Kerrhui

English Japanned Tea Table
Artist unknown
c. 1740, Japanning c. 1900
Oak Wood
28 x 32 x 14 in. (71.1 x 81.3 x 35.5 cm)
Item #6380 of Susan Silver Antiques

‘Japanned’ furniture refers to the European imitation of oriental lacquer objects. Despite its derivation from Chinese roots, Europeans selectively improvised the lacquer techniques and Chinese motifs to match their own preferences, developing it into a refreshing blend of Chinese and Western style that suited the European taste. This tea table is a product of such fusion with its surface covered in European black lacquer, a varnish that was only produced in England and Wales between seventeenth and nineteenth century. Its hinged fold-over top is also a feature that originated from England. Chinese motifs of pagodas, rocks, figures and water scenes decorate the surfaces, but some appear to be lacking in details and look more unpolished. The carpenter and japanner who designed and decorated this tea table remain unknown. However, given that treatises on japanning were produced since the seventeenth century, resulting in the art of japanning becoming a fashionable activity and pastime for young ladies, this tea table could very possibly be done by a female amateur, perhaps a Chinoiserie enthusiast like Lady Anson (1725–1760).

Team 8
Chau Kerr Hui
U1330986F

English Japanned Tea Table
c. 1740, Japanning c. 1900
Oak Wood
28 x 32 x 14 in. (71.1 x 81.3 x 35.5 cm)
Item #6380 of Susan Silver Antiques

Made of English oak – a national symbol of British strength and power –, this tea table is a hybrid of European and Chinese influences. Though it is decorated with Chinese motifs and imitates the lustrous look of Chinese lacquer ware, the table takes on a contemporary English form and is distinctly European in character.

This can be seen from the physical structure of the table. It displays European characteristics, with a hinged fold-over top (Figure 1) that is not common in Chinese furniture. Instead, it is more likely affiliated with Gateleg tables, which originated in England during the sixteenth century. A Gateleg table consists of a fixed section and one or two hinged leaves and can be folded downwards below the fixed section when not in use. Similar to the Gateleg table, the hinged leaf of this tea table can be flipped open to provide more space. One of the four tapering legs will then swing outwards to support the leaf, ending in pad feet.

However, Chinese features in the table remain prominent, as seen from the picturesque illustrations decorating the surfaces (Figure 2). Pagodas, rocks, figures and lakes fill the scene. These motifs were unique to China at the time, and to the English, appeared whimsical and illusory. Patterns for the decorations on japanned furniture were initially inspired from imported porcelain and lacquered objects, Chinese fabric and wall hangings, and such iconography gained plenty of attention from the public, especially the ladies. Interestingly, artists who had never even step foot in China published more prints than those who had, and their prints often revealed more about the West’s perceptions on China and its people rather than reality.

The entire surface of the tea table is also gilded and painted in European black lacquer, a type of wood finish that was only produced in England and Wales between the seventeenth and nineteenth centuries. The making of European lacquer was known as japanning, a term applied indiscriminately to European imitations of Chinese, Japanese and Indian lacquer ware using local materials and techniques.

In the beginning, due to the lack of exposure to lacquered wares, materials and lacquer techniques, the art of japanning took on a slow start during the late sixteenth century. However, trade between Europe and Asia in the seventeenth and eighteenth centuries sparked European enthusiasm and interest for Chinese lacquered furniture. As demand outstripped supply, imported Chinese goods led to European imitations and the development of European japanning. Over the two centuries, the art of japanning matured tremendously with the availability of a greater variety of materials and inventions of new varnishing methods. It was especially popular in England, quickly integrating itself into English culture by the end of seventeenth century and became a popular pastime and fashionable occupation for the ladies when japanning treatises made their way into the market for the masses. These books contained instructions on the art of japanning so that even amateurs could make pieces at home.

