Alain.R.Truong

Chinese Famille Verte Yellow Ground Glazed Porcelain Bowl, Kangxi Mark and of the Period

Chinese Famille Verte Yellow Ground Glazed Porcelain Bowl, Kangxi Mark and of the Period. Estimate $12,000-18,000. 2015 © William Doyle Galleries, Inc.

The large deep form flaring at the rim, painted and incised on the interior with a green foliate border below the rim and a stylized dragon medallion below the exterior worked with sprays of prunus, chrysanthemum, lotus and peony in green, brown and white, base with six-character Kangxi mark in underglaze blue within a double blue circle on a white ground. Height 8 inches, diameter 15 1/2 inches. Broken through with old restoration.

Doyle New York, Asian Works of Art, Monday, March 16, 2015 at 10am

Chinese Green and Blue Glazed Porcelain Bowl, Kangxi Six-Character Mark and of the Period

Chinese Green and Blue Glazed Porcelain Bowl, Kangxi Six-Character Mark and of the Period. Estimate $12,000-18,000. 2015 © William Doyle Galleries, Inc

he deep form set on a low foot rim, the exterior sides executed with two green striding dragons in pursuit of flaming pearls, all on a deep blue ground above a band of overlapping lappets at the foot, with a single rearing dragon on the interior base. Diameter 5 1/4 inches. Light enamel wear to interior base.

Provenance: S. Marchant & Son, London 

Doyle New York, Asian Works of Art, Monday, March 16, 2015 at 10am

A rare and important iron-red and gilt rouleau vase, Qing dynasty, Kangxi period

A rare and important iron-red and gilt rouleau vase, Qing dynasty, Kangxi period. Estimate 30,000 — 50,000 USD. Photo Sotheby's.

of cylindrical form, slightly tapering towards the base, the canted shoulders rising to a tall neck with an everted mouth and galleried rim, finely enameled in varying tones of iron red with detailing in green, black and gilt one side depicting the Three Gods (Happiness, Wealth and Longivity) with young boys, the other side with a two-line inscription and three seals, the neck with four varying shou characters in zhuanshu style, the base painted with a single peony blossom in green, yellow and aubergine each petal striated and outlined in black. Height 18 1/4  in., 46.4 cm

Provenance: Private Collection San Francisco.
Sotheby's New York, 19th March 1997, lot 314.
Severin Fayerman (1922-2015), 'Boonecroft' Pennsylvania.
Weisbrod Chinese Art Ltd., New York, 2004.

Exhibition: The Golden Gate International Exposition, Treasure Island, San Francisco, 1939-1940.

Literature: The Fayerman Collection, Boonecroft, Weisbrod Chinese Art Ltd., New York, 2004, cat. no. 13 and illustrated on the cover.

Notes: The inscription may be translated as:

In the time of great prosperity, we forget what to say;
The Three Elders of the Han court came together, correcting the classics

Signature: Master of the Half Window
Seals：Yunshan Cloud Mountain), Zhushi (Bamboo and Stone), Banchuangzhuren (Master of the Half Window)

Building on the late Ming dynasty aristocratic taste for inscriptions on varying types of two dimensional screens, the innovative artisans of Jingdezhen during the late 17th century incorporated calligraphy into the pictorial decoration of three-dimensional porcelain wares. Long considered a significant art form, calligraphy communicates not only through the meaning of the character but also through the gesture used to paint it and the sound it evokes. The addition of inscription on porcelain transformed cylindrical surfaces to three dimensional scrolls infusing them with a rarefied scholarly aura. The creation of these literati-style wares was generated as much by the rise of a wealthy merchant class (many of whom were Ming loyalists with a marked preference for Ming literati themes) as by the dearth of imperial commissions as the Kangxi emperor sought to quell rebellion and assert Manchu authority. The lack of orders from Beijing allowed the most skilled potters and artisans to turn their attention to non-imperial wares. Porcelain forms bearing Bamboo, Wood or Rock studio and seal marks, such as the present vase, emerged and appear to be associated with a particularly high quality of potting, enameling and a painterly style of calligraphy more closely in keeping with literati values. While much research remains to be done on this group of porcelains, a blue and white vase in the Curtis Collection, painted with scenes of Jingdezhen and literati poems bears the mark of the owner of the kiln, Shang Tong; a known historical figure with close ties to literati figures of the era such as Shang Ancun, an official and scholar known to produce paintings for ceramics. For further discussion see Wang Qingzheng, Kangxi Porcelain Ware from the Shanghai Museum Collection, Hong Kong, 1998, fig 10, p. XXIX and Wang Qizheng and Sir Michael Butler, Seventeenth Century Jingdezhen Porcelain from thh Shanghai Museum and the Butler Collections, London, pp. 50-54. The large scale and confident inscription on the present vase can be related to a brushpot painted with bamboo and poetic inscription from the palace museum illustrated in China, The Three Emperors 1662-1795, ed. Evelyn S. Rawski and Jessica Rawson, London, 2005, cat. no. 130. 

