Decade 1760-1769
Except otherwise stated, all results include the premium.
See also : 18th century painting French painting < 1860 Early still life Venice George III China Qianlong Chinese art Imperial seal Dragon Horse Sport in art Origins of sports
See also : 18th century painting French painting < 1860 Early still life Venice George III China Qianlong Chinese art Imperial seal Dragon Horse Sport in art Origins of sports
CHARDIN
1
for reference (previous decade)
1758 Le Bocal d'Abricots
Art Gallery of Ontario (Toronto)
Chardin is appointed in 1755 trésorier of the Académie royale de peinture et de sculpture. In 1757 he is granted by King Louis XV an apartment in the Galeries du Louvre. He is also the tapissier of the annual Salon de peinture et de sculpture, in charge of the arrangement of the selected artworks.
Busy with these official functions and financially secure, Chardin executes still lifes in a new style started in 1748, very different from his earlier depictions of dead games, and closer to classical Dutch arrangements. He is more attentive to reflections, to light. The colors are less impastoed. The artist is more interested in volumes and composition than in details. The subjects are varied : game, fruits, bouquets, pots, jars, glasses.
Le Bocal d'abricots, painted and dated by Chardin in 1758, is an oval oil on canvas 57 x 51 cm. This marble table top is featuring glasses, pieces of bread, a knife, cups, a tambourine and a tied package placed around a jar containing apricots. The image is shared by Wikimedia.
Busy with these official functions and financially secure, Chardin executes still lifes in a new style started in 1748, very different from his earlier depictions of dead games, and closer to classical Dutch arrangements. He is more attentive to reflections, to light. The colors are less impastoed. The artist is more interested in volumes and composition than in details. The subjects are varied : game, fruits, bouquets, pots, jars, glasses.
Le Bocal d'abricots, painted and dated by Chardin in 1758, is an oval oil on canvas 57 x 51 cm. This marble table top is featuring glasses, pieces of bread, a knife, cups, a tambourine and a tied package placed around a jar containing apricots. The image is shared by Wikimedia.
1 bis
1760 Le Melon entamé
2024 SOLD for € 26.7M by Christie's, Unpaid
Le Bocal d'abricots was owned by the Parisian goldsmith and silversmith Jacques Roettiers. In 1760 Chardin executed and dated a pendant still life for this patron, in the same oval format.
On the same table top, two bottles and a pitcher surround a sliced melon, some peaches, plums and two pears. The freshly cut slice balanced precariously on top of the melon predated by 120 years the precarious arrangements of Cézanne's tabletops. The warm palette has been described by Rosenberg as a "mysterious half light". The image is shared by Wikimedia.
Both works were exhibited at the Salon de Peinture et de Sculpture in 1761 and illustrated by Saint-Aubin in the catalogue.
Coming from the former Marcille collection and a Rothschild provenance, Le Melon entamé was sold for € 26.7M from a lower estimate of € 8M by Christie's on June 12, 2024, lot 5.
An identical replica executed by the workshop in 1763 is owned by the Musée du Louvre.
Grok thought :
Quote
Christie's @ChristiesInc May 30, 2024
Jean Siméon Chardin’s The Cut Melon — a spellbinding work by the ‘great magician’. This masterpiece from the Rothschild family collection is offered in Paris on 12 June. Find out more here: https://christie-s.visitlink.me/5Y7cfR
On the same table top, two bottles and a pitcher surround a sliced melon, some peaches, plums and two pears. The freshly cut slice balanced precariously on top of the melon predated by 120 years the precarious arrangements of Cézanne's tabletops. The warm palette has been described by Rosenberg as a "mysterious half light". The image is shared by Wikimedia.
Both works were exhibited at the Salon de Peinture et de Sculpture in 1761 and illustrated by Saint-Aubin in the catalogue.
Coming from the former Marcille collection and a Rothschild provenance, Le Melon entamé was sold for € 26.7M from a lower estimate of € 8M by Christie's on June 12, 2024, lot 5.
An identical replica executed by the workshop in 1763 is owned by the Musée du Louvre.
Grok thought :
Quote
Christie's @ChristiesInc May 30, 2024
Jean Siméon Chardin’s The Cut Melon — a spellbinding work by the ‘great magician’. This masterpiece from the Rothschild family collection is offered in Paris on 12 June. Find out more here: https://christie-s.visitlink.me/5Y7cfR
- Christie's post promotes Jean Siméon Chardin's 1760 still-life "The Cut Melon," a Rothschild family masterpiece featuring a sliced cantaloupe, peaches, pears, plums, and glassware on a marble table, rendered with exquisite light and texture.
- Auctioned in Paris on June 12, 2024, the painting fetched a record €26.73 million ($28.76 million) for Chardin, surpassing prior benchmarks and underscoring his status as a pinnacle of 18th-century French realism.
- After the buyer's default, the work entered the Kimbell Art Museum's collection in May 2025, preserving public access to this "great magician's" illusion of tangible everyday objects.
Back Home…
— La Gazette Drouot – International (@Gazette_Inter) April 10, 2025
Chardin's ‘Melon entamé’ which sold for the record price of €26.7M is returned to its owners. The painting had been in default since its auction in June 2024 to an Italian Real Estate developer based in Switzerland. Declared insolvent, he was unable to pay. pic.twitter.com/XJE7Rhcu0x
2
1761 Panier de Fraises des Bois by Chardin
2022 SOLD for € 24.4M by Artcurial
Jean-Siméon Chardin manages his career without taking care of artistic fashions. A highly skilled perfectionist, he takes the reality of texture and color as his top concern.
Following the path opened by Adriaen Coorte around 1700, Chardin opts for the simplest geometric tabletop compositions in a contrasted light in front of a dark raw background.
Le Panier de fraises des bois, oil on canvas 38 x 46 cm, was released for the Salon de 1761 and illustrated by Saint-Aubin in the livret of that exhibition. It displays a stack of wild strawberries as a spectacular conical tabletop in a basket. That vivid red fruit had been Coorte's preferred pictorial theme.
The composition is completed on the table by a glass filled with limpid water, and by two ornamental cut off flowers, two cherries and a peach. Chardin had skillfully added an upper layer of red lacquer to link together the grainy berries while he left slightly unfocused the carnations.
Recognized as a masterpiece of Chardin's maturity offering a perfect sharp viewing from an ideal distance of 5 m away, Le panier was kept in a private French collection since 1862. It was sold for € 24.4M from a lower estimate of € 12M by Artcurial on March 23, 2022, lot 15. Please watch the video shared by the auction house. The image is shared by Wikimedia.
Following the path opened by Adriaen Coorte around 1700, Chardin opts for the simplest geometric tabletop compositions in a contrasted light in front of a dark raw background.
Le Panier de fraises des bois, oil on canvas 38 x 46 cm, was released for the Salon de 1761 and illustrated by Saint-Aubin in the livret of that exhibition. It displays a stack of wild strawberries as a spectacular conical tabletop in a basket. That vivid red fruit had been Coorte's preferred pictorial theme.
The composition is completed on the table by a glass filled with limpid water, and by two ornamental cut off flowers, two cherries and a peach. Chardin had skillfully added an upper layer of red lacquer to link together the grainy berries while he left slightly unfocused the carnations.
Recognized as a masterpiece of Chardin's maturity offering a perfect sharp viewing from an ideal distance of 5 m away, Le panier was kept in a private French collection since 1862. It was sold for € 24.4M from a lower estimate of € 12M by Artcurial on March 23, 2022, lot 15. Please watch the video shared by the auction house. The image is shared by Wikimedia.
Asking Grok to compare Panier de Fraises des Bois by Chardin, sold by Artcurial on March 23, 2022, lot 15, with Le Melon entamé, sale cancelled for buyer's default after sold by Christie's on June 12, 2024, lot 5.
Overview
Both Panier de Fraises des Bois (The Basket of Wild Strawberries, c. 1761) and Le Melon Entamé (The Cut Melon, 1760) are masterpieces of still-life painting by Jean-Siméon Chardin (1699–1779), the preeminent French artist of intimate domestic scenes and everyday objects. Created at the peak of his career, these oval and rectangular compositions respectively showcase Chardin's mastery of light, texture, and subtle color harmonies, evoking a sense of quiet poetry and suspended time. They were both exhibited at the Paris Salon of 1761--Le Melon Entamé as a pendant to Le Bocal d’Abricots (now in the Art Gallery of Ontario), and Panier de Fraises des Bois independently—and share a provenance tied to the renowned Marcille collection, which amassed over 4,500 works by 18th-century French masters. These paintings highlight Chardin's influence from 17th-century Dutch still lifes, rendered with impasto techniques and soft, diffused lighting that imbues humble fruits and vessels with almost tactile presence.
Their auction histories reflect surging institutional interest in Chardin, with both setting records for the artist and 18th-century French Old Masters, though Le Melon Entamé's path was complicated by post-sale drama.
Date and Exhibition
Panier : c. 1761; exhibited at Salon of 1761 (catalogue no. 46).
Melon : 1760, signed and dated 'Chardin 1760'; exhibited at Salon of 1761 (with pendant Le Bocal d’Abricots).
Medium and DimensionsO
Panier : Oil on canvas; 38 x 46 cm (rectangular).
Melon : Oil on canvas; 57 x 51.5 cm (oval format, echoing the melon's shape).
