Leather pouch jade
Lot 75
A nephrite pebble-material 'leather-pouch' snuff bottle 1720-1860
Sold for HK$ 132,000 (US$ 17,031) inc. premium
Lot Details
A nephrite pebble-material 'leather-pouch' snuff bottle
1720-1860
5.2cm high.

Footnotes

  • Treasury 1, no. 11


    閃玉卵石料皮囊鼻煙壺


    Leather-Pouch Jade

    Nephrite of pebble material; well hollowed, with a flat base
    1720–1860
    Height: 5.2 cm
    Mouth/lip: 0.86/2.00 cm
    Stopper: jadeite with artificial colour; gilt-bronze collar
    Condition: Original material: irregular flaw running across one edge of the foot and into the narrow sides; not obtrusive. General relative condition: workshop condition


    Provenance:
    Robert Hall (1990)

    Published:
    Hall 1990, no. 16
    Kleiner 1995, no. 80
    Treasury 1, no. 11

    Exhibited:
    British Museum, June–October 1995
    Israel Museum, Jerusalem, 1997

    Commentary:
    This bottle reveals a great deal about the nature of pebble material. It is of the type of nephrite known to Zhao Zhiqian as 'yellow steamed chestnut' (see discussion under Treasury 1, no. 1) but it has an unusual depth of skin material intact and cut through in a revealing cross-section. From this the anatomy of the pebble material is clearly seen. Pebbles and boulders of nephrite were nearly always of irregular form, but smoothed and rounded in the rushing waters, being rolled against each other along the river bed with every annual swelling of the rivers by melting snow (see discussion under Treasury 1, no. 1). Gradually the original colour of the pebble, formed deep in the earth and broken free at the surface by geological activity over an immense span of time, would be transformed at the surface. This was not simply a process of chemical staining by the elements; it was a physical metamorphosis of the surface of the stone in contact with them. By this immensely slow process random chips or chunks of material would be smoothed, rounded at the edges and surrounded by a 'skin' of metamorphosed material, usually of a brownish or blackish colour.
    This pebble was obviously of flattened form, with a wedge-shaped end, as revealed by the distinct and sharp 'V'-shape of the skin material where it meets the inner colour of the stone, visible at the narrow sides. Because of this clear cross-section of the skin material
    on both sides of the bottle we can see the variation in texture and colour of the skin from its outer to its inner layers. The outer layer is of a darker brown colour which becomes gradually paler as it gets closer to the original colour of the interior of the pebble. Where
    they meet, the paler colour is clearly striated, with dendritic lines of colour seeping still further into the yellowish-green of the stone, showing the process of the gradual thickening of the skin as it seeps century by century further into the original colour of the material.
    This also explains how the extraordinary bottle in the J & J Collection, which seems to be entirely skin, was formed (Moss, Graham, and Tsang 1993, no. 46). It must be a pebble that had been exposed to so much weathering that the skin metamorphosis came to permeate the entire stone, or at least enough of it to allow a snuff bottle to be made of solid skin colour. This example was heading in that direction when its progress was, presumably, frozen in time by the lapidary, but the concept of 'heading in that direction' for a nephrite pebble must be viewed on a rather more cosmic scale than the human one.

    The use of this delightful and revealing pebble is inspired. With almost faultless symmetry, the carver has managed to place the body of the bottle perfectly within the skin so that the neck and two 'V'-shaped shoulder panels are of yellowish-green colour standing in stark contrast to the skin material which covers the rest of the bottle. The impression is of a bottle contained within a separate casing, of leather perhaps, creating the same illusion as a basket-weave bottle where the neck emerges as a bottle shape as if the vessel were contained in a protective casing ( see Treasury 1, no. 149, for instance). The formal integrity, lovely shape, soft polish, and impeccable hollowing all speak volumes for the genius of the carver and, although undecorated, this becomes through this simple, faultless use of the fascinating material, one of the great masterpieces of plain nephrite snuff bottles.

    The stopper, not necessarily the ideal combination for such a softly-spoken and natural material but certainly a reasonable match, is jadeite of a distinctive kind found always in combination with gilt-bronze collars of this type. The interior of a piece of undistinguished jadeite is hollowed out to an overall thickness of perhaps a little more than a millimetre and then the inside is painted with emerald-green pigment. The impression is of jadeite of fine colour. This appears to be an early type of stopper made in one place only, and always to the same standards. One is also known simulating red jadeite.


    卵石皮皮囊

    閃玉;掏膛頗完整,平底

    1720~1860
    高:5.2 厘米
    口經/唇經:0.86/2.00 厘米
    蓋:含人工色素的翡翠,描金青銅座
    狀態敘述:原料:不筆直的一條瑕疵橫陳底的一邊而入二側,不引人注目;出坊狀態

    來源:
    羅伯特.霍爾(1990)
    文獻﹕
    Hall 1990, 編號16
    Kleiner 1995, 編號80
    Treasury 1, 編號11
    展覽﹕
    大英博物館, 倫敦, 1995年6月~10月
    Israel Museum, 耶路撒冷, 1997年

    說明:
    本壺留皮閃玉呈如蒸的栗肉的淺灰黃顏色,皮相當厚,看側面V形石與皮的界線,知道原來的扁形卵石一端呈楔形,本壺雕成了卵石的橫斷面,讓人看出暗色由表向裏漸漸地浸入。J & J 珍藏有一件令人驚詫的有皮無玉的鼻煙壺(Moss, Graham, and Tsang 1993, 編號46),本壺採取的材料正在同樣的變形過程中。以我觀物,雕匠是遏制了變形的進步,以物觀物,就是地質年代的規模了,真是不可同日而語。

    雕匠很巧妙地雕作出了淺灰黃色玉裝入棕色皮袋的觀瞻,顏色對稱,形式勻稱,掏膛完整,肌理溫潤,稱得上閃玉鼻煙壺樸素類之精品。

    這件翡翠蓋是否相稱,見仁見智。是平凡的一塊翡翠鑽出中心,在約一厘米厚的內壁上塗鮮綠色的,總配備著此類描金青銅座。似乎是早期某一個地方照一定的規格作的,模擬紅翡翠的也有一件存在。
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