MUSEUM DUNIA MAYA DR IWAN
Dr IWAN ‘S CYBERMUSEUM
THE FIRST INDONESIAN CYBERMUSEUM
MUSEUM DUNIA MAYA PERTAMA DI INDONESIA
DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI
PENDIRI DAN PENEMU IDE
Dr IWAN SUWANDY, MHA
The Driwan’s Cybermuseum
THE MASTERPIECE OF CHINESE IMPERIAL CERAMIC AND ARTWORK COLLECTIONS
A peach bloom glazed porcelain beehive water pot & a celadon glazed porcelain bottle vase with carved decoration. Kangxi Period
A peach bloom glazed porcelain beehive water pot. Kangxi Mark and Period. Photo Bonhams
Its curving exterior walls incised with three dragon roundels and covered with a mottled rosy-red layer exhibiting patches of faint green beneath the celadon-tinged glaze covering the interior and the base centered with the underglaze blue six-character mark in two rows of regular script, the original mouth and neck replaced by a metal band mount; 5in (12.5cm) diameter. Estimate: US$5,000 – 7,000
Property Formerly from the Daibutsu Gallery, San Francisco, California
A celadon glazed porcelain bottle vase with carved decoration. Kangxi Period. Photo Bonhams
Potted with a flared rim to the long neck encircled by a band of overlapping petals while the globular body displays a single chilong striding across a ground of lingzhi fungus and leaf scrolls, the celadon glaze extending from the top of the neck to the exterior of the spreading foot and a colorless glaze appearing on the interior neck and the deeply recessed base displaying an artemesia leaf mark within a double ring drawn in underglaze blue.: 8in (20.5cm) high. Estimate: US$3,000 – 5,000
Property from the Collection of J. Lester Jervis
A Ming blue and white bottle vase. Jiajing period (1522-1566). Photo Christies Ltd 2011
Painted around the pear-shaped body with large lotus flowers with feathery petals borne on leafy meandering scrolls, all above a lappet band at the foot, the shoulder with a wide band enclosing a stylised leafy scrolls, the base with a four-character inscription reading ‘yong bao chang chun‘; 9¼ in. (23.5 cm.) high. Estimate £10,000 – £15,000 ($16,710 – $25,065)
Notes: Yong bao chang chun may be translated as ‘Eternal life and everlasting spring’.
A rare large Blue and White ‘Lotus’ Guan Jar. Late Yuan-Early Ming dynasties. Photo Sotheby’s
robustly potted in ovoid form with a short splayed neck set with a slightly everted rim flange, boldly painted in a dark, greyish cobalt blue with a broad stylised lotus scroll around the centre, with six large blooms alternating in full view and in profile among dense scrolling foliage and attendant buds, set between pendent and upright petal lappets draping the shoulder and skirting the waist, the shoulder lappets containing Buddhist and other auspicious emblems supported on lotus flowers, the lappets below with further emblems alternating with lotus sprays, all below a knobbed classic scroll collaring neck and a lingzhi scroll around the foot; 50.5 cm., 19 7/8 in. Estimate 8,000,000—12,000,000 HKD. Lot Sold 9,620,000 HKD
LITERATURE AND REFERENCES: Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 4, no. 1623.
NOTE: The style of this lotus scroll with its dense frilly petals and curling foliage, as well as the solid construction of the jar and the colour of the cobalt blue all suggest a date very late in the Yuan or early in the Ming dynasty, in the Hongwu period. Altogether, the painting style seems closer to Yuan dynasty prototypes than to the fully developed Hongwu designs, which tend to be more strictly composed and executed in a paler cobalt blue, and would seem to represent a different stage in the development of blue and white porcelain.
A companion piece to this highly unusual jar from the Au Bak Ling collection, sold in these rooms 3rd May 1994, lot 33, was included in the exhibition 100 Masterpieces of Imperial Chinese Ceramics from the Au Bakling Collection, Royal Academy of Arts, London, 1998.
An important Blue and White ‘Dragon’ bottle vase. Yuan Dynasty. Photo Sotheby’s
the pear-shaped body rising to a slender neck and a wide flaring rim, counterbalanced by a splayed footring, freely painted in dark cobalt blue with a three-clawed striding dragon, its head with elaborate horns gazing up at a flaming pearl, the sinuous body wrapped around the entire vessel with spikes along the spine and cross-hatched scales, the inner mouthrim painted with a ‘classic’ scroll border, the base glazed save for the unglazed footring revealing a yellowish-beige body; 24.7 cm., 9 3/4 in. Estimate 8,000,000—12,000,000 HKD. Lot Sold 9,620,000 HKD
PROVENANCE: Collection of Charles E. Russell, London (until 1936, one of two vases) .
Sotheby’s London, 12th February 1936, offered for purchase together with its companion, lot 75, while on display at the Royal Academy of Arts.
Collection of Mrs. Alfred Clark (1936 until the 1970s, one of two vases).
Mayuyama & Co, Ltd, Tokyo.
Private Collection, Japan.
J.J. Lally & Co., New York.
EXHIBITED: International Exhibition of Chinese Art, Royal Academy of Arts, London, 1935-6, cat. no. 1434 (illustrated).
Ming Blue-and-White Porcelain, Oriental Ceramic Society, London, 1946, cat. no. 2.
Chinese Blue and White Porcelain: 14th to 19th Centuries, Oriental Ceramic Society at the Arts Council Gallery, London, 1953-4, cat. no. 1 (illustrated).
Mostra d’Arte Cinese/Exhibition of Chinese Art, Palazzo Ducale, Venice, 1954, cat. no. 600 (illustrated).
The British Museum, London, 1955 (according to label; probably on loan).
Tōyō no sometsuke/Far Eastern Blue-and-White Porcelain, Mitsukoshi, Tokyo, 1977, cat. no. 12 (illustrated).
The Metropolitan Museum of Art, New York (1980s, on loan).
LITERATURE AND REFERENCES: Jean Gordon Lee, ‘Some Pre-Ming “Blue-and-White”, Archives of the Chinese Art Society in America, vol. VI, 1952, p. 38, pl. IV, fig. c.
Soame Jenyns, Ming Pottery and Porcelain, London and Boston, 1988 (1953), pl. 12.
Sir Harry Garner, Oriental Blue and White, London, 1973 (1954), pl. 3.
Margaret Medley, Yüan Porcelain and Stoneware, London, 1974, pl. 25.
Sōgyō Shichijūnen Kinen Ryūsen Shūhō/Mayuyama, Seventy Years, Tokyo, 1976, pl. 696.
Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 4, no. 1620.
NOTE: This vase with its lively, freely painted dragon is an iconic piece of Yuan blue and white, as is testified by its illustrious provenance from the Charles Russell and Alfred Clark collection, the impressive list of exhibitions in which it featured – including the ground-breaking International Exhibition of Chinese Art in London 1935-6 and the seminal Marco Polo Seventh Centenary exhibition in Venice 1954 – and the renowned experts who wrote about it, among them Soame Jenyns, Harry Garner and Margaret Medley.
