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A circular bronze-backed gold-foil fitting, Warring States Period

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A circular bronze-backed gold-foil fitting, Warring States Period

Lot 16. A circular bronze-backed gold-foil fitting, Warring States Period (475-221 BC), 8.2cm., 3 1/4 in. Estimate 800 — 1,200 GBP. Lot sold 1,000 GBP. Photo: Sotheby's

the thin gold foil decorated with a design of interlinked bands of finely striated raised ropes arranged around a central whirl motif, fixed to a round, slighly convex bronze backing, the reverse with heavy malachite encrustation. Weight 73.5g.

ExhibitedChinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 7.

Literature: Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 7.
Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 7.

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


A silver plaque, Warring States Period

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A silver plaque, Warring States Period

Lot 17. A silver plaque, Warring States Period (475-221 BC), 6.2cm., 2 3/8 in. Estimate 1,500 — 2,000 GBP. Lot sold 4,375 GBP. Photo: Sotheby's

cast in a circular shape with a slightly convex surface and decorated with an elaborate design of interlaced T- and C-scrolls, the wide lines finely engraved, the reverse with a loop for attachment. Weight 45g.

ExhibitedSmithsonian Institution, Washington, 1954-55, cat. no. 77.

LiteratureGyllensvärd1953, pl. 77.
Ulricehamn, 1999, pl. 80.

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

A fine gold garment-hook, Warring States Period

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A fine gold garment-hook, Warring States Period

Lot 21. A fine gold garment-hook, Warring States Period (475-221 BC), 3.4cm., 1 3/8 in. Estimate 2,000 — 3,000 GBP. Lot sold 42,500 GBP. Photo: Sotheby's

elegantly cast in a curved 'S' profile and surmounted by a goose head hook with an elongated beak, the long slender neck gracefully tapering into a wide and slightly domed body, a round button set on the back for attachment . Weight 34g.

Exhibited: Chinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 12.

LiteratureBo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 12.
Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 12.

NoteUnlike garment hooks cast in bronze or iron, gold garment-hooks are rare. Four gold garment-hooks similarly rendered with realistically portrayed goose heads were found among the burial goods in the tomb of the Marquis Yi of Zeng at Sui Xian in Hubei province, illustrated in Zhongguo meishu quanji. Gongyi meishu bian, vol. 10, Beijing, 1987, pl. 19.

Simple goose-headed garment-hooks cast in bronze were also unearthed from Ordos sites of the Warring States period in Inner Mongolia, illustrated in Erduosi shi qingtong qi, Beijing, 1986, pl. 74:2:3.

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

A parcel-gilt silver garment-hook, Warring States Period

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A parcel-gilt silver garment-hook, Warring States Period

Lot 23. A parcel-gilt silver garment-hook, Warring States Period (475-221 BC), 16.7cm., 6 5/8 in. Estimate 3,000 — 4,000 GBP. Lot sold 8,125 GBP. Photo: Sotheby's

the wide, gently curved body ending in a simple hook and cast with an openwork design of a pair of confronting birds surrounded by interlocking scrolls, surmounted by the head of a stylised beast. Weight 119.5g.

ExhibitedChinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 82.

Chinese Gold, Silver and Porcelain. The Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 35, an exhibition touring the United States and shown also at nine other museums

LiteratureBo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 82.
Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 85.

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

A silver garment-hook, Warring States Period

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A silver garment-hook, Warring States Period

Lot 24. A silver garment-hook, Warring States Period (475-221 BC), 12.6cm., 5in. Estimate 3,000 — 4,000 GBP. Lot sold 5,250 GBP. Photo: Sotheby's

the curved, semi-circular shaft ending in a dragon's head hook and decorated with an overall design of finely chased and engraved volutes and triangles alternating with bands and scales with ring-punched details. Weight 128gr.

ExhibitedChinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 78.

Literature: Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 78.

Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 81.

