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VERS 1720
细节
PAIRE DE VASES COUVERTS D'ÉPOQUE RÉGENCE
VERS 1720
En porcelaine de Chine Famille verte, dynastie Qing, époque Kangxi (1662-1722) et ornementation de bronze ciselé et doré, le couvercle sommé d'une prise en grenade éclatée, le vase à décor de palais dans des cartouches polylobés animés de fleurs et personnages, flanqué de deux anses en agrafes ajourées d’entrelacs feuillagés sommés d'une coquille et centré d'un mascaron, le col et la base circulaires godronnés
H. 41 cm. (16 in.) ; D. 29,5 cm. (11 ¾ in.)
VERS 1720
En porcelaine de Chine Famille verte, dynastie Qing, époque Kangxi (1662-1722) et ornementation de bronze ciselé et doré, le couvercle sommé d'une prise en grenade éclatée, le vase à décor de palais dans des cartouches polylobés animés de fleurs et personnages, flanqué de deux anses en agrafes ajourées d’entrelacs feuillagés sommés d'une coquille et centré d'un mascaron, le col et la base circulaires godronnés
H. 41 cm. (16 in.) ; D. 29,5 cm. (11 ¾ in.)
来源
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965), Hôtel Blumenthal, Paris, coursive du grand escalier ;
Puis par descendance.
Puis par descendance.
出版
Bibliographie comparative :
G. Wilson, Decorative Arts in the J. Paul Getty Museum, Los Angeles, 1977, p. 12, n. 10.
D.F. Lunsingh Scheurleer, Chinesisches und Japanisches Porzellan in Europäischen Fassungen, Berlin, 1980, p. 252-253, nos. 158a et 159b.
P. Kjellberg, Objets montés du Moyen-Âge à nos jours, Paris, 2000, p. 40.
G. et R. Wannenes, Les bronzes ornementaux et les objets montés, Londres, 2004, p. 41.
B. Pallot et al., Le Mobilier du musée Jacquemart-André, Dijon, 2006, p. 45.
G. Wilson, Mounted Oriental Porcelain in the J. Paul Getty Museum, Los Angeles, 2006, p. 18, no.6.
S. Castelluccio, Le goût pour les porcelaines de Chine et du Japon, Paris, 2013, p. 30
P. Izarn, Les porcelaines montées au XVIIIe siècle, Paris, 2015, p. 18.
G. Wilson, Decorative Arts in the J. Paul Getty Museum, Los Angeles, 1977, p. 12, n. 10.
D.F. Lunsingh Scheurleer, Chinesisches und Japanisches Porzellan in Europäischen Fassungen, Berlin, 1980, p. 252-253, nos. 158a et 159b.
P. Kjellberg, Objets montés du Moyen-Âge à nos jours, Paris, 2000, p. 40.
G. et R. Wannenes, Les bronzes ornementaux et les objets montés, Londres, 2004, p. 41.
B. Pallot et al., Le Mobilier du musée Jacquemart-André, Dijon, 2006, p. 45.
G. Wilson, Mounted Oriental Porcelain in the J. Paul Getty Museum, Los Angeles, 2006, p. 18, no.6.
S. Castelluccio, Le goût pour les porcelaines de Chine et du Japon, Paris, 2013, p. 30
P. Izarn, Les porcelaines montées au XVIIIe siècle, Paris, 2015, p. 18.
更多详情
A PAIR OF REGENCE ORMOLU-MOUNTED CHINESE PORCELAIN COVERED VASES, CIRCA 1720
Enamelled in green, coral-red, yellow and aubergine tones characteristic of the celebrated ‘famille verte’ style, the porcelain of these covered vases was produced in China during the Kangxi period (1662–1722). It is decorated with the Hundred Antiques and the Four Accomplishments (playing the qin musical instrument, board games, painting and calligraphy). When these vases reached France, probably through the French East India Company, they appealed greatly to dealers and collectors, who had them mounted in gilt-bronze according to the taste of the period.
The marchands-merciers played an essential role in this process and acted as intermediaries, not only between the merchants dealing in Asian porcelain and the bronziers, but also directly with clients commissioning such works.
Objects mounted in gilt-bronze multiplied during the Régence period, having first appeared at the end of Louis XIV’s reign as a replacement for silver mounts. Whereas works of art had previously been mounted by goldsmiths, often of German origin, from the late seventeenth century onwards this task was entrusted to French bronziers (bronze makers). This pair of vases thus incorporates ornamental motifs inherited from silverwork: lambrequins, gadroons, strapwork clasps, acanthus leaves and female masks.
Designed to enhance the brilliance of the porcelain, the mounts are restrained in their application, being limited to a base, handles and a few borders accentuating the neck and cover.
