A 'Henan' russet-painted vase Northern Song dynasty

of globular form with broad swelling shoulders tapering sharply towards the foot, surmounted by a short neck encircled by a flange below the lipped rim, covered overall in a lustrous brown-black glaze, freely painted in russet slip with two large stylized floral sprays, the base inscribed with a character in reserve against the black glaze, enclosed by the unglazed footrim revealing the body burnt orange-brown in the firing

The vase with light surface scratches and scattered pinholes. The bottom apron of the mouth rim is slightly warped. In otherwise good 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.

Inscribed Henan vessels are extremely rare. The present jar has two characters inscribed on its base, the first is the character ten (shi) and the second is possibly nine (jiu). Numbers were inscribed on 'Jun' vessels for grouping pieces according to their size. However, the meaning of what appears to be number nineteen on the present jar remains a matter of speculation.  

Vessels of this type were used for containing wine and can be found usually decorated with flowers or birds in a free and abstract manner which make each piece unique for its design. For a comparable example see a jar, from the collection of Dr. Robert Barron, included in the exhibition Hare's Fur, Tortoiseshell and Partridge Feathers, Harvard University Art Museums, Cambridge, Mass., 1995, p. 165, cat.no. 55; and another published in the Illustrated Catalogues of Tokyo National Museum. Chinese Ceramics I, Tokyo, 1988, pl. 621, together with a larger jar with painted peony design, pl. 622. Another slightly larger jar was included in the exhibition Song Ceramics from the Kwan Collection, Hong Kong Museum of Art, Hong Kong, 1994, cat.no. 155.

The dating of this lot is consistent with the results of a thermoluminescence test, C&C Authentication Laboratory Ltd., no. 4874QC09.