Oriental Works of Art

The form here is more commonly associated with pieces made in China and is that of a small low table designed to be used in combination with a ‘kang’, a raised brick platform heated from below that served as a family's main living, sleeping, and dining area during colder months. But similar pieces were also made by the Japanese, sometimes in black lacquer with mother of pearl inlay, and the style of the carving here suggests Japanese rather than Chinese workmanship. All the decorative elements seen here (phoenix, pine, waves) can be found elsewhere in Japanese art but there does not seem to be any specific symbolic meaning intended, just an imaginative composition by an accomplished craftsman. Dating is probably to the first half of the twentieth century and the carved marking are almost certainly later, with the original format ‘dymo’ label dating most likely to the 1960s.

The Famille Rose palette (the term was coined by the French art historian Albert Jacquemart, 1808 – 1875, who produced a classification system for Chinese porcelains) with its emphasis on pink colourings was introduced during the Yongzheng period (1723-1735) and used prolifically by the decorators of Chinese ceramics during the eighteenth century, being found in a variety of styles on vases, jardinieres and tablewares. The format of the decoration here shows the pattern at its best and unusually repeats the front design on the reverse with the cover matching this. More usually the main design simply trails round to the back with near blank space between the two meeting floral branches. The form, too, is not often found and is more likely to have been conceived as an independent object, perhaps one of an original pair, rather than as a component of a dinner service. In a sense it is a ‘first cousin’ to the well known ginger jar shape, examples of which can carry near identical decoration. Surviving in near perfect condition it would be a fine addition to a collection of Chinese eighteenth century export ware as well as a highly attractive decorative object in its own right.

The potiche is sold with a later Chinese wood stand, probably dating to the late nineteenth century, which is an added enhancement.

This piece comes from an original tea service which would have comprised a wide variety of objects decorated in the same pattern to include a teapot, cover and stand, a caddy and cover, a sugar bowl, a cream jug and cover, bowls and saucers and so forth. The form can be seen (along with a matching teapot stand) at Lunsingh Scheurleer, Chinese Export Porcelain pl 149. Dating is to the middle of the Qianlong period (1736-1795) around 1760. The quality of the decoration speaks for itself and this piece has survived intact with very little wear to the decoration.