A double-overlay two-colour glass 'blind man's buff' snuff bottle 1780-1820
Lot 7
A double-overlay two-colour glass 'blind man's buff' snuff bottle 1780-1820
Sold for HK$ 375,000 (US$ 48,362) inc. premium
Lot Details
A double-overlay two-colour glass 'blind man's buff' snuff bottle
6.4cm high.


  • Treasury 5, no. 1003


    A two-colour glass overlay 'figures in garden' snuff bottle

    Barely translucent dark brown (appearing as black in normal light), translucent turquoise-blue, and semi-transparent milky white glass; with a flat lip and recessed convex foot surrounded by a protruding rounded footrim; carved as a double overlay with a continuous rocky landscape scene with a pine tree, a blossoming prunus tree, and bamboo, one main side with an open pavilion beneath the balcony of a country house, with a young servant stirring a pot on a rocky ledge while another holds a covered jar towards him and a man brings another covered jar from beyond the open pavilion, the other main side with three children playing blindman's buff, one climbing a rocky promontory to avoid being caught, the neck with a band of pendant formalized plantain leaves
    Height: 6.4 cm
    Mouth/lip: 0.69/1.62 cm
    Stopper: tourmaline; gilt-bronze collar chased with a formalized floral

    Condition: Two small, shallow flake-chips to inner lip and some insignificant nibbling; abrasion on footrim; a minor chip, barely visible, on the rocks to the left of the servant with covered jar; surface overall with a pattern of wear from use. General relative condition: remarkably good

    Janos Szekeres
    Sotheby's, New York, 5 June 1987, lot 51
    Robert Kleiner (1992)

    Kleiner, Yang, and Shangraw 1994, no. 121
    Treasury 5, no. 1003

    New Orleans Museum of Art, October 1980
    Creditanstalt, Vienna, May-June 1993
    Hong Kong Museum of Art, March-June 1994
    National Museum, Singapore, November 1994-February 1995

    Although decorative in intent here, the pines here are well composed and well balanced. While simple, they work well in their illustrative role, with trunks curving this way and that, sufficient dividing branches to indicate trees, and bark suggested by surface detail. The rocks are stylized, exaggerated, and textured with repetitive patterns, including a series of parallel incisions echoing those on courtly carvings of the Official School (see Treasury 2, no. 308, for instance). This comparison emphasizes the similarities between many eighteenth- and nineteenth-century hardstone carvings, made for or at the court, and their glass equivalents, and is hardly surprising, since they were often carved in the same lapidary workshops, by the same hands. This colour combination is rare for the group and remarkably effective as, indeed, are those of practically all the double overlays of this group. Only one other of this imposing colour combination is recorded (Stevens 1976, no. 230).


    半透明白地套儘儘透亮的暗棕色、透亮 綠松石藍料;平唇,凸斂底,突出圈足,圈足底為一圓棱;雕二層套料通體庭園人物圖案,頸部飾蕉葉一周
    高﹕ 6.4 厘米
    口徑/唇徑: 0.69/1.62 厘米
    蓋﹕ 碧璽; 鎏金青銅座,雕鏤形式代的花紋


    Janos Szekeres
    紐約蘇富比, 1987年6月5日,拍賣品號 51
    Robert Kleiner (1992)

    Kleiner, Yang, and Shangraw 1994, 編號 121
    Treasury 5, 編號 1003

    New Orleans Museum of Art, October 1980
    Creditanstalt, 維也納, 1993年5月~6月
    National Museum of Singapore,1994年11月~1995年2 月

    這兩個顏色的搭配是這種套料鼻煙壺罕見的,已知的只有另一件 (Stevens 1976, 編號 230)。