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全球拍卖首页 > Sotheby's UK > 重要中国艺术品 > Lot 114
A superb and rare Cizhou russet-splashed black-glazed 'partridge feather' vase, Northern Song dynasty | 北宋 磁州窰黑釉鐵鏽飛斑卷口瓶
英国 北京时间
2021年11月03日 开拍 / 2021年11月01日 截止委托
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拍品描述 翻译
Property from an Important Private Collection
A superb and rare Cizhou russet-splashed black-glazed 'partridge feather' vase
Northern Song dynasty
北宋 磁州窰黑釉鐵鏽飛斑卷口瓶
of elegant baluster form, the sumptuous ovoid body supported on a spreading pedestal foot and gracefully sweeping up to a wide trumpet neck and rolled rim, the exterior covered with a black glaze of exquisite sheen, liberally splashed with vivid russet streaks resembling the mottled markings of a partridge, the glaze falling short of the foot in an irregular line revealing the pale grey body
Height 28 cm, 11 in.
Collection of Alfred Karel Schoenlicht (1876-1955), since before 1936.
Sotheby’s London, 13th December 1955, lot 20.
Possibly Dr. Erich Cassirer (1881-1963), London.
Collection of Marianne Landau, New York.
Christie’s New York, 20th September 2002, lot 288.
Eskenazi Ltd, London, 2003.
Alfred Karel Schoenlicht（1955年卒）收藏
倫敦蘇富比1955年12月13日，編號20
或倫敦Dr. Erich Cassirer（1881-1963年）收藏
Marianne Landau收藏
紐約佳士得2002年9月20日，編號288
埃斯卡納齊，倫敦，2003年
Tentoonstelling van Aziatische Kunst in particuliere en openbare collecties in Nederland
[Exhibition of Asiatic art in private and public collections in the Netherlands], Vereeniging van Vrienden der Aziatische Kunst [Society of Friends of Asiatic Art], Stedelijk Museum, Amsterdam, 1936, cat. no. 358.
Museum of Fine Arts, Boston, on loan.
Song. Chinese Ceramics: 10th to 13th Century
, Eskenazi Ltd, London, 2003, cat. no. 7.
Principal Wares of the Song Period from a Private Collection
, Eskenazi Ltd, London, 2015, cat. no. 24.
《Tentoonstelling van Aziatische Kunst in particuliere en openbare collecties in Nederland，
Vereeniging van Vrienden der Aziatische Kunst》，阿姆斯特丹市立博物館，1936年，編號358
波士頓美術館（借展）
《Song. Chinese Ceramics: 10th to 13th Century
》，埃斯卡納齊，倫敦，2003年，編號7
《Principal Wares of the Song period from a Private Collection》，埃斯卡納齊，倫敦，2015年，編號24
The upper neck and rim of this brightly glazed vase have restoration covering several breaks and cracks.
The Schoenlicht ‘Partridge Feather’ Vase
Regina Krahl
Black wares experienced the peak of their popularity in and around the Song dynasty (960-1279) and the Schoenlicht vase is an iconic example of this ceramic type. Large and impressive vases of black-glazed stoneware, as superbly shaped, glazed and decorated as the present piece, are extremely rare. Black-glazed ceramics, little appreciated prior to the Song, became celebrated with the interest in black tea bowls, which from the Northern Song period (960-1127) onwards found favour even with Emperor Huizong (r. 1100-1125), one of China’s greatest connoisseurs. While many kilns both in north and south China began to produce black bowls and other minor black-glazed vessels, with or without contrasting markings, very few developed well-made, majestic pieces such as this vase, and the Schoenlicht black vase is a top example of this category.
It may well have been due to this imperial appreciation that black stonewares with their more earthy and rustic style than contemporary white and green wares, suddenly received attention. As Patricia Buckley Ebrey writes about Emperor Huizong (Accumulating Culture. The Collections of Emperor Huizong
, Seattle and London, 2008, p. 344), “he came to the throne believing that the court often over-decorated buildings. He complained that one of the last buildings built during Zhezong’s [his predecessor’s] reigns looked as gaudy as jewelry. Later, when he commissioned buildings himself, he insisted on simpler styles”, a predilection that did not remain restricted to architecture.
A taste for ceramic designs in form of seemingly natural markings, reminiscent of feathers or furs, developed early in the Song dynasty. According to Robert D. Mowry (Hare's Fur, Tortoiseshell and Partridge Feathers. Chinese Brown- and Black-Glazed Ceramics, 400-1400
, Harvard University Art Museums, Cambridge, Mass., 1996, p. 32), the term zhegu ban
, ‘partridge-feather mottles’, was already in use by the 10th century. While its precise meaning at the time is not known, since it was first used to describe patterns on southern black tea bowls, it is now mainly used to denominate the rust-red speckling on northern black wares, such as seen here.
