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A fully illustrated colour catalogue of one of the largest extant collections of Chinese Export Porcelain, held in the Reeves Center in Washington and Lee University, Virginia, USA.
Chinese export porcelains of the late 18th to late 19th centuries are fully discussed in this book. Lists and photography profusely illustrate all of the standard patterns: over 1000 items illustrated in black and white and more than 100 in color. Covers Canton, Fitzhugh, Rose Medallion, Bird and Butterfly, and the other associated patterns.
Beginning in the sixteenth century when Portuguese traders started importing blue and white porcelain to Europe, Chinese ceramics manufacturers produced goods specifically for export to the West. The industry flourished through the early twentieth century as the market for fine porcelain expanded in Europe and the Americas. Among the Peabody Essex Museum's founders in 1799 were sea captains and supercargoes involved in extensive trade with Asia, and many of the remarkable examples of export wares they brought back provided a foundation for the Museum's world-renowned collection of Chinese export ceramics. Written by William R. Sargent, a leading expert in the field, Treasures of Chinese Export Ceramics is one of the most authoritative sources on this topic. Its scholarly entries on 287 representative objects that date from the fifteenth to the twentieth century are divided into sections by type of ware. Although these examples only hint at the Museum's vast holding, together they encompass its broad range of Chinese export ceramics. An essay on Jingdezhen, the "Porcelain City," by Rose Kerr, a glossary of ceramics terminology, and appendix on armorials, and an extensive bibliography all contribute to making this an invaluable resource.
This beautifully illustrated volume traces the changing market for Chinese and Japanese porcelain in Paris from the early years of the reign of Louis XIV (1643-1715) through the eighteenth century. The increase in the quantity and variety of East Asian wares imported during this period spurred efforts to record and analyze them, resulting in a profusion of inventories, sales catalogues, and treatises. These contemporary sources-- many never published before--provide a comprehensive picture of porcelains: when they were first available; what kinds were most admired during various periods; where and at what price they were sold; who owned them; and how they were displayed and used. Over the course of these two centuries, a preference for blue-and-white Chinese works arranged in crowded, asymmetrical groupings gave way to symmetrical presentations of polychrome and monochrome Japanese pieces on brackets, tables, and mantelpieces, often mixed with bronzes, marble vases, and paintings. Some porcelains now received elaborate silver or gilt bronze mounts. The illustrated pieces, which include pitchers, vases, lidded bowls, and writing sets, are drawn from the collections of the J. Paul Getty Museum, the Victoria and Albert Museum, and the Musée des Arts Décoratifs in Paris. Also included are exquisite porcelains from the Musée Guimet in Paris, many published here for the first time.
Verslag van de berging van de lading van de in 1752 in de Zuid-Chinese zee vergane Nederlandse koopvaarder Geldermalsen, grotendeels bestaande uit Chinees porselein.
"Features Chinese porcelains exported to Europe, Southeast Asia, and the Middle East between the fourteenth and nineteenth centuries, with color photographs, item descriptions, and information about the original owners for each item"--OCLC
This revised edition of a book first published in 1962 is still the only work that goes to fresh, primary shipping sources to tell the story of America's trade in export Chinese porcelain. There are over one hundred photographs in the book covering all the major types of export porcelain both common and uncommon, made for America. Illustrated.
The product of a ten-year collaboration among eminent American, Chinese, and Japanese scholars, Chinese Ceramics offers a new perspective in interpreting the oldest and one of the most admired Chinese art forms, from its technological aspects to its aesthetic value. The volume includes a chapter on Chinese export ceramics that delves into Chinese trade activities and ceramic wares made for export as well as a chapter about the authenticity of Chinese ceramics, discussing issues related to connoisseurship of this Chinese art."--Pub. desc.