Robert Hall

Robert Hall

Acknowledgements

Assistant to the author: Susan Page Design: Gemma Hall Production: CA Design, Hong Kong Photography: Robert Hall Photography Translations: Oliver Lough

P.2 2 P.3 Introduction We are delighted to be able to exhibit the In forming this collection, we have tried to between collectors. I have read many letters various palaces and dwellings in order to send This exhibition of the Maxwell Collection has Maxwell Collection for the members of the find bottles that provide a broad spectrum of written by Bob Stevens to fellow enthusiasts. their ill-gotten wares back for the appreciation been planned together with this catalogue to International Chinese Snuff Bottle Society in the materials and styles. These bottles have been He was a court reporter and a man of brain of the West. Then the Japanese occupation celebrate the International Chinese Snuff Bottle beautiful J. J. Lally & Co. Gallery in New York. acquired around the world, and the pursuit and wit with the most impossible obsession for was another opportunity to plunder treasures. Society’s 2013 annual convention in New York has given us both, the collector and myself, snuff bottles. But one can sense his frustration Having said that, if the items had been left in City. This remarkable collection has been formed over great pleasure. Cataloguing, publishing and with the slow postal system between Japan, China, there might be fewer bottles around due the last fifteen years or so. Forming collections I would like to thank James Lally for his exhibiting them has also been most gratifying. London, California and Hong Kong. It would to the destruction of works of art in the Cultural these days is a very exacting experience and immediate and positive response when I take weeks and weeks for letters to be received Revolution. difficult, in that certain categories of snuff bottles Whenever I have had a more than passing approached him regarding the possibility of and comments returned. Now there are many are not readily available. The mainland Chinese role in the formation of a collection, I have The dispersal of Chinese works of art means exhibiting this collection in his gallery. Actually, publications and, of course, the internet. are buying back these precious miniature felt a certain reluctance to publish; it seems that the world has been made aware of I am humbled by Jim’s belief in me and my objects from the world which acquired them so final and even likely to put a full stop to The energy and commitment that collectors these extraordinary objects which were made abilities. from the mid-19th century onwards. I would any further collecting. But publications by from mainland China are showing are powerful, either in the official kilns and workshops, or by I owe the greatest debt of gratitude, however, suggest that within another five or ten years, dealers, museums, collectors, and auction and within not too many years there will be myriad private artists and craftsmen. Western to the owners of the Maxwell Collection. They there will be few genuine old snuff bottles on the houses are providing a strong platform for very few worthy Chinese works of art left in understanding and knowledge of Chinese art set out to buy only the finest examples in each market at all. They are rapidly being acquired future understanding of the subject. When I the Western world except for a few private are exemplary; we have many experts who are field and were willing to commission me to buy by the offspring of the very people for whom first began to learn about snuff bottles under collections and those works that reside safely very well regarded in this field. In fact, there are the best. It has been fun working with them as they were originally made. As China grows the gentle stewardship of Hugh Moss, there in the compounds of Museums. The market is many who are highly respected by the official they have always proved receptive and shared economically, the patronage of art and the were few publications giving any information voracious and there are many agents stalking gamekeepers in China who have really been my delight in the pursuit of the finest. So it is with field of collecting will increase and snuff bottles, at all, let alone comparative material to help this planet hunting good works for their own allowed to pursue the study and connoisseurship great satisfaction that I present to you here the easily transportable and delightful to hold, will make valid judgments. The internet, emails and or for their bosses’ enjoyment and investment. of their art only since the end of the Cultural Maxwell Collection. once again be objects to be admired and attachments weren’t invented at that time, and China must feel aggrieved (and rightly so) for Revolution in 1968. China is moving ahead given as gifts amongst collectors. so photographs and typed and handwritten the atrocities performed by our allied troops very swiftly and surely, though the market is still Robert Hall letters were the means of communication when the opium wars presented opportunities plagued by fakes and copies which will, in turn, October 2013 to rob and pillage the Forbidden City and confuse the very people who wish to learn as quickly as possible.

P.2 2 The Maxwell Collection of Chinese Snuff Bottles 3 P.3 Glass

P.4 4 P.5 1 Glass, overlaid with a single layer of This extraordinary bottle, with its very rare yuzhi mark, predominance of floral motifs, colours intentionally translucent ruby-red, emerald-green, golden- raises the question of the significance of that mark. blended into one another, and a detailed style yellow, semi-translucent pale yellow, and pink and It would seem that under the Qianlong Emperor glass resulting in a busy, textured surface. There is another turquoise-blue, on an opaque white ground with production flourished. The Emperor commissioned bottle in the Bloch Collection (Moss, Graham, Tsang, small, scattered, air bubbles; carved in the form of new workshops to experiment with designs, and A Treasury of Chinese Snuff Bottles, No. 989 which has an eggplant, with a rounded, circular lip; the calyx ordered that those he liked be marked yuzhi (‘By flowers as decoration. Another bottle, formerly in that resembling a band of plantain leaves, carved Imperial Command’). In this case, the carving style collection (Robert W. L. Kleiner, Chinese Snuff Bottles with a continuous design of nine gourds falling relates this bottle to a group of multi-coloured single from the Collection of Mary and George Bloch, no. resplendently from leafy vines, with a flower and overlays datable to the second half of the Qianlong 122) was culled because of damage. bat, the base inscribed in seal script with the mark period. Evidence from the archives indicates that The eggplant form of this bottle represents fertility. Qianlong yuzhi (‘Made by Imperial command of several bottles were commissioned by the Qianlong Because of its numerous seeds, the double gourd is a the Qianlong Emperor’). Emperor to test a carver’s skills and, after approving symbol of good fortune and fertility. The combination it, ordered more of the same design but without the Imperial Palace Glasswork, 1760-1799 of gourds and tendrils zisun wandai forms the rebus yuzhi mark. One other bottle, in a private collection ‘ceaseless generations’ or ‘may you have numerous Stopper: glass, carved as a calyx in Florida, is almost identical to this although lacking descendants’. Height: 8cm the reign mark but can only have come from the Provenance: The Rogers Collection, Toronto same workshop. This is one of the most spectacular examples of the (Mr Ernest Rolph, Toronto (b. 1871 d.1958 John The group is characterized by the use of certain group and one of only a very McKeggie Rogers, Toronto d.1976, started colours – including some rather alarming few bearing the yuzhi mark. collecting in the 50’s) Thence John Rogers’ combinations of bright pink and turquoise blue – the daughter, Toronto)

P.6 6 The Maxwell Collection of Chinese Snuff Bottles P.7 2 Glass, the translucent pinkish-brown material 3 Glass, transparent and colourless, the low 6 Glass, the pear-shaped bottle with a of miniature octagonal form, with raised squat body blown and polished into an protruding footrim, the neck flared to a wide panels at the front and reverse forming a central octagonal cross sectioned form, both faces with mouth. peak; the bottle with an elongated neck and four-facets rising to a summit. Beijing Glassworks, Qianlong period, 1736-1795 resting on a flat foot. Beijing Glassworks, Qianlong period, 1736-1795 Height: 5.5cm Beijing Glassworks, Qianlong period, 1736-1795 Provenance: Beijing Provenance: Beijing Height: 3.1cm Height: 2.9cm Provenance: Beijing 7 Glass, translucent deep mauve, of miniature Published: Robert Hall, Chinese Snuff Bottles XII, 4 Glass, almost cylindrical, pale translucent octagonal form, with raised panels at the ‘A Must-Have Accessory’, Chinese Snuff Bottles purple, the body rounded and tapering to the front and reverse forming a central peak; the bottle from our Autumn Collection, no. 60 flat foot, the neck slightly flared to the mouth. with an elongated neck and resting on a flat foot.

Faceted forms derive mostly from European stylistic Beijing Glassworks, Qianlong period, 1736-1795 Beijing Glassworks, Qianlong period, 1736-1795 and technical influence during the early years of the Height: 6.9cm Height: 3.1cm Beijing Palace glassworks which were set up in 1696. Provenance: Beijing Published: Robert Hall, Chinese Snuff Bottles XII, At that time, the workshops were under the direction ‘A Must-Have Accessory, Chinese Snuff Bottles from of the Jesuit missionary, Killian Stumpf, and there is 5 Glass, the translucent deep pink metal of our Autumn Collection, no. 61 every reason to expect European influence in design miniature octagonal form, with raised panels as well as manufacture. Bohemian glass of the 17th at the front and reverse forming a central peak; 8 Glass snuff bottle, translucent, the low and 18th centuries is well known for its faceting, and with an elongated neck and resting on a flat foot. compressed body blown and polished into similarities with early Palace workshop production an octagonal cross-sectioned form, both faces Beijing Glassworks, Qianlong period, 1736-1795 suggest a clear connection. Small size also seems to with a four-faceted form rising to a summit. be a standard feature of the earlier Imperial faceted Height: 2.8cm Beijing Glassworks, Qianlong period, 1736-1795 glass snuff bottles. Provenance: Beijing Height: 3.1cm Published: Robert Hall, Chinese Snuff Bottles XII, These wonderful bottles have been recovered from ‘A Must-Have Accessory’, Chinese Snuff Bottles Provenance: Beijing the tomb sites in and around Beijing. In preparation from our Autumn Collection, no. 59 for the Olympic Games in 2008, the foothills surrounding Beijing underwent extensive excavation Published: Chinese Snuff Bottles from the Maxwell and a great number of tombs were unearthed Collection at the Crow Collection of Asian Art May containing, amongst other things, these small glass 9-September 6, 2009 no. 52 bottles. Exhibited: The Crow Collection of Asian Art, Dallas May 9-September 6, 2009 There are myriad other examples of this faceted form but most interesting to me are published in Lifting the Spirit and Body, The Art and Culture of Snuff Bottles from the National Palace Museum (Chief Editor) Hou, Yi-Li, no’s 11-036 11-037

P.8 8 The Maxwell Collection of Chinese Snuff Bottles P.9 9 Glass, dark blue, translucent, the body of 12 Glass, of miniature size, translucent pale 14 Glass, turquoise, of squat octagonal shape, octagonal faceted form with a flat foot and a blue, the low compressed body blown and each face with faceted panels below a tall cylindrical neck. polished into an octagonal cross-sectioned form, cylindrical neck and with a wide mouth, the base both faces with four-facets rising to a summit. flat. Beijing Glassworks, Qianlong period, 1736-1795 Height: 4.1cm Beijing Glassworks, Qianlong period, 1736-1795 Beijing Glassworks, Qianlong period, 1736-1795 Provenance: Beijing Height: 4.2cm Height: 4.5cm Provenance: Beijing Provenance: Beijing 10 Glass, pale transparent blue, of flattened Published: Chinese Snuff Bottles from the Maxwell rectangular form with carved protruding oval 13 Glass, turquoise, of miniature double gourd Collection at the Crow Collection of Asian Art May foot rim. form, well proportioned with a neck that is 9-September 6, 2009 no. 49 flared up to the wide mouth, the foot with a flat 1850-1880 Exhibited: The Crow Collection of Asian Art, Dallas base. Height: 6.8cm May 9-September 6, 2009 Beijing Glassworks, Qianlong period, 1736-1795 Provenance: Ruth Lewis Collection Height: 4.5cm 11 Glass, opaque blue, carved with a multi- Provenance: Beijing faceted body, the foot flat and the neck Published: Chinese Snuff Bottles from the Maxwell cylindrical. Collection at the Crow Collection of Asian Art May Beijing Glassworks, Qianlong period, 1736-1795 9-September 6, 2009 no. 51 Height: 4.5cm Exhibited: The Crow Collection of Asian Art, Dallas Provenance: Beijing May 9-September 6, 2009 Published: Chinese Snuff Bottles from the Maxwell Turquoise was among the earliest of colours produced Collection at the Crow Collection of Asian Art May at the Imperial glassworks. The records remaining in 9-September 6, 2009 no. 50 Beijing begin only with the first year of the Yongzheng Exhibited: The Crow Collection of Asian Art, Dallas period, but in 1732 (sixth month, twentieth day) May 9-September 6, 2009 the Yongzheng Emperor ordered a turquoise glass snuff bottle destroyed and recycled because it was These multi-faceted bottles require a great deal too dark. of mathematical work to ensure that all the facets have the right proportions. This example is entirely satisfactory and works very well proportionally.

P.10 10 The Maxwell Collection of Chinese Snuff Bottles P.11 15 Glass, speckled pink sandwiched between 16 Glass, of small size, pink glass sandwiched 18 Glass, pink, of sandwich formation with a two layers of lighter pink, blown into the between a layer of lighter pink and an outer white base with a pink mottled layer caught form of a peach and subsequently carved and transparent layer, blown into the mould of a double between the two layers giving an attractive overall polished. gourd and subsequently carved and polished. speckled appearance, with a round protruding foot rim. Beijing Glassworks, Qianlong period, 1736-1795 Beijing Glassworks, Qianlong period, 1736-1795 Height: 5.1cm Height: 4cm Beijing Glassworks, Qianlong period, 1736-1795 Published: Chinese Snuff Bottles from the Maxwell Published: Chinese Snuff Bottles from the Maxwell Height: 4.2cm Collection at the Crow Collection of Asian Art May Collection at the Crow Collection of Asian Art May Published: Chinese Snuff Bottles from the Maxwell 9-September 6, 2009 no. 53 9-September 6, 2009 no. 54 Collection at the Crow Collection of Asian Art May Exhibited: The Crow Collection of Asian Art, Dallas Exhibited: The Crow Collection of Asian Art, Dallas 9-September 6, 2009 no. 56 May 9-September 6, 2009 May 9-September 6, 2009 Exhibited: The Crow Collection of Asian Art, Dallas May 9-September 6, 2009 17 Glass, variegated pink, sandwiched between The image of a peach was associated with the an outer transparent milky layer and an inner garden of the Queen Mother of the West, where transparent white layer, sparsely suffused with peaches ripen every 3,000 years and grant small bubbles, blown into the mould of a double immortality. As an emblem of longevity, the peach gourd and subsequently carved and polished. has always held a place of great importance in Chinese culture and is one of the most widespread Beijing Glassworks, Qianlong period, 1736-1795 motifs in Chinese art. Height: 6.4cm Published: Chinese Snuff Bottles from the Maxwell Collection at the Crow Collection of Asian Art May 9-September 6, 2009 no. 55 Exhibited: The Crow Collection of Asian Art, Dallas May 9-September 6, 2009

P.12 12 The Maxwell Collection of Chinese Snuff Bottles P.13 19 Glass, white, of miniature octagonal form, 21 Glass, pure white, with a slightly flaring neck, 22 Glass, of octagonal form, with raised facets with a flat lip and a flat rectangular foot, the and with a protruding oval foot rim, the front on each side, the glass of unusual hue with two main sides carved with raised, faceted panels. and reverse carved with an identical mallow pink striations throughout. flowerhead, well polished, and meticulously and Beijing Glassworks, Qianlong period, 1736-1795 Beijing Glassworks, Qianlong period, 1736-1795 geometrically designed. Height: 4.2cm Height: 4.2cm Beijing Glassworks, Qianlong period, 1736-1795 Provenance: Beijing Provenance: Beijing Height: 5.9cm 20 Glass, bubbly cranberry colour of slender Provenance: Johnny Tseng 23 Glass, opaque white, the body of octagonal circular form, each main side carved with faceted form with a flat foot and a tall This distinctive formalized flower-head appears on archaic confronting chilong with bifid tails, the cylindrical neck. a wide range of works of art from the eighteenth lateral sides carved with slim mask-and-ring century onwards. It has been suggested that it Beijing Glassworks, Qianlong period, 1736-1795 handles. represents a mallow or a kui flower, the flower Height: 4.8cm Beijing Palace Glassworks, Qianlong Period, 1736- associated with the successful scholar, and would, Provenance: Beijing 1795 therefore account for its popularity throughout the Height: 5cm Qing Dynasty. This motif is more usually found in glass. 24 Glass, miniature size, translucent flawless pale pink, the low squat body blown and Provenance: Neal W. and Frances R. Hunter Like the sunflower, the mallow turns to follow the sun. polished into an octagonal cross-sectioned form, Sotheby’s, New York, 15 September The sun, being emblematic of the ruler, the mallow is both faces with a four-faceted form rising to a 1998, Lot 49 a symbol of loyalty. As such, it would have been an summit. ideal motif for bottles made at Court for presentation to officials serving the Emperor. Beijing Glassworks, Qianlong period, 1736-1795 Height: 3.6cm Provenance: Beijing

P.14 14 The Maxwell Collection of Chinese Snuff Bottles P.15 25 Glass, turquoise, of octagonal form, with 27 Glass, pale turquoise, of rounded form with a 29 Glass, opaque green, the low compressed raised facets on each side. flattened base, long neck, and with a wide body blown and polished into an octagonal mouth. cross-sectioned form, both faces with a four- Beijing Glassworks, Qianlong period, 1736-1795 faceted form rising to a summit. Height: 4.8cm 18th Century Beijing Glassworks, Qianlong period, 1736-1795 Provenance: Beijing Beijing Glassworks, Qianlong period, 1736-1795 Height: 5.9cm Height: 3.3cm 26 Glass, translucent green, miniature form with Provenance: Beijing a long neck, the low compressed body blown 28 Glass, flattened shield-shaped bottle, the two and polished into octagonal cross-sectioned form, laterial sides ferelled and descending to the 30 Glass, opaque turquoise of octagonal shape, both faces with a rounded panel. flat foot, the neck flared to the wide mouth. each face with faceted panels below a cylindrical neck and with a wide opening, the Beijing Glassworks, Qianlong period, 1736-1795 Beijing Glassworks, Qianlong period, 1736-1795 base flat. Height: 3.5cm Height: 4.9cm Beijing Glassworks, Qianlong period, 1736-1795 Provenance: Beijing Provenance: Beijing Height: 4.2cm Provenance: Beijing

P.16 16 The Maxwell Collection of Chinese Snuff Bottles P.17 31 Glass, deep pink, covered with one opaque Yangzhou is a district in Jiangsu, and in the nineteenth layer of white and then blue, green, black, century it was a prosperous commercial centre that and brown areas, carved through to reveal a figure supported its own artistic community. Among those punting a sampan with a friend and fishing basket, active at this period was a group of painters known the reverse with two mandarin ducks, one black, as the Eight Eccentrics of Yangzhou, with a more one white, near a lotus plant with a dragonfly pictorial style than had been popular before. The above. subjects portrayed on the snuff bottles of this group are very much in the style of those artists. Li Junting Possibly Li Junting, Yangzhou School is the undisputed master of this school and his work is 1800-1880 conspicuous by merit of his mastery of composition Height: 5.8cm and carving. This bottle has obviously been carved Provenance: Rogers Collection, Toronto by a master of the Yangzhou school. The double Published: Journal ICSBS, Spring 2013, Front Cover overlay is carved through with tremendous skill and the artist has injected great movement into the This bottle is a ‘tour de force’ of overlay carving, piece. and has obviously been carved by a master of the Yangzhou school. The double overlay is carved through with tremendous skill and the artist has injected great movement into the piece.

P.18 18 The Maxwell Collection of Chinese Snuff Bottles P.19 32 Glass, the single plane of multi-coloured This bottle is superbly carved and finished, right down overlay carved with nine lively chi dragons to the smallest detail: even the dragons’ tiny eyes, with various types of heads and in different mouths, ears and paws are remarkably distinct. All attitudes, including one which forms the foot. the colours are bright and clear, and the artistic composition is delightful. It would seem reasonable Attributed to the Imperial Palace Workshops, to attribute this bottle to the Palace workshops. Beijing Qianlong peiod, 1736-1795 From earliest times, nine has been a potent number Height: 7.1cm in China: the Book of Rites enumerates nine rites, the country had nine provinces, nine tripods indicated Provenance: Mrs John Sheafe Douglas, no. 177 Imperial power, and there were nine grades of official Published: The Chinese Porcelain Company, during the Qing dynasty. Chinese Snuff Bottles from the Douglas, Gnam and Other Collections, 1992, no. 21 In Chinese mythology the dragon is a good-natured Robert Hall, The Art of An Imperial Addiction, and benign creature symbolizing male vigour and Chinese Snuff Bottles VII, 1995. no. 11 fertility. From the Han dynasty onwards, the dragon was seen as the symbol of the Emperor. It is also the fifth creature in the Chinese zodiac and one of the four creatures of the world directions.

For another superb example see Robert Kleiner, Treasures from the Sanctum of Enlightened Respect, Chinese Snuff Bottles from the Collection of Denis Low, no. 115.

P.20 20 The Maxwell Collection of Chinese Snuff Bottles P.21 33 Glass, Imperial yellow, of double gourd form, 34 Glass, Imperial yellow, in the form of a 35 Glass, of distinctive pale ‘Imperial yellow’, the the lower bulb much larger than the upper, chrysanthemum with ribbing emanating from bottle of flattened rounded form with a flared the neck flared, and the foot flat with a protruding the flattened central area of the flowerhead on neck and protruding oval footrim. footrim. each side of the bottle, joined around the whole Beijing Glassworks, Qianlong period, 1736-1795 circumference of the bottle, the foot filed flat to Beijing Glassworks, Qianlong period, 1736-1795 stand, the cylindric neck undecorated. Height: 5.7cm Height: 5.8cm Beijing Glassworks, Qianlong period, 1736-1795 Provenance: Beijing 36 Glass, Imperial yellow, of cylindrical form, the Height: 5.5cm neck flared and the foot raised and flat. Yellow was a colour reserved during the Ming and Provenance: Beijing Qing dynasties solely for Imperial use. As there was no Beijing Glassworks, Qianlong period, 1736-1795 standard yellow prescribed, Imperial yellow objects Height: 6.2cm exist in many different shades ranging from a rich egg Provenance: Beijing yolk-yellow to a pale lemon-yellow. The quality of finish and beauty of conception of this piece would merit it’s being termed ‘Imperial Yellow’.