One significant work was Treatise on Japanning and Varnishing published in 1688 by John Stalker and George Parker. This book was geared toward the amateur and was very popular among young ladies with its highly illustrative content that consisted of a large array of Chinese motifs (Figure 4). Around the mid-eighteenth century, another significant book on japanning was published by Robert Sayer. The Ladies Amusements contained around 1,500 illustrations done by numerous artists and served as a major source of inspiration for japanners and other decorative artists. Its thin paper allowed easy transfer of illustrated motifs to any surface, and in fact, many pieces of furniture display its designs. Such publications reflected an upsurge in the popularity of the Chinoiserie style.

Though the carpenter and japanner of this piece remain unknown, the crude red lacquer painting at the sides of the table (Figure 5) seems to indicate a lack of skills. Given that japanned furniture could have been mass-produced by the public, there is a possibility that an amateur, maybe a Chinoiserie enthusiast, japanned this tea table. Nonetheless, the tabletop remains beautifully gilded and its legs still retain fine details that resemble the leaves of willow trees (Figure 6).

 

Bibliography

Azuero, K. (2006). The Development of English Black Japanning 1620-1820. V&A Conservation Journal, (52), 16–18. Retrieved November 16, 2015, from V&A Conservation Journal.

Kisluk-Grosheide, D. (1986). A Japanned Cabinet in the Metropolitan Museum of Art. Metropolitan Museum Journal, 19/20, 85–95-85–95. Retrieved November 16, 2015, from http://www.metmuseum.org/research/metpublications/Japanned_Cabinet_in_Metropolitan_Museum_The_Metropolitan_Museum_Journal_v_19_20_1984_1985#

Susan Silver Antiques. (n.d.). Retrieved November 16, 2015, from http://susansilverantiques.com/product/japanned-tea-table/

 

Team 8
Chau Kerr Hui
U1330986F

 

 

English Japanned Tea Table
English Circa 1740 Japanning Circa 1900. Oak Wood, 28 x 32 x 14 in.
Item #6380 of Susan Silver Antiques

‘Japanned’ furniture refers to European imitation of oriental lacquer objects. Despite being derived from Chinese roots, the Europeans have selectively improvised the lacquer techniques and Chinese motifs to match their own preferences, developing it into a refreshing blend of Chinese and Western style that suited the European taste. This tea table is a product of such fusion with its surface covered in European black lacquer, which is only produced in England and Wales between seventeenth and nineteenth century. Its hinged fold-over top is also a feature that originated from England. Chinese motifs of pagodas, rocks, figures and water scenes decorated the surfaces, but some appear to be lacking in details and look more unpolished. The carpenter and japanner who designed and decorated this tea table remain unknown. However given the fact that treatises on japanning were produced since the seventeenth century, resulting the art of japanning becoming a fashionable occupation and pastime for young ladies, this tea table could possibly very well be done by a female amateur, perhaps a Chinoiserie enthusiast like Lady Anson (1725–1760).

 

Catalog:

Made of English oak, a national symbol of British strength and power, this tea table is a hybrid of European and Chinese influences. Though it is decorated with Chinese motifs and imitates the lustrous look of Chinese lacquer ware, this table takes on contemporary British form and is distinctly European in character.

One prominent Chinese feature of the table is the picturesque illustration decorating the surfaces (Figure 1). Motifs comprising of pagodas, rocks, figures and water scenes depict sceneries unique to China. Chinese motifs had appeared whimsical and illusory to the Europeans, thus gaining plenty of attention from the public, especially the ladies. Patterns for the decorations on japanned furniture were initially inspired from imported porcelain and lacquered objects, Chinese fabric and wall hangings. Interestingly, artists who had never step foot on China published more prints than those who had. Their prints often reveal more about Europeans’ perceptions on China and its people rather than the reality.

