Important Chinese Archaic Bronzes

NEW YORK

Important Chinese Archaic Bronzes from a Distinguished Private Collection Thursday 19 September 2013

International Asian Art Auctions AUCTION CALENDAR 2013 TO INCLUDE YOUR PROPERTY IN THESE SALES PLEASE CONSIGN TEN WEEKS BEFORE THE SALE DATE. CONTACT THE SPECIALISTS OR REPRESENTATIVE OFFICE FOR FURTHER INFORMATION. 19 MARCH

26 APRIL

10 JUNE

Masterpieces of Early Tibetan Painting New York

Arts of Islam London, South Kensington

Arts of India London, South Kensington

19 MARCH

14 MAY

13 JUNE

Indian and Southeast Asian Art New York

Fine Chinese Ceramics and Works of Art London, King Street

Art d’Asie Paris

South Asian Modern + Contemporary Art New York

15 MAY

The Japanese Aesthetic London, South Kensington

South Asian Modern + Contemporary Art New York

20 MARCH

17 MAY

17 SEPTEMBER

Japanese and Korean Art New York

Chinese Ceramics, Works of Art and Textiles London, South Kensington

Indian and Southeast Asian Art New York

20 MARCH

21 MARCH

A Collecting Legacy: Fine Chinese Jade Carvings and Works of Art from The Lizzadro Collection New York 21 MARCH

Fine Huanghuali Furniture from an Important Private American Collection New York 21 MARCH

The Hildegard Schonfeld Collection of Fine Chinese Snuff Bottles New York 21 & 22 MARCH

Fine Chinese Ceramics and Works of Art (Parts I & II) New York

25 - 29 MAY (HONG KONG)

Fine Chinese Ceramics and Works of Art (Parts I & II) New York

26 MAY

7 OCTOBER

Asian 20th Century Art (Day Sale)

The Saeed Motamed Collection of Islamic Art. Part II London, South Kensington

26 MAY

Asian Contemporary Art (Day Sale) 27 MAY

Fine Chinese Classical Paintings and Calligraphy 28 MAY

Fine Chinese Modern Paintings 29 MAY

In Pursuit of Refinement - A Legacy of the YC Chen Collection

23 APRIL

Reverence and Perfection – Magnificent Imperial Cloisonné Enamels from a Private European Collection

29 MAY

Art of the Islamic and Indian Worlds London, King Street

29 MAY

25 APRIL

Important Chinese Ceramics and Works of Art Hong Kong

A Private Collection Donated to Benefit the University of Oxford, Part III London, King Street

Japanese and Korean Art New York

Asian 20th Century & Contemporary Art (Evening sale)

The Saeed Motamed Collection of Islamic Art. Part I London, South Kensington

25 APRIL

18 SEPTEMBER

19 & 20 SEPTEMBER 25 MAY

22 APRIL

Oriental Rugs & Carpets London, King Street

17 SEPTEMBER

The Imperial Sale

10 OCTOBER

Art of the Islamic and Indian Worlds London, King Street 15 OCTOBER

The Japanese Aesthetic London, South Kensington 5 NOVEMBER

Fine Chinese Ceramics and Works of Art London, King Street 8 NOVEMBER

Chinese Ceramics, Works of Art and Textiles London, South Kensington 23-27 NOVEMBER (HONG KONG)

29 MAY 16 DECEMBER

Art d’Asie Paris

01/02/13

Important Chinese Archaic Bronzes from a Distinguished Private Collection Thursday 19 September 2013 AUCTION

AUCTION CODE AND NUMBER

Thursday 19 September 2013 at 10.00 am (Lots 1101-1116)

In sending absentee bids or making enquiries, this sale should be referred to as LIDING–3439

20 Rockefeller Plaza New York, NY 10020 VIEWING

Friday Saturday Sunday Monday Tuesday Wednesday

15 March 16 March 17 March 18 March 19 March 20 March

10.00 am - 5.00 pm 10.00 am - 5.00 pm 1.00 pm - 5.00 pm 10.00 am - 5.00 pm 10.00 am - 5.00 pm 10.00 am - 2.00 pm

AUCTIONEER

Andrea Fiuczynski (# 849132) AUCTION RESULTS

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CONDITIONS OF SALE Front cover: Lots 1105, 1113 Endpapers: Lot 1106 Back cover: Lots 1103, 1113

This auction is subject to Important Notices, Conditions of Sale and to reserves.

[60]

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InternatIonal ChInese CeramICs & Works of art Department

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INDIAN MODERN & CONTEMPORARY ART Damian Vesey Anastasia Phillips Tel: +44 (0)20 7389 2700

06/08/2013

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Chinese Ritual Bronze Vessels: Some Observations R O B E R T D. M O W R Y Alan J Dworsky Curator of Chinese Art Emeritus, Arthur M. Sackler Museum, Harvard Art Museums

We appreciate works of art for their beauty and for the invaluable information that they convey about the peoples and cultures that produced them.We often forget, however, that certain types of works can tell us as much about a civilization’s level of technological sophistication as about its artistic and aesthetic sensibilities.

In particular, those works whose creation required high temperatures, whether for fring, in the case of ceramics, or smelting, in the case of bronze, are true measures of a civilization’s technological prowess.

Such well-known Chinese inventions as paper and the magnetic compass evince that China was among the world’s technological leaders already during the Han dynasty (206 BC-AD 220), but the superb casting of the bronze ritual vessels of the Shang (1600-1100 BC) and Zhou (1100-221 BC) dynasties attests to an exceptionally high level of technological achievement well before the advent of the Han. In fact, the ritual vessels created during the Shang and Zhou dynasties rank among the fnest examples of bronze casting the world has ever seen; thus they speak to China’s extraordinary technological attainments already in the earliest historical periods.The fne selection of ritual

1110

bronzes that Christie’s will offer in its 19 September 2013 sales well demonstrates this phenomenon.

Bronze casting came fully into its own during the Shang dynasty with the production of sacral vessels intended for use in funerary ceremonies.Those vessels include ones for food and wine as well as ones for water; those for food and wine, the types most commonly encountered, group themselves into storage and presentation vessels, heating and cooking vessels, and serving vessels. Vessels for storage and presentation generally assume one or another jar form (lots 1107, 1110, 1113, 1115), though the rare fangyi (lot 1105) resembles a small house with gabled roof. Heating and cooking vessels (lots 1102, 1103) typically rest on columnar- or bladeshaped legs—circular vessels with three legs, square ones with four—which elevate them above the open fre, permitting even heating of the contents.

1107

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Cooking vessels from the Eastern Zhou period (770-221 BC) often stand on cabriole legs. Heating and cooking vessels from the Shang and Western Zhou (1100-770 BC) periods typically also claim vertically oriented loop handles (lot 1103) or small capped posts (lot 1102) that rise upward from the lip, their presence likely facilitating removal of the vessel from the fre after heating (perhaps by passing a rod through the loop handles or by grasping the posts with a tool akin to tongs). Resembling bowls, food-serving vessels (lot 1104) typically boast a wide mouth and rest on a circular foot. Large, loop handles often project laterally from the sides of such vessels. In like manner, wine-serving vessels (lot 1101) typically rise from a circular base—square if the vessel itself is square—constrict to a narrow waist, and then terminate in a boldly faring lip.

Most vessels from the Shang dynasty were intended for use in funerary ceremonies honoring the spirits of deceased ancestors. As such, many bear integrally cast, dedicatory inscriptions that include the name of the person in whose ceremonies they presumably were used. Inscriptions on Shang dynasty vessels typically feature just a few characters, such as the four that comprise the text on the fangyi wine vessel in this sale. Although its frst and last characters are legible, this inscription’s middle two are not, and thus the identity of the decedent remains unknown.

1103

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Even so, the frst and last characters indicate that the deceased was a woman, perhaps the wife of a court offcial or member of the royal family. By the Western Zhou period, bronze vessels often were cast for commemorative as well as sacral purposes, their longer inscriptions celebrating victory in battle, for example, or bestowal of land or other benefaction by the emperor; inscriptions on vessels so inscribed sometimes are very long, occasionally numbering 100 or more characters. As vessels came to serve everyday functions in royal and aristocratic households during the Warring States period (475-221 BC), inscriptions decrease in frequency just as sumptuous surface decoration becomes more pronounced, often with inlays of gold, silver, turquoise, and malachite.

The most important decorative motif on vessels from the Shang and Western Zhou periods is the so-called taotie mask (lots 1103, 1104, 1105), which generally boasts a ferocious feline-like face with large, C-shaped horns, bulging eyes, and bared fangs that descend from the upper jaw. By contrast, the lower jaw is never represented.The animal’s body, if depicted, is shown in reduced scale and extends laterally outward from the face. In Shang-dynasty vessels the taotie mask generally can be read in two ways: that is, as a single animal, its face presented frontally, its body bifurcated and splayed out to either side; or, alternatively, it can be read as two confronting

1102

animals, each seen in profle, their heads butting. It is not known whether the “double entendre” was intentional or accidental. By contrast, the masks of Western Zhou vessels generally can be read in only one way. Subsidiary registers of decoration feature small dragons, long-tailed birds, and others (sometimes including such abstract features as whorls and bosses).The decorative motifs often are set against an intricate background of small, squared spirals known as leiwen (lot 1103), though in rare instances, as seen in the superb fangyi wine vessel (lot 1105), the mask may be presented against an otherwise unembellished ground, its disconnected elements sometimes termed a “dismembered taotie mask.” It is likely that many, even all, of these motifs had meaning for the people of Shang and Zhou; in the absence of written records detailing possible meanings, however, we cannot know precisely what symbolism those motifs might have held, if any.

Speculation abounds, but precise identifcation necessarily must await discovery of hard evidence from the people who created and used them.

Although standard vessel shapes and established decorative motifs both persisted after the fall of Shang, the people of Western Zhou quickly

1105

introduced changes, perhaps refecting slightly differing beliefs and practices; confronting, longtailed birds often supplanted the taotie masks of old in the principal decorative register, for example; moreover, some vessel types became more elaborate, such as the gui food-serving vessel, which often was set atop a large, integrally cast, square socle.Vessels with simple, strap-work decoration also found a measure of popularity at that time, as evinced by this sale’s handsome, well-proportioned you wine vessel (lot 1107). Such vessels rely for their aesthetic appeal on tautness of form, perfect proportions, controlled tension between decorated and undecorated areas, and precise balance, the upraised handle elegantly echoing the vessel’s bulging belly.

Early in the Eastern Zhou period (770-221 BC), the traditional preference for vertical fanges that segmented vessel surfaces released its hold in favor of unifed surfaces with uninterrupted, fowing designs, just as bold design motifs set against elaborate background patterns gave way to small, interlinked design units that texture the surfaces. A magnifcent lei wine jar with stylized dragon décor (lot 1113) illustrates this trend to perfection. Its fve decorative registers feature repeating, stylized,

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S-shaped dragons that unify and enliven the vessel’s surfaces, the dragon’s small, relief eyes rising as staccato notes that pull the viewer’s eyes from one spot to the next, all round the jar.

By the late Eastern Zhou period, better known as the Warring States period (475-221 BC), intricate patterning had supplanted the S-shaped dragons and kindred motifs inherited from the early Eastern Zhou, as evinced by this sale’s elegant dou foodserving vessel (lot 1108); a compressed globular bowl elegantly perched atop a slender columnar stalk that rises from a faring circular foot, the dou boasts dense scrollwork over its surfaces.This period also espoused a taste for sumptuously embellished surfaces; some vessels boast inlays of gold, silver, turquoise, malachite, or a combination thereof, while others rely on simple bands of contrasting color, as revealed by the sale’s Warring States-period hu wine storage jar (lot 1115), which features bands boldly inlaid with copper.

