Lot 537. A pair of Chinese export porcelain famille-rose elephant candle holders, Qing dynasty, late 18th-early 19th century; height 11 3/4 in., 29.8 cm. Estimate 8,000-12,000 USD. Lot sold 62,500 USD. Photo Sotheby's
with wood stands.
Sotheby's. Property from the Estate of Brooke Astor. New York, 24 sept. 2012
James Sharp, “Flowers and Butterfly Fireboard” (detail), 1867, oil on wood, 32 ¾ x 54 7/8 in., Museum purchase, acquired from Maxim Karolik, 1959-265.39, Photography by Andy Duback.
SHELBURNE, VT.- Shelburne Museum’s exhibition, In the Garden, which examines the influence flowers and insects have had on art and material culture around the world over the course of five centuries, is on view in the Pizzagalli Center for Arts and Education’s Murphy Gallery from March 17 until August 26, 2018.
“The diverse selection of art and design featured in this exhibition reflects the beauty and complexity of the flora and fauna found in gardens,” says Kory Rogers, curator of the exhibition.
Eighty percent of all plants on Earth produce beautiful fragrant flowers to attract insects, which in turn act as pollinators. Over the course of millennia, this symbiotic relationship has resulted in the evolution of an endless array of colors and shapes of both flowers and insects.
James Sharp, “Flowers and Butterfly Fireboard”, 1867, oil on wood, 32 ¾ x 54 7/8 in., Museum purchase, acquired from Maxim Karolik, 1959-265.39, Photography by Andy Duback.
Clarice Smith, “Last of Summer,” 2016, oil on canvas, 38 x 48 in., Courtesy of Gerald Peters Gallery, New York
Featuring a mix of fine art, textiles, jewelry, and the bodies of actual insects, this exhibition explores the various ways in which flowers and bugs have captivated the imaginations of artists over the last five centuries. Combining historical objects from the Museum’s permanent collection with thought-provoking works by contemporary artists, the exhibition is structured into three thematic sections:
• Entitled “Flower Power: Desire, Love, and Sentiment,” the first section explores the allure of flowers, their hidden romantic meanings, and their use as gifts for special occasions from the cradle to the grave.
Tiffany & Co., Edward C. Moore, and Allan Adler, “Selections from Lap-Over-Edge Silver Flatware Service,” ca. 1883 and ca. 1958. Silver, gold, copper, brass, and steel, Gift of Dundeen B. Catlin in honor of her grandmother, Electra Havemeyer Webb, 2014-12, Photography by Andy Duback
• The second section, “Everlasting Blooms: The Floriform Metalwork of Marie Zimmermann,” examines the broad range of floral-inspired jewelry, housewares, and garden furniture designed and produced by Zimmermann, an underappreciated master craftsperson and American treasure.
"Ring" by Marie Zimmermann (1879-1972). Courtesy of Shelburne Museum
• The third and final section, “Invasive Species: Insects in the Home,” focuses on artist and designers who find inspiration in the intricate anatomy of bugs, adapting colorful carapaces, fragile antennae, and gossamer wings into chic art and decoration.
Rogers looks forward to how the deeper context will resonate with viewers. “While certain works celebrate our instinctual emotional connection to flowers,” he says, “others challenge our cultural biases against insects. It is my sincere hope that visitors will take away a greater appreciation and understanding of the natural world in all its many forms.
Joan Lintault, “The Other Messengers,” 1994, cotton and dye, 89 ½ x 83 in., Gift of Ian Lintault, 2010-35, Photography by Andy Duback
Jennifer Angus, “In the Midnight Garden,” from Wonder at the Renwick Gallery, Smithsonian Museum, 2015. Various insect specimens and pins, Courtesy of the artist, Photography by Ron Blunt.
Lot 383. A blue and white 'squirrel and grape' bowl, Kangxi mark and period (1662-1722). Diameter 8 3/4 in., 22.2 cm. Estimate 25,000 — 35,000 USD. © Sotheby's
the deep rounded sides rising from a straight foot to an everted rim, the exterior finely painted in inky tones with a continuous broad frieze of numerous squirrels clambering among scrolling grape vines issuing curling leaves and clusters of fruit, the tiny furry animals peeking out from behind leaves and dashing along the branches, all between double lines at the rim and foot, the base with a six-character mark in underglaze blue within a double circle, coll. no. 246.
