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Lot 2819
A Burmese carved hardwood folding chair, with caned back and seat, profusely carved with a deity, snakes and floral motifs, height 119cm.Condition Report: The back is sun faded. Caning with some replaced strands and minor wear at edges. Ink / dark mark to the right hand side of the back rest and a chip to the top of the back rest. Arms a little loose in sockets. General light age wear patina but overall appearance ok.
Lot 429
λ A CHINESE HUANGHUALI SEDAN CHAIR, JIANYU17TH CENTURYThe sweeping crest rail terminating in outswept hooks above horseshoe-shaped arms, forming an elegant curve above the splat, extensively carved in high relief with mountainous landscapes, the reverse of the splat inscribed with a poem by Zhang Dai (1597-1624), with one artist's seal. Above the seat framework are four panels, tuosai, with plum blossom and bamboo motifs, the rectangular rattan seat above four carved legs with makara feet raised on an open framed footrest. The seat is surrounded by four carved panels decorated with the Three Friends of Winter, and the front panel depicting Zhang Dai living in seclusion with his two attendants, each corner of the panel with metal loop mounts for carriage bars, 97cm x 66cm x 48cm.Provenance: from the collection of Mrs Mevrouw M Sergant, bought from Hamadi Oriental Art, The Netherlands. Previously in the collection of Mr Arie Mullieu, Amsterdam. A copy of the invoice is available.A jianyu (sedan chair) was commonly used by the emperors, princes and nobles as transport for short journeys between buildings in the great palaces. According to the Mirror of Craftsmanship and Guidelines by Lu Ban, Chinese sedan chairs come in different types, this particular one is called a Yajiao shi. Zhang Dai (1597-1624) was a famous late Ming dynasty historian and writer, he was born to a noble family and well educated with poetic aesthetic tastes, however he never passed the Imperial examinations to serve the Ming court, his hometown was destroyed with the fall of the Ming dynasty. Reluctant to serve the invader, he decided to live in seclusion with his two attendants, one depicting holding a qin, and the other an ewer, which is explained in the poem.Cf. The Complete Collection of Treasures of the Palace Museum: Furniture of the Ming and Qing Dynasties (I), Hong Kong, p.36, no.22 for a closely related sedan chair. 十七世紀 黃花梨牙轎式肩輿銘文：天明晨寒偕二童子隨行，其一抱琴，其一執壺至江邊。山水青綠江風景盛，舟少人稀飲氣之清畫江之謐，似與天地合而為一，此自達之意深為吾想。張岱。來源：M Sergant女士收藏, 購於Hamadi Oriental Art (附發票複印件)。阿姆斯特丹Arie Mullieu先生舊藏。肩輿，為古時一種作為行山的交通工具，後來發展成皇帝或達官貴人在皇宮內行走的方式。肩輿不設帷幔，冬季蓋紫貂於坐上，夏季則用緞墊。據《魯班經家鏡》中描繪：“牙轎式：宦家明轎椅（圖源於《魯班經家境》p.162）”。王世襄先生在《明式家具研究》中也同樣有提到明代牙轎式的解析， 其上部於圈椅相同，有靠背及扶手，但坐面之上有高束腰及托腮，另有四個環用以嵌抬桿。由於肩與為出行時乘坐用具，所以存世不多。故宮博物院藏一件於此拍品極其相似的皇家黃花梨肩輿（《故宮文物院藏文物珍品全集：明清家具（上）》，p.34），以供參考。此次上拍的肩與靠背板後，刻有明末清初時期史學家及文學家張岱（1597-1624）的詩文極爲難得。張岱爲浙江山陰人，出身顯貴仕宦書香門第，自小聰穎善詩，但屢次參加鄉試不第而棄仕。清兵入侵，明王朝隕落。爲避戰亂，張岱隱居山中，並潛心著書，其著作有《陶庵夢憶》、《石匱書》、《自爲墓誌銘》等。正如張岱生平經歷，肩與靠背板背面的行書詩文便是其生平寫照，前句曰：“天明晨寒偕二童子隨行，其一抱琴，其一執壺至江邊。”與藤心座面高束腰上刻畫的故事相吻合。又曰：“山水青綠，江風景盛，舟少人稀，飲氣之清，畫江之謐，似與天地合而為一，此自達之意深爲吾想。”則描繪了靠背板上的浮雕風景及由景而發的感慨。除此之外，座面上鑲透雕翠竹及臘梅紋飾，座面下高束腰刻歲寒三友紋飾，可謂前呼後應，相得益彰，人文高士之氣盡顯。而此肩與作爲代步工具經歷數百年的風霜雨淋還能保存完整，實是一件不可多得的佳器。
Lot 188
A Staffordshire Enoch Wood pearlware group of the Madonna and Child, c.1785-90, the Madonna wearing gilt flowered white robes and with the Infant on her lap, seated on a purple and red stool, on a brightly marbled plinth base, 32.4cm highFootnotes: Note: This pearlware sculpture was modelled after Lucas Faydherbe’s sculpture of the Madonna and the Infant Jesus. For the terracotta bozzetto by Faydherbe of circa 1670 in the British Museum, London, see Hugh Tait, ‘An unknown Bozzetto of Lucas Faydherbe’ in Burlington Magazine, CIV, June 1962, pp.257-265.Condition Report: Several firing cracks present to the base and hollow interior of the figure group. A repaired and re-glued crack around the front neckline of the Madonna is visible, two more firing cracks are present to the garments gathered under the left arm of the Madonna, further firing cracks can be seen to the garments underneath the stool on which she sits. A hairline crack present to the forefinger of the Infant's left hand. Large areas of the figure group have heavy crazing. Some general surface dirt present to the top layer, and also some dirt under the top glaze to the back of the Madonna's robes. Decoration overall is in good condition with much of the gilt highlights intact, the colour of the seat and base is largely good.
Lot 703
A mid 18th century oak side table, the rectangular moulded top over a single frieze drawer applied with shaped brass back plates and swing handles, upon tapering cylindrical legs, culminating in pad feet, 69cm H x 87cm W x 52cm D, along with a 18th century ash and beech wood ladder back elbow chair, with an envelope rush seat, upon turned front legs, 112cm high (2)
Lot 732
A mahogany Gainsborough open armchair, in the George III style, early 20th century, the shaped back over a serpentine seat enclosed by out swept arms on mahogany supports, with roundel terminals and moulded rope twist detail, upon conforming front legs with carved spandrels, united to plain back swept rear legs by peripheral cross stretchers, 101cm H, seat height 41cm
Lot 748
A near pair of Victorian elm and beech smokers bow elbow chairs, each with a down swept arm rest and three open work splats with inverted heart shaped apertures, over a shaped and figured elm seat, upon inverted baluster and knopped legs united by an 'H' cross stretcher, 86cm and 82cm high (2)
Lot 754
A pair of Victorian club chairs, re-covered in oatmeal fabric and edged with piping cord, the bowfront sprung seat enclosed by padded scrolled arms, upon turned walnut front legs, plain rear legs and castors, 85cm H x 82cm W x 80cm D (2)Condition reportFabric appears to be in good condition with very little wear no visible faults, marks or stains. Very little or no movement in the chair joints, general minor scuffs, marks and rubbing to the legs.
Lot 757
In the manner of William Birch for Liberty, an oak Arts and Crafts side chair, late 19th/early 20th century, with an envelope rush seat and ring turned supports, 100cm high, along with a George III style mahogany wine table, 20th century, the circular top with a raised and moulded rim, upon a slender tapering pedestal and three cabriole supports, 70cm H x 45cm D (2)
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216995 item(s)/page