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Lot 1723
Circa 1900, a mahogany and satinwood-strung secretaire 2-section cabinet, of canted form, the top having lattice-glazed doors, fitted secretaire under with cupboards below on shaped feet, marquetry and chequered banding decoration, W128cm, H201cm, D46cm, by Morris & Company, no. 409 in their 1911 published leaflet Specimens of Furniture and Interior Decorations Morris & Company, (numbered and stamped)
Lot 535
China - - Fünf ausdrucksstarke chinesische Porträtphotographien im Kabinettformat. Vintage. Matte Kollodiumpapierabzüge. Um 1900. Format: Ca. 13,7 x 10,3 cm, jeweils einzeln auf Unterlagekarton (16 x 11 cm) montiert. In schönem japanischen Lackalbum um 1900 mit originaler stoffbezogener Aufbewahrungsbox (29 x 39 x 9 cm) mit Klappdeckel (dieser lose, die Box mit Gebrauchsspuren).Das Lackalbum mit figürlicher Darstellung auf dem Vorderdeckel "Junge Japanerin sitzend in einer Rikscha, die von einem Coolie gezogen wird, vor angedeuteter japanischer Landschaft mit dem Berg Fuji", bestehend aus Lack- und Beinapplikationen. Der hintere Albumdeckel zeigt Insekten. - Halblederalbum mit 13 starken Kartonseiten, Goldschnitt und Aussparungen zur Aufbewahrung von 36 Kabinett- sowie 32 Carte-de-Visite-Photographien. Die 5 Photos ohne Photographenangabe, in sehr gutem Zustand.Five strong Chinese cabinet-size portrait photographs, c. 1900, matte vintage collodion paper prints (c. 13.7 x 10.3 cm each), each pasted to cardboard (16 x 11 cm), without photographer's credit, in very fine condition. In a very fine Japanese lacquer album in excellent condition (27 x 35 cm), c. 1900, inlaid with bone. The front cover of the album shows a young Japanese woman sitting in a rickshaw, which is drawn by a coolie. The background shows a Japanese landscape with Mount Fuji. The back cover shows insects. Half leather album with 13 strong pages with gilded edges, designed to store 36 cabinet and 32 carte-de-visite photographs. In: original textile storage box (29 x 39 x 9 cm) with hinged lid (which is loose, the box shows signs of use).
Lot 107
A large marquetry bureau cabinetMeiji (1868-1912) or Taisho (1912-1926) era, late 19th/early 20th centuryConstructed in two separate sections, resting on two pedestals, each with four drawers on bracket feet, the tall bookcase with variously-sized shelves, compartments, and sliding doors, the fall-front door doubling as a writing desk and opening to reveal further storage compartments, elaborately decorated in various types of wood with often-overlapping geometric designs, with an additional removable en-suite marquetry tray that sits within the top roof, the reverse with plain wood panelling; unsigned. The cabinet: 177cm x 95cm x 44cm (69¾in x 37 3/8in x 17¼in); the tray: 26cm x 43cm x 3cm (10¼in x 16 15/16in x 1 3/16in). (3).This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 70
A Gold-lacquer portable shomotsu dansu (cabinet for books)Edo period (1615-1868), 17th/18th centuryThe rectangular body with a drop-front door opening to reveal six drawers within, decorated in gold takamaki-e, e-nashiji, kirikane and silver hiramaki-e with a minogame (bushy-tailed turtle) crawling at the foot of a stylised vine-clad pine tree bending over a flowing mountain stream, two paulownia motifs and an aoi-mon (three hollyhock leaves within a circular border), the insignia of the Tokugawa family, scattered among the pine, the design repeated with minor variations around the sides and reverse, the top with a pair of cranes, the inside of the door embellished with a flowering peony shrub issuing from rocks, all on a rich nashiji ground, the six drawers lacquered in silver hiramaki-e, each drawer inscribed in sosho script with the titles of six to twelve chapters, representing the complete 54 chapters of the Tale of Genji, the door with silvered-metal fitted mounts, including the lock plate in the form of a single leaf, the sides of the cabinet applied with two bracket carrying handles, unsigned; with a separate key. 31.2cm x 42cm x 27.5cm (12 1/8in x 16½in x 10 7/8in). (3).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 74
