AN EXTREMELY RARE PAIR OF IMPERIAL ENAMELLED YELLOW FLORAL VASES MARKS AND PERIOD OF QIANLONG

each with a body of compressed globular lobed form, brightly painted on a lemon yellow ground with turquoise quatrelobed panels on each of the lobes, the alternating panels containing a stylised lotus flowerhead enclosed within a foliate scroll and panels containing a shou character enclosed within an archaistic dragon border, set between ruyi and trefoils around the shoulder and upright plantain leaves and bats just above the foot, the short flared neck further decorated with puce and lime green lotus flowers with interlinked scrolls, all supported on a low foot encircled by a chrysanthemum floret on a foliate scroll, the neck and foot further collared by cast bronze lotus petals, the interior enameled in turquoise, the white base inscribed with a turquoise four-character reign mark

A German collection formed in the 1920s. 

The condition of the enamelling is quite remarkable. The enamelling remains bright and intact with only a few characteristic light crackling. There are some minor expected areas of loss on the interior around the edges on the underside of the neck and around the foot. The overall condition is very good.
"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."

Enamelled vases of this form and decoration are extremely rare and the present pair appears to be the only example of this type recorded. The decoration found on these vases, especially the stylized lotus motif painted in thickly outlined decorative panels is reminiscent of designs found on slightly earlier, Yongzheng period, vessels. See for example a Yongzheng mark and period cylindrical form tripod censer, painted with the design of lotuses in panels, in the Palace Museum, Beijing, illustrated in Zhongguo jin yin boli falangqi quanji, vol. 5, Shijiazhuang, 2002, pl. 233. The design of the shou (longevity) characters also appears on a Yongzheng painted enamel teapot, also from the Qing Court collection and still in Beijing, included in The Complete Collection of Treasures of the Palace Museum. Metal-bodied Enemel Ware, Hong Kong, 2002, pl. 187.

The motif of upright leaves around the base of the vessels is also typical of Yongzheng wares, see a zhadou with the design of flowers and birds reserved within similar decorative panels painted in dark and light shade of blue and a band of upright leaves around the base, in the Palace Museum published ibid., pl. 191. Compare also a pair of Yongzheng mark and period yellow-ground vases richly decorated overall with a stylised floral design divided by a band of black-ground sprig panels, sold in our London rooms, 27^th November 1973, lot 53.

The present vases were possibly decorated by the same artists working in the Imperial Enamel Workshop during Yongzheng's reign and who carried on applying their skills on early Qianlong period wares. However, the finely painted red flower border around the base, seen on these pieces, is typical of the Qianlong period and can be found on many important Qianlong mark and period vessels, such as the painted enamel ewer with loop handle, in the collection of the National Palace Museum, Taipei, illustrated in Enamel Ware in the Ming and Ch'ing Dynasty, Taipei, 1999, pl. 118; on the foot and the rim of a tripod censer, also in Taipei, included ibid., pl. 136; and on the cover of a Qianlong bowl, in the Palace Museum collection, published in Zhongguo jin yin boli falangqi quanji, vol. 6, Shijiazhuang, 2002, lot 147.

The stylized bat motif seen on these vases is also characteristic of Qianlong period designs and can be found on the famous Beijing enamelled square-form brushpot decorated with images of court ladies pursuing leisurely activities, from the Qing Court collection and still in Beijing, published ibid., pl. 148.

Painted enamel vessels decorated with bands of raised gilt-bronze decoration belong to a small group of wares that were especially favoured by the Qianlong emperor who enjoyed lavish and luxurious works of art pieces. A similar border of gilded lappets can be found on the cover of a painted enamel melon-form box included in The Complete Collection of Treasures of the Palace Museum. Metal-bodied Enemel Ware, op.cit., pl. 208, and on a covered bowl painted with flowers, birds and landscapes within reserved panels, pl. 202. Compare also a Qianlong mark and period fluted jar, the shoulder encircled by a raised border of lappets in gilt-bronze, offered in our Hong Kong rooms, 25^th November 1987, lot 451; and a fine miniature Beijing enamel vase, the body of lobed hexagonal form, each lobe decorated in famille-rose enamels on a yellow-ground with a lotus blossom within foliate spandrels, below tiered gilt-bronze lappet borders, also with a Qianlong reign mark on the base, and of the period, from the collection of the Seattle Art Museum, sold in our New York rooms, 28^th February 1980, lot 98.                                                                                                                                                                                                                    

Enamelling on metal was first introduced to the Enamel Workshop around 1714-1716, by which time enamelling on porcelain had already been established. The Enamel Workshop, located within the Forbidden City in Beijing, was one of the many workshops under the supervision of the Zaobanchu (Imperial Palace Workshop) which took its orders from the Neiwufu (Imperial Household Department), a department in charge of managing the everyday affairs of the court and the palace. The Enamel Workshop produced cloisonné, champleve, and painted enamel wares for the Emperor and his family members. By the 18^th century, enamelling on metal had reached its peak and reflected the extravagant taste of the Qianlong emperor. The present pair of vases was made by skilled craftsmen who were predominantly recruited from Guangzhou where this art-form initially developed and flourished. The technique of enamelling on metal was introduced to Guangzhou by Jesuit missionaries who entered the port and brought samples of wares from Europe with them. Yang Boda in Tributes from Guangdong to the Ch'ing Court, Hong Kong, 1987, p. 63, notes that enamel factories in Guangzhou supplied versatile artisans to the Palace workshop and that both the development and improvement of the standard of the Imperial Enamel Workshop was entirely dependent on the Guangdong factories.