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A rare white stoneware jar and a cover, 10th century

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A rare white stoneware jar and a cover, 10th century

Lot 233. A rare white stoneware jar and a cover, 10th century, 11.2cm., 4 3/8 in. Estimate 3,000 — 5,000 GBP. Lot sold 38,900 GBP. Photo: Sotheby's.

the compressed globular body supported on four paw feet, applied at the shoulder with four florets divided by two rows of stylised sprigs of grass, the domed cover surmounted by a small recumbent boy, covered overall with an ivory-white glaze. Quantity: 2.

Provenance: Collection of M. Meyer (paper label to the base).

ExhibitedExhibition of Chinese Art, Palazzo Ducale, Venice, 1954, cat. no. 360.

The Arts of the T'ang Dynasty, The Oriental Ceramic Society, London, 1955, cat. no. 172.

Chinese Gold, Silver and Porcelain. The Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 93, 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. 17, fig. 14.

Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 375.

The World's Great Collections. Oriental Ceramics, vol. 8, Tokyo, 1982, pl. 94.

Chinese Ceramics in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002, pl. 577.

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008


A rare inscribed 'Xing' figure of a lion, 10th century

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A rare inscribed 'Xing' figure of a lion, 10th century

Lot 231. A rare inscribed 'Xing' figure of a lion, 10th century, 18cm., 7 1/8 in. Estimate 800 — 1,200 GBP. Lot sold 36,500 GBP. Photo: Sotheby's.

the beast powerfully modelled crouching on all fours on a rectangular pedestal, the ferocious head turned sharply to the right with bulging eyes and jaw open in full snarl, wearing a saddle cloth and harness hung with pendent bells, covered overall with an ivory-white glaze, the pedesta carved around the sides to simulate rockwork and inscribed by the base with the single character shi.

Literature: Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 357.

The World's Great Collections. Oriental Ceramics, vol. 8, Tokyo, 1982, pl. 70.

Chinese Ceramics in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002, pl. 560.

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008

A 'Xing''Lotus' cupstand, Tang-Five Dynasties

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A 'Xing''Lotus' cupstand, Tang-Five Dynasties

Lot 224. A 'Xing''Lotus' cupstand, Tang-Five Dynasties, 14cm., 5 1/2 in. Estimate 3,000 — 4,000 GBP. Lot sold 29,300 GBP. Photo: Sotheby's.

the curved sides rising from a short spreading foot to a lotus petal-shaped collar and incurved rim, covered overall in a creamy-white glaze.

ExhibitedExhibition of Chinese Art, Palazzo Ducale, Venice, 1954, cat. no. 353.

The Arts of the T'ang Dynasty, The Oriental Ceramic Society, London, 1955, cat. no.184.

Chinese Gold, Silver and Porcelain. The Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 88, 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, pls. 24, 25, fig. 20.

Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 337.

The World's Great Collections. Oriental Ceramics, vol. 8, Tokyo, 1982, pl. 67.

Margaret Medley,  T'ang Pottery and Porcelain, London, 1981, pl. 81.

Chinese Ceramics in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002, pl. 541.

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008

A rare white stoneware 'Melon' vase, Five Dynasties

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A rare white stoneware 'Melon' vase, Five Dynasties

Lot 229. A rare white stoneware 'Melon' vase, Five Dynasties (907-960), 24.2cm., 9 1/2 in. Estimate 5,000 - 7,000 GBP. Lot sold 28,100 GBP. Photo: Sotheby's. 

the ovoid lobed body rising from a short spreading foot to a tall waisted neck with everted rim, set at either side of the shoulder and lower body with a pair of lug handles, covered overall with an ivory-white glaze.

ProvenanceL. Michon, Paris, (paper label to the base).

Exhibited: Kunst Industri Museet, Copenhagen, 1950, n. cat. no.

Exhibition of Chinese Art, Palazzo Ducale, Venice, 1954, cat. no. 366.

The Ceramic Art of China, The Oriental Ceramic Society, London, 1971, cat. no. 60, pl. 38.

Literature: Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 388.

The World's Great Collections. Oriental Ceramics, vol. 8, Tokyo, 1982, pl. 98.

Chinese Ceramics in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002, pl. 590.

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008

NDB: Cf a smaller vase in National Palace Museum, Beijing.

A rare white stoneware 'Melon' vase, Five Dynasties

A white stoneware 'Melon' vase, Five Dynasties (907-960), high 23.5cm, diameter 7.6cm, foot diameter 10.1cm. National Palace Museum, Beijing

A rare white stoneware trefoil-shaped dish, Late Tang-Five Dynasties

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A rare white stoneware trefoil-shaped dish, Late Tang-Five Dynasties

Lot 227. A rare white stoneware trefoil-shaped dish, Late Tang-Five Dynasties12cm., 4 3/4 in. Estimate 4,000 - 6,000 GBP. Lot sold 26,900 GBP. Photo: Sotheby's. 

the three large petal-shaped lobes rising from a short straight foot, covered overall in a white slip and a clear ivory glaze pooling in tear-drops on the exterior.

Provenance: Collection of C. T. Loo, no. 80659.

ExhibitedExhibition of Chinese Art, Palazzo Ducale, Venice, 1954, cat. no. 352.

