This magnificent collection was assembled by Dr. Helga Wall-Apelt. In February through August of 1993, the collection was on display at the Museum of Fine Arts, 255 Beach Drive NE, St. Petersburg, Florida. A special full color book was prepared for the collection and its exhibition and many of the objects in this book are being offered today at auction. Later it was featured in Dr. Wall-Apelt’s Museum of Asian Art in Sarasota, Florida. (A copy of this special publication will accompany the following 60 lots from this collection).

In the forward of the book, Robert Fray wrote,

“Between the Chinese jades securely locked away in museum collections and those of nominal quality that come to market, usually at the major auction houses, it is astonishing to find that a private collector can still today assemble a group of jades of the quality of the Yangtze River Collection. The number of museums around the world with jades that could match the brilliance of these pieces can be counted on the fingers of both hands.

For Chinese jades the time period represented by this collection is short, from the Qing Dynasty onward. However, this period has been referred to as the “Pinnacle of Chinese Jade Art” and does reach the heights of decorative carving on both the classical nephrite stones, much used for carving in previous dynasties in China, as well as the more intensely colored jadeite stones that started pouring into China from the mines in Burma during that era.

In the Qing Dynasty the Qianlong Emperor was truly a patron of all facets of Chinese art but he had a particular passion for jade. Not only did he set up jade workshops in the grounds of the Imperial Palace but he also controlled the mining and trading of rough jadestones and made certain, often through military control that the finest pieces came to the Imperial Department for Production. This was first controlled in Beijing but then spread to many other centers for jade carving for both the Emperor and for private collectors. For the Imperial pieces the Emperor himself supervised many of the steps in production ranging the gamut from the selection of the rough stones to be carved all the way to ranking the finished carvings and rendering his opinions about them.

The number of these Imperial pieces in the Yangtze River Collection, some signed by the Qianlong Emperor or one of his successors, makes this exhibition unique. Many of the other jade carvings in this Collection were undoubtedly made for private collectors during the Qing Dynasty and later and we are fortunate to be able to see them as well today in this outstanding private collection”.

The text of this book was prepared by Daphne Lang Rosenzweig, with technical notes prepared by Abraham Rosenzweig. In her introduction, Ms. Rosenzweig states,

“The appreciation of jade is not solely a Chinese phenomenon. There are many foreign connoisseurs of Chinese jade carvings, and serious collections focused on certain eras or types have been formed in the twentieth century both in Europe and America. Classic volumes from the early part of this century as well as a number of recent publications have drawn attention to collections located in major museums. Our understanding of the historical development of Chinese jade carving and the mineralogy of the materials which constitute the “jade” category has been substantially advanced in recent years by serious discussions of these subjects based on personal analysis by experts in art history and geology, as well as archeological and archival discoveries.

This catalogue, The Yangtze River Collection, – Later Chinese Jades, introduces a heretofore unknown collection, formed by a private European collector now living in the United States. The collection is distinguished by the relatively large scale and perfection of form represented by many of the pieces, and the range of types included. There are some rarities not always easy to establish. Although certain periods have been suggested for almost every work, the opportunity exists for other opinions to be offered on the problematic issue.

I have attempted to avoid repetition of aspects of jade carving, mineralogy, “period style” and collection fully explored in other recent publications. Interested readers desiring more information about those matters are referred to the new volume titled Jade, edited by Roger Keverne and other publications cited in the SELECTED BIBLIOGRAPHY section which appears at the end of this catalogue. The pinyin Romanization system has been used for transcription of Chinese into English in this text. Full citations for authors and books noted in the text are listed in the SELECTED BIBLIOGRAPHY section. The text has been divided into five chapters, by object type.”

We are very pleased to offer the objects from this wonderful collection and in each case, have utilized the exact descriptions originally prepared for the book.

Antique paperweights made in the 19th century captured floral designs, reptiles and millefiori canes in very traditional Victorian styles encased in a solid sphere of clear crystal.

Artists of the 19th century generally produced paperweights in factory settings along with other decorative glass objects. Rarely signed by individual artists, most antique paperweights are attributed to a factory by motif, color palette, canes and shape. Little is known about individual artists who created the work.

