the well-polished small cup of warm amber tone, carved in high relief with the scholar Dongfang Shuo wearing long flowing robes holding a sprig of peaches, followed by an attendant on the other side of the cup surrounded by oversized peach blossoms, the back of the horn carved with a gnarled peach tree with branches extending over the rim onto the interior, wood stand

Spink & Son Ltd, London, 1978.
Collections of Edward T. Chow and Franklin Chow.
Sotheby's Hong Kong, 8th April 2011, lot 2708.

One Man's Taste. Treasures from the Lakeside Pavilion, Galleries of the Baur Collection, Geneva, 1988, cat. no. R9.
Craving for Carvings: Rhinoceros Horn from the Chow Collection, Asian Civilizations Museum, Singapore, 2003, cat. no. fc9.

Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999. pl. 265.
Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 78.

The rim has a small triangular patch (0.8cm) that has been filled with resin. The front end of the mouth has been slightly reduced forming a shallow 'V' at one end.
"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."

Purchased by Edward Chow in 1978, this cup attracted his attention for its beautiful light honey colouration and for the unassuming simplicity of the design that is full of auspicious connotation. Chow identifies the main figure as the Han dynasty Daoist scholar-official and court jester to Emperor Wu, Dongfang Shuo, who is accompanied by a young servant boy. The scene depicted here is the story of Dongfang Shuo stealing the peaches of eternal life from Xiwangmu (Queen Mother of the West). Dongfang is shown clutching a fruiting branch over his shoulder and looking to his side as if concerned that he may be followed. The carver has brought his subject to life by giving movement to his robe as if swept by the wind. Ironically, with this act Dongfang was able to attain immortality and became a popular figure and was frequently depicted on artefacts displayed at birthday celebrations or made as gifts. For example, see a beautiful Ming period tapestry depicting Dongfang Shuo standing by a peach tree clutching a single large peach in his hands, in the collection of the Metropolitan Museum of Art, New York, included in the Museum's official website. The present cup is unusual for its bold yet minimalist carving of just two figures and a fruit-laden peach tree. The simple design suggests that the cup is amongst one of the earliest examples known, before it became fashionable to cover vessels with complex and intricate decorations. The flawless beauty of the material is enhanced by this perfect design. While no other similar example appears to be recorded, the Eight Daoist Immortals can be found carved around the exterior of a cup in the Chester Beatty Library, Dublin, included in Jan Chapman, 'The Chester Beatty Collection of Chinese Carved Rhinoceros Horn Cups', Arts of Asia, May-June 1982, p. 83, pl. 20. Another cup depicting the Eight Immortals, each bearing an attribute, from the collection of Thomas Fok, is published in Thomas Fok, Connoisseurship of Rhinoceros Horn Carving in China, Hong Kong, 1999, pl. 82.

The beautiful translucent light colouration and the 'orange peel' surface of this cup is remarked by Chow in his notes. This type of surface is often compared to the texture of a fine doeskin glove when it is stretched over the hand. Chapman in The Art of Rhinoceros Horn Carving in China, op.cit., p. 60, suggests that the yellow and honey colours are probably the result of the natural ageing process of the horn and some of the earliest known carvings are described as being yellow in colour. Vessels of this colouration are almost invariably associated with the best quality carvings.