Littleton Hennessy Asian Art - Chinese Lacquer

Littleton & Hennessy 

Asian Art 

CHINESE 

LACQUER

CHINESE LACQUER 

Littleton & Hennessy Asian Art 

1 Princes Place 

Duke Street, St. James’s 

London SW1Y 6DE 

T : 44(0)20 7930 0888 

F : 44(0)20 7930 4988 

www.littletonandhennessy.com 

mark@littletonandhennessy.com 

© 2023 All rights reserved 

Published by Littleton & Hennessy Asian Art 

9 – 19 March 2023

INTRODUCTION 

CHINESE LACQUER 

Littleton & Hennessy are delighted to be back exhibiting at TEFAF 

Maastricht after an eight-year break. To celebrate our return, we have 

chosen to exhibit two groups of eight works each from areas of Chinese 

art that we love, ‘Lacquer’ and ‘Metalwork’. 

The lacquer pieces are exceptional examples of the skill and ingenuity 

of the craftsmen of the Song, Yuan, and early Ming dynasties. All eight 

have previously come from the esteemed collection of Mike Healy and 

have been widely exhibited and published. The metalwork group contains 

some stellar examples of archaic and early bronze and silver workmanship. 

Much has happened in the past eight years; international moves, new fair 

locations, we’ve lost some dear old friends and made some new ones. 

We would also like to take the opportunity to thank Dominic Jellinek for 

his assistance with the provenance of several pieces. 

With this in mind, we are looking forward to seeing so many familiar and 

new faces at TEFAF Maastricht 2023. 

Richard Littleton 

James Hennessy 

Mark Slaats

1A CIRCULAR RED AND BLACK ‘TIXI’ LACQUER 

BOX AND COVER 

剔锡圆盖盒 

Northern Song dynasty, 960-1127 北宋 960-1127 

Dimensions: 

尺寸 : 

10.8cm high, 26.7cm diameter 

高 10.8 厘米直径 26.7 厘米 

Provenance: - Michael H. Healy 

- Anthony Carter, 2015 

- A private Asian collection 

Exhibited: - Honolulu Academy of Art, 2002 

- China Institute of America, New York, 2005 

- Santa Barbara Museum of Art, 2006 

- Museum für Lackkunst, Münster, 2007 

Illustrated: - ‘Masterpieces of Chinese Lacquer from the Mike Healy 

Collection’, Julia White, Honolulu Academy of Art, 2006, 

p. 42-43 

来源 : 

展览 : 

出版 : 

迈克 ·H. 希利 

2015 年安东尼 · 卡特 

亚洲私人收藏 

2002 年檀香山艺术学院 

2005 年美国华美协进社 

2006 年圣塔芭芭拉美术馆 

2007 年明斯特漆器艺术博物馆 

2006 年檀香山艺术学院出版茱莉亚 · 怀特著《迈克希利珍藏中国漆器 

精品》第 42-43 页

The large, round box is decorated overall with a pommel-scroll design radiating 

out from the centre of the box towards an upside-down pommel-shape on the 

edges. The box is carved to reveal the black scroll design, interspaced with thin 

bands of red and black lacquer along the cut-away edges, adding further depth to 

this intricate piece. 

The box is an excellent example of a Chinese lacquer carving technique called 

‘tixi’. It is the carved form of a layered lacquer called ‘xibi’. First developed in 

China, it spread to Japan where it is sometimes referred to as ‘guri’. 

Compare a slightly smaller, octagonal box from the Florence and Herbert 

Irving Collection in the Metropolitan Museum of Art, Accession Number 

2015.500.1.3a, b. A larger octagonal box with decorated pommel scrolls can be 

found in the Royal Scottish Museum, illustrated in Lee, Sammy Y., ‘Catalogue of 

the Collection of Chinese Lacquer, as exhibited in the Royal Scottish Museum’, 

1964, SYL 2.1 

1. Hu Shih-chang and Jane Wilkinson, ‘Chinese Lacquer’, Edinburgh, 1998, p. 26-27 

圆盒硕大 , 剑环纹由中心朝向四周发散至盒边。剔锡深浅有度 , 卷纹黑红交替 , 细致 

精美。 

此器乃中国剔锡工艺之上乘佳作 , 经雕琢锡壁而成。剔锡由中国发明传至日本 , 又名 “ 

屈轮 ”。 

参照另一八角小盒 , 纽约大都会艺术博物馆弗洛伦斯与赫伯特 · 欧文珍藏 , 编号 

2015.500.1.3a, b. 

