Ladies First

LADIES FIRST OR

THERE’S NOTHING LIKE A DAME!

Written and Researched by WILLIAM MOTLEY

COHEN & COHEN PO BOX 366 REIGATE RH2 2BB Tel:+44 (0) 1737 242180 Fax: +44 (0) 1737 226236 Email: info@cohenandcohen.co.uk Website: www.cohenandcohen.co.uk

© Cohen & Cohen 2007 Published September 2007 ISBN 0 9537185 8 6

Published by Cohen & Cohen Photographs by Dairy Digital Imaging Printed and bound by Thanet Press

FOREWORD Now that we are settled in our new location at the foot of Box Hill, a famous beauty spot now owned by the National Trust, on the North Downs, just 28 minutes by train from London’s glamorous Victoria Station, we are no longer constrained by events in London for the launch of a new catalogue and, rather than produce an annual volume in November, we will now produce a catalogue whenever we feel we have sufficient interesting pieces to fill one. We hope this will mean more catalogues rather than fewer.

With five pairs of figures of ladies, four in porcelain and one in lacquer and ivory it was not difficult to pick both a title and a theme for this catalogue and it has provided an opportunity to look at a few interesting ladies of the period when this porcelain was made. And not forgetting John Wilkes who wrote the notorious Essay on Women, which got him into so much trouble. We even have some plates with the arms of an ancestor of Tara Palmer-Tomkinson, a modern celebrity IT girl.

Among the highlights are a set of three Kangxi period blue and white sugar casters, a large and finely painted Hong Bowl of the earlier type decorated in two panels and an exceptionally rare bowl celebrating the granting of the King’s patent for Turlington’s Balsam of Life, a medicine that became hugely popular on both sides of the Atlantic. There are also two hunting punch bowls, an Arms of Liberty bowl and a Masonic bowl dedicated to ‘Brother Joseph Elliott’.

Works of art include the aforementioned lacquer and ivory ladies, a pair of well carved ivory table screens and a superb cast silver brush pot copying a carved bamboo form having the four character mark of Qianlong and of the period.

An unusual Canton enamel spittoon from the Imperial factory and a fine pair of floor standing cloisonné cranes complete the works of art section.

A massive famille rose monteith, a fish tank, a pair of tall cylindrical jardinières exquisitely enamelled with flowers and a large pair of baluster vases and covers whose panels illustrate scenes from The Romance of the Western Chamber make up the selection of large and decorative porcelains. Smaller but no less decorative are a pair of urns with reticulated covers, a pair of early famille rose reticulated vases and covers and a flamboyant wall sconce of a design attributed to Cornelis Pronk.

The armorial selection includes two exceptional pairs of plates one in eggshell porcelain with the arms of van Hardenbroek and the other a hexagonal pair with the arms of Jephson impaling Chase. The Chase family is also represented with a pair of candlesticks.

Will Motley continues to research and write the catalogues and the photography is by Dairy Digital Imaging.

Further thanks are due to Jonkheer Francis Loudon, Clementine Diepen, Robin Eagles, Mitchell Brown, Walter de Vault, David Priestley and Graeme Bowpitt.

Michael & Ewa Cohen

1

THREE BLUE & WHITE SUGAR CASTERS Kangxi, circa 1690 Dutch Market Height: 6 ½ inches (16.5cm) Three very rare underglaze blue and white sugar casters with original white metal mounts, each in two parts and moulded after European silver originals, the barrel with a rocky landscape and a scholar and his boy, the footrim with moulded gadrooning, the upper half with mixed stiriate piercing.

Sugar casters are rare in Chinese export porcelain and are usually found in famille verte enamels. Blue and white examples of this type are unrecorded.

REFERENCES: SCHEURLEER, LUNSINGH DF (1974) Chinese Export Porcelain: Chine de Commande, No 118, an example of similar shape from the Fehite Museum, Amersfoort.

2

A PAIR OF SALTS Kangxi, circa 1700 Dutch Market Length: 3 ¾ inches (9.5cm) A pair of blue and white table salts in the form of a fish, each with a concave salt pan and splayed pedestal with waveform and lotus borders.

A very rare zoomorphic form that would appear to be after a Delft original though the model has not been found. One other pair like this are known in a Portuguese private collection (unpublished).

Govern a great nation as you would cook a small fish. Do not overdo it.

Laozi, founder of Daoism (600-531BC)

Many men go fishing all of their lives without knowing that it is not fish they are after.

Henry David Thoreau (1817-1862)

No good fish goes anywhere without a porpoise.

Lewis Carroll (1832-1898)

3 A CAT NIGHTLIGHT Kangxi, circa 1670 Dutch Market Length: 5 ½ inches (14cm) A famille verte biscuit nightlight in the form of a seated cat, an opening at the back in the form of a peach, the body with green, yellow and aubergine over paint with stylistic fur in black enamel, the eyes and ears pierced.

Père d’Entrecolles, the Jesuit priest working in Beijing, writes in 1712 that these objects are used with small candles inside them to scare away rats and mice - and probably demons. They may also have been used as covers for incense pastilles.

Such items are very rare and are also known in a variety of palettes including underglaze blue and with a turquoise glaze.

REFERENCES: Similar examples are recorded in the collections of Leonard Gow, Anthony de Rothschild and the Eumorfopoulos Collection and a blue and white example, circa 1660, from the Hatcher Cargo is now in the British Museum.

JÖRG, CJA (1997) Chinese Ceramics in the Rijksmuseum, p226, a later example.

4

A PAIR OF FAMILLE VERTE VASES Kangxi, circa 1690 European Market Height: 14 ¼ inches (36cm) A pair of baluster vases of hexagonal section, brightly painted in famille verte enamels with panels of flowers and precious objects.

The one thing that reconciles me to the fact of being a woman is the reflexion that it delivers me from the necessity of being married to one.

Lady Mary Wortley Montagu (1689-1762)

Women can hold up half the sky.

Mao Zedong (1893-1976)

5

A ROULEAU VASE Kangxi, circa 1690 European Market Height: 17 ½ inches (45cm) A rouleau vase painted in famille verte enamels with two literary scenes surrounded by swirling dragons, the shoulder with panels of beasts reserved on trellis diaper, the foot rim with a border of lotus petals, the neck with landscapes, the rim edge and panel edges having a green and black keyfret border.

The painting on this vase is of an exceptionally high quality, with richness and subtlety. The two scenes would appear to be from Chinese literature but it has not been possible to identify the source. In one a magician appears to be conjuring a maiden on a cloud, to the amazement of the onlookers.

6

A ROSE VERTE DISH Yongzheng, circa 1725 Dutch or European Market Diameter: 15 ¼ inches (39cm) A very fine dish painted in rose verte enamels, with a tender domestic garden scene of two boys and a lady, the rim with four shaped panels of flowers and mythical beasts reserved on a dense ground of flowers and butterflies.

The tree with yellow blossoms is Osmanthus fragrans (guihua) which is used as a symbol for ‘distinguished sons’ (guizi) - and a boy breaking a branch from this tree would signify success in exams.

This is an exquisitely painted example of this type. The style follows that of the Kangxi period but uses the new rose enamel alongside the usual palette of famille verte.

There is no use of white enamel to give the colours opacity and the effect still resembles that of famille verte.

A lady's imagination is very rapid; it jumps from admiration to love, from love to matrimony in a moment.

Jane Austen (1775-1817)

7

A PAIR OF RETICULATED VASES AND COVERS Kangxi/Yongzheng, circa 1722-5 European Market Height: 17 ¾ inches (45cm) A pair of vases and covers of hexagonal section and with moulded vases of flowers on each face reserved against a reticulated lattice painted in deep rose enamel, the borders of the panels in underglaze blue keyfret and wave pattern, the neck panels with further raised vases in underglaze blue and floral roundels on the covers and shoulders, the knops moulded as bunches of flowers, the neckrim, shoulder rim and foot rim in iron red and gilt.

These elegant vases show the great skill of the Chinese potter with bold use of the new rose enamels, only just introduced at this date, the full famille rose palette being used sparingly on the finely detailed flowers and the cobalt blue used with realistic effect on the vases.

REFERENCES: WIRGIN, Jan (1998) Från KINA till EUROPA, p106, No 110, a similar single vase which lacks the underglaze blue decoration.

8

A FAMILLE ROSE GARNITURE Qianlong, circa 1750 European Market Height: 11 ½ inches (29cm) A fine famille rose five piece garniture of three baluster vases and covers and two trumpet vases, decorated with a scene of two pheasants each standing on a blue rock, surrounded by peony, white magnolia and chrysanthemum, the rims with borders of peony reserved on pink trellis diaper.

The forms of this set are Chinese and whole arrays of vases and bronzes were used to decorate Chinese Buddhist temples. However such five pieces sets, known as De Kastels by the Dutch, were a European invention and fashionable in Holland and England. Late in the seventeenth century the interior designs of Daniel Marot inspired the display of such sets in blue and white porcelain and fireplaces, door pediments and furniture were constructed with integral brackets and shelves to incorporate such porcelain, which was all the rage in big houses. This evolved into the more delicate famille rose forms, such as these, suitable for the domestic interior in the mid-eighteenth century.

Flowers fall, the water flows red, grief is infinite from The Romance of the Western Chamber

His designs were strictly honourable, as the phrase is; that is, to rob a lady of her fortune by way of marriage.

Henry Fielding (1707-1754) Tom Jones (1749)

Brought up in an epoch when ladies apparently rolled along on wheels, Mr Quarles was peculiarly susceptible to calves.

Aldous Huxley (1894-1963)

9

A PAIR OF VASES AND COVERS Yongzheng, circa 1730 European Market Height: 33 inches (84cm) A pair of large famille rose temple vases and covers, elaborately enamelled with literary scenes in leaf shaped panels reserved on a bright scrolling lotus ground, the foot rim with ruyi head border, the neck with peony sprays on white, the bulbous knops with garlands of daoist symbols.

The scenes on these vases are from the Romance of the Western Chamber, probably the most popular literary source for subjects on Chinese porcelain. The Romance (Hsi hsiang chi) was written by Wang Shih-Fu (1250-1337) and describes a relatively lowly scholar, Zhang, from Luo Yang who meets the beautiful Cui Yingying, daughter of a former Prime Minister, in a temple and he is

immediately smitten. However the temple is then besieged by a violent bandit called Sun Feihu who marries Cui by force. Cui's mother offers her daughter's hand in marriage to whomever can rescue her. With the help of friends Zhang eventually defeats Sun and claims his prize.

But his potential mother-in-law reneges on her promise and demands that Zhang now pass the Official Examination for the Civil Service before he will be allowed to marry her. The play ends with their tearful parting, 'hearts entwined' as Zhang sets off westwards for his studies and Cui is carried eastwards in a cart - though the pain of parting is tempered with the knowledge that eventually they will be reunited.

10

A PAIR OF JARDINIÈRES Yongzheng, circa 1730 European Market Height: 18 ¾ inches (48cm)

A man is given the choice between loving women and understanding them.

The resistance of a woman is not always a proof of her virtue, but more frequently of her experience.

Ninon de Lenclos, French courtesan, (1620-1705)

Provenance: The Stirling family, Keir House, Scotland.

An unusual pair of tall jardinières painted all round with branches of flowers in famille rose enamels, the ankle and rim edge with a green scroll end border, the upper rim with further sprays of flowers.

These represent the very pinnacle of Yongzheng period flowers painting on porcelain, comparable to the quality of Imperial pieces. The shape is unknown in this size and no other pieces of this type have been recorded.

