A magnificent pair of cloisonne and gilt-bronze 'hehe' twin boys Qing Dynasty, Kangxi period

each modelled kneeling on one knee with both arms raised, one bent close to the chest, the other extended out with the fingertips gently curled in as if holding an object, adorned with loose bangles at each wrist and dressed in an underrobe accented with peony sprays, peeking out from beneath an elaborate waistcoat tied above the belly, boldly enamelled with three dragons with long scrolling tails fiercely pursuing a 'flaming pearl' amidst rolling clouds and above green breaking waves bordering the hemline, all reserved on a bright turquoise ground, the round head with animated expression and smiling mouth open below the fleshy cheeks and crisply channeled philtrum, the wide arching brows framing the slender eyes, all between fleshy earlobes and below the hair fastened with ribbons into three evenly spaced buns (2)

Sotheby's London, 14th May 1996, lot 173.

David S. Howard, A Tale of Three Cities: Canton, Shanghai and Hong Kong. Three Centuries of Sino-British Trade in the Decorative Arts, London, 1997, p. 158, no. 204.

The pair is in good overall condition with minor losses to the enameling subsequently filled with wax. The cloisons and most of the gilding are intact. There has been some paint loss to the hair knots. One boy is missing its circular fitting on the underside. The bracelets move freely.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present pair of cloisonné enamel figures of twin boys was possibly made as a tribute item to win favor from the emperor, hence the figures kneeling respectfully with their arms stretched forward in the pose of presentation. The two figures most likely held a precious object, such as a lantern in the shape of a fish (yu) or a chime (qing) both symbolizing abundance and happiness. Twin boys in China are highly auspicious and represent the traditional aspiration for many sons and grandsons. They were often depicted on objects presented at weddings and birthdays conveying the wish for happiness and the safe arrival of many descendants.

A three character inscription Gen Yun Tang, adhered to the interior of one of the boys suggests that they were placed in a hall located within the Yu Yue Yuan Fei ('jumping fish, flying kite') area of Yuanmingyuan ('Old Summer Palace'). (See no. 60 on Yuanmingyuan map, Fig. 2.) The adhered inscription is similar to one found on a jade dish (Fig. 1) also originating in Gen Yu Tang, illustrated in Le Musée chinois de l'impératrice Eugénie , Château de Fontainebleau, 1994, fig. 43, p. 52. The jade dish was removed from Yuanmingyuan by the French during the Second Opium War in 1860 and it is likely the present pair of figures faced the same fate.

Moreover, the placement of the figures in Gen Yun Tang is significant, as indicated in a poem (Fig. 3) expressing the Qianlong emperor's appreciation of the idyllic and serene space.

The earliest examples of cloisonné enamel figures seem to date from the 17th century, hence figures, such as the present pair, are extremely rare. A figure of an enchanting little boy riding on a hobby horse next to his pet dog, from the collection of Mr. and Mrs. R.H.R. Palmer, is illustrated in Sir Harry Garner, Chinese and Japanese Cloisonne Enamels, London, 1962, pl. 93. The author notes (ibid., p. 93) that this boy figure was originally attributed to the late Ming dynasty in the Oriental Ceramic Society Exhibition of 1957, but an early Qing attribution now seems more likely. A cloisonné enamel figure of a kneeling foreigner supporting a wide circular basin upon its head, similarly attributed to the Kangxi period, was sold in these rooms, 23^rd March 2004, lot 528; and another kneeling bearded foreigner with one arm raised to support a lotus flower and the other resting on his hips, was also sold in these rooms, 18^th September 1996, lot 125.

Cloisonné enamel figures of foreigners were also used to form a vessel; for example see a floor lamp decorated with a kneeling foreigner holding a vessel forming a lamp stand, attributed to the early Qing dynasty, illustrated in The Complete Collection of Treasures of the Palace Museum. Metal-bodied Enamel Ware, Hong Kong, 2002, pl. 92; and a pair of candlestick figures, with the candle holder in the shape of hexagonal trays, sold in our London rooms, 21^st June 1977, lot 201.  

See also a Qianlong example of a kneeling boy figure holding a vase, sold at Christie's Hong Kong, 26^th April 2004, lot 970; and a kneeling figure of a foreigner, from the Kitson collection, sold in our London rooms, 30^th May 1961, lot 426; and again at Christie's Paris, 13^th June 2007, lot 27.