Two Jian ware tea bowls, Song dynasty at Art Gallery of New South Wales, Sydney

Étiquettes

12th-13th century, Fujian Province, Jian ware, Song dynasty, Stoneware, tea bowl, tenmoku glaze

Jian ware tea bowl,  China, Fujian province, Song dynasty (960-1279), stoneware, tenmoku glaze, silver rim, 6.9 x 12.4 cm. Purchased 1965. EC4.1965. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

The tea bowl was made in the Song dynasty (960-1279) in the south-eastern province of Fujian and was a type of stoneware produced in vast quantities for everyday use. Its appeal is in its glaze colour and texture and in the well-potted functional form. These bowls, of which this is an exceptionally fine example, were made near Jianning, in northern Fujian, probably from about the 10th century onwards. They are especially prized by the Japanese for use in the ceremonial drinking of tea which the form and the glaze would have been considered particularly appropriate. The Japanese name ‘tenmoku’ is thought to be a corruption of Tianmu, a mountain close to Hangzhou from which the ware may have been shipped.

The body material is a dark brown stoneware covered in this example, with a thick, lustrous, dark blue-black glaze streaked with yellow (an effect commonly known as « hare’s fur »). The colour is light brown near the mouth, having run thin there, to an extent causing some roughness at the rim. For this reason, the bowls are often metal bound, as with this bowl which has a swaged silver rim. These ferric oxide glazes were very viscous, which is indicated by the flow on the exterior, where the glaze has collected in a heavy roll some distance from the foot.

J.H. Myrtle, AGNSW Quarterly, July 1965.

Jian ware tea bowl,  12th century-13th century, China, Song dynasty (960-1279), 6.3 x 12.3 cm (irreg.). Bequest of Eleanor Hinder through her executors 1979. 92.1979. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Two Henan ware, Song dynasty at Art Gallery of New South Wales, Sydney

Étiquettes

black-glaze, Brown glazed bowl, circa 1200, Henan Blackware, Henan Province, Song dynasty, Stoneware

Henan Blackware vase, circa 1200, China, Song dynasty (960 – 1279), Henan Province, stoneware with a black glaze, 4.0 cm diam. of mouth; 22.0 x 19.0 cm. Gift of Graham E. Fraser 1993. 332.1993. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Brown-glazed stonewares from the Henan province were part of an extensive ceramic industry that spread throughout northern China during the Song dynasty. They were a popular ware used in most households and not a select quality ware collected by connoisseurs and eulogised in literature. From a technical viewpoint, this vase demonstrates the achievements in kiln control of northern potters around the year 1200. These achievements enabled the creation of appealing, rusty-brown suffused patterns in the black glaze: the result of precipitations of iron oxide in a reducing atmosphere in the kiln.

‘Asian Art’, AGNSW Collections, 1994, pg. 194.

Brown glazed bowl, China, Song dynasty (960 – 1279), Henan Province, stoneware, 7.2 x 17.8 cm. Gift of Dr. Peter Elliott 1995. 220.1995. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Back on Boucheron Art Deco Jewelry at Christie’s, 17 November 1998, Geneva

Étiquettes

Boucheron, circa 1925, circa 1928, circa 1929, circa 1932, diamond brooch, emerald and diamond bracelet, vanity case

An elegant emerald and diamond bracelet, by Boucheron. Photo Christie’s Image Ltd 1998

Designed as three baguette, triangular and shield-shaped diamond openwork panels to the rectangular-cut emerald spacers, circa 1929, 18.5 cm., with French assay marks, in its original Boucheron blue leather case. Signed by Boucheron, Paris. Estimate: CHF44,000 – CHF50,000 ($32,023 – $36,390). Price Realized  CHF65,500 ($47,707)

A mother-of-pearl, diamond, enamel and onyx vanity case, by Boucheron. Photo Christie’s Image Ltd 1998

The green enamel and onyx rectangular case applied with a mother-of-pearl plaque depicting a Chinese landscape with black enamel and diamond detail to the front and reverse, opening to reveal two compartments, a lipstick holder and a fitted mirror, circa 1928, 9.0 x 5.0 x 1.5 cm., with French assay marks (lipstick tube deficient). Signed by Boucheron, Paris. Estimate: CHF22,000 – CHF28,000 ($16,012 – $20,378). Price Realized  CHF52,900 ($38,501)

