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AN IMPORTANT AND EXQUISITE WHITE JADE 'CHICKEN CUP' QING DYNASTY, QIANLONG PERIOD |
Estimate
10,000,000 - 15,000,000 HKD
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Description
- 7.6 cm, 3 in.
superbly worked after a Chenghua 'chicken cup' with rounded sides rising from a countersunk base, the exterior exquisitely detailed in low relief with a continuous scene of two roosters and a hen out in a garden with two chicks on a rocky ground with tufts of grass, each bird delicately depicted with detailed plumage, one side of the cup further rendered with lush cabbage picked out with occasional insect holes, the translucent white stone with tiny russet inclusions, including a patch skilfully incorporated in the design to highlight one rooster
Provenance
Collection of Edward T. Chow (1910-1980).
Sotheby’s Hong Kong, 4th May 1994, lot 473.
Sotheby’s Hong Kong, 4th May 1994, lot 473.
Exhibited
One Man's Taste, Treasures from the Lakeside Pavilion, Baur Foundation, Museum of Far Eastern Art, Geneva, 1988, cat. no. J28.
Minneapolis Institute of Arts, Minneapolis, Minnesota, on loan, 1999-2008, no. L99.270.4.
Minneapolis Institute of Arts, Minneapolis, Minnesota, on loan, 1999-2008, no. L99.270.4.
Condition
The cup is in extremely good condition with only an insignificant nibble to the rim.
"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."
"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."
Catalogue Note
The Edward T. Chow Jade 'Chicken Cup' Edward T. Chow (1910-1980) was one of the most important dealers and collectors of Chinese art of the 20th century. His greatest pride lay in his successful lifelong quest to assemble an unrivalled collection of ‘chicken cups’, which included three Chenghua period originals (figs 1-3) as well as some of the finest Qing copies (figs 4-5). The present exquisite jade cup complemented his collection of ‘chicken cups’.
Inspired by the extremely rare and highly sought-after Chenghua doucai porcelains, the present jade ‘chicken cup’ is unique. Although a handful of vessels with this motif exists, none of them surpasses the current example in terms of the quality of the stone, or the thoughtfulness of its composition.
The term ‘chicken cup’ is almost exclusively reserved for the doucai wine cups with cockerels, hens and chicks that originated in the Chenghua period and which have been ranked among the finest and rarest specimens of Chinese ceramics (figs 1-3). Throughout the ages, to own a ‘chicken cup’ has been the ultimate dream of many imperial and literati collectors alike. From its first appearance on porcelains in the Ming dynasty, the charming motif of the chickens has also enjoyed continued popularity at court. Many ceramic copies of ‘chicken cups’ were made in the early Qing dynasty, with genuine Kangxi, Yongzheng and Qianlong reign marks as well as with apocryphal Chenghua marks, with hall marks or without any mark. They vary considerably in the details of the decoration, but many follow the form of the early Ming prototype. The design underwent revisions during the Yongzheng period to match the Emperor’s discerning aesthetic standards and was further refined in the Qianlong period, when many variations were created.
Despite its popularity, the chicken motif was mostly reiterated on porcelains, but seldom on jades. Only three other jade examples appear to be recorded and all are very similar in form to the present cup. Two slightly smaller examples (diameter 6.7 cm), each decorated with 14 chickens in an unassuming style, are preserved in the National Palace Museum, Taipei (accession nos Guyu 001028 and 001029; figs 6 and 7). Its composition is perhaps closer to that of the Qianlong doucai cups with 12 chickens (see an example, sold in our London rooms, 9th November 2005, lot 303, and again in these rooms, 8th October 2009, lot 1612). The third example, larger than the present cup (diameter 9.8 cm) and carved with a scene of Jia Chang calling the chickens, was sold in these rooms, 10th April 2006, lot 1503. It is closely related to a Qianlong porcelain version with Jia Chang and an imperial poem, which is only loosely based on the Chenghua originals (see two Qianlong porcelain examples in the Percival David Foundation of Chinese Art, British Museum, London, included in Rosemary Scott, Illustrated Catalogue of Qing Enamelled Wares in the Percival David Foundation of Chinese Art, London, 1991, pls A823 and A827).
