Expert’s note: Technically, the painting style on this Bitong closely resembles 18th-century European prints and engravings, particularly in its use of stippling to create shading and depth in the landscapes. Idealized landscapes with small figures began appearing in French prints around 1750 and soon reached China, inspiring local artists to develop a Chinese response to these novel designs. The painting on the present lot remains closely aligned with its etched prototypes, suggesting a creation date between 1750 and 1800.
Given the exceptional quality of the enameling, it is possible that this piece was produced in a workshop associated with the Imperial court or even within the Zaobanchu (Imperial Household Department). The finest puce-enameled landscapes appear on ceramics, glass, and copper wares, often bearing Qianlong marks, and seem to have been produced exclusively at Imperial ateliers during the latter half of Qianlong’s reign. The Yongzheng Yuzhi mark on the present lot should be regarded as an homage rather than merely apocryphal, as no such wares were produced during the Yongzheng period.

China. Of cylindrical form, finely painted in rich detail with a tranquil scene featuring a scholar, a lady, and a farmer before an elaborate temple complex nestled between craggy rocks and lush trees, the vast river with two fishermen in a boat, all below towering misty mountains. The base with a blue-enameled four-character mark Yongzheng yuzhi.

Provenance: Property from an old Private Collection, Louisiana, United States. Freeman’s, Philadelphia, 8 April 2021, lot 16, sold for USD 63,000 or approx. EUR 71,500 (converted and adjusted for inflation at the time of writing). A notable private collector in Kensington, London, United Kingdom, acquired from the above.
Condition: A notable hairline crack which has been professionally cleaned and stabilized extends through more than half of the vessel. Otherwise in good condition with expected old wear from handling, minor firing irregularities, light scratches, and rubbing to gilt and enamels. The mark partly faded.

Weight: 465.6 g
Dimensions: Height 13.4 cm

With an associated padded silk storage box. (2)

Literature comparison:
Compare a porcelain bowl with puce enameled landscapes against a millefleur ground, with a Yongzheng mark and of the period, in the Seattle Art Museum, accession number 33.55. Compare a related puce enameled porcelain vase with landscape decoration, with a Qianlong mark and of the period, in the collection of the Palace Museum, Beijing, included in the exhibition West Meets East. Western Style Porcelain in the Forbidden City, Beijing, 2005, and illustrated on Gothebog.com.