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A CHINESE FAMILLE-VERTE 'FIGURATIVE' WALL FOUNTAIN 清康熙 五彩庭園仕女圖紋噴泉
英国 北京时间
05月17日 下午5点 开拍
拍品描述 翻译
A CHINESE FAMILLE-VERTE 'FIGURATIVE' WALL FOUNTAIN Qing Dynasty, Kangxi Period 清康熙 五彩庭園仕女圖紋噴泉 The wall fountain of baluster form with a moulded lion mask spout, painted to depict scenes from from the Romance of the Western Chamber, with a young man stood atop a balcony gazing at three ladies on a terrace, surrounded by further pavillions at the back and vases adorned with flowers, 39cm high, 25cm wide - PROVENANCE: From the esteemed Collection of Mr. Basil Ionides and the Hon. Mrs. Nellie Ionides, Orleans House, Twickenham; Thence by descent to Lady Camilla Panufnik née Jessel, (b. December 7, 1937), who married renown symphonic composer, Andrzej Panufnik. 來源: 巴茲爾·艾奧尼德斯先生伉儷珍藏; 此後家族傳承至米拉·帕努夫尼克 (生於 1937 年 12 月 7 日),其丈夫為著名交響樂團作曲家安傑伊·帕努夫尼克 。 - Nellie Ionides, born in July 2, 1883 1883 and passing away on November 15, 1962, was a distinguished English collector, connoisseur, and philanthropist. Renowned for her fervent dedication to preserving cultural heritage, she notably rescued the 18th-century Octagon Room at Orleans House in Twickenham from impending destruction. Furthermore, she generously bequeathed this historical treasure, along with numerous pieces from her extensive art collection, to the local council, now known as the London Borough of Richmond upon Thames. Nellie was the second child and eldest daughter of Sir Marcus Samuel and his wife Fanny (née Benjamin). Her father, Marcus, had notably served as Lord Mayor of London and established the Shell Transport and Trading Company, later evolving into Royal Dutch Shell. Nellie's passion for art burgeoned from an early age, particularly focusing on Chinese porcelain and 18th-century artworks. This predilection not only shaped her personal identity but also her social standing within the British elite. Eager to share her collections with the public, she actively engaged with prestigious institutions like the Victoria and Albert Museum (V&A), the Royal Academy, and the British Museum, contributing to the enrichment of cultural heritage. During the 1930s, Nellie aligned herself with influential figures like Sir Philip Sassoon, using her private apartments as exhibition spaces. In addition to her dedication to art preservation and philanthropy, Nellie Ionides was celebrated for her remarkable collection of Kangxi porcelain. Notably, in July 1947, members of the Oriental Ceramic Society were captivated by her and her husband's exquisite array of Chinese porcelain. Her generous donations to esteemed institutions like the V&A Museum, the British Museum, and the Brighton Pavilion further solidified her legacy as a prominent figure in the preservation of cultural treasures. - PUBLICATIONS: The Antique Collector Magazine, April 1955, The Residence of Mr. Basil Ionides and the Hon. Mrs. Nellie Ionides, p. 50 (Photographed in-situ at the staircase) - NOTES: Please see a similar example from the collection of Mompesson House, Wiltshire, Collection Number: NT 723472; Also compare a similarly decorated wall fountain from The Krause Collection sold at Bonhams, Los Angeles, 1-11 December 2023, Lot 20; another sold at Christie's, London, 16 November 1998; an example of the another type was sold at Bonhams, London, 22 March 2005, Lot 129. The current fountain takes its inspiration from European metalware, specifically crafted for the Dutch market. This design likely emerged during the 17th century, coinciding with a flourishing trade in famille-verte porcelain exported to Holland via the V.O.C. It's probable that fountains of this style were originally paired with basins. Chinese export wall fountains share similarities with fountains adorned with aquatic motifs such as dolphins, crabs, and crustaceans. Historically, the latter were utilized during Roman Catholic mass for ceremonial handwashing rituals, comprising a ewer (or vessel with a tap) alongside a basin to collect the water. (For further reference, see William R. Sargent's "Treasures of Chinese Export Ceramics from the Peabody Essex Museum," New Haven, 2012, p. 178, cat. no.82).

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