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Worthologist Christopher Kent talks about some of the antique porcelain tea cups and pots in his collection.

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These items are coming up for auction at Kogirekai in Kyoto November 15th. and 16th.
The first item is a set of porcelain by Okura Japan. The set contains 10 types of items with a total of 38 pieces. 5 sets of cups and saucers among others. Minimum price is 1,200$
The next piece is a piece of Italian porcelain. The description says Bassano, Italy: the mark on the bottom is unclear. It is 84 cm. tall. The minimum price is 300$.
The last piece is a porcelain dog figure.　The description says Kiriyama it is 17cm by 13cm by 11cm. It comes with a box. The minimum price is 320$.

Chinese Export Porcelain’s Fascinating Journey from early china

By Lisa Marion of Marks4Antiques

Many moons ago, and as a novice collector of porcelain, I thought that the phrase “Chinese Export Porcelain” meant to include all items imported from China and primarily copies or imitations of European & American pottery. After reading several articles and books on the subject, and having visited numerous decorative arts museums or private collections, I came to realize that this term is reserved for a much older line of porcelain wares, made in China, that actually were once the envy and basis of European porcelain makers to imitate, not the other way around.

Chinese export porcelain has attracted the interest of a growing number of collectors on a worldwide basis. Nowadays, auction houses in major cities around the world regularly schedule sales devoted exclusively to Chinese Export Porcelain. Prices vary, depending on age and decorative appeal, provenance and of course condition, and seem to keep escalating all the time. A notable example, in 1786 George Washington purchased a 302-piece set of Chinese Export Porcelain for $150. In the early 20th century, Chinese export pieces of good quality could still be easily purchased at very reasonable prices.

While Chinese porcelain exporting dates back to the early part of the 16th century, interest went down drastically between 1850s and the 1900s, a period when imports to various western countries virtually came to a halt. So much so was this the case that a major English authority on porcelain marks, William Chaffers, in his first edition of Marks and Monograms on European and Oriental Pottery and Porcelain (1863), erroneously identified this porcelain as having been made at a small factory in Lowestoft, UK. This attribution was made despite the fact that hundreds of thousands of pieces, still existing at the time, had been imported into England for many years prior to 1756 when the little Lowestoft works were established. The factory ceased to exist in 1802.

Chaffers’ erroneous attribution had one unfortunate effect: it was accepted as the gospel truth. Consequently, this pure Chinese porcelain has been called Oriental Lowestoft or Chinese Lowestoft for almost one hundred years, causing considerable confusion to antiques dealers and collectors alike. Today the term Chinese export porcelain is considered an accurate one since the porcelain was made in China, it was made for export, and it is true hard paste. This term has now been adopted by practically all leading international auction houses and galleries. We have also taken extra steps in our attributions of related marks and items on our Marks4Antiques.com databases. It is important to note that at no time did this porcelain have a generic name in the manner of Bow, Chelsea, Spode or Meissen, which took the name of the factory or town where made. Before Chaffers, Chinese Export china was referred to as India Company China in England.

The Origins of Chinese Porcelain
The manufacture of Chinese porcelain goes back a number of centuries, some experts say as early as 100 B.C. According to most historians, porcelain was made at different locations in China. But it was Emperor Woeng Wu (Ming Dynasty ca 1368–1398) who selected the town of Ching-te Chen, on the P’oyang River in the province of Kiangsi, to build kilns for the organized manufacture of porcelain, initially destined for the royal palace. Soon afterwards, other private factories were established near or around the area, and the town was to become known as “The Porcelain City.” Ching-te Chen was surrounded with all the necessary elements for the making of fine porcelain. In the riverbed was an excellent quality of white clay (kaolin); in the hills a good quality of feldspar (petuntse) for the glaze, abundant ferns, the ashes of which were mixed with the petuntse to harden the glaze, and pigments for the porcelain. Also in the hills were coal and wood to fire the kilns. In addition, the location on the P’oyang river, near P’oyang lake, gave the town access through a series of waterways and overland trails to some of the major seaports, including Canton, about four hundred miles to the southeast.