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

A silver garment-hook, Warring States Period

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A silver garment-hook, Warring States Period

Lot 25. A silver garment-hook, Warring States Period (475-221 BC), 9.8cm., 3 7/8 in. Estimate 3,000 — 4,000 GBP. Lot sold 3,750 GBP. Photo: Sotheby's

of slender curved form tapering to a small hook superbly cast in the shape of a bird's head, the body decorated with an engraved design of volutes and triangles. Weight 27.5g.

ExhibitedChinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 79.

Literature: Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 79.

Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 82.

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

An unusual silver finial, Warring States Period

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An unusual silver finial, Warring States Period

Lot 26. An unusual silver finial, Warring States Period (475-221 BC), 7.6cm., 3in. Estimate 1,000 — 1,500 GBP. Lot sold 1,250 GBP. Photo: Sotheby's

heavily cast with an octagonal tubular base surmounted by a bulbous mid-section before gently tapering into a flat closed end, two holes on opposite sides for attachment. Weight 104.5g.

ExhibitedChinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 84.

Literature: Bo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 84.

Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 87.

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

A silver garment-hook, Warring States Period

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A silver garment-hook, Warring States Period

Lot 28. A silver garment-hook, Warring States Period (475-221 BC), 6.3cm., 2 1/2 in. Estimate 3,000 — 4,000 GBP. Lot sold 3,750 GBP. Photo: Sotheby's

the body cast in the form of a stylised animal head with large horns and ears, finely engraved with scrolls, the slender curved shaft terminating in a bird's head hook. Weight 22.5g.

ExhibitedSmithsonian Institution, Washington, D.C., 1954-55, cat. no. 80.

LiteratureGyllensvärd, Stockholm, 1953, pl. 80.

Ulricehamn, Ulricehamn, 1999, pl. 83.

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


A small silver garment-hook, Warring States Period

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A small silver garment-hook, Warring States Period

Lot 29. A small silver garment-hook, Warring States Period (475-221 BC), 6.3cm., 2 1/2 in. Estimate 1,500 — 2,000 GBP. Lot sold 1,875 GBP. Photo: Sotheby's

cast in the form of an animal head, flanked by larged horns or ears, the shaft issuing from the nose and terminating in a dragon's head. Weight 11g.

Exhibited: Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 81.

Literature: Gyllensvärd, Stockholm, 1953, pl. 81.

Ulricehamn, Ulricehamn, 1999, pl. 84.

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

A finely cast bronze bell, bo zhong, Warring States Period, 5th century BC

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A finely cast bronze bell, bo zhong, Warring States Period, 5th century BC

Lot 1528. A finely cast bronze bell, bo zhong, Warring States Period, 5th century BC, 9¼ in. (23.5 cm.) high. Estimate USD 125,000 - USD 150,000Price realised USD 194,500 © Christie's Images Ltd 2012

Of lenticular form, each side with a plain central panel flanked by alternating rows of coiled serpent bosses and interlaced dragon scroll, all within raised borders, the dragon scroll repeated in a shaped configuration below and again on the flat top below the handle formed by two confronted dragons biting the suspension loop.

Provenance: Hans Odder Collection, Germany, circa 1920s.
Sotheby's, London, 19 June 1984, lot 10.

ExhibitedOstasiatische Kunst und Chinoiserie, Cologne, 1953.

NoteLike yong zhongbo zhong were made for use in graduated sets, and according to J. So in Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Arthur M. Sackler Foundation, Arthur M. Sackler Gallery, 1995, p. 381, bo zhong and niu zhong appear to have displaced the graduated set of yong zhong after the 5th century BC.

A set of nineteen bo zhong of graduated sizes cast with very similar designs and of similar proportions was excavated in 1988 from the tomb of Zhaoqing, a high-ranking noble of the Jin State, in Jinsheng Village, Taiyuan, Shaanxi province, and is now in the Shaanxi Archaeological Institute. See Zhongguo Qingtongqi Quanji - 8 - Dong Zhou (2), Beijing, 1995, pp. 98-103, nos. 111-4. 

