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Lot 559
Ludwig Kny and Geoffrey Stuart for Stuart and Sons, an Art Deco cut glass posy bowl or vase, pattern 27374, circa 1935, the flat circular broad rim cut with concentric rings and a band of chevrons and zig zags, the plain spherical body on splayed foot, acid marks, 15.5cm diameter, 5.5cm high
Lot 77
VICTORIAN CAST IRON STREET LAMP, large tapering square lantern on four scrolled supports on fluted column with acanthus leaf base, 403cms to base, including cylindrical footing 505cms Condition Report: lantern with glass replaced, later painted.The glass has been replaced, with modern glass, it has images of boats on it. The putty around the glass looks very messy. The glass is intact, no damage.There are lots of dents and scratches all over.There is wiring within.Could not see any cracks, but the lantern has been heavily re-painted.The post does have some scuffs and paint peeling in a few places, otherwise all good, extremely heavy.The total height of the post is 420cm’s.It would sit in the ground/concrete up to the step (see photos) The step height is 102cm’s.There are two small holes, I’m guessing for the wiring, I’m not sure. There is one just under the step and one about half way up. There is no wiring currently inside the post.The wiring has been cut just under the lantern.The lantern collar would slide over the top section of the post and there are two bolts which tighten holding it in place.
Lot 13
A PINK GLASS BOTTLE VASE, WHEEL-CUT MARK AND PERIOD OF QIANLONGChina, 1736-1795. Beautifully modelled from a solid block of opaque glass, the spherical body supported on a short circular foot, sweeping up to a broad tubular neck and flat rim. The glass of exquisite rose-pink color with thin, darker strains encircling the neck. The base inscribed with a four-character wheel-cut reign mark within double squares. Provenance: From an old private collection in Zurich, Switzerland. Condition: Fine condition with old wear as expected from a glass vase of this age. Some minor surface scratches. Scattered minuscule open bubbles, inherent to this type of ware. Also note the typical swirls inside the neck.Weight: 151.3 g Dimensions: Height 10.8 cm Auction result comparison: Compare with a closely related vase at Sotheby's Hong Kong, in Chinese Art, 24-25 November 2014, lot 1116, sold for HKD 500,000 and another at Christies Hong Kong in Important Chinese Art, 30 October 2001, lot 654, sold for HKD 141,000.乾隆款及時期粉紅料瓶中國，1736-1795。精緻的玫瑰粉紅色不透明料器球形瓶體，圓足，管狀頸部，邊緣平坦。底座上刻有雙圈四字款。 來源：瑞士蘇黎世私人老收藏 品相：狀況良好，符合這個年代的料器的磨舊情況。 一些輕微的表面划痕。瓶體内有分散的微小氣泡。還要注意頸部內部的典型漩渦。 重量：151.3克 尺寸：高10.8 厘米 拍賣結果比較：一件相似料器售于香港蘇富比Chinese Art拍場，2014年11月 24-25日，lot 1116, 售價HKD 500,000. 以及另一件售于香港佳士得Important Chinese Art 拍場，2001年10月30日，lot 654, 售價HKD 141,000。
Lot 14
A RARE ‘CORAL’ GLASS MALLET VASE, XIANFENG MARK AND OF THE PERIODChina, 1850-1861. Of opaque bright orange and pale red glass swirled together in imitation of coral, the body of beehive-domed form rising to a slender cylindrical neck, the slightly recessed base with a wheel-cut four-character Xianfeng mark.Provenance: Viennese private collection.Condition: Excellent condition with minor wear, some light scratches to the foot rim and mouth.Weight: 182.0 gDimensions: Height 12.8 cm咸豐款及年代罕見珊瑚紅料小瓶 中國，1850-1861。由不透明的鮮橙色和淡紅色模仿珊瑚色料器，細長的圓柱形瓶頸，瓶底略凹，可見咸豐四字款。 來源：維也納私人收藏 品相：狀況極佳，輕微磨損，足部和唇沿有輕微划痕。 重量：182.0 克 尺寸：高12.8 厘米
Lot 15
