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Yokohama International Auction. Lot 778. Can anybody read the description?

 
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Topic starter 09/01/2021 10:33 am  

Bowl looks Korean but it would be the only Korean item in the sale. I can't use google translate on that site site. I'm asking because I found an interesting article where it's suggested that a number of Korean pieces are actually Chinese ru ware. I'll see if I can post the link later. https://book.yunzhan365.com/mkpoy/cagc/mobile/index.html


   
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Topic starter 09/01/2021 12:44 pm  

This was the article I had in mind. Interesting read actually. https://kknews.cc/zh-my/collect/o8a8mgq.html


   
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09/01/2021 1:01 pm  

Hi Avatar, 

Looks to be an interesting article. Can you repost it in English?

Mark 


   
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judgment of Ru Kiln: Those Unknown Ru Kiln Porcelain 2017-12-12 Published in the collection by joint shooting online Celadon Wash The British Museum The Great Widder Foundation Collection The so-called "crown of kilns", Ru kiln porcelain has been unique in the world for more than 900 years since its birth in the Northern Song Dynasty. With the development of time, the cognition of the Ru kiln of Qingliang Temple in the academic and Tibetan circles has gone through several stages of clarity-blur-reconstruction-new discovery. From today’s point of view, the overall appearance of the Ru kiln of Qingliang Temple in the Northern Song Dynasty is generally clear, and the appearance of the Ru kiln of Qingliang Temple in the Jin Dynasty is gradually becoming clear. This is the hard work of countless cultural relic scholars for decades since the excavation of the Ru kiln site of Qingliang Temple. The result of tireless exploration. However, there are still some overseas Tibetan artifacts that have been "groomed and worn" because of too little relevant information, and the pearls are covered in dust. Today, with sufficient information, it is necessary to re-examine some overseas collections and re-judgment the ownership of their kilns. This article will list three cases of celadon that are still judged to be either Yaozhou or Goryeo. Two cases are from the Meiyintang collection, and one case is from the collection of the Great Wade Chinese Art Foundation in the British Museum. Based on the materials excavated from the ruins of the Ru Kiln of Qingliang Temple, detailed discussions are made from various aspects such as modeling, glaze, ornamentation and firing techniques to clarify its nature. Another example of a celadon ware judged to be Ru Kiln but with a suspicious identity came from an auction in Hong Kong Guardian, which was also discussed in detail. One. See the sun 1. Meiyintang Collection Two cases of gray-blue glaze in the Meiyintang collection, recorded in the second volume of Volume 3 of "Chinese Ceramics from the Meiyintang Collection" ("Chinese Ceramics from the Meiyintang Collection"), were both classified as Five Dynasties Yaozhou by the German scholar Regina Krahl works. A round-mouthed pot, drawing number 1469, was purchased from Oriental Bronzes Ltd. in Paris. The earth veins are thin, the mouth of the pot is sharp, and the rim of the glaze is slightly underflowing, revealing the gray and black color. The wall of the vessel is collected obliquely, the bottom is full of glaze, and the enamel is turbid, the glaze is grayish blue, and the whole vessel has no lines. The diameter is 18.6cm and the height is 6.7cm. Gray-blue glaze plain bowl, Switzerland Meiyintang Another example is the lotus petal bowl, drawing number 1470, purchased from J.J. Lally & Co., New York. The bowl is open and the bottom is rolled with feet. The wall of the bowl is thin and tough, with lotus petals engraved on the outside. The petals are wider and fat, and the carvings are neat and full of tension. The body of the bowl is gray-blue glaze, and the glaze layer is thinner than the previous example. The glaze layer is slightly scattered at the edge of the mouth and the contour of the lotus petal pattern, resulting in a brown color. The diameter is 17.9cm and the height is 7.5cm. Grey-blue glaze lotus petal bowl, Switzerland Meiyintang Throughout these two cases, the condition of the utensils is relatively consistent. In general, its glaze, trimming, foot treatment and firing methods, as well as the shape and decorative style are all different from the products of the Five Dynasties Yaozhou kiln, but have a comparable style of the Qingliang Temple Ru kiln in the Northern Song Dynasty. Although Mr. Kang Ruijun designated it as the Five Dynasties Yaozhou, he also noticed this and pointed out in their respective