P.22 22 The Maxwell Collection of Chinese Snuff Bottles P.23 37 Glass, miniature, translucent pale green, the 39 Glass, pale green, of compressed octagonal 41 Glass, miniature size, translucent flawless low squat body blown and polished into an shape, each face with faceted panels below pale green, the low compressed body blown octagonal cross-sectioned form, both faces with a a cylindrical neck and with a wide mouth, the and polished into an octagonal cross-sectioned four-faceted form rising to a summit. base flat. form, both faces with a four-faceted form rising to a summit. Beijing Glassworks, Qianlong period, 1736-1795 Beijing Glassworks, Qianlong period, 1736-1795 Height: 2.8cm Height: 3.7cm Beijing Glassworks, Qianlong period, 1736-1795 Provenance: Beijing Provenance: Beijing Height: 3.5cm Provenance: Beijing 38 Glass, the low squat body blown and 40 Glass, deep emerald green, carved with two polished into an octagonal form, both faces confronting dragons, their tails joined above 42 Glass, miniature bottle of translucent darker with a four-faceted form rising to a summit. their bodies to enclose a shou medallion. bottle green, the low squat body blown and polished into an octagonal cross-sectioned form, Beijing Glassworks, Qianlong period, 1736-1795 Attributed to the Beijing Palace Glassworks both faces with a four-faceted form rising to a Height: 4cm Qianlong period, 1736-1795 summit. Provenance: Beijing Height: 5.7cm Beijing Glassworks, Qianlong period, 1736-1795 A similar example in translucent pink is illustrated Height: 4.1cm in Robert Hall, Chinese Snuff Bottles VI, from the Provenance: Beijing Collection of Lionel Copley, Part I, no. 18.

P.24 24 The Maxwell Collection of Chinese Snuff Bottles P.25 43 Glass, Imperial yellow, carved in relief with a 44 Glass, Imperial yellow, of small size, 45 Glass, opaque lemon-yellow with translucent continuous design of meandering concentric exquisitely carved overall with overlapping yellow overlay, carved in relief with peonies bands, the protruding footrim of quatrefoil form. lotus petals, resting on a round protruding foot, and on one side and prunus blossom and iris on the with a flared neck. other, the neat oval footrim also formed by the Attributed to the Beijing Palace Glassworks overlay. Qianlong period, 1736-1795 Attributed to the Beijing Palace Glassworks Beijing Glassworks, Qianlong period, 1736-1795 Height: 6.5cm Qianlong period, 1736-1795 Height: 6.6cm Provenance: The Rogers Collection, Toronto Height: 5cm Provenance: Martin Clatworthy Collection Published: Chinese Snuff Bottles from the Maxwell Published: Chinese Snuff Bottles from the Maxwell Collection at the Crow Collection of Asian Art May Collection at the Crow Collection of Asian Art May There are very few snuff bottles with this colour 9-September 6, 2009 no. 46 9-September 6, 2009 no. 47 combination, the Imperial yellow usually being Exhibited: The Crow Collection of Asian Art, Dallas Exhibited: The Crow Collection of Asian Art, Dallas reserved almost entirely for the personal use of the May 9-September 6, 2009 May 9-September 6, 2009 Emperor. This is a beautiful example, of exquisite quality, and which has escaped the ravages of time. This bottle, of lotus design in Imperial yellow, is There are only very few (10 to 15) of this group of Another example is illustrated in Robert Hall, Chinese extremely rare. Pink is the more usual colour, but this distinctive and attractive bottles. The geometric Snuff Bottles II, originally from the Marian Mayer yellow example is exquisite. The superb carving, pattern on this bottle has been referred to as a wave Collection, no. 98. motif, which might have been inspired by European showing the contours of the petals, has surely been glassware brought to China by the Jesuits. This bottle created by a master craftsman. Glass, rich egg yolk-yellow, carved in relief is finished with great formal integrity and technical 46 The lotus is of almost unique importance in Chinese with writhing archaic dragons, sandwiched control. mythology and folklore, thanks largely to Buddhist between a ring of pendant ruyi and formalized influence. The perfect flower rising on a straight stem flower petals, all sitting on a neat oval footrim. from the murky depths was associated with the Beijing Glassworks, Qianlong period, 1736-1795 upright gentleman who retains his integrity regardless of the corruption which he frequently encountered in Height: 6.8cm his quest for service to his country. It is the symbol of Published: Chinese Snuff Bottles from the Maxwell purity and one of the eight Buddhist precious things. Collection at the Crow Collection of Asian Art May 9-September 6, 2009 no. 45 In Buddhism, the fruit, the flower and the stalk of the Exhibited: The Crow Collection of Asian Art, Dallas lotus represent the past, present and future. The May 9-September 6, 2009 presence of the word for lotus in a man’s name in China means that he is either a Buddhist or in some way wants to be linked with Buddhism and in women’s names it expresses her wish to be pure and respected. P.26 26 The Maxwell Collection of Chinese Snuff Bottles P.27 47 Glass, opaque white, overlaid with a single 49 Glass, a single yellow overlay on a pink 51 Glass, opaque white, the rounded body layer of five different colours, carved with an ground, carved on one side with a a long- overlaid with a thin layer of red and carved incense burner exhaling drifting smoke, a large tailed bird and flowers, the reverse with deer and with precision to reveal an aquatic scene including tripod carved with an incense burner and drifting prunus branch. two ducks and a flowering bough, water weed and smoke arising from it, another large tripod censer an inscription above, the other side also with an 1780-1850 also with rising incense smoke and two bats, aquatic scene with fish and waterweed with a seal together with a vessel with brushes, a crane in flight Height: 6.4cm above. over the yellow bat. 50 Glass, the snowstorm ground overlaid Attributed to Li Junting Beijing Glassworks, Qianlong period, 1736-1795 with dark blue on orange, carved with a Yangzhou School 1800-1850 Height: 5.7cm continuous scene of two horses below an orange Height: 5.7cm moon. Provenance: The Rogers Collection, Toronto Provenance: Laurence Souksi, Paris, France 1780-1850 Glass, double overlay of white on pink on Yangzhou school bottles are carved in low relief and 48 Height: 8.1cm a green ground, carved on each main side usually with great delicacy. They often bear the seals with a lady and her attendant in a garden, on one The overlay on this bottle appears to be blue but of studios or artists and some are known with cyclical side with hands clasped approaching a smoking when combined with the orange becomes black. dates. censer, the attendant holding a fly whisk, on the The skill of the artist is evident here in the confident reverse, holding a branch of prunus, the attendant carving of the pine trees and the rocks. holding an umbrella; the neck surrounded by a band of pendant palm leaves. 1780-1850 Height: 6.2cm

P.28 28 The Maxwell Collection of Chinese Snuff Bottles P.29 52 Glass, an orange/red layer overlaid on a 54 Glass, pale transparent aquamarine-blue, 56 Glass of unusual cloudy pink colour, carved light bubbly translucent ground, carved to with a flat lip and a recessed, flat circular on each side with a dragon swirling around show two varieties of mythological dragons with foot surrounded by a protruding footrim; very well the body of the bottle, resting on a neat oval foot sweeping tails and open mouths, their bodies hollowed and carved with eight vertical convex rim. entwining to form the base and foot of the bottle. lobes, the shoulders with a band of formalized 1780-1850 lingzhi heads and pendant beads, the base with Beijing Glassworks, Qianlong period 1736-1795 a band of formalized lotus petals, the stopper Height: 5.6cm Provenance: John Ault, Thailand matching and original. Published: Chinese Snuff Bottles from the Maxwell Height: 5.6cm Collection at the Crow Collection of Asian Art May Beijing Glassworks, Qianlong period, 1736-1795 9-September 6, 2009 no. 48 This is one of a very few red glass overlay snuff bottles Height: 5.7cm which all have the same coloured overlay and the Exhibited: The Crow Collection of Asian Art, Dallas same subject. They all appear to be Imperial, judging This bottle was carved from a solid block of glass May 9-September 6, 2009 by their extraordinary quality. rather than blown. The raised bosses representing the pendant jewels have been left in relief by 57 Glass, clear, overlaid with a single layer of several different colours and exquisitely 53 Glass snuff bottle, light green overlay painstakingly lowering the entire surrounding area. carved with various multi-coloured flowers and streaked with cinnabar-red on a bubbly well defined green foliage. translucent ground, carved in high relief with 55 Glass, translucent dark ruby-red fading to a cricket on a verdant Chinese cabbage; the pale red at the centre of the bottle, carved Beijing Glassworks, Qianlong period, 1736-1795 on one side with a scaly dragon with a bifid tail reverse with a toad sitting beneath a lotus leaf with Height: 6.8cm a lotus pod and bulrush to one side; the round oval chasing a flaming pearl, the other side with a scaly Published: Journal ICSBS, Spring 2013, Front Cover footrim also carved from the overlay. mythological phoenix adopting a pose similar to that of the dragon. The Glass workshops which were located within the Beijing Glassworks, Qianlong period 1736-1795 confines of the Imperial Palace in Beijing became, Beijing Glassworks, Qianlong period, 1736-1795 Provenance: Colonel Stillwell Collection from the Kangxi period onwards, extremely proficient. Height: 7.8cm Height: 7.2cm From the 1750s until the end of the century there was a small range of exceptionally high quality This wonderfully complex work of art demonstrates the multi-coloured overlay glass snuff bottles which very best of the early translucent green glass which were probably made expressly for the delight of the often has these delicate maroon veins throughout. Qianlong Emperor, or at least for him to choose from, as he was both a taker of snuff and a collector.

Glass bottles were to be made in all conceivable forms, but it is well documented that the Emperor favoured his art depicting nature with all its myriad variations, and this example is both unusual and of top quality, its colours vibrant and its green background foliage superbly carved. P.30 30 The Maxwell Collection of Chinese Snuff Bottles P.31 58 Glass, opaque white, overlaid with a single 59 Glass, deep ruby-red, of tall and exceptionally 60 Glass, a thick layer of dark maroon overlaid layer of translucent red glass and carved elegant form. on a snowflake ground and confidently depicting bunches of grapes hanging on curly carved to depict a sailing boat with a large oar Beijing Glassworks, Qianlong period, 1736-1795 tendrilly vines with a squirrel and two butterflies to help steer her, tall sails and rigging with an nearby; the protruding oval footrim also carved Height: 8.6cm attendant sampan amongst hazardous waves with from the red overlay. Private Hong Kong Collection two frolicking fish; the other amongst the rocks and pine trees. Beijing Glassworks, Qianlong period, 1736-1795 Height: 6.4cm Beijing Glassworks, Qianlong period, 1736-1795 Provenance: Pat Miller, Honolulu Height: 8.6cm Published: Chinese Snuff Bottles from the Maxwell Provenance: De Lisle Collection, Auckland, Collection at the Crow Collection of Asian Art May New Zealand 9-September 6, 2009 no. 42 Martin Clatworthy Collection, England Exhibited: The Crow Collection of Asian Art, Dallas Published: Journal ICSBS, Spring 2013, Front Cover May 9-September 6, 2009 This is an exceptional and quite brilliant snuff bottle carved by the same hand as the one illustrated in Chinese Snuff Bottles from the Rietburg Museum (by Robert Hall) P. 50, No. 19, although that bottle is perhaps less sensational than this example. This is certainly one of the more spectacular overlay bottles, and is one of only five or six known to be by this master. For another example see Hugh Moss and Stuart Sargent, This Snuff Bottle Monkey Business, The Mullin Collection and Its Story, no. 211.

P.32 32 The Maxwell Collection of Chinese Snuff Bottles P.33 61 Glass, of pale lemon colour, the faceted form 62 Glass, opaque white incised with a woman 63 Glass, of mottled orange, ochre and yellow Realgar glass seems to have been among the earliest with central flattened oval panels. behind a window, the other side with an in imitation of realgar. colours produced at the Court. Realgar glass bearing inscription, the base with the seal Gu Song, ‘Old the Yongzheng reign mark remains in the Imperial Beijing Glassworks, Qianlong period, 1736-1795 Beijing Glassworks, Qianlong period 1736-1795 Pine’, attributed to Zuotian. collection in Beijing, and there is a set of ten realgar Height: 3.7cmcm Height: 6.5cm glass cups purchased in China and brought back Dated 1820 Published: Robert Hall, Serendipity, Chinese Snuff The bright red of realgar is representative of the to Europe on the ‘Kronprins Christian’ in 1732. Plain Height: 5.6cm Bottles XVI, no. 62 male ‘yang’ element; the yellow of the orpiment realgar glass snuff bottles like these were made in The technique of incising on jade was common usually found mixed with it represents the female ‘yin’ large numbers throughout the 18th century, a large throughout the 18th Century, and with the availability element. Intermingled in a presentation snuff bottle proportion of them apparently at the Court to be of glass snuff bottles, Chinese scholars began (one intended as a gift), these two colours convey distributed as gifts. experimenting with the technique on glass. The sharp wishes for a happy marriage – with the male element tool used was probably a diamond or corundum dominating to produce many sons. point, handled as if it were a brush.

This is a superb example of the art and is one of a few pieces signed by the artist Zuotian.

P.34 34 The Maxwell Collection of Chinese Snuff Bottles 35 P.35 64 Glass, clear with bubbles, with an overlay of 66 Glass, transparent pale pink, sandwiched 68 Glass, single overlay of opaque pale pink on light turquoise-green superbly carved in relief between two layers of milky white glass, the a translucent, opalescent white ground, both with an orchid. outer layer of slightly translucent white delicately main sides carved with identical stylized mallow carved as the outer long white leaves of a bok flowers, the protruding oval foot rim with partial Beijing Glassworks, Qianlong period 1736-1795 choy cabbage, the serrated edges overlapping, pink colouring. Height: 6.2cm the leaves taut and straight, the base realistically Beijing Glassworks, Qianlong period, 1736-1795 Published: Chinese Snuff Bottles from the Maxwell carved, the overall colour mottled and stippled Collection at the Crow Collection of Asian Art May pink. Height: 5.7cm 9-September 6, 2009 no. 44 Provenance: Marian Mayer, Cape Cod Beijing Glassworks, Qianlong period, 1736-1795 Exhibited: The Crow Collection of Asian Art, Dallas The Snowy Peaks Collection Height: 7.5cm May 9-September 6, 2009 Published: Robert Hall, Chinese Snuff Bottles II, Provenance: The Rogers Collection, Toronto This is truly a remarkable glass bottle. The turquoise- page 113, and cover. Friedman, Pamela, Chinese green colour is vibrant and distinctive, and the simple This is one a of a small but lovely group of mottled Snuff Bottles form the Pamea R Lessing Friedman design shows to great effect the concise and clear pink glass bottles, the other major subject being the Collection, page 36 no. 15. Robert Hall, Chinese carving. lotus flower. Snuff Bottles XI, The Snowy Peaks Collection, no. 20 The delicate quality and formal integrity of this bottle The orchid has been associated with the high integrity 67 Glass, clear, the single overlay of nine colours are striking. The simple flower head on each side is of the gentleman since the poetry of Qu Yuan (340- carved with abundant flowers, different carved in such a way as to complement the shape of 278 BC) and it was sometimes painted uprooted from varieties of chrysanthemum, the base carved from the bottle.(For a discussion of the significance of the its nurturing soil as a subtle accusation from Yuan the same dark green that forms the leaves. mallow flower please see note to 21). artists against the conquering barbarians. Beijing Glassworks, Qianlong period, 1736-1795 65 Glass, transparent with a single plane of The chrysanthemum is the flower of autumn and is multi-coloured overlay carved with different especially associated with the 9th month of the old flowers: peony, chrysanthemum, mallow. Chinese year. It is also the symbol of longevity and of duration. A popular motif since the Tang Dynasty, Beijing Glassworks, Qianlong period 1736-1795 the chrysanthemum is present in every aspect of Height: 7cm Chinese art.

P.36 36 The Maxwell Collection of Chinese Snuff Bottles P.37 69 Glass, vivid turquoise with cinnabar-red 70 Glass; single overlay of pale blue on an 72 Glass, opaque white, with a blue overlay overlay carved in low relief with ancient urns, opaque white ground, carved in low carved in low relief with a man carrying a tripod vases and censers, some filled with flowers, relief with two fish in a lily pond on one side staff crossing a bridge and swallows swooping a subject known as ‘The Nine Dings’; the sides also accompanied by a school of minnows beneath around the wine shop (indicated by the flag) in carved with ancient vessels in place of the more two characters that read ‘inner happiness’ (zi le); the background and an inscription zhang li gu jiu usual mask-and-ring handles. the reverse with two birds, and a single seal below, which translates ‘Staff in hand, off to buy wine’; Bingxin (‘icy heart’, meaning, ‘a calm mind’), the reverse with the significant scenes of a person Yangzhou School, 1800-1850 relating to the poem by Wang Wei of the Tang carrying a basket to buy wine, with swallows Height: 6.5cm Dynasty which ends: ‘a calm mind or an icy heart, resting in a tree. This is a very rare colour combination for a Yangzhou crystal cold and clear, in a jade bottle’. Yangzhou School, 1800-1880 glass bottle. The ‘jiu ding’ (‘Nine Cauldrons’) is an Yangzhou School, 1800-1880 Height: 5cm ancient Chinese art motif dating back to the Xia Height: 5.8cm Dynasty (c. 2200 BC) These cauldrons were originally Glass, turquoise overlaid with cinnabar- made from metals brought to the Emperor by the Provenance: Hugh Moss, London 73 red and carved with the Nine Dings (‘nine governors of the nine provinces he created and were Published: Friedman, Pamela. Chinese Snuff Bottles cauldrons’), the oval footrim also carved from the said to weigh over seven tons each. As time went on, from the Pamela R. Lessing Friedman Collection, overlay and the sides with urns in place of mask- these cauldrons came to symbolize the power and page 46 no. 24. Robert Hall, Chinese Snuff Bottles and-ring handles. authority of the ruling dynasty, with strict regulations XI, The Snowy Peaks Collection, no. 33 imposed as to their use. Yangzhou School, 1800-1880 71 Glass, single overlay of dark royal blue Height: 6cm on a green ground, the tall ovoid bottle Published: Lilla S. Perry, Chinese Snuff Bottles, deeply carved with an elaborate scene of exotic The Adventures & Studies of a Collector, page 50 birds and a flowering tree peony, the blue glass no. 19 sweeping underneath where there are rocks and a protruding oval foot rim. According to legend, the Nine Tripod Cauldrons (Jiu Ding) were created following the foundation of Beijing Glassworks, Qianlong period, 1736-1795 the Xia Dynasty (c. 2200 BCE) by Yu the Great, using Height: 7.7cm tribute metal presented by the governors of the Nine Published: Chinese Snuff Bottles from the Maxwell Provinces of ancient China. Collection at the Crow Collection of Asian Art May 9-September 6, 2009 no. 41 At the time of the Shang Dynasty (1600-1046 BCE) tripod cauldrons came to symbolize the power Exhibited: The Crow Collection of Asian Art, Dallas and authority of the ruling dynasty. The use of the May 9-September 6, 2009 nine tripod cauldrons to offer ritual sacrifices to This is a rare and imposing combination of colours for the ancestors from heaven and earth was a major this group. ceremonial occasion so that by natural progression the ding came to represent national political power and later to be regarded as a National Treasure.

P.38 38 The Maxwell Collection of Chinese Snuff Bottles P.39 74 Glass, a single blue overlay on an opaque 75 Glass, a single overlay of cobalt-blue on an 76 Glass, clear with crizzled effect overlaid with white ground, carved with a cat approaching opaque white ground, carved with a reclining blue and carved on each side with a bird a flowering lily branch with two butterflies and shepherd holding his crook, his attendant across perched on an iris plant springing from rockwork. a four-character inscription, the reverse with the way reposing under a pine tree, as two bats fly Beijing Glassworks, Qianlong period 1736-1795 persimmons and a two-character seal: zhengke above, the scene expanding to show a sage in a Height: 6.9cm (‘the real thing’ or ‘just so’). boat being punted by his attendant while a crane This crizzled, transparent glass was known to have Yangzhou School, 1800-1880 flies overhead, a small area near the base of the bottle with a three-character inscription reading been used from the outset at the Imperial glassworks, Height: 5.5cm ‘the crane scene’. thereby suggesting an early work. The subject matter The persimmon is a symbol of joy because of its fits well into the shape of the bottle and the depiction Yangzhou School, 1800-1850 brilliant red colour. The butterfly hudie and cat of iris is unusual. maodie form the rebus ‘May you live into your Height: 7cm seventies and eighties’. The butterfly is a pun for Provenance: Private Collection, California ‘age seventy to eighty’ and the cat is a pun for ‘age eighty to ninety’.

