Sackler Collection Soars Bringing $4,615,054 –Quadruples Pre-Sale Estimate and Fine Chinese Ceramics and Works of Art totals $10,917,425

Sotheby’s autumn auction season in New York kicked off this morning with a sale of Fine Chinese Furniture, Works of Art and Carpets from the Arthur M. Sackler Collections, which brought $4,615,054 and more than quadrupled the presale low estimate of $1/1.5 million*. The sale was 95.4% sold by lot and 99.5% sold by value and was led by A Rare and Important Pair of Huanghuali Compound Cabinets and Two-Drawer Stands from the 17th century, which brought $1,022,500 against a presale estimate of $120/180,000. The day continued with a various-owner sale of Fine Chinese Ceramics and Works of Art, which again exceeded pre-sale expectations to bring $10,917,425 (est. $5.1/7.1 million) and was 74.9% sold by lot and 90.9% sold by value. The two sales brought a combined total of $15,532,479 (combined est. $6.2/8.6 million).

Speaking about the sales, Dr. Caroline Schulten, Head of Sotheby’s Chinese Ceramics & Works of Art Sales, North America, said, “We were incredibly pleased with the results of today’s two sales. We saw a high sell-through rate in both sales, reinforcing our strategy of offering clients well-edited sales of high-quality works. In fact, 70% of the lots sold in our various owner sale achieved prices above the high estimate. While our top buyers in both sales today came from Asia, including Hong Kong, Taiwan and mainland China, we saw active participation and strong underbidding from our European and American clients. We were also excited to see many new collectors from around the world emerging in the market.”

Fine Chinese Furniture, Works of Art and Carpets from the Arthur M. Sackler Collections

Leading off the sale of Fine Chinese Furniture, Works of Art and Carpets from the Arthur M. Sackler Collections was a series of approximately 40 lots of Chinese furniture, mostly of huanghuali wood and dating to the 17th and 18th centuries, all of which sold and many of which hammered down at prices far above t eir estimates. Two clients in the saleroom battled for A Rare and Important Pair of Huanghuali Compound Cabinets and Two-Drawer Stands from the 17th century, sending the price to $1,022,500 (lot 10, est. $120/180,000). A Huanghuali Display Cabinet from the 17th/18th century was sought after by absentee bidders, telephone bidders, and clients in the room, and was ultimately sold to a client in the room for $338,500 – ten times the presale estimate of $25/35,000 (lot 18). No less than four clients in the saleroom and one telephone bidder competed for a Huanghuali Low Table estimated at $8/12,000, which climbed to $194,500 and sold to a collector in the room (lot 24).

Carpets from the Sackler Collections exceeded expectations as well, bringing over $440,000 for the group, well above the pre-sale high estimate of approximately $250,000 and led by a Ninghsia Carpet, West China, which sold for $96,100 (lot 62, est. $25/35,000).

A Rare and Important Pair of Huanghuali Compound Cabinets and Two-Drawer Stands from the 17th century (Lui Jan Gui)

each cabinet of rectangular form, set with a pair of hinged doors composed of floating panels within rectangular frames, fitted with a circular baitong lockplate with pin and rectangular pulls, without a central stile, all above a shaped beaded trim apron deeply carved with scrolling and intertwined lotus, the shorter sides with shaped aprons carved with intertwined tendrils, the interior with a pair of drawers with baitong baluster pulls, the back panels now removed, all set on four short feet of square section, resting upon a stand with a molded edge, fitted with two adjacent huanghuali drawers separated by a central stile, the front of each drawer carved with prunus foliage and buds and centered with a prunus blossom enclosing the chrysanthemum baitong mount and baluster pull handles, the side carved with magnolia blossoms, above a shaped beaded trim apron carved with two qilong confronting intertwined tendrils and ruyi-head at the center, the side aprons carved with tendrils, resting on four short cabriole legs, the hat chest a truncated form of the cabinet with similarly carved apron and baitong fittings, the interior set with a shelf, the four petite square legs set flush atop the cabinet (14). stands: 11 x 41 1/2 x 19 1/2 in., 27.9 x 105.4 x 49.5 cm cabinets: 52 1/4 x 41 x 19 1/4 in., 132.7 x 104.1 x 48.9 cm hat chests: 30 1/4 x 41 x 19 1/4 in., 76.8 x 104.1 x 48.9 cm. Est. 120,000—180,000 USD - Lot sold 1,022,500 USD to an Asian Private.

NOTE: This rare pair of exquisite compound cabinets, liujian gui ('six-part wardrobes'), represents the finest in 17th century Chinese cabinetry. The large panels and carved huanghuali details would have been reserved only for the wealthiest and most prominent families. Their rarity is enhanced by the inclusion of the two-drawer stand, an unusual but important feature that sets this pair apart from the more typical two-part compound cabinets. Moreover, very few complete sets of compound cabinets have survived together into modern times, making this set extremely desirable.

One of the more luxurious elements of this set is the inclusion of carved aprons on all of the pieces. An extremely rare feature, the closest comparable example is the huanghuali compound cabinet with hat chest from the Dr. S. Y. Yip Collection, illustrated in Shing Yiu Yip and Grace Wu Bruce, Chan Chair and Qin Bench: The Dr. S. Y. Yip Collection of Classic Chinese Furniture II, Hong Kong, 1998, pl. 24. The Yip piece differs, however, in that the carved apron on the hat chest is part of an attached short stand, and the body of the hat chest is slightly smaller than that of the cabinet, whereas the two pieces on the present pair are of the same width and length.

