Vase "ku"à décor de feuilles de plantain sur fond jaune, règne de Qianlong (1736-1795)
Christie’s presents the distinguished Le Cong Tang Collection to lead the November sale of Chinese Ceramics & Works of Art
A highly important and extremely rare Wucai ‘fish’ jar and cover, Jiajing six-character mark in underglaze blue (1522-1566). 18 1/8 in. (46 cm. Estimate on Request. © Christie’s Images Limited 2017
Hong Kong – This Autumn a series of extraordinary works from the celebrated Le Cong Tang collection will be offered for auction, forming a focal point for the season. This renowned collection has been meticulously amassed with a discerning eye and the selection to be offered comprises exquisite items created during the Ming dynasty.
Leading the collection is the magnificent Wucai Fish Jar and Cover, produced during the Jiajing reign. Wucai fish jars complete with the original covers are exceptionally rare, and have been items of admiration and reverence by connoisseurs throughout centuries. Aside from the present piece, only three other Jiajing fish jars complete with a cover appear to have been sold at auction.
The jar was formerly in the collection of J.M Hu (Hu Jenmou) (1910-1993), one of most illustrious Chinese private collectors of the 20th Century. The J.M Hu collection is revered for its broad but well-focused vision, encompassing the finest of imperial ceramics through the ages.
This work along with other highlights including a Xuande Yellow-Enamelled Bowl (top left) and a Tixi Lacquer Hexagonal Ewer (top right) are expected to attract spirited bidding this autumn, as collectors vie for the opportunity to acquire some of the few remaining works of this type in private hands.
With the collection’s exceptional provenance and exceeding rarity, this sale represents an unparalleled opportunity to acquire some of the finest treasures from the Ming dynasty.
A fine and extremely rare yellow-enamelled bowl, Xuande incised six-character mark within a double circle and of the period (1426-1435). 6 in. (15.2 cm.) diam. Estimate:HK$26,000,000-35,000,000. © Christie’s Images Limited 2017
A highly important cinnabar Tixi lacquer hexagonal ewer, Jiajing incised six-character mark and of the period (1522-1566). 9 3/8 in. (23.8 cm.) high. Estimate: HK$6,000,000-8,000,000. © Christie’s Images Limited 2017
Christie's announces Asian Art Week: A series of auctions, viewings, and events
Lot 907. The Ya Yi Fangding. A Highly Important and Rare Bronze Rectangular Ritual Food Vessel, late Shang Dynasty, Anyang, 13th-11th century BC, 11 in. (28.2 cm.) high. Estimate USD 2,000,000 - USD 3,000,000. © Christie’s Images Limited 2017.
NEW YORK, NY.- Christie’s announces Asian Art Week, a series of auctions, viewings, and events, from September 8-15. This season presents seven distinct sales featuring over 800 lots spanning all epochs and categories of Asian Art from archaic bronzes through contemporary Indian painting. In addition to the dedicated category sales, this season includes three special stand-alone auctions, featuring Marchant: Nine Decades in Chinese Art, honoring the Marchant family’s legacy of nearly 100 years in the trade, part-five of The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles, and a themed sale, Treasures of the Noble Path: Early Buddhist Art from Japanese Collections. Featured private collections within the Fine Chinese Ceramics and Works of Art sale include The Nancy and Ed Rosenthal Collection, comprising Chinese furniture, as well as classic Chinese ceramics from The Scheinman Collection, and Qing porcelains from the The Anna-Maria and Stephen Kellen Foundation. Included in the Indian, Himalayan and Southeast Asian Works of Art sale are superb examples of Indian and Himalayan sculpture from The Alice M. Kaplan Collection and The Collection of Baroness Carmen Thyssen-Bornemisza.
Highlights of the week include the Ya Yi Fangding, A Highly Important and Rare Bronze Rectangular Ritual Food Vessel from the late Shang Dynasty (estimate: $2,000,000-3,000,000); a pair of dramatic hanging scrolls by Ding Yunpeng (1547-1628) and Sheng Maoye (active 1607-1638), Luohans (estimate: $200,000-400,000); fine examples of classical Chinese furniture, led by An Impressive Zitan Painting Desk from the 18th-19th century (estimate: $500,000-700,000); A large and important gilt bronze figure of Buddha, Nepal, 13th/14th century (estimate: $600,000-800,000) from The Collection of Baroness Carmen Thyssen-Bornemisza; and a seminal painting by Vasudeo S. Gaitonde (1924-2001), Untitled, painted in 1996 (estimate: $2,800,000-3,500,000).
Additionally on view during Asian Art Week will be highlights from The Collection of Paul F. Walter, including Indian silver, court paintings, Chinese works of art, and more, which will be presented in two live auctions on 26 and 27 September, with a simultaneous online-only auction.
ASIAN ART WEEK | LIVE AUCTION OVERVIEW:
Fine Chinese Paintings
12 September | 10am | New York
Christie’s sale of Fine Chinese Paintings features over 100 lots of classical, modern, and contemporary works primarily from collections in the West. Highlighting the sale is a pair of dramatic hanging scrolls by Ding Yunpeng (1547-1628) and Sheng Maoye (active 1607-1638), Luohans (estimate: $200,000-400,000). Also featured is Dong Qichang (1555-1636), Living Along the Riverbank (estimate: $130,000-160,000), Zhang Daqian (1899-1983), Lady Holding a Cat ($90,000-180,000), and Pu Ru (1896-1963), Fisherman (estimate: $18,000-25,000).
The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles: Part V
13 September | 10am | New York
Part five of The Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles features over 150 fine and rare snuff bottles in a wide range of materials, including glass, agate, porcelain, lacquer and jade. Following the success of the first four sales, Part V will be sold without reserve offering collecting opportunities to both emerging and experienced collectors.
A selection of Ruth and Carl Barron Collection of Fine Chinese Snuff Bottles. © Christie’s Images Limited 2017
South Asian Modern + Contemporary Art
13 September | 10am | New York
Christie’s sale of South Asian Modern + Contemporary Art presents 75 lots by modern masters and contemporary artists from the Indian Subcontinent. Leading the sale is a seminal painting by Vasudeo S. Gaitonde (1924-2001), Untitled, painted in 1996 (estimate: $2,800,000-3,500,000). Other highlights include Tyeb Mehta (1925-2009), Untitled (Falling Figure), painted in 1991 (estimate: $1,500,000-2,000,000), and a sculpture by Adi Davierwala (1922-1975), Galaxy, executed in 1966 (estimate: $40,000-60,000). The catalogue also includes important works by Maqbool Fida Husain, Francis Newton Souza, Syed Haider Raza, Akbar Padamsee, Jehangir Sabavala, Ganesh Pyne, Meera Mukherjee, and Somnath Hore.
Lot 414. Vasudeo S. Gaitonde (1924-2001), Untitled, signed and dated 'V.S. GAITONDE / 96', signed Hindi and dated '96' and bearing CIMA label (on the reverse), oil on canvas, 55 x 40 in. (139.7 x 101.6 cm). Painted in 1996. Estimate USD 2,800,000 - USD 3,500,000. © Christie’s Images Limited 2017
Lot 435. Tyeb Mehta (1925-2009), Untitled (Falling Figure), signed and dated 'Tyeb 91' (on the reverse); bearing partial Gallery Chemould label (on the reverse), acrylic on canvas, 45 1/8 x 36 in. (114.6 x 91.4 cm). Painted in 1991. Estimate USD 1,500,000 - USD 2,000,000. © Christie’s Images Limited 2017
Indian, Himalayan and Southeast Asian Works of Art
13 September | 2pm | New York
Christie’s sale of Indian, Himalayan and Southeast Asian Works of Art includes approximately 50 carefully chosen lots presenting an array of fine bronzes and sculptures from Gandhara, India, the Himalayas, and Southeast Asia. Featured in the sale are important works from The Collection of Baroness Carmen Thyssen-Bornemisza, including A large and important gilt bronze figure of Buddha, Nepal, 13th/14th century (estimate: $600,000-800,000) and A bronze figure of Sambandar, South India, Vijayanagara period, late 15th/early 16th century (estimate: $600,000-800,000).
Lot 62. The Thyssen-Bornemisza Buddha. A large and important gilt bronze figure of Buddha, Nepal, 13th-14th century, 19√ in. (50.5 cm.) high. Estimate: $600,000-800,000. © Christie’s Images Limited 2017
Provenance: Sotheby’s New York, 1 December 1993, lot 23.
The Baroness Carmen Thyssen-Bornemisza Collection
Baroness Carmen Thyssen-Bornemisza, director and Vice President of the Board of Trustees of The Thyssen-Bornemisza Collection Foundation, has long been devoted to the cultural preservation of the arts. Her father, an industrial engineer and businessman, was also an accomplished painter and collector of Catalan paintings. From the time she was a child, her family cultivated the Baroness’s love of the arts. Internationally educated and well-traveled, the Baroness was exposed to a vast array of cultures with distinct artistic traditions, fostering her love of art from all corners of the world.
In 1985 the Baroness married Baron Hans Heinrich von Thyssen-Bornemisza, a businessman and devoted art collector, reigniting her childhood passion and catalyzing an even deeper commitment to the arts. The marriage of the Baron and Baroness not only merged two families, but also joined their two distinctive collections into a comprehensive group of more than 1,200 works, including paintings by renowned artists such as Titian, Van Gogh and Picasso.
The Baron Thyssen-Bornemisza hailed from an important collecting legacy founded by his grandfather, August Thyssen in the early 20th century. August, an industrial magnate, is known to have commissioned Rodin to create six sculptures for his budding collection. August’s son, Heinrich, continued his father’s legacy with a focus on both classical and modern painting. August’s grandson, the Baron Hans Heinrich, carried the collecting torch, reassembling his father’s collection after it was dispersed among his siblings following his death in 1947. The cohesive collection includes such famous works as Ghirlandaio’s Portrait of Giovanna Tornabuoni formerly in the J.P. Morgan Collection. With a passion for German Expressionism, Baron Heinrich continued to collect modern and contemporary works throughout his life.
With her husband at her side, the Baroness elegantly stepped into the role as co-caretaker of the Thyssen-Bornemisza family collection, focusing mainly on nineteenth and twentieth century North American and European painting, including select works of Impressionism, Post-Impressionism and Expressionism. Together they continued to build what was to become one of the most revered art collections in Europe. As the collection grew, so did the couple’s belief that the works should be made accessible to a larger audience. By the late 1980s, the Thyssen-Bornemisza Collection had grown too large to remain in the family gallery space in Lugano, Switzerland. The Baron and Baroness began to entertain proposals from art institutions around the world looking to house and care for this illustrious collection. Determined to keep the collection together, in 1988 they entrusted it to the Spanish government with the assurance that it would be cared for and managed according to their vision. Housed in the Museo Thyssen-Bornemisza in Madrid since 1992, the Thyssen-Bornemisza collection boasts Western art works spanning from the thirteenth to the twentieth centuries, as well as works from Asia and beyond.
The Baroness has a special fondness for Asian works of art and furniture, which fill her home. The three exceptional works entrusted to Christie’s (Lots 620, 621, 622) from the Baroness' private collection, illustrate her keen eye for Asian art and her commitment to collecting at the highest level in every field. Until recently, these select works remained in pride of place in her home alongside other works from her personal collection. Christie’s is honored to offer these works at auction.
Literature: Himalayan Art Resource (himalayanart.org), item no. 24326
Note: This impressively large and finely cast figure of Buddha is seated in dhyanasana with his right hand in bhumisparshamudra, as he calls the earth to bear witness to his meditation. There are numerous indications of his divinity, including the lotuses on his palms and soles, his pierced earlobes surmounted by diminutive lotuses, his elongated eyes with the pupils gazing inward, the raised urna centering his forehead, and his tightly curled hair rising over the ushnisha, which is topped by a conical finial. He is dressed in a sheer sanghati with richly incised hems bordered by beads cast in high relief, with one pleated end elegantly draped over his left shoulder. The bottom of the robe fans out in thick pleats below his crossed ankles. This work is lavishly gilt overall and retains much of its consecration material, visible from the underside.