另一剑环纹八角大盒现藏皇家苏格兰博物馆 , 见 1964 年版李汝宽著《皇家苏格兰博物 

馆藏中国漆器》

2 

A CIRCULAR RED AND BLACK ‘TIXI’ LACQUER 

BOX AND COVER 

剔锡圆盖盒 

Ming dynasty, 15th century 明公元 15 世纪 

Dimensions: 

尺寸 : 

13cm high, 22.5cm diameter 

高 13 厘米直径 22.5 厘米 










p. 48-49 

来源 : 

展览 : 

出版 : 









精品》第 48-49 页 

Carved with a similar yet slightly more ornate sword-pommel design compared 

to no. 1 in this catalogue, this slightly higher, domed box consists of five bands 

radiating from a star-shaped central medallion on the top.2 The carved black 

scrolls are alternated with three layers of red lacquer, giving a strong sense of 

depth to this ‘tixi’ lacquer box. 

2. Julia M. White, ‘Masterpieces of Chinese Lacquer from the Mike Healy Collection’, Honolulu Academy of 

Arts, 2002, p. 48 

对比图 1. 剔锡圆盖盒 , 此器剑环纹较为繁缛 , 盖面微隆 , 五条纹饰自顶端星状垂饰向四 

周发散。卷纹深黑与三层剔红交错 , 深度尤显。

3 

AN OVAL DARK BROWN LACQUER BOX AND COVER 

椭圆褐漆盖盒 

Northern Song dynasty, 960-1127 北宋 960-1127 

Dimensions: 

尺寸 : 

10cm high, 15cm wide, 36.8cm long 

高 10 厘米 , 宽 15 厘米 , 长 36.8 厘米 










p. 30-31 

来源 : 

展览 : 

出版 : 









精品》第 30-31 页

The box and cover are carved with twelve flower lobes, the exterior of the body 

covered in a dark, mottled brown lacquer with pewter trim. The interior and 

base of the box lacquered red. A shallow oval red and dark brown lacquer tray 

which may have contained cosmetics and other adornments fits into the base of 

the box. 

The elegant shape of this box is typical of the emphasis on pure form and 

simplicity in early Chinese lacquers, produced for the upper classes and imperial 

court in the Song and Yuan dynasty. The shape is derived from ceramics wares of 

the period, which again may have been influenced by contemporary metalwork.3 

The binding of the box with a protective pewter rim is very similar to the 

technique used on Ding ware ceramics of the Song dynasty, used to protect the 

unglazed rims against wear.4 

Compare a very similar box from the Florence and Herbert Irving Collection in 

the Metropolitan Museum of Art, Accession Number: 2019.193.4a–c. 

3. Hin-cheung Lovell, ‘Sung and Yuan Monochrome Lacquers in the Freer Gallery’, Ars Orientalis, no.9 

(1973), p. 121-30 

4. Julia M. White, ‘Masterpieces of Chinese Lacquer from the Mike Healy Collection’, Honolulu Academy of 

Arts, 2002, p. 30 

此器十二瓣 , 器表黑褐 , 锡镴边 , 内里及底红漆制。器浅 , 或置化妆品 , 或置饰物 

此器造型经典 , 质朴简单 , 属早期中国漆器经典造型 , 供宋元两朝上层社会及宫廷享 

用。造型受金属器影响源于同时期瓷器器型。锡镴 , 防磨损 , 功用与宋代定窑金属边 

类 . 

参照另一件盖盒 , 纽约大都会艺术博物馆弗洛伦斯与赫伯特 · 欧文珍藏 , 编号 

2019.193.4a–c.

4 

A LOBED RED LACQUER PLATE 

剔红瓣碟 

Late Yuan/early Ming dynasty, 14th-15th century 

元代晚期 / 明代早期公元 14-15 世纪 

Dimensions: 

尺寸 : 

17.5cm diameter 

直径 17.5 厘米 










p. 66-67 

来源 : 

展览 : 

出版 : 









精品》第 66-67 页

The five-lobed plate delicately carved with a central garden and 

pavillion scene depicting a figure and his attendant standing under 

a pine tree staring at a lotus pond. The central figure on this plate 

is probably Zhou Dunyi, a famous Neoconfucian philosopher of the 

Song dynasty. The open doors of the pavillion reveal a wooden table 

with a vase on top. The decorative rim of the plate is carved with 

seasonal flowers and foliage. 