An agate, diamond and enamel case, by Boucheron. Photo Christie’s Image Ltd 1998

Of rectangular outline, the two-toned agate and diamond-set box applied with a coral, carnelian and malachite bouquet of flowers in a single-cut diamond vase with multi-coloured enamel surround to the black enamel fleur-de-lis hinges and thumb-piece, circa 1925, 8.5 x 4.2 x 1.4 cm., with French assay marks, in its original Boucheron pink leather fitted case. By Boucheron. Estimate: CHF29,000 – CHF36,000 ($21,106 – $26,201). Price Realized  CHF36,800 ($26,783)

A diamond brooch, by Boucheron. Photo Christie’s Image Ltd 1998

Bezel-set with a hexagonal-cut diamond in an old European and baguette-cut diamond geometrical swirl surround to the diamond tiered terminals, circa 1932 (accompanied by fittings to be worn as a necklet), with French assay mark, in its original Boucheron brown leather fitted case. Signed by Boucheron, Paris. Estimate: CHF29,000 – CHF36,000 ($21,106 – $26,201). Price Realized  CHF34,500 ($25,109)

Christie’s . ART DECO JEWELLERY, 17 November 1998, Geneva

Back on Van Cleef & Arpels Art Deco Jewelry at Christie’s, 17 November 1998, Geneva

Étiquettes

"cadenas" wristwatch, "Machine Aesthetic", circa 1928, circa 1930, circa 1939, diamond clip lorgnette, Egyptian Revival, pendent sautoir, The Duchess of Windsor, Van Cleef & Arpels, vanity case

An exceptionally rare gem-set Egyptian Revival pendent sautoir, by Van Cleef & Arpels. Photo Christie’s Image Ltd 1998

The pendant designed as a pavé-set diamond panel with central seated figure of Maat in domed calibré-cut rubies to the chevron border with lotus flower terminals and gem-set fringe, suspended by a series of twelve shaped rectangular panels, each depicting a falcon, with collet and buckle spacers to the ruby, emerald and diamond winged scarab clasp, December 1924, 75.5 cm., with French assay marks, in a later green leather fitted case. Signed by Van Cleef & Arpels, Paris, no. 23336. Estimate: CHF440,000 – CHF580,000 ($320,233 – $422,125). Price Realized  CHF465,500 ($338,792)

Notes: This sautoir ranks amongst Van Cleef & Arpels’ greatest achievements. Of exceptional quality and inspiration, it was one of two similar pieces to be produced. As fine examples of creations from this period become ever rarer, it is unfortunate that the other necklace has disappeared.

ewellery production in the first quarter of this century, particularly in the years just after the discovery of Tutankhamun’s tomb, was marked by a prevailing Egyptomania. Pieces inspired by the pectoral, an ornamental breastplate placed on the chest of the mummies, were executed by both Cartier and Van Cleef. Though Cartier’s initial designs are of an earlier date – circa 1910 – preceding the 1922 find and probably more influenced by the 1911 Franco-Egyptian exhibition at the Louvre, they were never quite as ambitious as the present necklace.

Typical of the Egyptian-inspired creations of the time, the motifs and hieroglyphs incorporated into this sautoir were chosen strictly for their decorative value. As an ensemble, they have no meaning. The central image represents the Goddess Maat. According to Egyptologist Regine Schulz in « Egypt: the World of the Pharaohs », « the concept of Maat stood for the principal of the structured world, that is, for order and equilibrium, ethical values and justice, culture and creativity. » Accompanying Maat to the right is a hieroglyph representing the ostrich feather. In ancient Egypt, an efficient postal service existed. To identify themselves, the postmen wore ostrich feathers. Thus, the symbol came to mean « bearing good intentions ». She is sitting below a circle representing the sun and above the zig-zag hieroglyph for water, which has been inverted. To her left is the symbol for a sceptre. To either side of the pendant are lotuses, symbolising lower Egypt.

The surmount depicts a winged scarab, representative of Khepri, the morning sun. Such objects were placed on the chests of the dead as a symbol of ressurrection. The cartouche shaped-panel surrounding the scarab is reminiscent of those used to write the names of the Kings in hieroglyphs. The falcon, an image repeated in the neckchain, was the protector of royalty in ancient Egypt. It also sometimes represented the God Ra or the supreme embodiment of power.

