Relevant bibliographies by topics / Porcelain, private collections

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Academic literature on the topic 'Porcelain, private collections'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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Journal articles on the topic "Porcelain, private collections"

1

Wang, Yu, and Zhengding Liao. "Porcelain interior plastic of the 1950s in museums and private collections in China." Issues of Museology 12, no. 1 (2021): 58–67. http://dx.doi.org/10.21638/spbu27.2021.106.

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In the two decades since the establishment of the people’s Republic of China, the challenges facing porcelain production have changed significantly. Porcelain production is one of the most important and oldest traditions in China. In the 1950s, porcelain craftsmen became involved in the creation of new forms of interior plastics. Many of the pieces they created are now part of museum collections and represent the history of the development of Chinese interior porcelain. Using the example of three museums and three reference monuments, the article examines the key trends in the development of porcelain art and stylistic changes that occurred during this period. The following museums have been selected as examples to showcase the specifics of Chinese porcelain art from this period: the China Ceramic and Porcelain Museum located in Jingdezhen City, which is the country’s first major art museum specializing in ceramics; the Chinese Fine Arts Museum in Beijing, which specializes in collecting, researching and displaying works of Chinese artists of modern and contemporary eras; and the Guangdong Folk Art Museum, which specializes in collecting, researching and displaying Chinese folk art. All of these museums are engaged in collecting porcelain, including interior porcelain plastics from the mid-20th century. In the collections of the aforementioned museums, three works were selected for analysis. These are three paired compositions created in the second half of the 1950s: the sculpture “An Old Man and a Child with a Peach” by Zeng Longsheng, “Good Aunt from the Commune” by Zhou Guozhen and “Fifteen coins. The rat case” by Lin Hongxi. These porcelain compositions reveal close relations with Chinese national culture and not only reflect various scenes, but are also aimed at expanding the role of porcelain in decorating residential interiors.
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2

OConnor, Jennifer. "Savour: Food Culture in the Age of Enlightenment." Canadian Food Studies / La Revue canadienne des études sur l'alimentation 7, no. 2 (November 16, 2020): 82–84. http://dx.doi.org/10.15353/cfs-rcea.v7i2.385.

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The current exhibition at the Gardiner Museum, Savour: Food Culture in the Age of Enlightenment, explores how eating, cooking, and dining were reimagined in England and France from the 1650s to the 1790s. Drawing from the Gardiner’s collection of ceramics as well as works on loan from other museums and private collections, curator Meredith Chiton, Curator Emerita at the Gardiner who specializes in “early European porcelain, dining, and social culture of the eighteenth century”, combines the functional with the curious and the historic with the contemporary.
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Finkel, Irving L. "Tablets for Lord Amherst." Iraq 58 (1996): 191–205. http://dx.doi.org/10.1017/s0021088900003259.

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In the years around the turn of the present century, relying on the contacts and expertise of Theophilus Goldridge Pinches, Lord William Amhurst Tyssen-Amherst, 1st Baron Amherst of Hackney (1835–1909), put together what came to be one of the most wide-ranging and important collections of cuneiform tablets to have been assembled in private hands in this country. Since the publication of Volume 1 of The Amherst Tablets in 1908 by Pinches, followed much later by E. Sollberger's The Pinches Manuscript, the Amherst Collection has been familiar enough among Assyriologists, but perhaps less has been known of the collector, and of his other collections. The Museum at the family estate of Didlington Hall, Northwold, Norfolk, contained in its heyday a much broader range of material than cuneiform inscriptions. From the Near Eastern world there were very extensive collections of Egyptian papyri and antiquities, but the Hall also housed remarkable accumulations of incunabula and printed books, porcelain, tapestries, sculpture and other works of art. It is evident that the specific pursuit of cuneiform sources was inspired by a profound interest in the origin and development of writing and printing.The survival of a group of private letters covering the years 1896–1910, from Lord Amherst to Pinches, with some draft reply letters from Pinches and other relevant documents, has entailed the preservation of unusual information about the process of acquisition and the sources of the tablets themselves. The present paper offers a summary of this information, in the hope of conveying something of the circumstances and motives at play at such a period.
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4

Guseva, Anna V. "Chinese Paintings from Western Museum Collections at the International Exhibition of Chinese Art in London, 1935: On the History of Collecting and Attributing Chinese Paintings." Izvestia of the Ural federal university. Series 2. Humanities and Arts 24, no. 2 (2022): 287–302. http://dx.doi.org/10.15826/izv2.2022.24.2.040.

