Quintessential 2023

QUINTESSENTIAL

quintessential adjective ˌkwɪn.tɪˈsen.ʃəl/ representing the perfect example of something, the fundamental essence of something

QUINTESSENTIAL

QUINTESSENTIALLY VANDERVEN

After some contemplation we chose to entitle this catalogue Quintessential - meaning the fundamental essence of something. As our company enters its 55th year, it seemed a good moment to reflect on the fundamental essence of our company - which has not only been about sourcing great objects and upholding our excellent reputation, but also the essential and highly valued relationships with clients and partners. We still stand for in-depth knowledge and passion for the objects in our collection, a profound knowledge of the art market and the highest level of service. Our objective is always to make our clients happy, providing them with the best object which can be treasured and passed on to the next generation.

As always, our main challenge lies in finding and researching the perfect objects for our collection; but this also happens to be central to the enjoyment of what we do! The 16 objects we have chosen for this catalogue are quintessential Vanderven pieces, classic examples of objects that have formed us since our foundation in 1968. Fundamental are of course Kangxi blue and white, colourful enamel on biscuit and refined famille verte porcelains. From the 1980’s early pottery also became another key staple in our collection and remains an important area of expertise. More recently we have increasingly dealt in Chinese works of art made of other fascinating materials, such

as soapstone and glass; as well as jade, bronze, cast-iron, plaster and lacquer. Many of these areas are represented within these pages.

Our objects also take us places – we present ourselves at fairs in Maastricht, Hong Kong, Amsterdam and Munich. We will also exhibit in C.T. Loo’s Red Pagoda in Paris and of course continue to work from our great gallery in ’s-Hertogenbosch. We express our passion and knowledge of Chinese art through our extensively researched catalogues (this is now our 11th!) and more recently our beautiful own glossy Magazine Eight (our second is out now). We have become very active on social media too, our 10,000 global Instagram followers cheering us on in what we do.

We hope to meet you in person as quintessential part of our Vanderven family and in the meantime enjoy this catalogue as much as we have compiling it!

Floris & Nynke van der Ven

China, Kangxi period (1662-1722), circa 1710

H: 111 cm | Weight: 48 kg each

PROVENANCE

Private Collection, USA

LITERATURE

Pinto de Matos 2011, p.300, no.126

Ströber 2001, p.9-13

Ströber 2011, p.208

Ströber 2016

Tabar de Anitua 1983, p.74, no.82 & p177 pl.VI

Welch 2008, p.50-2

Double Gourd Jars

A pair of monumental double gourd jars with covers (huluping 葫芦瓶), with cobalt blue and copper-red underglaze decoration. Their tall elegant shape, has a large globular underbody and a slimmer elongated neck bulb. The domed fitted lid, has two layers ending in a double gourd-shaped finial. The upper and lower bulb are similarly decorated; with four large hanging lobed lappets alternated with smaller round ones. Each lappet has a broad blue outline and is filled with copper-red scrolling peonies, with white foliage reserved on a blue ground. The bottom of each bulb has a border of four leaf-shaped medallions, filled with the same pattern and topped with a stylized lotus - each medallion connected with foliate scrolling. Around the waist connecting the bulbs, is a band with a matching pattern of foliate scrolls. The top rim and base have a narrow border of zigzag hatching. The double-domed lids repeat the decoration of the body and the top finials are white with blue stylized petals. The undersides of the vases are unglazed and unmarked. One vase has an old handwritten paper label on its neck, with both numbers and letters (not deciphered).

This pair of truly regal jars, were probably made as part of a larger garniture or group and would have undoubtably been made as a private commission through the Dutch East India Company (VOC). Large jars with covers such as these, must have been technically very difficult to create. Despite their elegant double gourd shape, these weigh a massive 48 kg each, establishing the incredible skill of the Chinese potter in the Kangxi period. Beside the challenge of producing a vase of this enormous size, this more complex double gourd form was even more difficult to fire successfully. The underglaze decoration was also more demanding to achieve, as it combines two colours (cobalt blue and copper-red), which are fired together at a high temperature (1300C) in a reductive atmosphere. Particularly the red colour was not as stable as the blue, its volatile properties often leading to colour variations.

The meaning of the shape and decoration of the jars would have been lost to the Western buyers. In China however, the double gourd (hulu) or calabash shape was considered very auspicious, standing for blessings and protection. Because of their numerous seeds, gourds were symbols of fertility; particularly Daoists associated the gourd with longevity, magic and alchemy. The decoration of hanging lappets is known as a ‘cloud collar’ (yun jian) – which refers to the Chinese collars with lobed clouds worn around the neck of embroidered robes during the Qing dynasty. But it is actually a much more ancient and universally used pattern; such collars are also found on Tibetan images of buddha, associating the pattern with Buddhism as well. On these jars the lappets are filled with a dense pattern of peonies. To the Chinese this bloom is the queen of flowers, emblematic of wealth and rank, as well as the symbol for feminine beauty.

There are only a handful of comparable jars of this size and decoration – the majority of which are in the Porzellansammlung in Dresden, the former collection of Augustus the Strong (1670-1733). This collection holds six larger jars and covers (80 cm+ PO1081-84 & PO2014), five with just underglaze blue decoration and one also with the copper red (PO2090). There are four more similar ones of the slightly smaller type, but also with the copper red, in the same collection (c.75 cm PO2091-93 & PO1121). Two other related examples are in the RA collection, Brazil. Two rouleau vases with a comparable decoration, are preserved in the National Museum of Decorative Arts in Madrid (acc.no. M.N.A.D 10.517 & 10.518). The present pair are larger than the Dresden vases and the only examples which have come onto the market in recent years.

