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A Collector of Instinctive Good Taste Rosemary Scott, International Academic Director, Asian Art This season we are delighted to offer a select group of 24 Chinese ceramics from the collection of the British businessman and connoisseur Raymond F. A. Riesco (1877-1964) (fig. 1). Raymond Riesco's father was from South America, while his mother was Scottish. Born in England, the eldest of four children, Raymond Riesco was christened Ramon Francesco Alfredo Riesco, but later, encouraged by his wife, he anglicised his given names to Raymond Francis Alfred, keeping only his surname in its original form. However, to his many friends he was 'Jimmy' Riesco. His early childhood was spent in South Norwood, in the south London borough of Croydon, although his South American father disliked the English climate and frequently worked abroad. At the age of fifteen Raymond Riesco began work in a small insurance office. He proved to be extremely able, and after a successful career in this small company, his employer introduced him to the much larger firm of Price Forbes in the City of London, suggesting that Riesco might run the firm. Eventually he did indeed run the firm with Mr. Forbes, until he retired. On 14 July 1914 Raymond Riesco married Ada Mary Hovenden (1886-1968), with whom he had three children - two daughters and a son. In 1925 Riesco bought 'Heathfield' (fig. 2) near Croydon. Both the house and grounds had been somewhat neglected but Riesco expended considerable funds and effort in restoring them, creating gardens that were greatly admired by visitors. There were terraces, a formal garden, a rock garden, a heather garden, and a rose garden, but one of Riesco's greatest inspirations was to plant many mature trees, creating woods, as well as having rhododendrons and azaleas, whose flowers provided banks of brilliant colour in spring, while the large Chinese lilac on the lawn produced wonderfully fragrant pale mauve blossoms. The stables not only housed the Riesco children's ponies, but were used by a family friend, Peter Thrale, for his racehorses. Riesco and his wife enjoyed entertaining and welcomed visitors from all over the world, including, as his daughter Jean has recorded, a Mr. Faberg?, son of the famous Russian court jeweller (Jean Thorpe, "Heathfield" Remembered 1925-65, 1984). During the Second World War about 20 members of staff from Riesco's London office also moved into 'Heathfield' to escape the London bombings, and, although a flying bomb did hit the farm, no one was hurt. After Riesco retired in 1954 he took over the management of the farm, which was part of the estate, and 'ran it as a model farm'. Riesco had many interests outside the insurance business. He and his wife enjoyed travelling - particularly to the United States, Canada and South Africa. His wife had a sister in Johannesburg, South Africa. They particularly enjoyed travelling by sea in the age of the grand ocean liners, and they were able to make voyages on Cunard's Queen Mary, Aquatania, and Mauretania, and Norddeutscher Lloyd's Bremen - sending back post cards and other mementos, which were put in albums by the family. Riesco was an acknowledged authority on philately, and also had a collection of watercolours and etchings. His collection of stamps was sold before the Second World War, but after 1935 he gave serious attention to the collection of Chinese ceramics. From 1951 to 1961 he served on the Council of the Oriental Ceramic Society, and he loaned pieces from his collection to various of the exhibitions held by the Society. Indeed he loaned three of the pieces in the current sale to the Society's 1946 exhibition of Ming Blue-and- White Porcelain (Lots 3107, 3117 and 3119) - three further pieces belonging to Riesco were also included in this exhibition. Raymond Riesco was on the Exhibition Committee of the OCS Loan Exhibition of Chinese Blue and White Porcelain 14th to 19th Centuries, held in London in 1953-4, loaning 46 pieces from his own collection, including eight of the undeglaze blue decorated porcelains in the current sale (Lots 3105, 3107, 3108, 3111, 3113, 3116, 3117, and 3119). Riesco was also on the Exhibition Committee of the 1957 OCS Loan Exhibition of the Arts of the Ming, in which twelve of his own pieces were displayed, including six of the porcelains in the current sale (Lots 3114, 3117, 3118, 3119, 3121, and 3122). This was a very prestigious exhibition and his pieces were shown alongside those belonging to other great collectors such as H.M. the King of Sweden, Sir Percival and Lady David, and Mr. and Mrs. R.H.R. Palmer. After the Riesco collection was acquired by the London Borough of Croydon, four of the items in the current sale were loaned to the Oriental Ceramic Society's major 1971 exhibition The Ceramic Art of China (Lots 3109, 3114, 3117, and 3121). Raymond Riesco was also a generous benefactor to the OCS, and initiated the setting up of the Society's endowment fund. He also bequeathed a selection of Ming dynasty ceramics to the British Museum (see J. Harrison-Hall, Ming Ceramics in the British Museum, London, 2001, p. 594). The majority of the remaining pieces from Riesco's Chinese ceramic collection were