142.2×74.9×80.6cm (56×29 1/2×31 3/4 in)

出版：《洪氏所藏木器百圖》（Chinese Furniture: One Hundred and Three Examples from the Mimi and Raymond Hung Collection），圖27，Privately Published•New York•1996，第95頁。
Robert Hatfield Ellsworth, Essence of style: Chinese Furniture of the Late Ming and Early Qing Dynasties,Asian Art Museum of San Francisco, 1998 , p.50.
This deep, rectangular lounging chair or daybed is extremely rare. Its construction follows the basic format of a square, low-back armchair on which the back posts and arms pass through a mitered, mortise-and-tenoned seat frame to form the back and front legs. It is interesting to note here that the tenons are exposed in the short rails of the seat frame, as is customary; in this case, however, the short rails are the front and back rails. The stretchers are arranged in ascending heights with a box frame apron, such as those found on large rectangular or square tables. Considerable attention has been paid to the arm and back railings. The railings enclose intricate scrolling-dragon decoration, each panel of which is crisply carved from a single piece of huang-yang-mu (boxwood). Use of this armchair, possibly outside or on a veranda, has resulted in some loss of height to the legs and necessitated the subsequent replacement of the apron stretchers.
It is quite likely that this chair originally had a removable caned backrest of scrolling shape that hooked over the low top rail and probably locked into position on the uprights beneath the arm aprons. Backrests developed, no doubt like armrests, as a means of making mat-level life more comfortable, and they continued to be used at ground and platform level coincident with the chair. In a Ming-period handscroll by Ch'en Hung-shou (1598-1652), ""Life of T'ao Yüan-ming,"" in the Honolulu Academy of Arts, a scholar is shown leaning against a freestanding backrest, his legs outstretched (G. Ecke 1991, P.71, fig. 11).
That backrests were also used with chairs is borne out by one illustrated in a handscroll in the Palace Museum, Peking. In ""Four Landscape Scenes,"" attributed to the Sung painter Liu Sung-nien (ca. 1150-after 1225), a gentleman is shown seated, his legs pendent, in a lounging chair that has a backrest with a sectioned splat and headrest (Handler 1992b, p. 35, fig. 13)
A black lacquer backrest, also in the collection of the Palace Museum, Peking, and assigned to the Yung-cheng era (1723-35) on the basis of its gold-painted (miao-chin) lacquer decoration, offers a more concrete example of the way a backrest functioned on a k'ang or other platform surface (Zhu Jiajin 1988, p. 38, fig. 11). The Palace Museum example consists of a legless base surrounded on three sides by a low rail with geometric openwork design. The upright section of the backrest, which has finely woven caning, is held in position by two hinged easel braces. Although the photograph of the backrest gives it the appearance of being smaller than the Hung chair, the dimensions are quite close, and, in fact, the width and depth of the Palace Museum backrest are greater: height, 30 1/4 in. (78 cm.); width, 32 3/8 in. (82.4 cm.); depth, 60 5/8 in. (154 cm.) (Zhu Jiajin 1988, p. 38, fig. 11).
—Robert H. Ellsworth (Chinese Funiture: The Hung Collection)

Price estimate:
HKD: 3,800,000 - 6,000,000
USD: 484,700 - 765,000

Auction Result:
HKD: --