Archive for the ‘Chinoiserie’ Category

Peeling back the years

January 23, 2014
Fragments of Chinese wallpaper recently discovered in the 4th Duke's Bedroom at Woburn Abbey. ©Woburn Abbey

Fragments of Chinese wallpaper recently discovered in the 4th Duke’s Bedroom at Woburn Abbey. ©Woburn Abbey

Exciting things are coming to light at Woburn Abbey, the seat of the Duke of Bedford – and in quite a literal sense. Historic interiors consultant Lucy Johnson has been discovering the remains of an early Chinese wallpaper in the 4th Duke’s Bedroom there, which had been hidden by later wallcoverings.

Section of the wallpaper in the Chinese Bedroom at Felbrigg Hall. ©National Trust Images/John Hammond

Section of the wallpaper in the Chinese Bedroom at Felbrigg Hall. ©National Trust Images/John Hammond

What makes this discovery even more interesting is that these fragments seem to relate to a Chinese wallpaper at Felbrigg Hall: the head of a bird visible on one of the sections of wallpaper in the 4th Duke’s Bedroom is identical to a bird that is part of the wallpaper scheme in the Chinese Bedroom at Felbrigg Hall.

Part of a bird on the Chinese wallpaper recently discovered in the 4th Duke's bedroom at Woburn Abbey. ©Woburn Abbey

Part of a bird on the Chinese wallpaper recently discovered in the 4th Duke’s bedroom at Woburn Abbey. ©Woburn Abbey

Andrew Bush, the National Trust’s paper conservation adviser, has established that the Felbrigg wallpaper was printed in outline and then painted in by hand. It looks like the Woburn paper was produced in the same way, presumably by the same workshop.

Detail of a bird in the Chinese wallpaper at Felbrigg Hall. ©National Trust/Andrew Bush

Detail of a bird in the Chinese wallpaper at Felbrigg Hall. ©National Trust/Andrew Bush

Since we know that the Felbrigg scheme was put up in 1752, by a London paper hanger called John Scrutton, it would seem likely that the Woburn paper was put up in about the same period.

Detail of a peony in the Chinese wallpaper discovered at Woburn Abbey. ©Woburn Abbey

Detail of a peony in the Chinese wallpaper discovered at Woburn Abbey. ©Woburn Abbey

And indeed Lucy has found references in the Woburn archives to the decorating firm of Crompton and Spinnage having hung ‘India paper’ in ‘His Grace’s Bedroom’ in that very same year. This wallpaper must have represented the height of chinoiserie fashion in the early 1750s.

Detail of a peony in the Chinese wallpaper at Felbrigg Hall. ©National Trust/Andrew Bush

Detail of a peony in the Chinese wallpaper at Felbrigg Hall. ©National Trust/Andrew Bush

Lucy is preparing an exhibition about these and other discoveries at Woburn (opening on 11 April) which will highlight the links between the orientalist elements in the interiors and the Asian plants and chinoiserie garden features outside.

Chinese wallpaper’s tetrapod moment

December 10, 2013
Recently conserved panel of Chinese wallpaper in the collection of the V&A, formerly at Eltham Lodge. ©Victoria and Albert Museum, London

Recently conserved panel of Chinese wallpaper in the collection of the V&A, formerly at Eltham Lodge. ©Victoria and Albert Museum, London

The early history of Chinese wallpapers is tantalisingly vague. At some point during the first half of the eighteenth century Chinese pictures, which were in demand in Europe as wall decoration, seem to have morphed into panoramic wallpaper. We don’t know exactly when that crucial transition – like the first tetrapod crawling out of the sea onto dry land – took place, but a few surviving wallpapers are known to date from that early period.

Another Eltham Lodge wallpaper panel, which had been conserved earlier. ©Victoria and Albert Museum, London

Another Eltham Lodge wallpaper panel, which had been conserved earlier. ©Victoria and Albert Museum, London

Yesterday I was listening to a fascinating talk by V&A conservator Susan Catcher about one of those Chinese Ur-wallpapers. She was describing the hair-raising process of treating a panel from the Eltham Lodge wallpaper, which seems to have been originally hung during the second quarter of the eighteenth century.

