Wine cup with ring handle, birds, animals, and grapevines, China, Shaanxi province, probably Xi’an, early Tang dynasty, late 7th century © 2017 Smithsonian Institution
Wine cup with ring handle, birds, animals, and grapevines, China, Shaanxi province, probably Xi’an, early Tang dynasty, late 7th century © 2017 Smithsonian Institution
Lot 62. A very fine small silver ladle, Tang dynasty, late 7th-early 8th century, 26cm., 10 1/4 in. Estimate 20,000 — 30,000 GBP. Lot sold 96,500 GBP. Photo: Sotheby's.
the deep petal-lobed bowl delicately chased and engraved with small birds amongst flowering scrolling foliage on a regularl ring-matted ground, the generously gauged and elegantly curved bird-headed handle similarly decorated on the front with a sinuous foliate meander. Weight: 67.5g.
Exhibited: Chinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 105.
Chinese Gold, Silver and Porcelain. The Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 50, an exhibition touring the United States and shown also at nine other museums.
Literature: Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 105.
Bo Gyllensvärd, 'T'ang Gold and Silver', Bulletin of the Museum of Far Eastern Antiquities, no. 29, 1957, pl. 15a, fig. 95g.
Han Wei, Hai nei wai Tangdai jin yin qi cuibian [Tang Gold and Silver in Chinese and overseas collections], Xi'an, 1989, pl. 198.
Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 110.
Note: A closely related ladle was included in the exhibition Chinesisches Gold und Silber. Die Sammlung Pierre Uldry, Museum Rietberg, Zurich, 1994, cat. no. 157; another fine silver ladle of this elegant form similarly chased and engraved with small birds amongst flowering scrolling foliage on a fine ring-punched ground, from the collection of the Hon. Hugh Scott and included in the China Institute in America exhibition Early Chinese Gold and Silver, China House Gallery, New York, 1971, cat. no. 72, and illustrated in Hugh Scott, The Golden Age of Chinese Art, Rutland, Vermont, 1967, pl. 13, was sold at Christie's New York, 4th December 1982, lot 399. See also two silver ladles with plain terminals and simpler engraving sold in our New York rooms, 4th June 1986, lots 248 and 249.
Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008
Lot 51. A rare begonia-shaped parcel-gilt silver stembowl, Tang dynasty, 8th century, 15.4cm., 6 1/4 in. Estimate 8,000 — 12,000 GBP. Lot sold 78,500 GBP. Photo: Sotheby's.
the bowl in the shape of a begonia flower rising from a gently spreading quatrefoil foot with a beaded border in repoussé, the interior of the bowl finely engraved and parcel-gilt with a central dragon-fish surrounded by four geese in flight, all amidst large scrolling feathery leaves and reserved on a finely ring-punched ground, the inside rim with a narrow band of overlapping petals. Weight: 143g.
Exhibited: Chinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 119.
Literature: Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 119.
Bo Gyllensvärd, 'T'ang Gold and Silver', Bulletin of the Museum of Far Eastern Antiquities, no. 29, 1957, fig. 20j, fig. 98b.
Han Wei, Hai nei wai Tangdai jin yin qi cuibian [Tang Gold and Silver in Chinese and overseas collections], Xi'an, 1989, pl. 90.
Note: Elongated lobed cups of this type with chased decoration are shaped after Sassanian gold and silver prototypes. See Jessica Rawson, 'Chinese Silver and its Western Origins', Connoisseur, September 1977, p. 37, where a Tang lobed cup in the British Museum is illustrated, pl. 1, together with a Sassanian type parcel-gilt silver cup with repousse decoration of dancing ladies, stags and grapevine pattern, from the State Hermitage Museum, St. Petersburg, pl. 2.
A related cup, from the Eumorfopoulos collection and now in the Victoria and Albert Museum, London, was included in the exhibition The Arts of the T'ang Dynasty, Los Angeles County Museum, 1957, cat.no. 339; and another, on loan at the Virginia Museum and University Museum, Philadelphia, was sold in our New York rooms, 4th June 1986, lot 242.
Compare also a cup of quatrefoil form with a similar saw-edge pattern around the foot, from the Mayer Collection, its line drawing illustrated in Bo Gyllensvard, Tang Gold and Silver, Bulletin of the Museum of Far Eastern Antiquities, no. 29, 1957, fig. 20m, and included in the exhibition Chinese Art in the Minor Dynasties and T'ang, China House, New York, 1950, sold at Christie's London, 24/25th June 1974, lot 167; and an eight-lobed cup from the collection of Dr. Pierre Uldry included in the exhibition Chinesisches Gold und Silber, Rietberg Museum, Zurich, 1994, cat. no. 139.
Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008
Silver cup with handle, China, Tang dynasty (618-960). Chased and punched silver. Height: 5.1 cm, Diameter: 6.5 cm. From the Eumorfopoulos collection, purchased with the assistance of The Art Fund, the Vallentin Bequest, Sir Percival David and the Universities China Committee, M.32-1935 © Victoria and Albert Museum, London 2017.
Silver cup of inverted bell shape with small hollow foot and loop handle with thumb piece, decorated with a chased design of floral scrolls on a ground of finely punched dots.
This small, handled cup was used to drink alcohol; its shape and the chased decoration of floral scrolls both suggest the influence of similar Sasanian silver examples.
Silver objects were not as highly coveted in China as in other ancient civilisations such as the Roman or the Parthian, but they became important luxury items for emperors and high-ranking officials during the Tang dynasty (AD 618-960). By the beginning of the 7th century large quantities of silver pieces with exotic shapes and styles were imported along the Silk Road from Iran and Central Asia to China. Chinese craftsmen often reproduced foreign shapes and acquired new manufacturing techniques from Central Asian silversmiths who had settled in Chinese urban centres beginning in the mid 7th century.
Ladle with goose-shaped finial, Tang dynasty (618-907). Beaten silver. Length: 19.4 cm. From the Eumorfopoulos collection, purchased with the assistance of The Art Fund, the Vallentin Bequest, Sir Percival David and the Universities China Committe, M.101-1938 © Victoria and Albert Museum, London 2017.
Silver ladle with long curved handle ending as a duck's head and an almost hemispherical bowl.
This ladle was probably used in preparation for drinking; a smaller, flatter type of spoon would have been used during the same period for food.
Silver objects were not so highly coveted in China as in other ancient civilisations such as the Roman or the Parthian, but they became important luxury items for emperors and high-ranking officials during the Tang dynasty (AD 618-960). By the beginning of the 7th century large quantities of silver pieces with exotic shapes and styles were imported along the Silk Road from Iran and Central Asia to China. Chinese craftsmen often reproduced foreign shapes and acquired new manufacturing techniques from Central Asian silversmiths who had settled in Chinese urban centres beginning in the mid 7th century.
Chased and gilt silver eight-lobed dish, China, Tang dynasty (618-960). Length: 18.8 cm. Purchased with the assistance of The Art Fund, the Vallentin Bequest, Sir Percival David and the Universities China Committee, M.35-1935 © Victoria and Albert Museum, London 2017.
Eight-lobed silver dish with oval domed hollow foot; at each end of the internal surface there is a chased and gilt fish and a gilt band runs along the internal rim.
This eight-lobed dish was hammered out of silver sheets and decorated with a thin gilt band along the internal rim and a chased design of a fish on the bottom. Its shape is derived from similar Sasanian silver wares.
Silver objects were not as highly coveted in China as in other ancient civilisations such as the Roman or the Parthian, but they became important luxury items for emperors and high-ranking officials during the Tang dynasty (AD 618-960). By the beginning of the 7th century large quantities of silver pieces with exotic shapes and styles were imported along the Silk Road from Iran and Central Asia to China. Chinese craftsmen often reproduced foreign shapes and acquired new manufacturing techniques from Central Asian silversmiths who had settled in Chinese urban centres beginning in the mid 7th century.
Censer, chased silver, Tang dynasty (618-960). Height: 4.3 cm, Diameter: 7.5 cm. Purchased with the assistance of The Art Fund, the Vallentin Bequest, Sir Percival David and the Universities China Committee, M.98-1938 © Victoria and Albert Museum, London 2017.
This censer consists of two hemispherical shells which are locked together by a bayonet fitting to form a sphere. A series of rings inside one another were attached to one half to ensure that the central saucer remained upright even when the incense burner was rolled around. This device was invented by the Chinese in about the 2nd century and probably derived from the armillary spheres used by astronomers.
