C olourandClay: AnExhibitionofChinese QingDynastyPorcelainfrom

­Colour­and­Clay:­
An­Exhibition­of­Chinese
Qing­Dynasty­Porcelain­from
Toronto­Collections
Waddingtons.ca
Colour­and­Clay:­
An­Exhibition­of­Chinese­Qing­Dynasty
Porcelain­from­Toronto­Collections
On View
Friday 28 November from 11:00 am - 5:00 pm
Saturday 29 November from 11:00 am - 5:00 pm
Sunday 30 November from 11:00 am - 5:00 pm
Monday 1 December from 10:00 am - 12:00 pm
Exhibition to be held at
Waddington’s
275 King Street East, 2nd Floor
Toronto Ontario Canada
M5A 1K2
All lots in the exhibition may be viewed
online at www.waddingtons.ca
Waddingtons.ca
Exhibition Curator
Anthony Wu 416 847 6185
[email protected]
Corporate Receptionist
Kate Godin 416 504 9100
[email protected]
Communications Specialist
Tess McLean 416 504 9100
[email protected]
This catalogue and its contents © 2014
Waddington McLean & Company Ltd.
All rights reserved.
Photography by Waddington’s
Preface­and­Acknowledgments
Bringing­together­32­works­from­four­private­collections,­“Colour­and­Clay:
Chinese­Qing­Dynasty­Porcelain­from­Toronto­Collections,”­forms
Waddington’s­second­viewing­exhibition­of­specially­curated­Chinese­art.
With­works­dating­from­the­late­17th­to­the­early­20th­century,­“Colour­and
Clay”­highlights­the­diversity­of­Chinese­porcelain­wares­and­includes
monochrome,­blue­and­white,­as­well­as­multi-coloured­examples.
Building­upon­the­success­of­last­year’s­“The­Essence­of­Elegance:­Scholar
Objects­from­the­Zuigezhai­Collection,”­this­exhibition­aims­to­continue
discussions­of­connoisseurship­and­the­art­of­collecting.­This­year,­we­are
proud­to­present­Chinese­porcelain­from­the­Mr.­Paul­B.­Collection,­the
Songde­Tang­Collection,­the­Zhuigezhai­Collection,­and­the
Yundushanfang­Collection.
The­depth­and­diversity­of­these­collections­reveals­that,­like­many­other
major­North­American­cities,­Toronto­has­a­long­history­of­collecting
Chinese­porcelain.­The­Royal­Ontario­Museum­(ROM),­is­one­of­the­largest
museums­in­North­America.­Their­comprehensive­Chinese­galleries­have
been­highly­instrumental­in­guiding­generations­of­researchers­and
collectors.­Charles­Trick­Currelly­(1876-1957),­the­ROM’s­first­director,
George­Crofts­(1871-1925),­a­fur­trader­and­antique­dealer,­and­Bishop
William­Charles­White­(1873-1960),­the­first­curator­of­the­East­Asian
Gallery,­were­responsible­for­assembling­the­ROM’s­early­collection­during
the­first-half­of­the­20th­century.­Under­their­guidance,­the­ROM­acquired
several­Chinese­porcelain­highlights­including­a­large­Ming­Dynasty­blue
and­white­jar­and­cover­from­the­Yongle­period­(1404-1425),­and­a­large
Qing­Dynasty­famille­verte­‘hu’­vase­with­the­‘hundred­deer’­motif­with
Qianlong­mark­and­period­(1736-1795).­1
In­the­1990’s,­the­ROM­was­given­a­gift­of­roughly­15­million­dollars
through­the­estate­of­Herman­Herzog­Levy­(1902-1990),­a­Hamilton
businessman­and­philanthropist.­­Best­known­for­his­collection­of
Impressionist­and­Post-Impressionist­art,­Mr.­Herzog­Levy­also­had­an
extensive­love­and­knowledge­for­East­Asian­Art,­amassing­an­impressive
collection­of­Chinese­porcelain­at­his­home.­His­gift­afforded­the­ROM­the
purchase­of­over­300­items­for­their­T.T.­Tsui­Galleries,­including­jades,
bronzes,­and­ceramics.­The­porcelain­acquisitions­included­top-tier­items
1 Royal Ontario Museum ascension number 925.25.15.A-B and 911.9.17.
from­the­Yuan­to­Qing­Dynasties,­one­of­the­highlights­being­a­Ming
Dynasty­blue­and­white­dragon­stembowl­from­the­Xuande­reign­(14261435).2 Mr.­Herzog­Levy’s­generous­gift­aided­the­ROM­in­the­development
of­their­permanent­collection,­which­now­includes­many­important­works,
most­notably­in­the­field­of­Neolithic­jades,­archaic­bronzes,­pre-Yuan
earthenware,­and­Buddhist­painting.­
The­formation­of­the­ROM’s­Chinese­galleries­allowed­for­new­generations
of­Torontonians­to­learn­about­Chinese­art­and­culture.­Many­of­these
people­would­later­become­collectors­and­connoisseurs,­and­as­their­tastes
developed­and­matured,­they­found­themselves­traveling­between­New
York­and­London,­purchasing­items­that­were­unavailable­in­Toronto­at
the­time.­The­migration­of­these­works­between­London,­New­York,­and
Toronto­helped­to­develop­the­local­market,­as­did­the­many­prominent
antique­dealers­who­arose­during­the­1960’s,­such­as­Weisbrod­&­Dy,­Frank
Crane­and­the­Hundred­Antiques,­and­Wolfson­Antiques.­At­the­time,
Chinese­Porcelain­was­still­relatively­accessible­compared­to­today’s­prices.
