Johnson Tsang, Throne, 2015. Porcelain, rosewood chair and bird cage. Diameter 32 H65cm © Johnson Tsang

Johnson Tsang, Cages, 2015. Porcelain and bird cage. Diameter 32 H56cm © Johnson Tsang

Johnson Tsang, A Job Offer, 2015. Porcelain and figure model. L36 W22 H22cm © Johnson Tsang

Johnson Tsang, We Luv U Dad!, 2015. Porcelain and wood. L115 W23 H41cm © Johnson Tsang

Johnson Tsang, Oops, 2015. Porcelain and figure model. L21 W23 H39cm © Johnson Tsang

Johnson Tsang, Wash Away, 2015. Porcelain. L21 W18 H51cm© Johnson Tsang

Johnson Tsang, Absent from Duty, 2015. Resin. Angel: L13 W12 H24cm© Johnson Tsang

Bowl, stoneware with black glaze and 'hare's fur' effect, Jianyang, Fujian province, China, Northern Song dynasty (960-1127). Stoneware, glazed. Diameter: 9.3 cm. Museum no. C.626-1918. Given by Aubrey Le Blond [2009] © V&A Images

The kilns in the area of Jianyang in Fujian province (southern China) excelled in the production of a type of blackware generally known as Jian ware. This is characterised by an iron-rich dark body covered by black glaze and often decorated with distinct surface patterns. In this example fine brown streaks of iron oxides create an effect called 'hare's fur'.

Jian ware kilns specialised in the supply of tea-drinking vessels, especially bowls, which were individually fired in their own saggers with clay separators as supports. During the Song dynasty powdered tea was used, and blackwares acquired immediate popularity for tea-drinking as the white foam created by whisking the tea would make a pleasant contrast against the dark surface of the bowls.

This bowl was acquired in Korea, probably from the excavation of a Koryo dynasty tomb, and donated in 1918 by Mr and Mrs Aubrey Le Blond, who had travelled in Korea before the First World War.

Bibliographic References: Kerr, Rose. Song dynasty ceramics. London:V&A Publications, 2004, plate 117.

Ewer, Northern Song dynasty, 1000-1100. Ding kilns, north China. Stoneware with white glaze. Height: 15 cm. Museum no.C.615-1918. Aubrey Le Blond gift [2007] © V&A Images

This ewer was made during the Song dynasty (960-1279), the classical period in the history of Chinese ceramics. Kilns appeared in all parts of China, each kiln with its own specialized products. Centuries later they were much sought after by collectors. A systematic classification of the different wares was already well established in the 1400s, whereby ceramics were named after the town in which the kilns operated. The best known wares are Ru, Ding, Jun, Yaozhou, Cizhou, Yue, Guan, Longquan and Qingbai. This piece is a Ding ware. 

This ewer was found in Korea. 

Bibliographic References: Kerr, Rose. Song Dynasty Ceramics. London: V&A Publications, 2004. p. 12, no. 4.

The building was rebuilt from scratch in strict accordance with Czech law. Photo: Mikhail Stepanov

Living room. Vaulted ceilings painted patterns invented a local artist. Photo: Mikhail Stepanov

The view from the windows of the house on the stairs leading to the park. Photo: Mikhail Stepanov

Antique buffet - one of the random findings decorator. Photo: Mikhail Stepanov

One of the bedrooms is equipped for children. Photo: Mikhail Stepanov

Detail of the bathroom. Chest of black and white pattern attracts attention. Photo: Mikhail Stepanov

Detail of the living room. Chair fitted a new fabric, and initially, it was a different color. Photo: Mikhail Stepanov

Stairs leading from the house to the park. Photo: Mikhail Stepanov

Erkin, Tulp - 2015 - olieverf op paneel - 28,5 X 18,5 cm. Courtesy of Erkin and Galerie Mokum

Erkin, Stilleven met tulpen - 2015 - olieverf op paneel - 40 X 30 cm. Courtesy of Erkin and Galerie Mokum

