明十六 / 十七世紀 銅錯銀文官坐像 （傳）石叟製

naturalistically cast in the form of an official of the first rank, depicted adorned in official robes with a defined belt and hat, his right hand depicted hanging and resting alongside his right leg, his left in a studied pose in front of his stomach, the left elbow resting on the highest part of the rocky outcrop, the robes intricately inlaid in silver wire with decoration of stylised crane and cloud medallions, the chest and stomach with a pair of cranes, the knees, shoulders and the small of the back with single cranes and clouds, the hem of the inner robe showing beneath his neck

倫敦 Bluett & Sons，約 1969-1971年

There is a 0.2cm gap to the footrim, which may be the result of later damage, but could also be part of the original design or casting process. There is oxidisation to the surface, especially to the interior. Minor surface wear and dents to the body. The patina is slightly darker than 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."

The official figure depicted here is an early one, depicted in Ming rather than Qing official robes.  The crane is the rank emblem of the grade one official, and was known as the ‘Grade One Bird.’  On Qing official robes, the design was usually a rectangular or circular rank badge sewn onto the chest and back of the robes, as opposed to here, where it has been incorporated into the overall design of the robe. Although no particular number of birds was specified in Ming regulations, allowing twinned or sometimes even three birds, in the Qing dynasty an image of a single bird became standard.  The symbolism here, presumably, is that the recipient should soon attain the highest rank in the civil service.

The current figure is clearly by the same bronze workshop as lot 229. Although of a religious rather than secular figure, it is of similarly compelling quality and style, with the same, relatively thick silver-wire inlay, although also with some gold inlay, and with similar concept of the figure juxtaposed against ragged rocks (used as a seat here, and a stand there).  The similarity of the actual texture of the rockwork bases strongly points to the figures being by the same artists.  Although of different size and shape, from both front and back the artist has held to the same basic composition of peaks and holes. For another Shisou-marked bronze figure of closely related workmanship, see a figure of luohan depicted seated on rockwork, illustrated by Paul Moss and Gerard Hawthorn, The Second Bronze Age. Later Chinese Metalwork, Sydney L. Moss Ltd., London, 1991, cat. no. 13.