 

Figure 1 Illustrations on tabletop

The physical structure of the table is distinctly European. It has a hinged fold-over top (Figure 2), which is not common in Chinese furniture. Instead, it is more likely affiliated with Gateleg tables, which have originated in England during the sixteenth century. A Gateleg table consists of a fixed section and one or two hinged leaves and can be folded downwards below the fixed section when not in use. Similar to the Gateleg table, the hinged leaf of this tea table can be flipped open to provide more space. One of the four tapering legs will then swing outwards to support the leaf, ending in pad feet.

 

Figure 2 Hinged fold-over top

Figure 3 extended tabletop

Figure 4 folded tabletop

The entire surface of the tea table is also gilded and painted in European black lacquer, a product that was only produced in England and Wales between seventeenth and nineteenth century. The making of European lacquer is also known as Japanning, a term applied indiscriminately to European imitations of Chinese, Japanese and Indian lacquer ware using local materials and techniques.

In late sixteenth century, the art of japanning was only at its first stages, probably due to the lack of exposure to lacquered wares, materials and lacquer techniques. However, trade between Europe and Asia between seventeenth and eighteenth century sparked European enthusiasm and interest for Chinese lacquered furniture. As demand by far outstripped supply, imported Chinese goods have led to European imitations and the development of European ‘japanning’. Over the two centuries, the art of japanning matured tremendously with the availability of more variety of materials and inventions of new varnishing methods. It quickly integrated itself into the Europeans’ culture by the end of seventeenth century and became a popular pastime and fashionable occupation for the ladies when japanning treatises made their way into the market for the masses. Books were published instructing the English in the art of japanning so that even amateurs could make pieces at home.

One significant work is Treatise on Japanning and Varnishing in London in 1688 by John Stalker and George Parker. This book was geared toward the amateur and it was very popular among the young ladies with its highly illustrative content that consisted of a large array of Chinese motifs (Figure 5).

Figure 5 Engravings from the treatise

Around mid eighteenth century, another significant book on japanning was published by Robert Sayer. The Ladies Amusements contained around 1,500 illustrations done by numerous artists and served as a major source of inspiration for japanners and other decorative artists. Its thin paper allowed easy transfer of illustrated motifs to any surface, and in fact many pieces of furniture display its designs. Such publications reflect an upsurge in the popularity of the Chinoiserie style.

The carpenter and japanner of this piece remain unknown, but the crude red lacquer painting at the sides of the table (Figure 6) seems to indicate a lack of skills. Given that ‘japanned’ furniture could have been mass-produced by the public, there is a possibly that this tea table was produced by an amateur, maybe a Chinoiserie enthusiast. Nonetheless, the tabletop is beautifully gilded and its legs still retain fine details that resemble the leaves of willow trees (Figure 7).

Figure 6 side of the table

Figure 7 fine details on table legs

 

Bibliography:

Katja Tovar, A. (n.d.). Victoria and Albert Museum. http://www.vam.ac.uk/content/journals/conservation-journal/issue-52/the-development-of-english-black-japanning-1620-1820/

Kisluk-Grosheide, D. (n.d.). A Japanned Cabinet in the Metropolitan Museum of Art. Metropolitan Museum Journal, 19/20, 85-95.

Susan Silver Antiques. (n.d.). http://susansilverantiques.com/product/japanned-tea-table/

Chinoiserie; the borrowed lifestyle, explores how influences from trade with China had impacted the European life in the 18^th century. Inspired by the life of Lady Elizabeth Yorke (1725–1760), a prominent Chinoiserie enthusiast, this exhibit showcases 4 varied Chinese-inspired objects produced in 18^th century England in pursuit of recreating a typical lifestyle and setting of a female Chinoiserie enthusiast during the period Oriental style flourished in Europe.

For centuries, China has fascinated the imagination of the West with its whimsical motifs of mountainous landscapes, pagodas, fabulous birds, mandarins, dragons and phoenixes. Initially, only a handful of objects found their way from the East to Europe, and these were so highly prized they seldom entered the open market.

