AN IMPORTANT AND RARE MONUMENTAL ARCHAISTIC BRONZE RITUAL WINE VESSEL,...
THE LI HONGZHANG AND AXEL CARLANDER FANG HU 李鴻章和Axel Carlander青銅方壺
AN IMPORTANT AND RARE MONUMENTAL ARCHAISTIC BRONZE RITUAL WINE VESSEL, FANG HU
Song/Ming Dynasty
The imposing vessel of oblong pear-shaped form with rounded corners, rising from a high rectangular-shaped flaring pedestal foot to a flared waisted neck flanked by a pair of tapir handles each suspending a loose ring, the body cast with raised tapering cross straps simulating leather strapwork centred by diamond and half-diamond shaped rivets, each of the four cells on the central border enclosing relief cast adult and young confronted birds with a chilong from above, the adult bird comprising of two birds, all between the lower bulbous unadorned cells, and a border around the neck relief cast on each of the wider sides with a pair of confronted birds within a taotie mask comprising interlocking chilong and trunk-shaped elements, with a plain flaring rim mirroring the unadorned lower section, the foot similarly relief cast to the neck above a plain rectangular pedestal. 52.8cm (20 3/4in) high.
宋/明 青銅鳥紋雙獸耳方壺
Provenance: Li Hongzhang, GCVO (1823-1901), Premier of the Viceroyalty of Zhili and leading statesman during the late Qing dynasty
Li Jingfang (also known as Li Ching-Fong) (1854-1934), nephew and adopted son of Li Hongzhang; a Chinese statesman during the late Qing dynasty
Noted in a Valuation and report on the Lord Li Ching Fong collection, Tianjin, 30 May 1918, no.410
Axel Carlander (1869-1939), Sweden, acquired circa May 1918, and thence by descent
Published and Illustrated: Li Jingfang, Chinese Art of Past Generations, Shanghai, 1916, pl.D9845.
The Li Hongzhang / Axel Carlander Fang Hu - Cecilia Nordström
來源： 李鴻章，皇家維多利亞勳章受勛人（1823-1901），直隸總督，晚清政治家
李經方（1854-1934），李鴻章侄子和養子；晚清政治家
在"李經方藏品評估報告"中被提及，天津，1918年5月30日，編號410
Axel Carlander (1869-1939)，瑞典，約於1918年5月獲得，並由後人保存迄今
展覽著錄：李經方，《Chinese Art of Past Generations》，上海，1916年，編號D9845
李鴻章/Axel Carlander方壺- Cecilia Nordström
The exceptionally rare bronze ritual vessel has one of the most distinguished pedigrees, originating in the collection of one of the most eminent Chinese statesmen in the late Qing dynasty - Li Hongzhang - and sold to an equally illustrious group of Swedish gentlemen, including the Crown Prince, Gustav Adolph, and the renowned industrialist Axel Carlander. What is all the more extraordinary, are the existing records of the sale of Li Hongzhang's collection, through his nephew and adopted son, Li Jingfeng (Li Ching Fong), with a valuation report dated to 30 May 1918, listing the present vessel as no.410, when it was described as:
1 Shang dynasty Sacrificial Wine Vase.21" high. Ears with rings no cover. Centre of vase cracked half way round. slightly repaired[.] Fine piece and uncommon. Value $5000. [printed] = 27.183:45 [in pencil]
Axel Carlander was an important Swedish industrialist, businessman, politician, and philanthropist with a great passion for art. After completing business studies in Germany in 1896 and in England 1890-1891 he went on a around-the-world trip in 1891-1893 studying cotton and silk trade in line with family investments in this area. In his travel journal he writes about his visits to China and Japan, which probably piqued his interest in these arts.
He was deputy director in Johansson-Carlander 1892-1921 and managing director 1921-1939. Axel and his father co-founded the Swedish Kullagerfabriken (SKF) in 1907, and he was chairman of the board in SKF 1907-1937, vice chairman of the board of the Swedish North America line 1914, and from 1925 its chairman. He initiated the great Gothenburg Jubilee Exhibition in 1923. Additionally, he was on the board of AB Volvo 1917-1926, and then chairman of Volvo 1926-1931.
