An auctioneer’s greatest challenge is to discover fine art and antiques that are fresh and unknown in the present market. I am happy to present an eclectic assemblage of Chinese and East Asian art ranging from China’s bronze age into the 21st century in our September 10 auction of Asian Arts. Many lots of these fine artworks are making their debut in a new and unprecedented Asian Art market. It is my desire that they be met with enthusiasm and move into the possession of different collectors eager to hold and treasure them for generations. I invite you to join us for exhibition of our upcoming sale, which opens to the public Tuesday, September 5, and view these works in person.
This is a modestly priced and presented lot featuring two early Qing bronzes. I think they are both excellent and proud little bronzes. The bottle vase has lost some of its original patina, but the casting is superior. I believe its design, relative to its size, is rare.
Two Chinese archaistic bronze vessels, early Qing dynasty.
Glazed pottery of the Liao Dynasty (907–1125) does not seem to have a well-established place in the contemporary Chinese art market. It would be a pity, though, for this one to go unnoticed at auction. It is in excellent condition, is of charming proportion and design and an absolutely authentic early Chinese ceramic still bearing its early 20th century Yamanaka label.
A Chinese green glazed jar, Liao dynasty.
This piece introduced me to the obscure artist Wang Pu, brother of celebrated porcelain painter and “friend of Zhushan” Wang Qi. Our research revealed an exceptionally talented artist content to work in Wang Qi’s workshop producing artworks in the Qi style, but subtly bearing sunny qualities distinct from those works signed by the more famous sibling.
A fine Chinese famille rose porcelain plaque, Wang Pu signed, dated 1937.
This is a sandstone carving of Buddha Shakyamuni’s visage. The stonecutter may have carved hundreds of such faces in his lifetime and this one stone element may have been but a small feature in a large temple complex or city. Visible carving lines and imperfections even suggest a hasty execution. The Buddha’s expression, though –that most important of aspects in Buddhist art- is the picture of absolute contentment. It’s sublime.
A Thai Ayutthaya-style sandstone partial head of Buddha, 17th century.
This work reveals a small pocket in time when infamous warlord Yuan Shikai tried to reestablish dynastic China with himself as emperor. As dozens of emperors before him had done, the “Hongxian Emperor” Shikai established an imperial workshop to produce artworks worthy of his position and taste. This vase, decorated by Shikai’s hand-picked porcelain artist Wang Xiaotang, nonetheless looks forward to modern painting styles that would become more closely associated with the soon-to-be-established Republic of China.
A Chinese famille rose 'zhongkui' vase, iron-red Tong Yun Shan Fang mark, Hongxian period.