JW Treasures SBoxes Intro.indd 1 24/10/2019 16:00 · who remained in the New World as a missionary. In 1493, when Pane was among the Taíno people he observed ceremonies where ‘kynges’

JW_Treasures_SBoxes_Intro.indd 1 24/10/2019 16:00

3BIBLIOGRAPHY

LisboaRua da Misericórdia, 431200—270 LisboaPortugalT +351 213 953 375

www.jorgewelsh.com London116 Kensington Church StreetLondon W8 4BHUnited KingdomT +44 (0) 20 7229 2140


First Published 2019© 2019 Jorge Welsh — Research & Publishing116 Kensington Church St., London W8 4BH, UK

1st EditionISBN 978-0-9935068-6-4

All rights reserved. No part of this publication may be reprinted or reproduced or utilised in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without prior permission in writing from the publisher. A catalogue record for this book is available from the British Library.

EDITED BY

Luísa Vinhais and Jorge Welsh

PHOTOGRAPHY Richard Valencia

DESIGN

www.panorama.pt

PRINTING

Norprint.pt


5BIBLIOGRAPHY


FOREWORD 008

ACKNOWLEDGEMENTS 009

INTRODUCTION 012

CATALOGUE OVERVIEW 033

CATALOGUE ENTRIES 038

BIBLIOGRAPHY 151

PRINTED SOURCES 153

JORGE WELSH WORKS OF ART

IN MUSEUMS AND EXHIBITIONS 154

PUBLICATIONS BY JORGE WELSH

RESEARCH & PUBLISHING 156

Contents


7BIBLIOGRAPHY012 INTRODUCTION

When the first European explorers arrived in America, they discovered that local indigenous people used tobacco as a medicine to cure all sorts of ills, as well as a narcotic in rituals. Impressed with the curative properties of the plant, the travellers brought the drug to Europe. The first notice about snuffing was published in De orbe novo in 1511, by Pietro Martire d’Anghiera, who wrote about the observations made by Friar Ramón Pane, one of Columbus’s crew members, who remained in the New World as a missionary. In 1493, when Pane was among the Taíno people he observed ceremonies where ‘kynges’ consulted deities about wars, crops and health, and noted that they were always ‘snuffing up into theyr nosethryls the pouder of the herbe cauled Cohobba’.1 The word ‘tobacco’ is a misnomer, probably derived from the forked tube, which they called a tabaco, used by indigenous people to inhale the powder.2

According to tradition, tobacco entered Europe through Portugal during the first half of the 16th century. Supposedly, the plant was introduced to the court of Catherine de’ Medici (1519-1589), Queen of France, through the French ambassador to Portugal, Jean Nicot (1530-1600),3 who had been presented with seeds of the plant in ca. 1560 by the chronicler of the Portuguese crown, Damião de Góis. This ‘discovery’ by Nicot was published in the 1570 edition of L’Agriculture et la maison rustique, a continuation by Jean Liébault of a work by his father-in-law, the botanist and physician Charles Estienne (1504-1564), who was also a good friend of Nicot.4 Liébault referred to the plant as ‘the foremost among all medicinal herbs’ (Nicotiane premiere herbe entre les medicinales) and maintained that it was already in use by the Portuguese and Spanish.5 Five

years later, the French Franciscan priest, André Thévet (1516-1590), claimed that he was the first Frenchman to bring tobacco to Europe and to plant it in France, referring to it as the ‘herb of Angoulême’ (l'herbe Angoumoisine)6 and criticising those who called it Nicotine (without mentioning Nicot’s name):

I can boast to be the first in France, who brought the seed of this plant, & crop it, & named the plant, Angoumoisine herb. Since a certain person, who never made the voyage, some ten years after I was back from this country, gave it his name. (Je me puis vanter avoir etté le premier en France, qui a apporté la graine de cette plante, & pareillement semee, & nomé la dite plante, l’herbe Angoumoisine. Depuis un quidam, qui ne feit jamais le voyage, quelque dix ans apres que je fus de retour de ce pais, luy donna son nom.)7

