‘… Chinoiserie is western, it is a purely European vision of China; a fantasy based on a China of the imagination, the fabulous Cathay invented by the medieval world.’ [1]
Dawn Jacobson, Chinoiserie, 1993, p27
The story of the development of Chinoiserie in the West is a curious one originally based on misconceptions brought about by early travellers’ tales, some true but embroidered, and some highly fictitious, but believed by a credulous European audience. The very word ‘Chinoiserie’ is misleading and was often used as an umbrella term for goods which came from countries such as India, Japan and Persia, as well as China, but whose origins frequently became lost in translation. The term literally means ‘decoration in the Chinese taste, [2] but was actually a case of ‘European things in an oriental style.’ [3] Most of the goods described as being Chinoiserie were never actually used by the Chinese, but were made solely for the European export market by Chinese craftsmen, who created objects that they thought would appeal to the western mind, thinking that this was what was wanted. The Europeans, in turn, mixed up the oriental style with western styles current at the time, such as rococo and gothick, thereby creating a hybrid style showing a confused understanding of what Chinoiserie actually was.
The arrival of Chinoiserie from China imported by the East India Company added a welcome new burst of colour to Georgian rooms and therefore became very popular. The variety of shapes and sizes could fit any space as required and was very pleasing to the eye. The attraction of chinoiserie was increased by the fact that imported items could be bought from the East India warehouses in the old city of London – in person or through the services of an agent. Auctions of goods were also held at the East India docks when their ships returned from the east.
The imported goods included porcelain, Chinese style wallpaper, lacquer furniture and other Chinese style objects. Later on with the 18th century discovery of Cornish Kaolin, English Potteries such as Derby and Worcester were able to create Porcelain items in the style of Chinoiserie for the home market.
The Collection
From her contacts at the Royal Court Henrietta Howard would have felt a desire to set up her own collection which she could love and admire. The Chinese items purchased by Henrietta would have been made during the Qing dynasty but there is nothing to say that Henrietta could not have found an agent to purchase older items on her behalf. No wonder then that Henrietta Howard wished to fill her new Palladian Villa –Marble Hill – with pieces that brightened up her rooms and created a sense of style for herself and her guests. Such was her enthusiasm for collecting that in 1739 she had to build a china room in the form of a small two storey cottage close to the House in order to create extra display and storage space. In 1745, this china room was incorporated into a new Servants quarter but the entry to the room remained private and separate. This china room survived till 1909 when the servants’ quarters were declared redundant and demolished. No photograph survives of the interior.
The 1767 inventory, although comprehensive, declined to describe the contents of the china room. Here in the inventory of 1794, we are given some clues as to its contents. The descriptions of these items are somewhat vague and may reflect the level of knowledge of the person making the inventory. Where articles are ‘broke’, it implies that some of the articles were actually used by the household or damaged by careless housemaids.
What is clear from the inventories – both 1767 and 1794 – is just the significant number of oriental wares held at Marble Hill House. In retrospect Henrietta Howard’s most flamboyant gesture was her exotic Dining room Chinese wallpaper – usually reserved for bedrooms and now recreated by English Heritage.
In 1794 Henrietta Hotham, the great-niece of Henrietta Howard and the author of the Inventories, was choosing sufficient items to fill her new home at Little Marble Hill, having finally come into her inheritance under her aunt’s Will in 1793. She was in the process of letting out the House to create an income for herself.
The Inventories
Inventory One
A complete inventory of every Article removed from Marble Hill House to Marble Hill Cottage by Miss Hotham 24 th January 1794. To prevent all misunderstanding or disputes after the decease of Miss Hotham there is marked on each article so removed and written in each (relevant) book these words – ‘removed from Marble Hill House’. Later to be known as little Marble Hill.
Removed from the House
An Inlaid cabinet
Two large Japan cabinets
Two smaller Japan cabinets
A pair of Ivory pagodas (now on display at Blickling Hall)
A small Japan figure of a drummer
Six leaved lacquer screen – now back in House.
Ten pictures of different sizes
Removed from the China Room
A pair of old Japan bottles on ( bocks ?)
A pair of tall beakers blue and white – one of them broke
A pair of smaller ditto – one of them broke
A pair of large blue and white Jars
A pair of smaller ditto
A pair of small blue and white Jars
A blue and white bottle – broken
A pair of blue and white bottles rather large
An exceedingly large blue and white Jar
Two large coloured Japan basons (basins) – not fellows (i.e. not identical)
(Perhaps the China room had become storage space for damaged pieces)
Inventory Two
Inventory Two relates to the ‘articles’ taken by Miss Hotham from the late Earl of Buckinghamshire’s house in Bond Street on 6 th May 1794. This was not Henrietta Howard’s house so this inventory is not strictly relevant. These items also were destined for Little Marble Hill or possibly she was providing some alternative items for Marble Hill House prior to letting it out.
If, as a result of this article, you wish to see similar ceramics and furniture as listed, visit the House and take a closer look at the porcelain and furniture on display. If not, google Qing or Qianlong ceramics export ware and see the variety of illustrations.
Bruce and Diana Gordon-Smith
May 2016
- Dawn Jacobson, Chinoiserie, 1993, p27.
- De Gournay, Chinoiserie Collection Designs, 2006, p1.
- Oliver Impey, Chinoiserie: the impact of oriental styles on Western and decoration,1977, p9.