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Lot 340
* GALEAZZO MONDELLA, called MODERNO (c. 1467-1529) Saint Jerome in the Wilderness, bronze plaquette, at the entrance to a cave St. Jerome, holding a stone and with his lion by his side, kneels before a crucifix set high on the trunk of a tree at the base of which is a skull set on a closed book; landscape of trees in the background, 78.4 x 60mm (Molinier 183; Bange 463; Kress 156; Lewis 14 - c. 1490), twice pierced, a very fine contemporary cast of high quality, the reverse inscribed in black ink "77 x 60 / St. Jerome / par Moderno / No 534 / 5000"
Lot 342
A Large Chinese Imperial Lapis Lazuli Boulder Carving, incised with a poem, Qing Dynasty, 18th century, with a later gilt bronze stand, 23cm (26cm including the stand).One side depicts a Luohan sitting amongst rocks with a squirrel on his lap, and with a gnarled tree clinging to a ledge across from a waterfall. The summit beneath clouds inscribed with a poem in five lines, the characters gilded. The reverse with a large knotty pine tree and water cascading from rocks also beneath clouds. The stone flecked and speckled with gold. The ormolu stand well cast with three fruiting leafy pomegranate branches.The poem reads:`Yu Ti Luo Han Zan,Wan Wu Wo Bei He Shu He Qin,Shou Fu Shan Wu Xi Qi Xing Xun,Xun Ze Bu Rao Xi Ze Wu You,Yu Zhu Zhong Sheng Fo Tu You You.`which can be translated as: `Imperial inscription in praise of the Luohan,The ten thousand things are complete in me; all comers are like the family,In my hand I hold a squirrel; I rejoice that it is good-natured.Being good-natured, it is not disturbed; being joyful it has no regrets,And together with all sentient beings, we wander in the land of Buddha.`ProvenanceThe Hon. Mrs Mary Anna Marten OBE, Crichel House, Dorset. Purchased prior to 1953.Catalogue NoteIn China, lapis lazuli is known as qing jin shi (blue-gold stone). Although lapis beads have been excavated which date to the Han dynasty, there are no records of the use of lapis before the Qing dynasty. Cf. Ming Wilson, The Colour of Stones, Transactions of the Oriental Ceramics Society 1997-98, vol.62. p.34.Cf. Zhongguo yuqi quanji, vol. 6, Shijiazhuang, for another lapis lazuli carved boulder in the Palace Museum, Beijing, 1993, pls. 262 and 263. and another in the Le Shou Tan, (Hall of Joyful Longevity). See also Sotheby`s Paris, 18th December 2009, lot 206 for a smaller example.With thanks to Professor Roderick Whitfield and Ching-Yi Huang of SOAS their help in cataloguing this lot.
Lot 1
A fine Chinese soapstone carving of a Luohan, wearing loose flowing robes with finely incised borders, seated cross-legged and holding a censer in both hands, the creamy coloured stone with red striations and flecks, and raised on an elaborate red-stained ivory stand, carved with bamboo, ruyi fungus and a pine tree growing from rocks, 17th/18th century, 14cm. (2) Provenance: Sackville, 5th Earl of Yarborough, purchased from John Sparks Ltd., for 28 guineas, and recorded in the Sparks archive.
Lot 15
A Chinese jade carving of a tiger, each side carved in shallow relief with stylized stripes, and crouched ready to pounce, the celadon coloured stone flecked with brown markings and striations, probably Ming dynasty, 20cm. Paper label for John Sparks Ltd., 128 Mount Street. Provenance: Sackville, 5th Earl of Yarborough.
Lot 16
A Chinese mottled jade blade or ge, with a meridian ridge running along the length of the blade, well worked on either side and with one drilled fastening hole, the greyish stone mottled with brown inclusions, Shang dynasty c.1600 - 1100BC, 25.5cm. Provenance: Sackville, 5th Earl of Yarborough. Jade blades of this type were ceremonial reproductions of bronze ge blades, used as infantry weapons in the Shang and Western Zhou dynasties.
