十七世紀 黃花梨玫瑰椅一對

each with the rounded corner top rail pipe-joined to the stiles continuing through the seat frame to form the back legs, the arms with similar round corners mortised, tenoned and half-lapped to the stiles and pipe-joined to the posts, two horizontal stretchers divide the chair back into three sections, the tops with a central openwork strut carved with an animal mask and lingzhi, further divided by two vertical stretchers each with a central open work carving of dragons, enclosing an arch-shaped beaded-edged apron, all joined by stretchers and struts mortised and tenoned to the molded edge frame securing the soft matting seat, above the beaded-edge mitered apron tongue and grooved to the legs, joined by stepped stretchers (2)

Grace Wu Bruce Company, Ltd.，香港

On one chair, there is small repair patch to one of the pipe joins where the arm rail meets the front post. On the other chair two of the back legs have been tipped. The frames of both chairs have been tightened and consolidated. The decorative struts may be later associated and it is likely that some of the spandrels and aprons have been replaced.
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.

Often referred to as 'rose' chairs, this type with low rectangular arms and back is the smallest among the classic forms.  Its slender, elegant lines and compact proportions encourage portable and functional ease making it one of the more popular forms and one often depicted in paintings and prints in the Ming and Qing dynasties.  It is shown a variety of settings accentuating its versatility.

Most meiguiyi adhere to a type, splat back, spindle back or a back with a three-sided framework. Examples with either elaborate latticework or figural carving such as the present lot are rare. An example with an openwork plaque of a chilong and lingzhi from the Dr. S.Y. Yip Collection is illustrated in Grace Wu Bruce, Dreams of Chu Tan Chamber and Romance with Huanghuali Wood: The Dr. S.Y. Yip Collection of Classic Chinese Furniture, Hong Kong, 1991, no. 8, pp. 36-39. For a related armchair with foliate openwork carving in three sections see Wang Shixiang, Connoisseurship of Chinese Furniture, Hong Kong, 1990, vol. 1,  no. A 66, p. 40.