Among all the known extant jade ‘chicken cups’, the present example is the finest in terms of stone quality and carving. Following the form of the Chenghua porcelain prototype, but slightly smaller in size, the present jade cup is delicately modelled with thin walls rising gently from a countersunk base. It is meticulously carved with five chickens, far fewer than on the Ming originals. The craftsman took great care in the presentation of the chickens, adding a masterful touch by highlighting the plumage of one of the cockerels with attractive russet patches. Although the animals are rendered differently – the tails of the cockerels are bushier and the hen stands upright instead of hunching – the overall spaciousness of the composition has been well preserved.
The Qianlong Emperor, a discerning connoisseur and collector of art and antiques who is well-known for his love of archaism, showed great interest in the ‘chicken cups’ and ordered various copies to be made. His enthusiasm in archaism was supported by loyal officers, who regularly sent rare antiques and luxurious objects as gifts to the Emperor. Many of these jade cups were then delivered to the imperial tea room (chafang) at Duanningdian, the Hall of Solemnity, where tea was prepared for the notoriously tea-loving Emperor. There are several related entries that date to the 49th year of the Qianlong reign (1784) in the court archives, two of which are listed below (The First Historical Archives of China, the Chinese University of Hong Kong, eds, Qinggong Neiwufu Zaobanchu dang’an zonghui [General collection of archival records from the Qing imperial household department workshop], Beijing, 2005, vol. 47, pp. 610 and 652):
On the 26th day of the fourth month, eunuch E Luli, as proposed by Inspector Dadase and Foreman Shu Xing, presented three celadon jade ‘chicken cups’…. His Majesty ordered the ‘chicken cups’ to be sent to the tea room.
On the second day of the eighth month, eleven jade ‘chicken cups’ …, sent from the Gate of Huai to Jiangning office, were presented to his Majesty, who demanded two of the cups to be kept [in the palace], and the remaining nine cups to be used at banquets in Jehol.
According to the inventory dated to the 19th year of the Daoguang period (1839), two celadon jade ‘chicken cups’ were stored at Yangxindian, the Hall of Mental Cultivation, the personal living quarters of eight generations of Qing emperors since the Yongzheng period (Gugong bowuyuan cang Qinggong chenshe dang’an [Furnishing archives of the Qing palace in the collection of the Palace Museum], Beijing, 2013, vol. 11, p. 675).
The meticulous carving of the present cup demonstrates the outstanding quality of jade carving during the 18th century. Instead of flowers, a cabbage divides a single cockerel and the rest of the flock. Depictions of cabbages entered the decorative repertoire no later than the Ming dynasty and gained popularity since the early Qing dynasty, especially on bamboo carvings. The cabbage on the present cup, detailed with everted leaves and occasional insect holes, is not dissimilar to those seen on bamboo works. Compare a bamboo brushpot carved with a cabbage, signed Sansong and attributed to the late Ming dynasty, bearing an imperial poem by the Qianlong Emperor dated to the 44th year (1779), from the Qing court collection and now preserved in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Bamboo, Wood, Ivory and Rhinoceros Horn Carving, Hong Kong, 2002, pl. 4.
The chicken motif, in spite of its rarity, can occasionally be found on other jade vessels. A pair of white jade ‘chicken’ bowls with low feet from the collection of Millicent Rogers (diameter 16.8 cm), for example, was sold at Christie’s Hong Kong, 28th November 2012, lot 2126.
Inspired by the extremely rare and highly sought-after Chenghua doucai porcelains, the present jade ‘chicken cup’ is unique. Although a handful of vessels with this motif exists, none of them surpasses the current example in terms of the quality of the stone, or the thoughtfulness of its composition.
The term ‘chicken cup’ is almost exclusively reserved for the doucai wine cups with cockerels, hens and chicks that originated in the Chenghua period and which have been ranked among the finest and rarest specimens of Chinese ceramics (figs 1-3). Throughout the ages, to own a ‘chicken cup’ has been the ultimate dream of many imperial and literati collectors alike. From its first appearance on porcelains in the Ming dynasty, the charming motif of the chickens has also enjoyed continued popularity at court. Many ceramic copies of ‘chicken cups’ were made in the early Qing dynasty, with genuine Kangxi, Yongzheng and Qianlong reign marks as well as with apocryphal Chenghua marks, with hall marks or without any mark. They vary considerably in the details of the decoration, but many follow the form of the early Ming prototype. The design underwent revisions during the Yongzheng period to match the Emperor’s discerning aesthetic standards and was further refined in the Qianlong period, when many variations were created.
