A RARE PAIR OF 'FAMILLE-ROSE' 'FRUIT' SAUCER DISHES MARKS AND PERIOD OF YONGZHENG

each delicately potted body with rounded sides rising from a short tapering foot, the one finely enamelled to the interior with a gnarled leafy fruiting peach bough, the other with quince and falling blossom 

With the exception of two hairline rim cracks (2 and 2.5cm. long) to the 'peach' dish, and minor glaze scratches to both, the dishes are in very good condition with the enamels being especially bright.
"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."

The peach is associated with longevity, immortality and blessing for a new Spring or new beginning, while the quince (identified by the thorns and scarlet blossom petal) is a pun for 'sea (hai) and 'hall' (tang), which refers to a family's house. It is extremely rare to find dishes decorated with quince, although a copper dish painted in enamel with similarly shaped and coloured fruit, thought to be loquats, is illustrated in Soame Jenyns and William Watson, Chinese Art. The Minor Arts, London, 1963, pl. 108.

The present dishes are good examples of the 'boneless' style of painting favoured by contemporary artists that was also adopted for fencai (famille rose) enamels. 'Boneless' flower painting was created during the Yuan dynasty (1279-1368) and revived in the seventeenth century, which emphasised wash and colour over line, of which the quince dish is a particularly fine example. An example of this 'boneless' style of painting is seen in an album by Yun Shouping (1633-1690), included in the exhibition China. The Three Emperors 1662-1795, The Royal Academy of Arts, London, 2005, cat. no. 251