RARE GRAND VASE 'LOTUS' EN PORCELAINE BLEU BLANC MARQUE EN CACHET ET ÉPOQUE QIANLONG | 清乾隆 青花纏枝花卉海水紋折肩貫耳壼 《大清乾隆年製》款 | A rare large blue and white 'lotus' vase, seal mark and period of Qianlong
Collection Particulière Française | 法國私人收藏
Collection Particulière Française
RARE GRAND VASE 'LOTUS' EN PORCELAINE BLEU BLANC MARQUE EN CACHET ET ÉPOQUE QIANLONG
A rare large blue and white 'lotus' vase, seal mark and period of Qianlong
de forme archaïsante, hu, le col évasé flanqué de deux anses tubulaires à décor de vagues, les bords surlignés d'une frise de vagues, de grenades suspendues, et d'une frise de chrysanthèmes soulignée d'une frise de ruyi, l'épaulement décoré de lotus dans des rinceaux feuillagés surmontant des vagues tumultueuses, le panse ornée d'une large bande de fleurs dans des rinceaux feuillagés, encadrée d'une frise de ruyi et de vagues, le pied décoré d'une frise de pétales stylisés, marque sigillaire à six caractères à la base
52,4 cm, 20⅝ in.
52.4 公分、 20⅝英寸
There is a seven-prongs star crack to the base of the vase, also showing faintly to the interior. Two of the crack's prongs extend across the base while the others are smaller with sizes ranging from 1 to 4/5 cm approximately. None are extending over the foot rim. The cracks are very thin and have been professionally cleaned. They are now hardly showing both outside and inside the vase.
(The vase was mounted as a lamp at some stage, with a metal stick set inside the vase to support the bulb and the wiring of the lamp. This metal rod became loose when the lamp shade and mounts were dismantled for a moving, and eventually fell inside resulting in the star crack to the base).
There is another older hairline in the glaze to the interior of one tubular handle (app. 4 cm inside the handle and lightly stained to yellow, possibly original to the firing).
There are some light scratches to the glaze to the interior of the mouth rim and a few occasional scratches in the glaze in areas and around the shoulder.
It is otherwise a very nice large vase, rare to find, and which has been in the same French family for almost 40 years.
"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."
英王喬治五世之財務大臣兼皇室內務總管 Ralph Harwood K.C.B., K.CV.O. 爵士舊藏一例，與此件頗似，原屬温莎城堡皇家收藏，據傳由瑪麗皇后賜贈，後售於倫敦蘇富比1994年6月7日，編號358。另一乾隆例，器形相類，寬頸，帶足，紋飾佈局與此件雷同，售於香港蘇富比2019年4月3日，編號3633。再比一例，售於香港蘇富比1977年5月16日，編號90，現貯於香港藝術館，曾展於該館《清瓷薈錦：香港藝術館藏清代陶瓷》，香港，1984年，編號63。
The present vase is notable for its impressive size, fine potting and skilfully executed, varied decorative bands, and represents the expertise of craftsmen working during the Qianlong reign. In order to satisfy his own flamboyant taste, the Qianlong Emperor is known to have commissioned artists working in the Imperial kilns at Jingdezhen to make pieces that were highly challenging and unconventional, often placing particular emphasis on the showier aspects of production and on the virtuosity of craftsmanship. The refinement of the material and expertise in firing provided a platform for artists to be ambitious in their repertoire and allowed for the making of such large vessels.
The form of this vase is an adaptation of archaic ritual bronze vessels, intended for use during ancestor worship ceremonies. Features like the angular ridge separating a concave neck from a convex body can already by traced to vessels of zun shape and tubular handles to vessels of hu form from the end of the Shang period in the late 2nd millennium BC. This reference to archaic forms would have been much appreciated by the Emperor who was a great connoisseur and a keen collector of archaic pieces.
Further reference to China's celebrated past is seen in the intricately painted floral scrolls which were inspired by Ming dynasty blue and white porcelain of the early 15th century. Painted in a brilliant deep cobalt blue, which reflects the high level of technical achievement by Qing craftsmen, Qing painters employed a stippled effect to simulate the accidental unevenness known as 'heaping and piling' typically found on early Ming pieces.
Large vases of related form, but with a narrow cylindrical neck and without foot were already produced during the Yongzheng reign. A Yongzheng vase in the Palace Museum, Beijing, similarly decorated with Ming-style flower scrolls, is illustrated in Qingdai yuyao ciqi [Qing imperial porcelain], vol. 1, pt. II, Beijing, 2005, pl. 178. This Yongzheng form was also copied rather closely in the Qianlong period; compare two such vases in the Palace Museum, Beijing, one decorated with lotus flowers, the other with Ming-style flower scrolls and other motifs, illustrated in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain with Underglazed Red, Shanghai, 2000, vol. 3, pls 130 and 131.
A similar vase from the collection of Sir Ralph Harwood, K.C.B., K.C.V.O., at one time Financial Secretary to King George V and Controller of the Royal Household, and believed to have been presented to him by Queen Mary, out of the Royal collections at Windsor Castle, was sold in our London rooms, 7th June 1994, lot 358. See also a Qianlong vase of related form, with broader neck and a foot, and the same design as the present vase, sold in our Hong Kong rooms, 3rd April 2019, lot 3633. Compare also another example, also sold in our Hong Kong rooms,16th May 1977, lot 90 and now in the Hong Kong Museum of Art, included in the Museum's exhibition The Wonders of the Potter's Palette, Hong Kong Museum of Art, Hong Kong, 1984, cat. no. 63.