50 | A PAIR OF PANELS WITH POLYCHROME IVORY DECORATION AND GILT WOOD FRAMES Qianlong period 1736-1795 AD China The panels depict landscapes with hills and pavilions amongst lakes, bridges, birds and animals. Each scene is richly detailed - with figures in the foreground amongst buildings whose interiors are minutely depicted. One panel depicts an important dignitary seated outdoors on a terrace amongst standing attendants. They watch a female dancer perform upon a carpet surrounded by groups of musicians. The other panel shows a scene of figures - mainly ladies - on a terrace, amongst tables with literary objects and books. They converse and carry offerings, whilst the dignitary relaxes on a veranda. All the trees, grasses and flowers are represented in finely worked copper - in some cases polished, in others painted - with some of the petals in painted ivory, and others in coral and quartz. The landscape, pavilions, figures, and further details are executed in carved and painted ivory - the water and sky painted on paper; all is in original condition. The quality of the ivory carving is to be seen in the richness of the details such as the lattice work balustrades, and the furniture and vessels glimpsed at in interior scenes. The quality of the painting is to be observed in the minutiae of detail on the robes of each figure - as well as in the decorative details on the pavilions and objects. The panels are framed in carved and gilded wood, with floral details and applied acanthus style leaves to the central concave - all of Chinese manufacture in imitation of the European. Dimensions: 29" x 37" / 73.5 cm x 94 cm Compare: 'La Cite Interdite, Vie Publique et Privée des Empereurs de Chine 1644-1911', Musée du Petit Palais, Paris 1996, p.245 fig. 113 & 114. These Imperial panels are decorated with pavilions and figures that are very similar in style and quality of execution - in both the carving and painting. The catalogue entry does not commit itself as to the area of manufacture, but a further panel of similar type is illustrated in 'Tributes from Guangdong to the Qing Court' Chinese University of Hong Kong 1987, fig. 88. The European style frames, combined with the similarity in style to the two examples above, would suggest that the place of manufacture was Guandong - and that they were destined as a tribute to the Emperor (most probably for one of the summer palaces such as the Yuan Ming Yuan, with its Sino European style).