406:
31:
418:
120:
190:
225:
89:
430:
147:. 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
390:
208:, 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
290:, 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
178:, 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
357:, 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
203:
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
185:
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.
429:
76:
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
920:
382:
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.
330:
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.
297:
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
334:
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
81:
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
405:
377:
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.
239:
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
417:
53:(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
344:
389:
372:, 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:
99:
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
952:
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",
30:
267:
in 1701. This fashion seems to have died away rapidly after 1700, probably largely replaced in
England with tapestries using similar Asiatic
119:
816:
802:
780:
322:
style. Such pieces were sawn through, if decorated on both sides, and sometimes needed to be slowly bent into a curved shape for
204:
above and below the main scene. These often show the "hundred antiques" design of isolated "scholar's objects", antique Chinese
865:
189:
937:
654:
Investigation and Conservation of East Asian Cabinets in Imperial Residences (1700–1900): Lacquerware & Porcelain
244:
17:
914:
45:, latterly mainly made for export, so called only in the West because it was shipped to European markets via the
34:
Coromandel lacquer, probably originally from a screen, worked up into a cabinet for medals in France in the 1720s
216:" (1654–1722). Later pieces were mostly made for European markets and are of lower quality, many rather crude.
981:
904:
890:
844:
709:
693:
469:
652:; van Campen 136–137, Jan Dorscheid, Paul Van Duin, Henk Van Keule, in: Gabriela Krist, Elfriede Iby (eds),
224:
1019:
233:
111:. The first recorded use of "Coromandel lacquer" is in French, from a Parisian auction catalogue of 1782.
93:
88:
1014:
967:
882:
340:
837:
The Materiality of Color: The Production, Circulation, and Application of Dyes and Pigments, 1400–1800
874:
565:
303:
248:
193:
50:
443:. A coastal landscape can be seen in the centre, with floral wreaths on the turned back side panels.
336:
835:
Alayrack-Fielding, Vanessa in: Feeser, Andrea, Goggin, Maureen Daly, Fowkes Tobin, Beth (eds),
713:
697:
657:
473:
985:
848:
963:
8:
348:
327:
240:
42:
556:
Pedersen; Osborne, 205; Alayrack-Fielding, 83: Watt and Ford, 3–6, 23–26, 34, 36; Pelham
977:
942:
933:
910:
900:
886:
861:
840:
705:
689:
465:
440:
92:
Screen with figures in pavilions and a main border with a "hundred antiques", in the
649:
947:
The Economics of Taste, Vol II: The Rise and Fall of Objets d'art Prices since 1750
313:
291:
85:
began to reach Europe, and generally replaced lacquer panels as a cover for walls.
78:
46:
686:
European Furniture in The Metropolitan Museum of Art: Highlights of the Collection
921:"A Magnificent Chinese Twelve-Fold Coromandel Lacquer Screen, Kangxi, Circa 1680"
855:
369:
229:
205:
167:
124:
70:
547:
Pedersen; Osborne, 205; Alayrack-Fielding, 83: Watt and Ford, 3–6, 23–26, 34, 36
925:
353:
252:
182:
province in south China, traditionally a key area for lacquer manufacturing.
58:
1008:
312:
in the mid-18th century, among those who often incorporated both Chinese and
308:
213:
175:
128:
104:
272:
171:
144:
656:, (Conference 2013 Postprints), pp. 239–259, 2015, Böhlau Verlag, Vienna,
365:
283:
279:
278:
None of the English or rooms panelled in lacquer have survived, but the
268:
136:
957:
909:
Pedersen, Bent L., "China, X, Lacquer. 7. Qing and after (from 1644).",
287:
462:
Urushi: Proceedings of the Urushi Study Group, June 10–27, 1985, Tokyo
243:
of 1688, and to Germany by the princely marriages of the daughters of
358:
108:
82:
174:
and revived in popularity in the 16th century, perhaps also using
264:
196:
156:
62:
734:
Reitlinger, Chapter 7 on the general revival, 219–220 on lacquer
69:(literally "incised colors") technique, sometimes combined with
396:
318:
299:
260:
256:
179:
160:
974:
East Asian Lacquer: The Florence and Herbert Irving Collection
306:, who initialled his pieces "B.V.B.R." was a leading Parisian
152:
148:
879:
Chinese Art and Design: the T.T. Tsui Gallery of Chinese Art
343:
paid £1,000 for a screen in 1900, whereas one in the famous
159:, lacquer, or similar materials as filler, giving a shallow
139:
are often used in Coromandel screens, but the basic one is
100:
743:
van Campen, 145; a different screen to "V&A 130–1885".