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

Bead (guan), China, Warring States Period (approx. 480-221 BCE)

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Bead (guan), China, Warring States Period (approx. 480-221 BCE). Nephrite. H. 2 1/2 in x Diam. 1 5/8 in, H. 6.3 cm x Diam. 4.1 cm. The Avery Brundage Collection, B60J589© 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Long tubular beads of this sort were a key part of the pendant ensembles worn by high ranking officials during the late Warring States and on into the Han dynasty. Worn vertically, they provided direction and balance to the cords that supported the larger elements while also playing a key decorative role. Because of their position in the pendant, they had to be drilled completely through from top to bottom, a feat that required considerable percision. A close inspection of the perforation in this piece shows that most of the drilling was done from one side, with only a small area drilled from the opposite end. This allowed for most of the work to be completed from one setting of the drill and also avoided the problem of the fibers of the jade shattering as the drill cut through the final bit of surface.

This piece is decorated in a dense, overall repetition of the sprouting grain pattern. While the method of creating these patterns on a flat surface is easily understood (see # 58), the process must have been more complicated on a piece with a round profile. The flexibility of a string saw would allow for some of the preliminay work to be completed much as it was done on a flat surface. However, the finishing and polishing must have been extremely difficult and time consuming.

The jade this piece is fashioned from is very light, grayish white. It appears to have few inclusions and to be consistent in color. The surface is heavily stained with areas of brown and tan. In some areas the stains have penetrated cracks in the stone.

1. Ip Yee, no. 81
2. Kaogu Xue Bao, 1974, no. 2, plate 6, fig 1

ExhibitionHistory"Chinese Jade: Stone of Immortality", Cernuschi Museum, France, 9/26/1997 - 1/4/1998

Pendant with dragon, China, Warring States Period (approx. 480-221 BCE)

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Pendant with dragon, China, Warring States Period (approx

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Pendant with dragon, China, Warring States Period (approx. 480-221 BCE). Nephrite. H. 3 1/2 in x W. 9 3/4 in x D. 1/4 in, H. 8.89 cm x W. 24.77 cm x D. .64 cm. The Avery Brundage Collection, B60J549© 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Exhibition History"Stones of Eternity: Chinese Jades from the Asian Art Museum", Tooley & Company, The Hibernia Bank Building (201 California Street, San Francisco), 2/10/1986 - 2/1987
"Magic, Art and Order: Jade in Chinese Culture", Palm Springs Desert Museum, 2/8/1990 - 4/29/1990

Sword pommel, China, Warring States Period (approx. 480-221 BCE)

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Sword pommel, China, Warring States Period (approx

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Sword pommel, China, Warring States Period (approx. 480-221 BCE). Nephrite. Diam. 1 15/16 in. The Avery Brundage Collection, B60J621© 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

This sword pommel has a slightly beveled ridge around its outer edge. A field of raised comma spirals defined by incised lines fills the exterior region, and the grid used by the carver to arrange the whorls is slightly visible. This "sprouting grain" pattern is the culmination of the development of textured surfaces that began with the incised dragon's head pattern. A smooth, plain border gently slopes upward and separates off the central face, which is decorated with a cloud motif consisting of three grooves, secondary incised lines and three areas of fine cross-hatching. The surface is carefully worked and finely finished. This was the standard central design on most sword pommels. Others were decorated with a four or five open petal pattern in relief or were covered by high relief dragons. The back of this piece is plain except for a circular groove. It shows the precision and workmanship characteristic of jades from the Warring States period, demonstrating the refinement of jade working techniques from earlier times. It is highly finished with a combination of order and fluidity.

Sword fittings were abundant during the Warring States period because of the breakdown of central authority and the increase in political turmoil. The sword pommel was attached perpendicularly to the upper end of the sword handle. It is one of four jade military pieces for the sword -- pommel, slide, chape, and guard. Several pommels were found in the tomb of the Nanyue King in Guangzhou. The central designs on these differ, suggesting the path of development of the decor in later times.

