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A Cizhou circular box and cover, Song-Jin dynasties, 11th-12th century

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A Cizhou circular box and cover, Song-Jin dynasties, 11th-12th century

Lot 108. A Cizhou circular box and cover, Song-Jin dynasties, 11th-12th century; 4 1/2in (11.5cm) diameter. Estimate US$ 2,000 - 3,000. Sold for US$ 2,167. Courtesy Bonhams.

The gently domed cover painted in brown color on top with slender leafy stems against a ground of creamy-white glaze, fitted to the similarly glazed shallow box.

ProvenanceUragami Sokyu-Do, August 1999.

NoteSee a similar box sold Christie's Hong Kong, April 4 2017, lot 30.

Bonhams. Fine Chinese and Japanese Works of Art Part I, 14 Dec 2020, Los Angeles


A grey painted pottery horse and rider, Northern Wei period (386-534)

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A grey painted pottery horse and rider, Northern Wei period

Lot 108. A grey painted pottery horse and rider, Northern Wei period (386-534); 9in (22.8cm) high; 7 1/4in (18.4cm) long. Estimate US$ 2,500 - 4,000. Sold for US$ 2,805 (€ 2,317). Courtesy Bonhams.

The diminutive horse standing four-square on a rectangular plinth, its body painting in carmine and black pigments and surmounted by a male rider in long robes atop a saddle and embellished saddle blanket, the rider holding a drum against against the neck of the steed.

Provenance: Christies, New York, March 1995, by repute.

Note: Accompanied by a fitted tomobako with fitted cloth base bearing a label reading Christian Deydier OB/554.

Bonhams. Fine Chinese and Japanese Works of Art Part I, 14 Dec 2020, Los Angeles

Three Cizhou painted bowls, Ming dynasty (1368-1644)

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Three Cizhou painted bowls Ming dynasty

 Lot 108. Three Cizhou painted bowls, Ming dynasty (1368-1644); 6 18in 6 1/2 and 6 3/8in (15.5, 16.5 and 16.2cm) diam. Estimate US$ 3,000 - 5,000. Sold for US$ 3,570 (€ 2,950). Courtesy Bonhams.

Each well-potted bowl with a flared rim, two painted with floral medallions on the well under a geometric band near the rim, the third with a fish among water weeds under concentric rings.

Provenance: Flores & Iva, November 1999 (all).

Bonhams. Fine Chinese and Japanese Works of Art Part I, 14 Dec 2020, Los Angeles

A Cloisonné enameled gilt bronze cup dish, Ming dynasty (1368-1644)

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Lot 135. A Cloisonné enameled gilt bronze cup dish, Ming dynasty (1368-1644); 6 3/8in (16cm) diameter. Estimate US$ 2,500 - 4,000. Sold for US$ 2,295 (€ 1,896). Courtesy Bonhams.

The shallow well centered with a raised circular section decorated with flower sprigs, outlined with a bronze rim and encircled by flower petals on a sloping flange, and a band of classic lotuses borne on leafy scrolls on the flat well within the low side walls and a slightly beveled rim all filled with additional flowers.

Bonhams. Fine Chinese and Japanese Works of Art Part I, 14 Dec 2020, Los Angeles

A delicate carved jade handled libation cup, Western Han dynasty or later

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Lot 136. A delicate carved jade handled libation cup, Western Han dynasty or later; 5 5/8in (14.3cm) high. Estimate US$ 2,500 - 4,000. Sold for US$ 15,300 (€ 12,643). Courtesy Bonhams.

The cylindrical body rising from a tall foot, the exterior shallowly incised with C-scrolls and stylized chilong, the shoulder with a ring handle, the jade of pale green tone with russet patch.

Bonhams. Fine Chinese and Japanese Works of Art Part I, 14 Dec 2020, Los Angeles

 

A Huanghuali cabinet, Ligui, 18th-19th century

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Lot 141. A Huanghuali cabinet, Ligui, 18th-19th century; 49 1/2 x 32 1/4 x 14 3/4in (125.7 x 82.5 x 37.5cm). Estimate US$ 2,500 - 4,000. Sold for US$ 81,562 (£ 59,454). Courtesy Bonhams.

Of square frame with mitered, mortise, and tenon construction enclosing a paneled top, supported by a pair of well matched double doors with baitong pull handles opening to reveal one shelf enclosing two drawers, the well-figured wood of amber tone.

