Recent Acquisitions

On this page you'll find my latest acquisitions.

This way you can quickly browse through my recently acquired objects without having to browse through all the various categories.

After some time, each object in 'Recent Acquisitions' will be moved to their specific category.

Latest update: Recent Acquisitions; February 11, 2026.

2012710

Japanese Imari 1690-1800

Object 2012710

Bowl

Japan

1690-1710

Height 144 mm (5.67 inch), diameter 310 mm (12.20 inch), diameter of footring 123 mm (4.84 inch), weight 2,184 grams (77.03 ounce (oz.))

Large bowl on footring, straight rim. Imari, decorated in underglaze blue, iron red, green, turquoise, aubergine, yellow and gold. In the centre a flowering peony spray with three buds in various stages of bloom in a double circle in underglaze blue. The sides with flowering cherry and prunus branches and scattered flower heads. On the footring a meandering pattern and round the footring a border with upturned spiky lotus leaves. The outside with three reserves filled a hõ-õ bird perched on a flowering peony branch with three buds in various stages of bloom. In between the panels grasses and flowering chrysanthemum plants growing from rockwork. Round the rim a continuous flowering scroll. 

The cherry (Jap.: sakura) has played an important role in Chinese symbolic language from ancient times on. In Japan the cherry is regarded as the flower, along with the chrysanthemum. The 'land of the cherry blossom' is one of the names for Japan. The cherry in Japan is different from its European counterpart: the blossom is about twice as large but the fruits are very small and non-edible. It is because of its immaculate, pure white blossom that the cherry is esteemed so much in Japan, not because of its fruit. The cherry blossom is emblematic of purity of life and of the samurai spirit. This is derived from the fact that the petals of the cherry blossom leave their calix when still fresh, and twirling in the air (see the scattered flower heads inside the bowl), as if dancing and unmindful of their approaching end, show gaity and merriment before touching the ground, that will be their grave. Thus unlike all other flowers, whose flowers cling to their calix until they shrivel and rot, as if afraid to die, the cherry shows beauty to people. Similarly it may be said of the samurai, who when still in full vigour, was always ready to give his life for a good cause. On Japanese porcelain it is always the single-blossom variety that is depicted. it can be distinguished from plum blossom by the fact that its five petals have two distinct lobes (so that they are somewhat heart-shaped), while the petals of the plum-blossom are single-lobed and have a round top. (Arts 1983, p.141)

The flower of the plum tree (Jap.: ume) or the prunus is one of the flowers of the four seasons, among which it figures as the emblem of winter. It is regarded as an emblem of winter. It is regarded as an emblem of longevity because the flowers appear during winter on the leafless, lifeless-looking branches. This aspect of the plum is usually fairly accurately expressed when it is used as a decorative motif, since it is shown as an old tree trunk having straight slender branches with blossoms. The plum is, for the same reason, emblematic of female purity and in Japan it becomes symbolic for womanhood in general. This also explains the favourite combination of the Kakiemons of two pheasants and the plum (the so-called Joshua Reynolds pattern), the two pheasants being emblematic of maternal love.

The plum may further be used in the sense of 'often' and 'again', because of the same sound mei of the corresponding Chinese character. The plum blossom itself can easily be confused with the cherry blossom, but the plum is represented on Japanese porcelain with the characteristic branches, described above, it is usually quite clear whether a plum or a cherry is intended. The mon of the Maeda family is a plum. (Arts 1983, pp.151-152) 

The hõ-õ bird is referred to in the literature as a phoenix, but this is incorrect. It is a mythical bird, originating from China [Feng huang], where it appears as a motif as early as the 2nd millennium BC, and whose appearance was an especially auspicious sign. It is a composite creature, whose composing elements vary, although in Japan it remains essentially a mixture between a cockerel, a pheasant and a bird of paradise. The Red Bird of the South originally quite a separate creature, sometimes later becomes confused with the hõ-õ bird. The Chinese association with the empress is occasionally relevant in Japan, The hõ-õ bird in a medallion form is an originally Chinese pictorial device that came to Japan as early as the 8th century and was adopted into the decorative repertoire. (Fitski 2011, p.158)

In China the chrysanthemum (Jap.:kiku), one of the Four Noble Plants, is generally associated with a life of ease and retirement from public office. Whether the chrysanthemum is indigenous to Japan or was introduced from China or Korea during the first centuries A.D. is not clear, but it became the national flower of Japan along with the cherry blossom. In art it has been used in Japan as a motif for all forms of decoration from the kamakura period (1185-1332) onwards.

