A HUANGHUALI ROUND-CORNER TAPERED CABINET, YUANJIAOGUI
Prospective purchasers are advised that several co… Read more PROPERTY FROM A PRIVATE NEW YORK COLLECTION
A HUANGHUALI ROUND-CORNER TAPERED CABINET, YUANJIAOGUI

17TH CENTURY

Details
A HUANGHUALI ROUND-CORNER TAPERED CABINET, YUANJIAOGUI
17TH CENTURY
The beautifully-proportioned cabinet is constructed with a rounded rectangular double-molded and beaded top, supported on elegantly splayed legs of double-molded and beaded square section. The large panels of the doors are set within double-molded and beaded frames and open to reveal the shelved interior fitted with drawers, all above plain aprons and spandrels on all four sides.
74 7/8 in. (190.2 cm.) high, 36 ¼ in. (92.1 cm.) wide, 19 5/8 in. (49.8 cm.) deep
Provenance
Schoeni Fine Oriental Art, Hong Kong, 1990s.
Special notice
Prospective purchasers are advised that several countries prohibit the importation of property containing materials from endangered species, including but not limited to coral, ivory and tortoiseshell. Accordingly, prospective purchasers should familiarize themselves with relevant customs regulations prior to bidding if they intend to import this lot into another country.

Lot Essay

The round-corner tapered cabinet, or yuanjiaogui, is amongst the most beautiful and elegant designs in all of classical Chinese furniture. The very subtle splay in its design lends a sense of stability and balance to the form while retaining a very graceful and pleasing profile. The form was widely used in cabinet making throughout the Ming and Qing dynasties.
As elucidated by C. Evarts, Masterpieces from the Museum of Classical Chinese Furniture, 1995, Hong Kong, p. 130, yuanjiaogui are of two types: those with circular members and those with square members, which are considerably rarer. The present cabinet falls into the latter, more rare type, but is distinguished by the elegant and clever use of a deep ‘thumb-mold’ surrounded by raised beading at nearly every edge of the cabinet, including at the edges of the doors themselves. Such playful carving softens the hard edges of the square members while maintaining the overall appearance of stability and sturdiness; compare a similarly-proportioned yuanjiaogui from the Lu Ming Shi Collection, illustrated by Grace Wu Bruce in Ming Furniture in the Forbidden City, Beijing, 2006, p. 199, which uses a slightly simpler bead-work to similar effect.

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