To the Chinese the peony is the queen of flowers, emblematic of wealth and rank, as well as the symbol for feminine beauty.

The double gourd ( hulu ) or calabash shape was considered very auspicious, standing for blessings and protection.

China, Kangxi Period (1662-1722), circa 1720

H: 60.5 cm | Ø: 39 cm

PROVENANCE

Private Collection, Belgium

LITERATURE

Ayers 2016, p.274-5 no.571

Krahl & Ayers 1986, no.2968 & 2969, col. ill., p.937

Pietsch, Loesch & Stöber 2006, p.38-39

Pinto de Matos 2019, p.178 no.71

Ströber 2001, p.90-91 no.38

Wirgin 1974, p.108 pl.59

Covers

A striking pair of covered jars, decorated all over in underglaze blue with overglaze red enamels and gilding. The rich decoration around the body of these jars is of rockeries with a pheasant perched on flowering peony bushes and exotic birds in flight. The neck has a border of scrolling flowers and the lid a decoration matching the main body, with a lotus bud finial. The foot-rim is edged with a double blue line and the bases are unglazed. Such large covered jars are often referred to as chimney pots, as they were placed in empty fireplaces during the summer.

This type of lavish porcelain decoration, referred to as Chinese Imari, has the distinctive colour scheme of blue, iron-red and gold, inspired by Japanese Imari porcelain. After the fall of the Ming dynasty - in the latter half of the 17th century - there was a downturn of porcelain production in China. The Dutch East India Company (VOC) looked for a substitute source for these lucrative trade goods. They turned to Japan as an alternative, where porcelain including the distinctive red painted aka-e wares, were exported from the port of Imari. These wares become very popular in Europe, where they were appreciated for their bright colouring. After the Chinese porcelain trade resumed, they copied this popular new red colourway, evolving into a distinct style in itself.

An similar pair can be found in the Dresden porcelain collection (PO 5429 & 5430). The Topkapi collection, Istanbul also has several comparable jars (TKS 15/4109-10 & TKD15/4064). The East Asian Museum, Stockholm has two similar pairs but with fo dog finials (CXV-1731-AB & 1732AB) and a ginger jar with the same décor (BS-0482). The Royal Collection Trust (UK), has a smaller jar with similar decoration (RCIN3339a.b). The RA Collection has a similarly decorated jar, in just underglaze blue enamels.

China, Kangxi period (1662-1722), circa 1720

H: 38 cm

PROVENANCE

Private Collection, France

LITERATURE

Berlin 1929, no.1012

Cohen & Motley 2008, p.58 no.1.6

Gorer & Blacker 1911, pl.74

Kopplin 2004, p.61-69 (fig.3)

London 2016, no.39

Schreuder 2017

Syndram 2005, p.88 & 89

Syndram 2006, p.132 & 133

Ulrichs 2005, p.26

A very rare enamel on biscuit porcelain standing figure, the arms, legs and upper body decorated in aubergine-brown enamels with black details. He wears a contrasting threetiered skirt, decorated in bright famille verte enamels with a strong blue enamel and edged in red and gold bands. He stands barefoot and bare-chested, with his left hand on his hip and the right holding a yellow cornucopia. The laughing face has an open mouth and eyes, black eyebrows and a gold star on his forehead. The earlobes are pierced, for the addition of bejeweled earrings. He dons a thin gold hairband, holding back black enameled hair in swirls – similar to that seen on Chinese Buddhist figures. He wears beaded bracelets, bangles around the ankles and a gold collar around the neck. The gold orde-sash across the body, has a central beribboned insignia.

This figure, undoubtably made as a special private order, is likely to have been based on illustrations. It is recorded that dark skinned Africans were in China during the Tang Dynasty (618-907), but by the Kangxi period they are rarely mentioned. A direct inspiration source for this figure has yet been found, but we do know that European prints and drawings were often used as design inspiration by the Chinese potters. Perhaps even a mixture of images were used, including those of American Indians wearing feather skirts – like those representing the American continent on early maps. The attributes he carries such as the cornucopia and the sash, are of course distinctly European.

Dark skinned figures were regularly portrayed in the decorative arts in the 17th, 18th and 19th centuries. Some of the finest examples, made around the same time as the present figure, are in the collection of the Green Vaults in Dresden. Figures created by Balthasar Permoser and the goldsmith Melchior Dinglinger, also wear feathery skirts, illustrations of which were perhaps a source for this figures’ curious attire.

One comparable figure, previously in the S.E. Kennedy Collection, is now in the Lady Lever Collection, Liverpool (acc.no.LL6131). The National Maritime Museum (Het Scheepvaart Museum), Amsterdam also has a similar figure in their collection (object no. 2018.0652). The Residenzmuseum, Munich, has two similar figures mounted as a clock and dated c.1730.

