Lot 47. Property from the Collection of Dorothy-Lee Jones. A peachbloom-glazed brush washer, tangluoxi, Kangxi six-character mark and of the period (1662-1722); 11.4cm diam; 3.8cm high; 8.3cm diam of mouth. Sold for US$28,160 (Estimate US$ 5,000-7,000) © Bonhams 2001-2024

Of compressed globular body covered on the exterior with an elegant, crushed strawberry-red glaze with tinges of green color, the base with the six-character mark and a very small character jiu (nine) at the edge of the foot in underglaze blue.

Provenance: Collection of Dorothy-Lee Jones (1927-2022), Wellesley, Massachusetts, and Sebago, Maine. A specialist in glass and ceramics and a private collector, she was the founder of the Jones Museum of Glass and Ceramics and an Honorary Fellow of the Corning Museum of Glass.

Note: Notable for its understated elegance conveyed by its perfect geometric shape and the sumptuous peachbloom glaze characterized by dark-red flecks, subtly emerging from the attractive peach-pink ground, the present vessel displays the high standards achieved in porcelain production by the Imperial kilns of Jingdezhen.
See Ralph Chait, 'The Eight Prescribed Peachbloom Shapes Bearing K'ang Hsi Marks', Oriental Art vol.3, no.4, 1957, p.130, where the author describes the famed peachbloom glaze found on Kangxi Imperial ware as follows: "its softly luminous velvety texture and color tone...likened to the coloring of the rind of a peach ripening in the sun".

The peachbloom glaze was an innovation of the Kangxi period and technically very challenging to produce. The elegant glaze was obtained by coating the vessel with a layer of clear glaze, followed by a layer of copper-oxide-rich pigment, possibly blown onto the underlying glaze using a straw, and then a further layer of clear glaze on top. After being fired in a reducing atmosphere and perhaps finished in an oxidizing atmosphere, the pigment developed a soft mottled red tone with flushes of moss green.

The fact that many extant examples of peachbloom-glazed vessels show little sign of use suggests that they may have been appreciated as works of art by the Imperial household or given as Imperial gifts. From the outset, peachbloom wares have also been esteemed by connoisseurs and collectors, due to their aesthetic qualities and the fact that this glaze was applied only to a limited range of 'eight prescribed' vessel types, all apparently specifically designed for scholarly use. These forms include three types of waterpots, a covered seal-paste box and four vases of differing forms. A complete set including all such forms in The Metropolitan Museum of Art, New York, is illustrated in Oriental Ceramics. The World's Great Collections, vol.2, Tokyo, 1982, pl. 28. One similar peachboom-glazed washer with Kangxi mark in the Palace Museum, Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum. Monochrome Porcelain, Hong Kong, 1999, pl. 19.

The present washer belongs to a small group of 'numbered' peachbloom-glazed vessels. A tiny 九 (9) character written in underglaze blue marked on the sideline of the foot. Compare the peachbloom-glazed washers with 'numbered' mark in museum collections: one in the collection of the Shanghai Museum, illustrated in Kangxi Porcelain Wares from the Shanghai Museum Collection, Hong Kong, 1998, pl. 208; the other in the collection of the Metropolitan Museum of Art, illustrated on the museum's website, accession number 14.140.385. Both museum examples were marked in Suzhou Numerals (蘇州碼子), a short-handed numeral system used in commerce. The purpose of these numbers remains a mystery today and is a subject requires further investigation.

Two similar peachbloom-glazed brush washers were sold at Sotheby's Hong Kong, respectively on 4 June 2020, lot 532, and 2 October 2018, lot 120; a further peachbloom-glazed brush washer was sold at Christie's Hong Kong, 27 November 2013, lot 3488. Another brush washer was sold at Bonham's San Francisco, 20 December 2011, Lot 8303.

Lot 68. Property of The Metropolitan Museum of Art, sold to benefit the Acquisition Fund. A copper-red-glazed Langyao-type baluster vase, Kangxi period (1662-1722); 25.4cm high. Sold for US$7,680 (Estimate US$ 1,200-1,800) © Bonhams 2001-2024

The high-shouldered ovoid body covered with a rich strawberry copper-red glaze thinning to celadon-white at the slightly spreading recessed foot, the neck cut-down.