Silver objects were not as highly coveted in China as in other ancient civilizations such as the Roman or the Parthian, but they became important luxury items for emperors and high-ranking officials during the Tang dynasty (AD 618-907). By the beginning of the 7th century large quantities of silver pieces with exotic shapes and styles were imported along the Silk Road from Iran and Central Asia to China. During the same period Chinese craftsmen also acquired new manufacturing techniques from Central Asian silversmiths who had settled in Chinese urban centres beginning in the mid 7th century.
Censer, Tang dynasty (618–907), 8th–9th century. Silver. Diam. 2 3/8 in. (6 cm). Rogers Fund, 1921, 21.146 © 2000–2017 The Metropolitan Museum of Art
This spherical censer was originally suspended from a chain. The interior hemispherical bowl for incense is hung on gimbals so that it remains upright as the censer is swung.
Lot 56. A rare silver spherical censer, Tang dynasty, 8th-9th century, 5cm., 2in. Estimate 15,000 — 20,000 GBP. Lot sold 84,500 GBP. Photo: Sotheby's.
comprised of two reticulated half-spheres banded and joined at the median by a hook on one side and a hinge on the other, one half worked with an overall pattern of scrolled leafy tendrils surrounding confronting pairs of birds feeding on grape vines, on the lower half incorporating palmette leaves, the interior with an arrangement of two silver bands containing a freely moving incense receptacle, the construction keeping the receptacle upright when carried around, the whole suspended from a short linked chain and hook. Weight: 46g.
Exhibited: Chinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 97.
Literature: Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 97.
Han Wei, Hai nei wai Tangdai jin yin qi cuibian [Tang Gold and Silver in Chinese and overseas collections], Xi'an, 1989, pl. 292.
Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 99.
Note: Incense burners of this type, consisting of two openwork hemispheres with a freely moving incense bowl inside were greatly valued by the imperial household and the aristocracy of the Tang dynasty. Han Wei in 'Gold and Silver Vessels of the Tang Period', Orientations, July 1994, p. 31, notes that 'when a crown prince took an imperial concubine, he would usually present her with an incense burner, and protocol demanded that the pairs of attendants leading an imperial procession held incense burners in their hands'.
A related incense burner, in the Metropolitan Museum, New York, was included in the China Institute in America exhibition Early Chinese Gold and Silver, China House Gallery, New York, 1971, cat. no. 41, decorated with chased work of four birds surrounded by floral scrolls. It is mentioned, ibid., p. 38, that a pair of these incense burners were excavated near Xi'an. Compare also another incense burner, formerly in the Hakutsuru Art Museum, Kobe, illustrated in Nagao Ko, Hakutsuru cho, vol.1, Kyoto, 1931, pl. 49, and included in the exhibition Tang, Eskenazi, London, 1987, cat.no. 1, later sold at Christie's London, 9th June 1997, lot 17; and one in the collection of Dr. Pierre Uldry included in the exhibition Chinesisches Gold und Silber, Rietberg Museum, Zurich, 1994, cat. no. 201.
Censer, Tang dynasty (618–907), 8th–9th century. Silver. Diam. 2 3/8 in. (6 cm). Rogers Fund, 1921, 21.146 © 2000–2017 The Metropolitan Museum of Art
See further a related vessel included in Zhongguo zhuantong. Jinqi, Beijing, 2006, p. 16, top, together with another example, p. 66, bottom; and another example included in the exhibition Imperial Gold from Ancient China, Oriental Bronzes, London, 1990, p. 32, cat. no. 8.
Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008
Lot 57. A rare silver spherical incense burner, Tang dynasty, 7th-8th century, 4.3 cm., 1 5/8 in. Estimate 10,000 — 15,000 GBP. Lot sold 46,100 GBP. Photo: Sotheby's.
comprised of two reticulated hemispheres joined on one side by a hook and a hinge on the other side, the overall reticulated decoration of birds among scrolling vine on one half and flowering scrolls on the other half arranged into four symmetrical sections around a four-petalled flowerhead at the axis, the interior fitted with a yellow-metal hemispherical incense receptacle suspended in a nest of two silver bands to keep it upright when the piece is carried around, all suspended from a linked chain and hook. Quantity: 2. Weight: 37.5g.
Exhibited: Chinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 96.
Chinese Gold, Silver and Porcelain. The Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 44, an exhibition touring the United States and shown also at nine other museums.
Literature: Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 96.
Bo Gyllensvärd, 'T'ang Gold and Silver', Bulletin of the Museum of Far Eastern Antiquities, no. 29, 1957, pl. 5d, fig. 11b.
