Provenance Information

Acquired by J. J. Lally Co. (New York) in Hong Kong in 2002; sold by J. J. Lally Co. to Nancy and Ed Rosenthal (Cincinnati) in January 2005; donated by Nancy and Ed Rosenthal to the Dayton Art Institute in March 2022.

Exhibition Information

“Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art,” Taft Museum of Art, Cincinnati, Ohio (November 7, 2008–January 11, 2009);

“Fired Imagination: Ancient Chinese Ceramics from the Nancy and Ed Rosenthal Family Collection,” Dayton Art Institute, Dayton, Ohio (January 5–July 24, 2022).

Publication Information

Virginia Bower, Sarah Handler, and Jon Burris, Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art (exh. cat., Taft Museum of Art, Cincinnati, 2008), Fig. 14.

Section of the AAMD Guidelines relied upon for the exception to 1970

Cumulative facts and circumstances

Explain why the object fits the exception set forth above

The work has provenance to 2002 and has been exhibited and published since then. It was also checked against the Art Loss Registry by the previous owner in June 2012. This is an important addition to the Dayton Art Institute and the greater Miami Valley region as there is no comparable example in the collection. Its acquisition helps further scholarly research on and public enjoyment of the dynamic and diverse achievements of ceramics in Chinese history and culture.

Provenance Information

Acquired by Priestley and Ferraro (London) from Castle of Antiquities, Co., Ltd. (Hong Kong) in February 2003; sold by Priestley and Ferraro to Nancy and Ed Rosenthal (Cincinnati) in March 2003; donated by Nancy and Ed Rosenthal to the Dayton Art Institute in March 2022.

Exhibition Information

“Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art,” Taft Museum of Art, Cincinnati, Ohio (November 7, 2008–January 11, 2009);

“Fired Imagination: Ancient Chinese Ceramics from the Nancy and Ed Rosenthal Family Collection,” Dayton Art Institute, Dayton, Ohio (January 5–July 24, 2022).

Publication Information

Virginia Bower, Sarah Handler, and Jon Burris, Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art (exh. cat., Taft Museum of Art, Cincinnati, 2008), Fig. 13.

Section of the AAMD Guidelines relied upon for the exception to 1970

Cumulative facts and circumstances

Explain why the object fits the exception set forth above

The work has provenance to 2003 and has been exhibited and published since then. It was also checked against the Art Loss Registry by the previous owner in June 2012. This is an important addition to the Dayton Art Institute and the greater Miami Valley region as there is no comparable example in the collection. Its acquisition helps further scholarly research on and public enjoyment of the dynamic and diverse achievements of ceramics in Chinese history and culture.

Provenance Information

Acquired by J. J. Lally Co. (New York) in Hong Kong in 1993; sold by J. J. Lally Co. to Nancy and Ed Rosenthal (Cincinnati) in November 1995; donated by Nancy and Ed Rosenthal to the Dayton Art Institute in March 2022.

Exhibition Information

“Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art,” Taft Museum of Art, Cincinnati, Ohio (November 7, 2008–January 11, 2009);

“Fired Imagination: Ancient Chinese Ceramics from the Nancy and Ed Rosenthal Family Collection,” Dayton Art Institute, Dayton, Ohio (January 5–July 24, 2022).

Publication Information

Virginia Bower, Sarah Handler, and Jon Burris, Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art (exh. cat., Taft Museum of Art, Cincinnati, 2008), Fig. 11.

Section of the AAMD Guidelines relied upon for the exception to 1970

Cumulative facts and circumstances

Explain why the object fits the exception set forth above

The work has provenance to 1993 and has been exhibited and published since then. It was also checked against the Art Loss Registry by the previous owner in June 2012. This is an important addition to the Dayton Art Institute and the greater Miami Valley region as it is stylistically significantly different from a work of the same period in the collection. Its acquisition helps further scholarly research on and public enjoyment of the dynamic and diverse achievements of ceramics in Chinese history and culture.

Provenance Information

Acquired by J. J. Lally Co. (New York) in Hong Kong in 1991; sold by J. J. Lally Co. to Nancy and Ed Rosenthal (Cincinnati) in January 1998; donated by Nancy and Ed Rosenthal to the Dayton Art Institute in March 2022.

