Lot 177. A rare silver raft group, 17th Century. 6 3/4 in., 17.2 cm. Estimate 10,000 — 15,000 USD. Lot sold 12,000 USD. Courtesy Sotheby's.

cast in the form of a woman, boy and deer transported in a gnarled hollowed pine log raft, the seated lady sheltered by an overhanging branch and grasping a long lotus pod as a steering paddle, (stand). Quantité: 2.

Provenance: Christie's Hong Kong, 1/3rd May 1994, lot 551.
Sotheby's London, 6th June 1995, lot 75.

Note: A bamboo root carved raft similarly depicting Ma Gu celebrating her birthday is illustrated in The Complete Collection of Treasures of the Palace Museum. Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Shanghai, 2001, pl. 61. Ma Gu, meaning 'Hemp Lady' was the Goddess of Longevity, an immortal female figure from a legend dating back to the 4th century. This piece is also reminiscent of the famous silver raft cup attributed to the Yuan dynasty, in the Palace Museum, Beijing, illustrated in Zhongguo meishu quanji, vol. 10, Beijing, 1987, pl. 154. For log raft carvings with different groups of figures, compare the bamboo examples illustrated in Ip Yee and Laurence C.S. Tam, Chinese Bamboo Carving, part 1, Hong Kong, 1978, pls. 110, 111 and 174, and the rhinoceros horn raft in this sale, lot 173.

LONDON.- At the National Gallery this autumn, journey through a world of shadow and light. With more than fifty painted objects created over 700 years, Monochrome: Painting in Black and White is a radical new look at what happens when artists cast aside the colour spectrum and focus on the visual power of black, white, and everything in between. 

Paintings by Old Masters such as Jan van Eyck, Albrecht Dürer, Rembrandt van Rijn, and Jean-Auguste-Dominique Ingres appear alongside works by some of the most exciting contemporary artists working today including Gerhard Richter, Chuck Close, and Bridget Riley. Olafur Eliasson‘s immersive light installation 'Room for one colour' (1997) brings a suitably mind-altering coda to the exhibition. 

With major loans from around the world, and works from the National Gallery’s Collection, 'Monochrome' reveals fresh insights into the use of colour as a choice rather than a necessity. 

As Lelia Packer and Jennifer Sliwka, curators of 'Monochrome: Painting in Black and White', explain: “Painters reduce their colour palette for many reasons, but mainly as a way of focusing the viewer’s attention on a particular subject, concept or technique. It can be very freeing - without the complexities of working in colour, you can experiment with form, texture, mark making, and symbolic meaning.” 

'Monochrome: Painting in Black and White' guides visitors through seven rooms, each addressing a different aspect of painting in black, white and grey, also known as grisaille: 

Sacred subjects 
The earliest surviving works of Western art made in grisaille were created in the Middle Ages for devotional purposes, to eliminate distractions, and focus the mind. As colour pervades daily life, black and white can signal a shift to an otherworldly or spiritual context. 

For some, colour was the forbidden fruit and prohibited by religious orders practising a form of aesthetic asceticism. Grisaille stained glass, for example, was created by Cistercian monks in the 12th century as an alternative to vibrant church windows, with its translucent greyish panels sometimes painted with images in black and yellow. Light and elegant in appearance, grisaille glass such as this window panel made for the Royal Abbey of Saint-Denis, Paris (1320–4, Victoria and Albert Museum, London) gained popularity outside the order and eventually became de rigueur in many French churches. 

'Stained Glass Panel with Quarries and a Female Head', about 1320-4© Victoria and Albert Museum, London.

Studies in light and shadow 
From the 15th century onward artists made painted studies in black and white to work through challenges posed by their subjects and compositions. Eliminating colour allows artists to concentrate on the way light and shadow fall across the surface of a figure, object or scene before committing to a full-colour canvas. The beautiful 'Drapery Study (possibly study for Saint Matthew and an Angel)', (about 1477, Kupferstichkabinett, Staatliche Museen zu Berlin) attributed to Domenico Ghirlandaio is a template work which an artist could reuse in multiple finished colour paintings. This particular motif for example reappeared in a frescoed vault in San Gimignano, Italy. 

