Snuff bottles formerly in the Mary and George Bloch collection (lots 100-146)
An amber-brown glass 'cricket cage' snuff bottle
Qing dynasty, 1730-1850 Very well hollowed, with a ridged lip and small concave foot, carved in the form of a gourd cricket cage, its neck made up of a separate piece, the glass of an amber-brown colour. 5.2cm high.
Provenance 來源: Marian Mayer Collection, no.589 Richard Bourne, Hyannis, Mass., 14 December 1988, lot 199 Robert Hall (1989)
Illustrated 出版: Robert Hall, Chinese Snuff Bottles II: Including an Important Selection from the Marion Mayer Collection, London, 1989, no. 100 Robert Kleiner, Yang Boda, and Clarence F. Shangraw, Chinese Snuff Bottles: A Miniature Art from the Collection of George and Mary Bloch, Hong Kong Museum of Art, 1994, no.90. Journal of the International Chinese Snuff Bottle Society, Summer 1998, p. 13 Hugh Moss, Victor Graham and Ka Bo Tsang, A Treasury of Chinese Snuff Bottles. The Mary and George Bloch Collection, Volume 5, Hong Kong, 2002, no.1061
Exhibited 展覽: J. J. Lally & Co., New York, October 1989 Hong Kong Museum of Art, March-June 1994 National Museum, Singapore, November 1994-February 1995
This unusual bottle represents a rare instance of two different segments being fixed together - apparently with glue - rather than bonded while in the liquid state by the glassmaker, in the manner in which cameo-overlays were prepared for the carver. Brown glass of this type was typical of the imperial glassworks, and this might be an early, imperial response to palace gourds rather than a later one to the widespread nineteenth-century type. Although we leave a fairly wide dating range to reflect this uncertainty, we suspect a mid-Qing date to be the most likely, since both of the old bottles have what appear to be original stoppers that reflect the higher-relief, more artistic, and emphatic covers of the later, more popular gourds. Most of the more convincing Kangxi-marked examples have very simple, primarily functional lids displaying neither high-flying relief work nor piercing, suggesting fancier covers to have been a feature of the popularization of the art-form from the mid-Qing period onwards. The lid here is a delightful, well-carved example in walrus ivory, a popular mid-Qing material for a variety of small works of art, including snuff bottles and large numbers of dishes.
這種玻璃是御用玻璃廠典型玻璃的一種，這也許是早期反應葫蘆煙壺型的御製品。蓋很可能是原件，是代表清中葉的風格；康熙期的蓋比較素樸(如 Tsang and Moss 1983，頁62及63，編號21-23)。海象牙也是清中葉特別受歡迎的。
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