The Goncourt brothers, who had always been famous for their passionate love for Japanese art, also had a high level of interest in and concern for Chinese art. Their collection of Far Eastern artifacts included a set of Chinese items, mainly porcelains, and their writings are not short on insights into Chinese art. But, while their Japanese items have received extensive attention, their Chinese collection has long been ignored; there has apparently been no specialist discussion of it even within academic circles. In view of this situation, this article will first provide an appraisal of the Goncourt brothers' collection of Chinese artifacts, including its origins and the channels through which it was supplied, in order to analyze the state of the market at the time for transactions in Chinese art. It will then analyze the Goncourt brothers' critical perspective on Chinese art, on the basis of their commentaries on the subject, and, at the same time, use their opinions to shed light on the state of development in France of research into Chinese art. The author's main hope is, through the analysis provided by this representative excerpt from history, to expose a somewhat little-known aspect of the story of France's acquaintanceship with Chinese art, and to illustrate that this period in history should receive greater attention.