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136:. In this the wood base is coated with a number of thick layers of black or other dark lacquer, which are given a high polish. In theory the shapes of the pictorial elements are then cut out of the lacquer, though in screens where a high proportion of the area is taken up by the pictorial elements, some method of reserving the main elements and saving expensive lacquer was probably used. The areas for the picture elements might be treated in a variety of ways. The final surface might be painted in coloured lacquer, oil paints, or some combination, perhaps after building up the surface with
379:
197:, sprays of flowers, or a combination of the two. There are often smaller borders between the main image and these, and at the edges. Sometimes both sides of the screen are fully decorated, usually on contrasting subjects. The earlier examples made for the Chinese market often have inscriptions recording their presentation as gifts on occasions such as birthdays; they came to represent a standard present on the retirement of senior officials. According to the V&A, "So far all known dated
279:, which has recently been restored and placed on display (Phillips Wing). In the Netherlands the English speciality of gilded leather with impressed oriental designs was imported for grand houses around the 1720s. The Europeans were vague on the differences between Chinese, Japanese, Indian and other East Asian styles, and English tapestry-makers replicated the feel of Coromandel lacquer subjects with the individual figures adapted from
167:, ivory, and metal, especially gold for touches. The mother of pearl was often engraved and stained with colours. The mother of pearl technique was, at least initially, more expensive and produced for the court (who also used screens painted by court artists), and the filled technique apparently developed for a wealthy clientele outside the court. The screens seem to have been mostly made in
346:, published in 1930 but set in 1905–10, a "coromandel screen" is mentioned as being in a room that is "impersonal, conventional, correct", typifying the style of those who "unquestioningly followed the expensive fashion". By the 20th century screens were again being manufactured in China, and imported via
192:
The main designs are typically of two major groups: firstly courtly "figures in pavilions", often showing "spring in the Han palace", and secondly landscape designs, often with emphasis on birds and animals. Some screens illustrate specific episodes from literature or history. Typically borders run
174:
Up to thirty layers of lacquer could be used. Each layer could have pictures and patterns incised, painted, and inlaid, and this created a design standing out against a dark background. The screens were made in China and appeared in Europe during the 17th century, remaining popular into the 18th.
418:
65:
But in Europe cabinet-makers often cut the screens into a number of panels, which were inserted into pieces of furniture made locally in the usual
European shapes of the day, or mounted within wood panelling on walls. This was often also done with
909:
371:
Having rather dwindled, prices for
Coromandel screens revived somewhat with the influx of Chinese money into the art market, and a screen fetched well over estimate at $ US 602,500 in 2009, then the record price, selling to a dealer from Asia.
319:
was especially keen on Asian lacquer panels in furniture, and was probably largely responsible for the very high prices recorded for such pieces, sometimes 10 times or more the price of ordinary furniture of equivalent quality.
286:
Interest then turned to incorporating lacquer panels, whether imported as such or cut down from screens, into pieces of furniture, on a carcass of
European wood in "Japanning" imitation lacquer, lavishly ornamented with
323:
After the fashion for
Coromandel lacquer died away in the 18th century, demand for screens remained fairly low until a revival in the 1880s, when it revived as part of a general taste for Oriental art, led by
70:
in rather different techniques, but "Coromandel" should only be used to refer to
Chinese lacquer. The peak of the fashion for panelling rooms was the late 17th century. By the 18th century, Chinese
394:
366:
I've loved
Chinese screens since I was eighteen years old. I nearly fainted with joy when, entering a Chinese shop, I saw a Coromandel for the first time. Screens were the first thing I bought.
228:
At the peak period in the decades around 1700 the main customers for screens shipped by the VOC were the
English. The original fashion may have been Dutch; it was brought to England after the
406:
42:(VOC) and its rivals from a number of European powers had bases in the 18th century. The most common type of object made in the style, both for Chinese domestic use and exports was the
333:
378:
361:, especially the Coromandel screens, and is believed to have owned 32 folding screens of which eight were housed in her apartment at 31 rue Cambon, Paris. She once said:
88:
At the time of the first imports in the 17th century, Coromandel lacquer was known in
English as "Bantam ware" or "Bantam work" after the VOC port of Bantam on
941:
Van Campen, Jan, "'Reduced to a heap of monstruous shivers and splinters': Some Notes on
Coromandel Lacquer in Europe in the 17th and 18th Centuries",
19:
256:
in 1701. This fashion seems to have died away rapidly after 1700, probably largely replaced in
England with tapestries using similar Asiatic
108:
805:
791:
769:
311:
style. Such pieces were sawn through, if decorated on both sides, and sometimes needed to be slowly bent into a curved shape for
193:
above and below the main scene. These often show the "hundred antiques" design of isolated "scholar's objects", antique Chinese
854:
178:
926:
643:
Investigation and Conservation of East Asian Cabinets in Imperial Residences (1700–1900): Lacquerware & Porcelain
233:
903:
34:, latterly mainly made for export, so called only in the West because it was shipped to European markets via the
23:
Coromandel lacquer, probably originally from a screen, worked up into a cabinet for medals in France in the 1720s
205:" (1654–1722). Later pieces were mostly made for European markets and are of lower quality, many rather crude.