The Arts of the T'ang Dynasty, The Oriental Ceramic Society, London, 1955, cat. no. 202.

Chinese Gold, Silver and Porcelain. The Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 102, 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. 34, fig. 28.

Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 356.

Bo Gyllensvärd, 'A Botanical Excursion in the Kempe Collection', Bulletin of the Museum of Far Eastern Antiquities, no. 37, 1965, pl. 20.

The World's Great Collections. Oriental Ceramics, vol. 8, Tokyo, 1982, pl. 74.

Chinese Ceramics in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002, pl. 559.

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008

A rare inscribed 'Xing' jar, Tang dynasty

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A rare inscribed 'Xing' jar, Tang dynasty

Lot 213. A rare inscribed 'Xing' jar, Tang dynasty, 13.2cm, 5 1/8 inEstimate 10,000 - 15,000 GBP. Lot sold 24,500 GBP. Photo: Sotheby's. 

the baluster body rising from a flat base to a broad short waisted neck with rolled rim, covered overall with an ivory-white glaze, the base incised with the single character 'ying'.

ExhibitedExhibition of Chinese Art, Palazzo Ducale, Venice, 1954, cat. no. 363.

The Arts of the T'ang Dynasty, The Oriental Ceramic Society, London, 1955, cat. no. 210.

Chinese Gold, Silver and Porcelain. The Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 77, 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. 42, fig. 36.

Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 298.

Note: The wares from the 'Xing' kilns represent the finest ceramics available during the Tang dynasty and the technical expertise that the potters were able to achieve in creating the first true porcelains. The 'Xing' kilns were situated on the borders of Lincheng and Neiqiu counties in Hebei province, and were renowned for their production of white wares. Contemporary writers praised the ware, describing it as 'white as silver and snow', as its sparkling, glossy quality evoked the attributes of silver. For a closely related example, see one sold in these rooms, 18th May 1971, lot 62.

The present piece is also remarkable for being inscribed with the character ying (surplus) on the base. This character is known from a small number of 'Xing' bowl, boxes, ewers and jars, as well as from the Neiqiu kiln site and from the state of the Daminggong, the Tang palace at Changan (Xi'an). The inscription has been explained by Wang Changqi as an abbreviation of the name of a designated imperial treasury Baibao Dayingku (Grand Surplus Depository of a Hundred Treasures). A bowl inscribed with the character ying was sold at Christie's Hong Kong, 1st May 1995, lot 633; a box with this inscription from the Shanghai Museum was included in the exhibition Chugoku rekidai toji ten, Seibu Art Museum, Tokyo, 1984, cat. no. 32; and an inscribed dish is published by Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. three (II), London, 2006, cat. no. 1420. 

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008

A 'Xing' waterpot, Tang dynasty

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A 'Xing' waterpot, Tang dynasty

Lot 212. A 'Xing' waterpot, Tang dynasty (618-907), 9cm, 3 1/2 inEstimate 2,000 - 3,000 GBP. Lot sold 16,100 GBP. Photo: Sotheby's. 

the finely potted compressed globular body rising from a short straight foot to an incurved broad mouth, incised around the exterior with a lotus-lappet scroll and covered overall in an ivory-white glaze.

Literature: Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 307.

The World's Great Collections. Oriental Ceramics, vol. 8, Tokyo, 1982, pl. 48.

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008

A white stoneware prunus-flower bowl, Tang-Five Dynasties

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A white stoneware prunus-flower bowl, Tang-Five Dynasties

Lot 220. A white stoneware prunus-flower bowl, Tang-Five Dynasties, 12.5cm, 4 7/8 inEstimate 2,000 - 3,000 GBP. Lot sold 10,625 GBP. Photo: Sotheby's. 

of metalware form, each of the five deep curved lobes springing from a short straight foot, covered overall in a white slip and an ivory-white glaze save for the footring revealing the fine white body.

Provenance: 'HP' paper label to base.

ExhibitedOriental Ceramic Society, 1940's, no.19.

Literature: 'Hsing-Yao and Ting-Yao', The Bulletin of Far Eastern Antiquities, no. 25, 1953, Stockholm, 1953, pl. 27, fig. 22.

Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 326.

Chinese Ceramics in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002, pl. 531.

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008


A white stoneware cup, Sui Dynasty

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A white stoneware cup, Sui Dynasty

Lot 202. A white stoneware cup, Sui Dynasty (581-618), 8.5cm, 3 3/8 in. Estimate 200 - 300 GBP. Lot sold 10,625 GBP. Photo: Sotheby's. 

the deep U-shaped body rising from a short spreading foot to a gently everted rim, covered overall in a pale green-tinged glaze falling in a neat line short of the solid base to reveal the pinkish-buff body, the base later inscribed in ink with two characters.

Exhibited: Chinese Gold, Silver and Porcelain. The Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 71, an exhibition touring the United States and shown also at nine other museums.

Literature: Chinese Ceramics in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002 pl. 494.

