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Two Dayazhai grisaille-decorated jardinières and underdishes, Qing dynasty, Tongzhi-Guangxu period (1865-1908)

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Two Dayazhai grisaille-decorated jardinieres and underdishes, Qing dynasty, Tongzhi-Guangxu period

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Lot 491. Two Dayazhai grisaille-decorated jardinières and underdishes, Qing dynasty, Tongzhi-Guangxu period (1865-1908). Height of jardinières 4 in., 10 cm, Diameter of underdishes 6 1/2  in., 16.5 cm. Estimate 5,000 — 7,000 USD. Lot sold 12,500 USD. Photo Sotheby's 2014.

each jardinière of circular form, the deep rounded sides rising to an everted rim and supported on four bracket feet, the stands with steep tapering sides and a wide everted rim, all similarly decorated on the exterior with finely painted sprays of China rose and peach blossom, the rims with overglaze blue key-fret pattern, each planter with the three-character Dayazhai inscription and the oval seal reading tiandi yi jia chun in iron-red (4)

Provenance: Collection of John Story Jenks (1839-1923), Philadelphia and thence by descent.

Note: Mr. Jenks, an active philanthropist, served for many years on the Board of Trustees of the Philadelphia Art Museum as well as donating many Chinese works of art to its permanent collection.

Similar examples along with the illustrations of the original drawings for the designs from the Palace Collection in Beijing are published in Guo Xingkuan and Wang Guangyao, Guanyang Yuci: Gugong bowuyuan cang Qingdai zhici guanyang yu Yuyao, Beijing, 2007, pp. 194-195 and there is another illustrated in The Complete Works of Chinese Ceramics, Qing part II, Shanghai, 1999-2000, p. 200.  

Pieces with this distinctive mark and decoration are considered to have been first commissioned by the Dowager Empress Cixi during the Tongzhi reign and continuing after 1875 when she installed her nephew Guangxu on the throne. The attractive pattern appearing on dinner services and jardinières features fine floral painting on either a white or colored ground and have always been highly regarded for their quality and striking patterns. The origin of the mark Dayazhai (Studio of the Greater Odes) is somewhat speculative. A plaque was found in the Imperial workshops bearing the characters Dayazhai and with one of two seals reading Tiandi Yijia Chun: see Guo Xingkuan and Wang Guangyao, Guanyang Yuci: Gugong bowuyuan cang Qingdai zhici guanyang yu Yuyao, Beijing, 2007, pp. 145-147. According to the authors, the timing for such a large commission would make sense as major renovation on Yuanming Yuan began in 1873 and a section was successfully rebuilt in 1888 at enormous expense and to the exact specifications of the Dowager Empress who would then be in need of new furnishings and decorations. 

Sotheby's. Fine Chinese Ceramics & Works of Art. New York, 18 March 2014

A pair of celadon ground famille rose trilobed double gourd vases, Qing dynasty, 19th century

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A pair of celadon ground famille rose trilobed double gourd vases, Qing dynasty, 19th century

Lot 492. A pair of celadon ground famille rose trilobed double gourd vases, Qing dynasty, 19th century. Heights 12 in., 30.5 cm. Estimate 10,000 — 15,000 USD. Lot sold 10,000 USD. Photo Sotheby's 2014.

each formed with three spouts and a molded bow decorated in underglaze blue around the waist, over a band of lotus petals, the body painted with butterflies amid flowering sprigs, all above a lotus leaf band surrounding the foot

Sotheby's. Fine Chinese Ceramics & Works of Art. New York, 18 March 2014

A massive famille-rose jardinière, Qing dynasty, 19th century

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A massive famille-rose jardinière, Qing dynasty, 19th century

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Lot 493. A massive famille-rose jardinière, Qing dynasty, 19th century. Diameter 24 1/2  in., 62.2 cm. Estimate 6,000 — 8,000 USD. Lot sold 112,500 USD. Photo Sotheby's 2014.

heavily potted, the shallow jardinière decorated on the exterior with a lotus pond with peonies and chrysanthemums, with birds, bees and butterflies in flight above

Sotheby's. Fine Chinese Ceramics & Works of Art. New York, 18 March 2014

An unusual Ordos silver harness fitting, 6th-4th century BC

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Lot 30. An unusual Ordos silver harness fitting, 6th-4th century BC; 5.4cm., 2 1/8 in. Weight 23g. Estimate 1,200 — 2,000 GBP. Lot sold 6,875 GBP. Photo: Sotheby's 2008

rendered in the form of the stylised head of a feline, the slanting eyes mirroring long pointed ears, a cloud spiral issuring from its mouth, a square four-sided loop at the back for attachment.

Exhibited: Smithsonian Institution, Washington, D.C., 1954-55, cat. no.86.

Literature

Gyllensvärd, Stockholm, 1953, pl. 86.