970:
893:
879:
833:
698:
682:
458:
641:; van Campen 136–137, Jan Dorscheid, Paul Van Duin, Henk Van Keule, in: Gabriela Krist, Elfriede Iby (eds),
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1008:
222:
100:. The first recorded use of "Coromandel lacquer" is in French, from a Parisian auction catalogue of 1782.
82:
77:
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329:
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The Materiality of Color: The Production, Circulation, and Application of Dyes and Pigments, 1400–1800
863:
554:
292:
237:
182:
39:
432:. A coastal landscape can be seen in the centre, with floral wreaths on the turned back side panels.
325:
824:
Alayrack-Fielding, Vanessa in: Feeser, Andrea, Goggin, Maureen Daly, Fowkes Tobin, Beth (eds),
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646:
462:
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Pedersen; Osborne, 205; Alayrack-Fielding, 83: Watt and Ford, 3–6, 23–26, 34, 36; Pelham
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Screen with figures in pavilions and a main border with a "hundred antiques", in the
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936:
The Economics of Taste, Vol II: The Rise and Fall of Objets d'art Prices since 1750
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280:
74:
began to reach Europe, and generally replaced lacquer panels as a cover for walls.
67:
35:
675:
European Furniture in The Metropolitan Museum of Art: Highlights of the Collection
910:"A Magnificent Chinese Twelve-Fold Coromandel Lacquer Screen, Kangxi, Circa 1680"
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218:
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Pedersen; Osborne, 205; Alayrack-Fielding, 83: Watt and Ford, 3–6, 23–26, 34, 36
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province in south China, traditionally a key area for lacquer manufacturing.
47:
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in the mid-18th century, among those who often incorporated both Chinese and
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645:, (Conference 2013 Postprints), pp. 239–259, 2015, Böhlau Verlag, Vienna,
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None of the English or rooms panelled in lacquer have survived, but the
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125:
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898:
Pedersen, Bent L., "China, X, Lacquer. 7. Qing and after (from 1644).",
276:
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Urushi: Proceedings of the Urushi Study Group, June 10–27, 1985, Tokyo
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of 1688, and to Germany by the princely marriages of the daughters of
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97:
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and revived in popularity in the 16th century, perhaps also using
253:
185:
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51:
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Reitlinger, Chapter 7 on the general revival, 219–220 on lacquer
58:(literally "incised colors") technique, sometimes combined with
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307:
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149:
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East Asian Lacquer: The Florence and Herbert Irving Collection
295:, who initialled his pieces "B.V.B.R." was a leading Parisian
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137:
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Chinese Art and Design: the T.T. Tsui Gallery of Chinese Art
332:
paid £1,000 for a screen in 1900, whereas one in the famous
148:, lacquer, or similar materials as filler, giving a shallow
128:
are often used in Coromandel screens, but the basic one is
89:
732:
van Campen, 145; a different screen to "V&A 130–1885".
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into his pieces, the latter usually in the black and gold
260:
for royalty and the top of the market (examples remain at
388:; coastal landscape scene, with "hundred antiques" border
509:
Alayrack-Fielding, 82–83; Osborne, 205; V&A 130–1885
424:
A Chinese Coromandel screen is seen in the oil painting
62:
inlays. Other pieces made include chests and panels.
557:. Encyclopædia Britannica. Retrieved 23 September 2011
159:, which had been used on lacquer since at least the
353:In the 20th century, the famous fashion designer
995:
792:"COCO CHANEL'S APARTMENT THE COROMANDEL SCREENS"
770:"COCO CHANEL'S APARTMENT THE COROMANDEL SCREENS"
965:, 1991, Metropolitan Museum of Art (New York),
50:with as many as twelve leaves, coated in black
357:(1883–1971) was an avid collector of Chinese
132:or "incised colors", which goes back to the
846:Pictures and visuality in early modern China
240:. Small rooms panelled in lacquer, "lacquer
103:
886:The Oxford Companion to the Decorative Arts
155:A different technique was to use inlays of
112:Screen with a courtly progress in lacquer,
961:Watt, James C. Y., Ford, Barbara Brennan,
412:Detail of a screen shown above, 1750-1800
921:, 2007 (2nd edn), British Museum Press,
806:"Asian antique sales rocket in New York"
212:
177:
107:
76:
18:
400:Detail of the medal cabinet shown above
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919:The British Museum Book of Chinese Art
849:. London: Reaktion Books. p. 61.
