A TWELVE-PANEL BROWN LACQUER COROMANDEL 'PALACE SCENE' SCREEN QING DYNASTY, KANGXI PERIOD

the twelve-panels carved and painted on brown lacquer, depicting a palace scene showing from the right side the main gate opening to a footbridge and spreading out to a vast courtyard, the large pond with two mandarin ducks, sections of the yard populated with men playing weiqi, boys practicing archery, and a roaming peacock, two deer and a crane, the main steps bisected by an oblique strip depicting a dragon, the seated dignitary with female dancers and musicians, while warriors and scholars stand to either side of the stairs, the left side of the screen offering a glimpse of the women's quarters, with lush and naturalistically rendered trees, including a large bamboo grove, bordered by a thin scrolling lotus band, a thicker border of 'precious objects' on the top and sides while the bottom of each panel depicts a qilin, the outer border with alternating phoenix and shou medallions, each panel on two bracket feet, the reverse with precious objects and floral arrangements along the border, each panel painted with fabulous birds among various trees and flowering plants (12)

Eduardo Martinez de Hoz, Argentina (until 1941).
Carlos Guinle, Brazil (until 1975).
By descent to his son, Jorge Guinle, Brazil.
Acquired from the above by the present owner in 1993.

The screen has characteristic craquelure to the brown lacquer and it appears that the surface has been reworked in some areas to smooth out the crackles and losses. The pigment on the figures and some of the architecture is very faded and worn in some areas. On the fifth panel from the left, there is an area below the warriors that appears to be 'ghosts' of two figures that were previously depicted but have been filled in and relacquered a light brown color. There is also evidence of such relacquering/fill on the far-right panel. Also on the fifth-from-left panel is a repainted cracked area above the female attendants near the prince. Vertical cracks running from the top of the panels and three of them have horizontal cracks along the top border. One foot on the fifth-from-right panel has been chipped at the lower 1 inch, requiring it to be propped.
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.

This screen is notable for the fine quality of the painting, particularly the rendering of the figures down to the detailed facial features. It is related to a dated black lacquer example showing ladies in a palace, dated to the wuwu year of the Kangxi period (1678), sold in these rooms, 17th March 1984, lot 550. Very likely from the same workshop, both screens depict mythical animals on the bottom section of each panel and have similar outer borders. The composition and placement of the figures are also related to another screen -- also possibly from the same workshop -- illustrated in W. de Kesel and Greet Dhont, Coromandel Lacquer Screens, Gent, 2002, ill. 23.

A very early screen, dating from 1637, can be considered a prototype for the design on the reverse of the present piece, illustrated in op.cit., ill. 38. Each panel features a different plant symbolizing the months of the year -- prunus for January, magnolias for May, for example. While the present screen, with the addition of birds among the flora, is clearly an evolution of this format, the composition and concept are inspired from this early example.