A SPINACH JADE ARCHAISTIC TRIPOD CENSER AND COVER QING DYNASTY, QIANLONG PERIOD

the stone of a deep spinach-green tone with natural veins, inclusions, and lighter patches, the censer carved with shallow sides rising from a pronounced foot, decorated on the exterior in low relief with a continuous band of formalised archaistic kui dragons, flanked by a pair of openwork handles, each modelled as the head of a mythical beast with bulging eyes, elaborate eyelashes, upright ears and curled double-tongue, all raised by three mythical animal mask legs, the fitted cover surmounted by a high-relief lotus knop, enclosed by a ring of pendant lotus petals and a further band of kui dragons in low relief

Collection of Stanley Charles Nott.
Collection of Mrs. Christian Holmes (by repute).
Bonhams, San Francisco, 21st June 2006, lot 3134.

Stanley Charles Nott, Chinese Art of World Renown, St. Augustine, 1944, p. 24, pl. 12.
Stanley Charles Nott, The Flowery Kingdom, New York, 1947, p. 196, plate XCVI.

The rim of the cover has two triangular pieces off (3.3 x 4 cm and 3.3 x 3.5 cm) and restuck with the original pieces and an associated hairline crack of about 3 cm. The lotus knop has two chips to the petals, measuring 0.8 cm and 0.7 cm respectively. The cover also has a Y-shaped possibly stabilised hairline of 4.7 cm and a 1 x 0.5 cm triangular restuck chip, probably developed from a natural vein. The censer also has some minor nibbles of no larger than 0.3 cm and a few stabilised veins. The stone contains some patches of a yellowish green tone.
"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."

Continuing the Song dynasty tradition of carving jade vessels in the form of archaic bronzes, the craftsmen of the Qing dynasty adapted classical forms and fused them together with various decorative elements to result in wares suited to contemporary taste. The present lot incorporates archaistic elements, such as the form which is based on the archaic bronze gui and the kui dragons on the body and cover, with highly stylised and modern elements such as the handles in the form of winged creatures and lotus flower knop.

No other closely related example appears to have been published, although components can be seen adorning censers of this type; see a celadon jade tripod censer flanked with similarly modelled handles from the Avery Brundage collection and now in the Asian Art Museum of San Francisco, illustrated in Rene-Yvon Lefebvre d'Argence, Chinese Jades in the Avery Brundage Collection, San Francisco, 1977 pl. LIV; another sold in our New York rooms, 19^th March 2007, lot 633; and one resting on a circular foot sold at Christie's New York, 26^th March 2010, lot 1099.

The pronounced lotus flower knop may have been inspired by jade carvings which originated in Hindustan in the Mughal periods and introduced into China from the middle of Qianlong's reign. While Mughal jades are characterised by thinly-carved walls and florid designs, the present censer is deeply rooted in archaic Chinese traditions as well as retaining the weightiness of the body in appreciation of the highly valued medium. Censers with related lotus knops include one sold in our London rooms, 29^th November 1977, lot 280; and another sold at Christie's London, 7^th April 1982, lot 334.