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China, 1760-1820. Skillfully crafted, the elaborately caparisoned elephant is rendered with distinctive turquoise-blue cloisonné enamel skin, the natural wrinkles defined by gilt-wire whorls. The animal stands foursquare upon four sturdy legs terminating in gilt hooves, with a long gilt tail descending behind the hindquarters. The visage of the animal is characterized by small almond-shaped eyes, pendent foliate ears, and a gracefully curled trunk flanked by long gilt tusks.
Gilt harnesses secured around the body support a separately crafted globular vase carried upon the back, resting upon an elaborate saddle cloth decorated with lotus blossoms borne on scrolling foliage rendered in vivid polychrome enamels, together with a lobed gilt-bronze saddle. The globular vase is executed in matching turquoise-blue tones and enriched with further floral decoration, and surmounted by a trident finial rising from the mouth of the vessel.
The elephant is presented upon a separate, matching, and tiered rectangular stand, the upper surface decorated with the image of a male pheasant perched upon a rocky outcrop amidst blossoming flowers against a wan-patterned ground, while the edges of the stand are encircled by a continuous band of ruyi motifs. (3)
Provenance: From the private collection of Howard and Jackie Rendall, United Kingdom, and thence by descent. Howard Rendall has maintained a deep interest in Chinese culture since early childhood. This interest originated when his mother regularly read to him his favorite childhood book, recounting the adventures of Rupert Bear in China. The family home contained fine-quality furniture and a carefully assembled collection of Asian decorative arts selected by his father, providing an early introduction to the artistic traditions of East Asia. In 1973, Howard fulfilled a longstanding ambition by working in Japan, an experience that offered a valuable insight into the culture and aesthetic traditions of the region. Further journeys throughout Asia followed together with his wife, Jackie, who shared an enduring interest in the traditional arts of the Far East. In 2002, the couple spent a month travelling through China, navigating the Yangtze River and visiting major cities and museums, including Beijing, Shanghai, Wuhan, Chongqing, Suzhou, and Xi'an. Following retirement, Howard and Jackie continued to deepen their knowledge and to expand the collection well beyond the works inherited from Howard's father, Kenneth James Rendall. The Chinese cloisonné objects in the collection, including the present lot, were acquired primarily as a result of the particular interest that Jackie developed in the intricate designs and outstanding craftsmanship characteristic of this artistic tradition.
Condition: Excellent condition, showing no evidence of restoration whatsoever, with expected wear, manufacturing irregularities, such as minor crackling and typical pitting, slight warping, few small dents with associated scattered losses to enamels, and occasional losses to gilt-bronze fittings.
Weight: 2.2 kg (total)
Dimensions: Height 30.3 cm (total)
Figures of elephants executed in a variety of media were displayed throughout the halls and throne rooms of the Imperial palaces during the Qing dynasty. Associated with strength, wisdom, and longevity, the elephant also occupies an important place within the Buddhist tradition, serving as the mount of the Bodhisattva Samantabhadra (Puxian). As an auspicious motif, the elephant symbolized peace, prosperity, and good harvests, while also representing honor and virtue. The image of an elephant bearing a vase upon its back forms the rebus ‘Taiping youxiang’, conveying wishes for universal peace, harmony, and auspiciousness.
The auspicious symbolism of the present lot is further enriched by the representation of a male pheasant on the pedestal supporting the elephant. Admired for the brilliance of its plumage, the pheasant was traditionally associated with good fortune, prosperity, authority, and high rank. The composition is further enhanced by a continuous swastika pattern surrounding the pedestal. In Chinese, the swastika (wan) is a homophone of the word meaning ‘ten thousand’, a symbol of infinity and permanence, signifying that the auspicious blessings conveyed by the composition are multiplied without limit.
Literature comparison:
Compare a closely related cloisonné enamel and gilt bronze elephant carrying a vase, dated Qing dynasty, 67.8 cm high, in the National Palace Museum, Taipei, object number 000198N000000000.
Auction result comparison:
Type: Closely related
Auction: Sotheby’s London, 9 November 2018, lot 293
Price: GBP 75,000 approx. EUR 118,000 converted and adjusted for inflation at the time of writing
Description: A cloisonné enamel elephant and stand, Qing dynasty, 19th century
Expert remark: Compare the closely related subject, decoration, refined craftmanship, and size (31.5 cm).
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