Lot 1607. A painted pottery jar, Neolithic, Majiayao culture (ca. 3300–2050 BC). D. 18,5 cm. Estimate 100 €. Lot sold 160 €. Courtesy Nagel
Age measurement confirmed by Thermoluminescence Analysis 20th February 2008 (Oxford Authentication, no. C108e94).
Nagel. "Asiatische Kunst - Salzburg", 07.12.2017
Seated luohan (arhat) in a grotto, Qing dynasty (1644–1911), 18th–19th century. Lapis lazuli. H. 7 1/8 in. (18.1 cm); W. 10 in. (25.4 cm). Gift of Heber R. Bishop, 1902; 02.18.917© 2000–2017 The Metropolitan Museum of Art.
Seated luohan (arhat) in a grotto, Qing dynasty (1644–1911), 18th century. Malachite. H. 9 in. (22.9 cm); W. 7 3/4 in. (19.7 cm). Bequest of Edmund C. Converse, 1921; 21.175.136© 2000–2017 The Metropolitan Museum of Art.
Landscape with figures, Qing dynasty (1644–1911), 18th century. Jade (nephrite). H. 7 1/4 in. (18.4 cm); L. 19 5/8 in. (49.8 cm). Bequest of Jacob Ruppert, 1939; 39.65.22a, b© 2000–2017 The Metropolitan Museum of Art.
This sculpture exploits the otherworldly luminescence of jade to depict a landscape beyond the reach of mere mortals. In the foreground, by a rushing river, an aging scholar communes with a crane, the frequent companion of Daoists and hermits.
Mountain with landscape scene, Qing dynasty (1644–1911), 18th century. Lapis lazuli. H. 4 3/4 in. (12.1 cm); W. 6 1/4 in. (15.9 cm). Alfred W. Hoyt Collection, Bequest of Rosina H. Hoppin, 1965; 65.86.183a, b © 2000–2017 The Metropolitan Museum of Art.
Bell (nao), Western Zhou dynasty (1046–771 BC). China, probably Hunan province. Lucy Maud Buckingham Collection. © The Art Institute of Chicago.
CHICAGO - Chinese bronzes of the second and first millennia BC are some of the most distinctive achievements in the history of art. Exquisitely ornamented, these vessels were made to carry sacrificial offerings, to use in burial, or to commemorate family in public ceremonies. When they were found by emperors centuries later, these spiritually significant objects were seen as manifestations of a heavenly mandate on a ruler or dynasty and became prized items in imperial collections. This exhibition—the first to explore how these exquisite objects were collected and conceptualized throughout Chinese history—presents a rare opportunity to experience a large number of these works together in the United States.
Wine Bucket (Xiao Chen Xi you), late Shang dynasty (13th–11th century BC). China. © The Shanghai Museum.
Unlike Greek and Roman bronze sculptures of human and animal forms, most objects from Bronze Age China (about 2000–221 BC) were vessels for ritual use. Beginning with the Song dynasty (960–1279), emperors unearthed these symbolic works and began collecting them, considering them to be evidence of their own authority and legitimacy as rulers. Several 18th-century portraits of Emperor Quianlong include his bronze collection, demonstrating how ancient bronzes came to play a critical role in imperial ideology and self-fashioning. In addition to impressive collections, the royal fascination with bronzes led to the creation of numerous reproductions and the meticulous cataloguing of palace holdings. These catalogues are works of art themselves, featuring beautiful illustrations and detailed descriptions of each object.
Lobed Tripod Cauldron (Shi Yin li), Mid-Western Zhou dynasty, 927–850 BC. China. © The Palace Museum, Beijing.
From the 12th century onward, scholars and artists also engaged in collecting and understanding ancient bronzes, especially their inscriptions. Unlike emperors, who commonly employed art to promote and implement political and cultural policies, scholars regarded bronzes as material evidence of their efforts to recover and reconstruct the past, and they occasionally exchanged them as tokens of friendship. Today ancient bronzes still occupy a prominent position in Chinese culture—as historical or nostalgic objects and as signifiers of an important cultural heritage that inspires new generations, as seen in the works of contemporary artists on view in this presentation.
