A superb inlaid gilt-bronze 'mythical beast' censer Qing Dynasty, Qianlong period

finely cast as a plump mythical beast standing foursquare in an alert and threatening pose, its head held high, chest thrown out and claws flexed with tension, the fierce leonine head staring intensely forward through large bulging eyes, above flared nostrils and a wide snarling mouth open to reveal the tongue curled back between sharp teeth, surmounted on its back by a large funnel-shaped opening with deep flaring sides, the elaborate wings with swirling overlapping feathers accented with incised archaistic scrollwork, sweeping back towards the scaly rear haunches and bushy tail, all elaborately embellished with a myriad of semi-precious stones including malachite, agate, turquoise, carnelian, rose-quartz and lapis-lazuli, along with white and spinach-green jade to highlight the curling flames and feathers

Purportedly brought out of China in the 1860s.
Formerly in the Collection of Hebert R. Bishop.
The American Art Galleries, 25th January 1906, lot 2035.
Sotheby Parke Bernet, 20th/21st November 1973, lot 39.
Christie's Hong Kong, 1st November 2004, lot 878.

The National Academy of Design, New York, loan exhibition, 1893.

The censer is in very good overall condition and the inlays are mostly intact except for three at the toenails. There is a tiny chip to the tip of the gilding at the bottom left fang.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Elaborately inlaid and finely cast censers of this type, in the form of mythical beasts, are rare and the present piece is remarkable for its well preserved gilding and inlay of semi-precious stones. In its detailed workmanship this censer is comparable with one in the National Palace Museum, Taipei, included in the Special Exhibition of Incense Burners and Perfumers Throughout the Dynasties, National Palace Museum, Taipei, 1994, cat.no. 119. Compare also a gilt-bronze censer of this type without the decorative inlay, in the British Museum, London, illustrated in Jessica Rawson (ed.), Chinese Art, London, 1992, front cover.  

Inlaid gilt-bronze censers in the shape of mythical beasts can also be found with the cover forming the head and without the funnel-shaped opening in the back; for example see a censer sold in our Hong Kong rooms, 10th April 2006, lot 1542; and another sold at Christie's Paris, 15th June 2005, lot 219. A copper censer of this type with gold and silver inlay, also of the Qianlong period, was exhibited in Taipei, 1994 and is illustrated op.cit., pl. 118; and another gilt-copper example in the Victoria and Albert Museum, London, is illustrated in Stephen Bushell, Chinese Art, vol. II, London, 1919, fig. 96.

Elaborately inlaid censers were also made in the form of a mythical beast surmounted by a phoenix called the yingxiong (champion) censers. A gilt-bronze yingxiong censer embellished with various semi-precious stones in a myriad of colors was sold in our Hong Kong rooms, 23rd October 2005, lot 396.  

The history of inlaying materials with colored stones in China dates to the late Neolithic period when objects made of clay, lacquered wood and bone were inlaid with jade and turquoise. By the Shang dynasty (c.1600-1050 B.C.) turquoise inlay became a dominant decorative technique used on weaponry and plaques. This technique was further developed during the Zhou (c.1050 - 256 B.C.) and Han (206 B.C. - 220 A.D.) dynasties with the production of vessels decorated with gold, silver and semi-precious stones. A fine example of a Han gilt-bronze figure of a bear decorated with shaped and circular pieces of agate and turquoise set into reserves, and the bear's eyes set with rock crystal, was included in the exhibition Sculpture and Ornament in Early Chinese Art, Eskenazi, London, 1996, cat.no. 18. The present censer is clearly inspired by archaic inlaid vessels and is a contemporary version of this rich and colorful decorative technique.