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A FINELY INLAID ZITAN 'DOUBLE-GOURDS' BRUSHPOT LATE MING – EARLY QING DYNASTY
Estimate
60,000 - 80,000 HKD
bidding is closed
Description
- zitan
- 9 cm, 3 1/2 in.
of slender cylindrical form with a lipped rim, finely inlaid with red aventurine, mother-of-pearl, carnelian, malachite, soapstone, stained horn and lacquer with a gnarled branch suspending small leafy double-gourds and coiling tendrils, the densely grained wood patinated to a deep reddish-brown colour
Condition
There is a 0.4 by 1.5 cm section of the foot that has been restored. Other minor nicks and typical age cracks. There are minute losses to the inlays and some stabilised sections.
"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."
"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."
Catalogue Note
Related zitan brushpots of this type include three larger examples, attributed to the mid-Qing period, from the Qing Court collection, and still in Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Hong Kong, 2001, pls 235, 236 and 238. ---
Foreword
Having spent a working lifetime collecting and dealing predominantly in the categories of Chinese works of art which were rather dismissively termed in the West as 'the minor works of China', it is gratifying to watch the general awakening and interest in these arts. So it gives us great pleasure to offer a selection from our collection to those collectors who do appreciate these wonderful pieces. We are primarily offering wood and lacquer pieces that have been richly inlaid by Zhou Zhu, or by his followers, and for which we have a particular fondness, especially so once we realised their importance when the examples in the Palace Museum collection were eventually published. There are also two imperial Qianlong wood screens with long inscriptions, Lot 3 and 6, a porcelain Amitayus dated to 1771, Lot 33, and other imperial ceramics, with a small group of select olive stone carvings. The ivory carvings include a superb sculpture of Wen Quxing and Kui Xing in zitan grotto, Lot 43, while the lacquer pieces range from a 17th century cinnabar lacquer screen, Lot 30, to a rare pair of 18th century gilt-lacquer vases, Lot 8.
The excitement that my wife, Ellie, and I shared during the long early hours of the mornings in Bermondsey and the Portobello Road can be imagined when you consider the stunning bargains, such as the inlaid Zhou Zhu tray, Lot 7, that were placed in our hands for less than a pound. Many of these pieces were considered not worthy of serious attention in comparison with ceramics and jade, and could often be purchased for a few pounds and were an adjunct to the serious business of finding the stock that the market did want at that time. Over the years our collection grew, although we did not think of it as 'a collection' until my retirement beckoned, and then first some bamboo, and then the Yixing stoneware, and then the later bronzes became 'collections' in the eyes of the auction houses.
It had always been a particular desire of mine that the entire Chinese nation would be free to indulge their passion for collecting the sublime works of art that are their heritage, and now that they have that freedom I hope that many pieces from our collection will find their way back to their country of origin.
Gerard Hawthorn,
London.
Foreword
Having spent a working lifetime collecting and dealing predominantly in the categories of Chinese works of art which were rather dismissively termed in the West as 'the minor works of China', it is gratifying to watch the general awakening and interest in these arts. So it gives us great pleasure to offer a selection from our collection to those collectors who do appreciate these wonderful pieces. We are primarily offering wood and lacquer pieces that have been richly inlaid by Zhou Zhu, or by his followers, and for which we have a particular fondness, especially so once we realised their importance when the examples in the Palace Museum collection were eventually published. There are also two imperial Qianlong wood screens with long inscriptions, Lot 3 and 6, a porcelain Amitayus dated to 1771, Lot 33, and other imperial ceramics, with a small group of select olive stone carvings. The ivory carvings include a superb sculpture of Wen Quxing and Kui Xing in zitan grotto, Lot 43, while the lacquer pieces range from a 17th century cinnabar lacquer screen, Lot 30, to a rare pair of 18th century gilt-lacquer vases, Lot 8.
The excitement that my wife, Ellie, and I shared during the long early hours of the mornings in Bermondsey and the Portobello Road can be imagined when you consider the stunning bargains, such as the inlaid Zhou Zhu tray, Lot 7, that were placed in our hands for less than a pound. Many of these pieces were considered not worthy of serious attention in comparison with ceramics and jade, and could often be purchased for a few pounds and were an adjunct to the serious business of finding the stock that the market did want at that time. Over the years our collection grew, although we did not think of it as 'a collection' until my retirement beckoned, and then first some bamboo, and then the Yixing stoneware, and then the later bronzes became 'collections' in the eyes of the auction houses.
It had always been a particular desire of mine that the entire Chinese nation would be free to indulge their passion for collecting the sublime works of art that are their heritage, and now that they have that freedom I hope that many pieces from our collection will find their way back to their country of origin.
Gerard Hawthorn,
London.