An underglaze-blue and copper-red-decorated powder-blue-ground dish, Kangxi period (1662-1722)

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17th Century, Collection of Julia and John Curtis, Kangxi period, Lady at a Window, underglaze-blue and copper-red-decorated powder-blue-ground, Zhang Zhen

An underglaze-blue and copper-red-decorated powder-blue-ground dish, Kangxi period (1662-1722). Estimate $10,000 – $15,000. Photo Christie’s Image Ltd 2015

The shallow dish is decorated on the interior with an elegant lady wearing a long robe gazing at the orchid she holds and leaning on a table on which rests a small censer and a ‘cracked-ice’ vase, all set against a powder-blue ground. The reverse is decorated with two branches bearing red berries or blossoms, and the base is inscribed with a small tripod ding within a double circle. 10 3/8 in. (26.4 cm.) high – Lot 3585 – Price Realized $45,000

Provenance: S. Marchant & Son, Ltd., London, 1986.
Collection of Julia and John Curtis.

Notes: A nearly identical dish is in the Rijksmusuem, Amsterdam, and is illustrated by Christiaan J.A. Jörg in Chinese Ceramics in the Collection of the Rijksmuseum, Amsterdam: The Ming and Qing Dynasties, London, 1997, p. 127, no. 130, where the author notes that the orchid is the symbol of friendship, love and beauty.

The depiction of a single, elegant lady appears to have become a popular subject in all mediums in the Kangxi period, whether depicting a specific individual or a general ‘beauty’. For a blue and white saucer dish bearing a Kangxi mark and painted with a large central image of Chang-E, see S. Marchant & Son, Exhibition of Seventeenth-Century Blue and White and Copper-Red and their Predecessors, London, 1997, p. 59, no. 48. Scroll paintings can also be found, possibly inspired by the famous Twelve Beauties at Leisure Painted for Prince Yinzhen. See an example by Zhang Zhen, 17th century, depicting a lady standing by a window holding a fan, sold at Christie’s Hong Kong, 6 July 2003, lot 425.(fig. 1)

Fig. 1: Lady at a Window By Zhang Zhen, 17th century. Hanging scroll, ink and color with gold on silk. Signed: Guangling Zhang Zhen, with two seals of the artist, 57 x 25 in. (144.5 x 63.5 cm.). Sold at Christie’s Hong Kong, 6 July 2003, lot 425.

CHRISTIE’S. AN ERA OF INSPIRATION: 17TH-CENTURY CHINESE PORCELAINS FROM THE COLLECTION OF JULIA AND JOHN CURTIS, 16 March 2015,New York, Rockefeller Plaza

A rare blue and white rouleau vase, Kangxi period, 17th century

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17th Century, Blue-and-White, Collection of Julia and John Curtis, Kangxi period, Rouleau Vase, style of Mi Fu

A rare blue and white rouleau vase, Kangxi period, 17th century. Estimate $12,000 – $18,000. Photo Christie’s Image Ltd 2015

The vase is painted in muted tones of cobalt blue in the style of Mi Fu, the Northern Song Master, with a continuous mountainous landscape beneath bamboo sprays on the neck. The base bears a chrysanthemum spray within a double circle. 17 ¼ in. (43.8 cm.) high – Lot 3578 – Price Realized $43,750

Provenance: S. Marchant & Son, Ltd., London, 1985.
Collection of Julia and John Curtis.

Literature: Julia B. Curtis, “Markets, Motifs and Seventeenth-Century Porcelain from Jingdezhen, The Porcelains of Jingdezhen, Colloquies on Art & Archaeology in Asia No. 16, London, 1992, p. 139, pl. 15.
Julia B. Curtis, Chinese Porcelains of the Seventeenth Century: Landscapes, Scholars’ Motifs and Narratives, New York, 1995, pp.78-79, no. 23.

Exhibited: China Institute Gallery, New York, Chinese Porcelains of the Seventeenth Century: Landscapes, Scholars’ Motifs and Narratives, 22 April – 5 August 1995.

Notes: In her comments on this vase in the exhibition catalogue Chinese Porcelains of the Seventeenth Century: Landscapes, Scholars’ Motifs and Narratives, New York, 1995, p. 78, Dr. Julia Curtis notes that it is one of a small group of porcelains from the early Kangxi period decorated in the style of the painter Mi Fu. A large vase from this group, from the Collection of the British Rail Pension Fund, was sold at Sotheby’s Hong Kong, 16 May 1989, lot 43.

Mi Fu’s paintings were admired and emulated by 17th century Chinese painters such as Dong Qiching (1555-1636). The style of the mountains on the present vase can be compared to those in a painting attributed to Dong Qiching,Landscape in the Style of Mi Fu, now in the Metropolitan Museum of Art, New York. (fig. 1)

Fig. 1: Landscape in the Style of Mi Fu, Attributed to Dong Qichang (1555-1636), Dated AD 1611 and 1612. Image copyright © The Metropolitan Museum of Art. Image source: Art Resource, NY

CHRISTIE’S. AN ERA OF INSPIRATION: 17TH-CENTURY CHINESE PORCELAINS FROM THE COLLECTION OF JULIA AND JOHN CURTIS, 16 March 2015,New York, Rockefeller Plaza

A blue and white jardinière, Transitional period, circa 1640-1650

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'The Seven Sages of the Bamboo Grove', Blue-and-White, Chen Hongshou, circa 1640-1650, Collection of Julia and John Curtis, jardinière, Transitional period

A blue and white jardinière, Transitional period, circa 1640-1650. Estimate $40,000 – $60,000. Photo Christie’s Image Ltd 2015

The deep jardinière is decorated on the exterior in vibrant tones of cobalt blue with a continuous scene of ‘The Seven Sages of the Bamboo Grove’. The figures are variously shown in conversation, reclining at leisure, enjoying a game of weiqi, playing the qin, and appreciating a scroll painting, all beneath a band of pointed leaves. The flat base is unglazed. 8 3/8 in. (21.3 cm.) diam. Lot 3555. Price Realized $87,500

Provenance: Jan van Beers, London, 1984.
Collection of Julia and John Curtis.

Literature: Julia B. Curtis, « Decorative Schemes for New Markets: The Origins and Use of Narrative Themes on 17th-
Century Chinese Porcelain, » International Ceramics Fair & Seminar, London, 1997, p. 20, fig. 4.
Julia B. Curtis, « La porcelaine chinoise de Transition, » La porcelaine chinoise de Transition: et ses influences sur la céramique japonaise, proche-orientale et européenne, Geneva, 1998, no. 8.

Exhibited: Asia Society, New York, Seven Sages in a Bamboo Grove, 3 March – 26 April 2009.

Notes: The subject of the decoration on this striking jardinière is that of The Seven Sages of the Bamboo Grove. The Seven Sages were somewhat eccentric scholars who are believed to have met in a bamboo grove in Shanyang, now in Henan province, in the 3rd century AD. The period of some 400 years following the fall of the Han dynasty in AD 220 was one of political and social chaos, and the Seven Sages became famous for their reactions to the world in which they found themselves – rejecting certain aspects of both Confucian and Daoist teaching. They are indelibly linked to the Neo-Daoism of the Wei-Jin period (AD 220-420). Stories about the Seven Sages and others of similar mind are recorded by Liu Yiqing (AD 403-44) in the Shishuo xinyu (New Examples of Contemporary Tales).

The Seven Sages attempted to remove themselves from politics and concentrate on leisure activities such as music and poetry, as well as philosophical discussion with those of like mind. They were also known for their prodigious consumption of wine. They became symbols of the struggle of scholars against corrupt political practices, dynastic usurpation, restrictive Confucian rules of propriety, and magical Daoism. Thus in the 17th century they became models for the Ming dynasty yimin (leftover subjects) and were popular subjects in the arts of the 17th century, when, as Julia Curtis has noted, portraits of celebrated men of letters of the past frequently appeared on porcelains (Julia Curtis, ‘La porcelaine chinoise de Transition’, La porcelaine chinoise de Transition et ses influences sur la céramique japonaise, proche-oriental et européenne, Geneva, 1998, no. 8). Dr. Curtis has also pointed out that within a century of their own life-times, the Seven Sages of the Bamboo Grove “had become role models to the Chinese specifically for resisting the tyranny of a usurping dynasty” (Julia Curtis, ‘Decorative Schemes for new markets: the Origins and Use of Narrative Themes on 17th-Century Chinese Porcelain’, International Ceramics Fair and Seminar, London, 1997, pp. 20 and 22 and fig.4). They were seen as heroes who “had resisted the political and moral pressures of their times” (ibid.). This theme was a popular motif in many different media, including jade, bamboo, porcelain and painting, such as the handscroll by Chen Hongshou (1598-1652), sold at Christie’s Hong Kong, 29 November 2009, lot 816. (fig. 1)

Fig. 1: The Seven Sages of the Bamboo Grove, by Chen Hongshou (1598-1652). Handscroll, ink and color on silk. Offered at Christie’s Hong Kong, 29 November 2009, lot 816.