P.40 40 The Maxwell Collection of Chinese Snuff Bottles P.41 77 Glass, double overlay of cinnabar-red on This bottle presents many good wishes by means 78 Glass, single overlay of translucent olive- 79 Glass, a single black overlay on a milky green on an opaque white ground, carved of the rebuses incorporated in its decor. The pine brown on opaque white, carved in low white ground skilfully carved as a basket of with a continuous scene of a pine tree and a tree, of course, is a symbol of longevity, because it relief to depict two scholars in a garden with their flowers containing chrysanthemum, peony and butterfly above two cranes, one holding a lingzhi, is an evergreen and lives for a long time. The crane attendants, with an inscription, shi shang ti shi roses, the basket encircled with a band of leiwen the other near bamboo below a crescent moon, and lingzhi are both emblems of longevity also. ‘Inscribing a poem on a rock’ and the artists seal, (thunder pattern), the black footrim of the basket one narrow side with a monkey on rockwork The monkey is a pun for ‘marquis’ and the bee is a Zimei. also serving as the footrim of the bottle. waving a stick at a beehive, a bee buzzing around pun for ‘confer’, together forming the wish that the Yangzhou School, 1800-1850 Beijing Glassworks, Qianlong period 1736-1795 his head. recipient will be promoted to high rank. The butterfly is symbolic of blessings and happiness, as well as Height: 7.1 cm Height: 5cm 1780-1850 longevity. Provenance: J. Rose, London Provenance: Government Warehouse, Beijing Height: 6.1cm Robert Hall, London Published: Chinese Snuff Bottles from the Maxwell The Snowy Peaks Collection Collection at the Crow Collection of Asian Art May 9-September 6, 2009 no. 43 Published: Friedman, Pamela. Chinese Snuff Bottles from the Pamela R. Lessing Friedman Collection, Exhibited: The Crow Collection of Asian Art, Dallas page 43, no. 21 May 9-September 6, 2009 Robert Hall, Chinese Snuff Bottles XI, The Snowy Provenance: Robert Hall, London 1995 Peaks Collection, no. 29 Rachelle R, Holden Collection This scene almost certainly represents the famous Christie’s New York 21 March 2000, lot 96 Song poet and calligrapher, Mi Fu, who had a favourite rock to which he would solemnly bow every morning, and which he used as subject for his paintings and calligraphy.

P.42 42 The Maxwell Collection of Chinese Snuff Bottles 43 P.43 80 Glass, milky-white, of well proportioned 83 Glass, pale caramel, overlaid with olive- 84 Glass, opaque white, overlaid with pink, rounded form, the body suffused throughout green and then overlaid again with cinnabar- green, yellow and blue, and carved in with random pastel splashes resembling falling bits red, the body and layers carved ingeniously with low relief on one side with a pink and a yellow of confetti. an aquatic scene depicting two fan-tailed carp chrysanthemum, and on the other side with a red swimming amongst lotus plants in bloom, some in chrysanthemum, with blue and turquoise foliage; 1780-1850 bud, and small weeds, with a swooping bird and a the bottle exquisitely made of extremely thin Height: 5.1cm bee carved from the green. glass with a wide neck, and resting on a neat oval footrim. 81 Glass, cinnabar-red overlaid on caramel, Yangzhou School, 1800-1880 carved to reveal the figure of a woman Height: 5.6cm Beijing Glassworks, Qianlong period 1736-1795 punting her log boat, a basket with a peach spray Provenance: Mr and Mrs F. Robbins, San Diego USA Height: 6cm on the bow, a crab below and a crescent moon This is a very unusual style for a multicoloured overlay above also carved from the red overlay, the The output of glass snuff bottles from Yangzhou was and resembles some of the early enamel-on-glass reverse with another figure on a skiff with fish, shells substantial. Most were single overlays, many of which wares. The bottle is small, delicate, and not at all and the sun picked from the overlay red. lacked inspiration, but there seems to have been a workshop or master who excelled in this group, typical of Palace work. It is a beautifully designed Attributed to Li Junting, Yangzhou specifically working very successfully with this colour miniature masterpiece, conceived and carved with 1800-1880 combination. Worthy of note is the side on which the the utmost elegance. Height: 6.5cm carp is swimming stealthily around a lotus leaf and the Published: Journal ICSBS, Spring 2013, Front Cover artist has managed to give an extra touch of realism by leaving its tail to flick the other side. 82 Glass, rounded bulbous form, the ground of white with swirls of yellow overlaid in pale green and carved with a fan-tailed goggle-eyed fish. Beijing Glassworks, Qianlong period 1736-1795 Height: 5cm

The Chinese word for fish ‘yu’ is phonetically identical to the word for ‘abundance, affluence’ so the fish has come to symbolize wealth.

P.44 44 The Maxwell Collection of Chinese Snuff Bottles P.45 85 Glass, deep red fading toward the neck 87 Glass, ruby-red, of tall oval elegant form. 90 Glass, deep ruby-red with a golden glow, the which becomes virtually colourless, the pear- elegant bottle of unusual bulbous moonflask Beijing Glassworks, Qianlong period, 1736- shaped body carved overall with facets, the neck form, resting on a protruding footrim. 1795 of rounded section. Height: 7cm Beijing Glassworks, Qianlong period, 1736-1795 Beijing Glassworks, 1780-1850 Height: 4.8cm Height: 6.1cm Glass, deep amber red, panels on each main 88 The majority of early ruby-red glass snuff bottles seem side carved with a phoenix beneath stylized Provenance: Martin Clatworthy Collection to have been made at the Imperial glassworks, where branches, the lateral sides carved with mask-and- it is possible that the secret of their manufacture was Faceted snuff bottles owe their concept to the Italian ring handles. glass workshops whose many styles included this closely guarded, perhaps well into the Qianlong faceted technique. Beijing Glassworks, Qianlong period, 1736-1795 period. Height: 6cm 86 Glass, miniature faceted form, of ruby- red, the facets all over the body of perfect 89 Glass, deep ruby-red blown into a mould and proportions and the tall neck undecorated, the carved as a formalized mallow flower. foot flat. Beijing Glassworks, Qianlong period, 1736-1795 Beijing Glassworks, Qianlong period, 1736-1795 Height: 4.9cm Height: 3.6cm This is a superb example of a ‘mallow flower’ bottle. Provenance: Beijing (See note to 21)

There is a popular misconception that miniature For a similar example see Robert Kleiner, The Nordic bottles were used mainly by ladies, but it would Butterfly Collection of Chinese Snuff Bottles, Part I, seem from all the evidence that there was no bias no. 128. in that way. It is part of the collector’s idiosyncrasy to want something a little ‘unusual’ and this is where the miniature bottle owes its beginnings. This red glass bottle has delightful proportions and is a well- balanced work, belonging to the group of fine glass bottles excavated from the Beijing surroundings in preparation for the Olympics of 2009.

P.46 46 The Maxwell Collection of Chinese Snuff Bottles P.47 Organic

P.48 48 P.49 91 Ivory, carved with immortals and attendants, This group of ivory bottles, is made up of a number of 92 Coral snuff bottle, of darker colour with lighter some carrying an assortment of attributes, highly sophisticated and intricately carved bottles, areas, the bottle carved in relief with fo dogs all on a carved wave ground. The base incised most of which have an incised four-character mark playing with a beribboned brocade ball, standing with a four-character mark within a squared box on the base relating to the Qianlong period, and just on a neat oval footrim. Qianlong nianzhi (‘Made during the reign of the a few whose mark relates to the Jiaqing period. 18th Century Qianlong Emperor’). It has been suggested by Hugh Moss that this group Height: 5.9cm Possibly 19th Century was made in Japan. It is true that the lack of bottles Provenance: The Dane Family Collection, USA Height: 6.3cm (without stopper) from this group residing in the Palace collections of Coral is known scientifically as Corallium rubrum, or Stopper: in the form of a melon with mother of either Beijing or Taiwan is almost a good enough noble coral. It grows in tree-like structures in a band pearl, contemporary but matching reason to think that these may not be Chinese. Ivory is malleable though tough - the perfect material to of water with warm temperatures and is formed by Provenance: Private collection in France since carve - and combines well with the patina it attracts the coral polyp, a tiny primitive plant-like creature 1914 when it was bought from when handled and aged. The work on this example that secretes a calcareous deposit which grows into Mr Gutmann in Rue du Faubourg is quite wonderful and has a high residual value if an architectural structure thickest at the base and Saint-Honore, Paris only because of it’s superb thinner as it branches out. workmanship and intriguing Coral was highly valued at court, and it was used with subject matter. great economy. Thus the form of the bottle often follows the form of the coral ‘branch’. Not, however, in this case.

P.50 50 The Maxwell Collection of Chinese Snuff Bottles P.51 93 Hornbill, carved in low relief with three Ting bird whose natural habitat was in Borneo and 94 Cinnabar lacquer, of flattened rounded form, 95 Cinnabar lacquer, of elongated form, the flowering chrysanthemums amongst Sarawak, but the bird was hunted to virtual extinction carved with children playing on a swing, the body overlaid with three different colours rockwork, in the bottom left hand corner a solitary during the 20th Century. This is a lovely piece with the other side with children playing blind man’s buff; of lacquer, ochre, brown and cinnabar red and daisy, and on the reverse the ‘three friends’ with side red areas carved from the shield of the bill. the stopper matching and original. carved away to reveal a sage carrying a qin in a pine, prunus and bamboo. Both scenes with a mountainous landscape with a building nearby, The chrysanthemum is the flower of autumn and is 1736-1795 background design of interlocking leiwen (‘thunder the vignette framed by stylized scrolls, the base especially associated with the 9th month of the old pattern’) and the red sides carved with writhing Height: 6cm with a black floral design from the darker coloured Chinese year. The chrysanthemum is also the symbol dragons. Figure subjects are the most common on this group lacquer. of long life and of duration. of lacquer bottles and they are almost always set Daoguang, 1821-1850 1780-1880 Pictures showing the pine, bamboo and plum trees against a formalized diaper ground, with a different Height: 6.5cm Height: 7cm together are referring to the three friends of winter pattern for each plane. There are standard patterns Provenance: The Ferrari Collection, Europe Provenance: Becton Critoph, Lowestoft, England motif. As the pine can stand up to the cold and does for earth, water and sky, as can be seen on this This is an extremely rare snuff bottle. Hornbill was a not lose its needles it has come to symbolise longevity bottle: the design for the ground on which the boys valued material in China well before the snuff bottle and steadfastness. The bamboo is an emblem of are playing is not the same as the pattern as that of period. References to it are found from the Yuan longevity owing to its durability, and to the fact that the sky above their heads. dynasty and in the Ming Tribute Regulations, where a it is evergreen and flourishes throughout the winter. single piece of red sheath of the hornbill was valued And the plum tree blossoms even before it has leaves, at a thousand cash, or half an ounce of finest coral and is the first tree in spring to do so. beads. Existing pieces of the material seem to be mainly Qing and consist primarily of belt buckles and thumb rings. Hornbill was carved from the Ho

P.52 52 The Maxwell Collection of Chinese Snuff Bottles 53 P.53 96 Coral; an irregular branch with a flattened, 97 Coral, carved as a melon encircled by lush 99 Amber, of almost flawless pure translucent formalized foot carved with a cellular pattern, leaves and flowers with a delicate butterfly golden colour, extremely well hollowed, of one side carved with a chi dragon, its bifid tail and a robust cicada to one side, the small white flattened rectangular form resting on a protruding above as it crawls down the surface curling to look natural areas cleverly used within the design for oval foot rim. backwards and up at a rodent, the reverse with a flowers and cicada, the base carved as a large 1780-1850 curled lotus leaf towards the neck, above the two- flowerhead. Height: 5.6cm character inscription ‘Zi Chen’. Height: 5.2cm Signed Zi Chen Provenance: Mr and Mrs B. Schwartz collection, 100 Lacquered wood, in the form of an eggplant. 1750-1830 New York 1780-1850 Height: 7.0cm Height: 5.6cm Provenance: Hugh Moss Ltd, London 98 Amber, the flawless golden material of wide and bulbous form, exceptionally well The eggplant characteristically has an elongated Robert Hall, London hollowed to the point of transparency, very slight and smooth shape. It was a favourite design for snuff The Snowy Peaks Collection ‘swirly’ marks which are natural inclusions visible bottle makers not only because it was easy to make Published: Robert Hall, Chinese Snuff Bottles XI, on both sides, the cylindrical neck with a small but also for the fertility significance due to its shape The Snowy Peaks Collection, no. 119 mouth, and a protruding oval footrim. and abundant seeds. Chinese Snuff Bottles from the Maxwell Collection 1780-1850 at the Crow Collection of Asian Art May Provenance: Mr and Mrs Kaynes-Klitz, U.K. 9-September 6, 2009 no. 29 Height: 6.8cm Exhibited: The Crow Collection of Asian Art, Dallas May 9-September 6, 2009 This pure golden colour is one of the most sought-after in the large amber family, with a range that runs from The irregular form of this bottle has been dictated by very dark root-like colours (root amber) through to the the shape of the original ‘branch’ of coral that grew opaque bright Baltic variety and on to this delicious in the sea bed. In this instance, unlike many pieces of golden colour. This and the following are excellent coral used for early snuff bottles, the material is even examples and it must have been an extremely in texture and pale in colour. There are few signs time-consuming task to hollow out with what were of the natural pits and holes that are usually found evidently basic foot-driven tools and hand-operated filled with wax or some other material to disguise the scoops and polishers. flaws. Often to be found in coral are white patches or inclusions, and in this case the artist has cleverly utilized a natural curving white streak to highlight the body of the dragon, a masterly touch.

P.54 54 The Maxwell Collection of Chinese Snuff Bottles P.55 Quartz

P.56 56 P.57 101 Chalcedony, extremely well hollowed, the 103 Chalcedony, extremely well hollowed 104 Chalcedony, brilliantly carved with a pale grey stone with a spattering of dark and carved using the natural dark brown fisherman landing a large fish from the brown and a slight greenish tinge, and a central inclusions to reveal the image of two ducks; water and a dragon leaping to chase a pearl inclusion that closely resembles a butterfly. the bottle resting on a flattened foot and with a which has been carved from a small milky- concave neck. coloured area, the scene amidst a rocky 1780-1850 landscape that continues around the body, the 1750-1820 Height: 5.6cm reverse with a seven-character inscription on Height: 5cm The butterfly symbolizes blessings and happiness as the rock face which translates as ‘A benevolent well as longevity. It is an emblem of joy and a symbol Published: Chinese Snuff Bottles from the Maxwell dragon has appeared among mighty waves, the of summer. It is also a sign of conjugal felicity. The Collection at the Crow Collection of Asian Art May recipe for the elixir (of immortality) is complete’. origin of this is to be found in the writings of the Daoist 9-September 6, 2009 no. 23 Provenance: Charles Pietsch, Honolulu philosopher Zhuang Zi who, as a young student, was Exhibited: The Crow Collection of Asian Art, Dallas Suzhou School running after an exotic butterfly and unknowingly May 9-September 6, 2009 intruded into the private garden of a magistrate. In 1780-1850 This bottle is superbly hollowed out and the charming the garden was a beautiful young girl (daughter Height: 7.2cm representation of the two ducks is very clear. In of the magistrate) with whom he instantly became Buddhist ritual, the duck stands for ya meaning ‘to This is a masterly piece of stone carving. The material besotted. In order to capture her heart and obtain suppress evil’. Because it is believed that they mate the artist has chosen to carve lends itself wonderfully her as his wife, he strove to do well in his exams. He for life, mandarin ducks also symbolize married bliss. to the subject matter, and this skill is legendary within was successful in this and rose to high rank and the Suzhou school. fame. Thus a snuff bottle bearing a butterfly motif is a Birds are a popular subject for chalcedony bottles perfect gift for a loved one. and a significant number of them depict ducks. Many may be the output of one particular workshop. 102 Chalcedony, semi-translucent, exceptionally On this bottle, the ducks are shown in silhouette in low well hollowed throughout, of mushroom relief. Along with the inspired attention given to the colour with a banded area towards the lower subject, the carver also took great care in shaping section. and hollowing the bottle. 1780-1850 Height: 6.5cm

Banded agates are all different, their colours and formations depending on nature alone. This example is refreshing in that it is of a delicate mushroom colour that subtly changes to cream toward the base. The expert hollowing allows the colours to be enjoyed all the better with transmitted light.

P.58 58 The Maxwell Collection of Chinese Snuff Bottles P.59 105 Jasper, deep green with dark red Provenance: Martin Clatworthy Collection yang symbol floats, with an inscription above inclusions, exquisitely carved with Zhong Published: Chinese Snuff Bottles from the Maxwell reading Cheng Lehai, the reverse left plain and the Kui, the Demon Queller, on both sides; extremely Collection at the Crow Collection of Asian Art May bottle resting on a small protruding oval footrim. well hollowed and resting on an oval protruding 9-September 6, 2009 no. 25 1780-1850 footrim. Exhibited: The Crow Collection of Asian Art, Dallas Height: 3.9cm 1760-1820 May 9-September 6, 2009 The very small size of this bottle is most unusual. Height: 5.9cm There was a large group of hardstone bottles It is obvious that the work here is by a master of the Provenance: John Ault, Thailand associated with the Court and official life by the medium. The green on pale beige colour too is Published: Chinese Snuff Bottles from the Maxwell predominance of subject matter related to auspicious uncommon and one tends to find the finest work on Collection at the Crow Collection of Asian Art May wishes between officials. The majority of these bottles stones like this as the combination would have been 9-September 6, 2009 no. 28 were made either for the Court to give as presents rare and attractive to the workshops. to meritorious officials, or for officials to exchange Exhibited: The Crow Collection of Asian Art, Dallas as gifts between themselves. The subject matter Cheng Lehai is the name of the carver of the piece. May 9-September 6, 2009 here is ideal as a gift for a newly appointed official. The horse is the seventh creature of the Chinese Jasper is a variety of quartz containing various It stands as a metaphor for unfulfilled potential. Like zodiac and is also a symbol for speed. metallic impurities which give the stone a dense, the horse tethered to a post waiting to be taken for a opaque quality. It occurs in a variety of bold dense ride, the scholar official has passed his examinations 108 Chalcedony, translucent and flawless, with colours, such as dark green, russet, and ochre, successfully and has been appointed to an official a translucent green skin beautifully carved which provide the carver with fine opportunities for post. It is now time for him to fulfill his potential. This to reveal two crickets on rocks. extracting dramatic contrasts within the decoration. was a popular subject for chalcedony bottles during 1780-1850 the Qing period and it also appears in a series of Both sides of this bottle are carved with the heavily jasper bottles such as this one, possibly made by the Height: 6.3cm bearded demon queller, Zhong Kui, in a long robe. same workshops. Published: Chinese Snuff Bottles from the Maxwell As here, Zhong Kui is usually shown either surrounded Collection at the Crow Collection of Asian Art May by a group of subdued demons or dancing with bats. A type of opaque quartz, jasper is found in a range of 9-September 6, 2009 no. 26 Bats symbolize happiness in Chinese mythology. colours such as brown, red and dark green, among Exhibited: The Crow Collection of Asian Art, Dallas which reddish brown is the most prized. Horses May 9-September 6, 2009 106 Jasper of variegated reddish brown, yellow had long been a symbol of status and power, and ochre and dark green; very well hollowed the Chinese imported horses from Central Asia to Since the first half of the 19th Century, crickets have with a slightly tapering neck, concave lip and maintain their military might. This horse is carved in been a popular subject on snuff bottles. In addition recessed flat oval foot surrounded by a protruding relief with great realism. to signifying courage, crickets also symbolize loyal flat footrim; carved on one main side, using the service to one’s country. This bottle could have been natural colouring in the stone, as a cameo with a 107 Chalcedony, miniature form, honey a gift from the Court to officials to remind them of horse tethered to a post. coloured, with a pale green skin carved their Confucian responsibilities in government. The Official School with a horse standing on a rocky outcrop, its foreleg raised and head turned round over its 1750-1840 back, emitting a cloud of vapour on which a yin Height: 6.2cm

P.60 60 The Maxwell Collection of Chinese Snuff Bottles P.61 109 Chalcedony, small with a slightly flared The Suzhou school produced the very finest work, neck and a flat oval base, the body of and many of their snuff bottles were presented to the dark caramel colour with darker brown inclusions Imperial court. The ability of the artists is legendary; cleverly carved to show a large ornamental rock one of the outstanding characteristics of their skill and an ancient gnarled pine tree in a landscape was that they were able to utilize all of the different with an inscription reading ‘The plum and longevity coloured inclusions in the stone. This bottle is by one lingzhi (fungus) garden’; the reverse with a Daoist of the recognized masters and has the very finest sage with a hoe, his hair tied up in a bun, probably attributes one could associate with this school. tending to his lingzhi fungus. The figure on this bottle could be a Daoist sage with Suzhou School, 1750-1820 his hair tied up in a bun. He carries a hoe on his Height: 5cm shoulder and approaches a rocky landscape with Provenance: The Madelana Collection lingzhi fungi all around. In Chinese culture, the lingzhi fungus has long been associated with immortality, Published: Chinese Snuff Bottles from the Maxwell probably due to its hallucinogenic qualities used by Collection at the Crow Collection of Asian Art May Daoists in their search for everlasting life. 9-September 6, 2009 no. 20 Exhibited: The Crow Collection of Asian Art, Dallas May 9-September 6, 2009

P.62 62 The Maxwell Collection of Chinese Snuff Bottles P.63 110 Chalcedony, pale, translucent honey- 111 Chalcedony, pale grey suffused with darker 112 Chalcedony, of clear, slightly beige agate colour, with striped inclusions carved inclusions which are minimally carved to with darker brown contrasting inclusions to reveal a playful tiger chasing two bats; well reveal a large hawk on a rock looking backwards throughout, the outer layer carved with a hawk hollowed and resting on an oval protruding footrim. at a smaller bird perched on a cliff, the brown perched on a rock, its beak partially open and swirly markings dramatically representing boulders one wing raised, behind is another large boulder, 1780-1860 set against the sun; extremely well hollowed with a in the background is a landscape with mountains Height: 6.3cm protruding oval footrim. and lake; the mouth slightly concave. Published: Chinese Snuff Bottles from the Maxwell Provenance: The Martin Clatworthy Collection 1780-1850 Collection at the Crow Collection of Asian Art May 9-September 6, 2009 no. 24 1750-1860 Height: 4.8cm Exhibited: The Crow Collection of Asian Art, Dallas Height: 6.1cm Chalcedony, of flattened rectangular form, May 9-September 6, 2009 Published: Chinese Snuff Bottles from the Maxwell 113 the dark honey colour with a darker brown Collection at the Crow Collection of Asian Art May The carver has here made brilliant use of the striped skin that has been carved in silhouette style to 9-September 6, 2009, no. 22 stone to show a tiger chasing bats. The bottle is depict a monkey on a horse with bees buzzing extremely well made and the crispness of the carving Exhibited: The Crow Collection of Asian Art, Dallas around. is exemplary. May 9-September 6, 2009 Provenance: Martin Clatworthy Collection One of the many pleasures derived from these The tiger is one of the oldest protectors of China The Official School ‘silhouette agates’ is that there is a story inherent in and teams with the dragon to represent the yin and each of them, and it is often different for each viewer. 1750-1860 yang guardians protecting palaces and tombs. Height: 7cm Images of tigers are used to protect a household. This bottle demonstrates impressive craftsmanship in For more information about the tiger see Therese Tse the use of the stone’s natural markings. Dark markings This bottle has the kind of spirit which the best of Bartholomew, Hidden Meanings in Chinese Art, 3:28. were carefully preserved to form the silhouette of the impressionist paintings should possess - whilst the perched hawk. The subject was treated as a the darker inclusion is not quite as even as the artist traditional Chinese ink painting, in which the dance would perhaps have liked, the marvellous result is a charming impression which, upon close inspection, of brush and ink was all important. reveals more and more details. The monkey, the horse and the bee form a rebus for a phrase meaning ‘may you have rapid promotion to a high rank’.

