A PAIR OF CHINESE EXPORT REVERSE-PAINTED MIRRORS
A PAIR OF CHINESE EXPORT REVERSE-PAINTED MIRRORS
A PAIR OF CHINESE EXPORT REVERSE-PAINTED MIRRORS
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A PAIR OF CHINESE EXPORT REVERSE-PAINTED MIRRORS

QING DYNASTY, LATE 18TH CENTURY

Details
A PAIR OF CHINESE EXPORT REVERSE-PAINTED MIRRORS
QING DYNASTY, LATE 18TH CENTURY
Each depicting a pheasant perched on rocks amidst flowering branches with two smaller birds, in later giltwood frames, with printed and inscribed Ann and Gordon Getty Collection inventory label
27 1/2 in. (70 cm.) high, 14 1/4 in. (36.5 cm.) wide
Provenance
Acquired from Jeremy Ltd., London by Ann and Gordon Getty in 1982.
Special notice
Please note lots marked with a square will be moved to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn) on the last day of the sale. Lots are not available for collection at Christie’s Fine Art Storage Services until after the third business day following the sale. All lots will be stored free of charge for 30 days from the auction date at Christie’s Rockefeller Center or Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Operation hours for collection from either location are from 9.30 am to 5.00 pm, Monday-Friday. After 30 days from the auction date property may be moved at Christie’s discretion. Please contact Post-Sale Services to confirm the location of your property prior to collection. Lots may not be collected during the day of their move to Christie’s Fine Art Storage Services (CFASS in Red Hook, Brooklyn). Please consult the Lot Collection Notice for collection information.

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Lot Essay

The reverse painted pheasant subjects of the present pair of of mirrors relate closely to those seen in the upper part of two tall pier glasses from the yellow and red drawing rooms of the Chinese pavilion at the royal palace of Drottningholm in Stockholm, Sweden. They, too, present a silver pheasant and a red pheasant, respectively, among flowering peonies and blue and grey colored rocks (T. Audric, Chinese Reverse Glass Painting, 1720-1820, Thesis, 2020, pp. 34-35). The similarities of the figures in the present lot and the mirrors at Drottningholm suggest they may have originated in the same Chinese workshop.
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