- 204
十七 / 十八世紀 黃花梨四出頭官帽椅一對
估價
60,000 - 80,000 USD
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招標截止
描述
- wood
each with a gently scrolling crestrail terminating in truncated ends, joined to cylindrical posts and a wide S-curved rectangular splat of matching grain, the serpentine outline arms slightly recessed with the truncated ends continuing and supported by shaped brackets, the molded-edge soft-matted seat frame above a straight-edged strutted apron, all resting on cylindrical legs joined by four typically ascending stretchers, the underside with two bowed transverse stretchers (2)
來源
巴黎Drouot Richelieu，M. Claude Boisgirard，1992年2月24日，編號123
Condition
Two legs with patch repairs near foot rest and a small triangular patch repair to the back corner of one seat frame. There is one with filled repair to either side of the base of the splat. The aprons and stretchers are most likely later replacements. There are small filled holes on the crest rail and at the base of the legs indicating the chairs had once had metal mounts.
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 pair of yokeback armchairs, predominantly plain with circular members of consistent thickness and truncated outscrolled ends, focuses the eye not only on the dramatic figuring of the matching grain but on the balance of the form; the curvilinear and rectilinear elements in juxtaposition with the ample use of negative space. This form is generally more comfortable and more extravagant in its use of wood than the straight or C-curved examples. This type of large yokeback armchair is one of the core elements of the classic Chinese furniture vernacular and many examples are preserved in major museums and private collections.
Craig Clunas in Chinese Furniture, London, 1988, p. 20, describes armchairs of this type as being made in pairs, suggesting Chinese room arrangements aimed for symmetry. He further notes that Ming and Qing period literature illustrations characteristically show them used at dinner tables, in reception halls for guests and at the writing table in the scholar’s studio, and illustrates a woodblock print of the 1616 edition of The Golden Lotus (Jing Ping Mei), p. 22, fig. 8. This scene shows the main male figure and his principal wife seated on guanmaoyi while dining, with his secondary wives and concubines seated on stools. For a general discussion on the basic model and decorative vocabulary of these armchairs see Curtis Evarts, ‘From Ornate to Unadorned’, Journal of the Chinese Classical Furniture Society, Spring 1993, pp. 24-33.
Craig Clunas in Chinese Furniture, London, 1988, p. 20, describes armchairs of this type as being made in pairs, suggesting Chinese room arrangements aimed for symmetry. He further notes that Ming and Qing period literature illustrations characteristically show them used at dinner tables, in reception halls for guests and at the writing table in the scholar’s studio, and illustrates a woodblock print of the 1616 edition of The Golden Lotus (Jing Ping Mei), p. 22, fig. 8. This scene shows the main male figure and his principal wife seated on guanmaoyi while dining, with his secondary wives and concubines seated on stools. For a general discussion on the basic model and decorative vocabulary of these armchairs see Curtis Evarts, ‘From Ornate to Unadorned’, Journal of the Chinese Classical Furniture Society, Spring 1993, pp. 24-33.
A related chair, with an apron comprised of vertical braces but of arched rather than straight form is illustrated in Wang Shixiang, Classic Chinese Furniture, Hong Kong, 1986, pl. 39; and another, from the collection of Gustav Ecke is included in George N. Kates, Chinese Household Furniture, New York, 1948, pl. 86.