Bonhams. Fine Chinese and Japanese Works of Art Part I, 14 Dec 2020, Los Angeles

A fine kesi-woven silk dragon robe, Late 18th-19th century

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Lot 126. fine kesi-woven silk dragon robe, Late 18th-19th century; 56in (142.3cm) longEstimate US$ 6,000 - 8,000. Sold for US$ 7,012 (£ 5,111). Courtesy Bonhams.

Finely woven in gilt and silver-wrapped threads, with green and red highlight, depicting nine mighty five-clawed dragons pursuing flaming pearls amid floating cloud scrolls interspersed with the Buddhist Emblems and bats above terrestrial diagrams emerging from billowing waves and a wide lishui border separated by ruyi-shaped clouds, the collar band and horse-hoof cuffs decorated in gold and polychrome shades with additional dragons and auspicious objects, with pleated black silk sleeve extensions.

Bonhams. Fine Chinese and Japanese Works of Art Part I, 14 Dec 2020, Los Angeles

A spinach-green jade dragon alms bowl, Qing dynasty

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Lot 126. A spinach-green jade dragon alms bowl, Qing dynasty (1644-1911); 7in (17.8cm) diameter. Estimate US$ 2,500 - 3,500Sold for US$ 20,312 (£ 14,806). Courtesy Bonhams.

Of compressed globular form, with the deep rounded sides carved with a continuous design of a single striding dragon chasing a 'flaming pearl', amid lingzhi-shaped clouds, The foot carved as a swirling concentric wave, the stone of a deep-green tone with small black and russet inclusions.

Provenance: Anunt Hengtrakul, New York.

Bonhams. Fine Chinese and Japanese Works of Art Part II, 14 Dec 2020, Los Angeles


A celadon and gray jade 'Archers-thumb-ring' formed pendant, Western Han Dynasty (202 BC-AD 9)

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Lot 126. A celadon and gray jade 'Archers-thumb-ring' formed pendant, Western Han Dynasty (202 BC-AD 9); 2in (5cm) across. Estimate US$ 2,000 - 4,000Sold for US$ 20,312 (£ 14,806). Courtesy Bonhams.

Of unusual semi-arched form pierced with a cylindrical opening suggestive of an 'archer's thum ring, and carved in low relief to the upper section with a striding chilong coiling around the cylindrical opening, the underside with a cursory scroll design.

Note: For a somewhat similar example from the Smithsonian Institution, Freer Gallery of Art, Washington, D.C., see Alfred Salmony, Chinese Jade Through the Wei Dynasty, New York, 1963, p. 128-129, Pl. XVII-1 and dated to the Eastern Zhou Dynasty.

For a more crisply-cut and elaborate jade 'archer's ring' ornament dating to the Western Han Dynasty see, J. J. Lally & Co., Ancient Chinese Jade, March, 2018, no. 126. Another is illustrated by Thomas Lawton, Chinese Art of the Warring States Period: Change and Continuity, 480-222 B.C., Washington, D.C., 1982, p. 164, no. 111.

Bonhams. Fine Chinese and Japanese Works of Art Part II, 14 Dec 2020, Los Angeles

A celadon jade recumbent camel, Song-Ming Dynasty (960-1644)

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Lot 424. A celadon jade recumbent camel, Song-Ming Dynasty (960-1644); 2 1/4in (5.8 cm) wide. Estimate US$ 12,000 - 18,000Sold for US$ 12,750 (£ 9,294). Courtesy Bonhams.

Of slightly curving form, the camel kneeling and looking back over its right shoulder, the humps naturalistically leaning, the hooves, mane and beard of the animal neatly delineated, the stone with natural brown veining primarily to the reverse side, pierced vertically for suspension.

Note: For another Song/Ming Dynasty brown and yellow jade camel of larger size and looking forward rather than backward, see Christie's, Hong Kong, The Gerald Godfrey Private Collection of Fine Chinese Jades, 30 October 1995, lot 857.

Bonhams. Fine Chinese and Japanese Works of Art Part II, 14 Dec 2020, Los Angeles

A 'yellow' jade salamander pendant, Shang Dynasty (1600–1046 BC)

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Lot 410. A 'yellow' jade salamander pendant, Shang Dynasty (1600–1046 BC); 2 5/8in (6.6cm) long. Estimate US$ 1,200 - 1,800Sold for US$ 2,805 (€ 2,307). Courtesy Bonhams.

The realistically carved animal of flattened form with rounded upper surface and flat lower surface, the four legs evenly-spaced to the sides and with a furrowed tail curling to one side, softly carved details and polished surface, the underside with more-evident angular geometric cutting strokes.