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008

A large white stoneware tripod basin, Tang dynasty (618-907)

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A large white stoneware tripod basin, Tang dynasty (618-907)

Lot 225. A large white stoneware tripod basin, Tang dynasty (618-907), 30cm, 11 7/8 inEstimate 800 - 1,200 GBP. Lot sold 10,625 GBP. Photo: Sotheby's. 

of metalware form, the deep rounded sides rising to an everted rim and all supported on three large cabriole legs, covered overall in a clear straw-white glaze.

Literature: Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 250.

Chinese Ceramics in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002, pl. 462.

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008

A white stoneware leys jar, Tang Dynasty

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A white stoneware leys jar, Tang Dynasty

Lot 207. A white stoneware leys jar, Tang Dynasty (618-907), 12.6cm, 5in. Estimate 1,500 - 2,000 GBP. Lot sold 7,500 GBP. Photo: Sotheby's. 

the robustly-potted compressed pear-shaped body rising from a short tapering foot to a widely flaring cup-shaped mouth with indented rim, covered overall with a white slip and clear ivory glaze.

ExhibitedExhibition of Chinese Art, Palazzo Ducale, Venice, 1954, cat. no. 368.

The Arts of the T'ang Dynasty, The Oriental Ceramic Society, London, 1955, cat. no. 212.

Chinese Gold, Silver and Porcelain. The Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 76, an exhibition touring the United States and shown also at nine other museums. 

Literature: Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, cat. no. 295.

The World's Great Collections. Oriental Ceramics, vol. 8, Tokyo, 1982, pl. 58.

Chinese Ceramics in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002, pl. 504.

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008

A rare white-glazed 'Lion' incense burner and a cover, Tang dynasty

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A rare white-glazed 'Lion' incense burner and a cover, Tang dynasty

 Lot 210. A rare white-glazed 'Lion' incense burner and a cover, Tang dynasty (618-907), 17.5cm, 6 7/8 in. Estimate 3,000 - 5,000 GBP. Lot sold 6,875 GBP. Photo: Sotheby's. 

the globular lotus base carved in high relief with three rows of overlapping petals and raised on a high domed foot, the domed cover surmounted by a large seated lion, the ferocious beast with large bulging eyes and jaws open to reveal a set of sharp teeth, covered overall with an ivory-white glaze. Quantity: 2.

ProvenanceCK 100

Exhibited: Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 346.

The World's Great Collections. Oriental Ceramics, vol. 8, Tokyo, 1982, pl. 64.

Chinese Ceramics in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 2002, pl. 550.

Sotheby's. Masterpieces of Chinese Precious Metalwork, Early Gold and Silver; Early Chinese White, Green and Black Wares, London, 14 May 2008

Tribal Art London fair announces highlights from its 2017 edition

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LONDON.- Tribal Art London opens the busy autumn fairs season in the UK’s capital city. Celebrating 10 years, and with 23 exhibitors it’s largest-ever iteration, Tribal Art London is the UK’s most important focal point in this field. It has stamped its mark on the international fair circuit by offering an exciting diversity of works for sale. With works priced from the low hundreds to over £20,000, the fair attracts collectors new and seasoned. Taking place a week prior to Parcours des Mondes Paris, the event attracts many international specialist dealers and museum curators. A Collectors’ Preview takes place 3pm-9pm on Wednesday 5 September. 

Well-known tribal art collectors who attend the Fair include Mark Blackburn (based in Hawaii, focusing on Oceanic art), collectors of Aboriginal and Oceanic art Sam and Sharon Singer (U.S.A.), Antonio Lunari (Italy), and African art collector Jonathan Lowen (UK). 

Institutions are always in attendance, such as Quai Branly, the British Museum and the Royal Academy. Last year, both Crispin Howarth, Curator of Pacific Art at the National Gallery of Australia, and Steven Hooper, Director of the Sainsbury Research Unit (expert in Fijian and Pacific art) were at the Fair. 

Many dealers who participate in Parcours des Mondes, the world’s biggest tribal art event held annually in Paris (12-17 September 2017), visit Tribal Art London, such as Michael Evans (USA), Wayne Heathcote (UK), Daniel and Dori Rootenberg of Jacaranda Tribal (NY), and Jonathan Hope (UK). Other trade buyers are Finch & Co (UK) and Patrick & Ondine Mestdagh (Belgium), both Masterpiece London exhibitors; Brant Mackley (USA), specialist in American Indian art; David Zemanek, tribal art auctioneer (Germany), and Michael Graham-Stewart the renowned collector/dealer (UK). 

 

Decorators and designers including Chester Jones and Ross Lovegrove (both UK) are usually in attendance, and the actor Griff Rhys Jones and natural history legend Sir David Attenborough are regular visitors. 

Highlights at the Fair include: 

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A bold Ligbi mask from Ivory Coast; this highly anthropomorphic face mask from the Ligbi people is carved in wood, with pigments, cloth and fibres measuring 30cm in height, and comes with a prestigious provenance, offered by new exhibitor Mark Eglinton of New York. (Price in the region of $16 000 USD).

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An exceptional Lozi fly swish (detail) from Barotse land, 26cm long, dating circa 1900, offered by Adam Prout Ethnographic Art (Price on request).

