Hong Kong - Bonhams Hong Kong is privileged to offer for its forthcoming Fine Chinese Ceramics and Works of Art sale on Tuesday 29 May in Hong Kong, a carefully curated auction of 63 lots, representing the breadth and depth of China's cultural heritage from the Neolithic period to the Qing Dynasty. The ingenuity of jade carving during the celebrated Qianlong reign is strongly represented in a number of masterpieces.

Leading the sale is an exceptional Imperial white jade 'phoenix' vessel, gong, Qianlong (1736-1795) (Lot 27). The vessel masterfully inspired by archaic bronze can be numbered amongst the very finest jade carvings made during the Qianlong reign, in line with the Emperor's personal taste. It is estimated at HK$8,000,000 to HK$12,000,000.

"It is very rare to find a jade carving of such impressive size and magnificent white jade stone displaying outstanding purity. These elements, combined with the archaistic style favoured by the Qianlong emperor, and masterful ingenuity of craftsmanship and design, all speak volumes of the Imperial origin of this lot, exemplifying the apex of jade craftsmanship during the Qianlong reign," explains Xibo Wang, Head of the Chinese Ceramics and Works of Art department, Hong Kong.

Lot 27. A magnificent Imperial white jade 'phoenix' vessel, gong, Qianlong (1736-1795); 18.8cm (7 1/2in) high. Estimate HK$ 8,000,000 - 12,000,000 (€ 870,000 - 1,300,000). Sold for HK$ 11,140,000 (€ 1,219,432) inc. premium. © Bonhams 2001-2018

The well-hollowed vessel rising from the back of a superbly carved high-relief phoenix with claws clenched tightly underneath, its head crowned with a stylised crest, its tail forming the handle intricately carved in openwork with ruyi-shaped plumage and extending up around the vessel, the sides carved in relief with spreading wings detailed with multiple layers of plumes and archaistic scrollwork, the translucent lustrous white stone of an even tone with faint russet inclusions. 

Provenance: Luz Papasian (1915-2013), New York
Doyle, New York, 16 September 2013, lot 282
An important Asian private collection.

Note: This exceptional lustrous white jade gong vessel can be numbered amongst the very finest jade carvings made during the celebrated Qianlong reign for the Imperial Court. It is very rare to find a jade carving of such impressive size and magnificent white jade stone displaying outstanding purity. These rare elements, combined with the archaistic style favoured by the Qianlong emperor, and masterful ingenuity of craftsmanship and design, all speak volumes of the Imperial origin of this lot, exemplifying the apex of jade craftsmanship during the Qianlong reign.

The vessel is inspired in its gong form and design by archaic bronze wine vessels, first made during the second phase of the Anyang period; rapidly replacing the animal-shaped zun vessels. This form was revived during the Song dynasty. The Qianlong emperor advocated taking inspiration from antiquity in form and design, proposing to 'restore ancient ways', suggesting that jade carvers turn to antiquity for models, which would enable them to imbue their designs with simplicity and honesty, and so achieve refinement and elegance. The 'ancient ways' referred to the intrinsic values of sincerity, simplicity, and happy exuberance; see Chang Li-tuan, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, National Palace Museum, Taipei, 1997, p.49. 

In this instance, the master carver was able to capture a sense of contemporaneity by merging the naturalistic style of the phoenix and ancient form of the ritual vessel together as a reinterpretation resulting in an Imperial masterpiece.

The exceptional quality of the white jade stone used to produce this vessel would have become more available for the Jade Palace Workshop following the Qianlong emperor's conquest of the Dzungar Khanate between 1755 and 1759, where much of the jade was sourced. The jade carver whilst demonstrating his skills in the form and relief carving, ensured that the magnificent quality of the stone would be exhibited through the areas left unadorned, smoothly polished to a lustrous sheen.

The present lot appears to be amongst the largest in size and of superior jade quality, compared to other jade in a selected number of vessels of related form. Compare with a similar white jade 'phoenix' gong vessel, but smaller in size (16.6cm high), in the Palace Museum, Beijing, illustrated by Yang Boda, Zhongguo Yuqi Quanji, Hebei, 2005, p.542, no.37; see also two other related gong vessels of pale green jade and of white jade, from the Qing Court Collection (19.5cm and 14.1cm high), illustrated in Compendium of Collections in the Palace Museum: Jade 10 Qing Dynasty, Beijing, 2011, pls.82 and 84. See also a related white and russet jade gong of smaller size (11.5cm high), from the Yuanmingyuan, in the Musée National du Château de Fontainebleau, illustrated in Tsao Huei-Chung, Jade: From Emperors to Art Deco, Paris, 2016, no.194; and another related example, illustrated by R.Y.Lefebvre d'Argence, Chinese Jades in the Avery Brundage Collection, San Francisco, 1977, pl.LVII. 

