Potiches Appraisal

Potiches—covered baluster jars often called ginger jars—sit at the crossroads of Chinese export porcelain, Japanese Imari, and European interpretations like Delft, Sèvres, and Meissen. Appraising them combines connoisseurship of form, glaze, decoration, and marks with practical market awareness. This guide explains what to look for, how to authenticate and date examples, the condition issues that matter, and how value is shaped in today’s market.

What Is a Potiche?

• Definition and form: A potiche is a rounded, lidded jar with a short neck, broad shoulders, and a domed cover (often with a knop or foo-dog finial). In French, potiche denotes a decorative covered jar; in English, “ginger jar” is commonly used, though historically the shape was ornamental rather than functional.
• Materials: Usually porcelain, but also tin-glazed earthenware (Delft), faience, and European hard- and soft-paste porcelain.
• Typical sizes: Miniatures around 10–15 cm; household sizes 20–35 cm; mantelpiece 35–45 cm; monumental 50–70+ cm. Pairs are highly desirable.
• Use: Display in pairs on mantels and commodes; 18th–19th century ormolu-mounting and 20th-century lamp conversions are common.

Typologies and How to Tell Origin and Period

Understanding typology is the fastest way to narrow origin and date.

• Chinese, late Ming to Qing (c. 1640–1911)
  • Transitional/Shunzhi (c. 1640s–1660s): Blue-and-white with dynamic, unfilled spaces; inky, sometimes “watery” cobalt; sanded foot with kiln grit; unglazed or thinly glazed base.
  • Kangxi (1662–1722): Handsome, ovoid bodies; refined foot rims; brilliant blue underglaze or famille verte enamels (green, aubergine, iron-red, yellow). Crisp painting, even glaze, occasional “heaped-and-piled” cobalt. Covers often high-domed with pointed or chrysanthemum finials.
  • Yongzheng–Qianlong (1723–1796): Superb porcelain body, elegant profiles; famille rose (opaque pinks from colloidal gold), delicate shading; gilt highlights of high quality. Export examples show courtly scenes, birds-and-flowers, or floral reserves.
  • 19th-century Canton/Guangzhou: Famille rose medallion or mandarin panels, dense decoration, gilded borders; bases more neatly finished; apocryphal reign marks are frequent but not proof of age. Gilding rub on high points is expected.
  • Republic period (1912–1949): Cleaner white body; pastel palette; often signed or inscribed; “China” or “Made in China” marks appear (see Tariff Act dating below).
• Japanese, late 17th–19th century
  • Imari/Arita: Typically iron-red, underglaze blue, and gilt; alternating panels with stylized florals, ho-o birds, and diaper grounds; porcelain body tends cooler white, sometimes with a grey-blue tint; foot is neatly trimmed; bases glazed with a small circular unglazed spur.
  • Kakiemon palette: Milk-white body with sparsely placed enamel motifs in soft iron-red, yellow, turquoise, and black outlines; rarer, often higher value.
  • Meiji period (1868–1912): Denser gilding and allover patterns; sometimes marked “Nippon” (1891–1921) or “Japan” (post-1921).
• European reinterpretations, 18th–20th century
  • Delft (Netherlands): Tin-glazed earthenware; softer, chalky body; fritting and rim chips common; blue can appear greyish; marks include factory monograms (e.g., De Porceleyne Fles).
  • Meissen (Germany): Hard-paste porcelain; crisp potting; crossed swords mark; enamels can imitate Chinese famille verte/rose or Kakiemon; 18th-century examples are finely painted and expensive.
  • Sèvres (France): Soft-paste to c. 1770, then hard-paste; interlaced Ls mark with date letters; rich ground colors (bleu céleste, bleu de roi) and lavish gilding; forms sometimes adapted to Louis XV/XVI taste with gilt-bronze mounts.
  • Samson (Paris, 19th c.): Skilled reproductions of Chinese/Japanese/Meissen; paste and glaze slightly different; marks sometimes mimic originals with subtle differences; decoration can look “too even” and surface a touch glassy.
  • English (Worcester, Coalport, Davenport): Often transfer outlines with hand-enamel; “Japan” or “Imari” patterns in iron-red/blue/gilt; factory marks assist ID.