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The International Exhibition of Chinese Art that took place in London’s Burlington House from November 1935 to March 1936 is recognised as the major exhibition of ancient and classical Chinese art of the twentieth century. Over two hundred collectors and institutions from 14 countries provided their objects of art to the exhibition. None of the previous exhibitions had had as many items: the number of objects was extraordinary with 3,080 entries in the catalogue of the London exhibition. Moreover, it was the first foreign exhibition presenting items from the former imperial collection of the Forbidden City (Gugun Museum since 1925). In addition to numerous porcelain and bronze items from private and museum collections, the exhibition contained about 300 paintings (monumental painting, scrolls, album sheets, and fans). While it is generally believed that western collectors only started being seriously interested in painting after World War II, the exhibition contained over a hundred paintings of non-Chinese provenance. Due to its scale, the International Exhibition of Chinese Art of 1935 could be considered a representative example of trends in the Chinese art collecting of the 1930s. For this reason, a close analysis of the catalogue may help enrich our idea of the formation of collections of Chinese art, the formation of taste, and its evolution over time. Data related to the paintings from the catalogue are analysed and then compared to the current descriptions from museum databases and catalogues.
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Simsek Franci, Gulsu. "Handheld X-ray Fluorescence (XRF) Versus Wavelength Dispersive XRF: Characterization of Chinese Blue-and-White Porcelain Sherds Using Handheld and Laboratory-Type XRF Instruments." Applied Spectroscopy 74, no. 3 (December 18, 2019): 314–22. http://dx.doi.org/10.1177/0003702819890645.

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Almost all archaeometric studies on Chinese ceramics are carried out on the excavation materials. Therefore, a detailed, comparable database that defines different workshops and production periods already exists. But the masterpieces preserved at museums, art galleries, and/or private collections, which are artistically considered as genuine artifacts, also require similar scientific investigations to define their provenance and authenticity. The research on artworks is only possible with the use of portable, noninvasive techniques that are developing daily concerning their capability of detection limits, rate of measurement, and ease of use. In this study, the results obtained with a handheld X-ray fluorescence (XRF) (also called portable XRF) and wavelength dispersive XRF instrument were compared to evidence the efficiency and drawbacks of the portable model. To achieve this goal, 12 sherds, which represent blue-and-white porcelains of Yuan and Ming Dynasties (China), were analyzed and the chemical composition of the body, glaze, and blue decor were identified. The comparison of the results with the measurements carried out on the excavation materials, which are produced in both southern and northern China, revealed the authenticity of the artifacts. Even sodium cannot be detected with portable XRF, the distinction of different production centers is possible with the detection of major (Mg, Al, Si, K, Ca), minor (Fe, Ti), and trace elements (Zr, Sr, Rb).
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6

Klyushina, E. V., and M. A. Kostyrya. "On the Question of Possible Iconographic Prototypes of the Portrait of Jeanne Kéfer by Fernand Khnopff." Art & Culture Studies, no. 3 (August 2022): 168–83. http://dx.doi.org/10.51678/2226-0072-2022-3-168-183.

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Methodologically based on the principles of comparative iconographic and stylistic analysis, this article is devoted to the problem of establishing possible prototypes of Fernand Khnopff’s Portrait of Jeanne Kéfer, one of the most significant works created by the master in 1885, now included in the collection of the J. Paul Getty Museum in Los Angeles. Taking into account the historiographic aspect of studying the portrait of Jeanne Kéfer and the current scientific approaches by modern researchers of Belgian Symbolism to the analysis of Khnopff’s portrait concept, the authors of the article put forward a hypothesis according to which in the process of creating the work in question (in addition to photographs, automatons or porcelain dolls, which are most often mentioned by researchers) individual paintings by the masters of the golden age of Dutch and Flemish art could have served as an iconographic prototype. The portrait of Jeanne Kéfer, as well as a number of other children’s portraits created by the artist in 1880–1890s, is compared, in particular, with the works by Gerard ter Borch the Younger, Johannes Cornelisz Verspronck, and Cornelis de Vos. To prove the assumptions put forward, the authors of the article give examples of the sources that Khnopff could potentially use, namely, the publications in periodicals, catalogues and private collections. The study also highlights that taking into account the actualization of the discourse of historical and cultural memory, which took place in Belgium in the second half of the 19th century, and the need for an ideological rethinking of the national origins of Belgian visual culture, the appeal of Khnopff, as well as of other masters of Belgian Symbolism, to the artistic heritage of the 17th century is quite possible and justified.
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7

Решетньова, Г. О. "МАЙСЕНСЬКА ПОРЦЕЛЯНА В УКРАЇНСЬКИХ КОЛЕКЦІЯХ. ДО ПИТАНЬ ТЕРМІНОЛОГІЇ ТА ПЕРІОДИЗАЦІЇ." Art and Design, no. 2 (September 24, 2019): 134–42. http://dx.doi.org/10.30857/2617-0272.2019.2.13.