FIG. 1

FIG. 1

La Cosmographie Universelle d’André Thevet Cosmographe du Roy by André Thevet (1502-1590). Paris — 1575. © MIDDLE TEMPLE LIBRARY / SCIENCE PHOTO LIBRARY

TOBACCO IN EUROPE


013INTRODUCTION

FIG. 2

Apres avoir mal a ma teste a prendre tabac Je mapreste. 1630-1635. Print. 14.8 x 10.5 cm. © THE BRITISH MUSEUM INV.: 2000,0521.35

Until ca. 1630-35, accounts of tobacco appeared in diverse publications, with authors often enhancing its value as a medicine and as a plant with healing benefits. For example, the work of Nicolas Monardes, De la cosas que se traen de nuestras Indias Occidentales, which appeared in Seville in successive editions from 1565, and until 1600 was translated and reprinted into several languages including the 1577 English translation by John Frampton, states in the chapter entitled ‘Of the Tabaco, and its great virtues’ that the plant was recommended as a cure for almost all the ‘paynes’, ‘grief ’ and ‘evils’ of the body and soul.8

In 1579, a physician of Stephen Báthory, King of Poland and Grand Duke of Lithuania (1533-1586), mentioned that sailors from the West Indies reported that smoking was good to combat hunger and thirst, and gave strength and happiness. Other cited benefits related to its aromatic vapours, which were reputed to fill the passages in the brain and induce calmness (fig. 2).9

However, the benefits of tobacco as a medicine were soon discredited when it became associated with various ailments. In 1599, Henry Buttes stressed that tobacco was useful for curing almost all diseases, but admitted that its use ‘Mortifieth and benummeth: Causeth drowsinesse: troubleth and dulleth the sences: makes [as it were] drunke: dangerous in meale time’.10

In the early 17th century, publications satirising tobacco consumers, or stressing the dangers of tobacco for the health, began to appear (fig. 3). In 1604, James VI and I, King of Scotland, England and Ireland (1566-1625), published his Counterblaste to tobacco, where he describes all sorts of tobacco consumption, particularly snuffing, as a luxury,

In his book published in Paris in 1575, Thévet relates how he witnessed and participated in smoking rituals among locals, and himself experimented with tobacco during his stay in Brazil in 1551 (fig. 1). By this time, tobacco and its different forms of consumption (smoked, chewed and snuffed) were already known in Europe.

FIG. 2


9BIBLIOGRAPHY032 CATALOGUE OVERVIEW

JW_Treasures_SBoxes_OVERVIEW.indd 32 24/10/2019 16:17

CATALOGUE OVERVIEW 033

01

Snuff Box02

Snuff Box03

Snuff Box04

Snuff Box05

Snuff BoxP 038 P 040 P 042 P 044 P 046

06

Snuff Box07

Snuff Box08

Snuff Box09

Tobacco Box10

Snuff BoxP 048 P 052 P 056 P 058 P 059

11

Box12

Snuff Box13

Snuff Box14

Snuff Box15

Snuff BoxP 060 P 061 P 062 P 066 P 070

CATALOGUE OVERVIEW

JW_Treasures_SBoxes_OVERVIEW.indd 33 24/10/2019 16:18

11BIBLIOGRAPHY038 POCKET TREASURES

01 Snuff Box

Porcelain decorated in overglaze iron-red and pink enamels, and gold; metal mounts

China — Qing dynasty, Qianlong period (1736-1795)

H. 5.5 cm Ø 7 cm

A snuff box naturalistically modelled in the form of a blossoming flower with large petals in relief intertwined and folded between each other. The box and lid are joined at the rim by hinged metal mounts. The raised petals are painted in intercalating colours, and veins highlighted with fine lines in different hues: iron-red petals with black veins, pink petals with veins left in white, and white petals highlighted in gold. The top of the lid shows the petals folded towards the centre, which are painted in iron-red with gold seeds. The interior of the lid is painted in camaïeu pink enamel with a central flowerhead among scrolls framed by a gold border, while the interior of the box is covered solely in a thin layer of gold. The edges of the box and lid are in biscuit, and the mounts around the rim of the lid have a lambrequin-shaped thumb to facilitate opening of the box.

