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
We found 360412 price guide item(s) matching your search
There are 360412 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
360412 item(s)/page
A FINE AND RARE HUANGHUALI BURLWOOD-INSET INCENSE STAND, XIANGJI17th centuryThe stand of rectangular shape enclosing a top of standard mitre, mortise, and tenon construction with a flush, tongue-and-grooved, single-board floating panel, the edge moulding gently downward and inward, ending in a beaded edge, the waist and the apron made of one piece of wood, ending in a wide band with a concave surface, the whole supported by square legs terminating in elegant hoof feet. 81cm (31 7/8in) high x 64cm (25 1/8in) wide x 48.5cm (19in) deep.Footnotes:十七世紀 黃花梨癭木面長方香几Provenance: Bonhams San Francisco, 9 December 2008, lot 5136DAn important European private collection來源：舊金山邦瀚斯，2008年12月9日，拍品編號5136D歐洲重要私人收藏Incense stands such as the present example are among the rarest types of Ming furniture. They could be square, rectangular, octagonal, round or even lobed and were used to display a scholar's rock, a miniature plant, a flower vase or an incense burner. These stands were typically used in affluent homes and were often placed in courtyards where, on the occasion of the Double Seventh Festival, (falling on the seventh day of the seventh month in the Chinese calendar), the women of the household burned incense and prayed for progeny or sewing skills. An illustration of an incense stand, of a very similar shape to the present example, from the 'Pictorial Encyclopedia of Heaven, Earth and Man' Sancai Tuhui, a Ming dynasty work, is illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture, vol.1, pp.53-54.Compare the shape of the present lot with a rectangular incense stand, late 16th/early 18th century, illustrated by Chu Pak-Lau, Classical Chinese Furniture from the Haven Collection, Hong Kong, 2016, pp.286-287, no.74.A related huanghuali and burlwood incense stand, late Ming dynasty, was sold at Sotheby's Hong Kong, 7 October 2015, lot 110.几面標準榫卯攢邊框鑲獨板癭木面心，邊抹冰盤沿自中上部內縮至底壓窄平線，窄束腰以抱肩榫連接腿足，足端內翻馬蹄，挺拔有力。香几常出現於明代書畫及版畫中，但傳世品極少。形制有方形、長方形、八角形、圓形或各式花葉形。王世襄著《明式家具研究》中述及香几用途，「富貴之家，或置廳堂，上陳爐鼎，焚蘭煴麝；或置中庭，夜色將闌，仕女就之祈神乞巧。道宮神殿，也設香几，焚香之外，兼放法器」。明刊本《三才圖會》圖示之高方香几，與本例形制十分相似，見王世襄著，《明式家具研究》，卷一，香港，1990年，頁53-54。一件十六世紀晚期至十八世紀早期黃花梨香几，可資比對，見劉柱柏著，《晏如居藏明式黃花梨家具》，香港，2016年，頁286-287，編號74。另見一件明晚期黃花梨嵌癭木香几，售於香港蘇富比，2015年10月7日，拍品編號110。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
AnonymousJapan, Books, 18th/19th centuryA pair of two-panel folding screens decorated with pieces probably from costumes for the Noh drama and perhaps also kesa (priests' shawls), and uchishiki (altar cloths), embroidered on silk satin rinzu (figured silk) with coloured silk and couched gold threads, each piece representing the cover of a book with designs including shuro palms, pines, and chrysanthemums, others with repeat patterns, some with blank title slips, all mounted on silver leaf over paper; unsigned. 139.1cm (54 7/8in) high x 114.9cm (45in) wide. (2).Footnotes:十八/十九世紀 古籍圖 銀箔地刺繡雙折屏風一對Provenance: Robert Hatfield Ellsworth (1929-2014), New YorkChristie's New York, The Collection of Robert Hatfield Ellsworth, Part V, 21 March 2015, lot 1001 An important European private collection來源：美國紐約，安思遠（1929-2014年）舊藏紐約佳士得，「錦瑟華年 - 安思遠私人珍藏」專場拍賣第五部分，2015年3月21日，拍品編號1001歐洲重要私人收藏For further information on this lot please visit Bonhams.com
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
A RARE LARGE HUANGHUALI FLAT-TOP RECESSED-LEG TABLE, PINGTOU'AN17th/18th centuryThe table top of standard miter, mortise and tenon construction, enclosing a two-board round-cornered floating panel supported underneath by dovetailed transverse stretchers, the cylindrical legs double tenoned into the top and cut to house the plain spandrelled apron, with two oval-sectioned stretchers joining each pair of legs. 221.5cm (87 2/8in) wide x 90cm (35 1/2in) high x 50.5cm (19 7/8in) deep. Footnotes:十七/十八世紀 黃花梨夾頭榫大平頭案Provenance: an important European private collection來源：歐洲重要私人收藏Made from prized huanghuali wood of attractively warm brown and amber tones, and set with a lively-grained two-board top, the present table is a remarkable example of one of the most versatile and popular designs in Chinese furniture. The popularity of this linear form is evident in its continuous popularity without any major evolution in the design. The elegant wood grain and the smoothly-finished joinery of the present example indicate that this table would have belonged to a high-ranking member of the court or a scholar. Recessed-leg tables were historically referred to as 'character one' tables yi zi zhuo shi, as the single horizontal stroke of the Chinese character for the numeral 'one' resembles this linear form. This design appears to have derived from standard wood building construction employed from as early as the Han dynasty. This particular design with side stretchers is known from as early as the Song dynasty (960-1279), when tables with bridle and tenon joints, a continuous apron with small spandrels, and double stretchers at the sides were produced. See two recessed-leg tables depicted in a painting entitled 'Country Boys Playing in Class', attributed to the Song period and illustrated by Wang Shixiang, 'Development of Furniture Design and Construction from the Song to the Ming', Chinese Furniture: Selected Articles from Orientations 1984-1999, Hong Kong, 1999, p.55, pl.35.Because of their light and simple form, these tables could be easily moved from one location to another. They were usually placed against the wall in the main hall of the family compound where important visitors were received and family ceremonies took place; hence these tables became representative of their owner's status and level of refinement and functioned as surfaces on which to display cherished antiquities, artefacts, scroll paintings, to practice calligraphy and painting, and even play the qin; see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, pp.224-238. Compare with a huanghuali recessed-leg table, 17th century, illustrated by R.D.Jacobsen and N.Grindley, Classical Chinese Furniture in the Minneapolis Museum of Arts, Minneapolis, 1999, pp.122-123, no.40. A similar huanghuali recessed-leg table, 17th century, was sold at Christie's Hong Kong, 10 November 2015, lot 380. See also a rare huanghuali recessed-leg altar table, 18th century, which was sold at Christie's Hong Kong, 28 November 2012, lot 2028.黃花梨製，頂面標準榫卯攢邊框，鑲兩拼面心板，牙頭光素，腿子截面圓形，以兩根橫棖連接。結構清雅，渾厚圓實，木紋緻密，亮澤如蜜，盡現傳統中國家具之經典，細節間無不透露了原主人的顯赫身世。此類桌案歷史上被稱為「一字桌式」，蓋因平直的案形與漢字「一」相似。該造形似從漢代木造建築演化而來，宋代已可見此樣式，榫卯結構，沿邊嵌牙條，雙橫棖，並屢見於宋畫。參考明代仇英臨宋人畫冊之《村童鬧學圖》中所繪二條案，見王世襄著，〈Development of Furniture Design and Construction from the Song to the Ming〉，收錄於《Chinese Furniture: Selected Articles from Orientations 1984-1999》，香港，1999年，頁55，圖版35。平頭案由於質樸簡練，曲直合度，宜作多方用途，常於一戶正廳之中靠牆擺放，用以展示古玩字畫，從而成為主人身份地位的象徵。見S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，伯克利，2001年，頁224-238。參考一件十七世紀黃花梨平頭案，見R.D.Jacobsen與N.Grindley著，《明尼阿波利斯藝術館藏中國古典家具》，明尼阿波利斯，1999年，頁122-123，編號40 。另有一件十七世紀黃花梨平頭案，與本例相似，售於香港佳士得，2015年11月10日，拍品編號380；及一件十八世紀黃花梨平頭案，售於香港佳士得，2012年11月28日，拍品編號2028，可資比對。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
