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Lot 8208
A four-panel wood floor screen inset with polychrome enameled plaques Republic period
28 June 2016, 12:00 PDT
San FranciscoUS$25,000 - US$35,000
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A four-panel wood floor screen inset with polychrome enameled plaques
Republic period
Each vertical panel comprised of three central sections, the topmost each centered by circular plaques depicting four sages perhaps in the style of Wang Qi; the middle panels covered by tall rectangular plaques of landscapes perhaps in the style of Wang Xiaoting and an unidentified later artist; and the bottom sections enclosing quadrilobate bird and flower plaques perhaps in the style of Liu Yucen.
55 1/2in (141cm) total height of vertical panels;
8, 14 1/2, and 8 3/4in (20.2, 37, 22.2cm) visual heights of plaques
Each vertical panel comprised of three central sections, the topmost each centered by circular plaques depicting four sages perhaps in the style of Wang Qi; the middle panels covered by tall rectangular plaques of landscapes perhaps in the style of Wang Xiaoting and an unidentified later artist; and the bottom sections enclosing quadrilobate bird and flower plaques perhaps in the style of Liu Yucen.
55 1/2in (141cm) total height of vertical panels;
8, 14 1/2, and 8 3/4in (20.2, 37, 22.2cm) visual heights of plaques
Footnotes
民國 彩釉山水紋瓷板一組四件
Provenance
Purchased in Hong Kong in the mid-20th century, by repute
Though none of the plaques in this lot are signed, they are all very reminiscent of published works by three of the Eight Friends of Zhushan. See, for example, the circular dish published as attributed to Wang Qi in Simon Kwan, The Muwen Tang Series: Chinese Porcelain of the Republic Period [Muwen Tang Shoucang Quanji: Minguo Ciqi] (Muwen Tang Fine Arts Publication Ltd; Hong Kong, 2008) no. 322, pp. 122-123. That figure compares favorably with the upper register of sages depicted in the present lot, all sharing intricately rendered and engaging facial expressions of which the ceramicist Wang Qi (1884-1937) was so accomplished. The birds and flowers in the bottom sections all have techniques and compositions similar to birds and flowers by Liu Yucen (1904-1969) [ibid., nos. 72-75, pp. 202-209]. And though one appears to be a later replacement by a different artist, the remaining three landscape plaques in the middle do seem to share many of the techniques of Wang Xiaoting (died 1970) [ibid., no. 103, pp. 262-263] -- note specifically the similarity of the pavilions to those in the present lot.