114 Chalcedony, silhouette agate, the dark inclusions lightly carved to reveal two birds on a branch, the eye of one marked from the clear space, the bough of the tree delineated by a natural branch. 1780-1850 Height: 5.8cm

P.64 64 The Maxwell Collection of Chinese Snuff Bottles P.65 115 Chalcedony, pale beige with a mottled 117 Chalcedony, beige with white skin carved 118 Chalcedony, pale honey colour with an ‘cellular’ pattern that is the result of in relief with Meng Haoran seated on a ochre inclusion in the form of a duck which extensive hollowing where the tools used to rub donkey, followed by his attendant carrying plum has been lightly carved to enhance the picture, away the inside of the bottle have left their marks. blossoms. with the addition of an eye, webbed feet and water markings; the reverse with other areas of 1750-1860 18th Century ochre carved as fish; the bottle well hollowed and Height: 5.2cm Height: 6.9cm resting on a recessed foot. This bottle is beautifully made and exceptionally well Published: Chinese Snuff Bottles from the Maxwell 1780-1850 hollowed. It is difficult to appreciate the amount Collection at the Crow Collection of Asian Art May Height: 5.8cm of time required to make a bottle like this – not to 9-September 6, 2009 no. 27 mention the accident rate when hollowing a stone to Exhibited: The Crow Collection of Asian Art, Dallas 119 Chalcedony, pale caramel-beige with slight this extent. May 9-September 6, 2009 striations visible throughout, and a light Meng Haoran was a major Tang Dynasty poet. After translucent russet area very lightly accentuated to 116 Chalcedony, of light honey colour with briefly pursuing an official career, he mainly lived in show an extraordinarily simple rendition of a duck. darker inclusions which have been used by and wrote about the area in which he was born and 1780-1850 the carver to create the image of geese in flight raised, in what is now the province of Hubei, China. above darker rocks, with a minimal amount of He is often portrayed riding a donkey followed by an Height: 6cm carving to accentuate the birds’ form; the bottle attendant carrying a branch of plum blossom. Provenance: The Sidney Borsook collection, extremely well hollowed with a protruding oval Johannesburg, South Africa footrim. Two lines from a poem by Meng Haoran read: ‘(As) an old man with silvery hair, (I) will not be disturbed if This simple but effective scene is depicted on a very 1780-1850 the heaven is out of order. Astride a mule, across a attractive stone with the help of very skilled hollowing Height: 6.2cm small bridge, (I) sigh along at the slender plum trees’. and only a small amount of extremely proficient polishing. The hollowing here is exemplary. This is a superb example of the artist’s ability to utilize the natural markings as simply but effectively as possible.

P.66 66 The Maxwell Collection of Chinese Snuff Bottles P.67 120 Chalcedony, with minimal dark inclusions, 121 Chalcedony, carved using the darker 122 Chalcedony, carved with a sage in a carved with a bearded scholar seated on inclusions with the Immortal, Liu Hai, with landscape gazing at pine and rocks, in a rock, the reverse with another scholar reading a a fan, teasing his three-legged toad with his string front of a rocky area with pine carved from the book under a pine, and an inscription which reads of cash, in a rocky landscape; the reverse with darker brown inclusion, another seated figure Ling Kangguo (artist’s name). dramatic rocks and pine with cloud pattern above with dark hair and beard is seated amongst rocks and an inscription in raised characters Shen xian and pine, above to the left is a seven-character Suzhou School you xi which translates as ‘The Spirits at play’. inscription which reads ‘Having learned [the secret 1780-1850 of attaining] long life, there is no need to count Suzhou School, 1780-1850 Height: 4.7cm [how many] springs [one has lived]’. Height: 5.9cm Provenance: Sara Jo and Arthur Kobacker Suzhou School, 1780-1850 Collection Provenance: Mrs. Ian Wasserman Height: 6.2cm Sara Jo and Arthur Kobacker Collection Published: Chinese Snuff Bottles from the Maxwell Published: Hugh M. Moss, Chinese Snuff Bottles of Collection at the Crow Collection of Asian Art the Silica or Quartz Group, London 1971, page 64 May 9-September 6, 2009 no. 19 no. 165 Exhibited: The Crow Collection of Asian Art, Dallas According to legend, Liu Hai was a Minister of State May 9-September 6, 2009 in the 10th century A.D. and a proficient student of Daoist magic. His toad also had magical powers – This bottle is typical of the best work of the Suzhou among others, that of being able to transport Liu School. It displays brilliant use of the dark inclusions Hai wherever he wished to go. From time to time, for the hair of the two figures, including the beard of the toad would escape down the nearest well, but the sage. Liu Hai could always tempt him back up again by dangling a string of cash down the well. Liu Hai is usually represented with his foot resting on the toad and holding a string or ribbon upon which five gold cash coins are strung. This design is known as ‘Liu Hai sporting with the toad’ and is regarded as very auspicious and conducive to good fortune.

P.68 68 The Maxwell Collection of Chinese Snuff Bottles P.69 123 Chalcedony, of small size, the darker This is one of the most powerful miniature chalcedony 124 Chalcedony, the well-hollowed bottle with A solitary scholar fisherman in natural surroundings, russet skin with a dark brown inclusion snuff bottles known. It packs so many punches in a concave lip and narrow flat base, carved as depicted on this snuff bottle, was a recurring carved with a dragon’s head emerging from the such a little work, even under great magnification it utilizing the natural coloration in the stone to show philosophical and poetic theme, depicted frequently clouds over turbulent water and rocks and a four- stands up to any of its contemporaries. a fisherman seated near a rocky promontory in Chinese art. He represented contemplation, character inscription. The other side also with shaded by a massive pine, the scene reversed solace and the simple life. He was a person at peace According to Chinese legend, if a carp succeeds in darker russet skin from which a carp leaps out of by smaller pine growing from jagged rocks and with himself. jumping over the Dragon Gate on the Yellow River the water by some rocks, a dragon’s clawed foot inscribed songxi yindiao ‘fishing by the pine it will turn into a dragon. This tale connects carp appears from the clouds, beneath another clawed stream’. with the intellectual supremacy and success on civil foot, the base with a recessed oval foot. service examinations. The idea of this metamorphosis Suzhou School, 1780-1850 Suzhou School, 1780-1850 has long been used to encourage candidates, Height: 5cm Height: 4.5cm often from a humble background, to pass their Exhibited: Gallery of New South Wales, Sydney, Published: Chinese Snuff Bottles from the Maxwell examinations. Australia, 1991 Collection at the Crow Collection of Asian Art May Published: Hui, Polak & Sin, Hidden Treasures of the 9-September 6, 2009 no. 21 Dragon, Page 105, no. 210 Exhibited: The Crow Collection of Asian Art, Dallas May 9-September 6, 2009

P.70 70 The Maxwell Collection of Chinese Snuff Bottles 71 P.71 125 Aquamarine, carved with an archaic 126 Chalcedony, translucent beige of cylindrical This is one of an important group of bottles made design, with matching stopper, the bottle form, tapering gently from the shoulder from the same very pale, flawless chalcedony. They left unpolished inside. to the foot, the vertical panels, each incised with are all of elegant form, often with this lobed design Imperial inscription, the shoulders carved with with panels inscribed with a poem. The Qianlong 1780-1880 ruyi lappets and pendant drops, the foot with a Emperor was an obsessive poet and kept his inscribers Height: 6.2cm formalized lotus design encircling the base, the flat extremely busy, especially during the last third of his Aquamarine is a member of the beryl family. circular base carved with a four-character mark reign. A few of this group (like this one) bear the four- Although this stone was available to the Chinese Qianlong nianzhi, (Made during the reign of the character mark of the Qianlong Emperor. They are all throughout the snuff bottle period, early bottles Qianlong Emperor’). of a very delicate and intricate nature, and may be made of this material are rare. Unusual semi-precious linked to the Imperial workshops in Beijing which also Imperial, Palace Workshops, Beijing 1770-1795 stones began to be imported into China in the mid- produced enamelled glass bottles with similar motifs. Height: 5.4cm 19th Century to satisfy the demand for snuff bottles This is a wonderful specimen from the west. This is a fine example and is quite well Provenance: The Ferrari Collection, Europe of chalcedony that came to hollowed for a semi-precious stone. Similar Example: J & J Collection no. 164, Illustrated: the attention of the Qianlong Moss, Graham, Tsang The Art of the Chinese Snuff Emperor and he ordered a Bottle, page 261 group of elegant bottles to be made from the stone.

P.72 72 The Maxwell Collection of Chinese Snuff Bottles P.73 127 Quartz, almost flawless pale beige, the The basket weave design is a clever representation 128 Aquamarine, the good pale blue colour 129 Beryl, plain, of flattened rectangular shape. translucent body exquisitely carved with of the woven rattan, reeds or other materials which with a few characteristic flaws throughout, 1780-1850 a continuous basket weave pattern, except for have been used to protect pottery vessels in China resting on a well-carved protruding footrim. the neck which has been left plain, with an oval throughout the years. It became a popular motif Height: 5.6cm 1780-1850 indented foot, splayed neck and slightly concave for snuff bottles from the 18th century onwards and Published: Chinese Snuff Bottles from the Maxwell mouth. has been represented in bottles of nephrite, ivory, Height: 6.4cm Collection at the Crow Collection of Asian Art May gourd, glass, amber, crystal and porcelain as well as Provenance: Neal W. and Frances R. Hunter 9-September 6, 2009 no. 18 1780-1820 agate. Chalcedony is notoriously difficult to carve Sotheby’s, New York, 15 September 1998, Lot 256 Exhibited: The Crow Collection of Asian Art, Dallas Height: 5.3cm being exceptionally hard but in this case the artist Published: Chinese Snuff Bottles from the Maxwell May 9-September 6, 2009 has superbly mastered his material with the weave Collection at the Crow Collection of Asian Art May Although beryl was available to the Chinese being thinner at the base and the neck and filling out 9-September 6, 2009 no. 19 throughout the snuff bottle period, early snuff bottles towards the centre. Exhibited: The Crow Collection of Asian Art, Dallas made of this material are rare. Unusual semi-precious May 9-September 6, 2009 stones began to be imported into China in the mid 19th Century in order to satisfy the demand for snuff Aquamarine is a member of the beryl family. Although bottles from the west. This bottle is a fine example the material was available to the Chinese throughout and is quite well hollowed for a semi-precious stone. the snuff bottle period, early snuff bottles made of this material are rare. Aquamarine was extensively Beryl can be found in a wide range of colours, used in China for the adornment of jewellery and belt including green, blue, yellow, red and white. Large buckles, swords etc. and often complemented gold pieces always have natural flaws that reflect the light jewellery encrusted with semi-precious stones. This and create iridescence when the material is polished. bottle is a fine example and is quite well hollowed for The relatively thin walls of this bottle maximize this the type. optical effect and the intensity of the colour.

P.74 74 The Maxwell Collection of Chinese Snuff Bottles 75 P.75 130 Hair Crystal, of rounded, flattened form, 132 Hair crystal, of rounded form, with densely 134 Crystal, of pear shape, carved using the suffused with a scattering of slender packed tourmaline needles evenly natural flaws in the material with horses in a tourmaline needles. dispersed around the body of the well-hollowed rocky landscape, all on a raised footrim. bottle. 1780-1850 1780-1850 Height: 5.7cm 1780-1850 Height: 5.7cm Height: 5cm The needle-like inclusions in this distinctive material can be black (tourmaline), green (actinolite) and 133 Crystal, colourless and transparent, the tall, coppery red or silvery gold (rutile). elegant form tapering from the shoulders to the foot, the cross section of hexagonal form, 131 Quartz, rock crystal of flawless, colourless each facet skilfully carved, possibly in imitation of material, carved in a pear-shaped faceted European glass wares. form, the neck of rounded section. 1750-1850 Provenance: Alan Wheatley collection Height: 6.5cm 1780-1850 This quartz example of a faceted bottle may be Height: 5.9cm in response to some glassware tributes that were delivered by the Jesuits from Italy to the Emperors in China.

P.76 76 The Maxwell Collection of Chinese Snuff Bottles P.77 Enamel

P.78 78 P.79 135 Glass, clear, delicately painted in bright Only a small number of snuff bottles are recorded Clear glass grounds are always impressive despite enamels with a continuous scene of that are enamelled on clear glass, the majority of the disadvantage that the two sides are visible blossoming pink and yellow peonies issuing from which probably originated in the same workshop, simultaneously, potentially confusing the designs. blue rockwork edged in black, the sides with other the Guyue xuan Pavilion, It was during the Qianlong However, of course, if the bottle were full of snuff then budding spring branches and a single daisy to reign (1736-1795) that the art of enamelling on glass the design would be clearer. the narrow side; the base inscribed Gu Yuexuan reached its height. Many of the finest (as here) bear The peony huawang, ‘King of Flowers’ is also the (‘Ancient Moon Pavilion’) in iron-red and attributed a Guyue xuan mark. The Guyue xuan was a terraced ‘Flower of riches and honour’ fugui hua. It is the sign to the Imperial Palace Workshops, Beijing. hall or studio built in 1767 within the Jian yuan (a of summer, and is regarded as an omen of good garden) in the Yuanming yuan (summer palace). It Qianlong Period, 1767-1799 fortune, expressing the wish ‘May you be prosperous’. was from here that this extraordinary group of glass A very fitting meaning for this wonderful bottle. Imperial Palace Workshops, Beijing bottles was produced with perfectly fired enamels Height: 6cm usually on a flat form and with the subject matter Similar Examples: Moss, Graham, Tsang: A Treasury of Provenance: Rachelle R. Holden Collection, sold at drawn from nature: flowers, rocks, animals, birds and Chinese Snuff Bottles: The Mary and George Bloch Christie’s New York Tuesday 21st March 2000 lot 89 often with symbolic meaning. Collection no. 1098, 1099. Sarah Jo and Arthur Kobacker Collection Robert Hall, Chinese Snuff Bottles from the Pamela R Lessing Friedman Collection no. 92.

P.80 80 The Maxwell Collection of Chinese Snuff Bottles P.81 136 Glass, white, painted in famille rose 137 Glass, painted in famille rose enamels, 138 Glass, white, painted in famille rose enamels with a landscape, one side with a on one side with a red-beaked crane enamels with a pinkish-white lotus plant figure fishing, the other with a figure meditating in a beneath a lush flowering tree peony, the reverse rising from the murky depths of a pond, the reverse clearing overlooking the breathtaking scenery, the with another crane and flowers, the base painted with a more vividly coloured example; the base base with a six-character mark Da Qing Qianlong in iron-red enamel with a four-character mark inscribed in iron-red with the three-character mark: nianzhi in iron-red, ‘Made during the reign of the Qianlong nianzhi (‘Made during the reign of the Guyue Xuan (‘Ancient Moon pavilion’). Qianlong Emperor’. Qianlong Emperor’). Imperial Palace Workshops, Beijing Attributed to Yangzhou, 1775-1799 Attributed to Yangzhou, 1775-1799 1767-1799 Height: 5.3cm Height: 5.5cm Height: 6.2cm Provenance: Sara Jo and Arthur Kobacker Provenance: Sara Jo and Arthur Kobacker Published: Robert Hall, Chinese Snuff Bottles XII, Collection Collection ‘A Must-Have Accessory’, Chinese Snuff Bottles From the 1770’s, the Qianlong Emperor began to The double gourd form is rare on enamelled glass from our Autumn Collection, no. 64 order enamelled glass wares from centres away bottles. It is a traditional part of the magician’s or This bottle displays a common feature of top-quality from Beijing, and the most obvious area for such Daoist’s paraphernalia in which he usually keeps his Guyue Xuan work: the neck border is dispensed with, production was Yangzhou. potions and so forth. The double gourd is a miniature allowing for more obvious incorporation of white replica of heaven and earth space into the design. By These enamelled glasswares from Yangzhou initially and its shape unites the discarding with the borders followed designs similar to those produced in the two. The motifs decorating and panels around the main Beijing glass workshops which were often simple and this bottle are popular subjects, the design became essentially decorative. But the Yangzhou workers symbols of longevity (crane) all the more powerful. soon aspired to an independent, painterly, artistic augmented by a wish for style quite unlike most of the Beijing wares. wealth (peonies). This subject matter is another example of the Yangzhou artist showing just why it was so pleasant to live in the Jiangnan area, with its plentiful waterways, balmy climate and lovely scenery.

P.82 82 The Maxwell Collection of Chinese Snuff Bottles P.83 139 Glass, painted in enamels with a boy on a 140 Glass, painted in famille rose enamels with 141 Glass, opaque white, of elegant spade One of the regular themes of the Yangzhou output water buffalo whose hat has blown away, a lady standing by a garden table below form resting on a narrow flat foot painted in consisted figures in the local landscape of Jiangnan. the reverse with a boy playing a flute seated on the overhanging flowery bough of a tree springing famille rose enamels with a lady in a raft on a river Whether depicting fisherfolk, peasants, scholar or in a buffalo in a lush landscape, all below a band from an ornamental rock; the reverse with a lady playing a lute, the neck with a stylized floral band. this case, a lady, the enamellers illustrated just why of pendant ruyi heads with suspended beads; the in a flowing robe dancing in front of a garden seat it was so pleasant to live in Attributed to Yangzhou base with a four-character Qianlong mark (‘Made beneath the bough of a wutong (Chinese parasol) the Jiangnan area, with its during the reign of the Qianlong Emperor’). tree growing beside an ornamental rock; the neck 1775-1799 plentiful waterways, balmy with a band of pendant ruyi heads suspending Height: 5.9cm climate and lovely scenery. Attributed to Yangzhou dots; the base with an iron-red Guyue Xuan mark. Provenance: Sara Jo and Arthur Kobacker 1775-1799 Probably Yangzhou, 1770-1799 Collection Height: 5.9cm Height: 6.7cm Provenance: Sara Jo and Arthur Kobacker Collection Provenace: The Jaffe collection

The subject of boys on water buffalos is typical of This bottle belongs to the group which bear a Gu work done in Yangzhou and is beautifully executed Yuexuan mark but are more likely to have been here. It seems that there painted in Yangzhou. The enamel is thinner and was a parallel in subject the painting more elaborate than their Beijing matter between the artists counterparts. enamelling on glass and For a discussion on this group please see Michael C. those carving glass in Hughes, The Chester Beatty Library Dublin, Chinese Yangzhou. Snuff Bottles, no. 194.

