AN ENAMELLED WHITE GLASS 'AUSPICIOUS OBJECTS' SNUFF BOTTLE SEAL MARK AND PERIOD OF QIANLONG

Christie’s South Kensington, 30th March 2000, lot 51.
Robert Hall, 2000.

Hugh Moss, Victor Graham and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol. 6, Hong Kong, 2007, no. 1144.

Some minor wear to the enamelling seen on the lemon. Original enamelling flaws present on the red pot.
"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."

This is one of the rarer subjects from Yangzhou enamellers, made particularly notable by the inclusion of the distinctive rock sculpture (although one other is recorded: Sotheby’s New York, 17th March 1997, lot 72). It was not yet a familiar subject on snuff bottles, although a century later Zhou Leyuan made it one of the most popular subjects for inside-painted snuff bottles of the Beijing School, and it was common in earlier Qing painting, appearing also in other arts.

The heavy sepia colouring of the rock gives one side a distinctive air, but the enamelling style is otherwise typical of the classic Yangzhou wares, with thin enamels and a linear, painterly style with everything outlined in thin greyish-black.