1895年 閻玉田作玻璃內畫鷹松圖鼻煙壺 《乙未京師閻玉田作》款

藝華行，香港，1987年
Hugh M. Moss Ltd，1987年

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618

The overall condition is excellent.
"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 another of Yan Yutian’s favourite subjects. It was produced several times in 1895, again in 1898, and among his undated works. Although the subject and the basic composition were repeated, the composition is always varied in the details of the way the tree is painted.

This is a powerful version of his large pine-tree paintings, where the detailing of the gnarled old trunk with scars and splits is exaggerated and simplified at the same time. The simplification is seen in the simple washes for the scarred areas, where only two basic tones are used, one tone to define the lip of the scar, the other its depression. His figures are as well observed as ever, seated in relaxed manner, chatting. Again the means are very simple, just a few lines — a dab of pale sepia for the faces and black for the hair, but he manages, as Zhou Leyuan does, to imbue them with a sense of personality and interaction that belies their tiny scale.

This bottle has been used, and the colours have faded and discoloured with long exposure to snuff. It is particularly evident in the vermilion seals and the once-vermilion sun, both of which are now almost brown. However, the art work has escaped spoon damage, which is unusual in a bottle which has obviously been well used over a number of years. The owner who used it must have valued the painting sufficiently to be extremely careful in its use.