清十八世紀初 銅錯銀纏枝蓮紋長頸荸薺瓶

superbly cast with a compressed globular body rising from a splayed foot to a tall cylindrical neck and slightly flared mouthrim, the exterior intricately decorated in silver inlay with large baoxiang hua blooms borne on meandering leafy scrolls, the foot bordered with a stylised band of pendent lotus lappets, the patina of a variegated dark brown colour

郝思曼收藏，諾丁漢
Sydney L. Moss Ltd.，倫敦

胡廣俊，《Later Chinese Bronzes - The Saint Louis Art Museum and Robert Kresko Collections》，聖路易斯，2008年，編號31

General oxidisation to the surface. There are expected bruises with corresponding minor loss of detail to the silver inlay, as visible in the catalogue photo. A section of footrim, measuring approx. 10.5 cm, appears to be stabilised or strengthened at a later stage.
"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."

This large and superbly cast vase is exceptional for the elegance of its form and the quality of its silver-inlaid decoration. It appears to be unique, with no other example published in any museum or private collection. Despite its massive proportions, the graceful harmonious proportions of the body are successfully retained.

The elegant form of this vase, found in porcelain vases of the early Qing dynasty, is inspired by a Song prototype. Compare a Ge vase with an everted rim, which was probably in turn inspired by a metal prototype, illustrated in The Complete Collection of Treasures of the Palace Museum. Porcelain of the Song Dynasty (II), Hong Kong, 1996, pl. 38. See also a Yongzheng reign-marked lavender-glazed bottle vase, of the same form as the current vessel, differing only in the twin bands of raised ribs and the slightly wider mouthrim, sold twice in these rooms, 3rd May 1994, lot 97, from the Edward T. Chow collection, and more recently, 7th April 2015, lot 110

The intricate silver-inlaid decoration is reminiscent of the late Ming Shisou workshop, where high quality silver-inlaid vessels bearing two-character marks were produced. For a smaller vessel decorated with a silver-inlaid design of comparable intricacy to the current vase, see an inscribed octagonal gold and silver inlaid vessel, dated to 1541 or 1601, illustrated by Gerard Tsang and Hugh Moss, Arts from the Scholar’s Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, no. 157, and sold in these rooms, 8th April 2014, lot 228.

The design of stylised baoxiang hua (‘Buddha’s rose’) flowers, scrolling stems and leaves is closely related to that found on contemporaneous Chinese cloisonné enamel. See the twelve schematic outline drawings which illustrate the development of such flowers, illustrated in Helmut Brinker and Albert Lutz, Chinese Cloisonne: The Pierre Uldry Collection, New York, 1989, p. 59, pls. 34a-m, where the one that most conforms to the design of the current vase is ascribed by the authors to the 18th century.