China, Kangxi period (1662-1722)

H: circa 15 cm

PROVENANCE

Private Collections, France & Argentina

LITERATURE

Ayers 2004, p.110 pl.116 & 117

Beurdeley & Raindre 1987, p.84 pl.122

Boulay 1984, p.232 fig.8

Desroches 1976, p.37

Pinto de Matos 2011, p.340

Sargent 1991, p.40 pl.9

Scagliola 2012, p.248 no.256

Welch 2008, p.54

Fruit Pyramids

These pyramids have moulded fruits piled onto fluted dishes. They have bright enamelling in a limited palette of ochre yellow, green and brown glazes – a colour combination known in China as sancai. Each fruit was individually moulded, then arranged layer by layer and joined with slip. The veined leaves were added last before firing. The coloured enamelling would be added onto the biscuit body, after which it was fired again at a lower temperature.

The various fruits on these dishes are rendered very naturalistically. The lychee pyramid, is glazed in yellow, brown and green and interspersed with small green and a few yellow leaves. The fruit is arranged standing upright in four layers in a yellow glazed dish. The two other pyramids, both depict finger citrons (foshou 佛手柑) - also known as Buddha’s hand. They are enamelled in a rich ochre yellow, the glaze pooling to a darker colour in the indentations. One has nine citrons in three layers, in a dish with just a green rim. The other has a larger arrangement in four layers, each fruit with some additional green glazing, in a dish which is yellow outside with a green rim.

Such porcelain derives from the Chinese tradition of piling offerings of sweetmeats and fruits onto house altars to honour the ancestors. These porcelain models are probably related to earlier funerary models of food dishes, used in burials for use in the afterlife. Artificial fruit dishes such as these, were certainly an excellent and practical alternative to using fresh fruit. These exotic looking objects, were also exported to the West as luxury curiosities throughout the 18th century. The earliest recorded example in Europe of such a fruit pyramid, was a small sketch made by Gabriel de Saint-Aubin in the French auction catalogue of Monsieur Gaignat in 1769.

China, Kangxi period (1662-1722)

H: 45 cm

PROVENANCE

James A. Garland Collection, USA, 1895 (inv.no.1024)

With Joseph Duveen, New York

J.P. Morgan Collection, USA, 1902 - 1914 (inv.no.862)

Private Collection, Europe, 2013

With Vanderven Oriental Art, The Netherlands

LITERATURE

Beijing 1989, no.32

Bushell 1896 (ed. 1980), pl.XVII p.379

Bushell & Laffan 1907, p.156 no.862

Davids & Jellinek 2011, p.191 & 328

Getz 1895, p.34 & pl. case 3

St. Clair 2016, p.134-136

Strouse 2000

Welch 2008, p.173, 176, 215 & 216

A pair of unusual pear-shaped vases with famille verte enamels on a white ground, handsomely decorated with highly auspicious figures and symbols. The bulbous body stands on a high foot, the tall neck gently flaring out to a wide mouth. On both sides is a large Chinese character for Shou and Fu, filled with a diaper pattern and outlined in black. It is overlaid with a large circular reserve medallion with scenes of Daoist figures in a landscape. The everted mouth has a band of lingzhi fungus alternating in yellow, aubergine and green, with a row of black dots below. The neck is decorated with two flying cranes holding a branch with a peach, alternating with cloud clusters. Clouds are the symbol of the celestial realms and the cranes emblems of longevity – both typical Daoist emblems. The lower neck has four adjoined ornamental bands in green, yellow and black with various repeating designs. The high foot, is decorated with light green overlapping stylised leaves. Around the slightly flaring foot rim, are another three pattern-bands in yellow, aubergine and dark green.

Overlaying the Shou (longevity) characters on both vases, is a scene of the Daoist Star Gods with three boys. The figure of Shoulao (God of Longevity), offers a large peach – the magical immortality fruit - to one of the boys. The other two figures are Fuxing (God of blessings holding a child) and Luxing (God of Rank and Emolument holding a sceptre). In popular religion, these Daoist deities were believed to help you achieve happiness, long life and wealth. The panels over the large characters for Fu (happiness) have a scene of the Eight Daoist immortals in a garden with a large pine tree. Each immortal can be identified by their appearance and the attribute they carry.

The underside of these vases have fabulously preserved labels from the Garland, as well as the Morgan collections. There are also several additional unidentified inventory numbers and labels. They were on loan to The Metropolitan Museum of Art, first from James Garland and later J.P. Morgan.

The Museum of Fine Arts, Boston has a famille verte rouleau vase, with similar bold decoration on the body (acc.no. 21.2283). The Palace Museum, Beijing also has a rouleau vase, decorated with large character overlayed with panels, very similar to these. The Jie Rui Tang Collection, USA also has a pear-shaped vase of a similar shape decorated in famille verte enamels (no. 1330). The Burrell Collection, Glasgow has a similar shaped vase, but in underglaze cobalt blue (acc.no. 38.1043).

EXHIBITED

The Metropolitan Museum, New York 1895-1913 Wadsworth Atheneum, Morgan the Mind of a Collector, 2017 (Loan TL2017.29.6A)

PUBLISHED IN

The Metropolitan Museum of Art Hand-Book of a Collection of Chinese Porcelains Loaned by James A. Garland, 1895, p.34 & pl.case 3

Catalogue of the Morgan Collection of Chinese Porcelain 1907 no. 862 – 863

James A. Garland (1840-1906) was a prominent New Yorker, the Vice-President of the First National Bank of New York and an organiser and builder of the Northern Pacific Railroad. Like J.P. Morgan, he was a client of Duveen Brothers and a serious collector of art works, especially Chinese porcelain.

