Page 160 - Marchant Ninety Jades For 90 Years

八 85. Pair of deep U-shaped cups and eight-petal lotus-form stands, each cup on a straight foot rim, evenly carved from the well to the rim,

十 the stand with raised central holder with relief central button and upright edge, all on a flower-shaped foot rim, the stone pure white,

五 one stand with natural russet markings.

The cups 3 ⅜ inches, 8.6 cm diameter; 2 ½ inches, 6.3 cm high.
茶 The stands 4 ⅞ inches, 12.3 cm diameter.
盃 Qianlong, 1736-1795.
連
蓮 Flower shape wood stands.

式 • From a highly important private Swiss family collection, purchased in the 1950s.
托 • A similar pair, the cups with gently flared rims, from the collection of Madame Florence Van der Kemp, wife of the late
一
對 Gerald Van der Kemp, head curator at The Palace of Versailles, 1953-1980, famous art historian and collector, was included by

Marchant in their Recent Acquisitions catalogue 2009, no. 51, pp. 92/3, and were sold by Christie’s New York in their auction

白 of Fine Chinese Ceramics and Works of Art, Part II, 25th March 2011, lot 1506, pp. 48/9, where it notes, ‘the restrained use of
玉 decoration in the present lot effectively shows off the ideal beauty of the stone. The floral shape of the stands is characteristic of

the artistic repertoire of the period, most commonly found on Mughal-style jades’.

乾 • A similar pair, previously sold by Spink & Son, was sold by Christie’s New York in their auction of, Superb Jade Carvings from an

隆 Important European Collection, 15th September 2011, lot 1021, pp. 58/59.

• Another similar cup and stand is illustrated by Chen Hao in the Zhejiang Provincial Museum exhibition of Jade Blossom,

Imperial Xiuneisi Jade Objects and Ancient Jade Gems Collected by the Xu’s of Cixi, Zhejiang, 2010, pp. 136/7, where the author

notes, ‘it is elaborately hollowed out and polished, it is a top class jade object made in Suzhou’; another is illustrated by Laurence

C. S. Tam in Splendour of the Qing Dynasty, an exhibition jointly presented by the Urban Council, Hong Kong and the Min

Chiu Society, organized by the Hong Kong Museum of Art, 1992, no. 246, p. 382.

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