Page 81 - Collecting and Displaying China's Summer Palace in the West

66 Kate Hill
36 “The International Exhibition of 1862”, 44.
37 Catalogue of the Splendid Collection of Chinese and Japanese Works of Art, Contributed
to the International Exhibition by Messrs. Remi Schmidt . . . December 1, 1862 (London:
Christie, Manson & Woods, 1862), 10. See also “Highly Important Sale of Objects of
Art &c. from China, Japan, and Ceylon, from the International Exhibition,” Morning
Post, December 1, 1862.
38 Zhang Hongxing, ed., The Qianlong Emperor: Treasures from the Forbidden City
(Edinburgh: National Museums of Scotland Publishing, 2002), 58–59, number 21.
39 Marie-Catherine Rey, Les très riches heures de la cour de Chine: chefs-d’œuvre de la
peinture impériale des Qing 1662–1796 (Paris: Réunion des musées nationaux, 2006),
96, number 40.
40 Michael Franses, “Forgotten Carpets of the Forbidden City,” HALI 173 (2012): 81.
41 The Complete Collection of Treasures of the Palace Museum, vol. 14, Paintings by the
Court Artists of the Qing Court (Hong Kong: The Commerical Press, 1996), number 38.
42 Wan Yi, Shuqing Wang, and Yanzhen Lu, Daily Life in the Forbidden City: The Qing
Dynasty, 1644–1912. Translated by R. E. Scott and E. Shipley (New York: Viking, 1988),
184, number 257.
43 The Complete Collection of Treasures of the Palace Museum, vol. 50, Textiles and
Embroideries of the Ming and Qing Dynasties (Hong Kong: The Commercial Press),
numbers 46, 49, 105.
44 Zhang, The Qianlong Emperor, 36–37, number 5; 134–135, number 76.
45 Bruce Gordon Doar, “Carpets for Kangxi,” China Heritage Quarterly 10 (2007),
www.chinaheritagequarterly.org/articles.php?searchterm=010_carpets.inc&issue=010.
accessed November 10, 2015; Franses, “Forgotten Carpets of the Forbidden City,” 77.
46 Berliner et al., The Emperor’s Private Paradise (Salem: Peabody Essex Museum, 2010),
44, fig. 4, “Portrait of a Qianlong Empress”; Wan, Wang, and Lu, Daily Life in the
Forbidden City, 144, number 195, “Portrait of Empress Xiao He Rui, Consort of the
Jiaqing Emperor”; 185, number 258, “Portrait of Xiao Quan Cheng”.
47 J.B. Waring, Masterpieces of Industrial Art & Sculpture at the International Exhibition,
1862, vol. 1 (London: Day & Son, 1863), plate 35.
48 Waring, Masterpieces of Industrial Art & Sculpture, vol. 3, plate 248. Note: The plates
were mixed up during publication. The essay for plate 35 goes with plate 248 and vice
versa.
49 Katrina Hill, “Chinese Ceramics in UK Military Museums,” Oriental Ceramic Society
Newsletter, no. 20 (2012): 11–14. Another is in the Philadelphia Museum of Art, inv.
no. 1882–1330.
50 Peter Y. K. Lam, ed., Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong
Reigns (Nanjing: Nanjing Art Museum, 1995), number 95.
51 Zhang Rong, “Cloisonné for the Imperial Courts,” in Quette, Cloisonné, 165, fig. 8.19.
52 He Li, Chinese Ceramics: The New Standard Guide (London: Thames & Hudson, 1996),
295, number 612.
53 Catalogue of the Splendid Collection of Chinese and Japanese Works of Art, 7–9. The
flattened flask was lot 101.
54 “Arrival of the 60th Rifles,” Derby Mercury, March 5, 1862. Cox retired from the 60th
Foot in 1864. See “Promotions and Exchanges,” Southern Reporter and Cork Commercial
Courier, June 30, 1864. A Captain Charles Henry Cox, army officer, committed suicide
on 7 June 1885. See “Sad Death of an Officer,” Dundee Evening Telegraph, June 8, 1885.
Whether he lent the enamels is uncertain. Weber, “The Reception of Chinese Cloisonné
Enamel in Europe and America,” 190, mentions the Cox loans.
55 Waring, Masterpieces of Industrial Art & Sculpture, vol. 1, plate 35.
56 “The International Exhibition of 1862”, 43.
57 Le Musée chinois de l’impératrice Eugénie, inv. nos. 1328 C, 1332 C, 1735 C. Béatrice
Quette, “Cloisonné Form and Decoration from the Yuan through the Qing Dynasties,”
in Quette, Cloisonné, figs. 3.48, 3.49, show the vessels before and after their conversion.
Colombe Samoyault-Verlet, Le Musée chinois de l’impératrice Eugénie (Paris: Réunion
des museés nationaux, 1994), 62–63, shows the vessels in their current state.