The surface of this piece has been almost totally altered by burial or other means. It is now a warm ivory with areas of light tan. Due to the opacity of the surface it is difficult to determine the quality of the stone. The level of finish is quite high, as is the polish.

1. Forsyth, plate 124
2. Rawson, 21:3
3. Fung, p. 199
4. Ip Yee, no. 108
5. Hansford, Chinese Carved Jades, plate 53A
6. Kaogu, 1965, no. 6, p. 3 of plates, fig 4

Belt hook (daigou), China, Warring States Period (approx. 480-221 BCE)

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Belt hook (daigou), China, Warring States Period

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Belt hook (daigou), China, Warring States Period (approx. 480-221 BCE). Nephrite. H. 2 1/4 in x W. 1 1/8 in x D. 3/8 in, H. 5.7 cm x W. 2.9 cm x D. .95 cm. The Avery Brundage Collection, B60J630© 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Recent excavations indicate that from at least the late Shang dynasty the Chinese wore loose fitting gowns that folded over in the front and were secured by a belt. The belts themselves could be quite broad and, in some cases, were held in place by a narrower piece of fabric or leather that was tied or hooked in the front. However, the use of hooks did not become commonplace until around the sixth century B.C. There is some argument about the origin of these hooks in China. Rawson argues that they originated in contacts between China and her neighbors to the north and northwest, and that the original models were in gold. Thus their creation in jade is another example of the Chinese substituting jade, the most precious material in their culture, for gold (Rawson, pp. 303-04). Jenny So, on the other hand, points out that the form of the Chinese belt hook is very different from those of Western cultures; she argues that, while the idea of using the hook might be an import, the form of the hook is uniquely Chinese.

The earliest hooks in China are quite small and in bronze or gold with rare examples in jade. The earliest hooks are similar in general form to the example under discussion here. They feature a bottom button and top hook combined in a strongly curved overall form. Most early pieces are quite small and the top hook takes the form of the head of a duck. The hooks did evolve in size and decor; there is clear evidence that by the late Warring States period they were a item associated with prestige. The current example is quite simple in form. The only suggestion that it is intended to be an animal, perhaps a dragon, is the pair of ears on the outer edge which are not highly finished. The nearest comparable example from an excavated site comes from Guandong province, suggesting this may also be a provincial piece.

The piece was cut from yellowish Khotan jade. The stone appears to be of reasonable quality. However, it is difficult to be certain since much of the surface has been altered during burial and is now opaque and brown to tan in color. There is some evidence of veining and the level of finish is not as high as that on most Warring States and early Han pieces.

1. Forsyth, plate 150
2. Ip Yee, no. 87
3. Loo, plate XXII, no. 1
4. Loo, plate LVII, no. 4
5. Zhongguo Yuqi Chuanji, vol 3, p. 188, plate 295
6. Wen Wu, 1974, no. 11, p. 76, no. 26
7. Kaogu, 1965, no. 3, page 3 of plates, fig 7

Pendant of stylized birds (xian), China, Warring States Period (approx. 480-221 BCE)

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Pendant of stylized birds (xian), China, Warring States Period (approx

Pendant of stylized birds (xian), China, Warring States Period (approx. 480-221 BCE). Nephrite. H. 15/16 in x W. 1 11/16 in. The Avery Brundage Collection, B60J639© 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

Similar to the piece described above (#40), this piece features bird decoration; in this case a pair of bird heads attached to a flattened oval ring. The holes cut under the beaks of the bird and one on the side indicate that this piece functioned as part of a pendant. The central hole is outlined by a slightly raised area except for an area directly at the bottom. From there a small, undecorated section continues to the lowest area on the piece. This suggests a wider piece of material, perhaps a ribbon, was suspended from this central hole.

The surface decoration on the piece is rather cursory, consisting of little more than shallowly incised parallel lines making up a series of curves and volutes. The lines themselves are rough and unfinished, perhaps suggesting a piece of secondary importance or of provincial manufacture.

