucers, probably based on the Islamic practice of drinking coffee from metal cups with saucers, became standard around the 1690s. Tall cups with covers were a short-lived fashion because they were too expensive, while cups with handles seem to have been introduced in the 1710s. The French started drinking tea with milk and sugar, and consequently small milk jugs made after Western models, candy pots and pattipans (small saucers placed underneath the teapot and milk jug to prevent drops from falling on the table) were introduced. Tea caddies, spoon trays and slop bpowls used to rinse the teacups followed. The tea service, with uniformly decorated components, was developed in England in the early 18th century. (Jörg 2011/2, p.131)

 

Condition: Various popped bubbles of glaze to rim of the cover, caused during the firing process and some glaze rough spots to the edges of the tea caddy.

 

References:

Jörg 2011/2, p.131

Exhibition: The World at Home: Asian porcelain and Delft pottery held from 17 June 2017 to 10 March 2019 at the Groninger Museum, The Netherlands.

 

Price: € 499 - $ 547 - £ 437

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

 

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2012243 & 2012244
2012243 & 2012244

Japanese wares with Western Shapes or Designs 1653-1800

 

Objects 2012243 & 2012244

 

Two coffee pots

  

Japan

 

1700-1720

 

Object 2012243:

Height with cover 295 mm (11.61 inch), height without cover 265 mm (10.43 inch), diameter handle to spout 225 mm (8.86 inch), diameter of mouthrim 76 mm (2.99 inch), diameter of footring 145 mm (5.71 inch), weight with cover 1,827 grams (64.45 ounce (oz.)), weight cover 68 grams (2.40 ounce (oz.))

 

Object 2012244:

Height with cover 295 mm (11.61 inch), height without cover 261 mm (10.28 inch), diameter handle to spout 225 mm (8.86 inch), diameter of mouthrim 78 mm (3.07 inch), diameter of footring 150 mm (5.91 inch), weight with cover 1,643 grams (57.96 ounce (oz.)), weight cover 85 grams (3.00 ounce (oz.))

 

Two coffee pots of conical shape on footrings with glazed bases. Curved, flat pieced handles, domed covers with pointed knobs and loop rings (intended for chains between the top of the handles and the loop rings on the covers). The holes for the mounted Dutch brass taps in the lower parts are surrounded by squares in low relief. Decorated in underglaze blue with two large phoenixes or pheasants perched on rocks, flowering peonies and chrysanthemums. On the handle karakusa scrolls. The covers are decorated en suite.

 

As was the case with tea, it was not until the end of the 17th century that drinking coffee became popular in Europe, each town had his own coffee house, where everyone - which in fact meant mainly men - could enjoy drinking a cup of coffee. The Dutch East India Company, (Vereenigde Oost-Indische Compagnie, VOC), started off mainly importing coffee from Yemen, experimenting only later with plantations of their own in Java.

However, drinking coffee had for centuries already been a common practice in the Middle East. European coffee pots were therefore often modelled after Islamic copper examples. Two types of coffee pots were most frequently commissioned in Asian porcelain: conical and belly shaped. The conical shaped pot originally came from Japan. After brewed coffee was poured into this luxurious porcelain pot, it was held warm on a stand and subsequently served through a metal tap which had later been added to the pot after it had been imported to the Netherlands. At the bottom of the pot the coffee grounds were collected. Coffee pots from China, where both types were made, don't feature a tap but a spout. (The World at Home, exhibition Groninger Museum 17 june 2017 - 31 march 2019)

 

The utensils necessary for consuming tea and coffee developed in parallel with their increasing popularity. Dutch Copper coffee pots of conical shape are known in the late 17th centurY, and there were also silver examples. A double-walled copper coffee pot probably made for the the Netherlands Dutch confirms its use. The Arita porcelain copies will have been made from a similar model. Some have three feet, other none. The feet eliminate the disadvantage of an uneven base: pots without feet were apparently put on a brazier or stand (added in Europe), or were mounted. The loop ring had a silver chain fixed to the hole in the handle to prevent the cover from falling off. An octagonal variety with spout is known in Chine de commande., but otherwise the shape is not represented in Chinese export porcelain. This underglaze blue version is quite common, indicating a widespread use of these Japanese pots. (Jörg 2003/1, p. 204, cat. 261

 

Coffee pots, usually three-legged, are common in blue-and-white and in enamelled Imari. usually there is one hole left for a tap to be fitted in Europe, occasionally there are three. (Ayers, Impey & Mallet 1990, p.213)

 

For identically shaped, sized and decorated coffee pots, please see;

For identically shaped, sized and decorated coffee pots on three feet, please see;

For an identically shaped, sized and decorated coffee pot with Danish silver mounts that bears the monogram of King Frederick IV of Denmark (r.1699-1730) and the Holstein coat of arms on tap, in the Princess's lacquered chamber at Rosenborg Castle, Copenhagen. (Impey 2002, p. 106) to see this coffee pot, please see:

For other identically shaped, sized and decorated mounted coffee pots, please see;.

Condition object 2012243: A firing flaw to the belly and the handle, a restored loopring to the cover and a shallow chip to the rim.

 

Condition object 2012244: Some fine crazing to the glaze, a firing flaw to the handle and to glaze rough spots to the square in low relief that fits the Dutch brass tap. The cover is completely restored. 

 

References:

Lunsingh Scheurleer 1971, cat. 113 & 114

Jenyns 1979, cat. 18a

Lunsingh Scheurleer 1980, p.397, Abb. 427 & 428, p.398, Abb. 429a & p.399 Abb. 430 & 432

Daendels 1981, cat. 15

Oxford 1981, cat. 262

Reichel 1981, cat. 15

Ayers, Impey & Mallet 1990, p.213

Suchomel 1997, cat. 11

Impey 2002, p.106 & cat. 121

Jörg 2003/1, p. 204, cat. 261

Jörg 2011/1, cat. 79

 

Price: Sold.

