A PEKING BLUE OVERLAY GLASS BOTTLE VASE MARK AND PERIOD OF QIANLONG

formed from a solid block of opaque milky white glass overlaid with a layer of bright translucent blue glass carved through to the ground with two panels, one containing a pair of phoenix and peonies and the other a pair of mandarin ducks by a lotus pond, set between an upright plantain leaf collar around the neck, ruyi lappets around the rim and  upright lappets skirting the foot, the base wheel-cut with a four-character reign mark

In good overall condition with very slight warpage to the mouth. There are three negligible chips to the mouth rim, and the inside of the mouth has a 3 mm burst air bubble. The foot has two approximately 2 mm wide burst air bubbles and two other tiny and negligible bubbles. Just below the shoulder is a 5 mm oval-shaped shallow burst air bubble.
"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."

The technique of overlay (tao liao), whereby a transparent coloured glass is applied on a glass of another colour and then carved and polished, was perfected by the Qianlong period. Overlay glass became a very important category among Qianlong glass, with the majority made in blue and red overlay on white ground. The decorative effect achieved by this technique is stunning as can be seen from the present vase. The sharply contrasting colours of blue and white not only give the classic design of flowers and birds a strong definition but the effect achieved is the creation of a three-dimension coloured spectacle. The fine workmanship of this vessel, in particular the faultless firing and the fine polishing of the piece, is also worth noting.

No other vase of this form and decoration is recorded, although it is comparable with a number of vessels made in the same technique and possibly by the same hand; for example see a Qianlong bottle vase decorated with dragons in blue overlay, in the Palace Museum, Beijing, illustrated in Zhongguo jinying poli falanqi quanji, vol. 4, Shijiazhuang, 2004, pl. 267; and another vessel with a scrolling floral pattern and similar band of upright leaves around the neck, included in the exhibition Elegance and Radiance, The Art Museum, The Chinese University of Hong Kong, 2000, cat.no. 118.
   
Further compare an opaque white vase decorated in blue overlay with plantain leaves, floral scrolls and lotus petals, inscribed with a four-character Qianlong reign mark, from the Qing Court collection and still in Beijing, published in Luster of Autumn Water. Glass of the Qing Imperial Workshop, Beijing, 2005, pl. 68; and a set of five sacrificial glass vessels overlaid with blue glass floral motif, included ibid., pl. 72. The five vessels include one censer, two candle-sticks and two vases.