An elegant diamond bracelet, Cartier, London, circa 1962. Photo courtesy Epoque Fine Jewels.
composed of five rows of yellow gold wire annular links, accented with 104 brilliant cut diamonds, mounted in platinum and 18 karat yellow gold. Signed Cartier and numbered. Hall marks: Maker's mark JC. Total diamond weight: approx 8,32 ct. Dimensions: 17,3 x 2,5 cm.
Epoque Fine Jewels. MasterArt at TEFAF 2014. 14-23 march 2014 - http://www.masterart.com/
A pair of famille rose cockerels ewers and covers, China, Qing Dynasty, Qianlong Períod (1736-1795). Photo courtesy Luis Alegria
Width 19 cm.
Luis Alegria (stand 167) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
A pair of famille verte and biscuit figural candle holders, China, Kangxi Period. Photo courtesy Luis Alegria
Height 28.7 cm
Each modelled in the form of a laughing boy standing on a rockwork base, holding a cup in one hand, wearing yellow floral jackets decorated with large prunus blossom medallions in Iron-red, over turquoise pantaloons and black boots, their black hair drawn up into tightly coiled top knots. None of the known pairs are modeled in mirror image. It is not clear who these boys are supposed to represent or for whom they were made. R.L. Hobson believed that the pair in the Gow Collection were made to order for a European merchant.
Others have speculated that the aubergine complexion of the figures indicate they are Mongolian servants.
Despite the mystery about these figures, there are charming models and rare collection pieces.
Provenance: Abigail Aldrich Rockefeller
Luis Alegria (stand 167) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
Aviform Tureen and Cover, Qianlong period, circa 1760-70. Photo courtesy Cohen & Cohen.
A rare Chinese export porcelain aviform tureen and cover modelled as a seated goose, brightly enamelled in famille rose with a deep purple breast. Height: 16½ inches; 42cm
Cohen & Cohen (stand 246) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
Punch Bowl, Qianlong period, circa 1745. Photo courtesy Cohen & Cohen.
An extremely rare Chinese export porcelain famille rose punchbowl, the three outer panels and the interior having mythological scenes taken from Ovid’s Metamorphoses (1732 edn) after prints by B Picart and P Gunst. Diameter: 15 inches; 38cm.
Provenance: ex-Mottahedeh Collection, illustrated in Howard & Ayers, 1978, China for the West
Cohen & Cohen (stand 246) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
A pair of painted enamel export sconces for the European market, China, Qianlong period, circa 1738-1742. Photo courtesy Cohen & Cohen.
Repoussé moulded with brightly coloured flowers, European metal sconces and mirrors. Height 50.5 cm
The Imperial enamelling workshop in Canton produced a range of such sconces, mainly for the Scandinavian market, including several sets for the Danish Royal palaces. This particular design is unrecorded but the quality and exuberant style suggest that they may have been part of such a set, ordered between 1738 and 1742. There are also elements shared with sconces known to have been in the Royal palace such the birds at the top of the design. Two orders, one for 16 arrived in Copenhagen in 1740 and the other for 12 ordered in 1741, both possibly by supercargo Christen Lintrup who was in Canton in 1738 and 1741.
Provenance: Collection Abreu Burmester
Literature: T. Clemmensen, M.B. Mackeprang, Discussion of Lintrup’s voyages, 1980, pp148-58; Ole Krog, Villumsen et al, four similar sconces from Christianborg Palace, 2006, pp. 192-195, figs16-19; pp.352-355; p.621, cat 203; p.262, cat 204, two further sconces now at Frederiksborg Castle, Hillerod; Tatiana E.Arapova, 1988, nos 15 & 16, plates 9 & 10, two further sconces; Du Tage à la mer de Chine: Une épopée portugaise, p181, no. 84 and p.174.
Cohen & Cohen (stand 246) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
David Morris. Intense yellow radiant-cut diamond bangle. Total weight 37.92cts. Photo courtesy David Morris
David Morris. Pink, yellow & white diamond flexi spiral bangle. Total weight 38.18cts. Photo courtesy David Morris.