The James A. Garland collection of Chinese porcelain, was one of the largest and comprehensive in the United States, comprising over a thousand Kangxi blue and white and coloured porcelains. The collection was permanently on loan to The Metropolitan Museum, New York until his death in 1902. It was sold to the Duveen brothers for $500,000, who quickly sold the collection to John Pierpoint Morgan (1837 – 1913), another fervent collector of Chinese porcelains.

China, Kangxi period (1662 – 1722), circa 1710

Ø: 20.4 cm

PROVENANCE

With John Sparks, London (label) Collection Dreesman no.18 (label)

Sotheby’s Amsterdam Oct 1999, lot no.24

With Vanderven & Vanderven

Oriental Art 1999

van Daalen Collection, Geneva, Switzerland 2019

LITERATURE

Bartholomew 2006, p.43

Jörg 2011, p.55 no.53

Leidy 2015, no.36

Pei 2004, p.59-61

Schumacher 2010, no.64

Dragon Plates

A pair of octagonal famille verte plates, decorated with dragons chasing a flaming pearl amongst stylised clouds. The slight upstanding rims, have a pattern of green crested waves with red blossoms. The central panels depict swirling four-clawed dragons, their faces turned sideways, mouths open and wavy tendrils issuing from their nostrils. They have elongated scaley bodies - one blue with a green head, the other green with a blue head. Each beast has two legs clearly visible; the other two claws just peek out from under their yellow bellies. The blue dragon is surrounded by green stylised clouds, the green dragon by blue ones. Both are chasing a red and gold flaming pearl. The bases have an apocryphal Chenghua mark in a blue double circle. These Dragon plates have a fabulously documented provenance history, which is apparent from the labels still on the bottom of the plates.

The dragon (long) is the creature most associated with China, permeating its arts. Ranked first among its mythological beasts, it is associated with goodness, power and is a symbol of the Emperor himself - particularly the five-clawed dragon. The use of four-clawed dragons was reserved for nobles and high ranking officials. Unlike Western dragons, the Chinese variety is a good-natured creature and a potent symbol of male vigour and fertility. An often recurring motif, involving one or more dragons, is that of dragons chasing a ‘flaming pearl’. The origin for this mysterious fiery ball is probably Buddhist iconography, where a similar object appears as a wishing jewel (cintamani) symbolising wisdom. Dragons depicted in combination with waves, emphasise their water-giving powers, symbolising longevity and abundance.

The Groninger Museum in The Netherlands has a famille verte bowl depicting similar green and blue dragons (obj.no.1960.0055); as does the Ariana Museum, Geneva (inv.no.AR2007-171). The British Museum, London has a large dish with a single blue and green dragon chasing a flaming pearl (acc.no.Franks.510.+).

The dragon ( long ) is the creature most associated with China

China, second half 18th century

H: 22.6 cm

PROVENANCE

Private Collection, Paris

LITERATURE

Bartholomew 2006, p.30

Welch 2008, p.48-49

Finger Citron Vases

A highly unusual pair of monochrome vases, moulded in the form of large upright finger citrons. They are robustly potted and glazed on the biscuit in bright turquoise enamels, which is lightly crackled. The asymmetric mouth opening is surrounded by the lobed fingers of the fruit. They stand on a high foot-ring, with moulded leaf decoration. The underside and inside are unglazed.

The fingered citron (citrus medica var. sarcodactylis) is an unusually shaped citrus variety, with a thick rind which has peculiar finger-like protrusions on one end. In China it is also referred to as Buddha’s Hand, as it resembles the hand position (dhyana mudra) of Buddha in meditation. The origin of this fruit variety can be traced back to northeastern India and southern China, where most domesticated citrus varieties originate. The fruit is not edible unless it is preserved with salt or sugar, but very fragrant. Its strong scent makes it a popular choice as an altar offering during new year’s celebrations.

The Chinese characters in its name (foshou 佛手), are very emblematic. The character fo (buddha) is a play on the word for blessings and riches fu. The second character shou (hand), is also a pun for longevity. This makes the finger citron a highly popular emblem for happiness, longevity and good fortune.

Vases such as this would have been a highly symbolic object for the Chinese. But when it entered Europe, it would have mainly been valued for its beautiful bright colour and exotic imagery. We know of no other similar vases.

Porcelain China, 18th century

Gilt-bronze mounts 19th century

H: 16.5 cm | L: 21 cm

PROVENANCE

With dealer Asia Africa Museum, Geneva (Label) inv.no. AMA3595

LITERATURE

Ayers 2016, p.614 no.1435

Castelluccio 2013

Kjellberg 2000, p.93

Lunsingh-Scheurleer 1980, p.290 pl.237

Watson 1980

Watson 1986

Mounted Li Bai

This lavish ornamental object comprises of various elements of Chinese porcelain, mounted in gilt-bronze. A turquoise glazed reclining figure and a carp, are sitting amongst bulrushes on a rocky underground. The taller wavy leaves of the rushes, as well as a few catkins, are arranged behind the figures. Some shorter bended leaves are placed around the sides and front of the group. The carp amusingly spouts gilt bronze ‘water’ from its mouth. The gilt-metal base has a broad concave band and stands on ornamental pierced feet.

