Page 20 - Met Museum Export Porcelain 2003

21. Plaque. Chinese (Continental market), mid-i8th century.Hard paste.
Io3/8 x i77/8 in. (26.4 x 45.4 cm). Helena Woolworth McCann Collection,
Purchase,Gift of Winfield Foundation, by exchange, and Winfield Foundation
Gift, 1982 (I982.128)
Theriverscapeisafamiliar typefromseventeenth-centurDyutchprintsand drawings,
but theparticularpictorialmodelforthisplaquehas not beenidentifiedA. lthough
entirelydrawn in line of varying intensity,the efect is unexpectedlypainterly. turn enlisted several missionaries to teach
22. Teapot. Chinese (Swedish market), ca. 1755. ih
Hard paste. H. with cover 5/4 in. (3.3 cm). xi..lliE
Purchase, Erving Wolf Foundation Gift, 1983
(I983.164a, b)
Thescene,whichis repeatedon the oppositeside,
depicts the apotheosis of Gustav III (1746-1792) as
heirto the Swedishthrone;it is copiedwith care
andfidelity-and a modestadditionofflesh tones-
from an engraving by Abraham Delfos (1731-1820),
publishedin I754 aftera drawingbyHieronymus
van der My (I687-176I).
22
imperialworkshops between 1716 and
1729 has been well documented. European
enamels on copper-the base material was
covered by an opaque white, painted and
fired in colors that included shades of pink-
were the stimulus, acquired from the Jesuits
as gifts for the Kangxiemperor, who in
the technique. As the materials and firing
methods were applicable to enameling on
metal as well as on porcelain, the famille
rose developed in both media contempo-
raneously, at the end of the Kangxi period;
its earliest datable appearance in export
porcelain is in a service of about 1722 for a
wealthy English merchant, Sir John Lambert
(d. 1723). A difference between the Chinese
and Europeanformulas has recently been
noted. In both, colloidal gold was the basis
of the red, but in Europethe white was
opacified by the admixture of tin oxide,
while the Chinese used lead arsenate,
which had long been an ingredient of their
cloisonne enamels.