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‘NINE CRABS GOING ASHORE’, MING DYNASTY
奥地利 北京时间
2023年03月10日 开拍
拍品描述
‘NINE CRABS GOING ASHORE’, MING DYNASTY
China, 1368-1644. Ink and watercolors on silk, laid down on paper. Exquisitely painted with nine crabs by the shore with reeds, grasses, and daisies, vividly executed with most crabs on land, one partly submerged in the water, and another emerging amid water reeds, each crab shown in a different position and painted with remarkably realistic detail.

Inscriptions: Lower left, signed ‘Li Goungyuan’. To the back, inscribed ‘[…] Crabs’.

Provenance: The Oliver Impey Collection of Modern Paintings, previously in the Collection Josenbans. The reverse inscribed, ‘Collection Josenbans. Period: Ming Dynasty. Subject: Marine life, Grappes [sic]. Artist: Lee Shen Wan’, and with an old Swiss customs stamp. Oliver Impey (1936-2005) was the President of the Oriental Ceramics Society (1997-2000), a noted curator at the Ashmolean Museum in Oxford, and a leading authority on the arts of Japan. He studied at the University of Oxford, completing his thesis while working in London at Sotheby's, where his connoisseurship and remarkable breadth of knowledge began to develop, as well as his intimate knowledge of the art trade and vigilant eye for a bargain. In 1967, he was appointed Assistant Keeper for Japanese Art at the Ashmolean, and was able, as a Sotheby's colleague put it rather bluntly, to move “straight from the whorehouse to the nunnery”. For nearly four decades, Impey was a tireless acquirer of fine objects, vastly expanding the Museum’s holdings. He designed and raised the funds for a new Japanese Decorative Arts gallery to house these treasures and he also befriended several generous benefactors, who made important donations to the Museum. The respect with which he was held in Japan was marked by the award of the Koyama Fujio Memorial Prize in 1997. His personal collection contained works by major masters from Japan, China, and several other Asian countries, of which many were sold by Christie’s in Hong Kong in the late 2000s.
Condition:
Condition commensurate with age. Wear, staining, soiling, creasing, few tears, minor losses. The silk has thinned substantially over the centuries so that the ink inscription on the reverse has slightly bled through to the front.

Dimensions: Image size 98.5 x 40.3 cm, Size incl. mounting 118.5 x 44.3 cm

An old name in Chinese for crab was jia, a reference to the creature’s shell, which has the additional meaning of ‘first’ as in achieving the highest score in the examination to become a government official. The crab was therefore a symbol of success in the imperial examination system. Furthermore, the common Chinese name for crab and the Chinese word for harmony are both pronounced ‘xie’.



明代《九蟹橫波》
中國,1368-1644年,絹本水墨設色,橫軸。岸邊蘆葦叢中九隻螃蟹,栩栩如生,各自戲耍,有的半沉入水中,有一隻出現在蘆葦中,各自不同姿態,生動逼真。

款識:李供垣;鈴印:李供垣印

來源:Oliver Impey現代水墨收藏,來自Josenbans收藏。背面有 ‘Collection Josenbans. Period: Ming Dynasty. Subject: Marine life,Grappes [sic]. Artist: Lee Shen Wan’字樣,並有瑞士海關印章。Oliver Impey (1936-2005) 曾任東方陶瓷學會會長(1997-2000),牛津阿什莫林博物館著名策展人以及日本藝術領域的權威。 他曾就讀於牛津大學,在倫敦蘇富比工作期間完成了論文。在蘇富比,他的鑑賞力和非凡的知識得以發展,以及他對藝術貿易的深入了解和對交易的警惕眼光。1967 年,他被任命為阿什莫林日本藝術助理管理員。在近四十年的時間裡,Impey 孜孜不倦地收購精美物品,極大地擴大了博物館的藏品。 他為一個新的日本裝飾藝術藝廊設計並籌集了資金來收藏這些珍品。他還結交了幾位慷慨的捐助者,他們為博物館提供了重要的捐贈。 他在日本受到的尊重並於1997 年獲得小山富士夫紀念獎。他的個人收藏包括日本、中國和其他幾個亞洲國家的主要大師的作品,其中許多作品于2000年後期香港佳士得拍賣會上售出。
品相:磨損、染色、污漬、摺痕、少量撕裂、輕微損失。背面的墨水銘文略微滲透到正面。

尺寸:畫面98.5 x 40.3 厘米,總118.5 x 44.3 厘米

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