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An impressive, deeply carved 19th century Zulu prestige lidded vessel from KwaZulu, South Africa. Wooden vessels such as these were the preserve of chiefs and other persons of stature within the tribe. They were sometimes given as ‘diplomatic gifts’ to visiting Europeans and missionaries. This is a particularly fine example, the design avoiding the naturalistic and as a consequence appearing very abstract. Offered by Marcuson & Hall (Price in the region of £13,500).

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A remarkable early survivor of the Nasca era in Peru, a Woven camelid-hair half tunic (interlocked and dovetailed joins, discontinuous warp and weft, woven added fringe) dating to around the 6th to 10th century CE (AD) offered by Joss Graham Gallery.

 

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A superb Lwena staff, perhaps one of the most beautiful and important on the market today, made in Angola or Zambia , featuring a beautifully-carved female figure wearing typical coiffure. Widely published and with a wonderful provenance, the staff is offered by David Malik. (£10,500).

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A Dan mask from Ivory Coast. Formerly in an ex private collection London, it is offered by Bryan Reeves/Tribal Gathering (Price on request).

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A fine Mahdi tunic, known as a Jibba, made in 19th century Sudan of cotton and wool appliqué, probably Stroud cloth. This would have belonged to a high ranking leader in the Mahdist army and probably dates to the period just after the fall of Khartoum at which point the Mahdist army acquired British manufactured wool, probably taken from uniforms. The panels represent the virtues of poverty and humility, and the small pocket would have held a charm consisting of leather wrapped pages of the Koran. Very few examples of this quality exist outside of museum collections; a similar example can be seen in the British Museum. Offered by Adam Prout Ethnographic Art.

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 A royal cup carved with a supporting foot, Lele (a sub-group of the Kuba people), Congo, 19th century. In fine condition, and standing 17cm in height, this early palm wine cup is from a royal household. Offered by Ian Shaw. (£3000).

ADK8230-1-Copy-681x1024-681x1024

Yoruba horse rider, Nigeria, early 20th century. Such figures were placed on altars in shrines or displayed at special ceremonies. Leaders and ancestors were often displayed on horseback to support their status and depict strength and power. Offered by new exhibitor Emmanuel Amelot of Belgium. (£4,500).

Tribal Art London hosts lectures and talks on many subjects relating to indigenous cultures, and this year it focuses on the history and development of tribal tattoos, including a talk by Dr Karen Jacobs of the University of East Anglia. Martin Poole, an expert in the technique of hand tapped tattoos, will be giving live demonstrations.

Neolithic pottery at National Palace Museum, Beijing

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Red pottery cooker, Neolithic, Cishan culture (6500–5000 BC), high 15

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Red pottery cooker (?), Neolithic, Cishan culture (6500–5500 BC), high 15.3cm, caliber 15.3cm, bottom diameter 11.3cm. National Palace Museum, Beijing.

Flat bowl, Neolithic, Cishan culture (6500–5000 BC), high 6

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Flat bowl, Neolithic, Cishan culture (6500–5500 BC), high 6.7cm, caliber 18.2cm, bottom diameter 6.4cm. National Palace Museum, Beijing

Small mouth bottle, Neolithic, Cishan culture (6500–5600 BC), high 23

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Small mouth ear bottle, Neolithic, Cishan culture (6500–5500 BC), high 23.8cm caliber 5.2cm bottom diameter 5.6cm. National Palace Museum, Beijing

Three foot bowl, Neolithic, Cishan culture (6500–5600 BC), high 8

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 Three foot bowl, Neolithic, Cishan culture (6500–5500 BC), high 8.1cm, diameter 21.3cm, foot 15cm. National Palace Museum, Beijing

Gray pottery vase, Neolithic, Cishan culture (6500–5500 BC), high 15

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Gray pottery ear vase, Neolithic, Cishan culture (6500–5500 BC), high 15.2cm, caliber 13.8cm, bottom diameter 6cm. National Palace Museum, Beijing

Red pottery and support, Neolithic, Cishan culture (6500–5500 BC)

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Red pottery and support, Neolithic, Cishan culture (6500–5500 BC), through 20cm high. Mug: 9.5cm high, caliber 10.5cm, bottom diameter 11.3cm. Support: 10.5cm. National Palace Museum, Beijing

Deep belly vase, Neolithic, Cishan culture (6500–5500 BC), high 14

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Deep belly ear jar, Neolithic, Cishan culture (6500–5500 BC), high 14.4cm, caliber 9.5cm, bottom diameter 6cm. National Palace Museum, Beijing

The Cishan culture (6500–5500 BC) was a Neolithic culture in northern China, on the eastern foothills of the Taihang Mountains. The Cishan culture was based on the farming of broomcorn millet, the cultivation of which on one site has been dated back 10,000 years. The people at Cishan also began to cultivate foxtail millet around 8700 years ago. However, these early dates have been questioned by some archaeologists due to sampling issues and lack of systematic surveying. There is also evidence that the Cishan people cultivated barley and, late in their history, a japonica variety of rice.

Common artifacts from the Cishan culture include stone grinders, stone sickles and tripod pottery. The sickle blades feature fairly uniform serrations, which made the harvesting of grain easier. Cord markings, used as decorations on the pottery, was more common compared to neighboring cultures. Also, the Cishan potters created a broader variety of pottery forms such as basins, pot supports, serving stands, and drinking cups.

