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Articles on this Page
- 04/19/18--03:25: _Kazimir Malevich La...
- 04/19/18--04:25: _A rare 'Jizhou''Pho...
- 04/19/18--04:49: _A rare 'Ding' cense...
- 04/19/18--05:59: _Album of Mount Geum...
- 04/19/18--06:54: _A rare blue and whi...
- 04/19/18--07:06: _A rare blue and whi...
- 04/19/18--08:06: _A yellow-ground and...
- 04/19/18--10:01: _A copper-red bottle...
- 04/19/18--10:37: _A rare 'Longquan' c...
- 04/20/18--01:31: _The second Antique ...
- 04/19/18--04:25: A rare 'Jizhou''Phoenix' vase, Yuan dynasty (1279-1366)
- 04/19/18--04:49: A rare 'Ding' censer and cover, Northern Song dynasty (960-1127)
- 04/19/18--05:59: Album of Mount Geumgang (Pungak-docheop) by Jeong Seon, 1711
- 04/20/18--01:31: The second Antique Arms Fair set to open in London
Kazimir Malevich, Landscape, 1911. Gouache on paper laid down on board, 41 3/4 x 41 3/4 in. (106 x 106 cm.). Estimate: £7,000,000-10,000,000.© Christie’s Images Limited 2018
LONDON.- Kazimir Malevich’s Landscape (1911, estimate: £7,000,000-10,000,000) will be a major highlight of Christie’sImpressionist and Modern Art Evening Sale on 20 June 2018, part of ‘20th Century at Christie’s’, a series of auctions taking place from 15 to 21 June 2018. The monumental, square-format landscape is from ‘The Red Series’, a group of works characterised by gestural brush strokes and an expressive use of colour, referencing both Fauvism and Cubism, and anticipating Malevich’s move towards Suprematism.
Landscape was first exhibited in the ‘Moscow Salon’ in February / March 1911. It was subsequently shown the following year in St. Petersburg as part of ‘The Union of Youth’, where Malevich represented a radical collective known as ‘Donkey’s Tail’. In 1927, he was invited to Germany to show his work for the first time outside Russia and brought with him the best works of his career to date. Landscape was one such work and remained in Berlin after Malevich returned to Russia. Due to the rise of totalitarianism in Germany and in his home country, the artist lost control of his works abroad before he died in 1935. Landscape resurfaced after the war and was acquired by the Kunstmuseum Basel, where it hung for over 50 years, before being restituted to the heirs of the artist. It is now being offered from a private collection and represents the first time that work has come to auction in two generations. Landscape will be exhibited in London from 15 to 20 June 2018.
Landscape is a ‘pure’ landscape painting whose motif of peasant dwellings surrounded by stylized treetops is borrowed from Russian primitive art. The use of colour to sculpt the forms represented recalls the techniques employed by Cézanne, while the block-like depiction of the buildings nods towards the Cubist compositions of Braque and Picasso. By distilling these diverse visual references, Malevich has created a powerful and profoundly unique work of art. He himself stated that ‘one was obliged to move both along the line of primitive treatment of phenomena, and along the line of Cézanne to cubism.’ The red-hot gleam on the horizon is a direct depiction of the sun, one of the unique features of the painting that foretells the primacy of colour that would define Suprematism. In the early 1930s, Malevich returned to creating ‘pure’ landscapes, producing Landscape with five houses, Landscape with a white house, and Red House, all of which are in the collection of the State Russian Museum.
Jay Vincze, Senior International Director, Impressionist and Modern Art, Christie’s: “Malevich was one of the most dynamic Russian Avant Garde artists whose continual strive to redefine the pictorial plane resulted in an incredibly varied and ultimately hugely influential body of work, most of which is to be found in public institutions around the globe. This early landscape shows the artist absorbing the lessons of his European counterparts while moving in a wholly unique direction, towards what would become his most significant and radical style – Suprematism. We are honoured to present such a rare work to auction for the first time at Christie’s in London."
Lot 72. A rare 'Jizhou''Phoenix' vase, Yuan dynasty (1279-1366); 28 cm, 11 in. Estimate 100,000 — 150,000 GBP. Courtesy Sotheby's 2018.
the baluster body rising from a slightly spreading foot to a waisted neck and slightly lipped rim, applied with a thick opaque black glaze, reserved on the buff biscuit with two pairs of phoenix circling in the air, one of each with four long tail feathers, the two pairs divided by clouds, the base glazed in black below the foot.
Provenance: Sotheby’s London, 11th December 1990, lot 220.
Note: Jizhou vases decorated with this elaborate phoenix design are rare, and the present piece is particularly notable for its rich black-coffee brown glaze that provides a striking contrast with the two pairs of phoenix in white reserve. The four birds appear animated with the details of the flowing feathers and eyes painted in swift brushwork.
A similar vase, in the Arthur M. Sackler Museum, Harvard University Art Museums, is published in Robert D. Mowry, Hare's Fur, Tortoiseshell and Partridge Feathers, Cambridge, Mass, 1995, pl. 103; another, illustrated in Nuno de Castro, A Ceramica e a Porcelana Chinesas, Porto, 1992, vol. 1, pl. 169, was sold in these rooms, 11th December 1990, lot 220; a slightly larger meiping was sold in our New York rooms, 17th March 2015, lot 181; and a smaller example, decorated with a less elaborate design, was sold in our Hong Kong rooms, 4th December 2015, lot 265. Compare also a meiping of the same shape but decorated with a blossoming prunus branch illustrated in the Complete Collection of Treasures from the Palace Museum. Porcelain of the Song Dynasty (II), Hong Kong, 1996, pl. 217.
A large and unusual 'Jizhou''Phoenix' meiping, Southern Song dynasty (1127-1279). Height 14 1/4 in., 36.2 cm. Sold for 50,000 USD at Sotheby's New York, 17th March 2015, lot 181. Courtesy Sotheby's 2015
A superb Jizhou''Phoenix' vase, Southern Song dynasty (1127-1279); 24.5 cm., 9 5/8 in. Sold for 175,000 HKD at Sotheby's Hong Kong, 4th December 2015, lot 265. Courtesy Sotheby's 2015
well potted with an ovoid body rising to a wide, slightly tapered, neck and a lipped rim, applied overall with a rich dark brown glaze, save for two pairs of phoenix in flight left in the biscuit on each side and fired to a pale orange colour, each pair consisting of a phoenix rising and another swooping downwards, with details drawn in brown slip and flower heads dividing the pairs.
Note: slightly larger vase of this type, painted with a dynamic and elaborate image of a phoenix, in the Arthur M. Sackler Museum, Cambridge, was included in the Museum's exhibition Hare's Fur, Tortoiseshell and Partridge Feathers. Chinese Brown and Black Glazed Ceramics 400-1400, Cambridge, 1995, cat. no. 103, where the author notes that the form of these meiping derives from contemporary silver bottles, such as the one recovered from a tomb dated to 1195 in Jiangpu county, Jiangsu province (see p. 253).
Further related vases include one sold in our London rooms, 11th December 1990, lot 220; and another also painted with scattered prunus blossoms, sold in our New York rooms, 17th March 2015, lot 181.
Mowry, op. cit., p. 253, notes that this vase is a quintessential Song shape which originated from silver bottles, such as the one recovered from a Song tomb dated to 1195 in Jiangpu county, Jiangsu province, and another recovered amongst the cargo of the Chinese merchant ship that sank off the coast of Sinan, Korea, in the early 1320s. Mowry suggests that the Sinan shipwreck silver bottle, which has straight walls, broad and high-set shoulders, and a waisted neck with a slightly flaring lip, is possibly the closest in form to Jizhou vases of this shape.
Sotheby's. Important Chinese Art, London, 16 May 2018, 10:30 AM
Lot 73. A rare 'Ding' censer and cover, Northern Song dynasty (960-1127); 15 cm, 6 in. Estimate 80,000 — 120,000 GBP. Courtesy Sotheby's 2018.
the rounded body supported on a domed pedestal foot carved with four quatrefoil cut out panels, the cover carved with an open work design of diaper leading up to a flower head, all covered in an ivory coloured glaze, deepening to an olive tone where it pools.
Provenance: Collection of Frederick M. Mayer.
Christie's London, 24th/25th June 1974, lot 34.
Collection of Walter Hochstadter.
Christie's New York, 18th/19th March 2009, lot 510.
J.J. Lally & Co, Oriental Art, March 2010.
Exhibited: J. J. Lally & Co, Oriental Art, Chinese Ceramics in Black and White, New York, 2010, cat. no. 17.
Note: A related censer, excavated at Taiyuan city, Shanxi province, and now in the Shangxi Provincial Museum, is illustrated in Zhongguo taoci quanji/The Complete Works of Chinese Ceramics, vol. 7, Shanghai, 2000, pl. 215. Compare another censer of this type, the cover with similar cutouts but on a different foot, published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. I, London, pl. 345.
Similarly pierced censers covered in a qingbai glaze are also known to have been produced; see one included in Hsien-Ch'I Tseng and Robert Paul Dart, The Charles B. Hoyt Collection in the Museum of Fine Arts: Boston, vol. II, Boston, 1972, pl. 64.
Censer with openwork base and qingbai glaze, Southern Song dynasty, 12th century. Bequest of Charles Bain Hoyt—Charles Bain Hoyt Collection, 50.2060a-b © 2018 Museum of Fine Arts, Boston.
Sotheby's. Important Chinese Art, London, 16 May 2018, 10:30 AM
Jeong Seon painted this album following his first trip to the Diamond Mountains. He likely traveled northeast from the capital, Hanyang (today’s Seoul), and traversed the mountain range from Inner to Outer Geumgang toward the sea. Displayed here are six scenes from a total of thirteen (the last leaf in the album is a colophon). The varied compositions reveal Jeong’s early experimentations, which he would repeat, adapt, or refine over the course of his career.
Jeong Seon (artist name: Gyeomjae) (Korean, 1676–1759), General View of Inner Geumgang, from Album of Mount Geumgang (Pungak-docheop), 1711, Joseon dynasty (1392–1910). Six leaves from a fourteen-leaf album; ink and light color on silk, 14 1/4 × 14 7/8 in. (36.2 × 37.8 cm) © National Museum of Korea
This overview format as well as the juxtaposition of dark, foliage-covered rolling peaks and the white spiky pillars reveal Jeong’s ingenuity. Prominent sites enfolded into this view include Jangan Temple and the adjacent stone bridge in the foreground center and the tallest summit, Biro Peak, in the far distance. Labeling important sites is a convention Jeong applied to many of his paintings of the Diamond Mountains, which other artists followed.
Jeong Seon (artist name: Gyeomjae) (Korean, 1676–1759), Mount Geumgang Viewed from Danbal Ridge, from Album of Mount Geumgang (Pungak-docheop), 1711, Joseon dynasty (1392–1910). Six leaves from a fourteen-leaf album; ink and light color on silk, 14 1/8 × 14 5/8 in. (35.9 × 37.1 cm) © National Museum of Korea
Travelers to the Diamond Mountains usually approached from the Danbal Ridge, from where they would catch their first glimpse of the glittering rocky peaks—depicted here as if floating in the sky, creating a sense of drama and wondrous discovery. Jeong employed multiple perspectives to create this view.
Jeong Seon (artist name: Gyeomjae) (Korean, 1676–1759), Buljeongdae Rock, from Album of Mount Geumgang (Pungak-docheop), 1711, Joseon dynasty (1392–1910). Six leaves from a fourteen-leaf album; ink and light color on silk, 14 1/4 × 14 7/8 in. (36.2 × 37.8 cm)© National Museum of Korea
This haunting scene beautifully captures the main rock in the center (with a cluster of pine trees atop) surrounded by stunning and ghostly white pillars floating behind. This site is one among many celebrated markers within Inner Geumgang.
Jeong Seon (artist name: Gyeomjae) (Korean, 1676–1759), Baekcheon Bridge, from Album of Mount Geumgang (Pungak-docheop), 1711, Joseon dynasty (1392–1910). Six leaves from a fourteen-leaf album; ink and light color on silk, 14 5/8 × 13 1/2 in. (37.1 × 34.3 cm)© National Museum of Korea
The Baekcheon Bridge, which is not visible in this scene, straddles the transition from Inner to Outer Geumgang, the eastern part of the Diamond Mountains. The delightful close-up scenery focuses as much on the travelers as the landscape, and reveals the changing modes of their transportation: from sedan chairs, as seen on the left of the stream, to horses, on the right.
Jeong Seon (artist name: Gyeomjae) (Korean, 1676–1759), Haesan Pavilion, from Album of Mount Geumgang (Pungak-docheop), 1711, Joseon dynasty (1392–1910). Six leaves from a fourteen-leaf album; ink and light color on silk, 10 5/8 × 14 3/4 in. (27 × 37.5 cm)© National Museum of Korea
Unlike the previous two scenes, this leaf depicts a relatively large swath of the mountains, in an overhead composition. With the white rocky peaks in the background, a wide slice of Sea Geumgang is presented—from the Haesan Pavilion in the middle ground to the Seven Star Pillars, a constellation of oddly shaped rocks, in the sea on the lower left corner.
Jeong Seon (artist name: Gyeomjae) (Korean, 1676–1759), Chongseok Pavilion, from Album of Mount Geumgang (Pungak-docheop), 1711, Joseon dynasty (1392–1910). Six leaves from a fourteen-leaf album; ink and light color on silk, 14 7/8 × 14 3/4 in. (37.8 × 37.5 cm)© National Museum of Korea
Among the most striking sceneries of the Diamond Mountains are the basalt formations rising out of the sea along the eastern coast of the peninsula. The pavilion on the cliff shares the center stage in this composition, while the surrounding water occupies more than half the space. In later depictions, Jeong often placed greater focus on the fantastical rocks.
Lot 508. A rare blue and white globular bowl, Xuande mark and period (1426-1435). Estimate 800,000 — 1,200,000 HKD. Lot sold 960,000 HKD. Courtesy Sotheby's 2005.
the globular body potted with generously rounded sides, painted in soft tones of characteristic 'heaped and piled' cobalt-blue with five large peony flower-heads blooming from long winding stems further issuing tight buds and foliage, all above a band of upright lappets and a border of stylised scrolling stems of at the foot, and below a band of scrolling lotus at tapered rim between a double-line border, the six-character mark inscribed in a line at the shoulder.
Note: This small globular bowl is perfectly formed in its ergonomical shape and delicately painted with the vibrant cobalt blue typical of the Xuande period. Bowls of this type were used during Buddhist religious ceremonies and are called qing shui wan which can be translated as 'pure water bowl'. The bowl was filled with water, that symbolized purity, and was carried during the prayers. The small size and rounded shape allowed it to be held comfortably in one's palms.
A small number of similar examples can be found in important museums and private collections. See one in the Palace Museum, Beijing, illustrated in Ming chu qinghua ci, vol.2, Beijing, 2002, pl. 122; one in the National Palace, Taipei, included in Minji meihin zuroku, vol.1, Tokyo, 1977, pl. 51, together with a globular stem bowl of Xuande mark and period that would have been used for the same purpose, pl. 52. Another bowl of this form and design is illustrated in Chinese Ceramics in the Idemitsu Collection, Tokyo, 1987, pl. 636; and one from the collection of Sir Percival and Lady David, London, was included in the Exhibition of Chinese Art, Palazzo Ducale, Venice, 1954, cat.no. 639.
A bowl of this design without reign mark, also attributed to the Xuande period, is in the British Museum, London, from the collection of Sir John Addis, illustrated in Jessica Harrison-Hall, Ming Ceramics, London, 2001, p. 132, pl. 4:22.
Blue and white bowls of very similar shape and painted decoration have been sold at major auctions: such as the piece from the Edward T. Chow collections sold in these rooms, 19th May 1981, lot 402, and again, 3rd May 1994, lot 40; and one from the Fuller collection, sold at Christie's London, 28/29th June 1965, lot 147.
Sotheby's. A Collection of Exceptional Imperial Porcelain, Hong Kong, 02 may 2005
Lot 134. A rare blue and white 'Peony' bowl, Xuande mark and period (1426-1435); 9.5 cm, 3 3/4 in. Estimate 80,000 — 120,000 GBP. Courtesy Sotheby's 2018.
the rounded sides rising from a concave foot, painted to the sides in inky washes of cobalt blue with peonies borne on the same continuous scroll surrounded by fleshy leaves and attendant buds, with a band of classic scroll and lappets at the foot and a band of lotus scrolls at the rim, the underglaze blue six-character mark inscribed horizontally below the rim.
Note: Perfectly formed in its ergonomical shape and delicately painted with vibrant cobalt blue, this bowl is a charming example of the outstanding imperial wares characteristic of Xuande porcelain. Bowls of this form are described in Archibald Brankston, early Ming Wares of Chingtechen, Beijing, 1938, p. 25, as jing shui wan (pure water bowl) which were filled with water and used during prayers for purification. The small size and rounded shape allowed it to be held comfortably in one's palms.
A small number of closely related bowls can be found in important museums and private collections; see one from the Qing Court collection and still in Beijing, published in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain with Underglazed Red (I), Hong Kong, 2008, pl. 130, together with a Xuande mark and period stem bowl that would have been used for a similar purpose, pl. 131; one in the National Palace Museum, Taipei, included in the Museum's exhibition Ming Xuande ciqi fezhan mulu [Special exhibition of Hsuan-te wares], 1980, cat. no. 20; another published in Chinese Ceramics in the Idemitsu Collection Tokyo, 1987, pl. 636; and a fourth from the collection of Sir Percival and Lady David, included in the exhibition of Chinese Art, Palazzo Ducale, Venice, 1954, cat. no. 639. A small number of bowls have been offered at auction; one, from the collection of E.T. Chow, was sold twice in our Hong Kong rooms, 19th May 1981, lot 402, and 3rd May 1994, lot 40; another, included in the Ceramic Society of Japan's Inaugural Exhibition, Hiroshima, 1954, lot 14, was sold at Christie's Hong Kong, 30th May 2012, lot 4056; and a third was sold in our Hong Kong rooms, 2nd May 2005, lot 508.
Stemmed bowl with carnation scroll, Ming dynasty, Xuande mark and period, AD 1426–35. Porcelain with underglaze cobalt-blue decoration, Jingdezhen, Jiangxi province, 10,3 x 9,8 cm. Percival Daivid Foundation of Art, PDF A636 © 2017 Trustees of the British Museum
A rare early Ming blue and white globular bowl, jingshuiwan, Xuande six-character mark in a line and of the period (1426-1435), 3 3/4 in. (9.7 cm.) diam. Sold for 2,180,000 HKD at Christie's Hong Kong, 30th May 2012, lot 4056. © Christie's Images Ltd 2012
A rare blue and white globular bowl, Xuande mark and period (1426-1435). Sold for 960,000 HKD at Sotheby's Hong Kong, 2nd May 2005, lot 508. Courtesy Sotheby's 2005.
Bowls of this type, but lacking the reign mark, include one, from the collection of Sir John Addis and now in the British Museum, London, published in Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, pl. 4.22; another from the Fuller collection was sold at Christie's London, 28th/29th June 1965, lot 147; and a third illustrated in John Ayers, Chinese Ceramics. The Koger Collection, London, 1985, pl. 50.
Small blue and white globular porcelain bowl with underglaze blue decoration, Ming dynasty, Xuande period (1426-1435). Height: 7.5 cm. Donated by Sir John M Addis, 1975,1028.10 © 2017 Trustees of the British Museum
A similar bowl with Xuande mark and period, displayed on its wooden stand, is included in an extant handscroll of the Yongzheng period, Guwantu (Pictures of Antiques), in the Victoria and Albert Museum, London, coll. no. E59-1911, dated in accordance with 1729, which depicts works of art from the Imperial collection.
Gu Wan Tu 古玩圖 (Pictures of Ancient Playthings), handscroll, ink and colours on paper, China, Qing, 1729. Ink and colour on paper; E.59-1911 © Victoria and Albert Museum, London 2017.
Sotheby's. Important Chinese Art, London, 16 May 2018, 10:30 AM
Lot 135. A yellow-ground and underglaze-blue 'Gardenia' dish, Zhengde mark and period (1506-1521); 25.2 cm, 9 7/8 in. Estimate 50,000 — 70,000 GBP. Courtesy Sotheby's 2018.
the shallow rounded sides rising from a short tapered foot to an everted rim, painted in various tones of cobalt on a rich yellow ground, the interior painted with a medallion enclosing a leafy branch bearing two five-petalled gardenia flowers, encircled in the cavetto with branches of pomegranate, crab apple, grape and a bouquet of lotus, between double line borders, the underside with a continuous scroll of seven large blooming roses borne on a foliate stem, between double lines at the rim and foot, the base left white and inscribed in underglaze blue with a six-character mark within double circles, Japanese wood box.
