清十八 / 十九世紀 玉髓俏雕「劉海戲金蟾」鼻煙壺

Gerd Lester，1986年

Moss et al., 1996-2009, vol. 2, no. 289.

A tiny chip to the outer lip. Two chips polished out on the footrim.
"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 another of the mid-Qing group of silhouette bottles where a thin plane of darker colour has been extensively edited to create a clear and evocative design of immense charm. The detailing of the face may link this to Sale 6, lot 181, and it is certainly part of the figural group mentioned under Sale 1, lot 49. The shape is the flattened rounded-rectangular form that was certainly a nineteenth-century standard but dates back to the eighteenth century. The hollowing here is well done, with the interior profile following the exterior shape, although the recessed, flat oval foot does not come up to the standards established during the peak of production of imperial hardstone and glass carving of the earlier Qing dynasty. The artist has gone to the trouble of making the foot flat, but the perfect flatness of the foot and the crisp, right-angled line where the flat recession meets the foot rim are absent here (see discussion under Sale 3, lot 11). There is an additional stroke of genius in the use of a small pale yellow inclusion in the darker brown plane as one eye of the toad.

The subject here is Liu Hai, a patron saint of commerce. His three-legged toad sits on a rocky bank and is enticed by Liu’s string of cash. It is one of the finest examples of this subject, which was a fairly popular one with the Official School.