Asian influences on 19th Century Decorative Art East Asia was a major influence on Western decorative vocabulary during the extraordinary flourishing of creative imagination witnessed during the second half of the 19th century. The resurgence of interest in China and Japan was directly related to the economic and political interests of the West, evidenced by the Opium Wars in China which were wholly concerned with trading rights and agreements. The second Opium War was concluded by the British and French occupation of Beijing in 1860. The British army reserved part of its share of spoils looted from the Imperial palace for Queen Victoria. The French booty was sent to the Emperor Napoleon III and Empress Eugenie. By February 1861, the French spoils were on display to the public at the Tuileries in Paris. It was no ordinary exhibition: it was one of the first times that Westerners had been exposed to the magnificent objects made for the Chinese Emperors. It was perhaps during this interlude that the Empress Eugenie evolved the idea of displaying the collection permanently in a 'Chinese Museum', eventually inaugurated in 1863 at Fontainebleau. Rooms were remodelled to complement the exhibits, with furnishings in the Chinese taste supplied by French makers. The involvement of the Empress and the court in the project encouraged others to take an interest, and the result was an enthusiasm for all things Chinese. In 1854, issues of trade and naval convenience prompted the Americans to force Japan to open its borders, which had been closed to foreigners since 1615. During its period of isolation, Japan had witnessed the rise of an affluent, refined, luxury-loving society with high regard for the arts. From 1854, and particularly following the restoration of Emperor Meiji in 1868, quantities of high quality Japanese works of art found their way into the West. Widespread interest in all things Asian was further stimulated by Japanese displays at the International Exhibitions of 1862, 1867, and 1876. In 1869, an Exhibition was held by the Union des Arts Dicoratifs in Paris, where an entire museum of Oriental art was displayed. The Japanese too were quick to respond to the increasing fashion for furnishing à la Japonaise and were soon producing goods made in a Japanese style but adapted to have maximum appeal to Western tastes. In the West, contact with quality Asian works of art had a direct impact on attitudes to the design and decoration. Designers and makers studied the forms and techniques, and began to produce goods using the stylized vocabulary and balanced asymmetry of the Far East. The Western hunger for this taste is evident in a range of products, exemplified by the following lots, where romantic motifs and naturalism were combined with a mélange of styles to create an atmosphere, instead of simply attempting to produce accurate direct reproductions.

An unusual French 'Japonisme' enamelled and bronze cartel d'applique

LAST QUARTER 19TH CENTURY

Details

An unusual French 'Japonisme' enamelled and bronze cartel d'applique
Last Quarter 19th Century
The drum-form clockcase suspended by a dragon supported on a shaped backplate enamelled with flowerheads against a blue ground, the enamelled dial decorated with a dragon and Orientalist numerals, the works inscribed CHLES MT/23645
36½ in. (92.8 cm.) high

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