A moulded 'famille-rose' porcelain 'boy and double gourd' snuff bottle Jingdezhen, Qianlong iron-red six-character seal mark, 1870-1930
Lot 128
A moulded 'famille-rose' porcelain 'boy and double gourd' snuff bottle Jingdezhen, Qianlong iron-red six-character seal mark, 1870-1930
Sold for HK$ 68,750 (US$ 8,867) inc. premium
Auction Details
A moulded 'famille-rose' porcelain 'boy and double gourd' snuff bottle Jingdezhen, Qianlong iron-red six-character seal mark, 1870-1930 A moulded 'famille-rose' porcelain 'boy and double gourd' snuff bottle Jingdezhen, Qianlong iron-red six-character seal mark, 1870-1930 A moulded 'famille-rose' porcelain 'boy and double gourd' snuff bottle Jingdezhen, Qianlong iron-red six-character seal mark, 1870-1930 A moulded 'famille-rose' porcelain 'boy and double gourd' snuff bottle Jingdezhen, Qianlong iron-red six-character seal mark, 1870-1930 A moulded 'famille-rose' porcelain 'boy and double gourd' snuff bottle Jingdezhen, Qianlong iron-red six-character seal mark, 1870-1930
Lot Details
A moulded 'famille-rose' porcelain 'boy and double gourd' snuff bottle
Jingdezhen, Qianlong iron-red six-character seal mark, 1870-1930
4.29cm high.

Footnotes

  • Treasury 6, no. 1435

    瓷胎模製粉彩童子抱葫蘆鼻煙壺
    景德鎮,礬紅「大清乾隆年製」篆款,1870~1930

    A moulded 'famille-rose' porcelain 'boy and double gourd' snuff bottle

    Famille-rose enamels on colourless glaze on porcelain; moulded and painted in the form of a squatting boy, his mouth open, his arms and legs clutching a double gourd that is about as large as he is and decorated with formalized, scrolling flowers, including an Indian lotus; the base of the gourd inscribed in seal script, Da Qing Qianlong nian zhi ('Made during the Qianlong period of the Great Qing dynasty'); the lip painted with gold enamel; the interior unglazed
    Jingdezhen, 1870–1930
    Height: 4.29 cm
    Mouth/lip: 0.31/0.65 cm
    Stopper: green enamel on colourless glaze on porcelain, carved as the stalk of the gourd; original

    Condition: gliding slightly worn on lip; small chip to the tip of the child's nose and circular glaze bubble to his hand; some other minute dimples present from the firing process; otherwise, kiln condition

    Provenance:
    Belfort Collection

    Published:
    Très précieuses tabatières chinoises, p. 23, no. 36
    Kleiner, Yang, and Shangraw 1994, no. 159
    JICSBS, Winter 1998, front cover
    Treasury 6, no. 1435

    Exhibited:
    L'Arcade Chaumet, Paris, June 4 1982
    Hong Kong Museum of Art, March–June 1994
    National Museum of Singapore, November 1994–February 1995

    This is the second example of a boy clutching a gourd in the collection (see also Treasury 6, no. 1196, where many published versions are cited). We are not entirely certain what to make of them. The drawing of the reign mark here, and on another of the group where its mark has been illustrated, is suspicious. On genuine wares, the first character, da ('great'), is formalized as a horizontal line from which drop four vertical lines of the same length, spaced equidistant from each other. Here, the two inner lines have a wider gap between them, and they are joined together at the point where they meet the upper horizontal line. This is a feature typical of some known late-Qing and Republican fakes. The enamels are of good quality, but they are not convincing for the late Qianlong period. Another feature of the group as a whole is that the faces of the boys are distinctly coloured with a wash of fairly obvious iron-red enamel to simulate flesh. Some are far more strongly coloured than this example, though the known early models of boys around vases tend to be either white faced or have only a very slight wash of colour.

    Perhaps what is most worrying about them, however, is the consistent lack of wear. Many of the boys have gold designs on iron-red jackets; both are very weak enamels and should show more signs of abrasion. Even the very thin colouring on the prominent heads and faces remains intact. On top of their anomalously good condition, there is the fact that so many of the gourd-hugging boys appear to come from the same mould. With an early series, we see constantly repeated models and designs from a number of different moulds, sometimes of different sizes, suggesting that larger quantities were made, which required the regular replacement of worn-out moulds with identical or not-so-identical copies. As genuine early bottles fall prey to breakage and loss, the small group of survivors will tend to reflect the differences inherent in the various moulds from which the whole series was made. The uniformity of the gourd-huggers suggests that they were made from a single mould whose progeny survive in relatively high numbers. That betrays their comparative newness and indicates a late-Qing or Republican production date.

    Whenever most of these bottles were made, the quality is consistently high, with excellent modelling and enamelling, and they are delightful little ceramic sculptures in their own right.



    瓷胎模製粉彩童子抱葫蘆鼻煙壺

    瓷胎無色釉上粉彩琺瑯; 模製畫童子抱著大葫蘆,葫蘆畫番蓮與捲草紋,底書"大清乾隆年製" 篆款;唇塗金琺瑯彩,內壁不施釉
    景德鎮,1870–1930
    高﹕ 4.29 厘米
    口經/唇經: 0.31/0.65 厘米
    蓋:瓷胎無色釉上綠琺瑯,雕葫蘆柄;原件

    狀態敘述:唇上金彩稍微損耗;童子鼻子有微小的缺口,他手上釉中有圓形氣泡;煆燒結果有一些細小凹;此外,出窯狀態

    來源﹕
    Belfort 珍藏

    文獻﹕
    Très précieuses tabatières chinoises, 頁 23, 編號36
    Kleiner, Yang, and Shangraw 1994, 編號159
    《國際中國鼻煙壺協會的學術期刊》, 1998年冬期,封面
    Treasury 6, 編號1435

    展覽﹕
    L'Arcade Chaumet, Paris, June 4 1982
    香港藝術館,1994年3月~6月
    National Museum of Singapore, November 1994–February 1995

    說明﹕
    抱葫蘆童子其他例子,請參閱 Treasury 6, 編號1196。考慮年款的細節、琺瑯彩的性質、損耗的缺乏等等,我們想這一品種可能是清末民國初燒製的。但無論如何,它們的品質一律很高,要就事論事,是賞心悅目的小玩意兒。

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    Bonhams
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    Specialist - Chinese Paintings
    Bonhams
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