清康熙 （傳）顧珏 竹雕八仙過海圖筆筒

exquisitely carved in varying levels of relief on the columnar exterior with a continuous scene depicting the eight Daoist Immortals crossing the sea on a raft after attending the Conference of the Magical Peach, each holding their respective attributes to exercise their powers, including Cao Guojiu with his clappers, Lan Caihe with his basket, Lü Dongbin with a sword on his back and Han Xiangzi playing his flute, their gestures and animated expressions meticulously picked out, the setting detailed with large overhanging pine trees and jagged cliffs and rocky promontories, the dynamic scene accentuated with foaming waves crashing against the raft, all captured in masterly strokes beneath a warm golden-brown patina, the base and mouthrim mounted in rosewood

香港蘇富比1999年4月27日，編號312

The brushpot is preserved in overall good condition. As visible in the detailed catalogue photos, there are characteristic age cracks, mostly emanating from the rim. There is a section of the rim between two age cracks, measuring 2.5cm by 0.2cm that has been stabilised, visible on the upper right side of the main catalogue photo.
"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."

此筆筒以道家「八仙」（漢鐘離、張果老、韓湘子、鐵拐李、曹國舅、呂洞賓、藍采和與何仙姑）乘槎渡海為題創作。「八仙過海，各顯神通」，此作卻為同舟共濟情景，人物或遠望、或談笑、或執篙、或有所思，神態安逸祥和。畫面以人物為中心，近景以大海為主，中景山岩松樹及遠景之群山，處理妥切，整體感十足。人物刻畫近似半立體，體態飽滿，凸顯作者深厚之圓雕功力。山石刻畫以圓刀為主，用刀老辣；松樹枝幹大膽保留原有竹材光素之機理，圓刀有節奏的運用，使其富有硬朗質感，松針刻畫亦利落瀟灑。中景山岩方圓刀兼施，渾厚中不失靈動；遠山鬆弛而氣緩，光影柔和。空靈之樹幹與渾厚中不失峻峭之山岩，同「八仙」身份相呼應，而洶湧澎湃之海水與整體平穩之人物形象，又含蓄敘述著仙人們之法力。作品明顯流露出學習清初嘉定竹刻大師吳之璠、顧玨之資訊，當是雍正朝或乾隆朝前期之作，殊為難得。

顧珏之作，存世者尤罕。可參考一略小筆筒例，雕山水圖景，署顧宗玉款，藏北京故宮博物院，錄《故宮博物院藏文物珍品全集·竹木牙角雕刻》，香港，2002年，圖版39 (圖二)。另見一例，藏西雅圖藝術博物館Eugene Fuller Memorial收藏，載葉義及譚志成，《中國竹刻藝術》，上冊，香港藝術館，香港，1978年，圖版50 (圖一)。亦見一例，錄，《Metropolitan Museum of Art Bulletin》，紐約，1997年夏，頁50。再見三例，同署顧珏款，其一出自瑪麗與莊智博伉儷收藏，售香港蘇富比2005年10月23日，編號5 (圖三)；其二源出德馨書屋珍藏，售香港佳士得2005年5月30日，編號1293；其三亦售香港佳士得2006年5月30日，編號1226。