The reclining figure, represents the well-known Tang Dynasty romantic poet Li Bai (701-766 AD), also referred to as Li Taibo the Poet Immortal. He is one of the greatest imperial poets of his day, but became particularly famous for his great drunkenness. He is therefore often portrayed leaning drunkenly against a wine jar, as he is here.

Originally this figure of Li Bai was made as a waterpot and the carp as a water dropper – both items intended for the Chinese scholar’s desk. On entering Europe, these objects lost their original usage and meaning, but were certainly appreciated for their exotic allure. During the 18th century, French dealer-decorators known as the marchandsmercier, would combine and embellish beautiful foreign objects such as these, turning them into new highly fashionable works of art.

The Walters Museum in Baltimore has a mounted group with two turquoise carp, but with a central cup surrounded with bulrushes (acc.nr 49.2266).

China, Dehua, Fujian Province, mid 18th century

H: 25 cm

PROVENANCE

Private Collection, The Netherlands

LITERATURE

Ayers 2016, p.50 no.44-45

Bartholomew 2006, p.64

Jörg & van Campen 1997, p.245 no.282

Penkala 1980, p.181

New York 1986, p.90 no.10

Pei 2004, p.94

A blanc de chine porcelain figure of Guanyin seated on a high rockwork base, holding a child on her lap. She has an elegant pose and serene expression, befitting the Goddess of Mercy. She wears loose robes, one bare foot peeping out from under her flowing garments. Her hair is in a top knot covered loosely by her mantle. Her right leg appears to be folded up and the other hanging down, in a pose known as Royal Ease (lalitasana). The child holds a lotus bud, forming a symbolic combination which can be read as ‘may you continuously give birth to distinguished sons’. The whole is thickly potted, with a hollow body which is unglazed on the inside. The outside is covered in a thick transparent glaze, typical of wares from Dehua.

The bodhisattva Guanyin is generally depicted as a female in flowy white robes, peering downwards with an expression of purity and wisdom. She embodies the motherly virtues of compassion and mercy and was thought to have particular fertility granting powers. Holding a boy on her lap she is known as Guanyin songzi 送子观音 - the giver of children. In this manifestation she was the focus prayers for women wanting male offspring; which in China was considered vital for the continuation of the family lineage.

Guanyin is widely worshiped in Chinese culture and is depicted in many forms and sizes. These smaller scale figurines would have been useful for placing on the family house altar. But they were also a popular export product, probably for their striking resemblance to Christian images of the Madonna and Child.

A slightly smaller similar figure is in Porzellansammlung Dresden (inv.no. PO 8563 ). The Asian Civilisations Museum, Singapore has an example with traces of lacquer (acc.no. 2002-00326). Other comparable examples are in the Rijksmuseum, (inv.no. AK-MAK 658) and Royal Collection Trust, UK which has several (RCIN58841.1-2).

China, 19th century

H: 50 cm | W: 28 cm

PROVENANCE

Collection Altmeyer, France 2012

LITERATURE

Boulay 1984, p.182, pl.3

Donnelly 1969, p.126

Liu 2007, pl.85

Scagliola 2012, p.312, pl.397

Welch 2008, p.38-39

Plum Blossom Tree

A large Blanc de Chine porcelain plum blossom tree, comprising two large intertwined trunks. The crowns have smaller branches, which are adorned with blossom in various stages of bloom - buds as well as flowers. The realistically modelled trunk ends in big gnarly roots. The kaolin clay around the porcelain production city of Dehua, was especially good for shaping and moulding objects like this, the purity of the clay resulting in a bright white porcelain. Blossom trees were among the more sculptural pieces created by the Dehua potters during the 18th and 19th centuries, and probably made for the European market. These trees are known in different sizes, this example appears to be among the largest created.

This tree represents a prunus or plum blossom tree (meihua), which in China are very emblematic and laden with symbolic meaning. They are greatly admired for their beauty, which is why their blooms are considered ‘the first amongst flowers’ and a very popular subject matter for art and poetry. As the flowers always emerge before the leaves, it’s flowering heralds the coming spring and is therefore the representation of winter. Being so hardy, this tree also represents hope and endurance during adversity. The five flower petals, embody the many ‘fives’ in Chinese imagery - including the five gods of prosperity; five good fortunes; five good luck gods etc. In modern China the meihua is also the National Flower, its petals representing the five Chinese peoples: Han, Manchu, Mongol, Mohammedan and Tibetan.

The Asian Civilisations Museum has a similar large example, but with figures (acc.no. 2019-00535). Smaller trees in square containers are in The Laura Collection, Turin, and the British Museum, London (acc.no.1980,0728.198).

China, Western Han Dynasty, mid 2nd century BC

H: 60.5 cm | L: 53 cm

PROVENANCE

With Vanderven & Vanderven, 1990

Private Collection, Germany 2022

TL tested by Oxford Authentication, 1988

LITERATURE

Bonneux 2006, p.81-2 no.99

Harrist & Bower 1997, p.54-55 no.1

Jacobson 2013, p.60-61

Kentucky 2000, p.138 no.121

Liu 1991, p.116-117

New York 2017, p.94-94 no.1

Paris 1995, p50 no.10

Paris 2014, p.81 no.16

Wang 1994, p.107

A large pottery figural group of a mounted cavalryman. The horse stands four square, its ears pricked backwards, teeth bared and nostrils flared - poised to respond to his master’s command. This sturdy barrel-chested horse, is painted reddish brown with its tack and saddle drawn onto the body with contrasting white pigment. The rider wears a short red tunic with a rolled collar and a white undergarment over narrow white trousers. His red head-covering with a black band, is tied under the chin, his facial details lightly moulded and accentuated in black. His hands are folded into fists and would probably have originally held reins or brandished a spear. The legs of the rider were moulded as part of the horse; the rider’s hollow upper-body was made separately and slotted onto the horse using a long wooden pin. The moulded tail, which is docked and bound, is detachable.

