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AWNY 2019 - 10 Years
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纽约亚洲艺术周 ‘瑰丽古韵’ (3月15日-22日)

纽约亚洲艺术周
‘瑰丽古韵’ (3月15日-22日)

AWNY 2019 - 10 Years

展览地点:
纽约24东街64号2楼
丹尼尔·克劳奇（Daniel Crouch）古籍书店

利特尓顿&轩尼诗亚洲艺术诚邀各界莅临今春特展‘瑰丽古韵’。本次特展会为各位呈现北魏至清代的重要中国古董艺术精品。

展览重点包括北魏石制佛首像、唐代褐釉陶马、辽代青黄釉钟塔、18世纪鎏金铜格鲁派喇嘛像、及明代鎏金铜佛像。

与此同时，还为诸位献上香港著名古董商陈淑珍曾经收藏的重要三彩陶器（‘思源堂’藏），件件三彩，媲美博物馆藏品。

本次特展出现了一件三彩狮形瓷枕（唐代，8世纪，宽14.5厘米），乃存世唐代兽形瓷枕之精品，甚是珍罕，不容错过。8世纪，大唐鼎盛，狮形瓷枕将猛狮吞没猎物的场景表现得淋漓尽致。 兽形瓷枕，多为静态，此器不愧为佼佼者，如栩如生，生机再现。

2018年，利特尓顿&轩尼诗亞洲藝術迎来了自开张以来的第22个春秋，与此同时，隆重宣布马克·史莱兹荣升为公司合伙人。马克已为本公司效力十年有余，与理查德和詹姆斯一道经营公司业务。

合伙人詹姆斯·轩尼诗说：“马克热忱敬业，为公司业务增添了新的活力。作为合伙人之一，马克将与公司同仁继续致力服务新老客户，提供一流的中国古董艺术收藏咨询服务，齐心协力走向未来。”

Treasures of China's Past - AWNY 2019

 三彩狮形瓷枕
唐代，8世纪

尺寸：
宽14.5厘米，5 7/10英寸

来源：
香港‘思源堂’珍藏

 文献：
‘The Splendour of Sancai – The Sze Yuan Tang Collection’

 参照：
伦敦维多利亚和阿尔伯特博物馆藏类似三彩狮形瓷枕

三彩狮形瓷枕（唐代，8世纪，宽14.5厘米），乃存世唐代兽形瓷枕之精品，甚是珍罕。8世纪，大唐鼎盛，三彩狮形瓷枕将猛狮吞没猎物的场景表现得淋漓尽致。 兽形瓷枕，多为静态，此器不愧为佼佼者，以动制静，生机再现。

三彩莹润，猛狮刁食，栩栩如生。反映陶工手艺精湛，驾轻就熟，结合器物形态施三彩。佛家崇敬狮，狮-兽中之王，守护佛法。猛狮咆哮，传授佛学，调伏众生，驱魔镇邪。大唐盛世，陶工或未见过狮，具史料记载狮-自中国境外地区远道而来，作为供奉贡献朝廷。

Liao dynasty watch tower

青黄釉钟塔
辽代，907-1125年

尺寸：
高115厘米，45 3/10 英寸

来源：
荷兰私人珍藏
英国私人珍藏，90年代购自香港

钟塔，出自东汉（公元25-220年）年间中国中北部地区的墓葬。

钟塔，木制结构，覆盖泥瓦，造型新颖。亭台层层，供人游乐观赏。

此器实属珍罕，产于辽代，施三彩，别样精美。

A chestnut-glazed Tang pottery horse

褐釉陶马
唐代，618-906年

尺寸：
高83厘米，32 7/10 英寸

来源：
荷兰私人珍藏
英国私人珍藏，90年代自香港购得

A gilt-bronze figure of Gelupga Lama

A gilt-bronze figure of Gelugpa Lama

A gilt-bronze figure of Gelugpa Lama

鎏金铜格鲁派喇嘛像
18世纪

尺寸：
高25.5厘米，10英寸

来源：
林杰罗（Lingero）珍藏，布鲁塞尔，1975年前
克劳德·德 ·马图 （Claude de Marteau）珍藏，布鲁塞尔，1975-1982
伊夫格诺（Yvergneau）珍藏，安特卫普，1982-2014

