Although there is no visible mark, this bottle may be attributed to the Guangzhou Imperial workshops based on the similarity of its form and design to others which bear Imperial marks (see V. Jutheau, Guide du Collectionneur de Tabatières Chinoises, p. 55, for an example with a four-character Yongzheng mark in black enamel, and other related examples without mark, in J. Gilmore Ford, Chinese Snuff Bottles. The Edward Choate O'Dell Collection, no. 96; Moss, Graham and Tsang, The Art of the Chinese Snuff Bottle. The J & J Collection, no. 181; and A. Brody, Old Wine into Old Bottles. A Collector's Commonplace Book, p. 56).
The bottle's elongated shape is typical of those produced by the Guangzhou workshops during the Yongzheng and Qianlong periods and unknown among bottles enameled in the Imperial workshops in Beijing dating from the Kangxi to the second half of the Qianlong period. The design on the bottle also represents the more elaborate ornamentation associated with the Guangzhou artisans than their Beijing counterparts (compare the border here with the formal border on the narrow sides of a Beijing enameled-copper bottle in Moss, Graham and Tsang, The Art of the Chinese Snuff Bottle. The J & J Collection, no. 167).
The mounting for cord suspension of these early Guangzhou bottles is known, but this is the most elaborate and impressive of all the mounted bottles.