十九世紀 / 二十世紀初 日本褐漆嵌螺鈿鼻煙壺

D.A. Ionides 收藏
倫敦佳士得1990年6月13日，編號525

Robert Kleiner，《Chinese Snuff Bottles in the Collection of Mary and George Bloch》，大英博物館，倫敦，1995年，編號357
《Chinese Snuff Bottles in the Collection of Mary and George Bloch》，以色列博物館，耶路撒冷，1997年

陳韜，《鑑識鼻煙壺》，福州，2002年，頁63
Hugh Moss、Victor Graham 及曾嘉寶，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection》，卷7，香港，2009年，編號1712

There are some tiny nibbles to the inner inset footrim. Tiny pieces of mother of pearl inlay, general from the shoulders and neck, are missing; larger pieces are missing from both sides affecting the flowers, petals, leaves and rocks. The overall condition is otherwise good.
"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 gives the impression of a brown-lacquer ground on the narrow sides and the sloping frame, but this is due to the fact that where the thin layer of lacquer remains on either shiny abalone shell or on gold foil it looks brown, and there is sufficient overlap to give these areas an overall brownish tint that is absent from the larger panels.

Construction here is on a very light weight soft wood, perhaps similar to the kiri wood used for Japanese fitted boxes to contain works of art. The interior is covered with black lacquer, and both the lip and collar of the stopper have a silver lining. A silver lining is perhaps what is required here to salvage the dignity of an obviously impressive bottle used to represent a slightly compromised technique. The formalised floral design on stopper and neck is quite spectacular, one of the more impressive in the medium. It is artistically a splendid crown to the opulence of the narrow sides.

For a related example, of a very similar shape, see Low 2002, no. 278, formerly from the Montclair Art Museum.