The inclusion of the two-drawer stand is perhaps the pair's most outstanding feature. The carving design on the stand's apron, different than those on the cabinets and hat chests, indicate that it was made to be interchangeable with other pieces of furniture, and thus was not necessarily made to conform exactly to the other components in this set. It is important to note that each piece is fully and aesthetically functional as stand-alone furniture, and that one may also choose to combine only two components, depending on the size of the room or ease of movement and access. However, the three-part design is compelling because without the two-drawer stand and its finely articulated cabriole legs, the cabinet and hat chest -- with their short square section legs and narrow apron -- would appear more stunted and less elegant. The stand, therefore, provides the necessary height and the carved apron helps to maintain a sense of balance.

Another rare three-part cabinet comprising its original sections, made of zitan and attributed to the late 17th / early 18th century, is illustrated in Robert Hatfield Ellsworth, Nicholas Grindley, and Anita Christy, Chinese Furniture: One Hundred Examples from the Mimi and Raymond Hung Collection, New York, 1996, pl. 79.

A Huanghuali Display Cabinet from the 17th/18th century

the rectangular outline with an open upper shelf with a pair of openwork doors, above a pair of tall rectangular doors opening to a single shelf with two doors, set with baitong lockplate and pull handles, above a shaped apron carved with foliate scrolls, the sides with short aprons carved with intertwined tendrils, all on legs of square section; 61 3/4 x 38 1/2 x 19 1/4 in., 157 x 97.8 x 48.9 cm. Est. 25,000—35,000 USD - Lot sold 338,500 USD to an Asian Trade.

A good pair of 'huanghuali' square-corner cabinets (fangjiao gui), 17th / 18th century

each with a pair of single-board, floating panel doors fitted flush where they meet the frame, mounted with baitong hinges, a lockplate, pin and square pull handles, between the two single board horizontal panels above and below, with square corner posts, all above a carved foliate scrolling floral apron in the front, the sides with straight aprons, the interior with two shelves, one containing a pair of drawers with brass pull handles (6). 67 1/4 x 44 x 21 3/4 in., 170.8 x 111.8 x 55.2 cm. Est. 70,000—90,000 USD - Lot sold 332,500 USD to an Asian Private.

A rare 'huanghuali' daybed (dumian chuang), 17th century

the hard cane surface set into the rectangular frame, above a recessed waist, the straight apron supported by slender cabriole legs ending in scroll feet and deeply carved in relief of confronting dragons among cloud scrolls, finished with a beaded molding on the edge. 20 1/2 x 78 1/2 x 23 1/2 in., 52.1 x 199.4 x 59.7 cm. Est. 80,000—120,000 USD - Lot sold 326,500 USD to an Asian Private

PROVENANCE: Acquired from the Drummond Brothers, 1951.

NOTE: The present single daybed -- dumian chuang or 'bed for sleeping alone' -- is unusual for its ornate and deep carving of dragons among clouds on the apron and extending down to the scroll feet. While the scroll feet can be found on other daybeds, see for example Wang Shixiang and Curtis Evarts, Masterpieces from the Museum of Classical Chinese Furniture, Hong Kong, 1995, pl. 4, the flamboyance of the carving is more akin to those on larger formal beds.

According to Sarah Handler in "Outstanding Pieces in Private Rooms: Chinese Classical Furniture in New American Collections,' Chinese Furniture: Selected Articles from Orientations, 1984-1994, Hong Kong, 1996, p. 169, "although daybeds are rare, they are frequently shown in paintings and woodblock illustrations." Further, she adds, "since daybeds are relatively light and easy to move, they could also be used for relaxing outside." One such example is a hanging scroll by the early 17th century artist Chen Hongshou titled Reclining on the Incense Fumigator in the Shanghai Museum, depicting a woman seated on her daybed in a garden, illustrated in Sarah Handler, Austere Luminosity of Chinese Classical Furniture, Hong Kong, 2001, p. 117.

For a daybed of comparable height, carved with a simple ruyi-cloud motif apron and scrolled feet, see Wang, op.cit., pl. 4, which was later sold at Christie's New York, 19th September 1996, lot 54.

A pair of 'huanghuali' yokeback armchairs (nanguanmao yi), 17th century

each with an arched crestrail above a wide-bowed splat, flanked by curved stiles set with short interior flanges, the S-shaped arms with vertical supports, continuing to S-shaped front supports set with interior brackets, the legs of circular section with straight beaded aprons and long flanged brackets, above a box stretcher, with a removable hard cane seat (2). 42 x 22 1/2 x 18 in., 106.7 x 57.1 x 45.7 cm. Est. 60,000—80,000 USD60,000—80,000 USD - Lot sold: 242,500 USD to an Asian Private

PROVENANCE: Acquired from the Drummond Brothers, 1951

NOTE: According to Sarah Handler in Austere Luminosity of Chinese Classical Furniture, Hong Kong, 2001, p. 43, 'the Chinese yokeback chair is the stately seat of Buddhists, deities, royalty, and important people.' This pair of chairs, nanguanmao yi ('Southern Official's Hat Chair'), is part of a pantheon of yokeback chairs that remains one of the more popular forms of seating in Chinese furniture. There are many variations on yokeback chairs, and the present pair is no exception. An interesting feature -- the interior flanges below the crestrail -- is unusual in that such flanges typically are arranged on the exterior. However, this can be compared to a jichimu chair attributed to the 17th century, also set with interior flanges, illustrated in Wang Shixiang and Curtis Evarts, Masterpieces from the Museum of Classical Chinese Furniture, Hong Kong, 1995, pl. 24.