acquired by the London Borough of Croydon when the Council purchased Mr Riesco's home, Heathfield House, and surrounding land in Addington, south London, following his death in 1964. Riesco appears to have made some of his first purchases of Chinese ceramics from the firm of Bluett & Sons in London at the end of the First World War, but it was not until after the International Exhibition of Chinese Art held in London in 1935 that he was inspired to form a significant collection. The archives of Bluett's show that Riesco purchased more than 500 pieces from the company, and his last purchase from them was in 1961, only three years before his death (Dominic Jellinek, 'Bluett Essay (Part 2), CARP). His daughter Jean Thorpe (n?e Riesco) recalls that although his collection of Chinese ceramics was not then as extensive as it would later become, some of the pieces were buried in the garden in packing cases during the Second World War to keep them safe (Jean Thorpe, "Heathfield" Remembered 1925-65, 1984). Riesco's daughter Jean has also recalled that one of the first items of Chinese ceramics which her father bought was a Tang dynasty horse. When it arrived at their home, the children of the family were young enough to be disappointed that the horse had no tail. Raymond Riesco therefore went out into the paddock, cut some of the hair from the tail of their little Welsh pony 'Taffy' and attached these to the Tang horse. Today the Tang horse still has its 'real' tail, and is on display in the Riesco Gallery at Croydon Clocktower with other items from the Riesco collection (fig. 3). From 1935 Riesco set about assembling a fine collection of Chinese ceramics, concentrating on the porcelains of the Ming (1368-1644) and Qing (1644-1911) dynasties, but including pieces from the earlier periods (fig. 4 and fig. 5). He was described by one of his contemporaries as having instinctive good taste in his selection of Chinese ceramics. Each of Riesco's purchases was meticulously recorded, in his own hand, in one of the three volumes which form an inventory of his collection. This hand-written inventory includes more than 740 entries - some of them pairs or sets - while the third volume records, in an appendix, a small number of Japanese ceramics. The scope of the collection, which ranges from the cold-painted earthenwares of the Neolithic period to the fine porcelains of the Qing dynasty, was described by Edgar Bluett in a series of three articles for the Antique Collector published in June, August and October 1951. These articles were later published in book form, entitled The Riesco Collection of Old Chinese Pottery and Porcelain, with additional illustrations. Although he evidently wished to construct a collection which would exemplify the historical development of Chinese ceramics, it is clear that Raymond Riesco had a personal preference for fine wares of the Song dynasty, and, most especially, porcelains of the Ming dynasty, as well as those from the reign periods of the three great Qing emperors - Kangxi, Yongzheng and Qianlong. While the ceramics in the current sale are predominantly porcelains from the Ming dynasty, smaller number of exceptional early wares are included. Three of these had been in important collections even before they were purchased by Riesco. The exquisite Song dynasty Ding ware dish with carved daylily decoration (Lot 3101) was in the collection of Alfred Schoenlicht - resident of New York and the Hague, whose fine collection was sold in London after his death in 1955; the impressive Jin-Yuan dynasty splashed Jun ware bowl (Lot 3103) was in the famous collection of William Cleverley Alexander (1840-1916) - a wealthy English banker with an extensive collection of art; and the rare lobed Guan ware bowl (Lot 3104) was in the collection of Alfred Chester Beatty (1875-1968), later Sir Alfred Chester Beatty, whose remaining collection is now in the Chester Beatty Library in Dublin. A large proportion of the Ming and Qing porcelains in the current sale also had illustrious histories before entering the Riesco collection. The vibrantly painted Yongle bowl (Lot 3106) and the rare Chenghua 'boys' bowl (Lot 3113), were both formerly in the collection of Archibald Dooley Brankston (1909-41), who was born in China, was involved in the preparations for the 1935 International Exhibition of Chinese Art, and succeeded Robert L. Hobson as Assistant Keeper in the Department of Oriental Antiquities at the British Museum. He was also the author of Early Ming Wares of Chingtechen, published in 1938, and the very rare lianzi bowl (Lot 3109) had also belonged to him, and was illustrated in his Early Ming Wares of Chingtechen, as plate 5a. The beautiful and rare Xuande (1426-35) double gourd-shaped vase (Lot 3111), was previously in the collection of the French Ambassador to Peking and that of John Frederick Woodthorpe (1897-1966), a Master of the Supreme Court, Chancery Division, who was also an active member of the Oriental Ceramic Society. The large finely-painted blue and white dish (Lot 3105) had belonged to the revered collector and scholar Sir Percival David (1892-1964), who was generally acknowledged to have the finest private collection of Chinese ceramics outside China. The