Since its establishment in 2014, Oak Ridge Auction Company is committed to in-depth exploration of collection resources in North America, and each session will present many well-stored and orderly raw goods, which has become an important brand in overseas Chinese art auctions.
The Oak Ridge Summer Chinese Antiques Auction, which will be held from 17 to 19 June, will feature 522 lots in three special auctions: The Unreserved Sale of Ancient Chinese Porcelain, Ancient Chinese Jade and Porcelain (I), and Ancient Chinese Jade and Artworks (II), including porcelain, jade and various miscellaneous treasures, including lots comparable to the British Museum, the Chicago Museum and the Forbidden City in Beijing.
For the first time this season, the Auction of Ancient Chinese Porcelain at No Reservation is a collection of 179 pieces of porcelain, mostly from the private collections and family traditions of Mrs. McClellan of Las Vegas, Mr. Hunter of upstate New York, Mrs. Ong of Scottsdale, Arizona, Mr. Chen of McLean, Virginia, and Mr. Ketcherside of Arkansas.
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Featured lots
Lot 159 Qingqianlong sacrifice red glazed bowl
8.25 cm X 19.05 cm
Estimate: $3,000-$5,000
Source: From a private collection in Southern California
The color glaze of this vessel is uniformly made, and the shape is regular: open mouth, curved abdomen, circle foot, and the bottom book "Qianlong Year of the Great Qing Dynasty" is six characters and two lines of blue and white letters. The inside and bottom of the vessel are glazed with white glaze, and the outer body is applied with a red glaze, and the glaze color is uniform and thick, which is combined with the regular and beautiful shape, which is more seamless. Matsuri, also known as "Ji Hong", was burned to maturity by the time of Ming Hongwu, using copper as a colorant and firing in a high-temperature reduction flame. In the Qianlong period, the red glazed porcelain was the mainstream of red glazed porcelain, and its utensils were very regular, and most of the official kiln utensils were known as the "Qianlong Year of the Great Qing Dynasty" three-line six-character seal book, and the hall name model also appeared.
See the Collection of the Palace Museum, No. - New 00114291 (fig. 1). See also Sotheby's March 2012 New York Auction, No. 238.
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Lot 58 Qingqianlong pink blue glaze dark engraved tangled floral pattern bowl
12.1 cm X 26.7 cm
Estimate: $3,000-$5,000
Source: From mr. Hunter's family lineage in upstate New York
The inside and outside of this bowl are glazed with powder and green. The inner wall is darkly engraved, with a back pattern at the mouth edge and a tangled peony pattern at the center of the bowl. The outer wall uses bas-relief techniques, the mouth edge is decorated with auspicious clouds, and the bowl body is painted with a tangled flower pattern, which means auspicious and rich, and endless life. The bottom is engraved with the "Qianlong Year of the Great Qing Dynasty" six-character seal book engraving, and the engraving part is slightly worn. This bowl has a simple and atmospheric shape, a large size, and uses a variety of modification techniques, which is invaluable.
See British Museum Collection, No. 1983, 0131.3 (fig. 1); Sotheby's Auctions, London, May 2017, No. 227.
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Lot 230 Eighteenth century White jade carved landscape figure round screen
Diameter 15.2 cm
Estimate: $10,000-$15,000
Source: From a private collection in New York.
This interstitial screen is carved from a single piece of white jade, and the double side is carved with bas-relief carvings of the figures, landscapes, flowers and birds. On the front of the interstitial screen, an old man with a bookboy prepares to cross the bridge, and the distant mountains are surrounded by clouds and fog, the stream is babbling, and the pines are lined up. The picture is dense and layered. On the back, it is carved with flowers, birds and stones, the picture is vivid and lively, and the chrysanthemums have the symbol of auspicious longevity and hermitage, which echoes the picture of the old man living in the mountains and forests on the front. This screen is equipped with a hardwood carved seawater pattern seat, which is continuous and intricately covered, which is very characteristic of 18th century craftsmanship. Such themes were particularly prevalent during the Qianlong period and can be found in the collections of major museums. The Qing Palace also has a similar interstitial display, which can be referred to.