316:
into his pieces, the latter usually in the black and gold
271:
for royalty and the top of the market (examples remain at
399:; coastal landscape scene, with "hundred antiques" border
520:
Alayrack-Fielding, 82–83; Osborne, 205; V&A 130–1885
435:
A Chinese Coromandel screen is seen in the oil painting
73:
inlays. Other pieces made include chests and panels.
568:. Encyclopædia Britannica. Retrieved 23 September 2011
170:, which had been used on lacquer since at least the
364:In the 20th century, the famous fashion designer
1006:
803:"COCO CHANEL'S APARTMENT THE COROMANDEL SCREENS"
781:"COCO CHANEL'S APARTMENT THE COROMANDEL SCREENS"
976:, 1991, Metropolitan Museum of Art (New York),
61:with as many as twelve leaves, coated in black
368:(1883–1971) was an avid collector of Chinese
143:or "incised colors", which goes back to the
857:Pictures and visuality in early modern China
251:. Small rooms panelled in lacquer, "lacquer
114:
897:The Oxford Companion to the Decorative Arts
166:A different technique was to use inlays of
123:Screen with a courtly progress in lacquer,
972:Watt, James C. Y., Ford, Barbara Brennan,
423:Detail of a screen shown above, 1750-1800
932:, 2007 (2nd edn), British Museum Press,
817:"Asian antique sales rocket in New York"
223:
188:
118:
87:
29:
411:Detail of the medal cabinet shown above
14:
1007:
930:The British Museum Book of Chinese Art
860:. London: Reaktion Books. p. 61.
853:
688:, 2006, Metropolitan Museum of Art,
219:
793:
949:, 1963, Barrie and Rockliffe, London
773:
464:, p. 254, 1988, Getty Publications,
460:N. S. Brommelle, Perry Smith (eds),
232:, with figures in pavilions, in the
493:Alayrack-Fielding, 83; Osborne, 205
24:
991:
839:, 2012, Ashgate Publishing, Ltd.,
263:in 1693 with another in 1695, and
25:
1031:
956:, 2009, 57(2), pp. 136–149,
282:in Amsterdam has a room from the
245:Frederick Henry, Prince of Orange
428:
416:
404:
388:
809:
787:
764:
755:
746:
737:
728:
719:
679:
670:
661:
643:
634:
625:
616:
607:
598:
589:
580:
571:
559:
550:
275:), and then later wallpaper.
163:to figures and the like.
49:of south-east India, where the
700:; Metropolitan Museum of Art,
541:
532:
523:
514:
505:
496:
487:
478:
454:
65:with large pictures using the
13:
1:
997:W. G. de Kesel and G. Dhont,
964:database details for a screen
829:
805:. Chanel News. June 29, 2010.
783:. Chanel News. June 29, 2010.
761:van Campen, 145 (quoted), 146
702:Europe in the Age of Monarchy
919:"Pelham": Pelham Galleries,
667:van Campen, 136–137, 140–145
640:van Campen, 136–137, 140–145
345:Hamilton Palace Sale of 1882
234:Villa Ephrussi de Rothschild
94:Villa Ephrussi de Rothschild
7:
999:Coromandel: Lacquer Screens
347:had only fetched £189. In
326:commodes and other pieces.