Erkin, Licht- 2014- olie op paneel- 25,5 X 19 cm. Courtesy of Erkin and Galerie Mokum

Erkin, Stilleven met Ming kommen- 2014- olieverf op paneel- 32 x 23 cm. Courtesy of Erkin and Galerie Mokum

Erkin, Kweeperen in Wan-Li kom- 2015- olie op paneel- 32 X 25 cm. Courtesy of Erkin and Galerie Mokum

Erkin, Stilleven met porselein en walnoten- 2015- olie op paneel- 43 X 37,5 cm. Courtesy of Erkin and Galerie Mokum

Erkin, Memories of the sea- 2014- olieverf op paneel- 27,5 x 40,5 cm. Courtesy of Erkin and Galerie Mokum

Erkin, Stilleven met granaatappel- 2014- olieverf op paneel- 25 x 32 cm. Courtesy of Erkin and Galerie Mokum

Erkin, Uiltjes of nachtvlinders - 2014- olievef op paneel - 30 x 23 cm. Courtesy of Erkin and Galerie Mokum

Erkin, Stilleven met sierappeltjes- 2014- olieverf op paneel- 35 x 25 cm. Courtesy of Erkin and Galerie Mokum

Erkin, Stilleven met rode kom en bekers- 2014- olieverf op paneel- 29 x 19,5 cm. Courtesy of Erkin and Galerie Mokum 

Erkin, Stilleven met antiek glas- 2014- olieverf op paneel- 38 x 50 cm. Courtesy of Erkin and Galerie Mokum 

Erkin, Porcelain treasures- 2014- olieverf op paneel- 70 x 90 cm. Courtesy of Erkin and Galerie Mokum 

Erkin, Stilte- 2014- olieverf op paneel- 38 x 31,5 cm. Courtesy of Erkin and Galerie Mokum 

Erkin, Stapel- 2013- olieverf op paneel- 28,5 x 22 cm. Courtesy of Erkin and Galerie Mokum 

Erkin, Moved by Zurbaran- 2012- olieverf op paneel- 35 x 28,5 cm. Courtesy of Erkin and Galerie Mokum

Erkin, Ming - 2013 - olieverf op paneel - 37,5 x 27 cm. Courtesy of Erkin and Galerie Mokum

Erkin, Malusappeltjes- 2012- olieverf op paneel- 30 x 38,8 cm. Courtesy of Erkin and Galerie Mokum 

Erkin, Kommen op tinnen bord- 2013- olieverf op paneel- 34 x 37,5 cm. Courtesy of Erkin and Galerie Mokum 

Erkin, Kom met appeltjes- 2013- olieverf op paneel- 32,5 x 24,5 cm. Courtesy of Erkin and Galerie Mokum 

Erkin, Famille Rose vaas- 2012- olieverf op paneel- 38 x 25 cm. Courtesy of Erkin and Galerie Mokum 

Erkin, Stilleven met kommen - 2011 - olieverf op paneel - 35 x 28 cm. Courtesy of Erkin and Galerie Mokum 

Erkin, Balans - 2011 - olieverf op paneel - 33,5 x 40 cm. Courtesy of Erkin and Galerie Mokum

Erkin, Stilleven met beker - 2013 - olieverf op paneel - 28 x 24,8 cm. Courtesy of Erkin and Galerie Mokum 

Erkin, Kraak en Kanxi porselein - 2013 - olieverf op paneel - 33 x 28 cm. Courtesy of Erkin and Galerie Mokum

Erkin, Stilleven met Chinees porselein - 2013 - Olieverf op paneel - 70 x 90 cm. Courtesy of Erkin and Galerie Mokum

Cupstand, Blue Jun ware, Henan, China, Northern Song-Jin dynasty, 12th century. Stoneware with glaze. Diameter: 10.2 cm, Height: 3.5 cm. Purchased with the assistance of The Art Fund, the Vallentin Bequest, Sir Percival David and the Universities China Committee. CIRC.151-1935 © V&A Images

This cupstand belongs to a type of ceramics known as Jun ware. Chinese ceramics are often categorized by the geographical area in which they were made, as the kilns of a particular region often made only one or two types of ceramics at a given time in history. Jun ware was produced in the kilns of the Henan province and its height of production was during the Song dynasty (960-1279). It can be identified visually by its coarse stoneware body and its thickly applied glaze, which through firing gained an opalescent blue colour. At the edges the glaze ran thin, becoming semi-transparent and creating the simple and elegant colouring of this piece.