A large gilt bronze Buddha

A large gilt bronze Buddha

鎏金铜佛像
明代，16世纪

尺寸：
高39厘米，15 2/5英寸

来源：
舒仁医生（Dr. Schooren)珍藏，比利时，1989年购自香港

A gilt-silver ewer

鎏金银壶
辽代，10世纪

尺寸：
高16.5厘米，6 ½英寸

来源：
1997年购自香港
亚洲私人珍藏

鎏金银壶，金光灿灿，纹饰华美，立体玲珑。神鸟展翅，犹如飞龙翱翔，流口鸟首，双凤相伴，尾翼飘飘。四周藤枝、卷云。壶耳缠花，壶底片片莲叶托起。

A silver-gilt container

鎏金银罐
辽代，10世纪

尺寸：
直径12厘米，4 7/10 英寸

来源：
1997年购自香港
亚洲私人珍藏

鎏金银罐，孩童戏水，莲中游鱼，潺潺流水，欢声笑语，围壶三幅。一位孩童端坐莲叶，龙鱼相伴；一位孩童嬉笑赶鸭；还有一位孩童侧卧莲叶，与鲤鱼嬉戏。盖上三位孩童，三条游鱼，交换排列，四周花纹。

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TEFAF 2015

[vc_row][vc_column][vc_column_text]tefaf-2015At this year’s edition of TEFAF we present an animal themed exhibition, with pieces in jade, wood, bronze and agate, in reference to the Chinese Zodiac. One of our highlights is an impressive large bronze figure of a water buffalo (Yongzheng/early Qianlong period).

The buffalo or Asiatic ox is one of the twelve horary animals representing Chou, the second of the twelve branches of the Chinese calender system. In China they are traditionally associated with prosperity, tranquility and strength. This is partly due to their important role in farming and the production of food. This important piece may be compared in quality to the life-size bronze of a water buffalo commissioned by the Qianlong Emperor overlooking Lake Kunming in the gardens of the Summer Palace.[/vc_column_text][/vc_column][/vc_row]

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TEFAF 2014

[vc_row][vc_column width=”1/1″][vc_row_inner][vc_column_inner][vc_column_text]We are highly honoured to be entrusted with the sale of this exceptional dish dating from the Yuan dynasty. At an impressive size of 40.5 centimetres in diameter it is one of only 13 known pieces of this ware. The rarity magnified by being one of only three large dishes known to exist and the only one in private hands.

Watch a video of Mark Slaats, of Littleton and Hennessy, talking about the dish. Starts at 3 minutes, 40 seconds.

white-dragon-largeThis dish was previously in the estate of Waltraud Hentschel, the wife of Jack Ellis, Member of Parliament for Prince Edward-Hastings, Ontario, Canada and by descent from the estate of her mother, Sophia Johanna Hentschel. How it made its journey from the kilns of Jingdezhen to North America is unknown but we are thankful to its previous keepers for ensuring its survival.

We are thrilled to be exhibiting in our eighth TEFAF. Each year we look forward to returning to Limburg and the familiar surroundings of the MECC to see our friends.

Finally we would like to thank Regina Krahl for undertaking the research for this catalogue, sharing her expertise and our excitement in a true masterpiece of Chinese ceramic art and Yuen Chiu for her excellent translation of Regina’s essay.

Download exhibition catalogue (PDF 1.8 Mb)

Download catalogue cover (PDF 183k)[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_row_inner parallax_image=”” section=”” full_screen=”” vertical_centering=”” full_width=”” full_height=”” background=”” bg_color_info=”” img=”” parallax=”” parallax_bg_width=”110″ parallax_reverse=”” video=”” bg_type=”” parallax_style=”” bg_image_new=”” layer_image=”” bg_image_repeat=”” bg_image_size=”” bg_cstm_size=”” bg_img_attach=”” parallax_sense=”” bg_image_posiiton=”” animation_direction=”” animation_repeat=”” video_url=”” video_url_2=”” u_video_url=”” video_opts=”” video_poster=”” u_start_time=”” u_stop_time=”” viewport_vdo=”” enable_controls=”” bg_override=”” disable_on_mobile_img_parallax=”” parallax_content=”” parallax_content_sense=”” fadeout_row=”” fadeout_start_effect=”” enable_overlay=”” overlay_color=”” overlay_pattern=”” overlay_pattern_opacity=”” overlay_pattern_size=”” overlay_pattern_attachment=”” multi_color_overlay=”” multi_color_overlay_opacity=”” seperator_enable=”” seperator_type=”” seperator_position=”” seperator_shape_size=”” seperator_svg_height=”” seperator_shape_background=”” seperator_shape_border=”” seperator_shape_border_color=”” seperator_shape_border_width=”” icon_type=”” icon=”” icon_size=”” icon_color=”” icon_style=”” icon_color_bg=”” icon_border_style=”” icon_color_border=”” icon_border_size=”” icon_border_radius=”” icon_border_spacing=”” icon_img=”” img_width=”” ult_hide_row=”” ult_hide_row_large_screen=”” ult_hide_row_desktop=”” ult_hide_row_tablet=”” ult_hide_row_tablet_small=”” ult_hide_row_mobile=”” ult_hide_row_mobile_large=””][vc_column_inner width=”1/1″][vc_empty_space height=”32px”][us_btn text=”Buy catalogue” align=”left” target=”” color=”primary” style=”outlined” link=”url:%2Fbuy-catalogue%2F”][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row]