When you have only two pennies left in the world, buy a loaf of bread with one, and a lily with the other.

Chinese proverb

The flower is the poetry of reproduction. It is an example of the eternal seductiveness of life.

Jean Giradoux (1882-1944)

11

A PORCELAIN WALL SCONCE Qianlong, circa 1740 Dutch Market Height: 12 ¾ inches (32cm) A porcelain wall sconce with an elaborately moulded frame in the rococo style, coloured with green, pink and brown enamels and gilt, the centre painted with a phoenix rising from flames.

This wall sconce is almost certainly from the special workshops in Canton set up to make the luxury porcelains using the designs of the Dutch painter Cornelis Pronk. In the records of the VOC there is mention of ‘tapestry sconces’ copied after delft originals and the wooden moulds for them which were taken to China, two styles in three sizes, six moulds in all.

There are few surviving examples of these sconces and none with the known Pronk designs found on dinner services and other items. However three types are known: one with a torch bearer, one with a lady on a swing and this design of a phoenix. The two designs with figures are remarkably similar to the Pronk figural designs so it is reasonable to assume that all these designs originated in the ‘Pronk’ workshops if not from designs by him. The Phoenix seen here is the European mythical bird, symbolising death and rebirth, which is distinct from the Chinese phoenix, which also appears on porcelain and is the ‘Queen of Birds’ to whom is paid homage by all other birds. This Europeanised view of Chinese imagery is another feature of Pronk’s designs.

REFERENCES: JÖRG, CJA (1980), Pronk Porcelain, Porcelain designs by Cornelis Pronk p38 illustration of a delft sconce, and two Chinese examples, the torch bearer and the phoenix, though these have different borders.

HOWARD, DS & AYERS, J (1978) China For The West, p302, No 297, another example, 14½ inches tall, with the same phoenix device but with the different moulding to the frame.

ARAPOVA, T, MENSHIKOVA, M et al. (2003) Chinese Export Art in the Hermitage Museum, p49, No 49, a sconce with the torchbearer figure

In order to attain the impossible, one must attempt the absurd.

The phoenix hope, can wing her way through the desert skies and, still defying fortune's spite, revive from ashes and rise.

Miguel de Cervantes (1557-1616) Don Quixote

A man should never be ashamed to own that he has been in the wrong, which is but saying, in other words, that he is wiser today than he was yesterday.

Alexander Pope (1688-1744) Miscellanies (1727)

12

A FAMILLE ROSE SAUCER Qianlong, circa 1735-40 Dutch Market Diameter: 6 inches (15.25cm) A brightly enamelled saucer with a central panache of seven plumes in violet and black reserved on a roundel of trellis diaper in black on yellow, the border with tasselled lappets in violet and black arranged in pairs.

This striking and unusual design is attributed to the Dutch artist Cornelis Pronk. It bears considerable stylistic similarity to other ‘Pronk’ porcelains and certainly comes from the same workshops in Canton that produced them. In particular the distinctive trellis diaper is only found on Pronk wares, especially the Arbour pattern.

The style is baroque, appearing frequently in the decorative schemes of Jean Berain and Daniel Marot, and also reminiscent of the decorations of Claude du Paquier (1719-1744) the director of the Viennese porcelain workshops, whose designs were also copied on Chinese export porcelains. The unusual colour scheme of mauve and yel-

low was also a feature of du Paquier porcelains in the 1730s.

Pieces with this design are extremely rare and from those known it would seem that just one large teaservice was made. The design would have been expensive to make, as were all the Pronk porcelains, and the mauve enamel was difficult to get right – it is the same as the standard pink found in famille rose but has to be fired at higher temperatures to achieve this colour. A few examples are also know with a red palmette and grey background.

REFERENCES: LE CORBEILLER, Clare (1974) China Trade Porcelain: Patterns of Exchange, p59, No25, ten pieces from the teaservice.

HOWARD, DS & AYERS, J (1978) China For The West, p302, No 296, a teabowl and saucer and reference to examples in the Victoria & Albert Museum and the Bullivant Collection.

WILLIAMSON, George C (1970) The Book Of Famille Rose, plate XVIII, seven pieces from this service.

SHIMIZU, C & CHABANNE, L (2003) L'Odysée de la Porcelaine Chinoise, p208, No 159, a milk jug and a saucer.

JÖRG, CJA (1989) Chinese Export Porcelain, Chine de Commande from the Royal Museums of Art and History in Brussels, p154, a teapot of this type; p155 a milk jug with the red palmette.

13

THREE LARGE DINNER PLATES Qianlong, circa 1740 Dutch Market Diameter: 10 ¼ inches (26cm) A set of three famille rose botanical plates painted with an iris and an orchid surrounded by butterflies and caterpillars, the rim with a brightly enamelled floral band and the cavetto having an unusual border of gilding over underglaze blue.

The main image is taken from a design that is traditionally attributed to Maria Sybille Merian (1646-1717), a remarkable Natural Historian and botanical artist who travelled to the Dutch West Indies in 1698. She later published a book of her drawings, Metamorphosis Insectorum Surinamensium (Pub: Holland 1705 and France 1771). For some time it was not known which source had been used, as the complete image is not found in her books.

However a careful analysis of the elements has shown that at least four parts are derived from different plates in Merian's third Raupenbuch (caterpillar book) of 1717. The iris is taken from Plate 20 and the anemone from plate 34. The butterfly is similar to one in plate 28 and the larger caterpillar (Cerura vinula) on the anemone is taken from plate 39 originally depicted on a willow branch. The other elements have yet to be traced.

REFERENCES: HOWARD, DS & AYERS, J (1978) China For The West, p304, No 298, a famille rose dinner plate.

HOWARD, David S. (1994), The Choice of the Private Trader, p78, No 60, a famille rose dinner plate.

JÖRG, CJA (1997) Chinese Ceramics in the Rijksmuseum, p287, fig 334, a famille rose saucer.

COHEN & COHEN (2005) Now & Then, Cat 11, a large famille rose charger.

COHEN & COHEN (2006) Double Dutch, Cat 32, a later blue and white tureen and cover with the same design.

One day in the street I saw a juggler diverting a crowd with a number of tricks: he took an handful of small pieces of copper, with holes in the middle of them, and laid them on a table; he then thrust them into his nostril, one by one with his finger; and this he continued to perform till the whole was exhausted. After this, he suspended an iron chain, of round links, about four feet long; then he took a mouse out of a box, and made it dance upon the table, quite loose. Then the mouse, at his order, went in at one link of the chain, and out at another, till it ascended to the top; from whence it came down again, the contrary way, without missing so much as one single ring. I am fully persuaded, that in tricks, and feats of dexterity, few nations can equal, and none excel, the Chinese.

The Chinese Traveller 1772

HESTER BATEMAN (1708-1794) It is generally assumed that women were unable to be commercially active in the eighteenth century but in fact there are examples of successful women in the silver trade and Hester Bateman is one of the most famous with her work now being much sought after. She was born around 1708 and married John Bateman, a goldsmith, in 1725. They set up at 107 Bunhill Row, in North London and she bore him at least six children before she was widowed in 1760 and took over the business.

It was long thought that the women silversmiths of this period were simply operating as clerical managers, but in fact Hester was bequeathed her husband's tools and it is now known that many of the sixty-three registered women silversmiths were active in manufacture.

This was no mean feat as the hammers could weigh up to ten pounds and the work was strenuous. Hester registered her scrolling HB mark in 1761 and, working with her sons Peter and Jonathan, her workshop became one of the best. She took trouble to maintain quality and gave attention to detail. She retired in 1790 leaving her sons in charge but Jonathan died suddenly in 1791. Following Hester's example the gap was filled by his widow Ann. Hester died in 1794.

14

A FAMILLE ROSE MONTEITH Qianlong, circa 1745 English Market Length 20 inches (51cm) A massive Chinese export oval monteith finely enamelled in polychrome with peonies and lilies, with precious object and antiques.

This particular form of crenellated bowl derives from a seventeenth century silver form. The notches are to hold in place stemmed glasses so that the bowls can be chilled inside the Monteith. Often the silver examples had the rim as a separate detachable part so that it could also serve as a punch bowl. This example is of the largest form, with a substantial foot and elaborate crenellations.

The original inspiration for the rim was the cut edge of a cloak belonging to a ‘fantastical Scot’ Monsieur Monteigh about whom little is known. Samuel Pepys describes him as a “swaggering handsome young gentleman...with a good basse but used to sing only tavern tunes”. He was clearly a lively character but probably had nothing to do with the creation of these objects. In contemporary inventories objects of this shape have been called variously: Monteth, Menteth, Mounteth, Munteth, Montef and Moonteeth.

The earliest mention is: This yeare [1683] in the summer time came up a vessel or bason notched at the brims to let drinking glasses hang there by the foot so that the body or drinking place might hang in the water to coole them. Such a bason was called a 'Monteigh,' from a fantastical Scot called 'Monsieur Monteigh,' who at that time or a little before wore the bottome of his cloake or coate so notched U U U U. Diary of Anthony Wood, Oxford, December 1683 Chinese export porcelain monteiths are rare and most are decorated in underglaze blue. Some are known in famille verte and a very few in famille rose.

REFERENCES: LEE, Georgina E., Monteith Bowls, a discussion of their origins and a survey of mainly silver examples.

WIRGIN, Jan (1998) Från KINA till EUROPA. p64, No 63, a large footed monteith with famille verte enamels.

PINTO DE MATOS, MA & SALGADO, M (2002) Chinese Porcelain in the Carmona and Costa Foundation, p142, No 37, a pair of the same shape and size as this example but with different enamels.

COHEN & COHEN (2002) After You! p8, No 3, a blue and white example.

LE CORBEILLER, Clare (1974) China Trade Porcelain: Patterns of Exchange. p36 a blue and white example now in the Metropolitan Museum, New York.

HOWARD, David S. (1994), The Choice of the Private Trader, p190, cat 218, an example in the Hodroff Collection.

COHEN & COHEN (2005) Now & Then, p30, No 13, an example of this large type with similar decoration and also in famille rose.

15

A FAMILLE ROSE FISH TANK Qianlong, circa 1745 English Market Diameter: 24 ½ inches (62cm) Height: 15 ¾ inches (40cm) A massive famille rose fish tank decorated in bright enamels with elaborate branches of peony, rose and chrysanthemum, the handles moulded as lion faces and in the biscuit, the upper rim with panels of peony reserved on a floral ground, the shoulder with a border of pink trellis diaper, the foot rim with lappets of lotus.

REFERENCES: JÖRG, CJA (1997) Chinese Ceramics in the Rijksmuseum, p223, No 253, a similar example, with an iron ring in the lion’s mouth.

The fish are put in a deep large bason, at the bottom of which they frequently put an earthen pan turned upside down with hole in it that in the heat of the day they may have shelter from the sun. Besides the little balls of paste which they are fed with, they give them the yolk of a boiled egg, lean pork dried in the sun and reduced to a very fine powder. They are much hurt and sometimes killed by a great noise, like that of guns or thunder...

The Chinese Traveller, 1772

GRACE DALRYMPLE ELLIOT (c1754-1823) Grace was the daughter of a Scottish lawyer but her parents separated when she was young so she was brought up in a French convent. As a young woman she was alert and attractive and made her debut in Edinburgh society in 1771. She quickly married the rich and elderly Dr John Elliot, however she fled Scotland with Lord Valentia after a scandal, eventually achieving a substantial divorce settlement. Her brother kidnapped her and locked her in another French convent but she was rescued by Lord Cholmondeley, an avid admirer.

