PROVENANCE 1. Collection of J. Lionberger Davis, St. Louis 2. Property of G. Vietor and Maude O. Davis, Jr. 3. The Meiyintang Collection EXHIBITION 1. St. Louis Art Museum, St. Louis (on loan) 2. Pure and Natural: Special EXHIBITION of Ming and Qing Monochrome Porcelains, Poly Art Museum, Beijing, 2018 LITERATURE 1. Regina Krahl, Chinese Ceramics from the Meiyintang Collection, vol. 4(2), London, 1994-2010, p.393, no.183 2. Eskenazi, A Dealer’s Hand: The Chinese Art World Through the Eyes of Giuseppe Eskenazi, London, 2012, p.350, pl.432
The dish is delicately potted and the shallow sides are crisply molded with forty-four fluted petals radiating from the slightly sunken well to form a foliate rim. It is lobed on the exterior, continuing to the footrim, and is applied overall in an even bright lemon-yellow glaze. The base is left white with a six-character Qianlong mark within a double circle. Chrysanthemum-shaped dishes with slender petals, like those on this dish, were made in both the Yongzheng and the Qianlong reigns, but those made for the Yongzheng Emperor have petals with slightly more pointed ends. Palace records for the 27th day of the 12th month of the 11th year of Yongzheng’s reign (1733) note an order from the emperor to the director at the imperial kilns requesting twelve chrysanthemum-shaped dishes in different colours. A similar example is included in the complete set of twelve colours at the Palace Museum, Beijing, illustrated in Monochrome Porcelain, The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1999, pp. 282-283, no. 257.