清十八 / 十九世紀 木透雕樹幹紋插屏

naturalistically carved in openwork with intricate gnarled branches forming a reticulated vegetal mass, all secured within a plain hongmu frame and signed with two illegible seals, further supported on an associated separate stand, the central stretcher detailed in openwork with two confronted archaistic dragons above a simple shaped apron and bracket feet, further flanked on the braces by scrolling chilong on either side of a central post picked out with tied leaves on top, the lustrous hardwood patinated to a rich dark brown colour

There are several natural age cracks to the surface, including a 1.5cm crack to the open work naturalistic carving in the upper central area. The upper area has been relacquered to cover abrasion from natural shrinkage at the frame. The colour in the catalogue photo is fairly accurate. Please see the inside front cover for a close view of the texture of this remarkable piece.
"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."

Screens were movable partitions that could protect, divide, enhance and beautify a room, and as such were essential elements in the furnishings of Chinese houses. In the Ming and Qing dynasties, small screens were treasured objects on scholars' desks. The abstract pattern emanating from the random reticulation in the current screen evokes and inspires contemplation. For a discussion of screens, see Sarah Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, pp. 268-291.