清十九世紀 粉彩浮雕春宮圖鼻煙壺

Sasson 收藏，巴西
Hugh Moss (HK) Ltd，1997年

Hugh Moss、Victor Graham 及曾嘉寶，《A Treasury of Chinese Snuff Bottles: The Mary and George Bloch Collection》，卷6，香港，2007年，編號1398

Gilding worn partially from the lip. Some of the very highest areas of relief are a little worn, for example the male hair tufts.
"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."

With a room full of naked couples all doing their best to ensure the pre-Maoist population explosion, it may seem strange to suggest that the most interesting aspect of this bottle is its apocryphal reign mark. At some time after the end of the Qianlong period, the reign mark began to be used commercially with an intention to deceive. The Qianlong mark may have been added to fakes during the Daoguang era, possibly at about the same time as Yongzheng fakes were first being produced. The tendency to fake Qianlong wares would have increased as the century wore on, foreign collectors grew in numbers, and the fame of Qianlong arts was spread abroad.

There is a group of moulded porcelain bottles bearing Qianlong marks that cannot be genuine but are often of extraordinary quality. It is a great shame that this group of bottles was not honestly marked, even signed by their makers. Some of the subjects and styles are often evolved from the Jiaqing height of the art. They represent a minor renaissance both artistically and technically, marred only by original deceit.

The stopper here fits it well, but is an old one added recently to the bottle. The colour picks up that of the iron-red detail in the painting of the lattice windows and the door on one side, not to mention the tiny slippers on the bound feet of all the women, which brings us conveniently back to the subject, and to the charming detail of the woman accompanying herself on the flute, suggesting her versatility.