Important London Collection of Asian Art to be Sold in Sussex

Toovey’s Asian Art specialist, Tom Rowsell, with one of a pair of rare Chinese Qianlong period cloisonné enamel elephants from an important London single owner collection of Asian Art

This week I am in the company of Toovey’s Director and Asian Art specialist, Tom Rowsell, who has just finished preparations for the sale of an important London single – owner collection of Asian Art.

I ask Tom how the collection looked in the collector’s London home and he replies “Many of the pieces were beautifully displayed around the house, but it was when I discovered and began to unpack boxes and go through the shelves in an upstairs room that the scale and importance of this collection became apparent. The collection had remained largely untouched for 40 or 50 years. The vast majority of the pieces are from the imperial Kangxi (1654-1722), Yongzheng (1723-1735) and Qianlong (1735-1796) periods of the late 17th and 18th centuries.”

Tom explains how today’s Chinese collectors are following in the tradition of the Qianlong emperor who was the last of the great imperial art collectors and patrons in Chinese history. His genuine passion for art and collecting seems to have been inspired by his grandfather, the Kangxi emperor (1654-1722), and his uncle Yinxi (1711-1758).

The Qianlong emperor was prolific in his collecting applying an exceptional personal connoisseurship. His collection would number more than a million objects.

The Qianlong emperor took a personal interest in porcelain production and was an ardent patron and collector of it. Many of the types of porcelain associated with the Qianlong emperor, however, were seeded under the Emperor Yongzheng’s supervisor of the imperial kilns at Jingdezhen, Tang Ying (1682-1756).

A garniture of five Chinese Yongzheng period (1723-1735) porcelain vases estimated at £15,000-£25,000 from an important London single owner collection of Asian Art

My eye is taken by a rare and beautiful garniture of five Chinese porcelain Yongzheng period vases. Tom comments “Yongzheng porcelain is known for the quality of its glazes, these vases are very fine quality. It’s very unusual to find a set of five still together in such remarkable condition. The finely enamelled decoration with its delicate flowers and landscapes has wonderful fresh colours. Look at the subtle, recessed panels with their moulded borders. Lovely details – these would have probably been made for an important European home.”

Tom continues “Toovey’s are one of a very small number of UK auctioneers with the ability to market online directly to mainland Chinese collectors through our working relationship with Epai Live, China’s largest mainland online auction platform for the marketing of art and antiques. This collection will certainly attract Chinese and overseas buyers as well as UK interest. We will be exhibiting the collection’s highlights at the international Asian Art Fair in London on the 4th November before it returns to Sussex to be sold.”

Today’s Chinese collectors are as passionate in their collecting as their imperial forebears and the market shows no signs of abating.

This important single owner collection will be auctioned at Toovey’s on Thursday 29th November 2018. If you would like advice on pieces in this collection or your Chinese objects Tom Rowsell can be contacted on 01903 891955, and visit www.tooveys.com to view the sale online from the 4th November.

£132,000 Chinese Discovery in West Sussex

The pair of Chinese imperial famille rose enamelled porcelain rectangular tea caddies
The pair of Chinese imperial famille rose enamelled porcelain rectangular tea caddies

A pair of Chinese famille rose enamelled porcelain tea caddies dating from the Qing dynasty have just sold at Toovey’s Fine Art Auctioneers for £132,000. They were being displayed on a window sill in a Sussex home when they caught the eye of a Toovey’s valuer during a routine visit. The result illustrates the strength of Chinese Hong Kong collectors and the benefits of the post-Brexit pound which have caused prices and competition from abroad to soar.

Today’s Chinese collectors are following in the tradition of the Qianlong emperor (1711-1799) who was the last of the great imperial art collectors and patrons in Chinese history. His genuine passion for art and collecting seems to have been inspired by his grandfather, the Kangxi emperor (1654-1722), and his uncle Yinxi (1711-1758).

The Qianlong emperor was prolific in his collecting applying an exceptional personal connoisseurship not only to the acquisition of art and antiquities but also to his patronage. His collection would number more than a million objects. It included the collection of the Ming emperors (1368-1644) which was the oldest art collection in the world with a continuous collecting tradition dating back over 1600 years.

The Qianlong emperor took a personal interest in porcelain production and was an ardent collector of it. Many of the types of porcelain associated with the Qianlong emperor, however, were seeded under the Emperor Yongzheng’s supervisor of the imperial kilns at Jingdezhen, Tang Ying (1682-1756).

