Chinese Export White Porcelain Roosters
$12,500.00
18th Century Qianlong Period Porcelain Chinese Export
Hurry! only 1 left in stock.
Product Information
Dimensions
Condition
Product Information
Produced in the 18th-century Quinlong era, this pair of Chinese white roosters for sale are an hommage to the realistic modeling and quality of the largescale country house porcelain and ceramic wares that comprised the 19th and 18th-century European houses and animal and botanical models of the imperial places of China.
Home decoration and the highest quality of rare antiques such as this pair of figurine sculptures add value well beyond their beautiful appearance as home accents. These levels of assets represent an institutional quality that is paralleled only by the world’s museums and the finest auction houses and galleries.The rooster model in Chinese culture represents the tenth of the twelve Zodiac signs, in the year of the rooster. The rooster in Chinese belief represents honesty and the luck of fortune.
Chinese export ceramics, porcelain, and Chinese decorative works of fine art have been produced in China for over a thousand years. This global exchange flourished during the Song and Yuan dynasties and greatly influenced the tastes and decorative styles of the cultures that traded with China during that time. Chinese export porcelain at the same time continued to evolve with these tastes and changes during the Ming and Qing dynasties. While a small amount of Chinese export porcelain was produced in line with similar aspects of the same technical purities and perfection associated with Chinese Imperial porcelain, Chinese export works of art and porcelain, in general, were designed to the Western expectations of design and style.
There were levels of quality of Chinese export decorative arts and Chinese export ceramics within this division of quality and representation. Mass-produced blue and white porcelain wares decorated with landscapes and other such common themes such as dragons or botanicals comprised the majority of lower quality China trade cargoes. In many instances, these pieces displayed a higher degree of imperfections or flaws. Sand stuck in the surface glaze, asymmetrical forms, sloppy or unrefined painting techniques, were all generally indications of this level of Chinese export art. While still desirable and collectible as legitimate and forms of Antique Chinese art and antiquity, these works do not represent the highest level of quality during the period. As a result, the price obtained for them is generally less.
The smaller percentage of Chinese export ceramics and porcelain represented the higher quality porcelain wares. Highly detailed, colorfully enameled with decoration ranging from Chinese mythological themes, depicting stories of Chinese folklore and legend, these pieces were associated with higher quality domestic use ceramics and porcelain that China had been world renown for. Porcelain decorated styles referred to as famille rose and famille verte enamels appealed to those collectors that were looking for high-quality Chinese porcelain and decorative art decoration for their interiors and were willing to pay the premium.
These models in our estimation, are late Quinlong period (1735-1796). However, as these models are not inscribed with a date, which would provide conclusive evidence, these sculptures may vary with some minor variation of date between 1795 and 1800. These models are decorated in traditional Chinese biscuit porcelain or biscuit ceramics glaze. These models were acquired in London and thence by descent to the United States. Timeless and elegant high-quality Chinese export is equally suited to the interiors of the estate during the Gilded Age as they are today in a modern interior or elegant county estate. These models are exceptionally rare and highly collectibles. They would make excellent home accents for anyone decorating in the manner of chinoiserie or for someone looking for genuine antiques for sale for their room or interior.
Home decoration and the highest quality of rare antiques such as this pair of figurine sculptures add value well beyond their beautiful appearance as home accents. These levels of assets represent an institutional quality that is paralleled only by the world’s museums and the finest auction houses and galleries.The rooster model in Chinese culture represents the tenth of the twelve Zodiac signs, in the year of the rooster. The rooster in Chinese belief represents honesty and the luck of fortune.
Chinese export ceramics, porcelain, and Chinese decorative works of fine art have been produced in China for over a thousand years. This global exchange flourished during the Song and Yuan dynasties and greatly influenced the tastes and decorative styles of the cultures that traded with China during that time. Chinese export porcelain at the same time continued to evolve with these tastes and changes during the Ming and Qing dynasties. While a small amount of Chinese export porcelain was produced in line with similar aspects of the same technical purities and perfection associated with Chinese Imperial porcelain, Chinese export works of art and porcelain, in general, were designed to the Western expectations of design and style.
There were levels of quality of Chinese export decorative arts and Chinese export ceramics within this division of quality and representation. Mass-produced blue and white porcelain wares decorated with landscapes and other such common themes such as dragons or botanicals comprised the majority of lower quality China trade cargoes. In many instances, these pieces displayed a higher degree of imperfections or flaws. Sand stuck in the surface glaze, asymmetrical forms, sloppy or unrefined painting techniques, were all generally indications of this level of Chinese export art. While still desirable and collectible as legitimate and forms of Antique Chinese art and antiquity, these works do not represent the highest level of quality during the period. As a result, the price obtained for them is generally less.
The smaller percentage of Chinese export ceramics and porcelain represented the higher quality porcelain wares. Highly detailed, colorfully enameled with decoration ranging from Chinese mythological themes, depicting stories of Chinese folklore and legend, these pieces were associated with higher quality domestic use ceramics and porcelain that China had been world renown for. Porcelain decorated styles referred to as famille rose and famille verte enamels appealed to those collectors that were looking for high-quality Chinese porcelain and decorative art decoration for their interiors and were willing to pay the premium.
These models in our estimation, are late Quinlong period (1735-1796). However, as these models are not inscribed with a date, which would provide conclusive evidence, these sculptures may vary with some minor variation of date between 1795 and 1800. These models are decorated in traditional Chinese biscuit porcelain or biscuit ceramics glaze. These models were acquired in London and thence by descent to the United States. Timeless and elegant high-quality Chinese export is equally suited to the interiors of the estate during the Gilded Age as they are today in a modern interior or elegant county estate. These models are exceptionally rare and highly collectibles. They would make excellent home accents for anyone decorating in the manner of chinoiserie or for someone looking for genuine antiques for sale for their room or interior.
Dimensions
Each rooster model is approximately 12.75 inches in height.
Condition
Each rooster model displays wear, scuffs, and scratches to the painted enamel decoration. The faces of each figure also display some yellowing. We have not immediately detected elements of any repair. However, they may exist currently undetected and, if so, were done expertly. The majority of any surface abrasions are visible on the enameled bases, which shown through as elements of white. The underside of one of the biscuit ware models shows a small chip to the modeling hole center, vintage on the underside base. No visible hairlines or cracking; however, not inspected under magnification, the structure appears to be intact.
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