Very Rare Large White Jade Archaistic Vase and Cover, Qianlong-Jiaqing period (1736–1820). Estimate: $750,000-1,000,000. Photo: Christie's Images Ltd 2011.

NEW YORK, N.Y.- Christie’s presents Superb Jade Carvings from an Important European Collection, a sale of 36 lustrous jades from the collection of a European connoisseur on September 15 at 2 pm. This exceptional group was formed over the past fifty years and focuses on outstanding examples exhibiting stone of high quality, fine carving, and the decorative themes appreciated by the Chinese scholarly elite.

Leading the sale is a very rare white jade archaistic vase and cover, Qianlong/Jiaqing period (1736-1820) (estimate: $750,000-1,000,000). This outstanding vase is of rectangular section with indented corners and raised on a waisted foot of conforming outline, the two main sides finely carved in low relief with a band of stylized archaistic scroll formed by two confronted kui dragons, and outlined around the edges with a beaded border with foliate spandrels at the corners, each narrow side carved in high relief with a small descending chilong beneath a larger chilong which clambers up to the rim of the vessel to peer at the cover with canted sides surmounted by a writhing chilong carved in openwork and holding a leafy spray of lingzhi in its mouth, the semi-translucent stone of even white color and finely polished, 8¼ in. (21 cm.) high, wood stand.

Provenance: Monsieur H.S. Whitaker Collection.

Literature: E. Gorer and J. Blacker, Chinese Porcelain and Hard Stones, vol. II, London, 1911, pl. 246.

Another highlight is

A large pale greenish-white jade circular ‘double happiness’ box and cover, Qianlong-Jiaqing period (1736-1820). Estimate: $100,000-150,000. Photo: Christie's Images Ltd 2011.

The cover finely carved in low relief with a raised central medallion enclosing a shuangxi (double happiness) character encircled by four butterflies alternating with leafy lotus scrolls, all raised on a slightly flared and neatly finished ring foot, the semi-translucent stone of even color and finely polished: 6 3/8 in. (16.2 cm.) diam.

The present white jade box and cover is replete with auspicious symbolism, and may suggest that it was intended as a gift on the occasion of a wedding. Accoring to Terese Tse Bartholomew in Hidden Meanings in Chinese Art, San Francisco, 2006, p. 41, two butterflies (hudie) facing each other represent a joyful encounter (xi xiangfeng), and can symbolize both marital happiness and the union of husband and wife. This wish is doubled by the presence of two pairs of butterflies seen confronted around a double happiness (shuangxi) character.

Compare the pair of white jade boxes and covers carved with elephants, also dated to the Qianlong period, sold in our London rooms, 13 May 2008, lot 63. An 18th century white jade box and cover of similar shape, although of slightly smaller size (14.6 cm.), carved with bats and auspicious emblems, was sold in these rooms, 22 March 2007, lot 96. Another white jade box and cover, although of more domed shape and of slightly smaller size (14.7 cm.), carved with the wufu encircling a shou medallion, from the Madame Florence Van der Kemp Collection, was sold in our Hong Kong rooms, 31 May 2010, lot 1894, where it was dated to the Qianlong period (1736-1795).

Also included is

A large greyish-green jade figure of a buffalo, 17th -18th century. Estimate: $80,000-100,000. Photo: Christie's Images Ltd 2011.

Well carved in a recumbent position with legs tucked beneath the full, rounded body and tail flicked to one side, the head turned inquisitively towards the viewer, with broad mouth and rippled hide between the curved horns above hollowed ears, the top of the head lightly incised with a whorl of hair, the stone with soft polish and of greyish-green color with some brown and pale opaque mottling; 8¼ in. (21 cm.) long, fitted wood stand

Jade carvings of buffalo have traditionally been greatly prized in China, where the buffalo is a symbol of strength, prosperity and tranquility. The buffalo, or ox as it is sometimes referred to, is one of the twelve animals of the zodiac, and represents one of the twelve branches of the Chinese calendrical system. Buffalo are also associated with farming and the production of food, and therefore may also symbolize great bounty. The poetic view of the buffalo also had resonance for Buddhists and Daoists alike, suggesting retreat into a tranquil rural life away from the cities and the responsibilities of public office.

Additional highlights include:

* A Superb and Very Rare Pale Greenish-White Jade Table Screen, 18th century. Estimate: $350,000 – 550,000. Photo: Christie's Images Ltd 2011.

