A LARGE IMPERIAL CLOISONNÉ ENAMEL AND GILT-BRONZE VASE, ZUN QING DYNASTY, QIANLONG PERIOD

modelled after archaic bronze zun vessels, of hexagonal section, the slightly compressed globular body rising from a tall spreading foot to a tall trumpet neck, the neck flanked by a large pair of gilt-bronze 'phoenix' handles, the body brightly enamelled around the exterior with archaistic taotie masks between plantain lappets, lotus scrolls and key-fret bands reserved on a floral strapwork and turquoise ground

Sotheby’s London, 4th November 2009, lot 149.

Generally in good condition, however there are some restoration to the underside of the rim in one section, in addition to other occasional areas on the neck and body. There is some rubbing to the gilding in several areas and there are minor expected losses and pitting to the enamel throughout. The applied gilt bronze masks to the body and foot are now missing.
"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."

While cloisonné vessels of this type are known from the Ming and Qing periods, the present piece is unusual for its facetted hexagonal form. Vases of this shape have their roots in archaic ritual bronze zun vessels of the Shang period; however the Qing craftsmen added their own design elements and made liberal changes to the prototype, thus creating pieces that were contemporary and unique. For example, the tall trumpet mouth adorned with imposing phoenix-shaped handles of the present vase has replaced the plain, broad and shorter neck characteristic of the archaic vessels. As the Qianlong Emperor was an avid collector of objects that were modelled after relics from antiquity, pieces such as this vase would have satisfied his idiosyncratic taste for the old and new.

Unlike the floral designs that dominated Ming vessels of this type, Qing versions were decorated with taotie masks and archaistic geometric patterns. The return to archaistic designs highlights the Qing emperors' desire to be aligned with the past and thus reaffirm their legitimacy to the Chinese throne. A closely related pair of vases, but with ringed mask-handles on the lobed body, and formerly in the Kitson Collection, was sold in our London rooms, 18th October 1960, lot 83. See also a slightly later example, in the Qing Court collection and still in Beijing, ornately decorated with archaistic designs, but with intricately modelled phoenix handles and three ringed mask-handles, published in The Complete Collection of Treasures of the Palace Museum Collection. Metal-Bodied Enamel Ware, Hong Kong, 2002, pl. 143; and another with highly stylised and simplified phoenix handles, illustrated in Zhongguo jin yin boli falang qi quanji [Complete book of gold and silver wares, glass wares and cloisonné enamels], Shijiazhuang, 2002, pl. 299.  

For a Ming vase of similar form, but with ten ringed phoenix handles and decorated with bands of flowers, grapevines and Buddhist lions, in the National Palace Museum, Taipei, see Masterpieces of Chinese Enamel Ware in the National Palace Museum, Taipei, 1971, pl. 11; and another adorned with lotus scrolls and with three ringed mask-handles, sold at Christie's London, 5th/6th July 1984, lot 11. Compare also a cloisonné yenyen vase, attributed to the Yuan dynasty, with stiff leaves on the neck, similarly adorned with phoenix handles on the neck, in the Qing Court collection, and still in Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum Collection, op. cit., pl. 1.