ANONYMOUSChrysanthemums Beside a Brushwood Fence, River, and Pine Tree, Edo Period (1615-1868), circa 1700A six-panel folding screen painted in ink, mineral pigments, gofun (calcified crushed shell) and gold on paper applied with gold leaf, depicting chrysanthemums rendered in the moriage relief technique growing behind a brushwood fence beside a flowing river and pine tree partially hidden in gold clouds; unsigned. 380cm (149 1/2in) long x 168cm (66 1/8in) high.Footnotes:日本江戶時代，約1700年 河畔東籬菊 紙本設色 金箔地六折屏風Provenance: Liza Hyde, New YorkAn important European private collection來源：紐約Liza Hyde舊藏歐洲重要私人收藏This bold composition was created for the interior of a castle or perhaps a daimyo mansion in the new samurai city of Edo, in a tradition stretching back to the sixteenth century when screen pairs or screens like this were first ordered by leading warlords. It was painted using luxurious materials, with rich applications of crushed mineral pigments such as gunjo (blue) and rokusho (green) and extravagant passages of gofun (calcified and crushed clam shell powder) on a support of gold leaf on paper. Unfolded at night in a large formal space, a screen like this would have reflected the light of many candles or lanterns, casting a golden glow over the room and its occupants. In keeping with the Confucian ethos of the ruling military elite, the composition—almost certainly the work of the official Kano painting academy— combines the rugged majesty of a mature pine (a Kano staple) with a Chinese poetic theme: the 'Chrysanthemums by the East Fence' beloved of the poet Tao Qian (Tao Yuanming, 365-427), who retired mid-career to the classic Chinese scholar-hermit's life of obscurity, drinking, and versification. The chrysanthemum patch that he nurtured by the eastern fence of his estate was depicted in Chinese painting as early as the thirteenth century and the theme probably reached Japan around that time, a peak period for cultural exchange with the Asian mainland.For further information on this lot please visit Bonhams.com
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
A RARE PAIR OF HUANGHUALI MARBLE-INSET HIGH-BACK ARMCHAIRS, GUANMAOYI17th/18th centuryEach chair with a flat crestrail supported on a slightly-curving backsplat set with an attractive and variegated round marble panel suggestive of a landscape scene, between backwards-curving rear posts continuing through the seat to form the rear legs, the rectangular frame enclosing a mat seat above plain aprons and spandrels, the whole raised on legs of square section, joined by stepped stretchers on the sides and a foot rest at front. 102cm (40 1/8in) high x 55cm (21 5/8in) wide x 44cm (17 2/8in) deep. (2).Footnotes:十七/十八世紀 黃花梨嵌大理石四出頭官帽椅成對Provenance: an important European private collection來源：歐洲重要私人收藏Huanghuali yokeback armchairs such as the present examples are notable for their simplicity and harmonious form. Their name 'official hat-shaped chairs' derives from the resemblance of their crestrail to the winged hat that was part of the formal attire of Ming officials. Guanmaoyi chairs were regarded as high-status chairs and retained a connotation of authority associated with the elite gentry in Chinese society. According to the 'Classic of Lu Ban' Lu Ban jing, a 15th century carpenter's manual, the joinery of yokeback chairs was the quintessential achievement of Chinese furniture construction; see C.Clunas, Chinese Furniture, London, 1988, p.20.Guanmaoyi chairs inset with marble panels on the splat are unusual. Decorative stone panels were incorporated into furniture design from at least the Han period. Decorative stone panels were highly regarded by the literati for their abstract imagery and complex patterns which often evoked dramatic misty ink landscapes. These panels were often set into tables, display stands or screens. The most attractive panels were reserved for larger furniture, such as wall panels and the railings surrounding large daybeds. The presence of beautifully variegated stone-inset furniture was a signifier of refined taste and wealth, as Wen Zhenheng advocated in his 'Treatise on Superfluous Things' Zhang Wu Zhi, a Ming dynasty work on taste and interior design; see W.S.Lee, Status of the Materials Used in Suzhou Gardens in the Late Ming Dynasty, Honolulu, 2006, p.70. A related yokeback armchair, 17th century, from the Tseng Riddell collection, is illustrated in the National Palace Museum, Splendor of Style: Classical Furniture from the Ming and Qing Dynasties, Taipei, 1999, p.83. Compare with a related pair of huanghuali Dali-marble-inset armchairs, guanmaoyi, 17th-18th century, which was sold at Christie's Hong Kong, 30 May 2018, lot 3017.通身以方材製作，搭腦平直，靠背板上端微微後彎，嵌圓形理石板。後腿上截與靠背板彎出相同弧度，出榫納入搭腦，下穿過椅盤成為腿足。平直的扶手作肩接入後腿上截，另一端與另木安裝的鵝脖相連，聯幫棍省略不用。籐編座面，椅盤下四面光素短牙板。腿間施方材步步高趕棖，前棖下施牙條。官帽椅以理石鑲嵌為飾者，頗為稀有。自漢代始，石材就被用於裝飾傢具；黑白紋路的大理石，如水墨山水，尤為文人墨客所珍尚。文震亨所著《長物誌》「大理石」條中稱，「白若玉、黑若墨為貴...... 但得舊石，天成山水雲煙，如米家山，此為無上佳品」；「椅」條中又稱，「烏木鑲大理石者，最稱貴重」。參考W.S.Lee著，《Status of the Materials Used in Suzhou Gardens in the Late Ming Dynasty》，檀香山，2006年，頁70。對比一具Tseng Riddell收藏十七世紀官帽椅，收錄於《風華再現：明清家具收藏展》，台北，國立歷史博物館，1999年，頁83。另見一對十七至十八世紀黃花梨嵌理石官帽椅，售於香港佳士得，2018年5月30日，拍品編號3017。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