AN IMPERIAL ‘REALGAR’ GLASS MALLET VASE, QIANLONG MARK AND PERIODChina, 1735-1796. Swirled together of brilliant, fiery orange and yellow-ochre opaque glass to resemble the realgar mineral, the body of beehive-domed form rising to a slender cylindrical neck with a straight rim. The recessed foot rim with a wheel-cut four-character Qianlong reign mark enclosed within a double square.Provenance: An old estate in Boston, Massachusetts. A notable US private collection, acquired from the above.Condition: Very good condition with minor wear, two minuscule chips around the foot rim.Weight: 341.1 gDimensions: Height 15.6 cmThe naturalistic pattern achieved on realgar glass makes vessels of this type attractive and unique. Hugh Moss and Gerard Tsang in Arts from the Scholar's Studio, op. cit., p. 126, note that the “swirling patterns visible at the surface of this vessel are full of possibilities for the imaginative mind. It may read as a landscape, drifting incense smoke or a variety of strange living creatures, but it also represents the endlessly changing patterns of energy from which all phenomena emanate in the Chinese view, particularly expressed by Daoism. To the Daoist scholar it would be a work of art of subtle complexity and endless fascination, to be enjoyed like incense smoke as a meditative aid.”Realgar (xiong huang), found in the southern provinces of China, was believed to contain the essence of gold and, possibly for this reason, became a source of fascination despite its poisonous qualities. It is believed that it was mixed in drugs used by Daoists in their quest for the elixir of immortality. It is the Daoist alchemy that made realgar popular to the extent that despite the material's highly toxic nature and its soft crumbly texture, which does not lend itself to the artisans' tools without great difficulties, realgar was used for the carving of Daoist figures. For example, a realgar sculpture of the Immortal He Xian Gu, in the British Museum, London, is illustrated in R. Soame Jenyns, Chinese Art, The Minor Arts, II, London, 1965, pl. 200.The attractiveness of realgar inspired copies to be made in glass such as the present vase. Richard John Lynn in 'Technical aspects and Connoisseurship of Snuff Bottles: Late Traditional Chinese Sources', JICSBS, Summer, 1995, p. 8, mentions Zhou Jixu, a late Qing connoisseur, who believed that realgar glass was among the earliest types of glass made at the Qing Imperial Glassworks. For this reason, the dating of the present vase can probably be narrowed to ca. 1740-1750.Qianlong mallet form glass vases were inspired by Yongzheng period prototypes. See a blue glass vase published in Zhongguo jin yin boli falang qi quanji, vol. 4, Shijiazhuang, 2004, pl. 154. For the origins of the mallet form, see a Northern Song dynasty (960-1127) celadon vase illustrated in Sekai toji zenshu, vol. 12, Tokyo, 1977, pl. 207, and another published in Longquan Celadon of China, Hong Kong, 1998, pl. 90.Literature comparisons: A similar vase of smaller size, with its realgar-colored surface decorated with irregular red and yellow veins, as seen on the present vase, bearing a four-character Qianlong reign mark on the base, from the Qing Court collection and still in Beijing, is illustrated in Luster of Autumn Water, Glass of the Qing Imperial Workshop, Beijing, 2005, pl. 25, and also in Zhongguo jin yin boli falang qi quanji, vol. 4, Shijiazhuang, 2004, pl. 216. For further examples of realgar glass vessels see a hexafoil vase, from the Sloane Collection in Jenyns, op.cit., pl. 81, together with a snuff bottle, pl. 201f. A bottle attributed to the Palace Workshop, the body suffused with patches of bright red and yellow, is illustrated in Chinese Snuff Bottles from the Burghley House Collection, Stamford, England, Hong Kong, 1989, pl. 5. Also compare with a closely related glass dish, showing near-identical design of the lip, color of the glass body and incision of the mark, at e-yaji.com, lot 1819.Auction result comparison: A closely related ‘realgar’ glass mallet vase with Qianlong mark and of the period was sold by Sotheby’s Hong Kong in Water, Pine and Stone Retreat Collection on 8 October 2009, lot 1802, for HKD 2,660,000.