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Some famous Baroque Pearls

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Flemish manufacture. Pendant depicting Hercules, gold, enamel and pearl, Scaramazza, 16th century,via Christie"s Geneva

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Flemish manufacture. Pendant in the form of a marine animal in gold, enamel, precious pearl piettre, Scaramazza, 16th century, via Christie"s Geneva.

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"The Canning Jewel". Flemish manufacture. Gold, precious stones, pearl Scaramazza from 16th century, Victoria and Albert Museum, London © Victoria Albert Museum.

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Dutch Manufacture, 16th century, gold and enamel pendant with baroque pearl in the form of a flask. Museo de ll'Argenteria, Firenze.

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Flemish manufacture, Ostrich in gold, enamel, precious stones and pearl Scaramazza, 16th century, Florence, Museo degli Argenti.

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France, gold pendant with dragon on baroque pearl, carnelian based, Regional Gallery of Sicily, Palermo.

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Dutch Manufacture, Elephant in gold, enamel, emeralds, diamonds and a pearl Scaramazza, 17th century, Museo degli Argenti, Firenze.

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German manufacture, Camel in gold, silver, enamel, precious stones and pearl Scaramazza, 17th century, Florence Museo degli Argenti.

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German manufacture, Bacchus, gold, enamel, gemstones, pearls baroque, 17th century, Florencen Museo degli Argenti.

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Flemish manufacture, Chimera in gold, enamel, precious stones and pearls baroque, 17th-18th century, Green Vault, Dresden.

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France, Pin brooch depicting Omphale. Gold, silver polished, enamel, precious stones and pearl Scaramazza, 19th century. Private collection.


Simone Crestani - Contemporary glass artist

Prized Kimonos on display at the Art Gallery of Greater Victoria

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Ichimaru's Homongi with Fans. Paste-resist dyeing, gold leaf stenciling, small touches of gold embroidery, silk crepe Image courtesy of the Art Gallery of Greater Victoria

VICTORIA.- Even the untrained eye can see kimonos are great works of art, but to the trained eye, each kimono tells a story. This summer, two exhibitions at The Art Gallery of Greater Victoria showcase dozens of historical kimonos and tell their fascinating stories. 

From Geisha to Diva: The Kimonos of Ichimaru returns to Victoria after travelling North America for over a decade, most recently at the Textile Museum of Canada. This extremely rare and prized collection, which was donated to the AGGV, once belonged to Ichimaru (1906-1997) one of the most famous geishas of the 20th century. Ichimaru’s story, which includes becoming a recording artist in the 1930s, is presented through her magnificent kimonos and personal belongings. Combining her experience as a geisha with an extraordinary talent as a vocalist and musician, she became a unique figure in the social history of modern Japan. 

From Geisha to Diva opened alongside Kimono: the Japanese Culture in its Art Form and both exhibitions run through October 19, 2014. 

The details and features that characterize kimono culture are not well known in the Western world,” says Kimono guest curator, Hitomi Harama. 

Harama, a kimono specialist in Victoria, continues, “To understand the true beauty of the kimono, knowledge of its unwritten code is essential.” The sleeve length, material, colours and design, all speak to whether the person who wore it was married or single, their age, gender, class, as well as what season the kimono was for. 

Kimono showcases codes, artistic forms and complexities of kimono culture, along with the etiquette of kimono attire for different seasons and occasions. 

The exhibition includes both my family’s and local Victoria resident’s collections,” says Harama, whose family has operated Owmiya, a high-end kimono business for over 85 years. “All of my family’s collections have been shipped from Japan.” 

Kimono also contains a digital component to display valuable Kimono examples physically unavailable for display at this time. 

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Ichimaru playing the shamisen. Image courtesy of the Art Gallery of Greater Victoria.

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Wig with Coral Hairpin, used by Ichimaru. Image courtesy of the Art Gallery of Greater Victoria.

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Ichimaru. Image courtesy of the Art Gallery of Greater Victoria.

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IchimaruImage courtesy of the Art Gallery of Greater Victoria.

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Kimono. Image courtesy of the Art Gallery of Greater Victoria.

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Kimono. Image courtesy of the Art Gallery of Greater Victoria.

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Kimono. Image courtesy of the Art Gallery of Greater Victoria. 

Two Bleu de Huê in Art Gallery of New South Wales, Sydney

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Bleu de Huê bowl with dragon decoration, Qing dynasty (1644–1911),  Export ware for Viet Nam, circa 19th century-20th century, porcelain with underglaze decoration, 5.1 x 10.9 cm. Gift of Dr John Yu & Dr George Soutter 2002, 168.2002. Art Gallery of New South Wales, Sydney (C) Art Gallery of NewSouth Wales, Sydney

Along the rim of the bowl is a dragon with bulging eyes spitting fire. Near the shallow ring foot is a band of waves from which two carps emerge, one of which is blowing a huge gourd-shaped bubble.

From the 1700s onwards, kings of the Le-Trinh dynasty in Vietnam ordered porcelain pieces from China for their court. This type is named after Hue, the 19th-century capital of the last royal dynasty in Vietnam, the Nguyen dynasty (1802-1945). Although Chinese artisans executed the painting, Vietnamese rulers dictated the designs. Each ruler ordered ceramics of his own liking for use in his court, as well as presentation pieces to give to members of royal families and mandarin officials.

Asian Art Department, AGNSW, January 2012

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Bleu de Hue dish decorated with cranes and pine trees, Qing dynasty (1644–1911), Export ware for Viet Nam, circa 19th century-20th century, porcelain with underglaze decoration and metal rim, 1.9 x 16.4 cm. Gift of Dr John Yu & Dr George Soutter 2002, 169.2002. Art Gallery of New South Wales, Sydney (C) Art Gallery of NewSouth Wales, Sydney

A lesser known Chinese export ware is 'bleu de Hue', blue-and-white porcelain made for the Vietnamese market from the 1700s, when kings of the Le-Trinh dynasty ordered wares from China for their court. The type is named after Hue, the 19th-century capital of the last royal dynasty in Vietnam, the Nguyen dynasty (1802-1945). Although Chinese artisans executed the painting, the Vietnamese rulers dictated the designs. Each ruler ordered ceramics of his own liking for use in his court, as well as presentation pieces to give to members of the royal families and mandarins.