The Jie Rui Tang Collection.
Provenance: Roger Keverne, Ltd., London, 2001.
Note: A similar bowl in Palace Museum Collection, Beijing is illustrated in Chen Runmin, Qing Shunzhi Kangxi chao qinghua ci [Qing Dynasty Blue and White Porcelains of the Shunzhi and Kangxi Periods], Beijing, 2005, pl. 120. Another bowl of this pattern with a Kangxi reign mark from the Grandidier Collection in the Musée Guimet, Paris is illustrated in Oriental Ceramics, The World's Greatest Collections, Tokyo, 1981, vol. 7, pl. 108.
Sotheby's. KANGXI: The Jie Rui Tang Collection, New York, 20 March 2018, 11:00 AM
Lot 385. A large blue and white Persian-style ewer, Qing dynasty, Kangxi period (1662-1722). Height 11 3/8 in., 28.8 cm. Estimate 25,000 — 35,000 USD. © Sotheby's
the flattened pear-shaped body rising from a spreading foot to a waisted neck with a raised band and cupped mouth, the dragon-form handle set opposite the S-curved spout, the front and back each with a teardrop-shaped panel enclosing a 'pheasant and rockwork' vignette bordered by scrolling peonies against a blue ground, the sides and spout with flowering boughs, further foliate decoration at the neck, mouth, foot, and spout, coll. no. 290.
The Jie Rui Tang Collection.
Provenance: Marchant, London, 2000.
Literature: Jeffrey P. Stamen and Cynthia Volk with Yibin Ni, A Culture Revealed: Kangxi-era Porcelain from the Jie Rui Tang Collection, Bruges, 2017, pl. 109.
Note: The elegant attenuated form of the present ewer is most likely derived from a Middle Eastern metal prototype. These vessels, often with a matching basin, were used primarily for ceremonial ablutions. While derived from an Islamic form, these ewers were successfully assimilated and adapted for the domestic market which valued them for their exoticism. A similar blue and white Kangxi period ewer in the Victoria and Albert Museum, London is illustrated in Rose Kerr and Luisa E. Mengoni Chinese Export Ceramics, London, 2011, pl.154.
Porcelain ewer painted in underglaze blue, Jingdezhen, China, Qing dynasty, Kangxi reign, ca. 1680-1710. Diameter: 17.8 cm, Height: 28.0 cm. Acquired in Iran, 1581-1876 © Victoria and Albert Museum, London 2017.
Sotheby's. KANGXI: The Jie Rui Tang Collection, New York, 20 March 2018, 11:00 AM
Lot 312. A blue and white 'Immortals' dish, Kangxi mark and period (1662-1722). Diameter 6 1/4 in., 15.8 cm. Estimate 20,000 — 30,000 USD. © Sotheby's
the rounded sides rising from a straight foot to an everted rim, the interior painted in vibrant cobalt tones with three immortals accompanied by an attendant bearing peaches, all on a rocky ledge framed by pines and clouds, a crane carrying lengths of bamboo in its beak to a pavilion floating on the waves below, the exterior with a small boat and mountain peaks appearing through the mist, the base with a six-character mark in underglaze blue within a double circle, coll. no. 103.
The Jie Rui Tang Collection.
Provenance: Marchant, London, 1987.
Collection of Bertil J. Högström (acquired in 1989).
Marchant, London, 1999.
Exhibited: Transitional Wares for the Japanese and Domestic Markets, Marchant, London, 1989, cat. no. 49.
Literature: Jeffrey P. Stamen and Cynthia Volk with Yibin Ni, A Culture Revealed: Kangxi-era Chinese Porcelain from the Jie Rui Tang Collection, Bruges, 2017, pl. 25.
Sotheby's. KANGXI: The Jie Rui Tang Collection, New York, 20 March 2018, 11:00 AM
Lot 339. A blue and white mallet vase, Qing dynasty, Kangxi period (1662-1722). Height 10 1/8 in., 25.7 cm. Estimate 20,000 — 30,000 USD. © Sotheby's
the cylindrical body surmounted by a tall slender neck applied with a pair of leaping-carp-form handles, the molded sides with curving panels finely painted with alternating water plants, shells and crustacea set between floral lappet bands, the neck with further aquatic plants between narrow chevron bands, the base undecorated, coll. no. 1378.
