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STAINED WOOD WINDOW SEAT, 45cm wide

A Promemoria contemporary Italian designer Pierre stool with leather seat, and maker's mark and plaque, L63cm, H48cm, D36cm

A painted composite and wood elephant seat, L160cm, H55cm

An Edwardian mahogany piano stool, with upholstered seat and carved panelled fall-front, W55cm, H56cm, D35cm

An Antique oak hall chair, with relief carved back, panelled seat, and iron mounts

A 19th century Coalbrookdale long bench, on 3 shaped iron legs, L285cm, H81cm, seat height 43cm and depth 27cm

An oak turner's chair with leather seat

A large Continental style carved giltwood and upholstered settee, on 6 scrolled feet, L270cm, H113cm, seat height 50cm and depth 84cm

BELMONT - A Vintage barber's chair with headrest, and a child's seat, circa 1950s

An Antique stained beech elbow chair, with spindle back and tapestry seat, a black laquered octagonal 2-tier table and a brass hanging light fitting (3).

A George Smith Bulgari brown leather upholstered button-back Chesterfield settee / sofa, with 2 loose cushions, on turned mahogany legs with brass casters, L215cm, H85cm, seat height 53cm and depth 73cm

A Parisian painted wrought-iron garden triple conversation seat, with central marble-top table

Sherborne - tan leather-upholstered wingback 2 seater settee, on cabriole legs, L132cm, H103cm, seat height feet 50cm and depth 54cm, label to the side of the settee

A Victorian walnut prayer chair, with upholstered back and seat, and barley twist columns, and an Edwardian nursing chair

A childs American rocking chair. Condition Report - The springs are working, slight ware and surface scratches to the wood. The upholstered seat is threadbare in places, mainly round the edges on the seat and a full line running across the front edge.

A twin bench seat with upholstery, approximately 90 cm x 107 cm x 52 cm.

An early 20th century folding campaign chair with button down leather seat and brass fittings, bearing plaque marked 'Great Eastern, Liverpool 1811', after a design by J Herbert MacNair. In need of some attention.

