A Rare And Important Imperial Gilt-Bronze Ritual Bell (Bianzhong) Estimate $1/1.5million. Photo: Sotheby's.

NEW YORK, NY.- The bi-annual New York sale of Important Chinese Art on 15 - 16 September will be led by extraordinarily rare Imperial Bronze Bell made for the court of the Qianlong emperor (r. 1736-1795), and which has remained in the Hearst family since it was acquired by William Randolph Hearst in 1921. Further highlights include a pale celadon jade ‘taotie’ censer and cover from The Kitson Collection, dating from the Qianlong period, and a massive silver-inlaid bronze ‘chilong’ vase, 17th century with a Shisou mark. All categories of Chinese art are well-represented in this sale which includes pieces largely drawn from distinguished private collections in the US and abroad including Property from the Collection of John F. Lewis, Jr. as well as private collections of Chinese ceramics, jades from The Feng Wen Tang Collection, furniture, scholar’s objects and other works of art. 

William Randolph Hearst (1863-1951) was one of America’s most audacious and influential figures whose art collecting was so prolific that obituaries at the time of his death noted that he accounted for twenty-five percent of the world’s art market during the 1920s and 30s. He was the only son of businessman and later US Senator Georg Hearst and Phoebe Apperson Hearst who William credited with inspiring his life-long passion for art and collecting. In 1887 Hearst took control of the The San Francisco Examiner, a struggling newspaper owned by his father. Under his guidance, the newspaper rebounded and Hearst went on to become the nation's largest and most prominent publisher. 

The Imperial Bell was acquired in 1921 at an auction of Far Eastern works of art in New York and sent to Hearst Castle, San Simeon, California. The Qianlong emperor was keenly aware of the significance of sets of bells known as zhong and their power in tradition. With a deep interest in music theory the Emperor created a music division which endured into the 20th century. This bell, dating from 1743 with its extravagantly gilt, sinuous dragon-form handles and ornate high relief casting forms a distinctly Qing declaration of power and wealth. 

The sale also features a selection of rare ceramics dating to China’s Tang dynasty, including A Rare And Important Sancai And Blue-Glazed Pottery Goose-Form Vessel (est. $350,000/450,000). Tang sancai pieces such as this charming goose were used primarily by nobility and officials as daily utility wares, religious ceremonial objects, and as funerary goods while the blue glazes are significant for studying the origin of blue and white porcelain and cross-cultural exchanges between China and other countries. 

Lot 259. A Rare And Important Sancai And Blue-Glazed Pottery Goose-Form Vessel, Tang dynasty (618-907). Height 11 1/2  in., 29.2 cm. Estimate 350,000 — 450,000 USD. Lot sold 370,000 USD. Photo: Sotheby's 2015.

naturalistically modeled, the recumbent bird with webbed feet tucked beneath the body, the upright alert head over a long curved neck, the layered, tufted feathers of the broad wings tapering towards the incurved tail glazed in bands of blue, amber and cream, the plumage of the plump rounded chest and pinfeathers of sinuous neck delineated with rows of small raised spirals and applied with a lustrous amber glaze, the interior hollowed with an oval opening at its back, supported on a conforming rectangular unglazed base. 

Provenance: Sotheby's New York, 15th June, 1983, lot 157.
Toguri Museum of Art, Tokyo.
Sotheby's London, 9th June 2004, lot 72.

Bibliography: Chinese Ceramics in the Toguri Collection, Toguri Museum of Art, Tokyo, 1988, cat. no. 37.

Similar pieces: 

From kiln site at Gongyi, now at the Henan Province Institute of Cultural Relics and Archaeology. Remaining Height 25.5 cm.

Goose jar, 618–906. China; Henan province. Low-fired ceramic, mold-impressed and with three-color glaze in green, brown, and yellow. Courtesy of Asian Art Museum of San Francisco, The Avery Brundage Collection, B60P1108. Photograph © Asian Art Museum of San Francisco. Height 30.4 cm.

Unearthed from a tomb in Xin’an county, Henan, now in the collection of the Henan Province Museum.
Height 21.7cm.