Elegantly modeled, this large figure of Buddha is comparable to a seated figure from the same period (see U. von Schroeder, Buddhist Sculpture in Tibet Vol. 1: India and Nepal, 2001, pp.522-523, cat.no.170c). Compare the robust chest, covered in a simple sanghatigathered in fine undulating folds at his shoulder and bordered by an incised scroll border with beaded rims. The arms are rounded and elongated and the legs gracefully folded in padmasana. The faces are square-shaped with elongated eyes centered by an urna. Each ear is decorated with a single flower and the hair is neatly arranged in tight curls rising to a domed ushnisha. While von Schroeder notes that the comparable sculpture “was either imported from Nepal or is the work of Newar craftsmen in Tibet,” the single flower above each ear suggests the influence of eleventh-century Kashmiri prototypes from Western Tibet (ibid., pp.152-166, cat.no.40B-47B). The adaptation of these early features illustrates the cross-pollination of artistic styles that spanned centuries. The present sculpture exemplifies the ability of the Newar artist to translate these earlier features into a distinctly Newar style, while the size suggests it was an important commission.
Compare with a another Nepalese gilt bronze figure of Buddha sold at Christie’s New York on 18 March 2015 (lot 4018 for $425,000), which is three-quarters the size of the present figure. Almost identical in terms of the iconographic details, the present work exhibits a greater refinement in the overall casting of the figure. The proportions of the body and head, the hands and feet and especially the facial features, which are meticulously rendered, give the Buddha a quintessentially Newari appearance. The present figure represents the peak of sophistication for early Nepalese bronze work, particularly for a sculpture of such large size and fine state of preservation.
An important gilt bronze figure of Buddha, Nepal, 13th century, 14 in. (35.6 cm.) high. Sold for USD 425,000 at Christie's New York, 18 March 2015, lot 4018 © Christie’s Images Limited 2015
Lot 62. The Thyssen-Bornemisza Sambandar. A rare and important bronze figure of Sambandar, South India, Vijayanagara period, late 15th-early 16th century, 29 ½ in. (75 cm.) high. Estimate: $600,000-800,000. © Christie’s Images Limited 2017
Provenance: Sotheby’s New York, 1 December 1993, lot 104.
Note: Sambandar is one of the sixty-three Shaiva saints known as Nayanmars worshipped in South India. The historical figure of this saint appears to have lived in the second half of the seventh century. According to Tamil poetry, Sambandar was born of Brahmin parents and frequently accompanied his father to the temple. One day, at the age of three, his father left him on the steps of the sacred tank as he entered to take his ritual bath. The child began to cry from hunger, and when his father returned, he found Sambandar playing contentedly with a golden cup while trickles of milk ran down his chin. In response to his father's concerned questions about the source of the milk, Sambandar burst into song and dance praising Shiva and Parvati while raising his hand and pointed toward their image, thus earning his saintly status.
This impressively large and very finely cast figure shows Sambandar in his iconic pose, with one hand holding a cup and the other with his forefinger slightly extended, gesturing to Shiva and Parvati above. He is nude save for a simple torque, two bracelets and a sacred thread around his hips, as befitting a Brahmin child. His sainthood is indicated by an elaborate headdress, the topknot echoing the form of a lingam and therefore referencing his Shaivite association. He stands on a lotus over a tiered plinth, the bottom step incised with further lotus petals, and is surrounded by a flaming aureole issuing from the mouths of makaras and incised with a diamond stippled pattern. The surface retains a rich red-brown patina overall, and its large size indicates it was part of an important commission.
For a closely related example of a seventeenth-century Sambandar, see P.R. Srinivasan, Bulletin of the Madras Government Museum: Bronzes of South India, 1963, p.347 and plate CLXXXIV, fig.309. Both figures have gently sloped shoulders, softly modeled bellies, rounded knees and stand in nearly identical posture. The later example has broader shoulders, a protruding belly and a stiffer stance, echoed by the heavy ornamentation that seems to stand apart from the body’s curves. In contrast, the present example is simply adorned, allowing greater visual clarity and appreciation of the expertly modeled smooth contours.
There are few published examples of Vijayanagara-period works which approach the size and mastery with which the artist has cast this work. Two works from the period have been sold in recent years, including a large figure of Dancing Krishna (20 March 2014, lot 1626) and a figure of Shiva Chandrashekhara from the Robert H. Ellsworth Collection (17 March 2015, lot 34).
A large and important bronze fgure of the dancing Krishna, South India, Vijayanagara Period, 16th century, 27 in. (68.5 cms.) high. Sold for USD 425,000 at Christie’s New York, 20 March 2014, lot 1626. © Christie’s Images Limited 2014
An important bronze fgure of Shiva Chandrashekhara, South India, Tamil Nadu, Vijayanagara Period, 15th century, 34 ½ in. (85.6 cm.) high. Sold for USD 665,000 at Christie’s New York, 17 March 2015, lot 34. © Christie’s Images Limited 2014
Marchant: Nine Decades in Chinese Art
14 September | 10am | New York
On September 14, Christie’s will offer a single-owner sale Marchant: Nine Decades in Chinese Art honoring the legacy of Richard Marchant and celebrating his family’s history of nearly 100 years in the trade. The London gallery was established in 1925 and is currently on the fourth generation. The sale includes a selection of works representing the collecting categories that earned the Marchant name international recognition, including Imperial porcelain, jades, later bronze works, and celadon wares dating to the Yuan and Ming dynasty.
Treasures of the Noble Path: Early Buddhist Art from Japanese Collections
14 September | 11:30am | New York
Treasures of the Noble Path: Early Buddhist Art from Japanese Collections brings together a carefully selected group of 40 bronzes and stone sculpture from Japanese collections spanning from the 4th century A.D. through 10th century. Highlights include A Grey Stone Seated Figure of Buddha, Tang Dynasty (estimate: $80,000-120,000), A Dated Gilt-Bronze Figure of Guanyin, Northern Wei Dynasty (estimate: $60,000-80,000), and A Rare and Important Gilt-Bronze Standing Figure of Buddha, from Korea, United Silla Period (AD 668-935), probably 8th century, (estimate: $80,000-120,000).
Lot 833. A Grey Stone Seated Figure of Buddha, Tang Dynasty (AD 618-907), dated by inscription to the 1st year of Chuigong (AD 685), 21 ¼ in. (54 cm.) high. Estimate USD 80,000 - USD 120,000. © Christie’s Images Limited 2017
The finely carved Buddha is depicted with a full-cheeked face below the hair and ushnisha dressed in waves surrounding whorl motifs, and shown seated in dhyanasana, with the left hand resting on his left knee. He wears layered robes that fall in crisp folds around the body before cascading over the edge of the stepped, pedestal base, which is carved around the sides of the faceted, rectangular mid-section: with a cintamani (the jewel that 'grants wishes or satisfies all desires') raised on a waisted lotus support on the front; a standing guardian figure on each narrow side; and on the back with two further standing guardian figures, each holding a staff. At each front corner is the remains of a kneeling donor figure, all above an inscription dated to the 1st year of Chuigong (AD 685).
Provenance: Private collection, Japan, acquired prior to 1930.
Exhibited: Osaka, The Grand Exhibition of the Ancient Art of the World, October, 1938, no. 106.
Note: The current figure is quite similar to a larger (125 cm. high) grey limestone figure of Buddha, dated by inscription to AD 711, in the Shodo Hokubutsukan, illustrated by Matsubara Subaro in Chugoku Bukkyo Chokokushi ron (The Path of Chinese Buddhist Sculpture), Tokyo, 1995, pl. 674, and also in Comprehensive IIlustrated Catalogue of Chinese Buddhist Statues in Overseas Collections, vol. 5, Beijing, 2005, pl. 1019. The pose, face, treatment of the hair, type of layered robes and manner in which the cloth drapes in crisp, elegant folds over the edge of the throne, are very similar. The mid-section of the published example is also faceted, but not decorated, and rises from octagonal tiers above a taller, lower, square section carved with a lengthy dated inscription flanked by small niches of repeated kneeling figures.
Both of these figures are missing the right hand, which was most likely raised in abhayamudra, the gesture of "do not fear", indicating that the Buddha is teaching. Each figure has the left hand resting on the knee, possibly in a variation of varadamudra, the gift-giving gesture, which is also associated with preaching. The combination of these two mudras would help to identify both of these figures as either the Historical Buddha Shakyamuni or Amitabha, the Buddha of Boundless Light.
The face of the current figure and that of the Shodo Hokubutsukan Buddha is carved with a small mouth above a small, dimpled chin set within the full-cheeked, fleshy face. Both figures have folds in the flesh of the neck. These features can also be seen in two other dated Tang dynasty stone sculptures of Buddha illustrated op. cit., Comprehensive Illustrated Catalogue of Chinese Buddhist Statues in Overseas Collections, vol. 5, one a marble sculpture (55 cm. high) in the Metropolitan Museum of Art, dated to AD 680, pl. 1016, the other a limestone figure (76.6 cm. high) in the Eisei-Bunko Musuem, Japan, dated to AD 705, pl. 1017. These latter figures also wear robes that are very similar, with the under-robe tied around the torso.
Lot 807. A Dated Gilt-Bronze Figure of Guanyin, Northern Wei Dynasty (AD 386-534), dated by inscription to the 5th year of Zhengguang (AD 524), 7 in. (17.8 cm.) high. Estimate USD 60,000 - USD 80,000. © Christie’s Images Limited 2017
The bodhisattva is shown standing on a lotus base raised on a bracket stand inscribed on two sides with a dated inscription. The figure holds a lotus stem in the raised right hand and in the left hand the end of the scarf draped around the shoulders and arms, and wears a long incised robe gathered at the waist that falls to the tops of the bare feet, a bead necklace and a tall crown hung with trailing ribbons. The figure is backed by a flame-shaped aureole with flame border and the head by a double nimbus of lotus petals.
Literature: Osaka City Museum, Chinese Buddhist Sculptures, Osaka, 1984, p. 60, no. 88.
Kuboso Museum of Art, Gilt Bronze Buddhist Figures from Six Dynasty Period, Osaka, 1991, p. 59, no. 59.
Museum Yamato Bunkakan, Chinese Gilt Bronze Buddhist Figures, Nara, 1992, p. 60, no. 28.
Jin Shen, Zhongguo lidai jinian foxiang tudian (Illustrated Chinese Buddha Images Through the Ages), Beijing, 1995, p. 170, no. 119.
Matsubara Saburo, Chugoku Bukkyou Chokokushi ron (The Path of Chinese Buddhist Sculpture), vol. 1, Tokyo, 1995, pl. 167-c.
Exhibited: Osaka, Osaka City Museum, Chinese Buddhist Sculptures, 1984, no. 88.
Osaka, Kuboso Museum of Art, Gilt bronze Buddhist Figures from Six Dynasty Period, 1991, no. 59.
Nara, Museum Yamato Bunkakan, Chinese Gilt Bronze Buddhist Figures, 2 October - 8 November, 1992, no. 28.
Note: The inscription may be read, 'Hu Pan's wife made this figure of Guanyin, praying for the safety of her family', and is dated 17th day, 12th month, 5th year of Zhengguang (AD 524).
The figure and the aureole of this votive shrine are very similar to another Northern Wei example, similarly inscribed on two sides of the base with a dated inscription, corresponding to AD 513, sold at Christie's New York, 20 March 2014, lot 1603. As with the current example, the figure also holds a lotus stem in the right hand, but rather than holding one end of the scarf in the left hand, the bodhisattva holds a pendent kundika. Also unlike the current figure, the reverse of the aureole is cast with five images of Buddha seated on a lotus, all beneath a large canopy. Stylistically, these two votive shrines correspond to others of Northern Wei date, also with flame-shaped aureole, and with the figure often, but not always, holding a lotus stem in one hand, but more usually with the other hand holding either the scarf or holding the hand in varada mudra. Two slightly earlier examples of this type of gilt-bronze shrine, depicting the bodhisattva holding a lotus stem as well as an end of the scarf, are illustrated by H. Munsterberg, Chinese Buddhist Bronzes, Vermont/Tokyo, 1967, pls. 40 and 41, the first, in the British Museum, is dated to AD 471, the second, in the Seattle Art Museum, is dated to AD 485. Bodhisattvas holding a lotus stem are also identified as Padmapani, the lotus-bearing manifestation of 'Avalokiteshvara'.
