On April 18th, Clars Auctions will present a series of exquisite collectibles at its Spring Fine Asian Art Auction for collectors. This auction will feature a multitude of valuable artworks, spanning categories such as furniture, porcelain, embroidery, modern contemporary art, and miscellaneous high-quality items.

The furniture section is led by a pair of 18th-century Chinese Huanghuali Southern official hat chairs. The official hat chairs originated in the Song Dynasty and became popular during the Ming and Qing dynasties. Due to their outstanding appearance and positive symbolism, they have long been favored by officials and scholars and are also loved by people worldwide. The name “official hat chair” comes from its design, where the back is high and the front low, resembling the ancient official’s hat. In fact, chairs with armrests generally have this shape. Today, artisans in Beijing often refer to chairs with both the backrest and armrests protruding as “Four-headed official hat chairs,” while those with non-protruding are called “Southern official hat chairs.” Clars presents a pair of official hat chairs with the distinctive style of the Jiangnan region. The piece features a rare three-section backrest design, with clean, flowing armrest lines, and no use of stretchers, showcasing the classic charm of craftsmanship.

The porcelain section prominently features a Chinese yellow-ground famille rose foliate jardiniere and stand. Both the jardiniere and stand are elegantly shaped like a chrysanthemum, with the jardiniere having relatively deep walls featuring two round holes; the stand has low, shallow side walls and is without holes. Both pieces are supported by four ruyi-cloud-shaped feet. The exteriors are meticulously painted with lotus patterns and the eight Buddhist symbols’ motif. The base is marked with the iron-red Jiaqing six-character mark.

This season, we will also introduce a series of selected embroidery pieces, with the highlight being an 18th-century Qing dynasty imperial yellow satin brocade robe, chuba with gold dragon patterns among colorful clouds. From the end of the Tang dynasty, China’s relationship with Tibet evolved with continuous political and religious exchanges during the Yuan, Ming, and Qing dynasties, sending precious court-manufactured silk fabrics to Tibet. Initially reserved for the imperial court, these fabrics later became significant gifts for Tibetan nobility and high-ranking monks. In the 18th century, the Qing court custom-made luxurious silk garments for Buddhist ceremonies, granting many dragon robes, which gradually became traditional attire for Tibetan nobility.

This Chuba-style robe was custom-made in Tibet from 18th-century Chinese yellow ground brocade, adorned with a five-clawed golden dragon clutching a fiery pearl amidst colorful clouds in pink, blue, green, and ochre, with a terrestrial map motif at the hem. The collar and trim are in pale blue silk depicting original wave-like edges, measuring 55 inches in height and 70 inches in width. This robe not only showcases the exquisite craftsmanship of the Qing court but also serves as an important physical testament to the historical exchanges between China and Tibet.

The contemporary Asian section will feature two important works by Chuang Che (Zhuang Ze), a Chinese-American abstract artist. The first work, Seasons Page, was created in 1971 using mixed media on canvas and measures 33 inches in height and 49.5 inches in width, with Zhuang’s signature in Chinese at the lower left corner. This piece was exhibited at the DuBose Gallery in Houston, Texas, in 1972, and comes with Zhuang’s handwritten signature and an exhibition catalog, making it highly collectible. The second piece, Untitled Abstract Landscape, an oil painting on canvas, features the artist’s signature in Chinese at the lower right corner, framed dimensions are 39.25 inches in height and 49.5 inches in width. This painting was acquired from a San Francisco gallery in the early 1980s and originates from a private collection. Chuang’s art style blends Eastern and Western aesthetics, interpreting Chinese cultural themes through Abstract Expressionism and is highly regarded in the international art scene.

Additionally, a Chinese polychrome painted wood figure of Guanyin from the Ming dynasty also make its appearance at this auction. The statue stands approximately 1.1 meters tall and is depicted in a relaxed and casual pose seated on a rock, with the right leg bent and resting against the right arm, and the left leg stretched out, stepping on a base. The sculpture is vivid and lifelike, with Guanyin wearing an exquisite, jeweled crown, displaying a serene and compassionate demeanor, and a richly detailed, delicate face. The neck and chest are adorned with a beautifully carved necklace and lavalier decorations, with elegantly flowing robe patterns, and faintly visible colors, fully reflecting the leisurely and comfortable artistic style of Water Moon Guanyin that has been prevalent since the Song and Yuan dynasties, possessing significant historical and artistic value.

We look forward to meeting you at the Spring Fine Asian Art Auction at Clars Auctions on April 18th!

The contemporary Asian section of our April 18th auction will feature two important works by Chuang Che (Zhuang Ze), a Chinese-American abstract artist.

