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some more closeups
more close pix
Hi Dean,
I don't have the experience that others on this forum have but to me the outlines look printed. Note that many of the sprigs start nowhere, as if they're scattered clippings. In hand-decorated works the sprigs come from someplace. Plus, I think the color palette is very innovative suggesting to me that it's modern.
It's an impressive piece. They pulled out all the stops, as with the foot and the areas of crackle. I like the chimeras and lion handles.
Regards,
Steve
My first idea was late Qing, but Steve has brought up two points that convinced me too that it's modern. The red outlines of the sprigs are definitely stamped or printed. The colors are wrong, especially the red and yellow. Also in some places they were filled into the outlines rather sloppily which isn't in accordance with the high quality impression the vase wants to give.
Birgit
The shape is late qing, but as Steve and Birgit point out, the red lines are wrong and the outlines do look printed. I agree that the sloppy enamelling would not be seen on an Imperial piece.
Hi Dean -
Not really my area, but concur with Steve, Birgit and Julia, this is modern with very little age …
Stuart
Thank you all.
The piece came from a family collection in Australia, a house lot. Much of the well used furniture had been top quality and in situ for well more than a century, however as for the more movable objects, there was no concrete evidence. The elderly gentleman had issues with recollection. My impression is that the family had formerly been quite wealthy, going by the furniture, at least until the 1970's.
I didn't pay much for it and only bought it because of the unusual base. The technique is right but the enamels are very inconsistent. The conditions under which it was displayed/neglected in Australia's sunny climate may have affected those. I did get a wonderful c1810 mahogany campaign chest too, in better condition than is usually found although not pristine. I'm left with the impression some rooms were left untouched for a long time and a couple of rooms bore the brunt of the use.
It reminds me of an artist I knew, a real character, war pilot, engineer, artist and entrepreneur who lived in two adjoining houses in one of Sydney's best suburbs. Both houses were chock-a-block with all manner of furniture and art, not all his as he was a patron of artists, including Whitely. Some rooms were devoted entirely to every stage of the creation of his works, trestle tables and easels galore, all occupied. Eventually his world shrank to a couple of rooms and a shed where I would freely help him create artworks destined to be consumed by the elements on cliffs beside the sea. I have fond memories of driving him there with a load of metal and assembling them with him instructing, waving his walking stick like a laser pointer. Eventually it became a fashionable thing and is now an annual festival. Job done, he would say. No names, no pack drill, no credit.
I'm negotiating an unbelievably exciting family collection which was begun by a true story of a China Sea pirate and smuggler who settled on an island and generations of the family have lived there to this day. The latest generation is not interested in continuing that trend and live elsewhere. I think every piece of fine furniture they ever acquired is still stored on the property along with the pirate's prizes. I've only seen a little and have known the family for years.
Everything from tear-producing Japanese swords (you don't expect grown Japanese men to cry about a sword), porcelain, art, basically all you would expect to find in a wealthy home, inhabited by knowledgeable generations with a travelling, collecting bug and big pockets from a pirate ancestor. I don't expect I'll get a bargain but I will likely get something unobtainable. It may take quite some time to even catalogue it all. Perhaps some of the once expensive furniture may even come back into fashion again before I finish.
This unusual faded vase, will eventually reveal its true origins, meanwhile I'll continue to live in interesting times.
My guess would be last quarter 20th century rather than brand new, but modern either way.
@astromachia That sounds most interesting. At least here in Germany old furniture was awfully expensive until two decades ago. Now the young ones want to live Ikea style and prices have dropped about tenfold. You can get furniture from the 19th century for less than its modern counterpart. Even 18th century is suddenly affordable.
Birgit
@shinigami Yes it's terribly sad when you consider some of the timber is now unobtainable. Of course there'll be a time when it is back in fashion and highly sought after. I wonder how long the cycle will take to turn around. I've seen so many larger pieces go so cheaply. The market for small items is still strong and will always be. Those ornate small desks from old are great homes for tablets and laptops.
Colour and perception of space. Dark and big reduces the size of the living space and many homes don't have enough roof height. I think my ceilings are about 2.7 metres high, enough for large things but the building code minimum is probably 2.1 - 2.4 metres. I can touch the ceilings in some homes.
For those who think red/orange outlines are not correct, I assure you they are. Whilst Yongzheng encouraged experimentation, there was a variety of approaches. I can show you endless Yongzheng ducai with red outlines and many you may have seen although not closely perhaps, have red outlines but are later over-painted
in a blue or black etc. I have included a few here. The pictures are large and you may only be able to see if you open them on a pc in a new browser tab. Right click after enlarging the bidamount image and load the actual image in a new tab.
Enjoy.
@ astromachia Yes, large and dark furniture doesn't fit into small rooms. That's surely one of the reasons it's so unpopular today. And people move more often than they used to. You can get used IKEA for free. It's thrown out and bought again.
Birgit
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