明永樂 / 宣德 青花海浪紋小罐

superbly potted with the ovoid body rising to a short waisted neck, freely painted in varying tones of rich cobalt-blue with a sea of turbulent rolling waves emitting white foaming splashes, between pendent foliate scrolls at the shoulder and a band of circles against a light blue wash around the foot, all below a line border encircling the neck

F.P. Musso 收藏，上海，1939年
Bluett & Sons Ltd，倫敦，1939年
H.J. Oppenheim（卒1946年) 收藏，1939至1942年(£20)
Bluett & Sons Ltd，倫敦，1942年
H.R.N. Norton(卒 1961-62) 收藏，自1942年 (£20)
倫敦蘇富比1963年11月5日，編號164(£1300)
John Sparks Ltd，倫敦，1963年 (£1300)
Stephen K. Garratt 收藏，至1966年
Bluett & Sons Ltd，倫敦，1966年
羅傑琵金頓(1928-69年)收藏，自1966年 (£1850)

《Blue and White》，東方陶瓷協會，倫敦，1946年，編號32
《Mostra d'Arte Cinese/ Exhibition of Chinese Art》，威尼斯， 1954年，編號630

Adrian Joseph，《Ming Porcelains: Their Origins and Development》，倫敦， 1971年，編號24

Good condition. There is a 'Y'-shaped stained firing body line to the interior wall, which does not show on or affect the exterior.
"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."

此罐，玲瓏喜人，器形與紋樣皆顯明初御窰珍瓷之獨特創新。器身所繪波濤翻滾，氣勢撼人，起伏間水珠蹦躍，潔白瑩亮，設計頗具現代美感。据其紋樣，或可認為此罐用作水丞，加之其体量小巧，便成皇帝閒暇弄筆撥墨之良器。水波紋常作龍或其他海獸之襯底輔紋，而此罐卻以波濤海水單獨作飾，甚是罕有。此外罐底淡藍色珍珠紋帶，亦為少見。

參考一相似作例，尺寸略大，落宣德年款，屬 W.W.Winkworth 雅藏，售於倫敦蘇富比1972年12月12日，編號43。

儘管一些單繪海水紋瓷，皆出自正統時期御窰廠，即所謂「空白期」物，然本器青花之暈染，大有永樂特色，有別於「空白期」風格。數件永樂類例可比，均以海水紋為背景，畫龍、魚，或其他海獸，出土於明代御窰廠遺址永樂地層，展並錄於《景德鎮出土元明官窰瓷器》，炎黃藝術館，北京，1999，編號45，82及83；同錄一高足盌，一盌及一盤，皆單繪波濤海水紋飾，出土於同遺址正統時期地層，編號276，277及281。永樂海水略顯鬆弛，以重彩勾廓，浪花較大且留白偏多，然正統海水紋有異，其描畫緊湊且勾線留白。

此罐屬琵金頓典藏，原為 Norton 舊藏；有關 Norton 之記述，詳見編號15。