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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 aw@waddingtons.ca Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca Communications Specialist Tess McLean 416 504 9100 tm@waddingtons.ca 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 Mark 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 AsianArt.Waddingtons.ca Mark 3 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 Mark 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 AsianArt.Waddingtons.ca Mark 5 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 AsianArt.Waddingtons.ca Mark 7 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 Mark 10 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 AsianArt.Waddingtons.ca Mark 11 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 Mark 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 AsianArt.Waddingtons.ca Mark 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 Mark 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. 21 AsianArt.Waddingtons.ca Mark 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 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections Mark 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 AsianArt.Waddingtons.ca Mark 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. 25 AsianArt.Waddingtons.ca 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 Mark 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 AsianArt.Waddingtons.ca Mark 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 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections Mark 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 AsianArt.Waddingtons.ca Mark 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 Colour and Clay: An Exhibition of Chinese Qing Dynasty Porcelain from Toronto Collections Mark 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, . 31 AsianArt.Waddingtons.ca Mark 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 Mark 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. 33 AsianArt.Waddingtons.ca Mark 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 Mark 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 AsianArt.Waddingtons.ca Mark 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 Mark 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 AsianArt.Waddingtons.ca Mark 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 Mark 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 AsianArt.Waddingtons.ca OperationalStaff Specialist Departments Asian Art Anthony Wu 416 847 6185 aw@waddingtons.ca Yvonne Li 416 847 6195 yl@waddingtons.ca Jewellery, Watches & Numismatics Don P. 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