A SMALL HUANGHUALI RECESSED-LEG PAINTING TABLE, PINGTOUAN LATE MING DYNASTY

the top of standard mitre, mortise and tenon construction, with a huamu two-board, tongue-and-grooved, floating panel supported by four dovetailed transverse stretchers and an additional cross stretcher underneath, all with exposed tenons, the edge of the frame gently moulded and ending in a beaded edge, the splayed round legs double tennoned into the top and cut to house the shaped spandrelled apron, each pair of legs conjoined on the shorter sides with two oval-sectioned stretchers

Grace Wu Bruce, Dreams of Chu Tan Chamber and the Romance with Huanghuali Wood: The Dr. S. Y. Yip Collection of Classic Chinese Furniture, Art Museum, Chinese University of Hong Kong, Hong Kong, 1991, cat. no. 22, pp. 66-67.

The table is in an exceptional state of preservation, with just minor surface wear, in keeping with its age and fragility. As visible in the catalogue photo, there are insignificant bruises and flaking to the fragile exteriors, especially the tips of the feet.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

"A classic desk of elegant simplicity."

Tables with legs not at the corners, but recessed, are called an
tables. This classic pingtouan design has its origin in ancient
Chinese architecture in wood. Completely plain, this simple form
with pure lines is what first captured the attention of twentieth
century furniture historians. The design is now considered
quintessentially Ming.

Tables with this design were used for various functions as seen in Ming publications in woodblock illustrations. The present example, being unusually deep, over 81 cm deep, is especially suitable for being used as a desk, the modern equivalent of a Ming dynasty painting table. Painting tables are very rare in surviving examples of classic Chinese furniture.

A very similar painting table in the Lu Ming Shi Collection, also with a huamu top, but not as deep, is illustrated in Grace Wu Bruce, Living with Ming – the Lu Ming Shi Collection, Hong Kong, 2000, pp. 126-127.