Tag Archives: Eskenazi Ltd

London celebrates Asian Art

Panoramic view of the landscape and poem on a brushpot China, Jiangxi province, Jingdezhen kilns, Qing dynasty, Yongzheng (1723–35) or early Qianlong (1736–95) period, commissioned by Tang Ying (1682–1756) Porcelain with famille-rose (fencai) decoration, height 13.5 cm Private collection

Panoramic view of the landscape and poem on a brushpot
China, Jiangxi province, Jingdezhen kilns, Qing dynasty, Yongzheng (1723–35)
or early Qianlong (1736–95) period, commissioned by Tang Ying (1682–1756)
Porcelain with famille-rose (fencai) decoration, height 13.5 cm
Private collection

The 19th Asian Art in London runs from 3rd-12th of November and promises once again to bring a wide mixture of art and antiques from all periods. I would especially like to draw your attention to the special exhibition that the Oriental Ceramics Society is holding at Sotheby’s in Bond Street. Entitled ‘China without Dragons’ (3rd-9thNovember 2016) it features some two hundred ceramic pieces with the majority coming from either Japan or China.

Moonflask with carnations and asters China, Jiangxi province, Jingdezhen kilns, Ming dynasty, Yongle period (1403–1424) Porcelain with underglaze cobalt-blue decoration, height 28 cm Private collection

Moonflask with carnations and asters
China, Jiangxi province, Jingdezhen kilns, Ming dynasty, Yongle period (1403–1424)
Porcelain with underglaze cobalt-blue decoration, height 28 cm
Private collection

As the curator Regina Krahl (a former Society president) says: “This exhibition aims to celebrate the rich store of Chinese ceramics collected within the Oriental Ceramic Society. The fascination of an exhibition such as this lies in its phenomenal spectrum. It covers the full range from the rarest masterpieces that we might see in a major museum show to minor items that would otherwise rarely be exhibited but which display some unusual or noteworthy aspect, are particularly well made, or are simply beautiful. It is hoped that this selection will be enjoyed by specialists as well as by amateurs.”

Zodiac figure of the horse China, Henan province, Gongxian region, Tang dynasty, 7th or 8th century Earthenware with sancai glazes, height 22.2 cm Private collection

Zodiac figure of the horse
China, Henan province, Gongxian region, Tang dynasty, 7th or 8th century
Earthenware with sancai glazes, height 22.2 cm
Private collection

The Oriental Ceramics Society (OCS) was founded in Craven Hill Gardens in London in 1921 and has a long-established reputation as being the leading international society for those interested in studying and appreciating Asian Art and has over seven hundred members worldwide.

Porcelain vase decorated with yangcai overglaze enamels China, Jiangxi province, Jingdezhen kilns, Qing dynasty, Qianlong mark and period (1736-1795) Height 47 cm Private collection

Porcelain vase decorated with yangcai overglaze enamels
China, Jiangxi province, Jingdezhen kilns, Qing dynasty, Qianlong mark and period (1736-1795)
Height 47 cm
Private collection

 

Archaic Jade Notched Disc Late Neolithic period – Shang period, 2000 - 1500 BC Diameter: 33.0cm Courtesy of Eskenazi

Archaic Jade Notched Disc
Late Neolithic period – Shang period, 2000 – 1500 BC
Diameter: 33.0cm
Courtesy of Eskenazi

One cannot write about Asian Art in London without mentioning the renowned firm Eskenazi and what a corker of an exhibition (Early Chinese Art from Private Collections, 3rd – 25th November 2016) they offer us this year.  It consists of twenty-four early examples of Chinese art (early jades, bone carvings, archaic bronzes and inlaid metalwork) dating from the Neolithic period to the Han Dynasty (206 BC – 220 AD).  They all come from private collections and many have illustrious provenances having been previously owned by well-known collectors, including Luo Zhenyu, Pan Zuyin, Alexandre J. Argyropoulos, Edward T. Chow and Adolphe Stoclet.  Many of the items have a common theme in that they feature animal decoration or animal motifs. Alongside this they are showing works by the well-known contemporary Chinese ink painter Zeng Xiaojun (b.1954) in what is his first European show.

Archaic Bronze Wine Vessel and Cover (You) Shang or Early Western Zhou period, 11th century BC Height (to top of knop): 27.4cm Weight (without handle): 3.80kg Courtesy of Eskenazi

Archaic Bronze Wine Vessel and Cover (You)
Shang or Early Western Zhou period, 11th century BC
Height (to top of knop): 27.4cm
Weight (without handle): 3.80kg
Courtesy of Eskenazi

 

Gilt-bronze, Agate and Turquoise Bear Han period, 206 BC - 220 AD Height: 10.6cm Courtesy of Eskenazi

Gilt-bronze, Agate and Turquoise Bear
Han period, 206 BC – 220 AD
Height: 10.6cm
Courtesy of Eskenazi

 

Bonsai I Ink and colour on paper Dimensions: 180cm by 138cm Signed: Zeng Xiaojun Artist’s seal: Painted by Zeng Xiaojun Courtesy of Eskenazi