A 'huanghuali' low table (kangji)

the long rectangular top with everted ends, over a straight recessed apron with carved flanges, a tielimu drawer built into the apron, all on a pair of recessed panel supports set on block feet, the panels carved with dragon roundel medallions on the exterior and peaches on the interior (2). 17 x 65 x 18 in., 43.2 x 165 x 45.7 cm. Est. 8,000—12,000 USD - Lot sold 194,500 USD to an Asian Trade

A large 'huanghuali' painting table. Qing dynasty, 18th century

the two-board panel set within a rectangular frame, above a short recessed waist, continuing to a straight apron supported by straight flush legs, the exterior surfaces carved with slight concavity, with two-register bracket supports, the wood of warm honey-brown color and fine patina. 33 x 82 x 30 1/2 in., 83.8 x 208.3 x 77.5 cm. Est. 40,000—60,000 USD - Lot sold 194,500 USD to an Asian Private.

PROVENANCE: Acquired from Compagnie de la Chine et des Indes, Paris, 1960s.

A waistless 'zitan' side table (tiao zhuo). Qing dynasty, 18th century

of elegant form, the three board top within a rectangular frame, supported on four round recessed legs connected by a continuous lattice-pattern apron, very fine patina throughout. 32 1/2 x 41 1/2 x 15 1/2 in., 82.3 x 105.4 x 39.4 cm. Est. 50,000—70,000 USD - Lot sold 158,500 USD to an Asian Private

PROVENANCE: Acquired from Compagnie de la Chine et des Indes, Paris, 1960s.

NOTE: A zitan table with similar lattice-pattern apron, but with extended flange brackets, in the Palace Museum, Beijing, and attributed to the early Qing period, is illustrated in Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, vol. II, p. 92, fig. B71. See also a table similar to the aforementioned, formerly in The Gandolf Geis Collection of Fine Classical Furniture, sold at Christie's New York, 18th September 2003, lot 29.

A pair of 'huanghuali' low-back armchairs (meigui yi). Qing dynasty, early 18th century

each with an open-back frame formed by a straight toprail rounding the corners to the back posts, set with an inset beaded border apron and spandrels finely carved with archaistic T-scrolls, the straight arms continuing down to form the front posts, also inset with a beaded apron and spandrels with ruyi-cloud silhouettes, the hard cane set within a rectangular frame, surmounted by a lattice rail at the rear and sides, the legs connected by a beaded apron carved with scrolling tendrils, with spandrels running the length to the foot stretcher, the rear and sides with curved aprons and spandrels, the front and side stretchers with narrow plain aprons and short spandrels (2); 33 1/2 x 22 1/2 x 17 in., 85.1 x 57.5 x 43.2 cm. Est. 40,000—60,000 USD - Lot sold 116,500 USD to an Asian Private.

PROVENANCE: Acquired from Barry Sainsbury Oriental Art, London, 1982.

NOTE: Meigui yi, or 'rose chairs', are the smallest of the standard chair designs in Chinese furniture, making them appropriate for both indoor and outdoor use. The T-scrolls and carved apron on the chairs are similar to a pair attributed to the early Kangxi period, illustrated in Robert Hatfield Ellsworth, Chinese Furniture: One Hundred and Three Examples from the Mimi and Raymond Hung Collection, Hong Kong, 2005, pl. 17. The present pair, however, is notable for the inclusion of the beaded apron and flanges under the arms. Another pair in the Dr. S. Y. Yip Collection of Classic Chinese Furniture, attributed to the 17th century, illustrated in Grace Wu Bruce, Dreams of Chu Tan Chamber and the Romance with Huanghuali Wood, Hong Kong 1991, pl. 6, is slightly more simplistic with straight uncarved aprons. A set of four with uncarved arched stretchers and vertical braces, from the Property of Barling of Mount Street, Ltd., was sold in these rooms, 2nd December 1992, lot 606.

A 'huanghuali' cabinet and hat chest. 17th / 18th century

the tall cabinet with a molded edge top panel, above a pair of doors comprising floating panels set within raised rectangular frames, flanking a removable central stile, fitted with a three-part baitong lockplate, pin and 'fish' pull handles, the legs of square section with beaded edges, bordering aprons carved with foliate scrolls, the interior with three shelves, one with a pair of drawers fitted with pull handles, the back panel of the cabinet also huanghuali, the hat chest echoing the cabinet's construction without the apron and legs (4); cabinet: 62 x 38 1/2 x 20 3/8 in., 157.5 x 97.8 x 51.8 cm hat chest: 23 x 38 1/2 x 20 3/8 in., 58.4 x 97.8 x 51.8 cm. Est. 25,000—35,000 USD - Lot sold 110,500 USD to an Asian Private.

Fine Chinese Ceramics and Works of Art

The sale of Fine Chinese Ceramics and Works of Art was led by a Fine and Large Pale Celadon Jade Vase and Cover, Qing Dynasty, Qianlong Period, which more than tripled its estimate to bring $926,500 (lot 260, est. $250/300,000). A ‘Famille-Rose’ ‘Ladies of the Han Palace’ Lantern-Shaped Vase, Jiaqing Iron-Red Seal Mark and Period from the Collection of Gordon Getty was pursued by multiple bidders in the room and on the telephone, and ultimately purchased by a client in the saleroom for $902,500, far exceeding the pre-sale estimate of $250/350,000 (lot 222). Also among the top lots was a Series of Sets (Lian Huan Tao) painted by Lin Fengmian from the Collection of Monsieur and Madame M. Helle, which sold to a client on the telephone for $818,500, exceeding the estimate of $90/120,000 (lot 175). An auction record was set for a Coromandel Screen when a Twelve-Panel Black Lacquer Coromandel ‘Mansion of Prefect Fenyang’ Screen, Qing Dynasty, Kangxi Period, sold for $602,500 (lot 131, est. $80/120,000). An Important Pale Celadon Jade Brushpot, Bitong, Qing Dynasty, 18th century, which has descended in the family of famed collector Heber R. Bishop, brought $662,500 after a lengthy battle between its purchaser on the telephone and another client in the room (lot 251, est. $300/400,000), and A Rare Large Bronze Figure of an Eleven-Headed and Multi-Armed Avalokitesvara, Ming Dynasty, 17th Century that was formerly in the collection of the Isabella Stewart Gardner Museum in Boston sold for $314,500 (lot 129, est. $200/250,000).