Since the culture shared many similarities with its southern neighbor, the Peiligang culture, both cultures were sometimes previously referred to together as the Cishan-Peiligang culture or Peiligang-Cishan culture. The Cishan culture also shared several similarities with its eastern neighbor, the Beixin culture. However, the contemporary consensus among archaeologists is that the Cishan people were members of a distinct culture that shared many characteristics with its neighbors.

Painted pottery bowl, Neolithic Qingliangang culture (5400 - 4400 BC), high 11

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Painted pottery bowl, Neolithic, Qingliangang culture (5400 - 4400 BC), high 11.2cm, caliber 14.5cm, bottom diameter 7cm. National Palace Museum, Beijing

The Qingliangang culture, which succeeded that of Hemudu in Jiangsu, northern Zhejiang, and southern Shandong, was characterized by ring-footed and flat-bottomed pots, gui (wide-mouthed vessels), tripods (common north of the Yangtze), and serving stands (common south of the Yangtze). Early fine-paste redware gave way in the later period to fine-paste gray and black ware. Polished stone artifacts include axes and spades, some perforated, and jade ornaments.

Painted pottery geometric pattern basin, Neolithic, Yangshao culture (5000-3000 BC), Banpo type (about 4800-3900 BC), high 16

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Painted pottery geometric pattern basin, Neolithic, Yangshao culture (5000-3000 BC), Banpo type (about 4800-3900 BC), high 16.4cm, caliber 37.4cm. National Palace Museum, Beijing

The Yangshao culture was a Neolithic culture that existed extensively along the Yellow River in China. It is dated from around 5000 BC to 3000 BC. The culture is named after Yangshao, the first excavated representative village of this culture, which was discovered in 1921 in Henan Province by the Swedish geologist Johan Gunnar Andersson (1874–1960). The culture flourished mainly in the provinces of Henan, Shaanxi and Shanxi.

Yangshao artisans created fine white, red, and black painted pottery with human facial, animal, and geometric designs. Unlike the later Longshan culture, the Yangshao culture did not use pottery wheels in pottery-making. Excavations found that children were buried in painted pottery jars.

Painted pottery water ripple bowl, Neolithic, Majiayao culture, Majiayao type (3300–2500 BC), high 11cm, caliber 22

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 Painted pottery water ripple bowl, Neolithic, Majiayao culture (3100-2000 BC), Majiayao phase (3300–2500 BC), high 11cm, caliber 22.5cm, bottom diameter 10cm. National Palace Museum, Beijing

Painted pottery string bottle, Neolithic, Majiayao culture (3100-2700 BC), Majiayao type (3300–2500 BC), caliber 8cm, foot diameter 6

Painted pottery string bottle, Neolithic, Majiayao culture (3100-2000 BC), Majiayao phase (3300–2500 BC), caliber 8cm, foot diameter 6.5cm, 21.5cm high. National Palace Museum, Beijing.  

Painted swirling vortex pattern amphora, Majiayao culture (3100-2000 BC), Banshan phase (2500–2300 BC), high 37cm, diameter 10cm

Painted swirling vortex pattern amphora, Majiayao culture (3100-2000 BC), Banshan phase (2500–2300 BC), high 37cm, diameter 10cm. National Palace Museum, Beijing.

Painted pottery pot, Neolithic, Majiayao culture, Banshan phase (2500–2300 BC), high 37

Painted pottery pot, Neolithic, Majiayao culture (3100-2000 BC), Banshan phase (2500–2300 BC), high 37.7cm, caliber 13.8cm, bottom diameter 14cm. National Palace Museum, Beijing.

Painted pottery bowl, Neolithic, Majiayao culture (3100-2000 BC), high 9

Painted pottery bowl, Neolithic, Majiayao culture (3100-2000 BC), high 9.6cm, diameter 21.3cm. National Palace Museum, Beijing.

Painted pottery frog pattern pot, Neolithic, Majiayao culture (3100-2000 BC), Machang phase (2300 - 2000 BC), high 42cm, caliber 13

Painted pottery frog pattern jar, Neolithic, Majiayao culture (3100-2000 BC), Machang phase (2300 - 2000 BC), high 42cm, caliber 13.1cm. National Palace Museum, Beijing.

The Majiayao culture was a group of Neolithic communities who lived primarily in the upper Yellow River region in eastern Gansu, eastern Qinghai and northern Sichuan, China. The culture existed from 3300 to 2000 BC. The Majiayao culture represents the first time that the Upper Yellow River region was widely occupied by agricultural communities and it is famous for its painted pottery, which is regarded as a peak of pottery manufacturing at that time.

The most distinctive artifacts of the Majiayao culture are the painted pottery. During the Majiayao phase, potters decorated their wares with designs in black pigment featuring sweeping parallel lines and dots. Pottery of the Banshan phase is distinguished by curvilinear designs using both black and red paints. Machang-phase pottery is similar, but often not as carefully finished.

