A SMALL YELLOW GLASS MALLET VASE WHEEL-CUT MARK AND PERIOD OF YONGZHENG

the compressed ovoid body rising to a tall cylindrical neck ending in a sharply cut, straight mouth, the flat base wheel-cut with a four-character reign mark within a square, the glass of an opaque lemon-yellow tone

Collection of H.R.N. Norton (d. 1961-62).
Sotheby's London, 26th March 1963, lot 26 (£55).
Bluett & Sons Ltd, London, 1963 (£55).
Collection of Roger Pilkington (1928-69), from 1963 (£55).

Good condition, with just insignificant surface wear to the underside. The colour is slightly less orange-yellow than in the catalogue photo.
"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."

In its graceful shape and bright yellow tone, this charming miniature vase reflects the great technical developments achieved in the imperial glass manufactories during the 18th century. Under the Yongzheng Emperor’s (r. 1723-35) keen and discerning eye a profusion of elegant shapes and innovative colours were created by craftsmen working at the Palace Workshops in the Forbidden City. The Emperor’s deep admiration for the material is revealed by his direct patronage and the significant increase in glass production during his reign. According to palace records, on the thirteenth year of his reign (corresponding to 1735), the glass workshop produced close to one thousand items (see Emily Byrne Curtis, Pure Brightness Shines Everywhere. The Glass of China, Aldershot, 2004, p. 74).

Miniature yellow vases of this mallet shape are rare, although a similar vase from the collections of Edward T. Chow and Dr Ip Yee, was sold twice in these rooms, 19th May 1981, lot 608, and 19th November 1984, lot 85. Mallet-shaped vases of this small size and with Yongzheng marks and of the period were made in a variety of colours; see a purple example, in the Palace Museum, Beijing, illustrated in Zhang Rong, Luster of Autumn Water. Glass of the Qing Imperial Workshop, Beijing, 2004, pl. 7, together with another simulating realgar, pl. 26; and a red vase in the Andrew K.F. Lee collection, included in the exhibition Elegance and Radiance. Grandeur of Qing Glass, Art Museum, The Chinese University of Hong Kong, Hong Kong, 2000, cat. no. 40.

The mallet shape, known in Chinese as matiping for its resemblance to a horse hoof, is believed to have originated from shuanglu vases produced during the Ming dynasty. This form increased in popularity during the Kangxi and Yongzheng reigns, when it was also used for porcelain.