One of the works, Seasons Page, was created in 1971 using mixed media on canvas and measures 33 inches in height and 49.5 inches in width, with Zhuang’s signature in Chinese at the lower left corner. This piece was exhibited at the DuBose Gallery in Houston, Texas, in 1972, and comes with Zhuang’s handwritten signature and an exhibition catalog, making it highly collectible.

Chuang’s art style blends Eastern and Western aesthetics, interpreting Chinese cultural themes through Abstract Expressionism and is highly regarded in the international art scene.

This season, we will introduce a series of selected embroidery pieces, with the highlight being an 18th-century Qing dynasty imperial yellow satin brocade robe, chuba with gold dragon patterns among colorful clouds.

From the end of the Tang dynasty, China’s relationship with Tibet evolved with continuous political and religious exchanges during the Yuan, Ming, and Qing dynasties, sending precious court-manufactured silk fabrics to Tibet. Initially reserved for the imperial court, these fabrics later became significant gifts for Tibetan nobility and high-ranking monks. In the 18th century, the Qing court custom-made luxurious silk garments for Buddhist ceremonies, granting many dragon robes, which gradually became traditional attire for Tibetan nobility.

This Chuba-style robe was custom-made in Tibet from 18th-century Chinese yellow ground brocade, adorned with a five-clawed golden dragon clutching a fiery pearl amidst colorful clouds in pink, blue, green, and ochre, with a terrestrial map motif at the hem. The collar and trim are in pale blue silk depicting original wave-like edges, measuring 55 inches in height and 70 inches in width. This robe not only showcases the exquisite craftsmanship of the Qing court but also serves as an important physical testament to the historical exchanges between China and Tibet.

4月18日，Clars拍卖公司将在其春季亚洲精品艺术拍卖会上为广大藏家呈现一系列的精美藏品。本次拍卖将隆重呈献多件珍贵艺术品，涵盖家具、瓷器、刺绣及现当代艺术及各类精品杂项。

家具部分家具由一对18世纪中国黄花梨南官帽椅领衔。官帽椅起源于宋代，并在明清时期盛行。由于其出众的外形和美好的寓意，历来深受官员和士人青睐，也广受世人喜爱。官帽椅的名称源于其背部高而前低，形似古代官吏所戴的幞头纱帽。实际上，带扶手的椅子基本上都有这种形状。如今，北京匠师常称带扶手且靠背和扶手都突出部分的椅子为“四出头官帽椅”，如果扶手不突出，则称为“南官帽椅”。Clars的一对极具江南地区官帽椅的独特风格。拍品采用罕见的三段式靠背板设计，扶手线条简洁流畅，没有使用联邦棍结构，展现了经典的匠艺魅力。

瓷器部分则特别呈现一组清嘉庆款黄地粉彩花卉番莲花盆及盆托。花盆及盆托均呈典雅菊花状，盆壁较深，设有两个圆孔；盆托周壁低浅，底部无孔。二者皆置于四个如意云形足之上，外壁精绘缠枝番莲纹及八宝祥纹饰，底部书以矾红篆书「大清嘉庆年制」六字款识。

本季我们将推出一系列精选刺绣作品，尤其值得瞩目的是一件十八世纪清代御制黄地织锦缎彩云金龙纹藏袍。自唐末起，中国与西藏的关系不断演进，自元、明、清各朝通过政治与宗教交流，持续向西藏输送宫廷织造的珍贵丝织品。这些织物起初为宫廷专用，后来成为赠予西藏贵族与高僧的重要礼品。十八世纪，清廷特为佛教仪式定制华美丝绸服饰，赐予大量龙袍，逐渐成为西藏贵族的传统礼装。

本件藏袍用十八世纪清代御制黄地织锦缎，于西藏打造，饰以五爪金龙攫珠图案，背景铺陈多彩云团，粉、蓝、绿及赭石交错辉映，衣摆为陆地图纹。衣领与饰边用淡蓝色丝绸描绘原始波浪形边缘，整体高55英寸、宽70英寸。此袍不仅展现清代宫廷工艺之精，更是中藏历史交流的重要实物见证。

亚洲现当代部分重点呈现旅美华裔抽象艺术大师庄喆的两件重要作品：第一件为1971年创作的《四季篇》（Seasons Page），艺术家采用综合媒材在画布上进行创作，作品尺寸为33英寸高、49.5英寸宽，左下角带有庄喆的中文署名。该作曾于1972年在美国德州休斯敦的杜博斯画廊（DuBose Gallery）展出，并附有庄喆本人的亲笔签名与展览手册，极富收藏价值。第二件为庄喆的《无题抽象风景》，这是一幅布面油画，右下角有艺术家的中文签名，带框尺寸为39.25英寸高、49.5英寸宽。此作来源于私人收藏，于20世纪80年代初从旧金山一家画廊购入。庄喆的艺术风格融汇东西方美学，以抽象表现主义的手法诠释中国传统文化意境，在国际艺术界享有盛誉。

