- 3030
清乾隆 御製胭脂紅地琺瑯彩「花果圖」繋帶葫蘆鼻煙壺 《乾隆年製》藍料款
估價
3,000,000 - 4,000,000 HKD
招標截止
描述
- 《乾隆年製》藍料款
of slightly compressed double-gourd form, with a globular lower bulb and a pear-shaped upper section sweeping up to a narrow neck, crisply moulded and finely enamelled in a famille-rose palette with a long curling flowering vine and tendrils falling of the neck, and two sprays of nandina, asters and a branch of peach blossoms cinched with a sash around the waist, all against a dark ruby ground possibly imitating Yixing pottery, the rim gilded, the recessed base left white and inscribed in blue enamel with a four-character reign mark
Condition
The overall condition is very good apart from some light wear to the gilding on the foot and mouthrim.
"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."
"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."
拍品資料及來源
Snuff bottles of this type are extremely rare. The blue-enamelled mark on the base indicates that it was enamelled in the Imperial Palace Workshops in Beijing, while the bottle was potted in Jingdezhen. It is rare to find porcelain snuff bottles with Qianlong blue-enamel marks. They are more often found on enamelled glass bottles produced in the Imperial Palace Workshops. See three double-gourd enamelled glass bottles in the Beijing Palace Museum, illustrated in The Complete Collection of Treasures of the Palace Museum, Snuff Bottles, vol. 47, Beijing, 2002, nos. 11-13.
Falangcai ('foreign colours') designated enamelling on copper, porcelain and glass undertaken in specialised workshops in the Yangxindian (Hall of Mental Cultivation) in the immediate vicinity of the imperial living quarters in the Forbidden City and under the Emperor's direct scrutiny. The enamelling workshops had been initiated by European artisans working at the court in the Kangxi period, who encouraged the production of new enamel colours to be applied in Beijing to blank porcelain pieces made in Jingdezhen. The Imperial Palace Workshops typically produced works in very small numbers and each work was often unique.
A similar porcelain bottle in the Bloch collection, with moulded decoration of nandina berries and flowers tied with a sash on a white ground with a blue-enamel Guyue Xuan ('Ancient Moon Pavilion') mark on the base, is illustrated in Robert Kleiner, Chinese Snuff Bottles in the Collection of Mary and George Bloch, London, 1995, no. 206, as well as in Hugh Moss, et al, A Treasury of Chinese Snuff Bottles, The Mary and George Bloch Collection, vol. 6, part 3, 2007, cat. no. 1453.
The dark ruby-red-ground enamelling is reminiscent of falangcai-enamelled Yixing wares that were first made in the Kangxi period. For a falangcai teapot from the Qing court, see Yixing zhi sha wares in the Palace Museum, Beijing, 2009, p. 56, pl. 11.
Only a small number of double-gourd form porcelain snuff bottles are otherwise known, generally applied with relief elements and decorated in the famille-rose palette. For example, see one painted with gourds growing on vine against a gilt-ground, bearing a four-character Qianlong reign mark on the base and attributed to the Palace Workshops, illustrated in Hugh Moss, Victor Graham and Ka Bo Tsang, The Art of the Chinese Snuff Bottle. The J and J Collection, New York and Tokyo, 1993, pl. 231, originally one of a pair with the other sold in our London rooms, 3rd March 1987, lot 64, and now in the collection of Mary and George Bloch. Another double-gourd form snuff bottle was sold in our New York rooms, 19th September 2001, almost identical to the J and J and the Bloch bottles; and a further example, enamelled with an overall design of nine bats in flight amidst a fruiting gourd vine on a soft turquoise ground was offered at Christie’s New York, 26th March 2003, lot 105.
The double-gourd was especially popular during the Qing dynasty, appreciated for its auspicious shape and qualities as well as for its tactile property when held in ones palms. The gourd represents abundance and is the symbol of fertility for the many seeds it holds.
Falangcai ('foreign colours') designated enamelling on copper, porcelain and glass undertaken in specialised workshops in the Yangxindian (Hall of Mental Cultivation) in the immediate vicinity of the imperial living quarters in the Forbidden City and under the Emperor's direct scrutiny. The enamelling workshops had been initiated by European artisans working at the court in the Kangxi period, who encouraged the production of new enamel colours to be applied in Beijing to blank porcelain pieces made in Jingdezhen. The Imperial Palace Workshops typically produced works in very small numbers and each work was often unique.
A similar porcelain bottle in the Bloch collection, with moulded decoration of nandina berries and flowers tied with a sash on a white ground with a blue-enamel Guyue Xuan ('Ancient Moon Pavilion') mark on the base, is illustrated in Robert Kleiner, Chinese Snuff Bottles in the Collection of Mary and George Bloch, London, 1995, no. 206, as well as in Hugh Moss, et al, A Treasury of Chinese Snuff Bottles, The Mary and George Bloch Collection, vol. 6, part 3, 2007, cat. no. 1453.
The dark ruby-red-ground enamelling is reminiscent of falangcai-enamelled Yixing wares that were first made in the Kangxi period. For a falangcai teapot from the Qing court, see Yixing zhi sha wares in the Palace Museum, Beijing, 2009, p. 56, pl. 11.
Only a small number of double-gourd form porcelain snuff bottles are otherwise known, generally applied with relief elements and decorated in the famille-rose palette. For example, see one painted with gourds growing on vine against a gilt-ground, bearing a four-character Qianlong reign mark on the base and attributed to the Palace Workshops, illustrated in Hugh Moss, Victor Graham and Ka Bo Tsang, The Art of the Chinese Snuff Bottle. The J and J Collection, New York and Tokyo, 1993, pl. 231, originally one of a pair with the other sold in our London rooms, 3rd March 1987, lot 64, and now in the collection of Mary and George Bloch. Another double-gourd form snuff bottle was sold in our New York rooms, 19th September 2001, almost identical to the J and J and the Bloch bottles; and a further example, enamelled with an overall design of nine bats in flight amidst a fruiting gourd vine on a soft turquoise ground was offered at Christie’s New York, 26th March 2003, lot 105.
The double-gourd was especially popular during the Qing dynasty, appreciated for its auspicious shape and qualities as well as for its tactile property when held in ones palms. The gourd represents abundance and is the symbol of fertility for the many seeds it holds.