A PAIR OF FAMILLE-ROSE ‘FLORAL’ BOWLS MARKS AND PERIOD OF YONGZHENG

each with deep rounded sides rising from a straight foot to a gently flared rim, variously painted in 'boneless' style on the exterior with two butterflies fluttering among leafy blossoming flowers, one bowl with peony and chrysanthemum, the other with aster and begonia, the interiors both with an orchid bloom, the base inscribed in underglaze blue with a six-character reign mark within double circles

A private English collection.
Peter Boode, London, ca. 1950.

The overall condition is very good apart from some light wear to the enamels, smoke trapped in the glaze and a few burst pinholes on the interior.
"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."

These bowls are notable for their style of painting which reflects the innovative developments and fresh confidence of craftsmen working during the Yongzheng Emperor’s reign. Painted in a technique known as the ‘boneless style’ for its virtually skeleton and outline-free design, the only lines incorporated into the composition are the black lines used to define the veins on the leaves and butterflies. Although this technique was known in painting from the Ming period, it was not widely used on porcelain decoration, most likely because it was too complicated to use on a mass-production scale. It represented a great challenge to the artists as lesser-skilled painters would require outlines to complete their sections of decoration, and if not handled correctly it would give the impression that the piece was unfinished.

A closely related bowl was sold in these rooms, 18^th May 1988, lot 264, and again at Christie’s Hong Kong, 2^nd November 1999, lot 522; a pair of bowls sold in these rooms, 14^th May 1983, lot 196; and another bowl from the Edward T. Chow collection, 19^th May 1981, lot 605. Another pair of similar bowls is in the Meyintang collection, illustrated in Regina Krahl, Chinese Ceramics from the Meiyingtang Collection, London, 1994-2010, vo. 2, no. 964, and currently being offered in The Meiyintang Collection, part V, lot 13.

See further bowls painted with designs in the ‘boneless style’, illustrated in the Complete Collection of Treasures of the Palace Museum. Falangcai and Famille-Rose, Hong Kong, 1999, pl. 73; and two pairs of bowls published in The Tsui Museum of Art. Chinese Ceramics IV, Hong Kong, 1995, nos. 150 and 151.