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.

Sotheby's. Fine Chinese Ceramics & Works of Art, Hong Kong, 04 Apr 2012