The Chinese wallpaper at Felbrigg Hall. ©National Trust Images/David Kirkham

The Chinese wallpaper at Felbrigg Hall. ©National Trust Images/David Kirkham

The wallpaper had to be given a new backing, but the extremely brittle and fragile condition of the paper made this an unexpectedly tricky task. Susan had to call in the help of all available colleagues to limit the time the paper was kept moist, but the whole procedure still took ten days. The wallpaper was relined onto Chinese xuan paper coloured to an appropriate tint with Japanese yasha dye (a fuller account of the project can be found here). Susan told us that this panel was due to be installed behind the chinoiserie bed from Badminton House in the V&A’s British Galleries today.

Section of the Felbrigg wallpaper during conservation. ©National Trust/Andrew Bush

Section of the Felbrigg wallpaper during conservation. ©National Trust/Andrew Bush

This Eltham Lodge wallpaper is stylistically quite close to the Chinese wallpaper surviving at Felbrigg Hall, which we know was purchased in 1751 and hung in 1752. The scenery in these wallpapers has been depicted in a rather painterly manner, quite different from the smoother and more stylised look of later Chinese wallpapers. Similar early Chinese wallpapers survive or have been recorded at Dalemain, Ightham Mote, Newhailes and Uppark in Britain and at Oud Amelisweerd in Holland.

Detail from the Chinese wallpaper at Ightham Mote. ©National Trust Images/Rob Matheson

Detail from the Chinese wallpaper at Ightham Mote. ©National Trust Images/Rob Matheson

By the way, the catalogue of Chinese wallpapers in the historic houses of the National Trust, which I have mentioned earlier, is due to be published in March 2014.

Portrait of a lady

November 12, 2013
Chinese mirror painting showing an elegant lady seated at a table, mid-eighteenth century, in the Chinese Bedroom at Saltram. ©National Trust Images/Rob Matheson

Chinese mirror painting showing an elegant lady seated at a table, mid-eighteenth century, in the Chinese Bedroom at Saltram. ©National Trust Images/Rob Matheson

I managed to see the exhibition Masterpieces of Chinese Painting 700-1900 at the V&A yesterday. It is a heroic and I think successful attempt to represent the entire history of Chinese painting in one exhibition, drawing on loans from museums across the world.

Pictures of elegant Chinese ladies. mid-eighteenth century, mounted on a room dvider in the Chinese Dressing Room at Saltram. ©National Trust Images/Andreas von Einsiedel

Pictures of elegant Chinese ladies. mid-eighteenth century, mounted on a room dvider in the Chinese Dressing Room at Saltram. ©National Trust Images/Andreas von Einsiedel

Among other things, the exhibition explains the distinction in Chinese painting between the professional and scholarly styles. The former was colourful, realistic and decorative, whereas the latter tended to be monochrome, high-minded and individualistic.

Chinese picture showing ladies in a garden, mid-eighteenth century, in the Study at Saltram. ©National Trust Images/John Hammond

Chinese picture showing ladies in a garden, mid-eighteenth century, in the Study at Saltram. ©National Trust Images/John Hammond

Because of my current research into Chinese wallpaper (and Chinese pictures used as wallpaper) I am completely biased towards Chinese professional paintings, which influenced the wallpapers made for the west. I was fascinated by some pictures by Ren Renfa of c. 1500, for instance, showing people engaged in elegant pastimes and including a landscape painting mounted on a movable screen, evidence of the early ‘architectural’ use of Chinese painting.

