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AN IMPRESSIVE AND RARE 'FAMILLE-ROSE' 'BOYS AT PLAY' LANTERN-SHAPED VASE Qianlong iron-red seal mark and period
Description
Provenance
Christie's Hong Kong, 29th and 30th October 1995, lot 756.
Thereafter with the present owner.
Condition
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.
Catalogue Note
The depiction of multiple boys at play in a garden -- representing the wish for many sons -- was a popular theme in the decorative arts of the Ming and Qing dynasties. In the present vase, each of the boys are engaged in activities potent with symbolism: the boy flying a kite is meant to wish one 'rise in rank' and a successful career; the one holding a lotus refers to 'may my descendants live in harmony' (zisun hehe); and the boy with the vase (ping) is a pun for peace.
Qianlong period vases featuring this motif can be found in several important collections, though this vase appears to be distinctive in its combination of the oviform and waisted-neck silhouette, ruby-ground palette and use of sgraffiato. A Qianlong seal mark and period vase in the Qing Court collection and illustrated in Porcelains with Cloisonne Enamel Decoration and Famille Rose Decoration: The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, pl. 128, p. 146, compares favorably, matching the ruby-ground ruyi-head borders at the neck and foot, as well as the sgraffiato. It is completed, however, with a cover atop the short keyfret-designed neck. Another similar vase, sharing the same shape, differs primarily in its use of green enamel in place of the ruby-ground. Illustrated in Qing Imperial Porcelain of the Kangxi, Yongzheng and Qianlong Reigns, Nanjing and Hong Kong, 1995, pl. 87, it features the 'Eight Buddhist Emblems' on the waisted neck. The Shanghai Museum has an impressive example, painted with lotus-scrolls on the neck in a fashion similar to the present vase, illustrated in The Complete Works of Chinese Ceramics, Qing, Part II, Shanghai, 2000, pl. 19, p. 51.