A fine and large pale celadon jade vase and cover. Qing dynasty, Qianlong period

of rectangular section, the body of slightly tapered form rising from a low splayed foot, the sides finely carved in low-relief with a central hibiscus flower within intricately formed leafy panels below a pair of shuang xi ('double happiness') characters on the waisted neck set with a pair of elaborately carved dragon-mask handles suspending loose rings, the domed cover similarly decorated with a finely carved leafy design below a pointed knob finial, the stone translucent and of even white tone with a tinge of pale celadon (2). height 11 in., 27.9 cm. Est. 250,000—300,000 USD - Sold 926,500 USD  to an Asian Private

PROVENANCE: A Midwest Institution.
R. Norris Shreve Collection.
Sotheby's New York, 31st May and 1st June 1994, lot 52.

NOTE: The floral elements on this vase evoke the elaborate and complex designs found on Indian Mughal jades which were popular at the Qing court particularly during the reign of the Qianlong emperor when they first reached the court as items of trade or tribute. Revered by the emperor for their color, extreme thinness and designs, many jade pieces of this period embrace design elements associated with Mughal jades, such as the hibiscus flower and the wispy tendrils of the surrounding foliate frame on this vase, and combine them with Chinese elements such as the shuang xi characters. Compare a vase of similar color, shape and design sold at Christie's Hong Kong, 30th October 2001, lot 712.

A 'famille-rose' 'ladies of the han palace' lantern-shaped vase. Jiaqing iron-red seal mark and period

the tall oviform body painted with a central section featuring ladies in a pavilion garden, the lush setting providing the backdrop for a figure dancing to instrumental music performed by attending ladies, all adorned in elaborate garments picked out in green, aubergine, green and yellow enamel, the scene bordered by ruyi-head lappets at the shoulder and tapering foot, the former rising to a waisted neck decorated with stylized lotus scrolls and gilt wan symbols, the latter with smaller lotus scrolls, all reserved on a deep ruby ground, the short straight foot painted with ruby-colored chrysanthemum against a blue scroll-work pattern, the base and interior glazed turquoise. height 12 1/2 in., 31.2 cm. Est. 250,000—350,000 USD - Lot sold 902,500 USD  to an Asian Trade.

PROVENANCE: Christie's Hong Kong, 30th April - 2nd May 1995, lot 672

NOTE: In its shape and decoration the present vase belongs to a group of wares produced at the imperial kilns at Jingdezhen during the early years of Jiaqing's reign. Wares of this period continued to be influenced by Qianlong designs and were possibly produced by the same potters who made wares for the Qianlong emperor and his household. This fine and meticulously painted scene of ladies is reminiscent of scroll painting, with the ruby-ground around the mouth and foot serving as mounting for the painting.
The scene depicts ladies of the Han Palace, a subject that rose in popularity in later Chinese art when the Han dynasty became a subject of nostalgia. Elegant and beautifully-dressed women occupy a romanticized world, engaged in exemplary behavior such as modesty and encouraging the transmission of culture as seen on this vase where they play music and dance. This theme also reflects the antiquarian interest characteristic of the Qing period.
A closely related vase was sold in our Hong Kong rooms, 2nd November 1998, lot 411; another example was sold at Christie's Hong Kong, 20th March 1990, lot 672, and again, 26th April 1998, lot 511; and its companion piece was also sold at Christie's Hong Kong, 29th September 1992, lot 601. Compare Qianlong vases of similar form and decorative scheme; such as one decorated with the Eight Immortals between a turquoise ground neck and foot, in the Palace Museum, Beijing, illustrated in Kangxi. Yongzheng. Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p. 350, pl. 31; and a green-ground example depicting children at play, in the Nanjing Museum, Nanjing published in The Official Kiln Porcelain of the Chinese Qing Dynasty, Shanghai, 2003, p. 320.

Lin Fengmian (1900-1991), A series of sets (Lian Huan Tao)

oil on canvas, signed in Chinese on lower right; signed 'Lin Fonmian' in pencil with one artist's seal on reverse. 18 5/8 x 23 7/8 in., 47.3 x 60.6 cm. Est. 90,000—120,000 USD - Lot sold  818,500 USD to an Asian Private

PROVENANCE: Acquired in Shanghai between 1963 and 1966 directly from the artist.

NOTE: Lian Huan Tao (A Series of Sets) is the title of a well-known Beijing Opera play. For Lin Fengmian, Chinese opera gave inspiration for exploring new techniques of composition, colors and imagery influenced by Cubism and blended with imagery of shadow puppetry and paper cutting. As part of Lin Fengmian's Chinese Opera series, this rare oil on canvas painting expresses Lin's strong affinity towards decorative forms, humor and modern colors so typical of this body of work.

