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realistically rendered, the deep tapering sides of the vessel shaped and painted like a wooden tub formed of vertical planks, painted in different tones of reddish brown simulating wooden planks with concentric knots and grain, held together with two plaited bands of 'rope' carved in relief and painted in yellow with brown lines, and lined on the interior with rectangular patches of yellow 'oilcloth' sewn together, faithfully rendered by raised knobbly lines irregularly arranged at right angles to simulate the seams, the base left white and inscribed with a six-character reign mark in underglaze blue
This tub with its sewn lining is one of the most realistically rendered faux-bois items recorded. The vessel is shaped and painted like a wide wooden tub formed of vertical planks, tied with plaited bands of rope, and lined with yellow oilcloth sewn together from rectangular patches. The latter feature is particularly rare.
A very similar tub, also with yellow enamel inside, but lacking the naturalistic evocation of sewn seams, was sold in these rooms, 22nd May 1979, lot 242. Two other similar Yongzheng faux-bois tubs, raised on four feet, in the Palace Museum, Beijing, and the National Palace Museum, Taiwan, both have a plain white inside; see Kangxi, Yongzheng, Qianlong. Qing Porcelain from the Palace Museum Collection, Hong Kong, 1989, p. 317, pl. 146; and Gugong Qing ci tulu. Kangxi yao, Yongzheng yao/Illustrated Catalogue of Ch'ing Dynasty Porcelain in the National Palace Museum, Republic of China: K'ang-hsi Ware and Yung-cheng Ware, Tokyo, 1980, pl. 97. Faux-bois tubs are also found without reign mark, such as another piece from the Meiyintang collection, included in the exhibition China. The Three Emperors 1662-1795, Royal Academy of Arts, London, 2005-6, cat. no. 235, and illustrated in Krahl, op.cit., vol. 2, no. 947.
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