Carlander was also heavily involved in philanthropy. He made extensive donations to the society and is well-known for building the Carlanderska Hospital in Gothenburg, as well as establishing the Axel Carlander Fund.
Axel Carlander was a personal friend of Gustaf Adolf, the Swedish Crown Prince from 1907, who became King Gustaf VI Adolf from 1950. Gustav Adolf was well-known for his great enthusiasm and collecting of Chinese art, befriending great collectors and curators such as R.L. Hobson at the British Museum, George Eumorfopoulos, Oscar Raphael and Percival Yetts, and later Sir Percival David. In 1911 the Crown Prince became the chairman of the organisation 'Friends of the National Museum'. Together with Torsten Laurin, Axel Lagrelius and Johan Gunnar Andersson and a group of members of the Swedish finance world he established the China Committee, gathering funds to purchase Chinese works of art for the Museum of Far Eastern Antiquities at Stockholm.
In 1918, they all pitched in together to buy the collection of the late Li Hongzhang, GCVO (1823-1901), Premier of the Viceroyalty of Zhili and leading statesman during the late Qing Dynasty.
They calculated that they needed SEK 1,000,000. Each member contributed SEK 50,000 plus an extra SEK 4,000 for expenses - a considerable amount at the time. In China, the Swedish Geologist Professor Erik Nyström (1879-1963), also leader of the University in Shansi Taiyuan-Fu was in charge, and together with an English dealer who was based in Tientsin, George Patrick Joseph Crofts (1871-1925), seemed to be leading the effort (in his notes Carlander protests the vast charge of £3,000 by Crofts). Crofts alongside fur trade, was engaged in sourcing antiques for museums such as the Royal Ontario Museum, as well as various London dealers, including S.M. Franck & Co., a wholesale dealer who in turn supplied objects to institutions such as the Victoria and Albert Museum, as well as to other dealers. When the objects arrived, part was donated to the National Museum. The National Museum's Board of Directors report of 1920 describes the donation as:
'A consortium of private investors who has purchased the collection of the famous statesman Li-Hun-Chang's phenomenally rich and interesting collection of older Chinese works of art. They have with the finest of the government collections in mind, most generously agreed to donate a tenth of the collection to be included in the museum – and with the right of the museum to choose pieces. It further moves on to the engineer G. E Gadelius who also donates a large collection of 100 Chinese ceramics. Through these two valuable gifts, the museum collection of older Chinese works of art, that recently were started, has in one blow received an addition highly important in number and quality and of exceptional value'.
The Board report lists a number of Chinese paintings that were donated from the Li Hongzhang collection and added to the Museum collection (p.22). Followed by listing a number of Chinese works of art that were donated by the syndicate and purchased from the Li Hongzhang collection, including bronzes, tombstones, jades, pottery, rhinoceros horns, etc.
Axel Carlander was one of the consortium's investors. He had already funded many of Johan Gunnar Andersson's excavations and expeditions to China. He decided to donate part of his share to the Röhsska museum in Gothenburg. He then let the Crown Prince choose a few objects as a gift, which were later donated to the Swedish Östasiatiska Museet as a part of the King's gift to the people.
Importantly, the present Fang Hu vase is described in his diaries as being of great importance and evaluated at the time at a sum of 27,183 Swedish crona. He writes that he received a rather beautiful Chinese bronze vase that is several thousand years old, that he placed it on his staircase between the flights. Other Chinese pieces from his collection were later donated to the Östasiatiska Museet.
Many of the China Committee members continued with the task of acquiring items for their collections and museums, also investing in the better known and researched 'Karlbeck Consortium/syndicate' which included in addition to key museums such as the Museum of Far Eastern Antiquities (Stockholm), The British Museum, The Louvre and Berlin State Museum, also important collectors such as HRH Gustaf Adolf IV of Sweden, Oscar Raphael, Henry Oppenheim and George Eumorfopoulos, to name a few.