The vase shared part of its history with a companion piece painted, probably by the same hand, with an almost identical dragon, but with a prunus branch and crescent moon inside the rim. This second vase, later in the Ataka collection and now in the Museum of Oriental Ceramics, Osaka, (fig. 1) was included together with the present vase in the Oriental Ceramic Society exhibition 1953-4, op.cit., cat. no. 2, and is illustrated, for example, in Ye Peilan, Yuandai ciqi [Porcelain of the Yuan dynasty], Beijing, 1998, pl. 91. Another vase with a similar dragon and also with a classic scroll inside the rim, in the National Museum of China, Beijing, is published in Peng Qingyun, ed., Zhongguo wenwu jinghua daquan: Taoci juan [Complete masterpieces of Chinese cultural relics: Ceramics volume], Taipei, 1993, p. 328, no. 535; and a fragmentary vase with plain rim, excavated near Chifeng, Inner Mongolia, is published in the exhibition catalogue Empires Beyond the Great Wall. The Heritage of Genghis Khan, Natural History Museum of Los Angeles County, Los Angeles, 1994, p. 141, fig. 91. Fragments of similar vases, probably discovered at Jingdezhen, are also illustrated and their production methods discussed in Huang Yunpeng, ed., Yuan qinghua yanjiu [Research on Yuan blue and white], Shanghai, 2006, p. 10, fig. 4, and p. 256, col. pl. 3.
A rare Qingbai Ewer and Cover. Yuan Dynasty. Photo Sotheby’s
well potted, the pear-shaped body rising to a tall flared neck, supported on a splayed foot with a prominent flange, the body set with a slender curved spout issuing from the mouth of a dragon, connected to the body by an elaborate S-shaped bridge, set opposite with a curved handle formed by the scaly body of a fish-dragon with the opened mouth swallowing the top of the handle, its mane forming a small loop for attaching the cover, its tail fanning out into a large trefoil motif applied in relief, the body decorated on either side with a phoenix in flight with upturned scrolling tail and a cloud motif, cut from thin sheets of clay and applied with incised details, above a band of upright lappets containing ruyi heads, the neck collared by a key-fret band of pearl strings and slip-painted upright petal lappets containing scroll motifs, all beneath an icy blue-green transparent glaze, fitted with a stepped domed cover and a small eyelet for attachment to the ewer, surmounted by a seated lion delicately modelled with a thick beard, long mane, and bushy tail bent to one side, its left foreleg resting on a ball with thin freely modelled ribbons and a bell tied around its neck, overall 34 cm., 13 3/8 in. Estimate 1,200,000—1,500,000 HKD. Lot Sold 4,220,000 HKD
PROVENANCE: Messrs John Sparks, London.
Collection of Mr and Mrs Otto Doering, Snr.
Christie’s New York, 9th November 1978, lot 125.
J.J. Lally & Co., New York.
EXHIBITED: The Art Institute of Chicago (on loan).
Chinese Porcelain and Silver in the Song Dynasty, J. J. Lally & Co., New York, 2002, cat. no. 30 (illustrated).
LITERATURE AND REFERENCES: John Ayers, ‘Some Characteristic Wares of the Yüan Dynasty’, Transactions of the Oriental Ceramic Society, vol. 29, 1954-5, pl. 38, fig. 17.
Margaret Medley, Yüan Porcelain and Stoneware, London, 1974, pl. 10.
Anthony du Boulay, Christie’s Pictorial History of Chinese Ceramics, London, 1984, p. 110, fig. 1.
Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 4, no. 1614.
NOTE: This ewer reflects the quest for richer ornamentation in the second half of the Yuan dynasty, which eventually was satisfied by the introduction of underglaze painting in colour. It shows the remarkably wide repertoire of decoration techniques experimented with at the time, such as moulding, incising, slip painting, dotted surface structuring, application of clay sheets, freely modelled motifs and pearl strings.
A very similar ewer without cover in the Tokyo National Museum is published in Yutaka Mino, Chūgoku no tōji. Hakuji/Chinese Ceramics. White Porcelain, Tokyo, 1998, col. pl. 79, perhaps the piece illustrated also in Mikami Tsugio, ed., Sekai tōji zenshū/Ceramic Art of the World, vol. 13, Tokyo, 1981, col. pl. 42. A simpler version of this design, perhaps made somewhat earlier than the present ewer, was among the porcelains recovered from the shipwreck off Shinan, Korea, which can be dated to AD 1323; that ewer has a similar phoenix design in relief, but is lacking any applied motifs and has a plain spout, handle and cover; see Relics Salvaged from the Seabed off Sinan. Materials I, Seoul, 1985, pl. 67. A similar smaller ewer without cover, from the collection of a Vietnamese Princess, was sold at Christie’s New York, 22nd April 1999, lot 256.
A pair of meiping vases with similar, but perhaps also somewhat simpler lion covers, excavated from a tomb of AD 1324 in Wannian county, Jiangxi province, is published in Wenwu 1977, no. 4, pl. 9, fig. 5. A fragment of a similar ewer, excavated from a Yuan city site in Inner Mongolia, is published in Chen Yongzhi, ed., Nei Menggu Jininglu gu cheng yizhi chutu ciqi/Porcelain Unearthed from Jininglu Ancient City Site in Inner Mongolia, Beijing, 2004, p. 20, fig. 13; and a similar fragment of a dragon handle, excavated from the Yuan remains at Luomaqiao, Jingdezhen, Jiangxi province, in Ceramic Finds from Jingdezhen Kilns (10th – 17th Century), Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1992, cat. no. 116.
Sotheby’s. The Meiyintang Collection – An Important Selection of Imperial Chinese Porcelains, 07 Apr 11, Hong Kong www.sothebys.com
A Langyao-red bottle vase. Qing dynasty, Kangxi period. Photo Sotheby’s
the globular body rising to a tall cylindrical neck, covered overall in a thick bright raspberry-red glaze, streaking slightly down the sides and pooling just above the neatly trimmed tapering foot, the glaze further suffuse.d with a tight network of crackles, the base applied with a crackled straw glaze; 42 cm., 16 1/2 in Estimate 400,000—600,000 HKD. Lot Sold 500,000 HKD
PROVENANCE: Yamanaka & Co., no. 2 (according to label).