The Asian Collections, AGNSW, 2003, pg.145.

Two Nguyên dynasty Imperial edicts at Art Gallery of New South Wales, Sydney

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Imperial edict to add honorary titles, 1846, Nguyên dynasty (1802 - 1945), Viet Nam, calligraphy over block-printed design of black dragon on yellow handmade paper,50.5 x 123.0 cm. Dated in Chinese calligraphy, standard script, black ink, "[... 15th January, the 6th year of Thieu Tri [1846]]". Gift of Andrew and Ann Proctor 2001, 25.2001. Art Gallery of New South Wales, Sydney (C) Art Gallery of NewSouth Wales, Sydney

This Imperial edict dates from the Nguyen dynasty when the capital of Vietnam was in Hue. The Emperors of this dynasty admired the Chinese and such edicts were generally written by court officials, 'nho', who had passed the Confucian system of examinations. (This examinations system existed in Vietnam from 1075 (in the Tran dynasty) until 1919.

This edict is written in Chinese calligraphy, standard script on handmade, yellow paper which according to French reports, could only be used by the sovereign. Such edicts were given to temple to grant additional titles to the local deities.

The translation of the edict (provided by Dr Li Tana from the Department of History and Politics of the University of Wollongong) read:

"This edict is to add three honorary titles to the First Class deity who defended the country in Tam Giang (the crossroads of three rivers). The three titles being: Yen Nghia, Chieu Linh and Hien Liet. The deity has protected the country and the people and has always responded to the people's prayer to him. This grant is following the award granted to him by my father, the Emperor Than To (Minh Mang r. 18201840), who on his fiftieth birthday, issued an edict to honour all the [important] deities in the country. Now that I recall this, with deep respect to my father, I am adding three honorary titles to the deity. The work of keeping the deity's temple will be carried out by the Yen Tu village, Dong Ngan county as usual. Please Deity, be with us so that my people will be protected by thee. 15th January, the 6th year of Thieu Tri (1846)."

Asian Art Department 2001

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Imperial edict to recognise Deity of Uai Dung, 1888, Nguyên dynasty (1802 - 1945), Viet Nam, calligraphy over block-printed design of silver dragon on yellow handmade paper, 50.5 x 128.0 cm. Dated in Chinese calligraphy, standard script, black ink " [ ... 18th November, the first year of Thanh Thai [1888]]". Gift of Andrew and Ann Proctor 2001, 26.2001. Art Gallery of New South Wales, Sydney (C) Art Gallery of NewSouth Wales, Sydney

This Imperial edict dates from the Nguyen dynasty when the capital of Vietnam was in Hue. The Emperors of this dynasty admired the Chinese and such edicts were generally written by court officials, 'nho', who had passed the Confucian system of examinations. (This examinations system existed in Vietnam from 1075 (in the Tran dynasty) until 1919.

This edict is written in Chinese calligraphy, standard script on handmade, yellow paper which according to French reports, could only be used by the sovereign. Such edicts were given to temple to grant additional titles to the local deities.

The translation of the edict (provided by Dr Li Tana from the Department of History and Politics of the University of Wollongong) read:

"This edict is to recognize the Deity of Uai Dung [mighty and brave], nurtured by the middle hamlet, Dong Cac village Nam Xuong district, Hanoi province. The deity has protected the country and the people and has always responded to the people's prayers. (Nevertheless) he has never been granted a title officially (by the court). Recalling all the merits of the deity, a title of the Deity of Doan Tuc Duc Bao Trung Hung is now granted to him. The work of keeping the deity's temple will be carried out by the same village as usual. Please deity, be with us so that my people will be protected by thee. 18th November, the first year of Thanh Tha (1888)."

Asian Art Department 2001

Andy Warhol

Mellerio dits Meller, “Monta Rosa” collection

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Collier-Margherita

Mellerio dits Meller. “Monta Rosa” collection. White gold and diamond necklace.

On 22 April 1868, the young Margherita of Savoy married Prince Umberto I, and became the first Queen of Italy. On this, her wedding day, she wore a magnificent diadem of diamonds depicting a wild rose surrounded by laurel leaves, purchased from MELLERIO dits MELLER by her father-in-law, King Victor-Emmanuel II of Italy. This diadem, typical of the naturalist style so beloved by the firm, would always have a special importance for Margherita, for the rose was one of her favourite flowers. It has inspired each piece in the “Monta Rosa” collection.

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Mellerio dits Meller. “Monta Rosa” collection. White gold and diamond ring.

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Mellerio dits Meller. “Monta Rosa” collection. White gold and gem-set ring.

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Mellerio dits Meller. “Monta Rosa” collection. Pink gold and diamond ring.

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Mellerio dits Meller. “Monta Rosa” collection. White gold and diamond ring.

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Mellerio dits Meller. “Monta Rosa” collection. White gold and gem-set ring.

Dragon robe (Tibetan 'chuba'), China, 18th century

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Dragon robe (Tibetan 'chuba'), China, 18th century, yellow silk brocade, 135.8 x 187.4 cm. Edward and Goldie Sternberg Chinese Art Purchase Fund 2000, 137.2000. Art Gallery of New South Wales, Sydney (C) Art Gallery of NewSouth Wales, Sydney

This magnificent Tibetan 'chuba', or 'ji fu' (auspicious cloth), was tailored from 18th century Chinese 'kesi' (or woven tapestry) silk brocade probably woven in the Cloud Brocade Institute in Nanjing. During the Yuan, Ming and Qing dynasties, successive Mongol, Chinese and Manchu emperors patronised important Tibetan Buddhist monasteries and abbots with lavish gifts, including silks. As Tibetans did not produce silk, they particularly welcomed such gifts of luxurious silk textiles from the Chinese court. These gifts were then re-tailored in Tibetan styles or re-used to decorate temple buildings. Until the present century, many of the leading Tibetan Buddhist lamas such as the Dalai and Panchen Lamas would wear elaborately decorated 'chuba' on state occasions.

This robe features eight five-claw dragons, three on the front, three on the back, and one on each sleeve. The creatures float in the cosmic setting represented by the mountains (the earth), waves (the sea), and the clouds (the sky). The five colours of the auspicious clouds, white, blue, black, red and yellow represent the five elements of Metal, Wood, Water, Fire and Earth in the Chinese philosophy of the universe.

