清 木變石配漢白玉柱式座

soaring vertically upward, the extensively ridged sculpture with long craggy fissures, the petrified wood of an ebonised charcoal-brown tone, supported on a quatrefoil-sectioned marble base carved with flowers and lingzhi

The petrified wood is in overall good condition with an attractive patina and just some insignificant flakes to the edges. The marble stand was carved from two separate stones. It is slightly weathered with some chips, especially to the edges, typical of a garden piece.
"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."

Fossilised wood, like rocks, were often used as sculptural embellishments in gardens. They mainly originated from underground strata of Hebei, Xinjiang, Liaoning, Yunnan, Jiangxi etc., where the buried timber was gradually petrified under desiccated conditions through the corrosion by silicon dioxide and other minerals. The original graining and fibre of the wood was preserved during the fossilisation, thereby creating these beautiful sculptures with a distinct aesthetic of naturalism.

See a similar example, of a slightly smaller size, from the imperial gardens in the Forbidden City, Beijing (fig. 1), illustrated in David Ren, The Imperial Rocks, Hong Kong, 2000, pp. 96-97, no. 27. The petrified wood inscribed with a date in accordance with 31st year of Qianlong (1766), with a marble base carved with scrolling floral motifs at the bottom not dissimilar to the present example.