Sotheby's London, 7th January 1964, lot 32. 

Collection of Dr Wou Kiuan (1910-1997). 

Wou Lien𓃲-Pai Museum, 1968-present, coll. no.💫 Q.8.15. 

倫敦蘇富比1964年1月7日，編號32

吳權博士 (1910-1997) 收藏

吳蓮伯博物院，1968年至今，編號Q.8.15

Rose Kerr et al., Chinese Antiquities from the Wou Kiuan Collection. Wou Lien-Pai Museum, Hong Kong, 2011, pl. 148. 

倫敦蘇富比1964年1月7日，編號32

吳權博士 (1910-1997) 收藏

吳蓮伯博物院，1968年至今，編號Q.8.15

This design exists also in blue with white reserves only, but whereas the blue and white version may be based on prototypes of the Xuande reign (1426-35), the blue and yellow style was devised in the Yongzheng period. The Yongzheng dishes differ markedly in their technique from the Ming examples. While the Qing pieces show a speckled 'powder-blue' glaze that would have been blown onto the vessel surface through a tube covered with gauze - a form of application ideally suited for stencil reserves -  the Ming prototypes show a thick, dark cobalt-blue glaze, where ℱwhite reserves were much more difficult to achieve.

A blue and white dish of the same design and provenance was in the Meiyintang Collection, illustrated in Regina Krahl, Chinese Ceramics from the Meiyintang Collection, London, 1994-2010, vol. 4, no. 843, and sold in our Hong Kong rooms, 7th April 2011, lot 75; another blue and white dish of this pattern in the Metropolitan Museum of Art, New York, is illustrated in Suzanne G. Valenstein, A Handbook of Chinese Ceramics, New York, 1989, pl. 248; and one with a different white design in the National Museum, Beijing is published in Zhongguo Guojia Bowuguan guancang wenwu yanjiu congshu / Studies on the Collections of the National Museum of China. Ciqi juan [Porcelain section], Qingdai [Qing dynasty], Shanghai, 2007, pl. 42.