清十八世紀/十九世紀初 青白玉花卉紋雙耳壺

of flattened pear-shaped form rising from a straight foot to a waisted neck with galleried rim, flanked by a pair of mythical bird-head handles suspending rings, the body carved in low relief to each of the sides with raised oval cartouches enclosing gnarled pine and wutong trees growing beside rockwork, chrysanthemum and Rhodea japonica, all below pendent acanthus leaves to the neck, the stone of a pale celadon tone with russet inclusions

（傳）一法國外交官於十九世紀末得自中國
現收藏家於1980年代購自巴黎

Two chips to the foot ring, measuring approximately 3mm and 4mm. Several minute nicks to the inner rim, and one (1mm) to the outer rim. Two cracks to the stone visible at the rim; other minor flaws and fissures to the stone elsewhere. The stone is of a more celadon tone compared to the catalogue illustration.
"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."

乾隆年間，印度痕都斯坦玉器傳入中國，以貢器商品首度現身宮廷，流行於當朝。本品融匯痕都斯坦及傳統中國玉器紋飾雕刻技藝，尤為出眾。瑞鳥活環耳及壺身花樹紋寓意吉祥，屬傳統中式紋樣，壺頸環飾茛苕花葉紋，乃取材自痕都斯坦玉器紋飾。玉石綺色勻淨，琢磨細緻，展現玉匠巧思造詣。

可相比較一碧玉帶蓋壺例，飾山水紋，寶蓄北京故宮博物院，圖錄於楊伯達，《華夏古玉》，卷12，芝加哥，1997年，圖版35。例二為劍橋大學費茲威廉博物館藏，載於林政昇，《The Immortal Stone》，劍橋，2009年，頁124（上，中）；另見一蓋壺作例，出自聖保羅Minnesota Museum of Art 館藏，曾展於《Jade as Sculpture》，Minnesota Museum of Art，聖保羅，1975年，編號57。另一例為德安堂收藏，曾展於《玉緣：德安堂藏玉展》，故宮博物院，北京，2004年，編號31。