A FAMILLE-ROSE SAUCER DISH MARK AND PERIOD OF YONGZHENG

delicately potted with shallow rounded sides resting on a short foot, finely painted in brilliant translucent enamels in 'boneless style' with two large peony blooms, one bright pink, and the other soft purple, the blooms borne on fleshy and knotty stems with turquoise and green leaves, growing beside pierced rockwork, daisies and a clump of lingzhi fungus, inscribed on the base with the six-character within double circles

Sotheby's Hong Kong, 15th May 1990, lot 221.

The dish is in overall very good condition with only some tiny pinprick burst air bubbles. There is an iron spot to the base, and another to the footrim. The enamels have been well preserved.
"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."

A pair of Yongzheng dishes of this size and design from the Blennerhassett Collection was sold in our London rooms, 16th July 1974, lot 175.

This bowl is a fine example of the new confidence among painters during the reign of Yongzheng to handle areas of colour wihout applying a formal border as a frame. This technique is known as 'boneless style', as there virtually is no skeleton to the design. The only lines on the entire composition are the black lines used to define the veins on the leaves, and the wings of the butterfly. This technique was not widely used, most likely because it was too complicated to use on a mass production scale. It represented a great challenge to the artists, where unskilled painters would require outlines to complete their sections of decoration, and if not handled well, would give the impression that the piece was unfinished.