A WHITE JADE CARVING OF A GOOSE QING DYNASTY, 18TH CENTURY

the rounded pebble finely carved in the form of a goose with its head sharply turned and resting on its backside, its ruffled plumage picked out with fine incisions, the underside revealing its webbed feet naturalistically detailed in low relief, the smoothly polished stone of a pure white tone with russet splashes

A Private Japanese Collection.

The piece is in very good condition.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Since the fourth century, the goose has become associated with Wang Xizhi (307? - 365?), the most celebrated calligrapher in China.  Wang's fondness for geese was legendary, as illustrated in the well known late Ming artist Chen Hongshou's (1598-1652) painting, Wang Xizhi with his Caged Goose, depicting Wang and an attendant carrying a goose.  It is also said that Wang derived inspiration from natural forms, such as the graceful necks of geese, and that he even copied the Daoist classic Daodejing for a priest in exchange for a white goose.  The symbolic association of the goose with Wang Xizhi, coupled with the archaistic surface decoration and graceful form of the present piece, would carry powerful meaning to the literati class.

This exquisite jade carving, with total confidence of sculptural form and elegant surface decoration, may have served as a decorative plaything, a paperweight, or possibly a brushrest.  An early example of a jade goose attributed to the Song dynasty in the Tianjin City Art Museum, carved in the highly stylised and simplified archaistic style and illustrated in Tianjin Shi Yishu Bowuguan cang yu, 1993, pl. 172; and another carving of a goose from the Guan-fu collection, included in James C.Y. Watt, Chinese Jades from Han to Ch'ing, Washington D.C., 1980, p. 97, pl. 82, where it is noted that 'the pose of this bird is reminiscent of the very early stone weights of Mesopotamia'.  Compare also a Qing yellow jade goose waterpot illustrated in Roger Keverne, Jade, London, 1991, chapter 7, fig. 14.