Dating Chinese Ming to Qing Porcelain and Learning About Footrims

[Music] one of the most difficult things you can possibly do is try to tell the difference at times between reproductions and genuine authentic early porcelains from almost every period if it's very difficult is with this example here this is an m4 vase based on a Tong style that was a later copied during the during the young-chan and the qin long period yung-chun celadon in this form a few years ago sold for about eighteen million dollars this particular example is a brand new modern copy it is a fake alright and when you go to auctions these days you're looking at auctions online you have to understand something great rarities like these and a lot of other examples that we're gonna talk about simply don't turn up at rural regional auctions whole collections don't get turned over to some auction house that nobody's ever heard of it simply doesn't happen it's wishful thinking on the part of the of the auctioneer to think they can get away with it is wishful thinking on the part of the buyer thinking that they've discovered an auction that no one's gonna see that's full of great rarities it's not going to happen and you will inevitably end up with the shelf full of copies and reproductions and this is just one of them there are lots of them here's a minging example this is brand new it was just sold by an auction house and down in the Georgia area it's a reproduction here's a picture at the bottom of it that's not at the bottom of one of these should look like you see these all the time people think that they're old they're not and this also includes Yan and early Ming pieces especially you're not going to find at you on blue-and-white cobalt jar one of those big ones that are so beautiful floating around anywhere outside of a museum or a major collection simply not going to happen same thing for this this really you know very convincing looking one lead garlic neck vase with a dragon on it this is a copy here's a picture of the bottom of it it's totally wrong and in a little bit we're gonna get into the basis of Ming porcelains through transitional and country period and we're gonna look at them and it'll become very evident what they should look like to you the next time you go out and look it's not everything you need to know but it's going to help you here's another example this is a mean piece it is brand-new this is a brand-new piece of porcelain and it's the these are simply don't these simply do not turn up in auction houses across America ever and I bet I've seen 50 of these in the last couple years same thing for this here's a picture of the bottom of it there's a we'll go back to that for a second this is another typical base you can actually see up here where they've sprinkled bits of metal onto the paste before they fired it so it creates iron oxide markings all over it and you see these are these little blotches they look like measles it's not something you want to see and then onto this the the copy of the wanly jar with this lid and you notice they've even taken the time to chip the edges of the lid away a bit rough it up make it look old but the problem with this obviously is the decoration the cobalt doesn't have any depth it's got no no no life to it it's just as dead flat blue so you don't want to see it in the bottom is equally dead and flat looking but to some people looking at this they'll think well it's unglazed it's a little rough it must be old no that's a new foot that's a new one this is a new jaejin copy all right again the double gourd form you've seen them there you know often nearly always they do copies in highly recognizable rare forms okay and this is another one all right and here's a picture at the bottom of that look familiar it looks like the other one and we could go right through them and of course they're making lots of copies of these the hundred deer jars will talk about these types of things when we do the later ching porcelains you're not going to get that far today but just so you know these are copied in huge numbers here is a copy of a judging dragonbox porcelain box it's it's pretty good-looking from a distance but you notice that the the paste on it doesn't have this bluish tone that you want to see these pieces always had sort of a bluish tone to the glaze here's a picture of the back this dead white ivory looking area and then that muddied up foot all right and here's it will go over here and here's a real one that's what the back of this should look like this one is a wanly example the other is judging but they were all made within 30 years 40 years of each other there's not big age difference and again you see that has this sort of you know almost white is flower foot rim on it very white very clean nicely done and then you look at the other thing here and the the paste is unrefined it's not white it's tan and it's just isn't right and also the mark the way the back was done the markings are too small okay and then we hop over here again this is a long shoot ipav ace but these do turn up in huge numbers all over the market these are reproductions during the gwangju period they were they were they were known for making these butterfly vases and this form was used to make just a few other types of vases with different patterns on them typically they would be a cobalt decorated over a cobalt glaze body rather with gilding over the over the cobalt that was one form it would it be they're dragons or little circles and they're reproducing those and there's a couple of other forms but you you you just want to assume that if you see a pair of these or one of these turn up somewhere around the country unless you really know what you're doing assume it's a copy authentic examples of these always sell for Oh anywhere from ten to fifteen thousand dollars in pairs for double or even triple that amount if they're very well done this particular one is pretty well done but the yellows are too bright the butterflies aren't very well done as convincing as they may look upon examination you'd find that they they don't look right but the the general thesis is real pairs of these turn up rarely on the market and when they do they do quite well same thing for this one Lee mock to jar marking period wanna Liege eyes are quite unusual they don't turn up very often and it's the the the low quality decoration of this one would have been a provincial jar and it's highly unlikely likely a real one would have gotten a mark with that kind of decoration here's a picture at the bottom very out of period has a real look of modern fooling around to it it's been dirtied up and again it's not white it's tan you don't want to see tan bottoms on these and you have things like this the copy of the chin long charger with the dragon these are extremely rare there's only a few of them in them and the you know a few dozen of them in the world probably at this point and one of the things I wanted to point