#export art

[arthistoryanimalia]

Porcelain crab 🦀 tureen, Jingdezhen, China, 1736–95. (Produced for the export market.)

Peabody Essex Museum AE85884.AB

[kobzars]

If you want to take out of Ukraine works of modern art, contact me. I help you to draw up the documents necessary for legal export of paintings, sculptures and other works of modern art outside Ukraine. Details in the article

[arthistoryanimalia]

#FrogFriday 🐸:

Blue & White Frog-Form Tureen and Cover

China (for export market), late 19th - 20th c.

Porcelain, H 6 ¼ in. (15.9 cm) x L 10 in. (25.4 cm)

Via Christie’s

[arthistoryanimalia]

#Caturday 🐱:

“A pair of blue and white cat night lights”

China (for export market), Kangxi Period (1662-1722)

Porcelain, H 8 in. (20.3 cm)

Via Christie’s

“Porcelain night lights modeled as cats date to at least the late Ming Dynasty, as evidenced by their appearance in the famed circa 1643-46 shipwreck of the VOC vessel The Geldermalsen, sold as the Hatcher Cargo by Christie’s in 1983-84. Their purpose was to ward off rats and mice, cats being known for both their hunting abilities and their superb night vision. This charming night light form continued to be produced into the Kangxi period (1662-1722), in which some of the finest examples were made for export to the West. Most are modeled recumbent, this pair, with their erect seated posture, is both rare and highly appealing.”

[arthistoryanimalia]

#TextileTuesday:

Bedcover Gujarat, India (for British market), 18th c. Cotton, embroidered with silk L 100 x W 122 in. (254 x 309.9 cm) Metropolitan Museum of Art 68.61 https://www.metmuseum.org/art/collection/search/229248

"During the sixteenth and seventeenth centuries, Gujarat, in western India, supplied embroideries of the highest quality to the Mughal court; these textiles became valued commodities in Europe as soon as sea trade with that region was established. The Portuguese were the first Europeans to enter this market, but most surviving Gujarati embroideries relate to trade with England, which increased in the early seventeenth century.

Over the course of the seventeenth century, as the Gujarati embroiderers adjusted their output for the English market, they adopted the common motif of pink flowers detailed in yellow that bloom from dark green vines with light green or yellow veins. In the background are spotted leopards, striped deer, squirrels, birds, and other chain-stitched beasts filled with bands of color or details in contrasting hues. These elements are understood to have been culled from a variety of sources including English embroideries, examples of which must have been sent to India as models (see e.g. Museum of Fine Arts, Boston, nos. 53.2202 and 53.172). But as English embroidery was itself responding to the influx of Asian textiles, incorporating and adapting many foreign motifs, the result was a mix of European, Indian, and Chinese imagery that then fed back to its original sources in a totally transformed state.

This piece, consisting of several panels that have been joined and then quilted to form a bed-size coverlet, includes the motifs found on seventeenth-century coverlets but must have been made in the early eighteenth century, when an overall pattern of rinceaux enclosing flowers became more common. However, Gujarati production is remarkable for its variety; at the same time, embroiderers were also producing patterns related to French bizarre silks and palampore designs (see e.g. Museum of Fine Arts, Boston, no. 57.168)."

[arthistoryanimalia]

#TwoForTuesday:

“A pair of aubergine elephants”

China (for export market), Qing Dynasty, 1st quarter 19th c.

Porcelain, L 10 in. (25.4 cm) ea.

Via Christie’s

[arthistoryanimalia]

#FishFriday :

Fish Plate, c.1868-79

Made in Canton (Guangzhou), China [Qing Dynasty] for export to U.S. market:

part of the official presidential china collection of Ulysses S. Grant

Porcelain w/ enamel & gilt decoration

7/8 x 9 3/4 in (2.2 x 24.8 cm)

On display at Philadelphia Museum of Art

[arthistoryanimalia]

For #NationalPoultryDay 🐓🐔

Figure of a cock and hen on a tree stump

Arita kiln-sites, Japan, c.1690 (for European export market)

Porcelain, overglaze enamels, gold

29.7 x 19.7 x 18.5 cm max

Ashmolean Museum EA1989.10

“The rooster's association with the morning is rooted in its natural behaviour of crowing at dawn, a sound that has been interpreted as a sign of the new day's arrival since ancient times.

This porcelain figure of a rooster and a hen on a tree stump was made in Japan at the famous Arita kiln sites in around 1690. It was likely designed for the European market, and intended to be shipped and sold there by the Dutch East India Company.”