Artist Unknown. Court Beauty, Qing dynasty, late Kangxi reign (between 1709 and 1723). © The Palace Museum, Beijing.
Mirroring China’s Past brings together approximately 180 works from the Art Institute of Chicago’s strong holdings and from the Palace Museum in Beijing, the Shanghai Museum, and important museums and private collections in the United States. By providing viewers with a new understanding of ancient bronzes and their significance through time, the exhibition illuminates China’s fascinating history and its evolving present.
February 25, 2018–May 13, 2018 - Regenstein Hall.
Bird-Shaped Container (zun), late Shang dynasty (13th–11th century BC). Lucy Maud Buckingham Collection. © Art Institute of Chicago
Wu Dacheng. Collected Antiquities at Kezhai Studio (Kezhai jigutu), before 1892. © The Shanghai Museum.
Lot 531. A good blue-green Beijing glass bottle, incised Qianlong four-character mark and of the period (1736-1795). H. 17 cm. Estimate 2.000/3. 000 €. Lot sold 2.000 €. Courtesy Nagel
Tiny polished chip to stand.
Provenance: From the collection of a member of the Family Baron von Goldschmidt-Rothschild, formerly Palais Grüneburg, Frankfurt on the Main.
Nagel. "Asiatische Kunst - Salzburg", 06.12.2017
Lot 533. A celadon-glazed ripped porcelain vase, China, 18th century. H. 15,2 cm. Estimate 3.000/5. 000 €. Lot sold 3.000 €. Courtesy Nagel
Very small chip to mouth rim.
Provenance: Property from an old German private collection, assembled prior to 1990.
Nagel. "Asiatische Kunst - Salzburg", 06.12.2017
Lot 545. A pair of large underglaze blue 'Zodiac' cachepots, Qing dynasty (1644-1911). H. 47 cm. Estimate 10.000/15. 000 €. Lot sold 10.000 €. Courtesy Nagel
Depiction of various zodiacs and auspicious animals, including Qilin, deer, rat, hare and horse under a Ruyi-shaped border. Border of stylized lotus flowers to the foot. Flattened top rim with prunus blossom border. Glazing flaws to the top rim and some other places, inside one with a small hairline crack, on the lower rim with one small area of glaze corrosion.
Provenance: Former property from an Austrian private collection.
Nagel. "Asiatische Kunst - Salzburg", 06.12.2017
Lot 990. A polychrome enameled porcelain plaque, Wang Qi, dated by inscription to 1928; 8 x 23in (20.2 x 58.5cm) visible dimensions of porcelain. Estimate $60,000 - 80,000. Sold for US$ 312,500 (€263,824) inc. premium. © Bonhams 2001-2017
Of long rectangular section, depicting the demon queller Zhong Kui looking on stoically while his elaborate cortege of subjugated devils deliver his clearly distraught sister unwillingly to her marriage through a misty wood, beside the lengthy inscription including the wuchen date and the signature reading Xichang Taomi Daoren Wang Qi xieyi.
Note: After being deprived of his rightful place as top exam finisher due to his unattractive appearance, the Tang dynasty scholar Zhong Kui committed suicide in a rage by slamming his face into a pillar. His angry soul however would still go on to find employment in the service of the state as the emperor's personal 'queller of demons.' See Bartholomew Hidden Meanings in Chinese Art (San Francisco: Asian Art Museum of San Francisco, 2006), 285 for a succinct synopsis.
Something about this well-known legend seemed to exert an irresistible attraction on Wang Qi (1884-1937) for the length of his career. Simon Kwan's Chinese Porcelain of the Republic Period: the Muwen Tang Collection Series [Minguo Ciqi: Muwen Tang Shoucang Quanji] volume 6,(Hong Kong: Muwen Tang Fine Arts, 2008), includes no fewer than three pieces by Wang Qi depicting the demon queller, no. 22-24, pp 102-107. See as well the vase offered in these rooms as lot 8186 in Bonhams sale 22510 of 10 December 2015.
What the demons that appear in all of those examples share in common with those in the present lot is that they all seem less like ferocious enemies to be slayed and more like begrudging and annoyed assistants to an equally begrudging and annoyed Zhong Kui. Queller and quelled perhaps thus find a tenuous common ground in their shared experience as being homely outcasts from a society concerned only with superficial beauty.