unusually large Xuande 'sugar loaf base' or CY mantou xin bowl (Lot 3107) was formerly in the collection of Major Lindsay Fitzgerald Hay (1891-1946) - an officer in the Black Watch who was known for his exceptional height (6 feet 11 inches) and his collections of classic cars and Ming porcelain, while the rare Chenghua dish with lotus scrolls bearing the Eight Buddhist Emblems (Lot 3112) had been with Wu Lai-Hsi, a well-known dealer in Beijing in the 1930s. The striking Hongzhi 'green dragon' dish (Lot 3115) had been in the collection of George Eumorfopolous (1863-1939), a Greek tycoon, who was the first president of the Oriental Ceramic Society (1921-39), and whose Chinese ceramic collection was published in six folio volumes, catalogued by Robert L. Hobson (1872-1941). The fine Hongzhi dish with underglaze blue fruit and flowers against a yellow enamelled ground (Lot 3114), which Riesco photographed in his garden to get the full effect of the colours in natural light (fig. 6), had come from the collection of Francis Howard Paget (d. 1945), who was one of the lenders to the 1935 exhibition and bequeathed a number of rare Ming porcelains to the British Museum, while the Jiajing 'phoenix' dish in the same palette (Lot 3118) had been in the collection of Mrs. Brenda Z. Seligman (d. 1965), widow of Professor Charles G. Seligman (1873-1940) - they too were major lenders to the 1935 exhibition, and the pieces they acquired together and those acquired by Mrs. Seligman after her husband's death were published in two volumes by John Ayers in 1964. The extremely rare Qing dynasty Kangxi mallet vase with underglaze copper red decoration (Lot 3123) is one of a pair that had been in the collection of Field Marshall Horatio Herbert Kitchener, 1st Earl Kitchener of Khartoum (1850-1916), much decorated military officer whose image was used on recruiting posters during the First World War, encouraging young men to enlist in the armed forces. The group of vessels in the current sale include many exceptional pieces, but is particularly rich in blue and white porcelains from a period which many connoisseurs regard as the Golden Age of Chinese blue and white - the 15th century. Among the highlights is a rare and elegant Xuande (1426-35) double gourd-shaped vase, which bears a six-character Xuande reign mark written horizontally around the upper bulb (Lot 3111). This vase reflects an especially successful melding of Chinese and Near Eastern inspiration, which was appreciated by wealthy patrons in countries to the west of China, and by the Chinese court of the early 15th century, as evidenced by the discovery of a fragment of a similar flask in the ruins of the early Ming dynasty imperial palace at Nanjing (illustrated in A Legacy of the Ming, Hong Kong, 1996, p. 48, no. 52). Another highlight from the Xuande reign period is the beautiful dish with a lotus scroll in the central roundel and exquisitely painted naturalistic fruiting sprays on the interior walls (Lot 3108). The delicate variegated lotus scroll on the interior of this dish is exceedingly rare, however an identical scroll can be seen on the interior of a slightly smaller, straight-rimmed, dish in the collection of the National Palace Museum, Taipei (illustrated in Catalogue of the Special Exhibition of Selected Hs?an-te Imperial Porcelains of the Ming Dynasty, Taipei, 1998, pp. 426-7, no. 186). A third important piece in this group is a bowl from the reign period traditionally lauded, alongside the Xuande reign, as producing the finest porcelains of the 15th century. This is the reign of the Chenghua Emperor (1465-87), and a particularly delightful bowl in the current sale is decorated with a scene of boy children playing in a garden (Lot 3113). As early as the Tang dynasty (AD 618-907) images of young boys at play was a popular secular theme on the Chinese decorative arts, being viewed as an auspicious symbol associated with the wish for sons and grandsons, and thus the continuation of the family line as well as the prosperity of the family. This decorative motif appears on rare, blue and white porcelain bowls of the Yongle reign (1403-24), such as that in the Tianminlou collection (Illustrated in Chinese Porcelain - The S.C. Ko Tianminlou Collection, Hong Kong, 1987, p. 43, no. 15), but in the Chenghua reign this decorative theme was particularly favoured by the Emperor, whose desire for an heir led to his commissioning items with auspicious wishes for sons and grandsons. The group of porcelains in this sale also includes outstanding items from the middle Ming period as well as very rare pieces from the Qing dynasty Kangxi reign. It is a measure of the quality of Raymond Riesco's collection that, as well as appearing in exhibitions organised by the Oriental Ceramic Society, five of the pieces in the current sale were included in the prestigious Arte Cinese exhibition, Venezia, 1954 (Lots 3107, 3108, 3116, 3121, and 3122) and a number have been illustrated in seminal works on the subject of Chinese ceramics, such as Sir Harry Garner's Oriental Blue and White, London, 1954 (Lots 3109. 3111, and 3116). The Riesco collection was assembled with great care by a man who seems to have had an instinct for exceptional Chinese ceramics.

