A SUPERB CRYSTAL 'CHILONG' BRUSH WASHER QING DYNASTY, YONGZHENG – QIANLONG PERIOD |

well carved in ruyi form, the gently flaring sides rising from four feet, the scrolled ends flanked by a pair of chilong in high relief forming the handles, each beast depicted clambering on the sides with the front claws and the head resting just above the rim, the sinuous beasts with entwined bifurcated tails, the stone of clear transparent tone virtually free of inclusions

In overall very good condition with only a few expected minute flakes to the extremities and related crackles to one foot.
"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."

Naturally occuring crystal has long been prized in China amongst the literati who associated its understated qualities with 'plain beauty'. Flawless in appearance with an almost glass-like clarity, the raw material of the present vessel alone would have been a great luxury in the early 18th century, long before the annexation of Xinjiang in 1759 that led to more abundant sources of crystal. One of the earliest records on crystal dates from the Tang dynasty (618-907) where it is mentioned as a product of "water turned to stone" and "a beautiful material imported from Persia", hence the Chinese name shuijing, 'the brilliance of water'. Crystal scholar’s objects produced for the imperial court are rare, with only a small number recorded from the Qing Court collection and preserved in the holdings of the Palace Museum, Beijing; two cups flanked with handles, one of lobed form and the other with facetted sides, are published in Zhongguo yuqi quanji [Complete collection of Chinese jades], vol. 6, Shijiazhuang, 1993, nos 13 and 14 respectively; and a cup, vase and duck-form water dropper are published in The Complete Collection of Treasures of the Palace Museum. Treasures of Imperial Court, Hong Kong, 2004, pls 22, 23 and 181 respectively, together with two mountain-shaped seals, pl. 266. See also a brushpot inscribed with the four-character Qianlong yuyong ('Made for the imperial use of the Qianlong Emperor') mark, attributed to the Palace Workshops, included in the exhibition Arts from the Scholar’s Studio, Fung Ping Shan Museum, Hong Kong, 1986, cat. no. 130; and an extremely rare Yongzheng mark and period crystal inkstone sold in these rooms, 7th April 2015, lot 104.

Although unmarked, the present piece closely relates to the marked group of crystal carvings. Further unmarked examples, all crafted with the same level of exquisite craftsmanship and unique in form and design, include a smaller washer, attributed to the Qianlong period (r. 1736-1795), from the collection of Mary and George Bloch, sold in these rooms 23rd October 2005, lot 18; another, from the Water, Pine and Stone Retreat collection, included in the Fung Ping Shan Museum exhibition, op.cit., cat. no. 93; and two archaistic vases, one from the collection of Lord Fairhaven and the other in the Victoria and Albert Museum, London, published in R. Soame Jenyns, Chinese Art. The Minor Arts II, Fribourg, 1965, pls 187 and 188 respectively. Clearly, the material itself was highly valued and only utilised for the highest quality works of art.