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The Fryers Collection of Chinese art
Dr Gordon Fryers (1922-2008) and Dr Rosemary Fryers (1922-1994)
Gordon and Rosemary Fryers' fascination for Chinese art and culture began early in their medical careers. After qualifying as doctors they moved to Singapore in 1946 where they made their first purchases of Chinese art.
Gordon was posted to Singapore on National Service with the Royal Army Medical Corps while Rosemary managed to secure a position in a civilian hospital. She travelled there on a troop ship. Not only was she one of very few women on board, she was also the only passenger not to succumb to dreadful sea sickness.
Singapore gave them their first exposure to Chinese art and culture but it was not until the 1960s that the Fryers started collecting in earnest. By 1960 Gordon was working for international firms and travelling to far-flung places. What he saw on his business trips led him to believe China would rise to prominence as a major player in the world economy and its art would become much sought after.
At that point, Rosemary and Gordon decided to marry their interests in Chinese art with what they had the foresight to see was an investment opportunity. Whenever the opportunity arose, Gordon would visit major museums around the world to study their Asian collections.
Over a 15-year period during the 1960s and 70s, as their budgets permitted, Gordon and Rosemary bought items from leading auction houses and key Chinese dealers such as Mr Ying and Mr René Kitchen. They gradually built their collection with the help and advice of knowledgeable friends, amongst them the noted collector Dr Wou Kiuan.
Rosemary grew up in a family with a long-standing interest in antiques and different cultures. Her grandfather had been a shrewd, hard-working business man who, from humble beginnings, had risen to become wealthy. His eldest son, Rosemary's father, travelled widely and collected. He had a particular interest in works of art from the Far East.
Gordon's other passion was sailing and friends made through his love of Chinese art joined him on sailing trips as crew members or visitors. He particularly admired jades, marveling at the special feel of the stone and the skill of those who worked it so exquisitely.
Rosemary had more of an artistic eye and favoured cloisonn enamel in addition to the jade carvings, ceramics and lacquer works of art that became the backbone of the collection. Sometimes they sold pieces they had bought earlier in order to buy others they liked more.
The Fryers' six children grew up surrounded by beautiful Chinese art. They learnt how to handle objects and how to dust and clean them using a shaving brush. They each had their favourites.
Some remember accompanying their mother on auction buying trips. All were told the stories and histories behind the pieces, learning a little of Chinese mythology along the way.
Ultimately, the collection was divided amongst their children. Following the death of Rosemary in 1994 and Gordon in 2008, it has been brought back together again for this sale.
A PALE CELADON JADE ZHADOU AND COVER
18TH CENTURY
Details
A PALE CELADON JADE ZHADOU AND COVER
18TH CENTURY
The exterior of the vessel is decorated with archaistic taotie masks, and the cover is carved and reticulated with a band of floral scroll below the finial which is finely carved with a pair of deer and a crane. The stone is of a pale celadon tone with some lighter inclusions.
5 in. (12.7 cm.) high, wood stand
18TH CENTURY
The exterior of the vessel is decorated with archaistic taotie masks, and the cover is carved and reticulated with a band of floral scroll below the finial which is finely carved with a pair of deer and a crane. The stone is of a pale celadon tone with some lighter inclusions.
5 in. (12.7 cm.) high, wood stand
Provenance
The Fryers Collection of Chinese Art.
Brought to you by
Ivy Chan
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