乾隆款與年代御制雄黃色料馬蹄式瓶 中國，1735-1796。花瓶色澤明亮，艷麗的橙色和黃色不透明料間雜旋轉而成，猶如雄黃，蜂巢狀的主體，頸部呈細長圓柱形，邊緣筆直。圈足内凹，雙方框四字乾隆款。 來源：波斯頓一個老遺產。美國貴族私人收藏，購於上述遺產。 品相：狀況極好，輕微磨損，圈足上兩処細微磕碰。 重量：341.1 克 尺寸：高15.6 厘米 乾隆時期的料器瓶受雍正時期風格影響。《中國金銀玻璃琺琅器全集》第四冊（石家莊，2004年，圖154）中的藍色料器瓶。馬蹄形瓶原可見Sekai toji zenshu第十二冊（東京, 1977, 圖 207）中記載的北宋 (960-1127) 青瓷瓶和另一件記載于《中國龍泉青瓷》（香港，1998，圖 90）。 文獻比較：一件相似馬蹄瓶，尺寸稍小，雄黃色表面呈不規則紅黃色經絡紋，底足亦有乾隆四字款，來自清王室收藏，仍留在北京，記載于Luster of Autumn Water. Glass of the Qing Imperial Workshop, Beijing, 2005, 圖 25；在《中國金銀玻璃琺琅器全集》第四冊（石家莊，2004年，圖216）。其他雄黃料器如一個六角玻璃瓶，來自Sloane Collection in Jenyns, op.cit., 圖81, 與一個鼻烟壺，圖201f. 一個記爲御制鼻烟壺，表面紅黃色塊，記載在Chinese Snuff Bottles from the burghley House Collection, Stamford, England, Hong Kong, 1989, 圖 5。 拍賣結果比較：一件相近的乾隆款與年代的雄黃色馬蹄瓶，售于香港蘇富比Water, Pine and Stone Retreat Collection 拍場，2009年10月8日，lot 1802，售價HKD 2,660,000。
Lot 17
A YELLOW OVERLAY TURQUOISE GLASS VASE, TONGZHI MARK AND PERIODChina, 1861-1875. The baluster body rising from a slightly splayed foot to a concave neck, the mouth with a slightly everted rim. The recessed base with a wheel-cut four-character Tongzhi reign mark.Provenance: Viennese private collection.Condition: Excellent condition with minor wear, some expected pitting, the glass with inherent swirls, some of which may appear as microscopic fissures.Weight: 802.1 gDimensions: Height 18.5 cmThe vase is carved through the lemon-yellow overlay to the rich turquoise ground with a phoenix perched on a blossoming peony branch as well as a small bird on a gnarled branch with flowers, above the foot with craggy rockwork and around the mouth with overlapping ruyi heads and palm blades.Auction result comparison: A yellow overlay turquoise glass bottle vase, without reign mark and dated 18th-19th century, was sold by Christie’s Hong Kong in Important Chinese Ceramics and Works of Art on 26 November 2014, lot 3371, for HKD 187,500.同治款與年代綠松石地套黃料瓶 中國，1861-1875。料瓶削肩，頸部上升唇外翻，圈足外撇。底足内凹，同治四字款。 來源：維也納私人收藏 品相：狀況極佳，有少量磨損，預期的點蝕，玻璃固有的渦流，其中一些可能顯示為微小裂縫。 重量：802.1 克 尺寸：高18.5 厘米 拍賣結果比較：一件綠松石地套黃料瓶，沒有朝代款，斷代為十八至十九世紀，售于香港佳士得Important Chinese Ceramics and Works of Art拍場，2014年11月26日，lot 3371, 售價 HKD 187,500。
Lot 18
A FIVE-COLOR OVERLAY GLASS ‘CHILONG’ BOTTLE VASE, QIANLONG MARK AND PERIODChina, 1736-1795. Finely carved through a single translucent layer of ruby red, dusky pink, emerald green, lemon yellow, and sapphire blue with a continuous scene of ten chilong, seven sinuously coiling on the body and three clambering around the neck chasing their own long multi-furcated tails, all against an opaque white ground. Four-character Qianlong nianzhi mark wheel-cut to the base and of the period.Provenance: French private collection, by repute acquired prior to the year 2000 in Paris.Condition: Good condition with minor wear and expected manufacturing flaws, such as pitting and open swirls, mostly to the interior of the neck, as well as minuscule nicks and losses, one old fill to the foot rim (ca. 3 cm long).Weight: 423.0 gDimensions: Height 19.4 cmThis superb glass vase, so finely decorated with a multi-color overlaid design of chilong and inscribed with a Qianlong four-character mark, is extremely rare. A small number of Qianlong reign-marked overlaid glass vases is recorded in museum collections, but none of the exact same style.Literature comparison: A ruby-red ground glass vase decorated in turquoise blue overlays with flowers and butterflies in the Palace