Subject and Composition
Panier : A pyramidal basket of wild strawberries on a stone ledge, flanked by a glass of white wine, cherries, peaches, and two white carnations; simple geometric balance in white, red, and soft neutrals, with a diagonal flourish from the flowers for modern abstraction.
Melon : A sliced melon on a table, accompanied by greengage plums, peaches in a basket, two corked liqueur bottles, pears, and a flower-decorated ceramic pitcher; dynamic yet poised oval arrangement, with nuanced light creating buoyancy and volume amid rich greens, golds, and translucent flesh.
Artistic Significance
Panier : Iconic for its "extreme simplicity" and "audacious execution," blending silence and meditation; comparable to Panier de Prunes (Louvre) for its pyramidal form and peak-period assurance. Critics praise its "frank white-and-red accord" as unforgettable and proto-modern.
Melon : Monumental in scale and preservation; a "pure pictorial poetry" encapsulating Chardin's late genius in glazing, atmosphere, and half-light; invites tactile engagement with objects' weight and luster. One of his largest still lifes, rivaling Raymure à la Serviette for enveloping mellow light.
Provenance Highlights
Panier : Marcille collection (from 1862); remained in family until 2022; rediscovered in 19th century after obscurity.
Melon : Marcille collection (post-1876 sale); acquired by Baroness Nathaniel de Rothschild; descended through Rothschild heirs until 2024.
Auction Details
Panier : Artcurial, Paris, March 23, 2022, lot 15 (Maître Matthieu Fournier, with expert Éric Turquin).
Melon : Christie's, Paris, June 12, 2024, lot 5 (auctioneer Camille de Foresta).
Buyer and Outcome
Panier : New York dealer Adam Williams (on behalf of Kimbell Art Museum, Fort Worth); resold privately to Louvre in February 2024 for undisclosed sum (preempted export).
Melon : Italian investor Nanni Bassani Antivari; sale cancelled due to buyer's default (no payment); Christie's pursued legal action; repurchased by Rothschild heirs and sold privately to Kimbell Art Museum in 2025.
Market Impact
Panier : Set artist's record (until 2024); sparked French export debate and Louvre acquisition, affirming Chardin's rising status.
Melon : Surpassed prior record; most expensive Old Master and 18th-century French work sold in France (2024); default highlighted risks in high-value bids, but boosted Chardin's profile with Kimbell acquisition.
Similarities:
Both works exemplify Chardin's late style—effortless yet rigorous compositions of recurring motifs (e.g., fruits like peaches and plums, reflective glass)—elevating the mundane to the sublime. Their 2022–2024 sales underscore a "Chardin renaissance," driven by museum demand and the artist's underrepresentation in public collections relative to peers like Watteau. Provenance from elite French dynasties (Marcille/Rothschild) adds luster, and both were marketed as "rediscovered" gems from private holdings.
Differences:
Panier de Fraises des Bois emphasizes minimalist geometry and bold color restraint, suiting its smaller scale and rectangular format for intimate contemplation. Le Melon Entamé, larger and oval, feels more expansive and sensual, with deeper atmospheric effects and a pendant history that amplifies its narrative weight. Auction-wise, Le Melon's higher hammer reflected greater scarcity (fewer major Chardins remain private) and hype post-Panier's sale, but its default introduced rare auction-house vulnerability—contrasting Panier's smooth institutional transfer. Ultimately, both now enrich U.S. museums (Kimbell holds both indirectly via sales), ensuring Chardin's legacy endures beyond borders.
Overview
Both Panier de Fraises des Bois (The Basket of Wild Strawberries, c. 1761) and Le Melon Entamé (The Cut Melon, 1760) are masterpieces of still-life painting by Jean-Siméon Chardin (1699–1779), the preeminent French artist of intimate domestic scenes and everyday objects. Created at the peak of his career, these oval and rectangular compositions respectively showcase Chardin's mastery of light, texture, and subtle color harmonies, evoking a sense of quiet poetry and suspended time. They were both exhibited at the Paris Salon of 1761--Le Melon Entamé as a pendant to Le Bocal d’Abricots (now in the Art Gallery of Ontario), and Panier de Fraises des Bois independently—and share a provenance tied to the renowned Marcille collection, which amassed over 4,500 works by 18th-century French masters. These paintings highlight Chardin's influence from 17th-century Dutch still lifes, rendered with impasto techniques and soft, diffused lighting that imbues humble fruits and vessels with almost tactile presence.
Their auction histories reflect surging institutional interest in Chardin, with both setting records for the artist and 18th-century French Old Masters, though Le Melon Entamé's path was complicated by post-sale drama.
Date and Exhibition
Panier : c. 1761; exhibited at Salon of 1761 (catalogue no. 46).
Melon : 1760, signed and dated 'Chardin 1760'; exhibited at Salon of 1761 (with pendant Le Bocal d’Abricots).
Medium and DimensionsO
Panier : Oil on canvas; 38 x 46 cm (rectangular).
Melon : Oil on canvas; 57 x 51.5 cm (oval format, echoing the melon's shape).
Subject and Composition
Panier : A pyramidal basket of wild strawberries on a stone ledge, flanked by a glass of white wine, cherries, peaches, and two white carnations; simple geometric balance in white, red, and soft neutrals, with a diagonal flourish from the flowers for modern abstraction.
Melon : A sliced melon on a table, accompanied by greengage plums, peaches in a basket, two corked liqueur bottles, pears, and a flower-decorated ceramic pitcher; dynamic yet poised oval arrangement, with nuanced light creating buoyancy and volume amid rich greens, golds, and translucent flesh.
Artistic Significance
Panier : Iconic for its "extreme simplicity" and "audacious execution," blending silence and meditation; comparable to Panier de Prunes (Louvre) for its pyramidal form and peak-period assurance. Critics praise its "frank white-and-red accord" as unforgettable and proto-modern.
Melon : Monumental in scale and preservation; a "pure pictorial poetry" encapsulating Chardin's late genius in glazing, atmosphere, and half-light; invites tactile engagement with objects' weight and luster. One of his largest still lifes, rivaling Raymure à la Serviette for enveloping mellow light.
Provenance Highlights
Panier : Marcille collection (from 1862); remained in family until 2022; rediscovered in 19th century after obscurity.
Melon : Marcille collection (post-1876 sale); acquired by Baroness Nathaniel de Rothschild; descended through Rothschild heirs until 2024.
Auction Details
Panier : Artcurial, Paris, March 23, 2022, lot 15 (Maître Matthieu Fournier, with expert Éric Turquin).
Melon : Christie's, Paris, June 12, 2024, lot 5 (auctioneer Camille de Foresta).
Buyer and Outcome
Panier : New York dealer Adam Williams (on behalf of Kimbell Art Museum, Fort Worth); resold privately to Louvre in February 2024 for undisclosed sum (preempted export).
Melon : Italian investor Nanni Bassani Antivari; sale cancelled due to buyer's default (no payment); Christie's pursued legal action; repurchased by Rothschild heirs and sold privately to Kimbell Art Museum in 2025.
Market Impact
Panier : Set artist's record (until 2024); sparked French export debate and Louvre acquisition, affirming Chardin's rising status.
Melon : Surpassed prior record; most expensive Old Master and 18th-century French work sold in France (2024); default highlighted risks in high-value bids, but boosted Chardin's profile with Kimbell acquisition.
Similarities:
Both works exemplify Chardin's late style—effortless yet rigorous compositions of recurring motifs (e.g., fruits like peaches and plums, reflective glass)—elevating the mundane to the sublime. Their 2022–2024 sales underscore a "Chardin renaissance," driven by museum demand and the artist's underrepresentation in public collections relative to peers like Watteau. Provenance from elite French dynasties (Marcille/Rothschild) adds luster, and both were marketed as "rediscovered" gems from private holdings.
Differences:
Panier de Fraises des Bois emphasizes minimalist geometry and bold color restraint, suiting its smaller scale and rectangular format for intimate contemplation. Le Melon Entamé, larger and oval, feels more expansive and sensual, with deeper atmospheric effects and a pendant history that amplifies its narrative weight. Auction-wise, Le Melon's higher hammer reflected greater scarcity (fewer major Chardins remain private) and hype post-Panier's sale, but its default introduced rare auction-house vulnerability—contrasting Panier's smooth institutional transfer. Ultimately, both now enrich U.S. museums (Kimbell holds both indirectly via sales), ensuring Chardin's legacy endures beyond borders.
QIAN WEICHENG in Zhejiang
Intro
The very important inspection trips of the Kangxi emperor had a major role in consolidating the Southern provinces. Isolated regions therein must also join the civilization.
The coastal province of Zhejiang is the subject of a freeing campaign in 1727 CE during the reign of Yongzheng. The Qianlong emperor remains vigilant. During his 27th year, 1762 CE, he appoints as Education Commissioner of Zhejiang for a three-year mission one of his most brilliant mandarins named Qian Weicheng.
Qian's career is a very good example of the extreme and multidisciplinary skills required to the mandarins. Received at the examinations at the age of 23 in the tenth year of Qianlong, he had become as a jurist an important member of the imperial bureaucracy. Poet, calligrapher and artist, he knows how to imitate the ancients. His poetry is pleasant and original.
In the tradition of the Qing imperial travels, Qian executes landscape drawings of the Zhejiang in handscrolls of great length.