The Jie Rui Tang Collection.
Provenance: The Minette Collection.
D. & M. Freedman, London, 2005.
Note: he inspiration for this form seems likely to be from the famous mallet-form vases of the Song dynasty. These forms were traditionally prized by Japanese connoisseurs and the present vase may have been intended to appeal to that market. A blue and white 18th century example of this form, in the Asian Art Museum, San Francisco was in the exhibition Trade, Taste & Transformation, Jingdezhen Porcelain for Japan, China Institute Gallery, New York, 2006, cat. no. 19, where the form is described as being part of a group for use in an alcove or tokonoma of a teahouse and the author also notes that blue and white examples of this mallet form were known as 'Takasago' vases in reference to the male and female figures with which they were decorated. Another related vase from the Nezu Institute of Fine Arts, Tokyo, was included in the exhibition Encounters, The Meeting of Asia and Europe 1500-1800, Victoria and Albert Museum, London, 2004, pl. 5.27.
Sotheby's. KANGXI: The Jie Rui Tang Collection, New York, 20 March 2018, 11:00 AM
Lot 315. A blue and white rouleau vase, Qing dynasty, Kangxi period (1662-1722). Height 18 1/4 in., 46.4 cm. Estimate 20,000 — 30,000 USD. © Sotheby's
the cylindrical vessel painted to one side with a rectangular panel enclosing a scene of Xiwangmu descending on a cloud with her entourage to visit a young gentleman riding a water buffalo in a riverside landscape, the rider gesturing reverently, five birds flying overhead, the opposite side with a selection of the 'Hundred Antiques' including vivacious sculptures of mythical beasts and Samantabhadra astride an elephant, three geometric bands encircling the neck, three line bands above the foot, the base with a double circle, coll. no. 1442.
The Jie Rui Tang Collection.
Provenance: Christie's Paris, 26th November 2002, lot 103.
Sotheby's. KANGXI: The Jie Rui Tang Collection, New York, 20 March 2018, 11:00 AM
Lot 311. A blue and white 'Scholar' brushpot, Qing dynasty, Kangxi period (1662-1722). Height 6 in., 15.2 cm. Estimate 15,000 — 20,000 USD. © Sotheby's
of cylindrical form, painted with a continuous riverside landscape, on a rocky outcrop two scholars wearing official's caps and a gesticulating monk regarding a nearby waterfall accompanied by two young attendants carrying a qin and provisions, a fisherman at work in a boat below and birds flying above, the base centered with a recessed medallion, coll. no. 1529.
The Jie Rui Tang Collection.
Provenance: Knapton & Rasti Asian Art, London, 2003.
Sotheby's. KANGXI: The Jie Rui Tang Collection, New York, 20 March 2018, 11:00 AM
Lot 351. A green-ground famille-verte biscuit 'Dragon' pen box and cover, Qing dynasty, Kangxi period (1662-1722). Length 8 in., 20.4 cm. Estimate 20,000 — 30,000 USD. © Sotheby's
of oblong form, the flat cover painted with a writhing dragon amid flame wisps in pursuit of a 'Flaming Pearl', the long sides of the box each with striding chilong with curving bifurcated tail and grasping a long-stemmed lotus bloom and divided by auspicious emblems, the box exterior similarly decorated, the interior with three circular and one shaped oblong compartment (2), coll. no. 206.
The Jie Rui Tang Collection.
Provenance: Collection of Edgar (c.1880-1972) and Hedwig (c.1893-1987) Worch, from 1938.
Christie's New York, 2nd June 1994, lot 400.
The Chinese Porcelain Company, New York.
Exhibited: Famille Verte Porcelain of the Kangxi Period, The Chinese Porcelain Company, New York, 1994, cat. no. 23.
Literature: The Chinese Porcelain Company, A Dealer's Record 1985-2000, New York, 2000, p. 121.
Note: The present elongated form with rounded ends is modeled after an Islamic metal prototype known from the 13th century, which was often richly chased and inlaid with gold and silver. Originally closely modeled after the Islamic form, the shape gradually changed to suit the requirements of Chinese calligraphers. Furthermore, decoration on pen boxes include motifs that conveyed auspicious messages, as seen on the present example. Chinese porcelain interpretations of the form were first made at the imperial kilns in Jingdezhen during the early Ming dynasty and continued to be popular well into the Qing dynasty.