Over the years the importance of Ching-te Chen grew substantially. In the 18th century it is said to have had around 3,000 kilns and a population of a million people. In some ways the city can be compared with the modern-day auto-manufacturing center of Detroit, Mich. Practically everyone was engaged in some aspect of the porcelain industry. A type of production line was developed in which each individual had one specific task to perform in the manufacture of a single piece, a method first used in the U.S. much later, in the late 19th century, and which we now believe sparked our Industrial Revolution.

Export of Chinese Porcelain made at Ching-te Chen began fairly early. A steady flow of exports, however, did not begin until the arrival of Portuguese merchants at Canton in 1517. When barred from the ports of Ningho and Chuan, the Portuguese established a trade post at Macao. Since 1557 this coastal city has been their private possession. In 1596 the Dutch reached Bantam, and in 1598 a Dutch fleet of eight ships sailed to trade with the Far East. The British East India Company was set up in 1599 and established at Bantam in 1620. In 1698 the first French ship traded with the Far East.

In Come the Europeans
In 1699, the Emperor Kang Hsi finally opened the port of Canton to foreign trade and the English established the first hong, or factory, on the banks of Pearl River. They were followed by the French in 1728, the Dutch in 1729, the Danes in 1731, and Swedes in 1732, together with the Austrians, Russians, Indians, Armenians, the Spanish Manila Company, and finally the Americans in 1784. The largest number of hongs at any one time was 13. They were two or three stories high with the first floor reserved for business and the storing of merchandise while the second and third floors were used for living quarters for the staff. No women were allowed at the hongs and this restriction lasted until after the Opium Wars in 1841.

At first, with the Portuguese, Spanish and Dutch merchants, all porcelain exported was of the blue and white variety and the forms were largely of Chinese origin. It wasn’t long, however, before the trading nations began to order forms and shapes that were more appealing to the European taste. The merchants supplied the Chinese potters with wooden models as well as actual European items in silver, pewter, faience, etc., to be copied in porcelain. As early as 1639, records of the Dutch East India Company show an order for 25,000 items was to be made from wood models supplied by the Dutch.

Much Chinese export porcelain survives today in near perfect condition largely because of the extraordinary number of pieces shipped to the major European countries and, after 1784, directly to America. These literally run into the millions. In America, imports increased sharply after the Revolutionary War and again after the War of 1812. In Europe, however, the volume of trade steadily declined during the 19th century, and virtually came to an end when the town of Ching-te Chen was destroyed and most of the inhabitants slaughtered during the T’aip’ing rebellion in 1853. The town and the kilns were later rebuilt, but it never again attained its prominent position in the manufacture of porcelain.

Porcelain Made Closer to Home
However, the principal cause of the decline in the trade is due to the gradual takeover of the porcelain business by English and continental factories. The secrets of Chinese production were mastered, primarily by German and Dutch craftsmen. They were in a good position to satisfy the European and North American customers for two reasons: that of taste and promptness of delivery. Orders taken by the East India companies would generally be two years or longer in filling. English and continental manufacturers either carried the items in stock or could supply them on short notice at competitive prices.

At first, it was not easy for the Europeans to copy the glazes and the colors so expertly developed by the Chinese. Until late 17th century, almost all export porcelain was of the blue and white variety. After the kilns at Ching-te Chen were burned down by warring factions in 1675, they were rebuilt by the Emperor K’ang-hsi and new colors were developed for decoration, most notably famille verte (green), and porcelain making reached a very high quality. Soon after, other colors such as rouge-de-fer and gold were developed and the quality of the porcelain reached an even higher level. Later, between the 1730s and the 1750s, the beautiful famille rose colors and decoration were perfected.

At the same time, however, during the height of the western trade, ship captains and managers (or super cargoes) were instructed to purchase pieces of heavier quality to reduce breakage in shipping. Concurrent with this change to heavier (and poorer) porcelain, the quality of decoration began its decline. The coarse, heavy porcelain, often with crudely decorated designs, bore little resemblance to that of fine egg shell quality and detailed decoration.