As­a­result,­collectors­were­afforded­more­freedom­to­develop­their
collections­as­connoisseurs.­
The­generation­of­collectors­who­emerged­in­the­1960’s­were­also
important­to­the­ROM­and­other­museums.­Guided­by­Louise­Hawley
Stone­(1904-1997),­the­Bishop­White­Committee­was­founded­in­1960­at
the­ROM.­The­group­consisted­of­volunteers­who­grew-up­with­the
museum­and­wanted­to­support­the­growth­of­the­Far­Eastern
Department,­as­well­as­raise­awareness­for­Asian­art­in­Toronto.­The
Committee­promoted­Chinese­art­by­organizing­porcelain-themed­lectures
and­helped­to­expand­the­collection­by­funding­new­aquistitions.­When
Louise­Stone­passed­away,­she­left­a­charitable­trust­of­45­million­dollars­to
the­museum,­which­was­used­to­fund­acquisitions,­programs­and
publications.­
Another­important­member­of­the­Bishop­White­Committee­was­Ann
Walker­Bell­(1925-).­Together­with­her­husband­Robert­(1913-1998),­they
amassed­a­large­collection­of­Chinese­blue­and­white­porcelain­from­the
1960’s­until­the­1990’s­–­all­stored­in­their­home’s­second­floor­“Porcelain
Room”,­where­many­curators,­scholars,­and­local­collectors­were­invited­to
discuss­their­shared­passion.­In­1998,­they­donated­their­collection­to­the
Gardiner­Museum­of­Ceramic­Art­in­Toronto.­Known­for­their­European
2 Royal Ontario Museum ascension number 992.234.1.
ceramics,­the­Gardiner­Museum­now­features­one­of­the­most­extensive
collections­of­Chinese­blue­and­white­porcelains­in­North­America.­One­of
the­star­pieces,­a­large­blue­and­white­moon­flask­from­the­Qianlong­reign,
overlooks­Queen’s­Park­Circle­from­the­museum’s­second­floor­window.­3
The­growth­and­development­that­occurred­in­Toronto­during­the­mid20th­century­helped­inspire­the­formation­of­the­Paul­B.­Collection.­The
collector­fondly­recalls­1950’s­childhood­visits­to­the­ROM,­and­credits­the
city­and­its­institutions­for­shaping­his­appreciation­of­Chinese­works­of
art.­Weekends­were­spent­carefully­perusing­the­museum’s­collections­and
studying­the­many­works­of­art­that­filled­the­display­cases,­which­the
collector­describes­as­being­packed­to­the­brim.­His­interest­and­passion
continued­and­in­his­twenties,­during­a­visit­to­Montreal,­he­purchased­his
first­piece­of­Chinese­porcelain­–­a­blue­and­white­Guangxu­mark­and
period­bowl­(1875-1908).­Inspired­by­this­work,­Paul­B.­became­even­more
passionate­about­Chinese­porcelain­and­dedicated­himself­to­learning­all
that­he­could­through­research,­museum­visits,­and­collecting.­He­became
a­prolific­collector­of­Chinese­ceramics­and­porcelain­and­his­collection
grew­to­include­approximately­150­Chinese­works,­many­bearing
prestigious­London­provenance­from­dealers­such­as­Spink­&­Sons,­Bluett
&­Sons,­and­Hugh­Moss;­however,­amongst­his­many­impressive­works,
familiar­Toronto­names­can­also­be­found,­such­as­The­Hundred­Antiques,
Weisbrod­&­Dy,­Pao­&­Moltke,­as­well­as­C.C.­Lai­Antiques.­In­addition­to
Chinese­works­of­art,­the­Paul­B.­collection­also­includes­Canadian­mid20th­Century­modernist­paintings­and­Indian­miniatures.
Toronto’s­Chinese­art­community­experienced­a­second­wave­of
development­during­the­1980’s,­which­saw­an­increase­of­Hong­Kong
immigrants­moving­into­the­city,­with­many­bringing­their­art­collections
in­tow.­In­1984,­C.C.­Lai­Antiques­opened,­an­extension­of­their­parent
company­Tai­Sing­Antiques­in­Hong­Kong.­Their­inaugural­exhibition­was
one­of­the­best­dealer­exhibitions­of­Chinese­art­in­Toronto,­the­show’s
highlight­was­a­Ming­Dynasty­blue­and­white­‘boys’­bowl­from­the
Chenghua­reign­(1465-1487).­­It­was­also­during­this­time­that­three­of­the
collections­featured­in­“Colour­and­Clay”­found­their­way­to­Canada.
3 Gardiner Museum ascension number G98.9.1.
The­Songde­Tang­Collection­(頌徳堂)­(“Hall­of­Espousing­Virtue”),
prominent­in­Hong­Kong­circles,­first­began­to­take­form­in­the­1950’s
under­the­tutelage­of­the­present­owners’­father.­Although­diverse,­the
Songde­Tang­collection­displays­a­strong­emphasis­on­porcelains­from­the
Ming­and­Qing­dynasties,­early­ceramics­from­the­Tang­to­Song­dynasties,
as­well­as­jade­carvings­and­scroll­paintings.­Representing­a­small­but­fine
example­of­their­collection,­Songde­Tang­has­generously­lent­two­Kangxi
period­porcelain­works­to­this­exhibition­as­part­of­their­on-going
commitment­to­the­scholarship­of­Chinese­art.­Over­the­years,­the­owners
of­the­collection­have­loaned­many­of­their­works­to­the­Hong­Kong
University­art­gallery,­where­they­have­been­exhibited­with­accompanying
catalogues­including­“The­Art­of­Chinese­Scholar­Stands,­the­Songde­Tang
Collection­(2008)”,­“The­Fame­of­Flame:­Imperial­Wares­of­the­Jiajing­and
Wanli­Periods­(2010)”,­and­“The­Multiplicity­of­Simplicity:­Monochrome
Wares­from­the­Song­to­Yuan­Dynasties­(2012)”.­Today,­the­owners­of­the
Songde­Tang­split­their­time­between­Toronto­and­Hong­Kong.
