A FINELY PAINTED AND AN EXTREMELY RARE BEIJING ENAMEL CENSER YUZHI MARK AND PERIOD OF KANGXI

of slightly compressed globular form surmounted by a gilt lipped rim, brilliantly painted around the sides in 'famille-rose' enamels with four blossoming peonies of yellow, rose-pink, lime-green and lavender, the full-petalled blooms elegantly supported on slender, undulating stems issuing delicately painted feathery foliage in shades of light and dark green interspersed with tight and opening buds, the interior enamelled soft turquoise-blue, inscribed to the base with the four-character mark within a double-circle in blue enamel

There is a 'D'-shaped crack of approx 4.5 by 2cm from the rim which has been restuck and repainted. There are light brown stains and blue speckling on the exterior and interior resulting from firing flaws, as visible in the catalogue. The glaze at the rim on the interior has been ground down. Otherwise the censer is in good condition overall. The colours are accurately depicted in the catalogue illustration.
"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."

This exquisite censer is the product of artists working in the Enamel Workshop, under the supervision of the Zaobanchu (Imperial Palace Workshop), located in the Forbidden City. It can be attributed to the last decades of the Kangxi period and is one of the earliest examples of enameled metal using the new famille-rose palette. The liberal use of white enamel is strongly reminiscent of an unmarked box from the Kangxi period, illustrated in The Complete Collection of Treasures of the Palace Museum. Metal-Bodied Enamelware, Hong Kong, 2002, pl. 184, and a small marked vase, pl. 174. See also a pair of cups painted with blossoming flowers in bright enamels on a similar white ground sold in our New York rooms, 23rd March 2004, lot 549; and a small covered box with a Kangxi four-character yuzhi mark within a double-square on the base, published in Hugh Moss, By Imperial Command, Hong Kong, 1976, pl. 12. For a discussion of Kangxi yuzhi marked enamels see ibid., pp. 43- 46.  

This censer is also related to a two-handled tripod censer, masterly painted with large flowering blooms in a similar naturalistic style on a yellow ground, from the Alfred Morrison collection, sold at Christie's London, 9th November 2004, lot 21; and another tripod censer without handles, also bearing a four-character Kangxi yuzhi mark within a double circle on the base, and decorated with lotus and peony on a yellow-ground, sold in these rooms, 21st May 1980, lot 267.  A third related tripod censer, possibly from the same period, in the National Palace Museum, Taipei, is illustrated in Masterpieces of Chinese Enamel Ware in the National Palace Museum, Taipei, 1971, pl. 37.

For examples of enamelled wares with a Kangxi yuzhi mark see a bowl painted in the typical tones of ochre-yellow, lime-green, deep lilac and crimson on a sky-blue ground, included in the Min Chiu Society exhibition Selected Treasures of Chinese Art, Hong Kong, 1990, cat.no. 225, previously sold in our London rooms, 12th December 1989, lot 145; and another bowl bowl included op.cit., Hong Kong, 2002, pl. 177.