A RARE FALANGCAI 'MILLE-FLEURS' BOWL MARK AND PERIOD OF YONGZHENG

finely potted with deep rounded sides rising to a gently flared rim, the exterior delicately painted in brilliant enamels of yellow, green, lavender, and magenta with a dense bouquet of mixed flowers including chrysanthemum, hydrangea, pink, peony, magnolia, lotus, and lingzhi, all blooming against a ground of thick foliage in several tones of green, the interior and base white and the inset base with an enamelled blue four-character mark within a double-square

Christie's Hong Kong, 28th October 2002, lot 606.

The overall condition is very good with only a minute restored flake to the rim (3 x 1 mm). The enamels are intact.
"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 bowl belongs to a small group of wares decorated with what is known as the 'mille-fleurs' design of chrysanthemums, lotuses, peonies, flowers buds and various other plants. Although the Western terminology of 'mille-fleurs' is widely used, the Chinese name for this type of dense design jiacai (mixed or mingled colours) appropriately describes the multitude of famille-rose shades used. Yongzheng wares using jiacai are extremely rare possibly because of the emperor's preference for more classical Chinese designs that tend to be less overpowering and complex, and also because of the very high level of technique involved in making such complex decorations in the famille-rose palette. The present bowl was possibly one of the very few wares that was considered a success in the making. The jiacai technique was perfected by the Qianlong reign as can be seen on one of the most beautiful examples of this type of decoration, the vase in the Musée Guimet, Paris, illustrated in Michel Beurdeley and Guy Raindre, Qing Porcelain. Famille Vert and Famille Rose, London, 1987, pl. 165.
Only three other Yongzheng bowls of similar design appear to be recorded, one in the Qing Court collection included in The Complete Collection of Treasures of the Palace Museum. Porcelains with Cloisonne Enamel decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 15; a second bowl, formerly in the Edward T. Chow collection, illustrated in Beurdeley and Raindre, op. cit., pl. 146, and sold in these rooms, 19th May 1981, lot 589; and a third bowl also sold in these rooms, 25th November 1981, lot 278.