A FINE AND RARE KAKIEMON VASE EDO PERIOD, LATE 17TH CENTURY |

oviform with short ring neck and deep foot rim, decorated in iron red, green, yellow, aubergine, blue and black enamels, with three panels each containing two Chinese figures, one under a parasol and the other with a fan, amongst plum and bamboo issuing from rockwork, a bird perched in the upper bowing branches, the panels divided by flowerheads and scrolling foliage, the neck and foot with underglaze blue circumferential lines alternately bordering flowers and a geometric design

This vase is in fine 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."

This is one of the grandest designs in Kakiemon and was much coveted in European collections. The largest group of these vases is in the collection of Augustus the Strong Elector of Saxony in Dresden. The collections are currently being catalogued by Dr. Christiaan J. A. Jorg. The shape is Chinese and the panel design shows two Chinese figures, one holding a Chinese-style fan, the other a domed parasol. The inspiration for the composition of plum, chrysanthemum and bamboo with oversized bird and blossoms comes from the Chinese enamels of the late Kangxi period (1662-1722), and the figure types can be found on 17^th century Chinese blue and white export wares of the Transitional period (1620-1683).

Similar examples are in the Royal Collection at Hampton Court Palace, the collection of the Duke of Marlborough at Blenheim Palace, the collection of the Duke of Bedford at Woburn Abbey, the Victoria & Albert Museum and the Tokyo National Museum.

For the example at Blenheim Palace, see Mark Hinton and Oliver Impey, Kakiemon Porcelain from the English Country House (London, 1989), pl.35 p.57

For further examples in Japanese collections see Kurita Museum: http:/www.kurita.or.jp/imari/catalog/index.htm (ref.no. 56); Imaizumi Motosuke, Genshoku Nihon no meito Ko-Imari to Kakiemon [Important Japanese polychrome ceramics: Ko-Imari and Kakiemon] (Tokyo, 1970), pl. 67; Kurita Hideo, Kurita korekushon kiseki to tenkai/History of the Kurita Collection and Museum (Tokyo, 1990), unnumbered color pl.; Hayashiya Seizo, Kakiemon, vol. 9 of Nihon no toji (Tokyo, 1974), pl. 94; ibid, Kakiemon/Nabeshima, vol. 6 of Nihon no toji (Tokyo, 1972), pl. 94; Nagatake Takeshi, Yabe Yoshiaki and Minamoto Hiromichi, eds., Kakiemon no sekai: genryu kara gendai made [Exhibition of the world of Kakiemon: from its origins to the present], exh. cat. (Fukuoka, 1983), pl. 8 (Sakaida Kakiemon Collection).

In a painting by Augustin Terwesten on the ceiling of Schloss Oranienburg in Berlin (see above), there is a vase of this shape and pattern. As this ceiling was completed by 1695 this provides a secure terminus ad quem date for the type.