Vanderven Oriental Art Tefaf New York Fall 2016

TEFAF new york

21 - 26 october 2016

tefaf new york - our american dream Exhibiting in the United States, has been a long standing dream of ours. As avid collectors of Chinese art over the past 200 years, America has a long-established tradition in this collecting field. This is attested by the major collections of oriental art in the museums, as well as in impressive private collections all over the country. It is therefore a natural development, that we bring the Vanderven collection to where it will be so greatly appreciated.

New York 1990 & 1993

New York has always been at the heart of the art market in the Americas. Therefore to us it is the perfect choice of location to launch TEFAF’s second fair. As Vanderven Oriental Art, we were at the forefront of TEFAF Maastricht’s inception in 1988, we are therefore delighted to also be part of the birth of its new sibling TEFAF New York Fall in 2016. In the early years of the International Antique Dealers Show, we already exhibited in the Armory (1989 – 1993). So after nearly 25 years absence, it feels good to be finally coming back to New York to see old acquaintances and make new friends as well.

This catalogue celebrates our inaugural participation in TEFAF New York, presenting a selection of highlights in our collection. To find more objects and information, please visit www.vanderven.com or follow us on Facebook, WeChat or Twitter. For more information on the fair see www.tefaf.com.

We are looking forward to welcoming you personally in our booth (nr. 61) during TEFAF New York.

Floris & Nynke van der Ven

22-26 October 2016 Preview 21 October 2016 Park Avenue Armory 643 Park Avenue New York, NY 10065 www.tefaf.com Gallery Address Vanderven Oriental Art Nachtegaalslaantje 1 5211LE ’s-Hertogenbosch The Netherlands www.vanderven.com info@vanderven.com Tel mobile +31-(0)6 53 17 85 21 Tel office +31-(0)73 614 62 51

1 | Dancing Horse China, Tang Dynasty (618-907) Height: 55 cm Length: 63 cm TL-tested by Oxford Authentication Ltd, UK Provenance: Private Collection, The Netherlands (2016) with Vanderven Oriental Art (1997) This naturalistically modelled horse, stands on three legs, with the right front leg raised and its head turned to the left. The saddle sits on a blanket elaborately decorated with swirling foliage; the gathered saddle cloth and mane are coloured with orange pigments. The reins are finely painted on in black.

Horses were of great importance in the Tang era, to carry soldiers and supplies across the large empire.

They were equally in demand as elegant mounts for riding, hunting and polo. It is recorded that the Tang Emperors owned a troupe of 100 ‘dancing’ horses, trained to perform during court entertainments with golden cups in their mouths.

2 | Court Lady China, Tang dynasty (618-907AD), mid 8th-century Height: 44 cm / 17,3 inches TL-tested by Oxford, UK Provenance: Schmeidler Collection, France Purchased in the UK (1980’s) This elegant female figure was undoubtedly a high ranking court attendant, indicated by the full-bodied figure which was fashionable at the time. She wears a flowing gauzy robe, with a high waistline and wide sleeves, her tiny elegant hands peeking out. The hem reaches the floor, revealing the tips of the three-cloud shoes.

The traces of coloured pigments on the robe show a floral design, which may have emulated the bold decoration employed on contemporary silk textiles.

Her hair is styled in an elaborate fan-shaped top-knot. The Chinese believed that part of the life force of humans was contained in the hair, so they let it grow very long. During the Tang era, there were over a hundred different hairstyles, hairpins and combs would hold the coiffure in place.

3 | Wei Tuo Pusa China, Early Ming Dynasty, 14th/15th century Height: 122 cm , 48 inches Provenance: with Roger Keverne, UK (2004) This carved wooden figure, represents the Buddhist deity Wei Tuo Pusa. He has a compassionate expression, his eyes inlaid with black glass to make them more lively. The wooden surface has traces of pigment, lacquer and gilding.

Wei Tuo, also known as the Hindu bodhisattva Skanda, is one of the eight deities that protects the principles of Buddhism. In most portrayals he appears in full general’s armour, in his role as defender of the Buddhist teachings.

According to legend, when the Buddha died, demons stole his Book of Wisdom; Wei Tuo fought the demons to retrieve the book. He is usually placed in the first hall of a Buddhist monastery or temple and often represented together with the goddess Guanyin. In Chinese sutras, his image is found at the end of the sutra, a reminder of his vow to protect and preserve the teachings. In the practice of Feng Shui, the image of Wei Tuo is often placed in the home. He ensures peace and harmony for all residents, protection for the patriarch, prosperity and luck for all.

4 | Guanyin Songzi China, Kangxi period (1662 – 1722), Dehua Kilns, circa 1720 Height: 65 cm / 25,6 inches Provenance: Robson Family, UK (since 1890’s) & private Collection, Belgium These standing figures of the goddess Guanyin, are made of Blanc de Chine porcelain. Standing upright on lotus pedestals, each holds a small child on their right arm. They have tall hair-do’s and loosely knotted flowing robes. The child extends his left palm, meaning the prayer has been received, and holds an ingot (yuanbao) in his right hand promising prosperity.

Guanyin is one of the most popular Buddhist figure in China. She is the bodhisattva associated with compassion and blesses people with children. Her resemblance to the Christian Madonna also popularised her image in the West.

