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'A Mind to Copy': Inspired by Meissen
‘A Mind to Copy’: Inspired by Meissen Anton Gabszewicz Independent Ceramic Historian, London Figure 1. Sir Charles Hanbury Williams by John Giles Eccardt. 1746 (National Portrait Gallery, London.) 20 he association between Nicholas Sprimont, part owner of the Chelsea Porcelain Manufactory, Sir Everard Fawkener, private sec- retary to William Augustus, Duke of Cumberland, the second son of King George II, and Sir Charles Hanbury Williams, diplomat and Tsometime British Envoy to the Saxon Court at Dresden was one that had far-reaching effects on the development and history of the ceramic industry in England. The well-known and oft cited letter of 9th June 1751 from Han- bury Williams (fig. 1) to his friend Henry Fox at Holland House, Kensington, where his china was stored, sets the scene. Fawkener had asked Hanbury Williams ‘…to send over models for different Pieces from hence, in order to furnish the Undertakers with good designs... But I thought it better and cheaper for the manufacturers to give them leave to take away any of my china from Holland House, and to copy what they like.’ Thus allowing Fawkener ‘… and anybody He brings with him, to see my China & to take away such pieces as they have a mind to Copy.’ The result of this exchange of correspondence and Hanbury Williams’ generous offer led to an almost instant influx of Meissen designs at Chelsea, a tremendous impetus to the nascent porcelain industry that was to influ- ence the course of events across the industry in England. Just in taking a ca- sual look through the products of most English porcelain factories during Figure 2. -
European Art & Decorative Arts Wall Text and Extended Labels
European Art & Decorative Arts Wall Text and Extended Labels FIRST FLOOR The Morgan Memorial The construction of the Morgan Memorial, completed in two sections in 1910 and 1915, more than doubled the size of the original Wadsworth Atheneum that opened in 1844. The building is dedicated to Junius Spencer Morgan, whose bust by William Wetmore Story stands at the top of the western stairs. Morgan was a Hartford man who founded a banking empire, and his son, J. Pierpont Morgan, chose to build the museum’s new wing as a tribute to his father. The total cost of the Memorial—over $1,400,000—represents the largest of J. Pierpont Morgan’s generous gifts. He spent over twelve years purchasing the several properties on which the Memorial stands, and was involved in its construction until his death in 1913. Benjamin Wistar Morris, a noted New York architect, was selected to design what was to be a new home for the Wadsworth Atheneum’s art collection. It was built in the grand English Renaissance style, and finished with magnificent interior details. Four years after J. Pierpont Morgan’s death, his son, J. Pierpont Morgan Jr., followed the wishes outlined in his father’s will and gave the Wadsworth Atheneum a trove of ancient art and European decorative arts from his father’s renowned collection. Living in the Ancient World Ordinary objects found at sites from the countries surrounding the Mediterranean Sea and the Middle East reveal a great deal about daily life in the ancient world. Utensils for eating and drinking, glassware, lamps, jewelry, pottery, and stone vessels disclose the details of everyday life. -
Signature Redacted for Privacy. Abstract Approved: David Brauner
A1' ABSTRACT OF THE THESIS OF Jeffrey Max LaLande for the degree of Master of Arts in Interdisciplinary Studies in Archaeo1ogy/History/ArChi- tectural History presented on March 18, 1981 Title: Sojourners in the Oregon Siskiyous: Adaptation and Acculturation of the Chinese Miners in the Applegate Valley, Ca. 1855-1900. Signature redacted for privacy. Abstract approved: David Brauner The study examines the acculturation and environmental adaptation of nineteenth century Chinese miners in a por- tion of southwestern Oregon. The problem concerns the varieties of culture change whichresultedwhen this ethnic group found itself required to subsist in a newsocial and physical environment. The study