LONDON.- Following an outstanding year in Chinese art, Sotheby’s Important Chinese Art auction in London on 10 May 2017 showcases a selection of notable Chinese ceramics and works of art across the disciplines of imperial porcelain, lacquer, jade and Buddhist sculpture. Skilfully crafted and spanning China's long and rich history, they offer a glimpse into the evolving tastes of both the imperial court of China and international markets. Leading the sale is an exceptionally rare and large carved cinnabar lacquer dish from the late Yuan/early Ming period. Featured in the Oriental Ceramic Society exhibition ‘The Arts of the Ming Dynasty’ in 1957, the dish also boasts an enviable provenance, having been owned by a series of distinguished collectors including Sir Percival and Lady David and Percy D. Krolik. The auction is preceded by Menagerie, a delightful English private collection of animals, birds and sea creatures carved and modelled from a variety of materials, including jade and bronze. Comprising 100 lots, each brimming with auspicious associations and reflective of Chinese culture through the ages, this sale is highlighted by an exquisite white jade carving of two boys clambering playfully on an elephant to symbolise happiness and good fortune.

SALE HIGHLIGHTS

Important Chinese Art 10 May, 2pm

A Magnificent and Extremely Rare Large Carved Cinnabar Lacquer Dish (Lot 138) Late Yuan/Early Ming Dynasty 44.5cm Est. £400,000-600,000 / HK$3,860,000-5,790,000
This dish represents one of the finest examples from the period when lacquer carving in China experienced its absolute peak. The sensitive, naturalistic rendering of the flowers, the complexity and yet harmony of the luxuriant interwoven flower design, the impeccable craftsmanship of the carving, and of course the monumental dimensions of this piece are hard to surpass. The century or so from the late Yuan (1279-1368) to the early Ming dynasty (1368-1644) witnessed the evolution of the art of carved lacquer ware in south China from a decorative craft to a branch of imperially produced artefacts of the highest order, in parallel to a similar development of Chinese blue-and- white porcelain. Lacquer ware of this period is infinitely rarer than contemporary porcelain, because its laborious manufacturing process did not lend itself to series production, but was dependent on the ability of individual craftsmen. The time-consuming process of building up a thick enough layer of lacquer by adding and preparing multiple thin coatings, each of which needs to dry before it can be polished and the next one applied, and finally carving the design into it, could stretch over years. The dish now returns to Sotheby’s London for the fourth time in over half a century with an illustrious history, having successively formed part of three important collections, including that of Sir Percival and Lady David. Sir Percival, whose uncanny eye for quality is impressively documented in his collection of Chinese ceramics, now in the British Museum, was ahead of his time during a period when early carved lacquer remained much of a mystery.

An Extremely Rare Copper-Red Dish (Lot 124) Xuande Mark and Period 17.5cm Est. £300,000-400,000 / HK$2,900,000-3,860,000
The beautiful, rich red glaze of this dish cannot be better described than with the term ‘crushed strawberries’. Monochrome copper-red glazes were perfected during the Yongle (1403-1424) and Xuande (1426-1435) reigns, but the large number of discarded sherds at the Jingdezhen kiln sites impressively highlights the difficulties experienced by even the highly accomplished imperial potters of that time to achieve satisfactory results. After the Xuande reign, the copper pigment was therefore almost completely abandoned until it was revived on a grand scale, but never again to similarly striking results. This piece marks the pinnacle of Chinese copper-red porcelain production.

A Pair of Fine and Rare Imperial Yellow-Glazed Dishes (Lot 125) Zhengde Marks and Period 15.3cm Est. £50,000-70,000 / HK$483,000-675,000
This pair of dishes is striking for their rich yellow glaze, a colour that was strictly reserved for wares for the imperial court. This ‘imperial yellow’ glaze was produced at the imperial kilns in Jingdezhen throughout the Ming dynasty and was achieved by adding ferric oxide (3.5 %) to the lead silicate base, making this glaze a direct descendant of the yellow lead glazes of the Tang dynasty. Deceptively simple in form and colour, light-coloured monochrome porcelains required the highest level of skill and precision in the purity of the clay, potting, glazing and firing. Due to the minimalist nature of the pieces, where form and glaze worked together in perfect harmony, the slightest irregularity would result in their rejection and destruction.

A White Jade Ruyi Sceptre Qing Dynasty, 18th/19th Century 35cm Est. £40,000-60,000 / HK$386,000-580,000
Finely finished to a smooth and highly tactile polish, this piece is notable for the delicate low-relief decoration that is limited to the ruyi-head and shaftend. Such restrained decoration draws attention to and enhances the quality and translucency of the stone. Ruyi sceptres were rarely made in jade prior to the 18th century given the scarcity of large boulders, and only became available in larger quantities after the Western campaigns, which secured control over the area of Khotan and Yarkand, in present day Xinjiang. Jade boulders from these areas were brought to the court, where the best specimens were selected to be carved by artisans working in the Palace Workshop.