A gold-lacquer portable hanagamidai (cosmetic cabinet)By member of the Kanshosai Toyo school, Edo period (1615-1868), early/mid-19th centuryOf rectangular form, one open shelf and three drawers decorated in gold hiramaki-e, e-nashiji and togidashi maki-e with all-over design of chidori (plovers or dotterels) flying over pine-clad rocks on spumy waves, the top in the form of a tray decorated with a flock of chidori flying among clouds, with gilt fittings in the form of a pair of chidori for the drawer pulls, the interior of nashiji; signed Toyo with a kao. 21cm x 25cm x 18cm (8¼in x 9 7/8in x 7 1/16in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 75
A gold-lacquer miniature shodana (display cabinet)Meiji era (1868-1912), late 19th/early 20th centurySupported on a removable, rectangular en-suite base, comprising two pairs of hinged cupboard doors, one single corner door, one set of sliding doors, staggered shelves and three drawers, decorated in gold takamaki-e, kirikane and e-nashji with mountainous landscapes and bird-and-flower scenes, the top, sides and reverse scattered with aoi-mon (three hollyhock leaves within a circular border), the cupboard doors bordered with hanabishi (flowery-diamond) motifs, the base with a bale of turtles swimming over a meandering stream; unsigned. 37.5cm x 31cm (14¾in x 12¼in). (2).For further information on this lot please visit Bonhams.com
Lot 17
A PAIR OF RARE HUANGHUALI, BURLWOOD AND FRUITWOOD ROUND-CORNER CABINETS, YUANJIAOGUI17th/18th centuryEach sloping-stile cabinet with a protruding round-cornered top supported on slightly-tapered corner posts, enclosing a well-figured pair of burlwood door leaves separated by a removable stile, the side panels composed of two-board floating panels, the interior fitted with two shelves, all above a plain narrow apron and spandrels on legs of square section, the reddish colour of the huanghuali frame contrasting with the variegated burlwood panels set with baitong fittings. 113cm (44 1/2in) high x 85cm (33 1/2in) wide x 50cm (19 6/8in) deep. (2).Footnotes:十七/十八世紀 黃花梨癭木圓角櫃成對Provenance: an important European private collection來源：歐洲重要私人收藏Notable for their elegant and tapering lines and the powerful swirls and hues of the wood, the present cabinets are among the most successful forms of classical Chinese furniture. The very subtle taper in their design lends a sense of stability and balance to the form while retaining a very graceful and pleasing profile, and the gently tapering sides convey the illusion of height and lightness.Round-corner cabinets are one of the four types of cabinets with shelves created by Chinese furniture makers, along with open-shelf stands jiage, cabinets with open shelves liangegui and square-corner cabinets fangjiaogui. See Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, vol.1, pp.82 and 85.According to Sarah Handler, the form of tapering cabinets originated from large chests with panelled doors which, by the Song period, were kept on large tables and used to store silk cloths. See an example of these large chests depicted in a handscroll painting, attributed to the Southern Song dynasty (1127-1279), illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, p.244, pl.15.5. In later times, medium-sized cabinets such as the present examples were often kept in scholars' studios and used to store books, scrolls or writing instruments. A hanging scroll from the set of 'Eighteen Scholars of the Tang Dynasty', dating to the Ming dynasty and in the National Palace Museum, Taipei, depicts a scholar beside a small cabinet about to select a work from the books and scrolls stacked on the shelves; see L.Lin, Catalogue to the Special Exhibition of Furniture in Paintings, Taipei, 1996, pl.9.Compare with a similar huanghuali, burlwood and nanmu round-corner cabinet, late 16th-early 18th century, in the Haven Collection, University Museum, Hong Kong, illustrated by Chu Pak Lau, Classical Chinese Huanghuali Furniture, Hong Kong, 2016, p.227, no.54. See also a related pair of similar huanghuali and burlwood cabinets, 17th century, illustrated by R.H.Ellsworth, Chinese Furniture, New York, 1970, pl.122. A very similar but slightly smaller huanghuali and burlwood round-corner cabinet, 18th century, was sold at Christie's Hong Kong, 6 October 2015, lot 263.