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WITH A REVERSE-GLASS PAINTING, DEPICTING THE BORROWING OF THE UMBRELLA FROM THE LEGEND OF THE WHITE SNAKE (BAISHE ZHUAN), 18TH CENTURY
The screen:
The tall rectangular frame with mitered corners and finely molded inner edges, supported on a stand with a plain rectangular lower panel above a shaped, beaded apron. The uprights secured by mortise-and-tenon joints and flanked by boldly curved standing spandrels, each pierced with an elongated oval opening, the whole raised on broad trestle feet. The huanghuali of a rich golden-brown tone, attractively figured with dark, flowing grain and pronounced whorls.
The painting:
Finely painted in reverse on glass, depicting a scene from The Legend of the White Snake. Bai Suzhen and Xiaoqing stand beneath a tree at the water’s edge, holding folding fans and wearing richly patterned robes, their elaborate coiffures adorned with flowers and ornaments. Opposite, Xu Xian holds an open umbrella while standing on a gangplank beside a boatman. The figures set against an expansive mountainous landscape, with wooded cliffs, distant peaks, and flowering trees rising beyond the finely rippled water.
Provenance: From an important Dutch private collector and connoisseur of Chinese art, acquired before 1955 and thence by descent in the family. The back of the painting with an old printed transport label from Lavanchy S. A., Lausanne, no. 272590. The collector assembled his collection during an extended period of residence in China, acquiring works with a discerning and scholarly eye before returning to the Netherlands in 1954. Preserved in its entirety within the same family thereafter, the collection was distinguished by its remarkable breadth and scholarly character, encompassing imperial porcelain, bronzes, furniture, silk robes, jade, books, and scrolls. No object from the collection, including the present lot, had appeared on the market prior to its dispersal in 2026.
Condition: The screen is in very good condition with few minor age cracks, and a superb, naturally grown patina overall. The painting is in excellent condition with few minute flakes and scratches, as well as a small crack in the upper left corner. Both with minor wear, expected manufacturing irregularities, minimal traces of use, and light surface scratches.
Weight: 9 kg
Dimensions: Size 87.2 x 43.8 x 25 cm (the screen)
Expert’s note (the screen):
At 87.2 cm high, the present example is notably large for a table screen, while remaining substantially smaller than a floor screen (see a huanghuali example from the same period, 190 cm high, sold at Christie’s Hong Kong, 30 November 2023, lot 2924). Its generous proportions give particular prominence to the beautifully figured huanghuali, displayed to full advantage across the broad frame members and plain lower panel. The skill of the carver is evident in the fluid contours of the standing spandrels, the carefully finished oval openings, and the fine beading of the apron. These restrained details complement the wood’s natural ornament, exemplifying the balance of material, proportion, and craftsmanship prized in classical Chinese furniture.
Expert’s note (the painting):
The present painting illustrates The Legend of the White Snake (Baishe zhuan), one of the most celebrated romances in Chinese literature and opera. The story centers on Bai Suzhen, a white snake spirit who assumes human form, and her attendant Xiaoqing, the green snake spirit. Their encounter with Xu Xian at West Lake in Hangzhou during the Qingming Festival sets in motion a love story that crosses the boundaries between the human and spirit worlds.
The umbrella and boat suggest the celebrated West Lake meeting, commonly known as the borrowing of the umbrella. Caught in a sudden rainstorm, Bai Suzhen and Xiaoqing meet Xu Xian, who lends them his umbrella. Its subsequent return provides the occasion for their romance to develop. Here, the exchanged glances and animated gestures of the elegantly dressed figures convey the intimacy of this first encounter. Compare a related woodblock print depicting the same scene, dated 1806.
Reverse-glass painting became one of the most distinctive art forms associated with the Qing export trade. Developed in Europe and introduced to China through exchanges with the West, the technique flourished in eighteenth-century Canton, where artists worked on imported European glass and mirror plates. Painting on the reverse of the glass demanded meticulous planning: facial details, ornaments, and highlights were applied first, followed by the broader passages of color and, finally, the background. Viewed through the glass, the finished image acquired its characteristic brilliance and luminous depth. In the present painting, these qualities are especially effective in the richly patterned costumes and the atmospheric recession of the landscape.
Literature comparison:
Compare a related hongmu-framed table screen of similar form, with a glass mirror and a reverse-glass painting, dated to the Qing dynasty, in the Palace Museum, Beijing.
Auction result comparison (the screen):
Type: Related
Auction: Bonhams Hong Kong, 2 December 2021, lot 236
Mid-Estimate: HKD 300,000 or approx. EUR 36,500 converted and adjusted for inflation at the time of writing
Description: A huanghuali ‘dreamstone’ framed table screen, early Qing dynasty
Expert remark: Compare the closely related form and richly figured wood. Note the smaller size (54.8 cm) and marble inset.
Auction result comparison (the screen):
Type: Related
Auction: Christie’s Hong Kong, 29 May 2013, lot 2181
Price: HKD 750,000 or approx. EUR 113,000 converted and adjusted for inflation at the time of writing
Description: A ‘dreamstone’ inset Huali table screen, Mid-Qing dynasty
Expert remark: Compare the related form and manner of carving of the screen. Note the smaller size (58 x 47 x 24.2 cm) and marble inset.
Auction result comparison (the painting):
Type: Related
Auction: Christie’s London, 13 June 2018, lot 78
Price: GBP 8,750 or approx. EUR 14,000 converted and adjusted for inflation at the time of writing
Description: A Chinese export reverse-glass painting, early 19th century
Expert remark: Compare the related technique and manner of painting. Note the size (47.5 x 39.5 cm, incl. frame) and different subject.
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