Sotheby’s New York, 4th June 1982, lot 228
A Chinese celadon-glazed bottle vase. Qing dynasty, 18th- 19th century. photo Sotheby’s
the bulbous body tapering to a slender neck and a molded garlic-head mouth, all covered in an even pale celadon glaze; height 11 in. 28 cm. Estimate 15,000—25,000 USD. Lot Sold 68,500 USD
A Chinese Ru-type bottle vase. Qing dynasty, 18th- 19th century. photo Sotheby’s
covered in a rich gray-blue glaze suffused with fine yellow-brown crackling, the foot dressed in brown; height 11 1/4 in. 28.6 cm. Estimate 10,000—15,000 USD. Lot Sold 34,375 USD
A Chinese Ru-type pear-shaped vase. Qing dynasty, 18th- 19th century. photo Sotheby’s
covered in a smoky lavender-blue glaze, the foot dressed in brown; height 8 1/2 in. 21.7 cm. Estimate 8,000—12,000 USD. Lot Sold 20,000 USD
A Chinese celadon-glazed Vase.. Qing dynasty, Kangxi period. photo Sotheby’s
the body incised with scrolling lotus beneath a narrow band of inverted triangles and ruyi-heads around the neck; height 9 3/4 in. 24.8 cm. Estimate 4,000—6,000 USD. Lot Sold 12,500 USD
A Chinese celadon-glazed Baluster Vase.. Qing dynasty, Kangxi period. photo Sotheby’s
incised with a band of scrolling lotus beneath a narrow border of inverted triangles around the neck; height 10 in. 25 4 cm. Estimate 4,000—6,000 USD. Lot Sold 10,000 USD
A Chinese celadon vase.. Late Ming-Qing dynasty. photo Sotheby’s
molded with peonies and foliage between lappet borders at the rim and foot, the glaze suffused overall with a fine crackle; height 13 3/4 in., 35 cm. Estimate 2,000—3,000 USD. Lot Sold 8,125 USD
A Chinese celadon Baluster Vase.. Late Ming-Qing dynasty. photo Sotheby’s
carved with peonies and foliage above a band of incised stiff leaves; height 13 in., 33 cm. Estimate 2,000—3,000 USD. Lot Sold 5,313 USD
Blue and White ‘Bacchus’ Charger. China, Kangxi period (1662 – 1722). Courtesy Vanderven & Vanderven Oriental Art
Diameter: 37,5 cm. Price on request
Provenance: private collection, Belgium
A rare large charger decorated with a Western mythological scene of Dionysus, or Bacchus, the Greco-Roman god of wine and merriment. Because of these connotations, he was a favoured symbol for the dining room. Further European influence can be seen in the gadrooned rim, which was copied from silver models. Similar chargers are in the Victoria & Albert Museum (London) and the Hodroff Collection (USA).
Large Five Piece Garniture. China, Kangxi period (1662 – 1722). Courtesy Vanderven & Vanderven Oriental Art
Height: 64 cm – Price on request
Provenance: Dutch noble family, since the early 18th century
Five-piece garnitures were used as decoration in grand European houses throughout the 18th century. Made in China as separate items, garnitures were formed in Europe by combining covered jars and vases. Large garnitures were often part of private orders made by higher ranking members of the Dutch East India Company (VOC). Until now, this garniture has been in the same Dutch family collection since the early 18th Century.
Blue and White Bottle Vase.China, Kangxi period (1662 – 1722). Courtesy Vanderven & Vanderven Oriental Art
Height: 24 cm – Price on request
Provenance: private collection, France
Underglaze Blue Bowl. China, Kangxi Mark & Period (1662-1722). Courtesy Vanderven & Vanderven Oriental Art
Diameter: 14,3 cm. Price: € 17.500,-
Provenance: Private Collection Germany
The eight trigrams, or bagua, are mystical symbols comprising of long and short horizontal lines. They symbolize the different aspects of nature between heaven (long lines) and earth (short lines). Other decorations used are waves, rocks, clouds and cranes, all typical Taoist emblems.
Blue and White Box and Cover. China, Kangxi period (1662 – 1722). Courtesy Vanderven & Vanderven Oriental Art
Diameter: 11,5 cm – Price: € 9.500,-
Provenance: Bos collection, The Netherlands
Two Handled Cup With Cover. China, Kangxi period (1662 – 1722). Courtesy Vanderven & Vanderven Oriental Art
Height: 18,5 cm – Price: € 8.500,-
Provenance: Augustus the Strong collection, Germany, Inventory Number: N=181 VVV
Blue and White Ewer with Cover. China, Kangxi period (1662 – 1722). Silver mounts of the period marked Amsterdam 1720. Courtesy Vanderven & Vanderven Oriental Art
Height: 15 cm – Price: € 7.500,-
Provenance: Simons collection, the Netherlands
Islamic Jar and Cover. China, Kangxi period (1662-1722). Courtesy Vanderven & Vanderven Oriental Art
Height: 7,5 cm – Price € 4.500,-
Provenance: Lieberman collection, United Kingdom
Although Chinese and the Ottoman Empires seemed far apart in ancient times, an abundance Chinese treasures in the Topkapi Palace Museum (Istanbul) stand proof for their long-term trading relationship. This small jar and cover is an excellent example of Chinese porcelain made for the middle eastern market.
Calligraphy Brush Cap. China, Kangxi period (1662-1722). Courtesy Vanderven & Vanderven Oriental Art
Height: 13,5 cm – Price € 4.500,-
Provenance: Lieberman collection, United Kingdom
During the Ming and Qing Dynasties in China, the scholars were highly regarded in Chinese society. Many beautiful items, made from luxurious materials, were used to adorn the scholar’s desk. Among these, a special place was reserved for the brush itself. This object is probably the cap for a porcelain brush – a rare and expensive material only affordable for the very few.
Blue and White Plate. China, Kangxi period (1662-1722). Courtesy Vanderven & Vanderven Oriental Art
Diameter: 39,5cm – Price: €4.500,00
Provenance: Collectie van Middelkoop Netherlands.
Blue and White Plate. China, Kangxi period (1662 – 1722). Courtesy Vanderven & Vanderven Oriental Art
Diameter: 27 cm – Price: € 3.800,-
Provenance: Wiltox-Bogaers collection, The Netherlands
Blue and White Dish. China, Kangxi period (1662 – 1722). Courtesy Vanderven & Vanderven Oriental Art
Diameter: 26,5 cm – Price: € 3.500,-
Provenance: Bos collection, The Netherlands
A pair of Chinese Export Famille-Verte powder-blue-ground bottle vases, Kangxi period, early 18th century
A pair of Chinese Export Famille-Verte powder-blue-ground bottle vases, Kangxi period, early 18th century. photo Sotheby’s
reserved with panels of objects and flowering plants. height 8 1/2 in., 21.6 cm – Estimate 5,000—7,000 USD. Lot Sold 3,125 USD
A Chinese porcelain blue and white bottle vase. Chongzhen, 1628-1644. Courtesy Marchant
of compressed globular form with tall flaring neck and central bulb, painted on the body with a dignitary meeting a lady in a fenced garden, the gentleman with three attendants, one holding a canopy, the other a halbard and a third with an axe, all amongst rockwork, banana plants and “V”-shaped grass, the reverse with a cloud bank beneath cloud scrolls and the moon, the shoulder with a continuous band of flowering asters amongst foliage, the neck with stylised tulip divided by lotus flower-heads and foliage on the bulb. 14 5/8 inches, 37.1cm high. Condition: Rim restored. Price on request.
• Formerly in the collection of Professor D. R. Laurence.
• Purchased from S. Marchant & Son, 9th February 2007.
• A similar vase was included by S. Marchant & Son in their exhibition of Ming Blue and White Porcelain: The Drs. A. M. Sengers Collection, no. 72, p. 99; another was included by S. Marchant & Son in their exhibition of Ming Blue and White Including Dated Examples, no. 74, pp. 102/3, a further example from the Ludwig collection in the Cologne Museum is illustrated by Adele Schlombs in China und die Hoffnung auf Glûck, no. 44.
A miniature copper-red vase; Yongzheng. photo Bonhams
Of elegant pear-shaped form, covered all over with a rich mottled red glaze, thinning at the mouth to an opaque white, wood stand. 8.4cm high; Sold for HK$48,000
Provenance :/ Formerly in the collection of Brodie and Enid Lodge
Exhibited 出版: The Oriental Ceramics Society, Monochrome Porcelain of the Ming and Manchu Dynasties, London, October 1948, no.5.
