拍品 3
3
Various Properties
A GEORGE III WHITE, RED AND GREEN-PAINTED MINIATURE OCTAGONAL PAVILION in the Chinese taste, the removable two-tier spreading tiled roof surmounted by a finial, the octagonal interior with a simulated parquetry floor centred by a sunburst, with one angled bench, the oval-pierced parapet with geometric tracery, on on chamfered square pillar supports joined by a pierced balcony around a simulated parquetry verandah with four miniature benches with straw-work seats, with seven geometrically-pierced windows and a later hinged door, on spreading plinth base with steps, restorations and some replacement

细节
A GEORGE III WHITE, RED AND GREEN-PAINTED MINIATURE OCTAGONAL PAVILION in the Chinese taste, the removable two-tier spreading tiled roof surmounted by a finial, the octagonal interior with a simulated parquetry floor centred by a sunburst, with one angled bench, the oval-pierced parapet with geometric tracery, on on chamfered square pillar supports joined by a pierced balcony around a simulated parquetry verandah with four miniature benches with straw-work seats, with seven geometrically-pierced windows and a later hinged door, on spreading plinth base with steps, restorations and some replacement
12in.(30.5cm.)diam.

拍品专文

Although Johann Nieuhof's seminal 1669 treatise, An Embassy from the East India Company of the United Provinces to the Grand Tartar Cham, Emperor of China, had awakened the European conscience to Chinse design, it was under Sir Willian Chambers (d.1796), court architect to George III, that English chinoiserie reached its fruition. Inspired by his trips to Canton and the Orient, the publication of Chambers' Designs of Chinese Buildings, Furniture, Dresses, etc. in 1757, combined with the new pleasure grounds commissioned at the same time from him by the Dowager Princess of Wales at Kew, prompted the movement that would eventually culminate in the Prince Regent's Brighton Pavilion. With its chamfered columns, pierced balustrade and octagonal stepped roof, this pavilion shows great affinity to Chambers' designs for a sacrificial temple (ibid., pl. iv) and to the Chinese Temple commissioned by the Duchess of Queensbury in 1772 (see: J. Harris, Chambers, London, pl. 78)