Toovey’s Asian Art Specialist, Tom Rowsell, with the £132,000 pair of Qianlong period tea caddies
Toovey’s Asian Art Specialist, Tom Rowsell, with the £132,000 pair of Qianlong period tea caddies

Toovey’s Asian art specialist, Tom Rowsell, explains “The mid-18th century porcelain designers had an unprecedented freedom due to their technical understanding of glazes. This resulted in enamelled wares often decorated with dense, complex and colourful designs as you can see on the side panels of this remarkable pair of Qianlong period tea caddies from the imperial kilns. Their shape and proportion is typically well judged and shows the influence of European taste, the superb fine white bodies and beautifully ordered and executed decoration are quintessentially of the period.”

The densely decorated sides of the Chinese famille rose tea caddies, typical of the Qianlong period (1735-1796)
The densely decorated sides of the Chinese famille rose tea caddies, typical of the Qianlong period (1735-1796)

I comment on the virtuosity in the contrast between the restrained depiction of the blossoming branches and flowering stems which enfold the finely executed text, and the polychrome enamelled sides densely filled with lotus flowers and scrolling tendrils on the yellow and iron red grounds. Tom agrees and says “This technical excellence and style is explained by the production processes refined by Tang Ying at Jingdezhen. Tang Ting was the foremost ceramic expert in China. He was summoned to Beijing in 1743 to illustrate and catalogue the imperial collection and described the process of porcelain manufacture in twenty steps. This led to an elaborate division of labour at the imperial kilns so that no one person was responsible for the production of a single piece at Jingdezhen.”

Today’s Chinese collectors are as passionate in their collecting as their imperial forebears and the market shows no signs of abating. If you would like advice on your Chinese objects Tom Rowsell can be contacted on 01903 891955 or by emailing auctions@tooveys.com.

By Rupert Toovey, a senior director of Toovey’s, the leading fine art auction house in West Sussex, based on the A24 at Washington. Originally published in the West Sussex Gazette.

The International Appeal of Chinese Blue and White Porcelain

A £30,000 Chinese Kangxi period blue and white porcelain brush pot (bitong), finely painted with a continuous scene of poets and attendants indulging in scholarly pursuits
A £30,000 Chinese Kangxi period blue and white porcelain brush pot (bitong), finely painted with a continuous scene of poets and attendants indulging in scholarly pursuits

A remarkable selection of Chinese blue and white porcelain dating from the late 16th to the early 18th century has just been sold at auction by Toovey’s in their December specialist Asian Art sale. This important collection was bought in the 1960s and 1970s in London. Its sale attracted international attention.

A Chinese blue and white Kraak porcelain dish, late Ming dynasty, from the Wanli period
A Chinese blue and white Kraak porcelain dish, late Ming dynasty, from the Wanli period

Chinese blue and white has from the 16th century appealed to an international market. The decorative designs of late 16th century blue and white porcelain had been characterized by panels filled with flowers, precious objects and Buddhistic emblems in often repeated patterns, contained within compartmentalized borders. These motifs can be seen on the Wanli period Kraak porcelain dish seen here.

The Manchu threat meant that money was diverted to the Ming army which, together with the luxury and corruption of the Court of Wanli, deprived the kilns at Jingdezhen of imperial patronage. This had a liberating effect on the Jingdezhen potters and by the time of the death of the Ming Emperor, Wanli (1572-1620) a noticeable shift in the design and decoration of Chinese porcelain had occurred. This new and exceptional work would span the late Ming and early Qing Dynasties and is therefore termed the ‘Transitional period’. The Transitional style was more painterly than anything that had gone before. It is filled with movement; the figures appear natural and at ease. Perhaps it was influenced by the tastes of the Dutch merchants for whom much of this blue and white porcelain was produced.

A £37,000 rare Chinese Transitional period, mid-17th Century, blue and white porcelain brush pot (bitong), decorated with horses and three female acrobat riders
A £37,000 rare Chinese Transitional period, mid-17th Century, blue and white porcelain brush pot (bitong), decorated with horses and three female acrobat riders

The decoration of Transitional period porcelain typically employs naturalistic themes depicting, beasts, flowers and most especially figure subjects. Figure subjects on Transitional wares are often united by a narrative following the traditions of Chinese opera which incorporated music, song, dance and acrobatics as well as literary art forms. The finely painted ‘bitong’ or brush pot illustrated dates from the mid-17th century. It is a fine example of Transitional period porcelain, decorated with a continuous scene depicting horses and three female acrobat riders galloping through a woodland landscape with trees, rocks and mist. This rare object, measuring 22cm in height, realised £37,000 in Toovey’s December specialist Asian Art auction.

