Description
Chinese cloisonné enamel bottle vase attributed to Lao Tian Li (老天利製), dating to circa 1920. The vase is of wide flattened bottle form with a cylindrical neck and slightly everted rim, executed with finely worked cloisonné wire upon a dark ground.
The body is densely decorated with scrolling lotus vines, floral sprays and stylised foliage framed within ruyi sceptre borders, while the neck features further lotus motifs and hanging floral ornament. The decoration is arranged in tightly controlled bands around the body, creating a balanced surface typical of late Qing and early Republic period cloisonné wares produced for the domestic luxury market.
The flattened body gives the vase a substantial low profile appearance when viewed in person, with the broad shoulders allowing the colourful enamel work to dominate the form. The underside retains a turquoise enamel ground, a finish commonly associated with Chinese cloisonné production of the period.
The palette of deep black, turquoise green, yellow and pale pink enamel closely relates to works attributed to Lao Tian Li (老天利製), a name associated with finely worked Chinese cloisonné enamel produced during the late nineteenth and early twentieth century. Decorative cloisonné vessels of this type were produced for display within refined interiors and scholar style settings, where richly ornamented enamel objects formed part of larger arrangements of porcelain, hard-stone and carved works of art often for the export market.
The vase remains a strong example of early twentieth century Chinese cloisonné enamel with decorative influence drawn from traditional lotus scroll designs and classical Chinese ornamental borders.
View the full Chinese Collection.
MEASUREMENTS
15.5cm High x 14cm Diameter (6.1 x 5.5 Inches)
CONDITION
Very Good Antique Condition
Who was Lao Tian Li 老天利製?
Lao Tian Li 老天利製 was a Chinese cloisonné maker active during the late Qing and early Republic period, circa 1860 to 1930, associated with finely detailed enamel wares of noticeably higher quality than much of the larger scale commercial output produced during the early twentieth century.
Pieces attributed to Lao Tian Li are particularly recognised for their carefully controlled wire work, dense decorative arrangements and distinctive dragon designs. Signed examples often feature lively five claw dragons with tightly rendered scales, sharply defined claws, pronounced facial features and animated expressions set amongst evenly applied stylised cloud grounds. The dragons are typically balanced in proportion with strong attention given to the relationship between the head, body, claws and tail.
The workshop’s enamel palette and decoration are generally more tightly executed than many contemporary cloisonné wares, with refined border work and controlled surface patterning remaining a consistent feature across attributed pieces. Surviving examples are most commonly signed 老天利製 to the foot rim.
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