Provenance: Mr. and Mrs. Isaac D. Fletcher Collection, Bequest of Isaac D. Fletcher, 1917
The Metropolitan Museum of Art, 1917-present.

Note: For other Langyao vases of similar size and form (with necks), see Wang Qingzheng (ed.) Kangxi Porcelain Ware from the Shanghai Museum Collection, Shanghai, 1998, p.325, no.209; Laure Schwartz-Arenales (ed.), Mille Ans De Monochromes, Vaiselle sacree et profane des empereurs de Chine (A Millennium of Monochromes From the Great Tang to the High Qing, The Baur and the Zhuyuetang Collections, Fondation Baur, Musee Des Arts D'Extreme-Orient, Geneva, 2019, p.288, no.132; and the Illustrated Catalogue of Ming and Qing Monochrome Wares in the Percival David Foundation of Chinese Art, Section 6, revised edition, London, 1989, pl.V, A507.

See Virginia Bower, Josephine Hadley Knapp, Stephen Little and Robert Wilson Torchia, Decorative Arts, Part II, Far Eastern Ceramics and Paintings, National Gallery of Art, Washington, 1998, for another Langyao type meiping (with repaired neck), p. 56, no. 1972-43.30 (C-585).

Lot 59. A white-glazed vase, 17th-18th century; 45.2cm high (wood stand). Sold for US$3,840 (Estimate US$ 3,000-4,000) © Bonhams 2001-2024

The tall, melon-form vase tapering into a high shoulder applied with lion-mask handles flanking a broad keyfret band, the surface covered with a creamy pale ivory glaze exhibiting a wide crackle.

Note: This piece takes its inspiration from 17th century dehua examples of meiping shape with lion-mask handles and a keyfret band. The hard, gray thick body of the vessel and the strong craquelure points to a possible Fujian kiln production. See Li, He. Chinese Ceramics: A New Comprehensive Survey from the Asian Art Museum of San Francisco, New York, 1996, pls. 506 and 507.

Lot 48. A magnificent and rare copper-red-glazed bottle vase, Yongzheng six-character mark and of the period (1723-1735); 28.1cm high. Sold for US$51,200 (Estimate US$ 50,000-70,000) © Bonhams 2001-2024

Well-proportioned and supported on a domed foot rising to a broad shoulder, the tall cylindrical neck with a pair of raised bowstrings, the small dish-shaped mouth echoing the shape of the foot, covered on the exterior with a finely mottled peachbloom-type glaze, the interior and underside with a translucent blue-tinted glaze, the base slightly recessed, written in kaishu the six-character Yongzheng mark in underglaze-blue within double circle.

Provenance: Casa d'aste Martini, Sanremo, Italy, 6 September 2022, lot 173
Private Collection, Montreal, Quebec

Note: Porcelain vases of this form was one of the brilliant inventions in the Yongzheng period. The distinctive swelling shoulder, long neck with a pair of bow strings, the disc-shaped rim and the domed foot were actually elements based on the Buddhist 'holy water bottle' prototypes from earlier dynasties, but the exquisite glaze and clean lines make the vase uniquely Yongzheng. See, for example, a Tang dynasty bronze vase of very similar silhouette in the collection of the Metropolitan Museum of Art, illustrated on the museum's website, accession number 1985.214.15. fig.1 See also the Song/Yuan dynasty Longquan celadon-glazed 'da ji' bottle vase of closely related form, offered at J.J. Lally & Co., New York, March 2007, no. 23. fig.2 A Ming dynasty celadon-glazed vase of closely related form, unearthed at Jingdezhen from the layer of Yongle porcelain shards, is illustrated by Liu Xinyuan, Ceramic Finds from Jingdezhen Kilns (10th-17th Century), The Fung Ping Shan Museum, The University of Hong Kong, Hong Kong, 1992, pl. 201. fig.3 Compare also the Kangxi-marked peachbloom-glazed broad-shouldered bottle vase decorated with raised bowstrings at the bottom of the neck, in the collection of the Metropolitan Museum of Art, illustrated on the museum's website, accession number 14.40.377. fig.4

fig 1: A Bronze Vase, Tang Dynasty (618 907), Gift of Ernest Ericson Foundation, 1985, The Metropolitan Museum of Art, 1985.214.15

fig 2: A Longquan Celadon Buddhist Ritual Water Vessel, Yuan Dynasty (1279-1368), from an American Collection, J.J. Lally & Co., March 2007, no. 23

fig 3: After Liu Xinyuan, Ceramic Finds from Jingdezhen Kilns (10th-17th Century), The Fung Ping Shan Museum, The University of Hong Kong, Hong Kong, 1992, pl. 201.

