of tall baluster form terminating in a wide trumpet form mouth, vividly painted in underglaze blue and overglaze famille-verte with four rectangular reserves of flowers, lotus, chrysanthemum and peony and with further scattered flowering boughs and colorful butterflies against a blue leiwen ground, the neck similarly decorated, all between narrow bands of floral reserves on a stippled ground at the foot, neck and rim, the interior and base glazed white

J.P. Morgan 收藏，紐約
Chinese Porcelain Company，紐約，1989年12月5日

Exhibited on Loan to The Metropolitan Museum of Art, New York 1913-1915, no. 1203.

《Catalogue of The Morgan Collection of Chinese Porcelains》，第1冊，紐約，1904及1911年，例S，編號1203

Restoration to rim and there are a few glaze flaws and a firing crack along the base rim which is slightly uneven.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Although J. Pierpont Morgan (1837-1913) was a renowned and voracious art collector, particularly from the 1890s, Chinese art was not his primary focus. Most of the Morgan Chinese porcelain was previously in the James A. Garland collection, which consisted of over a thousand Kangxi (1662-1722) period blue and white and enameled porcelains. The collection was on loan to the Metropolitan Museum until Garland’s death in 1902, when it was sold to Henry Duveen for $500,000. Morgan negotiated with Duveen to repurchase the collection for $600,000 and commissioned him to fill any gaps so as to make it even more complete. Morgan's confidence in his ability to discern quality is captured in a charming anecdote; on a particular visit to his Madison Avenue mansion, Duveen presented him with five Kangxi vases declaring that two of them were fakes. Without hesitation Morgan raised is cane and smashed two of the vase, fortunately he made the right choice and retained the authentic examples. 

Morgan self-published the first catalogue of  his collection and circulated it privately. The second edition of the Catalogue, published by the Metropolitan Museum, was produced as a single volume, edited by William Laffan, with Stephen Bushell revising the catalogue entries and contributing a Historical introduction. After Morgan’s death in 1913, his son, J.P. Morgan Jr. (Jack), sold the collection to Henry Duveen in 1915 for $3 million, in part to meet his father’s cash bequests and New York state inheritance tax. Henry Duveen sold most of the collection to J.D. Rockefeller, Henry Clay Frick and P.A.B. Widener in 1916 for $3,350,000.