Bulletin of the Royal Ontario Museum Of

O O — Curator o the East Asiatic De artment P OF E O H E R R . E. F RNALD f p SS , A. B .

MT . HOLY OKE — Curator o the Greek and Rom an De artm ent P OF E O W f R R . GR AH AM p SS ,

M . A . Ac . PH D . H. U , J. . Curator o the Modern Euro ean De artm ent—F S . T . SP END f p p G . LOV E Curator o the Near Eastern De artment- M W NEED . LER B . A f p ISS , . Curator o the Textile De art — m ent MRS . G BR ETT f p . THE MUSEUM BOARD LL Chairman R B FENNE ES . . C . O ERT , Q , Q ,

- S G S U ES . LL. D . 1 st Vice Chairman I MUND AM EL, Q , , DR Universit o Western On tari . R o ONALD ALLEN, y f ’ F n Universit . KE uee s PRO ESSOR M . B BA R, Q y

H ES . . . M G C C . . ENRY BORDEN , Q , Q . ,

W H RK ES . . . CLA E, Q

W HN N S . D S . D E O SO E L. L . MU OC . D ARD ] , Q , , W . ES . R . A LAIDLA , Q

ON . THE RT H . H. . H. . . . A . D . . . Chancellor E VINCENT MASSEY, C , M , LL D C L of the University of Toronto

COL . . . H . . . D Chairm an o the Universit B oar W E P ILLIPS, C B E , LL f y d of Governors

TH S . LL Pr S I S E C ...... D esident o the Univ ersit T DNEY E MI , Q , Q , M A , f y of oronto

R O . . GHAN . M S . D VAU MR S H ecretar - Treasurer o he Mus . t eum and ecretar ELEN MARRIOTT, S y f S y to the Board MEMBERS OF THE MUSEUM F BENE ACTORS ( Life Membership ) , who contribute SUSTAINING MEMB ERS PATRON ANNUAL ( individual or husband and wife ) ]UNIOR ( under 2 1 ) PRIVILEGES OF MEMBERS All Members receive Copies of the Annual Reports and of the Bulletin of th e Royal Ontario Museum of Archaeology . inv itat1ons v All Members receive to Special Lectures , Receptions and Pre iews b b m of Exhibitions held y the Museum Board and y the Museu of Archaeology . All Members receive information and folders about the Extension Courses b O organized y the Roy al ntario Museum of Archaeology , and Benefactors have the privilege of free attendance at these courses . The children of all Members may ’ have free membership in the Children s Saturday Morning Club and in the Sum mer Museum Club . Benefactors m ay arrange to hav e a member of the staff as a guide to the

Museum galleries .

All Members have free admission for themselves , their families and non is resident friends , at all times when the Museum open . ADMISSION

1 m . 5 m . 0 a . . x The Museum is open from to p on all weekdays e cept Mondays , ’ D m t Da a . 2 5 . . Chris mas y , and the forenoon of New Year s y It is open from to p on Sundays . s Admission is free on Sundays , Tuesdays , Thur days and Saturdays , and on

On . all public holidays . Wednesdays and Fridays admission is ﬁfteen cents

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All . classes from schools , art students , and study groups are admitted free s S af Members of the Museum and tho e who hold complimentary tickets , and t f Members and Members of other Museums are admitted free at all authorized hours on presentation of their cards of membership . PREFATORY NOTE

THIS number of the Museum Bulletin is devoted to a catalogue of the ’ “ M o h useum s Special Exhibiti n East and West, w ich opens for three n 1952 months at the begin ing of October . There is ﬁrst a series of Short articles by the Curators of the Departments concerned; this is

followed by a detailed catalogue of all the pieces included . This publication has been made possible by the gift of a donor who m wishes to remain anony ous . GERARD BRETT Director

INTRODUCTION

THE interactions of the great civilizations form one of the most i fascinating branches of knowledge . Th s exhibition is devoted to one — aspect of the subject the artistic inﬂuence of the East on the West . is This is an inﬂuence that is Protean in form and variety . It illustrated

here by pieces which are part of, or are on indeﬁnite loan to , the M collections of this useum . For the purposes of the exhibition we s have drawn an arbitrary line of division between Ea t and West, to

B . run North and South through ombay Thus India , South East Asia , C W hina , and Japan are considered to be East, hile the countries C B k M bordering on the aspian , the lac Sea , the editerranean , and the M Atlantic are West . The useum is planning a second exhibition de n voted to the complementary inﬂue ces of the West on the East, to ’ take place in about a year s time . Geography has made China and India the two most important C countries of the East in this context, and of the two , hina has always

meant more to Europe . The approach from the West was either by C O land across entral Asia , or by sea through the Indian cean and the M Th e Straits of alacca . traveller on either route faced formidable d ifficulties , on the first those of mountains and deserts , on the second the monsoon in the Indian Ocean . The evidence we have suggests O -influ enced that the land route is the older . ccasional western objects

C C . appear in hina in the late hou period At about the same time , and C the tu B . C . at least as early as third to ﬁrst cen ries , hinese silk, and Mediter possibly other products too , were coming into the Eastern ranean i in quantity . Virgil speaks of Chinese S lk worms in the second eor ic k G g , and we may surmise that the sil came to the West by land . ’ ’ On C fCh ien s —2 B e 188 6 . C of the results of hang journeys in . had been the opening of the so- called Silk Roads across the C entral Asian deserts and through the Pamirs to Turkestan; the routes divided west of C e the mountains , the northern going by the aspian to Tr bizond on B k he the lac Sea , t southern onto the Persian plateau . Among the permanent motives of Ro man policy in the Near East was a com m ercial r C st uggle , probably in part for a share of the hinese exports , waged on the Euphrates frontier against the Parthian and Sassanian kingdoms of Persia . The eastern end of the trans -Asian trade route was not always in Chi C ﬁrm nese hands , and in the earlier years the periods when hinese o bjects seem to have been commonest in the West, and western in

C i C . One h na , coincide with those of hinese control over Eastern Asia

tu A . D. such period is the seventh and earlier eighth cen ries , when the T C ang dynasty of hina controlled the eastern, the Sassanids and s t later the Arabs in Persia the we tern end of the route , the lat er to the exclusion of all western competitors . Later this control weakened . It was not fully re - established until the Mongols ru led over the whole hi n k in route in the t rtee th century; Genghis Khan occupied Pe ing _

1214 Hula u B 1258 . , and his son g captured aghdad in There followed a renewed East- West relationship marked by the Chinese journeys C Rubru ck of missionaries such as John of Pian arpini or William of , of M M C and , above all , Nicolo , affeo , and arco Polo . hinese inﬂuence k reﬂecting this is evident on Selju and later Persian ceramics , miniature M n o . w pai ting , and textiles , n tably carpets The do nfall of the ongols , M C 1368 O k when the ing took over hina in , and the ttoman Tur s the M Near and iddle East, ends this interlude . M O - k Although both ing and ttomans were anti foreign , the brea hi i c in relations p did not last long . Th s time the change omes from the O e o pening up of the s a route . Alexandria had always been the entrep t for both land and sea trade between the Mediterranean and the Red

Sea , especially the ports of Arabia and beyond . The first dominant motive of this connection was the Arabian spice trade . The spice trade Old r is mentioned in the Testament, and Arabian spices fo m another of the enduring motives of Near Eastern history . Even in the seven teenth century Milton sensed Sabaean odours from the spicy shores r t OfA aby the bles . Alexandrian navigators traded first as far as Axum at the southern ' A D end of the Red sea . By the first century . they had pushed out across O i the Indian cean , and learned to use the monsoon , wh ch is referred o - w was c mbined with true china clay ( kaolin , a more broken do n form of the same substance ) these materials fired together with the addition a C of less import nt ingredients , such as lime , produced hinese porcelain — as we know it today . This beautiful material translucent and capable of being glazed to a shining whi teness—is a ware So perfect that it is only because we have been accustomed to it from chi ldhood that we i C ’ have ceased to wonder at its perfect on . It is perhaps hina s greatest so contribution to the world , and one characteristic that we still refer “ ”

a o as . to it by the n me of the country of its rigin , china or chinaware For the last two thousand years the Chinese have Shown a most “ ” amiable wil lingness to make anything that the foreign devils wanted and were willing to pay for . It would be a rash person indeed , there

a C . fore , who would give ﬁrst date for the export of hinese porcelain There is evidence to Show that it was being exported in the T ang n T dy asty, and fragments of ang white porcelain have been found at h C the ninth century site of Samarra on the Tigris . W erever hinese porcelain penetrated it caused discontent, as its perfect glaze and

shining whiteness were so much superior to anything else known . Unsuccessful efforts to equal it in other materials were made by the potters of many other countries—the true nature of porcelain being unknown outside of China . T D. It seems to have been about the time of the ang dynasty ( A . 6 18 - 906 ) that the ﬁrst demonstrable effect of Chinese ceramics upon

. t other countries is found Persia and Egypt fel the impact very soon , but a full thousand years elapsed before the inﬂuence of T ang wares

was seen in English pottery . Two or three varieties of T ang pottery can be mentioned as having had a perceptible effect upon the potters ’ of Staffordshire . The potter whose work sho ws T ang inﬂuence in its most evident form is Thomas Whieldon ( active 1740 Whieldon was one of the ﬁrst Staffordshire potters to become famous as an indi hi s vidual for progressive ideas and enlightened views , and he turned C s to early hinese sources for in piration . The C hinese techniques em ployed by Whi eldon were particularly the use of a deliberately streaky “

effect of coloured lead glazes , and the making of his solid agate ware , in t which a ﬁne pattern was produced by hin lines of coloured clay, a of the p ttern extending through the wall the object . Solid agate wares r could not be th own on a wheel and had to be built up by hand . They

were , in consequence , somewhat expensive to make . A marbled ware t was therefore developed , in which the pat ern of the veining was on

the surface alone and did not extend beneath it . All these types are ’ now collectors prizes , and difficult to obtain . It is hardly possible to estimate the contribution of Josiah Wedgwood to these wares during ’ Wh ieldon s 1759 . the five years that he was partner, ending in We n k ow, however, that he had a keen eye for form , and a restless intel u C lect al curiosity which was never satisfied . hinese influences are perceptible in several of the wares produced by Josiah Wedgwood, ’ the world s greatest potter, in subsequent years . The exhibition i ncludes T’ang wares with a deliberately streaked Whi eldon glaze and similar wares by Wedgwood , also specimens of “ ” ’ - the solid agate technique from both periods . A T ang tea cup , of the kn w t rosso antico - earliest o n ype , is also shown with a tea cup by

Wedgwood .

A D. It seems to have been in the sixth century . that white glazed porcellanous wares , followed a little later by true porcelain , became t popular in China . These continued to improve in quali y until they D 60 reached their fullest development in the Sung period ( A . . 9 o the golden age of porcelain . The fam us Sung Ting ware was exported , and like the later blue - and- white porcelain was Copied by foreign CO ieS potters . English P of Ting ware were made in the middle of the

- sub eighteenth century, usually in white salt glaze , which made a i te st tu to . not be despised It was white in colour, extremely hard , slightly vitriﬁed , and formed an inexpensive material in which to execute copies of Chinese wares . Specimens of Sung Ting ware and

English Copies of it are Shown In the exhibition . As the ceramics of the Sung dynasty reached their hi ghest level

- t an in single coloured glazes and subtle , almost hidden decora ion ( ’ hua so M C ) , the porcelain of the ing and h ing dynasties was most famed for its painted decoration , although monochromes were still

- e in use . The porcelain painted in underglaze blu was from early times a popular subject for manufacture and export . It began in Sung times and reached a high level of maturity in the Ming period ( 1868 when the Imperial factory was established and wares were sent i saw e each year to the Emperor . The early f fteenth century the cr ation se of the ﬁnest specimens . A decline t in and continued to the end of n 1644 saw the dy asty in , although the later reigns the manufacture of M a good deal of export porcelain . The ﬁnest ing pieces are surpassed — — in technical perfection altho ugh not in any other respect by the best work of the K’ang Hsi period ( 1662 in which Ch’ing ( Manchu )

- - - blue and white porcelain attained its zenith . The brush work was more M precise than that of the ing porcelain , and the blue a ﬁner quality; the potting was generally very good . It was the fashion in the later ’ nineteenth century to consider only K ang - Hsi blue - and -white worth

8 u O collecting . Now, however, the pendulum has sw ng in the pposite M h as direction , and anchu porcelain suffered an eclipse , no doubt only temporary . The widely diffused exports of Chinese cerem ics produced as a ﬁrst perceptible effect the imitation of Chinese porcelain by a tin enamel . A white surface could be obtained on pottery of any colour tin - by coating it with a layer of oxide , usually covered by a lead glaze .

