清康熙 竹鏤雕仕女文會圖筆筒 《宗玉製》款

of cylindrical form supported on three short bracket feet, deeply and finely carved in a continuous scene with a lady reclining on a daybed and an elderly scholar, both seated outdoors at a table laid out with writing implements, two female attendants dressed in flowing robes standing behind them, with another attendant carrying books and an acolyte brewing tea, all set in a landscape of cavernous rocks and gnarled pine trees, signed Zongyu zhi, the bamboo patinated to a warm honey-brown colour

It is in overall good condition, except for some very minor nicks to the extremities and some expected stabilised age cracks, including a long vertical one and another horizontal one to the left of the main scene.
"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."

This finely carved brushpot has been carved in the style of and bears the mark of the master carver Gu Jue (1662-1722), zi Zongyu, a native of Jiading, Jiangsu province, and one of the most prominent bamboo carvers active during the reign of the Kangxi Emperor. Renowned for his sculptural style that followed the tradition established by the Ming bamboo carver Zhu Sansong, he also excelled in very fine and detailed carvings of figures and landscapes within highly complex compositions that combined high relief with shallow carving, as seen on this piece. According to the Zhuren lu [Record of bamboo carvers], compiled during the Jiaqing reign (1796-1820), “His carving was carefully and skilfully done and even small details were recorded” (translated in the catalogue to the exhibition Ming and Qing Bamboo, Art Gallery, The University of Hong Kong, Hong Kong, 2000, p. 65).

Brushpots signed Gu Jue include one carved with a landscape, from the Qing court collection and still in Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Bamboo, Wood, Ivory and Rhinoceros Horn Carvings, Shanghai, 2007, pl. 39; another from the Eugene Fuller Memorial Collection in the Seattle Art Museum, Seattle, illustrated in Ip Yee and Laurence C.S. Tam, Chinese Bamboo Carving, vol. 1, Hong Kong, 1978, pl. 50; and a third from the Mary and George Bloch collection, sold in these rooms, 23rd October 2005, lot 5.