1892年 料胎內畫「福在眼前」圖鼻煙壺 李壽昌製 《時在壬辰年仲夏李壽昌作》款

「昌」印

北京市工藝美術品總公司，1974年
Robert Kleiner，倫敦，1999年

《Robert Kleiner & Company Ltd》，Robert Kleiner & Company，香港，1999年，編號93
倫敦佳士得，1999年

Hugh Moss、Victor Graham 及曾嘉寶，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection》，卷4，香港，2000年，編號533

There are some flaws in the glass at the centre of the foot, otherwise the snuff bottle and the painting are in overall quite good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Li Shouchang is a mysterious artist who was among the earlier group to follow Zhou Leyuan, although he shows no signs whatsoever of having been influenced by him. We may assume that he worked in Beijing, since several of his glass bottles seem to have come from the same source that supplied both Zhou Leyuan and Ye Zhongsan, including this example.

 

This is his masterpiece, which is charming and much more convincing as an image than most of his work, but even by the standards of the commercial, often decorative, art that was to follow, it is not a convincing painting by any artistic standard. It is, however, individual in style, which is intriguing. Li developed his own decorative folk-art style. Within his small surviving repertoire (of only seven bottles), it is also evident that, regardless of his standing as a painter, he was a commercial artist who repeated his subjects and compositions. From the summer of 1892 comes an identical image of the Manchu hunter, although much less convincingly painted. He also painted a horse standing in profile twice in the same year, once under a tree, once on its own, but clearly the same image.

 

However, for all his shortcomings as an artist, and as relatively good as this particular work is by comparison to the rest of his output, Li does have one shining claim to fame for which we may be extremely grateful. He seems to have been the first artist to have conceived of painting portraits. If Li Shouchang did nothing other than inspire Ma Shaoxuan and Ziyizi to paint portraits, he deserves our undying gratitude and a place on the honour role of the art form.

 

Li Shouchang always signed with his full name, as on this bottle, and used only a token seal.