Page 237 - 2020 October 8 HK Fine Classical Paintings

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PROPERTY FROM AN IMPORTANT ASIAN PRIVATE COLLECTION 清乾隆 胭脂紅彩菊瓣盤
A RARE ROSE-PINK ENAMELLED 《大清乾隆年製》款
CHRYSANTHEMUM DISH
MARK AND PERIOD OF QIANLONG 來源：
K.W. Woollcombe-Boyce 收藏，編號47
the shallow rounded sides superbly moulded in the form of
slender fluted petals radiating from a slightly recessed flat 霍爾教授（1924-2001年）收藏，編號367
centre simulating a chrysanthemum bloom, all supported on 香港蘇富比2000年5月2日，編號555
a foot of corresponding form, covered overall in a brilliant rich
rose-pink enamel, the base left white and inscribed with a six-
character reign mark in underglaze blue
18.1 cm, 7⅛ in.
PROVENANCE
Collection of K.W. Woollcombe-Boyce, no. 47.
Collection of Professor Edward T. Hall (1924-2001), no. 367.
Sotheby’s Hong Kong, 2nd May 2000, lot 555.

HK$ 800,000-1,200,000
US$ 104,000-155,000

The use of a kaishu mark on this exquisite chrysanthemum
dish suggests that it was created at the beginning of the
Qianlong era. A similar dish is illustrated in Regina Krahl,
Chinese Ceramics from the Meiyintang Collection, vol. 2,
London, 1994, no. 916. See also another example in the
Goldschlager collection, included in the Min Chiu Society
Exhibition of Monochrome Ceramics of Ming and Ch’ing
Dynasties, Hong Kong Museum of Art, Hong Kong, 1977, cat.
no. 19A, sold in our New York rooms, 24th March 1998, lot 658,
and one from the Cartwright collection, sold in our London
rooms, 9th November 2011, lot 65.
For a Yongzheng prototype, see a dish sold in our Hong Kong
rooms, 15th May 1990, lot 68. The Qianlong dishes closely
follow the Yongzheng examples with the exception of the tips
of the petals which are slightly more rounded and the base left
white in the later dishes.
Qianlong dishes of this type are known in various coloured
glazes; see two examples, one of coral glaze and the other of
turquoise glaze, illustrated in John Ayers, The Baur Collection,
Geneva, vol. III, Geneva, 1972, pls A499 and A450 respectively;
a celadon-glazed example included in the Oriental Ceramic
Society exhibition Iron in the Fire, Ashmolean Museum, Oxford,
1988, cat. no. 83; a white glaze dish included in the exhibition
The Wonders of the Potter’s Palette, Hong Kong Museum
of Art, Hong Kong, 1983, cat. no. 83; and a lemon-yellow
example published in Regina Krahl, Chinese Ceramics from the
Meiyintang Collection, vol. 4, London, 2010, pl. 1832.

Mark

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