The­owner­of­the­Zuigezhai­Collection­(醉个齋)­(“Studio­of­Lone­Drunken
Bamboo”)­came­to­Toronto­from­Hong­Kong­in­1985­with­a­nascent
collection­of­scholar­objects.­Now,­his­collection­consists­of­more­than­200
items­including­furniture,­porcelain,­ceramics,­jades­and­paintings.­As­an
important­collector­of­Chinese­scholar­art,­in­2013­he­kindly­lent
Waddington’s­40­scholar­objects­for­the­inaugural­viewing­exhibition­of
Chinese­art.­His­scholarly­affections­punctuate­his­entire­collection­and­his
refined­taste­can­be­seen­in­the­four­Kangxi­period­porcelain­wares
showcased­in­this­exhibition,­all­of­which­were­intended­for­the­scholar’s
desk,­both­in­their­function­and­decoration.
The­Yundushanfang­Collection­(藴櫝山房)­(“The­Safekeeping­of­Treasures
at­the­Mountain­Retreat”)­also­began­in­Hong­Kong­during­the­early­1980’s,
when­the­owner,­then­in­his­late­twenties,­purchased­three­18th­century
porcelain­wares­from­Sotheby’s­epochal­sale­of­the­Edward­T.­Chow
Collection.­­After­immigrating­to­Toronto­in­the­mid-1980’s,­his­passion­for
Chinese­art­augmented­to­early­jades­and­ceramics­from­the­Han­to­Song
dynasties.­In­the­1990’s,­the­collection­grew­to­include­Buddhist­bronzes
from­China­and­the­Himalayan­region.­Today,­it­also­includes­imperial
porcelain­from­the­Qing­Dynasty­with­a­focus­on­Kangxi,­Yongzheng­and
Qianlong­period­pieces.­Over­the­past­twenty­years,­highlights­from­the
Yundushanfang­collection­have­exhibited­at­the­Hong­Kong­Museum­of
Art­and­the­Art­Museum­at­the­Chinese­University­of­Hong­Kong.
These­are­just­a­few­of­the­important­names­that­helped­develop­the
history­of­Chinese­porcelain­collecting­in­Toronto.We­hope­the­collections
brought­together­for­the­Waddington’s­exhibition­will­add­to­the­legacy
and­education­in­this­field.­­
This­catalogue­would­not­have­been­completed­without­the­generous
support­and­cooperation­of­the­four­lenders­who­entrusted­their­valuable
items­to­us­–­Mr.­Paul­B.,­the­Songde­Tang,­the­Zhuigezhai,­and­the
Yundushanfang.­­­We­are­also­very­appreciative­of­the­anonymous­help
received­in­assembling­the­brief­history­of­porcelain­collecting­in­Toronto.
Though­small­in­sample­size,­this­exhibition­is­an­excellent­introduction­to
the­various­porcelain­wares­of­the­Qing­Dynasty.
Anthony­Wu
Asian­Art­Specialist
Waddington’s
Colour­and­Clay:­
An­Exhibition­of­Chinese
Qing­Dynasty­Porcelain
from­Toronto­Collections
AsianArt.Waddingtons.ca
1
A­CELADON­GLAZED
‘LONGEVITY’­VASE
清康熙 豆青釉鹿鶴同春鳳尾尊
KANGXI­PERIOD­(1662-1722)
height 13.5” — 34.3 cm.
Provenance:
The Songde Tang Collection.
Note:
The deer and crane are symbols of long life in Chinese culture. The deer is
often a companion to the god of longevity Shoulao, and the crane was
believed to live for hundreds of years. A Kangxi blue and white vase with
the deer and crane motif is published in Ferguson’s ‘Cobalt Treasures, The
Bell Collection of Blue and White Porcelain’, 2003, no. 66.
Celadon glazes with incised decorations on Kangxi vases are rare. For
another example, see Ayers ‘Chinese Ceramics: The Koger Collection’, 1985,
no. 131.
8
Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections
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2
A­BLUE­GLAZED­SHALLOW
BOWL
清康熙 藍釉碗
KANGXI­MARK­AND­PERIOD
(1662-1722)
diameter 5.1” — 13 cm.
Provenance:
Michael B. Weisbrod Inc., New York.
The Paul. B. Collection.
Note:
The shape and raised double bowstring design of this bowl is rare for the
Kangxi period. Examples of this pattern are more abundant during the
Yongzheng and Qianlong reigns.
For a similar bowl of this design, see ‘In Pursuit of Antiquities: 40th
Anniversary of the Min Chiu Society’, 2001, no. 178.
9
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A­LARGE­YELLOW­GLAZED
BOWL
清康熙 黃釉大碗
KANGXI­MARK­AND­PERIOD
(1662-1722)
diameter 7.2” — 18.3 cm.
10
Provenance:
The Songde Tang Collection.
Note:
Large Imperial yellow bowls were popular during the Ming Dynasty until the
early 18th Century. A similar sized bowl is published in Krahl’s ‘Chinese
Ceramics from the Meiyintang Collection, Volume II’, 1994, no 894.
Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections
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4
A­PEACHBLOOM­GLAZED
BRUSHWASHER
清康熙 豇豆紅釉鏜鑼洗
KANGXI­MARK­AND­PERIOD
(1662-1722)
diameter 4.8” — 11.6 cm.
Provenance:
E. T. Hall Collection, no. 166.
Christie’s London ‘The E. T. Hall Collection of Chinese Monochrome
Porcelains’, June 7, 2004, lot 129.
The Zuigezhai Collection.
Note:
The form of this brushwasher is known as ‘tanggluoxi’ (compressed). It is
one of a set of eight peachbloom scholar vessels known as the ‘badama’
(eight great numbers).
