明晚期 約1620年 青花花蝶紋盆

painted in vibrant tones of underglaze blue, the interior with a square-form vase holding a large bouquet of flowering peony stems, flanked to either side by smaller jars containing lotus blooms, butterflies fluttering above, the everted rim encircled by further blooms emerging from rockwork, the exterior with three clusters of lotus alternating with pairs of herons, butterflies and florets along the rim, the base with an apocryphal Chenghua mark, Japanese wood box (2) 

日本私人收藏

The basin is in overall good condition. The surface with expected wear.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

A closely related basin, bearing a Tianqi mark and of the period, from the Butler Family Collection, is illustrated in Sir Michael Butler and Prof. Wang Qingzheng, Seventeenth Century Jingdezhen Porcelain from the Shanghai Museum and the Butler Collections, Beauty's Enchantment, Shanghai, 2006, pp. 66-67, cat. no. 3 where it is proposed that this particularly form of basin was only made during the Tianqi period and that it may have been used as a dice bowl.  Three other examples are in Japanese museums; the Nezu, the National Museum Tokyo and the Idemitsu.