The group was composed of Xi Kang, Liu Ling, Ruan Ji, Ruan Xian, Xiang Xiu, Wang Rong and Shan Tao. Often considered the leader of the group, Xi Kang, (AD 223-262), also known as Ji Kang, is depicted on the jardinière playing the guqin with his back against a large rock. The bamboo grove in which the group met was reportedly near his home. In addition to being a philosopher and author, Xi Kang was a skilled exponent of the guqin and composed music for that instrument. Having defended a friend against false charges, and fallen foul of Zhong Hui, a follower of the Sima clan, Xi Kang was sentenced to death by Sima Zhao. Just before Xi Kang’s execution, he asked for his qin and played the masterpiece known as Guangling san, but left no record of the melody.

Rosemary Scott, International Academic Director, Asian Art

CHRISTIE’S. AN ERA OF INSPIRATION: 17TH-CENTURY CHINESE PORCELAINS FROM THE COLLECTION OF JULIA AND JOHN CURTIS, 16 March 2015,New York, Rockefeller Plaza

A group of four Chinese paintings, late 19th century

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Chinese painting, Collection of Principessa Ismene Chigi Della Rovere, late 19th century

Collection of Principessa Ismene Chigi Della Rovere. A group of four Chinese paintings, late 19th century. Estimate £1,500 – £2,500 ($2,262 – $3,770). Photo Christie’s Image Ltd 2015

Ink and colour on paper, depicting two scenes of ladies and gentlemen at leisure in a courtly garden with trees and pavilions, one scene of a lady in a carriage accompanied by her retainers, and one scene of a hunting party; 32 x 39 ¾ in. (81.5 x 101 cm.)

Christie’s. THE COLLECTIONS OF PRINCIPESSA ISMENE CHIGI DELLA ROVERE AND A NOBLE GENOESE FAMILY, 4 February 2015, London, South Kensington

A group of eight Chinese paintings, late 19th century

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Chinese painting, late 19th century, Principessa Ismene Chigi Della Rovere

Collection of Principessa Ismene Chigi Della Rovere. A group of eight Chinese paintings, late 19th century. Estimate £2,000 – £3,000 ($3,016 – $4,524). Photo Christie’s Image Ltd 2015

Ink and colour on paper, depicting various scenes of daily life, with two depicting people at leisure, one depicting locals posting announcements, two processional scenes and one depicting figures in battle; 32 5/8 x 26½ in. (82.5 x 67.2 cm.), framed

Christie’s. THE COLLECTIONS OF PRINCIPESSA ISMENE CHIGI DELLA ROVERE AND A NOBLE GENOESE FAMILY, 4 February 2015, London, South Kensington

2015 Winter Antiques Show in New York showcases 3,000 years of timeless art and design

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'Maximilian' lounge chair, 1880, “bouquetière”, Candelabrum, circa 1630, circa 1690, circa 1740, circa 1942, Desk and Chair, Egyptian bronze, England, George II Mahogany Windsor Chair, George III Satinwood and Marquetry inlaid secretary bookcase, Harlem Street Scene, Heart-and-Hand Love Token, Herter Bros., Hiram Powers, Jacob Lawrence, John Singer Sargent, John Vesey, King Willem III, marble bust, Mayhew & Ince, Proserpine, Queen Mary II, seated cat, Turner’s-Thrown Fruitwood Armchair

Herter Bros., NY. Desk and Chair, 1880. Maple, at Associated Artists. 

NEW YORK, NY.– Ancient Egyptian bronze sculpture, gilded Herter Brothers side chairs owned by John Pierpont Morgan, and paintings by celebrated American artists William Merritt Chase, John Singer Sargent, and Childe Hassam, will gather for the 61st year of the Winter Antiques Show from January 23-February 1, 2015 at the Park Avenue Armory in New York City. The Show is America’s most prestigious antiques show, providing museums, collectors, dealers, design professionals, and first-time buyers with opportunities to see and purchase exceptional pieces showcased by 73 renowned experts in American, English, European, and Asian fine and decorative arts, from antiquity through the 1960s. Every object exhibited at the Show is vetted for quality and authenticity.

“The Winter Antiques Show offers unparalleled access to the world’s most exquisite and astounding historical objects—and this year is no different,” said Peter Pennoyer, the renowned classical architect who together with his wife Katie Ridder, the celebrated interior designer, are the Show’s 2015 Honorary Co-Chairs. Ms. Ridder continued, “We both feel that timeless pieces with history add a distinctive character to today’s interiors, whether the spaces are designed to evoke a period of yesterday or even something a bit more contemporary. We’re thrilled to be part of the Show, and look forward to seeing all of its remarkable design opportunities.”

Exhibitor Highlights:

• Fine English furniture will reign supreme as the Winter Antiques Show welcomes four new UK-based leaders in the field: a pair of commodes (c. 1775-80) by Mayhew & Ince at Apter-Fredericks Ltd.; an early Turner’s armchair (c. 1630) and a George II Mahogany Windsor Chair (c. 1740) at Thomas Coulborn & Sons Ltd.; and a George III Satinwood and Marquetry inlaid secretary bookcase (c. 1790) at Hyde Park Antiques.

Pair of commodes, circa 1775-80 by Mayhew & Ince at Apter-Fredericks Ltd.

Early Turner’s-Thrown Fruitwood Armchair, England, circa 1630 at Thomas Coulborn & Sons Ltd.

Rare George II Mahogany Windsor Chair, England, circa 1740 at Thomas Coulborn & Sons Ltd.

George III Satinwood and Marquetry inlaid secretary bookcase, circa 1790 at Hyde Park Antiques.

• Museum quality paintings by famed American masters will be prevalent at the 2015 Show: Boy in Red: Portrait of Josiah Lasell (c. 1895) by William Merritt Chase and Royal Palms, Melena, Cuba (c. 1895) by Childe Hassam at Hirschl & Adler Galleries, Inc.; The Candelabrum (1885), an impressionist portrait study by John Singer Sargent at Adelson Galleries; Sunrise at Mid-Ocean (1907), a significant seascape by Thomas Moran, at Schwarz Gallery; and Harlem Street Scene (c. 1942) by Jacob Lawrence at Jonathan Boos, LLC.

John Singer Sargent, Candelabrum. Oil on canvas, 1885. Signed lower left by John S. Sargent at Adelson Galleries.

Thomas Moran, Sunrise at Mid-Ocean. Oil on canvas, 1907 at Schwarz Gallery.

Jacob Lawrence, Harlem Street Scene, circa 1942 by  at Jonathan Boos, LLC.

• Showcasing the breadth and diversity of the show are a dozen exhibitors in early to mid-20th century design. This year’s highlights include a pair of iconic leather, aluminum, and steel Maximilian lounge chairs (c. 1958) designed by John Vesey at Liz O’Brien; colorful Italian glass at Glass Past; and a French desk and armchair (c. 1925), made of fine mahogany and leather, by Louis Süe and André Mare at Maison Gerard.

John Vesey (1925-1992), pair of iconic leather, aluminum, and steel ‘Maximilian’ lounge chairs, circa 1958 at Liz O’Brien.

• Maintaining the Show’s strong American core are more than 15 Americana dealers, and important folk art pieces will be exhibited by many: a paper and watercolor Heart-and-Hand Love Token (c. 1820) at Olde Hope Antiques, Inc.; a vibrantly decorated Pennsylvania cornercupboard (1863) at new exhibitor Kelly Kinzle; a handsome pair of portraits of a young couple seated in red chairs, attributed to George G. Hartwell of the esteemed Prior Hamblen School, at Frank & Barbara Pollack American Antiques & Art; and an early ambrotype if a calls of students and their teacher (c. 1855) at David A. Schorsch-Eileen M. Smiles American Antiques.

