Vietnamese celadon at Zetterquist Galleries

March 5, 2018, 12:06 pm

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Pale Celadon Chrysanthemum Form Bowl, Trần Dynasty, 1225-1400 A.D., Vietnam. Diameter: 22cm. © Zetterquist Galleries

A large stoneware bowl of fnely scalloped form sitting on a well-potted straight foot-rim. This thinly potted bowl is covered with a fnely crackled, translucent pale green glaze that thickens around the rim, deepening its color. The interior center has fve spur marks, indicating another piece was fred inside. The foot is unglazed revealing a pale stoneware body. Chip to rim.

From a private Japanese Collection with ftted wooden box.

Published in: “Nankai no Yakimono”, Machida Museum of Art, 1998. Pl. 14.

Dark Green Glazed Bowl with Impressed Floral Pattern, Trần Dynasty, 1225-1400 A.D., Vietnam. Diameter: 18.5cm. © Zetterquist Galleries.

Dark green celadon bowl with impressed lotus petal design on the bottom and impressed tightly scrolled leaf pattern on the cavetto. The glaze is fnely crackled over all, and has a deep green color where it pools within the designs.

This piece is evidence that Vietnamese potters were not only infuenced by Southern Chinese celadons, but also those from Northern Chinese kilns. It is very similar to Yaozhou material from a slightly earlier period. Other examples of Yaozhou inspired Vietnamese bowls can be seen in John Stevenson and John Guy’s “Vietnamese Ceramics: A Separate Tradition”, Avery Press 1997. Pls. 101-103 and 108.

Provenance: Brow Collection, USA

Zetterquist Galleries, 3 East 66th Street, Suite 1B, New York 10065. T (212) 751 0650 - inquiries@zetterquist.com - zetterquist.com - Instagram: @zetterquistgalleries

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Groundbreaking exhibition brings centuries of royal treasures from Jodhpur, India, to the U.S. for the first time

March 6, 2018, 1:18 am

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Dalchand, Maharaja Abhai Singh on Horseback, Jodhpur, c. 1725, opaque watercolor and gold on paper, Mehrangarh Museum Trust. Neil Greentree, photographer.

HOUSTON, TX.- A major collaboration brings a groundbreaking exhibition of royal treasures from India to Houston in March. Organized by the Museum of Fine Arts, Houston, in partnership with the Mehrangarh Museum Trust of Jodhpur, Peacock in the Desert: The Royal Arts of Jodhpur, India showcases nearly four centuries of artistic creation from the kingdom of Marwar-Jodhpur, one of the largest princely states in India, in the northwestern state of Rajasthan. The exhibition is on view at the Museum of Fine Arts, Houston, from March 4 through August 19, 2018, before touring to the Seattle Art Museum and the Royal Ontario Museum, Toronto, Canada.

Through lavishly made ceremonial objects, finely crafted arms and armor, sumptuous jewels, intricately carved furnishings and more, Peacock in the Desert: The Royal Arts of Jodhpur, India outlines the dynamic history of the Marwar-Jodhpur region and the Rathore dynasty that ruled it for over seven centuries. Established in the 15th century, the city of Jodhpur was once the powerful capital of Marwar, a vast desert kingdom ruled by the Rathores, who were descendants of a hereditary social caste of Hindu warriors and kings (known as “kshatriyas”). Over the course of several centuries, the prosperity of Jodhpur attracted the attention of two successive empires who ruled India: the Mughals and the British. Both encounters reshaped Jodhpur’s cultural landscape, introducing objects, artists, languages, architectural styles and systems of administration that influenced the royal identity of the Rathore dynasty. Through some 250 objects from Indian courtly life, most never before seen outside of Jodphur, the exhibition illuminates how the Rathores acquired and commissioned objects amidst these cross-cultural exchanges to leverage patronage, diplomacy, matrimonial alliances, trade, and conquest.

Palanquin (Mahadol), Gujarat, c. 1700–30, gilded wood, glass, copper & ferrous alloy, Mehrangarh Museum Trust. Photograph: Neil Greentree.

Drawn primarily from the collections of the Mehrangarh Museum Trust and the private collections of the royal family of Jodhpur, the exhibition marks the first time that most of these treasures—including paintings, decorative arts and furniture, tents, canopies, carpets, textiles, and weapons—are being seen outside of their palace setting at Mehrangarh Fort and the first time they have traveled abroad. The foundations of the Fort, carved out of a rocky hillside 400 feet above Jodhpur, were laid by the Rathores in 1459 as a military stronghold. The Fort, famously described by Rudyard Kipling as “a palace that might have been built by Titans and colored by the morning sun,” has been the seat of the Rathore dynasty since then, serving as a royal residence, a center of cultural patronage, and a place of worship for the royal clan. Today, it houses the collection of the Mehrangarh Museum Trust, which was established in 1972 by the current dynastic head of the Rathore clan, His Highness Maharaja GajSingh II of Marwar-Jodhpur, and remains one of the most important and best-preserved collections of fine and applied arts from the Mughal period of Indian history. A handful of carefully chosen objects from other notable collections, including The al-Sabah Collection, Kuwait, complete the presentation, while large-scale photomurals evoke the stunning setting of the Mehrangarh Museum, where H. H. Maharaja Gaj Singh II continues to preserve the living heritage of Jodhpur.

“Peacock in the Desert is the result of a landmark partnership, marking the first time the Mehrangarh Museum Trust has shared so many of the treasured objects of their collection,” commented Gary Tinterow, MFAH director. “We are deeply honored and grateful to be the first U.S. organization to present this show, and for the opportunity to provide visitors this unprecedented experience of India’s rich cultural history.”

“The fort of Jodhpur-Mehrangarh has been preserved as a record of the lives and legacy of the Rathores,” added His Highness Maharaja GajSingh II. “I look forward to sharing the artistic and cultural heritage of my country, India, and the city of Jodhpur and its people, with new audiences across North America.”

Shiva on His Vimana (Aircraft) with Himalaya, folio 53 from the Shiva Rahasya, Jodhpur, 1827, opaque watercolor and gold on paper, Mehrangarh Museum Trust. Neil Greentree, photographer.

Exhibition Overview
Peacock in the Desert is curated by a team of scholars and professionals from India: Dr. Mahrukh Tarapor, senior advisor for international initiatives at the Museum of Fine Arts, Houston; Dr. Karni Singh Jasol, director of the Mehrangarh Museum Trust, Jodhpur; the late Martand Singh, chief consultant from the Mehrangarh Museum Trust; and Dr. Angma Dey Jhala, associate professor at Bentley University, who serves as project advisor and volume editor for the accompanying catalogue. Three central, underlying themes woven throughout Peacock in the Desert build upon recent and emerging scholarship to deepen visitors’ understanding of the multifaceted character of a traditional Indian kingdom:

• Interconnections: The relationships between palace and town, urban and rural, central empire and subsidiary kingdom, as well as those that resulted from migratory trade routes, marital alliances, and military partnerships/confrontations, all led to a dynamic crosspollination of new ideas and belief systems, which found brilliant expression in fine and decorative arts, architecture, design, performing arts, and more.

