Page 282 - Important Chinese Art Sothebys March 2019

the height, depth and absence of high stretchers
of the present form would allow a scholar-artist
ample space and the ability to stand or sit to use
the surface for multiple tasks. Completely plain,
this simple form with pure lines and clean angles
is what first drew the attention of 20th century
furniture historians and connoisseurs. the design
is now considered quintessentially iconic. the
present example of near perfect proportions, made
in attractively warm brown and amber tones, with
a lively–grained single-panel top, is an example of
the best of classic late ming/early Qing dynasty
furniture.
For a closely related table with similarly plain
decoration and rectangular legs but molded-edge
frame, see Wang shixiang, Connoisseurship of
Chinese Furniture, Ming and Early Qing Dynasties,
hong Kong, 1990, pl. B115. other tables of similar
dimensions and form but with rounded members
include one from Grace Wu Bruce sold in our hong
Kong rooms, 6th april 2016, lot 113 and a painting
table illustrated in Grace Wu Bruce, Dreams of Chu
Tan Chamber and the Romance with Huanghuali
Wood, The Dr. S. Y. Yip Collection of Classic Chinese
Furniture, hong Kong, 1991, cat. no. 22, sold in
our hong Kong rooms, 7th october 2015, lot 130.
another similar example with rounded members,
described as a painting table, from the collection
of robert h. ellsworth sold at Christie’s new York,
18th march 2015, lot 122 and a two-board top-panel
painting table from the same collection with grooved
rectangular legs and square-section stretchers sold
at Christie’s new York, 17th march 2015, lot 42.

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