A WHITE JADE 'SUZHOU' SNUFF BOTTLE

superbly hollowed, of rounded bulbous form resting on a small flat base, below a slightly tapered neck, well carved in low relief with a continuous scene of a figure seated by a double-gourd and a trigram-decorated censer emitting vapors spiraling upward and filling the grotto, the reverse carved with dramatic cliffs and rockwork issuing lingzhi, pine and wutong, the stone of a even white color with a russet inclusion incorporated into the carving of the figure

Christie's London, 5th July 1983, lot 435.

Patrick K. M. Kwok, 'The Joe Grimberg Collection of Chinese Snuff Bottles', Arts of Asia, November-December 1993, p. 95, no. 24.

In overall excellent condition.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

One classic characteristic of the 'pictorial' mood of the Suzhou School is the use of the outer russet skin of the jade riverbed pebbles to highlight the design or carving. According to Yang Boda's study of 18th century jade wares, the use of this is directly attributable to the carvers of Suzhou. There were two diverse reasons for the use of the skin; one aesthetic where the effective use of this material gave a more realistic natural design with the skin used to depict the mountains and woods with the core of the piece usually white, depicting the rivers and waterfalls. The second reason was purely commercial, that during this time jade was valued and sold, even as a finished work of art, by its weight as well as by the quality of the material.

A Suzhou bottle of pale celadon tone featuring the same subject on one face, formerly in The Collection of the Stone Picking Studio (Cai Shi Xuan), was sold in our London rooms, 21st June 1995, lot 106. A similar white jade bottle, featuring a seated figure within a grotto, is in The Crane Collection, www.thecranecollection.com, no. 112.