Qian Weicheng (钱维城, 1720–1772) was a prominent Qing dynasty scholar-official, painter, calligrapher, and poet. Born in Wujin (present-day Changzhou, Jiangsu province), he achieved the highest imperial examination rank (jinshi, often translated as Optimus or Top Graduate) in 1745 during the Qianlong Emperor's reign. He pursued a highly successful official career, rising to positions such as Vice Minister of Justice and Education Commissioner of Zhejiang (a key role overseeing education and examinations in the province).
His connection to Zhejiang stems primarily from this official posting as Education Commissioner, where he served in the province during parts of his career. He also painted landscapes and scenes that sometimes referenced or were influenced by travels and imperial commissions, though he was not native to Zhejiang.
Artistic Significance
Qian Weicheng is widely regarded as one of the leading figures in the Orthodox School (正统派) of Chinese painting during the 18th century. This school emphasized emulation of ancient masters, particularly Yuan dynasty landscapists like the Four Great Masters (Huang Gongwang, Wu Zhen, Ni Zan, and Wang Meng), as well as earlier traditions.
His works are held in major institutions like the Metropolitan Museum of Art, Yale University Art Gallery, Walters Art Museum, and others, often praised for their technical mastery and imperial endorsement.(These images represent typical examples of Qian Weicheng's landscape and flower paintings from museum collections, showcasing his Orthodox School style.)
Political Significance
Qian's political career exemplified the ideal Confucian scholar-official: excelling in examinations, serving loyally, and blending governance with cultural pursuits. His role as Education Commissioner in Zhejiang involved promoting Confucian education and imperial ideology in a culturally rich province.
He submitted memorials on legal reforms (e.g., clarifying homicide statutes in 1762), showing engagement with justice and administration. As a Han Chinese official in a Manchu-led dynasty, his success highlighted the integration of literati into the Qing system, supporting the emperor's cultural projects like massive art collections and southern tours.
His close ties to Qianlong positioned him as part of the court's literary and artistic propaganda, reinforcing imperial legitimacy through art.
Legacy
Qian Weicheng's legacy endures in Chinese art history as a master of Orthodox landscape and flower painting, bridging literati traditions with court demands. His works remain highly valued at auctions and in collections, symbolizing Qing cultural peak.
He authored the Chashan Collection (his literary works). His influence helped sustain traditional painting styles amid later shifts. Politically, he represents the scholar-official class's role in cultural governance during the high Qing era.
The coastal province of Zhejiang is the subject of a freeing campaign in 1727 CE during the reign of Yongzheng. The Qianlong emperor remains vigilant. During his 27th year, 1762 CE, he appoints as Education Commissioner of Zhejiang for a three-year mission one of his most brilliant mandarins named Qian Weicheng.
Qian's career is a very good example of the extreme and multidisciplinary skills required to the mandarins. Received at the examinations at the age of 23 in the tenth year of Qianlong, he had become as a jurist an important member of the imperial bureaucracy. Poet, calligrapher and artist, he knows how to imitate the ancients. His poetry is pleasant and original.
In the tradition of the Qing imperial travels, Qian executes landscape drawings of the Zhejiang in handscrolls of great length.
Qian Weicheng (钱维城, 1720–1772) was a prominent Qing dynasty scholar-official, painter, calligrapher, and poet. Born in Wujin (present-day Changzhou, Jiangsu province), he achieved the highest imperial examination rank (jinshi, often translated as Optimus or Top Graduate) in 1745 during the Qianlong Emperor's reign. He pursued a highly successful official career, rising to positions such as Vice Minister of Justice and Education Commissioner of Zhejiang (a key role overseeing education and examinations in the province).
His connection to Zhejiang stems primarily from this official posting as Education Commissioner, where he served in the province during parts of his career. He also painted landscapes and scenes that sometimes referenced or were influenced by travels and imperial commissions, though he was not native to Zhejiang.
Artistic Significance
Qian Weicheng is widely regarded as one of the leading figures in the Orthodox School (正统派) of Chinese painting during the 18th century. This school emphasized emulation of ancient masters, particularly Yuan dynasty landscapists like the Four Great Masters (Huang Gongwang, Wu Zhen, Ni Zan, and Wang Meng), as well as earlier traditions.
- Landscapes — His works often feature serene, profound compositions with crisp brushwork, light ink texturing, and harmonious elements. He excelled in imitating styles like Huang Gongwang's "floating" ink techniques.
- Flower paintings — Known for elegant, refined depictions with meticulous outlining, layering, and color application.
- Overall style — Rigorous structure, elegance, and a blend of poetry, calligraphy, and painting (the "three perfections"). His calligraphy followed Su Shi (Su Dongpo), and his poetry echoed Du Fu.
His works are held in major institutions like the Metropolitan Museum of Art, Yale University Art Gallery, Walters Art Museum, and others, often praised for their technical mastery and imperial endorsement.(These images represent typical examples of Qian Weicheng's landscape and flower paintings from museum collections, showcasing his Orthodox School style.)
Political Significance
Qian's political career exemplified the ideal Confucian scholar-official: excelling in examinations, serving loyally, and blending governance with cultural pursuits. His role as Education Commissioner in Zhejiang involved promoting Confucian education and imperial ideology in a culturally rich province.
He submitted memorials on legal reforms (e.g., clarifying homicide statutes in 1762), showing engagement with justice and administration. As a Han Chinese official in a Manchu-led dynasty, his success highlighted the integration of literati into the Qing system, supporting the emperor's cultural projects like massive art collections and southern tours.
His close ties to Qianlong positioned him as part of the court's literary and artistic propaganda, reinforcing imperial legitimacy through art.
Legacy
Qian Weicheng's legacy endures in Chinese art history as a master of Orthodox landscape and flower painting, bridging literati traditions with court demands. His works remain highly valued at auctions and in collections, symbolizing Qing cultural peak.
He authored the Chashan Collection (his literary works). His influence helped sustain traditional painting styles amid later shifts. Politically, he represents the scholar-official class's role in cultural governance during the high Qing era.
1
1763-1765 Ten Auspicious Landscapes of Taishan
2018 SOLD for HK$ 147M by Sotheby's
On April 3, 2018, Sotheby's sold for HK $ 147M from a lower estimate of HK $ 50M a 34 cm high scroll of ten landscapes of Mount Tiantai, for a total length of 4.60 m, lot 3301. This painting was probably made during or shortly after Qian Weichen’s tenure in Zhejiang.
The drawing without washes is of a topographical accuracy and includes the Buddhist monasteries and some human presence. Yet Qian, who had visited Yandang, did not walk Tiantai personally as his tour plans were each time abandoned due to bad weather. He was probably relying upon pre-existing images to avoid confessing this failure.
Each of the ten views is accompanied by a long descriptive commentary by Qian and by an autograph poem written by Qianlong and dated by him in the jiawu year, 1774 CE, two years after the death of the artist. The artwork was removed from the Palace in the early 1920s by the last deposed Qing emperor in an effort to protect the imperial patrimony from looters.
Please watch the video shared by Sotheby's including the vision of moving grounds then practiced by this auction house.
Ten Auspicious Landscapes of Taishan (泰山十景 or more precisely 台山瑞景, often translated as Ten Auspicious Landscapes of Taishan) is a renowned handscroll masterpiece by Qian Weicheng (钱维城, 1720–1772), created as an imperial commission and inscribed with poems by the Qianlong Emperor.
Physical Description and Format
The scroll depicts ten spectacular and auspicious landscapes from Mount Tiantai (天台山, Tiantai Mountain) in Zhejiang province—not Mount Taishan (泰山) in Shandong, despite the common English title translation. (The title "Taishan" here refers to "Tiantai Shan," with "Tai" as a variant or poetic reference; some sources clarify it as Mount Tiantai's auspicious vistas.) Mount Tiantai is a sacred Buddhist site famous for its dramatic peaks, waterfalls, ancient temples, and mist-shrouded scenery, symbolizing harmony, longevity, and imperial benevolence.
Each section portrays a distinct, sublime view, rendered in Qian's characteristic Orthodox School style: meticulous brushwork, layered ink textures, harmonious compositions inspired by Yuan masters, and vibrant yet refined colors evoking serenity and grandeur. The paintings blend natural beauty with auspicious symbolism, aligning with Qing court art's emphasis on imperial legitimacy and cosmic order.
Historical and Artistic Context
Qian Weicheng, a favored court painter and high-ranking official (including his time as Education Commissioner in Zhejiang), created this work likely drawing from imperial tours or personal knowledge of southern landscapes. The Qianlong Emperor, an avid collector and poet, frequently inscribed his own verses on favored artworks to personalize and elevate them. The poems here express appreciation for the scenes, commemorate Qian Weicheng (who died in 1772), and reflect the emperor's Daoist-Confucian worldview.
The scroll was originally part of the imperial collection in the Forbidden City, cataloged in imperial inventories, and passed down through the Qing dynasty until the early 20th century. It re-emerged publicly as a "rediscovered imperial heirloom" after decades in private hands or obscurity.
Auction History and Significance
In April 2018, it was offered at Sotheby's Hong Kong as the highlight of the "Rediscovered Imperial Heirloom" sale:
Ten Auspicious Landscapes exemplifies the fusion of painting, poetry, and calligraphy in Qing imperial art. It highlights Qian Weicheng's role in documenting and glorifying the empire's landscapes while serving the Qianlong Emperor's cultural agenda. As a "Shiqu baoji" item, it carries elite provenance, and its rediscovery and high-profile sale revived interest in Qian's oeuvre.(Images of this scroll from auction catalogs and publications show its elegant sectional compositions, poetic inscriptions, and imperial seals—often featuring misty peaks, cascading waters, and temple vistas in delicate greens, blues, and earth tones.)