In terms of casting, unlike the artisans of most early civilizations, who employed the lost-wax technique in casting bronzes, Chinese foundrymen of the Shang and Zhou periods utilized the so-called piece-mold casting technique in producing their ritual vessels.Those early Chinese workers frst produced a clay model in the shape of the desired

1115

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vessel, carving—or, in some instances, stamping— the decoration into the model’s moist surfaces, after which the model was fred. Casting molds were prepared by pressing moist clay against the fred model; once all had been prepared, the mold segments were fred. In preparing to cast the vessels, the mold segments were properly registered and joined together around an inner core; the assembled mold was then tightly bound together and inverted, so that the vessel legs pointed upward and the vessel lip and handles faced downward, after which the molten bronze was introduced through sprues, or tubular passageways; air within the mold and any gases escaping from the molten bronze vented though a corresponding set of fues. Once the mass had cooled, the mold was removed, releasing the bronze vessel.The inversion of the mold ensured that the bronze would reach the very bottom of the mold, so that there would be no bubble faws on the lip or handles of the fnished vessel; any bubbles that did interrupt the surfaces likely would appear as casting faws on the vessel legs.

The advantage of the piece-mold technique is that, unlike the lost-wax technique, it gave the Shang and Zhou bronze casters direct access to the interior faces of the casting molds, which allowed them to correct any faws in the decorative designs and

1108

perhaps even to embellish them further, which permitted precision casting of very fne design elements. Of course, in completing the casting process, adhering mold fragments had to be cleaned from the fnished vessels and their surfaces had to be polished and, in some instances, touched up a bit. But what must be kept frmly in mind is that the decoration was integrally cast with the vessels themselves, rather than chased or chiseled into the surface after casting.

The very intricate surface decoration of Chinese bronze vessels, particularly the leiwen, or background patterns (lot 1103) perfectly illustrate the sophistication of Chinese casting methods; in fact, they stand in marked contrast to the often smooth, undecorated surfaces of bronzes

1101

produced with the lost-wax technique.

Apart from their function as sacral vessels and apart from the information they convey about early Chinese culture, beliefs, and funerary practices, we admire Chinese bronzes for their inventive shapes, bold decoration, and precise casting. In fact, it is the precision of the casting, from the majestic vessels themselves to their intricately embellished surfaces, that marks Chinese bronze ritual vessels as truly and wondrously exceptional. Even today it is diffcult to cast bronze with such precision, a telling comment on the exceptionally high level of technological sophistication present already in the earliest phases of Chinese historical development.

1104

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中國青銅禮器 羅伯特·馬瑞 哈佛大學賽克勒美術館中國藝術部榮譽負責人

藝術品以其美感和無價的歷史意義深受人

早在遠古時期就已經達到了極高的科技水

們的喜愛，但我們往往忽略了藝術品除了

平。此次紐約佳士得秋拍重要私人珍藏中

傳達一個文明的藝術才華及審美觀之外，

國古青銅器便完美地呈現了中國商周時期

亦同時見證了當時的工藝技術與文化發

鑄造青銅禮器的精湛造詣。

展。其中，需經高溫燒製或冶煉的瓷器和 青銅器實為悠久文明和精湛工藝的縮影與

青銅器作為祭祀禮器，其鑄造工藝在商代

再現。

已經發展成熟，種類繁多、形制多樣，包 括食器、酒器、水器等。其中食器和酒器

有漢一代（公元前206年-公元220年），中

又按用途分為容器、炊器和盛器。供儲藏

國即以造紙術和指南針等發明領先世界群

和陳設用的器具通常呈罐狀（拍品編號

雄，但早在漢之前的商朝（公元前1600-

1107，1110，1113及1115），但其中也包括

1100年）和周朝（公元前1100- 221年），

呈小屋式的珍罕方彜（拍品編號1105）。

中國就已經以高超的青銅禮器鑄造技術向

用於烹煮食物的炊器通常配有柱形足或刀

世人揭示了先秦時期卓越的科技成就。

形足，圓鼎配以三足，方鼎則配以四足。

此時期所造之青銅器鑄工精緻，直到如今

這樣的結構是為了確保受熱面積均勻，食

都在世界青銅器鑄工水平之上，可見中國

物能快速地被加熱。東周時期（公元前

1110

1107

15

770-221年）的食器其足通常呈蹄形。商及

戰爭勝利、土地或其他皇家贈與等事件，

西周時的炊具在唇部常有環形立耳或小立

時常長達百餘字。到了戰國時期（公元

柱，可能是為了加熱後便於搬運而設計（

前475-221年），青銅器漸成為皇室及貴

如用竿穿過兩立耳或用鉗子一類的工具夾

族的日常生活用器，長篇銘文逐漸消失，

住立柱）。如碗一類的盛具多侈口圈足，

取而代之的是器表繁縟的紋飾，並常伴隨

環形耳設於兩側。酒器（拍品編號1101）

錯金、錯銀、嵌綠松石及孔雀石等裝飾手

也如食器一般有圈足，若器呈方形則有隨

法。

形方足，並多束腰侈口。 饕餮紋是青銅器上最主要的紋飾，盛行於 商代青銅器大多數用於祭祀祖先、拜謁神

商至西周（拍品編號1103，1104，1105）

靈，因此，銅器上的銘文常包括被祭者的

。饕餮紋一般為凶狠之獸面，帶角、突

稱號。商代銅器銘文較為簡短，例如是次

眼、及帶獠牙之上顎，下顎則從未被表現

拍賣中的酒器方彜，鑄有四字銘文，儘管

出來。如有身體，則於面部兩側以縮小的

中間二字漫漶不明，我們仍然能夠通過第

比例伸出。商朝銅器上的饕餮紋通常有兩

一個和第四個銘文清晰辨認出此器祭拜的

種解讀：一種視饕餮為面部向前而身體向

祖先為一名女性，或許為官員家屬或皇室

兩旁分叉的單隻動物；另一種則視其為兩

成員。到了西周時期，青銅禮器廣泛運用

隻相對而視的動物。這兩種解讀不知是巧

於紀念慶典及祭祀場合，鑄銘盛行，多見

合，抑或有意而為。相反地，西周銅器上

有長篇銘文的重器，記載歷史紀事，例如

的饕餮紋飾則通常被解讀為後者，並有其

1103

16

1102

它次要紋飾如龍紋、鳥紋（有時亦有較抽

座。形式簡單大方的帶狀紋飾也在當時受

象的渦紋或乳釘紋）等，並以連續的方形

到歡迎，例如外形優美，比例適當的提梁

構圖「雷紋」為地（拍品編號1103）。不

卣（拍品編號1107）。這類酒器外型美觀

過在極少見的情況下，例如本次拍賣的方

大方，比例完美，有無紋飾之處對比平衡

彜，器表並無地紋，其上之饕餮紋有時稱

適中，提梁與器身的鼓腹亦相互呼應。

爲「分段式饕餮紋」。這些紋飾對商周時

東周早期(公元前770-221年) ，傳統上使用

的人來説很有可能是富有意義的，但由於

垂直扉棱間隔器表紋飾的習慣被通體連貫

缺乏史料記載，我們至今仍然未能完全解

無間隔的造型所取代，一如大膽紋飾與細

讀這些代表商周文明的紋飾內涵，並且亟

膩地紋的組合被整體繁縟並互相連結的紋

待確鑿證據的發現。

飾所取代。一件器表有蟠龍紋的酒器罍(拍 品編號1113)即是此轉變的最佳例證。其器

雖然青銅標準器形及紋飾在商朝覆亡之後

表紋飾分為五段，S形變體蟠龍紋不斷重

仍然持續出現，西周青銅器造型風格皆有

複，使這件罍看上去造型統一而活潑，龍

創新，此現象或許反映了當時的信仰及儀

的眼睛如跳音符號般牽引著觀者的視線，

式，例如兩兩相對的長尾鳥紋時常取代商

環繞整個器表。

朝的饕餮紋成為主要紋飾；某些器形則變 得更加精緻，例如用作食具的簋多了連方

1105

到了東周晚期,也就是戰國時期(公元前475-

1113

17

221年）， 更加細密繁縟的紋飾取代了S形

泥土，並分割成數塊，以便乾時從母模上

蟠龍紋以及類似之紋飾，本次拍賣中一件

取下。燒製完成的外範必須與一個體積與

十分典雅的食器豆(拍品編號1108)展示了

容器內腔相當的內範(或芯)套合並反轉，

此一特點。此豆器腹圓曲，下接纖細長柄

使陶範足部朝上，口及立耳朝下，其間隔

及圈足，器腹並飾帶狀蟠虺紋。此時期紋

為欲鑄器物的厚度,並將溶化的銅液澆注於

飾作風偏華麗，常見以錯金、錯銀、嵌綠

此空隙內，待多餘氣體從氣孔排除，銅液

松石及孔雀石或綜合以上技法為器具多方

凝固冷卻之後即可去範除芯，取出鑄件。

裝飾，另有器具以呈對比色的帶狀紋為藻

將陶範反轉的目的是為確保銅液充滿模型

飾，如是次拍賣中的戰國時期錯銅蕉葉弦

底部，使所製器物的口唇及立耳部位光潔

紋壺(拍品編號1115) ，其器表以錯銅帶狀

精密而無殘留氣泡之痕跡，如此一來，如

弦紋為飾，簡單大方。

因銅液中有雜質或多餘氣泡而產生之鑄造 缺失將集中於較不顯眼的器物足底部。

在鑄造工藝方面，不同於多數早期文明青 銅器製作中常見的失蠟法，商周時期的工

不同於失蠟法，塊範法的優勢在於其使商

匠採用塊範法製造青銅禮器。工匠先使用

周時期的青銅工匠能夠直接接觸模範的內

陶土製作母模，並於母模成形但陶土未乾

面，以修改裝飾設計中的缺陷甚至進一步

之時於其表面刻畫或模印紋飾，然後進爐

美化紋飾，因此青銅器紋飾能夠鑄造得精

燒製。外範則為敷在燒製好的母模表面的

準細密。鑄件完成後，工匠仍必須將附著

1115

18

1108

於器物上的外範移除，為銅器表面進行拋光，或 小範圍的修補。值得一提的是，青銅器為要一體 成型，表面的紋飾與器物本身是同時鑄造而成， 而非後期經錘打或鑿刻加工所致。中國青銅禮器 表面紛繁複雜的紋飾完美地表現了中國古代鑄造 工藝水平，尤以雷紋（或地紋）為精（拍品編號 1103）。此種紋飾與以失蠟法製作之青銅器多半 光滑無地紋裝飾的器表形成強烈對比。

除了作為禮器用途，以及讓我們能窺探中國遠古 文化、信仰及祭祀儀式的面貌，青銅器以其獨特 器形、精美紋飾及精密鑄工令人驚嘆不已。從器 物宏偉莊嚴的器形，到器表繁縟華麗的紋飾，無 不顯示出中國古代卓越超群的鑄造工藝。即使是 今日的範鑄技術仍然難及當時的高超水準，古青 銅藝術實乃中國歷史上最燦爛的文化遺產。

1101

1104

19

1101 AN UNUSUAL BRONZE RITUAL WINE VESSEL, GU LATE SHANG DYNASTY, ANYANG PERIOD, 12TH-11TH CENTURY BC The trumpet-shaped neck is decorated with four upright blades cast in relief with inverted and attenuated taotie masks reserved on a leiwen ground and bisected by slender fanges that also separate the four cicadas in a band below. Similar fanges bisect and separate two taotie masks on the midsection and a narrow band of birds set above two large taotie masks on the spreading foot. The vessel has a mottled grey and milky green patina and areas of malachite encrustation.

11¡ in. (29 cm.) high

$60,000-80,000 PROVENANCE:

Sotheby’s London, 7 June 1988, lot 2.

The design of birds in the narrow band below the midsection of this well-cast gu is very rare. It is also rare to fnd cicadas cast in the band at the base of the neck, since cicadas are more commonly found decorating the band below the midsection. Another very unusual feature of this gu is the narrow key-fret border cast in intaglio above the foot.

A gu cast with a band of very similar birds above the spreading foot, and with other similar decoration, is illustrated by N. Palmgren, Selected Chinese Antiquities from the Collection of Gustaf Adolf, Crown Prince of Sweden, Stockholm, 1948, pl. 101, with a detail of the birds on p. 137, fg. 297.