The 18^th century marks a special significance in European history. The rise in trade with China has open way for the influence of Oriental style into European communities. Not only has tangible goods like porcelain and lacquer ware made their way into the European market, the gist of the art and techniques behind these goods came along as well and inspired European artist to imitate the goods. Oriental style infused so well into Britain that it had become a huge part of the European life. The term, Chinoiserie, coin the popular trend of decorating typically English interiors and furniture with designs in the Chinese style especially between 1750 and 1765. Such act of ‘cultural borrowing’ become accessible to the majority, allowing Chinoiserie to impact Britain’s fashion, decor, lifestyle and social behavior in the 18^th century.

The Europeans were not exactly copycats, they adapted the Oriental style to suit their preferences, and in the process, hone the ideas borrowed from China and invented their own versions instead.

Firstly, Tea drinking, which was introduced by China, quickly became a fundamental part of the polite society and also stimulated the growth of ceramics industry.

Secondly, Chinese lacquer which used to be extremely rare and expensive in Europe, pushed the European market to produce its own version of lacquer, known as japanning. Not only was it a success, japanning became so widespread that even amateurs had access to it. It even became a fashionable occupation and a popular pastime for young ladies. Chinoiserie no longer remained too exclusive for the rich, but owned by the majority as well.

The West also borrowed Chinese fashion concepts to fuse with the western structure of clothing. The royal yellow colour, floral patterns and the blue white combination were favorites amongst the women of that period. Gatherings often include the women comparing and commenting on each other’s attire, sipping on Chinese tea, living the Chinoiserie life.

Lastly, playful ‘Chinese’ structures, first appeared as features in the fashionable gardens of private and royal estates. Its dramatic size made it available to the world, standing out as a destination that entices people to travel and enjoy it as a space of cosmopolitan imagination. It encourages travel, cultural contact, exchange or borrowing of intellectual, cultural and artistic patterns from other regions.

Word count: 498

 

JAPANNING
Japanning, the making of Oriental lacquer using European techniques and choice of materials, is a term applied indiscriminately to European imitations of Chinese, Japanese and Indian lacquer ware.

Background
In the late 16^th century, when Oriental lacquer was first introduced into the European market, the art of japanning was only at its first stages, probably due to the lack of exposure to lacquered objects, materials and undiscovered techniques. It was only until the start of the 17^th century that Oriental lacquer objects were brought to the British extensively by the East India Company who was just founded on 31 December 1600. Chinese lacquered furniture became extremely popular. However as demand by far outstripped supply, imported Chinese commodities have led to European imitations, interpretations, and the development of European “japanning.” The Europeans may have imitated Oriental style, however they had fashioned it to match their taste, transforming what they had picked up from their Chinese peers to conceive new techniques for newer inventions. Over the two centuries, the art of japanning matured tremendously with the availability of more variety of materials and inventions of new varnishing methods.

Patterns for the decoration of japanned furniture were derived initially from imported porcelain and lacquered objects, as well as from Oriental fabric and wall hangings. Interestingly, as compared to the number of prints published by Europeans who had actually visited China or Japan, artists who had never step foot on China or Japan published more number of prints. These prints that were inspired more by artists’ imaginations often reveal more about the perceptions Europeans formed typically of the Far East and its people than the reality.

 

Materials
A japanned surface usually consists of a base, ground, varnish and decoration layers. A variety of materials can be used for these layers, for example wood, natural resins, leather, oils, alcohol, pigments, whiting, metal leaves and powders.

In the 18^th century, oil varnishes were produced and it turned out to be a more permanent coating and could be used to coat tinplate and papier mâché. It served many uses such as coatings coaches and even household items like tea trays. Due to so many new discoveries in japanning, Pontypool (Wales) pioneered the production of tinplate in 1720s Britain. It later became the prime headquarters that produced japanned metal objects.