A FINE PAIR OF HUANGHUALI YOKEBACK ARMCHAIRS, NANGUANMAOYI17th centuryEach with a curved crest rail supported on curved rear posts and s-shaped splats, the arm rails supported on slender, tapering standing stiles terminating in the front posts above the soft-mat seat, above a plain apron of square section, all raised on legs of square section joined by straight stretchers and a plain footrest. 122cm (48in) high x 61.5cm (24 2/8in) wide x 47.5cm (18 5/8in) deep. (2).Footnotes:十七世紀 高靠背南官帽椅成對Provenance: an important European private collection來源：歐洲重要私人收藏Displaying restrained lines and generous yet balanced statuesque proportions, and enhanced by the rich lustre of the huanghuali honey-coloured wood, the present pair of chairs embodies the search for simplicity through the beauty and elegance of form, quintessential embodiments of the Ming dynasty timeless aesthetic. The 'Southern official's hat' armchair is one of the most prestigious forms of Chinese furniture. Whereas many armchairs of this form feature thick members and rigid lines, the present pair, displaying slender and elegant curves, has a most refined aesthetic, and represents among the most graceful examples of this design. The entirely uncarved surfaces also suggests that the carpenter appreciated their beauty in form and material. This particular design of nanguanmaoyi chairs differs from the 'official's hat' armchair guanmaoyi in that the crestrails continue into the back posts, as opposed to extending horizontally beyond them. In addition, creating the continuous line of the crestrail joining into the rear upright posts is achieved by a rounded, right-angle joint called a 'pipe-joint,' which is also used to join the curved arms to the front upright posts. According to Sarah Handler, the Chinese yokeback chair was considered the stately seat of Buddhists, deities, royalty and important people; see S.Handler, Austere Luminosity of Chinese Classical Furniture, Hong Kong, 2001, p.43. Discussing the origin of this form, Robert Jacobsen and Nicholas Grindley refer to bent bamboo construction, popular in the Song and Ming dynasties, as a possible inspiration for the continuous top and arm rails which is a principal feature of 'Southern official's hat' armchairs. An illustration from the 'Legend of the Jade Hairpin' Yuzan Ji, dated circa 1570, depicts a pair of speckled-bamboo tall-back chairs with continuous crestrails; see R.Jacobsen and N.Grindley, Classical Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis, 1999, pp.52-53. Compare with a pair of very similar huanghuali 'Southern official's hat' armchairs, early 17th century, of similar proportions and shaped aprons and spandrels as the present examples, in the Minneapolis Institute of Arts, illustrated by R.Jacobsen and N.Grindley, Classical Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis, 1999, pp.52-53. See also another nearly-identical pair of huanghuali 'Southern official's hat' armchairs, 17th century, which was sold at Christie's Hong Kong, 28 November 2012, lot 2026.此對南官帽椅全身光素，彎弧優美，屬於高靠背南官帽椅的標準式。搭腦中成枕形，素麵三彎靠背板嵌入搭腦下方及椅盤後大邊的槽口。後腿上截以挖煙袋鍋榫連接搭腦兩端，向下穿過椅盤成為腿足；三彎弧形的扶手與前腿鵝脖同樣也以挖煙袋鍋榫連接，後端出榫接入後腿上截，中間支以三彎形上細下大的圓材聯幫棍。椅盤為格角榫攢邊框，邊抹冰盤沿上舒下斂底壓窄邊線，四框內緣踩邊打眼造軟屜。座面下安券口牙子，沿邊起線，上方齊頭碰椅盤下面，二側嵌入腿足，底端出榫納入踏腳棖。左右兩面安相似券口牙子，後方為短牙子。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。作為中國古典家具中最負盛名的形式之一，南官帽椅線條優美、造型舒展，通過明快而優雅的形式體現了明代家具簡練、純粹的美學追求。此對高靠背南官帽椅結構嚴謹、用材細緻，既通過造型高大顯示其挺拔俊秀，又兼具靈動線條傳達出的娟秀雅緻；寬厚的靠背板紋理流暢，亮澤如蜜，更見木材天然韻致，盡現傳統中國家具之經典。官帽椅有搭腦和扶手都出頭的「四出頭」、以及四處無一出頭的南官帽椅之別；南官帽椅的搭腦、扶手和前後腿以悶榫角接合的正角榫接做法，匠師據其形象稱之為「挖煙袋鍋」。據Sarah Handler考證，官帽椅主要為供奉神明及王公貴族... 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 PAIR OF LARGE HUANGHUALI SQUARE STOOLS, FANGDENG17th/18th centuryEach with a square frame enclosing a hard-mat seat with double reeded aprons wrapping completely around the exterior of the piece to simulate bamboo, the wrap-around stretchers joined to the apron by two pairs of interlocked-ring struts on each side, all supported on four legs of circular section. 62.9cm (24 6/8in) square x 48.3cm (19in) high. (2).Footnotes:十七/十八世紀 黃花梨直足裹腿方凳成對Provenance: an American family collection, acquired in Beijing before 1945Sotheby's New York, 15 September 2015, lot 168An important European private collection來源：美國家族私人舊藏，1945年前購於北京紐約蘇富比，2015年9月15日，拍品編號168歐洲重要私人收藏Distinguished by their simple elegance and the refined geometry of their design, complemented with interlocking circular braces, the present stools are a rare and remarkable example of their particular type. Corner-leg stools were highly popular during the Ming dynasty. They were stable and durable due to their apron and waist carved from a single piece of wood. The form of the present pair of stools suited them well to a variety of settings, due to their simple yet sturdy shape, and examples exist with both soft and hard-mat seats, with and without stretchers, and with and without carved surface decoration.Stools have a long history in China, with the earliest examples depicted on a ritual vessel of the Eastern Zhou period (770-221 BC). In later times, stools were variously used as seats for Buddhist deities and high-ranking members of society. Their relatively small size made these seats perfectly adaptable to being moved from indoors to outdoors, where they often served as both seats and small tables during scholarly gatherings. For a discussion about the evolution of stools in China, see S.Handler, The Austere Luminosity of Classical Chinese Furniture, Berkeley and London, 2001, pp.82-102. The combination of interlocking-ring braces decorating the present stools may have been inspired by earlier furniture designs. An altar table excavated from an underground chamber of a pagoda in Yuegezhuang, Fangshan, dating to circa 1110 AD, displays a similar combination of vertical struts and interlocking braces to the present stools; see Wang Shixiang, 'Development of Furniture Design and Construction from the Song to the Ming', in Chinese Furniture. Selected Articles from Orientations 1984-1999, Hong Kong, 1999, pp.42-55. A pair of similar stools, early Qing dynasty, is illustrated by Wang Shixang in Classic Chinese Furniture; Ming and Early Qing Dynasties, London, 1986, vol.2, p.21, no.A11.Compare with a pair of huanghuali stools of similar shape, 17th/18th century, illustrated by R.H.Ellsworth, Chinese Furniture, New York, 1970, pl.114. A related pair of huanghuali stools, 18th century, was sold at Sotheby's New York, 23 March 2011, lot 676.方凳成對，攢框裝硬屜，邊抹混面，採用「垛邊」的造法，飽滿渾圓。腿足亦用圓材，羅鍋棖用裹腿做。每面棖上兩根矮老，中間安雙環卡子花。圓裹腿的黃花梨杌凳，又被追溯為仿竹製傢俱，邊抹腿足均為弧面，圓潤清新。裹腿是比較考究的製作工藝，垛邊的造法增加了邊抹的厚度，既加固了穩定性，又在與裹腿相呼應的同時避免了厚重之感，顯得輕盈而精巧。棖上加裝矮老和卡子花，以代牙條。據考證，矮老早在遼金時期就已出現；建於約1110年的房山岳各莊遼塔中發現一例供案，就已使用矮老。至明代已成為一種常用構件，或代之以各式卡子花，即裝飾化的矮老，俊俏疏透，不落繁俗。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42-55。參考一對清早期直足裹腿方凳，收錄於王世襄著，《明式家具珍賞》，倫敦，1986年，卷二，頁21，編號A11；以及一對十七至十八世紀黃花梨方凳，收錄於安思遠著，《Chinese Furniture》，紐約，1970年，圖版114。一對十八世紀黃花梨直足裹腿方凳，售於紐約蘇富比，2011年3月23日，拍品編號676，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