來源：Brodie 與 Enid Lodge舊藏
A rare red glass bottle vase. Yongzheng four-character wheel-cut mark and of the period. photo Bonhams
Of sumptuous globular form, skilfully moulded with a raised ridge at the shoulder and surmounted by a tall tapering neck, the glass of a rich mottled red colour suffused with bubbles and inclusions. 23cm high. Sold for HK$1,560,000
Provenance: Ashkenazie & Co., San Francisco, 12 May 1988.
Illustrated 出版: A Chorus of Colors, Asian Art Museum of San Francisco, 1995, pp.50-51, no.24
R.Kleiner, Chinese Snuff Bottles in the Collection of Mary & George Bloch, British Museum Press, London, 1995, p.xxi, fig.2
清雍正 透明紅玻璃賞瓶 「雍正年製」楷款
來源：1988年5月12日購自三藩市Ashkenazie & Co.
An extremely rare ruby-red and white overlay glass ‘ruyi’ jar.Qianlong four-character wheel-cut mark and of the period. photo Bonhams
Of elegant rounded form, springing from an accentuated foot, and tapering to the mouth, the lower overlay of a rich ruby-red colour, finely carved as a stylised peony flower with eight interlocking petals with deftly incised veining, the central body an opaque white colour, the upper overlay carved with ruyi motifs, the lipped rim intricately incised with a four character kaishu mark, original carved wood stand; 8.3cm diam. Estimate: HK$200,000 – 400,000, USD 26,000 – 52,000. Sold for HK$1,320,000
Provenance: Ashkenazie & Co., San Francisco, 4 November 1986.
Illustrated 出版: A Chorus of Colors, Asian Art Museum of San Francisco, 1995, p.99, cat. no.73
R.Kleiner, Chinese Snuff Bottles in the Collection of Mary & George Bloch, British Museum Press, London, 1995, p.xxiii, fig.5
Catalogue of the International Art Fair, New York, March 1997, p.15, cat. no.17
來源： 於1986年11月4日購自三藩市Ashkenazie & Co.
Qianlong-reign marked jars of this type are extremely rare, representing the pinnacles of achievement of the Beijing Palace glass workshops. The precise form, quality of the ruyi-design carving, and powerful contrasting colours mark this select group out amongst other Imperial Qing dynasty glass wares. A closely related jar from the Qing court collection, preserved in the Palace Museum, Beijing, with additional bands in sapphire-blue around the neck and foot, is illustrated in Luster of Autumn Water: Glass of the Qing Imperial Workshop, Beijing, 2005, p. 208, pl. 59
Only one other jar of this type appears to have been offered at auction, a slightly larger (12.5cm diameter) example, sold at Sotheby’s Hong Kong, The Collection of a Parisian Connoisseur, 8 April 2007, lot 519, differing from the current jar in that the four-character mark is inscribed around the base. Another red-overlay jar, formerly in the Robert Clague Collection, and now in the Hong Kong Museum of Art, is illustrated in The Robert H. Clague Collection. Chinese Glass of the Qing Dynasty, Phoenix Art Museum, Phoenix, 1987, cat. no 18. Another unpublished example is in the collection of the Bristol City Museum and Art Gallery, England
A rare ‘amethyst’ glass bottle vase. Yongzheng four-character wheel-cut mark and of the period. photo Bonhams
Of elegant ‘S’-shaped section, supported on a short straight foot, gently undulating inwards and sloping at the shoulders, surmounted by a narrow curved neck, the glass of an attractive purple colour reminiscent of amethyst. 13.9cm high. Sold for HK$660,000.
Provenance: S.Bernstein & Co., San Francisco, 31 July 1993.
Illustrated 出版: S.Bernstein, Chinese Art from Distant Centuries vol.2, 1993, no.49
A Chorus of Colors, Asian Art Museum of San Francisco, 1995, pp.48-49, no.23
清雍正 紫玻璃花瓶 「雍正年製」楷款
來源：於1993年7月31日購自三藩市S.Bernstein & Co.
A rare yellow glass zhadou. Qianlong four-character wheel-cut mark and of the period. photo Bonhams
The heavily constructed body of compressed spherical form supported on a straight foot and flaring out to a broad mouth, the base wheel cut with a four-character mark within a double square; 8cm high. Estimate: HK$50,000 – 80,000, USD 6,400 – 10,000. Sold for HK$504,000
Provenance: Ashkenazie & Co., San Francisco, 1 May 1987.
Illustrated 出版: A Chorus of Colors, Asian Art Museum of San Francisco, 1995, p.89, no.61
來源：於1987年5月1日購自三藩市Ashkenazie & Co.
For a Yongzheng reign-marked fluted yellow glass zhadou in the Beijing Palace Museum, see Luster of Autumn Water. Glass of the Qing Imperial Workshop, Beijing, 2005, p. 132, pl. 11.
A rare green glass bottle vase.Qianlong four-character wheel-cut mark and of the period. photo Bonhams
Of compressed spherical form supported on a slightly splayed foot, surmounted by a tall cylindrical neck flared slightly at the mouth, the colour of a rich emerald-green, suffused with bubbles. 21.5cm high. Sold for HK$480,000
Provenance: A & J Speelman Ltd., London, 4 February 1993.
Illustrated 出版: A Chorus of Colors, Asian Art Museum of San Francisco, 1995, pp.72-73, no.43
清乾隆 透明綠玻璃扁瓶 「乾隆年製」楷款
來源：於1993年2月4日購自倫敦A & J Speelman Ltd.
A yellow glass ‘lotus leaf’ water dropper. Qing dynasty, 18th century. photo Bonhams
Of deep rounded form, boldly shaped and carved in relief in the form of a lotus leaf, the exterior carved in relief with luxuriant lotus flowers and stems emanating from the base and extending to the lotus flowers, all carved in relief, the irregular shaped rim folded over to simulate the edges of a lotus leaf, lowered and widened at one side to form a spout, the opposite side carved with a lotus seed pod and two frogs, the lip carved with two small crabs depicted clambering over, the exterior and interior of the vessel decorated with gently incised lines conveying the veins of a lotus leaf.11cm diam.Sold for HK$480,000
Provenance: Spink & Son Ltd, London, 14 April 1989.
Illustrated 出版: Minor Arts of China vol.IV, Spink & Son Ltd., 1989, p.86, fig.111, and illustrated on the front cover
Octagon vol.XXVI, Spink & Son Ltd., 1989, p.14, fig.1
C.Brown & D.Rabiner, Clear As Crystal, Red As Flame: Later Chinese Glass, China House Gallery, China Institute in America, New York, 1990, cat. no.42
A Chorus of Colors, Asian Art Museum of San Francisco, 1995, p.109, no.84
Triptych: 76, Nov-Dec 1995, Asian Art Museum of San Francisco, pg.19, no.2
R.Kleiner,Chinese Snuff Bottles in the Collection of Mary & George Bloch, British Museum Press, London, 1995, p.xix, fig.1
Catalogue of the International Art Fair, New York, March 1997, p.15, cat. no.18
來源：於1989年4月14日購自倫敦Spink & Son Ltd
A rare pink glass fluted vase. Yongzheng four-character wheel-cut mark and of the period. photo Bonhams
Of globular form, supported on a short foot, gently rising at the shoulder and flaring at the neck, skillfully moulded into ten vertical flutes extending from the foot to the rim, the colour of a rich pink mottled with pale white splashes, suffused with bubbles and inclusions. 13cm high. Sold for HK$384,000
Provenance: Ashkenazie & Co., San Francisco, 29 September 1988.