Of thick proportions, finely and deeply carved on the front with a long procession of foreign tribute bearers, one carrying a hawk and another leading a Buddhistic lion as he temptingly holds a brocade ball in his raised left hand, all traversing a steep, mountainous path winding through rocky outcroppings from which grow pine trees beneath the clouds carved at the top, the reverse carved with a foreign ship and its crew sailing amidst crashing waves, the semi-translucent stone of pale celadon color and finely polished; 10 in. (25.4 cm.) high, silver wire-inlaid wood stand .

Provenance: Private American collection.
Spink & Son, Ltd., London

The present jade table screen is an exceptional example of its type, demonstrating superb quality of carving and a very rare choice of subject matter. The reverse of the screen depicts a foreign ship sailing amidst crashing waves, with two figures tending the sails while a third gazes out to sea. A fourth figure stands atop the high stern of the ship holding aloft a spyglass and looking off into the distance, presumably at the tribute bearers traversing the rocky, mountainous path on the front side. It is interesting to note the type of ship, which appears to be influenced by European or Middle-Eastern design, and in some cases bears similarity to Portugese ships depicted on Japanese renditions of the first contact with foreign envoys.

On the front side of the screen can be seen a procession of tribute bearers making their way along a mountainous path, with several bearing fine gifts. Wearing long, thickly padded robes and hats with tall knops, it is difficult to accurately pinpoint their origin, although some features of dress bear similarity to Mongolian garments. It is also possible that the tribute bearers hail from the near or middle east, as there are also similarities evident with Chinese depictions of the Sogdians. The fact that one tribute bearer at the head of the procession holds a hawk or falcon atop a perch may also point towards either Mongolia or the near and middle east as their origin, as falconing was a cherished skill honed in these regions. Other tribute bearers hold lotus flowers, elixir bottles, books and bowls of fruit. Perhaps the most unusual is the tribute bearer leading a Buddhistic lion on a leash as he beckons it with a brocade ball held aloft in his left hand. A very similar depiction of a man of middle-eastern descent dressed in similar robes replete with scimitar, leading a Buddhistic lion, can be seen on a table screen sold in these rooms, 26 March 2010, lot 1203.

The size of the procession, in addition to both the type of tribute and impressive vessel used to carry the entourage, suggests that this would have been an envoy of great importance, perhaps sent to pay tribute to the emperor himself, and was thus commemorated on the present jade screen.

*A Rare Yellow Jade Archaistic Pouring Vessel and Cover, Gong, 18th /19th century, Estimate: $200,000 – 300,000. Photo: Christie's Images Ltd 2011.

Raised on a tall, pedestal foot of rectangular section and carved as an archaistic version of an earlier bronze ewer shape, gong, the handle carved in openwork as archaistic scroll above a small stylized fenghuang, the cover with two short posts and a single scroll loop surmounted by a chilong finial, the semi-translucent stone of rich yellow color with some pale brown areas; 4 7/8 in. (12.4 cm.) high, wood stand

The bronze vessel from which the present vessel takes its inspiration is the gong, a ritual wine vessel. The bronze gong is one of the wine vessel types that appeared during the Anyang period of the Shang dynasty without being based on earlier ceramic prototypes, and by the middle of the Western Zhou dynasty it had disappeared. The shape of the vessel facilitated pouring the wine, while the cover sealed in warmth and kept out contaminants. These ritual wine vessels were often cast with fascinating zoomorphic imagery, and all basically share the same general shape, with some of rectangular form and some of more graceful oval section.

Gong also vary in the arrangement of the decoration; on some there are horizontal and vertical divisions created by vertical flanges on the body only, while on others the decoration on the sides of the body is a direct continuation of an animal on the cover. The small posts on the cover of the present jade gong most likely represent simplified horns, perhaps those of a dragon. However, in the present gong, the body has been left undecorated to highlight the soft, lustrous quality of the yellow stone.

A green jade 'dragon-tail' gong, the exterior carved as a dragon and inscribed with a Qianlong poem dated 1787 referencing its archaism, is in the collection of Palace Museum, and is illustrated in Zhongguo Meishu Quanji, vol. 9, Beijing, 1986, no. 318.

