A BLUE AND WHITE ‘BOYS’ EWER JIAJING MARK AND PERIOD

the compressed globular body rising from a straight foot to a waisted neck and galleried rim, set with a loop handle and a curved spout, the front and back face moulded with a peach-shaped panel, one painted with four boys and a ram and the other with four boys holding various attributes including a peony flower and a hobby horse, all surrounded by detached fruiting and flowering branches, the rim encircled by a chevron band, decorated with classic scrolls on the handle and spout, the base with a six-character mark

Marchant, London.
Collection of T.T. Tsui, no. MB 739.

Audrey Wang, Chinese Antiquities. An Introduction to the Art Market, London, 2012, pl. 17 and front cover.

The ewer has a restoration to an old 28cm., wide horizontal rivetted crack running from the handle through the peach-shaped panel to the spout, with an associated restored three-pointed hairline starcrack (max 6cm., wide) and a 14cm., long horizontal hairline body crack running parallel, restoration to an old rivetted crack running half way around the neck, over-painting around the base and top of the handle and restoration to a break around the base of the spout, minor firing imperfections including fritting around the rim and light glaze scratches.
"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 ewer is impressive for its size, robust potting and decoration in the deep blue cobalt which is characteristic of ceramic wares made during the height of the Jiajing Emperor’s reign. Blue and white wares of this period are abundant in artistic vitality in their decoration which is enhanced by the particularly attractive glaze.The design of several boys playing together is rich in symbolism.  A popular decorative theme, especially during the Jiajing period, when it can be found on many types of wares including bowls, boxes and vases. It represents the wish for many sons and descendants, especially distinguished noble sons (guizi) who will pass the civil service examination with high honours. Another meaning of this motif is suggested by Rosemary E. Scott in Percival David Foundation of Chinese Art, London, 1989, p.80, where the author notes that scenes of boys at play may be linked to the Daoist theme of the old regaining their youth. The Jiajing emperor was a devote Daoist, hence, decoration influenced by Daoist iconography was much favoured and used by artists working for the court.  

While Jiajing mark and period ewers are rare, a similar example, sold in these rooms, 9^th December 1975, lot 153, is now in the Idemitsu Museum of Arts, Tokyo, illustrated in Chinese Ceramics from the Idemitsu Collection, Tokyo, 1987, pl. 704. Another ewer of this form and decoration, with a matching cover painted with branches of fruit and flowers was also sold in these rooms, 6^th June 1935, lot 57, from the collection of Charles Russell. This ewer, which is now in the British Museum, London, from the collection of the Percival David Foundation, is illustrated in Rosemary Scott, op.cit., pl. 70. A further pair of closely related ewers with covers painted with lotus leaves is published in Min Shin no bijutsu, Tokyo, 1982, pl. 93, from the Tokugawa Reimeikai Foundation, Tokyo.

Jiajing mark and period ewers of the same shape are also found decorated with two other designs. A ewer painted with ladies in a similar peach shaped panel in the centre surrounded by phoenix and lotus on the sides, was sold in these rooms, 3^rd April 1979, lot 152; and another from the collection of Dr. Ip Yee and included in the Min Chiu Society exhibition An Anthology of Chinese Ceramics, Hong Kong Museum of Art, Hong Kong, 1980, cat. no. 85, was sold in our Hong Kong rooms, 19^th November 1984, lot 187. A ewer in the Ashmolean Museum, Oxford, decorated with two dragons in the centre flanked by cranes, peaches and lingzhi fungus, is published in Daisy Lion-Goldschmidt, Ming Ceramics, New York, 1978, p. 142, pl. 122. Another dragon ewer was sold in our New York rooms, 4^th November 1978, lot 54; and a third example, from a Japanese private collection, was sold at Christie’s New York, 19^th September 2007, lot 272.