carved standing, the face turning slightly towards the proper right with gilt-lacquered garments falling in voluminous folds, the robe with a foliate pattern and a relief-carved scrolling foliate and bead border, the waist-tied lower garment with wan and lotus pattern and a relief floral border, with pendent beaded ornaments and sashes intermingling with the folds of the fabric, the hair coiled into a topknot with long knotted tresses covered in black lacquer, a rich burgundy lacquer applied to the face, bare chest, hands, feet and mala, the latter complementing the movement of the robes, with gilt-lacquer accents to the face and headdress, wood stand (2)

In overall good condition with scattered minor age cracks, and with wear to the lacquer and gilding. A small chip to a toe and to a thumb. Repaired chip to garment corner. Scattered very small consolidations and touch ups. There is a flake loss to bottom edge of robe. Underside with remnants of adhesive used to affix the figure to a stand. Please note that this lot includes a stand, frame or other component made from a type of Chinese hardwood, which, if exported, will require a CITES permit to leave the United States.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present figure likely belonged to a group of late Ming dynasty large lacquered figures of Daoist deities. A similarly decorated figure of the same scale and in a similar stance was exhibited in The Minor Arts of China III, Spink & Son, Ltd., London, 1987, cat. no. 10. The dynamic counter-balance of the slightly turned face, joined hands holding the rosary, and subtly shifted weight is also present in this figure, and would suggest that both the Spink figure and the present figure flanked a central deity. The Spink figure bears a dedicatory inscription dating it to the Wanli reign, bingwu year, first month, corresponding to 1606. The inscription also states that it was commissioned by the Xu family, for the Daoist deity Rigong Taiyang Zun Tianbao (Star God of the Sun Palace), a god who is typically depicted as a scholar-official with a long beard. In 1987 the figure was described as Guanyin, as the deity is a matronly female figure, however the Daoist god named in the inscription would imply that this figure was also Daoist, and flanked a Daoist central figure. The present figure similarly does not exhibit attributes exclusively associated with Avalokiteshvara, or Guanyin, and the similarities to the Spink figure would suggest Daoist attribution as well. Another related figure, exhibited at Ben Janssens Oriental Art, 2004, pp. 74-75, with similar treatment of the hands and body, and with relief-carved gilt floral borders decorating the robes in a similar fashion, depicts a seated male deity, of similar scale and proportions to the present figure. The seated deity is described as Guandi, a god especially venerated by the Wanli emperor. Many statues of the historical military figure were erected during his reign, and Janssens attributes the figure to the Wanli period. This sturdy divinity is carved facing forward, one hand on his hip, the other holding the central plaque on his belt. As he is fully frontal, he is likely the central figure in a composition of figures, however, similar to the standing female deity figures that might flank him, dynamic energy is created with the hands. Another related figure, this time of an acolyte, was offered at Christie's New York, 30th May 1991, lot 5, and attributed to the late Ming dynasty. The standing figure holds a covered vessel in one hand whilst the other is raised. The face is turned slightly to the proper left, and the body position would fit the acolyte nicely as an outer flanking figure in a composition of Daoist deities.