Imperial archaistic vessels of similar form were also produced in other materials; compare a related cloisonné enamel rhyton, Qianlong, illustrated in Colorful, Elegant and Exquisite: A Special Exhibition of Imperial Enamel Ware from Mr Robert Chang's Collection, Suzhou, 2007, pp.34-35.

A related Imperial white jade archaistic vessel and cover, gong, Qianlong, was sold at Christie's London, 13 May 2008, lot 65.

A very rare Imperial white jade archaistic vessel and cover, guang, Qianlong (1736-95); 7 7/8 in. (19.8 cm.) high. Sold for 1,364,500 GBP at Christie's London, 13 May 2008, lot 65. © Christie's Images Ltd 2008.

Coinciding the sale with Asia Week Hong Kong off the back of a successful result at AsiaWeek New York, Asaph Hyman, Global Head, Chinese Art, adds, "We are delighted to offer such a strong group of exceptional Imperial jade carvings, porcelain and rare works of art from many distinguished collections and look forward to an exciting auction."

Highlights from the auction include:

An exceptionally rare pair of Imperial pale green jade wine vessels, jue, incised Qianlong marks and of the period (1736-1795), is estimated at HK$3,000,000 to 5,000,000 (Lot 24). The superb pair of vessels, precisely executed to create the jue shape when side by side, has closely related examples in the Palace Museum, Beijing and the Fitzwilliam Museum, Cambridge.

Lot 24. An exceptionally rare pair of Imperial pale green jade wine vessels, jue, Incised Qianlong four-character marks and of the period (1736-1795). Each 13cm (5in) high. Estimate HK$ 3,000,000 - 5,000,000 (€ 330,000 - 540,000). Amended. © Bonhams 2001-2018

Provenance: A Greek private collection, Athens, formed in the 1950s/60s, and thence by descent
Bonhams London, 5 November 2009, lot 243.

Note: Archaic-bronze-inspired jade jue vessels, Qianlong mark and period, of this twin-form are extremely rare and only two other examples appear to have been published. The precision and creativity in carving this pair of jue are a testament to the exceptional skills of the master carver and the craftsmanship achieved at the height of the Qianlong reign.

Compare a pair of spinach-green jade jue vessels, Qianlong marks and period, of similar design, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Jadeware (II), Shanghai, 2008, pl.123; and see also a pair of nearly identical form but with a six-character Qianlong fangu mark, now in the Fitzwilliam Museum, Cambridge. The 'Fitzwilliam' pair of white jade jue vessels was given by Sir Percival David to his close friend, Oscar Raphael, the principal benefactor of the Fitzwilliam Museum's jade collection, and was later bequeathed to the museum in 1941. See J.C.S.Lin, The Immortal Stone: Chinese Jades from the Neolithic Period to the Twentieth Century, Cambridge, 2009, no.79, where the author notes that the Museum's pair is the best example in the Museum's collection of jade vessels inspired by archaic bronzes.

A pair of spinach-green jade jue vessels, Qianlong marks and period (1736-1795), from the Qing Court Collection. Image courtesy of the Palace Museum, Beijing.

The Qianlong emperor advocated restoration of the ancient ways and suggested jade craftsmen should turn to antiquity for models. This was not simply a return to previous aesthetics but a view of ancient culture as being imbued with intrinsic qualities of sincerity, simplicity and happy exuberance; see L.Chang, The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, National Palace Museum, Taipei, 1997, pp.49-50. The craftsmen whilst taking inspiration from antiquity, also added contemporary innovation and ingenuity, demonstrated in the twin adjoining form of the cups.

See also a single green jade jue cup, Qianlong mark and period, which was sold at Sotheby's Hong Kong 8 October 2009, lot 1832.

A Khotan green jade jue cup, Mark and period of Qianlong (1736-1795); 12 cm, 4 3/4 in. Sold for 1,940,000 HKD at Sotheby's Hong Kong 8 October 2009, lot 1832. Photo Sotheby's.

 Cf. my post: Four green jade at Sotheby's 'Water, Pine and Stone Retreat Collection - Qianlong', 08 Oct 2009

A very rare archaic jade ritual vessel, cong, dating to the Neolithic Period, Liangzhu Culture, is estimated at HK$3,000,000 to HK$4,000,000 (Lot 4). The cong displays the distinctive characteristic of Liangzhu Culture cong vessels, with a square outer section around a circular inner part and decorated with stylised masks neatly arranged on each of the four corners. The exceptional craftsmanship is particularly notable in the very delicate and precise quality of the carving and incised decoration, enhanced by the lustrous patina which has formed on the surface over time. 