Despite its popularity, the chicken motif was mostly reiterated on porcelains, but seldom on jades. Only three other jade examples appear to be recorded and all are very similar in form to the present cup. Two slightly smaller examples (diameter 6.7 cm), each decorated with 14 chickens in an unassuming style, are preserved in the National Palace Museum, Taipei (accession nos Guyu 001028 and 001029; figs 6 and 7). Its composition is perhaps closer to that of the Qianlong doucai cups with 12 chickens (see an example, sold in our London rooms, 9th November 2005, lot 303, and again in these rooms, 8th October 2009, lot 1612). The third example, larger than the present cup (diameter 9.8 cm) and carved with a scene of Jia Chang calling the chickens, was sold in these rooms, 10th April 2006, lot 1503. It is closely related to a Qianlong porcelain version with Jia Chang and an imperial poem, which is only loosely based on the Chenghua originals (see two Qianlong porcelain examples in the Percival David Foundation of Chinese Art, British Museum, London, included in Rosemary Scott, Illustrated Catalogue of Qing Enamelled Wares in the Percival David Foundation of Chinese Art, London, 1991, pls A823 and A827).
Among all the known extant jade ‘chicken cups’, the present example is the finest in terms of stone quality and carving. Following the form of the Chenghua porcelain prototype, but slightly smaller in size, the present jade cup is delicately modelled with thin walls rising gently from a countersunk base. It is meticulously carved with five chickens, far fewer than on the Ming originals. The craftsman took great care in the presentation of the chickens, adding a masterful touch by highlighting the plumage of one of the cockerels with attractive russet patches. Although the animals are rendered differently – the tails of the cockerels are bushier and the hen stands upright instead of hunching – the overall spaciousness of the composition has been well preserved.
The Qianlong Emperor, a discerning connoisseur and collector of art and antiques who is well-known for his love of archaism, showed great interest in the ‘chicken cups’ and ordered various copies to be made. His enthusiasm in archaism was supported by loyal officers, who regularly sent rare antiques and luxurious objects as gifts to the Emperor. Many of these jade cups were then delivered to the imperial tea room (chafang) at Duanningdian, the Hall of Solemnity, where tea was prepared for the notoriously tea-loving Emperor. There are several related entries that date to the 49th year of the Qianlong reign (1784) in the court archives, two of which are listed below (The First Historical Archives of China, the Chinese University of Hong Kong, eds, Qinggong Neiwufu Zaobanchu dang’an zonghui [General collection of archival records from the Qing imperial household department workshop], Beijing, 2005, vol. 47, pp. 610 and 652):
On the 26th day of the fourth month, eunuch E Luli, as proposed by Inspector Dadase and Foreman Shu Xing, presented three celadon jade ‘chicken cups’…. His Majesty ordered the ‘chicken cups’ to be sent to the tea room.
On the second day of the eighth month, eleven jade ‘chicken cups’ …, sent from the Gate of Huai to Jiangning office, were presented to his Majesty, who demanded two of the cups to be kept [in the palace], and the remaining nine cups to be used at banquets in Jehol.
According to the inventory dated to the 19th year of the Daoguang period (1839), two celadon jade ‘chicken cups’ were stored at Yangxindian, the Hall of Mental Cultivation, the personal living quarters of eight generations of Qing emperors since the Yongzheng period (Gugong bowuyuan cang Qinggong chenshe dang’an [Furnishing archives of the Qing palace in the collection of the Palace Museum], Beijing, 2013, vol. 11, p. 675).
The meticulous carving of the present cup demonstrates the outstanding quality of jade carving during the 18th century. Instead of flowers, a cabbage divides a single cockerel and the rest of the flock. Depictions of cabbages entered the decorative repertoire no later than the Ming dynasty and gained popularity since the early Qing dynasty, especially on bamboo carvings. The cabbage on the present cup, detailed with everted leaves and occasional insect holes, is not dissimilar to those seen on bamboo works. Compare a bamboo brushpot carved with a cabbage, signed Sansong and attributed to the late Ming dynasty, bearing an imperial poem by the Qianlong Emperor dated to the 44th year (1779), from the Qing court collection and now preserved in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Bamboo, Wood, Ivory and Rhinoceros Horn Carving, Hong Kong, 2002, pl. 4.
The chicken motif, in spite of its rarity, can occasionally be found on other jade vessels. A pair of white jade ‘chicken’ bowls with low feet from the collection of Millicent Rogers (diameter 16.8 cm), for example, was sold at Christie’s Hong Kong, 28th November 2012, lot 2126.