fig 4: A ‘Peach-bloom’ Glazed Vase, Kangxi mark and period (1662-1722), Bquest of Benjamin Altman, 1913, The Metropolitan Museum of Art, 14.40.377

The exceptional glaze of the present vase, in 'strawberry' tones and soft mottling, is reminiscent of the peachbloom glaze made in the late Kangxi period. Compare the copper-red glazed vase of this form in the collection of the Palace Museum, Beijing, illustrated in Qingdai Yuyao Ciqi, Vol. I, part II, Beijing, 2005, pp. 40-41, no. 10 and on the museum's website as 故00149047, described as ji hong, sacrificial red, a bold, intense red different from the soft peachbloom tones. fig.5 Yongzheng-marked vases of this form are more often glazed in blue or flambé, many now in the collection of the Palace Museum in Taipei. Examples of ge-imitation glaze are in the collection of the Palace Museum in Beijing and in the Baur Collection in Geneva, Switzerland, both molded with 'three rams' heads' at the shoulder. Other known variations also including clair de lune glaze and blue and white decorations.

fig 5: After Palace Museum, Beijing, illustrated on the museum's website, 故00149047

While the 'peachbloom' glaze was a Kangxi invention and rarely seen in the Yongzheng period, there are few examples showing the continued evolution of this high-fired copper-rich glaze. Compare, for example, a pair of Yongzheng-marked 'peachbloom-type' glazed meiping from the H.O. Havemeyer Collection, sold at Christie's New York, 14 September 2012, lots 1545 with uneven glaze color and lot 1546 with the light-green resulted from exposing to oxygen in the kiln atmosphere.

Lot 50. A very rare tianbai-glazed chrysanthemum-form bowl, Yongzheng six-character mark and of the period (1723-1735); 18.2cm diam., 9.8cm high. Sold for US$76,700 (Estimate US$ 70,000-90,000) © Bonhams 2001-2024

Finely potted with deep, rounded sides molded with chrysanthemum petals that rise from the foot to the scalloped rim, covered overall with a pale translucent blue that pools in darker tones in the recessed areas, the base with six-character Yongzheng mark within double circle.

Provenance: Christie's, New York, 22 March 2018, lot 768.

Note: The subtle elegance and refinement of the of the present bowl is emblematic of the Yongzheng emperor’s taste. It alludes to his interest in classical forms and monochrome wares of the Song dynasty, and his particular attraction to scalloped designs. According to Feng Xianming (Wenwu, 1984), in the eleventh year of his reign, the Yongzheng emperor issued a decree requesting the manufacture of 40 sets of ‘chrysanthemum’ dishes to be made. A full set of twelve survives in the Palace Museum, Beijing and is illustrated in Kangxi, Yongzheng, Qianlong: Qing Porcelain from the Palace Museum, Hong Kong, 1989, p. 316, no. 145; others have come to market or been preserved in museum or private collections. While the emperor’s edict makes no mention of bowls, these wares nonetheless follow the same aesthetic principles as the monochrome ‘chrysanthemum’ dishes he ordered.

Very few imperial Yongzheng chrysanthemum-form bowls appear to have been produced, and of the extant examples, this appears to be the only one bathed in a very pale bluish-white tianbai glaze. Other bowls of this type include four applied with a celadon glaze: one from the Meiyintang Collection, published by Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994, Volume II, no. 860, and later sold at Sotheby’s, Hong Kong, 7 April 2013, lot 5; one sold first at Christie’s, Hong Kong, 26 April 2004, lot 943 and later at Sotheby’s, Hong Kong, 2 April 2018, lot 3201; a third, sold at Sotheby’s, Hong Kong, 17 May 1988, lot 71; and a fourth, included in the exhibition Qing Porcelain from a Private Collection, Eskenazi Ltd., London, 2012, cat. no. 4. A lemon-yellow-glazed bowl of this type sold at Christie’s, New York, 24 September 2021, lot 869.

