A Longquan Guan-type celadon arrow vase Southern Song - Yuan dynasty | 南宋至元 龍泉仿官釉投壺
Property from the Houlezhai Collection
A Longquan Guan-type celadon arrow vase
Southern Song - Yuan dynasty
As visible in the catalogue photo, there is a shallow retouched area to one side of the rim. There are expected light surface scratches and typical firing imperfections, including an approx. 0.8 cm flaw/grit to the other side of the rim and a faint body line to the footring.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
F. Low-Beer & Co., New York (label no. 273).
Collection of Dr Carl Kempe (1884-1967), no. CK95.
Sotheby's London, 5th November 2008, lot 529.
F. Low-Beer & Co.，紐約（標籤編號273）
Bo Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1964, pl. 95.
Bo Gyllensvärd，《Chinese Ceramics in the Carl Kempe Collection》，斯德哥爾摩，1964年，圖版95
Ju and Kuan Wares. Imperial Wares of the Sung Dynasty, Related Wares and Derivatives of Later Date, The Oriental Ceramic Society, London, 1952, cat. no. 96.
《Ju and Kuan Wares. Imperial Wares of the Sung Dynasty, Related Wares and Derivatives of Later Date》，東方陶瓷協會，倫敦，1952件，編號96
Starting around 1200, the Longquan kilns began to imitate the Guan wares produced at Jiaotanxia. The imitations were produced in two types. For the first type, the Longquan potters mixed zijintu (purple-gold clay) into the body and induced a widely-spaced craquelure, so that both the glaze and the dark body would conform to the aesthetic qualities of the Guan original. For the second type, to which the present example belongs, the usual pale grey Longquan clay was employed and the focus was on imitating the thick body, glaze colour and craquelure of Guan wares. Imitation-Guan wares of this second category have the burnt-orange colouration at the unglazed foot that is characteristic of Longquan wares in general.
The present vase is closely related to a Song dynasty faceted Longquan vase from the Qing Court Collection, now in the Palace Museum, Beijing, and published in The Complete Collection of Treasures of the Palace Museum: Porcelain of the Song Dynasty (II), Hong Kong, 1996, pl. 101. Both vases are of archaistic hu form with tubular handles. The collection of the Palace Museum, Beijing, also includes a Song dynasty Guanyao hu-form vase, published in ibid., pl. 3.
Other small, faceted Longquan vases attributed to the Song and Yuan dynasties include a square-section pear-shaped vase formerly in the collections of K.M. Semon and Frederick M. Mayer, illustrated in Warren E. Cox, The Book of Pottery and Porcelain, vol. I, New York, 1944, p. 148, and also in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. I, London, 1994, pl. 553.