The present twelve panels epitomize the elegance and opulence of Qing dynasty imperial taste. Extant examples of folding screens in the Palace Museum, Beijing, reveal that they were executed in an impressive array of media. A variety of lacquer techniques, hardwoods, jade, and textiles, woven, embroidered, and painted, were often combined to create lavish compositions that were both functional and expressive. Examples of screens in which the paintings on silk form a continuous scene are exceedingly rare. Typically, the paintings are self-contained compositions that, once enclosed in hinged hardwood frames, form a complementary whole. As an example of this type, see the imperial screen with floral paintings sold at Christie’s Hong Kong, 1st December 2015, lot 3128. The present example may have been framed but it is more likely to have been seamlessly mounted, allowing for uninterrupted viewing. For an example of seamless mounting, the eight-panel screen of an elegant gathering of ladies attributed to Jiao Bingzhen (active ca. 1680-1720) is illustrated in The Complete Collection of Ming and Qing Furniture in the Palace Museum, vol. 20, Beijing, 2015, pp 388-391. A twelve-panel screen with a framed series of paintings forming a continuous scene, featuring kuancai work on the lower section is in the Calouste Gulbenkian Museum, Lisbon (accession no. 1023).

As well as being highly decorative, the subject matter displayed on the screen was chosen for its auspicious meaning. As the phoenix is the legendary sovereign of birds, the depiction of phoenix surrounded by many birds is known as 'Hundred Birds Courting the Phoenix' (bainiao chaohuang or bainiao chaofeng), or 'hundred birds paying homage’ (bainiao chaowang). Because the phoenix only appears during peaceful reigns, it is closely connected with dynastic rule, and in this sense, it emblemizes the relationship between ruler and subject. Many of the other birds also carry symbolic meaning. For instance, the 'Picture of the Five Relationships' (luxutu, wuluntu) is referenced by the presence of the cranes symbolizing the relationship between father and son; mandarin ducks, the relationship between husband and wife; wagtails, the relationship between brothers; and orioles, the relationship between friends.

In addition to its evocative significance, the choice of subject matter explicitly connected the art and ideology of the Qing court to the illustrious flower and bird paintings of the Northern Song dynasty, when under the patronage of Emperor Huizong (r. 1101-1125) the Imperial Academy was established. The Kangxi emperor, a dedicated scholar, sought to revitalize the Imperial Academy under Qing rule. He reinforced his advocacy by reintroducing and popularizing Song literati themes such as bird and flower painting so resplendently expressed in the present panels. As an indication of the Qing imperial commitment to revitalize and even surpass the academic achievements of the Song, the Kangxi emperor commissioned The Compendium of Birds, an impressive album depicting 360 birds, each meticulously painted and paired with a textual description.

While conjuring up imagery of the past, the bold palette, painterly style, and rich composition of the present paintings exemplify sumptuous Qing imperial taste. Shading, a facet of European illusionistic painting incorporated into imperial court painting in the early 18th century, imbues depth and richness to the lush peonies. Crisp linearity heightens and enlivens the profusion of phoenix feathers. From delicate washes and stippling to decisive bold strokes, the seemingly incompatible range of brushwork merge to articulate a magnificent statement. Panels of similar superlative painterly quality and vibrant tonality are extremely rare. However, a closely related screen from the collections of Francis Egerton and the Duke of Kent was sold in our London rooms, 12th May 2010, lot 40.

Alan Priest, curator of Asian Art at the Metropolitan Museum of Art from 1927-63 acquired the panels in Beijing in 1919 and included the screen in several exhibitions throughout his tenure at the museum. The panels were bequeathed to Robert H. Ellsworth (1926-2011) who loaned them to the Metropolitan Museum for the exhibition, The Manchu Dragon: Costumes of the Ch’ing Dynasty 1644-1912, 1980-1981. Mr. Ellsworth, a prominent art dealer, author, and philanthropist, was renowned for his expertise on Chinese painting and classical furniture. The collection of Asian art from his estate was later sold at Christie's New York, 17th-27th March, in a seven-part sales series.