清十九世紀初 木雕琴式臂擱 （傳）郭尚先製　《蘭石》款

題詩：
「雲在岫無爭出意　石當流有不平鳴」

Apart from some surface wear, the overall condition is very good.
"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."

Inscribed in running script on this wrist-rest, in the form of a qin, is a poem by the Qing dynasty scholar Li Mutang (1673-1750) which may be rendered as follows:

          Yun zai xiu wu chen chu yi,
           shi dang liu you bu ping ming.
          'Lanshi'

          The clouds remain behind the mountain peaks,
          with no intention of appearing through.
          The stones should be flowing in the river,
          but alas, they remain uneven.

Another wrist-rest in the form of the qin, a traditional Chinese musical instrument, but with a different poetic inscription was included in the exhibition Arts from the Scholar's Studio, Fung Ping Shan Museum, University of Hong Kong, Hong Kong, 1986, cat. no. 86, where the name Lanshi ('Orchid Stone') is identified as the hao of Guo Shangxian (1785-1833). Guo was a well known literary figure who obtained his jinshi degree in 1809 and served as a compiler in the Hanlin Academy. A native of Putian in Fujian province, he was an accomplished painter, especially recognized for his depiction of orchids and rocks, a seal carver, but above all, he was celebrated for his outstanding calligraphy. A further qin form wrist-rest was offered in our New York rooms, 30th March 2006, lot 99.  Another example of an object for the scholar's desk in the form of a qin, but made to be used as a paperweight, is the zitan piece with a small drawer set into each end, the strings and studs inlaid in ivory, included ibid., pl. 224.

In its form the present wrist-rest is after Tang and Song dynasty qin also called fuxi qin. For a detailed discussion of the fuxi qin see Gerard Tsang and Hugh Moss, Arts of the Scholar's Studio, Hong Kong, 1986, pp. 174-175. See a Song dynasty imperially inscribed and dated (1201) black-lacquer qin sold in these rooms, 8th April 2007, lot 753.