Illustrated 出版: A Chorus of Colors, Asian Art Museum of San Francisco, 1995, pp.52-53, no.25
Glass for K’ang Hsi’s Court, Arts of Asia, Sept-Oct 1991, p.133
來源：於1988年9月29日購自三藩市Ashkenazie & Co.
A fine large amber glass vase. Qianlong four-character wheel-cut mark and of the period. photo Bonhams
Of imposing size, the swollen body supported on a short straight foot, surmounted by a long neck gently flaring at the mouth, the glass of an attractive orange-brown colour. 36cm high. Sold for HK$360,000
Provenance: S.Bernstein & Co., San Francisco, 7 October 1992.
Illustrated 出版: A Chorus of Colors, Asian Art Museum of San Francisco, 1995, pp.68-69, no.40
清乾隆 瑪瑙色透明玻璃天球瓶 「乾隆年製」楷款
來源：於1992年10月7日購自三藩市S.Bernstein & Co.
A large white glass bottle vase.. Qing dynasty. photo Bonhams
Of globular form supported on a short straight foot, surmounted by a tall cylindrical neck, incised and inlaid with gold at the rim with an apocryphal Qianlong seal mark, the white glass of exceptional translucence reminiscent of flawless white jade. 27.6cm high. Sold for HK$336,000
Provenance: Ashkenazie & Co., San Francisco, 7 January 1991.
Illustrated 出版: A Chorus of Colors, Asian Art Museum of San Francisco, 1995, pp.84-85, no.55
來源：於1991年1月7日購自三藩市Ashkenazie & Co.
A blue glass vase of similar form, also incised and inlaid in gold with an apocryphal Qianlong seal mark, is illustrated in Elegance and Radiance. Grandeur in Qing Glass. The Andrew K.F. Lee Collection, The Art Museum, The Chinese University of Hong Kong, Hong Kong, 2000, pl.13.
A pair of ruby-red carved glass ‘lotus’ cups. Qianlong four-character wheel-cut marks and of the period.. photo Bonhams
Each of deep rounded form, the rich ruby-red glass skilfully carved of undulating petal form, the exterior carved in low relief with a duck amidst luxuriant lotus plants, supported on a root coiling around the foot encircling the mark. 6.2cm high. Sold for HK$312,000
清乾隆 紅玻璃雕荷塘水鴨杯一對 「乾隆年製」楷款
Qianlong glass vessels inscribed with the reign mark on the base are rare, and these marks appear to have been reserved for the highest quality pieces. For an overlay vase with a Qianlong four-character kaishu mark similarly inscribed around the base, see a red-overlay glass vase from the Qing court collection, preserved in the Palace Museum, Beijing, illustrated in Luster of Autumn Water. Glass of the Qing Imperial Workshop, Beijing, 2005, p. 202, pl. 55.
A ruby-red cylindrical glass brush holder. Mid Qing dynasty. photo Bonhams
Of cylindrical form, the rich ruby-red glass carved in relief with a landscape scene of a groom watching a horse rolling on the ground, framed under gnarled pine branches and leaves, the reverse inscribed in xing cao with a seven-column poem, all reminiscent of a bamboo brushpot by the famous bamboo carver Wu Zhifan. 17.8cm high. Sold for HK$204,000.
Provenance: Robyn Turner Gallery, San Francisco, 24 April 1998.
Illustrated 出版: E.B.Curtis, Chinese Glassmaking, Arts of Asia, Nov-Dec 1998, pp.98-107, no.13 & 14
來源：於1998年4月24日購自三藩市Robyn Turner Gallery
A monumental ‘clair-de-lune’ glass bottle vase. Qing dynasty. photo Bonhams
The exceptionally large vase of compressed globular form supported on a short, slightly splayed foot, surmounted by a tall cylindrical neck, the glass of an attractive opaque pale blue colour. 44cm high. Sold for HK$180,000
Provenance: S.Bernstein & Co., San Francisco, 30 March 1993.
Illustrated 出版: A Chorus of Colors, Asian Art Museum of San Francisco, 1995, pp.82-83, no.51
E.B.Curtis, Journal of Glass Studies vol.41, Corning Museum of Glass, 1999, p.152, fig.3
來源：於1993年3月30日購自三藩市S.Bernstein & Co.
A pair of gilt-decorated glass ‘dragon’ bowls. Guangxu. photo Bonhams
Each of deep rounded form supported on a short foot, intricately decorated in gilt with nine dragons, the interior with two pairs of dragons depicted in pursuit of a flaming pearl around a central writhing dragon, the exterior with an additional two pairs of dragon rendered in a similar design, all against a dense floral ground, all below a collar of ruyi motifs at the rim and above a narrow band of classic scroll at the foot, the base with apocryphal Qianlong mark.16.3cm diam. Sold for HK$168,000
Provenance: Ashkenazie & Co., San Francisco, 21 November 1988.
來源：於1988年11月21日購自三藩市Ashkenazie & Co.
A pair of white glass Moghul-style bowls.18th century. photo Bonhams
Each of shallow rounded form supported on a short straight foot, the exterior intricately carved with registers of overlapping chrysanthemum petals emerging from the base in concentric patterns and rising to the foliate rim. 7 cm high. Sold for HK$156,000
Provenance: Ashkenazie & Co., San Francisco, 29 September 1988.
Illustrated 出版: R.Kleiner, Chinese Snuff Bottles in the Collection of Mary & George Bloch, British Museum Press, London, 1995, p.xxiii, fig.6-7
來源：於1988年9月29日購自三藩市Ashkenazie & Co.
A turquoise-green glass vase;Qianlong four-character wheel-cut mark and of the period. photo Bonhams
The heavily constructed body of slender curved form, tapering elegantly from the narrow foot to the swollen central body, rising to a long flared neck, the colour of a rich blue-green suffused with black inclusions and striations in imitation of turquoise, the countersunk base wheel cut with a four-character mark within a double square.18.1cm high. Estimate: HK$40,000 – 60,000, USD 5,200 – 7,700. Sold for HK$144,000
Provenance: Ashkenazie & Co., San Francisco, 30 October 1986.
Illustrated 出版: A Chorus of Colors, Asian Art Museum of San Francisco, 1995, pp.80-81, cat. no.50
來源：於1986年10月30日購自三藩市Ashkenazie & Co.
A vase of identical size and shape from the Qing court collection, preserved in the Palace Museum, Beijing, but in a brilliant ‘sky-blue’, is illustrated in Luster of Autumn Water: Glass of the Qing Imperial Workshop, Beijing, 2005, p. 154, pl. 24. See also a turquoise glass vase illustrated in Elegance and Radiance: Grandeur in Qing Glass. The Andrew K.F. Lee Collection, The Art Museum, The Chinese University of Hong Kong, Hong Kong, 2000, pl.48.