Lot 54. A small lemon yellow-glazed wine cup, Yongzheng six-character mark and of the period (1723-1735); 7.5cm diam. Sold for US$32,000 (Estimate US$ 30,000-50,000) © Bonhams 2001-2024

The rounded sides rising from a recessed base, finely glazed on the exterior in a delicate lemon-yellow of even tone, the neatly pared foot rim unglazed showing the fine porcelain body, the base with an underglaze-blue six-character Yongzheng mark within double-square.

Provenance: Acquired by the father of the present owner, thence by descent.

Note: This elegant wine cup combines the low, rounded, footless profile typically reserved for imperial Yongzheng cups painted in polychrome enamels, with the rich yellow color normally applied to more vertical wine cups bearing the emperor’s mark. For the shape, compare a pair of famille-rose ‘scholar and fishermen’ wine cups sold in our Hong Kong rooms, 28 November 2017, lot 29; and a pair of famille-rose ‘bird and flower’ cups from the Percival David Foundation, now in the collection of the British Museum (coll. no. PDF 873), illustrated on the museum’s website. Both sets bear the six-character imperial mark within a double square, in the same manner as the present example. For a contemporaneous cup of this shape painted in doucai enamels and bearing an apocryphal Chenghua mark within a double square, see one sold in our London rooms, 16 May 2024, lot 29. See also a footless yellow-glazed Yongzheng mark and period wine cup of similar coloration to the present example, but with more vertical sides, sold at Christie’s, New York, 25 March 2022, lot 1129; and a variation of comparable shape, but enameled with green scrolling lotus against a yellow ground, sold in our Hong Kong rooms, 26 May 2014, lot 125.

Lot 52. A flambé-glazed bottle vase, meiping, Qianlong six-character seal mark and of the period (1736-1795); 29.8cm high. Sold for US$35,840 (Estimate US$ 15,000-20,000) © Bonhams 2001-2024

Rising from a slightly splayed foot to a broad-shouldered body with a straight neck and everted rim, covered overall in a rich purplish-red glaze with lavender streaks, the mouth rim and interior thinning to a mushroom tone, the base mottled with light translucent blue glaze over mushroom-brown, an incised six-character Qianlong mark in seal script at the center.

Provenance: Private Collection, Montreal, Quebec

Lot 53. A celadon-glazed double gourd vase, Qianlong six-character seal mark and of the period (1736-1795); 33.4cm high. Sold for US$28,160 (Estimate US$ 40,000-60,000) © Bonhams 2001-2024

Elegantly potted with compressed globular lower bulb rising from the countersunk base to a smaller teardrop-shaped upper bulb, covered overall with a soft celadon glaze pooling to a darker tone at the recess, the celadon-glazed base with Qianlong six-character mark in underglaze blue.

Provenance: Acquired by the father of the present owner, thence by descent

Note: With it's elegant 'double gourd' silhouette and jade-like celadon tone, the present vase carries associations of immortality and purity. Numerous examples produced at the imperial kilns during the Qianlong emperor's reign have survived.

A pair of these vases, now in the collection of The Metropolitan Museum of Art (acc. nos. 1997.1.5 and 1997.1.6), is published in Suzanne Valenstein, The Herzman Collection of Chinese Ceramics, New York, 1992, no. 98. Another was included in the exhibition Qing Imperial Monochromes: The Zande Lou Collection, Art Museum, The Chinese University of Hong Kong, Hong Kong, 2005, cat. no. 42; and one in the Meiyintang Collection is illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 2, London, 1994, pl. 864. Other vases of this type include one in the Nanjing Museum that was included in the The Exhibition of Qing Imperial Porcelain of the Kangxi, Yongzheng, Qianlong Reigns, 1995, cat. no. 69; and a vase published in Chinese Porcelain: The S.C. Ko Tianminlou Collection, vol. I, Hong Kong, 1987, pl. 106.

See also Qianlong seal mark and period celadon-glazed double-gourd vases that have come to market, such as one from the Gordon Collection sold at Christie's, New York, 24 March 2011, lot 1135; another sold in their London rooms, 12 November 2010, lot 1450; a third vase sold first at Sotheby's, Hong Kong, 29 November 1976, lot 541 and later at Christie's, Hong Kong, 28 May 2014, lot 3308. More recently, a vase of this type from the Chauncey D. Stillman Collection sold at Christie's, New York, 14 September 2017, lot 1249; and one from the Chuan Ching Tang Collection sold at Sotheby's, Hong Kong, 9 April 2024, lot 3706. A vase of this form and color, retaining its original cover, sold in our New York rooms, 19 March 2018, lot 8047.

