CIRCA 1690-1700, THE PORCELAIN

A nearly identical 'Crucifixion' jar, full size and without the ormolu mounts, is in the collection of the Metropolitan Museum of Art and illustrated by Le Corbeiller, China Trade Porcelain, p.17, where the author notes the relationship between this scrolling floral decoration and Chinese export embroidered ecclesiastical textiles. A very similar jar with cover was sold from the collection of Ahmend Sheikhi, Christie's, London, 13 June 1990, lot 87 (£24,400) and is now in the Peabody Essex Museum and illustrated by W R Sargent (Treasures of Chinese Export Ceramics, pp. 308-309) who also cites a similar pair of ormolu-mounted 'U' shape jars and covers which sold Sotheby's, Monaco, 13 February 1983, lot 263, agreeing with Le Corbeiller's theory of textile inspiration for the floral decoration. A third example with a later wooden cover was sold most recently at Christie's, Amsterdam, 18 May 1994, lot 47 (f. 36,800).

This small group of 'Crucifixion' jars seem to be the earliest religious subject porcelain made for the Western market, if not the earliest of any European subject porcelain - a logical development given the Jesuits' early and consistent presence in China. With European engravings at hand to show the Crucifixion scene, it seems natural that, in seeking a design to complete the round form of a jar, the Chinese and their European customers would turn to the elegantly embroidered ecclesiastical textiles that formed another important Chinese export luxury good in this period.