The Transitional aesthetic would continue into the first twenty years of the reign of the Qing Emperor, Kangxi (1662-1722). Kangxi was the fourth and arguably the most famous Emperor of the Qing Dynasty. His reign was marked by long-term stability and a period of relative prosperity.

The Kangxi period is renowned in the history of blue and white porcelain. In 1683 the Imperial Court appointed a director of the factory in Jingdezhen. The restoration of court patronage raised standards even further.

The exceptional quality of the painting and clear cobalt blue distinguishes Kangxi blue and white porcelain and is apparent in the decoration of the brush pot seen here. Our eyes are met by a continuous scene reminiscent of the Transitional with poets and attendants indulging in scholarly pursuits. Some sit at a table playing Weiqi whilst a lute is played. Two figures and an attendant look on as a scholar writes. It fetched £30,000 at Toovey’s reflecting the international appeal and technical brilliance of Kangxi blue and white porcelain, which many ceramic historians believe has never been surpassed.

If you would like more information or advice on your Chinese porcelain and works of art email auctions@tooveys.com or telephone Toovey’s specialist, Tom Rowsell, on 01903 891955.

By Rupert Toovey, a senior director of Toovey’s, the leading fine art auction house in West Sussex, based on the A24 at Washington. Originally published in the West Sussex Gazette.

Chinese Republic Porcelain in Sussex

The Forbidden City, Beijing

Mercantile trade was at the heart of British prosperity and overseas interests from the 18th to the 20th centuries. By the 18th century Britain had become the greatest European power in the East. This success was predominantly bound up with the government-licensed British East India Company, which had become the leading trading and political force in India.

A Chinese famille rose porcelain vase, early 20th century Republic period, auctioned for £76,000
A Chinese porcelain vase, early 20th Century Republic period, auctioned for £650
The Great Wall of China

In the late 18th century attempts were made to establish official relations with China by Lord George Macartney. The lavish embassy sent to Beijing as part of this British Government-backed mission was interpreted as humble tribute-bearing by the Chinese. The response to George III from the Qianlong Emperor noted that trade was out of the question, since Britain possessed nothing for which China had the slightest need. There were, however, many Chinese traders who were prepared to do business unofficially with foreigners. The trade in opium from India, the Opium War and ensuing British military expedition in 1840 resulted in the Qing government ceding compensation, Hong Kong Island and the opening of five ports to British traders. Twenty million people died in the bloody Taiping Rebellion in southern China, a massive civil war against the ruling Manchu-led Qing dynasty, which lasted from 1850 to 1864. Invasion by Japan in the late 19th century and the Boxer Rebellion of 1900 left the Qing dynasty severely weakened. A Chinese army rebellion in Wuchan sparked a series of mutinies culminating in the formation of the Republic of China in 1912, which would last in a series of guises until 1949. The last emperor, Puyi, was allowed to remain living in the Forbidden City in Beijing. The formation of the Chinese Republic brought to an end the Qing Dynasty and 2000 years of imperial rule.

As invasion and revolt continued to blight China during the early 20th century, porcelain of the most extraordinary quality continued to be made in Jingdezhen in the Jiangxi province. Some connoisseurs note this period of porcelain manufacture for its revival in quality, which they attribute to a number of schools and artists that emerged at this time. Chinese porcelain objects from this period often have inscriptions, usually in black enamel, which may include a combination of a poem, a signature or a cyclical date. Private workshops proliferated and flourished. The wares produced imitated designs from earlier periods, interpreting imperial designs to feed demand from American and British collectors like Sir Percival David. David’s collection includes many original examples of Chinese porcelain from the imperial collection, which can be seen at the British Museum in London.

We often discover Republic period Chinese porcelain in Sussex, which is finding increasing favour amongst collectors because of its quality. The early 20th century Chinese famille rose porcelain vase illustrated is from this period. The elongated ovoid body and flared neck are painted to one side with three birds perched on blossoming branches, to the other side with a gathering of children, elders and attendants beneath a pine tree. Note how these decorative panels are surrounded by lines of black text and red seals, typical of the Republic period. The vase is believed to have been painted by two leading artists from Jingdezhen. Measuring 60.5cm high, the vase sold at Toovey’s for £76,000.

