1992年 劉守本作玻璃內畫馬少宣像鼻煙壺 《壬申正月劉守本寫》款

Robert Kleiner，倫敦，1992年

Robert Kleiner、楊伯達及 Clarence F. Shangraw，《盈寸纖研 ─ 瑪麗及佐治伯樂鼻煙壺珍藏》，香港藝術館，香港，1994年，編號367
新加坡國家博物館，新加坡，1994-1995年
倫敦佳士得，1999年

Virginia Mead，〈The Resurrection of Dr. Shen's Collection of Snuff Bottles and the Saga of Larry Chin〉《Arts of Asia》，1996年9/10月，頁83左上
馬增善，《馬少宣與內畫藝術》，巴爾的摩，1997年，封套
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670

Bottle: Two small chips to the inner lip. 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 inscription on the back of this bottle reads:

This photo-portrait was taken in the year yichou, which is the equivalent of 1925. At the time [Ma Shaoxuan] was fifty-nine years old. I was provided with this picture by his grandson 嫡孫, Mr Ma Zengshan.

This photo-portrait was taken in the year yichou, which is the equivalent of 1925. At the time [Ma Shaoxuan] was fifty-nine years old. I was provided with this picture by his grandson 嫡孫, Mr Ma Zengshan.

Once Ma Shaoxuan mastered the art of portrait painting, it was taken up by other artists. Here, Liu has painted Ma in his own style, appropriately, but with just a hint of the oil techniques learned from Wang Xisan 王習三, which can be seen in the careful, subtle colouring of the skin and blending of one shade into another.

For details of the photograph, see Ma Zengshan 1997, pp. 129–130.