Of the same form as RCIN 479, and decorated and mounted in the same manner. The front panel depicting two cranes in a stormy sea by rocks below buildings on a shore, with a pine tree by a hut to the right, and mountains beyond. The back panel, also decorated, with a very similar design; at the ends, concave panels painted with trees and rocks, which are European additions. The interior (except the concave end-panels) decorated with nashiji. Around the top rim, a gilt-metal leaf-cast pattern enclosing a pounced and burnished border, with a shaped ring-handle at each end; framing each end-panel, a pair of reeded uprights, and the plinth around the base of a conforming foliate-cast pattern, on elongated, reeded, elliptical feet headed by foliage. Set in a plate of black tôle peinte, with foliate-shaped piercings within the top, three sprays of pink peonies in Meissen porcelain. The oval, gilded, wood base covered with red velvet, and fitted with a glass dome.

The fashion for Vincennes porcelain flowers reached its peak in the late 1740s and early 1750s. Both Madamme de Pompadour, Louis XV's mistress, and Queen Marie Lesynska, his wife, owned elaborate arrangements of Vincennes bouquets. The bouquets were admired for their naturalism and it has been suggested that at times there were mixed with live flowers. These Vincennes flower bouquets were highly successful and soon other major porcelain factories of the period began to make their own copies in a similar style.

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume III.