focuses on the archaeo- logical data recovered from several Chinese sites in south- western Oregon as well as the records of Chinese purchases from a local Euro-American mercantile establishment. Through the use of ethnographic, archaeological and archival evidence, three Chinese behavioral patterns are investigated. The subsistence pattern includes dietary habits, wearing apparel, personal grooming and drug use. The settlement pattern includes characteristic locations of Chinese habitation sites as well as their architecture. The technological pattern involves the economic activities of the Chinese, in this case hy6raulic placer mining. The subsistence pattern of the Chinese sojourners exhibits little acculturation in food habits, personal grooming or drug use, but substantial adoption of Euro- American clothing and footwear. Environmental adaptations include the utilization of wild plants and animal foods on a limited basis. Generally, the day-to-day subsistence activities of the Chinese showed very little acculturative behavior. The settlement pattern shows a willingness to adapt some Euro-American construction techniques. -
February 2018 Newsletter
San Francisco Ceramic Circle An Affiliate of the Fine Arts Museums of San Francisco February 2018 P.O. Box 26773, San Francisco, CA 94126 www.patricianantiques.com/sfcc.html SFCC FEBRUARY LECTURE A Glittering Occasion: Reflections on Dining in the 18th Century Sunday, FEBRUARY 25, 2017 9:45 a.m., doors open for social time Dr. Christopher Maxwell 10:30 a.m., program begins Curator of European Glass Gunn Theater, Legion of Honor Corning Museum of Glass About the lecture: One week later than usual, in conjunction with the Casanova exhibition at the Legion of Honor, the lecture will discuss the design and function of 18th-century tableware. It will address the shift of formal dining from daylight hours to artificially lit darkness. That change affected the design of table articles, and the relationship between ceramics and other media. About the speaker: Dr. Christopher L. Maxwell worked on the redevelopment of the ceramics and glass galleries at the Victoria and Albert Museum, with a special focus on 18th-century French porcelain. He also wrote the V&A’s handbook Eighteenth-Century French Porcelain (V&A Publications, 2010). From 2010 to 2016 he worked with 18th-century decorative arts at the Royal Collections. He has been Curator of European Glass at the Corning Museum of Glass since 2016. Dr. Maxwell is developing an exhibition proposal on the experience of light and reflectivity in 18th-century European social life. This month, our Facebook page will show 18th-century table settings and dinnerware. The dining room at Mount Vernon, restored to the 1785 color scheme of varnished dark green walls George Washington’s Mount Vernon, VA (photo: mountvernon.org SFCC Upcoming Lectures SUNDAY, MARCH 18, Gunn Theater: Gunn Theater: Jody Wilkie, Co-Chairman, Decorative Arts, and Director, Decorative Arts of the Americas, Christie’s: “Ceramics from the David Rockefeller collection.” SUNDAY, APRIL 15, Sally Kevill-Davies, cataloguer of the English porcelain at the Fitzwilliam Museum, Cambridge, will speak on Chelsea porcelain figures. -
How to Identify Old Chinese Porcelain
mmmKimmmmmmKmi^:^ lOW-TO-IDENTIFY OLD -CHINESE - PORCELAIN - j?s> -ii-?.aaig3)g'ggg5y.jgafE>j*iAjeE5egasgsKgy3Si CORNELL UNIVERSITY LIBRARY THE WASON CHINESE COLLECTION DATE DUE 1*-^'" """"^*^ NK 4565!h69" "-ibrary 3 1924 023 569 514 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924023569514 'a4^(A<-^^ %//3 HOW TO IDENTIFY OLD CHINESE PORCELAIN PLATE r WHITE PORCELAIN "BLANC-DE-CHINE" PAIR OF BOWLS of pierced fret-work divided by five circular panels or medallions of raised figures in relief, supposed 10 represent the Pa-Sien or eight Immortals and the God of Longevity. Height, if in. Diameter, sfin. SEAL in the form of a cube surmounted by the figure of a lion Height, i^in. INCENSE BURNER, eight sided and ornamented by moulding in relief with eight feet and four handles. The sides have three bands enclosing scrolls in ancient bronze designs. At each angle of the cover is a knob; it is ornamented with iris and prunus, and by pierced spaces. The stand has eight feet and a knob at each angle ; in the centre is a flower surrounded by detached impressed scrolls, round the outside are similar panels to those on the bowl. Height, 4|in. Diameter of stand, 6f in. THE FIGURE OF A CRAB on a lotus leaf, the stem of which terminales in a flower. Length, 6| in. From Sir PV. fraiik^s Collection at the BritisJi Museum. S3 HOW TO IDENTIFY OLD CHINESE PORCELAIN BY MRS. -