It seems plausible this plate may be from the workshop of Zhang 

Minde, son of Zhang Cheng, one of the most famous lacquer carvers 

of the Yuan period from Yanghui in Xietang, Zhejiang Province. 

Various stylistic elements on this dish are similar to dated pieces in 

important museum collections. First of all, the table depicted in the 

pavillion resembles a table on a box from the Irving Collection in the 

Metropolitan Museum of Art, dated by inscription to the early Ming 

period.5 Furthermore, this box is also carved with a spreading pine tree 

covering the pavillion and central figures, an element that also can be 

seen on a hexagonal plate signed ‘Yang Mao’ and dated to the late Yuan 

dynasty in the collection of the Palace Museum in Beijing.6 Lastly, a 

box with similar furnishing carrying the signature Zhang Minde can 

also be seen in the Palace Museum, Beijing.7 

5. James C.Y. Watt and Barbara Brennan Ford, ‘East Asian Lacquer: The Florence and Herbert 

Irving Collection’, New York, 1991, cat. No. 27, p. 84-85 

6. Chen Chang, ed., ‘Zhongguo qiji quanji (Lacquer Treasures from China), vol. 4: Sanguo-Yuan 

(Three Kingdoms-Yuan dynasty)’, Fujian, China, 1998, cat. no. 153, illustrated p. 168, 

description p. 62 

7. Chen, ed., ‘Zhongguo qiji quanji’, cat. no. 154, illustrated p. 169, description p. 63 

此器五瓣 , 饰爱莲图 , 高士或为宋代儒家理学思想哲学家周敦颐 , 亭中木台 

置花瓶 , 沿边缠枝。此器或由张成之子张敏德造 , 张成乃元代浙江斜塘杨汇 

人 , 中国漆器大师之一。碟中细节与重要博物馆藏漆器珍藏类似。亭中桌台 

与纽约大都会艺术博物馆欧文藏经铭文断代为明代早期的漆器盖盒上的桌台 

相似。此器松枝茂盛 , 遮盖亭楼及高士 , 与北京故宫博物院藏杨茂造五角碟 

类似 , 装饰及张敏德款识与北京故宫博物院藏另一剔红盒相似。

5 

A LOBED DARK BROWN LACQUER TOILETRY BOX 

WITH LOTUS-PETAL RIM 

褐漆莲花化妆盒 

Yuan dynasty, late 13th/14th century 公元 13 世纪晚期 /14 世纪元 

Dimensions: 

尺寸 : 

17.8cm high, 22cm diameter 

高 17.8 厘米 , 直径 22 厘米 










p. 28-29 

来源 : 

展览 : 

出版 : 









精品》第 28-29 页

This elegant box consists of an intricate design of ten foliated sections, encompassing 

thirty lobed sections. The flat top of the box has a gold-washed metal ring at the 

centre, with further gold-washed and metal rings radiating towards the lotus-petal 

rim. The vertical bands of metal around the sides of the top as well as the cover 

further emphasise the simple, yet elegant shape of this toiletry box. 

Luxurious boxes of this type were probably used by high-ranking court ladies. 

Some of these boxes would have been fitted with an interior tray to hold cosmetics, 

combs, etc. A link between these lacquer shapes, Song ceramics and metal wares 

has previously been discussed, yet similar shapes with metal banding are not seen 

until the Yuan period.8 

Compare an identical box from the Florence and Herbert Irving Collection in the 

Metropolitan Museum of Art, Accession Number: 2015.500.1.21a–c. 