北宋/ 金　　定窰刻萱草紋六棱盌

NORTHERN SONG/JIN DYNASTY, 12TH-13TH CENTURY

細節

盌敞口，外撇腹，近足內折，平底微出邊，圈足。盌心淺刻一折枝萱草紋，枝葉伸繞內壁。鑲銅口。

此器造型規整，秀麗典雅，釉色均勻，白中帶牙黃。花卉紋線條簡潔有力，似是任意揮灑的作品，陶匠運刀尤如運筆寫意，加上定窰白釉特有的溫潤晶瑩，使紋飾更顯得典貴優雅。

本盌形制配合內劃萱草紋的例子並不多見，遼寧省博物館收藏一件稍小例子，紋飾構圖略有不同，載於1981年上海出版《中國陶瓷全集．9．定窰》，編號70。臺北故宮博物院收藏三件近似的劃萱草紋定窰盤，見1987年台北出版《定窯白瓷特展目錄》，圖版111-113號。日本臨宇山人收藏一件盌例，載於2012年香港出版《古韻天成：臨宇山人宋瓷珍藏展覽》，圖版4號。北京故宮博物院收藏二件缽例，載於1996年香港出版故宮博物院藏文物珍品全集《兩宋瓷器．上》，圖版47、55 號。

此器源自Alfred Shoenlicht（卒於1955 年）；1955 年12 月13日於倫敦蘇富比拍賣，拍品56 號；1955 年購自倫敦Bluett & Sons。曾借展予波士頓美術館。著錄於1987 年克羅伊登博物館出版《Riesco Collection of Chinese Ceramics Handlist》，編號42。

里埃斯科收藏編號103p。

來源

Alfred Shoenlicht (d. 1955)
Sold at Sotheby's London, 13 December 1955, lot 56
Bluett & Sons, London, 1955
Raymond F.A. Riesco Collection, no. 103p

