of domed shape, set with a short spout and a loop handle, the raised flattened cover surmounted by a circular knop, the exterior carved in low relief with bamboo in the style of Zheng Xie, accompanied by an inscription signed Hengyun Shanmin (the hao of Hu Gongshou) and dated to the 8th year of Tongzhi (corresponding to 1869), the base impressed with a square seal reading Shi Li Ge

good condition with just minor surface wear
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Another Yixing stoneware teapot and cover incised with prunus and impressed with a similar Shi Li Ge seal, is illustrated in K.S. Lo, The Stonewares of Yixing from the Ming Period to the Present Day, London, 1986, p. 127, pl. 72, and discussed on p. 165, where the author notes another teapot, dated 1893, in Li Jingkang and Zhang Hong, A Pictorial Study of the Teapots of Yangxian, Hong Kong, 1937, p. 48. The Shi Li Ge seal was also associated with Tong Fei (1865-1932), the director of the Jiangsu Provincial School of Yixing Stoneware in 1916.

A celebrated scholar, painter and potter, Hu Gongshou (1823-86) was active from the Daoguang to Guangxu reigns. Close to Wu Dacheng, he was associated with a workshop set up in the courtyard of the Lin 🌱family under the patronage of Mei Tiaoding (1839-1906). The workshop was named 'Yucheng' after an inscription by Zhang Zai (1020-77) of the Song dynasty, which metaphorically suggested that one should endeavour to secure success like one cherishes his jade. Although the workshop only produced teapots commissioned by scholars and teapot con⛎noisseurs, it attracted leading artists including carvers, calligraphers and painters to work together to create some of the most outstanding teapots with a scholarly aesthetic.

The inscription and bamboo design of the present teapot ꧟rꦯeferences the paintings of Zheng Xie (1693-1765), a celebrated artist of the mid-Qing dynasty. He was one of the 18th century 'Eight Yangzhou Eccentrics', and the best-known bamboo painter of the Qing dynasty.