拍品 20
20
A RARE AND FINELY-DECORATED PAINTED ENAMEL 'PEONY'-FORM BOWL AND COVER
THE SOAME JENYNS COLLECTION OF CHINESE AND JAPANESE ART (LOTS 20-43)Soame Jenyns As I Remember HimBy James SpencerConsultant and Former Curator of The Chang Foundation, TaipeiLife was not all roses for the most junior member of the Oriental Department at Christie’s in the early 1970s. Once or twice a month, however, there was a real treat. Our consultant, Mr Soame Jenyns, formerly of the British Museum, came on one of his regular visits. Soame, who soon became a friend and an ally, was already a legend in the field of Oriental art and the author of some of the most definitive books on Chinese and Japanese ceramics. On his visits to Christie’s he was shown any obscure or difficult objects on which a second opinion was needed. In this he excelled. His career at the British Museum, in addition to his years in China and his visits to Japan, had given him enough experience and confidence to pass judgement on almost anything Oriental that was put in front of him. As much as anyone I had ever known, Soame had an ‘eye’ for Oriental art, an ability to discern the good from the ordinary, the superlative from the good and the really rare from the merely uncommon. Soame often said that he thought his former ‘chief’ at the British Museum, R.L. Hobson, never had a sense of beauty for things Oriental, but treated this vast subject as an intellectual exercise in dating and cataloguing. The same could never be said of Soame himself. I particularly remember him being very excited about a damaged Chinese famille rose porcelain kendi (jug), circa 1730 which he bought and later gave to the British Museum. In the last forty-seven years of handling uncounted numbers of ceramics, I have never seen another example half its equal in brilliance of design and it remains for me the ‘king’ of all kendis.Equally accurate and more significant was an opinion Soame expressed in the early 1950s to the curator of one of the most important Japanese museums. In a friendly atmosphere he had been shown around the museum by the curator and his staff and had rightly praised some of the most significant exhibits. Then they came to a superb pair of red, blue and gold-decorated Imari vases. The curator explained that these were ‘national treasures’ and among the finest examples of Japanese ceramic art. Soame agreed completely about their quality, then added, ‘but you do realise they are Chinese don’t you?’ After that there was a tangible change in atmosphere and the visit was concluded politely but quickly. From then until the late 1960s, Soame had no contact with this museum. Then a letter arrived, thanking Soame for his opinion on the Imari vases, acknowledging they now agreed with it and welcoming him to pay a return visit. One of the most exciting events for me in the early 1970s was paying a visit to Soame’s house and seeing his own collection. I was surprised at the high proportion of his collection that was Japanese, but Soame explained that in the 1930s, 40s and 50s, Japanese art was generally more affordable than Chinese in England because there were fewer collectors of it. In his collection almost everything was in one way or another rare and interesting. There was literally nothing second-rate; it must have been weeded out long ago. Soame Jenyns was, in my view, the best type of pre-1914 Englishman and this aspect of his character was the one that came across on one’s first encounter with him. However, I think there was another dimension to Soame, which some of his acquaintances never knew. Perhaps Soame’s most lasting monument will be his works on ceramics, not necessarily easy to read for a beginner, but essential for the serious student. Out of print, these have changed hands for over thirty times their original cost, clear proof of their enduring practical value. In addition to these Chinese ceramics and works of art from the collection in this sale, Christie's is delighted to offer The Soame Jenyns Collection of Japanese and Chinese Art in a single owner online auction from the 1-8 November 2018.
清十八世紀 銅胎畫琺瑯牧丹紋蓋碗來源: 英國藏家Alfred Clark伉儷(1873-1950 及 1890/1-1976)舊藏, 藏品編號37英國學者詹甯斯(1904-1976)舊藏, 家傳至今展覽:倫敦皇家美術學院舉辦「中國藝術國際展覽」, 1935-1936年, 編號2590, 圖錄編號2195倫敦東方陶瓷學會「The Arts of the Ch'ing Dynasty」, 1964年, 編號337我記憶中的詹甯斯 史彬士 藝術顧問、臺北鴻禧美術館前館長 1970年代初，年資尚淺的我任職佳士得東方藝術部門，人生非如康莊大道。時任我們顧問的詹甯斯先生，曾受聘於大英博物館，對中國文化瞭如指掌，會定期來訪賜教。蒙他誘導，每隔一或半月，荊棘途上偶現曙光。 我和詹甯斯遂成朋友，在職場上亦儼如同盟。號稱東方藝術界傳奇的他，擅論中國及日本陶瓷，著作享譽業界。他每大駕光臨，都會為一些有待解疑釋結的物品提供意見。明辨善鑑的他，勝任此職有餘。詹氏在大英博物館工作多年，加上曾旅居中日，經驗及自信俱全，對眼前再棘手的東方藝術難題都應付自如。我平生所遇者眾，惟詹氏對東方藝術最具慧眼，可從俗品中篩選良具，從佳器中細挑菁華，從罕見中辨識稀世。 詹甯斯常言其大英博物館主任霍普遜對東方藝術欠缺審美觸角，諸如瓶器一環，僅流於斷代及紀錄之知識層面。詹氏本人則迥然不同。猶記得他曾遇上一把約製於1730年的中國粉彩軍持，瓶身雖破，卻不減其興致，雀躍購入後再贈大英博物館。過往47年我研究過無數瓷器佳品，惟可與該壺匹敵者絕無，它至今仍是我所見過的執壺之王。 詹甯斯鑑識藝術一貫準繩，甚為經典之一回，可追溯1950年代初，他與日本某重要美術館館長之會面。隨館長及團隊輕鬆導覽，詹氏細看館藏並大讚若干珍品。然後他們朝向一對夾雜紅、藍、金色釉彩的伊萬里瓶，館長稱之為非凡國寶，屬日本瓷器典範。詹氏和應兩瓶實屬曠世巨作，兼說：「這是中國瓷器，難道你不知道？」此話一出，氣氛頓變，眾人雖依樣恭敬，訪行卻匆匆作結。自此至1960年代，詹氏與美術館再無聯繫。直到某天，該館去信詹氏，感謝及贊同他當日的真知灼見，並誠邀他重遊舊地。 1970年初，我有幸參觀詹家大宅，欣喜不已。出乎意料，詹氏收藏泰半為日本藝術。他解說早在1930、1940乃至1950年代，日本藝術售價普遍比中國藝術相宜，前者在英國的收藏家較少，價格不易波動。詹氏庋藏絶無二等，一律珍稀，饒富趣味，去蕪存菁。 依我愚見，詹甯斯不啻為戰前英國國民的表表者。他予人的第一印象，總離不開這副時代精神。我亦察覺，他同時隱藏另一鮮為人知的面貌。 詹甯斯所遺貢良多，最為不朽者，莫過於其瓷器專論，初學者不免略嫌艱澀，熱衷者則視如甘露。絕版多時，千金翰墨已升值三十倍，足證其殿堂地位。除了本次拍賣的中國瓷器及藝術精品，佳士得也非常榮幸將於2018年11月1-8日,舉行網上專場拍賣, 呈獻詹甯斯舊藏之日本及中國藝術精品。