Black pottery pot, Neolithic, Longshan culture, high 11

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Black pottery ear pot, Neolithic, Longshan culture (3000 BC - 1900 BC), high 11.5cm, caliber 6.5cm, foot 8.2cm. National Palace Museum, Beijing

Black pottery pot, Neolithic, Longshan culture (3000 BC - 1900 BC), high 26

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Black pottery jar, Neolithic, Longshan culture (3000 BC - 1900 BC), high 26.0cm, caliber 19.5cm, bottom diameter 10.5cm. National Palace Museum, Beijing

Red pottery gui-tripod or pitcher, Neolithic, Longshan culture (3000 BC - 1900 BC), Shandong Province, high 39cm, caliber 12cm, foot 14cm

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Red pottery gui-tripod or pitcher, Neolithic, Longshan culture (3000 BC - 1900 BC)Shandong Province, high 39cm, caliber 12cm, foot 14cm. National Palace Museum, Beijing

Red pottery gui-tripod or pitcher, Neolithic, Longshan culture (3000 BC - 1900 BC), Shandong Province, high 39cm, diameter 11

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Red pottery gui-tripod or pitcher, Neolithic, Longshan culture (3000 BC - 1900 BC)high 39cm, diameter 11.9cm. National Palace Museum, Beijing

Black pottery single cup, Neolithic, Longshan culture (3000 BC - 1900 BC), caliber 8cm, foot 8cm, high 12

Black pottery single cup, Neolithic, Longshan culture (3000 BC - 1900 BC), caliber 8cm, foot 8cm, high 12.5cm. National Palace Museum, Beijing

Black pottery high handle cup, Neolithic, Longshan culture (3000 BC - 1900 BC), caliber 7cm, foot 6cm, high 15cm

Black pottery high handle cup, Neolithic, Longshan culture (3000 BC - 1900 BC), caliber 7cm, foot 6cm, high 15cm. National Palace Museum, Beijing

The Longshan (or Lung-shan) culture, also sometimes referred to as the Black Pottery Culture, was a late Neolithic culture in the middle and lower Yellow River valley areas of northern China from about 3000 to 1900 BC. The first archaeological find of this culture took place at the Chengziya Archaeological Site in 1928, with the first excavations in 1930 and 1931. The culture is named after the nearby modern town of Longshan (lit. "Dragon Mountain") in Zhangqiu, Shandong. The culture was noted for its highly polished black pottery (or egg-shell pottery). The population expanded dramatically during the 3rd millennium BC, with many settlements having rammed earth walls. It decreased in most areas around 2000 BC until the central area evolved into the Bronze Age Erlitou culture.

White pottery pot, Neolithic, Dawenkou culture 4000 BC ~ 2200 BC, high 19cm, caliber 8

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White pottery pot, Neolithic, Dawenkou culture (4000-2200 BC), high 19cm, caliber 8.8cm, bottom diameter 6cm. National Palace Museum, Beijing

The Dawenkou culture is a name given by archaeologists to a group of Neolithic communities who lived primarily in Shandong, but also appeared in Anhui, Henan and Jiangsu, China. The culture existed from 4100 to 2600 BC, co-existing with the Yangshao culture. Turquoise, jade and ivory artefacts are commonly found at Dawenkou sites. The earliest examples of alligator drums appear at Dawenkou sites. Neolithic signs, perhaps related to subsequent scripts, such as those of the Shang Dynasty, have been found on Dawenkou pottery. 

Archaeologists commonly divide the culture into three phases: the early phase (4100–3500 BC), the middle phase (3500–3000 BC) and the late phase (3000–2600 BC). Based on the evidence from grave goods, the early phase was highly egalitarian. The phase is typified by the presence of individually designed, long-stemmed cups (鬹 guī). Graves built with earthen ledges became increasingly common during the latter parts of the early phase. During the middle phase, grave goods began to emphasize quantity over diversity. During the late phase, wooden coffins began to appear in Dawenkou burials. The culture became increasingly stratified, as some graves contained no grave goods while others contained a large quantity of grave goods. 

The type site at Dawenkou, located in Tai'an, Shandong, was excavated in 1959, 1974 and 1978. Only the middle layer at Dawenkou is associated with the Dawenkou culture, as the earliest layer corresponds to the Beixin culture and the latest layer corresponds to the early Shandong variant of the Longshan culture. The Dawenkou interacted extensively with the Yangshao culture. "For two and a half millennia of its existence the Dawenkou was, however, in a dynamic interchange with the Yangshao Culture, in which process of interaction it sometimes had the lead role, notably in generating Longshan. Scholars have also noted similarities between the Dawenkou and the Liangzhu culture as well as the related cultures of the Yantze River basin. According to some scholars, the Dawenkou culture may have a link with a pre-Austronesian language. Other researchers also note a similarity between Dawenkou inhabitants and modern Austronesian people in cultural practices such as tooth avulsion and architecture.

The type site at Dawenkou, located in Tai'an, Shandong, was excavated in 1959, 1974 and 1978. Only the middle layer at Dawenkou is associated with the Dawenkou culture, as the earliest layer corresponds to the Beixin culture and the latest layer corresponds to the early Shandong variant of the Longshan culture. The Dawenkou interacted extensively with the Yangshao culture. "For two and a half millennia of its existence the Dawenkou was, however, in a dynamic interchange with the Yangshao Culture, in which process of interaction it sometimes had the lead role, notably in generating Longshan. Scholars have also noted similarities between the Dawenkou and the Liangzhu culture as well as the related cultures of the Yantze River basin. According to some scholars, the Dawenkou culture may have a link with a pre-Austronesian language. Other researchers also note a similarity between Dawenkou inhabitants and modern Austronesian people in cultural practices such as tooth avulsion and architecture. 

