A 'famille-rose'  porcelain moulded and enamelled 'double-gourd' snuff bottle Imperial kilns, Jingdezhen, Qianlong seal mark and of the period, 1736–1760
Lot 121
A 'famille-rose' porcelain moulded and enamelled 'double-gourd' snuff bottle Imperial kilns, Jingdezhen, Qianlong seal mark and of the period, 1736–1760
Sold for HK$ 8,384,000 (US$ 1,081,290) inc. premium

Lot Details
A 'famille-rose'  porcelain moulded and enamelled 'double-gourd' snuff bottle Imperial kilns, Jingdezhen, Qianlong seal mark and of the period, 1736–1760 A 'famille-rose'  porcelain moulded and enamelled 'double-gourd' snuff bottle Imperial kilns, Jingdezhen, Qianlong seal mark and of the period, 1736–1760 A 'famille-rose'  porcelain moulded and enamelled 'double-gourd' snuff bottle Imperial kilns, Jingdezhen, Qianlong seal mark and of the period, 1736–1760 A 'famille-rose'  porcelain moulded and enamelled 'double-gourd' snuff bottle Imperial kilns, Jingdezhen, Qianlong seal mark and of the period, 1736–1760 A 'famille-rose'  porcelain moulded and enamelled 'double-gourd' snuff bottle Imperial kilns, Jingdezhen, Qianlong seal mark and of the period, 1736–1760
A 'famille-rose' porcelain moulded and enamelled 'double-gourd' snuff bottle
Imperial kilns, Jingdezhen, Qianlong seal mark and of the period, 1736–1760
5.12cm high.

Footnotes

  • Treasury 6, no. 1151

    瓷胎畫琺瑯葫蘆形鼻煙壺
    景德鎮官窯,黑書「乾隆年製」篆款,1736-1760

    Imperial Sons

    Famille rose enamels on colourless glaze on porcelain; with a flat lip and slightly concave foot; moulded in the form of a double gourd with two loop handles, the surface with a moulded and painted design of a fruiting, leafy, gourd-vine on a pale orange-beige ground with a dense formalized scrolling floral design in gold; the lip and interior of the neck also gold; the interior covered with colourless glaze; the foot painted in black seal script Qianlong nian zhi ('Made during the Qianlong period')
    Imperial kilns, Jingdezhen, 1736–1760
    Height: 5.12 cm
    Mouth/lip: 0.61/1.08 cm
    Stopper: gilt bronze chased with a formalized floral design

    Condition: very minor natural pitting of some enamels used as part of the design on the gourds, where the pits have been edged in some places with dabs of red enamel to look like variations in the rind of the fruit; not at all obtrusive, even where not used; otherwise, in extraordinary, kiln condition and apparently barely, if ever, used.

    Provenance:
    J & J Collection
    Eric Young
    Sotheby's, London, 3 March 1987, lot 64, (front cover illustration)

    Published:
    Arts of Asia, July–August 1987, p. 118
    JICSBS, Summer 1987, p. 22
    Art at Auction, 1986–1987, p. 380
    Kleiner 1987, no. 220
    Kleine Schätze aus China, p. 9
    Kleiner, Yang, and Shangraw 1994, no. 139
    Kleiner 1995, no. 191
    Moss 2009, p. 12, fig. 15
    Treasury 6, no. 1151

    Exhibited:
    Sydney L. Moss Ltd, London, October 1987
    Creditanstalt, Vienna, May–June 1993
    Hong Kong Museum of Art, March–June 1994
    National Museum of Singapore, November 1994–February 1995
    British Museum, London, June–October 1995
    Israel Museum, Jerusalem, July–November 1997

    Commentary:
    This is one of a well-known group of almost identical bottles, presumably made as one or more sets in series. Others are in the J & J Collection, Moss, Graham, and Tsang 1993, no. 231 (the duplication prompted the disposal of the present bottle some years ago); Lady David 1973, no. 836; JICSBS, Summer 1988, inside cover; Geng and Zhao, no. 122 (also appearing in China Guardian, Beijing, 1 June 1967, lot 1173, and again in Hanhai, Beijing, 5 July 1999, lot 1603); Li Jiufang 2002, no. 311 (which is also in Zhu and Xia 1988, plate 51; from the imperial collection), and Christie's, New York, 2 December 1993, lot 466 (also in Lam 2003, p. 13, fig. 15; from the Denis Low Collection).