Other comparable gu with similar cast decoration, but with the more commonly seen combination of serpents in the band at the base of the neck and cicadas in the band below the midsection, include two illustrated by W. Perceval Yetts, The Cull Chinese Bronzes, London, 1939, pls. VIII-IX, nos. 5-6; one illustrated by J. Pope et al., The Freer Chinese Bronzes, vol. 1, Washington, 1967, pl. 8, no. 8 (40.3); and one illustrated by J. Rawson, The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, Hong Kong, 1988, pp. 56-57. 晚商

20

安陽時期 青銅饕餮紋觚

21

22

23

1102 A RARE AND FINELY CAST BRONZE RITUAL TRIPOD WINE VESSEL, JUE LATE SHANG DYNASTY, 12TH-11TH CENTURY BC The deep body is raised on three blade-form supports and is cast in intaglio with two registers of taotie masks, those in the upper register with raised pupils, while the two smaller masks in the lower register have intaglio eyes and are formed of scrolls and parallel wing-like motifs. Both pairs of masks are centered on a plain, narrow fange on one side and a two-graph inscription cast beneath the C-shaped handle that issues from a bovine mask on the opposite side. There are further related scrolls on the underside of the spout, and a pair of posts with whorl-cast caps rising from the rim. The bronze has a smooth patina with areas of milky green color and malachite encrustation.

7¬ in. (19.5 cm.) high

$80,000-120,000 PROVENANCE:

Acquired in New York, 1988.

The two graphs cast under the handle read, Shi fu (Shi father).

Most jue feature a single register of taotie cast around the body, and it is rare to fnd examples cast with two registers of taotie masks, as seen on the present example. Other jue with similar arrangement of decoration include one illustrated in Shang Ritual Bronzes in the National Palace Museum Collection, Taipei, 1998, pp. 144-45, no. 7; one illustrated by S.D. Owyoung in Ancient Chinese Bronzes in the St. Louis Art Museum, St. Louis, 1997, no. 22; one illustrated by E. von Erdberg in Chinese Bronzes from the Collection of Chester Dale and Dolly Carter, Switzerland, 1978, pp. 14-15, no. 9; and two examples sold at Christie’s New York: 24-25 March 2011, lot 1291, and 15-16 September 2011, lot 1102. On all these jue, the eyes of the taotie masks in both registers are raised, while the eyes of the taotie masks in the lower register on the present jue are fat-cast. A similar combination of relief-cast eyes in the upper register and low-relief eyes in the lower register can be seen on a jiao illustrated by J.A. Pope et al., The Freer Chinese Bronzes, Washington, 1967, pl. 26, no. 26 (53.83). 晚商

24

(another view)

青銅饕餮紋爵

25

26

1103 A SUPERBLY CAST BRONZE RITUAL FOOD VESSEL, LIDING LATE SHANG DYNASTY, 11TH CENTURY BC The tri-lobed body is raised on three columnar supports cast in intaglio and positioned below the lobes which are fnely cast with taotie masks formed by two dragons with large heads and ‘toothed’ jaws shown in profle on a fne leiwen ground and confronted on notched fanges repeated between the three pairs of dragons confronted on short fanges above. A pair of bail handles rises from the slightly inward-canted rim. A graph is cast on the interior below the rim. The patina is of reddish-brown color, and there is milky green encrustation.

8Ω in. (21.7 cm.) high

$300,000-500,000 PROVENANCE:

Akron Art Museum, Ohio.

Christie’s New York, 6 November 1980, lot 154.

Eskenazi, London, 1985.

The Bella and P.P. Chiu Collection.

Eskenazi, London, 1993. 晚商

青銅饕餮紋鬲鼎

27

EXHIBITED:

Twenty Five Years, Eskenazi, London, 1985, no. 4.

LITERATURE:

Chen Mengia, Yin Zhou qingtongqi fenlei tulu, Tokyo, 1977, A30, R60.

Noel Barnard and Cheung Kwongyue, Rubbings and Hand Copies of Bronze Inscriptions in Chinese, Japanese, European and Australasian Collections, Taipei, 1978, no.

1487.

Sun Zhichu, Jiwen zhulu jian mu, Beijing, 1981, no. 0078.

Hayashi Minao, In shu jidai seidoki no kenkyu, vol. 2, Tokyo, 1984, pl. 54.

Eskenazi, Twenty Five Years, London, 1985, no. 4.

Jessica Rawson, The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, Hong Kong, 1988, no. 7.

Fig. 1.

Liding, Shang dynasty, late Anyang, 11th century BC, 21.9 cm. high, 18.1 cm. wide. Freer Gallery of Art, Smithsonian Institution, Washington, D.C. After J. Pope et al., The Freer Chinese Bronzes, vol. 1, Washington, 1967, no. 31 (47.11).

28

The graph cast on the interior of the vessel, possibly reading li, is shaped like a triangularly lobed vessel with handles, and has been described by Zou Heng in Xia Shang Zhou kaoguxue lunwen ji, Beijing, 1980, pp. 345-52, as a clan sign of the Zhou area. J. Rawson, however, points out in The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, Hong Kong, 1988, p. 42, that the same graph is cast on bronze vessels that “have come from Henan as well as Shaanxi.”

An almost identical liding is illustrated by J.A. Pope et al., The Freer Chinese Bronzes, Washington, 1967, vol. I, pl. 31 (47.11), where it is dated Shang dynasty, late Anyang, 11th century BC. (Fig. 1) A liding with similar relief-cast taotie masks on the sides, but with low-relief dragons in the frieze below the rim, and lacking the intaglio decoration on the legs, is illustrated in Shang Ritual Bronzes in the Palace Museum Collection, National Palace Museum, Taipei, 1998, pp. 216-19, no. 24. Other liding of similar date, and with related taotie masks cast in relief, but with a frieze of cicadas below the rim and also lacking the intaglio decoration on the legs, include one illustrated by R.W. Bagley, Shang Ritual Bronzes in the Arthur M. Sackler Collections, The Arthur M. Sackler Foundation, 1987, pp. 484-85; two illustrated by C. Deydier, Les Bronzes Chinois, Paris, 1980, p. 215, nos. 1 (Museum für Ostasiastiche Kunst, Cologne) and 2 (Ashmolean Museum, Oxford); and the example sold at Christie’s New York, 23 March 2012, lot 1517.

29

1104 A BRONZE RITUAL FOOD VESSEL, GUI EARLY WESTERN ZHOU DYNASTY, 11TH-10TH CENTURY BC The body is cast in relief on each side with a large taotie mask formed by pairs of confronted dragons with curled tails and large taloned feet which are separated by the pair of C-shaped handles surmounted by animal masks, the pendent tab at the bottom cast on each side with a taloned foot and a curled tail. The pedestal foot is cast with two pairs of bottle-horn dragons confronted on a plain fange. There are some areas of malachite and earth encrustation.

11¡ in. (29 cm.) across handles, wood cover with jadeite fnial

$120,000-180,000

PROVENANCE:

Margaret Thompson Biddle (1897-1956) Collection.

John MacKenzie, Jr. Collection.

Acquired in New York, 1988.

Gui of this type, which were used to hold offerings of grain, were popular during the early Western Zhou period. They typically feature a broad register comprising two taotie masks above a narrower register of dragons, snakes or birds that encircles the foot above the bevel, which is sometimes repeated in a narrow register below the rim of the vessel. The handles of these gui are usually surmounted by animal heads with either blunt horns or prominent C-shaped horns that lay fat against the side of the head, such as those seen on the current vessel. The sides of the handles are cast with simplifed curved wings, while claws and hooked tails are cast on the pendent tabs below.

A very similar gui dated to the early Western Zhou dynasty in the National Palace Museum, Taipei, is illustrated in Catalogue to the Special Exhibition of Grain Vessels of the Shang and Chou Dynasties, Taipei, 1985, p. 241, pl. 35, where other related gui are also illustrated, p. 235, pl. 32, and pp. 243-45, pls. 36 and 37. Another similar gui is illustrated by Jung Keng in Yenching Journal of Chinese Studies, Monograph Series No. 17, The Bronzes of Shang and Chou, vol. II, 1941, pl. 112, no. 203. Compare, also, the gui of very similar proportions and with similar cast decoration, but raised on an integral square pedestal, illustrated by S.D. Owyoung, Ancient Chinese Bronzes in the Saint Louis Art Museum, St. Louis, 1997, pp.

109-10, no. 27, where it is dated late 11th-early 10th century BC. 西周早期

(detail)

30

青銅饕餮紋簋

31

32

33

1105 AN IMPORTANT AND VERY RARE BRONZE RITUAL WINE VESSEL AND COVER, FANGYI LATE SHANG DYNASTY, 11TH CENTURY BC The slightly tapering, rectangular body is cast in low, rounded relief on a plain ground on each side with a taotie mask between pairs of confronted elephants on the foot and pairs of confronted beaked dragons above, all centered on notched fanges repeated at the corners. The roof-shaped cover is cast on each facet with an inverted taotie mask divided by a fange, those on the two broad sides below a narrow band of small, confronted beaked dragons, and those on the ends below a small triangular, inverted mask, all below a faceted fnial cast with masks. The same four-character inscription is cast on the bottom of the vessel and inside the cover. The patina is of dark, somewhat greenish-grey color.

8¬ in. (22 cm.) high

Estimate on Request

PROVENANCE:

Richard C. Bull Collection, acquired before 1965.

The Collection of Mr. and Mrs. Richard C. Bull; Sotheby’s New York, 6 December 1983, lot 18.

Eskenazi, London.

The Bella and P.P. Chiu Collection.

Eskenazi, London, 1993.

LITERATURE:

Wu Rongguang, Yun Qing Guan jinwen, 1842, 2.23-4.

Wu Shifen, Jun gu lu jinwen, 1895, 1.2, 76-7.

Zou An, Zhou jinwen cun, 1916, buyi 3.

Luo Zhenyu, Yin wen cun, 1917, 1.23.3, 1.35.5, 1.35.6.

Wu Dacheng, Ke Zhai ji gu lu, 1918, 13.5.

Fang Junyi, Zhui Yi Zhai yiqi kaoshi, 1935, 17, 20b-21b.

Liu Tizhi, Xiaojiao jingge jinwen taben, 1935, 4.31.4, 4.31.5, 5.15.5, 5.15.6.

Wang Chen Xu Yin wen cun, 1935, 1.57.3, 1.57.4.

Luo Zhenyu, Sandai jijin wen cun, 1937, 11.16.2, 11.16. 3.

Richard C. Bull, ‘The Metamorphosis of One Collector,’ Expedition, vol. 7, no. 3 (Spring 1965), The Bulletin of the University Museum of the University of Pennsylvania, pp. 38-47 (p. 42).

Zhou Fagao, Zhang Risheng and Huang Qiuyue, Sandai jijin wen cun zhulu biao, Taipei, 1977, no. 2259.

Noel Barnard and Cheung Kwongyue, Rubbings and Hand Copies of Bronze Inscriptions in Chinese, Japanese, European, American and Australasian Collections, Taipei, 1978, no. 1195.

Sun Zhichu, Jinwen zhulu jian mu, 1981, no.

4517.

Hayashi Minao, In Shu jidai seidoki no kenkyu, vol. 2, pl. 252, fang yi no. 28.

Jessica Rawson, The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, Hong Kong, 1988, no. 9. 晚商 青銅饕餮紋方彜

34

35

Fig. 1.

Fangyi, Late Shang dynasty, Anyang, 12th-11th century BC, 28.5 cm. high. The Sze Yuan Tang Archaic Bronzes from the Anthony Hardy Collection; Christie’s New York, 16 September 2010, lot 822.

Fig. 2.

Fangyi, Shang dynasty, 29.5 cm. high, 18.6 cm. wide.

Collection of the Palace Museum, Beijing. After The Complete Collection of Treasures of the Palace Museum – 27 – Bronze ritual Vessels and Musical Instruments, Hong Kong, 2006, p. 142, no.