Chinese picture of a lady with a mottled bamboo fishing rod, mid-eighteenth century, in the Study at Saltram. ©National Trust Images/Andrew Bush

Chinese picture of a lady with a mottled bamboo fishing rod, mid-eighteenth century, in the Study at Saltram. ©National Trust Images/Andrew Bush

In the same section of the exhibition, ‘The Pursuit of Happiness: 1400-1600’, there are a number of paintings with elegant ladies. V&A curator Luisa Mengoni explained to me how these figures don’t just represent physical beauty, but also reference cultured accomplishments such as music and dance, and refinement more generally. Beauty is never just beauty.

Peppered papers

October 22, 2013
Detail of a flower in the Chinese wallpaper at Felbrigg Hall, which was printed and then finished in colour by hand. The paper was hung in 1752. ©National Trust/Andrew Bush

Detail of a flower in the Chinese wallpaper at Felbrigg Hall, which was printed and then finished in colour by hand. The paper was hung in 1752. ©National Trust/Andrew Bush

Last Friday Andrew Bush and I gave a lecture at the fourth annual conference organised by China Culture Connect at the National Maritime Museum in London, which this time focused on the history and conservation of traditional Asian painting. We were talking about the Chinese wallpapers in the historic houses of the National Trust and what we have discovered about them so far with the help of a growing international network of experts.

Detail of a pair of ducks in the Chinese wallpaper at Felbrigg Hall. ©National Trust/Andrew Bush

Detail of a pair of ducks in the Chinese wallpaper at Felbrigg Hall. ©National Trust/Andrew Bush

As we are keen to learn more about the art-historical context of the production of this wallpaper, we were delighted be able to attend talks by leading Chinese experts. For instance, we heard from Min-ying Wang of the Yiheyuan Summer Palace in Beijing about the conservation and restoration of wallpapers and other works on paper mounted as wall decoration there.

Detail of a lotus leaf in the Chinese wallpaper at Felbrigg Hall. ©National Trust/Andrew Bush

Detail of a lotus leaf in the Chinese wallpaper at Felbrigg Hall. ©National Trust/Andrew Bush

Although the designs of the wallpapers in the Chinese imperial palaces are different from those of the wallpapers made for export to the west, the materials and techniques are more or less the same. Pictures were sometimes pasted on top of patterned or plain wallpapers in Chinese interiors, a practice that probably influenced the development of pictorial wallpapers for export. And the printing seen on some export wallpapers (such as the one at Felbrigg Hall shown here) relates to the long-established pictorial printing tradition in China. This confirmed to us that Chinese export wallpaper was not an isolated phenomenon, but was grounded in the Chinese art-historical tradition.

Detail of a pomegranate in the Chinese wallpaper at Felbrigg Hall. ©National Trust/Andrew Bush

Detail of a pomegranate in the Chinese wallpaper at Felbrigg Hall. ©National Trust/Andrew Bush

Ms Wang also told us that treating wallpapers with pepper extract is very effective at deterring paper-munching pests – a wonderful example of a traditional technique that is as effective now as it ever was. Perhaps pepper should be added to the list of conservation materials in the National Trust Manual of Housekeeping.

The backstory of wallpaper

October 15, 2013
The Print Room at Blickling Hall, containing 52 European prints in paper frames, originally hung in the late eighteenth century and restored in 1974. ©National Trust Images/Nadia Mackenzie

The Print Room at Blickling Hall, containing 52 European prints in paper frames, originally hung in the late eighteenth century and restored in 1974. ©National Trust Images/Nadia Mackenzie

I have been perusing the recently-published book The Backstory of Wallpaper: Paper-Hangings 1650-1750. The book investigates the history of wallpaper from the perspective of its makers, sellers and hangers and is written by Robert M. Kelly, a historic wallpaper consultant and installer based in Lee, Berkshire County, Massachusetts.

