I think this double seal mark is usually found on Japanese rather than Chinese wares, and this looks modern , from ther glaze finish and footrim

@tam18  "Thanks Tam"  I did suspect the mark looked different, but was not sure.  I couldn't find it in my book of chinese marks. As they say  "Good Hunting." 

"All the Best"

Brian.

Hi Brian, 

Looks very new to me. Not sure but I think it is a Japanese example. 

Mark 

Hey @collectivia,
I was catching up on my Bidamount binge and came across this; and I’m somewhat glad I did.

I offer this informally, and casually - from one forum user who has their own "research pile" to another 🙂 

To cut a long following spiel short: it is Japanese, with a kiln/production seal and also that of the artist.
These are written many different ways, in different styles, and often with intentional confusion/creative liberties taken.

Respectfully, I disagree with the above members; as while it might appear modern to some, this is the beauty of Japanese ceramics/pottery: always innovative - and often ahead of its time while somehow managing to represent the past when desired.
I really hope you still held onto the above item in question, and it stays put firmly in your collection of study pieces.

Personally, I do not care to court public opinion - and will preface this in saying don't think you've come across the lottery; rather something that would probably sell around (or for even less than currently) a late Qing or Early Republic piece of accessible and available porcelain on the consumer market at auction.

So, not enough to retire off of - and if you have many other pieces of an unrelated nature you need to sell, this one would be more of a "project" to look into over time; as the market itself for these wares is more or less leveled out - and not as time sensitive when compared to driven mass market items. 

In the short term:
If you’re eaten with curiosity (and as I said, don’t expect a large immediate resale), it would be wise to send this along to Peter, see what he thinks as far as possible attributes for general dating (he has helped me before immensely in this field; especially in areas with large overlap in styles such as mid-19th porcelains from area kilns that showed stylistically very similar composite makeup between, asking if I’d label a piece true Edo or Meiji, ect), and also see if he could fancy a guess as to production area.

He has always been very honest with me, and humble as well when regarding what he suggests he’d do.

People forget he worked in the market long before Chinese was the antique form taking up 99% of market interest; and this is an invaluable asset to use as a basis on where to start.

I view this as time spent vs cost invested; and if you’re a seller of different items - sometimes it’s better to not lose several hours of preliminary/speculative research that could be spent on items worth more immediate return.

Facilitation of research has a price; and I’ve logged 18 hours in my “free time” during July on a single piece alone from my own “research pile” with about two dozen or more remaining - $12 is a modest sum to not tie yourself to a commitment like that.

From here, you would find out more about the ware - suspected age, origin, and attributes. 
This is a great first step. 

Moving forward?
If you got it for cheap - you hopefully aren't too far out of pocket to hold onto it for a while longer until you can get in contact with a reputable and trusted specialist who exclusively focuses on Japanese studio pottery; and if I can suggest humbly, preferably from exhibition era Meiji-Showa Period I (pre-WW2) to supply a more broad sub-range.

This should be your end goal, be it next week - or next year.

The best studios, with the most regarded masters, were cross-trained and exceedingly gifted at multiple styles of production; to my eye - even if informally trained, this could exhibit Seto, Kyoto, and even Yokohama production traits; boldly - Arita as well.
This does not include the large number of sub-styles, or collaborations.

Add into this hundreds of years of independent and local production, often tributing other local areas/countries, and it gets a little more complex than looking at a foot-rim that was consistent with the time of a nationally mandated production.

Google is your friend; and webpages are abound - search for galleries that hold similar items for public view, and see if there are “in-house” specialists; even better if they have credited the work of an external specialist who has proven and public records.

Sometimes collectors - while not as understanding of the market and driving force, will gladly share their love for a piece or opinion - and often have a great wealth of knowledge fired by the passion of certain makers/kilns/wares, and an almost obsessive researching of their possessions.

They often have websites; and out of respect, nobody here who is serious about the industry would list them without consent from the owner directly; as there is a large amount of courtesy often overlooked in doing so - and it’s a good way to absolutely ruin the joy of somebody doing this who suddenly finds themselves flooded by commercial requests of people pretending to care only for them to follow up with “so how much $$$ is it worth?”

The best collectors will see right through this; and it’s a great way to ensure every next correspondence by you goes straight to the “junk” box - where it rightfully belongs.

Regardless;
They will tell you more than anybody here will be able to, myself included; and you 100% have my word on that.

If it were me?
I'd first see what I was willing to sacrifice to devote all this time to a single piece, and plan from there. 

As stated, 
The market for these items leveled out long ago; so you are not racing against time to sell it.
Take your time, and enjoy experiencing it. 

Well, friend - that's all I can offer you for now with this rambling word salad.

Regardless of what you choose to do with it - perhaps, I hope, it brings you some appreciation and joy if you decide to dedicate yourself to this very strange quest that promises a lot of work - and perhaps quite little objective value compared to what else is out there these days.

It’s a beautiful piece, truly. 

@jrn   "Hello JRN"

Firstly, i would like to give you a belated warm welcome to the Bidamount Forum. 

I  would also like to congratulate you on the most Mega Comprehensive, informative and  interesting reply which you have sent.  "Brilliant". 

I will be keeping the bowl for further research, and as you have suggested,  will let Peter give his opinion.

Before I was fully hooked on oriental porcelain I had always dreamt of finding a nice piece at auction, and when an acquaintance I knew recommended his small local auction house, which wasn't online but worth checking out, I registered for auction updates. I duly received the auction catalogue and  among the lots I found one of interest, it read, Blue and White Chinese Vase!

Along I went on auction day and found the said vase,there were no reign markings, but it had a quality hand painted scene under glaze on porcelain, nice shape and weight. I decided to bid up to £100.00 max  but the hammer dropped down on £28.00 and it was mine.

