清十九世紀 青花釉裏紅「漁樂」圖鼻煙壺

Robert Kleiner，倫敦，1991年

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1387

It is in 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."

This is of the same subject and general composition as Sale 6, lot 208. The shape of the bottle differs somewhat, forcing minor compositional adjustments on the artist. This tapering cylindrical form, growing thinner towards the shoulders, seems to have become more popular during the second half of the nineteenth century. Given the production-line output of Jingdezhen kilns, one might expect a particular design to be used repeatedly on the same shape, but obviously a pattern book was kept of appropriate subjects and fitted to whatever shape of bottle fashion dictated or the kiln owner chose. The artist here uses the same vocabulary of texturing as on Sale 6, lot 208; the most noticeable differences are in the red colouring of the sun and in the red area on the shore where the fisherman strides: it is not shaded here as it was on the other bottle. The outline is a bit stronger and definitely suggests the shape of a boulder; that seems to justify filling the area with a uniform tone that balances the presence of the red sun almost directly above. Despite these minor differences in detail, it seems inconceivable that the two were not products of the same kiln at approximately the same time.