A YELLOW JADE 'BOYS AND CAT' GROUP 17TH / 18TH CENTURY |

the larger of the two boys crouching, straddling a recumbent cat between the knees and attentively petting the animal's head, the feline with its legs tucked under and its tail curling up the boy's back, a delightful grin playing across the boy's plump face, the hair tied in a pair of knots atop the head, a cheerful smaller boy kneeling alongside holding a rattle in the left hand and reaching the right arm around the larger boy whilst holding a paddle, the stone a creamy yellow color transmuting to a subtle honey tone at the back, wood stand (2)

Purchased in Hong Kong, 1964.

Robert P. Youngman, The Youngman Collection of Chinese Jades from Neolithic to Qing, Chicago, 2008, pl. 184.

The carving is in good condition with very little wear to the surface. Possibly repolished. The color of the stone is slightly more yellow than in the illustration in the printed catalogue.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Children at play was a favorite subject for artisans of the Ming dynasty, who frequently depicted boys engaged with animals, games, and other pastimes in every medium including painting, lacquer, porcelain, and jade. The present carving is notable for both the luminous quality of the stone and the quality of the craftsmanship. The figures of the children and the cat are deftly portrayed with well-proportioned bodies, natural gestures and expressions, and just the right amount of attention to bring each figure to life without becoming stifled by excess detail. The boys' garments, for instance, are defined by only a handful of lines indicating their hems and essential folds, however, the subtle variations in the depth, angle, and polish of each line convincingly convey the boys' carefree movements and the way their simple robes behave in response. The rounded lines and generous contours of their faces similarly capture the sweetness and joy of the subjects. Similar treatments of boys can be seen in a gray jade figure of a boy carrying a lantern, from the Chi-jou Chai Collection, included in Chinese Jades from Han to Ch'ing, Asia Society, New York, 1980, cat. no. 97; a yellowish-green jade carving of a group of boys carrying a vase, from the Bie Shan Tang Collection, exhibited in Chinese Jade Carving, Hong Kong Museum of Art, Hong Kong, 1983, cat. no. 204; a pale green jade carving of a child holding a lotus leaf, from the Tingsong Shuwu Collection and included in the same exhibition, ibid., cat. no. 167; and a white jade carving of three boys holding a lotus, from the Chang Shou Studio Collection, sold in our Hong Kong rooms, 5th April 2017, lot 3315.