A further highlight from this section of the sale is A Magnificent Painted Pottery Camel With Sogdian Rider And Hunting Owl, Early Tang Dynasty (est. $180,000/250,000). The superbly modeled piece features a foreign rider sitting on top of a camel striding forward in haste. Among the skilfully depicted details are an Eurasian owl perched on the rider’s outstretched hand and the wide lapels of the riders fur-lined jacket thrown open by the wind. The highly animated depiction of the camel is reminiscent of the running camels from the hunting scenes painted on the walls of Crown Prince Zhuang Huai's tomb in Qianxian near Xi'an, Shaanxi province.  

Lot 258. A Magnificent Painted Pottery Camel With Sogdian Rider And Hunting Owl, Early Tang Dynasty. Estimate 180,000 — 250,000 USD. Unsold. Photo: Sotheby's.

superbly modeled with a foreign rider sitting on top of a camel striding forward in apparent haste, an Eurasian owl perched on his outstretched hand, its perked up ears tufts in recognition of their traveling speed, the rider's other arm extended with hands clenched as if holding on to straining reins, the wide lapels of his fur-lined jacket thrown open as if wind-blown too, showing very naturalistically modeled sagging nipples and a bulging stomach, the face with large beaked nose, hooded eyes beneath very bushy eyebrows and a full beard, his long jacket, pantaloons, high cloth boots with upturned cuffs and soft conical hat characteristic of the attire of foreign grooms, possibly from Sogdiana, the camel shown with neck stretched forward and head turned, the mouth wide open in a bray showing realistically rendered teeth, palate, and tongue, the powerful body modeled with fur on its knee and under the neck, the strong slender legs with well delineated tendons, its back carrying a heavy load of a stuffed fringed bag hung with cooking pans, a metal pitcher, a leather water pouch and a rabbit and suckling pig, slung between the two humps and braced by two hinged slats of wood and poles on either sides, all beneath a square sheepskin rug crisply and variously striated to simulate large patches of fur sewn together (2). Height 39 in., 99.1 cm

Provenance: Sotheby's New York, 20th March 2002, lot 55.

Notes: This elaborate pottery sculpture was clearly individually modeled and appears to be unique. It shows a degree of observation on the sculptor's part and of detailed representation rarely otherwise encountered on figures of this period. With the bold, confident gesture of the rider, the naturalistic, forward pushing posture of the camel, and the owl's 'at the ready' position signified by its puffed up feathers, the artist captured a dramatic moment of the group in motion. The figure is thus very different from the placid representations of camels usually found among Tang tomb furniture, even among stylistically similar figures like the one from Changzhi mentioned below.

The rider with fur coat worn skin-side out, and his peaked hat, probably represents a Sogdian merchant. A similar hat is worn by a small Tang bronze figure of a Sogdian dancer, included in the exhibition Monks and Merchants: Silk Road Treasures from the Northwest China, Asia Society Museum, New York, 2001-2, and at present on view in the Norton Museum of Art, Palm Beach, Florida, which is discussed and illustrated in the catalogue, no. 82. Compare also a standing pottery figure of a similarly attired foreigner, excavated from a tomb of AD 724, illustrated in Treasures of a Nation, Beijing, 1999, pp. 216f; and a camel drover with a pointed hat, depicted together with his animal on a brick from one of the Dunhuang caves in Gansu province, included in The Exhibition of Ancient Art Treasures of the People's Republic of China, Tokyo National Museum, 1979, cat. no. 75.

The appearance of an owl in this contact is highly unusual, although owls can be trained for hunting like hawks and eagles. Falconry was much practiced in Tang China, both by Central Asians and by the Chinese themselves, and falconers holding various other raptors are known from Tang pottery figurines; see, for example, a group of equestrian hunters from an early 8th century tomb near Xi'an, depicted with various animals and a falcon, included in the exhibition The Golden Age of Chinese Archaeology, Washington, DC, 1999-2000, cat. no. 170.

In its animated attitude the camel is reminiscent of the running camels from the hunting scenes painted on the walls of Crown Prince Zhuang Huai's tomb in Qianxian near Xi'an, Shaanxi province, datable to AD 706, illustrated, for example, in Out of China's Earth, Beijing, 1981, pl. 258.

In its naturalistic style of representation this group can perhaps best be compared with the figure of a seated camel carrying a woman breast-feeding an infant, included in the exhibition Tang Ceramic Sculpture, Eskenazi, New York, 2001, cat. no. 8, which is similarly capturing a moment of action, as the boy grabs the breast, the woman raising one arm as if to stabilize herself or to hold back the reigns of the camel, whose head is raised as if braying.