A group of nine colorful and charming love tokens. One with associated note dated ‘1848’, and two noted as Philadelphia origin, at Olde Hope Antiques, Inc.

• Sculpture from all ages will be especially prevalent in 2015, due to the addition of two new exhibitors specializing in the medium: an Egyptian bronze seated cat (c. 715332 BC), perhaps used as a vessel for a mummified cat, at Rupert Wace Ancient Art Limited; a marble bust of Proserpine by famed American sculptor Hiram Powers at new exhibitor Conner • Rosenkranz, LLC; Tete de Femme (1929), a bronze art deco bust by Gustave Miklos at The Fine Art Society; and Saul Bazerman’s mid-century Self-Portrait (c. 1952) at Gerald Peters Gallery.

An Egyptian bronze seated cat (c. 715332 BC), perhaps used as a vessel for a mummified cat, at Rupert Wace Ancient Art Limited.

A marble bust of Proserpine by famed American sculptor Hiram Powers at Conner.

A bronze art deco bust by Gustave Miklos at The Fine Art Society.

• Exhibitors in Chinese and Japanese material add to the Show’s eclectic mix: a rare Chinese export porcelain tureen and cover modeled as a goose (c. 1750) at Cohen & Cohen; a Yayoi Neolithic earthenware vessel (c. 2nd -3rd century AD) at Joan B. Mirviss, Ltd.; a pair of paintings depicting Chinese women accompanied by pipes and pets (c. 18th century) at Martyn Gregory; and a pair of green and yellow Fu Lions (c. 1662-1722 AD) at Ralph M. Chait Galleries, Inc.

A pair of paintings depicting Chinese women accompanied by pipes and pets, circa 18th century, at Martyn Gregory.

Pair of Chinese Green Glazed Biscuit Porcelain Fu Dogs, Kangxi period, AD 1662-1722, at Ralph M. Chait Galleries, Inc.

• After an intense search, Aronson of Amsterdam (a 134 year old family firm specializing in Dutch Delftware) has recently reunited a pair of unusual bouquetieres depicting Their Majesties King Willem III and Queen Mary II (c. 1690). The figures are attributed to The Greek A Factory, where Queen Mary ordered many magnificent pieces of Delft for Hampton Palace. The pair will be exhibited together for the first time at the 2015 Winter Antiques Show.

Pair of unusual bouquetieres depicting Their Majesties King Willem III and Queen Mary II, circa 1690, at Aronson of Amsterdam.

• Objects with noteworthy provenance include a Herter Brothers “Pompeian” side chair (c. 1880) that was probably commissioned for John Pierpont Morgan’s lavish Madison Avenue mansion at Associated Artists, LLC; an English Palace Wall Regulator (c. 1770) by John Arnold that was commissioned by a member of the Russian royal family for Catherine the Great at Thomas Coulborn & Sons Ltd.; a Chinese Famille Verte quandrangular vase (1662-1722 AD) from the collection of Henry Clay Frick at Ralph M. Chait Galleries, Inc.; and a grand scale Chippendale looking glass (c. 1760) that was part of the Benjamin Franklin Tercentenary project and was discussed in correspondence between Franklin and his wife at Bernard & S. Dean Levy.

An English Palace Wall Regulator (c. 1770) by John Arnold that was commissioned by a member of the Russian royal family for Catherine the Great at Thomas Coulborn & Sons Ltd.

Chinese art market buoyant at Bonhams San Francisco with over $8.1 million sale

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Blue-and-White, bottle vase with dragons and clouds, Buddha, Buddhist sutra, Folding fan, gilt wood, gilt-bronze, Hanging scroll, ink and color on paper, jade and brocade mounted, Jiaqing mark, Late Qing dynasty, Late Qing-Republic period, Pu Jin, wall panel, Yongle six-character mark, Zhang Daqian

SAN FRANCISCO, CA.– A standing room only crowd of committed Chinese buyers bid on lot after lot to multiples of their estimates at Bonhams’ auction of Fine Chinese Art on December 16 in San Francisco. Fresh from the group’s discovery in the U.S., and subsequent sale of a rare and important blue and white Yongzheng vase in Hong Kong last month that brought over a stunning $9.8 million, the San Francisco Asian art team at Bonhams mounted a two-day auction of Fine Chinese and Asian Decorative Art. It featured bronzes and jades from a Northern California estate, fine jades and scholar’s objects from the collection of Frank and Georgia James, along with Ming and Qing porcelains, furniture, and Chinese paintings from private collections throughout the U.S.

A rare jade and brocade mounted sutra, late Qing/Republic period, from the Frank and Georgia James collection soared to $259,000 (est. $5,000-7,000), setting the stage for a buoyant sale of jade and hardstone carvings.

A jade and brocade mounted Buddhist sutra, Late Qing-Republic Period. Sold for US$ 269,000 (€219,073). Photo Bonhams.

Four leaves of jade, both sides of each leaf with incised, gilt characters, the first leaf with a title in clerical script reading Fo Shuo Xian Zhe Wufu Dejing, with the eight auspicious Buddhist elements incised and gilt surrounding the title, followed by six leaves of the sutra in incised and gilt regular script, the final leaf with one hundred incised and gilt variations of the character ‘shou,’ the four leaves bound together in a yellow silk brocade mount with a fitted case, also in yellow silk brocade. 6 x 3 3/4in (15.2 x 9.5cm) each leaf

A fine white jade covered censer, 18th century, from a Northern California estate, sold for $221,000 (est. $20,000-30,000) to a determined Asian collector on the telephone. While lacking its knob finial, the elegant white cover and matching base were exquisitely carved with reserves of lotus flowers and raised on pad feet rendered as raised peony blossoms.

A finely carved white jade covered bowl,  18th century. Sold for US$ 221,000 (€179,982). Photo Bonhams.

(cf. my post of december 5th 2014)

A jade and semiprecious stone mounted lacquer panel, decorated with scholar’s implements and vases in jade, cloisonné enamels and semiprecious stones achieved $245,000 (est. $25,000-40,000) after a bidding war on the floor between multiple paddles.

A gilt wood wall panel with elaborately applied decoration, Qing dynasty elements. Sold for US$ 245,000 (€199,527). Photo Bonhams.

The vertical composition enclosed by a hardwood frame with a gilt metal archaistic bracket at the top, the main panel displaying carefully arranged scholar’s implements and vases containing auspicious objects and flowers executed with materials of jade, hardstone, gilt and cloisonné enamel, porcelain, as well as ivory, horn, bamboo, and skillfully carved wood of various types, all set against a ground of gold leaf. 39 1/2 x 26 1/2in (100.3 x 67.4cm) overall dimensions

Note: This lot has been in the United States since December, 1969

This was followed shortly by the offering of a rare three-color lacquer quatrelobed vase, late 18th/early 19th century, the cover lot of the Chinese auction, with the rare subject matter of foreigners bringing tribute to the emperor and bearing exotic animals and objects along precipitous paths on an arduous journey. It was estimated at $60,000-80,000 and after a quick contest between three bidders it sold for $149,000.

A rare large three-color lacquer quadrilobed vase. Late 18th/early 19th century. Sold for US$ 149,000 (€121,345).

(cf. my post of december 5th 2014)

Buddhist bronzes were a mainstay of both sale days, with a rare Yongle marked gilt bronze figure of the Buddha standing out as the highlight of this collecting area. Undated in the catalog which contained a long footnote describing the nature of the debate, this piece was one of two Buddhist bronzes purchased by the owner from H. Medill Sarkisian in 1980. The first, a gilt bronze of Shadaksari, sold in September of 2013 for more than $1.3 million. This piece, offered at an estimate of $60,000-80,000, inspired a heated contest between four bidders, ultimately selling for $305,000 to a Chinese bidder in the room. The momentum continued throughout the offerings of Ming Buddhist bronzes, with lot after lot exceeding its high estimate.

A gilt bronze seated figure of Buddha, Yongle six-character mark. Sold for US$ 305,000 (€248,391). Photo Bonhams.