The shape of this snuff box is extremely unusual and the model used by the Chinese potter has not been identified. The present form may therefore be a Chinese innovation. It is also possible that the original prototype can be found in European ceramics, as certain factories produced snuff boxes with naturalistic forms during the mid-18th century. For example, porcelain snuff boxes

in the form of assembled shells and other marine encrustations were one of the first and most famous forms produced in Capodimonte, Italy.1 Similar boxes were made in the Nevskaya Porcelain Manufactory in Russia.2 The same factory also produced snuff boxes modelled and coloured naturalistically in the form of apples.3 Apple-shaped snuff boxes were also produced at Meissen (fig. 14). •

1 O'Neill, 1984, p. 308, no. 274.2 Corbeiller, 1983, fig. 555.3 State Hermitage Museum, St. Petersburg, inv. no.

FIG. 14

Snuff Box in the Form of an Apple. Germany, Meissen Manufactory — ca. 1740-1750. Porcelain decorated with polychrome enamels; metal mounts. 5.7 x 6.5 cm © THE METROPOLITAN MUSEUM OF ART. INV.: 1971.134. GIFT OF GEORGE F. BAKER, GIFT OF MRS. GEORGE B. MCCLELLAN, GIFT OF J.PIERPONT MORGAN AND ROGERS FUND, BY EXCHANGE, 1971

FIG. 14

JW_Treasures_SBoxes_entries.indd 38 24/10/2019 16:25

039POCKET TREASURES



A snuff box of deep, oval bombé form, with a slightly curved lid joined at the rim by hinged metal mounts. The top of the lid, and the front, back and sides of the box are decorated with Chinese narrative scenes, set within rectangular cartouches with chamfered corners surrounded by gold scrolls, all above a gold key-fret frieze over an iron-red ground around the foot. The top of the lid contains an outdoor scene of three figures, including a bearded man and a woman holding a fan, looking at another figure with a sword at his waist standing next to a horse. The front of the box is decorated with three figures standing in a seeded ground near a house surrounded by pine trees, while a bearded man with bare chest holding a long stick moves away from the other two figures. The rear cartouche shows a bearded man in the foreground with two long feathers on his head riding a light-brown horse at full gallop

06 Snuff Box

Porcelain decorated in overglaze polychrome enamels and gold; metal mounts

China — Qing dynasty, Qianlong period (1736-1795), ca. 1740-1750

H. 5 cm L. 6.8 cm W. 4.7 cm

and chased by a soldier, who also rides a light-coloured horse appearing from behind a rock to the right, while on the opposite side another soldier on foot holding a shield and a sword tries to intercept the fugitive. The sides and base of the box are similarly decorated with a stylised Chinese mountain landscape painted in pink camaïeu. The interior of the lid is painted with a Meissen-style harbour scene, showing a large wooden building to the right and two men unloading goods from a small boat, while a third figure, dressed in a pink coat and black, wide-brimmed hat, stands nearby. Small boats and other large wooden buildings can be seen in the background. The interior of the box is covered with a thin layer of gold, while the edges and lid are left in biscuit. The mountings around the rim of the lid have a short lambrequin-shaped thumb to facilitate opening the box. →


