The specialists guide to Chinese antiques » Chinese Furniture

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Roger S. — Sat, 14 Jan 2012 16:53:38 +0000

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A new twist on classic Ming style horse-shoe chairs – introducing the stainless steel Chinese yoke back chair!

Roger S. — Mon, 12 Sep 2011 17:50:55 +0000

Chinese red acrylic yoke back armchair from Green T. House in Beijing

I was reading over at Beijing Notebook about these translucent acrylic Chinese horseshoe chairs she saw at the Green T. House in Beijing. With clean and classic Ming style lines, these round backed chairs are a very updated idea on an extremely old concept. Very neat idea – probably not particularly easy to manufacture.

Sometimes, one needs a break from antiques

While admittedly cool, I think these polished stainless steel Chinese officials hat chairs from Chine Gallery are equally as funky. Known in Chinese as Guān mào yǐ (官帽椅) the name likely comes from the sculpted back which resembles a winged official’s hat.

An extremly designer-esque stainless steel officials hat chair from Chine Gallery

And with first hand-experience, I can tell you these yoke back chairs are also not very easy to make! (trust me I have done QC on them and a lot of hand crafting goes into each and every single one. No mass made here thank you very much! Same with these sleek stainless steel Chinese low back arm chairs known in Chinese as a “Fúshǒu yǐ” (扶手椅).

A very modern set of Chinese low back arm chairs in stainless steel.

Reminds me a bit of last years Dynasty Revival exhibit at Lane Crawford. For more interesting contemporary takes on Chinese furniture by contemporary designers try the book Inspired by China: Contemporary Furnituremakers Explore Chinese Traditions

Imperial jade, ivory, bronzes, silks and embroideries – all for sale at rock bottom prices (in 1908 that is)

Roger S. — Sun, 11 Sep 2011 16:51:29 +0000

Absolutely fascinating article from the New York times in 1908, reporting on the sale of The Sarah Pike Conger collection of oriental antiques. Containing priceless artifacts, even by 1908 standards, its in today’s terms that the prices paid are even more eye catching:

Elephant’s trappings from the imperial elephant stables: $150.00
Large gold alloy cast bell from Temple Of Agriculture $560.00
Chinese executioner’s sword engraved with dragons: $25.00
Antique cloisonné enamel palace seat: $540.00

A bit of historical background.

Mrs. E. H. Conger (Sarah Pike Conger) was the wife of Edwin H. Conger, who was the “Envoy Extraordinary and Minister Plenipotentiary to China” (in other words the ambassador to China) from 1898 until his resignation in 1905. An author who wrote several books about her time in China, and experienced the turbulent time of the Boxer Rebellion first hand, having been besieged for 55 days in the British legation quarter in 1900. She was also a friend of the Empress Dowager Cixi and some items in her collection were gifts from the empress herself. In fact, the only known image of Cixi touching a foreigner is of the two of them together.

In many circles however, the auction was highly controversial. The Washington Herald’s 1908 announcement of the auction was less then flattering in it’s assessment and notes with irony that as she was the ambassadors wife, the items even entered the country tax free.

The soldiers who stole these things were glad of any market for they could carry little away with them, and in the far east today, stories are still told, with many a chuckle, of ignorant soldiers selling diamond studded watches and priceless bronzes for a handful of Mexican dollars

Meanwhile the fact of the sale must give our Chinese friends food for thought. It is hard to see how the morality of the case can be defended on any grounds. Without mincing words, the property that is to be put up at auction is stolen poperty, and the shame of this looting rests, in a measure, upon us all as American citizens.

Meanwhile the Evening Times has this to say:

The Conger collection, which was sold in New York last week was advertised as being chiefly loot taken in Peking after the allied armies ocupied the city. E H. Conger, of Iowa, was then United States Minister to China. He did not himself steal the imperial jade, ivory and bronze pieces, or the silks and embroideries; but the thieves who did steal them found a ready market at the United States Minister’s quarters under the flag of the United States. The minister showed his shrewdness by keeping a record of the distinguished owners of the stolen property. It was a good investment.

Such things must have been cheap when the allies were looting Peking but what do the American people think of one of their ministers raising the sign over his door: “Cash for stolen goods here.”

“What must the Chinese people think of a nation that permits it.