*A Very Rare and Finely Carved White and Russet Jade Animal-form Water Pot, Qianlong period (1736-1795). Estimate: $120,000-180,000. Photo: Christie's Images Ltd 2011.

Carved as a recumbent bixie with legs tucked underneath the body and the bifurcated tail curled back around the haunches, with snarling expression, the broad head with long, undercut beard finely incised with hair markings, and floppy curved ears flanking a single horn laid flat against the back beside the separate stopper carved with a whorl pattern, the stone of soft, lustrous white tone with satiny polish and some added pale russet highlights; 5 in. (12.7 cm.) long, wood stand.

This mythological animal bixie, meaning ‘avoid evil’, is finely carved in an archaistic style with a snarling expression. The details are enhanced with finely incised hair markings, floppy curved ears on a stone of soft, lustrous white tone with satiny polish and some added pale russet highlights.

*A Rare Large White and Russet Jade Rhyton, Qianlong period (1736-1795). Estimate: $200,000 – 300,000. Photo: Christie's Images Ltd 2011.

The well-hollowed, thick-walled vessel emerging from stylized leafy scroll that also forms the foot, well carved around the midsection with taotie masks separated by stylized archaistic elements, with a key-fret border around the shaped rim, the semi-translucent white stone softly polished and with some brownish-black inclusions and areas of added russet coloring; 7 3/8 in. (18.7 cm.) high.

Archaistic jades were especially prized by the Qianlong Emperor, and the shape of the present vessel is based on that of a rhyton which first appeared in China around the sixth or seventh century. The horn-shaped rhyton reappeared around the Song dynasty and proliferated until the Qing dynasty, as an expression of archaism. As with some vessels produced in this genre of archaism, the present example is not an exact copy of an original, but rather shows the Qing interpretation of the original form. Occasionally this incorporates ancient bronze elements, such as the taotie masks seen on the present vessel, or bands of stylized dragons, as seen on a white jade rhyton in the collection of the Palace Museum, illustrated in Zhongguo Yuqi Quanji, Hebei, 1994, p. 23, no. 40. Other examples can be far more elaborate, such as the white and russet jade rhyton carved with a phoenix body and chilong handle, also in the collection of the Palace Museum, illustrated ibid., p. 21, no. 37. However, perhaps the most similar in carving style and stone is the white and russet jade rhyton in the Qing Court collection, illustrated in The Complete Collection of Treasures of the Palace Museum - Jadeware III, Hong Kong, 1995, p. 167, no. 135. (Fig.1) While the Palace Museum example is slightly smaller (15 cm.), the style of carving and choice of decoration is quite similar, suggesting that the two may have even come from the same workshop.

*A Rare Imperial Pale Greenish-White Jade Parfumier. Qianlong period (1736-1795) Estimate: $70,000 – 90,000. Photo: Christie's Images Ltd 2011.

Thick-walled and carved in openwork with a continuous scene of pine and bamboo growing amidst rockwork, inscribed in clerical script on the upper section with the 'Imperial Poem of the Pine and Bamboo Trees', followed by two seals reading 'Qian' and 'Long', all between borders of key fret at the rims, the pale greenish-white stone with some brown mottling; 8 3/8 in. (21.3 cm.) high.

The inscription on the present parfumier, 'Imperial Poem of the Pine and Bamboo Trees', reads as follows:

Yu ti
Song zhu shuang qing shi
Gao she jie shuang qing
Shan pang shui zhi xi
Wen shei nai yi zi
Dai fu yu jun zi

The poem may be translated as:

'Imperially Inscribed Poem of the Pine and Bamboo Trees
Members of the Gaoshe gather by the pine and bamboo trees
Next to the mountains and the flowing stream
High officials and gentlemen
Are most suited for this noble realm.'

A closely related, though slightly smaller (18.3 cm.), imperially inscribed reticulated parfumier carved with cranes amidst pine boughs is in the Qing Court Collection, and illustrated in The Complete Collection of Treasures of the Palace Museum - Jadeware III, Hong Kong, 1995, p. 45, no. 35. (Fig.1) Another Qianlong period white jade parfumier is in the collection of the Victoria & Albert Museum, and illustrated by Ming Wilson in Chinese Jades, p. 54, no. 55. On p. 52, the author notes that parfumiers were not only used for fragrance, but to repel insects, and that camphor or other insect repellents would be placed inside, and the parfumier would then be placed among clothes or quilts to protect from moths.