Compare also a related painted pottery group of camel and foreign rider, depicted in a completely different, sedate mood, with less detail and slightly smaller in size, excavated at Changzhi, Shaanxi province, now in the Museum of Chinese History, Beijing, and included in the exhibition China in Venice, Venice, 1986, cat. no. 55. That group shows the camel standing foursquare, the rider with similar bushy eyebrows, mustache and beard, wearing a similar pointed hat and fur coat, but fur side out, seated straight upright with one arm raised but empty-handed, on a similar fringed saddlebag, but lacking the fur blanket and other provisions on the saddle.

The dating of this lot is consistent with the result of a thermoluminescence test, Oxford Authentication Ltd., sample no. C102a6.

Furniture is led by A Huanghuali Recessed-Leg Long Table (Qiaotouan) 17th Century which is notable for the balance of ornate paneling balanced by the elegant simplicity of the apron and spandrels (Est. $450,000/600,000). Other furniture highlights include A Pair Of Carved Cinnabar Lacquer Armchairs (Est. $80,000/100,000). 

A Huanghuali Recessed-Leg Long Table (Qiaotouan) 17th Century. Estimate 180,000 — 250,000 USD. Photo: Sotheby's.

the single board top within mitered frame terminating in everted flanges, above a waisted straight beaded apron with shaped spandrels delicately carved with foliate scrolls, the square sectioned legs, with rounded fronts, beaded edges terminating in slightly splayed feet, joined by square sectioned stretchers enclosing a rectangular openwork beaded panel of confronting chilong, the underside with five transverse stretchers. Height 36 in., 91.4; Width 85 1/4  in., 216.5 cm; Depth 19 in., 48.3 cm

Notes: The form of the present table is described in Wen Zhenheng's Treatise on Superfluous Things, the late seventeenth century guide to good taste, as a bizhuo or side table to be placed against a wall and used for display and set with items of religious or ceremonial significance. Although the author also decried the use of excessive carving, the lively openwork of the panels is effectively balanced by the long board top and elegant simplicity of the apron and spandrels.  

Examples of qiaotouan with splayed feet are in several museums such as the Nelson Atkins Museum, Kansas City and the Metropolitan Museum, New York. This form is discussed and illustrated in Wang Shixiang, Connoisseurship of Chinese Furniture, Hong Kong, 1989, nos. B86-7. A very similar table of tielimu is illustrated in Hu Desheng, A Treasury of Ming & Qing Dynasty Palace Furniture, vol. I, Beijing, 2007, fig. 306.

A Pair Of Carved Cinnabar Lacquer Armchairs (nanguanmaoyi), Qing dynasty, 19th century. Estimate 80,000 — 100,000 USD. Photo: Sotheby's.

each with the square sectioned crestrail gently arched, flattened at the center headrest and carved with a large lotus bloom issuing tendrils, the bowed corner posts centered by a wide S-shaped rectangular splat, the upper section of one decorated with a panel of a pair of ducks paddling among lotus, the other with a pair of song birds perched on a bough, surmounting a quiet scene depicting a scholar and attendant, on one journeying through a mountainous landscape, on the other seated in a garden, all above a small inset shaped panel, the sinuous arms each with a single phoenix supported by curved stiles, the seat with an intricate brocade pattern, all supported on four square-sectioned legs carved with shou characters flanking doubleruyi-head reserves and joined by four stepped stretchers, the front rail further strengthened with an arched stretcher beneath, the back and undersides finished in black lacquer (2). Height 44 3/8  in., 112.7 cm; Width 24 3/4   in., 67.8 cm; Depth 19 1/8  in., 48.6 cm

Notes: A nearly identical pair of chairs sold at Christie's New York, 26th March 2003, lot 136. The resemblance is sufficiently close to surmise that they may well be from the same set. The fine carving and use of an intricate brocade pattern has precedent. Whilst there are no published examples of similar chairs, there is a Qianlong period rectangular table with a wan character brocade top from the Qing court collection illustrated by Hu Desheng, A Treasury of Ming and Qing Dynasty Palace Furniture,vol. 1, Beijing, 2007, p. 213.

Among a number of superb jade works in the sale is A White Jade ‘Taotie’ Censer And Cover Qing Dynasty, Qianlong Period, the piece is finely carved to highlight the quality of the stone (est. $120,000/180,000). In a continuation of the Song dynasty tradition of carving jade vessels in the form of archaic bronzes, the Qing dynasty adapted classical forms and reinterpreted them in new ways as can be seen in the style and form of this censer.