91. Photographer: Liu Zhi Gang

The inscriptions cast inside the vessel and cover are partially legible and may be read, Mu (Nu) [] [] Fu, which may be translated, ‘Mother (daughter) [] [] Wife.’ J. Rawson in The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, Hong Kong, 1988, p. 46, states that the inscription is the name of a woman, but that the “two parts of the name cannot be transcribed.”

R. Bagley discusses the evolution of the fangyi form in Shang Ritual Bronzes in the Arthur M. Sackler Collections, The Arthur M. Sackler Foundation, 1987, pp. 428-44.

The earliest fangyi, as represented by those in fgs. 77.7-77.9, p. 433, have a distinctly defned foot with larger arched openings, the body does not have fanged corners, and the covers, seen in fgs. 77.7 and 77.9, have a straight cant. What may be considered a slightly later group is represented by no. 78, pp. 436-39, which does not have a distinct demarcation between the foot and the body, but instead a straight tapering profle, there are fanges at the corners as well as dividing the sides, and the covers have a slightly convex profle. The last group, represented by no. 79, pp. 440-44, the Sze Yuan Tang fangyi, and the current example, have a more robust, more sharply tapering shape, and still have fanges, but seem to have reverted to the more distinctly defned foot and the straight canted cover of the earliest type.

Fangyi appear to have been one of the most prized of ritual vessels, as they have been found in fewer and more sumptuous tombs than jue and gu. In Ancient Chinese and Ordos Bronzes, The Oriental Ceramic Society of Hong Kong, 1990, p. 92, J. Rawson and E. Bunker, in their discussion of a related late Shang fangyi from the Sze Yuan Tang Collection, and subsequently sold at Christie’s New York, 16 September 2010, lot 822, noted that during the Shang dynasty rare vessels of this type were used in pairs, as seen in the tomb of Fu Hao. (Fig.1) See Yinxu Fu Hao mu, Beijing, 1980, pls. XVIII (2) and XIX (1 and 2). They are thought to have been used to store wine, and the heavy malachite encrustation in the base of the interior of the Sze Yuan Tang fangyi is most likely the remains of some kind of wine made from grain.

36

The decoration on all fangyi is arranged in registers, with a large taotie mask on the body, typically small dragons or birds on the foot and above the mask, and either a large taotie repeated on the cover or, in at least one instance, a bird (see R.L. d’Argencé, The Hans Popper Collection of Oriental Art,

Japan, 1973, no. 2). Most often, as seen on the Sackler and Sze Yuan Tang fangyi, the raised designs are cast with intaglio motifs and are reserved on a leiwen ground.

Other comparable fangyi featuring leiwen grounds include one in the National Palace Museum, Taipei, illustrated in Catalogue of the Special Exhibition of Shang and Chou Dynasty Bronze Wine Vessels, Taipei, 1989, pl. 24; the example illustrated by J. Pope et al., The Freer Chinese Bronzes, vol. 1, Washington, 1967, pl. 37; and the fangyi illustrated by Ming S. Wilson in “Archaic Chinese Bronzes in the Victoria & Albert Museum,” Chinese Bronzes, Selected Articles from Orientations 1983-2000, Hong Kong, 2001, p. 189, fg. 2. The present fangyi is of a more rare type, where the various relief features are set against an undecorated ground. This can also be seen on a fangyi in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum - 27 - Bronze Ritual Vessels and Musical Instruments, Hong Kong, 2006, p. 142, no. 91. (Fig.1) However, unlike the Beijing Palace vessel, which features a dark greyish-black patina mottled with patches of blue-green encrustation that obscures some of the decoration, the surface of the present vessel features a silvery grey patina that is relatively free of encrustation, which helps to emphasize the superb casting and

37

clarity of the design. What also sets apart the present fangyi is its unusually broad proportions, whereas the Beijing Palace example, and the other aforementioned vessels, are generally taller and are more narrow in silhouette.

A further unusual feature of the present fangyi is the inclusion of what appear to be elephants in the register encircling the foot. The bodies of these fgures are essentially the same as those of the dragons that fll the register below the rim and the birds cast on the cover below the knob, but the features of the head are distinctly elephantine, with leaf-shaped ears, trunk with split end, and tusks. More naturalistically rendered elephants can be found in the lowest register on a slightly earlier Shang fangyi illustrated by B. Karlgren in A Catalogue of the Chinese Bronzes in the Alfred F. Pillsbury Collection, The Minneapolis Society of Fine Arts, 1952, p. 111, pl. 56.

(inscription in cover)

(inscription in vessel)

38

The inscriptions on the present fangyi, as illustrated in Wu Shifen’s 1895 publication, Jun gu lu jinwen, 1.2, 76-7.

39

1106 A LARGE BRONZE BELL, BOZHONG SPRING AND AUTUMN PERIOD, LATE 6TH CENTURY BC Of lenticular section, the bell is cast on each side with a plain panel fanked by three rows of alternating coiled dragon bosses and dense dragon scroll, all within raised borders above a rectangular gu panel of a large taotie mask that incorporates angular dragons to the sides and above. The fat top is cast with a pattern of interlaced dragons, and the handle is formed by two addorsed dragons joined by an inverted U-shaped bar. The bronze has a mottled milky, blue-green and earthencrusted surface.

17º in. (43.8 cm.) high

$60,000-80,000 PROVENANCE:

Acquired in New York, 1990.

Music was of great importance in the court life of ancient China, and depictions of musicians playing instruments, both string and percussion, can be seen in wood and pottery fgures from the Han through the Tang dynasty, and as decoration on bronzes of Eastern Zhou date. Figures shown playing a set of bells and stone chimes is shown in a reproduction of decoration on a bronze hu from Baihuatan, Chengdu, Sichuan province, illustrated by J. So (ed.), Music in the Age of Confucius, Freer Gallery of Art and Arthur M. Sackler Gallery, Washington DC, 2000, p. 20, fg. 1.7. As R. Bagley states in his chapter on percussion, ibid., pp. 35-63, “no other instrument tells us so much about musical performance, music theory, and acoustic technology.” He goes on to point out that “sets of bells were both aurally and visually the most prominent instruments of musical ensembles” in ancient China, but outside of China were unknown.

Bells (zhong) of this type, with a large loop handle formed by the addorsed bodies of dragons or birds, are known as bo. They come in various sizes, as they were made in

graduated sets, and with variations in their decoration. A set of eight graduated bozhong in the Musée Guimet, of smaller size (the largest 29 cm.), cast with similar bands of coiled-serpent bosses and interlaced dragon scroll, and with a similar handle formed by a pair of addorsed dragons, is illustrated

by C. Delacour, De bronze, d’or et d’argent, Arts somptuaires de la Chine, Paris, 2001, pp. 44-46. However, unlike the taotie mask decorating the striking area of the present bell, the Musée Guimet bells are cast with a pattern of interlaced stylized dragons. A bozhong of slightly smaller size (40.8 cm.) with a handle similar to that on the present bell, but cast with an interlaced dragon scroll in the striking area, and relief curls in the central trapezoids and narrow vertical and horizontal borders, is illustrated by J. So in Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, The Arthur M. Sackler Foundation, 1995, pp. 373, no.

77. Compare, also, the bell with similar decoration, but of smaller size (32.4 cm.), and with a handle formed by two addorsed birds, sold at Christie’s New York, 15-16 September 2011, lot 1115. 春秋

40

青銅雙龍鈕蟠虺紋鎛鐘

41

42

43

1107 A FINE AND RARE BRONZE RITUAL WINE VESSEL AND COVER, YOU EARLY WESTERN ZHOU DYNASTY, 11TH-10TH CENTURY BC The pear-shaped vessel is of oval section and cast in shallow relief with straps centered by diamond-shaped ‘rivets’ at the interstices, between bands of paired segmented dragons joined by a single animal head reserved on a leiwen ground that encircle the pedestal foot and the shoulder, and is repeated on the domed cover below bowstring bands and a hollow fnial pierced at the base with square apertures. The arched handle is cast with elongated linear dragons separated by diamond studs and terminates at either end with bottlehorn dragon heads attached by loops to lugs projecting from the body. The patina is silvery grey and there is pale green encrustation.

13æ in. (34.9 cm.) high with handle

$200,000-300,000 PROVENANCE:

Christie’s New York, 1 June 1990, lot 41.

44

The strap and ‘rivet’ decoration on this vessel are suggestive of leather straps, and serves to divide the lower body into eight panels. The same decoration can be seen on a you of similar shape and date illustrated by J. Rawson in Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, vol.

IIB, The Arthur M. Sackler Foundation, 1990, pp. 448-49, no. 67. The shape of the handle and the bottle-horn dragon terminals are also similar to those of the present vessel, as is the patina and type of encrustation. Three other related you with similar strapwork are also illustrated, pp.

490-91: one from Hei Bo, Gansu Lingtai Baicaopo, fg. 67.1; one in the Idemitsu Museum, fg. 67.2; and one in the Arthur M. Sackler Museum, Cambridge, fg. 67.3.

See, also, the related you from the Sze Yuan Tang Collection, sold at Christie’s New York, 16 September 2010, lot 885.

For further discussion of the ‘leather straps and rivets’ motif, see d’Argencé, Bronze Vessels of Ancient China in the Avery Brundage Collection, 1977, p. 100.

The unusual narrow bands of segmented dragons joined by a single animal head decorating the present vessel are similar to those encircling the shoulder and cover of a you illustrated by Chen Peifan in Ancient Chinese Bronzes in the Shanghai Museum, London, 1995, p. 57, no. 30. The band encircling the foot on the Shanghai you, however, is cast with stylized dragons, and the terminals of the handle are cast with animal-heads with large, coiled horns. A fangyi illustrated by J. A. Pope et al. in The Freer Chinese Bronzes, vol. I, Washington, 1967, no. 38, also features this unusual segmented dragon decoration. 西周早期

青銅獸首提梁卣

45

1108 A BRONZE RITUAL FOOD VESSEL AND COVER, DOU LATE SPRING AND AUTUMN PERIOD, 6TH CENTURY BC The bowl, fanked by a pair of lug handles, is raised on a stem foot cast on the spreading base with a band of interlaced dragons reserved on a granulated ground, and is cast in low relief around the sides with a wide band of tiny interlocked, angular, bird-head scrolls that form a dense pattern, repeated in a narrow border below a concave band and above pendent leaf-shaped motifs. A similar band is repeated on the domed cover below a ropetwist band and the circular handle.

The patina is of mottled milky green and dark grey color.

8Ω in. (21.5 cm.) high

$20,000-30,000

PROVENANCE:

The C.C. Wang Family Collection; Sotheby’s New York, 27 November 1990, lot 56.

LITERATURE:

Annette Juliano, Bronze, Clay and Stone: Chinese Art in the C.C. Wang Family Collection, Seattle and London, 1988, pl. 9.

The fne decoration, and its arrangement on this dou, are similar to that of a dou illustrated by J. So, Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, The Arthur M. Sackler Foundation, 1995, p. 178, no. 24, where it is dated Eastern Zhou, late Spring and Autumn period, 6th century BC. However, on the Sackler dou the band of

interlaced dragons appears on the everted crown of the cover, rather than on the faring foot, as seen on the present vessel.

Similar bands of interlaced dragons also appear on the everted crown of the cover, as well as on the faring foot, of a similarly proportioned dou illustrated by B. Karlgren in A Catalogue of the Chinese Bronzes in the Alfred F. Pillsbury Collection, Minneapolis, 1952, pp. 154-55, pls. 78-79. Other comparable dou with similar cast decoration and of similar proportions have been sold at Christie’s New York and include one from the Sze Yuan Tang Collection, 16 September 2010, lot 881, and one from the Arthur M. Sackler Collections, 25 March 2010, lot 1017. 春秋晚期

(detail)

46

青銅蟠虺紋豆

47

1109 AN UNUSUAL BRONZE TIGER-FORM BELT HOOK NORTH OR NORTHEAST CHINA, 6TH-4TH CENTURY BC The tiger is shown in profle striding, with neck outstretched and tongue protruding from the open jaws. There are chevron stripes cast on the body, and the striped tail with curled tip extends onto the shaft, which terminates in a simplifed bird’s head hook. A post with a circular button projects from the slightly concave reverse. There is a grey patina and milky green encrustation.

