Page 97 - Bonhams Catalog Cohen and Cohen Jan 24, 2023 New York

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A PAIR OF FAMILLE ROSE PRONK ‘LA DAME AU PARASOL’ The pattern first appeared in underglaze blue, then Chinese Imari, and
PLATES finally in opaque enamels. The parasol or umbrella, in use in China
Qianlong period, circa 1737 for more than 2,000 years, and is included among the eight Buddhist
Painted in bright enamels with a an elegant lady standing under a symbols, was a conceit frequently used in chinoiserie motifs.
parasol held by an attendant, the lady holding out a hand to four
separate species of marsh birds, three walking on the bank before For a lengthy and informative discussion of the use of documented
them, and a fourth, partially submerged with only tail feathers visible, patterns by Pronk, see William R. Sargent, Treasures of Chinese
feeding in the marsh behind, the four species mirrored in cartouches at Export Ceramics from the Peabody Essex Museum, Salem, 2012, pp.
the rim, as are the lady and the ‘parasol’ attendant, all on a cell ground 275-293, no. 143; and further discussion of the Pronk workshop see
in shades of primarily pink and blue, the shallow well with a band of Cohen & Cohen, Take Two!, 2017, pp. 122-123.
composite flower groups, the reverse sides with eight equally-spaced
penciled iron-red insects. For other examples, see Ronald W. Fuchs II (and David S. Howard),
9in (23cm) diam (2). Made in China, Export Porcelain from the Leo and Doris Hodroff
Collection at Winterthur, Delaware, 2005, p. 62, no. 24; Christiaan J.
$8,000 - 12,000 A. Jörg, Pronk Porselein/Pronk Porcelain, 1980; Cohen & Cohen, Hit
& Myth, Antwerp, 2014-B, pp. 70-71, no. 39; and Cohen & Cohen,
乾隆時期 約1737年 粉彩普龍克《持傘美人》盤一對 Baroque & Roll, Antwerp, 2015, pp. 110-111, no. 69.
In 1734 the directors of the Netherlands East Indian Company See also another example sold at Christie’s New York, 26 January
(Vereenigde Oostindische Compagnie: VOC) commissioned 2015, lot 107.
Amsterdam artist Cornelis Pronk (1691-1759) to create four
patterns for Chinese porcelain. Pronk’s drawings were sent to VOC
headquarters in Batavia and then on to Canton in 1736. Using a
‘Chinoiserie’ vocabulary Pronk created distinctive scenes and motifs
that were then produced by the Chinese workshops in Jingdezhen in a
variety of types.

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