Sage-green nephrite of this type, mostly apparently from pebble or boulder material, was much used at the Qianlong Court. The green colour of this material is distinctive and appears in a series of Courtly wares, some of which bear credible Qianlong marks. There is a teabowl made for the Qianlong Emperor's personal use, marked Qianlong yuyong and inscribed with one of his poems dated to 1758, which appears to be of this material; see Zhongguo yuqi quanji, Jade, Vol. 6, Qing dynasty, p. 32. There are also a few pieces in the Vetlesen Collection, illustrated by Stanley Charles Nott, Chinese Jade Carvings. Collection of Mrs. George Vetlesen, which, although illustrated in black-and-white, are believed to be of the same material. In vol. II, p. 86, no. 66, there is a segment of what Nott believed was the personal altar of the Qianlong Emperor, with Imperial dragons in waves, and in vol. III, no. 125, p. 208, a magnificent archaistic wine vessel decorated with typical Qianlong archaism and bearing the mark, Qianlong fanggu ('Qianlong, copying antiquity', which is, despite the identifying mark, inexplicably listed by Nott as being mid-Ming dynasty). A Qianlong jade vase of this color, with elephant-head handles supporting loose rings and with an archaistic design, is in the Brundage Collection, and illustrated by René-Yvon Lefebvre d'Argencé, Chinese Jades in the Avery Brundage Collection, San Francisco: The de Young Museum, 1972, p. 119, pl. LII. There are also three pieces of this material in the Hartman Collection, illustrated in Robert Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, Hong Kong, 1996, nos. 136, a large jade vase and cover with Qianlong fanggu mark and a poem by the Qianlong Emperor dated to 1787; 239, an Imperial double vase and cover; and 150, an Imperial seal, probably from the Qianlong period.

Although the Palace workshops remains a likely origin for most of these wares, and a certain origin for some of them, by the end of the Qianlong reign there were as many as eight different jade carving workshops producing for the Court (only two of them at the Palace). The homogeneity of the distinctive material need not imply that it was all carved at the same place. Jade material, delivered to Beijing, was examined and then dispatched to various workshops with instruction for the carving of specific objects. For a snuff bottle attributed to the Palace workshops of slightly lighter size, but the same general range of jade, see Moss et. al., A Treasury of Chinese Snuff Bottles No. 1, Jade, no. 82.