Han Wei, Hai nei wai Tangdai jin yin qi cuibian [Tang Gold and Silver in Chinese and overseas collections], Xi'an, 1989, pl. 293.
Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 98.
Note: Incense burners of this type, consisting of two openwork hemispheres with a freely moving incense bowl inside were greatly valued by the imperial household and the aristocracy of the Tang dynasty. Han Wei in 'Gold and Silver Vessels of the Tang Period', Orientations, July 1994, p. 31, notes that 'when a crown prince took an imperial concubine, he would usually present her with an incense burner, and protocol demanded that the pairs of attendants leading an imperial procession held incense burners in their hands'.
A related incense burner, in the Metropolitan Museum, New York, was included in the China Institute in America exhibition Early Chinese Gold and Silver, China House Gallery, New York, 1971, cat. no. 41, decorated with chased work of four birds surrounded by floral scrolls. It is mentioned, ibid., p. 38, that a pair of these incense burners were excavated near Xi'an. Compare also another incense burner, formerly in the Hakutsuru Art Museum, Kobe, illustrated in Nagao Ko, Hakutsuru cho, vol.1, Kyoto, 1931, pl. 49, and included in the exhibition Tang, Eskenazi, London, 1987, cat.no. 1, later sold at Christie's London, 9th June 1997, lot 17; and one in the collection of Dr. Pierre Uldry included in the exhibition Chinesisches Gold und Silber, Rietberg Museum, Zurich, 1994, cat. no. 201.
See further a related vessel included in Zhongguo zhuantong. Jinqi, Beijing, 2006, p. 16, top, together with another example, p. 66, bottom; and another example included in the exhibition Imperial Gold from Ancient China, Oriental Bronzes, London, 1990, p. 32, cat. no. 8.
Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008
J.M.W. Turner, Norham Castle, on the River Tweed, 1822-3, Tate Collection , accepted by the nation as part of the Turner Bequest 1856© Tate, London, 2017.
SOUTHAMPTON.- Showcasing the finest historic and contemporary castle artists and combining history with art, Capture the Castle at Southampton City Art Gallery is the first ever large-scale art exhibition on the subject of British castles. It conjures the mystique, excitement and prestige of the castle from Iron Age hill forts to Victorian reproductions and fantasy castles. It includes famous and rarely seen works from public and private collections, including loans from Tate, The British Museum, V&A, the Government Art Collection and from the collections of major artists.
Steeped in history and legend, these extraordinary buildings exude a powerful and brooding presence. They conjure knights in shining armour, high-born heroines, evil deeds and deep dungeons, high adventure and royal intrigue. The first sight of a great Medieval castle such as Conwy, Harlech or Dover can be a spine-tingling moment because of their exceptional visual wow factor.
Turner, Girtin, Cotman, Ibbetson, Sandby, Varley and many others travelled to castles throughout Britain in the search of the Picturesque. Castles, often sited in spectacular locations, were the perfect subject for the Romantic movement of the early 19th century that embraced the heroic past. Castles have been equally inspiring to modern-day artists and the exhibition includes work by over 25 contemporary artists including Christopher Le Brun (President of the Royal Academy of Arts), Alan Rankle, Norman Ackroyd RA, Alan Lee and David Gentleman.
Councillor Satvir Kaur, Cabinet Member for Communities, Culture and Leisure at Southampton City Council said: “Castles are a fascinating and intrinsic part of our country’s and this city’s history. Southampton boasts some of the most amazing heritage sites and I am delighted Southampton City Art Gallery will be showcasing this theme through an exciting exhibition on castles. There will be a range of artwork for local residents and visitors alike to come and enjoy. It is great opportunity to see works from the city’s collections, alongside loans from other great collections around the country. I urge everyone, castle lovers and none alike, to take advantage of this great show.”
Augustus William Enness, Ludlow Castle, Southampton City Art Gallery © Southampton City Art Gallery
Capture the Castle is complemented by an exhibition dedicated to Southampton Castle at Tudor House & Garden, situated in the city’s Old Town, alongside an exciting joint learning programme with English Heritage and also a major symposium on castles, hosted by the University of Southampton.
The exhibition includes a fully illustrated catalogue, which has been generously sponsored by the Punter Southall Group, and runs until 2 September 2017.
Peter Jarvis, Wardour Castle © Peter Jarvis 2017.