18TH CENTURY

細節
清十八世紀 銅胎畫琺瑯牧丹紋蓋碗

來源:
英國藏家Alfred Clark伉儷(1873-1950 及 1890/1-1976)舊藏, 藏品編號37
英國學者詹甯斯(1904-1976)舊藏, 家傳至今

展覽:
倫敦皇家美術學院舉辦「中國藝術國際展覽」, 1935-1936年, 編號2590, 圖錄編號2195
倫敦東方陶瓷學會「The Arts of the Ch'ing Dynasty」, 1964年, 編號337

我記憶中的詹甯斯
史彬士
藝術顧問、臺北鴻禧美術館前館長

1970年代初，年資尚淺的我任職佳士得東方藝術部門，人生非如康莊大道。時任我們顧問的詹甯斯先生，曾受聘於大英博物館，對中國文化瞭如指掌，會定期來訪賜教。蒙他誘導，每隔一或半月，荊棘途上偶現曙光。

我和詹甯斯遂成朋友，在職場上亦儼如同盟。號稱東方藝術界傳奇的他，擅論中國及日本陶瓷，著作享譽業界。他每大駕光臨，都會為一些有待解疑釋結的物品提供意見。明辨善鑑的他，勝任此職有餘。詹氏在大英博物館工作多年，加上曾旅居中日，經驗及自信俱全，對眼前再棘手的東方藝術難題都應付自如。我平生所遇者眾，惟詹氏對東方藝術最具慧眼，可從俗品中篩選良具，從佳器中細挑菁華，從罕見中辨識稀世。

詹甯斯常言其大英博物館主任霍普遜對東方藝術欠缺審美觸角，諸如瓶器一環，僅流於斷代及紀錄之知識層面。詹氏本人則迥然不同。猶記得他曾遇上一把約製於1730年的中國粉彩軍持，瓶身雖破，卻不減其興致，雀躍購入後再贈大英博物館。過往47年我研究過無數瓷器佳品，惟可與該壺匹敵者絕無，它至今仍是我所見過的執壺之王。