Some types of Chinese ceramics were made exclusively for the imperial household. Jun wares, however, were mostly made for popular use and were not widely collected before the late Ming dynasty, when they were first mentioned in scholarly writings. By the Qing dynasty their status had elevated, when the Qianlong emperor (reigned 1736-95) was an admirer of them and used them for decorating his domestic spaces.

Bibliographic References: Kerr, Rose. Song Dynasty Ceramics. London: V&A Publications, 2004. p. 30, no. 19.

Bowl, Jun ware, Henan province, China, Northern Song-Jin dynasty, 12th century. Glazed stoneware. Diameter: 12 cm. Bequeathed by J. G. Maxwell Brownjohn. C.43-1965. © V&A Images

 This bowl belongs to a type of ceramics known as Jun ware. Chinese ceramics are often categorized by the geographical area in which they were made, as the kilns of a particular region usually made only one or two types of ceramics at a given time in history. Jun ware was produced in the kilns of the Henan province and its height of production was during the Song dynasty (960-1279). It can be identified visually by its coarse stoneware body and its thickly applied glaze, which through firing gained an opalescent blue colour. At the edges the glaze ran thin, becoming semi-transparent and creating the simple and elegant colouring of this piece. 

Some types of Chinese ceramics were made exclusively for the imperial household. Jun wares, however, were mostly made for popular use and were not widely collected before the late Ming dynasty, when they were first mentioned in scholarly writings. By the Qing dynasty their status had elevated, when the Qainlong emperor (reigned 1736-95) was an admirer of them and used them for decorating his domestic spaces.

Bibliographic References: Kerr, Rose. Song Dynasty Ceramics. London: V&A Publications, 2004. p. 33, no. 23.

Blue glaze and copper-red splash bowl, Jun ware, China, Northern Song-Jin dynasty, 12th-13th century. Stoneware, glazed. Diameter: 17.7 cm. Purchased with the assistance of The Art Fund, the Vallentin Bequest, Sir Percival David and the Universities China Committee. CIRC.141-1935 © V&A Images

The bowl on the left of this image belongs to a type of ceramics known as Jun ware. Chinese ceramics are often categorized by the geographical area in which they were made, as the kilns of a particular region usually made only one or two types of ceramics at a given time in history. Jun ware was produced in the kilns of the Henan province and its height of production was during the Song dynasty (960-1279). It can be identified visually by its coarse stoneware body and its thickly applied glaze, which through firing gained an opalescent blue colour. At the edges the glaze ran thin, becoming semi-transparent and creating the simple and elegant colouring of this piece. While some Jun wares use only the blue glaze, it was also common to apply copper brushwork to dry glazes in broad strokes or washes, which then merged with the bluish Jun glazes at full heat. This resulted in the bold splashes of purple-red visible in this bowl.

Some types of Chinese ceramics were made exclusively for the imperial household. Jun wares, however, were mostly made for popular use and were not widely collected before the late Ming dynasty, when they were first mentioned in scholarly writings. By the Qing dynasty their status had elevated, when the Qianlong emperor (reigned 1736-95) was an admirer of them and used them for decorating his domestic spaces.

Bibliographic References: Kerr, Rose. Song Dynasty Ceramics. London: V&A Publications, 2004. p. 34, no. 26.

