A blue and white 'sanduo' lobed bowl, Qing dynasty, Yongzheng mark and of the period (1723-35).
What will the transport cost?
Shipping can only be arranged by contacting specialdelivery@bukowskis.com.
For condition report contact specialist
Finely potted with wide rounded sides rising from a splayed foot to a lobed rim, the exterior divided into six panels each enclosing blossoming and fruiting branches of pomegranate, peach and finger lemon in shaped panels, above a border of six lingzhi sprays encircling the foot, a band of scrolls waves repeated on the inner and outer rims, the interior centred with a lobed cartouche enclosing a single branch of peaches, the base with a six-character mark in underglaze blue. Height 8.5 cm. Diameter 15.4 cm.
Restored chips, polished rim.
Provenance
From the collection of Karl Rientze Hugosson (1929-2015), thence by descent. Karl started his career at an early age in Gothenburg working for Swedish Customs; his work was within clearing antiques and works of art from abroad. At this time of course Gothenburg was an important port were much of the items from Europe arrived. This is where the passion for antiques and Asian art was born, and especially the interest in Chinese Works of Art that became a lifelong passion. After retirement he held lectures about Chinese porcelain and became a guide for travel agencies that took Swedish citizens to China. In an interview with Karl Hugosson in article in Antik & Auktion of 7/8 1992, he says ‘I had a first-row seat in the antique trade/ import during the era after World War II.
Exhibitions
Compare a stemcup like this one sold at Sothebys, lot no 526. Important Chinese Art
21 March 2018 • New York.
Literature
Compare; aslo with a Yongzheng mark and period stem bowl featuring a Ming-style lotus design in the National Palace Museum, Taipei, illustrated in Blue and White Wares of The Ch'ing Dynasty, vol. I, Hong Kong, 1968, pp 90-91, pl. 13.
More information
This elegant bowl epitomises the Yongzheng Emperor’s taste for classic styles of the past, his interest in their reinterpretation, and the pursuit of outstanding quality. The Yongzheng Emperor (r. 1723-1734) took a keen interest in the work of various imperial manufactories in his empire and particularly the imperial kilns at Jingdezhen, where artistic direction was led by his personal taste. Through his brilliant kiln supervisor, Tang Ying, the Emperor pursued a distinctive style and refinement; studying celebrated wares of the past and fine-tuning their shapes to harmonious proportions to develop sophisticated designs full of vitality and vigour.