She returned to London where she became courtesan to several rich and powerful men in the ‘Carlton House set’ around the Prince of Wales. When she gave birth to a girl in 1782 paternity was simultaneously claimed by Cholmondeley, by Charles Wyndham, brother of the Earl of Egremont and brother-in-law of the Prime Minister George Grenville, by George Selwyn (Member of Parliament for 44 years without ever making a speech and reputed to have a penchant for attending executions wearing women's clothes) and by the Prince of Wales (later George IV). Grace claimed the last was the father.

In 1784 she moved to Paris and began an affair with the Duc d'Orleans, cousin to the French King and a notorious character who changed his name to Phillippe Égalité after the revolution, even voting for the execution of Louis and Marie Antoinette. Grace was an ardent monarchist and close to Louis XVI and Marie Antoinette, so was devastated by their killing and that of Phillippe who was inevitably guillotined himself. Grace bravely helped save the Marquis de Champcenetz, hiding him in her house for three months before smuggling him away.

Then she was arrested for possession of a letter from Charles James Fox and suspected of spying. She was imprisoned for eighteen months, appropriately sharing a cell for a time with another famous courtesan, Madame du Barry, Mistress of Louis XV and also mistress of Englishman, Henry Seymour. Grace survived and returned to England to look after her daughter, who married Lord Charles Cavendish-Bentinck, but died in 1814 so Grace returned to France and little is known of where she went - rumours include an unlikely affair with Napoleon. She died alone in Ville d'Avray in 1823 and is buried at Père-Lachaise, Paris, in an unmarked grave.

16

A PAIR OF LARGE STANDING MAIDENS Qianlong, circa 1755 European Market Height: 16 ¼ inches (41.25cm) A fine and large pair of famille rose figures of maidens, each holding an iron-red and gilt vase and wearing layered robes decorated with foliate medallions.

Pairs of court ladies in the form of candlesticks like this are well documented but rare in this size - and this pair are particularly fine having very expressive and well moulded faces as well as such unusual and rich decoration to the robes. Pairs of court ladies such as these were used as table decorations in the eighteenth century.

REFERENCES: HOWARD, DS & AYERS, J (1978) China For The West, p615 No 644 - a single example similar to these; p614, No 643, another pair which it is suggested are derived from a chinoiserie original.

HOWARD, David S. (1994), The Choice of the Private Trader, p258 No 307, another pair; No 308, another pair.

WILLIAMSON, George C (1970) The Book Of Famille Rose, plate LIX, various single examples of the type.

SHARPE, Rosalie Wise (2002) Ceramics: Ethics & Scandal, p209, a pair of ladies with lotus candleholders also derived from chinoiserie models but with unusual feather shoulder mantles possibly of South American influence.

COHEN & COHEN (2001) School’s Out, p44, Cat 37, another pair similar to these.

COHEN & COHEN (2004) Bedtime Stories, Cat 26, another pair.

Grace Dalrymple Elliot

by Thomas Gainsborough, c1778

17

A PAIR OF NODDING HEAD COURT MAIDENS Qianlong, circa 1740 European Market Height: 15 ¾ inches (40cm) A fine pair of nodding head court ladies, with elegant blue coats, holding ruyi sceptres moulded as lingzhi fungi in one hand and orange handkerchieves in the other, each with hair up in elaborate designs.

The lingzhi-ruyi, derived from the bracket fungus (Ganoderma lucidum) that grows on tree roots, here represents ‘wish granting’ as well as immortality, suggesting that these maidens are here to grant your every wish.

Another similar pair are known in an important American private collection but no others of this type are recorded in the literature.

MADAME DE MAINTENON Francoise d'Aubigne, Marquise de Maintenon (16351719) was born in the prison of Chateau Trompette, where her father, Constant d'Aubigne, Baron of Surimeau, was confined for having killed his first wife and her lover, whom he had caught in the act of adultery. Her mother was the daughter of the prison governor and when her father was discharged they moved to Martinique where he died in poverty and she returned to France living in poor circumstances in a menial position with her godmother the Countess de Neuillant. Her godfather was the famous Duc de la Rochefoucauld.

She was rescued by the comic poet Paul Scarron, a disabled invalid, who paid for her education in a convent and then proposed to her in 1651. She thus became hostess to many of the most brilliant intellectuals of Paris until Scarron died in 1660.

In 1669 she became governess to the children of Louis XIV by his mistress Madame de Montespan. The King disliked her at first but gradually his interest changed and Francoise's wisdom and even temperament attracted him, contrasting with Montespan’s tantrums.

She became the King’s confidante and advisor and he made her a Marquise and gave her an estate at Maintenon from which she took her new name. The King wished her to become his mistress and said of her: “Madame de Maintenon knows how to love. There would be great pleasure in being loved by her." But she wisely held out and eventually they were secretly married in 1685. Because of her lowly status she could not openly be queen and the marriage was morganatic. Louis remained under her influence until his death in 1715 when she retired to the convent at St Cyr, where she had taught for some years and employed the services of many great writers, including Racine, to help in teaching the girls. She died in 1719. Her influence was substantial for the last thirty years of the reign of the Sun King and would have been difficult to predict given the circumstances of her birth.

ELIZABETH CHUDLEIGH, Duchess of Kingston or Countess of Bristol (1720-1788) Elizabeth Chudleigh exploded onto the social scene in 1749 at the Venetian Ambassador’s Ball causing consternation, as well as considerable amusement. She appeared as Iphigenia, wearing a costume designed by the wife of the playwright and impresario Colley Cibber.

The scandal was occasioned by the extreme scantiness of her attire, which some caricaturists depicted as being nothing more than a thin veil, which left nothing to the imagination. A whole industry blossomed in the printsellers’ windows, each vying to portray the true likeness of Chudleigh at the Ball. If her appearance was popular with the public, though, it was certainly not appreciated at court where she had recently been appointed lady-inwaiting to the Queen.

In 1776 Elizabeth Chudleigh was back in the headlines, following the opening of a sensational bigamy case. It was alleged that she had married Augustus Hervey, who had later succeeded as Earl of Bristol, and had then bigamously married Evelyn, Duke of Kingston.

She countered that she had believed the earlier marriage invalid, and to have been dissolved. The court found against her, and she was forced to seek refuge abroad while people at home continued to debate whether she should be referred to as Countess of Bristol or Dowager Duchess of Kingston. She unsuccessfully attempted to become lady-in-waiting to Catherine the Great in St Petersburg.

Samuel Foote kept her name fresh in people’s minds by satirizing her as Lady Kitty Crocodile in his play, A Trip to Calais, and she was also the subject of an anonymous piece, Les Avantures trop Amoureuses: ou Elisabeth Chudleigh Ex Duchesse de Kingston, Aujourd’hui Comtesse de Bristol. A further squib, penned by an unknown ‘Nottinghamshire Gentleman’, recounted Chudleigh’s imagined appeal to the Pope to adjudicate between her two husbands.

Elizabeth Chudleigh was forced to pass the remainder of her days, a stout and no longer attractive woman, in Paris. She remained a by-word for immorality and featured in William Combe’s satirical piece, The Diabo-lady (1777), depicting society ladies contending for the position as successor to Satan. Along with Lady Craven her name was spoken with fear by respectable ladies concerned for their sons’ and daughters’ welfare while away on tour.

18

A PAIR OF COURT LADY CANDLEHOLDERS Qianlong, circa 1760 European Market Height: 16 ¼ inches (41.3cm) A pair of standing ladies in mirror image each bearing a candleholder in the form of a lingzhi, wearing iron-red and gilt collars, sleeves and lower skirts, the robes decorated with scattered flowers in puce, the hems in black and gilt with key and waveform patterns, a green belt around the waist, the hair in a topknot and partially in the biscuit.

Provenance: Ex Collection of Leo and Doris Hodroff The style of the candleholder is unusual, being adorned with the sacred fungus, lingzhi, which is believed to convey immortality. The faces are well modelled and smile sweetly.

Two eighteenth century images of Elizabeth Chudleigh as Iphigenia at the Venetian Ambassador’s Ball, 1749

19

A PAIR OF COURT LADY CANDLEHOLDERS

I belong to Bridegrooms Anonymous. Whenever I feel like getting married, they send over a lady in a housecoat and hair curlers to burn my toast for me.

Dick Martin (b1922)

Qianlong, circa 1760 European Market Height: 11 ½ inches (29cm) A pair of standing ladies each bearing a candleholder in the form of a pink lotus blossom, the robes decorated with roundels in brown and gilt, with scattered flowers, the shoulders with a cape decorated with flowers.

It has been suggested that this particular form of lady with the feathered shoulder cape is of South American derivation but no model has been found.

REFERENCES: SARGENT, William R (1991) The Copeland Collection, p133-5, No 61, a larger pair with lotus candleholders.

SHARPE, Rosalie Wise (2002) Ceramics: Ethics & Scandal, p209, a pair of ladies with lotus candleholders also derived from chinoiserie models but with unusual feather shoulder mantles possibly of South American influence.

20

A SEMI-EROTIC FIGURE GROUP Qianlong, circa 1770 European Market Height: 7 inches (18cm) Length: 5 ½ inches (14cm) Provenance: with John Sparks Ltd A famille rose figural group of a seated man, his robe open at the front, with a lady sitting on his left knee, their hands in intimate gestures.

This belongs to a small group of figural couples that are considered to be semi-erotic. The intimate contact between the couple (it is not clear what precisely she is

doing - perhaps attending to his nails?) and the open shirt suggest a less than formal relationship. There are other groups like this depicting grooming activities such as pedicure, ear cleaning and teeth examination. There are also pairs showing music lessons, smoking and wine drinking.

All such groups are rare.

REFERENCES: JÖRG, CJA (1997) Chinese Ceramics in the Rijksmuseum, p226, No 256, a pedicure group.

SARGENT, William R (1991) The Copeland Collection, Chinese and Japanese Ceramic Figures in the Peabody Museum, p130 (and front cover) a pedicure group, ANTIQUES, February 1986, an example of this group.

HOWARD, David S. (1994), The Choice of the Private Trader, p257, No 306, a group showing a drinking lesson.

BUERDELEY, Michel (1966) The Chinese Collector Through the Ages, p260, Cats 183 & 184, two groups, including one of this pair.

21 A PAIR OF LACQUERED WOOD AND IVORY FIGURES Qing Dynasty, early 18th Century Height: 12 and 12½ inches (30.5 and 31.8cm) Provenance: with Spink and Son Ltd., London A pair of figures standing barefoot, dressed in painted lacquered robes, with inset ivory face, hands and feet, with gilt sashes and capes and with lingzhi tied to their waists.

The style of feathered cape on one figure, which corresponds with the waist sash of the other is interesting as it also appears in some porcelain figures of court ladies (see No 19 in this catalogue).

22

A CAST SILVER BRUSHPOT Qianlong Mark and Period (1735-96) Height: 6 inches (15cm) Diameter: 6 ¼ inches (15.9cm) A cast silver brushpot with moulded scenes of sages in four groups each framed by dramatic rocks and trees, the scenes being: a scholar writing at a desk surrounded by ruminating colleagues; scholars examining a large scroll painting; scholars seated at a table in front of a pavilion and a single scholar in a boat beneath a pine tree, the base cast with four character Qianlong mark written in kaishu, all supported on four low stepped feet.

not until the eighteenth century and increased trade with Europe that Chinese silversmiths had a good supply of silver - it being brought in as coin by the trunk load.

REFERENCES: BUNKER, Emma C, (1994) ORIENTATIONS, Nov 1994, The Enigmatice Role of Silver in China.

