A PAIR OF LARGE CLOISONNE ENAMEL VASES QIANLONG MARKS AND PERIOD

each of modified gu-form, the ovoid body surmounted by a flared neck with slightly everted lip, all on a spreading base with short vertical foot, twin ruyi-head-shaped handles flanking the neck, superbly enameled with nine registers of decoration, the largest central section with four stylized flowerheads each with stems bound by double rings, issuing leaves and delicate scrolling vines, below a band of pendent ruyi-heads, the flower-scroll repeated at the base divided by a band of upright lappets, the neck with two pairs of confronting chilong below pendent acanthus leaves, the red, pink, green, blue, yellow and black enamels on a turquoise ground, with incised four-character marks within double squares (2)

Acquired in the 1950s in New York City and thence by descent.  

Each base with a drilled hole when previously wired as a lamp. There is filled restoration around the mouth rims, each with filled restoration to a white lotus on the body and one with restoration to a leaf towards the base. There are scattered area of tiny losses and fills. Three of the gilt metal handles are slightly loose and there is wear to the gilt. The rims are 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.

It is interesting to note the depiction and synthesis of Ming and early Qing motifs in the decoration of the present vases. The lotus scrolls are portrayed among fine symmetrical scrollwork with scrolling vines, unlike the more simplified and robust vines and foliage scrolls found on Ming wares.  The depiction of leaves on the present vases are more closely related to European Baroque foliate scrolls or the foliage found on Qianlong carved jades of Mughal inspiration.  The chilong depicted on the necks reference the stylized dragons of the late 16th and early 17th century, but have been further abstracted, blending harmoniously with the stylized scrollwork accompanying the lotus blossoms on the vases.

For a pair of smaller (10 7/8  in., 27.5 cm) vases of similar form with lotus scroll decoration, compare the pair of vases with Qianlong mark and of the period, said to have been made as part of a set of tableware used by the Qianlong Emperor for formal banquets, illustrated in Chuimei Ho and Bennet Bronson, Splendors of China's Forbidden City, The Glorious Reign of Emperor Qianlong, London, 2004, no. 244, p. 199.