7¿ in. (18.2 cm.) long, stand

$8,000-12,000 PROVENANCE:

Sotheby’s New York, 28 May 1991, lot 113. 東周

48

青銅虎形帶鉤

49

1110 A BRONZE RITUAL WINE VESSEL AND COVER, HU SPRING AND AUTUMN PERIOD, 6TH CENTURY BC The pear-shaped body is raised on a shallow, convex foot scored in imitation of rope, and is encircled mid-body by two bowstring bands interrupted by a lug handle. Two further lug handles projecting from the neck are attached to chain links that are joined by an angular U-shaped handle and pass through loose rings pendent from small loops issuing from bovine masks on the cover, which is centered by a small upright loop. The vessel has a brownish patina with areas of blue-green and azurite encrustation.

10 in. (25.4 cm.) high

$15,000-18,000 PROVENANCE:

Sotheby’s London, 7 June 1988, lot 8.

50

A similar bronze hu and cover with chain link handle is illustrated by J. So in Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, The Arthur M. Sackler Foundation, 1995, pp. 269-71, no. 47. The foot of the Sackler hu is plain, unlike the foot of the present vessel. This is also true of another similar hu with cover and chain link handle from Shandong Linqu Xian, illustrated p. 271, fg. 47.1. 春秋

青銅弦紋提梁壺

51

1111 A RARE FROG-FORM WATER POT AND DROPPER EASTERN HAN DYNASTY (AD 25-220) The water pot is unusually made in the form of a frog standing on four slender legs, with a leaf-shaped cup positioned below the mouth, a pair of tubes positioned behind the front legs, and a tube in the center of the back into which fts the water dropper which has a quadrilobed rim. The head is detailed with nostrils and prominent eyes enhanced by fne linear markings.

5 in. (12.7 cm.) long

$15,000-18,000 PROVENANCE:

Acquired in New York, 1990.

Water pots were an essential component on a scholar’s desk and were fashioned in a wide variety of forms, including fruit, fsh and other animals, such as this very unusual and whimsical frog-form example. Other bronze animal-form water pots include two Six Dynasties examples in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum - Bronze Articles for Daily Use, Hong Kong, 2006, p. 159, no. 137, in the form of a mythical horned beast, and p. 160, no. 138, in the form of a tortoise. Like the present water pot, the Palace mythical beast-form water pot retains its original tubular water dropper. Both Palace water pots, like the current example, also have a small cup positioned below the mouth to hold the water that fows from the hollow body. 東漢

52

青銅蛙形水注

53

1112 A BRONZE TIGER-FORM BELT HOOK NORTH OR NORTHEAST CHINA, 6TH CENTURY BC The tiger has a backward-turned head with open jaws, chevron stripes cast in intaglio on the curved body, and a curled tail that forms a loop. A bar terminating in an animal-head hook extends from the back of the neck, and a post with a circular button projects from the slightly concave reverse.

5¿ in. (13 cm.) long, stand

$4,000-6,000 PROVENANCE:

Christie’s London, 11 June 1990, lot 37.

A similar bronze tiger-form belt hook with more compact body is illustrated by J. F. So and E. C. Bunker, Traders and Raiders on China’s Northern Frontier, Arthur M. Sackler Gallery, Smithsonian Institution, 1995, p.

169, no. 95, where a very similar belt hook, recovered from a site in northern Hebei province, and illustrated in Wenwu chunqiu 1993:2, p. 33, fg. 13.7, is mentioned.

Another related tiger-form belt hook with more compact body is illustrated by A. Salmony in Sino-Siberian Art in the Collection of C.T. Loo, Paris, 1933, pl. XIX, no. 1. 春秋

54

青銅虎形帶鉤

55

56

1113 A FINE AND RARE BRONZE RITUAL WINE VESSEL, LEI SPRING AND AUTUMN PERIOD, EARLY 7TH CENTURY BC The vessel has a fat base and is encircled by a ridged band at mid-body that separates pairs of repeated, low-relief bands of conjoined S-shaped dragons, which have a raised boss for the eye of the upper dragon and for the interstice where the bodies join, all below a narrow band of S-shaped dragons at the base of the neck, which is surmounted by an everted rim. The patina is of somewhat greenish, dark grey color.

11¬ in. (29.5 cm.) high

$400,000-600,000 PROVENANCE:

Sotheby’s New York, 4 June 1982, lot 12.

Eskenazi, London.

The Bella and P.P. Chiu Collection.

Eskenazi, London, 1993.

LITERATURE:

Christian Deydier, Chinese Bronzes, New York, 1980, pl. 35.

Jessica Rawson, The Bella and P.P. Chiu Collection of Ancient Chinese Bronzes, Hong Kong, 1988, no. 32. 春秋

青銅蟠龍紋罍

57

Fig 1.

Lei, Early Spring and Autumn period, 7th/8th century BC, 34.3 cm. wide. The Dr. and Mrs. P.H. Plesch Collection; Christie’s New York, 16 September 1999, lot 251.

Fig 2.

Lei, Spring and Autumn period, Middle Chou dynasty, 7th century BC, 35.6 cm. high, 42.2 cm. wide. Freer Gallery of Art, Smithsonian Institution, Washington, D.C. After J. Pope et al., The Freer Chinese Bronzes, vol. 1, Washington, 1967, no. 84 (07.33).

Lei is only one of several names given to vessels of this shape. A variety of designations, including lei, ling, fou and pou, appear in inscriptions cast on the everted rims of some of these bronzes, even vessels closely comparable in shape. This vessel type frst appeared in the late Shang/early Western Zhou period, and early versions typically had a long neck and sharply angled shoulders. By the end of the eighth century, the necks on these vessels had become proportionately shorter, and the shoulders more rounded. With its sharply angled shoulders and short neck, the present lei would appear to represent a transitional period in the vessel’s development.

a lei and two fou from the Worcester Art Museum, Shangdong Ju Xian Tainjingwang, and Brundage Collection, Asian Art Museum, San Francisco, illustrated ibid., fgs. 31.1, 31.2 and 31.3 respectively. The dragons on the Shangdong Ju Xian Tianjingwang example, which is dated to the early 7th century BC, are most similar to those on the present jar, although the shape of that vessel is more rounded and squat, and the width of the bands is more varied. Other comparable lei include one dated Middle Zhou dynasty, 7th century BC, illustrated by J.A. Pope et al., The Freer Chinese Bronzes, vol. I, Washington, 1967, pl. 84; one illustrated by B. Karlgren in A Catalogue of the Chinese Bronzes in the Alfred F. Pillsbury Collection, Minneapolis, 1952, p.

141, pl. 72, no. 52; and one sold at Christie’s New York, 22-23 March 2012, lot 1532.

A lei of very similar shape, and with identical decoration, but with the addition of handles, from the collection of Dr. and Mrs. P. H. Plesch, was sold at Christie’s New York, 16 September 1999, lot 251.

J. So, in Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Collections, Arthur M. Sackler Foundation, 1995, illustrates a fou, pp. 206-9, no. 31, which is decorated with variant dragon bands, which also have low-relief S-shaped dragons with a head at each end and raised bosses for eyes and body junction. The dragons, however, are stylistically a bit different, as are those on

58

Unlike all of the aforementioned comparable vessels, which feature either a pair of handles, and in one case four handles (Pillsbury), the present lei is highly unusual in that it lacks handles. Another lei without handles and with related dragon scroll cast on the shoulder, but undecorated on the lower body, from Henan Xinyang Guangshan Baoxiangsi G1, is illustrated by J. So, ibid., p. 134, fg. 13.2, where it is dated to the second quarter of the 6th century BC.

59

1114 A RARE GOLD AND SILVER-INLAID BRONZE CEREMONIAL FINIAL LATE WARRING STATES PERIOD, 4TH-3RD CENTURY BC The fnial is decorated with gold and silver inlay and is cast with an openwork dragon biting the curved end of the ‘blade’ while standing atop a bird facing in the opposite direction as it grips the ovoid socket with its feathered legs and talons. The socket has a cut-out slit on one side and a tiny hole on the other. There is extensive malachite and some azurite encrustation.

4√ in. (12.5 cm.) long, stand

$8,000-12,000 PROVENANCE:

Christie’s London, 10 December 1990, lot 6.

Fig. 1. Ge (dagger axe) with bird and animal design inlaid with gold, Spring and Autumn period, 15.1 cm. length, 6.7 cm. height.

Collection of the Palace Museum, Beijing. After The Complete Collection of Treasures of the Palace Museum – 27 – Bronze ritual Vessels and Musical Instruments, Hong Kong, 2006, p. 276, no. 170.

Photographer: Hu Chui.

60

As the thick, solid ‘blade’ has no cutting edge, it is probable that this piece was made as a staff fnial.

Bronze fnials of this type, which are lacking inlay, include one in the NelsonAtkins Museum, illustrated in the exhibition catalogue, The Art of Eastern Chou, 772-221 B.C., Chinese Art Society of America, New York, 1962, no. 27. Another from The Sze Yuan Tang Collection was sold at Christie’s New York, 16 September 2010, lot 853.

Other related examples, from the Jin State, are illustrated in Wenwu 1989:6, pp. 1-21, fg. 16.2 and Wenwu 1989:9, pp. 59-86, fg. 31.

A ge dagger axe dated to the Spring and Autumn period, cast with an openwork dragon biting the end of the blade decorated with a scroll pattern in gold inlay, in the Qing Court Collection, is illustrated in The Complete Collection of Treasures of the Palace Museum - 27 - Bronze Ritual Vessels and Musical Instruments, Hong Kong, 2006, p. 276, no. 170. (Fig. 1) 戰國晚期

銅錯金銀戈形竿頭飾

61

1115 A COPPER-INLAID BRONZE RITUAL WINE VESSEL, HU WESTERN HAN DYNASTY (206 BC-AD 8) The pear-shaped body is encircled by three bands cast in relief and inlaid in copper, as is the band encircling the fared mouth above a copper-inlaid sawtooth band on the neck. The shoulder is fanked by a pair of taotie masks suspending loose rings. The bronze has a milky green patina, and some areas of encrustation inside and out.

12 in. (30.5 cm.) high

$15,000-18,000 PROVENANCE:

Sotheby Parke Bernet Inc., New York, 19 November 1982, lot 118.

The C.C. Wang Family Collection; Sotheby’s New York, 27 November 1990, lot 53.

LITERATURE:

Annette Juliano, Bronze, Clay and Stone: Chinese Art in the C.C. Wang Family Collection, Seattle and London, 1988, pl. 10. 西漢

62

青銅蕉葉弦紋壺

A similar copper-inlaid bronze hu from the Sen’oku Hakkokan, dated to the 4th century BC, is illustrated by J. So in Eastern Zhou Ritual Bronzes from the Arthur M. Sackler Foundation, 1995, p.

281, fg. 50.1. The author notes that the copper inlay was applied to the clay molds before the bronze was poured.

63

1116 A RARE BRONZE FIGURAL WATER POT AND DROPPER HAN DYNASTY, SOUTHWEST CHINA, CIRCA 1ST CENTURY BC/1ST CENTURY AD The water pot is cast as a kneeling foreigner leaning slightly backwards so that his belly protrudes, and wearing only a loin cloth.

He holds a lotus bud in his right hand and a horn-shaped cup in the left. His face is cast with triangular nose and almond-shaped eyes below brows detailed, with hair markings. His protruding ears are formed by coiled S-scrolls, as are the fattened curls that indicate his hair surrounding the circular collar rising from the top of the head, which is ftted with a tubular water dropper with a lower circular fange and a square fange surrounding the opening at the top. The surface has mottled green encrustation.

5Ω in. (14 cm.) high, stand

$50,000-70,000 PROVENANCE:

Sotheby’s New York, 3 June 1992, lot 60.

