Dishes of this popular ‘twin fish’ design were produced from the Southern Song dynasty to the Yuan dynasty. Compare a similar Southern Song dynasty example from the collection of Sakamoto Goro, sold in our New York rooms, 16th September 2014, lot 2. For an early example see a dish in the Minneapolis Institute of Arts, included in the exhibition Ice and Green Clouds. Traditions of Chinese Celadon
, Indianapolis Museum of Art, Indianapolis, 1987, cat. no. 77, together with various related dishes and shards of both Song and Yuan periods, figs 77a-g. Another Song example is published in Longquan qingci [Longquan celadon]
, Beijing, 1966, pl. 32; and one from the Riesco collection was sold twice in our London rooms, in 1984 and 1986, and again at Christie’s New York, 19th September 2007, lot 260. See also a smaller example in the Metropolitan Museum of Art, New York, included in Oriental Ceramics. The World’s Great Collections
, vol. 11, Tokyo, 1982, pl. 51; and another from the Sir Percival David collection and now in the British Museum, London, illustrated in Stacey Pierson, Designs as Signs. Decoration and Chinese Ceramics
, London, 2001, pl. 11, where the author discusses the ‘twin fish’ motif as an auspicious symbol of harmonious marriage and good fortune (p. 19).
A dish of this type, attributed to the Yuan dynasty, is included in Celadons from Longquan Kilns, Taipei, 1998, pl. 218; two dishes recovered from a ship wrecked off the coast of Korea in 1323 are illustrated in Relics Salvaged from the Seabed off Sinan. Materials I, Seoul, 1985, pl. 11, no. 13; and another dish is published in T. Misugi, Chinese Porcelain Collections in the Near East: Topkapi and Ardebil, Hong Kong, 1981, vol. III, pl. A230.