清十八 / 十九世紀 蘇作青白玉巧雕松下臥馬圖鼻煙壺

中易公司，香港，1985年

Robert Kleiner，《Chinese Snuff Bottles from the Collection of Mary and George Bloch》，Sydney L. Moss Ltd，倫敦，1987年，編號37
《Les plus belles collections privées de Hong-Kong》，Galeries Lafayette，巴黎，1990年，頁6，編號3
《Kleine Schätze aus China. Snuff bottles—Sammlung von Mary und George Bloch erstmals in Österreich》，Creditanstalt，維也納，1993年

Robert Kleiner，《Images of Asia: Chinese Snuff Bottles》，香港及紐約，1994年，圖版13
Hugh Moss、Victor Graham 及曾嘉寶，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection》，卷1，香港，1996年，編號123

Good 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. 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 an exceptional Suzhou bottle for a number of reasons. The material is unusually greenish for the school, which tended to prefer nephrite with as pure a white colour as possible, and the slightly beige-brown relief-plane is very subtle and understated as a contrast for a school that is renowned for its brilliant use of sharply contrasting colours. The opposite main side is completely undecorated, which is not unknown, but it is uncommon for Suzhou bottles of the classic phase, into which this bottle unquestionably fits stylistically, although it may represent an early phase of the later classic style.

Indeed, the reverse view, with its typically compressed ovoid form, would give no indication of a Suzhou source at all were it not for the distinctive carving on the main side, although the concave foot surrounded by a narrow flat foot rim is typical of Suzhou. This reverse view raises the probability of Suzhou having produced plain, undecorated bottles along with the more recognizable output with its characteristic carving style.

The carving is superbly controlled, with a wonderfully life-like horse rolling happily on the ground beneath as finely carved a pine tree as exists from the school. The composition is extremely well conceived to take maximum advantage of the contrasting colour while also retaining an impressive abstract balance of relief forms in the browner material.

It has been suggested elsewhere (see discussion under Sale 8, lot 1109) that jade bottles from the palace workshops were often incompletely hollowed to leave a fairly substantial depth of foot, which is a very common feature on bottles attributable to the court workshops. This bottle and Sale 6, lot 204 provide evidence that this feature is not exclusive to the palace workshops. Here the depth of the foot is 0.56 cm, and on Sale 6, lot 204 it is 0.7 cm.

However, in both cases the walls are of the typically thick Suzhou style, although both are well hollowed in the sense of being entirely functional, and the hollowing of both follows the outer profile of the bottle, whereas with palace wares there was a tendency toward a more marked discrepancy between the thickness of the upper side-walls and the base. When considering such criteria, or ‘rules of thumb’ as they so often become, intelligent consideration of other factors is always useful.