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The purpose of the suggested study are: to analyse and submit to public consideration the issue of correction of the Saxon porcelain terminology generally used in Ukraine; to analyse reasonableness of the dating principles applied to the ‘sculpture’ period of manufacturing; and to attribute and introduce into the academic turnover Meissen porcelain items kept in a Ukrainian private collection of D. Popov.
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8

Wang, Yu, and Zhengding Liao. "Chinese porcelain plastic of the 1950s as a subject of private collection." Issues of Museology 11, no. 1 (2020): 83–93. http://dx.doi.org/10.21638/11701/spbu27.2020.108.

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9

Письмак, Юрий. "Viennese vase painted in Dresden (architectural, artistic, stylistic, morphological and structural features)." Arta 30, no. 1 (August 2021): 54–62. http://dx.doi.org/10.52603/arta.2021.30-1.08.

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The article examines the architectural, artistic, stylistic, morphological and structural features of an old porcelain vase from a private Odessa collection. The unpainted vase was made in 1860s at Vienna Porcelain Manufactory. This vase was painted in Helena Wolfsohn’s studio in Dresden between 1864 and 1878 (?). Helena Wolfsohn lived and worked in a significant center of European civilization, culture and arts of her time. The images are painted on the vase using the technique of manual overglaze painting. Amazingly arranged bouquets of flowers are painted on the turquoise background of the oval-shaped body of the vase, and gallant scenes in the Watteau style are depicted on the white parts of the body. On the bottom of the vase base an underglaze blue mark is applied: a shield. The painting of the vase is notable for a vivid pictorial effect, a successful composition, harmony and restraint of color shades. Similar vases painted at Helena Wolfsohn’s studio were exhibited at the International Exhibition in Sydney (1879) and at the World Exhibition in Melbourne (1880). Decorative porcelain vases play an important role in creating the architectural and artistic ensemble of the interior, whose main compositional principle is architectonics.
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Snitkuvienė, Aldona. "The Path of the First European Porcelain Wares to Lithuanian Museums." Perspektywy Kultury 25, no. 2 (July 1, 2019): 159–78. http://dx.doi.org/10.35765/pk.2019.2502.12.

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The state’s development, twists and turns of culture and history of the country, circumstances and passing time, often erase facts, that is why the reconstruction of the history of exhibits’ acquisition in museums is one of the most complicated aspects in museology. The article is dedicated to the presentation of Johann Friedrich Böttger’s (1682-1719) collection of red stone mass exhibits in Lithuanian museums and aims at revealing their history. Thanks to the archival register, it was possi­ble to discover the inventory lists with descriptions of valuable works of art that had been prevented from being seized by Germans and pre­served during the Soviet occupation. Among them, there were exhib­its stored at the M.K. Čiurlionis National Museum of Art. Particularly valuable are twelve items of red stone mass by J.F. Böttger. Their iden­tification revealed not only the date (1940) and the manor (the Pakruo­jis manor, Šiauliai region, Lithuania) from which the nationalized art collection was transferred to the museum but also to whom [Leo Carl von der Ropp (27.09.1860 Pakruojis – 09.10.1940 Berlin)] it belonged. That is how the history of J.F. Böttger’s red stoneware exhibits has been unveiled. The Lithuanian Art Museum purchased two exhibits from private persons (1980 and 1982).
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Books on the topic "Porcelain, private collections"

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Kevill-Davies, Sally. Chelsea china from private collections. London: Chelsea Society and S. Kevill-Davies, 1999.

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2

Veiga, Jorge Getulio. Chinese export porcelain in private Brazilian collections. London, UK: Distributor, Han-Shan Tang, 1989.

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3

Arend, Liana Paredes. Sèvres porcelain at Hillwood. Washington, D.C: Hillwood Museum and Gardens, 1998.

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4

Arts, Minneapolis Institute of, ed. The choice of the private trader: The private market in Chinese export procelain illustrated from the Hodroff collection. London: Zwemmer, 1994.

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Sassoon, Adrian. Vincennes and Sèvres porcelain from a European private collection. [London: International Ceramics Fair & Seminar, 2001.

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The Marshall collection of First Period Worcester porcelain. Oxford: Ashmolean, 1999.

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Spero, Simon. Worcester porcelain, 1751-1790: The Zorensky collection. Woodbridge, Suffolk: Antique Collectors' Club, 1996.

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8

Eighteenth-century English porcelain: A selection from the Godden Reference Collection. London: Granada, 1985.

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9

Yabe, Yoshiaki. Yoshizawa Saburō Kinenkan kizōhinshitsu Chūgoku tōji zuroku. [Saku-shi]: Saku Shiritsu Kindai Bijutsukan, Karuchākan Yui Ichiji Kinenkan, 1992.

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10

Hakubutsukan, Gifu-shi Rekishi, ed. Maria Terejia Koimari korekushon ten: Imari-porcelain from the personal collection of Empress Maria Theresia. [Tokyo?]: Sasaki Kikaku, 1998.