Dr Alan Feen, a radiation oncologist from Tulsa, Oklahoma, began collecting Chinese glass in 1986 when he purchased his first object, the small Qianlong ruby-red and overlay white brush washer (Lot 208) in San Francisco. Dr Feen had been looking at and studying Chinese glass since a 1983 trip to China, a land he had always wanted to visit. He has now made the decision to let go of the collection for others to enjoy. A second sale of the glass will be held in San Francisco in 2011.
The Alan E. Feen Collection of Chinese Glass
Emily Byrne Curtis
His interest in Chinese glass commenced in 1983. Coincidently this same year also marked the publication of Yang Boda’s seminal study of glass wares from the Qing Dynasty (1644-1911). Working with records of the Workshops of the Imperial Palace (Zaobanchu), Yang was able to chart the course of Imperial glassmaking from the Yongzheng reign (1723-35) to the end of the Xuantong (1909-11) period. However, since records for the Kangxi era (1662-1722) were lacking, little was known about the Imperial glass workshop the emperor had established in 1696.
Fortunately, historical documents in the archives in Rome and the Vatican contained more specific information regarding the founding of the glassworks. They revealed that the workshop itself, was located within the confines of the Imperial City on a piece of land adjacent to the French Jesuits’ church. This proved to be in accordance with two eighteenth century Chinese texts which state that the entire complex was located on the east side of a street named Canchikou. From other documents conserved in the Japonica/Sinica division of the Archivum Romanum Societatis Iesu, we learn from several letters dating to 1696 and written by Jean de Fontaney, SJ (洪若翰 Hong Ruohan), that this glassworks had been erected by Kilian Stumpf, SJ (紀理安 Ji Lian), that it was already producing glass wares. According to the accounts written by Matteo Ripa (馬 國 賢 Ma Guoxian) and housed in the archives of Archivio Storico de Propaganda Fide, in 1711 the glass workshop was still under Stumpf’s direction, and in May 1715 Ripa recorded how Stumpf had built many furnaces for glass making, while attending to the needs of a great number of craftsmen, all of which required his constant attention.
Continuing on, Theodorico Pedrini, CM (德理格De Lige) sent a request to Rome for examples of glass with gold sparkles that shine. Pedrini also added that the glassworks was experiencing difficulties in making this variety. His description brings to mind the copper particles found in aventurine glass. The glass batch for aventurine was in fact, hard to make and nearly impossible to work by blowing. Nonetheless, in 1705 Kangxi presented the military governor of Jiangsu with seventeen pieces of glass among which were two blue vases speckled with gold. All of this reminds one of the vase of transparent blue glass in Dr. Feen’s collection (Lot 216) which contains spangles (pasta stellaria) imitating aventurine. It may be noted further, that similar examples of this type of glass may be found in the collection of the Beijing Palace Museum.
A letter written by Jean-François Foucquet, SJ (傅 聖 澤 Fu Shengze) and preserved in the Biblioteca Apostolica Vaticana describes in detail the gifts Kangxi was sending to the King of Portugal in 1721. Among the glassware we find descriptions for plates the color of celestial red; cups with flower pattern the color of blue sky after rain (yuguo tianqing); pots and plates in the same shade; plates of sky-blue (tianlan); cups and plates of white glass ornamented with flowers; and five cups of white glass and adorned with gilt on the exterior. The latter description may be compared to a pair of gilt decorated bowls (Lot 219) in the Feen Collection which have a four character mark of the Qianlong emperor (r.1736-95) on their bases, representing a style of decor that can be traced back to the earliest days of Imperial glassmaking.
Foucquet’s references to glass with flower patterns recalls a mention by Lodovico Antonio Appiani, CM (畢 天 祥 Bi Tianxiang), of having been in a room ‘full of young artisans who were carving floral patterns on the glasswares,’ while the distinctions made on Foucquet’s list between vessels of ‘sky-blue’ and the ‘blue sky after rain’ colours impart a distinctive Chinese sensibility. One might suggest that the sky-blue tone is met by the large vase (Lot 228) whose colour has also been referred to as being ‘clair de lune.’ As to the color of ‘blue sky after rain,’ this description was probably derived from that of the mysterious Chai stoneware made during the reign of Emperor Shizong ( r. 953-59) in the Five Dynasties period.
Yongzheng (r.1723-35) is said to have exhibited a pronounced preference for vessels made of bright red and purple glass. The method utilized to achieve these colours is believed to have been transmitted to China in the following manner. Kilian Stumpf had attended the Jesuit college in Mainz where the latest modes to produce ruby glass were known. This process included the addition of colloidal gold (gold dispersed as fine particles) to the glass formula. This technology had been transmitted to China has been confirmed by analytical studies of specimens from the Kangxi and Yongzheng periods which showed that the red, pink, and purple enamel colors employed in decorating porcelain had been prepared from ruby glass which contained colloidal particles of gold. In the absence of documented examples for Foucquet’s ‘celestial red’ glass, one can only propose consideration of vessels such as the vase of transparent red glass (Lot 234) might fit this description, and that its color was obtained by making use of this ‘new’ technology. This reasoning may be applied also to the small bottle vase of transparent amethyst glass (Lot 232), and the fluted vase of opaque pink glass (Lot 231), with incised Yongzheng nian zhi marks in standard script on the slightly recessed bases of both vessels.
The Feen Collection contains some notable examples of glass wares intended for scholarly pursuits such as the brush rest of white glass imitating nephrite, in the form of a crouching boy (Lot 222). Beautifully finished, it was probably intended for the desk of a member of the scholar-literati class, who would have only surrounded themselves with objects of the utmost refinement. Among the other vessels a scholar might have placed on his desk include a brush washer (Lot 205), a brushholder (Lot 204), and a zhadou (Lot 203). The zhadou’s wheel engraved Qianlong nian zhi (1736-95) mark within a double square on the base, combined with the yellow color of the three vessels suggest an attribution to the Qing court, especially when one factors in the yellow glass zhadan bearing a Yongzheng mark, which is in the collection of the Beijing Palace Museum. To this group may be added the brush washer (Lot 208) of opaque ivory colored glass with carved overlays of opaque red and an incised Qianlong mark along the lip of the vessel. This brush washer may be compared to a similar vessel in the Hong Kong Museum of Art.
A commonly held view postulates that the overall quality of Imperial glassmaking began to decline in the last quarter of the eighteenth century and that thereafter, nothing of any noteworthy significance was produced. The pair of covered cups in the Feen Collection (Lot 220) challenges this assumption. The transparent amber color glass is of the highest quality, as are the well-engraved Jiajing marks (1796-1819) on both lids and bases.
In some respects the snuff bottle (Lot 221) of transparent blue glass may be seen as complementing the cycle of Imperial glassmaking which started in Kangxi’s reign. Carved in facets, the gem-like colour of the bottle suggests the minerals are emerald or aquamarine. Though bearing a Tongzhi mark (1862-74), it evokes the single known marked piece of Kangxi glass in the collection of the Beijing Palace Museum, a waterpot fashioned of faceted, transparent glass intended to evoke the clarity of crystal.