Note: For a similar reptile-form pendant, dated to the Shang Dynasty, circa 1200 B.C., see Jessica Rawson, Chinese Jade from the Neolithic to the Qing, British Museum, London, 1995, p. 223 no. 12:20, where the author notes that the depiction of reptiles is uncommon among Shang jade animal pendants: toads and turtles being far more frequently depicted.

Bonhams. Fine Chinese and Japanese Works of Art Part II, 14 Dec 2020, Los Angeles

A 'yellow' jade slender tapering jade pendant, Early Shang Dynasty or later

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Lot 412. A 'yellow' jade slender tapering jade pendant, Early Shang Dynasty or later; 3 1/2in (9cm) longEstimate US$ 1,200 - 1,500Sold for US$ 7,650 (€ 6,292). Courtesy Bonhams.

The semi abstract carving can be read as beaked bird-form or if inverted as a snub-nosed fish with gills and lower fins highlighted, the jade of attractive 'yellow' tone and with soft carving and smooth polish, a pierced hole at the narrow end.

Property from the Estate of Robert P. Youngman.

NoteWhilst serving a different function this jade can be compared to a hair ornament dated to the pre Shang era, (late Shijiahe Culture, 2300-1600 B.C.) modeled with 'eagle' elements from which it ultimately derived, illustrated by J.J> Lally & Co., Ancient Chinese Jade, March 2018, no. 54.

Bonhams. Fine Chinese and Japanese Works of Art Part II, 14 Dec 2020, Los Angeles

A pale celadon-gray Jade Hare pendant, Western Zhou Dynasty (c. 1045 BC – 771 BC)

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Lot 413. A pale celadon-gray Jade Hare pendant, Western Zhou Dynasty (c. 1045 BC – 771 BC); 2in (4.5cm) long. Estimate US$ 3,000 - 5,000Sold for US$ 3,187 (€ 2,621). Courtesy Bonhams.

The flattened animal shown in profile with large ears raised and the large eyes simply delineated, pierced at the hind-quarters, a groove running along the underside of the belly and legs.

NoteFor a calcified jade example dated to the late Shang or early Western Zhou dynasty, see J.J.Lally & Co., Arts of China, May-June 1990, no. 4. Compare also with pendants illustrated by Soame Jenyns, Chinese Archaic Jades in the British Museum, London, 1951, pl. XXVII, B and C.

Bonhams. Fine Chinese and Japanese Works of Art Part II, 14 Dec 2020, Los Angeles

A white jade cicada carving, Han dynasty (206 BC–220 AD)

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Lot 413. A white jade cicada carving, Han dynasty (206 BC–220 AD); 2 1/4in (5.6 cm) long. Estimate US$ 1,500 - 1,800Sold for US$ 2,040 (€ 1,677). Courtesy Bonhams.

Of flattened form, cut with sweeping strokes to form the winged insect, with simply delineated head and eyes, the underside with further horizontal strokes to highlight the lower abdomen and with traces of calcification.

Property from the Estate of Robert P. Youngman.

NoteFor a similar white jade cicada see, J.J.Lally & Co. Chinese Archaic Jades and Bronzes from the estate of Professor Max Loehr and others, June 1993, no. 74.
Another from the Royal Ontario Museum, Toronto is illustrated by Doris Dohrenwend, Homage to Heaven, Homage to Earth,Toronto, 1971, p.29.

Bonhams. Fine Chinese and Japanese Works of Art Part II, 14 Dec 2020, Los Angeles

A large archaistic white jade sword or dagger guard, Western Han Dynasty or later

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Lot 417. A large archaistic white jade sword or dagger guard, Western Han Dynasty or later; 3 1/2in (8.8cm) across. Estimate US$ 1,500 - 1,800Sold for US$ 2,805 (€ 2,307). Courtesy Bonhams.

Of trapzoidal outline, one side carved with a large taotie within a beaded edge, the other side with two coiling chilong amidst cloud-form scrolling.

Property from the Estate of Robert P. Youngman.

Note: For a Western Han prototype with similar decoration to one side, see Jades from the Tomb of the King of Nanyue, Hong Kong, 1991, Pl. 221.

Bonhams. Fine Chinese and Japanese Works of Art Part II, 14 Dec 2020, Los Angeles


A small celadon and russet jade sword or dagger guard, Han Dynasty or later

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Lot 418. A small celadon and russet jade sword or dagger guard, Han Dynasty or later; 2 1/4in (5.7 cm) across. Estimate US$ 1,200 - 1,500Sold for US$ 2,805 (€ 2,307). Courtesy Bonhams.