See the Collection of the Palace Museum, No. - Therefore 00103187 (fig. 1). See the Metropolitan Museum of Art Collection, No. -02.18.638 (fig.2). See also Christie's November 2011 London Auction, No. 33; Sotheby's Hong Kong auction in October 2007, number 1579.
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Lot 204 18th Century White Jade Carved Auspicious Ruyi Plaque (with original hardwood seat)
6.35 cm X 4.44 cm X 0.63 cm
Estimate: $1,000-$1,500
Source: Lady Neville from Las Vegas, Nevada, inherited from her aunt.
Lot 559 XVIII Bayeux painting Luohan frame set of four
25.40 cm X 15.24 cm
Estimate: $5,000-$8,000
Source: From mr. Hunter's family lineage in upstate New York.
The Bodhi tree is regarded as the tree of wisdom and is called the sacred tree in Buddhism. In ancient India, every monastery was planted with bodhi, and the fallen leaves were regarded as holy relics by the monks, and before the popularization of papermaking technology, Indian monks stacked them with the leaves of the bayeon tree for scripture writing, and the Buddhist scriptures and images painted on the leaves by later generations were collectively called "Baye Sutras, Baye Paintings". A Bodhi leaf painting takes at least a few months from material selection to completion: the selection of a well-produced Bodhi leaf, after corrosion, drying, rinsing and making into leaf veins, and then according to the natural shape and texture of the leaves, drafting, coloring, and more than 30 processes before completion. The front of this work is a painted bay leaf painting, the content is mainly based on the Buddhist classics and the arhats, and the eyebrows of the painted figures are full of looks. On the back is a hand-copied copy of the Heart Sutra and the Diamond Sutra in gold characters on a blue background. The Qianlong Emperor was a firm believer in Buddhism, and he made a Bodhi leaf note, on which he wrote the Prajnaparamita Heart Sutra. He also ordered the painters of the Inner Court to elaborately paint ink images of Guanyin Dashi and Arhats on the Bodhi leaf, frame them into a book, and use the imperial seal with a letter sleeve. Judging from the form of the combination of arhats and written scriptures, this work should be a masterpiece of the Qianlong court in the eighteenth century.
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See The Metropolitan Museum of Art, No. 12.134.13 (fig. 1). See also British Museum, Nos. 1894, 0216, 0.12.1-19 (fig. 2).
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Lot 548 Early eighteenth to nineteenth century apricot yellow silk robe
119.38 cm X 146.24 cm
Estimate: $3,000-$5,000
Source:
Female collector from Atlanta, Georgia. She and her late husband owned a department store in Atlanta and loved to travel the world. Most of the collection was purchased in the 1940s and 1970s. Attached is proof of origin.
The development of silk to the Ming and Qing dynasties, its practicality became more and more diverse, and its appreciation became more and more inclined to painting. At the time of Qianlong, silk was once extremely popular, the court decorations were made of silk, and the style tended from brilliant to elegant, with exquisite colors and delicate techniques. The front placket of this robe is decorated with a dragon and a tiger. Dragon and tiger have a special meaning in Taoism. The I Ching's Gangua says, "The cloud is from the dragon, and the wind is from the tiger." The saints do it and all things see. If the heavens are close to the upper, and the ones who are the earth are close to the earth, each of them is also from its own kind." The hem is symmetrically embroidered with two cranes that spread their wings to fly. The back is extremely richly decorated, and the near neckline is painted with jade rabbit and sun wu, meaning sun and moon. The pattern on the back is complex but not complicated, with the Double Dragon Pagoda in the middle, surrounded by gold dots, and decorated with the symbols of the Five Peaks and the character "Shou", and the periphery is decorated with five Tuanlong patterns and dark eight immortal patterns, the whole pattern shows a strong Taoist color. The sleeves are decorated with a combination of Bagua pattern, floral pattern and bat pattern, which is a typical auspicious pattern. According to the status and the number of embroidery patterns, the costumes of Taoist priests are mainly divided into three types: daisy, Taoist clothing and sea green. Among them, the dress is the highest rank and the embroidery pattern is the most abundant, which is generally worn on the higher status of Taoist priests and used for important ceremonial occasions. The patterns of the dress are often pagodas, spirit beasts, gossip, etc., and there are no certain rules for the configuration, mainly showing the Taoist heavenly court and the metaphor of exorcising evil spirits. Judging from the embroidery pattern and the degree of exquisiteness, this robe should be a robe.
