A MOULDED WHITE PORCELAIN 'BOY AND DOUBLE-GOURD' SNUFF BOTTLE QING DYNASTY, 18TH / 19TH CENTURY

Universal Antiques and Fine Arts Co., Taipei, 2006.
Robert Hall, London, 2006. 

Hugh Moss, Victor Graham and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol. 6, Hong Kong, 2007, no. 1196.

There is a tiny nick to the lower edge of the boy's coat, but the overall condition is otherwise very good.
"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 bottles of this model, many apparently from the same mould. Apart from Sale 4, lot 128, they appear in Chinese Snuff Bottles: Hong Kong Museum of Art 15 Oct–26 Nov, 1977, no. 122; Stevens 1976, no. 353; Chinese Snuff Bottles 5, 1969, p. 64, fig. 59; Rachel Holden 1994, no. 18 (also with an original stopper, although slightly less elaborate); Sin, Hui, and Kwong 1996, no. 116; Hall 1993a, no. 30; Hall 1996, no. 5; Hall 1989, no. 15; Low 2002, no. 193; Robert Kleiner & Company 1997, no. 41 (with a naturalistic gourd); Sotheby’s New York, 22 September 1995, lot 204 (without a reign mark); and Sotheby’s New York, 15 September 1998, lot 173 (almost identical to Sale 4, lot 128, complete with a similar original stopper).

Many of these bottles appear to be from the same mould, although the colour schemes change dramatically: some of the gourds are decorated with a formalized floral design on a coloured ground; some with naturalistically painted gourds; one sold in our New York rooms, 22 September 1995, lot 204 is enamelled with bats and clouds; and the Jiaqing-marked example with a yellow gourd.

Finally, there is this unique monochrome white version. Many of the above-cited examples are dated to the late Qing, while others are considered genuine as marked. A point in favour of the present bottle's authenticity as a mid-Qing product is that several mid-Qing white versions of figures also appear as enamelled versions (see under Sale 1, lot 133, for instance), which would presumably be the first choice for a later faker to imitate. What can be certain, although it provides only minimal assurance, is that the type existed well before 1935, since one appears in Komor 1935, between pp. 340 and 341.

This is the only white version known, and although one might speculate that it was intended for decoration but never received it, this does not appear to be the case. When these pieces are enamelled, the glaze usually covers the base of the gourd as well—that is where the reign mark goes, if there is one. The broad ‘foot’ of biscuit porcelain is ideal for an unmarked monochrome bottle, since it rests on the two unglazed soles of the shoes and the base of the gourd, and can therefore stand on these points for firing without compromising the glazed surface. With a fully glazed version, the potters would have to fire it upside down on a rod, which is presumably a little more complicated.

Stylistically, this is as fine as they come. It is not only technically brilliant, it is also sculpturally very well thought out, with the balance between gourd and child perfectly maintained from any viewpoint. Such high quality was certainly not beyond late-Qing potters, but was a standard at the mid-Qing imperial kilns for the entire range of moulded-porcelain bottles.

The child has its mouth open, which appears to be a rather luxurious little additional detail to confirm the skill of the potter and bring the subject to life. It is a near certainty that the open mouth is also a technical requirement, however, insofar as it allows air to escape from the hollow boy in the firing to minimize the chance of cracking or warping.