Of trapzoidal outline, one side carved with c-scrolls forming a taotie within a beaded edge, the other side with a single striding chilong also within a beaded edge.

Property from the Estate of Robert P. Youngman.

Bonhams. Fine Chinese and Japanese Works of Art Part II, 14 Dec 2020, Los Angeles

A Fine and Rare Chinese Export Goose-form Tureen and Cover, Qing Dynasty, Qianlong Period, circa 1770

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Lot 441. A Fine and Rare Chinese Export Goose-form Tureen and Cover, Qing Dynasty, Qianlong Period, circa 1770; height 16 in.; 40.6 cm. Estimate: 80,000 - 120,000 USD. Courtesy Sotheby's.

naturalistically and boldly modeled, the raised head supported by a long curving neck, the body finely enameled with sepia plumage, the folded wings molded with overlapping feathers in green, turquoise, iron-red, and sepia with details picked out in gilding, the webbed feet tucked under the body.

Property of an Important Midwestern Collection.

Provenance: Christie’s London, April 6th, 1998, lot 156.

A Fine and Rare Famille-rose Goose Tureen

Goose tureens count as one of the most impressive forms in Chinese export art made for the West. A symbol of power and status in a European interior in the 18th century, the presence of a Chinese export goose tureen conveyed not only the exquisite taste of the owner, but also the wealth of the family. Scholars suggest earlier European ceramic bird-form tureens were the original models for these impressive tureens made in China for the Western markets. Pottery and porcelain modelers such as Adam von Löwenfinck, the original director of Höchst faience factory who later joined Strasbourg in 1749, and J. J. Kändler, the most important modeler at Meissen, are credited with the creation of the European ceramic prototypes for large avian forms. However, waterfowl form vessels were also prevalent in Chinese art, notably as incense burners.

There are two distinct types of Chinese export goose tureen, one with a shorter neck and longer body, and overall of a more sturdy appearance; and the other type, represented by the current example, modeled with a longer neck projecting a more elegant and delicate silhouette. The V.O.C. famously ordered 25 goose tureens for stock in 1763, signifying the contemporary demand for such tureens in Europe. While the modeling of goose tureens is relatively uniform across the second half of the 18th century, the enameling of these tureens demonstrate the technical virtuosity and range of the Chinese porcelain painters working at the time. Some are decorated with brilliant coloring at the wings, using colors such as puce, purple, turquoise, grisaille and gilding, and others are decorated in a more realistic manner, intending to be representative of the actual appearance of the animal. 

The present example, with the body painted in sepia and decorated with bright enamels at the wings is unusual, and only three other examples appear to be extant. An example formerly in the collection of Lady Baron, sold in our London rooms, October 22nd, 1963, lot 37, and later sold at Christie’s London, October 13th, 1975, lot 81, is now in the collection of the Metropolitan Museum of Art, New York, gifted in 2014 by Mrs. Douglas Dillon, acc. no. 2014.436a,b. Another example was sold in our Monaco rooms, February 9th, 1981, lot 997. A third example is in the collection of the Fitzwilliam Museum, Cambridge, acc. no. OC.71.1&A-1938.

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Tureen in the form of a goose, ca. 1770, Gift of Mrs. Douglas Dillon, 2014, The Metropolitan Museum of Art, New York. © 2000–2021 The Metropolitan Museum of Art. 

A related example decorated with the Spanish arms of José de Gálvez y Gallardo on the chest, formerly in the collection of Nelson and Happy Rockefeller, is illustrated in Ricardo Espirito Santo Silva, J. A. Lloyd Hyde and Eduardo Malta, Chinese Porcelain for the European Market, Lisbon, 1956, pl. VII and on dust-jacket, and was sold in these rooms, January 18th, 2019, lot 323.

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An extremely rare and important Chinese Export Armorial goose-form tureen and cover for the Spanish market, Qing dynasty, Qianlong period, circa 1775; height 15 in., formerly in the collection of Nelson and Happy Rockefeller; 38.1 cm. Estimate $120,000 - $180,000Lot sold $200,000 at Sothey's New York, January 18th, 2019, lot 323Courtesy Sotheby's.

