A closely related example from the Baur collection is illustrated in Gakuji Hasebe and Fujio Nakazawa eds, Chūgoku no tōji. Shin no kanyō [Chinese ceramics. Official wares in Qing dynasty], vol. 11, Tokyo, 1996, pl. 50; another in the Jingdezhen Ceramic Museum is illustrated in The Complete Collection of Porcelain of Jiangxi Province, Beijing, 2008, vol. II, pl. 69; and a further example was included in the exhibition Chinese Celadons and Other Related Wares in Southeast Asia, National Museum of Singapore, 1979, cat. no. 274. See also a zhadou of this type, from the J.M. Hu Family collection, sold in our New York rooms, 23rd September 1995, lot 427; and another sold in our London rooms, 3rd December 1974, lot 356, and again, 13th May 2009, lot 220.

Zhadou of this form appear to have been favoured by the Yongzheng Emperor and were also created with various glazes; for example, one of comparable size, but with a Ru-type glaze, in the National Palace Museum, Taipei is illustrated in A Panorama of Ceramics in the National Palace Museum: Chun ware, Taipei, 1999, pl. 15; one covered in a guan-type glaze, from the collection of Sir Herbert Ingram, now in the Ashmolean Museum, Oxford, is illustrated in Soame Jenyns, Later Chinese Porcelain. The Ch'ing Dynasty (1644-1912), London, 1951, pl. LXVI, fig. 2; and two turquoise-glazed examples were sold at Christie's London, 10th April, 1984, lot 227. Two zhadou are also depicted in the 1728 handscroll, Guwantu [Pictures of Antiquities], from the Sir Percival David collection, now in the British Museum, London, and included in the exhibition China. The Three Emperors. 1662-1795, Royal Academy of Arts, London, 2005, cat. no. 168.

Sotheby's. Important Chinese Art from the Collection of Sir Quo-Wei Lee II, Hong Kong, 08 October 2019