tIt This process was of great importance in the history of ceramics . was apparently began in Persia and Egypt, and practised in Spain by tu Moorish potters from about the eighth cen ry onwards . The Hispano Moresque wares became very famous and exerted a strong inﬂuence w on the ceramics of Italy and of France . These lustred wares ere M brought from Valencia to Italy by ajorcan Ships , hence the name “ ” in . w t majolica became attached to them In France, ho ever, the enamelled wares were known as “fa 'ience after the Italian ceramic f t centre o Faenza . In Holland and England this type of po tery became

k w as . no n Delft, after the chief ceramic centre of Holland In the efforts of European potters to equal the perfection of Chinese tin - —in w onl porcelain , the enamel wares hich the resemblance is y a — superﬁcial one were merely a compromise . They did not stand close

c tt . omparison , and the po ing was usually thick Experiments therefore

- M continued , resulting in the soft paste of the edici factory in Florence 1565 C C M ( St . loud , hantilly, ennecy, Vincennes , and early

ev . ﬁ or its S res In these arti cial porcelains , glass ( component materials ) was used to combine with the white china clay and produce a fused

‘ tw o substance having translucency and resonance , characteristics of

tr t o - ue porcelain . With ime the fatal weakness of S ft paste , its liability il to k n distortion and spoilage , became fully known , and Shortly before ’ Pére d En trecolles wrote the ﬁrst of hi s tw o famous letters from China describin g the manufactu re of true porcelain ( 1712 and the

t er - German alchemist J . F . BOt g at Dresden achieved a true hard paste h n porcelain as made by the Chinese . T i s was o e of the greatest h ceramic ac i evements of all history . Soft-paste porcelain led by the path of experience to hard -paste t u se porcelain , the distinctive English con ribution being the of bone

ash to prevent kiln distortion . The discovery of china stone and china C Cookworth clay in ornwall by Wm . y before 1768 led to their adoption ’ in a - English ceramics , and although Engl nd s hard paste experiment, beginning with Plymouth and Bristol and endin g with the New Hall o n factory, pr duced little of great importance , the use of the Cor ish

materials gradually spread to all the English factories of repute . Thi s

9 caused the extinction of true soft-paste porcelain in England in or the about last quarter of the eighteenth century, and the creation of O u the characteristic bone china of England , which has retained its p p

- larity to the present day . It Should be pointed out that soft paste — porcelain was invented an d manufactured as the tin- enamel had been — Solely as an occidental imitation of Chi nese ceramics; there had been “ ” “ ” - - no Chinese tin enamel or Soft paste . It is generally believed that Chinese blue - and -white porcelain has had a more profound effect upon European ceramics than any other

l . C . hinese ware Whi e this is possible , it is by no means certain It might be said that no Chinese wares have made a greater impression h as upon European potters , nor there been one more easy to document,

I- i I- than the stonewares of hs ng . The hsing kilns are located in the o province of Kiangsu , not far fr m Shanghai . The characteristics of the

ar - ware are very distinct, and consist of a h d , close grained , and ﬁnely f a modelled red , black, or bu f stonew re , in shapes dictated by simple

c o . expedien y or gay flights of fancy, sometimes a combination of b th Precision of potting seems to be a feature inherent in I-hsing wares and the clay is so fine in grain that the very precisely modelled forms achieve their fullest possible distinction . Perhaps the most dramatic incident of the effect of I-hsing upon Eler l European ceramics was in the s ware . The E ers brothers were Dutch potters who came to England and established themselves before 1693 in Staffordshire where they manufactured Chinese - style coloured stoneware for a constantly increasing circle of customers . “ I- This Copied not only the material of hsing , but also in many cases t the Shapes , and in all instances the characteris ic potting . English difli cult potters , however, would have found it to equal the precision

I- W of hsing thrown forms by the use of the heel , and as the same precision of result was considered necessary, it was attained by the o f use of a lathe instead a wheel . The piece would no doubt be “ ” - u thrown on the wheel in the usual manner, and a ﬁnal truing p and

fitting of the lid done on the lathe before firing . Thus forms were pro du ced C t which were quite as exact as their hinese proto ypes , and often bore a striking resemblance to them . The trade knowledge of the Fi lm s brothers was spread throughout Stafl ordshire by Astbury and set Twyford , and many other potters to work making the ware , the demand for which was being rapidly built up by the spread of the I- n tea habit . Specimens of hsi g wares and English copies of them are included in the exhibition .

Pottery is an essentially practical substance; porcelain , on the other

1 0 hand , was frivolous in its usual forms . The greater the wealth and u leis re of the upper classes , the greater their interest in things new C and strange . It is not surprising, therefore , to ﬁnd hinese inﬂuence

more frequently and fully expressed in porcelain than in pottery . Small “ C - C C hinese and pseudo hinese ﬁgures were modelled , and hinese taste” in porcelain decoration led to the development of a wide range of designs extending from a true copy of Chinese motives through

various blends of these with rococo inﬂuences , and culminating in “ ”

h . c inoiserie , a style completely European in origin The pressure of Chinese inﬂuence upon Europe was much more m direct in ceramics than in any other art, but varied in intensity fro t country to coun ry and from period to period . The revival of the English East India trade under Charles II meant the ﬁrst important

impact of Chinese influence in England . The close contact with Holland ’ i M Ma dur ng the reign of William and ary, and particularly ry s extreme C i n fondness for h nese porcelain, as recorded by Joh Evelyn , meant an intensification of the Chi nese spirit in English pottery and o ther o I 11 arts . The t tal indifference of George and George caused a decline , C but owing to the influence of Thomas hippendale , Sir William C r saw hambers , and others , the middle of the eighteenth centu y the ’ widest expression of both true and false Chinese influence in England s i history . Th s was , of course , supported and encouraged from across C X V the hannel , where the court of Louis Showed great fondness for

such things . The remarkable phenomenon of th e establishment of at least eight important English porcelain factories in little more than

ten years gave Chinese inﬂuence a unique opportunity for expression .

Some of the products of this period are of great charm , and Specimens

are Shown in the exhibition . Among the many examples of oriental inﬂuence in the ceramics of Europe was the interest Shown in the beautiful white porcelain made in kil Té - O the ns of hua , capital of Fukien province . ther ceramics were

made there also , but for the purposes of the present study, the only Signiﬁcant type was that well-known White porc elain having the peculiar milky translucency which has been compared to the surface r blanc - man e textu e of g . It is one of the most popular single types of C t porcelain that hina has ever produced , and its populari y has held w r M ithout serious inter uption since ing times . The potting was usually r ve y good , the Shapes being imaginative , original , and yet showing

M - . a clear concept of line any beautiful white glazed cups were made , sometimes copied from cups of carved rhinoceros horn , and some “ ” of times plain form relieved by a poem incised in grass characters , a

1 1 r C streamlined fo m of hinese calligraphy . The best Fukien wares i e and ach ev d a remarkably subtle sophistication , the greater the dis crimination Shown by European factories , the more likely they were to h Copy t is beautiful porcelain . Probably all the more important early ukien factories of continental Europe copied F porcelain , and it was also Bow C Copied in England by , helsea , Worcester, and Derby . European copies were made sometimes in soft -paste and at other times in hard as paste ( true porcelain ) , but were glazed in such a way to retain much of the charm of the original ware , and they are consequently among the more desirable types of eighteenth century porcelain . It would seem likely also that some nineteenth century wares like l i Bel eek came about as a result of Fukien influence . These Fuk en n ot e C wares were only imitat d by Europe , but also by the hinese in other centres ; Ching - té Chén produced a large number of figures that seem to be inspired by and copied from Fukien productions . It is t seldom , however, that they achieved the full beau y of the original , “ ” which , under the name of blanc de chine must be considered among the most charming specimens of the kind that a casual collector would C be likely to meet with . Some specimens of the hinese wares of Fukien and of English and continental copies of them are shown in the exhi bition . Only a small number of types of Chinese painted porcelain seems C -té C e to have influenced Europe very much . hing h n , the porcelain c t i y, was burned down in the disorders consequent upon the end of M t 1643 the ing dynas y in , and after it was rebuilt seems to have pro du ced export wares for Europe to an important degree only from the ’ of was time K ang Hsi onwards . At this time the decoration more ’ C amille verte hinese in character, often reflecting K ang Hsi f , in

- a which green and iron red predominate . European rmorial designs amille rose seem to have come into use with the enamels of the f group , made from gold and related to European lustre pink . This type of decoration became popular in the reign of Yung Cheng ( 1722 a T Y particul rly under the supervision of ang ing , the greatest indi i hi vidual Ch nese ceramist in story . Later in the century it became C convenient to send much of the ware to anton in the white , there to be enamelled in designs and patterns furnished by the agents of the t importers , which naturally tended to produce a more western ype f o ware . The body material of these export wares ranges in quality from a a smooth , translucent, whitish paste to a badly potted and gl zed greyish a ware b rely translucent in any light . All types are likely to have the “ ” t C oily surface characteris ic of hinese glazes , and a greenish tint

1 2 r because of the presence of iron as an impurity . Dist ibution of these a wares was very wide . Europe was a large importer of porcel in until its own ceramic manufactures became developed . It then became an C i exporter, and the demand for the h nese wares declined , helped by a C heavy protective duty in some European countries . The hinese wares were widely copied in England , France , and Germany, and it is interesting t o note that in the early part of last century English C factories obtained samples of hinese wares made for Persia , copied them very accurately and Shipped the Copies to Persia in commercial i C w quantit es . Some of these hinese ares and the English copies are shown in the exhibition .

The manufacture of the export wares has never ceased , except for ’ ’ a short period after the destruction of Chi ng - té Chen by the T ai P ing 5 t rebels in 18 8 . Excellent copies of many old pat erns and shapes are made , and few large collections would be able to stand the test of a close and critical examination of their contents from the standpoint of probable date . An interesting chapter in the chequered history of “ ” C t hinese Lowestoft was writ en in modern Paris , whence the varied and colourful imitations of M . Samson have spread in a ﬂood over the world of art, few collections being spared the distinction of possess ing one . A necessary factor in a proportioned appreciation of Chi nese export i porcela n is to rate it as what it is , a meritorious and often artistic l uti itarian ware , and to avoid confusing it with ﬁne porcelain made only for beauty . These table wares were made for use in the houses

l - - r of the we l to do of foreign count ies , but they were made by men who believed that the cosmic architect Pan Ku carved out the world h the from primeval chaos with mallet and c isel , and that moon con

- e tains a fair lady, a cassia tree , a three legg d toad , and a hare pounding in medicine in a mortar . Although European and sometimes Islamic ﬂu ences are very evident in this ware , it is also deﬁnitely touched with ’ th e M i iddle K ngdom s peculiar glamour and charm .

Immi an d Kakiemon Porcelain in Jap an and in E urop e ONE of the oriental designs which has exerted an appreciable inﬂuence t upon European ceramics is the Imari ype . This , with its overload of i R g lding and rich colours , combined well with the English egency it C style , and even helped to determine . ertainly all the qualities that are found in highly decorated Regency porcelain are found at an in earlier period the Imari wares of Japan . The inﬂuence does not begin in Japan , however, and like many other Japanese styles found C M n its origin in hina . In the later i g dynasty , one of the most cele

1 8 ’ brated wares was the wu - ts ai ( ﬁve colour ) porcelain; a porcelain t a usually of good quali y, decorated with overgl ze colours without ’ i t wu - ts ai gold . There was l ttle attempt at subtle y in decoration; its

effects were secured by colour more than any other factor . These wares

- were sent to Japan , and the Japanese with their too frequent lack of restraint in art imitated them with even richer colours and profuse ’ wu - ts ai gilding . The subsequent decline of the style in Japanese ban ds

was the beginning of the Imari style . This style can hardly be said to s have had a heyday; it was begun under bad auspice , born of a failing t f cu lm in s yle which depended on surface decoration for its e fects , and ated in an unrestrained and materialistic school of decoration which tu deteriorated steadily . The middle nineteenth cen ry Imari porcelain made for export to Europe is probably the worst thing Japan ever

made in ceramics . Not all Imari is bad , however; it has the same and R virtues faults as English egency porcelain , and can be very e decorative at its best and in small quantities . As the prog nitor of the

- 8: B showy iron red and gold Flight arr Worcester porcelain , some e Spode , and a good deal of Derby, it has therefor played a signiﬁcant and not unworthy part in the history of En glish decoration . A gay and happy style of decoration in coloured enamels upon porce lain had its beginning in Arita porcelain , commencing about the middle

. of the seventeenth century It is associated with the artist Sakaida,

- Kakiemon . Always light hearted in spirit, it was decorated with prunus and cherry blossom , peonies and Chrysanthemums , phoenixes , quail and other birds , all lightly and gracefully executed in overglaze

of - enamels coral red , three Shades of blue and of green , yellow, and a a little gold . The ﬁrst impression that Arit porcelain makes upon the

- beholder is that it is Chelsea of the red anchor period . Indeed the C B ow resemblance to early helsea , , and occasionally Worcester can be so close that sometimes the Japanese origin of the Arita porcelain “ is only recognized from the body material . This was the old brown ” edged Japan of the English middle eighteenth century factory lists . Since all the Kakiemon wares exported to Europe went via the on Dutch factory the island of Deshima and arrived in Holland , one would expect to ﬁnd some permanent impress of style upon Dutch Bu ceramics . t most of the Dutch ceramics took the form of Delft

- tin enamel , and the gulf between the heavily decorated Dutch wares ,

r - given an opaque white su face with tin oxide , and the dainty trans

a . lucent porcelain of Arita was usually too gre t _to span An exceptional piece is a Dutch Delft plate in the exhibition with a typical Kakiemon design of quail . The reception of these wares in Europe was somewhat more than t M th e cordial . They were Copied ex ensively at eissen in early period , C and C and at St . loud hantilly, and very widely copied in English t ki porcelain . The great populari y of Ka emon designs in continental o 1740 porcelain began to wane ab ut , and in English porcelain they 760 began to be displaced by rococo designs before 1 . The decline in popularity of the Kakiemon school of design in European ceramics was probably due to greater familiarity with porce lain as a material and a consequent ability to use it to express the so rococo styles fashionable at the period . Few styles have produced many charming objects and so few ugly ones as the style identiﬁed

w k . ith Ka iemon , and it therefore deserves well of posterity m o f Speci ens Imari and Kakiemon wares are Shown in the exhibition ,

together with European porcelain inspired by them .