Numerous other vases are known with nearly identical porcelain decoration and gilt-bronze mounts displaying the same characteristics as the present pair: strapwork handles terminating in female masks, bead-and-reel or gadrooned friezes, and a burst pomegranate finial. The closest comparable examples may be listed as follows:
Museum collections:
- A pair in the Residenzmuseum, Munich (inv. Res. Mu KVb 286⁄87).
- A pair formerly at the J. Paul Getty Museum, Malibu (G. Wilson, op. cit., p.18, no.6).
- A pair in the Musée Jacquemart-André, Paris (inv. D.68).
Auction records:
- A virtually identical vase from the Saint-Sulpice Collection, Sotheby's, Paris, 25 September 2024, lot 47.
- One vase from a nearly identical pair sold at Christie's, Paris, 6 November 2015, lot 826 (its companion being a nineteenth-century replacement).
- A single vase sold by Libert & Associés, 7 May 2006, lot 174.
- A single vase sold by Tajan, 16 December 2003, lot 19.
- A pair formerly at the Château de Thoiry, sold by Ader Picard Tajan, 15 April 1989, lot 25.
- A pair from the collection of Jaime Ortiz Patiño, sold at Sotheby’s New York, 25 April 1998, lot 239.
- A pair sold at the Palais Galliera, 10 December 1971, lot 11, from the Louis Guiraud Collection and various owners.
- A single vase from the celebrated Jacques Doucet Collection, Galerie Georges Petit, Paris, 5–8 June 1917, lot 209.
The popularity of this model endured well into the nineteenth century, to the extent that it was revived by the celebrated Parisian firm L'Escalier de Cristal. One such reproduction was sold by Mercier-Velliet on 24 April 1988.
Enamelled in green, coral-red, yellow and aubergine tones characteristic of the celebrated ‘famille verte’ style, the porcelain of these covered vases was produced in China during the Kangxi period (1662–1722). It is decorated with the Hundred Antiques and the Four Accomplishments (playing the qin musical instrument, board games, painting and calligraphy). When these vases reached France, probably through the French East India Company, they appealed greatly to dealers and collectors, who had them mounted in gilt-bronze according to the taste of the period.
The marchands-merciers played an essential role in this process and acted as intermediaries, not only between the merchants dealing in Asian porcelain and the bronziers, but also directly with clients commissioning such works.
Objects mounted in gilt-bronze multiplied during the Régence period, having first appeared at the end of Louis XIV’s reign as a replacement for silver mounts. Whereas works of art had previously been mounted by goldsmiths, often of German origin, from the late seventeenth century onwards this task was entrusted to French bronziers (bronze makers). This pair of vases thus incorporates ornamental motifs inherited from silverwork: lambrequins, gadroons, strapwork clasps, acanthus leaves and female masks.
Designed to enhance the brilliance of the porcelain, the mounts are restrained in their application, being limited to a base, handles and a few borders accentuating the neck and cover.
Numerous other vases are known with nearly identical porcelain decoration and gilt-bronze mounts displaying the same characteristics as the present pair: strapwork handles terminating in female masks, bead-and-reel or gadrooned friezes, and a burst pomegranate finial. The closest comparable examples may be listed as follows:
Museum collections:
- A pair in the Residenzmuseum, Munich (inv. Res. Mu KVb 286⁄87).
- A pair formerly at the J. Paul Getty Museum, Malibu (G. Wilson, op. cit., p.18, no.6).
- A pair in the Musée Jacquemart-André, Paris (inv. D.68).
Auction records:
- A virtually identical vase from the Saint-Sulpice Collection, Sotheby's, Paris, 25 September 2024, lot 47.
- One vase from a nearly identical pair sold at Christie's, Paris, 6 November 2015, lot 826 (its companion being a nineteenth-century replacement).
- A single vase sold by Libert & Associés, 7 May 2006, lot 174.
- A single vase sold by Tajan, 16 December 2003, lot 19.
- A pair formerly at the Château de Thoiry, sold by Ader Picard Tajan, 15 April 1989, lot 25.
- A pair from the collection of Jaime Ortiz Patiño, sold at Sotheby’s New York, 25 April 1998, lot 239.
- A pair sold at the Palais Galliera, 10 December 1971, lot 11, from the Louis Guiraud Collection and various owners.
- A single vase from the celebrated Jacques Doucet Collection, Galerie Georges Petit, Paris, 5–8 June 1917, lot 209.
The popularity of this model endured well into the nineteenth century, to the extent that it was revived by the celebrated Parisian firm L'Escalier de Cristal. One such reproduction was sold by Mercier-Velliet on 24 April 1988.
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA