Lot 1605. A rare and large bronze and green-glazed pottery ‘Money tree’, Eastern Han dynasty, 1st-3nd century AD;48 in. (122 cm.) high. Estimate USD 100,000 - USD 150,000. © Christie's Images Ltd 2019

The green-glazed reddish pottery base is molded in the form of two beasts crouching on top of one another, supporting a cylinder into which fits the slender trunk of the bronze tree, which is fitted with four tiers of flat openwork plaques forming the main branches emanating from the central rod. The branches are embellished with smaller reticulated plaques which hang at right angles. The central rod is surmounted by a phoenix with detachable outstretched wings, facing an intricate scrolling floral stem. 

Lot 355. A Square White Porcelain Jar with Inscribed Mark, Joseon dynasty (first half 19th century), Inscribed mark Yitonggung; 4 1/16 in. (10.2 cm.) high. Estimate USD 120,000 - USD 150,000. © Christie's Images Ltd 2019.

With angled walls rising from an inset, square base to sharply rounded corners slanted inward to the base of the square, upright neck, the body decorated with a lustrous clear glaze of blue cast save for the foot rim and mouth, inscribed in Chinese characters in underglaze blue on base.

Note: With clean lines, well-defned shape, and a beautiful pale blue glaze, this exquisite small jar likely was made to contain food. Indeed, the blush around its lower section suggests that it once held food macerating in a brown sauce which imparted a subtle stain; though not original to the piece, the pinkish-buff blush, which many connoisseurs fnd appealing, enlivens the jar’s otherwise unembellished surfaces. 

Written with a brush in underglaze cobalt blue, an inscription on the jar’s base reads Yitonggung 履詷宫 (or, alternatively, Ritonggung). The character gung 宫 means “palace” and in this context ordinarily would indicate a particular royal residence—i.e., the Yitong Palace; in some instances, such a name, by extension, can refer to the principal occupant of the so-named palace. In fact, however, scholars have been unable to identify either a Korean royal palace or a member of the Korean royal household known by this name, so the meaning here remains obscure. The collection of the Japanese Folk Crafts Museum, Tokyo 東京日本民藝館, includes a virtually identical small, square jar with exactly the same inscription on its base; even the style of the calligraphy in the two inscriptions is virtually identical. 

A number of nineteenth-century Korean porcelains bear the name of a royal palace inscribed on the base in underglaze cobalt blue, the best-known of those names likely being Unhyeon 雲峴, which refers to the Unhyeonggung 雲峴宮, or Unhyeong Palace, where Yi Ha’eung 李昰應 (1820–1898), father of King Gojong 高宗 (1852–1919; r. 1897–1907), lived. (Better known by his royal title Heungseon Daewongun 興宣大院君, Yi Ha’eung served as regent from 1863 to 1873, during his son’s minority; he is remembered as a politician, as a government offcial, and as a talented painter of orchids.) 

The unglazed lip indicates that this jar originally sported a cover, likely a low cover with short vertical sides, canted shoulders, and a broad fat top. The collection of the Japanese Folk Crafts Museum, Tokyo, includes a related eighteenth- or early nineteenth-century, small, hexagonal jar with a cover of the type just described. As the cover would have been fred in place, those portions of jar and cover that touched had to be left unglazed, as any glaze in those areas would have melted during fring, fusing jar and cover together and thus rendering the jar unusable. 

The even, regular walls, fne white porcelain, and smooth, glassy glaze suggest that this jar likely was made at the kilns at Bunwon-ri, Gyeonggi province 京畿道分院里, to the southeast of Seoul, the Joseon capital. Active since the ffteenth century and long renowned for their wares, the Bunwon kilns produced the very fnest porcelains during the later Joseon period. In 1752 the offcial government kilns in Gwangju 京畿道廣州市 were moved to Bunwon-ri 分院里; a steady production system ensued and thus production reached its zenith. Declining economic circumstances led to the transfer of the Bunwon-ri kilns to private hands in 1883, however, bringing to a close the history of Korea’s offcial kilns. The Atlas of World Art (2004) has aptly characterized the work of the Bunwon kilns: “Government-sponsored kilns at Bunwon-ri, near Seoul, produced an exquisite and distinctive Joseon white porcelain for use at court and for export to China. Its undecorated cream-colored surfaces, and austere elegant shapes were thought to refect a purity of  mind and moral character appropriate for Neo-Confucian patrons.” 

The jar closest in style, inscription, and general appearance to the present jar is the one previously mentioned in the Japanese Folk Crafts Museum, Tokyo. Though differing in shape, an undecorated square bottle in the collection of the Metropolitan Museum of Art, New York (1979.413.3), and another in the Asian Art Museum, San Francisco (B60 P903), are kindred in style and date. And the fne porcelain, well-defned shape, and pale blue glaze of a cylindrical bottle with angled shoulders in the collection of the Harvard Art Museums (1991.613) compare favorably with those of the present jar. 

Robert D. Mowry 
Alan J. Dworsky Curator of Chinese Art Emeritus, Harvard Art Museums, and Senior Consultant, Christie’s

Lot 356. A Square Blue-and-White Porcelain Bottle, Joseon dynasty, first half 19th century; 5 ¼ x 3 ¼ x 7 ¾ in. (13.2 x 8.3 x 19.6 cm). Estimate USD 120,000 - USD 150,000. © Christie's Images Ltd 2019.

Of rectangular shape with inset rectangular base, the two side panels painted with river scenes with a scholar and boy attendant on a rock ledge on one side and a fisherman on a boat on the other side, the narrow side panels painted with a spray of plum blossoms, all painted in underglaze cobalt blue, the angled shoulder edges painted with rectangular reserves of foliate scroll and the whole applied save the foot rim with a glossy transparent glaze of blue cast.

Note: Doubtless for serving wine, this square bottle features landscape décor on its two slightly wider sides and a stalk of bamboo and a branch of blossoming plum on its slightly narrower sides. Some bottles feature landscapes on all four sides, others have bamboo or fowering plants on all four sides, and yet others, like this bottle, combine the two and sport both landscapes and beloved plants. 

Koreans showed a taste for faceted bottles, vases, and jars beginning in the seventeenth century and continuing through the end of the Joseon dynasty 朝鮮王朝 (1392–1910). Long-necked bottles with faceted sides—some with six facets, some with eight—were popular in the seventeenth and eighteenth centuries, while small, square bottles, such as the present example, came to the fore in the nineteenth century. Korean potters even occasionally experimented with rare polygonal shapes in the nineteenth century, including bottles of dodecahedral form, which, as the name describes, have twelve fat faces, counting the base and the top (from which the neck rises). Neither the faceting nor the number of faces seems to have held any particular meaning or symbolism; rather, such playful manipulation of form apparently was no more than an aesthetic and technical challenge that potters took pride in mastering, presumably to the delight of clients.

Korean potters began to produce blue-and-white ware 青花—i.e., porcelain with designs painted in underglaze cobalt blue—as early as the ffteenth century, in imitation of Chinese porcelains of the early Ming period (1368–1644) 明朝早期. Most extant Korean porcelains from the sixteenth and seventeenth centuries feature designs painted in underglaze iron brown, but blue-and-white ware appeared in quantity again in the late seventeenth century and would dominate the later Korean ceramic tradition. 

Seventeenth- and early eighteenth-century blue-and-white wares typically sport quiet foral décor, but the decorative schemes of eighteenth- and nineteenth-century blue-and-white wares expanded to include a broad range of motifs, from landscapes and auspicious animals to favored plants and birds. As witnessed by this bottle, the landscape scenes characteristically feature rocks and hills in the foreground, a lake in the center, and distant mountains in the background; human fgures usually appear in the compositions, often a fsherman in a boat on the lake or an elderly scholar and his attendants walking along path at the water’s edge. The landscapes on Korean blue-and-white wares take their cue from contemporaneous Korean landscape paintings; in fact, the decoration on Korean porcelains exhibits a much greater affnity to paintings on paper and silk than does that of Chinese or Japanese porcelains.  

As the bamboo 竹 remains green the year ’round, as pines 松 retain their green needles through all seasons, and as the plum 梅 blooms in winter, before donning its leaves, Chinese and Koreans group those three plants together as the “Three Friends of Winter” 歲寒三友, and they regard them as symbols of strength in the face of adversity. Whether presented separately or together as an ensemble, the pine, plum, and bamboo fgure prominently as the subjects of both painting and ceramic decoration. 

The cobalt-blue of the best Chinese blue-and-white wares ranges from dark royal to navy blue, but that of the fnest Korean porcelains typically is a pale, almost silvery, blue, as evinced by the designs on this bottle. The decorative schemes on Chinese wares generally are continuous, stretching all the way ’round the vessel; by contrast, the decoration on Korean porcelains often is discontinuous, with discrete designs around a circular vessel and individual scenes on the separate sides of a square or polygonal vessel. The Korean wares’ lack of borders—or, if used, very simple borders—stands in marked contrast to the elaborate top and bottom borders characteristic of Chinese wares. In addition, as previously mentioned, from the ffteenth century onward, the painting on the best Korean porcelains closely approximates that on paper and silk. 

The even, regular walls, fne white porcelain, lustrous glaze, light blue cobalt, well-composed pictorial scenes, and deft painting all suggest that this bottle likely was made at the kilns at Bunwon-ri, Gyeonggi province 京畿道分院里, to the southeast of Seoul, the Joseon capital. Active since the ffteenth century and long renowned for their wares, the Bunwon kilns produced the very fnest porcelains during the later Joseon period. In 1752 the offcial government kilns in Gwangju 京畿道廣州市 were moved to Bunwon-ri 分院里; a steady production system ensued and thus production reached its zenith. Declining economic circumstances led to the transfer of the Bunwon-ri kilns to private hands in 1883, however, bringing to a close the history of Korea’s offcial kilns. The Atlas of World Art (2004) has aptly characterized the work of the Bunwon kilns: “Government-sponsored kilns at Bunwon-ri, near Seoul, produced an exquisite and distinctive Joseon white porcelain for use at court and for export to China. Its undecorated cream-colored surfaces, and austere elegant shapes were thought to refect a purity of mind and moral character appropriate for Neo-Confucian patrons.” 

