A MINIATURE CELADON-GLAZED TRIPOD WATERPOT SEAL MARK AND PERIOD OF YONGZHENG

superbly potted, raised on three short conical feet, the wide compressed body tapering to a cylindrical neck and surmounted by an unusual domed mouth, covered in a pale blue-green glaze thinning to white at the rim, the base inscribed in underglaze blue with a six-character seal mark 

Acquired in New York before 1960, by repute.
Christie's New York, 19th/20th September 2013, lot 1338.

The vase is in very good condition except for a small triangular-shaped shallow glaze flake to the mouth. There are also some light surface scratches around the three small feet.
"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 waterpot is extremely rare and only one other example appears to be known, complete with its lotus bud and stem dropper, from the Fuller collection, sold twice at Christie’s London, 28th/29th June 1965, lot 97, and again, 5th June 1995, lot 190. The shape was adapted into a vase in the Qianlong period but potted with a taller neck and garlic-head mouth; for example see one illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994, pl. 853. The unusual form demonstrates the greater artistic freedom craftsmen were able to explore, provided the vessels retained their simplicity of form and reference to antiquity, as prescribed by the Yongzheng Emperor.

The seal mark on the base of this vessel is rare. A similar mark is discussed by Peter Y.K. Lam in ‘Four Studies on Yongzheng and Qianlong Imperial Ware’, in the catalogue to the exhibition Ethereal Elegance. Porcelain Vases of the Imperial Qing. The Huaihaitang Collection, Art Museum, The Chinese University of Hong Kong, Hong Kong, 2007, p. 54, where several zhuanshu marks are illustrated, p. 38. Lam notes the rarity of the present mark and suggests that this style was probably used only for part of the reign before being superseded by another type towards the end of the reign.