明永樂 剔紅攜琴訪友圖蓋盒

the flat circular cover crisply carved through deep layers of cinnabar lacquer with a scene depicting two scholars on a balustrade terrace by the side of a lake, one seated in a pavilion asleep at the desk, with an attendant standing beside, the other carrying a staff and walking with an attendant, carrying a qin, with two cranes in flight above, the scene framed by rockwork, wutong and pine trees, with rocky islands and ruyi-shaped clouds in the background, all reserved on various diaper grounds corresponding to the terrace, water and air, the sides deeply carved with composite floral scrolls, including lotus, chrysanthemum, prunus, camellia, magnolia, hibiscus and peony, all wreathed in their lush foliage contained within two thick plain borders, the box similarly carved with matching flower scrolls, the interior and the base lacquered in brownish-black (2)

紐約蘇富比2004年9月23日，編號233

In good general condition, with some restoration and repainting to the top surface of the cover, including some sections of the mountains, clouds, cranes, and tree branches. There is also an approx. 9.2 cm age crack running diagonally near the scholar carrying a staff, as visible in catalogue photo. Both the cover and box have some consolidated age cracks, including one to lower section of surface of cover and to the rims, as can be expected. The interior and base appear to have been relacquered in the past to stabilize minor age cracks.
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.

Impressive for its deep carving, large size and well preserved condition, this magnificent box is an exquisite example of the fine imperial lacquerware made in the Yongle period. The lively rendering of the scene, with its careful juxtaposition of architectural elements that convey a true sense of depth and the lush and detailed carving of blooms with frilly petals, further attest to the excellent standard of craftsmanship achieved in the manufacture of lacquer objects intended for imperial use.

In both style of carving and subject matter, this box stems from a tradition established in the Yuan dynasty, where designs of idealised gardens inhabited by reclusive scholars began to be carved on lacquer. The bold, unmannered approach that seems to characterise Yuan lacquer wares of this type, was gradually replaced by the soft and subtle perfection of the Yongle and Xuande period, as seen on this box. For a prototype of this design see a box attributed to the Yuan dynasty, in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum. Lacquer Wares of the Yuan and Ming Dynasties, Shanghai, 2006, pl. 4. Compare also a box attributed to the Hongwu reign, which displays a transitional style between lacquerware of the Yuan dynasty and the early 15th century, sold in our Hong Kong rooms, 8th October 2010, lot 2639.

A similarly carved box, in the Freer Gallery of Art, Washington D.C., is illustrated in Derek Clifford, Chinese Carved Lacquer, London, 1992, pl. 33; another was included in the exhibition Selection of Masterpieces from Ringen Art Museum, Ringen Art Museum, Okoyama, 1990, cat. no. 167; and two further boxes were sold in our London rooms, the first, 13th December 1988, lot 36, and the second, 14th May 2008, lot 509. Compare also boxes of this type with Yongle marks and of the period; one in the Palace Museum, Beijing, illustrated in The Complete Collection of Treasures of the Palace Museum, op. cit., pl. 41, together with another bearing a Qianlong inscription, pl. 37; a third included in the exhibition East Asian Lacquer. The Florence and Herbert Irving Collection, The Metropolitan Museum of Art, New York, 1991, cat. no. 27;  and a further box, of slightly smaller size,  from the collection of Edward T. Chow, sold in these rooms, 3rd May 1994, lot 279.