The collection of the Harvard Art Museums, Cambridge, MA (1991.618), includes a blue-and-white bottle of similar size and form, each side of which is embellished with a branch of old, blossoming plum that is similar in style to the plum branch on this bottle. The National Museum of Korea 國立中央博物館, Seoul, has many related square or rectangular bottles, many of which are decorated with landscapes; three such bottles from the collection were featured in the museum’s 2014 exhibition In Blue and White: Porcelain of the Joseon Dynasty. An octagonal bottle in the collection of the Harvard Art Museums (1991.617), is embellished with four landscape roundels; each of the landscapes is similar in composition, style, and general appearance to the landscapes on the present bottle. Though unornamented, a square bottle in the collection of the Metropolitan Museum of Art, New York (1979.413.3), and another in the Asian Art Museum, San Francisco (B60 P903), are similar in size and shape to the present bottle and likely came from the same kiln. 

Robert D. Mowry 
Alan J. Dworsky Curator of Chinese Art Emeritus, Harvard Art Museums, and Senior Consultant, Christie’s

AMSTERDAM.- At the upcoming edition of TEFAF Maastricht, Amsterdam based dealer Aronson Antiquairs will bring to market one of the best Delftware collections of the past decades. The collection, which was in a large part assembled by private Dutch collectors over a period of approximately thirty years, comprises many highlights. Although it has its center of gravity in the eighteenth century, it also contains several wonderful early objects. 

“What we can bring to an art fair like TEFAF, really depends on what we can source in the year, or sometimes years, running up to an event like this” says Robert Aronson. “Although we work year round to find the best Delftware objects, good objects are so incredibly rare, that sometimes we cannot even get a hold of them” Aronson continues. The collection to be seen at TEFAF this year can rival with ancients collections such as those of the Rijksmuseum in Amsterdam, the Gemeentemuseum in The Hague or the Musées royaux d’Art et d’Histoire in Brussels. 

This collection was compiled with great love and enthusiasm under the auspicien of the Aronson family. The Dutch collectors did however buy from several sources and were able to therewith bring together such a diverse and high quality collection. Some of the highlights are ‘The Stella Ewer’ made in Delft around 1675 and formerly owned by the renowned Dutch entrepreneur Dr. F.H. Fentener van Vlissingen (1882-1962); the brown glazed garniture produced in Delft around 1715 of which the only comparable set, but lacking its covers, is in the aforementioned Brussels museum; the wonderful and very rare pair of polychrome hen tureens and covers on stand made by Jacobus Adriaensz. Halder, the owner of De Grieksche A (The Greek A) factory from 1764 until 1768; or the pair of polychrome crouching hare tureens and covers, Delft, circa 1765, which in 1929 were exhibited at an exhibition at the Rijksmuseum in Amsterdam. 

 ‘The Stella Ewer’, Delft, circa 1675. Marked IW in blue for Jacob Wemmersz. Hoppesteyn, the full owner of Het Moriaenshooft (The Moor’s Head) factory from 1659 until 1671, and succeeded by his widow Jannetge Claesdr. van Straten through 1686. Height: 23.1 cm. (9.1 in.). Price on request. © Aronson Antiquairs.

The teardrop-shaped body painted on one side with three putti watching and helping a fourth blowing bubbles near a classical column, and on the reverse with two putti watching two others playing a game of bowls, all in a continuous Italianate hilly landscape beneath a border of blossoms and fruiting grapevines, the front of the slightly flaring neck with a scrolling foliate device, and the loop handle with a lion’s mask terminal and decorated with blossoms and foliate strapwork repeated as a border around the lower body.

Provenance: The collection of Dr. F.H. Fentener van Vlissingen (1882-1962), Utrecht, and thence by family descent through 2007; Aronson Antiquairs, Amsterdam, 2008; Dutch Private Collection

Literature: Described and illustrated in De Jonge 1947, p. 213, pl. 187; De Jonge 1970, p. 44, ill. 35; Aronson 2008, pp. 22-25, no. 12; TEFAF 2008, pp. 178-179.

Note: The two scenes of children’s games are painted after the engravings, La Fossette (See catalogue 2019) and Les Bouteilles de Savon (See catalogue 2019) by Jacques Stella (1596-1657) from Les Jeux et Plaisirs de l’Enfance, Paris 1657, pls. 14 and 8, respectively. Additionally, the putto standing to the left of the ball game is taken from the print, La Rangette, from the same source. According to the poem of La Fossette, the aim of the ‘nine holes’ ball game was to fill the center hole, but essentially it refers to the lottery of life at any age. In the 1969 facsimile, Appelbaum remarks that the game also was played as a board game, and is known in a version with the ball or marble filling all of the holes in sequence. This tender child, whose foremost goal Is filling up the center hole, Uses his brains and skill and might; But it may happen nonetheless That purely from capricious spite The ball will ruin his success. (Translation by Stanley Appelbaum in the 1969 New York facsimile) The poem underneath the soap bubbles print is a metaphorical reference to the insignificant and evanescent troubles and worries of adults: Here children scrap and suffer troubles For nothing greater than soap bubbles, As though for guineas, pounds and pence. And yet we see among adults The same ado, the same results For things of much less consequence. (Translation by Stanley Appelbaum in the 1969 New York facsimile) The Stella prints are known to have been used also on flower holders. Two examples after La Rangette and La Balançoire are illustrated by Van Aken-Fehmers 2007, p. 23, ills. 9a-b, and pp. 170-171, ills. 1a-b, cat. no. 4.11, the latter marked for Adrianus Kocx at De Grieksche A (The Greek A) factory.

Brown-Glazed Garniture, Delft, circa 1715. Marked CK in yellow, probably for Cornelis van der Kloot, a master painter at De Metaale Pot (The Metal Pot) factory from 1697. Heights: 31 to 24 cm. (12.2 and 9.4 in.). Price on request. © Aronson Antiquairs.

Comprising three covered ovoid vases and a pair of beaker vases, each with a brown ground finely decorated in yellow with scrollwork and trelliswork cartouches beneath a Greek key band around the rim, motives, the domed covers similarly decorated beneath a teardrop-shaped knop.

Provenance: The Fuld Collection, Scheveningen, until 1920; The Jacob Lierens Collection, Amsterdam, until 1949; Private collection, Lille (France), until 2002; Aronson Antiquairs, Amsterdam, 2003; Dutch Private Collection.

Literature: Described and illustrated in Frederik Muller & Cie, Amsterdam, 18-24 October 1949; Het Financieele Dagblad, March 15, 2003.

Note: Brown-ground Delft is even rarer than ‘Black Delft’, of which only about 65 pieces are known. The largest assemblage of ‘Brown Delft’ is in the Evenepoël Collection at the Musées royaux d’Art et d’Histoire, Brussels, which in contrast to its extraordinary holdings of 27 pieces of ‘Black Delft’, nevertheless, has only 16 pieces of ‘Brown Delft’. The CK mark has been discussed throughout the years by various scholars; Havard 1909, vol. II, pp. 114-115 attributed it to Cornelis Aelbregtsz. (de) Keyzer (1668-1680), while De Jonge 1947, p. 222 mentions De Keyzer as working for De Twee Scheepjes (The Two Little Ships) factory, but attributes the CK mark to Cornelis Koppens, the owner of De Metaale Pot (The Metal Pot) factory from 1724 to 1761 (ibid., p. 219). It seems most likely, however, that this brown-ground garniture can be attributed to Cornelis van der Kloot, a master painter, who, according to De Jonge 1969, p. 94, transferred in 1697 from De Dissel (The Pole) factory to De Metaale Pot, then owned by Lambertus van Eenhoorn. It is no coincidence that by employing the most highly skilled artisans, De Metaale Pot was the most successful factory producing Delftware at that time, exceeding even its significant competitors: De Drie Postelyene Astonne (The Three Porcelain Ash-Barrels), De Paauw (The Peacock) and De Grieksche A (The Greek A) factories. The high quality of the present garniture, together with the fact that Cornelis van der Kloot worked among the most talented specialists at the turn of the seventeenth to the eighteenth century, leads to the reasonable conclusion that he was the maker of these rare vases.

Similar examples: A ‘Black Delft’ five-piece garniture, comparable in style and size to the present garniture, and also marked for De Metaale Pot, in the Musées royaux d’Art et d’Histoire, Brussels (inv. nos. Ev. 248 a and b), is illustrated in Lahaussois 2008, p. 139, g. 8. A similar black beaker vase and baluster-shaped vase and cover, marked CK are illustrated in Dumortier 1990, no. 25 (inv. no. Ev. 270); a comparable brown-ground baluster-shaped vase with a CK mark and chinoiserie decoration is illustrated in Mariën-Dugardin 1971, no. 48 (inv. no. Ev 271), and another brown-ground vase with chinoiserie decoration was illustrated in Aronson 2017, pp. 52-53, no. 24

Pair of Polychrome Hen Tureens and Covers, Delft, circa 1765. Marked A IH 12 106 for Jacobus Halder Adriaensz., the owner of De Grieksche A (The Greek A) factory from 1764 until 1768. Heights: 11.5 cm. (4.5 in.). Price on request. © Aronson Antiquairs.

Each modeled as a hen seated in a grassy oval nest, surrounded by her white eggs, her head raised and with her wings outstretched, her plumage finely delineated in manganese, shades of green, iron-red and blue.

Provenance: Salomon Stodel Antiquités, Amsterdam, 1991; Dutch Private Collection

Literature: Described and illustrated in Lahaussois 2008, p. 184, ill. 13

Note: Zoomorphic tableware, like this pair of hen tureens, evolved from polychrome sugar or wax figures and bird-shaped pastries that decorated the Renaissance table. Especially the savory pie must have functioned as an inspiration for these tureens, which was the showpiece of the dinner table from the late medieval period and the seventeenth-century. Savory pies were stuffed with meat, fish, or poultry and were considered the highlight of a meal. Although there were simple recipes that could be made at home, pastry-cooks were hired to create the most splendid pies for special occasions. These pies were often made with large birds and were served with head, wings and upstanding tail. There were even pies which were modeled as a breeding bird, probably similar to this pair tureens with a hen amidst her eggs. Poultry was a common game hunted in the Netherlands. It was often featured as the main ingredient of many meat recipes, especially rooster and capon. Swan, heron, partridge, pheasant, dove, duck and goose were also mentioned in recipes, as well as peacock and snipe. Perhaps the most impressive dish on the table was roast swan or peacock, the grand culmination of a feast. In some cases, especially in Germany and France, complete zoomorphic services were displayed on the table amongst other tableware and trompe l’ceil objects. This type of service was reserved for festive occasions, such as the beginning of the hunting season or other hunting-related parties.