Asian Art Department, AGNSW, January 2012


Chinese rank badges at Art Gallery of New South Wales, Sydney

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Imperial Duke's insignia, China, Qianlong (1736 - 1795), Qing dynasty (1644 - 1911), 'kesi' [woven silk],  26.0 x 27.3 cm.Gift of Judith and Ken Rutherford 2000, 189.2000. Art Gallery of New South Wales, Sydney (C) Art Gallery of NewSouth Wales, Sydney

In the Ming and Qing dynasties the aristocracy as well as civil and military officials wore rank-defining badges on the front and back of their robes. The front-facing dragon would have been worn by a Prince of the Blood, who had been granted the right to wear the five-clawed creature by the emperor. The rich motifs include the rocks, the waves and the cloud representing the earth, the sea and the sky symbolising the universe, and the peony, bat and lingzhi (magical mushroom) symbolising nobility and longevity.

Asian Art Department, AGNSW, January 2012

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Civil rank badge, first rank (crane insignia), China, Qianlong (1736 - 1795), Qing dynasty (1644 - 1911), silk, split tapestry weave (kesi), 29.0 x 29.5 cm.Gift of Dr David Ling 2011. Donated through the Australian Government Cultural Gifts Program, 233.2011. Art Gallery of New South Wales, Sydney (C) Art Gallery of NewSouth Wales, Sydney

Rank badges were insignia badges worn by court officials to signify their status in the civil or military sphere. Two badges were attached to the costume, one on the back the other on the front which was split to allow the garment to be buttoned up at the front.

The badges were first introduced during the Ming period in 1391. From the Ming (1368-1644) to the Qing dynasty (1644-1912) the styles of the badges changed dependent on the tastes of the times - not necessarily only when the court dress regulations were published in 1652 and revised by Qianlong emperor in 1759. The best indicator of the time period of a badge are background elements such as water and cloud designs, as these could indicate what was fashionable at the time.

Civil rankings were based on the passing of demanding official examinations. Civil badges consisted of nine ranks each represented by a different bird, with only a couple of changes of bird types over the two dynasties. Military examinations were based on physical feats rather than literary and the rank badges are rarer. For example, towards the overturn of the Qing, military rank badges in particular were burnt to conceal identification. Military badges consisted of animals representing rank. During the Qing rank badges were generally worn by an official, his wife or wives and unmarried sons and daughters (Garrett 37)

Kesi (‘cut silk’) badges are a rarer and more valuable textile, whose complexities lie in the weaving technique. Schuyler Cammann noted that compared to the Ming period, many of the early Qing badges were embroidered. This could be due to 2 reasons: the fall of Yangzhou in 1645 and other cities which had silk weaving industries-resulting in the high cost of silk; and that woven silk appeared to be monopolised by the imperial classes with restricted use to nobles. (Cammann p. 97).

This civil rank badge of kesi silk tapestry depicts a crane, which is the first and highest rank. The badge is split indicating that it was worn at the front of the garment. The bird is standing on a rock amongst turbulent waves and surrounded by auspicious symbols such as bats, 'ruyi' sceptre, clouds, flowers and floral motifs. This piece was originally woven into a coat. The couched border is a later addition.

LITERATURE:
Schuyler Cammann, ‘The development of the Mandarin square’, 'Harvard Journal of Asiatic Studies', vol.8, no.2 (Aug. 1944), pp. 71-130
Valery M. Garrett, 'Mandarin Squares', Oxford University Press, 1990.
Valery Garrett, 'Chinese dress from the Qing dynasty to the present', Tuttle Publishing, Singapore, 2007.

Asian Art Department, AGNSW, June 2011

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Military rank badge, second rank (lion insignia), China, Qianlong (1736 - 1795), Qing dynasty (1644 - 1911), late 18th century, silk, split tapestry weave (kesi),27.5 x 29.0 cm.Gift of Dr David Ling 2011. Donated through the Australian Government Cultural Gifts Program, 232.2011. Art Gallery of New South Wales, Sydney (C) Art Gallery of NewSouth Wales, Sydney

Rank badges were insignia badges worn by court officials to signify their status in the civil or military sphere. Two badges were attached to the costume, one on the back the other on the front which was split to allow the garment to be buttoned up at the front.

The badges were first introduced during the Ming period in 1391. From the Ming (1368-1644) to the Qing dynasty (1644-1912) the styles of the badges changed dependent on the tastes of the times - not necessarily only when the court dress regulations were published in 1652 and revised by Qianlong emperor in 1759. The best indicator of the time period of a badge are background elements such as water and cloud designs, as these could indicate what was fashionable at the time.

Civil rankings were based on the passing of demanding official examinations. Civil badges consisted of nine ranks each represented by a different bird, with only a couple of changes of bird types over the two dynasties. Military examinations were based on physical feats rather than literary and the rank badges are rarer. For example, towards the overturn of the Qing, military rank badges in particular were burnt to conceal identification. Military badges consisted of animals representing rank. During the Qing rank badges were generally worn by an official, his wife or wives and unmarried sons and daughters (Garrett 37)

Kesi (‘cut silk’) badges are a rarer and more valuable textile, whose complexities lie in the weaving technique. Schuyler Cammann noted that compared to the Ming period, many of the early Qing badges were embroidered. This could be due to 2 reasons: the fall of Yangzhou in 1645 and other cities which had silk weaving industries-resulting in the high cost of silk; and that woven silk appeared to be monopolised by the imperial classes with restricted use to nobles. (Cammann p. 97).

The symbol of the lion in this badge represents the insignia worn by a military official of the 2nd rank. A rare woven kesi tapestry consisting of a landscape woven in gold thread mixed with blue silk thread.

LITERATURE:
Schuyler Cammann, ‘The development of the Mandarin square’, 'Harvard Journal of Asiatic Studies', vol.8, no.2 (Aug. 1944), pp. 71-130
Valery M. Garrett, 'Mandarin Squares', Oxford University Press, 1990.
Valery Garrett, 'Chinese dress from the Qing dynasty to the present', Tuttle Publishing, Singapore, 2007.