Domenico Ghirlandaio or workshop of Andrea del Verrocchio, 'Drapery Study' (possibly study for Saint Matthew and an Angel), about 1477© Kupferstichkabinett. Staatliche Museen zu Berlin / Photo: Jörg P. Anders.

Independent paintings in grisaille 
Increasingly, paintings in grisaille were made as independent works of art, complete unto themselves. This section explores the inspiration and desire for such paintings, prized for their demonstration of artistic skill, for the insights they provide into the artist’s craft, and for their profound consideration of a particular subject. 

Jan van Eyck’s 'Saint Barbara' (1437, Royal Museum of Fine Arts Antwerp) is the earliest known example of a monochrome work on panel, drawn in metalpoint, India ink, and oil on a prepared ground. Although there has been ongoing debate as to whether a master colourist such as van Eyck intended 'Saint Barbara' as a sketch in preparation for a painting in colour or a as a finished drawing, the panel was admired and collected as early as the 16th century suggesting that a taste for independent monochrome pictures existed from an early date. 

Jan van Eyck, 'SaintBarbara', 1437 Royal Museum of Fine Arts, Antwerp© www.lukasweb.be‐Art in Flanders vzw, photo Hugo Maertens.

Monochrome painting and sculpture 
For centuries artists have challenged themselves to mimic the appearance of stone sculpture in painting. In Northern Europe, a taste for illusionistic decorative elements – such as decorative wall painting and sculpted stucco – may have helped give rise to stunning works of trompe l’oeil painted on panel or canvas. Jacob de Wit excelled at this practice and his 'Jupiter and Ganymede' (1739, Ferens Art Gallery, Hull) could easily be mistaken for a three-dimensional wall relief. 

Jacob de Wit, 'Jupiter and Ganymede', 1739© Ferens Art Gallery, Hull Museums.

Monochrome painting and printmaking 
Beginning in the 16th century, painters developed ingenious ways to compete with new developments in printmaking. An exceptionally rare grisaille work by Hendrik Goltzius, 'Without Ceres and Bacchus, Venus Would Freeze' (1606, the State Hermitage Museum, St Petersburg) for example, dazzled viewers who could not fathom how it was made, as it very much looks like a print but was drawn by hand on prepared canvas. 

Hendrik Goltzius, 'Without Ceres and Bacchus, Venus Would Freeze', 1599. The British Museum, London© The Trustees of The British Museum.

Black-and-white painting in the age of photography and film 
Similarly, the invention of photography in 1839, and that of film much later, prompted painters to imitate the effects of these media, in order to respond to, or compete with their particular qualities. Gerhard Richter employed a press photograph of a prostitute who had been brutally murdered as the foundation of his painting 'Helga Matura with Her Fiancé' (1966, Museum Kunstpalast, Düsseldorf). The grey palette – for Richter, ‘the ideal colour for indifference’– removes any sentimentality about Helga’s murder. By deliberately blurring the photograph, the artist makes the viewer aware that this is an altered image, contrasting with the crispness and apparent objectivity of the original. 

Gerhard Richter, 'Helga Matura with her Fiancé', 1966. Museum Kunstpalast Düsseldorf© Gerhard Richter 2017 (0182). Photo: Museum Kunstpalast - ARTOTHEK.

Abstraction 
Abstract and installation artists have often been drawn to black and white. When artists have ready access to every possible hue, the absence of colour can be all the more shocking or thought-provoking. In 1915, Kiev-born artist Kazimir Malevich painted the first version of his revolutionary work, 'Black Square' (in the exhibition is the 1929 version from the State Tretyakov Gallery, Moscow) – an eponymous black square floating within a white painted frame – and declared it to be the beginning of a new kind of non-representational art. Works by Josef Albers, Ellsworth Kelly, Frank Stella, and Cy Twombly all exemplify the use of minimal colour for maximum impact. 

