'Facing the World | Self-Portraits Rembrandt to Ai Weiwei'

EDINBURGH.- The many extraordinary ways that artists have created works using their own image are being explored in a major international exhibition at the Scottish National Portrait Gallery this summer. From Rembrandt’s famously unflinching treatment of his ageing reflection to Ai Weiwei’s politically charged use of social media, artists have chosen a multitude of strategies to portray themselves, for reasons ranging from self-promotion to the questioning of the self. 

Facing the World draws on the strengths of three outstanding European collections, and is a collaboration between the Scottish National Portrait Gallery in Edinburgh, Lyon’s Musée des Beaux-Arts in France and Karlsruhe’s Staatliche Kunsthalle in Germany. The exhibition brings together many stunning images, some of which are unfamiliar to British audiences, and includes works by a wide range of European artists like Jan Lievens, Antoine Watteau, Allan Ramsay, Henry Raeburn, Franz Winterhalter, Gustave Courbet, Éva Gonzalès, James Ensor, Edvard Munch, Henri Matisse, Paul Klee, Gino Severini, Oskar Kokoschka, Joseph Beuys, John Bellany, Douglas Gordon and Sarah Lucas. Though the genre of self-portraiture is centuries old, in the age of the hugely popular selfie it continues to be one of the most powerful forms of self-expression. 

The exhibition spans six centuries, with the earliest work included being a black chalk drawing by the Renaissance artist Palma Vecchio (1480-1528) in which the artist turns his head to observe himself in a mirror, attracting the viewer with his direct gaze. This was a typical procedure for self-portraits, and was also employed by Rembrandt in his arresting Self-Portrait, aged 51 (1657), which conveys a strong sense of the physical presence of the artist. Rembrandt famously recorded his appearance throughout his career, leaving more than 80 paintings, etchings and drawings of himself.  

Rembrandt (Rembrandt van Rijn), Self-Portrait, aged 51,  about 1657, Oil on canvas. Painted area: 53.00 x 43.00 cm; Overall size: 53.00 x 54.00 cm; Bridgewater Collection Loan, 1945. National Galleries of Scotland ©  Bridgewater Collection Loan, 1945

Key themes emerge throughout the history of self-portraiture, including artists choosing to show themselves at work and their exploration of their rising status in society. The French painter Joseph Vivien (1657-1735), a celebrated portraitist dubbed the ‘Van Dyck of pastel’, conveys his status in his Self-Portrait with Palette (1715) which is dominated by the shimmering fabric of his garb and majestic pose, and highlights his drawing portfolio and paint brushes. Sir David Wilkie’s (1785-1841) remarkable Self-Portrait, of 1804-5, made when the artist was only 20 and on the cusp of securing recognition in the London art world, depicts him with fashionable tousled hair, elegantly clothed, and holding a portfolio and pencil.  

Sir David Wilkie, 1785 - 1841,  Artist (Self-portrait), About 1804 - 1805. Oil on canvas, 76.50 x 63.50 cm (framed: 94.00 x 80.70 x 6.80 cm). Presented by J. Rankin 1898. National Galleries of Scotland.

Other artists have chosen to explore more disguised and less obvious forms of self-representation. In his Vanitas Still Life (1637), the German artist Jacob Marrell (1613-1681) hid his portrait in a reflection on a glass vase this painting is primarily a vanitas image which encourages contemplation of the transience of life. Hans Thoma (1839-1924), one of the most successful painters in late 19th-century Germany, explored similar themes in his Self-Portrait with Love and Death (1875), but included a skull far more prominently in the skeletal figure of Death who is trying to hiss something into the painter’s ear.  

Jacob Marrel, Vanitas still life (flowers, violin and skull), 1637. Oil on canvas. 93 x 80 cm. © BPK / Staatliche Kunsthalle Karlsruhe.

