Jars of this type appear to have been popular during the Jiajing period and a number of similar examples are included in Museum collections. Two of these still retain their cover: one in the Palace Museum, Beijing, illustrated in A Contrast Between Genuine and Fake Porcelain and the Porcelain Specimens from Ancient Kiln Sites Collected in the Palace Museum (Pictorial Album), Beijing, 1998, p. 158, pl. 67; the other in the Musèe Guimet, illustrated in Oriental Ceramics, The World's Great Collections, vol. 7, Tokyo, 1981, pl. 23, where it is noted that "the yellow enamel was applied and fired first, followed by the iron-red and sepia (outlines)".
Others without the cover are in the Asian Art Museum of San Francisco, illustrated by He Li, Chinese Ceramics, New York, 1996, p. 239, no. 483; in the Idemitsu Museum of Arts, illustrated in The 15th Anniversary Catalogue, Tokyo, 1981, p. 188, no. 814; another in Mayuyama, Seventy Years, 1976, vol. I, pl. 834; in the Matsuoka Museum of Art, illustrated in Selected Masterpieces of Oriental Ceramics, Japan, 1984, pl. 66; one illustrated by R. Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994, p. 86, no. 706; one by B. Gyllensvärd, Chinese Ceramics in the Carl Kempe Collection, Stockholm, 1965, p. 246, no. 838; and one from the collection of D.G. Ide included in the O.C.S. exhibition, The Arts of the Ming Dynasty, London, 15 November -14 December 1957, pl. 14, no. 203. See, also, the similar jars sold in our Hong Kong rooms, 18 March 1991, lot 537 and in these rooms, 27 November 1991, lot 336.