Artists intrigued by colour theory and the psychological effects of colour (or its absence) manipulate light, space, and hue to trigger a particular response from the viewer. In this way, Olafur Eliasson brings the exhibition to a close with his large-scale, immersive light installation, 'Room for one colour' (1997). In a room illuminated with sodium yellow monofrequency lamps, all other light frequencies are suppressed and visitors are transported to a monochrome world. 

Olafur Eliasson, 'Room for one colour', 1997. Installation view at Moderna Museet, Stockholm 2015. Courtesy of the artist; Tanya Bonakdar Gallery, New York; neugerriemschneider, Berlin © Olafur Eliasson. Photo: Anders Sune Berg

National Gallery Director, Dr Gabriele Finaldi, says: “Artists choose to use black and white for aesthetic, emotional, and sometimes even for moral reasons. The historical continuity and diversity of monochrome from the Middle Ages to today demonstrate how crucial a theme it is in Western art.” 

Exhibition organised by the National Gallery in collaboration with Museum Kunstpalast, Düsseldorf. 

30 October 2017 – 18 February 2018 

Jan van Eyck, 'The Annunciation Diptych (The Archangel Gabriel; The Virgin Mary)', about 1433–5© Museo Thyssen-Bornemisza. Madrid

Albrecht Dürer, 'Head of a Woman', 1520. The British Museum, London© The Trustees of The British Museum

Albrecht Dürer, 'A Woman in Netherlandish Dress seen from behind (Drapery Study)', 1521© Albertina, Vienna

Jan van Vliet after Rembrandt, 'Christ Before Pilate (Ecce Homo)', 1635-6. The Syndics of the Fitzwilliam Museum, University of Cambridge© Fitzwilliam Museum, Cambridge

Willem van de Velde The Elder, 'Departure of the Dutch Fleet the 9th of June 1645', about 1650© Museum De Lakenhal, Leiden

Adriaen van der Werff, 'Samson and Delilah (?)', about 1693© Fondation Custodia, Collection Frits Lugt, Paris.

Giovanni Domenico Tiepolo, 'Jacopo Porto appointed Governor of Vicenza by the Holy Roman Emperor Henry II in 1022', about 1760. Private collection© Photo courtesy of the owner.

Etienne Moulinneuf after Jean-Siméon Chardin, 'Back from the Market (La Pourvoyeuse)', about 1770© Museum Associates / LACMA

Francisco Bayeu y Subías, 'The Spanish Monarchy', 1794© Museo Nacional del Prado, Madrid.

Jean-Auguste-Dominique Ingres and workshop, 'Odalisque in Grisaille', about 1824-34 © The Metropolitan Museum of Art, New York, Catharine Lorillard Wolfe Collection, Wolfe Fund, 1938, 38.65 © The Metropolitan Museum of Art / Art Resource / Scala, Florence.

Gustave Le Gray, 'The Great Wave, Sète', about 1857© Victoria and Albert Museum, London.

Célestin Joseph Blanc, 'Head of a Girl', 1867© Victoria and Albert Museum, London.

Marlene Dumas, 'The Image as Burden', 1993 Private Collection, Belgium© Marlene Dumas. Photo: Peter Cox.

Lot 109. A pair of Qingbai 'Prunus' cups, Song dynasty (960-1127). 3 5/8in (9.2cm) diameter. Estimate US$ 2,000 - 3,000 (€1,700 - 2,600). Photo: Bonhams.

Each with a thinly-potted body supported on a short foot, the interior molded with a prunus sprig, and covered in a transparent pale-green glaze stopping short of the rim.