Hans Thoma, Self-Portrait with Love and Death, 1875. Oil on canvas © BPK / Staatliche Kunsthalle Karlsruhe

In the 20th century, artists moved away from traditional modes of representation, or appropriated them with critical intent, and used new media like the internationally renowned performance artist Marina Abramović (b.1946) has used herself in her work to explore challenging and politicised themes. Abramović became known in the 1970s for her theatrical performances where she deliberately tested the limits of her physical and mental resilience. In her performance-for-video Art Must Be Beautiful, Artist Must Be Beautiful (1975) she brushes her hair with her right hand and combs it with her left hand, while continuously repeating “Art must be beautiful. Artist must be beautiful.” At the end of the increasingly dynamic action she tears whole clumps of hair out of her head as her face contorts in pain, using the static video camera as a mirror.  

Provocatively and playfully the American artists Andy Warhol (1928-1987) and Robert Mapplethorpe (1946-1989) used their series of self-portraits to alter their identities and take on various roles, making use of costumes, wigs and makeup to alter their image. Mapplethorpe’s 1980 Self-Portrait and Warhol’s Self-Portrait with Platinum Bouffant Wig (1981) were taken in the last decades of both artists’ lives and are striking examples of how role-playing became a central aspect of their creativity.  

Andy Warhol, Self-Portrait with Platinum Bouffant Wig, 1981. Photograph, colour, Polaroid, on paper; 9.50 x 7.30 cm. ARTIST ROOMS National Galleries of Scotland and Tate. Acquired jointly through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008 © The Andy Warhol Foundation for the Visual Arts / Artists Rights Society (ARS), New York / DACS, London 2015

Robert Mapplethorpe (1946-1989), Self Portrait, 1980 (printed 1999). Photograph on paper, 35.20 x 35.20 cm. ARTIST ROOMS National Galleries of Scotland and Tate. Lent by Artist Rooms Foundation 2014  © Robert Mapplethorpe Foundation. Used by permission.

Robert Mapplethorpe (1946-1989), Self Portrait, 1983. Photograph on paper, 50.80 x 40.60 cm. Number 1 of 2 artist's proofs  © Robert Mapplethorpe Foundation. Used by permission.

Robert Mapplethorpe (1946-1989), Self Portrait, 1985. Photograph on paper, 38.40 x 38.60 cm. ARTIST ROOMS National Galleries of Scotland and Tate. Lent by Artist Rooms Foundation 2014  © Robert Mapplethorpe Foundation. Used by permission.

In more recent years, the high profile Chinese artist Ai Weiwei (b.1957) pioneered the use of selfies among artists. In 2009 he was arrested by the Chinese government and injured in the process, and by posting selfies on Instagram during his arrest immediately informed a global audience about his fate. A month later he posted another set of images from a hospital bed, where he underwent an operation to treat the cerebral haemorrhage he had suffered as a result of his arrest – the photos show him with a dressing on his head and a blood bag lying on his chest.  

Ai Weiwei, Illumination, 2009. Image courtesy Ai Weiwei Studio © Ai Weiwei

Ai Weiwei, [Untitled – Hospital selfie], 2009. Image courtesy Ai Weiwei Studio © Ai Weiwei

In addition to the wide range of media represented in the exhibition - paintings, drawings, photographs, time-based media and sculpture - the show features two interactive installations: FLICK_EU and FLICK_EU MIRROR. As part of FLICK_EU, visitors are encouraged to make portraits of themselves inside a photo booth; the resulting images will be broadcast in the exhibition and online at www.i-am-here.eu. In FLICK_EU MIRROR visitors are filmed and their faces emerge on a large projection made up of the combined images generated of other visitors who have also participated in FLICK_EU.  

Christopher Baker, Director of the Scottish National Portrait Gallery, commented: “The incredible quality and range of works in this major European exhibition will be a revelation. It addresses the fundamental issue of how artists have chosen to present themselves to the world from the seventeenth century to today, through a staggering array of imagery, which displays prodigious technical and expressive achievements. Intimate, impressive and provocative, the works selected for the show provide insights to the lives, skills and preoccupations of many major artists and illustrate the enduring power of self-portraiture."