Tea an d its Effect up on E n glish Ceramics

Tea is like the East he rows in g , A great yellow Mandarin With urbanity ofmanner And unconsciousness ofsin; ll the wom en like a harem A , , At his pig - tail troop along; And like all the East he rows in , g , ’ P h r He is oison w en he s st ong . K CHE TERTON R . S G . , The Song of ight and Wrong

THE C use of tea in hina is of considerable antiquity, and literary

D. references to it are found in the third century A . Its u se was well l A D 61 — 06 estab ished by the T ang period ( . . 8 9 ) although probably e was th e limit d to wealthier individuals . It at this time that we ﬁnd i o product on of p ttery cups of medium Size with ring handles , shown in hi i the ex bition , wh ch are the ﬁrst presumable teacups known . Probably T many of the ang ewers now surviving were made for tea use , “ ” t al hough invariably labelled wine pots by archaeologists . It may be necessary to point out that the Chinese “teapot” was only used for th e C i hot water, and that h nese never made their tea in pots until t hey learned the habit from Europeans . The tea was made in the cup , C which was covered to retain the heat while the tea steeped . As hina cu - was tea requires long steeping , the p cover very necessary; as the C hinese never used cream or sugar, no containers for these were

- provided . It is debatable whether cup covers in China appeared much before the tenth century, but cup stands were probably made long C before this . Although the ﬁrst known hinese teacups have handles , they lost this feature in later times and the ﬁrst specimens exported to

Europe probably were without handles . Handles make their appear th e ance very early in the English scene , but handleless cup was made t becom to the end of the eighteenth cen ury . The latter type of cup is “ ” ing increasingly known as a teabowl , although this term is more correctly applied to Chinese and Jap anese bowls of much greater size . The M ercurius Politicus of September 1658 contained the following “ advertisement : That excellent and by all Physicians approved China C Tcha t Ta Tee Drink called by the hinese , by o her nations y, alias , co hee - R is sold at the Sultaness Head , a p house in Sweetings ents , by

R . the oyal Exchange , London It was some time before it became an n 25th . O 1660 Mr important article of trade September , , . Pepys records in his diary “1 did send for a cup of tee ( a China drink ) of which I never had drank before . The high cost of tea kept down its con ’ Mr e o . P s s o sumpti n , as in py time it was nly for the very wealthy, and

- more costly than most wines . Silver tea pots were ﬁrst made at this time . It is likely that silver posset or caudle cups were sometimes used to drink tea from , and these are occasionally found with chinoiserie 1664 C decoration . In the East India ompany made Charles II a hand of some gift two pounds of tea , as being a rare and costly novelty

1678 m m from the Far East . In hardly more than two long tons was i ported , which seems to have been more than the market could absorb . Towards the end of the century the demand for tea had greatly increased , and imports climbed to an average of about pounds ’ a year, and the price fell accordingly . In Queen Anne s time the price

- of tea had fallen to less than one tenth of its former price , and seems to have averaged about 16 shillings a pound . Queen Anne t eapots u t remained very small and the cups of that time are small also . B as C hina tea will stand much longer steeping , it is probable that without

t cu . waste , tea of fair quali y could be had for twenty cents a p This was

cheaper than wine and considered more elegant, although the tea of

that time might have seemed strange to our present sense of taste . C Since the English made tea in teapots and not in cups , the hinese ” teapot suffered a change in form after its adoption in England , the

- C - spout being usually set lower so as to retain the tea leaves . ream jug

- - and sugar bowl forms were invented in Europe , the cream jug being a very Simple one and the sugar-bowl usually a copy of a Chinese C t covered teacup . The teacup cover of hina became ranslated into the

English saucer, sometimes used to drink from , although this required

a good deal of dexterity . As the price of tea fell the demand increased until it became

sensational . Normally the traditional conservatism of the English

would have delayed its wide acceptance for many years , but it seems f to have ﬁlled a natural need . C o fee was also popular . As the Quakers

disapproved of both tea and coffee as being slightly intoxicating , they considered chocolate—which came into use shortly after—as being an

answer to their problem . In consequence they gave such support to the importation of chocolate that almost the whole trade passed into

their hands and has largely remained in them . Tea , however, was the t ff most popular drink in smart socie y . Since few families could a ord e i t . S lver teapots , pot ery ones were in great demand Demand creat s Elers C supply, and the fact that the brothers were making hinese style stoneware teapots at the time when the demand for tea was gaining force was a remarkably fortunate circumstance . Teapots of coloured stoneware in imitation of the I-hsing wares became the principal output of the Blers factory in Staffordshire and were shortly f t after made by many Sta fordshire pot ers . That so many of these should have survived two and a half cent uries of u se is a signiﬁcant

indication of the large number originally made . This anglicized stone

ware was ideal for tea purposes . It stood changes in temperature well ,

was potted with exquisite thinness , and has never been surpassed for u tea p rposes by any other material produced by the ceramic art . The

- - old lead glazed pottery was clumsy for such a use , and tin enamel R wares were almost always too thickly potted . The brown henish t stoneware did not stand sudden changes of tempera ure , and the “ ” Chi cream ware only came in somewhat later . The nese origin of th e tea was perpetuated in decoration of the teapot, usually consisting C of applied motives of real or exaggerated hinese character . On the authority of the great Linnaeus it was supposed that China tea consisted of Thea Bohea ( black ) and Thea viridis ( green ) as e 8 distinct sp cies . It was not until 1 48 that it was pointed out by R t obert Fortune that the difference was in process of manufac ure only, black tea being fermented and green tea simply dried . At ﬁrst green C tea was largely used in England , and tea ordered from hina in 1708 was about 75 per cent green . This tea has of course been for centuries C the most widely used in hina; in England , however, it became gradu

ally displaced by black tea . Th is was probably owing to the fact that tea green , because of its deceptively light colour , was almost always used in too strong an infusion . The entry of India into the tea trade a t was comp ratively late , and a cen ury ago the tea industry in India i was st ll a very new one . The ﬁrst important auction of Indian teas 1840 was held in , and included about pounds . An interesting

1 7 tradition in the tea trade attributes the English change of taste in tea to the fact that it was customary for householders to purchase China for tea for themselves and India tea the servants; the servants , how -C so — ever, preferred hina tea , and their employers drinking India tea it— without knowing ultimately formed a preference for it . The prin ci al wa p difference s in the length of steeping . India tea infused to the extent necessary for a good China growth becomes almost u n drink C as able; hina tea steeped India tea Should be is ﬂat and tasteless . C i - t The ﬁrst h nese tea caddies that came . o Europe were often made I- e of hsing stoneware of red, buff, or black, and Sometimes of por e

- lain . These were Copied by the English in pottery or salt glaze , the The latter often decorated with enamel painting . range of materials

M - widened very greatly as the cent ury advanced . ahogany tea caddies C o began with the hippendale period , becoming inlaid with ex tic woods k 1770 . after , and often made of satinwood , harewood , or ingwood They

- - were also made of tortoise shell , ivory and glass . Silver tea caddies , hr o often made in sets of t ee c ntained in a shagreen case, were made during the English Rococo period ( 1750 O ne important reason for changing from pottery to wood or Silver tea - caddies was that the R latter could be provided with locks . It remained for the late egency

- period to develop the pedestal tea caddy of mahogany, later of rose “ ” - wood , and often called a tea poy . The latter word , by the way, has n really no connection with tea at all , and is a corruption of an I dian word tipai ( tri pod ) usually applied to small tables of any kind . SPE DLOVE St . G . F . N EASTERN AND WE STERN TEX TILES

Chin a

’ HIN t t k C A S greatest textil e con ribu ion to the West is sil . How early th e ﬁ silk was known in West is not established , but by the rst century b C Mediter C . B . there was a ﬂourishing Silk trade etween hina and the

ranean . world It arrived in the West in skeins or as woven cloth, the greatest care being taken by China to guard the secret of its pro k f th e tu A . D. o duction . Not until Sixth cen ry was the nowledge seri t o C cul ure btained by the West, when two hristian missionaries smuggled out of the East and presented to the Emperor Justinian a quantity of silk- worm e ggs and information concernin g the processes k tu used to produce sil . Down through the cen ries the knowledge and e r has practic of sericulture spread th ough the West, and culminated in the great Silk industries of Italy and France . entre Ot The p of West and East was Persia , and it is here in the

Sassanian period ( third to seventh century A D. ) that silk weaving was

first done in the West, and here that we find the earliest influences of Chinese design ; but it is not until the fourteenth century that textiles C i o in the h nese style became at all c mmon , following the conquest Mofi of Persia by the gol Genghis Khan in the thir teenth century . C loud forms , dragons , the phoenix, the lotus , and the peony occur in u s many Persian textiles of this period . Probably best known to are the Persian medalli on and animal rugs of the sixteenth century which C if n abound with hinese mot s , the most famous example bei g the

Ardabil carpet in the Victoria and Albert Museum in London . The ﬂoral motifs were inspired by Chinese silks like that in the ﬁfteenth

century sutra volume with its peony design, in this exhibition . Very stylized and somewhat debased Chinese forms are also to be found ’ l n M in other oriental rugs . An example the useum S collections but not n h k n show in the ex ibition is a Usha rug of the eightee th century, though the design derived from ﬂoral forms and Chinese cloud bands k goes bac to the sixteenth century . It is not until the seventeenth century that Chinese art again inﬂu enced western textile design . Following the opening up of direct C t C trade with the East via the ape of Good Hope , a varie y of hinese t wares were impor ed into Europe . Unlike the textile designers of the earlier period who were inspired by Chinese textile design of that

period , the European designers of the seventeenth and eighteenth

1 9 very reminiscent of painted cottons from India made for the European a market at that time . Other examples of painted Silks th t have survived are those which were designed for or made into ecclesiastical vest ments . A fragment with a very rococo design , which may have been part of a vestment, is also Shown here .

India

INDIA has made two important contributions to European textile arts Th e chintz , and Kashmir shawls . inﬂuence of both is still apparent today . t com In the seventeenth cen ury, besides cargoes of spices and other m odities C brought from India by the East India ompanies , were quantities of colourful spreads and hangings made of ﬁne cotton with

- ﬂoral designs applied by means of painting and resist dyeing . These immediately took the fancy of fashionable Europeans , not only because so of their gay and very exotic designs , but also because they were w practical : their colours were fast and would wash well . They ere ” called chint or chitte , from an Indian word meaning spotted or “ i variegated , and it is from th s word that our word chintz is derived , t i and at h s time that it came into our vocabulary .

It was not long before the demand far ou stripped the supply . To tif rec y this , attempts were made in Europe to produce chintzes by i the qu cker and cheaper method of woodblock printing . These efforts were hampered by the lack of knowledge of Indian methods of pro

du cin . g brilliant and permanent colours , and the use of mordants A serious blow to the industry came in France in 1686 and in England 1700—1 1721 in and , when a ban was laid on the importation of Indian t was chintzes and the manufac ure of printed cottons . It believed that they were damaging the all -important French Silk and English woollen f r industries . Nevertheless their popularity continued and all e fo ts to

enforce the ban were given up in 1759 in France and 1774 in England .