Of course this was not the only controversial auction at the time. Herbert G. Squiers, who was the First Secretary of the American Legation in Beijing was said to have amassed such an extensive collection of antique Chinese porcelain that when he eventually left Peking, it filled several railroad carriages. When the Squiers Collection was sold in 1912 it too was also accused of being looted goods.

CHINESE ANTIQUES SOLD.

New York Times - Feb 20, 1908

Auction of effects of former Minister Conger’s Widow.

The hope of geting Chinese loot brought a large throng yesterday to the first day’s sale of the Oriental collection of Mrs. E. H. Conger, widow of the late Minister Plenipotentiary to China, at the American Art Galleries. There are nearly a thousand lots, all told, and the sale goes on every afternoon this week. Brasses, bronzes, idols, cloisonne, and weapons came first on the list. The sale was held in one of the small galleries, and every seat was filled. Standing room was at a premium.

The prices were good throughout, and ranged from $5 up to more than $300. The Metropolitan Art Museum and the Peabody Museum of Salem, Mass., were among the purchasers. The biggest piece of loot brought the highest price of the day. It was a big cast brass bell, 12 Inches high by 9 1/2, in diameter, which was taken from the Temple Of Agriculture during the Boxer rebellion in 1900. It was bought by K. Slater for $560.

It is a beautiful bell, of a rich colored brass, in which there is said to be gold alloy. It was sold with the original red rope by which it hung in the Chinese temple. It belonged to the k’ang-hsi period (1662-1722), and was rung once a year when the Emperor, who is supposed to be particularly the patron and father of those who cultivate the soil, ploughed a piece of land in public.

Two old and interesting pieces, which went to the same purchaser for $1,010 ($505 each), were cast iron temple gongs. These bore the marks of dedication in relief. They were used in the Buddhistic services, and the two together make chimes very rich, clear, and of long continuance.

The largest purchase by the Metropolitan Museum was that of a part of an elephant’s trappings, which came from the imperial elephant stables, and was used during the reign of the Emperor Ch’ien-lung. It was a, great ball-shaped ornament of brass, 16 feet high by as many in diameter, in a design of dragon and cloud scrolls and mounted on a circular base, also of brass. It sold for $150. The museum also bought an antique brass Chinese ink box for $14, an antique brass, square-shaped bowl for $20; a miniature hand mirror of the Ming period, polished brass, for $10; another larger one of the Hsuan-te period for $30, and an interesting antique brass kettle for heating wine for $30.

Interesting among the armor sold was a big Chinese executioner’s sword engraved with dragons, a double-handed grip, and a bright red scabbard, which went for $25. Another without the scabbard was bought by the Peabody Museum for $16. The Peabody Museum also bought an old Chinese sword with an odd blade, a cavalry sword, Boxer swords and pikes, and a couple of wooden weapons from the Sulu Islands.

An antique cloisonné enamel palace seat, in the shape of a barrel, brought one of the highest prices of the afternoon, going to Henry F. Ross for $540. On one end was a mark of the Ming period, and the cloisonne was of the reign of Ch’in-t’ai. Mr. Ross also bought for $205 an antique Chinese incense burner, oblong, on four feet and chiselled in designs of the dragon and Svastika, of the Wan-li period.

A. E. Durrant paid $180 for a palace bell of cast brass with chiselled designs, mounted in a teakwood frame, and $200 for a large antique brass vase. Mrs. Henry Elling paid $180 for a tripod incense burner of brass ornamented in engraving and relief with designs of the sacred lotus.

A quadrilateral-shaped Chinese enamel-covered vase with tree peonies and chrysanthemums in natural colors on a turquoise blue ground went to Geraldyn Redmond for $390. It had brass mountings and cover, the latter surmounted by the sacred fungi. The receipts of the afternoon’s sale , were $8,057 .

Original print of 1908 article in the New York Times can be found here.

Hidden beauty: Careful cleaning reveals beautiful color on this Chinese antique sideboard from Shanxi

Roger S. — Mon, 25 Oct 2010 08:03:59 +0000

You never really know what you will find when you start on restoration of an antique. Experience helps but its nevertheless often times more art then process. Since some customers, particularly those in the know, prefer to select antique pieces in un-restored form, which while exciting and educating, can present some tricky problems for the restorer, especially if what the customer is after is the color of the piece. So where does the problem lay? Well… what you are seeing is not color. That beautiful patina on the un-restored piece is actually dirt and grime built up over the years, as opposed to actual color. Like that rustic “limed finish look” on that un-restored antique table? Then know that its actually just gray dust and after restoration we will need to somehow recreate that effect. For the restorer, the challenge is to remove dirt and build up while retaining the patina. Other times though, this is all part of the fascinating and revealing process with at times, very pleasant surprises.