Bonsai I
Ink and colour on paper
Dimensions: 180cm by 138cm
Signed: Zeng Xiaojun
Artist’s seal: Painted by Zeng Xiaojun
Courtesy of Eskenazi

 

 

 

 

 

 

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http://www.sothebys.com

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Eskenazi Ltd

Transfigured Echoes: Recent Paintings by Liu Dan, Eskenazi Ltd, 10 Clifford Street, London W1, 14th October -14th November 2015

 

Liu Dan (b.1953) Redefining Pleats of Matter 縐褶被重新確定 Ink on paper 200.0cm by 301.0cm Signed: Jinling Liu Dan hua, (Painted by Liu Dan of Jinling [Nanjing])

Liu Dan (b.1953)
Redefining Pleats of Matter
縐褶被重新確定
Ink on paper
200.0cm by 301.0cm
Signed: Jinling Liu Dan hua, (Painted by Liu Dan of Jinling [Nanjing])

This very special exhibition opens in Frieze Week and closes at the end of Asian Art in London Week.  The artist Liu Dan (b.1953) is a contemporary master in the highly regarded Chinese art form – the traditional school of ink painting. These ten works, which have taken him four years to create, represent a new departure for him and are inspired by his great interest in Renaissance European drawings.

Raffaello Sanzio, called Raphael (Urbino 1483-1520 Rome) Saint Benedict receiving Maurus and Placidus black and red chalk, pen and brown ink, brown and grey wash, squared in black chalk, partially indented with stylus, an added section of paper at the left of the sheet 14½ x 16¼ in. (36.8 x 41.3 cm.)

Raffaello Sanzio, called Raphael (Urbino 1483-1520 Rome)
Saint Benedict receiving Maurus and Placidus
black and red chalk, pen and brown ink, brown and grey wash, squared in black chalk, partially indented with stylus,
an added section of paper at the left of the sheet
14½ x 16¼ in. (36.8 x 41.3 cm.)

The exhibition will feature Raphael’s drawing Saint Benedict Receiving Maurus and Placidus as it was the inspiration for the artist’s large-scale work Redefining Pleats of Matter (縐褶被重新確定).  There are also six works depicting scholar’s rocks, the stones that were highly prized by Chinese scholars, officials and connoisseurs for more than a thousand years.

Liu Dan (b.1953) Taihu Rock of the Shaoyuan Garden 五 勺园太湖石 水墨􀀀本 􀀀跋：此米万􀀀勺园太湖石今存北京大学􀀀可􀀀博物􀀀乙未仲夏刘丹写于北京并􀀀 􀀀印：刘丹之印 Ink on paper 309.0cm by 199.0cm Inscribed: Ci Mi Wanzhong Shaoyuan Taihushi jin cun Beijing daxue Saikele bowuguan yiwei zhongxia Liu Dan xie yu Beijing bing shu. (This Taihu rock of the Shaoyuan Garden, which belonged to Mi Wanzhong, is now in the Sackler Museum, Peking University. Written and painted by Liu Dan in Beijing in mid-summer of the yiwei year [2015].) Artist’s seal: Liu Dan zhi yin, (Liu Dan’s seal)

Liu Dan (b.1953)
Taihu Rock of the Shaoyuan Garden
五
勺园太湖石
水墨􀀀本
􀀀跋：此米万􀀀勺园太湖石今存北京大学􀀀可􀀀博物􀀀乙未仲夏刘丹写于北京并􀀀
􀀀印：刘丹之印
Ink on paper
309.0cm by 199.0cm
Inscribed: Ci Mi Wanzhong Shaoyuan Taihushi jin cun Beijing daxue Saikele bowuguan yiwei zhongxia Liu Dan xie yu Beijing bing
shu. (This Taihu rock of the Shaoyuan Garden, which belonged to Mi Wanzhong, is now in the Sackler Museum, Peking University.
Written and painted by Liu Dan in Beijing in mid-summer of the yiwei year [2015].)
Artist’s seal: Liu Dan zhi yin, (Liu Dan’s seal)

On the question of difference between him and the Old Masters Liu Dan has observed: ‘I don’t think there is any difference except that they are dead and I am still alive. On the other hand, because I’m still alive, they are alive too. I don’t advocate the literati ideology, but I endorse the literati spirit. I don’t belong to a particular tradition either. I just want to keep up the artistic tradition where freedom is unrestrained.’

Liu Dan (b.1953) Credit: Do Do Jin Min

Liu Dan (b.1953)
Credit: Do Do Jin Min

 

 

 

 

 

 

http://www.eskenazi.co.uk

Song Ceramics

Chinese Ceramics of the Song Dynasty (960 to 1279 AD), Eskenazi Ltd, 10 Clifford Street, London W1, 8th – 29th May 2015,

Blue-glazed Splashed Stoneware Dish Jin period, 12th - 13th century Jun kilns, Henan province Diameter: 18.5cm

Blue-glazed Splashed Stoneware Dish
Jin period, 12th – 13th century
Jun kilns, Henan province
Diameter: 18.5cm

These thirty very special ceramics which make up this selling exhibition come from an important private collection.

