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Lot Essay
A Yongzheng-marked glass vase of this shape, colour and size from the Charlotte and John Weber Collection was included in the exhibition, Clear as Crystal, Red as Flame, China Institute, New York, 1990, and illustrated in the Catalogue, no. 16 (and on the front cover). From the same collection, a blue glass Yongzheng-marked example is also illustrated, ibid, no. 17.
The production of this form appeared to have continued into the Qianlong period as a group of larger vases of this square-section form is known, each measuring 25 cm. high. These include a blue glass example in the Palace Museum Beijing, illustrated by Zhang Rong (ed.), Luster of Autumn Water, Glass of the Qing Imperial Workshop, Forbidden City Publishing House, 2005, no. 33, where the authors explain the form, inspired from bronzes of the Shang and Zhou dynasties, was shaped by molten glass blown into a mould. Another, also in blue glass but with a heavily crizzled surface, is in the Andrew K.F. Lee Collection, illustrated in Elegance and Radiance, The Art Museum, The Chinese University of Hong Kong, 2000, no. 46, and is also 25 cm. high.
The production of this form appeared to have continued into the Qianlong period as a group of larger vases of this square-section form is known, each measuring 25 cm. high. These include a blue glass example in the Palace Museum Beijing, illustrated by Zhang Rong (ed.), Luster of Autumn Water, Glass of the Qing Imperial Workshop, Forbidden City Publishing House, 2005, no. 33, where the authors explain the form, inspired from bronzes of the Shang and Zhou dynasties, was shaped by molten glass blown into a mould. Another, also in blue glass but with a heavily crizzled surface, is in the Andrew K.F. Lee Collection, illustrated in Elegance and Radiance, The Art Museum, The Chinese University of Hong Kong, 2000, no. 46, and is also 25 cm. high.