Fig. 1. An extremly rare dated gilt-bronze fgure of Guanyin, Northern Wei dynasty (AD 386-534), dated by inscription to 513 CE, 7 in. (18 cm.) high, sold for USD 245,000 at Christie’s New York, 20 March 2014, lot 1603. © Christie’s Images Limited 2014.
Lot 835. A Rare and Important Gilt-Bronze Standing Figure of Buddha, Korea, United Silla Period (AD 668-935), probably 8th century, 7 in. (17.8 cm.) high. Estimate USD 80,000 - USD 120,000. © Christie’s Images Limited 2017.
Likely representing the Medicine Buddha, Yaka Yeorae, the figure is finely cast standing on a waisted lotus base raised on an integral octagonal plinth with open sides, with right hand raised in abhayamudra and the lowered left hand holding a flattened globular object, likely representing a medicine bowl or jar, and wearing a long diaphanous robe that falls in pronounced U-shaped folds down the front of the body from where it is draped below the neck and over the left shoulder. The hair is dressed in small curls that also cover the ushnisha. There is an opening in the back of the head and another oval opening in the back of the body.
Literature: Government-General of Chosen, Chosen Koseki Zufu (Relic of Joseon Peninsula) vol. 5, March, 1917.
Matsubara Saburo, Kankoku kondobutsu Kenkyu (Study of Korean gilt bronze Buddhist figures), 1985, p. 96 a and b.
Nara National Museum, Imperial Envoys to Tang China: Early Japanese Encounters with Continental Culture, Nara, 2010, pl. 215.
Exhibited: Nara, Nara National Museum, Imperial Envoys to Tang China: Early Japanese Encounters with Continental Culture, 2010.
14 September | 2pm | 15 September | 10am & 2pm
Fine Chinese Ceramics and Works of Art will be held on September 14-15 and comprises approximately 330 lots, representing works from a variety of collecting categories, including early bronzes, zitan and huanghuali furniture, ceramics, jades, lacquer, and works of art. Featured in the sale are renowned private collections including The Nancy and Ed Rosenthal Collection comprising of Chinese furniture and classic Chinese ceramics from The Scheinman Collection. Sale highlights include the Ya Yi Fangding, A Highly Important and Rare Bronze Rectangular Ritual Food Vessel from the late Shang Dynasty (estimate: $2,000,000-3,000,000); An Impressive Zitan Painting Desk from the 18th-19th century (estimate: $500,000-700,000); and A Highly Important Imperial Spinach-Green Jade Book Set from the Qianlong Period (estimate: $200,000-300,000).
Lot 907. The Ya Yi Fangding. A Highly Important and Rare Bronze Rectangular Ritual Food Vessel, late Shang Dynasty, Anyang, 13th-11th century BC, 11 in. (28.2 cm.) high. Estimate USD 2,000,000 - USD 3,000,000. © Christie’s Images Limited 2017.
The vessel is raised on four columnar legs surmounted by animal masks centered by flanges positioned beneath the flanges at the corners of the vessel above. Each side of the rectangular body is well cast with a large taotie mask below a band of confronted birds, all centered by vertical flanges and reserved on a leiwen ground. A two-character inscription, Ya yi, is cast on an interior wall below the pair of handles that rise from the rim. The bronze has a mottled pale green patina.
Provenance: Collection of Han Kejun (1766-1840).
Collection of Wu Shifen (1796-1856).
Neiraku Museum, Nara, prior to 1961.
Christie's Paris, 26 Nov 2002, lot 200.
Gisèle Croës, Brussels, 2003.
Property from a Private American Collection.
Literature: Wu Rongguang, Yunqingguan jinwen (Bronze Inscriptions in the Yunqingguan studio), 1842, vol. 4, pp. 9-10.
Wu Shifen, Meigu lu jinwen (The Record of Pursuing Antiquity: Archaic Bronze Inscriptions), 1895, vol. 1.1, p. 20.
Wu Shifen, Meigu lu (The Record of Pursuing Antiquity), vol. 1, p. 7.
Zhu Shanqi, Jingwuxinshi yiqi kuanzhi (Archaic Bronze Inscriptions in the Jingwuxinshi Studio), 1908, vol. 1, p. 36.
Fang Junyi, Zhuiyizhai yiqikuanzhi kaoshi (Interpretations of inscriptions from archaic bronzes in the Zhuiyizhai studio), 1935, vol. 5, p. 30.
Liu Tizhi, Xiaojiaojinge jinwen taben (Rubbings of Archaic Bronze Inscriptions at the Xiaojiaojingge Studio), 1935, vol. 2, p. 6.
Wang Chen, Xu Yinwencun (Continuation of the Surviving Writings from the Yin Dynasty), 1935, vol. 1, p. 5.
Luo Zhenyu, Sandai jijin wencun (Surviving Writings from the Xia, Shang, and Zhou Dynasties), 1937, vol. 2, p. 7.
Zeng Yigong, Shandong jinwen jicun (Bronze Inscriptions from Shandong), 1940, p. 7.
Sueji Umehara, Nihon shucho shina kodo seika (Selected Relics of Ancient Chinese Bronzes from Collections in Japan), vol. 3, Osaka, Yamanaka & Co., 1961, no. 195.
Noel Barnard and Cheung Kwong-Yue, Rubbings and Hand Copies of Bronze Inscriptions in Chinese, Japanese, European, American, and Australasian Collections, Taipei, 1978, no. 1035.
Yan Yiping, Jinwen Zongji (Corpus of Bronze Inscriptions), Taipei, 1983, no. 162.
Yinzhou jinwen jicheng (Compendium of Yin and Zhou Bronze Inscriptions), The Institute of Archaeology, Chinese Academy of Social Sciences, Beijing, 1984, no. 1432.
Orientations, March 2003, p. 107.
The International Asian Art Fair, CANS Chinese Art News, March 2003, no. 63, p. 46.
Wang Xiantang, Guoshi jinshi zhigao (A Record of Bronze and Stone Inscriptions in Chinese History), Qingdao, 2004, no. 1903.
Shandong Provincial Museum, Shandong jinwen jicheng(Compendium of Bronze Inscriptions from Shandong), Jinan, 2007, no. 114.
Wu Zhenfeng, Shangzhou qingtongqi mingwen ji tuxiang jicheng(Compendium of Inscriptions and Images of Bronzes from the Shang and Zhou Dynasties), Shanghai, 2012, vol. 1, p. 445, no. 562.
Ink rubbing of the inscription on the present fangding as published by Zhu Shanqi in Jingwuxinshi yiqi kuanzhi (Archaic Bronze Inscriptions in the Jingwuxinshi Studio), 1908, vol. 1, p. 36.
Ink rubbing of the inscription on the present fangding. Rubbing by Li Zhi.
Exhibited: New York, Gisèle Croës, Outstanding Bronze from Dian Kingdom and Early Chinese Vessels, 24 March-2 April 2003.
Note: Symbolizing royal power, fangding vessels had great significance for Shang ruling elites. The largest extant Shang bronze ritual vessel is the Si Mu Wu fangding, measuring 133 cm. high and weighing 875 kilograms, found in Wuguan village, Anyang city, in 1939, and now in the National Museum of China (See Zhongguo qingtongqi quanji: Shang 2 [Complete Collection of Chinese Bronzes: Shang], vol. 2, Beijing, 1997, p. 48, no. 47). While the massive fangding vessels were made exclusively for the kings and queens, fangding of regular size were reserved for high-ranking aristocrats only. The present Ya Yi fangding is a superbly cast tour de force. There appears to be a few published examples that may be cited as parallels. A late Shang fangding (27 cm. high) of similar form and decoration, but with an additional small taotie mask between the confronted kui dragons on each of the broad sides, was formerly in the Cull Collection, and is illustrated by W. Yetts in The Cull Chinese Bronzes, London, 1939, no. I. Another similar late Shang fangding (27.6 cm. high) is in the Meiyintang Collection, and is illustrated by C. Deydier in Chinese Bronzes from the Meiyintang Collection, vol. 1, Annexe, Hong Kong, 2013, no. 46. Compare, also, an early Western Zhou fangding (25.5 cm. high) with a twenty one-character inscription sold at Sotheby’s London, 13 May 2015, lot 103.
The patron of this magnificent bronze vessel did indeed belong to a very powerful and significant clan, the Ya Yi clan. The clan mark Ya Yi comprises a ya cruciform shape and the name Yi. In the Shang dynasty, clans with the ya added to their clan mark are believed to be those that were conferred with the title of Marquis. Epigraphist Wang Xiantang (1896-1960) pointed out that there is a royal diviner by the name of Yi during the Shang Kings Zugeng's and Zujia’s reigns, who probably earned the title of ya and therefore established the Ya Yi clan (Cao Shuqin and Yin Weizhang, Ya Yi tongqi jiqi xiangguan wenti, Beijing, 1986, p. 6). The Ya Yi clan flourished during the late Shang and early Western Zhou dynasties as demonstrated by more than two hundred extant ritual bronzes bearing the Ya Yi clan mark. Archaeologists Cao Shuqin and Yin Weizhang divided Ya Yi bronzes into three groups. The earliest group can be dated to the late second phase of the Yinxu period, circa 1200 BC, contemporaneous with the tomb of Fuhao. This group was discovered in the early 20th century, reputedly from a massive tomb in Houjiazhuang village, Anyang city, and the most remarkable pieces in this group include a massive covered pou in the Nezu Museum, Tokyo (62.5 cm. high), illustrated in Catalogue of Selected Masterpieces from the Nezu Collections: Decorative Art, Tokyo, 2001, no. 1; a pair of massive jia vessels, one in the Nezu Museum, Tokyo (74.6 cm. high) illustrated ibid, no. 2, the other in the Asian Art Museum, San Francisco (75.3 cm. high), illustrated in Zhongguo qingtongqi quanji [The Complete Collection of Chinese Bronzes], Beijing, 1997, vol. 3, no. 46; a massive zun in the Nezu Museum, Tokyo (53.9 cm. high), illustrated in Nezu Collections: Decorative Art, op. cit., no. 7; and a unique egg-shaped tripod vessel in the Fujii Yurinkan Museum, Kyoto, illustrated in Zhongguo qingtongqi quanji [The Complete Collection of Chinese Bronzes], Beijing, 1997, vol. 2, no. 64. (Fig. 1) Between 1934 and 1935, archaeologists from Academia Sinica systematically surveyed and excavated the Houjiazhuang and Wuguan villages and confirmed that this area was the Shang royal cemetery. The fact that Ya Yi bronzes were found in the Shang royal cemetery demonstrates the close relationship between the Ya Yi clan and the Shang royal family. The second Ya Yi group is comprised of bronzes that were handed down since the 18th century including the present fangding; a gui in the Idemitsu Collection, illustrated in Ancient Chinese Arts in the Idemitsu Collection, Tokyo, 1989, no. 15, rubbing no. 13; and a fanglei formerly in the Qing imperial collection, now missing its cover, in the Kurokawa Institute of Ancient Culture, Ashiya, illustrated in Sueji Umehara, Nihon shucho shina kodo seika (Selected Relics of Ancient Chinese Bronzes from Collections in Japan), vol. 1, Osaka, Yamanaka & Co., 1959, no. 20. Besides the Ya Yi clan sign, the Kurokawa fanglei also bears an inscription, xuanniao fu. Fu is the title of female members of the Shang royal family and xuanniao may be translated as 'black bird'. The origin myth of the Shang recorded in the Shi jin (Book of Songs) and states: “heaven commissioned the xuanniao to descend and give birth to the Shang” (see Shi jin [Book of Songs], Shang song [Eulogies of Shang], xuanniao). Therefore, Xuanniao Fu must have been an important member of the Shang royal family. The coexistence between this royal inscription and the Ya Yi clan mark again confirms the high status of the Ya Yi clan and its close relation with Shang kings. In the late Yinxu to early Western Zhou period, the Ya Yi clan was still very prominent, as demonstrated by the third Ya Yi bronze group that includes the Xiaochen Yi Jia, dated by its inscription to the 6th year of the reign of the last Shang king, now in the Saint Louis Art Museum, illustrated in Zhongguo qingtongqi quanji, vol. 3, op. cit., no. 53; and an early Western Zhou zun vessel bearing a Ya Qi Yi clan mark sold at Sotheby’s New York, 17 September 2013, lot 5. It is important to note that Qi or Qi hou (Marquis of Qi) is probably a new title conferred on the Ya Yi clan during this period.
