A carved porcelain 'landscape' snuff bottle Wang Jiemei, Jingdezhen, 1860–1923
Lot 144
A carved porcelain 'landscape' snuff bottle Wang Jiemei, Jingdezhen, 1860–1923
Sold for HK$ 118,750 (US$ 15,312) inc. premium

Lot Details
A carved porcelain 'landscape' snuff bottle Wang Jiemei, Jingdezhen, 1860–1923 A carved porcelain 'landscape' snuff bottle Wang Jiemei, Jingdezhen, 1860–1923 A carved porcelain 'landscape' snuff bottle Wang Jiemei, Jingdezhen, 1860–1923 A carved porcelain 'landscape' snuff bottle Wang Jiemei, Jingdezhen, 1860–1923 A carved porcelain 'landscape' snuff bottle Wang Jiemei, Jingdezhen, 1860–1923
A carved porcelain 'landscape' snuff bottle
Wang Jiemei, Jingdezhen, 1860–1923
6.49cm high.

Footnotes

  • Treasury 6, no. 1365

    雕瓷山水鼻煙壺
    汪介眉,景德鎮,1860~1923

    A carved porcelain 'landscape' snuff bottle

    White porcelain; with a flat lip and recessed flat foot surrounded by a protruding convex footrim; carved with a continuous waterside scene with a fisherman dangling his line off the front of a small, partially covered boat beyond a plank bridge in the left foreground and rocks in the right foreground from which a minimalist willow tree rises to cover the blank space between two groups of steep, distant hills that wrap around the two narrow sides to the other main side, where a waterside house is set amid rocks at the lower left, a scholar seated at its open window, with willows and a pine tree rising from the riverbank to the right and covering the distant waterscape; the foot signed in relief seal script, Wang Jiemei zuo ('Made by Wang Jiemei'); the interior unglazed
    Wang Jiemei, Jingdezhen, 1860–1923
    Height: 6.49 cm
    Mouth/lip: 0.61 and 0.55/1.10 and 0.95 cm (oval)
    Stopper: coral; gilt-silver collar

    Condition: Three barely perceptible flakes, main side on the lowest mountain, not obtrusive; otherwise, kiln condition

    Provenance:
    Kaynes-Klitz Collection
    Sotheby's, Hong Kong, 16 November 1989, lot 117

    Published:
    Kleiner, Yang, and Shangraw 1944, no. 192
    Treasury 6, no. 1365

    Exhibited:
    Hong Kong Museum of Art, March – June 1994
    National Museum of Singapore, November 1994 – February 1995

    We tentatively identify Wang Jiemei with a Jingdezhen artist who painted landscapes on porcelain at Jingdezhen in the late Qing. That artist's name was Wang Fan, his courtesy name was Jiemei, and his dates are 1843 – 1923. His family had worked in the arts, particularly porcelain, for generations; one of his ancestors was very close to Tang Ying, and his younger brother was a vice-assistant magistrate for the Imperial kilns at Jingdezhen in the late Qing. If he began working in the 1860s, when carved porcelain was in vogue, it is possible that he began with that art and shifted to painting with enamels as the qianjiang cai style of painted porcelain became more and more popular on porcelain plaques and articles of daily use, such as tea pots. (The term refers to the light reddish or pink colour often used for texture strokes on rocks and foliage on certain trees, and the subjects and brushstrokes are derived from literati painting. The black strokes vary in hue, and the ground is not a white glaze; less use is of made of outline strokes, especially in bird-and-flower subjects. The earliest dated pieces are from 1855, and the movement died out after the 1920s, partly because of changes in taste, and partly because of the frailty of the medium in the everyday living environment. See Treasury 6, no. 1433, for a rare example in the snuff-bottle world.)

    When a biscuit bottle has survived from this school of porcelain carving, we can see the undisguised skill of the carvers: it is seldom less than impressive. The scene is conventional; the artistry and workmanship are outstanding. The rocks are obviously carved in relief from lumps of porcelain applied to the surface, while the leaves of the trees look as if separate clusters of foliage may have been added one by one and then impressed or carved with lines, and some of the vines hanging from the tree-branches look like they started life as rolled strings of porcelain trailed onto the bottle's body.

    Neither of Wang Jiemei's works in this collection has a glazed interior. Both also have the basic bottle formed in the traditional manner, from a two-part mould.

    雕瓷山水鼻煙壺

    白瓷;平唇, 平斂底,突出凸圈足,雕通體山水圖,底陽刻"汪价眉作"橫向篆款;內壁不施釉
    汪介眉,景德鎮,1860–1923
    高﹕ 6.49 厘米
    口徑/唇徑: 0.61 及 0.55/1.10 及 0.95 厘米 (橢圓形)
    蓋﹕ 珊瑚; 鎏金銀座

    狀態敘述:有三個幾乎看不見的缺口;此外,出窯狀態

    來源:
    Kaynes-Klitz 珍藏
    香港蘇富比, 1989年11月16日,拍賣品號 117

    文獻﹕
    Kleiner, Yang, and Shangraw 1944, 編號 192
    Treasury 6, 編號 1365

    展覽﹕
    香港藝術館,1994年3月~6月
    National Museum of Singapore, 1994年11月~1195年2月

    我們試驗性地確定汪介眉是晚清在景得鎮畫淺絳彩有名的畫家汪藩。汪藩字介眉,1843年生,1923年卒。可以想象,他是1860年代,在雕瓷很熱門的時候從事雕瓷,然後,淺絳彩風行起來,他就捨刀取筆,以淺絳瓷作品聞名。Treasury 6, 編號 1433是淺絳彩瓷鼻煙壺,在鼻煙壺界為麟角鳳毛。
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