At Christie’s | Asian Art

Posted in Art Market by Editor on May 3, 2019

Press release (via Art Daily) . . .

Art d’Asie (Sale 17457)
Christie’s, Paris, 12 June 2019

Imperial embroidered silk robe dating from the end of the Qianlong period (1736–1795). Estimate: €80,000–120,000.

On 12 June, Christie’s Paris will present its Asian Art sale (17457), which will offer high quality items, including a large range of works of art coming from European private collections.

The section dedicated to China will offer a beautiful white jade and rust ‘double-gourd’ vase. Dating from the Qianlong period (1736–1795), named for the sixth emperor of the Qing dynasty, this vase is meticulously carved and stands on a delicate circular foot. It is adorned with a double handled decorated with bats flying among clouds; the upper and lower parts are respectively embellished with the characters ‘da’ and ‘ji’, thus forming the term ‘da ji’, which means ‘great luck’. The neck is flanked with two handles holding a mobile ring with a bat carved in relief with outstretched wings holding a lingzhi (auspicious mushroom). The decoration of this remarkable object comprises promising symbols such as its double-gourd shape, associated with prosperity and abundance (estimate: €150,000–200,000).

The sale will also offer an imperial vase made of cloisonné enamel of striking beauty from the Kangxi period (1662–1722). Baluster-shaped, resting on a flared foot decorated with archaic chilong, the whole is enhanced with crenelated ridges in gilt-bronze. The body is decorated with stylized lotus, as well as the foot and the neck. The latter is highlighted by three gilt-bronze ram heads and chiseled nails intersected with banana leaves (estimate: €70,000–90,000).

Asian art lovers will have the chance to acquire an exceptional imperial embroidered silk robe dating from the end of the Qianlong period and the early Jiaqing period (1796–1820). The embroideries adorning this item are extremely delicate, as evidenced by the nine ‘five-claw’ dragons in the pursuit of the flaming pearl represented in gold and silver threads. In addition, the subtle shades of colors and the stylized clouds evoking ruyi heads are shown in multi-colour threads. The whole is embroidered on a bright yellow background, above a terrestrial diagram which emerges from tumultuous waves below which appears a large band of lishui, echoed on the sleeves as well. The neck is highlighted by a border embroidered with dragons on a black background (estimate: €80,000–120,000).

Coming from a French private collection, a celadon-glazed vase with molded decoration with a Qianlong impressed six-character seal mark will also be offered at auction. The body is magnified with molded decoration of blooming peonies among elegantly arranged foliage leaves. Separated by a band of ruyi and a band of stylized flowers, the tubular neck is embellished with petals and foliage (estimate: €100,000–150,000).

Other highlights include a superb zitan cabinet from the Qianlong period. This cabinet is composed of two very finely worked door panels. Four dragons, in pursuit of the inflamed pearl, seem to fly on a background of stylized clouds evoking ruyi heads. The gilt-bronze hinges are finely incised with dragons also represented on a background of clouds; the central fitting is decorated with stylized ‘shou’ characters and two small mobile plates adorned with bats (estimate: €120,000–150,000).

The section dedicated to Japan will offer a stunning samurai armor dating from the second half of the Edo period, at the end of the 18th century. Two coats of arms are visible, one representing the character ‘ue’, the other figuring an oxalis (katabami) flower probably belonging to the Sakai clan. The armor also includes an eboshi style helmet topped by two wakidate in the shape of lacquered wood horns. The frontal ornament depicts the sun in gilded wood. The breastplate is made of yokohagi-dô natural iron while its upper front and back parts as well as the shoulders are covered with brass inlaid of gold hira zogan decorated with coat of arms and foliages (estimate: €20,000–30,000).

Finally, the Asian Art department will be pleased to present, in its next sale, a rock crystal deer from the former personal collection of Coco Chanel. Executed during the Qing dynasty, the statuette represents a seating deer with its head turned to the right, holding a branch of lingzhi in its mouth (estimate: €2,000–3,000). Presented under a glass protection, the auspicious animal symbolizing longevity has adorned the coffee table of Coco Chanel’s suite at the Ritz Hotel for years.

Call for Papers | Art and the Sea

Posted in Calls for Papers by Editor on May 3, 2019

From H-ArtHist:

Art and the Sea
Centre for Port and Maritime History Annual Conference
Liverpool John Moores University, 13 September 2019

Proposals due by 1 July 2019

Interest in maritime art and its role in art history has reignited in recent years, and this conference provides an opportunity for examination and reassessment of this field. The theme of Art and the Sea lends itself to interdisciplinary approaches and subject matter. It is anticipated that interest will arise from those working in art history, transport history, sociology, maritime studies, natural history, engineering, biology, and other areas. Submissions for conference papers on the theme of Art and the Sea from these and other disciplines are welcome.

The sea and maritime travel are subjects of universal fascination. For centuries, the sea inspired both fear and fascination and, unsurprisingly, these emotions fuelled artists and craftspeople to create work in response. Traversing the sea was often laborious which led to sailors developing new crafts or to vessels being decorated to entertain or provide interest. For the 2019 CPMH Conference, we consider these themes and aim to discover what current, cutting-edge research is revealing about the role of art and design in relation to the sea. We encourage the discussion of previous debates in the light of new evidence or approaches and the introduction of entirely new subject matter and methods. The conference theme is deliberately broad in scope, but potential themes / topics for discussion could include (but are not limited to)
• Maritime vessels as sites for art or art making
• The depiction of ships / ports / sea conditions in art
• Ship figureheads (significance / symbolism / creation)
• Art under the surface of the sea
• Maritime artists and their role in art history
• Museology of maritime art
• The intersection of natural history and maritime art
• Interior design of vessels
• Use of images of the sea for commercial purposes

Registration fees are £10 for non-concessions or free for concessions. There will be a conference reception during the evening of Friday, 13 September. Details will be circulated to delegates in due course. To submit an abstract for this year’s conference, please email a 250-word abstract to Dr Emma Roberts, CPMH Committee (e.e.roberts@ljmu.ac.uk) by the 1st of July 2019.

The Centre for Port and Maritime History—a collaborative venture between The University of Liverpool, Liverpool John Moores University, and Merseyside Maritime Museum—exists to further and facilitate historical research on port cities and their relationship to maritime endeavour and enterprise. Launched in 1996, the Centre builds on two Liverpool-based traditions. The School of History at The University of Liverpool has long been a respected centre for research and teaching in maritime history, particularly through the work of Francis Hyde, Peter Davies, and Sheila Mariner. Equally, curatorial staff at the Museum have established a strong record of research in the field, and of making their collections accessible to the scholarly community. The Centre is intended as an enabling forum, offering a focus for existing activity and a vehicle for launching new initiatives.

%d bloggers like this: