A 'famille-rose' enamelled glass 'literati in landscape' snuff bottle Attributable to the palace workshops, Beijing, 1750–1799
Lot 10
A 'famille-rose' enamelled glass 'literati in landscape' snuff bottle Attributable to the palace workshops, Beijing, 1750–1799
Sold for HK$ 620,000 (US$ 79,865) inc. premium

Lot Details
A 'famille-rose' enamelled glass 'literati in landscape' snuff bottle Attributable to the palace workshops, Beijing, 1750–1799 A 'famille-rose' enamelled glass 'literati in landscape' snuff bottle Attributable to the palace workshops, Beijing, 1750–1799 A 'famille-rose' enamelled glass 'literati in landscape' snuff bottle Attributable to the palace workshops, Beijing, 1750–1799 A 'famille-rose' enamelled glass 'literati in landscape' snuff bottle Attributable to the palace workshops, Beijing, 1750–1799 A 'famille-rose' enamelled glass 'literati in landscape' snuff bottle Attributable to the palace workshops, Beijing, 1750–1799
A 'famille-rose' enamelled glass 'literati in landscape' snuff bottle
Attributable to the palace workshops, Beijing, 1750–1799
7.6cm high.

Footnotes

  • Treasury 6, no. 1086

    玻璃畫琺瑯高士山水圖鼻煙壺
    傳宮廷作坊作,北京,1750~1799

    A 'famille-rose' enamelled glass 'literati in landscape' snuff bottle

    Famille rose enamels on translucent white glass; with a flat lip and protruding flat foot; painted with a continuous riverside, rocky landscape scene in which two scholars, one with a walking staff, are seen in an open terrace built on stilts in the shallows of the river, while a third, also with a walking staff, crosses a plank bridge towards a moored, covered boat at the foreshore
    Attributable to the palace workshops, Beijing, 1750–1799
    Height: 7.6 cm
    Mouth/lip: 0.7/1.32 cm
    Stopper: coral

    Condition: Chip to inside of lip; some minor abrasions from use; otherwise studio condition

    Provenance:
    Hong Kong Auctioneers & Estate Agency, 12 June 1993, lot 312
    Hugh Moss (HK) Ltd. (1994)

    Published:
    Kleiner 1995, no. 37
    Treasury 6, no. 1086

    Exhibited:
    British Museum, London, June–October 1995
    Israel Museum, Jerusalem, July–November 1997

    This purely Chinese, traditional, linear style, where the entire painting rests on its calligraphic line and the colouring is almost incidental, is extremely rare on palace enamels on metal and glass. If you mentally remove the colours and ink-washes from a traditional Chinese painting, you will usually end up with a still-coherent scene, as you would here; if you do that with the majority of palace enamels on metal and glass, the scene would be incomplete. One of the few enamelled glass bottles from the palace that relates to the present example in terms of the brushwork is the one from the Blücher Collection (Moss 1971a, no. 270). It is a small, Qianlong-marked bottle that probably dates from the mid-reign and is painted entirely in Chinese style without any hint of European influence. Because of this, it has, over the years, been somewhat overlooked.

    Other than the comparisons with other bottles that are offered in Treasury 6 in the commentary on this bottle, features that suggest a Beijing origin for this bottle are the type of glass, the protruding flat foot, and the faceless figures, a feature of other Qianlong palace enamels. The white glass is typical of mid-to-late-Qianlong palace products that ended up being enamelled. Although appearing very white, it has an inner layer of more translucent, almost greyish glass that is common enough on courtly white glass of the period. The protruding flat foot was a frequent feature of Imperial enamels from the mid- to late reign. The faceless figures find a precedent in a very rare, small group of early-Qianlong palace enamels on glass with figures, two of which are recorded, one in the Meriem Collection, one in the Franz Collection, that are from the earlier part of the reign. That group, in turn, inspired the small group of Qianlong-marked, landscape enamelled glass bottles with simulated 'puddingstone' surrounds (see, for instance, JICSBS, Winter 2005, p. 15, fig. 7) that we believe date from the second half of the Qianlong reign, despite occasional attributions to Ye Bengqi in some publications. (When shown photographs in 1974, Ye was adamant that neither he nor his father did them, and Wang Xisan also considers them genuine.)

    玻璃畫琺瑯山水高士圖鼻煙壺

    透亮白地畫琺瑯;平唇, 突出平底;畫通體山水高士,有迴廊,板橋、繫舟等
    擬為宮廷作坊作,北京,1750–1799
    高﹕ 7.6 厘米
    口徑/唇徑: 0.7/1.32 厘米
    蓋﹕珊瑚

    狀態敘述:唇內緣有缺口,經過歲月的使用,呈細微的擦傷;此外,出齋狀態

    來源:
    Hong Kong Auctioneers & Estate Agency, 1993年6月12日,拍賣品號 312
    Hugh Moss (HK) Ltd. (1994)

    文獻﹕
    Kleiner 1995, 編號 37
    Treasury 6, 編號 1086

    展覽﹕
    大英博物館, 1995年6月~10月
    Israel Museum, 耶路撒冷,1997年7月~月11月

    這種國畫式的圖案,在宮廷的金胎琺瑯彩器和玻璃胎琺瑯彩器寥寥無幾 。可以相比的有如 Moss 1971a, 編號 270,一件小型帶乾隆年款的煙壺。

    考慮本壺的玻璃質地、突出平底、無面孔的人物等,這應屬北京的作坊。這種玻璃 看起來是潔白的,但裏邊是更透亮的近乎灰色的襯料,這是乾隆中、晚期宮用物件的典型玻璃材料。
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