清乾隆 / 嘉慶 黃料刻御題詩秋菊圖鼻煙壺 連水彩紙本畫 《乾隆癸丑》《重陽御題》款

Paula J. Hallett 收藏
Hugh M. Moss Ltd，1986年

Robert Kleiner，《Chinese Snuff Bottles from the Collection of Mary and George Bloch》，Sydney L. Moss Ltd，倫敦，1987年，編號132
《Kleine Schätze aus China. Snuff bottles—Sammlung von Mary und George Bloch erstmals in Österreich》，Creditanstalt，維也納，1993年

Hugh Moss、Victor Graham 及曾嘉寶，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection》，卷5，香港，2002年，編號868

Two barely perceptible chips to the outer lip. A small air bubble visible in the footrim
"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."

At whatever date the designs and poems may have been added to this and Sale 8, Lot 1082, one may be reasonably certain they were added by the same hand. The script may be different, and, therefore, more difficult to compare, but the chrysanthemum designs are obviously products of the same artistic personality. Identical idiosyncratic touches are displayed in each one, but in different places. Had they come from a common design, two different hands might have produced such similarities, but here they represent individual style. While it is possible that the artistic personality was that of the designer—painting two different versions of the same subject—rather than the lapidary, a connection between the two bottles would nevertheless be proven. In the two compositions, note that the larger flower is on the left and higher up, while the smaller is lower and to the right. Comparison of leaf shapes and other details reveals identical or very similar shapes deployed in different positions. The distinctive side view of a leaf with its front edge curled up to show the back appears centre-left on this bottle, but lower left on the turquoise one. Note also the two buds at top-centre, each set on the end of a twig. It is most unlikely a single artist’s style would have remained constant between 1774, the earliest likely date for the bottle in Sale 8, and 1793, suggesting that both may have been added after 1793, the date on this bottle.

The inscription of another poem on a glass bottle in the Franz collection (Franz 2011, no. 439) is also dated 1793, although earlier in the year. The poem on that bottle is by the Ming painter Tang Yin 唐寅 (1470 – 1523); the one on Sale 8, lot 1082 is by Yun Shouping 惲壽平 (1633 – 1690).

This poem reads

Suddenly I saw the chrysanthemums burst into bloom.
Yellow were the flowers and lush green their foliage.
Unaware the Double-ninth Festival was here already,
I thought it was the goddess who dallies with pearls.

The poet was closely following a quatrain by the Tang poet Wang Shi 王適on the ‘Prunus by the Shore of the River’ (Jiangbin mei 江濱梅): 忽見寒梅樹，開花漢水濱。不知春已早，疑是弄珠人。Suddenly I saw the cold plum tree / had blossomed by the shore of the Han. / Unaware spring was here early, / I thought it was the goddess who dallies with pearls. Repeating the language and the ‘plot’ of Wang Shi’s poem as indicated by the italicized part of the translation,  the current poet appears to be learning the craft of poetry by imitating. However, he does not allude to Wang’s poem or offer a response to it.