Vincenzo Campi, The Ricotta Eaters, ca.1580. Oil on canvas © Lyon musée des Beaux- Arts © Lyon MBA  Photo :  Alain Basset

Samuel Van Hoogstraten, Trompe-l’oeil (Still Life), 1666. Oil on canvas: 63 x 79 cm. © BPK / Staatliche Kunsthalle Karlsruhe

Allan Ramsay, 1713 - 1784, Artist (Self-portrait), about 1755 - 1756. Pastel on paper, 40.60 x 28.20 cm (framed: 54.94 x 43.18 x 4.44 cm). Presented by the Royal Scottish Academy 1910. 

• National Galleries of Scotland

Louis Jammot,  Self-portrait, 1832. Oil on canvas. Lyon, musée des Beaux- Arts© Lyon musée des Beaux- Arts © Lyon MBA  Photo :  Alain Basset

Gustave Courbet, The lovers in the country, feelings of youth (The Happy Lovers), 1844. Oil on canvas. Lyon, musée des Beaux- Arts © Lyon musée des Beaux- Arts © Lyon MBA  Photo :  Alain Basset

Anselm Feuerbach, Self-portrait as a Young Man, 1852-53. Oil on canvas © BPK / Staatliche Kunsthalle Karlsruhe

James Nasmyth, Back of Hand, 1874. Photograph: 11.50 x 8 cm. Scottish National Portrait Gallery. Courtesy of James Nasmyth at Scottish National Portrait Gallery

Ernst Ludwig Kirchner, The Painter (Self-Portrait), 1920. Three-block linocut in grey-blue, yellow and red. © BPK / Staatliche Kunsthalle Karlsruhe

Paul Klee, Gespenst eines Genies [Ghost of a Genius], 1922. Oil transfer and watercolour on paper laid on card, 50.00 x 35.40 cm (framed: 61.90 x 80.30 x 3.80 cm). Purchased 1979. National Galleries of Scotland.

Oskar Kokoschka, Self-portrait of a degenerate artist, 1937. Oil on canvas, 110.00 x 85.00 cm. on permanent loan from a private collection to the Scottish National Galleryof Modern Art © Fondation Oskar Kokoschka/ DACS 2015

Sarah Lucas, Self-portrait with fried eggs, 1996, by self-portraits from 1990 to 1998, 1999. Colour IRIS print: 74.60 x 51.50 cm. Scottish National Gallery of Modern Art. Presented by Sadie Coles HQ, 2003. Photo: Antonia Reeve

SYDNEY - The NGA has revealed details of the sumptuous treasures from the Palace of Versailles, which will be on show in Canberra this December. Versailles: Treasures from the Palace is a once-in-a-lifetime chance to see and experience a mesmerising period in French history here in Australia. For the first time ever, the treasures will travel from France to entice visitors into a world of power, passion and luxury through this epic exhibition.

More than 130 paintings, intricate tapestries, gilded furniture, monumental statues and other objects from the Royal gardens, and personal items from Louis XIV to Marie-Antoinette, will bring to life the reigns of three kings, their queens and mistresses in a fascinating and tumultuous period of French history.

Latona Fountain, Palace of Versailles © Kiev.Victor / Shutterstock.com

‘We are delighted to bring the grandeur of the culture of Versailles exclusively to Canberra and make it possible for all Australians to access and appreciate the social, political and cultural aspects of this unique phenomenon. If ever absolute power can be expressed through unbridled opulence, this is it,’ said Gerard Vaughan, NGA Director. 

The exhibition will celebrate the lives, loves and passions of the people of Versailles through a full program of activities including music performances, children’s programs and public events. 