此外，一尊明代木雕水月观音雕像亦将亮相本次拍卖。这尊观音像高约1.1米，以自在随意的坐姿安坐岩石之上，右腿曲起倚靠右臂，左腿舒展，足踏一底座。整体雕刻生动传神，观音头戴精致宝冠，神态安详慈祥，面容丰润细腻。颈胸处雕琢华美项链及璎珞装饰，衣纹飘逸，色彩依稀可见，充分体现出宋元以来水月观音自在闲适的艺术风格，兼具高度的历史与艺术价值。

我们期待4月18日与您在Clars Auctions的春季亚洲精品拍卖上相见。

At our Fine Asian Art Auction on December 20th 2024, Clars presented an exceptionally rare Qing Yongzheng Robin’s Egg Glazed hu-form Vase which sold for an astounding $630,000.

Are you interested in learning about the value of your items? CONSIGN NOW for our next Fine Asian Art Auction on April 18th.

The story of this vase is as compelling as the piece itself. According to the consignor, the vase originally belonged to his mother-in-law, who lived in Brooklyn, New York, in the 1970s. She was of Swedish immigrant descent, sent to an orphanage at the age of six after her mother’s passing, and later adopted by a kind family. As an adult, she married a man who worked for Nestlé and had two sons. After her husband’s death, she returned to Brooklyn, where she lived with her family and was beloved for her involvement in church activities, playing the piano, and teaching Sunday school.

In the 1970s, she bought the vase from a street vendor’s stall in Brooklyn for a small amount. She treasured it and often displayed it on her piano, filled with dried leaves. In 1986, she moved to California to live with her son, bringing the vase along. However, the vase was forgotten for decades, stored in a shoebox in a closet until Clars Auctions rediscovered the vase, unveiling a story that had been hidden for years.

The consignor expressed, “Such a beautiful and historically significant vase should not be hidden away in a closet; it deserves to be admired by many.” And that’s exactly what happened. The remarkable vase took center stage at auction and captured the attention of collectors worldwide.

The “Lujun Glaze” porcelain, also known as Robin’s Egg glaze, originated during the Yongzheng period of the Qing Dynasty, crafted at the Jingdezhen Imperial Kiln under the supervision of Tang Ying. It was named for its resemblance to the low-temperature Jun wares of the Song Dynasty. The glaze combines techniques from both Jun ware and Yixing drip-glaze, resulting in unique flowing shades of red, blue, and purple. The surface is smooth and silky, with colors that change dynamically under natural light, evoking the beauty of nature.

As recorded in the Record of Ceramics Completion Stele, the Lujun glaze “resembles the Eastern Kiln and Yixing drip-glaze,” with distinctive fluid patterns and colors. It represents Tang Ying’s innovative fusion of traditional styles and highlights the Qing Dynasty’s dedication to ceramic artistry and aesthetic perfection. Due to its complex production process, surviving pieces are rare and mostly palace ware, making them highly valuable collectibles and a pinnacle of Qing porcelain craftsmanship.

The Chinese Robin’s egg glazed hu-form vase sold by Clars has an elegant and dignified form, showcasing a flared mouth, short neck, elongated curved body, and wide splayed foot, standing at approximately 19 centimeters tall. The mouth, neck, and belly of the vase are adorned with three string patterns, which are simple yet graceful, adding a three-dimensional effect and enhancing the visual appeal of the piece. This design reflects the refined and majestic style typical of Yongzheng porcelain. The base is engraved with a two-line, four-character mark: “Yongzheng Nian Zhi,” further indicating its imperial provenance and outstanding craftsmanship.

The Asian Art department will showcase a range of rare and desirable items at our March 21st auction, including a 19th-century Chinese famille verte globular vase.

This exquisite vase, decorated with the legendary Eight Immortals, showcases exceptional craftsmanship and vibrant colors. Valued between $1,000–$1,500, it presents an opportunity for collectors to acquire a piece of Chinese cultural history.

Historically, the highest quality of porcelain produced in Jingdezhen was shaped by the preferences of the imperial family. However, by the end of the Qing dynasty (1644–1912) and the Republic period (1912–1949), these constraints began to dissolve.

Amid internal conflicts and political struggles with the Western World in the 19th century, China’s porcelain commissions dwindled. To survive, artisans had to appeal to a broader audience, which now included not only the imperial court but also officials, scholars, and the rising merchant class.