Cupid after Angelica Kauffman, one of the pictures in the Print Room at Blickling. ©National Trust Images/John Hammond Downloaded

Cupid after Angelica Kauffman, one of the pictures in the Print Room at Blickling. ©National Trust Images/John Hammond Downloaded

Robert’s biography to date is wonderfully picaresque and includes teaching guitar in south side Chicago in 1968, a stint in a commune in the Rocky Mountains and working as a house-painter and paper-hanger in Munich (Bavaria, not North Dakota) before returning to the USA and becoming increasingly skilled and knowledgeable in the field of historic paint finishes and wallpapers.

The Chinese Room at Erddig, created in the 1770s, with Chinese pictures pasted onto its walls. ©National Trust Images/Andreas von Einsiedel

The Chinese Room at Erddig, created in the 1770s, with Chinese pictures pasted onto its walls. ©National Trust Images/Andreas von Einsiedel

One of the subjects discussed in The Backstory of Wallpaper is the development of the ‘print room’, the eighteenth-century practice of decorating walls by pasting prints with decorative borders onto them.

One of the Chinese paintings on paper used in the Chinese Room at Erddig. ©National Trust Images/John Hammond

One of the Chinese paintings on paper used in the Chinese Room at Erddig. ©National Trust Images/John Hammond

As Robert describes, some of these print rooms were made up with Chinese pictures and prints, as in the case of the 88 ‘Indian pictures’ hung by cabinetmaker Benjamin Goodison for the Countess of Cardigan (later Duchess of Montagu) in 1742.

Another Kauffman Cupid in the Print Room at Blickling. ©National Trust Images/John Hammond

Another Kauffman Cupid in the Print Room at Blickling. ©National Trust Images/John Hammond

Horace Walpole seems to have used European prints in a similar way at Strawberry Hill in 1753, and interestingly he describes them as hung in the ‘new manner invented by Lord Cardigan’.

Rectangular Chinese picture on paper showing a stage in the production of silk. in the Chinese Room at Erddig. ©National Trust Images/John Hammond

Rectangular Chinese picture on paper showing a stage in the production of silk. in the Chinese Room at Erddig. ©National Trust Images/John Hammond

The research for the forthcoming catalogue of Chinese wallpapers in the houses of the National Trust has suggested that such ‘Pinterest-style’ use of prints may have been the inspiration for the development of ‘proper’ Chinese wallpaper. However, print rooms using Chinese pictures remained popular even after the development of Chinese wallpaper – as usual, history refuses to follow a straighforwardly logical path.

Interwoven globe

October 8, 2013
The state bed at Calke Abbey. ©National Trust Images/John Millar

The state bed at Calke Abbey. ©National Trust Images/John Millar

The ever-stimulating Style Court blog has recently been featuring the exhibition currently on at the Metropolitan Museum in New York entitled Interwoven Globe, about how the international trade in textiles the early modern period influenced design across the world.

The Chinese embroidered silk inside the state bed at Calke. ©National Trust Images/John Millarthe Chinese silk embroidered hangings on the State Bed at Calke Abbey, Derbyshire.

The Chinese embroidered silk inside the state bed at Calke. ©National Trust Images/John Millarthe Chinese silk embroidered hangings on the State Bed at Calke Abbey, Derbyshire.

I am perusing the catalogue at the moment, and it is fascinating to read how European motifs ended up in Chinese silks, and how Chinese and Japanese motifs were in turn copied in Europe. Some ‘exotic’ textiles, such as Indian painted cotton palampores, actually combined elements from China, Persia, India and England.

Phoenix embroidered onto the white silk covering of the state bed at Calke. ©National Trust Images/John Millar the State Bed at Calke Abbey, Derbyshire.

Phoenix embroidered onto the white silk covering of the state bed at Calke. ©National Trust Images/John Millar the State Bed at Calke Abbey, Derbyshire.

This important exhibition is a suitable excuse for me to show some images of the rather gorgeous state bed at Calke Abbey, which is hung with Chinese embroidered silk. The bed was probably made for King George I in about 1715, and seems to have been given to Lady Caroline Manners by Queen Caroline when she married Sir Henry Harpur, 5th Bt, in 1734. Since the bed was hardly ever put up at Calke (it was too tall for most of the rooms in the family part of the house) the silk has been quite well preserved.