Similar examples: Although there are several tureens known from the production period of Jacobus Halder, such as tureens modeled with deer, plovers and pikes, there are only two other similar single hen tureens. One similar tureen and cover, also marked for Jacobus Halder Adriaensz. at De Grieksche A factory, is in the Gemeentemuseum, The Hague (inv. OC-D 255-1904), illustrated in Van Aken-Fehmers 1999, p. 144, ill. 51, and p. 87. Its companion piece was at Nijstad Antiquairs, Lochem, in 1952.

Pair of Polychrome Crouching Hare Tureens and Covers, Delft, circa 1765. Marked with the numerals 1, 1, 4, and 3, 3, 6 in blue on the covers. Heights: 13.5 cm. (5.3 in.). Price on request. © Aronson Antiquairs.

Each cover modeled as a hare, painted with manganese delineated facial features and fur, lying on a green oval base, the oval tureens with yellow rims painted with a band consisting of yellow flowerheads alternated by iron-red bows and blue floral sprigs.

Provenance: The collection of S. Alberge, The Hague, circa 1929, and one bearing the label Collection S. Alberge, La Haye, 14; Aronson Antiquairs, Amsterdam, circa 1980; The Vanhyfte Collection, Belgium, until 2003; Aronson Antiquairs, Amsterdam, 2003; Dutch Private Collection exhibitions ‘Tentoonstelling van Oude Kunst’ at the Rijksmuseum, Amsterdam, 1929.

Similar examples: Animal tureens of this model are rare. A different model of a hare tureen is in the collection of the Gemeentemuseum, The Hague (inv. no. 0400865) and another hare tureen modeled similar to the covers of the present tureens is illustrated in Aronson 2018, p. 105, no. 63.

Delftware has been a national symbol of Holland for almost 400 years. Although it was initiated by the demand for the waning importation of Oriental porcelain from the 1640s, the history of Delftware starts in fact earlier. In the first half of the fifteenth century, mercantile cities such as Bruges and Antwerp in the southern Netherlands (now Belgium) became familiar with earthenware, so-called maiolica, from southern Europe through both trade and political contacts with Italy, Spain and Portugal. Dutch Maiolica is an earthenware product coated with a tin glaze on the front or exterior and a highly translucent lead glaze on the back or base. Maiolica dishes were fired face down on three spurs that often left marks which remained visible in the central design. 

By the middle of the fifteenth century, largely through the gradual migration of potters from southern Europe through France to the Netherlands, the earthenware industry had become well established in Antwerp. In the second half of the sixteenth century, under religious pressure, many of the reformists and Protestants were forced to leave Antwerp. Most moved to London, Hamburg or the northern Netherlands and specifically to the city of Haarlem (the city after which New York’s ‘Harlem’ was named) near Amsterdam.

Majolica Polychrome Plate, Haarlem, circa 1630. Diameter: 24.5 cm. (9.6 in.). Price on request. © Aronson Antiquairs.

The center painted with an ochre and green footed bowl with foliate handles, filled with an arrangement of three ochre apples, two bunches of blue grapes and green and ochre leaves, the cavetto encircled by four concentric blue lines, and the rim painted with ochre and blue blossoms, all separated by narrow ochre panels and three blue dotted lines, the reverse lead-glazed.

Provenance: The R.J. Bois Collection, North-Holland.

Note: Early Netherlandish majolica consisted mainly of dishes and porridge bowls covered on the front in an opaque white tin glaze, and on the reverse with a less costly transparent lead glaze. Majolica can be distinguished from Delftware not only by the clear glaze on the reverse, revealing the buff-colored body of the clay, but also by the three small spots of glaze damage on the front (prunt marks). These marks were created when the pieces were stacked on top of one another in the kiln, separated by ceramic triangles that were broken away after the firing. In that process, the point where the triangles had rested left a small unglazed mark. Majolica objects were often decorated with southern European patterns, such as colorful fruits derived from Italian grotesque ornaments. This imagery appeared on ornamental tazza and on tiles produced around the same period. In fact, tiles decorated with colorful tazzas seem to have enjoyed a strong popularity.

Similar examples: Plates painted with fruit-filled tazza are not uncommon in majolica. In Aronson 2015, p. 17, no. 7 is a dish depicting a fruit-filled bowl. A similar dish in the Fries Museum, Leeuwarden, is illustrated in Lunsing Scheurleer 1984, p. 33. Another dish with a similar ‘Renaissance fruit dish’ decoration within a floral border, and dated in the center 1632, is in the Frans Hals Museum, Haarlem (inv. no. OA 91-48), illustrated by Biesboer 1997, p. 125, pl. 145. An identical example with the central pomegranate split open and ascribed a date of circa 1620-45, is in the collection of the Rijksmuseum, Amsterdam (inv. no. BK 18020), illustrated in Hudig 1929, p. 13, fig. 4.

Majolica Polychrome Large Dish, Haarlem, circa 1630. Diameter: 33 cm. (13 in.). Price on request. © Aronson Antiquairs.

Painted in blue, ochre, green and manganese in the center with a fox in a landscape in a roundel of an ochre band between concentric blue lines and stylized curves, the rim painted with six stylized aigrettes, the reverse lead-glazed.

Provenance: The R.J. Bois Collection, North-Holland

Similar examples: The decoration on the edge of the plate is very similar to the one on a bowl attributed to Willem Jansz. Verstraeten, which resides in the Frans Hals Museum in Haarlem (inv. no. OA 93-131), and which is illustrated in Biesboer 1997, p. 94, no. 104. Another similar charger, but with the depiction of a deer, is illustrated in Aronson 2018, p. 11, no. 5.

Majolica Polychrome Porringer, Haarlem, circa 1625. Attributed to the workshop of Verstraeten. Diameter: 22 cm. (8.7 in.). Price on request. © Aronson Antiquairs.

The center of the interior painted in blue with stylistic scroll motifs within a yellow band between blue concentric lines below a zigzag line, and the lead-glazed exterior affixed with two scalloped flat handles at the blue dashed yellow rim that are pierced in the center with a roundel surrounded by blue scrolls and whorls.

Provenance: The R.J. Bois Collection, North-Holland

Note: One of the most renowned Dutch families to produce wares in the maiolica (or majolica) tradition was the Verstraeten family from Haarlem, especially the father and son Willem and Gerrit. The elder Verstraeten was making the old-fashioned majolica and the son ventured into the more modern faience. Many excavated objects from Haarlem showing the same type of decoration are automatically attributed to Willem Jansz. Verstraeten, however there is still some uncertainty about their provenance because of slight differences in the decoration, molding and glazing. The present porringer however can be attributed to the Verstraeten workshop with certainty. Not only because of its stylized characteristics, but also since it was excavated in the cesspool of one of the family’s houses in the 1970s. As described by Helga Danner, “The real estate of the family Verstraeten” in Baart 2008, this house with a garden, located on the Blekerstraat, was bought by his son Gijsbert in 1655. Gijsbert, who in the same year also had bought a pottery on the Bakkenessergracht with the name De Gecroonde Keijser (The Crowned Emperor), sold in 1656 his real estate and settled in Delft. Both Willem and his sons Gerrit and Gijsbert Verstraeten belonged to the Haarlem dignitaries. They were very well-to-do, judging from the amount of real estate in their possession in the town.

Similar examples: A porringer of this size and shape, but with bird and floral decoration, is illustrated in Aronson 2010, p. 42, no. 20 and one with a cupid decoration in Aronson 2015, p. 12, no. 4. Another one with a cupid decoration and of slightly large size is illustrated in Scholten 1993, p. 95, no. 83.

The rise of the potting industry in Haarlem occurred simultaneously with the decline of the beer brewing industry in the town of Delft. As the Delft brewers ceased production at the beginning of the seventeenth century because the town’s canal water had become too polluted to be used to make a potable brew, their large abandoned buildings on the canals were quickly occupied by the pottery-makers, who could utilize both the space and the convenient water source for the working of their clays and for the transportation of their raw materials and finished wares. 

At precisely the same time and throughout the seventeenth century, the Dutch developed a dominance in the European trade with China through which they imported large cargoes of luxury goods, including the much-coveted blue and white porcelain. By the middle of the century, however, a war in China interrupted the production and exportation to the Netherlands of Chinese porcelain, which declined from a quarter million pieces per year to a mere trickle. The potters in Delft seized the opportunity to fill the void, and they began producing earthenwares in emulation of Chinese porcelain, which they successfully marketed as “porcelain.” 

Blue and White Small Bowl, Delft, circa 1670. Diameter: 16 cm. (6.3 in.). Price on request. © Aronson Antiquairs.

Painted around the exterior with three medallions decorated with different chinoiserie scenes of a man seated in a landscape with shrubbery and rocks, alternated by interstices pierced with a flowerhead in a roundel, all beneath two dentil bands, the cupped rim with three scale-work panels alternated by fretwork panels, the interior painted in the center with a bird and a flitting insect all in a roundel, and the sides with three medallions decorated with a fruiting plant motif.

Blue and White Chinoiserie Charger, Delft, circa 1685. Diameter: 30.3 cm. (11.9 in.). Price on request. © Aronson Antiquairs.

Painted in the center with a Chinese man holding a fan and gesturing toward a low table set with a steaming large teapot and a smaller teapot, his attendant carrying a pennant and standing behind him, all within two concentric lines, the upstanding rim with four flowering plants each growing on large rock work and alternated by two birds in flight or flowering plants.