Asian Art Department, AGNSW, June 2011

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Insignia badge with silver pheasant design for the wife of a fifth-rank civil official, China, Yongzheng (1723 - 1735), Qing dynasty (1644 - 1911), embroidery with gold and coloured threads, and peacock feathers on silk, 22.0 x 24.0 cm. Gift of Judith and Ken Rutherford 2000, 127.2000. Art Gallery of New South Wales, Sydney (C) Art Gallery of NewSouth Wales, Sydney

Mandarin squares were worn as part of the costume denoting one's rank and status in the bureaucratic hierarchy of China from 1391 to 1911, ie, most of the Ming dynasty and all of the Qing dynasty. Civil officials wore various birds to denote their rank and military officials wore various animals. The silver pheasant is the symbol of the fifth civil rank. In the early Qing period, it typically had three serrated-edged tail feathers, later it had five (as in this piece). While the silver pheasant seems to be the most common badge found today because fully 25% of the mandarins failed to reach the upper ranks of the civil service and stalled at fifth rank, badges of the early Qing period of Yongzheng are rare. This badge was for a female, Qing regulations specifically authorizing the wives to wear a square denoting their husband's rank. Although the emperor had to personally authorize a mandarin to wear a rank, each mandarin had to procure his own squares - a fact that resulted in more varied and interesting designs since each were individual.

Asian Art Department, AGNSW, 17 May 2000

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Civil rank badge, seventh rank (mandarin duck insignia), circa 1700-circa 1750China, Yongzheng (1723 - 1735), Qing dynasty (1644 - 1911), embroidered silk, 22.5 x 24.0 cmGift of Dr David Ling 2011. Donated through the Australian Government Cultural Gifts Program, 231.2011. Art Gallery of New South Wales, Sydney (C) Art Gallery of NewSouth Wales, Sydney

Rank badges were insignia badges worn by court officials to signify their status in the civil or military sphere. Two badges were attached to the costume, one on the back the other on the front which was split to allow the garment to be buttoned up at the front.

The badges were first introduced during the Ming period in 1391. From the Ming (1368-1644) to the Qing dynasty (1644-1912) the styles of the badges changed dependent on the tastes of the times - not necessarily only when the court dress regulations were published in 1652 and revised by Qianlong emperor in 1759. The best indicator of the time period of a badge are background elements such as water and cloud designs, as these could indicate what was fashionable at the time.

Civil rankings were based on the passing of demanding official examinations. Civil badges consisted of nine ranks each represented by a different bird, with only a couple of changes of bird types over the two dynasties. Military examinations were based on physical feats rather than literary and the rank badges are rarer. For example, towards the overturn of the Qing, military rank badges in particular were burnt to conceal identification. Military badges consisted of animals representing rank. During the Qing rank badges were generally worn by an official, his wife or wives and unmarried sons and daughters (Garrett 37).

This badge depicts a rare mandarin duck insignia, worn by a civil official of the 7th rank. The duck is shown about to alight from a rock which is surrounded by waves. It turns to look at the sun which is the symbol of the emperor. Included in the scene is a mountain, pine tree and a pavilion – the home of the Immortals. This complex badge, worn at the front due to the fact that it is split, is a significant example of a rank badge of the 18th century.

LITERATURE:
Schuyler Cammann, ‘The development of the Mandarin square’, 'Harvard Journal of Asiatic Studies", vol.8, no.2 (Aug. 1944), pp. 71-130.
Valery M. Garrett, 'Mandarin Squares', Oxford University Press, 1990.
Valery Garrett, 'Chinese dress from the Qing dynasty to the present', Tuttle Publishing, Singapore, 2007.

Asian Art Department, AGNSW, June 2011

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Military rank badge, for the wife of a third rank (leopard insignia), China, Qing dynasty (1644 - 1911), circa 1860, silk, split tapestry weave (kesi), 28.5 x 29.5 cm. Gift of Dr David Ling 2011. Donated through the Australian Government Cultural Gifts Program, 237.2011. Art Gallery of New South Wales, Sydney (C) Art Gallery of NewSouth Wales, Sydney

Rank badges were insignia badges worn by court officials to signify their status in the civil or military sphere. Two badges were attached to the costume, one on the back the other on the front which was split to allow the garment to be buttoned up at the front.

The badges were first introduced during the Ming period in 1391. From the Ming (1368-1644) to the Qing dynasty (1644-1912) the styles of the badges changed dependent on the tastes of the times - not necessarily only when the court dress regulations were published in 1652 and revised by Qianlong emperor in 1759. The best indicator of the time period of a badge are background elements such as water and cloud designs, as these could indicate what was fashionable at the time.

Civil rankings were based on the passing of demanding official examinations. Civil badges consisted of nine ranks each represented by a different bird, with only a couple of changes of bird types over the two dynasties. Military examinations were based on physical feats rather than literary and the rank badges are rarer. For example, towards the overturn of the Qing, military rank badges in particular were burnt to conceal identification. Military badges consisted of animals representing rank. During the Qing rank badges were generally worn by an official, his wife or wives and unmarried sons and daughters (Garrett 37)

Kesi (‘cut silk’) badges are a rarer and more valuable textile, whose complexities lie in the weaving technique. Schuyler Cammann noted that compared to the Ming period, many of the early Qing badges were embroidered. This could be due to 2 reasons: the fall of Yangzhou in 1645 and other cities which had silk weaving industries-resulting in the high cost of silk; and that woven silk appeared to be monopolised by the imperial classes with restricted use to nobles. (Cammann p. 97).

The 3rd rank military badge depicts a leopard in kesi weave. The leopard faces the sun (emperor) and is surrounded by a number of auspicious elements standing on a hill surrounded by waves and cloud elements.

LITERATURE:
Schuyler Cammann, ‘The development of the Mandarin square’, 'Harvard Journal of Asiatic Studies', vol.8, no.2 (Aug. 1944), pp. 71-130
Valery M. Garrett, 'Mandarin Squares', Oxford University Press, 1990.
Valery Garrett, 'Chinese dress from the Qing dynasty to the present', Tuttle Publishing, Singapore, 2007

Asian Art Department, AGNSW, June 2011

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Pair of children’s civil rank badges, fourth rank (goose), China, Qing dynasty (1644 - 1911), circa 1860, embroidered silk on black satin background; a - split badge; 15.5 x 16.5 cm; b - badge; 15.5 x 16.4 cm.Gift of Dr David Ling 2011. Donated through the Australian Government Cultural Gifts Program, 236.2011.a-b. Art Gallery of New South Wales, Sydney (C) Art Gallery of NewSouth Wales, Sydney

Rank badges were insignia badges worn by court officials to signify their status in the civil or military sphere. Two badges were attached to the costume, one on the back the other on the front which was split to allow the garment to be buttoned up at the front.