Museum, Beijing is illustrated by Zhang Rong, Lustre of Autumn Water. Glass of the Qing Imperial Workshop, Beijing, 2005, pl. 81, bearing a similar wheel-cut Qianlong nianzhi four-character mark, but within a double square. The same mark is also found on a small glass jar in the Palace Museum, Beijing, illustrated ibid, pl. 79 overlaid with a pair of chilong in emerald green against a rich cobalt-blue ground. For examples of unmarked Qianlong period white-ground multi-color overlaid glass vases of similar decoration style, see a vase decorated with chilong in the Suntory Museum of Art, cataloged as Qianlong/Jiaqing, illustrated in The Glass that Galle Adored, Glass from the Qing Imperial Collection, Suntory Museum of Art, Tokyo, 2018, p. 104, cat. no. 78, and a vase carved with flowers from the Shorenstein collection, illustrated in C.F. Shangraw and C. Brown, A Chorus of Colors: Chinese Glass from Three American Collections, Asian Art Museum of San Francisco, 1995, cat. no. 78, and on the front cover, and sold at Christie’s Hong Kong, 1st December 2010, lot 2940.Auction result comparison: Compare with a closely related vase at Sotheby’s Hong Kong in Gems of Chinese Art – The Speelman Collection II on 3 October 2018, lot 3428, bought-in at an estimate of HKD 800,000-1,000,000, and a related but slightly smaller vase at Christie’s London in Fine Chinese Ceramics and Works of Art on 6 November 2018, lot 131, sold for GBP 25,000.乾隆款及年代五色套料螭龍紋長頸瓶中國，1736-1795年。涅白地上使用寶石紅、粉紅、翡翠綠、檸檬黃和藍寶石藍等五色套料表現螭龍紋，蜿蜒曲折。底足“乾隆年制”四字款。來源：法國私人收藏，購於2000年巴黎。品相：狀況良好，有輕微磨損，並且可見製做缺陷，例如凹痕和明顯的旋流，主要出現在頸部內部，並且細微的划痕和缺損，圈足上有小補（約3厘米長）。重量：423.0 克尺寸：高19.4 厘米 拍賣結果比較：一件非常相似的長頸瓶見香港蘇富比Gems of Chinese Art – The Speelman Collection II 拍場2018年10月 3日lot 3428, 估價HKD 800,000-1,000,000； 另一件稍小的瓶子見倫敦佳士得Fine Chinese Ceramics and Works of Art 拍場2018年11月6 日lot 131, 售價GBP 25,000.
Lot 378
AN IMPERIAL YELLOW GLASS SNUFF BOTTLE, QIANLONG MARKChina, 1750-1850, wheel-cut four-character mark Qianlong nian zhi to base and probably of the period. Flattened, rounded form, the opaque glass of a rich egg-yolk yellow tone.Provenance: Old French private collection. Rieunier, Paris, 21 July 2005. French private collection, acquired from the above. A copy of the invoice accompanies this lot.Condition: Superb condition with old wear and some minimal manufacturing flaws such as minuscule bubbles and glass swirls.'Imperial' yellow is among the earliest colors produced in the Kangxi Glassworks, from 1696 onwards. It was reserved for Imperial use, and a variety of different tones were made at the Imperial glassworks throughout the Qing dynasty, ranging from a relatively pale yellow to a much richer, egg-yolk tone. The present piece belongs to the group of pale varieties, very close to what is generally regarded as the ‘definitive’ Imperial Yellow. For this reason, it is this author’s opinion that the bottle is likely from the Qianlong period.Stopper: Aventurine cabochon and finely carved fitting and spoonWeight: 116.3 g Dimensions: Height including stopper 80 mm. Diameter neck 20 mm and mouth 10 mmAuction comparison: Compare to a related pale Imperial yellow glass bottle with an incised Qianlong mark, and of the period at Sotheby’s Hong Kong, Snuff Bottles from the Mary & George Bloch Collection: Part VIII, 26 May 2014, lot 1133, sold for HKD 625,000.乾隆款御制黃料鼻烟壺 中國，1750-1850年。橢圓形圈足内“乾隆年制”四字款。可能是乾隆年代。扁平荷包式，鷄油黃色。 來源：法國私人老收藏。巴黎Rieunier藝廊，2005年7月21日。法國私人收藏，購於上述藝廊。隨附發票複印件。 品相：狀況極佳，有舊磨損和一些輕微製造缺陷，例如微小的氣泡和玻璃漩渦。 壺蓋：碧璽，精美雕刻的蓋托，小壺匙 重量：116.3 克 尺寸：總高80 毫米，頸部直徑20 毫米，嘴部直徑10 毫米 拍賣結果比較：一件相近御制乾隆款黃料鼻烟壺，見香港蘇富比 Snuff Bottles from the Mary & George Bloch Collection: Part VIII拍場，2014年5月26日Lot 1133, 售價HKD 625,000.