Blue glaze and coper-red splashes dish, Jun ware, China, Northern Song-Jin dynasty, 12th-13th century. Stoneware, glazed. Diameter: 18.8 cm. Purchased with the assistance of The Art Fund, the Vallentin Bequest, Sir Percival David and the Universities China Committee. C.845-1936 © V&A Images

The dish on the right of this image belongs to a type of ceramics known as Jun ware. Chinese ceramics are often categorized by the geographical area in which they were made, as the kilns of a particular region usually made only one or two types of ceramics at a given time in history. Jun ware was produced in the kilns of the Henan province and its height of production was during the Song dynasty (960-1279). It can be identified visually by its coarse stoneware body and its thickly applied glaze, which through firing gained an opalescent blue colour. At the edges the glaze ran thin, becoming semi-transparent and creating the simple and elegant colouring of this piece. While some Jun wares use only the blue glaze, it was also common to apply copper brushwork to dry glazes in broad strokes or washes, which then merged with the bluish Jun glazes at full heat. This resulted in the bold splashes of purple-red visible in this dish. 

Some types of Chinese ceramics were made exclusively for the imperial household. Jun wares, however, were mostly made for popular use and were not widely collected before the late Ming dynasty, when they were first mentioned in scholarly writings. By the Qing dynasty their status had elevated, when the Qianlong emperor (reigned 1736-95) was an admirer of them and used them for decorating his domestic spaces.

Bibliographic References: Kerr, Rose. Song Dynasty Ceramics. London: V&A Publications, 2004. p. 34, no. 26.

Large shiny blue glaze jar, Jun ware, China, Northern Song dynasty (960-1127). Stoneware, glazed. Height: 21.3 cm, Diameter: 22.7 cm. Purchased with the assistance of The Art Fund, the Vallentin Bequest, Sir Percival David and the Universities China Committee. C.936-1935 © V&A Images

This jar belongs to a type of ceramics known as Jun ware, although it is unusually large compared to most Jun ware pieces. Chinese ceramics are often categorized by the geographical area in which they were made, as the kilns of a particular region usually made only one or two types of ceramics at a given time in history. Jun ware was produced in the kilns of the Henan province and its height of production was during the Song dynasty (960-1279). It can be identified visually by its coarse stoneware body and its thickly applied glaze, which through firing gained an opalescent blue colour. At the edges the glaze ran thin, becoming semi-transparent and creating the simple and elegant colouring of this piece. 

Some types of Chinese ceramics were made exclusively for the imperial household. Jun wares, however, were mostly made for popular use and were not widely collected before the late Ming dynasty, when they were first mentioned in scholarly writings. By the Qing dynasty their status had elevated, when the Qianlong emperor (reigned 1736-95) was an admirer of them and used them for decorating his domestic spaces.

Bibliographic References: Kerr, Rose. Song Dynasty Ceramics. London: V&A Publications, 2004. p. 35, no. 27.

Exhibition: Passion for Porcelain: Ceramic Masterpieces from the British Museum and V&A (National Museum of China, Beijing 22/06/2012-06/01/2013)

Jar and lid, Ding ware, Hebei, China, Northern Song dynasty, 1000-1150. Stoneware, glazed. Height: 11.8 cm. CIRC.38&A-1934 © V&A Images

This lidded jar is an example of Ding ware, made in Hebei province in China during the Northern Song dynasty (960-1127). Ding wares were among the earliest true porcelains to be made made in China, and indeed in the world. The term porcelain refers to ceramics made from a mixture containing a clay called kaolin and a white stone called petuntse, which was fired at high temperatures. Porcelains differ from other ceramics in their impermeability, whiteness after firing and fine texture. 

The shape of this jar suggests that it was used in a practical way, for storing salt needed for the preparation of brick tea. It would have been kept well away from the kitchen in order to protect the salt from absorbing any cooking odours or fumes.

Bibliographic References: Kerr, Rose. Song Dynasty Ceramics. London: V&A Publications, 2004. p. 47, no. 41.

Balenciaga, photo by Richard Avedon, August 1955

Balenciaga by Louis Faurer.

Balenciaga hat, 1961. Photographer Gleb Derujinsky

Bettina wearing a veiled hat by Balenciaga, 1951.

