Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections

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1 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections Waddingtons.ca

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3 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 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 Waddingtons.ca

4 Exhibition Curator Anthony Wu Corporate Receptionist Kate Godin Communications Specialist Tess McLean This catalogue and its contents 2014 Waddington McLean & Company Ltd. All rights reserved. Photography by Waddington s

5 Preface and Acknowledgments Bringing together 32 works from four private collections, Colour and Clay: Chinese Qing Dynasty Porcelain from Toronto Collections, forms Waddington s second viewing exhibition of specially curated Chinese art. With works dating from the late 17th to the early 20th century, Colour and Clay highlights the diversity of Chinese porcelain wares and includes monochrome, blue and white, as well as multi-coloured examples. Building upon the success of last year s The Essence of Elegance: Scholar Objects from the Zuigezhai Collection, this exhibition aims to continue discussions of connoisseurship and the art of collecting. This year, we are proud to present Chinese porcelain from the Mr. Paul B. Collection, the Songde Tang Collection, the Zhuigezhai Collection, and the Yundushanfang Collection. The depth and diversity of these collections reveals that, like many other major North American cities, Toronto has a long history of collecting Chinese porcelain. The Royal Ontario Museum (ROM), is one of the largest museums in North America. Their comprehensive Chinese galleries have been highly instrumental in guiding generations of researchers and collectors. Charles Trick Currelly ( ), the ROM s first director, George Crofts ( ), a fur trader and antique dealer, and Bishop William Charles White ( ), the first curator of the East Asian Gallery, were responsible for assembling the ROM s early collection during the first-half of the 20th century. Under their guidance, the ROM acquired several Chinese porcelain highlights including a large Ming Dynasty blue and white jar and cover from the Yongle period ( ), and a large Qing Dynasty famille verte hu vase with the hundred deer motif with Qianlong mark and period ( ). 1 In the 1990 s, the ROM was given a gift of roughly 15 million dollars through the estate of Herman Herzog Levy ( ), a Hamilton businessman and philanthropist. Best known for his collection of Impressionist and Post-Impressionist art, Mr. Herzog Levy also had an extensive love and knowledge for East Asian Art, amassing an impressive collection of Chinese porcelain at his home. His gift afforded the ROM the purchase of over 300 items for their T.T. Tsui Galleries, including jades, bronzes, and ceramics. The porcelain acquisitions included top-tier items 1 Royal Ontario Museum ascension number A-B and

6 from the Yuan to Qing Dynasties, one of the highlights being a Ming Dynasty blue and white dragon stembowl from the Xuande reign ( ). 2 Mr. Herzog Levy s generous gift aided the ROM in the development of their permanent collection, which now includes many important works, most notably in the field of Neolithic jades, archaic bronzes, pre-yuan earthenware, and Buddhist painting. The formation of the ROM s Chinese galleries allowed for new generations of Torontonians to learn about Chinese art and culture. Many of these people would later become collectors and connoisseurs, and as their tastes developed and matured, they found themselves traveling between New York and London, purchasing items that were unavailable in Toronto at the time. The migration of these works between London, New York, and Toronto helped to develop the local market, as did the many prominent antique dealers who arose during the 1960 s, such as Weisbrod & Dy, Frank Crane and the Hundred Antiques, and Wolfson Antiques. At the time, Chinese Porcelain was still relatively accessible compared to today s prices. As a result, collectors were afforded more freedom to develop their collections as connoisseurs. The generation of collectors who emerged in the 1960 s were also important to the ROM and other museums. Guided by Louise Hawley Stone ( ), the Bishop White Committee was founded in 1960 at the ROM. The group consisted of volunteers who grew-up with the museum and wanted to support the growth of the Far Eastern Department, as well as raise awareness for Asian art in Toronto. The Committee promoted Chinese art by organizing porcelain-themed lectures and helped to expand the collection by funding new aquistitions. When Louise Stone passed away, she left a charitable trust of 45 million dollars to the museum, which was used to fund acquisitions, programs and publications. Another important member of the Bishop White Committee was Ann Walker Bell (1925-). Together with her husband Robert ( ), they amassed a large collection of Chinese blue and white porcelain from the 1960 s until the 1990 s all stored in their home s second floor Porcelain Room, where many curators, scholars, and local collectors were invited to discuss their shared passion. In 1998, they donated their collection to the Gardiner Museum of Ceramic Art in Toronto. Known for their European 2 Royal Ontario Museum ascension number

