After the death of Augustus the Strong, beaker vases of this type were sent to the Dresden Residence to be installed in the Turmzimmer. A remarkable series of early photographs show how the Meissen porcelain, including surviving vases of this form, was displayed there. In one plate from the 1896 album Das Königliche Residenz-schloß zu Dresden, published by the Dresden firm Römmler & Jonas, six appear on brackets, flanked by "Element" vases (pl. 20); and in a photograph of the south wall, two vases feature on brackets flanking the doorway to the loggia, reproduced in Berling, 1900 (pl. 1), both illustrations are reproduced in Loesch, 2019, p. 264, p. 59.

An underglaze-blue-ground beaker vase of this form and size, which features the same painted floral band at the centre, remains in the Porzellansammlung, Dresden, inv. no. PE 1524, illustrated in Seyffarth, 1960, pp. 151-59. Unlike the present pair, all the figure panels are painted in a manner ascribed to Stadler. The same central medallion of a fisherman seen on one of the present vases also appears. Another is in the Reiss-Museum, Mannheim, illustrated in Rückert, 1999, pl. 58, no. 217, attributed to Stadler. Unlike the present vases, the midsection has no reserves but is decorated with gilt flowers and birds.

As suggested by den Blaauwen, 2000, p. 85, the use of Böttger lustre, seen on the verso panels in the rockwork below the pagoda buildings, could point to a Stadler attribution. Similar buildings and lustre-filled rockwork feature on works generally accepted as being by Stadler, including a tall beaker vase and documentary lantern, both in the Porzellansammlung, Dresden, inv. nos. PE 1523/22, the latter, with its Jingdezhen prototype, is illustrated in Pietsch, 1996, p. 101, abb. 42. It is interesting to note the two different gilt borders around the reserved panels on either side of the vases, reaffirming one side was the principle view (with the more elaborate gilt border) and the opposite side was the verso.

The Oppenheimers acquired these vases separately and only owned one by the 1927 publication date of the Schnorr von Carolsfeld catalogue of the collection, in which the author notes the similarities in the treatment of the painted figures on the one vase (Oppenheimer no. 171), and the scene on the tankard dated 1726 (lot 62 in this sale).