Lot 617
A LARGE KESI ‘DRAGON’ PANEL WITH KIRIMON, MING DYNASTYChina, 17th century. Made for the Japanese market. Finely woven with the mon of the Toyotomi clan, in the form of a stylized paulownia, above an imposing three-clawed dragon surrounded by ruyi-shaped clouds.Provenance: Austrian private collection. Condition: Excellent condition with minor wear, soiling, minuscule losses, minor old repairs, few loose threads.Dimensions: Size 153 x 85 cmBehind glass, in a European frame.The Kirimon, or Paulownia Seal, once was the private symbol of the Japanese Imperial Family, from as early as the sixteenth century. The Toyotomi clan, led by Toyotomi Hideyoshi, later adopted the Seal for use as the crest of his clan. After the Meiji Restoration, the seal was eventually adopted as the emblem of the Japanese government. The variation seen in the present lot, with 5-7-5 flowers (the syllabic pattern of a haiku poem), is today reserved for the prime minister of Japan.The present kesi panel likely was originally a border panel from a very large bedcover. Kesi produced an inherently weak fabric because the weaving technique left slits in the textile between color areas and did not stand up to wear. It was therefore rarely used for practical items like bedcovers, except for a group of early 17th century bedcovers surviving in museum collections, all with light blue backgrounds.Literature comparison: A complete coverlet, in a private collection, is illustrated in Vollmer 1982, p. 42, and another is in the Ruth Chandler Williamson Gallery, Scripps College, Claremont, California, unpublished. For two similar kesi panels made for the European market, see Myrna Myers, Silks for Thrones and Altars, Chinese Costumes and Textiles, p. 104, nos. 54a and 54b.Auction result comparison: Compare with a kesi fragment of much smaller size, with a very similar dragon and likely cut out from a large panel closely related to the present lot, at Christie’s London in Fine Chinese Ceramics & Works of Art on 7 November 2017, lot 344, sold for GBP 11,875.明代大型龍紋緙絲 中國，十七世紀。為日本市場生產，豐臣家族的家徽“桐紋”，在由如意形雲團環繞的氣勢磅礴的三爪龍。 來源：奧地利私人收藏 品相：狀況極佳，輕微磨損，污跡，損失極小，較舊的修補，絲綫鬆動。 尺寸：153 x 85 厘米 歐洲裝框，玻璃蓋后 拍賣結果比較：一件相似尺寸較小的龍紋緙絲，有著非常相似的龍，可能與當前拍品相似的大緙絲上剪下，售于倫敦佳士得Fine Chinese Ceramics & Works of Art 拍場，2017年11月7日，lot 344，售價GBP 11,875.