Provenance: The Chinese Porcelain Company

Lot 260. A small white-glazed foliate dish, Five dynasties  (907-960). 13 cm, 5 1/8  in. Estimate 8,000 — 12,000 GBP. Courtesy Sotheby's. 

the shallow rounded sides rising from a short foot to an everted bracket-lobed rim, covered in an even ivory glaze.

Sotheby's. St George Street Sale: Chinese Art, London, 10 Nov 2017, 10:00 AM

Lot 262. A pair of straw-glazed slender vases, Song dynasty (907-1279). 12.7 cm, 5 in. Estimate 6,000 — 8,000 GBP. Courtesy Sotheby's. 

the gently rounded sides rising from a spreading foot to an everted rim, covered in an even ivory-coloured glaze suffused with fine crackle. Quantity: 2.

Sotheby's. St George Street Sale: Chinese Art, London, 10 Nov 2017, 10:00 AM

Lot 348. A small 'Jun' dish, Song dynasty (960-1279). 11.8 cm, 4 5/8  in. Estimate 4,000 — 6,000 GBP. Courtesy Sotheby's. 

the shallow rounded sides rising to a gently flared rim from a short foot, covered overall in a milky blue glaze suffused with a network of golden crackles, the glaze thinning around the rim and stopping unevenly around the footring, revealing the buff body.

Sotheby's. St George Street Sale: Chinese Art, London, 10 Nov 2017, 10:00 AM

Lot 261. A 'Jizhou' bowl, Song dynasty (960-1127). 12.8 cm, 5 1/8  in. Estimate 4,000 — 6,000 GBP. Courtesy Sotheby's. 

the rounded sides rising from a short spreading foot to a straight rim, the interior with a dark brown glaze suffused with lighter flecks, the exterior with a similar glazed band at the rim below a lighter brown glaze stopping short of the foot.

Sotheby's. St George Street Sale: Chinese Art, London, 10 Nov 2017, 10:00 AM

Lot 111. A Cizhou-type white rimmed black-glazed bowl, Northern Song dynasty (960-1126). 4 5/8in (11.7 cm.) diameter. Estimate US$ 4,000 - 6,000 (€3,400 - 5,200). Photo: Bonhams.

The rounded conical body covered overall with a thick glossy, black glaze stopping just short of the buff pottery foot, the slightly everted rim accented by a band of white slip.

Provenance: Christie's, New York, 17-18 September 2015, lot 2316.

Note: A similar bowl sold at Christie's, New York, 21-23 March 2013, lot 1172.

A Cizhou-type black-glazed conical bowl with white rim, Northern Song-Jin dynasty (960-1234). 5 5/8 in. (14.2 cm.) diam. Sold for 40,000 USD at Christie's, New York, 21-23 March 2013, lot 1172. © Christie's Images Ltd 2013

Lot 110. A Cizhou russet-splashed black-glazed bowl, Northern Song-Jin dynasty (960-1234). 4 3/4in (12cm) diameter. Estimate US$ 1,500 - 2,500 (€1,300 - 2,200). Photo: Bonhams.

Delicately potted with gently rounded sides rising from a short straight foot to an everted rim, the interior glazed black and splashed with russet, the exterior covered in a russet glaze with black streaks dripping from the rim, the base unglazed. 

Bonhams. ASIAN WORKS OF ART. 30 Oct 2017, 10:00 EDT, NEW YORK

Lot 226. A white-glazed relief-decorated bowl, 18th century. 6 3/8 in. (16.2 cm.) diam. Estimate GBP 2,000 - GBP 3,000 (USD 2,622 - USD 3,933). © Christie's Images Ltd 2017

The bowl is moulded to the exterior with two pairs of stylised archaistic confronting dragons, between a key fret band to the mouth rim and a band of stylised foliage to the foot.

Provenance: Property of a Nordic Gentleman. 