Fig. 1. Ya Yi bronzes reputedly from Houjiazhuang village, Anyang, now in various Japanese museums. After Zhongguo qingtongqi quanji (The Complete Collection of Chinese Bronzes), Beijing, 1997, vol. 2, p. 24, fg. 4.
In the 22nd year of Daoguang (1842), the inscription of the Ya Yi fangding was first published by Wu Rongguang (1773-1843) in his Yunqingguan jinwen, where he stated that the owner of this fangding was Han Kejun. (Fig. 2) Han Kejun (1766-1840), whose courtesy name is Yunfang, was a native of Fenyang, Shanxi province. He served as provincial governor of Guizhou, Yunnan, and Fujian consecutively during the Jiaqing (1796-1820) and Daoguang (1821-1850) eras. He is renowned for peacefully resolving disputes between a local tribe and the Burmese in Yunnan and constructing a walled city in Danshui, Taiwan. The Ya Yi fangding consequently entered the collection of Wu Shifen (1796-1856). (Fig. 3) Wu Shifen was an epigraphist, calligrapher and Secretary of the Cabinet at the court of the Daoguang Emperor (1821-1850) and was one of the great collectors of his generation. A descendant of a renowned Shandong family, Wu was also related through marriage to another prominent Shandong collector, Chen Jieqi (1813-1884).
Fig. 2. The first publication of the inscription on the present fangding by Wu Rongguang in Yunqingguan jinwen (Bronze Inscriptions in the Yunqingguan studio), 1842, vol. 4, pp. 9-10.
Fig. 3 The Wu Shifen provenance of the present fangding as stated in Meigu lu (The Record of Pursuing Antiquity), 1895, vol. 1, p. 7.
Lot 970. An Impressive Zitan Painting Desk, 18th-19th century, 31 ¼ in. (79.4 cm.) high, 69 ½ in. (176.6 cm.) long, 31 ½ in. (80 cm.) deep. Estimate USD 500,000 - USD 700,000. © Christie’s Images Limited 2017.
The paneled top is set within a rectangular frame above three finely beaded drawers on the long sides. Each drawer front is finely carved with a single ruyi and further carved with ruyi-form spandrels at the corners. The whole is raised on square-form legs terminating in scroll-form feet.
Provenance: General Xiang Han Ping (1890-1978) Collection.
Lai Loy, Hong Kong, 1985.
Note: General Xiang Hanping (1890-1978) was a native of Hepu, Guangdong province, and was an accomplished military officer, political figure, calligrapher and painter. He was a rare combination of skilled military tactician and learned scholar and artist. Serving with the KMT during the Second Sino-Japanese war (1937-1945), he fought in many notable battles, including the Battle of Shanghai and the Battle of Xuzhou and served in the armed forces until his retirement in 1946. While serving in the military, he befriended prominent literary figures such as Hu Shi, Lin Yutang, Guo Moruo and Liang Shiqian. After his retirement, he was chosen to represent Guangdong province in the National Assembly in 1948. With the establishment of the People’s Republic of China, General Xiang moved to Hong Kong where he led a reclusive life until his death in 1978. He focused the remainder of his life to his other passion, collecting art and the practice of calligraphy. In 1966, he published Xiang Hanping jiangjun caoshu chuji (First volume of calligraphy works in cursive style by General Xiang Hanping).
Painting desks combine the broad surface area of a recessed-leg painting table with the convenience of accessible drawer storage, and belongs to a group which includes an eight-drawer zitan painting desk decorated with carvings of the Masters’ calligraphy and painting illustrated in The Complete Collection of Treasures of the Palace Museum – Furniture of the Ming and Qing Dynasty (II), Hong Kong, 2002, pp. 140-41, pl. 125, where it is dated to the Middle Qing dynasty. Like the present desk, the example in the Qing Court Collection features drawers on the long side, which have been cleverly incorporated into the overall design of the desk and appear almost seamless when viewed head on or at an oblique angle. See, also, a zitan painting desk, though without drawers, illustrated by My Humble House, Zitan, the Most Noble Hardwood, Taiwan, 1996, pp. 94-5, where it is dated to the 18th century.
Large tables are often erroneously labeled painting tables, but to be considered a true painting table, such as the present table, which measures an extraordinary 31 ½ in. (80 cm.) deep, the surface must be broad enough to accommodate a large painting and the accoutrements associated with painting or calligraphy, such as ink, ink stones, brushes, and washers, etc. With its generous surface, it is likely that General Xiang used the present desk to practice calligraphy, view and study paintings, or host scholarly gatherings.
Lot 1025. An Important Imperial Spinach-Green Jade Book Set, Qianlong Period (1736-1795), 4 3/8 x 7 ¼ in. (11.2 x 18.3 cm.), each plaque. Estimate USD 200,000 - USD 300,000. © Christie’s Images Limited 2017.
The book comprises eight rectangular plaques, beginning with the cover incised and painted in two tones of gilt with the nine-character title, yu zhi shi quan lao ren zhi bao shuo between a pair of descending dragons above waves, the reverse and continuing twelve sides with inscriptions written in lishu (clerical script), recording the entire text of the Qianlong Emperor's essay Shiquan laoren zhibao shuo(Disquisition on the Seal of an Old Man of Perfect Completion). The back of the last plaque is further decorated with a front-faced dragon chasing a flaming pearl above crested waves and amidst cloud swirls, huali box.
Provenance: Gump’s Inc., San Francisco, 18 June 1955.
Collection of Mr. and Mrs. William D. Gibbs, and thence by descent within the family.
Note: Jade books were highly sumptuous items made only for the most important rituals or investitures of emperors. During the Qianlong period, however, jade books were also made for the pleasure of the Qianlong Emperor, in part due to his fascination with jade, and in part due to the increase in supply of the material following the pacification of the Xinjiang area in 1759. This group of Qianlong jade books bear inscriptions of primarily three different categories. The first is the conferment of special titles to imperial members, such as a celadon jade book documenting the conferment of the title Empress Dowager Chongqing to the Qianlong Emperor's mother in 1771, in the Beijing Palace Museum Collection and illustrated in Life in the Forbidden City of Qing Dynasty, Beijing, 2007, no. 19. The second type of jade book is inscribed with Buddhist sutras and texts, such as a jade sutra book with aloeswood covers, mounted in yellow brocade frames and fitted in a folding hard-board brocade box, incised and gilt with the Foshuo shi jixiang jing sutra. This example, in the Palace Museum, Beijing, is illustrated in The Imperial Packing Art of Qing Dynasty, Beijing, 2007, pp. 132-33. The third type, like the current book, records essays or poems by the Qianlong Emperor himself, sometimes to express his views on certain subjects or to commemorate his glorious achievements.
The present book, which records the Qianlong Emperor's essay Shiquan laoren zhibao shuo (Disquisition on the Seal of An Old Man of Perfect Completion), is particularly important among all jade books. In the 57th year of the Qianlong reign (1792), the Qing army led by general Fu Kangan repelled the Gurkhas’ second invasion of Tibet. This great victory concluded Qianlong’s glorious military career, which he counted as shiquan wugong (ten complete military accomplishments) and which included two campaigns against the Dzungars; the pacification of the revolt of the Muslim tribes; two battles against tribal people in Jinchuan; pacification of Taiwan; a campaign in Burma; a campaign in Vietnam; and twice accepting surrender of the Gurkhas (See Qing Gaozong yuzhi shiwen quanji [An Anthology of Imperial Poetry and Prose Composed by Gaozong of the Qing Period], the third collection, vol. 8, p. 7). Soon thereafter he began calling himself shiquan laoren (The Old Man with Ten Accomplishments). In the same year, Qianlong ordered the imperial workshops to carve the shiquan laoren zhibao seal (Fig. 1) and composed the Shiquan laoren zhibao shuo (Disquisition on the Seal of the Old Man of Perfect Completion). In this essay, the Qianlong Emperor elaborated on the profound meaning of the phrase shiquan. He stated at the beginning that “the term shiquan originally refers to the ten military accomplishments but the words contain a far deeper significance...... The military exploit is but one aspect of the duty of the sovereign.” The character shi, besides its literal meaning of 'ten', also means 'perfect', and the character quanmeans 'all completion'. By calling himself shiquan laoren, Qianlong not only celebrated his ten military accomplishments but also expressed his ambition of becoming an emperor of perfect completion. Thereafter, the imperial workshops recorded this essay in various medium such as kesi and jade books. In the first year of Jiaqing (1796), after abdicating the throne to his son Yongyan (Jiaqing Emperor), Qianlong announced in an edict that “the Shiquan laoren zhibao shuojade books will become the precious book conferring him the title of Emperor emeritus.
Fig. 1. Imperial spinach-green jade seal, Shiquan laoren zhibao (Seal of an Old Man of Perfect Completion), inscribed on four sides with the shiquan laoren zhibao shuo (Disquisition on the Seal of an Old Man of Perfect Completion), Qianlong period (1736-1795). Courtesy of the Palace Museum, Beijing. Photograph by 趙山 Zhao Shan
According to Guo Fuxiang of the Palace Museum, Beijing, there are more than twenty Shiquan laoren zhibao shuo (Disquisition on the Seal of the Old Man of Perfect Completion) jade books in various materials and sizes made during the late Qianlong period. One set made of greyish-white jade and mounted in folding hardwood frames is in the National Palace Museum, Taipei, are illustrated in The All Complete Qianlong: the Aesthetic Tastes of the Qing Emperor Gaozong, Taipei, 2013, pp. 34-45, no. I-1.2.
This present jade book entered the collection of Mr. and Mrs. William D. Gibbs in 1955. Eleanor Gibbs and her husband William developed a deep interest in Chinese culture and art in the 1930s and 1940s. Their profound understanding of Chinese culture made their collection, which had an emphasis on inscription-related works of art such as seals and this jade book, distinct among their fellow collectors. Mrs. Gibbs even had her name carved in Chinese on a soap stone seal. (Fig. 2) Their passion and dedication influenced their acquisition of this highly important jade book from Gump’s in San Francisco in 1955. (Fig. 3) Established during California’s Gold Rush era, Gump’s was a major source of fine Chinese works of art in the early twentieth century.
Fig. 2. Soapstone seal of Mrs. Eleanor Gibbs and its seal impression showing Mrs. Gibbs’ name in Chinese.
Fig. 3. Letter from Gump’s to Mr. and Mrs. William D. Gibbs congratulating them on their purchase of the present jade book set, dated 18 June 1955.
ASIAN ART WEEK | ONLINE SALE:
The Art of China: Online Autumn Sale
20 – 27 September | Online
Following the successful summer online auction, Christie’s is delighted to present this next instalment in The Art of China series, featuring a selection of around 100 lots of fine ceramics, jade carvings, snuff bottles, paintings, bronze statues and censers from the Ming and Qing dynasties. The Art of China-Autumn Online Sale offers the opportunity for collectors of all interests and tastes to acquire desirable works at affordable price levels.
Diana Zhang Jewelry. Orchid King Collection
Diana Zhang Jewelry. Orchid King Brooch© Diana Zhang
Diana Zhang Jewelry. Orchid King Choker© Diana Zhang
Diana Zhang Jewelry. Orchid King Hairpin© Diana Zhang
Diana Zhang Jewelry. Orchid King Necklace Whole Set© Diana Zhang
Vase-maillet à décor de lotus indien sur fonds blanc, règne de Qianlong (1736-1795)
Freeman's announces highlights from the September 9 Asian Arts auction
PHILADELPHIA, PA.- Freeman’s September 9 Asian Arts auction will offer collectors a wide array of Asian fine and decorative arts. A highlight of the sale is the collection of Mr. and Mrs. Gaylord and Pamela Watkins—including a fine group of Song to Ming dynasty ceramics and related wares of Southeast Asia— and a complementary private Pennsylvania collection, giving collectors and connoisseurs the rare opportunity to bid on a range of wares not often brought to auction. Additional highlights include Chinese paintings from private collections by such masters as Pu Ru (Lot 556, “Scholar Seated in a boat,” $10,000-15,000), Fan Zeng (Lot 569, $50,000-80,000, acquired directly from the artist’s studio at the suggestion of Robert Ellsworth in 1979), and Liu Dan (Lot 577, $20,000-30,000).