Note: This chinoiserie style charger depicts the preparation of tea using two different sizes of teapots. The large teapot functioned as a kettle to heat the water. The water was then poured into the smaller teapot that contained tea leaves. Early Chinese teapots are generally of a small size and were intended for individual use with each pot reserved for making a particular type of tea. The size reflects the importance of serving small portions each time so that the flavors can be better concentrated, controlled and then repeated. Some records suggest that the Chinese carried their teapots and drank the prepared loose leaf tea directly from the nozzle of their teapots. Although this does seem rather strange, it is also very practical. The red Chinese Yixing teapots were seasoned after repeated use, making it unnecessary to use tea leaves every time. In seventeenth-century Holland, where tea was an exotic and expensive luxury and consumed sparingly, teapots were also of a small size. As in China, teapots were used as infusion pots, and once the strong brew was poured into a cup, it would be diluted with water from a kettle.

Similar examples: A blue and white charger with a comparable scene of a two Chinese figures standing next to a table with a steaming kettle and teapot is illustrated in Aronson 2015, p. 34, no. 18.

Blue and White Garniture, Delft, circa 1690. Each marked GK in blue for Gerrit Pietersz. Kam, the owner of De Drie Posteleyne Astonne (The Three Porcelain Ash-Barrels) factory from 1673 until 1700. Heights: 13 to 21.6 cm. (5.1 to 8.5 in.). Price on request. © Aronson Antiquairs.

Comprising two ovoid jars, two bottle vases and an attenuated ovoid bottle with a flaring cylindrical neck; each painted in an Eastern style with three or four rotund teardrop-shaped panels centering a six-petal blossom surrounded by leaves on a stippled ground, alternating with similarly decorated small diamond-shaped panels issuing scrolls and ‘ribbons’ partially surrounding the larger panels, the cylindrical necks of the bottle vases similarly decorated but with two panels of each shape, and the lower body of each with blossoms alternating with triple circlets above a chevron-and-dot border repeated around the rim.

Provenance: The ovoid bottle from the collection of Dr. F. H. Fentener van Vlissingen (1882-1962), Utrecht, and thence by family descent LITERATURE The bottle was described and illustrated in De Jonge 1947, p. 211, pl. 185 & Aronson 2008, p. 37, no. 20. 

Note: The design and display of garnitures follows the evolution of interior design in Europe, specifically the central role of ornamental ceramics. The fashion for grouping vases on mantels was a typical European phenomenon. With the Chinese porcelain wares, the objects were often acquired, or later commissioned, in pairs and displayed symmetrically on a mantelpiece, above a door or on a piece of furniture, such as a cabinet. At the end of the seventeenth century, the first Dutch Delftware garnitures were created, existing of three, five, seven and sometimes even more pieces. The present garniture is inspired by both Chinese and Eastern wares. Buddhist nimbus motifs are alternated by a scroll and ribbon motif that shows similarities with the long floral plant motifs that are often seen on Eastern wares. Chinese porcelain and ornamental motifs traveled through flourishing trade routes, resulting in a lasting influence on the development of Eastern art. Contacts with Mediterranean countries also stimulated cross-fertilization in the arts with Europe.

Polychrome and Gilded Large Dish, Delft, circa 1710. Diameters: 35.1 cm. (13.8 in.). Price on request. © Aronson Antiquairs. 

Painted in iron-red, salmon, black and gold in the center with a Chinese man, his attendant standing behind him holding an umbrella and both walking towards a female figure graciously depicted in her flowing robes with a child in her arms, probably the Goddess Guan Yin, all in a fenced garden, the cavetto and rim decorated with large panels of flowering plants and a flitting insect.

Note: Delftware with a decoration painted only in iron-red and gold is extremely rare. The style is probably inspired by Chinese porcelain wares that were decorated only in iron-red, gold and sometimes with the addition of black enamel, which are traditionally called ‘Milk and Blood’ in the Netherlands. Interestingly, in the eighteenth century the name was also applied to a specific type of imported Indian chintz, with predominantly red decorations on a light ground. Apparently, this type of porcelain was popular mainly among the Dutch, and the very few pieces that can be found elsewhere in Europe usually come from the Netherlands. The composition and iconography conform to the normal export assortment of blue and white Kangxi porcelain of circa 1700. In contrast to the many Chinese porcelain wares in this color palette, Delftware objects painted in only iron-red and gold are rather unique. The depiction of the Goddess Guan Yin, an icon of mercy and passion also holds a strong connection to the Chinese porcelain objects. Guan Yin reached the point where she could become a Buddha (enlightenment) and yet she decided to stay on Earth, remaining a “Pu Sa”. She wanted to help humankind achieve better karma, leading them to the Western Heavens to achieve serenity and joy. Because she had the ability to comfort the sick and senile, Guan Yin was broadly admired and adored. She touched their hearts and souls, creating a sense of peace and relief amongst those who were less fortunate. Guan Yin is also often worshipped by people wanting a child and is therefore also seen as the bringer of children, hence the baby she is carrying in her arms.

Polychrome Chamfered Square Plaque, Delft, circa 1750. Height: 24.5 cm. (9.6 in.); Width: 24.8 cm. (9.8 in.). Price on request. © Aronson Antiquairs.

Painted with two Chinese men seated at a table set with food, to which one helps himself, a lady approaching with a vase at one end, and an attendant standing at the far end, the rim with a band of stylized scrolls, pierced at the top for suspension; the reverses glazed.

Provenance: According to our archives, collection Decroix, Lille, sold at Drouot Paris, 7/8 November 1919, lot 29 (illustrated); Glerum Auctioneers, 13 March 1991, lot 480; Salomon Stodel Antiquités, Amsterdam

Note: By the end of the seventeenth century, Delftware plaques were marked by their refinement and creativity of design and decoration. The shapes of the pieces, whose contours were often cut out and molded, became increasingly stylized. The varied representations on the plaques often reflected contemporary concerns and tastes. Although guild membership granted Delftware painters compositional freedom, many plaques were inspired by canvas paintings or prints, which were often made after original paintings. The present motif was probably inspired by scenes on Chinese famille verte porcelain from the Kangxi period, which the Delftware painter then placed in a typical Western stylized band.

Similar examples: A similarly decorated oval plaque, but with the figures in an interior setting, is illustrated by Lahaussois, 1994, p. 121, no. 148. A plate with the same figural decoration is illustrated in Aronson 2004, p. 126, no. 146, another larger plate is in the Evenepoël Collection, illustrated by Helbig, Vol. II, p. 108, fig. 104, and another example (see below) is in a private collection.

From the 1680s the Delftware industry has constantly innovated with new shapes, decorations and functions. Through the influence of Queen Mary, the taste for painted Delftware spread rapidly through a wealthy European elite. Because of its remarkable diversity of shapes, the delicacy of the decoration and the gaiety of its colors, Dutch Delftware became the source of inspiration for many ceramic centers throughout Europe and even Oriental potters.  

Despite its predominant role in the history of European ceramics, Dutch Delftware only became a serious source of interest from art historians and collectors in the second half of the nineteenth century, a period that rehabilitated the decorative arts, and particularly ceramics. Delftware was assembled, classified and studied, and finally given its honorable recognition alongside seventeenth and eighteenth century European ceramics.  

From that time onwards Delftware collections were formed, often with the advise of an art dealer. The art dealer would advise the client on objects to acquire, specifically those that would compliment their collection. In some cases, their role was to dissuade the collector from purchasing an object that did not belong in their collection. The fruits of this long relationship only became visible towards the end when the collection was nearly complete. Only when the collector, or in some cases the family, started deaccessioning it became apparent what weight the collection held.  

Since 1881, over five generations of the Aronson family have brought to market the highest quality Delftware and assisted many collectors in the formation of their collection over the years. Aronson Antiquairs was founded in the city of Arnhem and is one of the oldest antique dealers in the Netherlands. Although initially they were general antiques dealers, over the past 70 years a preference for the Dutch national product arose, seventeenth and eighteenth-century Delftware. This passion has ensured that Aronson Antiquairs has specialized fully on this subject since the mid-1990s.  

Many Delftware collections formed the basis for many museum collections. For example, the collections of the Rijksmuseum in Amsterdam, the Gemeentemuseum in The Hague (soon to be Artmuseum The Hague) and Musées royaux d’Art et d’Histoire in Brussels were all initially founded with private collections. This also holds true for the majority of the collections in the British Museum in London, the Louvre in Paris, the Metropolitan Museum in New York or the National Gallery of Victoria in Melbourne, Australia amongst others.  

However, as Robert Aronson explains by quoting his late grandfather, “selling or donating objects to a museum means that the object would never return to the open market.” In that light, some private collectors specifically want future generations of art collectors to enjoy the objects and the collecting as much as they did. As is the case with the present Delftware collection that will be on display at TEFAF Maastricht. “So a completed art collection does sometimes not go to a museum, but it returns to the advisors, the art dealers in this case. The collection gave tremendous pleasure to its Dutch collectors and we hope the objects will continue to spread joy for future generations.”  

TEFAF Maastricht will be held from March 16 through 24 at the Maastricht Exhibition and Congress Center (MECC).

Blue and White Sugar Caster and Cover, Delft, circa 1690. Marked AK in blue for Adrianus Kocx, the owner of De Grieksche A (The Greek A) factory from 1687 until 1701.  Height: 12.3 cm. (4.8 in.). Price on request. © Aronson Antiquairs.

The cylindrical body painted on the front and reverse with flowering plants alternating with Tudor roses between trefoil bands above a border of ‘fluting’ and beneath the threaded neck, the pierced and threaded cover with a blue ground reserved with scrolls, dots and a herringbone band.

