清十八世紀 銅灑金臥鹿鎮紙

intricately cast as a paperweight in the form of a reclining stag, depicted crouching elegantly, its gender confirmed by the discreet depiction of the genitalia, the gnarled antlers in copper, the noble features on its face naturalistically rendered, its body decorated with irregular splashes of thick, dappled gold, carved hongmu stand

The patina is a slightly darker caramel-brown colour and the gold splashes are more brilliant than in the catalogue photos. Minor surface wear, otherwise good condition.
"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 outstanding paperweight fits into a small group of imperial 18th century gold-splashed bronzes produced at the palace workshops, Beijing. It is of small size, superb artistry and technique, and has the characteristic irregularity of the gold splashing.  It is unusual for the group of paperweights in being a rare animal form and in the use of a third metal, copper, to form the antlers – an extremely rare feature.  It also qualifies as one of the finest of all known small bronze paperweights sculpturally.  It is superbly observed and composed, its body weight slumped to one side, resting on two of its legs which are folded beneath the body, with an unusual level of detail, suggesting close observation of the actual animal. 

The Qing emperors were keen hunters and horsemen, retaining their links to their original Manchurian culture.  The Qianlong Emperor made regular trips to the hunting grounds north of the Great Wall with elite bannermen of his army for extended hunting exercises, which also functioned as cavalry training sessions.  The emperor is shown in some paintings shooting deer, and both he and his court artists would have been familiar with their appearance down to the tiniest detail.  For a Castiglione painting of the Qianlong Emperor hunting a stag in the Palace Museum, Beijing, see Chuimei Ho and Bennet Bronson, Splendors of China’s Forbidden City. The Glorious Reign of Emperor Qianlong, London and Chicago, London and New York, 2004, p. 182, pl. 226.