Ulricehamn, 1999, pl. 89.

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

An unusual Ordos gold harness fitting, 6th-4th century BC

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Lot 31. An unusual Ordos gold harness fitting, 6th-4th century BC; 7.4cm., 3 7/8 in. Weight 42g. Estimate 1,200 — 2,000 GBP. Lot sold 31,700 GBP. Photo: Sotheby's 2008

cast as four stylised animal heads issuing from a zoomorphic body and forming a taotie-mask with a pair of raised bosses flanking a central flange.

Exhibited: Smithsonian Institution, Washington, D.C., 1954-55, cat. no.33.

LiteratureGyllensvärd, Stockholm, 1953, pl. 33.

Ulricehamn, 1999, pl. 31.

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

An Ordos silver garment-hook, Eastern Zhou, 6th-4th century BC

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Lot 32. An Ordos silver garment-hook, Eastern Zhou, 6th-4th century BC; 19.5cm., 7 5/8 in. Weight 74,5g. Estimate 1,000 — 1,500 GBP. Lot sold 4,375 GBP. Photo: Sotheby's 2008

the large body worked in repousse in the shape of a crouching beast, the legs partly hidden underneath the body, the head lifted and ears raised, the tail tapering and forming the hook, the reverse with a small button.

ExhibitedMusee Cernuschi, Paris, November 1938

Chinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 147.

LiteratureBo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 147.

Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 146.

Note: The present example possibly represents an Ordos garment-hook that was later adapted and fitted with a new hook. A very similar gilt bronze example is in the Wellington Wang Collection, illustrated in Belt Ornaments through the Ages, Taipei, 1996, p. 92.  

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

A fine and unusual silver garment-hook, Six Dynasties (220-589) or earlier

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Lot 33. A fine and unusual silver garment-hook, Six Dynasties (220-589) or earlier; 3.9cm., 1 1/2 in. Weight 74,5g. Estimate 6,000 — 8,000 GBP. Lot sold 24,500 GBP. Photo: Sotheby's 2008

the heavy silver mount superbly cast in the shape of a lizard-like creature, realistically portrayed crouching on the button with sharp-clawed feet, the face with a fierce expression, the small expressive eyes below a thick mane swept back and revealing a pair of horns, the body and back finely detailed with small feather-like scales, the shoulders set with a pair of wings and the long tail curled and ending in a bird's head.

ExhibitedChinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 85.

LiteratureBo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 85.

Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 88.

Note: The present piece is unusual in its intricate and finely executed design. A gold garment-hook inlaid with a turquoise and with a similarly crouching beast but attributed to the Warring States period, is illustrated in Celestial Creations: Art of the Chinese Goldsmith. The Cheng Xun Tang Collection, The Chinese University of Hong Kong, Hong Kong, 2007, cat. no. A10.  

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

A very rare gold-inlaid iron mirror, Late Eastern Han dynasty-Early Six dynasties period

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A very rare gold-inlaid iron mirror, Late Eastern Han dynasty-Early Six dynasties period

Lot 34. A very rare gold-inlaid iron mirror, Late Eastern Han dynasty-Early Six dynasties period; 17.5cm., 6 7/8 in. Weight 412g. Estimate 4,000 — 6,000 GBP. Lot sold 90,500 GBP. Photo: Sotheby's 2008

the large mirror of flat circular shape, the decoration in the form of a partially cut-out thin circular gold sheet laid onto the reverse and depicting two central figures positioned at the opposite ends of a central axis, each seated on a throne supported by a lotus flower and flanked by winged attendants and mythical creatures alternating with carriages drawn by several horses, the details finely engraved, the large hemispherical knop similarly covered with gold sheet, the reflective surface with traces of corrosion .

ExhibitedChinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 32.

Chinese Gold, Silver and Porcelain: the Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 13, an exhibition touring the United States and shown also at nine other museums.

LiteratureBo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 32.

Bo Gyllensvärd, 'A Botanical Excursion in the Kempe Collection', Bulletin of the Museum of Far Eastern Antiquities, no. 37, 1965, pl. 18b.

Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 30.

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

New exhibition at Kunstmuseum Basel presents forgotten or rarely seen works and icons of its collection

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Hans Holbein, Erasmus von Rotterdam, 1523. Mischtechnik auf Papier, auf Tannenholz aufgezogen, 37,1 x 30,8 cm. Kunstmuseum Basel - Amerbach-KabinettPhotocredit: Kunstmuseum Basel - Martin P. Bühler

BASEL.- The exhibition Basel Short Stories turns the spotlight on the Kunstmuseum Basel's rich and in some respects world-famous collection, presenting less well-known treasures from the holdings in new contexts. The kaleidoscopic display unites illustrious and obscure, private and world-historical—and sometimes grotesque—events in the history of Basel that are brought into focus by art from the Kunstmuseum’s collections. 