Take this antique sideboard from the Shanxi – Shandong region in northern China. Though a fairly common sideboard, the eight painted figures were remarkably well preserved and this alone makes this piece worthy of a purchase decision. The image above was taken at the time of purchase.

Note that this sort of sideboard would open across the top front in three half depth panels which lift up. Many of these antique Chinese sideboards seen on the market today have been in fact been modified for contemporary use and the doors are rarely original. In this case, the customer (wisely) choose to retain its original form and opted out for such modifications, which would have detracted from the value of such a wonderful cabinet. The next step is careful cleaning to remove the years of use in the countryside and in this case the results were better then expected.

Five of the size figures depicted separately on each panel are carrying swords. Before cleaning this was barely visible, so much that I neglected to even notice this and it was not apparent until after each panel was cleaned. I was also surprised to see vibrant red, blue and green hues spring forth in brilliant color, the kind often seen in antiques as most chinese antique reproductions today use commercially available synthetic colors which lack the richness the ones used in times past.

The next question: who are these figures, what do they symbolize and what story do they depict?

You tell me?

Chinese furniture in B&W: historical perspectives from old china

Roger S. — Sat, 23 Oct 2010 18:17:12 +0000

This particular image was taken from Ralphrepo’s photo stream on flicker and it apparently comes from a book called “The Face Of China As Seen By Photographers & Travelers 1860-1912.” He has a much longer and interesting commentary with a snip in which the furniture itself is mentioned. “Socially, the furniture belies a family of some affluence. The wooden foot stools at the time were used not for the height challenged but rather to provide insulation against having to put one’s feet onto a cold and unheated floor.”

This image of a Sedan Chair, is entitled “Bride On Her Way To Wedding, Fuzhou Fujian China” and was taken from Ralphrepo’s photo stream (if you are wondering about the basket, think “wedding veil”).

This stereoview image also comes from Flickr, this time from Wolfgang Wiggers photostream. It was taken Guangzhou in the 1860′ies (more commonly known at that time as “canton”). Notice the gate leg or “drop-leaf” table seen in the center background

Another interesting image from Ralphrepo, in which a side view of a vanity can be seen. This particular image was also taken in Canton in 1868 by John Thomson.

From a German photographic album with photographs from the Tsingtau (Qingdao) area around 1900. This image also comes from Wolfgang Wiggers flickr page .

A bit of a gruesome image, this photo was taken in the early 1900′s during the boxer rebellion. Nevertheless it it shows a very common long bench and farm table in a typical environment. This particular one has been modified to suite modern use by shortening the depth. The inset stone panel is not original.

This image was found on a Chinese website and really needs no introduction…

Another unique, though not quite as gruesome image taken in 1900 and entitled “Chinese punishment: whipping a lawbreaker.” Notice the frame unit in which the prisoner is bent across? Though I would assume this piece was purpose built, it nevertheless suspiciously looks quite similar in form to the base of a Chinese standing screen. Or maybe a large stacking food box…

A work chest / toolbox from street vendor

An antique Chinese wooden barber’s stool. Does your hairdresser have one of these?

By the way, if you are interested in seeing more of these fascinating images, here are a few potential books:

A jewelry box sitting atop a high side table known as a “flower stand.”

A photo of a “heavenly wheelbarrow” (the caption on the back of the wheelbarrow says “Heavenly Wheelbarrow) taken in 1910 in or near Qingdao.

What is it? A Chinese wooden barbers stool from days past

Roger S. — Sun, 17 Oct 2010 17:41:43 +0000

I just came across this fascinating lecture by John Lawson Stoddard who was an American writer and lecturer who traveled the world in the mid to late 1800′s and gained popularity through his travel writings. In series 13 of his lectures upon visiting Canton, he describes the role of a Chinese barber and includes a picture in which can be seen a similar wooden barbers stool.

