China, 3^rd-6^th century. Comprising eight rectangular plaques with rectangular slits below a bird motif, one buckle of rectangular form with one end arched, all bearing neatly stippled grounds, and two gilt-bronze plaques with shaped slits. Each finely decorated to depict birds with leafy sprigs and ribbons in their beaks.

Provenance: Collection of Madam L. Wannieck. Hotel Drouot Paris, 22 March 1961, lot 267. Collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. T.5.19., acquired from the above. The reverse of the largest buckle with an old label inscribed in Chinese, ‘[…] gilt bronze […]’. Marie-Madeleine Wannieck (1871-1960) was a prominent collector and art dealer from the early 20^th century until her death. She was married to Leon J.B. Wannieck (1875-1931) and together they founded the Maison L. Wannieck, which was opened in 1902 on Tiananmen Square, Beijing. Although neither received any formal education, their gallery rivaled those of the most wealthy and prominent of that time. The gallery imported art objects from China, dealing directly with local antiquities dealers and archaeological digs. The legendary Ching Tsai Loo (C. T. Loo, 1880 - 1957), a famous antique dealer of Chinese art, was among Léon Wannieck’s friends and competitors. The couple was also very involved in the Société des Amis du Musée Cernuschi, for which Léon Wannieck served as vice-president from its founding in July 1922. During the society’s assemblies, the couple socialized with leading sinologists, such as Paul Pelliot (1878-1945). Léon Wannieck was also in regular contact with Henri d’Ardenne de Tizac (1877-1932), the curator of the Musée Cernuschi. Through this direct link, or through the Société des Amis, the Wanniecks donated or sold numerous works to the Musée Cernuschi. 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 of 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, commensurate with age, with ancient wear and extensive traces of usage. Signs of weathering and erosion, encrustations, small nicks, expected losses, and corrosion. The bronze has a naturally grown patina with malachite encrustations and cuprite.

Weight: 252 g (total)
Dimensions: 5.9 x 3.4 cm (largest), 3.4 x 3 cm (smallest)

With a fitted velvet display stand. (12)

Literature comparison:
Compare a closely related belt plaque similarly cast with a stippled ground, an oval belt slot, and zoomorphic decorations, 3.5 x 3.8 cm, dated to the Six Dynasties, in the Metropolitan Museum of Art, accession number 24.100.11.