discussions. For example, the former is considered to be a round bowl: "The glaze has been partly degraded thorugh burial but does still retain some of its striking, smooth glossy texture and is reminiscent of'Ru'." The style of the latter lotus petal bowl is more specific: "The crackled glaze, the from of the foot and the firing method are all strongly reminiscent of'Ru'." All in all, the shapes and styles displayed by the two are far from the works of Yaozhou kilns in the Five Dynasties, and they are very inclined to the Ru kiln of Qingliang Temple in the Northern Song Dynasty. However, when reviewing the publicly handed down Ru kiln works around the world today, there is no comparable device. So, have similar devices been unearthed in the Ru kiln ruins of Qingliang Temple? The answer is yes. Check out the 2008 Qingliang Temple Ru Kiln Excavation Report: "Baofeng Qingliang Temple Ru Kiln" for relevant clues. The book comprehensively sorts out and displays the results of the fifth to eighth excavations of the Ru Kiln Ruins of Qingliang Temple. Among them, the section on "bowls" in the fourth chapter of "Relics" shows a total of two types of nine kinds of ruins. Kiln porcelain bowls, and have the following introduction: "Bowls account for about 2% of the porcelain unearthed from Ru Kiln. They are all molded, with curved belly, hidden ring feet, and full glaze. The surface of the vessel has lotus petal patterns and water ripples, and most of the molds in the bottom of the vessel have The dragon-shaped pattern also has the inner and outer surface of the vessel, and it is divided into two types according to the difference of the mouth." The two types are A-type open bowl and B-type converging bowl. One of the open bowl types is similar to the Meiyintang example: "Specimen C2: 845, the abdomen is shallow, and there are two nail marks remaining on the bottom surface. The inner edge is decorated with two-circle convex lines, the inside and the outside of the organ are plain, from the local view, it should be azure glaze, without opening. The diameter is 19.8 cm, The bottom diameter is 9 cm and the height is 7.4 cm. (Picture 6-7, 5)" A line drawing of pots and wares unearthed from the Ru Kiln site of Qingliang Temple Recorded in "Ru Kiln of Baofeng Qingliang Temple" Comparing the corresponding line drawings, it can be found that the shapes of the two utensils are basically the same, and the text description shows that the firing method is also the same. It is worth noting that the "two-week convex line pattern under the inner edge" mentioned in the report, the inner mouth of the Meiyintang Tibetan bowl also has a line pattern, which is not very clear because of the glaze covering. These detailed comparisons show that no matter in terms of the shape of the utensils, the firing method or the specific decoration of the utensils, the two are basically the same, but the size is smaller. Line drawing of plain noodle bowls unearthed from Ru Kiln Ruins of Qingliang Temple (Part 1) Contrast with Meiyintang Tibetan Bowl (Part 2) Gray-blue glazed bowl with inner edge close-up Swiss Meiyintang In addition, the similar vessels of the Meiyintang Tibetan lotus petal bowl were also found in the ru kiln ruins of Qingliang Temple. The amount of excavation was relatively small, and it was compiled into the F subtype of the F-shaped open shallow belly bowl: "Ff type: Molded, less unearthed. Specimen C2: 876, remnant. Foot-wrapped, fully glazed and burnt, with 5 nail marks on the bottom of the ring. The surface is printed with double-layered lotus, pale azure The glaze has cracks and is not obvious. The caliber is 16.8 cm, the base diameter is 6.8 cm, and the restoration height is 6.6 cm. (Picture 50, 5)" Line drawing of an Ff-shaped lotus petal bowl unearthed from the Ru Kiln site of Qingliang Temple "Ru Kiln of Baofeng Qingliang Temple" Comparing the line drawings, we can see that the shapes and patterns of the two bowls are basically the same, the wide and fat style of the lotus petals is uniform, and the layout of the double lotus petals and the composition ratio between the lotus petals are basically the same. Specimen C2:876 has less centerline inside the lotus petals than the Meiyintang Tibetan bowl, and the lotus petal is a single-layer outline, and its size is smaller than that of the Meiyintang Tibetan bowl. In addition, in the color version of the report, there is the same vessel-shaped specimen unearthed at the same location. The line drawing is not drawn due to the relatively small amount of information, number C2:877, which is the foot of the lotus petal pattern. The comparison found that the bottom foot characteristics and the shape of the nail marks of the two are basically the same. A line drawing of an Ff-shaped lotus petal bowl unearthed from the Ru Kiln ruins of