An Extremely Unusual Parcel-Gilt Archaistic Bronze Box Incised Fanggu Mark and Period of Qianlong

of ruyi form, the whimsical box comprising two tiers, the upper section of the box with a clasp decorated with ruyi heads connected to the lid, the lower section with a drawer sliding open towards the right, the exterior intricately inlaid in gold and silver with archaistic bands of hooked beak and leiwen scroll interspersed with peony blossoms in gold and silver inlay, the lid cast with a finial in the form of a peacock with iridescent layers of plumage exquisitely inlaid in turquoise, with additional gilding, the interior lined with an orange fabric, the copper base incised with a Qianlong fanggu mark

The overall condition is good. As visible in the catalogue photos, there is general rubbing to the gilding, tarnishing to the silver inlay and minor oxidisation to the surface, especially the interior. There are also minor losses to the inlays, including several of the small circular motifs at the band below the cover. There are several tiny dents to the flanges. The colour has been accurately captured in the catalogue photo.
"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."

This charming box, exquisitely cast in the form of a peacock, delicately inlaid with small pieces of turquoise to accentuate the full body and feathers, is notable for its elegant simplicity. No other related example appears to be published in any museum or private collection. Judging from the subject matter, delicacy of the decoration and functionality of the two deep trays, it appears to be a cosmetic box, no doubt commissioned by or gifted to a high ranking lady at the imperial court..

The box is incised with a Qianlong fanggu (‘Exemplifying Antiquity during the Qianlong Reign’) mark designated to objects of exceptional craftsmanship and quality of material that were inspired by antique vessels. Ancient bronzes treasured in the Qianlong reign and used as inspiration at the Palace Workshops, included not only ritual wine and food vessels of standard form, but also rarer animal-shaped vessels. For a demonstration of the reverence attached to a Han dynasty bear-shaped zun vessel in the National Palace Museum, which was recorded in imperially commissioned albums of ancient vessels, and also copied precisely in jade in the Qianlong reign, see The All Complete Qianlong: the Aesthetic Tastes of the Qing Emperor Gaozong, National Palace Museum, Taipei, 2013, pg. 202-203, cat. no. II-3.11 and II.3.12. With its high quality hardstone-inlaid decoration and naturalism of form, the Han dynasty bear vessel is extremely rare, and few preserved pieces of similar quality have been unearthed since the Qianlong period. Clearly treasured at the time, it was used as inspiration in the Palace Workshops.

In a similar vein, the current box is likely to have been broadly based on the style of inlaid decoration and archaic motifs found on an archaic bronze of similar rarity, with the form then modified to fit with the needs and fashions of the time, with the standard archaic mythical bird replaced by a peacock, a popular motif at the Qianlong court. For representations of peacocks in 18th century ceramic art, see a Yongzheng reign-marked falangcai bowl enamelled with a peacock and its young, perched on branches in the National Palace Museum, Taipei, illustrated by Fujio Nakazawa, Chugoku no toji [Chinese ceramics], vol. 11: Shin no kanyo [Official wares in Qing dynasty], Tokyo, 1996, pl. 37.