During this period much successful research had been done in dyeing , and vast quantities of beautiful painted and printed cottons ﬂowed on the market when the ban was lifted . T hrough the generosity of Mrs. Harry Weam e the Museum has the very large and representative Harry Weam e Collection of Indian tt chintzes and French and English printed co ons . The pieces chosen from it for this exhibition il lustrate the most typical designs of the

period . Two main types are found in the Indian chintzes : those in

. 15 which the Indian Tree , or Tree of Life , is the central ﬁgure ( Fig )

- and those with all over ﬂoral patterns . The former were used for

21 i cu t hang ngs and bedspreads , the latter usually up and made into

dresses . A dress of Indian chintz on indeﬁnite loan to the Museum AS C w . is also sho n in hina , we ﬁnd the Indian craftsmen introducing tu so motifs of western origin into their designs . The lip , popular in

Holland in the seventeenth century, appears in many chintzes probably made for the Dutch market; borders of garlands of ﬂowers similar C 11 to that in the hinese embroidered hanging ( Fig . ) were drawn

- from French or English mid eighteenth century patterns . The bed 16 as . w . spread with heraldic devices ( Fig ) _ probably done for a

Special order with the design provided by the European agent . The European woodblock versio ns of Indian designs are most fre

- quently all over ﬂoral patterns of intertwining sprays of exotic ﬂowers . Some are large and bold in treatment and probably used for house

. O l i furnishings thers , like the detai in a panel of a sk rt ( Fig . were small and delicate . Indian designs were also a source of inspiration to English em d broi erers during the seventeenth and early eighteenth centuries . B esides the painted cottons , there were also imported from India magniﬁcent embroidered hangings in Similar designs worked with

so- silks in very ﬁne chain stitch . It is from these sources that the called k One crewel wor of the late seventeenth century developed . very ﬁne ’

h . example is Shown in t is exhibition . It is a man s waistcoat ( Fig Most of the embroidery is in chain stitch and the design of exotic flowers and peacocks has obviously been taken from an Indian chintz or embroidered hanging . Another group of Indian textiles which had tremendous influence 2 o as in Eur pe was Kashmir shawls . They were imported by the E t India Companies as early as 1685 and used as tablecloths and bed t spreads . It was not until the second half of the eighteenth cen ury that they became fashionable as wearing apparel . The design in the earliest examples was limited to a border of repeated floral sprays springing from a central stem or a vase . By the eighteenth century the sprays had become a close mass of flowers and foliage within a

- tu cone form . The rose red Silk shawl of European manufac re in this exhibition illustrates this design most clearly . It had its origins in S a Persian afavid patterns , introduced in K shmir design in the Six teenth M t century, at the beginning of the ughal dynas y which brought tu Persian cul re to India .

2T h he author is indebted to Jo n Irwin, Assistant Keeper of the Indian Museum , “ V u 1950 ictoria and Albert Muse m , for his article on shawls in the Christmas Countr Li e Number of y f .

FIG . 1 1 . e 1 8th S . e a Hanging , Chin se , century Embroidered in ilks on y llow s tin . P e th e e 1 57 robably mad for Portugu se market . . FI 12 G . . 1750 FIG 1 . . 8 . a 1 8 Dress , English , about Waistco t , English , early th 1 5 . 9 . Made of Chinese painted silk century . Quilted linen embroidered with S 1 6 . 9 v coloured ilks and gold thread .

FIG 14 . . Of e 18th Detail skirt panel , French , third quart r of the n . m 1 68 ce tury Polychro e woodblock print on cotton . .

- - I 18 . FIG 17 F G . , . . Buddhist reliquary of lathe turned Buddhist charm block printed 177 8th A D . . , wood . Japanese , century on paper found within the reliquary

8th A D . 178 . ( Fig . Japanese, century

20 . FIG . . Ebony and ivory cabinet Made in South India , probably for the — 1 99 . 17 18 . Portuguese trade . Late th early th century 2 1762 FIG . 1 . A china case , designed by Thomas Chippendale about hi Dire r s cto . and illustrated in the third edition of English , made about f 1 208 the middle O the 9th century . . The Indian shawls were very intricately made . They were woven in a twill weave with the design in tapestry weave in the basic twill set-u f p . In tapestry weave the weft threads of di ferent colours are woven back and forth only where required by the design . They are f the only. weft thr eads and form the body o the cloth as well as the design . It is a very Slow and exacting weave, and this , added to the Con se cost of importation , made Kashmir shawls very expensive . ’ quently we find in the l 780 s European industry attempting to produce e a Similar but cheaper articl . This began at Norwich in England , but the most celebrated factory producing shawls in the nineteenth ’ tu 814 1870 s . 1 cen ry was in Paisley, Scotland From to the when the t fashion for Shawls died , vast numbers were woven at this fac ory, its name becoming synonymous with shawls . In general effect Paisley shawls look much like Kashmir Shawls but on examining the back it will be found that the pattern threads have been woven across the cloth from selvage to selvage . Areas where long skips occur have been cut away to give a tidier and less bulky appearance . From the beginning of European manufactur e of shawls the design underwent considerable change . It became more stylized , more elabo rate, and covered a great deal more of the shawl , developing into w t hat is more the ypical Kashmir and Paisley design . This change stems from the European merchants’ demands for greater variety in o design, and the imp rtation into Kashmir of European patterns in the is im Indian manner, considered suitable for shawls . It therefore possible to tell where Indian design ends and European design begins i h e dur ng the nineteenth century . T ree nineteenth c ntury examples w i : are sho n in the exhibit on an Indian woven shawl , a Paisley woven shawl , and an Indian embroidered Shawl , all with very similar designs . Th e earliest embroidered shawls from India date from the beginning i h of the n neteenth century . T ese were for the most part imitations of woven shawls which had become more complicated in execution and frequently woven in a number of pieces and sewn together . In Europe the Shawl industry produced cheaper articles by means n n k of pri ti g , both on wool , on fine sil gauze , and on silk and wool gauze . The gauze Shawls were very light and filmy and much in demand for summer wear .

. B B ETT K . R THE INVENTION OF PAPER—CHINA’S GIFT TO THE WEST

Ra s m ake a er g p p , Pa er m akes m one p y, Mone makes banks y , Bank make lo ns s a , Loans make be ars gg , Be ar make ra s gg s g .

IN to a cycle Similar the transformation of rags to paper, and paper t to rags , do cul ural developments , in this one world of ours , pass from and East to West from West to East . An imperative need was responsible for the invention of paper C making in China . During the several ce nturies before hrist when the art of writing was becoming perfected and an extensive literature was of k developing, slabs of bamboo and pieces sil were the chief But materials used for preserving the written word . books written on bamboo were inconvenient to u se and heavy to transport . It is said that the old philosophers to ok with them several cartloads of bamboo books for their “summer reading” when they travelled from place to

e . O place . Silk was too expensiv for ordinary use in writing books nly the officials and the very wealthy could afford it . Some new material for writing , cheap and easy to use , became urgently needed . 0 — 2 6 B . C . A . D 220 In the history of the Han dynasty ( . ) it is recorded ’ Y a - ii n A D . 105 that in the first year of the hsing period , , Ts ai Lun , a minor official of the emperor, made a report to his master on a method a of making p per . This is the generally accepted date for the invention

- C . of paper in hina Thereafter, with surprising speed the paper making hr C industry spread t oughout all hina included in the Han Empire . It is hard to estimate the importance of thi s invention to China and to the world . It made possible the production of literature in great quantities and in convenient form . It gave to the printing presses , when they came into existence , a material that brought the printed book within the range of the most modest purse . The journey westward of the paper -making industr y to Western s Asia , Egypt, and Europe , is one of the most fascinating tories in C early hinese cultural history . Discoveries during the last four or ﬁve decades of old books and records along the Old Silk Road enable us to plot its progress across Asia with amazing accuracy . When the Arabs defeated Chinese armies near Samarkand in the extreme west C A D. 751 of Turkestan in , they captured several hinese soldiers who

were skilled paper makers . Soon the industry ﬂourished in that district.

Then it passed farther westward through the Arabic world to Syria , u then to Egypt where it displaced papyrus about the tenth cent ry . When the Mohammedans were in control of the coast of North Africa h and Spain the kn owledge of paper making spread across t at territory . The ﬁrst record of paper being manufactured in Europe comes from

150 . Spain and is dated A D . 1 It reached Germany in time to supply the eflicient newly developed Gutenberg Press with an , economical mate of rial . Something its importance to Europe at this time can be estimated when it is realized that the parchment for an early Guten berg bible required the skins of no less than thr ee hundred sheep . M 1494 anufacturing of paper began in England in , eighteen years after Caxton had set up the first printing press in that country . About 1690 two centuries later, in the year , paper was made for the first time i on this side of the Atlantic, at Ph ladelphia . Still another hundred set C years were to elapse before the first paper mill was up in anada , M 0 ar 18 8 . at Saint Andrews East, ne ontreal in A small cairn bears the following inscription The rst a er mil Andrews E st in fi l in Canada was built in St . a p p , 1 808—5 b a rou o New En landers and later o erated b am es y g p f g , p y J Brown stati r one o Montreal . , f Th e k n as C first paper mill in what was then now Upper anada , or O ’ 2 u C C 18 5 . ntario , was set p by James rooks in rooks Hollow in Crooks earned the bounty of £ 100 offered by the government for the

ﬁrst paper manufactured in Upper C anada . Only a few days later John Eastwood and Colin Skinner made paper in their mill on the R h Don iver and the Government, in recognition of t eir work, remitted the duty on their equipment imported from the United States of

America . From such small beginnings has grown one of C anada’s greatest industries . Its extent and importance can be realized when we note 1987 a that in , pounds of p per were produced per annum for ou r every man , woman and child within Dominion . ( We have included in the exhibition a series of photographs taken ’ ’ from T ien Kung K ai Wu Showing the Chinese method of paper k 1 . 9 ma ing Fig . illustrates the bamboo pulp vats . )

M L Y L . C . WAL S E THE CHINESE S TYLE IN EUROPEAN FURNITURE OF THE EIGHTEENTH CENTURY

WHILE it may be said that there was a constant pressure of Chinese inﬂuence upon European furniture styles for much more than a full century, it is certainly true that it has been much greater at some Th times and places than at others . is pressure has , of course , been the determined by the foreign relations of country concerned , its a d l policies n its prosperity . Thus in Ho land the activities of the Dutch East India Company were so extensive and enduring that it is not surprising to ﬁnd a greater effect upon furniture and decoration than in other countries which had fewer eastern contacts . The Dutch East C 1600 India ompany was founded about , and at the height of its prosperity it is said to have had ten thousand soldiers , two hundred merchant vessels and forty warships . This was the greatest investment “ ” in the India trade that any country had , until the eighteenth century development of the English “John C ompany” on the mainland of

. O w India riental inﬂuences in Dutch art ere therefore very strong , and frequently reiterated .

Another country very deeply touched by the Chinese style was France . Cardinal Mazarin was one of the most important early patrons of C i h nese art in France , and the inventory of his collection published 165 in 8 shows a large number of Chinese objects . Twenty years after ’ ’ wards the Inventaires generaux des m eubles de la Couronne mention

m tu . a nu ber of pieces of furni re such as chairs , screens , etc covered w C C . ith hinese fabrics , and some hinese porcelain It was also in the time of Louis X IV that the spread of the Chinese style was helped by the popularity of oriental porcelain vases as ornaments . Porcelain u se dishes became popular for serving fruit, and their increased very 1689 greatly after the edicts of and the following years , calling in all ’ silver plate to the mint, where the King s own household Silver had already gone . Le M ercure de France for February 1700 records that Louis X IV M gave a grand ball at arly, commencing with a divertissement called “ “ ” Roi i C C . Le de h ne The King of hina was carried in a palanquin , C preceded by some thirty Chinese musicians and singers . The hinese t s yle became extremely popular in France , and attained its maximum tu European popularity there in the next half cen ry . This was for several reasons . It made a natural appeal to the mercurial tempera ment of the French people , and the love of novelty of the irresponsible “ C : French aristocracy . It was of these people that arlyle said The aristocrats laughed at the ‘ Contrat Social’ but their Ski ns went to ” bind the second edition . They were firm in their refusal to face t - C reali y, and preferred to live in a dream world of hinese pagodas , sin eries . g , and Watteau creations Another favouring circumstance was the extraordinarily high tech é é - mical ability of the French b nistes ( cabinet makers ) , decorative M . painters , and metal chasers at this time uch of the freedom of expression of Chinese taste in France at this period comes from the fact that its interpretation in furniture and woodwork was executed by the most skilled men that the history of western craftsmanship One records . man whose name has been particularly associated with — chinoiseries was Jean Pillem ent ( 1728 1808 ) who published several “ ” books of Chinese designs . Of more immediate interest to the average person in this country a is the effect of Chinese influence upon England . It w s Elizabeth who C 1600 granted the charter of the English East India ompany in , but the early policies of the Company were not sustained with the same C vigour as in later times . The first important impact of hinese influence AS upon English furniture comes in the reign of Charles 11 . is usual

in h is . such cases , t is not accidental All the circumstances of life in England at this time stimulated an interest in foreign styles and

- exotic manners . England was undergoing one of the most far reaching

changes in manners and mode of life in its history . The interest of Charles II in the East may have been partly because of the rich dowry C B O of atherine of raganza with its territorial possessions in the rient, “ ” i and th e many India cabinets from Ch na and Japan . Another reason may have been a need to build up English prestige in competition

with Portugal and Holland . The ﬁve charters granted by Charles 11 to the English East India Company were comprehensive in their

range and generous in terms . This amounted to a virtual reconstruction

of the English effort to extend a sphere of inﬂuence in the Far East . ” It is not surprising that we ﬁnd India cabinets of lacquer appearing

in England at this time . A frequent combination was an oriental lacquer cabinet set upon an elaborately carved and gilded stand of

English workmanship . The Chinese and Japanese lacquer cabinets ri were st ctly for export, and not for native tastes . They were , of the t course , lacquered with traditional na ural varnish obtained from R em icifera the lacquer tree ( hus v ) . This was reﬁned and evaporated to a natural varnish that was almost insoluble and capable of being C i coloured with various pigments , the most frequent being h nese

V ermilion . The export pieces were often given less than the usual

” of the Gothick and Chin ese frets Shown in the 1762 edition of the Director makes it evident that Chippendale was not able to establish M Direct r any difference between th em . any of the o designs Show an element of Gothic combined with a preponderance of Chinese motifs .