out was if you look at it up and here you notice this this the the blue and a lot of people talk about this type of cobalt and they call it eeping and piling and for many years people said you if it says if it's heaped and piled on the cobalt it's got to be authentic because the modern copyists don't know how to fake keeping and piling well they absolutely can fake it and they can actually make it look better than the originals because they know that's what people are looking for here's a good detail of it and you see this these black areas those are the heaping and piling areas and it's it's something they can do just by adding extra cobalt and picking it up a bit and you end up with that effect and then you have these these very early Ming plates there's only a few there aren't many of these in the world and they were done either in cobalt or done in yellow and they are extremely rare and we're always remember rare means you're not gonna find it okay when you say extremely rare alright and here is a hundred deer pattern vase wanly period they made a lot of these for for export they turn up in Europe and but they're they don't come out of the market off and here's his is a copy of one and there's a real one this one is in the British Museum I believe and there's a real one notice that the differences of colour the cobalt is soft it has a nice fluidity the angularity of the deer and here's a copy everything deer sort of stumbling over one another and the decorations on the trees here clumsily done they're not refined the way the lines are drawn on the rocks not good and so on and so forth and then here's the bottom of the copy again you see that you see things like these chisel marks around the inside of the of the base where they added the mark they notice the the circle isn't even really round it's sort of off but you look for these chisel marks these file marks on the edges of the of the foot rim down here there's a lot of them if you see this on pose to be an early porcelain you're looking at a copy it's sort of just how it is and here's a copy of another Ming jar again the cobalt looks flat dead there's no life to it and here's a picture of the bottom and again you see these these outward moving lines and this this all is staining and muck they've added it's not what you want to see alright and now let's take a look at some real examples and talk about them and now we're going to take a look at some authentic examples things you're actually likely to come across out there in the world when you're collecting not something that's such a rarity that you just can't control yourself because it's it's important to know what you're looking at and this is a very nice Ming judging period charger with geese ascending on it and clouds and so forth it's beautifully done and if you move in and take a look you'll notice the blue has that decided very deep almost purple color very nice and dark there were lots of colors of cobalt shading that would done at this time but this is one of them and it's something you want to look at look for and when you flip this over if you take a look up here at the foot room you notice how different the foot on this looks compared to the examples we were just looking at that we're all copied notice again how white the foot room that the paste is on this okay and you do see some impurities that are natural and you see little bits of shaping and knife cuts on the foot that you should see and then on the interior you have this sort of texture on the glaze under the base if you look here you can see it and and that those are the little things that make all the difference in the world as far as age of a piece goes if you if you if you're a little bit on the fence about it but always check the foot rims in the texture of the foot room look for look for honest knife marks that were made before it was fired and you shouldn't see any of that muddying on there that you saw on the other pieces alright and then we flip over to this is a very nice piece of some Itsuki by the way these pictures all came from Rob Michaels he runs that we did the video on his auction and these were all things that were just in his last auction but we're using his pictures because he takes such good pictures he takes great pictures and they describe things I think quite honestly and they do a good job but anyway this is a nice so matsuki peace it's got the old you know Japanese lacquer repair on it these are made for the Japanese market but they're beautifully done and very interesting and this is what it should these should look like notice also a little bit of fritting on the edge around the rim which is completely normal and and when you flip the piece over again do you remember the back of that plate where we saw that sort of texture and the glaze of the judging piece well here you have a little bit later so I'm at tsuki piece very similar again and again that nicely done white foot that white paste that's showing through all up in here and little bits of impurities and irregularities and then that bluish tone to the glaze is what you want to see okay and here's that dated jar beautifully done only period a nice deep cobalt blue again the bluish tinge to the glaze and then when you flip the thing over here's the bottom and there's that foot again that white very nice flowery white foot you can see some edge cutting to it and what you'll also see is some legitimate iron oxide lines on the bottoms of these if you look right here you see that little edge all right that's where the glaze ends and the pace begins a little air gets in there and if there's any impurity it's gonna pop out as iron red there's more of it down in here this iron oxide that's what you want to see and again that bluish tone and little little dimples and whatnot in the pace is perfectly normal and then get on to this another late Ming jar fairly well-known type of export jar but what's interesting is the base on it here you have that nice base again and here you have the outward spreading of the lines and you have these little these little chisel marks but you notice they haven't dirtied them up alright there's they're naturally going outward where they cleaned it up on the inside and it's not been stained okay you don't want to see those outward chisel marks just going on the foot these start way inside and go out this is how they cleaned it up they didn't go in as an afterthought and scrape the foot because they weren't trying to fool anybody it is what it is alright and here's another jar again from the period late mang late late 1500s early early 1600s and here is a one Lee teapot a particularly nice one good deep cobalt blue nice dark coloring all through it the bluish tone to the paste the facial expressions are good the flowers you can see the layering it's got a you know it's got a real three-dimensional effect to it and when you toss this up on its backside here's the foot rim again that same foot again all right