Indeed in the present lot, Wang Qi characteristically utilizes porcelain of long horizontal shape to explore these ideas with an imagination and technical virtuosity equal to some of his finest other published examples in this format: see Kwan no 27 pp 112-113 Op. cit. as well as the plaque offered in these rooms as lot 8191, 19 December 2016. As only Wang Qi can, the plaque progressively unveils a spectrum of exaggerated and grotesque facial expressions and body language as the elaborate team of devils delivers Zhong Kui's sister to her wedding through the dreary woods. Angry, embarrassed, irritated and concerned, Wang depicts the quelled minions in every uncomfortable shade of the emotional rainbow. Perhaps equally demonic in his own way, Zhong Kui avoids making eye-contact with the weeping sister he's giving away, a maiden renowned for a beauty she here hides from the viewer by burying her head in her sleeve. Zhong can only hide underneath a broken fan himself, also unable to make eye contact with the viewer-- Wang Qi in this way rendering the potentially one-dimensional folk tale of Zhong Kui and his personal demons with a fully formed psychological portrait of sadness, trauma and perhaps a bit of shame.
Bonhams. FINE ASIAN WORKS OF ART, 18 Dec 2017, 11:00 PST -+ SAN FRANCISCO
Lot 1031. Zhang Daqian (1899-1983), Boating Among Cliffs, 1974. Estimate $200,000 - 300,000. Sold for US$ 372,500 (€314,478) inc. premium. © Bonhams 2001-2017
Ink and color on paper, laid down on wood board, mounted and framed, inscribed with a poem, dated liu shi san nian jiayin er yue (1974, second month), dedicated to Daoshi wu xiong and Zhong Qi fu ren and signed Daqian Zhang Yuan, with five artist's seals reading Huanbi'an, Zhang Yuan zhi yin, Daqian Jushi, yizhiyan, and san qian Daqian. 53 x 27 1/4in (134.6 x 69.2cm).
Provenance: acquired directly from the artist, thereafter by descent
From the Collection of Henry Tao-Sze Hsia (1923-2003)
Note: Dr. Henry Tao-Sze Hsia (Xia Daoshi 夏道師, 1923-2003) was an aerospace engineer and research scientist. Born to the prominent Republic era legal scholar and adjudicator Xia Qin (夏勤, 1892-1950), Dr. Hsia obtained a Bachelor of Science degree at the National Chiao Tung University in Shanghai (now the Shanghai Jiaotong University 上海交通大學) before emigrating to the United States in 1947, and subsequently obtained his Master's and Ph.D at Harvard and Stanford Universities, respectively. After relocating with his family to the Northern California Bay Area in 1957, Dr. Hsia worked as an engineer and consultant for such companies as Lockheed and General Electric.
After a Peking Opera performance in the mid 1970s; Dr. Henry Tao-Sze Hsia at far left, Zhang Daqian at third from the right. Photo captions: Dr. Henry Tao-Sze Hsia
In addition to his many scientific achievements documented in publications and patents, Dr. Hsia held a deep appreciation for Chinese art and culture, and promoted Chinese culture by establishing a local Chinese Cultural Association and Chinese language school, as well as teaching Chinese history at the local community college. He led, and was an active member of, the Bay Area Chinese Society of Performing Arts. During his lifetime, Dr. Hsia and his wife Zhong Qi befriended and hosted many prominent Chinese scholars and artists, most notably Zhang Daqian, Hu Shi, Yu Youren, and Hou Beiren. In the early 1970s, Dr. Hsia and Zhang Daqian established a close acquaintance, the two sharing a love of traditional Peking opera. It was during the Hsia family's visits to Zhang Daqian's Monterey residence Huanbi'an when Dr. Hsia was gifted paintings by Zhang. Dr. Hsia treasured his collection of paintings and ceramics, and delighted in showing them to friends and students alike. Selected paintings from the Henry Tao-Sze Hsia collection are being offered by members of his family.
