宋 / 元 銅饕餮紋貫耳壺

the pear-shaped body rising to a waisted neck and a slightly everted rim, all supported on a slightly splayed foot, the neck flanked by a pair of tubular lug handles cast with a wan-diapered ground, the exterior finely cast in relief with four registers divided by raised double-ribs, the first register with a band of wan symbols, the second with stylised dragons writhing sinuously and accented with leiwen patterns, the third with a double-band of leiwen patterns, all above a broad band enclosing a pair of taotie masks against a leiwen ground, the foot further encircled with a leiwen border, the surface patinated to a rich dark brown colour

Ulrich Hausmann，〈Anmerkungen zur Problematik des Archaismus der späteren chinesischen Bronzen〉，《德國東亞藝術學會》，第5期，柏林，1993年10月，頁24

there appears to be restoration where the foot meets the main body, possibly where they were broken off, or possibly from the original casting process. Minor surface wear otherwise good condition.
"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."

The body of this perfectly proportioned vessel is almost completely covered with different horizontal bands of archaistic decoration. The execution of this design is wonderfully expressive and three dimensional in its appearance and is accentuated by an even patina. It is Ulrich Hausmann's belief that it was this type of bronze which was the favourite altar decoration in the Song period before porcelain equivalents were allowed, due to acute copper shortages.