8. Hin-cheung Lovell, ‘Sung and Yuan Monochrome Lacquers in the Freer Gallery’, Ars Orientalis, no.9 

(1973), p. 121-30 

此器做工细致精美 , 盖面叶瓣形 , 共十片 , 通体棱条 , 三十条。平盖中心镶金环 , 金 

色朝向四周发散至莲花瓣边沿 , 盒盖及上半盒身镶金属 , 简洁大方。 

此器奢华精美 , 或供级别高的朝廷女子使用。部分化妆盒内带托盘 , 放置化妆品或梳 

等。此类漆器、宋代瓷器以及金属器之间的具有一定关系 , 类似金属漆器直至元代才 

出现。 

对比另一盖盒 , 纽约大都会艺术博物馆弗洛伦斯与赫伯特 · 欧文珍藏 , 编号 

2015.500.1.21a–c.

6 

A SUPERBLY CARVED RED LACQUER ‘PEONY’ BOX 

剔红牡丹盖盒 

Ming dynasty, Yongle mark and period, 1403-1424 明永乐 1403-1424 年 

Dimensions: 

尺寸 : 


高 6.4 厘米 , 直径 18.7 厘米 

Provenance: - Sotheby’s Hong Kong, 17/05/88 lot 341 

- Bluett & Sons, 1988 

- Michael H. Healy, 1990 



Exhibited: - Bluett & Sons London, 1989 

- Honolulu Academy of Art, 2002 




Illustrated: - ‘From Innovation to Conformity, Chinese Lacquer from the 13th 

to 16th centuries’, Krahl & Morgan, Bluett, London 1989, no.19. 

- ‘Masterpieces of Chinese Lacquer from the Mike Healy 


no.20, p. 62-63 

来源 : 1988 年 5 月 17 日香港苏富比拍品编号 341 

1988 年布鲁耶古董公司 (Bluett & Sons) 

1990 年迈克 ·H. 希利 



展览 : 

出版 : 

1989 年伦敦布鲁耶古董公司 (Bluett & Sons) 


2005 年纽约华美协进社 


2007 年明斯特漆器博物馆 

1989 年伦敦布鲁耶出版康蕊君与布莱恩 · 摩根著《从创新至整合公元 

13-16 世纪中国漆器》图版 19 


精品》第 62-63 页

The straight-sided box well-carved with a central open peony amidst 

foliage and budding blossoms. The sides of the box are covered in 

folding leaves with peony and chrysanthemum flowers. The densely 

executed design and the elegant, straight sides are typical for lacquer 

boxes of this period. The base of the box is incised with a partially 

obscured six-character Yongle imperial mark. 

Although cautiously dated to the Yongle period, this box demonstrates 

characteristics very similar to lacquer objects in the Palace Museum, 

Beijing, dated Yuan dynasty.9 In particular, the full, crowded design 

and ‘the tendency toward an overlapping and folded leaf design’ can 

also be seen on earlier Yuan period pieces.10 This design has important 

symbolic value. In Chinese art, peonies are a symbol of honour, 

loyalty, rank and wealth whilst chrysanthemum symbolises longevity. 

9. Chen Chang, ed., ‘Zhongguo qiji quanji (Lacquer Treasures from China), vol. 4: Sanguo- 

Yuan (Three Kingdoms-Yuan dynasty)’, Fujian, China, 1998, cat. no. 157, p. 173 and 

cat. No. 159, p. 175 

10. Julia M. White, ‘Masterpieces of Chinese Lacquer from the Mike Healy Collection’, 

Honolulu Academy of Arts, 2002, p. 62 

直口盖盒饰牡丹花枝 , 盒边饰牡丹菊花卷叶 , 纹路紧致 , 典雅高贵 , 属 

同一时期典型漆器。盒底六字永乐款。 

经仔细评估 , 此器产于永乐年间 , 却与北京故宫博物馆藏元代漆器相 

似 , 尤其是满刻及层叠卷纹常现于元早期漆器。此器寓意独具 , 牡丹代 

表荣誉、忠诚、高贵、富贵 ; 菊花象征长寿。

7 

AN IMPORTANT CARVED RED LACQUER CUP STAND 

剔红碗座 

Ming dynasty, Yongle mark and period, 1403-1424 

明永乐 1403 年 -1424 年 

Dimensions: 

尺寸 : 