New designs were introduced at the end of this period and during the early part of the 19th century. Among them was the so-called Fitzhugh design in blue, green, orange, brown, mulberry, gold, black, yellow and combinations of colors, and the Rose Medallion, design in which a piece is largely covered with large floral medallions in rose, greens, and blues. Other designs introduced at this time include the Mandarin, in which the floral medallions enclose Chinoiserie designs in colors similar to those of Rose Medallion, and a design of overall flowers, birds, and butterflies in shades of orange and brown which today is referred to as the Sacred Bird and Butterfly design.

Identifying porcelain is more than just “reading” a mark. It involves careful consideration of many elements to confirm correct age and authenticity.

There are thousands of Porcelain marks and even experienced collectors and antiques dealers can have difficulty in determining whether an item is new, and avoid costly mistakes.

There has been a huge influx of porcelain items recently – mostly figurines and other decorative porcelain objects. Many are high quality and may be better for decorative purposes, but they are not antique. The vast majority of these products come from China, or Asia generally. Some have stickers or labels and many are marked with what appear to be older European or American marks and do not carry a country of origin mark. However, many of the new marks are so similar to authentic antique marks that distinguishing them requires a more detailed look.

Luckily, there are some additional ways to recognize most forged or imitation porcelain marks. Here are some tips:

• Examine the mark around the edges using a magnifying lens. If the mark appears too perfect and applied using an industrial machine, then the mark probably is recent. Most items made prior to 1950 had their marks applied by hand, so these stamps would wear out over time, or the firmness with which they were applied varied from worker to worker. Older porcelain marks are not as clear or sharp at the edges.

• Recent porcelain marks are close imitations of older authentic marks used by Meissen, Sevres, Chantilly, English Staffordshire Potteries (usually Coats of Arms or Crests), Gardner, etc… They almost always differ in one or two minor details from the old marks, such as the endings do not curl the same or have symbols that are obscure or out of scale. Although some older authentic antique marks were applied in free-hand style using an artist’s thin brush, the difference is still apparent once you have seen several examples of the original mark.

• Modern imitation porcelain marks often intentionally misspell words, such as “SEVRE” instead of “SEVRES” or “STAFORDSHIRE” instead of “STAFFORDHIRE.” Compare the name you read with the authentic one by running a quick search on Google or eBay.

• Typically, newer porcelain marks are larger than the originals. Older porcelain marks rarely exceed 1 – 1.5 inches.

• Because “china” also refers to dinnerware (as in “chinaware”), many newer porcelain marks include the word CHINA in the mark. For example, “IRONSTONE CHINA” helps to comply with the country of origin laws but also confuses a collector in thinking that this is part of the original company name. Many marks of older potteries included the word CHINA as part of their trademark.

• The universal symbol for “copyright” usually is the letter C enclosed in a circle. This did not exist before the 20th century. If a mark looks similar to an older or antique porcelain mark and also has this copyright symbol, it is a new imitation mark.

• Although there were a handful of companies that used the words VICTORIA” or “VICTORIAN” within their logo or as a name of a pattern, the words often are used in newer, imitation porcelain marks.

• Items made for export to the U.S. after 1891 must declare the country of origin. Older items usually include the country of origin as part of their overall trademark, or the name of the country – “Germany” or “England”, “France” etc.. – appears near the actual maker’s porcelain mark. Many recent Asian imports bypass this legal requirement by using a sticker or label, which is often removed or lost.

• Most antique porcelain shows tiny cracks in the glaze called “crazing,” especially on Earthenware or old glazed Chinaware that has been used extensively. New pieces exhibit similar crazing, but the lines appear very bright and white, indicating artificial stress during firing to create this effect.