Lot 556. Pu Ru (1896 - 1963), Scholar seated in a boat, under a tree, in a mountainous landscape, circa 1950s. Ink and color on paper, signed and inscribed, with three seals, upper right. Sight H: 22 in., 55.8cm W: 10 1/2 in., 26.7cm. Estimate $10,000-15,000 © Freeman’s
Provenance: Wu Guozheng (K. C. Wu) (1908-1984), former mayor of Shanghai (1946-1949) and governor of Taiwan
Gift from the above to Henry Ludlow Ashmore (1920-1995), thence by decent
Acquired from the estate of the above by the present owner, 2015
Lot 569. Fan Zeng (b. 1938), 20th century, Yi Yuanji playing with a monkey (Yi Yuanji xi hou tu). Ink and color on paper, inscribed, signed, and with five seals, framed and glazed. Sight H: 54 in., 137.1cm; W: 26 1/2 in., 92.7cm. Estimate $50,000-80,000 © Freeman’s
Provenance: Acquired directly from the studio of the artist by the present owner, while traveling through China with Robert Ellsworth in 1979.
Note: The present work is a large and attractive example of the artist's exploration of the theme of the Northern Song dynasty painter, Yi Yuanji, going to the wild and interacting with monkeys to observe and paint them.
Lot 577. Liu Dan (b. 1953), Open Book, 1986, mixed media collage, ink and watercolor on paper, framed and glazed. Sight H: 15 in., 38 cm, W: 22 1/2 in., 57 cm. Estimate $20,000 - $30,000 © Freeman’s
Provenance: Property of a Montana lady
Purchased at Sax Kobler Gallery, Seattle, WA, 1986
Also on offer are a rare and large Chinese blue and white porcelain hexagonal vase, Qianlong mark and period (Lot 287, $30,000-40,000), and a rare Sancaiglazed Chinese tilework figure of a seated dignitary (Lot 246, $8,000-12,000), both coming from private Philadelphia collections. Notable textiles include a rare late Qing “nine-dragon” chaofu court robe (Lot 406, $10,000-15,000), together with other fine Chinese robes, textiles and court headdresses, formerly in a private California collection, as well as three imperial “dragon” rank badges (Lots 415, $2,000-3,000, and 416, $2,500-3,500). Additionally, Freeman’s is pleased to present a large 15th/16th century Ming dynasty Buddhist painting depicting Buddha Akshobhya (Lot 545, $20,000-30,000). Other notable lots include a fine and large Indian carved sandstone figure of a Jain goddess (Lot 124, $20,000-30,000) and a wide and interesting variety of Chinese, Japanese, Korean, Indian, and Southeast Asian fine and decorative arts.
Lot 287. A rare and impressive Chinese blue and white porcelain hexagonal vase, Qianlong six-character mark and of the period (1736-1795). Estimate $30,000 - $40,000 © Freeman’s
Of baluster form, hexagonal section, with spreading shoulder, waisted neck, flared lip and spreading foot; the neck and body decorated with elaborate lotus and chrysanthemum composite scrolls, the neck, shoulder and lip with leiwen-scroll and stylized lappet borders, an additional band of classic scroll at the shoulder, a band of crashing waves at the foot; the underside with six-character seal mark.
Provenance: In the collection of the present owner prior to April of 1985
Note: Examples of vases of the present scale and decoration are rare. For comparable vases see the examples sold at Sotheby''s Hong Kong, October 23, 2005, lot 357 (where it was noted a similar example was sold in those rooms, November 5, 1996, lot 820); and the example sold at Sotheby''s Hong Kong, April 4, 2012, lot 3239 (where it was noted at the time that only three examples were known)
Lot 246. A large and rare Chinese sancai-glazed tileworks figure of an official, Ming dynasty, dated Zhengde, 10th year, corresponding to 1516. H: 32 3/4 in., 83.2cm. Estimate $8,000 - $12,000 © Freeman’s
Possibly depicting one of the Shiwang, or judges of the afterlife, the seated dark-faced dignitary with elaborate headdress and draped robes depicted with clasped hands, a dragon entwined about his throne, the reverse inscribed with a lengthy dedication dated Zhengde tenth year, sixth month, 24th day.
Provenance: Alistair Sampson Antiques, Ltd, London
Acquired from the above by the present owner at a New York Asian Art show.
Lot 406. A rare Chinese silk and gold-embroidered figured brown silk formal court robe, chaofu, Late Qing dynasty.Estimate $10,000 - $15,000 © Freeman’s
The brown silk woven in a Ming-style scrolled-cloud pattern, embroidered with five-clawed dragons, colorful crashing waves, scrolled "ruyi" clouds, and auspicious symbols. Overall H: 50 1/4 in., 127cm; L: 81 in., 205.7cm
Provenance: Formerly in a Private Collection, Southern California.
Lot 415. Pair of Chinese Kesi tapestry imperial "Dragon" roundels , 18th-early 19th century. Estimate $2,000 - $3,000 © Freeman’s
Finely worked, each depicting a sinuous five clawed dragon among scrolling clouds, Buddhist symbols and crashing waves, a "Shou" symbol above each head. Framed, matted and glazed. H: 14 in., 35.6cm ; W: 12 in., 30.5cm.
Lot 416. A Chinese embroidered "Dragon" rank badge for the imperial court, Qing dynasty, 19th century. Estimate $2,500 - $3,500 © Freeman’s
Depicting a sinuous five-clawed dragon among clouds, bats and crashing waves. H: 15 7/8 in., 40.5cm; W: 15 5/8 in., 39.7cm.
Provenance: Property from a private collection, Moorestown, New Jersey
Lot 545. Chinese School, 15th-16th century, Akshobhya Buddha Enthroned. H: 48 in., 122cm; W: 27 1/4 in., 69.2cm. Estimate $20,000 - $30,000 © Freeman’s
The transcendant crowned Buddha seated in padmasana with hands in modified bhumisparsha mudra, on a stepped throne with atlante supports, an elaborate mandorla behind enclosing five additional Buddhas; beneath the throne, a roundel enclosing a vase of peony blossoms, above, apsaras bearing a parasol canopy, all among colored clouds, and on a patterned ground, ink and colors with gold on silk, framed, matted and glazed.
Provenance: Acquired by the present owner from a Southampton, New York estate (by descent from a New York family)
Note: For other examples of Ming dynasty Buddhist works, see "Ming Dynasty Shui Lu Paintings at Bao Ning Si", Beijing, n.d., #5; Sotheby''s selling exhibition, "Footprints of the Buddha", September 3-23, 2013, #21; Spencer Museum of Art, University of Kansas, accession #1996.0106; Marsha Weidner, ed, "Latter Days of the Law", Lawrence, Kansas, 1994, pp. 232-236, plates 3 and 4. See also the examples sold at Aguttes, Neuilly sur Seine, February 14, 2017, lot 98, and at at Freeman''s, Philadelphia, April 25, 2017, lot 458.
Lot 124: A Central Indian carved pink sandstone figure of a Goddess, 11th-12th century. Estimate $20,000 - $30,000 © Freeman’s
Possibly the Jain Goddess Padmavati, the voluptuous bejeweled four-armed goddess depicted seated in rajaliasana, holding attributes including a lotus bud and rosary, her face with almond-shaped eyes, a faint smile on her lips. H: 33 1/2 in., 85.1cm; W: 17 in., 43.2cm; D: 7 1/2 in. 19cm.
Provenance: Mme. Viviane Harroch, Villefranche sur Mer, France
Acquired from the above by the present owner
The collection of Chinese and Southeast Asian ceramics assembled by Mr. & Mrs. Gaylord and Pamela Watkins, almost completely acquired in Singapore, is of note for the fine array of Chinese ceramics dating from the Tang through the Qing dynasties. Highlights of the Chinese ceramics include Song, Jin and Yuan dynasty black-glazed wares such as two attractive Jin/ Yuan dynasty globular bottle vases boldly painted with stylized birds (Lots 155, $5,000-7,000, and 157, $3,000-5,000), a related “guan” jar (Lot 154, $4,000-6,000), and a fine five dynasties/northern Song Ewer (Lot 151, $10,000-15,000). Additional Song ceramics include a rare “persimmon”-glazed “Ding” ware bowl and cover (Lot 164, $8,000-12,000) and a “Yaozhou” molded celadon “chrysanthemum” conical bowl (Lot 165, $6,000-8,000).
Lot 155: A Chinese black-glazed jar, Jin-Yuan Dynasty (1115-1368), H: 7 3/4 in., 19.7cm. Estimate $5,000 - $7,000 © Freeman’s
The globular jar with pinched and ridged neck, the shoulder decorated with two silvery stylized birds in flight. Accompanied by a copy of Oxford Authentication thermoluminescence analysis report No.: P108g75, dated 11 March, 2008, stating the results are consistant with the proposed dating of this object.
Provenance: Property from the Collection of Mr. and Mrs. Gaylord and Pamela Watkins.
Lot 157: A Chinese black-glazed globular jar, Jin-Yuan dynasty (1115-1368), Estimate $3,000 - $5,000 © Freeman’s
Of globular form with pinched and ridged neck, the neck decorated with three stylized iron-brown cranes in flight. H: 7 3/8 in., 18.8cm
Provenance: Property from the Collection of Mr. and Mrs. Gaylord and Pamela Watkins. Acquired from KenSoon Asiatic Art Pte Ltd., Singapore.
Lot 154: A Chinese black-glazed wide-mouthed jar, "Guan", Jin-Yuan dynasty (1115-1368), H: 8 in., 20.3cm; D: 11 1/4 in., 28.6cm. Estimate $4,000 - $6,000 © Freeman’s
The shoulder decorated with three iron-brown birds in flight.
Provenance: Property from the Collection of Mr. and Mrs. Gaylord and Pamela Watkins.
Acquired from KenSoon Asiatic Art Pte Ltd., Singapore.
Lot 151: A Chinese black-glazed ewer, Five dynasties-Northern Song dynasty (907-1126), H: 7 in., 17.8cm. Estimate $10,000-15,000 © Freeman’s
The globular body with squared shoulder, tall, slightly flared neck, ridged loop handle, and short curved spout. Accompanied by a copy of Oxford Authentication thermoluminescence analysis report No. P102s84, dated 5 August, 2002, stating the results are consistant with the proposed dating of this object.
Provenance: Property from the Collection of Mr. and Mrs. Gaylord and Pamela Watkins.
Acquired from KenSoon Asiatic Art Pte Ltd., Singapore, December 7, 2007
Lot 164: A Chinese small persimmon-glazed Ding jar and cover, Song dynasty (960-1279), possibly Dangyangyu xiuwo county, Henan; H with cover: 3 7/8 in., 9.9cm. Estimate $8,000 - $12,000 © Freeman’s
The hemispherical bowl raised on a short circular foot, the slightly domed cover with small scroll finial, the exterior with an attractive russet-brown, slightly matte glaze, the interior of the bowl with a creamy slip.
Provenance: Property from the Collection of Mr. and Mrs. Gaylord and Pamela Watkins.
Note: For a Cizhou-type "partridge-feather"-glazed jar and cover of similar form, see Robert Mowry et al, "Hare''s Fur, Tortoiseshell and Partridge Feathers, Chinese Brown and Black-Glazed Ceramics, 400-1400", Cambridge, 1996, p. 144, no. 39.
Lot 165: A Chinese Yaozhou celadon-glazed molded conical bowl, Northern Song dynasty (960-1126); H: 3 1/4 in, 8.2cm; D: 7 7/8 in., 20cm. Estimate $6,000 - $8,000 © Freeman’s
The interior moded with stylized floral scrollwork, the exterior with incised "petals.", a fine olive-green glaze overall, pooling in the carved patterns.
Provenance: Property from the Collection of Mr. and Mrs. Gaylord and Pamela Watkins.
Acquired from KenSoon Asiatic Art Pte Ltd., Singapore, May 4, 2007.
“What makes the collection more unusual is the representative selection of Southeast Asian wares,” Ben Farina, Department Head of Asian Arts said. “This includes the products of Vietnamese, Thai and Burmese kilns. The Southeast Asian ceramics are diverse, illustrating a broad range of types and forms.”