Shono compares the different forms of chrysanthemum that appear on Chinese porcelain, Kakiemon and Imari, concluding that the chrysanthemum motifs on Kakiemon were derived from examples on Chinese T'ien-ch'i (1621-1627) porcelain, especially in those cases where they grow from rocks. The chrysanthemum-forms on Imari are somewhat more schematically painted and, if not alike those on Kakiemon, are said to be influenced by the decoration on K'ang-hsi porcelain. The chrysanthemum is used as a heraldic crest (mon) on several occasions. One of the Imperial crests is a chrysanthemum consisting of sixteen petals round a central calyx and the tips of sixteen others behind them, in a circle (kikumon). (Arts 1983, pp.143-145) 

Although Japan has a history of mountains and rocks (Jap.: iwa) as sacred objects in the context of Shinto belief, rocks are probably Chinese in origin. Rocks are often used as a visual basis for plants in depictions on Chinese porcelain, paintings and illustrated books. (Fitski 2011, p.153)

In China the peony (Jap.: botan) is The King of Flowers and hence the flower of richness and importance and the emblem of Regal Power. It is also the emblem of love and affection and a symbol of feminine beauty. If full of flowers and green leaves, it is regarded as an omen of good fortune. 

In Japan the peony does not rank as the flower in this way, although it is distributed and cultivated all over the country. It is, in fact, true to say that the importance of the peony in China is similar to that of the cherry blossom in Japan.

As a decorative motif on Japanese porcelain, the peony is copied from Chinese examples and may be met with on its own or in combination with butterflies, a lion, rocks and waterfalls or waves. (Arts 1983, pp.149-150) 

For identically shaped, sized, and decorated bowls, please see:

• The Kyushu National Museum, The Kyuhaku collection.
• The Voyage of Old-Imari Porcelains, (Kyushu Ceramic Museum, Arita 2000), p.104, cat. 207. 

A third identically shaped, sized and decorated bowl, found in England, is an English private collection.

Condition: A firing flaw and a frit to the rim.

References:

Arts 1983, p.141, pp.143-145 & pp.149-152 

Arita 2000, cat. 207  

Fitski 2011, p.153 & p.158

The Kyushu National Museum, The Kyuhaku collection

Price: Sold.

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2010138

Shipwreck Porcelains - The Diana Cargo, 1817

Object 2010138

Bowl

China

c.1816

Provenance: The Diana Cargo sale, Christie's Amsterdam, 6-7 March 1995

Height 75 mm (2.95 inch), diameter of rim 168 mm (6.61 inch), diameter of footring 70 mm (2.76 inch) 

Bowl on footring, straight sides and slightly flaring rim. Decorated in underglaze blue with writhing young chilongs (sea dragons) and flames. Marked on the base with a shop / seal mark, underglaze blue. On the bowl the original 'Christie's Diana Cargo March 1995' sale lot 1026/36 label proving it has been one of 36 similar bowls sold in lot 1026.

''The Diana'' was owned by Palmer and Co. a powerful Calcutta ship owner and was liscenced

by the English East India Company to sail from Calcutta or Madras to Canton, carrying cotton

 and of course, opium, which was extremely lucrative. The ship would then return to India from

China, laden with silks, tea, preserved fruits and thousands of pieces of beautiful blue and white

porcelain.

