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Click here to subscribeJADEITE FIGURE OF HE XIANGUEARLY 20TH CENTURY the immortal shown holding a large lotus spray, the hair arranged into a high chignon, the eyes downcast in meditation17.5cm highProvenance:Private Scottish collection; purchased from William Clayton Fine Chinese Jade, Porcelain and Works of Art, London, in the 1960s and 1970s.
PALE CELADON JADE CARVING OF A TETHERED HORSELATE 19TH/EARLY 20TH CENTURY the horse shown standing foursquare on a thin base, tethered to a post15cm longProvenance:Private Scottish collection; purchased from William Clayton Fine Chinese Jade, Porcelain and Works of Art, London, in the 1960s and 1970s.
BLUE AND WHITE 'SHEPHERDESS' RETICULATED DISHYONGZHENG/QIANLONG PERIOD finely painted with a shepherdess standing behind a gnarled tree and holding a shepherd's staff, beside three goats, the scene enclosed within a reticulated border21.5cm diamHappy Marriage of East and WestThe present lot demonstrates a fascinating blending of Western and Eastern art in that it combines the traditional Chinese 'three goats' motif with the popular shepherdess theme in European iconography. 'Three Goats', as in the idiom 'San Yang Kai Tai' (Three goats herald a new beginning), have been a symbol of good fortune in China since antiquity. Shepherds and shepherdesses, on the other hand, were the dominant figures in 17th and 18th century European pastoral paintings, especially portraiture. It was in vogue for aristocratic and wealthy patrons to have themselves portrayed as shepherds and shepherdesses to express their longing for Arcadia. Although 'shepherdess and flock' depictions are common in 18th century Chinese export porcelain, the present dish is quite unique in the way it employs chiaroscuro to generate a strong sense of plasticity. The same degree of three-dimensionality can only be found on ink paintings and reverse glass paintings directly influenced by Western missionary painters working in the Imperial Court, most prominently Giuseppe Castiglione (Lang Shining, 1688-1766). It may not be too far-fetched to say that the anonymous painter of the present dish, just like his contemporaries working in other mediums, was a follower of Castiglione, even if remotely.
CELADON JADE 'MA GU AND DEER' GROUPQING DYNASTY, 18TH/19TH CENTURY the female Taoist immortal holding a peach beside a deer grasping a gnarled leafy branch of lingzhi in its mouth13cm highProvenance:Private Scottish collection; purchased from William Clayton Fine Chinese Jade, Porcelain and Works of Art, London, in the 1960s and 1970s.
CELADON JADE 'PEACH' BRUSH WASHERQING DYNASTY, 19TH CENTURY in the form of a hollowed peach, the exterior carved with outstretched wings beside gnarled leafy branches, the stone of greyish celadon tone with russet patches underneath cleverly integrated into the carving8.6cm longProvenance:Private Scottish collection; purchased from William Clayton Fine Chinese Jade, Porcelain and Works of Art, London, in the 1960s and 1970s.
TWO CELADON JADE BELT HOOKSQING DYNASTY, 18TH/19TH CENTURY the first in the form of an archaistic dragon, the head forming the hook, facing a younger chilong clambering on the arched shaft, the knob in the form of a peony blossom; the second rendered as a phoenix (2)larger one 11.8cm longProvenance:Private Scottish collection; purchased from William Clayton Fine Chinese Jade, Porcelain and Works of Art, London, in the 1960s and 1970s.
A PAIR OF GOOD QUALITY EARLY/MID 19TH CENTURY CHINESE CANTON MANDARIN PORCELAIN VASES, mounted and fitted for electricity, each well painted in painted in vivid enamels and gilding with figural panels divided by grounds of butterflies and loose floral sprays, 13in high overall, the vases themselves 8.7in high.
A 20TH CENTURY CHINESE FAMILLE ROSE PORCELAIN MODEL OF BUDAI, the unglazed base with impressed marks, 7.8in wide at widest point & 8.8in high; together with an 18th Century blue and white rectangular dish, 10.75in x 7.25in; a Japanese transfer printed blue and white bowl, 7.3in diameter; and a European ceramic jug, 9.3in high. (4)
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