Lot 53. Property from The Collection of Margaret Roebling Perrine. A rare Imperial white glazed lotus petal ounded conical bowl, lianzi, Qianlong six-character seal mark and of the period( 1736-1795); 19.5cm diam. Sold for US$7,040 (Estimate US$ 7,000-10,000) © Bonhams 2001-2024

The lower half of the bowl exterior of conical form with sixteen molded double-lobed petals that rise from the spreading foot and are divided at the tips by small petal ends, the rounded foot ring unglazed and the interior foot ring slanting steeply inward to the conical base which forms a tip at the center of the underglaze cobalt-blue seal mark, the rounded upper half of the exterior molded and incised with a key-pattern and between a double and single encircling lines, the interior plain.

Note: The present bowl is inspired by early 15th century bowls in form and decoration. For an example with incised upright lappets, rather than the molded lappets of the present example, and key-fret design at the rim, see John Ayers, Far Eastern Ceramics in the Victoria and Albert Museum, London, 1980, no. 144.

See also for an identical bowl sold in our London rooms, 10 Nov 2011, lot 75, formerly in the Inder Rieden Collection.

Lot 58. A Ge-type vase with ruyi handles, Qianlong six-character seal mark and of the period (1736-1795); 4.3cm high. Sold for US$35,840 (Estimate US$ 15,000-25,000) © Bonhams 2001-2024

The elegant pear-shaped body resting on a tall splayed foot, the long neck gently waisted and flanked by a pair of slender S-form scepter handles, the pale cream glaze with networks of black and golden crackles covering inside and out, the mouth rim with a narrow unglazed band revealing the dark-brown stoneware body with the glaze continuing over the rim and to the interior, the unglazed foot rim covered with brown wash, the base with Qianlong six-character seal mark in underglaze blue.

Provenance: Acquired from a Philidelphia Estate, by repute.

Note: The glaze on the present vase was inspired in accordance with the Qianlong emperor's wish to 'restore ancient ways,' calling on craftsman to draw inspiration from archaic examples, enabling them to imbue their designs with simplicity and honesty, achieving refinement and elegance. The two-toned crackled glaze is a direct reference to the celebrated Southern Song dynasty Ge wares.

For a discussion on Ge revival wares, see Peter Y.K. Lam, Shimmering Colours: Monochromes of the Yuan to Qing Periods, The Zhuyuetang Collection, Hong Kong, 2005, pp. 42-44, where the author notes that on the 13th year of the Yongzheng reign, corresponding to 1735, Tang Ying, on the eve of leaving Jingdezhen to take on his newly appointed role as the Superintendent of the Huai’an Custom Office, composed the famous document Taocheng jishi bei ji (Commemorative Stele on Ceramic Production), on the management and productions of the Imperial Factory in Jingdezhen. The document lists nearly forty types of monochrome glazes, including the Ge glaze. This glaze was described as ‘... with iron body, including millet color and pale green, copied from ancient pieces sent from the Imperial Palace.’ The Qianlong emperor recorded his admiration of the famed Ge glaze by composing a number of poems, including one inscribed on two Ge-type glazed arrow vases, Yuan dynasty, from the Percival David Collection in the British Museum.

A another similarly sized Ge type vase of Zun shape with a Qianlong seal mark was sold in our Hong Kong rooms, 2 June 2016, Lot 21.

Lot 61. Property from The Estate of Mark S. Pratt (1928-2023), Washington DC. A blue-glazed saucer dish, Qianlong six-character seal mark and of the period (1736-1795); 16.5cm high. Sold for US$12,160 (Estimate US$ 1,000-1,500) © Bonhams 2001-2024

Finely potted with curving sides rising from a short slightly inward-tapering foot, the interior and exterior covered in a rich monochrome blue glaze thinning to white on the mouth rim, the base glazed white.

Provenance: The Estate of Mark. S. Pratt (1928-2023), Washington D.C.

Note: A very similar blue-glazed saucer dish from the John E. Bodie OBE (1930-2023) Collection was sold in our London sale rooms, 16 May 2024, lot 48.