The result has been in England , as in France , to create something t which is almost an original s yle . It is true that its authors did not c laim to have originated it; it is also true that it would have been vigorously disowned by the country of its supposed origin . The time has come for a new naming and classification of the European t O chinoiserie style , a s yle always fanciful , ften fantastic , lavish , and extravagant, yet often with an undeniable charm and appeal . It can be said of this style as of all rococo that it is only great in the hands of a master . England has seen very few masters of rococo; Thomas C be hippendale was one of them , but it would difficult to find a close C second . No discriminating critic would ever claim for hippendale the X V sheer genius of the best men of the Louis school; he was , however, a man of very considerable ability and worthy of much respect . The Chinese style went into eclipse not long after 1765 in both

France and England , as it had no longer the strength to compete with t the awakening interest in classical art, s imulated by the discovery of o Herculaneum and of P mpeii and of large numbers of classical vases . After Neo -Classic turned to Empire and the latter style began to

saw C . wane , England a brief revival of hinese taste This was not seen th e at its best, since period was not a vigorous one . The imitation bamboo furniture and Similar pieces made for the Royal Pavilion at Brighton when it was refu m ish ed by John Nash in 1819 had all the bad characteristics of nineteenth century design in China . The Vic t C torian s yle was little affected by hinese motifs , but borrowed from m al ost all other cultures and periods impartially . G . St . O F . SPENDL VE CATALOGUE

Ceramics

C 2 9 . 80 128 t ases to , nos to of this catalogue, are illus rated in 1 8 Figures to .

SE 1 - CA 8 . PLATE , hard paste porcelain ,

with blue painted design, related to the

- 1 . . PLATE, hard paste porcelain , English Willow pattern Chinese export 18th— 1 9 with mosaic pattern Sim ilar to that of ware, late early th century .

see . 916 an English Copeland plate ( No . D 19 Chinese export ware , th cen i h n d in g a o inen a tury . Found Iran . En l s C nt t l

9 1 - . 988x 8 1 9 . t D PLATE , tin enamelled pot ery

- 2 . . PLATE , hard paste porcelain , with painted chinoiserie design Dutch, 1 am ille v erte , 8 . painted in a f design . Delft early th century 5 " . 183 1700 . D Chinese export ware, about Gift r 10 - of Har y A . Norton, Esq . . PLATE , tin enamelled pottery ” . 615 t n D wi h painted chinoiserie desig . Dutch ,

- 17 18 8 , . . DISH, hard paste porcelain , with Delft late th or early th century v D . painted grape ine border, probably see 1 1 - copied from a Worcester design ( . PLATE , tin enamelled pottery

No . Chinese export ware, early with painted chinoiserie scene . English, h ’ 1 . . 9t . century Gift of Mrs Homer A Joseph Flower s pottery, Bristol , about 1 . 760 . o o Thompson Mary L uise Clarke C llection . " " 7h . 1836 D . D

12 - 4 Two E . . KNIV S , with handles of PLATE , hard paste porcelain , Chinese porcelain painted in a famille with decoration v ery similar to that of

v erte . design European steel blades , a Chinese export plate ( see No .

18 . c 19 th century Russian, Mos ow, th century . Found ” l - 2 l ié . L . in Iran

5 - . PLATE , hard paste porcelain, 1 T s 8 . found in Iran . he design is clo ely PLATE , stoneware, with printed related to that of the Russian export design apparently copied from a Chi

plate ( see No . Chinese export nese porcelain plate made for the

19 r . see ware, early th centu y Persian market ( No . English, " 10 - 18th D . Copeland, probably mid century .

- . 6 . Found in Iran PLATE , hard paste porcelain, 836" with enamel painting and gold in a D . 14 design closely related to that of a . PLATE , stoneware, with mosaic i Copeland plate ( see No . Ch nese pattern closely related to that of a See export ware , made for the Persian Chinese export ware plate ( No . m 1800 . 1867 arket , about English, Copeland, about or ” 9 . D . later 9 - D . 7 . TEAPOT, hard paste porcelain , - w 15 . ith underglaze painted design copied PLATE , soft paste porcelain, with from an English chinoiserie transfer chinoiserie design painted in enamels . r l print . Chinese expo t ware, second half English , Liverpool, workshop of Wi liam f — 18 u . 1755 60 . of the th cent ry Cha fers , about " " 6 . 834 H . D 1 6 - 1750 . PLATE , tin enamelled pottery, ley ﬂowers . Liverpool , about with painted chinoiserie decoration . Mary Louise Clarke Collection . " 17 . 1834 English, Lambeth , late th century D . 734" D . 26 - . PLATE , tin enamelled pottery - 17 . . i PLATE , soft paste porcelain The with painted ch noiserie design . Liver 1 750—60 e grapevine border in enamels and gold pool , about . Mary Louis i is closely related to that of a Ch nese Clarke Collection . " see . , 13 export plate ( No English D .

, 1 8 . Worcester late th century Gift of 27 - . PLATE , tin enamelled pottery . A A . Mrs gar damson t attri 7 wi h painted chinoiserie design D . buted to Michael Edkins . Bristol , about 1 8 . E , , PLAT stoneware printed in 1 760 . . ’ Mary Louise Clarke Collection ” S P P , 1335 pode s eacock attern almost an ex D . act copy of a Chinese famille rose 28 - 1 14—25 . PLATE , tin enamelled pottery . 8 . design English , Spode , Gift with painted chinoiserie design in Es . of Ronald Copeland, q colours deriv ed from fam ille v erte D . 18 . porcelain . Dutch , th century Mary 1 S i 9 . OUP PLATE , wh te pottery with Loui se Clarke Collection . underglaze blue print in a Chinese 14 " D . 1 8 u . design . English , late th cent ry ” 2 tin - 9 . 935 PLATE , enamelled pottery D . 20 S with painted chinoiserie scenes and . OUP PLATE , stoneware, with border which suggests the Chines e printed chinoiserie design known as - 1760 “ ’ ” cracked ice design . Bristol , about . Spode s Landscape . Spode, about 1805—10 Mary Louise Clarke Collection . . Gift of Ronald Copeland, 1 17i " D . Esq . 9 D . CASE 2 21 CU P AND G . SAU ER, bone poree t i lain , wi h underglaze printed chinoiserie Ch nese

l - t . 80 B orce E , . pat ern of Wi low type nglish early LI ATION CUP , hard paste p

19 . of o th century lain , with creatures the z diac 5 ” . Of . 51 m H cup D of saucer moulded in relief . For in imitation of

hin eroceros r . 22 r , . a ho n cup Chinese PLATE , stoneware with printed

k 1 8 . i Fu ien ware , th century chino serie design, related to the Wil ’ “ 5 . . L low pattern Spode s New Stone , 18 10—15 3 1 B - made about , for export to the . LI ATION CUP, hard paste poree

Near East . lain with moulded relief decoration

. 1 0 a D including goat, a crane , a crab

28 - . F . PLATE , tin enamelled pottery, and two pine branches orm in imita with polychrome painting deriv ed from tion of a rhinoceros horn cup . Chinese, h 1 u . h am ille v erte , 9t f . D , Fukien ware cent ry C inese porcelain utch " 1 8 . 4 th century. Mary Louise Clarke Col L

. - 2 . 3 . lection FIGURINE , hard paste porcelain

. 1334 D Kuan Yin with two attendants . Chinese , - 1368 24 . ( PLATE , tin enamelled pottery Fukien ware , Ming dynasty with polychrome chinoiserie painting 1644 734" derived from Chi nese famille v erte H . 1 . 8 ur D , . 33 LrB A TION - orce porcelain utch th cent y Mary . CUP, hard paste p o l i L uise Clark Co lect on . lain with prunus sprigs moulded in 14 " D . relief . Form in imitation of a rhino 2 - 5 . a r . i PLATE , tin en melled pottery ceros ho n cup Ch nese , Fukien ware , w ai e s w i 1 ith p nt d de ign sho ing Ch nese 7 . “ early th century azacker 3 inﬂuence and known as the F L . s an d i 4 a 5 . Engli h Cont nent l BOWL , marbled in brown and

- . 84 . U . W FIG RINE , soft paste porcelain hite clay with transparent lead glaze — ’ 5 , n 960 1760 6 . ( Bow, about Chinese T ang dy asty ” 794 . 3 H . D V H 85 . CO ERED C OCOLATE CUP AND g i i a - re En l sh and Cont nent l SAUCER, soft paste porcelain with 4 6 . T EAPOT AND COVER , moulded lief decoration in imitation of white “ ; l ukien . pottery so id agate ware in brown S , F porcelain aint Cloud about ’ 1 30 g T 7 . and cream clay resemblin the ang ’ ” r hi ldon . W e f 4 E , , O . 3é H . cup D of saucer ma bled wares nglish 1740—60 950 78a- c . . 634” 8 6 T F F H . . EACUP, CO EE CUP, AND - 4 - 7 . SAUCER, soft paste porcelain, with BOWL, red brown pottery with S in prunus sprays in relief, howing the dark brown surface marbling under a hieldon ﬂu ence en . W uki . of F ware Bow, about transparent glaze English , , - 1 0- 0 75 6 . 1 750 5 . . 5 . about Gift of R Willis , Esq

D . teacup saucer 2 5 " —8 . 1 coffee cup 48 . CU P H AND SAUCER, red stoneware 37 R - . FIGU INE, soft paste porcelain ( r osso antico ) with glaze on interior of 1760 . , cu 18th ﬁgure of Neptune Derby about p . English , Wedgwood , late 70 U . . nmarked century . Gift of Mr . and Mrs . Gordon 1 " . 8 H Conn . - " 38 . Two H ND O v 5 A LED B WL, with co er, H . of cup D . of saucer hard- paste porcelain with rococo relief 4 T 9 . EAPOT, with stand , moulded 1 76 1—70 “ ” border . Berlin, . pottery of solid agate ware in blue, l . Tota H E n . yellow, brow and cream nglish, SW - 39 . EE E IS , - TM AT D H soft paste Whieldon 1740 60 . ,

, 5 porcelain the shell form copied from Total H . contemporary silver . Chelsea , with ” T - 50 . 1 745—50 EA CADDY, marbled pottery, k , . mar of incised triangle about x 2 4 ” Obtained by mi ing colours in the lead D . 1 glaze . Applied relief decoration of a 40 - . KNIFE with hard paste poree - Chrysanthemum bud . Tortoise shell lain handle decorated with prunus v Whieldon 1750 h co er . English, , about 18t . sprays in relief . Meissen , century 60 .

English steel blade .

SE 4 CASE 8 CA i e Chin ese Ch nes - 5 1 . 4 1 f . WL , hard paste porcelain . BO EWER, bu f pottery . Lead glaze 960 Chinese , Ting ware, Sung ( streaked with brown and green . ’ 4 618 D . Chinese , T ang dynasty ( - 1 1 52 . , H . VASE hard paste porcelain with

, 42 . w relief and incised decoration and gilt BOWL , marbled bro n and buff ’ . , , S . metal rim Chinese Ting ware ung pottery, with lead glaze Chinese , T ang 6 18 T ( 960 ( Gift of C . . Loo , Esq . " 994 876 . D . of lip H

- 43 53 . ; . . S , VASE , cream pottery Lead DI H hard paste porcelain n - d glaze streaked with yellow and brow , lozenge shape , with ﬂoral decoration

. T r , producing a marbled effect . Chinese, moulded in relief Chinese, ing wa e T’ ang ( 6 18 Sung ( 960 " 4 . 6 H . L

44 . CU P ff 4 5 . , light bu pottery with COVERED BOWL, white stone ’ - i T . yellow brown glaze, Ch nese, ang ware with transparent glaze Chinese, 6 18 960 ( Ting ware, Sung ( —3 . 2% 3 H D . 55 - a 1 8 . VASE , hard paste porcelain , J panese, probably th century . Gift in made two sections , with incised of Miss Alice Boney . 594” decoration and gilt metal lip . Chinese, L .