David Morris. Yellow & white diamond Amira hand bracelet. Total weight 42.78cts. Photo courtesy David Morris.
David Morris. Natural Colombian emerald cushion-cut & diamond cuff bracelet. Total emerald weight 84.65cts Total diamond weight 32.56cts. Photo courtesy David Morris.
David Morris. Natural sapphire cabouchon & diamond flexi cuff bangles. Total sapphire weight 24.52cts each. Photo courtesy David Morris.
David Morris. Natural conch pearl, jade, onyx & diamond flower motif bracelet. Total diamond weight 16.74cts Total conch weight 55.19cts. Photo courtesy David Morris.
(source http://www.davidmorris.com)
Sandstone standing Buddha, China, Northern Wei dynasty, late 5th to early 6th century. Photo courtesy Ben Janssens Oriental Art Ltd.
Height: 94 1/8 inches, 239 cm. Width: 45 1/4 inches, 115 cm. Depth: 13 inches, 33 cm
This impressive standing Buddha of superb quality is an excellent example of Buddhist sculpture of the Northern Wei dynasty. The Chinese style robes suggest that it was carved after 486 AD, when the decree of changing to Chinese dress was published. The fairly full-bodied figure, the pleated garments spreading out in a fishtail fashion, and the combination of the abyhaya and varada mudra hand gestures are all typical characteristics of the Northern Wei style. These characteristics are particularly similar to the carving style found in Shanxi province at the Yungang caves. During the Northern Wei dynasty three carved Buddhist temples were under imperial patronage: the Yungang caves in Shanxi province, the Longmen caves and the Gongxian caves in Henan province. As the first imperial sponsored carved temple, the Yungang caves illustrate the development of Buddhist carvings of the Northern Wei dynasty. Emperor Wencheng (r. 452 - 465) of the Northern Wei dynasty ordered the construction of the gigantic rock-cut caves of Yungang in the capital at Pingcheng, nowadays Datong, to the northeast of Shanxi province. The initial five caves were subsequently established, which are referred to as the ‘Imperial Five’ by contemporary Chinese scholars, since each cave’s Buddha honours a prior Tuoba emperor. The images of the ‘Imperial Five’ are characterized by their colossal size (c. 14 - 16.5 meters high), and are comparable to other Central Asian examples, such as the former Bamiyan Buddhas (c. 38 meters high) in Afghanistan. During this early stage of Buddhist sculpture, Northern Wei craftsmen followed an established Buddhist tradition, which was under strong influence from Gandhara (northwest Pakistan and Afghanistan). Thus, figures of the Buddha from this period typically have deep-set eyes, strongly western facial features, stocky bodies, and often wear Indian style robes (dhoti). Beginning in circa 470, the second phase of the Yungang caves was established with a more complex architectural structure, when an innovative and completely Chinese style was used to depict Buddha and bodhisattvas. Three standing Buddhas in Cave 6 of the Yungang caves, rather than being dressed in Gandharan-style monastic robes, wear the formal costume of Chinese court officials; all-enveloping bulky dresses with ample sleeves resting on top of other layers of heavily pleated clothes with girdles. Towards the end of the Northern Wei period, especially after the Emperor Xiaowen ordered the transfer of the capital from Pingcheng to Luoyang, Henan province in 494 AD, these influences were further assimilated. The solid bodies gave way to elegant, slim figures such as the examples found in the Longmen caves, Henan. A closely comparable Northern Wei sculpture of a standing Buddha, similar in the hand gestures, layered fishtailed Chinese style robes with a girdle, also with an undecorated high chignon and flame-shaped mandorla at the back, was in the Cishi temple at Jiaochengwang village in Shanxi province, and now is in the collection of the Shangdong Provincial Museum. A slightly smaller Northern Wei standing Buddha, similar in the hand gestures, the Chinese style robes, and the undecorated high chignon, is in the Jinyatang Collection and was exhibited at the National Palace Museum, Taipei in 1997. Another comparable standing Buddha is housed in Cave 23 of the Yungang caves, similar in the layered fishtailed Chinese style robes, the undecorated high chignon, and comparable hand gestures with the right hand in abhaya mudra and the left hand grabbing the robes. A further comparable life-sized Buddhist votive stele with a flame-shaped mandorla, carved with a standing Buddha accompanying two flanking bodhisattvas, wearing Chinese-style robes with an elaborately decorated mandorla and dated 533AD, is in the Avery Brundage Collection at the Asian Art Museum of San Francisco.