The badges were first introduced during the Ming period in 1391. From the Ming (1368-1644) to the Qing dynasty (1644-1912) the styles of the badges changed dependent on the tastes of the times - not necessarily only when the court dress regulations were published in 1652 and revised by Qianlong emperor in 1759. The best indicator of the time period of a badge are background elements such as water and cloud designs, as these could indicate what was fashionable at the time.

Civil rankings were based on the passing of demanding official examinations. Civil badges consisted of nine ranks each represented by a different bird, with only a couple of changes of bird types over the two dynasties. Military examinations were based on physical feats rather than literary and the rank badges are rarer. For example, towards the overturn of the Qing, military rank badges in particular were burnt to conceal identification. Military badges consisted of animals representing rank. During the Qing rank badges were generally worn by an official, his wife or wives and unmarried sons and daughters (Garrett 37).

Children could wear the costume of the father but not the rank badge as a rule. However this was often ignored as can be seen in the fact that these 2 rank badges have the insignia of a goose for the children of 4th rank civil servants.

LITERATURE:
Schuyler Cammann, ‘The development of the Mandarin square’, 'Harvard Journal of Asiatic Studies', vol.8, no.2 (Aug. 1944), pp. 71-130
Valery M. Garrett, 'Mandarin Squares', Oxford University Press, 1990.
Valery Garrett, 'Chinese dress from the Qing dynasty to the present', Tuttle Publishing, Singapore, 2007

Jean Girel contemporary porcelain

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Jean Girel, Grand Disque Bi, 2012. Glazed porcelain, 15 3/4 × 15 3/4 in 40 × 40 cm. Unique. 

Signed and dated: Jean Girel, 12.  Contact For Price. 

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Jean Girel, Paysage Vase, 2008. Glazed porcelain, 9 1/4 × 8 × 8 in 23.5 × 20.3 × 20.3 cm. Unique.

Signed and dated: Jean Girel, 08. Contact For Price. 

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Jean Girel, Boîte à l'Eléphant, 2012. Glazed porcelain, 8 1/4 × 7 3/4 × 7 3/4 in 21 × 19.7 × 19.7 cm. Unique.

Signed and dated: Jean Girel, 12. Contact For Price.

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Jean Girel, Vase, 2013. Glazed porcelain. Unique.

Signed and dated. Price$2,500 - 5,000.

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Jean Girel, Vase, 2013. Glazed porcelain, 5 1/2 × 6 1/2 × 6 1/2 in 14 × 16.5 × 16.5 cm

Signed and dated. Price: $2,500 - 5,000.

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Jean Girel, Vase, 2010. Glazed porcelain, 5 1/2 × 3 1/4 × 3 1/4 in 14 × 8.3 × 8.3 cm. Unique.

Signed and dated: Jean Girel, 10. Price$1,000 - 2,500.

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Jean Girel, Bowl, 1987. Glazed porcelain, 3 × 6 × 6 in 7.6 × 15.2 × 15.2 cm. Unique

Signed: Jean Girel. Price: $1,000 - 2,500.

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Jean Girel, Bowl, 1988. Glazed porcelain, 3 1/2 × 5 × 5 in 8.9 × 12.7 × 12.7 cm. Unique.

Signed and dated: Jean Girel, 88. Price$1,000 - 2,500.

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Jean Girel, Lidded Jar, 1987. Glazed porcelain, 2 1/2 × 4 × 4 in 6.4 × 10.2 × 10.2 cm. Unique.

Signed and dated: Jean Girel 87. Price$1,000 - 2,500.

Maison GerardNew York: 212 674 7611 - New York: 212 674 7611

 

 Photos by courtesu of Jean Girel (French, born 1947)

Yan Pei-Ming, Icones, 2013, at GDM

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Yan Pei-Ming, Icones, 2013. Lithography.Edition of 75(C) Yan Pei-Ming

Fusing the Western tradition of portrait painting with China’s cultural history, Yan Pei-Ming creates large-scale works depicting real and imaginary people. Yan’s portraits, typically mono- or bi-chromatic, often verge on abstraction, with broad, patterned brushstrokes and drips of paint. He is perhaps best known for his monumental self-portraits, including Double (Selfportrait at the Morgue)(2006), a watercolor of the artist as a dead man, as well as his eight-foot-tall portraits of Mao Zedong, Bruce Lee, and his father.

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Yan Pei-Ming, Icones, 2013. Lithography.Edition of 75(C) Yan Pei-Ming

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Yan Pei-Ming, Icones, 2013. Lithography.Edition of 75(C) Yan Pei-Ming 

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Yan Pei-Ming, Icones, 2013. Lithography.Edition of 75. (C) Yan Pei-Ming

Contact For Price. gdm. Paris: +33(0)1 48 87 21 77

Back on three jewels by Lacloche Freres sold at Christie's 17 November 1998, Geneva

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A pair of elegant gem-set, enamel and onyx ear-pendants, by Lacloche Freres.Photo Christie's Image Ltd 1998

Each designed as an old European-cut diamond pierced panel with buff-top ruby, emerald, sapphire and onyx detail of Oriental motif in a black enamel surround to the diamond-set openwork and black enamel bar surmount suspended from a similarly-set top, circa 1925. Signed by Lacloche, Paris, no. 65718. Estimate CHF45,000 - CHF55,000 ($32,751 - $40,029). Price Realized CHF52,900 ($38,501)

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A diamond pendent brooch, by Lacloche Frères. Photo Christie's Image Ltd 1998

Designed as circular-cut diamond tiered arches to the baguette-cut diamond links suspending a series of pierced pavé-set shield-shaped articulated panels with baguette-cut diamond detail and tassels, circa 1929, with French assay marks (with concealed pendent hoops, accompanied by a box-link chain, 38.5 cm.). Signed by Lacloche Frères, Paris, number indistinct (2). Estimate CHF15,000 - CHF20,000 ($10,917 - $14,556). Price Realized CHF34,500 ($25,109)

Notes: Images of water permeated the Art Deco period. René Lalique's abstracted glass fountain placed on top of the perfume showcases at the 1925 exhibition (image opposite) is as fine an example as this brooch whose curves are reminiscent of the cascading water of a fountain.