• The role of women and artisans: Contrary to the popular assumption that royal women were quietly hidden away, the exhibition explores the crucial role they played as agents of cultural change and patrons of the arts, showcasing how the gender roles, social etiquette, and aesthetic practices employed by women influenced the identity of Indian courts.

• Royal patronage and the continuity of tradition: An exploration of the royal courts and the ways they were able to preserve India’s cultural traditions, while at the same time absorbing and incorporating external influences.

Rolls-Royce Phantom with Coachwork by Windovers of London, England, 1927, Umaid Bhawan Palace. Neil Greentree, photographer.

These themes offer a new perspective on the cosmopolitan culture of the royal courts of the Marwar–Jodhpur region, communicated through the careful juxtaposition of objects, interpretive materials, and immersive installation within the exhibition’s six interlinked sections:

Tradition and Continuity: The Royal Wedding Procession
The exhibition opens with a dramatic recreation of a royal wedding procession with video projections of actual footage from royal weddings performed in the 20th century. Featuring elephant howdahs (seats), horse and elephant mannequins adorned with traditional wedding regalia, and royal insignia, this immersive environment introduces visitors to the role that marital alliances played in the lives of the citizens of Marwar-Jodhpur and in the development of the region’s aesthetic traditions.

The Rathores of Marwar
This section introduces the desert landscape of Marwar-Jodhpur, its diverse peoples, and the exhibition’s central protagonists: the Rathore clan that ruled the region from the 13th to the mid-20th century. Highlights include illuminated manuscript pages that illustrate the scenery of the region and detail the history of the dynasty; an exquisite wood and glass Mahadol (palanquin); textiles, such as turbans worn by various members of the desert community; and a model of the Mehrangarh Fort, in silver. Above: Gujarat, Palanquin (Mahadol), c. 1700–1730, gilded wood, glass, copper, and ferrous alloy, Mehrangarh Museum Trust.

Pavilion (Baradari), Jodhpur, 19th century, wood, paint, lacquer, and gold, Mehrangarh Museum Trust. Neil Greentree, photographer.

Conquest and Alliance: The Rathores and the Mughals
The arrival of, and eventual takeover by, the Mughal Empire in 1561 began centuries of political and military alliances brokered between the Mughals and the Rathore clan. This section examines the movement of objects throughout these alliances in the 16th and 17th centuries, presenting ornate sabers, daggers, and rifles alongside 17th- and 18th-century paintings and illustrations of court and war scenes. The section culminates in the extraordinary 17th-century Lal Dera tent, one of the oldest, if not the only, intact Indian court tent of its time.

Zenana: Cross-cultural Encounters
In this section, paintings, carpets, textiles, jewelry, along with intricately-carved sandstone jalis (screens), from behind which women viewed courtly activities, evoke the setting of a royal zenana, the womens’ wing of a Rathore palace. Here, the zenana is explored as a dynamic cosmopolitan space that not only housed women and objects, but also functioned as a preserver of intangible cultural traditions through the propagation of heirlooms, rituals, and dress throughout the centuries. Among the furnishings shown in this section is an exceptional wood baradari (pavilion).

Mughal, Huqqa Vase, early 18th century, glass and gold paint, Umaid Bhawan Palace. Neil Greentree, photographer.

Durbar: The Rathore Court
As Mughal influence began to decline in the late 18th century, the Rathore durbar (royal reception) capitalized on its diminished power by attracting artists and craftsmen from their weakened court. This, in addition to the growing trend of exchanging artworks as gifts, led to a period of intense creativity in artistic and decorative production and a cross-fertilization of Mughal and Rathore styles, as indicated by the woven canopy and textiles, finely crafted arms and armor, and 18th- and 19th-century paintings on view.

The Raj
Extravagant, large-scale objects immediately convey the tone of the last section of the exhibition, which explores the most dramatic period of transformation in Jodhpur’s history, triggered by the arrival of the British in 1818. Garments, paintings, decorative arts, and a 1944 Stinson L-5 Sentinel aircraft illustrate the influence of the British on the region and the unprecedented scale on which Jodhpur royalty began to embrace modernity and western culture as the movement for Indian independence—eventually granted in 1947—gained traction.

The Mahi-o-Maratib Insignia in Procession, Jodhpur, 18th century, opaque watercolor and gold on paper, Mehrangarh Museum Trust. Neil Greentree, photographer.

Publication
The exhibition is accompanied by a fully illustrated catalogue, Peacock in the Desert: The Royal Arts of Jodhpur, India, written by Karni Singh Jasol and edited by Angma Dey Jhala, with contributions by Peter Alford Andrews, Robert Elgood, Catherine Glynn, Shailka Mishra, and Giles Tillotson. Informed by emerging scholarship and archival research, Peacock in the Desert takes a multidisciplinary approach, examining Jodhpur and the region of Marwar from a broader context than has been customary. The publication offers a new perspective on the acquisition and commissioning of objects through patronage, diplomacy, matrimonial alliances, trade, and conquest, and sheds light on the influential role of women at the royal courts for the first time. Peacock in the Desert also features newly commissioned photography of the nearly 250 objects on display

Through August 19, 2018

Shield, probably Rajasthan, 19th century, silver—gilded, enameled, and set in kundan technique—with rubies, diamonds, emeralds, chalcedony, agate, and rock crystal, the al-Sabah Collection, Kuwait.

Ali, Maharaja Takhat Singh on a Hunt with Royal Women, Jodhpur, c. 1853, opaque watercolor and gold on paper, Mehrangarh Museum Trust. Neil Greentree, photographer.

Cannon in the Shape of a Makara, Deccan, 18th century, bronze, Mehrangarh Museum Trust. Neil Greentree, photographer.

Sheikh Taju, "Maharao Umed Singh of Kota on a Hunt," 1780, Mehrangarh Museum Trust. Neil Greentree, photographer.

Bert Harris, "Portrait of Maharaja Sardar Singh," 1896, Collection Umaid Bhawan Palace. Neil Greentree, photographer.

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First survey exhibition of Wim Delvoye in Korea on view at Gallery Hyundai

March 6, 2018, 1:58 am

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Wim Delvoye, Tabriz, 2010. Stuffed carpet pig, 95 x 37 x 58cm. Courtesy of the artist and Gallery Hyundai.

SEOUL.- Gallery Hyundai is presenting the first survey exhibition of Wim Delvoye in Korea.

Delvoye is a Belgian neo-conceptual artist whose work navigates the boundary between shocking and fascinating. His extensive practice combines fine-art forms such as drawing, sculpture and photography with experimental techniques, philosophical ideas, intriguing materials and craftsmanship.