Christie's. Fine Chinese Ceramics & Works of Art, 7 November 2017, London

Lot 223. A white-glazed soft-paste vase, Qing dynasty, Yongzheng period (1723-1735). 38.2 cm, 15 in. Estimate 15,000 — 20,000 GBP. Courtesy Sotheby's. 

well-potted with a pear-shaped body supported on a short foot sweeping to a tall cylindrical neck, the exterior intricately moulded in relief with four shou character motifs surrounded by stylised kui dragons, divided by flying bats, below a ruyi head border issuing from a key fret band at the shoulders with a frieze of plantain leaves extending up the neck, above a band of upright lappets encircling the foot, all between key fret borders at the rim and at the foot, the cream-white body beneath a finely crackled glaze.

Sotheby's. St George Street Sale: Chinese Art, London, 10 Nov 2017, 10:00 AM

Lot 227. A small 'soft-paste' relief-decorated globular jar, 18th century. 4 in. (10.2 cm.) diam. Estimate GBP 1,500 - GBP 2,500 (USD 1,966 - USD 3,278) © Christie's Images Ltd 2017

The jar is moulded to the exterior with two archaistic taotie masks reserved on a dense keyfret ground, below a band of ruyi-heads to the mouth rim. It is covered in a creamy-white glaze suffused with a network of crackles.

Provenance: Property of a Nordic Gentleman. 

Christie's. Fine Chinese Ceramics & Works of Art, 7 November 2017, London

Lot 228. A 'soft-paste' relief-decorated moon flask, 18th century. 7 7/8 in. (20 cm.) high. Estimate GBP 3,000 - GBP 5,000 (USD 3,933 - USD 6,555) © Christie's Images Ltd 2017

The vase is incised to either side with a sinuous dragon amongst ruyi-form clouds. It is covered in a creamy-white glaze suffused with a dense network of crackles. There is an apocryphal Song dynasty mark to the base.

Provenance: Property of a Nordic Gentleman. 

Christie's. Fine Chinese Ceramics & Works of Art, 7 November 2017, London

Lot 269. A very large guan-type archaistic vase, hu, Yongzheng six-character seal mark in underglaze blue and of the period (1723-1735). Estimate GBP 80,000 - GBP 120,000 (USD 104,880 - USD 157,320) © Christie's Images Ltd 2017

The vase has a pair of stylised dragon handles and is decorated with raised archaistic straps and bosses, covered overall in a celadon glaze with a network of dark grey crackles.

Provenance: Acquired in China prior to 1913 by an Italian official (1863-1913) from a Venetian family of ship owners, and thence by descent within the family. 

Note: The shape of the current vase is based on an archaic bronze prototype. Examples of this form decorated with various different glazes are known, including a Ming blue and white vase from the W.W. Winkworth (1897-1991) collection that was sold at Sotheby's London on 12 December 1972, lot 83; a Yongzheng mark and period 'tea dust'-glazed vase illustrated in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum Collection, Beijing, 1989, p. 298. pl. 127; and a Qianlong mark and period Guan-type vase, illustrated in R. Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994, vol. II, no. 873.

Christie's. Fine Chinese Ceramics & Works of Art, 7 November 2017, London

Lot 271. A crackle-glazed cong-form vase, Qianlong six-character seal mark in underglaze blue and of the period (1736-1795). 9 in. (22.8 cm.) high. Estimate GBP 15,000 - GBP 20,000 (USD 19,665 - USD 26,220) © Christie's Images Ltd 2017

Made in imitation of guan ware, each side is moulded with the Eight Trigrams set in two vertical rows, all under a pale greyish-blue glaze suffused with dark brown crackle repeated inside the pedestal foot. The underside of the foot covered with a brown dressing.

Lot 272. A Guan-type lingzhi brush washer, xi, 18th-19th century. 5 ¾ in. (14.5 cm.) wide. Estimate GBP 4,000 - GBP 6,000 (USD 5,244 - USD 7,866) © Christie's Images Ltd 2017

The shallow washer is smoothly potted as a large lingzhi fungus with low raised curled edges forming the sides of the vessel. A smaller fungus is attached to the crescent-form stem on one side. The piece is covered overall with an unctuous pale grey glaze suffused with dark and russet crackles, the base with spur marks reminiscent of Song-dynasty wares.

