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It's a beautiful monochrome vase.
Judging these by pictures is very difficult at the best of times.
One can clearly see a reflection which is a very good sign of authentication.
The base is roughly finished which is consistent with revival pieces.
Mark
Having a chance to sit down and review/inspect a few more key details today, there's a few details that throw me in either direction still.
The white glaze on the bottom runs right next to the slope drop of the foot in a very clean fashion. From the examples I can find, this part of the glaze is usually set/covered much lower away from the foot rim slope for 19th century revivalist works. It's compariable to the base outside glazing which has been covered up. In reference, there is a very subtle yet noticable solid clean running almost green/black glaze cut off along the bottom portion outside where one should expect to see with kangxi, which resembles the langyao example i posted back a bit ago. Given the majority is covered up, it's tough to say. The black rush work slapped around the unglazed foot rim area is chipping with my finger nail, some comes up and I feel it can be removed pretty quickly where that black/green cutoff does not come apart whatsoever.
Reference photo:
Blacklight fluorescence of the white glazed parts are a vibrant purple/blue based on the angle and distance, the mirror black glaze has virtually no reaction across it and does a better job at reflecting the uv light than it does fluorescence with it. What's left of the gold leaf reacts as expected. The parts of the foot rim area i noted above do fluoresce where the black brush work has skipped over. Typically the more visual signs such as pooling of a reglaze and effects would be more noticable as well and I guess should fluoresce appropriately in certain spots, but I could be wrong about this not having experience enough to know truly.
@william actually I want to discuss this part about the base being grinded down for the lamping process, and maybe its key to something about the lamping process or just the vase itself by naturally as it usually is. The vase does not have a perfect sitting posture. It noticably wobbles to its resting point when set. So the base of the foot rim line is uneven and not flat as it typically would be. I haven't really come across many at all of early 20th or late 19th lamped/lamp vases that have this issue. It seems really odd to not work out this issue with a more modern period production or even rework of a lamp, but given how carefree the drilling was done, maybe this wasn't a factor. Although, I feel it may be a suggestive feature to preserve the vase, even with the grinding down, if this wasn't a key problem to solve with the manufacturer.
I haven't had enough insight knowledge to know more about the sizes and proportion however, so I can't really add much to anything yet here.
So far personally I feel as a best case scenario, I think it's reglazed. Worst case, 19th revivalist piece.
@blacklotus I will pick up a pen today while I'm out finishing up these jobs and do some trace work tonight over it. I'm excited to see how the design was myself. It won't be perfect or suitable as a full repair but it'll be better to get a good comprehensive understanding of how the design looks. Just wish I could do something about the side hole. The lamp hole doesn't directly bother me as much ironically but it was horribly done. I don't think they even tried to use wet drilling.
The suspense of this piece's history is becoming quite palpable but majority concern is still a siding factor to the age.
I am including a link to the next Freeman’s/Hindman Asian sale. I guess there are exceptions to every rule. Pay particular attention to the base of the 15” Mirror Black gilded vase (Lot 5)
https://hindmanauctions.com/auctions/2025-asian-works-of-art/lot/5
I sold a blue and white late 19th/early 20th c vase with an uneven base for no obvious reason, so it does happen.
William, that is a beautiful Kangxi example you found.
Peter provided his update, it is not Kangxi and at best 19th century of the many created in manufacturing for export at the time. The hole was also punched in which helps to know going forward. The appearance likely faded out the goldleaf due to cleaning methods around the 20 and 30s using ammonia to clean porcelain.
Neat lesson, and appreciate the knowledge/information shared from everyone here with this one!
Also @lotusblack I tried to use a pen on this but it's not versatile enough for me to use and way too sloppy. I do want to restore the gilding around it personally still so I'll keep it as a study work and come back to it in time.
I guess we win some and lose some. Not being Kangxi and revival is still a good find and it was cheap. As for gold there are good paints. But what works best is resin and gold powder. Use the slow set resin. I mix a little in the resin and than coat the top.
@lotusblack thanks for the tip! I'll take it into account with some tutorial training when I find time to go at it this month
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