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See Chicago Museum Collection, No. 1937.797 (fig.1). See also Beijing Poly Auction Autumn Auction 2009, No. 2094.
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Lot 315 Ming Chongzhen Blue and white bamboo forest seven sage bottle long neck bottle
36.20 cm X 16.51 cm
Estimate: $10,000-$12,000
Source: From the Private Collection of Atlanta, Georgia.
This bottle has a skim, long neck, round belly, and high circle feet. The neck is decorated with tulip patterns, the abdomen is painted with seven sages of the bamboo forest, the composition is staggered, layered, and the neck and abdomen are separated by a circle of tangled branches. The glaze is white and blue, the blue and white pigment is made of earth blue, which is stable in color, and the blue and white hair color is verdant and beautiful. The Seven Sages of the Bamboo Forest are famous allusions in ancient times, and the literati and scholars depicted in this picture sit on the ground, leisurely exchanging literature with each other, or drinking tea, or chanting poems, or stroking fans. The mountains and stones and trees are meticulous, the characters are vivid, and the folds of the clothes are particularly powerful. In the late Ming Dynasty, the situation was turbulent, and the official kilns stopped burning, bringing vigor to the production of the folk kilns. During this period, there was no obvious boundary between officials and people, and the literati class also intervened in handicraft production, and a new situation was also opened up in porcelain making technology. This work is delicately painted, the enamel is clear, and the characteristics of the times are obvious, which should be a masterpiece of the Chongzhen period.
See the Albert Museum Collection, No. 2736-1852 (fig. 1). See also Sotheby's London Auction November 2012, No. 042; Christie's, September 2016, New York, no. 1344.
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Lot 322 Qing Kangxi Underglaze three-colored flower Guanyin bottle
25.5cm x 7cm
Estimate: $50,000-$60,000
Source: Acquired from Sotheby's New York on March 20, 2012, lot number 306. Senior collector from Atlanta, Georgia.
The Guanyin bottle was one of the popular bottles from the Kangxi to the Qianlong period. This bottle is tall and beautiful, with smooth lines. The tire is firm and fine, and the whole body is applied with transparent white glaze, and the glaze is moist. The bottle body is based on underglaze blue and white painted bamboo branches and trees, dyed with bean green and blue flowers, and decorated with flowers in red glaze. The ornamentation is vivid and smooth, the colors are fresh and pure, and the paintings are exquisite and delicate. This is the unique porcelain variety of the Kangxi period - the three colors under the glaze, which combine three colors in one. Due to the different requirements of the color temperature of the three pigments, the process is complex, and the firing is difficult, the amount of existence is rare. And the bottom of this product has the "Great Qing Kangxi Year System" blue and white calligraphy double circle model, which is particularly rare and can be called the imperial kiln of the Kangxi period. After nearly three hundred years of vicissitudes, it can be passed down to this day.
See the Albert Museum Collection, No. C.974-1910 (fig.1). Collection of the Palace Museum, numbered 00148355 (fig.2). See also Christie's March 2011 New York Auction, No. 1659; Sotheby's New York, March 2018, No. 317; Beijing Dongzheng Auction, November 2011, no. 081.
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Lot 302 Zeng Longsheng Porcelain Sculpture Puxian Bodhisattva (with original wooden seat)
43.18 cm X 26.67 cm X 20.32 cm
Estimate: $14,000-$18,000
Source: From the private collection of Rhodes.