(cf. my post of december 5th 2014)

Chinese snuff bottles were steady sellers throughout both days of the auction, with white jade bottles and overlay glass bottles bringing the strongest prices. An unusual blue and white porcelain dragon vase, Jiaqing mark, Late Qing dynasty (est. $20,000-30,000), inspired a bidding frenzy, ultimately selling for $317,000 to a bidder in the room.

A blue and white bottle vase with dragons and clouds, Jiaqing mark, late Qing dynasty. Sold for US$ 317,000 (€258,164). Photo Bonhams.

Molded with a flared rim to the long neck and body of compressed pear form raised on the flared foot, the walls painted with two dragons facing one another amid clouds and waves set between a cloud collar band below the rim and a squared S-scroll band along the foot, the recessed base bearing the six-character mark in seal script and all surfaces except the foot pad covered with a lustrous celadon-tinged glaze. 11 1/4in (28.5cm) high

Note: For a Jiaqing mark and period vase of similar form but decorated with three dragons contending for a single pearl and shorter in size, see Gugong bowuyuan cang wenwu zhenpin quanji, 2010, vol. 36 (Qinghua youli hong), cat. no. 143, p. 157 (17.4cm high).

Chinese paintings played a large part in the success of this two-day sale, with fresh-to-the market works by known modern artists hammered down in succession to eager buyers. A fan by Zhang Daqian and Pu Jin, depicting a bird on branch reversed by calligraphy, sold for $75,000 against multiple bidders.

Zhang Daqian (1899-1983) and Pu Jin (1893-1966), Bird on a Branch, 1935, and Calligraphy in Running Script, 1937. Sold for US$ 75,000 (€61,079). Photo Bonhams.

Folding fan, ink or ink and color on paper; the painting by Zhang Daqian of a Bird on a Branch, inscribed, dated yihai qi yue (1935, seventh month), dedicated to Menglin and signedZhang Yuan with five artist’s seals reading Dafengtang,Daqian wu yang, Sichuan Zhang Ba, Shuke, and Zhang Daqian; the calligraphy by Pu Jin of a Poem by Bo Juyi, inscribed, dedicated to Menglin, dated dingchou chang xia(1937, summer) and signed Xuezhai Pu Jin with one artist’s seal reading Pu Jin yin. 9 1/2 x 19in (24.2 x 48.2cm)

An early landscape by Zhang Daqian from a San Francisco collector sold for $106,000 (est. $12,000-15,000) and a group of paintings by Huang Junbi from the collection of Huang Gaonian caused considerable excitement during the exhibition and sale day. A stunning landscape by the artist, painted in 1943, brought $75,000 against multiple bidders. Works by Pu Ru, Li Kuchan, Deng Fen and Wu Hufan brought strong prices both days.

Zhang Daqian (1899-1983), Scholar in Landscape with Lone Pine. Sold for US$ 106,250 (€86,529). Photo Bonhams.

Hanging scroll, ink and color on paper; inscribed and signedDaqian Jushi Yuan with two artist’s seals reading Daqian da li and Zhang Yuan. 31 1/2 x 12in (80 x 30.5cm)

Provenance: private collection, San Francisco

Note: While this landscape is undated, the restrained style, together with the rather square calligraphy style, would argue for an early date of the late 1920s to mid-1930s. The artist’s inscription mentions following the painting styles ofDafeng (Zhang Feng 張風, active 1628-1662) and Dadi(Shitao 石濤, 1641-1707). The late Ming painter Zhang Feng was much admired by Zhang Daqian for his « strength and harmony. » As noted by Shen F. C. Fu, Daqian would acknowledge the influence of « Dafeng » when painting a landscape with small figures or a scholar in a cursory landscape with a single pine. See Shen F. C. Fu, Challenging the Past: the Paintings of Chang Dai-chien, Smithsonian Institution, 1991, pp. 96-98.

Commenting on the two-day auction, Dessa Goddard, Director of Asian Art, Bonhams U.S., stated, « Fresh, conservatively estimated, well-curated sales are the trademark of our auctions. They are an irresistible magnet which consistently draws new and seasoned collectors to Bonhams from wherever they are in the world. »

Asia Week New York announces 2015 gallery roster for its celebration of Asian art March 13-21, 2015

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'Lotus' bowl, 12th century, 13th century, 14th Century, 16-17th century, 16th Century, 1750-1860, 18th century, 2nd century, 8th century, 8th century AD, Acala, Agate, Amida Nyorai, Anyang Culture, archaic bronze vessel, Bhairava, Bijapur, Bronze, Bronze ewer, Buddha, Cakrasamvara, Carved Celadon-Glazed Vase, Carved Emerald Ring, Central Asia, Central Java, China-Tibet, circa 1750, circa 1820, circa 1825, Colombian emerald, Copper repoussé, Dai Mingyue, Deccan, desk screen, Dondrup Sangpo, Drepung Monastery, Duan inkstone, early Qing dynasty, Early Western Zhou Dynasty, Eleven Faced Avalokitesvara, famille-rose, Fangding, Game Box, Gandhara, Garhwal, Gianni Berengo Gardin, Giao Chi Period, gilt-bronze, Glazed stoneware, Gold and ruby ring, Gold animal mask, Gong, Grey schist, gu, Guanyin, gui, Guler, Guru Gobind Singh, Gyalpo Pehar, Hai Tao, Hine Taizan, Hiroyuki Asano, hokai box, hongmu, huanghuali, Ik-Joong Kang, Ikeno Taiga, imperial rectangular white jade seal, Incense burner, Indonesia, inset leg bridle joint table, Jina, Jina Parsvanatha, Kamakura period, Kaneshige Kosuke, Kangra, Kasuga Deer Mandala, Katsudô Eiryrû, Kei School, khanjar, Kikugawa Eizan, kirin, Kishangarh, Krishna, Lanna, Late Ming, Lingbi Scholar Rock, Longquan celadon, Maeda Hideo, Maruyama Okyo, Meiji era, meiping, Ming Dynasty, Miyagawa Choshun, Miyanaga Tozan III, Mola Bagas, Momoyama Period, Mongolia, Mughal India, Muromachi period, Nabeshima kiln, Nanbokuchō period, nanmu box, Nepal, Nikko Bosatsu, Northern black glazed russet splashed, Northern Qi dynasty, Northern Song-Jin Dynasty, okimono, Otagaki Rengetsu, Otto Akob, Padmapani, Pakistan, Pala period, pear-shaped vase, Perfume container, Punjab Hills, Qianlong Mark And Period, Qianlong six-character seal mark in underglaze blue and of the period, Qianlong-Jiaqing period, Rajasthan, Rinpa School, Rukhnuddin, Sakya Lama, Salabanjika, Sandstone, Shang Dynasty, Silver gilt vase, snuff bottle, Song dynasty, Southern Song dynasty, Southern Song-Yuan dynasty, Suzuki Harunobu, Suzuki Shōnen, Tai Xiangzhou, Tang dynasty, Tangka, Tara, Thailand, Tibet, Tokuda Yasokichi III, Twin Fish Bowl, Vairocana, Vasudhara, Vietnam, Vijayanagar Period, Vishnu, Warring States period, Western Jin Dynasty, Wine-Drinking Game Set, Xie Zhiguang, Yagi Kazuo, Yama Dharmaraja, Yaozhou celadon, Yashima Gakutei, yoke back armchair, Yuan dynasty, yueyao, Zain al-Din, Zhang Ling

An Exquisite and Very Rare Carved Celadon-Glazed Vase. Qianlong six-character seal mark in underglaze blue and of the period (1736-1795). Height: 8 1/4 inches (22.2 cm). Photo Christie’s Image Ltd 2014

NEW YORK, NY.– The Asia Week New York Association announces that 42 international galleries will participate in Asia Week New York 2015, the nine-day celebration of Asian art and culture that spans the metropolitan region from March 13 through 21, 2015.

Says Carol Conover, Chairman of Asia Week New York: “We look forward to another successful edition of Asia Week New York especially during The Metropolitan Museum of Art’s banner year when it is celebrating the 100th anniversary of its renowned Asian Art Department.”

Joining Asia Week New York for the first time is Shalini Ganendra Fine Art from Malaysia and Navin Kumar Gallery from New York. After a brief hiatus, Dr. Robert Bigler from Zurich and Wei Asian Arts from Brussels return to the fold.