This rare fgure, with its coiled S-scroll curls, specifc facial features and kneeling position, is related to the few other fgures of this type that have been published, including one originally in the collections of Paul Huo, Beijing, Osvald Sirén, D. David-Weill, and Arthur M. Sackler, subsequently sold at Christie’s New York, 14-15 September 2009, lot 24 (Fig. 1). That fgure, which also had a water dropper, was reputed to be from Than Hoa, Vietnam.

Two other related fgures, identifed as supports, were also sold at Christie’s New York, one from the Sze Yuan Tang Collection, 16 September 2010, lot 877, the other 17 September 2008, lot 367.

The Sze Yuan Tang Collection fgure was described by Li Xueqin in The Glorious Traditions of Chinese Bronzes, Singapore, 2000, no. 99, as depicting a Central Asian or hu (barbarian). 漢

青銅跪人水注

Fig. 1.

Bronze human-form water pot and dropper, Han dynasty (206 BC-AD 220), 23cm. high. Property from the Arthur M. Sackler Collections; Christie’s New York, 14 September 2009, lot 24. (another view)

64

65

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º

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30/5/12

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PAYMENT Buyers are expected to make payment for purchases immediately after the auction. To avoid delivery delays, prospective buyers are encouraged to supply bank or other suitable references before the auction.

Please note that Christie’s will not accept payments for purchased Lots from any party other than the registered buyer.

Lots purchased in New York may be paid for in the following ways: wire transfer, credit card (up to $50,000), bank checks, checks and cash, money orders or travellers checks (up to $7,500 combined total, subject to conditions) Wire transfer: JPMorgan Chase Bank, N.A. 270 Park Avenue New York, NY 10017 ABA# 021000021 FBO: Christie’s Inc. Account # 957-107978, for international transfers, SWIFT: CHASUS33.

Credit cards: Visa, MasterCard, American Express and China UnionPay a limit of $50,000 for credit card payment will apply. This limit is inclusive of the buyer’s premium and any applicable taxes.

Credit card payments at the NY sale site will only be accepted for NY sales. Christie’s will not accept credit card payments for purchases in any other sale site.

The fax number to send completed CNP (Card Member not Present) authorization forms to is +1 212 636 4939. Alternatively, clients can mail the authorization form to the address below.

Cash, Money Orders or Travellers Checks is limited to $7,500 (subject to conditions).

Bank Checks should be made payable to Christie’s (subject to conditions).

Checks should be made payable to Christie’s.

Checks must be drawn on a US bank and payable in US dollars. In order to process your payment efficiently, please quote sale number, invoice number and client number with all transactions.

All mailed payments should be sent to: Christie’s Inc. Cashiers’ Department, 20 Rockefeller Center, New York, NY 10020.

Please direct all inquiries to the Cashiers’ Office Tel: +1 212 636 2495 Fax +1 212 636 4939 Please note that Christie’s will not accept payments for purchased Lots from any party other than the registered buyer.

Payment in full must be received in good, cleared funds before the property will be released.

SALES TAX Purchases picked up in New York or delivered to locations in California, Florida, Illinois, Massachusetts, New York, Pennsylvania, Rhode Island or Texas may be subject to sales or compensating use tax of such jurisdiction.

It is the buyer’s responsibility to ascertain and pay all taxes due. Buyers claiming exemption from sales tax must have the appropriate documentation on file with Christie’s prior to the release of the property.

For more information, please contact Purchaser Payments at +1 212 636 2496.

COLLECTION OF PURCHASED LOTS Buyers are expected to remove their property within 7 calendar days of the auction. Please consult the Lot Collection Notice for collection information for purchased lots. This sheet is available from the Bidder Registration staff, Purchaser Payments or the Packing Desk.

SHIPPING A shipping form is enclosed with each invoice. It is the buyer’s responsibility to pick up purchases or make all shipping arrangements. After payment has been made in full, Christie’s can arrange property packing and shipping at the buyer’s request and expense. Where Christie’s arranges and bills for such services via invoice or credit card, an administration charge will apply. We recommend that buyers request an estimate for any large items or property of high value that require professional packing. For more information please contact the Art Transport Department at +1 212 636 2480.

We regret that Christie’s staff will not accommodate requests to roll canvases sold on stretchers.

EXPORT/IMPORT PERMITS Property sold at auction may be subject to laws governing export from the US and import restrictions of foreign countries. Buyers should always check whether an export license is required before exporting. It is the buyer’s sole responsibility to obtain any relevant export or import license.

The denial of any license or any delay in obtaining licenses shall neither justify the rescission of any sale nor any delay in making full payment for the lot.

Upon request, Christie’s will assist the buyer in submitting applications to obtain the appropriate licenses. However, Christie’s cannot ensure that a license will be obtained. Local laws may prohibit the import of some property and/or may prohibit the resale of some property in the country of importation, no such restriction shall justify the rescission of any sale or delay in making full payment for the lot. If a license is obtained on a buyer’s behalf, a minimum fee of $150 per item will be charged. For more information, please contact the Art Transport Department at +1 212 636 2480.

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Handling and Collection HANDLING AND COLLECTION All lots will be handled free of charge for 35 days from the auction date at Christie’s Rockefeller Center or Redstone handling facility.

Operation hours for collection from either location are from 9.30 am to 5.00 pm, Monday-Friday. (Lots may not be collected during the day of their move to Christie’s Redstone in Long Island City.) Please consult the Lot Collection Notice for collection information. This sheet is available from the Bidder Registration staff, Purchaser Payments or the Packing Desk and will be sent with your invoice.

ADMINISTRATION AND HANDLING CHARGES Failure to collect your property within 35 calendar days of the auction date from any Christie’s location, will result in handling and administration charges plus any applicable sales taxes.

Lots will not be released until all outstanding charges due to Christie’s are paid in full. Please contact Christie’s Client Service Center on +1 212 636 2000.

Charges

All Property

Administration (per lot, due on Day 36) Handling (per lot/day, beginning Day 36)

$150.00 $12.00

Property can be transferred to Christie’s Fine Art Storage Services (CFASS) New York at any time for environmentally controlled long term storage, per client request.

CFASS is a separate subsidiary of Christie’s and clients enjoy complete confidentiality.

Contact CFASS New York for details: Tel: + 1 212 974 4570, newyork@cfass.com

STREET MAP OF CHRISTIE’S NEW YORK LOCATIONS

Christie’s Rockefeller Center 20 Rockefeller Plaza, New York 10020 Tel: +1 212 636 2000 nycollections@christies.com Main Entrance on 49th Street Receiving/Shipping Entrance on 48th Street Hours: 9.30 am - 5.00 pm Monday-Friday except Public Holidays

Christie’s Redstone Post-Sale 32-23 48th Avenue Long Island City, NY 11101 Tel: +1 212 974 4500 nycollections@christies.com Main Entrance on 48th Avenue Receiving/Shipping Entrance on 48th Avenue Hours: 9.30 am - 5.00 pm Monday-Friday except Public Holidays

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Conditions of Sale These Conditions of Sale and the Important Notices and Explanation of Cataloguing Practice contain all the terms on which Christie’s and the seller contract with the buyer. They may be amended by posted notices or oral announcements made during the sale. By bidding at auction you agree to be bound by these terms.

1. CHRISTIE’S AS AGENT Except as otherwise stated Christie’s acts as agent for the seller. The contract for the sale of the property is therefore made between the seller and the buyer.

2. BEFORE THE SALE (a) Examination of property Prospective buyers are strongly advised to examine personally any property in which they are interested, before the auction takes place. Condition reports are usually available on request. Neither Christie’s nor the seller provides any guarantee in relation to the nature of the property apart from the Limited Warranty in paragraph 6 below. The property is otherwise sold “as is.”

Our cataloguing practice is explained in the Important Notices and Explanation of Cataloguing Practice after the catalogue entries. All statements by us in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied on as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by us of any kind. References in the catalogue entry or the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or its value for any other purpose. Except as set forth in paragraph 6 below, neither Christie’s nor the seller is responsible in any way for errors and omissions in the catalogue or any supplemental material. (c) Buyer’s responsibility Except as stated in the Limited Warranty in paragraph 6 below, all property is sold “as is” without any representation or warranty of any kind

by Christie’s or the seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue entry.

3. AT THE SALE (a) Refusal of admission Christie’s has the right, at our complete discretion, to refuse admission to the premises or participation in any auction and to reject any bid. (b) Registration before bidding Prospective buyers who wish to bid in the saleroom can register online in advance of the sale, or can come to the saleroom on the day of the sale approximately 30 minutes before the start of the sale to register in person. A prospective buyer must complete and sign a registration form and provide identification before bidding. We may require the production of bank or other financial references. (c) Bidding as principal When making a bid, a bidder is accepting personal liability to pay the purchase price, including the buyer’s premium and all applicable taxes, plus

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all other applicable charges, unless it has been explicitly agreed in writing with Christie’s before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Christie’s, and that Christie’s will only look to the principal for payment. (d) Absentee bids We will use reasonable efforts to carry out written bids delivered to us prior to the sale for the convenience of clients who are not present at the auction in person, by an agent or by telephone. Bids must be placed in the currency of the place of the sale. Please refer to the catalogue for the Absentee Bids Form. If we receive written bids on a particular lot for identical amounts, and at the auction these are the highest bids on the lot, it will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors and omissions in connection with it. (e) Telephone bids Telephone bids will be accepted for lots with lowend estimates of $1,500 and above, no later than 24 hours prior to the sale and only if the capacity of our pool of staff phone bidders allows. Arrangements to bid in languages other than English must be made well in advance of the sale date.

Telephone bids may be recorded. By bidding on the telephone, prospective purchasers consent to the recording of their conversations.

Christie’s offers all absentee and telephone bidding services as a convenience to our clients, but will not be responsible for errors or failures to execute bids. (f) Currency converter At some auctions a currency converter may be operated. Errors may occur in the operation of the currency converter and we do not accept liability to bidders who follow the currency converter rather than the actual bidding in the saleroom. (g) Video or digital images At some auctions there may be a video or digital screen. Errors may occur in its operation and in the quality of the image and we do not accept liability for such errors. (h) Reserves Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. If any lots are not subject to a reserve, they will be identified with the symbol • next to the lot number. The auctioneer may open the bidding on any lot below the reserve by placing a bid on behalf of the seller. The auctioneer may continue to bid on behalf of the seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders. With respect to lots that are offered without reserve, unless there are already competing bids, the auctioneer, in his or her discretion, will generally open the bidding at 50% of the low presale estimate for the lot. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognized, and then continue up from that amount. Absentee bids will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate. In the event that there is no bid on a lot, the auctioneer may deem such lot unsold.

(i) Auctioneer’s discretion The auctioneer has the right at his absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case of error or dispute, and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to reoffer and resell the item in dispute. If any dispute arises after the sale, our sale record is conclusive. (j) Successful bid and passing of risk Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the seller and the buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes to the buyer at the expiration of seven calendar days from the date of the sale or on collection by the buyer if earlier.

4. AFTER THE SALE (a) Buyer’s premium In addition to the hammer price, the buyer agrees to pay to us the buyer’s premium together with any applicable value added tax, sales or compensating use tax or equivalent tax in the place of sale. The buyer’s premium is 25% of the final bid price of each lot up to and including $75,000, 20% of the excess of the hammer price above $75,000 and up to and including $1,500,000 and 12% of the excess of the hammer price above $1,500,000. (b) Payment and passing of title Immediately following the sale, the buyer must provide us with his or her name and permanent address and, if so requested, details of the bank from which payment will be made. The buyer must pay the full amount due (comprising the hammer price, buyer’s premium and any applicable taxes) not later than 4.30pm on the seventh calendar day following the sale. This applies even if the buyer wishes to export the lot and an export license is, or may be, required. The buyer will not acquire title to the lot until all amounts due to us from the buyer have been received by us in good cleared funds even in circumstances where we have released the lot to the buyer. (c) Collection of purchases We shall be entitled to retain items sold until all amounts due to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, have been received in full in good cleared funds or until the buyer has satisfied such other terms as we, at our sole discretion, shall require, including, for the avoidance of doubt, completing any anti-money laundering or antiterrorism financing checks we may require to our satisfaction. In the event a buyer fails to complete any anti-money laundering or anti-terrorism financing checks to our satisfaction, Christie’s shall be entitled to cancel the sale and to take any other actions that are required or permitted under applicable law. Subject to this, the buyer shall collect purchased lots within seven calendar days from the date of the sale unless otherwise agreed between us and the buyer. (d) Packing, handling and shipping Although we shall use reasonable efforts to take care when handling, packing and shipping a purchased lot, we are not responsible for the acts or omissions of third parties whom we might retain for these purposes. Similarly, where we may suggest other handlers, packers or carriers if so requested, we do not accept responsibility or liability for their acts or omissions.