Unfortunately The Diana was on one of these voyages when, on the 14th of March 1817, she hit

some rocks off the Straits of Malacca and sank. The wreck was identified and recovered in 1994

by Dorian Ball of Malaysian Historical Salvors.

Christie's auctioned the porcelain cargo in Amsterdam in March 1995.

In total 1272 graduated 'dragon' bowls, in various sizes, were sold divided over the lots: 1014-1041 & 1158-1187. (Amsterdam 1995)

For an indentically, shaped, sized and decorated, earlier sold, bowl, please see:

• Sold Ceramics - Sold Shipwreck Porcelains - The Diana Cargo, 1817 - Page 1 - Object 2010669. 

Condition: A firing flaw to the outer footring.

Reference:

Amsterdam 1995, lot 1014-1041 & 1158-1187

Price: € 199 Currency Converter

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Japanese Tea, Coffee and Chocolate wares 18th Century

Objects 2012687 & 2012688

Two saucers

Japan

1700-1720

2012687 Height 28 mm (1.10 inch), diameter of rim 126 mm (4.96 inch), diameter of footring 65 mm (2.56 inch), weight 113 grams (3.99 ounce (oz.))

2011998 Height of saucer 28 mm (1.10 inch), diameter of rim 125 mm (4.92 inch), diameter of footring 65 mm (2.56 inch), weight 122 grams (4.30 ounce (oz.))

Two saucers on footrings with everted rims. Imari decorated in underglaze blue, overglaze iron-red, green, yellow, light aubergine, black enamel and gold. In the centre a standing female figure, facing left, wearing a red kimono dress. She is standing in front of a closed zig-zag shaped garden fence, which reaches to her middle. To her right an open building with wooden roof, with a seated figure. In the foreground of this building a large cherry tree, with a curved trunk, branches and finely painted grains. The tree has red cherry blossoms. To the left of the central figure two birds flying above a fence from left to right. In the foreground some flowers growing from pierced rockwork. The rim is decorated with a dark blue border with golden scrollwork. The reverse is decorated with three stylized flowering plants. On the base a single concentric band.

These saucers belong to the so-called five colour Imari group (gosai). This colour scheme consists of red, green, purple (aubergine) and/or yellow enamels with gold and underglaze blue. Soame Jenyns proposes that the lavish use of golden detailing on the underglaze blue was perhaps meant to hide the imperfections caused by blurring in the firing, a common characteristic of Japanese porcelain. Arts states (he quotes Soame Jenyns on this) that landscapes and human figures are less commonly found on five colour Imari.

Suchomel illustrates an Imari bowl with lid decorated with a very similar blossoming cherry tree motif (sakura). The cherry blossom is regarded as the most important flower of Japan, together with the chrysanthemum. One of the names of Japan is in fact "land of the cherry blossom". The cherry blossom is emblematic of purity of life and the samurai spirit. 

Jörg states that It is often not easy to distinguish between export and non-export wares, Imari was certainly not exclusively made for export. This particular type of Imari porcelain was highly esteemed in Japan. In this case, the existence of an identical decorated saucer in a Japanese collection could signify that these saucers were originally meant for the Japanese home market.

For this identically decorated saucer, please see:

• Arita, Kutani: Nihon No Yakimono, (T. Nagatake, Tokyo 1991), cat.18

Although the cups have roughly the same height and diameter, the diameter and the height of the saucers vary considerably (please see sizes above). Differences in measurements between the same plates or sets are not uncommon in Japanese porcelain. However, another interesting possibility is that the sets with small size saucers might have been used for serving tea while the larger versions were used for serving coffee.

Interestingly the design was also used for overdecorating in the Netherlands, 'Amsterdams Bont' in the early 18th century, Espir shows a plain white Chinese chocolate cup and saucer overdecorated 1708-1720 with the original Japanese design in a Kakiemon style, for this chocolate cup and saucer now in the collection of Augustus the Strong in Dresden and registered under the number P.O. (Porzellan Ostasien) 3159 please see:

• European Decoration on Oriental Porcelain 1700-1830, (H. Espir, Jorge Welsh Books, London, UK, 2005), p.61, cat 14.
• SKD Online collection, PO. 3159.

