A LARGE BROWN LACQUER DISH IN THE FORM OF A PRUNUS BLOSSOM NORTHERN SONG DYNASTY, 10TH/ 11TH CENTURY

of distinct five-lobed shape, with low rounded sides, the recessed centre inside of matching flower-shaped outline, the recessed base circular, the lacquer of an even dark brown tone



in Japanese padded ivory silk cloth, ribbon-tied Edo period wooden box and cover, ribbon-tied varnished-wood outer box and cover, and brown cotton furoshiki with inscribed wooden tag

Collection of Sir John Figgess.
Collection of Sir Harry Garner.
Mayuyama & Co., Ltd, Tokyo.

Bi no bi [The beauty of beauties], Mitsukoshi Nihonbashi, Tokyo, 1967 (unnumbered).

Tōyō bijutsu ten/Exhibition of Eastern Art, exhibition celebrating the opening of the Gallery of Eastern Antiquities, Tokyo National Museum, Tokyo, 1968, cat. no. 477.

Chinese and Accociated Lacquer from the Garner Collection, The British Museum, London, 1973, cat. no. 3 (pl. 2).

Ryūsen Shūhō/Mayuyama, Seventy Years, Tokyo, 1976, vol. II, pl. 203.

Okada Jō, Tōyō shitsugei shi no kenkyū/A Study of the History of Far Eastern Lacquer Art, Tokyo, 1978, pl. 40.

 

This rare dish is in good condition with the exception of: (as illustrated on p.53 of the catalogue) the lobe at 9 o'clock has two partially re-touched associated cracks (11 and 5cm.) encircling the lower edge of the well, a 5x1mm., flake to the lacquer in the well of the same lobe, and a 3x0.5cm., area of re-touching to the lacquer at the rim of the same lobe, a the lobe at 8 o'clock has a 4x1cm., area of re-touching to a circa 1cm., hairline rim crack (visible to the interior and exterior), re-touching to a tiny flake in the same lobe and loss of a tiny flake to the same lobe, a hairline crack which encircles the entire lower edge of the well and base (only visible on the interior) and an overall craquelure to the lacquer which is entirely characteristic for its age.
"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."

Lacquerware made between the late Tang and the early Song dynasties is characterized by simple, well-proportioned flower shapes with more or less deep indentations. These quiet, pleasing forms that were used for dishes, bowls and cup stands set a stylistic trend that reverberated throughout the arts and crafts of the period and strongly influenced not only ceramic but also silver designs.

 

Although the present five-lobed prunus shape would seem to be a most classic Song lacquer form, this shape seems in fact to be even better known from ceramics than from lacquerware, where six- and seven-petalled flower shapes prevail. With its deep lobes that continue into the centre, this dish is particularly well designed and remarkable for its large size. Companion pieces are difficult to find.