An inscribed bluish emerald-green porcelain 'crossing the river' snuff bottle  Xinquan (probably Chen Guozhi), Jingdezhen, Daoguang incised six-character seal mark and of the period, dated 1821
Lot 136
An inscribed bluish emerald-green porcelain 'crossing the river' snuff bottle Xinquan (probably Chen Guozhi), Jingdezhen, Daoguang incised six-character seal mark and of the period, dated 1821
Sold for HK$ 350,000 (US$ 45,124) inc. premium

Lot Details
An inscribed bluish emerald-green porcelain 'crossing the river' snuff bottle  Xinquan (probably Chen Guozhi), Jingdezhen, Daoguang incised six-character seal mark and of the period, dated 1821 An inscribed bluish emerald-green porcelain 'crossing the river' snuff bottle  Xinquan (probably Chen Guozhi), Jingdezhen, Daoguang incised six-character seal mark and of the period, dated 1821 An inscribed bluish emerald-green porcelain 'crossing the river' snuff bottle  Xinquan (probably Chen Guozhi), Jingdezhen, Daoguang incised six-character seal mark and of the period, dated 1821 An inscribed bluish emerald-green porcelain 'crossing the river' snuff bottle  Xinquan (probably Chen Guozhi), Jingdezhen, Daoguang incised six-character seal mark and of the period, dated 1821 An inscribed bluish emerald-green porcelain 'crossing the river' snuff bottle  Xinquan (probably Chen Guozhi), Jingdezhen, Daoguang incised six-character seal mark and of the period, dated 1821
An inscribed bluish emerald-green porcelain 'crossing the river' snuff bottle
Xinquan (probably Chen Guozhi), Jingdezhen, Daoguang incised six-character seal mark and of the period, dated 1821
6.05cm high.

Footnotes

  • Treasury 6, no. 1352

    瓷胎模製綠釉渡江圖鼻煙壺
    心泉(擬陳國治),景德鎮,刻「大清道光年製」篆款,1821年製

    An inscribed bluish emerald-green porcelain 'crossing the river' snuff bottle

    Variegated bluish emerald-green and colourless glazes on porcelain; with a flat lip and recessed flat foot surrounded by a protruding, flattened footrim; carved with a waterside mountainous landscape scene wrapped around one main and two narrow sides and partially onto the other main side, with three scholars standing beneath a willow, one holding a folding fan, their young servant standing nearby between the two picnic boxes he has been carrying on a shoulder pole as a boat with railings along the sides and a roof overhead in the middle section is sculled in from the right by a boatman as a fourth scholar sits in the prow fishing, inscribed on the other main side in relief running script, 'Made in the late spring month in the xinsi year while sojourning at Zhushan in Xinping, by Mr Xinquan', followed by two seals, one in relief seal script, Xinquan, the other in incised seal script, shi zuo (together, 'Made by Mr Xinquan'); the foot inscribed in incised seal script Da Qing Daoguang nian zhi ('Made in the Daoguang period of the Qing dynasty'); the exterior surfaces, except the footrim, all covered in emerald-green glaze, the inner neck and interior with a colourless glaze
    Xinquan (probably Chen Guozhi), Jingdezhen, late spring 1921
    Height: 6.05 cm
    Mouth/lip: 0.58/1.99 cm
    Stopper: coral; gilt-bronze collar

    Condition: small glaze flaw on the neck; a miniscule chip to the ear of one scholar waiting on the bank and a small glaze flaw just below the man fishing from the boat; otherwise, kiln condition

    Provenance:
    Hugh Moss
    J & J Collection
    Christie's, New York, 30 March 2005, lot 61
    Hugh Moss (HK) Ltd. (2005)

    Published:
    Snuff Bottles of the Ch'ing Dynasty, p. 85, no. 115
    JICSBS, Autumn 1989, p. 18, fig. 1
    Moss, Graham, and Tsang 1993, no. 419
    Treasury 6, no. 1352

    Exhibited:
    Hugh M. Moss Ltd., London, September 1974
    Hong Kong Museum of Art, October–December 1978
    Christie's New York, 1993
    Empress Place Museum, Singapore, 1994
    Museum für Kunsthandwerk, Frankfurt, 1996 - 1997
    Percival David Foundation of Chinese Art, London, 1997
    Naples Museum of Art, Florida, 2002
    Portland Museum of Art, Oregon, 2002
    National Museum of History, Taipei, 2002
    International Asian Art Fair, Seventh Regiment Armory, New York, 2003
    Poly Art Museum, Beijing, 2003

    The artist who used the hao Xinquan is discussed under lot 141, an earlier bottle dated to 1819. As we point out there, we believe that this was the early sobriquet of the famous porcelain carver Chen Guozhi.

    This magnificent example is one of his early masterpieces. It is a perfect combination of an elegantly composed subject, superb control of the medium, and a lovely glaze. Here Xinquan has refined his imitation of jadeite so it is less salient in the overall aesthetic equation, allowing the relief detail greater prominence. In lot 141, the eye is at first diverted by the conspicuously dappled and speckled glaze. While this may be more effective in evoking the jadeite that was coming into fashion in the mid-Qing dynasty, the subtler and more even use of variegation here allows the artistic qualities of the porcelain carver to get their well-deserved share of our attention.