A RARE SET OF FOUR HUANGHUALI AND BURLWOOD CONTINUOUS YOKEBACK ARMCHAIRS, NANGUANMAOYI18th centuryEach with a cylindrical crestrail continuing to the back posts, over a central splat enclosing a reticulated panel enclosing designs of blossoming prunus and magnolia issuing from jagged rocks, all above a burlwood fielded panel, the sinuous arms joining the front posts continuing through the square frame surrounding a mat seat, over a fretwork apron in front and plain spandrelled aprons on the sides, the legs joined by base stretchers. 111cm (43 6/8in) high x 55cm (21 5/8in) wide x 44cm (17 2/8in) deep (4).Footnotes:十八世紀 黃花梨嵌癭木板南官帽椅 一組四張Provenance: an important European private collection來源：歐洲重要私人收藏This unusual set of chairs shares the same general construction as the 'Southern official's hat' armchairs. However, they display a number of important variations which were probably made to accommodate the aesthetic preference of the patron commissioning them.The 'continuous yokeback' armchair is considered one of the most classic forms originating in the Ming dynasty. The enduring popularity of the form, probably a result of the elegant lines and balanced proportions, ensured its production in varying forms through the late Ming and most of the Qing dynasty. The crestrail of this type of seat continues only down to the back posts as opposed to extending beyond them, like in the 'officials' hat' version. The 'Southern official's hat' seat, typically characterised by continuous back and arm rails, was first developed during the Ming dynasty. It was probably inspired by bamboo chair construction, where different stalks of bamboo were bent and bound together with natural fibres; see R.D.Jacobsen and N.Grindley, Classical Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis, 1999, pl.9. Unlike the more traditional nanguanmaoyi seats, the present chairs have no side rail. In addition, the back splat has a gentle S-curve and is formed from three sections: the top decorated with a reticulated panel decorated with chilong and blossoming flowers and tendrils; the middle section inlaid with a burlwood panel; the lower section with an arched apron. Finally, the open stretchers below the seats are round and connected to the seat frame by pillar-shaped struts, lightening the appearance of these seats.Compare the shape of the present chairs with a related huanghuali 'Southern official's hat' armchair, mid 17th/early 18th century, displaying similar stretchers and three-part backsplat inlaid with a central burlwood panel, illustrated by Chu-Pak Lau, Classical Chinese Huanghuali Furniture from the Haven Collection, Hong Kong, 2016, p.98, no.17. The design may have been inspired by a 16th/17th century prototype depicted in a woodblock illustration of 'Journey to the West' Xiyouji, a Ming dynasty novel, ibid., p.98. Also compare the reticulated floral designs with those decorating a huanghuali 'low-back' armchair, Ming or Qing dynasty, illustrated by S.Handler, The Austere Luminosity of Chinese Classical Furniture, Los Angeles and London, 2001, p.80, fig.6.10.搭腦和扶手皆不出頭，形式上屬南官帽椅。主要構件和格局保留了明式風貌，並根據當時的審美偏好調整了細節。扶手不設聯幫棍，搭腦中段下彎，其下的三段攢靠背板上段分別透雕木蘭、梅紋及如意螭龍紋，中段鑲癭木，下段亮腳。椅盤下的變形羅鍋棖釋出葉紋，與鏤雕的靠背板交相輝映。南官帽椅作為官帽椅的變體，是明式家具中最為經典的類型之一。此類坐具或源自宋明時期的竹製家具；刊行於約1570年的《玉簪記》插圖版畫中就描繪了一對湘妃竹製高靠背椅，搭腦亦不出頭而向下彎扣，見D.Jacobsen與N.Grindley著，《明尼阿波利斯藝術館藏中國古典家具》，明尼阿波利斯，1999年，圖版9。南官帽椅線條優雅，比例合度，晚明及清朝時期，承襲此設計的硬木家具逐漸成為一種經典樣式並大量製作。一件十七世紀中期至十八世紀早期黃花梨南官帽椅，具有與本例相似的三段攢靠背板和羅鍋棖，可資比對，見劉柱柏著，《晏如居藏明式黃花梨家具》，香港，2016年，頁98，編號17。攢靠背官帽椅子在明代書籍版畫插圖常見，十六至十七世紀應已有此類南官帽椅的原型，見《西遊記》插圖版畫，出處同上，頁98。另有一具明或清黃花梨玫瑰椅，收錄於S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁80，圖6.10，其上飾板可與本例靠背板上段的鏤雕紋牌相比對。... 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
ANONYMOUSCedars and Maple at Sunset, Edo Period (1615-1868), 18th/19th centuryA six-panel folding screen painted in ink, mineral pigments, and gofun (crushed calcified shell) on paper applied with gold leaf, depicting leafing branches of a maple tree partly rendered in the moriage relief technique, cedar trees at centre and right, and the sun setting behind a hill at left; unsigned. 368cm (145in) wide x 167cm (65 3/4in) high.Footnotes:日本江戶時代，十八/十九世紀 楓林雪松圖 紙本設色 金箔地六折屏風Provenance: Naga Antiques, New YorkAn important European private collection, acquired from the above in 2016來源：紐約古董商Naga Antiques歐洲重要私人收藏，於2016年購自上者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
A VERY RARE HUANGHUALI SQUARE-BACKED ARMCHAIR, MEIGUIYI18th centuryOf graceful proportions with the hard-cane seat framed by a straight crestrail above vertical spindles divided by ring struts, the backsplat set with a central round burlwood panel, the straight armrests with similar spindles and struts, continuing to the front posts, the aprons beneath the seat frame supported by interlacing rings, the legs joined with stretchers. 90cm (35 1/2in) high x 59.2cm (23 3/8in) wide x 45.3cm (17 7/8in) deep.Footnotes:十八世紀 黃花梨直櫺嵌癭木玫瑰椅Provenance: an important European private collection來源：歐洲重要私人收藏Notable for its elegant form and proportions, and the combination of the previous huanghuali and well-figured burlwood, this exceptionally rare chair is one of the rarest and finest surviving examples of its type. Chairs constructed with a low rectangular back, such as the present example, were referred to as either 'rose chairs', meiguiyi, or 'writing chairs', wenyi. These seats were the smallest of the standard chair designs in Chinese furniture, making them appropriate for both indoor and outdoor use. The sense of elegance and lightness, conveyed by the use of humpback stretchers with pillar-shaped struts above the seat frame, encouraged portable and functional ease. In addition, the straight back and arms conveyed a sense of austerity to the scholar sitting in them and would fit neatly under the window of a scholar's studio, without obstructing the outside view. Smaller and less formal than the 'yokeback' or 'horseshoe-back' armchair, low-back armchairs were often more ornately decorated, displaying decorative frames and stretchers on the back panels, such as the present example. The top rail and arms curve smoothly into the posts, imitating the flexibility of bamboo by means of complex mortise-and-tenon joints. This design was probably inspired by a low-back armchair produced during the Song dynasty, an example of which is depicted in a twelfth century painting by Ma Gongxian (act.1131-1162). Here Li Ao (d.ca. 844), a Confucian scholar, is seeking instruction from