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Ever since the Middle Ages it was the practice in Europe to mount exotic objects such as oriental porcelain in settings of precious or semiprecious metal as tribute to their rarity and value. In the seventeenth century, when Chinese and Japanese porcelains began to reach the West in considerable quantities, the practice continued, especially in France. With the opening of the eighteenth century, it became increasingly fashionable in Parisian society to decorate the interiors of houses with Far Eastern materials such as lacquer and mounted porcelain. This taste was catered to by the marchands-merciers, members of a guild who combined the functions of the modern interior decorator, the antique dealer, and the picture dealer. These men devised highly ingenious settings for Far Eastern porcelains to adapt their exotic character to the French interiors of the period. At first these were of silver (occasionally even gold); later, during the Rococo period when gilding was very lavishly used for the decoration of walls, furniture, light fittings, etc., gilt bronze was the material generally adopted. The marchands-merciers not only designed such mounts and employed some of the most skillful craftsmen of the day to execute them but also marketed them. The survival of the account book of one of their number, Lazare Duvaux, whose shop Au Chagrin de Turquie in the rue Saint Honoré was patronized by the most fashionable sections of Parisian society, has provided us with an immense amount of information about mounted oriental porcelain, its makers, its cost, who collected it, and so on. This information has been drawn on in cataloguing the Getty Museum’s collection of mounted oriental porcelain, which is unusually large and of exceptionally high quality.
The art of porcelain manufacturing is linked closely to China and its history, appearing in the 7th century when it became an important symbol of royalty or high status. The masterpieces of the genre featured in this book range from simple tea bowls and fantastic vases to hair ornaments, figurines and snuff boxes with intricate, multi-coloured designs. The presentations of these fragile objects are accompanied by an informative outline of the history of Chinese porcelain. This delicate material attracted and continues to attract the attention of art lovers throughout the world.
Among all the china-wares of the world no examples are so aesthetically satisfying and interesting as those of the Chinese. The Celestial poets have suggested that the discovery belongs to the far-off days before Kubla Khan decreed a stately pleasure dome in Pekin in centuries extremely early to the Christians. -- Pg. 11.