Lot 1110. A pair of unusual small straw-glazed pottery earth spirits, Sui dynasty (581-618), 9¾ and 9½ in. (24.8 and 24 cm.) high. Estimate USD 4,000 - USD 6,000. Price realised USD 15,000 © Christie's Images Ltd 2011
Each shown seated with front feet firmly planted, one with a humanoid face flanked by ears, with a short horn and a flame rising from the back of the head and two from the backbone, the other with leonine face, a pair of horns, a flame on the top of the head and another on the back, both covered with a finely crackled clear glaze over the white body.
Provenance: Christie's, New York, 4 June 1992, lot 246.
Christie's. Magnificent Qing Monochrome Porcelains and Earlier Works of Art from the Gordon Collection, 24 March 2011, New York
Lot 1111. A rare sancai-glazed pottery amphora, Tang dynasty (618-907), 15¾ in. (40 cm.) high. Estimate USD 12,000 - USD 18,000. Price realised USD 47,500 © Christie's Images Ltd 2011
Elegantly potted with tapering ovoid body, slender waisted neck and a pair of curved double-strap handles applied with bosses and terminating in dragon heads that bite the dish-shaped mouth, all splash-glazed in green, amber and clear glaze that also covers the high, rounded shoulder and ends in an irregular line on the fine- grained buff body, raised on a flat foot with beveled edge, wood box.
Provenance: Sotheby Parke Bernet, New York, 12-13 March 1975, lot 194.
Note: The fine potting and glazing of this amphora are similar to that of a smaller (35.3 cm.) example illustrated in Toji Zenshu - To Sansai, vol. 25, Japan, 1961, no. 8. Others, also of smaller size, are in the Musée Guimet, Paris, illustrated in Oriental Ceramics, The World's Great Collections, vol. 7, Tokyo/New York/San Francisco, 1981, col. pl. 7; and in the Metropolitan Museum of Art, illustrated by S. Valenstein, A Handbook of Chinese Ceramics, 1989 (rev. ed.), no. 58.
Christie's. Magnificent Qing Monochrome Porcelains and Earlier Works of Art from the Gordon Collection, 24 March 2011, New York
Lot 1965. A rare sancai-glazed pottery amphora, Tang dynasty (618-907), 14 5/8 in. (34.6 cm.) high. Estimate USD 12,000 - USD 18,000. Price realised USD 27,500 © Christie's Images Ltd 2011
Elegantly potted with tapering ovoid body, slender waisted neck, and a pair of curved double-strap handles applied with bosses and terminating in dragon heads that bite the dish-shaped mouth, all splash-glazed in green, amber and clear glaze that also covers the high, rounded shoulder and ends in an irregular line on the fine-grained buff body, Japanese wood box.
Provenance: Private collection, Japan, acquired in the late 19th/early 20th century.
Hirota Fukosai, founder of Kochukyo, Japan
Christie's. Fine Chinese Ceramics and Works of Art (Parts I & II), 22 - 23 March 2012, New York
Lot 1959. A small phosphatic glaze-splashed brown-glazed jar, Tang dynasty (618-907), 4 7/8 in. (12.4 cm.) high. Estimate USD 6,000 - USD 8,000. Price realised USD 11,250 © Christie's Images Ltd 2011
The globular body applied with a pair of loop handles and covered with a matte brown glaze decorated with swirls of milky bluish-white glaze that sweep around the shoulder and sides as well as the short neck and inside the everted rim, the glaze falling short of the foot to expose the granular ware burnt slightly orange in the firing.
Provenance: Gisèle Croës, Brussels, 1984.
Christie's. Fine Chinese Ceramics and Works of Art (Parts I & II), 22 - 23 March 2012, New York
Lot 1378. A small splashed-glazed jar, Tang dynasty (618-907), 5¼ in. (13.3 cm.) high. Estimate USD 8,000 - USD 12,000. Price realised USD 10,000 © Christie's Images Ltd 2011
The ovoid body is covered with an olive-brown glaze that ends in an irregular line above the flat foot to expose the granular ware burnt reddish-brown in the firing, and is decorated on the shoulder and rolled rim with splashes of milky cream and blue phosphatic glaze. A pair of small loop handles flank the waisted neck.
Provenance: Lord Rolf Cunliffe (1899-1963) Collection, London.
Bluett & Sons, London.
Kaikodo Gallery, New York, 2007.