960 - , ( 65 . Ting ware Sung DISH, hard paste porcelain with 10 " H . 8 Kakiemon design in polychrome enamel

56 - . , A , . DISH, cream coloured stoneware painting Japanese rita ware mid 1 7 th century . with impressed ﬂoral design under ” . 634 . D white slip and glaze Chinese, Ting 60 66 S - 9 . ware , Sung ( DI H, hard paste porcelain with 9 a D . about K kiemon design in coloured enamels .

7 - , A , l 5 . Japanese rita ware ﬁrst ha f of the BOWL , hard paste porcelain with 1 8 r . impressed design of birds and waves . th centu y Gift of Miss Helen i 960 Norton . Ch nese, Ting ware, Sung ( 734” D . D . - 67 . CU P , 58 L - hard paste porcelain with . BOW , hard paste porcelain with Kakiemon design in polychrome enamel impressed design of birds and waves . hi 960 painting . Japanese, Arita ware , mid , T , S ( C nese ing ware ung 17 h t century . D . 235" D . English and Continenta l Engli sh and Continental

- - 5 i 68 . 9 . PLATE , wh te salt glazed pottery SAUCER, soft paste porcelain , w ith border design copied from con foliated form , with Japanese Kakiemon

1750 . S . E , . pattern painted in enamels Chelsea , temporary ilver nglish about — - Mottah edeh s 1 749 58 . Gift of Son . raised anchor period, about 5 ” " 93 . 494 D. D

U P - 60 - 69 . C S , . VASE , salt glazed pottery with AND AUCER soft paste applied relief decoration showing porcelain, with painted decoration in — in 1755 60 , Chinese inﬂuence . English , . enamels and gold showing Japanese ﬂ Gi u ence . , , ft of Mrs . Frank A . Rolph . English Worcester about ” 1 6 — 18 7 5 75 . . . . . 949 2548 Gift of Mrs Y Tweddell H ” " Of . 8h , 5X3 6 1 EA P OT A ND - D cup of saucer . T COVER, grey white 70 - stoneware with salt- glaze and relief . PLATE , tin enamelled pottery

. with polychrome painting of partridges decoration painted in enamels English , 1740- 60 about . in imitation of a Japanese Kakiemon de 4 " see 74 t 43 ( . , H . sign Nos and Dutch wi h a of Au uste n Re en 1 668 monogr m g y y g , 2 - 6 . DISH, hard paste porcelain, with i or later . decorat on of peonies in the style of 10h ” ’ D . Sung ying - ch ing ( shadow blue ) p orce 1 - 7 . VASE , soft paste porcelain, with . 1720 in lain Meissen , about , with cised oh ann eum painted enamel decoration in the style mark of the J Museum . of Kakiemon . French , Chantilly, about Gift of Harry A . Norton, Esq . 1 725—40 . . . 835 A D . Gift of Harry Norton H .

72 CUP - CASE 5 . AND SAUCER , soft paste porcelain with polychr ome enamel Chine se painting in the Japanese style . Wor - - 68 . CU P cester 18th , hard paste porcelain with , mid century . polychrome overglaze decoration . D . of cup of saucer about 5 1en 178 6 f Chinese, Ch Lung ( Gi t f O . . Mrs H D . Warren . 78 - . PLATTER , soft paste porcelain, D . with enamel painting in the Kakiemon

- manner . Chelsea , red anchor period, Japanese 1758—5 about 6 . Gift of the Ceramic - 64 . — S , 1984 85 DI H hard paste porcelain with Art Group , . k Ka iemon pattern in coloured enamels . L . 4 U P - - 7 . C S , 84 . AND AUCER hard paste PLATE, tin enamelled pottery t porcelain, wi h partridge pattern with painting in blue which closely re painted in enamels in imitation of sembles a Chinese exp ort plate made

see . 70 th e Kakiemon designs ( Nos and for Dutch trade ( see No . 1 8 Meissen, second quarter of the Dutch, Delft, early th century . ” 1 8 . 1 134 th century D . ” — 494 5 - . D of cup of saucer SAUCER , soft paste porcelain 7 - 5 . TEAC P, soft paste porcelain with chinoiserie painting in underglaze U — i . 1751 88 . with enamel painting in the Kak emon blue Worcester, 435” D. style . French , possibly Chantilly, about — s 1 725 4 0 . . E . 6 , 8 . Gift of Ralph M Chait q PLATE , hard cream pottery with 8 34" D . chinoiserie painting in underglaze blue “ ” 76 - n so- . SAUCER, soft paste porcelai , including a called Long Eliza i with enamel painting of partridges in ﬁgure . English, probably Br stol, second Of 18 ur imitation of a Kakiemon design ( see half the th cent y . 0 1755 NOS . 7 and English, Bow, 87 T - 60 . . . . Gift of Major R A . Willis EAPOT, soft paste porcelain, " 435 - D . with transfer printed chinoiserie deco a r tion in underglaze blue . Worcester, SE 6 1759—98 ur CA . Gift of Mrs . Jean B . D land . 536" Chine se H . 8 - 8 . 77 - S , . VASE , hard paste porcelain with AUCER soft paste porcelain underglaze blue decoration . Chinese, with chinoiserie painting in underglaze 1751—88 Ming dyn asty ( 1868 blue . Worcester, . 5 ? ” 1 1 . 9s H . D ‘ Two R s 89 . 7 - FO KS , with steel prong 8 . VASE , hard paste porcelain with - and handles of soft paste porcelain . underglaze blue decoration . Chinese ’ 1 8 1662 Bow, third quarter of the th century” export ware, K ang Hsi ( —2 L . 7 H . 7 U G - i 9 . J , hard paste porcela n with CASE 7 i underglaze blue decoration . Ch nese, ’ i Ming ( 1368 Ch nese ” 0 T 9 . 1 0 EAPOT, red stoneware, with H . grapevine decoration in relief . Chinese, - 80 . E , PLAT hard paste porcelain I- Chén 1728 hsing ware, Yung g ( t . wi h underglaze blue decoration T 7 6 " otal L . 1 17 . Chinese , late Ming, th century 1 . 9 . T 10 909 10 1 TEAPO , red stoneware Chinese, D . - I 18 . hsing ware , probably th century 1 - " 8 . E , , 635 PLAT hard paste porcelain Total L . with underglaze blue decoration , made 2 9 . TEAPOT, black stoneware, with for the Dutch market and similar to I- ’ metal handles . Chinese , hsing ware, 4 1 662 ’ 8 . No . Chinese, K ang Hsi ( Ch ien Lung ( 178 6 6 " Total H . . D 3 re 9 . TEAPOT, red stoneware , with i an d in a - I . g . En l sh Cont ent l lief decoration Chinese, hsing ware - 82 . e 1723 PLATE , tin enamelled pottery Yung Ch ng ( w T 68 " ith blue painted decoration including otal L .

. , , 4 9 . Chinese symbols Dutch Delft late TEA T, , — PO red stoneware in 1 7 18 . I- th early th century foliated form . Chinese, hsing ware, 1035" D . Yung Chén g ( 1728 6 " - T 61 83 . . TEAPOT, soft paste porcelain , otal L a 5 re 9 . with chinoiserie p inting in underglaze TEAPOT, red stoneware , with - 1750 I . blue . English , Lowestoft, about lief decoration . Chinese , hsing ware 70 hén 1 2 . Yung C g ( 7 3 5 ” . % 8 15 H Total L . - 6 T . 105 . 9 . EAPOT, brown stoneware DISH, hard paste porcelain, with I- n 18 Chinese, hsi g ware, probably th decoration in underglaze blue , enamels

. tu . cen ry and gold Japanese , Imari ware , about

6 1 5 1 840 . l V an . / Total L Gift of Sir Wil iam Horne,

g i i al ” En l sh and Cont nent . 1 1 946x44 1 D . 7 EA P OT 9 . T , red stoneware, with 106 - . DISH, hard paste porcelain, with chinoiserie designs in countersunk re polychrome decoration and the char ElerS 17 . g , , lief En lish ware late th cen acter shou ( long life ) in underglaze S n tury , howing the i ﬂuence of the . 19 blue Japanese export ware, early th - I si . h ng teapots . r ” century Gift of Miss Helen No ton . 814 ” . 935 H D .

98 . TEAPOT, red stoneware , with g chinoiserie designs in countersunk relief . En lish - Blers 1700 1 07 . English, ware , about , show BOWL , soft paste porcelain , with - in g the inﬂuence of the I hsing teapots . polychrome painting in imitation of an " 494 . H . Imari pattern English, Worcester, 1765—75 S . 99 . G U AR BOWL black basalt ware, 8 l Wed . . D with widow knob Eng ish, g

1 8 . 10 8 . t wood , late th century PLATE , bone porcelain, wi h 4 % H . polychrome painting showing Japanese ﬂ ’ 100 CU P AND . . COVER, red stoneware , in uence Chamberlain s Worcester, 1845—50 with chinoiserie scenes in countersunk about . Gift of F . Cleveland

BlerS S , Es . relief . English, style, howing the Morgan q - 9 inﬂuence of the I hsing wares ; early D .

18 . 1 0 CU P 9 . orce th century AND SAUCER, bone p 3 T . otal H lain, with polychrome painting show M 10 1 . . PILGRI BOTTLE , polished brown ing Japanese inﬂuence Royal Crown a 1 9 stoneware with cut decoration and p Derby, late th century . Gift of Harold i pl ed relief heads . Meissen, by Johann Burnham , Esq . ” r 1 10—19 BOtt e 7 . . 514 Friedrich g , Lent by D of cup of saucer h — Mott ah ede . 4 22 9 8 . 8 6 a b Sons . " L9SI 4 2 6 . . . 1 1 A H 0 . R POMADE J , bone porcelain , with polychrome decoration in an Imari SE 8 CA pattern . Worcester, Barr , Flight and 18 18—40 Chinese and Japan ese Barr , . Gift of Col . S . R . e kes O B H a . . E 102 - , . . TEAPOT, hard paste porcelain , with overglaze polychrome decoration

th e 1 1 1 . including a stylized version of PLATE , stoneware , with poly u in character f ( happiness ) . Chinese , chrome decoration an Imari pattern . A D 6 19 . . 13 8 Ming dynasty ( English, ﬁrst half of the th century . Mrs H . Gift of . Agar Adamson .

1 08 - . PLATE , hard paste porcelain , with painted decoration in underglaze i SE 9 blue and red enamel . Ch nese export CA 18 ware, late th century . Gift of Major Chinese ll R . A . Wi is . 1 12 . U G TEAPOT, CREAM J WITH . 9 D - Y - COVER, AND TEA CADD , hard paste 104 - . T A ND C P , EA U COVER hard paste porcelain, with underglaze blue paint porcelain, with decoration in under ing resembling an English chinoiserie

, . . glaze blue enamels and gold Japanese transfer print Chinese export ware, late - 1 h — 9t . 18 1 9 export ware, mid century Gift of th early th century .

