† AN IMPERIAL ROCK CRYSTAL ‘PHOENIX’ TEAPOT AND COVER, QIANLONG PERIOD

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† AN IMPERIAL ROCK CRYSTAL ‘PHOENIX’ TEAPOT AND COVER, QIANLONG PERIOD Expert’s note Numerous stories surround the collection of Qianlong-period rock crystal vessels assembled by Jules Speelman. The collection was begun by his father, Alfred, more than half a century ago. It is said to include at least one object that can be demonstrably traced to the personal possession of the Qianlong Emperor. The present teapot is remarkable in several respects. The quality of the carving is exceptional. It can only have been executed by the most accomplished carvers working in the Imperial workshops in Beijing. The polish is of extraordinary precision. Equally remarkable is the exceptional purity of the rock crystal. For an object of this size, its clarity is difficult to surpass. This is demonstrated by at least three copies of this teapot that have appeared on the market over the past two decades. All date from the 19th century or later, and in each case the rock crystal is of substantially lesser purity than that of the present Imperial example. This comparison further underlines the exceptional quality of the material selected for the original vessel. In the expert video, we demonstrate the extraordinary optical effects produced when different varieties of tea are served in this vessel. The interaction of the liquid, light, and exceptionally pure crystal creates fantastic plays of color. The resulting visual effects can appear almost hallucinatory. It is a spectacle in its own right. The teapot retains its original cover and matching stand. The stand was also unquestionably made in the imperial workshops. It is probable that the complete ensemble left the Forbidden City during the civil-war-like turmoil of 1860–1861. The precise path subsequently taken by the teapot before it entered the Speelman collection may no longer be possible to reconstruct. But this is ultimately of limited consequence, because for an object of this kind, there can probably be no better provenance than the collection of Jules Speelman. China, 1736-1795. The spout is carved in the form of a bird’s head, with outstretched wings extending gracefully onto the body of the vessel, and resting on a concave foot. The surface is further decorated with finely rendered pomegranate, peach, Buddha’s-hand citron, and camellia blossoms, creating a rich composition of auspicious botanical motifs. The handle incorporates a sinuous chilong dragon, while the circular cover is surmounted by a finely carved pomegranate-form knop. Dimensions: Length 16.3 cm (excl. stand), Height 13.5 cm (incl. stand) With its original and matching hardwood stand, finely carved in openwork with scroll designs, dating from the Qianlong period. (2) The phoenix as a source of inspiration for vessel forms and decorative motifs appears across a variety of media throughout Chinese art history. The present rock crystal ewer is particularly noteworthy for its close conceptual relationship to a famous Yuan dynasty blue-and-white porcelain ewer excavated from the Yuan capital of Dadu in 1970. The crystal phoenix’s elongated neck rising organically from the body, the crest extending from the crown of the bird’s head to merge with the shoulder of the vessel, and the sweeping wings embracing the body all closely recall the design principles of this celebrated ceramic prototype. One of the earliest references to rock crystal in Chinese sources dates to the Tang dynasty, when it was described as ‘water transformed into stone’ and as a ‘beautiful material’ imported from Persia. This gave rise to the Chinese name shuijing, meaning “the brilliance of water”. Highly valued by the literati, clear rock crystal was associated with ideals of purity and understated elegance, and was fashioned into a variety of scholar’s objects. Although examples were produced throughout Chinese history, the majority of finely carved rock crystal works date to the 18th century, with those created during the Qianlong period distinguished by their exceptional purity of material and outstanding quality of carving, as found in the present lot. Literature comparison: Compare a related rock crystal covered vessel in the shape of a heavenly rooster, dated 18th-19th century, 12.1 cm long, in the Metropolitan Museum of Art, object number 02.18.838a, b, where the authors note that the “vessel was modeled after the bronze ones that were catalogued as ‘heavenly rooster vases’ (tianjizun) in the collection of Emperor Qianlong”. Auction result comparison: Type: Closely related Auction: Sotheby’s Hong Kong, 7 April 2010, lot 1986 Price: HKD 980,000 or approx. EUR 166,000 converted and adjusted for inflation at the time of writing Expert remark: Compare the similar material, bird-form, and manner of carving. Note the Qianlong nianzhi mark. Auction result comparison: Type: Related Auction: Christie’s Hong Kong, 30 November 2011, lot 3028 Price: HKD 4,220,000 or approx. EUR 700,000 converted and adjusted for inflation at the time of writing Expert remark: Compare near-identical similar form, size (16.5 cm), and manner of carving. Note that this a the counterpart of the present lot, executed in jade, also coming from the Imperial workshops. 13% VAT will be added to the hammer price additional to the buyer's premium - only for buyers within the EU.

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