Page 282 - Sotheby's Important Chinese Art, Sept. 21-22, 2-21, NYC

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A RARE PASTE-INSET GILT-BRONZE REPOUSSE While the imitation of Chinese styles, known as ‘chinoiserie’, PROPERTY FROM A FLORIDA ESTATE PROVENANCE

VASE was popular at European courts during the 18th century, A PAIR OF CLOISONNÉ ENAMEL TIBETAN- Jacques Barrère, Paris, 1982.
QING DYNASTY, QIANLONG PERIOD there was also a vogue for fine works of art in European style STYLE ‘DRAGON’ EWERS (DUOMUHU) A closely related ewer was included in the exhibition Chinese
at the imperial Chinese court in Beijing. Starting in the Kangxi
splendidly modeled, the elongated ovoid body resting on a reign (r. 1662-1722), an increasing number of Jesuit artists 17TH CENTURY Cloisonné. The Pierre Uldry Collection, Asia Society, New
York, 1989, cat. no. 159; another is illustrated in Dr. Gunhild
splayed foot and rising to a waisted neck set with a pair of were employed at the imperial court. Meanwhile, Guangzhou each of cylindrical section below a lobed crown rim Avitanile, Die Ware aus dem Teufelsland, Hannover, 1981,
chilong handles, decorated in repoussé with a central frieze had become the main trading center with the West and the resembling a monk’s cap, an enameled spout issuing from
enclosing four large formalized floral blooms wreathed by first landing place for many Jesuit missionaries. Exposed the mouth of a gilded mythical beast with a collar of curled pl. 59; and a third in the George Walter Vincent Smith
curling foliage bearing small florets, a band of stylized foliate firsthand to foreign objects and technology, Guangzhou tufts of fur, set opposite an S-curved fish-dragon handle Art Museum, Springfield, was included in the exhibition
Cloisonné: Chinese Enamels from the Yuan, Ming, and Qing
lappets borne on a row of ruyi heads above, all between craftsmen began to produce wares that adapted Western with red cloisonné scaly skin and a gilt head and tail, the Dynasties, Bard Graduate Center, New York, 2011, cat. no.
bands of keyfret and lappets, the design picked out in vibrant technology and designs to suit Chinese tastes. On this vase, vessel divided into three horizontal registers each with
multi-colored glass paste inset, the interior with a metal liner craftsmen used colored glass-paste stones that cleverly a pair of confronting five-clawed polychrome-enameled 90. See also a closely related pair of ewers sold in our Hong
Height 7¾ in., 19.8 cm imitated precious stones such as emeralds, rubies, sapphire dragons contesting a ‘flaming pearl’ above tumultuous Kong rooms, 8th April 2014, lot 3104; and a further example
and diamonds. The technique was borrowed from the West, sold in these rooms, 21st-22nd September 2005, lot 212.
PROVENANCE where it was originally employed on small snuff boxes, waves crashing into rocky mountains, all reserved against
a turquoise ground patterned with ruyi-form clouds, the
Acquired in Chicago in the 1990s. pocket watches and clocks imported to China, but was exterior of the crown similarly decorated with a frontal red $ 30,000-50,000
quickly mastered by Guangzhou craftsmen.
This remarkable vase is testament to the intellectual, cultural dragon and a large ‘flaming pearl’ on the interior, the circular 十七世紀 銅胎掐絲琺瑯海水趕珠龍紋多穆
and material exchange between China and Europe in the $ 30,000-50,000 cover with a further frontal dragon coiled around a gilt bud
18th century. Vases of this form and design are rare and only finial (4) 壺一對

one closely related example, probably the pair to the present Height 24¼ in., 61.6 cm
vase is known: sold in our Chester rooms, 11th January 1984, 清乾隆 銅鎏金鏨花嵌料龍耳瓶 來源：

and most recently offered from the Speelman Collection in Jacques Barrère，巴黎，1982年
our Hong Kong rooms, 3rd April 2018, lot 3430. 來源：

1990年代購於芝加哥

280 SOTHEBY’S COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N10748 281