Lot 19
A large Chinese soapstone seal, the upper section carved with many bats in flight amidst scrolling clouds, the rectangular stone of a greenish grey colour flecked with black, one side carved with nine lines of calligraphy including the date for the fifth month of the Jia Yin year, and probably corresponding to 1734 or 1794. The script describes the lineage of `the precious trinket` and how it has passed down through the generations, it mentions the Li family and the Yang family, the base seal is a studio name, the top damaged and glued, 16.5cm. Provenance: Sackville, 5th Earl of Yarborough.
Lot 32
A Moghul jade rectangular box, with a sliding cover, carved in shallow relief with stylized scrolling flowers and foliage, supported on four shaped feet, the pale celadon stone with grey mottling and striations, 18th/19th century, minor damages, 11.6cm. (2) Provenance: Sackville, 5th Earl of Yarborough, purchased from John Sparks Ltd., for 24 guineas, and recorded in the Sparks archive.
Lot 140
A Chinese jade cup, the grey green stone carved as a melon with an elaborate openwork handle of tendrils, leaves, scrolls and flower heads, the base as a cinquefoil leaf, 18th century, a 2cm rim chip, 11.4cm. Provenance: an important European private collection formed in the 19th century by a Russian nobleman and diplomat.
Lot 197
A fine Chinese white jade model of a rolling horse, lying with its head turned and with one of its rear legs raised, the mane and tail finely incised, 18th century, together with a later wood stand, 6.5cm long. (2) Provenance: the collection of William Drummond of Fife, Scotland. (1893 - 1980). Cf. Watt, Chinese Jades from Han to Ch`ing, no.64, p.8, where he illustrates a Tang dynasty jade depicting the same theme and notes that the coiled position `is similar to stone or pottery lions of the Tang period with one of the hind paws at the mouth or scratching one ear`.
Lot 199
A small Chinese celadon jade carving of the Hehe Erxian, the twin spirits of Mirth and Harmony sit together wearing loose robes, one holding a lotus spray, the other with a box, the stone with a brown skin defining the details, 18th/19th century, 6.4cm wide. Provenance: the collection of William Drummond of Fife, Scotland. (1893 - 1980).
Lot 210
A good Chinese jade carving of a recumbent horse, stretching its head around to gnaw at its rear hoof and with its tail curled beneath it, the greyish celadon stone flecked with darker striations, 17th/18th century, together with a later wood stand, 6cm long and 3.8cm high. (2) Provenance: purchased in Hong Kong in 1973. Cf. Watt, Chinese Jades from Han to Ch`ing, no.64, p.8, where he illustrates a Tang dynasty jade depicting the same theme and notes that the coiled position `is similar to stone or pottery lions of the Tang period with one of the hind paws at the mouth or scratching one ear`.
Lot 219
A large and imposing Chinese spinach-green jade vase and cover, of archaistic form, the flattened body carved to each side with an elaborate design of hibiscus flower heads and foliage around central bianqing or sonorous stone motifs, the handles carved as elaborate fungus like scrolls, 18th/early 19th century, 32cm. (2)
Lot 224
A Chinese pale yellowish-green jade carving of an elephant, the pachyderm standing four square with his head turned to sinister and his trunk curving towards his right ear, the stone with a central drill hole from his back to his belly, 18th/19th century, 7cm. Provenance: christie`s, 15th June 1998.
Lot 334
A Fine and Large Chinese Spinach-Green Jade Brush Pot, Bitong. Qing Dynasty, Qianlong period, 1736-95, 16cm high, 16.9cm dia. The cylindrical body with straight sides crisply carved in deep relief with a continuous scene depicting three Immortals with a single acolyte in a landscape. A pavilion set amongst trees is visible in the distance and a river crossed by a balustraded bridge is in the foreground. The stone is an even colour, and the base slightly recessed. Provenance; A private collection in Monaco, purchased at Spink & Son Ltd., 5th December 1986. Catalogue Note; Another jade brush pot in the National Palace Museum, dating from the Qianlong period has similar dense carving and is illustrated in The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch`ing Court, Taipei, 1997, pp. 172-3, no. 55. See also Christie`s London 13th May 2008, lot 54 for a larger green jade brush pot dated to the Qianlong period decorated with a rare scene of foreigners and a caparisoned elephant. In a discussion of the large green jade brush pot dated to the 18th century in the collection of Sir Joseph Hotung, Chinese Jade: From the Neolithic to the Qing, British Museum, London, 1995, p.407, no. 29.18, the author, Jessica Rawson, notes that jade workshops sometimes used conventional painting and printing themes as the basis for their designs. The carver treated the surface of the jade almost like a sheet of paper and used his `techniques to produce the effects of a painting`. See also the superb brush pot sold in these rooms from the collection of Sir John William Buchanan-Jardine Bt. 20th May 2010, lot 386.
