清雍正 廣東銅胎畫琺瑯黃地福祿壽圖鼻煙壺 《雍正年製》款

Robert Hall，倫敦，1987年

Robert Hall，《Chinese Snuff Bottles I》，London Convention，倫敦，1987年，編號69
Robert Kleiner、楊伯達及 Clarence F. Shangraw，《盈寸纖研 ─ 瑪麗及佐治伯樂鼻煙壺珍藏》，香港藝術館，香港，1994年，編號12
新加坡國家博物館，新加坡，1994-1995年
Robert Kleiner，《Chinese Snuff Bottles in the Collection of Mary and George Bloch》，大英博物館，倫敦，1995年，編號20
《Chinese Snuff Bottles in the Collection of Mary and George Bloch》，以色列博物館，耶路撒冷，1997年

Lindsey Hall，〈Snuff Bottles from the Mary and George Bloch Collection on Exhibit in Singapore – A Review〉，《國際中國鼻煙壺協會學術期刊》，1994年冬，頁36，圖1
Victor E. Graham，〈Images on Snuff Bottles〉，《國際中國鼻煙壺協會學術期刊》，1995年冬，頁8，圖10
Hugh Moss、Victor Graham 及曾嘉寶，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection》，卷6，香港，2007年，編號1129

Gilding worn on lip and foot. Extensively worn with tiny scratches which are not at all intrusive and barely visible to the naked eye. The surface may have been slightly repolished to hide them, but otherwise it seems to be in remarkably good condition for so early an enamel.
"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."

There is ample evidence of courtly production at Guangzhou during the Yongzheng era, including the series of superbly made reign-marked examples represented by this and Sale 1, lot 114 and Sale 6, lot 188 and by two still in the imperial collection (Li Jiufang 2002, nos. 132, and 133). During the Yongzheng reign, palace production of snuff bottles did not reach anything like the regular production of the following reign, and a significant proportion of imperial enamelled-metal bottles was apparently produced in the South.

This elongated oval form is a typically southern one that, if the attribution of the group represented by Sale 7, lot 138 is correct, does not occur from the palace workshops. It is usually accompanied by a wide mouth. A thicker body wall would make the mouth opening smaller, but the mouth was simply the terminus of the neck and had the same inside diameter. It was not until the mid-Qianlong reign that a separate metal ‘washer’ was commonly soldered to the neck to form a lip with a smaller mouth.

The mark here is the standard brownish-black, four-character version found on Guangzhou enamels of the Yongzheng and subsequent Qianlong periods, written in regular script, of which function is to identify the piece as a product of the Yongzheng era.

The Yongzheng enamels on metal with symbolic subjects, including various flora and fauna in a landscape setting, did not aspire to high art, as did so much of the Beijing palace output. Their scenes are charming, but the intent is decorative and symbolic, and they were painted by local craftsmen, not master artists. Thanks to the lesser formality, however, the brushwork on these southern bottles is often delightfully spontaneous and uninhibited.