Qilin embroiderd onto the blue silk covers on the state bed at Calke. ©National Trust Images/John Millar

Qilin embroiderd onto the blue silk covers on the state bed at Calke. ©National Trust Images/John Millar

The blue material is like taffeta and is relatively light, while the white silk is heavier and has a satin finish. Tightly rolled peacock feathers were used for the knots in the tree trunks and the markings on the butterfly wings.

The art of hanging Chinese wallpaper

September 12, 2013
The Chinese Bedroom at Felbrigg Hall, hung with Chinese wallpaper in 1752. ©National Trust Images/John Hammond

The Chinese Bedroom at Felbrigg Hall, hung with Chinese wallpaper in 1752. ©National Trust Images/John Hammond

Another insight we have gained while working on the forthcoming catalogue of Chinese wallpapers in the historic houses of the National Trust is that there was a lot of skill involved in installing them. The paper was physically different from western paper and the drops were often wider. Sometimes the scenery was panoramic, requiring the joins to be either very exact or fudged and disguised.

Detail of the Chinese wallpaper at Felbrigg, showing various artfully cut additions along the bottom.  ©National Trust Images/David Kirkham

Detail of the Chinese wallpaper at Felbrigg, showing various artfully cut additions along the bottom. ©National Trust Images/David Kirkham

If the paper didn’t quite fit the walls the paper hangers had various tricks up their sleeves to achieve a harmonious end result. They would cut motifs from extra rolls and stick them over the joins to disguise breaks in the scenery. If they needed more height they would add plant and rock motifs at the bottom, cropped in various artful ways to make these disjointed elements look more natural. And as we saw in a recent post about the wallpaper at Blickling, they sometimes added a bit of sky at the top.

The Chinese Dressing Room at Saltram, with pairs of Chinese prints hung in an alternating pattern with various cut-out additions to create a wallpaper effect, possibly in the 1750s. ©National Trust Images/John Hammondn the Chinese Dressing Room at Saltram, Devon

The Chinese Dressing Room at Saltram, with pairs of Chinese prints hung in an alternating pattern with various cut-out additions to create a wallpaper effect, possibly in the 1750s. ©National Trust Images/John Hammondn the Chinese Dressing Room at Saltram, Devon

As Chinese wallpaper was very expensive – and, as catalogue co-author Andrew Bush has noted, you couldn’t just nip around the corner for an extra roll – this ‘cutting and pasting’ must have required considerable skill and nerves of steel.

Partition in the Chinese Dressing Room at Saltram, decorated with fragments of prints in a slightly less sophisticated manner, suggesting a later, amateur hand.©National Trust Images/John Hammond

Partition in the Chinese Dressing Room at Saltram, decorated with fragments of prints in a slightly less sophisticated manner, suggesting a later, amateur hand. ©National Trust Images/John Hammond

These techniques were first noticed by conservator Mark Sandiford a number of years ago when he was working on the Chinese wallpaper at Felbrigg. When I was at Saltram recently  I noticed exactly the same ‘tricks of the trade’ being used in the Chinese Dressing Room there.

The multiple layers of Chinese wallpaper

September 5, 2013
The Chinese wallpaper and border papers in the Chinese Bedroom at Blickling Hall. ©National Trust

The Chinese wallpaper and border papers in the Chinese Bedroom at Blickling Hall. ©National Trust

The work on our catalogue of the Chinese wallpapers in the historic houses of the National Trust is progressing well. Over the next few months I will be featuring a few sneak previews here.

