Page 306 - Christies King St. FINE CHINESE CERAMICS AND WORKS OF ART

PROPERTY FROM THE COLLECTION OF HERMAN BAER 英國赫爾曼‧ 貝爾珍藏 （1898-1977）
(1898-1977)
赫爾曼‧ 貝爾生於德國巴伐利亞，隨後移居柏林，在工
Herman Baer (1898-1977) was born in Bavaria but moved to Berlin 作中接觸室內設計及古董買賣。1936年戰爭爆發貝爾離
where he worked with interior design and antiques. In 1936, Baer 開德國 ，隨後與其妻子於倫敦戴維斯街經營一間古董
feared persecution in Germany and fed to London with his wife 店，並迅速成為一名在業界內備受尊重的古董商人，常
where he set up an antiques shop on Davies Street. He soon became 活躍於倫敦各大拍賣會中。貝爾與許多國際知名收藏家
one of London’s most respected antiques dealers and was often seen 例如肯尼斯‧湯普森以及布萊寧克梅傑家族的成員都一直
in the city’s auction houses acquiring works of art. Baer developed 關係密切。 湯普森的諸多珍藏現於加拿大安大略美術館
close relationships with international collectors, including Kenneth 陳設。貝爾於1977年過世， 其古董店由他的妻子經營直
Thompson and various members of the Brenninkmeyer family. Many 至1988年。
of the pieces from Thompson’s collection are now on display at the
Art Gallery of Ontario, Canada. Although Baer passed away in 1977,
his shop remained open, run by his wife until 1988.

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A RARE AND MAGNIFICENT FLAMBÉ-GLAZED EWER, HUAJIAO 此拍品造型典雅， 釉色富麗， 不僅充分展現出雍正盛
YONGZHENG IMPRESSED FOUR-CHARACTER SEAL MARK AND OF 世御製瓷器之高超卓越，並體現中東地區金屬器對中國
THE PERIOD (1723-1735) 瓷器的深遠影響。參考一例十二世紀波斯銅花澆， 顯示
此器有可能是受中東地區金屬器啟發所得，見1983年紐
清雍正 窯變釉花澆 四字篆書款 約出版，Eva Baer 著的《Metalwork in Medieval Islamic Art》，
第96頁。
The ewer is elegantly potted with a wide bulbous body and moulded with a
band of chrysanthemum petals to the shoulder. The tall neck is shaped with 元至明朝期間， 中國與中東地區貿易蓬勃發展，由此
a knop to the mid-section, rising to a fared spout. There is an arched handle 許多中國瓷器開始借鑒中東地區金屬或玻璃製品造型。
linking the neck to the shoulder. It is covered in a rich raspberry-red fambé 這種生產技術起初只源用於外銷瓷上，隨後才被御窑瓷
glaze sufused with vibrant purple and milky white streaks, thinning to beige at 器吸納，此件器形的優雅正體現了這一傳統。窯變釉的
the extremities of the mouth and handle. 花澆在清雍正時期較為罕見， 僅存的例子中 有帶執柄
與無柄的兩類。其中具代表性的一例收錄於2005年北京
10 in. (25.4 cm.) high 故宮博物院出版的《故宮博物院藏:清代御窑瓷器》，第
314-315頁，圖版143號。另一佳例於1979年5月21日香
£100,000-150,000 $160,000-230,000 港蘇富比拍賣 ，拍品第101號 。另，北京故宮博物院藏
€140,000-200,000 一件形制相似的廠官 “茶葉末釉”花澆，收錄於1999年
香港出版的《故宮博物院藏文物珍品全集 37: 顏色釉》，
PROVENANCE: 圖版第244號。另可參考一件形制相似的青白玉花澆例
子，2014年5月28日香港佳士得拍賣，拍品第3305號。
The Collection of Herman Baer (1898-1977). 另一例雍正青花花澆2006年11月7日於佳士得國王街拍
賣，拍品第196號。
The perfectly balanced form and rich fambé glaze of the present ewer
exemplify the best elements of Yongzheng imperial porcelain. This elegant 來源: 英國赫爾曼‧ 貝爾珍藏 （1898-1977）
and rare form is likely to have been inspired by Middle Eastern metalwares.
A Persian bronze ewer from the 12th century, illustrated by Eva Baer in
Metalwork in Medieval Islamic Art, New York, 1983, p. 96, provides an
example of the kind of vessel that may have stimulated the production of
the current porcelain ewer. Due to trade between China and the Middle
East during the Yuan (1279-1368) and early Ming (1368-1644) dynasties,
many Chinese porcelain vessels began to take their form from Middle
Eastern metal or glass wares. This practice was frst established for Chinese
porcelain wares made specifcally for export to the west but soon became an
integral factor in the porcelain wares made for use at the Chinese imperial
court. The form of the current ewer is a particularly fne and graceful example
of this tradition.

There are several known examples of this form dating to the Yongzheng
period, some with a handle and some without. However, only two examples
with fambé glaze appear to be published; one in the collection of the
National Palace Museum, Beijing, illustrated in Gugong Bowuyuan Cang:
Qingdai Yuyao Ciqi (juan 1 xia), Beijing, 2005, pp. 314-315, no. 143. The other
sold at Sotheby’s, Hong Kong, 21 May 1979, lot 101.

A ewer of this form but with a teadust glaze is also in the collection of the (mark)
Palace Museum, Beijing, illustrated in Monochrome Porcelain, The Complete
Collection of Treasures of the Palace Museum, Hong Kong, 1999, pl. 244.

Also compare to a celadon-glazed ewer of this form but with no handle which
sold at Christie’s Hong Kong, 28 May 2014, lot 3305; and to a blue and white
version sold at Christie’s King Street, 7 November 2006, lot 196.

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