The drawing without washes is of a topographical accuracy and includes the Buddhist monasteries and some human presence. Yet Qian, who had visited Yandang, did not walk Tiantai personally as his tour plans were each time abandoned due to bad weather. He was probably relying upon pre-existing images to avoid confessing this failure.
Each of the ten views is accompanied by a long descriptive commentary by Qian and by an autograph poem written by Qianlong and dated by him in the jiawu year, 1774 CE, two years after the death of the artist. The artwork was removed from the Palace in the early 1920s by the last deposed Qing emperor in an effort to protect the imperial patrimony from looters.
Please watch the video shared by Sotheby's including the vision of moving grounds then practiced by this auction house.
Ten Auspicious Landscapes of Taishan (泰山十景 or more precisely 台山瑞景, often translated as Ten Auspicious Landscapes of Taishan) is a renowned handscroll masterpiece by Qian Weicheng (钱维城, 1720–1772), created as an imperial commission and inscribed with poems by the Qianlong Emperor.
Physical Description and Format
- Medium: Ink and color on paper.
- Format: Horizontal handscroll (手卷).
- Dimensions: Approximately 33.7 cm in height × 458 cm in length (13 1/4 × 180 inches).
- Structure: Divided into ten sections, each depicting one auspicious scenic view. The sections are roughly similar in width (44.5–46.5 cm), separated by narrow colophon strips lightly washed in indigo or pale green. These strips contain short descriptive accounts of each view in small regular script.
- Artist's inscription: At the end, signed "Painted and inscribed by your humble servant Qian Weicheng" with two of his seals.
- Imperial additions: Each of the ten paintings has a poem composed and inscribed by the Qianlong Emperor (dated to the jiawu year, corresponding to 1774, after Qian's death), with one or two imperial seals per poem. The emperor's final inscription is dated to the late third lunar month of 1774. The scroll bears nine additional Qianlong seals, including Shiqu baoji (石渠寶笈, "The Precious Collection of the Stone Canal Pavilion," one of the imperial painting catalogs). It also has two seals from the Xuantong Emperor (reign 1908–1912).
The scroll depicts ten spectacular and auspicious landscapes from Mount Tiantai (天台山, Tiantai Mountain) in Zhejiang province—not Mount Taishan (泰山) in Shandong, despite the common English title translation. (The title "Taishan" here refers to "Tiantai Shan," with "Tai" as a variant or poetic reference; some sources clarify it as Mount Tiantai's auspicious vistas.) Mount Tiantai is a sacred Buddhist site famous for its dramatic peaks, waterfalls, ancient temples, and mist-shrouded scenery, symbolizing harmony, longevity, and imperial benevolence.
Each section portrays a distinct, sublime view, rendered in Qian's characteristic Orthodox School style: meticulous brushwork, layered ink textures, harmonious compositions inspired by Yuan masters, and vibrant yet refined colors evoking serenity and grandeur. The paintings blend natural beauty with auspicious symbolism, aligning with Qing court art's emphasis on imperial legitimacy and cosmic order.
Historical and Artistic Context
Qian Weicheng, a favored court painter and high-ranking official (including his time as Education Commissioner in Zhejiang), created this work likely drawing from imperial tours or personal knowledge of southern landscapes. The Qianlong Emperor, an avid collector and poet, frequently inscribed his own verses on favored artworks to personalize and elevate them. The poems here express appreciation for the scenes, commemorate Qian Weicheng (who died in 1772), and reflect the emperor's Daoist-Confucian worldview.
The scroll was originally part of the imperial collection in the Forbidden City, cataloged in imperial inventories, and passed down through the Qing dynasty until the early 20th century. It re-emerged publicly as a "rediscovered imperial heirloom" after decades in private hands or obscurity.
Auction History and Significance
In April 2018, it was offered at Sotheby's Hong Kong as the highlight of the "Rediscovered Imperial Heirloom" sale:
- Estimate: HK$50–70 million (approx. US$6.4–9 million).
- Result: Sold for HK$146 million (approx. US$18.7 million) after a dramatic 40-minute bidding war with over 100 bids and more than 110 calls—far exceeding expectations and setting a record for the artist. This sale underscored its status as a peak example of high Qing court painting, combining technical mastery, imperial endorsement, and historical provenance.
Ten Auspicious Landscapes exemplifies the fusion of painting, poetry, and calligraphy in Qing imperial art. It highlights Qian Weicheng's role in documenting and glorifying the empire's landscapes while serving the Qianlong Emperor's cultural agenda. As a "Shiqu baoji" item, it carries elite provenance, and its rediscovery and high-profile sale revived interest in Qian's oeuvre.(Images of this scroll from auction catalogs and publications show its elegant sectional compositions, poetic inscriptions, and imperial seals—often featuring misty peaks, cascading waters, and temple vistas in delicate greens, blues, and earth tones.)
2
1763-1764 Yandang Mountain
2010 SOLD for RMB 130M by Poly
A continuous panoramic view of Yandang mountain in Zhejiang by Qian Weicheng, handscroll in green on paper 31.5 x 730 cm, was sold for RMB 130M from a lower estimate of RMB 50M by Poly on June 3, 2010, lot 2866.
While serving the government on Zhejiang, the artist had visited Yandang twice, in 1763 and 1764. Titled 23 pictures of Yandang, this picture is based from an original by Li Tang, an artist under the Song dynasty.
It features rocks and valleys, majestic peaks, waterfalls and springs, lush vegetation, ancient caves and secluded temples, towering ancient trees, and beautiful lakes and mountains.
The trees and figures in the mountains are meticulously depicted, and the dense brushstrokes and rich colors enliven the atmosphere of the painting. The distant mountains are dyed with blue flowers, and the clouds in the mountains are misty.
The image is shared by Wikimedia.
The panoramic view of Yandang Mountain (雁荡图, Yandang Tu) by Qian Weicheng, sold at Poly Beijing's Spring Auction on June 3, 2010 (lot 2866), achieved a hammer price leading to a total of RMB 129.92 million (approximately RMB 130 million including fees), marking a landmark moment in the artist's market and career recognition.
Artwork Details
This handscroll stands as one of Qian Weicheng's two most famous long-scroll masterpieces (the other being the imperial Ten Auspicious Landscapes of Taishan/Tiantai), cementing his reputation as a premier landscapist of the high Qing era.
While serving the government on Zhejiang, the artist had visited Yandang twice, in 1763 and 1764. Titled 23 pictures of Yandang, this picture is based from an original by Li Tang, an artist under the Song dynasty.
It features rocks and valleys, majestic peaks, waterfalls and springs, lush vegetation, ancient caves and secluded temples, towering ancient trees, and beautiful lakes and mountains.
The trees and figures in the mountains are meticulously depicted, and the dense brushstrokes and rich colors enliven the atmosphere of the painting. The distant mountains are dyed with blue flowers, and the clouds in the mountains are misty.
The image is shared by Wikimedia.
The panoramic view of Yandang Mountain (雁荡图, Yandang Tu) by Qian Weicheng, sold at Poly Beijing's Spring Auction on June 3, 2010 (lot 2866), achieved a hammer price leading to a total of RMB 129.92 million (approximately RMB 130 million including fees), marking a landmark moment in the artist's market and career recognition.
Artwork Details
- Title: Yandang Tu (雁荡图), also known as Yandang Wushisan Jing Tu (雁荡五十三景图, Fifty-Three Views of Yandang) or similar references to its expansive depiction.
- Format: Long handscroll (手卷), ink and color on paper, executed in green tones.
- Dimensions: Approximately 31.5 cm height × 730 cm length.
- Creation Context: Painted based on Qian Weicheng's personal visits to Yandang Mountain (雁荡山) in Zhejiang province during his tenure there (likely as Education Commissioner or related official duties). He visited twice, in 1763 and 1764 (Qianlong 28–29). The work draws inspiration from Li Tang (李唐, Southern Song dynasty master), adapting his style to depict a continuous panoramic vista.
- Composition: Features 23 (or up to 53 in expanded references) scenic sections, showcasing majestic peaks, deep valleys, cascading waterfalls, springs, lush vegetation, ancient caves, secluded temples, towering trees, and serene lakes/mountains. The brushwork is dense and meticulous, with rich layering of colors and fine details in figures, foliage, and atmospheric effects—hallmarks of Qian's Orthodox School mastery blended with court refinement.
This handscroll stands as one of Qian Weicheng's two most famous long-scroll masterpieces (the other being the imperial Ten Auspicious Landscapes of Taishan/Tiantai), cementing his reputation as a premier landscapist of the high Qing era.
- Career Peak Representation: Created during his mid-to-late career (1760s), it directly ties to his Zhejiang service, where he engaged with southern landscapes firsthand—unlike many court works based on imperial tours or copies. This personal experience allowed greater authenticity and innovation within orthodox traditions, showcasing his ability to synthesize ancient models (e.g., Song-Yuan masters) with observed reality.
