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Lot Essay
It is extremely rare to find Yongzheng-marked vases of this shape and size. Compare the considerably smaller (31.5 cm. high) Qianlong-marked vase from the T.Y. Chao Private and Family Trust Collection sold in these rooms, 31 March 1992, lot 576 and another trefoil version included in the National Palace Museum, Special Exhibition of Kangxi, Yongzheng and Qianlong Porcelain, Taipei, 1987, p. 132, col. pl. 105.
The glaze on the mounted vase may be compared with that on a vase in the Percival David Foundation, illustrated by Scott in Elegant Form and Harmonious Decoration, London, 1992, no. 152, which also bears a Yongzheng six-character seal mark in underglaze blue, the latter being hidden by an incised yong bao (forever precious) mark.
Henry Dasson (1825-1896) was an important furniture maker especially famous for producing the finest of ormolu mounts with high quality mercurial gilding and for his remarkable copies of the famous Louis XV bureau. In 1889, he received a 'Grand Prix Artistique' for a high profile exhibition of Louis XIV, XV and XVI style pieces. Dasson used a script signature on his mounts, and in all recorded cases the christian name is spelt with a 'y' at the end, and the metalwork almost always incorporated a date after the signature, as in the case of the mount on this vase. For further information on Dasson, see Denise Ledoux-Lebard, Le Mobilier Francais du XIXe Siecle, Paris, 1989, and Christopher Payne, 19th Century European Furniture, Woodbridge, 1985.
The glaze on the mounted vase may be compared with that on a vase in the Percival David Foundation, illustrated by Scott in Elegant Form and Harmonious Decoration, London, 1992, no. 152, which also bears a Yongzheng six-character seal mark in underglaze blue, the latter being hidden by an incised yong bao (forever precious) mark.
Henry Dasson (1825-1896) was an important furniture maker especially famous for producing the finest of ormolu mounts with high quality mercurial gilding and for his remarkable copies of the famous Louis XV bureau. In 1889, he received a 'Grand Prix Artistique' for a high profile exhibition of Louis XIV, XV and XVI style pieces. Dasson used a script signature on his mounts, and in all recorded cases the christian name is spelt with a 'y' at the end, and the metalwork almost always incorporated a date after the signature, as in the case of the mount on this vase. For further information on Dasson, see Denise Ledoux-Lebard, Le Mobilier Francais du XIXe Siecle, Paris, 1989, and Christopher Payne, 19th Century European Furniture, Woodbridge, 1985.