Not all Chinese porcelain of this period is so highly valued. The smaller Republic vase shown here, height 17cm, sold for £650. It is enamelled with a riverscape with a fishing boat by an island and has the typical text on the reverse.

This flourishing and revival in Chinese porcelain manufacture in the early 20th century allows us to once again glimpse the energetic and creative gifts of the Chinese people, which has gained them cultural prominence over millennia. Perhaps it is a rediscovery of these gifts which is allowing a revival of Chinese interests in the world today; only this time they are looking out into the world and reacquiring their cultural heritage.

Toovey’s Chinese porcelain specialist, Tom Rowsell, is always pleased to offer advice, whether you are interested in selling or acquiring Chinese objects in this boom market. He can be contacted at our offices.

By Revd. Rupert Toovey. Originally published on 29th January 2014 in the West Sussex Gazette.

Delicacy and Brilliance, Chinese Doucai Porcelain

A Chinese doucai porcelain jar
A Chinese doucai porcelain jar

By the mid-18th century, Chinese porcelain produced for imperial appreciation was at its height. The Qianlong period (1735-1795) overlapped with the reign of our own King George III. As the Industrial Revolution grew under the Farmer King in Britain, the processes and techniques of porcelain manufacture in China reached an advanced stage. This found expression in restrained decoration, characterized by delicacy and brilliance.

Among the favourite wares chosen by Chinese potters of the 18th century for inspiration or copying were those of the 15th century from the early Ming and Chenghua reigns. That they chose to copy earlier styles is reflective of general trends in Chinese art, which display a tendency to antiquarianism. Balancing this was the desire of Qing rulers to validate their own sovereignty and status through associating themselves with earlier reigns by invoking these earlier styles in the designs for their own imperial porcelain.

The Qianlong period seal mark
The Qianlong period six-character seal mark

On my recent visit to China I was fortunate to visit the Imperial Summer Palace, which was reconstructed after the ravages of the Anglo-French invasion of 1860 and the Boxer Rebellion of 1900. The gardens were originally commissioned by the Qianlong Emperor in 1749. Today, the gardens are enjoyed by thousands of Chinese and some foreign tourists. In the palace are rooms furnished with Qianlong period furniture and porcelain of the finest quality. They give an insight to the genius and restraint of Chinese imperial taste in the 18th century.

The piece illustrated is a Chinese doucai porcelain globular jar bearing the six-character seal mark of Qianlong. The body is decorated with slender stems of lotus, alternating with narcissus, over a lower frieze of the eight auspicious Buddhistic emblems, which include symbols representing eternal harmony, knowledge, purity and enlightenment. The third and lower tier is of flowers. All these decorative elements communicate with each other between a frieze of flame-like lappets and a ruyi-encircled rim. All are finely outlined in underglaze cobalt blue.

Rupert Toovey at the Summer Palace in Beijing
Rupert at the Summer Palace in Beijing

Doucai decoration first found favour during the Chenghua reign (1465-1487). The delicate cobalt-blue outline to all the coloured enamels defines doucai decoration and unites them with delicacy and brilliance. It can be difficult to discern the age of these doucai pieces. The specialist and connoisseur will look for differences in the cobalt blue of the outline, which often has a softer appearance on earlier objects. Later examples also fail to capture the charming ivory tint to the glaze of 15th century examples. Qianlong period examples, however, are celebrated for their translucent enamels, alive with colour, which are set off by the precision of the cobalt-blue outlines. We are left with the impression that they are at once fragile and precious.

These qualities are much in demand, particularly in imperial pieces. 18th century examples, like this jar, command high prices, especially when they bear their true reign mark, rather than copying an earlier reign mark. Measuring just 9cm high, this doucai vase sold at auction for £32,000 in a specialist Oriental sale earlier this year.

It is this combination of harmonious design and restraint, combined with the shear quality of the painting and execution, which never fails to delight me. Delicate and brilliant, doucai pieces take some beating in any century!

View Toovey’s Specialist Sales of Oriental Ceramics and Works of Art by clicking here.

By Revd. Rupert Toovey. Originally published on 8th May 2013 in the West Sussex Gazette.