Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark.
Lot 114
A Guangzhou enamel double-gourd snuff bottle Imperial, 1723–1735, Yongzheng black-enamel mark and of the period
Sold for HK$ 600,000 (US$ 77,345) inc. premium

Lot Details
Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark. Black ground Guangzhou enamel on metal double gourd.  Yongzheng mark.
A Guangzhou enamel double-gourd snuff bottle
Imperial, 1723–1735, Yongzheng black-enamel mark and of the period
5.6cm high.

Footnotes

  • Treasury 6, no. 1131


    銅胎琺瑯細腰葫蘆鼻煙壺
    御製品,廣州,黑琺瑯書雍正年款,1723~1735


    Birthday Gourd

    Famille rose enamels on copper, with gold; in the form of a compressed double gourd with a flat lip; painted with the continuous design of a sash decorated with a formalized floral design and tied in a bow to enclose severed branches of tree peony, magnolia, rose, camellia, and an openwork, eternal-knot symbol with a model of a dragon-carp hanging from a chain attached to it; the foot painted with a leafy peach branch bearing two fruits, inscribed on the peaches in black enamel regular script Yongzheng nian zhi (Made during the Yongzheng period); the neck encircled by a band of continuous leiwen (thunder pattern); the interior covered by white enamel, the interior of the neck fitted with an additional metal lining below the lip; all exposed metal with traces of original gilding
    Imperial, Guangzhou, 1723–1735
    Height: 5.6 cm
    Mouth/lip: 0.71/1.10 cm
    Stopper: gilt bronze, chased with a formalized floral design
    Condition: area of restoration around the neck beneath the metal lip extending about 1.1 cm horizontally, and 0.35 cm downwards from the lip at the maximum extent; incomplete restoration at the base with part of the original reign mark missing (part of the zheng and all of the zhi characters missing)—the entire area of restoration about 2.1 x 1.5 cm at the greatest extent; small restored chip (0.45 x 0.25 cm) on one narrow side of the lower bulb of the gourd; surface scratching and abrasions from use, visible with the naked eye but none overly obtrusive; gilding mostly worn off from lip and inner neck. General relative condition: fair for an early Guangzhou enamel

    Provenance:
    Hugh M. Moss, Ltd (1970)
    Margaret Prescott Wise
    Edgar and Roberta Wise (1995)
    Robert Kleiner (1996)

    Published:
    Newsletter, Chinese Snuff Bottle Society of America, Inc., June 1972, p. 7, lower front-left
    Snuff Bottles of the Ch'ing Dynasty 1978, no. 6
    JICSBS, Spring 1996, p. 35
    Sin, Hui, and Kwong 1996, no. 234
    Arts of Asia, March–April 1997, p. 149, no 234
    Treasury 6, no. 1131

    Exhibited:
    Hong Kong Museum of Art, October–December 1978
    The Tsui Museum, Hong Kong, October 1996

    Commentary:
    Technically, this bottle is perfectly controlled, although it has suffered a bit from the passage of time. The painting is also masterly, matching anything produced at the palace workshops under the supervision of court artists, bringing to life with uninhibited, expressive brushwork the superbly composed design. It has the same substantial metal liner for the inner neck as Treasury 6, no. 1130; when thickly gilt, this would have resembled that example, but with the gold mostly worn off it is revealed to be a separate tube of metal soldered to the inner neck.
    As we noted under Treasury 6, no. 1128, the Yongzheng emperor was fond of black grounds on his enamels, and they appear quite frequently during his reign on wares from both Beijing and Guangzhou. In this case, it is easy to see why he favoured it. Not only does it throw the design into prominence, it allows an extra linear dimension that is extremely effective. This can be seen at its clearest around the leaves and stems of the various flowers, where a varying line of white outlines the forms as a counterpoint to the sparse use of black lines. It proves beyond a doubt that the black was not an overall ground upon which the colours were added (which would not have worked in any case, as the standard white ground for painted enamels on metal would have been needed for the paler areas of the flowers and the sash), but a final phase that was painted around the design. Further proof of this is found in one tiny gap between leafy branches where the artist neglected to add the black ground (a 3 mm white line on the main side without the tied bow, in the upper bulb, just above and to the right of the blue inner lining of the sash).

    The design here is a typically imperial one. Sash-tied vessels are a standard decorative motif at the court and occur frequently on gifts. Apart from its longevity symbolism, a fancy sash tied around something denotes its function as a gift. In this case we may assume that the gift was for the emperor's birthday. It was standard for reign marks to be painted on peaches for birthday gifts, particularly during the Yongzheng period. It was also standard for the emperor to be showered with gifts from all over the realm on his birthday; the records relating to tribute from Guangzhou cite many birthday gifts to various emperors. While we may be sure that this was a gift to the Yongzheng emperor from officials in Guangzhou, we can be equally sure that it was not a design produced by court artists for production at Guangzhou. The design here is typical of Guangzhou both in content and style. Although the tied sash may have been a court favourite throughout the eighteenth century, the distinctive addition of dangling symbolic objects (the charming dragon-carp and the openwork knot), often tied by a chain or cord to the sash, is a typically southern embellishment.