This equestrian group, reflects the Western Han transition from warfare based on infantry and chariots, to that using lighter faster cavalry units. This transformation was propelled by the use of new superior horses, which were clearly larger and more muscular than those from previous periods. It is from this early Han period, that they started cross-breeding stockier native horses with larger, faster and more agile mounts. These new breeds were thought to have been acquired through trade with the nomadic Xiongnu tribes, from the steppes north of Chinamarking the beginning of the northern Silk Road trade routes.

Cavalrymen such as this one, typify a style associated with royal Western Han burials, found just North East of the Imperial capital Xi’an in Shaanxi province. At the Yangjiawan site a massive 583 equestrian riders, much like this one, were found within the mausoleum complex of Emperor Gaozu (r.205-195 BC). They were unearthed in 1965 from two satellite grave mounds, thought to house the tombs of general Zhou Yafu (d.169 BC) and his son. Such burial honours were usually only accorded to imperial family members and others persons of high status.

Similar cavalrymen are now in the Xianjang City Museum. Musée Guimet, Paris also has a similar horse in its collection (MA6089) as does the Minneapolis Institute of Art, USA, (acc.no.2001.205a-c).

The Han dynasty was one of the truly great dynasties in China, in terms of statecraft, economy, agricultural reform and culture. The powerful rulers made a host of industrial innovations, including mass production and uniformization of processes. Ritual and burial were still considered essential to be successful in the afterlife, so the Han rulers spent up to third of their state revenue on building their imperial tombs during their lifetimes. The importance of these extended burials in Han society was such, that the manufacture of figurines and other funeral objects (mingqi, 明器) even became a specialist trade.

China, Han Dynasty (206 BC-220 AD)

H: 57.5 cm - 61 cm

PROVENANCE

With Lam & Co, London

R. Woodhead Collection, United Kingdom, 2022

TL tested by Oxford Authentication

LITERATURE

Bonneux 2006, p.70-77, no.1&2

Desroches 1996, p.31-33

Jenkins 2005, p.104-105

Ledderose 2000, p.65

Mater 2011, p.114-143

Paris 2000, p.249 no.97

Paris 2014, p.71-75 no.8-11

Sun 2017, p.114-115, no.36a

Taipei 2009, p.82-111

A group of Chinese pottery figures known as ‘Stickmen’, for their upright and elongated appearance. The bodies were made in individual moulds for the body, legs, feet and heads. Facial features, such as nose and ears, were added later by hand giving each piece its unique character. The figure would then be assembled with clay and fired, the body colours and details cold painted on afterwards. The solid bodies would have originally been clothed with textile or leather garments, now deteriorated. Their articulated arms were presumably made of wood or another natural material, which have also decayed over time. We know from excavations that such nude figures, were interred in great number in imperial and noble burials, forming a vast household retinue for the deceased in the afterlife. This entourage not only featured figures of attendants and soldiers, but also horses and other farm animals, small buildings and other useful artefacts.

Stickmen were first uncovered on the burial site of Emperor Jing (r.157141 BC) in the Han Yanglin Mausoleum Complex (Shaanxi province). Excavated ceramic workshops also revealed how such figures were mass produced, supplying the ever increasing demand for such goods. The sheer number of figures found was extraordinary; and even though smaller in size, they surpassed the famous Terracotta army in volume, numbering over 40,000 figures. This period also marked the end of the practice of human sacrifice for burial rituals in China. Previously slaves had been interred with the deceased rulers, but his practice lost favour from the Warring States period (475-221 BC) onwards. Figures and artefacts made of wood, pottery, bronze or other materials, gradually began to be preferred in burials.

Musée Guimet, Paris has such male figure (MA5141) and two females are now in the Portland Art Museum, Oregon. The Asian Art Museum, San Francisco also has a stickman in their collection (acc.no. 1996.27.1). One from the famous Yangling Museum was on loan in The Metropolitan Museum of Art, New York, in 2017. A larger group was exhibited in the Drents Museum, Assen in 2008.

PROVENANCE

With Vanderven & Vanderven 2007

Private Collection, The Netherlands 2021

TL Tested by Oxford Authentication

PUBLISHED

PAN Amsterdam Fair catalogue 2007, p.251

LITERATURE

Bower 2002, p.129 no.45

Caroselli 1987, p.54-55 & cat.no.60

Choi 2007, p.252 no.111

Cologne 2008, p.11 pl.14-15

Harrist & Bower 1997, p.68 no.8

Jacobson 2013, p.224-225

Kentucky 2000, p.156 no.144

Thorpe & Bower 1982, p.64-64 no.38

Dancing Horse

A pale buff pottery horse standing on three legs, with its right fore-leg raised. Naturalistically modelled, it has a powerful arched neck with its head turned slightly to the left. The saddle, covered with gathered and tied material, sits on a saddlecloth decorated with a geometrical pattern. The hollow body was moulded in parts, and assembled before firing at a low temperature. Afterwards it was cold-painted with pigments, with some of the original bright orange, black and green colours still visible. Typical of the highTang sculptures, this horse shows great expression and movement, which gives it its animated appearance. Its posture suggests this horse may represent one of the famous Tang dancing horses.

