A painted six-fold screen Qing dynasty, 18th century

the wooden panels mounted with ink and colour on silk paintings depicting dignitary, ladies, children and attendants amongst elaborate pavilions in a garden landscape

Acquired by Count Eugène de Hemricourt Grunne, circa 1925.
Thence by family descent.

The paintings show considerable areas of loss and tear, including one measuring 7 x 1.5cm and another 4x2cm, with associated areas of repainting. There are extensive crease lines and horizontal tears across the surface and wear to the edges. The wood frame has chips along the edges.
"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 exquisitely painted screen depicts a charming scene of dignitaries, officials and ladies in a garden landscape that is embellished with pavilions and terraces. The scene and composition are inspired by the popular theme of coromandel lacquer screens, Spring Dawn in the Han Palace, a historical fantasy of life in the Inner (female) Quarters of the Imperial Palace. Particularly notable is the detailed depiction of decorative arts and household items of this wealthy sector of society, which not only endows this imagined world with greater naturalism but also helps with the dating of the screen, in this case to the early eighteenth century through the famille-rose  decorated porcelains. The six scenes on the front and back of the screen would originally have formed a twelve-panel composition that were either hung side by side as a set of hanging scrolls or mounted on the front of a folding screen.

For a detailed account on the screen by Professor Jonathan Hay, Ailsa Mellon Bruce Professor, Institute of Fine Arts, New York University, please contact the department.