The exhibition brings together works spanning nearly 20 years including laser-cut gothic steel sculptures, hand- carved and twisted tyres, embossed functional objects, photographs of marble floors installations made with salami and mortadella and tattooed pigskin works.

In a series of aluminium pieces, shovels, luxurious Rimowa suitcases and a Ferrari Testarossa are embossed by Iranian artisans. Each piece features a unique decoration with elaborate Middle Eastern designs, traditional patterns and imagery from Delvoye’s own work.

Wim Delvoye, Ferrari Testarossa (scale 1/2), 2017. Embossed aluminium, 200 x 87 x 40cm. Courtesy of the artist and Gallery Hyundai.

Industrial machinery including a dump truck, cement truck and concrete mixer are combined with Gothic architecture in laser-cut stainless steel sculptures that feature intricate latticework. Car and truck tyres of different sizes are intricately embossed to create decorative relief sculptures. Polished and patinated bronze works are Delvoye’s interpretation of 19th-century sculpture and incorporate 3D versions of inkblot pictures from the Rorschach test, a projective personality assessment.

Photographs of what at first seem to be marble mosaic floors are in fact photographs of marble-like installations made of slices of ham, salami and mortadella. A pair of slippers created from taxidermy rabbits (shown at the Louvre Paris in 2012), a Persian rug tailored in the form of a pig, and framed tattooed pigskins from the artist’s now ceased Art Farm are also on view.

Together, these works show Delvoye’s deep interest in reimagining everyday objects with a subtle sense of humour and unique ability to juxtapose the modern with the traditional.

Wim Delvoye, Rimowa Classic Flight Cabin Trolley 971.52.00.2, 2014. Embossed aluminium, 41 x 27 x 55cm. Courtesy of the artist and Gallery Hyundai.

Wim Delvoye (b. 1965, Wervik, Belgium) lives and works in Ghent, Belgium and Brighton, England. His work has been the subject of recent solo exhibitions at institutions and galleries worldwide including: Galerie Perrotin, New York, 2017; Musée Tinguely, Basel, 2017; Tehran Museum of Contemporary Art, Iran, 2016; Mudam, Luxemburg, 2016; DHC/Art, Montréal, 2016; Leila Heller Gallery, Dubai, 2015; Heydar Aliyev Center, Baku, 2015; Mimicry: Wim Delvoye at the Pushkin State Museum, Moscow, 2014; Galerie Perrotin, Hong Kong, 2013; Sperone Westwater, New York, 2013; Wim Delvoye au Louvre, Musée du Louvre, Paris, 2012; Roslyn Oxley9 Gallery, Sydney, 2012; Robilant + di Voena, London, 2011; MONA, Hobart, 2011; Galerie Urs Meile, Beijing, 2011; Knocking on Heaven’s Door, BOZAR, Brussels, 2010; Musée Rodin, Paris, 2010; Wim Delvoye: Torre, Guggenheim Collection, Venice, 2009; Galerie Rodolphe Janssen, Brussels, 2008; Ernst Museum (Mucsarnok Nkft), Budapest, 2008; Cloaca 2000 - 2007, Casino Luxembourg, 2007; Cloaca Quattro, Xin Beijing Gallery, Beijing, 2007; Cloaca N° 5, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan, 2006; Cloaca – New & Improved, The Power Plant, Toronto, 2004; “Cloaca – New and Improved”, New Museum, New York, 2002; Cloaca- New and Improved, Migros Museum, Zürich, 2001; “Cement Truck”, Centre Georges Pompidou, Paris, 2000; “CLOACA”, MuHKA, Antwerp, 2000; Open Air Museum Middelheim, Antwerp, 1996; Documenta IX, 1992; Sonnabend Gallery, New York, 1991; Castello di Rivoli, Torino, 1991. Work by the artist is represented in permanent collections internationally.

Wim Delvoye, Untitled (Carved Car Tyre), 2010. Hand carved car tyre, 14 x 71cm. Courtesy of the artist and Gallery Hyundai.

Wim Delvoye, Engraved Shovel, 2016. Embossed aluminium, 24.5 x 17 x 100cm. Courtesy of the artist and Gallery Hyundai.

Wim Delvoye, Dumptruck, 2011. Laser-cut stainless steel, 117 x 38 x 56cm. Courtesy of the artist and Gallery Hyundai.

Wim Delvoye, Suppo, 2012. Laser-cut stainless steel, 33 x 33 x 330cm. Courtesy of the artist and Gallery Hyundai.

Wim Delvoye, L'Amour Désarmé Rorschach, 2016. Patinated bronze, 58 x 58 x 74cm. Courtesy of the artist and Gallery Hyundai.

Wim Delvoye, Marble Floor #9, 2000. Cibachrome on aluminium, 125 x 100cm. Courtesy of the artist and Gallery Hyundai.

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Michael C. Hughes LLC at Asia Week New York, 15-24 march 2018

March 6, 2018, 10:26 am

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The Metropolitan Meiping: A Rare Sgraffito Cizhou Vase, Meiping, Jin-Yuan Dynasty, 12-13th century. Height: 15 3/8 inches © Michael C. Hughes LLC

An Imperial Blue and White Two-Handled Bombe Censer, Ming Dynasty, Jiajing six-character mark and of the period (1522-1566). Approx. 9 inches across handles. © Michael C. Hughes LLC

Painted on each side with confronted five-clawed dragons contesting a central flaming pearl above breaking waves and rockwork, the spreading foot with scrolling foliage, the rim with a diaper band, the loop handles with molded dragon-heads.

For another Jiajing blue and white dragon censor from the Qing Court Collection, see The Complete Collection of Treasures of the Palace Museum, Blue and White Porcelain, Vol. 35, Hong Kong, 2009, p.120, pl. 110.

A 'Sericulture' Bamboo Brush Pot, Mid Qing Dynasty, 1750-1850, 5 1/2 inches high, 5 7/16 inches diam. © Michael C. Hughes LLC

Superbly carved in a continuous scene in deep relief around the cylindrical body with various scenes of silk production from the collection of mulberry leaves for the silkworms and the various stages until the spinning of the final yarn, all set in a luscious dense wooded mountain landscape with a variety of tree species, walled compounds, fenced areas and small buildings all carefully delineated and peopled with industrious workmen at their trade.

A Celadon and Russet Jade figure of a Standing Caparisoned Elephant, 18th Century, 5 inches across. © Michael C. Hughes LLC

Standing foursquare with a tassled blanket thrown over its back and carved in low relief with shou characters at each side and two bats amidst clouds at the center, the trunk and tail swishing to the left side of the beast, very fine and subtly-carved details to the trunk, ears, tail and feet.