7 ceramics, the Gardiner Museum now features one of the most extensive collections of Chinese blue and white porcelains in North America. One of the star pieces, a large blue and white moon flask from the Qianlong reign, overlooks Queen s Park Circle from the museum s second floor window. 3 The growth and development that occurred in Toronto during the mid- 20th century helped inspire the formation of the Paul B. Collection. The collector fondly recalls 1950 s childhood visits to the ROM, and credits the city and its institutions for shaping his appreciation of Chinese works of art. Weekends were spent carefully perusing the museum s collections and studying the many works of art that filled the display cases, which the collector describes as being packed to the brim. His interest and passion continued and in his twenties, during a visit to Montreal, he purchased his first piece of Chinese porcelain a blue and white Guangxu mark and period bowl ( ). Inspired by this work, Paul B. became even more passionate about Chinese porcelain and dedicated himself to learning all that he could through research, museum visits, and collecting. He became a prolific collector of Chinese ceramics and porcelain and his collection grew to include approximately 150 Chinese works, many bearing prestigious London provenance from dealers such as Spink & Sons, Bluett & Sons, and Hugh Moss; however, amongst his many impressive works, familiar Toronto names can also be found, such as The Hundred Antiques, Weisbrod & Dy, Pao & Moltke, as well as C.C. Lai Antiques. In addition to Chinese works of art, the Paul B. collection also includes Canadian mid- 20th Century modernist paintings and Indian miniatures. Toronto s Chinese art community experienced a second wave of development during the 1980 s, which saw an increase of Hong Kong immigrants moving into the city, with many bringing their art collections in tow. In 1984, C.C. Lai Antiques opened, an extension of their parent company Tai Sing Antiques in Hong Kong. Their inaugural exhibition was one of the best dealer exhibitions of Chinese art in Toronto, the show s highlight was a Ming Dynasty blue and white boys bowl from the Chenghua reign ( ). It was also during this time that three of the collections featured in Colour and Clay found their way to Canada. 3 Gardiner Museum ascension number G

8 The Songde Tang Collection ( 頌徳堂 ) ( Hall of Espousing Virtue ), prominent in Hong Kong circles, first began to take form in the 1950 s under the tutelage of the present owners father. Although diverse, the Songde Tang collection displays a strong emphasis on porcelains from the Ming and Qing dynasties, early ceramics from the Tang to Song dynasties, as well as jade carvings and scroll paintings. Representing a small but fine example of their collection, Songde Tang has generously lent two Kangxi period porcelain works to this exhibition as part of their on-going commitment to the scholarship of Chinese art. Over the years, the owners of the collection have loaned many of their works to the Hong Kong University art gallery, where they have been exhibited with accompanying catalogues including The Art of Chinese Scholar Stands, the Songde Tang Collection (2008), The Fame of Flame: Imperial Wares of the Jiajing and Wanli Periods (2010), and The Multiplicity of Simplicity: Monochrome Wares from the Song to Yuan Dynasties (2012). Today, the owners of the Songde Tang split their time between Toronto and Hong Kong. The owner of the Zuigezhai Collection ( 醉个齋 ) ( Studio of Lone Drunken Bamboo ) came to Toronto from Hong Kong in 1985 with a nascent collection of scholar objects. Now, his collection consists of more than 200 items including furniture, porcelain, ceramics, jades and paintings. As an important collector of Chinese scholar art, in 2013 he kindly lent Waddington s 40 scholar objects for the inaugural viewing exhibition of Chinese art. His scholarly affections punctuate his entire collection and his refined taste can be seen in the four Kangxi period porcelain wares showcased in this exhibition, all of which were intended for the scholar s desk, both in their function and decoration. The Yundushanfang Collection ( 藴櫝山房 ) ( The Safekeeping of Treasures at the Mountain Retreat ) also began in Hong Kong during the early 1980 s, when the owner, then in his late twenties, purchased three 18th century porcelain wares from Sotheby s epochal sale of the Edward T. Chow Collection. After immigrating to Toronto in the mid-1980 s, his passion for Chinese art augmented to early jades and ceramics from the Han to Song dynasties. In the 1990 s, the collection grew to include Buddhist bronzes from China and the Himalayan region. Today, it also includes imperial porcelain from the Qing Dynasty with a focus on Kangxi, Yongzheng and Qianlong period pieces. Over the past twenty years, highlights from the Yundushanfang collection have exhibited at the Hong Kong Museum of