P.84 84 The Maxwell Collection of Chinese Snuff Bottles 85 P.85 142 Glass, opaque white, carved in relief and In 1767, the Jian Yuan was completed in the developed in the 1770s and continued until the painted in famille rose enamels with the Changchun Yuan complex (a series of Imperial Emperor’s death in 1799. Another common feature continuous scene of a crane standing on a grassy gardens to the West of Beijing adjoining the Yuanming of top-quality relief Guyue Xuan works is that they bank under a pine bough beside two peonies, the Yuan, known collectively as the Summer Palace). have mostly dispensed with neck borders, allowing for other side with a deer and lingzhi fungus issuing One of the halls within the Jian Yuan was the Guyue more obvious incorporation of white space into the from outcrops of pierced rockwork, the base Xuan, ‘Ancient Moon Pavilion’. The Changchun Yuan design. By discarding the borders and panels around inscribed in iron-red regular script Guyue Xuan, was intended as a retirement home for the Qianlong the main subjects, the design became all the more ‘Ancient Moon Pavilion’. Emperor, although he never took up full-time powerful. residence there. The Guyue Xuan was completed Imperial Palace Workshops, Beijing 1767-1799 The carved-relief examples provide evidence of in 1767 prompting the Emperor to order a group of the close link between the Guyue Xuan enamelled Height: 5.3cm wares, mostly enamels on glass, bearing the name wares and the Palace Workshops, for they required Provenance: Dr. Paula Hallett of that particular pavilion. Hugh Moss dealt with close co-operation. As a rule the double-plane Robert Hall, London these intriguing mid-reign enamels and their evolution wares have the main design carved in relief but are in ‘Mysteries of the Ancient Moon’, Journal ICSBS, Pamela Lessing Friedman completed with painting on the flat ground; the relief Spring 2006. The Court apparently had insufficient Published: P. Friedman, Chinese Snuff Bottles from chrysanthemum heads on this bottle, for example, are enamellers to meet the new demand, prompting the the Pamela R. Lessing Friedman Collection, Hong completed by stems and leaves on the flat ground. introduction of new enamellers at the Court and the Kong, 1990, p. 124, no. 101 ordering of enamelled ware for the Court from distant For two similar bottles with the same subject matter Robert Hall, Chinese Snuff Bottles XI, The Snowy centres, including probably Yangzhou. see, Chinese Snuff Bottles from the Collection of Peaks Collection, London, 2005, no. 88 the Rt. Hon. The Marquess of Exeter. K.C.M.G, This bottle is one of the finest examples of the classic Exhibited: The Denver Art Museum, Denver London, 1974, page 99, no. E.8; and another from Guyue Xuan carved-relief type. After the initial Colorado, 1990 the collections of H.K.F. Hui and C. illustrated in An period of development of the Guyue Xuan style, Leigh Yawkey Woodson Art Museum, Wasau, Imperial Qing Tradition Chinese Snuff Bottles, Hong which evolved from the earlier Qianlong Palace Wisconsin, 1992-2003 Kong, 1994, page 144, no. 177. workshops style, there followed a period of masterly University Memorial Centre, Texas A&M Museum - works, confidently painted with a range of decorative College Station, Texas, 1994 subjects with the enamels under unusual technical Bowers Museum of Cultural Art, Santa Ana, control. These occur either in single-plane examples, California, 1995 enamelled on the flat surface of the bottle, or in The Taft Museum, Cincinnati, Ohio, 1995 double-plane examples where the glass is carved in relief first and the enamels decorate the relief areas The China Institute of America, New York, 1998 and complete the design with some surface painting. The carved group most probably evolved from the single-plane group. The classic wares probably

P.86 86 The Maxwell Collection of Chinese Snuff Bottles P.87 143 Glass, opaque white, of rounded form with 144 Glass, opaque white, enamelled in the 145 Glass, the clear transparent bottle straight bevelled sides, painted in famille famille rose palette with scenes of two enamelled in famille rose colours with a rose enamels with flowers springing from rockwork exotic birds resting on bamboo, their beaks open magpie flying towards flowering prunus growing with a bird on one side and an insect on the in conversation, with peony flowers and asters from rocks, the reverse with a quail turning towards other, the base with an iron red mark Guyue Xuan below, the reverse with glorious poppies issuing flowers and rocks, the base inscribed in iron-red, (‘Ancient Moon Pavilion’). from a large rock with bamboo to one side; the Guyue Xuan (‘Ancient Moon Pavilion’). neck with characteristic pink floral design above Imperial Palace Workshops, Beijing 1767-1799 Imperial Palace Workshops, Beijing, 1767-1799 pendant ruyi; the base with a raised blue enamel Height: 5.6cm apocryphal four-character mark Qianlong nian zhi Height: 5.9 cm (‘Made during the Qianlong Period’). Provenance: Kenneth Atkinson, Australia. Wang Xisan c 1960 Published: Friedman, Pamela. Chinese Snuff Bottles from the Pamela R. Lessing Friedman Collection, Height: 5.4cm page 120 no. 97 This is a fine example of Only a small number of snuff bottles are recorded Wang Xisan’s work. The birds that are enamelled on clear glass, the majority of in conversation are charming which probably originated and he has injected real in the same workshop. They life into the painting of this tend to be painted with bottle. naturalistic subject matter, with plants, trees, (particularly prunus), and birds.

P.88 88 The Maxwell Collection of Chinese Snuff Bottles P.89 146 Glass, milk-white, of slender baluster form Only a small number of enamelled glass snuff bottles 147 Glass, opaque white painted in famille rose 148 Glass, opaque white, decorated in famille- 149 Glass, white, painted in enamels depicting resting on a circular base, painted in famille by Wu Yuchuan have been recorded, although we enamels with boys chasing dragonflies, the rose enamels with a continuous scene of a gathering of brightly costumed figures in rose enamels with sprays of peonies, daisies, know the hand well. It is the fact that Wu has signed reverse with the boys inspecting pots under a tree, an exotic bird feeding an insect to its young in a garden with a solitary pine by a garden rock, an asters with leaves in differing shades of green and his name on this bottle which has been made and the foot inscribed in iron-red regular script Guyue the branches of a blossoming fruit tree; the neck iron-red Guyuexuan mark on the base. sepia, a poem on the reverse preceded by the painted in the Palace Workshops of Beijing that is the xuan (‘Ancient Moon Pavilion’). with a scrolling border divided from an elaborate Guyue xuan, seal Zhonghe, ‘Central Peace’ and followed by surprising and important factor, as the Palace did not shoulder pattern by a single blue band; the outer Guyue xuan, the seals Zhao Shi Chen ‘Military Official’ and Wu usually wish to reveal their artists or craftsmen. There foot with a simpler but still highly formalized band Imperial Palace Workshops, Beijing, 1767-1799 Yuchuan, beneath a blue ruyi-head border edged are a few painted porcelain bottles which have been Imperial Palace Workshops, Beijing, 1750-1795 of floral motif based upon a lingzhi fungus head; Height: 5.5cm in yellow, the base inscribed in iron-red Qianlong signed by the master enameller Tang Yin during the Height: 6.1cm the base inscribed with a raised blue enamel mark Provenance: Georgia E. Roode nian zhi (‘Made during the Qianlong Period’). Qianlong period (1760-1799). Provenance: The SB Collection Qianlong nianzhi (‘made in the Qianlong period’). Neal W. and Frances R. Hunter By Wu Yuchuan This is a documentary Published: Robert Hall, Chinese Snuff Bottles XV, Imperial Palace Workshops, Beijing, 1750-1795 Sotheby’s. New York, 15 September 1998, Lot 39 Imperial Palace Workshops, Beijing 1760-1799 bottle and will always be The SB Collection, no. 80 Height: 5cm Height: 6.5cm revered for its beautiful and The subject of boys at play was a popular motif Provenance: Jeff Kramer Collection well preserved enamelled during the Ming and Qing dynasty and represents Provenance: Sotheby’s London, 24th April,1989 Published: Robert Hall, Chinese Snuff Bottles III, decoration; even the iron- the wish for numerous sons, particularly noble sons The Albemarle Collection no. 10 red Qianlong mark is in who will pass the civil service examination with Published: Chinese Snuff Bottles from the Maxwell excellent condition. high honours. These boys are especially appealing This enamelled glass bottle is unusual in that its body is Collection at the Crow Collection of Asian Art May with their desire to catch a little asymmetrical, and the variegated white glass, 9-September 6, 2009 no. 53 dragonflies. The colours of being a rather more translucent in its lower half, helps Exhibited: The Crow Collection of Asian Art, Dallas the enamel are particularly to confirm its early age and May 9-September 6, 2009 fresh and the bottle is in dispel any thoughts of later attribution as the workshops Published, Journal ICSBS, Spring 2013, Front Cover excellent condition. were still trying to perfect the manufacture of pure white glass during this period.

P.90 90 The Maxwell Collection of Chinese Snuff Bottles 91 P.91 150 Glass, opaque white, carved and painted It was during the Qianlong reign (1736-1795) that the in famille rose enamels on one side with a art of enamelling on glass reached its height. Many cat wistfully looking up at a butterfly, surrounded of the finest (as here) bear a Guyue xuan mark. The by tree peonies, the other side showing the reverse Guyue xuan was a terraced hall or studio built in 1767 side of the cat with its distinctive black stripe down within the Jian yuan (a garden) in the Yuanming to its tail in a similarly lush garden setting. The base yuan (summer palace). It was from here that this enamelled in iron-red Guyue Xuan (‘Ancient Moon extraordinary group of glass bottles was produced Pavilion’). with perfectly fired enamels usually on a flat form and with the subject matter drawn from nature: Imperial Palace Workshops, Beijing, Qianlong flowers, rocks, animals, birds and often with symbolic period 1767-1799 meaning. This example is one of the ‘double plane’ Height: 5.9cm group where the bottle is carved first, and they were Provenance: Sara Jo and Arthur Kobacker produced for a short period of time from 1775 to 1799 Collection but show exquisite conception of design and enamel The art of enamelling on glass was introduced directly technique. The vividness of colour and crispness lead to Beijing from the European missionaries at court. us to attribute them to the Imperial Palace Workshops. Killian Stumpf set up the Imperial Glassworks in 1696 The cat and butterfly together represent longevity and a gift of an enamelled glass bottle was given and peony expresses the wish for wealth. It is to a visiting foreigner Charles-Thomas Maillard de delightful in this example to see the back of the cat Tournon in 1705. as well as its front.

P.92 92 The Maxwell Collection of Chinese Snuff Bottles P.93 151 Enamel on copper; each side with a 152 Enamel on metal, the front and reverse with 154 Copper with gilding, painted with famille framed panel painted in famille rose circular reserved panels painted with trees rose enamels, each side with two European enamels enclosing two Europeans, the lady with and mountains – a scholarly depiction of heaven ladies, one touching the other’s shoulder, in a an elaborate headdress and her attendant with – and surrounded with a formalized design of blue vignette bordered by flowing curtains, all on a curly hair; the surrounds with a floral design on a scrolls, the base also covered with a white glaze ground of formalized flowers and scrolling tendrils; pink ground and the foot with a floral motif. and painted with a maroon flower head – a studio the same pattern repeated around the neck or hallmark seen recorded on other enamelled above a band of pendant ruyi heads, the base Guangzhou, 1720-1800 works on metal. with a four-character mark ‘Qianlong nianzhi’ Height: 4.2cm (‘Made during the Qianlong Period’) painted in Guangzhou 1720-1800 The demands of the various royal households for black enamels. Height: 4.6cm small art objects were so great that the workshops Guangzhou, for presentation to Beijing, 1750-1795 within the palace could not cope, and orders Published: Chinese Snuff Bottles from the Maxwell Height: 5cm were therefore placed in other parts of China with Collection at the Crow Collection of Asian Art May established artistic traditions, including Guangzhou. 9-September 6, 2009 no. 32 Published: Chinese Snuff Bottles from the Maxwell These centres produced items for Beijing, local Exhibited: The Crow Collection of Asian Art, Dallas Collection at the Crow Collection of Asian Art May consumption and also for export. There was thus May 9-September 6, 2009 9-September 6, 2009 no. 31 a difference in design and quality of workmanship Exhibited: The Crow This is a charming enamelled metal snuff bottle made for the different markets. Bottles for the palace Collection of Asian Art, and painted in the Emperor’s taste. A classic idyllic market were made in the accepted palace style, Dallas May 9-September 6, landscape surrounded by all the characteristic scrolls, using a minute stipple as opposed to a broad wash 2009 albeit a little asymmetrical in form. usually associated with Guangzhou work and also using subject matter traditionally acceptable to the Enamel on metal, painted with a continuous Palace. This bottle (and nos 152 and 153) were made 153 formalized floral design set between simple in Guangzhou for the Palace in Beijing. line borders at the neck and outer footrim, the foot with a stylized petal motif, exposed metal at the neck. Guangzhou, 1720-1800 Height: 6.1cm

P.94 94 The Maxwell Collection of Chinese Snuff Bottles P.95 155 Metal, finely painted in bright famille rose Published: P. Friedman, Chinese Snuff Bottles from The workmanship on this snuff bottle provides a enamels with a shaped panel depicting the Pamela R. Lessing Friedman Collection, Hong veritable catalogue of the enameller’s skills and two magpies amid flowering prunus branches and Kong, 1990, p. 124, no. 103 requires very close study to discover all the delights peony emerging from rockwork below, the reverse Journal ICSBS, September 1980 (cover) of its subject. It is rare to find a painted enamel snuff with two butterflies in flight among flowering bottle incorporating small vignette panels into the Robert Hall, Chinese Snuff Bottles XI, The Snowy peonies, all within a scrolling flower border framing design. The breadth of the palette used is also a very Peaks Collection, London, 2005, no. 95 small circular grisaille-decorated landscape unusual feature and it includes a chocolate-brown vignettes on the narrow sides, the base inscribed Exhibited: The Denver Art Museum, Denver colour which was rarely used. in blue enamel with the four-character reign mark Colarado, 1990 Magpies in the branches of a prunus tree form a Qianlong nianzhi, (‘Made during the reign of the Leigh Yawkey Woodson Art Museum, Wasau, rebus meaning ‘May you have happiness up to your Qianlong Emperor’). Wisconsin, 1992-2003 eyebrows.’ Another Qianlong-marked enamelled University Memorial Centre, Texas A&M Museum - Imperial Palace Workshops, Beijing, 1780-1799 copper bottle decorated with a scene of magpies College Station, Texas, 1994 Height: 5.8cm among prunus branches from the J & J Collection Bowers Museum of Cultural Art, Santa Ana, Provenance: Alex S. Cussons was sold at Christie’s Hong California, 1995 Kong, Important Chinese J & J Collection The Taft Museum, Cincinnati, Ohio, 1995 Snuff Bottles from the J&J Hugh Moss, London The China Institute of America, New York, 1998 Collection, 25 April 2002, Pamela Lessing Friedman lot 842.

P.96 96 The Maxwell Collection of Chinese Snuff Bottles P.97 Porcelain

P.98 98 P.99 156 Yixing pottery, of hexagonal form, covered 157 Yixing pottery, the tall, elegantly 158 Yixing pottery, recessed panels enamelled in a white glaze and painted in black proportioned bottle of elongated oval form, with an iris plant with a single yellow bloom, enamel with the continuous scene of pavilions in a decorated on one side in green glaze with literati- the reverse with flowering prunus branches with a rocky landscape below swooping birds. styled bamboo and rocks, an inscription in white red sun above, all on a slightly crackled ground, glazed script xiu huang yang jun (‘to cultivate a the foot recessed and enamelled in crackled Yixing, 1800-1850 bamboo grove is to nourish gentlemen’) with a cream. Height: 6.5cm signature liang an zuo (‘Created by Liang An’) the Yixing, 1800-1850 Published: Chinese Snuff Bottles from the Maxwell reverse also with a large inscription in green and Collection at the Crow Collection of Asian Art May white glaze: Height: 6.3cm 9-September 6, 2009 no. 34 ji fu fang gu (‘auspicious and fine in imitation of the 159 Yixing pottery, enamelled with a sage Exhibited: The Crow Collection of Asian Art, Dallas antique’). leaning on his walking stick, accompanied May 9-September 6, 2009 by a boy with a qin across his back, standing on an wu jiang Yong xiang bao yi wan niam zhui tian ji Yixing stoneware has been produced for a thousand outcrop above a lake with a boat in the distance, bai zuo (‘Bai made this precious yi for Tian Ji, for years at Yixing in Jiangsu province but it became the reverse with a pavilion beneath a towering sacrificial use for tens of thousands of years without famous only in the late Ming Dynasty when it was craggy rock with numerous trees, the scene all on end’). The colophon simply states tian ji yi ming discovered that it was an excellent material for a white ground. (‘Engraved upon the Tian Ji yi’); the base with an making teapots as it preserved the taste and impressed potters mark tuande (a personal name Yixing, 1800-1850 fragrance of the tea leaves. When snuff was or alias). introduced into China, the scholar class adopted Height: 6.3cm Yixing stoneware to make snuff bottles as it also Yixing, 1800-1850 Published: Chinese Snuff Bottles from the Maxwell preserves the characteristics of tobacco. Height: 7.4cm Collection at the Crow Collection of Asian Art May 9-September 6, 2009 no. 35 The combination of black on white enamel on Yixing Ancient vessels are often known in China by the Exhibited: The Crow Collection of Asian Art, Dallas pottery is most unusual, though it perfectly suits the name inscribed as the person who ordered them to May 9-September 6, 2009 subject matter. The continuous scene allows the be cast – in this case Tian Ji. bottle to be read in the manner of a handscroll. By This is an unusual example since the clay has been turning the bottle around in the hand, the onlooker is This is a remarkable Yixing glazed and painted in enamels in an attractive completely drawn into the miniature world depicted. stoneware bottle and one of landscape scene with figures which has clearly been only a few with the elaborate inspired by early master painters. archaic style decoration (another being in the J & J 160 Yixing pottery, pale blue surrounding a Collection, no. 259). painted panel with fruits on one side and the other with a phoenix (feng) and peonies (fuguihua) and the message is most auspicious: May there be wealth, rank and good fortune. Yixing, 1821-1850 Height: 6.5cm

P.100 100 The Maxwell Collection of Chinese Snuff Bottles P.101 161 Porcelain, moulded in shield shape and 162 Porcelain, of squared form, covered overall This bottle is one of the best examples of Jiaqing enamelled in underglaze-blue with floral in a creamy white glaze and painted in porcelain manufacture. The introduction of the gold decoration, then fired and painted with various famille rose enamels with a continuous scene on the underglaze blue is typical of the period, and different colours in the famille rose palette with from the Yuan Dynasty play Lu Dongbin sanzui the painting and the sumptuous palette of colours school scenes on each side, where five boys Yueyang lou (Lu Dongbin Thrice Intoxicated at the are splendid. Especially noteworthy is the work on attend to a sage who is seated on a kang (‘day Yueyang Tower) in which the Immortal Lu Dong Bin, the window to the side of the scholar’s desk, and the bed’), the base with a four-character mark Da (recognizable by the fly whisk and the sword on pale pink enamel that appears on the outside walls Qing Qianlong nianzhi (‘Made during the reign of his back), floats on a cloud scroll above flowers in and the interior scene. the Qianlong Emperor’). a garden, looking down upon a scene in which a willow-spirit carries his wife, a prunus spirit, towards The play illustrated here was written by Ma Zhiyuan. It Imperial Kilns Jingdezhen, 1780-1796 the next side and its open-sided pavilion in which revolves around the story of Lu Dongbin converting a Height: 5.2cm a scholar sits facing them at his desk, a book open willow-spirit to the Dao. Here the spirit is represented Provenance: The Button in front of him, a candle to his right, a geometric as a demon-like figure with a small willow sprouting Collection band around the shoulders and foot are painted in from the top of his head. He is carrying his wife, a prunus Published: Robert Hall, underglaze blue and highlighted in gold enamel; spirit, on his back. They run Chinese Snuff Bottles X, the base painted with an iron-red mark, Jiaqing a wine shop in the Yueyang The Button Collection, no. 15 nianzhi. Tower, where Lu Dongbin Imperial Kilns Jingdezhen, 1796-1821 becomes intoxicated. Height: 7.3cm Provenance: Martin Clatworthy Collection

P.102 102 The Maxwell Collection of Chinese Snuff Bottles P.103 163 Porcelain, a rounded panel on each side 164 Porcelain, the body moulded with four 165 Porcelain, rounded form covered overall There are only a handful of these porcelain bottles painted in famille rose enamels, one with panels surrounded by underglaze blue in a white glaze and then painted in depicting an investiture in the presence of Queen a couple walking in a garden, the man wearing a borders decorated with an overglaze red and gold famille rose enamels with an investiture ceremony Victoria. They are extremely interesting and mirror splendid headdress with two long feathers, while floral motif, presenting a different vignette on each attended by Queen Victoria of England with crown an eventful time in the early nineteenth century, a bearded sage waits at the door of a pavilion; side enamelled in famille rose colours – a floral and sceptre; attended also by various dignitaries around the 1830’s, when the European steam-driven the other side with the same two men greeting scene, a sage in the landscape under pine trees, a and others. The other side with a nineteenth paddle boat first appeared on Chinese water. The each other in an interior courtyard as the lady lady with a flower in her hand under a pine tree, a century Chinese paddle-wheeled junk with funnel local Chinese went to great watches from a window; the sides decorated with flowering prunus branch and a flowering lotus plant and masts and various European crew members lengths to emulate them a scrolling floral motif in underglaze-blue, the base with leaf; the shoulders with an iron-red painted on board. The base painted in iron-red enamel and strapped wheels onto inscribed in iron-red seal script Jiaqing nian zhi flowerhead, the base enamelled with the iron-red Daoguang nianzhi (‘made during the reign of the their junks and had coolies to (‘Made during the Jiaqing period’). Imperial mark Qianlong nianzhi (‘made during the Daoguang Emperor’). power the boat! reign of the Qianlong Emperor’). Imperial Kilns, Jingdezhen, 1796-1820 Imperial Kilns Jingdezhen, 1821-1850 Height: 5.8cm Imperial Kilns Jingdezhen, Height: 5.5cm 1780-1795 Published: Robert Hall, Serendipity, Chinese Snuff Height: 6.9cm Bottles XVI, no. 45

P.104 104 The Maxwell Collection of Chinese Snuff Bottles 105 P.105 166 Porcelain, the quatrefoil body with an 168 Porcelain, moulded in the form of a reclining 170 Porcelain, covered with a translucent glaze everted lip and oval protruding footrim; lady, her hand to her face and her feet then painted in famille rose enamels with the body decorated in famille rose enamels with tiny from years of binding, her legs provocatively a lady at a table with a qin, accompanied by a figures in a landscape; the foot painted in iron-red crossed with one foot acting as the stopper. Her scholar with a fan; the other side with a gentleman with the mark Jiaqing nian zhi (‘Made during the hair is coiffed and she wears bangles and flowers raising the hem of the robe of a lady; the edges Jiaqing period’). in her hair. with a blue gilt-enamelled surround, the base inscribed in iron-red Qianlong nian zhi (‘made Imperial Kilns Jingdezhen, 1796-1820 Jingdezhen, 1796-1821 during the reign of the Qianlong Emperor’). Height: 5.7cm Length: 10cm Imperial Kilns Jingdezhen, 1750-1796 This bottle belongs to small group of porcelain bottles These reclining porcelain figures are one of my Height: 5.9cm made in this quatrefoil shape and painted with figures favourite subjects. There are only three or four in various compositions, very moulds, as far as I am aware, and this example is in This is an exceptionally fine probably illustrating novels exceptionally good condition. For similar examples of enamelled bottle with lovely or stories and copied from this mould see Michael.C Hughes, The Blair Bequest, colouring and an intriguing published woodblock prints. Chinese Snuff Bottles from the Princeton University Art subject which would seem They all have Jiaqing marks Museum, nos. 297, 298 and 299. to be somewhat erotic in and are of the period. substance, unlike the rest of 169 Porcelain, the rounded bottle with mask- the group. 167 Porcelain, decorated in underglaze-blue and-ring handles, enamelled with bats with clouds and a pearl, the decoration is and birds flying above tempestuous waves below completed in iron-red with a ferocious five-clawed amongst rocks; the base painted in iron-red dragon who appears to be chasing the pearl; the enamel with an inscription Daoguang nian zhi neck surrounded by a band of ruyi. (‘made during the Daoguang period’) Jingdezhen, 1800-1880 Imperial Kilns, Jingdezhen, 1821-1850 Height: 6.6cm Height: 5.7cm Published: Chinese Snuff Bottles from the Maxwell Published: Hugh M. Moss, Collection at the Crow Collection of Asian Art May An Exhibition of Chinese 9-September 6, 2009 no. 39 Snuff Bottles, June 1970, Exhibited: The Crow Collection of Asian Art, Dallas P. 68, no. 275 May 9-September 6, 2009

P.106 106 The Maxwell Collection of Chinese Snuff Bottles P.107 171 Porcelain, moulded, carved and painted 172 Porcelain, moulded and carved with 173 Porcelain, moulded and enamelled in with famille rose enamels with ‘The the continuous design of a magnificent famille rose colours with the image of Su Shi Eight Buddhist Emblems’, the body pierced and bending crane, its beak picked out in red and legs visiting the Red Cliff, the base with a four-character revealing an inner body to contain snuff, the foot highlighted in black standing beside a pine tree; mark in iron-red Jiaqing nian zhi (‘Made during the painted in iron-red with the mark Jiaqing nian zhi the base with the raised mark in seal script Wang Jiaqing period’). (‘Made during the Jiaqing period’). Bingrong zuo (‘Made by Wang Bingrong’). Jingdezhen, 1796-1821 Imperial Kilns, Jingdezhen, 1796-1821 Stopper matching and original Height: 6.8cm Height: 6.4cm Wang Bingrong, Jingdezhen, 1820-1880 Published: Chinese Snuff Bottles from the Maxwell Published: Chinese Snuff Bottles from the Maxwell Height: 7.2cm Collection at the Crow Collection of Asian Art May Collection at the Crow Collection of Asian Art May Published: Chinese Snuff Bottles from the Maxwell 9-September 6, 2009 no. 36 9-September 6, 2009 no. 37 Collection at the Crow Collection of Asian Art May Exhibited: The Crow Collection of Asian Art, Dallas Exhibited: The Crow Collection of Asian Art, Dallas 9-September 6, 2009 no. 38 May 9-September 6, 2009 May 9-September 6, 2009 Exhibited: The Crow Collection of Asian Art, Dallas After moulding, this bottle was admirably carved and Introduced from India, the Eight Buddhist Emblems May 9-September 6, 2009 enamelled, on one side with an image illustrating one comprise the wheel of the law, twin fish, a lotus flower, Published: Journal ICSBS Spring 2013, Front Cover of the most enduring poems in Chinese literature, a conch shell, an umbrella, a canopy, a jar or vase, Su Dongpo’s (Su Shi) ‘Prose Poem of the Red Cliff’, Wang Bingrong is the best known of all the 19th and an endless knot. Each symbolizes one important written after his visit to the Red Cliff with friends. The century porcelain carvers. He was fairly commercially teaching, ideal, or event in Buddhism. They began to 11th century scholar, poet and statesman, Su Shi, minded and produced a number of slightly different be used as decorative motifs sits in the boat with two friends and two attendants. examples of this very attractive design (see Moss, during the 13th Century, and The other side shows Mi Fu, a Northern Song literatus, Graham, Tsang Treasury no. 1355 for an exhaustive list their popularity in Chinese painter, poet and calligrapher known for his love of of similar examples). visual culture increased strangely shaped rocks, writing on the rock face. significantly in the 18th and The crane and the pine tree are two of the many 19th Centuries. Chinese symbols of longevity. The pine tree is green even in winter, while the crane has a long life and its white feathers stand for old age. As such, it is a celestial vehicle for the Daoist goddess, Xi Wang Mu, or ‘Queen Mother of the West’.

P.108 108 The Maxwell Collection of Chinese Snuff Bottles P.109 Jade

P.110 110 P.111 174 Nephrite, the natural ‘skin’ of the pebble 175 Jadeite, very dark green, one side incised The expression shu lin ‘sparse grove’ is a quotation forming the flattened front, well patinated with a scholar in his Summer pavilion from a poem by the famous Northern Song Dynasty due to constant handling, with dark black and amidst rocks and trees, beside a four-character official, painter and poet Su Shi (also known as Su brown inclusions; the reverse, white with a few inscription qiu lin gao shi (‘The Eminent Scholar of Dongpo) A.D.1037-1101. black inclusions elaborately carved with a scholar the Autumn Grove’). In the course of his epic confrontation with his enemy standing before his table, upon which are an The reverse with a long inscription: Wang Anshi, Dongpo spent time in internal exile on inkstone and brushes, the scholar about to paint shu lin ping ban chang qiu yuan the Yangzi River in Hubei Province, where he went on a sheer rockface above which is a cloud with a zhong you ji ren bi shi xuan his famous nocturnal boat trip to the (presumed site dragon emerging from it; to the left on the side is bu lü bu shan zi ling xiao of the battle of the) Red Cliff, writing two extremely a lingzhi fungus growing from rockwork; the base yu xun ya diao wu xian yuan famous prose poems on the subject. with a small indentation. Meaning: ‘A sparse grove level with the slope Suzhou, 1780-1850 overlooks the autumn plain 176 Jadeite, light greyish green, very well Height: 5.6cm In its midst a recluse flees the clamour of the world, hollowed, resting on a protruding oval This bottle belongs to the Suzhou school, a group he sighs to himself, footrim. linked by a coherence in style, subject matter and Seeking an elegant tune to grace the five strings’ 1780-1850 technical quality. The carvers in Suzhou, in Jiangsu below the characters yu zhi (‘Made by Imperial Height: 5.9cm province, produced work mainly in jade and Command’) picked out in red. chalcedony, with a few examples in rock crystal. The Imperial, attributed to the Palace workshops, combination of black and white jade was greatly Beijing, 1736-1795 admired for its contrasts and became fashionable Height: 5.3cm towards the end of the eighteenth century. The material is perfectly suited for a virtuoso display of Provenance: The Fabian Collection, collected in carving. Shanghai between 1935-1960 Published: Robert Hall XII, A Must-Have Accessory, Chinese Snuff Bottles from our Autumn Collection, P.51, no. 73

P.112 112 The Maxwell Collection of Chinese Snuff Bottles P.113 177 Nephrite, predominantly black with white This wonderful bottle is one of finest of the group of 178 Nephrite, mottled pale grey with some 179 Serpentine, pure black, the front and inclusions, elaborately carved with a black and white Suzhous and is a rare example of the pale ochre tones, of rounded form and reverse each with a classic taotie mask mountainous landscape containing a galloping double overlay effect where the black layer carved extremely well hollowed. carved in low relief, the edges carved with black horse enveloped by swirling clouds with as a horse is above the white layer carved as rocks scrolling motifs, the foot flat and the neck splayed. 1780-1850 rocks to one side, the reverse with a pine tree on a and trees against the final black ground. The raised 1780-1820 rocky knoll, with a raised inscription reading Xiang inscription obviously refers to the using of snuff. For a Height: 6cm wen biguan/Chong dong meishao, (‘Fragrance discussion on the Zhiting School, see Moss, Graham, Height: 6cm inhaled through the nose, happiness moves his Tsang, A Treasury of Chinese Snuff Bottles No. 1, Published: Chinese Snuff Bottles from the Maxwell eyebrows’) the narrow sides with a tree and a Jade, and A Treasury of Chinese Snuff Bottles No. 2, Collection at the Crow Collection of Asian Art May cascading waterfall. Quartz, where many examples are illustrated in both 9-September 6, 2009 no. 6 materials. School of Zhiting, Suzhou 1780-1850 Exhibited: The Crow Collection of Asian Art, Dallas May 9-September 6, 2009 Height: 5.3cm The mythical animal mask carved on this bottle is Provenance: Park Bernet, New York, 24 January derived from the animal masks frequently found on 1948 ancient bronze vessels. The subject is well executed, Hilda Somers Collection, acquired in 1948 with a continuous flow of fascinating movement and Blanche B. Exstein Collection energy. Black serpentine is a rare mineral and wasn’t Christie’s, New York, 21 March 2002, Lot 260 used much for snuff bottles, but the few that exist Sara Jo and Arthur Kobacker Collection are very successful. It is a soft stone and thus easily carved and acquires a patina very readily as it is slightly porous and absorbs the oil from hands.

P.114 114 The Maxwell Collection of Chinese Snuff Bottles 115 P.115 180 Nephrite, pure white, neatly incised with 181 Nephrite, pure white, the bulbous form with 182 Nephrite, creamy white, carved as a vase an orchid on one side and, on the reverse, an oval recessed foot, the body sensitively with taotie masks and boys clambering up a lengthy inscription reading: qi wei qing yu ui carved with a fisherman on a river bank with his the side, also with a long-tailed bird and a stalk of lu lan- ‘His cultured air is purer than an orchid fishing rod, below the branches of a willow tree grain. steeped in dew’ The likely significance of this line growing from the side of the rocks, the other side 18th Century is as a metaphor for the integrity of a Gentleman with a long inscription, carved in raised script: (junzi) meaning that the gentleman is as pure in ‘In the autumn wind a man is fishing by the river’ Height: 5.2cm his conduct and restrained dignity as an orchid (In signed Zigang. This beautifully carved bottle was undoubtedly made Confucian ideology). by a master. The faces of the boys smiling upwards Suzhou,1750-1800 are full of character and the artist has created a 18th Century Height: 6cm lovely image as one of the boys’ feet stands on the Height: 5.9cm Provenance: Mr Josef Neumann, Sydney, Australia taotie mask at the side. Provenance: John Ault White jade has always been highly regarded by the The scene of boys climbing up a vase represents the Published: Robert W. L. Kleiner, Chinese Snuff Bottles Chinese literati. Snuff bottles of this material should wish for advancement in rank. The long-tailed bird from the Collection of John Ault, no. 61 be studied closely; they were made to be held in the (ribbon-tailed bird) shoudainiao is a pun for longevity. hand and studied at close range by the connoisseurs The two slightly smaller characters following the seven The second character in the word for ribbon dai is a who formed the ‘inner circle’ of the influential appear to read jin dong. ‘Jin’ means ‘to beware’ and pun for ‘generation’. In association with a vase the minority. dong means ‘East’. This sounds like a personal name ribbon-tailed bird means ‘May you live long and have (zi), perhaps that of the person who wrote the poem. This bottle bears the name of the famous late-Ming peace’. The left hand column reads‘mo xiang zhuren ya wan Suzhou jade-carver Lu Zigang. Zigang never made ‘An elegant plaything of the Master of Ink Fragrance’. The word for year or age (sui) is pronounced like the any snuff bottles as he died long before the snuff The seal may read er shi. The word shi is clear and word for an ear of grain. bottle was invented, but his name continued to be means ‘stone’; er is not a certain reading. It normally used in Suzhou almost as a brand name. reads ‘you’ or ‘your’ so it is likely to be a name.

P.116 116 The Maxwell Collection of Chinese Snuff Bottles P.117 183 Nephrite, spinach-green with varying 184 Nephrite, pure white, flawless, of rounded 185 Nephrite, pure white, the exceptionally This type of jade carving originated in the Mughal shades of darker and lighter material, one form with a slightly recessed oval foot and well-hollowed body reduced to almost period (15th-18th Centuries), and arrived in China side expertly incised with an immortal in flowing a concave mouth, exceptionally well hollowed. paper-thinness and carved with a scene of archers in the middle 18th Century (the first recorded robes, a spray of lingzhi fungus on his back, holding on one side and a beauty on the other, the edges piece arrived in 1756). The Qianlong Emperor was Probably Imperial, Palace workshops Beijing, the pointed end strands of his beard; the other side carved with formalized lotus flowers down the particularly fond of the elaborate designs, therefore 1730-1800 incised with a twenty-eight character inscription sides. tribute gifts were sent from Hindustan during his reign. in kaishu (official) script: ‘veined and knotted, this Height: 4.9cm At the same time, Mughal jade carvers were brought Probably Imperial, attributed to the Palace jade is of a fine green colour. It is filled with amber This is an extraordinary bottle. It is hollowed to paper to work in the Palace Workhops carving similar wares. Xifanzuo (Tibetan workshop), 1760-1800 of true yellow. An elegant pastime which agrees thinness where another touch of the drill could result Indeed an area dedicated to this type was work was Height: 6.4cm with wine and speech. Hidden in the sleeves, in the whole piece shattering. It is also amazing that established in the confines of the Palace and named it adorns the immortal who is obliged’. the bottle has survived for so long being so unusually the Xifanzuo (Tibetan Workshop). This bottle is one thin and delicate. It has a slightly dimpled base, and of a very few snuff bottles made in this style and is 18th Century a concave foot and feels wonderful in the hand. exceptional in the quality of carving. For a discussion Height: 7.3cm A set of nine bottles of very similar form, also in of the Xifanzuo (Tibetan workshop), see Moss, Provenance: The Caldwell Collection, Property of flawless white nephrite are in the collection of the Graham, Tsang, Moss, Graham, Tsang, A Treasury of the North Carolina Museum of Art National Palace Museum and are illustrated in their Chinese Snuff Bottles No. 1, Jade, nos 114 and 115. Martin Clatworthy Collection catalogue as no. 205 (Chang Lin Sheng. Snuff Bottles in the Collection of the National Palace Museum, Taipei). It is most likely that this bottle was originally part of a similar set.

P.118 118 The Maxwell Collection of Chinese Snuff Bottles 119 P.119 186 Nephrite, a greenish-white pebble with For a discussion on the Zhiting School, see Moss, 189 Nephrite, natural pebble form, very pale some yellowish-brown and grey areas Graham, Tsang, A Treasury of Chinese Snuff Bottles green with ochre inclusions carved with carved in a continuous scene, using the natural No. 1, Jade, and A Treasury of Chinese Snuff Bottles an animated hunting scene with a horse and rider colouring of the skin for emphasis, of two scholars No. 2, Quartz, where many examples are illustrated in chasing a fleeing stag with an arrow in its side, an in a landscape, one seated on a convoluted rocky both materials. arrow-wielding attendant below, the reverse with outcrop gazing at a brazier which emits smoke a tranquil scene of a sage seated by a river bank, to create a shoulder border of clouds, while a 187 Nephrite, celadon with a brown inclusion basket to one side, dangling a rod into turbulent monkey climbs a pine tree behind him, the other, carved as a figure on a leaf looking water beside fantastic rockwork. seated and reading a book on a rock beneath the longingly at a pavilion on clouds above, the Suzhou 1780-1850 pine, the smoke from the brazier also forming an Abode of the Immortals. upper frame for the picture. Height: 7.1cm 1780-1850 Provenance: Bernie Wald Zhiting School, 1740-1800 Height: 6.9cm Height: 6.9 cm 190 Nephrite, the grey stone with a bright ochre Provenance: Stone Picking Studio (Caishi xuan) 188 Nephrite, of unusual variegated grey and skin carved with a convoluted chi dragon black streaky material, carved in low relief Sotheby’s, London, 21 June 1995, lot 106 (also in a lively movement along the face of the bottle. with a continuous scene of a man on a donkey illustrated on the front cover). 1780-1850 riding through a mountainous rocky landscape, This exquisitely carved nephrite bottle from the Zhiting the bottle extremely well hollowed and resting on Height: 6.1cm School at Suzhou probably dates from a transitional a flattened foot. Chi dragons were immensely popular as decoration phase between the early eighteenth century low 1780-1850 during the early Qing period. This dragon is a sinuous, relief group and the more emphatic, deeper relief considerably less threatening, version of the fully- Height: 6.2cm carving using skin and other colours in the stone of fledged mythical beast. the later Qianlong period. It makes the usual excellent use of the skin colour common to the carvers of the Zhiting School, but also has a quiet, but superbly interpreted, monkey carved out of a small grey patch in the stone, thus giving a grey monkey, in a greenish- white tree, with brown foliage.

Stopper: jadeite; gilt-silver collar

P.120 120 The Maxwell Collection of Chinese Snuff Bottles P.121 191 Jade, black and white jade with mottled dark grey and creamy areas, the stone ingeniously carved utilizing the creamy colour for a rocky outcrop behind two figures talking in the landscape with moon and clouds above, all covered with pine, to the lower left is a three- character signature; the other side with a lone sage on a rock also wondering at the breathtaking scene with three smaller trees in the distance on a rocky hillock. 1780-1850 Height: 6.5cm

This semi-precious stone provided a perfect opportunity for the artist who was able to be creative, using all the various fissures and nuances to maximum effect.

P.122 122 The Maxwell Collection of Chinese Snuff Bottles P.123 192 Jadeite, translucent blue, the body carved 193 Nephrite, green with an ochre skin, left 194 Nephrite, variegated brown with white skin in an octagonal fashion with a stylized, uncarved to reveal the beauty of the stone, carved in strikingly high relief to depict faceted flowerhead, each face with ten petals all well hollowed. an ancient blossoming prunus tree, framed by carved in an exactingly architectural manner, with rockwork; on the reverse is a weathered pine with 1750-1820 a round neck and a flat foot. gnarled branches beside bamboo rendered in a Height: 5.8cm bright celadon inclusion, the moon visible above Attributed to the Beijing Palace Workshops, Published: Chinese Snuff Bottles from the Maxwell the branches. 1736-1795 Collection at the Crow Collection of Asian Art May 18th Century Height: 5.4cm 9-September 6, 2009 no. 12 Height: 5.5cm Published: Chinese Snuff Bottles from the Maxwell Exhibited: The Crow Collection of Asian Art, Dallas Collection at the Crow Collection of Asian Art May 9-September 6, 2009 Provenance: Dorothea Esty May 9-September 6, 2009 no. 8 Neal W. and Frances R. Hunter This bottle is of the type of nephrite known as ‘yellow Exhibited: The Crow Collection of Asian Art, Dallas steamed chestnut’. Jade pebbles found in streams Sotheby’s New York, 15 September 1998, Lot 332 May 9-September 6, 2009 were battered by other pebbles and water to create This is a rare colour in jadeite, and the design and natural forms and shades of pigmentation. This bottle 195 Jadeite, variegated apple-green, carved faceting would suggest a European influence. shows a gorgeous leather- like skin. in low relief with a brocade ribbon tied It belongs to one of a small group of jadeite bottles around the centre, resting on a dimpled base. This belongs to a group of nephrite bottles from the which are made from the same blue stone and of 1780-1850 18th-19th century that had as their only decoration similar design. It has been suggested that they were Height: 5.5cm the natural russet-brown surface of the pebbles. made for court use. For an almost identical example These bottles were usually cut from fairly large This is an Imperial subject. Favourite objects were see Denis S K Low More Treasures from The Sanctum nephrite pebbles. The material itself is fascinating, often wrapped in brocade cloths and the artist has of Enlightened Respect, no. 70. and the brown surface often has a sumptuous texture cleverly given this impression by carving the ribbon and brilliant colour, which the Chinese sometimes around the bottle. enhanced by staining.