In a nineteenth century society with fancy desks and paper, paperweights were functional objects of art. Flowers were a large part of Victorian society and both ladies and gentleman of the time were attracted to fauna and flora. Paperweights were considered fascinating objects of art and conversation pieces in Victorian homes.

Factories producing paperweights were primarily located in France, Italy, Czechoslovakia, America, and China. Factory made paperweights often had similar motifs. Factories would also produce special pieces. These rare designs showcased fantastic capabilities and secret techniques only known to each factory. Today these special pieces bringing staggering auction results.

In the mid 20th century, there was a revival in modern paperweights. At first artists began creating updated versions using glass-working techniques of antique traditions. This revival began alongside the studio art glass movement in America. Individual glass artists opened homegrown studios in garages and basements. The pioneer and dean of the American paperweight revival was Charles Kaziun, of Brockton Massachusetts. Kaziun set new artistic standards and methods for creating paperweights at that time. He worked alone in his own small home studio creating the path that all subsequent contemporary paperweight artists followed.

Contemporary artists making paperweights introduced several differences from the past: (1.) They worked alone or with an assistant in private home studios. (2.) They concentrated on paperweights. (3.) Artists developed individual styles and methods of making the work. (4.) They always signed the artwork and often numbered editions.

In the early years of collecting paperweights, few collectors knew very much about paperweights and even less about how paperweights were made. In 1955 Mr. Paul Jokelson, an avid antique paperweight collector and importer, founded the Paperweight Collectors Association. Mr. Jokelson promoted paperweights and created a forum for educating collectors and where artists like Kaziun could show and sell their new work. Mr. Jokelson published many early books on paperweights; authors followed creating a library of books on paperweights. The PCA continues having bi- annual paperweight conventions.

Today in 2015 many artists all over the world are creating fine paperweights. The finest modern paperweights have made their way into private and museum art collections. Institutions such as The Chicago art Institute, Museum of Fine arts in Boston, The Currier Museum of Art in Manchester N.H. amongst others have modern paperweights on view.

Today’s paperweight artists have stepped beyond the traditional form and are creating new works of contemporary art glass. They truly enjoy their work and continue to be motivated by their love of art.

Collectors love paperweights because, unlike other forms of art, collectors can hold them in their hands and be drawn into a fascinating miniature world.

The Dr. Helga Wall-Apelt Private Collection is being sold at James D. Julia Auctioneers in Fairfield, Maine on Monday, March 23rd, and it is truly a very special collection.

This auction consists of the private collection of Dr. Helga Wall-Apelt. The collection has been 60 years in the making and each object in the collection was personally selected by Dr. Wall-Apelt during her lifetime. In 1993, after purchasing the Yangtze River Collection of later Chinese jades, she placed them on loan to the Museum of Fine Arts at 255 Beach Drive NE, St. Petersburg, Florida where they were on display from February through August of that year.

Dr. Wall-Apelt continually expanded her collection throughout her life, driven by both her passion and her love for the Chinese culture. By the 1990s, her collection had expanded tremendously and the desire to share her collection with the world was a catalyst for the formation of the Museum of Asian Art in Sarasota, Florida. The Museum was a repository and a display for many of the wonderful Asian objects in Dr. Wall-Apelt’s collection. The examples selected by Dr. Wall-Apelt to be displayed at the museum were all loaned to the museum and always remained her personal property. After the closure of the Museum of Asian Art, Dr. Wall-Apelt removed her personal collection and now, today, we will be selling her collection at auction. This auction consists totally and solely of Dr. Helga Wall-Apelt’s personal collection. There are no additions from any other consignors or sources and these are all the personal property of Dr. Wall-Apelt.