Lot 134. A Guan-type arrow vase, Daoguang mark and of the period (1821-1850). 11 3/4in (30cm) high. Estimate US$ 15,000 - 25,000 (€13,000 - 22,000). Photo: Bonhams.

Of circular section with rounded sides rising to a sharply angled shoulder, tapering to a cylindrical neck flanked by tubular handles, all supported on a short foot, the unglazed foot ring enclosing a glazed base centered by a six-character seal mark in underglaze blue, the glazed surfaces of pale, grayish-green with a network of dark brown and very light tan crackles. 

Provenance: Collection of John Hill Morgan (1870-1945), Farmington, Connecticut, thence by descent.

Note: John Hill Morgan was a lawyer, prominent collector of Americana, an authority on portraits of George Washington, a professor and assistant curator of American painting at Yale, a New York state legislator and a director of Bank of America. Around 1915, Morgan began a social hobby of collecting Chinese art alongside a group of Brooklyn friends who did business with China and this vase was most likely purchased at that time. 

For a vase with similar glaze, also with Daoguang mark and of the period, see Christie's, London, 8 November 2011, lot 362.

Bonhams. ASIAN WORKS OF ART. 30 Oct 2017, 10:00 EDT, NEW YORK

Domenico Tiepolo, A Centaur Playing with Punchinellos, n.d. Pen and brown ink, brush and brown washes over traces of black chalk on cream laid paper, 35.9 x 47.5 cm (14 1/8 x 18 11/16 inches). Eskenazi Museum of Art, The Anthony Moravec Collection of Old Master Drawings 2010.129.

SACRAMENTO, CA.- This fall, the Crocker Art Museum brings to Sacramento an exhibition of master drawings by two of 18th-century Italy’s most famous draftsmen, the father and son Giambattista and Domenico Tiepolo. Masters of Venice: Drawings by Giambattista and Domenico Tiepolo from the Anthony J. Moravec Collection offers an engaging experience of luminous compositions, as the Tiepolos’ splendid drawings — and the works of other Venetian artists — provide a unique view into the distinctive art of Italy’s lagoon city. 

On view from October 29, 2017 – February 4, 2018, Masters of Venice provides new insight into two of the city's most important artists. Eighteenth-century Venice was not only home to a lively community of artists and the finest publishing and printmaking industry in Europe, but its unique architecture and traditions also made it a cultural destination for artists, aristocrats, and royalty. Giambattista Tiepolo (1696–1770) and his son Domenico (1727–1804) were the most renowned Venetian artists during this period, with patrons across Italy and Europe. In 2010, Indiana businessman and philanthropist Anthony J. Moravec donated a collection of drawings by the Tiepolos to Indiana University’s Sidney and Lois Eskenazi Museum of Art in Bloomington, expanding its Tiepolo holding to make it the third largest in the nation. 

Giandomenico Tiepolo, Anna meets Joachim at the Golden Gate,. n.d. Pen and brown ink, brush, brush and brown washes over black chalk, 10 1/15 x 14 7/8 in. Eskenazi Museum of Art, Indiana University, The Anthony Moravec Collection of Old Master Drawings.

he centerpiece of the exhibition is a group of 12 drawings from Domenico Tiepolo’s New Testament cycle, from what is believed to be the largest such cycle produced by a single artist. These large, ink and wash drawings are not studies for other works, but rather unique designs that showcased the artist’s deep understanding of the religious subject matter and his careful observation of the world around him. While most of the events from the New Testament are familiar, others are more rarely depicted, yet even in the most iconic scenes, Domenico brings out the humanity of the story. 