Provenance: The Dr. Günther Grethe Collection, Hamburg; Aronson Antiquairs, Amsterdam, 2004; Dutch Private Collection

Literature: Described and illustrated in Aronson 2004, p. 73, no. 86

Note: In the second half of the seventeenth century, the French influence could be felt throughout Europe. During meals, the grandeur of the French court was displayed by the largest dinner services seen at the time. This set the standard for the other royalty in Europe, and created the wish for large services consisting of plates, dishes, platters and bowls of different sizes, but with matching shapes and decorations. The Delft potters quickly took up the challenge to create the like in tin-glaze earthenware and looked around for examples to emulate in Delftware. Often, they found them in silver objects. Delftware was a wonderful medium to combine objects of silver, copper, glass, pewter and earthenware, since it could be shaped in a wide variety of forms. Among the newly desired objects of use were saltcellars, spice boxes, cruet sets, butter tubs and also sugar casters. Casters like the present were filled with sugar candy that had been finely ground in a mortar, which resulted in a coarser sugar than we are used to today.

Pair of Polychrome Figures of Seated Putti with Grapes, Delft, circa 1760. Heights: 13.5 cm. (5.3 in.). Price on request. © Aronson Antiquairs.

Each putto finely delineated and accented in blue, and with manganese hair and facial features, modeled affronté, each raising toward his mouth a bunch of blue grapes held in one hand, and seated on a polychrome-marbleized shaped and sloping rockwork base.

Provenance: Salomon Stodel Antiquités, Amsterdam, 1997; Dutch Private Collection

Note: These figures probably reference the bacchanalia, a festival that honored Bacchus, the Greco-Roman god of agriculture, wine and fertility. Bacchanalia ceremonies were introduced in Italy around 300 B.C., and were originally celebrated in secrecy on the 16th and 17th of March. The celebration later became public and was celebrated in Greece, Egypt and Rome. The mythological bacchanalia theme became a popular source of inspiration for artists, including Dutch Golden Age painters and decorators who often depicted the procession of Bacchus. These processions often included bacchantes, centaurs, fauns and joyful children, which were a recurring subject. Bacchic putti were often represented while playing, dancing, drinking, or sometimes harvesting. When holding grapes, Bacchic putti can be interpreted as an allegory of autumn, the season when grapes were harvested.

Similar examples: An identical pair of white-glazed figures at the Gemeentemuseum, Arnhem, is illustrated in Vormen uit Vuur, vol. 229, 2015/3, p. 68, no. 118. A pair of the same models, but without the grapes, is illustrated in Lavino, p. 104 (upper right).

Blue and White Plate, Delft, circa 1760. Diameter: 23 cm. (9 in.). Price on request. © Aronson Antiquairs.

Painted in the center with the mythological story of Narcissus, depicting a seated Narcissus looking at his reflection in the water, with two hunting dogs and trees in the background, the rim with a floral trellis diaperwork band reserved with four panels painted with flowering plants.

Note: The classic, mythological story of Echo and Narcissus is written in book three of Ovid’s Metamorphoses. One day when Narcissus was walking in the woods, the nymph Echo saw him and fell in love with him. Narcissus sensed he was being followed and shouted “Who’s there?” upon which Echo repeated “Who’s there?”. When she eventually revealed her identity and tried to embrace him, Narcissus rejected her. She was heartbroken and spent the rest of her life in lonely glens until nothing remained of her but an echo sound. Nemesis (as an aspect of Aphrodite), the goddess of revenge decided to punish Narcissus after learning this story. The plate depicts the moment when Narcissus was getting thirsty after hunting and was lured by Nemesis to a pool. He leaned upon the water and saw himself in the bloom of youth, not realizing that it was merely his own reflection. Narcissus fell deeply in love with it and was unable to leave the allure of his image. He eventually realized that his love could not be reciprocated and he melted away from the fire of passion burning inside him, eventually turning into a gold and white flower. This myth inspired many artists and artisans, such as Michelangelo Merisi da Caravaggio (1571-1610), see illustration beside, and the Delftware painter who probably decorated this plate after a print.

Pair of Polychrome Birdcage Plaques, Delft, circa 1770. Heights: 30 cm. (11.8 in.); Lengths: 27 cm. (10.6 in.). Price on request. © Aronson Antiquairs.

Painted in mirror image, each with a yellow canary bird perched within a wooden cage decorated on the front with a blue and white cartouche depicting a sailing boat in a river landscape, a blue feeding cup suspended at one end, and the arched top pierced with a hole for suspension.

Provenance: Salomon Stodel Antiquités, Amsterdam; Dutch Private Collection

Note: This pair of birdcage plaques demonstrates the trompe l’ceil (deceive the eye) technique, a style often used in old master paintings to captivate and fool the viewer. The Delft potters probably took inspiration from seventeenth-century still life paintings with trompe l’ceil effects. As can be seen on this pair of plaques, the painted depth and realism of the scene create an optical illusion. Not only in trompe l’ceil paintings, but also in seventeenth-century genre paintings birdcages are often depicted.

Similar examples: Birdcage plaques of this form with minor variations are illustrated by Lahaussois 1994, p. 124, nos. 154 and 155; Lavino, p. 117 (top right); Morley-Fletcher and McIlroy 1984, p. 232, no 1; Vandekar 1978, p. 11 (top left); and Aronson 2007, pp. 70-71, no. 53.

Pair of Blue and White Rectangular Herring Dishes, Delft, circa 1770. Each marked in blue with an axe for De Porceleyne Byl (The Porcelain Axe) factory. Lengths: both 23.3 cm. (9.2 in.). Price on request. © Aronson Antiquairs.

Each painted in the center with a scaly herring within a border of leaves and scrolls on the scalloped and barbed edge of the chamfered rectangular rim.

Note: The herring, also known as ‘silver of the sea’ provided an important source of income for the Dutch fishing trade. During the first decade of the seventeenth century alone, there were approximately 770 ships (buizen) within the herring fleets. Herring fish were nutritious, inexpensive and like cod, had an extended shelf life when they were preserved in a barrel of salt Thus, the fish could be consumed all year-round. The best way to eat herring, according to the Dutch poet Jacob Westerbaen, was with onions, bread, butter and beer from Haarlem, Delft or Breda. Given the popularity of this Dutch delicacy, herring dishes became a very typical object of the Dutch kitchen in the seventeenth and eighteenth centuries. Various types of dishes especially conceived for its tasting were produced. They were sometimes modeled as a fish, an oval, or a rectangular shape with the depiction of a herring in the center as in the present pair.

Similar examples: A single herring dish with similar border decoration and marked for De Porceleyne Byl is illustrated in Aronson 2007, p. 72, no. 54. Another similarly bordered De Porceleyne Byl herring dish is illustrated by Van Dam 2004, p. 185, fig. 133. A pair of examples by De Roos (The Rose) factory is illustrated by Van Aken-Fehmers 2001, p. 285, ill. 91; and one of those is illustrated by Jörg 1983, p. 164, ill. 119, along with its Chinese export porcelain counterpart, p. 84, ill. 39. On p. 88, the author dates the object circa 1775 based on records of herring dishes imported by the Dutch East India Company (VOC) at 42 cents apiece with one herring, or 52 cents apiece if painted with two herrings.

Polychrome Figure of a Parrot on a Ring, Delft, circa 1770. Height: 25.2 cm. (9.9 in.). Price on request. © Aronson Antiquairs.

Painted with finely and naturalistically iron-red delineated plumage on the yellow breast, wings and crest, a green back, tail and head dashed in iron-red, the beak and feet colored in blue, and modeled perched on a yellow ring with a suspension loop affixed at the top.

Lot 1665. A magnificent and very rare huanghuali painting table, jiatousun hua'an, 17th century; 32 in. (81.3 cm.) high, 85 in. (215.9 cm.) wide, 24 in. (60.9 cm.) deep. Estimate USD 800,000 - USD 1,200,000. © Christie's Images Ltd 2019 

The single, floating panel is set in the rectangular frame fitted flush at both narrow ends with short, everted ends, above the beaded apron and beaded, shaped spandrels carved in openwork with ruyi heads. The whole is raised on gently splayed legs of round section joined by pairs of stretchers on the narrow sides.

Note: Any table with proportions of width and depth comparable to those of the present table should be considered a painting table. A true painting table must have a surface broad enough to accommodate a large painting and the accoutrements associated with painting or calligraphy, such as ink, ink stones, brushes, and washers, as illustrated by a Ming-dynasty woodblock print from Xi Xiang Ji. (Fig.1) Tables of this large size would also be ideal for the appreciation of a painting. 

Fig. 1 Woodblock print from Xixiang Ji (Romance of the Western Chamber), Ming dynasty.

The present table is an exceptional example of its type, using thick, substantial sections of huanghuali for the single-panel floating top, frame, aprons and legs. As the supply of huanghuali dwindled, tables of this form generally became thinner and less impressive, owing to the fact that the material was harder and more costly to obtain. The generous proportions of the present table would therefore suggest an earlier date. A huanghuali painting table of similar proportions was sold at Christie's New York, 22-23 March 2012, lot 1746. 

Christie's. Fine Chinese Ceramics & Works of Art, New York, 22 March 2019  

Lot 1668. A large and impressive zitanluohan bed, luohanchuang, 17th-18th century with modifications; 41 in. (104 cm.) high, 86 ¾ in. (220.3 cm.) wide, 57 ¾ in. (146.7 cm.) deep. Estimate USD 400,000 - USD 600,000. © Christie's Images Ltd 2019

The hard mat seat is set into the rectangular frame above the narrow waist and plain, beaded aprons crisply carved with chilong confronted on a central medallion enclosing stylized mythical beasts, the side aprons further carved with chilong confronted on a sash-tied ruyi. The whole is raised on solid, thickly beaded, inward-curving legs. The stepped railings are carved in openwork with an attractive lattice design. 

Note: Zitan is a general term which includes numerous species of wood, however, it is commonly agreed that it belongs to the genus Pterocarpus. A purplish-black, fine-grained hardwood, zitan was considered the most prized hardwood by the Chinese. The density of the wood makes this material especially suitable for fine and intricate carving and when combined with its jade-like, lustrous surface made this the preferred material for imperial furniture. Government records dating to the Longqing period (1537-1572) show that even in this early period, zitan already commanded the highest price and was subject to the heaviest import tax. See Wang Shixiang, Connoisseurship of Chinese Furniture, Chicago, 1990, p. 149, for further discussion of the import tax and prices for timber. Due to the scarcity and the expense of this luxurious material, its use was scrupulously monitored and carefully restricted, with severe punishment or fines for irresponsible usage or wastage. 