The distinctive, well-proportioned shape of this vase made it practical to hold by its neck for pouring, the rolled-over rim helped to avoid dripping, and the splayed foot gave it good stability. In contemporary wall paintings, vases holding flowers tend to have a narrower neck and rim, jars storing wine have higher shoulders, closer to the meiping
shape. The present form, obviously designed to be used without a cover, may have served as an occasional vessel near the table to provide fresh water, whether to brew tea, to dilute wine, or for ablutions. The shape is known also from other exquisite wares of Cizhou type, for example, with painted or sgraffito designs on a white ground, see Hasebe Gakuji, ed., Sekai tōji zenshū/Ceramic Art of the World
, vol. 12: Sō/Sung Dynasty
, Tokyo, 1977, pls 228-230.
Only two closely comparable examples appear to be recorded, one illustrated in Warren E. Cox, The Book of Pottery and Porcelain
, New York, 1944, vol. I, pl. 54 top left, from the collection of the author and Mrs C.P. Wilson; the other in the Museum of East Asian Art, Berlin, included in the exhibition Chinesische und Japanische Kunst. Staatliche Museen zu Berlin, Museum für Ostasiatische Kunst
, Kyoto, 1991, p. 59, pl. 61. A considerably smaller vase in a private collection is illustrated in Satō Masahiko, Chinese Ceramics. A Short History
, New York and Tokyo, 1981, pl. 195; and two other smaller vases of similar type were sold in our New York rooms, 7th February 1974, lot 156, and in these rooms, 9th June 2004, lot 163, respectively.
While closely related vessels are rare, in its grandeur and importance this vase can be compared to a few outstanding meiping
vases with similar ‘partridge-feather’ patterning: see, for example, a vase in the Art Institute of Chicago (https://www.artic.edu/iiif/2/20c2b221-ac48-4e08-0307-7a026bc1fc61/full/843,/0/default.jpg), included in the exhibition Hare's Fur, Tortoiseshell and Partridge Feathers
, op.cit.
, cat. no. 35, where Mowry attributes it to the 11th or early 12th century; the body of that vase, visible at the foot, appears to be of the same tight grey stoneware with dark iron specks as that of the present piece. Compare also a vase of squat (often called ‘truncated’) meiping
shape in the Itsuō Art Museum, Ikeda, included in the exhibition Sō Gen no bijutsu
[The art of Song and Yuan], Osaka Municipal Art Museum, Osaka, 1978, cat. no. 1-202; or two others in private Japanese collections, one of squat, the other of taller meiping
form, illustrated in Hasebe Gakuji, ed., Tōki zenshū. 13: Sō no Jishūyō
[Complete works on ceramics. 13: Song Cizhou ware], Tokyo, 1966, col. pl. 8 and pl. 63.
The distinguished history of this vase can be traced in the West to the 1930s. Alfred Schoenlicht, (1876-1955) of Nijkerk and The Hague, Holland, and later New York, was a German-born banker, who had worked in China for Blohm & Voss, a German ship building and engineering company, as well as in private banking. He was an important collector of Chinese ceramics and other works of art, who contributed to the Ausstellung chinesischer Kunst
, Preu?ische Akademie der Künste, Berlin, 1929, the International Exhibition of Chinese Art
at the Royal Academy of Arts, London, 1935/6, as well as to exhibitions in Paris and Amsterdam, and before World War II lent his collection to the Boston Museum of Fine Arts. Since the mid-1940s he was a member of the Oriental Ceramic Society of London. The Times
of London reported about Sotheby’s sale of his collection shortly after his death, in 1955: “Invariably any auction of well known Chinese ceramics produces an air of inscrutability among bidders. There was an international atmosphere such as this at Sotheby’s yesterday at the sale, conducted by Mr A.J.B. Kiddell, of important Chinese ceramics which had formed the collection of Alfred Schoenlicht. Many of the pieces at this sale were especially well-known, since they are illustrated in H.F.E. Visser’s Asiatic Art [in Private Collections in Holland and Belgium]
(1948). Mr Visser and Mrs Schoenlicht were both present at the sale, which brought a total of ￡ 27,400.” (Roy Davids and Dominic Jellinek, Provenance. Collectors, Dealers and Scholars: Chinese Ceramics in Britain and America
, Great Haseley, 2011, p. 393).
The buyer in the Schoenlicht sale was a person named Cassirer, probably Dr Erich (Eric) Cassirer (1881-1963), a German philosopher and later art dealer, whose gallery in London specialised in Chinese and Egyptian art. He came from a notable Jewish family based in Berlin, that included several famous members, such as the philosopher Ernst Cassirer, the doctor and psychiatrist Richard Cassirer, the musician and writer Fritz Cassirer, and the publishers, art dealers and patrons Bruno and Paul Cassirer. He was a member of the Oriental Ceramic Society of London since the early 1950s.

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