圓角櫃上窄下寬，線條優雅，裝飾簡潔，且凸顯出木料與色澤的天然美感，乃古典中式家具之典範。此對圓角櫃各高三尺有餘，櫃帽噴出，作臼窩以納門軸，兩門之間立閂桿，安白銅銅活，櫃內分三層，黃花梨框架與癭木門板相得益彰，櫃體造型挺拔輕盈。圓角櫃是中式櫃架類家具四大門類之一；除圓角櫃外，另有架格、亮格櫃和方角櫃三種。見王世襄著，《明式家具研究》，香港，1990年，卷一，頁82與85。Sarah Handler認為，此種角度傾斜的櫃體之雛型為帶門大箱，宋時多置於案上，用以存放綢緞。現藏於黑龍江省博物館的南宋手捲《蠶織圖》中可見一例，見 S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁244，圖版15.5。隨後，如本例尺寸適中的櫃體多在書房陳設，以存放書籍手捲及文房用具；台北國立故宮博物院所藏明人畫《十八學士圖軸》中就有放滿書卷的小櫃之陳設。見林莉娜著，《畫中家具特展》，台北，國立故宮博物院，1996年，圖版9。香港大學博物館展出晏如居藏品之一件十六世紀晚期至十八世紀早期黃花梨癭木楠木圓角櫃，可資參考，見劉柱柏著，《晏如居藏明式黃花梨家具》，香港，2016年，頁227，編號54。另可比較一對十七世紀黃花梨癭木圓角櫃，收錄於安思遠著，《Chinese Furniture》，紐約，1970年，圖版122。一件十八世紀黃花梨嵌癭木圓角櫃，與本例相似惟尺寸稍小，2015年10月6日售... This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 32
A VERY FINE PAIR OF HUANGHUALI HORSESHOE-BACK ARMCHAIRS, QUANYI17th centuryEach elegantly modelled with a curving toprail sloping down to the arms supported on serpentine side posts and terminating in a curved hook beyond the corner-posts set with shaped spandrels, the backsplat carved with a ruyi-shaped panel enclosing a curling chilong, the back corner-posts continuing below the rectangular frame set with a matted seat, to the back legs joined by three stretchers and a footrest with plain apron. 102cm high (40 1/8in) x 61cm (24in) wide x 48cm (18 7/8in) deep. (2).Footnotes:十七世紀 黃花梨圈椅成對Provenance: an important European private collection來源：歐洲重要私人收藏Elegant lines and generous yet balanced proportions characterise this magnificent pair of huanghuali armchairs. Chairs displaying this graceful silhouette were frequently portrayed in Ming and Qing dynasty woodblock illustrations depicting their use in various domestic and official settings, such as dining rooms, scholars' studios and entertaining halls. Whenever a representation of a banquet shows both round-backed and square-backed armchairs in use, it is the latter which were occupied by the more eminent guests. Quanyi armchairs denoted high status and were reserved for eminent officials and magistrates. During the late Ming period, these seats bore the imposing name of 'Grand Tutor Chairs' taishi yi. For a fuller discussion about horseshoe-back armchairs, see C.Clunas, Chinese Furniture, London, 1988, p.24. See also R.H.Ellsworth, Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasty, New York, 1971, pp.86-87.The inviting capacious arched crestrails were inspired by chairs of nearly-identical shape but made of pliable lengths of bamboo, which were bent into a 'U'-shape and bound together using natural fibers. These chairs display the ingenuity of Ming dynasty cabinet makers, who were able to create a hardwood version by developing complicated joinery techniques. The continuous back was thus obtained by fitting together the separate members with a cut-out to accommodate a tapered wood pin that locked them firmly in place once inserted. This elaborate design called for utmost precision, as the smallest error in the angle of any of the joints would be emphasised by the adjoining members. A lacquer coat was finally applied to the surface crestrail so that the underlying joinery was not visible and virtually impossible to wrest apart.The superb present pair of armchairs displays large arching crestrails ending in pronounced scrolling hand grips, graceful and vigorous outlines for the shaped aprons, and refined quality of carving for the splat medallions and aprons. The crisp angular scrollwork may be an innovation introduced during the late Ming/Qing dynasty. This feature may have been inspired by designs found on archaic bronzes, thus reflecting the interest in antiquarianism shared by the scholarly elites of the late 17th century; see R.H.Ellsworth, Chinese Furniture. Hardwood Examples of the Ming and Ch'ing Dynasties, New York, 1971, p.86.A related huanghuali chair, 17th century, formerly in the collection of Robert H. Ellsworth, was sold at Christie's New York, 18 March 2015, lot 139.