明十七世紀 局部鎏金銅仿古「饕餮」紋觚 胡文明製 《胡文明製》款

based on the archaic bronze vessel, of slender form rising from a flared foot to a trumpet mouth, the waisted centre girded with a frieze of two taotie masks, interrupted by four evenly spaced vertical key-fret-decorated flanges, beneath a horizontal band of stylised kui dragons, all between upright and pendent panels of plantain leaves, each detailed with deconstructed archaistic motifs including cicada and stylised taotie, the details picked out in gilding save for the formalised floral diaper ground, the deeply recessed base inscribed with four characters in seal script reading Hu Wenming zhi (‘made by Hu Wenming’)

倫敦蘇富比1982年3月12日，編號142

Gerard Tsang 及 Hugh Moss，〈Chinese Metalwork of the Hu Wenming Group〉，《Handbook, International Asian Antiques Fair》，香港，1984年，頁54，圖29
Gerard Tsang 及 Hugh Moss，《文玩萃珍》，香港大學馮平山博物館，香港，1986年，編號237

The overall condition is very good, with the exception of some very minor surface scratches and shallow small dents. The actual colour is somewhat darker than the catalogue illustration.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Modelled after archaic bronze ritual wine containers known as gu, the present vessel was created for the scholar’s studio primarily as an art object to hold flowers or 'a branch of coral, peacock feathers, an inspiringly shaped piece of wood or anything the scholar might chose to put into it.' (See ibid., p. 246). In its material, solid casting and inspired surface decoration it is amongst the finest examples by the late Ming metalworker Hu Weiming. The decoration skilfully combines archaistic and contemporary design elements, while in its proportion the piece is especially pleasing to the eye.  Hu was one of the most talented artists of his time, with workshops attributed to him located in Yunjian, now part of Shanghai. He made a range of wares for the scholar’s studio, including incense burners, tool vases and powder boxes.

A closely related gu, similarly bearing Hu’s signature on its base, was sold in these rooms, 4th April 2012, lot 122; and further examples from the Hu Wenming workshop, most signed by him, together with a study of the artist and his wares are published in Gerard Tsang and Hugh Moss, ‘Chinese Metalwork of the Hu Wenming Group’, Handbook. International Antiques Fair, Hong Kong, 1984, pp. 53-56, figs. 27-31, of which fig. 29 is the present vase. See also a parcel-gilt cast-copper gu form vase bearing Hu’s signature, from the collections of Dr. and Mrs. Peter Plesch and Mary and George Bloch, first sold in these rooms, 27th October 1992, lot 184, and again, 23rd October 2005, lot 127; and another, also bearing Hu’s seal mark on the base, sold at Christie’s Hong Kong, 27th September 1989, lot 1556.