P.124 124 The Maxwell Collection of Chinese Snuff Bottles P.125 196 Nephrite, pure white material of flattened 198 Nephrite, pebble material of wide and 199 Jadeite, spinach-green,of deep green rounded form, each side expertly carved rounded form, the body white with russet colour, the bottle of flattened rectangular with an almost identical stylized mallow flower, inclusions, the natural striations of the stone form resting on a narrow protruding footrim. the shoulders with raised chi dragons raising enhanced by a minimum of carving to reveal a 18th Century themselves above the shoulder line, the bottle landscape with trees and rocks, the bottle with a resting on a protruding oval footrim. stubby, characteristic neck. Height: 6.9cm Published: Chinese Snuff Bottles from the Maxwell 1736-1820 Suzhou,1780-1850 Collection at the Crow Collection of Asian Art May Height: 5.7cm Provenance: Jane Culver Sargeant 9-September 6, 2009 no. 11 This motif is more usually found in glass. (See note to 21) Height: 6.3cm Exhibited: The Crow Collection of Asian Art, Dallas While the work on this bottle is characteristic, the form May 9-September 6, 2009 197 Jadeite, dark green and brown, carved is not at all. It shows the wealth of possibilities open to Spinach-green jadeite is rare; it is more usually a with a large peony on each side, with the Qing workshops when wonderful natural stones colour of nephrite but this has a wonderful glassy leaves and stems, the mouth flat and the foot were presented to them. The combination of the quality and takes on a great shine when polished. slightly recessed. simple and low relief carving following the natural The bottle is a good 18th century flattened 1736-1795 veins of the pebble is admirable, and the way the rectangular shape. Native to Burma, jadeite was not rocks and slight undulations are carved show that this Height: 5.5cm used on a large scale by the Imperial Workshops until was the work of a master. the late 18th century. Provenance: Jeff Kramer, USA This green jadeite is very characteristic – there are on 200 Soapstone, the soft material superbly record some twenty or more bottles like this one, all carved in low relief with small chilong carved with peonies or other flowers, and probably clambering around the bottle. all from the same source of jadeite. (For similar 1720-1820 examples, see this catalogue no. 204 and Bob C. Stevens, The Collectors Book of Snuff Bottles, Tokyo Height: 6.3cm 1976, no’s 435, 437 and 454). Soapstone is a wonderful soft material which was prized by the Chinese as it was easy to carve and grind. Chinese chops are often made of soapstone but it is indeed rare to find snuff bottles in this material.

P.126 126 The Maxwell Collection of Chinese Snuff Bottles P.127 201 Nephrite, well hollowed, the upper black The carver of this bottle ingeniously incorporated the portion carved as the idyllic landscape natural black-and-white pattern into his design of with nine fortified dwellings in a rocky landscape; the landscape. This is the same group as the black the lower white portion carved as a tempestuous and white nephrite bottle in Robert Hall Chinese Snuff sea with a sampan under sail; from the mountains Bottles II’ no. 128 and Robert Hall Chinese Snuff Bottles a coursing waterfall zig-zags down the rocks and IV no. 37. These three examples are in a type of jade swirls around the headland. usually chosen by carvers of the Suzhou school. Not only is it a bold and confident bottle of considerable Provenance: The Monimar Collection visual power, but it also reflects the highest Published: Clare Lawrence, Miniature Masterpieces literati aesthetic in the charming but improbable from the Middle Kingdom, The Monimar Collection perspectives which lend to the fantasy of the scene. of Chinese Snuff Bottles, no. 67 Published: Chinese Snuff Bottles from the Maxwell Collection at the Crow Collection of Asian Art May 9-September 6, 2009 no. 7 Exhibited: The Crow Collection of Asian Art, Dallas May 9-September 6, 2009 1780-1850 Height: 7.5cm

P.128 128 The Maxwell Collection of Chinese Snuff Bottles P.129 202 Jadeite, soft green with a bright green 204 Jadeite, of flattened rounded shape, the 205 Jadeite, of flattened rectangular form, of misty inclusion around the shoulders, the stone of rich apple-green tone with some even apple-green colour. body of attractive bulbous form, tapering from the darker flecks and brown inclusions, carved overall 1780-1850 shoulders to the base. with peony flowers and foliage. Height: 6.5cm 1780-1850 1780-1850 Provenance: Baronesses Sapuppo and d’Essen Height: 5.2cm Height: 5.5cm Published: Chinese Snuff Bottles from the Maxwell Provenance: Bernie Wald collection Provenance: Bob C. Stevens Collection Collection at the Crow Collection of Asian Art May Jadeite was introduced to China at some time Sotheby’s New York, 25 June 1982, lot 161 9-September 6, 2009 no. 9 around the 1780s when it was imported from Burma. Rachelle R, Holden Collection Exhibited: The Crow Collection of Asian Art, Dallas The vibrant and attractive colour captured the Christie’s New York, 21 March 2000, lot 190 May 9-September 6, 2009 imagination of the Qianlong Emperor who insisted Published: Bob C. Stevens, The Collector’s Book of Here is an ideal translucent piece of jadeite suffused that more and better be imported to satisfy his desire Snuff Bottles, Tokyo 1976, no. 435 with vivid emerald-green. A jadeite bottle of this for this bright green natural stone. Chinese Snuff Bottles from the Maxwell Collection size and quality is rare since high quality jadeite was at the Crow Collection of Asian Art May almost always used for making jewellery. It was 203 Nephrite, pebble material enhanced with 9-September 6, 2009 no. 15 wasteful to hollow a jadeite pebble for making snuff staining, the rich brown skin carved in low bottles since the interior materials could not be saved Exhibited: The Crow Collection of Asian Art, Dallas relief with dragons and mask-and-ring handles. for other use. May 9-September 6, 2009 1780-1850 This bottle is associated with a group that has Jadeite is a silicate of sodium and aluminium. It is Height: 6.3cm flattened forms and flared necks. Most of these slightly harder than nephrite on the Mohs scale (6.5-7). bottles are attributed to the commercial workshops It tends to be translucent with an ‘icy’ crystalline in the south. The blossoms carved in low relief are structure sometimes apparent to the naked eye. depicted in a generic style and can be identified as Jadeite’s variety of colour is almost as great as that of peonies, lotuses, or magnolias. nephrite but it is best known for its apple-green and emerald-green tones which are of gem quality. For a discussion of this group see note to 197.

P.130 130 The Maxwell Collection of Chinese Snuff Bottles P.131 206 Nephrite, grey and cream coloured, the There are so many of the traditional Suzhou school 207 Nephrite, pale celadon with ochre abstract The inscription must refer to a classical quotation or small body exquisitely carved with a sage elements packed into this firecracker of a bottle. The inclusions, of rounded form on a small story, probably from one of the philosophers of the reclining on a rocky ledge watching the water of relaxed attitude of the reclining sage gives the viewer dimpled base bearing the mark Zhenwan meaning Warring States period. In particular the expression a stream go by, above him to the left is a bridge the urge to slow down and reflect a little longer. (‘For precious enjoyment’) in seal script. One side ming li also li ming meaning ‘fame and profit’ was spanning a river outlet, also a large summer carved with a man with a boat beneath lines of shorthand for modes of personal conduct which pavilion, all surrounded by craggy rocks carved in calligraphy which may be translated as reading : were the source of lively (and not necessarily positive) typical Suzhou style, the reverse with waves below, debate at that time. The sentiment here may be ‘The man in the boat is hauled along by the desire a crane in flight amidst clouds, and a dark yellow Daoist. for fame and profit inclusion carved ingeniously as a bat. The man on the bank hauls the boat for fame and profit This is an ‘impressionist’ jade snuff bottle, the wild Suzhou, 1736-1795 The river waters and turbulent waves ceaselessly ask reed-like inclusions are complemented by the strokes Height: 5.7cm of the characters. This is a thought-provoking bottle When will your toils and tribulations ever end ? which has been created by a thoughtful user. It is Composed by chance’ easy to see why the base of the bottle is inscribed ‘For 1780-1850 precious enjoyment’. Height: 5.3cm

P.132 132 The Maxwell Collection of Chinese Snuff Bottles 133 P.133 208 Nephrite, of squared chamfered form, 209 Nephrite, yellow with a large russet area 210 Jadeite, of extraordinarily deep emerald- the edges all gently recessed, a pale carved with a solitary figure seated on a green colour with lighter areas, carved ochre skin brilliantly carved with a figure in a gnarled pine bough and a crane above the sun in low relief with the continuous scene of a five- rocky landscape, a pine tree above and a palm and waves. clawed scaly dragon chasing a flaming pearl, a frond to the left of the figure, the reverse carved lighter area in the stone utilized to form the head of 1750-1796 with a raised inscription Zi qi dong lai, lin jia men. the dragon, and that lighter area continuing down Yu tang jin xiu hua chang chun, which translates as Height: 6.3cm to form the back bone of the dragon; with lapping ‘Purple clouds come from the east, approaching Published: Chinese Snuff Bottles from the Maxwell waves carved around the base; extremely well your door. Jade halls and fine brocade bloom Collection at the Crow Collection of Asian Art May hollowed through a small mouth and resting on a everlasting’. 9-September 6, 2009 no. 13 small indented base. Suzhou school, 1780-1850 Exhibited: The Crow Collection of Asian Art, Dallas 1780-1820 May 9-September 6, 2009 Height: 5.8cm Height: 5.5cm A frequent longevity motif is a small pavilion, ‘Purple clouds come from the east’ is originally a Published: Chinese Snuff Bottles from the Maxwell sometimes round, sometimes many-cornered, reference to the omen seen by the keeper of the Collection at the Crow Collection of Asian Art May standing on a steep rock jutting out of the sea, Hangu Pass before Lao Zi’s arrival there on his journey 9-September 6, 2009 no. 10 surrounded by clouds, and cranes, each with a westward to become a sage. It signifies the arrival of Exhibited: The Crow Collection of Asian Art, Dallas counter (a small strip of bamboo) in its beak, flying good fortune. May 9-September 6, 2009 towards it. This is an allusion to the auspicious saying ‘Jade halls and fine brocade’ appears to be a mark haiwu tianchou ‘One more counter for the pavilion found on numerous white jade pendant carvings by the sea’. The small pavilion is the abode of the – likely a similar reference to good fortune and Immortals, and legend says that it holds a magic prosperity. vase containing counters that represent a man’s life span. Whenever the crane drops a counter into the This is an extremely high quality jade snuff bottle vase, the man’s life expectancy is extended another which has some of the hall marks of the famous hundred years. The expression haiwu tianchou has Suzhou school, especially the wonderful raised therefore come to mean ‘May you live long’. calligraphic inscription of running text which is far more time-consuming and difficult to carve than other styles.

P.134 134 The Maxwell Collection of Chinese Snuff Bottles P.135 Jadeite of the finest jewellery quality was rarely used 211 Nephrite, pure white carved in low relief 212 Nephrite, celadon, the ochre skin on one The preferred stone of The ’Master of the Rocks’ The imagery depicted on this bottle is typical of the for objects larger than beads or rings. In carving a with figures in a landscape, the bottle side exquisitely carved with a figure riding school of carving was nephrite of an olive-green school. The sage/official on the deer represents fame snuff bottle the wastage of valuable material was a resting on a flat foot and with a small mouth. a deer and approaching a tower surrounded by pebble colour combined with a richly varied brown and riches whilst the figure on the top of the balcony particular problem since a great deal of the interior clouds where a dignitary awaits, sheltered by a skin. The standard features on a ‘Master of the Rocks’ is of a high social status and has the parasol (one of Suzhou, 1720-1800 would be ground to dust. In this case, the carver has parasol held by an attendant, the paler ochre skin bottle are figures in a landscape, well carved gnarled the eight Buddhist symbols representing protection used a superb piece of stone which may possibly Height: 6.1cm on the other side carved with a maiden and an urn tree trunks and branches balanced by both realistic from illness and harmful forces) protecting him from have escaped being turned into jewellery because amidst clouds and rocks. and abstract use of clumps of leaves and wispy the sun. of the lighter areas, but these areas have been used clouds curling in and out of the design. ‘Master of the Master of the Rocks School, 1780-1850 Here the jade carver has admirably incorporated the to brilliant effect. Rocks’ bottles can be distinguished from those carved pebble’s natural markings of russet brown and grey Height: 6.5cm by the Suzhou school by their use of colour. A Suzhou into his design. The gentleman riding a stag identifies The dragon has long been used in China as a symbol Provenance: Baronesses Sapuppo and d’Essen bottle uses all the naturally occurring differences of of imperial power. The image of a five-clawed the figures as immortals, as the stag is a motif closely Published: Chinese Snuff Bottles from the Maxwell colour within the material to distinguish the majority dragon was reserved for the Emperor himself. This associated with longevity. Collection at the Crow Collection of Asian Art May of the features on the bottle: the figures, flora, and bottle is an example of the finest hardstone carving. 9-September 6, 2009 no. 14 animals. The ‘Master of the Rocks’ carver would use The dragon is carefully depicted on the jadeite shell, colour only to separate larger more encompassing which is almost as thin as paper. Exhibited: The Crow Collection of Asian Art, Dallas May 9-September 6, 2009 elements, like the sky, land and water. Humans and animals would then be carved on similarly coloured ground, thus using the depth and fineness of carving to distinguish them rather than the colour.

P.136 136 The Maxwell Collection of Chinese Snuff Bottles 137 P.137 Various

P.138 138 P.139 213 Gilt bronze, the central panels on each 214 Glass, imitating pearl, of irregular pod 215 Bronze, with an integral dish on one main side inset with half a large pearl, and shape, the interior of which has been side, the lateral sides with raised oval surrounded by raised formalized scrolling tendrils, coloured pale gold backed by wax, creating a soft panels, the body incised with dragons amidst each shoulder inset with a red glass cabochon, lustre, a filigree design on the metal band around clouds, the foot inscribed ‘(made by) Cheng also surrounded with scrolls; the small bottle of the shoulder and on the metal mounting which Rongzhan (in the) 3rd year of the Shunzhi period’ rounded form with a very slightly flared neck extends from the mouth, neck to the shoulder and (1646). surrounded with leiwen (thunder pattern), the enamelled in multi-colours with four bats. Cheng Rongzhang, probably 19th early 20th bottle resting on a protruding oval foot rim. Guangdong, for presentation to Beijing, 1770-1795 century Guangdong, for presentation to Beijing1770-1795 Height: 5.5cm Height: 6cm Height: 4.7cm (excluding stopper) This glass bottle is one of only four known of this type. This bottle belongs to one of an enigmatic group Provenance: The Ferrari Collection, Europe A matching pair is illustrated in Robert Hall, Chinese whose history is not available earlier than a few This is the only bottle known of this style, with a large Snuff Bottles, no. 51. Sadly, one of the pair was recorded in private collections, nor are they pearl on each side and it is certainly the only one broken, but it enabled us to see that the bottle was documented in any of the Imperial collections in recorded. The Qianlong Emperor was passionate made by painting the interior with pale gold colour either Beijing or Taiwan. about pearls so this was very fitting for his taste. By the and wax. The metal mounting is very intricate and Hugh Moss discusses the group in depth in Moss, Qing dynasty, pearls were used to decorate the hats would indicate that these pieces were made at the Graham, Tsang, A Treasury of the Emperor, Empress and Imperial concubines. height of the creative output of the workshops in of Chinese Snuff Bottles, According to Camman (Journal, ICSBS Summer Guangzhou for presentation to the court in Beijing. nos. 1617,1618,1619,1620 1985 p. 16) the laws during the later Qianlong reign The fourth example is published in Clare Lawrence and attributes them to ‘The restricted the wearing of pearl bead necklaces to Miniature Masterpierces from the Middle Kingdom, Shunzhi Bronze Forger’. the Qianlong Emperor. Pearls were plentiful in China. the Monimar Collection, no. 133. For a further They would have been imported from places like discussion of this type, and to see again the bottles India, and freshwater pearls were found in rivers in cited earlier in Robert Hall Chinese Snuff Bottles, China. no. 51, please see Moss, Graham, Tsang, A Treasury of Chinese Snuff Bottles Volume 7 Part 2, Organic, Metal, We believe the bottle to be made in the south Mixed Media, 1662 & 1663. of China around Guangzhou for presentation to Beijing. During the 18th Century Guangzhou workshops making clocks and other mechanized and decorative items used many garnets and other semi precious stones or glass as embellishments similar to the small red inset stones here. Also the gilded bronze work is typical of the region.

P.140 140 The Maxwell Collection of Chinese Snuff Bottles P.141 216 Green shale, (Duan stone) carved lightly 217 Sapphire, of rounded form, the dark blue 218 Turquoise, of small cylindrical form with two confronting dragons and an material with crescent-shaped, slightly tapering from the shoulders to the foot, the inscription, the lateral sides with mask-and-ring darker ochre areas suffused throughout, the neck neck slightly flared and the base slightly indented, handles, each beast wearing what appears to be flared with a flattened mouth, the bottle resting on the mottled stone including the dark areas of the a typical Chinese hat with a stiff rim and the folds a flat foot. matrix. of the crown radiating out from a central button. 18th Century Qianlong period 1736-1795 1736-1795 Height: 5.2cm Height: 5.5cm Height: 5.5cm Published: Journal ICSBS Spring 2013, Front Cover Provenance: Martin Clatworthy, England Published: Chinese Snuff Bottles from the Maxwell Published: Chinese Snuff Bottles from the Maxwell Published: Chinese Snuff Bottles from the Maxwell Collection at the Crow Collection of Asian Art May Collection at the Crow Collection of Asian Art May Collection at the Crow Collection of Asian Art May 9-September 6, 2009 no. 5 9-September 6, 2009 no. 17 9-September 6, 2009 no. 30 Exhibited: The Crow Collection of Asian Art, Dallas Exhibited: The Crow Collection of Asian Art, Dallas Exhibited: The Crow Collection of Asian Art, Dallas May 9-September 6, 2009 May 9-September 6, 2009 May 9-September 6, 2009

Duan stone, mined in Guangdong province, has Mostly found in Burma, sapphires were exported Turquoise has long been admired by the Chinese, been the preferred inkstone of the literati since the to China together with jadeite and other precious and has been used for many centuries to adorn Tang Dynasty. The best inkstone came from the River stones. The end of hostility between China and and embellish metalwork and other works of art. It is Duan in Guangzhou and was very prized. It is ideally Burma in 1784 and the reopening of regular trade indigenous to China and objects of this material have formed by nature to be sufficiently hard to grind the contributed to the popularity of various precious been discovered in Neolithic tombs. In its natural solid inksticks of the literati while being soft enough minerals in China. This is one of only four sapphire state, it is a bright turquoise colour but becomes a to allow a minute quantity of the material itself to snuff bottles known to be early. All appear to have much darker olive as it comes into contact with the enter the ink, granting it wonderful properties. A fine come from the same sample of mineral as they have elements, and especially reacting to the natural Duan stone could attain, by these and its decorative the same characteristics of structure. Inevitably the oils and acid of the hands resulting from constant properties, a value far beyond gold or precious finer flawless coloured material would have been handling. On this bottle, the area divided by the stones by weight. Although the vast majority of Duan used for jewellery and other ornaments. Sapphire and matrix creates an abstract design resembling a rock stone was used for inkstones (hence the alternative ruby were known and used by the Imperial workshops pool which is an ideal medium for mediation and name of inkstone) it was also made into other literati during the 18th Century. imagination. accessories, including snuff bottles.

