Vanderven Catalogue New York 2017

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TEFAF new york

28 OCT - 1 NOV 2017

1 | Guanyin crossroads of the international art world

Ai Wei Wei visiting our stand in 2016

China, Song Dynasty (960-1279 AD) Last year, TEFAF launched its first fair in New York, Height: and37socmour / 14,5 American inch Dream came true! We greatly enjoyed doing the first Provenance: edition and being part of this new adventure. New York City and itsJMD art loving collection, residents, The Netherlands (2015) welcomed us warmly. The TEFAF organisers managed With Vanderven to re-create Oriental Art (1996) the magical Maastricht atmosphere within the Park Avenue Armory, delighting visitors. They were particularly impressed A Crowned by theHead highofquality the Bodhisattva Guanyin, executed in a of the objects offered in all disciplines, in an Armory soft-toned whichgrey hadlimestone. never She depicts the serene Goddess, looked more beautiful and elegant. with downcast eyes beneath elegantly arching brows. The fuller face, has a refined nose and full lips curved in a In turn, we were thrilled with all the enthusiastic reactions gentle wesmile. received, Themeeting elongated ears have long 28lobes, October which – 1are November 2017 people from all over the United States, Latin America andsymbolic further afield. of greatThere age and waswisdom. a The wavy Preview hair is27pulled October great level of connoisseurship amongst the visitors, underlined back andbycrowned the largewith number a high tiara, decorated Standin61relief of museum curators and institutional representatives who withcame lotustoflowers view theand show. pearls on a field of stylized clouds. There was also a generous sprinkling of celebrities, who The found crown theirhas waytraces to theoffair, green and red polychrome. Park AvenueThe Armory top including the famous artist Ai Wei Wei who visited our stand. and back Heoftook thehis head time aretocarved in less detail, 643 Park which Avenue would absorb our collection, perhaps finding inspiration for hisindicate work. she was intended to be viewed from Newthe York,front NY 10065 at a lower position. For the second edition we now know what awaits us in New York, so we have high expectations! This catalogue presents a selection ofGuanyin highlights - the from Goddess our of Mercy – is the most Gallery popular Address female current collection of Chinese art. To find more objects and figure news, to please appearvisit in Chinese art. OriginallyVanderven she is depicted OrientalasArt or follow us on Facebook, Instagram, theWeChat male Buddhist or twitter. saint Avalokitesvara (The Nachtegaalslaantje Lord Who Looks1 For more information on the fair see Down). We are looking Serene inforward beauty and bearing, she5211LE was especially ’s-Hertogenbosch to welcoming you personally in our stand (nr. 61). popular during the Song Dynasty (1127-1279) The Netherlands and continues her reign as China’s favourite goddess. Floris & Nynke van der Ven Tel mobile +31-(0)6 53 17 85 21 Tel office +31-(0)73 614 62 51

1 | Guanyin China, Song Dynasty (960-1279 AD) Height: 37 cm / 14,5 inches Provenance: JMD collection, The Netherlands (2015) With Vanderven Oriental Art (1996) A crowned head of the Bodhisattva Guanyin, executed in a soft-toned grey limestone. She depicts the serene Goddess, with downcast eyes beneath elegantly arching brows. The fuller face, has a refined nose and full lips curved in a gentle smile. The elongated ears have long lobes, which are symbolic of great age and wisdom. The wavy hair is pulled back and crowned with a high tiara, decorated in relief with lotus flowers and pearls on a field of stylized clouds. The crown has traces of green and red polychrome. The top and back of the head are carved in less detail, which would indicate she was intended to be viewed from the front at a lower position. Guanyin - the Goddess of Mercy – is the most popular female figure to appear in Chinese art. Originally she is depicted as the male Buddhist saint Avalokitesvara (The Lord Who Looks Down). Serene in beauty and bearing, she was especially popular during the Song Dynasty (1127-1279) and continues her reign as China’s favourite goddess.

