A CARVED WHITE GLASS ‘LANDSCAPE’ SNUFF BOTTLE QING DYNASTY, LATE 18TH / EARLY 19TH CENTURY

of translucent white glass, with a flat lip and a recessed convex foot surrounded by a protruding rounded footrim, carved on each main side with a similar scene of a country residence, set amidst rocks, forming a natural bridge over a stream, with a pine tree, plantain, and lotus pond, with formalized clouds overhead, the scene made continuous by running the two similar scenes into each other at the narrow sides; the glass stopper with a glass collar

Robert Chang, Hong Kong, 1980.
Collection of Gerd Lester, 1986.

Chinese Snuff Bottles from the Collection of Mary and George Bloch at the Galleries of Sydney L. Moss, Ltd., Sydney L. Moss Ltd., London, 1987, cat. no. 84.
Creditanstalt, Vienna, 1993.

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. 854.

Apart from a couple minute nicks to the mouthrim, the overall condition is very good.
"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."

There is apparent similarity between a small group of carved white glass bottles from the mid-Qing period and the group of Guyue xuanenamelled glass bottles painted on relief-carved white glass. The distinctive chalk-white nature of the glass is very similar, as is the range of forms, size of mouth, and, to some extent, the style of carving-allowing for the fact that non-enamelled wares needed to be better detailed by the lapidary in order to stand alone.

The enamelled wares are certainly an imperial group from the mid-Qing period, mostly from the last three decades of the Qianlong reign, and probably from the decade or two immediately after 1767. This helps us to date this group, suggesting a possible Palace origin. If we are correct in assuming the enamelled group to have been made at court, then the glass blanks would surely also have been produced there, but the tentative nature of the association between the two groups precludes a direct attribution. If the non-enamelled wares of this group can be attributed to the imperial glassworks at that time, we have evidence of a Qianlong origin for the typical genre-style of glass carving that was carried over into the nineteenth century. The great glass carvings, with their combination of art and masterly technique, give way to more decorative intent and lower standards of carving and polishing, exemplified here but easier to see in lot 185 in this sale because of the colour of the glass.