Included in this lot as well in this auction is a pair of undecorated white jade palace style bowls. These beautiful late 18th century works of jade are estimated at $30-50,000. Another exquisite highlight from this magnificent collection is Lot 9, a table screen with longevity theme from the mid to late Qing Dynasty with meticulous carving on both sides, the screen carries a presale estimate of $20-30,000. Another fabulous jade object is Lot 22, a massive convoluted jade mountain from the late 18th/19th century. It is of an enormous and massive size, one that is rarely ever found in jade. Indeed to even find a piece of jade this large is rare. It measures nearly 24” by 14-3/4” and carries a presale estimate of $30-50,000. Lot 83 is an extremely rare pair of cast iron Buddhist lions. From the Ming period, they are in outstanding condition and are a true rarity. Iron objects of this vintage are tremendously rare. Over the centuries as the demand for metal increased, objects such as these were melted down, thus the survival of this magnificent pair is very special. Lot 93 is a massive gilt lacquer wood figure of Vairocana, 19th century or earlier. Gilt decorated with polychrome paint, it is huge in size, measuring 65-1/2” high and 45” wide. It is estimated at $40-60,000. Various stone antiquities, also part of her collection, including Lot 94, the carved stone plaque of Avalokiteshivara, NC Hou Dynasty. An image is depicted rising from a lotus flower; it measures 34” x 15” and is estimated at $20-30,000. One of the many bronze figures includes Lot 263, the gilt bronze standing figure of Manjushri, probably Nepal 17th century or earlier. It measures 13-1/2” high and carries a presale estimate of $20-30,000. This auction consists solely and completely of Dr. Wall-Apelt’s Personal Collection, there are no additions. Many or most of the featured items from this extraordinary collection from this auction will be on view at the Bohemian Hall in New York City, March 13th-17th. Lavish, detailed catalogs are available by contacting the auctioneers:

James D. Julia Auctioneer
203 Skowhegan Road
P.O. Box 830
Fairfield, Maine 04937

207.453.7125
www.jamesdjulia.com

In the early 1880s, at a time ruled by cast iron, Ernst Paul Lehmann revolutionized the toy world in Brandenburg, Germany by producing wonderful and imaginative mechanical playthings out of tin, a material that hadn’t been used as extensively for toys until then. As the new century replaced the previous one, the company began to see great success and was recognized as innovators in the field. In fact, one of Lehmann’s advances was the patenting of the locking mechanism for clockwork motors, a component still used to this day. Using tin was an innovation for a number of reasons especially when compared to the somewhat cumbersome iron toys of most other makers. Besides being less expensive to produce, it meant a lighter and easier to handle item than their iron counterparts. It also allowed for detailed and brightly colored lithographing of the tin toys, which wasn’t possible with iron toys.

In their heyday between the 1880s and 1930s, they employed as many as 800 workers to keep up with the demand. During the 1920s the firm manufactured more than 100 different toy models, which were exported around the world. Each of their toys were given imaginative and individual names, which were often lithographed on the toy itself and emblazoned with Lehmann’s graphic and recognizable trademark monogram logo, making identification very simple, a feature that separates them from most other antiques and collectibles.

Because of their bright lithography, great mechanics, and often entertaining premises, their broad appeal went beyond that of cast iron toys, which were essentially marketed only to young boys. Lehmann made a concerted effort to make toys that girls would want too, and were extremely successful. Some of the fun features that appealed to yesterday’s children as much as today’s collectors include an amphibious car that would traverse both the bathtub and living room floor with ease, a driver on his tricycle pulling a nervous flailing bride on her way to the church, a very whimsical toy of a rabbit standing on an egg with backpack being pulled by a rooster, and a well-to-do couple walking their pug down a city street.

With the passing of Ernst Lehmann in 1934, the company continued to operate under Lehmann’s cousin Johannes Richter, even through the metal shortages of World War II. But sadly, it was the beginning of the end. After the war, with the split into West and East Germany, Brandenburg, being part of the latter, fell under control of the Soviet occupation, and the Lehmann company went with it. In 1948, Richter was denounced as a war criminal and was removed from the Lehmann roster. Shortly thereafter, Richter escaped to Nuremberg in West Germany and the family built a new factory under the Lehmann name in 1959 outside Nuremberg. They carried on for some time, but ultimately, the popularity of tin toys decreased, and the new company shifted its focus to plastic toys, although continuing some of their more popular tin lines into the 1970s. The company was eventually bought up by other firms, ultimately going bankrupt in the mid-2000s, leaving behind nostalgia and memory. Thankfully, the legacy lives on with today’s collectors who will often find quality Lehmann toys at auction in the low to mid-hundreds, with certain rarities reaching well into the thousands and even tens of thousands of dollars.