A PAIR OF HUANGHUALI LARGE HORSESHOE ARMCHAIRS LATE MING DYNASTY

each well proportioned, the arm, beginning and ending in gently returning knobs, constructed of five sections joined by overlapping pressure-pegged scarf joins, the plain 'S'-curved back splat tongue-and-grooved into the underside of the horseshoe arm and the back member of the seat frame, the stiles and posts tennoned into the the horseshoe shaped arm and passing through the seat frame to become the legs, a pair of small shaped spandrels tongue-and-grooved into the posts and underside of the arm, the arm supported with tapering 'S'-shaped braces, the seat frame, of mitre, mortise and tenon construction with exposed tenons on the short rails with two transverse stretchers underneath, the edge of the frame gently curving and ending in a narrow flat band, the shaped, beaded-edged front apron butt-joined to the underside of the seat frame, tongue-and-grooved to the legs and tennoned into the footrest, the side aprons similarly shaped, the back apron modelled plain and high, the legs joined in front by a shaped footrest and on the sides and back by square-section stretchers with rounded outside edges, all with exposed tenons, the footrest and side stretchers with plain aprons below

Grace Wu Bruce, London.
L B MacBain Collection, London.

Grace Wu Bruce at the Grosvenor House Art & Antiques Fair, London, 2001.
Grace Wu Bruce at The European Fine Art Fair, Maastricht, 2008.

Grace Wu Bruce, TEFAF Maastricht 2007 Exhibition, Hong Kong, 2008, no, 5
Gao Hong, ‘Chushi Ming Qing Jiaju Zhimei (Beautiful Ming and Qing Furniture)’, Cultural Relics World, Beijing, May 2008, p. 97.

Chair 1: There are repairs to the upper rail, one at the top, as visible in the catalogue photo, and one on the underside of the left elbow. The small circular hole for the original pin is visible to the reverse of the upper rail. There is consolidation to the tips of the legs, especially the reverse right leg, where an approx. 5.5 cm section has been made up. There is general surface wear and bruising throughout. Chair 2: The top rail has been refixed, this is especially visible at the back rail for support. There is also an area of repair around the right elbow. The small circular hole for the original pin is visible to the reverse of the upper rail. There is also general bruising and surface wear in keeping with its age. As typical of Ming furniture, the matting has been periodically 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. 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."

This completely plain pair of horseshoe-back armchairs with fluid curves and simple lines is distinguished by their purity of form. They are also larger and taller than standard examples. The ranking of chairs in the Ming period was hierarchical with large-sized chairs being deemed more important seats reserved for the master of the house and senior guests.

One of the three main types of Ming chairs, the horseshoe-shape design is uniquely Chinese and has inspired various twentieth century furniture designers to create well-known modern examples.

Compare a very similar example in the Victoria and Albert Museum, London, illustrated in Craig Clunas, Chinese Furniture, Victoria and Albert Museum Far Eastern Series, London, 1988, p. 25.