Ben Janssens Oriental Art Ltd (stand 202) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
Blue and white saucer,Yongzheng mark and period, China, Qing dynasty, 1723-1735. Photo courtesy Ben Janssens Oriental Art Ltd.
Height 2.6 cm. Diameter 11 cm
Ben Janssens Oriental Art Ltd (stand 202) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
'Amlash' spouted vessel in the form of a stag, Southwestern Caspian region, Marlik culture, early 1st millenium BC. Photo courtesy Ben Janssens Oriental Art Ltd.
Pottery buff body with burnished surface; 30.5 x 35 cm.
Provenance: Dr M. collection, Paris, 1980s; "Collection X" first sale, Hôtel Drouot, Paris, 22 May 1980
Galerie Kevorkian (stand 244) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
Krishna and Balarama defeating the Demon Dhenukasura. Folio from a Bhagavata Purana. India, school of Kangra, circa 1830-1840. Photo courtesy Ben Janssens Oriental Art Ltd.
Opaque watercolor and gold on paper.Painting 22.3 x 24.7 cm.Folio 24.2 x 29.5 cm
Provenance: Private collection, Sussex, 1960s
Galerie Kevorkian (stand 244) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
An important Zitan Southern Official’s Hat Chair, 'nanguanmaoyi', 17th century. Photo courtesy Littleton & Hennessy Asian Art Ltd.
95 cm. high; 58 cm. wide; 46 cm. deep
The arched and generously curved top rail supported by an elegantly s-shaped back Splat; together with the rounded arm rails continuing through the square soft mat seat frame into round legs. Joined at the base with stepped stretchers, aprons and spandrels supporting the seat on each side. Completely uncarved throughout. With 'baitong' reinforcing mounts.
Littleton & Hennessy Asian Art Ltd (stand 269) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
A superb Huanghuali convertible bookshelf, 'shujia', Qing dynasty (1644-1911), 17th-18th century. Photo courtesy Littleton & Hennessy Asian Art Ltd.
176 cm. high; 105 cm. wide; 48 cm. deep
The very generously proportioned shelf with square sectioned supporting
members, divided by shelves into four sections, each shelf with a single line moulding on four sides. Supported at the back with four matched planks. Embellished with detachable matching ice-crackle panels on each side. On four short feet, each joined by humpbacked stretchers.
Provenance: Charles Wong, Everarts 200
Littleton & Hennessy Asian Art Ltd (stand 269) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
An important and extremely rare, Huanghuali, Nanmu, and black lacquer single plank pedestal table, 'jiajian', Ming dynasty (1368-1644), late 16th century. Photo courtesy Littleton & Hennessy Asian Art Ltd.
90 cm. high; 308 cm. wide; 53 cm. deep
The nanmu plank top very thickly lacquered on both sides, displaying attractive ‘snake belly’ crackle throughout, trimmed on all four sides with a strip of huanghuali. Supported by a pair of huanghuali pedestals of elegant
flush sided construction, each floating above very small recessed feet.
Provenance: Schoeni Gallery, 2004.
Literature: Chinese Furniture, K. Mazurkewich, Tuttle Publishing, 2006, pp. 103, fig. 261
Littleton & Hennessy Asian Art Ltd (stand 269) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
A very rare and important shell inlaid, lacquer display cabinet, 'wanligui', Ming dynasty (1368-1644), second half of the 16th century. Photo courtesy Littleton & Hennessy Asian Art Ltd.
154 cm high; 75 cm wide; 56 cm deep.
