清康熙 彩漆「胡人進貢」圖十二扇屏風

carved and decorated in polychrome with foreigners offering tributes to a seated dignitary accompanied by groups of ladies and attendants in a grand pavilion while some others tend animals outside the walls, framed by a border of panelled landscapes above and precious objects at the sides and bottom, all enclosed by a border of stylised dragons, the reverse with birds perched on rocks amidst leafy branches bearing magnolia, peony and chrysanthemum blooms near a duck pond, framed by landscapes, baskets of flowers and precious objects

This screen is in generally good condition, but there are horizontal cracks to the border design to the front and to each panel to the reverse. There are also horizontal and some virtical cracks to the main field to the front. The screen has been cleaned, which has effected the colour of the gilding. There are some areas of restoration to the lower edges of some of the panels.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present screen is notable for its high-quality workmanship and design. While scenes of courtly pavilions, pagodas and buildings inhabited by Chinese figures are commonly found on Coromandel lacquer screens, it is unusual for European figures to depicted. Placed to the right of the composition, the foreigners are identifiable by their facial features and clothing. The baggy trousers and robes with sophisticated ruffs at the neck and wrists suggest that they are of Spanish or Portuguese origin. Compare two screens decorated with scenes of hunting Dutchmen, as characterised by their tall hats and clothing, one from the Mrs Langweil collection and now in the Rijksmuseum, Amsterdam, illustrated in Michel Beurdeley, Chinese Furniture, Tokyo, 1979, pl. 186; and another sold in these rooms, 10^thOctober 1963, lot 660. The Rijksmuseum and the present screens are particularly rare and impressive for their gold-coloured ground.

 

The kuancai technique, known as Coromandel lacquer in the West, emerged in the 16^th century as an innovative method of creating large and highly decorative screens. The technique relates to cloisonné enamel with its raised outlines that were filled with colour. Screens were made from vertical panels of softwood which were thoroughly smoothed. Any cracks or imperfections were then filled with a mixture of unpurified lacquer, glue, and bone ash, with the occasional addition of silk and hemp fibres. This was then covered with a textile fabric applied to the base with a paste of lacquer and glue and further layers of a ground coat containing lacquer and burnt bones were applied. Final coats of lacquer were then laid onto this surface, each application being carefully rubbed down until a lustrous surface was obtained. It was at this stage that the surfaces were cut with sharp knives to provide the detailed decoration which was then coloured with oil-based paints.