Nature, Porcelain and the Age of the Enlightenment
Nature, Porcelain and the Age of the Enlightenment. A Natural History of Early English Porcelain and its place in the eighteenth century home. Paul Crane 92 The Age of Enlightenment in eighteenth century Europe established rules and rationalism in science and nature which swept aside the former superstitions and old medieval orders to highlight reality and learning within the educated classes. This in turn led to a fantasy of playful imagination that was to be the playground where Rococo design and form could firmly take root. Therefore just as Porcelain was a new European product and invention of the Enlightenment, it also became a substance with which modellers and designers, inspired by and developing the Rococo style, could play and entice. Europe in the mid eighteenth century was riveted by an insatiable appetite for knowledge, exploration and discovery. This forged a new scientific approach, which was to spearhead the Age of the Enlightenment. Through new eminent publications, science and nature became the pinnacle of taste and fashion amongst the aristocracy, who decorated their homes with this organic natural force of life. It is important to understand that the development of porcelain in England is directly inspired by a natural yearning to question and learn from the scientific breakthroughs and new understandings, which categorise this period of learning and discovery. the 5th March 1745 the Daily Advertiser stated that Exploration and science, both essentially funded by the ‘Chelsea China is arrived to such perfection, as to equal ruling classes now began to go hand in hand with new if not surpass the finest old Japan’1. -
French Soft-Paste Porcelain During the 17Th and 18Th Centuries
French soft-paste porcelain during the 17th and 18th centuries Edgar Vigário July 2016 Abstract In 1673 Louis XIV give to Edme and Louis Poterat the privilege of porcelain manufacture similar to the one bought from China becoming Rouen the first production center of soft-paste in France. After it, others follow being the better documented listed in this article. 1 Figure 1 - Portrait of Madame de Montespan (detail); oil on canvas; Henri Gascard; 1675 - 1685; © Morgane Mouillade. Index copy the Chinese porcelain that arrived in the Introduction 1 country in large quantities, initially from de Dutch Rouen (1673 – 1696) 1 VOC and after 1664 mainly by the Compagnie Factory of Saint-Cloud (1693 - 1766) 4 Française des Indes Orientales. The new material Factory of Ville l'Evêque (1711 - 1766) 5 had as drawbacks, a high production lost which Factory of Lille (1711 - 1730) 6 Factory of Chantilly (1725 - 1800) 6 dramatically increase costs and the difficulty of Factory of Mennecy (1734 - 1773) 8 creating big pieces, due to the paste's low elasticity, Factory of Bourg-la-Reine (1773 - 1804) 11 however, these difficulties weren't enough to Factory of Sceaux (1748 - c. 1810) 11 prevent the creation of several factories on the Factory of Vincennes (1741 - 1756) and Sèvres (1756 - 1804) 12 th Factory of Orléans (1753 - 1768) 14 French territory during the late 17 century and the Factory of Crépy-en-Valois (1762 - 1770) 15 beginnings of the 18th century from whom stands Factory of Étiolles (1766 -?) 15 out by their historical significance and/or exquisite Factory of Arras (1770 - 1790) 15 production the workshops and factories that are References 16 listed in this document. -
Some Continental Influences on English Porcelain