- Technical and Artistic Mastery: It exemplifies his strengths in large-scale panoramic compositions, rigorous structure, vibrant yet harmonious coloring, and integration of "three perfections" (painting, calligraphy, poetry—though this scroll emphasizes visual grandeur). The Li Tang influence highlights his scholarly depth in emulating historical styles while elevating them for Qing imperial taste.
- Imperial and Official Prestige: As a jinshi (top exam graduate) and Qianlong favorite, works like this reinforced his dual role as scholar-official and court artist. Yandang's sacred, dramatic scenery (a major Buddhist/Daoist site) aligned with Qianlong's emphasis on cultural documentation and auspicious symbolism.
- Market and Legacy Impact: The 2010 sale was a breakthrough, establishing Qian Weicheng in the "hundred-million RMB club" for Chinese classical paintings—one of the earliest such records for an 18th-century court painter. It highlighted surging demand for high-Qing orthodox works amid China's art boom. For years, it ranked among his top auction results (later surpassed by the 2018 Ten Auspicious Landscapes at HK$146.8 million / ~US$18.7 million at Sotheby's Hong Kong, which became his record). The Poly sale drew widespread attention, affirming his status as a blue-chip artist in the classical Chinese painting canon.
1764 Pacification of the Western Regions by Xu Yang
2021 SOLD for RMB 410M by Poly
From the 20th to 24th year of Qianlong matching 1755 to 1759 CE, the emperor ordered three military campaigns for the control of the border Xinjiang region and the destruction of the Dzungars.
Xu Yang was a court artist. A handscroll 43 x 1860 cm in bright colors on paper is titled Picture of the Presentation of the Captives for the Pacification of the Western Regions. Commissioned by the emperor, it depicts scenes in Beijing during a military ceremony in the Qing palace after the victories. His sense of perspective and figuration were influenced by European art.
This detailed topographic picture leads the viewer from Zhengyang gate to the Forbidden City through Tiananmen Square. Crowds are displayed alongside lines of guards and flag bearers.
According to the archives Xu Yang should have completed this painting before the 29th year of Qianlong's reign, 1764 CE.
This piece was originally displayed with brocade wrapping in the imperial palace and bears several seals of Qianlong. It was sold for RMB 134M by Sungari in 2009 and for RMB 410M by Poly on June 6, 2021, lot 1935 and is illustrated in the post sale report shared by CNN. Two details are illustrated in the tweet below.
Xu Yang : Overview and Artistic Legacy.
Overview
Xu Yang (1712 – after 1777) was a renowned Chinese painter of the Qing dynasty, best known as a court artist serving the Qianlong Emperor (r. 1736–1795). Born in Suzhou, a culturally rich city in Jiangsu province, Xu was recruited to the imperial court in 1751 and quickly rose to prominence as one of the emperor's favored painters. He remained active in his career from around 1750 to 1776, producing works that captured the opulence and administrative grandeur of the era. His role at court involved creating large-scale documentary paintings that served both artistic and propagandistic purposes, highlighting the emperor's benevolence and the empire's prosperity.
Xu Yang's major commissions included the monumental series of twelve silk handscrolls titled The Qianlong Emperor's Southern Inspection Tour, which chronicled the emperor's historic 1751 journey through southern China. He began drafting these in 1764 and completed the final versions by 1770, in time for the Qianlong Emperor's sixtieth birthday. Another key work is Prosperous Suzhou (also known as Suzhou Fanhua Tu), a detailed panorama depicting the bustling urban life and economic vitality of his hometown during the Qing period. In more intimate pieces, such as the 1753 fan painting Palaces of the Immortals, Xu showcased his versatility with Daoist themes and auspicious imagery suitable for imperial gifts.
Artistic Legacy
Xu Yang's artistic style represents a fusion of traditional Chinese painting techniques with emerging Western influences introduced to the Qing court through Jesuit missionaries and European artists like Giuseppe Castiglione. He frequently employed the archaic "blue-and-green" landscape mode, characterized by vibrant mineral pigments, gold accents, and meticulous architectural elements, which evoked a sense of imperial majesty and otherworldly paradise. In grander projects, such as the Southern Inspection Tour scrolls, Xu incorporated linear perspective and foreshortening to create depth and realism in urban and architectural scenes, marking a departure from the flatter, more stylized representations of earlier Chinese art. His figures appear more three-dimensional and anatomically precise, influenced by European figural representation, though this sometimes resulted in a paradoxical loss of vitality compared to the expressive brushwork of predecessors like Wang Hui.
Xu Yang's legacy lies in his role as a bridge between traditional Chinese court painting and the syncretic styles that defined the high Qing era. His works not only served as visual records of imperial achievements and urban prosperity but also advanced the technical sophistication of Chinese art by integrating foreign elements without abandoning native aesthetics. Today, his paintings, housed in institutions like the Metropolitan Museum of Art, provide invaluable insights into 18th-century Chinese society, economy, and imperial ideology, cementing his place as a key figure in Qing dynasty art history.
Xu Yang was a court artist. A handscroll 43 x 1860 cm in bright colors on paper is titled Picture of the Presentation of the Captives for the Pacification of the Western Regions. Commissioned by the emperor, it depicts scenes in Beijing during a military ceremony in the Qing palace after the victories. His sense of perspective and figuration were influenced by European art.
This detailed topographic picture leads the viewer from Zhengyang gate to the Forbidden City through Tiananmen Square. Crowds are displayed alongside lines of guards and flag bearers.
According to the archives Xu Yang should have completed this painting before the 29th year of Qianlong's reign, 1764 CE.
This piece was originally displayed with brocade wrapping in the imperial palace and bears several seals of Qianlong. It was sold for RMB 134M by Sungari in 2009 and for RMB 410M by Poly on June 6, 2021, lot 1935 and is illustrated in the post sale report shared by CNN. Two details are illustrated in the tweet below.
Xu Yang : Overview and Artistic Legacy.
Overview
Xu Yang (1712 – after 1777) was a renowned Chinese painter of the Qing dynasty, best known as a court artist serving the Qianlong Emperor (r. 1736–1795). Born in Suzhou, a culturally rich city in Jiangsu province, Xu was recruited to the imperial court in 1751 and quickly rose to prominence as one of the emperor's favored painters. He remained active in his career from around 1750 to 1776, producing works that captured the opulence and administrative grandeur of the era. His role at court involved creating large-scale documentary paintings that served both artistic and propagandistic purposes, highlighting the emperor's benevolence and the empire's prosperity.
Xu Yang's major commissions included the monumental series of twelve silk handscrolls titled The Qianlong Emperor's Southern Inspection Tour, which chronicled the emperor's historic 1751 journey through southern China. He began drafting these in 1764 and completed the final versions by 1770, in time for the Qianlong Emperor's sixtieth birthday. Another key work is Prosperous Suzhou (also known as Suzhou Fanhua Tu), a detailed panorama depicting the bustling urban life and economic vitality of his hometown during the Qing period. In more intimate pieces, such as the 1753 fan painting Palaces of the Immortals, Xu showcased his versatility with Daoist themes and auspicious imagery suitable for imperial gifts.
Artistic Legacy
Xu Yang's artistic style represents a fusion of traditional Chinese painting techniques with emerging Western influences introduced to the Qing court through Jesuit missionaries and European artists like Giuseppe Castiglione. He frequently employed the archaic "blue-and-green" landscape mode, characterized by vibrant mineral pigments, gold accents, and meticulous architectural elements, which evoked a sense of imperial majesty and otherworldly paradise. In grander projects, such as the Southern Inspection Tour scrolls, Xu incorporated linear perspective and foreshortening to create depth and realism in urban and architectural scenes, marking a departure from the flatter, more stylized representations of earlier Chinese art. His figures appear more three-dimensional and anatomically precise, influenced by European figural representation, though this sometimes resulted in a paradoxical loss of vitality compared to the expressive brushwork of predecessors like Wang Hui.
Xu Yang's legacy lies in his role as a bridge between traditional Chinese court painting and the syncretic styles that defined the high Qing era. His works not only served as visual records of imperial achievements and urban prosperity but also advanced the technical sophistication of Chinese art by integrating foreign elements without abandoning native aesthetics. Today, his paintings, housed in institutions like the Metropolitan Museum of Art, provide invaluable insights into 18th-century Chinese society, economy, and imperial ideology, cementing his place as a key figure in Qing dynasty art history.
Maybe the most expensive item in the coming Beijing Spring Auction:
— China in Pictures (@tongbingxue) May 17, 2021
Settling Down the Western Regions and Presenting Prisoners,
hand scroll by court artist Xu Yang, Qianlong Period (1736-1796), 1,800 cm wide, Poly Auction, POR. pic.twitter.com/SJqs7nM4DR
1765 Gimcrack by Stubbs
2011 SOLD for £ 22.4M by Christie's
Serving wealthy English aristocrats, George Stubbs specialized in the topic of race horses. On December 8, 2010, Sotheby's sold £ 10.1M a very elegant study of mares and foals in a meadow, painted in 1767.
A horse named Gimcrack was winning most of the races where he was engaged. His portrait was sold for £ 22.4M by Christie's on July 5, 2011, lot 12.
Made around 1765, this broad composition, oil on canvas 102 x 196 cm, simple and effective, is divided into two parts. On the left, Gimcrack shows his beautiful profile, surrounded by a coach, a stable boy and a jockey.
A race is held on the horizon, on the right. A horse is far ahead of his three followers. He is also Gimcrack, of course. He is therefore shown twice on that image that had everything to flatter the sponsor of the work, Lord Bolingbroke, owner of the champion.