These include an elegant Vietnamese white-glazed “lotus” jar and cover, Ly dynasty, 12th-13th century (Lot 170, $5,000-7,000), several Vietnamese blue and white-decorated dishes, boxes and vessels influenced by Yuan and Ming dynasty blue and white porcelains (Lots 175-183), two rare Burmese green-decorated white-glazed bowls (Lots 189 and 190, $700-900 each), and a broad range of Thai dishes and vessels from the Sawankhalok, Phan and Kalong kilns. These Thai celadons were inspired by the celadons of the Longquan kilns of Song, Yuan and early Ming China which were so widely treasured by the societies of maritime Asia and the Middle East. Several of these Southeast Asian pieces have been published and discussed in “Southeast Asian ceramics, New Light on Old Pottery” edited by John Miksic, of the National University of Singapore. “
Lot 170: A Vietnamese white-glazed "Lotus" jar and cover, Ly dynasty, 12th-13th century; H: 8 1/4 in., 21cm; D: 7 1/2 in., 19cm. Estimate $5,000 - $7,000 © Freeman's
The cover and shoulder finely modeled with lotus petals and six small lug handles, the glaze pooling to a pale celadon tint.
Provenance: Property from the Collection of Mr. and Mrs. Gaylord and Pamela Watkins.
Acquired from KenSoon Asiatic Art Pte Ltd., Singapore.
“Freeman’s is pleased to have been given the rare opportunity to present such a diverse collection, which not only illustrates the rich trade links forged between the societies and cultures from the 10th-17th centuries in East Asia, but which also serves as a tribute to the eye of the collectors, who so carefully assembled a group of works as aesthetically pleasing as they are reminders of the history of this important region of the world,” Farina remarked.
The Watkins Collection also includes an attractive collection of huanghuali furniture, a large Burmese seated giltwood Buddha (Lot 118, $5,000-7,00), a Laotian gilt wood figure of a Buddha (Lot 115, $3,000-5,000) and additional furniture and decorative arts.
Freeman’s offers two Asian Arts sales per year, in the spring and fall. The April 25 Asian Arts auction totaled $1.06 million in sales.
A Chinese Twelve Symbol Emperor's semi-formal court robe, jifu, Qing dynasty (1644-1911), circa 1850
Lot 204. A Chinese Twelve Symbol Emperor's semi-formal court robe, jifu, Qing dynasty (1644-1911), circa 1850. Estimate $ 35,000-55,000. Photo Leonard Joel.
This robe made for the Emperor, is beautifully decorated with the twelve symbols of imperial authority, arranged discreetly among a number of other symbolic and auspicious motifs. On the shoulders of the robe are the sun and the moon, on the front panel above the dragon is a constellation, below that is the fu symbol and the axe head, representing the power to judge and punish respectively, further down is the seaweed, to represent purity, and a pair of sacrificial cups, for filial piety. On the back above the dragon is a motif of mountains, and also the entwined dragons and golden pheasant for adaptability and literary refinement, above a flame motif for wisdom, and the millet symbol to represent the wearer of the garment's ability to feed his people. The use of white thread lifts the embroidered billowing waves and creates an illusion of life and movement. The robe shines with the lustre of the finest silken threads. This robe is lined with imperial yellow silk, mounted in a perspex case measuring 230 width x 16 depth x 183cm height
Provenance: Purchased: Linda Wrigglesworth, London, Irving Galleries, 1991, 4045 Catalogue No. 137.
Exhibition: Art Gallery of New South Wales, Celestial Silks, Chinese Religious Court Textiles, 31 August - 24
October, 2004, illus. catalogue no. 27
Literature: This robe has appeared in several journal articles.
Note: Blue robes were worn by the emperor at events associated with Heaven. The emperor, possibly Huangdi would have worn this robe during the day of the ceremony taking place at the Temple of heaven. Here, the emperor would pray for rains and an excellent harvest. For centuries, the 'twelve symbols' were associated with the principal annual sacrifices offered by the emperor on behalf of the people at the great imperial alters.
References: Rutherford, J., and Menzies, J., Celestial Silks: Chinese Religious and Court Textiles, Art Gallery of New South Wales, 31 July - 24 October, 2004; Steele, V. and Major, J.S., China Chic - East Meets West, Yale University Press, London, 1999; Vollmer, J. E., Ruling from the Dragon Throne: Costume of the Qing Dynasty (1644-1911), Ten Speed Press, Berkeley, 2002; Cammann, S., China's Dragon Robes, The Ronald Press Company, New York, 1952; G. Dickinson and L. Wrigglesworth, Imperial Wardrobe, Berkeley, rev. ed., 2000 Qi.
Leonard Joel. The Decorative Arts Collection of James Fairfax AC, 18:30 AEST, Thursday 31 Aug 2017
An important Chinese imperial prince's robe, Qing dynasty (1644-1911), circa 1800-1830
Lot 203. An important Chinese Imperial prince's robe, Qing dynasty (1644-1911), circa 1800-1830. Estimate $ 10,000-15,000. Photo Leonard Joel.
The black silk Autumn Dragon Robe with imperial dragons couched in golden thread, with auspicious Buddhist and Daoist symbols, and medallion roundels of dragons on the skirt of the robe, mounted in a perspex case measuring 240cm width x 15cm depth x 166cm height
Provenance: Purchased from James R. Lawson Pty Ltd., in November 1972, No. 333; Ex Mr. Igor Zurich Collection, Adelaide.
Leonard Joel. The Decorative Arts Collection of James Fairfax AC, 18:30 AEST, Thursday 31 Aug 2017
A Chinese Emperor's surcoat (gunfu), Qing dynasty (1644-1911)
Lot 199. A Chinese Emperor's surcoat (gunfu), Qing dynasty (1644-1911). Estimate $ 6,000-9,000. Photo Leonard Joel.
The navy satin with four woven kesi imperial dragon medallions, fastened at waist level with spherical metal buttons and silk loops, the lining a pale blue silk with a subtle monochrome key fret pattern, the arm span measuring 166cm
Note: The gunfu was a surcoat traditionally worn by the emperor over his court robe. It is usually midnight blue and knee length so that the court robe could be seen below the hemline. The Qing dynasty regulations stipulated its use for ceremonial occasions, though imperial portraits frequently depict the ruler with this overgarment.
Reference: For very similar, please refer to the Gunfu in the Imperial Robes Collection, from the Forbidden City, in the Palace Museum, Beijing, as illustrated in Ming Wilson's, Imperial Chinese Robes From the Forbidden City, No. 5, p28; an Imperial Consort's version of the same, originally from a Private Australian Collection, Christie's from the Linda Wrigglesworth Collection, New York, 19 March, 2008, Lot 12
Leonard Joel. The Decorative Arts Collection of James Fairfax AC, 18:30 AEST, Thursday 31 Aug 2017
A large Chantilly Kakiemon 'seau a bouteille' wine cooler, circa 1735
Lot 54. A large Chantilly Kakiemon 'seau a bouteille' wine cooler, circa 1735. Estimate $ 3,000-5,000. Photo Leonard Joel.
Of cylindrical form with dragon form handle mounts, painted with squirrel and Kakiemon flowers, red hunting horn mark, 16 height x 19cm diameter
Leonard Joel. The Decorative Arts Collection of James Fairfax AC, 18:30 AEST, Thursday 31 Aug 2017
A good matched pair of Chantilly Kakiemon rafraîchissoirs, circa 1730
Lot 55. A good matched pair of Chantilly Kakiemon rafraîchissoirs, circa 1730. Estimate $ 2,000-3,000. Photo Leonard Joel.
Of typical form with branch and leaf handles, each painted with squirrel and kakiemon flowers, red hunting horn mark on one, 9.5cm high, (2)
Leonard Joel. The Decorative Arts Collection of James Fairfax AC, 18:30 AEST, Thursday 31 Aug 2017
A fine Chantilly leaf-shaped cup and saucer, circa 1735
Lot 58. A fine Chantilly leaf-shaped cup and saucer, circa 1735. Estimate $ 1,800-2,800. Photo Leonard Joel.
Each painted in Kakiemon style with leaf branch and pomegranate design, brown-edged rims, the cups handle and saucers stalk picked out in green, both with red hunting horn mark
Leonard Joel. The Decorative Arts Collection of James Fairfax AC, 18:30 AEST, Thursday 31 Aug 2017
A Chantilly Kakiemon 'écuelle' Porringer cover & stand, circa 1735
Lot 59. A Chantilly Kakiemon 'écuelle' Porringer cover & stand, circa 1735. Estimate $ 2,000-3,000. Photo Leonard Joel.
Of quatrelobed form painted with Kakiemon flowers and insects, the cover with flower knop, the tray with brown-edged rim, red hunting horn mark, tray 23.5 width, dish 15.5cm width, (2)
Note: For similar examples refer to the Metropolitan Museum New York
Leonard Joel. The Decorative Arts Collection of James Fairfax AC, 18:30 AEST, Thursday 31 Aug 2017
An extremely rare and possibly unique Chantilly Kakiemon verre à liqueur, circa 1735
Lot 60. An extremely rare and possibly unique Chantilly Kakiemon verre à liqueur, circa 1735. Estimate $ 2,000-3,000. Photo Leonard Joel.
This rare form not recorded in any literature on Chantilly, painted in a kakiemon design, 8cm high
Leonard Joel. The Decorative Arts Collection of James Fairfax AC, 18:30 AEST, Thursday 31 Aug 2017
A Royal Saxon Meissen Kakiemon large dish, mark for Konïgliche Hof Conditorei, circa 1740
Lot 68. A Royal Saxon Meissen Kakiemon large dish, mark for Konïgliche Hof Conditorei, circa 1740. Estimate $ 2,000-3,000. Photo Leonard Joel.
Painted with the 'gelbe lowe' pattern, with tiger curled around flowering bamboo and prunus, with interspersed blossom, dark brown rim, blue crossed sword mark within purple enamelled HC mark and inventory number 250, impressed 22 - 3 to base, 33.5cm diameter
Leonard Joel. The Decorative Arts Collection of James Fairfax AC, 18:30 AEST, Thursday 31 Aug
A rare Royal Saxon Meissen Kakiemon bowl and cover, Johanneum mark, circa 1728-1731
Lot 69. A rare Royal Saxon Meissen Kakiemon bowl and cover, Johanneum mark, circa 1728-1731. Estimate $ 1,800-2,800. Photo Leonard Joel.
Embellished with kakiemon designs, the cover with crouching hare finial, blue crossed sword mark and incised Johanneum marks, 12.5cm diameter
Leonard Joel. The Decorative Arts Collection of James Fairfax AC, 18:30 AEST, Thursday 31 Aug
A superbly carved Chinese jade figure of a mythical horse, Qing dynasty (1644-1911)
Lot 174. A superbly carved Chinese jade figure of a mythical horse, Qing dynasty (1644-1911). Estimate $ 40,000-60,000. Photo Leonard Joel.
The mottled white jade figure, recumbent atop a bed of swirling waves and rockwork, with finely combed mane, its head turned towards a collection of books bound together with a flowing sash, symbolic of one of 'the four accomplishments' upon its back, the body depicted with scales and a dragon tail, in keeping with the Chinese legend of Haima (Sea Horse), 17.25cm length, with carved wooden stand.
Provenance: Purchased from The Joshua McClelland Print Room, 06/06/1962, by repute originating from Bluett & Sons, London, with a British Antique Dealer's Association label attached
Note: According to the Liji (Book of Rites), Fuxi, a legendary ruler of Ancient China, was observing all under heaven, when he saw a fantastical figure emerge from the river. This creature had the form of a horse, the head of a dragon and the scales of a fish. The markings on its back inspired him to invent the eight trigrams, which led to the invention of writing, depicted by the books bound to the mythical horse's back. Later writings described the creature as having the essence of heaven and earth, with the form of a horse and the scales of a dragon, such as represented by the present lot, and it was said to appear when a sage ruled the land. The design is referred to as haima (sea horse).
Naturalistic bases in jade carving, such as waves and rocks were a Ming dynasty innovation, and were later perfected during the Qing dynasty, as can be seen with this figure.