5 | Pronk Archer Cistern China, Qianlong Period (1736-1795), ca 1740 Height: 68 cm / 26,7 inches Provenance: Private collection, The Netherlands Bascourt collection, Belgium (before 1998) A blue and white porcelain water cistern, made to order in China for use in the dining room. It is decorated with the Archer pattern, one of the more unusual designs thought to be by Cornelis Pronk (1691-1759). It was only used on fountains and cisterns, as well as on one known jar.

Pronk was a draughtsman appointed by the Dutch East India Company (VOC), to produce designs specifically for use on Chinese porcelain for the Dutch market. Four attributed designs are documented, but none are actually signed. All the designs are recognizably European versions of Chinese scenes known as Chinoiserie, a very fashionable style in the 18th century.

6 | Large Tulip Vase China, Kangxi Period (1662-1722), c.1700 Height: 61 cm / 24 inches Provenance: Private Scandinavian Collection A pyramidal porcelain tulip vase comprising three tiers, each with four spouts, on a square base. The tiers are decorated with stylized tulips, the base is alternately decorated with landscapes and flowers. The vase was modelled in individual hollow sections, then fired as a whole. Made to order for Dutch East India Company (VOC), it was intended for the Dutch or European market.

Tulip vases were originally made by the Delft potteries, in the late 17th century. They were a particular specialty of De Grieksche A manufactory, who produced large spectacular examples for use in the royal palace at Hampton Court. Such vases, would have been used as table center-pieces, blooms placed into each individual opening. They were intended to impress, showcasing the wealth and good taste of the owner.

This Chinese porcelain version was probably considered even more exotic than its Delft cousin.

Similar, but smaller vases, are in the Victoria & Albert Museum (London) and Peabody Essex Museum (Salem).

7 | Chrysanthemum Bowl China, Ming Dynasty (1368-1644) early to mid-14th century H: 16 cm / 6,3 inches Ă˜: 42 cm / 16,5 inches Provenance: Private Collection, Belgium (2014) This large conical bowl, fluted inside and out, is glazed in thick glossy soft green glaze. It has a bracket lobed rim and the bottom of the bowl has a double-petal chrysanthemum flower.

Green or celadon ceramic wares (qingci), are often referred to as Longquan wares. These stonewares, with their distinctive green iron-oxide glazes, were held in high esteem by the Chinese, as colour was closely associated with jade - a material valued for its magical properties.

Bowls such as this one would have been produced for the Chinese as well as for export.

The Topkapi Seray Museum (Istanbul) holds an identical bowl.

8 | Large Sacred Mountain China, early Kangxi Period (1662-1722) Height: 53 cm / 20,8 inches Diameter: 27cm / 10,6 inches Provenance: With Chait Galleries, New York, 2012 Private Collection, USA 2010 Purchased from Vanderven Oriental Art in 1999 This tall enamel on biscuit porcelain craggy peak, is inhabited by figures, animals and small buildings.

It has plum and pine trees growing up the mountainside and a path with steps curls round the mountain, leading through the rocks and pagoda’s.

One figure is a robed monkey, referring to the story Journey to the West, in which the Monkey King, goes to the mountain paradise of the Queen Mother of the West. He wrecks her banquet by stealing her immortality peaches.

The story incorporates many Daoist elements, which would have appealed to the Chinese scholar. A similar biscuit mountain is in The Rijksmuseum, Amsterdam.

9 | Famille Verte Vases China, Kangxi period (1662 – 1722) Height: 56 cm / 22 inches Provenance: Private Collection, UK A pair of tall lidded ovoid vases, decorated in famille verte enamels on a white ground. The ribbed body, has eight scalloped panels decorated with landscapes, auspicious mythological animals and birds. The tall neck is decorated with the 100 antiquities, its overhanging lid has lappets filled with foliate decoration. The unglazed biscuit knob – unusually in the shape of a plaited basket – has traces of the original gilding. They each have a fitted wooden stand.

The complex shape and decoration, indicate that these would have been made as luxury objects for export to the West. The lively palette of green enamels and refined decoration, are typical of famille verte wares being produced in the Kangxi era.

10 | Archaistic Jade Censer China, Qianlong Period, (1736-1795) Height: 16,5cm / 6,5 inches Width: 24cm / 9,5 inches Provenance: Private Collection, USA Carved from spinach jade, this censer is inspired by the ancient bronze Gui form. It is decorated in low relief with a stylized bird pattern. The domed cover has a finial in the shape of a curled phoenix, either side has a bold openwork bird handle.

It stands on three short legs, on a fitted wooden stand.

During the Qianlong reign, when the armies re-conquered the northern borders, jade was imported in larger quantities.

This increase in supply, ensured a flourishing of jade carving craftsmanship and new styles. The Emperor was a fanatical collector of ancient jade, as well as commanding new objects.

Inspired by the emperor, nobles and officials also bought jades for enjoyment and display.

vanderven oriental art 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.

Floris Van der Ven & Nynke van der Ven

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

NACHTEGAALSLAANTJE 1 • 5211 LE ’S-HERTOGENBOSCH • THE NETHERLANDS TEL. +31 (0)73 614 62 51 • MOB. +31 (0)6 53 17 85 21 • INFO@VANDERVEN.COM WWW.VANDERVEN.COM • WWW.VANDERVEN.CN