The elephant (xiang) is an auspicious symbol which is used in numerous rebuses to convey peace, prosperity and good fortune. It is a pun for "sign" xiang, pronounced and written the same way. It is also associated with the mythical emperor Shun, one of the twenty-four paragons of filial piety. It also has Buddhist connotations being a mount for the diety Samantabhadra.

For a celadon jade elephant group of smaller size (3 1/2 inches across) also depicted with a tasseled blanket and the addition of two clambering boys, see Sotheby's London, 11 May 2016, lot 108; another sold at Sotheby's London, 11 November 2015, lot 134.

Michael C. Hughes LLC. Exhibiting at Gallery Vallois America, 27 East 67th Street, 2nd Floor, New York 10065. M (212) 933 4124 -michael@michaelchughesllc.com - michaelchughesllc.com

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Kaikodo LLC at Asia Week New York, 15-24 march 2018

March 6, 2018, 11:04 am

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Rare Chinese Shonzui Underglaze-Blue Decorated Bowl, Ming dynasty, 17th century. Diameter: 22.5 cm. (8 7/8 in.). Height: 5.3 cm. (2 1/8 in). © Kaikodo LLC

Lu Xue, Conversation Above Waterfall, China, 1652. Hanging scroll, ink & color on silk. 129.2 x 62.9 cm (50 7/8 x 24 1/4 in). © Kaikodo LLC

Longquan Celadon Lotus Bowl, Song dynasty, 12th century. Diameter: 16.9 cm. (6 5/8 in.) Height: 7.4 cm. (2 7/8 in). © Kaikodo LLC

Vietnamese Ivory-Glazed Stoneware Jar, Lý dynasty, 12th-early 13th century A.D. Height: 21.3 cm. (8 3/8 in). Diameter: 21.5 cm. (8 1/2 in). © Kaikodo LLC

Vietnamese Underglaze Blue Decorated "Island" Dish, 15th-16th century. Diameter: 33.7 cm. (13 1/4 in.) Height: 6.8 cm. (2 3/4 in). © Kaikodo LLC

Kaikodo LLC. 74 East 79th Street, Suite 14B, New York 10075. T (212) 585 0121 - asianart@kaikodo.com - kaikodo.com

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A Longquan Celadon Baluster Vase, China, Southern Song-early Yuan Dynasty, 13th-early 14th century

March 6, 2018, 11:19 am

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A Longquan Celadon Baluster Vase, China, Southern Song-early Yuan Dynasty, 13th-early 14th century. © Andrew Kahane, Ltd.

Asia Week New York, 15-24 march 2018. Andrew Kahane, Ltd. Exhibiting at The Mark Hotel, Madison Avenue and 77th Street, New York 10075. T (212) 861 5001 - kahaneasia@aol.com - artasianappraisers.com

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J.J. Lally & Co at Asia Week New York, 15-24 march 2018

March 6, 2018, 12:57 pm

≫ Next: A Yueyao stoneware vase, Han dynasty (206 BCE-220 CE)

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An Ancient Chinese Jade ‘Phoenix’ Stem Cup, Western Han Dynasty (206 B.C. – A.D. 9). Height 4 ½ inches (11.3 cm).

An Archaic Jade Ceremonial Dagger-Axe (Ge), Shang Dynasty, circa 13th-11th Century B.C. Length 10 1⁄8 inches (25.7 cm). © J.J. Lally & Co.

the thin blade with lightly beveled edges and shallow medial ridge curving gently to the point which is set off center, the tang pierced with a hole for hafting and cut with serrated teeth at the butt end, the stone of opaque olive-tan color, with darker and lighter mottling.

Ex Sotheby’s, New York, 3 December 1986, lot 2
Ex Collection Richard and Jean Salisbury
Ex J.J. Lally & Co., 1994 catalogue no. 34

A jade dagger-axe of similar form excavated in 1980 from a late Shang dynasty tomb in Laoniupo, Xi’an, Shaanxi province, is illustrated in Zhongguo yuqi quanji (Compendium of Chinese Jades), Vol. 2, Shijiazhuang, 1993, p. 117, no. 164. Another dagger-axe of the same type in the Palace Museum, Beijing, is illustrated in the same volume, op. cit., p. 122, no. 170.

A Neolithic Jade Notched Disc (Yabi), circa 3000-2500 B.C. Diameter 6 inches (15.2 cm). © J.J. Lally & Co.

the wide ring with outer rim carved as four truncated arms sweeping out from the broad central aperture, with three arms cut off abruptly at a shallow oblique angle, the fourth shorter arm ending in a bracket shape outline rising to a blunted point at the center, the thick convex sides tapering out to a rounded edge, the smoothly polished yellowish olive green stone with original russet brown inclusions and cloudy areas.

Ex J.J. Lally & Co., 1994 catalogue no. 33

The earliest jades of notched disc form have been found at Dawenkou culture (circa4300-2300 B.C.) sites and many variations of the form have been documented in later Neolithic and early Bronze Age sites. The most typical examples are carved as flat discs with three arms. Examples with four arms are known, but they are relatively rare. Compare for example the notched disc with four truncated arms illustrated by Loehr, Ancient Chinese Jades from the Grenville L. Winthrop Collection in the Fogg Art Museum, Harvard University, Cambridge, 1975, p. 102, no. 105; and another example with four arms of more typical form, op. cit., p. 104, no. 107.

Compare the very similar Neolithic jade notched disc of smaller size, in the collection of the Palace Museum, Beijing, illustrated in Gugong bowuyuan cangpin daxi: yuqi bian (Compendium of Collections in the Palace Museum: Jade), Vol. 1, Neolithic Age, Beijing, 2011, p. 250, no. 251.

Compare also the Neolithic jade notched disc with four truncated arms excavated from tomb no. 100 at a burial site in Qingliangsi, Ruicheng, Shanxi province, illustrated by Gu (ed.) in Zhongguo chutu yuqi quanji (Complete Collection of Jades Unearthed in China), Vol. 3, Shanxi, Beijing, 2005, p. 3, described as Second Phase of Miaodigou Culture (circa 3000-2500 B.C.).

An Archaic Jade Openwork Long Pendant, Eastern Zhou Dynasty, circa 5th-4th Century B.C. Length 3 3⁄8 inches (8.6 cm). © J.J. Lally & Co.

of flattened form, pierced and carved with pairs of beaked and winged dragons projecting from the long borders of the oblong center panel carved on both sides with a lively pattern of raised comma shape scroll motifs within raised borders, drilled with a longitudinal channel for stringing, the translucent yellowish green stone with glossy surface showing traces of cinnabar red.

Ex J.J. Lally & Co., 1993 catalogue no. 81

A similar jade openwork long pendant of smaller size in the collection of the British Museum is illustrated by Rawson and Ayers, Chinese Jade Throughout the Ages, London, 1975, no. 133, with description on p. 54.