2 | Civil Official China, Northern Qi period (549-577AD) Height: 149 cm / 58,8 inches Width: 44 cm / 17 inches TL-tested, By Oxford Authentication Ltd, UK (2000) Provenance: Private Collection, The Netherlands (2000) This impressive nearly life-size figure, is made of unglazed earthenware. It is boldly but finely modelled, and cold decorated with pigments after firing. It stands solemn and upright in watchful attention, the head held high and the hands clasped together across the chest. He wears a loose flowing wide-sleeved tunic, belted at the waist, over loose trousers, the pointed shoes peeking out from underneath. On his head is a black court cap and over his tunic he wears a sturdy ceremonial breastplate, buckled over the shoulders. He has a furrowed brow, upward slanting eyes, slightly smiling red lips and a thin black moustache. This imposing figure, bridges the sculptural style between Northern Wei and the Tang periods. It is finely manufactured, with attention to detail. Particularly, the slightly haughty expression and clothes suggests a realistic style. We can assume that this figure would have been placed against the wall, as the reverse has less detailing. Such large and impressive figures are unusual and would certainly have been intended for the tomb of a high ranking noble. Civil officials, would have formed part of the expansive household. In addition to their administrative responsibilities, they would also have served as an honour guard for members of the imperial family and aristocracy. An similar figure was exhibited in the Metropolitan Museum of Art in ‘Dawn of a Golden Age’ (2004).

3 | Civil Officials China, Tang Dynasty (618-907) Height: 59 cm / 23,2 inches TL-tested by Oxford Authentication Ltd, UK Provenance: Private Collection, The Netherlands (2014) With Vanderven Oriental Art (1996) These pottery figures depict Chinese civil officials (wen gong). Both figures hold their hands in front of their body in an honorific manner, and have a friendly but serious countenance of a Confucian trained Tang scholar. They are dressed in official court dress, comprising a short wide sleeved top robe and a longer under-robe. Both figures wear black court hats called jingdeguan - translated as ‘crown for the imparting of virtue’- denoting their position as court councilor. The ceremonial breastplates are decorated with naturalistic floral patterns. The figures are embellished all over with coloured decoration on the face and body. This type of decoration was applied to the figures after firing, and is therefore known as ‘cold decoration’.

4 | Lokapalas China, Tang Dynasty (618-907) TL Tested by Oxford Authentication Ltd, UK Height: 69 cm / 27 inches Provenance: JMD collection, The Netherlands (2015) With Vanderven Oriental Art (1999) These figures are tomb guardians, also known as ‘Lokapala’. They are modelled in the extravagant high-tang style, dressed in full body armour, elaborately executed with dragon-mouth sleeves, with traces of the original bright coloured pigments. On their heads are ornate caps with high-tailed phoenixes. Each crushes a rather sulky looking evil spirit under their feet. The tombs of Tang elite were often furnished with such fierce figures. These guardians were placed near the entrance of, as well as in, the burial chamber to protect the deceased and the treasures from evil - and spirits. They derive from the Buddhist Lokapala, have typical Middle Eastern facial features, such as a moustache and big round eyes. These elements were considered the perfect scary combination to frighten off evil spirits and thus protect the deceased.

5 | Brushpots China, Kangxi period (1662-1722) Height: 18 cm / 7 inches Width: 10 cm / 4 inches Provenance: Private Collection, United Kingdom With Vanderven Oriental Art (1997) These underglaze blue and white brushpots, with a square section, are supported on four angled ruyi-form feet. Each side has a panel with a waterscape, bordered by raised outlines which have traces of gold decoration. The surrounding border has a diaper ground with four reserve panels with a plant or flower. The gilt-bronze mounts along the top edge, have an acorn finial at each corner. These brushpots were exported to Europe, where they were mounted in the neoclassical style, popular in the latter part of the 18th century. Initially, Oriental porcelain was mounted for protection or functionality. Later, the ornamentation was mainly added to enhance the decorative effect of the object as a whole.

