Tray of enamel on copper, The Holmsted Family Tree
China, Canton, c. 1740
H: 3.8; L: 74; W: 46 cm
Inventory number 22/1970
On this tray of enamel on copper, with rounded corners and a border adorned with a stylised floral and leaf pattern, the centre depicts the family tree of the Danish Holmsted family. It is represented as four tall trees placed in a mountain landscape. The trees are all connected by rose garlands, and the names of family members appearing along the trunks and branches.
The family tree can appear somewhat complicated. This is partly due to the design with the many-branched trunks intertwining with each other, and partly because the head of the family, Frederik Holmsted, was married twice: first to Mette Fisker (the tree on the far left), and later to Martha Brinck (the tree to the right of Holmsted). On the tree furthest to the right is the name Johan Fisker, to whom Martha Brinck was previously married. The many branches illustrate their descendants.
The tray was created and produced in China, specifically in Canton (present-day Guangzhou). It was commissioned by Hans Christian Ølgod, who worked as a supercargo on one of the ships sailing from Denmark to China for the Danish Asiatic Company.1 On the back of the tray is a personal message from Ølgod to the Holmsted family:
Tallying the Family on New Year’s Day in the Year MDCCXXXIX
O Great God of Heaven / And Father of Earth / Protect one and all / So no harm may befall
Those grafted here / Onto these roots and stems / Thus is my heartfelt wish / Hans Christian Ølgod
Made in CANTON in CHINA, New Year’s Day in the Year MDCCXXXX.
After Ølgod’s voyage to China, the tray was given to Frederik Holmsted, who was a significant figure at the time. Holmsted was co-founder and director of the Danish Asiatic Company (1732–1844), which held the Danish monopoly on trade with India and China for much of the eighteenth century.2 The tray is thus a gift from a high-ranking employee to an employer who held a powerful position in Danish business, and with whom Ølgod undoubtedly wished to strengthen his ties.
Another supercargo who had a close relationship with Frederik Holmsted was Christen Lintrup (1703–1772), who married Holmsted’s daughter, Mette Holmsted, in 1742. After Frederik Holmsted’s death, the tray – along with many other items – was passed down to his family.
The family tree can appear somewhat complicated. This is partly due to the design with the many-branched trunks intertwining with each other, and partly because the head of the family, Frederik Holmsted, was married twice: first to Mette Fisker (the tree on the far left), and later to Martha Brinck (the tree to the right of Holmsted). On the tree furthest to the right is the name Johan Fisker, to whom Martha Brinck was previously married. The many branches illustrate their descendants.
The tray was created and produced in China, specifically in Canton (present-day Guangzhou). It was commissioned by Hans Christian Ølgod, who worked as a supercargo on one of the ships sailing from Denmark to China for the Danish Asiatic Company.1 On the back of the tray is a personal message from Ølgod to the Holmsted family:
Tallying the Family on New Year’s Day in the Year MDCCXXXIX
O Great God of Heaven / And Father of Earth / Protect one and all / So no harm may befall
Those grafted here / Onto these roots and stems / Thus is my heartfelt wish / Hans Christian Ølgod
Made in CANTON in CHINA, New Year’s Day in the Year MDCCXXXX.
After Ølgod’s voyage to China, the tray was given to Frederik Holmsted, who was a significant figure at the time. Holmsted was co-founder and director of the Danish Asiatic Company (1732–1844), which held the Danish monopoly on trade with India and China for much of the eighteenth century.2 The tray is thus a gift from a high-ranking employee to an employer who held a powerful position in Danish business, and with whom Ølgod undoubtedly wished to strengthen his ties.
Another supercargo who had a close relationship with Frederik Holmsted was Christen Lintrup (1703–1772), who married Holmsted’s daughter, Mette Holmsted, in 1742. After Frederik Holmsted’s death, the tray – along with many other items – was passed down to his family.
