清十八世紀 黃花梨馬蹄足大畫桌

of high rectangular form, the top of standard miter, mortise and tenon construction with three boards, tongue-and-grooved into the frame, the floating panel supported by four dovetailed stretchers underneath, the crisp right angle frame continuing to the apron comprised of oblong openwork panels  secured by a straight beaded-edge stretcher reinforced with fretwork spandrels, all raised on four square-section slender, beaded legs terminating in inward-facing hoof feet

Chan's Antique and Furniture Co.，紐約，1996年

The table with patched and filled repairs to chips, splits and joinery. The top with some slight shrinkage and the central top panel was most likely buckling and stabilized by flanking it with boards to either side and replacing the transverse stretchers beneath which have been further strengthened with shims. There are likely replacements to the openwork spandrels, aprons and struts. All four hoof feet with splice on repairs The surface with overall wear, some staining and other minor repairs consistent with age and use. Please note that this lot will require a CITES permit for export outside of the United States.
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.

Painting tables are distinguished by their large size, particularly the depth, creating a generous surface for free, unimpeded movement by the artist. The painting table was the most important piece of furniture in the scholar’s studio and placed in a central position in the room. Wang Shixiang, discussing the form notes that “the popular arrangement for all tables was with one end against a window where abundant natural light made writing, painting or reading a more pleasant exercise. In this position, the opposite side could also be used by an assistant to hold the sheet of a paper or for some other purpose. It was also common to place these tables in a room, away from walls, with or without chairs,” Connoisseurship of Chinese Furniture, vol. 1, Hong Kong, 1990, p. 68. Evolving from a low and small portable form seen in Five Dynasties’ paintings, this grand, impressive table was designed to be functional for painting but also aesthetically admirable with a bare surface or used for display.

Corner-Leg tables of this size are very rare.  For related examples see Wang Shixiang, Connoisseurship of Chinese Furniture, vol. 2, Hong Kong, 1990, pl. B108; Robert H. Ellsworth, Chinese Hardwood Furniture in Hawaiian Collections, Honolulu, Academy of Arts, 1982, pl. 34 and Grace Wu Bruce, Ming Furniture Selections from Hong Kong & London Gallery, Winter 2000-2001, cat. no. 6. A painting table of similar dimensions from the Collection of Dr. S. Y. Yip sold in our Hong Kong rooms, 7th October 2015, lot 106 and another of this type sold in these rooms, 18th Mach 2014, lot 394 and a corner-leg table with fretwork spandrels, from the Arthur M. Sackler Collections sold in these rooms, 16th September 2009, lot 19. Additionally a related corner-leg table from the Frederic Mueller Collection sold at Christie's New York, 1st June 1990, lot 417.