AN EXTREMELY RARE IMITATION AMBER GLASS BOTTLE VASE WHEEL-CUT MARK AND PERIOD OF YONGZHENG

of compressed globular form, the rounded sides elegantly rising from a short splayed foot to a tall neck and a broad everted rim, decorated with a double raised fillet encircling the body, the pale translucent amber glass subtly enhanced with crizzling, the recessed base wheel-cut with a four-character mark within a double-square 

The overall condition is very good with only a few occasional light scratches. The colour of the vase is slightly more orangey compared to the catalogue illustration.
"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."

A variety of glass vessels were made during the early Qing dynasty, but those simulating the fossilized tree resin 'amber' are extremely rare. Historically, amber in China has been appreciated for its translucent soft yellow colouration, as well as for its property as an ingredient for perfumes and as a healing agent in traditional Chinese medicine. Amber often contains animal and plant fossil inclusions which has been cleverly replicated on the present vase in the form of cracklings and glittering pine needles. The naturalistic pattern achieved by the glass maker makes this piece attractive and unique. Special glass wares of this type, bearing wheel-cut imperial reign marks, were made in the Glassworks, (also called the Glasshouse), established in the 35^th year of Kangxi's reign (1696) under the directorship of Jesuit missionary Kilian Stumpf, located within the grounds of the Forbidden City in Beijing.

This vase is also special for its elegant form which appears to be rare among glass vessels. More common are bottle-form vases with a Yongzheng reign mark; for example see two included in the exhibition Elegance and Radiance, The Art Museum, The Chinese University of Hong Kong, Hong Kong, 2000, cat. no. 8, of deep blue tone, and cat. no. 9, made in green glass, both with an etched four-character Yongzheng reign mark framed by a double square -a standard practice at the time. For amber coloured glass vessels see a Qianlong mark and period dish, the body of translucent amber yellow colouration, included ibid., cat. no. 26, together with a bowl bearing an incised decoration also made in amber tone, cat. no. 101. Compare also an amber glass cup, from the collection of Walter and Phyllis Shorenstein, included in the exhibition A Chorus of Colors. Chinese Glass from Three American Collections, Asian Art Museum of San Francisco, San Francisco, 1995, cat. no. 32, with a Qianlong reign mark and of the period.

Other simulations in glass include those that are after the mineral realgar; for example see a realgar glass dish from the Qing court collection and still in Beijing, with a Qianlong four-character wheel-cut reign mark on the base, illustrated in Zhongguo jin yin boli falangqi quanji, vol. 4, Shijiazhuang, 2004, pl. 164; and a mallet form vase, also in the Palace Museum, Beijing, published in Luster of Autumn Water. Glass of the Qing Imperial Workshop, Beijing, 2005, pl. 25.