清雍正 鬪彩纏枝花卉「萬壽」直口盌 《大清雍正年製》款

the deep rounded sides resting on a slightly tapered foot, the exterior exquisitely decorated in multi-coloured enamels with a leafy scroll painted in shades of green issuing gnarled purple twigs bearing large lotus blossoms and double-peaches, above a vividly painted upright petal lappet bordering the base, all between two bands of leafy scrolls alternating with blue bats with outstretched wings encircling the rim and the foot, the interior centred with a medallion enclosing a beribboned stylised wan symbol wreathed in leaves and peaches, all within a double-line border repeated at the rim, the base inscribed in underglaze blue with a six-character reign mark within a double-circle

日本舊藏

Good condition. Original firing imperfection - a 0.5 cm dent to the interior wall, burst bubble to rim and to base.
"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."

 

This is an extremely rare Yongzheng interpretation of a design more commonly found in the Kangxi period. Only two other examples, both of identical size, form and decoration appear to be recorded: the first, originally in the collection of Dr Robert Barron, New Orleans and now in the Meiyintang collection, illustrated by Regina Krahl, Chinese Ceramics from the Meiyingtang Collection, London, vol. 4, pt. II, London, 2010, no. 1746, the second, from the collection of Dr Richard and Mrs Mary Eckhardt, originally acquired in Japan between 1947-52, and sold in our New York rooms, 20th March 2012, lot 100. For the Kangxi prototype, see the pair sold in these rooms, 27th October 1992, lot 167 and again 8th October 2014, lot 3632, illustrated on the cover.

Both Kangxi and Yongzheng examples are characterised by the elegant and unusual design of a narrow band depicted as though a wreath has been wrapped around the bowl. Both exude refinement of composition,  accentuated by the variation of colours and delicacy of the enamelling which illustrate carefully observed details: the ripeness of the peaches is finely captured through pointillist iron-red dots and the blossoms are rendered both in full bloom with darker petal tips and as buds about to open. The Kangxi example differs from the Yongzheng bowl in having a swastika border at the rim in underglaze-blue and lacks the band of bats amidst foliage encircling the rim and foot.

Although the decoration on these bowls does not closely follow a specific Chenghua design, it nevertheless takes its inspiration from the Chenghua period (1465-87) through the choice of the doucai technique and the painting style. Compare, for example, the execution of the leafy branch and manner in which the fruit has been painted in yellow and iron-red on a Chenghua mark and period bowl, excavated from the waste heaps of the Ming Imperial Kilns from Zhushan, Jingdezhen, included in the exhibition A Legacy of Chenghua, The Tsui Museum of Art, Hong Kong, 1993, cat. no. C115. The continuous band of a fruiting and flowering tree is found on a Chenghua stemcup, which depicts two boughs of fruiting apple branches amongst which sit a pair of birds, such as one in the National Palace Museum, Taipei, included in the Special Exhibition of Ch’eng-hua Porcelain Ware, National Palace Museum, Taipei, 2003, cat. no. 170.