The Axel Carlander fang hu, is undeniably a masterpiece of archaistic bronze casting and design, inspired by Western Zhou dynasty vessels but made during the Song/Ming dynasty. The design is crisply cast and exceptionally well-balanced. This is clearly seen in the use of relief design emphasised by the unadorned space around it, alternating with the plain pedestal, lower body and rim, showcasing the magnificent contours and size of the monumental ritual vessel, all framed by the simulated leather strapwork with diamond shaped bosses.
For related Western Zhou dynasty bronze examples: the middle western Zhou dynasty fang hu, in the Nezu Bijutsukan, Tokyo, illustrated by J.Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, vol.III, Washington D.C., 1990, p.611, fig.95.3 (58.5cm high including cover); and another, late Western Zhou dynasty, in the Asian Art Museum of San Francisco, ibid., p.614, fig.95.7 (53.4cm high including cover). See also a related bronze fang hu, Western Zhou dynasty, in The Metropolitan Museum of Art, New York, acc.no.1988.20.4a, b (55.2cm high including cover). See also a further fang hu, Western Zhou dynasty, in the Art Institute Chicago, acc.no.2008.702 (48.5cm high). For another related example, mid-Western Zhou dynasty, in the Palace Museum, Taipei, (image no.K1A002132N000000000PAC). See also a related fang hu, early Spring and Autumn period, in the Shanghai Museum, excavated in Taixin county, Shandong Province (40.6cm high), illustrated by Li Jianwei and Niu Ruihong, Zhongguo Qingtongqi Tulu, Beijing, vol.I, p.199 (top). Finally, see a related example with stylised dragon designs within each framed strapwork, early Eastern Zhou dynasty, illustrated by J.Rawson, ibid., vol.IIA, p.125, fig.180.
Whilst the...
Bid on this lot
THE LI HONGZHANG AND AXEL CARLANDER FANG HU 李鴻章和Axel Carlander青銅方壺
AN IMPORTANT AND RARE MONUMENTAL ARCHAISTIC BRONZE RITUAL WINE VESSEL, FANG HU
Song/Ming Dynasty
The imposing vessel of oblong pear-shaped form with rounded corners, rising from a high rectangular-shaped flaring pedestal foot to a flared waisted neck flanked by a pair of tapir handles each suspending a loose ring, the body cast with raised tapering cross straps simulating leather strapwork centred by diamond and half-diamond shaped rivets, each of the four cells on the central border enclosing relief cast adult and young confronted birds with a chilong from above, the adult bird comprising of two birds, all between the lower bulbous unadorned cells, and a border around the neck relief cast on each of the wider sides with a pair of confronted birds within a taotie mask comprising interlocking chilong and trunk-shaped elements, with a plain flaring rim mirroring the unadorned lower section, the foot similarly relief cast to the neck above a plain rectangular pedestal. 52.8cm (20 3/4in) high.
宋/明 青銅鳥紋雙獸耳方壺
Provenance: Li Hongzhang, GCVO (1823-1901), Premier of the Viceroyalty of Zhili and leading statesman during the late Qing dynasty
Li Jingfang (also known as Li Ching-Fong) (1854-1934), nephew and adopted son of Li Hongzhang; a Chinese statesman during the late Qing dynasty
Noted in a Valuation and report on the Lord Li Ching Fong collection, Tianjin, 30 May 1918, no.410
Axel Carlander (1869-1939), Sweden, acquired circa May 1918, and thence by descent
Published and Illustrated: Li Jingfang, Chinese Art of Past Generations, Shanghai, 1916, pl.D9845.
