Late Ming Dynasty, 17th century|The three-board top set into a mitre, mortise-and-tenon frame with double 'ice-plate' edge and exposed tenons on the short side, the plain u-shaped aprons butted and half-lapped into the circular shaped legs joined by paired transverse oval stretchers.|157cm wide (61 3/4in) x 78cm (30 3/4in) high x 54.8cm (21 1/2in) deep.|明末十七世紀 黃花梨夾頭榫畫案Provenance: Francesco Maria, Marchese Taliani de Marchio (1887 - 1968), Grand Officer of the Italian Crown, Commander of the Order of St Maurice and Lazarus, and Commander of the Order of Pius IX (Ordine Piano), and his wife Archduchess Maragaretha d'Austria Toscana, Marchesa Taliani de Marchio (1894 – 1986). Acquired from Robert M. Drummond, Beijing, 15 April 1939.Robert and William Drummond were Chinese furniture dealers in Beijing during the first half of the 20th century. Dr Gustav Ecke in his seminal publication Chinese Domestic Furniture, Beijing, 1944, made a particular mention of "Robert and William Drummond, whose active interest has enriched the present collection and the homes of many Peking residents".來源： 佛朗西斯高•瑪利亞，塔里安利•得•馬基奧侯爵（1887-1968）及馬加烈特•奧地利-托斯卡納女大公，塔里安利•得•馬基奧女侯爵（1894-1986）伉儷收藏於1939年4月15日購自北平古董商Robert M. DrummondMarchese Taliani was a distinguished Italian diplomat who lived through major historical upheavals of the first half of the 20th century, events whose impact affect all to this day. His first diplomatic appointment was to Berlin in 1912; followed by Constantinople in 1913, where during the First World War he negotiated an agreement for the protection of Italian citizens and interests in the (soon to be partitioned) Ottoman Empire. From 1916 to 1919 he served in St Petersburg, and under the privilege of diplomatic immunity was in a unique position to observe and chronicle first-hand the October Revolution, its day by day development, the subsequent fall of Tsarist Russia and the establishment of the Soviet Republic; from 1919 he served in Rome as Secretary of State for the Ministry of Foreign Affairs; with later assignments to London (1921 - 1923) and again to Constantinople (1924 – 1928), this time as the Republic of Turkey; from 1929 - 1930 he was in Rome as Head of Protocol of the Ministry of Foreign Affairs; in 1932 he was appointed Italian Ambassador to the Netherlands; in 1938 he was appointed Ambassador to China, where he remained until 1946; and his last diplomatic appointment was in 1951 as Ambassador to Spain until 1952. Sent to China in 1938 as Ambassador to the Nationalist Government of Chiang Kai-shek in Nanjing, he became an acute - and far from humourless, despite the hardships of everyday life - front line eye-witness of the Second Sino-Japanese War, during which the Japanese forces captured the capital and attacked Shanghai. When Mussolini recognised Wang Jingwei's Japanese puppet government, Taliani presented his credentials to him. On 8 September 1943, having refused to swear allegiance to the Italian Social Republic (Republic of Salò), he and his wife, the Archduchess Margaretha d'Austria Toscana (1894 - 1986), were arrested and interned by the Japanese in a concentration camp near Shanghai, where they remained for two years until the end of the war. After the end of hostilities, the new government of Alcide De Gasperi reconfirmed him as Ambassador to China until 1946.A number of masterpieces of classical Chinese furniture in the collection have been published by the eminent scholar Dr Gustav Ecke in his seminal book Chinese Domestic Furniture, Beijing, 1944, as well as Dr Ecke's article devoted to folding chairs, 'Wandlungen Des Faltstuhls: Bemerkungen zur Geschichte der Euraischen Stuhlform' ('Development of the Folding Chair: Observations on Euroasian Chair Forms'), which was published in Monumenta Serica, vol.9, 1944. Many of the purchase invoices survive, providing an important documentation of Chinese art dealers active in Shanghai and Beijing between 1938 and 1946. The majority of the invoices are dated to between December 1938 and July 1943, with a significant gap until April 1946, explained by Marchese and Marchesa Taliani's internment by the Japanese. The long list of dealers demonstrates the vibrant Chinese art market in Shanghai and Beijing in the late 1930s and early 1940s; this list includes the following: In Shanghai - K. D. Lu, Yee Chun Chang, C. K. Chou, Strehlneek's Gallery of Chinese Art, The Midoh Co., Tung Koo Tsar Chinese Curios & Arts Co., Philip Chu, Zui Wha Curios & Co., T. Y. King & Co., King Koo Chai, Tai Loong & Co., Tin Dao Shan Fang, Y. L. Hong, Chu Tsun Tsai, The China Curios Co., Hsueh Ken Chai, Zung Chang Ziang Co., The Little Pagoda, M. L. Kwauh, Hoggard – Sigler, and Foo Yuen Tsai. In Beijing - J. Plaut, Jung Hsing Chai, Mathias Komor, Tung Ku Chai Curio and Picture Store, Yi Pao Chai Jade Store, Jung Hsing Chai, Wan E. Cheng, Yung Pao Chia Jade Store, Mario Prodan, and Tung Yi & Co. Marchese Taliani published three books: Pietrogrado 1917, Milan, 1935; È Morto in Cina, Milan, 1949; and Dopoguerra a Shanghai, Milan, 1958.Painting tables are rare surviving examples of Ming dynasty furniture. The present table's classical recessed-leg form unmarred with decoration reflects the pure and refined aesthetics of the Ming dynasty. According to the Ming period carpenters' manual, the Lu Ban jing (魯班經), this type of table was called a 'character one' table (yi zi an 一字案). The Chinese character for 'one' (yi 一), which is written as a single horizontal stroke, succinctly described the elegant form of this rectangular table. Today, they are sometimes known as 'painting' tables, although such tables were used in various contexts and ways, as can be seen in Ming woodblock illustrations. For a further discussion on this type of table, see C.Clunas, Chinese Furniture, London, 1997, pp.45-47. Compare a very similar but larger huanghuali painting table, illustrated by Gustav Ecke,Chinese Domestic Furniture, Beijing, 1944 no.36, pl.46; see also a similar huanghuali painting table, 16th/17th century, illustrated in Splendor of Style: Classical Furniture from the Ming and Qing Dynasties, Taipei, 1999, p.143; another similar table, late Ming dynasty, circa 1600 – 1650, is illustrated in R.H.Ellsworth, et al, Chinese Furniture: One Hundred Examples from the Mimi and Raymond Hung Collection, New York, 1996, pp.164-165, no.61; a further example from an American collection, but larger, is illustrated in Grace Wu Bruce, Two Decades of Ming Furniture, Beijing, 2011, p.53 (top).Three similar but larger huanghuali painting tables, late Ming dynasty, were sold respectively at Christie's New York, 18 March 2015, lot 122, Sotheby's London, 11 November 2015, lot 14, and Sotheby's Hong Kong, 6 April 2016, lot 113.