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This pair of round-back armchairs date from late 17th to early 18th century and are made of zitan; the seat is cane. The legs run through the frame seat and join the arms near the curve. Note the cloudlift element in the chairs' upper rails.
This pair of round-back armchairs date from late 17th to early 18th century and are made of zitan; the seat is cane. The legs run through the frame seat and join the arms near the curve. Note the cloudlift element in the chairs' upper rails.
This chair, from the same period as the two pictured above, is also made of zitan, one of the most precious of Chinese furniture woods, and has a cane seat. It’s called a
This chair, from the same period as the two pictured above, is also made of zitan, one of the most precious of Chinese furniture woods, and has a cane seat. It’s called a "Southern Official’s Hat Armchair." In spite of its more rectangular shape, the chair has many curved parts. The collection owner wanted to give me a sense of the density and weight of this chair so suggested I pick it up. To my surprise, it was unusually heavy – I’d guess in the neighborhood of 25 pounds.
This pair of stools from the 17th century are made from huanghuali. This is an example of a “cabriole” leg and carved foot. I am assuming the leg-to-apron joinery is similar to that the sample joint pictured below.
This pair of stools from the 17th century are made from huanghuali. This is an example of a “cabriole” leg and carved foot. I am assuming the leg-to-apron joinery is similar to that the sample joint pictured below.
This 17th-century Painting Table is made from huanghuali. The Chinese used a table like this as we would use a desk. Its size is ideal for painting calligraphy on silk or paper. The simple design is elegant in its proportions.
This 17th-century Painting Table is made from huanghuali. The Chinese used a table like this as we would use a desk. Its size is ideal for painting calligraphy on silk or paper. The simple design is elegant in its proportions.
Detail of spandrel from the coffer pictured at the beginning of the story.
Detail of spandrel from the coffer pictured at the beginning of the story.
A 17th-century tabletop chest with panel doors and hinged lid, also of huanghuali. Note how the lock secures the lid and the doors, thereby securing the drawers.
A 17th-century tabletop chest with panel doors and hinged lid, also of huanghuali. Note how the lock secures the lid and the doors, thereby securing the drawers.
An interior view of the tabletop chest pictured above.
An interior view of the tabletop chest pictured above.
A sample joint typical of leg, apron and top joinery. Looks simple enough, you say? Just miter joints? Think again.
A sample joint typical of leg, apron and top joinery. Looks simple enough, you say? Just miter joints? Think again.
We’ll start with the easy one. The top would be a frame and panel and in this example is see the joint from the underside, a miter with a mortise-and-tenon. When the top is placed on its base, the tenon is pinned from the leg below, as is the opposing side of the miter.
We’ll start with the easy one. The top would be a frame and panel and in this example is see the joint from the underside, a miter with a mortise-and-tenon. When the top is placed on its base, the tenon is pinned from the leg below, as is the opposing side of the miter.
Here's a view of the leg with one apron assembled. What looks like a simple miter from the outside is reinforced with a sliding dovetail to secure the apron. The two short posts at the top are the pins for the tabletop referenced above.
Here's a view of the leg with one apron assembled. What looks like a simple miter from the outside is reinforced with a sliding dovetail to secure the apron. The two short posts at the top are the pins for the tabletop referenced above.
The inside view of the aprons with the dovetail socket and partially seen miter.
The inside view of the aprons with the dovetail socket and partially seen miter.
Ming Dynasty Furniture Collection
February 10, 2009
by  Steve Shanesy
This coffer is of large proportion, just over 7' long. It shows rare and handsomely figured huanghuali, amazing hardware and carved “spandrels.” The doors are bi-fold and can be easily removed by simply lifting from their pivot point at the cabinet leg. Even the center stile is removable.
This coffer is of large proportion, just over 7' long. It shows rare and handsomely figured huanghuali, amazing hardware and carved “spandrels.” The doors are bi-fold and can be easily removed by simply lifting from their pivot point at the cabinet leg. Even the center stile is removable.
How many times as a woodworker have you admired a beautiful antique and wished you could actually get your hands on it for a closer look? To be able to remove the drawers and inspect the joinery or interior components or glide your hand over the finish? Most often, we experience these wonderful objects in a photo, on "Antiques Road Show" or from the visitor side of the rope at a museum.

I recently had the opportunity to get my hands on some museum-quality pieces during a private tour in the home Nancy and Ed Rosenthal, astute collectors of prized Chinese art and antiquities including Ming Dynasty furniture and Neolithic and later pottery and ceramic figures. The oldest piece in their collection is a vessel estimated to be some 5,000 years old. The Ming period furniture is comparatively new, dating to the 17th century. These objects were recently on display at the Taft Museum in Cincinnati.

Most of the furniture is made from prized materials, even for the Chinese, like huanghuali (which the owner also called “yellow rosewood”), and zitan, which is as dense and black as Gabon ebony. It can be inferred, I was told, that these fine woods would only be worked by the best craftsmen and built for the uppermost ruling class.  One thing I found especially striking is the refined lines and wonderful proportions of the works that are subtle, elegant and almost contemporary in feel. These pieces were made for use in China, not for export, where showy ornamentation including carving and inlay would have been routinely employed.

It is clear that “East meets West” in several unrelated ways when looking at these classic examples of fine Chinese antiques. There is a liberal use of dovetails for joining drawers and smaller case pieces. Sliding dovetails are used in clever and highly complex joints that can eliminate the need for adhesives (see sample joint photos at right). A cabriole-style leg appears on a pair of stools. The “cloudlift” design that we associate with Greene & Greene furniture, they borrowed from the Japanese – who likely imported it from China.

By contrast, Chinese furniture makers did things we rarely see in the West. In addition to the complex, hidden joinery, it seems every door and drawer required a lock. These locks used a hasp but often combined to lock doors, drawers and even tops of case pieces if the lid was hinged. This hardware is absolutely beautiful in its design and decoration.

Part of what makes this collection special is its rarity and that much of it is entirely original, right down to the hardware and finish. I had never considered that one of the tragedies of China’s Cultural Revolution was the destruction of much of the country's cultural heritage including art and antiques. Granted, many objects made their way to safety in Hong Kong during the revolution, but you can imagine that thousands of items—fine furniture as seen here—was rounded up and burned having been classified as too bourgeois. I also learned that for many pieces that survived “in country,” the gorgeous steel hardware was stripped off, gathered up and sent off to be melted down to be used for more “practical” purposes. PW

Studio photos at right by Tony Walsh from the catalogue Brush/Clay/Wood: The Nancy and Ed Rosenthal Collection of Chinese Art published by the Taft Museum of Art, 2008.

Steve Shanesy is publlisher and editorial director of Popular Woodworking and Woodworking Magazine

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