An important pale celadon jade brushpot, bitong. Qing dynasty, 18th century

of cylindrical shape and resting on five delicate bracket feet, the body subtly and skillfully carved around the exterior with an immortal in a windswept stance accompanied by three attendants, the group crossing a river and traversing craggy mountain paths, the immortal carrying a large peach while the attendants hold a lingzhi sprig, a narcissus, and a stalk of bamboo, their presence a modest part of the large and imposing landscape, accentuated with a pavilion in the distance and two large pine trees, the other side of the exterior imitating the high walls of a mountain enshrouded by mist, the stone of translucent and very even pale celadon tone, polished to a soft glow, carved silver-inlaid wood stand, the base of the brushpot and the stand both bearing the number 3267 in red ink (2). height 6 3/4 in., 17.1 cm diameter 6 in., 15.2 cm. Est. 300,000—400,000 USD - Lot sold 662,500 USD to an Asian Private

PROVENANCE: Collection of Heber R. Bishop (b. 1840 - d. 1902).
Thence by descent to the present owner.

NOTE: This superbly carved pale celadon jade brushpot epitomizes the best in 18th century Chinese jade carving, skillfully using the stone's translucency and even pale celadon-white color to depict an immortal and his attendants in a luminous landscape setting. Jade brushpots of this color and size are extremely rare due to the limited availability of the material. The quality of the stone as well as the carving may suggest that the piece was carved within the Imperial workshops in Beijing during the Qianlong period. By combining meticulously detailed elements, such as the pine trees, with the smooth and sparsely carved rocky mountains, the flawless beauty and luminosity of the light celadon-colored stone are accentuated.

A number of brushpots of pale celadon or white jade, similarly carved with figures holding auspicious objects wandering in landscape settings, are known from important museums and private collections; compare, for example, a smaller white jade brushpot in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Jadeware (III), Hong Kong, 1995, pl. 167; a slightly larger brushpot, from the collection of Alan and Simone Hartman, sold at Christie's Hong Kong, 27th November 2007, lot 1518; and a third example, carved from a slightly mottled celadon stone, previously from the collection of T.B. Kitson, sold in our London rooms, 30th May 1961, lot 447, and again at Christie's New York, 17th September 2008, lot 329. Compare also a white jade brushpot, but without feet, in the National Palace Museum, Taibei, included in the exhibition The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, National Palace Museum, Taipei, 1997, cat. no. 60.

The present brushpot was acquired by Heber R. Bishop (1840-1902), a well-known banker, entrepreneur and philanthropist, who formed one of the most important early collections of Chinese jades in the second half of the 19th century. While the majority of his collection was bequeathed to the Metropolitan Museum of Art in New York in 1902, this brushpot remained in the family and was handed down from one generation to the next to the present owner. It will be offered at auction for the first time since it was acquired by Heber R. Bishop in the 19th century and is one of the few jade pieces from this important collection ever to be sold.

A twelve-panel black lacquer coromandel 'mansion of prefect fenyang' screen. Qing dynasty, Kangxi period. Inscribed with a cyclical date, renxu, corresponding to 1682

the twelve panels beautifully carved and painted on black lacquer, from the top-right corner a delegation crosses a curved footbridge on foot and horseback, making its way to the main palace gate flanked by a pair of large Buddhist lion statues and fortified by a phalanx of warriors, the arrival announced by two sets of musicians situated atop towers set next to flagpoles bearing flags with large shuai ('Commander-in-Chief') characters, the lintel board above the main gate reading 'The Mansion of Prefect Fenyang', another lintel board stating 'supporting the sky (the emperor) and making prosperous the kingdom', inside the main courtyard the visitors are greeted by a troupe of female dancers and musicians, at the main building the prince of Fenyang, Guo Ziyi, is seated, dressed in a red four-clawed dragon mandarin's robe he greets two kowtowing guests, scattered about are boys playing with various toys and instruments including one sparking fireworks while others cover their ears, a female delegation arrives in a deer-pulled chariot at the gate of the women's quarters on the left-hand side, the visitors are announced to the seated lady and her ladies-in-waiting by a kneeling attendant, the garden with two large jardinieres holding large scholars' rocks and meandering trees, two cranes wander nearby, the top of the entire scene enshrouded by scrolling clouds, all bordered by a thin band containing friezes of two confronting qilong intertwined in a ruyi-head, within a larger border of cartouches of various shapes enclosing 'precious objects', flora and fauna, and figures and animals among nature scenes, the outer border comprising continuous scrolling lotus, the reverse with similar three-part border save for alternating shou and fu characters in place of the qilong, the main section with a lengthy dedicatory inscription, each panel with two short feet connected by a red-lacquer shaped and beaded apron (12). each panel: 106 x 18 3/4 in., 269.2 x 47.6 cm. Est. 80,000—120,000 USD - Lot sold 602,500 USD  to an Asian Trade

PROVENANCE: Private Florida Collection.
The Chinese Porcelain Company, New York (2002).

LITERATURE AND REFERENCES: W. de Kesel and Greet Dhont, Coromandel Lacquer Screens, Gent, 2002, p. 44 (no illustration).

NOTE: The subject of the present work belongs to a rich tradition of Kangxi period coromandel screens. The dignitary depicted, Guo Ziyi (697-781) quelled an uprising in his youth and in his later years was considered a symbol of a good civil servant.

This screen is related to the twelve-panel screen attributed to the 18th century, formerly in The C. Ruxton and Audrey B. Love Collection, sold at Christie's New York, 20th October 2004, lot 357. Although the Love screen is a larger example, the two were clearly from the same workshop, as demonstrated in the rendering of the apron and feet construction, the scrolling lotus and qilong borders, the Buddhist lion statues, the lingering scrolling clouds, and the graphically linear architectural perspective of the palace quarters. See also a screen, possibly from the same workshop and with a lengthy inscription on the reverse with a date corresponding to 1680, sold in these rooms, 13th October 1984, lot 408.

The inscription on the back of the screen can be translated as:

A preface composed respectfully to congratulate the great military leader and the senior officer of national security Commander Rong on the occasion of his birthday.