Jean Varin, Bust of Louis XIV, 1665–66, marble, on loan from the Palace of Versailles. Photo © Château de Versailles, Dist. RMN-Grand Palais / Franck Raux

‘Along with astonishing treasures, like the marble bust of Louis XIV, or the glamorous formal portrait of Marie Antoinette, we are bringing to Australia the entire 1.5 tonne statue of Latona and her children from one of the main fountains of the Palace of Versailles,’ said Dr Vaughan. ‘The authenticity of this cultural experience will leave a lasting imprint on all our visitors.’ 

The exhibition contrasts small personal items, such as the precious golden reliquary which belonged to Louis XIV’s mother, or Marie-Antoinette’s hand-crafted chair and harp, with huge works including six-metre tapestries from the most important Gobelins series ever produced for Louis XIV, and a monumental conversation piece of the Sourches family which requires individual freight. 

after Louise Élisabeth Vigée Le Brun, Queen Marie-Antoinette, 1783, oil on canvas, on loan from the Palace of Versailles.Photo © Château de Versailles, Dist. RMN-Grand Palais / Gérard Blot

‘Versailles is at the heart of French cultural expression as much as the NGA is the heart of Australian visual expression and we are very excited to bring this historic exhibition to Australia,’ said Catherine Pégard, President of the Public Establishment of the Palace, Museum and National Estate of Versailles. 

‘The opportunity to send such important French treasures has been made possible because of the major restoration program at Versailles and we are thrilled to see that the outcome of the work will be the enjoyment of thousands of Australians,’ said Christophe Lecourtier, Ambassador of France to Australia.

François Hubert Drouais, The Sourches family, 1756, oil on canvas, on loan from the Palace of Versailles. Photo © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin

‘The NGA is bringing to Canberra yet another spectacular show, which will attract people from all over the country and the world this summer,’ said Andrew Barr, ACT Chief Minister. ‘These shows are important to the local tourism sector and I’m confident that this show will be another success for the Gallery.’ 

Versailles: Treasures from the Palace opens Friday 9 December 2016 until Monday 17 April 2017.

Bernard van Risenburgh II, Desk of the Dauphin, son of Louis XV, 1745, oak and amaranth wood, inlaid satinwood and king wood, gilded bronze, leather, on loan from the Palace of Versailles. Photo © Château de Versailles, Dist. RMN-Grand Palais

Manufacture des Gobelins, after Charles Le Brun, The audience with Cardinal Chigi, 28 July 1664 ,1665–80, from the series Life of the King; wool, silk and gold thread, on loan from the Palace of Versailles. Photo © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin

Marie-Antoinette's harp, circa 1775, made by Jean-Henri Nadermann (1735-1799).  Photo: RMN-GP

Lot 424. A large blue and white 'Squirrel and Grape' bowl, Mark and period of Kangxi (1662-1722). Estimate 80,000 — 120,000 HKD. Lot sold 325,000HKD. Photo: Sotheby's 

with deep rounded sides rising form a short foot to a slightly everted rim, deftly decorated around the exterior in cobalt-blue with fifteen squirrels frolicking amongst fruiting vines, the base inscribed with a six-character reign mark within a double-circle; 22.5 cm., 8 7/8  in.

Sotheby's. Chinese Art, Hong Kong, 03 Dec 2015

Lot 438. A pair of blue and white 'Lotus' bowls, Qing dynasty, Kangxi period (1662-1722). Estimate 15,000 — 20,000 HKD. Lot sold 18,750 HKD. Photo: Sotheby's

each decorated with a rosace below a classic scroll border repeated on the outer rim, the exterior with lotus leaves encircling the foot, the base inscribed with a four-character apocryphal Xuande mark; 9.9 cm., 3 7/8  in.

Sotheby's. Chinese Art, Hong Kong, 03 Dec 2015

Issey Miyake by Irving Penn, 1991

Lot 416. A pair of blue and white 'gourd' jarlets, Marks and period of Yongzheng (1723-1735). Estimate 180,000 — 250,000 HKD. Lot sold 187,500 HKD. Photo: Sotheby's

each potted with six lobes rising from a recessed base to a short waisted neck and lipped mouthrim, each lobe delicately painted with whimsical gourds borne on leafy tendriled vines, the base inscribed with a six-character reign mark arranged in two columns; 11.6 cm., 9 1/2  in.