The dealers returning to Asia Week New York with museum-quality works of art from across the Asian continent include:

Indian, Himalayan, and Southeast Asian Art

Art Passages (United States), « Paintings from the Courts of India & Persia« . info@artpassages.com – www.artpassages.com

Dignitaries Visit a Yogini. Kishangarh, India, circa 1750. Asia Week New York | Art Passages

Krishna Gazes at Radha from a Balcony. Kangra, India, circa 1820. 8 1/4 x 5 7/8 inches (20.9 x 14.9 cm. Asia Week New York | Art Passages

Lovelorn Lady Consoled by her Confidant. Garhwal, India, circa 1825. 7 7/8 x 5 5/8 inches (20 x 14.4 cm). Asia Week New York | Art Passages

Buddhist Art (Germany), « From Angkor Wat to the Himalaya« . buddhist.art@hotmail.com – www.buddhist-art.info

Seated Figure of Vishnu. Nepal, 16-17th century. Copper repoussé. 15.3 inches (39 cm). Asia Week New York | Buddhist Art

Head of Buddha. Thailand, Lanna, 14th century. Bronze. 12.6 inches (32 cm). Asia Week New York | Buddhist Art

Portrait of Dondrup Sangpo, Abbott of Drepung Monastery. Tibet, 16th century. Bronze, silver inlay. 8.3 inches (21 cm). Asia Week New York | Buddhist Art

Galerie Hioco (France), « Arts of India, Nepal and Vietnam« . info@galeriehioco.com – www.galeriehioco.com

Bhairava. India, Rajasthan or Uttar Pradesh, 12th century. Sandstone. Height: 32 inches (81 cm). Asia Week New York | Christophe Hioco

Stele of Vishnu. India, Pala period. Grey schist. Height: 37 inches (94 cm). Asia Week New York | Christophe Hioco

Bronze ewer, ornamented at its base by the head of a makara. Vietnam, Giao Chi Period, 2nd-3rd century. 12.7 x 11 inches (32.5 x 28 cm). Asia Week New York | Christophe Hioco

Nayef Homsi (United States), « Recent Acquisitions ». nayef@nayefhomsi.com – www.nayefhomsi.com

Standing Buddha. India, Gandhara, 2nd century. Grey schist. Height: 30 inches (76.2 cm). Asia Week New York | Nayef Homsi

Jina Parsvanatha. India, Tamil Nadu, Vijayanagar Period, 14th century. Bronze. 14.5 inches (36.8 cm). Asia Week New York | Nayef Homsi

Envoys Pay Homage to King Dasaratha. India, Pahari Region, Garhwal, circa 1800. Opaque watercolor heightened with gold and silver on paper. 16.4 x 21.5 inches (41.5 x 54.7 cm). Asia Week New York | Nayef Homsi

Prahlad Bubbar Ltd. (England), « Indian Court Paintings: Recent Acquisitions, with a Preview of Gianni Berengo Gardin in India« . info@prahladbubbar.com – www.prahladbubbar.com

Guru Gobind Singh (detail). Guler, Punjab Hills, India, circa 1780-90. Opaque watercolor, gold and silver on paper. 8 x 5.6 inches (20.4 x 14.3 cm). Asia Week New York | Prahlad Bubbar

A Spirited Arabesque (detail). Bijapur, Deccan, India, circa 1650. Brush drawing on paper. 8 x 3.7 inches (20.4 x 9.5 cm). Asia Week New York | Prahlad Bubbar

Gianni Berengo Gardin. A Temple Gymnast. Central India, 1977. Gelatin silver archive print. 13 x 9.2 inches (33 x 23.3 cm). Asia Week New York | Prahlad Bubbar

Walter Arader Himalayan Art (United States), « Fine Himalayan Art« . walter.arader@gmail.com – www.himalayanart.com

Tara. China-Tibet, 16th century. Gilt Bronze. 10.5 inches (26.7 cm). Asia Week New York | Walter Arader Himalayan Art

Eleven Faced Avalokitesvara. Tibet, 15th century. Bronze. 12 inches (30.5 cm). Asia Week New York | Walter Arader Himalayan Art

Yama Dharmaraja. China, 18th century. Gilt Bronze. 6.5 inches (16.5 cm). Asia Week New York | Walter Arader Himalayan Art

Carlo Cristi (Italy), « Latest Acquisitions and Central Asian Textiles« . carlocristi@tin.it – www.asianart.com/carlocristi

Silver gilt vase (detail). Tibet, 8th century AD. Silver, gilding. Height: 8.5 inches (21.5 cm). Asia Week New York | Carlo Cristi

Tangka of Vairocana. Tibet, 13th century. Distemper on cotton. 24.25 x 32.25 inches (62.5 x 82 cm). Asia Week New York | Carlo Cristi

Confronted birds in kufic roundels. Central Asia, 10th-12th century. Polychrome silk. Length: 49.25 inches (125 cm). Asia Week New York | Carlo Cristi

Francesca Galloway (England), « Indian Paintings & Courtly Objects: Recent Acquisitions« . christine@francescagalloway.com – www.francescagalloway.com

By the artist Mola Bagas (or Muhammad Bakhsh). Ladies with Fireworks on a Terrace. Rajasthan, Bikaner, late 18th century. Opaque pigments and gold on paper. 9.5 x 6.4 inches (24.1 x 16.2 cm). Asia Week New York | Francesca Galloway

Khanjar (Dagger). Mughal India, 18th century. White nephrite hilt with inlaid with gold, lasque diamonds and other precious gems. Overall length: 12.6 inches (32 cm). Asia Week New York | Francesca Galloway

A Maharaja with his Two Children. India, Rajasthan, circa 1870-80. Opaque pigments heightened with gold and silver. 22.1 x 16.2 inches (56 x 41.2 cm). Asia Week New York | Francesca Galloway

Oliver Forge and Brendan Lynch Ltd (England), « Indian Painting 1590–1840« . brendan@forgelynch.com – www.forgelynch.com

Zain al-Din. The “Various Coloured » Parrot, folio from the Impey Album. Calcutta, India, 1777 A.D. Watercolor and gum arabic on paper. 18.5 x 23.25 inches (47 x 59 cm). Asia Week New York | Oliver Forge & Brendan Lynch Ltd.

A prince seated on a palace terrace. Mughal India, circa 1750-1800. Reverse-painted on mirrored glass. 31 x 19.1 inches (79 x 48.5 cm). Asia Week New York | Oliver Forge & Brendan Lynch Ltd.

Rukhnuddin. A lady playing a vina in a lush garden with peacocks. Bikaner, India, cirac 1680. Opaque watercolor with gold on paper. 6 x 4.6 inches (15.2 x 11.8 cm). Asia Week New York | Oliver Forge & Brendan Lynch Ltd.

Kapoor Galleries (United States), « Wrathful Compassion« . info@kapoorgalleries.com – www.kapoorgalleries.com

Acala. Tibet, 18th century. Parcel Gilt Copper with semi-precious stone inlay. Height: 8.75 inches (22.2 cm). Asia Week New York | Kapoor Galleries

Vasudhara. Nepal, 13th/14th century. Gilt Copper. Height: 7.5 inches (19 cm). Asia Week New York | Kapoor Galleries

Cakrasamvara. Tibet. Mineral pigments and gold on cloth. 25.2 x 33.9 inches (64 x 86 cm). Asia Week New York | Kapoor Galleries

Susan Ollemans (England), « Modern Design in the Ancient World« . ollemans178@btinternet.com – www.ollemans.com

Carved Emerald Ring. India, 17th century. Colombian Emerald. 1.75 x 1 inches (4.5 x 2.5 cm). Asia Week New York | Susan Ollemans

Gold and ruby ring. Central Java, Indonesia, 8th-10th century. Gold and ruby. Length: 1.56 inches (4 cm); Width: .81 inch (2 cm). Asia Week New York | Susan Ollemans

Perfume container. China, Song Dynasty, 960-1279 AD. Gold. Length: 3.75 inches (9.5 cm). Asia Week New York | Susan Ollemans

Carlton Rochell Asian Art (United States), « Indian, Himalayan and Southeast Asian Art« . info@carltonrochell.com – www.carltonrochell.com