月牙扶手曲線優美，兩端出頭迴轉收尾。靠背板上端開光浮雕螭龍紋，後腿上截出榫納入圈形彎弧扶手，下穿過椅盤成為腿足，鵝脖與前腿足亦相同造法。扶手與鵝脖間打槽嵌入小角牙，扶手左右支以三彎聯幫棍。籐編座面，椅盤下的券口牙板浮雕卷草紋，兩側面則裝素券口牙子。腿間施步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。圈椅常見於明清兩代的木刻版畫中，造形大器美觀，線條流暢，適用於廳堂或居家各類場合。有關圈椅用途的詳細論述可見柯律格著，《Chinese Furniture》，倫敦，1988年，頁24，以及安思遠著，《Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasties》，紐約，1971年，頁86-87。圈椅因其圓而細的月牙扶手而得名。明代工匠通過複雜的楔釘榫造法，在硬木上復刻出竹篾彎曲的效果，傳達出豐盈且平衡的圓潤之美。此對黃花梨圈椅線條簡約，比例得當，色澤溫潤，盡顯傳統手藝的精工細作。券口牙板的浮雕卷草紋或源自青銅禮器紋飾，反映了十七世紀晚期文人階層的崇古思潮。安思遠認為，此種複古的紋飾設計是為晚明至康熙時期的創新，見安思遠著，《Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasties》，紐約，1971年，頁86。安氏舊藏一具十七世紀黃花梨圈椅，售於紐約佳士得，2015年3月18日，拍品編號139，可資參考。... This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 40
A RARE HUANGHUALI SQUARE-CORNER CABINET, FANGJIAOGUI17th/18th centuryOf rectangular form, the doors with single floating panels of standard miter, mortise and tenon construction enclosed within a frame, the top and sides similarly constructed, the interior with one shelf above a pair of drawers, all above a beaded front apron carved with intertwining scrolling designs, the side aprons similarly decorated, with metal hinges, shaped lockplate, pin and pulls. 123cm (48 1/2in) high x 77cm (30 2/8in) wide x 44cm (17 2/8in) deep.Footnotes:十七/十八世紀 黃花梨方角櫃Provenance: an important private European collection來源：歐洲重要私人收藏The present cabinet is notable for its restrained design, minimalist decoration, elegant proportion and extravagant use of beautifully-grained huanghuali. Constructed entirely from high-quality huanghuali wood, chosen for its rich golden-honey tones, the wide flat surface emphasises the natural beauty of the densely-grained wood.The simple austere lines of these cabinets created a sense of solidity and strength resulting from a slim profile combined with the strong horizontal lines of the top and bottom members. The circular door pivots form an elegant contrast to the square members. In addition, the cabinet has no superfluous ornamentation, except the beaded edge along the plain apron and spandrels towards the feet and the polished baitong mounts. This way, the eye is drawn to the beauty and subtlety of the natural wood which conveys a graceful and soft feel. The functional metal hinges, lock plate and pulls enhance the richness of the wood. These important decorative elements were carefully sized and spaced to complement the proportion of the cabinet. The lockplates are persimmon-shaped, while the pulls are shaped as double fish, subtly intimating auspicious wishes for abundance and wealth.During the Ming and Qing periods, furniture was probably selected from books of designs at the cabinetmaker's workshop and made to the proportions required. This would have allowed certain unique personal preferences in stylistic choices, such as the higher beaded oval feet in the present lot, which lend it its 'unusual distinction'. Subtle variations give individual character to different tapered cabinets.The fact that the panel forming the horizontal top of the present cabinet is also constructed from huanghuali makes it is unlikely that the cabinet had an associated hat chest (additional storage chests holding additional items of clothing). This cabinet was probably made for a scholar's studio, where it would have held painting and calligraphy, implements or treasured artifacts. The lavish use of huanghuali to construct all the inner members, such as shelves and drawer lines, demonstrates an exceptional level of craftsmanship and attention to details. For a detailed discussion about the use of cabinets in China, see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and London, 2001, pp.241-267.Square-corner cabinets with flush-panel doors but constructed without hat chests are rare. A similar cabinet without a hat chest is depicted in an 18th century handscroll depicting 'The Qianlong Emperor's Southern Inspection Tour', dated to 1770, in The Metropolitan Museum of Art, New York, acc.no.1988.350a-d. See also a line drawing of a similarly-shaped cabinet, 17th/18th century, illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, vol.2, 1990, Hong Kong, p.152, D24. A related huanghuali square-corner cabinet, 17th/18th century, was sold at Christie's New York, 22-23 March 2012, lot 1726.