Stubbs is very accurate in anatomical detail, but still shows horses galloping with their four legs flying above the ground. This feature, which can be excused one century before the studies of Muybridge, applies here only in the background and provides this work with an undeniable poetic dimension.
A horse named Gimcrack was winning most of the races where he was engaged. His portrait was sold for £ 22.4M by Christie's on July 5, 2011, lot 12.
Made around 1765, this broad composition, oil on canvas 102 x 196 cm, simple and effective, is divided into two parts. On the left, Gimcrack shows his beautiful profile, surrounded by a coach, a stable boy and a jockey.
A race is held on the horizon, on the right. A horse is far ahead of his three followers. He is also Gimcrack, of course. He is therefore shown twice on that image that had everything to flatter the sponsor of the work, Lord Bolingbroke, owner of the champion.
Stubbs is very accurate in anatomical detail, but still shows horses galloping with their four legs flying above the ground. This feature, which can be excused one century before the studies of Muybridge, applies here only in the background and provides this work with an undeniable poetic dimension.
Significance in the artist's career and in horse racing history.
The Painting
George Stubbs' "Gimcrack with John Pratt Up on Newmarket Heath" (oil on canvas, 1765) is one of the most iconic images in British sporting art. It depicts the celebrated racehorse Gimcrack, a small grey colt, with his jockey John Pratt in the colors of his owner, the 2nd Viscount Bolingbroke. In the background Stubbs included a famous “rubbing-down house” (a shelter where horses were cooled off after exercise) on Newmarket Heath, giving the picture a strong sense of place.
The painting was commissioned by Gimcrack’s first important owner, Frederick St John, 2nd Viscount Bolingbroke, and remained in the family until it was sold at Christie’s London on 5 July 2011 for £22,441,250 (approximately $36 million at the time), still the world-record auction price for a British sporting painting and for any work by George Stubbs.
Significance in George Stubbs’ Career
Gimcrack (foaled 1760) was one of the most famous racehorses of the 18th century despite being unusually small (barely 14.1 hands):
When the painting appeared at Christie’s in 2011 after almost 250 years in the same family (Woolavington Collection), it caused a sensation:
The Painting
George Stubbs' "Gimcrack with John Pratt Up on Newmarket Heath" (oil on canvas, 1765) is one of the most iconic images in British sporting art. It depicts the celebrated racehorse Gimcrack, a small grey colt, with his jockey John Pratt in the colors of his owner, the 2nd Viscount Bolingbroke. In the background Stubbs included a famous “rubbing-down house” (a shelter where horses were cooled off after exercise) on Newmarket Heath, giving the picture a strong sense of place.
The painting was commissioned by Gimcrack’s first important owner, Frederick St John, 2nd Viscount Bolingbroke, and remained in the family until it was sold at Christie’s London on 5 July 2011 for £22,441,250 (approximately $36 million at the time), still the world-record auction price for a British sporting painting and for any work by George Stubbs.
Significance in George Stubbs’ Career
- This is arguably Stubbs’ most famous single horse portrait and the one that cemented his reputation as the greatest painter of racehorses in history.
- Painted in 1765, it came at the absolute peak of Stubbs’ powers, shortly after the publication of his revolutionary book The Anatomy of the Horse (1766), which had established him as both an artist and a serious equine anatomist.
- The picture shows Stubbs’ mature style in full: astonishingly accurate anatomy combined with luminous atmospheric effects, subtle greys and silvers in the horse’s coat, and a low horizon that makes the horse appear heroic against the vast Suffolk sky.
- It was one of the first paintings in which Stubbs placed a named, contemporary Thoroughbred in a specific landscape setting rather than the more generic parkland backgrounds of earlier portraits. This innovation became his signature format and influenced generations of sporting artists.
- Gimcrack was exhibited at the Society of Artists in 1766 (one of only three paintings Stubbs ever exhibited in his lifetime), bringing him enormous publicity at exactly the moment he was establishing his independent studio in London.
Gimcrack (foaled 1760) was one of the most famous racehorses of the 18th century despite being unusually small (barely 14.1 hands):
- He raced an extraordinary 36 times between 1764 and 1771 and won 27 of those races (a remarkable record for the era of long-distance heat racing).
- His most celebrated victory was beating the previously unbeaten Pontac over four-mile heats at Newmarket in 1765 — the year Stubbs painted him.
- In 1768 he was sold to the Comte de Lauraguais and exported to France, where he won several races and became the first British horse to race successfully on the Continent, helping spread the fashion for English Thoroughbreds in Europe.
- After retirement he stood as a stallion in England again and sired a number of good runners, though he is more important historically than as a sire.
- Gimcrack’s fame was such that the Gimcrack Stakes (now a prestigious Group 2 race for two-year-olds at York) has been named after him since 1846, and the Gimcrack Dinner, one of the most important social events in British racing, is still held annually by the York Gimcrack Club.
When the painting appeared at Christie’s in 2011 after almost 250 years in the same family (Woolavington Collection), it caused a sensation:
- It shattered the previous record for Stubbs (£10.1 million for “Broodmares and Foals” in 1996).
- It remains the most expensive sporting picture and the most expensive Old Master painting ever sold at auction in London.
- It was bought by an anonymous bidder (later revealed to be the British art dealer Simon Dickinson acting for a private collector) and is now on long-term loan to the National Horseracing Museum in Newmarket, where it can be seen by the public.
#GeorgeStubbs was born #OTD in 1724. We sold Gimcrack on Newmarket Heath in 2011 for £22,441,250 #WorldAuctionRecord #artistbirthday pic.twitter.com/B7fCB2eivD
— Christie's (@ChristiesInc) August 25, 2017
1766 Qianlong Ji'entang Seal
2021 SOLD for HK$ 146M by Sotheby's
1722 CE was the 61st and final year of Kangxi's reign. He had devoted his entire life to his role as a political leader, continually concerned with the well-being of his people. This competent emperor did not want his work to disappear with him.
In the third month of that 61st year, he asked to meet one of his many grandsons, the ten-year-old Prince Hongli. The boy indeed had promising gifts, both intellectually and physically. The old emperor, aged 69, took a personal and intensive responsibility for the martial and literary education of the prince. When he died a few months later, a hitherto secret letter was opened, designating Hongli's father as his successor.
Hongli in turn ascended to the throne in 1735 with the reign name Qianlong. His short relationship with his grandfather marked him for life. Kangxi will remain his model, for his attitude and his commitments. An emperor must relentlessly do good by applying the highest virtues day after day. Qianlong's piety for his grandfather was so intense that he would abdicate in the 61st year of his own reign, in a decades-long premeditated tribute to Kangxi.
Qianlong may be the Son of Heaven, but he is also a human being. His father's accession to the empire came at the expense of another prince and his own legitimacy could be challenged. In 1742 he wrote an essay on his justification, for the use of the Imperial Palace.
In 1766 the question remains valid. Qianlong reworks his essay which is inscribed on a tablet for the use of Ji'entang, the Hall of Grace Remembrance. The emperor explains how and why his grandfather passed on his beneficent influence to him, and the daily efforts he never ceased to make to be worthy of this trust. He takes care to detail how an emperor of the Zhou dynasty organized his own succession by dismissing a virtuous but unambitious heir.
A white jade seal is made in the same year for use in the same room, with the three characters for impressing the word Ji'entang in archaic script. The sides are inscribed with the full version of the essay. The knob is a pair of entwined dragons. The sacking of the Summer Palace in 1860 left some veining in the perimeter but the mark and the dragons are not damaged.
This 10.4 cm square seal with a total height of 7.8 cm was sold for HK $ 146M by Sotheby's on April 22, 2021, lot 3603. It is the third seal with strong historical significance narrated by Nicolas Chow in the video shared by Sotheby's.
In the third month of that 61st year, he asked to meet one of his many grandsons, the ten-year-old Prince Hongli. The boy indeed had promising gifts, both intellectually and physically. The old emperor, aged 69, took a personal and intensive responsibility for the martial and literary education of the prince. When he died a few months later, a hitherto secret letter was opened, designating Hongli's father as his successor.
Hongli in turn ascended to the throne in 1735 with the reign name Qianlong. His short relationship with his grandfather marked him for life. Kangxi will remain his model, for his attitude and his commitments. An emperor must relentlessly do good by applying the highest virtues day after day. Qianlong's piety for his grandfather was so intense that he would abdicate in the 61st year of his own reign, in a decades-long premeditated tribute to Kangxi.
Qianlong may be the Son of Heaven, but he is also a human being. His father's accession to the empire came at the expense of another prince and his own legitimacy could be challenged. In 1742 he wrote an essay on his justification, for the use of the Imperial Palace.
In 1766 the question remains valid. Qianlong reworks his essay which is inscribed on a tablet for the use of Ji'entang, the Hall of Grace Remembrance. The emperor explains how and why his grandfather passed on his beneficent influence to him, and the daily efforts he never ceased to make to be worthy of this trust. He takes care to detail how an emperor of the Zhou dynasty organized his own succession by dismissing a virtuous but unambitious heir.
A white jade seal is made in the same year for use in the same room, with the three characters for impressing the word Ji'entang in archaic script. The sides are inscribed with the full version of the essay. The knob is a pair of entwined dragons. The sacking of the Summer Palace in 1860 left some veining in the perimeter but the mark and the dragons are not damaged.