Basel Short Stories reminds the visitors of the extraordinary potential of the Öffentliche Kunstsammlung Basel, the municipal art collection of Basel, by staging a multifaceted dialogue between forgotten or rarely seen works and icons of the collection. It reflects all divisions of the collection, from the Old Masters to the present day, and sheds new light on the humanist Erasmus of Rotterdam, Hans Holbein the Younger’s masterwork The Dead Christ in the Tomb, the illustrator and naturalist Maria Sibylla Merian, the historian and art historian Jacob Burckhardt, the philosopher Friedrich Nietzsche, the 1912 Basel Peace Congress, the figure skaters Frick and Frack, the inventor of LSD Albert Hofmann, and the women’s rights activist Iris von Roten. Each room tells a different story while also contributing to the concert of voices that make up the exhibition. 

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Hans Holbein d. J., Der tote Christus im Grab, 1521–1522. Öl auf Lindenholz, Kunstmuseum Basel- Amerbach-KabinettPhotocredit: Kunstmuseum Basel.

The manifold characters, voices, and scenes illustrate that a museum is a complex, infinitely surprising, and continually evolving organism. Loosening the reins of the art-historical canon, Basel Short Stories presents a more freewheeling encounter between works of art and documents based on Basel’s rich history of ideas and everyday practices and the lives of individuals associated with the city. 

Visual short stories unfold in nine galleries, initiated by works of art, objects, and documents from the holdings of the Kunstmuseum, the Emanuel Hoffmann Foundation, and other private and public collections in Basel. Several rooms have been conceived and designed in close collaboration with Silvia Bächli, Pipilotti Rist, and Not Vital, three artists whose oeuvres are represented in the Öffentliche Kunstsammlung.

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Ferdinand Hodler, Die Sterbende, 1915 (24. Jan.). Öl auf Leinwand. HxB: 60.1 x 90.3 cm. Kunstmuseum Basel- mit einem Beitrag aus dem Birmann-Fondsunstmuseum Basel, Martin P. Bühler

A rich program of events accompanies the Basel Short Stories, including the “Criss Cross,” a series of evening events crossing disciplinary boundaries: heterogeneous groups of guest speakers scrutinize selected issues that come up in the exhibition from a variety of perspectives, placing them in the context of contemporary debates in society and blending art with science, everyday life, and popular culture. Themes to be addressed include psychotropic substances, questions of ecology, aspects of peace efforts and processes, forms of feminism, as well as the entanglements between athletics and show business. Cooperative projects such as “Looping Journey,” directed by Gare du Nord, in which lay choruses experiment with translating the exhibition into music, and a “Culture City Plan” based on Basel Short Stories (realized by the cultural historians Franziska Schürch and Isabel Koellreuter) weave a web around the exhibition that literally connects it to the city.  

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Rosemarie Trockel, Ohne Titel, 2000. Farbstift (Schwarz und Brauntöne), 70 x 100 cm. Kunstmuseum Basel- Geschenk Dieter Koepplin, Basel. Photocredit: Kunstmuseum Basel, Martin P. Bühler.

Examining both familiar works and unknown pieces from a fresh angle, Basel Short Stories invites longtime fans who know the museum inside out and the broader public alike to discover the collection’s history and uncharted riches. Thanks to its transdisciplinary conception, the show is readily accessible to wide and diverse audiences. 

An accompanying catalogue published by Christoph Merian Verlag presents a wealth of materials; illustrations, quotes, and excerpts from historic documents appearing side by side with essays by experts in a variety of fields. With contributions by Andreas Beyer, Andrea Bollinger, Bodo Brinkmann, Maike Christadler, Gabriel Dette, Patrick Düblin, Søren Grammel, Anita Haldemann, Josef Helfenstein, Michael Kessler, Andrea Maihofer, Ariane Mensger, Charles Ray, Sabine Söll-Tauchert, Monica Stucky, Hortensia von Roten, Regina Wecker, Maja Wismer, and others.

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Jacob Marrel, ?, Bildnis der Maria Sibylla Merian, 1679. Öl auf Leinwand, links modern angestückt und auf Holzfaserplatte aufgezogen, 59 x 50.5 cm. Kunstmuseum Basel- Geschenk von Louise Bachofen-Burckhardt.

SibyllaMerian

Maria Sibylla Merian, Metamorphosis insectorum surinamensium, 1705. Ledergebundenes Buch mit 60 kolorierten Umdrucken. Blatt: 51 x 36 cm; Buch: 3,5 x, 37,5 x 51,5 cm. Kunstmuseum Basel, Kupferstichkabinett.

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Silvia Bächli, Mantel Nr. 12, 2017. Gouache, 200 x 150 cm. Kunstmuseum Basel.

