Page 49 - Christie;es Marchant January 18 2018
P. 49

MARCHANT, EST. 1925






























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          82
          A RARE SET OF FOUR EUROPEAN SUBJECT PAINTED         LITERATURE
          ENAMEL PLAQUES                                      D. Howard and J. Ayers, China for the West, vol. II, p. 632, no. 658.
          EARLY QIANLONG PERIOD, CIRCA 1740
                                                              J.A. Lloyd Hyde, Chinese Painted Enamels in Private
          Finely enameled in the famille rose palette with scenes of elegantly   and Museum Collections, no. 4.
          dressed Europeans and putti at leisure in Chinese palace gardens,
          several with small dogs, one with putto chasing a hare, antiques and    Developed in the frst decades of the 18th century in response to
          a tiled foor visible through the pavilion windows behind them,   Limoges enamels, Chinese painted enamels on copper, or yang ci
          modern gilt wood frames                             (foreign porcelain) were produced at both Canton and the Imperial
          7¿ in. (17.8 cm) high, 4º in. (10.2 cm) wide, each  (4)  workshops in Beijing. Deemed a highly desirable curiousity in both
                                                              East and West, painted enamels were often made in contemporaneous
          $20,000-30,000
                                                              porcelain forms. These small plaques were likely destined to be table
          PROVENANCE                                          screens. Compare a set of four and a pair published by L. Vinhais and
          The collection of Mr. and Mrs. Raf Y. Mottahedeh.   J. Welsh, China of All Colours: Painted Enamels on Copper, nos. 76 and
          The Mottahedeh Collection; Sotheby’s, New York,     85, though all six show European fgures in simple landscape settings.
          19 October 2000, lot 412.                           The exaggerated linear perspective of the buildings in the present set
                                                              refects the newness of this European approach to composition in
          EXHIBITED                                           the Chinese painter’s oeuvre, a technique learned from Jesuits at the
          China Institute in America, 1969-70, p. 12, no. 4.  Imperial court.
          The De Cordova Museum, 1979.
          The Chinese Porcelain Company, Chinese Painted Enamels of the
          18th Century, October 1993, pl. 44.




          83
          A GROUP OF FAMILLE ROSE EUROPEAN SUBJECT TEA ARTICLES
          YONGZHENG/ QIANLONG PERIOD, 18TH CENTURY
          A cream jug with amorous couple, a ‘Peeping Tom’ saucer, a farm
          girl teabowl and saucer and a jug and cover after Nicolas Lancret;
          together with a saucer with the arms of Macfarlane
          4 æ in. (12 cm.) diam., the Peeping Tom saucer  (5)
          $2,000-3,000


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