During the Tang Dynasty, horses were essential for travel, transportation and military use. With the flourishing of the Silk Road, better breeds entered China from neighbouring regionssuch as Samarkand - and national breeding programmes were set up. Starting with only around 5,000 government owned horses, numbers reached a staggering 700,000 within 40 years! The Tang rulers certainly recognized that the possession of outstanding horses, was key to their maintenance of power and continuing military superiority. To ensure a successful long-term breeding plan, the government even introduced specific new laws and installed a dedicated administration unit for horse-husbandry – the Tai Po Zhi 太僕寺. Their purpose was not only to multiply the number of horses, but also to breed ever superior varieties. These horses from the imperial pastures were not only for military use, but also for sports such as hunting and polo, as well as entertainment.

China, Tang dynasty (618-907), mid 8th century H: 60,5 cm | L: 58 cm

Accounts tell of Emperor Xuanzong’s (712-756), special troupe of 100 dance-horses (Wuma 舞 馬), which were trained to dance to music for the amusement of the court. They performed to specially composed music and lyrics such as the Song of the Upturned Cup – during the dramatic finale of which, one horse would bend its knees and clench a cup in its mouth and offer wine to the ruler to wish him longevity. This type of popular equine entertainment was probably not restricted to the imperial family, but also fashionable amongst the nobility as a sign of good taste and wealth.

Similar dancing horses were excavated from the Tang tombs of Zhang Shigui, a high ranking military man under emperor Taizong (r.629-649AD). Comparable examples can also be found in Cincinnati Museum of Art (Acc. Nr. 1997.53), The Metropolitan Museum of Art, New York (Acc. No: 67.62.2), the British Museum, London (no.1924,1112.1) and Ashmolean Museum, Oxford (EA1991.56).

Grandchildren of Dragons from Dens of the Moon

Four hundred hooves; Proud Prancers, lightly pacing, responsive to golden drums

When the tune is done, seeming to want the affection Of their sovereign lord; They look back at the Red Tower But do not dare to neigh

China, Tang dynasty (618-907), 8th century

H: 34 cm

PROVENANCE

With Vanderven Oriental Art 2001

Collection van Milders, Belgium

TL Tested by Oxford Authentication

LITERATURE

Chen 2019

Desroches 1996, p.228-230

Holdsworth 1999

Jacobson 2013, p.184-185

Mater 2011, p.50-71

Rastelli 2008, p.239 no.118 & p.306

Yin 2016, p.98-109, nr 104-111

This elegant full-bodied pottery court lady, is typical of mid-Tang female figures. She wears a loose and flowing robe tied under the bust, the hem reaching the floor but just revealing the tips of her shoes. The voluminous sleeves fall down in front of her body and covers her left hand; a clenched right hand peeks out from her right sleeve. Her hair is styled extravagantly in an elaborate chignon with a double-barrelled topknot (quixing ji). The figure is hollow, the outside smoothly moulded and cleverly incised to suggest the folds of the garment. After firing, the pottery figure would have been covered in slip and painted with colourful facial features and dress detailing.

Tang ladies were greatly pre-occupied with their beauty routines – particularly their hair and make-up. As Chinese believed that part of the life force of humans was contained in their hair, they let it grow very long. This allowed for an impressive variety of exotic hairstyles, with over a hundred different kinds recorded. These extravagant coiffures were held in place with hairpins and combs, sometimes padded with horsehair for added volume. The women also used flamboyant cosmetics – blush, lip rouge (ynazhi) and an array of boldly shaped eyebrows – each style given a name. Colourful flower-shaped ornaments (huadian) would be pasted to the foreheads and on cheeks to complete the look.

The fashion for plumpness, is often reflected in pottery figures and tomb frescoes dating from the 8th century, which is why these figure are sometimes referred to as ´fat ladies’. This preference for the fuller figure is said to have been influenced by Emperor Xuanzong’s (r.713-756) beloved plump concubine Yang Guifei. But it is more likely that this notable weight increase among wealthy society, came from their more sedentary and luxurious lifestyle.

There was a great assortment of imported luxury goods traded in the bustling Tang capital city of Xi’an. Written records note the great variety of delicacies from the neighbouring countries such golden peaches from Samarkand, Persian pistachios, pine nuts and ginseng roots from Korea and mangoes imported from Southeast Asia.

A court lady with a very similar hairstyle is in the collection of Musée Guimet, Paris (MA6106). A larger figure is in the Victoria & Albert Museum, London (CIRC.124-1938). Comparable figures were also found in the tomb of Prince Li Xian in Sanhecun, Shanxi Province.