Lot 335
A Massive Chinese Spinach-Green Jade Mountain Carving, Qing Dynasty, Qianlong period, 1736-95, 19.5cm high, 28cm wide, with a reticulated wood stand. Well carved, depicting three figures riding mules with a single attendant, all on a mountain pass beneath a large gnarled pine tree. Two further mules can be seen resting beneath trees and in the rocks above, castle fortifications are visible below cloud cover. The reverse shows two figures, one carrying a burden on a pole all amongst further rocks and trees. Bears a paper label for Spink & Son Ltd. Provenance; A private collection in Monaco, purchased at Spink & Son Ltd., before 1982. Catalogue Note; Cf. J. C. S. Lin, The Immortal Stone, The Fitzwilliam Museum, cat. no.89 for a smaller related spinach-green jade mountain carving, the catalogue note states `Spinach-coloured jade pebbles as boulders were found on the riverbeds in the Xinjiang area and were carved with landscape scenes`. Another, from the collection of Miss H. E. Ionides was exhibited at The International Exhibition of Chinese Art, The Royal Academy of Arts, London, 1935/6 catalogue no. 2785.
Lot 336
A Rare Chinese Jade Inscribed Boulder Carving, Qing Dynasty, Qianlong period 1736-95, incised with a poem, and with five seal marks including Qianlong Chenhan, 18.5cm high, 15.3cm wide. Worked from a pale celadon coloured stone with honey brown striations, and carved with a solitary Luohan, sitting in a rocky outcrop and wearing loose flowing robes decorated with a geometric pattern. The Luohan, is about to open a hand-scroll, he has left his shoes at the front of the base. The rocks are inscribed with six columns of calligraphy including one rectangular, and four square seal marks, the calligraphy with traces of gilding. The poem reads: `Liao Yi Qie Fa, Can Ru Shi Jing, Shui Liu Shi Leng, Feng Guo Hua Xin, Shi Hu Lun Di, Shi Guang Ming Zang, Li Yi Sao Chu, Shi Wei Li Zhang`. The lower section is inscribed: `Di Shi San Wei Ba Na Ta Ga Zun Zhe` (the thirteenth Luohan Banata) The seals read: `Ta Ge (the chamber of Ta), `Ying Chu Lan Xiang`, `Hui Yue Se ? You Sheng, `Wei Jing Wei Yi`, `Qian Long Chen Han`. Provenance A private collection in Monaco, purchased at Spink & Son Ltd., before 1982. With thanks to Ching-Yi Huang of SOAS for her help in cataloguing this lot.
Lot 339
A Fine Chinese Imperial, Lapis Lazuli Small Mountain Carving Inscribed with a Poem by the Qianlong Emperor, Qing Dynasty, Qianlong period, 1736-95, and incised with a poem, 9.8cm high, 13cm wide, (14cm including the stand). Exquisitely carved with a single hut beneath two trees all beneath a mountain, and with six columns of calligraphy above a solitary figure on a flat stone ledge, which crosses a gushing river. The poem reads: `Yu Zhi Xu Ting Na Cui n, Xu Ting Ruo Yi Ju Chui Yi Ceng Bu Chuang Ling, Mian Mian Shi Zuo Zhe Ying Zhi You Bie Jie Tu Ta Feng Cui Na Wu Yi`. This poem, by the Qianlong Emperor is listed in his poetry collection Yu Zhi Shi Ji, Volumn III, no.99. The term `Xu Ting` is a certain type of pavilion often seen in Chinese gardens. In the Imperial gardens there must have been many `Xu Ting`, as this is not the only time that the Qianlong Emperor mentions `Xu Ting` in his poems. Provenance A private collection in Monaco, purchased at Spink & Son Ltd., 31st July 1967 for £540. Catalogue Note; Cf. Chinese Jade Throughout the Ages, an Exhibition organised by the Arts Council of Great Britain and the Oriental Ceramic Society, 1975, p.20, no,494, for another lapis lazuli mountain carving from the Avery Brundage Collection in the Asian Art Museum of San Francisco. See also Zhongguo yuqi quanji, vol. 6, Shijiazhuang, for another lapis lazuli carved boulder in the Palace Museum, Beijing, 1993, pls. 262 and 263 and another in the Le Shou Tan, (Hall of Joyful Longevity). See also the catalogue note to lot 342. With thanks to Ching-Yi Huang of SOAS for her help in cataloguing this lot.
