the wide rectangular frame of standard mitered, mortise and tenon construction, the molded edge tapering to a short, recessed waist continuing to a plain straight apron,  supported on four robust square-section inward-facing hoof feet, the four square-section posts joined to the frame with three latticework panels comprised of one long and two short friezes of linked angular scrollwork below straight stretchers and pierced ovoid struts, the front with two shaped openwork brackets of further archaistic angular scrolls enclosing finely carved acanthus leaf scrolls, all surmounted by three further plain square-section stretchers stabilizing the slender posts and four openwork friezes enclosing lush floral blooms issuing leafy scrolls within an irregular frame of archaic C-scrolls, over openwork spandrels of chilong and bats amid scrolling clouds along the back and side corners and foliate-carved long flange brackets at the front, the canopy surmounted by elegantly barbed lozenge-form trelliswork 

Collection of Stanford White (1853-1906), New York.
American Art Association, New York, 4th-6th April 1907, lot 266.
Collection of Ruth Isabel (Belle) Skinner (1866-1928), and thence by descent.

On loan to Wistariahurst Museum, Holyoke, Massachusetts, 1972-2018.

The bed frame has been consolidated with metal brackets mounted with screws to each inside leg. There are some splits and losses to the joints and two legs with V-shape chips to the inside leg. The feet have been hollowed at the base and inset with metal casters- this was done in the late 19th century.The canopy has been consolidated overall and has filled, patched and glued repairs to joinery and openwork. The surface with appropriate wear and it has an old lacquer finish that is worn and flaking. Please note that this lot will require a CITES permit for export outside of the United States.
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.

Four-poster canopy beds are extremely rare. A woodblock picture dating to 1640 illustrated by Sarah Handler Austere Luminosity of Chinese Classical Furniture, California, 2001, p. 145 shows an example of a four-poster canopy bed but very few extant examples are known.  The present example differs from most four-post beds by its long openwork flange brackets that enclose the front and effectively serve as another pair of posts. Although documentation is scant, it appears that for the Qing aristocracy canopy beds were always a feature in a woman’s room and less frequently used by men who opted for three-sided couch beds. Many of these grand and very costly canopy beds were part of a woman’s dowry. The decorative motifs and geometric openwork were carefully chosen; each element designed to convey auspicious wishes to a young couple. The bed would have been ornamented with elaborate bed hangings, mattress cover, and pillows with patterns chosen to complement the carved decoration enriching the sensuous effect.  The textiles would be changed seasonally with heavy silks used in the winter time and fine silk gauze in the warmer months.  The bed was formerly in the collection of the famous architect Stanford White. Born in New York in 1853, he displayed uncanny design ability from a young age and joined with Charles McKim and William Mead in 1879 to create one of the most successful architectural firms in America. Having grown accustomed to the tastes of the most powerful and affluent members of society, the prosperous designer spared no expense on the furnishing of his own home. The house at 121 East 21st street, New York City was filled to bursting with treasures from around the world. The family moved into the house in 1898, however on the night of June 25th 1906, while attending a performance at Madison Square Garden, Stanford White was shot from behind by Henry Kendall Thaw in a fit of jealous rage. Seeking relief from the scandal, the following April the family put up the house and furnishings at auction. The present bed listed as an ‘Elaborate Teakwood Bedstead’ and as being among the furnishing in the ‘middle chamber, second floor’. 

The sale was reported as one of the important social events of the year with some of the greatest collectors vying for various works of art. The present bed was purchased by Belle Skinner (1866-1928) (fig. 1) a philanthropist and daughter of William Skinner, an Englishman, who came to America in 1843 and established a successful silk business in Northampton, Massachusetts.  After a disastrous flood, the mills were rebuilt in Holyoke, Massachusetts where the family home Wisteriahurst  was built. Belle Skinner, along with her brother William Cobbett Skinner (1857-1947) was an inveterate traveler and collector. She and her brother journeyed to Asia twice and to Europe more frequently where they acquired Chinese, Japanese and European decorative arts. 

According the family records, the four poster bed was acquired for Belle Skinner's apartment at 36 East 39th Street in New York City. From 1972 to the present the canopy bed has been on display at the Skinner family museum Wistariahurst,which has stood as an example of elegance and fine architecture since 1874 (fig. 2). The buildings and grounds were owned continually by the Skinner family until 1959, when Katharine Skinner Kilborne, the youngest child of William and Sarah Skinner, and her heirs gave Wistariahurst to the City of Holyoke for cultural and educational purposes.