A LARGE CIRCULAR JAPANESE-IMITATION PAINTED GOLD LACQUER 'DEER AND CRANES' BOX AND COVER QING DYNASTY, QIANLONG PERIOD

of circular section, decorated in the style of Japanese maki-e lacquer, the cover centred with a raised flat medallion decorated with a stag and a doe in a scene lushly rendered with verdant vegetation, including overhanging pine trees and delicate lingzhi blooms issuing from the ground, the lower section further illustrated with crashing waves, surrounded by a frieze enclosing six cranes alternating with gnarled branches bearing clusters of ripe peaches, the rounded exterior of the box decorated with four cranes alternating with four gnarled sprigs of peaches, some issuing small flowering buds, between gold-painted bands encircling the rim and the splayed foot, the designs on the sides all picked out against a gold-embellished ground, the interior and base similarly embellished with gold and a glossy finish

There are typical frits to the flanges and foot of the box and cover. There is a minor 4cm crack at the 7 o'clock position of the catalogue photo. There is rubbing to small areas to the gold painting. Other general surface wear and minor age cracks.
"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."

Lacquerwares made in the Japanese maki-e technique of applying gold and silver, began to be produced during the Yongzheng Emperor’s reign, who is known to have been particularly attracted to the aesthetic of Japanese lacquer. Court testaments record that the Emperor gave detailed instructions for the production of pieces in the style of lacquerware sent as tribute from Japan, which were known at the time as yangqi (foreign-style lacquers). The technique of embellishing lacquer in gold, which had originally been developed in China but was particularly lavishly exploited in Japan, continued to be widely used during the Qianlong reign.

Compare a circular box of this type, and carved on the sides of the cover with cranes and peaches, in the Palace Museum, Beijing, illustrated in Zhongguo qiqi quanji [Complete collection of Chinese lacquer], Fuzhou, 1993, pl. 147.