Lot 63
AN IMPERIAL WHITE JADE ‘HAITANG’ BRUSHWASHER, WITH A POEM BY CHEN YUYI, YONGZHENG MARK AND PERIODChina, 1723-1735. Carved to one side in shallow relief with leafy crabapple (haitang) branches, blossoms and small fruit, as well as craggy rockwork, the reverse superbly incised with a poem. The translucent stone of a spectacularly pure white tone with a single russet and cloudy white vein, masterfully incorporated into the depiction. The base neatly incised with a four-character seal mark Yongzheng nianzhi and of the period.Inscriptions: Two lines from a poem composed by the famous Song Dynasty poet Chen Yuyi (1090-1138), which may be translated as 'the crab apple flower displays its pink blossoms, standing alone in the rain'.Provenance: A private Danish collection, acquired in Asia prior to 1922, thence by descent within the family. A private collection in Europe, acquired in Sweden prior to 2000. Old illegible collector’s label to base. Old inventory number ’90.635.42.3’ to interior, indicating a prior museum deaccession. Condition: Excellent condition with minor old wear. Natural flaws to stone.Weight: 119.5 gDimensions: Height 3.4 cm, Length 9.3 cmA handscroll in the Victoria & Albert Museum, titled Guwan tu (Pictures of Ancient Playthings), made for the Yongzheng emperor as a pictorial inventory of his palace collections, includes a guan-type brush washer of Haitang-form. It is possible that the present jade washer was commissioned by the emperor and made by the palace workshops using the guan washer as a prototype, because of its distinct crabapple form.The form of this elongated four-lobed washer supported by a broad foot rim directly references the crabapple (haitang), which is also the subject of both the poem incised to one side as well as the relief carving to the other. The crabapple could be combined with other emblems to create auspicious rebuses. Its second character, ‘tang’, is homophonous with the character for ‘hall’ and, by extension, ‘the family home’. For examples of Imperial objects of the Qing court of related haitang shape, see a bamboo tray at Bonhams Hong Kong, 24 November 2012, lot 323 (see fig. 1), and a pair of gilt bronze and cloisonne jardinieres at Bonhams London, 8 November 2012, lot 250 (see fig. 2).One of the most striking things about the present washer is that the mark on the base is incised with a series of apparently wheel-cut lines to build up the thickness of the strokes in a style very similar to that found on glass objects from the Beijing Palace workshops during the early to mid-Qing dynasty. With this as a clue to provenance, the very slight flaws in the material also indicate a Palace workshops origin, since this is a prominent feature found in a group of jade objects attributable to the court.The stone shows minuscule inclusions, which is almost hallmark of early Imperial jades, during a time where lapidaries worked by Imperial command striving to create small items of the purest white jade, which began in the Yongzheng period, marking the transition from the mottled pebbles of the Ming dynasty to the flawless white vessels of the Qianlong reign. Hence the most superb jades of the Yongzheng period, such as the present lot, have minuscule flaws which are masterfully integrated into the design and show the absolute highest level of manual polishing of all time, creating a smooth, somewhat ‘oily’ surface with an unctuous feel and lustrous appearance, the latter especially when sunrays shine through the material.Chen Yuyi (1090-1138) was a poet and politician of the Song dynasty. His biography was