Sotheby's. Chinese Art, Hong Kong, 03 Dec 2015

Lot 470. A blue and white 'Gourd and Wine' tazza, Mark and period of Yongzheng (1723-1735). Estimate 60,000 — 80,000 HKD. Lot sold 112,500 HKD. Photo: Sotheby's

with shallow rounded sides raised on a splayed foot, finely decorated on the interior with scrolling vines issuing double gourds, the underside with the bajixiang emblems between a border of ruyi at the rim, and upright lappets and pendent leaves collaring the stem, the interior of the stem inscribed with a six-character horizontal reign mark; 17.5 cm., 6 7/8  in.

Provenance: Dorchester, Dorset, 24th July 2008.

Sotheby's. Chinese Art, Hong Kong, 03 Dec 2015

Issey Miyake by Irving Penn

Van Cleef & Arpels. Emeraude en majesté collection. Drawing of Twist Emeraude bracelet.

Van Cleef & Arpels. Emeraude en majesté collection. Twist Emeraude bracelet in white gold, diamonds, mauve sapphires, cabochons weighing 19,80 and 21,48 carats.

Vincent van Gogh, Restaurant Rispal at Asnières, 1887. Oil on canvas, 28 7/8 x 23 5/8 in. Gift of Henry W. and Marion H. Bloch, 2015.13.10.

KANSAS CITY, MO.- In March 2017, The Nelson-Atkins Museum of Art will open the renovated Bloch Galleries in the museum’s original 1933 Beaux-Arts building, featuring the Marion and Henry Bloch Collection of Impressionist and Post-Impressionist art, on view for the first time since 2007. Comprised of nearly 30 masterpieces acquired by the Bloch family over the course of two decades and gifted to the museum in 2010, the Bloch Collection nearly doubles the museum’s current holdings of Impressionist and Post-Impressionist art. In 2015, the Marion and Henry Bloch Family Foundation provided a $11.7-million gift to support renovation of the museum’s European art galleries to integrate the Bloch Collection into its existing collections and keep the work on permanent view. 

“This transformational gift underscores the Bloch family’s enduring commitment to our museum, and ensures that this unrivaled collection is a resource for visitors from Kansas City and beyond,” said Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO & Director of the Nelson-Atkins. “We are deeply grateful to the Blochs for their unwavering support over the years, and we are pleased to integrate this Collection into state-of-the-art galleries and within the context of the museum’s European art collections.” 

Next year will also mark the 10th anniversary of the Bloch Building, a 165,000-square-foot expansion designed by Steven Holl. The expansion allowed the museum to accommodate its growing permanent collection and increased attendance, which has continued to grow following the introduction of a free admission policy in 2002.

Edouard Manet, The Croquet Party, 1871. Oil on canvas, 18 x 28 3/4 in. Gift of Henry W. and Marion H. Bloch, 2015.13.11.

One of the leading encyclopedic museums in the country, the Nelson-Atkins is recognized for its European collections, which contain more than 1,100 works of art ranging from the medieval period to the late 19th century, including works by Caravaggio, Rembrandt, El Greco, and one of only 25 authenticated paintings by Hieronymus Bosch in the world. The Bloch Collection diversifies and deepens the Nelson-Atkins’ Impressionist and Post-Impressionist holdings, which include masterpieces by Claude Monet, Vincent Van Gogh, Paul Gauguin, and Paul Cézanne.

With the renovation and reinstallation of the galleries, the Bloch Collection will be incorporated into the museum’s permanent collection of European art, a project supported by consultations with Philippe de Montebello, former Director of the Metropolitan Museum of Art in New York, and Marc F. Wilson, Director Emeritus of the Nelson-Atkins, who worked with the Bloch family over the years to help them build their collection. 