Gyalpo Pehar. Mongolia, 17th/18th century. Silver with remains of cold-gilding and polychrome. Height: 6.25 inches (15.9 cm). Asia Week New York | Carlton Rochell Asian Art

Vishnu and His Consorts. Eastern India, West Bengal/Bangladesh Pala period, 11th century. Copper alloy. Height: 16.25 inches (41.2 cm). Asia Week New York | Carlton Rochell Asian Art

Torso of a Jina. North India, 11th/12th century. Burnished sandstone. Height: 33 inches (83.8 cm). Asia Week New York | Carlton Rochell Asian Art

Dalton Somaré (Italy), « New Acquisitions« . info@daltonsomare.com – www.daltonsomare.com

Head of the Buddha. Greater Gandhara, 3rd century. Schist. 14.1 inches (35.8 cm). Asia Week New York | Dalton Somaré

Padmapani. Swat Valley, Pakistan, circa 7th century. Bronze. Height: 10.1 inches (26 cm). Asia Week New York | Dalton Somaré

Head of the Buddha. Greater Gandhara, circa 7th century. White marble. 15.7 inches (40 cm). Asia Week New York | Dalton Somaré

Jonathan Tucker Antonia Tozer (England), « An Important Group of Sculptures from India and Southeast Asia« . jonathantucker1@aol.com – www.asianartresource.com

Standing Schist Bodhisattva. Northwest Pakistan, Gandhara, 2nd-3rd century A.D. Grey schist. Height: 28 inches (71 cm). Asia Week New York | Jonathan Tucker Antonia Tozer

Sandstone Salabanjika. Central India, probably Madhya Pradesh, 10th-11th century. Red sandstone. 43 inches (109 cm). Asia Week New York | Jonathan Tucker Antonia Tozer

Stucco Seated Buddha. Northwest Pakistan, Gandhara, 4th-5th century. Stucco. Height: 20.5 inches (52 cm). Asia Week New York | Jonathan Tucker Antonia Tozer

Nancy Wiener Gallery (United States), « Recent Acquisitions« . nancywienergallery@mac.com – www.nancywiener.com

Attributed to Manaku or Fattu. A Folio from the “Large Bhagavata Purana.” India, Guler, circa 1760-65. Gouache and gold on paper. Painting 9.75 x 13 inches (23.5 x 33.2 cm); Folio 11.6 x 16 inches (29.5 x 40.2 cm). Asia Week New York | Nancy Wiener Gallery

Head of Avalokiteshvara. India, 11th century, Pala period. Black Stone. 9.5 inches (24 cm). Asia Week New York | Nancy Wiener Gallery

Portrait of a Sakya Lama (Detail). Tibet, 18th century. Mineral pigment and gold on cloth. 77 x 63 inches (195 x 160 cm). Asia Week New York | Nancy Wiener Gallery

Ancient and/or Contemporary Chinese Art

U.S. galleries include:

Andrew Kahane, Ltd., « Chinese Ceramics and Works of Art« . kahaneasia@aol.com – www.artasianappraisers.com

Meiping. China, 13th century. Glazed stoneware. Height: 12.5 inches (30 cm). Asia Week New York | Andrew Kahane, Ltd.

Longquan celadon lotus bowl. China, Southern Song Dynasty, late 12th-13th century. Diameter: 6.5 inches (16.5 cm). Asia Week New York | Andrew Kahane, Ltd.

Northern black glazed russet splashed pear shaped vase. China, Northern Song-Jin Dynasty, 12th-early 13th century. Height: 13 inches (32.8 cm). Asia Week New York | Andrew Kahane, Ltd.

Asian Art Studio, « Noble Treasures« . asianartstudio@msn.com – www.asianartstudio.com

Rare imperial rectangular white jade seal carved with crouching dragon. China, Yuan Dynasty. Jade. Length: 2.25 inches (5.5 cm); Width: 1.8 inches (4.7 cm). Asia Week New York | Asian Art Studio

A hardstone and hongmu desk screen painted with figures in a mountainous landscape. China, late 19th century. 15 x 10.5 inches (38 cm). Asia Week New York | Asian Art Studio

A well hollowed agate snuff bottle, carved with flowers and trees by rockwork. China, 1750-1860. Height: 2.25 inches (5.8 cm).

Ralph M. Chait Galleries, Inc., « Spring Exhibition of Chinese Porcelain and Works of Art« . info@rmchaitgal.net – www.rmchait.com

Bronze Figure of a Seated Buddha. China, Ming dynasty, circa 15th/16th century. Bronze. Height: 19.25 inches (48.9 cm). Asia Week New York | Ralph M. Chait Galleries, Inc.

Underglaze red and blue baluster vase, decorated with the Eight Horses of Mu Wang. China, early Kangxi period, circa late 17th century. Porcelain. Height: 16.25 inches (48.3 cm). Asia Week New York | Ralph M. Chait Galleries, Inc.

Large red glazed vase, of rounded form and sang de boeuf color glaze with fine crackle. China, 18th/early 19th century. Porcelain. Height: 14 inches (35.6 cm). Asia Week New York | Ralph M. Chait Galleries, Inc.

China 2000 Fine Art, « To See a World in a Grain of Sand« . c2000fa@aol.com – www.china2000fineart.com

Lingbi Scholar Rock with Carved Marble Base. China, Ming dynasty. Lingbi stone and marble. Rock: 22.75 (Height) x 14.75 (Width) x 4.75 (Depth) inches (57.8 x 37.4 x 12 cm). Asia Week New York | China 2000 Fine Art

Zhang Ling. Exchanging the White Goose for the Classic Text. China, late 15th/early 16th century, Ming dynasty. Ink and color on paper. 27 x 1.5 inches (68 x 26.8 cm). Asia Week New York | China 2000 Fine Art

Xie Zhiguang (1899-1976). Appreciating the Plum Blossom. China, 20th century. Ink and color on paper, hanging scroll. 53.5 x 11.75 inches (136 × 30 cm). Asia Week New York | China 2000 Fine Art

The Chinese Porcelain Company, « Chinese Contemporary Ink Painting« . cplumhoff@chineseporcelainco.com – steo@chineseporcelainco.com – www.chineseporcelainco.com

Tai Xiangzhou. Paradise Mountain. China, 2012. Ink on silk. 23.9 x 126.25  inches (60.6 x 320.7 cm). Asia Week New York | The Chinese Porcelain Company

A Yueyao Glazed Funerary Jar. Western Jin Dynasty, 265 – 316 AD. Height: 17 1/2 inches (44.45 cm); Diameter: 9 3/4 inches (24.77 cm). Asia Week New York | The Chinese Porcelain Company

Gisèle Croës (Belgium), « Matter and Memory« . art@giselecroes.com

Bodhisattva Head. China, Northern Qi Dynasty (550-577). Limestone. Height: 10.5 inches (29 cm). Asia Week New York | Gisèle Croës s.a.

Archaic bronze vessel, Gu. China, Shang Dynasty (1600-1050 BC), Anyang Culture (1300-1050 BC), 12th century BC. Bronze with green, blue and brown patina; malachite and cuprite crystallisation; traces of textile. Height: 12.4 inches (31.5 cm). Asia Week New York | Gisèle Croës s.a.

Gold animal mask. China, Warring States period (481 – 221 BC). Width: 4.25 inches (11 cm). Asia Week New York | Gisèle Croës s.a.