This present example is unique. Its decoration, being the traditional Three Gods of Happiness, Wealth and Longevity, which in addition to the shou-characters (longevity) suggests that it was a special birthday present. The inscription however conveys a different message. After the fall of the Ming dynasty, Chinese intellectuals were obliged to serve the new Manchu government, but in their hearts they harbored resentment towards the new regime and nostalgia for past dynasties. But censorship was strict, and expressions of political dissatisfaction had to be subtle and concealed. The inscription here can be read at face value, or decoded to reveal a deeper meaning. The term "Three Elders" (San Lao) first appeared in the Book of Rites (Li Ji, written in the 5th century BC). When the Han dynasty was established in 221 BC, the new government summoned all learned elders to the Han court to write down the classical texts that had been destroyed by the Qin dynasty, the legendary burners of books. In the 17th century, the inscription on this piece would have been understood and appreciated by any educated and disaffected Chinese, who regarded themselves as men of virtue of the former dynasty. As the inscription infers, they could meet, but could not speak out; they could only dream of preserving the culture of the past. The poem is signed by the Master of the Half Window. A half-window was an architectural feature of Chinese garden pavilions. Thus, the signature was more than a poetic nom-de-plume; it indicated that the author was from a high social background, and had probably been an official at the court of the previous, Ming, dynasty. Frustrated intellectuals would have felt the kindred spirit in this beautiful, yet bold, inscription. 

Sotheby's. Inscriptions: History as Art New York, 17 mars 2015, 01:30 PM

Major exhibition of works by Dutch photographer Marie Cécile Thijs opens in Maastricht

Marie Cecile Thijs, Flowers, Tulips in Vase, 2011. Photo: Courtesy Galerie Eduard Planting.

MAASTRICHT.- ‘Museum aan het Vrijthof’ in Maastricht opened a major exhibition of works by Dutch photographer Marie Cécile Thijs during and around the TEFAF Maastricht, the world’s greatest art and antiques fair (13-22 March). Almost 20 years ago, in front of the current museum, she took photographs of the seven yearly ‘Procession of Sacred Relics’ in Maastricht, in the south of Holland. In 2015 she returns for her first retrospective exhibition 'Lust for Light', which can be seen from March 1 until May 31. 

Marie Cecile Thijs, Flowers, Black Jack, 2014. Photo: Courtesy Galerie Eduard Planting.

The exhibition ‘Lust for Light' shows different series of photographs made by Marie Cécile Thijs, including White Collar, Food Portraits, Cooks, Horses, Majestic, Human Angels and her previous photographs of the ‘Procession of Sacred Relics’ in Maastricht. 

Marie Cécile Thijs, Horses, Salinero, 2011. Photo: Courtesy Galerie Eduard Planting.

Marie Cécile Thijs is an art photographer with a distinctive signature. Her portraits are still lifes and her still lifes become portraits. Topics become characters. They move away from their daily destination, away from time and space. That provides intriguing creations, where elements like tranquility, dynamics and sometimes also humor meet. You would almost forget that cats normally do not wear collars or that chickpeas are usually located on a plate in stead of floating through the air. In her work the unusual is natural.

Marie Cécile Thijs, Successor To The Throne, 2012, Majestic series. Photo: Courtesy Galerie Eduard Planting.

