Pater Gratia Oriental Art

Bargain SALE Chinese Porcelain

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.

 

Latest addition: January 15, 2021.

2012366
2012366

Chinese Imari 1700-1800

 

Object 2012366

 

Dish

China

c.1710-1725

 

Height 33 mm (1.30 inch), diameter of rim 210 mm (8.27 inch), diameter of footring 115 mm (4.53 inch), weight 356 grams (12.56 ounce (oz.))

 

Dish on footring the sides with twelve impressed lotus-petal panels, the rim scalloped. Chinese Imari, decorated in underglaze blue, iron-red, black enamel and gold on the glaze with two ladies in a garden landscape near a fence with flowering plants a tree and pierced rockwork. On the sides twelve moulded lotus-petal panels filled with flowering plants alternating with flowerpots filled with flowering plants. Along the rim a diaper pattern with a single flower head. The reverse is undecorated.

 

Romance of the Western Chamber

 

The love story' Romance of the Western Chamber' (Xixiang ji) ranks among the most famous literary works of China. Its importance for young people can be compared to that of Shakespeare's 'Romeo and Juliet' in the West. 'Romance of the Western Chamber' was written by Wang Shifu (1260-1336). There already existed a short story in the Tang dynasty titled 'Biography of Yingying' (Yingying Zhuan) by Yuan Zhen (779-831), but Wang Shifu adapted it by adding details and giving it a happy rather than a sad ending. It tells the story of a forbidden love affair between the civil servant Zhang Sheng, who is gifted, but of a poor family background, and the pretty Cui Yingying, daughter of the Prime Minister. The two young people have their first encounter in a Buddhist temple, where Yingying and her mother have taken lodgings when accompanying the coffin of the recently deceased father back home. Suddenly, the temple is besieged by a local gang of outlaws, who demand the daughter to be handed over. Yingying's mother promises her daughter's hand in marriage to whoever saves the daughter from falling into the hands of the gang leader. However, when Zhang succeeds in doing so with the help of General Du, his childhood friend, she does not keep her promise. The young couple start a secret affair, supported by Hongniang ('Lady in Red'), Yingying's maid. When Yingying's mother discovers the affair, she consents to the marriage on the condition that Zhang passes the final examination for the highest position in the civil service of the capital, Zhang does so well, that he is granted a top position. (Suebsman 2019, p.43)

 

On this dish we see the two characters Yingying and Hongniang admiring flowers in the gardens of Pujiu Monastery. The student Zhang is about to see Yingying for the first time and fall in love with her. (Düsseldorf 2015, cat. 123.1 & Suebsman 2019, p.44)

 

For an identically, shaped, sized and decorated dish in a private North German collection, please see:

The design with the twelve impressed lotus-petal panels can also be found on on Chinese dishes, decorated in famille verte enamels from the period 171-1725, with the arms of Dutch cities and provinces. For examples of these type of dishes please see:

Condition: Some firing flaws, caused by the firing process to the reverse, some wear to the decoration and some glaze rough spots to the rim.

 

References:

Jörg & Van Campen 1997, cat. 378

Jörg 2011/2, cat. 160

Düsseldorf 2015, cat. 123.1 

Emden 2015/1, p.58

Suebsman 2019, p.44

 

 

Price: reduced from € 699 - $ 827 - £ 627 now with 40% discount to € 419 - $ 506 - £ 372 

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

 

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2010479
2010479

Blue and White Kangxi Period 1662-1722 - Vases - Page 1

 

Object 2010479

 

Vase

 

China

 

c.1700

 

Height 140 mm (5.12 inch), diameter 70 mm (2.76 inch), diameter of mouthrim 30 mm (1.18 inch), diameter of footring 50 mm (1.97 inch), weight 263 grams (9.28 ounce (oz.))

 

Large oviform vase on a footring, splayed foot, deep base, a flat knob between the foot and the elongated ovoid body with an upright neck. Rim unglazed inside for cover, now missing. Decorated in underglaze blue with, so-called, hatching lines technique with on the foot leaves, on the body three lotus-petal panels filled with leafy branches. Around the neck also a scroll of single leaves.

 

These criss-cross hatching lines are not a Chinese way of painting on porcelain and may have been influenced by the Dutch. This technique was short-lived for it mostly occurs on blue-and-white export wares around 1700. It occurs on teacups and saucers, beakers and small jars with covers, garnitures and other items. The style was short lived, disappearing in the early 18th century. (Jörg & Flecker 2001, pp.68-69)

 

Condition: A glaze frit and chip to the flat knob between the foot and the elongated ovoid body.

 

References: 

Jansen 1976, cat. 242

Jörg & Van Campen 1997, cat. 117 

Jörg & Flecker 2001, cat. 55-58

 

Price: reduced from € 599 - $ 673 - £ 523 now with 40% discount to € 359 - $ 405 - £ 323 

(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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2012074
2012074

Shipwreck Porcelains - The Ca Mau Shipwreck, c.1725

 

Object 2012074

 

Teacup & saucer

 

China

 

c.1725

 

Provenance: Made in Imperial China. 76.000 pieces of Chinese Export Porcelain from the Ca Mau shipwreck, circa 1725 sale, Sotheby's Amsterdam, 29, 30 & 31 January 2007.

 

Height of teacup 35 mm (1.38 inch), diameter of rim 67 mm (2.64 inch), diameter of footring 28 mm (1.10 inch), weight 41 grams (1.45 ounce (oz.)) 

Height of saucer 21 mm (0.83 inch), diameter of rim 107 mm (4.21 inch), diameter of footring 58 mm (2.28 inch), weight 61 grams (2.15 ounce (oz.)) 

 

Teacup and saucer on footring, slightly everted rims. Batavia Brown covered with underglaze dark brown and underglaze-blue with a corner of a balcony overlooking flowering prunus and peony plants, a large insect above, the rim with a herringbone border the reverse is covered with underglaze dark brown, the teacup is decorated en suiteOn the base of the saucer handwritten in black ink: 'CM4 - 8732', a rectangular paper label with the handwritten numbers: '81486/B' (in blue) and '69' (in red) and the original Sotheby's - UNICOM, CA MAU - BINH THUAN label with number 54339.  On the base of the teacup handwritten in black ink: 'CM4 - 13.397 and a rectangular paper label with the handwritten numbers: '82358/B' (in blue) and '13' (in red), on the exterior wall the original Sotheby's - UNICOM, CA MAU - BINH THUAN label with number 60826.(Amsterdam 2007, p.55)

 

The design on this teacup and saucer is known as the 'Fence' pattern. In total 153 teacups and saucers, with this design were sold. (Amsterdam 2007, lot 125-128)

 

Condition:

Saucer: A frit and a short hairline to the rim.

Teacup: Three fleebites and two frits to the rim.

 

Reference:

Amsterdam 2007, lot 125-128

 

Price: reduced from € 399 - $ 447 - £ 350 now with 35% discount to € 259 - $ 306 - £ 236

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

 

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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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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)

 

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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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