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Book chapters on the topic "Porcelain, private collections"

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Lampeka, Mykola. "TRANSFORMATION OF COLOR VISIONS INTO A SACRED IMAGE ON THE BACKGROUND OF SNOW-WHITE PORCELAIN IN THE WORKS OF YEVHEN OVCHARYK." In Modern approaches to cultural space and historical knowledge (1st ed.). Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/matcsahk.ed-1.07.

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The study of the artistic work of the leading master of fine ceramics Yevhen Ovcharyk consists in theoretical understanding of the significance of his works for national art culture and systematization and organization of data on them, as well as determining the impact of this work on the original and distinctive image of Ukrainian porcelain. It is the level of originality of certain porcelain traditions, as bright achievements of Ukrainian art culture and a parts of professional art of the late XX — early XXI century, is a fundamental basis for the search for Ukrainian national identity. A brief retrospective review of materials devoted to the problems of research of Ukrainian porcelain testifies to the attention to this topic of such scientists as L. Dolynsky, P. Musienko, O. Charnovsky, F. Petryakova. However, the exploration of artistic achievements of individual artists working in the field of original porcelain is given insufficient attention in modern scientific practice. However, Yevhen’s creative style encourages many researchers of fine ceramics to analyze his creatons in art history. Among them are such well-known specialists as V. Zavershinsky, I. Mikhasenko, T. Prydatko, L. Karpinska, V. Gorbacheva, S. Volska and O. Snitovsky. But the works of these authors are devoted to certain aspects of the master’s work. The novelty of this study is a comprehensive study of all the factors that shaped the creative personality and a thorough analysis of existing artworks, including porcelain pieces of Yevhen Ovcharyk, which are stored in private collections and leading national museums. Thus, the chosen perspective of the research will allow to re-evaluate the creative work of the famous master of Ukrainian porcelain in the context of the world’s fine ceramic tradition and will encourage further in-depth study of the phenomenon of a particular creative personality on the general artistic panorama and socio-cultural space.
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d’Abrigeon, Pauline. "La collection de porcelaines chinoises de l’hôtel Salomon de Rothschild." In De la sphère privée à la sphère publique. Publications de l’Institut national d’histoire de l’art, 2019. http://dx.doi.org/10.4000/books.inha.11377.

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Conference papers on the topic "Porcelain, private collections"

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Carneiro De Carvalho, Vânia. "Decoration and Nostalgia - Historical Study on Visual Matrices and Forms of Diffusion of Fêtes Galantes in the 20th Century." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001365.

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In São Paulo/Brazil, between the years 1950 and 1980, porcelain sculptures representing courtesy scenes were fashionable in wealthy and middle-class homes. Several Brazilian factories started to produce such images and many others were imported, the most of them from Germany. These representations were inspired by the fêtes gallants, a rococo style genre from the 18th century. Factories like Meissen, Limoges and Capodimonte produced thousands of copies which circulated in Western Europe and the Russian Empire. During the 19th century, from French institutional policies, the fêtes galantes were revalued along with the recovery of the rococo. This political and cultural movement resulted not only in domestic interiors decorated with authentic pieces from the 18th century gathered together by collectors, but also in the production of new objects. Following decorative practices, studies anachronistically reclassified 18th artisans as artists, constructing their biographies, circumscribing their peculiarities, and identifying their works. Many pieces from the privates collections ended in museums. The porcelain aristocratic figures won the world and are produced until today. It was at the end of the 19th century, in the region of Thuringia, that the technique of lace porcelain emerged. Produced by women in a male-dominated environment, the technique involved the use of cotton fabric soaked with porcelain mass which was then sewed and molded over the porcelain bodies of male and female figures. After that, the piece was placed in the oven at high temperature, burning the fabric and leaving the lace porcelain. It is significant and relevant for the purposes of this research that the lace porcelain technique was never recognized as a object of interest by the academic literature on porcelain. It is likely that the presence of the female labor, the practice of sewing and the use of fabric have been interpreted by the male academic and amateur elite as discredit elements. Added to this, the lace porcelain became very popular in the 20th century. The reinterpretation of rococo in the 20th century was also understood as a lack of artistic inventiveness associated with marketing interests, which resulted in the marginalization of these sculptures. What is proposed here is to study these objects as pieces of domestic decoration practices, recognizing in them capacities to act on the production of social, age and gender distinctions. I intend, therefore, to demonstrate how these small and seemingly insignificant objects were associated with decorative practices of fixing women in the domestic space in Brazil during the 20th century. They acted not alone but in connection with other contemporary phenomena such as post-war fashion, the glamorization of personalities from the American movie and European aristocracy and the rise of Disney movies, which promoted the gallant pair as a romantic idea for children in the western world.
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