明洪武 釉裏紅「纏枝牡丹」圖玉壺春瓶

the pear-shaped body rising from a spreading foot to a tall waisted neck with flaring rim, painted in greyish tones of copper-red against a crackled glaze with an undulating leafy scroll bearing large peony blooms, all between trefoil leaf motifs above and a lappet band below, the neck encircled by stiff leaf, key-fret and foliate scroll bands, the foot skirted with a key-fret band

J.H. Zeeman 博士（荷蘭駐北京大使館公使代辦，1954-1957年）收藏
此後家族收藏

The top section of the mouth (upright plantain leaves) is rebuilt. There are typical crackling to the glaze.
"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."

明洪武釉裏紅瓷，乃明初江西景德鎮官窰所製瓷器中難得一見之物。洪武在位期間，釉裏紅成為重要釉色。據景德鎮陶瓷考古所專家劉新園記述，燒製釉裏紅過程相當困難，成功率甚低，故官窰有系統地大批燒製，百中取一，詳見劉氏《景德鎮珠山出土明初永樂官窰瓷研究》一文，《景德鎮出土明初官窰瓷器》，台北，1996年，頁52。明初三十年間，景德鎮陶瓷圖案依然以花卉紋為主，或如本品一樣環飾全器。劉氏一文頁52指出，明代陶瓷紋飾主題不及元代豐富多彩、畫工亦略欠生動流暢，然洪武年製瓷器另具特色，有空前絕後之獨立風格。

北京故宮清宮舊藏一相關作例，錄於《故宮博物院藏文物珍品全集青花釉裏紅》，卷1，上海，2000年，圖版197；東京國立博物館藏一例，刊於《東洋陶磁大観》，卷1，東京，1982年，圖版112。另一作例繪纏枝牡丹紋，紋飾下同見不規則的釉裂開片，與本品可能同出一瓷匠之手，售於倫敦蘇富比1990年6月12日，編號209。

纏枝牡丹紋玉壺春瓶例品更包括：Harry Garner 爵士故藏例，1961年11月21日售於倫敦蘇富比，編號24；四支相類瓶例刊於《龍泉集芳 : 創業七十周年記念》，東京，1971年，圖版721-4；另可參考一呈色豔麗之瓶，來歷甚詳，1988年5月17日售於香港蘇富比，編號12，並於2006年5月30日香港佳士得再次易手，編號1248。