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A RARE FAMILLE-ROSE ‘FLORAL’ HANDLED prototypes of this design, adopting the Yongzheng aesthetic
VASE, QING DYNASTY, DAOGUANG PERIOD and injecting a further sense of grandeur and creativity,
compare a related handled vase of Qianlong mark and
the base with a five-character Xiezhu zhuren zao (made by
the Master of the Bamboo Flute) mark in iron red reserved period, sold in our London rooms, 17th November 1999, lot
in gilt 763; a related pair of Jiaqing mark and period with more
Height 8⅝ in., 21.9 cm formal enamel borders, sold at Christie’s London, 10th May
2011, lot 238; and another very closely related Qianlong vase
PROVENANCE with an integral trompe-l’oil stand featuring a more typical
ruby ground to the neck, sold in our Hong Kong rooms, 26th
Collection of George Hathaway Taber (1859-1940), prior to October 1993, lot 258.
1935, and thence by descent.
Gifted to the Carnegie Museum of Art, Pittsburgh, 1959 Daoguang examples of this lively borderless style, of any
(accession no. 59.7.9). mark, are extremely rare. Compare a related handled vase
but with formal enamel borders, of Shendetang mark,
This grand yet playful vase – vibrantly decorated with a
floral scene bursting with life – is remarkable in the vibrant illustrated in The Complete Collection, op. cit., pl. 189; a
borderless Shendetang example without handles, featuring
color of its design and its fine attention to detail. With gilt a related flower branch design alongside children at play,
rock-work handles and an extremely rare integral trompe-
l’oeil stand, the present vase makes a conspicuous nod to illustrated in Porcelains with Inscriptions of Shendetang
the grand and creative, often floridly decorated, wares of Collected by the Palace Museum, Beijing, 2014, pl. 63; and
another example, of Daoguang mark, with shou handles, sold
the late Qianlong period. Yet, unlike many handled Qianlong in our Hong Kong rooms, 22nd May 1985, lot 165.
pieces, and indeed many Daoguang pieces, the present vase
also possesses an understated tranquil quality more akin The present mark, reading Xiezhu zhuren zao (made by the
to works from the Yongzheng period. Its lush floral scene, Master of the Bamboo Flute), is also exceedingly rare and
resplendent with color, presented against a pure white identifies the piece as made for the Xiezhuju (Xie Bamboo
ground, the present vase represents the very essence of Studio); a personal study of the Daoguang Emperor, once
Daoguang period (1821-1850) porcelain production, as the located in the Jiangnan Gardens of the Summer Palace.
artisans of Jingdezhen continued to adopt and adapt earlier
imperial designs for ever changing royal tastes. $ 40,000-60,000
For the Yongzheng origins of this lively asymmetrical floral 清道光 粉彩花石圖雙耳連座膽瓶
design, compare a number of related vases featuring 《嶰竹主人造》款
fruiting branches on white grounds, preserved in the Qing
court, illustrated in The Complete Collection of Treasures 來源
of the Palace Museum. Porcelains with Cloisonné Enamel 喬治•哈撒韋•泰貝（1859-1940）收藏，1935年之
Decoration and Famille Rose Decoration, Hong Kong, 1999, 前，此後家族傳承
pls 45-47; and the famous famille rose tianqiuping from the
collection of R.H.R. Palmer, illustrated in Soame Jenyns, 贈予卡內基美術館，匹茲堡，1959年（館藏編號
Later Chinese Porcelain, 1951, pl. XC, fig. 2. For possible 59.7.9）

28 SOTHEBY’S COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11744 PROPERTY FROM CARNEGIE MUSEUM OF ART, SOLD TO BENEFIT THE ACQUISITION FUND 29