An identical stemcup, possibly the same one, was included in the Mostra d'Arte Cinese, Exhibition of Chinese Art, Palazzo Ducale, Venice, 1954, illustrated in the Catalogue, no. 445; while another cup with a similar design was included in the exhibition of The George de Menasce Collection, Spink and Son, London, 1972, and illustrated in the Catalogue, no. 232. Cf. also an octagonal stemcup with the Eight Immortals reserved in the biscuit on the exterior, included in the Kau Chi Society of Chinese Art Exhibition of Ancient Chinese Ceramics, The Chinese University of Hong Kong, 1981, illustrated in the Catalogue, no. 54; and another, sold in Hong Kong, 26 May 1980, lot 424.

The technique of producing biscuit-fired panels on a vertical surface surrounded by celadon glaze was a challenging one that was overcome by the ceramicists at the Longquan kilns during the 14th century. To prevent the celadon glaze from adhering to the surface of the reserved biscuit panels during firing, wax was applied on these areas before the cup was glazed. When the piece was fired, the glaze matured in its usual way, while the wax was burnt off the panels, leaving the clay to be biscuit-fired to a reddish-brown tone that contrasts very well with the soft celadon glaze. Compare also the results of this technique on a meiping in the Percival David Foundation, illustrated by R. E. Scott, Percival David Foundation of Chinese Art: A Guide to the Collection, London, 1989, p. 62, pl. 50, where it is noted that traces of gold have remained on the biscuit panels of the vase, like a number of other wares of this type.