Similar examples include a green-ground box with dragons from the Qing Court Collection illustrated in The Complete Collection of Treasures of the Palace Museum, Miscellaneous Enamelled Porcelains Plain Tricoloured Porcelains, Hong Kong 2009, pl. 217 and a yellow-ground example with phoenix in the Palace Museum, Beijing illustrated in Kangxi, Yongzheng and Qianlong, Qing Porcelain from the Palace Museum, Hong Kong 1989, pl. 102. A white-ground example with dragon motif from the collection of Sir Alfred Beit was sold in our London rooms on 6th November 2013, lot 86.
From the collection of Sir Alfred Beit. A famille-verte ‘dragon’ biscuit pen box and cover, Qing dynasty, Kangxi period (1662-1722); 21.7cm., 8 1/2 in. Sold for 15,000 GBP at Sotehby's London, 6th November 2013, lot 86. Photo: Sotheby's 2013
Sotheby's. KANGXI: The Jie Rui Tang Collection, New York, 20 March 2018, 11:00 AM
Lot 387. A famille-verte'Romance of the Three Kingdoms' rouleau vase, Qing dynasty, Kangxi period (1662-1722). Height 18 1/2 in., 47 cm. Estimate 20,000 — 30,000 USD. © Sotheby's
the cylindrical body richly painted with a continuous battle scene recognizable as 'Guan Yu Drowns the Seven Armies', Guan Yu and his army depicted safely positioned on high ground, fiercely baring down on Cao Cao's armies adrift on rafts borne on turbulent river water attempting to fend off the attack, a central warrior, mortally wounded clutching the lance still held by a soldier of the vanquishing force above, the scene framed by jagged rocks and trees, the shoulder with iron-red flowerheads alternating with fruit-shaped cartouches enclosing bamboo all against a green diaper ground, the neck with a tranquil landscape featuring a thatch-roofed hut, the rim with a green-enameled keyfret band, coll. no. 1605.
The Jie Rui Tang Collection.
Provenance: Sotheby's London at The Robert Simpson Company, Ltd., Toronto, 18th October 1967, lot 323.
Christie's New York, 19th September 2006, lot 317.
Marchant, London, 2007.
Exhibited: Recent Acquisitions, S. Marchant & Son., London, 2007, cat. no. 51.
Note: The dramatic narrative that unfolds around the cylindrical form of the present vase celebrates the heroism and strategic brilliance of the Eastern Han dynasty general Guan Yu. The episode depicted dramatizes an event that occurred at the Battle of Fancheng. In the famous 14th century historical novel, The Romance of the Three Kingdoms, Guan Yu, anticipating the rainy season, dams the Han River, and times the opening of the flood gates to destroy the enemy. The waters unleashed careen down the river way eventually spilling over the banks and flooding the plains below drowning thousands of enemy troops. By controlling the waters, Guan Yu secured not only an important military victory but also a reputation as one of the China's greatest generals in history and folklore.
Sotheby's. KANGXI: The Jie Rui Tang Collection, New York, 20 March 2018, 11:00 AM
Lot 310. A famille-verte'Magpie and Chrysanthemum' inscribed brushpot, Qing dynasty, Kangxi period (1662-1722). Height 5 3/4 in., 14.5 cm. Height 18 1/2 in., 47 cm. Estimate 20,000 — 30,000 USD. © Sotheby's
of slightly waisted cylindrical form, painted to one side with a colorful magpie perching atop a twisting scholar's rock surrounded by large orbs of chrysanthemum blooms in red, blue, and black amid leaves, grasses, bamboo, and pines in assorted greens, a short poetic inscription floats above a green rock at a break in the vegetal composition, the base centered with a recessed medallion, coll. no. 1575.
The Jie Rui Tang Collection.
Provenance: Marchant, London, 2006.
Note: The poem inscribed on the brushpot reveals its relationship to the image only to the erudite observer. It reads:
With the zun wine vessel in front of us under the moon we often meet, not venturing to the eastern hedge in search of fallen blossoms.
