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A FINE AND RARE HUANGHUALI HORSESHOE BACK ARMCHAIR
纽约 北京时间
09月16日 晚上9点 开拍 / 09月14日 下午3点 截止委托
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拍品描述
PROPERTY FROM A PRIVATE NEW YORK COLLECTION A FINE AND RARE HUANGHUALI HORSESHOE BACK ARMCHAIR 16th/17th century The gracefully curved crestrail of five sections joined by pressure pegged scarf joints terminating in out-swept hooks with a low-relief chi dragon, the c-shaped splat extensively carved in relief forming three registers, the top cartouche with five coiled chi dragons, the central panel depicting a vase of chrysanthemums and lingzhi fungus, as well as a tripod censor on a scholar's rock, the bottom register of scrolling foliage, the splat flanked by narrow shaped flanges of scrolls to the top and chi dragons at the bottom, the seat frame supported by two dovetailed transverse stretchers molding inward, ending in a beaded edge, the circular-section front and back posts continuing through the seat frame, with pierced chi dragon spandrels tenoned into the underside of the arm in front of the curved 'goose-neck,' beneath the seat a beaded-edge curvilinear and cusped apron to the front and similar kunmen aprons on the sides, all carved with chi dragons and rolling scrolls, the legs joined by a footrest and square-section stepped stretchers, the front and side aprons underneath with carved scroll spandrels. 40 x 23 1/4 x 17 9/16in (101.6 x 59 x 44.6cm) Footnotes 十七世紀 黃花梨瓶菊清供螭龍紋圈椅 Although the carving on this chair is elaborate, the simplicity of its long, undecorated lines—including the rear legs, crestrail, S-shaped lianbanggun 聯幫棍 (supporting posts joined to the midsection of the armrest and seat frame), and rear stretcher—balances the design and conveys a sense of solemn power. This harmonious balance makes it ideally suited for use as a singular chair for the head of the household or authoritative officials. It is often positioned in front of a large painting screen, a setup depicted in both Ming dynasty paintings and woodblock illustrations (Figs.1 & 2). The most striking feature of the chair is the rectangular central cartouche on the back splat, which depicts the pictorial subject pinghua qinggong 瓶花清供 (flower offering). This genre of painting, which portrays flowers from different seasons in archaic bronze vessels or similarly styled vases, was already well-established in the Ming dynasty. Examples include Sun Kehong 孫克弘 (1532-1611), Taiping Chunse 太平春色 (Peaceful Empire in the Colors of Spring), in the National Palace Museum, Taipei (Fig.3), the painting Flower Vase by Chen Hongshou 陳洪綬 (1598/99-1652), at the British Museum (accession no. 1978,1009,0.1), depicting two vases of chrysanthemums, and Leaf F of the album Landscapes, Figures, and Flowers, dated 1618-1622, by the same artist from the collection of The Metropolitan Museum of Art, New York (accession no. 1985.121a–l). Black splats with such representational rendering are extremely rare. The Minneapolis Institute of Art (MIA) holds a Ming-early Qing huanghuali armchair of similar dimensions that features a reminiscent cartouche of flower offering (Gift of Ruth and Bruce Dayton, accession no. 92.69). It depicts a vase with begonia sprigs and a censor (Fig.4). Its splat is adorned with two pairs of chi dragons, positioned above and below the flower offering panel respectively. However, the decoration on its aprons is much simpler, consisting of interlocking tendrils. An almost identical chair was sold with another as a pair in the single-owner sale of the Liu Yu Zhai 留餘齋 Collection (Huang Dingzhong 黃定中, Zhongshan, Guangdong Province) at China Guardian on 4 December 2020, lot 3604. The flower offering panels on the two chairs differ: one is the same as that on the MIA chair, while the other represents a bronze gu with chrysanthemums and a lidded tripod censor. This suggests that these chairs were originally produced as part of a set of two or more, each with slight variations in the depiction of flowers and vessels. The chi dragons on this chair closely resemble the style of carving found on a dressing table cabinet (jingtai 鏡臺) in Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Chicago, 1990, see Vol.I, p. 169, fig. 6.23 for details of carving on a panel, and Vol. II, plate E28, p. 176 for the complete piece. Wang Shixiang dates this style to the late Ming-early Qing period, a time noted for the production of much hardwood furniture (ibid, p. 171). A similar style of chi dragons can also be found on a huanghuali and boxwood two-tier carry box in Grace Wu Bruce, Ming Furniture: Dr. S. Y. Yip Collection, Hong Kong, 2015, no. 33, pp. 188-191. In addition to the magnificent carving on the main structural components, the handrests of the crest rail are distinctively adorned with a downward swooping snub-nosed chi dragon. This unique feature is found on two Ming dynasty folding armchairs: one formerly in the Museum of Classical Chinese Furniture, Renaissance, California, see Wang Shixiang and Curtis Evarts, Masterpieces from the Museum of Classical Chinese Furniture, Chicago and San Francisco, 1995, no. 35, pp. 74-75, dated to the late 16th/early 17th century; and the other currently at the Nelson-Atkins Museum, Kansas City, Missouri, accession no. 68-1. Details of the carved chi dragon on the crest rail of these two chairs are illustrated in Sarah Handler, "The Elegant Vagabond: The Chinese Folding Armchair," in Chinese Furniture: Selected Articles from Orientations 1984-1994, Hong Kong, 1996, Fig. 4, p. 147. Lot Symbols W Y For further information about this lot please visit the lot listing

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价格信息

拍品估价:400,000 - 600,000 美元 起拍价格:400,000 美元  买家佣金:
落槌价 佣金比率
0 - 50,000 28.00% + VAT
50,000 - 1,000,000 27.00% + VAT
1,000,000 - 6,000,000 21.00% + VAT
6,000,000 - 以上 14.50% + VAT
服务费:平台服务费为成交总金额(含佣金)的3%,最低200元

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