A MASSIVE BRONZE-IMITATION FAMILLE-ROSE DOUBLE-GOURD VASE QING DYNASTY, QIANLONG PERIOD

robustly potted with a compressed globular lower bulb, sweeping up to a constricted waist supporting an upper bulb rising to a waisted neck, the lower bulb moulded and delicately painted in bright enamels with four medallions enclosing scenes of boys at play alternating with landscapes, the upper bulb similarly decorated with smaller roundels enclosing flowers including lotus, peony, prunus, camellia and chrysanthemum, all reserved against a bronze-imitation ground embellished with gilt-decorated butterflies and detached flower sprays, the rim encircled by ruyi heads, the foot skirted by lappets interlaced with ruyi scrolls, the interior and base left white

An Austrian private collection, by repute.

There is a restoration outside the mouth rim (showing under UV) probably to conceal a chip or flake to the exterior. Some rubbing to the gilding and some wear to the enamels as visible on the catalogue photo but overall the vase is in good condition considering its massive size and age.
"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."

Imitations of other materials were a challenge taken up by the Jingdezhen potters to display the great potential of their craft, and appear to have particularly pleased the Qianlong Emperor. Archaistic bronzes were particularly favoured as popular models and were copied in a great variety of ways. The present vase belongs to a group of wares that combined a bronze-inspired ground, embellished with gilt-painted designs to simulate inlay, with a contemporary form and famille-rose design. A vase of this type, but of slightly larger size and a darker brown ground than the present, from the Qing court collection and still in Beijing, is illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelains with Cloisonné Enamel Decoration and Famille Rose Decoration, Hong Kong, 1999, pl. 138. Vases from this group were produced in an array of forms and embellished with various famille-rose scenes in shaped panels; a much smaller hexagonal vase with archaistic dragon handles, adorned with a landscape and poem on either side, was sold in these rooms, 29th November 1978, lot 304; a pair was sold in our London rooms, 10th July 1979, lot 179; and a wall vase version, with Qianlong seal mark and period, was sold in these rooms, 7th April 2015, lot 3123. See also a larger baluster vase, decorated on each side with a large quatrefoil panel enclosing landscape scenes and also set with archaistic dragon handles, but gilded with bats amidst cloud scrolls and sprays of lotus and lingzhi fungus, with Qianlong mark and period, sold in these rooms, 9th November 1982, lot 300; and a lobed ovoid vase, but splashed with gold mottling to give a metallic effect, also sold in these rooms, 29th November 1976, lot 587.

In decoration and form this vase is full of auspicious imagery which reveals it was probably produced as a marriage gift. The double gourd (hulu) is symbolic of the union of yin and yang, the meaning of which is complemented by the gilt-painted butterflies that flit from flower to flower symbolising a long a happy marriage. The combination of the peony, chrysanthemum, lotus and camellia on the upper bulb represents the four seasons, thus evoking the passage of time while the wish for many successful sons is indicated by the scenes of boys at play. Furthermore, the landscapes provide the reminder to the young couple that a connection with nature is vital for their personal growth and well-being.