 

More pictures of objects 2012243 & 2012244 >>

More pictures of object 2012243 >>

More pictures of object 2012244 >>

2011202
2011202

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

 

Object 2011202

 

Saucer

 

China

 

c.1740

 

Height 21 mm (0.82 inch), diameter of rim 116 mm (4.57 inch), diameter of footring 68 mm (2.68 inch), weight 43 grams (1.52 ounce (oz.))

 

Saucer on footring, slightly everted rim. Decorated in various overglaze enamels and gold with a roundel enclosing the mirror monogram of possible the 'DOC' the Danske Ostindke Company within a rocaille mantling and below a flower wreath, the rim with a border of vine and flowers. The reverse is undecorated. 

 

Much Chinese export porcelain made for the Dutch market has a pseudo-armorial character, the most notable and largest group being monogrammed porcelain. Monograms are initials, often finely painted in the shape of a mirror monogram or cipher. A mirror monogram is a design of a monogram where the letters are reversed to make mirror images to produce an ornamental form. The word cipher is more or less synonymous with mirror monogram the with the emphasis on encrypting text with a combination of symbolic letters in an entwined weaving of letters.

Monograms and ciphers are mainly personal as opposed to coats of arms that beside by individuals can also be borne by whole families and communities. Pseudo-armorials are those emblems and signs which only resemble a coat of arm by using heraldic components such as a shield shape and/or banners, spears, flying angels etc. that surround the monogram or cipher. (Kroes 2007, p.56)

 

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

The mirror monogram on this saucer is interesting, similar monograms can be found on Danish coins (Kronet) from 1699-1730 made during the reign of the Danish/Norwegian King Frederick IV (1671-1730). In the Christie's Amsterdam auction sale catalogue 14-16 February 2016, the monogram on the Buisman teacup and saucer (lot 1096) is described as 'DOD'. The pictures of the Danish coins (Kronet) can be found on danskmoent.dk. On this website the author states that the very similar monograms 'DOC' on these coins (Kronet) are the monogram of the Danske Ostindke Company 

 

2011202 2

 

'DOC' monogram of the Danske Ostindke Company.

 

 

 

doc munt 3

 

doc munt

 

Forside: Kronet double F4 monogram

Bagside: Kronet DOC monogram; 10 Kas under DOC

I 1729 gik det Danske Ostindiske Company bankerot og det var slut med DOC på mønterne. Den danske konge overtog kolonien.

 

Pictures and text courtesy: danskmoent.dk

 

Condition: A tiny firing flaw to the rim..

 

References:

Amsterdam 2006, lot 1094

Kroes 2007, p.56

danskmoent.dk

 

Price: Sold.

 

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2011208
2011208

Zhangzhou (Swatow) wares 1570-1650 - Jarlets

 

Object 2011208

 

Jarlet

 

(Southeast) China, Zhangzhou (Swatow)

 

1570-1650

 

Height 70 mm (2.76 inch), diameter 96 mm (3.78 inch), diameter of rim 46 mm (1.81 inch), diameter of footring 51 mm (2.01 inch), weight 321 grams (11.32 ounce (oz.))

 

Jarlet on footring with an angled shoulder wide mouth and a short straight upright neck. Crackled glaze. Decorated in underglaze blue with chilong (sea dragon) alternating with a flower spray, around the shoulder a border with florets between scrolls alternating with a half flower head. 

 

Porcelain factories in the South Chinese provinces of Fuijan and Guangdong produces goods for the oriental market such as Japan and what is now Indonesia. However, this porcelain is slightly coarser in its texture and decoration than the products destined for the Chinese domestic market and the European export market. This group was commonly and simply known as 'coarse porcelain', and later the name 'Swatow', came to be used. Nowadays it is referred to as Zhangzhou.

Only a limited number of collectors in The Netherlands showed interest in this kind of ceramic work. These collectors regarded it as fresh, decorative popular art that had remained free of Western influence. The largest collections in this domain were formed in the former Dutch East Indies and were later transported to the Netherlands.

To the Dutch East India Company, (Vereenigde Oost-Indische Compagnie, VOC) , this porcelain was not particularly appealing in commercial terms because there was little interest for it in Europe. Of course, the company did attempt to get a slice of the cake in the trade between South China and the Indonesian archipelago with varying degrees of success. (Source: Breekbaar Goed. Een eerbetoon aan Minke A. de Visser (1989-1966), exhibition held at the Groninger Museum, Groningen, 20 March 2015 - 15 March 2016)

 

These jarlets, supposedly made as containers for the export of oil and ointments in small quantities to consumers all over Southeast Asia, were mass-produced over centuries. As empties, they were part of every kitchen. With the passage of time, they became heirlooms and antiquities of small value. (Harrison 1979, p.81)

 

These jarlets were unearthed in large quantities particularly in Indonesia. These kind of jarlets were mass-produced over centuries and are very common in Southeast Asia where they, apart from being used as burial objects, were used for medicines, unguents and cosmetics. (Rinaldi 1989, pp.88-91)

 

Condition: Firing flaws to the body, the base and footring, a chip top the rim.

 

References:

Harrisson 1979, p.81

Rinaldi 1989, pp.88-91

Breekbaar Goed. Een eerbetoon aan Minke A. de Visser (1989-1966), exhibition held at the Groninger Museum, Groningen, 20 March 2015 - 15 March 2016

 

Price: € 299 - $ 325 - £ 264

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

 

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