Compare the smaller jade pendant of related form unearthed from a Warring States tomb at Yanggongxiang, Chengfeng county, Anhui province, illustrated in Gugong bowuyuan cang wenwu zhenpin quanji (The Complete Collection of Treasures of the Palace Museum), Jadeware (I), Hong Kong, 1995, p. 177, no. 147.

Compare also the two smaller jade pendants of related form excavated from tomb no. 1 at Shangwangcun, Linzi, Shandong province, now in the Zibo Museum, illustrated by Gu (ed.), Zhongguo chutu yuqi quanji (Complete Collection of Jades Unearthed in China), Vol. 4, Shandong, Beijing, 2005, p. 193.

J.J. Lally & Co. 1 East 57th Street, Suite 1400, New York 10022. T (212) 371 3380 - staff@jjlally.com - jjlally.com - Facebook, Instagram: @jjlallynyc - WeChat: JJLally

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A Yueyao stoneware vase, Han dynasty (206 BCE-220 CE)

March 6, 2018, 1:30 pm

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Lot 8040. A Yueyao stoneware vase, Han dynasty (206 BCE-220 CE); 12 5/8in (32cm) high. Estimate US$ 1,200 - 1,800 (€ 970 - 1,500). © Bonhams 2001-2018

Potted with an ovoid body surmounted by a cylindrical neck with a flared rim, flanked on the shoulder by two loop handles with applied decoration, the base of the neck impressed with a wave band, the shoulders decorated with raised bowstring bands and incised waves, the top half and inside of the mouth covered with an olive-green glaze, the lower half and the recessed foot fired dark brown..

Property from the Currier Museum of Art, Manchester, New Hampshire.

Provenance: Acquired in 1992.

Bonhams. CHINESE WORKS OF ART AND PAINTINGS, 19 Mar 2018, 12:00 EDT, NEW YORK

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A Yaozhou green-glazed meiping, Song dynasty (960-1279)

March 6, 2018, 1:35 pm

≫ Next: A Longquan celadon-glazed 'chrysanthemum' vase, Ming dynasty (1368-1644)

≪ Previous: A Yueyao stoneware vase, Han dynasty (206 BCE-220 CE)

Lot 8041. A Yaozhou green-glazed meiping, Song dynasty (960-1279); 8 1/4in (21cm) high. Estimate US$ 700 - 900 (€ 560 - 730). © Bonhams 2001-2018

The broad shoulders surmounted by a short tubular neck with a rolled-rim, the sides tapering towards the base and decorated with horizontal raised ribs, covered overall with a crackled pale olive-green glaze except for the recessed foot.

Property from the Currier Museum of Art, Manchester, New Hampshire.

Bonhams. CHINESE WORKS OF ART AND PAINTINGS, 19 Mar 2018, 12:00 EDT, NEW YORK

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A Longquan celadon-glazed 'chrysanthemum' vase, Ming dynasty (1368-1644)

March 6, 2018, 1:40 pm

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Lot 8042. A Longquan celadon-glazed 'chrysanthemum' vase, Ming dynasty (1368-1644); 14 1/2in (37cm) high. Estimate US$ 2,500 - 4,000 (€ 2,000 - 3,200). © Bonhams 2001-2018

Sturdily-potted with an ovoid body, molded and carved with chrysanthemum blossoms borne on a continuous leafy scroll, all between leaf lappets at the base and chrysanthemum petal lappets encircling the gently flared neck, covered overall with a crackled sea-green glaze pooling in the recesses, the slightly convex foot surrounded by an unglazed foot ring.

Property from the Currier Museum of Art, Manchester, New Hampshire.

Provenance: Gift of Mrs Eliot A Carter, 1991.

Bonhams. CHINESE WORKS OF ART AND PAINTINGS, 19 Mar 2018, 12:00 EDT, NEW YORK

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A Longquan celadon-glazed 'petal' vase and cover, Ming dynasty (1368-1644)

March 6, 2018, 1:47 pm

≫ Next: A blue and white fish bowl, Wanli mark and of the period (1573-1620)

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Lot 8043. A Longquan celadon-glazed 'petal' vase and cover, Ming dynasty (1368-1644); 9 1/4in (23.5cm) high. Estimate US$ 800 - 1,200 (€ 640 - 970). © Bonhams 2001-2018

Of ovoid form, surmounted by a cylindrical neck with a galleried mouth, the body incised and combed with a band of peony petals between bands of lotus petals encircling the shoulder and base, covered overall with a olive-green glaze, the unglazed foot burnt orange, the associated domed cover with wide notched flange and double-gourd finial.

Property from the Currier Museum of Art, Manchester, New Hampshire.

Bonhams. CHINESE WORKS OF ART AND PAINTINGS, 19 Mar 2018, 12:00 EDT, NEW YORK

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A blue and white fish bowl, Wanli mark and of the period (1573-1620)

March 6, 2018, 2:13 pm

≫ Next: A celadon-glazed double-gourd vase, Qianlong seal mark and of the period (1736-1795)

≪ Previous: A Longquan celadon-glazed 'petal' vase and cover, Ming dynasty (1368-1644)

Lot 8044. A blue and white fish bowl, Wanli mark and of the period (1573-1620); 19 3/4in (50.1cm) diameter. Estimate US$ 30,000 - 50,000 (€ 24,000 - 40,000). © Bonhams 2001-2018

Heavily potted with rounded sides, the walls painted in deep underglaze blue with two dragons chasing a flaming pearl amid clouds, the six character mark also in underglaze blue on the face of the rim.

Property from the Currier Museum of Art, Manchester, New Hampshire.

Provenance: Gift of Mr. and Mrs Eugene Bernat, 1958, 1960.

Note: The present lot is impressive for its lively decoration of a pair of dragons. The way one dragon is portrayed looking over its back towards the other dragon, creates a sense of interaction between the dragons and heightens the sense of vivacity. The large size of the bowl makes possible the considerable amount of white space in the decoration which gives the composition room to breathe and adds to the sense of motion. Such large pieces were difficult to fire without cracking and warping and are testament to the technical virtuosity of the Jingdezhen potters of the late Ming period.

The present lot follows Jiajing period examples such as the ones sold in our Hong Kong rooms, 28 Nov 2009, lot 324; and our London rooms, 6 Nov 2008, lot 67.

