Thu, 29th Sep 2022 13:00

DAY 1 - TWO-DAY AUCTION - Fine Chinese Art / 中國藝術集珍 / Buddhism & Hinduism

 
  Lot 90
 

90

A FAMILLE ROSE ‘HUNDRED DEER’ HU-FORM VASE, GUANGXU MARK AND PERIOD
光緒款及年代粉彩百鹿尊

Starting price
€10,000
Estimate
€20,000
 

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Lot details

Opinion: While hu-form vases with the ‘hundred deer’ motif that date from the 19th century frequently appear on the market, they almost always have apocryphal Qianlong reign marks. The present lot, however, with its fine enameling and large deer-head handles, belongs to the extremely rare group of Guangxu mark and period vases with this motif.

China, 1875-1908. The vase of pear shape is finely decorated with a continuous scene of the 'hundred deer' motif depicting a gathering of deer amidst various trees including pine and peach, in a landscape of blue-green rocks and mountains, and a river fed by a waterfall on one side. The neck is flanked by a pair of handles in the form of deer heads with black antlers. The base with a neatly painted iron-red six-character mark da Qing Guangxu nianzhi and of the period.

Provenance: From an old European private collection, assembled before 1965. Thence by descent to the last owner.
Condition: Very good condition with minor old wear, glaze flaking, shallow surface scratches and firing irregularities, a single hairline (approx. 14 cm long) above the foot, possibly original to the firing process.

Weight: 10.3 kg
Dimensions: Height 45.3 cm

The 'hundred deer' motif was very popular, as the landscape depicted contains important symbolic references. The subject of deer has a long history in Chinese art, as it refers to the rebus where the Chinese word for 'deer' is a homophone for 'emolument' or 'civil service salary'. The 'hundred deer' motif therefore represents the ultimate success, a career in government service in Imperial China.

Literature comparison:
A Qianlong-marked vase of closely related size (45 cm) in the Beijing Palace Museum is illustrated in The Complete Collection of Treasures of the Palace Museum - 39 - Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 85. Other examples include a pair in the Shanghai Museum, illustrated in Selected Ceramics from the Collection of Mr. and Mrs. J. M. Hu, Shanghai, 1989, pl. 67; one in the Nanjing Museum, included in the joint exhibition with The Chinese University of Hong Kong, Qing Imperial Porcelain, 1995, no. 86; and another from the Grandidier Collection in the Musée Guimet, Paris, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1981, vol. 7, pl. 190.

Auction result comparison:
Type: Closely related
Auction: Christie’s New York, 23 March 2018, lot 834
Price: USD 47,500 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing
Description: An unusual famille rose ‘hundred deer’ hu-form vase, Guangxu six-character mark in iron-red and of the period
Expert remark: Compare the near identical form and decoration. Note the similar size (37.4 cm) and that this example also bears the rare Guangxu mark.



光緒款及年代粉彩百鹿尊
中國,1875-1908年。圓口,垂腹,圈足。通體施白釉,肩部飾鹿首耳。器身繪粉彩山水苑百鹿圖。畫面中山石、樹葉多以綠彩繪成,施彩濃厚;群鹿、枝幹以赭、黑等彩作畫,群鹿活現,枝幹蒼勁,筆繪生動細膩。底書“大清光緒年製”六字篆書款。

專家注釋:十九世紀的粉彩百鹿尊雖然經常出現,但大多都是杜撰乾隆款。此拍品琺瑯精美,鹿首耳,極爲稀有。

來源:歐洲私人舊藏,購於1965年,保存到現任藏家。
品相:品相極好,有輕微磨損、釉料剝落、表面淺劃痕和燒製不規則,足部上方有一條冲線(約 14 厘米長),可能是燒製過程中產生的。

重量:10.3 公斤
尺寸:高45.3 厘米

以鹿為紋飾在中國藝術中有著悠久的歷史,鹿是長壽的仙獸,自然也受到歷代帝王的青睞,這在皇宮常見的百鹿尊上可見一斑。

文獻比較:
一件尺寸非常相近乾隆時期的花瓶(45 厘米),收藏於北京故宮博物院,見《故宮博物院藏文物珍品全集‧琺瑯彩‧粉彩》,香港,1999年,圖85。其他例子包括上海博物館的一對花瓶,見《胡惠春先生,王華雲女士捐贈瓷器精品選》,上海,1989年,頁67;另一件收藏於南京博物院,見香港中文大學的聯合展覽《淸瓷萃珍 : 淸代康雍乾官窯瓷器》,1995年,編號86;還有一件來自吉美國立亞洲藝術博物館的Grandidier收藏,見《Oriental Ceramics, The World's Great Collections》,東京,1981,卷7,頁190。

拍賣結果比較:
形制:非常相近
拍賣:紐約佳士得,2018年3月23日,lot 834
價格:USD 47,500(相當於今日EUR 52,500
描述:光緒款及年代粉彩百鹿尊
專家評論:比較幾乎相同外型和裝飾。請注意尺寸較小 (37.4 厘米),以及罕見的底部光緒款識。

 
 

Opinion: While hu-form vases with the ‘hundred deer’ motif that date from the 19th century frequently appear on the market, they almost always have apocryphal Qianlong reign marks. The present lot, however, with its fine enameling and large deer-head handles, belongs to the extremely rare group of Guangxu mark and period vases with this motif.