Yaoshan Weiyan (751-834), a Chan master, who is seated on a low bamboo chair which resembles the construction of a meiguiyi, with the addition of a back rest. The form of the present chair was alternatively referred to as tushou shubeiyi, or spindle-back armchair, in reference to the tall posts set between the back and arm rails. The use of fine and densely-grained huanghuali to imitate bamboo was popular in the Ming and Qing dynasties. For a further discussion about chairs of this form, see R.D.Jacobsen and N.Grindley, Classical Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis, 1999, pp.68-9, no.16, where the authors also illustrate a related pair of huanghuali chairs.Meiguiyi armchairs also served as informal seats for women as well as sedan chairs and were frequently depicted in paintings and prints dating to the Ming and Qing dynasties. For example, the 'Literary Gathering in the Apricot Garden', painted by the court artist Xie Huan (act.1426-1452), depicts 'The Three Yangs' (scholars of the Hanlin Academy) beside bamboo and hardwood low-back armchairs. Ming dynasty painting by Dai Jin (1388-1462) depicts Zhong Kui, the 'Demon Queller', seated on a low-back armchair decorated with circular designs; see S.Handler, 'Rose, Bamboo and the Low-Back Armchair', in Chinese Furniture: Selected Articles from Orientations, 1984-1999, Hong Kong, 1999, pp.250-256; see also Wang Shixiang, 'Development of Furniture Design and Construction from the Song to the Ming', ibid., p.44.Compare with a related huanghuali 'spindle-back' armchair, 17th century, in the Minneapolis Institute of Art, Minneapolis, MN, acc.no.98.76.1, the type of which may have served as a prototype for the present example.主體圓材，靠背與扶手以挖煙袋鍋榫成框，框內以更細的圓材裝邊框，在搭腦及扶手橫材以下一寸多的部位施橫棖，橫棖以下安直櫺，呈梳背式，橫棖以上安單環卡子花；靠背中心兩根直櫺上部加嵌癭木圓板。籐編座面，椅盤下三面亦安設用圓材造成的券口並施直棖，棖上安方環卡子花。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。玫瑰椅靠背和扶手都比較低矮，坐盤略窄，且靠背、扶手與椅面之間相互垂直。一說因其尺寸嬌小，極適合閨閣之中，而稱「玫瑰椅」；江南地區亦稱「文椅」，或與明清版畫中常見該椅出現在文房擺設有關。玫瑰椅用材單細，形態方正精巧，是明清極為流行的椅式之一。明清畫本中可以看到玫瑰椅往往放在桌案的兩邊，對面而設；或不用桌案，雙雙並列；或不規則地斜對著，擺法靈活多變，宜作多方用途。又因為其椅背與扶手高度相差無幾，頗為適合在室內臨窗陳設，椅背不高過窗台，配合桌案使用又不高過桌沿，不至阻擋視線，令人賞心悅目。玫瑰椅造型輕巧，相較於圈椅或官帽椅更顯&#... 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
A HUANGHUALI TWO-DRAWER ALTAR COFFER, LIANERCHUQing DynastyThe rectangular top with two panels enclosed in a mitered frame and set with everted flanges to either short end, over shaped spandrels flanking two drawers, each framed with a scrolling-edge panel, over a wide three-section panel and plain spandrelled apron supported on straight legs of rectangular section with beading to the inside edge, the circular brass lockplates with bail handles. 159cm (62 1/2in) long x 88.5cm (34 6/8in) high x 57cm (22 1/2in) deep.Footnotes:清 黃花梨帶翹頭聯二櫥Provenance: an important European private collection來源：歐洲重要私人收藏The present altar coffer is notable for its elegant proportions and for the fine grain and rich honey-colour of the wood. Its design was inspired by coffers produced during the Ming dynasty, which displayed an outstanding choice of huanghuali timber and exceptional craftsmanship. This is aptly demonstrated in the restrained balance allowing the superb timber the pride of place within the powerful geometric design formed by the careful balance between the drawers, legs, top and beading.Coffers played a prominent part in Ming and Qing dynasty interiors due to their impressive size and were used mostly for the storage of items such as bedding and clothes. A coffer with drawers is depicted in a woodblock print in the 'Classic of Lu Ban Jing, Lu Ban Jing, a Ming architectural manual, illustrated by K.Ruitenbeek, Carpentry & Building in Late Imperial China: A Study of the Fifteenth-Century Carpenter's Manual Lu Ban Jing, 1993, The Netherlands, p.20, vol.2, p.43. Here, the coffer, bearing a mirror stand with an openwork panel, is depicted in a lady's dressing room.Compare with a three-drawer coffer of similar proportions and openwork dragon spandrels in Ming Furniture, Ltd., 1987, p.15, no.12 illustrated on the front cover. See, also, a three-drawer altar coffer illustrated by R.H.Ellsworth, Chinese Hardwood Furniture: Examples From the Ming and Ch'ing Dynasties, New York, 1971, p.163, pl.61. Compare with a related huanghuali three-drawer coffer, circa 1550-1600, in the Victoria and Albert Museum, London, the type of which may have served as the inspiration source for the present example, illustrated by C.Clunas, Chinese Furniture, London, 1997, p.84.櫥面以榫卯攢框平鑲二拼面心，兩端翹頭。櫥面下兩具抽屜臉貼壺門式券口，悶倉立牆中加兩根短柱，分三段裝板。牙條光素，兩側掛牙曲線不繁，與屜上券口飾板遙相呼應。腿足方材，四腿八挓，厚重而不失挺拔。櫥具形如本例，抽屜之下設一空間封閉的「悶倉」的，統稱「悶戶櫥」；棖間加設立牆裝兩個抽屜的即為聯二櫥。此類櫥具既可陳設物品，又可用於貯藏，在明清時期極為流行，也是舊時必備的嫁妝之一。明《魯班經匠家鏡》插圖版畫中描繪了一件類似家具，上置鏡台，擺放於閨閣之中；見K.Ruitenbeek著，《Carpentry & Building in Late Imperial China: A Study of the Fifteenth-Century Carpenter's Manual Lu Ban Jing》，卷二，荷蘭，1993年，頁20，頁43。參考一件聯三櫥，比例及裝飾風格可與本例比對，見《Ming Furniture Ltd.》，紐約，1987年，頁15，編號12及圖錄封面。另見一例收錄於安思遠著，《Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasties》，紐約，1971年，頁163，圖版61。維多利亞與阿爾伯特博物館館藏一例約1550至1600年聯三櫥，見柯律格著《Chinese Furniture》，倫敦，1997年，頁84，可資比對。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
A bolt of silk yellow-ground brocadeLate Qing DynastyThe long bolt woven from gilt and polychrome silk threads in shades of green with intricate octagonal diaper designs enhanced with interlocking, zigzag and wave patterns on a rich yellow ground, one end with a seven-character inscription. 