6 | Iron Red Vases China, Kangxi period (1662-1722) Mounts: 19th century Height: 73,5 cm / 28,7 inches Provenance: Private Collection, Belgium Acquired from Aveline, Paris (1970’s) A large pair of baluster vases, lavishly decorated in iron-red enamels and gold. The tall neck has a flaring mouth, the bulbous body sits on a narrower flaring foot. The whole is decorated with plantain leaf bands and, on the shoulder, a flower-filled ruyi cloud collar. The remaining white areas have loose decor of trailing stems with flowers. They are embellished with matching European gilt-bronze mounts in the neo-classical style. The rim has a gadrooned ring, with round handles in the shape of laurel wreaths. The foot has a band of overlapping acanthus leaves. They both stand on square gilt-bronze bases of a later date. This type of porcelain, was produced to order in the early 18th century for the European market. The Dutch called this colour combination Melk en Bloed (Milk and Blood). A large group of similar vases are in the famous Collection of Augustus the Strong in Dresden. The Royal Swedish Collection also has a pair.

7 | Perfume Fountain Porcelain: China, Kangxi Period (1662-1722) Gilt-bronze: France, late 18th century Japanese Lacquer: Japan, 18th century Porcelain Flowers: France, 18th century Height: 34 cm / 13,4 inches, Length: 32 cm / 12,5 inches, Width: 26 cm / 10,2 inches Provenance: Private Collection, France This lavish object is fashioned from various pieces of Chinese turquoise glazed biscuit porcelain, with European gilt-bronze mounts and porcelain flowers. A potpourri, in the shape of a lotus pod, sits over a small carp spouting a stream of gilt bronze ‘water’ into a square basin. They are mounted on an elaborate gilt bronze rockery draped with fish nets and ropes. Scattered around the basin, are four flower stems with blooms made of European porcelain. The whole is set on a Japanese black and gold lacquer tray. This Perfume or Scent Fountain, was no doubt especially commissioned by an 18th century Parisian marchand-mercier (antique dealer/ interior designer) for a wealthy client; seemingly intended for the spreading of fragrance. The bowl could be filled with scented chips or leaves, to freshen a room. Perfume dispensers played an essential role in French 17th and 18th century hygiene. At the time, it was widely thought that illness was caused by “malignancy of the atmosphere”, or unpleasant scents. It was believed that perfume could improve the air to prevent even the most devastating diseases. One famous fountain is one which belonged to Queen Marie Antoinette, now in the collection of the Museé de Louvre (Paris).

8 | Perfume Ball China, Yongzheng period (1723-1735) Diameter: 10 cm / 4 inches Provenance: Vrijman Collection, United Kingdom (2013) Private Collection, France This porcelain ball (xiang qiu), decorated in famille rose enamels, is delicately pierced all over in a honey comb pattern known in Chinese as Ling Long. It is decorated with six yellow ground round panels - four around the side, the other two on the top and bottom of the ball. Each panel has a décor of a rockery with pink peonies. The exact use for this type of ball is slightly mysterious. In the past, it was often described as a cricket cage, the holes intended for letting the air in. We now refer to it as a perfume ball, the perforations allowing the fragrant scent of dried flowers or scented chips out. In China richly decorated balls are associated with Fo-Dogs, which guard either side of the entrances of Chinese buildings and temples. The male dog of the pair, rests its right paw on a brocade ball; its female counterpart resting her paw on a puppy. In some references, the ball is thought to represent an egg containing the dog’s puppy. Such orbs are also symbolic of the Buddhist pearl of purity. The Chinese expression the ‘lion throws a brocaded ball’ is a known metaphor for sexual intercourse. A similar ball, is the collection of the Rijksmuseum, Amsterdam. The National Gallery of Art, Washington has three, all from the former Widener Collection.