A lady’s diamond-set « cadenas » wristwatch, by Van Cleef & Arpels. Photo Christie’s Image Ltd 1998

With nickel finished jewelled lever movement, the silvered dial with dot chapters enclosed in a pavé-set and baguette-cut diamond padlock motif bezel to the twin tubogas bracelet, circa 1939, 17.5 cm. Bracelet signed by Van Cleef & Arpels, no. 89807, interior case no. 14783. Estimate: CHF44,000 – CHF50,000 ($32,023 – $36,390). Price Realized  CHF69,000 ($50,218)

Notes: Cf. Sylvie Raulet, « Van Cleef & Arpels », Éditions du Regard, Paris, 1986, page 311

The design of this watch was inspired by the outline of a padlock. The initial version, created in 1939 and set exclusively with diamonds, adhered to the aesthetics of the 1930s: bold, geometric and white. Later examples, created in 18K gold, leaned more towards post-War tastes.

A diamond clip lorgnette, by Van Cleef & Arpels. Photo Christie’s Image Ltd 1998

Designed as a circular and baguette-cut diamond buckle motif clip to the foldable lorgnette, circa 1928, in a later black suede fitted case. Signed by Van Cleef & Arpels, N.Y., number indistinct. Estimate: CHF12,000 – CHF15,000 ($8,734 – $10,917). Price Realized  CHF17,250 ($12,555)

Provenance: The Duchess of Windsor

Literature: Sotheby’s Geneva, « The Jewels of the Duchess of Windsor« , April 2, 1987, lot 13

An enamel « Machine Aesthetic » vanity case, by Van Cleef & Arpels. Photo Christie’s Image Ltd 1998

The rectangular case applied with geometric motifs in two shades of blue, black and grey enamel, with concealed side operated push-piece opening to reveal a powder compartment, a lipstick holder and a fitted mirror, circa 1930, 8.0 x 4.5 x 1.0 cm., with French assay marks. Signed by Van Cleef & Arpels, Paris, nos. 30179 and 7791. Estimate: CHF7,000 – CHF8,000 ($5,095 – $5,822). Price Realized  CHF9,200 ($6,696)

Christie’s . ART DECO JEWELLERY, 17 November 1998, Geneva

Song dynasty Qingbai ware or Yingqing ware at Art Gallery of New South Wales, Sydney

Étiquettes

"Hill" censer, 12th-13th century, 13th century, conical bowl, Covered box, Jiangxi Province, Jingdezhen, lotus pond and fish decoration, Qingbai, Saucer dish, Shallow bowl, Song dynasty, Stoneware, two dragons around flaming pearl, Vase, Vase with wide scalloped mouth, Yingqing

*

« Hill » censer on three moulded ram’s head feet, Qingbai ware or Yingqing ware, China, 13th century, Song dynasty (960 – 1279), Jingdezhen ware,  Jiangxi Province, porcelain with ‘qingbai‘ glaze, 10.0 x 8.4 cm object with stand: a – lid; 5.5 x 8.4 cm, b – base; 4.7 x 8.4 cm. Gift of Mr J.H. Myrtle 1990. 250.1990.a-b. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

The so-called ‘qingbai‘ (bluish white) ware was popular with local as well as overseas markets. The prototype for this purely Chinese shape is the bronze ‘boshanlu‘ type believed to be a representation of Penglai-shan, the mythical abode of the Daoist Immortals.