842:
677:, 2006, Metropolitan Museum of Art,
208:
782:
938:, 1963, Barrie and Rockliffe, London
762:
453:, p. 254, 1988, Getty Publications,
449:N. S. Brommelle, Perry Smith (eds),
221:, with figures in pavilions, in the
482:Alayrack-Fielding, 83; Osborne, 205
13:
980:
828:, 2012, Ashgate Publishing, Ltd.,
252:in 1693 with another in 1695, and
14:
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945:, 2009, 57(2), pp. 136–149,
271:in Amsterdam has a room from the
234:Frederick Henry, Prince of Orange
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38:of south-east India, where the
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54:with large pictures using the
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986:W. G. de Kesel and G. Dhont,
953:database details for a screen
818:
794:. Chanel News. June 29, 2010.
772:. Chanel News. June 29, 2010.
750:van Campen, 145 (quoted), 146
691:Europe in the Age of Monarchy
908:"Pelham": Pelham Galleries,
656:van Campen, 136–137, 140–145
629:van Campen, 136–137, 140–145
334:Hamilton Palace Sale of 1882
223:Villa Ephrussi de Rothschild
83:Villa Ephrussi de Rothschild
7:
988:Coromandel: Lacquer Screens
336:had only fetched £189. In
315:commodes and other pieces.
16:Type of Chinese lacquerware
10:
1025:
957:Victoria and Albert Museum
872:Victoria and Albert Museum
705:; Alayrack-Fielding, 82–83
330:Victoria and Albert Museum
217:Another screen, mainly in
293:Bernard II van Risamburgh
238:Amalia of Solms-Braunfels
183:Bernard II van Risamburgh
104:Technique and iconography
40:Dutch East Indies Company
943:The Rijksmuseum Bulletin
787:. Gallimard. p. 12.
437:
326:blue and white porcelain
884:Osborne, Harold (ed),
843:Clunas, Craig (1997).
783:Delay, Claude (1983).
225:
189:
121:
85:
24:
904:Subscription required
500:Alayrack-Fielding, 83
216:
201:screens are from the
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22:
951:"V&A 130–1885",
1009:Chinese lacquerware
665:van Campen, 142–145
338:Vita Sackville-West
317:Madame de Pompadour
230:Glorious Revolution
209:Treatment in Europe
120:and gold, 1750–1800
32:Chinese lacquerware
932:Reitlinger, Gerald
283:they had to hand.
226:
190:
126:lacquer techniques
122:
86:
28:Coromandel lacquer
25:
1004:Chinese furniture
973:, 9780870996221,
900:Oxford Art Online
856:978-1-86189-008-5
836:, 9781409429159,
714:Reitlinger, 25–27
701:, 9780870994494,
685:, 9780300104844,
555:Coromandel screen
461:, 9780892360963,
430:Albert von Keller
281:Mughal miniatures
244:", were built in
124:A combination of
44:Coromandel screen
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812:, 2 October 2009
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262:Belton House
248:in 1685–95,
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195:objets d'art
191:
173:
161:Song dynasty
154:
134:Song dynasty
129:
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87:
64:
55:
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27:
26:
810:Japan Times
611:Rawson, 360
473:Rawson, 360
355:Coco Chanel
273:Stadtholder
269:Rijksmuseum
258:iconography
188:, 1730–1733
998:Categories
971:0870996223
894:0198661134
880:1851770178
864:Kerr, Rose
834:1409429156
819:References
789:Cited in:
699:0870994492
683:0300104847
593:Clunas, 61
527:Clunas, 61
459:0892360968
428:(1873) by
384:Screen in
277:Leeuwarden
46:, a large
584:Kerr, 118
348:Hong Kong
340:'s novel
291:mounts.
98:Indonesia
92:, modern
72:wallpaper
870:, 1991,
298:ébéniste
242:cabinets
199:kuan cai
130:kuan cai
56:kuan cai
866:, ed.,
254:Dresden
186:commode
146:plaster
52:lacquer
969:
925:
917:(ed).
892:
878:
853:
832:
697:
681:
457:
426:Chopin
386:Munich
328:. The
308:maki-e
289:ormolu
250:Munich
246:Berlin
169:Fujian
150:relief
94:Bantem
947:JSTOR
438:Notes
313:bombe
142:gesso
138:putty
967:ISBN
923:ISBN
890:ISBN
876:ISBN
851:ISBN
830:ISBN
695:ISBN
679:ISBN
455:ISBN
90:Java
1000::
955:,
934:;
902:,
874:,
808:,
144:,
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96:,
859:.
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