清十八世紀 掐絲琺瑯皮球花花口折沿盆

sturdily cast, the circular basin constructed with straight sides rising from a flat base to a wide and flat lobed rim simulating petals, the vessel vibrantly decorated overall, save for the gilt-bronze base and underside of the wide rim, in cloisonné enamels with multi-coloured 'flower-balls', the flat centre of the interior and flat wide rim decorated whimsically with blooms, some freely floating, others overlapping in small clusters, against a bright turquoise ground densely picked out with gilt-bronze key-fret patterns, the cavetto and exterior with blooms rendered borne on curling foliage against a turquoise ground

The basin is in overall good condition. There are characteristic pittings, light surface wear and enamel crackles. There are also typical minor bruises to the extremities, especially to the outer mouthrim, as well as one on the exterior with associated enamel crackles.
"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."

It is rare to find deep basins of this impressive size, as they are more commonly known to be cast with barbed rims, such as one, enamelled with a flower scroll on the interior and ball flowers on the rim, in the Palace Museum, Beijing, illustrated in Compendium of Collections in the Palace Museum, Enamels, vol. 4, Cloisonné in the Qing Dynasty, Beijing, 2011, pl. 4.

The elegant, almost abstract, pattern of overlapping flower roundels appears to have had its origin in Japanese design, where circular heraldic family symbols of different patterns, called mon, are a popular motif of textiles, lacquer, ceramics and other works of art. The design was taken over during the Yongzheng reign, who is known to have greatly appreciated Japanese aesthetics, and by the Qianlong period it had become fully incorporated into the craftsman’s repertoire and was equally used on porcelain, cloisonné enamel and lacquer.