Lot 346
  • 346

YUNPU OF QIANTANG QING DYNASTY, LATE 18TH / EARLY 19TH CENTURY

Estimate
30,000 - 40,000 USD
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Description

ink and color on silk, depicting the Qing official seated on a stool in his study, surrounded by plants and books, with a child holding a finger citron by his knees, while an attendant stands by holding the official's surcoat and hat adorned with a third rank finial, an inscription on the left reading Qiantang Yunpu xie (likeness of Yunpu of Qiantang) with two seals, one reading Ru Lang

Provenance

Collection of Paul Seidenberg, New York.

Condition

The painting has some staining, possibly from moisture, particularly vertically along the far left side. There are creases, most noticeably towards the base from rolling and unrolling which has caused some abrasion and tiny losses.
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.

Catalogue Note

Yunpu was the sobriquet of Fei Chun (1739-1811), a civil official from Qiantang in Zhejiang province. During his career he held a number of posts including Governor of Jiangsu, Governor of Fujian, Governor-general of Zhejiang and Jiangsu, Secretary of the Board of Works and Secretary of Labor.

In terms of Chinese art, realistic portraiture was a relatively late development. The early Chinese words for portrait were yintu (shadow painting) or fushen (image of the soul). The idea was to capture the spirit of the individual rather than an exact likeness. With the arrival of Western missionaries, Chinese art adopted the use of shading and perspective, both apparent in this present portrait.