A FINE AND RARE CLOISONNÉ ENAMEL SCREEN AND STAND

The screen first half 17th century, the hardwood frame and stand 18th/19th century

The screen first half 17th century, the hardwood frame and stand 18th/19th century
The rectangular screen brightly enamelled with a scene of three sages beneath a rocky cliff rising to the wispy clouds and gnarled pine tree, all beside billowing green waves with white foam, with further blue mountains in the distance, all beneath a turquoise blue sky, set within a carved and pierced hardwood frame and stand. Overall 49.4cm (19 3/8in) high x 48.5cm (19 1/8in) wide. (2).

十七世紀上半葉 銅胎掐絲琺瑯高士圖插屏 鑲十八/十九世紀硬木邊框

Provenance:
Spink & Son Ltd., London,
E. A. Parry (1879-1946), London, acquired from the above on 31 December 1923, and thence by descent

Published, Illustrated and Exhibited:
Royal Academy of Arts, International Exhibition of Chinese Art, London, 1935-1936, p.169, no.2002.

來源：
倫敦古董商Spink & Son Ltd.
倫敦E. A. Parry（1879-1946）舊藏，於1923年12月31日購自上者，並由後人保存迄今

展覽著錄：
皇家藝術學院，《中國藝術國際展覽會》，倫敦，1935-1936年，頁169，編號2002

This rare screen was included in the International Exhibition of Chinese Art held at the Royal Academy of Arts, Burlington House, London, in 1935-1936. This seminal exhibition had the patronage of their Majesties King George V and Queen Mary, and the President of the Chinese Republic. It included over 3,000 objects. These were loaned by the Chinese Government, including pieces shown for the first time outside China, objects from the collection of Sir Percival David, which were exhibited for the first time in public, pieces from the British Royal Collection, and from many important museums including the British Museum, V&A, the Louvre, Guimet, Cernuschi, Topkapi Saray, the Metropolitan Museum of Art, Cleveland, Kansas City, Cologne, Dresden, and from notable private collectors including HRH Crown Prince of Sweden, Alan Barlow, R.C. Bruce, Buchanan-Jardine, Mr & Mrs Alfred Clark, Dr Leonard Gow, C.T. Loo, Carl Kempe, H.J. Oppenheim, Oscar Raphael, F. Schiller, Mr & Mrs Walter Sedgwick, A. Stoclet , S.D. Winkworth and Prof. W. Perceval Yetts - the roll call of the greatest collectors of Chinese art in the west in the 20th century. E.A. Parry loaned 6 pieces to the Exhibition, demonstrating the superb quality of the Collection and the high esteem in which it was held by the exhibition committee, which was directed by Sir Percival David. These pieces were admired to this date in the Parry family homes and this is the first time since the 1935-1936 Exhibition that they are seen in public once again.

The enamel decoration on the present lot is exceptional for the high quality of its execution with subtle application of mixed tones of translucent enamels over opaque ones, notably in the depiction of water and rocks, simulating painting.

Compare the treatment of the sky and figures with that on a cloisonné enamel incense burner, Ming dynasty, 17th century, in the Musée des Arts Décoratifs, Paris, illustrated by B.Quette, ed., Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties,New York, 2011, p.308, no.160, which was exhibited in 1935-1936 in the Royal Academy Exhibition alongside the present lot. See also a related cloisonné enamel panel with a scene of the lonely angler Jiang Ziya in a rugged mountainscape by water, first half 17th century, illustrated by A.Lutz, and H.Brinker, Chinese Cloisonné: The Pierre Uldry Collection, London, 1989, no.150.

本拍品曾借展1935至1936年於倫敦皇家藝術學院伯靈頓宮舉辦的中國藝術國際展覽會。這一史無前例的展覽得到了中英政府及雙方人士的大力支持，由雙方元首擔任名譽主持人，英王喬治五世和瑪麗王后為監理。展品共計三千餘件，中國政府應邀出借包括故宮文物在內的近千件藏品，也是藏品首次在中國境外展出；展覽還包括了英國皇室的中國文物收藏，以及來自世界各地重要博物館（如大英博物館、維多利亞和阿爾伯特博物館、盧浮宮、吉美博物館、賽努奇博物館、託卡比皇宮博物館、大都會藝術博物館、克利夫蘭藝術博物館、堪薩斯城納爾遜-阿特金斯藝術博物館、科隆博物館、德累斯頓博物館等）與著名私人藏家（如瑞典王儲、Alan Barlow爵士、R.C. Bruce、Buchanan-Jardine男爵、克拉克伉儷（Mr & Mrs Alfred Clark）、Leonard Gow博士、盧芹齋、卡爾·坎普（Carl Kempe）、H.J. Oppenheim、Oscar Raphael, F. Schiller、Walter Sedgwick伉儷、A. Stoclet、S.D. Winkworth、W. Perceval Yetts教授等）的公私收藏精品，名單幾乎囊括了二十世紀西方世界最為重要的中國藝術收藏家。 E.A. Parry向本次展覽出借了六件藏品，這也顯示了其收藏品味之卓越及展覽籌備委員會對其之激賞。展覽結束後，Parry氏藏品淡出公眾視野，僅供家族成員賞玩；本次拍賣是1936年以來本品首次出現在公眾面前。

插屏內嵌銅胎掐絲琺瑯，掐絲作筆，填料成墨，畫面右下三位高士立於波委雲集的水岸邊，遠處高峰突起，雲霧繚繞，人物之外的碧波綠地、山石雜樹填以深濃淺淡之色，層次分明。

本例人物及天色之作法，可對比巴黎裝飾藝術博物館所藏一例明十七世紀銅胎掐絲琺瑯香爐，收錄於B.Quette編，《Cloisonné: Chinese Enamels from the Yuan, Ming and Qing Dynasties》，紐約，2011年，頁308，編號160，且與本例同為1935至1936年中國藝術國際展覽會展品。另見一例十七世紀上半葉銅胎掐絲琺瑯「太公垂釣」圖座屏，收錄於A.Lutz與H.Brinker著，《Chinese Cloisonné: The Pierre Uldry Collection》，倫敦，1989年，編號150。