A ZITAN TWO-TIER CARRY BOX LATE MING / EARLY QING DYNASTY

all supported on a larger rectangular base frame of corresponding form, with an openwork spandrelled upright reticulated with ruyi-shaped motifs rising from each short side to meet the humpback-shaped handle framing the two-tiered box and and cover, the interior of the top tier with a shallow tray resting on its rim, the cover centred with an opening on each short side aligned with the openings on the uprights for the metal rod securing the entire carry box in the base frame, the edges of the frame and handle with metal mounts

The box is in overall good condition with expected minor bruises and surface wear to the edges. There is also expected oxidation to the metal pin.
"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."

The design of these tiered carry boxes originated from food boxes made mostly of bamboo and lightweight soft woods for easy carriage. Attendants carrying them on outings are depicted in numerous Ming paintings and other illustrations.

This fine example, made in heavy and dense zitan wood throughout including the bottom panels of the shelves, is likely derived from the common food boxes and used to contain valuables.

Compare a related example in the Minneapolis Institute of Arts, illustrated in Robert D Jacobsen and Nicholas Grindley, Chinese Furniture in the Minneapolis Institute of Arts, Minneapolis, 1999, pp. 198–199. Compare also another related example, published in Wang Shixiang and Curtis Evarts, Masterpieces from the Museum of Classical Chinese Furniture, Chinese Art Foundation, Chicago and San Francisco, 1995, pp. 144-145.