五代十世紀 越窰劃蓮花紋花口盌

finely potted with rounded sides rising steeply to a neatly divided six-lobed rim, the interior freely carved with a lotus flower within four stylized wave patterns, applied overall with a thin gray-green glaze, all supported on short tapered foot

There are two small restored glaze flakes to the rim, chips along the foot ring and the expected wear to the surface.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Similar examples of this form found in museum collections include one in the British Museum, London illustrated in Stacey Pierson, Percival David Foundation of Chinese Art: A Guide to the Collection, London, 2002, p. 33., no. 6; another in the Victoria and Albert Museum, London in Rose Kerr, Song Dynasty Ceramics, London, 2004. p. 16, nos. 8 and 8a and in the Ashmolean, Oxford illustrated in Mary Tregear, Catalogue of Chinese Greenware in the Ashmolean Museum, Oxford, 1976. no. 200. Late Tang dynasty related examples with less prominent quatrilobe form were recovered from the Belitung wreck dated to 825-850 and illustrated in Shipwrecked, Tang Treasures and Monsoon Winds, ed. Regina Krahl, John Guy, Julian Raby, Singapore, 2010, nos. 251-253 where the authors note that Yue stonewares were held in high regard during the late Tang dynasty, second only to Xing wares and that 'quality control was strict' and therefore production limited, ibid. p. 69.