    This particular model has given rise to a small group of fakes in recent years (see for instance Sotheby's, New York, 22 March 2001, lot 240, and Hanhai, Beijing, 12 January 2004, lot 2204), but other genuine ones exist. A second bottle from the same series, also with the mark drawn over a fruiting branch, although with a bat added for more good luck, is now in the Denis Low Collection (Kleiner 1999, no. 6; Kleiner 1997, no. 4, and Sotheby's, London, 7 June 1990, lot 295). It is obviously closely related, but each bottle is an independent artistic statement. Despite the similarity of subject and colouring, the two designs are recomposed with different elements, suggesting that, as at court, these early designs were thought out anew for each work of art rather than being repeated from a pattern book. Another enamelled metal bottle from the Qianlong reign and still in the imperial collection is similarly decorated with a dangling dragon-carp (Li Jiufang 2002, no. 153); and another, but with a yellow ground, is in the J & J Collection (Moss, Graham, and Tsang 1993, no. 179). It too has branches tied within the sash. Another with a yellow ground, dated by Tatiana Arapova to the Qianlong period, is in the Hermitage Museum (Arapova 1988, no. 148), with a hanging chime dangling from the sash, and a leaf shaped fan tied within it; and one more Qianlong version is in Hughes 2002, no. 344. There is a Yongzheng marked Guangzhou enamel with dragons in the Denis Low Collection (Low 2007, no. 6)

    The range of symbolism is standard here, particularly for a birthday gift. The gourd shape represents the continuity of the family line because of the seasonal proliferation of fruit growing from a single vine. The China rose (yueji) stands for prosperity throughout the year. The peonies alone represent wealth, but in combination with the magnolia (yulan), evoke the idiomatic expression Yutang fugui (A magnificent mansion blessed with wealth and social distinction). The camellia, as a spring flower, portends vitality. As befits a birthday gift, however, the idea of 'many happy returns', or longevity, is the main burden of the design expressed by the peaches in which the mark is written, the sash (shoudai) representing longevity (shou), the eternal knot, representing a life without end, the formalized floral scroll design on the sash, and the continuous leiwen pattern around the neck. The sash, if read generally as a wrapper (fu), can also mean good fortune (fu). With all that going for him, it is perhaps surprising that the Yongzheng emperor's reign was so short, but he did have a long-lived father and he almost made it to his sixtieth birthday.


    包袱錦葫蘆壺

    銅胎施琺瑯彩與金;細腰扁葫蘆形,突出的平面足;繪包裹牡丹花、木蘭花、薔薇花、山茶花、盤長的包袱,包袱又以鏈條懸掛魚龍變化墜;底繪結二桃子的桃枝,桃果上黑琺瑯書 "雍正年製" 四字楷款,頸部繪雷紋一道,器內施白色琺瑯彩,頸內唇下裝有金屬砌襯;所有露胎處殘留描金痕跡

    御製品,廣州,1723~1735
    高:5.6 厘米
    口經/唇經:0.71/1.10 厘米
    蓋:描金青銅,雕鏤形式化花朵
    狀態敘述:頸部金屬唇下有修復處,約1.1厘米寬,最多0.35厘米長;底有未完成的修復痕,"正"字殘,"製"字失蹤;一側面下方有修復好的缺口,0.45 x 0.25厘米;因累年觸摸而呈現一般性的磨損與擦痕,肉眼看得見而不太引人注目;唇與頸內描金幾乎擦掉了;一般相對的狀態:就早期的廣州製品來講,尚可

    來源:
    Hugh M. Moss, Ltd (1970)
    Margaret Prescott Wise
    Edgar and Roberta Wise (1995)
    Robert Kleiner (1996)
    文獻:
    《通訊》, Chinese Snuff Bottle Society of America, Inc., 1972年6月,頁7,下左
    Snuff Bottles of the Ch'ing Dynasty 1978, 編號6
    《國際中國鼻煙壺協會的學術期刊》Journal of the International Chinese Snuff Bottle Society, 1996年春期,頁35
    冼祖謙、許建勳、鄺溥銘 1996, 編號234
    Arts of Asia 1997年3月~4月,頁149,編號234
    Treasury 6, 編號1131
    展覽﹕
    香港藝術館,1978年10 月~12月
    徐氏藝術館,香港,1996年10 月

    說明:
    本壺熟練的繪畫跟宮廷作坊的作品比,毫不遜色。雍正皇帝偏愛黑地琺瑯彩圖象,看這件煙壺就能明其所以然。黑地襯托包袱與花朵鮮豔的顏色,而在輪廓沿有時可看到細白線條使圖象更活躍。這些很纖細的留白顯明,黑彩是最後塗上的,後正面(以結包袱面為前正面)包袱上小枝岔開處也有忘了塗黑的地方。

    雖然包袱紋是宮廷製品的一個規範裝飾,本壺肯定不是宮廷作坊的製品,也不是廣州作坊奉旨而製的,是廣州特殊的設計。從包袱耷拉如意吉祥結、魚龍墜等物,乃為廣州典型的裝飾。

    這種鼻煙壺近來引發了許多贗品, 如蘇富比,紐約,2001年3 月22日拍賣品號240、翰海,北京,2004年1月12日,拍賣品號2204。但地道的也有。關聯的一件為Denis Low 珍藏所收(Kleiner 1999, 編號6;Kleiner 1997,編號4;蘇富比,倫敦,1990年6月7 日編號295),底款也書在結果的斷枝上,只加一隻蝙蝠。不過,類似的設計是由不同的成分構成的,這表明地方的設計人跟朝廷的一樣,企劃一件煙壺要從零開始,也是說,官民早期的花紋切忌再使用舊的稿本。可參照的有﹕李久芳2002,編號153;Moss, Graham, and Tsang 1993, 編號179;Arapova 1988, 編號148;Hughes 2002;編號344;Low 2007, 編號6。
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