(e) Export licence Unless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export license does not affect his or her obligation to make payment within seven days nor our right to charge interest or storage charges on late payment. If the buyer requests us to apply for an export license on his or her behalf, we shall be entitled to make a charge for this service. We shall not be obliged to rescind a sale nor to refund any interest or other expenses incurred by the buyer where payment is made by the buyer in circumstances where an export license is required. (f) Remedies for non payment If the buyer fails to make payment in full in good cleared funds within the time required by paragraph 4(b) above, we shall be entitled in our absolute discretion to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available to us by law): (i)

to charge interest at such rate as we shall reasonably decide; (ii) to hold the defaulting buyer liable for the total amount due and to commence legal proceedings for its recovery together with interest, legal fees and costs to the fullest extent permitted under applicable law; (iii) to cancel the sale; (iv) to resell the property publicly or privately on such terms as we shall think fit; (v) to pay the seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting buyer; (vi) to set off against any amounts which we, or Christie’s International plc, or any of its affiliates, subsidiaries or parent companies worldwide, may owe the buyer in any other transactions, the outstanding amount remaining unpaid by the buyer; (vii) where several amounts are owed by the buyer to us, or to Christie’s International plc, or to any of its affiliates, subsidiaries or parent companies worldwide, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the buyer so directs; (viii) to reject at any future auction any bids made by or on behalf of the buyer or to obtain a deposit from the buyer before accepting any bids; (ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the buyer, whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The buyer will be deemed to have granted such security to us and we may retain such property as collateral security for such buyer’s obligations to us; (x) to take such other action as we deem necessary or appropriate.

If we resell the property under paragraph (iv) above, the defaulting buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon resale as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kind associated with both sales or otherwise arising from the default. If we pay any amount to the seller under paragraph (v) above, the buyer acknowledges that Christie’s shall have all of the rights of the seller, however arising, to pursue the buyer for such amount.

(g) Failure to collect purchases Where purchases are not collected within 35 calendar days from the date of the sale, whether or not payment has been made, we shall be permitted to transfer the property to our Long Island City facility at the buyer’s expense, and only release the items after payment in full has been made of transportation, administration, handling, insurance and any other costs incurred, together with payment of all other amounts due to us or our affiliates. (h) Selling Property at Christie’s In addition to expenses such as transport and insurance, all consignors pay a commission according to a fixed scale of charges based upon the value of the property sold by the consignor at Christie’s in a calendar year. Commissions are charged on a sale by sale basis.

5. EXTENT OF CHRISTIE’S LIABILITY We agree to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 6 below. Apart from that, neither the seller nor we, nor any of our officers, employees or agents, are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lot. Except as stated in paragraph 6 below, neither the seller, ourselves, our officers, employees or agents, give any representation, warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind whatsoever is excluded by this paragraph.

6. LIMITED WARRANTY Subject to the terms and conditions of this paragraph, Christie’s warrants for a period of five years from the date of the sale that any property described in headings printed in UPPER CASE TYPE (i.e. headings having all capital-letter type) in this catalogue (as such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship, is authentic and not a forgery. The term “author” or “authorship” refers to the creator of the property or to the period, culture, source or origin, as the case may be, with which the creation of such property is identified in the UPPER CASE description of the property in this catalogue. Only UPPER CASE TYPE headings of lots in this catalogue indicate what is being warranted by Christie’s. Christie’s warranty does not apply to supplemental material which appears below the UPPER CASE TYPE headings of each lot and Christie’s is not responsible for any errors or omissions in such material. The terms used in the headings are further explained in Important Notices and Explanation of Cataloguing Practice. The warranty does not apply to any heading which is stated to represent a qualified opinion. The warranty is subject to the following:

(i)

(ii)

(iii) (iv)

(v)

(vi)

It does not apply where (a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars or experts at the date of the sale or fairly indicated that there was a conflict of opinions; or (b) correct identification of a lot can be demonstrated only by means of either a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property.

The benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Christie’s when the lot was sold at auction.

The original buyer must have remained the owner of the lot without disposing of any interest in it to any third party.

The buyer’s sole and exclusive remedy against Christie’s and the seller, in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot.

Neither Christie’s nor the seller will be liable for any special, incidental or consequential damages including, without limitation, loss of profits nor for interest.

The buyer must give written notice of claim to us within five years from the date of the auction. It is Christie’s general policy, and Christie’s shall have the right, to require the buyer to obtain the written opinions of two recognized experts in the field, mutually acceptable to Christie’s and the buyer, before Christie’s decides whether or not to cancel the sale under the warranty.

The buyer must return the lot to the Christie’s saleroom at which it was purchased in the same condition as at the time of the sale.

7. COPYRIGHT The copyright in all images, illustrations and written material produced by or for Christie’s relating to a lot including the contents of this catalogue, is and shall remain at all times the property of Christie’s and shall not be used by the buyer, nor by anyone else, without our prior written consent. Christie’s and the seller make no representation or warranty that the buyer of a property will acquire any copyright or other reproduction rights in it.

8. SEVERABILITY If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the conditions shall continue to be valid to the fullest extent permitted by law.

9. LAW AND JURISDICTION The rights and obligations of the parties with respect to these Conditions of Sale, the conduct of the auction and any matters connected with any of the foregoing shall be governed and interpreted by the laws of the jurisdiction in which the auction is held.

By bidding at auction, whether present in person or by agent, by written bid, telephone or other means, the buyer shall be deemed to have submitted, for the benefit of Christie’s, to the exclusive jurisdiction of the courts of that country, state, county or province, and (if applicable) of the federal courts sitting in such state.

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WorldWide SaleroomS and officeS ARGENTINA

CANADA

BUENOS AIRES +54 11 43 93 42 22 Cristina Carlisle

TORONTO +1 416 960 2063 Brett Sherlock

AUSTRALIA

CHILE

SYDNEY +61 (0)2 9326 1422 Ronan Sulich

SANTIAGO +56 2 2 2631642 Denise Ratinoff de Lira

AUSTRIA COLOMBIA VIENNA +43 (0)1 533 8812 Angela Baillou

BOGOTA +57 312 421 1509 Juanita Madrinan

BELGIUM DENMARK BRUSSELS +32 (0)2 512 88 30 Roland de Lathuy

COPENHAGEN +45 3962 2377 Birgitta Hillingso (Consultant) + 45 2612 0092 Rikke Juel Brandt (Consultant)

BERMUDA BERMUDA +1 401 849 9222 Betsy Ray

FINLAND AND THE BALTIC STATES

BRAZIL RIO DE JANEIRO +5521 2225 6553 Candida Sodre SÃO PAULO +5511 3061 2576 Nathalie Lenci

HELSINKI +358 (0)9 608 212 Barbro Schauman (Consultant) FRANCE BRITTANY AND THE LOIRE VALLEY +33 (0)6 09 44 90 78 Virginie Greggory (Consultant) GREATER EASTERN FRANCE +33 (0)6 07 16 34 25 Jean-Louis Janin Daviet

• PARIS +33 (0)1 40 76 85 85 POITOU-CHARENTE AQUITAINE +33 (0)5 56 81 65 47 Marie-Cécile Moueix PROVENCE - ALPES CÔTE D’AZUR +33 (0)6 71 99 97 67

INDIA

MEXICO

MUMBAI +91 (22) 2280 7905 Menaka Kumari-Shah Sonal Singh

MEXICO CITY +52 55 5281 5503 Gabriela Lobo

INDONESIA JAKARTA +62 (0)21 7278 6268 Selina Patta Sumbung Priscilla Tiara Masagung

Fabienne Albertini-Cohen

ISRAEL

RHÔNE ALPES +33 (0)6 61 81 82 53 Dominique Pierron

TEL AVIV +972 (0)3 695 0695 Roni Gilat-Baharaff

(Consultant)

ITALY

GERMANY DÜSSELDORF +49 (0)21 14 91 59 30 Arno Verkade FRANKFURT +49 (0)61 74 20 94 85 Anja Schaller HAMBURG +49 (0)40 27 94 073 Christiane Gräfin zu Rantzau MUNICH +49 (0)89 24 20 96 80 Marie Christine Gräfin Huyn

• MILAN +39 02 303 2831

MONACO +377 97 97 11 00 Nancy Dotta THE NETHERLANDS • AMSTERDAM +31 (0)20 57 55 255 PEOPLES REPUBLIC OF CHINA BEIJING +86 (0)10 6500 6517 Jinqing Cai • HONG KONG +852 2760 1766

ROME +39 06 686 3333

SHANGHAI +86 (0)21 6279 8773

JAPAN

PORTUGAL

TOKYO +81 (0)3 6267 1766 Ryutaro Katayama

LISBON +351 919 317 233 Mafalda Pereira Coutinho (Independent Consultant)

MALAYSIA KUALA LUMPUR +60 3 6207 9230 Lim Meng Hong

STUTTGART +49 (0)71 12 26 96 99 Eva Susanne Schweizer

(Consultant) NORD-PAS DE CALAIS +33 (0)6 09 63 21 02 Jean-Louis Brémilts (Consultant)

• DENOTES SALEROOM ENQUIRIES? —

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Call the Saleroom or Office

15/07/13

EMAIL —

info@christies.com

RUSSIA MOSCOW +7 495 937 6364 +44 20 7389 2318 Katya Vinokurova SINGAPORE SINGAPORE +65 6235 3828 Wen Li Tang SOUTH AFRICA CAPE TOWN +27 (21) 761 2676

Juliet Lomberg (Independent Consultant) DURBAN & JOHANNESBURG +27 (31) 207 8247 Gillian Scott-Berning

(Independent Consultant) WESTERN CAPE +27 (44) 533 5178 Annabelle Conyngham

(Independent Consultant)

SWITZERLAND • GENEVA +41 (0)22 319 1766 Eveline de Proyart • ZURICH +41 (0)44 268 1010 Dr. Bertold Mueller TAIWAN TAIPEI +886 2 2736 3356 Ada Ong THAILAND BANGKOK +66 (0)2 652 1097 Yaovanee Nirandara Punchalee Phenjati TURKEY ISTANBUL +90 (532) 558 7514 Eda Kehale Argün (Consultant) UNITED ARAB EMIRATES • DUBAI +971 (0)4 425 5647 Chaden Khoury

SOUTH KOREA SEOUL +82 2 720 5266 Hye-Kyung Bae SPAIN BARCELONA +34 (0)93 487 8259

Carmen Schjaer

UNITED KINGDOM • LONDON +44 (0)20 7839 9060 LONDON, • SOUTH KENSINGTON +44 (0)20 7930 6074 NORTH +44 (0)20 7752 3004 Thomas Scott SOUTH +44 (0)1730 814 300 Mark Wrey EAST +44 (0)20 7752 3310 Simon Reynolds Mark Newstead Thomas Scott NORTHWEST AND WALES +44 (0)20 7752 3376 Mark Newstead Jane Blood SCOTLAND +44 (0)131 225 4756 Bernard Williams Robert Lagneau David Bowes-Lyon (Consultant)

