Page 312 - Bonhams Catalog Cohen and Cohen Jan 24, 2023 New York

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A RARE PAIR OF LARGE FAMILLE ROSE
‘MANDARIN-PATTERN’ LOBED FLARING
BOUGH POTS AND LINERS
Qianlong period, circa 1780
Both deep vessels of oval section and enameled
on the two main faces and smaller side panels
with large vertical panels depicting figures on
pavilion terraces and genre scenes of a high-
ranking figure surrounded by family, attendants
and a guardian lion in wide landscapes, all
between underglaze-blue borders painted with
floral clusters beneath the top rims and around the
domed spreading feet, the inset flat tops pierced
with holes for large sprays of flowers and set with
two upright loop handles.
14 1/4in (36cm) high (2).

$10,000 - 15,000
乾隆時期 約1780年 罕見青花粉彩開光《人物故
事》雙耳奢口帶膽大件花插一對

Published:
Cohen & Cohen, Tyger Tyger!, Antwerp, 2016, pp.
70-71, no. 31

出版：
倫敦Cohen & Cohen古董行，《Tyger Tyger!》，
安特衛普，2016年，頁70-71，圖版編號31
Large vessels boldly enameled in this thickly
decorated type of design, began to arrive in
Europe from China in about 1770, and proved
popular both with Western European buyers
and in East-Coast North America. It seems that
the English East India Company, retaining its
monopoly of shipping Asian items through its
English entrepot ports to the US East Coast
until the 1770s, had not deemed it commercially
worthwhile to ship massive earlier famille rose
decorative vases and dishes to potential buyers
in colonial Boston, New York, or Philadelphia.
Vases in these cluttered but striking types of very
popular design are still to be found in late 18th
century East Coast homes, where they may have
remained since they first arrived often through the
independent China traders who began to trade
directly with Canton after February 1784, when
the ‘Empress of China’ began her historic maiden
voyage direct to Canton from New Yok harbor.
In some ways they mark the final flickering of the
charming rococo taste for whimsical, imaginary
‘Chinoiserie’ scenes of bucolic Chinese in unlikely
pastoral settings, which had dominated the
Western European imagination for nearly a century
until a more serious, drier taste for Neo-Classical
ornamentation and design came to supplant it

(detail)

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