An enamelled on glass 'chicken and birds' snuff bottle
Lot 49
A famille-rose enamel on glass 'chicken and birds' snuff bottle Attributed to Ye Bengqi, circa 1925-1930
Sold for HK$ 275,000 (US$ 35,463) inc. premium

Lot Details
An enamelled on glass 'chicken and birds' snuff bottle An enamelled on glass 'chicken and birds' snuff bottle An enamelled on glass 'chicken and birds' snuff bottle An enamelled on glass 'chicken and birds' snuff bottle An enamelled on glass 'chicken and birds' snuff bottle An enamelled on glass 'chicken and birds' snuff bottle An enamelled on glass 'chicken and birds' snuff bottle An enamelled on glass 'chicken and birds' snuff bottle
A famille-rose enamel on glass 'chicken and birds' snuff bottle
Attributed to Ye Bengqi, circa 1925-1930
Of elegant pear-shaped form supported on a short hollowed foot, the exterior intricately enamelled with a continuous scene of a hen and her chicks and three birds wandering in search for food, all in a garden landscape with blossoming plants and flowers of the seasons, framed under a ruyi-head border at the neck, the base with apocryphal enamelled four-character kaishu mark.
6.6cm high.

Footnotes

  • Illustrated:
    Bob Stevens, Snuff Bottles, New York, 1976, p.268, pl.961
    Paul Braga, Hong Kong Chinese Snuff Bottle Collectors, Arts of Asia, November-December 1976, Vol.6, No.6, p.85
    Hugh Moss, The Apricot Grove Studio, Part III, Enamelled Glass Wares, The International Chinese Snuff Bottle Journal, Autumn 1985, Volume XVII, Number 3, fig.344 and 344a

    Images of this snuff bottle were shown by Hugh Moss to Ye Bengqi in early 1974, when he travelled to Beijing to interview him. As discussed by Moss in The Apricot Grove Studio, Part III, Enamelled Glass Wares, The International Chinese Snuff Bottle Journal, Autumn 1985, Volume XVII, Number 3, pp. 122-123, this bottle was identified by Ye as an early work, when he was still developing his unique style. Certain features, such as the flowers, are borrowed from enamels from the Imperial collection, which he was able to see when the former Forbidden City was opened as a museum on 10 October 1925.

    Ye Bengqi (?-1974) was the third son of the celebrated inside-painted artist, Ye Zhongsan (1875-1945), but had moved away from the family specialisation of inside-painted snuff bottles and concentrated on producing high quality enamel bottles the equal of those produced in the high Qianlong era. Benefiting from the opportunity to study the original examples, his own creations in his private kiln retained original features, and shared the same four-character blue-enamelled marks, as present on the current lot.

    約1925-1930 (傳)葉菶祺 玻璃胎畫琺瑯五子登科圖鼻煙壺 藍彩「乾隆年製」楷書款

    出版:
    Bob Stevens,《Snuff Bottles》, 紐約, 1976年, 頁268, 圖版961
    Paul Braga,《Hong Kong Chinese Snuff Bottle Collectors》,Arts of Asia,1976年11-12月,卷6,第六期,頁85
    莫士撝,〈The Apricot Grove Studio, Part III, Enamelled Glass Wares〉,《The International Chinese Snuff Bottle Journal》,1985年秋季刊, 第17冊,編輯3,圖版344及344a

    壺瓶形,直頸,溜肩,垂腹,圈足。壺身以琺瑯彩繪五子登科圖,一隻公雞與五隻小雞在草地覓食玩耍,並繪一牡丹於公雞上方,枝繁花茂,象徵功名富貴,草地上有壽石、月季、菊花、翠竹以及秋葉,寓意富貴平安。壺頸部以藍色琺瑯彩回如意雲頭紋一周。壺底藍彩書「乾隆年製」四字楷書款。

    在1974年,莫士撝曾帶同此壺之照片到北京,給葉菶祺過目。在後來莫氏的文章,《The Apricot Grove Studio, Part III, Enamelled Glass Wares》, The International Chinese Snuff Bottle Journal,1985件秋季,第17冊,編號3,頁122-123中指出,葉氏分辨出本壺是出自他之手,屬早期作品,還在建立個人風格之時。當中的風格多是參考自故宮博物院之收藏,是1925年10月10日博物院對外開放以後發生的。

    葉菶祺(?-1974)是著名內畫家葉仲三之(1875-1945)第三子,他不只承繼其家族的內畫創作,還製作高質數的玻璃畫琺瑯鼻煙壺,品質可媲美乾隆時期之宮廷作品。由於他可以一睹乾隆時期的原物,有助他在其私人窯子中製作出帶藍彩「乾隆年製」楷書款之鼻煙壺,而本壺就是由此製成。
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