庚午年（1930) 王琦畫粉彩八仙圖瓷板一套四屏

簽款：
西昌匋迷道人王琦及西昌王琦

印章：
西昌王琦
匋迷

Eileen Kershaw Antiques，香港，1973年，後家族傳承

All four panels in good condition. One with a diagonal glaze scratch. All four frames with some shrinkage and splitting.
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. Illustrations in the catalogue may not be actual size. Prospective purchasers are reminded that, unless the catalogue description specifically states that a stone is natural, we have assumed that some form of treatment may have been used and that such treatment may not be permanent. Our presale estimates reflect this assumption.
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.

After the fall of the Qing dynasty, imperial orders for porcelain dwindled at Jingdezhen, the main porcelain production center of China. Porcelain artists, released from Imperial restraints, and eager to develop new markets, developed new styles.  In 1928 eight of the leading artists formed a group, calling it Yueman hui (Full Moon Society) because they met to exchange ideas about art during the full moon. Wang Qi was the founding member of this group, which because it had eight members later came to be known as Zhushan Bayou (Eight Friends of Zhushan). 

The development of Wang Qi's mature style can be traced to a trip he made to Shanghai in 1916 to see an exhibition of works by a group of painters called Yangzhou Baguai (the Eight Eccentrics of Yangzhou). Wang was so impressed by the paintings of Huang Shen, one of the Eight Eccentrics that he started to emulate Huang's style. This influence can be seen in the present lot with his use of rapid and expressionistic brush strokes to create whimsical, exaggerated figures with sparse backgrounds juxtaposed with long calligraphic inscriptions in running script, similar to examples of Huang's works illustrated in Yangzhou Bajia Huaji, Tianjin, 1995, nos. 75, 59, 64, 71-76 and 78.

Not content to just emulate Huang's style, Wang created his own by incorporating Western techniques in his work. This is seen in the use of light and shading on faces and clothing of the immortals in the present lot where realism and impressionism are harmoniously blended.

One example of a plaque by Wang Qi was sold in these rooms 19th and 20th March 2013, lot 249, and another at Christie's South Kensington, 16th May 2014, lot 1243. A pair depicting louhans was sold at Bonhams San Francisco, 17th December 2013, lot 8353. Other examples are illustrated in Simon Kwan, Chinese Porcelain of the Republic Period, Hong Kong, 2008, pp. 104-122.