1420cm (559in) long x 71.5cm (28 1/8in) wide.Footnotes:清晚期 明黃錦地團壽紋緞匹料「蘇州織造臣奉曾」楷書繡款Provenance: Lieutenant-Colonel T.S. Cox, and thence by descentBonhams London, 12 May 2016, lot 256An important European private collection來源：T.S. Cox中校舊藏，並由後人保存倫敦邦瀚斯，2016年5月12日，拍品編號256歐洲重要私人收藏The inscription reads: '蘇州織造臣奉曾', which may be translated as 'Made by the Ministers of the Suzhou weavers'.Lieutenant-Colonel T.S. Cox graduated from Sandhurst Military Academy in 1892 and was commissioned in 1894 into the 16th Indian Cavalry, The Bengal Lancers. His noteworthy military service included in 1897, Tochi Field Force, N.W. Frontier; and in 1900, the China Expeditionary Force during the Boxer Rebellion, when he was awarded the US Military Order of the Dragon. In 1901 he was seconded as Advisor to the Chinese Government and awarded an Imperial decoration by Shanqi, Prince Su (1866-1922). In 1903 he was elected to the Royal Geographical Society. In 1903 he served as Captain in the Indian Army; between 1904–1907, he was posted in the D.M.O. War Office, London, the Balkans, Asia Minor, Somaliland, Abyssinia, Russian Central Asia, and Ottoman Middle East; in 1911 he was awarded the King George V Delhi Coronation Durbar medal. Between 1912-1913 he was posted in the Middle East and Central Asia. In 1915, he took part in the Gallipoli Campaign and in 1916 transferred to command the 37th Dogras. In 1917 he served in the Mesopotamian campaign and was wounded whilst serving in the Aden Field Force. In 1920 he served with the Waziristan Field Force, NW Frontier; in 1921 he transferred to command the 3rd Madras Regiment and in 1925 he retired from the Indian Army as Lieutenant-Colonel.Suzhou was an important weaving centre, especially during the Ming and Qing dynasties, when Imperial workshops were established there to produce silk fabrics for the highest-ranking members of society. Silks from the Imperial and official workshops were mainly used for Imperial attire, palace and temple furnishings, presentations and dress for the officials. It is recorded that, by the 18th century, Suzhou employed over four thousand workers and operated thousands of looms; see J.Mailey, Embroidery of Imperial China, New York, 1978, p.12.For a detailed discussion about silk weaving in Suzhou, see M.Dusenbury, Flowers, Dragons & Pine Trees: Asian Textiles in the Spencer Museum of Art, New York, 2004.Compare with a related silk brocade panel, late 19th century, in the Minneapolis Institute of Art, Minneapolis, illustrated by R.Jacobsen, Imperial Silks. Ch'ing Imperial Textiles in the Minneapolis Institute of Art, Minneapolis MS, vo.2, p.1140, no.572.蘇州織造是明清宮廷所設專為「上用」、「官用」製作綾羅綢緞的織造機構，直屬清宮總管內務府管轄，管理機戶織匠織造皇家服飾、宮廟陳設、及官員補服所用之緞匹。據記載，十八世紀，蘇州織造所轄工匠四千餘名，織機千計；見J.Mailey著，《Embroidery of Imperial China》，紐約，1978年，頁12。有關蘇州織造之詳述，參考M.Dusenbury著，《Flowers, Dragons & Pine Trees: Asian Textiles in the Spencer Museum of Art》，紐約，2004年。比較明尼阿波利斯美術館藏一例十九世紀晚期匹料，收錄於R.Jacobsen著，《Imperial Silks. Ch'ing Imperial Textiles in the Minneapolis Institute of Art》，卷二，2000年，明尼阿波利斯，頁1140，編號572。For further information on this lot please visit Bonhams.com
A BOLT OF SILK FUCHSIA-GROUND BROCADELate Qing DynastyThe long bolt woven from polychrome and gilt silk threads with intricate octagonal diaper designs enriched with interlocking, zigzag and wave patterns all on a fuchsia ground; together with two related sections woven with a seven-character inscription. 976cm (384 3/8in) wide x 72cm (28 3/8in) long. (3).Footnotes:清晚期 紅錦地團壽紋緞匹料「蘇州織造臣奉曾」楷書繡款Provenance: Lieutenant-Colonel T.S. Cox, and thence by descentBonhams London, 12 May 2016, lot 255An important European private collection來源：T.S. Cox中校舊藏，並由後人保存倫敦邦瀚斯，2016年5月12日，拍品編號255歐洲重要私人收藏The inscription reads: '蘇州織造臣奉曾', which may be translated as 'Made by the Ministers of the Suzhou weavers'.Lieutenant-Colonel T.S. Cox graduated from Sandhurst Military Academy in 1892 and was commissioned in 1894 into the 16th Indian Cavalry, The Bengal Lancers. His noteworthy military service included in 1897, Tochi Field Force, N.W. Frontier; and in 1900, the China Expeditionary Force during the Boxer Rebellion, when he was awarded the US Military Order of the Dragon. In 1901 he was seconded as Advisor to the Chinese Government and awarded an Imperial decoration by Shanqi, Prince Su (1866-1922). In 1903 he was elected to the Royal Geographical Society. In 1903 he served as Captain in the Indian Army; between 1904–1907, he was posted in the D.M.O. War Office, London, the Balkans, Asia Minor, Somaliland, Abyssinia, Russian Central Asia, and Ottoman Middle East; in 1911 he was awarded the King George V Delhi Coronation Durbar medal. Between 1912-1913 he was posted in the Middle East and Central Asia. In 1915, he took part in the Gallipoli Campaign and in 1916 transferred to command the 37th Dogras. In 1917 he served in the Mesopotamian campaign and was wounded whilst serving in the Aden Field Force. In 1920 he served with the Waziristan Field Force, NW Frontier; in 1921 he transferred to command the 3rd Madras Regiment and in 1925 he retired from the Indian Army as Lieutenant-Colonel.The Imperial court established a weaving and dyeing administration in Suzhou during the Ming and Qing dynasties, which was in charge of weaving silk fabrics for the highest-ranking members of society. The products included fabrics, Imperial robes, official costumes, and garments for daily use as well as for Imperial weddings and birthdays. For a detailed discussion about silk weaving in Suzhou, see M.Dusenbury, Flowers, Dragons & Pine Trees: Asian Textiles in the Spencer Museum of Art, New York, 2004.Compare with a related silk brocade panel, late 19th century, in the Minneapolis Institute of Art, Minneapolis, illustrated by R.Jacobsen, Imperial Silks. Ch'ing Imperial Textiles in the Minneapolis Institute of Art, Minneapolis MS, vo.2, p.1140, no.572.中國歷代都有為皇室營造服飾用品的專門機構，明清沿襲元代，於江寧營建皇家織造，後又陸續營建蘇州織造和杭州織造，合稱「江南三織造」，專為「上用」、「官用」製作綾羅綢緞。有關蘇州織造之詳述，參考M.Dusenbury著，《Flowers, Dragons & Pine Trees: Asian Textiles in the Spencer Museum of Art》，紐約，2004年。比較明尼阿波利斯美術館館藏一例十九世紀晚期匹料，收錄於R.Jacobsen著，《Imperial Silks. Ch'ing Imperial Textiles in the Minneapolis Institute of Art》，卷二，2000年，明尼阿波利斯，頁1140，編號572。For further information on this lot please visit Bonhams.com