few little lion spots in it but that's normal but nicely finished round white paste and again that bluish tone to the inside and again you look over here you see a very nice white paste is revealed and a tiny little bit of iron oxide forming on the edges right here all right that's normal when you see it in here when you see it in the open areas you want to be very leery of it all right the only time that really appears is on Ming Saladin's and on the bottoms when you flip it over when it's sitting on those stands when they fire it and it leaves a fairly large large area of iron oxide all right and here's another late Ming jar nicely painted it's a provincial job but it's a good-looking one I like the pattern it's a well-known pattern and again here you have the foot this time they say it's got a squared foot but it's very nicely trimmed a little bit of iron oxide line running around it and again that same bottom the basis under these tend to be very consistent during the late Ming period bluish bluish white and little dimples and whatnot and that's those are the characteristics you like to see and here is another Ming jar 16th century beautifully done and here's the underside of that again white oatmealy paste it's slightly tan or in color but not much but it's very pure very nicely done you see that fine iron oxide line on the edge not running all over the place it hasn't been muddied up to convince anybody you can even see the little turning light sometimes you can see the turning marks on these which is fun but they also turning marks also turn up on the face so don't use that as an indicator of authenticity it's just an interesting fee and you can see it blistered a little bit here and there with the paste while it was being fired all right now over to this early 17th century cobalt glaze jar this is the type of job they would blow the glaze on with straws so it gave it this this sort of these little light and dr. tiny white light and dark spots really glowed and when you flip this over and here's the foot rim on this again neatly trimmed a nice white paste no iron oxide line on this this is very finely levitated clay that they use but you can see with a glaze underneath here on the foot went up and down a little bit it wasn't perfectly even but again you have that nice bottom with little bits of impurities showing here and there again completely normal and then on to the to the wand Li 100 boys box this was a wonderful example again you have that slightly bluish tone to the glaze unlike the the the J Jing copy we just looked at and notice how warm the blue is lovely sort of glowing blue the outlines are done a nice dark dark blue almost black and so forth and when you turn this over again there's that bottom that white foot that snowy white paste very beautifully done and of course the mark was nicely executed as well here's a detail of that foot room to give you a better idea and there are little bits of white grit in here from the pace little bits of white pace that got stuck and all normal you don't want to take them off if you have them and but you notice there's been no muddying a dirtying effect to the to the paste itself and then you have this this is a transitional period jar but nicely done deep cobalt it's a provincial jar these do turn up on oxygens fairly often but notice the blue is very as a very rich tone to it but it's slightly blurry and you have a squirrel here with the grapes and the the yellow is sort of soft the the iron the the red is a nice warm tone it's not a hot red it's not cherry red and then when you turn it over this is the bottom of it slightly concave you see some turning light this is filthy dirty by the way this is not the right color this was something we had I'd never cleaned the foot on it if you clean this it would look like the other one but you'll notice here where it's been rubbing on tabletops and things for a few years you can see if you clean that it would turn pretty white and the outside of the foot is dark that's probably from a stand but that's what the foot Ramona these transitional pots should look like here's a very nice jar that we had the pleasure of selling a few years ago beautiful example with peacocks and whatnot and there's the mock nice one we mark on it nicely trimmed foot nice white paste again faint iron oxide line running around the outer edge and there's a detail of it right here there it is you shouldn't see this iron oxide coloring go up and cover the whole foot this is just where the air hit it between the glaze and the foot during the firing process all right and then on to this one another late Ming example with its lid nice looking piece I forget where we had this we had this a number of years ago but a good example with vines and peonies on it and here's the bottom of that all right you know muddying just and this was a big provincial job this was an imperial this was a job that was meant for a general use export whatever and the clay was would sometimes not be as finally cleaned as this so it was slightly slightly a tan or in color but not tan something spilled on it here this is some sort of old stain might have been sitting on something that's a something that was just stuck to the bottom I think that was from a stand but notice that how well it's just nicely rounded it recesses up a little bit you can see again you can see that swirling turning mark in the middle but good clear paste all right and this is a another example a sixteenth century pot nicely decorated it's got some crackle in the glaze it's an old good old piece this was actually when I came across this it was a table lamp it had a huge it was a big wand this thing is huge and I've owned this for probably thirty years I just like it and again here's the bottom yeah it was there's the hole from when they drilled it but here's that paste again it's not brown it's just slightly tanned you remember the other vases the fakes were completely flat across the bottom with no real good foot rim on it and it was a tannish brown sandy color this is just a light tan color and again you have this nicely done foot you can see it's so smooth out from age and again the iron oxide line just resting right below the glaze which is where you want to see it and then onto this judging enameled vase with the vines this was this was an interesting thing this this vase that originally came out of the skinner auction house decades ago in a box lot and it had been cut on the top and it had been drilled in the bottom but I just loved it so I bought it anyway the the head the elephant trunks are unglazed there's no glaze on them you can see the very distinct looting line in the section where the in the center where the upper lower sections were put together this very elegant sweep beautifully formed pot and here's a picture of the bottom again that white white white paste this was an unglazed bottom but you can see the varying you know you can see the knife mark right