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View full screen - View 1 of Lot 281. A cloisonné enamel 'lotus' tripod censer and a cover, Mark and period of Qianlong | 清乾隆 銅胎掐絲琺瑯纏枝蓮紋朝冠耳三足爐配蓋 《乾隆年製》款.

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A cloisonné enamel 'lotus' tripod censer and a cover, Mark and period of Qianlong | 清乾隆 銅胎掐絲琺瑯纏枝蓮紋朝冠耳三足爐配蓋 《乾隆年製》款

Auction Closed

March 23, 06:46 PM GMT

Estimate

25,000 - 35,000 USD

Lot Details

Description

A cloisonn𒊎é enamel 'lotus' tripod censer and a cover

Mark and period of Qianlong

清乾隆 銅胎掐絲琺瑯纏枝蓮紋朝冠耳三足爐配蓋 《乾隆年製》款


the base incised with a fou🍒r-character mark within a square cartouche (2)


Height 11½ in., 29.2 cm

Collection of Frédéric Amé-Leroy (1879-1969), acqu💎ired in Europe circa 1930, and thence by descent.


Frédéric Amé-Leroy (1879-1969) 收藏,約1930年得於歐洲,此後家𓂃族傳承

This lavishly decorated censer exemplifies the apogee of artistic and technical achievement of cloisonné enamel craftsmanship during the Qianlong period (r. 1736-1795). The censer is of ding form, based on the shape of archaic ritual vessels of the Shang dynasty. Its cauldron-like shape, standing on three stout legs, reflects the predilection in the Ming and Qing periods for vessels in the form of archaic bronzes of the Shang and Zhou dynasties. Although the overall outlinesﷺ of the archaic models were retained, the imperial craftsmen libera𝓀lly applied more contemporary lotus scrolls to the body.


Cloisonné enamel censers of this type were likely used to furnish the temples located within the imperial compound. Altar garnitures typically comprise an incense burner, placed in the center, flanked by two candleholders and gu-shaped vases, all placed on tall stools, as seen in a 20th century picture of the Daxiongbaodian of the Tanzhe Temple near Beijing, illustrated in Helmut Brinker and Albert Lutz, Chinese Cloisonné. The Pierre Uldry Collection, New York, 1989, p. 53, fig. 29.


Compare a related example, also with a Qianlong mark, in the Palace Museum, Beijing, displayed as part of a garniture which was included in the Royal Academy of Arts exhibition, China: The Three Emperors, 1662-1795, Royal Academy of Arts, London, 2005, cat. no. 44. The design on the present censer also appears to be closely related to the group of smaller Qianlong-marked tripod censers usually found with an additional character after the reign mark. For example, compare a censer🥂 belonging to this group sold at Christie's Hong Kong, 30th May 2006, lot 1564.


The present censer belonged to the collection of Frédéric Amé-Leroy (1879-1969) (fig. 1), a former French ambassador, who worked with Léon Bourgeois on the draftinꦰg of the Treaty of Versailles after World War I. In the 1920s-30s, ambassador Amé-Leroy was stationed in Geneva, Munich and Oslo, and worked toward the betterment of diplomatic relations in post-war France.