The Li Hongzhang / Axel Carlander Fang Hu - Cecilia Nordström
來源： 李鴻章，皇家維多利亞勳章受勛人（1823-1901），直隸總督，晚清政治家
李經方（1854-1934），李鴻章侄子和養子；晚清政治家
在"李經方藏品評估報告"中被提及，天津，1918年5月30日，編號410
Axel Carlander (1869-1939)，瑞典，約於1918年5月獲得，並由後人保存迄今
展覽著錄：李經方，《Chinese Art of Past Generations》，上海，1916年，編號D9845
李鴻章/Axel Carlander方壺- Cecilia Nordström
The exceptionally rare bronze ritual vessel has one of the most distinguished pedigrees, originating in the collection of one of the most eminent Chinese statesmen in the late Qing dynasty - Li Hongzhang - and sold to an equally illustrious group of Swedish gentlemen, including the Crown Prince, Gustav Adolph, and the renowned industrialist Axel Carlander. What is all the more extraordinary, are the existing records of the sale of Li Hongzhang's collection, through his nephew and adopted son, Li Jingfeng (Li Ching Fong), with a valuation report dated to 30 May 1918, listing the present vessel as no.410, when it was described as:
1 Shang dynasty Sacrificial Wine Vase.21" high. Ears with rings no cover. Centre of vase cracked half way round. slightly repaired[.] Fine piece and uncommon. Value $5000. [printed] = 27.183:45 [in pencil]
Axel Carlander was an important Swedish industrialist, businessman, politician, and philanthropist with a great passion for art. After completing business studies in Germany in 1896 and in England 1890-1891 he went on a around-the-world trip in 1891-1893 studying cotton and silk trade in line with family investments in this area. In his travel journal he writes about his visits to China and Japan, which probably piqued his interest in these arts.
He was deputy director in Johansson-Carlander 1892-1921 and managing director 1921-1939. Axel and his father co-founded the Swedish Kullagerfabriken (SKF) in 1907, and he was chairman of the board in SKF 1907-1937, vice chairman of the board of the Swedish North America line 1914, and from 1925 its chairman. He initiated the great Gothenburg Jubilee Exhibition in 1923. Additionally, he was on the board of AB Volvo 1917-1926, and then chairman of Volvo 1926-1931.
Carlander was also heavily involved in philanthropy. He made extensive donations to the society and is well-known for building the Carlanderska Hospital in Gothenburg, as well as establishing the Axel Carlander Fund.
Axel Carlander was a personal friend of Gustaf Adolf, the Swedish Crown Prince from 1907, who became King Gustaf VI Adolf from 1950. Gustav Adolf was well-known for his great enthusiasm and collecting of Chinese art, befriending great collectors and curators such as R.L. Hobson at the British Museum, George Eumorfopoulos, Oscar Raphael and Percival Yetts, and later Sir Percival David. In 1911 the Crown Prince became the chairman of the organisation 'Friends of the National Museum'. Together with Torsten Laurin, Axel Lagrelius and Johan Gunnar Andersson and a group of members of the Swedish finance world he established the China Committee, gathering funds to purchase Chinese works of art for the Museum of Far Eastern Antiquities at Stockholm.
In 1918, they all pitched in together to buy the collection of the late Li Hongzhang, GCVO (1823-1901), Premier of the Viceroyalty of Zhili and leading statesman during the late Qing Dynasty.
They calculated that they needed SEK 1,000,000. Each member contributed SEK 50,000 plus an extra SEK 4,000 for expenses - a considerable amount at the time. In China, the Swedish Geologist Professor Erik Nyström (1879-1963), also leader of the University in Shansi Taiyuan-Fu was in charge, and together with an English dealer who was based in Tientsin, George Patrick Joseph Crofts (1871-1925), seemed to be leading the effort (in his notes Carlander protests the vast charge of £3,000 by Crofts). Crofts alongside fur trade, was engaged in sourcing antiques for museums such as the Royal Ontario Museum, as well as various London dealers, including S.M. Franck & Co., a wholesale dealer who in turn supplied objects to institutions such as the Victoria and Albert Museum, as well as to other dealers. When the objects arrived, part was donated to the National Museum. The National Museum's Board of Directors report of 1920 describes the donation as:
'A consortium of private investors who has purchased the collection of the famous statesman Li-Hun-Chang's phenomenally rich and interesting collection of older Chinese works of art. They have with the finest of the government collections in mind, most generously agreed to donate a tenth of the collection to be included in the museum – and with the right of the museum to choose pieces. It further moves on to the engineer G. E Gadelius who also donates a large collection of 100 Chinese ceramics. Through these two valuable gifts, the museum collection of older Chinese works of art, that recently were started, has in one blow received an addition highly important in number and quality and of exceptional value'.