049POCKET TREASURES



→ Only a restricted number of Chinese porcelains pieces with this type of decoration are known and all are painted on boxes with a hinged lid. A Chinese porcelain rectangular box with high sides and a hinged lid, with the exterior painted with a similar Indian woman standing near a blue altar, and an interior depicting a seated Indian figure playing music in a similar outdoor setting, is in the Musée national Adrien Dubouché, Limoges.3 There is also a Chinese porcelain pen box modelled after a Persian model, with the interior of its lid decorated with the same scene of Indian men facing each other, which

is now in the Bristol Museum and Art Gallery. Another pen box with the interior of the lid decorated with this same scene, and the top of the lid painted with a classical scene of Helios driving his chariot through clouds, is in the RA Collection.4 A further example, similar to the latter, is illustrated by Lunsingh Scheurleer.5 •

1 Pinto de Matos, 2011, vol. II, p. 236.2 Peabody Essex Museum, inv. no. E9942.3 Shimizu and Chabanne, 2003, p. 236, no. 191.4 Pinto de Matos, 2011, vol. II, pp. 236-37, no. 324.5 Scheurleer, 1980, p. 282, abb. 216.

FIG. 18

Group Portrait of Rajas Surrounded by the Courtly Retinue. Southern India, Deccan — ca. 1700-1720. Opaque watercolor and gold on paper. 22 x 32.7 cm © THE CLEVELAND MUSEUM OF ART. LEONARD C. HANNA, JR. FUND 1996.296

FIG. 18


069POCKET TREASURES



A snuff box of oval bombé form and with a slightly curved lid joined at the rim by hinged metal mounts. The top of the lid is decorated with an indoor erotic scene containing three European figures, including two dressed men and a half-naked woman seated on chairs around a table with a red tablecloth, on which stand dishes and goblets. The woman rests her right leg on an empty chair and fills the goblet of one

31 Snuff Box

Copper decorated in polychrome enamels; metal mounts

China — Qing dynasty, Qianlong period (1736-1795), ca. 1745-1750

H. 3 cm L. 7 cm W. 5.5 cm

of the men. A red curtain hangs behind the woman, while a grey wall in the background is furnished with a metal sconce and a window fitted with bars. The exterior of the box is decorated with a blue spearhead frieze around the rim, above a large and colourful band of foliage, flowers and fruits reserved from a yellow ground. The base is painted with an iron-red flowerhead and scrolls, and the foot is surrounded by a blue line. The interior of the lid is decorated with a garden scene showing a crab on a rock, set within an oval medallion framed by a yellow border. The interior of the box is painted yellow. The mounts around the rim of the lid have a lambrequin-shaped thumb to facilitate opening of the box.

The source for this design has not yet been found. This scene, with some variations, is known in Chinese porcelain pieces. A plate painted in grisaille, depicting a third figure standing behind the seated man, and another plate painted with this scene in a garden, are both illustrated by Hervouët and Bruneau.1 •