Qingliang Temple Contrast with Meiyintang Tibetan Bowl (Part 2) Northern Song Dynasty Qingliang Temple Ru Kiln, Bowl Bottom Unearthed from Ru Kiln Site of Qingliang Temple Henan Institute of Cultural Relics and Archaeology Meiyintang Tibetan Bowl Contrast with the Ff-shaped porcelain bowl specimen C2:877 (right) unearthed from the Ru Kiln ruins of Qingliang Temple Through the comparison of these details, it can be seen that the shape, trimming, decoration and burning methods of the two blue glaze wares in Meiyintang's collection are basically the same as those of Ru kiln products. The problem of the shape of the utensils is solved, let's look at the situation of the tire glaze. Why is the enamel of Meiyintang wares obviously different from ordinary Ru ware? In fact, this is due to the joint decision of the glaze formula, the firing temperature and the burying situation. The firing temperature of the Meiyintang ware is relatively low, which makes the enamel more turbid and the structure is relatively loose, and it should have been buried underground and eroded. However, this kind of erosion is relatively rare, and it is speculated that it is caused by water, which retains a certain glaze and changes the glaze color, and finally forms such a blue-gray white state. This was also found in specimens collected at the Ru Kiln site of Qingliang Temple. For example, as shown in the color version of the excavation report on the 92nd Ru kiln, No. Y5:5, the enamel color of the enamel is grayish blue and white, and the texture is soft. Aa-type porcelain washing fragments unearthed from the ru kiln site of Qingliang Temple Y5:5 Unearthed from Ru Kiln Site of Qingliang Temple Henan Institute of Cultural Relics and Archaeology A sample of a Ru Kiln bowl in the Hongshe collection also has the same appearance. The flowing glaze and gray lines on the edge of the mouth are the same as those of the Meiyintang Tibetan bowl, and the appearance of the glaze is also very similar. The carcass is brown, which is due to the low firing temperature and oxidation of the iron in the ground soil. This also explains why the tan mouth and lotus petal outlines appear in the Meiyintang Tibetan bowl in the same situation. Northern Song Dynasty Qingliang Temple Ru Kiln Open Bowl Specimen Beijing Hongshe Northern Song Dynasty Qingliang Temple Ru Kiln Open Bowl Specimen Close-up of Mouth Beijing Hongshe The mouth edge of the specimen of Ru porcelain bowl from Beijing Hongshe Collection (Part 1) Contrast with the mouth of the Meiyintang Tibetan pot (below) The excavation of the entire Ru kiln in history is by no means a rare event. In fact, some of the artifacts in the so-called "Handed down Ru kiln" should have been unearthed in history and then circulated, but most of them are now difficult to distinguish. For example, see the Ru kiln article "historical sites" in the second volume of "Ru Zhou" compiled by Wang Xiongxiu and Cheng Tiangui of the Ming Dynasty: "Ru kiln, there is no test to create it... the kiln has been abandoned, but the residents occasionally dig in the ground, which is quite a treasure." See also Sun Hao (former Henan Superintendent) in his poem chanting Ru Kiln, "The worm is the beetle of the gu, and it is difficult to stay in the sky for a long time. The golden plate jade bowl is known as a treasure in the world. "[9] Two sentences also explain the unearthed Ru Kiln in history. In summary, the two gray-blue glaze wares in Meiyintang’s collection are in line with the Qingliang Temple Ru Kiln in terms of shape, glaze, installation and firing methods, and decorative styles. It is produced by the Five Dynasties Yaozhou Kiln. 2. Old collections of the Grand Vader Foundation A celadon glaze ware in the British Museum, number PDF.59. This vessel is believed to be a 12th-century Goryeo celadon work, which originally belonged to the old collection of the Dawei De Foundation. According to Sheila Yorke Hardy (Sheila Yorke Hardy) in 1953, this was originally a work of John Platt (John Platt). ) Old collection. In fact, this wash is a very typical Qingliang Temple Ru kiln in terms of shape, glaze, craftsmanship, etc. The glaze is blue and has a pattern of cracked ice, and the glaze has traces of gray and black soil. This was unearthed in Henan. It is often seen on the porcelain of the Ru Kiln of Qingliang Temple. The rim of the foot part has shrinkage glaze, and the mouth is uneven. Rolled feet and sticks are the standard Ru kiln style of Qingliang Temple. Northern Song Dynasty Qingliang Temple Ru Kiln The British Museum Northern Song Dynasty Qingliang Temple Ru Kiln Straight Mouth Washing Bottom Picture The British Museum Although the support nails are white in color and have large nail traces, this is not the silica support used in Goryeo celadon. Most of the traces of nails in the Ru kiln