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TEFAF 2013

We have the pleasure of introducing to you the Littleton & Hennessy Asian Art exhibition at TEFAF Maastricht 2013. Our TEFAF 2013 exhibition offers a broad selection of exquisite (imperial) ceramics, bronzes and other beautifully crafted pieces.
The highlights include:

  • Two exceptional Song Dynasty pieces from the highly esteemed Ingram Family Collection: a Jun-ware bottle vase and a persimmon-glazed Meiping
  • A pair of rare enamel pricket candle holders with zoomorphic handles (Qianlong marks and of the period).

The Jun yao bottle-shaped vase is an excellent example of the level of craftsmanship developed in the late Northern Song Dynasty. The funnel shaped, slender neck has evolved from one of the earliest examples currently in the Tokyo National Museum, which shows a gently expanded lip. The next stage in the development of Jun-ware bottle vases sees copper pigment added to the glaze, as can be seen in the vase in the collection of the Percival David Foundation (PDF 92), on display at the British Museum.

The Ingram Family Collection numbered thousands of Chinese and Japanese works of art, mainly early bronzes, ceramics and jades. In 1956 Sir Herbert Ingram presented a large part of his collection to the Ashmolean Museum in Oxford. Both the Jun-ware bottle vase and the persimmon-glazed Meiping formerly in this collection have been exhibited at the ‘Sung Dynasty Wares, Chun and Brown Glazes’ exhibition of the Oriental Ceramic Society, London in 1952.

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TEFAF 2012

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The Splendour of Sancai

An exhibition of exquisite and rare ‘Sancai’ figures and vessels from the famous Sze Yuan Tang collection.

‘Sancai’ wares, literally three coloured wares, are earthenware moulded figures and vessels boldly glazed with splashed of bright green and amber on a straw-coloured ground. More rarely, blue or a purplish-brown are also added. Only discovered at the end of the 19th century in Tang dynasty tombs, these wares have proven to be an essential part in the historical development of Chinese ceramics.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_row_inner parallax_image=”” section=”” full_screen=”” vertical_centering=”” full_width=”” full_height=”” background=”” bg_color_info=”” img=”” parallax=”” parallax_bg_width=”110″ parallax_reverse=”” video=”” bg_type=”” parallax_style=”” bg_image_new=”” layer_image=”” bg_image_repeat=”” bg_image_size=”” bg_cstm_size=”” bg_img_attach=”” parallax_sense=”” bg_image_posiiton=”” animation_direction=”” animation_repeat=”” video_url=”” video_url_2=”” u_video_url=”” video_opts=”” video_poster=”” u_start_time=”” u_stop_time=”” viewport_vdo=”” enable_controls=”” bg_override=”” disable_on_mobile_img_parallax=”” parallax_content=”” parallax_content_sense=”” fadeout_row=”” fadeout_start_effect=”” enable_overlay=”” overlay_color=”” overlay_pattern=”” overlay_pattern_opacity=”” overlay_pattern_size=”” overlay_pattern_attachment=”” multi_color_overlay=”” multi_color_overlay_opacity=”” seperator_enable=”” seperator_type=”” seperator_position=”” seperator_shape_size=”” seperator_svg_height=”” seperator_shape_background=”” seperator_shape_border=”” seperator_shape_border_color=”” seperator_shape_border_width=”” icon_type=”” icon=”” icon_size=”” icon_color=”” icon_style=”” icon_color_bg=”” icon_border_style=”” icon_color_border=”” icon_border_size=”” icon_border_radius=”” icon_border_spacing=”” icon_img=”” img_width=”” ult_hide_row=”” ult_hide_row_large_screen=”” ult_hide_row_desktop=”” ult_hide_row_tablet=”” ult_hide_row_tablet_small=”” ult_hide_row_mobile=”” ult_hide_row_mobile_large=””][vc_column_inner width=”1/1″][us_separator type=”invisible”][vc_column_text]

Download exhibition catalogue (PDF 8.4 Mb)

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Asia Week New York 2012

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Kheng-Li Wee: In The Valley Is Silence

An exhibition of 24 archival digital prints of the true side of Japan, by Singapore photographer Kheng-Li Wee.

