A 'famille-rose' enamel on copper with gold 'European ladies with children' snuff bottle Imperial, palace workshops, Beijing, Qianlong blue-enamelled four-character mark and of the period, 1736–1760
Lot 38
A 'famille-rose' enamel on copper with gold 'European ladies with children' snuff bottle Imperial, palace workshops, Beijing, Qianlong blue-enamelled four-character mark and of the period, 1736–1760
Sold for HK$ 4,820,000 (US$ 621,919) inc. premium
Lot Details
A 'famille-rose' enamel on copper with gold 'European ladies with children' snuff bottle
Imperial, palace workshops, Beijing, Qianlong blue-enamelled four-character mark and of the period, 1736–1760
5cm high.

Footnotes

  • Treasury 6, no. 1077

    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,1736~1760

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

    Famille rose enamels on copper, with gold; with a flat lip and slightly recessed concave foot surrounded by a protruding flattened footrim; painted on each main side with a circular panel of European subjects, one main side a woman carrying a basket of flowers over her right shoulder, with a young boy offering her red flowers matching those in the garland in her hair, and a building and tree-flanked stream behind them, the other a similar scene, also of a woman with a basket of flowers hanging over her right shoulder and a young boy, with buildings beyond the tree-clad banks of a stream behind them; the narrow sides with oval panels painted in ruby-red with European buildings among trees; the main panels framed in twisted rope borders, the narrow-side panels framed in a plaited rope border, the panels surrounded by a formalized, scrolling floral design; the neck with an elaborate formalized floral band based upon lingzhi; the base of the narrow sides with a further formalized floral design; the foot inscribed in blue regular script, Qianlong nian zhi ('Made during the Qianlong era'); the interior covered with patchy, turquoise-blue enamel; the exposed metal all gilt
    Imperial, palace workshops, Beijing, 1736–1760
    Height: 5 cm
    Mouth/lip: 0.77/1.29 cm
    Stopper: gilt bronze, chased with a formalized floral design

    Condition: Kiln condition

    Provenance:
    Christie's, New York, 2 December 1994, lot 560

    Published:
    Kleiner 1995, no. 4
    Promotional flyer, British Museum Exhibition
    Treasury 6, no. 1077

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

    This is another of the masterpieces from the hands of the early-Qianlong palace enamellers. The impeccably painted subject is contained within elaborate, fanciful, and unique borders; rope borders are, unusually, plaited around the narrow-side panels. Rope borders were a standard palace workshop design element derived from the decoration on Warring States and Han dynasty bronze vessels in the vast Imperial collection of antiquities. They appear on a wide range of palace arts. One of the few extant enamelled metal bottles from the Yongzheng palace workshops has main panels framed in a rope border (Chang Lin-sheng 1991, no. 7), demonstrating its use prior to the Qianlong era, when it became standard. Many palace works in a variety of media from the Qianlong reign incorporate rope designs, either as the main decoration or as a frame or border design.

    The rare olive-green ground seen on the formalized floral surrounds of Sale 1, lot 129, is also found here as a small panel beneath the main-side designs and as one line of the neck band. The enamels have fired well, although the ever troublesome paler, yellowish green is revealed, under magnification, to have pitted in the usual manner.

    This is definitely an original stopper for an early-Qianlong, palace enamel bottle. It is of the same subject, style, and metalwork as those we can be certain are original. It also has the typical palace ivory spoon with its pear-shaped bowl and perfect length, but the fact that the stopper is a little oversized for the bottle may indicate that it has come off another bottle, as may the difference in wear between the stopper and the outer neck rim, which, unlike the stopper, is missing much of its original gold. For another example from the same period, with similar subject matter, also with a rope border around each panel, see Sotheby's, Hong Kong, 28 April 1998, lot 1257.


    銅胎畫琺瑯西洋母子圖鼻煙壺

    銅胎畫琺瑯、黃金;平唇,凸微斂底,突出弄平的圈足;各正面畫以兩條線絞在一起形成框的開光,開光裏畫西洋母子圖,側面畫以辮繩為框的開光,開光中以紅寶紅畫歐州式山水,上下有白地藍纏枝紋 ,頸飾變形三如意連紋一圈,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;不施琺瑯的銅胎皆鎏金
    御製品,大概為宮廷作坊作,北京,1736–1760
    高﹕ 5 厘米
    口徑/唇徑: 0.77/1.29 厘米
    蓋﹕ 鎏金青銅,鏤刻形式化的花朵

    狀態敘述: 出坊狀態

    來源:
    紐約佳士得,1994年12月2日,拍賣品號 560

    文獻﹕
    Kleiner 1995, 編號 4
    Promotional flyer, British Museum Exhibition
    Treasury 6, 編號 1077

    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

    這是乾隆初宮廷琺瑯匠的傑作。綯紋開光框多見於側面的開光,而且是宮廷作坊各種器件習用的紋飾。一件雍正金屬鼻煙壺有前後正綯紋框開光 (張臨生 1991, 編號 7), 但本壺的開光框是由兩條線絞在一起形成的,跟一般的綯 紋不一樣。

    第一場拍賣會, 拍賣品號 129, 近底和頸部一周罕見的橄欖褐色地,本壺也有之,就在正面的開光的下邊及頸部紋飾的一道。黃綠色的琺瑯照常,呈現點狀缺陷,放大可以看得見。
    這件蓋肯定屬乾隆早期,可是它有一點大,而且座的鎏金沒有像唇外沿那樣脫落。我們估計這件蓋是從同時期同類型,另外一件鼻煙壺來的。

    另一件同時期。類似的主題和綯紋開光框, 見香港蘇富比,1998年4月28日,拍賣品號 1257.

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