Lot 4. A very rare archaic jade ritual vessel, cong, Neolithic Period, Liangzhu Culture (3400–2250 BC); 8.4cm (3 1/4in) wide. Estimate HK$ 3,000,000 - 4,000,000 (€ 330,000 - 440,000). Sold for HK$ 21,700,000 (€ 2,375,374) inc. premium. © Bonhams 2001-2018

Of short cylindrical square section, each projected corner finely and precisely depicted with two registers of stylised human and animal masks below two raised bands incised with parallel lines, the upper face with small circular eyes and the lower face with larger protruding eyes, both noses formed by a small raised bands with rounded ends, the lustrous opaque stone of chalky-white tone suffused with buff inclusions. 

Provenance: The Peony Collection
An important Asian private collection.

Published and Illustrated: R.Keverne, ed., Jade, London, 1990, p.73, fig.39
A.Forsyth and B.McElney, Jades from China, Bath, 1994, no.39.

Exhibited: Jades from China, Museum of East Asian Art, Bath, 11 June 1994

Note: The present cong displays the distinctive characteristic of Liangzhu culture cong vessels, with a square outer section around a circular inner part and decorated with stylised masks neatly arranged on each of the four corners. The exceptional craftsmanship is particularly notable in the very delicate and precise quality of the carving and incised decoration, enhanced by the lustrous patina formed on the surface over time.

One interpretation of the function of cong is that it symbolised the earth. Although the precise meaning and use of the cong is not entirely clear, it was found in extensive numbers in Liangzhu tombs and is believed to be of great significance.

Compare a similar jade cong, Liangzhu culture, also carved with two registers of stylised human and animal masks excavated in 1984 from Fuquanshan in Qingpu County, Shanghai, now in the Shanghai Administrative Committee of Culture Heritage, illustrated in Liangzhu wenhua yuqi, Hong Kong, 1989, p.17, pl.19. See another related example of a jade cong, included in the Min Chiu Society Thirtieth Anniversary Exhibition: Selected Treasures of Chinese Art, Hong Kong, 1990, no.195.

A large gilt-bronze figure of Guanyin and Shancai from the 17th Century is estimated at HK$5,000,000 to HK$8,000,000 (Lot 11), measuring an impressive 50cm in height. It is very rare to find a gilt-bronze figure of such size and remarkable sculptural quality of Guanyin, the Goddess of Mercy, together with Shancai, the Child of Wealth. The intimate relationship between the two figures is beautifully represented in the gentle clasping of hands and tender gaze of the goddess at the boy. A sculpture of such impressive size and refinement would have been specially commissioned for private worship or as a gift to a favoured temple.

Lot 11. A very rare and large gilt-bronze figure of Guanyin and Shancai, 17th century; 50cm (19 5/8in) high. Estimate HK$ 5,000,000 - 8,000,000 (€ 540,000 - 870,000). Sold for HK$ 6,100,000 (€ 667,732) inc. premium. © Bonhams 2001-2018

Finely cast, the goddess gracefully seated in royal ease with her left hand supporting a small boy on her lap and the other hand holding prayer beads, wearing an elegantly pleated robe with chased floral decoration to the edges and open at the chest to reveal an elaborate beaded necklace, the face with a serene expression adorned with two large earrings and a crown enclosing the figure of Amitabha Buddha, the wood stand carved as a double-lotus pedestal. 

Note: It is very rare to find a gilt-bronze figure of Guanyin, the Goddess of Mercy, together with Shancai, the Child of Wealth, of such remarkable size and exceptional quality. The present lot is an outstanding sculpture of its type in the extraordinary attention to detail and sculptural qualities. The intimate relationship between the two figures is beautifully depicted in the gentle clasping of hands and tender gaze of the goddess at the boy. The robes of both figures fall and fold naturalistically with the hems finely incised, enhancing the gilt surface. The rattle held by the boy is mirrored by the prayer bead necklace held by the goddess. A sculpture of such impressive size and refinement would have been specially commissioned for private worship or as a gift to a favoured temple.

