Page 64 - Marchant Ninety Jades For 90 Years

三 30. Openwork pomander carved in low relief, one side with a

十 standing lady holding a large peach beside a phoenix bird

beneath a pine tree on an openwork flowerhead ground,
鏤 the reverse with a standing lady beside a young boy holding
雕 a long fan, beneath a pine tree on a similar ground, the
仕 flattened edges pierced with holes for attachment, the
女
圖 stone pale celadon.
香 2 ⅝ inches, 6.7 cm long; 1 ⅞ inches, 4.8 cm wide; ⅞
囊 inches, 2.2 cm deep.
Qianlong, 1736-1795.

青
白 • From a private English collection.
玉 • Purchased from John Sparks, 17th September 1969.

• A square openwork pomander bearing a Qianlong

乾 mark of similar type is illustrated by Zhao Gui Ling

隆 in Compendium of Collections in the Palace Museum,

1969 Jade, Vol. 9, Qing Dynasty, Gu Gong Inventory no.

Gu 103677, no. 184, pp. 192/3, where the author

年 illustrates eight further pomanders, nos. 175-183, pp.

184-191; three further pomanders in the Qing Court

月 collection are illustrated by Zhang Guang Wen in The

Complete Collection of Treasures of the Palace Museum,

日 Jadeware (III), Vol. 42, nos. 24-26, pp. 30-32;
購 another, in the Qing Court collection, is illustrated
于 by Zhang Guang Wen in The Complete Collection
古 of Treasures of the Palace Museum, Jadeware (II), no.
董
商 82, p. 115; a further round pomander, from the
collection of Professor Phillip Cloake, was included
John Sparks
by Marchant in their 75th anniversary exhibition,

Post-Archaic Chinese Jades from Private Collections,

2000, no. 34, p. 54.

• Three openwork pomanders, one bearing a shen de

tang zhi mark, are illustrated by James C. Y. Watt

in Chinese Jades from the Collection of the Seattle Art

Museum, nos. 85-87, pp. 103/4, where the author

notes, ‘Pomanders were originally made in silk or

metal; the jade and ivory pomanders of the Qing

period were mostly carved in the form of those made

of silk fabrics.’

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