The Chinese Bedroom at Blickling. The ivory pagodas may have come from Lady Suffolk's villa Marble Hill in Twickenham. ©National Trust Images/Nadia Mackenzie

The Chinese Bedroom at Blickling. The ivory pagodas may have come from Lady Suffolk’s villa Marble Hill in Twickenham. ©National Trust Images/Nadia Mackenzie

One of the striking things about Chinese wallpapers is that they force you to look at them in a multi-channel, multi-layered way. They are simultaneously art and decoration, eastern and western, realistic and fantastic. They relate both to the history of interior design and to the history of global trade. They document subtle shifts in social and cultural attitudes, but also illustrate the techniques of Chinese paper making, printing and painting, and of European wallpaper hanging.

Detail of the Chinese wallpaper ©National Trust

Detail of the Chinese wallpaper ©National Trust

Mirroring this complexity, we have had a lot of help in our research from a diverse group of academics, curators, conservators, historic interiors specialists and present-day Chinese wallpaper manufacturers. In an article just published in issue 50 of the National Trust’s Views magazine, entitled A Multi-Channel Approach to Chinese Wallpaper, I have tried to chart the development of the project so far, and the way it has drawn in a multiplicity of experts. We hope that we can build on this informal Chinese wallpaper study group following the publication of the catalogue, perhaps resulting in further events and publications.

Henrietta Howard, Countess of Suffolk (d. 1767) in masquerade dress, by Thomas Gibson, c. 1720.  ©National Trust Images/John Hammond

Henrietta Howard, Countess of Suffolk (d. 1767) in masquerade dress, by Thomas Gibson, c. 1720. ©National Trust Images/John Hammond

The Chinese wallpaper at Blickling Hall is a good example of how new insights can be gleaned by combining family history, art history and material evidence. At the outset we already knew that Henrietta Howard, Lady Suffolk, had helped her nephew John Hobart, 2nd Earl of Buckinghamshire, to redecorate Blickling in the run-up to his marriage in 1761.

Inscription on the back of one of the Chinese border papers at Blickling. Photograph by Mark Sandiford

Inscription on the back of one of the Chinese border papers at Blickling. Photograph by Mark Sandiford

This was confirmed when Mark Sandiford and Philippa Mapes removed the Chinese wallpaper from the walls for conservation treatment in 2002. On the back of the border papers they found inscriptions mentioning ‘1758’, ‘Suffolk’ and ‘Lott 30’, suggesting that Lady Suffolk had purchased these borders at auction, and possibly the wallpaper as well. She also had Chinese wallpaper at her own house, Marble Hill, in Twickenham, and this has recently been recreated.

Transcription of a faint Chinese stamp on the back of one of the Chinese border papers at Blickling. Drawn by Mark Sandiford

Transcription of a faint Chinese stamp on the back of one of the Chinese border papers at Blickling. Drawn by Mark Sandiford

One of the Chinese border papers at Blickling was also found to have a faint Chinese stamp on the reverse – perhaps the name of the paper manufacturer, although it has proved difficult to decipher so far. Yet another intriguing discovery was the fact that the sky of the landscape wallpaper is separate and not Chinese. It was probably added by the paper hangers, perhaps to extend the height of the wallpaper to fit this particular room. Recently we discovered that some other Chinese wallpapers surviving in Britain also have added skies, for instance the one at Harewood House.

The Chinese Bedroom at Blickling during conservation work in 2002, showing the sky section added to the Chinese wallpaper. Photograph by Mark Sandiford

The Chinese Bedroom at Blickling during conservation work in 2002, showing the sky section added to the Chinese wallpaper. Photograph by Mark Sandiford

Much remains to be discovered about this wallpaper, and Chinese wallpapers in general, but by combining all the physical and documentary evidence, and by comparing wallpapers in different houses (and even different countries), we are beginning to gain a greater understanding of their make-up, significance and development.

Keeping up with the Jansens

May 7, 2013
Dutch family taking tea, c. 1680, attributed to Roelof Koets II (c. 1650-1725). ©Sotheby's

Dutch family taking tea, c. 1680, attributed to Roelof Koets II (c. 1650-1725). ©Sotheby’s

The 17th-century Dutch family shown in the painting above are clearly very proud of their tea things. The wife and the child are dressed to the nines and the splendid Javanese lacquer table is filled expensive-looking tea utensils.