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Gabriel Orozco, Fly Stamp, 2010. C-Print; Ed. 1/25, HxB: 40.6 x 50.8 cm. Kunstmuseum Basel- Geschenk des Künstlers. Kunstmuseum Basel, Martin P. Bühler

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Arnold Böcklin, Kopf eines Römers, 1863. Leinwand. HxB: 46.5 x 36.5 cm. Kunstmuseum Basel- Depositum der Gottfried Keller-Stiftung, Bundesamt für Kultur, BernKunstmuseum Basel, Martin P. Bühler

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Wolfgang Tillmans, Anders pulling splinter from his foot, 2004. Tintenstrahldruck, 205,5 x 137 cm. Kunstmuseum Basel.

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Malpieri, Nil-Gruppe (Abguss), 1888. Gips, 162 x 310 cm. Skulpturhalle Basel.

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Johannes Grützke, Böcklin, Bachofen, Burckhardt und Nietzsche auf der Mittleren Rheinbrücke in Basel, 1970. Öl auf Leinwand, 250 x 330 cm. Von Bartha Collection, BaselVon Bartha Collection, Basel.

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Not Vital, Nietzsches Schnauz, 2017. Wachs. HxBxT: 70 x 140 x 40 cm. Kunstmuseum Basel- Ankauf mit Mitteln der Karl und Margrith Schaub-Tschudin-Stiftung.

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Arnold Böcklin, Die Toteninsel (Erste Fassung), 1880. Öl auf Leinwand. HxB: 110.9 x 156.4 cm. Kunstmuseum Basel- Depositum der Gottfried Keller-Stiftung, Bundesamt für Kultur, Bern. Kunstmuseum Basel, Martin P. Bühler.

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Martin Schongauer, Der heilige Antonius, von Dämonen gepeinigt (Saint Anthony tormented by demons). Kupferstich, 31.3 x 22.9 cm. Kunstmuseum Basel- Alter Bestand. Martin P. Bühler - Kunstmuseum Basel.

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Jackson Pollock, Electric Night, 1946. Gouache auf Hartfaserplatte, 60.7 x 48.3 x 0.4 cm. Kunstmuseum Basel- Legat Anne-Marie und Ernst Vischer-Wadler. Kunstmuseum Basel - Martin P. Bühler.

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Ferdinand Hodler, Das mutige Weib, 1886. Öl auf Leinwand, 98.9 x 171 cm. Kunstmuseum Basel- mit Beiträgen des Freiwilligen Museumsvereins und zahlreicher Kunstfreunde erworben. Kunstmuseum Basel - Martin P. Bühler.

A fine jade pendant (huang), Eastern Zhou dynasty (770-221 BC)

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A fine jade pendant (huang), Eastern Zhou dynasty (770-221 BC)

Lot 148. A fine jade pendant (huang), Eastern Zhou dynasty (770-221 BC). Length 4 5/8  in., 11.8 cm. Estimate 20,000 — 25,000 USD. Lot sold 62,500 USD. Photo: Sotheby's 2014

the arc-shaped pendant finely carved on both sides with a central taotie mask flanked by square-nosed dragon heads, divided by the fluted ribs, pierced through the jaw of the dragons with circular holes for suspension, the stone of yellowish-green color with areas of black inclusions.

ProvenanceAcquired in Paris, 1979.

Property from the Sam and Myrna Myers Collection.

Sotheby's. Fine Chinese Ceramics & Works of Art, New York, 18 Mar 2014

A fine and rare jade pendant (huang), Eastern Zhou dynasty (770-221 BC)

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A fine and rare jade pendant (huang), Eastern Zhou dynasty (770-221 BC)

Lot 149. A fine and rare jade pendant (huang), Eastern Zhou dynasty (770-221 BC). Length 3 1/8  in., 7.8 cm. Estimate 20,000 — 30,000 USD. Lot sold 62,500 USD. Photo: Sotheby's 2014

finely carved on each side with interlocking T-scrolls, terminating with a pair of dragon heads with squared snouts, the open jaws exposing fangs and curled beards, pierced through an additional flange within the inner part of the huang with S-curls, the jade of beige color with olive-green inclusions .

Provenance: Acquired in Paris, 1979.

Property from the Sam and Myrna Myers Collection.

Sotheby's. Fine Chinese Ceramics & Works of Art, New York, 18 Mar 2014

A set of four ornamental gold fragments, Han dynasty (206 BCE-220 CE)

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Lot 35. A set of four ornamental gold fragments, Han dynasty (206 BCE-220 CE); each 2.8cm., 1 1/8 in. Weight 20g. Estimate 2,000 — 3,000 GBP. Lot sold 2,500 GBP. Photo: Sotheby's 2008

each composed of a partly reticulated thin gold sheet and depicting a finely rendered dragon with some raised areas and minute granulation and filigree work, glass frameQuantity: 4

ExhibitedChinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 15.

Chinese Gold, Silver and Porcelain: the Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 13, an exhibition touring the United States and shown also at nine other museums.