52925_English_Ceramics_vol19_pt3_book:Layout 1 24/7/08 09:12 Page 429 Some Continental Influences on English Porcelain A paper read by Errol Manners at the Courtauld Institute on the 15th October 2005 INTRODUCTION Early French soft-paste porcelain The history of the ceramics of any country is one of We are fortunate in having an early report on Saint- continual influence and borrowing from others. In the Cloud by an Englishman well qualified to comment case of England, whole technologies, such as those of on ceramics, Dr. Martin Lister, who devoted three delftware and salt-glazed stoneware, came from the pages of his Journey to Paris in the year 1698 (published continent along with their well-established artistic in 1699) to his visit to the factory. Dr. Lister, a traditions. Here they evolved and grew with that physician and naturalist and vice-president of the uniquely English genius with which we are so Royal Society, had knowledge of ceramic methods, as familiar. This subject has been treated by others, he knew Francis Place, 2 a pioneer of salt-glazed notably T.H. Clarke; I will endeavour to not repeat stoneware, and reported on the production of the too much of their work. I propose to try to establish Elers 3 brothers’ red-wares in the Royal Society some of the evidence for the earliest occurrence of Philosophical Transactions of 1693. 4 various continental porcelains in England from Dr.. Lister states ‘I saw the Potterie of St.Clou documentary sources and from the evidence of the (sic), with which I was marvellously well pleased: for I porcelain itself. -
Making “Chinese Art”: Knowledge and Authority in the Transpacific Progressive Era
Making “Chinese Art”: Knowledge and Authority in the Transpacific Progressive Era Kin-Yee Ian Shin Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 © 2016 Kin-Yee Ian Shin All rights reserved ABSTRACT -- Making “Chinese Art”: Knowledge and Authority in the Transpacific Progressive Era Kin-Yee Ian Shin This dissertation presents a cultural history of U.S.-China relations between 1876 and 1930 that analyzes the politics attending the formation of the category we call “Chinese art” in the United States today. Interest in the material and visual culture of China has influenced the development of American national identity and shaped perceptions of America’s place in the world since the colonial era. Turn-of-the-century anxieties about U.S.-China relations and geopolitics in the Pacific Ocean sparked new approaches to the collecting and study of Chinese art in the U.S. Proponents including Charles Freer, Langdon Warner, Frederick McCormick, and others championed the production of knowledge about Chinese art in the U.S. as a deterrent for a looming “civilizational clash.” Central to this flurry of activity were questions of epistemology and authority: among these approaches, whose conceptions and interpretations would prevail, and on what grounds? American collectors, dealers, and curators grappled with these questions by engaging not only with each other—oftentimes contentiously—but also with their counterparts in Europe, China, and Japan. Together they developed and debated transnational forms of expertise within museums, world’s fairs, commercial galleries, print publications, and educational institutes. -
LADY CYNTHIA POSTAN COLLECTION COLLECTION of French and Other 18Th Century Porcelain
E & H MANNERS MAY 2015 E & H MANNERS MAY THE LADY CYNTHIA POSTAN THE LADY CYNTHIA POSTAN COLLECTION THE LADY CYNTHIA POSTAN COLLECTION of French and Other 18th Century Porcelain To be exhibited at E & H MANNERS THE LADY CYNTHIA POSTAN COLLECTION of French and Other 18th Century Porcelain To be exhibited for sale at E & H MANNERS 66C KENSINGTON CHURCH STREET LONDON W8 4BY 21st to 29th May 2015 [email protected] www.europeanporcelain.com 020 7229 5516 a warm Francophile – including attachment to her applied to her specialisation in Sèvres, Vincennes, Parisian sister- and brother-in-law, and Munia’s Chantilly and Saint Cloud. close academic links with France. It has also given her pure pleasure – in the objects Although she started collecting earlier, their themselves, displayed in her homes in Cambridge; in year in Paris in 1961–62, when Munia was at the the period and world which they originally inhabited; Sorbonne, gave