1985.R.911, Ewer, porcelain, Jingdezhen, China, probably c. 1720-1730, possibly c. 1760-1765 copy

Of all the shapes commissioned by Europeans, this ewer with its matching basin (see 1985.R.910), is one of the most successful. A continental silver or pewter model of this form was probably sent to China for copying to ensure accuracy in filling orders. Appropriate to a vessel intended to pour water, the ewer is shaped like a nautilus. Its double curved handle ends in small scrolls which echo the larger one. The ewer's matching basin is in the shape of a scallop shell and has a notched edge which allows it to be used as a shaving basin and to fit neatly around the base of the nautilus-shaped pitcher when not in use. 

Scholars disagree as to the date of pieces such as this one. The baroque quality of the form and the survival of related examples decorated with famille rose colors suggest an early 18th-century origin. However, documents of the Dutch East India Company note that ewers and basins were first ordered in 1762 and that those requested were shell-shaped. The decoration was to be "in the Dresden manner." It is arguable that the tracery seen here is based on gilt scrollwork used at the Meissen factory in Germany during the third quarter of the 18th century. 

Of all the shapes commissioned by Europeans, this basin and its matching ewer (see 1985.R.911), is one of the most successful. A continental silver or pewter model of this form was probably sent to China for copying to ensure accuracy in filling orders. Appropriate to a vessel intended to pour water, the ewer is shaped like a nautilus and the basin like a scallop shell. 

Scholars disagree as to the date of such pieces. The baroque quality of the forms and the survival of related examples decorated with famille rose colors suggest an early 18th-century origin. However, documents of the Dutch East India Company note that ewers and basins were first ordered in 1762 and that those requested were shell-shaped. The decoration was to be "in the Dresden manner." It is arguable that the tracery seen here is based on gilt scrollwork used at the Meissen factory in Germany during the third quarter of the 18th century. 

Dallas Museum of Art, Decorative Arts Highlights from the Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1995), 100.

Probably based on a late 17th century European silver, pewter, or faience model, this washing set may well have been made for the Portuguese market. The panelled strapwork designs in blue, red, and gold are attributable to Jean Berain whose pattern book, published in Paris in 1711, affected a variety of European decorative arts during the late Baroque period. The pitcher's double curved handle ends in small scrolls which echo the larger one. The basin, in the shape of a scallop shell, has a notched edge which allows it to be used as a shaving basin and to fit neatly around the base of the nautilus-shaped pitcher when not it use. 

Dallas Museum of Art, The Wendy and Emery Reves Collection (Dallas, Texas: Dallas Museum of Art, 1985), 191.

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.

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