Lot 1033. Zhang Daqian (1899-1983), Persimmon Tree, 1970. Estimate $100,000 - 120,000. Sold for US$ 212,500 (€314,478) inc. premium. © Bonhams 2001-2017
Ink and color on paper, hanging scroll, inscribed with a poem, dated wu shi jiu nian sui genshu shi yi yue (1970, eleventh month), dedicated to Daoshi wu xiong and Zhong Qi fu ren and signed Daqian Jushi Zhang Yuanwith three artist's seals reading Zhang Yuan zhi yin, Daqian Jushi and Keyiju. 70 1/2 x 35 1/4in (179 x 89.5cm)
Provenance: acquired directly from the artist, thereafter by descent
Lot 1034. Qi Baishi (1864-1957), Frogs. Ink on paper, hanging scroll now mounted, framed and glazed, signed Qi Baishi with three artist's seals reading Ping Weng, wu nian ba shi ba and gu li shan hua qi shi kai ye. 40 3/4 x 13 1/2in (103.5 x 34.3cm). Estimate $60,000 - 80,000. Sold for US$ 87,500 (€73,870) inc. premium. © Bonhams 2001-2017
Provenance: gifted to the original owner in 1948, thereafter by descent
Lot 979. A Junyao purple-splashed bowl, 11th-12th century; 6 1/2in (16.5cm) diameter. Estimate $5,000 - 7,000. Sold for US$ 22,500 (€18,995) inc. premium. © Bonhams 2001-2017
The gently rounded sides, applied overall with a bubble-suffused pale blue glaze thinning to a buff color at the slightly incurved rim, the surfaces enhanced with mottled purple splashes, the thick glaze stopping short of the neatly finished unglazed orange-burnt foot ring.
Lot 981. An unusual iron-rust glazed bottle vase, 18th century; 11 in (28cm) high. Estimate $3,000 - 5,000. Sold for US$ 3,750 (€3,165) inc. premium. © Bonhams 2001-2017
The globular body gently rising to a tall straight neck, the exterior applied with a rust-red glaze suffused with brown and iridescent speckles, all supported on a splayed foot, the base polished.
Provenance: Crane Gallery, Seattle, Washington
a Private Collector, Spokane, Washington
Crane Gallery, Seattle, Washington, acquired 9th November 2007
Collection of Brooks & Dorothy Cofield
Lot 982. A langyao glazed deep bowl, Qianlong minyao mark and of the period; 7 1/2in (19cm) diameter. Estimate $2,500 - 4,000. Sold for US$ 2,500 (€2,110) inc. premium. © Bonhams 2001-2017
Molded with a wide deep well raised on a tall foot, the exterior walls coated with a copper red wash firing to a liver red hue beneath a celadon-tinged glaze visible on the well and within the deeply recessed base centered with the six-character mark in dark cobalt seal script.
Lot 983. Two iron-rust glazed incense burners, Qing dynasty, 18th-19th century; 5 3/8 and 5in (3.7 and 2.7cm) wide across handles. Estimate $2,000 - 3,000. Sold for US$ 3,500 (€2,954) inc. premium. © Bonhams 2001-2017
Each of carefully potted bombé form, simulating Ming dynasty bronze censers, the first standing on a flared foot, its waisted neck and swelling sides supporting two arched openwork handles, all surfaces, except the recessed base and the floor of the interior well, applied with a brownish-red glaze suffused with iridescent speckles; the second rising from a nearly straight foot to a gently waisted neck, with a thin, slightly rounded rim, flanked by two stylized chilong handles, the rust-red glaze mottled with silver-gray spots, the foot pad and the interior floor unglazed.
Provenance: Collection of Brooks & Dorothy Cofield
Larger censer: Estate of Theodora Lang, granddaughter of Hamm's Brewing founder Theodore Hamm, St. Paul, Minnesota
Jeremy Moore Antiques, Minneapolis, Minnesota, acquired 12th October 2010
Smaller censer: an English Collection
Tom Tigerio Antiques, Seattle, Washington, acquired 27th March 2009
Lot 985. An inscribed Dehua porcelain incense burner, 17th-18th century; 6in (15.3cm) wide across handles. Estimate $2,000 - 3,000. Sold for US$ 3,750 (€3,165) inc. premium. © Bonhams 2001-2017
The bombé form vessel supported on a tall, splayed foot, rising to an everted rim, flanked at the sides with a pair of lion mask handles, one side of the rounded walls incised with an inscription reading xiang ai jing yutang (the fragrant mist purifies the Jade Hall), the foot pad and a partial of the interior well unglazed, the remaining surfaces covered in a creamy-white glaze with a slight ivory tinge.
