Madder & OchreBy Bartele Gallery
Madder & Ochre / Stone walls
Seated Chinese God of War in Early Ming Biscuit and Turquoise Blue, Plate, 1911, in the roomIn the room
Other · 1911

Seated Chinese God of War in Early Ming Biscuit and Turquoise Blue, Plate, 1911

€235BG-14405-198

Interior designers: BarTrade members buy at their trade price. How it works

Shown framed for scaleYou receive the original sheet, unframed. Pieces may ship rolled. Ask us for a conservation framer near you or the project.
Colors in this print
Paper tone · #F1ECDFRGB 241, 236, 22369%
Indigo · #41455ARGB 65, 69, 9015%
Slate blue · #728B99RGB 114, 139, 1536%
Prussian blue · #575C74RGB 87, 92, 1164%
Slate blue · #64737BRGB 100, 115, 1233%
Stone gray · #9B9681RGB 155, 150, 1293%
Sheet
24 cm × 31 cm (width × height)
Framed as shown
43 cm × 50 cm
Shown on
Stone wall
Size
Medium, 50 to 80 cm (20 to 31 in) framed
Date
1911
Color
Printed color
Condition
Good
Stock no.
BG-14405-198

Plate 198 from Volume II of Gorer and Blacker's Chinese Porcelain and Hard Stones, an original 1911 color plate of a seated figure of the god of war, the head and hair unglazed, with a turquoise blue cape and a violet robe with jeweled belt. Figure of Kuan-ti, the god of war, seated. The head and hair unglazed, the ears (large-lobed) and the moustache in burnt biscuit; the cape falling over the shoulders and under the hair behind is turquoise-blue in color, and the robe of violet is ornamented by a jeweled biscuit belt, with further decoration in biscuit. The book gives it to the Early Ming period and records height 18 inches (45.7 cm); width 11 3/8 inches (28.9 cm). In a private collection.

The plate belongs to Edgar Gorer and J. F. Blacker's Chinese Porcelain and Hard Stones, issued in London by Bernard Quaritch in 1911, a work in two volumes whose two hundred and fifty four color plates were printed to the highest standard the period could reach. The plates are color collotypes, a photographic process that reproduces continuous tone without a visible dot screen, which is why the glazes keep their depth on paper.

The volumes were produced as a record of pieces Gorer handled or admired, and the plates were made with unusual care for the period. A century later they survive as some of the best color images of early twentieth century taste in Chinese ceramics and hard stones.

A sheet of this size frames well at about forty by fifty centimeters and suits a study, a hallway or a dining room where its color can be seen close to.

This is an original antique print, not a modern reproduction.

Even age toning. A few small foxing spots in the margin. Slight wear at the bottom left corner. Minor edge wear, shallow nicks along the left.

In the same colors.

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