China, Kangxi period (1662-1722)

H: 23.6 cm | W: 10 cm

PROVENANCE

Christie’s Monaco 17 June 1990 lot 41

Spink & Son, London

Purchased from V&V 1990’s

Jansen - Eras Collection, The Netherlands

LITERATURE

Campen 2011, p.152-173

Geiger 1994, p.97 p.24-25, p.71

Clunas 1996, p.69

Dam-Mikkelsen & Lundbaek 1980, p.190-191

Eberle 2015, no.396 & 404

Rawski & Rawson 2005, p.258-259 no.173

Ströber 2002, p.284-286 no.632-636

Tsang & Moss 1986, p.52 no.14

Wall Vases

A rare pair of finely carved soapstone wall vases, with figural scenes of elegant ladies in a garden. Each is composed of a flat back and a curved front panel, joined and then carved in highly detailed low-relief on the front. The soapstone used for each vase varies in tone, one in a lightly veined honey colour; the other has a mottles grey-beige front and a rust brown back. Each vase has carved scenes of exquisitely dressed idealised ladies (meiren), wearing long flowing robes, hair styled in a high top-knot. They stand in an idyllic garden with rockeries and plants, a small fence and a single jardiniere with a flowering plant standing on a garden seat. Stylised clouds float by in the upper part of the vase. The scene is enhanced with colourful green, blue and red pigments, detailed with finely incised gold lines. The background is very finely carved and gilded with a tiny formalised fish scale pattern. The vase stands on a high foot with a stepped edge, with incised hanging leaves and the bottom of the foot has a fine cracked ice pattern in gold. The neck is pierced with a hole in the front and back so it can be hung.

Soapstone or steatite, is called hua shi in Chinese, which literally translates to ‘slippery stone’. As its name suggests, it is very soft, smooth and slippery to the touch. It is found in veins or as loose boulders in the South Eastern coastal regions of China. It comes in many colour variations, from a soft cream to a russet red. Being one of the softest of all stones, it is ideal for small scale intricate sculptures and works of art. Worked with a knife and chisel, craftsmanship was highly refined. It was a material particularly popular with the literati as it was a natural and modest material.

The Herzog Anton Ulrich-Museum, Braunschweig, has numerous soapstone wall vases, though none with a figurative scene. Inventory notes suggest that there were also soapstone wall vases in the collection of Augustus the Strong intended for his Japanese Palace.

China, Qianlong period (1736-1795), mark and period

H: 25.8 cm | Ø: 15 cm

PROVENANCE

Private Collection Europe

Ina & Sandford Gadient Collection, USA, 2000 (label inv.no.23)

PUBLISHED

Treasures of Chinese Glass Workshops -

The Ina & Sandford Gadient Collection no.23

LITERATURE

Brown & Rabiner 1987, p.22 no.11

Brown & Rabiner 1990, no.24

Rong 2005, p.140 no.17 & p.340 no.165

Ruriko 2018, no.23

Shangraw, Rabiner & Brown 1995, p.74 no.44

Shangraw & Volf 1997, p.38 no.24

A transparent vivid peacock-blue glass vase, with a jewel like brilliant hue. The tall cylindrical neck raises above a full bulbous body and stands on a recessed slightly inverted foot ring. The surface is entirely plain and smooth; the body has few small scattered inclusions and bubbles. On the recessed base is a wheel-cut four character reign mark - Qianlong nian zhi (made in the Qianlong period) in standard script within a large double-line square.

This thick-bodied vase, would have been mould-blown and finished by grinding the rim and foot then polishing and buffing it to a shine. It is almost certainly the product of the Imperial Glass Workshop in Beijing. First established by Emperor Kangxi in 1696, this dedicated studio continued to flourish under imperial patronage throughout the 18th and 19th centuries. Particularly the Qianlong period was considered the Golden Age of glass production, when the Imperial Glasshouse was producing an extraordinary range of bright new colours and innovative shapes. The manufactory formed part of the extensive department of imperial artwork studios (zaobanchu), which supplied the highest quality artworks for the royal family as well as diplomatic gifts and tributes.

A vase of very similar shape and colour is in the collection of Alan Feen, USA. A Qianlong mark and period vase, of the same shape but deeper blue, is in the collection of the Asian Art Museum, San Francisco (acc.no.2010.141). A bottle vase of a comparable blue-green hue and transparency, but of later date, is in the Palace Museum collection, Beijing.

In using glass to make vessels, the shapes can be quite varied. Moreover, the colour may be red, purple, yellow, white, black, green or any hue. Clear as crystal, red as flame, it is something easy to delight in.

Chinese captions

1 | Double Gourd Jars

葫蘆對瓶

中國清代康熙年間

高：111公分

重：各48公斤

2 | Covered Jars

將軍罐

中國清代康熙年間

高：60公分

直徑：37公分

3 | Standing Figure

崑崙奴像

中國清代康熙晚期（約1720年）

高：38公分

4 | Fruit Pyramids

果實疊山

中國清代康熙年間

高：14-15.5公分

5 | Auspicious Vases

福壽瓶

中國清代康熙年間

高：45公分

6 | Dragon Plates

飛龍在天盤

中國清代康熙年間

直徑：20.4公分

7 | Finger Citron Vases

佛手瓶

中國清代嘉慶年間

高：22.6公分

8 | Mounted Li Bai

馬上詩僊像

中國清代（約18世紀）

高：16.5公分

長：21公分

9 | Guanyin

10 | Plum Blossom Tree

滿樹繁花

寬：28公分

11 | Cavalryman 騎馬俑

12 | Stickmen

13 | Dancing Horse

寬：58公分

14 | Court Lady 仕女俑 中國唐代 高：34公分

15 | Wall Vases 壁瓶 中國清代康熙年間

高：23.6公分

寬：10公分

16 | Imperial Glass

乾隆玻璃瓶

中國清代乾隆年間

高：25.8公分

直徑：15公分

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