Fascinated by the memory and dwelling as manifested in architecture and urban spaces, Wee navigates through ancient, narrow, old or dense streets and neighborhoods. He uses photography as a process of seeing and recording, and at the same time, he seeks to pose philosophical and existential questions regarding the possibilities of visual art beyond the limits of conceptual language. His works allow viewers to glance into the intimate stories and traces of intimate everyday behavior.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_row_inner parallax_image=”” section=”” full_screen=”” vertical_centering=”” full_width=”” full_height=”” background=”” bg_color_info=”” img=”” parallax=”” parallax_bg_width=”110″ parallax_reverse=”” video=”” bg_type=”” parallax_style=”” bg_image_new=”” layer_image=”” bg_image_repeat=”” bg_image_size=”” bg_cstm_size=”” bg_img_attach=”” parallax_sense=”” bg_image_posiiton=”” animation_direction=”” animation_repeat=”” video_url=”” video_url_2=”” u_video_url=”” video_opts=”” video_poster=”” u_start_time=”” u_stop_time=”” viewport_vdo=”” enable_controls=”” bg_override=”” disable_on_mobile_img_parallax=”” parallax_content=”” parallax_content_sense=”” fadeout_row=”” fadeout_start_effect=”” enable_overlay=”” overlay_color=”” overlay_pattern=”” overlay_pattern_opacity=”” overlay_pattern_size=”” overlay_pattern_attachment=”” multi_color_overlay=”” multi_color_overlay_opacity=”” seperator_enable=”” seperator_type=”” seperator_position=”” seperator_shape_size=”” seperator_svg_height=”” seperator_shape_background=”” seperator_shape_border=”” seperator_shape_border_color=”” seperator_shape_border_width=”” icon_type=”” icon=”” icon_size=”” icon_color=”” icon_style=”” icon_color_bg=”” icon_border_style=”” icon_color_border=”” icon_border_size=”” icon_border_radius=”” icon_border_spacing=”” icon_img=”” img_width=”” ult_hide_row=”” ult_hide_row_large_screen=”” ult_hide_row_desktop=”” ult_hide_row_tablet=”” ult_hide_row_tablet_small=”” ult_hide_row_mobile=”” ult_hide_row_mobile_large=””][vc_column_inner width=”1/1″][us_separator type=”invisible”][vc_column_text]

Night images

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Day images

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TEFAF 2011

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Two Masterpieces of Yuan Art

In Medieval Europe, under the guild system, the term ‘masterpiece’ was used to describe the object that was made by the apprentice or journeyman to show off the skills to be judged a master craftsman. When the term was appropriated into the lexicon of fine art, it referred to the works of the artist that were the apogee of his oeuvre, or the best work of a period of artistic development. In the broader context of art history, both these meanings have been preserved, and works are judged masterpieces if they are technically the finest of their type and/or are judged to best represent important advances in its development.

We believe that for this year’s catalogue we have been lucky enough to locate two such pieces, each with an illustrious provenance, but with very different public histories; a lacquer table known, studied and published since 1973 and a bronze Avalokitesvera secreted in a private collection from the late 19th century until the early 1990’s.

Both pieces date from the Yuan dynasty, a period whose seminal nature in the history of Chinese material culture has only recently been appreciated. This was partially because of its short duration (around 100 years) and partially as it was a foreign dynasty, the first time when all of China was ruled by a race other than the Han Chinese. The tumultuous political history of the time resulted in sweeping changes in art, but also meant that many of the objects made were lost in the struggles for succession as well as the chaos that accompanied dynastic change.