Michael C. Hughes LLC, « Recent Acquisitions – Chinese Works of Art« . mhughesllc@earthlink.net

An Eastern Zhou Dynasty style vessel, gui. Probably Ming Dynasty. 5.3 inches across (13.5 cm). Asia Week New York | Michael C. Hughes LLC

A Nephrite jade snuff bottle. Master of the Rocks school, 1760-1850. Height without stopper: 2.7 inches (7 cm). Asia Week New York | Michael C. Hughes LLC

Jadestone, « Diminutive and Dynamic: Miniature Chinese Snuff Bottles and Works of Art« . info@jadestonegallery.com – www.jadestonegallery.com

Famille Rose Snuff Bottle. China, Qianlong Mark and Period. Enameled porcelain. Height: 1.4 inches (3.6 cm). Asia Week New York | Jadestone

Miniature Famille Rose Incense Burner. China, Qianlong-Jiaqing Period. Enameled porcelain. 2 x 2 inches (5.2 x 5.2 cm). Asia Week New York | Jadestone

Openwork-Carved Jade Toggle with Russet Skin. China, Qing Dynasty. 1.7 x 1.4 x 0.8 inches (4.5 x 3.6 x 2 cm). Asia Week New York | Jadestone

Kaikodo LLC, « The Immortal Past« . asianart@kaikodo.com – www.kaikodo.com

Gilt-Lacquered Wood Figure of a Seated Boy. China, Song-Yuan Dynasty, 13th-14th century. Height: 15 inches (38 cm). Asia Week New York | Kaikodo LLC

Gilt-Silver Wine-Drinking Game Set. “The Analects Jade Candle” with inscribed “drinking strips.” China, Tang Dynasty, 8th century. Height: 10 inches (25.4 cm). Asia Week New York | Kaikodo LLC

Dai Mingyue (1625-1670). Bamboo and Rock. Hanging scroll, ink on satin. 31.5 x 18.5 inches (80 x 47 cm). Asia Week New York | Kaikodo LLC

J.J. Lally & Co., « Chinese Archaic Bronzes: The Collection of Daniel Shapiro and Ancient Chinese Sculpture: Recent Acquisitions ». staff@jjlally.com – www.jjlally.com

Bronze Ritual Vessel (Gong). China, Shang Dynasty, circa 1200 B.C. Height: 10 5/8 inches (27 cm); Length: 11 3/4 inches (30.1 cm). Asia Week New York | J. J. Lally & Co.

Bronze Ritual Vessel (Fangding). China, Early Western Zhou Dynasty, 11th century B.C. Height: 10 3/4 inches (27.3 cm). Asia Week New York | J. J. Lally & Co.

Gilt Bronze Figure of the Bodhisattva Guanyin. China, Tang Dynasty, 8th century. Height: 10 inches (25.5 cm). Asia Week New York | J. J. Lally & Co.

M. Sutherland Fine Arts, Ltd., « Chinese Contemporary Painting: New Works by Hai Tao« . info@msutherland.com – www.msutherland.com

Hai Tao. Landscape Number 1. China, 2012. Ink on paper. Asia Week New York | M. Sutherland Fine Arts, Ltd.

Hai Tao. Melodious Apparition. Nanjing, China, 2010. Ink on rice paper. 12.75 x 10.1 inches (32.4 x 25.7 cm). Asia Week New York | M. Sutherland Fine Arts, Ltd.

Hai Tao. Rising Tide. Nanjing, China, 2010. Ink on rice paper. 12.75 x 10.25 inches (32.4 x 26 cm). Asia Week New York | M. Sutherland Fine Arts, Ltd.

Nicholas Grindley Works of Art Ltd, « Chinese Furniture and Scholars’ Objects« . nick@nicholasgrindley.com – rebecca@nicholasgrindley.com – www.nicholasgrindley.com

Huanghuali yoke back armchair with a backward sloping yoke. China, Late Ming dynasty, 16th century. Huanghuali wood. Height 42.5 x Width 23.5 x Depth 24 inches (107.9 x 59.7 x 61 cm). Asia Week New York | Nicholas Grindley Works of Art Ltd

Huanghuali inset leg bridle joint table. China, Late Ming, early Qing dynasty, 17th century. Huanghuali wood. Height 31.75 x Width 95.25 x Depth 21.25 inches (80.6 x 242 x 54 cm). Asia Week New York | Nicholas Grindley Works of Art Ltd

Duan inkstone contained within a nanmu box. China, Qing dynasty, 17th/18th century. Length 3.5 x Width 3 x Depth .5 inches(8.9 x 7.6 x 1.3 cm). Asia Week New York | Nicholas Grindley Works of Art Ltd

Zetterquist Galleries, « Early Chinese Ceramics: Monochromes« . inquiries@zetterquist.com – www.zetterquist.com

Large and Important Carved Mei-ping. China, Northern Song Dynasty (960–1127 A.D.). Porcelaineous Stoneware. Height: 15.3 inches (39cm). Asia Week New York | Zetterquist Galleries

Large Yaozhou Game Box. China, Northern Song Dynasty (960–1127 A.D.). Ceramic. Diameter: 4.9 inches (12.5cm). Asia Week New York | Zetterquist Galleries

Large Longquan Celadon Twin Fish Bowl. China, Southern Song–Yuan Dynasty (13th–14th century A.D.). Ceramic. Diameter: 7.9 inches (20cm). Asia Week New York | Zetterquist Galleries

Ancient and/or Contemporary Japanese Art

Carole Davenport (United States), « BCE TO NOW – Masterworks from Japan and China« . carole@caroledavenport.com – www.caroledavenport.com

Kasuga Deer Mandala. Japan, Muromachi Period, circa 1500. Silk. 35 x 14.5 inches (89 x 36.8 cm). Asia Week New York | Carole Davenport

Hiroyuki Asano. Sunset Mt. Fuji. Japan, 2013. Black impala granite from South Africa. Height: 14.6 inches (37 cm). Asia Week New York | Carole Davenport

Okimono of a kirin. 18th century. Porcelain with celadon glaze, Nabeshima kiln. 11.5 inches high. Asia Week New York | Carole Davenport

Dai Ichi Arts, Ltd. (United States), « Jewels for Homes« . info@daiichiarts.com – www.daiichiarts.com

Miyanaga Tozan III. On the Way. Japan, circa 2004. Cobalt glazed porcelain. 20 x 17.3 x 7.4 inches (50.8 x 43.9 x 18.8 cm). Asia Week New York | Dai Ichi Arts, Ltd.

Kaneshige Kosuke. Saint’s Garment No.5. Japan, 2004. Wood-fired bizen stoneware. 16 x 19 x 13 inches (40.6 x 48.3 x 33 cm). Asia Week New York | Dai Ichi Arts, Ltd.

Otto Akob. Gold Coral and Pearl Earrings: Shells. Germany, 1986. 18kt gold, orient pearls, coral enamel. 1.25 x 0.8 inches (3.1 x 2 cm). Asia Week New York | Dai Ichi Arts, Ltd.

Joan B. Mirviss, Ltd. (United States), « Japan in Black and White: Ink and Clay« . info@mirviss.com – www.mirviss.com

Yashima Gakutei. Surimono woodblock print. Japan, 1830. 8 x 7 inches (20.3 x 17.8 cm). Asia Week New York | Joan B. Mirviss, Ltd

Yagi Kazuo. Asymmetrical sculpted vessel. Japan, circa 1970. Glazed stoneware. 8.75 x 8.25 x 7.88 inches (22.2 x 21 x 20 cm). Asia Week New York | Joan B. Mirviss, Ltd

Maruyama Ôkyo. Moon Over Waves. Japan, 1777. Ink on silk. 39.25 x 12.6 inches (99.7 x 32.1 cm). Asia Week New York | Joan B. Mirviss, Ltd

Onishi Gallery (United States), « Heritage: Contemporary Japanese Ceramics and Other Interior Objects« . nana@onishigallery.com – www.onishigallery.com

Tokuda Yasokichi III. Plate Kamon (Floral). Japan, 2000. Porcelain with vivid colored glaze (yôsai). 3.9 x 21.9 inches (10 x 55.5 cm). Asia Week New York | Onishi Gallery

Tokuda Yasokichi III. Plate Shin-en (Calm). Japan, 1992. Porcelain with vivid colored glaze (yôsai). 3.3 x 21.5 inches (8.5 x 54.5 cm). Asia Week New York | Onishi Gallery

Maeda Hideo. Flower vessel with geometric pattern. Japan, 2013. Stoneware with inlay. 16.7 x 12.4 inches (42.5 x 31.5 cm). Asia Week New York | Onishi Gallery

Scholten Japanese Art (United States), « Erotic Art of Japan: Everybody’s Doing It« . info@scholten-japanese-art.com – www.scholten-japanese-art.com

Suzuki Harunobu (circa 1725-70). Teahouse waitress and a lover in an intimate embrace. Japan, circa 1768. Woodblock print. 8 1/8 x 11 1/8 inches (20.5 by 28.2 cm). Asia Week New York | Scholten Japanese Art