China, 1875-1908. The vase of pear shape is finely decorated with a continuous scene of the 'hundred deer' motif depicting a gathering of deer amidst various trees including pine and peach, in a landscape of blue-green rocks and mountains, and a river fed by a waterfall on one side. The neck is flanked by a pair of handles in the form of deer heads with black antlers. The base with a neatly painted iron-red six-character mark da Qing Guangxu nianzhi and of the period.

Provenance: From an old European private collection, assembled before 1965. Thence by descent to the last owner.
Condition: Very good condition with minor old wear, glaze flaking, shallow surface scratches and firing irregularities, a single hairline (approx. 14 cm long) above the foot, possibly original to the firing process.

Weight: 10.3 kg
Dimensions: Height 45.3 cm

The 'hundred deer' motif was very popular, as the landscape depicted contains important symbolic references. The subject of deer has a long history in Chinese art, as it refers to the rebus where the Chinese word for 'deer' is a homophone for 'emolument' or 'civil service salary'. The 'hundred deer' motif therefore represents the ultimate success, a career in government service in Imperial China.

Literature comparison:
A Qianlong-marked vase of closely related size (45 cm) in the Beijing Palace Museum is illustrated in The Complete Collection of Treasures of the Palace Museum - 39 - Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 85. Other examples include a pair in the Shanghai Museum, illustrated in Selected Ceramics from the Collection of Mr. and Mrs. J. M. Hu, Shanghai, 1989, pl. 67; one in the Nanjing Museum, included in the joint exhibition with The Chinese University of Hong Kong, Qing Imperial Porcelain, 1995, no. 86; and another from the Grandidier Collection in the Musée Guimet, Paris, illustrated in Oriental Ceramics, The World's Great Collections, Tokyo, 1981, vol. 7, pl. 190.

Auction result comparison:
Type: Closely related
Auction: Christie’s New York, 23 March 2018, lot 834
Price: USD 47,500 or approx. EUR 52,500 converted and adjusted for inflation at the time of writing
Description: An unusual famille rose ‘hundred deer’ hu-form vase, Guangxu six-character mark in iron-red and of the period
Expert remark: Compare the near identical form and decoration. Note the similar size (37.4 cm) and that this example also bears the rare Guangxu mark.



光緒款及年代粉彩百鹿尊
中國,1875-1908年。圓口,垂腹,圈足。通體施白釉,肩部飾鹿首耳。器身繪粉彩山水苑百鹿圖。畫面中山石、樹葉多以綠彩繪成,施彩濃厚;群鹿、枝幹以赭、黑等彩作畫,群鹿活現,枝幹蒼勁,筆繪生動細膩。底書“大清光緒年製”六字篆書款。

專家注釋:十九世紀的粉彩百鹿尊雖然經常出現,但大多都是杜撰乾隆款。此拍品琺瑯精美,鹿首耳,極爲稀有。

來源:歐洲私人舊藏,購於1965年,保存到現任藏家。
品相:品相極好,有輕微磨損、釉料剝落、表面淺劃痕和燒製不規則,足部上方有一條冲線(約 14 厘米長),可能是燒製過程中產生的。

重量:10.3 公斤
尺寸:高45.3 厘米

以鹿為紋飾在中國藝術中有著悠久的歷史,鹿是長壽的仙獸,自然也受到歷代帝王的青睞,這在皇宮常見的百鹿尊上可見一斑。

文獻比較:
一件尺寸非常相近乾隆時期的花瓶(45 厘米),收藏於北京故宮博物院,見《故宮博物院藏文物珍品全集‧琺瑯彩‧粉彩》,香港,1999年,圖85。其他例子包括上海博物館的一對花瓶,見《胡惠春先生,王華雲女士捐贈瓷器精品選》,上海,1989年,頁67;另一件收藏於南京博物院,見香港中文大學的聯合展覽《淸瓷萃珍 : 淸代康雍乾官窯瓷器》,1995年,編號86;還有一件來自吉美國立亞洲藝術博物館的Grandidier收藏,見《Oriental Ceramics, The World's Great Collections》,東京,1981,卷7,頁190。

拍賣結果比較:
形制:非常相近
拍賣:紐約佳士得,2018年3月23日,lot 834
價格:USD 47,500(相當於今日EUR 52,500
描述:光緒款及年代粉彩百鹿尊
專家評論:比較幾乎相同外型和裝飾。請注意尺寸較小 (37.4 厘米),以及罕見的底部光緒款識。

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Auction: DAY 1 - TWO-DAY AUCTION - Fine Chinese Art / 中國藝術集珍 / Buddhism & Hinduism, Thu, 29th Sep 2022

Galerie Zacke is honored to present Fine Chinese Art, Buddhism & Hinduism, a two-day premium auction. The flagship auction will happen on Day 1 of the sale, showcasing 267 items, including several masterpieces from notable collections.

Extensively researched, the two-day auction features 151 named provenances. Highlights include important names in the industry, such as Linda Wrigglesworth, Susan Chen, Charlotte Horstmann, Hisazo Nagatani, Dr. Wou Kiuan, E & J Frankel, Robert Kleiner, Marchant & Son, Sam Bernstein, Sydney Moss, Hugh Moss, Roger Keverne, A & J Speelman, Hedda and Lutz Franz, the Bernheimer Collection, Leo Diamond, Acher Eskenasy, and Captain Charles Oswald Liddell. There are also more than 20 museum deaccensions from institutions around the world. 

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