there where they trimmed it they trimmed it in a bit it's and then they flattened it over here but again that white paste that you want to see it was also some black Chinese script on here you can see what's left of it but I didn't clean that off it's just the way it was when we got it and then over here we have one of these fruit cluster late Ming jars here's a picture of the bottom it was filthy dirty but again you have a very rich bluish tone to it they can get quite blue when the bottoms of these you can see where it thickened up a bit and you can see where they clean the foot up a little bit with a knife and so forth this is a provincial try so it won't be quite as refined as the others but that's what they look like all right so you can click back through these you go back and look at some of those and those are just the Ming and if a couple of transitional examples and now we're going to get into some concrete pieces before we do the concrete pieces I want to go through quickly through some transitional wares - we had one in the last batch of images but this is another group and these are either things that we've had or that robbed my had and we'll run through them this is a nice transitional pot transitional period was a fascinating time in Chinese porcelain making they the the official kilns hadn't been been up and running but the porcelain makers and the potters and the artists kept working there were no no not many official orders for four things for the palace so they just made things and this was something the typical of the production they had at the time and when you flip it over this is what the bottom of it these look like again slightly concave very nice and white there was something stained on here this was this was probably sitting at some point maybe in a metal bucket or something as a liner or on a new tray and it got on there but notice how white and pure the porcelain is over in here very very white beautifully levitated very nicely cleaned clay before it was fired to get out the impurities because when they're impurities in clay it tends to discolor on firing when the heat gets to it and here's a big charger a transitional period with a brown dressing on the rim and again you still have that nice soft bluish tone and the birds are beautifully drawn the outlining to the flowers are elegantly done and here's the back of it and again you've once again you have that knife trimmed foot a good double cobalt blue ring around the outside of the foot and the inside of the foot on this is actually quite white against blue all right but it has the little dimples and all the effects you want to see there's little firing flaws here on the edge of the foot but overall the foot room on this was nice and white and that's what you want to see and then onto this the little double gourd vase is a beautiful example and the figures are beautifully done nice outlining and then shading in with additional cobalt all through it perfectly potted the potting on this was quite excellent and here's a picture of the foot rim again beautiful example of the paste look how white that is there's no browning they didn't you know it wasn't stained up and again the center is quite blue in in the bluish-white glaze but you have that nicely trimmed foot alright the the way the feet are done once you've seen enough of these you'll get it I assure you you all of a sudden someday you're just gonna go oh my god I get it I understand the foot ramps all right now onto this this is another example and again that same white foot I think maybe they clean these before they took the pictures which is a good idea but you notice on this one this is a shape that sometimes happened on yours and so forth it's slightly v-shaped all right you have a slope on the outside a slope on the inside and then this nicely rounded foot that was cut cut a little bit you can see a few little knife box in here sometimes they cleaned them down with with wet leather cloth wet leather or cloth just to clean the foot up a little on the wheel they'd have it upside down and do it that way and it has the artis Mel leaf in the center pretty typical and then over here is a sleeve vase with an inscription nice deep dark cobalt blue the cobalt on this base is really nice but you have that the body is white but as a bluish tinge to it but the selection of cobalt is rich sapphire blue not not you know a tall gray it's very nice quality and here's a picture of the bottom of it again white white white and nicely trimmed it comes up to a slight V and then tapers down to the inside the interior this is also slightly concave and you can see that the pieces is made from very clean clay beautifully done tiny tiny imperfections but very very few really fine piece and here's another example a covered jar with a lid again you have very good shading in the cobalt nice deep colors beautifully outlined bluish tone to the glaze and when you flip it over again that same white foot with that life soft blue underbelly to it and there is a firing crack in it that's not uncommon on these these they often did that and as long as it didn't go to through the inside and as they say it will hold water they generally let them go they generally sold them rather than get rid of them and again you see that the apron here of glaze slid down just a little bit on the inside when it was fired but a good example of how the bottom of this should look and then you have this nice-looking transitional gr with long neck honeycomb pattern iron red good deep cobalt I always try to look at the color the colors separated in your mind and say is that the color it should be because themes you'll see copies that have a tone of green for example that you've never seen on other transitional pieces it's because they messed up when they picked their colors and they didn't you they didn't use a legitimate one alright and when you flip this over this is the bottom if you remember on the previous piece we talked about little bits of white clay that we're hearing to the foot rim of the of the wanly box okay well here you have a bit more killing grit obviously stuck to the inside got stuck in the paste and they didn't really care too much and they just left it but you can see how they trimmed this foot nicely trimmed nice white pure clay no browning no staining no messes alright and again on this jar you have a good strong deep cobalt a sort of a rich grey that's it's it's slightly grayer but it's not grey but it looks nice and an iron red enameling all around it and when you flip this thing over here's the bottom and you notice the bottom is also pretty dirty the bottoms of these vases tended to be that way the other transitional piece we looked at with the squirrels had the same coloring but you notice the foot where it's had somewhere over the years and the dirt hasn't built up it's good white pure paste alright it's this dirt is sitting on the surface and I think there's a little spritz of