of Qingliang Temple are small, and some of the heavier ones have larger traces. However, there are also some works of plates and bowls with relatively large nail marks. This is the reason why the nails break low or the nails are skewed during the process of picking the porcelain. There are a total of five nail marks in the Daying Tibetan Wash. The nail marks on the upper right of the black number are relatively small and of normal size. This is enough to show that the nails used for washing are not special, but are only in the process of burning or removing. Some technical surprises. The whiteness of the nails is a very common phenomenon in the Ru porcelain of Qingliang Temple. For example, see the residual washing recorded in the color edition 95 of the Excavation Report, No. IT65③:27, that is, the white nails. Ab-type porcelain washing fragments unearthed from the Ru Kiln site of Qingliang Temple IT65③:27 Unearthed from Ru Kiln Site of Qingliang Temple Henan Institute of Cultural Relics and Archaeology As for the larger nail marks, you can see the color version of the June 4th (C2:788) Ru porcelain Kuikou bowl, the color version 69 (T29③:104) and the color version 140 (C2). :888) Ruci constricted his mouth. Specimen of Type B Kuikou Bowl Unearthed from Ru Kiln Ruins of Qingliang Temple C2:788 Unearthed from Ru Kiln Site of Qingliang Temple Henan Institute of Cultural Relics and Archaeology T29 ③:104 (left) of Db-shaped skew bowl specimen unearthed from the Ru Kiln site of Qingliang Temple Specimen of Bb-type astringent bulb unearthed from the Ru Kiln ruins of Qingliang Temple C2:888 (right) Unearthed from Ru Kiln Site of Qingliang Temple Henan Institute of Cultural Relics and Archaeology The enamel quality is acceptable, but the firing is uneven and there are glaze defects. It may have been a rejected product, and then it was buried. This is similar to a piece of Ru porcelain wash collected by Mr. Wang Liuxian from Baofeng County Ceramic Craft Factory in Qingliang Temple in 1986. This wash is also uneven firing, uneven enamel color, ice cracks, and glaze shrinkage on the feet. The enamel shows obvious traces of eroding, and the remaining glaze is brighter. Northern Song Dynasty Ru kiln straight mouth washing Wang Liuxian Qingliang Temple Ru kiln site collection ShangHai museum Comparing the two washes, it can be found that the appearance of the two is basically the same, and they are judged to be similar, that is, the Qingliang Temple Ru Kiln works. The British Museum Collection (Part 1) Contrast with Wang Liuxian's Porcelain Wash Collected at the Ru Kiln Ruins of Qingliang Temple (Part 2) Second. So, even if there are people who are not known as Ru kilns, are there people who are not Ru kilns but crowned as Ru kilns? Korean celadon flower mouth holder Hong Kong Guardian April 5, 2013 "View Ancient-Porcelain Crafts" Lot: 414 On April 5, 2013, a celadon cup holder was released in the Hong Kong Guardian "View Ancient-Porcelain Crafts" special, Lot: 414. This case was originally from a Japanese collector. It was attached with a Japanese-style wooden box with the title "Koryo Celadon" on the lid. Hong Kong Guardian inherited this saying and marked it as "12th century Korean jade celadon five-petal flower shape" in the special catalogue. Light care". However, in the “List of Handed Down Ru Porcelain” in the “Light and Implied-Ru Kiln Porcelain Exhibition” of the Palace Museum in Beijing in 2015, the lamp holder was broken as Ru Kiln Porcelain, which was subsequently published and included in the “Ru Porcelain Collection- Collection of the Palace Museum and a Collection of Unearthed Ru Kiln Porcelain. The November 2015 issue of the "Forbidden City" magazine also published a list of Ru porcelains, which was recorded in the article "Introduction to the "Light and Implicit" Ru Kiln Porcelain Exhibition in the Palace Museum". "List of Ru Kiln Porcelain Handed Down in Museums and Private Collections Around the World" An excerpt from the Guardian "Tea Cup" "Forbidden City" November 2015 This lamp holder is a typical Song style lamp holder. There are similar works in the Ru Kiln of Qingliang Temple, and there are three examples in the world. Two cases are in the British Museum, one of them is the old collection of Sir Harry M Garner, number 1971,0921.1. The other was originally collected by the Grand Vader Foundation, numbered PDF.81; the other is in the Friar Art Gallery, USA, numbered F1937.17a-b. Northern Song Dynasty Qingliang Temple Ru Kiln Huakou Zhantuo British Museum Northern Song Dynasty Qingliang Temple Ru Kiln Old Collection of the Great Vader Foundation, British Museum Northern Song Dynasty Qingliang Temple Ru Kiln Friel Art Gallery, Washington This kind of support was also unearthed during the excavation of the Ru Kiln Ruins of Qingliang Temple in Baofeng.