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A "lacque burgauté", nephrite and diamond case by Lacloche Frères. Photo Christie's Image Ltd 1998

The rectangular case set to the cover and reverse with "lacque burgauté" panels depicting Oriental garden scenes to the nephrite and lacquer sides, opening to reveal a fitted mirror, circa 1928, 8.0 x 5.8 x 1.2 cm., with French assay marks. Signed by Lacloche Frères, Paris, no. 76179. Estimate CHF22,000 - CHF28,000 ($16,012 - $20,378). Price Realized CHF19,550 ($14,229)

Notes"Lacque burgauté", "burgau" being the word in French for mother-of-pearl mussel, is the term for lacquer inlayed with tinted blue, green, pink and purple mother-of-pearl. In some cases, gold and silver foil are also incorporated into the design. The technique was originally Chinese, but during the Qing Dynasty it surfaced in the Ryukyu Islands, located between China and Japan, and subsequently was passed on to Japanese artisans who became the primary producers in the 19th Century.

During the 1920s, such placques as are set in the present vanity case often could be seen in "objets" created by such houses as Lacloche and Cartier. There are two other examples in this sale, two "bonbonnières" by Cartier: lots 311 and 312. 

Christie's . ART DECO JEWELLERY, 17 November 1998, Geneva

Brush washer in the shape of a plum blossom, guan ware, China, Southern Song (1127 - 1279)

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Brush washer in the shape of a plum blossom, guan ware, China, Southern Song (1127 - 1279), Zhejiang Province, stoneware with crackled glaze, 2.7 x 10.8 cm. Gift of Mr J.H. Myrtle 1998. 60.1998. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

 'Guan' means 'official' and imperial Guan wares were made for the newly established Southern Song court after the style of wares made previously for the northern court at Kaifeng. Produced at the Guan kilns sited in present-day Zhejiang province, Guan wares, and Guan-type wares made at Longquan kilns, are among the most sumptuous of Song wares. Typically they are thin and dark bodied, but thickly covered with many layers of lustrous greyish-green glaze with a mesh of crackle which has been enhanced by staining.

This piece exemplifies Southern Song taste and would have been among the desk accoutrements of a late Song literati aspiring to pursue a reclusive life of self-cultivation that focused on reading, poetry, painting and calligraphy.

The Asian Collections, AGNSW, 2003, pg.107.

Incense tripod burner, Ge ware, 13th century, China, Southern Song (1127 - 1279)

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Incense tripod burner, Ge ware, 13th century, China, Southern Song (1127 - 1279), Zhejiang Province, stoneware with crackled glaze, 7.5 x 9.8 cm; 9.5 cm diam. of mouth. Bequest of Kenneth Myer 1993. 584.1993. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Popular among the Song court bureaucracy were ceramics with the appearance of 'crazing' (fine lines produced by the shrinking of the glaze in the kiln) in their thick glaze, enhanced by rubbing ink into the cracks. Wares such as this, known as Ge wares, are thought to have been produced at the Longquan kilns, probably only from the Yuan and early Ming periods, although traditionally they are considered a Song ware.

The Asian Collections, AGNSW, 2003, pg.107

Back on Boucheron Art Deco Jewelry at Christie's, 17 November 1998, Geneva

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An elegant emerald and diamond bracelet, by BoucheronPhoto Christie's Image Ltd 1998

Designed as three baguette, triangular and shield-shaped diamond openwork panels to the rectangular-cut emerald spacers, circa 1929, 18.5 cm., with French assay marks, in its original Boucheron blue leather case. Signed by Boucheron, Paris. Estimate: CHF44,000 - CHF50,000 ($32,023 - $36,390). Price Realized  CHF65,500 ($47,707)

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A mother-of-pearl, diamond, enamel and onyx vanity case, by BoucheronPhoto Christie's Image Ltd 1998

The green enamel and onyx rectangular case applied with a mother-of-pearl plaque depicting a Chinese landscape with black enamel and diamond detail to the front and reverse, opening to reveal two compartments, a lipstick holder and a fitted mirror, circa 1928, 9.0 x 5.0 x 1.5 cm., with French assay marks (lipstick tube deficient). Signed by Boucheron, Paris. Estimate: CHF22,000 - CHF28,000 ($16,012 - $20,378). Price Realized  CHF52,900 ($38,501)

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An agate, diamond and enamel case, by BoucheronPhoto Christie's Image Ltd 1998

Of rectangular outline, the two-toned agate and diamond-set box applied with a coral, carnelian and malachite bouquet of flowers in a single-cut diamond vase with multi-coloured enamel surround to the black enamel fleur-de-lis hinges and thumb-piece, circa 1925, 8.5 x 4.2 x 1.4 cm., with French assay marks, in its original Boucheron pink leather fitted case. By Boucheron. Estimate: CHF29,000 - CHF36,000 ($21,106 - $26,201). Price Realized  CHF36,800 ($26,783)

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A diamond brooch, by BoucheronPhoto Christie's Image Ltd 1998

Bezel-set with a hexagonal-cut diamond in an old European and baguette-cut diamond geometrical swirl surround to the diamond tiered terminals, circa 1932 (accompanied by fittings to be worn as a necklet), with French assay mark, in its original Boucheron brown leather fitted case. Signed by Boucheron, Paris. Estimate: CHF29,000 - CHF36,000 ($21,106 - $26,201). Price Realized  CHF34,500 ($25,109)

Christie's . ART DECO JEWELLERY, 17 November 1998, Geneva


Two Henan ware, Song dynasty at Art Gallery of New South Wales, Sydney

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Henan Blackware vase, circa 1200, China, Song dynasty (960 - 1279), Henan Province, stoneware with a black glaze, 4.0 cm diam. of mouth; 22.0 x 19.0 cm. Gift of Graham E. Fraser 1993. 332.1993. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Brown-glazed stonewares from the Henan province were part of an extensive ceramic industry that spread throughout northern China during the Song dynasty. They were a popular ware used in most households and not a select quality ware collected by connoisseurs and eulogised in literature. From a technical viewpoint, this vase demonstrates the achievements in kiln control of northern potters around the year 1200. These achievements enabled the creation of appealing, rusty-brown suffused patterns in the black glaze: the result of precipitations of iron oxide in a reducing atmosphere in the kiln.