Menagerie An English Private Collection of Chinese Animal Carvings 10 May, 10.30am

Animals have a unique place in the human consciousness and experience across cultures, geographies and history. Every culture ascribes characteristics to our fellow creatures and the Chinese culture is no exception, perhaps being one of the most thoughtful and creative in these attributions. This collection, formed in England during the last half century with an eye to the wide variety of creatures, forms and materials used to depict them, is more whimsical than philosophical, yet charmingly shows a respect for the original artistic intent mixed with an admiration of the qualities of the creatures themselves.

A White Jade ‘Elephant and Boys’ Group (Lot 5) Qing Dynasty, 18th Century 11cm Est. £40,000-60,000 / HK$386,000-580,000
In Chinese folklore, the elephant is associated with the mythical Emperor Shun, one of the twenty-four paragons of filial piety. The animal is also a symbol of peace as its name is a homonym for the word ‘sign’, and when depicted with a vase (ping), it creates the phrase ‘taiping youxiang, yutang fugui’ (May there be peace and may your noble house be blessed with wealth and honour), which is traditionally spoken during New Year celebrations. In the Qing dynasty elephants were associated with the Imperial court and very often appeared with vases on their backs during processions celebrating the Emperor’s birthday.

A Celadon and Russet Jade ‘Phoenix’ Waterpot and Dropper (Lot 6) 17th Century 15.5cm Est. £8,000-12,000 / HK$77,500116,000

A Fine Archaistic White Jade ‘Double Phoenix’ Plaque (Lot 12) Qing Dynasty, Qianlong Period 10.5cm Est. £15,000-20,000 / HK$145,000-193,000
While depictions of the phoenix expanded to be produced in a variety of media during the Song dynasty, the motif did not develop into an established painting genre until the Ming dynasty, when this mythological bird also acquired further symbolic associations. The phoenix began to be considered the embodiment of a just ruler or the arrival of a great man. Symbolic also of the Empress and believed to encourage male progeny, depictions of phoenixes proliferated in the Qing dynasty, often appearing together with dragons.

A White Jade Mythical Beast (Lot 25) Qing Dynasty, 18th Century 8cm Est. £20,000-30,000 / HK$193,000-290,000

A Rare Ivory ‘Qilin’ Seal (Lot 32) Ming Dynasty, 15th/16th Century 7.2cm Est. £20,000-30,000 / HK$193,000-290,000
A wide range of imaginary creatures with pronounced features began to be made in stone and other durable materials in China during the Han dynasty, coinciding with an increased interest with omens and talismans believed to provide a link with the spiritual world. Jade was associated with immortality, hence it was a particularly suitable material for small carvings of supernatural creatures that were meant to be kept near the body. Mythological creatures in this collection include the qilin, described as a creature with a scaly body and one or two horns, the tail of an ox and the hooves of a horse, which later became symbolic of happiness and male progeny.

A White Jade ‘Pig’ Plaque (Lot 43) Qing Dynasty, 18th Century 8.5cm Est. £5,000-8,000 / HK$48,300-77,500
The role of various animals in everyday domestic life ranged from transport, such as horses, for working the land with buffalos and rams, and as pets, such as cats. These animals were favoured for their symbolic associations that originated either from their roles, their appearance or the phonetic pronunciation of their names.

A Pale Celadon Reticulated Jade ‘Dragon’ Plaque (Lot 52) Ming Dynasty, Late 15th/16th Century 10.3cm Est. £10,000-15,000 / HK$96,500-145,000
Unlike in the West where the dragon is often depicted as an evil creature, in China it is regarded as a benevolent and auspicious being. As a creature of the sky, the dragon was often depicted moving through clouds and ascending upwards through heaven; hence it became associated with attaining immortality as well as procuring rain. As a creature of the sea, the dragon was the ruler of fish and thus symbolised the Emperor and his infinite power.

A Soapstone Chilong Qing Dynasty, 18th Century 9.5cm Est. £3,000-5,000 / HK$29,000-48,300
A variety of dragons were developed from the original concept of the celestial dragon including the Spiritual Dragon, shenlong, associated with wind and rain, the Dragon of Hidden Treasures, fucanglong, the Winged Dragon, yinglong, and the Hornless Dragon, chilong.

A Large Celadon Jade ‘Lion and Cub’ Group (Lot 81) 17th/18th Century 15.2cm Est. £20,000-30,000 / HK$193,000-290,000
Among the animals associated with Buddhism, the lion is one of the most commonly portrayed. Lions were not indigenous to China, but were imported as exotic gifts for the Han (206 BC- AD 220) and Tang (618-907) courts. The symbolism associated with the lion developed with the introduction and spread of Buddhism in China after the fall of the Han dynasty.