Cf. my post: Rockefeller collection of furniture & decorative arts to highlight Sotheby's 2019 Americana Week

Sotheby's. Important Americana: Silver, Chinese Export, and Prints, New York, 22 January 2021

An Extremely Rare and Important Pair of Chinese Export Elephant-form Tureens, Covers and Stands, Qing Dynasty, Qianlong Period,

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Lot 439. An Extremely Rare and Important Pair of Chinese Export Elephant-form Tureens, Covers and Stands, Qing Dynasty, Qianlong Period, circa 1770; length of tureen 6 3/8 in.; 16.2 cmEstimate: 70,000 - 100,000 USD. Courtesy Sotheby's.

each tureen delicately modeled as a recumbent elephant with the head turned to one side tucked snugly into the body with the trunk coiled, molded overall with naturalistic folds in the hide, the cover surmounted by a finial in the form of a European man wearing a long purple coat and tricorn hat, kneeling atop a purple-edged iron-red saddle highlighted with gilding extending down the sides of the elephant, the lobed oval stand painted in the center with a similarly dressed European holding a whip sat astride a recumbent elephant in landscape within an iron-red and gilt border.

Property of an Important Midwestern Collection.

ProvenanceThe Fermor-Hesketh Collection, Northamptonshire 
Christie’s Monaco, June 20th, 1988, lot 121
A. & J. Speelman Ltd., London, 1993.

The Fermor-Hesketh Elephant Tureens

Finely painted and delicately modeled, the present pair of elephant form tureens are one of the most unusual forms in Chinese porcelain made for the Western market. Tureens in the form of geese, cockerel, carp, ox head, boar’s head and other animals were an integral part of the grand display in an 18th century European dining room, presenting guests a feast for the eyes to accompany the lavish meal. Many Chinese export examples of these tureens were modeled after European originals made by factories such as Höchst, Chelsea, and Meissen in the 18th century. However, the present tureens may have taken their inspiration from an entirely different source.

Depicted with legs tucked in and head turned to one side in an obedient manner, the recumbent elephant is often seen in Chinese jade carvings. Compare a Han dynasty jade pendant carved in a similar recumbent position, until 1913 in the collection Samuel T. Peters and gifted to the Metropolitan Museum of Art, New York, acc. No. 13.40.116. While the pose is most often seen in jade, the design of the recumbent elephant functioning as a vessel can also be seen in other materials. Compare a Ming dynasty, early 17th century, waterpot decorated with underglaze-blue and red enamel, in the collection of the Sir Percival David Foundation and on loan to the British Museum, illustrated in Margaret Medley, Illustrated Catalogue of Ming Polychrome Wares in the Percival David Foundation of Chinese Art, London 1966, cat. no. A707.

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 Jade Girdle Pendant, Han Dynasty, Gift of Samuel T. Peters, 1913, The Metropolitan Museum of Art, New York.

Recumbent elephant tureens are rare and the covers are most often modeled with a spotted dog form finial; examples with European figural finials are exceedingly rare. Aside from the present examples, only one other tureen and cover of this exact form appears to have been on the market. That example was formerly in the collection of Esther Pace Kuna, sold in these rooms, January 25th, 1989, lot 209, and later entered the collection of Dorothy and Wendell Cherry, and was sold again in these rooms, March 16th, 2012, lot 206. This arrangement of adorning the top of an elephant with a figure can also be seen in Chinese bronzes. A 17th century example of a bronze incense burner and cover, sold in our Hong Kong rooms, December 3rd-4th, 2015, lot 466, depicts a recumbent elephant with its head raised and the cover cast with a seated ascetic.

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A Parcel-gilt Bronze 'Ascetic on Elephant' Incense Burner and Cover, 17th Century, sold Sotheby's Hong Kong, December 3rd-4th, 2015, lot 466. Courtesy Sotheby's.

Other comparable examples include a pair in the Copeland collection at the Peabody Essex Museum, Salem, illustrated in William R. Sargent, The Copeland Collection: Chinese and Japanese Ceramic Figures, Salem, 1991, cat. no. 100, where the author suggests that given the small number of examples extant, the production period of these tureens was short and likely all originating from one single enameling studio. An example formerly in the collection of Helena Woolworth McCann (until 1938) and the Winfield Foundation (1938-51) is in the collection of the Metropolitan Museum of Art, New York, acc. No. 51.86.346a, b. Also in the collection is a matching stand, formerly in the collection of Mrs. Nellie Ionides, sold in our London rooms, July 2nd,1963, lot 133. A pair of tureens, unusually mounted in ormolu, was sold in our London rooms, November 6th, 1973, lot 196A. A single tureen with two stands, formerly in the James E. Sowell collection and illustrated in Michael Cohen and William Motley, Mandarin and Menagerie, Reigate, 2008, cat. no. 13.1, was later sold at Christie’s New York, January 20th, 2016, lot 49.