Lot 60. Property from The Estate of Mark S. Pratt (1928-2023), Washington DC. A large Langyao copper-red glazed bowl, 18th century; 25.4cm diam (wood stand). Sold for US$12,160 (Estimate US$ 1,000-1,500) © Bonhams 2001-2024

Heavily potted with steeply rounded sides and supported by a short ring foot, the deep strawberry glaze evenly applied and pulled to a lighter tone at the mouth rim, the translucent glaze on the interior and base with a faint blue tint, the foot neatly pared showing fine porcelain body fired to an orange shade in areas.

Provenance: The Estate of Mark. S. Pratt (1928-2023), Washington D.C.

Lot 63. Property from the Preiser Collection. An 'iron rust'-glazed vase, 18th century; 19.7cm high. Sold for US$5,760  (Estimate US$ 5,000-7,000) © Bonhams 2001-2024

The well-potted ovoid body tapering inward to a high waisted neck and flared rim, the surface covered in and out with a lustrous iron-rust 'patinated bronze' glaze repeated on the interior of the foot.

Provenance: The Collection of Dr. Franklin Preiser, by descent.

Note: For a closely related vase of similar size and glaze sold in these rooms, see Passion and Philanthropy: Chinese Art from the Metropolitan Museum of Art, Bonhams New York, March 18, 2024, lot 37, Samuel Putnam Avery (1822-1904), New York, purchased by subscription 1879.

Lot 56. A cobalt blue-glazed dish, Jingweitang mark, 18th-19th century; 19.7cm diam; 4.1cm high. Sold for US$12,800 (Estimate US$ 5,000-8,000) © Bonhams 2001-2024

With rounded side and iron-brown wash on the everted rim, glazed in deep cobalt blue on the exterior, the rim covered with brown wash, the base with Jingweitang zhi 敬畏堂製 hall mark in underglaze blue within double square.

Note: The mark Jingweitang zhi was recorded by Chen Liu 陳瀏 (1863-1929) in his 1906 publication Tao Ya 匋雅 (Pottery Refinements) describing the porcelain made only in celadon wares, but as Wilson stresses in Rare Marks on Chinese Ceramics, London, 1998, pp. 114-115, no. 47, where the author illustrates a celadon bowl bearing Jingweitang zhi mark, “not all vessels with this mark are celadon-glazed.”

Scholars have yet to locate sufficient evidence to identify the owner of the Jingweitang zhi-marked porcelains. Wang Qingzheng 汪慶 正 (1931-2005) has suggested in Jianming Taoci Cidian 簡明陶瓷辭 典 that this group of porcelains belonged to the Manchu high official Agedunbu, while Qingren Shiming Biecheng Zihao Suoyin 清人室名別 稱字號索引 records that Jingweitang was the studio name of Li Hu 李 笏 (courtesy name Duanren 端人, sobriquet Zhucun 竹村), a native of Cixi 慈溪, near the present-day Ningbo in Zhejiang Province. When the studio name is associated with more than one person it is necessary to f ind further documentation, which oftentimes recorded in private letters and random notes.

Two pairs of cobalt blue dishes bearing Jingweitang zhi marks were sold at Bonhams New York, 21 March 2022, lot 164 and 19 March 2018, lot 8069.

Lot 62. A turquoise-glazed 'dragon' bowl, Tongzhi six-character mark and of the period (1862-1874); 15cm diam; 6.4cm high. Sold for US$2,800 (Estimate US$ 4,000-6,000) © Bonhams 2001-2024

Raised on a short foot finely incised with a keyfret band supporting the flaring sides and everted rim incised with two cavorting dragons pursuing flaming jewels over crashing waves, the brilliant turquoise glaze applied in alternating heavy 'spotted' concentrations on both interior and exterior, on the base a six-character Tongzhi mark in underglaze blue.

Lot 69. A teadust-glazed 'four rams' vase, Late Qing-Early Republic Period; 36cm high. Sold for US$2,800 (Estimate US$ 4,000-6,000) © Bonhams 2001-2024

Raise on a splayed ring foot, the globular body set with two bowstring rings and tapering to a waisted neck applied with four rams' head masks below a flared neck and everted rim, the vessel covered in and out with a deep olive 'teadust' glaze, the base incised with a six-character Qianlong mark in a square seal under the recessed foot.

Bonhams. Chinese Ceramics and Works of Art, New York, 16 September 2024