    Several points about this particular bottle are revealing. The first and most obvious is that it is one of the earliest and one of the few pieces to bear both a reign mark and the signature of the artist, suggesting that it was made for the court and these individualist potters had gained sufficient prominence as artists in their own right by the 1820s for the court to allow them to sign their works, even on an imperial order. Other wares by the early-nineteenth-century porcelain carvers that are covered with an imperial yellow glaze also seem, because of that colour, to have been made for the court, but they are rarely signed.

    Another point concerns the use of the enamel as an overall glaze. A tiny flake in the surface colouring reveals that the green colour is not superimposed upon an underlying glaze, as we would expect an enamel to be. Nevertheless, enamelling on the biscuit was a common enough practice in Chinese ceramics. Where the green extends very slightly over the colourless glaze of the inner neck, it changes its texture slightly. This tiny overlap suggests that what we are dealing with in the case of many of the monochrome colours used by the individualist potters is enamel used much as a glaze would have been as an overall colouring.

    As intriguing as these two points, however, is the information contained in the relief inscription that the work was done at Jingdezhen (Zhushan being an alternative name for the porcelain metropolis). Given the type of porcelain and range of colours used in this group, this comes as no surprise, but the interesting point is that the artist was 'sojourning' there. This implies that Xinquan was not a native of the area but moved there to produce his works of art. We know Chen Guozhi was not a native of the Jingdezhen area, but came from Anhui province (see Sale 1, lot 81, for details of Chen's life and career), so this may be a further clue that Xinquan and Chen are one and the same.

    When dealing with this bottle in Moss, Graham, and Tsang 1993, we allowed for the remote possibility of another identity for Xinquan. We now believe this is very unlikely. He is far more likely to have been Chen Guozhi under an earlier name.

    瓷胎模製綠釉渡江圖鼻煙壺

    瓷胎上翡翠綠色、無色釉;平唇 ,平斂底,突出弄平的圈足;三面雕山水人物圖;一正面陽刻"時在辛巳季春月,寫於新平珠山客次,心泉氏作",後鈐陽刻"心泉"篆印及陰刻"氏作";底書陰刻"大清道光年製" 篆款;壺表除圈足外施翡翠色釉,內頸、內壁施無色釉
    心泉(擬為陳國治),景德鎮,1821年晚春
    高﹕ 6.05 厘米
    口經/唇經: 0.58/1.99 厘米
    蓋: 珊瑚; 鎏金青銅座

    狀態敘述:頸有釉裏的小瑕疵,水邊待船的一人的耳朵有微乎其微的缺口,釣魚人下邊有釉裏金瑕疵;此外,出窯狀態

    來源﹕
    Hugh Moss
    J & J 珍藏
    紐約佳士得,2005年3月30日,拍賣品號 61
    Hugh Moss (HK) Ltd. (2005)

    文獻﹕
    Snuff Bottles of the Ch'ing Dynasty, 頁 85, 編號115
    《國際中國鼻煙壺協會的學術期刊》, 1989年秋期,頁 18, 圖1
    Moss, Graham, and Tsang 1993, 編號419
    Treasury 6, 編號1352

    展覽﹕
    Hugh M. Moss Ltd., London, September 1974
    香港藝術館,1978年10月~12月
    Christie's New York, 1993
    Empress Place Museum, Singapore, 1994
    Museum für Kunsthandwerk, Frankfurt, 1996 - 1997
    Percival David Foundation of Chinese Art, London, 1997
    Naples Museum of Art, Florida, 2002
    Portland Museum of Art, Oregon, 2002
    National Museum of History, Taipei, 2002
    International Asian Art Fair, Seventh Regiment Armory, New York, 2003
    Poly Art Museum, Beijing, 2003

    說明﹕
    心泉,見本場拍賣會拍賣品號 141。本壺模擬翡翠比那件微妙一點,釉與雕的比重比較平衡量。

    本壺帶年款,好像是給宮廷作的,而給宮廷作的鼻煙壺很少帶雕匠的名字。另外一點是,這是以琺瑯料當釉的一個例子。

    珠山,景德鎮也。因為本壺是在景德鎮的客邸或者招待所刻的,我們可以推定心泉不是景德鎮人。果然,陳國治是安徽人,所以這是心泉就是陳國治的旁證。參閱 第一場拍賣會,拍賣品號 81。


Auction information

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

Contacts
  1. Vincent Wu
    Auction Administration - Chinese Paintings
    Bonhams
    Work
    Suite 2001, One Pacific Place
    Hong Kong
    Work + 852 3607 0016
  2. Meilin Wang
    Specialist - Chinese Paintings
    Bonhams
    Work
    Suite 2001, One Pacific Place
    Hong Kong
    Work +852 2918 4321
    FaxFax: +852 2918 4320
Similar Items