It is perhaps fitting to conclude these thoughts on the Feen Collection by referring to the tribute to Stumpf made by João Mourão, SJ ( 穆 敬 遠 Mu Jingyuan), which said in essence, that the Reverend Father Kilian Stumpf taught the two arts of making glass and enamel colours. Moreover he taught the construction of making ovens and small kilns, a knowledge that the Chinese ‘today in their ingenious manner use to fashion very curious objects,’ (fazem Hoje obras muito curiozas).
自1986年開始，俄克拉荷馬放射腫瘤學家Dr. Alan Feen便收藏中國玻璃，他的第一件玻璃收藏品便是購自三藩市的白套紅玻璃蓮花瓣紋缽(Lot 208)。1983年中國之旅啟蒙了他對玻璃的興趣，使他愛不釋手。現在他決定把收藏公諸同好，第二部份的玻璃收藏將會在2010年三藩市拍賣。
Emily Byrne Curtis
幸運地，羅馬及梵蒂岡歷史文獻記錄了更多詳細的成立造辦處資料。據資料顯示，造辦處建立在故宮內連接在法國耶穌會教堂的空地之上。這剛好對應了18世紀中文文獻所言，整項建築設立在蚕池口以東。在Archivum Romanum Societatis Iseu 內東方部門的其他文獻裡，我們從數封洪若翰在1696年所寫的信件中得知，紀理安在當時已建立造辦處並製作玻璃器。根據現藏在Archivio Storico de Propaganda Fide馬國賢的記錄，1711年的玻璃造辦處仍是在紀理安的帶領下運作，在1715年5月，馬國賢更記錄了紀理安如何修建多個窯爐作玻璃燒製之用、照顧了眾多工匠的需要，這一切一切也少不了紀理安的長期關注。
其後，德理格向羅馬提出取如金般閃耀的飾片玻璃樣本，他更表示造辦處正試驗製造不同形式的玻璃器。他的描述令人聯想起在灑金星玻璃中的銅微粒。事實上，製作灑金星玻璃是一件不容易的事，幾乎不可以用吹的方式來製造。然而，在1705年康熙皇帝賞賜了江蘇將領十七件玻璃，其中兩件便是帶有閃閃發光飾片的藍玻璃瓶。這些都使人想起Dr. Feen珍藏中其中一件收藏(Lot 216)，該器含有閃閃發光的飾片，模仿出灑金星效果，同類例子也可從北京故宮博物院收藏中找到。
現藏Biblioteca Apostolica Vatocana的傅聖潭信件，仔細地形容了康熙皇帝在1721年贈予葡萄牙皇帝的貢品。當中玻璃器包括：天霞紅的碟子、飾花卉紋的雨過天青杯、相同顏色的鍋和碟、天藍碟、飾花卉紋白杯碟以及飾金彩白杯五件。最後一項貢品可與Dr. Feen珍藏中白玻璃畫金彩龍紋碗一對(Lot 219)作比較，這也代表了早期御製玻璃的風格。
傅聖潭信件中提到擁有花卉紋的玻璃器，使人聯想到畢天祥的描述：曾經在「很多年輕工匠們正雕花卉紋玻璃」的房間；而傅聖潭資料中「天藍」和「雨過天青」則表示出特殊的中國品味。一般認為「天藍」色可與天藍玻璃長頸瓶(Lot 228)對照，也就是 “clair de lune”。而「雨過天青」色，很有可能是來自一件屬於五代遼世宗(r. 953-59)時期的柴石器。
雍正皇帝(r. 1723-35)曾說過會展示出他尤其愛好的亮紅和紫色的玻璃瓶。相信是透過以下方法來達到這兩種色彩效果：紀理安曾上德國美因茨耶穌會學校，那裡正是製造最新紅玻璃的地方。過程包括在玻璃配方中加上金(被溶化成粒狀的金屬)。從康熙及雍正時期的瓷器可以證明，此技術是入口到中國的，用於飾瓷器上的紅、粉及紫色琺瑯就是來自擁有金的紅玻璃中提煉出來的。在沒有文件例子去證明傅聖潭的「天霞紅」之下，唯說清雍正透明紅玻璃賞瓶(Lot 234)是配合傅聖潭的描述，而這樣的顏色正是透過利用「新」技術而做的。此原因也可以解釋紫玻璃花瓶(Lot 232)和刻有「雍正年製」楷款的粉色玻璃十棱盤口瓶(Lot 231)的原起。
Dr. Feen珍藏之中也有不少珍貴的文房賞玩，如白玻璃童子形筆擱(Lot 222)。如此精美的瑰寶，顯然是文人雅士之物，因為他們對自身用品常有美學上的追求。除此之外，文人還會在桌上放上筆洗(Lot 205)、筆筒(Lot 204)及渣斗(Lot 203)。渣斗上刻「乾隆年製」雙框款，配合黃色的玻璃，表示出很有可能是皇室御製，當我們看到北京故宮博物院也有藏雍正款黃玻璃時，以上的說法更見明顯。白套紅玻璃蓮花瓣紋缽(Lot 208)也可列入此類文房賞玩，其口緣部份也刻有「乾隆年製」款，同類例子可參考在香港藝術館藏品中找到。
A pair of large pink glass bottle vases.Qing dynasty, 17th-18th century. photo Bonhams
Each with a sumptuous globular body flattened to comprise four distinct sides, supported on a short splayed foot and surmounted by a tall cylindrical neck, the colour of an opaque pale pink.25cm high. Sold for HK$132,000
Provenance: Ashkenazie & Co., San Francisco, 1 May 1987.
Illustrated 出版: E.B.Curtis, Chinese Glassmaking, Arts of Asia, Nov-Dec 1998, pp.98-107
A rare white glass ‘recumbent boy’ brushrest. Qing dynasty, 17th-18th century. photo Bonhams
Naturalistically moulded as a recumbent boy depicted supporting his head on his hands, with an enhanced curve on his long stylised back comprising a support for a brush, the colour of a brilliant opaque white. 11.9cm long. Sold for HK$66,000
Provenance: Ashkenazie & Co., San Francisco, 30 October 1986.
Illustrated 出版: A Chorus of Colors, Asian Art Museum of San Francisco, 1995, p.44, no.18
C.Brown & D.Rabiner, Clear As Crystal, Red As Flame: Later Chinese Glass, China House Gallery, China Institute in America, New York, 1990, cat. no.5
Glass for K’ang Hsi’s Court, Arts of Asia, Sept-Oct 1991, p.132
A rare ruby-red and yellow glass ‘twin fish’ pendant. Qianlong. photo Bonhams
Skilfully moulded and shaped as two fish, one yellow, the other ruby-red, interlinked at opposite end of each other.5.8cm long. Sold for HK$60,000
Provenance: A & J Speelman Ltd., London, 16 June 1987.
The workmanship on this pendant is reminiscent of that on a Qianlong mark and period glass fish snuff bottle in the Palace Museum, illustrated in Luster of Autumn Water. Glass of the Qing Imperial Workshop, Beijing, 2005, p. 221, pl. 66. See also a red glass tortoise-shaped paperweight, illustrated ibid, pg. 313, pl.137.
