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Lot Essay
The rulers of the Qing dynasty were frequently described as Mashang Tianzi (馬上天子), or “Emperors on Horseback,” a title that reflected the central importance of horsemanship, hunting, and archery to Manchu identity and imperial ideology. Among the Manchus, equestrian skill was not merely a practical necessity but a powerful symbol of martial virtue and political legitimacy.
The Qianlong Emperor (r. 1736–1795) actively cultivated these traditions throughout his reign. Each year, he spent extended periods at Chengde and the Mulan hunting grounds, where imperial hunts served not only as demonstrations of martial prowess but also as important political gatherings with Inner Asian allies and subjects. These events reinforced the emperor’s image as a warrior-ruler and underscored the enduring significance of Manchu traditions within the Qing empire.
The importance of horseback riding extended beyond the hunt. Qianlong frequently undertook his imperial inspection tours on horseback, using these journeys to project authority across the empire. Their scale is vividly captured in Xu Yang’s The Qianlong Emperor on the First Inspection Tour to the South, which depicts the vast mounted processions that accompanied the emperor on his travels.
It is therefore unsurprising that riding equipment associated with such occasions was produced to the highest standards of craftsmanship. Saddles, stirrups, and other equestrian accoutrements functioned not only as practical objects but also as potent symbols of imperial status. The present pair of stirrups exemplifies this tradition, combining technical refinement with exceptional decorative artistry. They demonstrate the remarkable achievements of Qing craftsmanship while embodying the central role of equestrian culture in the expression of imperial power and identity.
Superbly cast, lavishly gilt, and richly embellished with coral and a variety of colorful hardstones, the present stirrups rank among the most spectacular and sumptuous examples recorded. For a related, though less intricate, pair of gilt-iron stirrups accompanying a gilt-silver saddle decorated with dragons and inlaid with coral and various hardstones, see the example in the Potala Palace Collection, illustrated in Treasures from Snow Mountains: Gems of Tibetan Cultural Relics, Shanghai, 2001, p. 213, no. 123. See, also, the pair of gilt-iron stirrups and saddle presented by the Sixth Panchen Lama to the Qianlong Emperor in 1780 and later used by the Jiaqing Emperor, illustrated in Cultural Relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1998, pp. 230–31, no. 121. The prestige and luxury associated with such richly ornamented stirrups are further reflected in imperial equestrian portraits of the Qianlong Emperor, such as Emperor Qianlong Reviewing Troops by Lang Shining (Giuseppe Castiglione), illustrated in The Complete Collection of Treasures of the Palace Museum -14 - Paintings by Wang Shimin, Wang Jian, Wang Hui, Wang Yuanqi, Wu Li and Yun Shouping, Hong Kong, 1996, p. 151, no. 29, as well as Emperor Qianlong Accompanied by His Officials in Rounding Up and Hunting, illustrated ibid., p. 196, no. 43.
These exceptional stirrups were once part of the distinguished collection of Iris Cornelia Love (1933–2020), the renowned American archaeologist and socialite best known for her 1969 identification of the Temple of Aphrodite at ancient Knidos in present-day Turkey. Born in New York, Love was the daughter of diplomat and investment broker Cornelius Ruxton Love and Audrey Barbara Josephthal Love, a great-granddaughter of Meyer Guggenheim. The extraordinary collection of C. Ruxton and Audrey B. Love was dispersed in a landmark Christie’s New York sale held on 19–20 October 2004. Their eclectic collection included important jewelry, fine European furniture, and an exceptional group of Chinese imperial works of art, among them sets of Kangxi gilt-bronze bells and magnificent cloisonné enamels. Like her parents, Iris Love was an avid collector of art and antiques. Portions of her collection, including the present stirrups, were placed on long-term loan to The Metropolitan Museum of Art.
The Qianlong Emperor (r. 1736–1795) actively cultivated these traditions throughout his reign. Each year, he spent extended periods at Chengde and the Mulan hunting grounds, where imperial hunts served not only as demonstrations of martial prowess but also as important political gatherings with Inner Asian allies and subjects. These events reinforced the emperor’s image as a warrior-ruler and underscored the enduring significance of Manchu traditions within the Qing empire.
The importance of horseback riding extended beyond the hunt. Qianlong frequently undertook his imperial inspection tours on horseback, using these journeys to project authority across the empire. Their scale is vividly captured in Xu Yang’s The Qianlong Emperor on the First Inspection Tour to the South, which depicts the vast mounted processions that accompanied the emperor on his travels.
It is therefore unsurprising that riding equipment associated with such occasions was produced to the highest standards of craftsmanship. Saddles, stirrups, and other equestrian accoutrements functioned not only as practical objects but also as potent symbols of imperial status. The present pair of stirrups exemplifies this tradition, combining technical refinement with exceptional decorative artistry. They demonstrate the remarkable achievements of Qing craftsmanship while embodying the central role of equestrian culture in the expression of imperial power and identity.
Superbly cast, lavishly gilt, and richly embellished with coral and a variety of colorful hardstones, the present stirrups rank among the most spectacular and sumptuous examples recorded. For a related, though less intricate, pair of gilt-iron stirrups accompanying a gilt-silver saddle decorated with dragons and inlaid with coral and various hardstones, see the example in the Potala Palace Collection, illustrated in Treasures from Snow Mountains: Gems of Tibetan Cultural Relics, Shanghai, 2001, p. 213, no. 123. See, also, the pair of gilt-iron stirrups and saddle presented by the Sixth Panchen Lama to the Qianlong Emperor in 1780 and later used by the Jiaqing Emperor, illustrated in Cultural Relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1998, pp. 230–31, no. 121. The prestige and luxury associated with such richly ornamented stirrups are further reflected in imperial equestrian portraits of the Qianlong Emperor, such as Emperor Qianlong Reviewing Troops by Lang Shining (Giuseppe Castiglione), illustrated in The Complete Collection of Treasures of the Palace Museum -14 - Paintings by Wang Shimin, Wang Jian, Wang Hui, Wang Yuanqi, Wu Li and Yun Shouping, Hong Kong, 1996, p. 151, no. 29, as well as Emperor Qianlong Accompanied by His Officials in Rounding Up and Hunting, illustrated ibid., p. 196, no. 43.
These exceptional stirrups were once part of the distinguished collection of Iris Cornelia Love (1933–2020), the renowned American archaeologist and socialite best known for her 1969 identification of the Temple of Aphrodite at ancient Knidos in present-day Turkey. Born in New York, Love was the daughter of diplomat and investment broker Cornelius Ruxton Love and Audrey Barbara Josephthal Love, a great-granddaughter of Meyer Guggenheim. The extraordinary collection of C. Ruxton and Audrey B. Love was dispersed in a landmark Christie’s New York sale held on 19–20 October 2004. Their eclectic collection included important jewelry, fine European furniture, and an exceptional group of Chinese imperial works of art, among them sets of Kangxi gilt-bronze bells and magnificent cloisonné enamels. Like her parents, Iris Love was an avid collector of art and antiques. Portions of her collection, including the present stirrups, were placed on long-term loan to The Metropolitan Museum of Art.