Examples of this brushwasher can be found in many prestigious collections
such as the Tianminlou Collection in Hong Kong, the Percival David at the
British Museum, and the Hong Kong Museum of Art.
11
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A­CELADON­GLAZED­DISH
清雍正 豆青釉盤
YONGZHENG­MARK­AND
PERIOD­(1723-1735)
diameter 6.5” — 16.4 cm.
12
Provenance:
The Yundushanfang Collection.
Note:
A similar dish is published in Lam’s ‘Shimmering Colours, Monochromes of
the Yuan to Qing Periods: The Zhuyuetang Collection’, 2005, no. 90.
Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections
6
A­SACRIFICIAL­BLUE­GLAZED
DISH
清雍正 祭藍釉盤
YONGZHENG­MARK­AND
PERIOD­(1723-1735)
diameter 6.2” — 15.8 cm.
Provenance:
Sotheby’s Hong Kong, ‘The Edward T. Chow Collection, Part Three’, May
19, 1981, lot 500.
The Estate of Ira and Nancy Koger.
The Yundushanfang Collection.
Note:
A similar dish donated by Brian S. McElney to the Art Gallery of Greater
Victoria is published in Till’s ‘The Manchu Era’, 2004, page 27. Another
example with an inscribed dragon to the cavetto is in Lam’s ‘Shimmering
Colours, Monochromes of the Yuan to Qing Periods: The Zhuyuetang
Collection’, 2005, no. 61.
13
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A­PAIR­OF­LAVENDER­GLAZED
DISHES
清雍正 天藍釉撇口盤一對
YONGZHENG­MARK­AND
PERIOD­(1723-1735)
diameter 5.2” — 13.2 cm.
14
Mark
Provenance:
The Yundushanfang Collection.
Note:
Yongzheng mark and period dishes with the reign mark within a double
square is rare. Typically, the reign marks are within a double circle. For a
similar example to the present pair of dishes, see Lam’s ‘Shimmering
Colours, Monochromes of the Yuan to Qing Periods: The Zhuyuetang
Collection’, 2005, no. 72.
Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections
8
A­YELLOW­GLAZED­DISH
清乾隆 黃釉盤
QIANLONG­MARK­AND­PERIOD
(1736-1795)
diameter 6.5” — 16.6 cm.
Provenance:
Sotheby’s Hong Kong, ‘The Edward T. Chow Collection, Part Three’, May
19, 1981, lot 513.
The Yundushanfang Collection.
Note:
Porcelain dishes with a yellow glaze started appearing during the early 15th
Century and were popular throughout the Ming and Qing Dynasties. A
similar pair of dishes was sold at Christie’s New York, September 15, 2011,
lot 1630.
15
AsianArt.Waddingtons.ca
9
A­LARGE­BLUE­AND­WHITE
‘SONGS­OF­WEST­LAKE’
BRUSHPOT
清康熙 青花西湖十景詞筆筒《博
古雅玩》楷書款
BOGUYAWAN­MARK,­KANGXI
PERIOD,­CYCLICALLY­DATE­1686
Sotheby’s London, June 19, 2002, lot 55.
The Zuigezhai Collection.
Note:
Throughout the centuries, the West Lake at Hangzhou was a favorite
destination for the Imperial family as well as a retreat for scholars, poets
and painters. On the exterior of this brushpot is a series of ten verses
describing the scenery of West Lake by the Ming poet Mo Fan. The mark on
the base translates to ‘antique elegant plaything’ and was used frequently
during the late 17th and 18th Century on porcelain scholar wares.
diameter 7.6” — 16.5 cm.
Provenance:
16
A similar brushpot is published in ‘Splendour of the Qing Dynasty’, 1992,
no. 129.
Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections
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A­BLUE­AND­WHITE­‘ODE­TO
RED­CLIFF’­BOWL
清康熙 青花後赤壁賦圖碗《大明
成化年製》楷書款
CHENGHUA­MARK,­KANGXI
PERIOD­(1662-1722)
diameter 7.1” — 18 cm.
Provenance:
Chait Galleries, New York.
Formerly in the Collection of President Herbert Hoover and Allan Hoover.
Zuigezhai Collection.
Note:
Red Cliff was a critical battle in Chinese history that marked the end of the
Han Dynasty (206 BC-220 AD) and the beginning of the Three Kingdoms
(220-265). In its aftermath, the battle was romanticized in Chinese
literature, music and poetry. On the reverse of this bowl, the Kangxi artist
has incorporated the poem ‘Ode to Red Cliff’ by the Song Dynasty scholarofficial Su Shi (1036-1101).
The theme of praising Red Cliff was depicted frequently on porcelain of the
Kangxi period. For another example, see a blue and white vase published in
‘Kangxi Porcelain Wares from the Shanghai Museum Collection’, 1998, no.
31-1.
17
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A­PAIR­OF­BLUE­AND­WHITE
‘SEVEN­SAGES’­BOWLS
清康熙 青花竹林七賢圖碗一對
KANGXI­MARK­AND­PERIOD
(1662-1722)
diameter 8.1” — 20.7 cm.
Mark
Provenance:
Frank H. Crane, The Hundred Antiques, Toronto.
The Paul B. Collection.
Note:
The figures decorating these bowls are the ‘seven sages from the bamboo
grove’. Historically, they were a group of scholars, painters, poets and
musicians from the 3rd Century. The sages were critical of their government
whom they found to be decadent and corrupt. In consequence they spent
their days drinking and practicing their arts while distancing themselves
from the courts.
The depiction of the seven sages was very popular during the 17th Century.
An example of a blue and white bottle vase depicting this theme is
published in ‘Chinese Ceramics from the Palace Museum, Volume 1: Blue
and White Ceramics in Shunzhi and Kangxi Period’, 2005, no. 279.
