A Chinese 'imperial tribute' blue-ground Canton enamel incense burner and cover, Qianlong mark and of the period

H.: 21 cm

Provenance: A Danish private collection.

Condition: (UV-checked)
- The censer generally in good condition, with a few spots of enamel loss to the bottom of the legs, with related overpainting. Another small spot of enamel loss next to one of the handles.
- The cover generally in good condition, with a ca. 12 x 3 mm spot of enamel loss and a few spots of enamel loss on the inside.

品相报告：（已用紫外光线检查）
- 香炉整体品相非常良好，腿底部几处典型剥釉和一个耳的侧面有一个小剥釉，有相应的复绘痕迹。
- 盖子整体品相非常良好，内侧几处剥釉，外侧一处剥釉尺寸约为 12 x 3 毫米。

Ref.:
- Sotheby's, Hong Kong, June 1, 2015, lot 669, for a yellow-ground example, clearly from the same workshop. (sold HKD 1.000.000) (link) (see added scan)
Their catalogue note states: The elegant shape, lavish colouration and meticulous floral scroll on this censer are characteristic of painted enamel wares made by Guangzhou artists employed to produce tribute items for the Qing court. Since the technique of enamelling on metal was introduced by Jesuit missionaries residing in Guangzhou around 1684, the craftsmen of Guangzhou proved so proficient in the new craft that by 1716 the Kangxi Emperor is known to have summoned two artisans from there to work in the enamel workshop of the Imperial Household Department in the Palace. By the Qianlong Emperor’s reign, the art of enamelling on metal had reached exceptionally high standards, and this art-form continued to receive the Emperor’s foremost interest and patronage.This censer is unusual in its shape and floral scroll decoration. The compressed globular form, elegant cabriole legs and thick gilding under the neck are reminiscent of contemporary censers in cloisonné enamel.
- Christie's, New York, Sep. 17, 2008, lot 190, for a cloisonné example of the same shape, on which the current piece's shape is likely inspired. (link) (see added scan)