Other reliable signs of age include:
1. Older molds tend to be “tighter” with almost no seams,
2. The “blow hole,” or the tiny opening that allows air to escape from within a piece while in the kiln usually is rough and hand-pierced on antique pieces.
3. The base or foot rim of older pieces show wear and tear, feel somewhat rough to the touch or are slightly discolored.
4. Older pieces used softer, gentler colors and are not too bright. Newer pieces tend to be very “intense.”
5. The “whiteness” of older porcelain is even and bright. Recent pieces tend to appear slightly gray or bluish.

Alex and Elizabeth are WorthPoint Worthologists.

The broad term “ceramics” usually refers to items made of fired clay. Ceramics are further divided in several categories, the primary ones being Earthenware, Stoneware and Porcelain. The main differences in these three are the temperatures at which they are fired in the kiln and the specific composition of their component materials.

Although the term Pottery is properly defined the same as the all-inclusive word Ceramics, nowadays it is used to refer mostly to Earthenware and Stoneware only (also known as Clayware), and leaves the term Porcelain as a separate category. This article will focus on the various types of Porcelain.

TRUE PORCELAIN (a.k.a. HARD-PASTE PORCELAIN): A high-fired Ceramic ware that exhibits translucent properties and is composed of White Clay (Kaolin) and a type of Feldspathic rock (Petunse). Kaolin is refractory and binds a piece together while in the kiln. Petunse fuses into a natural kind of glass that gives it its smoothness and brilliance. True or hard paste porcelain usually is fired at 1450 ° C. It allows for “tighter” modeling and more robust shapes, even in delicate or very thin designs. Most decorative porcelain figurines, urns, centerpieces, etc… are made using true or hard paste porcelain. This is the same type of porcelain invented at Meissen and was the first close recreation of porcelain coming from China at the time. In France, the term for hard paste is Pâte Dure, and in Sevres specifically Porcelaine Royale. Hard (or high) Fired translates to Grand Feu in French.

ARTIFICIAL PORCELAIN (a.k.a. SOFT-PASTE PORCELAIN): Termed ‘soft’ because of its ability to be cut with a file (hard paste porcelain cannot), this type of porcelain is composed of the same materials as hard paste, but is fired at a softer temperature, around 1200 ° C. Because of this lower temperature, soft paste porcelain tends to be more granular and porous since the component materials do not vitrify (fuse) as is the case of hard paste porcelain. Additionally, the surface is somewhat less white or brilliant and has an almost silky or marble-like feel to the touch. Some collectors prefer this look, especially on human figurines, where it allows for a softer texture and a more life-like appearance. Historically, soft paste porcelain was first made in Italy in late-16th century (Medici Porcelain), but it reached prominence in mid-17th century France. In the United Kingdom, the first factory to make soft paste porcelain was Chelsea (ca 1743). It is also known as Frit Porcelain in England, and Porcelaine de France or Pâte Tendre in France.

BONE CHINA: This is the same as hard paste porcelain, but with added bone ash (ashes from burned animal bones, mostly cattle). Bone ash contains lime and phosphoric acid, which helps fuse all of the ingredients and allows for a more stable final product, even at the lower temperatures required for soft paste porcelain. In a manufacturing setting, this means less damage due to cracking in the kiln and less waste or rejects, thus less cost. In Decorative Arts terms, it means that an object with at least 30 percent bone ash can achieve a brilliance and translucence typically seen on hard paste porcelain, but at the lower costs associated with producing soft paste. Bone China was introduced at the Bow factory in England in 1750 and was quickly imitated by Chelsea (1755) and Lowestoft and Derby (ca 1770). It rarely is produced in other European countries or the US and it is also is known as English China.

Other than a true scientific analysis performed at a Lab, a quick and practical way to confirm if an item is made of a particular type of porcelain is to examine an exposed or broken piece to determine how porous or granular its interior body appears. As a quick rule of thumb, granularity means soft paste, whereas a compact and fused interior means hard paste. Bone china is more brilliant than soft paste, but less so than hard paste. Also, hard paste porcelain is the most durable of the three types, with bone china coming second and soft paste third.

Finally, some other terms used for Porcelain include:

Soaprock, or soapstone porcelain, uses soaprock, a soft steatite mineral that feels like soap, also called French Chalk.

