A SUPERB AND RARE CELADON-GLAZED JAR MARK AND PERIOD OF YONGZHENG |

the finely potted spherical body supported on a short foot, elegantly rising to a gently tapering neck, covered overall in a delicate sea-foam green glaze, the base inscribed with an underglaze blue six-character reign mark within a double circle

Sotheby’s Hong Kong, 27th April 2003, lot 162.
Christie’s New York, 29th March 2006, lot 455. 

There is a hairline around lower body of the vessel from approx. 1-8 o’clock of the mark, only visible under UV light. The jar is otherwise in structural good condition with a scratch around the mouth.
"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."

The deceptive simplicity of this jar, from the minimalist form to the subtle translucent glaze, conceals the proficiency involved in creating such a piece. Monochrome wares were the hardest to make and required the utmost precision in every stage of their production, as the slightest irregularity would result in the rejection and destruction of the piece. The elegant and subtle glaze on this piece was created in imitation of Longquan celadon of the Song period, and is given a fresh modern aesthetic through the charming and unusual globular form. Celadon glazes with delicate, almost watery tones were made already in the early Ming dynasty, and were achieved by lessening the amount of iron typically found in Song dynasty Longquan celadons. The glaze was further modified during the Yongzheng period to include a wider variety of tones.  A closely related jar in the Meiyintang collection, is illustrated in Regina Krahl, Chinese Ceramics in the Meiyintang Collection, vol. 2, London, 1994, pl. 857; another was sold twice in these rooms, 15th May 1990, lot 83, and 25th April 2004, lot 267; a third from the collection of W.W. Winkworth, was sold in our London rooms, 13th February 1973, lot 183; and a further jar from the collection of Edward Schortman, was sold in our New York rooms, 3rd June 1987, lot 261, and at Christie’s New York, 24th March 2004, lot 239. Compare also a Yongzheng mark and period jar of slightly more elongated form, from the T.Y. Chao collection, included in the exhibition Ch’ing Porcelain from the Wah Kwong Collection, Chinese University of Hong Kong, Hong Kong, 1973, cat. no. 13, and sold in these rooms, 19th May 1987, lot 284, and in our New York rooms, 24th March 1998, lot 666; and another with cover from the J.M. Hu collection, included in the exhibition Qing Imperial Monochromes. The Zandelou Collection, Shanghai Museum, Shanghai, 2005, cat. no. 15, and sold in these rooms, 9th October 2012, lot 110. 

This form is also known painted in underglaze blue, such as a jar with cover painted with a flower scroll in the National Palace Museum, Taipei, included in the Museum’s Special Exhibition of K’ang-hsi, Yung-cheng and Ch’ien-lung Porcelain Ware from the Ch’ing Dynasty in the National Palace Museum, Taipei, 1986, cat. no. 29; another lacking the cover, sold in these rooms, 20th May 1986, lot 67; and a third painted with sprays of fruits and flowers, from the R.F.A. Riesco collection, illustrated in Sir Harry Garner, Oriental Blue and White, London, 1973, pl. 75; and sold in our London rooms, 11th December 1984, lot 406.