Lot 340
A Fine and Rare Chinese Imperial Lapis Lazuli Vase, Qing dynasty, Qianlong period, 1736-95, with a later gilt bronze stand,19.2cm (23.5cm including the stand). The body diamond-shaped, crisply carved with a wide band of taotie around the middle. From one corner luscious boldly sculptured Rhodea japonica leaves rise covering two sides of the vase. The ormolu stand well cast as a leafy pomegranate branch growing from rocks and issuing a single ripe fruit. Exhibited; The International Exhibition of Chinese Art, The Royal Academy of Arts, London, 1935/6 catalogue no. 2906. Chinese Jade Throughout The Ages, an exhibition organised by the Arts Council of Great Britian and the Oriental Ceramic Society, May-June 1975, Victoria and Albert Museum, no. 495. Provenance Prince Henry, the 1st Duke of Gloucester. The collection of Miss H. E. Ionides, London. The Hon. Mrs Mary Anna Marten OBE, Crichel House, Dorset. Purchased prior to 1953. Illustrated; Chinese Art: The Minor Arts II, Soame Jenyns, p.238, no.162, where it is described as of `superlative colour and important size`, and also Chinese Jade Throughout The Ages, The Arts Council of Great Britain and The Oriental Ceramic Society, July 1975, catalogue number 495. Catalogue Note; In China, lapis lazuli is known as qing jin shi (blue-gold stone). Although lapis beads have been excavated which date to the Han dynasty, there are no records of the use of lapis before the Qing dynasty. Cf. Ming Wilson, The Colour of Stones, Transactions of the Oriental Ceramic Society 1997-98, vol.62. p.34. Soame Jenyns notes that the stone was imported from Tibet, and that the Emperor officiating at the Temple of Heaven wore a rosary of lapis lazuli beads. In reference to the use of Rhodea japonica, Terese Tse Bartholomew, in her book, Hidden Meanings in Chinese Art, writes: "The Chinese name for this sturdy evergreen is `ten thousand year green` (wannianqing). It is thus a pun for `ten thousand years` or `ten thousand`. Another name for this plant is `auspicious grass` (jixiang cao). The bright green leaves symbolize continued growth and happiness, while the clusters of berries - which are red, an auspicious colour - stand for numerous descendants. All these qualities make Rhodea japonica an auspicious plant for the household, especially during the Chinese New Year. It is still a favourite houseplant, and a welcome gift for house-warmings, birthdays, weddings and new business ventures." Ionides Family; The Ionides were a Greek merchant family who lived in London. They were generous patrons of artists. The father Alexander Constantine Ionides (1810-1890) and his children Constantine (1833-1900), Aglaia Coronio (1834-1906), Lucas (`Luke`) Ionides (1837-1924) and Alexander (1840-1898) were all art collectors.
Lot 341
A Fine and Rare Chinese Lapis Lazuli Oval Bowl or Brush Washer, Qing Dynasty, 18th century, 13.6cm. The bowl with an undulating rim, the sides finely carved with a continuous band of ten lingzhi fungi issuing from a single tuft above which a bat flies. The base with three simple stump feet. The stone of a good colour and speckled with gold. Provenance The Hon. Mrs Mary Anna Marten OBE, Crichel House, Dorset. Purchased from John Sparks Ltd., 128 Mount Street, 7th June 1961 for £500.Catalogue Note; The lingzhi fungus has great medicinal qualities and was believed to be able to revive the dead, thus it is called the fungus of immortality. It is found in every medium in Chinese art. Ling is also a pun for `age`. Together with the bat, fu, it can be interpreted as `may your mind be clear when blessings arrive`.
