HOTUNG | 何東 The Personal Collection of the late Sir Joseph Hotung: Part 1 | Evening
HOTUNG | 何東 The Personal Collection of the late Sir Joseph Hotung: Part 1 | Evening
Anonymous
Anonymous 無款 | Melon and Grasses 瓜草圖 設色紙本
Auction Closed
October 8, 01:37 PM GMT
Estimate
300,000 - 500,000 HKD
Lot Details
Description
Ming Dynasty, 16th dynasty, China
Anonymous
Melon and Grasses
ink and colour on paper, one album leaf, framed
unsigned, with six collector’s seals of Xiang Yuanbian (1525-1590), one collector’s seal of Shen Zhou (1427-1509), one collector’s seal of Wu Ting (ca. 1600), two collector’s seals (partially) of the Emperor Qianlong and three other collectors’ seals at the mounting
27 by 28.5 cm
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無款 (Yuan/Early Ming Dynasty)
佚名(元至明早期)
瓜草圖 設色紙本
冊頁一開 鏡框
鑑藏印：
(項元汴)檇李、墨林秘玩(半印)、神游心賞、項子京家珍藏、天籟閣、項元汴印(半印)
(沈周) 沈周寶玩(半印)
(吳廷) 吳廷
(乾隆帝)三希堂(半印)、幾暇鑒賞之璽(半印)
(鈐於裱褙)毅盦、張學良印、馮海若鑒藏珍
Collection of Zhang Xueling, Taiwan.
Sotheby’s New York, Fine Chinese Paintings, 2 June 1987, lot 3.
Eskenazi Ltd, London, 2009.
張學良舊藏
紐約蘇富比，中國書畫，1987年6月2日，拍品編號3
埃斯卡納齊，倫敦，2009年
Seven Classical Chinese Paintings, Eskenazi Ltd, London, 2009, cat. no. 7 and cover.
Giuseppe Eskenazi in collaboration with Hajni Elias, A Dealer’s Hand: The Chinese Art World Through the Eyes of Giuseppe Eskenazi, London, 2012, pl. 147.
《Seven Classical Chinese Paintings》，埃斯卡納齊，倫敦，2009年，編號7及其封面
埃斯卡納齊，薛好佩整理，《中國藝術品經眼錄：埃斯卡納齊的回憶》，倫敦，2012年（中譯版，上海，2015年），圖版147
In the history of Classical Chinese painting, the depiction of melons always carries a metaphorical meaning of bumper harvests. Compare two similar examples from the Qing court collection, preserved in the National Palace Museum, Taiwan - Qian Xuan’s Autumn melon, and Autumn melon by an anonymous Song dynasty artist (see Illustrated catalogue of paintings and calligraphy in the National Palace Museum, Taipei, Taiwan, no. 2, pp. 251-252 and no. 4, pp.167-168 separately). The Qian Xuan one shares a nearly mirror composition as the current lot.
注：在中國古代書畫中，繪畫瓜果皆有豐收富足之意思，藤蔓連綿而生，瓜籽多且密，有福運綿長，多子多孫之隱喻，是皇室貴族尤其喜愛之題材。台北故宮博物院藏兩件作品可供參考，包括錢選《秋瓜圖》(見《故宮書畫圖錄》(二)，頁251-252)及宋人《秋瓜圖》(見《故宮書畫圖錄》(四)，頁167-168)，前者與本幅之表現手法相近，大致為鏡像構圖。