出版

天賦慧眼—收藏家里埃斯科蘇玫瑰亞洲藝術部資深學術顧問本拍賣專集隆重呈獻英國企業家兼收藏家里埃斯科（1877-1964年）（圖一）舊藏之二十四件中國陶瓷。里埃斯科出生於英國，父親為南美洲人，母親為蘇格蘭人，他於四名子女中居長。里埃斯科在倫敦克羅伊登市以南的南諾伍德渡過童年，他的南美藉父親卻不甚習慣英國天氣，亦經常出差。里埃斯科年僅十五歲就開始在一間小型保險公司工作，他表現極佳，深得上司器重，後來更引薦他轉職倫敦的大型保險公司Price Forbes，提議由他執掌業務。結果他與創辦人共同管理公司，直至退休為止。1914年7月14日里埃斯科與Ada Mary Hovenden（1886-1968年）結婚，婚後育有二女一子。 1925年里埃斯科購入克羅伊登附近赫思費特之大宅（圖二），原來的房屋及花園頗為荒廢。他不惜斥資修建，設計出美侖美奐的花園，而大獲訪客好評。大宅落成包括露台、傳統花園、賞石花園、石楠花園、玫瑰花園。而他最大的心思在於庭園中廣植大樹成林；還遍植杜鵑，好等春天盛放燦爛；以及在草坪上種滿大朵紫丁香，形成一片幽香淡紫的花海。至於所置馬廄不單養畜兒女的小馬，同時提供世交Peter Thrale安置賽馬。里埃斯科夫婦非常好客，經常招待來自世界各地的訪客，他們的女兒Jean就記錄了俄羅斯皇室珠寶商法貝熱之兒子到訪（1984年出版Jean Thorpe著《“Heathfield” Remembered 1925-65》）。二次世界大戰期間里埃斯科的倫敦辦公室約20名職員曾暫居赫思費特大宅，以逃避倫敦的砲火，該宅雖遭轟炸，只命中農場，無人受傷。1954年里埃斯科退休後，他專心管理大宅附屬的農場，打造出「模範農場」。里埃斯科除保險事業外，並有不少嗜好。夫婦二人經常出門旅行，尤其到美國、加拿大、南非，里埃斯科夫人有姊妹居於南非約翰內斯堡。他們特別喜歡從海路出發，當時流行遠洋遊輪，他們乘搭過冠達郵輪旗下的瑪麗皇后號、阿奎坦尼亞號、茅利塔尼亞號，以及北德意志羅伊德郵輪旗下的不來梅號。他們從郵輪上寄回明信片及其他小紀念品，均存放於家庭相簿。里埃斯科亦是著名的集郵專家，並收藏水彩畫及蝕刻畫。他的郵票珍藏於二次世界大戰以前已出售。自1935年起他專注收藏中國陶瓷，1951至1961年間並列席東方陶瓷學會委員會，期間借出藏品予該會多次展覽。本專集中三件拍品就曾展出於1946年舉辦展覽《Ming Blue-and-White Porcelain》（拍品3107、3117、3119），參展的還有他的另外三件藏品。1953-54年舉辦的展覽《Loan Exhibition of Chinese Blue and White Porcelain 14th to 19th Centuries》，他亦是籌備委員，並以四十六件藏品參展，包括這次拍賣的八件青花瓷（拍品3105、3107、3108、3111、3113、3116、3117、3119）。1957年舉辦的展覽《Loan Exhibition of the Arts of the Ming》，他再次出任展覽委員，並以十二件藏品參展，其中六件於本次拍賣（拍品3114、3117、3118、3119、3121、3122）；至於該參展者均是顯赫的收藏家，包括瑞典國王、倫敦大維德爵士、帕爾默伉儷。自里埃斯科藏品轉贈克羅伊登市後，其中四件又參展了1971年舉辦的大型展覽《The Ceramic Art of China》，它們亦於本次拍賣（拍品3109、3114、3117、3121）。里埃斯科亦是東方陶瓷學會的慷慨捐助人，更發起成立學會捐贈基金。他並將一系列明瓷贈予大英博物館（2001年倫敦出版 J. Harrison-Hall著《Ming Ceramics in the British Museum》，594頁）。1964年他逝世後，倫敦克羅伊登市議會買下里埃斯科家族赫思費特大宅，以及相連的倫敦南部阿丁頓地皮，他餘下的中國陶瓷藏品大部份亦收歸克羅伊登市名下。第一次世界大戰結束時，里埃斯科從倫敦Bluett & Sons購藏最早的藏品，但直至1935年舉辦的《倫敦中國藝術國際展覽會》，才啟發他認真收藏中國瓷器。根據Bluett & Sons的銷售檔案，里埃斯科曾於該古董商購買逾500件物品，最後一次為他逝世前三年之1961年（CARP出版Dominic Jellinek著作「Bluett Essay（Part 2）」）。他的女兒Jean憶述當時父親的中+國陶瓷收藏遠不及後來的豐富，其中一些於二次大戰期間曾裝箱埋在花園，以保安全（《“Heathfield” Remembered 1925-65》）。她並記得父親最早的中國陶瓷藏品中有一件唐三彩馬，年幼的子女看到它缺了尾巴而大失所望，里埃斯科遂走進馬廄，剪下家中威爾斯種小馬的尾毛，插於唐三彩馬。今天該馬還留著這條馬尾毛，現收藏於克羅伊登鐘樓里埃斯科展覽廳，與其他藏品一起展出（圖三）。自1935年起里埃斯科開始建立他的中國陶瓷珍藏，集中搜集明清瓷器，亦著眼於較早朝代的珍品（圖四︑五），贏得一位同輩讚許他對中國陶瓷獨具慧眼。里埃斯科對每件購藏物品皆手書詳細記錄，集結成三冊收藏目錄。這些收藏記錄逾740項，其中一些為成對或成組藏品，而第三冊的附錄註有少量日本陶瓷。