The people of Dawenkou exhibited a primarily Sinodont dental pattern. The Dawenkou were also physically dissimilar to the neolithic inhabitants of Hemudu, Southern China and Taiwan.

Red pottery water holding, Neolithic, Qijia culture (2200 BC – 1600 BC), high 15cm, caliber 9cm, bottom diameter 5

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Red pottery water holding, Neolithic, Qijia culture (2200 BC – 1600 BC), high 15cm, caliber 9cm, bottom diameter 5.7cm. National Palace Museum, Beijing

Red pottery ear jar, Neolithic, Qijia culture (2200 BC – 1600 BC), caliber 8cm, foot 4

Red pottery ear jar, Neolithic, Qijia culture (2200 BC – 1600 BC), caliber 8cm, foot 4.5cm, high 12.2cm. National Palace Museum, Beijing

The Qijia culture (2200 BC – 1600 BC) was an early Bronze Age culture distributed around the upper Yellow River region of Gansu (centered in Lanzhou) and eastern Qinghai, China. It is regarded as one of the earliest bronze cultures.
 
The Qijia Culture is named after the Qijiaping Site in Gansu Province.
 
Prior to Qijia culture, in the same area there existed Majiayao culture that was also familiar with metalwork. At the end of the third millennium B.C., Qijia culture succeeded Majiayao culture at sites in three main geographic zones: Eastern Gansu, Middle Gansu, and Western Gansu/Eastern Qinghai.

A finely cast bronze ritual wine vessel, gu, Shang dynasty, Anyang, 12th century BC

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A finely cast bronze ritual wine vessel, gu, Shang dynasty, Anyang, 12th century BC

Lot 1501. A finely cast bronze ritual wine vessel, gu, Shang dynasty, Anyang, 12th century BC, 11½ in. (29.2 cm.) high. Estimate USD 100,000 - USD 150,000Price realised USD 482,500© Christie's Images Ltd 2012

The trumpet-form neck crisply cast with four blades filled with inverted taotie masks and scrolls rising from a band of angular snakes, with two taotie masks divided and separated by narrow notched flanges on the center section and on the spreading foot, those on the foot with prominent brows and set below a band of two pairs of confronted dragons with elephant-like snouts, all reserved on leiwengrounds, with a two-character inscription cast inside the foot, with mottled milky green patina, wood stand, box.

ProvenanceMathias Komor, New York, 1951.

NoteThe inscription cast within the foot of the vessel, zi long, may be literally translated as 'son dragon.'

A bronze gu with very similar cast decoration, but lacking the inverted taotie masks set within the blades on the neck, excavated in 1953 from Tomb 267 in Dasikong, Anyang, Henan province, and now in the National Museum of China, is illustrated in Zhongguo Qingtongqi Quanji - 2- Shang (2), Beijing, 1997, p. 118, no. 114. 

Christie'sFine Chinese Ceramics and Works of Art (Part I), 22-23 March 2012, New York 


A bronze ritual tripod wine vessel, jue, Shang dynasty, 12th-11th century BC

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A bronze ritual tripod wine vessel, jue, Shang dynasty, 12th-11th century BC 

Lot 1502. A bronze ritual tripod wine vessel, jue, Shang dynasty, 12th-11th century BC, 7¾ in. (19.8 cm.) high. Estimate USD 60,000 - USD 80,000Price realised USD 110,500. © Christie's Images Ltd 2012

Raised on three blade-shaped supports, the sides well cast with twotaotie masks flanked by inverted dragons and separated by notched flanges, one mask centered on a flange, the other centered on the inscription cast beneath the loop handle issuing from a bovine mask, with a band of triangles above and a blade on the underside of the spout, all reserved on a leiwen ground, with a pair of capped posts rising from the rim, with malachite encrustation.

Provenance: Mathias Komor, New York, 1956.

Note: The inscription cast under the handle consists of a graph composed of an eye oriented above a star, followed by the characters Fu Ji (Father Ji).

Jue appear to have been essential to Shang dynasty rituals, as they are one of the most numerous vessels found in Shang tombs. Their shape implies that they were used for the heating and pouring of ritual wines, and possibly for drinking the wine. The present jue is stylistically similar to one in the Shanghai Museum illustrated in Zhongquo Qingtongqi Quanji - 3 - Shang (3), Beijing, 1997, p. 20, no. 20.  

Christie'sFine Chinese Ceramics and Works of Art (Part I), 22-23 March 2012, New York

A rare and finely cast bronze ritual wine vessel, zhi, late Shang dynasty, 12th-11th century BC

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A rare and finely cast bronze ritual wine vessel, zhi, late Shang dynasty, 12th-11th century BC 

Lot 1504. A rare and finely cast bronze ritual wine vessel, zhi, late Shang dynasty, 12th-11th century BC, 4 3/8 in. (11.2 cm.) high.Estimate USD 100,000 - USD 150,000Price realised USD 290,500. © Christie's Images Ltd 2012 

Of broad pear shape and oval section, each side cast with a taotiemask separated and divided by a notched flange that continues up into the upper band of birds with backward-turned heads and curled tails below a band of triangular blades filled with simplified invertedtaotie masks, the slightly flared foot with a scroll band interrupted by hooked flanges, with mottled green patina and some malachite encrustation, wood stand

Provenance: Mathias Komor, New York, 1957. 