 

 
 
 
 
 
 
 
 
 

 

 

   
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Topic starter 13/01/2021 8:35 am  

This auction house claim to have real ru ware available. Lot 2884. Click the link it should bring you directly to said lot. A shallow washer. http://iaykauction.com/catalog/yka30_catalog_2001/mobile/index.html#p=335

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Topic starter 13/01/2021 1:38 pm  

Lot 2099. A doucai jar stated to be Qianlong mark and period, estimated at JPY 50,000-80,000. http://iaykauction.com/catalog/yka30_catalog_2001/mobile/index.html#p=37 That would be a very good price for such a jar even though it's without a lid. http://www.alaintruong.com/archives/2018/05/21/36421726.html

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Topic starter 13/01/2021 2:48 pm  

These famille rose gu-shaped vases stated to be of the Qianlong period would certainly also be a great buy if you could get them for the price they are estimated at. http://iaykauction.com/catalog/yka30_catalog_2001/mobile/index.html#p=140

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Topic starter 13/01/2021 3:05 pm  

https://www.christies.com/lot/lot-a-pair-of-famille-rose-white-ground-gu-shaped-6063983/?from=salesummery&intobjectid=6063983&sid=b4d2bd49-54c6-48dd-bcab-7f8dff9a56e8


   
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13/01/2021 5:36 pm  

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Hi Cory -

Having just look through the auction catalogue I would tread very carefully - many of the ‘attributed’ Ming blue and white pieces look highly suspect, IMO ...

Stuart 


   
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13/01/2021 11:53 pm  

I don't like it either. The "higher value" pieces look new and made to look old. A few lower value items look OK . I would recommend to be careful if  you are thinking about bidding . 

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Topic starter 14/01/2021 9:21 am  

Yes, I know I have to be careful. Some of the material look highly suspect as you say while I can see that some of the items are almost certainly authentic. They are on liveauctioneers now so that will make bidding easier but it will probably be a good idea to use Peter's preview service here.


