- 204
清十八世紀晚期 / 十九世紀早期 剔紅鳥語花香紋方桌
估價
70,000 - 90,000 USD
招標截止
描述
- lacquer
of square section, finely carved on the top with a geometric pattern of roundels enclosed within octagons each enclosing sprigs of stylized lotus on a wan and floret diaper ground, all within a formal key-fret border, the sides richly carved with trailing lotus scrolls enclosing central reserves on two sides of birds perched on flowering boughs, all above hipped legs ending in scroll feet joined by an X-form stretcher
來源
Eugene Bernat 伉儷收藏 (c. 1897 -1982)，麻省
紐約蘇富比1980年10月25日，編號261
紐約蘇富比1980年10月25日，編號261
Condition
The table with minor restoration along the edge of the top and with evident chips and losses to the legs, particularly at the feet.
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.
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.
拍品資料及來源
The present table is of a very rare form and carved with consummate skill. The use of an intricate brocade pattern has precedent. While more frequently seen in stands, there is a Qianlong period rectangular table with a wan character brocade top from the Qing court collection illustrated by Hu Desheng, A Treasury of Ming and Qing Dynasty Palace Furniture, vol. 1, Beijing, 2007, p. 213. The distinct indented outline and rectangular apertures indicate a very specific use but there appear to be no other published examples of the form. A huanghuali table (ibid p. 231) also from the Qing court collection has similar slats with boards still in place which are described as stretchers but that seems unlikely. Certainly in the case of the present table the X-form stretcher provides ample support to stabilize the legs and top. The present table bears close resemblance to a set of four carved cinnabar lacquer incense stands with the same geometric pattern sold at Christie's Hong Kong, 31st May 2010, lot 2045 and attributed to the workshop of Lu Kuisheng, Yangzhou.
Lu Kuisheng (given name Dong c. 1775-1850), was one of the most celebrated lacquer artists of the Qing dynasty and one of the few artisans who managed to overcome social barriers and enter the literati. Born into an established family of lacquer craftsmen, his grandfather, Lu Yingzhi, had emerged as a renowned lacquerer by the mid-Qianlong period. Lu Kuisheng inherited and further developed the techniques of his grandfather to surpass his fame. Examples of his large scale lacquer carvings include a set of four panels bearing his seal and illustrated in Paul Moss, In Scholar's Taste, Hong Kong, 1983, pp. 210-211 where he comments particularly on Lu's intricate diaper grounds that are "unlike anything previously seen in lacquerwork. Diapers representing the sky, the ground and various architectural surfaces are each and differently and contrastingly done with remarkable detail, surely assisted by some stamping process, creating a textural density from which the relief carved surfaces stand out beautifully and most effectively."
Two comparable and notable examples of Qianlong dated examples of large scale cinnabar lacquer carving are in the Metropolitan Museum, New York, where an eight panel screen depicting the birthday celebration of General Guo Ziyi shows the same floral scroll treatment in its lower panels and a table screen has geometrically laid out roundels atop a dense diaper ground similar to the present table top.
Lu Kuisheng (given name Dong c. 1775-1850), was one of the most celebrated lacquer artists of the Qing dynasty and one of the few artisans who managed to overcome social barriers and enter the literati. Born into an established family of lacquer craftsmen, his grandfather, Lu Yingzhi, had emerged as a renowned lacquerer by the mid-Qianlong period. Lu Kuisheng inherited and further developed the techniques of his grandfather to surpass his fame. Examples of his large scale lacquer carvings include a set of four panels bearing his seal and illustrated in Paul Moss, In Scholar's Taste, Hong Kong, 1983, pp. 210-211 where he comments particularly on Lu's intricate diaper grounds that are "unlike anything previously seen in lacquerwork. Diapers representing the sky, the ground and various architectural surfaces are each and differently and contrastingly done with remarkable detail, surely assisted by some stamping process, creating a textural density from which the relief carved surfaces stand out beautifully and most effectively."
Two comparable and notable examples of Qianlong dated examples of large scale cinnabar lacquer carving are in the Metropolitan Museum, New York, where an eight panel screen depicting the birthday celebration of General Guo Ziyi shows the same floral scroll treatment in its lower panels and a table screen has geometrically laid out roundels atop a dense diaper ground similar to the present table top.
The table was in the famous collection of Eugene and Elva Bernat. Brothers Paul and Eugene ran a successful woolen yarn mill in Massachusetts founded by their father Emile in 1937. Both brothers collected Chinese ceramics with Eugene focusing on Ming, Song and Tang dynasty ceramics, many of which were gifted to the Museum of Fine Arts, Boston. Sotheby's New York held a sale of the remainder of their collection on 7th November 1980, a successful and highly influential event at the time. Their decorative arts, including the present piece, had been sold a few days earlier.