The piece is thinly cut from a piece of very light yellow Khotan jade. The stone is of decent quality with some darker inclusions, and some cloudy areas. Despite the unfinished appearance of the decoration, the surface is highly polished. There are brown stains and some alteration of the surface on the lower part of the piece.

1. Yang, no. 195 (ladle handle)
2. Loehr, plate 580
3. Loo, plate XLVIII, no. 7

Exhibition History"Chinese Jade: Stone of Immortality", Cernuschi Museum, France, 9/26/1997 - 1/4/1998


Dragon-shaped pendant (xi), China, Warring States Period (approx. 480-221 BCE)

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Dragon-shaped pendant (xi), China, Warring States Period (approx

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Dragon-shaped pendant (xi), China, Warring States Period (approx. 480-221 BCE). Nephrite. H. 1 3/4 in x L. 6 1/8 in x D. 3/16 in, H. 4.4 cm x L. 15.6 cm x D. .5 cm. The Avery Brundage Collection, B60J663© 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

The xi is normally a dragon with a pointed end thought to be the bottom-most piece in the pendant assemblies of the late Spring and Autumn and Warring States periods. Although described as a xi by most experts, this piece may instead be a pei, a piece which occurred in the middle portion of the pendant. This piece has the suspension hole near the center; most xi are suspended nearer the head and would occur in an upright position. However, it is difficult to imagine how another series of parts of the pendant would be suspended from this piece, except by attaching something at the mouth. Obviously, much remains to be determined about how the individual pieces in the pendant assemblies worked as a whole.

The overall surface decoration on this piece consists of abstract patterns, either as comma- shaped units or commas linked together to form large C shapes. It is much more simple than the surface decor on the Spring and Autumn period pieces discussed above. This simplification may be due in part to an increased demand for jade pendants. The designs are not in as deep relief as the previous piece; appearing to be cut into the surface rather than raised above it. The ears of this dragon are decorated with very fine cross-hatch patterns and the mouth is indicated by fine parallel striations which follow its profile.

Creating these fine patterns must have been extremely difficult and suggests technical breakthroughs that were occurring during the late Spring and Autumn and Warring States periods. In order to create them, a high speed drill with a very fine point would need to have come in contact with the surface of the jade in a very controlled fashion. Whether the drill was fixed and the piece moved against it or vice versa is not entirely clear. Later practices would indicate the former.

This piece is thinly cut from a light colored Khotan jade with yellow and brown tones. There are significant areas of staining on the head, near the center, and on the tail. The stone is very translucent and appears to have few, if any, inclusions.

Dragon-shaped pendant ornament (pei), China, Warring States Period (approx. 480-221 BCE)

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Dragon-shaped pendant ornament (pei), China, Warring States Period (approx

Dragon-shaped pendant ornament (pei), China, Warring States Period (approx. 480-221 BCE). Nephrite. H. 1/2 in x W. 3 3/8 in x D. 3/16 in, H. 1.3 cm x W. 8.6 cm x D. .5 cm. The Avery Brundage Collection, B60J664© 2017 Asian Art Museum Chong-Moon Lee Center for Asian Art and Culture.

The suspension hole for this long slender dragon-shaped pei is drilled directly in the center of the body, providing balance for the continuation of the parts of the pendant that were suspended from each end. The central abdomen rises in a high arch with a hole pierced through in the middle; the profile head and tail stretch up and back towards this arch. This creates a symmetrical S-shaped curve. The body of the dragon gradually becomes wider towards the midsection and narrows off again at the tail. Four small fins come off the body. The mouth has sharp and crisp contours and a ridge that extends upwards, ending in an upturned curl for a snout. A raised border surrounding the pendant encloses the surface pattern.

Unlike the two preceding examples (#32, 33) in which parts of the head and tails of the dragon were differentiated by differences in surface decoration, this dragon is covered by abstract patterns of uniform size and shape. These represent the next step in the development of surface decoration on Warring States period jades. Obviously derived from earlier comma-shaped patterns, these new elements are tightly wound, becoming more like a small spiral. Also in contrast with earlier surface patterns, these shapes are not linked, instead standing alone as individual motifs. In Chinese jade terminology these patterns are called "sprouting grain" due to their likeness to freshly sprouted grains of rice. These patterns do not continue over the head, which instead features well defined eyes, ears, jaw-line and snout.

