Yangzhou enamel on glass, goose hunter and boy on buffalo.
Lot 98
An inscribed 'famille-rose' enamelled white glass snuff bottle Yangzhou, 1775–1799
Sold for HK$ 72,000 (US$ 9,289) inc. premium

Lot Details
Yangzhou enamel on glass, goose hunter and boy on buffalo. Yangzhou enamel on glass, goose hunter and boy on buffalo. Yangzhou enamel on glass, goose hunter and boy on buffalo. Yangzhou enamel on glass, goose hunter and boy on buffalo. Yangzhou enamel on glass, goose hunter and boy on buffalo. Yangzhou enamel on glass, goose hunter and boy on buffalo.
An inscribed 'famille-rose' enamelled white glass snuff bottle
Yangzhou, 1775–1799
5.26cm high.

Footnotes

  • Treasury 6, no. 1143


    白玻璃粉彩人物風景底款鼻煙壺
    推定為揚州作,1775~1799


    Yangzhou Identification

    Famille rose enamels on translucent white glass; with a flat lip and protruding concave foot; painted on one main side with a mountainous landscape scene in which an equestrian hunter, a whip in one hand and a bow in the other, looks back over his shoulder at a goose he has just shot, an attendant behind him standing with arms outstretched, ready to catch the falling bird, and on the other main side with two boys on water buffalos wading in shallow water near a willow tree, with two swallows flying above, and with distant, wispy clouds; the foot inscribed in faint, iron-red seal script Yangzhen qingshou (Nurture one's true nature, celebrate a long life)
    Yangzhou, 1775–1799
    Height: 5.26 cm
    Mouth/lip: 0.54/1.15 cm
    Stopper: glass; silver collar
    Condition: slight rounding of the outer edge of the footrim may be either original or the result of minor chips being subsequently removed; very minor surface wear due to use, visible only under magnification. General relative condition: almost studio condition

    Provenance:
    Hong Kong Auctioneers & Estate Agency, 27 September 1991, lot 291
    Hugh Moss (HK) Ltd. (1993)

    Published:
    Treasury 6, no. 1143

    Commentary:
    This intriguing bottle is related stylistically to a recently discovered bottle that is inscribed as having been made at Yangzhou (Hugh Moss Records). The subjects here constitute an interesting combination of two stock subjects, shooting a bird from horseback and bathing water buffalo, that appear in a number of paintings and snuff bottles from the hands of artists known to have worked in the Yangzhou–Suzhou–Shanghai–Hangzhou area. For the hunting scene, there is a fairly well documented trio of paintings, with the first being the likely ancestor of the second two paintings as well as the painting on this bottle:

    1755
    Hua Yan (1682–1756)
    Hangzhou, to which the artist moved in 1752 from Yangzhou
    Lawrence 1993, p. 11, fig. 31; Chou Ju-hsi 1992, p. 347, n. 348, cites 'a version of Hua Yan's original treatment', with a more descriptive title, in Christie's, New York, 2 June 1988, lot 90; lot 91 is 'a rendition of the same theme' by Yangzhou native and resident Wang Su (1794–1877).

    1887
    Ren Yi (1840–1895)
    Probably Shanghai, where he lived from 1868 until his death
    Tan Tsze Chor 1953, p. 22, pl. 13

    1890
    Ni Tian (1853 or 1855–1919)
    Suzhou or Shanghai
    Chou Ju-hsi 1992, p. 205.

    Both Ren Yi and Ni Tian announce in inscriptions on their paintings that they are following Hua Yan, although Ren Yi does a mirror image of the original, placing the horseman on the right and the footman on the left. Interestingly, Renyi states that the bird is a pheasant, and indeed it seems appropriately closer to the ground; in all other versions, our bottle included, the bird is flying much higher in the sky. Ni Tian's inscribed quatrain speaks of a wild goose fallen on the sand (though the bird in the painting has not yet been brought down); and Hua Yan's poem (in Lawrence's translation; the inscription is too small in the illustration to read directly) makes it a hawk shot from among the clouds.
    If one has a chance to inspect these paintings, it seems clear that the artist who decorated this bottle modelled it after the 1755 Hua Yan painting, his primary innovation being the addition of background mountains; where Hua Yan's vertical scroll format allowed him to suggest distance and height by leaving the middle of the composition blank, the snuff-bottle format forced the artist to use landscape elements to suggest the same spatial scale. Ni Tian was to do the same in his painting, which was an album leaf.
    Now, does any of this point to a Yangzhou origin for the bottle? No, but it does not disprove such an origin, either. Hua Yan's painting didn't have to stay in Hangzhou just because it was painted there; after all, it was surely not in Hangzhou that Ni Tian saw it 135 years later. It is harder to tell whether Ren Yi saw Hua's painting or was guided by a description by someone who had; did he depart in so many ways from his model because he had not seen it personally, or was it because he was also working in a vertical scroll format and to follow Hua Yan closely would be simple copying, artistically uninteresting? But it is important to remember that communication between Yangzhou and these other cities was relatively easy and constant. For a painting by Hua Yan to go back a friend or client in Yangzhou, where he had lived for two decades, would seem perfectly reasonable, and it could have happened immediately or sometime in the date range we feel is reasonable for this bottle. Just as reasonably, its owner at the time of the Taiping troubles would have looked for a way to get it to the safety of Shanghai, after which time it either remained there or circulated in the vicinity (including Suzhou).
    .
    For another painting on glass of similar quality, although of different subjects, see Sotheby's, London, 21 June 1995, lot 21, where lots 22 and 23 are also from the same general tradition.