Shancai is the Chinese interpretation of Sudhana, who is the protagonist in the next-to-last and longest chapter of the Avatamsaka Sutra. The connection between Shancai and Guanyin is well established in the The Complete Tale of Guanyin and the Southern Seas, which was completed in the 16th century. In this tale Shancai was described as a disabled boy from India who was passionate about the Buddha's teachings and journeyed to Mount Putuo to learn from the bodhisattva. However, the depiction of both can be seen in earlier periods, as demonstrated on a Yuan dynasty hanging scroll, in the National Palace Museum, Taipei, museum no.GH001957.

Compare related gilt-bronze figures of Guanyin, but without attendants; see a slightly larger gilt-bronze figure of a seated Guanyin holding a scroll, 17th century, which was sold at Christie's London, 8 November 2016, lot 114; see also another one of similar size to the present lot, which was sold at Christie's London, 10 May 2016, lot 16; and compare another slightly smaller gilt-bronze figure of Guanyin with the right hand holding a willow, 17th century, which was sold at Sotheby's London, 14 May 2014, lot 88.

A rare gilt-bronze figure of Guanyin, Ming dynasty, 17th century; 22 7/8 in. (58.8 cm). Sold for 269,000 GBP at Christie's London, 8 November 2016, lot 114. © Christie's Images Ltd 2016

Cf. my post: A rare gilt-bronze figure of Guanyin, Ming dynasty, 17th century

A large gilt-bronze figure of a seated Guanyin, 17th century; 21 in. (53.5 cm.) high. Sold for 266,500 GBP at Christie's London, 10 May 2016, lot 16. © Christie's Images Ltd 2016

The bodhisattva is cast seated at ease in peaceful contemplation with one hand resting on her raised right knee, wearing loose robes parted slightly at the chest to reveal a bejewelled necklace. Her benevolent face shows downcast eyes, and the hair is arranged under the veil and a figure of Amitabha.

A large gilt-bronze figure of Guanyin,17th century; 49.5cm., 19 ½ in. Sold for 266,500 GBP at Sotheby's London, 14 May 2014, lot 88. Photo Sotheby's 2014

Cf. my post: A large gilt-bronze figure of Guanyin,17th century

An important and exceptionally rare huanghuali kangzhuo table, dating to the 17th Century is estimated at HK$2,000,000 to HK$3,000,000 (Lot 5). The outstanding table made from the prized huanghuali wood is offered by an important European collector who acquired it directly from the collection of the renowned collector-dealer Robert H. Ellsworth, who also published this important table in his seminal book.

Lot 5. An important and exceptionally rare huanghuali table, kangzhuo, 17th century; 106.7cm (42in) wide x 71.1cm (28in) deep x 29.2cm (11 1/2in) high. Estimate HK$ 2,000,000 - 3,000,000 (€ 220,000 - 330,000). Unsold. © Bonhams 2001-2018

The rectangular paneled top with beaded edge, above the narrow waist elaborately carved with a continuous foliate lingzhi fungus scroll above the symmetrically-scalloped frieze carved in openwork with a central cross-hatched motif flanked by lingzhi sprays, all raised on superbly and intricately carved cabriole legs boldly carved in openwork with stylised acanthus leaves curled over the ball foot supported on square pads, the underside with traces of original clay and lacquer undercoating. 

Provenance: Robert H. Ellsworth, New York, by 1979
An important European private collection, acquired from the above circa mid-1980s.

Robert Hatfield Ellsworth (1929-2014).

Robert Hatfield Ellsworth (1929-2014) was a true and passionate connoisseur-dealer who was an important benefactor of the Metropolitan Museum of Art, as well as a great collector of Asian art including ancient bronzes, Ming furniture, fine jade, modern Chinese paintings, Himalayan, Indian and Southeast Asian works of art. He acknowledged Alice Boney (1901-1988) as his mentor, who was a prominent dealer in Oriental art. He once said ‘I’m a dealer who collects. I refuse to be a collector who deals.’

Published and Illustrated: R.H.Ellsworth, Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasties, New York, 1979, p.147, pls.39 and 39a.
S.Handler, 'On a New World Arose the Kang Table', Journal of the Classical Chinese Furniture Society, Museum of Classical Chinese Furniture, Summer 1992, p.36, fig.20.

Note: The present huanghuali kangzhuo is the culmination of the development of Chinese classical furniture throughout the Ming dynasty and onto the early Qing period, encapsulating the gradual evolvement in its form and both intricate and bold design. It demonstrates exceptional virtuosity in its craftsmanship and creativity of design.