This brushpot is after one carved in bamboo - the copying of objects in different media was a fashion begun in the period of Yongzheng and perfected in the reign of Qianlong, who particularly favoured such material mimicry.

Silver brushpots are extremely rare and no other marked examples are known. Silver was hard to obtain in China and was more valuable than gold. Its colour reflected the light of the moon which made it much sought after. It was

Genius without education is like silver in the mine.

Benjamin Franklin (1706-1790)

23

A PAIR OF IVORY SCREENS AND STANDS

TABLE

Qianlong period (1735-1796) Screens: 8 x 4 ½ inches (20.25 x 11cm) A pair of finely carved ivory table screens on pierced stand, each with scenes of figures in front of elaborate buildings, the reverse inscribed with Chinese characters.

The scenes appear romantic and each reverse has a two line, seven character couplet of verse and is signed and sealed by the poet, written in cursive caoshu (grass script). The carving is of a very high quality and intricate detail with the whole surface of the image filled by contrasting texture and pattern.

By the time you swear you're his, Shivering and sighing, And he vows his passion is, Infinite, undying, Lady, make a note of this: One of you is lying.

Dorothy Parker (1893-1967)

24

A CANTON ENAMEL SPITTOON Qianlong, circa 1740 Height: 5 ½ inches (14cm) A Canton enamel spittoon finely enamelled with flowers and insects, in three parts comprising a volute base, a funnel and a domed cover with central knop.

This fine object belongs to a small group of enamel wares made in Canton in the style of Beijing enamels on copper. They were part of a complex evolution of enamelling techniques and aesthetics which developed throughout the reigns of the three Qing Emperors, Kangxi (16621722), Yongzheng (1722-35) and Qianlong (1735-1796).

In 1925 a discovery was made in the Forbidden Palace of a collection of very fine hua falang or 'painted enamels' which came from the period 1720-1780. Each was packed in individual cedarwood boxes and stored in the Duanming Palace, next to the east wing of the Qianqing Palace. These items are now in the National Palace Museum, Taipei. The objects tell the story of the evolution of Chinese enamelling, beginning with the activities in the reign of Kangxi. He was fascinated by the different techniques of enamelling on metal, glass, Yixing wares and porcelain and encouraged experimentation and the importing of ideas and expertise from the West. He extended the Beijing Workshops in 1693 and built a glass factory in 1696 under the direction of Kilian Stumpf (1655-1720) who taught the Chinese how to prepare different enamel colours. By 1706 Kangxi was distributing enamelled glasswares as presents and enamelled copper

boxes with Kangxi marks are known from this period. By the end of his reign the French Jesuit Missionary Jean Baptiste Gravereau was supervising the enamelling and this coincides with the development of the pink enamel that gave its name to famille rose.

The artistic styles of enamels during the reign of Kangxi were mainly Chinese, derived from cloisonné. But under Yongzheng the designs flourished, influenced by European enamels brought to the workshops and by painters such as Castiglione, who is known to have painted in enamels, and his student Lin Chaokai who was active during Yongzheng's reign The European designs merely acted as a starting point for the Chinese enamel painting and the rich detail of this period can be seen in the painting on this spittoon.

The Emperor Qianlong further developed the workshops and moved some of them to Canton where items continued to be made in this style.

A woman's preaching is like a dog's walking on his hinder legs. It is not done well; but you are surprised to find it done at all.

Samuel Johnson (1709-1784)

It is more difficult to catch a bird than a lady.

Samuel Richardson (1689-1761)

25

A PAIR OF CLOISONNÉ CRANES Qianlong, circa 1790 English Market Height: 40 inches (101.5cm) A pair of cloisonné and cast bronze cranes, mainly enamelled in white, grey and black, with red crowns and blue under the tail and wings, the legs and bases in cast bronze.

These birds are a combination of the two main species of crane found in China in the early nineteenth century, the Siberian Crane (Grus leucogeranus) which has black primary feathers and red legs and the Red-Crowned Crane (Grus japonensis) which has a black nape and grey legs and white primaries though the secondaries are black. Most early depictions of cranes in Chinese art are of the Red Crowned Crane, such as can be found on Yongzheng imperial bowls, sometimes in groups of eight carrying the eight Taoist precious objects.

This pair are dramatically modelled with an elegant poise and the enamels are subtly coloured, with a striking blue enamel on the underside of the wing feathers. The legs and, feet and bases are of cast bronze.

Cranes were popular in Chinese art and are regarded as the Patriarch of birds as well as the ‘aerial courser’ of the Immortals. They are emblematic of longevity and are often depicted next to a pine tree.

(There is a record of a Siberian Crane that lived to the age of 83!) In Chinese mythology there are four types of cranes: black, yellow, white and blue. The longest lived is the black crane which after six hundred years refuses food though still drinks. The white crane is embroidered on the robes of civil officials of the fourth grade.

The writer Sou Shen Chi tells a tale of a native of Shengking in the second century called Ting Ling-wei who went to the Ling-hsu Mountain to study the black arts. After a thousand years he changed himself into a crane, returned to his home town and perched on a tombstone, where he sang: “A bird there is and that is Ting Ling-wei His home he left a thousand years ago; Its walls unchanged, its folk now turned to clay Far better be hsien than moulder so.”

After which he went to heaven.

In nature both these crane species are severely endangered: the Siberian Crane now has a population of 3000 and is threatened by the Yangtze dam projects and the Red-Crowned Crane was declared extinct in China in 2004, with about 1800 surviving elsewhere.

These magnificent birds have complex dances to reinforce pair bonding, which is usually for life, and thus they are also used to represent marital fidelity.

REFERENCES: COHEN & COHEN (2005) Now and Then, for a large pair of porcelain cranes and references for other examples.

26

A COCKEREL TUREEN AND COVER Qianlong, circa 1760 Iberian Market Height: 15 ¼ inches (39cm) A fine and large famille rose cockerel-form tureen and cover, brightly enamelled and realistically moulded.

Tureens of various bird forms are known and were popular particularly for the Iberian market where a range of armorial examples are known. Geese, ducks, roosters and also fish, boar’s heads and ox heads are all known - and even a sauce tureen in the form of a seated buddha with the Spanish arms on the fat stomach. Other zoomorphic tureens and boxes include quail, pigs, shells and crabs. It is believed that these are taken from European examples some of which are also known in faience from a slightly earlier date. Exactly what sequence of models and mimics occurred is still a matter of debate.

The rooster (gongji) is an ancient yang symbol associated with the sun chasing away darkness and ignorance as the rooster crows at daybreak. Its name consists of gong = duke and ji which is a pun for auspicious. In Chinese art it is often associated with depictions of rank or official success.

REFERENCES: ALVES, Jorge et al (1998) Caminhos da Porcelana, p270, No 89 a similar cockerel SARGENT, William R (1991) The Copeland Collection, p209, No 101 a similar example and an illustration of another example with a stand and the arms of Bermudez. He also notes a Chenghua ceramic duck vessel with Xuande mark that suggests a Chinese origin for these objects.

COUNTRY LIFE, 20 May 1976, p1319, another example ANTIQUES. January 1976, p11 a tureen, cover and stand of similar type.

DU BOULAY, Anthony (1984) Christies' Pictorial History of Chinese Ceramics, p302, No 1, an example with the arms of Astaguieta GORDON, Elinor (1984) Collecting Chinese Export Porcelain, p67 MUDGE, Jean McLure (1986) Chinese Export Porcelain in North America, p80, No 123

Look wise, say nothing, and grunt. Speech was given to conceal thought.

Sir William Osler, physician (1849-1919)

27

A FAMILLE ROSE DINNER SERVICE Qianlong, circa 1775 Swedish Market Tureens, covers and stands Circular deep dish Sauceboats Meat Dishes Meat Dishes Meat Dish Meat Dishes Meat Dish Lobed saucer dish Saucer dishes Saucer dishes Buttertub, cover & stand Small plates Soup plates Dinner plates

14 inches (36cm) 15 inches (40cm) 7 ¾ inches (19.5cm) 16 ½ inches (42cm) 15 ½ inches (39.5cm) 14 ½ inches (37cm) 13 inches (33cm) 11 ½ inches (29cm) 10 ¼ inches (26cm) 10 ½ inches (26.5cm) 9 ½ inches (24cm) 7 ¼ inches (18cm) 7 ¼ inches (18cm) c. 9 inches (23 cm) c. 9 inches (23cm) Total

6 1 3 2 2 1 3 2 1 2 2 3 2 26 77 133

A fine and extensive dinner service of over 130 pieces of silver-form shapes with rims moulded and gilded, the centre with a floral roundel containing a device of three wild strawberries, the rest with radial flower sprays.

This elegant and restrained service must have been a special commission as the central device is not recorded on any other Chinese export porcelain. The ‘wild strawberry’ (Fragaria vesca) is a popular motif in Europe, especially in Sweden, where it symbolises the hope and rebirth of spring. In Bavaria a small basket of wild strawberries was tied to the horns of cattle as offerings for the elves.

The strawberry is a symbol of Venus because of its red colour and its resemblance to a heart and the Romans believed it could alleviate the symptom of melancholy. It also symbolises purity, passion and healing.

Legend has it that if you break a double strawberry in half and share it with a member of the opposite sex, you will fall in love with each other.

Madame Tallien, a prominent figure at the court of the Emperor Napoleon, was famous for bathing in the juice of fresh strawberries using 22 pounds per bath. She was once brought to Napoleon at the Tuilleries Palace borne by African servants and mainly wearing saphires and ruby rings.

Sigh no more, ladies, sigh no more, Men were deceivers ever, One foot in sea, and one on shore, To one thing constant never.

William Shakespeare, Much Ado About Nothing Earth hath swallowed all my hopes but she; She is the hopeful lady of my earth.

William Shakespeare, Romeo and Juliet

Doubtless God could have made a better berry, but doubtless God never did.

William Allen Butler (1836-1902)

For the world was changing, and sweetness was gone, and virtue too. Worry had crept on a corroding world, and what was lost -- good manners, ease and beauty?

Ladies were not ladies anymore, and you couldn't trust a gentleman's word... Oh, strawberries don't taste as they used to and the thighs of women have lost their clutch!

John Steinbeck (1902-1968) East of Eden (1952)

28

A POLITICAL BOWL Qianlong, circa 1775 English or American Market Diameter: 10 inches (25.5cm) A famille rose bowl with a political pseudo-armorial featuring two portraits and several figures.

This bowl accompanies a tea service which is known scattered though various important collections. It features The Arms of Liberty and must have been ordered by a supporter of John Wilkes or possibly even by Wilkes himself. There are a number of bowls with this design though they appear to be of two types, either having the inscription 'The Arms of Liberty' as for this item, or 'Wilkes and Liberty' which is more common.

The left hand portrait is of Wilkes and his two supporters, Serjeant Glynn (1722-1779) his legal advisor and Richard Grenville, 2nd Earl Temple (1711-1779), the motto is 'Always Ready in a Good Cause'. The right hand portrait is of William Murray, 1st Earl of Mansfield (17051793), who condemned Wilkes for 'seditious libel' which resulted in his expulsion from the House of Commons in 1769, and his supporters are John Stuart, 3rd Earl of Bute (1713-1792) and the Devil, the crest being a serpent rampant and their motto 'Justice Sans Pitie'.

John Wilkes (1725-1798) was one of the most colourful characters of the eighteenth century and he excited enthusiastic support and vitriolic condemnation in equal measure. He was extremely ugly, with a contorted face and a squint but he was also witty, clever and ambitious. He was the son of a distiller from Clerkenwell and he married a rich heiress and set about working his way though her fortune as a notorious rake.