'Asian Art', AGNSW Collections, 1994, pg. 194.

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Brown glazed bowlChina, Song dynasty (960 - 1279), Henan Province, stoneware, 7.2 x 17.8 cmGift of Dr. Peter Elliott 1995220.1995Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Two Jian ware tea bowls, Song dynasty at Art Gallery of New South Wales, Sydney

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Jian ware tea bowl,  China, Fujian province, Song dynasty (960-1279), stoneware, tenmoku glaze, silver rim, 6.9 x 12.4 cm. Purchased 1965. EC4.1965. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

The tea bowl was made in the Song dynasty (960-1279) in the south-eastern province of Fujian and was a type of stoneware produced in vast quantities for everyday use. Its appeal is in its glaze colour and texture and in the well-potted functional form. These bowls, of which this is an exceptionally fine example, were made near Jianning, in northern Fujian, probably from about the 10th century onwards. They are especially prized by the Japanese for use in the ceremonial drinking of tea which the form and the glaze would have been considered particularly appropriate. The Japanese name 'tenmoku' is thought to be a corruption of Tianmu, a mountain close to Hangzhou from which the ware may have been shipped.

The body material is a dark brown stoneware covered in this example, with a thick, lustrous, dark blue-black glaze streaked with yellow (an effect commonly known as "hare's fur"). The colour is light brown near the mouth, having run thin there, to an extent causing some roughness at the rim. For this reason, the bowls are often metal bound, as with this bowl which has a swaged silver rim. These ferric oxide glazes were very viscous, which is indicated by the flow on the exterior, where the glaze has collected in a heavy roll some distance from the foot.

J.H. Myrtle, AGNSW Quarterly, July 1965.

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Jian ware tea bowl,  12th century-13th century, China, Song dynasty (960-1279), 6.3 x 12.3 cm (irreg.)Bequest of Eleanor Hinder through her executors 197992.1979Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

On this day in 1494 the Flemish painter Hans Memling passed away.

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Hans Memling, "The Virgin and Child between two Angels" (1480-90). Museo Nacional del Prado, Madrid

Asian art continues to thrive as Chinese buyers gravitate to Internet at LiveAuctioneers

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Antique white jade boulder carved to replicate figures on the path to a temple, Chinese, 4 inches tall, sold to a LiveAuctioneers bidder for $173,600 on May 12, 2014 at Auction Gallery of the Palm Beaches in West Palm Beach, Florida. Image courtesy of LiveAuctioneers Archive and Auction Gallery of the Palm Beaches

NEW YORK (NY)– A decade ago, Internet live bidding was primarily a resource favored by collectors of pop-culture memorabilia and more moderately priced merchandise. It was not the realm of high-end art buyers. Today, it’s an entirely different story. Internet bidders are paying record prices for paintings, investment-grade coins, estate jewelry and even classic cars. But no other type of vintage item purchased online lands in six-figure territory quite as frequently as Asian art and antiques.

The demand in China, in particular, for rare and culturally important pieces is insatiable, and wealthy Asia-based buyers are flexing their financial muscles to repatriate the art of their ancestors,” said Julian R. Ellison, CEO of LiveAuctioneers.

Ellison would know. His company’s platform has dominated the Internet-live-bidding sector since November of 2002 and is now the preferred online venue for buyers of Asian art. As their numbers have grown, so, too, have the prices they’re willing to pay.

For example, on May 12th a LiveAuctioneers bidder parted with $173,600 to own an antique white jade boulder carved to replicate figures on the path to a temple. A mere 4 inches tall, the Chinese treasure offered by Auction Gallery of the Palm Beaches of West Palm Beach, Florida, had been entered in the sale with a $15,000-$18,000 estimate.

Even more remarkable were the online results achieved on May 18th at an event conducted by Wichita Auctioneers of New York City. A 23½ inch-tall Ming Dynasty gilt-bronze figure of Avalokitesvara on a lotus base was purchased through LiveAuctioneers for $197,430.

The meteoric rise of Internet live bidding on top-tier art has not been lost on the pundits of Wall Street. They’re paying close attention to the booming business phenomenon. A June 15, 2014 Wall Street Journal article by Daniel Grant, titled “Why Auction Rooms Seem Empty These Days,” explored why art buyers worldwide have changed the ways in which they transact business, moving from traditional in-house bidding to remote, electronic methods.

In his article, Grant cites the globalization of art and collectibles markets, and the bidder preference for anonymity as being among the reasons for the marked increase in both online and phone bidding.

Collectors who opt to bid via LiveAuctioneers also do so because of its convenience. Online bidding eliminates the considerable time and expense required to travel to an auction, especially if it is located a hemisphere away.

Grant’s article quotes Leslie Hindman, founder of Chicago-based Leslie Hindman Auctioneers Inc., as saying, “Whereas in the past we might have had only two bidders for a certain lot, now, because people all over the world find out about it and want to own it, we might have 10, and that definitely increases the prices.” More than 3,400 visitors viewed LiveAuctioneers’ online catalog for Hindman’s June 12 Asian Marketplace Auction, placing more than 300 absentee bids.

Just as compelling is the number of Asian-art items sold through LiveAuctioneers overall. Since January 1st of this year alone, 37,298 lots containing the words “Asian” or “Chinese” have changed hands through LiveAuctioneers.

These numbers don’t lie. They show the power that LiveAuctioneers can bring to a sale because of our ability to attract high-quality repeat bidders. Our ‘front-row’ presence online and the effectiveness of our marketing strategies have a powerful effect on the revenues of companies that otherwise would not have a single Chinese bidder on their books. Six-figure prices for Asian art sold through LiveAuctioneers are no longer a shock. I believe Asian art’s winning streak will continue well into the future,” Ellison said.