“Domenico Tiepolo was an extraordinary storyteller,” says Crocker Art Museum Curator William Breazeale. “His talent for bringing together faith and inventive composition is apparent throughout his religious drawings.” 

Domenico Tiepolo (Italian, 1727-1804). Jesus in the Garden of Gethsemane: The Second Prayer, ca. 1785. Pen and brown ink wash over black chalk on paper. The Anthony Moravec Collection of Old Master Drawings, Eskenazi Museum of Art 2010.118.

While Domenico’s New Testament series shows scenes of devout prayer, swooping angels, the penitent faithful, and a menacing Satan, the artist also ventures into lively mythological drawings of centaurs, and his most famous series, scenes of Punchinello. Drawn from the characters in the popular theater, the commedia dell’arte, the series shows Punchinello as an everyman, dancing and stumbling through life’s celebrations and tragedies. 

Although the collector of these works focused largely on Domenico’s work, it is not surprising that he also acquired excellent examples by the artist’s father, Giambattista Tiepolo. One of the most productive 18th-century artists, Giambattista — assisted by Domenico — frescoed enormous palaces, in addition to producing narrative paintings, etchings, and a large number of drawings. Giambattista Tiepolo was particularly talented at capturing gleaming contrasts of light in all his works, using washes to define textures in his scenes as well as his famous caricatures. 

Giambattista Tiepolo (Italian, 1696-1770). The Flight into Egypt, 1735-40. Pen and brown ink wash over traces of black chalk on paper. The Anthony Moravec Collection of Old Master Drawings, Eskenazi Museum of Art 2010.134.

“Perhaps because of the unusual light in the lagoon city — with its bright reflections and deep shadows — he created shimmering, glowing drawings with abundant warm brown washes,” says Breazeale. “In the Flight into Egypt, for example, he depicts the Holy Family leading a braying donkey past a grove of barren trees, and creates a remarkable experience of light and shade as he defines the landscape and figures with varying patches of wash.” 

Along with the drawings by the Tiepolos, Masters of Venice includes drawings by their predecessors and contemporaries, including Ubaldo Gandolfi and Giuseppe Bernardino Bison. A selection of 12 Venetian drawings from the Crocker's permanent collection accompanies the exhibition, expanding our view of the city's rich artistic tradition. 

Palma Giovane [Jacopo il Giovane] (Italian, 1548-1628). Study for St. John the Baptist Preaching, ca. 1620. Pen and brown ink wash on paper. Anthony Moravec Collection of Old Master Drawings, Eskenazi Museum of Art 2010.128.

This exhibition is organized by The Sidney and Lois Eskenazi Museum of Art at Indiana University. It is accompanied by a full-color catalogue by Adelheid Gealt, director and curator of Western art emerita at the Eskenazi Museum of Art, with contributions by the late George Knox, an authority on Venetian art. The catalogue includes works by the Tiepolos that are published for the first time.

OCTOBER 29, 2017 — FEBRUARY 04, 2018

Lot 111. Two Longquan celadon mallet vases, Yuan-Ming dynasty (1279-1644). 6in (15.1cm) high. Estimate US$ 2,000 - 3,000 (€1,700 - 2,600). Photo: Bonhams.

Each with mallet-form body rising to a tall columnar neck with everted rim, flanked by stylized animal-form C-shaped handles suspending stationary rings. 

Lot 258. A carved 'Longquan' celadon bowl, Ming dynasty, 15th century. 11.7 cm, 4 5/8  in. Estimate 8,000 — 12,000 GBP. Courtesy Sotheby's. 

with deep rounded sides rising to a flaring rim, carved to the interior with a central medallion of a flowering spray enclosed by a band of meandering floral scrolls, separated by two bands of double rings, the exterior similarly carved with blooms borne on leafy stems with a further double ring surrounding the foot, applied overall with a rich celadon-green glaze save for the foot ring on the recessed base.

Sotheby's. St George Street Sale: Chinese Art, London, 10 Nov 2017, 10:00 AM