He was a member of the Hell-Fire Club, founded by Sir Francis Dashwood, who held 'tasteful' orgies in the ruins of Medmenham Abbey. Other 'Monks' of Medmenham included the Earl of Bute, Thomas Potter (son of the Archbishop of Canterbury) and the Earl of Sandwich. Wilkes was expelled from this club and later exposed their activities in his newspaper The North Briton.

This paper was a direct imitation of a paper set up by the Earl of Bute in 1761, The Briton, edited by Smollett, to publicise Bute's policies. Wilkes published an attack on King George III in issue No 45 of The North Briton for which he was charged with sedition and tried in 1764 in his absence. He had flown to France after a duel with Samuel Martin MP for Camelford, in which Wilkes had been wounded.

He returned in 1768 and was arrested and sent to the Tower of London, which led to riots in London.

Wilkes was suspended from the House of Commons in 1769 for 'seditious libel' and set up the Society for the Supporters of the Bill of Rights to uphold his cause and pay his debts. The Society also called for shorter parliaments,

a wider franchise and the abolition of 'pocket boroughs'.

He was also censured in the House of Lords for obscenity in his Essay on Women, which he had privately printed for the Hellfire Club and which the Earl of Sandwich used against him. He had been expelled and re-elected from the Commons on four occasions and was Lord Mayor of London in 1774 when he was elected again for parliament and spoke against the American Revolutionary War in 1776. In later life he admitted that many of his attacks had been simply to gain popularity. An insincere opportunist he nevertheless provoked change in parliament and was instrumental in establishing the idea of a free press and its 'paper tigers'.

Serjeant Glynn was a successful lawyer and supporter of Wilkes but not a major player in the politics of the eighteenth century. However all the other figures on this bowl were very significant (including, in all probability, the Devil). Richard Grenville, Lord Temple, was the son of Richard Grenville (1678-1727) and Hester, 1st Countess Temple. He was reputed to be the richest man in England at the time and backed Wilkes's attempts to enter parliament in 1757. His younger brother George Grenville (1712-1771) was Prime Minister (1763-65) and their sister Hester married William Pitt the Elder.

John Stuart, 3rd Earl of Bute was Prime Minister briefly from 1762-3 but was influential behind the scenes for much of his life and rumoured to be having an affair with the mother of King George III. The Hon. William Murray, created 1st Earl Mansfield, was the eleventh child of the impecunious 5th Viscount Stormont and an important legal figure in the second half of the eighteenth century. He became Lord Chief Justice in 1754 and bought Kenwood House, employing Robert Adam as his interior decorator.

John Wilkes, from a print by Hogarth

Macauley called him "the father of modern Toryism" and he was a moderate, Jacobite pragmatist. On this bowl he is representing the 'Establishment' against which Wilkes fought but in fact, although he disapproved of Wilkes strongly, he reversed his outlawry in 1774.

In 1772 Mansfield heard the petition of freedom of a slave, James Somerset, belonging to a Mr Stewart of Virginia. During the trial Somerset's Counsel stated: "The Air of England is too pure for a slave to breath." At the end Mansfield freed Somerset and declared: "Let Justice be done, though the Heavens may fall" - in effect he had abolished slavery in England though this did not apply to the rest of the British Empire until 1807, by which time the American Colonies had broken away. In his will he left £100 per annum to Dido Elizabeth Belle, the natural daughter of his nephew, Viscount Stormont, with a former slave.

All these people demonstrate not only the diversity of character in the period but the almost incestuous nature of politics at that time. Another of Wilkes's chief enemies, John Montagu, 4th Earl of Sandwich and former member of the Hellfire Club, was Postmaster General and First Lord of Admiralty 1748-51 & 1771-82.

Famously Sandwich declared of Wilkes that he would die either of the pox or upon the gallows. Wilkes replied: "That depends on whether I embrace your Lordship's mistress or your Lordship's principles.”

REFERENCES: BUERDELEY, Michel (1962), Porcelain of the East India Companies, p184, cat 152, a bowl, Wilkes & Liberty.

LITZENBERG, Thomas V, (2003) Chinese Export Porcelain in the Reeves Center Collection, p185, a bowl and cream jug from the tea service.

GORDON, Elinor (1984) Collecting Chinese Export Porcelain, fig 16, a bowl, Arms of Liberty.

GODDEN, Geoffrey A, (1979) Oriental Export Market Porcelain and its Influence on European Wares, plate 149, a bowl, Wilkes & Liberty.

HERVOUËT, F&N & BRUNEAU, Y, (1986) La Porcelaine Des Compagnies Des Indes A Décor Occidental, Cat 9.51, a bowl, Wilkes & Liberty.

HOWARD, DS & AYERS, J (1978) China For The West, p244, punchbowl with portrait of Wilkes after an etching by Hogarth.

HOWARD, David S, (1974) Chinese Armorial Porcelain, p955, a bowl, Arms of Liberty.

He that would make his own liberty secure, must guard even his enemy from oppression; for if he violates this duty, he establishes a precedent that will reach to himself.

Thomas Paine (1737-1809) The love of liberty is the love of others; the love of power is the love of ourselves.

William Hazlitt (1778-1830) I would rather be exposed to the inconveniences attending too much liberty than to those attending too small a degree of it.

Thomas Jefferson (1743-1826)

29

A FAMILLE ROSE PUNCH BOWL Qianlong, circa 1775 European market Diameter: 36 cm (14 ½ inches) A Chinese export punch bowl with two panels showing the thirteen European factories (or Hongs) of Canton, reserved on cell diaper ground with further panels of animals and landscapes. The shoreline is crowded with Chinese 'chop' boats and many Europeans fill the courtyards in front of the factories, the balconies, the doorways and the windows. The bowl also depicts flags flying in front of five of them - those of Denmark, France, Sweden, England and Holland.

Foreigners were forbidden to set foot on Chinese soil but in order for trade to proceed a small exception was made on the banks of the Pearl River at Canton (Guangzhou). This tiny section of the city about three hundred yards long and fifty yards deep, about the size of Buckingham Palace, was the funnel through which all Western Trade with China occurred for a century and a half. It contained the thirteen factories or Hongs which controlled the trade with all the Western Nations.

Outside trade with Canton had occurred for hundreds of years before the Europeans arrived, first locally with the East Indies and Malaya, then around 250 - 300 AD travellers from Western Asia arrived and also Persians and Arabs who were already trading along other routes. Foreigners were not permitted on Chinese soil but small concessions were made in 650 AD and a Muslim colony in Canton was established and became so powerful that in 758 AD, after a conflict with the Chinese, the muslims burnt the city and made off with the its wealth.

Later re-established it grew to an extent that Ibn Battúta, an Arab visitor in the fourteenth century reported that there was even a mosque. This set the precedent for the European trade later established.

In the sixteenth century the Portuguese arrived and settled at Macao, which they were given by the Chinese Emperor in gratitude for controlling the piracy that had plagued the coast. Throughout the sixteenth century the Canton- Lisbon trade grew. Lisbon was the main centre in Europe for the trade of Chinese goods, everything arriving there first under full Portuguese control.

The Portuguese ascendancy in this trade was gradually reduced after Phillip II of Spain and Portugal closed Lisbon to Dutch ships as he was at war with them in 1594, this same edict applying to the English shipping. This prompted the Dutch to go to China direct and led to the creation of the Dutch East India Company (VOC) in 1602, which took control of the East Indies, established a base in Formosa (1624-61) and by 1638 had sole trade with Japan. Thus Amsterdam replaced Lisbon in the seventeenth century as the first stop in Europe for all Oriental goods, the VOC becoming very powerful: in 1669 they commanded 150 trading ships, 40 warships and an army of 10,000 men!

The English East India Company was created on December 31 1600 though it was slower to get started than the Dutch. In 1627 a memorandum from the EEIC was sent to London from its base in Batavia (Jakarta) noting that a good trade with China was possible despite no strangers being officially permitted as the black market was very accommodating. In 1637 Captain Weddell arrived in the Pearl River with four ships from the Courteen Association (a short-lived rival to the EEIC backed by Charles I). He was kept waiting and so, with an impressive historical resonance, he fired his cannon at the Chinese, who reacted by banning all trade with the English. It was not until 1699 that the EEIC ship Macclesfield arrived at Canton and opened a new era for British trade. China had undergone a major change politically, with the collapse of the Ming dynasty and the early chaos of the Qing Dynasty sorted out by the great Emperor Kangxi (1662-1722), who re-established the kilns at Jingdezhen. Trade grew dramatically: the Macclesfield carried 20,000 pounds of tea; in 1723, five ships carried 900,000 lbs; in 1750 seven ships carried 2,000,000 lbs; between 1769 and 1777 the average annual amount was 10,000,000 lbs and in the 1830 the amount was 38,000,000 lbs, almost two thousand times as much as in 1700!

Each of the nations trading at Canton established their own Hong as a base and there were also some that catered for the occasional or unattached traders. In the early days these were offices and warehouses but they also employed skilled workmen who painted and fired many items. The kilns from such activities resulted in frequent fires and one such cleared much of the Hongs area in 1742. They were rebuilt and sometime before 1765 many of them took on the appearance they have in this bowl with European architectural styles. The English Hong was established in 1715, the French Hong in 1728 though their attendance was sporadic and they changed buildings several times. The Dutch Hong was established in 1762, having been kept at bay by the English, though their Hong ended up next door! The first Danish ship arrived in 1731 and the first Swedish ship in 1732, their Hongs being established after that. The Ostend company had a Hong for a short period and later the Imperial Hong was established, under the flag of the Empress Maria Theresa, by set of merchants called the Triest Company as a front for Hungarian registered French ships in 1779, lasting for two seasons. Later a Spanish Hong handled the Manila trade and after 1785 the American flag is recorded in some depictions of the Hongs though the US did not have a permanent Hong for some time.

The enterprising supercargo arriving in China after a long and perilous journey would have a complicated, frustrating and expensive procedure to follow to complete his trade. His ship would arrive at Macao and there be boarded by a licenced Chinese pilot who would guide them to the Bogue, or Bocca Tigris, the mouth of the Pearl River.

At the Bogue agents of the Imperial Commissioner of Customs (known as the Hoppo) would exact two 'port charges': 'measurage' calculated according to the size of the ship, usually about £400 and a 'forced present', about £650 (together the cost a substantial town house in London at the time!). Two 'tidewaiters ' would then be installed in the ship, acting as guides and also as informants or spies for the Chinese Authorities.

The ship would proceed to anchorage off the island of Whampoa in the middle of the river about twelve miles from Canton. When all charges had been paid the ship would receive the 'chop' so that now the supercargoes could proceed in small craft up river to the Hongs. The unpredictable weather and winds meant that trade could only happen for six months of the year from midsummer to midwinter; out of season the hongs were closed, the flags removed and all foreigners dismissed as far back as Macao.

The supercargo on his small boat would approach the shore in front of the Hongs amid a teeming swarm of boats carrying every kind of trade item. Before him would be the open space of Respondentia Walk, a promenade in front of the Hongs with some finely dressed Europeans talking or arranging deals. To his left would be the Danish flag over the Danish Hong some distance from others. As his eye moved rightwards he might see Old China Street, a narrow street leading away to the Thirteen Factories Street that ran behind the hongs. Old China Street was lined with many small shops run by Chinese merchants selling all types of wares for the private traders. As well as the main cargo requirements for this ship the merchant would also have private provision, which enabled him to make a substantial personal fortune. Old China Street was eventually destroyed by fire and a new street was constructed nearer to the Danish Hong. In the central part of the Hongs façade the merchant could see the French Hong (the white flag) and the Swedish Hong, from which a man can be seen peering out though the main door. To the right of that is the Old English East India Company Hong, now used for private trading and next to it the Chow Chow Hong which still has Chinese architecture. Next was Hog Lane another way through to Thirteen Factories Street and also lined with many shops crammed full of porcelain, silks, tea, silver and mother of pearl.