Pendants were symbols of virtue and rank. By wearing them prominently as necklaces or chest ornaments, people knew the proper distance to keep from the wearer by the arrangement and types of pendants used. They were often worn in life and then buried with the dead. Dragon and phoenix pendants were distinct motifs of the Eastern Zhou. The dragon was thought to protect the deceased by warding off demons and keeping the spirits at an appropriate distance from the wearer.

This piece is relatively thick. The stone is a light green Khotan jade with no noticeable inclusions and very uniform color. There is a well-defined bulge and recession one side, apparently from the cut made through the stone with a string saw. The surface is slightly dulled from burial with some staining at the tail and under the head.

1. NPM, Collector's Exhibition, plate 49
2. Loehr, plate 433
3. Wu Hung, plate 24
4. Kaogu, 1991, no. 6, p. 517, no. 17
Published Loo, plate XLV, no. 5

A black-glazed conical bowl with russet 'partridge feather mottles', Northern Song-Jin dynasty, 11th-12th century

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A black-glazed conical bowl with russet 'partridge feather mottles', Northern Song-Jin dynasty, 11th-12th century

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Lot 1495. A black-glazed conical bowl with russet 'partridge feather mottles', Northern Song-Jin dynasty, 11th-12th century; 4 7/8 in. (12.4 cm.) diam. Estimate USD 40,000 - USD 60,000Price realised USD 197,000© Christie's Images Ltd 2016

The bowl has widely flared sides covered inside and out with a lustrous blackish-brown glaze liberally splashed in russet with 'partridge feather mottles' that thins to a yellowish-russet color below the rim and falls irregularly over the small foot to cover the base, box.

ProvenanceThe collection of Mr. and Mrs. Eugene Bernat; Sotheby's New York, 7 November 1980, lot 168.
T.Y. Chao Collection; Sotheby's Hong Kong, 19 May 1987, lot 224. 

NoteA similar bowl of larger size (19.5 cm.) is illustrated by Robert D. Mowry in Hare's Fur, Tortoiseshell, and Partridge Feathers: Chinese Brown- and Black-glazed Ceramics, 400-1400, Harvard University Art Museums, 1996, pp. 140-41, no. 36. Like the present bowl, both the interior and exterior are decorated with 'partridge-feather mottles', while the two conical bowls, also illustrated, pp. 140-41, nos. 37 a & b, are decorated only on the interior, with a russet-brown glaze on the exterior. All three of these bowls are in the Arthur M. Sackler Museum, Harvard University.

Christie's. Fine Chinese Ceramics & Works of Art part II, 17 - 18 March 2016, New York

A rare small Longquan celadon 'bamboo' vase, xianwenping, Southern Song-Yuan dynasty, 12th-14th century

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A rare small Longquan celadon 'bamboo' vase,xianwenping, Southern Song-Yuan dynasty, 12th-14th century

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Lot 1536. A rare small Longquan celadon 'bamboo' vase, xianwenping, Southern Song-Yuan dynasty, 12th-14th century,  6 ¾ in. (16.8 cm.) high. Estimate USD 40,000 - USD 60,000Price realised USD 93,750. © Christie's Images Ltd 2016

The compressed, spreading body is encircled by three rings, with two more on the shoulder, and the tall neck is encircled by two bow-string bands, in imitation of bamboo, below the wide, galleried mouth with incurved rim, a section of which broke off during firing and became adhered to the side of the neck. The vase is covered overall with a glaze of slightly blue-green color ending just above the unglazed foot rim., Japanese wood box.

Provenance

Masuda Donou (1848-1938) Collection, Japan. 
Takahashi Souan (1861-1937), Japan.
Japanese dealer's auction of the Takahashi Family Collection, 1918.. 