1 Hervouët and Bruneau, 1986, p. 173, nos. 7.93 and 7.94.


099POCKET TREASURES


19BIBLIOGRAPHY154 BIBLIOGRAPHY

Art Gallery of South Australia, Adelaide

Art Museum of the Chinese University of Hong Kong, Shatin NT, Hong Kong

Asian Civilisations Museum, Singapore

Baur Foundation, Museum of Far Eastern Art, Geneva

Casa Colombo — Museu de Porto Santo, Porto Santo

Fondation Gandur pour l’Art, Geneva

Fundação Carmona e Costa, Lisbon

Fundação Millenium BCP, Lisbon

Fundação Oriente, Lisbon

Guanfu Classical Art Museum, Chaoyang, Beijing

Guangdong Museum, Tianhe, Guangzhou

Hong Kong Maritime Museum, Hong Kong

Jagdish and Kamla Mittal Museum of Indian Art, Himayatnagar, Hyderabad

Jorge Welsh Works of Art

Jamestown — Yorktown Foundation, Williamsburg, Virginia

Kyushu National Museum, Tokyo

Louvre Abu Dhabi, Abu Dhabi

Macao Museum, Macao

Madeira Tecnopolo, Funchal

Musée Cernuschi, Paris

Musée de la Compagnie des Indes, Ville de Lorient, Port-Louis

Musée National d’Histoire et d’Art, Luxembourg

Museo Nacional de Artes Decorativas, Madrid

Museo Oriental, Valladolid

Museu A Cidade do Açúcar, Funchal

Museu Conde de Castro Guimarães, Cascais

Museu de Arte Sacra de Santiago do Cacém, Santiago do Cacém

Museu de Arte Sacra do Funchal, Funchal

Museu de São Roque, Santa Casa da Misericórdia de Lisboa, Lisbon

Museu do Caramulo, Caramulo

Museu Nacional de Arte Antiga, Lisbon

Museu Quinta das Cruzes, Funchal

Museum of Far Eastern Antiquities, Stockholm

Nanchang University Museum, Honggutan, Nanchang

National Maritime Museum, Amsterdam

National Museum of Singapore, Singapore

National Palace Museum, Taipei

Peabody Essex Museum, Salem, Massachusetts

Philadelphia Museum of Art, Philadelphia, Pennsylvania

Prasart Museum, Bangkok

Rijksmuseum, Amsterdam

Royal Museum of Fine Arts, Antwerp

Royal Museums of Art and History, Brussels

Schloss Museum Wolfshagen, Wolfshagen, Langelsheim

Shanghai Museum, Huangpu, Shanghai

Staatliche Kunstsammlungen Dresden-Zwinger, Dresden

The Metropolitan Museum of Art, New York, New York

The New Orleans Museum of Art, New Orleans, Louisiana

The Palace and Maritime Silk Road Museum, Quanzhou, Shishi

The Reeves Center, Washington and Lee University, Lexington, Virginia

The Speed Art Museum, Louisville, Kentucky

Yale University Art Gallery, New Haven, Connecticut

HAVE BEEN ACQUIRED BY THE FOLLOWING MUSEUMS AND INSTITUTIONS

JW_Treasures_SBoxes_End v2.indd 154 24/10/2019 17:55

155BIBLIOGRAPHY

2018—2019

Da Europa para a China. As Embaixadas de Lourenço de Portugal (1245), Tomé Pires (1515) e Francisco Pacheco de Sampaio (1752), Museu do Oriente, Lisbon, Portugal 8th Nov. 2018 — 21st Apr. 2019

Contar África!, Padrão dos Descobrimentos, Lisbon, Portugal 18th Nov. 2018 — 21st Apr. 2019

Uma História de Assombro. Portugal – Japão, Séculos XVI a XX, Galeria D. Luís, Palácio Nacional da Ajuda, Lisbon, Portugal, Nov. 2018 — Mar. 2019

2017—2018

Baur Collection Exhibition, Geneva, Switzerland

2017

Portugal — Drawing the world, Musée National d'Histoire et d'Art (MNHA), Luxembourg,

A Cidade Global. Lisboa no Renascimento, Museu Nacional de Arte Antiga, Lisbon, Portugal

Namban: the southern barbarians and the meeting up of cultures, Museu da Quinta das Cruzes, Funchal, Portugal

2015

The dragon is dancing! Kangxi / China Contemporary, Hetjens-Museum — Düsseldorf, Deutsches Keramikmuseum, Dusseldorf, Germany

Onde os nossos livros se acabam, ali começam os seus… O Japão em fontes documentais dos séculos XVI e XVII, Museu do Livro – Biblioteca Nacional de Portugal, Lisbon, Portugal

2014—2013

The Exotic is never at home? The presence of China in the Portuguese faience and azulejo (17th—18th centuries), Museu Nacional do Azulejo, Lisbon, Portugal

Portugal, Jesuits, and Japan: Spiritual Beliefs and Earthly Goods, Boston College’s McMullen Museum of Art, Boston, USA

