清十八 / 十九世紀 黃玉俏雕「漁樵耕讀」圖鼻煙壺連水彩紙本畫

together with a watercolour illustration by Peter Suart

Gerd Lester，1986年

Robert Kleiner，《Chinese Snuff Bottles from the Collection of Mary and George Bloch》，Sydney L. Moss Ltd，倫敦，1987年，編號 48
《Les plus belles collections privées de Hong-Kong》，Galeries Lafayette，巴黎，1990年，頁6，編號2
Robert Kleiner，《Chinese Snuff Bottles in the Collection of Mary and George Bloch》，大英博物館，倫敦，1995年，編號82
以色列博物館，耶路撒冷，1997年

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136

One side of the outer lip has been polished to remove chips. A natural flaw smoothed on the outer footrim. Barely perceptible nibbles on the fishing rod.
"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 a classic example of the Master of the Rocks school, carved from the brilliantly coloured material of the type favoured by this school. The subject of the four ideal occupations is the most popular subject from the classic group, although the composition is never repeated (see Sale 7, lot 32 and the other bottles referenced there). In this case, there is also an intriguing variation in the subject. Among the four members of the noble occupations, the farmer is actually missing but he is represented by his buffalo (see also Sale 2, lot 122, which makes the same substitution). The figure sitting at the foot of the ancient willow is a scholar, as indicated by his flowing gown and the book he is reading. The other two figures are also clearly identified, one with his bundle of sticks over his back, the other fishing with a rod and with a large basket to hand in which to place his catch.

All of the standard features of the classic group are present here, with the core colour cleverly used to distinguish only the water and the sky from the rest of the landscape while the rest of the carving is entirely out of the brown skin. The depth of carving through the layers of skin lends a variation in colour to the relief detail that separates it subtly from the ground plane. This gives the entire scene a stronger rustic feeling than Sale 6, lot 144, for example.

In keeping with several of the finer works of the school, the rockwork design continues under the foot to form one edge of the footrim. Another intriguing feature of the carving of the rocks here is a subtle, if perhaps originally unintentional, reference to Suzhou style. Some of the characteristically simple incisions that are used so powerfully to delineate rocks by the Master of the Rocks school have a few dots carved into their length here, similar to serrated Suzhou rockwork. In keeping with the skill of the Master of the Rocks school in reducing things to their essence, however, they are fewer and less self-conscious and demanding than those of their Suzhou-school counterparts. That said, it is pointed out under Sale 6, lot 175 that the group may have been produced in Suzhou but in different workshops from the currently identifiable Suzhou wares.