Importante boîte en laque rouge sculpté Chine, dynastie Ming, marque et époque Yongle (1403-1424)

de forme circulaire, l'épais laque rouge brique aux multiples couches magnifiquement sculpté en haut relief sur le couvercle d'une réunion de lettrés sur une terrasse, certains assis autour d'une table, d'autres jouant de la musique, accompagnés d'une grue et d'un daim tenant dans sa gueule un lingzhi, les serviteurs apportant divers objets, l'un présentant une tortue, au second plan trois lettrés vêtus de longues robes cheminant sur un sentier, le tout dans un paysage rocailleux planté de pins et pavillons sous des nuages stylisés sur fond géométrique, les côtés très finement sculptés de lotus, pivoines et magnolias, l'intérieur et la base laqués brun, marque à six caractères incisée à la base, étiquette d'inventaire à l'intérieur et à la base ; restaurations et repeints (2)

Cover: There is an area of old restoration to the side of the cover, ca. 5x7cm, covering one chrysanthemum flower, visible on the exterior and interior. The interior restoration of this part suggests that it may cover up a diagonal crack extending from the rim of the cover across the side almost to the rim of the flat top. In addition, there are smaller areas of reinforcement/restoration along the rim of the cover, the largest ca. 4cm long. There are also several cracks to the edge of the rim consistent with age. The ochre ground between the dense flowerheads is covered with a thick layer of dust. The lacquer on the inside of the cover has patinated to a brownish tone and like a crackled skin shows folds and cracks consistent with age. Where the flat top joins the sides, the lacquer on the interior and the wood beneath it has shrunk over time and has pulled away from the joined area. There is wear to the inside of the cover. On the flat top, there are small areas of losses to the raised parts of the lacquer, in particular to the beak of the dancing crane and the leg of the deer. There is a small, ca. 3x2cm large area of restoration to the upper right hand rim of the cover. And there are several cracks running through the design (visible in the catalogue illustration and cover). The box: There are four larger restored/reinforced areas along the undecorated inside rim of the inside of the box, the largest a shallow V-shape ca. 10x2cm. Like the cover, the lacquer on the interior of the box and the base is patinated to a brownish tone, the surface covered with light overall scratching. And as on the inside cover, the wood underneath the lacquer and the lacquer have shrunk over time, pulling away from where the sides join the flat base. There are several cracks to the edges of the band of deeply carved flowers consistent with age. The ochre ground between the dense flower band is covered with dust. The mark is incised with the point of a needle and is close to the left rim of the base. Overall the box is in remarkably good condition for its size with some old restoration to the sides. It is slightly warped.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present cinnabar-lacquer box is impressive for its fine and detailed carving and exceptionally large size, although a closely related box, which appears to depict the same figural scene, in the collection of the Aberdeen City Art Museum, is illustrated in Derek Clifford, Chinese Carved Lacquer, London, 1992, pl. 34. While some details in the carving of the two boxes vary slightly, the figural scene in both cases is most probably taken from a contemporary woodblock print that is yet to be identified . Clifford ibid., p. 52, notes that the Aberdeen box is an exception to the official landscapes generally found on early Ming lacquer wares and is the product before conformity was imposed on artists working for the court. While a number early Ming lacquer pieces are known from important museums and private collections, especially boxes being amongst the most popular items preserved to this day, those of this impressive large size are special and rare.

With its design of figures in a garden setting, the present box may be compared to vessels of related design of scholars and their attendants; for example, see a box included in the Tokyo National Museum exhibition of Chinese Arts of the Ming and Ch'ing Periods, Tokyo, 1977, cat.no. 499; and two further boxes from the Collection of the Nezu Art Museum, illustrated ibid., cat.nos. 497 and 498. See another Yongle box of this form illustrated in The Complete Collection of Treasures of the Palace Museum, Lacquerwares of the Yuan and Ming Dynasties, vol. 45, Hong Kong, 2006, nos 40-41 and 44. Smaller Yongle boxes carved with a figural scene have also been sold at auction; see one illustrated in Sir Harry Garner, 'Diaper Backgrounds on Chinese Carved Lacquer', Arts Orientalis VI, 1966, pls. 1,2 and 3, figs. A, B and D, sold in our London rooms, 12^th November 2003, lot 186; and another sold in our New York rooms, 22/23^rd September 2004, lot 233.