The elegantly proportioned cabinet with a display shelf and two doors, each door separated into two larger and two smaller panels, with another triple panel at the base. The cabinet decorated throughout in black lacquer, inlaid with scenes of official life on the doors, a lakeside landscape on the back and loose sprays of flowers on either side.
Cabinets of this form with an open area in the top for the display of antiques or scholar’s objects are sometimes known as Wanli cabinets, and in fact seem to have first appeared in the second half of the 16th to the first quarter of the 17th century, a period which coincides with the Wanli reign period. As is now known, this was also a period of tremendous development in taste for art and luxurious consumables as evidenced by the numerous writings on the subject of this date. In fact it may be argued that the appearance of a display shelf was the result of the new taste for ostentation, as collected antiques needed to be shown in the scholar’s studio.
This cupboard however is in itself a masterpiece of the lacquerer’s art and would have been the centerpiece of a very luxurious interior. Luodian or shell inlaid lacquer objects and furniture have been prized by the Chinese from the earliest times and have a rich and marvelous history.
Provenance: Old Japanese collection - purchased in Taiwan
Littleton & Hennessy Asian Art Ltd (stand 269) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
A large finely-carved pale celadon jade boulder, Qianlong period (1736-1795). Photo courtesy Littleton & Hennessy Asian Art Ltd.
Height 19.5 cm
Both sides finely carved with a mountain scene; the front with several riding figures on a mountain path amongst rocks and trees. The back with three other figures on a path leading to an open gate.
Provenance: Christie's London, 12th June 1989, Lot 467
Littleton & Hennessy Asian Art Ltd (stand 269) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
An exceptionally rare foliate rim dish decorated in white slip with relief dragon and clouds on a cobalt-blue glaze, Yuan Dynasty (1279-1368). Photo courtesy Littleton & Hennessy Asian Art Ltd.
40.5cm diameter
This previously unknown dish is one of only three large dishes of this type known to exist, making it extremely rare and the only one on the market. The two other dishes are in museum collections; one preserved in the Ardabil Shrine, now in the National Museum of Iran, and one is in the Topkapi Saray Museum, Istanbul.
Provenance: From the estate of Waltraud Hentschel, the wife of Jack Ellis, Member of Parliament in Ontario, Canada. By descent from the estate of her mother, Sophia Johanne Hentschel
Littleton & Hennessy Asian Art Ltd (stand 269) at TEFAF 2014. 14-23 march 2014 - http://www.tefaf.com/
A reddish brown overlay white glass snuff bottle, Yangzhou school, 1830-1890. Photo Bonhams.
Of compressed spherical form, with a flat lip and red oval foot rim surrounding a convex foot, the single reddish-brown overlay highlighting the low relief carved decoration of bats emanating from a double gourd, the other face with a diminutive pine in a planter, adjacent to a scholar's rock with lingzhi, with a four character inscription in seal script reading Shou Tong Jin Shi (Long-lived liked metal and stone). 2 3/8in (6cm) high.Sold for US$ 5,000 (€3,595)
Both the palette and use of the overlay in this bottle is quite similar to one formerly in the Bloch Collection, see Moss et. al., A Treasury of Chinese Snuff Bottles, The Mary and George Bloch Collection, Vol. 5, no 1025.
Property from the Collection of Emmanuel Dimitri Gran (1894-1969)
Bonhams.CHINESE ART FROM THE SCHOLAR'S STUDIO. 17 Mar 2014, New York - www.bonhams.com
A red glass overlay snuff bottle, 1780-1850. Photo Bonhams.
Of flattened globular form, with a flat lip and wide mouth, with a red oval foot rim, the body adorned with a single ruby red chilong amid clouds, the clear glass bottle suffused with minute bubbles. 2 3/8in (6cm) high. Sold for US$ 1,875 (€1,348)
Provenance: John Sparks, Ltd (according to label)
Property from the Collection of Emmanuel Dimitri Gran (1894-1969)
Bonhams.CHINESE ART FROM THE SCHOLAR'S STUDIO. 17 Mar 2014, New York - www.bonhams.com
