Lot 240

Overall in good condition, a few natural cracks which are all consistent with age.


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The opinions expressed in the condition reports are a guide only and should not be treated as a statement of fact. Prospective buyers are encouraged to seek further information or request additional images during our pre-sale period where Leonard Joel staff are available for advice. Please note condition reports can be amended during the pre-sale period, so we strongly suggest any interested bidders check the published condition report available on the website before the auction commences. Leonard Joel makes no guarantee of the originality of mechanical or applied components. Absence of reference to such modifications does not imply that a lot is free from modifications.

A Private Collection of Chinese Traditional Furniture and Scholar Objects, ACT.

A formative visit to the legendary connoisseur Wang Shixiang in the early 1990s set the tone for this collection. Inspired by Wang's scholarship and exacting standards, the collector pursued works that embody historical truth in period, workmanship, and material. Each acquisition reflects a Ming-Qing aesthetic rooted in both function and display, where structure, joinery, and line are imbued with meaning.

Over nearly three decades, the collector travelled through China's cabinetmaking heartlands, from the robust traditions of the North to the refined literati style of the South. Beyond the markets, she ventured into villages and households where furniture and techniques still survived, many now lost, building enduring relationships with dealers, artisans, and craftspeople across regions. This fieldwork informed a discerning eye, ensuring selections that carry both artistry and cultural resonance.

In parallel, the collector established an exclusive workshop, employing craftsmen trained in traditional disciplines and working largely with handmade tools handed down through generations. Conservation was approached with scholarly precision, using period-appropriate timbers, joinery, and finishes, while preserving patina, wear, and construction evidence. The result is a group of exceptional works, often of museum calibre, presented with both historical integrity and visual harmony. For collectors and institutions alike, this represents a rare opportunity to acquire furniture that unites artistic mastery with impeccable provenance and ethically guided preservation.

90年代初，一次对古典家具鉴藏家王世襄先生的拜访，成为了这批藏品故事的起点。
那次会面不仅是一次学术交流，更像是一场启蒙。在畅安先生深厚的学识和极高的审美标准影响下，藏家
踏上了乐此不疲的寻器之旅，希望找寻，收藏并保护那些真正符合历史时代、工艺水准与材质要求的古典
家具。
藏家所理解并珍爱的中国古典家具，并非只是单纯的陈设之美，而是明清家具中“形、制、用”兼备的深
意。它们结构严谨，榫卯精妙，线条之间皆有文脉相承。每一件收藏，都是一次对历史的考证，也是一次与
时代与匠心的对话。
在过去的三十年里，藏家走入了从南到北的许多村落与民居，寻找那些被时间遗忘的器物与传承技艺——许
多木工技法如今已濒临失传。她不仅想做一个藏家，更想做一个田野研究者。在与家俱古董商、木作师傅、
民间艺人的长年交流中，她得到了坚持下去的力量与热情。
在建立了一定规模的收藏后，藏家建立了一间私人的工坊，年复一年的资助承袭了精湛的传统木作技法的匠
人，沿用代代相传的手工工具，专注于明清古典家俱的修复与保护。藏家对“修”的理解，并非复旧如新，
而是“尊古而不造伪”：使用与原器相符的木材、榫卯结构及表面处理方式，最大限度地保留原有的包浆、
磨损与岁月痕迹，力求在保护之中还原其历史真实。
这些倾注了半生心力建立的收藏，得益于匠心与学识的结合，每一件古典家具的状态，都达到博物馆级的收
藏标准，呈现出审美与文化的和谐统一。每一件都具有独特的艺术造诣，和道德修复理念的支撑。