A blue and white hexagonal 'Hu' vase seal mark and period of Qianlong

of archaistic fanghu form, the hexagonal body supported on a pronounced foot, gently curving at the shoulders to a flared neck, flanked by a pair of tubular lug handles, well painted in brilliant tones of underglaze blue, the body encircled by two bands, the upper with a continuous lotus scroll, the lower with a composite floral meander, separated by a key-fret border and upright ruyi-heads, the handles and the rim decorated with waves above a ruyi border, the bottom register with a scroll band below petal panels, the base inscribed with a six-character seal mark in underglaze blue

Christie's Hong Kong, 3/4th November 1996, lot 773.

The overall condition is very good with the exception of some minor surface scartches and a small glaze flake of about 0.5 cm to the foot.
"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 belongs to a well known group of blue and white wares produced in the Imperial kilns at Jingdezhen during Qianlong's reign. In its decoration, however, it differs from its similar relations and only one other almost identical example is known ; a vase sold at Christie's Hong Kong, 3^rd November 1996, lot 773. More common are those with the wave motif painted as a broad band around the neck between the handles. Furthermore, the key-fret band seen on this vase, dividing the neck and body decoration, is also an unusual feature, not seen on other vases in the group.

For related examples see a vase in the National Palace Museum, Taipei, included in the Special Exhibition of K'ang-hsi, Yung-cheng and Ch'ien-lung Porcelain Wares of the Ch'ing Dynasty, Taipei, 1986, cat. no. 68; one in the Capital Museum, Beijing, illustrated in Gems of the Official Kilns, Taipei, 1993, pl. 84; and another from the Yokogawa collection, published in the Illustrated Catalogue of Tokyo National Museum. Chinese Ceramics, vol. II, Tokyo, 1990, cat. no. 565.

Further compare a vase in the Palace Museum, Beijing, published in Treasures in the Royalty. The Official Kiln Porcelain of the Qing Dynasty, Shanghai, 2003, pl. 238; one in the collection of the Jingdezhen Ceramics Museum included in Liu Liang-yu, Ch'ing Official and Popular Wares, Taipei, 1991, p. 154 left; and a vase sold in these rooms, 8^th October 2008, lot 2567.