Zeng Longsheng once studied with his eldest son, and because of the influence of his family, he fell in love with the art of three-dimensional carving from a young age. Unlike the porcelain sculptors with historical allusions or the theme of the Immortal Daoists, Zeng Longsheng's performance themes are mostly taken from legends and stories from folklore. The sculptures he created are exquisite in their techniques, vivid in image, and expressive in shape, and the sculptors are mostly sculptural figures with intricate clothing patterns, vivid and delicate, clear facial features and rich expressions. The porcelain statue of "Sun Yat-sen" won the Panama International Gold Medal, and his "Great Dragon Ship" is a national treasure. This porcelain sculpture of "Puxian Bodhisattva", with a pure glaze color, wears a hat and crown, wears a robe, thick eyebrows, high eyes, solemn face, solemn appearance, holding Ruyi, smooth and delicate lines of clothing. Sitting on a stone platform, there is a bowl next to him, solemn and solemn. The bottom of the statue is engraved with the words "Zeng Long Shengzuo". The character modeling is vivid and vivid, the knife technique is natural and free, very exquisite, the clothing pattern is handled affirmatively and brightly, there are loose and tight, and emphasize the twists and turns, setbacks, you can see that the author has absorbed the traditional wood carving techniques. Influenced by folk New Year paintings in color matching, the color is rich, the decoration is not charming, and the decoration is strong, which is loved by people. The carved porcelain created by Zeng Longsheng is mostly made of Arhat ornaments, and this piece is a statue of a bodhisattva, which is very rare and has great collection value, and is highly sought after by collectors.
For the same type, see Christie's September 2014 Auction, number 983. See also Sotheby's Auctions September 2018 New York Auction, no. 1487.
lot433 19th century Jasper carved dragon pattern lid box
10.16 cm X 6.35 cm X 6.35 cm
Estimate: $8,000-$12,000
Source: From a private collection in Pennsylvania.
Lot 233 Ming Dynasty Jade belt plate inlaid silver lid box
8.3 cm X 16.5 cm X 9.5 cm
Estimate: $10,000-$15,000
Source: Collector from Southern California.
Lot 238 Liangzhu culture Jade ring
10.16 cm X 6.67 cm
Estimate: $1,000-$1,500
Source: Mr. Liaw from Maryland, whose father collected the object in Taiwan before the 1980s.
Liangzhu culture dates back about 5300-4300 years. Liangzhu cultural jade is the carrier of god worship, a symbol of the power of the aristocratic class, and the sustenance of the simple emotions and beliefs of the commoner class, occupying a prominent position in the Chinese jade cultural tradition. This work is in the shape of a wide flat ring of turquoise, and the surface of the inner and outer bibi has white and brown colors, which are colorful and beautiful. One end of the circle wall is slightly narrower and thinner, and the other end is relatively wide, which should be the original form of jade, which is polished into a ring, which is quite distinctive. The surface of the jade ring, like a layer of transparent raw lacquer, shows a glass luster, and the thinner side of the jade ring is transparent and visible. This is the result of the polishing of the production and the thousands of years of burial, and it is also a feature that cannot be imitated by any imitation. In ancient times, such jade rings were mostly worn by nobles, and were used as group wears to highlight the etiquette of the nobles, and their rich colors were relatively rare among the same kind. The color of each piece of jade is unique, and the good light transmittance also proves that it has been passed down in order in later generations, and it is still well preserved after the changes of the world, which is very rare.
See Arthur M. Miller of the United States Collection of the M. Sackler Museum, S2012.9.137 (fig.1); Number F1918.29 (fig.2). See also Christie's Hong Kong Auction November 2017, No. 2725; Christie's, March 2015, New York, no. 539.
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Lot 98 16th/17th century Dehua rhinoceros cup (with original hardwood seat)
10.16 cm X 11.43 cm X 8.89 cm
Estimate: $1,200-$1,800
Source: Mr. Chen from McLean, Virginia, inherited from his father, who acquired the collection from Fujian, China, in 1949.
Dehua kiln white glazed porcelain began in the Song Dynasty, and reached its peak in the Ming Dynasty, with continuous innovation and endless fine products. Porcelain from the Dehua kiln is commonly seen in modern times, but has always been valued by the Ming Dynasty. "Chinese White" (BLANC DE CHINE) is a French praise for The Ming Dynasty Dehua white porcelain, which they consider to be "the top of Chinese porcelain". This piece is shaped like a rhinoceros horn, a sunflower mouth, and the mouth is carved with layers of mountain peaks along the outer wall. The whole body is full of white glaze, and the porcelain is dense. Its glazed white is slightly white, clean and flawless, translucent like gelatin, warm and soft. The carved ornamentation of the cup body is simple and exquisite, the shape is vivid, and the original hardwood carved Ganoderma lucidum base is exquisite and delicate, which is a typical work from the late Ming Dynasty to the early Qing Dynasty.