    This bottle is moulded in two parts that are joined vertically, the joint visible on the inside but not on the outside. It shares with the Tang Ying bottles the thinness and delicacy of the porcelain body; it has a similar seal mark in black enamel and a very similar tiny floral scroll in gold on a coloured ground. The quality is also exceptional, both in the painting of the design and the firing of the enamels. We are probably safe in assuming that it was made during the earlier part of the reign, perhaps as early as the 1740s. It is not at all out of place among the high-quality wares made under the supervision of Tang Ying, and now that we have proof of high-quality early-Qianlong porcelain snuff-bottle production at Jingdezhen, there is no reason to believe that this was not part of it.

    All of the early-Qianlong bottles made at Jingdezhen under the supervision of Tang Ying or benefiting from the high level of artistic and technical quality he brought to the kilns are masterly; this is no exception. Apart from the thinness of the body and the delicate formal balance between the upper and lower bulbs of the form, the composition is extremely well thought out. The painting is exquisite, just as it was on the J & J bottle, where we noted the elegance of the brushwork, particularly in the painting of the leaves with their well-controlled, beautifully modulated black lines on green enamel.

    It may be fruitful to link this small series of early-Qianlong masterpieces to a certain order from the emperor in 1758 (twelfth month) for 'nine gourd-shaped snuff bottles' to be made at Jingdezhen based upon one of three samples sent down from the court. The samples in the imperial order are described as yangci ('foreign porcelain'); despite the ambiguity as to the precise meaning of this term in the mid-eighteenth century, it seems likely that the three samples sent down to Jingdezhen were porcelain rather than enamelled metal. From this order, we can therefore posit the existence of two series of such bottles, the later series known to have been limited to nine pieces; if the two series constituted the total production, half a dozen is a plausible number to have survived. Linking the surviving bottles to the 1758 order also explains why the relief gourds appear to be in different positions on some bottles: each series was made with its own mould, resulting in minor changes to the positioning of the relief elements.

    乾隆葫蘆畫琺瑯

    瓷胎無色釉上的畫琺瑯;平唇,微凹底,模印細腰葫蘆,二環保耳;器身滿畫與模印纏枝藤蔓與葫蘆,在灰菊黃赽畫金彩連續勾卷紋;唇內頸內也是金,腹內壁施無色釉;底黑書 "乾隆年製"篆款
    景德鎮官窯, 1736~1760 年
    高:5.12 厘米
    口經/唇經:0.61/1.08 厘米
    蓋:鎏金青銅,鏤刻形式化的花朵

    狀態敘述:
    畫葫蘆的琺瑯某些地方呈自然而然的點狀缺陷,缺陷處有所塗紅琺瑯以模擬葫蘆皮顏色的變化,並不引人注目。此外,例外的出窯狀態,好像幾乎沒有人使用過

    來源:
    J&J珍藏
    Eric Young
    蘇富比,倫敦,1987年3 月3日, 拍賣品號64, (封面)

    文獻:
    Arts of Asia, 1987年7月~8月, 頁 118
    《國際中國鼻煙壺協會的學術期刊》(JICSBS),1987年夏期,頁 22
    Art at Auction, 1986~1987, 頁 380
    Kleiner 1987, 編號220
    Kleine Schätze aus China, 頁 9
    Kleiner, Yang, and Shangraw 1994, 編號139
    Kleiner 1995, 編號191
    Moss 2009, 頁 12, 圖 15
    Treasury 6, 編號1151

    展覽:
    Sydney L. Moss Ltd, 倫敦, 1987年10月
    Creditanstalt, 維也納, 1993年5月~6月
    香港藝術館,1994年3 月~6月
    National Museum of Singapore, 1994年11月~1995年2月
    大英博物館, 倫敦, 1995年6月~10月
    Israel Museum, 耶路撒冷, 1997年7月~11月

    說明:
    其他例子和詳細論述,請參閱本壺的英文說明。
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