Dating by import marks:

• “CHINA” impressed or printed: Generally 1891–1919 (U.S. McKinley Tariff).
• “Made in China”: 1919 onward.
• “Nippon”: 1891–1921; “Japan/Made in Japan”: post-1921.

Key Value Drivers

• Age and authenticity: 17th–18th century Chinese or Japanese potiches can be highly valuable; significant European factory pieces also command strong prices.
• Quality of painting and glaze: Crisp line work, layered shading, and stable, glossy glaze indicate quality. Amateurish brushwork, pooling enamels, and inconsistent outlines point to later or lower-grade pieces.
• Size and presence: Monumental jars and well-matched pairs command premiums; small singles are more affordable.
• Decoration and rarity: Imperial dragons (five-clawed), finely executed birds-and-flowers, well-spaced Kakiemon motifs, or rare ground colors add value.
• Condition: Hairlines, chips, star cracks, overpainting, and drilling for lamps reduce value. Restoration quality matters.
• Mounts: Period ormolu mounts (18th-century) can enhance value; later Victorian or 20th-century mounts usually do not. Drilled examples generally fall sharply in value.
• Provenance: Documented ownership, exhibition labels, or receipts from notable dealers can lift estimates.
• Market taste: Interiors trends cycle; pairs in sophisticated palettes (famille noire/verte, restrained Imari, Sèvres grounds) are sought-after.

Indicative market tiers (highly generalized, condition-dependent):

• Decorative 20th-century Chinese or Japanese examples: modest three-figure sums, higher for large pairs.
• 19th-century Canton famille rose: mid-three to low four figures; strong premiums for large matched pairs with original covers.
• 18th-century Kangxi blue-and-white/famille verte: single jars mid-four figures; exceptional pairs five figures and beyond.
• Fine Meissen/Sèvres/Delft with strong marks and quality: wide range; top examples four to six figures.

Authentication and Dating: What Experts Look For

• Foot rim and base:
  • Chinese 17th–18th c.: Unglazed foot with slight grit; concentric turning marks; occasional kiln sand adhesion. Bases can be glazed or unglazed; “chatter” marks from trimming are okay.
  • 19th–20th c.: Cleaner, whiter paste; neatly finished foot; apocryphal reign marks common.
  • Delft: Unglazed base with tin glaze stops; chalky, porous body; fritting at edges.
• Glaze and body:
  • Early Chinese glaze can show tiny bubbles, “orange peel” under magnification; iron “freckles” in the paste; subtle bluish tint.
  • Famille rose enamels feel slightly raised; older gilding shows soft burnish and honest wear.
  • Transfer printing (European/20th c.): Dotted edges or repeating dots in outlines; later hand-enamel infill.
• Blue underglaze:
  • Kangxi cobalt ranges from inky to brilliant; “heaped and piled” spots appear darker/raised; outlines confidently executed.
  • Later blues may be flatter or greyish; outlines can look hesitant.
• Enamels:
  • Famille verte: Cool greens, aubergine, iron-red, yellow; black linework; c. 1680–1720 prized.
  • Famille rose: Warm, opaque pinks; skillful shading; post-1720. Heavy, even rose with simple faces often 19th century.
• Covers and finials:
  • Original covers fit neatly and echo body decoration; finials vary (floral, bud, lion-dog). Replacement covers are common; mismatched glaze tone or weight can betray later lids.
• Marks:
  • Reign marks on export potiches are often apocryphal; authenticity is in the body, not the mark. European factory marks are more reliable but commonly forged; inspect the quality to confirm.
• UV/blacklight:
  • Modern adhesives and overpaint usually fluoresce; old glazes tend not to. Beware that some resins and even paper labels can fluoresce, so interpret in context.
• The “lamp test”:
  • Many jars were drilled for lamp conversion (hole in base or side). A drilled example loses substantial value unless mounts are period and enhance the piece.

