After a European glass model, of a double-bodied form, the body with two twisted spouts and moulded spiralling bands and a lobed, splayed foot, painted in underglaze blue with continuous flower sprays running up the moulded bands, each spout with a narrow band of triangle-work around the rim of the mouths, a small band of stylised wave pattern around the foot, the recessed base glazed and painted in the centre with a small Artemisia leaf.
Period: ca 1700, Kangxi 1662-1722
For an almost identical cruet see Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam: The Ming and Qing Dynasties, Christiaan J.A. Jorg in collaboration with Jan van Campen, published Philip Wilson in association with the Rijksmuseum, Amsterdam, page 256 plate 293, where Jorg discusses; The cruet was made after a European glass model, in all probability for the Dutch market. The cruet has a vertical partition inside and would have contained oil and vinegar for use at the table. A similar example from the Dresden collection is illustrated by Pietsch.
Also see for another very similar cruet, in the Princessehof Museum, Leeuwarden, D. F. Lunsingh Scheurleer, Chinese Export Porcelain: Chine de Commande, London, 1974, pl 124, p. 216. Another study example illustrated in L'Odyssee de la Porcelaine Chinoise, Collections du Musee National de Ceramique, Sevres et du Musee National Adrien Dubouche, Limoges, Editions de la Reunion des musees nationaux, Paris 2003, pl. 76, p. 139, with metal stoppers, discusses the glass models the shape has been based on as notably being made in Lorraine, France, during the 17th and 18th Century but due to their fragility being replaced by porcelain examples and how later porcelain models of this shape were being reproduced around 1725-1730 by Meissen.