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A FAMILLE NOIRE ‘MAGPIE AND PRUNUS’ BRUSHPOT, BITONG, QING DYNASTY 清代墨地喜上眉梢筆筒
奥地利
2024年03月01日 开拍
拍品描述


Please note this Lot is to be sold at No Reserve. 本拍品不設底價

China, 18th - 19th century. Exquisitely painted in delicate tones of violet-blue, coral, and emerald green on a black ground, depicting an Oriental magpie perched on a flowering prunus tree, surrounded by peony blossoms, and with small butterflies fluttering about the composition.

Provenance: From a private collection in Paris, France, Rue des Petites écuries.
Condition: Very good condition with some old wear and firing irregularities, rubbing to enamels, traces of use to the interior.

Weight: 736.5 g
Dimensions: Diameter 10.4 cm, Height 12.8 cm



Expert’s note:

The present lot was certainly not created for export, as the concept of the Bitong was not common in the west during the later 19th century. It is one of the interesting study examples, where it is rather difficult to say if it was made during the Kangxi reign or later in the Qing period. Either way, the quality of the artwork is superb, and the enameling palette corresponds to the patterns described by Sullivan (see literature comparison below).

The 19th century witnessed a ‘Famille Noire frenzy’ prompted by a surge of interest amongst the newly minted millionaires in England and America who vied with one another to acquire the best art to fill the enormous rooms of their grand estates. Famille Noire wares comprised many of the most expensive porcelains sold at the time, with some examples selling for tens of thousands of pounds. Clients and dealers, from John D. Rockefeller to J.P. Morgan, competed vigorously for fine examples, the intensity resulting in ruptured friendships and even legal battles.

The issue of supply became paramount. Two elements facilitated the production in China in the 19th century. The first resulted from the political and social turmoil that defined China in the last years of the Qing dynasty. Commissions were disappearing for the potters of Jingdezhen and they certainly would have welcomed requests for Kangxi-style wares, including large-scale Famille Noire pieces. Secondly, black was the natal color of Empress Dowager Cixi (1835-1908), and it is reputed that the palace eunuchs added black grounds to some wares to please her (see Gerald Reihinger, Economics of Taste, volume 2, London, 1970, page 212).

Both genuine Kangxi pieces, with bodies scraped and re-enameled, and entirely new wares were sold to the West as Kangxi period during that time, an attribution that was not seriously questioned until 1974 with John Alexander Pope’s catalog of the Frick Collections porcelains. Pope put forth a convincing argument about the Famille Noire wares, observing that most large-scale objects in the collection were late 19th century (see John Alexander Pope, The Frick Collection: An Illustrated Catalogue. Volume 7, Porcelains, Oriental and French, Washington, 1974, pp. 87-90).

The pairing of prunus with magpie in Chinese culture sounds similar to the phrase ‘mei xi que’, which can be interpreted as ‘may happiness and joy arrive’. This association is often used in artistic imagery to symbolize the welcoming of spring and the renewal of the landscape. Tradition also holds that if a magpie lands near your house, it is a sign of good luck and positive opportunities approaching.

Literature comparison:
For a description of Kangxi-period famille noire wares that match the current lot, see Michael Sullivan, The Arts of China, 1977, p. 248. Sullivan discusses the “violet-blue” and “jewel-like green” hues of the Kangxi period famille noire enamels, and further talks about how the “black background” should be “almost iridescent” like “being washed over with a transparent green glaze”. Compare a related famille noire vase with a closely related violet-blue enamel, dated to the Kangxi period, in the Victoria & Albert Museum, accession number C.1310-1910.



清代墨地喜上眉梢筆筒
中國,十八至十九世紀。墨地上以紫藍色、珊瑚色和翠綠色等描繪了一隻喜鵲棲息在梅樹上,四周牡丹盛開,小蝴蝶翩翩起舞,構圖生動。

來源:來自法國巴黎 Rue des Petites écuries 私人收藏。。
品相:狀況極好,有一些磨損和燒製不規則、琺瑯磨損、內部有使用痕跡。

重量:736.5克
尺寸:直徑10.4 厘米, 高 12.8 厘米

文獻比較:
一件康熙時期黑彩瓷瓶,見 Michael Sullivan,《The Arts of China》,1977年,頁248。Sullivan討論了康熙時期黑釉的“紫藍色”和“寶石般的綠色”色調,並進一步談到“黑色地彩瓷”和“用透明的綠色刷釉”。比較一件相近的康熙時期黑彩瓷瓶,見維多利亞及亞伯特博物館,館藏編號C.1310-1910。

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拍品估价:300 - 600 欧元 起拍价格:300 欧元  买家佣金: 35.00%

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