The year is in Renxu, according to the cyclical calendar. In the first lunar month, we are overjoyed with anticipation of the celebration of the Commander's birthday. His fellow officials and magistrates, members of the gentry, other army staff members from various divisions, as well as local town folks of the three counties have all traveled from far and near to attend the event. Everyone raises their toast to wish His Excellency Rong a happy birthday. All cheer for the occasion, dancing jovially and commending his remarkable virtues and lustrous life achievements.

It is said that for the civil servants and army personnel serving in the government, the biggest challenge is for them to work harmoniously together as a team with one sole sense of mission. This bond, if it is ever possible, would mirror the friendship formed between General Lian Po and his peer at the court Lin Xiangru, the noted politician in the Zhao state during the Warring States period; this spirit of cooperation is what the people always yearn to encounter. His Excellency has a kind and easy-going nature, is loyal to the friends, and is always respectful and accommodating with his colleagues and associates. His every innate capacity has greatly benefited his administrative work in the region. He also never refrains from helping others and is ever generous with his aid. During his ministry, people no longer bother to lock their doors at night and they can afford to enjoy their living, which is truly His Excellency's contribution. He no doubt deserves a life with longevity.

It has been said since ancient times that the renowned military leaders who treat their soldiers well are usually haughty towards and have difficulty getting along with the literati-officials, while others who admire the gentry class tend to neglect their sergeants.[i] Contrary to this, His Excellency carries himself in a modest and pleasant manner. When receiving the magistrates and local squires, he sets up an elegant feast, entertaining them with elegant singing and music; when it comes to managing his own military officers and the aides, he often dresses himself in casual and graceful raiment. Such a demeanor is indeed dignified and honorable, awe-inspiring yet never harsh. Such is another sign of his being destined to enjoy a fulfilling and harmonious life. He no doubt deserves a life with longevity.

It is said that oftentimes the government administrator either falls short of sharing hardship with his army peers and the people he protects or fails to attend to the conditions of want his people suffer due to corruption and exploitation. It is even more challenging for the one in charge to maintain the harmonious relationship between the army garrisons and the people they're meant to defend in one's jurisdictional district. Yet, His Excellency applies both leniency and strictness in his administration. He not only cares for his army so that they can safeguard the common people's needs but at the same time also give favors to the people, thereby allowing the troops to be relieved of their duty at times. He sees this as a necessary deed and tactic, executing these policies out of his kindness and deep care for others. He no doubt deserves a life with longevity.

Although His Excellency is to lead a life with longevity in his own right, there are other accomplishments beside the aforementioned remarks I've made here.

Looking back to his life, His Excellency was born in the year when our founding father (Nurhaci, r. 1616-1626) had just taken over the kingdom for five years. It was a time of prosperity, flourishing with great hope and aspiration, which is why he could so thrive and in so doing advance in his career. He became a man who stood out among others, with uniquely strong and graceful qualities resembling the lofty Mount Song. Later on, the great Zhangdi Shizu (Shunzhi, r. 1643-1661) established the imperial capital city in Beijing when the task to unite the whole country was complete. His Excellency took on critical posts[iiin these times in which the talented qualified to aid the emperor to manage the kingdom were great in number, and the distinctive court grandees remained active and engaging. Every cabinet member at the court, young and old, was assigned various offices of civil and military services. His Excellency's arduously diligent work caught the then emperor's attention, and later he received a special imperial decree to administer the three counties. The intention was to take advantage of his abilities and virtues to assist with the suppression of the still ongoing upheavals in the area. Such a mandate to defend the state and its territories could only have been done and done well by His Excellency.

Before His Excellency's arrival at the post, the army was mostly dispersed and sparse in its formation. Once he set to work, the alarmed troops rush to their posts, and in no time order was restored. The sight could rival the historical incident immortalized by the general Li Guangbi in the Early Tang dynasty. At the time before His Excellency's arrival at his post, the local ethnic tribes had to stay alert in order to protect themselves. Once he set to work, gangs of malicious overlords and villains all became subdued. What ensued recalls the people in Chinese Central Asia who all abided by the mighty general Li Guangli's disciplines and rules. [iii] During his tenure, His Excellency would hold routine tests as well as major reviews of the troops and repeat these training exercises in many conditions. This work ethics made clear to his garrison troops his goals as well as personal principles; his great leadership stood out and topped that of his military counterparts. Moreover, The Excellency had the troops engage in hunting and drills, never relaxing in these tasks, a vigorous discipline in managing his soldiers and also an effective method to maintain the readiness and capability of his army.

As for his way of honoring the literati-official tradition, every first and the fifteenth days of the lunar month he would make certain to pay a visit to the Confucius Temple. He closely observed his behavior to protect his personal integrity, never allowed it to be tarnished by mundane affairs. Furthermore, he set up a rite praying for rain at Shimen, and a spring suddenly welled up at the site; he also caught the [beast, possibly/Chinese character undecipherable] in the Conch River to rid the town of the harm running rampant there once and for all. So many other virtuous deeds like these have been done, yet cannot be completely reported.

It is commonly understood that he who possesses great virtues receives great longevity. The reason is quite self-explanatory. His Excellency's longevity is not just due to what he has accomplished that is being celebrated by his fellow officials and magistrates, members of the gentry, and other army staff members who have gathered from the three towns. It also results from his whole life, which has had the tremendous foundation established earlier on, the time period when the most capable men all met up at such a momentous juncture. The outstanding officials in our lifetime are also witnessing a reign of a ruler who is brilliant and righteous. It is truly high time to build upon these monumental accomplishments in this era of unprecedented prosperity. In this sense, the longevity His Excellency has enjoyed during his administration of the three townships is the same as if he ruled over the whole state.