2012

Japan the land of enchantment: Line and Colour, Museo degli Argenti, Palazzo Pitti, Florence, Italy

2010

Namban Commissions — The Portuguese in Modern Age Japan, Museu Fundação Oriente, Lisbon, Portugal

2009

Fascination with the Foreign: China — Japan — Europe, Hetjens—Museum — Düsseldorf Deutsches Keramikmuseum, Düsseldorf, Germany

Encompassing the Globe — Portugal e o Mundo nos Séculos XVI e XVII, Museu Nacional de Arte Antiga, Lisbon, Portugal

Tomás Pereira (1646-1708) — A Jesuit in Kangxi´s China, Centro Científico e Cultural de Macau, Lisbon, Portugal

2008

Encompassing the Globe — Portugal and the World in the 16th & 17th Centuries, Musée des Beaux Arts, Brussels, Belgium

2007

O Espelho Invertido — Imagens Asiáticas dos Europeus 1500‑1800, Centro Científico e Cultural de Macau, Lisbon, Portugal

Le Grand Atelier — Europalia, Brussels, Belgium

Macau — O Primeiro Século de um Porto Internacional, Centro Científico e Cultural de Macau, Lisbon, Portugal

Encompassing the Globe — Portugal and the World in the 16th & 17th Centuries, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C., USA

2006

São Francisco Xavier — A Sua Vida e o Seu Tempo (1506‑1552), Cordoaria Nacional, Lisbon, Portugal

2005

Dresden, Spiegel der Welt, Die Staatlichen Kunstsammlungen Dresden in Japan, The National Museum of Western Art, Tokyo, Japan

A Porcelana Chinesa nas Colecções do Museu Quinta das Cruzes, Museu Quinta das Cruzes, Funchal, Portugal

2004

Encounters — The Meeting of Asia and Europe 1500‑1800, Victoria and Albert Museum, London, United Kingdom

2003

Peregrinações — Homenagem a Maria Helena Mendes Pinto, Fundação Calouste Gulbenkian, Lisbon, Portugal

Province Plates, a Cultural Dialogue between Two Civilizations, Museum Geelvinck Hinlopen Huis, Amsterdam, The Netherlands

Hybrides, Porcelaines Chinoises aux Armoiries Européennes, Musée National d' Histoire et d’Art, Luxembourg

2001

O Mundo da Laca, Museu Calouste Gulbenkian, Lisbon, Portugal

1999—2000

Fundamentos da Amizade, Centro Científico e Cultural Macau, Lisbon, Portugal

Escolhas — Objectos Raros e de Colecção, Paços do Concelho, Câmara Municipal de Lisboa e Associação Portuguesa de Antiquários, Lisbon, Portugal

1998

Vasco da Gama e a Índia, Capela da Sorbonne, Fundação Calouste Gulbenkian, Paris, France

Caminhos da Porcelana, Fundação Oriente, Lisbon, Portugal

1996

Reflexos do Cristianismo na Porcelana Chinesa, Museu de São Roque, Lisbon, Portugal

HAVE BEEN LENT TO THE FOLLOWING MUSEUM EXHIBITIONS


20 BIBLIOGRAPHY156 BIBLIOGRAPHY

2019

TREASURES Pocket Treasures: Snuff Boxes from Past Times English edition: ISBN 978-0-9935068-6-4

The Vases of the ‘Hundred Treasures’ English edition: ISBN 978-0-9935068-7-1

Timeless Treasure: The Runic Calendar Staff English edition: ISBN 978-0-9935068-8-8

2018

Through Distant Eyes: Portraiture in Chinese Export Art English edition: ISBN 978-0-9935068-4-0

2017

Turn of the Sea: Art from the Eastern Trade Routes Paperback edition: ISBN 978-0-9935068-2-6 Hardcover edition: ISBN 978-0-9935068-3-3

2016

A Time and A Place: Views and Perspectives on Chinese Export Art English edition: ISBN 978-0-9557432-8-3

