清乾隆 青花竹石芭蕉紋玉壺春瓶 《大清乾隆年製》款

of elegant pear-shaped form, decorated in vivid cobalt blue with a balustraded garden planted with bamboo and plantain trees beside rocks, all set between pendent ruyi heads and upright stylised lappets, the waisted neck collared with scrolls and stylised plantain leaves rising to a trumpet mouth, the flared foot further decorated with lotus florets upon a double-line, the base inscribed in underglaze blue with a six-character seal mark

倫敦蘇富比1976年12月14日，編號157

The overall condition is excellent with only some expected occasional light surface scratches.
"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."

For the prototype of this vase, see one attributed to the Yongle period (1403-1424), in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Blue and White Porcelain with Underglazed Red (I), Hong Kong, 2000, pl. 33; and another attributed to the Xuande period (1425-1435), also in the Palace Museum, published in Yeh Peilan, Appraising Ancient Chinese Ceramics, Taipei, 1994, pl. 83. While in shape and decoration Qing examples are undoubtedly inspired by Ming dynasty pieces, the brushwork and painting style in these later examples are much more detailed, with the cobalt blue also of brighter tone. The neck has also become wider and the body of a more bulbous profile.

Vases of this form and design are held in important museums and private collections worldwide, including one in the National Palace Museum, Taipei, illustrated in Porcelain of the National Palace Museum. Blue and White Wares of the Ch’ing Dynasty, vol. 2, Hong Kong, 1968, pl. 12; another in the Palace Museum, Beijing, published in Gu taoci ziliao xuancui [Selection of ceramic material from the Palace Museum], Beijing, 2005, vol. 2, pl. 181; and a third illustrated in Chinese Porcelain. The S.C. Ko Tianminlou Collection, Hong Kong, 1987, vol. 1, pl. 62. Further examples include one sold at Christie’s Hong Kong, 30th May 2006, lot 2773, and again in these rooms, 8th October 2010, lot 2773; and another sold in our London rooms, 17th December 1996, lot 104.

Vases of this type were produced throughout the Qing dynasty; see two unmarked examples attributed to the Kangxi period (1662-1722), one in the Palace Museum, Beijing, illustrated in the Compendium of Collections in the Palace Museum. Ceramics, vol. 21, Shunzhi and Kangxi Periods of Qing Dynasty, Beijing, 2013, pl. 94, and the other sold in our London rooms, 6th November 2008, lot 136, and again at Christie’s New York, 16th September 2011, lot 1515; a Yongzheng mark and period example sold twice in these rooms, 21st May 1984, lot 511, and 2nd May 2005, lot 511; and a Daoguang version sold in our London rooms, 9th December 1982, lot 251, and again in these rooms, 15th November 1988, lot 212.