I had the vase in the house for around 4 months,when I decided to make an appointment at my local auction on valuation day with their specialist oriental valuer named Lars Tharp,a well known TV personality and expert on the antiques road show UK.

Showing Mr Tharp three chinese items first,which didn't make the grade, I then said, Tongue in cheek "I've saved the best vase for last"I passed the vase to him, he looked in thought,went quiet, then said, its pretending to be 1640.  I then said, "so its a copy," he then went quiet again,paused, then replied, no, I think it is right, it is 1640 transitional period, value between £3,000-£5,000 do you want to consign. I felt stunned for a few minutes my dream had come true!

It went to auction and made £4,700.00. I am now fully hooked but looking back I somehow wish I hadn't sold it.

"All the best" Brian.

@collectiva 

Greetings Brian,

You are so extremely kind and gracious to have even entertained my ramblings; and on top of that, offer a welcome - thank you 🙂

Firstly, I’m glad to hear you’re sending it to Peter - as he will be able to provide a good foundation.

It may shock people; but Japanese has been skillfully faked as long as Chinese fakes and the subsequent paranoia hit the market: studio pottery, though not extremely common, has some meticulously crafted examples in particular.
I think personally it’s a very fine piece - but my inexperience to the degree needed for this without reaching out externally does render me useless past a certain point; this is where I felt a seasoned industry vet would certainly be worthwhile.

Your story, made me smile ear to ear.
It is astounding you got to not only meet Mr. Tharp, but an amazing memory to have experienced from start to finish I imagine.

His contributions to the world of Chinese ceramics is simply not comprehensively done justice in one post - but you of course not only already know this; but got to live it.

Unreal. He’s an absolute “rock star” - and his work in exports, simply an invaluable contribution to our understanding: this must’ve been a once in a lifetime experience my friend..
Thank you for sharing this story!

To have that kindle to the passion that fires on to this day, that is divine - and as somebody who writes novels for responses, I thoroughly enjoyed your narrative of recounting this for all to enjoy (and far more condensed than I’d ever be able to 😆 ).

Such a great read - and I must admit, tho biased through my own experience of a similar (yet subsequently different ending [it was a unique fake of never seen calibre!]) experience, I think it displays this beautiful curiosity one has when “the hunt” first starts - and doesn’t stop even currently; especially when a kindhearted professional of the field is willing to stoke the fires of curiosity a bit.

Of course, we all have “the nostalgia piece” we wish we kept (or 50), but I imagine you were also quite pleased with the auction results too haha - so a balance may be given justice.

Dear Brian; this made my day to read, and I’m sorry for getting back so delayed and lengthy; but I wanted it to be known it was beyond well appreciated on my end - thank you, sincerely.

I stop this saga for now, here.
This is Bidamount, not “TalkAbout by JRN” - but goodness, you shared a beautiful piece of soulful memory: it's appreciated.

(If anybody else reads this, a great documentary featuring Mr. Tharp can be found in full here, very non-pretentious and "bare bones"; and although you are all beyond likely having this be an “eye opener” you may still learn a thing or two!  

And another, perhaps just to enjoy hearing a man and his true passion come through - and a personal favourite, I attach here:

)

Well wishes - and best regards,
-JRN 

Hi guys,

This one surprised me too. I didn’t comment, because I wasn’t familiar with the style...but I would also have guessed modern, due to the shiny glaze.  It does have an artistry to it, though. And the double foot, although still used occasionally up to the present day, was more commonly applied in 19th century Japan for large items, I believe. I don’t remember having seen anything quite like it. I have saved the pictures and will try to emblazon the images into mind. I do fear that this example will be responsible for quite a few additional purchases, which makes me think I should really study up on antique Japanese studio pottery. It is the type that would easily slip through the cracks and end up anywhere, quite easily....because of how readily it would be mistaken for a modern item. Thanks as always, JRN, for your valuable expertise. 

Best, Todd

Very interesting to read about your thoughts on this.  Spirited.

I would think liner glaze, not celadon if I were to see it.  

@jrn  "Hello jrn" and thank you for yet another classic! reply.

It's nice to know I put a smile on your face. I have been busy working etc since your reply, earning this thing called money in order to feed my habit! It's called O.C.C.D.------[ Oriental Ceramica Collectavitus Disorder. ]  It's not painful but quite enjoyable!

"Joking apart" I will be posting for id, a few more pieces of Japanese ceramics on the forum soon.

"All the Best" & "Good Hunting" 

                      Brian.

      "LARS THARP FOR PRESIDENT"

@aoeynes   "Hello Banti Loot". Thanks for your post. I checked out the meaning of liner glaze, excuse my ignorance [not heard of this before]  i'm still on my learning curve, and i see what you mean ie the colour put into the glaze. I noticed on the ribbed sides the green colour is lighter at the crest/top of the rib patterns, plus the shiny glaze, is this what you mean?  If this was celadon would the colour be more even? or thicker?

"Many thanks" Brian.

@collectivia  By liner glaze I was thinking stabilized colorants or oxides, they behave uniformly on an an object and does not change in response to different shapes or curves.  I notice that this glaze are thinner on the edges, but not so much as other celadons I have seen.  This glaze could also be a celadon, ( I am thinking celadon glaze as beeing a result from small additions of magnetic iron) with a pinch of opacifier, ex tinoxide.  

The cloudyness in the glaze i perceive could be myself and the device I am using.

It is probably a celadon if you guys with more experience find it is.  

@aoeynes   "Thanks for your reply Banti Loot" I see what you're saying. I thought it was the other way around, ie the liner glaze was thinner on the edges and shapes etc and the celadon glaze uniform on shapes or curves.

Many thanks for making it clear. 

Brian.