oven cleaner that would come right off good soaping all right and here's another transitional sleeve vase with figures the nice deep green enamels again that slightly bluish tone well potted nice straight sides and when you flip it over this is the bottom of this slightly less white but a lot of that is still dirt but nicely done concave and again you have that slight v-shape coming up to the foot ridge here okay and those are those are good characteristics to see all right and then you have another one of these this is a bottle vase or a bladder form bass very popular these are they made a lots of these a lot of these found their way into Europe and they're quite valuable they sell today anywhere from depending on the quality eight to fifteen thousand dollars they do fake them though so you want to be careful they are faking a lot of this stuff so it's funny because 25 years ago they didn't fake too much in the way of transitional pieces and in the late Ming 1ly stuff today they're doing all of it because all of it has become so valuable but there's a good shot of the foot rim of this you can actually see a little bit of the turning line from when they had it on the wheel and they were cutting it back after it was thrown and again you have this nice white this flour almost flour white unglazed paste on the bottom and that bluish tone in the center alright and here's a slip decorated example beautiful piece and when you when you flip this over on the back here it is and again you have a bit more of this a little bit of killin grit here and there here's some kiln get that got on the outside they've added sort of the apocryphal chop mark to the middle and again a nice white paste okay and over here is another example I hope this isn't tedious but you seeing lots of examples come back to this video and look at it and and really get it you really get the idea and then then you won't make you won't make it you won't make a mistake it or not less likely to alright and here you have an unglazed bottom nicely turned good squaring knife trim base on it a little bit dirty up in here but that's normal that's that's legitimate dirt to my eyes but but overall it's quite refined and here's here's a shot of the side of the foot a clear one again you can see the turning line you can see little bits of kiln grit got up in here you see more turning lines there all right and then there was this this is a big pair of tires that are in a house I was at a while ago and one of them unfortunately got broken up in here but these were big transitional 100 boy guys and a pair of them no less here's a picture of the body again very similar to the other transitional bottom we saw before slightly dirty slightly tanned out but where it's been resting on surfaces for the last 300 years it's white and that's that's that's the color that's underneath this business here all right and then over here to the low Han Bowl this was a nice one and good good cobalt blue well drawn very painterly very nicely drawn and here's a picture of the bottom of this this one they the glaze stops on a Razors Edge almost steps in and then you have this nice square hand trimmed foot slightly rounded very typical nice example and then on to this this was an example that actually came from the green collection in Rhode Island he was a mayor of Newport or something but he he started collecting to the green airport and Rhode Island's named after him anyway this came out of his estate years ago and a beautiful example nicely enameled had a later lid of course with a jade top finial added to it but beautiful paste and when you flip this over again it looks just like the other ones that slight v-shape here on the edge of the foot nice nice nice white pace there's a splotch or glaze in the center and that happens sometimes one thing I wanted to mention that a lot of the fakers nowadays when they're making these they're adding splotches of glaze to the underside all right because a lot of for years and years when if you saw that little splotch under there generally meant the piece was okay so they've now added splotches of glaze sort of you know running over the foot or in the middles here somewhere do not take that as a sign of authenticity it's just something that happens it happened in the day when these were made originally and now they're back to doing it again all right and then this the transitional cobalt blue jar this is a beautiful example at we bought this years ago and nicely done unbelievably deep dark sapphire blue on this just fantastically done and there's the bottom again you have a little firing gap in the bottom that didn't go through the inside the bottom of this was fairly thick but again you have that trim slight V edge on the foot the immune I box over here where they're cleaning it up but good white paste not a lot of iron oxide showing all right and that's it for the transitional pieces now we're gonna take a look at Gong XI before we get going I shouldn't have said it's just going to be Kang XI we're gonna include some mid 18th century examples in here as well because they'll be instructive to about about foot characteristics but it's gonna be mostly country all right here is a buddhist iron red altar stick these were made sort of in the form of a stupa and these were these were made to in the qin long period and they were made mostly as for gifts to visiting buddhists or they were given to temples and so forth that the emperor was fond of he just particularly liked this form and they did not have marks on these these were always unmarked and this is what the foot rim looked on one of these have flat even straight very precisely made with just tiny tiny tiny microscopic bits of imperfections and a beautiful smooth glaze on the interior these are these were quite nice and they do turn up at the major auction houses from time to time and they do quite well they bring forty to seventy thousand dollars depending on the day all right and then on to this Agra's I decorated Chinese export teapot alright and this was a nice pot it's got the little break in the handle here but good desirable decoration and the reason I wanted to show it was you notice on the bottom again you have that very nice white clay that white paste a no iron oxide line on these the a lot of is export stuff didn't have that but you again still from the late Ming and early early ching period near that bluish bottom you still see them on here and that nicely rounded nicely trimmed smooth foot alright and then here is a Kangxi triple gored celadon vase it's a nice example and if you flip this over you'll see the foot again is slightly v-shaped nice clean clay no messing around with it the inside of this is slightly convex it's just a little bit and you can see the turning marks on the interior but notice how the glaze stopped absolute be perfectly on it like a Razors Edge running around that that foot rim okay and then over here was a Kangxi period incense