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Gilt-bronze figure of Avalokitesvara on lotus base, Ming Dynasty, 23½ inches tall, purchased by a LiveAuctioneers bidder for $197,430 on May 18, 2014 at Wichita Auctioneers, New York City. Image courtesy of LiveAuctioneers Archive and Wichita Auctioneers

Yu Youren's Calligraphy scrolls keep Asian items on a roll at Michaan’s

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Attributed to Yu Youren (1879-1964): Six Calligraphy Hanging scroll, ink on paper, signed 'Yu Youren' with one seal. {59 1/2 x 10 1/2 inches (151 x 27 cm) each. Estimate $2,000-3,000. Price realized $25,960. Photo courtesy Michaan’s 

ALAMEDA, Calif. – Chinese arts and antiquities continued to prove their worth as a hot commodity in Michaan’s estate auction Aug. 3. A runaway sales success was found in lot 179, a set of six hanging scrolls of calligraphy brushwork attributed to Yu Youren, which was estimated to sell for $2,000-3,000. The set provided a formidable as well as collectible group of works to a worldwide bidding audience. Competition was strong for the calligraphy suite, ending with an impressive winning bid placed by a Chinese American floor bidder. The sale of the calligraphies came to surpass the high estimate well over eight times, with a final price realized of $25,960.

LiveAuctioneers.com provided Internet live bidding.

Asian Art Specialist Harry Huang believed what struck bidders was “the comprehensiveness of the grouping. Having these artworks as a complete body of work in a collection of six scrolls is a wonderful way to not only present them, but also to display them.”

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DetailsAttributed to Yu Youren (1879-1964): Six Calligraphy Hanging scroll, ink on paper, signed 'Yu Youren' with one seal. {59 1/2 x 10 1/2 inches (151 x 27 cm) each. Estimate $2,000-3,000. Price realized $25,960. Photo courtesy Michaan’s

Desirable performance was achieved by many other Asian lots, found in an impressive list of top performers at auction. Of note was a painted Buddhist scripture upon silk (lot 180, $800-1,200, sold for $7,080) as well as two famille rose vases depicting beauties and birds (lot 232, $300-500, sold for $4,130).

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A Painted Buddhist Scripture Silk Hanging With Tibetan inscription and Buddhist dragons and lions. {59 x 25 inches (150 x 63.5 cm)}. Estimate $800-1,200, sold for $7,080Photo courtesy Michaan’s

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Two Famille Rose Vases Depicting either beauties or birds. {Taller: 9 3/4 inches (24.7 cm)} [Crazing, abrasions]. Estimate $300-500, sold for $4,130. Photo courtesy Michaan’s

Among Michaan’s jewelry offerings, certified stones carried their weight at auction. A pair of jade, diamond and white gold earrings accompanied by a Mason Kay Report sold for a handsome $6,490 (lot 093, $2,000-2,500). Also on the auction block was a GIA-certified diamond and platinum ring of a marquise cut that realized a price of $4,425 (lot 089, $1,700-2,000). Select pocket watches also sold well, as evidenced by a Spaulding & Co. 18K yellow gold piece (lot 123, $800-1,000, sold for $2,950) and a group of 10 gold-filled timepieces listed as lot 118 ($400-600, sold for $2,655).

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Pair of Jade, Diamond, 14k White Gold EarringsPhoto courtesy Michaan’s

Each features one oval jadeite cabochon measuring approximately 14.20 x 9.65 x 2.51 mm, accented by sixteen round-cut and four baguette-cut diamonds weighing a total of approximately 0.45 cttw., set in a 14k white gold mounting. Accompanied by a Mason Kay Report #140527-1, dated May 27, 2014 stating "Natural jadeite jade, no dye or polymer detected - 'A' jade". {Gross Weight: 5.4 dwts). Estimate $2,000-2,500. Sold for $6,490.

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Diamond, Platinum RingPhoto courtesy Michaan’s

Centering one marquise-cut diamond weighing approximately 1.28 ct., flanked by two tapered baguette-cut diamonds weighing a total of approximately 0.15 cttw., set in a platinum mounting. Accompanied by a GIA Gem Trade Laboratory Report #1156803522, dated December 23, 2013 stating "H color, VS1 clarity". {Size 6 1/2, Gross Weight: 3.1 dwts}. Estimate $1,700-2,000. Sold for $4,425.

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Spaulding & Co. 18k Yellow Gold Pocket Watch. Photo courtesy Michaan’s

DIAL: Round, white, black Arabic numeral hour markers, black and red Arabic numeral minutes track, gold tone Louis VX hands, sunken subsidiary seconds dial at 6 o'clock, Spaulding & Co. MOVEMENT: Jeweled, adjusted, Patek Philippe, No. 115504, Geneve Suisse, Spaulding & Co. CASE: 18k yellow gold, cuvette #115504, Spaulding & Co., 115504, 46 mm Estimate $800-1,000, sold for $2,950

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Collection of Ten Gold-Filled Pocket WatchesPhoto courtesy Michaan’s

Including one Vacheron & Contantine open face, gold-filled pocket watch; two Elgin rail road gold-filled, open face pocket watches; two Waltham rail road gold-filled, open face pocket watches; two Hamilton gold-filled, open face pocket watches; one open face, gold-filled pocket watch; one Rockford gold-filled, open face pocket watch; one Hampden gold-filled, open face pocket watch together with one Elgin gold-filled, open face pocket watch. Estimate $400-600, sold for $2,655.

Top selling lots were seen across department lines as well. An authentic, mid-century modern classic Hans Wegner Papa Bear Chair was sold alongside its original ottoman for $7,670 (lot 425, $3,500-4,500). Also noteworthy was a standout lot from the furniture and decorative arts portion of the sale in a stately Kindel Winterthur mahogany inlaid sideboard that more than quadrupled estimates (lot 389, $500-700, sold for $3,245).

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Hans Wegner, Papa Bear Chair and Associated Ottoman, the chair with original upholstery and foam fill {Dimensions of chair 39 x 36 x 33 inches; ottoman 16 x 28 inches}. Estimate $3,500-4,500, sold for $7,670Photo courtesy Michaan’s

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Kindel Winterthur Mahogany Inlaid Sideboard {Dimensions 39 1/2 x 75 1/2 x 26 1/2 inches}. Estimate $500-700, sold for $3,245Photo courtesy Michaan’s

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