Note: The gardenia (zhizi) is a flower very rarely depicted on Chinese ceramics and known almost exclusively from the present design. It is not immediately associated with any auspicious meaning, but the highly fragrant flowers were popular with ladies to wear in the hair, and were used for flavouring tea and for preparing cosmetics, and the small fruits of the plant were coveted for dyeing – producing a fine yellow or orange colour – as well as for their medicinal benefits.
The blue-and-yellow colour scheme was developed in the Xuande period (1426-35), when the first dishes of this design were produced and was taken up again in the Chenghua period (1465-87). In both periods, the base of the dishes was generally still unglazed and the mark inscribed in a horizontal cartouche below the rim. In the Hongzhi and Zhengde reigns the design experienced its peak, and after the Jiajing reign (1522-66), when rare examples were still produced, was totally abandoned.
This dish is particularly rare for its large size and six-character mark on the base, and only one other example appears to have been published, excavated in Beijing and now in the Capital Museum, Beijing, illustrated in Zhongguo taoci quanji[Complete series on Chinese ceramics], vol. 13, Shanghai, 1999, pl. 147. A larger dish (29.5cm), also with a six-character mark, from the Qing Court collection and still in Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain with Underglazed Red (II), Shanghai, 2000, pl. 232, together with a smaller dish with a four-character mark on the base, pl. 233. Further smaller dishes with six-character marks include one in the British Museum, London, published in Jessica Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, pl. 8:23; one in the Shanghai Museum, Shanghai, illustrated in Lu Minghua, Shanghai Bowuguan cangpin yanjiu daxi/Studies of the Shanghai Museum Collections : A Series of Monographs. Mingdai guanyao ciqi [Ming imperial porcelain], Shanghai, 2007, pl. 1-41; and a fourth example from the Meiyintang Collection, illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 2, pl. 683, sold in our Hong Kong rooms, 9th October 2012, lot 43.
Dish with gardenia, Ming dynasty, Underglaze blue six-character Zhengde reign mark in a double ring and period, AD 1506–1521, Porcelain with underglaze blue decoration and yellow glaze, Jingdezhen, Jiangxi province. Bequeathed by Henry Blackwell Harris, 1929,0722.11 © Trustees of the British Museum
An Underglaze-Blue and Yellow-Enamel 'Gardenia' Dish. Mark and Period of Zhengde (1506-1521) from the Meiyintang Collection; 20 cm., 7 7/8 in. Sold for 1,220,000 HKD at Sotheby's Hong Kong, 9th October 2012, lot 43. Photo Sotheby's
Dish with gardenia, Ming dynasty, Zhengde six-character mark in a double circle in underglaze blue on the base and period, AD 1506–1521, Porcelain with underglaze blue decoration and yellow glaze, Jingdezhen, Jiangxi province. On loan from Sir Percival David Foundation of Chinese Art, PDF A743 © Trustees of the British Museum
An underglaze-blue and yellow-enamel 'Gardenia' dish, Mark and period of Zhengde, Collection of the Toguri Museum of Art, Tokyo. Sold 937,500 HKD at Sotheby's Hong Kong, 8 october 2013. Photo: Sotheby's.
A rare Yellow-Ground Blue And White 'Gardenia' Dish, Mark and Period of Zhengde (1506-1521) from the Collection of Maureen Pilkington. Sold 2,980,000 HKD at Sotheby's Hong Kong, 05 april 2017, lot 4. Photo: Sotheby's.
Lot 25. A copper-red bottle vase, yuhuchun ping, Qianlong seal mark and period (1736-1795); 30 cm, 12 in. Estimate 60,000 — 80,000 GBP. Courtesy Sotheby's 2018.
the rounded sides rising from a spreading foot to a waisted neck and everted rim, richly applied on the exterior with a deep copper-red glaze, the base with a seal mark in underglaze blue.