burner with precious objects all over it this is a good example had a nice deep dark cobalt blue on it and the all the objects were drawn very very nicely and the bottom of it is classic tang Shi foot right there straight very white very dense and compact the early the early porcelains when they made them that the glazes were very dense and compact and very white there is some red over here that's not iron oxide that's actually just I remember looking at this that's actually just rust from something that this thing sat on for a while and it's soaked up into the paste must have been there on it for a long time and again you see the slight ridge from a knife trim but that beautiful compact hard dense white paste something you don't generally see on the modern pieces and then over here to a pair of jars beautifully done they didn't have their lids unfortunately but this was a nice set nice greens in it and here are the bottoms okay and you notice that there they were made as a pair but the bottoms are quite different the the cobalt on this one is darker the foot rim is the rims are about the same but the color of the ground on the bottom of them aren't quite the same this one has more little imperfections in it and it's because they probably fired a number of these at the time and then they pair them up afterwards because they all had the same patterns but you're gonna get slight variations in pairs that doesn't mean they're not a pair okay and then over here to this this is the back of a Kangxi dish or shallow bowl again you have this very nice white slightly leaning towards ivory in places which country plates often do but this nice tone here in this beautifully shaped rim all lap and here's the back of another one right back to back and again this one has that same foot this one's a little more finely done it's a little thinner which is normal you know are all foot rims and bases are gonna be the same even when you have them set you'll find variations which is a good thing but that's what the foot room on this should look like nice and smooth and occasionally you see these little Nick's out of the foot there's one there's one there's one and those are just slight imperfections all right and then over here to the clamp the Clampetts bowl a nice deep dark cobalt blue Kangxi period beautifully drawn vines and here's the foot on it classic very refined foot nice old tunxi foot but they pulled this very thin very neatly done slightly convex bottom and this snow-white foot rim very typical and a concrete jar with lid this is a good example it's got all these different cartoons all over it I love that and here's a picture of the bottom of this is a bigger piece again you're seeing this sort of just the aged dirt bottom but look at the turnings you can really see the turnings on this but again where the where the piece has been sitting and rubbing and riding on tabletops you see what's underneath that nice white foot that nice pure white paste and you can actually see over here the legitimate dirt got into the little knife cuts that they made alright but that's normal and here's that underside of the lid that part never touches much so it stayed much cleaner and now over here a really elegant Union race wood fabulously deep dark cobalt blue of the shading and all this the outlining of the Heron the deer it's beautifully done and when you flip this thing over there's the foot again that same foot rim snow white if you see areas where it looks a little dirty find a spot where it hasn't been rubbing and getting dirt legitimate dirt ground into it to get a sense of it sometimes you can if you're at an auction you can get a little piece of tissue or something and put a little spit on it or something and clean the foot off to see what it looks like underneath if you're uncertain and that's what it should look like it should be nice and white and smooth you see a few knife marks in there with the where the artist cleaned up his work a little before he fired it nice example and here's another one this is cobalt blue with underglaze red it's just a little bit of under he's red you don't see a lot of underglaze right on country because I knew days red was very hard to control because it developed its color at different temperatures and then cobalt and often it turned black or it could even turn green in some cases and here you have this nice deep dark cobalt blue so they spent their time making sure the blue came out the best because of the overall coloring of the vase and here's a picture of the bottom again white where it's been rubbing on a surface v-shape there is some dirt on the inside and here you have little blotchy areas sort of skin colored blotches and that's just where the glaze wasn't quite thick enough and so forth but you look at the way this little funghi was done nice and neat and tidy that's a nice example the genuine chunky piece and here's a side shot of that foot rim again you can really can see how dense and and and hard and find that cobalt I mean that paste is when you look at it carefully and that's why that's what you want to look for you look for that that foot here's a here's a picture of a vase again with precious objects all over at Kangxi period this has a softer blue on it but I like the incense burners and the books on all that business very attractive and here's the foot room on this again pretty typical this one's pretty dirty they should have cleaned it up maybe a little bit but over here you can see what the paste looks like underneath here and here and that's what you want to focus your attention on the dirty areas of its legitimate dirt that's perfectly fine will walked right off and it was a nice looking jar and then over here to this late eighteenth century sort of rock Fowler pattern rimmed famille Rose dish had a little bit of wear to it was a nice interesting piece but I wanted to show the bottom of this also this has the sort of Tipton V shaped foot white white white white paste all the way around no impurities that you can see even and this the back of the plate is white but it still has that bluish tinge and this was made you know in the 1790 1780 up in that era and then we're back to country this was a good example at vibrant collars nice drawing nice rim on it in good shape and again that the porcelain had a you know a little slight gray to it either chunky blue and white tended to be very very white but sometimes the enamel pieces I'm just had a little bit of a tone to them not always and here is a another country which I piece here's a picture of the back of the foot rim very tight these these sort of groove foot rims were popular for getting onto stands and so forth nice and white nicely trimmed very neat the modern ones tend to have sort of a sandy texture to them and they tend to be much too tan at times but they're not refined they're not they're not in dense and pure white like this down in here all right now it's mosey on over to this country vase