Expert’s note: For an interesting discussion of porcelain produced during the short period from December 1915 to February 1916 when General Yuan Shikai adopted the reign title Hongxian in an attempt to restore the monarchy to China, see the article by Simon Kwan, 'Hongxian Porcelain and the Role of Wang Xiaotang', published in Orientations, October, 1991, pp. 65-70. In particular, the author notes that a batch of Hongxian-marked porcelain wares was most likely indeed produced for Yuan Shikai. The painting on the present porcelain vase is of the highest quality. The painter not only executed the meticulous wrinkles and folds of Li Tieguai’s skin with a deft hand, but he also painted the clothes with an intricate pattern and shaded the rocks with remarkable mastery. This vase belongs to a rare group of grisaille-decorated porcelain from the Republic period which were decorated by the most skilled painters in Jingdezhen, of which there were exceedingly few left at that time.

China, c. 1915-1930. Delicately potted, the ovoid body supported on a short foot and rising to a gently rounded shoulder with a waisted neck and flared mouth. Superbly painted to the exterior in predominantly iron-red and grisaille with Li Tieguai leaning on his iron crutch as he sits on a dramatically cragged and pierced rock under a towering tree with gnarled branches, before a flaming brazier with his double gourd placed on top, surrounded by further vessels and implements. The base with an iron-red four-character seal mark Hongxian nianzhi within a double square.

Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. N.3.16. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou’s years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou’s drive to collect was a burning desire to preserve the relics of China’s rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived the idea to create a place to house his collection, but in 1968, he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the museum became a ‘must see’ destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China’s glorious history.
Condition: Good condition with minor wear and and firing irregularities, the body with a U-shaped hairline with small associated losses.

Weight: 547.9 g
Dimensions: Height 20 cm

Yuan Shikai (1859-1916) was the first President of the Republic of China and Emperor of the short-lived Empire of China (1915-1916), taking the era name Hongxian. In 1916, Guo Baochang, an antiques dealer with a good relation to the court, was appointed to oversee Hongxian’s new imperial porcelain production. The intent from the outset was that the items produced were to be of excellent quality. The biscuit used was very thin, the enamels were sent from the Imperial Workshops and the mark used was a red seal reading Juren Tang zhi. The quality of items produced was reputed to be excellent. Unfortunately, during production, because of the very thin biscuit, many objects were damaged. The remaining few perfect pieces were given to the most favored officials and are exceedingly rare today.

Yuan Shikai stepped down as Emperor on 22 March 1916 and resumed his presidency, dying shortly afterwards in June 1916. After his death, production was halted and the kilns were destroyed, but the enamels were stolen by workers who then proceeded to copy the Juren Tang production, marking their pieces Hongxian nianzhi (also Hongxian Yu Chih or Hongxian Yuan Nian), mostly with Kaishu script. The first copies produced were apparently of extremely high quality, as they were still using the imperial biscuit and enamels, but quality fell as the quantity increased and, presumably, the imperial resources were depleted. One opinion has it that all Hongxian marked pieces are made after the actual period, and that the only possibly genuine mark of the Hongxian period is the Juren Tang if any. Still, from extant pieces it is clear that the porcelain industry was much stimulated at that time and for decades to come, and that pieces of very high quality were made, some of which bear the Hongxian mark while others are marked Juren Tang.

Auction result comparison:
Type: Closely related
Auction: Christie’s New York, 15 September 2011, lot 1642
Price: USD 12,500 or approx. EUR 15,500 converted and adjusted for inflation at the time of writing
Description: An iron-red and grisaille-decorated baluster vase, 20th century
Comparison: Compare the closely related iron-red and grisaille decoration, immortal subject, and Hongxian mark. Note the different form and the size (32.9 cm).

Auction result comparison:
Type: Closely related
Auction: Christie’s Hong Kong, 29 May 2013, lot 2033
Price: HKD 437,500 or approx. EUR 67,000 converted and adjusted for inflation at the time of writing
Description: A grisaille-decorated ‘landscape’ vase, Hongxiang yuzhi blue enamel mark within double-squares, Republic period
Expert remark: Compare the closely related iron-red and grisaille decoration and Hongxian mark, as well as the similar size (20.2 cm). Note the different subject and form.