清 約1735年 銅胎畫琺瑯西洋人物圖板 |

Mildred R. 及 Rafi Y. Mottahedeh 收藏
紐約蘇富比2000年10月19日，編號411

J.A. Lloyd Hyde，《Chinese Painted Enamels From Private and Museum Collections》，華美協進社，紐約，1968年，編號50
David Howard 及 John Ayers，《China for the West, Chinese Porcelain and other Decorative Arts for Export illustrated from the Mottahedeh Collection》，卷2，倫敦及紐約，1978年，編號657
《The China Trade: Romance and Reality》，De Cordova Museum，林肯，麻省，1979年，頁60

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我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您徵詢其他專業修復人員，以獲得更詳盡、專業之報告。

準買家應該檢查每件拍品以確認其狀況，蘇富比所作的任何陳述均為主觀看法而非事實陳述。雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。

Enamel plaques are rare and no other example of this subject matter is known. The scene relates to a Deshayes print depicting an elegant European lady with hands similarly positioned but playing a keyboard, see David Howard and John Ayers, China for the West, Chinese Porcelain and other Decorative Arts for Export illustrated from the Mottahedeh Collection, vol. II, London and New York, 1978, p. 631. But the inclusion of the putti and the diadem on the figure's head recall images of Penelope, the wife of Odysseus. A paradigm of marital fidelity, she remained faithful for twenty years waiting for Odysseus's final return and famously deterred her numerous suitors by declaring that she would only remarry after she finished weaving a burial shroud for her father-in-law.