Photographs of Marie Cécile Thijs - in terms of light and color - are reminiscent of the Golden Age. The old masters in painting are a major source of inspiration. At the same time her work is totally contemporary. For the serie White Collar (since 2009) she photographed an authentic seventeenth century ruff (also called millstone-ruff) from the collection of the Rijksmuseum Amsterdam, which she later processed in her portraits using digital techniques. 

Marie Cecile Thijs, Girl with White Collar at Table, 2010, White Collar series. Photo: Courtesy Galerie Eduard Planting.

Marie Cecile Thijs, Cat with White Collar V, November 2014, White Collar series. Photo: Courtesy Galerie Eduard Planting.

Marie Cécile Thijs gained fame with her autonomous work. In addition, she has portrayed many writers, politicians and artists. The in Southern Limburg born photographer has been fascinated by photography since her youth, but began her career as a lawyer. In her late twenties, she rediscovered the camera and a few years later made the shift to life as a photographer. "For me it was love at second sight," says Marie Cécile Thijs. Meanwhile, she has many exhibitions and has received international awards. In 2014 she won the first prize in the International Photography 

Marie Cécile Thijs, Angel Boy, 2012, Human Angels Series. Photo: Courtesy Galerie Eduard Planting.

Masters Cup with her photograph ‘Chickpeas’. In 2010, the photograph ‘Girl with White Collar at Table’ was selected for a photo prize by the curator of the Museum of Contemporary Photography in Chicago. Her work is included in several museum collections, among those are the Rijksmuseum Amsterdam and Rotterdam Museum. Recently her book 'Characters' with an overview of her work over the past fifteen years was published.

Marie Cécile Thijs, Chick Peas, 2013, Food Series. Photo: Courtesy Galerie Eduard Planting.

Marie Cécile Thijs, Citrus & Parkiet, 2014, Food Series. Photo: Courtesy Galerie Eduard Planting.

A Dehua reticulated brushpot (bitong), Late 17th - Early 18th century

A Dehua reticulated brushpot (bitong), Late 17th - Early 18th century. Estimate 16,000 — 18,000 USD. Photo Sotheby's.

of tall cylindrical form, the sides deftly pierced in two registers, the lower with a leafy, stylized peony meander, the upper with four shaped reserves each enclosing a single character, zhuang, yuan, ji, di, (may you be first in the Imperial examination) all against a wan pattern fretwork ground, between plain concave borders at the rim and base, glazed overall in a lustrous creamy-white glaze, fitted hard wood stand (2). Height 6 in., 15 cm

Provenance:A. Staal Antiquaire, Amsterdam (according to labels).
Sotheby's Mak Van Waay, Amsterdam 15th January 1974, lot 311.
E.G. Kostalany, London (by repute).
Fiorentini Collection, London (according to label).

Sotheby's. Inscriptions: History as Art New York, 17 mars 2015, 01:30 PM

A small inscribed Dehua jar, 17th century

A small inscribed Dehua jar, 17th century. Estimate 4,000 — 6,000 USD. Photo Sotheby's.

of ovoid form, tapering towards the base and rising to a short cylindrical neck, freely inscribed in caoshu with four characters, yue yuan feng qing (the moon is full, the breeze is cool), applied overall with a rich white glaze. Height 3 1/8  in., 8 cm

Provenance: Collection of Nancy and Peter Thompson (according to label).

Sotheby's. Inscriptions: History as Art New York, 17 mars 2015, 01:30 PM

A rare white 'Monk's Cap' ewer incised with Tibetan inscription, Ming dynasty, Yongle period

A rare white 'Monk's Cap' ewer incised with Tibetan inscription, Ming dynasty, Yongle period. Estimate 100,000 — 150,000 USD. Photo Sotheby's.

the globular body supported on a low splayed foot, with channeled spout flaring neck and stepped collar and a small loop inside for attachment to a cover, the curved strap handle with a ruyi-head tab, the tall neck, shoulder and area above the foot incised with lotus and lingzhi motifs, the center of the body incised with a long horizontal Tibetan inscription, the ewer is applied overall with a soft white glaze (tianbaiyou). Height 8 1/4  in., 21 cm

Notes: very similar ewer was in the Meiyintang collection, sold Sotheby's Hong Kong, 9th October 2012, lot 10.

