明十七世紀 黃花梨圓角櫃

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of typical miter, mortise and tenon frame construction with an inset lacquered softwood panel top with two transverse stretchers, the outside edge of the frame is double cushion molded, the similarly molded posts are double lock mortise and tenoned into this frame and splay gently in both elevations towards the base, the single board side panels are tongue and grooved into the side edges of the stiles, the wood pin hinged doors contained within mitered and cushion molded frames have four transverse stretchers, the front panels with matched grain and with small huamu medial elliptical panels outlined by a finely beaded foliate border, with a central matching removable central stile, the interior with two shelves, the surface mounted baitong plates, bosses and pulls retained by a pin, the front feet with baitong covers

Each of the four front panels with vertical patches secured on the reverse with glue and wood pegs. The front and side aprons are later added and one leg has been replaced. The huanghuali has been laminated outside the frame. There is a diagonal patch repair to the lower section of one of the frames around the burlwood backing panel. Both sides with long vertical splits, one consolidated. There are two small wedges along the lower frame to help secure the doors.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The present example is notable for the lavish addition of multi-lobed posts and the elegantly framed burlwood reserves. The extravagant use of wood and added demand on the craftsman to create such finely molded members is a rare phenomenon. A very similar cabinet but lacking the double-cushion molded posts and frame, formerly in the Collection of Ambassador Milton Freeman, was sold in these rooms 25th April 1987, lot 515. A related cabinet but with burlwood reserves at both the mid-section and base is illustrated in Wan Shixiang, Connoisseurship of Chinese Furniture, Hong Kong, 1990, vol. 11, D27.

Lacking closets, cabinets were the main storage areas for the Ming and Qing elite. Given the size and function of this form, its prominence in any room, the choice of wood and any surface decoration served to enhance and declare status. A tremendous amount of consideration went into providing the critical balance between form and function for these large pieces.  Li Yu (1611-1680) in his Xian Qing Ou Ji (Notes Written in a Moment of Idleness) comments  at some length about the correct number of boards, shelves and drawers in order to make the best use of space exclaiming, "A cabinet of small size but high capacity is excellent." The present cabinet would certainly have met with his approval.