A RARE SOAPSTONE FOLIATE-FORM SEAL PASTE BOX AND COVER SHANGJUN MARK, QING DYNASTY, 17TH / 18TH CENTURY

superbly carved with straight sides divided into eight bracket foliations, the top of the cover carved in low relief with large naturalistic plantain leaves and pierced jagged rockwork, all against a 'basket-weave' diaper ground, the interior of the cover bordered with a raised ruyi band, the sides with a stylised border enclosing 'basket-weave' panels, the sides of the box similarly adorned, one side delicately incised in kaishu with an inscription reading Shangjun, skilfully contained within the basketweave work, the base decorated with a small worm against a 'basket-weave' ground, the stone of an ivory colour with coral-red and dark brown inclusions

The box and cover are in overall good condition with general wear. There are small areas of bruises and nicks to the edges of the box and cover, particular to the rims, as well as small areas of pitting to the stone. The catalogue illustration is redder than the actual colour of the soapstone.
"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."

Zhou Bin, zi Shangjun, was a native of Zhangzhou in Fujian province, recorded by Fang Zonggui in Shoushanshi zhi [Records of Shoushan Stone], Fuzhou, 1982, pp. 77-78, where he notes that Zhou’s works were always prized in artistic circles and that he used the Chinese painting concept of xieyi ('idea painting') in carving landscapes, flowers, pines, and bamboo. For a soapstone brushpot incised with a Zhou Bin seal, similarly carved against an incised ground, but of waves not basketwork, see Gerard Tsang and Hugh Moss, Arts from the Scholar’s Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong 1986, cat. no. 84.