法國私人收藏，得於約1970年

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我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您徵詢其他專業修復人員，以獲得更詳盡、專業之報告。

準買家應該檢查每件拍品以確認其狀況，蘇富比所作的任何陳述均為主觀看法而非事實陳述。雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。

During the early Qing dynasty there was renewed interest in lacquered furniture, a medium which achieved great prominence and was among the most valued for furnishings during the Ming dynasty. As with other media, the Qing rulers adapted, assimilated and innovated. The Qing aesthetic enriched and enhanced all media including lacquer furniture as evidenced by the present piece. Craig Clunas in Chinese Furniture, London, 1988, p. 31, observes that forms previously enlivened with richly patterned textiles draped over a surface were made redundant by early Qing artisans who artfully integrated complex layers of patterns decoration through inlay, carving and in the case of the present piece, painted gilt lacquer. The double lozenge form is elegantly echoed by the design and highlighted by varying borders. The effect of the rich dark brown layers of lustrous semi-translucent lacquer sumptuously amplified by warm gold tones is resplendent; its reflective qualities would have been much appreciated and admired in the darker interiors of the 18th century. The high status of small, refined forms such as the present stand may be seen in the choice of furnishings depicted in the Yongzheng period paintings ‘Twelve Beauties in the Yuanmingyuan’ in the Palace Museum, Beijing. For more on the topic see Tian Jiaqing, ‘Early Qing Furniture in a Set of Qing Dynasty Court Paintings’, Chinese Furniture Selected Articles from Orientations 1984-2003, Hong Kong, 2004, pp 153-161; two of the paintings with black and gilt lacquer stands figs 15 and 17. For a related table with similar motifs and archaistic angular scroll spandrels see the examples from the Qing Court Collection, The Complete Collection of Treasures of the Palace Museum, Furniture of the Ming and Qing Dynasties (II), Hong Kong, 2002, pl. 89.