Today, I dare to be among the fellow staff members who have come together to wish him well and pray for the continuation of his joyful life. Having had the honor to gain His Excellency's affection, I therefore have gotten to know him well over time. With my unrefined intellect and without further declination, I hereby take a bow and present my writing. Alas, allow me to raise a toast.

At the time of the 21st year of the Kangxi reign (1682), Renxu year of the lunar calendar, on the auspicious first day of the first month of spring.

I humbly bowed and composed [this piece], [your] young associate and relative in Heyang county and the County Magistrate Wenlinlang Zhao Jinmei. [With over 400 names of the fellow officials and magistrates, members of the gentry, other army staff members from various divisions, and local town folks of the three counties.]

[i] In this sentence, 嚴一笠者and 飭二卯者cannot be clearly defined due to lack of reference materials, therefore are omitted from the translation.

[ii] Both三韓喬木and龍南指姬are not decipherable even though they are indicative of geographical locations in the country.

[iii] Li Guangli was given the official title "General Ershi" by then emperor Han Wudi during the two military campaigns to the Central Asia region.

A rare and impressive painting of an eleven-headed and multi-armed Avalokitesvara. Dated 2nd year of the Chongzhen period of the great Ming (1629 AD)

finely and subtly painted depicting the bodhisattva Avalokitesvara with ten heads and forty-eight arms, his principal hands held together before his chest in anjali mudra, and holding a kalasha vessel in his lap, with the remaining fan of arms surrounding the deity and holding a multitude of ritual implements in the hands, each with an eye in the palm, two arms held high above the tier of heads supporting Amitabha, the Buddha of Infinite Light, the bodhisattva wearing flowing robes and scarves, and with tresses of long black hair falling to the shoulders, seated in vajraparyankasana on a lotus flower supported by an elaborately detailed lion throne and surrounded by a flaming halo, all set against a landscape filled with a host of Buddhist and Daoist deities, dignitaries and disciples, signed di zi Zhou Bangzhang, dated second year of the Chongzhen reign, yi yi (1629), and with one seal of the artist, on an elaborately painted and gilt mount. sight 87 x 40 in., 221 x 101.6 cm overall 133 1/2 x 56 1/2 in., 339.1 x 143.5 cm. Est. 120,000—150,000 USD - Lot sold 530,500 USD to an European Private

PROVENANCE: Yamanaka Shokai, Osaka.
Acquired from the above during the Taisho period (1912-1926).
Thereafter by descent in the family of the present owner.

NOTE: The popular bodhisattva Avalokitesvara has myriad forms and numerous epithets: The Compassionate One, Lord of the World, Lotus Bearer. He is the embodiment of absolute compassion for all sentient beings, with infinite devotion to the alleviation of suffering. The bodhisattva, Being of Enlightenment, has renounced the state of Buddhahood to care for the world of samsara. This multi-armed and multi-headed manifestation represents the bodhisattva in his most esoteric form as Sahasrabhuja-sahasranetra Avalokitesvara, literally 'with a thousand arms and a thousand eyes', only a fraction of which are portrayed here. The ten heads symbolize the steps on the path to Buddhist enlightenment, represented here by the figure of Amitabha Buddha held aloft; Amitabha being the spiritual progenitor of the bodhisattva. The principal hands held before the heart symbolically protect the jewel of this enlightenment. Numerous inscribed cartouches throughout the painting identify the characters within the landscape and include the thirty-six revered officials and the twenty-eight lunar mansions.

Lot 121. A large archaic bronze ritual wine vessel, lei, Western Zhou dynasty; height 17 1/4 in., 43.8 cm. Est. 150,000—200,000 USD. Lot sold 386,500 USD to an Asian Trade. 

of compressed ovoid form supported by a tall splayed foot with an angular foot rim, cast around the body with a band of eight prominent triangular lappets each containing a pair of confronting gui dragons, the shoulders boldly cast with six sun whorls in raised relief alternating with dragons with heads turned back, the shoulders set with a pair of bovine-head handles, each suspending a large loose 'rope twist' ring handle, all below a waisted neck collared by a wave band with C-scrolls, the surface cleaned to reveal a gun metal patina with patches of green encrustation, wood box (2). 

PROVENANCE: Formerly in a Japanese collection.
Sotheby's New York, 30th March 2006, lot 261.

NOTE: The shape of this bronze vessel demonstrates the advanced degree of technical expertise in casting a vessel of this shape and size, and shows what could be achieved by construction with piece molds. Compare a lei of this type in the Asian Art Museum in San Francisco, illustrated in Rene-Yvon Levebre d'Argence, Bronze Vessels of Ancient China in the Avery Brundage Collection, San Francisco, 1977, pl. XXXVIII; two lei of similar size were excavated at Qijiacun in Fufeng County, Shaanxi province, illustrated in Shaanxi chutu Shang Zhou qingtong qi, vol. II, Beijing, 1980, pls. 130 and 131, another lei of this type and size is illustrated in Bluett & Sons Ltd., Oriental Art, II, London, 1991, no. 6.

Zheng Xie (1693-1765), Orchids and Bamboo

ink and color on paper, framed. ink and color on paper, framed. sight: 36 x 67 1/2 in., 91.4 x 171.5 cm framed: 47 1/2 x 79 in., 120.7 x 200.7 cm. Est. 150,000—250,000 USD - Lot sold 314,500 USD for an Asian Trade.

