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Chinese Export Porcelain Saucer

18th-century Chinese export porcelain saucer with lobed rim, blue and white decoration of figures in panels with red and gold accents.

Estimated value

$150 - $350

Rarity

Uncommon(5/10)

Category

Asian Art

Era

Early 18th Century (c. 1700-1740)

Origin

🇨🇳 China

Authenticity

Moderate(65%)
16

CHINESE EXPORT PORCELAIN SAUCER: ORIGINS & SIGNIFICANCE

A provincial Chinese export porcelain saucer featuring a central figure of a lady (Long Eliza) surrounded by radiating panels containing alternating figures of 'dancing' boys (Karako) and floral sprigs. The palette is a classic underglaze blue with later overglaze 'Amari' style iron-red and gilt highlights. The lobed, foliate rim is finished with a brown 'cafe-au-lait' dressing, a common feature of Kangxi-era and early 18th-century export wares meant to protect the fragile edges.

EASTERN & WESTERN ECHOES

Where This Object Echoes

Dutch Golden Age17th-18th Century

The mass importation of these wares led to the development of Delftware, which attempted to replicate this specific aesthetic in tin-glazed earthenware.

Ritual & Ceremonial Use

  • •The European tea ceremony, where Chinese porcelain was a status symbol used to display wealth and global reach.

Meaning Through Time

Kangxi Era China

Symbolism of fertility and scholarly elegance.

Vichorian England

Domestic 'Chinoiserie' decoration and a hallmark of the Aesthetic Movement.

EASTERN PROVENANCE

This style of decoration, often termed 'Figural Blue and White with overglaze enamels,' was produced in the Jingdezhen kilns primarily for the European market. The 'Long Eliza' (Lange Lijzen) motif became a staple of Dutch trade during the late 17th and early 18th centuries. The juxtaposition of ...
This style of decoration, often termed 'Figural Blue and White with overglaze enamels,' was produced in the Jingdezhen kilns primarily for the European market. The 'Long Eliza' (Lange Lijzen) motif became a staple of Dutch trade during the late 17th and early 18th centuries. The juxtaposition of elegant ladies and playful boys represents a wish for domestic harmony and many offspring, a common theme in Chinese decorative arts that was interpreted as purely exotic aestheticism by Western buyers.

EASTERN FOOTNOTES

1

The term 'Long Eliza' is a corruption of the Dutch 'Lange Lijzen', meaning 'tall lanky girls,' which was how 17th-century Dutch merchants described the slender female figures on Chinese porcelain.

2

The brown rim, known as 'Batavia' style or 'Kapelle' rim, was technically a thin slip of iron-rich clay applied to prevent the glaze from chipping at the thinnest points of the scalloped edge.

HOW SCARCE IS IT?

Uncommon70-80%
CommonLegendary

Genuine antiques with fewer examples on the market. Named makers, documented provenance, or early production examples.

Typical Characteristics

  • Limited production
  • Named makers
  • Growing collector demand

Confidence Factors

  • High prevalence of late 19th-century 'Samson of Paris' reproductions of this specific 'Long Eliza' pattern
  • Underglaze blue bleeding (bleu fou) is consistent with period Jingdezhen but can be mimicked
  • Absence of a footring image prevents confirmation of potting techniques used in the 1700s
How does authenticity detection work?

ASIAN ART SCHOLAR'S TAKE

Cabinet of Curiosities Generalist

Interdisciplinary Investigator

High confidence in the pattern and origin (Jingdezhen export), but moderate overall because the lack of a 'bottom view' makes it difficult to distinguish an original 1720s piece from a high-quality 1880s reproduction.

KEY EVIDENCE

  • 1Lobed/scalloped rim construction typical of early export tea services.
  • 2Cafe-au-lait (brown) rim dressing used to disguise porcelain body at the edges.
  • 3Presence of 'Long Eliza' and 'Dancing Boys' iconography.
  • 4Interaction between underglaze blue and overglaze iron-red (Early Imari/Chinese Imari style).
  • 5Hand-painted linework shows the fluid, non-repetitive strokes of a period artisan rather than a modern transfer.

UNCERTAINTIES

  • •The 'Mint' condition is rare for 18th-century porcelain; one must rule out 19th-century French 'Samson' copies which are often in better condition.
  • •The cobalt blue is quite vibrant/smeared in the center, which could indicate a kiln overheat or a later imitation.

WHAT WOULD IMPROVE CERTAINTY

  • →Photograph the underside/base to check for kiln marks, footring wear, and grit.
  • →Hold the piece to a strong light to check for translucency of the porcelain body.
  • →Check for any 'spur marks' on the back which might indicate different firing methods.

CONDITION & GRADE

Condition

The user specifies 'Mint' condition. Visually, the piece shows remarkably preserved enamel for its age, though there are minor fritting spots on the rim dressing and typical manufacturing imperfections.

Surface

Glossy lead-glaze over underglaze cobalt blue; visible iron-red overglaze enamels showing slight wear. The porcelain body appears slightly greyish-white with typical 'pin-holing' and minor kiln grit consistent with provincial Jingdezhen production.

Weight & feel

Lightweight and delicate; the 'eggshell' quality of the potting suggests a high-fired, translucent kaolin-rich body typical of export tea wares.

ASIAN ART VALUATION

$150 - $350

Updated: Mar 9, 2026

  • Market comparables from auctions & retail
  • Condition, completeness & craftsmanship
  • Current collector demand & trends
  • Low = quick sale, high = patient seller

For informational purposes only, not a formal appraisal.

CONTEXT ANALYSIS

How your provided context compares with Curiosa.com scanner findings.

What Aligned

  • User stated 'Mint' condition - The enamel work appears unusually vibrant and lacks the typical heavy scratching found on 300-year-old utilitarian porcelain.

FROM THE CABINET OF

R2

r2d2
Wonderseeker•4 items

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