18
Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections
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12
A­LARGE­BLUE­AND­WHITE
MING-STYLE­‘BUDDHIST
EMBLEM’­BOWL
清乾隆 青花寶杵八吉祥紋大碗
QIANLONG­MARK­AND­PERIOD
(1736-1795)
diameter 10.2” — 25.8 cm.
Provenance:
Bluett & Sons, London.
The Paul B. Collection.
Note:
With carefully controlled bursts of blue 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
by the emperor to the highly prized and admired works of previous dynasties.
The shape and design of this bowl is very rare for the Qianlong reign. More
common are the similarly sized fruit bowls from the Yongzheng period.
However, there are some notable differences - the Yongzheng examples do
not feature the Buddhist symbols above the lotus blooms, and contain a
horizontal reign mark below the rim (rather than on the base).
It is difficult to find an exact comparable for the present bowl, but its
decoration does exist in published examples. For a large shallow bowl from
the Qianlong period with the same design, see Sotheby’s Hong Kong, April 8,
2011, lot 3131. For a large ‘hu’ vase with similar design, see Ayers’ ‘The
Tianminlou Collection’, 1987, no. 58.
19
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13
A­PAIR­OF­BLUE­AND­WHITE
‘DRAGON’­DISHES
清乾隆 青花海水龍紋盤一對
QIANLONG­MARK­AND­PERIOD
(1736-1795)
diameter 6.8” — 17.2 cm.
20
Mark
Provenance:
Frank H. Crane, The Hundred Antiques, Toronto.
The Paul B. Collection.
Note:
It is unusual to see these types of dishes in only blue and white tones.
Typically, the central dragon and the smaller ones on the reverse are
coloured in iron red enamels (see no. 25 of this catalogue). It is even more
rare that these dishes are from the Qianlong reign. For a similar example,
see Sotheby’s Hong Kong, April 11, 2008, lot 3059.
Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections
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14
A­PAIR­OF­LARGE­BLUE­AND
WHITE­‘PALACE­BOWLS
清道光 青花纏枝蓮紋碗一對
DAOGUANG­MARK­AND­PERIOD
(1821-1850)
diameter 6.5” — 16.5 cm.
Mark
Provenance:
The Yundushanfang Collection.
Note:
The term ‘palace bowl’ usually refers to a specific type of blue and white
bowl with floral design from the Chenghua (1465-1487) reign of the Ming
Dynasty. These bowls were known for their immaculate potting and soft
blue design of florals around the exterior.
The present bowl is an homage to the Ming Dynasty originals, and feature a
large bold design of lotuses and scrolling vine. This type began appearing
during the Kangxi reign and continued until the end of the Qing Dynasty.
Another Daoguang example is in ‘Imperial Porcelain of the Late Qing
Dynasty from the Kwan Collection’, 1983, pl. 18.
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15
A­PAIR­OF­LARGE­BLUE­AND
WHITE­‘DRAGON’­PLATES
清道光 青花穿雲龍紋盤一對
DAOGUANG­MARK­AND­PERIOD
(1821-1850)
diameter 9.9” — 25.2 cm.
Mark
Provenance:
Frank H. Crane, The Hundred Antiques, Toronto.
The Paul B. Collection.
Note:
The design of these large plates originated from the Kangxi Period. In
addition to blue and white types, other colour combinations that are
published include a yellow dragon on a blue ground or a brown dragon on a
green ground.
For a similar example of the present plate (with a yellow dragon on a blue
ground), see ‘Imperial Porcelain of the Late Qing Dynasty from the Kwan
Collection’, 1983, pl. 26.
22
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16
A­BLUE­AND­WHITE­‘PEONY’
BOWL
清道光 青花纏枝牡丹紋碗
DAOGUANG­MARK­AND­PERIOD
(1821-1850)
diameter 6.4” — 16.2 cm.
Provenance:
Frank H. Crane, The Hundred Antiques, Toronto.
The Paul B. Collection.
Note:
In Chinese culture the peony symbolizes rank and wealth, making it a very
popular decorative motif.
The shape and design of this bowl is reminiscent of polychromed bowls
from the Yongzheng and Qianlong reigns. However, it is rare to find a
similar blue and white bowl of this style outside of the Daoguang reign. A
similar bowl is published in ‘Imperial Porcelain of the Late Qing Dynasty
from the Kwan Collection’, 1983, pl. 3.
23
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17
A­PAIR­OF­BLUE­AND­WHITE
‘LOTUS’­DISHES
清光緒 青花纏枝蓮紋盤一對
GUANGXU­MARK­AND­PERIOD
(1875-1908)
diameter 6.1” — 15.6 cm.
24
Mark
Provenance:
Spink & Sons, London.
The Paul B. Collection.
Note:
The design of these dishes is similar to the blue and white ‘palace bowls’
during the Qing Dynasty (see no. 14 in this catalogue).
A set of dishes with Kangxi, Qianlong, Daoguang, Xianfeng, Tongzhi,
Guangxu and Xuantong marks was exhibited at the Hong Kong Museum of
Art’s ‘Splendour of the Qing Dynasty’, 1992, no. 127. A single Guangxu
marked dish is published in ‘Treasures in the Royalty: The Official Kiln
Porcelain of the Chinese Qing Dynasty’, 2003, pg. 463.
Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections
18
A­FAMILLE­VERTE­BALUSTER
JAR
清康熙 五彩人物故事圖罐
KANGXI­PERIOD­(1662-1722)
height 13.9” — 35.3 cm.
Provenance:
Yamanaka & Co., Inc., New York, 1929.
Mrs. Henry Walters Collection; Parke-Bernet Galleries, New York, April 23-26,
1941, lot 170.