UNITED STATES BOSTON +1 617 536 6000 Elizabeth M. Chapin CHICAGO +1 312 787 2765 Lisa Cavanaugh DALLAS +1 214 599 0735 Capera Ryan HOUSTON +1 713 802 0191 Jessica Phifer LOS ANGELES +1 310 385 2600 Andrea Fiuczynski MIAMI +1 305 445 1487 Vivian Pfeiffer NEWPORT +1 401 849 9222 Betsy D. Ray • NEW YORK +1 212 636 2000 PALM BEACH +1 561 833 6952 Maura Smith

ISLE OF MAN +44 1624 814502 Mark Newstead (Consultant)

PHILADELPHIA +1 610 520 1590 Alexis McCarthy

CHANNEL ISLANDS +44 (0)1534 485 988 Melissa Bonn

SAN FRANCISCO +1 415 982 0982 Ellanor Notides

IRELAND +353 (0)59 86 24996 Christine Ryall

MADRID +34 (0)91 532 6626 Juan Varez Dalia Padilla

For a complete salerooms & offices listing go to christies.com

25/03/13

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Christie’s Specialist Departments and Services DEPARTMENTS AFRICAN AND OCEANIC ART PAR: +33 (0)140 768 386 NY: +1 212 484 4898 AMERICAN DECORATIVE ARTS NY: +1 212 636 2230 AMERICAN FURNITURE NY: +1 212 636 2230 AMERICAN PICTURES NY: +1 212 636 2140 ANGLO-INDIAN ART KS: +44 (0)20 7389 2570 ANTIQUITIES NY: +1 212 636 2245 ASIAN 20TH CENTURY AND CONTEMPORARY ART NY: +1 212 468 7133 AUSTRALIAN PICTURES KS: +44 (0)20 7389 2040 BOOKS AND MANUSCRIPTS NY: +1 212 636 2665 BRITISH & IRISH ART KS: +44 (0)20 7389 2682 NY: +1 212 636 2120 SK: +44 (0)20 7752 3257 BRITISH ART ON PAPER KS: +44 (0)20 7389 2278 SK: +44 (0)20 7752 3293 NY: +1 212 636 2120

ENTERTAINMENT MEMORABILIA NY: +1 212 636 2272 SK: +44 (0)20 7752 3281 FOLK ART NY: +1 212 636 2230 FURNITURE NY: +1 212 636 2200

OLD MASTER DRAWINGS NY: +1 212 636 2115 OLD MASTER PAINTINGS AND 19TH CENTURY EUROPEAN ART NY: +1 212 636 2120 PHOTOGRAPHS NY: +1 212 636 2330 PICTURE FRAMES SK: +44 (0)20 7389 2763

HOUSE SALES SK: +44 (0)20 7752 3260

POST WAR AND CONTEMPORARY ART NY: +1 212 636 2100

ICONS SK: +44 (0)20 7752 3261

POSTERS SK: +44 (0)20 7752 3208

IMPRESSIONIST AND MODERN ART NY: +1 212 636 2050

PRINTS NY: +1 212 636 2290

INDIAN AND SOUTHEAST ASIAN ART NY: +1 212 636 2190 INDIAN CONTEMPORARY ART NY: +1 212 636 2190 KS: +44 (0)20 7389 2700

RUSSIAN WORKS OF ART NY: +1 212 636 2260 SCIENTIFIC INSTRUMENTS SK: +44 (0)20 7752 3286 SCULPTURE KS: +44 (0)20 7389 2331 SK: +44 (0)20 7389 2794

INTERIORS NY: +1 212 636 2032 SK: +44 (0)20 7389 2236

SILVER NY: +1 212 636 2250

ISLAMIC WORKS OF ART KS: +44 (0)20 7389 2370 SK: +44 (0)20 7752 3239

TOPOGRAPHICAL PICTURES KS: +44 (0)20 7389 2040 SK: +44 (0)20 7752 3291

JAPANESE ART NY: +1 212 636 2160 KS: +44 (0)20 7389 2595

TWENTIETH CENTURY DECORATIVE ART AND DESIGN NY: +1 212 636 2240

BRITISH PICTURES 1500-1850 KS: +44 (0)20 7389 2945

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Absentee Bids Form Christie’s New York IMPORTANT CHINESE ARCHAIC BRONZES FROM A DISTINGUISHED PRIVATE COLLECTION THURSDAY 19 SEPTEMBER 2013 AT 10.00 AM

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ABSENTEE BIDS MUST BE RECEIVED AT LEAST 24 HOURS BEFORE THE AUCTION BEGINS CHRISTIE’S WILL CONFIRM ALL BIDS RECEIVED BY FAX BY RETURN FAX. IF YOU HAVE NOT RECEIVED CONFIRMATION WITHIN ONE BUSINESS DAY, PLEASE CONTACT THE BID DEPARTMENT. TEL: +1 212 636 2437 FAX: +1 212 636 4938 ON-LINE WWW.CHRISTIES.COM

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I request Christie’s to bid on the following lots up to the maximum price I have indicated for each lot. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus a buyer’s premium of 25% of the final bid price of each lot up to and including $75,000, 20% of the excess of the hammer price above $75,000 and up to and including $1,500,000 and 12% of the excess of the hammer price above $1,500,000 and any applicable state or local sales or use tax.

I understand that Christie’s provides the service of executing absentee bids for the convenience of clients and that Christie’s is not responsible for failing to execute bids or for errors relating to execution of bids. On my behalf, Christie’s will try to purchase these lots for the lowest possible price, taking into account the reserve and other bids. Absentee bids submitted on “no reserve” lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or at the amount of the bid if it is less than 50% of the low pre-sale estimate.

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Patricia Barbizet, Chairman Steven P. Murphy, Chief Executive Officer Stephen Brooks, Chief Operating Officer Loïc Brivezac, Gilles Erulin, Gilles Pagniez, François-Henri Pinault

Stuart Alexander, Reginald Brack, Michael Bass, Elizabeth Beaman, Deborah Bell, Melissa Bennie, Rita Boyle, Valerie Bulova, Cristina Carlisle, Maxwell Carter, John Caruso, Sarah Cashin, Karen Christian, Cara Ciani-Nangle, Deborah Coy, Ginette Dean, Anna Diehl, Edouard du Breuil, Ingrid Dudek, Lorena Duran, Leslie Edwards, Ian Ehling, Ross Elgie, Christopher Engle, Doug Escribano, Jessica Fertig, Peter Foley, John Foster, Jessica Fox, Sara Friedlander, Sayuri Ganepola, Jennifer Garvin, Emelie Gevalt, Lea Green, Izabela Grocholski, Ann Guite, Elizabeth Hammer-Munemura, Minna Hanninen, Shannon Henry, Margaret Hoag, Per Holmberg, Andrew Holter, Val Hoyt, Anne Igelbrink, Koji Inoue, Leanne Jagtiani, Erik Jansson, Caroline Jett, Caroline Page-Katz, Sumako Kawai, Heakyum Kim, Deepanjana Klein, David Kleiweg de Zwaan, Susan Kloman, Noah Kupferman, Richard LaSalle, Thomas Lecky, Andrew Lee, Brent Lewis, Xin Li, Mary Libby, Molly Morse Limmer, Gabriela Lobo, Rebecca MacGuire, Laurie Lasdon Marshall, Masa Masuyama, Erin McAndrew, Brian McComak, Andrew McVinish, Capucine Milliot, Mark Moehrke, Christine Montalvo, Stefany Morris, Caroline Moustakis, Laura Nagle, Marysol Nieves, Rachel Orkin-Ramey, Joanna Ostrem, Elisabeth Poole Parker, Carolyn Pastel, Laura Paterson, Joseph Picone, Jennifer Pitman, Kimberly Ray, Casey Rogers, Thomas Root, Leslie Roskind, William Russell, Christopher Sanger, Gregory Sarancha, Fikriye Selen-Okatan, Andrew Seltzer, Xan Serafin, Brian Shaw, Maura Smith, Muys Snijders, Elizabeth Sterling, Bliss Summers, Scott Torrence, Arianna Tosto, Robert Tuzzo, Carina Villinger, Hartley Waltman, Sarah Wendell, Helen Williams, Nicholas Wilson, Alan Wintermute, Jennifer Wright, Timothy Yule, Jennifer Yum, Steven J. Zick

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Nicholas Eldred, Company Secretary CHRISTIE’S EXECUTIVE

Steven P. Murphy, Stephen Brooks, François Curiel, Nicholas Eldred, Karen Parker, Marc Porter, Jussi Pylkkänen, Doug Woodham CHRISTIE’S AMERICAS

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Marc Porter, Chairman Stephen S. Lash, Chairman Emeritus Christopher Burge, Honorary Chairman Amy Cappellazzo, Chairman Cyanne Chutkow, Deputy Chairman Emmanuel de Chaunac, Deputy Chairman Brett Gorvy, Chairman Ben Hall, Deputy Chairman Nicholas Hall, Vice Chairman John Hays, Deputy Chairman Guy Jennings, Deputy Chairman Conor Jordan, Deputy Chairman Laura Paulson, Deputy Chairman Paul Provost, Deputy Chairman Jonathan Rendell, Deputy Chairman Jeanne Sloane, Deputy Chairman Eric Widing, Deputy Chairman Athena Zonars, Senior International Director SENIOR VICE PRESIDENTS

Tunde Adenuga, John Auerbach, Martha Baer, Vivian Bakmas-Pfeiffer, Heather Barnhart, Wendy Battleson, G. Max Bernheimer, Samantha Bing, Bonnie Brennan, Thomas Burstein, Lisa Cavanaugh, Elizabeth M. Chapin, Kenneth Citron, Sandra Cobden, Chris Coover, Carrie Dillon, Monica Dugot, Lea Emery, Sheri Farber, Lydia Fenet, Andrea Fiuczynski, Melissa Gagen, Virgilio Garza, John Good, Keren Gottesman, Loic Gouzer, Jennifer K. Hall, Sam Hines, Lori Hotz, Rahul Kadakia, Karen Karp, Julie Kim, Sharon Kim, Stefan Kist, Peter Kloman, Jonathan Laib, Brooke Lampley, Regan Lynn Larroque, Daphne Lingon, Richard Lloyd, Maria C. Los, Robert Manley, Andrew Massad, Alexis McCarthy, Adrien Meyer, Richard Nelson, Shira Nichaman, Ellanor Notides, Tash Perrin, John Reardon, Margot Rosenberg, Leslie Roskind, Capera Ryan, Caroline Sayan, Brett Sherlock, Will Strafford, Toby Usnik, Sarah Vandeweerdt, Francis Wahlgren, Hugo Weihe, Amy Wexler, Barrett White, Allison Whiting, Marissa Wilcox, Jody Wilkie, Tom Woolston, Steven Wrightson, Katsura Yamaguchi

CHRISTIE’S AMERICAN ADVISORY BOARD

The Lord Carrington, KG, Honorary Chairman John L. Vogelstein, Chairman Stephen S. Lash, Vice Chairman Ashton Hawkins, Esq., Secretary Herb Allen, Elizabeth Ballantine, Charlie Blaquier, Melva Bucksbaum, Christina Chandris, Lynn Forester de Rothschild, Bruno Eberli, Ambassador Stuart E. Eizenstat, Guido Goldman, J Tomilson Hill III, Barbara Jakobson, Nancy M. Kissinger, George Klein, Ambassador William H. Luers, Li Chung Pei, Jeffrey E. Perelman, Tara Rockefeller, Denise Saul, Andrew N. Schiff, M.D., Clifford M. Sobel, Michael Steinhardt, Archbold D. van Beuren, Casey Wasserman, John C. Whitehead INTERNATIONAL REPRESENTATIVES

The Paper used in this catalogue has been manufactured at a mill which has been awarded the ISO 14001 for Environment Management and is a registered mill within EMAS (the EU EcoManagement and Audit Scheme)

Maura Benjamin, Helen Cluett, Patricia Hernandez, Nathalie Gerschel Kaplan, Konrad Keesee, Mary Libby, Eduardo Molina-Dubost, Brenda Norris, Nuala Pell, Kelly Perry, Denise Ratinoff, Nancy Rome

Printed in England by © Christie, Manson & Woods Ltd. (2013) Catalogue photo credits: Rhea Karam

08/08/13

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