There are only a handful of zitan canopy beds with their original canopy published. An ornately carved six-post zitan canopy bed, dating to the mid-eighteenth-nineteenth century, is illustrated in My Humble House, Zitan, the Most Noble Hardwood, Taiwan, 1996, pp. 138-39. The present bed is an example of a seventeenth-eighteenth century zitan canopy bed that was converted into a luohanchuang. Conversions in Chinese furniture occurred in the Ming and Qing dynasties and it is not surprising that a canopy bed, which can be difficult to accommodate, would have been converted into a much more usable form, such as a luohan bed. It is rare to find a converted canopy bed as carefully and thoughtfully executed as the present bed. The quality of the timber seen in the bed platform and the rails are consistent suggesting that the openwork rails were constructed from material salvaged from the canopy, rails, and other elements. The complete bed must have been an impressive example in both size and workmanship. The luohan bed in its present state is equally as impressive. Modifying a piece of furniture of this large scale would have been a highly complicated venture executed by a master craftsman. The massive, solid and inward-curving, tall legs and the confident finesse of the dynamic carving on the aprons suggest the work of a master woodworking workshop. 

Even during the Ming period, sourcing high quality zitan was a challenge. Zitan trees are slow growing and require centuries to fully mature into usable material. Further, the timber in its raw form is twisted or gnarled. The almost flawless timber, relatively free from knots, of the present bed suggest that the master carpenter not only had access to but could afford high quality material.

Christie's. Fine Chinese Ceramics & Works of Art, New York, 22 March 2019  

Lot 1741. A rare large Longquan celadon cong-form vase, Southern Song dynasty (1127-1279); 15 ¼ in. (38.6 cm.) high. Estimate USD 400,000 - USD 600,000. © Christie's Images Ltd 2019

Finely potted in imitation of a Neolithic jade cong, the vase has a rectangular body of square section with a cylindrical foot and short neck, and is covered overall with a glaze of rich sea-green color stopping just short of the foot rim to expose the light grey stoneware body.

Provenance: Dr. T. T. Tsui (1941-2010) Collection.

Literature: The Tsui Musuem of Art, Splendour of Ancient Chinese Art: Selections from the Collections of T.T. Tsui Galleries of Chinese Art Worldwide, Hong Kong, 1996, no. 37.

Note: The form of this vase is based on a jade ritual object, cong, that has a cylindrical core and a square exterior, such as the jade cong dating to the Neolithic period, Liangzhu culture, in the Nanjing Museum, included in the exhibition, China: 5,000 Years, Solomon R. Guggenheim Museum, New York, 1998, pl. 5. Such artifacts were enthusiastically collected by the educated elite of the Northern and Southern Song dynasties, prompting the production of contemporary vessels in bronze and stoneware based on the antique prototypes. 

Longquan celadon cong-form vases were made in various sizes, as represented by three illustrated in Chinese Ceramics in The Idemitsu Museum, Tokyo, 1987, pls. 466-468, 16 1/8 in., 10 3/8 in. and 9 ¼ in. high, respectively. However, examples of large size appear to be rare, and include the 16 1/8 in.-high vase in the Idemitsu Museum mentioned above; one (16 in.) in the Percival David Collection, currently on loan to the British Museum, illustrated by Margaret Medley in Illustrated Catalogue of Celadon Wares, London, 1977, pl. VII, no. 73; one in the Indianapolis Museum of Art (16 ¼ in.) illustrated by Y. Mino and J. Robinson, Beauty and Tranquility: The Eli Lilly Collection of Chinese Art, 1983, pl. 76; and another (16 1/8 in.) sold at Christie's Hong Kong, 28 May 2014, lot 3402. Other vases of a smaller size include one (11 ¼ in.) in the Shanghai Museum included in the exhibition, Treasures from the Shanghai Museum: 6000 Years of Chinese Art, 1983-1984, pl. XXVI; the example (10 in.) illustrated by R. L. d'Argencé in Chinese Ceramics in the Avery Brundage Collection, San Francisco, 1967, pl. XLIV, fig. A; and the vase (10 in.) in the Qing Court collection, illustrated in The Complete Treasures of the Palace Museum - 33 - Porcelain of the Song Dynasty (II), Hong Kong, 1996, pp. 108-109, pl. 97.

Lot 1742. A superb 'Kinuta' Longquan celadon washer, Southern Song dynasty (1127-1279); 5 5/8 in. (14.3 cm.) diam. Estimate USD 400,000 - USD 600,000. © Christie's Images Ltd 2019

The washer is finely potted with an angular profile rising from the short foot to a slightly everted rim, and is covered overall with an unctuous glaze of even bluish-green tone with the exception of the foot ring that is fired orange.

Note: The ethereal sky-blue color and extraordinarily tactile, almost silken, quality of the glaze on the present washer in many ways encapsulates the ideal celadon glaze. Generations of potters from various kilns strived to achieve such a fine texture and color, but it was rarely achieved outside the imperial Ru and Guan kilns. Even the imperial Guan wares display considerable color variations, and large numbers of pieces which fired to less-than-ideal colors were discarded in designated pits: see Hangzhou laohudong yaozhi ciqi jingxuan (Select Ceramics from Laohudong Kiln Site in Hangzhou), Beijing, 2002, p. 16 and pp. 24-25. The production of high-quality celadon wares at the Longquan kilns were influenced by the establishment of the Guan kiln after the Song court settled in Hangzhou: see Zhu Boqian (ed.), Celadons from Longquan Kilns, Taipei, 1998, p. 17. However, since the craftsmen at Longquan mainly produced commercial wares made mostly for middle and upper class patrons, they did not have the luxury of selecting only perfectly-fired examples for their clientele. Longquan wares from the Southern Song dynasty typically exhibit thick, unctuous glazes of bluish-green or green color, with the best examples being recognized by the Japanese term ‘kinuta’. It is, however, extremely rare to find a Longquan glaze of sky-blue color such as that seen on the present washer, which might be compared to the Ru and Guan glazes. 

The exceptionally fine potting of this washer also distinguishes it from other Longquan wares. The thin and neat trimming of the foot is similar to Guan wares, such as the examples illustrated in Catalogue of the Special Exhibition of Sung Dynasty Kuan Ware, Taipei, 1989, nos. 89, 90, 91, and 100, and is different from other commonly seen Longquan examples of this form, such as the one found in the Jinyucun hoard in Sichuan province, illustrated in Jinyucun Hoard of Southern Song Dynasty in Suining, vol. 2, Beijing, 2012, pl. 61. Some scholars suggest that the Longquan kilns also produced high-quality wares for the court when needed: see Rose Kerr, Song Dynasty Ceramics, London, 2004, p. 89. The present washer is likely to be one of these tribute pieces to the court.

A pair of Longquan washers of this type, but with typical greenish-celadon glaze, in the MOA Museum of Art, Atami, is illustrated in Song Ceramics, Tokyo, p. 108, no. 71. Another similar Longquan washer in the Idemitsu Museum of Art, Tokyo, is illustrated in Kuboso Memorial Museum of Art, Sensei, Bansei and Celadon of Longquan Yao, Izumi, 1996, p. 16, no. 48. Compare, also, Longquan washers of this form found in the Jinyucun hoard in Sichuan province, and illustrated in Jinyucun Hoard of Southern Song Dynasty in Suining, vol. 2, Beijing, 2012, pls. 62-64.

Lot 122. An extremely rare gilt-bronze figure of a phoenix, Han dynasty (206 BC - 220 AD). Length 5 1/4  in., 13.4 cm. Estimate 80,000 — 120,000 USD. Courtesy Sotheby's.

solidly cast, the mythical bird cast standing with its wings folded back against its body and its tail fanned out behind it in five broad plumes, the head held high and clasping a 'pearl' in its open beak, the face with bulging eyes beneath a crested crown, the sturdy legs terminating in large upturned talons, the surface incised with feather markings, with an circular loop to the back of the neck, wood stand (2).

Literature: 'Oak Park Resident Keeps Priceless Collection of Oriental Art in Bomb Shelter',  Chicago Tribune, 7th September 1952, part III, p. 1. 

Note: The present Han dynasty gilt-bronze phoenix is extremely rare, and no close counterparts appear to be recorded. Although a related gilt-bronze phoenix of a slightly smaller size from the Western Han dynasty, also holding a pearl in its beak and with its wings folded, but with a more elaborate tail, was included in the exhibition Ancient Chinese Bronzes, J.J. Lally & Co., New York, 2011, cat. no. 20. 

The small aperture at the back of the bird suggests it once had a functional use. As one of the Four Divine Animals - along with the dragon, tiger, and turtle - the phoenix, sometimes referred as zhuque ('Vermilion Bird') in Chinese tradition, was one of the popular subjects for ornamental uses during the Han dynasty.

See a related early Han dynasty gilt-bronze phoenix, serving as the finial on the cover of a lian, published in Seiichi Mizuno, Tenri Sankōkan zuroku [Collection from Tenri Sankokan], Nara, 1967, pl. 74; one with its wings spread, excavated from a Han dynasty tomb near Ding county, Hebei province in 1959, published in 'Dingxian Beizhuang Hanmu chutu wenwu jianbao [A summarized report on the cultural relics excavated from the Han tomb in Beizhuang, Ding county], Wenwu, no. 12, 1964, pl. 1, fig. 3, where it is captioned as an ornamental object for a cover; one similarly modeled with a stocky build, excavated from a Han tomb in Liuqu mountain, Pingdu city, Shandong province in 2003, now in the Pingdu City Museum, Shandong; another of a smaller size and simpler design, excavated from a Han tomb in Bazhang village, Hebei province, now in the Cangzhou Museum, Hebei. See also a gilt-bronze bird with turquoise inlay, catalogued as a peacock, formerly in the Avery Brundage Collection, now in the Asian Art Museum of San Francisco, published in René-Yvon Lefebvre d'Argencé, Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection, Tokyo, 1974, no. 16.