Christie's. Fine Chinese Ceramics and Works of Art Part I, 13-14 September 2012, New York
A splashed glazed jar, Tang dynasty, high 19.9cm, diameter 7.4cm, bottom diameter 10.7cm. Palace Museum, Beijing.
A splashed glazed ewer, Tang dynasty, high 27.1cm, diameter 12.2cm, bottom diameter 12.5cm. Palace Museum, Beijing.
A splashed glazed jar, Tang dynasty, high 18.5cm, diameter 9.5cm, bottom diameter 10cm. Palace Museum, Beijing.
Three feet shallow-type plate, Tang dynasty, high 3.2cm, diameter 15cm, foot 10.2cm. Palace Museum, Beijing.
A splashed glazed jar, Jiaxian kiln, Tang dynasty, high 17cm, 10.3cm diameter 9.7cm, foot diameter. Palace Museum, Beijing.
Three foot plate, Tang dynasty, Jiaxian kiln, high 2.9cm, caliber 15cm, foot diameter 10.2cm. Palace Museum, Beijing.
A splashed glazed ewer, Tang dynasty, Lushan kiln, high 15.6cm, diameter 7.5cm, bottom diameter 8.6cm. Palace Museum, Beijing.
Lot 205. A white stoneware ewer, Tang dynasty, 21.6cm., 8 1/2 in. Estimate 20,000 — 30,000 GBP. Lot sold 66,500 GBP. Photo: Sotheby's.
the ovoid body rising from a short spreading foot to a trumpet neck, set to one side with a triple-stranded strap handle and to the other with a short cylindrical spout, covered overall with a white slip and a creamy-white glaze.
Provenance: Bluett & Sons, London (paper label to base).
Exhibited: Exhibition of Chinese Art, Palazzo Ducale, Venice, 1954, cat. no. 364.
The Arts of the T'ang Dynasty, The Oriental Ceramic Society, London, 1955, cat. no. 221.
Chinese Gold, Silver and Porcelain. The Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 72, an exhibition touring the United States and shown also at nine other museums.
Literature: 'Hsing-Yao and Ting-Yao', The Bulletin of Far Eastern Antiquities, no. 25, 1953, Stockholm, 1953, pl. 41, fig. 35.
Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 286.
The World's Great Collections. Oriental Ceramics, vol. 8, Tokyo, 1982, pl. 52.
Chinese Ceramics in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002, pl. 495.
Note: Compare a slightly larger ewer illustrated in Regina Krahl, Chinese Ceramics in the Meiyintang Collection, vol. 1, London, 1994, no. 279; and another in the Victoria and Albert Museum illustrated in Margaret Medley, T'ang Pottery and Porcelain, London, 1981, pl. 74. See also a similar ewer included in the International Exhibition of Chinese Art, The Royal Academy of Arts, London, 1935-36, cat. no. 990, and sold in these rooms, 29th March 1977, lot 92.
Ewer, white porcelain with white glaze, China, Tang dynasty (618-907), 850-906. Height: 14.7 cm, Diameter: 8.2 cm mouth. J.G. Maxwell Brownjohn Bequest, C.37-1965 © Victoria and Albert Museum, London 2017.
Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008
Lot 226. A 'Xing' tripod water pot, Tang-Five Dynasties, 7cm., 2 3/4 in.Estimate 4,000 — 6,000 GBP. Lot sold 62,900 GBP. Photo: Sotheby's.
of globular lobed form raised on three paw feet with a broad waisted neck, finely incised around the neck with a lotus lappet collar and covered overall in a soft white glaze, the base inscribed with the character 'guan'
Exhibited: Catalogue of the Exhibition of Chinese Art 1935-6, Royal Academy of Arts, London, 1935-36, cat. no. 982.
Exhibition of Chinese Art, Palazzo Ducale, Venice, 1954, cat. no. 358.
The Arts of the T'ang Dynasty, The Oriental Ceramic Society, London, 1955, cat. no. 171.
Chinese Gold, Silver and Porcelain. The Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 96, an exhibition touring the United States and shown also at nine other museums.
Literature: 'Hsing-Yao and Ting-Yao', The Bulletin of Far Eastern Antiquities, no. 25, 1953, Stockholm, 1953, pl. 16, fig. 13.
Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 389.
The World's Great Collections. Oriental Ceramics, vol. 8, Tokyo, 1982, pl. 93.
Chinese Ceramics in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002, pl. 591.
Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008