NoteAs with other vases of this form, the raised encircling rings at the junction of the shoulder and neck, on the neck and one of the lower rings on the body, disguise luting lines, and give this type of vase one of its Chinese names, xianwenping ('string pattern vase').

The present vase is unusually small for a vase of this type. Taller versions (approximately 31 cm. tall) are illustrated in The Complete Collection of Treasures of the Palace Museum - 33 - Porcelain of the Song Dynasty (II), Hong Kong, 1996, pl. 103; in Celadons from Longquan Kilns, Taipei, 1998, p. 147, no. 114; and in Illustrated Catalogue of Celadon Wares in the Percival David Foundation, rev. ed., 1997, pp. 19 and 30, no. 202. Similar vases, in the range of 27 cm. tall, include two sold at Christie's New York, one from the Falk Collection, 20 September 2001, lot 119, the other 19-20 September 2013, lot 1276. 

A rare Longquan celadon 'bamboo' vase, xianwenping, Southern Song dynasty, 12th-13th century

 A rare Longquan celadon 'bamboo' vase, xianwenping, Southern Song dynasty, 12th-13th century, 10¾ in. (27.3 cm.) high. Sold for USD 423,750 at Christie's New York, 19-20 September 2013, lot 1276 © Christie's Images Ltd 2013

Vases of this type were much admired in Japan, both for their elegant form and the beauty of their glaze. They were among the cargo of the Sinan wreck, which foundered off the Sinan coast of Korea on its way to Japan in AD 1323. See National Museum of Korea, Sinan Wreck Exhibition, Seoul, 1977, no. 15. One (29.8 cm.) in the Nezu Museum, Tokyo, is illustrated by M. Tregear in Song Ceramics, New York, 1982, p. 172, pl. 232, as well as in Sekai Toji Zenshu, vol. 12, Song, Tokyo, 1977, no. 81. The Nezu vase has been designated by the Japanese authorities as an Important Cultural Property, an indication of the respect with which such pieces are regarded. The present vase, with its section of rim adhered to the neck during firing, also attests to how highly valued vases of this type were, as it was not only saved after firing, but was considered valuable enough to pass into various important collections over the years.

Vase with Tall Neck, Longquan ware, China Southern Song dynasty, 12th century, Important Cultural Property

Vase with Tall Neck, Longquan ware, China Southern Song dynasty, 12th century, h: 29.6cm, md: 8.3cm, bd: 12.0cm, [40346]. Important Cultural Property. © The Nzeu Museum. 

Christie's. Fine Chinese Ceramics & Works of Art part II, 17 - 18 March 2016, New York

A Longquan celadon carved bowl, Southern Song-Yuan dynasty, 13th century

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A Longquan celadon carved bowl, Southern Song-Yuan dynasty, 13th century

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Lot 1530. A Longquan celadon carved bowl, Southern Song-Yuan dynasty, 13th century, 6 ¾ in. (17.1 cm.) diam. Estimate USD 25,000 - USD 35,000Price realised USD 23,750. © Christie's Images Ltd 2016

The bowl is well potted with deep, rounded conical sides crisply carved on the exterior with a broad band of petals rising from the foot, and is covered overall with a luminous glaze of rich sea-green color, including the interior of the foot and base, box.

ProvenanceLuen Chai Curios, Hong Kong.
Zetterquist Galleries, New York, 2002.
Walter Bareiss, Greenwich, Connecticut, acquired in 2002.

ExhibitedNew York, Zetterquist Galleries, Chinese Ceramics: Tang - Ming Dynasties, March 2009.

NoteAs well as having a domestic purpose, bowls of this type were made for export, as evidenced by examples recovered from a shipwreck off the Korean coast, "probably on its way to Japan, on or shortly after AD 1323," and illustrated in Relics Salvaged from the Seabed off Sinan, Materials I, Seoul, 1985, pl. 15 top and bottom.

Christie's. Fine Chinese Ceramics & Works of Art part II, 17 - 18 March 2016, New York 

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