included in the History of Song. He composed some of the best shi poetry of the Song era and was a native of Loyang, coming from an official family. He obtained his degree in 1113 and held a number of minor posts before moving to the capital. When North China was invaded by the Jin, he had to flee for his life and his poetry became much more intense and emotionally charged. He returned to official service in the exiled Song court in Hangzhou in 1131.Jade vessels inscribed with Yongzheng reign marks and of the period are extremely rare. The only published examples from museum collections appear to be a small number preserved in the holdings of the Palace Museum, Beijing. No other Yongzheng reign-marked white jade vessel has been sold ever at a major auction house outside of China.The Palace Museum, Beijing has published five jade vessels inscribed with Yongzheng reign-marks: a green jade handled cup, a green jade flared bowl, a pale green jade cup, a black and white jade bowl, and a pale green jade brush washer, illustrated in Compendium of Collections in the Palace Museum, Jade. Qing Dynasty, vol. 10, Beijing, 2011, pls 146, 153, 154, 187, and a set of black jade rings, illustrated in Compendium of Collections in the Palace Museum. Jade. Qing Dynasty, vol. 9, Beijing, 2011, pl. 224. The marks are intricately articulated in the same archaic-style seal script in two columns, undoubtedly in the same production process.Literature comparison: Compare with a related white jade washer, of oval form and carved with a chilong, in the Palace Museum, Taipei (collection number K1C003785N000000000PAB). Compare also with a related pale green jade brush washer, Yongzheng four-character mark and of the period, from the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum. Jade 10. Qing Dynasty, Beijing, 2011, p.237, no.187. Compare also with two jade bowls in the Palace Museum, Beijing, with Yongzheng reign marks, Cultural Relic nos. 00103853 and 00102973.清雍正款白玉題詩海棠式洗中國, 1723-1735年。海棠式洗呈四瓣海棠之形，曲壁，線條流暢圓潤，圈足隨形。一面淺浮雕多葉的海棠樹，上面可見海棠花與小花骨朵。旁邊假山岩石。背面刻有一首詩。白玉光瑩溫潤，些微赤褐色脈紋，巧妙融入整體。整器造型端莊，雕刻嫻熟。底足可有四字款“雍正年制”。款識：宋代詩人陳與義(1090-1138)：海棠不惜胭脂色/獨立濛濛細雨中來源：丹麥私人收藏，1922年前購於亞洲，自此保存在同一家族。歐洲私人收藏，2000年前購於瑞典。底部可見老收藏標簽。筆洗内有舊收藏編號“90.635.42.3”，可能是之前博物館收藏所留。 圖片：收藏編號“90.635.42.3”，可能是之前博物館收藏所留。 品相：狀況極佳，輕微使用磨損。玉石自然缺陷。 重量： 119.5 克 尺寸：高3.4 厘米, 9.3 厘米 這件細長的四瓣花口形洗由海棠四出花瓣演變而來，同時也對應了所刻的詩句以及另一面的浮雕花卉。海棠花的"棠"字與"堂"同音，與其他花卉可以組成“玉堂富貴”的意思。清宮也有很多利用海棠進行創作的例子，請參見香港邦瀚斯的御製竹根雕海棠式洗（2012年11月24日，Lot 323）（圖1），以及倫敦邦瀚斯的掐絲琺瑯開光纏枝蓮紋海棠式花盆一對，2012年11月8日，Lot 250（圖2）。 圖片：御製竹根雕海棠式洗, 清初, 香港邦瀚斯, 2012年11月24日, lot 323, 售價HKD 150,000. 圖片：掐絲琺瑯開光纏枝蓮紋海棠式花盆一對, 倫敦邦瀚斯, 2012年11月8日, lot 250, 售價GBP 37,250. 本海棠式洗最引人注目的一件事是，在其底座上的有兩道切割線，以强調玉洗雕工的細緻感，其樣式與北京料器製品相似。這可以作爲出處的一個線索，材料上的細微瑕疵也表明了此洗來自御用工坊的，因為這是根據現有研究發現的宮廷玉器中突出特徵。玉石上略帶皮色，這可以説是早期清代宮廷玉器的特徵。清初，御用工坊努力創造出最純净的白玉小器物。雍正時期是明朝使用的籽料至乾隆年間無瑕的白色器皿的過渡期。 因此，雍正時期最精湛的玉器（如這件白玉洗）具有微小的瑕疵，這些瑕疵被巧妙地運用到設計中，顯示出有史以來最清湛拋光工藝，玉器表面緻密細膩，瑩潤凝脂，尤其是當陽光透過玉料時。陳與義 (1090-1138) 宋代詩人及政治人物，在宋史中可找到其生平。他是宋代傑出的詩人，洛陽人，出生於士族。1113年中進士，之後擔任不同職位，直至進入首都。北宋敗於金人時，他不得不南遷避難，詩歌變得更加憂國憂民。 1131年，他回到南宋杭州的宮廷繼續任職。Victoria & Albert Museum有一幅《古物圖》, 描繪了雍正帝的宮廷收藏，包括一件海棠式官窯筆洗，很可能是此次拍品的原型，而這件拍品也很可能也曾存在於雍正帝收藏中。雍正款的玉器留世極少。博物館藏品中唯一公開發表的例子似乎是保存在北京故宮博物院藏品。在中國以外的大型拍賣行中，沒有其他雍正款白玉器被出售。北京故宮博物院曾在《故宮博物院藏品大系：玉器編10》中介紹了五件雍正款玉器：青玉雙耳杯，青玉撇口碗，淺青玉杯，黑白玉碗及淺青玉洗(見《故宮博物院藏品大系：玉器編10》，北京2011年，圖146, 153, 154, 187)以及一組墨玉板指，見《故宮博物院藏品大系：玉器編9》，北京，2011年，圖版224。兩玉碗之刻款與現器之銘款均為篆書，形神一致，應出於同一人之手無疑。文獻比較：一件相近螭龍玉洗，橢圓形，見臺北故宮博物院 (藏品編號K1C003785N000000000PAB)；另一件雍正四字款綠玉筆洗見《故宮博物院藏品大系：玉器編10 》，北京2011年，237頁, no 187；北京故宮中還有兩件雍正款素面玉碗（編號 00103853 與 00102973）。
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