Lot 22
  • 22

AN IVORY 'GUANYIN AND CHILD' GROUP LATE MING DYNASTY

Estimate
80,000 - 120,000 HKD
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Description

  • ivory
  • 16.5 cm, 6 1/2  in.
depicted with the bodhisattva seated on a low stool and holding a child, wearing voluminous wide-sleeved robes with her hair untied, the child clutching a book, the ivory patinated to a creamy tone suffused with caramel patches

Condition

The figure is in overall very good condition, with typical surface wear and expected age cracks, as visible on the catalogue photo. The actual colour of the figure is warmer, less yellowish and more orange compared to the catalogue photo. The top of the figure's head is typically with a hole and the hole is filled with wax.
"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

This fine ivory carving of a seated Guanyin was possibly made in one of the ivory workshops in Zhangzhou, Fujian province, where carvings of small figures of deities, immortals or auspicious images were in vogue and in great demand by both domestic and foreign traders. Derek Gillman in Chinese Ivories from the Shang to the Qing, London, 1984, p. 48, suggests that the main period for the production of Zhangzhou ivories was from circa 1580 until the disruption of the Fujian coastline by the Qing forces fighting Zheng Chenggong (also known as Coxinga) a century later. The current figure is influenced by Christian iconography.