GENERAL DESCRIPTION
Because of its strong Western composition and coloring, the so-called Arbor pattern has been attributed to Cornelis Pronk even though no specific drawings survive for it, unlike The Parasol Ladies pattern (see 1985.R.1077.1). However, there exists a watercolor by Pronk of a tea pavilion in a Haarlem park dating from around 1730, and it is possible that the artist adapted this earlier effort for the porcelain. This design was apparently the fourth made especially for the Dutch East India Company. It was finished in 1737 and delivered to China two years later.
This example was originally part of a dinner service. In 1740, six sets consisting of 371 pieces were sent to the Netherlands. Three services were in underglaze blue, and the others were enameled, as here.
The salt cellar depicts two Sino-European ladies under a yew hedge arbor with four children about and three ducks swimming in the foreground. The palette of the wide chain motif and topiary arbor is a lush green. The appearance of the ladies is quite similar to those in the Parasol plates, though these are executed with greater finesse.
Adapted from
- Dallas Museum of Art, Decorative Arts Highlights from the Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1995), 103.
- Dallas Museum of Art, The Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1985), 195.
- Label text, Reves Galleries, Porcelain Gallery
NOTES
TMS updates
provenance
place of origin
search dates
text entry
MARKED TMS Pending again as I found additional label copy -- below
The "arbor" under which the Sino European ladies are placed appears to have been inspired by a European topiary yew hedge. The finely painted rows of shells and plumes are European in character and relate to the motifs on a tea service designed by Pronk. Note the occasional use of famille rose enamel.
Though the ladies on the wares are similar to the Parasol Ladies, these are painted with greater finesse. The shapes of the border cartouches are European, though the flowers, fruits, and insects within are traditional Chinese motifs. Excerpt from Label text, Reves Galleries, Porcelain Gallery, 2018
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1985: Emery Reves (1904-1983) and Wendy Reves (1916-2007) (owned jointly), La Pausa, Roquebrune-Cap-Martin, France [1]
From 1985: Dallas Museum of Art, The Wendy and Emery Reves Collection, gift of Wendy Reves (1916-2007) [1]
[1] According to: Olivier Meslay and Martha MacLeod, From Chanel to Reves (Dallas, Texas: Dallas Museum of Art, 2015), 4-5.
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
The Metropolitan Museum of Art~Read more about Chinese Export Porcelain
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1985.R.886.1-2
Category
rules_operator
AND
General Description
Because of its strong Western composition and coloring, the so-called Arbor pattern has been attributed to Cornelis Pronk even though no specific drawings survive for it, unlike The Parasol Ladies pattern (see 1985.R.1077.1). However, there exists a watercolor by Pronk of a tea pavilion in a Haarlem park dating from around 1730, and it is possible that the artist adapted this earlier effort for the porcelain. This design was apparently the fourth made especially for the Dutch East India Company. It was finished in 1737 and delivered to China two years later.
This example was originally part of a dinner service. In 1740, six sets consisting of 371 pieces were sent to the Netherlands. Three services were in underglaze blue, and the others were enameled, as here.
The salt cellar depicts two Sino-European ladies under a yew hedge arbor with four children about and three ducks swimming in the foreground. The palette of the wide chain motif and topiary arbor is a lush green. The appearance of the ladies is quite similar to those in the Parasol plates, though these are executed with greater finesse.
Adapted from
- Dallas Museum of Art, Decorative Arts Highlights from the Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1995), 103.
- Dallas Museum of Art, The Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1985), 195.
- Label text, Reves Galleries, Porcelain Gallery
Fun Facts
Archival Resources
Web Resources
Notes
TMS updates
provenance
place of origin
search dates
text entry
MARKED TMS Pending again as I found additional label copy -- below
The "arbor" under which the Sino European ladies are placed appears to have been inspired by a European topiary yew hedge. The finely painted rows of shells and plumes are European in character and relate to the motifs on a tea service designed by Pronk. Note the occasional use of famille rose enamel.
Though the ladies on the wares are similar to the Parasol Ladies, these are painted with greater finesse. The shapes of the border cartouches are European, though the flowers, fruits, and insects within are traditional Chinese motifs. Excerpt from Label text, Reves Galleries, Porcelain Gallery, 2018
Catalogue essays
Artist/designers
Cultures
Geography
Process/materials
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
Until 1985: Emery Reves (1904-1983) and Wendy Reves (1916-2007) (owned jointly), La Pausa, Roquebrune-Cap-Martin, France [1]
From 1985: Dallas Museum of Art, The Wendy and Emery Reves Collection, gift of Wendy Reves (1916-2007) [1]
[1] According to: Olivier Meslay and Martha MacLeod, From Chanel to Reves (Dallas, Texas: Dallas Museum of Art, 2015), 4-5.
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
1985.R.886.1-2
source file
object_notes_2_c-0214.xml.nores