A FINE AND RARE HUANGHUALI RECESSED-LEG TABLE, QIAOTOUAN17th/18th centuryThe table defined by a single plank top panel terminating in everted flanges, fitted to the legs and spandrels using the traditional bridle joint, supported on slightly-flared legs, joined by a recessed panel carved with openwork designs of entwined chilong. 100cm (39 3/8in) wide x 90cm (35 1/2in) high x 36cm (14 1/8in) deep.Footnotes:十七/十八世紀 黃花梨翹頭案Provenance: Grace Wu Bruce, Hong KongThe Feng Wen Tang collection, Hong KongChristie's Hong Kong, 3 June 2015, lot 2835An important European private collection來源：香港古董商嘉木堂香港奉文堂舊藏香港佳士得，2015年6月3日，拍品編號2835歐洲重要私人收藏The present table is notable for the attractive grain and rich honey colour of its prized huanghuali wood, the intricately-reticulated side panels, and the shaped spandrels which are joined in tongue-grooved fashion to the trestle legs, providing additional structural support.Long narrow rectangular tables with upturned flanges were popular in wealthy households during the Ming and Qing dynasty, demonstrating the high status of their owners. They are discussed in Wen Zhenheng's (1585-1645) influential 'Treatise on Superfluous Things' Zhang wu zhi, a 17th century guide to refined taste. In this work, Wen mentions that such tables were placed against a wall and underneath a painting, holding seasonal flowers, scholar's rocks or miniature tray-landscapes. Although Wen warned against the use of excessive carving, the lively openwork panels depicting entwined chilong on the present table balance the simplicity of the apron and spandrels.According to Sarah Handler, the design for this type of rectangular table derives from altar tables made from as early as the Eastern Zhou dynasty (771-256 BC). These early tables featured upturned ends and are depicted on archaic bronzes from this period, such as a bronze yi vessel dated to the Eastern Zhou period, illustrated by M.Fong, 'The Origin of Chinese Pictorial Representation of the Human Figure', Artibus Asiae, 1988, vol.49, fig.4, p.22. The use of upturned flanges, however, appears to have disappeared prior to the Ming period, when these long rectangular tables gained popularity. The flanges served as a reference to China's illustrious past, which enhances the table's commanding presence within the rooms; see S.Handler, 'Side Tables, a Surface for Treasures and the Gods', in Chinese Furniture: Selected Articles from Orientations, 1984-1999, Hong Kong, 1999, pp.200-209. The carved designs on this table display bold vigour and freedom. Compare the combination of interlocking angular scrolls on the shaped spandrels and the unusual depiction of a male, female and young chilong as seen on a related but larger qiaotouan table, Ming/Qing dynasty, in the Metropolitan Museum of Art, New York, illustrated by S.Handler, The Austere Luminosity of Chinese Classical Furniture, Los Angeles and London, 2001, p.237, fig.14:16. See also a related huanghuali table, Ming dynasty, in the Qing Court Collection, illustrated in The Complete Collection of Treasures of the Palace Museum. Furniture of the Ming and Qing Dynasties, Hong Kong, 2002, pp.156-157, no.136. A further example, Ming dynasty, is illustrated by G.Ecke, Chinese Domestic Furniture, Rutland, Vermont and Tokyo, 1962, pl.82. A related but larger huanghuali recessed-leg table, qiaotouan, 17th/18th century, was sold at Sotheby's London, 11 November 2015, lot 8.獨板案面翹頭，連牙條與腿夾頭榫結構，面下直牙，牙條與牙頭一木連做，沿口起陽線，花牙頭雕雲雷紋，銜接牙堵成環匝，直腿微微外撇，腿間管腳棖下鑲壺門形縧環板，內透雕螭龍紋，底棖下裝平素牙子，香爐式足。案面兩端帶有高起的翹頭，稱之為翹頭案。此類帶托泥、側鑲擋板的條案皆屬《長物誌》之「飛角平圓」的「天然几」；常見於明清大戶門第中，無論置於廳堂、兩廂乃至書齋，或陳設珍玩彝器，或書寫作畫，或如明文震亨於《長物誌》中所描繪的「置奇石，或時花盆景之屬」，用途不一。據Sarah Handler所稱，此種兩端高起的矩形桌案的原型最早可追溯至東周時期的供桌，可見於東周匜上紋飾，參考M.Fong著〈The Origin of Chinese Pictorial Representation of the Human Figure〉，收錄於《Artibus Asiae》，1988年，第49期，頁22，圖4。明以後，條案大量流行，翹頭的設計既有實用價值，增大了桌案在一室空間內的存在體量，又呼應了古代傳統，見S.Handler著，〈Side Tables , a Surface for Treasures and the Gods〉，收錄於《Chinese Furniture: Selected Articles from Orientations, 1984-1999》，香港，1999年，頁200-209。本例擋板精雕細琢，線條旋回流暢，刀法圓熟自如。紐約大都會博物館館藏一件明至清翹頭案，較本例尺寸稍大，同樣雕飾子母螭龍 ... 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
ANONYMOUSBrushwood Fence Beneath Fruiting Vine, Edo Period (1615-1868), 17th/18th centuryA two-panel folding screen painted in ink and silver on paper applied with gold and silver leaf, depicting a brushwood fence on a hill beneath fruiting vines and foliage; unsigned. 150cm (59in) high x 150cm (59in) wide.Footnotes:日本江戶時代，十七/十八世紀 藤曼植物圖 紙本設色 銀箔地雙折屏風Provenance: an important European private collection來源：歐洲重要私人收藏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
A metal thread embroidered black panel, probably Egypt, 20th century, of rectangular form, embroidered with gold and silver, with cartouches containing various verses from the Qur'an (surah al-Baqarah, II, v.255; surah al-Isra, XVII, v.81), 211cm x 185cm; and another Eastern large textile panel, of Kabbah cover form with stylised flower head decoration in silver and gold coloured thread, approximately 214cm x 161cm (2) Condition Report: The metal thread embroidered black panel looks to have been re-backed and with later border- possibly reduced in size slightly, threading has tarnished and frayed as has backing. The Eastern large textile panel slightly crumpled from folding but generally in good clean condition. Condition Report Disclaimer
A French Gothic coffret or missal box, in the 15th century style, hinged lid with inset carved softwood tracery panel, ebonised frame, interior with remnants of fabric lining, carved tracery sides, 15cms long, 11 cms wide, 6.5cms high. Condition Report: Strap hinge to inside should lock into place- then be released by handle swivelling to front- this is currently not aligning top with slight warp and inside of front showing loss Condition Report Disclaimer
Decorative ceramics including a pair of Japanese blue and white porcelain reticulated censors and covers, 10cm wide; a Samson mug 11.5cm high, two Samson boxes, largest 16cm wide and another 18th century patch box, small floral painted framed panel 10cm wide, Dutch delft flower holder 16cm high and an Italian strawberry ornament (9) Provenance: The Collection of Countess Veronica Munster Condition Report: Except where noted there is typical wear form handling and rubbing to gilding and extremities. Large Samson box- top looks to have been re-glued; patch box very damaged; delft flower holder restored to finials and feet and with fritting edges; strawberry ornament damaged. Condition Report Disclaimer
After Wouvermans Horsemen Oil on oak panel 16 x 11.5cm (6¼ x 4½ in.) Provenance: Berwick House, Shropshire Condition Report: dirty- panel movement and paint lift ripple across centre- losses to paint to upper left and bottom margin- paint surface is odd- suggesting it might be an overpainted print Condition Report Disclaimer