A monumental blue and white porcelain 'dragon' fish bowl, Jiajing mark and of the period (1522 – 1566); 74.5cm (29¼in) diam. Sold for HK$ 348,000 (€ 35,795) at Bonhams Hong Kong, 28 Nov 2009, lot 324. © Bonhams 2001-2009

A massive blue and white 'dragon' fish bowl, Jiajing six-character mark and of the period (1522 – 1566); 56.5cm (22¼in) diam. Sold for £ 45,600 (€ 51,141) at Bonhams London, 6 Nov 2008, lot 67. © Bonhams 2001-2008

Bonhams. CHINESE WORKS OF ART AND PAINTINGS, 19 Mar 2018, 12:00 EDT, NEW YORK

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A celadon-glazed double-gourd vase, Qianlong seal mark and of the period (1736-1795)

March 6, 2018, 2:36 pm

≫ Next: A teadust-glazed 'water chesnut' vase, 19th century

≪ Previous: A blue and white fish bowl, Wanli mark and of the period (1573-1620)

Lot 8047. A celadon-glazed double-gourd vase, Qianlong seal mark and of the period (1736-1795); 12 1/2in (31.7cm) high. Estimate US$ 60,000 - 90,000 (€ 48,000 - 73,000). © Bonhams 2001-2018

Elegantly potted with a narrow waist between the slightly compressed globular lower bulb and smaller upper bulb, gently rising from the shoulder to a narrow mouth, covered overall with a pale sea-green glaze thining to white at the rim, with a matching cover, the recessed celadon-glazed foot enclosed within an unglazed ring and inscribed in underglaze blue with a six-character mark.

Property from the Currier Museum of Art, Manchester, New Hampshire.

Provenance: Gift of Mrs. Eliot A Carter, 1991

Note: For other examples of double-gourd vases with matching covers, see one in Chinese Porcelain, The S.C. Ko Tianminlou Collection, vol. 1, Hong Kong, 1987, pl. 160; another in the collection of the Nanjing Museum, included in the exhibition Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Hong Kong, 1995, Catalogue no.69, and also illustrated in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty Zhongguo qingdai guanyao ciqi, Shanghai, 2003, p.341; and another from the Jingguantang collection, illustrated in Splendour of the Qing Dynasty, Hong Kong Museum of Art, Hong Kong, 1995, cat. no. 212, and sold at Christie's, Hong Kong, 28 October 2002, lot 723.

See also a vase in the Metropolitan Museum of Art, New York, illustrated by S.G.Valenstein, The Hertzman Collection of Chinese Ceramics, New York, 1992, pl.98; and another illustrated in Qing Imperial Monochromes: The Zande Lou Collection, Shanghai, 2005, pl.42.

Bonhams. CHINESE WORKS OF ART AND PAINTINGS, 19 Mar 2018, 12:00 EDT, NEW YORK

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A teadust-glazed 'water chesnut' vase, 19th century

March 6, 2018, 2:45 pm

≫ Next: A Langyao baluster vase, 18th century

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Lot 8048. A teadust-glazed 'water chesnut' vase, 19th century; 13 1/4in (34cm) high. Estimate US$ 4,000 - 6,000 (€ 3,200 - 4,800). © Bonhams 2001-2018

The compressed pear-shaped body rising from a spreading foot and tapering to a tall cylindrical neck, all covered with an evenly-mottled dark green glaze stopping at the foot, the base with the impressed six character Qianlong seal mark.

Property from the Currier Museum of Art, Manchester, New Hampshire.

Provenance: Gift of Ed and Mary Scheier, 1992

Bonhams. CHINESE WORKS OF ART AND PAINTINGS, 19 Mar 2018, 12:00 EDT, NEW YORK

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A Langyao baluster vase, 18th century

March 6, 2018, 2:53 pm

≫ Next: A Langyao triple-spouted vase, 18th-19th century

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Lot 8049. A Langyao baluster vase, 18th century; 16 7/8in (42.8cm) high. Estimate US$ 4,000 - 6,000 (€ 3,200 - 4,800). © Bonhams 2001-2018

The slender body rising from a spreading foot to a wide neck with flared rim, the exterior covered with a deep raspberry-red glaze, thinning at the mouth and running in streaks towards the base, the interior and recessed foot covered with a pale-green crackled glaze, the unglazed foot ring neatly cut.

Property from the Currier Museum of Art, Manchester, New Hampshire.

Bonhams. CHINESE WORKS OF ART AND PAINTINGS, 19 Mar 2018, 12:00 EDT, NEW YORK

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A Langyao triple-spouted vase, 18th-19th century

March 6, 2018, 2:57 pm

≫ Next: A blue and white 'Landscape' baluster vase, 19th century

≪ Previous: A Langyao baluster vase, 18th century

Lot 8046. A Langyao triple-spouted vase, 18th-19th century; 15in (38cm) high. Estimate US$ 1,500 - 3,000 (€ 1,200 - 2,400). © Bonhams 2001-2018

Potted as three conjoined ovoid vases with cylindrical necks, the bodies rising from a short trefoil foot, applied overall with with a crushed raspberry-red glaze, thinning at the mouth rims and streaking towards the foot, the unglazed foot ring surrounding the crackle-glazed foot.

Property from the Currier Museum of Art, Manchester, New Hampshire.

Bonhams. CHINESE WORKS OF ART AND PAINTINGS, 19 Mar 2018, 12:00 EDT, NEW YORK

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A blue and white 'Landscape' baluster vase, 19th century

March 6, 2018, 3:04 pm

≫ Next: The Hamburger Kunsthalle opens Germany's first large-scale monographic exhibition on Thomas Gainsborough

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Lot 8045. A blue and white 'Landscape' baluster vase, 19th century; 17 7/8in (45.5cm) high. Estimate US$ 8,000 - 12,000 (€ 6,400 - 9,700). © Bonhams 2001-2018

The body painted with a mountainous waterscape populated with scholars and attendants carrying qin, amidst trees and rocks partially obscuring temples and houses, with birds flying in the distance, the trumpet neck decorated with a similar scene, the recessed foot surrounded by an unglazed foot ring.

Property from the Currier Museum of Art, Manchester, New Hampshire.

Bonhams. CHINESE WORKS OF ART AND PAINTINGS, 19 Mar 2018, 12:00 EDT, NEW YORK

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The Hamburger Kunsthalle opens Germany's first large-scale monographic exhibition on Thomas Gainsborough

March 7, 2018, 3:22 am

≫ Next: Sotheby's Hong Kong announces highlights from the Fine Chinese Paintings 2018 Spring Sales

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Thomas Gainsborough (1727-1788), Robert und Frances Andrews (»Mr. und Mrs. Andrews«), um 1750. Öl auf Leinwand, 69,8 × 119,4 cm, London, The National Gallery © The National Gallery, London

HAMBURG.- The Hamburger Kunsthalle is mounting Germany’s first large-scale monographic exhibition on the English painter Thomas Gainsborough (1727–1788), concentrating on his role as a pioneer of ›modern‹ landscape painting. Curated by the director of the Hamburger Kunsthalle, Christoph Martin Vogtherr, the show features some 80 exhibits, comprising around 40 paintings and 40 works on paper. The exhibition will feature works from leading collections in the UK, including the National Gallery, the Tate Gallery and the Victoria and Albert Museum in London as well as the Barber Institute in Birmingham, and also by the Staatliche Museen zu Berlin, the Bayerische Staatsgemäldesammlungen Munich and by private collections in Germany and the UK. The works on view include icons of British painting, such as Mr and Mrs Andrews and The Watering Place, which count among the most famous paintings of all time in the English-speaking world.