「一封書」式方角櫃，方方正正，櫃體光素，只在三面牙條上浮雕卷草紋。櫃門平鑲，兩門之間立閂桿，安葵形面葉。櫃內抽屜架安有兩個抽屜，將內部空間分隔為兩層，下無櫃膛。整體線條利練，設計簡約，盡顯木材自然紋理，乃明清傢俱的永恆經典。明清時期，家具大多依照工匠圖樣、按約定尺寸進行定制。傳世的方角櫃尺寸多樣，本例頂面也使用黃花梨木製成，表明製作時沒有與之相配的頂櫃，且尺寸適中，非常適合置於文人書齋內儲物，兼器物陳設。屜板等櫃內構件也以黃花梨木製成，毫不吝惜木料，原主人的審美品位和日用標準可見一斑。關於方角櫃用途的詳細陳述，參考S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁241-267。無頂櫃的「一封書」式方角櫃傳世不多。現藏於紐約大都會博物館（館藏編號1988.350a-d）、由宮廷畫家徐揚於1770年所作之《乾隆南巡圖》中，繪有一隻形制相似的無頂櫃方角櫃。另參一幅方角櫃線稿，收錄於王世襄著，《明式家具珍賞》，卷二，香港，1990年，頁152，編號D24。一例十七至十八世紀黃花梨方角櫃，售於紐約佳士得，2012年3月22-23日，拍品編號1726，可為參考。... This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 56
A RARE GILT-COPPER-MOUNTED SHELL-INLAID NANBAN LACQUER CABINETMomoyama Period, late 16th/early 17th centuryEmbellished predominantly in gold hiramaki-e lacquer and inlaid with shell, the single-hinged door decorated on the front with a ho-o (phoenix) and a smaller bird standing on a rock among flowering peony and kikyo (Chinese bellflowers), three other birds in flight, the top surface with a pair of four-tusked elephants resting among tall stems of kikyo, plum blossoms and pine; the right side with a bird of prey about to attack one of two smaller birds, one perched on a maple tree; the left side with a pair of monkeys gripping trailing branches of wisteria; the back with meandering branches of clematis; the door opening downwards to reveal an interior panel decorated with meandering branches of kuzu (kudzu vine), and eleven drawers of four sizes decorated with assorted floral designs including camellia, fruiting orange tachibana and nogiku (wild chrysanthemums), all arranged horizontally in four rows and fitted with a gilt-copper chrysanthemum knop surrounding a central drawer fitted with a copper lock plate, all framed by narrow thin bands of gold lacquer zig-zag motifs, the sides with two copper-gilt carrying handles, the corners applied with gilt-copper fittings engraved with stylised cherry, the underside undecorated; with the original key. 64cm (25 1/8in) wide x 43.5cm (17 1/8in) high x 34cm (13½in) deep. (2).Footnotes:日本桃山時代，十六世紀晚期/十七世紀早期 花鳥獣蒔絵螺鈿洋櫃Provenance: an important European private collection來源：歐洲重要私人收藏Crafted in Kyoto's lacquer workshops alongside quite different wares intended for elite Japanese clients, these kinds of Nanban coffers and cabinets decorated in gold hiramaki-e and shell were among the earliest Japanese artefacts to reach Asian and European markets, starting two or three decades after the first landfall by Portuguese adventurers in the mid-sixteenth century. Celebrated today for their lavish, innovative technique and dense ornamentation (inspired in part by wares from other parts of Asia), such pieces brought the Japanese genius for design to global attention and ensured that Japan would be synonymous with 'lacquer' until the present day.Traded along newly-opened global sea routes, Japanese lacquers offered Asian and European monarchs alike a distant glimpse of the splendours of the Momoyama age, when great warlords like Toyotomi Hideyoshi (1537–1598) took overall control of the country. Hideyoshi and his rivals, vassals and successors ordered lavish use of gold—not just on lacquer wares but on folding screens and wall-painting ensembles as well—to brighten the brooding interior spaces of their magnificent palaces and castles.The decoration of this splendid cabinet, with lively animal, bird and flower designs placed within rich floral and geometric ornament, points to a date during the closing years of the sixteenth century or the opening decades of the seventeenth, when such wares partially reflected contemporaneous pictorial trends within Japan.For a discussion about Nanban fall-front cabinets of this type, illustrating comparative examples, see O.Impey and C.J.A.Jörg, Japanese Export Lacquer 1580-1850, Amsterdam, 2005, pp.122-124.For further information on this lot please visit Bonhams.com