A walnut and feather-banded corner cabinet, mid-18th century and later, the door inset with a floral embroidered panel and enclosing shelves, 105cm high, 71cm wide Condition Report: Marks, knocks, scratches, abrasions, consistent with age and use, Please note the panel is associated and sat inside the glass supported with 20th century tape which has perished, this would require a more permanent method of securing before installation and use in a domestic setting. the panel with fading and sun damage, Some chips and losses, old splits and cracks, some losses to veneers The glazing is later with some later timber to the internal of the door It has later hanging hooks to the top and also the back boards have been drilled through apparently as screw holes The lock appears to be original, there is a key present that operates at time of report Please refer to additional images for visual reference to condition Condition Report Disclaimer
George III mahogany bedside commode, 55.5cms wide, 78cms high, 48cms deep. Condition Report: Water damage and stains throughout- top with further ring marks, top doors lacking original catch fittings, base section with split drop-in panel to pull out drawer- shrinkage cracks throughout Condition Report Disclaimer
A George III mahogany bedside night commode, circa 1780, with galleried top and inset silk panel, 76cm high, 55cm wide, 45cm Provenance: Property from the collection of the late Mr. & Mrs. John da Silva Condition Report: Raised gallery and silk later- shrinkage cracks- notably to sides- uneven sunlight discolouration and wear to extremities throughout Condition Report Disclaimer
Royal Crown Derby porcelain including a blue ground oviform two handled vase, painted with two panels of flowers within gilt scroll cartouches, the cover and foot with gilt foliage, 1901, 25.5cms high; a pair of shield shaped vases, gilt with birds and scattered flower sprays on blue ground, 1902, 16cms high; and a pair of oviform vases, painted with a panel of flowers on a blue ground, 9.5cms high (5) Provenance: Berwick House, Shropshire Condition Report: Pair of shield shape vases have had lids glued to bodies. UV is showing signs of glue or other material just visible beneath the lids but as they are fixed we cannot advise on whether there may be damage/restoration. Pair shield vases one with visible hairline to upper left corner of gilded panel. UV showing no other signs of restoration. Some rubbing to raised gilding notably to finial of lid of large vase. All will benefit from a clean as they are very dusty. Condition Report Disclaimer
A late 19th century French gilt metal and bevelled glass cased liquor set, hinged fold over top and sides enclosing lift out fitted interior, no glass fitments, 38cms wide, 30cms high and 30cms deep. Condition Report: Will benefit from a clean, lacks decanters and glasses, gilding rubbed, key mechanism inoperative, glass base to pull out section broken. Top glass panel showing losses to one corner when panel is moved. Condition Report Disclaimer
20th Century French brass cased carriage clock with white Roman dial, 11cm high excluding handle, with key Condition: Some signs of oxidisation to the brass, small chip visible to the front glass panel, the white dial having some staining and a few marks, movement not tested or guaranteed, please check the extra images provided prior to bidding which may show some condition issues. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Needlework sampler worked in petit point by Ann Pocock, 1844, 43.5cm x 33.5cm Condition: Darkening to the centre of the panel, numerous losses to linen, most noticeable to right hand side of centre and bottom and right hand margins. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Late 19th Century mahogany stick barometer by Frederick J. Cox, London, 88cm high Condition: Ivory panel with staining and discolouration, metal elements, tarnishing and corrosion. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Pair of Chinese late Qing Dynasty yumu (Northern elm) 'Official's Hat' armchairs, 113cm high, together with a two-tier tea table, 79cm high Condition: General chips, scratches and knocks to the chairs and to the tea table, signs of cracking to the central seat panel of one of the chairs, the tea table having light scratches, and general knocks, chips to the woodwork, with some dents and stain to all, please check the extra images provided prior to bidding which may show some condition issues. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
19th Century British School - Naive study of a gypsy girl holding playing cards, oil on panel, 16cm x 12cm, framed and glazed Condition: Overall crazing to panel, some splits and losses to lower edge, splits to left margin, frame with losses, scratches and becoming loose at joints. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Modern machine made wool rug having central oval panel decoration on a red ground, 160cm x 230cm Condition: Would benefit from a clean, having a modern carpet rights sticker to the back, discolouration in places, please check the extra images provided prior to bidding - **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Belgian 'Super Keshan' machine made wool rug, having floral decorative central panel with floral border, on a cream and orange ground, 174cm x 363cm Condition: Discolouration in places, would benefit from a clean, please check the extra images provided prior to bidding which may show some condition issues - **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Silver bracelet having five rope-edged amber-coloured panels between belcher links, each panel approx 24 x 17 x 8mm, total length 18cm excluding fastenings, together with a similar pair of oval cabochon earrings (2) Condition: General light wear including to surface of panels, visible internal flaws, material not tested or guaranteed. **Silver, Gold and Jewellery - The presence of manufacture or assay marks indicating purity are taken to be accurate but no guarantee is implied or given. Weights are taken via our electronic scales as a guide - but we are selling objects, not quantities - and so these are provided for reference only and do not form part of the bidding contract. Precious stones may have been tested via a GemTrue or Presidium tester but, unless specifically stated, no further laboratory reports or certification accompany the item or should be inferred. Corundum family stones (sapphire-ruby), emerald and other coloured gemstones can be natural or artificial, treated or untreated, and we do not offer any warranties as to the origin or treatment of such stones sold at auction. Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Mixed collection of Oriental wares to include inlaid lacquer panels, pair of inlaid metal vases, collection of modern hardstone trinkets etc Condition: Panel with chips to side, cracks, splits and losses to inlay, significant in places. Vases with numerous surface scratches, box with knocks, surface scratches and losses. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
