清乾隆 銅胎畫北京琺瑯黄地「纏枝花卉」紋長頸瓶一對 《乾隆年製》款

each with a cylindrical copper body supported on a slightly flared foot, rising to a domed shoulder and a tall waisted neck, brightly decorated in successive horizontal registers divided by raised gilt borders, the centre section with a densely foliated yellow-ground flower scroll of peonies, camellias and carnations between blue-hatched petal borders, below a narrow turquoise band of lotus and morning-glories encircling the shoulders, and another of camellias surrounding the base, the foot decorated with a band of blue ruyi above a 'classic' scroll, the neck collared by pendent yellow ruyi against a dark blue ground, below upright plantain leaves and further alternating yellow-ground and turquoise-ground feathery flower scrolls, the lipped rim cover in gilt, the interior enamelled in pale turquoise, the white base inscribed in blue enamel with a four-character reign mark within double squares

Both vases are in quite good condition. Both have minor retouching to enamel losses. The vase on the left of the catalogue illustration has two areas to the neck which has been touched up (from below the two blue-petalled flowers at the mouth of approx 4.5 and 3 cm extending down the neck), possibly to conceal a couple of cracks. The same vase also has a little more retouching near the yellow section around the mouth, shoulders and foot.
"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 present pair of vases appears to be the only example known of this form, although the decoration of densely foliated flower scroll of peonies, camellias and carnations on a yellow-ground may be found on a number of Imperial wares of the Qianlong period. For example, see a joined covered jar, in the National Palace Museum, Taipei, similarly bearing a four-character Qianlong reign mark in blue enamel within double squares on the base, published in Enamel Ware in the Ming and Ch’ing Dynasties, Taipei, 1999, pl. 124; a covered bowl with the cover finely painted overall with this motif, ibid., pl. 135, together with a Qianlong mark and period teapot, pl. 118, where the decoration was used as a background motif. See also a painted enamel gold-bodied cup and its matching stand, from the Qing court collection and still in Beijing, included in The Complete Collection of Treasures of the Palace Museum. Metal-bodied Enamel Ware, Hong Kong, 2002, pl. 204; together with a hat stand, the stand painted with a similar flower scroll design, pl. 211, also in the Palace Museum.  Compare also a kang table, the entire piece covered with a foliate flower scroll design on yellow ground, ibid., pl. 226, attributed to the Qianlong period.

Enamelling on metal was first introduced in Beijing around 1714-1716.  By the 18^th century, enamelling on metal had reached its peak and reflected the extravagant taste of the Qianlong Emperor. The present pair of vases display the characteristic painting style and pastel colours used in the Enamel Workshop belongin to the Zaobanchu (Imperial Palace Workshops) located in the Forbidden City. The Enamel Workshop was in charge of producing cloisonné, champleve and painted enamel wares on metal, porcelain and glass for the use of the emperor and members of the Imperial household. Enamelling on metal was first introduced by Jesuit missionary artists working for the Kangxi Emperor. By the Qianlong period the Enamel Workshop was producing wares of delicately painted design and outstandingly fine workmanship.