Lot 345
An Extremely Rare Chinese Jade Carving of a Crouching Cat, Qing Dynasty, 18th/19th century, 18cm long, 10.8cm high. Poised with his eyes to the front, intently watching and with his front paws tucked beneath his chest. The pale celadon coloured stone finely incised to simulate fur. The yellow glass eyes later additions. Provenance The Hon. Mrs Mary Anna Marten OBE, Crichel House, Dorset. Purchased by Lieutenant-Commander George Gosselin Marten from John Sparks Ltd., 128 Mount Street, on 16th March 1959 for £1,300. Catalogue Note; The Chinese name for `cat`, mao, is homophonous with the word for `age eighty to ninety`. The cat is thus a symbol of longevity.
Lot 347
A Fine Chinese Jade Large Oval Bowl, Qing Dynasty, 18th/early 19th century, 23.8cm long, 16.1cm wide, 6cm high. The pale celadon coloured stone crisply carved with a single band at the rim and with two crisp lion mask handles. The base with four simple curved panel feet. Provenance The Hon. Mrs Mary Anna Marten OBE, Crichel House, Dorset. Purchased prior to 1953.
Lot 349
The Son of Heaven`s Jade Elephants. An Exceptional and Highly Important pair of Chinese Imperial Jade Elephants from a Throne-room group of the Emperor Qianlong. Each with a Qianlong four character reign mark and of the period 1736ð95, each 19cm long, 17cm high (total weight 12kg approx.) Each beast stands four square and with its head turned slightly to the side, the ears incised with veining, the eyes crisply incised above trunks which extend about their feet. The grey-green stone flecked with golden-brown striations. Provenance The Hon. Mrs Mary Anna Marten OBE, Crichel House, Dorset. Catalogue Note; An almost identical pair of Qianlong jade elephants from the Forbidden City, but with cloisonne saddle fittings and carrying vases, were exhibited at the Art Gallery of New South Wales, Sydney Australia in 2007 and are illustrated by Liu Yang in the exhibition catalogue Translucent World, no.109. These examples are also illustrated by Ho & Bronson, cf. Splendors of China`s Forbidden City, the Glorious Reign of the Emperor Qianlong, p.51, where Hu Desheng, describing Qianlong`s thrones, states: `The set usually consists of a throne in the centre, a screen at the back; and on either side of the throne, an elephant statue with a vase on its back (symbolizing peace), a standing fan, a luduan unicorn statue, and a vertical censer. This assemblage is commonly referred to as the `throne-room group.` See also: China, The Three Emperors 1662ð1795, p.391, where throne furniture and settings are also discussed. In China, the elephant is a symbol of strength, astuteness and happiness. They existed in China during the bronze age, but like the rhinoceros, soon were hunted to extinction. In the Ming dynasty, there were stables in the Forbidden City for the elephants that were given as gifts to the Ming emperors from the rulers of Burma. During the Qing Dynasty elephants carrying vases on their backs appeared in processions to celebrate the Emperor Qianlong`s birthday, and so these massive quadrupeds continued to be a popular subject for portrayal in the decorative arts. The Qing rulers commissioned jade elephants in formal standing poses, which were paired and placed flanking the Imperial thrones. For other examples of jade elephants, cf. Chinese Jade, Spink & Son Ltd., London, 1998, no. 23 for a spinach-green jade elephant, from the Estate of Empress Friedrich, Schloss Friedrichshof, and Alex Kerr, Immortal Images. The Jade Collection of Margaret and Trammell Crow, Dallas, 1989, p. 41. For another elephant from The Concordia House Collection, cf. Sotheby`s New York, 19th March 2007 lot 9, and Stanley Nott illustrates a grey elephant dated to the Qianlong period in the collection of Oscar Raphael Esq. pl. LXX. Stanley Charles Nott, in his Chinese Jade Throughout the Ages, records: `an exceptional pair of such carvings in the private collection of Her Majesty Queen Mary` and comments: `These specimens are obviously the work of the Imperial workshops of the Ch`ien Lung period`. Cf. The International Exhibition of Chinese Art, The Royal Academy of Arts, London 1935/6 catalogue no. 2328, where these elephants were illustrated.
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