他的陶瓷藏品起自新石器時代陶器，直至清瓷精品，1951年出版的《Antique Collector》六月、八月、十月號就刊載了Edgar Bluett介紹這批藏品的三篇文章，後來更結集成書《The Riesco Collection of Old Chinese Pottery and Porcelain》，並增訂插圖。很明顯里埃斯科希望建立一個完整系列的藏品，以代表中國陶瓷的發展史，然而他個人還是偏愛宋瓷珍品，尤好明瓷，以及清康雍乾三朝精品。此次拍賣包羅的大部份為明瓷，亦有三件較早年代的珍品，它們在里埃斯科收藏以前，來源非常顯赫。宋代定窰刻花盌（拍品3101）為紐約及海牙收藏家Alfred Schoenlicht舊藏，1955年他逝世後其珍藏在倫敦拍賣。金/元鈞窰紫斑盌（拍品3103）為英國銀行家William Cleverley Alexander（1840-1916年）舊藏，他以藝術藏品豐富而聞名。珍罕的官用青瓷盌（拍品3104）為Alfred Chester Beatty（1875-1968年）舊藏，他後來獲封爵士，的其他藏品現收歸愛爾蘭都柏林切斯特比特圖書館。這次拍品中大部份明清瓷器在里埃斯科收藏以前已有著錄。永樂青花纏枝花卉紋盌（拍品3106）、成化青花嬰戲圖盌（拍品3113）均源自Archibald Dooley Brankston（1909-1941年）舊藏。他在中國出生，曾參與籌備1935年舉辦的《倫敦中國藝術國際展覽會》。他後來繼任Robert L. Hobson成為大英博物館東方文物部助理館長，並於1938年出版著作《Early Ming Wares of Chingtechen》，這次珍罕的宣德青花蓮子盌（拍品3109）亦是他的舊藏，並載於著作中，圖版5a。瑰奇的宣德青花葫蘆式扁瓶（拍品3111）先後為法國駐北京大使、JohnFrederick Woodthorpe（1897-1966年）收藏。John Frederick Woodthorpe是大法官署的主事官，他活躍於東方陶瓷學會。永樂青花折沿大盤（拍品3105）原屬著名的博學收藏家大維德爵士所有，他的藏品獲譽為中國以外最佳的私人收藏。罕見的大型宣德饅頭心盌（拍品3107）源自英國少校 Lindsay Fitzgerald Hay（1891-1946年）舊藏，他任職英國陸軍之高地兵團，身高6呎11吋，以收藏古董汽車及明瓷見稱。珍罕的成化青花蓮托八寶紋盤（拍品3112）來自1930年代北京著名古董商吳賚熙。雅緻的弘治綠彩雲龍紋盤（拍品3115）曾為希臘大亨George Eumorfopolous（1863-1939年）收藏，他是東方陶瓷學會的首任會長（任期1921-1939年）。他的中國陶瓷收藏結集成六冊巨著，由Robert L. Hobson（1872-1941年）編纂。精美的弘治黃地青花梔子花紋盤（拍品3114）曾讓里埃斯科放到花園中拍照（圖六），以採得最好的自然光度，它源自Francis Howard Paget（卒於1945年）舊藏，他曾參與1935年《倫敦中國藝術國際展覽會》，並捐贈一些珍貴的明瓷予大英博物館。同樣為黃地青花紋飾的嘉靖穿花鳳紋盤（拍品3118）曾為Charles G. Seligman（1873-1940年）教授之夫人Brenda Z.（卒於1965年）收藏，Seligman伉儷是倫敦1935年舉辦中國藝術展覽的主要參展者，他們二人共同購藏、Brenda Z.後來購入的藏品，均著錄於1964年出版John Ayers所編二冊圖錄。罕有的康熙釉裏紅夔鳳紋雙陸尊（拍品3123）原為一對，這件源自英國元帥Horatio Herbert Kitchener（1850-1916年）舊藏，他後來獲封第一代喀土穆伯爵，豐功偉績廣受歌頌，第一次世界大戰時其肖像更印成召募軍兵海報。此次拍品中不乏稀世珍品，以明十五世紀青花瓷最多，那是無數鑑藏家視為中國青花瓷的黃金時代。經典之一的宣德葫蘆式扁瓶（拍品3111），鼓圓上部口沿書六字橫款，它巧妙地融合中國與中東的風格，不但備受西域諸國貴冑的珍賞，更獲明十五世紀初宮廷的垂青，南京皇城遺址曾出土同款器物的瓷片，足以佐證（1996年香港出版《朱明遺萃：南京明故宮出土陶瓷》，48頁，編號52）。另一件珍品為宣德青花纏枝蓮瑞果紋盤（拍品3108），盤心飾不同造型的蓮紋相間，內壁繪寫實折枝果紋，屬鳳毛麟角的例子，惟見臺北故宮博物院收藏一件稍小而直沿的近似例子，其盤心蓮紋與本盤相若（1998年台北出版《明代宣德官窯菁華特展圖錄》，426-427頁，圖版186號）。第三件是成化青花庭園嬰戲圖盌（拍品3113），傳統上成化與宣德同譽為明青花瓷的經典時期，早於唐代中國裝飾藝術已出現嬰戲圖，紋飾象徵兒孫滿堂、家族興旺的祝願，參考天民樓收藏一件罕有的永樂青花嬰戲圖盌（1987年香港出版《天民樓藏瓷．上》，圖版15）。至成化皇帝因殷切祇求子嗣，下命製造大量多子紋飾的工藝品。其他拍品包括明中葉、清康熙的精品。里埃斯科獨具慧眼所購藏的名瓷，除多次參展東方陶瓷學會展覽外，其中五件曾展出於威尼斯1954年舉辦展覽《Arte Cinese》（拍品3107、3108、3116、3121、3122），以及著錄於中國陶瓷重要著作，例如1954年倫敦出版Harry Garner著《Oriental Blue and White》（拍品3109、3111、3116）。此次拍賣的里埃斯科珍藏，無疑展現出一位資深收藏家對中國陶瓷孜孜以求的心血。