Published in
Published in
V. Winkel & Magnussen (ed.): Kunst i privat Eje, vol. 2, København 1945, p. 259, fig. 7;
André Leth: ”Vekselvirkning Kina-Europa. Nogle nyerhvervelser”, in Det danske Kunstindustrimuseums Virksomhed 1949-1954, København 1956, p. 55;
Jørgen Schou-Christensen: Københavnsk kultur: 1700-tallet: særudstilling 11. marts -1. maj 1966, Københavns Bymuseum, København 1966, cat. 233;
Tove Clemmensen og Mogens B. Mackeprang: Kina og Danmark 1600-1950: Kinafart og Kinamode, København 1980, pp. 160-161 and fig. 97 and 98;
Kjeld von Folsach: Davids Samling gennem 24 år, 1962-1985 = The David Collection: a 24-year period: 1962-1985, København 1985, pp. 38-39.
John Erichsen: Gud, konge, by: Frederiksstaden 250 år, Det danske Kunstindustrimuseum, København 1999, cat. 101, p. 98;
Ole Villumsen Krog (ed.): Skatte fra kejserens Kina: Den Forbudte By og det danske kongehus = Treasures from imperial China, København 2006, p. 192 and cat. 207, pp. 623-624;
Luisa Vinhaus and Jorge Welsh (eds.): China of all colours: painted enamels on copper, London 2015, p. 23 and fig. 24, p. 47;
Benjamin Asmussen: Kinafarerne: mellem kejserens Kina og kongens København, København 2019, p. 129 (M/S Museet for Søfarts årbog; 18);
Karen Døssing: ”Canton-emalje: forrygende eksportsucces”, Antik og auktion, 2011, 14: 2, p. 55;
Maria Antónia Pinto de Matos, Ana Moás, Ching-fei Shih: The RA collection of Chinese enamelled copper: a collector’s vision, London 2021, pp. 18, 21, fig. 12;
André Leth: ”Vekselvirkning Kina-Europa. Nogle nyerhvervelser”, in Det danske Kunstindustrimuseums Virksomhed 1949-1954, København 1956, p. 55;
Jørgen Schou-Christensen: Københavnsk kultur: 1700-tallet: særudstilling 11. marts -1. maj 1966, Københavns Bymuseum, København 1966, cat. 233;
Tove Clemmensen og Mogens B. Mackeprang: Kina og Danmark 1600-1950: Kinafart og Kinamode, København 1980, pp. 160-161 and fig. 97 and 98;
Kjeld von Folsach: Davids Samling gennem 24 år, 1962-1985 = The David Collection: a 24-year period: 1962-1985, København 1985, pp. 38-39.
John Erichsen: Gud, konge, by: Frederiksstaden 250 år, Det danske Kunstindustrimuseum, København 1999, cat. 101, p. 98;
Ole Villumsen Krog (ed.): Skatte fra kejserens Kina: Den Forbudte By og det danske kongehus = Treasures from imperial China, København 2006, p. 192 and cat. 207, pp. 623-624;
Luisa Vinhaus and Jorge Welsh (eds.): China of all colours: painted enamels on copper, London 2015, p. 23 and fig. 24, p. 47;
Benjamin Asmussen: Kinafarerne: mellem kejserens Kina og kongens København, København 2019, p. 129 (M/S Museet for Søfarts årbog; 18);
Karen Døssing: ”Canton-emalje: forrygende eksportsucces”, Antik og auktion, 2011, 14: 2, p. 55;
Maria Antónia Pinto de Matos, Ana Moás, Ching-fei Shih: The RA collection of Chinese enamelled copper: a collector’s vision, London 2021, pp. 18, 21, fig. 12;
Footnotes
Footnotes
1.
Tove Clemmensen and Mogens B. Mackeprang: Kina og Danmark 1600-1950; Kinafart og Kinamode, Copenhagen 1980, p. 119 / 159.
2.
It has been suggested that the family tree must have been devised by supercargo Hans Christian Ølgod himself. See Ole Villumsen Krog (et al.): Skatte fra kejserens Kina: Den Forbudte By og det danske kongehus, Copenhagen 2006, cat. 222, p. 633.
Chinoiserie