This 10.4 cm square seal with a total height of 7.8 cm was sold for HK $ 146M by Sotheby's on April 22, 2021, lot 3603. It is the third seal with strong historical significance narrated by Nicolas Chow in the video shared by Sotheby's.
The Ji'entang (紀恩堂) seals associated with the Qianlong Emperor (r. 1736–1796) of the Qing Dynasty hold profound historical, personal, and cultural significance. "Ji'entang" translates to "Hall of Grace Remembrance" or "Hall for Remembering Grace/Kindness."
This inscription refers to a specific hall or place where the young Hongli (Qianlong's personal name before ascending the throne) first met and was received by his grandfather, the Kangxi Emperor (r. 1661–1722). Kangxi personally nurtured, instructed, and favored Hongli as a child and young prince, playing a key role in his upbringing and eventual path to the throne.
Neither Qianlong nor his father, the Yongzheng Emperor (r. 1722–1735), was originally the designated heir apparent (they were not the eldest sons in direct line of succession). The "Ji'entang" inscription and the seal's creation served to legitimize Qianlong's rule by publicly honoring and invoking the grace, teachings, and endorsement he received from Kangxi. It symbolized his commitment to upholding Kangxi's principles and Confucian virtues of filial piety, gratitude, and legitimate succession. The seal was commissioned in the Bingxu year (1766, the 31st year of Qianlong's reign), with the side often inscribed with Qianlong's own essay or poem titled "On the Hall of Grace Remembrance" (紀恩堂記), further emphasizing this personal reflection.
Imperial seals like this were not mere administrative tools but powerful symbols of authority, legitimacy, and the emperor's identity. They were used to stamp imperial documents, artworks, calligraphy, or books, affirming the emperor's approval or ownership. Qianlong was an avid collector and connoisseur, and such personal seals underscored his cultural sophistication and historical self-positioning.
The specific white jade "Ji'entang" seal (dated 1766, Qing Dynasty, Qianlong period) referenced—measuring approximately 10.4 x 10.4 x 7.8 cm, carved with intertwined dragons on the knob, and bearing burn marks and cracks from the fall of the Qing Dynasty—was sold at Sotheby's Hong Kong on April 22, 2021, as lot 3603 in the "Important Chinese Art" auction. It realized HK$145,691,000 (approximately US$18.7 million at the time), setting a record price for a jade seal. The piece had previously appeared at Sotheby's in 2004 (selling for around HK$14 million), showing significant appreciation in value driven by strong demand for imperial Qing jades with direct historical ties to emperors.
This seal's rarity, material (high-quality white "mutton-fat" nephrite jade), size, imperial inscription, provenance, and dramatic history (damage from the dynasty's violent end) contributed to its exceptional auction result and scholarly importance. It exemplifies the premium placed on artifacts that connect directly to Qianlong's personal narrative and the Qing court's emphasis on legitimacy through ancestral reverence.
This inscription refers to a specific hall or place where the young Hongli (Qianlong's personal name before ascending the throne) first met and was received by his grandfather, the Kangxi Emperor (r. 1661–1722). Kangxi personally nurtured, instructed, and favored Hongli as a child and young prince, playing a key role in his upbringing and eventual path to the throne.
Neither Qianlong nor his father, the Yongzheng Emperor (r. 1722–1735), was originally the designated heir apparent (they were not the eldest sons in direct line of succession). The "Ji'entang" inscription and the seal's creation served to legitimize Qianlong's rule by publicly honoring and invoking the grace, teachings, and endorsement he received from Kangxi. It symbolized his commitment to upholding Kangxi's principles and Confucian virtues of filial piety, gratitude, and legitimate succession. The seal was commissioned in the Bingxu year (1766, the 31st year of Qianlong's reign), with the side often inscribed with Qianlong's own essay or poem titled "On the Hall of Grace Remembrance" (紀恩堂記), further emphasizing this personal reflection.
Imperial seals like this were not mere administrative tools but powerful symbols of authority, legitimacy, and the emperor's identity. They were used to stamp imperial documents, artworks, calligraphy, or books, affirming the emperor's approval or ownership. Qianlong was an avid collector and connoisseur, and such personal seals underscored his cultural sophistication and historical self-positioning.
The specific white jade "Ji'entang" seal (dated 1766, Qing Dynasty, Qianlong period) referenced—measuring approximately 10.4 x 10.4 x 7.8 cm, carved with intertwined dragons on the knob, and bearing burn marks and cracks from the fall of the Qing Dynasty—was sold at Sotheby's Hong Kong on April 22, 2021, as lot 3603 in the "Important Chinese Art" auction. It realized HK$145,691,000 (approximately US$18.7 million at the time), setting a record price for a jade seal. The piece had previously appeared at Sotheby's in 2004 (selling for around HK$14 million), showing significant appreciation in value driven by strong demand for imperial Qing jades with direct historical ties to emperors.
This seal's rarity, material (high-quality white "mutton-fat" nephrite jade), size, imperial inscription, provenance, and dramatic history (damage from the dynasty's violent end) contributed to its exceptional auction result and scholarly importance. It exemplifies the premium placed on artifacts that connect directly to Qianlong's personal narrative and the Qing court's emphasis on legitimacy through ancestral reverence.
1768 The Rialto by GUARDI
Intro
The death of Canaletto in April 1768 generates great ambitions to Francesco Guardi suddenly becoming the best supplier of the British tourists.
A pair of oils on canvases is unique in the history of the vedutas by the conjunction of their monumental dimension, 120 x 204 cm each, with the maturity of Guardi. The canvases are wider than the looms in use at that time and a nearly invisible seam had been needed in the lower part of the image.
They show the commercial district of Venice, the Rialto, on the Grand Canal on both sides of its spectacular single arched covered bridge which housed shops. The dense and gentle animation is typical of Guardi but the cloudy atmosphere and contrasting sunlight are worthy of Canaletto.
The sequence of monuments is correct but these panoramas are too wide to respect a unique perspective. The large format brings an abundance of details and an exceptional vision of the Venetian atmosphere.
The first owner was a young British aristocrat who had his tour in 1768, arriving in August in Venice. Guardi worked from the collection of his autograph drawings and the configuration of the monuments does not provide a terminus post quem.
Rialto by Guardi (1768). The views from that pair have been separated. Compare the Northward, sold by Sotheby's on July 6, 2011, and the view in the reverse direction with the Palazzo dei Camerlenghi, sold on July 6, 2017 by Christie's, lot 25.
Francesco Guardi's Pair of Rialto Views (c. 1768)
These two monumental canvases, both approximately 120 × 204 cm and painted around 1768, originally formed a pendant pair commissioned by the English Grand Tourist Chaloner Arcedeckne. They represent opposing views of the Rialto Bridge on the Grand Canal, designed to be hung together as complementary perspectives. The pair remained in the Guinness family collection for generations until their separation: the northward view sold at Sotheby's in 2011 for a record £26.7 million, while the southward view followed at Christie's in 2017 for £26.2 million.
Northward View: Venice, a View of the Rialto Bridge, Looking North, from the Fondamenta del Carbon (Sotheby's, 6 July 2011, lot 73)
A pair of oils on canvases is unique in the history of the vedutas by the conjunction of their monumental dimension, 120 x 204 cm each, with the maturity of Guardi. The canvases are wider than the looms in use at that time and a nearly invisible seam had been needed in the lower part of the image.
They show the commercial district of Venice, the Rialto, on the Grand Canal on both sides of its spectacular single arched covered bridge which housed shops. The dense and gentle animation is typical of Guardi but the cloudy atmosphere and contrasting sunlight are worthy of Canaletto.
The sequence of monuments is correct but these panoramas are too wide to respect a unique perspective. The large format brings an abundance of details and an exceptional vision of the Venetian atmosphere.
The first owner was a young British aristocrat who had his tour in 1768, arriving in August in Venice. Guardi worked from the collection of his autograph drawings and the configuration of the monuments does not provide a terminus post quem.
Rialto by Guardi (1768). The views from that pair have been separated. Compare the Northward, sold by Sotheby's on July 6, 2011, and the view in the reverse direction with the Palazzo dei Camerlenghi, sold on July 6, 2017 by Christie's, lot 25.
Francesco Guardi's Pair of Rialto Views (c. 1768)
These two monumental canvases, both approximately 120 × 204 cm and painted around 1768, originally formed a pendant pair commissioned by the English Grand Tourist Chaloner Arcedeckne. They represent opposing views of the Rialto Bridge on the Grand Canal, designed to be hung together as complementary perspectives. The pair remained in the Guinness family collection for generations until their separation: the northward view sold at Sotheby's in 2011 for a record £26.7 million, while the southward view followed at Christie's in 2017 for £26.2 million.
Northward View: Venice, a View of the Rialto Bridge, Looking North, from the Fondamenta del Carbon (Sotheby's, 6 July 2011, lot 73)
- Viewpoint: From the Fondamenta del Carbon (coal quay) on the south side, looking north toward the bridge and beyond into the Cannaregio district.
- Key landmarks: The bridge dominates the center, framed on the right by the (now-destroyed) Palazzo Bembo; bustling gondolas and market activity in the foreground; dramatic sky and luminous atmosphere.
- Composition: Emphasizes depth receding northward, with lively figures and boats conveying Venice's commercial energy.