AN EXTREMELY RARE HUANGHUALI LOW-BACK CONTINUOUS YOKEBACK ARMCHAIR, NANGUANMAOYI17th centuryThe highly-curved round-cornered top-rail pipe joined to the stiles, which continue through the seat frame to become the back legs, the elongated round-cornered S-shaped arms mitred, mortised and tenoned to the stiles and pipe-joined to the posts, similarly continuing through the seat to become the front legs, the sockets in the seat frame and the underside of the arms supported by a pair of tapering S-shaped circular supports, the back splat with two beaded-edged stretchers mortised and tenoned to the underside of the top rail and the back rail of the seat frame, further divided into three sections with a pair of horizontal beads-edged mitred stretchers, the top inset with a reticulated panel decorated with a foliate design above a central burlwood panel and a cusped leaf-shaped apron below the lower stretcher, the seat frame of standard mitre, mortise and tenon construction with the edge slightly curving and tenons exposed on the short rails, a plain apron with mitred spandrels butt-joined to the underside and tongue-and-grooved to the legs beneath the seat, the sides and back with similar aprons, the legs joined in front by a shaped footrest above an apron, each side fitted with a pair of oval stretchers flattened on the underside, the back with a similar single stretcher. 93cm high (36 5/8in) x 56.3cm (22 1/8in) wide x 45.3cm (18in) deep.Footnotes:十七世紀 黃花梨攢靠背南官帽椅Provenance: Grace Wu Bruce, Hong KongThe Museum of Classical Chinese Furniture, Renaissance, CaliforniaChristie's New York, 19 September 1996, lot 36Sotheby's Hong Kong, 6 April 2016, lot 103An important European private collectionPublished and Illustrated: Wang Shixiang and C.Evarts, Masterpieces from the Museum of Classical Chinese Furniture, Chicago and San Francisco, 1995, pp.68-69來源：香港古董商嘉木堂中國古典家具博物館，美国加州Renaissance紐約佳士得，1996年9月19日，拍品編號36香港蘇富比，2016年4月6日，拍品編號103歐洲重要私人收藏出版著錄：王世襄及柯惕思，《中國古典家具博物館館藏精品》，芝加哥及舊金山，1995年，頁68 – 69Characterised by elegant lines and generous yet balanced proportions, this magnificent armchair displays painstaking and delicate workmanship, conveying a highly-refined aesthetic pervaded with a strong sense of Court atmosphere. A variant of the 'yokeback' chair, the 'Southern official's hat' seat is one of the most highly-accomplished forms of Chinese furniture construction. Comfortable, elegant and somewhat less formal than tall yokeback chairs with extended arms and top rails, the 'Southern official's hat' seat displays elegant proportions without a heavy appearance. The crestrail of this graceful seat appears to blend seamlessly into the back posts, as opposed to extending beyond them, As with the 'official's hat' counterpart. This effect was achieved through the use of the so-called 'pipe-joint,' a right-angle joint which also connected the curved arms to the front upright posts. Yokeback armchairs were used since at least the Northern Song dynasty as seats for emperors, deities, high-ranking officials. Their relatively-straight back forced the body to assume a posture of upright rectitude, thus inevitably bestowing honour, dignity and power on the dignitary sitting on it. These chairs were usually made in sets of four or more, arranged in the reception hall for guests, with the hosts and guests respectively seated in the north and south side of the hall. However, towards the end of the Ming dynasty, this arrangement was altered to an east-west configuration. For a comprehensive view of the evolution of the yokeback chair, see S.Handler, 'A Yokeback Chair for Sitting Tall,' in Journal of the Chinese Classical Furniture Society, Spring 1993, pp.4-23.It is very unusual for a 'Southern official's hat' armchair to have three-sectioned backsplats, a feature more frequently associated with 'horseshoe-back' examples. Here the upper section is carved with a reticulated ruyi medallion; the middle section is set with an attractive burlwood panel exhibiting highly-figured 'grape-like' grains; and the lower section is defined by an arched apron. This elaborate design was probably adapted to fit the aesthetic taste of the owner and may have been inspired by a 'continuous yokeback' armchair depicted in a woodblock illustration from 'Journey to the West' Xiyou Ji (1573-1619) illustrated by Chu-Pak Lau, Classical Chinese Furniture from the Haven Collection, Hong Kong, 2016, p.98.Compare with a set of four huanghuali 'Southern official's hat' armchairs, 17th/18th century, in the Hong Kong University Museum, which display a related tripartite design for the backsplats, illustrated in Ibid., p.99, no.17.大彎弧形的圓材搭腦兩端以挖煙袋鍋榫連接後腿上截，穿過椅盤成為腿足。三彎弧形的圓材扶手飄肩出榫納入後腿上截，前端以挖煙袋鍋榫與前腿鵝脖連接，穿過椅盤成為腿足，扶手中間支以三彎形上細下大的圓材聯幫棍。靠背板由三段攢成，上段鑲鏤空如意紋牌，中段鑲楠木癭子，下段鑲葉紋亮腳。靠背後方掛麻披灰。椅盤為標準格角榫攢邊框，四框內緣踩邊打眼造軟屜。冰盤微起混面，抹頭見透榫。座面下帶耳形牙頭的牙條，左右兩側及後方安相似短牙條。前方腿足間施踏腳棖，下有一素牙子，左右兩側各安二根底面削平橢圓... 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 HORSESHOE-BACK ARMCHAIR, QUANYI17th centuryWith 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 panel enclosing entwining chilong dragons, the back corner posts continuing below the rectangular frame set with a mat seat, to the back legs joined by stretchers and a footrest with plain shaped apron. 94cm (37in) high x 60cm (23 5/8in) wide x 45.5cm (18in) deep.Footnotes:十七世紀 黃花梨圈椅Provenance: Sotheby's Hong Kong, 5 April 2015, lot 2848An important European private collection來源：香港蘇富比，2015年4月5日，拍品編號2848歐洲重要私人收藏Armchairs like the present example are timeless in the simplicity and elegant balance of their lines. Known as 'horseshoe-back armchairs' quanyi, these seats are particularly attractive for the fluidity of their form achieved through the continuous curved crest rail that also functions as an armrest. Quanyi chairs were often made in sets of two or four and are depicted in woodblock illustrations dating to the Ming and Qing dynasty, showing their use in the context of activities related to dining, painting or receiving guests. Horseshoe-back chairs displayed high status and with the addition of two carrying poles, they were easily converted into sedan chairs reserved for high-ranking officials; see C.Clunas, Chinese Furniture, London, 1988, p.24.The elegant design of the present seat was probably inspired by chairs of nearly-identical shape made of varying lengths of bamboo, which were subsequently bent into a 'U'-shape and bound together using natural fibres. These seats were highly regarded for their lightweight, sturdy and strong appearance, so the cabinetmakers quickly adapted this design to hardwood furniture using ingenious joinery techniques. The continuous back was obtained by fitting the members together with a cut-out to accommodate a tapered wood pin that, once inserted, locked each part firmly in place. A lacquer coat was then applied to the surface crest rail so as to make invisible the underlying joinery. The complexity of this technique called for utmost precision, since any slight error in the angle of any of the joints was magnified by the adjoining members; see Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, pp.43-45.The present chair is distinguished by the attractively-figured grain on the backsplat and the precise carving of the ruyi-form medallions. Quanyi chairs were either left undecorated or carved on the splats and aprons with raised designs, such as the present seat. The subjects selected to decorate such chairs included interlocking archaistic designs, floral scrolls, entwined chilong and writhing dragons. According to Robert Ellsworth, these designs were an innovation of the late Ming period; see R.H.Ellsworth, Chinese Furniture. Hardwood Examples of the Ming and Ch'ing Dynasties, New York, 1971, p.86. The author further observes the similarities between the curvilinear apron of quanyi chairs, which the present example also displays, with its counterpart found on Tang period tables, such as the example in the Shōsōin Treasure House, Nara, illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkley, 2001, pl.12.6.Compare with a single huanghuali horseshoe-back armchair, 17th century, similarly decorated with finely-carved ruyi medallions enclosing pairs of sinuous chilong, formerly in the collection of Robert H. Ellsworth, which was sold at Christie's New York, 18 March 2015, lot 139. See also a pair of huanghuali horseshoe-back chairs, 17th century, which was sold at Christie's New York, 16 March 2017, lot 607.圈椅扶手三接，兩端出頭迴轉收尾。靠背板上端作葵形開光，內鏟地浮雕雙螭圖。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，扶手左右支以三彎形上細下大的圓材聯幫棍。椅盤下的券口牙板浮雕卷草​​紋，並沿輪廓線起一道陽線為飾，兩側面則裝光素的券口牙子。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。質量輕便、結構堅實的圈椅是明清時期最為經典的家用坐具之一，無論場合是否正式皆可適用，並常見於明代書籍版畫插圖之中。圈椅還可用作高階官員的轎椅，作為其尊貴身份的象徵，見柯律格著，《Chinese Furniture》，倫敦，1988年，頁24。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。楔釘榫是將兩片榫頭盡端有小舌的榫頭合掌式地交搭，小舌入槽後要能緊緊貼合，使榫頭不能上下移動，然後在搭口中部剔鑿方孔，將一枚斷面為方形的頭粗而尾稍細的楔釘貫穿過去，使এ... 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 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