The Pablo Picasso painting, 'La Coiffeusse,' or 'The Hairdresser,' is seen during a repatriation ceremony at the French Embassy, August 13, 2015 in Washington, DC. Fourteen years after it was stolen from a Paris museum, the stolen artwork is being returned to France following its recovery by U.S. Immigration and Customs Enforcement in December 2014 in Newark, New Jersey. Mark Wilson/Getty Images/AFP.

Lucy KEMP-WELCH, Horses bathing in the sea, 1900, oil on canvas, 152.9 x 306.5 cm. National Gallery of Victoria, Melbourne. Purchased, 1900, 93-2© Estate of Lucy Kemp-Welch 

MELBOURNE.- From the mythical winged horse Pegasus to Phar Lap’s victorious Melbourne Cup, three thousand years of the horse in art is displayed in the NGV Collection exhibition The Horse, opening on 14 August. 

Tony Ellwood, Director, NGV, said, ‘The horse has been a constant source of inspiration to artists throughout the world and across millenia. This exhibition celebrates the role of the equine in the history, folklore and development of civilisation through diverse works drawn from every department within the NGV Collection, from a gilded Japanese riding saddle to a painting from Sidney Nolan’s iconic Ned Kelly series.’ 

Odilon REDON, Pegasus (c. 1900-1905) (Pégase), pastel, distemper, charcoal and incising on paper on cardboard, 47.4 x 37.2 cm (sheet), Wildenstein 1994-1998, 969. National Gallery of Victoria, Melbourne. Felton Bequest, 1951, 2361-4

‘The exhibition will also present the long-believed missing 1930 Melbourne Cup won by Phar Lap, who became an object of national pride following his victory. This trophy is being especially lent to the NGV and it's displayed for the first time in an Australian art gallery, timing perfectly with Australia’s most spectacular racing event, the Melbourne Spring Racing Carnival,’ said Mr Ellwood. 

Henri de TOULOUSE-LAUTREC, The jockey 1899  (Le Jockey), colour lithograph, 51.5 x 36.3 cm (image and sheet), Delteil 279, ed. of 112. National Gallery of Victoria, Melbourne, Felton Bequest, 1974, P1-1974

More than 250 works of art, including antiquities, major paintings, riding garments, saddles, sculptures, trophies and decorative arts from artists including Goya, Rembrandt, Henri de Toulouse-Lautrec, John Brack, Frederick McCubbin and Jenny Watson, are showcased.  

MASTER OF THE POLYCRATIQUE (illuminator); MASTER OF THE CITÉ DES DAMES (illuminator); Gillequin GRESSIER (scribe), The History of Rome (c. 1399) (detail) (Histoire Romaine), black and red inks, tempera and gold leaf on parchment; modern binding, 44.0 x 32.5 cm (folio). National Gallery of Victoria, Melbourne, Felton Bequest, 1937, 411-4

The exhibition explores the role of the horse in myth, legend and miracle; the pomp and ceremony of pageantry; the equine’s role in conflict and warfare; the demands of pre-industrial transportation and labour; and more recent manifestations as an object of pleasure through sport and entertainment. 

Dorothea LANGE, Spring ploughing in cauliflower fields, Guadalupe, California (1937); (c. 1975) {printed} gelatin silver photograph, 39.5 x 39.1 cm (image) 40.8 x 50.5 cm (sheet). National Gallery of Victoria, Melbourne. Purchased, 1975, PH110-1975

Including a range of works from 1000 BC to the present day, The Horse begins by delving into ancient depictions of the animal in Greek, Chinese and Indian mythology. Horses were frequently depicted as loyal steeds of gods and goddesses, including the Greek sun god Helios who was told to drive a horse-drawn carriage across the sky each day. Images of centaurs, unicorns and the Hindu sun god Surya will be depicted alongside imagery of legends such as the equestrian Amazon women and the Trojan War, and sumptuous textiles and decorative arts from China and India. 