her a heaven-sent opportunity to and in the community of her fellow-enthusiasts immerse herself even further in the world of the - collectors, museum curators and dealers alike porcelain of the French eighteenth century. A wide - in which she loved to play her part. The French circle of French friends, including distinguished Porcelain Society is its formal embodiment, and it academic historians, some of whose works she would be wrong to exclude names from the list of later translated for publication, shared her high her friends and mentors, but among them Dame cultural values. Rosalind Savill, the late Ian Lowe, Errol Manners, Despite the eclecticism of her wider collecting Robert Williams and Adrian Sassoon stand out habits for over more than half a century, this in my memory at least. -
Oriental Art and French Patronage: the Foundation of the Bourbon-Conde Ceramics Collection
! ORIENTAL ART AND FRENCH PATRONAGE: THE FOUNDATION OF THE BOURBON-CONDE CERAMICS COLLECTION by Christina Nelson and Oliver Inipcy with the assistance of Clare Le Corbeillcr When Louis-Henry de Bourbon, seventh prince de Conde, died in 1740, he left his second wife, Caroline, princcsse dc Hesse Rheinfels, a son and heir aged three and a half, and large holdings of real estate and personal property in his hotel particnlicr in the rue dc Cond6 in Paris, the chateau de Chantilly, and other properties including the chateau d’Ecoucn and his apartments at Versailles. The due’s personal possessions were inventoried by the famous Paris marchand-merder Thomas-Joachim Hebert, and the resulting document of over 350 leaves (recto and verso) recorded not only the extent of the Bourbon-Conde collection, but the variety of goods available in late 17th and 18th century Europe.' Figurc 1. Dish, Japanese porcelain. Late 17th century. Length: It is widely believed that the Bourbon-Conde collec 23cm. Copied at Chantilly, this shape may be the soucoupc tions of Oriental porcelain, lacquer and textiles were longue cn forme dc battau [sic] de Porcclaine du Japon described as containing two small white cups with relief decoration, the used as prototypes and design sources for the wares ensemble valued at twenty livres. produced at the porcelain factory founded on the due Ashmolcan Museum, Oxford. de Bourbon’s estate at Chantilly. The possible nature of the Japanese collection in particular has aroused great interest, for the letters patent awarded in 1735 to tions presents severe limitations, and conclusions must Cicairc Cirou, the Chantilly factory’s first proprietor, be drawn with great caution. -
Early French Soft Paste Porcelain
Early French Soft Paste Porcelain E & H MANNERS Early French Soft Paste Porcelain An Exhibition for Sale February 2021 E & H MANNERS 66C KENSINGTON CHURCH STREET LONDON W8 4BY [email protected] [email protected] | 07767 250763 EARLY FRENCH SOFT PASTE PORCELAIN Introduction The glassy soft-paste porcelain of France is undoubtedly amongst the most sensual materials ever created by man and its invention coincided with a joyous flowering of artistry, at a time when France led the world in innovative design. The pieces in this catalogue come mostly from one private collection with the addition of five pieces of our own (nos. 1, 5, 8, 9 & 27) as well as a group of Sèvres decorated with textile designs from another private collection. Together they form a survey of the evolution of French soft-paste porcelain from its earliest days in the late 17th century to the beginnings of the royal factory of Vincennes-Sèvres in the middle of the 18th century. Errol, Henriette and Henry Manners 5 ROUEN EARLY FRENCH SOFT PASTE PORCELAIN ROUEN The Origins of French Porcelain 6 7 ROUEN EARLY FRENCH SOFT PASTE PORCELAIN 01. Moulded around the base and neck with A Rouen gadroons, finely painted with lambrequins or broderies and leaf scrolls against a dotted Porcelain ground, the foot and neck painted with flower heads against a braid of crossed ribbons. Potpourri The soft-paste porcelains of Rouen are Workshop of Louis Poterat amongst the rarest of all European ceramics Circa 1690 and the first porcelain to be made in France.