清十八 / 十九世紀 玉雕荔枝鼻煙壺

Robert Hall，倫敦，1993年
Hugh M. Moss Ltd，香港，1993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60

The snuff bottle is in overall very good condition with just one miniscule, insignificant nibble from a diamond shape just below the smaller fruit.
"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."

The lizhi (lychee in the West) is a relatively rare fruit in the snuff-bottle world, occurring far less frequently than eggplants, gourds, melons, pomegranates, and peaches. It was briefly popular on late-Ming lacquer and metalwork but is unusual on other jade carvings, although one or two brushwashers in the form are known, including a spectacular example in the Seattle Art Museum (see Seattle Art Museum, Watt, and Knight 1989, no. 52).

The elongation of the main fruit is a clever formal element creating an intriguing abstract form. The patterned surface stands for the regular markings on the surface of the real fruit but they are simplified and turned into an abstract design that is cleverly contrasted on the larger and smaller fruits, running in different directions and on a different scale. Despite the seeming simplicity of the pattern, each raised area between the crosshatching is carefully rounded and painstakingly carved, giving much greater surface appeal.

As abstract form, the juxtaposition of the two fruits is also carefully considered and powerful. The markings from the skin of the pebble have been cleverly used, allowing three layers of colour, with the brown skin as a focal point in the centre of each fruit, giving the impression of greater three-dimensionality, particularly in the rather flattened smaller fruit.

Apart from its visual qualities, the bottle is a delight in the hand; it also works lying flat on a table or standing upright.