A VERY FINE AND RARE HUANGHUALI YOKEBACK ARMCHAIR, GUANMAOYI17th centuryWith a well-carved protruding crestrail supported on a broad S-shaped splat and curved rear posts continuing to form the rear legs, the curved arms supported on tapering stiles and curved front posts continuing through the seat frame to form the front legs, the seat frame enclosing a soft-mat seat above a shaped apron and spandrels, the legs joined by stepped stretchers on the sides and a footrest on the front. 115cm (45 2/8in) high x 59cm (23 2/8in) wide x 44cm (17 3/8in) deep. Footnotes:十七世紀 黃花梨四出頭彎材官帽椅Provenance: Grace Wu Bruce, Hong Kong Sotheby's London, 13 May 2015, lot 115An important European private collection來源：香港古董商嘉木堂倫敦蘇富比，2015年5月13日，拍品編號115歐洲重要私人收藏Huanghuali yokeback armchairs such as the present example convey timeless elegance through the simplicity and balance of their lines which represents spare but opulent aesthetic of the Ming elite. They are distinguished by their large size, the generous sweep of the crestrail, well-shaped terminals and elegantly-curved front and back posts. The remarkable level of carpentry of this chair is also visible in the plain S-shaped back splat, which is carved from the same piece of wood and tongue-and-grooved into the underside of the top rail and tenoned to the back member of the seat frame. In addition, only four pieces of wood were used for the four verticals of the front legs and front arm-posts, back legs and back posts, with each vertical passing through the frame of the seat. Referring to the winged hat of the formal attire worn by Ming officials, the term guanmaoyi conveyed status and authority associated with the highest-ranking classes in China. Prior to the Ming dynasty, yokeback armchairs served as seats for Imperial family members and deities. Gaozong's empress (Gaozong r. 1127-1162), for example, is depicted gracefully seated on a yokeback armchair in one of a series of portraits of Song dynasty Imperial figures in the National Palace Museum, Taipei; see S.Handler, Austere Luminosity of Classical Chinese Furniture, London, 2001, p.46, fig.4.4.Illustrations included in literary sources of the Ming and Qing dynasties frequently show armchairs like the present example next to large tables in sumptuous reception halls, and beside writing tables in a scholar's studio. See, for example, a woodblock print in the 1616 edition of the 'Golden Lotus' Jin Ping Mei, depicting the main male character and his principal wife seated on a guanmaoyi chair while dining with his secondary wives and concubines seated on stools, illustrated by C.Clunas, 'The Novel Jin Ping Mei as a Source for the Study of Ming Furniture, in Chinese Furniture: Selected Articles from Orientations 1984-2003, Hong Kong, 2004, p.118, fig.8. For a general discussion about the basic model and decorative vocabulary of guanmaoyi armchairs, see C.Evarts, 'From Ornate to Unadorned', Journal of the Chinese Classical Furniture Society, Spring, 1993, pp.24-33.Compare with a nearly-identical huanghuali yokeback armchair, late 16th-early 17th century, in the Museum of Fine Arts, Boston, illustrated by N.Berliner, 'When Vernacular Meets Fine: Thoughts on Chinese Furniture Studies', Chinese Furniture: Selected Articles from Orientations 1984-1999, Hong Kong, 1999, pp.215, fig.11. A similar huanghuali yokeback chair, 17th century, was sold at Sotheby's New York, 20 March 2012, lot 127.主體以圓材製作，素面三彎靠背板嵌入搭腦下方與椅盤後大邊槽口，後腿上截穿過椅盤作肩出榫納入彎弧搭腦，三彎弧形的扶手同樣作肩出榫接合後腿上截，前方接前腿鵝脖，穿過椅盤成前腿足，中間支以三彎形上細下大的圓材聯幫棍。椅盤為格角榫攢邊框，抹頭見透榫，邊抹冰盤沿上舒下斂底壓窄邊線，四框內緣踩邊打眼造軟屜。座面下安券口牙子，沿邊起線，上方齊頭碰椅盤下面，二側嵌入腿足，底端出榫納入踏腳棖。左右兩面安相似券口牙子，後方為短牙子。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。官帽椅，顧名思義，是由於像古代官吏所戴的帽子而得名。四出頭官帽椅，以其簡潔的結構和協調的造型傳達出驚人的現代性，體現了明代文人逸士古雅雋永的美學追求。有別於更為常見的直材四出頭官帽椅，本拍品構件纖細，但彎曲程度大，製作時需用大料搜挖，以實現「柔婉」的效果，為堅硬的木材賦予了彈性之美。官帽椅歷史上常與中國統治階層的崇高地位息息相關。明代以前，官帽椅多用作皇室貴冑之坐具。台北國立故宮博物院館藏一件宋高宗後坐像，描繪了高宗皇后端&... 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 FINE AND RAIR PAIR OF HUANGHUALI 'LAMPHANGER' CONTINUOUS YOKEBACK CHAIRS, DENGGUAYI17th centuryEach fitted with a stepped crest rail extending beyond the corner posts, above the gently curved splat and hard mat seat set within the rectangular frame, with shaped, beaded aprons and spandrels in the front, plain aprons and spandrels on the sides and back, all supported on legs of rounded section joined by stepped stretchers. 