Overview

No overview.

Inscription

in calligraphy in a style consistent with Wanli in a horizontal white reserve panel under the lip in dark, vivid underglaze cobalt blue: Da Ming Wanli nian zhi (made in the Wanli reign of the great Ming Dynasty)

Marks and Labels

null

Provenance

(S. Bing, Paris); James A. Garland [d. 1901/1902], New York; sold 1902 to J. Pierpont Morgan [1837-1913], New York; (Duveen Brothers, New York); sold 1915 to Peter A. B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania; inheritance from Estate of Peter A. B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, Pennsylvania; gift 1942 to NGA.

Exhibition History

Bibliography

1904
Morgan 1904-1911, 1:17, no. 16, pl. 61.
1907
Bushell, Stephen, and William M. Laffan. Catalogue of the Morgan Collection of the Chinese Porcelains in the Metropolitan Museum of Art. New York, 1907: 26, no. 19, repro.
1915
Hobson, R. L. Chinese Pottery and Porcelain. New York, 1915: 2, 79.
1942
Works of Art from the Widener Collection. Foreword by David Finley and John Walker. National Gallery of Art, Washington, 1942: 21.
1947
Christensen, Erwin O. Chinese Porcelains of the Widener Collection. Washington, 1947 (rev. ed. 1956): 23, repro. 28, 29; 1956: 24, repro. 28, fig. 11, 12.
1988
Jenyns, Soame. Ming Pottery and Porcelain. London, 1988: 139, repro. 190.
1998
Bower, Virginia, Josephine Hadley Knapp, Stephen Little, and Robert Wilson Torchia. Decorative Arts, Part II: Far Eastern Ceramics and Paintings; Persian and Indian Rugs and Carpets. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1998: 42-44, color repro.

Conservation Notes

The white porcelain body is covered with an emerald green glaze. Joint lines show prominently at the base of the neck and at mid-body, and faint indications of joints are visible at the waist and at mid-neck 1. The interior appears to have an opaque white glaze, as does the base, which is slightly recessed. The beveled low foot is unglazed and rough. There is an adhesion scar on the shoulder from crowding in the kiln, and some glaze skips are found on the mane of the dragon to the right of the inscription. The glaze is slightly streaked, with some dark flecks and a few blue drips. There are evanescent indications of the former all-over gold surface decoration in the form of iridescent marks caused by changes in surface gloss. Some traces of gold remain in small depressions.

1. Hajime Kato, a Japanese ceramist famous for his technical virtuosity, examined this piece in 1957. He noted that the piece is made from molds in five sections. He commented further that, contrary to some published descriptions, the design was not incised under the glaze, but had been painted in gold that has since worn off, and that the adhesive from the gold is what remains to be seen (conversation with the author, 27 August 1963, in NGA curatorial files).

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