Occasionally we discovered in these streets an itinerant barber. These Chinese Figaros carry their outfits with them. First in importance comes a bamboo pole, which is the immemorial badge of their profession. To this is usually attached one solitary towel, – free to every customer. From one extremity of this pole hangs a small brass basin, together with a charcoal stove for heating water; the other end is balanced by a wooden cabinet, which serves the patient as a seat during the operation, and contains razors, lancets, tweezers, files, and other surgical instruments.

It matters not where one of these tonsorial artists practises his surgery.

A temple court, a flight of steps, a street, or a back-yard, are quite the same to him. He takes his queue where he can find it. One of his commonest duties is to braid that customary appendage to a Chinaman’s head, without which he would be despised. It is comical to estimate the thousands of miles of Chinese queues which even one barber twists in the course of his career – enough, if tied together, end to end, to form a cable between Europe and America. Yet this singular style of hair-dressing (now so universal) was introduced into China only two hundred and fifty years ago. Before that time the Chinese wore full heads of hair, and the present fashion of shaved crowns and twisted queues is of Tartar origin, and was imposed by a conquering dynasty as a badge of servitude.

The wearing of a mustache in China is an indication that he whose face it adorns is a grandfather. In fact, until he is forty-five years old, a Chinaman usually shaves his face completely; but this fact does not prove that after that time he can dispense with the services of a barber. For the tonsorial art in China is exceedingly varied; and Chinese barbers not only braid the queue; they also shave the eyebrows, clean the ears, pull teeth, and massage. Moreover, they scrape the inside of their victim’s eyelids – a custom which is believed by foreigners to be the cause of much of the ophthalmia in China.

Note that the stool pictured above is a reproduction from ebay, as I was too lazy to dig out one of our photos of a real ones.

Dynasty Revival: Lane Crawford takes an updated look at Ming dynasty chair designs

Roger S. — Fri, 24 Sep 2010 06:20:21 +0000

In celebrating its 160th anniversary this September, Hong Kong department store Lane Crawford, has invited eight designers to redesign classic ming style chairs as part of its Heritage 160 exhibition currently on display in Hong Kong’s IFC mall. Designers for the Dynasty Revival exhibit include Tom Dixon, Michael Young, Jaime Hayón, Ilse Crawford, Barnaba Fornasetti, Qu Guangci, Lisa Whatmough and D.B Kim

A quick look at some beautiful antique shanxi painted furniture in unrestored form

Roger S. — Mon, 19 Jul 2010 15:45:45 +0000

During a recent buying excursion, I stumbled across these beautiful lacquered / painted armoires, from Shanxi province in Northern China. While not nearly as prized by Chinese buyers, who often prefer hardwoods like Hua li or Hong mu, the status of Shanxi painted furniture has nevertheless risen significantly over the years for its beauty and stunning colors and is a favorite of the noted Chinese collector Co La Ma.

Particularly interesting, is this close-up section of a door panel. Notice the change in color and patina which has occurred over the years? Once covered by a brass plate which was removed/lost within the last twenty or thirty years, (possibly during the great leap forward), the left side (where the colors are beautiful and subtle) has survived the years, protected by the brass or iron plate that would have originally been there. The colors on the right are faded and muted by comparison. The effect of daily life, pollution, coal dust and years of rough handling and exposure to the elements is clearly visible.

And yet, it remains beautiful. Known as “Bu Wen Qi” or “Da Qi,” the process used in this style of Chinese lacquering is both complex and unique. The first step would have involved covering the raw wood construction with a base layer of hemp, horsehair, straw or other fabric depending on the period in which it was made. This allows for the wood frame construction to shift to some degree without damaging the rigid upper layer of hardened lacquer. On older pieces this sometimes still visible in damaged areas and can be a good indicator of age.

The second step is the application of an even layer of gesso known as “ni zi, ” consisting of plaster mixed with pigs blood (which must be applied within a set period of time lest it spoil). This provides the base material and smooths any impurities or flaws in the wood, straw or fabric below. The third step is multiple coats of natural resin based lacquer, with vibrant red or “ink black” being the two most commonly used colors. Each coat of lacquer must be dried, and carefully wet sanded by hand with a very fine abrasive paper before receiving the next coat. The process is then repeated several times with even the most common pieces receiving at least five to seven coats, until the surface becomes smooth, glassy and mirror like. Finally in the forth step, an artist carefully hand paints motifs ranging from flowers and vases to city scenes to people.

Restoration of such pieces requires a extremely skilled craftsman in order to avoid further damage to the piece and to restore it to its former beauty.