9 Art and the Art Museum at the Chinese University of Hong Kong. These are just a few of the important names that helped develop the history of Chinese porcelain collecting in Toronto.We hope the collections brought together for the Waddington s exhibition will add to the legacy and education in this field. This catalogue would not have been completed without the generous support and cooperation of the four lenders who entrusted their valuable items to us Mr. Paul B., the Songde Tang, the Zhuigezhai, and the Yundushanfang. We are also very appreciative of the anonymous help received in assembling the brief history of porcelain collecting in Toronto. Though small in sample size, this exhibition is an excellent introduction to the various porcelain wares of the Qing Dynasty. Anthony Wu Asian Art Specialist Waddington s

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11 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections

12 AsianArt.Waddingtons.ca 1 A CELADON GLAZED LONGEVITY VASE 清康熙豆青釉鹿鶴同春鳳尾尊 KANGXI PERIOD ( ) height cm. The Songde Tang Collection. 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

13 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 2 A BLUE GLAZED SHALLOW BOWL 清康熙藍釉碗 KANGXI MARK AND PERIOD ( ) diameter cm. Michael B. Weisbrod Inc., New York. The Paul. B. Collection. 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

14 AsianArt.Waddingtons.ca 3 A LARGE YELLOW GLAZED BOWL 清康熙黃釉大碗 KANGXI MARK AND PERIOD ( ) diameter cm. The Songde Tang Collection. 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

15 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 4 A PEACHBLOOM GLAZED BRUSHWASHER 清康熙豇豆紅釉鏜鑼洗 KANGXI MARK AND PERIOD ( ) diameter cm. E. T. Hall Collection, no Christie s London The E. T. Hall Collection of Chinese Monochrome Porcelains, June 7, 2004, lot 129. The Zuigezhai Collection. 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

16 AsianArt.Waddingtons.ca 5 A CELADON GLAZED DISH 清雍正豆青釉盤 YONGZHENG MARK AND PERIOD ( ) diameter cm. The Yundushanfang Collection. A similar dish is published in Lam s Shimmering Colours, Monochromes of the Yuan to Qing Periods: The Zhuyuetang Collection, 2005, no

17 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 6 A SACRIFICIAL BLUE GLAZED DISH 清雍正祭藍釉盤 YONGZHENG MARK AND PERIOD ( ) diameter cm. 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. 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

18 AsianArt.Waddingtons.ca 7 A PAIR OF LAVENDER GLAZED DISHES 清雍正天藍釉撇口盤一對 YONGZHENG MARK AND PERIOD ( ) diameter cm. The Yundushanfang Collection. 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

19 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 8 A YELLOW GLAZED DISH 清乾隆黃釉盤 QIANLONG MARK AND PERIOD ( ) diameter cm. Sotheby s Hong Kong, The Edward T. Chow Collection, Part Three, May 19, 1981, lot 513. The Yundushanfang Collection. 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

20 AsianArt.Waddingtons.ca 9 A LARGE BLUE AND WHITE SONGS OF WEST LAKE BRUSHPOT 清康熙青花西湖十景詞筆筒 博古雅玩 楷書款 BOGUYAWAN MARK, KANGXI PERIOD, CYCLICALLY DATE 1686 diameter cm. Sotheby s London, June 19, 2002, lot 55. The Zuigezhai Collection. 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. A similar brushpot is published in Splendour of the Qing Dynasty, 1992, no

21 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 10 A BLUE AND WHITE ODE TO RED CLIFF BOWL 清康熙青花後赤壁賦圖碗 大明成化年製 楷書款 CHENGHUA MARK, KANGXI PERIOD ( ) diameter cm. Chait Galleries, New York. Formerly in the Collection of President Herbert Hoover and Allan Hoover. Zuigezhai Collection. 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 ( ). 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 ( ). 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

22 AsianArt.Waddingtons.ca 11 A PAIR OF BLUE AND WHITE SEVEN SAGES BOWLS 清康熙青花竹林七賢圖碗一對 KANGXI MARK AND PERIOD ( ) diameter cm. Frank H. Crane, The Hundred Antiques, Toronto. The Paul B. Collection. 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

23 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 12 A LARGE BLUE AND WHITE MING-STYLE BUDDHIST EMBLEM BOWL 清乾隆青花寶杵八吉祥紋大碗 QIANLONG MARK AND PERIOD ( ) diameter cm. Bluett & Sons, London. The Paul B. Collection. 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 For a large hu vase with similar design, see Ayers The Tianminlou Collection, 1987, no

24 AsianArt.Waddingtons.ca 13 A PAIR OF BLUE AND WHITE DRAGON DISHES 清乾隆青花海水龍紋盤一對 QIANLONG MARK AND PERIOD ( ) diameter cm. Frank H. Crane, The Hundred Antiques, Toronto. The Paul B. Collection. 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

