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A Pair of Paintings on Silk Depicting a Palace Interior with an Early Electrostatic Machine China (Canton/Guangzhou), Middle Qing Dynasty (1644-1911)
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12月08日 晚上7点 开拍 /2天21小时
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A Pair of Paintings on Silk Depicting a Palace Interior with an Early Electrostatic Machine China (Canton/Guangzhou), Middle Qing Dynasty (1644-1911)
Painting: Lenth: 74 cm ( in) - Hight: 99 cm ( in) Frames: Lenth: 92 cm ( in) - Hight: 117 cm ( in)
Gouache and watercolour on silk, framed in the European style.
This extraordinary pair of paintings offers a vivid and meticulous visual document of a lavish, cosmopolitan Qing Dynasty interior.These pieces are exceptional for their early date and their detailed inclusion of a Western scientific instrument, directly linking them to the highest levels of courtly exchange during the peak of Jesuit influence. The scenes utilize sophisticated Western linear perspective to create a deep, receding space, a technique often taught by Jesuit painters serving the imperial court (such as Giuseppe Castiglione). The interior is richly adorned with fine Chinese elements carved wood archways, red lacquer screens, and latticed windows juxtaposed with furnishings, including console tables, a clock, and a framed European-style landscape painting. This fusion illustrates the affluent, eclectic, and cosmopolitan tastes prevalent in high-ranking Chinese circles.
Hauksbee-Type Generator: The table in Panel II features a detailed Electrostatic Frictional Machine. While the appearance evolved quickly, its structural elements align with the apparatus used by Francis Hauksbee the Elder (1660–1713): Francis Hauksbee's Innovation: Hauksbee, an English instrument maker and curator for the Royal Society, perfected the glass globe generator in the early 1700s (c. 1704–1709). Although Hauksbee’s original design used a glass sphere, the principles (friction generating electricity, the need for insulation) laid the foundation for all subsequent cylinder and plate models, like the one shown. The machine features a central rotating element (appearing as a disc or early wide cylinder) mounted on a robust base. Crucially, it includes blue-coloured supports, which were essential glass insulators a key element in electrical experimentation following the discoveries of Stephen Gray in the 1730s.
The prominent prime conductor (the horizontal rod) collects the static charge. Given the early 18th-century date, this represents the very latest in Western scientific "curious objects" (qi qi) that would have captivated the scholarly elite and the Emperor himself. The presence of such advanced, purpose-built European science equipment provides crucial historical provenance, linking the painting to the Jesuit Missionaries who resided in Beijing. Fathers like Joachim Bouvet, Antoine Thomas, and later, Giuseppe Castiglione, sustained the mission by appealing to the Emperors' intellectual curiosity. They presented clocks, maps, telescopes, and experimental physics apparatus not just as gifts, but as practical demonstrations of Western learning and ingenuity.These "curious objects" were highly sought after by Emperors Kangxi (d. 1722) and Yongzheng (d. 1735). By illustrating this machine, the Chinese artist is not only recording a domestic scene but subtly elevating the patron's status through the possession of cutting-edge technology—a direct testament to the Jesuits' successful role as cultural and scientific mediators at the highest level of the Qing court.


(Painting: Lenth: 74 cm (29.13 in) - Hight: 99 cm (38.98 in) Frames: Lenth: 92 cm (36.22 in) - Hight: 117 cm (46.06 in))

Qty: (2)

Private collection from the Chaplin familly


The paintings on silk are generally in good antique condition, considering the fragility of the medium. The colours are likely slightly faded, and the silk may show areas of creasing or minor discolouration consistent with the datation.

Dimensions: Painting: Lenth: 74 cm (29.13 in) - Hight: 99 cm (38.98 in) Frames: Lenth: 92 cm (36.22 in) - Hight: 117 cm (46.06 in)

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