Condition Assessment and Restoration Impact

• Chips and frits: Rim chips and fritting (especially Delft) are expected; small sympathetic fills reduce impact but should be disclosed.
• Hairline cracks: Look for fine, branching lines—particularly from the rim or across the base. “Star” cracks on bases are common from thermal shock.
• Body cracks vs. glaze crazing: True structural cracks go through the body; crazing is network cracking in the glaze layer (more common on earthenware).
• Overpainting and regilding: Use a 10x loupe and raking light; UV to detect touch-ups. Heavy regilding may point to later enhancement.
• Staining: Tea-brown lines along cracks suggest age; modern restorers may bleach stains—look for haloing.
• Restoration quality: Professional invisible restorations are hard to spot but typically fluoresce; high-quality work affects value less than crude fills.
• Lids: Missing or mismatched lids reduce value markedly (20–50% depending on rarity).
• Mounts and drill holes: Period mounts can be net-positive; late mounts or drilling without high-quality mounts usually cut value 40–70%.

Note: Condition deductions are context-specific; rarity and quality can outweigh moderate issues.

How to Document Your Potiche for an Appraisal

Provide clear, standardized information:

• Measurements: Height (with and without cover), maximum diameter, foot diameter.
• Weight: Optional but helpful for material sense.
• Photographs: Full front, back, both sides, top, interior, base/foot, mark (if any), and close-ups of decoration and any damage. Include the cover separately off the jar.
• Description: Palette (e.g., famille rose/verte, Imari), motifs (dragons, peonies, court scenes), ground colors, presence of gilding.
• Provenance: Receipts, catalog listings, labels on base, dealer stickers, or family history.
• Context: If converted to a lamp, include mount details and any holes.
• Tests: Note UV observations and any professional condition report.

Care, Storage, and Display Tips

• Handling: Lift by the body, never the cover or finial. Use two hands for jars over 30 cm.
• Padding: A thin silicone or felt pad under the foot reduces vibration on hard surfaces.
• Environment: Stable temperature; avoid direct sun (gilding and enamels fade) and display near active windows or fireplaces.
• Cleaning: Dust with a soft brush; damp microfiber for grime. Avoid soaking; never use harsh chemicals on gilding or enamels.
• Lids: If displayed with lids on, add a discreet, reversible museum gel dot to stabilize—especially in earthquake zones.

Quick Appraisal Checklist

• Identify origin: Chinese, Japanese, or European?
• Date indicators: Footrim finish, glaze/bubble structure, palette (famille verte/rose, Imari), import marks (“CHINA,” “Nippon,” etc.).
• Form and cover: Proportions, original lid fit and finial style.
• Decoration quality: Confident brushwork, shading, spacing; transfer outlines?
• Base and marks: Honest wear; apocryphal vs. factory marks; don’t overvalue marks alone.
• Condition: Chips, frits, hairlines, star cracks, staining; UV for overpaint.
• Alterations: Drilled holes, mounts, regilding or replaced covers.
• Pairing: Is it a true pair? Check minor differences in painting, height, and aging.
• Provenance: Any labels, receipts, or collection history.
• Market fit: Size, palette, and subject matter aligned with current demand.

FAQ

Q: Is a reign mark on a Chinese potiche proof it’s imperial or 18th century? A: No. Reign marks on export wares are often apocryphal, especially in the 19th–20th centuries. Judge the body, glaze, painting, and footrim before the mark.

Q: How much does a drilled hole for lamp conversion reduce value? A: Often substantially—commonly 40–70% compared with an undrilled counterpart. Period ormolu-mounted conversions can be exceptions if mounts are high quality and contemporaneous.

Q: What if my potiche is missing its lid? A: Missing or mismatched lids usually reduce value by 20–50%, depending on rarity and quality. Professionally made replacement lids help presentation but should be disclosed.

Q: Are Samson or other 19th-century reproductions worthless? A: No. Quality Samson and other 19th-century reproductions can be collectible and decorative. They’re typically less valuable than the originals they imitate but can still achieve solid prices, especially as pairs.

Q: How do I tell Chinese famille rose from Japanese Imari? A: Famille rose uses opaque pinks with subtle shading and a broad pastel palette; Imari is dominated by iron-red, underglaze blue, and gilt with panelled designs. The base and foot finish also differ—Chinese earlier feet are sanded/gritty; Japanese Arita feet are neat, often glazed with small spur marks.

By combining typological knowledge with a disciplined condition review and good documentation, you can confidently place your potiche in its correct context and estimate a realistic market value.