| 中文版 English

具体要求

其它要求

-
关闭
An Early inside-painted rock crystal snuff bottle Gan Xuanwen, Lingnan School, 1810-1825
美国 北京时间
2021年09月22日 开拍 / 2021年09月20日 截止委托
拍品描述 翻译
An Early inside-painted rock crystal snuff bottle Gan Xuanwen, Lingnan School, 1810-1825 Of rounded rectangular shape with each main face and narrow side with a raised rounded rectangular panel, the interior buffed to a misty finish to highlight the interior scene and calligraphy, one main face with a scholar crossing a bridge in a mountainous river landscape near a bare-branched tree, the narrow sides with single scholar's rocks with wispy foliage behind, the other main face with a thirty-one-character inscription (Qiong zhuzhang tie) followed by two small token seals of the artist.2 1/8in (5.4cm) high, stopper 注脚 1810-1825年 甘烜文 水晶內畫山水詩文鼻煙壺Provenance:Portobello Road, London, June 1995Illustrated:Oriental Art, Vol XLVIII, no 5, 2002/2003, p. 70, fig 14A, calligraphy onlyFor another crystal bottle signed by Gan Xuanwen and painted with the identical inscription, see Hugh Moss, Victor Graham and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles, The Mary and George Bloch Collection, Vol. 4, Part I, Inside Painted, pp.66-68, no. 455. For further discussion on the inscription, a copy of one of Wang Xizhi's letters from the Shiqi tie, see Peter Y.K. Lam and Humphrey K.F. Hui, 'Reading the Illegible: The Shiqi tie and Gan Xuanwen's Copies in Snuff Bottles', Oriental Art, Vol XLVIII, no 5, 2002/2003, pp. 64-73. The authors translate the letter, Qiong zhuzhang tie (On bamboo sticks from Qiong) as follows:"The lot of bamboo sticks from Qiong that you sent me last summer had all arrived. In turn, they were distributed as walking sticks to the local elders. I have let it be known to them that the gift was provided by you from afar".Wang Xizhi (303-361 CE) is revered as the 'Sage of Calligraphy'. He came from a literati and aristocratic family of the Eastern Jin dynasty (317-420 CE). He was instrumental in the development of new forms of running and cursive scripts that transformed calligraphy into a personally expressive medium. The most well-known collections of Wang's letters in elegant cursive scripts is the Shiqi tie. The originals were believed to have been in the collection of the Tang dynasty emperor Taizong (r.627-649 CE). Whilst they do not survive, countless later copies in the form of tracings or engraved rubbings were widely circulated. The majority of the letters were written by Wang Xizhi to Zhou Fu (292-365 CE). All were written towards the end of Wang Xizhi's life and sent to Sichuan where Zhou Fu was a prefect of Yizhou.Interestingly, Gan Xuanwen, has actually translated the letter into a pictorial version, showing an elderly man walking across a bridge clutching a large walking staff, presumably fashioned from bamboo.Emily Byrne Curtis (1940-2020)Emily Byrne Curtis, a native of New York City, and later Hoboken, New Jersey, began collecting snuff bottles as an extension of an early interest in Chinese art that led to serious academic research. She became an independent scholar and author in the field of Chinese glass, enamels and snuff bottles. Her research was partly funded by grants from The Educational Fund of The International Chinese Snuff Bottle Society in 1989 and the Pacific Cultural Foundation, Taipei, Taiwan, in 1991.She was a prolific author. Her publications include Reflected Glory in a Bottle: Chinese Snuff Bottle Portraits (1980), considered her best known and most beloved book by snuff bottle aficionados. This work, the culmination of years of intensive research, links known photographs of Chinese subjects from royalty to the stage with subjects of inside-painted bottles primarily from the hand of Ma Shaoxuan. The book illustrates the web of convoluted relationships during one of China's most tumultuous periods,1890-1930, during China's struggle to move into the modern age, and focuses upon many famous statesmen, ministers, and diplomats. It includes a chapter on the 'Peking' theater, introducing the leading actors of the day. In her book, Pure Brightness Chinese Everywhere: The Glass of China (2004), she covers the development of glass in China from the Warring States (475-221 BC) to the Qing dynasty (1644- 1911). Using archival materials in China, as well as Western missionary letters and documents, she supplies important new information on glass manufacture in the Qing dynasty. In 2009, she published a further study, Glass exchange between Europe and China, 1550-1800 : diplomatic, mercantile and technological interactions where she explored as her subject lenses, spectacles, aventurine glass, and windows found in China in the sixteenth century. She discusses their technological development from glassworks in Murano, Venice, the significance of Venice's commerce with China and, gifts of glass from the Vatican to the Kangxi and Yongzheng emperor, using many documents from the Rome and Vatican archives. Her most recent publication came in 2019, Chinese-Islamic Works of Art, 1644-1912: A Study of Some Qing Dynasty Examples which focuses on works of Chinese-Islamic art from the late seventeenth century to the present day. It examines glass wares which were probably made for a local Chinese-Muslim clientele and provides a fascinating window into this mix of traditional Chinese and Muslim craft traditions.Her essays on Chinese glass have appeared in wide-ranging publications from the 'Palace Museum Journal', Beijing and the 'Journal of Glass Studies', Corning, New York; to the Transactions of the Oriental Ceramic Society, London. The subjects of her numerous essays and lectures, given at symposiums and conventions at universities and institutions around the world, mostly on the topic of glass, included 'Jesuit Kilian Stumpf at Kangxi's court, 1695-1720'; 'French Missionary Records for the Kangxi Emperor's Glass Workshop'; 'Jesuit Pierre d'Incarville: A Glassmaking Botanist at Qianlong's Court'; a 'Botanical Exchange: The Emperor Likes Flowers'; 'Chinese Glass: A Present to His Czarish Majesty'; 'Yongzheng Glass: Elegant Forms'; 'Plan of the Emperor's Glassworks' and 'Chinese Glass and the Vatican Records'.

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
10
100
50
500
100
1,000
200
2,000
250
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
+

价格信息

拍品估价:3,000 - 5,000 美元 起拍价格:3,000 美元  买家佣金:
落槌价 佣金比率
0 - 12,500 27.50% + VAT
12,500 - 600,000 25.00% + VAT
600,000 - 以上 20.00% + VAT
服务费:平台服务费为成交总金额(含佣金)的3%

拍卖公司

Bonhams
地址: 580 Madison Avenue New York NY 10022
邮编: 10022
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种:
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时,请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种:
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账,所以请您在汇款时,选择足额到账,或在汇款金额的基础上加上汇款手续费(如25美金)。
4. 国际转账汇款时, 您需要知道海外拍卖行以下汇款信息:
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码(8位字母数字组合,必填项, 如: BFKKAT2K)
* 收款银行清算码(9位数字组合,选填项)
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
服务热线:400-608-1178
查看全部小贴士