Exhibition Information

“Power and Virtue: The Horse in Chinese Art,” China Institute Gallery, New York, New York (September 11–December 13, 1997);

“Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art,” Taft Museum of Art, Cincinnati, Ohio (November 7, 2008–January 11, 2009);

“Fired Imagination: Ancient Chinese Ceramics from the Nancy and Ed Rosenthal Family Collection,” Dayton Art Institute, Dayton, Ohio (January 5–July 24, 2022).

Publication Information

Robert E. Harrist, Jr., with contributions by Virginia L. Bower, Power and Virtue: The Horse in Chinese Art (New York: China Institute Gallery, 1997), Cat. 4 (also reproduced on exhibiton postcards);

J. May Lee Barrett, “China Institute Gallery: A David in the Company of Goliaths,” Asian Art (March 1998), 6;

Virginia Bower, Sarah Handler, and Jon Burris, Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art (exh. cat., Taft Museum of Art, Cincinnati, 2008), Fig. 10.

Section of the AAMD Guidelines relied upon for the exception to 1970

Cumulative facts and circumstances

Explain why the object fits the exception set forth above

The work has provenance to 1991 and has been exhibited and published since then. It was also checked against the Art Loss Registry by the previous owner in June 2012. This is an important addition to the Dayton Art Institute and the greater Miami Valley region as it is stylistically significantly different from a work of the same subject but from a later period in the collection. Its acquisition helps further scholarly research on and public enjoyment of the dynamic and diverse achievements of ceramics in Chinese history and culture.

Provenance Information

Sold by E. & J. Frankel (New York) to Nancy and Ed Rosenthal (Cincinnati) in October 2000; donated by Nancy and Ed Rosenthal to the Dayton Art Institute in March 2022.

Exhibition Information

“Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art,” Taft Museum of Art, Cincinnati, Ohio (November 7, 2008–January 11, 2009);

“Fired Imagination: Ancient Chinese Ceramics from the Nancy and Ed Rosenthal Family Collection,” Dayton Art Institute, Dayton, Ohio (January 5–July 24, 2022).

Publication Information

Virginia Bower, Sarah Handler, and Jon Burris, Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art (exh. cat., Taft Museum of Art, Cincinnati, 2008), Fig. 9.

Section of the AAMD Guidelines relied upon for the exception to 1970

Cumulative facts and circumstances

Explain why the object fits the exception set forth above

The work has provenance to 2000 and has been exhibited and published since then. It was also checked against the Art Loss Registry by the previous owner in June 2012. This is an important addition to the Dayton Art Institute and the greater Miami Valley region as it is stylistically significantly different from a work of the same period in the collection. Its acquisition helps further scholarly research on and public enjoyment of the dynamic and diverse achievements of ceramics in Chinese history and culture.

Provenance Information

Acquired by Jonathan Tucker and Antonia Tozer (London) in the early 2000s; sold by Jonathan Tucker and Antonia Tozer to Nancy and Ed Rosenthal (Cincinnati) in April 2005; donated by Nancy and Ed Rosenthal to the Dayton Art Institute in March 2022.

Exhibition Information

“Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art,” Taft Museum of Art, Cincinnati, Ohio (November 7, 2008–January 11, 2009).

Publication Information

Virginia Bower, Sarah Handler, and Jon Burris, Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art (exh. cat., Taft Museum of Art, Cincinnati, 2008), Fig. 6.

Section of the AAMD Guidelines relied upon for the exception to 1970

Cumulative facts and circumstances

Explain why the object fits the exception set forth above

The work has provenance to the early 2000s and has been exhibited and published since then. It was also checked against the Art Loss Registry by the previous owner in June 2012. This is an important addition to the Dayton Art Institute and the greater Miami Valley region as there is no comparable example in the collection. Its acquisition helps further scholarly research on and public enjoyment of the dynamic and diverse achievements of ceramics in Chinese history and culture.