高 7.6 厘米 , 直径 17.1 厘米 

Provenance: - Bluett & Sons, London, 1987 

- J.J. Lally, New York, 1987 

- Bluett & Sons, 1990, 

- Michael H. Healy, 1990 

- Anthony Carter, London, 2015 


Exhibited: - Bluett & Sons London, 1989 

- Honolulu Academy of Art, 2002 




Illustrated: - ‘From Innovation to Conformity, Chinese Lacquer from the 13th 

to 16th centuries’, Krahl & Morgan, Bluett, London 1989, no.15 

- ‘Masterpieces of Chinese Lacquer from the Mike Healy 


no.27., p. 76-77 

来源 : 

展览 : 

出版 : 


1987 年纽约蓝捷理古董公司 (J.J. Lally) 

1990 年布鲁耶古董公司 

1990 年迈克 ·H. 希利 








1989 年伦敦布鲁耶出版康蕊君与布莱恩 · 摩根著《从创新到整合公元 

13-16 世纪中国漆器》图版 15 


精品》第 76-77 页

The round cup stand decorated with a dense design of peonies and chrysanthemum 

amidst foliage, revealing a pale yellowish-brown background. The mallow-shaped 

plate and slightly flaring foot are carved with further flowers and corresponding 

leaves. The interior in plain black lacquer. The inside of the foot incised with a 

six-character Yongle mark. 

Interestingly, on this cup stand, each band of decoration on the cup, plate and 

foot is carved with just one single chrysanthemum set amidst multiple peony 

blossoms. The peony symbolises rank while chrysanthemum is associated with 

longevity. Therefore, this cup stand may have been created for an important 

occasion. Lacquer cup stands were intended to support a ceramic bowl, thereby 

serving a very functional purpose in tea ceremonies as well as other important 

activities for the Emperor and the Imperial Court.11 

Compare a similar cup stand with floral decoration, also Yongle mark and of the 

period, in the collection of the Palace Museum, Beijing.12 

11. Julia M. White, ‘Masterpieces of Chinese Lacquer from the Mike Healy Collection’, Honolulu Academy 

of Arts, 2002, p. 76 

12. Zhu Jiajin and Xia Gengqi, eds., ‘Zhongguo qiji quanji (Lacquer Treasures from China), vol. 5: Ming 

(Ming)’, Fujian, China, 1998, cat. no. 26, p. 23 

圆碗圆鼓饰牡丹菊花卷叶 , 纹路紧致 , 底部黄褐。葵足微撇 , 饰花叶。内表漆黑 , 足 

内六字永乐款。此器精美别致 , 牡丹单菊纹。牡丹寓意高贵 , 菊花象征长寿。碗座或 

用于重要场合。漆器底座支撑瓷碗 , 功能皆备 , 为茶道、皇上、和重要宫廷活动场合 

而制。 

参照另一永乐剔红碗座 , 现藏北京故宫博物院。

8 

AN EXTREMELY RARE AND IMPORTANT OCTAGONAL 

LACQUER ‘BIRD’ PLATE WITH ‘ZHANG CHENG’ 

MAKER’S MARK 

剔红双鸟八角碟张成款 

Yuan dynasty, 14th century 元公元 14 世纪 

Dimensions: 

尺寸 : 

30.5cm diameter 

直径 30.5 厘米 

Provenance: - A private Japanese collection 

- Michael H. Healy, acquired in the 1990s 









p. 52-53 

来源 : 

展览 : 

出版 : 

日本私人珍藏 

迈克 · 希利中国漆器珍藏 , 购自 90 年代 

2015 安东尼 · 卡特 







精品》第 52-53 页

The octagonal shaped plate exquisitely carved with a naturalistically 

executed border of seasonal flowers, around a central scene of paired 

birds amidst rocks and trees. The band of red lacquer flowers is deeply 

carved to reveal an unusual yellow lacquer background. The central 

scene of two birds on a rock and tree branch, surrounded by bamboo 

and maple is set on an ‘air diaper’ pattern, adding depth to the plate. 

The base of the plate is inscribed with the characters ‘Zhang Cheng’, 

one of the most famous lacquer carvers of the Yuan period from 

Yanghui in Xietang, Zhejiang Province. 

Compare a plate featuring two birds among flowers and leaves with 

the same detailed characteristics and quality of carving, also marked 

‘Zhang Cheng’ from the Irving Collection in the Metropolitan 

Museum of Art, Accession Number 2011.120.1. 