Provenance: Ralph Chait Gallery, New York
Collection of William Crossett, Seattle, Washington
Crane Gallery, Seattle, Washington, acquired 8th June 2011
Collection of Brooks & Dorothy Cofield.
Lot 986. A carved lime green glazed porcelain seal paste box and cover, Wang Bingrong, 19th century; 3 1/4in (10.8cm) diameter; 1 1/2in (3.8cm) high. Estimate $4,000 - 6,000. Sold for US$ 8,750 (€7,387) inc. premium. © Bonhams 2001-2017
The circular box carved along the exterior side walls with a raised border of formalized waves below incised lines and raised dots indicating the splashes from the motion of crashing waves, the fitted cover crisply carved with two scaly five-clawed dragons, each with an open jaw and prominent fangs, the bulging eyes picked out in black, pursuing a flaming pearl amidst fluidly rendered wisps of cloud, the base finely carved in relief with a Wang Bingrong zuo mark, enclosed by a splayed circular foot ring, the exterior covered entirely in lime green glaze except the foot pad, the interior glazed in orange-red except the contact areas of the box and its cover.
Note: Traditionally, individual artists remained anonymous on artworks created in imperial China. With the exception of paintings and calligraphy, the names of the artists gave way to the imperial reign marks. But this custom began to change in the early nineteenth century. Although the imperial reign marks and important hall marks still represented unshakeable power and privilege, there was a growing impulse for artists and craftsmen to sign their wares if they became sufficiently well known among the patrons to warrant a personal identification.
Wang Bingrong, believed to have been active during the Tongzhi and Guangxu periods (1862-1908), was among the celebrated emerging artists who gained fame as a talented porcelain carver. According to Yinliuzhai Shuo Ci(Commentary on Porcelain from the Studio of Drinking Streams) composed by Xu Zhiheng during the Qing dynasty, Wang's best-known work was scholar's objects.
Dragons were among Wang's popular designs. It was characteristic that the eyes of the dragons in Wang's works were usually enameled in black. His dragons are executed in varying styles and positions, suggesting that the designs were more likely achieved by hand carving, not from mold.
When comparing the present example to a Wang Bingrong-inscribed porcelain snuff bottle from the Meriem Collection (refer to Christie's sale 1934, New York, 19 September 2007, lot 670), one can easily spot the similarities in the flow of the carving, the treatment of the carved dragon, and the use of the space on the object.
Pendant in the form of a ferret, 16th century, Northern European. Gold, partly enameled, set with rubies and diamonds; pearls. Overall: 3 1/2 × 1 7/8 in. (8.9 × 4.8 cm). Gift of George Blumenthal, 1941; 41.100.26© 2000–2017 The Metropolitan Museum of Art.
The size of this jewel and related ones (see also 17.190.892; 17.190.893; 32.100.298; and 32.100.306) is such that only the closest viewer could appreciate their full beauty and dexterous execution; they represent the finest craftsmanship for the wealthiest patrons. Each combines gold with natural treasures, such as pearls and gemstones. Bulbous baroque pearls cleverly suggest the fluffy down of a swan’s underbelly or a cloudy mass supporting the Crucifixion. Tiny figures are enameled in the round. Melding the secular and the sacred, these jewels were made to be worn: pinned to garments or hanging close to their owners’ skin. The animals might be heraldic devices; the swan, for example, could symbolize the Society of the Virgin Mary, called the Order of the Swan, which was founded in mid-fifteenth-century Brandenburg in Germany. [Elizabeth Cleland, 2017]
The Crucifixion, 16th century, Northern European. Gold, partly enameled, set with Baroque pearl. Overall: 2 1/4 × 1 3/8 × 1/2 in. (5.7 × 3.5 × 1.3 cm). Gift of J. Pierpont Morgan, 1917; 17.190.892© 2000–2017 The Metropolitan Museum of Art.