Compare also a Han dynasty bronze lamp, made in the form of a phoenix with its wings spread and tail curled upward, grasping between its beak a circular oil tray, excavated from the Han tomb in Mancheng, Hebei province, published in Mancheng Hanmu fajue baogao [Excavation report of the Han tomb in Mancheng], vol. 2, Beijing, 1980, pl. XXIV, together with an elaborate hardstone-inlaid gilt-bronze twin cup, made with a phoenix standing in the middle, pl. XXV; and another Han green-glazed pottery lamp, decorated with a phoenix similarly modelled holding a pearl in its beaks, published in Seiichi Mizuno, op cit., pl. 171.

Lot 106. An exceptionally rare yellow and russet jade figure of a mythical toad, Six Dynasties (220-589); Height 1 7/8  in., 4.7 cm. Estimate 200,000 - 300,000 USD. Courtesy Sotheby's.

masterfully carved in the round, the mythical creature kneeling, its fingers clasped at the chest above the rounded belly, the face with a snout nose framed by bulging eyes beneath heavy lids, all above the wide lipped mouth open in a grimace and with long whiskers on either side, the top of the head with two coiled horns flanking a grooved ridge, two wings emerging from the forearms carved in low relief to its back, the body finely detailed with incised lines, the stone of a warm yellowish-green color with slightly calcified russet skin skillfully integrated into the top of the head and upper back, pierced through the hands, wood stand (2).

Provenance: Collection of Stephen Junkunc, III (d. 1978).

Literature: Gustav Ecke, 'Early Chinese Jades selected from Alfred Salmony's posthumous work', The Connoisseur, vol. CXLVII, March-June 1961, p. 67, fig. 20. 
Alfred Salmony, Chinese Jade Through the Wei Dynasty, New York, 1963, pl. XLI, figs 2a-c.

Lot 1742. A superb 'Kinuta' Longquan celadon washer, Southern Song dynasty (1127-1279); 5 5/8 in. (14.3 cm.) diam. Estimate USD 400,000 - USD 600,000. © Christie's Images Ltd 2019

The washer is finely potted with an angular profile rising from the short foot to a slightly everted rim, and is covered overall with an unctuous glaze of even bluish-green tone with the exception of the foot ring that is fired orange.

Note: The ethereal sky-blue color and extraordinarily tactile, almost silken, quality of the glaze on the present washer in many ways encapsulates the ideal celadon glaze. Generations of potters from various kilns strived to achieve such a fine texture and color, but it was rarely achieved outside the imperial Ru and Guan kilns. Even the imperial Guan wares display considerable color variations, and large numbers of pieces which fired to less-than-ideal colors were discarded in designated pits: see Hangzhou laohudong yaozhi ciqi jingxuan (Select Ceramics from Laohudong Kiln Site in Hangzhou), Beijing, 2002, p. 16 and pp. 24-25. The production of high-quality celadon wares at the Longquan kilns were influenced by the establishment of the Guan kiln after the Song court settled in Hangzhou: see Zhu Boqian (ed.), Celadons from Longquan Kilns, Taipei, 1998, p. 17. However, since the craftsmen at Longquan mainly produced commercial wares made mostly for middle and upper class patrons, they did not have the luxury of selecting only perfectly-fired examples for their clientele. Longquan wares from the Southern Song dynasty typically exhibit thick, unctuous glazes of bluish-green or green color, with the best examples being recognized by the Japanese term ‘kinuta’. It is, however, extremely rare to find a Longquan glaze of sky-blue color such as that seen on the present washer, which might be compared to the Ru and Guan glazes. 

The exceptionally fine potting of this washer also distinguishes it from other Longquan wares. The thin and neat trimming of the foot is similar to Guan wares, such as the examples illustrated in Catalogue of the Special Exhibition of Sung Dynasty Kuan Ware, Taipei, 1989, nos. 89, 90, 91, and 100, and is different from other commonly seen Longquan examples of this form, such as the one found in the Jinyucun hoard in Sichuan province, illustrated in Jinyucun Hoard of Southern Song Dynasty in Suining, vol. 2, Beijing, 2012, pl. 61. Some scholars suggest that the Longquan kilns also produced high-quality wares for the court when needed: see Rose Kerr, Song Dynasty Ceramics, London, 2004, p. 89. The present washer is likely to be one of these tribute pieces to the court.

A pair of Longquan washers of this type, but with typical greenish-celadon glaze, in the MOA Museum of Art, Atami, is illustrated in Song Ceramics, Tokyo, p. 108, no. 71. Another similar Longquan washer in the Idemitsu Museum of Art, Tokyo, is illustrated in Kuboso Memorial Museum of Art, Sensei, Bansei and Celadon of Longquan Yao, Izumi, 1996, p. 16, no. 48. Compare, also, Longquan washers of this form found in the Jinyucun hoard in Sichuan province, and illustrated in Jinyucun Hoard of Southern Song Dynasty in Suining, vol. 2, Beijing, 2012, pls. 62-64.

Lot 129. A gilt-bronze figure of a seated Bodhisattva, Sui-Tang dynasty (581-907). Height 6 in., 15 cm. Estimate 80,000 — 120,000 USD. Courtesy Sotheby's.

the deity seated with a single leg crossed over a pendent leg, one hand raised up, the other resting on the knee, the dhoti and shawl draped over the shoulder and falling in natural folds around the contours of the body, adorned with an elaborate necklace and jeweled earrings, the face bearing a contemplative expression, the round face framed by long tresses falling across the shoulders, the figure seated on a round openwork stool further raised on a square openwork plinth, an openwork flame mandorla clasped to the back.

Provenance: Collection of Stephen Junkunc, III (d. 1978).

Lot 110. A painted gray pottery figure of a mythical beast, Han dynasty (206 BC - 220 AD). Width 16 1/4  in., 41.8 cm. Estimate 5,000 — 7,000 USD. Courtesy Sotheby's.

the beast modeled standing four square, with head lowered and muscular haunches bracing as if about to charge, the crown and neck with three imposing pointed horns, a row of four studs along the spine, continuing to a long tail curled back, the right hind leg with a large grooved spiral, with traces of white slip and red pigment all over.

Provenance: Collection of Stephen Junkunc, III (d. 1978).

Lot 113. A rare sancai-glazed pottery figure of a spotted bull, Tang dynasty (618-906). Length 8 in., 20.3cm. Estimate 10,000 — 15,000 USD. Courtesy Sotheby's.

well modeled standing four square, the pointed ears alert and tail to one side, the dewlap hanging low and the neck with incised folds of skin, the pinkish buff body covered with a straw-colored glaze, intermittently applied with dapples of glassy sky blue against larger splashes of dark amber glaze that pool and cascade downwards.

Provenance: Collection of Stephen Junkunc, III (d. 1978).

DALLAS, TX.- Heritage Auctions’ inaugural participation in Asia Week New York 2019 debuts with the Chenn Family Collection of fine Chinese paintings and calligraphy. First assembled by the early Chinese Republic scholar and political reformer Chen Guoxiang, the important collection spotlights significant fine Asian Art offered March 19 in New York. 

“Heritage’s Asian Art department may be young, but we feel we are capable of establishing our New York auction as one of the premier Asian market events held in the United States,” said Richard Cervantes, director of Asian Art at Heritage Auctions. “We are honored to be a part of Asia Week New York.” *

A notable figure in Chinese politics, Guoxiang (1871-1919) was an organizer of the Progressive Party in 1913 and served in the National Assembly of the Republic of China. With Liang Qichao, General Cai E and other compatriots, Guoxiang planned and supported the National Protection War of 1915-16 that successfully opposed Yuan Shikai’s reestablishment of the Chinese monarchy.  

The family’s collection of paintings were passed to the family of Chenn’s son, a railroad executive, and were relocated along with subsequent generations of the family to Taiwan in 1949, and then the United States. Peony, Bottle Gourds, and Loquats, Dingzi, 1917, by artist Wu Changshuo (est. $300,000-$500,000) is a stunning work with impeccable provenance: the artist gave the four artworks of ink and color on paper to Guoxiang, and the family cherished the heirloom for nearly 100 years. 

Lot 78329. Wu Changshuo (Chinese, 1844-1927), Peony, Bottle Gourds, and Loquats, Dingzi, 1917. Four works, ink and color on paper; 53-1/4 x 12-3/4 inches (135.3 x 32.4 cm) (work, each), 60-3/8 x 16-1/8 inches (153.1 x 41.0 cm) (frame, each). Each signed and dated, with two or three seals of the artist. Estimate: $300,000 - $500,000. © Heritage Auction

Provenance: Chen Guoxiang (1879-1919), gifted by the artist;
Chen Guan (1895-1990) and Zheng Ying (1898-1990), by descent from the above;
Chenn Family, by descent from the above.

Translation:

Sweet fruits from Duanyang are ripe in the
warm breeze,
Its color as shining as gold.
I displayed the painting with the pomegranate
blossom,
and the naughty kid was drooling.

(Yang Guifei and Emperor Xuanzong) Leaning
on the baluster of the Chenxiang Pavilion.

The peony blooms in the way like pagodas and
pavilions arise from plates made of ruby.
(I) painted the peony in the second month of
the year of Dingzi to learn from earlier artists
without subservience.

Bottle gourd or bottle gourd!
Are you doing your job?
I should cut you in half,
And fill you with wine in my tiny room.

The wave surrounds my dwelling.
The boat leaving to visit a friend drifts alone.
I read aloud in a lonely night,
With the air chilled my bones.
The beauty named Hong Xiao walked in and
added scent in the censer.
Painted in yushui, the year of
Dingzi when the fresh rain dropped and my
orchid bloomed.

A beautiful 18th century fan leaf titled Calligraphy after Dong Qichang (est. $50,000-$70,000) is signed Xiang Guang with three seals of the Emperor Qianlong (1711-99). 

Lot 78303. Aisin Gioro Hongli, The Emperor Qianlong (1711-1799), Calligraphy after Dong Qichang (1555-1636). Fan leaf, ink on paper with gold leaf, 21-3/8 x 9-1/2 inches (54.3 x 24.1 cm) (work), 14 x 24-1/2 inches (35.6 x 62.2 cm) (frame). Signed Xiang Guang, with three seals of the Emperor Qianlong. Estimate: $50,000 - $70,000. © Heritage Auction

Provenance: Chen Guoxiang (1879-1919), gifted by the artist;
Chen Guan (1895-1990) and Zheng Ying (1898-1990), by descent from the above;
Chenn Family, by descent from the above.