Javanese lacquer table in the Duchess's Private Closet at Ham House. ©National Trust Images/John Hammond

Javanese lacquer table in the Duchess’s Private Closet at Ham House. ©National Trust Images/John Hammond

At this time the drinking of tea was still a relatively exotic and glamorous activity in Europe – perhaps reflected in the fact that it is the husband in the painting, the head of the household, who demonstratively holds the teapot. And it was obviously deemed appropriate to have a trendy oriental lacquer table to go with this trendy oriental drink.

Javanese lacquer table in the Balcony Room at Dyrham Park. ©National Trust Images/Andreas von Einsiedel

Javanese lacquer table in the Balcony Room at Dyrham Park. ©National Trust Images/Andreas von Einsiedel

Javanese lacquer tables from that period haven’t survived in large numbers, but they can still be found in a few English and German public collections.  I have just published a little article about them in the May 2013 issue of the National Trust’s Arts, Buildings and Collections Bulletin.

Global stories in domestic spaces

April 30, 2013
Chinese ivory model of boat, at Osterley Park (NT771742.2). ©National Trust Collections

Chinese ivory model of boat, at Osterley Park (NT771742.2). ©National Trust Collections

Osterley Park recently hosted an oral history event for local Hounslow residents. There are significant Sikh and Tamil communities living near Osterley, and the event sought to explore the connections between their heritage and the collection at Osterley, which is rich in Asian objects.

Japanese lacquer cabinet, early 18th century, on an English giltwood stand, at Osterley (NT771821) ©National Trust Collections

Japanese lacquer cabinet, early 18th century, on an English giltwood stand, at Osterley (NT771821) ©National Trust Collections

Participants learned about the Child family of Osterley, who were deeply involved in the trade between Britain and Asian in the 17th and 18th century. In addition people were encouraged to bring in objects that had a personal or cultural significance, and to share their thoughts and feelings about them.

Indian embroidered silk valance (NT772441) on the bed in Mrs Child's Bedroom at Osterley. ©National Trust Images/Dennis Gilbert

Indian embroidered silk valance (NT772441) on the bed in Mrs Child’s Bedroom at Osterley. ©National Trust Images/Dennis Gilbert

Objects can appear strange and exotic, of course, and the lure of the unknown seems to have been one of the reasons behind the popularity of Asian goods in 18th-century Britain.

Massive Chinese porcelain lidded vase, mid 18th century (NT771446.1) at Osterley. ©National Trust Collections

Massive Chinese porcelain lidded vase, mid 18th century (NT771446.1) at Osterley. ©National Trust Collections

Equally, the collection at Osterley demonstrates how people try to ‘own’ the unknown, both literally by collecting exotic objects, and symbolically by having their coats of arms put on them and by fitting them into familiar decorative schemes.

Mandarin duck from the Osterley menagery, in William Hayes's 'Portraits of Rare and Curious Birds and their Descriptions from the Menagery of Osterley Park', 1794. ©National Trust Images/John Hammond

Mandarin duck from the Osterley menagery, in William Hayes’s ‘Portraits of Rare and Curious Birds and their Descriptions from the Menagery of Osterley Park’, 1794. ©National Trust Images/John Hammond

Oral history events such as this one are part of the Global Stories in Domestic Spaces project, sponsored by the Arts and Humanities Research Council and masterminded by the East India Company at Home research team.

One of a set of Chinese porcelain dishes decorated with the Child coat of arms (NT771442), early 18th century with later additions, at Osterley. ©National Trust Collections

One of a set of Chinese porcelain dishes decorated with the Child coat of arms (NT771442), early 18th century with later additions, at Osterley. ©National Trust Collections

This event will also feed into the exhibition Trappings of Trade: A Domestic Story of the East India Company which will be on view at Osterley between July and November this year.


Follow

Get every new post delivered to your Inbox.

Join 1,064 other followers