112cm (44in) high x 52cm (20 1/2in) wide x 45cm (17 6/8in) deep (2).Footnotes:十七世紀 黃花梨燈掛椅成對Provenance: an important European private collection來源：歐洲重要私人收藏'Lamphanger' chairs derive their name from the bamboo furniture used to suspend lamps in China. Such 'lamphangers' were often used in the Jiangnan region in the lower section of the Yangze river. Easily transportable and less formal than armchairs, side chairs such as the present examples would have been made in sets and placed against the wall. They were easily accessible when required, yet were slim enough in profile to prevent overcrowding within an interior space. Perhaps due to their relatively fragile design and lack of armrest supports, side chairs such as the present examples are rare.The present chairs are constructed in the classical Ming style, with the S-shaped crestrail terminating crisply in a truncated round section. The highly-figured and matched backsplats were made from one large piece of huanghuali. In addition, the seat frame is a mortise-and-tenon mitred frame supported by straight aprons on the underside.Woodblock illustrations dating to the Ming dynasty frequently depict side chairs used in a variety of settings including private rooms, landscaped gardens and formal reception spaces. See, for example, a set of four chairs similar in design to the present lot, placed around a table behind a group of officials, depicted in an illustration from a woodblock printed edition of 'The Welcome Spring' Xi Feng Chun (1628-1644); see Chu-Pak Lau, Classical Chinese Huanghuali Furniture from the Haven Collection, p.110.Compare with a related pair of huanghuali 'lamphanger' chairs, 17th century, illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, p.38, no.A56. A similar pair of huanghuali 'lamphanger' chairs, 17th century, was sold at Christie's New York, 28 November 2012, lot 2005.主體以圓材製作，搭腦兩端微微上翹，中部削出便於頭部倚靠的斜坡。素面靠背板向外彎出，嵌入搭腦下方與椅盤後大邊槽口，後腿上截穿過椅盤作肩出榫納入搭腦。椅盤為格角榫攢邊框，抹頭見透榫，邊抹冰盤沿上舒下斂底壓窄邊線，籐編座面。椅盤下四面光素短牙板。腿間施方材步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。「燈掛」之名，據王世襄考證，或源自用來掛油燈燈盞的竹製座托，舊時為江南地區家家必備之物。燈掛的座托平而提梁高，此類搭腦出頭、面寬較窄而靠背比例較高的靠背椅與之造型相似，即以「燈掛椅」名之。燈掛椅體積較小、便於搬運，無論是和一般桌案配置還是單獨陳放都不顯單調，故而成為明代最為流行的椅式之一。無扶手的設計使得就坐時左右無障礙，或許也正因如此，其結構不似有扶手的椅式堅固，存世品也更為稀少。燈掛椅亦常見於明代版畫插圖中，如明末刊印的木刻版畫《喜逢春》中，就繪有官員坐於形如本例的燈掛椅之上的場景；見劉柱柏著，《晏如居藏明式黃花梨家具》，香港，2016年，頁110。參考一具黃花梨燈掛椅，見王世襄著，《明式家具研究》，卷一，香港，1990年，頁38，編號A56。另有一對十七世紀黃花梨燈掛椅，售於紐約佳士得，2012年11月28日，拍品編號2005，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 FINE PAIR OF HUANGHUALI RECTANGULAR WAISTED CORNER-LEG STOOLS, FANGDENG17th/18th centuryBoth stools with a soft-mat seat set within the rectangular frame, above a short plain waist and plain apron, the whole raised on legs of square section joined by humpback stretchers and terminating in hoof feet. 60cm (23 2/8in) wide x 59cm (23 1/2in) deep x 52cm (20 1/2in) high. (2).Footnotes:十七/十八世紀 黃花梨有束腰羅鍋棖方凳成對Provenance: Peter Lai Antiques Ltd. (label)An important European private collection來源：香港古董商黎氏古玩（標籤）歐洲重要私人收藏Fashioned from thick members of light-coloured huanghuali, stools such as the present lot were highly prized during the Ming and Qing dynasties for their linear design and elegant simplicity.Stools have a long history in China, and archaeological evidence has shown that they were used from as early as the Eastern Zhou period (770-221 BC). In later times, the versatile function of stools enabled them to serve as seats for Buddhist deities, as seen in frescoes decorating Buddhist caves dating to the 4th and 5th century, as well as serving high-ranking members of society, visible in 7th to 10th century paintings. Although chairs had become common by the Song dynasty, stools remained in widespread use. Because of their relatively small size, stools could be easily moved between the halls of a courtyard house, or carried outdoors during scholarly gatherings to serve as seats or low tables. See, for instance, the large square stool set with a mat seat, depicted in 'Composing Poetry on a Spring Outing', a 12th/13th century painting attributed to Ma Yuan (active before 1189-after 1225). For a discussion about the evolution of stools in China, see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and London, 2001, pp.82-102；see also Wang Shixang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Vol.1, Hong Kong, 1990, pp.27-33.A similar huanghuali rectangular corner-leg stool, 17th century, is illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture, vol.2, Hong Kong, 2016, p.19, no.A3 and vol.1, pp.27-31. A pair of similar huanghuali stools, late Ming/early Qing dynasty, was sold at Christie's Hong Kong, 28 November 2012, lot 2007.方材，攢框裝軟屜，冰盤沿上舒下斂，至底壓一道窄平線，簡潔利落。有束腰，羅鍋棖。四足下端略向內兜轉，馬蹄內翻有力。杌凳在中國歷史悠久。考古發現表明東周就出現了此類坐具；公元四至五世紀的佛教石窟壁畫和七至十世紀繪畫作品中，也可見杌凳供神明及地位較高的社會成員使用的情形。宋代之後，椅子已非常普遍，但杌凳仍因其輕便小巧、使用舒適而廣為用於室內外各類場合。傳為馬遠所作之《春遊賦詩圖》中，文人逸士在溪林邊雅集賦詩，一人執筆書於案上，身後即設一隻鑲席面的大方杌凳。有關杌凳的詳細演化，參S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁82-102頁，及王世襄著，《明式家具研究》，卷一，香港，1990年，頁27-33。參考一例十七世紀黃花梨杌凳，見王世襄著，《明式家具研究》，卷二，香港，2016年，頁19，編號A3。另見一對明晚期至清早期黃花梨杌凳，售於香港佳士得，2012年11月28日，拍品編號2007。