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拍品專文
The bowls and dishes painted with clusters of fruiting peach branches are among the finest products of the Imperial kilns of the Yongzheng and Qianlong reigns. The porcelain is usually exceptionally fine and pure; the design is exquisitely composed around the centre of the dish and over the rim, curling to the underside section of the dish. This painting style was probably influenced by textile design and flower painting of the Yongzheng period.
Examples of these peach dishes are to be found in several collections in Europe, with one in the British Museum, bequeathed by Reginald R. Cory, illustrated in Oriental Ceramics, The World's Greatest Collections, Kodansha Series, vol. 5, Japan, 1982, no. 226; another in the Museum of Far Eastern Antiquities, Stockholm, op. cit., Kodansha Series, vol. 9, no. 98; a Qianlong-marked example is in the Grandidier Collection in the Musée Guimet, op. cit., vol. 7, no. 50. Examples in America include one at the Asia Society, Handbook of the Mr and Mrs John D. Rockefeller 3rd Collection, p. 82; at the China Institute in America, Selections of Chinese Art from Private Collections, 1986, illustrated in the Catalogue, no. 8; and the example in Chicago, exhibited in Japan, Exhibition of Masterpieces of Chinese Arts from the Art Institute of Chicago, 1989, illustrated in the Catalogue, no. 94. Another in a permanent Japanese collection is in Tokyo, see the Catalogue to the Exhibition of Famous Pieces of Chinese Pottery and Porcelain in the Matsuoka Museum of Art, Osaka, 1983, no. 84. See also examples recorded in the Tianjin Museum of Art, illustrated in Chungoku Toji Zenshu, vol. 21, pl. 98; one in Chinese Ceramics, the S. C. Ko Tianminlou Collection, vol. II, p. 146, no. 104; and another illustrated by A. du Boulay, Christie's Pictorial History, London, 1984, p. 242, no. 3.
There appears to be two different grades of quality among the smaller dishes. Dishes with marks within double squares, such as this example, are invariably of superb quality, thin bodied and with particularly fine enamelling. Dishes with encircled marks vary slightly in quality, both in refinement of potting and enamelling technique. Larger dishes were also painted in this pattern: see the spectacular dish in the Percival David Foundation, illustrated by R. Scott, A Guide to the Collection, London, 1989, no. 111; and another in the Victoria and Albert Museum, illustrated by J. Ayers, Far Eastern Ceramics, London, 1980, pl. 63. Compare also the large dish sold in these Rooms, 26 April 1999, lot 541.
Examples of these peach dishes are to be found in several collections in Europe, with one in the British Museum, bequeathed by Reginald R. Cory, illustrated in Oriental Ceramics, The World's Greatest Collections, Kodansha Series, vol. 5, Japan, 1982, no. 226; another in the Museum of Far Eastern Antiquities, Stockholm, op. cit., Kodansha Series, vol. 9, no. 98; a Qianlong-marked example is in the Grandidier Collection in the Musée Guimet, op. cit., vol. 7, no. 50. Examples in America include one at the Asia Society, Handbook of the Mr and Mrs John D. Rockefeller 3rd Collection, p. 82; at the China Institute in America, Selections of Chinese Art from Private Collections, 1986, illustrated in the Catalogue, no. 8; and the example in Chicago, exhibited in Japan, Exhibition of Masterpieces of Chinese Arts from the Art Institute of Chicago, 1989, illustrated in the Catalogue, no. 94. Another in a permanent Japanese collection is in Tokyo, see the Catalogue to the Exhibition of Famous Pieces of Chinese Pottery and Porcelain in the Matsuoka Museum of Art, Osaka, 1983, no. 84. See also examples recorded in the Tianjin Museum of Art, illustrated in Chungoku Toji Zenshu, vol. 21, pl. 98; one in Chinese Ceramics, the S. C. Ko Tianminlou Collection, vol. II, p. 146, no. 104; and another illustrated by A. du Boulay, Christie's Pictorial History, London, 1984, p. 242, no. 3.
There appears to be two different grades of quality among the smaller dishes. Dishes with marks within double squares, such as this example, are invariably of superb quality, thin bodied and with particularly fine enamelling. Dishes with encircled marks vary slightly in quality, both in refinement of potting and enamelling technique. Larger dishes were also painted in this pattern: see the spectacular dish in the Percival David Foundation, illustrated by R. Scott, A Guide to the Collection, London, 1989, no. 111; and another in the Victoria and Albert Museum, illustrated by J. Ayers, Far Eastern Ceramics, London, 1980, pl. 63. Compare also the large dish sold in these Rooms, 26 April 1999, lot 541.