Ivory, sparse remains of paintwork. Rosewood base (dating to the Qing Dynasty) China, 17th century This masterly carved ivory figure displays natural patina ranging from light honey to dark amber hues. There are remains of red paint at the shoes and collar as well as brown staining to hair. Depicted is a nude female in a reclining posture, her head resting on her propped up left hand. Her hair is tied up in a beautiful knot with a little flower and she wears a leaf collar as well as bangles at the arms. Her tiny feet are tied as was customary at the period. The voluptuous body and the inviting face clearly mark this carving as an erotic sculpture, which were high in demand in the late Ming and early Qing dynasties and are very hard to find nowadays. This fine ivory carving was possibly made in one of the ivory workshops in Zhangzhou, Fujian province, where carvings of small figures of deities, immortals or auspicious images were in vogue and in great demand by both domestic and foreign traders. Shape: Figural shape. The rosewood base is carved in the shape of a Ming-style Chinese daybed Dimensions: 13,5 cm (length of the sculpture alone), 4 cm (height of the sculpture alone) Condition: Excellent condition with natural patina Provenance: Austrian Private collection Literature comparison: For a carved ivory figure of a seated sage of comparable quality, dating to the same period, and most certainly originating from the same workshop see Sotheby’s, WATER, PINE AND STONE RETREAT COLLECTION, SCHOLARLY ART III, 08 APRIL 2013, HONG KONG, lot 126. 十七世紀象牙裸女臥像 象牙，局部有余彩，花梨木底座（應爲清代） 中國， 十七世紀 這件雕刻精美的象牙雕像天然的古銅色，從淡蜜到深琥珀色。 鞋子和領子上還遺留紅色的 漆彩，棕色的頭髮。 被描繪的是一位躺著的裸體女性，她的左手撐著頭部。髮髻上有一朵小花，她戴著葉子領，手臂上戴著手鐲，小腳按照那時的纏足習慣非常小巧。人体形态雕 琢精湛，比例协调，线条优美，丰满圆润，充分展示了现代东方女性的人体美。明末清初這 樣的象牙雕像需求量很大，現在很難找到。 這種精緻的裸女象牙可能是來自福建漳州象牙工坊。漳州的象牙神像或吉祥圖像的雕刻風 格盛行，並受到國內外貿易商的大量需求。 隨形而雕 花梨木底座為明代日榻形 尺寸：13,5 (雕像長)，4 cm (雕像高) 品相：品相極好，自然包漿 奧地利私人收藏 文獻參考: 一件明末清初象牙雕賢士坐像幾乎可以斷定來自一個工坊可見蘇富比《水松石 山房藏珍玩專場ōō儒雅清蘊（三）》，2013年4月8日，香港，126號拍品