晚明 銅花式雙橋耳三足爐

the compressed body of stylised archaistic liding form, modified into a quatrefoil body reminiscent of a four-petal flower, supported on three short, flared feet and surmounted by a pair of arched handles, the patina of the bronze of a dark blackish-brown colour, the base cast in kaishu with an apocryphal Xuande mark

There are minor dents to the tips of the feet, and general surface wear, but overall in good condition. Please note the patina is darker than in the catalogue photo.
"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."

Ulrich Hausmann, the scholar and collector of later Chinese bronzes, discusses Xuande reign-marked bronzes from the late Ming dynasty in his essay, 'In Search of Later Bronzes', ed. Paul Moss, Documentary Chinese Works of Art in Scholar's Taste, Sydney L. Moss Ltd., London, 1983, p. 232:

"The end of the Ming dynasty, for many a period of decadence and decline, saw a surprising variety of new creations and proves to be a much underrated period which produced fine and often highly original metalwork. Many pieces show an uninhibited display of differing designs and unusual shapes which probably make this period the most individualistic of all the later periods. Because of the diversity of appearance, sometimes rather fancy, many of these pieces are wrongly ascribed to the eighteenth century, rather than one hundred years earlier". 

With its unusual archaistic form modified into a foliate-shaped body, this simple, yet highly tactile and pleasing incense burner, fits perfectly into Hausmann's description. It is indeed a highly original and finely cast piece from the late Ming dynasty.

The enduring question as to which of the vast production of bronze incense burners cast with Xuande reign marks are indeed of the period and which are apocryphal is discussed by Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Hong Kong, 1986, pg. 150, where it is concluded that the textual evidence is unreliable, and that 'accurate identification ... must therefore rest largely on the wares themselves'.