 

The Art of Japanning, a popular pastime for women
While japanned objects continued to be mass-produced to match its demand, another solution was introduced. Expert japanners dedicated themselves in writing down everything they knew about japanning. Not only did these historic treatises contain the history of japanning, they had also taught its readers how to make varnishes with different available materials, the techniques needed for application, and the social functions of japanned objects et cetera. The best thing was that these treatises were available to both the professional as well as the amateur. By the end of the 17^th century, japanning had integrated itself into the Europeans’ culture especially after the publication of Treatise on Japanning and Varnishing in London in 1688 by John Stalker and George Parker. This book was geared toward the amateur and it was very popular among the young ladies with its highly illustrative content that consisted of a large array of Oriental motifs. With the easy access to relevant materials and techniques, Japanning become a fashionable occupation and a popular pastime for young ladies.

Around mid 18^th century, another significant book on japanning was published by Robert Sayer. The Ladies Amusements, also known as Whole Art of Japanning Made Easy, contained around 1,500 illustrations done by numerous artists and served as a major source of inspiration for japanners and other decorative artists. Its thin paper allowed easy transfer of illustrated motifs to any surface, and in fact many pieces of furniture display its designs. Such publications reflect an upsurge in the popularity of the Chinoiserie style.

Chinoiserie no longer remained too exclusive for the rich, but can now be owned by the majority as well. Japanning is a great example that shows how the Europeans had infused what they had learnt from elsewhere to push for greater discoveries and how the people have infused external influences into their culture such that it had merged to become their hobbies and livelihoods.

Bibliography:

Katja Tovar, A. (n.d.). Victoria and Albert Museum. http://www.vam.ac.uk/content/journals/conservation-journal/issue-52/the-development-of-english-black-japanning-1620-1820/

Kisluk-Grosheide, D. (n.d.). A Japanned Cabinet in the Metropolitan Museum of Art. Metropolitan Museum Journal, 19/20, 85-95.

Word count: 672

English Japanned Tea Table
English Circa 1740. Oak Wood, 28 x 32 x 14 in.

‘Japanned’ furniture refers to European imitation of Oriental lacquer objects. Despite being derived from Oriental roots, the Europeans have created their own techniques of coating and selectively recreate Oriental objects and chosen motifs to match their own preferences, developing it into a refreshing blend of Chinese and Western style that suited the European taste. This tea table is a product of such fusion with its surface covered in black lacquer, which is only produced in England and Wales between 17^th-19^th century, and Oriental motifs of pagodas, rocks, figures and water scenes, some of which appear to be lacking in details and look more unpolished. The carpenter and japanner who designed and decorated this tea table remain unknown. However given the fact that treatises on japanning were produced since the 17^th century, resulting the art of japanning becoming a fashionable occupation and pastime for young ladies, this tea table could possibly very well be done by a female amateur, Chinoiserie enthusiast like Lady Anson (1725–1760).

 

Word count: 180

Previously I chose to work with a cabinet, however it does not seems to fit in easily with my group members’ objects; a cabinet will force us to fit it into a particular room setting etc. bedroom. Therefore I change my object to a tea table as it can fit Xia Yin’s porcelain tea set as well. However I am still going to dwell on the same theme of ‘japanning as a pastime for European ladies’, thus I chose a japanned tea table.

 Object label:

Japanned Tea Table,
English Circa 1740.
28 x 32 x 14 in.

George II oak japanned tea table with hinged fold-over top, four tapering legs, one of which swings out to support the flap, ending in pad feet.  The entire surface of the table has been covered in the most incredible lacquered decoration in black, red and gilded motifs of pagodas, rocks, figures and water scenes.  Card or tea tables were often painted or japanned. Because Chinese lacquered furniture was extremely popular, the demand led to the development of European “japanning.”   In 1688, John Stalker and George Parker wrote a book on japanning called “Treatise of Japanning and Varnishing.”  This book was geared toward the amateur and became extremely popular for young ladies in early Georgian times and continued for some time.

Source: here