Thomas Gainsborough, born in Sudbury, grew up in Suffolk in south-eastern England, and the landscape there would leave a lasting mark on his art. He trained with French-influenced artists in London and undertook close studies of Netherlandish landscape painting. His art thus springs from a broad grounding in European art. Gainsborough experienced his breakthrough after moving to the fashionable spa town of Bath, where he became highly successful as a society portraitist. He later worked in London and was a founding member of the Royal Academy.

Thomas Gainsborough (1727-1788), Waldlandschaft mit Wagen (»Der Erntewagen«), um 1766. Öl auf Leinwand, 120,7 x 144,8 cm, Birmingham, The Barber Institute of Fine Arts © The Barber Institute of Fine Arts, Birmingham.

Gainsborough much preferred painting landscapes to portraits. They provided a far better field for experimentation with highly innovative media and techniques, allowing him to continuously to develop his style. The artist picked up on the wave of experimentation that swept England in the eighteenth century, eventually elevating it to the standing of Europe’s leading economic and political force. At the same time, Gainsborough’s contribution helped to transform his country into a prime European centre for art.

Thomas Gainsborough: The Modern Landscape organises the presentation of Gainsborough’s landscape scenes into three chapters: Under the theme Rendering Reality, the exhibition compares and contrasts early works by Gainsborough such as Holywells Park with Netherlandish landscapes from the collection of the Hamburger Kunsthalle. This juxtaposition demonstrates how the artist learnt a great deal about composition, perspective and atmospheric representation from his Netherlandish colleagues, leading him to value landscape as a conveyer of mood. Like other English artists of the early eighteenth century, Gainsborough followed the European tradition closely and yet used it as a springboard for developing his own novel style. He was particularly interested in how humans relate to the landscape around them, in their close connection with and empathetic experience of nature, which found expression in the concept of the »sensibility«.

Thomas Gainsborough (1727-1788), Waldlandschaft mit Rindern an einem Teich (»Die Tränke«), vor 1777. Öl auf Leinwand, 147,3 x 180,3 cm, London, The National Gallery © The National Gallery, London

The second chapter on The Social Landscape highlights how Gainsborough’s landscape art subtly reflected the major social upheavals of his day. What at first glance seem like bucolic scenes betray upon closer inspection signs of poverty and despair as the artist attempts in each picture to convey a subject and a new rendering for which no clear-cut formula had yet been invented. The increasing privatisation of common agricultural land during Gainsborough’s lifetime deprived large parts of England’s rural population of their livelihood, forcing peasants to migrate to the cities and hire themselves out as cheap labour. In a simultaneous development, ownership of large estates became a status symbol. Gainsborough addressed these trends from both the point of view of the propertied class and that of the newly impoverished. The rural exodus would become a central theme in his late landscapes, such as his masterpiece The Harvest Wagon.

Thomas Gainsborough (1727-1788), Holywells Park, um 1748–1750. Öl auf Leinwand, 50,8 x 66 cm, Ipswich Museum and Gallery © Ipswich Museum and Gallery

Technical advances during this era, chief among them the development of the steam engine and the inventtion of the mechanical loom, laid the groundwork for early industrialisation. The exhibition illustrates in the third chapter on The Creative Process how the ideal of innovation equally prevailed in English painting. Gainsborough’s landscape art became a kind of technological and intellectual laboratory: in an effort to achieve the desired effects in his drawings and to continually push the boundaries of the genre, he experimented with different media and techniques such as aquatint and soft-ground etching and even used skim milk washes or painted images on glass. One of these highly fragile paintings on glass is featured in the exhibition, Coastal Landscape with Sailing Ships. Originally presented in a kind of peep-show box the artist had constructed, in the exhibition the painting is lit from behind to recreate this experience.

Thomas Gainsborough (1727-1788), Waldlandschaft mit Haus am See, vor 1782. Öl auf Leinwand, 120,4 x 147,6 cm, Sudbury, Gainsborough’s House © Gainsborough’s House, Sudbury.

The exhibition builds on a long Hamburger Kunsthalle tradition of highlighting the era of major transformation around 1800 as the beginning of modernity in art, a tradition that began with the legendary cycle Art around 1800 launched by former director Werner Hofmann. As a complement to German Romanticism, which is well-represented in the Kunsthalle’s collection, and the French art of the period, the Gainsborough show thus presents England as a further centre of European landscape painting.

Thomas Gainsborough (1727-1788), Landschaft mit Rindern und Pferd, um 1785. Schwarze, braune, rote und weiße Kreide auf Papier, 15,2 x 24,8 cm, Sudbury, Gainsborough’s House © Gainsborough’s House, Sudbury

Thomas Gainsborough (1727-1788), Landschaft mit Boot, Mitte bis Ende 1770er Jahre. Aquatinta, Pinsel in schwarz, weiße und schwarze Kreide, Blattmaß 25,5 x 32,4 cm, Staatliche Museen zu Berlin, Kupferstichkabinett, © bpk / Kupferstichkabinett, SMB / Dietmar Katz

Thomas Gainsborough (1727-1788), Waldlandschaft mit Hirten und Rindern, Mitte bis Ende 1780er Jahre. Weichgrundradierung und Aquatinta, Pinsel in weiß, Blattmaß 25,7 x 32,1 cm, Staatliche Museen zu Berlin, Kupferstichkabinett © bpk / Kupferstichkabinett, SMB / Dietmar Katz

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Sotheby's Hong Kong announces highlights from the Fine Chinese Paintings 2018 Spring Sales

March 7, 2018, 6:48 am

≫ Next: A Rare Teadust-Glazed Facetted Vase, hu, Qianlong incised six-character seal mark and of the period (1736-1795)

≪ Previous: The Hamburger Kunsthalle opens Germany's first large-scale monographic exhibition on Thomas Gainsborough

Zhang Daqian (1899-1983), Spectacular Mountains in Spring Snow; Calligraphy, 1967, splashed ink and colour on paper; ink on paper, set of two, framed calligraphy: 67.5 by 185.5 cm painting: 67.2 by 186.8 cm Estimate: HK$28,000,000 – 40,000,000 / US$3,500,000 – 5,000,000. Courtesy Sotheby’s.

HONG KONG.- Sotheby’s Fine Chinese Paintings Spring Sale 2018 will be held on 2 April at the Hong Kong Convention and Exhibition Centre. Estimated in excess of HK$200 million*, the sale features 280 exquisite paintings by modern Chinese artists and is headlined by two works making their auction debuts: Spectacular Mountains in Spring Snow, a prodigious six-foot long Zhang Daqian splashed ink-and-colour painting and calligraphy, and a work by Huang Binhong commissioned in celebration of renowned book collector Mo Boji’s 70th birthday. Other highlights include a Fu Baoshi scroll depicting a dramatic snow trekking scene from the 1940s from the M K Lau Collection and a number of important pieces from notable collections, such as works by Yu Fei’an from The Goldbell Collection and paintings and calligraphy from the Zhang Daqian Family Collection.

