AN OUTSTANDING AND FINELY ENAMELLED FAMILLE-ROSE MILLEFLEURS BOWLJiaqing seal mark and of the periodThe delicately potted bowl with deep sides flared in a curve towards the rim, finely enamelled in a rich famille rose palette on the exterior with a dense design of a multitude of various flowers between narrow gilt borders on the mouthrim and the edge of the foot, the interior and the base glazed white, the base inscribed with a six-character seal mark in underglaze blue.13cm (5 1/8in) diam.Provenance: 清嘉慶 粉彩萬花錦紋碗青花「大清嘉慶年製」篆書款Provenance:S. Marchant & Son, London, March 2001Property from a private Dallas collectionChristie's New York, 18 September 2015, lot 2073來源：倫敦馬錢特，2001年3月美國德克薩斯州達拉斯私人收藏紐約佳士得，2015年9月18日，拍品2073This superb bowl is a tour de force of the decorator's art and would have been extremely time-consuming to produce, requiring a painter of exceptional skill. Even with the resources available to the Qing emperors, it is not surprising that very few pieces decorated with thisplex design were made, and only a handful have survived. The dense arrangement of various flowers decorating this bowl is known as wanhuajin (myriad flower brocade), as well as baihuadi (ground of one hundred flowers), and, according to T.T. Bartholomew in Hidden Meanings in Chinese Art, Asian Art Museum of San Francisco, 2006, p.146, during the Qing dynasty the design conveyed the hope that the Qing dynasty 'would last as long as flowers continue to bloom.'The millefleurs design first appears during the Yongzheng period, as represented by a small bowl in the Qing Court Collection, illustrated in Theplete Collection of Treasures of the Palace Museum - Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, p.18, no.15. During the Qianlong period a variation of this design appeared, with the design bing more dense, allowing no visible white space between the flowers and leaves, and with the addition of iron-red. This version of the pattern is well represented by a large Qianlong-marked vase in the Musée Guimet, illustrated by Beurdeley and Raindre, Qing Porcelain - Famille Verte, Famille Rose, London, 1987, pl.165.This version of the design, with its rich interweaving of the flowers to form a harmonious overall pattern, continued to be admired during the reign of the Jiaqing emperor as seen on the present bowl. See two fine examples: a vase with flowers and dragon handles in the National Palace Museum, Taipei, illustrated in Lord Jiaqing and the Journey to Taiwan: A Special Exhibition on Cultural Artifacts of the Qing Emperor Renzong, Taipei, 2016, pp.290-291, pl.III-38; and another Jiaqing-marked vase in the Shanghai Museum, illustrated by Zhou Lili, Shanghai Museum Collections Research Series of: Qing Yongzheng - Xuantong Porcelain Kiln, Shanghai, 2014, p.120, pl.3-83. A pair of c with this design and iron-red Jiaqing marks from the Edward T. Chow Collection was illustrated by Cecile