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 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 PAIR OF LARGE JICHIMU STOOLS, CHANGFANGDENG17th/18th centuryEach stool with a soft-mat seat set within a wide frame with double cushion-moulding simulating bamboo, supported on thick cylindrical legs joined by wrap-around humpback stretchers, supported underneath by a bowed stretcher. 58.7cm (23in) high x 61cm (24in) wide x 54cm (21 2/8in) deep. (2).Footnotes:十七/十八世紀 鸂鶒木直足裹腿長方凳成對Provenance: Barbara Giordana, ParisAn important European private collection來源：巴黎Barbara Giordana舊藏歐洲重要私人收藏The present pair of stools is notable for their geometrical form and the simplicity of their design. Stools constructed in this shape could have soft and hard-mat seats; they were made with and without stretchers, and with or without carved surfaces.Stools were amongst the most common forms of seating during the Ming and Qing dynasties, serving only a slightly less formal function than chairs. Stools were employed in China since a very early date, and could be easily adapted to various indoor and outdoor settings, as discussed by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and London, 2001, pp.82-102. A huanghuali stool related to the present example, 17th century, is illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture, vol.2, Hong Kong, 2016, p.19, no.A3 and vol.1, pp.27-31. Compare with a pair of related huanghuali stools, 17th century, which was sold at Christie's New York, 21 March 2013, lot 925.方凳成對，攢框裝軟屜，邊抹混面，採用「垛邊」的造法，羅鍋棖用裹腿做。邊抹腿足皆為圓材，或為仿竹製傢俱之效果。杌凳是明清時期極為常見的坐具，也被認為是中國最早的坐具形式之一。造型小巧、質量輕便，十分適合室內外各類場合；詳見S.Handler著，《Austere Luminosity of Chinese Classical Furniture》，柏克萊，2001年，頁82-102頁。本例羅鍋棖採用裹腿工藝，製作考究；垛邊的造法增加了邊抹的厚度，既加固了穩定性，又在與裹腿相呼應的同時避免了厚重之感，整體輕盈而精巧。參考一件十七世紀黃花梨方凳，見王世襄著，《明式家具研究》，卷二，香港，2016年，頁19，編號A3。另有一對十七世紀黃花梨長方凳，售於紐約佳士得，2013年3月21日，拍品編號925，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 RARE PAIR OF HUANGHUALI HORSESHOE-BACK ARMCHAIRS, QUANYI17th centuryBoth chairs gracefully defined by a graceful S-shaped back splat carved with a ruyi cartouche enclosing entwining chilong dragons, the curving toprail continuing to the armrests with curled back ends, supported on the round-section back posts, with tapered serpentine side posts, the soft-mat seat on rounded legs joined by a plain apron and a stepped stretcher frame above the feet. 97cm (38 1/8in) high x 58cm (22 7/8in) wide x 45cm (17 6/8in) 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Elegantly constructed with a wide back splat precisely carved with confronted chilong enclosed within a ruyi-shaped medallion, the present chairs convey their aesthetic appeal through the fluid movement suggested by their continuous crest rails, which convey a sense of containment and ease to their occupants. The curved members of the crestrails were obtained by cutting a bent piece of wood or constructing the bend from segments. Most horseshoe-back rails are composed of five segments. However, a number of examples exist which are constructed with just three members, including the present pair. The three-member rail was more difficult to obtain as it required extravagant use of the expensive huanghuali wood and was more vulnerable to damage, thus making the present pair particularly rare.The half-lapped pressure-peg join used to create the generous graceful curve of the crest rail of the present pair of armchairs was in architectural use from the 11th century for beams, sills and lintels. Its use on a smaller form and in a highly-resinous, tightly-grained hardwood required the craftsman's most careful attention. The huanghuali wood had to be very carefully chosen so that the grain was bent with the curve to ensure a strong join and created to aesthetically pleasing and enduring proportions.Quanyi armchairs were either left undecorated or carved on the splats and aprons with raised motifs, as the present pair is; see R.H.Ellsworth, Chinese Furniture. Hardwood Examples of the Ming and Ch'ing Dynasties, New York, 1971, p.86.A similar huanghuali 'horseshoe-back' armchair, late 16th/early 17th century, is illustrated by G.Wu Bruce, Ming Furniture, Hong Kong, 2008, p.10, no.1. Compare with a related huanghuali 'horseshoe-back' armchair, 17th/18th century, which was sold at Christie's New York, 18 March 2015, lot 139.圈椅扶手五接，兩端出頭迴轉收尾。靠背板上端開光浮雕雙螭龍紋，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，椅盤以下三面用窪堂肚券口牙板。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。此對黃花梨圈椅造型圓婉，線條流暢，通過巧妙的楔釘榫連接硬木木料，構造出圓勁有力的扶手曲線。這種曲面的形式或源自十一世紀的木構建築，但當縮小至方寸之間，任何輕微誤差都會謬以千里，更需工匠小心選材，精工細作，才能確保器物美觀耐用。除光素無飾的圈椅外，多數圈椅的後背板都有相應裝飾；本例的浮雕雙螭龍或源自青銅禮器紋飾，是當時文人階層的崇古思潮在家具上的體現。見安思遠著，《Chinese Furniture: Hardwood Examples of the Ming and Early Ch'ing Dynasties》，紐約，1971年，頁86。一具十六世紀晚期至十七世紀早期黃花梨圈椅，與本例相仿，見伍嘉恩著，《明式家具》，香港，2008，頁10，編號1。另可參考一件十七至十八世紀黃花梨圈椅，售於紐約佳士得，2015年3月18日，拍品編號139。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