This vase is notable for its vibrant copper-red glaze, the even tone which accentuates the graceful curves of its profile. Copper was notoriously difficult to fire, as the slightest irregularity in any stage of the production would result in undesirable colour and hence the rejection of the piece. With the technical advances made at the imperial kilns in Jingdezhen from the early Qing dynasty, by the Qianlong reign (r. 1736-1795) potters were able to accomplish such previously unattained command over the pigment to successfully create a number of monochrome vessels with a strong and even red tone, such as the present vase.
Copper-red vases of this type are held in important museums and private collections worldwide; see one in the Tokyo National Museum, Tokyo, included in the Museum’s exhibition Chinese Arts of the Ming and Ch’ing Periods, 1963, cat. no. 440; one in the Nanjing Museum, Nanjing, illustrated in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, pl. 346; another from the Songzhutang Collection, sold twice in our New York rooms, 17th September 2003, lot 100 and 15th September 2015, lot 85; and a fourth vase from the Duke of Fife and Bulgari Collection, sold in our New York rooms, 14th September 2011, lot 213. Further Qianlong marked copper-red glazed vases of this type include one from the Gordon Collection, sold at Christie’s New York, 24th March 2011, lot 1144; and another sold in these rooms, 17th December 1996, lot 134, and again in our Hong Kong rooms, 3rd October 2017, lot 3654.
Property from the Songzhutang collection. A copper-red glazed vase (yuhuchunping), Qianlong seal mark and period (1736-1795). Height 11 3/4 in., 29.9 cm. Sold for 100,000 USD at Sotheby's, New York, 15th September 2015, lot 85. Photo: Sotheby's.
A copper-red-glazed pear-shaped vase, yuhuchunping, Qianlong seal mark in underglaze blue and of the period (1736-1795), 11¾ in. (30 cm.) high. Sold for 218,500 USD at Christie's, New York, 24th March 2011, lot 1144. © Christie's Images Ltd 2011
A copper-red glazed vase, yuhuchunping, seal mark and period of Qianlong (1736-1795), 30 cm, 11 3/4 in. Sold for 600,000 HKD at Sotheby's Hong Kong, 3rd October 2017, lot 3654. Photo: Sotheby's.
. Important Chinese Art, London, 16 May 2018, 10:30 AM
Lot 67. A rare 'Longquan' celadon 'Dragon and Bird' jar and cover, Southern Song dynasty (1127-1279); 27.2 cm, 10 3/4 in. Estimate 60,000 — 80,000 GBP. Courtesy Sotheby's 2018.
the tall ovoid body finely potted with three ribs encircling the upper body and supported on a flared foot, applied at the shoulder in high relief with a powerful dragon with long sinuous body coiled around the sides in pursuit of a 'flaming pearl', poised with mighty paws set with outstretched talons gripped to the surface, set with ferocious gaping jaws, bulbous eyes and long horns, the body carved with scale pattern and flaming mane, the domed cover surmounted by a bird-form finial, covered all over in an even celadon-green glaze, the unglazed footring and mouth rim burnt russet-brown in the firing.
Provenance: Sotheby's Hong Kong, 21st May 1985, lot 73.
Sotheby’s London, 12th November, 2003, lot 79.
Exhibited: Selected Treasures of Chinese Art, Min Chiu Society Thirtieth Anniversary Exhibition, Hong Kong Museum of Art, Hong Kong, 1990-91, cat. no. 112.
Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong, 1994, cat. no. 57.
Note: Funerary jars of this type are described by Julian Thompson in 'Chinese Celadons', Arts of Asia, November-December, 1993, p. 62, as belonging to the finest Longquan celadon vessels recorded. The glaze of the present jar is a thick lustrous bluish green, often referred to as the kinuta glaze by the Japanese who were especially fond of these wares. Kinuta wares are considered as masterpieces of the Longquan potter, who prepared the perfect glaze executed masterful knowledge and skill over his kiln.