with immortals beautiful example nice white body nice and amell's beautifully decorated all the way around and when you flip the bottom over there again you have that cangjie foot rim nicely trimmed these guys when they potted them you have to send they didn't have a school that mandated how they trimmed foot rims they were just taught as potters that when you when you when you throw a piece you pull you pull the clay you trim the foot you cut it off the wheel you get you flip the thing over and they often trim them on a wheel they put it on the wheel Center it get it spinning and then trim that foot up just so it would be nice and neat it would stand up straight on a hard surface and that's what you did here and they did it all by eye which is quite fantastic and here's another one another kind of she vase interesting one of warriors and again there's that foot again very similar to the last one slightly thicker but again all hand trimmed very white no mud has been dumped on to it and then just a quick basic under glaze to the bottom nothing fancy and then you have this the young Chan vase just after Kang she came Jenna's second son and this was a nice one the shape is a well-known form from that period there are places in this shape as well and when you when you click over here's the bottom of this you can see the turning marks and you can really see the knife marks on the bottom of this they really they really must have had a rough bottom on this thing they had to cut it back quite a bit but beautifully done nice and neat slightly concave here's that white underside of the lid that looked just like the white underside to that that other lid on the most of the late Ming piece alright there it is again and then this comfy charger we talked about this country charger in the other video because I liked it so much some ours I think it sold for 25 or so thousand at a break on the back but beautiful example nice colors and when you flip it over you have this this this right over here there's that white foot that you want to see up in here so for the slightly tan on the outside slightly dirty you see its splotchy and that's probably from being on a stand or something at some point but there's the real color in here so if you bought this you could certainly clean it up alright and again the back of the plate is sort of a nice soft bluish tone to it and then the pair Kangxi sleeve vases these were very nice and here's the bottom some of them okay now they are pair and as we saw in that other pair of jars the foot rims on pairs don't always match up the bottom stone always match up these are pretty good the circles on the bottoms are about the same and so forth but you can see that there is a difference in the paste the tonality of the paste presumably they've been together all this time but this one was a little bit a little bit darker and grayer from over time and again as I said these these would clean up most likely and they'd be nice and white again but that's what that's what's underneath the gunk I think on the other vases well nice and white and then you have these these young gender early chin long period dishes and again you have this back now you have this is a color this is this sort of darker skin tone so you see sometimes it's not brown so much it is sort of a tannish pink color or too light tan but again v-shape very pure you notice right here there are no impurities showing at all very very clean paste they used to make these and it's one of the ways you can spot them because they lay kind of gritty and crappy looking alright and then here is a pair of Kangxi I marry guys with with the Kieran and the the Phoenix good good looking bodies brown dressings on the on the lids and when you flip them over here the bottoms and those are what the again that v-shaped foot rim beautifully done nice paste there's a bit of dirt on in few places and on the inside but in general they're nice and white and and they're very white under the lids notice how white those lids are the edges of the lids alright pretty typical and then the Kangxi pair of Femi verge eyes all right that they sold I think these brought about twenty five thousand I thought they were very good buy and here's a picture of the underside this has been cleaned up at some point and you can see the slight orange ngey from the bottom from a little tiny bit of our entire dockside perhaps legitimately done and then you have this nice white dense foot all the way around and you can see where it's rested on surfaces and it's remained nice and white is the underside of the lid looks a little dirty but it's okay and here's the underside of another jar the jar itself wasn't that interesting to me but I wanted to show the foot because this one has a fair bit of iron oxide on the inside of the foot but you notice it doesn't come over because it would have worn off by now but again a nice white paste all right now oh is it there's a close-up of it this is a good close-up of a foot now you can see the edge of the knife where they actually trimmed it okay and then you see this sort of oatmealy text here in the middle where it was turned they didn't polish it down they just cleaned it up took it off the wheel and that was it and you have that very nice neat iron oxide line especially noticeable right up in here and notice it doesn't come to the foot doesn't go anywhere it just stays right there alright and then onto this the 18th century export blue and white tea caddy box this is a beautiful example that we sold years ago I just kept pictures of it because I just loved it and quite unusual and there's a picture of the bottom right there and you notice it has this this this crossing thing on here which is what elder during the firing you also see this on very early ming pieces ming jars especially you'll see this on the on the bottom this fight for the for the firing stand but nice white paste revealed up in here and a slightly tannish tone to the middle but white on the corners white where it's been resting on surfaces alright and then over to this the Kangxi dragon dish nice example came through here a couple of years ago good good decoration all the way around here's the foot rim you can see that a little bit of turnings this was a very dirty foot i remember this but you can look how white it is where it's been where it's been on a surface nice and dense not a lot of no gritty inclusions in it nothing like that just beautifully done and it's a good a good piece there's an overall shot of it right there and again you clearly see where it's at on a on a stand of some kind or just a tabletop for a long time and then another kind she example of a these this type of country plate was exported fairly often to europe beautifully done this came actually in a set i think there was a set of eight or ten of these and again you have that that that slight ivory tone to the foot room but you also have these little nips out of it that i mentioned