19th Century Continental Biedermeier influence chest of drawers, 103cm x 55cm x 77cm Condition: Overall wear, scratches, water damages to top, fading to front, splits to veneer on right hand corner, and right side panel, also splits on top, numerous losses and nibbles to edges. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
George III mahogany linen press, having two short and two drawers, 201cm high x 118cm wide Condition: In need of restoration, various scratches, chips and damage to the woodwork in various places across the whole piece, doors appear warped and don’t stay locked, signs of discolouration in places, small brass handle panel appears to be loose, signs of discolouration in places, cornice having various chips etc, would strongly advise checking the extra images provided prior to bidding which may show some condition issues and telephoning the saleroom prior to bidding - **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Edwardian walnut dressing table, together with rouge marble top wash stand, 120cm x 50cm x 180cm overall (dressing table), 117cm x 107cm x 51cm x 135cm overall (washstand), and a wardrobe 137cm wide x 46cm deep x 210cm high (3) Condition: Dressing table some losses to cornice of mirror, top with scratches, scuffs and indentation, would benefit from professional repolishing, sides with further scuffs and scratches. The dressing table with signs of fading to front and with scratches to towel rail. Wardrobe cornice with numerous indentations and losses to top edge, also cracks and splits noted, further losses to moulded edges at top and bottom, split on right hand side panel at top and significant split running length of left side panel, further split to left hand side of front, also areas of fading, Armoire - various knocks and scratches present across the whole piece in various places, no major signs of cracking to the mirror, splits present to the decorative panel on the left, various splinters to the wood, with split to the left hand side, inside appears to have replacement hanging rails, light scratches and staining present, drawer opens and closes well, **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
19th Century mahogany hall cupboard, 220cm high x 108cm wide x 35cm deep Condition: Overall tired, numerous scratches, scuffs, stains to front panels, splits to right hand side panel, plinth base with heavily scuffed scratched and knocked, interior with replacement shelves, the pitch pine panel back with gaps and the cupboard is not particularly sturdy and would benefit from strengthening - **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Early 19th Century silk work panel of the Madonna and child, 53.5cm x 41cm, framed and glazed Condition: Tears to silk on faces of subjects, areas of discolouration, the gesso frame with numerous cracks and losses. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Early 20th Century inlaid mahogany table top cabinet, 35cm x 26cm x 38cm Condition: Please note this cabinet has a brammah lock for which there is no key. The cabinet is locked and we have been unable to open it. Exterior with fading to top, front and sides, numerous surface scratches, scuffs and dents, also water damage to top panel. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
19th Century oak desk box, 23cm high Condition: Flap front sits awkwardly slight splits to side panels and base panel, overall wear and discolouration, scratches and losses to mouldings, tambour front doesn’t fit correctly - **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Wedgwood rustic circular ceramic panel decorated with rabbits and ducks, together with a Devon lustrine vase, Carlton Ware floral decorated jar etc Condition: The panel having dirt with some scratches, the Dresden dish having hair line cracks with general scratches and loss of decoration, all pieces having loss of decoration in places, and crazing to the glaze, please check the extra images provided prior to bidding which may show some condition issues. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
19th Century oak two-tier buffet, 103cm x 45cm x 125cm Condition: Cracks, splits, discolouration and staining to top panel, further panels have been roughly cut with abrasions and gaps, numerous scuffs, scratches, discolouration and stains. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Inlaid mahogany dome top lidded box, having central decoupage panel showing classical chariot scene, 28.5cm wide Condition: Loss of decoration in places, with some dents and scratches in various places across the whole body, key missing, please check the extra images provided prior to bidding which may show some condition issues - **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
Victorian walnut twin pedestal desk, inset writing panel, 75cm x 127cm x 61cm approx Condition: The top having some bubbles present in the writing top, with some light scratches and dents in places, all drawers appear to open and close well with some having the drawer stoppers missing, some of the wooden knobs are damaged, with a large chunk missing from one, overall body having light and deep scratches with various scuffs, chips and knocks to the woodwork, with some stains present, please check the extra images which may show some condition issues. **Due to current lockdown conditions this is an online-only sale and bidders are only able to view lots by appointment. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.
A World War I silk and embroidered panel titled "Alies Souvenir" the centre with hand holding Russian, French, British, Belgian and Japanese flags, framed together with an early 20th Century Boy Scouts poster certificate for 45th Nottingham division and a George V City of Sheffield Education Committee Time Table for June/July 1935 regarding inspection of Bents Green School, framed (3)
Loading...-
360412 item(s)/page