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]Download exhibition catalogue (PDF 21 Mb)

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Asian art London

Asian Art in London 2010

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The Art of Scent

The study of art history necessarily emphasises the material at the expense of the immaterial. In China, this has resulted in the neglect of many significant aspects of her ancient culture, such as music and dance. Scent, the subject of this autumn’s exhibition, is also an area that has hardly been studied, in spite of its numerous references in historical texts and literature.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_row_inner parallax_image=”” section=”” full_screen=”” vertical_centering=”” full_width=”” full_height=”” background=”” bg_color_info=”” img=”” parallax=”” parallax_bg_width=”110″ parallax_reverse=”” video=”” bg_type=”” parallax_style=”” bg_image_new=”” layer_image=”” bg_image_repeat=”” bg_image_size=”” bg_cstm_size=”” bg_img_attach=”” parallax_sense=”” bg_image_posiiton=”” animation_direction=”” animation_repeat=”” video_url=”” video_url_2=”” u_video_url=”” video_opts=”” video_poster=”” u_start_time=”” u_stop_time=”” viewport_vdo=”” enable_controls=”” bg_override=”” disable_on_mobile_img_parallax=”” parallax_content=”” parallax_content_sense=”” fadeout_row=”” fadeout_start_effect=”” enable_overlay=”” overlay_color=”” overlay_pattern=”” overlay_pattern_opacity=”” overlay_pattern_size=”” overlay_pattern_attachment=”” multi_color_overlay=”” multi_color_overlay_opacity=”” seperator_enable=”” seperator_type=”” seperator_position=”” seperator_shape_size=”” seperator_svg_height=”” seperator_shape_background=”” seperator_shape_border=”” seperator_shape_border_color=”” seperator_shape_border_width=”” icon_type=”” icon=”” icon_size=”” icon_color=”” icon_style=”” icon_color_bg=”” icon_border_style=”” icon_color_border=”” icon_border_size=”” icon_border_radius=”” icon_border_spacing=”” icon_img=”” img_width=”” ult_hide_row=”” ult_hide_row_large_screen=”” ult_hide_row_desktop=”” ult_hide_row_tablet=”” ult_hide_row_tablet_small=”” ult_hide_row_mobile=”” ult_hide_row_mobile_large=””][vc_column_inner width=”1/1″][us_separator type=”invisible”][vc_column_text]

Download full exhibition catalogue (PDF 9 Mb)

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TEFAF 2010

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The Luxury of Chinese Lacquer

The creation of objects from the dried sap of lacquer trees (Rhus verniciflua), like silk and porcelain, was a medium invented by the Chinese people. From the dawn of their civilisation, dating back to Neolithic times, the Chinese used it to great effect, creating some of the most astonishing works of art in the history of mankind, and it is not until the first century B.C. do we find evidence of it being produced by other peoples.

However, unlike silk or ceramics, producing lacquer wares was not only extremely labour intensive but also poisonous to the craftsmen (although the Chinese discovered antidotes to relieve this from very early on), therefore the scale of production was relatively small, and they were always highly valued luxury items. Lacquer’s preciousness meant that unlike silk or ceramics, it was not widely exported but remained largely for local use.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_row_inner parallax_image=”” section=”” full_screen=”” vertical_centering=”” full_width=”” full_height=”” background=”” bg_color_info=”” img=”” parallax=”” parallax_bg_width=”110″ parallax_reverse=”” video=”” bg_type=”” parallax_style=”” bg_image_new=”” layer_image=”” bg_image_repeat=”” bg_image_size=”” bg_cstm_size=”” bg_img_attach=”” parallax_sense=”” bg_image_posiiton=”” animation_direction=”” animation_repeat=”” video_url=”” video_url_2=”” u_video_url=”” video_opts=”” video_poster=”” u_start_time=”” u_stop_time=”” viewport_vdo=”” enable_controls=”” bg_override=”” disable_on_mobile_img_parallax=”” parallax_content=”” parallax_content_sense=”” fadeout_row=”” fadeout_start_effect=”” enable_overlay=”” overlay_color=”” overlay_pattern=”” overlay_pattern_opacity=”” overlay_pattern_size=”” overlay_pattern_attachment=”” multi_color_overlay=”” multi_color_overlay_opacity=”” seperator_enable=”” seperator_type=”” seperator_position=”” seperator_shape_size=”” seperator_svg_height=”” seperator_shape_background=”” seperator_shape_border=”” seperator_shape_border_color=”” seperator_shape_border_width=”” icon_type=”” icon=”” icon_size=”” icon_color=”” icon_style=”” icon_color_bg=”” icon_border_style=”” icon_color_border=”” icon_border_size=”” icon_border_radius=”” icon_border_spacing=”” icon_img=”” img_width=”” ult_hide_row=”” ult_hide_row_large_screen=”” ult_hide_row_desktop=”” ult_hide_row_tablet=”” ult_hide_row_tablet_small=”” ult_hide_row_mobile=”” ult_hide_row_mobile_large=””][vc_column_inner width=”1/1″][us_separator type=”invisible”][vc_column_text]

Download full exhibition catalogue (PDF 10 Mb)

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