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Lot Essay
Ceremonial weapons, such as this rare and important spearhead known as a mao, were an important part of state regalia, representing the power and authority of the Shang rulers who owed their domination over neighboring societies to their military prowess. Either side of the bronze socket of the current mao is cast with a clan sign depicting a figure carrying a string of cowrie shells while standing in a boat. In traditional literature, this clan sign was translated as zi he bei (son bearing cowrie). More recently, most scholars translate it as peng zhou (literally 'string of cowrie shells' and 'boat'), while other scholars translate it as ying zhou (literally 'infant' and 'boat'). The same clan sign can be found on a late Shang zhi wine vessel from the collection of Yu Xingwu (1896-1984) published in Liu Tizhi’s Shanzhai jijin lu (The Records of Auspicious Bronzes in the Shanzhai Studio), 1934, vol. 5, p. 49. (Fig. 1) This zhi was subsequently sold at Christie’s New York, Power and Prestige: Important Early Chinese Ritual Bronzes from a Distinguishes European Collection, 22 March 2019, lot 1503. The peng zhou clan sign can also be found on a ding tripod vessel from the Sackler Collection, sold at Christie’s New York, 17 March 2017, lot 1006. The Sackler ding is illustrated by R. Bagley in Shang Ritual Bronzes in the Arthur M. Sackler Collections, Washington, D. C., 1987, p. 459, where the author lists other bronzes bearing the peng zhou clan sign, including the current spearhead.
The illustrious provenance of the current mao can be traced back to 1942, when it was first published by Huang Jun (1880-1951) in his Ye zhong pianyu sanji (Treasures from the Ye [Anyang] Series III). (Fig. 2) Huang Jun, who goes by his literary name Bochuan, graduated from the late Qing government school for teaching Western languages, Tongwen Guan. He spoke German, English, and French, and served as a translator in a German bank after graduation while working part-time in his uncle’s antique shop, Zungu Zhai. He later became manager of Zungu Zhai and was one of the most prominent figures in the antique trade in Beijing. Huang Jun not only handled some of the most important archaic bronzes and jades, but also published them in catalogues such as the Yezhong pianyu series, Zungu Zhai suo jian jijin tu chu ji, and Guyu tulu chuji (First Collection of Ancient Chinese Jades), which is almost unique for his generation of Chinese dealers. The Ye zhong pianyu series has great academic importance since most of the pieces are believed to be from the late Shang capital Anyang (ancient name Ye). Most of the 133 bronze vessels included in the series are now in museum collections, with only a few remaining in private hands.
Huang Jun probably sold the current mao directly to the Belgian banker, industrialist and art collector Adolphe Stoclet, whose legendary encyclopedic art collection included not only masterpieces of Western art but also encompassed the arts of ancient Egypt and Mesopotamia, China and Cambodia, as well as tribal Africa and pre-Columbian Mexico. The mao would have likely been carefully stored in the drawer of an elegant cabinet designed by the leading Viennese artist Josef Hoffmann (1870-1956), whom Stoclet commissioned to build and furnish a residence for himself and his collection in Brussels: the Palais Stoclet. Universally considered one of the great monuments of early 20th century architecture, the Palais not only featured furnishings designed by Hoffmann himself, but also murals by Gustav Klimt (1867-1918) decorating the walls of the dining room.
After being sold by Stoclet’s grandson, Philippe, at Sotheby’s London in 1965, the current mao subsequently entered the collection of the prominent Chinese diplomat, Dr. Wou Kiuan (1910-1997), who amassed a comprehensive collection of Chinese art during the 1950s-60s. Eager to promote Chinese art and culture, Dr. Wou established a private museum in Southern England named in honor of his father, Wou Lienpai.
The illustrious provenance of the current mao can be traced back to 1942, when it was first published by Huang Jun (1880-1951) in his Ye zhong pianyu sanji (Treasures from the Ye [Anyang] Series III). (Fig. 2) Huang Jun, who goes by his literary name Bochuan, graduated from the late Qing government school for teaching Western languages, Tongwen Guan. He spoke German, English, and French, and served as a translator in a German bank after graduation while working part-time in his uncle’s antique shop, Zungu Zhai. He later became manager of Zungu Zhai and was one of the most prominent figures in the antique trade in Beijing. Huang Jun not only handled some of the most important archaic bronzes and jades, but also published them in catalogues such as the Yezhong pianyu series, Zungu Zhai suo jian jijin tu chu ji, and Guyu tulu chuji (First Collection of Ancient Chinese Jades), which is almost unique for his generation of Chinese dealers. The Ye zhong pianyu series has great academic importance since most of the pieces are believed to be from the late Shang capital Anyang (ancient name Ye). Most of the 133 bronze vessels included in the series are now in museum collections, with only a few remaining in private hands.
Huang Jun probably sold the current mao directly to the Belgian banker, industrialist and art collector Adolphe Stoclet, whose legendary encyclopedic art collection included not only masterpieces of Western art but also encompassed the arts of ancient Egypt and Mesopotamia, China and Cambodia, as well as tribal Africa and pre-Columbian Mexico. The mao would have likely been carefully stored in the drawer of an elegant cabinet designed by the leading Viennese artist Josef Hoffmann (1870-1956), whom Stoclet commissioned to build and furnish a residence for himself and his collection in Brussels: the Palais Stoclet. Universally considered one of the great monuments of early 20th century architecture, the Palais not only featured furnishings designed by Hoffmann himself, but also murals by Gustav Klimt (1867-1918) decorating the walls of the dining room.
After being sold by Stoclet’s grandson, Philippe, at Sotheby’s London in 1965, the current mao subsequently entered the collection of the prominent Chinese diplomat, Dr. Wou Kiuan (1910-1997), who amassed a comprehensive collection of Chinese art during the 1950s-60s. Eager to promote Chinese art and culture, Dr. Wou established a private museum in Southern England named in honor of his father, Wou Lienpai.