See the Collection of the Palace Museum, no. New 00109101 (fig.1 & fig.2). See Sotheby's May 2014 Hong Kong Auction No. 628.
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Lot 99 17th century Blue and white pine deer pattern pen holder (with hardwood seat)
16.51 cm X 10.16 cm
Estimate: $3,000-$5,000
Source: Mr. Chen from McLean, Virginia, inherited from his father, who acquired the collection from Fujian, China, in 1949.
The pen holder is straight-walled, the mouth edge is unglazed, the tire quality is white and tight, and the glaze color is clear and lustrous. The picture depicts double deer, pine cypress and ganoderma lucidum, which means that pine cypress is evergreen and fluke is ten thousand years. The blue and white flowers are suitable for each other, and the technique is exquisite. The base model is the "Daming Chenghua Nian System" blue and white six-character calligraphy, and the imitation of the previous dynasty also appears in the early Kangxi porcelain.
The Palace Museum has a slightly smaller white jade Arhat ornament in the old collection, and the carving style and paste of the robe and face are similar to this piece, and the collection number is 00232008 (fig. 1). See also Christie's Hong Kong November 2020 Auction No. 2908.
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Lot 512 Eighteenth century Copper Beast Aromatherapy
39.4 cm X 36.8 cm
Estimate: $12,000-$15,000
Source: Christie's New York, September 10, 2019, Art Institute of Chicago's Chinese Porcelain and Craft Auction, Lot 109.
This lot is a bronze cast beast, which is ancient and dignified. The head is dragon-shaped, the eyes are rounded, the ear tips are upturned, the body is strong, the muscles are strong, the muscles are full, the limbs and joints are decorated with flame-shaped decorations, the four claws are hook-like and powerful, and the tail is flame-shaped. The body of the beast is hollow, the head is a cover, and the incense can be burned inside, just imagine that whenever the spices are lit, the smoke is swirling, it must add a layer of auspicious and flashy colors to the temple.
For examples, see Christie's New York's Bronze Lion-shaped Incense Burner, No. 722, sold on September 13, 2017.
Lot 475 Eighteenth century Huanghuali bamboo slug pen holder
15.87 cm X 16.51 cm
Estimate: $3,000-$4,500
Source: Mr. Morris, South Florida, the collection was purchased in Hong Kong in the 1980s.
This pen holder adopts the best pear, the color is deep, the atmosphere is ancient, and its wood grain is exquisite like the cloud steaming Xiawei, and it is like the rushing of mountains and rivers, which can be seen in the essence of the material. The shape is slub-shaped, the shape is dignified and atmospheric, and it does not lose its elegance, the whole ware texture is lustrous, the pulp is rich, and it is a rare literary ware. Huanghuali is the preferred material for furniture production from the Ming Dynasty to the early Qing Dynasty, and is loved by the world because of its delicate texture, quiet color and diverse texture variations. Huanghuali is scarce due to excessive use, so it is precious. At the beginning of the Qing Dynasty, "Simple Learning" gradually flourished, and the literati advocated nature, pursued simplicity and simplicity, expressed in utensils, did not pretend to be complicated and heavy and practical, and highlighted the beauty of its own natural texture and texture. This piece of pen holder bamboo knot carving is simple, with its natural texture, gentleman's grandeur and literati elegance at the same time.
For the same type, see Chicago Museum, No. 2009.630 (fig. 1). See also Christie's May 2012 Hong Kong Auction, No. 4088; Christie's, March 2015, New York, no. 194.
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Lot 139 Republic of China or earlier Imitation Yongzheng enamel colored ball butterfly pattern bowl
6.35 cm X 12.7 cm
Estimate: $3,000-$5,000
Source: Private collection from Honolulu, Hawaii.
