A carved jade-imitation white glass 'floral' snuff bottle, Qing dynasty, late 18th - early 19th century | 清十八世紀末至十九世紀初 涅白料仿白玉花蝶圖鼻煙壺

Christopher Sin, Humphrey Hui, and Po Ming Kwong, eds, A Congregation of Snuff Bottle Connoisseurs: An Exhibition of Chinese Snuff Bottles, Tsui Museum of Art, Hong Kong, 1996, cat. no. 23.

Tina Yee-wan Pang ed., Heavenly Creations, Chinese Snuff Bottles from the Collections of Anthony Cheung, Humphrey Hui, Po-ming Kwong, Tuyet Nguyet and Christopher Sin, University Museum and Art Gallery, The University of Hong Kong, Hong Kong, 2005, cat. no. 22.

冼祖謙、許建勳及鄺溥銘編，《壺趣集慶：中國鼻煙壺展》，徐氏藝術館，香港，1996年，編號23

彭綺雲編，《天地造化：鍾棋偉、許建勳、鄺溥銘、雪月及冼祖謙藏中國鼻煙壺》，香港大學美術博物館，香港，2005年，編號22

Robert Kleiner, 'The Tuyet Nguyet Collection of Snuff Bottles and Saucers', Arts of Asia, November-December 1998, no. 26.

Robert Kleiner，〈雪月藏鼻煙壺及鼻煙碟〉，《亞洲藝術》，1998年11/12月，編號26

The Qing love affair with glass extended to its use in imitating other materials. This beautifully carved bottle inspired by white nephrite, may well be a product of the Palace workshops. This bottle is closely related in its style and subject matter to the series of carved and enamelled glass bottles made within the Palace workshops between 1770-1840, and may possibly have been intended as a candidate for enamelling. (Robert Kleiner, 1998)

The Tuyet Nguyet and Stephen Markbreiter Collection includes several other interesting imitation examples: lot 1084 a chalcedony-imitation glass bottle, and lot 1055 an aragonite-imitation bottle. These bottles all date to the mid-Qing period (1780-1850), when the snuff bottle was beginning to move away from its Imperial roots to seek a wider acceptance.