1985.R.957, Garniture, porcelain, Jingdezhen, China, c. 1700-1725

This vase is part of a set of vases called garnitures. Possibly first seen on temple altars by 16th or 17th century European visitors to China, garnitures of vases became popular items of interior decoration in Europe during the later 17th century continuing through the 19th century.  They were assembled from the numerous single pieces imported into Europe for use on mantelpieces, furniture, on overdoor cornices, cabinet tops, as well as on tables and shelves. The arrangement consisted of the covered jar form (see 1985.R.959.A-B) usually placed centrally and flanked or separated by beaker-form vases, as seen here, or otherwise alternating the shapes depending on their combinations. Garniture sets of three, five, or seven were common.

As on the other vases in this garniture set, the painting of the flowers and birds is extremely fine and executed in the typical green palette of Kangxi-period porcelains. The rich black ground sets off the eggplant purple plum trees and their yellow rockwork and peonies. Outlined in iron red are four petal-form reserves with famille verte enamels of birds, leaves, branches, and blossoms. The bottom of each vase is marked with a single artemisia leaf, a symbol of good fortune, encircled by a double ring which often appears on K'ang Hsi period porcelain. 

Surviving garnitures with black enameled grounds, called famille noire, are extremely rare. The Reves example is one of only three sets known. 

This vase is part of a set of vases called garnitures. Garnitures were assembled from the numerous single pieces imported into Europe for use on mantelpieces, furniture, and the tops of doorways. The arrangement of covered jars, as seen here, separated by beaker-form vases (see 1985.R.957) was typical. However, surviving garnitures with black enameled grounds, called famille noire, are extremely rare. The Reves example is one of only three sets known. 

As on the others in this set, the painting of the flowers and birds is extremely fine and executed in the typical green palette of Kangxi-period porcelains. The black enamel, which is much thicker and less well applied, was added last. 

The bottom of each vase is marked with a single artemisia leaf encircled by a double ring. The artemisia is a symbol of good fortune. 

Dallas Museum of Art, Decorative Arts Highlights from the Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1995), 98.

Possibly first seen on temple altars by 16th or 17th century European visitors to China, garnitures of vases became popular items of interior decoration in Europe during the later 17th century continuing through the 19th century. They were used in Holland and elsewhere ranked on mantelpieces, on overdoor cornices and cabinet tops as well as on tables and shelves. Sets of three, five or seven were common, the portiche form usually being central and flanked by beakers or otherwise alternating the shapes depending on their combinations. 

The rich black ground is rare and sets off the eggplant purple plum trees and their yellow rockwork and peonies. Outlined in iron red in each portiche are four petal-form reserves with famille verte enamels of birds, leaves, and the branches and blossoms. The two beaker vases have similar decoration differently arranged. All bear underneath double rings encircling a single artemisia leaf in underglaze blue marking which often appears on K'ang Hsi period porcelain. One of the lids was probably replaced. 

Dallas Museum of Art, The Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1985), 188.

Until 1970: Christie's, London, England [1] 

1970: Emery Reves (1904-1983), purchased from Christie's, London, England, October 1970 [1] 

1970-1985: Emery Reves (1904-1983) and Wendy Reves (1916-2007) (owned jointly), La Pausa, Roquebrune-Cap-Martin, France [1][2]

From 1985: Dallas Museum of Art, The Wendy and Emery Reves Collection, gift of Wendy Reves (1916-2007) [2]

[1] According to an original Christie's London price list and correspondence found in the object file from Christie's London (dated October 1970).

[2] According to: Olivier Meslay and Martha MacLeod, From Chanel to Reves (Dallas, Texas: Dallas Museum of Art, 2015), 4-5.

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