Turning further to his right the merchant would then see the grandest building of all, the English Hong, with a substantial two-level arcaded porch or veranda projecting out towards the shore, shown here in awkward perspective and on one level, and next to it a smaller version of this building with the Dutch flag and finally another one called the Creek Hong catering for private traders. During his stay the supercargo would be confined to this small area. He was forbidden to carry firearms, to have personal contact with the Chinese outside the workshops or even to learn the Chinese language, foreign women were not allowed, and he could not even ride in a sedan chair!

The earliest bowl with these Hongs dates from 1765 and is in puce enamels having a panel on the other side of Copenhagen from a print of 1764. The changes in the architecture can be plotted from a careful study of these bowls and from paintings which were also very popular, these two panelled versions date from about 1775 and later ones from about 1782 have a continuous scene all round the bowl.

Having completed all his trade deals and stocked up his own space with porcelains and other items to satisfy the fashions at home, the supercargo may well have looked around the shops in Hog Lane for a suitably impressive souvenir of his visit. The only surviving invoice for a Hong bowl is for the private cargo of Captain Green of the Empress of China the first US ship to arrive in Canton in 1785, who records: '4 Factory painted Bowles @ 5 ½ (dollars) ea.' What better than this could he find?

REFERENCES: Hong bowls are so integral to any literature on Export Porcelain that they feature ubiquitously. This survey lists some of them giving the author's dating and the flags, illustrated from left to right.

LITZENBERG, Thomas V, (2003) p156, No 148, c 1795, flags of US, Dk, Sp, Fr, Sw, GB and NL. HERVOUËT, F&N & BRUNEAU, Y, (1986) a range of examples: p24, No 1.25, puce single panel, c 1765, Dk, Fr, Sw, GB, NL; No 1.26, famille rose, two panels same as this example, c 1775, Dk, Fr & Sw, GB, NL; No 1.27, FR, continuous scene, c1783, Dk, Imp, Fr Sw, GB, NL (note Imp and Fr reversed); No 1.29, FR, continuous, c1790-1800, Dk, US, Sw, GB, NL. LLOYD HYDE, JA (1964), p28, pl III, famille rose, continuous scene, with the addition of railings at the front, but the Imperial flag is gone and a US flag is in its place, the French flag appears to have moved to the right.

PHILLIPS, John Goldsmith (1956), p14, fig 8, famille rose, with a US flag inserted erroneously between the GB and NL flags, Dk, Fr, Imp, Sw, GB, US, NL. SARGENT, William R (1996) p148, No 43, famille rose, Dk, US, Sw, GB, NL; p152, No 45, grisaille, c 1785, Dk, Fr, Imp, Sw, GB, NL; p142, No 40, a map of Canton of about 1840 which shows the layout of the Hongs.

MUDGE, Jean McLure (1981) p135, figs 41a-c, famille rose, c 1785-90, Dk, US, Sw, GB, NL. SCHEURLEER, LUNSINGH DF (1974) No 54, panelled type, Sw, GB, NL. BUERDELEY, Michel (1962) p18, fig 7, Sw, GB, NL. HOWARD, David S. (1994) p200, No 233, famille rose, continuous scene but lacking imperial flag, c1785, Dk, Fr, Sw, GB, NL. HOWARD, David S (1997) p51, No 46, famille rose, continuous, c 1785, Dk, Imp, Fr, Sw, GB, NL (note Imp and Fr swapped).

LE CORBEILLER, Clare (1974) p115, No 49, FR, c1780, Dk, Imp, Fr, Sw, GB, NL. FORBES, HA Crosby- (1982) p28, No 26, famille rose, two panels, c 1770, the only flags are the French and another unidentified, this has an unusual view and shows the shops along Old China Street clearly, and has the street signs in Chinese; a similar example is in the Bayou Bend Collection in the Museum of Fine Arts, Houston.

BRAWER, Catherine Coleman (1992) p24, No 4, an example with the Imperial and French flags reversed.

LE CORBEILLER, C & FRELINGHUYSEN, AC (2003) p48, No 51, famille rose bowl with a US flag inserted between the English and Dutch flags, therefore not corresponding to a particular Hong. The interior of this bowl shows a ship being constructed with the monogram BGE for Benjamin George Eyre (b1738) who was an aide-de-camp to George Washington and later a shipbuilder in Philadelphia.

NADLER, D (2001) p46-49, figs 22-26, three bowls, (i) famille rose, c 1775, Dk, Fr, Sw, GB, NL; (ii) FR, c1783, Dk, Imp, Fr, Sw, GB, NL; (iii) FR, c1790, with US between GB and NL, the BG Eyre example.

KRAHL, R & HARRISON-HALL, J (1994) p85, No 34.

HOWARD, DS & AYERS, J (1978) p208-209, No 206, the same example as FORBES above; No 207, a bowl, though the Imperial flag is recorded as being that of Brazil.

COHEN & COHEN (2003) Soldier Soldier, p48, No 24, a bowl with continuous scene; Now &Then (2005) p62, No 30, a unique large bowl, circa 1845, the interior with a scene of the Hongs.

30

AN ARMORIAL ADVERTISING BOWL Qianlong, circa 1745 English Market Diameter: 11 ¼ inches (29cm) An extremely rare commercial advertising armorial bowl, one side with an armorial device and inscription, the other with a famille rose landscape scene with buildings and a coach and horse accompanied by two riders framed by a gilt shell and scroll border, the body with sprays of peony in iron red and gilt.

This is an extremely rare example of commercial advertising on Chinese export porcelain. Robert Turlington’s Balsam of Life was one of many ‘quack remedies’ that were jostling for success in the medical ignorance of the eighteenth century. Sir William Osler commented that medical knowledge at the end of that century was about the same as the ancient Greeks. Turlington seems to have been an enterprising and sharp operator. His Balsam was successful but becoming increasingly copied so he was granted a King’s Patent in 1744 which gave him rights to the recipe (a concoction of 27 ingredients) and to prosecute any counterfeiters.

In 1748 he published a 53-page pamphlet full of dramatic assertions in the characteristic style of the time. The frontispiece bears the same device as this bowl, with the arms of Turlington. He claimed that the “Author of nature” provided “a natural remedy for every Malady” and so “Men of Learning and Genuis have ransck’d the Animal, Mineral and Vegetable world” to discover such remedies. Including himself among these geniuses he presented his Balsam of Life “a perfect Friend to Nature” which he said: "vivifies and enlivens the Spirits, mixes with the Juices and Fluids of the Body, and gently infuses its kindly Influence into those Parts that are most in Disorder."

It cured everything from dropsy to sprained thumbs and he paraded a host of testimonials from people of all walks of life many of whom were Captains and Commanders in the Navy, including a Capt. Elliot (see the next item in this catalogue?) and Thomas Taylor, Chief Mate of the EEIC ship Caesar, in St Helena, April 1744, who sold many bottles as agent for Turlington, and Mr Will Davis, doorkeeper at the EEIC in Leadenhall St, London. Taylor could possibly have procured this bowl.

Despite the patent the Balsam was still much copied and his first bottles were rectangular and bore the same device as this bowl with the three heads. To further establish his brand in 1754 he devised a distinctive banjo shaped bottle with moulded lettering but no armorial. This was one of the first examples of such brand merchandising, heirs of which are the Cocoa Cola bottle and Macdonald’s golden arches. Thus the date of this bowl can be put between 1744 and 1755 - which is consistent with the style of borders and the enamelling. The landscape scene, previously unrecorded on porcelain, has not been traced and may simply be representative of a travelling salesman.

REFERENCES: YOUNG, James H (1972) The Toadstool Millionaires, Princeton University Press.

TURLINGTON, Robert (1748) Book of Testimonials, London.

I, Richard Heaton, Master of the ship Young Charles, taking the diversion of hunting at Narva in Sweden, and being over-heated thereby, drank near a quart of water, which threw me into such a strong convulsion, that it was thought impossible for me to survive; but having the good fortune to have a bottle of Turlington’s Balsam of Life in board, I took about 30 or 40 drops thereof, and was in about an hour perfectly restored. This I declare to be effected, under God’s providence, only by the said Balsam of Life, as witness my hand this 16th day of August 1748. Witness: John Dobee, Richard Heaton, William Turnbull from Turlington’s Book of Testimonials, 1748

frontispiece of the Book of Testimonials, 1748

31

A MASONIC BOWL Qianlong, circa 1770 English or American Market Diameter: 11 ¼ inches (29cm) A bowl finely painted around the exterior with masonic emblems beneath a neoclassical border, the interior with a further scene and the base inscribed in black.

Masonic emblems on Chinese export porcelain are rare and much sought after though also quite well documented. This bowl is a fine example of the type but is made remarkable by the inscription to the base: ‘Brother Joseph Elliott’. This bowl is referred to in Howard & Ayers (1978) under important pieces, where they mention its sale at Sotheby’s in 1974. At the Freemasons’ Hall, London, are a pair of armorial salts with the inscription ‘Brother Richard Meriton’ and a pair of loving cups, c1790, inscribed ‘Lodge of Emulation’ and presented by ‘Brother Richard Meriton, Sea Captain’. Also recorded are three mugs with masonic arms inscribed Moses Adams, Boatbuilder.

The origins of freemasonry are inevitably clouded in history. Supposedly going back to the builders of Solomon’s temple, in their present form they originate from the early eighteenth century. Certainly there were lodges or associations of stonemasons in medieval times and in the seventeenth century there were many guilds that operated box clubs where members contributed to help those who fell on hard times – and such clubs often had simple initiation ceremonies, passwords and hierarchical membership.

During this time the stonemason clubs began to include members of other trades – and Elias Ashmole, founder of the Ashmolean Museum, Oxford, is recorded joining a Free Mason lodge in 1646, most of whose members were not operative masons. These lodges were forming in a time of extreme religious turbulence and it is argued that they were an attempt to build a better society and, in the custom of the times, used complex symbolism and allegory to express their ideas. The series of designs on this bowl illustrate some of these.

By the early eighteenth century this was more organised and lodges were combining and organising. On 24 June 1717 four London lodges came together at the Goose and Gridiron Ale House in St Paul's Churchyard, formed themselves into a Grand Lodge and elected a Grand Master and two Grand Wardens, one of whom was a ‘Joseph Elliott, Captain’. This is unlikely to be the same man as on this bowl (though possibly ordered by a son or grandson in his memory or themselves named after him) but it does establish the Elliott name with senior freemasonry and maritime activity and thus a possible means of acquiring this bowl.

The Elliott family are also extensively recorded at this time in Boston, Taunton and Beverley, Massachusetts. The bowl dates from the early years of the independent American trade between Boston and Canton so it is possible to imagine a Brother Elliott in Canton having the bowl inscribed personally.

REFERENCES: HOWARD, DS & AYERS, J (1978) China For The West, pp323-328, various Masonic items.

HERBERT, P and SCHIFFER, N (1980) China For America, pp137-142, Masonic items for the US market.

HERVOUËT, F&N & BRUNEAU, Y, (1986) La Porcelaine Des Compagnies Des Indes A Décor Occidental, pp278-290, numerous Masonic porcelains.

