Page 83 - Collecting and Displaying China's Summer Palace in the West

68 Kate Hill
76 The Complete Collection of Treasures of the Palace Museum, vol. 39, Porcelains with
Cloisonne Enamel Decoration and Famille Rose Decoration (Hong Kong: The Commercial
Press, 1999), number 119.
77 The Complete Collection of Treasures of the Palace Museum, vol. 38, Porcelains in
Polychrome and Contrasting Colours (Hong Kong: The Commercial Press, 1999), number
217; Kangxi, Yongzheng, Qianlong, 203, number 32.
78 Shih Ching-fei, “A Record of the Establishment of a New Art Form: The Unique Collection
of ‘Painted Enamels’ at the Qing Court,” Collections and Concepts 7 (2005), www.ub.uni-
heidelberg.de/archiv/5705; Rose Kerr and Nigel Wood, Science and Civilisation in China,
vol. 5, pt. 12, Ceramic Technology (Cambridge: Cambridge University Press, 2004),
639–646; Zhu Jiajin, “Qingdai hua falang qi zhizai kao,” Gugong bao wuyuan yuan
kan (1982).
79 Young-tsu Wong, Paradise Lost (Honolulu: University of Hawaii Press, 2001), 74–77.
80 Caroline Dakers and John d’Arcy. Conversation at the Fonthill archives, August 20, 2015.
81 Receipt dated July 23, 1863, F/2/1130, Fonthill Bishop, Fonthill archives. By kind
permission of The Fonthill Estate.
82 Catalogue of a Very Choice Collection of Ancient Chinese Enamels, Bronzes, Carvings
in Jade and Porcelain, Collected during the Two Years’ Occupation of Tiensin, all from
the Summer Palace and Pekin . . . July 20, 1863 (London: Christie, Manson & Woods,
1863), 16, lots 290–297. See buyer list within volume. Christie’s archives, London.
83 Jones, Grammar of Ornament, 5.
84 Jones, Examples of Chinese Ornament, 7.
85 Ibid., 8.
86 V&A, inv. nos. CIRC.294–1953 (cf. Jones, Chinese Ornament, plates 13, 27, 62, 63);
CIRC.295–1953 (cf. Ibid., plates 2, 4, 15, 45, 47, 63, 76); T.94–1930 (cf. Ibid., plates
4, 15, 30, 31, 44, 76).
87 Flores, Owen Jones, 208, plate 4.5 (cf. Jones, Chinese Ornament, plates 13, 27, 50, 80,
82).
88 Flores, Owen Jones, 211, plate 4.8, gives a colour reproduction of CIRC.294–1f953.
89 The Complete Collection of Treasures of the Palace Museum, vol. 51, Costumes and
Accessories of the Qing Court (Hong Kong: The Commerical Press, 2005), numbers 95,
101, 105, 106, 110, 133, 147.
90 One receipt dated July 23, 1863 lists silks purchased at Christie’s; a second dated
October 8, 1863 includes “2 Rolls of Chinese silk”; a third dated November 2, 1863
lists a “gold embroidered throne cover”, F/2/1130, Fonthill Bishop, Fonthill archive. By
kind permission of The Fonthill Estate.
91 V&A, inv. nos. CIRC.295–1953 (cf. Collection of Chinese Enamelled Porcelain, 27, plate
11, lot 72); T.94–1930 (cf. Chinese Porcelains and Enamels from the Alfred Morrison
Collection, lots 39, 41); CIRC.294–1953 (cf. Ibid., lot 46.)
92 Jones, Chinese Ornament, 2.
93 V&A, inv. no. E.2327–1932 (cf. Jones, Chinese Ornament, plate 83.)
94 V&A, inv. no. E.23126–1957.
95 Michael Whiteway, Christopher Dresser, 1834–1904 (Milan: Skira, 2001), plates 18, 23;
Widar Halén, Christopher Dresser: A Pioneer of Modern Design (London: Phaidon,
2000), figs 102, 104, 105, 134, 140; Harry Lyons, Christopher Dresser: The People’s
Designer 1834–1904 (England: Antique Collectors’ Club, 2005), plates 144, 145, 156,
160; Michael Whiteway, ed., Christopher Dresser: A Design Revolution (London: V&A
Publications, 2004), figs 18, 122, 127, 131, 132; Christopher Morley, “Reform and
Eastern Art: the Origins and Progress of the New English Art, or Aesthetic, Movement,”
The Journal of the Decorative Arts Society 1850 to the Present 34 (2010), 117, 122,
123; Weber, “The Reception of Chinese Cloisonné Enamel in Europe and America,”
191–192, fig. 10.8.
96 Christie’s London, January 30, 2013, Sale 9779: Lot 633. Other connections are noted
in Halén, Pioneer of Modern Design, 125 (cf. Jones, Chinese Ornament, plate 11);
Charlotte Gere and Michael Whiteway, “Dr. Dresser: His Life and Career,” in Whiteway,
Christopher Dresser: A Design Revolution, 24, figs 17, 18.