The Late Bertram S. Boggis; Parke-Bernet Galleries, New York, October 16-17,
1958, lot 129.
The Yundushanfang Collection.
Exhibited:
Selections from the William and Winifred Corbin Collection of Chinese Pottery
and Porcelain, Portland Art Museum, March 1-19, 1964, no. 63.
On loan to the Portland Art Museum, June 1, 2006 - June 22, 2010.
Note:
Famille verte enamels consist of various shades of green in conjunction with
mostly orange, blue, red and black tones. Porcelain designated as famille verte
started appearing in the second half of the 17th Century and were popular in
domestic and export markets.
The current jar depicts four ladies surrounded by sixteen young boys. This type
of decoration would be ideal for someone who wishes for a long line of male
descendants. A blue and white jar with this similar design can be found in
‘Chinese Ceramics from the Palace Museum, Volume 1: Blue and White
Ceramics in Shunzhi and Kangxi Period’, 2005, no. 238.
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19
A­LARGE­FAMILLE­VERTE
ROULEAU­VASE
清康熙 五彩人物故事圖棒槌瓶
KANGXI­PERIOD­(1662-1722)
height 18.2” — 46.3 cm.
Provenance:
The Zuigezhai Collection.
Note:
The eight panels on this vase depict the stories of the ‘Eight Drunken
Immortals’, based on a poem by the Tang Dynasty poet Du Fu (712-770).
Stories taken from classical Chinese poetry and literature were very popular
designs on Kangxi porcelain.
For a similar treatment of the theme of the drunken immortals, see a blue
and white double gourd vase in ‘Kangxi Porcelain Wares from the Shanghai
Museum Collection’, 1998, no. 34-1.
26
Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections
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20
A­FAMILLE­ROSE­‘BUDDHIST
EMBLEM’­BOWL
清乾隆 粉彩八吉祥紋碗
QIANLONG­MARK­AND­PERIOD
(1736-1795)
diameter 4.1” — 10.5 cm.
Provenance:
The Rossi Modigliani Collection.
The Yundushanfang Collection.
Note:
Famille rose decorations were introduced to China from Europe during the
early 18th century. It allowed artists to use a greater range of colours
(through the use of pinks) when enameling porcelain. Very soon, it became
more popular than the famille verte tones currently favoured.
This bowl incorporates many different shades of famille rose enamels in its
design. Its shape first appeared during the Qianlong reign and was used in
each subsequent period of the Qing Dynasty. A similar pair from the Jiaqing
period is published in ‘The Wonders of the Potter’s Palette’, 1984, no. 92.
27
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21
A­FAMILLE­ROSE
‘CHRYSANTHEMUM’­WINE­CUP
清乾隆 粉彩菊花紋酒杯
QIANLONG­MARK­AND­PERIOD
(1736-1795)
diameter 4.3” — 10.9 cm.
Provenance:
Sotheby’s Hong Kong, ‘The Edward T. Chow Collection, Part Three’, May
19, 1981, lot 599.
The Yundushanfang Collection.
Literature:
E. T. Chow and F. S. Drake, ‘ Kuan-Yao and Min-Yao, A Study on Imperial
Porcelain and People’s Porcelain from K’ang-hsi to the end of the Ch’ing
Dynasty’, Archives of the Chinese Art Society of America, XIII, 1959, pl.
XVII, fig. 2.
Note:
Famille rose porcelain commissioned by emperor Qianlong traditionally
reflected his predilection for large, bold designs that maximized space and
included designs of dragons, large floral blooms, and Buddhist emblems.
The present example, which features three chrysanthemum sprays around
the exterior is stylistically unique and may date to earlier in the period as it
recalls the sentimental and delicate rendering of works produced under the
Yongzheng emperor. For an example of Qianlong bowl with simplified flora,
see a bowl with a plum blossom and bamboo branch from ‘Ming and Qing
Chinese Arts from the C.P. Lin Collection’, 2014, 86.
28
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22
A­PAIR­OF­UNDERGLAZE­BLUE
AND­COPPER­RED­‘IMMORTALS’
DISHES
清十八世紀 青花釉裏紅八仙過海
圖盤一對《慶宜堂製》《養合堂
製》楷書款
QINGYI­TANG­AND­YANGHE
TANG­MARK,­18TH­CENTURY
diameter 6.4” — 16.3 cm.
Mark
Provenance:
Weisbrod & Dy, Toronto.
The Paul B. Collection.
Note:
Depictions of the eight Daoist immortals have existed on porcelain ware
since the mid-16th Century. This current example shows the longevity god
Shoulao with a deer in the interior of the dish, and each individual immortal
with their characteristic accessories on the reverse. This type of pattern was
more popular on large bowls from the Kangxi to Xuantong reigns. There are
two different marks on the base. The first translates to ‘made for the hall of
blessings and correctness’, and the second ‘made for the hall for nurturing
harmony’. Both were used primarily during the 18th Century.
A large bowl with a similar decoration and Qianlong seal mark can be found
in ‘The Tsui Museum of Art, Chinese Ceramics, Vol. IV’, 1995, pl. 86.
29
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23
A­DOUCAI­‘DAOIST­EMBLEM’
OGEE­BOWL
清嘉慶 鬥彩暗八仙紋折腰碗
JIAQING­MARK­AND­PERIOD
(1796-1820)­
diameter 7.9” — 20.1 cm.
Provenance:
Bluett & Sons, London.
The Paul B. Collection.
Note:
Doucai enamels literally translate to ‘adding colours’ and requires two
separate firings, making the process extremely difficult. The first layer of
colouring involves an underglaze blue outline of the patterns on the
porcelain. After the first firing, colours such as green, yellow, blue and red
are added in overglaze enamels, and then refired again. Doucai wares
generally have a softer appearance when compared to famille rose
porcelain.
