.png)
Chinese robes were not only worn at court, and they weren’t only made of solid silk as you may believe. There was a schedule for when spring, summer, fall, and winter robes were to be worn at court and it is likely that informal wear followed the official schedule albeit a little loosely.
This is an example of a summer robe, it is made of gauze. Very light weight and incredibly breathable. These would be worn over an undergarment. These robes are incredibly finely crafted and while delicate are strong due to the inherent properties of silk. There were both formal and informal robes made of gauze for official or unofficial business.
During the spring and fall areas of China can still be incredibly hot. The spring robes or robes designated for a specific purpose, a wedding or a funeral, might not be as breathable as the weather requires and rather than sweat on your expensive silk robes a wearer would put on a jacket like this. Bamboo jackets like this acted to create ventilation for the wearer. The thin pieces of bamboo tied together in a cross hatch pattern, and reinforced with fabric at the collar, cuffs and in other stress points, separate the wearers body from their silk robe allowing a bit of respite on a hot day.
While robes were commonly embroidered with elaborate designs, symbols to project meaning or protect the wearer, not all robes were embroidered. This is an example of a more muted design, the damask silk has the design woven into the fabric itself during its construction.
Colors of robes worn in court had incredible importance. Dating back to emperor Wen of Sui (541-604) the color yellow has been designated as an official imperial color. During the Qing dynasty designations of color use in court robes became tightly regulated. The various colors denoting the rank of the wearer allowed viewers to easily distinguish the position of the person they were interacting with. Blue robes like this one were worn by imperial family members.
While a bright yellow (monghuang) was reserved for the emperor during the Qing Dynasty, crowned princes wore apricot yellow (xinghuang) and a golden yellow (jinhuang) was reserved for non-crown princes. Colors for informal changfu robes were not regulated, yet this golden color is unmistakably associated with the imperial family and whoever the wearer was intended to send a message in their leisure time that they were of import.
R.D. Marmande model cars were the creation of Raymond Daffaure of Marmande, France where he made his unique models from 1957 to 1978. In a world of highly detailed accurate models they could be considered to be naive approximations of the original cars, but they are of great interest to model car collectors and enthusiasts of unique and rare pieces of handicraft. Raymond Daffaure carved his models from balsa wood. He used what he had available to finish out the cars often using recycled packaging to make windshields, pantry netting for grilles, needles for wheel axles, etc. The only parts of his cars that were not made by him or from recycled materials were the tires, said to have come from the model manufacturer Norev. He worked by hand, without a machine tool to chisel and sand his sculptures before hand painting and adding the final effects. He was known to make custom orders. In the late 1950’s there were few model makers and miniature manufacturers. It was during this time that he emerged from anonymity by becoming the winner of the HUMBROL competition in 1958. Over multiple decades he would go on to build between 18,000 and 20,000 of his 1:43 scale models. Our current car model sale has a number of these unique handmade model cars.
Lark Mason Associates Jewelry Auction, includes gold jewelry from the noted designer, artist and direct descendent of Daniel Boone, Carey Boone Nelson. Ms. Nelson was a self-taught sculptor and jewelry designer who studied under the Prix de Rome winner, Arthur Lorenzani and John Hovennes at the Art Students' League in New York and with John Terken of the National Sculpture Society. Her works include The Douglas Munro Monument for the US Coast Guard Training Center in Cape May and the Jimmy Doolittle monument for the US Air Force as well as many other public and private commissions. She was recognized for her accomplishments in the arts by the Salmagundi Club, The National Arts Club, the Catherine Lorillard Wolfe Art Club and was a member of the society of illustrators and the Royal Society of Arts, London.
Many of her designs reference ancient and classical jewelry pieces and natural forms like the two pieces depicted here. Her jewelry has a flair and boldness that spans generational taste.