A facetted glass ‘aquamarine’ snuff bottle.Tongzhi four-character wheel-cut four-character mark and of the period. photo Bonhams
Of octagonal facetted form surmounted by a short cylindrical neck, the colour of a brilliant blue-green tone reminiscent of aquamarine, the Mongolian-style stopper inlaid with turquoise and other semi-precious stones.7.1cm high.Sold for HK$57,600
Provenance:Ashkenazie & Co., San Francisco, 5 December 1987.
Illustrated 出版:A Chorus of Colors, Asian Art Museum of San Francisco, 1995, p.122, no.99
For a closely related Daoguang reign-marked glass snuff bottle, see A Treasury of Chinese Snuff Bottle: The Mary and George Bloch Collection, Volume 5, Hong Kong, 2002, Treasury no. 812, p.314-315.
A pair of amber glass bowls and covers.Qing dynasty.. photo Bonhams
Each of deep rounded form supported on a short pronounced foot, the cover of domed form surmounted by a prominent ring, the base and interior of the cover carved in relief with apocryphal Jiaqing mark, the colour of a rich orange-brown. 8.3cm high. Sold for HK$54,000
Provenance: Ashkenazie & Co., San Francisco, 12 January 1987.
A blue glass ‘aventurine-imitation’ bottle vase.Qing dynasty, 18th century. photo Bonhams
The globular body supported on a short foot and surmounted by a tall cylindrical neck, of a rich blue colour enhanced with irregular splashes of sparkling metal particles in imitation of aventurine. 19cm high. Sold for HK$50,400
Provenance: A & J Speelman Ltd., London, 12 January 1987.
Illustrated 出版: C.Brown & D.Rabiner, Clear As Crystal, Red As Flame: Later Chinese Glass, China House Gallery, China Institute in America, New York, 1990, cat. no.28
Glass for K’ang Hsi’s Court, Arts of Asia, Sept-Oct 1991, p.133
A Chorus of Colors, Asian Art Museum of San Francisco, 1995, pp.64-65, no.36
E.B.Curtis, Notes on Qing Glassmaking, Journal of Glass Studies vol.39, Corning Museum of Glass 1997, no. 2
E.B.Curtis, A Plan of the Emperor’s Glassworks, Arts Asiatiques tome 56-2001, p.86, fig.6
E.B.Curtis, Pure Brightness Shines Everywhere: The Glass of China, Ashgate, 2004, p.64, fig.7.4
Aventurine glass was made in seventeenth century Venice and later in other European glasshouses. Gold-flecked blue glass is mentioned in the Palace records in Beijing as early as 1705.
A yellow glass brushwasher.Qing dynasty, 18th century. photo Bonhams
Of compressed spherical form rising from a subtly indented foot, the glass of a rich orange-yellow colour. 12.7cm diam.Sold for HK$48,000
Provenance: S.Bernstein & Co., San Francisco, 18 May 1992.
A blue glass ‘chilong’ vase.Qing dynasty, 18th century. photo Bonhams
Of elegant pear-shaped form, the sumptuous body rising gently to a tall cylindrical neck, supported on a splayed foot, boldly carved in relief with a pair of chilong dragons depicted clambering around the body, the colour of a rich cobalt-blue. 19.7cm high.Sold for HK$33,600
Provenance: Ashkenazie & Co., San Francisco, 16 June 1986.
An ‘aquamarine’ glass vase. Mid Qing dynasty. photo Bonhams
Of globular form supported on a flared foot and surmounted by a tall tapering neck, the colour of a vivid blue-green reminiscent of aquamarine. 17.9 cm high. Sold for HK$36,000
Provenance: Ashkenazie & Co., San Francisco, 8 December 1987.
Illustrated 出版: A Chorus of Colors, Asian Art Museum of San Francisco, 1995, pp.74-75, no.44
A yellow glass brush holder.Qing Dynasty, 18th century. photo Bonhams
Of cylindral form with well-formed sides rising vertically from the foot, the colour of an attractive orange-yellow colour. 15.7cm high. Sold for HK$28,800
Provenance: S.Bernstein & Co., San Francisco, 15 June 1993.
A rare yellow glass facetted bowl.Mid Qing dynasty. photo Bonhams
Of deep rounded form supported on a short foot and flaring out at the rim, the sides shaped into twelve distinct vertical facets, the colour of a rich yellow colour. 11cm diam.Sold for HK$26,400
Provenance: Robyn Turner Gallery, San Francisco, 14 January 1997.
An emerald-green glass bottle vase. Qing dynasty. photo Bonhams
Of sumptuous globular form, surmounted by a tall cylindrical neck and supported on a splayed foot, the colour of a brilliant translucent emerald-green, the base incised with an apocryphal Qianlong four-character mark. 19cm high. Sold for HK$26,400
Provenance: Ashkenazie & Co., San Francisco, 30 October 1986.
A rare white glass two-handled cup. Late Ming/early Qing dynasty. photo Bonhams
Of deep tapering form supported on a high foot, moulded at the sides with a pair of handles formed from stylised dragon heads, carved in relief on each side with a shou character between two medallions, the colour of an opaque white. 5.4cm high. Sold for HK$6,600
Provenance: Ashkenazie & Co., San Francisco, 12 May 1988
chinese imperial for euro
Chine de commande. Petit plat rond à décor dit à la Tonnelle. XVIIIe siècle. Photo Pescheteau-Badin – Paris
en émaux de la famille rose d’après une gravure de Cornelis Pronk : une femme, ses servantes et des enfants sont assis dans un paysage sous une tonnelle, sur l’aile douze réserves décorées de papillons et d’insectes alternés de fleurs sur fond de quadrillage vert agrémentés de rinceaux et coquilles en rouge de fer. D.26 cm – Estimation : 800 / 1 000 €
Chine. Plat rond décoré en grisaille . XVIIIe siècle. Photo Pescheteau-Badin – Paris
d’une scène centrale représentant une allégorie de mariage dans un temple à colonnades surmontées d’armoiries, avec au premier plan naïades et tritons. Il porte l’inscription latine sur la façade « Semper Amor Pro Te Firmisimus Atque Fidelis ». Rinceaux dorés sur l’aile. Restaurations sur l’aile. D.35 cm – Estimation : 800 / 1 000 €
Chine de commande, plat creux rectangulaire à pans coupés. Fin de la période Kangxi (1662-1722). Photo Pescheteau-Badin – Paris
décoré dans la palette Imari de branches fleuries et de quadrillages dans des réserves. L. 35,5 cm. Estimation : 800 / 1 000 €
Chine. Plat creux rectangulaire à pans coupés. XVIIIe siècle. Photo Pescheteau-Badin – Paris
décoré en émaux de la famille rose de feuillages et de fleurs. .L. 32 cm – Estimation : 600 / 800 €
Chine . Assiette ronde décorée en émaux de la famille rose des blasons des huit provinces des Pays-Bas. XVIIIe siècle. Photo Pescheteau-Badin – Paris
encadrant une armoirie centrale surmontée d’une couronne et d’une tête de cheval ailée. Rinceaux fleuris dorés sur l’aile. Une égrenure. D.23 cm. Estimation : 600 / 800 €
Assiette octogonale. XVIIIe siècle. Photo Pescheteau-Badin – Paris
Décor en émaux de la famille rose d’un chiffre entouré de fleurs. Egrenure. D.22 cm – Estimation : 300 / 350 €