P.142 142 The Maxwell Collection of Chinese Snuff Bottles P.143 219 Shale, also known as ‘ D u a n s t o n e ’ This is one of a small number of green stone bottles 220 Inkstone (Duanstone), the dark brown Inkstone, or Duanstone, is a mineral mined in (because it was mined at Duanzhou) probably made for Imperial consideration whose material with slightly lighter areas around Zhaoqing in Guangdong province. It’s consistency is or ‘inkstone’ (because it was used to make ink origins may have been one of three or four known which the artist has carved tall lotus leaves a type of slate or shale that has been quarried there palettes), the front of the bottle carved within an sources for this lovely quality and colour, Duanzhou above the waves and a small egret in the water. since the Tang Dynasty (618-907). Its dense structure oval raised vignette enclosing a horned dragon being the most notable. The reverse is skilfully incised with a long inscription with its low absorbency rate makes Duanstone ideal amidst clouds, the reverse incised with fourteen for the grinding of ink and its mixing with water which The liveliness of the chi dragon is evident in its sinuous Wan ru dai jia gui seal script characters, also within a raised oval was used for painting or writing calligraphy. The body, bulging eyes, and gaping mouth. Chi dragons zhong nu; zhi you tuan vignette which reads: colour range includes grey, purple and brown. The yuan zai hou tou can be traced back to the 1st century and have been lotus flower has been a symbol of purity in Buddhism ‘If friends and relatives in Laoyang enquire about Bing chen dong yue han qiu guan zhi used since the 12th century as a popular art motif. since the religion was introduced to China in the 2nd me, (tell them) I think of them with affection as Which may be translated as reading century. I hold this (stone) bottle’ ‘Like a bride waiting in her chamber on her The sides are also incised in regular script: wedding night, [I] know a reunion will follow shortly. ‘In the winter month of the wuzi year (1768) Made in the eleventh month of a bing chen year Made by the master Yin Xiang.’ [December 1796] at the Autumn Recital studio’. Yin Xiang dated 1768 Late 18th Century Height: 6.3cm Height: 5.9cm Provenance: De Lisle collection, Auckland, Published: Chinese Snuff Bottles from the Maxwell New Zealand (formed in the main by H.S.Hadley, Collection at the Crow Collection of Asian Art May an Auckland merchant, traveller and collector, 9-September 6, 2009 no. 4 during his and his wife’s extensive travels in China Exhibited: The Crow Collection of Asian Art, Dallas and Japan from 1900 to the 1930’s May 9-September 6, 2009

P.144 144 The Maxwell Collection of Chinese Snuff Bottles 145 P.145 221 Silver, a round panel on each side containing 222 Lac-burgauté, the metal body lacquered 224 Cloisonné enamel of flattened rectangular a stylized shou (long life) medallion in black, the edges inlaid with tiny pieces form, a panel on each main side decorated surrounded by five bats, the neck flared, with a of mother-of-pearl in extraordinary detail with a with an inverted fish and bubble lying on a lotus matching original stopper inlaid with coral and complicated floral design, a framed plant, the body with circular mon-styled designs. turquoise beads. panel on each main side, one 1780-1850 depicting flowers in a vase on a 1780-1860 small table, the other with squirrels Height: 6.5cm Height: 5.8cm clambering on a grapevine; the Published: Chinese Snuff Bottles from the Maxwell The five bats, wu fu, represent the Five Blessings of base inlaid in mother-of-pearl with Collection at the Crow Collection of Asian Art May Chinese life: old age, wealth, health, virtue and a a single character hallmark. 9-September 6, 2009 no. 33 natural death. Japanese, 1780-1850 Exhibited: The Crow Collection of Asian Art, Dallas May 9-September 6, 2009 Height: 6.5cm The appearance of Chinese cloisonné can tentatively 223 Lac-burgauté on a copper base, the inside be traced back to the 13th century and the with gilt bronze lining, the outside covered technique is believed to have been perfected by the in black lacquer, each side with a round panel with mid-15th century. The various colours are separated inlaid wire and mother-of-pearl depicting vessels and enclosed by metallic strips welded onto the body with flowers and other scholarly implements, the of the bottle. The fish and lotus leaf form a rebus for outer body inlaid meticulously with mother-of- ‘abundance year after year’. pearl, the foot splayed and lacquered underneath. 1780-1850 Height: 5.6cm

P.146 146 The Maxwell Collection of Chinese Snuff Bottles P.147 Inside Painted

P.148 148 P.149 225 Flawless crystal, ink and water-colours; two years alone, a further eight, mostly bearing the 226 Glass, inside painted, of rectangular form with a flat lip and recessed, flat elongated seal which gives his zi, or given name, Ma Guangjia. with gently curved shoulders surmounted oval foot surrounded by a protruding, rounded The legendary loveliness of the two Qiao sisters by a cylindrical neck, the interior intricately footrim; painted on one main side with the Qiao has been a source of inspiration for many Chinese painted with a dragon spewing forth a pearl whilst sisters reading a book together seated on a chair artists down through the years, and both beauties in flight amongst swirling clouds, the reverse with with bamboo-shaped, openwork back and arms are invariably pictured in illustrated editions of The a cricket on a mossy bank above swimming fish, and a brocade seat, reading a book together, with Romance of the Three Kingdoms by Luo Guanzhong. with an inscription which reads: Yin Dong ren one seal of the artist in negative seal script; the According to the novel, they were married to the xiong da ren qing wan. Geng yin dong yue, Zhou reverse with a lengthy inscription which reads: warlord Sun Ce (ruler of Eastern Wu) and his general Leyuan zuo. ‘A keepsake for my esteemed friend Zhou Yu. The sisters were coveted as wives by Cao Yin Dong. December 1890, by Zhou Leyuan’. Jun chen jiang zuo zhu ying cheng Cao (ruler of Wei), and his infatuation with them was Zi mei yu jin sheng jia zeng; Zhou Leyuan, Beijing, dated 1890 one of the triggers for the battle between the two You xin wei zao tong qiao suo Height: 6.6cm rulers at Red Cliff, at which the forces of Eastern Wu Chao chao ge chui wang xi ling. were victorious. Bronze Sparrow Terrace was Cao Zhou Leyuan ranks with Ding Erzhong as one of the Yi wei Ma Shaoxuan zuo. Cao’s palace at Yecheng. The last two lines of the two greatest inside painted artists. He worked in Which translates as ‘The lord and his steward are poem imagine the sisters’ fate if Cao Cao had won Beijing between 1881-1893 (the range of his dates so renowned throughout Wu, The two sisters’ star is on the battle of the Red Cliff – in Cao Cao’s will, he far recorded) and was the founding father of, and the rise. How fortunate they did not end up locked instructed that his wives be confined to the Terrace inspiration to, an entire school. Zhou’s output was in Bronze Sparrow Terrace Singing daily songs to after his death, and sing regular recitals at his tomb quite large, judging by the numbers of bottles that the Western Tomb. Dated 1895, by Ma Shaoxuan’ (called the Western Tomb). have survived, and he clearly painted for a living Ma Shaoxuan, Beijing, dated 1895 Height: 6.3cm This bottle is one of only two bottles which are known/ Provenance: Mrs Pattison, China between 1930- published by Zhou Leyuan with a wonderful dragon 1940 on the reverse bearing down to the foot - dynamite Nancy McCarthy by descent 1971 for the Chinese who thrive on this subject. In Chinese mythology the dragon is a good-natured and benign By 1895 Ma’s mastery is confirmed across a wide creature which symbolizes male vigour and fertility. range of subjects. From then onward, he is in From the Han dynasty onwards the dragon was command of the medium and able to expand his seen as the symbol of the emperor and it is also the subject matter with confidence and verve, and he fifth creature in the Chinese zodiac and one of the continues to do so in the following few years. The four creatures of the world directions. The dragon is subject of the Qiao sisters was first painted in 1894 also a magical creature and when two dragons are and is repeated regularly. There are another four depicted playing in the clouds with a ball or pearl it recorded examples from 1895 and from the following causes rain to fall.

P.150 150 The Maxwell Collection of Chinese Snuff Bottles P.151 227 Glass, inside painted with the Ba po, or Zhou Leyuan often repeated subject matter, but he examples. He began his career by copying the work ‘The Eight Brokens’ scattered precious invented each scene afresh every time he painted of earlier masters, especially Zhou Leyuan: out of a rubbings, paintings and documents by older it, reinvesting all his skills and character. Brushwork, total of sixty-five recorded bottles, no fewer than nine masters forming a rebus for longevity (Baisui), the texture and colours are of paramount consideration bear Zhou’s signature. reverse inscribed ‘at the request of Zhengfu, the with the actual subject matter being a vehicle to honourable surveillance commissioner,’ signed ‘Ma show that off. Each composition is completed with 230 Glass, painted inside with a cockerel Shaoxuan’ with one seal Shaoxuan. inscriptions in Zhou’s elegant running script, thereby strutting on a flowery mossy bank, with an sustaining the purity of the classic traditions of Chinese Ma Shaoxuan, Beijing 1895-1900 inscription to one side signed Zhou Leyuan, painted Painting. Zhou was clearly well educated and versed at ‘The Studio of Lotus-root Fragrance’ dated 1892 Height: 6.3cm in the styles of ancient masters, as he often alludes (with personal seal Leyuan;) the reverse with a Provenance: The Hamilton Collection to their inspiration on his own works. This style of figure wearing a reed cape and distinctive hat, The White Wings Collection landscape work and his still life scenes seem to be the punting a sampan on a river, beneath trees with a Published: Robert Kleiner, Chinese Snuff Bottles from most confidently painted of his subjects. mountain scene in the distance. the White Wings Collection, no. 195 Zhou Leyuan, Beijing 1892 Glass, painted inside in ink and colour The scattered documents motif was a challenge 229 with a man on horseback with a bow and Height: 6.3cm to the inside painting artist to show off his ability to arrow, followed by an attendant, with a lengthy Provenance: N.C. Chen paint in different calligraphic styles. Ma Shaoxuan inscription above which may be translated as Virginia Mead was truly one of the masters of this art. It was ‘Gathering in the deep mountain for hunting, snow obviously commissioned as a gift to a person who on the ground, the General is returning: disturbed would appreciate the scholarly allusions of the geese fly up, [The General] riding a horse and different motifs. The ancient rubbings, paintings and shooting at geese’ with the signature Sun Xingwu documents would be valuable to the literati even in and date 1899; the reverse with a man riding at full torn pieces. tilt firing his arrows into a flock of birds, all with a camp behind. 228 Glass, painted inside with a crane standing on the bough of a tree stretching across Sun Xingwu, Beijing, 1899 the front of the bottle; the reverse with a landscape Height: 6.4cm with the branch of a tree, insects, chrysanthemums Published: Chinese Snuff Bottles from the Maxwell and other flowers, below an inscription: You Ting Collection at the Crow Collection of Asian Art May ren xiong da ren qing wan. Leyuan zuo yu Xuan. 9-September 6, 2009 no. 3 Nan Fang She which translates as: ‘A keepsake Exhibited: The Crow Collection of Asian Art, Dallas for my esteemed friend You Ting. Executed at the May 9-September 6, 2009 Xuannan house by Zhou Leyuan’. Sun Xingwu is one of the best but most underrated Zhou Leyuan, Beijing circa 1882. artists of the Beijing School from the late Qing Height: 6.2cm Dynasty. His bottles are rare, probably because of his short working period, which appears to have been between 1894-1909, according to the dated P.152 152 The Maxwell Collection of Chinese Snuff Bottles P.153 231 Crystal, of hexagonal shape, painted Most of the bottles are in plain rectangular or 232 Rock crystal, of flattened rectangular form, inside in ink and colours with a scene of facetted rock crystal, and are almost invariably of translucent colourless material, painted Guangzhou, showing the harbour with mountains painted in the artist’s traditional palette of black ink inside with a scene depicting a mossy bank with in the background and a wall winding its way and wash, with only the merest hints of other colours. a cricket on the surface, and dragon flies and between the two, with a large distinctive building They represent an important phase in the history of other insects above fan-tailed carp in the water, in the foreground which may well be a Customs snuff bottles because in the work of Gan Xuanwen the reverse with an idyllic landscape in which House. we see an established member of the literati class two figures in a skiff approach a Summer pavilion actually involved in the production of snuff bottles. with mountains rising behind. Ren chen, zhong qiu Attributed to Gan Xuanwen, painted circa 1820 wei, Yun Tian ren xiong, da ren qing wan. Xie yu Height: 5.5cm jing shi, Zhou Leyuan. Which translates as reading The earliest known inside-painted bottles date from ‘A keepsake for my dear friend the esteemed near the beginning of the nineteenth century. Yun Tian. Executed in Beijing by Zhou Leyuan. Indeed, a Paris auction catalogue from 1810 includes September, 1892.’ one. Another is referred to in the Paris sale of the Zhou Leyuan, Beijing 1892 De Guigne Collection in 1845 and it is known that Height: 6cm De Guigne himself returned from China in 1801 with the objects he had collected during his stay there. The artist in both these cases was not named but is believed to be Gan Xuanwen, the earliest artist in the medium to be positively identified. Gan was an artist of the Lingnan School, based in Guangzhou, and there is a handscroll signed by him dating from 1810 in the University of Hong Kong Collection. The earliest known snuff bottle signed and dated by Gan is in the collection of Princeton University and was produced in 1816 and the latest dated example so far known by him is from 1823.

P.154 154 The Maxwell Collection of Chinese Snuff Bottles P.155 233 Glass, painted on the inside with Zhong Sun Xingwu was an accomplished artist and this 234 Crystal, painted inside in ink and colours, 235 Glass, painted inside in ink and colour, Kui riding a donkey amidst swirling clouds, alternative interpretation of the fable depicting Zhong one side with Huang Chengyan on a with a magnificent landscape and a long preceded by a bat and accompanied by three Kui, the demon queller, is typical of how legends donkey, his attendant behind him, walking beside waterfall tumbling from the mountains shrouded demon attendants; the reverse with Zhong Kui’s can be adapted and changed with the passage of a lake and mountains covered in snow, the other in mist into the river below an inscription above sister being pushed in a wheeled, canopied time. Sun Xingwu was fond of painting this subject side with figures greeting each other outside a reads: Kui shu ren xiong, da ren qing wan. Di gang carriage by a demon attendant while another and did many versions during his distinguished career. dwelling, again with snow on the ground and trees. quan, chi zeng. Geng yin, Leyuan] zuo. accompanies her holding a lantern, the group The story of popular folk hero Zhong Kui can be Ye Zhongsan, Beijing 1917 Zhou Leyuan, Beijing 1890 amidst billowing clouds with mountains beyond. traced back to the 9th century. According to legend, The inscription informs us the bottle was painted in he was able to protect people from demons. Zhong Height: 6.7cm Height: 6.5cm the capital for a friend and invites his constructive Kui arranged for his sister to marry his benefactor, thus Both scenes on this bottle illustrate chapter 37 of Which translates as ‘A keepsake for my dear friend criticism of the work. ‘Painted in Dumen, in this subject expressed a wish for a happy marriage. The Romance of Three Kingdoms, the great Chinese the honourable Kui Shu the winter months of Yihai Year (1919) for the classical novel. Liu Bei, champion of the Han Dynasty, Presenting a gift at the Di Gang spring enjoyment of my respected brother. Sun Xingwu.’ set out to persuade Zhuge Liang, the most famous September 1890, by Zhou Leyuan’: the reverse and accomplished strategist of his era, to join him Sun Xingwu, Beijing dated 1899 with a long-tailed bird beside a pine tree. in his struggle to restore the Hans to power. Liu Bei Height: 6.3 cm visited Zhuge Liang’s humble cottage three times Provenance: Dr. and Mrs. Louis Wolfertz before finding him at home. Departing after his The Snowy Peaks Collection second unsuccessful visit, Liu Bei and his two sworn Published: Friedman, Pamela. Chinese Snuff Bottles brothers saw a man riding a donkey over a bridge, from the Pamela R. Lessing Friedman Collection, followed by a youth carrying a jar of wine. It was page 134 no. 111 and Robert Hall Chinese Snuff not Zhuge Liang, however, but Zhuge’s father-in-law, Bottles XI, The Snowy Peaks Collection, no. 101 Huang Chengyan. Liu Bei and Zhang Fei are shown greeting Zhuge Lin, Zhuge Liang’s younger brother, Published: Chinese Snuff Bottles from the Maxwell with a serving boy at the door of the thatched Collection at the Crow Collection of Asian Art May cottage, beneath the inscription Wushen mengxia Ye 9-September 6, 2009 no. 1 Zhongsan zuo (ding si). Exhibited: The Crow Collection of Asian Art, Dallas May 9-September 6, 2009

P.156 156 The Maxwell Collection of Chinese Snuff Bottles 157 P.157 SELECTED BIBLIOGRAPHY Bartholomew, Terese Tse. Hidden Meanings in Chinese Chinese Snuff Bottles X. The Button Collection. Hui, Polak & Sin. Hidden Treasures of the Dragon, Moss, Hugh, Chinese Snuff Bottles. An Exhibition of Perry, Lila S. Chinese Snuff Bottles, The Adventures & Art, Asian Art Museum of San Francisco, 2006. London, 2003. Sydney Australia 1991. Chinese Snuff Bottles, June 1970. Studies of a Collector. Rutland,VT and Tokyo: Charles Chinese Snuff Bottles XI. The Snowy Peaks Collection. Hui H.K.F. and C. Sin. An Imperial Qing Tradition Hugh M. Moss Ltd., 1970. F. Tuttle 1960. Chang Lin Sheng. Snuff Bottles in the Collection of the London, 2005. Chinese Snuff Bottles, Hong Kong, 1994, page 144. National Palace Museum, Taipei, Taiwan: Chinese Snuff Bottles XII. A Must Have Accessory. Moss, Hugh, Chinese Snuff Bottles of the Silica or Stevens, Bob C. The Collector’s Book of Snuff Bottles. National Palace Museum 1991. London, 2007. Jutheau, Viviane Guide du collectionneur de Quartz Group. London: Bibelot, 1971. New York and Tokyo: Weatherhill, 1976. Chinese Snuff Bottles XIII. The Boston Snuff Party. tabatieres chinoises. Paris: Denoel, 1980. London, 2008. Friedman, Pamela. Chinese Snuff Bottles from the Moss, Hugh, Snuff Bottles of China, London: Bibelot, The Chinese Porcelain Company, Chinese Snuff Pamela R. Friedman Collection. Techpearl Printing, Chinese Snuff Bottles XIV. Irish Mist. London, 2009. Kleiner, Robert W.L. Chinese Snuff Bottles from the 1971. Bottles from the Douglas, Gnam and Other Hong Kong, 1990. Chinese Snuff Bottles XV. The SB Collection. London, Collection of John Ault. Hong Kong, 1990. Collections. New York, 1992. 2011. Moss, Hugh, Chinese Snuff Bottles from the Collection Hall, Robert. Chinese Snuff Bottles XVI. Serendipity. London, 2011. Kleiner, Robert W.L. Treasures from the Sanctum of of the Rt. Hon. The Marquess of Exeter. K.C.M.G, Yuan, Shiyuan, Chinese Snuff Bottles from the Maxwell Chinese Snuff Bottles. London 1987. Chinese Snuff Bottles XVII. Including a selection from Enlightened Respect, Chinese Snuff Bottles from London, 1974. Collection at the Crow Collection of Asian Art. Dallas, the Collection of Denis Low. SNP Printing Pte. Ltd, 2009. Chinese Snuff Bottles II. London 1989. The White Orchid Collection. London, 2012. Singapore, 1999. Chinese Snuff Bottles III. London 1990. Chinese Snuff Bottles XVIII. Including a selection from Moss, Hugh, Victor Graham and Ka Bo Tsang. The Art The White Orchid Collection. London, 2013. Chinese Snuff Bottles IV. London 1991. of the Chinese Snuff Bottle. Kleiner, Robert W.L. The Nordic Butterfly Collection of The J & J Collection. 2 Vols. New York: Weatherhill, Chinese Snuff Bottles V. From the Collection of Chinese Snuff Bottles, Hong Kong, 2010 Mr. And Mrs. Robert Trojan. London 1992. Holden, Rachelle R. Rivers and Mountains Far from the 1993. World. New York 1994. Chinese Snuff Bottles VI. From the Collection of Lionel Lawrence, Clare Miniature Masterpieces from the Copley. London, 1993 (Part 1). Moss, Graham, Tsang, A Treasury of Chinese Snuff Middle Kingdom, The Monimar Collection of Chinese Hughes, Michael C. The Blair Bequest, Chinese Snuff Bottles. The Mary and George Bloch Collection. Chinese Snuff Bottles VI. From the Collection of Lionel Snuff Bottles, London 1996. Copley. London, 1994 (Part 2). Bottles from the Princeton University Art Museum. Hong Kong: Herald International. vol. 1, Jade (1995) The International Chinese Snuff Bottle Society. nos. 1-187; vol. 2, Quartz (1998) nos. 188-379; vol. 3, Chinese Snuff Bottles VII. The Art of an Imperial CA Design, Hong Kong, 2002. Low, Denis S.K. More Treasures from the Sanctum of Stones Other than Jade and Quartz (1998) nos. 380- Addiction. London 1995. Michael C. Hughes, The Chester Beatty Library Dublin, Enlightened Respect. Published: Denis S.K Low, 436; vol. 4, Inside Painted (2000) nos. 437-674; vol. Chinese Snuff Bottles VIII. Made in China. Porcelain Chinese Snuff Bottles, The International Chinese Snuff C A Design, Hong Kong. 2002. 5, Glass, (2002) nos. 675 -1060;Vol. 6, Arts of the Fire Snuff Bottles from Jingdezhen, London, 1996. Bottle Society, Baltimore, Maryland, 2009 (2007) nos. 1061-1468; Vol. 7, Organic, metal, mixed Chinese Snuff Bottles IX. Chinese Whispers. London, media, (2009) nos. 1469-1720. Masterpieces of Snuff Bottles in the Palace Museum. 1999. Compiled by Xia Gengqi and Zhang Rong of Chinese Snuff Bottles. Masterpieces from the Rietberg the Palace Museum, Beijing. The Forbidden City Musuem. Zurich/London 1993. Publishing House of the Palace Museum, 1995.

P.158 158 The Maxwell Collection of Chinese Snuff Bottles 159 P.159 P.160 160 P.161