Bowl open, deep abdomen, circle foot, white glaze on the inner wall, bowl heart painted with a butterfly pattern, the outer wall painted with enamel color group butterfly pattern four groups, each group of butterfly pattern by two different butterflies and seasonal floral patterns, floral butterflies delicate and feminine, beautiful extraordinary. The soles of the feet are glazed with white glaze, and the blue material color double circle is written in the four characters of "Yongzheng Nian System". In the late Qing Dynasty and the Republic of China, the antique style prevailed, especially the imitation of Yongzheng porcelain, of which the imitation of porcelain with enamel color almost reached the realm of fake and chaotic real, and even more exquisite than the real. This work is even more deeply rooted in the essence of the former dynasty, from the color, fetal bone, shape are all consistent with the previous dynasty, and the use of color is more than before. The Republic of China imitation Yongzheng enamel color has excellent collection value in the auction market, and this work is one of the best, which is extremely precious. Its influence has always affected the Ming and Qing dynasties.
See Chicago Museum Collection, No. 1930.261 (fig.1). See also Collection of the British Museum, No. 1936, 0413.26 (fig. 2). and the collection of the Palace Museum, No. - New 00074776 (fig. 3).
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Lot 341 Qingdao light Blue and white dragon pattern plate
3.8 cm X 25.4 cm
Estimate: $15,000-$18,000
Source: Sydney L. Moss Ltd, an antique dealer from London, UK.
Inside and outside this work, blue and white flowers are used as the ground, and the cloud dragon play beads are painted with the method of leaving blank. The dragon painted in the center of the pan has round eyes, whiskers flying horizontally, five claws like a wheel, limbs are healthy, vigorous and powerful, and the surrounding body is like a cloud driving fog, and the majesty is extraordinary. The inside and outside sides of the disc wall are painted with a set of double dragon play beads. There are five dragons painted in the whole plate, vivid and powerful, ready to come out. The circle foot is regular, typical loach back, the bottom of the plate is written with the "Great Qing Dao Light-Year System" blue and white seal book, and the official kiln atmosphere is strong. The blue and white flowers are bright, the enamel is like jade, and the fetal bone is white and delicate. This type of vessel is one of the classic categories of official kilns in the Qing Dynasty, which has been popular in various dynasties since the Kangxi Dynasty and is a must in the palace. Many of the Daoguang official kilns are works imitating the style of the Kangxi and Qianlong Dynasties, and this plate is one of them. This piece of utensils is well preserved, and from the comprehensive point of view of the shape of the carcass, ornaments, etc., it can be described as a fine product in the Daoguang official kiln ware.
The Palace Museum has a "Daoguang Blue Ground Yellow Cloud Dragon Pattern Disk" that is very similar to this work and can be used as a reference. See the Collection of the Palace Museum, No. 00161816-1/129 (fig.1). See Christie's Auction March 2013, No. 1492; Sotheby's Auctions March 2015, number 160.
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Lot 521 Spring and Autumn/Warring States Bronze three-legged round ding
15.24 cm X 19.68 cm
Estimate: $1,500-$2,500
Source: From Mr. Lim Kee Chin's old collection. A native of Singapore, Mr Lim Kee Chin served as Singapore's Trade Representative in Hong Kong in the 1960s and acquired the collection during his time in Hong Kong.
Lot 534 Eastern Zhou Spring and Autumn Cockroach pattern cover
8.89 cm X 27.94 cm X 22.22 cm
Estimate: $3,000-$5,000
Source: Dr. Sherer from Washington, D.C. His mother was stationed in Japan as an Allied army in 1948 and acquired the collection during this period.
The lid is rectangular in shape with a folded edge of the mouth. Oblique abdomen, flat bottom, slightly deep abdomen. On both sides, there are animal head ring ears, square low circle feet, and the whole body is decorated with fine crab patterns. 簠 is the ancient text of "Hu" or "Hu". It is a tool used by the ancients to hold rice sorghum, and its use is equivalent to that of later plates. Early mounds were characterized by short feet and outward movement of the mouth. By the end of the Spring and Autumn Period, the feet of the vessel gradually became taller and deeper, which is a characteristic of the discontinuation. From this, it can be judged that this cover should be a product of the Spring and Autumn Period.
See The British Museum Collection, No. 1973, 0726.25 (fig. 1). See also the collection of the Palace Museum, numbered 00076954 (fig.2).
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