A White Jade ‘Taotie’ Censer And Cover Qing Dynasty, Qianlong Period. Estimate 120,000 — 180,000 USD. Photo: Sotheby's.

the rounded sides finely carved with two archaistic taotie masks divided by ingot-shaped flanges and set with opposing chilong form handles, all supported on three short curled feet, the domed cover carved with a similar taotie motif surmounted by an openwork coiled dragon finial, the stone of an even white color (2). Height 5 1/2  in., 14 cm

Provenance: Property of T.B. Kitson, Esq.
Sotheby's London, 30th May 1961, lot 430.
John Sparks Ltd., London.

Notes: According to palace records, the Qianlong emperor had exacting standards for his jade, especially when it came to the quality of the stone. He frequently questioned officials in charge of the jade atelier regarding their selection of craftsmen and the quality of their work.

The present censer is outstanding not only because it is carved from stone of exceptional quality and color, but also for its fine carving and elegant form. The gently rounded body carved in low relief and flanked by mirror-imaged chilong clinging to its sides is perfect for highlighting the ideal beauty of the stone. In a continuation of the Song dynasty tradition of carving jade vessels in the form of archaic bronzes, the Qing dynasty, adapted classical forms and reinterpreted them in new ways.

It is clear that the decoration on the present censer takes its inspiration from ritual bronze vessels such as the Western Zhou dynasty gui, sold in these rooms, 17th September 2013, lot 3; and the coiled chilong finial crowning the cover resembles Han dynasty bronze weights such as the one also sold in these rooms, 19th March 2013, lot 67. The increased supply of jade during Qianlong's reign made it feasible and attractive to reproduce the shapes and styles of decoration found in ceramics and bronzes. 

For a Qianlong period white jade censer of a similar shape but with flared handles, see Humphrey Hui, Tina Pang, and Michael Liu, Virtuous Treasures: Chinese Jades for the Scholar's Table, Hong Kong, 2008, cat. no. 11; and an example with similartaotie decoration and ingot-shaped flanges was sold at Christie's Hong Kong, 1st June 2011, lot 3564. 

The sale also includes a strong selection of cloisonné enamel metal wares, including A Pair Of Large Cloisonné Enamel Vases (est. $200/300,000) from the Qianlong period.

A Pair Of Large Cloisonné Enamel Vases, Qianlong marks and period. Estimate 200,000 — 300,000 USD. Photo: Sotheby's.

each of modified gu-form, the ovoid body surmounted by a flared neck with slightly everted lip, all on a spreading base with short vertical foot, twin ruyi-head-shaped handles flanking the neck, superbly enameled with nine registers of decoration, the largest central section with four stylized flowerheads each with stems bound by double rings, issuing leaves and delicate scrolling vines, below a band of pendent ruyi-heads, the flower-scroll repeated at the base divided by a band of upright lappets, the neck with two pairs of confrontingchilong below pendent acanthus leaves, the red, pink, green, blue, yellow and black enamels on a turquoise ground, with incised four-character marks within double squares (2). Height 16 5/8  in., 42.2 cm

Provenance: Acquired in the 1950s in New York City and thence by descent.  

Notes: It is interesting to note the depiction and synthesis of Ming and early Qing motifs in the decoration of the present vases. The lotus scrolls are portrayed among fine symmetrical scrollwork with scrolling vines, unlike the more simplified and robust vines and foliage scrolls found on Ming wares.  The depiction of leaves on the present vases are more closely related to European Baroque foliate scrolls or the foliage found on Qianlong carved jades of Mughal inspiration.  Thechilong depicted on the necks reference the stylized dragons of the late 16th and early 17th century, but have been further abstracted, blending harmoniously with the stylized scrollwork accompanying the lotus blossoms on the vases.

For a pair of smaller (10 7/8  in., 27.5 cm) vases of similar form with lotus scroll decoration, compare the pair of vases with Qianlong mark and of the period, said to have been made as part of a set of tableware used by the Qianlong Emperor for formal banquets, illustrated in Chuimei Ho and Bennet Bronson, Splendors of China's Forbidden City, The Glorious Reign of Emperor Qianlong, London, 2004, no. 244, p. 199.