The Board report lists a number of Chinese paintings that were donated from the Li Hongzhang collection and added to the Museum collection (p.22). Followed by listing a number of Chinese works of art that were donated by the syndicate and purchased from the Li Hongzhang collection, including bronzes, tombstones, jades, pottery, rhinoceros horns, etc.
Axel Carlander was one of the consortium's investors. He had already funded many of Johan Gunnar Andersson's excavations and expeditions to China. He decided to donate part of his share to the Röhsska museum in Gothenburg. He then let the Crown Prince choose a few objects as a gift, which were later donated to the Swedish Östasiatiska Museet as a part of the King's gift to the people.
Importantly, the present Fang Hu vase is described in his diaries as being of great importance and evaluated at the time at a sum of 27,183 Swedish crona. He writes that he received a rather beautiful Chinese bronze vase that is several thousand years old, that he placed it on his staircase between the flights. Other Chinese pieces from his collection were later donated to the Östasiatiska Museet.
Many of the China Committee members continued with the task of acquiring items for their collections and museums, also investing in the better known and researched 'Karlbeck Consortium/syndicate' which included in addition to key museums such as the Museum of Far Eastern Antiquities (Stockholm), The British Museum, The Louvre and Berlin State Museum, also important collectors such as HRH Gustaf Adolf IV of Sweden, Oscar Raphael, Henry Oppenheim and George Eumorfopoulos, to name a few.
The Axel Carlander fang hu, is undeniably a masterpiece of archaistic bronze casting and design, inspired by Western Zhou dynasty vessels but made during the Song/Ming dynasty. The design is crisply cast and exceptionally well-balanced. This is clearly seen in the use of relief design emphasised by the unadorned space around it, alternating with the plain pedestal, lower body and rim, showcasing the magnificent contours and size of the monumental ritual vessel, all framed by the simulated leather strapwork with diamond shaped bosses.
For related Western Zhou dynasty bronze examples: the middle western Zhou dynasty fang hu, in the Nezu Bijutsukan, Tokyo, illustrated by J.Rawson, Western Zhou Ritual Bronzes from the Arthur M. Sackler Collections, vol.III, Washington D.C., 1990, p.611, fig.95.3 (58.5cm high including cover); and another, late Western Zhou dynasty, in the Asian Art Museum of San Francisco, ibid., p.614, fig.95.7 (53.4cm high including cover). See also a related bronze fang hu, Western Zhou dynasty, in The Metropolitan Museum of Art, New York, acc.no.1988.20.4a, b (55.2cm high including cover). See also a further fang hu, Western Zhou dynasty, in the Art Institute Chicago, acc.no.2008.702 (48.5cm high). For another related example, mid-Western Zhou dynasty, in the Palace Museum, Taipei, (image no.K1A002132N000000000PAC). See also a related fang hu, early Spring and Autumn period, in the Shanghai Museum, excavated in Taixin county, Shandong Province (40.6cm high), illustrated by Li Jianwei and Niu Ruihong, Zhongguo Qingtongqi Tulu, Beijing, vol.I, p.199 (top). Finally, see a related example with stylised dragon designs within each framed strapwork, early Eastern Zhou dynasty, illustrated by J.Rawson, ibid., vol.IIA, p.125, fig.180.
Whilst the...