LiteratureBo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 15.

Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 14.

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

 

A gold sheet fitting, Han dynasty (206 BCE-220 CE)

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Lot 36. A gold sheet fitting, Han dynasty (206 BCE-220 CE); 8.5 by 3.3cm., 3 3/8 by 1 1/4 in. Weight 1.4g. Estimate 1,000 — 1,500 GBP. Lot sold 2,250 GBP. Photo: Sotheby's 2008

of fragmentary rectangular shape, the thin gold sheet covered with a dense design of finely beaded volute and cloud scrolls from which a figure emerges standing with arms raised and reaching out, all rendered in fine lines edged with minute beading.

ExhibitedChinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 14.

Chinese Gold, Silver and Porcelain: the Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 7, an exhibition touring the United States and shown also at nine other museums.

LiteratureBo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 14.

Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 10.

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

Two rare openwork gold beads, Han dynasty (206 BCE-220 CE)

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Lot 37. Two rare openwork gold beads, Han dynasty (206 BCE-220 CE); 1.4cm., 1/2 in., and 1.7cm., 5/8 in. Weight 13g. and 14g. Estimate 4,000 — 5,000 GBP. Lot sold 5,000 GBP. Photo: Sotheby's 2008

each of spherical shape with twelve facets composed of twelve small gold rings soldered together with an arrangement of granulations each comprising four small granulated beads reinforcing the structure.

ExhibitedChinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 13.

LiteratureBo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 13.

Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 13.

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

A very rare turquoise-inlaid miniature gold vase, Han dynasty-Six Dynasties

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A very rare turquoise-inlaid miniature gold vase, Han dynasty-Six Dynasties

Lot 38. A very rare turquoise-inlaid miniature gold vase, Han dynasty-Six Dynasties; 4cm., 1 1/2 in. Weight 10gEstimate 2,000 — 3,000 GBP. Lot sold 60,500 GBP. Photo: Sotheby's 2008

worked in the form of a hu-shaped vase, the body, neck and everted foot elaborately decorated with a finely applied pattern of volutes, lozenges and scrolls formed of gold wire edged with granulation, interspersed with teardrop-shaped cloisons for inlay with some retaining their original turquoise inlays, a short chain rising from a pair of loop handles set on the shoulders.

ExhibitedChinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 16.

Chinese Gold, Silver and Porcelain. The Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 9, an exhibition touring the United States and shown also at nine other museums.

LiteratureBo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 16.

Zhang Linsheng, 'Zhongguo gudai di jingjin gongyi', The National Palace Museum Monthly of Chinese Art, no. 14, 1984, p. 54, fig. 9.

Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 15.

Note: The technique of granulation was shaped and adapted under the influence of the gold-working traditions of the nomads of the grasslands during the Han dynasty as a number of superbly made miniature ornaments in the form of stoves, animals or vases found in high-ranking tombs of the Han Dynasty demonstrate, see Yang Boda, 'Ancient Chinese Cultures of Gold Jewellery and Ornamentation', Arts of Asia, vol. 38, no. 2, March-April 2008, pp. 100-102; compare a pair of miniature vases attributed to the Eastern Han dynasty and similarly decorated with granulation and turquoise inlay, illustrated in Simon Kwan and Sun Ji, Chinese Gold Ornaments, Hong Kong, 2003, pl. 116.

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


A small turquoise-inlaid gold applique, Han dynasty (206 BCE-220 CE)

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Lot 39. A small turquoise-inlaid gold applique, Han dynasty (206 BCE-220 CE). Estimate 1,500 — 2,000 GBP. Lot sold 26,900 GBP. Photo: Sotheby's 2008

cut out of thin gold sheet and finely embellished with granular work depicting an immortal sitting astride a ferocious beast against a plain gold background, the eye of the beast inlaid with turquoise, 3.3cm., 1 3/8 in. WEIGHT 2g., together with a small openwork gold plaque similarly decorated with a central figure framed by the four directional creatures in a square frame, late Eastern Han Dynasty; a small openwork plaque with granulation depicting an immortal riding on a winged dragon surrounded by scrolls, late Eastern Han Dynasty; an openwork gold plaque with a series of symmetrical scrolls and volutes suggesting a cicada with remains of silver and turquoise inlays, late Eastern Han Dynasty/Six Dynasties Period, all in individual glass framesQuantity: 4.

ExhibitedChinese Gold and Silver in the Carl Kempe Collection, Smithsonian Institution, Washington, D.C., 1954-55, cat. no. 20.

Chinese Gold, Silver and Porcelain. The Kempe Collection, Asia House Gallery, New York, 1971, cat. no. 10, an exhibition touring the United States and shown also at nine other museums.

LiteratureBo Gyllensvärd, Chinese Gold and Silver in the Carl Kempe Collection, Stockholm, 1953, pl. 20.

