An inside-painted glass 'landscape' snuff bottle Sun Xingwu, Beijing, dated 1895
Lot 113
An inside-painted glass 'landscape' snuff bottle Sun Xingwu, Beijing, dated 1895
Sold for HK$ 60,000 (US$ 7,737) inc. premium
Lot Details
An inside-painted glass 'landscape' snuff bottle
Sun Xingwu, Beijing, dated 1895
5.85cm high.


  • Treasury 4, no. 565


    An inside-painted glass 'landscape' snuff bottle

    Glass, ink, and watercolours; with a concave lip and recessed convex foot surrounded by a protruding rounded footrim; painted on one main side with three fan-tailed goldfish swimming in a pond among aquatic plants beneath flowering lotuses, the other main side and one narrow side painted with a Jiangnan landscape scene, with a scholar seated at the window of a waterside pavilion built on stilts in the shallows of a lake, inscribed in draft with a couplet, followed by 'Executed in mid-autumn in the year yiwei by Sun Xingwu', with two seals of the artist, one preceding the inscription, illegible, the other, following it, yin ('seal'), in positive seal script
    Sun Xingwu, Beijing, mid-autumn, 1895
    Height: 5.85 cm
    Mouth/lip: 0.60/1.74 cm
    Stopper: jadeite; vinyl collar

    Condition: Bottle: minute insignificant chip to outer foot rim
    Painting: studio condition

    Kaynes-Klitz Collection
    Sotheby's Hong Kong, 16 November 1989, lot 168

    Kleiner, Yang, and Shangraw 1994, no. 351
    Treasury 4, no. 565

    Hong Kong Museum of Art, March–June 1994
    National Museum, Singapore, November 1994–February 1995
    Christie's, London, 1999

    In a short career, with surviving dated bottles only from 1894 to 1900, Sun Xingwu established himself as one of the most consistent and original of those who were inspired by Zhou Leyuan to take up the art. We know that he lived in Beijing from a number of examples identifying the place of painting. We also know that he was inspired by Zhou Leyuan. Out of a total recorded output of sixty-five bottles, no less than nine bear Zhou Leyuan signatures and presumably spurious dates, usually 1892. There is one other, bearing the possibly spurious date of 1896 and the signature of Ma Shaoxuan. None of these makes any attempt to imitate the styles of either Zhou or Ma, and with or without the signature would be instantly recognized as the work of Sun Xingwu, reinforcing our belief that such works were intended less as fakes than as accolades to the most influential artists of the day. The situation was similar with Zhang Baotian (see Sale 2, lot 112).

    Jiangnan, 'South of the River' is the region comprising Zhejiang province and the southern part of Jiangsu. The couplet reads,

    The springtime scene in Jiangnan is simply lovely,
    The pavilion, lofty and open, faces the clear stream.


    玻璃,墨,水彩;凹唇, 凸斂底,突出圈足,圈足底為一圓棱; 一面內繪荷塘金魚圖,一面內繪江南山水圖,上有題句,後寫"乙未仲秋作,孫星五",引首模糊不清,以朱文 "印"一印結尾
    孫星五,北京, 1895年仲秋
    高﹕ 5.85 厘米
    口徑/唇徑: 0.60/1.74 厘米
    蓋﹕ 翡翠;乙烯基座


    Kaynes-Klitz Collection
    香港蘇富比,1989年11月16日,拍賣品號 168

    Kleiner, Yang, and Shangraw 1994, 編號 351
    Treasury 4, 編號 565

    National Museum of Singapore,1994年11月~1995年2月

    孫星五現存帶紀年款的作品從1894年開始,1900年就告終,活躍時間較短。可是,在那段時期中,他就在繼承周樂元的內畫家中是最具創新心、最能堅持高水平的內畫家之一。因為他多次注明作品是甚麼地方畫的,我們得知他住在北京。而且,我們知曉是周樂元啟發他的 。在紀錄的六一五件鼻煙壺,有九件帶周樂元的偽款,多半也帶1892年的年款,大概也是亂真的。還有一件帶1896年款的,款名是馬少宣。這些作品都不是模擬周、馬的畫風的,有沒有款名都沒關係,一下子可以看出來,是孫星五畫的。我們認為他的意思是表示敬意而已。這種情況很像張葆田 (參閱第二場拍賣會, 拍賣品號 112).
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