27:Type of Chinese lacquerware
10:
1036:
968:Victoria and Albert Museum
883:Victoria and Albert Museum
716:; Alayrack-Fielding, 82–83
341:Victoria and Albert Museum
228:Another screen, mainly in
304:Bernard II van Risamburgh
249:Amalia of Solms-Braunfels
194:Bernard II van Risamburgh
115:Technique and iconography
51:Dutch East Indies Company
954:The Rijksmuseum Bulletin
798:. Gallimard. p. 12.
448:
337:blue and white porcelain
895:Osborne, Harold (ed),
854:Clunas, Craig (1997).
794:Delay, Claude (1983).
236:
200:
132:
96:
35:
915:Subscription required
511:Alayrack-Fielding, 83
227:
212:screens are from the
192:
122:
91:
33:
962:"V&A 130–1885",
1020:Chinese lacquerware
676:van Campen, 142–145
349:Vita Sackville-West
328:Madame de Pompadour
241:Glorious Revolution
220:Treatment in Europe
131:and gold, 1750–1800
43:Chinese lacquerware
943:Reitlinger, Gerald
294:they had to hand.
237:
201:
137:lacquer techniques
133:
97:
39:Coromandel lacquer
36:
1015:Chinese furniture
984:, 9780870996221,
911:Oxford Art Online
867:978-1-86189-008-5
847:, 9781409429159,
725:Reitlinger, 25–27
712:, 9780870994494,
696:, 9780300104844,
566:Coromandel screen
472:, 9780892360963,
441:Albert von Keller
292:Mughal miniatures
255:", were built in
135:A combination of
55:Coromandel screen
18:Coromandel screen
16:(Redirected from
1027:
871:
824:
823:, 2 October 2009
813:
807:
806:
799:
796:Chanel Solitaire
791:
785:
784:
777:
771:
768:
762:
759:
753:
750:
744:
741:
735:
732:
726:
723:
717:
704:, p. 154, 1987,
683:
677:
674:
668:
665:
659:
650:Rijksmuseum page
647:
641:
638:
632:
629:
623:
620:
614:
613:V&A 130–1885
611:
605:
602:
596:
593:
587:
586:V&A 130–1885
584:
578:
577:V&A 130–1885
575:
569:
563:
557:
554:
548:
545:
539:
536:
530:
529:V&A 130–1885
527:
521:
518:
512:
509:
503:
500:
494:
491:
485:
482:
476:
458:
432:
420:
408:
392:
314:Japanese lacquer
79:Japanese lacquer
47:Coromandel coast
21:
1035:
1034:
1030:
1029:
1028:
1026:
1025:
1024:
1005:
1004:
994:
992:Further reading
926:Rawson, Jessica
868:
832:
827:
815:Moonan, Wendy,
814:
810:
801:
792:
788:
779:
778:
774:
770:van Campen, 149
769:
765:
760:
756:
752:van Campen, 145
751:
747:
742:
738:
733:
729:
724:
720:
684:
680:
675:
671:
666:
662:
648:
644:
639:
635:
631:van Campen, 140
630:
626:
621:
617:
612:
608:
603:
599:
594:
590:
585:
581:
576:
572:
564:
560:
555:
551:
546:
542:
537:
533:
528:
524:
519:
515:
510:
506:
502:Van Campen, 137
501:
497:
492:
488:
483:
479:
459:
455:
451:
444:
433:
424:
421:
412:
409:
400:
393:
370:folding screens
230:mother of pearl
222:
168:mother of pearl
125:mother of pearl
117:
71:mother of pearl
28:
23:
22:
15:
12:
11:
5:
1033:
1023:
1022:
1017:
1003:
1002:
993:
990:
989:
988:
970:
960:
950:
940:
923:
917:
907:
893:
872:
866:
851:
831:
828:
826:
825:
808:
786:
772:
763:
754:
745:
736:
727:
718:
678:
669:
660:
642:
633:
624:
615:
606:
597:
588:
579:
570:
558:
549:
540:
531:
522:
513:
504:
495:
486:
477:
452:
450:
447:
446:
445:
434:
427:
425:
422:
415:
413:
410:
403:
401:
394:
387:
380:
379:
354:The Edwardians
221:
218:
116:
113:
59:folding screen
26:
9:
6:
4:
3:
2:
1032:
1021:
1018:
1016:
1013:
1012:
1010:
1001:, 2002, Ghent
1000:
996:
995:
987:
983:
979:
975:
971:
969:
965:
961:
959:
955:
951:
948:
944:
941:
939:
938:9780714124469
935:
931:
927:
924:
922:
918:
916:
912:
908:
906:
902:
899:, 1975, OUP,
898:
894:
892:
888:
884:
880:
876:
873:
869:
863:
859:
858:
852:
850:
846:
842:
838:
834:
833:
822:
818:
812:
804:
797:
790:
782:
776:
767:
758:
749:
740:
731:
722:
715:
711:
707:
703:
699:
695:
691:
687:
682:
673:
664:
658:
655:
651:
646:
637:
628:
619:
610:
601:
592:
583:
574:
567:
562:
553:
544:
535:
526:
517:
508:
499:
490:
481:
475:
471:
467:
463:
457:
453:
442:
438:
431:
426:
419:
414:
407:
402:
398:
391:
386:
385:
384:
378:
375:
374:
373:
371:
367:
362:
361:for dealers.