Biscuit (also called Bisque) is an unglazed porcelain (of all types) or an Earthenware which has been fired only once. It has a distinct marble-like appearance, also called Parian ware, and is used mostly for modeling or busts.

Alex and Elizabeth are WorthPoint Worthologists.

Faience pottery, also known as Fayence in France, is often used as a synonym to Majolica because of their similar appearance and use of tin glaze. Yet, most collectors distinguish Faience pottery by their characteristic polychrome (multi-colored) designs and mostly white background, whereas Majolica tends to have decoration all over along with pronounced raised decorative details (relief).

Although the earliest specimens date all the way back to 1200 BC in Greece, most Faience items found in the antiques market or many museums today are made circa 16th century onwards, and primarily in Italy, France, Holland and England. The most desired of Faience pottery originates from France, such as the Quimper, Ruen, Luneville regions, or from Italy near Turin or Savona and Florence. Of course, as with most other popular pottery or porcelain, some Faience pieces now also come from China and other Asian economies, and in spite of their decorative appeal, these are not antique.

Most antique Faience pottery was of a quasi-utilitarian nature, like jugs or plates, but with a distinct aesthetic flair. Vases and other decorative ware were also made in those older days, but many tend to be of rather regular shapes. Designs tend to be floral or geometric in nature, and some have simple depictions of pastoral scenes with one or two persons carrying farm duties.

The vast majority of antique Faience was made in small studios or by individual artists. These early pieces were signed with the artist’s initials or monogram, along with a symbol or the full name of their location. Hence, QUIMPER or other names of regions where Faience pottery was made do not reflect any actual manufacturer or maker, but rather a number of art studios or artists that worked in the area. Much later, around very-late-18th century onwards, some studios were much larger or became collectives, and some marks and signatures from that period are linked to a specific company, as in the case of the HENRIOT factory in Quimper, France.

Old Faience is very popular nowadays and can fetch high prices at auction. Because early examples were made of earthenware and, as noted above, were of utilitarian nature, many show clear signs of distress and wear such chips or cracks. However, this is to be expected and in most cases it does not detract from their value. In fact, some collectors believe it adds character to a Faience piece. This is unlike what you would expect on a Meissen porcelain figurine or a pair of Sevres urns that are usually more valuable if in perfect condition, even though they date from a similar period, since the latter were meant to be used for display only.

Please see “My Collections” for some examples. The above is by no means an exhaustive account on Faience pottery, but rather a starting point for an interesting discussion. Please feel free to contribute your own experiences with Faience to this blog.

Alex and Elizabeth are WorthPoint Worthologists.

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Saturday & Sunday, July 12-13: French Library Cabinet
Neal Auction, Summer Estates Auction

New Orleans-based Neal Auction Co., the South’s pre-eminent auction house, is not feeling the summer’s heat. Instead, it is raising the temperature with its Summer Estate Auction. Estate collections from New Orleans, Natchez and San Francisco make this particular sale a connoisseur collector’s dream come true.

Take a look at Lot 62. Going in with an $8,000-$12,000 estimate, and believe me that estimate will be blown out of the water within minutes, this period Louis XIV, carved, ebonized, inlaid and paint-decorated library cabinet is definitely one of a kind. Strongly architectural with a variety of exotic inlaid woods, interior compartments, panels paint-decorated with saints Mary Magdalene, Catherine, Barbara and Faith, in pristine condition, this is the investment piece to buy. Estimate: $8,000-$12,000.

Keep your eye on the movement of this interesting piece in Lot 357, an 1885 American aesthetic-brass and mixed-metal pedestal jewel casket made by Charles Parker in Meriden, Conn. This fascinating piece of American design is similar to one in the Dallas Museum of Art and to one that sold at the Doyle New York February 7, 2007, sale for $15,600. These two facts alone, plus the uniqueness of the piece, will influence the hammer price. Estimate: $3,000-$5,000.

