AN INSIDE-PAINTED CRYSTAL 'SUMMER LANDSCAPE' SNUFF BOTTLE ZHOU LEYUAN, 1892

Hugh M. Moss Ltd, 1985.

Robert Kleiner, Boda Yang, and Clarence F. Shangraw, Chinese Snuff Bottles: A Miniature Art from the Collection of George and Mary Bloch, Hong Kong Museum of Art, Hong Kong, 1994, cat. no. 321.
National Museum of Singapore, Singapore, 1994-1995.
Christie’s London, 1999. 

Hugh Moss, Victor Graham and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection, vol. 4, Hong Kong, 2000, no. 499.

Bottle: Tiny, insignificant chip to the outer lip. Minor nibbles to the inner lip and inner footrim. Natural icy flaws. Painting: 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."

The painting on this bottle is typical of Zhou’s classic late landscapes; it is exquisitely controlled, wrapped around the bottle, and inscribed with the date and place of painting in the neat, angular calligraphy of his later style. However, when he paints a continuous landscape, as in Sale 5, lot 72, Sale 8, lot 1098, and others, Zhou generally maintains a consistent scale or distance from his subject. In this case, the fisherman is viewed from a much closer vantage point than the scholars in the pavilion on the other side. The transition is handled faultlessly; after all, such variations in perspective had long been a technique of Chinese painting, particularly with horizontal scrolls. Sale 6, lot 145 is another example, although the absence of human figures on one side makes the difference in scale more subtle.