清乾隆 雪霏地套寶石紅料仿古夔鳳紋鼻煙壺

Robert Hall，倫敦，1989年

Hugh Moss、Victor Graham 及曾嘉寶，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection》，卷5，香港，2002年，編號874

Some natural wear to the back where it has been set down regularly (it doesn't stand on its own foot).
"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."

There is a group of glass-overlay snuff bottles characterized by unusually deep overlay, fully rounded carving, and absolute artistic and technical confidence. The carving style here represents the sculptural epitome of the art, honed to a degree of perfection almost mind-boggling in its commitment. Many seem to be by the same hand , and stylistic links are exhibited across a wide range of subjects and colour combinations. It is believed they represent the height of the art in the Qianlong period, probably from the first two thirds of the reign. For other examples related in some way, see Sale 2, lot 69; Sale 3, lot 21; Sale 4, lots 80 and 121; Sale 7, lots 93 and 96; Sale 8, lot 1002; and lot 52 in this sale.

This rather milky ground, neither white nor colourless, is a popular one for the group, and the dark red is another regular feature. In many cases such darkness is related to the thickness of the overlay layer, but in this case the material retains an unusually deep red even in thinner sections. The impression is emphasised by a rather more matt polish than is usual for glass-overlay bottles.

This design incorporates a she, an archaic archer’s thumb ring popular during the late Zhou period and a motif frequently found in Han art, usually transformed into a pendant. Simple engraved lines combined with three-dimensional carving are a feature of the design, found on a wide range of archaic jades. The she on one side is engraved with a disembodied bird-head and what may be intended as formalised clouds or flames, but which derive originally from symbolic patterns on ancient bronzes and jades. The other side, however, has the same she shape transformed into an extraordinarily powerful fenghuang, abstracted and surrounded by smaller chi dragons, some with bird-like heads and one, uniquely, seemingly metamorphosing into a duck.

For another similar bottle from the Dodge Collection, but without quite the depth or the roundness of this one, see Sotheby’s New York, 17th March 1997, lot 61.