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 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

A FINE PAIR OF HUANGHUALI WAISTED CORNER-LEG STOOLS, FANGDENG17th/18th centuryEach fitted with a soft cane seat set within a plain square frame, the whole supported by square-section legs joined by hump-back stretchers and terminating in hoof feet. 58cm (22 7/8in) square x 51cm (20in) high. (2).Footnotes:十七/十八世紀 黃花梨四面平羅鍋棖方凳成對Provenance: an important European private collection來源：歐洲重要私人收藏Surviving examples of stools made in the late Ming and early Qing period include a variety of styles, mostly with great similarity to table designs dating to the same period. The present pair of stools, characterised by a recessed waist, hump-back shaped stretcher and hoof feet, is a popular form perfected during the Ming dynasty.The ranking of seats during the Ming period was hierarchical with chairs serving as more formal seats and stools used in more relaxed gatherings. This classic design of the present pair is typical of the Ming period. Stools were usually made in sets and pairs but easily became separated over time. The present pair displays excellent proportions and exemplifies the elegance of undecorated Chinese hardwood furniture at its best. The lines are pure, the form simple and restrained. For a general discussion about the evolution of stools throughout Chinese history, see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and London, 2001, pp.82-102; see also Wang Shixang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, vol.1, Hong Kong, 1990, pp.27-33.A similar huanghuali corner-leg stool, 17th century, is illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture, vol.2, Hong Kong, 2016, p.19, no.A3 and vol.1, pp.27-31. See also a pair of similar huanghuali stools, late Ming dynasty, which was sold at Sotheby's Hong Kong, 7 October 2015, lot 134.凳面攢框裝軟屜，中部微微下垂的邊抹以粽角榫和四足相聯結，呈四面平式。羅鍋棖以格肩榫與腿足相交。四足下端略向內兜轉，馬蹄高翻。整體綫條爽利，簡潔內斂。不同於通常見棱見角的粽角榫，本例非常少見的使用方材而全身倒棱，體現圓渾的意趣。同時雖然本例並無牙條，但邊抹中部微微弧形下垂，殊為別緻。參考一件十七世紀黃花梨方凳，收錄於王世襄著，「明式家具研究」，卷二，香港，2016年，頁19，編號A3。另比較一對明晚期黃花梨方凳，售於香港蘇富比，2015年10月7日，拍品編號134。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 FINE PAIR OF HUANGHUALI HORSESHOE-BACK ARMCHAIRS, QUANYIQing DynastyEach three-section curved horseshoe top rail supported by a two-section back splat fitted with plain well-figured panels and flanked by continuous back rails run through the seat, C-curved side posts and recessed front posts under the projecting hand rests, all joined to a rectangular mat seat butted at the front to a straight beaded apron and U-shaped spandrels, above carved brackets supporting the foot rest and stepped stretchers. 97cm (38 1/8in) high x 56.8cm (22 3/8in) wide x 47cm (18 1/2in) deep. (2).Footnotes:清 黃花梨圈椅成對Provenance: Bonhams San Francisco, 23 June 2015, lot 23An important European private collection來源：舊金山邦瀚斯，2015年6月23日，拍品編號23歐洲重要私人收藏The present pair of chairs displays exceptional grace and finesse, conveyed by the elegant curve of the crest rail and the gracefully-sweeping hook handles. Three-sectioned crestrails are rarer than the more common chairs constructed with five-section crestrails. They demanded longer sections of timber to achieve the dramatic curves of the arms and would have resulted in a significant amount of wastage, thus indicating the high-ranking position of the patron who commissioned this armchair. For a detailed discussion about the sophisticated joinery employed by Chinese craftsmen to construct the curved rails of horseshoe-back armchairs, see C.Evarts, 'Continuous Horseshoe Arms And Half-Lapped Pressure Peg Joins', Journal of The Classical Chinese Furniture Society, 1991, pp.14-18.The term quanyi, used to refer to the shape of the present seat, literally translates as 'chair with a circular back' or 'circular chair'. During the Song dynasty, this design was known as kaolaoyang, referring to a large round basket made from split bamboo. Highly popular for their lightweight, sturdy and strong appearance, in later times cabinetmakers cleverly adapted this bamboo design to hardwood furniture by creating ingenious joinery techniques. See C.Evarts, 'Continuous Horseshoe Arms And Half-Lapped Pressure Peg Joins', Journal of The Classical Chinese Furniture Society, 1991, pp.14-18.Compare with a related huanghuali horseshoe-back armchair, 17th century, displaying a three-section backsplat, the type of which may have served as a prototype for the present pair, illustrated by R.H.Ellsworth, Chinese Hardwood Furniture in Hawaiian Collections, Honolulu, 1996, p.82, no.66.扶手三接，兩端出頭迴轉收尾，下由兩根後腿、兩根鵝脖及聯幫棍支承。靠背板三段攢框裝板造成，上中兩段僅以陽面方形為飾，下段亮腳。前腿不穿過椅盤與鵝脖相連，而呈現側腳顯著的效果。圈椅之名，蓋因其圓靠背狀如圈而得來。宋人稱之為「栲栳樣」，原意指用竹篾或柳條編成的大圓筐，與之形似。圈椅的後背和扶手一順而下，坐靠時不僅肘部有所倚托，腋下一段臂膀也得到支承，分外舒適。此對黃花梨圈椅造型豐滿勁健，線條簡練流暢，通過巧妙的楔釘榫連接硬木木料，構造出圓勁有力的扶手曲線。圈椅圓形的扶手造法有三接和五接之分。三接的做法可以減少兩處榫卯結合，但須選取較大較長的木料才能製成，對材料的要求和損耗都大大增加，從側面反映了圈椅原主人的雄厚財力和社會地位。關於工匠製作圈椅扶手榫卯造法的詳細論述，可見柯惕思著，〈Continuous Horseshoe Arms And Half-Lapped Pressure Peg Joins〉，收錄於《Journal of The Classical Chinese Furniture Society》，1991年，頁14-18。一具十七世紀黃花梨圈椅，同樣採用三段攢成靠背板，或為本例原型與之比對。見安思遠著，《Chinese Hardwood Furniture in Hawaiian Collections》，檀香山，1996年，頁82，編號66。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