The Chinese Cultural Revolution was the decade-long socio-political movement headed by Mao Zedong whose death in the mid-1970s spurred an uprising of authors and artists. The newfound courage to artistically express truths of the Revolution expressed through themes of love and faith was named Scar Art or Scar Literature. This movement corresponds to the Beijing Spring, a time of political liberalization after the Revolution, and is the "works of the wounded." Works of art and literature produced during the Scar Movement represent a shift in the society of China. This pseudo-freedom in China inspired Luo Zhongli to represent the hardships experienced by the Chinese people, particularly those of the Daba Mountains.
Zhongli's early works exemplified hyper-realism through portraits of ethnic minorities that waned from the traditional portrayal of noble subjects and stimulated a new perception of the Chinese reality. Depictions of rural folk with aged features and somber expressions are representative of the misfortune of their circumstances. This period of Luo's was evocative of his training at the Royal Academy of Fine Art in Belgium. The reputation of Zhongli and his social commentaries through his artistic expression cultivated his style. His works began to take on a rustic nature, depicting scenes of general life through a folk-art aesthetic with colorful illustrations of manneristic figures in provincial settings. Throughout this phase of his career and into the next, this bold expressionism would become definitive of Luo Zhongli's portfolio. Although Zhongli's style changed vastly over his 4-decade long career his message was constant, the true nature of the people of China is one of hardship and oppression, as well as progression. That although the Chinese culture is traditionally romanticized, it is rooted in real life, and we must remember that the greatness of China is due to the hard-working laborers just as much as it is the nobility.
Two Portraits by Luo Zhongli are featured in iGavel Auction’s Spring 2022 Asian, Ancient, and Ethnographic Works of Art Auction.
By repute, this set was purchased in 1987 directly from Luo Zhongli at his solo exhibition held at the Embassy of Belgium Beijing, China.
The sale of each of the two paintings is live for bidding until April 27, 2022 and start at a conservative reserve.
-2%2520copy.jpeg)
The Chinese imperial workshops in Beijing and Guangzhou (Canton) produced works for the imperial court in Beijing, including bronzes, clocks, jade carvings, furniture and other works of art. Some of these items are identifiable through records, others have specialized marks, but the majority of items are only identifiable by the high quality workmanship which relates to other similar works that have a verified provenance or direct association with the Palace or other imperial residences. With the exception of thrones, furniture rarely is identifiable as having an imperial provenance aside from making an attribution based on aspects of high-quality workmanship of similar objects. The rectangular stand offered in Lark Mason Associates auction sale that ends on April 26, 27 fits into this category. The stand is constructed of a dense, highly figured wood which incorporates a variety of woodworking techniques usually associated with small boxes and stands but not large-scale furniture. Rarely are these techniques used together. Gold and silver inlay wire cover the near entirety of the stand beginning along the upper border of the top, the recessed waist, and the rounded upper part of the apron, pierced and carved openwork carving, and the arched stretcher and supporting brackets, as well as stylized vine-scroll designs on the legs. In addition to the silver and gold wire, the surface has stippled designs within silver-wire outlined foliate and scrollwork forms. The extraordinary fine quality of the wire-inlay workmanship and stippled surface is equalled by the fluid, beautifully carved zoomorphic and angular designs, which incorporate finely beaded edges and complicated interlaced patterns. The stand is a masterwork of the highest quality and its also a mystery. How did such a finely crafted table, obviously created for a very specialized purpose, find its way from China to the west? Unlike many objects whose past is lost, we have clues with this table that illuminate some of the past history. I can verify that it previously appeared at auction because it was cataloged and handled by me. It was consigned to Sotheby’s Chinese department during the summer of 1993 where I researched and prepared it for a sale that took place on November 30. At the time, I remember puzzling over its background, fully aware of the high-quality and likely imperial association but not able to discover much about it. Though I could not prove an imperial provenance it realized a very strong price that was well over the estimate range, totaling over $18,000 in the auction sale. Nearly three decades later, the same table came back to me consigned by a colleague on the Antiques Roadshow who sent images to me, knowing my expertise in furniture, in the hopes we could identify and sell it. Though its mysterious background was not divulged thirty years ago, I now had another chance. Along with the Sotheby’s auction label on the underside, there are two other labels: one is a blue chinoiserie bordered rectangular paste label that is now yellowed from oxidation of the wood it is attached to, and with a pre-printed R and a dotted line for a number into which someone has written in pale, faded brown ink ‘6138.’ The other tag is a printed circular label on which is printed J.E.Taylor Collection and in the center is written in a different hand than the other written number, ‘651B.’ The printing on the label is off-center and like the other label, oxidized brown.
