清乾隆 釉裏紅梅瓶 《大清乾隆年製》款

the waisted lower body rising up to high shoulders and a short waisted neck below an everted rim, covered overall with an even copper-red glaze of burnt umber tone, the glaze neatly controlled under the mouthrim and above the white recessed base, the base inscribed with a six-character seal mark in underglaze blue

The footring has a curved kiln line of approx. 5.2 cm with minor glaze losses, next to another kiln line of about 4 cm (partially covered by glaze) to the base. The overall condition is otherwise quite good except for some minor surface scratches and typical pinholes, especially to the lower section. The actual colour is slightly less vivid than the catalogue illustration.
"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."

Qianlong meiping decorated in copper-red are uncommon, although a small number are recorded. See three slightly smaller meiping, one in the Roemer Museum, Hildesheim, illustrated in Ulrich Wiesner, Chinesisches Porzellan, Mainz am Rhein, Hildesheim, 1981, pl. 99, the second sold in our Hong Kong rooms, 10th April 2006, lot 1521, the third, from the Jingguantang collection, sold at Christie’s Hong Kong, 5th November 1997, lot 864; and a larger vase of this form and decoration, from the collection of Professor Ross Edman, sold in our New York rooms, 23rd September 1995, lot 426.

The use of copper-red at Jingdezhen was revived by the Kangxi Emperor after the decline in its usage after the 15th century in his quest to reproduce classic Ming sacrificial red (jihong) porcelains. The high level of technical knowledge of the potters at Jingdezhen is evident in their ability to control the temperamental copper-red pigment to produce finely painted and fired wares. Although copper-red pieces can be readily found from the Kangxi and Yongzheng periods, by the Qianlong’s reign they became fewer in number.