[Signed] Zai Mo
Rather than overtly describing chrysanthemums, the poet uses the term dong ling ('eastern hedge'), a reference to Tao Yuanming's (ca. 365-421) fifth poem titled 'Drinking Wine' in which he describes picking chrysanthemums in his eastern hedge. Magpie and chrysanthemum are a rebus wishing for the happiness of the entire family. The poem in turn describes the achievement of this contentment through moonlit rendezvous. The poem is accompanied by seals reading Jizhaotang, Shan xiao, and Mushiju.
Mushiju (Studio of Wood and Rock) has been identified as a private workshop in Jingdezhen specializing in literati inspired wares of exceptional quality. A recent article by Pengliang Lu, ‘Where Potter Met Poets, A Kangxi Vase with a Poetry Gathering in Jingdezhen’, Arts of Asia, March-April 2017, pp. 98 -104 identifies the founder of Mushiju as Zhao Wenzong, a local official who moved comfortably among poets, calligraphers and artists of the period. The superlative works from this studio illustrate the close and productive relationship between artist and artisan enjoyed during the Kangxi period. A similar brushpot with the same mark and dated 1709 from the Grandidier Collection, now in the in the Musée Guimet, Paris is illustrated in The World’s Great Collections, Oriental Ceramics, vol. 7, Tokyo, 1981, pl. 53.
Sotheby's. KANGXI: The Jie Rui Tang Collection, New York, 20 March 2018, 11:00 AM
Lot 377. A famille-verte'Birthday' rouleau vase, Qing dynasty, Kangxi period (1662-1722). Height 17 5/8 in., 44.8 cm. Estimate 20,000 — 30,000 USD. © Sotheby's
the cylindrical body supported surmounted by a columnar neck and galleried rim, the body finely painted in bright enamels with gilt details with a continuous scene showing the Tang dynasty general Guo Ziyi, seated on a tiger-skin throne before a draped table set with scholarly objects and colorful pennants and receiving a birthday gift from a dignitary, the dignitary in a green four-clawed dragon robe bowing reverently below, groups of soldiers, scholar-officials, and attendants observing the exchange, the shoulder with stylized shoucharacters in shaped cartouches alternating with ruyi heads all against a green wanzi-fret ground, the neck with a selection of the 'Hundred Antiques' and auspicious animals, the rim with a red and green diaper band, the base with a double circle in underglaze blue, coll. no. 1391.
The Jie Rui Tang Collection.
Provenance: Ralph M. Chait Galleries, New York, 2003.
Note: General Guo Ziyu (697-781), also known as Prince Zhongwu of Fengyang, was the most distinguished general of the Tang dynasty. He was celebrated for quelling the An Lushan Rebellion (755-763) and for is contributions to expeditions against the Uighurs and Tibetans. His remarkable military victories earned him fame and wealth, and he is often depicted in banquets amidst myriad troops, tribute bearers, and descendants. Here, he is shown enjoying a birthday celebration. The General's inlaid long sword symbolically positioned at the center of the pennants, which represent the task he has relayed to officers. To emphasize the birthday theme, the vase is festooned with emblems of longevity and blessings, including shou characters at Guo Ziyi's table and around the shoulder, as well as cranes, ruyi heads, and wanzi at the shoulder and neck. The subject matter and iconography indicate that the vase was designed as a birthday gift, wishing the recipient success, longevity, and good fortune.
Similar examples include a rouleau vase in the Palace Museum, Beijing illustrated in The Complete Collection of Treasures of the Palace Museum, Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, pl. 69., and one sold in our Hong Kong rooms, 2nd May 2005, lot 607.
A famille-verte rouleau vase, Qing dynasty, Kangxi period (1662-1722). Sold for 600,000 HKD at Sotheby's Hong Kong, 2nd May 2005, lot 607. Photo: Sotheby's.
Sotheby's. KANGXI: The Jie Rui Tang Collection, New York, 20 March 2018, 11:00 AM
Lot 366. A famille-verte'Dragon Boat Festival' rouleau vase, Qing dynasty, Kangxi period (1662-1722). Height 17 1/4 in., 43.8 cm. Estimate 20,000 — 30,000 USD. © Sotheby's
the cylindrical body painted in vibrant glossy enamels with a continuous scene of the Dragon Boat Festival, one dragon boat manned by twenty-four oarsmen and drummers racing across the green waters toward celebrants standing in front of a riverside mansion, a second dragon boat following close behind, spectators merrily watching from multi-storied buildings, the neck with a boatman in a landscape, the base with a double circle in underglaze blue, coll. no. 1498.