Translation:

Spring raindrops rest on the trees.
The dark mountain hides in the mist at dusk,
where the beautiful lady dwells,
And the stream divides the town.

Ladies in Garden, 1532, is one of the Chenn collection’s most astounding masterworks. The 234-inch-long handscroll is divided into four dynamically composed and highly detailed scenes depicting women in a garden during each of the four seasons. A poem accompanies each woman, as originally composed by the handscroll’s artist and noted calligrapher, Wang Chong (1494-1533).  

Lot 78315. Attributed to Qiu Ying (Chinese, 1482-1559), Ladies in Garden, 1532. Handscroll, ink and color on silk, 143 x 11-3/8 inches (363.2 x 28.9 cm) (work), 234.625 x 11.75 inches (595.9 x 29.8 cm) (overall). Signed by the artist and calligrapher Wang Chong (1494-1533) and dated Winter 1532, with one seal of the artist, one seal of the calligrapher, and two collector's seals of Qin Xi. Estimate: $30,000 - $50,000. © Heritage Auction

The handscroll, executed in Qiu Ying's characteristic gongi style, with the composition divided into four dynamically composed and highly detailed scenes that depict women in a garden during each of the four seasons, each accompanied by four poems by Wang Chuong (Chinese, 1494-1533).

Provenance: Qin Xi, son of Aisin Gioro Keying (Chinese, 1781-1858);
Chen Guoxiang (1879-1919);
Chen Guan (1895-1990) and Zheng Ying (1898-1990), by descent from the above;
Chenn Family, by descent from the above.

Translation:

Swallows fly between blossomed branches in this quiet garden.
Orchids rest on rocks.
Walking along the path,
Swinging in the fresh breeze,
(the girls) feel so soft and delightful like bees,
In the scent of roses.

Willows dance with the breeze.
Lotus blossoms in the pond.
Lovely nude ladies are picking lotus seed pods and buds to their fickle partners,
And even lotus leaves cannot cover their jade-like bodies.
Parasol trees cast shade.
A lotus root is chopped in half,
Yet its fibers still remain.
Don't keep missing him.
The dusk has come with the passing breeze.
The crescent moon is hanging on the branch,
Another beautiful night.
Fragrance of sweet osmanthus fills the garden,
Just good time to play some music.
My husband out in the battlefield,
His sword shines like star light.
I miss him when we are separated geographically.
But the moon still casts its light on the same land.

Camellias blossom and plums follow.
Ladies are playing cuju delightfully,
Casting shadows in the crystal clear pond.
Their robes fly in the air and dainty shoes dancing.
Although with the smile on her face,
She leans on he branch and misses her lover.
Tears fall.
Flower petals fly.
Snow melts and disappears in the wind.

In addition to the Chenn collection, the auction includes two important cultural artworks by renowned artists. 

Beauty, 1939 by Zhang Daqian (est. $120,000-$150,000) is from the estate of Yu Youren, regarded as one China's modern masters. The former educator, scholar, calligrapher and politician in the Republic of China (1912 and 1949) presents a delicate portrait of a maiden among low-hanging branches. 

Lot 78352. Zhang Daqian (Chinese, 1899-1983), Beauty, 1939. Ink and color on paper, 40-3/4 x 15-3/8 inches (103.5 x 39.1 cm) (work), 47-3/4 x 17-3/4 (121.3 x 45.1 cm) (mount). Signed and dated, with three seals. Estimate: $120,000 - $150,000. © Heritage Auction

From the Estate of Yu Youren.

Examples of Asian mastery of metal casting and ceramics include a Pair of Chinese Cloisonné Enameled and Gilt Metal Tripod Ewers with Covers (est. $90,000-$100,000) and a Chinese Gilt Bronze Guanyin Figure on Stand, from the late Ming Dynasty (est. $30,000-$50,000).  

Lot 78228. A Pair of Chinese Cloisonné Enameled and Gilt Metal Tripod Ewers with Covers, Qing Dynasty, Qianlong period (1736-1795); 16 x 12-1/2 x 8-1/2 inches (40.6 x 31.8 x 21.6 cm) (each, overall). Estimate: $90,000 - $100,000. © Heritage Auction.

Lot 78209. A Chinese Gilt Bronze Guanyin Figure on Stand, late Ming Dynasty, 13-3/4 x 17-3/4 x 5-1/2 inches (34.9 x 45.1 x 14.0 cm). Estimate: $30,000 - $50,000. © Heritage Auction.

Additional highlights include, but are not limited to: 

Lot 78288. An Important Chinese Polychrome Stucco Fresco Panel Depicting Celestial Deities and Attendants, Yuan Dynasty; 65-1/2 x 39 inches (166.4 x 99.1 cm). Estimate: $80,000 - $120,000. © Heritage Auction.

Property from the Collection of William and Kathleen Cavanaugh,Canton,Ct.

Purchased from Gallery Owner and U.S. Diplomat C. Edward Wells.

Distinguished in the fields of retail, finance and manufacturing since the 1960s in Hartford, CT, William and Kathleen Cavanaugh opened their Oriental Art Gallery, Phoenix Apollo Gallery, in Farmington, CT. They counted among their clients leaders in the insurance, financial and medical fields. Furthermore, the Cavanaughs assembled a fine personal collection of Chinese paintings and decorative arts and were benefactors and donors in Asian art to both the Herbert F. Johnson Museum at Cornell University and the Museum of Fine Arts, Boston.

Lot 78350. Zhang Daqian (Chinese, 1899-1983), The Three Friends of Winter. Ink and color on paper, 53 x 17-3/4 inches (134.6 x 45.1 cm) (work). Signed, with four seals of the artist. Estimate: $40,000 - $60,000. © Heritage Auction.

Provenance: Collection of Dr. Ding Zhongying (1886-1978), Menghe, China and San Francisco, California, gift of the artist;
The Ding Zhongying Family Collection, by descent from the above.

Lot 78433. Korean School, Joseon Dynasty, Seated Avalokitesvara (Suwol Gwaneum). Ink, color, and gold on silk, 27 x 16-1/2 inches (68.6 x 41.9 cm) (work), 37 x 25 inches (94.0 x 38.1 cm) (frame). Estimate: $25,000 - $35,000. © Heritage Auction.

The painting depicts Water-Moon Avalokiteshvara (Korean: Suwol Dwaneum), a poplar subject in Korea during the late Goryeo Dynasty. Worshipped for her ability to prevent disaster and disease and protect travelers, Water-Moon Avalokiteshvara is depicted as a female deity, resplendently dressed with rosary beads in her hands and seated on Mount Potlaka above a body of water replete with coral and a lotus flower that supports her left foot. Her head and body are surrounded by a nimbus and a mandorla, signfying her divinity. Sudhana (Korean: Seonjae Dongja), the pilgrim boy, stands on an outcrop in the foreground in a pose of adoration. 

Heritage Auctions’ first auction as participants of Asia Week New York, the Fine & Decorative Asian Art Auction, is March 19.

Lot 78126. A Fine and Rare Chinese Longquan Glazed Cong Vase, Southern Song Dynasty (1127-1279); 8-1/2 x 3-1/2 inches (21.6 x 8.9 cm). Estimate: $50,000 - $70,000. © Heritage Auction.

Heritage Auction. 2019 March 19 - 20 Fine & Decorative Asian Art Signature Auction - New York 

Lot 1618. A rare Longquan celadon shrine, Yuan-early Ming dynasty, 14th-15th century; 12 in. (30.5 cm.) high. Estimate: US$8,000 - US$12,000. © Christie's Images Ltd 2019

The thick-walled shrine of ovoid shape is raised on a domed base and has an hexagonal 'tile' roof surmounted by a double-gourd rising from a lotus. An opening cut into one side has a protruding shelf at the bottom, an overhang with applied scroll decoration above, and a loop to one side to fasten a door. The whole is covered with a glaze of sea-green color.

Provenance Weisbrod Chinese Art Ltd., New York.

Literature: Weisbrod Chinese Art Ltd., Buddhist Sculpture: Design and Influence, New York, 1992, no. 35.

Exhibited: Weisbrod Chinese Art Ltd., New York, Buddhist Sculpture: Design and Influence, 3 - 17 June 1992.

Lot 1619. A rare Longquan celadon Guan-type octogonal stem cup, Yuan-Ming dynasty (1279-1644); 3 ¼ in. (8.4 cm.) high. Estimate: US$30,000 - US$50,000. © Christie's Images Ltd 2019

The cup has flaring, faceted sides supported on a spreading stem foot encircled by a narrow collar, and is covered overall with a clear glaze of pale olive tone suffused with an extensive, icy crackle that thins on the raised areas. Together with a catalogue, Inki: hai, wan, taku tokubetsu tenji (The Special Exhibition of Vessels: Cups, Bowls and Cup Stands), Kuboso Museum, Izumi, 1989; Japanese wood box inscribed by ceramic scholar Fujioka Ryoichi (1909-1991).

Lot 1620. A large carved Longquan celadon tripod censer, Ming dynasty (1368-1644); 12 in. (30.4 cm.) diam. Estimate: US$6,000 - US$8,000. © Christie's Images Ltd 2019

The heavily potted censer raised on three mask-form legs is carved on the exterior with a band of floral scroll on a wave-pattern ground, and is covered overall with a sea-green glaze except for the base and the center of the interior, exposing the body burnt orange in the firing.

Lot 1621. A carved Longquan celadon dish, Ming dynasty (1368-1644); 11 ¾ in. (29.8 cm.) diam. Estimate: US$7,000 - US$9,000. © Christie's Images Ltd 2019

The dish is carved in the center with a medallion of trellis pattern surrounded by floral scrolls in the well. The dish is covered inside and out with a thick glaze of sea-green tone, except for a wide ring on the base which has burnt orange in the firing.

Property from the Caddle Family Collection.

Provenance: Kwok Gallery, Singapore, 1992.