2015

China of All Colours: Painted Enamels on Copper English edition: ISBN 978-0-9573547-3-9 Chinese edition: ISBN 978-0-9573547-4-6

2014

Out of the Ordinary: Living with Chinese Export Porcelain English edition: ISBN 978-0-9573547-1-5 Chinese addendum: ISBN 978-0-9573547-2-2

2013

Ko-sometsuke: Chinese Porcelain for the Japanese Market English edition: ISBN 978-0-9573547-0-8

2012

Biscuit: Refined Chinese Famille Verte Wares English edition: ISBN 978-0-9557432-9-0

2009

Art of the Expansion and Beyond English edition: ISBN 978-0-9557432-5-2 Portuguese edition: ISBN 978-0-9557432-6-9

2008

Kraak Porcelain: The Rise of Global Trade in the late 16th and early 17th Centuries English edition: ISBN 0-9550992-9-3 Portuguese edition: ISBN 978-0-9557432-2-1

After the Barbarians II: Namban Works of Art for the Japanese, Portuguese and Dutch Markets English edition: ISBN 978-0-9557432-0-7 Portuguese edition: ISBN 978-0-9557432-1-4

2007

The ‘West Lake’ Garniture English edition: ISBN 0-9550992-7-7

The ‘Osaka to Nagasaki Sea Route’ Map Screens English edition: ISBN 0-9550992-8-5

2006

Zhangzhou Export Ceramics: The So-Called Swatow Wares English edition: ISBN 0-9550992-4-2 Portuguese edition: ISBN 0-9550992-3-4

2005

European Scenes on Chinese Art English edition: ISBN 0-9550992-1-8 Portuguese edition: ISBN 0-9550992-2-6

2004

Linglong Bilingual: English and Portuguese ISBN 972-99045-2-9

2003

After the Barbarians: An Exceptional Group of Namban Works of Art Bilingual: English and Portuguese ISBN 972-99045-0-2

Christian Images in Chinese Porcelain Bilingual: English and Portuguese ISBN 972-99045-1-0

2002

Flora & Fauna: A Collection of Qing Dynasty Porcelain Bilingual: English and Portuguese

2001

Western Orders of Chinese Porcelain Bilingual: English and Portuguese

2000

Important Collection of Chinese Porcelain and Works of Art from the 16th to the 19th century Bilingual: English and Portuguese

1999

Important Collection of Chinese Export Porcelain Bilingual: English and Portuguese

2019

The RA Collection of Chinese Ceramics: A Collector’s Vision Volume IV Author: Maria Antónia Pinto de Matos English edition: ISBN 978-0-9935068-5-7

2016

Tankards and Mugs: Drinking from Chinese Export Porcelain Authors: Maria Antónia Pinto de Matos, Rose Kerr English edition: ISBN 978-0-9557432-7-6

Global by Design: Chinese Ceramics from the R. Albuquerque Collection Authors: Denise Patry Leidy, Maria Antónia Pinto de Matos Paperback edition: ISBN 978-0-9935068-1-9 Hardcover edition: ISBN 978-0-9935068-0-2

2011

The RA Collection of Chinese Ceramics: A Collector’s Vision Author: Maria Antónia Pinto de Matos English edition: ISBN 978-0-9557432-3-8 Portuguese edition: ISBN 978-0-9557432-4-5

2010

Chinese Armorial Porcelain for Spain Author: Rocío Díaz English edition: ISBN 0-9550992-6-9 Spanish edition: ISBN 0-9550992-5-0

2005

European Decoration on Oriental Porcelain, 1700-1830 Author: Helen Espir English edition: ISBN 0-9550992-0-X

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JW Treasures SBoxes Intro.indd 1 24/10/2019 16:00 · who remained in the New World as a missionary. In 1493, when Pane was among the Taíno people he observed ceremonies where ‘kynges’