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Lot Essay
This censer belongs to a group of champlevé enamel pieces commissioned by the officials in Guangdong as tribute to the Qing court. During the whole of the Qing Dynasty, Guangzhou was the centre of the champlevé enamel production and the quality and quantity of its output was second to none. It has been suggested that the artisans in Gaungdong learned the techniques of champlevé enamel from foreign pieces, and indeed the Guangdong piece share with exmples made in
Limoges and Köln the same pale grey-blue ground. A champlevé enamel bench from the Alfred Morrison Collection, Fonthill House sold in these rooms, 9 November 2004, lot 53.
For a number of similar variations using the same decorative theme but with blade-shaped legs, cf. a fangding censer from the Clague Collection, illustrated in Chinese Cloisonné, pl. 41; an example decorated with abstract taotie-masks illustrated by G. Getz, Catalogue of the Avery Collection of Ancient Chinese Cloisonnés, Museum of the Brooklyn Institute of Arts and Sciences, 1912, no. 81; and another illustrated by Dr Gunhild Gabbert Avitabile, Die Ware aus dem Teufelsland, 1981, no. 79. Compare also a fangding with a waisted neck sold in our Hong Kong Rooms, 29 September 1992, lot 888.
Limoges and Köln the same pale grey-blue ground. A champlevé enamel bench from the Alfred Morrison Collection, Fonthill House sold in these rooms, 9 November 2004, lot 53.
For a number of similar variations using the same decorative theme but with blade-shaped legs, cf. a fangding censer from the Clague Collection, illustrated in Chinese Cloisonné, pl. 41; an example decorated with abstract taotie-masks illustrated by G. Getz, Catalogue of the Avery Collection of Ancient Chinese Cloisonnés, Museum of the Brooklyn Institute of Arts and Sciences, 1912, no. 81; and another illustrated by Dr Gunhild Gabbert Avitabile, Die Ware aus dem Teufelsland, 1981, no. 79. Compare also a fangding with a waisted neck sold in our Hong Kong Rooms, 29 September 1992, lot 888.