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Box with cover in the form of an elephant, ca 1770, Helena Woolworth McCann Collection, Gift of the Winfield Foundation, 1951, The Metropolitan Museum of Art, New York.

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Tray, ca. 1770, Helena Woolworth McCann Collection, Purchase, Winfield Foundation Gift, 1963, The Metropolitan Museum of Art, New York.

The stands that accompany these tureens are also of interest. These are painted in the center with a recumbent elephant and a European figure seated beside the beast underneath a tree. It is known that most Chinese export decorations follow closely, or take inspiration from, European source prints, however, the source of the current subject matter has yet to be found. In writing about the pair in the Copeland collection, Sargent suggested that the scene is possibly derived from Chinese sources rather than Western prints. He further notes that the European figure’s gesture of opening one arm resembles the “Sailor’s farewell”, a popular motif seen on Chinese export porcelains, and Chinese porcelain painters likely adapted this motif. Therefore, it is possible that the current scene is perhaps a composite, taking inspiration from both Chinese and Western sources.

 The current pair of tureens was formerly in the Fermor-Hesketh collection prior to appearing on the market. The Baron Heskeths, created in 1935 for Sir Thomas Fermor-Hesketh, descended from the Hesketh Baronetcy of Rufford, created in 1761. The family’s former seat was the celebrated Easton Neston house in Northamptonshire, a British Baroque style house completed around 1700 by the English architect Nicolas Hawksmoor.

Sotheby's. Important Americana: Silver, Chinese Export, and Prints, New York, 22 January 2021

A Rare Chinese Brown-glazed Stoneware Figure of a Stag, Qing Dynasty, Late 18th - Early 19th Century

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Lot 442. A Rare Chinese Brown-glazed Stoneware Figure of a Stag, Qing Dynasty, Late 18th - Early 19th Century; height 25 in.; 63.5 cmEstimate: 30,000 - 50,000 USD. Courtesy Sotheby's.

powerfully modeled seated foursquare on a rectangular base with head turned to the left and an alert gaze, the lips cold painted red, the coat simulated with a streaky brown glaze decorated with white spots, the later added antlers molded in resin and lacquered black.

Property of an Important Midwestern Collection.

NoteCompare a closely related pair formerly in the H. Gutmann Collection, Potsdam, exhibited at the Prussian Academy of Arts (Preußischen Akademie der Künste), Chinesischer Kunst, Berlin, January 12th-April 2nd, 1929, and illustrated in the catalogue, p. 294, cat. no. 784. The pair was sold in our London rooms, May 4th, 1932, lot 24, and later entered the collection of Mr. and Mrs. Leslie R. Samuels, and was subsequently sold in these rooms, October 2nd-3rd, 1981, lot 17 (sold privately pre-sale). .

Sotheby's. Important Americana: Silver, Chinese Export, and Prints, New York, 22 January 2021

A Rare Pair of Chinese Export 'Nodding Head' Figures, Qing Dynasty, Qianlong Period (1736-1795)

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Lot 446. A Rare Pair of Chinese Export 'Nodding Head' Figures, Qing Dynasty, Qianlong Period (1736-1795); height overall 15 3/8 in.; 39.1 cm. Estimate: 20,000 - 30,000 USD. Courtesy Sotheby's.

each modeled with the hair braided and wrapped around the removable head and set with a counterweight, the face with a gentle smiling expression, with the right arm and hand raised, the outer robe enameled black and decorated with gilt dragon roundels, all above a longer yellow robe painted with turquoise clouds, the edges heightened with sepia and gilt waves.

Property of an Important Midwestern Collection.

Provenance: Santos, London.

NoteA nearly identical figure, formerly in the collection of Mr. Basil and the Hon. Mrs. Ionides, is illustrated in Margaret Jourdain and R. Soame Jenyns, Chinese Export Art in hte Eighteenth Century, London, 1950, cat. no. 72. This example, along with its mate, sold in our London rooms, February 18th, 1964, lot 325. A single example with an associated head, also from the Ionides collection, sold in our London rooms, July 2nd 1963, lot 148. Compare four 'nodding head' figures of similar size and enameling, two men and two ladies, illustrated in Maria Antónia Pinto de Matos, The RA Collection of Chinese Ceramics, vol. IV, London, 2019, cat. no. 189.

Sotheby's. Important Americana: Silver, Chinese Export, and Prints, New York, 22 January 2021

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