Chinese Gold and Silver in the Carl Kempe Collection, The Museum of Art and Far Eastern Antiquities in Ulricehamn, Ulricehamn, 1999, pl. 20.

NoteFor two closely related pieces attributed to the Jin dynasty and decorated with mirror images of immortals riding on a beast and rendered in fine granulations set within cloisons, see Simon Kwan and Sun Ji, Chinese Gold Ornaments, Hong Kong, 2003, pl. 151; they are believed to have been part of more elaborate hat or garment ornaments composed of one or more small appliques which may have included similar pieces to the other three in this present lot. Compare ibid., pls. 141-150.

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

A jade 'Dragon' pendant, Warring States period (475-221 BC)

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A jade 'Dragon' pendant, Warring States period

Lot 150. A jade 'Dragon' pendant, Warring States period (475-221 BC). Length 5 in., 12.5 cm. Estimate 30,000 — 35,000 USD. Lot sold 37,500 USD. Photo: Sotheby's 2014

the flat pendant carved in the form of a sinuous dragon with curled flanges, its head turned back facing its chest and hooked tail, carved on both sides with even rows of relief spirals, the green jade with reddish inclusions.

Provenance: Acquired in Paris, 12th October 1982.

Property from the Sam and Myrna Myers Collection.

Sotheby's. Fine Chinese Ceramics & Works of Art, New York, 18 Mar 2014

A jade 'Dragon' pendant, Warring States period (475-221 BC)

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A jade 'Dragon' pendant, Warring States period (475-221 BC)

Lot 158. A jade 'Dragon' pendant, Warring States period (475-221 BC). Length 5 1/8  in., 13 cmEstimate 8,000 — 10,000 USD. Lot sold 7,500 USD. Photo: Sotheby's 2014

of S-shape with its head turned back facing its body and upcurled tail in the form of a stylized bird, the body decorated on each side with comma-spirals in relief, the jade of dark green color.

Provenance: Acquired in the United States, 23rd October 1979.

Property from the Sam and Myrna Myers Collection.

LiteratureFilippo Salviati, Radiant Stones: Archaic Chinese Jades, Hong Kong, 2000, cat. no. 93

Sotheby's. Fine Chinese Ceramics & Works of Art, New York, 18 Mar 2014

Koopman Rare Art exhibits an array of antique silver treasures spanning more than at TEFAF Maastricht 10 to 18 March, 2018

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Philip-Rundell-AnImportantGeorgeIVTray-14112017T172654

The Duke of Northumberland Tray. An Important George IV Tray. Silver-Gilt, London, 1823. Maker’s mark of Philip Rundell. Length (handle to handle): 80cm, 31 1/2in. Weight: 7682g, 247oz. © Koopman Rare Art

Koopman Rare Art, leading London silver dealers will once again treat visitors to TEFAF Maastricht, the undisputed doyenne of international art and antiques Fairs, with a dazzling array of antique silver treasures spanning more than four centuries. Koopman Rare Art is one of TEFAF Maastricht’s long-standing exhibitors. 

To coincide with the opening of TEFAF Maastricht, Koopman Rare Art has produced an illustrated catalogue entitled Rococo to Regency, which presents selected highlights from the company’s collection of silver dating from these two exciting periods in the history of English silver. 

All the silver featured in the catalogue can be seen on Koopman Rare Art’s stand such as an impressive George III silver gilt Ambassadorial mirror plateau, bearing the maker’s mark of Digby Scott & Benjamin Smith and Paul Storr, which takes a central position. This show-stopper, dating from circa 1814 has not been seen since it was included in the Rundell, Bridge and Rundell exhibition in Koopman’s London showroom in 2005. When extended with all its five sections, the oblong plateau measures 264 cms in length and the sides alternately applied with the Royal arms and a coat-of-arms Baron Stewart’s coronet above. Baron Stewart, later 3rd Marquess of Londonderry (1778-1854), fought with Wellington in many of his campaigns and was a politician and diplomat of note. Asking price in the region of £160,000.

Lewis Smith, Director of Koopman Rare Art, said: “The silver market is upbeat as proved by the sale of several significant sales since the end of 2017. For example we were delighted to sell a monumental and highly important pair of George III silver gilt chargers made by Paul Storr in 1813 for royal goldsmiths Rundell, Bridge & Rundell. The only pair from the series of ‘Bacchus and Ariadne’ they were originally purchased by William Pole-Tylney-Long-Wellesley, 4th Earl of Mornington (1788-1857), nephew of the Duke of Wellington.

We also sold a pair of distinguished George IV parcel gilt ‘swan’ candlesticks, made in London in 1827 and bearing the makers mark of John Bridge for Rundell, Bridge and Rundell, as well as a stunning gold and hardstone portrait snuff box made by Johann Christian Neuber in Dresden circa 1770 NS presented by Frederick Augustus III, Elector of Saxony, to the Danish envoy Christian Sehestedt Juul.