English translation of the inscription:

May there be peace and tranquility by day;
May there be peace and tranquility by night;
May there be peace and tranquility by noon;
Unceasing peace and tranquility at all times, day and night;
May the ‘Three Jewels’ (Buddha, Dharma, and Sangha) ensure peace and tranquility.

Sotheby's. Inscriptions: History as Art New York, 17 mars 2015, 01:30 PM

Preview of Hemmerle Jewels at TEFAF 2015

Hemmerle earrings – tourmalines, demantoid garnets, silver, white gold. Photo courtesy of Hemmerle

Hemmerle necklace – antique Javanese bronze, yellow-brown diamonds, brass, peridots. Photo courtesy of Hemmerle

Hemmerle earrings – cameos, tsavorite garnets, silver, white gold. Photo courtesy of Hemmerle

Hemmerle ring (firstly debuted at a Hemmerle private viewing in London) – scarab, bronze, white gold. Photo courtesy of Hemmerle 

Hemmerle earrings – diamonds, blackened silver, white gold. Photo courtesy of Hemmerle

Hemmerle will be exhibiting at Stand Number 141 at TEFAF Maastricht from March 13-22, 2015, to book an appointment email info@hemmerle.com or call +49 89 24 22 600. www.hemmerle.com

A 'Qingbai' cup and stand, Song dynasty

A 'Qingbai' cup and stand, Song dynasty. Estimate 15,000 — 20,000 USD. Photo Sotheby's.

the thinly potted shallow cup rising from a short flared foot to an everted rim, the rounded sides divided into six petal lobes by notches around the rim, resting on a stand of saucer shape with a hexalobed rim and stepped pedestal in the center, all on a trefoil-pierced petal-shaped foot, both covered overall with a pale ice-blue translucent glaze (2). Height 3 3/8  in., 8.5 cm

Literature:  Tan Dan Jiong. Zhongguo taoci shi [History of Chinese Ceramics], Volume Two, Taipei, 1985, p.  478. 

Notes: Several related qingbai cups and stands have been published. See one in the Baur collection illustrated in John Ayers, Chinese Ceramics in the Baur Collection, vol. 1, Geneva, 1968, pl. A120; another from the Toguri Museum, Tokyo, illustrated in Chugoku toji meihin zuroku [Chinese Ceramics in the Toguri Collection], Tokyo, 1988, no. 50.

Compare also one in the Eugene Bernat collection, included in the exhibition Chinese Ceramics of the Sung Dynasty, Currier Gallery of Art, Manchester, 1959, cat. no. 66, and illustrated in Sir Harry M. Garner and Margaret Medley, Chinese Art in Three-dimensional Colour, vol. III, London, 1969, p. 210, reel 29, no. 3 and sold in these rooms, 7th November 1980, lot 84; and another in the Muwen Tang collection, included in the exhibition Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong, 1994, cat. no. 103, and subsequently sold in our London rooms, 12th November 2003, lot 52. 

Sotheby's. Song Tradition: Early Ceramics from the Yang De Tang Collection. New York, 17 mars 2015, 11:00 AM

A rare 'Qingbai' box and cover, Song dynasty

A rare 'Qingbai' box and cover, Song dynasty. Estimate 20,000 — 30,000 USD. Photo Sotheby's.

of compressed globular form with lobed sides resembling the petals of a chrysanthemum flower, finely molded on the cover with a floral scroll, applied on the interior with three small barbed rim cups separated by three curved stems of lotus pods issuing from a central bud, applied overall with a transparent glaze pooling to a light turquoise blue in the recesses, the raised interior rim and base left unglazed revealing the smooth white body. Diameter 5 1/4  in., 13.3 cm

Literature:  Tan Dan Jiong. Zhongguo taoci shi [History of Chinese Ceramics], Volume Two, Taipei, 1985, p. 477. 

Notes: See a closely related box and cover also with three cups on the interior, of smaller size, unearthed at Guaxian, Shaowu City, and now in the Shaowu Museum, published in Zhongguo chutu ciqi quanji / Complete Collection of Ceramic Art Unearthed in China, Beijing, 2008, vol. 11, pl. 117. See also two related qingbai boxes with this form and with a plain interior, illustrated in Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, nos. 552 and 554.

Sotheby's. Song Tradition: Early Ceramics from the Yang De Tang Collection. New York, 17 mars 2015, 11:00 AM