. . i Major R A Will s . Total H . teapot 7 jug 4 4 ” — . 41 94 2 1 - 88 . 0a b D of cup 9 . caddy 4 8

- 1 2 19 r . 3 . PLATE, hard paste porcelain , ware, first half of the th centu y Lent with enam el painting including a by the Winfield Foundation . ” - - 2 8 0 3 . L95 . f . 976 chateau and coat o arms . Chinese ex D - 18th . 14 1 PA IR C port ware, mid century Lent by . OF TREN HER SALTS , hard the . Winfield Foundation paste porcelain , with floral design in " 9 L952 . 3 . 34 . D enamels . Chinese export ware, third

- 1 3 th e 18th r . 3 . COVERED DISH, hard paste quarter of centu y Lent by

h . i . t e porcelain, w th enamel painting Chinese Winﬁeld Foundation ” - 2 8 29 - b 95 . . 1 8th r . . 814 export ware , mid centu y Lent by D L a th e . 42 - orce 1 . Winﬁeld Foundation PUNCH BOWL , hard paste p 4 ” 41 L952 . 3 . 13 . Total H lain, with enamel decoration including

- 134 . . PLATE , hard paste porcelain , the Gordon arms Chinese export ware, wi th arms of the ducal family of Anhalt late 18th century . Lent by the Win

in . . enamels Chinese export ware, mid ﬁeld Foundation 4 52 . 8 1 L9 . 1 8th century . Lent by the Winﬁeld

F t . - ounda ion 143 . P T , , ” LA E hard paste porcelain 9 952 . 8 . 82 D . L a with border design in enamels and - 19 185 . CU P . , hard paste porcelain, with gold Chinese export ware , early th e basketry design in relief and arms of c ntury . Lent by the Winﬁeld Founda

s . Gassot du Deﬂ en en Berri in enamels tion . 2 3 1 1 L95 . . b i 18 . . Ch nese export ware , late th century D

th e i ﬁ . F 44 U P S C Lent by W n eld oundation 1 . C , AU ER, AND COFFEE CUP,

3 L952 . 8 . 4b D . - hard paste porcelain , with ﬂoral sprays

- 186 . CUP AND SAUCER, hard paste and arms of the Seymour family in - f- n i - 18th i o . porcela n , with coat arms in enamels e amels Ch nese export ware , mid th e Foun da and border of underglaze blue . Chinese century . Lent by Winﬁeld

1 . 8 . export ware , late th century Lent by tion — 52 . 3 86 b 9 . the Winfield Foundation . D . cup saucer L a " ” 2 87b 5 235 L95 . 8 . D . of cup of saucer H . coffee cup 2 8 —b 8 . 3 L95 . a 145 . COFFEE CUP AND SAUCER , hard - 1 . 87 . PLATE, hard paste porcelain, paste porcelain, with enamel painting 1 8th . with the Gordon arms in enamels , and Chinese export ware , late century border design in underglaze blue . Lent by the Winfield Foundation . h ” 1 8t tu . 516 Chinese exp ort ware, late cen ry H . of cup of saucer 2 8 21 —b 95 . . Lent by the Winfield Foundation . L a 4 ” 91 952 . 3 . 43 D . L a 146 - . SAUCER, hard paste porcelain , 1 U P - 88 . C AND SAUCER, hard paste with painted decoration in green and porcelain , with flowers and allegorical black enamel in imitation of printed h 19 scene painted in enamels . Chinese ex ware . C inese export ware , early th - da 1 8th . n Foun port ware, mid century Lent by century . Lent by the Wi field

e n . th Wi ﬁeld Foundation tion . ” ” 2 b 515 L95 . 8 . 8 . 636 D of cup of saucer D . 2 3 10 —b 95 . . L a 147 CU P S - . AND AUCER, hard paste C S 189 . TEACUP, SAUCER, AND OFFEE porcelain , with a hield supported by - wtih CUP, hard paste porcelain, enamel the arms of the State of New York and decoration including the Gordon arms . an underglaze blue border with gold h 18t . 18 Chinese export ware, late century stars . Chinese export ware , late th

n . e th e Fou n da Lent by the Wi ﬁeld Foundation c ntury . Lent by Winﬁeld

D . of cup of saucer tion . 2 ” 2 48 —b ” 95 . 8 . . 36 536 H of coffee cup L a D . of cup of saucer 2 47b — L95 . 3 . 52 6 b 3 . L9 . a

140 - 148 S . PLATE , hard paste porcelain , . PIERCED FRUIT DI H AND TRAY , - of- b - with coat arms and medallions ard paste porcelain , with green and i Of painted in enamels . Ch nese export black enamel painting in imitation 8 7 ri d z nte . - p , 152 . ware Chinese export ware PLATTER, hard paste porcelain, e 1 9th arly century . Lent by the Win with arms of the ducal family of Anhalt

. ﬁeld Foundation . ” in enamels and gold Chinese export L - . r 1035 2 - . 95 . 8 . 49 b 18th of t ay L a ware, mid century . Lent by the - \Vin ﬁeld 14 . 9 . HOT W PLATE AND ATER PLATE , Foundation

- h ard . L952 3 b i v . . 83 paste porcelain, with grape ine L S pattern, hield and crest, in brown 158 E - . P TT , E LA R hard paste porcelain , namel and gold . Chinese export ware, 1 9 with basketry border in relief and arms early th century . Lent by the Win of Gassot du Defl en s en Berri in f field Foundation . n . r 1 8 e amels Chinese expo t ware , late th - D . of plate of hot water plate . 9 2 2 — 27 century Lent by the Winfield Founda L 5 . 8 . 6 tion . 1 0 5 . U P D IT S D , L L 2 IERCE FR DI H AN TRAY 95 . 8 . 2 ~with painted decoration in underglaze 1 54 - . - - P TT , , b lue and a coat of arms in black enamel LA ER hard paste porcelain with floral decoration in gold and and gold . Chinese export ware, early 1 9th enamels . Chinese export ware , third century . Lent by the Winfield 18 quarter of the th century . Lent by Foundation . ” th e L 1 1 2 40 — Winfield Foundation . . 95 8 . b - of tray L . a . L 2 2 8 . L 95 . 8 1 5 1 TEA - Y - orce . CADD , hard paste p 1 5 - t 5 . lain , wi h decoration in underglaze PLATTER, hard paste porcelain, blue and enamels , including the Gordon with floral decoration in enamels . 18 19 arms . Chinese export ware, late th Chinese export ware , early th cen

u Fou n da . cent ry . Lent by the Winﬁeld tury Lent by the Winﬁeld Foundation . 4 " 2 5 L . 3 . 4 . 2 . 3 95 5 L95 . 8 . 85 tion H L .

Textiles

i Ch nese Greatest W . Greatest L .

1 6 S M . 5 . UTRA VOLU E Dull red satin 1 5 S. 9 . ground . Large peony in twill weave of DRES Made of painted Chinese

- hr 5 1 . greyish green silk weft t eads . Chi k Repeat pattern of meandering 15th S nese, early century . floral sprays , imilar in arrangement to Chinese Library designs found on Indian chintzes made 1 8 . 1 . 57 . HANGING Bright yellow satin for the th century European market : ground embroidered in satin stitch with Dress of two pieces an overdress and a 1750 S . 2 - k E , . ply silk . Crossed anchors and lances irt nglish about Gift of the with pennants interlaced into ribbon Members of the Staff of the Royal O Of like scrolls with running pattern of ntario Museum, in memory Ethlyn " 12 52 1 a—b . . . . 9 . 8 flowers . Top border of floral festoons M Greenaway Fig 1 60 . o f European design . Probably made at . SHAWL White silk embroidered 2 - S Macao for the Portuguese market . in satin stitch with ply white ilk S C 18 . . . . hinese , th century Gift of Mrs thread Reversible Large prays of 1 1 Sigmund Samuel . Fig . . peonies springing from each corner S L . W . and filling ground of hawl . Narrow

1 F G . 58 . RA MENT OF PAINTED SILK meandering floral border of lotus blos d . S Almost semi - circular; broken scrolls and soms Wi e knotted white ilk fringe . th e Made for Spanish market . Chinese , lattices framing vases of flowers , birds , 1 9 . and butterflies on white ground . Woven th century 5 335” gold tape border at top suggests that Size x without fringe . 952x58 it may have been a cape or ecclesi Fringe approx .

18 1 6 1 . . . astical v . . estment Pieced Chinese , th BEDSPREAD Linen ground Cop l Weam e . er ate c entury . The Harry Collection p p printed repeat design in black

i Wearn e . . G ft of Mrs . Harry of four groups of Chinoiserie ﬁgures th e R eri lus Maris Er tha ei Red . to in oman P p y , or Tour of the Sea t Western objects of his period , probably from Alexandria , have been t found east of our dividing line , at Spots far apart, and printed tex ile pieces , claimed to be Indian and of the third and succeeding centuries

tat C . A . D. os , at F , the Site of old airo These corroborate the evidence of the many circus animals exported from India to Rome during the O Empire . The connection across the Indian cean continued in the

tu . earlier Christian cen ries; the legend of St Thomas , the apostle of But India , is one piece of evidence . as with the land route , the curtain was lowered in the seventh century so far as the Mediterranean is concerned; the Arabs with their bases at Alexandria and on the Persian 1500 t sea . Gulf barred the route It was not until nearly , with the grow h u se a of Portug ese power fostered by Henry the Navigator, that this picture was changed . In 1487 Bartholomew Diaz rounded the Cape of Good H0 pe; ten years later Vasco da Gama pushed on across the Indian Ocean to

Calicut on the west coast of India . This seems to have been the cata as lytic event in a great process of change . Europe w already fascinated its O th e m steri by ideas of the utside World , especially the East and y — ’ ous countries there the popularity of Sir John Mandeville s fanciful ’ o i — bo k of Travels shows th s and Vasco da Gama s voyage , promising l Of so the rea ization many European dreams and hopes , was the ﬁrst in the great series of journeys of discovery which only reached a stage n with Scott and Amu dsen at the South Pole . The European efforts to ﬁnd a route to China without going across e — Asia went in thr e directions the western and northwestern , which th e led to discovery of America; the northeastern , between Siberia

th . and e Arctic ice; and the southern It is the last that concerns u s. For almost 100 years after Vasco da Gama the Portuguese managed to keep this route as much a mo nopoly as it had been for the Arabs before Bu . t them with the decline of their sea power, and especially with the a w t 1580 fat l union of the cro ns of Spain and Por ugal in , the prize t slipped from heir grasp . The English East India Company was 600 60 1 1 2 1664 . 1600 founded in , the Dutch in , the French in From on a discovery and settlement by all three nations in Indi . the southeast i M o r Asian arch pelago , especially the oluccas Spice Islands , and up M C C Y the Asian coast to acao and anton in hina , edo , the modern k To yo in Japan , proceeded rapidly .

It is in this modern period , with comparative freedom of communi of cation , that the influence East on West has been strongest, and x to it that this e hibition is almost entirely devoted . There are three categories : purely eastern objects exported to the West; eastern objects t o th e made , often to order, fit western taste or the eastern idea of it ( effect of which was often to intr oduce western influence into eastern

a so- objects made for the E st ) ; and western imitations , the called “

C . hinoiserie The first is exemplified in paper, an eastern invention t avidly grasped in the West, and less s rongly by furniture and lacquer . The tremendous range of Chinese export porcelain best exemplifies the Of xt second , and the European versions Indian painted te iles and of Ch th e inese and Japanese lacquer third . It is well said that “the romance of distance dominated nearly ” th e all ornament of the eighteenth century . It was a distance both in n space and in time , and its acceptance is the real beginni g of our archaeologically minded age . Here we give some illustrati on of the distance in space . The ceramics show the variety in type both Of C of hinese porcelain , whether specially made for export or not, and

a . w the European imit tions of it These ere sometimes direct, as were the ’ “ ” Blers I- Whi eldon s Copies of hsing ware , or agate pottery; some i 0 0 times ndirect, for example the English pies of Japanese Imari ware , itself after a Chinese original . The variety was one also of use; with the t introduc ion of the eastern habit of drinking tea , eastern vessels were an brought to the West, d soon copied . This was a seventeenth century

. t development Diarists of the time , such as Pepys and Evelyn, men ion the ﬁrst time they drank tea , and a generation later the antiquary , William Stukeley mentions that it was becoming fashionable at Cam in 06 -7 a 17 w s . bridge , when he an undergraduate C Few hinese exports of furniture to the West are extant now, but records and inventories of the seventeenth and eighteenth centuries Show that at that time it was common among the rich throughout r Western Europe . Its inﬂuence on many eighteenth centu y styles is “ C plain . The typical Queen Anne chair closely follows a hinese type,

- - and the claw and ball foot is said to be of Chinese origin . Furniture made in the East for the western market is illustrated by an ebony

chair and a magniﬁcent ebony and ivory cabinet possibly made in Goa ,

the capital of the Portuguese Empire in the East . The best known “ Western imitation is perhaps Chinese Chippendale . We also illustrate sa both the genuine eastern lacquer, made from the p of a type of sumac hi is of tree , and the western imitation , w ch basically a form varnish . e Silk has been desired ever since it was ﬁrst known . It is p rhaps

A D. the most important product to have come from east to west, and 556 s , when silk worms from the Ea t are traditionally said to have been C k brought to onstantinople , must ran as commercially one of the most C important dates . Silk is the chief, if not the only, hinese export we t hear of throughout the earlier cen uries , and traces of it are found at third century Mesopotamian Sites such as Palmyra and Dura - EurOpos ﬂ on w on th e Euphrates . Its in uence earlier estern textile design coin w R cides ith the centuries when the Silk outes were open; it was strong ,

t t . for instance , during the thirteen h and fourteenth cen uries We illus trate here the type of late Chinese painted silk which was popular in Europe in the eighteenth century; Marie Antoinette used it in furnish i ing the Petit Trianon at Versa lles . We also Show the painted textiles of India . These are most important in this context, Since it was the o C t O u exp rt of them by the three East India ompanies , their ex reme p p “ larit w y, and the constant efforts to reproduce the Indian manner ith European processes that led ultimately to the establishment of the r present textil e printing indust y . Elsewhere in the exhibition we Show