These sales provide a good optimistic vibe and go to show that there remains a strong demand for outstanding pieces of great quality. As always at TEFAF we are delighted to be presenting an exciting selection of significant antique silver by leading silversmiths, the majority with impeccable provenances”.

Other notable silver presented both in the catalogue and at TEFAF, include a George II Rococo soup tureen by William Cripps dated 1755 (asking price in the region of £35,000) and a fabulously ornate pair of Rococo candlesticks silversmiths by Peter Archambo, dated 1744 (asking price in the region of £34,500. Representative of the clean, more restrained elegance of the Regency period is a five-basket epergne centrepiece by Paul Storr marked London, 1819 (asking price in the region of £85,000), as well as a George IV wine cooler made in London in 1822 by Philip Rundell, after a design by John Flaxman and referred to as the Theocritus cup. Its shape is based on a distinctive early Roman vessel and the body is chased with classical scenes of a maiden between two suitors and a fisherman hauling a net (asking price in the region of £37,500). 

William-Cripps-ASuperbGeorgeIIRococoSoupTureenSilver-2292016T162856

William Cripps (Unknown - 1767), A Superb George II Rococo Soup Tureen Silver, Silver London, 1755. Maker's mark of William Cripps. Length: 45cm, 17.7in Weight: 3,920g, 126oz. Marked to the underside and cover. Asking price in the region of £35,000© Koopman Rare Art

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A striking and elegant Regency five-basket epergne centrepiece by Paul Storr marked London, 1819.  Asking price in the region of £85,000© Koopman Rare Art

An example of early Victorian silver is massive Victorian 'Turtle' soup tureen and cover in the renaissance style, dating from 1846 made by Robert Garrard and bearing the coat-of-arms of the Hope family (asking price in the region of £58,000). 

Classified as an objet de vertu is a spectacular 19th Century large, rock crystal, enamel and silver winged hippocampus, made by the prominent Austrian silversmith Hermann Ratzersdorfer in Vienna circa 1880. Ratzersdorfer was renowned for his particularly flamboyant objets de vertu in the neo-renaissance revival style many of which he carved from hardstones such as rock crystal, agate and lapiz lazuli, these were subsequently mounted in silver and silver-gilt with additional champlevé and painted enamel decoration. In this piece, the rock crystal body, which measures 45.7cm high, is carved with scales, shells and fiery dragons, while the mounts are pierced and enamelled with further winged monsters among scrollwork. Asking price in the region of £125,000. 

Hermann-Ratzersdorfer-A19thCenturyLargeRockCrystalEnamelSilverWingedDragon-13112017T12243

A spectacular 19th Century large rock crystal, enamel and silver winged hippocampus is another remarkable work of art to behold. Made by the prominent Austrian silversmith Hermann Ratzersdorfer in Vienna circa 1880. Asking price in the region of £125,000.  © Koopman Rare Art

The exceptional collection of gold boxes provides another reason to visit the Koopman Rare Art Stand. Originally made as snuff boxes, due to their preciousness and the superb quality of craftsmanship they were never used as such. Instead they were prized as objects of great beauty to be displayed and admired. A particularly noteworthy example is an exquisite 18th century gold oval-shaped box decorated with panels of translucent blue-green guilloche enamel. The cover is painted in purple camaïeu with a charming scene of two putti filling their quiver with flowers. Made in Hannau, circa 1780 the box has an asking price in the region of £44,500. Another oval box bears an enamel portrait miniature of an elegant lady (asking price in the region of £39,500), while a rectangular narrow box is simply decorated with panels of translucent cherry-red enamel and green enamel and white bead enamel entrelac sablé borders (asking price in the region of £13,500). Both were similarly made in Hannau in the late 18th century. 

GermanGoldEnamelBox-21112017T151733

18th Century German Gold & Enamel Box. Gold & Enamel, Hanau, circa 1780. Maker’s mark of ‘J.B.C’. Width: 9cm, 3 1/2in. Asking price in the region of £44,500© Koopman Rare Art

GermanGoldEnamelBox-23112017T142347

German Gold & Enamel Box. Gold & Enamel, Hannau, circa 1790. Maker’s mark indistinct. Width: 8.2cm, 3 1/4in. Asking price in the region of £39,500© Koopman Rare Art

Other treasures on Koopman Rare Art’s stand range from the 16th century, an example being an exceptionally rare Elizabeth I tankard, through to the middle of the 20th century with examples by post-war silversmiths such as Stuart Devlin.

TEFAF Maastricht, the world’s leading art and antiques event, at the Maastricht Exhibition and Congress Centre (MECC). 

10 to 18 March, 2018. Stand 156

the-rockingham-service-an-incredibly-rare-18th-century-tea-coffee-service

The Rockingham Service: An 18th century tea & coffee service, each piece bearing the coat-of-arms of Knowles. Various sizes, height of kettle 32 cm (12.5 in.). All pieces hallmarked, London - 1733-1734© Koopman Rare Art.