before that you see sometimes after the firing and here is some more but again nice pure an unstained paste showing on the bottom alright it was a beautiful decoration and nice quality paste and then under this the standing lo han mortal a nice example this is a firing on biscuit and that's what the bottom of it looks like it's a little bit rustic but you notice it hasn't been stained or fooled around with it's just nicely done and this this came out from a collector that had bought a lot of things from ralph Chait in new york was one of the great dealers of the 20th century and they're still there the 21st century am i saying and this was the figure itself beautiful tunxi figure and then under this the conjoined twist spirit bottles or vinaigrettes they call them sometimes this is molded beautifully done and the foot on this is quite unusual it has a flat fairly fat flat wide foot you can see with the glazed ends nice and neat but that's how these are done and then the bottom is glazed right up to the edge and the interior has moldings and so forth and it's all glazed with the little blue device in the center and then on to this the plate this is a fairly well-known commercial sort of commercial plate that they exported a lot of you many of you have seen these and here's the back of it but that that groove foot again alright nice dot cobalt blue nice nice foot one of the things I've noticed about these when you see is it always the case because I've seen a few exceptions but on these often the copies the height of the outside track and the inside track of the same and on the old examples the inside edge tends to be a bit lower alright so it doesn't always prove it's old it's authentic if the inside foot is lower but if both the it seems to me that the height of both foot rims the inner and outer are the same height thickness there's a pretty good chance there's something wrong with it I don't know why but it just seems how it's been lately alright and then you have this this nice country that's I bowl and notice the foot on this there's a very fine little bowl but notice how finely done that foot is beautifully polished down perfectly rounded nice white color and you look down here away from the light a little bit still nice and white you see a few indications of hand trimming with a knife and a beautiful look and a little ball and then on to these the chin lung offering stand these are beautiful and here's a picture of the foot on this and the rain mark on the inside it's upside down here but nicely done and again you can see over here how white that foot is how white the paste is and how nicely the glaze ends right at the foot and then there's a Kangxi celadon incise decorated jar with the latest silver top on it silver top was probably loud in the late 18th early 19th century but a good example and again we're gonna see that same kind of foot this foot was very dirty I remember this again you have that same those tan splotches that we talked about earlier here they are again those little little black dots in the middle that help create them but you notice where the where the foot has been resting on a hard surface why does snow very pure very pure and then over here is a big slip decorated celadon eighteenth century China this was a fairly provincial one you know right away by looking at it by the way this is done it's not fantastically elegantly done it's a little angular little provincial so when you flip it over expect to see a little bit of a provincial foot and you do it's it's it's a little bit dirty there's some white areas here slightly convex bottom with a recessed edging but nicely rounded nicely finished very thick glaze stopping just above the foot that glaze was very thick that was about a quarter inch thick coming off of that and that's what it should look like all right and then you have this the crosshatch decorated COBOL I call this cross hatching when they went both directions because she beaker vase and here's a picture of the bottom of this again it's kind of dirty up in here you can see it even chipped out in a spot but notice how nice and white it is down here that nice pure white color and that's that's what you look for consistently on these all right and then this the may pink celadon vase the first thing you should notice is that the foot where the glaze stops is just as straight as an arrow alright and that right away should tell you and it's thick you should tell you man it could become she period all right in that brown dressing on the top of the mouth beautiful thing and here's a picture of the foot rim a bit of iron oxide running around it but nice white foot and then some more iron oxide on the inside of the foot but the top of the foot and around here it's all nice and white even though this was very dirty it still looked pretty white and then you have a pair of kashi ties with the enamels of birds there's no one to glaze blue on this it's all over glaze and here's a picture of the bottom and again you have that same shaped foot that we've seen on other buyers and bases from this period come see this was sold by March Anson and Samuel March at London years ago and again you have that nicely done foot beautifully done white this one's dirty or for some reason but this one is look to me some reason managed to stay cleaner and that that's a good example all right but beautifully done and you notice this one has a few more impurities in here and this may have not happy this was the body of this underneath they were probably made it they were made at the same time at the same place but the claim may not have been as good as good on that batch is it was on the one on the right but I think a lot of this grime and cook would come off of you took a little time to clean it gently okay and that's about it for these I hope you found this useful look for it again if I went too fast but we put a blog on the site on the bit amount comm site with most of these images on there so you can go and click through them any time yeah it's a dating porcelain by their feet and we also include in that same blog Ching mid Ching and later Ching examples I think there's a couple of Republican pieces in there for you to look at for comparison as well but I hope you I hope this is useful to all of you and we'll be working on another one to come later we had to gather up an awful lot of pictures to do this alright thanks for watching and see you next time [Music]

Channel: Peter Combs

Views: 60,706

Rating: 4.9013524 out of 5

Keywords: fine art, fine chinese art, auction, chinese art, chinese art auction, japanese art auction, japanese art, art news, auction news, asian art, auction results, chinese porcelain, chinese paintings, chinese bronze, jade, asian art auction news, asian art values, chinese art values, auction houses, online auctions, internet auctions, authenticating chinese porcelain, art

Id: LoLNDKsqvww

Length: 57min 48sec (3468 seconds)

Published: Wed Mar 04 2020