Shawls of the eighteenth and nineteenth centuries , illustrating the origin of the type in northwest India , and its reproduction in many materials , especially at Paisley, with European techniques . Paper is by its nature the one Chinese invention which ﬁts into the — — ﬁrst of our categories an eastern invention exported to th e West and into that only . Despite what is to us the fundamental character of paper, the export and the knowledge of it in the West are compara C i tively recent . The earliest hinese example we show is a paint ng on a 0 f 0 . r A D. 7 o p per, dating from about Hundreds yea s later, when the Near Eastern sources of papyrus were closed and the supply of vellum

was proving insufﬁcient, the introduction of paper came to Europe t t . t at a most cri ical ime Almost all European prin ing , from its ﬁfteenth i century beg nnings , has been on paper . We illustrate further two ahnost C w equally important hinese inventions connected ith it, those

t . of printing with moveable ype , and of paper money The inﬂuence we trace in these three categories of object has been

- u r continuous . With the break p of the Western cultural t adition it its to loses much of coherence , and we are still too close this latest stage t o see One it clearly or to include it here . of the new and recent features has been the succession of comparatively Short-lived fashions “ ” in taste and ornament . The best known of these is the Aesthetic th e tur in movement of nineteenth cen y, characterized in part by the “ ” ﬂu ence C on such men as Whistler of hinese blue ( or, as we would

sa - - il y, blue and white ) porcelain , or of Japanese text es . The inﬂuences of the East on the West and the western imitation of the East are

bound into our own culture today . It is still unclear whether the East fﬁ t su ﬂicient t retains su cient vitali y, or the west receptivi y , for the

process to continue . GERARD BRETT EASTERN AND WESTERN CERAMICS

Chines e Ceramics and Their Inﬂuence Upo n Europe

’ it is o course in ceramics that China s ins iration has been o , f , p f ’

aram ount im ortance there all Euro e has sat at China s eet . p p ; , p f

INY ON L . B

NA o CHI has been an exporter of ceramics Since remote times . P ttery C a goes back beyond history in hin , even beyond the use of the ’ potter s wheel . It was during the earlier part of the Six Dynasties — C A D. 220 58 period ( . 9 ) that increasing attention was given by hinese r potters to improving the quality of their wares . Simple potte y is not i impervious to moisture , and various ways of mak ng it more serviceable a have been tried , the earliest and most usu l method being that of The C glazing . simplest type of glaze used in hina was a soft lead Of Silicate , similar to lead glazes used in other parts the world up to

t . the present time . A more developed ype of glaze contained feldspar The two types probably merged in a few intermediate specimens in which no clear distinction can be made . Glazes were frequently coloured by the addition of metallic oxides .

vitri a t n : Another method of improving ceramics was by f c io . The Chinese potter soon came to realize that this took place only after the w t u attainment of a critical tempera re , depending upon the ingredients of the body material . Vitrifaction is essential to the production of M ’ stoneware and porcelain . A high vase in the useum s collection is th e formed of the same clay throughout, but base is pottery and the top is technically stoneware , as only the top of the kiln was at a sufﬁciently ' C high temperature to bring about V itrifaction . lose examination of a piece like this would reveal to the potter that the base was quite soft and not impervious to moisture , while the upper part was vitriﬁed ,

. V hard , resonant, and impervious Accidental itrifaction led to deliberate V t a i rif ction , with the consequent opening of very important new vistas C C i in hinese ceramics , as it is only the vitrified wares of h na which have given that country its primacy in ceramics . The stream of progress was not to stop here, however . The first vitrified wares were formed by the fusing of the Silica normally present in all clay . The next step was to add more Silica to secure a more vitreous ( glassy ) ware . tu Pe ntse ( china rock ) was used for this purpose , and mixed with a clays of various degrees of fineness . This produced a stoneware , h rd and resonant but not translucent . When the finest grade of china rock

6 e m 1 6 . P 6 . DS D , robably inspired by European ‘ BE PREA White cotton hand resis ~d ed gravings in books on China by Euro painted and t y . Central medal ” 32 5 of pean travellers . Repeat measures lion birds surrounded by radiating wide ( selvage to selvage ) and coats - Of- arms ; coat - Of- arms in each 1 identi 8th . . deep . French or English , century corner The arms have not been fied 18 We am e . . . The Harry Collection Gift of Indian , th century The Harry 4 16 1 eam e m e s 3 4 4 W . We a . . 9 . Mrs . Harry Fi g Collection Gift of Mrs Harry 1 am e 6 . We . . 162 . . . COTTON Woodblock printed Fig Repeat of two groups of v ases with L . W . ; 167 O floral sprays each group measures . D SS . ” ” VER RE Made of Indian 10 1 6 v about x and repeats ertically, han dpainted and resist- dyed cotton ; with the motif in the alternating rows allover repeat design of meandering m . A S - dropped si ilar design is illustrated . 1 770 80 . . prays English , Lent by Mrs lou zot Painted and C , in and Morris John Neill Malcolm . Fab s ri nted ric . P , plate LI The positions L952 . 2 . 1 i th e of the mot fs are same here, but PANEL OF A SKIRT . Woodblock they are alternated and repeat diagon e print d cotton . Drop repeat of meander 18 . ally . French , late th century The i n g sprays . lue has been painted in by W e arn e . B Harry Collection . Gift of Mrs Wearn e hand . ade with one set of blocks Harry . M fi 8 rd 18 F , 1 v x rench quarter of the th 68 . . . SI LK Compound wea e Crim We am e . T . San f century he Harry Collection satin ground, light bu f design in 14 m e . We a . . . l in l i l v Gift of Mrs Harry Fig a c oth . p and two tw l wea es Each 4 4 2 98 . . 08 a weave produces a different texture n r W givi g depth and va iation to an other 1 AISTCOAT. White linen em Of wise flat design . Reversing repeat a broidered in chain stitch with coloured dancing Chinoiserie figure with bells Silk s and couched gold thread; quilted an d a similar seated figur e with lute lattice ground in backstitch in pale

m . like instru ent Figures linked vertically yellow silk . Exotic flowers and pea by flowers , foliage, and drapery . French , cocks inspired by Indian painted cot 2md 1 Th 8 . e 1 8th . . half of the th century Harry tons . English , early century Fig W eam e . 1 Collection Gift of Mrs . Harry 3 . We arn e 10 . . . Fig - 170 . . SHAWL Cream coloured wool . . P 9 L W attern x v twill , with twill tapestry wo en borders . Borders contain eight cones with small flat v ases at the base of each ; a 164 ” . A GI G . , 2 H N N Cream cotton hand cone between each large one . Nar - . painted and resist dyed Flowering tree row conventionalized floral edging . , 1 growing out of scale mound with small 9 u . Indian , th cent ry Gift of Sir Michael S k ; bamboos at either ide and peacoc s Sadler . Th e . meandering floral border whole L . W . outlined with gold leaf applied to a 1 7 1 . . SHAWL Black wool twill, em binding substance, probably done at a i 1 . 8 . broidered in stem stitch in coloured later date Ind an , early th century Weam e k . g The Harry Collection . Gift of sil s Border of radiatin scrolls and su , p . Weam e 15 l Mrs Harry . Fig . . ogee arches probab y from pattern 2nd . , L . W . plied by European agents Indian h e 1 h t 9t . 1 6 half of century 5 . PANEL . White cotton, hand . . - L W painted and resist dyed . Repeat of four 1 72 . floral sprays , with wide border of the . SHAWL Twill tapestry weave , same and double narrow inner border wide border of radiating scrolls and S . 18 . of meandering pray Indian , early th cones Coarsely embroidered outer

. T r We am e . century he Ha ry Collection . border of repeated leaf forms Narrow

19 . . r Weam e . Gift of Mrs Ha ry . fringe Indian , th century ”

. 62 L W . L . W .

1882 x . . to the ne t Dated Chinese, soapstone; rectangular column sur ’ Ch ing . mounted by mythical beast; two char 4 " 5 ” “ ” “ 51 x 153 acters in Hsiao Chuan Tzu or Small ” ’

1 87 . v . . . SEAL Car ed pink soapstone , Seal script Chinese, Ch ing ” ” t a 294 94 35 undecorated, bearing hree ch racters x x “ ” “ th e Hsiao Chuan Tzu 1 0 B ox . in or Small 9 . PORCELAIN For seal ( or ” ” Seal style of writing . From Shensi chop ) ink; shallow circular saucer on

. S . l Province Chinese, perhaps ung ring foot, with sha low saucer lid . White 135 ” x 116 ” x 115 " laze with underglaze decoration in g Im 188 . SEAL . Jade seal decorated with lue on the lid two confronting carv ed dragon; hole drilled horizontally perial ﬁv e-clawed dragons amidst through the seal beneath the dragon , stylized clouds , ﬂaming pearl in the possibly to receive a handle or a Silk centre ; the lower saucer decorated with ’ hn s v cord ; seal itself a o t abrased from the stylized wa es and rocks . A Ch ien i n base which is spl t in two . Chi ese, Lung mark on the foot, probably a late ’ ’

19 . . probably Ch ing . th century piece Chinese , Ch ing 4 ” 5 ” ” 4 4 ir 41 x 1 x 35 Gift of S Edmund Walker . 4 1 89 S . v . . . EAL For personal use , car ed H D

Furniture

Chin ese Japanese

1 1 I E e 197 . 9 . CAB N T, brown polish d lac CABINET, black lacquer, with 18th quer, with decoration in red and gold . decoration in gold relief . Japanese, ’

i 1786 . . Ch nese, Ch ien Lung ( century Modern stand 8 ’ L . 192 Box Indi n . , lacquered wood , inlaid East a ’

v . i , 198 . with i ory Chinese, Ch ng Dynasty . CHAIR, carved ebonized wood

18th . 17 late century ade in India, second half of the th " M . 2734 Th e L century, for the Portuguese trade .

. . . 198 . RM A IR t E A CH , red lacquer, wi h T aton Co Collection 8 534” decoration in bright red, black and gold . H . 1 199 v h 8 . . Chinese, th century From the home CABINET, car ed ebony wit of Prince Kung Pu Wei , Peking . ivory, in a design of sunﬂowers and

H . lotus . Probably made in south India, 1 8th 1 T E , P 94 . t ABL , red lacquer, wi h ﬂoral century or earlier for the ortu uese h n . T T . E . . g decoration C i ese , Ming Dynasty market he aton Co Col 20 ( 1368 From the home of Prince lection . Fig . .

i . Kung Pu Wei , Pek ng . H 82 ” H . English an d Continental 1 5 Tzu tan 9 . 200 FOLDING CHAIR , wood , . CABINET, red lacquer, with h V with stylized dragons in low relief and c inoiserie design in gold . enetian,

. 17 . 1 00 7 . cord seat Chinese , th century Lent about

. . 28 by Mrs Edgar Stone L . ” 2 . 3 1 L9S . 5 . I 201 M i H . AR CHAIR, walnut, inla d with

1 M r . 18 . . 96 . . FOLDING AR CHAIR Said to ivo y Dutch , th century Gift of Mrs come from the Ta Chiieh szu Temple Josephine Eaton Burnside . 396” in the Western Hills , Peking, and H . r r 2 2 C r o e t 0 . O fo merly the p y of the Empress C RNER UPBOARD, black and Dowager; usedonl y by her when v isit gold lac n et with chinoiserie decora ’ ' in sh 1 00 T . . 7 . g the temple Chinese, Ch ien Lung tion Eng , about he T . Eaton 1736 ( Co . Collection . 4 ' H . H . 203 - . LONG CASE CLOCK, green lac modern upholstery, in a chinoiserie hi — . . 1 790 1800 T quer with c noiserie design in gold style English , . he T . Eaton l h T 18t u . Eng ish , early cent ry . he T Co . Collection . l 34 ” Eaton Co . Col ection . H .

. 207 M H . t e AR CHAIR , birch, made to 04 R r 2 . CHAI , walnut , with mode n semble Chinese bamboo . From the

. , A , v . upholstery English Queen nne about R P , E , — oyal a ilion Brighton nglish about T . . 1 705 10 . . 1 8 1 9 he T Eaton Co Collection .

H . H . 205 . C D T , , A LE 208 . H AR B mahogan“y with C INA CABINET, mahogany, with chinoiserie fretwork design in Chinese pagoda top , in a Chippendale chinoiserie ” 1 50 7 . . E , 1 40 1 2 8 . 76 . Chippendale nglish about design of English , about 3 ” . 0 T l 21 H he T . Eaton Co . Co lection . Fig . .

20 M R . 6 . AR CHAI , mahogany, with H

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