Provenance Information

Acquired by Priestley and Ferraro (London) from Daijindo Gallery, Ltd. (Tokyo) in July 2003; sold by Priestley and Ferraro to Nancy and Ed Rosenthal (Cincinnati) in March 2004; donated by Nancy and Ed Rosenthal to the Dayton Art Institute in March 2022.

Exhibition Information

“Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art,” Taft Museum of Art, Cincinnati, Ohio (November 7, 2008–January 11, 2009);

“Our Century: Dayton Area Collects,” Dayton Art Institute, Dayton, Ohio (June 29–September 22, 2019).

Publication Information

Virginia Bower, Sarah Handler, and Jon Burris, Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art (exh. cat., Taft Museum of Art, Cincinnati, 2008), Fig. 5.

Section of the AAMD Guidelines relied upon for the exception to 1970

Cumulative facts and circumstances

Explain why the object fits the exception set forth above

The work has provenance to 2003 and has been exhibited and published since then. It was also checked against the Art Loss Registry by the previous owner in June 2012. This is an important addition to the Dayton Art Institute and the greater Miami Valley region as it is stylistically significantly different from a work of the same period in the collection. Its acquisition helps further scholarly research on and public enjoyment of the dynamic and diverse achievements of ceramics in Chinese history and culture.

Provenance Information

About 1960s, moved with a private collection from Bolivia to Houston, TX [see note]; mid-1970s, sold from this private collection to Dr. Edward Heyne, Houston; May 14, 1991, anonymous (Heyne) sale, Sotheby’s, New York, lot 12, to a private collection, Florida; May 15, 2015, anonymous (private Florida collection) sale, Sotheby’s, New York, lot 5, to the MFA. (Accession Date: June 24, 2015)

NOTE:
According to information provided by Sotheby’s auction house, Dr. Heyne purchased the piece in the mid-1970s from a patient who had moved from Bolivia to Houston sometime in the 1960s, bringing her art collection with her.

Exhibition Information

None known.

Publication Information

None known.

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

According to the auction house that sold this vessel, it came from the private collection of a Bolivian woman, who brought her collection to the U.S. when she moved to Houston in the 1960s.

Provenance Information

About 1960s, moved with a private collection from Bolivia to Houston, TX [see note]; mid-1970s, sold from this private collection to Dr. Edward Heyne, Houston; May 14, 1991, anonymous (Heyne) sale, Sotheby’s, New York, lot 12, to a private collection, Florida; May 15, 2015, anonymous (private Florida collection) sale, Sotheby’s, New York, lot 5, to the MFA. (Accession Date: June 24, 2015)

NOTE:
According to information provided by Sotheby’s auction house, Dr. Heyne purchased the piece in the mid-1970s from a patient who had moved from Bolivia to Houston sometime in the 1960s, bringing her art collection with her.

Exhibition Information

Houston Museum of Fine Arts, 1983-1987 (unverified).

Publication Information

None known.

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

The information provided by the auction house is that this jar came from the private collection of a Bolivian woman, who brought her collection to the U.S. when she moved to Houston in the 1960s.

Provenance Information

Probably by the 1950s or 1960s, and certainly by 1972 [see note], Vincent Price (b. 1911 – d. 1993) and Mary Grant Price (b. 1917 – d. 2002), Los Angeles; May 15, 2003, consigned by the estate of Vincent and Mary Price, Sotheby’s, New York, lot 233. May 15, 2015, anonymous (“private western collection”) sale, Sotheby’s, New York, lot 55, to the MFA. (Accession Date: June 24, 2015)

NOTE: Actor Vincent Price and his wife Mary built up an extensive art collection in the 1950s and 1960s. They divorced in 1974, after which Mrs. Price kept this object until her death in 2002. According to information provided by her estate to Sotheby’s, their collection had been formed by 1972. Handwritten notes supplied by Sotheby’s further suggest that this figure had been acquired by the 1960s.

Exhibition Information

None known.

Publication Information

None known.

Section of the AAMD Guidelines relied upon for the exception to 1970

Informed judgement that works were outside of the country of modern discovery before 1970

Explain why the object fits the exception set forth above

The Vincent Price collection was built up in the 1950s and 1960s, which is very probably when this object was acquired.