Carmen Ip, Acting Head of Department, Fine Chinese Paintings, Sotheby’s Asia, comments, “This season, our Fine Chinese Paintings sale is distinguished by high calibre and fresh-to-the-market works from prominent collections, many with special connections to the artists. A monumental Zhang Daqian splashed ink-and-colour painting, gifted to his close friend, and Huang Binhong’s Studio Amid Majestic Mountains, commissioned in celebration of Mo Boji’s 70th birthday, are just two of the many highlights in our April sale that cannot be missed.”

SALE HIGHLIGHTS

Zhang Daqian (1899-1983), Spectacular Mountains in Spring Snow; Calligraphy, 1967, splashed ink and colour on paper; ink on paper, set of two, framed calligraphy: 67.5 by 185.5 cm; painting: 67.2 by 186.8 cm; Estimate: HK$28,000,000 – 40,000,000 / US$3,500,000 – 5,000,000. Courtesy Sotheby’s.

A gift from the artist to his dear friend, Zhang Muhan, Zhang Daqian’s Spectacular Mountains in Spring Snow is an exceptionally rare and personal piece. Measuring six feet, this magnificent painting depicts an undulating mountain range with its peaks dusted in snow, while the accompanying calligraphy refers directly to the close friendship between the two. The poem, written in beautiful script, describes the towns of Anhui and Sichuan, the birth places of Zhang Daqian and Zhang Muhan respectively. Of significant size and boasting exceptional provenance, the work was executed at the height of Zhang Daqian’s career.

Important Work from the Mo Boji Family Collection

Huang Binhong (1864-1955), Studio Amid Majestic Mountains, 1947, ink and colour on paper, hanging scroll, 128.5 by 61 cm. Estimate: HK$15,000,000 - 20,000,000 / US$2,000,000 – 2,500,000. Courtesy Sotheby’s.

Huang Binhong’s Studio Amid Majestic Mountains is a spectacular scroll, commissioned by Peiyue for his father Mo Boji’s 70th birthday. A gem of the esteemed Mo Boji Family Collection, the landscape is colossal in size and detailed in nature. Thick with impasto and vibrant with powerful brush strokes, the painting features inscriptions of two poems, a reference to the family’s love of writing. Befitting of the celebratory nature of this commission, the paper used for the work was especially made during the 49th year of the Qianlong Emperor’s reign in honour of his birthday celebration.

From the M K Lau Collection

Fu Baoshi (1904-1965), Scholars Trekking in Snow Mountains, 1945, ink and colour on paper, hanging scroll, 88.5 by 56.3 cm. Estimate Upon Request. Courtesy Sotheby’s.

Fu Baoshi’s Scholars Trekking in Snow Mountains beautifully combines the artist’s eye for detail with his interest in history. Drawing inspiration and reference from the biography of Tang Dynasty poet, Han Yu, and in particular his journey to Chaoyang in a winter due to his demotion, the present work vividly portrays Han trekking through the narrow, winding mountain paths buried in snow and enveloped by withered trees and sharp rocks. Representative of Fu Baoshi’s oeuvre, Scholars Trekking in Snow Mountains has been exhibited across Europe and Asia and has been recorded extensively in catalogues and publications.

From An Asian Private Collection

Zhang Daqian (1899-1983), Majestic Mountains in Sichuan, 1940, ink and colour on paper, framed, 146 by 81 cm. Estimate: HK$15,000,000 – 18,000,000 / US$2,000,000 – 2,300,000. Courtesy Sotheby’s.

Depicting a panoramic view of the mountains of Sichuan, this painting is remarkable for its extensive layering of ink, which successfully creates a sense of depth. The painting also bears two seals of the artist, specially made for works depicting Mount Qingcheng and Mount Emei which are rarely seen together in the same work.

OTHER SALE HIGHLIGHTS

Property from a Private Collection: Fu Baoshi, Beauty Under the Willows, ink and colour on paper, hanging scroll, 105 by 30.5 cm. Estimate: HK$ 8,000,000 – 12,000,000 / US$1,000,000 – 1,500,000. Courtesy Sotheby’s.

Collection of the Artist’s Seventh Son: Zhang Xinyi. Zhang Daqian, Self Portrait in Mount Huang, 1961, ink and colour on paper, hanging scroll, 192 by 102 cm, Estimate: HK$ 8,000,000 – 12,000,000 / US$1,000,000 – 1,500,000. Courtesy Sotheby’s.

From an Important Private Collection: Li Keran, Lofty Mountains in the Mist, 1988, ink and colour on paper, framed, 92 by 52 cm. Estimate: HK$ 9,000,000 – 12,000,000 / US$1,100,000 – 1,500,000. Courtesy Sotheby’s.

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A Rare Teadust-Glazed Facetted Vase, hu, Qianlong incised six-character seal mark and of the period (1736-1795)

March 7, 2018, 7:06 am

≫ Next: A Robin's Egg-Blue-Glazed 'Lantern' Vase, Qianlong incised six-character seal mark and of the period (1736-1795)

≪ Previous: Sotheby's Hong Kong announces highlights from the Fine Chinese Paintings 2018 Spring Sales

Lot 609. A Rare Teadust-Glazed Facetted Vase, hu, Qianlong incised six-character seal mark and of the period (1736-1795); 13 ¾ in. (35 cm.) high. Estimate USD 120,000 - USD 180,000. © Christie’s Images Limited 2018.

The vase of hexagonal shape has a pair of rounded tubular handles flanking the neck and is applied overall with a finely textured matte glaze of even, dark olive-green color that also covers the base surrounding the mark which is covered with a brownish glaze, and the foot is covered with a dark brown wash.

Provenance: Christie's London, 22 July 2006, lot 141.
The Studio of the Clear Garden.

Note: A similar vase was included in the Oriental Ceramic Society exhibition, Iron in the Fire, Ashmolean Museum, 1988, no. 89, and on the front cover. Another from the W. W. Winkworth Collection was sold at Sotheby's London, 12 December 1972, lot 130. A larger teadust-glazed vase of this shape is illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, no. 965. See, also, a very similar example sold at Christie's Hong Kong, One Man's Vision: Important Chinese Art from the Manno Art Museum, 28 October 2002, lot 560.

John Ayers; Margaret Medley; Nigel Wood; Ashmolean Museum.; Oriental Ceramic Society. Iron in the fire : the Chinese potter's exploration of iron oxide glazes : an exhibition held at the Ashmolean Museum, Oxford, 10 May-19 June, 1988.

Christie's. The Studio of the Clear Garden: Chinese Ceramics and Works of Art, 22 March 2018, New York

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