The Asian Collections, AGNSW, 2003, pg.113

Shallow bowl on small foot decorated with incised design of two dragons around flaming pearl, Qingbai ware or Yingqing ware, China, Song dynasty (960 – 1279), Jingdezhen ware,  Jiangxi Province, stoneware with ‘qingbai‘ bluish-white glaze, 4.9 x 12.8 cm. Gift of Mr F. Storch 1989. 249.1989. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Covered box with carved designs, Qingbai ware or Yingqing ware, China, 12th century-13th century, Song dynasty (960 – 1279), Jingdezhen ware,  Jiangxi Province, stoneware with ‘qingbai‘ (pale bluish-white) glaze, 3.3 x 7.0 cm: a – lid; 1.9 x 7 cm, b – box; 1.8 x 6.9 cm. Bequest of Kenneth Myer 1993. 589.1993.a-b. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Vase with wide scalloped mouth, carved decoration to body, and two lion marks applied to shoulder, Qingbai ware or Yingqing ware, China, 13th century, Northern Song dynasty (960 – 1127) – Yuan dynasty (1279 – 1368), Jingdezhen ware,  Jiangxi Province, stoneware with ‘qingbai‘ glaze, 31.0 x 17.2 cm. Gift of Dr Peter Elliott 1998. 226.1998. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Vase, Qingbai ware or Yingqing ware, China, Song dynasty (960 – 1279), Jingdezhen ware,  Jiangxi Province, porcelain with ‘qingbai‘ glaze, 6.0 cm diam. of mouth; 12.6 x 7.0 cm. Gift of Mr Sydney Cooper 1962. EC71.1962. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Dish, Qingbai ware or Yingqing ware, China, Song dynasty (960 – 1279), Jingdezhen ware,  Jiangxi Province, porcelain with ‘qingbai‘ (bluish-white) glaze, 4.3 x 16.0 cm. Bequest of Eleanor Hinder through her executors 1979. 96.1979. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Little dish, Qingbai ware or Yingqing ware, 12th century-13th century, China, Song dynasty (960 – 1279), Jingdezhen ware,  Jiangxi Province, porcelain with ‘qingbai‘ (bluish-white) glaze, 2.2 x 10.3 cm. Bequest of Eleanor Hinder through her executors 1979. 101.1979. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Bowl with carved decoration, Qingbai ware or Yingqing ware, China, Song dynasty (960 – 1279), Jingdezhen ware,  Jiangxi Province, stoneware with ‘qingbai‘ glaze,6.2 x 15.5 cm. Bequest of Eleanor Hinder through her executors 1975.273.1975. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Shallow bowl, Qingbai ware or Yingqing ware, China, Song dynasty (960 – 1279), Jingdezhen ware,  Jiangxi Province, porcelain with ‘qingbai‘ (bluish-white) glaze, 3.4 x 14.8 cm. Bequest of Eleanor Hinder through her executors 1975.274.1975. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Shallow bowl, Qingbai ware or Yingqing ware, China, Song dynasty (960 – 1279), Jingdezhen ware,  Jiangxi Province, stoneware with ‘qingbai‘ glaze, 5.0 x 17.9 cm. Bequest of Eleanor Hinder through her executors 1975. 275.1975. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Bowl, Qingbai ware or Yingqing ware, China, Song dynasty (960 – 1279), Jingdezhen ware,  Jiangxi Province, porcelain with ‘qingbai‘ (bluish-green) glaze, 6.6 x 20.1 cm. Bequest of the Hon. Sir Colin Davidson 1961. EC2.1961. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Bowl, Qingbai ware or Yingqing ware, China, Song dynasty (960 – 1279),  Jingdezhen ware,  Jiangxi Province, stoneware with ‘qingbai‘ (bluish-green) glaze, 6.5 x 15.1 cm. Bequest of the Hon. Sir Colin Davidson 1961. EC3.1961. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Saucer dish with decoration of lotus pond and fish, Qingbai ware or Yingqing ware, China, Song dynasty (960 – 1279), Jingdezhen ware,  Jiangxi Province, stoneware with ‘qingbai‘ glaze, 2.7 x 15.0 cm. Bequest of Laurence G. Harrison 1997.388.1997. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Conical bowl, Qingbai ware or Yingqing ware, China, Song dynasty (960 – 1279),  Jingdezhen ware,  Jiangxi Province, stoneware with ‘qingbai‘ glaze, 7.7 x 20.7 cm (irreg.). Gift of Laurence G. Harrison 1995. 296.1995. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Three porcelain bowls with ‘qingbai’ glaze, Song dynasty-Yuan dynasty at Art Gallery of New South Wales, Sydney

Étiquettes

Qingbai, Song dynasty, Song-Yuan dynasty

Dish, China, Song dynasty (960 – 1279), porcelain with ‘qingbai‘ glaze, 5.3 x 18.3 cm. Gift of Peter Elliott 2006. 195.2006. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Bowl, China, Song dynasty (960 – 1279), porcelain with ‘qingbai‘ glaze, 6.4 x 18.6 cm. Bequest of Ken Myer 2009. 25.2009. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Bowl, China, Song dynasty (960 – 1279) – Yuan dynasty (1279 – 1368), porcelain with ‘qingbai‘ glaze and incised decoration, 6.3 x 17.0 cm (irreg.). Gift of Dr John Yu and Dr George Soutter 2006. 207.2006. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Pair of qingbai conical bowls, 13th century, China, Song dynasty (960 – 1279) – Yuan dynasty (1279 – 1368)