Mauritshuis exhibition reveals an unfamiliar side of Jan Steen

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Jan Steen, Mozes en de kroon van de farao, Mauritshuis

 Jan Steen, Moses and Pharaoh’s Crown, c.1670. Canvas, 78 x 79 cm, Mauritshuis, The Hague (acquired with the support of the BankGiro Lottery).

THE HAGUE - In the exhibition Jan Steen’s Histories, the Mauritshuis will exhibit a selection of Jan Steen’s finest history paintings. This seventeenth-century Dutch artist is best known as a painter of chaotic and disorderly scenes of everyday life, which gave rise to the popular Dutch proverb ‘a Jan Steen household’. But he also painted very different subjects: stories from the Bible, classical mythology and antiquity. From 15 February until 13 May 2018, the Mauritshuis will show – by means of twenty-one paintings – that Steen was a versatile and ambitious artist with a keen eye for amusing stories and anecdotes.

Neglected oeuvre

The exhibition Jan Steen’s Histories looks at the little-known part of Jan Steen’s oeuvre: the history paintings. Until the mid-eighteenth century, these paintings were among Steen’s most expensive works. But as time went on, their value diminished, presumably because their humorous character became increasingly unfashionable. It would be no exaggeration to say that the history paintings form a misunderstood part of Steen’s oeuvre to this day.

Steen depicted a broad range of subjects taken from the Bible, apocryphal writings and classical mythology, which he depicted in a highly original way. Stories taken from these sources were known as ‘histories’ in Steen’s day. Some seventy-five history paintings by Steen survive today, representing around a sixth of his oeuvre. They are tales full of torment, treachery and temptation, all expressed by Jan Steen in his own playful way. In his history paintings – just as in his genre pieces – Steen pays particular attention to the interaction between the figures and pokes fun through the behaviour of his main characters.

Jan Steen, Lot en zijn dochters, Städtische Wessenberggalerie, Konstanz

Jan Steen, Lot and his Daughters, c.1665-1667. Canvas, 86 x 69 cm, Städtische Wessenberg-Galerie, Konstanz.

Mauritshuis and Jan Steen

The Mauritshuis often works on Jan Steen, who is considered one of the leading painters of the Dutch Golden Age (alongside Rembrandt, Vermeer and Hals). The museum owns fifteen of his paintings. In 2011 the museum expanded its sizeable collection of Steens with its first history painting: Moses and Pharaoh’s Crown. The fact that there been no a history piece in the collection before this time demonstrates that this part of Steen’s oeuvre had been undervalued for many years. This acquisition now provides the impetus for this exhibition that will shine a light on Jan Steen’s versatility as an artist.

The initial results of the technical examination of Jan Steen’s work – undertaken over the last few years by the Mauritshuis together with Shell as Partners in Science – will appear in the exhibition. Mauritshuis conservators and experts from Shell have been investigating the pigments used by Steen in Shell’s research laboratory. The aim of the research is to gain a better understanding of Steen’s painting technique and the chronological development of his work.

Jan Steen, Aanbidding van het gouden kalf, North Carolina Museum of Art, Raleigh

Jan Steen, The Worship of the Golden Calf, c.1674-1677. Canvas, 178.4 x 155.6 cm, North Carolina Museum of Art, Raleigh, purchased with funds from the State of North Carolina.

The exhibition Jan Steen’s Histories is realised in part due to the generous support of Nationale-Nederlanden, part of NN Group, as well as the Friends of the Mauritshuis Foundation, the BankGiro Lottery, a donation from the late Mr Gerard van Meurs, the Zabawas Foundation and the American Friends of the Mauritshuis.

The Mauritshuis and Waanders Publishers have produced a richly illustrated catalogue (in Dutch and English) to accompany the exhibition Jan Steen’s Histories, available in the museum shop and all good bookshops. The catalogue is written by Ariane van Suchtelen (Mauritshuis Curator) with contributions from Wouter Kloek, Mariët Westermann, Yvonne Bleyerveld, Lea van der Vinde and Rosalie van Gulick. Jan Steen’s Histories; € 27,50 (ISBN: 978 94 6262 1664 NUR 644).

Jan Steen, Samson en Delila, 1668, Los Angeles County Museum of Art (Gift of the Ahmanson Foundation)

Jan Steen, Samson and Delilah, 1668. Canvas, 67.5 x 82 cm, Los Angeles County Museum of Art, Gift of the Ahmanson Foundation. 

Jan Steen, De bespotting van Simson, KMSKA

Jan Steen, The Mocking of Samson, c.1675-1676. Canvas, 65 x 82 cm, Royal Museum of Fine Arts Antwerp (KMSKA), Antwerp.

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