This period of upheaval gave rise to a new porcelain style. Known as ‘qianjiang cai,’ this aesthetic is distinguished by its soft, subtle hues, a stark contrast to the bold and opaque enamels that had been popular before. Translated as “light umber,” ‘qianjiang cai’ drew inspiration from the literati paintings of the Song and Yuan dynasties, which achieved a sense of atmosphere through the gradual blending of ink tones. To appeal to the scholarly class, artisans in Jingdezhen began to replicate these paintings on porcelain. These soft-colored enamels were used not only for landscape scenes but also for subjects like birds-and-flowers, still-life compositions featuring auspicious objects, and figures from history, mythology, or religion.

With such a talented community of artisans, creativity and innovation were essential for survival. Among the success stories from this era are the ‘Zhushan bayou’ (Eight Friends of Zhushan), a group of artists who gathered on the full moon of every lunar month. Each member of the group had their own area of expertise and unique aesthetic preferences. Wang Qi, widely regarded as the leader of the group, was known for his depictions of figures. His masterful use of graduated, soft tones, especially in delicate facial features, created striking and evocative images that continue to captivate viewers today.

Another notable figure from this period is Wang Bu, who sought to create a more realistic style, though not in the muted tones of ‘qianjiang cai.’ Specializing in ceramics and trained in the blue-and-white art, Wang Bu revived the portrayal of birds and flowers with his innovative technique, employing lighter shades of cobalt to contrast with the traditionally dense and bold blue of the past.

The artists of Jingdezhen during the late 19th and early 20th centuries experienced significant changes, but their creativity and adaptability ensured their survival, leaving a lasting legacy.

The Asian Art department is offering remarkable pieces in our upcoming February 21st auction. Featured is a stunning and rare set of Chinese 24-karat gold zodiac figures, with all twelve zodiac animals rendered in high karat gold.

The Asian Art portion of the January 17th auction features important works from China, including a late 18th to early 19th century Chinese brocade blue-ground dragon skirt.

This skirt was commissioned by the Qing imperial court for exclusive use by the royal family. This regal textile represents the opulence and craftsmanship of the Qing dynasty.

On December 20th, Clars Auctions will present an exceptionally rare Qing Yongzheng Robin’s Egg Glazed hu-form Vase at its annual Fine Asian Art Auction. This exquisite piece is not only a stunning ancient artifact but also carries a touching story that spans more than half a century.

The story of this vase is as compelling as the piece itself. According to the consignor, the vase originally belonged to his mother-in-law, who lived in Brooklyn, New York, in the 1970s. She was of Swedish immigrant descent, sent to an orphanage at the age of six after her mother’s passing, and later adopted by a kind family. As an adult, she married a man who worked for Nestlé and had two sons. After her husband’s death, she returned to Brooklyn, where she lived with her family and was beloved for her involvement in church activities, playing the piano, and teaching Sunday school.

In the 1970s, she bought the vase from a street vendor’s stall in Brooklyn for a small amount. She treasured it and often displayed it on her piano, filled with dried leaves. In 1986, she moved to California to live with her son, bringing the vase along. However, the vase was forgotten for decades, stored in a shoebox in a closet. It was only a few weeks ago that Clars Auction rediscovered the vase, unveiling a story that had been hidden for years.

The consignor expressed, “Such a beautiful and historically significant vase should not be hidden away in a closet; it deserves to be admired by many.” Now, the Qing Yongzheng Robin’s egg glazed hu-form vase is set to take center stage at the auction, capturing the attention of collectors worldwide.

The “Lujun Glaze” porcelain, also known as Robin’s Egg glaze, originated during the Yongzheng period of the Qing Dynasty, crafted at the Jingdezhen Imperial Kiln under the supervision of Tang Ying. It was named for its resemblance to the low-temperature Jun wares of the Song Dynasty. The glaze combines techniques from both Jun ware and Yixing drip-glaze, resulting in unique flowing shades of red, blue, and purple. The surface is smooth and silky, with colors that change dynamically under natural light, evoking the beauty of nature.

As recorded in the Record of Ceramics Completion Stele, the Lujun glaze “resembles the Eastern Kiln and Yixing drip-glaze,” with distinctive fluid patterns and colors. It represents Tang Ying’s innovative fusion of traditional styles and highlights the Qing Dynasty’s dedication to ceramic artistry and aesthetic perfection. Due to its complex production process, surviving pieces are rare and mostly palace ware, making them highly valuable collectibles and a pinnacle of Qing porcelain craftsmanship.

The Chinese Robin’s egg glazed hu-form vase featured by Clars has an elegant and dignified form, showcasing a flared mouth, short neck, elongated curved body, and wide splayed foot, standing at approximately 19 centimeters tall. The mouth, neck, and belly of the vase are adorned with three string patterns, which are simple yet graceful, adding a three-dimensional effect and enhancing the visual appeal of the piece. This design reflects the refined and majestic style typical of Yongzheng porcelain. The base is engraved with a two-line, four-character mark: “Yongzheng Nian Zhi,” further indicating its imperial provenance and outstanding craftsmanship.