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French Chinoiserie Napoleon III Gilt Bronze Edo Imari Potpourri Vase and Cover
About the Item
This large pot-pourri or covered vase stands over 20 inches tall and about 15 inches wide across the handles - very substantial. It closely resembles an original early Edo pot-pourri of the same style and size held at Windsor Castle, which can be seen in the catalogue of the Royal Collection on their website under RCIN45262.
The piece offered here is a finely made 19th-century (probably Chinese) export copy, produced during a period of great European fascination with Japanese Imari ware. While not originally of Edo-period, the quality of the porcelain, the large scale, and the provenance of the design itself make it a distinctive and compelling work of decorative art.
The porcelain body is decorated in vibrant under-glaze blue and red enamels, with touches of pink and green, embellished with abundant over-glaze gold.
The asymmetrical design of radiating, oversized chrysanthemums is typical of Edo period export porcelain in the Imari style. This is combined with birds, prunus branches and blossom, stylized flowers, and flowing black ribbons in overlayed enamel. This bold early Edo style of the late 17th to early 18th century was much imitated. On close examination ours lacks the light brushstrokes and spontaneous detail of early Edo works, thus dating this example to the late 18th or early 19th century.
All of this suggests the porcelain is of Chinese production. Some indications are the smooth finish of the foot, with a precise finish to the glaze rather than a 'melting' glaze edge. It was made for the high-demand European market, exported to the Netherlands or possibly directly to France and, there, around 1860-75, was fitted with a fine French gilt bronze mount in the Napoleon III style.
The figure mounted on the cover is a European interpretation of Chinese culture - pure fantasy in the French Chinoiserie style. The flowing robes, cushioned seat and dignified cross-legged pose of an Far Eastern 'wise man' suggest it came just before the intense period of Japonisme overtook the Chinoiserie style in the 1870s.
The figure may even be modelled on the Chinese deity Shou, the god of longevity. The figure's hat and clothing are indicative of Chinese attire from the 18th-19th century, while the features and posture align with traditional depictions of Shou, with his long beard and meditative pose. This is not to say the depiction of Shou was intentional.
In spite of this appropriation of Chinese culture for a European audience, it is likely that this French version of the deity Shou was recognised by the family who purchased the vase. Indeed, the story of this piece becomes more remarkable when we consider the previous owners.
It was purchased by us in Melbourne from the descendants of a Cantonese (Hong Kong) family. The family's acquisition of the piece is lost in history, except that it had been in the family for more than five generations. There is no documentation, only a viva voce account or oral history, but their account indicates it had probably been in the one family since the late 19th century. The story handed down by grandmothers past was that it had travelled with the family across the globe, including Europe, Hong Kong and eventually to Australia in the 1970s. Their descendant who sold it to me certainly interpreted the finial figure as Shou and had been told it was so by their grandmother.
This pot tells a story of the exchange of cultures through differing production methods and styles. Adoption and adaptation occur in all historic places and moments where ever and when ever cultures newly meet. Items are produced by one culture, consumed or interpreted by another, then reinterpreted and assumed back into the body of the original culture. It's a fascinating and continuously generative process.
The vase shows signs of many years of comfortable and familiar use. The porcelain surface has age-consistent wear, especially to the gilding, giving a deep sense of authenticity. Familiar hands have touched this vase for over one hundred and fifty years.
The finely cast gilt bronze mounts include imposing Napoleon III ram's head handles, so well observed that we can identify the Provencal Goat breed as the original model, with it's characteristic long concave nasal bridge, long beard, upright ears and twisted horns.
Despite noticeable wear to the gilt finish of the bronze, the original sharpness of the casting remains evident, with crisp detail throughout. The entire piece rests on an ornate gilt bronze footed base of fruit and flower garlands, surmounted by a restrained laurel band at the foot and a stylised 'ovolo' or lozenge frieze with rope twist at the lip of the porcelain, typical of the Napoleon III period.
Condition of the porcelain paste body is excellent, without chipping or cracking damage. Condition of the gold over-glaze is worn commensurate with age and use. Condition of the gilt bronze is worn in places, and somewhat over-cleaned. This is particularly evident on the finial, which figure has been handled on a regular basis and has lost it's most prominent gilding a the head and knee. Gilding remains bright elsewhere, though somewhat worn at prominent parts throughout the mount. Overall good condition.
- Dimensions:Height: 20.28 in (51.5 cm)Width: 14.97 in (38 cm)Depth: 12.6 in (32 cm)
- Style:Napoleon III (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1870
- Condition:Wear consistent with age and use. Over-cleaning and everyday wear of gilt bronze. Everyday wear of gold over-glaze. Slight scratching here and there to the over-glaze. We have included as many images as possible of the condition in detail, please see images. More images available.
- Seller Location:Melbourne, AU
- Reference Number:1stDibs: LU2656344773322
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