- Viewpoint: From the south side (near the predecessor of Palazzo Sernagiotto), looking toward the bridge with the curve of the canal opening southward.
- Key landmarks: Prominently features the Palazzo dei Camerlenghi (treasurers' palace) at the bridge's base on the left; Fondaco dei Tedeschi and fruit/vegetable market with canopies on the right; Palazzo Civran on the far left.
- Composition: More innovative and "modern" in feel, with a sense of prospect beyond the bridge's arch; signed "GUARDI" lower left.
- Style and Technique — Both showcase Guardi's early mature style: smooth yet flickering brushwork, pale silvery palette, and atmospheric luminosity that anticipates Impressionism. They are more detailed and less sketchy than his later works, with subtle color gradations (bluish-gray stone, warm browns).
- Composition as Pendants — Deliberately mirrored: one framed left by Palazzo Civran, the other right by Palazzo Bembo, creating balanced opposites. Together, they evoke the full panoramic experience of the Rialto as Venice's commercial heart.
- Atmosphere and Mood — Shared sense of bustling daily life (gondolas, merchants, figures) under luminous skies, but the southward view feels more dramatic and spatially innovative, drawing the eye through the bridge's arch.
- Differences — Direction reverses the perspective and highlights different architecture (Palazzo dei Camerlenghi vs. deeper canal northward). The northward emphasizes recession into distance; the southward foregrounds iconic buildings closer to the viewer.
- Historical Significance — Among Guardi's largest and most ambitious vedute, they mark his rise as Canaletto's successor in capturing Venice's poetic essence over strict topography.
1
Northward
2011 SOLD for £ 26.7M by Sotheby's
The pair was separated. The view taken northward was sold by Sotheby's for £ 26.7M on July 6, 2011.
2
with the Palazzo dei Camerlenghi
2017 SOLD for £ 26M by Christie's
The view in the reverse direction with the Palazzo dei Camerlenghi was sold for £ 26M from a lower estimate of £ 15M on July 6, 2017 by Christie's, lot 25.
Une toile monumentale (122x200cm) de Francesco Guardi fait partie de la vente Old Master à Londres le 6/07 https://t.co/99ODYfvEzn pic.twitter.com/hHqqm8dzHo
— Christie's Paris (@christiesparis) June 12, 2017
1769 figure de fantaisie by Fragonard
2013 SOLD for £ 17M by Bonhams
Like all painters of his time excepted Chardin, Fragonard varied his styles to find customers. Influenced by Boucher, he early found fame in the theme of very young frivolous women with their games and passions.
Fragonard made a small series of oils on canvas known under the generic title of Portraits de fantaisie. Only one of these artworks is dated : 1769, the year of his marriage. It is not by chance.
Close to the aristocracy, Fragonard endeavours at that time to demonstrate that he may revolutionize the art of portrait. These paintings are comparable to the tronies made by Rembrandt. The likeness to the sitter is not the most important.
The movement of shoulders and head brings energy and even violence. Strong colors evoke passion. Fancy costumes "à l'Espagnole" provide a theatrical dimension that also positions the work out of its time.
Influenced by Chardin, Fragonard understood the importance of color. This series of fantasy portraits is an essential link in the history of art between Rembrandt and Manet. He will be the great-granduncle of Berthe Morisot.
Few models have been identified with certainty. Brilliant intellectual, François-Henri d' Harcourt enjoyed his portrait to the point that his family kept it until 1971.
This oil on canvas 81 x 65 cm was then purchased at auction by Dr. Rau. Coming now from this prestigious collection, it was sold to the benefit of UNICEF for £ 17M by Bonhams on December 5, 2013. Please watch the video shared by the auction house. The image is shared on Wikimedia.
The Portrait of François-Henri, 5th duc d'Harcourt by Jean-Honoré Fragonard (c. 1769–1770, oil on canvas, approx. 81 x 65 cm) is a key work in the artist's oeuvre. It sold at Bonhams in London on December 5, 2013, for £17,106,500 (including buyer's premium), setting a world auction record for Fragonard at the time. The proceeds benefited UNICEF. This portrait, from the collection of Dr. Gustav Rau, had been largely unknown or rarely seen publicly before its pre-sale exhibition and auction.
This painting belongs to Fragonard's celebrated series of about 15 "fantasy figures" (or "figures de fantaisie"), created roughly in the late 1760s to early 1770s. These are not conventional commissioned portraits but exuberant, loosely painted character studies—often of identifiable aristocrats or acquaintances—depicted in theatrical costumes, with dynamic poses, dramatic lighting, and rapid, virtuosic brushwork that emphasizes spontaneity, movement, and painterly freedom over precise likeness or formality.
Fragonard, renowned for his Rococo style—marked by exuberance, hedonism, sensuality, and technical brilliance in mythological scenes, landscapes, and erotic subjects—shifted in this series toward a more innovative approach to portraiture. The fantasy portraits showcase his ability to blend portraiture with genre-like invention, capturing the subject's personality through informal, almost improvisational execution. They reflect the artist's maturity, his rejection of rigid academic conventions (he had won the Prix de Rome earlier but pursued independent paths), and his response to the competitive portrait market of the time, where he sought to demonstrate revolutionary skill in capturing vitality and swagger.
Scholars and auction experts have described this particular portrait as one of the paintings on which Fragonard's reputation as an artistic genius rests. It exemplifies his peak facility with oil paint: bold, fluid strokes, rich color, and a sense of immediacy that makes the sitter (a member of the prestigious Harcourt family, portrayed in fancy dress with a jaunty, over-the-shoulder glance) appear lively and self-assured. Unlike Fragonard's more famous frothy mythological or pastoral works, this series highlights his prowess in portraiture as a vehicle for pure painterly expression.
The 2013 sale underscored its market and historical significance, tripling or more previous Fragonard auction highs and affirming the enduring appeal of these fantasy portraits (some of which are in major museums like the Louvre or National Gallery of Art). It remains one of the artist's most valuable and iconic works on record.
Fragonard made a small series of oils on canvas known under the generic title of Portraits de fantaisie. Only one of these artworks is dated : 1769, the year of his marriage. It is not by chance.
Close to the aristocracy, Fragonard endeavours at that time to demonstrate that he may revolutionize the art of portrait. These paintings are comparable to the tronies made by Rembrandt. The likeness to the sitter is not the most important.
The movement of shoulders and head brings energy and even violence. Strong colors evoke passion. Fancy costumes "à l'Espagnole" provide a theatrical dimension that also positions the work out of its time.
Influenced by Chardin, Fragonard understood the importance of color. This series of fantasy portraits is an essential link in the history of art between Rembrandt and Manet. He will be the great-granduncle of Berthe Morisot.
Few models have been identified with certainty. Brilliant intellectual, François-Henri d' Harcourt enjoyed his portrait to the point that his family kept it until 1971.
This oil on canvas 81 x 65 cm was then purchased at auction by Dr. Rau. Coming now from this prestigious collection, it was sold to the benefit of UNICEF for £ 17M by Bonhams on December 5, 2013. Please watch the video shared by the auction house. The image is shared on Wikimedia.
The Portrait of François-Henri, 5th duc d'Harcourt by Jean-Honoré Fragonard (c. 1769–1770, oil on canvas, approx. 81 x 65 cm) is a key work in the artist's oeuvre. It sold at Bonhams in London on December 5, 2013, for £17,106,500 (including buyer's premium), setting a world auction record for Fragonard at the time. The proceeds benefited UNICEF. This portrait, from the collection of Dr. Gustav Rau, had been largely unknown or rarely seen publicly before its pre-sale exhibition and auction.
This painting belongs to Fragonard's celebrated series of about 15 "fantasy figures" (or "figures de fantaisie"), created roughly in the late 1760s to early 1770s. These are not conventional commissioned portraits but exuberant, loosely painted character studies—often of identifiable aristocrats or acquaintances—depicted in theatrical costumes, with dynamic poses, dramatic lighting, and rapid, virtuosic brushwork that emphasizes spontaneity, movement, and painterly freedom over precise likeness or formality.
Fragonard, renowned for his Rococo style—marked by exuberance, hedonism, sensuality, and technical brilliance in mythological scenes, landscapes, and erotic subjects—shifted in this series toward a more innovative approach to portraiture. The fantasy portraits showcase his ability to blend portraiture with genre-like invention, capturing the subject's personality through informal, almost improvisational execution. They reflect the artist's maturity, his rejection of rigid academic conventions (he had won the Prix de Rome earlier but pursued independent paths), and his response to the competitive portrait market of the time, where he sought to demonstrate revolutionary skill in capturing vitality and swagger.
Scholars and auction experts have described this particular portrait as one of the paintings on which Fragonard's reputation as an artistic genius rests. It exemplifies his peak facility with oil paint: bold, fluid strokes, rich color, and a sense of immediacy that makes the sitter (a member of the prestigious Harcourt family, portrayed in fancy dress with a jaunty, over-the-shoulder glance) appear lively and self-assured. Unlike Fragonard's more famous frothy mythological or pastoral works, this series highlights his prowess in portraiture as a vehicle for pure painterly expression.
The 2013 sale underscored its market and historical significance, tripling or more previous Fragonard auction highs and affirming the enduring appeal of these fantasy portraits (some of which are in major museums like the Louvre or National Gallery of Art). It remains one of the artist's most valuable and iconic works on record.