The master craftsman superbly accomplished in his treatment of the legs a sense of robustness and boldness whilst masterfully demonstrating his virtuosity in the openwork leaf design and use of contrasting geometric forms of the encircled ball against the tapering square pad foot. This remarkable feature though very rare, can be seen on a selected number of huanghuali tables: see from the Peter Fung Collection, a low table with folding legs, kang 16th/17th century, exhibited in the National Museum of History, Taipei and illustrated in Splendor of Style: Classical Furniture from the Ming and Qing Dynasties, Taipei, 1999, p.116; and a further example of a folding low table, kang, 1550-1600, illustrated by R.H.Ellsworth, N.Grindley and A.Christy, Chinese Furniture: One Hundred Examples from the Mimi and Raymond Hung Collection, vol.1, New York, 1996, pp.112-113, no.36; another related example of a kang table, late Ming dynasty, but of less elaborate design, is illustrated by Grace Wu, The Best of the Best: The MQJ Collection of Ming Furniture, vol.1, Beijing, 2017, pp.202-230.

The prominent relief-carved lingzhi fungus scroll and sprays around the waist and aprons, can be seen on late Ming to early Qing dynasty huanghuali furniture, such as a summer-winter table, 17th century, from the Dr S.Y.Yip Collection, illustrated in In Pursuit of Antiquities: Thirty-fifth Anniversary Exhibition of the Min Chiu Society, Hong Kong, 1995, p.279, and later sold at Sotheby's Hong Kong, 7 October 2015, lot 118; and a tapered cabinet with lattice, 17th century, illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, p.256, fig.15.18.

The round ball form over the square form of the pad feet may represent the cosmology of the round heavenly realm and the square earthly domain (tianyuan difang). The lingzhi fungus is associated with the auspicious wish for long life. The elaborate design and imagination demonstrated in the carving and decoration of the legs as well as the waist and apron was due to the elevated position of the table, bringing these details into full view. For further discussion about the development of the kang table, see S.Handler, ibid., pp.161-179.

Compare a related but smaller huanghuali table, kangzhuo, 16th/17th century (44.5cm wide), from the Marie Theresa L. Virata Collection, which was sold at Christie's New York, 16 March 2017, lot 650, with less elaborate legs and plain frieze. 

An important small huanghuali rectangular kang table, kangzhuo, 16th-17th century from the Marie Theresa L. Virata Collection; 8 ½ in. (21.5 cm.) high, 17 ½ in. (44.5 cm.) wide, 12 ¼ in. (31.1 cm.) deep. Sold for 271,500 USD at Christie's New York, 16 March 2017, lot 650. © Christie's Images Ltd 2017.

Provenance: Grace Wu Bruce, Hong Kong.
The Marie Theresa L. Virata (1923-2015) Collection.

Literature: Grace Wu Bruce, Two Decades of Ming Furniture, Beijing, 2010, p. 83.

Note: The present small table is of exceptional quality and was probably made to support an incense burner. Once placed upon a larger table, the incense table would measure the same height as a standard incense stand, such as the circular ‘de Santos’ tripod incense stand from the present sale. 

A very rare pair of Imperial mother-of-pearl-inlaid red and gilt- green lacquer cabinets dating to the mid Qing dynasty, is estimated at HK$1,500,000 to HK$2,500,000 (Lot 32). The pair of cabinets would have been situated adjacently creating an elegant geometric form. Two existing double-pairs of cabinets are extant in the Qing Court Collection and situated in the Chuxiugong 'Hall of Gathered Elegance' in the Forbidden City. The present lot almost certainly would have formed part of the same suite of remarkable display cabinets, which would have enclosed treasured Imperial works of art.

Lot 32. A very rare pair of Imperial mother-of-pearl-inlaid red and gilt-green lacquer cabinets, Mid Qing Dynasty. Each 167.5cm (66in) high x 71cm (28in) wide x 32cm (12 1/2in) deep. Estimate HK$ 1,500,000 - 2,500,000 (€ 160,000 - 270,000). Sold for HK$ 1,875,000 (€ 205,245) inc. premium. © Bonhams 2001-2018

Each cabinet comprising eight variously proportioned and positioned open compartments, all framed within red lacquer friezes superbly embellished with mother-of-pearl inlays with an elaborate decoration of lotus flowerheads amidst dense foliage, the interior coated with dark green lacquer, meticulously enriched in gilt with lotus blossoms borne on meandering foliate scrolls, all raised on four legs linked by a lower frieze. 