For another mythical horse jade figure, longma please see: Christie's Hong Kong, 28th November 2006, lot 1419; The Complete Collection of Treasures of the Palace Museum - Jadeware (III), Hong Kong, 1995, pl. 90; Sotheby's New York, 11 September 2012, Lot 294; Sotheby's London, 7 November 2012, Lot 375; for another example from the Qing dynasty with a similar motif on porcelain, please see: Sotheby's London, 6 November 2013, Lot 156
A celadon jade mythical horse, longma, Qing dynasty, 18th century. Sold for HKD 960,000 at Christie's Hong Kong, 28th November 2006, lot 1419 © Christie's Images Ltd 2006
A rare celadon jade carving of a mythical horse, Qing dynasty, 18th century. Sold for 68,500 USD at Sotheby's New York, 11 September 2012, Lot 294. Photo: Sotheby's.
A white jade mythical horse, Qing dynasty, 18th century. Unsold at Sotheby's London, 7 November 2012, Lot 375. Photo: Sotheby's.
Leonard Joel. The Decorative Arts Collection of James Fairfax AC, 18:30 AEST, Thursday 31 Aug
A fine Chinese jade carving of Bi Xie, Qing dynasty (1644-1911)
Lot 172. A fine Chinese jade carving of Bi Xie, Qing dynasty (1644-1911). Estimate $ 5,000-8,000. Photo Leonard Joel.
The mythical animal recumbent and carved with full rounded body, the head turned backwards, and grasping a long, leafy 'lingzhi' spray (the sacred mushroom) in its mouth, its back paws slightly raised, the pale green jade with a few russet inclusions, 10cm length, with decorative wooden stand.
Note: For similar, please see Christie's, New York, 30 March 2005, lot 111; Sotheby's, London, 6 November 2013, lot 283; Sotheby's, London, 14 May 2008, Lot 583
A celadon jade mythical beast, Qing dynasty, 18th century. Unsold at Sotheby's, London, 6 November 2013, lot 283. Photo: Sotheby's
Leonard Joel. The Decorative Arts Collection of James Fairfax AC, 18:30 AEST, Thursday 31 Aug
An early Chinese white jade carved figure of a bixie, Qing dynasty (1644-1911)
Lot 171. An early Chinese white jade carved figure of a bixie, Qing dynasty (1644-1911). Estimate $ 5,000-8,000. Photo Leonard Joel.
The mythical horned animal in a crouching position and carved with full rounded body, grasping a leafy 'lingzhi' spray (the sacred mushroom) in its mouth, 8.4cm length, with wooden stand.
Leonard Joel. The Decorative Arts Collection of James Fairfax AC, 18:30 AEST, Thursday 31 Aug
Sotheby's announces highlights of the Important Chinese Art, Fine Classical Chinese Paintings & Calligraphy sales
NEW YORK, NY.- Sotheby’s announced the full offerings of their Asia Week sales of Chinese works of art, Chinese paintings and calligraphy. With exhibitions opening to the public on 8 September, visitors to New York headquarters will be able to experience all facets of Asian Art – pottery, bronzes, jades, ceramics, sculptures, paintings and calligraphy. Asia Week auctions begin on the 13th of September, with Important Chinese Art, followed by sales of Fine Classical Chinese Paintings & Calligraphy and Saturday at Sotheby’s: Asian Art on the 14th and 16th of September respectively.
An Exceptional and Extremely Rare ‘Ding’ Carved ‘Peony’ Vase from the Northern Song Dynasty is the top offering of the season (estimate $500/700,000). Coveted for its beautiful white hue, Ding wares have been highly sought after since the beginning of their production in the Song Dynasty. This particular work, carved with a peony motif signifying royalty and virtue, as well as wealth and honour, is a beautiful example of the mastery achieved by the artisans of the Ding kilns.
Lot 84. An exceptional and extremely rare “Ding” carved “peony” vase, Northern Song dynasty (960-1126), Height 10 in., 25.3 cm. Estimate $500,000–700,000. Courtesy Sotheby’s.
elegantly potted, of sumptuous meiping form, the full rounded shoulder sweeping up from a slender waisted body to a short cylindrical neck and everted rim, the body freely carved with two luxuriant peony blooms framed by their foliage, all above a band of overlapping petals at the foot, covered overall with an exquisite ivory-white glaze, stopping neatly at the foot.
Note: The dating of this lot is consistent with the result of a thermoluminescence test, C-Link Research and Development Ltd., no. 8070EH14.
The understated elegance and sublime simplicity of white Ding ware evokes ideals of classical beauty to be one of the most admired ceramic wares of China to this day. True Ding ware is mostly of good quality and pleasing design, but this vessel is an exceptionally rare and outstanding example of the ware at its very best: combining exquisite material with fine potting, graceful proportions and a freely incised design that appears to have been sketched from life. Furthermore, while open vessels such as bowls and dishes were created in abundance, upright examples of this type represent a maturation of techniques of which very few examples have survived.
The booming demand for white wares is the product of a fresh aesthetic that was brought about by the newly established Song dynasty and the subsequent changes in the distribution of wealth and resources as well as a renewed discovery of the beauty of nature. In a quest to establish an identity that deviated from that of the Tang but aimed at reviving a romanticised concept of antiquity based on Han dynasty Confucian ideals, the scholar-elite of the Song promoted commercial liberalism which granted much freedom to the activities of merchants, brokers and landowners who in turn transformed the capital into a vibrant urban hub.
Within this dynamic atmosphere, the Ding kilns of the Northern Song period experienced surges in development and popularity. Given the overall excellence of this white ware, it is natural that the court selected it as one of its official ceramics. Many Ding vessels were discovered in the tomb of Emperor Taizong’s empress, who died in AD 977 and was later reburied in AD 1000. A large number of Ding vessels from the Qing court collection still remain in the Palace Museum, Beijing, and in the National Palace Museum, Taipei, several of them bearing inscriptions by the Qianlong Emperor. Many early Ding wares, particularly of the Tang (618-907) and Five Dynasties (907-960) periods, but also of the Song dynasty, are inscribed with the character guan (‘official’) of xin guan (‘new official’), and the excavations of the Quyang kiln sites in Hebei province have brought to light sherds of the Song and Jin (1115-1234) dynasties inscribed with the characters dong gong (‘Eastern Palace’), and the names of two administrative units within the court. See the catalogue to the exhibition Ding ci ya ji. Gugong Bowuyuan zhencang ji chutu Dingyao ciqi huicui / Selection of Ding Ware. The Palace Museum’s Collection and Archaeological Excavation, Beijing, 2012, cat. nos 3, 6-9, 28.
Most of the pieces and fragments thus identified are, however, bowls and dishes. Ding bottles, vases or jars, in fact any upright shapes, were extremely rarely produced by the Ding white ware kilns around Baoding city in Hebei province, which had specialised in the production of round, open shapes. Open shapes could quickly be thrown on the potter’s wheel and manufactured in large quantities. Closed, upright shapes, especially with a swelling shoulder rising from a slender foot and narrow neck as seen on the present vase, represented a much greater challenge, requiring precision in throwing to make the separately thrown parts fit, and diligence in joining to ensure neat and firm alignment, and were much more likely to collapse or tilt in the kiln.
Only a small number of Ding meiping vases are known but all of larger size; a closely related vase, from the Sir Percival David Collection and now held in the British Museum, London (fig.1), is illustrated in Regina Krahl and Jessica Harrison-Hall, Chinese Ceramics. Highlights of the Sir Percival David Collection, 2013, pl. 8. A further larger meiping of this type, incised with a floral design between radiating combed petals at the shoulder and tall stiff leaves at the foot, in the Palace Museum, Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (I), Hong Kong, 1996, pl. 36; a second, even larger, vase, reconstructed from fragments, is published in Ding ci ya ji. Gugong Bowuyuan zhencang ji chutu Dingyao ciqi huicui / Selection of Ding Ware. The Palace Museum’s Collection and Archaeological Excavation, op. cit., 2012, pl. 35. Another meiping, but incised with lotus blooms, in the National Palace Museum, Taipei, was included in the Museum’s exhibition Decorated Porcelains of Dingzhou. White Ding Wares from the Collection of the National Palace Museum, 2014, cat no. II-9; and another, the neck missing, carved and incised with peonies, from the Alfred Clark Collection and included in numerous exhibitions including the International Exhibition of Chinese Art, The Royal Academy of Art, London, 1935, cat. no. 1166, was sold in our London rooms, 25th March 1975, lot 30.
A Ding meiping vase with carved peonies, Northern Song Dynasty, 11thC-12thC., Height: 36,5 cm, PDF 101. Copyright the Sir Percival David Collection / © The Trustees of the British Museum.
This September’s auction of Important Chinese Art also features significant sancai-glazed and monochromatic works of art. Coming from a private Japanese collection, a Rare Sancai-Glazed Pottery Rhyton and an Exceptionally Rare Green-Glazed Phoenix-Head Pottery Ewer, both from the Tang Dynasty, beautifully balance molding, carving and glazing (estimate $50/70,000 and $80/120,000 respectively). A Fine ‘Clair-deLune’ Glazed Brush Washer is, on the other hand, a lesson in simplicity; the luminous glaze brings attention to the perfection achieved in the potting and firing of the ceramic.
Lot 76. A rare sancai glazed pottery rhyton, Tang dynasty (618-907), Length 5 1/4 in., 13.5 cm. Estimate $50,000–70,000. Courtesy Sotheby’s.
of horn shape, the curled dragon head terminal issuing a bifurcated foliate scroll joined to the side of the pointed oval mouth of the vessel, the rounded sides molded with petal-scroll motifs on a granulated ground, splashed overall with green, amber and straw-colored glazes, wood stand, Japanese wood box (4)
Provenance: Sotheby’s Hong Kong, 29th November 1976, lot 404.
Collection of the British Rail Pension Fund.
Sotheby’s London, 12th December 1989, lot 62.
Spink & Son, London.
Exhibited: Victoria and Albert Museum, London, 1977-1985 (on loan).
Dallas Museum of Art, 1985-1988 (on loan)
Note: This piece is striking for its elegant form and detailed decoration of palmettes on a stippled ground, and ranks amongst the best surviving examples of Tang period rhytons. A brown-glazed dragon-shaped rhyton of this form, but with somewhat less complex decoration on the body, from the Schiller Collection in the City Art Gallery, Bristol, was included in the exhibition The Arts of the T’ang Dynasty, Los Angeles County Museum, Los Angeles, 1957, cat. no. 184; and a green-glazed example lacking the foliate scroll and with a pearl in its mouth, illustrated in Sekai tōji zenshu/ Catalogue of World Ceramics, vol. 11, Tokyo, 1976, pl. 129, sold twice in our London rooms, 7th April 1981, lot 140, and again, 10th June 1986, lot 14. Compare also rhytons in the form of ducks, such as one in the Palace Museum, Beijing, illustrated in Compendium of Collections in the Palace Museum. Ceramics, vol. 5, Sui (581-618), Tang (618-907) and Five Dynasties (907-960) (II), Beijing, 2013, pl. 295; another published in The Charles B. Hoyt Collection in the Museum of Fine Arts, vol. 1, Boston, 1964, pl. 94; a third, included in the Oriental Ceramic Society exhibition Arts of the T’ang Dynasty, London, 1955, cat. no. 146, and sold in our London rooms, 14th July 1970, lot 9; and a further example, sold in our London rooms, 21st June 1983, lot 95.
The rhyton is a drinking vessel originally made from ox or buffalo horn, which was introduced into China through Central and Western Asia, where it was made in silver and precious stones. Rhytons appeared in China from as early as the Han dynasty, and were made in a variety of materials, including pottery, glass and silver. While a number of surviving rhytons from the Tang period, such as the white-glazed example in the British Museum, London, illustrated in Margaret Medley, T’ang Pottery & Porcelain, London, 1981, pl. 4, were clearly modelled after Persian silver originals, the present example has incorporated Chinese elements, such as its dragon shape.
Lot 77. A Rare Green-Glazed Phoenix-Head Pottery Ewer, Tang dynasty (618-907), Height 11 3/8 in., 29 cm. Estimate 120,000 — 180,000 USD. Courtesy Sotheby’s.
superbly potted, the ovoid body rising from a tall splayed foot to a double-waisted neck, all below a wide pinched mouth attached to the shoulder by an arched double-strap handle with a tabbed thumb-piece, the body with three horizontal bands of grooved circles, applied with crisply molded floral crests and stylized palmettes, all beneath splashed straw, green and amber glazes, stopping unevenly to reveal the buff body at the base, Japanese wood box (3)
Provenance: Acquired in Japan in the 1960s (by repute).