Lot 475 offers an excellent opportunity to purchase a late-17th-century reprint of English mapmaker John Speeds’ version of the most famous parts of the world. Estimate: $5,000-$7,000.

Friday, July 11: Porcelain Figurines
Freeman’s Fridays: Furniture & Decorative Arts

Freemans’ Furniture and Decorative Art Sale is something of a mixed bag collection but is well represented in silver, porcelain figurines, retro collectibles, paintings and furniture. For you Royal Doulton figurine and figural group collectors, there’s a nice collection with good estimates in Lots 65-67 that you should consider. Estimate: $200-$350.

The estimates for Boehm porcelain birds, Lots 68-73, seem, in comparison to sales results of Boehm from other auction houses, to be showing a slowing trend. It will be interesting to see what these do. Estimate: $150-$350.

If you’re into retro collectibles or if you are intrigued by this form of collecting, I’d say jump on Lot 88, a Danish Modern light fixture. Estimate: $300-$500.

My particular favorite is Lot 90, a 1970s chrome, Weeping Willow table lamp. Why buy? These are our next generation antiques. Estimate: $100-$150.

A more serious antique contender is Lot 215, an American School, 19th-century portrait titled, “Child in a Red Dress,” artist unknown but inscribed S F Campbell, done in oil on canvas in what appears to be its original frame. Why buy? There is a finite number of American 19th-century portraits out there, and there will always be a market for them.

Twentieth-century modern is nicely represented in the furniture line with Lot 313, a Tobia Scarpa Bastiano lounge chair, just one, not a pair, going up with a low estimate. Scarpa was an important 20th-century Italian designer, so add this one to your cart. Estimate: $200-$400.

Last but not least, is Lot 25, a fine example of an early 19th-century, classical, mahogany serpentine-front card table, made in Philadelphia, with a “lure you in” estimate. Estimate: $400-$600.

h3> JULY AUCTIONS

July 11: Cowan’s Auctions —Historic Americana

July 11: Freeman’s —Freeman’s Fridays: Furniture & Decorative Arts

July 12: Kaminski —Antiques & Collectibles Auction

July 12-13: Neal Auction —Summer Estates Auction

July 14-18: Coach’s Corner —Monthly Sale

July 18: Harlowe-Powell — Modern Design Auction

July 19: Cowan’s Auctions —Cowan’s Discovery Auction

July 19: Harlowe-Powell — Gallery Auction

July 19: Ivey-Selkirk —July Jackson Rooms Auction

July 31-Aug. 2: Mebane Auction

by Christopher Kent
Director of Evaluations, WorthPoint
– Please send your antiques, art and collectibles news about auctions to news@worthpoint.com, and put “Auction News” in the subject line.

Have you ever passed up purchasing a wonderful piece of art pottery, flow blue, transferware or any other collectable ceramic or porcelain because it had horrible crazing or other stains? I know I have. Condition, condition, condition is the mantra that has been drilled into our heads. Only buy the best when purchasing our collectables and antiques.

However, it is possible to improve the condition of your china, pottery and porcelain finds using a cleaning solution.

Here’s the method I use to make my art pottery, porcelain and china bright and white.

The 40% peroxide solution

First, use only 40% hydrogen peroxide. This is not the peroxide you buy at the drug store. You need to buy the stronger type that is found at a beauty supply store. Always wear protective gloves to protect your skin from the burning peroxide.

I usually use a good size plastic storage container that can be sealed. I use plastic storage boxes that are large enough to lay a platter flat on the bottom. I will generally purchase 3 to 4 large 32 oz bottles of peroxide and pour into the plastic container. I soak the items sometimes for a month, and up to 6 months. I like my items to be completely covered as they soak.

The peroxide loses strength over time. You will know when to replace the peroxide because it tends to get discolored, and starts to have an odor. The brown crazing is usually old grease that has become trapped in the crazing of the glaze. This old grease darkens with age.

If I have a piece of porcelain that is more delicate, and I don’t want it soaking in peroxide for any length of time, I simply wrap the piece in old white rags soaked in peroxide, only putting the wet rags on the spots that need whitening. I place it in a large trash bag, and seal it. If using trash bag method, the rags will need re-soaking every few days, as they dry out.

