Page 156 - Bonhams, The H Collection, Classical Chinese Furniture, May 13, 2021 London

41 TP Y
A FINE AND RAIR PAIR OF HUANGHUALI ‘LAMPHANGER’
CONTINUOUS YOKEBACK CHAIRS, DENGGUAYI
17th century
Each fitted with a stepped crest rail extending beyond the corner
posts, above the gently curved splat and hard mat seat set within the
rectangular frame, with shaped, beaded aprons and spandrels in the
front, plain aprons and spandrels on the sides and back, all supported
on legs of rounded section joined by stepped stretchers.
112cm (44in) high x 52cm (20 1/2in) wide x 45cm (17 6/8in) deep (2).
£80,000 - 120,000
CNY720,000 - 1,080,000
十七世紀 黃花梨燈掛椅成對

Provenance:
An important European private collection

來源：
歐洲重要私人收藏 Woodblock illustration from ‘The Welcome
Spring’ Xi Feng Chun (1628-1644)
《喜逢春》插圖版畫，1628-1644年

‘Lamphanger’ chairs derive their name from the bamboo furniture 主體以圓材製作，搭腦兩端微微上翹，中部削出便於頭部倚靠的斜坡。
used to suspend lamps in China. Such ‘lamphangers’ were often 素面靠背板向外彎出，嵌入搭腦下方與椅盤後大邊槽口，後腿上截穿過
used in the Jiangnan region in the lower section of the Yangze river. 椅盤作肩出榫納入搭腦。椅盤為格角榫攢邊框，抹頭見透榫，邊抹冰盤
Easily transportable and less formal than armchairs, side chairs such 沿上舒下斂底壓窄邊線，籐編座面。椅盤下四面光素短牙板。腿間施方
as the present examples would have been made in sets and placed 材步步高趕棖，踏腳棖及左右兩側管腳棖下各安一素牙子。
against the wall. They were easily accessible when required, yet
were slim enough in profile to prevent overcrowding within an interior 「燈掛」之名，據王世襄考證，或源自用來掛油燈燈盞的竹製座托，
space. Perhaps due to their relatively fragile design and lack of armrest 舊時為江南地區家家必備之物。燈掛的座托平而提梁高，此類搭腦出
supports, side chairs such as the present examples are rare. 頭、面寬較窄而靠背比例較高的靠背椅與之造型相似，即以「燈掛
椅」名之。燈掛椅體積較小、便於搬運，無論是和一般桌案配置還是
The present chairs are constructed in the classical Ming style, with the 單獨陳放都不顯單調，故而成為明代最為流行的椅式之一。無扶手的
S-shaped crestrail terminating crisply in a truncated round section. 設計使得就坐時左右無障礙，或許也正因如此，其結構不似有扶手的
The highly-figured and matched backsplats were made from one large 椅式堅固，存世品也更為稀少。
piece of huanghuali. In addition, the seat frame is a mortise-and-tenon
mitred frame supported by straight aprons on the underside. 燈掛椅亦常見於明代版畫插圖中，如明末刊印的木刻版畫《喜逢春》
中，就繪有官員坐於形如本例的燈掛椅之上的場景；見劉柱柏著，
Woodblock illustrations dating to the Ming dynasty frequently depict 《晏如居藏明式黃花梨家具》，香港，2016年，頁110。
side chairs used in a variety of settings including private rooms,
landscaped gardens and formal reception spaces. See, for example, 參考一具黃花梨燈掛椅，見王世襄著，《明式家具研究》，卷一，
a set of four chairs similar in design to the present lot, placed around 香港，1990年，頁38，編號A56。另有一對十七世紀黃花梨燈掛椅，
a table behind a group of officials, depicted in an illustration from a 售於紐約佳士得，2012年11月28日，拍品編號2005，可資比對。
woodblock printed edition of ‘The Welcome Spring’ Xi Feng Chun
(1628-1644); see Chu-Pak Lau, Classical Chinese huanghuali Furniture
from the Haven Collection, p.110.

Compare with a related pair of huanghuali ‘lamphanger’ chairs, 17th
century, illustrated by Wang Shixiang, Connoisseurship of Chinese
Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, p.38,
no.A56.

A similar pair of huanghuali ‘lamphanger’ chairs, 17th century, was
sold at Christie’s New York, 28 November 2012, lot 2005.

For details of the charges payable in addition to the final Hammer Price of each Lot
154 | BONHAMS please refer to paragraphs 7 & 8 of the Notice to Bidders at the back of the catalogue.