The Jie Rui Tang Collection.
Provenance: Christie's Paris, 22nd November 2005, lot 74.
Note: This vase belongs to a group of famille-verte porcelains which represent a new direction in porcelain painting. The theme of spectatorship and community engagement runs throughout, with figures naturalistically reacting to one another and actively responding to the events before them. The same elements are found in contemporaneous New Year pictures (nianhua), which circulated widely as woodblock prints and were a source of inspiration for ceramicists at Jingdezhen. The Dragon Boat Festival was a favorite subject for these prints, and possibly provided the basis for this vase and others of its type.
A larger famille-verte rouleau vase, also depicting the Dragon Boat Festival, is in the collection of the Metropolitan Museum of Art (acc. no. 14.40.85). A related vase, but in rouleau form and with women welcoming a phoenix, from J.T. Tai & Co. sold in these rooms, 22nd March 2011, lot 108.
Vase with Scene from the Dragon Boat Festival, Qing dynasty (1644–1911), Kangxi period (1662–1722), late 17th–early 18th century. Porcelain painted with colored enamels over transparent glaze (Jingdezhen ware). H. 27 3/4 in. (70.5 cm). Bequest of Benjamin Altman, 1913 (14.40.85) © 2000–2018 The Metropolitan Museum of Art.
From J.T. Tai & Co. A famille-verte rouleau vase, Qing dynasty, Kangxi period (1662-1722); height including mount 19 5/8 in., 49.8 cm. Sold for 62,500 USD at Sotheby's New York, 22nd March 2011, lot 108. Photo: Sothebys
Cf. my post: Famille-Verte Vases, Qing dynasty, Kangxi period from J.T. Tai & Co at Sotheby's Sotheby's New York, 22nd March 2011
Sotheby's. KANGXI: The Jie Rui Tang Collection, New York, 20 March 2018, 11:00 AM
Lot 867. An 18 Karat Gold, Platinum, Sapphire and Diamond Brooch, Van Cleef & Arpels, New York, Circa 1960. Estimate 10,000 — 15,000 USD. Lot sold 31,250 USD. Photo: Sotheby's 2012
The two leaves set with numerous round sapphires weighing approximately 9.00 carats, further set with 37 round diamonds weighing approximately 2.60 carats, signed VCA, numbered NY38137.
Sotheby's. Property from the Estate of Brooke Astor. New York, 24 sept. 2012
Lot 868. An 18 Karat Gold, Platinum, Emerald and Diamond Brooch, Van Cleef & Arpels, New York, Circa 1960. Estimate 10,000 — 15,000 USD. Lot sold 28,125 USD. Photo: Sotheby's 2012
the two leaves set with numerous round emeralds weighing approximately 7.00 carats, further set with 32 round diamonds weighing approximately 2.60 carats, signed VCA, numbered NY38138.
Sotheby's. Property from the Estate of Brooke Astor. New York, 24 sept. 2012
Lot 876. An 18 Karat Gold, Platinum, Ruby and Diamond Brooch, Van Cleef & Arpels, New York, Circa 1960. Estimate 10,000 — 15,000 USD. Lot sold 31,250 USD. Photo: Sotheby's 2012
the two leaves set with numerous round emeralds weighing approximately 7.00 carats, further set with 32 round diamonds weighing approximately 2.60 carats, signed VCA, numbered NY38138.
Sotheby's. Property from the Estate of Brooke Astor. New York, 24 sept. 2012
Lot 883. A Platinum, 18 Karat Gold, Diamond and Mystery-Set Ruby Bird Brooch, Van Cleef & Arpels, France, 1948. Estimate 30,000 – 40,000 USD. Lot sold 206,500 USD. Photo: Sotheby's 2012
the bird perched on a gold branch, set with round and baguette diamonds weighing approximately 7.80 carats, the body mystery-set with calibré-cut rubies weighing approximately 10.50 carats, further accented with round and marquise-shaped rubies, signed Van Cleef & Arpels, numbered 59500, French assay marks.