展覽

On loan at the Museum of Fine Arts, Boston, prior to 1955

榮譽呈獻

Ruben Lien

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拍品專文

The present bowl is a classic example of the finest Ding wares of the 12th-13th century. The form, almost certainly derived from metalwork, is one that provided a significant test for its potter particularly when combined with carved decorations. In order to achieve the sharp junction between base and sides, the thrown dish had to be placed over a wooden form and pressed down to achieve the sharp junction between base and sides. This process was rendered more difficult because the decoration had already been carved into the interior of the dish and risked being squashed in the forming process. It is a measure of the potter's skill that the decoration remains crisp and distinct, and the current bowl stands as a testimony to such artistry, demonstrating a synergy of elegant form and fluid design.

Daylily blossoms was a popular motif on Ding wares from mid-Northern Song to Jin periods, and can be found on other open forms such as shallow dishes, conical bowls and deep bowls. Compare to a similar shallow bowl carved with the same motif, but bearing slight variation in composition, in the Liaoning Provincial Museum, and illustrated in Zhongguo taoci quanji - 9 - Dingyao, Shanghai renmin meishu chubanshe, 1981, no. 70. For the same carved motif on other forms, compare to three shallow dishes in the National Palace Museum, Taipei, illustrated in Catalogue of the Special Exhibition of Ting Ware White Porcelain, Taipei, 1987, nos. 111-113; a conical bowl included in the catalogue of The Classic Age of Chinese Ceramics: An Exhibition of Song Treasures from the Linyushanren Collection, Hong Kong, 2012, no. 4; and two deep bowls in the Palace Museum, Beijing, illustrated in Porcelain of the Song Dynasty (I), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1996, nos. 47 and 55. Other motifs carved on bowls of this form include ducks in lotus pond, such as an example illustrated by G. Hasebe in Sekai Toji Zenshu - 12 - Song, Tokyo, 1977, pl. 143, and a peony spray, as shown on a bowl sold at Christie's New York, 22 March 2013, lot 1441.

NORTHERN SONG/JIN DYNASTY, 12TH-13TH CENTURY

榮譽呈獻

拍品專文

更多來自 英國里埃斯科珍藏重要中國瓷器

更多來自英國里埃斯科珍藏重要中國瓷器