Suzuki Harunobu (ca. 1724-70). A beauty watching a couple drinking sake, from the The Spell of Amorous Love (Enshoku koi no urakata). Japan, circa 1766-70. Woodblock printed chuban orihon (folded illustrated book). 7.5 x 5.125 inches (19.2 x 13 cm). Asia Week New York | Scholten Japanese Art

Kikugawa Eizan (1787-1867). Young Lovers at the New Year, from the series Selections from the Brocade Quarters (E-awase Kinkaisho). Japan, circa 1815. Woodblock print. 10.125 x 14.625 inches (25.7 x 37.2 cm). Asia Week New York | Scholten Japanese Art

Erik Thomsen (United States), « Japanese Paintings and Works of Art« . info@erikthomsen.com – www.erikthomsen.com

Suzuki Shônen (1849-1918). Pines (detail). Japan, Meiji era (1868-1912), circa 1910. Ink on gold leaf. 67.5 x 147.5 inches (171.5 x 374.5 cm) each. Asia Week New York | Erik Thomsen

Katsudô Eiryrû (act. 1790s). Ensô Bijin. Japan, Edo Period (1615-1868), 1790s. Ink and mineral colors on silk. 55 x 22.5 inches (139.3 x 56.8). Asia Week New York | Erik Thomsen

Rinpa School. Flowers of the Season by Meandering Stream. Japan, Meiji era (1868-1912). Ink, mineral colors, gofun and gold on paper with gold leaf. 66.25 x 74 inches (169.5 x 188 cm). Asia Week New York | Erik Thomsen

Hiroshi Yanagi Oriental Art (Japan), « Japanese Art Highlights« . h-yanagi@art.plala.or.jp – www.h-yanagi.com

Standing Amida Nyorai. Japan, Kamakura Period, 13th century. Cypress wood. Height: 9 inches (23 cm). Asia Week New York | Hiroshi Yanagi Oriental Art

Maruyama Okyo. Turtles. Japan, Edo Period, 1785. Hanging scroll, ink and color on silk. 35.4 x 15.75 inches (90 x 40 cm). Asia Week New York | Hiroshi Yanagi Oriental Art

Miyagawa Choshun. Nikuhitsu Ukiyo-e: Figures. Japan, Edo Period, 18th century. Six-fold screen, ink and color on silk. Each painting 30.9 x 13.2 inches (78.4 x 33.6 cm). Asia Week New York | Hiroshi Yanagi Oriental Art

BachmannEckenstein (Switzerland). « Japanese Art | Pre-Modern and Beyond« . email@bachmanneckenstein.com – www.bachmanneckenstein.com

Otagaki Rengetsu (1791-1875). Dish. Japan, 19th century. Glazed ceramic. 6.2 x 4 inches (15.7 x 10 cm). Asia Week New York | BachmannEckenstein JapaneseArt

Ikeno Taiga (1723-1776). Landscape – Hanging Scroll. Japan, Edo Period, 18th century. Ink and color on paper. 49 x 10.9 inches (124.5 x 27.6 cm); Scroll: 80.3 x 16.5 inches (204 x 42 cm). Asia Week New York | BachmannEckenstein JapaneseArt

Hine Taizan (1813-1869). Landscape – Hanging Scroll. Japan, Meiji Period, dated 1868. Ink on paper. 44.5 x 12.3 inches (113.1 x 31.2 cm); Scroll: 76.8 x 17.1 inches (195 x 43.5 cm). Asia Week New York | BachmannEckenstein JapaneseArt

Giuseppe Piva Japanese Art (Italy). « Yūgen: The Subtle Profundity of Japanese Art« . info@giuseppepiva.com – www.giuseppepiva.com

Otagaki Rengetsu (1791-1875). Hare. Signed Rengetsu. Ceramic okimono with calligraphic inscription. Height: 7.9 inches (20 cm). Asia Week New York | Giuseppe Piva Japanese Art

A small hokai box with Kodai-ji Maki-e Design with Autumn Plants. Japan, Momoyama Period, late 16th century. 7.7 x 8.3 x 8.3 inches (19.5 x 21 x 21 cm). Asia Week New York | Giuseppe Piva Japanese Art

Kei School. Nikko Bosatsu. Japan, Nanbokucho Period (1336-1392). Wood sculpture with colored pigments and gold-leaf decoration. Height: 19.7 inches (50 cm). Asia Week New York | Giuseppe Piva Japanese Art

Ancient and contemporary Korean

Kang Collection Korean Art and Koo New York, both from the United States, round out the contributors presenting the extraordinary array of Asian art treasures on view.

Kang Collection Korean Art (United States). « Ik-Joong Kang: Bamboo/Wind« . info@kangcollection.com – www.kangcollection.com

Ik-Joong Kang. White Moon Jar. Korea, 2011. Mixed media on wood. 37.75 x 37.75 inches (96 x 96 cm). Asia Week New York | Kang Collection Korean Art

Ik-Joong Kang. Samramansang Moon Jar. Korea, 2010-2013. Mixed Media on Wood. 47 x 47 inches (119.4 x 119.4 cm). Asia Week New York | Kang Collection Korean Art

Ik-Joong Kang. Blue Chrysanthemum Moon Jar. Korea, 2011. Mixed Media on Wood. 47 x 47 inches (119.4 x 119.4 cm). Asia Week New York | Kang Collection Korean Art

Koo New York (United States). « Korean Traditions: Arts of the Interior« . info@koonewyork.com – www.koonewyork.com

Anonymous. Cranes Gathering in Daoist Western Paradise. Korea, Annexation Period (1910-45). Eight-Panel Screen; colors on silk, mounted on brocade. Overall: 74.5 x 127.25 inches (153 x 323.4 cm). Asia Week New York | KooNewYork

To celebrate the 2015 edition of Asia Week New York, which offers a non-stop schedule of gallery open houses, auctions, exhibitions, lectures, symposia and special events, a private, invitation-only reception will once again take place at The Metropolitan Museum of Art on March 16.

A comprehensive guide with maps will be available at participating galleries, auction houses and cultural institutions, starting February 2015 and online at asiaweekny.com. Emphasizing the strength of interest from Chinese-speaking buyers, a Chinese version of the website is available at cn.asiaweekny.com.

Qi Baishi (1864-1957), criquet sur une courge

Étiquettes

criquet sur une courge, Qi Baishi

Qi Baishi (1864-1957), criquet sur une courge.  Estimation  40,000 — 60,000  EUR.  Lot. Vendu 103,500 EUR. Photo Sotheby’s.

encre et pigments sur papier, monté en rouleau, signé BAISHI QI HUANG, avec un cachet de l’artiste – 68,9 x 35,4 cm; 27 1/8  by 13 7/8  in.

QI BAISHI (1864-1957) CRICKET ON A GOURD, INK AND COLOUR ON PAPER, HANGING SCROLL, SIGNED BAISHI QI HUANG, WITH ONE SEAL OF THE ARTIST

PROVENANCE: With Robert Hatfield Ellsworth, New York.
Acquired from Robert Hatfield Ellsworth, New York, 14th April 1981.

Copy of original receipt for lot 64

Sotheby’s. Arts d’Asie. Paris | 11 déc. 2014, 10:30 AM

Qi Baishi (1864-1957) Hibiscus

Étiquettes

Hibiscus, Qi Baishi

Qi Baishi (1864-1957) Hibiscus. Estimation  80,000 — 120,000  EUR.  Lot. Vendu 205,500 EUR. Photo Sotheby’s.

encre et pigments sur papier, monté en rouleau, signé JIE SHAN YIN GUAN ZHU ZHE, avec une inscription et un cachet de l’artiste – 180,2 x 46,5 cm; 70 7/8  by 18 3/8  in.

QI BAISHI (1864-1957) HIBISCUS, INK AND COLOUR ON PAPER, HANGING SCROLL, SIGNED JIE SHAN YIN GUAN ZHU ZHE, INSCRIBED AND WITH ONE SEAL OF THE ARTIST

PROVENANCE: With Robert Rousset, Paris.
Acquired from Robert Rousset, Compagnie de la Chine et des Indes, Paris, 16th June 1966.

EXPOSITION: Chi Pai-Shih 1863 – 1957, Compagnie de la Chine et des Indes, Paris, 10th May – 10 June 1980.

Copy of original receipt for lot 66

untitled

untitled

Sotheby’s. Arts d’Asie. Paris | 11 déc. 2014, 10:30 AM