AN AMBER ‘ELDER AND BOYS’ GROUP SIGNED YIZHANG QING DYNASTY, 18TH / 19TH CENTURY

skilfully carved in the round with a bearded elder, wearing a scholar’s cap and layered robes, holding a boy on his right lap, joined by two further children, one standing and the other kneeling, the latter clasping his hands within his sleeves in reverence, all in front of a pierced rock, the reverse bearing a two-character Yizhang inscription in running script, the translucent material of an orange-brown tone with natural crizzling, wood stand

Sydney L. Moss Ltd., London, 1988.
Hugh Moss (HK) Ltd., 1989.
Collection of Mary and George Bloch, 2004.
Sotheby’s Hong Kong, 23rd October 2005, lot 116.

Paul Moss, The Literati Mode: Chinese Scholar Paintings, Calligraphy and Desk Objects, Sydney L. Moss Ltd., London, 1986, no. 92.

The tip of the rock to the right of the sage's left hand has chipped off and been restuck, otherwise the group carving is in good condition with characteristic crizzling in the amber. The actual colour is slightly deeper and warmer compared to the catalogue illustration.
"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."

High-quality amber carvings are rare, not least because of the extreme fragility of the material. Although the carver, Yizhang, appears to be unrecorded, another amber carving of a seated luohan, in the Water, Pine and Stone Retreat Collection, is known bearing his signature. Works of art were rarely signed by their maker in China, suggesting that this group carving was of high importance to its owner as well as its maker. It is of fine quality, deftly carved with one of the most popular subject matters associated with the scholar’s studio.

Compare another amber piece, fashioned in the form of Shoulao with a staff, illustrated in Transactions of the Oriental Ceramic Society, vol. 35, 1964, no. 439; and an amber mountain and figure included in the Min Chiu Society Silver Jubilee exhibition The Anthology of Chinese Art, Hong Kong, 1985, cat. no. 264.