- 14
A VERY FINE AND RARE PAIR OF FAMILLE-ROSE DISHES MARKS AND PERIOD OF YONGZHENG
Estimate
8,000,000 - 12,000,000 HKD
Log in to view results
bidding is closed
Description
THIS IS A PREMIUM LOT. CLIENTS WHO WISH TO BID ON PREMIUM LOTS ARE REQUESTED TO COMPLETE THE PREMIUM LOT PRE-REGISTRATION 3 WORKING DAYS PRIOR TO THE SALE. BIDnow ONLINE BIDDING SERVICE IS NOT AVAILABLE.
each dish delicately potted with a flared rim and rising from a short, straight foot, decorated in brilliant famille-rose enamels on the outside with an asymmetrical composition of a blooming hibiscus branch and a weed issuing from the base and extending around the sides, before spreading around the interior and bearing two large flowers, a dragonfly in grisaille hovering nearby, each inscribed on the base with a six-character mark within a double square
each dish delicately potted with a flared rim and rising from a short, straight foot, decorated in brilliant famille-rose enamels on the outside with an asymmetrical composition of a blooming hibiscus branch and a weed issuing from the base and extending around the sides, before spreading around the interior and bearing two large flowers, a dragonfly in grisaille hovering nearby, each inscribed on the base with a six-character mark within a double square
Provenance
Collection of H.M. Knight, The Hague (1950s).
Christie's Hong Kong, 19th January 1988, lot 363.
Christie's Hong Kong, 19th January 1988, lot 363.
Exhibited
Oosterse Schatten: 4,000 Jaar Aziatische Kunst, Rijksmuseum, Amsterdam, 1954, cat. no. 381.
Literature
Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 2, no. 959.
Condition
The overall condition is excellent. The enamelling is in pristine condition. One of the dishes has a 1 cm original V-shaped firing line to the footring with a very minute bit of loss on each side of the V. There are a few very faint dirty scratches on the interior to the glaze that can easily be cleaned.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
No other saucer of this design and period appears to be recorded, but this exquisite motif is also known from a larger dish in the Umezawa Kinenkan, Tokyo, included in the exhibition Chūgoku no tōji/Special Exhibition of Chinese Ceramics, Tokyo National Museum, Tokyo, 1994, cat. no. 324. The same motif appears also on dishes with Qianlong seal mark and of that period; a Qianlong dish in the Victoria and Albert Museum, London, is illustrated in Rose Kerr, Chinese Ceramics. Porcelain of the Qing Dynasty 1644-1911, London, 1986, p. 112, pl. 97; one in the Metropolitan Museum of Art, New York, in Oriental Ceramics: The World's Great Collections, Tokyo, New York, San Francisco, 1980–82, vol. 11, no. 158. The design was still closely copied in the late Qing or Republican period, an example of which in the Asian Art Museum of San Francisco, is illustrated in He Li, Chinese Ceramics. A New Standard Guide, London, 1996, pl. 673.