The present example is beautifully painted and contains all the colours
typical of doucai porcelain. The exterior contains numerous different flowers
on a scrolling vine ground, while the interior rim depicts the accessories of
the eight Daoist immortals. This type of design was popular from the
Qianlong reign to the later Qing periods. A Qianlong example is found in
‘Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing
Dynasty’, 2003, pg. 302.
30
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24
A­PAIR­OF­DOUCAI­‘BAMBOO’
DISHES
清嘉慶 鬥彩翠竹紋盤一對
JIAQING­MARK­AND­PERIOD
(1796-1820)
diameter 5.8” — 14.7 cm.
Mark
Provenance:
Pao & Moltke, Toronto.
The Paul B. Collection.
Note:
Bamboo is an important plant in Chinese culture, both for its utilitarian use
and symbolic nature. In classical literature, bamboo signifies youth,
perseverance and humility. The word for bamboo ‘zhu’ is also a homonym
for ‘wish’. Hence the current dishes would bear many auspicious
connotations for its owner.
Dishes this type of bamboo are very rare. A pair of bowls similarly
decorated from the Yongzheng period can be found in ‘Ming and Qing
Chinese Arts from the C.P. Lin Collection’, 2014, .
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25
AN­UNDERGLAZE­BLUE­AND
IRON­RED­‘DRAGON’­DISH
清嘉慶 青花礬紅彩海水龍紋盤
JIAQING­MARK­AND­PERIOD
(1796-1820)
diameter 6.9” — 17.5 cm.
Provenance:
Frank H. Crane, The Hundred Antiques, Toronto.
The Paul B. Collection.
Note:
The design of a red Ming-style dragon on an ocean ground was used
throughout the Qing Dynasty. The reverse features nine smaller dragons
striking various poses.
A similar Jiaqing dragon dish is published in ‘Treasures in the Royalty: The
Official Kiln Porcelain of the Chinese Qing Dynasty’, 2003, pg. 371.
32
Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections
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26
A­WUCAI­‘DRAGON­AND
PHOENIX’­BOWL
清道光 五彩龍鳳紋碗
DAOGUANG­MARK­AND­PERIOD
(1821-1850)
diameter 6” — 15.3 cm.
Provenance:
Gurie Gallery, Montreal.
The Paul B. Collection.
Note:
When depicted together, the dragon and phoenix symbolize the union of the
emperor and empress. This motif was mostly used by female members of
the imperial family as decoration for their clothes and accessories.
The design of the present bowl was popular throughout the Qing Dynasty,
with examples from the Kangxi to Xuantong reign. For a near identical
Daoguang bowl, see ‘Imperial Porcelain of the Late Qing Dynasty from the
Kwan Collection’, 1983, pl. 44.
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27
A­PAIR­OF­FAMILLE­ROSE
CORAL­GROUND­‘MEDALLION’
BOWLS
清道光 珊瑚紅地粉彩牡丹紋碗
DAOGUANG­MARK­AND­PERIOD
(1821-1850)
diameter 4.3” — 11 cm.
34
Mark
Provenance:
The Yundushanfang Collection.
Note:
Though based on Kangxi and Yongzheng Period famille rose ‘yuzhi’ (by
Imperial command) bowls, the exact design of the present example
originated from the Qianlong period. It proved to be very popular and was
imitated throughout the later Qing Dynasty.
A Qianlong example of this bowl was sold at Sotheby’s Hong Kong, ‘The
British Rail Pension Fund’, May 16, 1989, lot 81, and was later exhibited at
the Tsui Museum of Art, Hong Kong. A Daoguang example is published in
‘Imperial Porcelain of the Late Qing Dynasty from the Kwan Collection’,
1983, pl. 51.
Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections
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28
A­PAIR­OF­FAMILLE­ROSE
‘BUDDHIST’­WINE­CUPS­AND
SAUCERS
清道光 粉彩七政寶紋杯碟一對《
土默特旗右旗》蒙文款
BARAGON­TUMED­MARK,
DAOGUANG­PERIOD,­CIRCA
1842
widest diameter 3.3” — 8.5 cm.
Mark
Provenance:
The J. Dearman Birchall Collection, Leeds, nos. 498A, B, C, D.
The Yundushanfang Collection.
Note:
The bright colours and Buddhist design on these cups and saucers were
unusual for Chinese tastes during the Daoguang reign. The set was part of a
larger wedding service made to commemorate the marriage between a
daughter of the Daoguang Emperor to a Mongolian Prince, Baragon Tumed.
In Jenyns’ ‘Later Chinese Porcelain’, the author states that the prince’s
Mongolian banner name is marked on the base of the porcelain wares.
A similar cup with this design is located in the Victoria & Albert Museum,
room 145, case 22, no. 800-1883. A larger dish is published in Jenyns’
‘Later Chinese Porcelain’, pl. CXII, fig. 1.
35
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29
A­FAMILLE­ROSE­‘WANSHOU
WUJIANG’­TEA­CUP
清同治 粉彩萬壽無疆茶盞
TONGZHI­MARK­AND­PERIOD
(1862-1874)
diameter 3.2” — 8.2 cm.
36
Provenance:
Hugh Moss, London.
The Paul B. Collection.
Note:
The cup’s exterior contains four large characters ‘wangshou wujiang’ (may
you have long life). When combined with the Buddhist symbols, it suggests
a wish of longevity for the owner. A bowl from the Guangxu Period with a
similar pattern is published in ‘Imperial Porcelain of the Late Qing Dynasty
from the Kwan Collection’, 1983, pl. 136.
Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections
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30
A­CELADON­GLAZED­AND­IRON
RED­‘PHOENIX’­BOWL
清光緒 豆青釉礬紅彩團鳳紋碗
GUANGXU­MARK­AND­PERIOD
(1875-1908)
diameter 5.6” — 14.3 cm.
