A RARE IMITATION-BRONZE GLOBULAR CENSER SEAL MARK AND PERIOD OF YONGZHENG

the slightly compressed globular body rising from three short conical feet to the incurved mouth, richly glazed overall in a speckled reddish-brown tone in imitation of patinated bronze, the base with an incised seal mark

In overall very good condition except for a few burst glaze bubbles near the mouth rim and at the base. The actual colour of the censer is slightly lighter 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."

The ever-improving technical ability of the Jingdezhen potter under the directorship of Tang Ying, Superintendent of the Imperial kilns during the Yongzheng period, set of a number of inspiring and ambitious ventures which included the re-creation of completely different media in ceramics. Wood, lacquer, metal and stone became popular materials to be imitated, amongst which bronze simulations, such as the present censer, demanded skills from the porcelain enameller far more challenging and ambitious than what was normally expected. Many of these objects were produced to surprise and were made to be picked up and handled and not designed merely for display. Although the technique was already developed and perfected by the early 18^th century, small number of simulation pieces can be found from the Yongzheng period and even rarer are those bearing the emperor's reign mark. The majority of extant simulation objects are from the Qianlong period, when such wares were made in quantities on the orders of the Qianlong emperor who was particularly fond of these pieces that became the trompe-l'oeil of ceramics.  

Although extremely rare, an almost identical tripod censer, with a six-character Yongzheng reign mark and of the period, formerly in the collection of H.R.N. Norton and later in the Hall Family collection (inventory no. 263) was sold in these rooms, 2^nd May 2000, lot 537. Compare also an 'iron-rust' glazed vase decorated in gold, similarly bearing a Yongzheng seal mark, sold in our London rooms, 24^th July 1973, lot 431. See also a globular form urn covered with a bronze-like brown glaze and bearing a four-character Yongzheng mark on the base, from the Qing court collection and still in Beijing, is included in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pl. 60.

For Qianlong period examples see a tripod censer of different form but with a related bronze imitation glaze, from the Zhuyuetang collection, illustrated in Shimmering Colours, Monochrome from the Yuan to the Qing Periods, Hong Kong, 2005, p. 245, no. 174; and two further examples published in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994, pp. 260-261, no. 940 and 941, where the author notes that such glazed ceramics with reign marks are extremely rare.