TWO VERY RARE IMPERIAL-TRIBUTE PAINTED ENAMEL TURQUOISE-GROUND TRIPOD INCENSE BURNERS, DINGQianlong red enamel four-character marks and of the period The two globular vessels each raised on three bulbous feet, colourfully enamelled with similar designs of gourd or melon and butterfly within four gilded scrollwork-edged cartouches, against a turquoise ground interspersed with scrolling lotus, the gilded shoulder raising to a cylindrical neck with alternating gilded and painted flowers, below the wide rim repeating the similar design of painted and gilded cartouches, flanked by a pair of similarly enamelled S-shaped handles set with openwork gilt-copper cash-motif tubes. 21.5cm (8 7/16in) high, and 22.8cm (9in) high. (2). 清乾隆 御供銅胎畫琺瑯瓜蝶紋雙耳三足香爐兩件 礬紅「乾隆年製」楷書款 Provenance : Sir Michael Oppenheimer (3rd Baronet, 1924-2020) and Lady Helen Oppenheimer DD (1926-2022), and thence by descent 來源 ：Michael Oppenheimer 爵士（三代從男爵，1924-2020年）與Helen Oppenheimer爵士夫人（1926-2022年）舊藏，並由後人保存迄今 The collection belonged to Sir Michael and Lady Oppenheimer DD (3rd Baronet, 1924-2020). Sir Michael's maternal grandparents were Sir Robert Grenville Harvey, 2nd Baronet (1856-1931) and Lady Emily Blanche Harvey (1872-1935) of Langley Park, Buckinghamshire. The Chinese art collection can be, at least in part, traced back to Langley Park, Buckinghamshire, home to the Harvey Baronets from 1788 until 1945, as demonstrated in a pre-1945 photograph showing Lot 122, the cloisonné enamel tripod 'elephant' incense burner, Qianlong. Sir Michael Oppenheimer's paternal family was the well-known South African mining family. The baronetcy was created in 1921 for Bernard Oppenheimer, Chairman of the South African Diamond Corporation for setting up diamond sorting factories to employ wounded ex-servicemen after the First World War. The family has been involved with De Beers over many decades. Lady Oppenheimer DD (1926-2022) was a distinguished moral and philosophical theologian, with a particular interest in the ethics pertaining to personal relations. These opulently decorated covered incense burner, modelled in the form of archaic bronze ding vessels, would have likely beenmissioned by the Imperial Court from workshops at Guangzhou. 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 was 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, as the present examples illustrate, and this art form continued to receive the emperor's foremost interest and patronage. pare with a similar incense burner, from a painted enamel alter set with interlocking lotus design, Qianlong mark and of the period, illustrated