Lot 77
A fine pair of huanghuali horseshoe-back armchairs, quanyi18th centuryEach chair with curving toprail sloping down to the arms supported on serpentine side-posts terminating in a curved hook beyond the corner posts set with shaped spandrels, the backsplat carved with a ruyi cartouche enclosing the Shou character surrounded by five bats, the back corner posts continuing below the rectangular frame set with a mat seat to the back legs joined by three straight stretchers and a footrest, the front legs with a cusped arched apron carved with foliate scrolls extending from the beaded edge. 102cm (40 1/8in) high x 59.5cm (23 1/2in) wide x 47cm (18 6/8in) deep. (2).Footnotes:十八世紀 黃花梨浮雕五福捧壽圈椅成對Provenance: an important European private collection來源：歐洲重要私人收藏Although the original version of their design may be traced over a thousand years earlier, quanyi armchairs remain strikingly timeless in the simplicity and balance of their lines. Known as 'horseshoe-back chairs' quanyi, these seats display fluidity in the design, achieved through the continuous curved crest rail that also functioned as an armrest. They were used in dining halls, scholars' studios and halls dedicated to receive guests and were normally reserved for the highest-ranking members of Chinese society; see C.Clunas, Chinese Furniture, London, 1988, p.24.This elegant design owes its inspiration to chairs of nearly-identical shape made from stalks of bamboo, which were bent to form a 'U' shape and bound together using natural fibres. The design of these seats, praised for their lightness and strong appearance, was eventually transferred to hardwood, and so cabinet makers created elegant versions through novel and ingenious joinery techniques. In order to create the curved back, members were initially fitted together with a cut-out to accommodate a tapered wood pin that would lock them firmly in place when inserted. Once all members were joined, a lacquer coat was applied to the surface crest rail to make all the joints virtually invisible.Chairs of this design are recorded either left undecorated, or carved on the splats and aprons with raised motifs, such as the present piece. These motifs are discussed by Robert Hatfield Ellsworth in Chinese Furniture. Hardwood Examples of the Ming and Ch'ing Dynasties, New York, 1971, p.86, who notes that they are an innovation attributable to the late Ming and Kangxi period. He further observes the similarities between the curvilinear apron on chairs of this type and that found much earlier on Tang-period tables, such as the example in the Shōsōin Treasure House, Nara, illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, pl.12.6.Compare the form and design of the present chairs with a set of four related huanghuali quanyi seats, 17th century, which was sold at Sotheby's Hong Kong, 9 October 2020, lot 95.圈椅扶手五接。靠背板上端浮雕五蝠捧壽，後腿上截出榫納入圈形彎弧扶手，下穿過椅盤成為腿足。鵝脖上與扶手相接，下穿過椅盤成為前腿足，扶手左右支以三彎聯幫棍。籐編座面，椅盤下三面券口短牙條，沿輪廓線起陽線如意云紋。腿間施步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。圈椅質量輕便，造型圓融，是明清時期最為經典的家用坐具之一，並垂範至今。常見於明清兩代的木刻版畫中，並適用於公堂或居家各類場合，供社會高階成員坐憩。有關圈椅用途的詳細論述可見柯律格著，《Chinese Furniture》，倫敦，1988年，頁24。古代工匠通過巧妙的楔釘榫連接硬木木料，復刻出竹篾彎曲的效果，傳達出豐盈且平衡的圓潤之美。圈椅的月牙扶手圓而細，楔釘榫任何構件的輕微誤差都會被相鄰的構件放大，尤須造得精緻，才能確保器物美觀耐用。此對圈椅後背板木紋緻密，雕工精細。除素圈椅外，大多圈椅都如本例，在後背板和券口牙板處進行裝飾。安思遠認為，此種複古的紋飾設計是為晚明至康熙時期的創新，見安思遠著，《Chinese Furniture：Hardwood Examples of the Ming and Early Ch'ing Dynasties》，紐約，1971年，頁86。安氏進一步認為，此類券口牙板可在唐代桌案裝飾中找到相似之處；對比奈良正倉院所藏一例，收錄於S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁244 ，圖版12.6。參考一組十七世紀黃花梨圈椅，造型紋飾可與本例比對，售於香港&#... This lot is subject to the following lot symbols: TP YTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
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