Note: A near identical double-pair of mother-of-pearl-inlaid red and green lacquer cabinets, mid Qing dynasty, from the Qing Court Collection, are in the Chuxiugong 'Hall of Gathered Elegance' in the Forbidden City. Each cabinet is placed jointly side by side with another to make a pair, and each pair is placed in a different part of the Imperial hall. The present lot of one such pair of cabinets, almost certainly would have formed part of the same suite display cabinets; see Classics of the Forbidden City: Inlaid Furniture, Beijing, 2013, pl.24 (showing one such pair of cabinets); and Ming Qing Gongting Jia Zhu Da Guan, vol.II, Beijing, 2006, pp.696-697, pls.798-1 and 798-4 (showing the double pairs of cabinets in the Chuxiugong).

The Chuxiugong, Forbidden City; image courtesy of the Palace Museum, Beijing

Openwork display cabinets, known as duobaoge or 'curio cabinet of many treasures' developed and reached the height of popularity during the 18th century gracing the Imperial halls. The carefully designed asymmetrical and irregular compartments are characteristic of the duobaoge developed in the early Qing period. Such cabinets would have been used to display precious objects including ceramics, jades carvings, cloisonné enamel and archaic and later bronzes, as can be seen in the near identical double-pair of cabinets to the present lot in the Chuxiugong.  

The technique and materials meticulously used in the present pair of cabinets is the culmination of furniture development from the Ming dynasty to the mid Qing dynasty. This is evident in the meticulous and skillful use of the mother-of-pearl inlay on lacquer, which can be seen throughout the Ming dynasty and was very popular during the Kangxi period; and in the gilt decoration on lacquer which can be seen mostly from the early Qing period and became more prevalent from the Yongzheng period. However, the present pair of cabinets are remarkable in bringing all these complex decorative elements together. They also stand out in the very rare and subtle use of green lacquer in the interior, vividly contrasting the gold with the green, and then again the contrasting the lustrous mother-of-pearl with the red lacquer. The ability to accomplish such complex decorative design and subtle contrasts in colours and materials demonstrates the exceptional craftsmanship and masterful creativity which was required in standing with the exacting Imperial standards of workmanship. 

The Chuxiugong is one of six western halls in the inner section of the Forbidden City. It was first built in 1420 and renamed as Chuxiugong in 1535. In 1852 the Empress Dowager Cixi lived in it and gave birth in this hall to the Tongzhi emperor in 1856. In 1884 the Dowager Empress returned to the hall on her fiftieth birthday for which occasion it was elaborately renovated at the expense of 630 liang silver.

A magnificent Imperial white jade carving of Zhang Qian on a raft, incised with Qianlong seal mark and of the period (1736-1795), is estimated at HK$1,200,000 to HK$1,500,000 (Lot 37). The superb and exceptionally rare jade raft was inspired by the well-known silver example of the Yuan dynasty and 17th/18th century examples carved from rhinoceros horn. The finest of its type, it is part of a remarkable collection of Chinese sampans, sailboats and rafts made in diverse materials, which is offered in our Hong Kong, New Bond St and Knightsbridge London salerooms in May.

 Lot 37. A magnificent Imperial white jade carving of Zhang Qian on a raft, Incised Qianlong seal mark and of the period (1736-1795); 23.5cm (9 1/4in) long. Estimate HK$ 1,200,000 - 1,500,000 (€ 130,000 - 160,000). Sold for HK$ 7,540,000 (€ 825,360) inc. premium. © Bonhams 2001-2018

Exquisitely carved in high relief and openwork as a naturalistic long gnarled tree raft with arching branches, bearing Zhang Qian seated leisurely at the centre with one hand holding a book and the other arm resting on a twig, below intricately gnarled branches suspending a double-gourd, the mark incised at the back of the raft, the smoothly polished stone of very fine even white tone. 

Provenance: A distinguished European private collection, acquired by the grandparents of the present owner, and thence by descent.

Note: The present lot would appear to be amongst the finest of its type, exhibiting exquisite craftsmanship in the all-round naturalistic execution of the gnarled raft, beautifully capturing the figure of the Han dynasty Imperial envoy and official, Zhang Qian, and displaying whimsical creativity in the depiction of the double-gourd hanging off one of the branches.

The superb quality of the lustrous white jade stone, exquisite carving and noteworthy size, as well as the subject matter, more often seen in rhinoceros horn pouring vessels but rarely in jade, are all a testament to the craftsmanship achieved in the jade ateliers at the height of the celebrated Qianlong reign. Typical to Imperial works of art, in addition to the incised Qianlong reign mark at the back of the raft, the present carving used to have a superbly carved stained ivory stand, incised with the character bing, associated with an Imperial numbering system. 

