of almost semi-circular form, well worked as a recumbent rabbit with its head resting on its forelegs, pierced through vertically with an aperture, the white stone with faint russet inclusions

drilled for hanging. Minor bruises
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Small carvings of hares and rabbits are known from as early as the Han and Tang dynasties, such as one included in the exhibition Chinese Jade Animals, Hong Kong Museum of Art, Hong Kong, 1996, cat. no. 39; and another in the British Museum, London, illustrated in Jessica Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, pl. 26:9, where the author notes that ‘the relatively large numbers of hares suggests that they were especially favoured, perhaps because the hare was associated with the moon, where it was said to pound the elixir of immortality’, p. 365.

A further similar carving in the Museum of East Asian Art, Bath, is illustrated in Angus Forsyth and Brian McElney, Jades from China, Bath, 1994, pl. 210; another is published in Zhongguo meishu quanji. Yuqi [Complete collection of Chinese Art. Jade], vol. 9, Beijing, 1991, pl. 246; and a third was sold in these rooms, 8th October 2010, lot 281.