A 'famille-rose' enamel on copper with gold 'European subject snuff bottle Imperial, palace workshops, Beijing, Qianlong blue-enamelled four-character mark and of the period,  1736–1775
Lot 148
A 'famille-rose' enamel on copper with gold 'European subject snuff bottle Imperial, palace workshops, Beijing, Qianlong blue-enamelled four-character mark and of the period, 1736–1775
Sold for HK$ 3,020,000 (US$ 389,673) inc. premium
Lot Details
A 'famille-rose' enamel on copper with gold 'European subject snuff bottle
Imperial, palace workshops, Beijing, Qianlong blue-enamelled four-character mark and of the period, 1736–1775
5.02cm high.

Footnotes

  • Treasury 6, no. 1078

    銅胎畫琺瑯西洋母子圖鼻煙壺
    御製品,宮廷作坊作,北京,藍彩「乾隆年製」楷書款,1736~1775

    A 'famille-rose' enamelled-copper 'European ladies with children' snuff bottle

    Famille rose enamels on copper, with gold; with a flat lip and slightly concave foot surrounded by a flat footrim; painted on each main side with an irregular oval panel of European subjects, one a seated woman with a young boy, an elaborate, castellated building and trees in the hilly background, the other a standing woman holding a flower in her left hand, also with a young boy, buildings, trees and shrubbery beyond, the blue skies of each panel with clouds, each panel framed by two stylized butterflies, their elongated wings touching, the panels surrounded by a formalized floral design of millefleurs on a brown ground; the foot inscribed in blue regular script, Qianlong nian zhi ('Made during the Qianlong era'); the interior covered with a patchy, turquoise-blue enamel, the exposed metal with traces of original gilding
    Imperial, palace workshops, Beijing, 1736–1775
    Height: 5.02 cm
    Mouth/lip: 0.71/1.24 cm
    Stopper: gilt bronze, chased with a formalized floral design

    Condition:
    Some mild enamel separation at the surface, part of the original process of manufacture; gold worn from all exposed copper surfaces. General relative condition: unusually excellent

    Provenance:
    Alex S. Cussons
    Hugh M. Moss, Ltd. (1978)
    Belfort Collection (1986)

    Published:
    L'Estampille, no. 106, February 1979, p. 42
    JICSBS, March 1979, front cover
    Jutheau 1980, p. 57, figs. 4, 5, and 6
    Kleiner 1987, no. 5
    Kleine Schätze aus China, p. 5
    JICSBS, Autumn 1989, p. 22, fig. 10
    Kleiner 1994a, p. 14, fig. 2.1
    Kleiner 1995, no. 5
    Treasury 6, no. 1078

    Exhibited:
    Sydney L. Moss Ltd., London, October 1987
    Creditanstalt, Vienna, May–June 1993
    British Museum, London, June–October 1995
    Israel Museum, Jerusalem, July–November 1997

    Stylistically and technically, this example is obviously part of the early phase of Qianlong enamelling. It has a typical early millefleurs design surrounding the main panels, equally well-drawn and elaborate, though set on a rare brown ground that makes it distinctive. There are hints of mid-reign style, however, in the painting and, particularly, in the simpler neck and foot bands. During the mid-reign, although elaborate neck and base borders are still common, there is a gradual trend towards simpler designs, culminating in their complete elimination on the double-plane Guyue xuan wares of, for example, Sale 1, lot 135 and Sale 2, lot 77, produced at some time during the last three decades of the century. These differences may reflect no more than the preferences of a different designer during the earlier phase, but we expect they will turn out to have some chronological significance.

    The butterflies, with their elongated wings, are a rare departure from standard palace framing devices, but butterflies turn up frequently as the main decoration on palace enamels from the Kangxi through to the end of the Qianlong era.

    The disparity in the gilding suggest that this is not the original stopper, although old and appropriate, which makes it a little unlikely that the spoon is original as well, although it is of the correct style.


    銅胎畫琺瑯西洋母子圖鼻煙壺

    銅胎畫粉彩, 黃金;平唇,微凹底,平底圈足;兩正面橢圓開光中畫西洋母子圖,側面畫棕色地百花紋, 底白地藍書"乾隆年製"無框雙行楷書款,內壁施不均的綠松石藍琺瑯;不施琺瑯彩的胎餘有鎏金
    御製品,大概為宮廷作坊作,北京,1736–1775
    高﹕ 5.02 厘米
    口徑/唇徑: 0.71/1.24 厘米
    蓋﹕ 鎏金青銅,鏤刻形式化的花朵

    狀態敘述:表面有些琺瑯彩脫落的情況,及原來的工序的結果,露出的紅銅胎磨損了鎏金。一般性相對的狀態:格外的善良

    來源:
    Alex S. Cussons
    Hugh M. Moss, Ltd. (1978)
    Belfort Collection (1986)

    文獻﹕
    L'Estampille, no.106, February 1979, p. 42
    《國際中國鼻煙壺協會的學術期刊》,1979年3月,封面圖片
    Jutheau 1980, 頁 57, 圖 4, 5, 及 6
    Kleiner 1987, 編號 5
    Kleine Schätze aus China, p. 5
    《國際中國鼻煙壺協會的學術期刊》,1989年秋期,頁 22, 圖 10
    Kleiner 1994a, 頁 14, 圖 2.1
    Kleiner 1995, 編號 5
    Treasury 6, 編號 1078

    展覽﹕
    Sydney L. Moss Ltd.,倫敦,1987年10月
    Creditanstalt, 維也納, 1993年5月~6月
    大英博物館, 1995年6月~10月
    Israel Museum, 耶路撒冷,1997年7月~月11月

    從風格、技術兩方面來看,本壺顯然屬乾隆琺瑯彩工藝發展過程的第一段。 雖然百花紋的棕色地是特殊的,百花錦是早期典型的圖案。但到了乾隆隆中葉,頸部和圈足的花紋漸漸地簡化了。到了十八世紀後三十代作的雙層古月軒鼻煙壺,如 第一場拍賣會, 拍賣品號 135 及 第二場拍賣會, 拍賣品號 77, 就不見了
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