Clean your pieces very carefully

Use great care with any cleaning method. It’s a good idea to try the method on an inexpensive piece before attempting to clean valuable pieces. After you have the piece as clean as you can, wash it with soap and warm water to clean off and residue of the peroxide.

NEVER USE CHORINE BLEACH! This will destroy the pottery, porcelain or ceramic piece. It literally eats it from the inside out. It makes the glaze flake of the piece.

Also, please make sure that you carefully look over any piece that you are going to soak. If restoration or repair has been made on a piece of pottery, porcelain or ceramic, chances are the piece will be ruined in this cleaning process. If in doubt ask a specialist in restorations before you try this.

Along the way, I try not to over-clean a piece. I don’t want to remove all the age; I just want the piece to display nicely. And if I’m careful, that’s just what happens.

Careful cleaning gets great results

Bear in mind, though, that I have even used this method on a piece of Limoges that was trimmed in gold, and it did not harm the gilt design, even though it was so badly discolored it had to soak for months.

As you’ll see, with patience, a little work and a lot of time, a bargain-priced and slightly-damaged collectable can be cleaned and its value increased.

In March, a white jade Chinese vase – valued at about $40,000 – went on the block at Elders Fine Art & Antiques and sold at auction by iGavel to an off-shore, Asian collector for $300,000.

The huge difference between the estimated value and sale price was just one of the most recent symptoms of “the China Syndrome” – as Chinese collectors with coffers filled by the country’s booming economy seek to repatriate Chinese antiques, artifacts, and fine arts.

“Price is no object for these buyers,” said Worthologist Fred Taylor. “It really warps the market.” As a result, the prices for Chinese porcelain are now vastly higher than comparable Japanese or English pieces.

For example, in 2006, Taylor said, a pair of porcelain cups from the Qing Dynasty went to auction valued at $500 to $1,000 and sold for $26,500.

Worthologists caution that while the prices may be soaring this remains a tricky market – where some auctions bring record sales and others fail. “Sometimes there may be a backlash against an auction house or seller among some of these buyers,” Taylor said. “You don’t really know what is going on.”

The syndrome’s beginnings are traced, by some experts, back to a week in June of 1999 that opened with a Christie’s auction where Chinese collectors first drove up prices on pieces, such as a Qianlong vase to almost three times the valuation for a sale price of about $206,000.

A day later at a Sotheby’s auction prices skyrocketed again to double or triple the estimated values. A Yongzheng blue and white double gourd valued at $93,000 sold for $178,600.

Among the reported players in this market has been Xu Qiming, China’s biggest exporter of eels, and Lu Hanzehn, a major tire manufacturer.

In 2005, Christie’s put a rare 14th Century Chinese porcelain jar on the block expecting it would fetch $1.8 million. In brisk bidding that saw three bidders chase the jar to $3 million, the winning, anonymous collector paid almost $28 million – a world auction record for any Asian work of art.

“Many collectors are also investors and they are seeing Chinese art as part of their portfolio,” Pola Antebi, director of the Chinese ceramics and art for Chrisitie’s, told the London Daily Telegraph after one of the big auctions. “But Chinese are also proud of their heritage, and as they become more affluent, they are buying back more of their old imperial objects and paintings.”

The Chinese syndrome is, however, simply part of a bigger, recurring cycle in the world of art and antiques.

“In the auction and sales world this is not an unfamiliar theme,” said Worthologist Christopher Kent. “When the French government placed a condition on the sale of anything 18th century to be treated as an export, the prices went through the roof.”

“The Chinese, like the Koreans and the Russians, when they have the money, want their stuff back,” Kent said. “So now the Chinese want their heritage back. The shell game here is to inflate the value, so even if they don’t get their stuff back they can gloat that the unsuspecting can be screwed in the process by paying inflated prices and in the process create a false market. False markets are created all the time, there is no rhyme or reason.”

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