The rectangular label seemed difficult to identify but tantalizing. ‘Was this an inventory label of a prior collector? A record of a sale?’ The asianesque blue-border-pattern inferred an association with an Asian institution or collector or source, but after a limited exploration, I found nothing in my searches nor from my few shared images with colleagues. John Edward Taylor, 1791-1844 was a successful cotton manufacturer in Manchester, England and founder in 1821 of the Manchester Guardian. His son, the likely owner of this table, was also John Edward Taylor (1830-1905) and went by Edward. He was the co-owner of the Manchester Guardian in 1852 and sole owner by 1856 and then the owner of the Manchester Evening News from 1868 until his death in 1905.
China during the late 19th and early 20th century was rapidly changing and under the direction of the Dowager Empress Cixi, whose extravagance and control of the government are visible today in the new Summer Palace edifice in Beijing. Its unlikely that Taylor would have purchased such an item in the later years of his life. Born in 1830, Taylor would have been 70 in 1900 and chances are that the table was purchased prior to this date. Its highly unlikely that the tag is a collectors tag, but much more likely that it is an auction company tag and the number 651B, indicates that this table was one of a pair, not a single item or the table was a stand for an object which was meant to be displayed on the table. Theres no indication from the table about the auction house nor that it was an auction house, except that the label printing is off-center, something that any collector would not tolerate but would be tolerated in a short-term identification of an item for sale at auction. One of the records discovered in the internet search for John Taylor mentioned that his works were sold at auction in 1912.
In July 1912, his estate was sold by Christie’s in a spectacular series of sales. It received first page articles in the New York Times and other publications and realized over $2,000,000 at the time of the sale for Old Master Paintings, French Furniture and Works of Art, and Chinese Works of Art and other items. This table, Lot 651b, as is indicated on additional notes on a catalogue page, was purchased by Agnew's in London with Dickinson as the underbidder. It realized 65 pounds. Today's equivalent would be $65,000. In 1993 the table again came up on the auction block, consigned to Sotheby's, New York and catalogued by Lark Mason, it realized over $18,000 on November 30, 1993, Lot 393.
The quality of workmanship for the table is indicative of an imperial provenance and very likely an 18th century date. The greatest number of works that entered into the marketplace with an imperial association occurred during 1860 when British and French troops in China sought retribution for war-time atrocities against the Emperor of China by looting and burning his prized summer residence, the Yuan Ming Yuan. The Yuan Ming Yuan was designed in a European style by Jesuit architects and housed a collection of Chinese and western-style works of art in a series of buildings within an extensive garden setting. Originally well-maintained, by the mid-19th century the buildings were less so and after the sacking were burned, leaving only rubble.
Whether a stand for a prized work of art or a mate to another similar table, the mystery of the Table is still in place. I cannot place it at the Yuan Ming Yuan, but it is plausible. I can verify that it was owned by John Taylor but it is only conjecture that he purchased it and perhaps whatever sat on it, sometime after 1860 when he would have been a young man making a name with his professional career. It is much more likely that the acquisition took place around or after 1870 when he would have been a comfortable professional collecting works by Turner and perhaps Chinese works of art offered for sale in London through one of the auctions selling items from the Yuan Ming Yuan. Though I doubt I will encounter the table again, perhaps the next owner will build on the clues that have reluctantly been divulged by this amazing object and the elusive rectangular tag will be deciphered.