The Bloch Collection made its public debut during the 2007 opening of the Bloch Building and was gifted to the museum in 2010 in celebration of the Nelson-Atkins’ 75th Anniversary. The Collection features works by the great masters of Impressionism and Post-Impressionism, including significant works by Claude Monet, Gustave Caillebotte, Camille Pissarro, Eugène Boudin and Alfred Sisley. There is a particularly strong representation of Impressionist portraits by Edgar Degas, Pierre-Auguste Renoir, and Berthe Morisot. The movement’s stylistic evolution can be seen in works by George Seurat and Paul Signac. Highlights include Édouard Manet’s The Croquet Party, Vincent van Gogh’s Restaurant Rispal at Asnières, Paul Gauguin’s The Willow Tree, and Paul Cézanne’s Man with a Pipe.

Paul Cézanne, Man with a Pipe (L'homme à la pipe), 1890-1892. Oil on canvas, 17 x 13 1/2 in. Gift of Henry W. and Marion H. Bloch, 2015.13.6

“Building this collection with Marion and the daily inspiration it provided in our home greatly enriched our lives,” said Henry Bloch. “I look forward to these works going on view at the Museum 10 years after their last exhibition, and I am especially pleased to share our collection with the city.” 

The renovation of the Bloch Galleries, designed by Kansas City-based BNIM Architects, will transform 9,000 square feet of the original 1933 Nelson-Atkins Building. The expanded galleries will add more than 120 feet of wall space, and create an open viewing experience with sightlines encouraging viewers to make connections among works. The installation will present themes within the general chronology, and help to align the chronology of the building, presenting a fuller story of Western art. The galleries will feature state-of-the-art technology, including tunable lighting that can simulate the environments for which the works were originally created. 

Curators and conservators at the Nelson-Atkins have already begun to conduct studies of works in the Bloch Collection to further the scholarly knowledge around these masterpieces of French painting. Their findings will enhance understanding of the works, both for display and for the French painting collection catalogue.

Gustave Caillebotte, Boat Moored on the Seine at Argenteuil (Bateau au mouillage sur la Seine, à Argenteuil), c. 1884. Oil on canvas,  25 3/4 x 21 3/8 in. Gift of Henry W. and Marion H. Bloch, 2015.13.5.

Lot 467. A yellow-glazed saucer dish, Qing dynasty, Kangxi period (1662-1722). Estimate 20,000 — 30,000 HKD. Lot sold 75,000 HKD. Photo: Sotheby's

with deep rounded sides and a flaring rim, the interior faintly incised with a phoenix among clouds beneath a thick layer of yellow glaze, the exterior incised with clouds, incised on the base with an apocryphal six-character Jiajing mark; 15.8 cm., 6 1/4  in. 

Provenance: The John Drew Collection, by repute. 
R&G McPherson Antiques, London.

Sotheby's. Chinese Art, Hong Kong, 03 Dec 2015

Lot 431. A red-glazed dish, Mark and period of Yongzheng (1723-1735). Estimate 30,000 — 40,000 HKD. Lot sold 75,000 HKD. Photo: Sotheby's

with shallow rounded sides on a slightly tapered foot, applied overall in a deep crimson-red glaze thinning to white at the rim, the base left white and inscribed in underglaze blue with a six-character reign mark within a double-circle; 16.3 cm., 6 3/8  in. 

Sotheby's. Chinese Art, Hong Kong, 03 Dec 2015

Lot 524. A red-glazed dish, Mark and period of Yongzheng (1723-1735). Estimate 40,000 — 60,000 HKD. Lot sold 118,750 HKD. Photo: Sotheby's

with a slightly tapered foot and everted rim, applied overall with a deep crimson glaze, save for white rim and base, the latter inscribed in underglaze blue with a six-character reign mark; 19.9 cm., 7 7/8  in. 