   
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15/01/2021 12:17 am  

Hey Corey, 

I very much agree with you on using Peter’s preview service: it has often saved me a lot of money from making mistakes “going in big” on the occasional auction that is less known/visible, especially when I could’ve used those funds elsewhere with more confidence. 

I also agree with others that some of the lower value items look quite alright; and the higher value items are somewhat concerning/avoidable.
I feel this could be used to offer a sense of security/trust via authentic lower tiered items in order to pick up bids on higher priced items though (at least in what I’ve asked around of/what my more limited experience can offer). 

 

Should it be of any help:

I asked a pair of very trustworthy dealers in Japan if they were familiar with this venue/house, and they said they were not. 
This shouldn’t be taken as a sign they’re a sketchy “pop up” shoppe like many in the west coast selling pure fakes; because they seem to have catalogues from years ago, too.

Also, they tend to stick to under a handful of regarded venues; and their “hunting days” at auction are in the past - so it’s not a dismissal of the upcoming show through just their unfamiliarity. 

More or less, I would tread carefully - as ironically last week when I was talking to them, we both mentioned the increased frequency of “tomobako testing” as we call it...
The items are offered with wooden boxes made to look old themselves; and giving the implication they came from an old Japanese collection - as is also common with authentic and widely circulated examples (particularly Song celadons and Ming porcelains). 

Hope this helps, and wishing you much success if the items are to your liking in the end.

-JRN

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Results: Sotheby's Asia Week achieved $52.4 million in six strong auctions, exceeding pre-sale estimates. With 76.5% of lots sold and 60.3% of lots surpassing high estimates, the Asian art sales at Sotheby's indicate continued collector interest in the finest works of art from China, India and and the Himalayas.

Important Chinese Art | Sotheby's

Today's sale of Important Chinese Art will proceed as planned with sessions at 10 AM and 2 PM EDT. Sotheby's will be monitoring the weather conditions throughout the day and will be available to coordinate alternative bidding options should conditions make it difficult for clients to attend the auction in person.

Bonhams : Chinese Works of Art

Bonhams Chinese Art department is renowned for offering the finest works of art representing the richness and breadth of China's artistic heritage, particularly Imperial porcelain, white and spinach green jades, cloisonné and Buddhist art. Specialised international auctions are held globally, including London, Hong Kong and San Francisco.

Bonhams : Chinese Works of Art

Bonhams : Chinese Works of Art We use cookies to remember choices you make on functionality and personal features to enhance your experience to our site. By continuing to use our site you consent to the use of cookies. Please refer to our privacy and cookie policies for more information.

Bonhams : Fine Chinese Paintings and Works of Art

Bonhams Fine Art Auctioneers & Valuers: auctioneers of art, pictures, collectables and motor cars. We use cookies to remember choices you make on functionality and personal features to enhance your experience to our site. By continuing to use our site you consent to the use of cookies. ... Chinese Art (US) General enquiries

Bonhams : Fine Chinese Art

Bonhams : Fine Chinese Art We use cookies to remember choices you make on functionality and personal features to enhance your experience to our site. By continuing to use our site you consent to the use of cookies. Please refer to our privacy and cookie policies for more information.

Bonhams : Asian Art

Bonhams Fine Art Auctioneers & Valuers: auctioneers of art, pictures, collectables and motor cars Bonhams : Asian Art We use cookies to remember choices you make on functionality and personal features to enhance your experience to our site.

Bonhams | Asian Art in London

Bonhams are international auctioneers of fine Chinese and Japanese art. We specialise in rare Imperial and Export Chinese ceramics and works of art, as well as Japanese ceramics, fine and decorative works of art from the Neolithic Period to the 20th century. View on map

Bonhams : Asian Art

Bonhams Fine Art Auctioneers & Valuers: auctioneers of art, pictures, collectables and motor cars. We use cookies to remember choices you make on functionality and personal features to enhance your experience to our site. By continuing to use our site you consent to the use of cookies. ... Asian Art Bonhams. Work. 22 Queen St.