With Buddhist emblems and inlaid hardstone beads surrounding a central jade carving depicting the ‘100 antiques’ motif together with a dragon-form belt hook forming the handle
Supported on a short tapering foot, and well-potted with a shallow rounded cavetto and wide flaring rim, the interior completed in underglaze blue with eight dense landscape scenes reserved along the outer border and surrounding a central scene of three musicians in a garden and dressed in Western-style court clothing while playing instruments including a flute, lute, and dulcimer
diameter 33.2 cm
Note: After a Nicholas Bonnart engraving titled Symphonie du tympanum, du luth et de la flute d’Allemagne, which bore a verse lauding the joys of music when all play on time, and noting how even sweeter it is when l’Amour conducts. As M.A. Pinto de Matos notes, this same subject has also been found on tiles in Holland, and these dishes were likely for the Dutch market (The RA Collection of Chinese Ceramics, vol. II, London, 2011, pp. 250-1, no. 332). Another was in the Mottahedeh collection, illustrated by Howard & Ayers, China for the West, vol. I, no. 35a, and sold at Sotheby’s New York, October 19, 2000, lot 93.
MOUNTAIN LANDSCAPE, 1979
Splashed ink and colour on gold paper, and dated to when the artist was 80 years old. Framed
height 14.8” x width 17.9”
height 37.5 cm x width 45.5 cm
Of archaistic hu-form, the well-potted ovoid body with a short neck decorated with a lappet border and rising towards a flared rim, the sloping shoulders flanked by a pair of monster-head ring handles moulded along the tapering rounded sides finely decorated with two bands of scrolling composite floral borders above designs of crashing waves, each of the sections separated by moulded double bowstring borders, the whole supported on a subtly spreading foot
height 25.1 cm
Provenance: Property from the collection of Chen Zhaogong’ (1903-1996), Taipei. Acquired during the 1940’s and thence by decent to the current owner in Toronto.Chen Zhaogong was the owner and founder of the Xin Xie Ying Inc. (‘??), a large bakery and candy factory located at 61 Nanjing West Road in Taipei. Specializing in Chinese cookies and sweets, the company employed over three hundred people whose jobs included operating the heavy machinery and hand-packing all the products. In 1937 the Japanese changed the company name to Xin Xie Rong Ltd. (”?) until its closure in 1957.Amongst other things, Chen Zhaogong was elected as Baozheng (??), the district chief of the Jiancheng area in Guanghua Village (‘?) from 1942 until 1971, and the founder of the Taipei Bakery Association in 1949. Chen Zhaogong had many interests outside of managing the Xin Xie Rong factory. He was an amateur collector of Late Qing Dynasty and Republican Period antiques, with many pieces now dispersed to family members in Taipei, New York, and Toronto.
Note: With carefully controlled bursts of ink resulting in small concentrated pools of paint, the “heaping and piling” method of decoration, as seen in this present example, purposefully recalls earlier 15th century techniques. Although potters had mastered the art of firing and painting underglaze cobalt blue by the 18th century, this stylistic reference, with its bold brushwork and sporadic bursts of ink, served as both a reminder and tribute to the highly prized and admired works of previous dynasties. The current example has a subtle difference from typical vases of this design in that the lotus balls across the body are slightly smaller and more sinuous. However hu vases with this design have been recorded and are probably later in the Qianlong reign. For a Qianlong example of a hu vase with smaller lotus balls, see Christie’s New York, September 17, 2008 lot 458. For a Jiaqing example, see Christie’s Hong Kong, October 30, 2001, lot 809.
MAHARANA SARUP SINGH CARRIED BY HIS ENTOURAGE, 19TH CENTURY
Tempera and gold paint on card
height 9.6” x width 12.8”
height 24.5 cm x width 32.5 cm
Provenance: Lots 28-34: A Toronto Private Collection of Miniatures. Acquired directly from the Estate of Theordore Allen Heinrich (1910-1981). Professor Heinrich was an art historian, curator, and educator. From 1955 to 1962, he was the director of the Royal Ontario Museum, and afterwards he taught art history at the University of Saskatchewan, and York University.
Finely enameled on both sides with a cricket perched on a cage
height 6.0 cm
MY FAIR LADY
Ink and colour on paper, signed, with one seal of the artist
height 15.2” x width 15.2”
height 38.5 cm x width 38.5 cm
Provenance: Private Collection Hong Kong.
Note: Hu Yongkai attended the Central Academy of Fine Art in Beijing and received his BFA in oil painting in 1964. From 1985, Hu lectured at the Fine Art Institute of Shanghai University before immigrating to Hong Kong in 1988. Hu’s paintings of women and interior settings are renowned for the pronounced usage of line and a colourful palette that combines elements of traditional Chinese art with Western influences. Since the 1980’s, Hu has exhibited his works in China, Hong Kong, Taiwan, Japan, Singapore, Denmark, Germany and the USA, and has paintings represented in collections including the China Art Museum, Shanghai, Shanghai Art Museum and Hong Kong Museum of Art. He currently resides and works in Hong Kong and the USA.
The crowned deity seated in dhyanasana with left hand held in vitarkamudra and right hand extended in varadamudra, and dressed in elaborate jewelry including long beaded necklaces, earrings, and bracelets with inset coral and turquoise beads throughout, flowing ribbons surround the seven-eyed deity and wrap along her arms, the serene figure seated in viswapadmasana
height 33.5 cm
Of a pale green colour with apple green inclusions, the rectangular-form panel of large size and carved in high relief along the front to depict eight maidens floating in a heavenly garden scene with lotus flowers and rockery, a confronting dragon and phoenix soaring in the sky alongside a palace surrounded by scrolling clouds, the reverse incised with a variety of birds including a standing paradise flycatcher all in a lush garden scene TOGETHER WITH a 19th Century cinnabar lacquer table stand
height 15.9” x width 11.6”
height 40.5 cm x width 29.5 cm
Finely potted with a bulbous-form body and slender neck, a moulded dragon surrounding the gently sloping sides, all raised on a tall footring
height 23.5 cm
Provenance: Sotheby’s London 1990’s.
With silk, gold, and silver thread embroidered on red wool cloth and laid down onto a larger silk panel, of rectangular section and divided into two registers with eight floral medallions along the top bordering the main section depicting eight foreigners, each with a gift to pay tribute, a tasseled fringe on the base
height 30.1” x width 171.1”
height 76.5 cm x width 434.5 cm
SUITE OLYMPIQUE CENTENNAL, 1992
Lithograph on paper, signed and numbered 145/250 in pencil. Framed
height 29.6” x width 20.9”
height 75.2 cm x width 53.0 cm
Asian Art Auction - Monday June 9, 6pm
JESSIE OONARK (1906-1985), E2-384, BAKER LAKE
coloured pencil drawing, signed in syllabics, framed
30” x 22” — 76.2 x 55.9 cm.
Gallery Moos Ltd., Toronto
Inuit Art auction
Monday June 2, 6pm
NIVIAXIE (1909-1959), E7-1077, Cape Dorset
HUNTER WITH BEAR, sealskin stencil, 1959, 18/30, unframed, 18” x 12.5” — 45.7 x 31.8 cm.
Inuit Art auction
Monday June 2, 6pm