Signed: Kai Ch'i; Dated: keng-ch'en (1820), eighth month. With an inscription by Huang Ju indicating tht the painting was presented to the artist Ch'ien Tu (1763-1844). Seals: One of Kai Ch'i: Kai Ch'i. One of Huang Jun: (undecipherable). Three collectors' seals: Chang Shou-chieh yin, Yung-yü shu-chai, Kuei an lu hsin yüan shen-ting. Additional inscription: On the mounting, giving biographical information about the artists and with three seals on the mount, including Teng kang wu kang, Ch'ing Yao and one other.
A scholar sits in a relaxed posture at his desk looking at cut plum blossoms in a white vase; before him is an empty sheet of paper and ink stone, and by his side an attendant is boiling water for tea. A crane tucks her head and leg to keep herself warm in the cold winter air. The scholar seems to be contemplating a subject to be drawn or written, perhaps related to the flowers.
A crane—an auspicious bird that denotes longevity—tucks her head and leg to keep herself warm in the cold winter air. Plum blossoms, like bamboo, were a favorite subject of literati artists (educated public servants who practiced painting and calligraphy), for their beauty and sweet fragrance. They were also a symbol of great moral integrity because they bloom in early spring when there is still snow.
The colophon is by Huang Chun and indicates that the painting was presented to the artist Chien Tu (1763-1844). There are a seals of the artist Gai Qi, Huang Chun, and three collectors.
Torn label, bot., probably from the New York Architectural League; traces of adhesive residue from paper medallion, probably a Pewabic label, on bot.; strip of masking tape, bot., is inscribed in graphite: THE PEWABIC POTTERY/DETROIT, MICH/Founded by Mary Chase Stratton, 1903
51.5 cm x 28.2 cm x 28.2 cm (20 1/4 in. x 11 1/8 in. x 11 1/8 in.)
This is a tall vase with an oval shaped body. It has a short neck with a flat banded lip and the shoulder has a distinct, but rounded edge. It has a dark blue glaze and the upper portion has a golden iridescent color. The surface of the pottery is very rough with bumps and rough patches.
Pewabic Pottery was founded in Detroit, Michigan by Mary Chase Stratton who followed the tenets of the early 20th c. Arts and Crafts Movement. In 1907, inspired by art glass and ancient Near Eastern ceramics, she worked to create iridescent glazes, using a special reduction kiln developed by her partner, Horace J. Caulkins. She referred to her experimentation with iridescent glazes as "painting with fire." Stratton created many tonal variations of blue-glazed ware for which Pewabic Pottery became well- known.
This is a tondo painting with a circular frame that is painted in tones of violet. It is a still-life scene that shows a lamp, resting on a table, set against a green wall. On the wall behind the lamp is a painting, but only the lower right-hand corner is visible due to the sharp curve of the circular format of the painting. On the table, beside the lamp, is a piece of paper and an ink well in the shape of a human figure. The base of the lamp has a curvilinear profile and the pleated shade is painted in bright colors of orange, pink, green and yellow. Both the scene and the frame are painted with short, dot-like brushstrokes.
This vessel is in the shap of a fan, raised on a mold-blown stem, on a domed foot. The vessel has a raised design on both the fan and foot and is made from orange/pink iridescent glass.
Henry and Lousine Havemeyer were active collectors of the hand-made, iridescent glass made by Louis Comfort Tiffany. Tiffany had been known for making leaded windows since the late 1870s, but only began to make blown-glass vessels in the early 1890s—not long after his work on the Havemeyer house in New York. Tiffany’s term for this opulent glasswork was Favrile (a term derived from the Old English work fabrile, meaning “handmade”); Tiffany obtained a patent for the richly colored and iridescent
Favrile glass in 1894.
Working with Tiffany to select outstanding pieces, the Havemeyers amassed an impressive collection of Tiffany’s Favrile glass; much of it was donated by the family to the Metropolitan Museum of Art. Nearly all of the Tiffany glass in the University of Michigan’s collection was purchased at auction in 1930, along with the architectural fragments, by Emil Lorch, University of Michigan's Dean of the College of Architecture and Design.
Painting depicting a featureless female figure, in tones of aqua and light blue extending across the center of the canvas in a light gray hammock. There is a bright white shape, perhaps a book, in the middle of the figure. Behind the figure, the rest of the composition is organized in horizontal sections. At top, a yellow sky; below that are two gently-curved mountains in dark brown, followed by two horizontal planes of color in tan and light brown.
The year this painting was painted, Avery spent the summer in Woodstock, NY with his wife, Sally, and their daughter, March, who is probably the reader in the hammock. This work marks Avery’s later period in which he drops any hint of outline, facial and ornamental detail and concentrates on shape, color and composition. He uses undercoats of color, building, layering and scratching to create depth. He uses muted color values and flat tones—he is concerned with surface qualities rather than density and volume. He emphasized the two-dimensionality of the picture plane and was interested in the inter-relation of color and shapes on a single plane.
This fan painting shows a mountain village teeming with activity. The peaceful scene provides a glimpse at daily life, depicting villagers pushing carts of goods and traveling into and out of town, sometimes on horseback. The eye follows this lively village of white buildings and tan roofs as it weaves its way up the mountain slope to what appears to be a royal dwelling or city center capped with emerald green rooftops and enveloped by rolling white clouds.
Round fans like the one mounted here lent themselves well to the hanging scroll format, for they were typically painted on silk rather than fragile paper. The use of fan paintings as the focal point of hanging scrolls is a testament to how fans were appreciated not only for their functionality, but for their artistic beauty as well.
Metal brooch in the shape of a fan with incised and inlaid decor, including floral designs. "Bodai no tame" is inscribed along with the artist's signature, Taniguchi Haruki, and indecipherable characters.
Bodai no tame means "in memoriam."
Obidome were very popular in the Taisho and early Showa periods.
A small, thin, molded clay plaque with a bas-relief figure.
Tianwang (literally, "Heavenly King"), is the generic name for a type of guardian figure in Chinese Buddhism. Known in Sanskrit as lokapala and in Japanese as tennô, heavenly kings are associated with the four points of the compass, and wear armor similar to the style of the Chinese imperial court of their day.