清十八世紀 透明地套寳石紅料「五福呈祥」圖鼻煙壺

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906

It is in 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."

An abiding puzzle about this extraordinary bottle relates to the technique of using different thicknesses of the same colour to create the effect of a double overlay with only a single upper plane of colour. By cutting the thick layer of ruby-red on two planes, the lapidary has created a magnificent effect of bats flying in front of much paler clouds. This technique is extremely rare, but in artistic terms enormously effective, hence the puzzle: why was it not utilized more often? It was easier than carving a standard double overlay (which became popular during the mid-Qianlong period), since no contrasting colour dictated the depth of carving. The glassblower’s task would also be simpler, since only a single layer of overlay is needed, and that layer need not be any thicker than the standard early depth of overlay found in Sale 3, lot 21, Sale 4, lot 121, Sale 5, lot 63, Sale 6, lot 205, and lot 1002 in the present sale. Apart from the rarity of the method and its unusual form, nothing about the bottle would rule out the imperial glassworks and a Qianlong attribution, possibly from the mid-reign. The artistry and technical quality are unsurpassed, the foot is as crisp, confident, and perfectly delineated by the overlay colour as it could possibly be, and the tiny contrasting upper-neck rim is not only among the most delicate in the entire medium but also achieved with enormous confidence and skill. This is an example of the height of the art and the work of the finest of glass carvers.

The bats are surely among the finest in the medium, individually conceived, superbly lifelike, and impeccably carved. The under layer of soft, palest ruby-red clouds is executed in masterly fashion, helping to make this another of the transcendent masterpieces of glass carving in the collection.