清 紫檀框嵌港岸揚帆圖鏡畫

intricately painted utilising the aerial perspective, and with full utilisation of Western styles of perspective, naturalistically rendered with a tranquil scene depicting a port, the foreground of a grassy lawn next to a calm sea extending to the horizon below a blue sky accentuated with cloud wisps, the lawn depicted with five figures elegantly dressed in European attire, two gentlemen depicted standing and conversing with each other next to a pair of pillars at the entrance of a brownish-beige building, the shoreline further depicted with a male and female figure depicted seated with their backs facing the sea in the background with a further male figure standing close by and looking out to the sea, the sea skilfully rendered with a deep rich blue transmuting a lighter tone of blue in the background, spaciously depicted with sailing vessels of varying sizes including a large one in the foreground with masts and a flag emitting grey exhaust gases, the opposite shoreline bordered with small quaint houses, set in a zitan frame elaborately carved with floral and foliate scrolls

It is in overall good condition with only some expected losses, especially one crescent-shaped retouched area to the top right corner (visible in the 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."

此畫色彩鮮明，以西洋人物為主題，為中國鏡畫中之精美之作。岸上人物衣著光鮮，海水平靜如鏡，近處帆船上馬賽海軍旗幟飄揚，鳴炮後煙霧瀰漫，呈現歐式風格。此鏡畫不但反映了歐洲版畫和繪畫對中國畫院的影響，更表現了中國藝術家模仿海外流派和風格高超的水平。

此類繪畫在十八世紀不僅深受歐洲富豪的歡迎，更得朝廷的青睞。乾隆三十八年（1773年）廣東向朝廷進貢鏡畫。據法國漢學家、傳教士錢德明(Jean-Joseph-Marie Amiot)回憶錄記載，乾隆皇帝曾詔廣東畫匠進宮作畫，並命傳教士及宮廷畫家朗世寧、王致誠在玻璃上作畫。碧波地博物館中國部主任白鈴安(Nancy Berliner)在展覽目錄《The Emperor’s Private Paradise. Treasures from the Forbidden City》，碧波地博物館，塞冷，2010年，頁175曰：顛覆鏡畫的傳統意義對於鍾情奇幻視覺效果的乾隆皇帝而言顯得格外有趣。乾隆帝迷戀西洋玩意兒，此鏡畫面在透視空間中充滿歐洲風情，正合他意。

自清乾隆以來，廣東成為中西貿易的中心，中外藝術品的生產基地與交流中心。鏡畫源自歐洲，中世紀開始生產。十八世紀這項技術被引進中國（廣州），所作鏡畫比原產地更為出色。因此吸引了一批歐洲藝術家，包括瑞典微型畫畫家Lorens Sparrgren (1736-1828) 到中國學習鏡畫的技術。甚有趣味的是，儘管十八世紀時鏡畫在英國很受歡迎，但用於繪畫的玻璃基本上都是從英國進口。

在玻璃上作畫工藝繁複，前書頁363有詳細記載。先在鏡子背面繪圖案輪廓，然後用鋼製工具磨去錫和水銀背襯，然後才進行彩繪，最後置成品於石灰層中待乾。

一對清宮舊藏較小例，鑲嵌於插屏，曾展於《皇帝的私人天堂：來自故宮的寶藏》，見前書，頁16。甚有趣味的是此對鏡畫背景滿繪油彩，不留鏡面。此畫法為被歐洲人稱作Spoilum的廣東外銷畫家所創。一見傳為Spoilum的作品，繪西洋母女，見Carl L. Crossman著《The Decorative Arts of The China Trade》，Woodbridge，1997年，圖版4。