25 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 14 A PAIR OF LARGE BLUE AND WHITE PALACE BOWLS 清道光青花纏枝蓮紋碗一對 DAOGUANG MARK AND PERIOD ( ) diameter cm. The Yundushanfang Collection. The term palace bowl usually refers to a specific type of blue and white bowl with floral design from the Chenghua ( ) 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

26 AsianArt.Waddingtons.ca 15 A PAIR OF LARGE BLUE AND WHITE DRAGON PLATES 清道光青花穿雲龍紋盤一對 DAOGUANG MARK AND PERIOD ( ) diameter cm. Frank H. Crane, The Hundred Antiques, Toronto. The Paul B. Collection. 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

27 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 16 A BLUE AND WHITE PEONY BOWL 清道光青花纏枝牡丹紋碗 DAOGUANG MARK AND PERIOD ( ) diameter cm. Frank H. Crane, The Hundred Antiques, Toronto. The Paul B. Collection. 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

28 AsianArt.Waddingtons.ca 17 A PAIR OF BLUE AND WHITE LOTUS DISHES 清光緒青花纏枝蓮紋盤一對 GUANGXU MARK AND PERIOD ( ) diameter cm. Spink & Sons, London. The Paul B. Collection. 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 A single Guangxu marked dish is published in Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty, 2003, pg

29 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 18 A FAMILLE VERTE BALUSTER JAR 清康熙五彩人物故事圖罐 KANGXI PERIOD ( ) height cm. Yamanaka & Co., Inc., New York, 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, June 22, 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

30 AsianArt.Waddingtons.ca 19 A LARGE FAMILLE VERTE ROULEAU VASE 清康熙五彩人物故事圖棒槌瓶 KANGXI PERIOD ( ) height cm. The Zuigezhai Collection. 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 ( ). 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

31 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 20 A FAMILLE ROSE BUDDHIST EMBLEM BOWL 清乾隆粉彩八吉祥紋碗 QIANLONG MARK AND PERIOD ( ) diameter cm. The Rossi Modigliani Collection. The Yundushanfang Collection. 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

32 AsianArt.Waddingtons.ca 21 A FAMILLE ROSE CHRYSANTHEMUM WINE CUP 清乾隆粉彩菊花紋酒杯 QIANLONG MARK AND PERIOD ( ) diameter cm. 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. 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,

33 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 22 A PAIR OF UNDERGLAZE BLUE AND COPPER RED 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 QINGYI TANG AND YANGHE TANG MARK, 18TH CENTURY diameter cm. Weisbrod & Dy, Toronto. The Paul B. Collection. 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

34 AsianArt.Waddingtons.ca 23 A DOUCAI DAOIST EMBLEM OGEE BOWL 清嘉慶鬥彩暗八仙紋折腰碗 JIAQING MARK AND PERIOD ( ) diameter cm. Bluett & Sons, London. The Paul B. Collection. 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

35 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 24 A PAIR OF DOUCAI BAMBOO DISHES 清嘉慶鬥彩翠竹紋盤一對 JIAQING MARK AND PERIOD ( ) diameter cm. Pao & Moltke, Toronto. The Paul B. Collection. 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,. 31

36 AsianArt.Waddingtons.ca 25 AN UNDERGLAZE BLUE AND IRON RED DRAGON DISH 清嘉慶青花礬紅彩海水龍紋盤 JIAQING MARK AND PERIOD ( ) diameter cm. Frank H. Crane, The Hundred Antiques, Toronto. The Paul B. Collection. 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

37 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 26 A WUCAI DRAGON AND PHOENIX BOWL 清道光五彩龍鳳紋碗 DAOGUANG MARK AND PERIOD ( ) diameter cm. Gurie Gallery, Montreal. The Paul B. Collection. 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

38 AsianArt.Waddingtons.ca 27 A PAIR OF FAMILLE ROSE CORAL GROUND MEDALLION BOWLS 清道光珊瑚紅地粉彩牡丹紋碗 DAOGUANG MARK AND PERIOD ( ) diameter cm. The Yundushanfang Collection. 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

39 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 28 A PAIR OF FAMILLE ROSE BUDDHIST WINE CUPS AND SAUCERS 清道光粉彩七政寶紋杯碟一對 土默特旗右旗 蒙文款 BARAGON TUMED MARK, DAOGUANG PERIOD, CIRCA 1842 widest diameter cm. The J. Dearman Birchall Collection, Leeds, nos. 498A, B, C, D. The Yundushanfang Collection. 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 A larger dish is published in Jenyns Later Chinese Porcelain, pl. CXII, fig