The subject matter of Zhang Qian on a raft, may have been inspired by the well-known silver example, formerly in the collection of Lady David, inscribed with a poem and artist's seal Bishan denoting Zhu Bishan, a silversmith active during the 14th century, illustrated in Chinese Art Under the Mongols: The Yuan Dynasty (1279-1368), Cleveland, 1968, no.37. This example may have also inspired the group of rhinoceros horn raft pouring vessels, in the Imperial collections: see one from the National Palace Museum, Taipei, included in the exhibition Jiangxin yu xiangong. Ming Qing diaoke zhan (Uncanny Ingenuity and Celestial Feats: The Carvings of Ming and Qing Dynasties), Taipei, 2011, no.30; and three further rhinoceros horn examples, from the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2002, nos.118-120. 

The subject matter was also clearly favoured by the Yongzheng emperor himself, who instructed Court artists to create paintings depicting him in various guises. See a painting from the Qing Court Collection in the Palace Museum, Beijing, depicting the Yongzheng emperor on a raft as an immortal, illustrated in Harmony and Integrity: The Yongzheng Emperor and His Times, Taipei, 2009, p.147, pl.I-76. 

Compare a related white jade carving of a lady on a raft, Qianlong (15cm long), from the Yuanmingyuan, in the Musée National du Château de Fontainbleau, illustrated by Tsao Huei-chung, Jade: From Emperors to Art Deco, Paris, 2017, no.190. 

See a related pale green-white jade raft group, 18th century, which was sold at Christie's New York, 15 September 2011, lot 1035.

A superb and very rare pale greenish-white jade raft group, 18th century; 9 5/8 in. (24.6 cm.) long. Sold for 242,500 USD at Christie's New York, 15 September 2011, lot 1035. © Christie's Images Ltd 2011.

Well carved as a log raft ferrying the immortal Magu shown holding a ruyi scepter as she stands beside a crane grasping a lingzhi stem in its beak beneath the branches of the pine tree growing from the corner of the raft, in the center is a basket of flowers and a deer turned to look at the attendant who paddles at the front, the base carved as the gnarled underside of the raft atop swirling waves, the semi-translucent stone of pale greenish-white color.

Note: Magu is the female equivalent of Shoulao, the god of Longevity, and is often portrayed as a young girl. It is said that Magu had witnessed the ocean turn to a mulberry field three times, thus symbolizing her great age and confirming her title of goddess of Longevity. In many instances she is portrayed sailing on a log raft, with or without an attendant. She was believed to be able to brew longevity wine from lingzhi, the fungus of immortality, and as such is often portrayed accompanied by attendants bearing large jars of wine. She was also known to have been able to turn kernels of rice into pearls. Her image first appeared on early Ming-dynasty porcelain from Jingdezhen, and became popular during the Kangxi period, and it is quite possible that this carving was produced during this reign.

In the present carving, Magu holds a ruyi scepter, and is accompanied by a deer (lu), which is a symbol of longevity. It is also said to be the only animal which can find the magical lingzhi fungus, said to grant immortality to those who consume it. The crane, itself a symbol of longevity, carries in its mouth the stem of a lingzhi, further strengthening this wish. The presence of pine, a long-lived evergreen, which hangs over the group, also conveys the wish for longevity.

The present carving is a testament to the skill of the carver, who has spared no expense in its creation. From the openwork boughs and figures, to the detailed carving of the base of the raft and the waves atop which it sails, each portion of the carving is equally finished and as finely carved as the other. Due to the exceptional quality of the carving, it is quite possible that the present raft group was an imperial commission, and may have been made as a birthday present to convey the strong wish for longevity and a full life. 

The sale also includes an impressive and very fine selection of rhinoceros horn libation cups and carvings from private collections (Lots 51-63), including a magnificent and large rhinoceros horn 'chilong, peach and lychee' libation cup from 17th century is estimated at HK$700,000 to HK$ 1,000,000 (Lot 53) Previously within the collection of Maurice Sigismund Sulzbach (1853-1922), this large and outstanding rhinoceros horn libation cup encapsulates the exceptional level of skill and craftsmanship of the master carver, demonstrated by the naturalistic carving of the numerous fruits, plants and chilong in various levels of relief including in openwork, conveying a sense of dynamism and liveliness. This is further augmented by the remarkable large size of the libation cup.

Lot 53. A magnificent and large rhinoceros horn 'chilong, peach and lychee' libation cup, 17th century; 21cm (8 1/4in) long. Estimate HK$ 700,000 - 1,000,000 (€ 76,000 - 110,000). Sold for HK$ 1,875,000 (€ 205,245) inc. premium. © Bonhams 2001-2018

Deftly carved inside and out in the form of a large lotus leaf, the exterior with leafy flowering and fruiting branches of lychee, peach and sweet flag in relief, each lychee finely detailed with incised lines simulating the fruit's skin, the handle formed by a sinuous chilongamong gnarled branches issuing lotus blooms and pods, with a long mane and bifurcated tail, detailed peering over the rim into the interior and grasping a branch of pomegranates in its mouth, with two further chilong to the interior, the horn of dark-reddish brown tone.

Provenance: Maurice (1853-1922) and Marguerite Sulzbach (1863-1945), and thence by descent.

Marguerite Sulzbach (1863-1945)

Maurice Sigismund Sulzbach (1853-1922), was born in Frankfurt am Main, to a banking family. He moved to Paris in December 1882, when he married Marguerite Ida Premsel. He was an academic collector with extremely eclectic tastes ranging from Dutch old master paintings to objects of Islamic and Asian art. He donated several items to the Louvre before he died. His wife Marguerite was more attracted to contemporary art and befriended many painters such as Maurice Denis, Jean Louis Forain and, later on, the Japanese artist Foujita. Marguerite was also an artist in her own right and started painting on porcelain at an early age and later created works in pottery at a kiln installed in her home. 

Note: This large and outstanding rhinoceros horn libation cup encapsulates the exceptional level of skill and craftsmanship of the master carver, demonstrated by the naturalistic carving of the numerous fruits, plants and chilong in various levels of relief including in openwork, conveying a sense of dynamism and liveliness. This is further augmented by the remarkable large size of the libation cup.

A rare feature of this rhinoceros horn libation cup is the rare combination of lychee and peach motifs. The word 'lychee' (lizhi 荔枝) is homophonous with 'establishing a son' (lizi 立子), and symbolise progeny. Pomegranates too, which the adult dragon clasps in its mouth in the interior, is also regarded as a symbol of progeny because of its numerous crystal-like seeds. Another dragon in the interior clasps a bunch of grapes, which also symbolise fecundity and posterity. In addition to this, peaches are well known symbols of longevity associated with deities such as Shoulao and the Queen Mother of the West. This libation cup thus displays a wealth of auspicious wishes for long life and numerous children.

An exceptionally rare rhinoceros horn carving of Budai and boys from the 17th Century is estimated at HK$600,000 to HK$800,000 (Lot 58). Sculptural carvings of rhinoceros horn are particularly rare and the present example from an important European private collection successfully portrays the joyous figure.

 Lot 58. An exceptionally rare rhinoceros horn carving of Budai and boys, 17th century; 13.2cm (5 1/4in) wide. Estimate HK$ 600,000 - 800,000 (€ 65,000 - 87,000). Sold for HK$ 1,250,000 (€ 136,830) inc. premium © Bonhams 2001-2018

The laughing figure finely carved seated wearing spreading loose voluminous robes, open to reveal his chest and rotund belly, clutching a silver ingot in his right hand while two laughing boys clamber up his body, playing with his robes and tugging at his ear, the base not hollowed, the horn of reddish-brown tone darkening at the core.

Provenance: An important European private collection, and thence by descent.

Note: The monk Budai is considered to be an incarnation of the Bodhisattva Maitreya, the Buddha predicted to succeed Gautama Buddha in the future. He is typically depicted with a jovial expression and wearing loose fitting robes to reveal his large belly representing contentment and abundance. Budai is associated with the protection of children and is often shown with boys playfully climbing on his belly or back.

A similar rhinoceros horn carving of Budai, late Ming dynasty, is illustrated in The Complete Collection of Treasures of the Palace Museum: Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Shanghai, 2001, no.138. Another similar but smaller rhinoceros horn carving of Budai and children, 17th century, is illustrated by T.Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, p.116, no.68. Further related rhinoceros horn carvings of Budai are also illustrated by J.Chapman, The Art of Rhinoceros Horn Carving in China, Hong Kong, 1999, nos.325 and 327.

Compare with a related rhinoceros horn carving of Budai, 17th century, which was sold at Sotheby's Hong Kong, 8 April 2014, lot 3022; and see also another example, which was sold at Christie's Hong Kong, 27 May 2008, lot 1727.

A rare and finely carved rhinoceros horn figure of Budai, Wanli period (1573-1620); 5 7/8 in. (15 cm.) wide. Weight: 9.2 oz. (262 gm). Sold for HK$5,703,500 ($734,058) at Christie's Hong Kong, 27 May 2008, lot 1727. © Christie's Images Ltd 2008

 Cf. my post: A rare and finely carved rhinoceros horn figure of Budai, Wanli period (1573-1620)