八角碟花纹精美 , 山石树丛现双鸟。剔红雕花 , 黄底。双鸟立于山石树丛之 

间 , 四周山竹枫树 , 立体生动。碟底张成款 , 张成乃中国著名漆器大师 , 浙 

江斜塘杨汇人。 

此器刻工及质地与另一花草双鸟碟相似 , 同为张成款 , 参照纽约大都会艺术 

博物馆弗洛伦斯与赫伯特 · 欧文珍藏 , 编号 2011.120.1.

THE CHRONOLOGY OF CHINA 

中國歷代年表 

新石器時代 NEOLITHIC PERIOD 

c.6500-1700 BC 

夏 XIA DYNASTY c.2100-1600 BC 

商 SHANG DYNASTY 

c.1600-1100 BC 

周 ZHOU DYNASTY c.1100-256 BC 

西周 Western Zhou c.1100-771 BC 

東周 Eastern Zhou 770-256 BC 

春秋 Spring and Autumn Period 

770-476 BC 

戰國 Warring States Period 

475-221 BC 

秦 QIN DYNASTY 221-206 BC 

漢 HAN DYNASTY 206 BC-AD 220 

西漢 Western Han 206 BC-AD 8 

新王莽 Xin (Wang Mang Interregnum) 

AD 9-23 

東漢 Eastern Han AD 25-220 

三國 THREE KINGDOMS 220-265 

魏 Wei 220-265 

蜀漢 Shu Han 221-263 

吳 Wu 222-263 

晉 JIN DYNASTY 265-420 

西晉 Western Jin 265-317 

十六國 Sixteen Kingdoms 304-439 

東晉 Eastern Jin 317-420 

南朝 SOUTHERN DYNASTIES 

北朝 NORTHERN DYNASTIES 

420-589 

南朝 Southern Dynasties 

劉宋 Liu Song 420-479 

南齊 Southern Qi 479-502 

梁 Liang 502-557 

陳 Chen 557-589 

北朝 Northern Dynasties 

北魏 Northern Wei 386-534 

東魏 Eastern Wei 534-550 

西魏 Western Wei 535-556 

北齊 Northern Qi 550-577 

北周 Northern Zhou 557-581 

隋 SUI DYNASTY 581-618 

唐 TANG DYNASTY 618-907 

五代 FIVE DYNASTIES 907-960 

後梁 Later Liang 907-923 

後唐 Later Tang 923-936 

後晉 Later Jin 936-946 

後漢 Later Han 947-950 

後周 Later Zhou 951-960 

遼 LIAO DYNASTY 907-1125 

宋 SONG DYNASTY 960-1279 

北宋 Northern Song 960-1127 

南宋 Southern Song 1127-1279 

金 JIN DYNASTY 1115-1234 

明 MING DYNASTY 1368-1644 

洪武 Hongwu 1368-1398 

建文 Jianwen 1399-1402 

永樂 Yongle 1403-1425 

洪熙 Hongxi 1425 

宣德 Xuande 1426-1435 

正統 Zhengtong 1436-1449 

景泰 Jingtai 1450-1456 

天順 Tianshun 1457-1464 

成化 Chenghua 1465-1487 

弘治 Hongzhi 1488-1505 

正德 Zhengde 1506-1521 

嘉靖 Jiajing 1522-1566 

隆慶 Longqing 1567-1572 

萬曆 Wanli 1573-1619 

泰昌 Taichang 1620 

天啟 Tianqi 1621-1627 

崇禎 Chongzhen 1628-1644 

清 QING DYNASTY 1644-1911 

順治 Shunzhi 1644-1661 

康熙 Kangxi 1662-1722 

雍正 Yongzheng 1723-1735 

乾隆 Qianlong 1736-1795 

嘉慶 Jiaqing 1796-1820 

道光 Daoguang 1821-1850 

咸豐 Xianfeng 1851-1861 

同治 Tongzhi 1862-1874 

光緒 Guangxu 1875-1908 

宣統 Xuantong 1909-1911 

中華民國 REPUBLIC OF CHINA 

1912- 

元 YUAN DYNASTY 1279-1368 

洪憲 HONGXIAN (YUAN SHIKAI) 

1915-1916 

中華人民共和國 

PEOPLE’S REPUBLIC OF CHINA 

1949-

Littleton Hennessy Asian Art - Chinese Lacquer

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