9 | Lotus Brush Washers China, Dehua, Fujian Province, Kangxi Period (1662-1722), Early 18th Century Height: 3 cm / 1,2 inches, Width: 12 cm / 4,7 inches Provenance: Duchesse E. Bruce Collection, France These elegant Blanc de Chine brush-washers, are in the shape of a lotus leaf with curled edges. A stem extends from the centre of the dish, over the edge, connecting with another stem extending from under the leaf , ending in a small leaf and flower bud. The lotus is a very emblematic flower to the Chinese. The Chinese word for lotus, lian (莲), is phonetically identical with lian, meaning to bind or connect. It has great symbolic value, particularly in association with Buddhism. This plant also represents clarity and resilience in general, as its flowers emerge unstained from the surrounding muddy waters. Thus it forms an apt metaphor for the poor scholar, who could elevate themselves by passing the imperial examinations. These brush washers would have served as a useful emblematic reminder to the scholar using them to wet their brushes for calligraphy. Identical Brush washers are in the Percival David Foundation collection in The British Museum, London.

10 | Chinoiserie Nodding Figure European, Probably French, circa 1900 Height: 80 cm / 31,5 inches Provenance: Private Collection, Belgium This large plasterwork figure, standing on a rectangular base, has a weighted nodding head. The long flowing green over-robes, are decorated on the front with peonies, green foliage and black cloud shapes. It has a contrasting yellow collar with stylised flowers. The under-robe is red, as are the square-toed shoes peeking out from under the gold trimmed hem. The outfit is completed by a high crowned black hat, with gold trimmings. As only the front is decorated, and the reverse left plain, it can be assumed it was to be viewed from the front. The figure and base are in the style of the Art Deco period in the early 20th century. At this time there was a renewed interest in the Orient, triggering a new Chinoiserie revival. This can be seen in all art forms of the period, including jewellery, interior and garden design.

vanderven oriental art

Floris van der Ven & Nynke van der Ven

Vanderven Oriental Art, is an internationally renowned family run business specialising in Chinese art. The emphasis of the collection lies in Chinese ceramics; pottery from the Han and Tang periods and porcelain from the 16th, 17th and 18th centuries. We also have an outstanding collection of Chinese works of art including (archaic) bronzes, jades, glass, wooden and iron objects. The objects are sourced all over the world, including many private European collections. This ensures that the pieces have an outstanding provenance. With our magnificent library, large archives and continuous study, we are always expanding our knowledge enabling us to add more depth to the pieces in the collection. Since 1968 Vanderven Oriental Art was founded in 1968 by Clemens van der Ven and his sister Bea. Starting out as a general antiques shop, their passion and eye for beautiful objects quickly earned them a loyal client base and excellent reputation. In the subsequent years, his wife Neeltje joined the business; and in the 1980’s they became so enthusiastic about Chinese art, that they decided to focus on this specific area. Now, after nearly 50 years in the business, Vanderven Oriental Art is considered one of the world’s leading dealers in this specialist field. Gallery, Exhibitions & Fairs From inception, the business has been based in the medieval city of ’s-Hertogenbosch - the birthplace of the famous painter Hieronymus Bosch. The gallery is housed in a refurbished grammar school dating from 1880. Here we regularly organise

exhibitions and host events. We attend and participate in important events worldwide including the TEFAF Maastricht - of which Vanderven was one of the founding dealers. We also show at Fine Arts Asia (Hong Kong) and TEFAF New York. Team & Expertise In 1993, Floris van der Ven joined Vanderven Oriental Art, after international traineeships with Neuse (Bremen), Kugel (Paris) and Spink’s (London). Since 2007 he was in charge of the daily running of the business and in 2012 he took over the ownership. He works alongside his wife Nynke van der Ven – van Wyngaarden, who graduated with a MA in History of Art and is responsible for the research, publications and marketing activities. VanderVen is an active member of The Oriental Ceramics Society (London), the Asian Art Society in The Netherlands and the Royal Dutch Antique Dealers Association (KVHOK). Floris is part of the Chinese Art vetting committees at the TEFAF Maastricht and Masterpiece London, as well as an advisory board member for the Fine Arts Asia fair (Hong Kong). Service Foremost, owning a ‘Vanderven’ should always bring great pleasure, as well as cultural interest.We always provide all the academic information with the purchased object. Early terracotta wares are mostly supplied with a thermo luminescence test. Additional services we offer include consignment sales, authentication and insurance appraisals, collection inventories, advice on display and lighting, shipping and storage and restorations.

The gallery in ’s-Hertogenbosch