    確認揚州琺瑯彩的線索

    半透明白玻璃施琺瑯彩;平唇、突出凹足;一正面繪射雁圖,一人騎白馬看落雁,一人在地上准備接雁,另一正面繪二童浴牛,纖細雲下有二隻燕子飛翔,足繪淡薄鐵紅"養真慶壽"無框四字篆款

    推定為揚州作,1775~1799
    高:5.26 厘米
    口經/唇經:0.54/1.15厘米
    蓋:玻璃, 銀座
    狀態:足緣稍微有所圓化,或是原狀或是缺口修理處,因累年觸摸而呈現的擦痕極細是肉眼看不見的;般相對的狀態:將近出齋狀態

    來源:
    香港拍賣行及地產代理有限公司,1991年9 月27日,拍賣品號291
    Hugh Moss (HK), Ltd (1993)
    文獻﹕
    Treasury 6, 編號1143

    說明:
    看本壺的繪畫,可推定是揚州作的。最近發現了有揚州款的同一類鼻煙壺(據莫士撝未付梓知見錄),為佐證。再說,本壺射雁圖是模擬畫家華嵒(1682 年~1756 年)的。華嵒1732年~1752年居揚州,他的射雁圖是1755年畫的,那時他已經住杭州。但從下列有關華畫與兩幅十九世紀晚期的模擬品,我們能瞭解到,那幅畫一定是轉流江南的。

    1755
    華嵒(1682 ~1756 )
    杭州(華嵒1752年自揚州移居杭州)
    Lawrence 1993, 頁11,圖31。今為舊金山Asian Art Museum董唐文英珍藏 (Leslie Tang Schilling Collection)所收藏。Chou Ju-hsi(周汝式)1992, 頁347,注348說,佳士德,紐約,1988年6 月2日,拍賣品號90是"華嵒本題材的處理",題譯為《秋原射雁》;同拍賣會拍賣品號91是揚州人王素(1794 ~1877 )"同題材"的一幅畫。未見。

    1887
    任頤(1840 ~1895 )
    大約上海;任伯年自1868到去世時居上海
    Tan Tsze Chor (陳之初) 1953, 頁22, 插圖13

    1890
    倪田(1853/5 ~1919 )
    蘇州或上海
    Chou Ju-hsi(周汝式)1992, 頁205

    任頤畫自題《射雉圖》,果然所畫受了致命傷的落鳥不像高飛的雁。 而且與華嵒原畫相比,獵人在右邊,僕人在左邊,馬站著回頭朝觀者看,僕人背著觀者望落雉,都與原畫相反。不知道任頤是根據別人的描述而"師"華嵒的,還是親眼看了原畫以後就故意地違背了他的布局,表達師而不泥的精神。

    倪田畫上題的絕句說"雁落平沙",但華嵒畫的是甚麼鳥不清楚。據Lawrence氏,畫題是《獵人》,題畫詩提到的鳥是hawk,鷹;照相小,字不能辨認,我們沒看原本,既無法確定亦無法否定題畫詩說的是鷹。但我們可以推測,詩中的鳥不是鷹肯定是一種猛禽。各種猛禽的漢名的英文翻譯常常不準確,但是雁和猛禽大概不會混亂,誤譯"雁"成hawk的可能性極小。至於本壺所畫的鳥,當然很小,但比較像雁。

    但儘管本壺的射雁圖和倪田的射雁圖,跟華嵒的獵人圖相比有所不同,在基本的布局上它們都是一致的。兩個藝術家毫無疑問,都是模仿華嵒的。兩個後來者在背景加山嶺顯然是為了造成深遠高曠的印象,因為他們的篇幅不像華嵒原畫的條幅方式,不能留中間的空白以達成同樣的效果。如果任頤是故意給華嵒"翻案",那麼,他大概也是親眼看過原畫的。問題就是﹕是何處何時模仿的?看上列的表格,好像不可能是揚州,但其實不能輕率決定。華嵒的這幅畫在杭州脫手之後,它早晚會回到揚州。華嵒僑居揚州有二十年之長,揚州一定會有為數不少的朋友們、資助者還在。本壺畫飾者很可能是在揚州那兒看的這幅畫。而可以想象,後來,在太平軍攻取揚州之前,畫主一定會想辦法把他的財物送到比較安定的上海一帶。要麼是蘇州,要麼是上海,倪田都會有機會模仿這幅畫,至於任頤,上海的可能性大點,但人和物在江南交通比較方便的地區移動都很容易,當時有避難、有交往、有會聚分散,畫家和繪畫的流動不可一一求索。

    蘇富比,倫敦,1995年6 月21日,拍賣品號21是可以相比的半透明白玻璃施琺瑯彩煙壺,22、23品號也是同一個傳統。
Auction information

This sale is now finished. If you are interested in consigning in future sales, please contact the specialist department. If you have queries about lots purchased in this sale, please contact customer services.

Buyers' Obligations

ALL BIDDERS MUST AGREE THAT THEY HAVE READ AND UNDERSTOOD BONHAMS' CONDITIONS OF SALE AND AGREE TO BE BOUND BY THEM, AND AGREE TO PAY THE BUYER'S PREMIUM AND ANY OTHER CHARGES MENTIONED IN THE NOTICE TO BIDDERS. THIS AFFECTS THE BIDDERS LEGAL RIGHTS.

If you have any complaints or questions about the Conditions of Sale, please contact your nearest customer services team.

Buyers' Premium and Charges

For all Sales categories excluding Wine:

Buyer's Premium Rates
25% on the first HKD800,000 of the Hammer Price
20% from HKD800,001 to HKD1,000,000 of the Hammer Price
12% on the excess over HKD1,000,000 of the Hammer Price.

Shipping Notices

For information and estimates on domestic and international shipping as well as export licences please contact Bonhams Shipping Department.

Similar Items