A very similar decorated small plate, again with a blossoming cherry tree, fenced garden and identical blue rim with golden scrollwork, however without the exceptional Japanese figures, is described in Impey’s 'Japanese Export Porcelain', cat. 330. Interestingly, he mentions that the Ashmolean Museum also has a Worcester cup and saucer of that same pattern in the Marshall collection.

Impey records a very similar decorated small plate, again with a blossoming cherry tree, fenced garden and identical blue rim with golden scrollwork, however without the exceptional Japanese figures. Interestingly, he mentions that the Ashmolean Museum also has a Worcester cup and saucer of that same pattern in the Marshall collection

Conditions:

2012687 Perfect.

2012688 Perfect. 

References:

Jenyns 1979, p.52 & p.54

Arts 1983, p.58 & p.141

Nagatake 1991, cat.18

Suchomel 1997, cat. 232

Impey 2002, cat. 330

Jörg 2003/1, p.91

Espir 2005, cat 14

SKD Online collection, PO. 3159

Prices:

2012687: Sold.

2012688: Sold.

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2012699

Japanese Imari 1690-1800 - Dishes

Object 2012699

Dish

Japan

First half 18th century

Height 40 mm (1.57 inch), diameter 285 mm (11.22 inch), diameter of footring 150 mm (5.91 inch), weight 922 grams (32.52 ounce (oz.))

Dish on footring, flat rim.  On the base four spur-marks in a Y-pattern. Imari, decorated in underglaze blue, iron-red, gold and green, black, aubergine overglaze enamel with two superimposed shikishi filled with a chilon (sea-dragon). On the sides and rim shaped panels filled with a shishi alternating with Hó-ó birds in flight. In between the panels scrollwork in gold on an underglaze blue ground with chrysanthemum flower heads in iron-red. On the reverse two wide spread chrysanthemum flower sprays.

The superimposed squares represent shikishi, special Japanese papers used for painting or calligraphy. This shikishi pattern was originally used in Japan as a decoration design on moulded dishes with scalloped rims. (Jörg 2003/1, p.38, cat. 21)

In his Fine & Curious on page 40, cat. 22 Jörg shows an example of this shikishi design pattern. 

Reproduced from: Fine & Curious. Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam, 2003), p.40, cat. 22. This dish is not included in this sale/offer. (copyright in bibliographic data and images is held by the publisher or by their respective licensors: all rights reserved) 

An identically shaped, sized and decorated dish is in the collection of oriental ceramics of the Groninger Museum, Groningen.

For examples of dishes decorated with this shikishi design pattern, please see:

• Fine & Curious. Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam, 2003), pp.38-40, cat. 21 & 22.
• Complete Catalogue of the Shibata Collection, (The Kyushu Ceramic Museum, Kyushu 2003), p.132, cat. 997 & 998.

Apparently the same shikishi design pattern was used on Delftware of c.1660-1680 proving that Japanese pieces with this design pattern were known in The Netherlands at that time. (Jörg 2003/1, p.38, cat. 21a)

An earlier sold identically shaped and similarly decorated Delftware of c.1660-1680 dish (object 2012203).

For an identically shaped and similarly decorated Dutch (Delftware) dish, please see;

• Sold Ceramics - Sold Delft Faience 1640-1730 / Other Earthenware - Delft Faience 1640-1730 - Page 1 - Object 2012203.

• Fine & Curious. Japanese Export Porcelain in Dutch Collections, (C.J.A. Jörg, Hotei Publishing, Amsterdam, 2003), p.38, cat. 21a.

An earlier sold identically shaped and similarly Japanese Imari decorated dish (object 2012289).

Condition: Perfect.

References:

Jörg 2003/1, cat. 21, cat. 21a & cat. 22

Kyushu 2003, cat. 1097 & 1320

Price: € 499 Currency Converter

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