A rare and important ormolu-mounted famille rose armorial 'European subject' rectangular baluster vase
The porcelain Qianlong, circa 1750-60, the mounts 18th/19th century
Brightly enamelled and gilt on both larger faces of the vase with a remarkable scene of European soldiers and emaciated families, outside a fortified portcullis gate enamelled at the top with four simulated coats-of-arms, the neck and sides reserved on iron-red and black cell-pattern grounds with smaller cartouches of sages feasting, birds flying from baskets, children playing and elegant ladies at leisure (base missing, some gilding worn, handle extremities removed to accommodate the ormolu mounts).
52cm (20 1/2in) high.
Brightly enamelled and gilt on both larger faces of the vase with a remarkable scene of European soldiers and emaciated families, outside a fortified portcullis gate enamelled at the top with four simulated coats-of-arms, the neck and sides reserved on iron-red and black cell-pattern grounds with smaller cartouches of sages feasting, birds flying from baskets, children playing and elegant ladies at leisure (base missing, some gilding worn, handle extremities removed to accommodate the ormolu mounts).
52cm (20 1/2in) high.
Sold for
£14,400
inc. premium
Footnotes
- This remarkable vase is one of the most extraordinary surviving examples of an English political caricature print reproduced on a piece of Chinese Export porcelain. It faithfully copies a print by one of the two finest British caricaturists of the 18th century, William Hogarth (1697-1964), and indeed one of his most famous and vitriolic satires against the French. The original painting was completed by Hogarth in 1748-9 and was engraved by C.Mosley and W.Hogarth, issued on March 6th, 1749. The painting is correctly entitled: The Gate of Calais, or The Roast Beef of Old England; in the print the title is shortened to O The Roast Beef of Old England, &c. The title comes from a song by Fielding which originally appeared in his 'Welsh (or Grub-Street) Opera', first performed in 1731. The song contrasts the hearty food of the English with the fluffy, insubstantial syllabubs of the French. The print makes the same point, contrasting the luscious side of English beef with the meagre bowl of thin soup being carried past the Scotsman. Fielding's Opera song even has text about how the English 'have been taught to dress our meat by nations that have no meat to dress' Hogarth himself belonged to the 'Sublime Society of Beefsteaks' which had 'Beef and Liberty' as its motto.
The view depicted is a main gate into the French town of Calais, looking through the outer wall and through a brick inner gate shaped like a gaping mouth (with the shields above serving for eyes). It represents a powerful caricature against the folly of the French in their addiction to fashion and to the Church of Rome. The less fanatical Church of England artist pokes fun at the French Church by painting the third person of the Trinity, the Dove, as a sign for a tavern. Only the friar is fat; the cook, struggling under the sirloin of English beef, and all the other wretched people around the gate are emaciated and ragged. Nevertheless, in their fashionable affectation, despite their poverty, the cooks wear bag wigs and ribbons and the French sentry wears paper ruffles, even though his breeches are held up with a skewer. It is also interesting to note Hogarth's sarcastic portrayal of the Irish soldier shown by his stunted figure and bullet hole in his hat, while the Highlander in check-pattern clothes has black patches on his forehand covering wounds. Both are mercenaries or supporters of the exiled Stuart cause judging by the white cockades on their hats. The Stuarts had fled to France after the unsuccessful 1745 rebellion. These emigrés are therefore being exploited by the French in their political struggle against the British Crown, while the wretched French residents of Calais begging around the gate are themselves exploited by the Church, reflected in the fat and jolly disposition of the only well-fed person, the religious friar.
What caused all this antipathy by Hogarth against the French? In part no doubt it stemmed from the traditional British political position, particularly after French involvement in the unsuccessful Jacobite rebellion three years earlier. However, there was a more personal reason for Hogarth's hostility. His own explanation of the work and its inception is recorded in his Autobiographical Notes.
On a visit to France in 1748, he was walking around the area of the gate which was built by the British during Calais's English Sovereignity from 1346-1558. Indeed, this earlier English ownership is evident in the print since the escutcheons above the gate bear three fleurs-de-lis and three lions passant regardant. Hogarth was surprised with the 'Extreem different face things appear with, at so little a distance as from Dover... a farcical pomp of war, parade of riligion (sic), and Bustle with... very little business... in short, poverty, slavery and Insolence'. To his surprise, as he observed and made sketches and notes, he was seized by a soldier and taken to the Commandant of Calais as a spy. Having proved his innocence, he was put under house arrest, at which point he was escorted onto a ship, and the escort only left him when the ship was three miles off shore. Not surprisingly for an Englishman abroad with a strong patriotic streak and a personal pride, this treatment inspired him to begin composing the oil painting (now in the Tale Gallery, London) on which the engraved print of 1748-9 is closely based. This particular story is even reflected in the composition. At the far left-hand corner, Hogarth in profile has his notebook open in front of him and an arm is already grasping his shoulder as a precursor to his arrest. This is clearly apparent in the original print, but the Chinese enameller has missed this detail when transferring the scene to porcelain.
Two other examples of this scene depicted on Chinese porcelain are recorded, both on large punch bowls. Both bowls have the Anglo-French arms replaced by those of the (English) Rumbold family, and were probably commissioned by William Rumbold, of Tilney Park, who was in the East India Marine Service. One is in the permanent collection at the Victoria and Albert Museum London, from the Ionides Bequest, C.23-1951, illustrated by D.S.Howard, Chinese Armorial Porcelain, Vol.I, p.367. The other was formerly in the collection of Mr and Mrs Rafi Y. Mottahedeh, New York, and is illustrated by D.Howard and J.Ayers, China for the West, Vol.II, no.423.
The example of the print in the British Museum is illustrated by Ronald Paulson, Hogarth's Graphic Works, London, 1989, no.180, p363. Much of the information contained in the footnote above is derived from the excellent historical notes accompanying this print.
Category: Asian Art
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