Sotheby's. Chinese Art, Hong Kong, 03 Dec 2015

Lot 542. A celadon-glazed bowl, Seal mark and period of Yongzheng (1723-1735). Estimate 50,000 — 70,000 HKD. Lot sold 93,750 HKD. Photo: Sotheby's

with wide everted sides resting on a straight foot, the exterior covered with a sea-green glaze, the base inscribed with a six-character seal mark; 22.6 cm., 8 7/8  in. 

Provenance: Sotheby's Hong Kong, 24th/25th May 1979, lot 577.

Sotheby's. Chinese Art, Hong Kong, 03 Dec 2015

Lot 543. A celadon-glazed dish, mark and period of Yongzheng (1723-1735). Estimate 100,000 — 200,000 HKD. Lot sold 137,500 HKD. Photo: Sotheby's

with rounded sides set on a low tapered foot, covered with a pale celadon glaze, the base inscribed with a six-character reign mark within a double-square; 13.2 cm., 5 1/8  in. 

Provenance: Christie's New York, 3rd June 1993, lot 238.

Note: See a pair of similar dishes in the Percival David Collection, illustrated in the Catalogue, Section 6, nos. B560 and B561.

Sotheby's. Chinese Art, Hong Kong, 03 Dec 2015

Lot 551. A robin's egg-glazed dish, Qing dynasty, 18th century. Estimate 60,000 — 80,000 HKD. Lot sold 75,000 HKD. Photo: Sotheby's

with shallow rounded sides rising from a straight foot to a lipped rim, supported on a slightly tapered foot, applied overall with a 'robin's egg' glaze of characteristic turquoise attractively mottled with purplish blue; 26.3 cm., 10 3/8  in. 

Sotheby's. Chinese Art, Hong Kong, 03 Dec 2015

Lot 586. A large carved celadon-glazed vase, Qing dynasty, 18th century. Estimate 60,000 — 80,000 HKD. Lot sold 75,000 HKD. Photo: Sotheby's

the ovoid body rising from a spreading foot to a waisted neck and flared mouth, carved with archaistic kuidragons with bodies arranged in angular scrollwork, all below upright leaves encircling the neck, covered in a celadon glaze pooling to a darker green in the recesses; 51 cm., 20 in. 

Sotheby's. Chinese Art, Hong Kong, 03 Dec 2015

Lot 599. An incised yellow-enamelled bowl, Seal mark and period of Daoguang (1821-1850). Estimate 20,000 — 30,000 HKD. Lot sold 25,000 HKD. Photo: Sotheby's

incised with two scaly five-clawed dragons striding above waves chasing a 'flaming pearl, applied overall with a yellow glaze, save for the interior and the base left white, the latter inscribed in underglaze blue with a six-character seal mark; 11.2 cm., 4 3/8  in. 

Sotheby's. Chinese Art, Hong Kong, 03 Dec 2015

Lot 496. A Blanc-de-Chine figure of Zhenwu, Qing dynasty, 18th century. Estimate 20,000 — 30,000 HKD. Lot sold 25,000 HKD. Photo: Sotheby's

modelled as Zhenwu seated in a powerful stance on jagged rockwork with a tortoise and snake emerging from the crevices, dressed in martial attire with scarf over the shoulders, depicted with characteristic long combed-back hair, bare feet and mudra, with five apertures over the face; 24.1 cm., 9 1/2  in. 

Provenance: The Bindley Collection, by repute. 

Sotheby's. Chinese Art, Hong Kong, 03 Dec 2015

Lot 497. A Dehua 'Blanc-de-Chine' beaker vase, gu, Qing dynasty, Kangxi period (1662-1722). Estimate 20,000 — 30,000 HKD. Unsold. Photo: Sotheby's

of archaic bronze form, supported on a splayed foot and surmounting by a wide trumpet neck flaring at the rim, the central slightly protruding section bordered with two pairs of thin raised fillets, the exterior covered overall with a smooth creamy-white glaze; 27 cm., 10 5/8  in. 

Sotheby's. Chinese Art, Hong Kong, 03 Dec 2015