NOTE: Zheng Xie, known as Banqiao, was one of a group of painters active in 18th century Yangzhou, collectively known as the Yangzhou baguai ('Eight Eccentrics of Yangzhou'). Zheng was renowned for his paintings of bamboo, orchids, and rocks. This painting demonstrates his mastery of expressive, calligraphic brushwork. With just a few vigorous strokes of ink--wet and dry, dark and light--he was able to construct a complex scene of bamboo, orchids and rocks, capturing not only their outward form but also their spiritual essence. The lengthy calligraphic inscription written across the top of the page creates a perfect visual counterpoint to the painting. This large-scale work, one of the largest known, is a classic example of 18th century scholar painting.

The calligraphy on the painting can be translated as: '... working on painting without any rest or break, then [I] would refrain from chastising others. But after three days of no work, I start concocting the idea of doing a painting of ink on paper, just to relieve the/my sullen and gloomy mood. This is my petty nature.

'This morning, after rising, I idly did chores around the house, sweeping the floors, burning incense, making tea, and cleaning up the ink stones. Out of the blue, a friend's papers unexpectedly arrived. Pleased, I picked up the brush and set to work – several pieces of rocks, a couple stalks of orchid flowers, and a few bamboo leaves here and there – imbued with quite a quality of unworldly grace and purity. Such is the best time when the brush is available and so is the best moment to paint.

'Yet, when being asked to paint, I refuse; when being asked by no one, I simply have to paint. It is indeed a vice on my part. [You] who know human nature so well, then, just bear with me and listen to my rambling with only a smile as response.

I present this piece to my long-term senior associate and learned friend Yuhuang. [Signed] Banqiao Zhengxie'

A rare large bronze figure of an eleven-headed and multi-armed Avalokitesvara. Ming dynasty, 17th century

the deity seated in dhyanasana, with two pairs of arms across the front, the lower pair holding an almsbowl, the upper pair in anjali mudra ('gesture of prayer'), with eighteen radiating arms along the sides holding attributes, the final pair of long arms stretched high above the ten heads (meant to hold the Amitabha Buddha now missing), each forehead with a prominent urna and surmounted by a crown, draped in rich garments folding along the legs, the chest and navel adorned with layers of jewels, traces of gesso and gilding, above a lotus-throne base, with a tiered wood pedestal (3). height of figure 36 1/2 in., 92.7 cm height of lotus base 11 in., 27.9 cm height of wood pedestal 30 in., 76.2 cm. Est. 200,000—250,000 USD - Lot sold  314,500 USD to an Asian Trade

PROVENANCE: Yamanaka & Co, 1902.
Collection of Isabella Stewart Gardner (b. 1840 - d. 1924).
Isabella Stewart Gardner Museum, Boston (until 1971).
Sotheby's New York, 16th April 1971, lot 161.

NOTE: In 1883-1884, Isabella Stewart Gardner, the renowned Boston patroness of the arts, and her husband Jack, dedicated more than a year of travel visiting Japan, China, Cambodia, Java and India. According to the exhibition Journeys East: Isabella Stewart Gardner and Asia, 21st February - 31 May 2009, Mrs. Gardner 'rebuilt an entire wing of the museum to accommodate her growing collection.' Within this wing was a dark area called the Chinese Room (fig. 1), filled with large-scale bronze Buddhist sculptures purchased in 1902, many from the Japanese dealer Sadajiro Yamanaka -- including the present figure, which was prominently displayed on the tiered wood base included in this lot. Mrs. Gardner did not make this room available to the public, but welcomed friends, often at night. The contents of the room were sold at Sotheby's New York in 1971.

Compare other related multi-headed and multi-armed figures of Avalokitesvara, one from the Staatliche Museen PreuBischer Kulturbesitz, Museum für Völkerkunde, Berlin, and illustrated in Chinese Art in Overseas Collections: Buddhist Sculpture II, Taipei, 1990, pl.190; another in the Fuller Memorial Collection, Seattle Art Museum is included in Hugo Munsterberg, Chinese Buddhist Bronzes, Tokyo, 1967, pl. 72. A third figure, also missing the topmost Amitabha figure, was sold in these rooms, 22nd March 2001, lot 22.

An impressive blue and white 'dragon' jar. Wanli mark and period

the sturdily potted ovoid body brilliantly painted in deep cobalt blue, with two striding five-clawed dragons bearing fierce expressions, one attempting to reach for a stylized shou character, immersed in an atmosphere of ruyi-head clouds and flames, above a bed of alternating waves and cliffs at the foot, with a border of ruyi-head foliate scrolls below the petite neck, culminating in a lipped rim. height 21 in., 53.3 cm. Est. 150,000—250,000 USD - Lot sold 218,500t USD o an Asian Trade

EXHIBITED: On loan to the Metropolitan Museum of Art, New York (1968-2009).

NOTE: The present jar is impressive for its magnificent size and lively depiction of a pair of ferocious dragons. Drawing on a Jiajing design that incorporated the five-clawed dragon, clouds, waves and rocks motifs found on imperial robes, the addition of the lingzhi fungus scroll on the shoulder serves to complement the shou character on the body of the jar. A heightened sense of vivacity of the design has been made possible by the considerable amount of space made available by its large size. Such sizeable jars were extremely difficult to fire and are testament to the technical virtuosity of the Jingdezhen potters of the late Ming period.

A closely related jar is illustrated in Regina Krahl, Chinese Ceramics in the Topkapi Saray Museum, Istanbul, vol. 2, London, 1986, pl. 1328. Another jar of similar design but with a band of foliate scrolls around the foot is included in John Alexander Pope, Chinese Porcelains from the Ardebil Shrine, Washington, 1956, pl. 79, fig. 28.520. Compare also a jar sold in our Hong Kong rooms, 24th November 1987, lot 20, and again, 26th October 2003, lot 123.