Important pot à pinceaux en jade vert épinard sculpté, Bitong Chine, dynastie Qing, Qianlong period (1736-1795)

de forme cylindrique reposant sur cinq pieds, le pourtour finement ciselé de cinq Immortels, deux d'entre eux accompagnés d'un serviteur dans un paysage rocailleux planté de pins, saules et arbres divers, une rivière enjambée par un pont et tombant en cascade au milieu de rochers, une deuxième pont menant à une pagode, le haut du décor noyé dans la brume, socle en bois ; failles naturelles et petits chocs

A network of natural flaws with tiny associated losses all along these flaws mainly to the base and going up all around the surface ; these natural flaws have been used in the mountain carving ; light old wears as expected ; the actual color is greener than the catalogue illustration would suggest (detailed pictures available).
"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 brushpot is impressive for its large size and intricate carving of figures in a dramatic rocky setting. Such vast scenes represented a retreat from the sophisticated order of the Imperial court and exemplified the ideal of the scholar who has withdrawn from the mundane. Thus, like many literati objects this utilitarian brushpot becomes a vehicle for contemplation and a touchstone for the scholar's imagination by virtue of its craftsmanship and decoration together with the use of a precious material.

A related brushpot in the British Museum, London, is illustrated in Jessica Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, pl. 29:18, where Rawson notes that the artisan of the British Museum piece used carving techniques to produce the effects of painting rather than making decorative use of the peculiarities of the stone. Further similarly impressive jade brushpots are known from important museums and private collections; see a spinach-green jade brushpot carved with sages in caverns in a mountainous landscape, in the National Palace Museum, Taipei, included in Geoffery Wills, Jade of the East, New York, 1972, pls 120-121, together with another decorated with sages in the Victoria and Albert Museum, London, pl. 126; one illustrated in Pierre-F. Schneeberger, The Baur Collection. Geneva, Geneva, 1976, pl. B98; and another from the Duca da Padoua, Piedmonte, and the T.B. Kitson collections, sold on our London rooms, 10^th October 190, lot 154, and again, 8^th June 1982, lot 310.

Compare also similarly carved dark-green brushpots of slightly smaller size, such as two sold in our New York rooms, 19^th March 2008, lot 16; and the other from the William Clayton collection, 19^th March 2007, lot 50; and a slightly larger example sold in our Hong Kong rooms, 9^th October 2007, lot 1336.