of circular form, the box and cover each deeply worked with four ruyi-shaped pommels, the smoothly polished stone of a greyish-green colour with russet patches

There are chips and bruises to the inner rim and flanges of the box and cover. Minor bruising and chips to the surface.
"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."

The symmetrical guri motif on this box was inspired by lacquer boxes made from the Song to the Ming dynasties, such as a cylindrical box in the Asian Art Museum of San Francisco, illustrated in Hai-wai Yi-chen/ Chinese Art in Overseas Collections. Lacquerware, Taipei, 1987, pl. 73. Boxes of this type are unusual, although a circular box carved with ruyi heads encircling a flower head, and attributed to the Qing dynasty, was sold in these rooms, 4th May 1994, lot 476; and another was sold at Christie’s London, 16th December 1987, lot 491.