The size of this jewel and related ones (see also 17.190.893; 32.100.298; 32.100.306; and 41.100.26) is such that only the closest viewer could appreciate their full beauty and dexterous execution; they represent the finest craftsmanship for the wealthiest patrons. Each combines gold with natural treasures, such as pearls and gemstones. Bulbous baroque pearls cleverly suggest the fluffy down of a swan’s underbelly or a cloudy mass supporting the Crucifixion. Tiny figures are enameled in the round. Melding the secular and the sacred, these jewels were made to be worn: pinned to garments or hanging close to their owners’ skin. The animals might be heraldic devices; the swan, for example, could symbolize the Society of the Virgin Mary, called the Order of the Swan, which was founded in mid-fifteenth-century Brandenburg in Germany. [Elizabeth Cleland, 2017]
Pendant in the form of a swan, 16th century, Northern European. Gold, partly enameled; pearls. Overall (with chain): 2 1/2 × 1 3/8 × 13/16 in. (6.4 × 3.5 × 2.1 cm). Gift of J. Pierpont Morgan, 1917; 17.190.893 © 2000–2017 The Metropolitan Museum of Art.
The size of this jewel and related ones (see also 17.190.892; 32.100.298; 32.100.306; and 41.100.26) is such that only the closest viewer could appreciate their full beauty and dexterous execution; they represent the finest craftsmanship for the wealthiest patrons. Each combines gold with natural treasures, such as pearls and gemstones. Bulbous baroque pearls cleverly suggest the fluffy down of a swan’s underbelly or a cloudy mass supporting the Crucifixion. Tiny figures are enameled in the round. Melding the secular and the sacred, these jewels were made to be worn: pinned to garments or hanging close to their owners’ skin. The animals might be heraldic devices; the swan, for example, could symbolize the Society of the Virgin Mary, called the Order of the Swan, which was founded in mid-fifteenth-century Brandenburg in Germany. [Elizabeth Cleland, 2017]
Justice, 16th century, Northern European. Gold, partly enameled, set with diamonds and emeralds; pearls. Overall: 4 5/16 × 3 in. (11 × 7.6 cm). The Friedsam Collection, Bequest of Michael Friedsam, 1931; 32.100.298 © 2000–2017 The Metropolitan Museum of Art.
The size of this jewel and related ones (see also 17.190.892; 17.190.893; 32.100.306; and 41.100.26) is such that only the closest viewer could appreciate their full beauty and dexterous execution; they represent the finest craftsmanship for the wealthiest patrons. Each combines gold with natural treasures, such as pearls and gemstones. Bulbous baroque pearls cleverly suggest the fluffy down of a swan’s underbelly or a cloudy mass supporting the Crucifixion. Tiny figures are enameled in the round. Melding the secular and the sacred, these jewels were made to be worn: pinned to garments or hanging close to their owners’ skin. The animals might be heraldic devices; the swan, for example, could symbolize the Society of the Virgin Mary, called the Order of the Swan, which was founded in mid-fifteenth-century Brandenburg in Germany. [Elizabeth Cleland, 2017]
Cross, 16th century, Northern European. Gold, partly enameled, set with diamonds. Overall: 2 3/4 × 1 9/16 in. (7 × 4 cm). The Friedsam Collection, Bequest of Michael Friedsam, 1931; 32.100.306 © 2000–2017 The Metropolitan Museum of Art.
The size of this jewel and related ones (see also 17.190.892; 17.190.893; 32.100.298; and 41.100.26) is such that only the closest viewer could appreciate their full beauty and dexterous execution; they represent the finest craftsmanship for the wealthiest patrons. Each combines gold with natural treasures, such as pearls and gemstones. Bulbous baroque pearls cleverly suggest the fluffy down of a swan’s underbelly or a cloudy mass supporting the Crucifixion. Tiny figures are enameled in the round. Melding the secular and the sacred, these jewels were made to be worn: pinned to garments or hanging close to their owners’ skin. The animals might be heraldic devices; the swan, for example, could symbolize the Society of the Virgin Mary, called the Order of the Swan, which was founded in mid-fifteenth-century Brandenburg in Germany. [Elizabeth Cleland, 2017]