Provenance:
The Yundushanfang Collection.
Note:
In Chinese culture, the mythical phoenix ‘fenghuang’, is known as the king
of the birds and often associated with success and a rise in rank. This
current bowl was based on Kangxi designs and later imitated throughout the
Qing Dynasty. A near identical example was donated by Simon Kwan to the
Hong Kong Museum of Art and published in ‘The Wonders of the Potter’s
Palette’, 1984, no. 126.
37
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31
A­GREEN­AND­YELLOW
GROUND­‘DRAGON’­BOWL
清光緒 黃地綠彩龍紋碗
GUANGXU­MARK­AND­PERIOD
(1875-1908)
diameter 3.9” — 10 cm.
38
Provenance:
Hugh Moss, London.
The Paul B. Collection.
Note:
The design of this bowl features two green dragons chasing the pearl of
wisdom, all on a yellow ground. This type started appearing during the 16th
Century and was popular until the end of the Qing era. A slightly larger
bowl is published in ‘Imperial Porcelain of the Late Qing Dynasty from the
Kwan Collection’, 1983, pl. 134.
Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections
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32
A­FAMILLE­ROSE­‘MAGPIE­AND
PRUNUS’­BOWL
清光緒 粉彩喜上眉梢圖碗
GUANGXU­MARK­AND­PERIOD
(1875-1908)
diameter 7.7” — 19.5 cm.
Provenance:
Frank H. Crane, The Hundred Antiques, Toronto.
The Paul B. Collection.
Note:
This bowl’s pattern was first produced for the wedding celebration of the
Tongzhi Emperor in 1873. His wedding was of particular importance as it
was the first Imperial wedding since the Kangxi emperor’s in 1665.
A Tongzhi example of this bowl can be found in ‘The Wonders of the
Potter’s Palette’, 1984, no. 112.
39
AsianArt.Waddingtons.ca
Selected­Bibliography
Ayers, John. Chinese Ceramics: The Koger Collection. New York: Sotheby’s Publications, 1985.
__________. Chinese Porcelain: The S. C. Ko Tianminlou Collection. Hong Kong: Hong Kong Museum of Art, 1989.
Beijing Palace Museum. Chinese Ceramics from the Palace Museum, Volume I: Blue and White Ceramics in Shunzhi and Kangxi Period.
Beijing: Palace Museum, 2005.
Chinese University. Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns. Hong Kong: The Chinese University of Hong
Kong, 1995.
Ferguson, Patricia F. Cobalt Treasures: The Bell Collection of Chinese Blue and White Porcelain. Toronto: Gardiner Museum of Ceramic
Art, 2003.
Hong Kong Museum of Art. In Pursuit of Antiquities: 40th Anniversary Exhibition of the Min Chiu Society. Hong Kong: Hong Kong Museum of Art, 2001.
_________. Ming and Qing Chinese Arts from the C.P. Lin Collection. Hong Kong: Hong Kong Museum of Art, 2014.
_________. Monochrome Ceramics of the Ming and Ch’ing Dynasties. Hong Kong: Hong Kong Museum of Art, 1977.
_________. Splendour of the Qing Dynasty. Hong Kong: Hong Kong Museum of Art, 1992.
_________. The Tsui Museum of Art, Chinese Ceramics, Vol. IV, Hong Kong: Hong Kong Museum of Art, 1995.
_________. The Wonders of the Potter’s Palette: Qing Ceramics from the Collection of the Hong Kong Museum of Art. Hong Kong: Hong
Kong Museum of Art, 1984.
Jenyns, Soame. Later Chinese Porcelain: the Ch’ing Dynasty (1664-1912): London,
Faber and Faber, 1971.
Krahl, Regina. Chinese Ceramics from the Meiyintang Collection, Volumes One and Two. London: Azimuth Editions Ltd., 1994.
Lam, Peter Y. K. ‘Shimmering Colours, Monochromes of the Yuan to Qing Periods: The Zhuyuetang Collection’ Hong Kong: The Chinese
University of Hong Kong, 2005.
The Royal Ontario Museum. The Bequest of Herman Herzog Levy. Toronto: ROM, 1996.
Shanghai Cultural Board. Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty. Shanghai: Shanghai Cultural
Board, 2003.
Shanghai Museum. Kangxi Porcelain Wares from the Shanghai Museum Collection. Hong Kong: Shanghai Museum and Tai Yip Publishing,
1998.
Till, Barry. The Manchu Era (1664-1911). Victoria: The Art Gallery of Greater Victoria, 2004.
40
Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections
Chronology­of­the­Ming­Emperors
Hongwu
Jianwen
Yongle
Hongxi
Xuande
Zhengtong
Jiangtai
Tianshun
Chenghua
Hongzhi
Zhengde
Jiajing
Longqing
Wanli
Taichang
Tianqi
Chongzheng
洪武
建文
永樂
洪熙
宣德
正統
景泰
天順
成化
弘治
正德
嘉靖
隆慶
萬曆
泰昌
天啟
崇禎
1368-1398
1399-1402
1403-1424
1425
1426-1435
1436-1449
1450-1456
1457-1464
1465-1487
1488-1505
1506-1521
1522-1566
1567-1572
1573-1620
1620
1621-1627
1628-1644
Chronology­of­the­Qing­Emperors
Shunzhi
Kangxi
Yongzheng
Qianlong
Jiaqing
Daoguang
Xianfeng
Tongzhi
Guangxu
Xuantong
順治
康熙
雍正
乾隆
嘉慶
道光
咸豐
同治
光緒
宣統
1644-1661
1662-1722
1723-1735
1736-1795
1796-1820
1821-1850
1851-1861
1862-1874
1875-1908
1909-1911
41
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