A WHITE AND EMERALD-GREEN JADEITE ‘PHOENIX’ TABLE SCREEN, CHINA, 19TH CENTURY
Of rectangular form, carved in low relief to one side with a phoenix standing on a rocky outpost beside a towering tree, the other with a river landscape with some villagers on the coast as a fisherman makes his way to the shore, the calm scenery detailed with pine and willow trees, imposing rockwork, and a modest bridge. The translucent stone of white, pale gray and emerald-green hue with distinct icy inclusions. The fitted hardwood stand carved in openwork with scrolling foliage.


Provenance
: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. Q.2.1. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou’s years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou’s drive to collect was a burning desire to preserve the relics of China’s rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a ‘must see’ destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China’s glorious history.

Condition
: Very good condition with minor wear and manufacturing irregularities, light scratches, and tiny nicks.

Dimensions: Size 18.3 x 10.2 cm (excl. stand) and 24.5 x 11.4 cm (incl. stand)
Weight: 406.8 g (excl. stand) and 459 g (incl. stand)


Auction result comparison:

Type: Closely related
Auction: Sotheby’s Paris, 10 December 2019, lot 108
Price: EUR 12,500 or approx.
EUR 13,500
adjusted for inflation at the time of writing
Description: A pair of jadeite table screens, Qing Dynasty, 19th century
Expert remark: Note the size (15.1 cm) and that the lot comprises a pair.




十九世紀翡翠雕刻鳳凰紋硯屏

長方形，一面淺浮雕一隻鳳凰站在一棵樹下，另一面為山間小橋流水人家，岸上有一些村民與鬆樹和柳樹，還有一座小橋。白中飄翠半透明玉石，帶有明顯的絮狀物。硬木支架雕刻有卷葉紋。


來源：
吳權博士收藏；吳蓮伯美術館，館藏編號 Q.2.1.。吳權(1910-1997)博士 曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。

品相：
狀況極好，有輕微磨損和製造不規則、輕微劃痕和微小刻痕。

尺寸：18.3 x 10.2 厘米 (不含底座) ，24.5 x 11.4 厘米 (含底座)
重量：406.8 克 (不含底座)，459 克 (含底座)


拍賣結果比較：

形制：非常相近
拍賣：巴黎蘇富比，2019年12月10日，lot 108
價格：EUR 12,500（相當於今日
EUR 13,500
）
描述：清十九世紀翠玉雕山水紋硯屏一對
專家評論：請注意尺寸 (15.1厘米) ，以及此為一對。