360:
356:
355:
350:
346:
342:
338:
332:
329:
325:
321:
320:
315:
311:
310:
305:
301:
295:
293:
289:
286:'s palace at
285:
281:
276:
274:
270:
266:
262:
258:
254:
250:
247:and his wife
246:
242:
235:
231:
226:
217:
215:
214:Kangxi period
211:
207:
198:
195:
191:
187:
183:
181:
177:
176:tortoiseshell
173:
169:
164:
162:
158:
154:
150:
146:
142:
138:
130:
129:tortoiseshell
126:
121:
112:
110:
106:
102:
95:
90:
86:
84:
80:
74:
72:
68:
64:
60:
56:
52:
48:
44:
41:is a type of
40:
32:
19:
998:
986:fully online
973:
953:
946:
929:
896:
878:
856:
849:google books
836:
820:
811:
795:
789:
775:
766:
757:
748:
739:
730:
721:
714:google books
701:
698:google books
685:
681:
672:
663:
653:
645:
636:
627:
618:
609:
600:
591:
582:
573:
561:
552:
543:
534:
525:
516:
507:
498:
489:
480:
474:fully online
461:
456:
436:
381:
376:
363:
352:
333:
323:
317:
307:
296:
277:
273:Belton House
259:in 1685–95,
238:
209:
206:objets d'art
202:
184:
172:Song dynasty
165:
145:Song dynasty
140:
134:
98:
75:
66:
54:
38:
37:
821:Japan Times
622:Rawson, 360
484:Rawson, 360
366:Coco Chanel
284:Stadtholder
280:Rijksmuseum
269:iconography
199:, 1730–1733
1009:Categories
982:0870996223
905:0198661134
891:1851770178
875:Kerr, Rose
845:1409429156
830:References
800:Cited in:
710:0870994492
694:0300104847
604:Clunas, 61
538:Clunas, 61
470:0892360968
439:(1873) by
395:Screen in
288:Leeuwarden
57:, a large
595:Kerr, 118
359:Hong Kong
351:'s novel
302:mounts.
109:Indonesia
103:, modern
83:wallpaper
881:, 1991,
309:ébéniste
253:cabinets
210:kuan cai
141:kuan cai
67:kuan cai
877:, ed.,
265:Dresden
197:commode
157:plaster
63:lacquer
980:
936:
928:(ed).
903:
889:
864:
843:
708:
692:
468:
437:Chopin
397:Munich
339:. The
319:maki-e
300:ormolu
261:Munich
257:Berlin
180:Fujian
161:relief
105:Bantem
958:JSTOR
449:Notes
324:bombe
153:gesso
149:putty
978:ISBN
934:ISBN
901:ISBN
887:ISBN
862:ISBN
841:ISBN
706:ISBN
690:ISBN
466:ISBN
101:Java
1011::
966:,
945:;
913:,
885:,
819:,
155:,
151:,
127:,
107:,
870:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
_(7365169420).jpg)
