A GOLD AND SILVER-INLAID BRONZE BOWL LATE MING DYNASTY, DATED IN ACCORDANCE TO 1616 OR 1556

the deep rounded sides rising from a short footrim to an everted mouthrim, the exterior cast and chased with a continuous scene of Wang Xizhi watching the goose, and Meng Haoran watching the prunus, all amidst a wondrous landscape laden with pavilions, jagged cliffs and large overhanging pine trees, all between two silver-inlaid key-fret bands bordering the mouthrim and footrim, the countersunk base inlaid in silver wire with a four-character bingchen nianzhi cyclical date

General surface wear and minor rubbing to the inlays, but overall good condition.
"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 quality of the gold and silver inlaid decoration on the wine cup is reminiscent of that on the finest cast works of Hu Wenming. However, his workshop specialised in incense-related objects and is not known to have made wine cups. The current wine cup appears to be closely related to the shallow bronze dish illustrated by Paul Moss, The Literati Mode, Sydney L. Moss, London, 1986, pp. 294-295. That dish demonstrates the same subtle and fluid variation of depth in the relief, which in combination with the skilful use of the different surface colouring gives a strong three-dimensional impression.

It is also somewhat related to an unusual and rare lian shaped incense burner by Lü Cizhou from the Water, Pine and Stone Retreat Collection, sold in these rooms, 8th April 2014, lot 219.

Clearly, the inlaid bowl is the work of a late Ming bronze workshop. From the small number of extant dated Hu Wenming vessels, it is possible to speculate that the bowl is more likely to emanate from the early 17th century, making 1616 the more probable date. For a Hu Wenming-marked bronze pou (dated in accordance with 1613) from the Dr and Mrs Peter Plesch Collection and later the Water, Pine and Stone Retreat Collection, see the example sold in these rooms, 4th April 2012, lot 188.