Sotheby's. Property from the Estate of Brooke Astor. New York, 24 sept. 2012
Lot 337. An iron-red ground famille-verte rouleau vase, Qing dynasty, Kangxi period (1662-1722). Height 18 1/8 in., 46 cm. Estimate 20,000 — 30,000 USD. © Sotheby's
the cylindrical body well painted with decorative panels reserved against a scrolling chrysanthemum iron red ground, a large rectangular panel with a katydid delicately poised on a flower bud issuing from a floral bower emerging from rockwork, the other large panel with a similar profusion of flowering and fruiting branches suspended from rockwork with a bird perched on a twig, its mate preparing to alight on another branch above, divided by a pomegranate-shaped panel enclosing 'insects and flora' and a leaf-shaped panel enclosing 'fish and waterweeds', all between ruyi head and lappet borders, the shoulder with 'butterfly and prunus' reserved against a green floral ground, the neck with four phoenix roundels between decorative bands, coll. no. 1394.
The Jie Rui Tang Collection.
Provenance: Ralph M. Chait Galleries, New York.
Note: This finely painted vase belongs to rare group of iron-red or green ground cylindrical forms similarly painted with specific bird and flowers with auspicious meaning.
Similar examples include one from the Salting Collection in the Victoria and Albert Museum, London illustrated in R. L. Hobson, Chinese Pottery and Porcelain, vol. II, London, 1915, pl. 103, one from the Walters Collection is illustrated in Stephen Bushell, Oriental Ceramic Art, New York, 1980, pl. XVII, another from the collection of Frederick J. and Antoinette H. van Slyke was sold in these rooms, 31st May 1989, lot 94. See also a related fish bowl featuring the same palette and decoration, from the Palace Museum, Beijing illustrated in Kangxi, Yongzheng, Qianlong, Kong Kong, 1989, pl. 40.
Famille Verte Vase, Qing dynasty, Kangxi period, 1680-1722. Porcelain painted in enamel colours. Height: 45 cm. Salting bequest, C.1237-1910. © Victoria and Albert Museum, London 2017.
Famille Verte Vase, Qing dynasty, Kangxi period, 1700-1725. Porcelain with overglaze enamels, 181 1/2 in. (461 cm). Acquired by William T. Walters, Walters Art Museum, 1931, by bequest, 49.2355 © Walters Art Museum
Sotheby's. KANGXI: The Jie Rui Tang Collection, New York, 20 March 2018, 11:00 AM
Lot 103. An unusual large 'Verte-Imari''rouleau' vase, Qing dynasty, Kangxi period, circa 1720; height 26 3/4 in., 68 cm. Estimate 30,000 — 50,000 USD. Lot Sold 158,500 USD. photo Sotheby's 2011.
of similar form to the preceding three lots, finely painted with children gamboling around three men and women on a terrace furnished with a table strewn with vases, censers and other objects and a bird cage suspended from a prunus tree, a lady seated on a cloth-covered stool to one side holding a very young child, all between cell-diaper bands at the foot and shoulder, the neck with a group of four young children entertained by an older boy with a puppet.
Provenance: Property of a New York Private Collector.
Parke-Bernet Galleries, Inc., New York, 4th November 1965, lot 98.
Sotheby's. Informing the Eye of the Collector: Chinese Ceramics and Works of Art from J.T. Tai & Co. 22 Mar 11. New York
Lot 90. A fine blue and white vase (meiping), Ming dynasty, 15th century; height 12 1/8 in., 30.8 cm. Estimate 30,000—50,000 USD. Lot Sold 362,500 USD. photo Sotheby's 2011
well potted with high rounded shoulders surmounted by a short waisted neck with cupped rim, painted around the body in tones of deep cobalt-blue with the 'Three Friends of Winter', pine, prunus and bamboo, all between double-line borders, the base encircled by a band of upright overlapping lotus leaves, the shoulders collared by a band of lappets, the base unglazed.
Note: It is unusual to find a meiping of this period decorated with the 'Three Friends of Winter". More commonly, meiping are decorated with figural or floral compositions. The "Three Friends of Winter" are comprised of bamboo whose characteristic pliancy can withstand strong winds without breaking; the pine tree, green throughout the year and famous for its longevity and strength and the prunus which blossoms early in the spring and lives longest of the flowering fruit trees. The three plants in combination symbolize the ideal person and relationship with flexibility, strength, resilience, productivity and longevity.
Sotheby's. Informing the Eye of the Collector: Chinese Ceramics and Works of Art from J.T. Tai & Co. 22 Mar 11. New York