Notezhi and cover with similar notched flanges and with similar bands of decoration is illustrated by R.L. d'Argencé, Bronze Vessels of Ancient China in the Avery Brundage Collection, San Francisco, 1977, p. 55, pl. XIX (lower left). 

Christie'sFine Chinese Ceramics and Works of Art (Part I), 22-23 March 2012, New York

A rare well-cast bronze ritual wine vessel, zun, late Shang dynasty, 11th century BC

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A rare well-cast bronze ritual wine vessel, zun, late Shang dynasty, 11th century BC 

Lot 1505. A rare well-cast bronze ritual wine vessel, zun, late Shang dynasty, 11th century BC, 10¼ in. (29 cm.) high. Estimate USD 200,000 - USD 300,000Price realised USD 578,500. © Christie's Images Ltd 2012 

With plain, broad trumpet-shaped neck, the rounded middle section cast in relief on each side with a large taotie mask with large oblong eyes and flanked by hooked scrolls, the masks divided and separated by flanges repeated on the spreading foot between two pairs of confronted birds with hooked beaks, crests, taloned feet and long curled tails, all reserved on a bold leiwen ground with black inlay, the interior of the foot cast with a yaxing framing an inscription which is obscured by the milky green patina and pale malachite encrustation, box

Provenance: Mathias Komor, New York, 1951. 

Note: In terms of shape and design, this imposing vessel belongs to a small group of late Shang zun which features two lower registers of taotieand animal designs in low relief while the neck and flaring mouth are devoid of decoration and flanges except for the double bow-string bands just above the midsection. Another zun of this general type, but cast with taotie masks on the splayed foot rather than pairs of confronted birds such as those seen on the current example, is illustrated by S.D. Owyoung, Ancient Chinese Bronzes in the Saint Louis Art Museum, St. Louis, 1997, p. 70, no. 14. Another related zun is illustrated by J.K. Murray, A Decade of Discovery: Selected Acquisitions, 1970-1980, The Freer Gallery of Art, Washington, D.C., 1979, no. 6, where it is dated to the Shang dynasty, late Anyang period, based on a similar vessel excavated at Cangshan, Xi'an, Shandong province and illustrated in Wenwu, 1965:7, p. 30, fig. 13. 

Christie'sFine Chinese Ceramics and Works of Art (Part I), 22-23 March 2012, New York

A small bronze ritual wine vessel, zhi, Late Shang-Early Western Zhou dynasty, 12th-11th century BC

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A small bronze ritual wine vessel, zhi, Late Shang-Early Western Zhou dynasty, 12th-11th century BC

Lot 1506. A small bronze ritual wine vessel, zhi, Late Shang-Early Western Zhou dynasty, 12th-11th century BC, 5¼ in. (13.3 cm.) high. Estimate USD 15,000 - USD 25,000Price realised USD 18,750. © Christie's Images Ltd 2012 

Of pear shape and oval section, the neck encircled by a band of diamond pattern formed by angular leiwen spirals between narrow borders of D-shaped scales or feathers repeated on the tall foot, with dark grey patina and areas of malachite encrustation

Provenance: Gump's, San Francisco, 1940

NoteSimilar bands of diamond pattern or angular leiwen spirals bordered by circles rather than scales can be seen on two bronze you illustrated by R.W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, Arthur M. Sackler Foundation, Washington DC, Arthur M. Sackler Museum, Cambridge, Massachusetts, 1987, p. 384, nos. 67 (of cylindrical form) and 68 (of pear shape), which are dated 11th century BC. Several other vessels with a similar band are also illustrated, pp. 392-3, figs. 68.5 - 68.7. 

Christie'sFine Chinese Ceramics and Works of Art (Part I), 22-23 March 2012, New York

The Fu Xin Zhi. A bronze ritual wine vessel, Late Shang dynasty, 13th-11th century BC

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The Fu Xin Zhi

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Lot 10. The Fu Xin Zhi. A bronze ritual wine vessel, Late Shang dynasty, 13th-11th century BC. Height 6 in., 15.2 cm. Estimate 10,000 — 15,000 USD. Lot sold 30,000 USD. Photo: Sotheby's.

the pear-shaped body resting on a high foot ring encircled by two bowstring bands, decorated on each side of the neck with a taotie mask centered by a shallow flange and flanked by two kui dragons all between two further bowstring bands, the surface with dark silver patina, a three-character inscription on the interior of vessel.

ProvenancePrivate Japanese collection.

NoteThe first character of the inscription is a rare clan sign, depicting a kneeling figure with a vessel. 

The box for this lot is inscribed with a research note written by Professor Matsumaru Michio, dated 2005.

Sotheby's. Archaic Bronzes and the Wu Dacheng Jijintu Scroll. New York. 18 march 2014

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