詹甯斯鑑識藝術一貫準繩，甚為經典之一回，可追溯1950年代初，他與日本某重要美術館館長之會面。隨館長及團隊輕鬆導覽，詹氏細看館藏並大讚若干珍品。然後他們朝向一對夾雜紅、藍、金色釉彩的伊萬里瓶，館長稱之為非凡國寶，屬日本瓷器典範。詹氏和應兩瓶實屬曠世巨作，兼說：「這是中國瓷器，難道你不知道？」此話一出，氣氛頓變，眾人雖依樣恭敬，訪行卻匆匆作結。自此至1960年代，詹氏與美術館再無聯繫。直到某天，該館去信詹氏，感謝及贊同他當日的真知灼見，並誠邀他重遊舊地。

1970年初，我有幸參觀詹家大宅，欣喜不已。出乎意料，詹氏收藏泰半為日本藝術。他解說早在1930、1940乃至1950年代，日本藝術售價普遍比中國藝術相宜，前者在英國的收藏家較少，價格不易波動。詹氏庋藏絶無二等，一律珍稀，饒富趣味，去蕪存菁。

依我愚見，詹甯斯不啻為戰前英國國民的表表者。他予人的第一印象，總離不開這副時代精神。我亦察覺，他同時隱藏另一鮮為人知的面貌。

詹甯斯所遺貢良多，最為不朽者，莫過於其瓷器專論，初學者不免略嫌艱澀，熱衷者則視如甘露。絕版多時，千金翰墨已升值三十倍，足證其殿堂地位。




除了本次拍賣的中國瓷器及藝術精品，佳士得也非常榮幸將於2018年11月1-8日,舉行網上專場拍賣, 呈獻詹甯斯舊藏之日本及中國藝術精品。
5 in. (12.6 cm.) diam.
來源
Collection of Mr. & Mrs. Alfred Clark (1873-1950 and 1890/1-1976), no. 37.
Collection of the late Soame Jenyns (1904-1976), then by descent within the family.
出版
International Exhibition of Chinese Art: Catalogue and Illustrated Supplement, London, 1935-1936, p. 187, no. 2195 and illustrated p. 203, no. 2195.
Transactions of the Oriental Ceramics Society, 1963-64, vol. 35, London, 1965, p. 71, no. 337 and illustrated plate 109, no. 337.
Soame Jenyns and Margaret Jourdain, Chinese Export Art in the Eighteenth Century, London, 1967, p. 132, no. 123.
展覽
International Exhibition of Chinese Art, Royal Academy of Arts, London, 1935-1936, cat. no. 2195, ser. no. 2590
The Arts of the Ch'ing Dynasty, Oriental Ceramics Society Exhibition, London, 1964, no. 337

榮譽呈獻

Samantha Yuen
Samantha Yuen
+44 (0)20 7104 5791

拍品專文

Painted enamels were known as ‘foreign enamels’. The technique was developed in Europe in Flanders at the borders between Belgium, France and Netherlands. In the late 15th century the town Limoges, in west central France, became the centre for enamel production. As the maritime trade flourished between East and West, enamels were introduced to China via the trading port Canton (Guangzhou). The Qing court then set up Imperial ateliers to produce enamelled metal wares in the Kangxi period (1662-1722). In the early period, due to insufficient technical knowledge, only small vessels were made, with limited palette and murky colours. By the late Kangxi period, a wider range of brighter and purer colours became available, resulting in clearer decorations and a higher level of technical sophistication.

The exceptional quality of painting on the current bowl and cover indicates that it is very likely to have been manufactured in the Imperial Palace Workshops in the Forbidden City in Beijing. Soame Jenyns himself notes this point in his publication co-authored with Margaret Jourdain, Chinese Export Art in the Eighteenth Century, 1967, p. 132, lot 123, where the current bowl is illustrated and captioned 'probably Peking work'. Archival documents indicate that certain painted enamel wares were gifted to the court by the Guangdong Maritime Customs Office in the early years of the Qianlong reign (1736-1695) and that these pieces had no marks. Is it noted that painted enamel wares from later in the period were made with Imperial reign marks.

The treatment of the two-tone turquoise and green-enamelled leaves displayed on the current bowl are reminiscent of Yongzheng period (1723-1735) enamels, particularly to peonies depicted on imperial porcelain wares. See for example a fine and rare famille rose 'peony' bowl of Yongzheng mark and period, sold at Christie's Hong Kong, 29 April 2002, lot 567.

These factors would place the current bowl in the early part of the 18th century and more specifically to the late Yongzheng-early Qianlong period.

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