AN INSCRIBED YIXING STONEWARE 'WILLOW' TEAPOT AND COVERINSCRIBED BY QU YINGSHAO, QING DYNASTY, JIAQING – DAOGUANG PERIOD

carved on one side with billowing willow branches, the reverse with a xingshu poem followed by an inscription reading Banyuan yue ye li hua shi si shou zhi yi (One of Four 'Poem[s] on Pear Blossoms on a Moonlit Night' by Banyuan) and signed Nantian, carved with a Ji an seal mark on the underside of the loop handle, the base with a seal mark reading Hu gong ye fu, the well-fitted cover with a knop finial

Collection of Pang Yuanji (1867-1947).
The Thomas Y.P. Lee Collection.
E & J Frankel, New York, 2005.

Zisha: The Purple Sand of China. The Lee Collection of Ming and Qing Dynasty Yixing Ware, E & J Frankel, New York, 2005, cat. no. 7.
Tea, Wine and Poetry. Qing dynasty literati and their drinking vessels, University Museum and Art Gallery, the University of Hong Kong, Hong Kong, 2006, cat. no. 32.

The overall condition of the teapot and the cover is very good, except for a shallow flake to the underside of the cover. The teapot also has some typical nicks to the extremities, including a minute one to the tip of the spout and to the outer mouthrim.
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. Illustrations in the catalogue may not be actual size. Prospective purchasers are reminded that, unless the catalogue description specifically states that a stone is natural, we have assumed that some form of treatment may have been used and that such treatment may not be permanent. Our presale estimates reflect this assumption.Certificates of Authenticity: Various manufacturers may not issue certificates of authenticity upon request. Sotheby's is not under an obligation to furnish the purchaser with a certificate of authenticity from the manufacturer at any time. Unless the requirements for a rescission of the sale under the Terms of Guarantee are satisfied, the failure of a manufacturer to issue a certificate will not constitute grounds to rescind the sale. Gemological Certificates and Reports: References in the catalogue descriptions to certificates or reports issued by gemological laboratories are provided only for the information of bidders, and Sotheby's does not guarantee and accepts no responsibility for the accuracy, terms or information contained in such certificates or reports. Please also note that laboratories may differ in their assessment of a gemstone (including its origin and presence, type and extent of treatments) and their certificates or reports may contain different results.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Qu Yingshao (1778-1849), active in Shanghai in the Jiaqing and Daoguang periods, is said to have excelled at seal carving, appraising antiques, and painting bamboo. He was particularly successful in utilising Yixing teapots as a medium for fusing calligraphy and incised designs derived from painting. Tang Banyuan was the brother of Tang Yujian, who was closely acquainted with Yun Shouping during the early Qing dynasty.

An Yixing teapot incised by Qu Yingshao, included in the exhibitions Yixing Pottery, Hong Kong Museum of Art, Hong Kong, 1981, cat. no. 62, and Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, cat. no. 107, was sold in these rooms, 23rd October 2005, lot 135, from the Mary and George Bloch collection; and another was sold at Bonhams Hong Kong, 24th November 2013, lot 115, from the collection of Mr and Mrs Jimmy Sha.

The inscribed poem can be translated as:        

The evening a spring warbler [singing] in an empty valley.
Beautiful flowers and verdant trees are most conducive to love-longing. How can one keep the image of the moon [in the sky from moving],
So that the silver toad [in the moon] would not pass another branch [i.e. making time stand still]?