拍品信息
拍品名称
清乾隆 銅胎畫琺琅花卉紋瓶 | A VERY RARE BEIJING ENAMEL YELLOW-GROUND 'PEONY' BOTTLE VASE
年代
Qianlong four-character mark and of the period
起拍价
GBP 6,000
估值区间
GBP 6000 - 8000
尺寸
未知
品相
未知
更多信息
Qianlong four-character mark and of the period
The pear-shaped body decorated with three registers of floral blossoms borne on scrolling leafy stems, rising to a long waisted neck encircled by a band of upright plantain leaves beneath a further band of floral heads, all reserved on a vibrant yellow ground. 18.3cm (7 1/4in) high.
Footnotes
清乾隆 銅胎畫琺琅花卉紋瓶
「乾隆年製」楷書款
Provenance: according to the owner, acquired circa 1980s from Sydney L. Moss Ltd., London
來源：据持有者述，約1980年代獲得于倫敦古董商Sydney L. Moss Ltd.
Jeremy Mason is a noted bibliophile and a retired dealer in Chinese and Japanese art who started his career at Christie's in the late 1960s, particularly known for his collection of Oscar Wilde books and ephemera, sold at Bonhams London in February 2026.
The present vase is a particularly rare example of Qianlong period Beijing Imperial painted enamel, notable for its Imperial yellow ground and the exceptionally restrained yet complex arrangement of its decoration. The combination of bold floral motifs, carefully controlled palette and expansive areas of yellow ground appears to be distinctive among surviving examples, giving the vase a strong sense of visual clarity and refinement.
The Imperial workshops for painted enamel were established in Beijing during the Kangxi reign, following the introduction of European enamel-painting techniques to the Qing Court through Jesuits. Early Kangxi examples are characterised by relatively bold compositions, strong contrasts of colour and a limited but vivid palette, often set against yellow grounds. See for example a painted enamel vase with peony designs on yellow-ground shaped panel, Kangxi four-character mark and of the period, in the Qing Court Collection at the Palace Museum, Beijing, illustrated in , vol.5, Beijing, 2011, p.32, no.5. See also a painted enamel flower basket with peony design, Kangxi four character mark and of the period, in the Qing Court Collection, illustrated in ., no.30. The present vase may be understood in this context, harking back to the boldness, simplicity of composition and concentrated palette of early Kangxi painted enamels, while demonstrating the greater technical refinement achieved by the Qianlong period.
By the Qianlong reign, Beijing painted enamel had developed into a highly sophisticated Imperial art form, with increasingly precise brushwork, subtle modelling and more elaborate decorative schemes. Nevertheless, the present vase deliberately eschews the densely worked compositions frequently encountered on Qianlong period painted enamels, instead retaining the directness and visual strength associated with the earlier Kangxi tradition. See for example, a circular painted enamel box and cover with lotus on yellow ground, Qianlong four-character mark and of the period, in the Qing Court Collection, illustrated in ., no.89. See also two yellow-ground painted enamel teapots and covers, Qianlong four-character marks and of the period, in the Qing Court Collection, illustrated in ., nos.106-107. Compare the mark with a similar one on a painted enamel 'crackled ice and plum blossom' vase, Qianlong four-character mark and of the period, illustrated in no.62.
The peony was among the most auspicious flowers in the Chinese decorative tradition, symbolising wealth, honour and prosperity and commonly known as the (富貴花), the 'flower of wealth and honour'. Its luxuriant form and sumptuous blossoms also made it particularly appropriate to Imperial decoration. On the present vase, the peony is rendered in a manner that combines the auspicious symbolism of the flower with the highly controlled aesthetic of Imperial painted enamel, resulting in a decoration that is both visually restrained and rich in meaning.
See an Imperial Beijing enamel octagonal beaker vase, with flowers on a yellow ground, Qianlong four-character mark and of the period, which was sold at Christie's Hong Kong, 30 0ctober 2001, lot 643.
The pear-shaped body decorated with three registers of floral blossoms borne on scrolling leafy stems, rising to a long waisted neck encircled by a band of upright plantain leaves beneath a further band of floral heads, all reserved on a vibrant yellow ground. 18.3cm (7 1/4in) high.
Footnotes
清乾隆 銅胎畫琺琅花卉紋瓶
「乾隆年製」楷書款
Provenance: according to the owner, acquired circa 1980s from Sydney L. Moss Ltd., London
來源：据持有者述，約1980年代獲得于倫敦古董商Sydney L. Moss Ltd.
Jeremy Mason is a noted bibliophile and a retired dealer in Chinese and Japanese art who started his career at Christie's in the late 1960s, particularly known for his collection of Oscar Wilde books and ephemera, sold at Bonhams London in February 2026.
The present vase is a particularly rare example of Qianlong period Beijing Imperial painted enamel, notable for its Imperial yellow ground and the exceptionally restrained yet complex arrangement of its decoration. The combination of bold floral motifs, carefully controlled palette and expansive areas of yellow ground appears to be distinctive among surviving examples, giving the vase a strong sense of visual clarity and refinement.
The Imperial workshops for painted enamel were established in Beijing during the Kangxi reign, following the introduction of European enamel-painting techniques to the Qing Court through Jesuits. Early Kangxi examples are characterised by relatively bold compositions, strong contrasts of colour and a limited but vivid palette, often set against yellow grounds. See for example a painted enamel vase with peony designs on yellow-ground shaped panel, Kangxi four-character mark and of the period, in the Qing Court Collection at the Palace Museum, Beijing, illustrated in , vol.5, Beijing, 2011, p.32, no.5. See also a painted enamel flower basket with peony design, Kangxi four character mark and of the period, in the Qing Court Collection, illustrated in ., no.30. The present vase may be understood in this context, harking back to the boldness, simplicity of composition and concentrated palette of early Kangxi painted enamels, while demonstrating the greater technical refinement achieved by the Qianlong period.
By the Qianlong reign, Beijing painted enamel had developed into a highly sophisticated Imperial art form, with increasingly precise brushwork, subtle modelling and more elaborate decorative schemes. Nevertheless, the present vase deliberately eschews the densely worked compositions frequently encountered on Qianlong period painted enamels, instead retaining the directness and visual strength associated with the earlier Kangxi tradition. See for example, a circular painted enamel box and cover with lotus on yellow ground, Qianlong four-character mark and of the period, in the Qing Court Collection, illustrated in ., no.89. See also two yellow-ground painted enamel teapots and covers, Qianlong four-character marks and of the period, in the Qing Court Collection, illustrated in ., nos.106-107. Compare the mark with a similar one on a painted enamel 'crackled ice and plum blossom' vase, Qianlong four-character mark and of the period, illustrated in no.62.
The peony was among the most auspicious flowers in the Chinese decorative tradition, symbolising wealth, honour and prosperity and commonly known as the (富貴花), the 'flower of wealth and honour'. Its luxuriant form and sumptuous blossoms also made it particularly appropriate to Imperial decoration. On the present vase, the peony is rendered in a manner that combines the auspicious symbolism of the flower with the highly controlled aesthetic of Imperial painted enamel, resulting in a decoration that is both visually restrained and rich in meaning.
See an Imperial Beijing enamel octagonal beaker vase, with flowers on a yellow ground, Qianlong four-character mark and of the period, which was sold at Christie's Hong Kong, 30 0ctober 2001, lot 643.
常见问题
这件清乾隆 銅胎畫琺琅花卉紋瓶 | A VERY RARE BEIJING ENAMEL YELLOW-GROUND 'PEONY' BOTTLE VASE的成交价是多少？
落槌价为 预展中。 成交价为 预展中。