Note: This flamboyant ewer encapsulates the international spirit and the opulent atmosphere at the Chinese court in the first half of the Tang dynasty (618-907), which saw an unprecedented rise in the ingenuity and skills of the country’s artisans who strove to meet the rising demands of an affluent and discerning aristocracy. With the increased commercial and cultural exchange with Western Asia through the Silk Road, Chang’an emerged as an international metropolis par excellence. Its sizable communities of foreign residents from across Asia allowed craftsmen to come into contact with an abundance of styles and techniques, which they quickly synthesized in creating the aesthetic trends of the period.
The present piece, although unique, belongs to an extremely small group of ewers modeled with a pinched mouth and decorated with floral appliques. The application of these sprig-molded reliefs, which evokes the encrustation of precious metal objects with jewels and pearls, were widely used in the Northern Qi period, and their popularity continued into the Tang dynasty, when fanciful floral and foliate palmette motifs appeared in a multitude of myriad versions on artifacts of various media, including textiles, silver and ceramics.
A ewer of similar form, but with a variation of floral appliques, was included in the exhibition Sui Tō no bijutsu [Arts of the Sui and Tang Dynasties], Osaka Municipal Museum of Art, Osaka, 1978, cat. no. 91; another, covered almost entirely in a blue glaze, in the Fuji Art Museum, Tokyo, is illustrated in Sekai tōji zenshu / Ceramic Art of the World, Tokyo, 1976, vol. 11, pl. 39; a third, of more globular shape, from the collection of George Eumorfopoulos and now in the British Museum, London, is published in R.L. Hobson and A.L. Hetherington, The Art of the Chinese Potter, London, 1923, pl. XV; and two further examples are illustrated in Masterpieces of Chinese and Korean Ceramics in the Ataka Collection, Tokyo, 1980, pls 48 and 49.
Ewer with Phoenix Head and Applied Medallions, Three-colour Glazes, Tang dynasty (618-907), H 28.4 cm, W 15.8 cm, D 12.1 cm, Fuji Art Museum, Tokyo
'Sancai'-glazed ewer, decorated with a flower design, Tang dynasty (618-907). Made of green, brown glazed earthenware. H: 27 cm, 1936,1012.209 © The Trustees of the British Museum
Compare also a sancai censer decorated with similar applique, included in The Special Exhibition of Tang Tri-Colour, National Museum of History, Taipei, 1995, cat. no. 80; and another from the collection of Howard C. Hollis, included in the exhibition The Arts of the T’ang Dynasty, Los Angeles County Museum, Los Angeles, 1957, cat. no. 197.
Lot 7. A Fine ‘Clair-deLune’ Glazed Brush Washer, Kangxi mark and period (1662-1722), Diameter 4 5/8 in., 11.7 cm. Estimate 60,000 — 80,000 USD. Courtesy Sotheby’s.
of compressed circular form, supported on a shallow tapered foot, the rounded sides rising to an incurved rim, covered overall with a pale lavender-blue glaze draining to white at the mouth, the white-glazed base with a six-character mark in underglaze blue.
Provenance: Acquired in New York, circa 1985.
Note: Brush washers were an essential part of the scholar's studio, permitting the erudite occupant to refresh his brush and elegantly express his ideas through ink. During the Qing dynasty, small porcelain objects for the scholar's table, including brush washers, waterpots, and amphora vases, were produced in two new glazes, 'peachbloom' and 'clair de lune'. Whilst brush washers are more commonly found than other forms, far fewer examples appear to survive in pale blue than in 'peachbloom'.
Washers of this elegant form and subtle coloration are an innovation of the Kangxi reign and display the great technical advances made at the imperial kilns in Jingdezhen at the beginning of the Qing dynasty, which saw the creation of numerous monochrome glazes. The tian lan (sky blue) glaze is among the most striking products of the imperial kilns and was achieved by diminishing the amount of cobalt oxide in the glaze mix. Vessels covered in this delicate glaze are often very finely potted, an indication that they were probably made in the latter years of the Kangxi reign, as suggested by Suzanne G. Valenstein in A Handbook of Chinese Ceramics, New York, 1989, p. 241.
Three 'clair-de-lune' brush washers of this type from the Wiedener collection, now in the National Gallery of Art, Washington D.C., are illustrated in Decorative Arts, pt. II, Washington, 1998, pp 98 and 99; two in the Baur collection are published in John Ayers, The Baur Collection, Geneva, vol. 3, 1973, pls A318 and A320; and a further example was sold in our Hong Kong rooms, 1st November 1999, lot 341 and again in our London rooms, 12th July 2006, lot 153. See also a slightly smaller washer of this type in the Palace Museum, Beijing, illustrated in Compendium of Collections in the Palace Museum. Ceramics, vol. 23, Shunzhi (1644-1661) and Kangxi (1662-1722) Periods of Qing Dynasty, pl. 62; and another in the Shanghai Museum, Shanghai, published in Kangxi Porcelain Ware from the Shanghai Museum Collection, Hong Kong, 1998, pl. 218.
Brush Washer, Kangxi period, 1662/1722, porcelain with pale blue glaze, overall: 4.8 x 12.1 cm (1 7/8 x 4 3/4 in.), Widener Collection, 1942.9.484© 2017 National Gallery of Art
Brush Washer, Kangxi period, 1662/1722, porcelain with pale blue glaze, overall: 4.2 x 11.8 cm (1 5/8 x 4 5/8 in.), Widener Collection, 1942.9.488 © 2017 National Gallery of Art
Brush Washer, Kangxi period, 1662/1722, porcelain with pale blue glaze, overall: 4.2 x 11.7 cm (1 5/8 x 4 5/8 in.), Widener Collection, 1942.9.489 © 2017 National Gallery of Art
Fine Classical Chinese Paintings & Calligraphy, taking place on 14 September, offers a diverse repertoire of classical and modern that visually illustrates the enduring appeal of Chinese painting. The 230-plus lot sale is led by Zhang Daqian’s Splash Landscape (estimate $450/650,000). The vibrant cobalt and verdant hues of this ink and color on paper are all-encompassing, pulling the viewers into its painterly world. While also a landscape, Wang Hui’s Landscape After Ni Zan offers an entirely different experience (estimate $300/500,000). Adhering to the techniques of classical Chinese paintings of the past, this hanging scroll wonderfully showcases the artist’s capability in calligraphy and painting.
Lot 706. Zhang Daqian (Chang Dai-chien) 1899-1983, Blue Cliff and Old Tree, signed Yuan weng, with one seal of the artist, da qian wei yin da nian, ink and color on paper, mounted for framing, 59.8 by 83.5 cm. 23 1/2 by 32 7/8 in. Estimate 450,000-650,000 USD. Courtesy Sotheby’s.
Provenance: Acquired by the present owner directly from the artist when he was living in Brazil
Lot 540. Wang Hui (1632-1717), Landscape after Ni Zan, ink on paper, hanging scroll, 106 by 52.6 cm. 41 3/4 by 20 3/4 in. Estimate 300,000-500,000 USD. Courtesy Sotheby’s.
signed Shigu Wang Hui, dated renshen, the first day of the seventh lunar month (August 12, 1692), with four seals, wang hui zhi yin, wu shan shi gu, shuang xi, yi zai dan qiu huang he bai shi qing teng shi jian
Attached inscription by Zha Shenxing (1650-1727), signed Zha Shenxing, dated guisi (1713), summer, the leap month, with three seals, zha shen xing yin, hui yu, chen han jing ye tang; Tang Youzeng (1656-1721), signed Tang Youzeng, dated jiawu, the twenty-third day of the third lunar month (April 17, 1714), with two seals, you zeng, xi ya
Titleslip by Zhao Shuru (1874-1945), signed Zhao Shuru, dated xinwei (1931), spring, with one seal, zhao shi gang yin
With two collector's seal of Zhou Xiangyun (1878-1943), xiang yun mi wan, gu yin zhou shi bao mi shi mi ji yin; one collector's seal of Ma Jizuo (1915-2009), ma ji zuo yin; and one marking seal.
Alongside Wang Hui stand classical masters including Dong Qichang, Shen Zongjing, He Shaoji and Shitao, also known as Yuanji. His Essay in Regular Script, an album of forty-four leaves, is a beautiful example of the strong yet lyrical hand of the artist (estimate $180/280,000). A Poem in Running Script by Xuanye, the pen name of Emperor Kangxi, also represents the power of calligraphy; sitting at the intersection of art and literature, it is unsurprising to learn that this art of writing was the prized visual art form in China over millennia (estimate $100/150,000).
Lot 515. Shitao (Yuanji) 1642-1718, Essay in Regular Script, with four seals of the artist, ban ge han, da di zi ji, ling ding lao ren, qing xiang shi tao, geng xin cao tang, and one collector's seal, you zhu shu wu zhen cang shu hua yin, ink on paper, album of forty-four leaves, each 22.1 by 11.4 cm. 8 3/4 by 4 1/2 in. (44). Estimate 180,000-280,000 USD. Courtesy Sotheby’s.
Lot 571. Xuanye (Emperor Kangxi) 1654-1722, Poem in Running Script, with two imperial seals, yuan jian zhai, ji gu you wen zhi zhang. Inscription on mounting border with a dedication to Ji Yu (active early 18th century), ink on satin, hanging scroll, 112.7 by 34.1 cm. 44 3/8 by 13 3/8 in. Estimate 100,000-150,000 USD. Courtesy Sotheby’s.
Provenance: Acquired in Hong Kong between 1949-1970s and thence by descent.
Property of the Rende Zhai (House of Benevolent Learning) collection.
Note: The Rende Zhai Collection was assembled between 1949-1970's in Hong Kong by Dr. Olaf K. Skinsnes (1917-1997), who was born in Henan in 1917 to medical missionaries. He had a distinguished career as a medical doctor and a professor at the Universities of Hong Kong, Chicago, Hawaii, and the Sun Yat Sen University of Medical Sciences in Guangzhou. His wife, Elizabeth Anderson Skinsnes, shared his love of Chinese art and culture, and they viewed the collection as a teaching instrument to spread the richness of Chinese culture and history through art. Dr. and Mrs. Skinsnes lived much of their life in China, and in 1992, the Chinese government awarded Dr. Skinsnes the Friendship Medal in recognition of his contributions.
Saturday at Sotheby’s rounds out Sotheby’s Asia Week this September, with a sale encompassing over 400 paintings and works of art. Featuring everything from jades to porcelain, textiles to furniture, bronzes to pottery, this sale represents the abundance of categories Chinese art and paintings have to offer. A ‘Huanghuali’ and Mixed-Wood Square Corner Cabinet from a Chicago private collection is a beautiful and functional work of art; from the Late Qing Dynasty, this cabinet comes to auction with a pre-sale estimate of $20/30,000. Two Famille-Rose ‘Magpie and Prunus’ Vases from the 20th Century are decorative examples of the ceramic arts. Measuring 20 7/8 inches in height, these tianqiuping vases are brightly painted with magpies and prunus trees, representing strength and fortune (estimate $30/50,000).
Lot 941. A ‘Huanghuali’ and Mixed-Wood Square Corner Cabinet, late Qing dynasty. Estimate 20,000-30,000 USD. Courtesy Sotheby’s.
of rectangular outline, with a pair of fielded parallel doors above a wide horizontal panel, the sides with plain fielded panels, the four uprights forming the frame and legs joined by shaped spandreled aprons, the interior with a pair of shelves and two drawers above a concealed well with removable covers, with metal hinges, lockplates and pulls. Height 69 1/2 in., 176.5 cm; Width 43 in., 109.2 cm; Depth 19 5/8 in., 49.8 cm
Lot 990. Two Famille-Rose ‘Magpie and Prunus’ Vases, 20th Century, Height 20 7/8 in., 52.9 cm. Estimate 30,000-50,000 USD. Courtesy Sotheby’s.
each of tianqiuping form, the exterior brightly painted with numerous magpies among gnarled flowering prunus trees, the base with an apocryphal six-character Qianlong seal mark in underglaze blue (2)