40 AsianArt.Waddingtons.ca 29 A FAMILLE ROSE WANSHOU WUJIANG TEA CUP 清同治粉彩萬壽無疆茶盞 TONGZHI MARK AND PERIOD ( ) diameter cm. Hugh Moss, London. The Paul B. Collection. 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

41 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 30 A CELADON GLAZED AND IRON RED PHOENIX BOWL 清光緒豆青釉礬紅彩團鳳紋碗 GUANGXU MARK AND PERIOD ( ) diameter cm. The Yundushanfang Collection. 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

42 AsianArt.Waddingtons.ca 31 A GREEN AND YELLOW GROUND DRAGON BOWL 清光緒黃地綠彩龍紋碗 GUANGXU MARK AND PERIOD ( ) diameter cm. Hugh Moss, London. The Paul B. Collection. 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

43 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections 32 A FAMILLE ROSE MAGPIE AND PRUNUS BOWL 清光緒粉彩喜上眉梢圖碗 GUANGXU MARK AND PERIOD ( ) diameter cm. Frank H. Crane, The Hundred Antiques, Toronto. The Paul B. Collection. This bowl s pattern was first produced for the wedding celebration of the Tongzhi Emperor in His wedding was of particular importance as it was the first Imperial wedding since the Kangxi emperor s in A Tongzhi example of this bowl can be found in The Wonders of the Potter s Palette, 1984, no

44 AsianArt.Waddingtons.ca Selected Bibliography Ayers, John. Chinese Ceramics: The Koger Collection. New York: Sotheby s Publications, Chinese Porcelain: The S. C. Ko Tianminlou Collection. Hong Kong: Hong Kong Museum of Art, Beijing Palace Museum. Chinese Ceramics from the Palace Museum, Volume I: Blue and White Ceramics in Shunzhi and Kangxi Period. Beijing: Palace Museum, Chinese University. Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns. Hong Kong: The Chinese University of Hong Kong, Ferguson, Patricia F. Cobalt Treasures: The Bell Collection of Chinese Blue and White Porcelain. Toronto: Gardiner Museum of Ceramic Art, Hong Kong Museum of Art. In Pursuit of Antiquities: 40th Anniversary Exhibition of the Min Chiu Society. Hong Kong: Hong Kong Museum of Art, Ming and Qing Chinese Arts from the C.P. Lin Collection. Hong Kong: Hong Kong Museum of Art, Monochrome Ceramics of the Ming and Ch ing Dynasties. Hong Kong: Hong Kong Museum of Art, Splendour of the Qing Dynasty. Hong Kong: Hong Kong Museum of Art, The Tsui Museum of Art, Chinese Ceramics, Vol. IV, Hong Kong: Hong Kong Museum of Art, 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, Jenyns, Soame. Later Chinese Porcelain: the Ch ing Dynasty ( ): London, Faber and Faber, Krahl, Regina. Chinese Ceramics from the Meiyintang Collection, Volumes One and Two. London: Azimuth Editions Ltd., Lam, Peter Y. K. Shimmering Colours, Monochromes of the Yuan to Qing Periods: The Zhuyuetang Collection Hong Kong: The Chinese University of Hong Kong, The Royal Ontario Museum. The Bequest of Herman Herzog Levy. Toronto: ROM, Shanghai Cultural Board. Treasures in the Royalty: The Official Kiln Porcelain of the Chinese Qing Dynasty. Shanghai: Shanghai Cultural Board, Shanghai Museum. Kangxi Porcelain Wares from the Shanghai Museum Collection. Hong Kong: Shanghai Museum and Tai Yip Publishing, Till, Barry. The Manchu Era ( ). Victoria: The Art Gallery of Greater Victoria,

45 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections Chronology of the Ming Emperors Hongwu 洪武 Jianwen 建文 Yongle 永樂 Hongxi 洪熙 1425 Xuande 宣德 Zhengtong 正統 Jiangtai 景泰 Tianshun 天順 Chenghua 成化 Hongzhi 弘治 Zhengde 正德 Jiajing 嘉靖 Longqing 隆慶 Wanli 萬曆 Taichang 泰昌 1620 Tianqi 天啟 Chongzheng 崇禎 Chronology of the Qing Emperors Shunzhi 順治 Kangxi 康熙 Yongzheng 雍正 Qianlong 乾隆 Jiaqing 嘉慶 Daoguang 道光 Xianfeng 咸豐 Tongzhi 同治 Guangxu 光緒 Xuantong 宣統

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