HOWARD, David S, (1974) Chinese Armorial Porcelain, Volume I, p729, the armorial salts inscribed Brother Richard Meriton.

COHEN & COHEN (2004) Bedtime Stories, p20, No 10, an example of the mug inscribed for Moses Adams

Were this world an endless pain, and by sailing eastward we could forever reach new distances, and discover sights more sweet and strange than any Cyclades or Islands of King Solomon, then there were promise in the voyage.

Herman Melville (1819-1891), Moby Dick

32

A HUNTING PUNCH BOWL Qianlong, circa 1770 English Market Diameter: 15 ¼ inches (40cm) In Full Chase (detail) by James Seymour

Provenance: Southern Alleghennies Museum of Art, Pennsylvania A rare punch bowl finely decorated in famille rose enamels with continuous scenes of foxhunting after original images by James Seymour, the interior with a man riding a horse.

The four scenes here are taken from prints by PC Canot after paintings by James Seymour, including Going Out In The Morning, which shows Sir William Jolliffe who was a major patron of Seymour. The other scenes are: Brushing The Cover; In Full Chase; The Death Of The Fox. This bowl has a delicate palette and is finely painted. The interior image is unidentified but is almost certainly after Seymour who painted many racehorses and their owners of the day.

REFERENCES: BRAWER, Catherine Coleman (1992) Chinese Export Porcelain from the Ethel (Mrs Julius) Liebman and Arthur L. Liebman Collection, p117, No 90, a different bowl with prints after Seymour.

HOWARD, David S (1997) A Tale of Three Cities, Canton, Shanghai and Hong Kong, No 144 - this bowl.

HOWARD, DS & AYERS, J (1978) China For The West, p281-3, No 280, a similar bowl in different colours, after Seymour images.

LLOYD HYDE, JA (1964) Oriental Lowestoft Chinese Export Porcelain, Colour Plate B, a bowl that is very similar but less well painted.

PHILLIPS, John Goldsmith (1956) China Trade Porcelain, p141, pl 59, a similar bowl but with different images after Seymour

Morning

by P Canot after James Seymour

Sir William Jolliffe and Hounds (1747)

by James Seymour

33

A HUNTING PUNCH BOWL Qianlong, circa 1770 English Market Diameter: 15 ¾ inches (40cm) A rare punch bowl finely decorated in famille rose with scenes of foxhunting, the rim and foot with borders of trellis diaper in underglaze blue, the interior with a scene of a man unsportingly shooting a pheasant perched in a tree.

Men are generally more careful of the breed of their horses and dogs than of their children.

William Penn (1644-1718) Reflexions and Maxims

34

A PAIR OF ARMORIAL DINNER PLATES Yongzheng, circa 1730 English Market Diameter: 9 ¾ inches (24.7cm) A pair of hexagonal dinner plates with a central armorial with elaborate mantling, the cavetto with a double gilt spear border and the rim with six panels, five of peony and the sixth with a crest of an arm holding flowers, all reserved on a ground of iron red cell diaper.

The arms are: Jephson (arms confirmed 1815 for the baronets of Spring Vale, Dorset): Azure a fess embattled or between three cocks’ head erased argent impaling Chase: Gules, four crosses patonce argent, on a canton azure, a lion passant or; Crest: arm holding a pansy (Jephson) This service was ordered for the marriage of William Jephson a wealthy barrister of Lincoln’s Inn who married Hannah Chase of Much Hadham, Hertfordshire.

The hexagonal shape and the finely detailed iron red diapering are unusual and with the ample mantling this is one of the most sought after examples of early English armorials on Chinese export porcelain.

Hannah Chase was the aunt of Sir Richard Chase who, ten years later, ordered his own service which echoed the design of this in its diapering (see Item 36 in this catalogue).

William Jephson was born circa 1695 the son of Alexander and Priscilla in Stepney, London. The Jephson family was originally from Hampshire but had a significant branch in Ireland including Colonel William

Jephson MP (1615-1659) who served with Murrough O’Brien (Lord Inchiquin) in the daring relief of Castle Rathbarry, 1642. His relative Colonel Alexander Jephson was a ringleader of Thomas Blood’s plot to take Dublin Castle in 1663 (the same Blood who later stole the Crown Jewels from the Tower of London). Alexander’s father, Sir John Jephson lived at Mallow Castle and it was said of him that 'his love of pleasure was greater than his fortune' so he fell into debt. One night a gentleman appeared unannounced and, putting a large bag of gold on the table, asked Jephson if he would like to be free of debt.

Jephson eagerly responded and the gentleman produced a white rat and said that he could have the gold, provided that he agree to have the rat with him at all meal times, sitting on the chair to his right. Eventually after some years he tired of his rodent companion and dismissed him. Immediately the gentleman appeared and whisked Jephson away out of the window. It is said that ever since a white rat will appear before a family member dies.

This colourful and charismatic family also included William Jephson MP for East Grinstead and Secretary to the Lords of the Treasury under Charles II, and Robert Jephson (1736-1803) the poet and dramatist whose nephew, Robert, was poet laureate to the ViceRegal Court in Blackrock until one day caught mimicking the Marquis of Buckingham in a mirror and summarily sacked. Arthur Mounteney Jephson was an explorer who accompanied Henry Morton Stanley in Africa, writing very frank diaries which were later published.

REFERENCES: HOWARD, David S, (1974) Chinese Armorial Porcelain, Volume I, p259, this service.

Arthur M Jephson (1887)

35

A PAIR OF BLUE AND WHITE CANDLESTICKS Qianlong, circa 1770 European Market Height: 9 inches (23cm) A fine pair of porcelain candlesticks decorated in underglaze blue with a lady and a deer, the rims with floral borders incorporating daoist elements.

Candlesticks are rare in Chinese export porcelain and these are copied after a European silver original. The lady is possibly Hsi Wang Mu, who is often shown with a deer, or the Goddess Magu - both are used to symbolise immortality.

REFERENCES: SCHEURLEER, LUNSINGH DF (1974) Chinese Export Porcelain: Chine de Commande, Nos 115 & 117, porcelain candlesticks.

Venus, a beautiful, good-natured lady, was the goddess of love; Juno, a terrible shrew, the goddess of marriage; and they were always mortal enemies.

Jonathan Swift (1667-1745)

Very few people have settled entirely in the country but have grown at length weary of one another. The lady's conversation generally falls into a thousand impertinent effects of idleness, and the gentleman falls in love with his dogs and horses, and out of love with everything else.

Lady Mary Wortley Montagu (1689-1762)

36

A PAIR OF ARMORIAL CANDLESTICKS Qianlong, circa 1745-50 English Market Height: 10 ½ inches; 27cm A pair of baluster form candlesticks with a famille rose cell diaper around the base and the chimney bearing the crest of Chase.

Crest: a lion rampant sable langued gules holding between the paws a cross patonce or (Chase) This unusual service was originally believed to have belonged to Judge Samuel Chase, who was a signatory of the American Declaration of Independence. He is known to have owned an armorial service but this has now been shown to be the one in the American Wing of the Metropolitan Museum in New York and which bears his aunt’s arms (Towneley) which the Judge used for his own.

This service was ordered by Sir Richard Chase (1720-1758) of Much Hadham in Hertfordshire, the son of wealthy Ironmonger from Gracechurch Street in London, who had bought a large Elizabethan House in Much Hadham called ‘The Lordship’. A good example of the rise of the merchant classes in the eighteenth century, Sir Richard was Sheriff of Essex in 1744. He stipulated in his will that he should be buried outside the West window of the church and that the grave merely be covered in turf.

The resultant mound is still visible today.

The design of the cell diaper echoes that on the earlier service ordered by his aunt Hannah Chase a plate from which can be seen in this catalogue. The plates in the later service were octagonal rather than hexagonal.

REFERENCES: LE CORBEILLER, Clare (1974) China Trade Porcelain: Patterns of Exchange, p61, No 26, an octagonal dinner plate from this service.

HOWARD, David S. (1994), The Choice of the Private Trader p95, No 86, a dinner plate from this service.

HOWARD, David S, (1974) Chinese Armorial Porcelain, Volume I p259.

Jan Louis van Hardenbroek (1691-1747) Photograph courtesy Jonkheer Francis Loudon, Hardenbroek Castle

Other examples from this service, which seems to have been limited to plates only, are recorded in the collections of Florence Gould, Baronne Pangaert d’Opdorp and Francois and Nicole Hervouët. Part of a later service of different design with the same arms remains at Hardenbroek Castle today.

37

A PAIR OF ARMORIAL SOUP PLATES Yongzheng, circa 1730-2 Dutch Market Diameter: 8 ¾ inches (21.3cm) A pair of eggshell porcelain soup plates with an elaborate central armorial within a double silver rope border, the rim decorated with tree shrews, birds, butterflies and flowers against a grisaille keyfret ground.

The arms are of van Hardenbroek of Utrecht, most probably for Baron Jan Louis van Hardenbroek (1691-1747) son of Gijsbert Jan Van Hardenbroek (d 1698) and Anna Maria van Marlot (d 1695). Orphaned by the age of eight he eventually entered the Dutch navy becoming a captain and later Admiral. A 50 gun Dutch ship of the line was named Hardenbroek about 1704, but this was captured by the French, renamed Esperans and sold to Russia.

Jan Louis married Johanna Charlotte van Renesse in 1718, who bore him at least two sons before she died in 1723. The older son Gijsbert was a noted diarist and is mentioned by James Boswell. The younger son Jan Adolf (1721-1791) married Susanna d’Aumale, daughter of the Duke of Aumale, herself a friend of Boswell and a noted society figure. Jan Louis secondly married Adriana Alida Pompe van Meerdervoort (1705-

1763) in 1726. They lived at Hardenbroek Castle near Utrecht.

These very fine plates date from the second half of the reign of Yongzheng and are very unusual in being on such delicate eggshell porcelain and of such fine quality painting. The design too is striking with such a concentration of colour in the arms contrasted with the grisaille. It is possible that the order was taken by a cousin Lukas Hardenbroek who was Master of the VOC ship Beekvliet, sailing to Batavia in 1732 and returning in 1733 on the Schonauwen.

Another cousin Catharina Hardenbroek married James Roosevelt in 1713 in New York and bore him twelve children. Their son Isaac was active in the American Revolution and President of the Bank of New York and other descendants include Theodore Roosevelt and Franklin Delano Roosevelt, US Presidents.

Hardenbroek Castle near Utrecht, Holland, print by PJ Lutgers

38

A FAMILLE ROSE DINNER PLATE Qianlong, circa 1740 Portuguese Market Diameter: 9 inches (23cm) A fine famille rose dinner plate with a central scene of a European couple seated on a terrace, with a parrot on a swing between them, the scene framed by an elaborate rococo cartouche, the rim with four landscape panels in puce enamel reserved on a floral bianco-sopra-bianca ground.

This rare scene is of a coded erotic nature, the man is playing a clarinet style instrument and the woman seems to be singing. The bird on a swing symbolises the flexible nature of virtue in such circumstances. Scenes such as this

When a lady says no, she means perhaps.

When she says perhaps, she means yes.

But when she says yes, she is no lady.

Otto von Bismarck (1815-1898)

were popular in the eighteenth century and many variants are known on Chinese export porcelain. This scene has also been recorded on one tea and coffee service with a monogramme replacing the parrot and is also known en grisaille and en camaieu violine.

REFERENCES: COHEN & COHEN (2000) Poems to Piglets, cover item a coffee pot from the service with a monogramme.

HERVOUËT, F&N & BRUNEAU, Y, (1986) La Porcelaine Des Compagnies Des Indes A Décor Occidental, p185, No 8.8 a dinner plate of this type.

39

AN ARMORIAL MEAT DISH Qianlong, circa 1775 Portuguese Market Length: 16 inches (40.5cm) Provenance: From an English private collection, originally acquired in Mozambique from a descendant of the Camara family.

An octagonal meat dish with a central coat of arms, the cavetto with a simple floral border in famille rose and a cell diaper border in underglaze blue, the rim with floral swags over basket weave moulding, the rim edge with further underglaze blue border.

The arms are of Veiga of Napoles impaled by a composition of the arms of Cabral and Camara. Around the arms hangs the Grand Cross of the Order of Aviz and the Motto is AVE MARIA. The service was made for Francisco Antonio da Veiga Cabral da Camara Pimentel, 1st Viscount Mirandella, Knight of the Royal Household, Marshal of the Army, 80th Governor of India (1793-1805), Interim Governor of the District of Santa Catarina, Military Governor of Rio de Janeiro and Member of the Supreme

Court of Military Justice. He was born in Portugal in 1734 and died in Brazil, 1810, the son of Francisco Xavier da Veiga Cabral da Camara and Rosa Joana de Morais Pimentel.

He ordered two services from China, this one circa 1775 and a later one circa 1800, the second probably ordered and received while he was in India. The possible connection with Mozambique is interesting as this was a Portuguese colony at that time and the source of the Portuguese slave trade which flourished substantially in the early 19th century after it had been abolished in Britain, supplying slaves to the French sugar plantations on Reunion and Mauritius as well as to Brazil.

Mirandella was described by a contemporary as “an incompetent man with a short term view.” While Viceroy in Goa in 1797 he invited occupation by the British Army, ostensibly to protect the Portuguese colony from Napoleon. They did not leave until 1813 and left Portuguese influence on the continent severely weakened.

REFERENCES: VEIGA, Jorge Getulio et al (1989) Chinese Export Porcelain in Private Brazilian Collections p236, plate 207, this service, plate 208, the later service.

CASTRO, N (1988) Chinese Porcelain and the Heraldry of the Empire p176, this service, p166, the other service.

HOWARD, DS & AYERS, J (1978) China For The West, p383, this service, which they date to 1775 though Veiga and Castro both put it later.

40

A PAIR OF ARMORIAL DINNER PLATES Yongzheng, circa 1728 English Market Diameter: 9 inches (23cm) A pair of underglaze blue and white dinner plates with a central armorial, the cavetto with five floral panels reserved on a trellis diaper, the rim with sprays of peony, chrysanthemum, willow and bamboo, at the rim a narrow border of cell diaper, the rim edge glazed brown.

The arms are: Palmer (main shield): Argent two bars sable charged with three trefoils slipped of the field, in a chief a greyhound currant of the second collared of the first.

The coat in pretence (small central shield) is difficult to identify because the armorial tinctures are not distinguished in the blue and white but could be either Derwell or Belasyse. The ‘in pretence’ shield denotes an heiress and would usually be quartered in the next generation.

These arms are borne by the Palmers of Wanlip in Leicestershire though a marriage between a Derwell or Belasyse (family name of the Earls of Fauconberg) has not been found. The Palmer family is still at Wanlip (now Palmer-Tomkinson) and were descended from Archdale

Palmer a leading patron of religious dissent from 16601670 and writer of a famous Book of Recipes (1672) and from whom also descend the Earls of Selbourne.

REFERENCES: HOWARD, David S, (1974) Chinese Armorial Porcelain, Volume I, p167, this service illustrated.

There’s no need to be nice. Life is so much better when you are naughty.

If the love affair didn’t last long enough for you to start practising your new married signature, then don’t worry about it.

Tara Palmer-Tomkinson, (1971-) The Naughty Girl’s Guide to Life (2007)

41

A PAIR OF URNS AND COVERS Jiajing, circa 1800 Swedish or American Market Height: 17 inches (43.5cm) A rare pair of keyhandled urns and covers, enamelled in blue, green and iron red with two sepia landscape panels with ships beneath, on marbled bases, the lower body with moulded acanthus leaves which are repeated in the reticulation of the covers.

There is a small range of urn designs copied in Chinese export porcelain, all dating from the very end of the eigh-

teenth century and derived from neoclassical European sources. Originally inspired by classical funerary urns which were copied in Renaissance Italy and then later by Wedgewood, Sèvres and at the Marieburg factories in Sweden, they were made popular by designers such as Robert Adam for use as decorative items on a mantlepiece in a large fashionable drawing room.

REFERENCES: HUITFELDT, Johanne (1993) Ostindisk Porslen i Norge, p68 a single example of this type.

HOWARD, David S. (1994), The Choice of the Private Trader, p245, No 291, a pair of similar urns with different enamels.

GRANDJEAN, Bredo L. (1965) Dansk Ostindisk Porcelaen, fig 128, a similar example.

WIRGIN, Jan (1998) Från KINA till EUROPA, p168, No 180, a pair in blue enamels.

42

A PAIR OF CHESTNUT BASKETS, COVERS AND STANDS Qianlong, circa 1795 European Market Height: 7 inches (18cm) Diameter: 10 ¼ inches (26.5cm) A rare pair of chestnut baskets, covers and stands with extensive reticulated borders, the rims with detailed neoclassical borders in brown and gold, the tops gadrooned and painted in brown, the knops as flowers, the centre of each stand with a small spray of brightly enamelled flowers.

These baskets or marronières would seem to be derived from a European type, most probably inspired by the pierced ceramics in Leeds creamware but the exact model has not been discovered and Howard notes that this particular reticulation is only found in Chinese porcelain.

Chestnuts are traditionally symbols of chastity as the flesh is surrounded by thorns and they were consequently considered a decadent delicacy in the form of marrons glacés, steeped in orange, lime or sugars.

A recipe from the court of Louis XIV: “Take plump chestnuts and soak and soften in raw cane syrup & best bourbon vanilla for one week. Allow to dry & the sugar to crystallise.”

REFERENCES: PHILLIPS, John Goldsmith (1956) China Trade Porcelain, p129, plate 50 a single basket and cover with English arms.

HOWARD, DS & AYERS, J (1978) China For The West, p565, No 585, a single example, HOWARD, David S. (1994), The Choice of the Private Trader, p138, No 146, a single basket and cover with blue enamels.

The National Trust, Ickworth House, Suffolk: an example with the arms of Lord Harvey.

It has been said that an enterprising squirrel could once travel from Maine to Georgia on the interlocking branches of chestnut trees.

Old Appalachian saying

When I see the chestnut letting All her lovely blossoms falter down, I think, "Alas the day!"

Jean Ingelow (1820-97) The Warbling of Blackbirds

43

A PAIR OF LOVING CUPS AND COVERS

The shape is rare in Chinese export porcelain though examples are known in American collections, notably with the arms of Le Mesurier.

Qianlong, circa 1790 American Market Diameter: 12 ¾ inches (32.5cm)

REFERENCES:

A pair of loving cups and covers, with moulded double strap handles, the knops as curled twigs, the covers and feet with two borders of piecrust gadrooning, the decoration in bright enamels with a bird perched on a rock, with borders of flowers and floral panels reserved on a puce scale ground.

The bird is the Ribbon-tailed bird (shoudainiao) which symbolises longevity as does the rock (shoushi). The bird is often found in Chinese painting and is mostly likely derived from the male Asian Paradise Flycatcher (Terpsiphone paradisi), often accompanied by camelias (chahua) which represent spring and eternal youth. The combination of these means: ‘May you enjoy eternal youth and longevity.’ Which seems appropriate for these loving cups which originate from a European form used in marriage ceremonies, the handles being held simultaneously by a couple as they drink together from the cup.

HOWARD, David S, (1974) Chinese Armorial Porcelain, Volume I, p733, an example with the arms of Le Mesurier; p774, an example with the arms of Peeres.

PHILLIPS, John Goldsmith (1956) China Trade Porcelain, plate 84, an example with the arms of Le Mesurier.

LLOYD HYDE, JA (1964) Oriental Lowestoft - Chinese Export Porcelain, plate XV, a single of this shape but with scenes after Watteau GORDON, Elinor (1984) Collecting Chinese Export Porcelain, plate III, an example with Le Mesurier arms.

ARAPOVA, T, MENSHIKOVA, M et al. (2003) Chinese Export Art in the Hermitage Museum, p64, pl 71, a single cup lacking cover.

A bird does not sing because it has an answer. It sings because it has a song.

Chinese Proverb

44

A PART TEA SERVICE Qianlong, circa 1790 European Market Teapot & cover Milk Jug & cover Sugar Bowl & cover Slop Bowl Spoon Tray Teapoy & cover

Height: 5 ¼ inches (13cm) Height: 6 ¼ inches (16cm) Height: 5 ½ inches (14cm) Diam: 7 ¼ inches (18.5cm) Length: 4 ¾ inches (12cm) Height: 5 ¼ inches (13cm)

A rare European subject part tea or coffee service decorated with two scenes after Watteau, with an inner border of flowers and an outer border of rococo gilding.

The two scenes are of a generic type known as fêtes champêtres or fêtes galantes which were much popularised by painters such as Watteau and Lancret. The elements include a classical urn on a pediment, the figure of Pierrot, the lady waving a fan, all within a garden setting. There is a coded eroticism in all this which would have been familiar to an eighteenth century viewer. It has not been possible to trace the precise source of these images but it is very likely derived from a Meissen original, suggested in particular by the forms and elements of the borders.

This service is very rare with a few recorded examples being known. Only coffee cups (with handles) have been recorded.

REFERENCES: WIRGIN, Jan (1998) Från KINA till EUROPA, p189, No 206, a coffee cup from this service.

45

A PUNCH BOWL AND STAND Qianlong, circa 1762/8 Swedish Market Diameter bowl: 12 ½ inches (32cm) Diameter stand: 14 ¾ inches (37cm) A punch bowl and matching stand painted in bianco-soprabianca, grisaille and gilt, the centre of each having a detailed copy of a Swedish banknote surrounded by bunches of flowers after European engravings and the outer rim with a derived form of spearhead border, the rims glazed brown.

Similar saucers and bowls are known from 1759, 1762 and 1775 with other banknotes on them – all for the Swedish market. The note on the saucer is inscribed to Jacob Hahr (1727-85) a supercargo of the Swedish East India Company on the ships Prins Friederic Adolph and Riksens Stander and is dated 1762. At the top right of both notes is a cartouche with the device of the Bank of Sweden, motto HINC ROBUR ET SECURITAS (roughly: ‘In this my strength and security’) and to the left is another device stating: ‘Bank bill of the Estates of the Realm of Sweden.’ These are imitating the impressed stamps or watermarks on the original bills. The note on the bowl is dated 1768. Both carry a warning in very small writing which translates: ‘He who counterfeiteth this Bill shall be hanged by his neck, but to him who provably detecteth the counterfeiter shall be given a reward of Forty Thousand Dollars in Copper Coins in accordance with His Majesty’s Gracious Pleasure of the 20th December AD 1754.’

Such designs indicate the importance that the merchants of the East India Companies attached to the conspicuous display of wealth.

REFERENCES: HOWARD & AYERS, (1978) China For The West, p448 a punch bowl of 1775 with similar bill for 9 Dr. HERVOUET & BRUNEAU, (1986) La Porcelaine Des Compagnies Des Indes A Decor Occidental, p206, two punch bowls, one from 1759 with a 6 Dr note and another with 200 Dr from 1762.

WIRGIN, Jan (1998) Fran KINA till EUROPA, p195, a punchbowl and stand with the same note on it.

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