λ Langlands & Bell (20th century) Chair seat inset with floor plan of St. Barts Hospital, Lobby Medical Block Beech wood and glass Height 91cm (35 7/8in.) Executed in 1987. Provenance: Private Collection, Gerald Levin (1934-2020) Gerald Levin was born in Zimbabwe and arrived in London in 1954. He first worked for Basil Spence and was a founding partner of Renton, Howard, Wood, Levin Architects a firm which became synonymous with arts and theatre projects. Condition Report: Wooden frame is almost "charred"- utilising old frame/timber? will benefit from a clean. Some shrinkage to frame. Some old paint residue to reverse and legs discoloured Condition Report Disclaimer

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.

Edwardian inlaid piano stool, with hinged top seat, 66cm high Condition: Signs of discolouration in places, with modern screws/signs of repair to the stretcher, various chips, scratches and knocks present on the woodwork in various places, please check the extra images provided prior to bidding which may show some condition issues - **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.

20th Century oak framed upholstered stool, 50cm x 57cm x 52cm Condition: Scuffs, scratches to stretchers and legs, seat cushion sagging and would benefit from reupholstery. **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.

Oak single chair, having hide seat and back, together with two stools, and another arm chair Condition: Hide chair having stains and damage and creases present, all pieces having general wear and tear to the woodwork, the armchair arms appear to be slightly rickety, please see 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.

Pair of 19th Century oak hall chairs with monogrammed backs Condition: Both with areas of in filling to front corners of seat, stretchers and legs, seat panels with numerous scratches commensurate with use. **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.

Edwardian mahogany bow arm corner chair, having pink floral upholstered seat, 75cm high Condition: Chair doesn't appear sturdy, cracks present to the woodwork, with general scratches and dents present, discolouration in places. **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 composition curved garden seat of classical design, 102cm wide Condition: **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.

Modern metalwork semi-circular tree seat, 130cm wide x 86cm high (tree aperture 57cm wide) Condition: Some very light corrosion to areas, please see images - **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.

A SHERATON SATINWOOD PAINTED ARM CHAIR, with railed back, padded seat on tapering legs.

AN ADAM PAINTED WOOD OVAL BACK ARM CHAIR, with sepentine fronted padded seat on turned flank legs.

A GEORGE III SHIELD BACK ARM CHAIR with padded back arms and seat on turned fluted legs.

A GEORGE III ARM CHAIR, with padded back, arms and seat on cabriole legs.

A GEORGE III SHAPED BACK ARM CHAIR with padded back, arms and seat on turned fluted legs.

A VICTORIAN MAHOGANY PIERCED AND GILDED CHAISE LOUNGE, with button back and padded seat on cabriole legs. 3ft 3ins long

A HIGHLY ORNATE CAST AND POLISHED STEEL AND BRASS REVOLVING ARMCHAIR, possible originally a barber's or dentist's chair, with abstract upholstery to the back, arms and seat.

A collection of furniture comprising a Victorian mahogany hall chair, a late 19th Century spindle back chair of regional design fitted with rush seat, a rush seated ladder back chair AF, together with a Georgian style mahogany torchere raised on a tripod base, 104cm high, (4)

A Victorian mahogany prie dieu chair with needlework seat

An early 18th century style walnut frame wing back arm chairCondition report: No signs of worm Fabric is quite tatty and discoloured, coming away at the back, also ripped to the left arm Base of the seat fabric has been pulled back Front legs are knocked, right leg is chipped at the foot, left leg has a minor split at the knee Back legs are also knocked See photos

A 19th century mahogany stool with drop in seat together with an 18th century style stool (2)Footnote: Provenance: Julians Park, Hertfordshire

A mahogany intricate design upright armchair, with padded back and seat and spindle supports to the arms, circa 1890-1900

A 19th century style elm and burr elm seat hoop back windsor armchair, the broad arm rests over turned legs and stretchers, 121cm

A 19th century style elm and burr elm seat hoop back windsor armchair, the broad arm rests over turned legs and stretchers, 119cm high

A 17th century Cromwellian oak single chair, the rectangular back and seat upholstered in dark green leather, standing on block and bobbin turned front legs united by a barley twist front rail

A Russian 84 Zolotnik white metal salt modelled as a chair, maker Aleksandr Nikolayevich Mitin, St Petersburg 1858, the lift up seat with gilt interior, the back with pierced design, 8cm high, 5.5oz

A 19th century elm seat elbow chair.

An Edwardian beech office swivel elbow chair, with later rexine upholstered seat and on four outswept legs, height 87cm.