the four molded frame members slightly overhanging with a tongue-and-groove flush rectangular floating top panel, joined by four round posts at each corner forming the tapered silhouette, the pair of wood pin hinged door panels set within molded frames, opening to an interior with two shelves and a pair of short drawers, supported on short feet with a plain apron and curved spandrels, with baitong plates, pulls and lock

Mathias Komor, New York, circa 1950.

One back leg with joined replacement from foot to just above the base of cabinet. The upper part and peg of one door post replaced. There is a repaired break at the front base of the cabinet. The side and front aprons are most likely replaced.
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.

A similar tapered cabinet in The Dr. S. Y. Yip Collection of Classic Chinese Furniture, is illustrated in Grace Wu Bruce, Dreams of Chu Tan Chamber and The Romance with Huanghuali, Hong Kong, 1991, pl. 47. Another, also lacking a central stile was sold in these rooms, 18th March 2008, lot 248. Wang Shixiang in Connoisseurship of Chinese Furniture, Hong Kong 1990, vol. 1, p. 86 comments that cabinets of smaller size usually do not have central stiles but illustrates an example of similar height to the present (D. 33, p. 87) which he dates to the early Qing dynasty. For examples of this type, but with a central stile see Nancy Berliner, Beyond the Screen: Chinese Furniture of the 16th and 17th Centuries, Museum of Fine Arts, Boston, 1996, cat. no. 26; and Robert D. Jacobsen with Nicholas Grindley, Classical Chinese Furniture, The Minnesota Institute of Arts, Minneapolis, 1999, cat. no. 51.