George STUBBS, A lion attacking a horse (c. 1765) (detail), oil on canvas, 69.0 x 100.1 cm. National Gallery of Victoria, Melbourne. Felton Bequest, 1949, 2052-4

Equated with vitality and power, the horse was central to the expansion and maintenance of dynasties, including those of Egyptian pharaohs and European rulers. From scenes of knights jousting to the military victories of Louis XIV, the horse’s role in power and conflict will be explored through ancient Egyptian textiles, Renaissance bronzes, Albrecht Dürer prints and illuminated manuscripts, among other items. 

INDIAN, Maharana Ari Singh hunting buffalo 1765, opaque watercolour and gold paint on paper, 22.8 x 31.3 cm (image) 26.2 x 34.8 cm (sheet). National Gallery of Victoria, Melbourne. Felton Bequest, 1980, AS191-1980

The Horse closely examines Australia’s relationship to the animal, which arrived in small numbers with the First Fleet in 1788. Horses quickly became symbols of the resilient Australian character, adapting to harsh conditions and playing a critical role in the viability and future of the colony. Artworks which show archetypal Australian imagery, such as the infamous mounted bushranger Ned Kelly, wild brumbies and the elite Light Horsemen of the First World War will be displayed. For Indigenous Australians, the horse was a puzzling import which came to represent oppression, and The Horse will reveal works by Indigenous artists, including Angelina Pwerl Ngal. 

Jenny WATSON, Horse series No.8, grey with pink rug 1974, synthetic polymer paint on canvas, 177.6 x 244.0 cm. National Gallery of Victoria, Melbourne. Purchased, 1991, A28-1991 © Courtesy of the artist

The Horsealso focuses on horseracing and the style and glamour of ‘fashions on the field’. On display are documentary photographs of major races, such as the Melbourne Cup and English Derby, as well as fashion and equestrian attire, including an elaborate nineteenth-century women’s carriage outfit, an iconic Akubra Drover hat, a 1948 Hermès Riding habit and a playful, jockey-inspired creation by Australian fashion designer Linda Jackson. 

GREECE, Chalkis / ITALY; THE INSCRIPTIONS PAINTER (attributed to), Psykter amphora (Chalkidian black-figure ware) 540 BC , earthenware, (a-b) 60.2 x 37.1 x 34.9 cm (overall). National Gallery of Victoria, Melbourne. Felton Bequest, 1956, 1643.a-b-D4

The Horse is accompanied by a beautifully illustrated 96-page publication which provides a visual exploration of the equine’s remarkable presence in art, history and mythology. Available from the NGV design store for $29.95. 

The Horse is on display at NGV International from 14 August – 8 November 2015. Open 10am–5pm, closed Tuesdays. Free entry.

Hugh RAMSAY, An equestrian portrait (1903), oil on canvas, (204.6 x 233.6 cm). National Gallery of Victoria, Melbourne. Gift of Dr B. Milne Sutherland, 1943, 1201-4

Margit POGÁNY, The horsemen of the apocalypse 1942, oil on canvas, 58.7 x 80.0 cm. National Gallery of Victoria, Melbourne. Gift of Dr Iolanthe Gillert, 1970, EA1-1970 © Estate of Margit Pogany 

HILL POTTERY COMPANY, Burslem, Stoke-on-Trent, Straffordshire (manufacturer); Samuel ALCOCK (designer), Vase (c. 1861-1867), porcelain, 25.3 x 18.3 cm diameter. National Gallery of Victoria, Melbourne. Gift of Mrs Saint, 1906, 607-D2

Edward FISCHER, The Geelong Gold Cup 1879, 15 ct gold, (a-b) 35.2 x 17.0 x 10.4 cm (overall). National Gallery of Victoria, Melbourne. The O'Loughlin Gift: a memorial to Martin Loughlin (1833-94), miner, sportsman and philanthropist. Gift of three of his great-nieces, 1994. D41.a-b-1994

Chalcophora mariana

Megaloxantha bicolor nishiyamai