Étiquettes

13th century, conical bowl, Porcelain, Qingbai, Song-Yuan dynasty

Pair of qingbai conical bowls, 13th century, China, Song dynasty (960 – 1279) – Yuan dynasty (1279 – 1368), porcelain with duck egg blue glaze and incised decoration, 6.6 x 18.4 cm & 6.5 x 18.4 cm. Gift of Dr John Yu and Dr George Soutter 2003. 194.2003.1 & 194.2003.2. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Two Song dynasty Yue ware at Art Gallery of New South Wales, Sydney

Étiquettes

10th century, China, Covered box, Song dynasty, Stoneware, Yue ware, Zhejiang Province

Covered box, Yue ware, 10th century, China, Song dynasty (960 – 1279), Zhejiang Province, stoneware with incised design, 3.5 x 6.2 cm: a – lid; 1.7 x 6.2 cm, b – box; 2.3 x 6.1 cm. Bequest of Kenneth Myer 1993. 579.1993.a-b. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Yue ware kilns hold a prestigious place in Chinese ceramic history. Located in Zhejiang province, the kilns produced the earliest green-glazed high-fired ceramics in the Tang dynasty. These wares were admired technically fro their hardness and aesthetically for their shapes and colouring, qualities without precedent in China or elsewhere. The Yue ware tradition was continued at the Longquan kilns.

Yue and Longquan Wares’, The Asian Collections, AGNSW, 2003, pg.108.

Jar with small lug handles, Yue ware, China, Song dynasty (960 – 1279), stoneware,8.0 cm, b – box; 2.3 x 6.1 cm. Bequest of Ken Myer 2009. 26.2009. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Incense tripod burner, Ge ware, 13th century, China, Southern Song (1127 – 1279)

Étiquettes

13th century, China, Ge ware, Incense tripod burner, Southern Song dynasty, stoneware with crackled glaze, Zhejiang Province

Incense tripod burner, Ge ware, 13th century, China, Southern Song (1127 – 1279), Zhejiang Province, stoneware with crackled glaze, 7.5 x 9.8 cm; 9.5 cm diam. of mouth. Bequest of Kenneth Myer 1993. 584.1993. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

Popular among the Song court bureaucracy were ceramics with the appearance of ‘crazing’ (fine lines produced by the shrinking of the glaze in the kiln) in their thick glaze, enhanced by rubbing ink into the cracks. Wares such as this, known as Ge wares, are thought to have been produced at the Longquan kilns, probably only from the Yuan and early Ming periods, although traditionally they are considered a Song ware.

The Asian Collections, AGNSW, 2003, pg.107

Brush washer in the shape of a plum blossom, guan ware, China, Southern Song (1127 – 1279)

Étiquettes

Brush washer, guan ware, plum blossom, Southern Song dynasty, stoneware with crackled glaze, Zhejiang Province

Brush washer in the shape of a plum blossom, guan ware, China, Southern Song (1127 – 1279), Zhejiang Province, stoneware with crackled glaze, 2.7 x 10.8 cm. Gift of Mr J.H. Myrtle 1998. 60.1998. Art Gallery of New South Wales, Sydney (C) Art Gallery of New South Wales, Sydney

 ‘Guan’ means ‘official’ and imperial Guan wares were made for the newly established Southern Song court after the style of wares made previously for the northern court at Kaifeng. Produced at the Guan kilns sited in present-day Zhejiang province, Guan wares, and Guan-type wares made at Longquan kilns, are among the most sumptuous of Song wares. Typically they are thin and dark bodied, but thickly covered with many layers of lustrous greyish-green glaze with a mesh of crackle which has been enhanced by staining.

This piece exemplifies Southern Song taste and would have been among the desk accoutrements of a late Song literati aspiring to pursue a reclusive life of self-cultivation that focused on reading, poetry, painting and calligraphy.

The Asian Collections, AGNSW, 2003, pg.107.