A DARK LAVENDER-BLUE GLASS 'CHILONG' SNUFF BOTTLE QING DYNASTY, 18TH / 19TH CENTURY

Robert Hall, London, 1991. 

Robert Kleiner, Chinese Snuff Bottles in the Collection of Mary and George Bloch, British Museum, London, 1995, cat. no. 146. 
Chinese Snuff Bottles in the Collection of Mary and George Bloch, Israel Museum, Jerusalem, 1997. 

Hugh Moss, Victor Graham and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol. 5, Hong Kong, 2002, no. 838.

The overall condition is very good except for a couple of faint light scratches to one side.
"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."

An unusual colour for Chinese glass, this might equally be described as a pale ultramarine, since it is not typically lavender in colour and under transmitted light a pale violet hue becomes visible. The inspiration for the design is obviously the group that imitates various precious stones, but it has nothing else in common with that group, since the shape, size, material, and style of carving are all quite different (cf. Sale 4, lots 55 and 92). It may be a bottle inspired by them but made later, or one produced at a private glassworks following an imperial type.

The method of production is as ambiguous as its place and date of origin. While the weight is slight, suggesting a blown form, detailing of the foot rim and the depth of recession of the foot suggest that the carver was doing more than merely tidying up a blown shape. Tipping the scales slightly in favour of a blown form is a hint of variation in the colour, which seems to stretch outwards from the neck on one side. This evidence cannot be accepted as conclusive, however, since it would be possible for a block of streaky glass to provide a similar effect on one side of the bottle.

Supporting the likelihood it was carved from a solid block is an unusually deep base area between the hollowing and the foot rim (0.71 cm).