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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.
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400965 item(s)/page