Glazed Porcellaneous Stoneware Moulded ‘Dragon’ Dish Northern Song - Jin period, 12th - 13th century Ding kilns, Hebei province Diameter: 23.1cm

Glazed Porcellaneous Stoneware Moulded ‘Dragon’ Dish
Northern Song – Jin period, 12th – 13th century
Ding kilns, Hebei province
Diameter: 23.1cm

Considered a golden age, China under the Song dynasty was prosperous and a place of change and invention whether social, economic or “scientific”. For the latter think printed bank notes, the use of gunpowder and, as this exhibition so ably proves, ceramic design and techniques.

Green-grey-glazed Stoneware Dish Southern Song period, 12th - 13th century Guan ware, Hangzhou kilns, Zhejiang province Diameter: 13.0cm

Green-grey-glazed Stoneware Dish
Southern Song period, 12th – 13th century
Guan ware, Hangzhou kilns, Zhejiang province
Diameter: 13.0cm

Song ceramics have had a lasting impact on the world of ceramics and been held in high esteem ever since they were first produced. By the 15th century they were being copied in China and their influence can be traced in Art and Studio pottery movements of the West until this day.

Black-glazed Stoneware ‘Leaf’ Bowl - side view Southern Song period, 12th - 13th century Jizhou ware, Jiangxi province Diameter: 15.2cm

Black-glazed Stoneware ‘Leaf’ Bowl – side view
Southern Song period, 12th – 13th century
Jizhou ware, Jiangxi province
Diameter: 15.2cm

Works from both the Northern Song (960-1127 AD) and Southern Song (1127-1279 AD) periods are included. As one might expect these serene objects have been garnered from the collections of some of the great Western Twentieth century collections, including Mr & Mrs Alfred Clark, Alfred Schoenlicht, Johannes Hellner and Lord Cunliffe.

Black-glazed Stoneware ‘Leaf’ Bowl Southern Song period, 12th - 13th century Jizhou ware, Jiangxi province Diameter: 15.2cm

Black-glazed Stoneware ‘Leaf’ Bowl
Southern Song period, 12th – 13th century
Jizhou ware, Jiangxi province
Diameter: 15.2cm

http://www.eskenazi.co.uk

Eskenazi Ltd

Two exhibitions at Eskenazi Ltd, 10 Clifford Street, London W1, until 15th November 2014

 

Rock in Moonlight II - Taihu Rock by Moonlight Ink and colour on silk Dimensions: 64.5cm by 114.5cm Signed: Li Huayi Artist’s seals: Taolibuyan (left) Li Huayi yin (right)

Rock in Moonlight II –
Taihu Rock by Moonlight
Ink and colour on silk
Dimensions: 64.5cm by 114.5cm
Signed: Li Huayi
Artist’s seals: Taolibuyan (left)
Li Huayi yin (right)

This year Eskenazi host two exhibitions which opened in Frieze week and which continue through Asian Art in London at the end of the month (more on that soon).

Large wood seated figure of Avalokiteshvara (Guanyin), Northern Song or early Jin period, mid 11th to mid 12th century, height: 175.0cm.

Large wood seated figure of Avalokiteshvara (Guanyin), Northern Song or early Jin period, mid 11th to mid 12th century, height: 175.0cm.

The first exhibition is probably the gallery’s best ever showing of Chinese sculpture (c. 500-1500) with twenty-two pieces in wood, gilt bronze and stone. Their common theme is a connection to Buddhist worship with the remarkable painted and gilt-wood seated Avalokiteshvara (Guanyin), (mid 11th to mid 12th century) as the show stealer.

Pure Echo in the Empty Valley Ink and colour on paper Dimensions: 156.0cm by 81.0cm Signed: Jiawu zhongxia Li Huayi bi, (Li Huayi painted this in mid-summer of the Jiawu year [2014]) Artist’s seal: Li Huayi yin

Pure Echo in the Empty Valley
Ink and colour on paper
Dimensions: 156.0cm by 81.0cm
Signed: Jiawu zhongxia Li Huayi bi,
(Li Huayi painted this in mid-summer of the Jiawu year [2014])
Artist’s seal: Li Huayi yin

The Waterfalls, rocks and bamboo of the celebrated Chinese ink painter Li Huayi (b.1948) are the perfect complement to these sculptures. Ink painting is regarded as the highest form of Chinese art and Li Huayi is inspired by both Chinese traditional scenes and post-war American abstract art. For this new show –his fourth at the gallery – there are new elements in the work as you will see in the two distinct series; one of five landscapes with water as the main feature while the other features three moonlight studies of bamboo and rock.

Gilt bronze seated figure of the luohan Pindola, Ming Dynasty, 15th century, height: 50.8cm.

Gilt bronze seated figure of the luohan Pindola, Ming Dynasty, 15th century, height: 50.8cm.

 

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Opening hours during exhibition:

Monday to Friday, 9.30 am to 5.30 pm

Saturday 18 & Sunday 19 October, 10am to 5pm

Saturday 25 & Sunday 26 October, 10am to 5pm

Saturday 1 & Sunday 2 November, 10am to 5pm  

Saturday 8 & Saturday 15 November, 10am to 1pm