Grand vase en porcelaine doucai Chine, dynastie Qing, époque Yongzheng (1723-1735)

de forme balustre, le pied et le col évasés, agrémentés d'anses ajourées en forme de dragon chilong stylisé, à décor de dragons à cinq griffes poursuivant la perle enflammée dans des nuages stylisés au-dessus de rochers et flots tumultueux, le pied ceint d'une frise géométrique, le col souligné d'une frise de ruyi ; long fêle, petites restaurations

Collection of Hélène Bui Quang Chieu, born in 1936 (by descent).

There is a long crack starting from the ruyi band on one side and running down across the left handle up to the foot of the vase (partly visible on the illustration in the catalogue). The body crack is secured in one place in the center with a couple of small repaints to two clouds. There is another 3 x 4 cm restoration to a group of clouds approximately 6 cm to the right of the crack, and another 0,5cm x 3mm retouching next to it. The left handle has been broken/detached and reaffixed with restoration showing at the junction points between the handle and the vase. An area of enamels have somewhat blurred under glaze and there are a few other minor firing imperfections, but overall the vase is impressive with a vibrant and skilled decoration.
"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 present vase is impressive for its large size and vibrant design which has been finely rendered in the visually exquisite doucai enamels. It appears to be the only example known although in its decoration it is related to a baluster form vase similarly flanked by a pair of handles of qilong form and painted with the design of a single dragon amongst colourful clouds, in the Victoria and Albert Museum, London, collection no. C1356.1910, and its pair offered in our Hong Kong rooms, 5^th October 2011, lot 1947. See also a bottle-form vase painted with bats circling amongst multi-hued doucai cloud scrolls sold in our Hong Kong rooms, 16^th May 1989, lot 299, and again at Christie's Hong Kong, 29/30^th October 2001, lot 840; and a doucai jar with the bats and clouds motif published in Chinese Porcelain. The S.C.Ko Tianminlou Collection, Part II, Hong Kong, 1987, pl. 115.

See also a Qianlong mark and period moonflask decorated with the design of dragons and clouds in doucai enamels, from the Qing court collection and still in Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains in Polychrome and Contrasting Colours, Hong Kong, 1999, pl. 241.

The use of the doucai method of decoration was favoured by early Qing emperors, especially Yongzheng and Qianlong, who were fond of wares made during the reign of the Chenghua emperor (1465-1487) of the Ming dynasty. The doucai painting style, with its delicate drawing in fine blue outline and its colouration in polychrome washes was the archetypical style of decoration in the Chenghua period. The beauty of Chenghua porcelain, with doucai wares regarded as most exquisite and special was appreciated by the Qing rulers who saw objects decorated in this manner as pieces that evoked the glorious past. The manufacture of this vase also reflects an appreciation for Ming wares and pays homage to one of the greatest eras in the history of Chinese ceramics.