A related jar and cover, from the Avery Brundage collection in the Asian Art Museum of San Francisco, San Francisco, is illustrated in Mary Tregear, Song Ceramics, London, 1982, pl. 286; another, from the Charles Russell and H.M. Knight collections, was sold in these rooms, 12th July 1960, lot 147, and again, 15th July 1980, lot 75; and a further example, from Eskenazi, London, and illustrated in Julian Thompson, op. cit., p. 61, fig. 1 left, was sold in these rooms, 8th November 2006, lot 53. Compare also a jar and cover in the Indianapolis Museum of Art included in the exhibition Beauty and Tranquillity: the Eli Lilly Collection of Chinese Art, Indianapolis Museum of Art, Indianapolis, 1983, pl. 78; another of similar size and with a domed cover surmounted by a bird finial, from the collection of Warren E. Cox, included in the exhibition Chinese Ceramics in Chicago Collections, Mary and Leigh Block Museum of Art, Northwestern University, Evanston, Illinois, 1982, p. 35, cat. no. 19, sold twice in our New York rooms, 24th May 1944, lot 53, and again, 19th March 2007, lot 138; and a third example, from the Carl Kempe collection, sold in these rooms, 14th may 2008, lot 312.
It is thought that funerary jars of this type were made in pairs, one bearing the 'Green Dragon' of the East and the other the 'White Tiger' of the West. A pair from the Sir Percival David collection and now in the British Museum, London, is published in Margaret Medley, Illustrated Catalogue of Celadon Wares, London, 1977, pl. IV, no. 36, where she notes that these jars may have been filled with aromatic oils.
Sotheby's. Important Chinese Art, London, 16 May 2018, 10:30 AM
Ottoman shield of gilt-Copper (tombak). Early 17th century. Image provided by Peter Finer Ltd.
LONDON.- The inaugural Antique Arms Fair at Olympia London of September 2017, a showcase for fine antique arms, armour and militaria from an array of UK based and international specialist dealers, received very positive feedback from dealers and collectors alike regarding the high standard of the fair, excellent sales, and good attendance. The organisers hope to emulate and build on this positive start in their next fair on the 21st April 2018, and are delighted to welcome back high-profile dealers such as Peter Finer, Hatford Antiques, Magazin Royal, and Runjeet Singh among many others.
This year the fair organisers have chosen to sponsor the highly regarded Queen Elizabeth Scholarship Trust, an organisation which works, “to make a difference to the lives and careers of crafts people whilst maintaining the very highest standards in craftsmanship.” The Trust provides numerous scholarships, and has supported over 130 different crafts, from the contemporary to the traditional. Donations received on the day of the fair as well as 50% of ticket sales will go to the Trust.
The fair promises to maintain a broad range of high-quality pieces on show: Peter Finer Ltd will be exhibiting an Ottoman shield of gilt-Copper (tombak), early 17th century (pictured above), and Antique Auctions Support Network Ltd’s display will include an Indo-Persian dagger (jambiya) with ivory hilt. Garth Vincent Antique Arms & Armour will include a pair of flintlock pistols by Scamadine and an unusual flintlock pocket pistol by Gilet of Bristol. Prices for pieces at the fair will range from the tens of pounds to the thousands, ensuring a broad range of purchasing options for collectors at all levels.
An Indo-Persian dagger (jambiya) with ivory hilt. Image provided by A.A.S.N. Ltd.
An Early Pair of 22-Bore Flintlock Pistols Of ‘Queen Anne’ Type By T. Scamadine, London, Circa 1715. Image provided by Garth Vincent Antique Arms & Armour.
An unusual flintlock pocket pistol by Gilet of Bristol. Image provided by Garth Vincent Antique Arms & Armour.
An accompanying guide will be provided to exhibitors and visitors as previously, with articles written by experts such as Pierre Terjanian (Arthur Ochs Curator in Charge at the Metropolitan Museum of Art) and Tobias Capwell (Curator of Arms and Armour at the Wallace Collection). It is hoped that the guide will once again provide exciting insights into the latest research and developments in the field of antique arms and armour.
The Antique Arms Fair will take place at Olympia, London on Saturday 21st April 2018, 09:00-15:00. Pillar Hall, Olympia Way, Olympia, London W14 8UX.
A Korean helmet damascened in gold, for a high-ranking member of the royal household, Joseon dynasty, probably Yeongjo period, about 1724–76. Image provided by Peter Finer Ltd.
Vietnamese ‘Babao’ (Eight Treasures) Processional Standard, 19th century. Image provided by Runjeet Singh Ltd.