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Lot 520
A good quality late 18th Century oak cased Grandfathers Clock, the brass mounted swan neck pediment over a domed brass dial, signed Joseph Halifax, Barnsley, and with painted ship mechanism on top, single panel door and box base with bracket feet, 224cms (88") high. (1)Provenance : The Aske, Shankill, Co. Dublin.
Lot 526
A good quality George III inlaid and crossbanded slope front Bureau Desk, the drop front opening to reveal an attractive fitted inlaid interior with stepped drawers etc., over two short and three long drawers on bracket feet, and with an associated top with two astragal glazed doors, 109cms wide x 211cms high (43" x 83"). (1) Provenance : The Aske, Shankill, Co. Dublin.
Lot 543
A good quality attractive Georgian drop-front mahogany Bureau, the interior fitted with six short and one long drawer and various pigeon holes, decorated with inlaid columns and figures, over two short and three long drawers on bracket feet, approx. 100cms wide x 109cms high (39" x 43"). (1)Provenance : The Aske, Shankill, Co. Dublin.
Lot 1156
GEORGE III PERIOD MAHOGANY BUREAUthe rectangular top above a fall front, opening to a comprehensive fitted writing interior, over three long drawers, furnished with brass handles, raised on bracket feetProvenance: Property of the late Elizabeth O_Kelly, formerly of The Dower House, Emo Court108 cm. high; 106 cm. wide; 50 cm. deep
Lot 525
EIGHTEENTH-CENTURY PERIOD FRENCH COMMODE, CIRCA 1750 of two short and two long drawers furnished with ornate ormolu scroll handles, between fluted brass insert pillars, raised on shaped bracket feet 83 cm. high; 130 cm. wide; 62 cm. deepAn extraordinary French mid-18th century chased gilt-bronze mounted parquetry commode with ‘Flandres à bec de corbin’ marble from Flanders over four drawers in three rows. It is furnished with finely incised gilt bronze handles, and escutcheons and with original ‘double-shooter’ locks.Guillaume Schwingkens was of German origin. He moved to Paris during the Époque Régence, obtaining his ‘lettres de maîtrise’ at the commencement of the reign of Louis XV. He was established in the Faubourg-Saint-Antoine prior to moving to the rue de Charenton around 1745. He died circa 1760. There is a marquetry commode by Schwingken in the Musée du Louvre, Paris.Stamped (2) to the fore on the top rail of the carcass: ‘G / SCHWING / KENS’. Paris, circa 1750. Bibliography: Pierre Kjellberg, Le mobelier Français du XVIIIe siècle – dictionaire des ébénistes et des menuisiers, Paris, 2002.
Lot 1088
GEORGE I STYLE WALNUT BUREAU BOOKCASEthe superstructure with a double arched crown, over two square glazed and serpentine arched glazed doors enclosing shelves. The base with a fall front below two brushing candle stands, opening to an elaborate fitted interior, over two short and two long drawers, furnished with ornate armorial brass handles, raised on bracket feet193 cm. high; 84 cm. wide; 51 cm. deep
Lot 876
GEORGE III PERIOD MAHOGANY BUREAU BOOKCASEthe superstructure with a moulded and blind fretwork carved crown, above two square and gothic arched glazed doors enclosing shelves; the base with a slope front opening to a fitted and tooled leather writing interior, above two short and three long drawers, furnished with pierced armorial brass handles, raised on ogee bracket feet227 cm. high; 105 cm. wide; 59 cm. deep
Lot 579
GEORGE III PERIOD MAHOGANY CHIPPENDALE SILVER TABLE, CIRCA 1780 the rectangular shaped top, below a pierced fretwork gallery rail, above a blind fretwork carved frieze, raised on pierced fretwork bracket headed square chamfered legs, terminating on block feet, with inset brass castors 74 cm. high; 86 cm. wide; 54 cm. deepThe importance of the silver table in the late eighteenth-century is stemmed from the prevailing social hierarchy, and as a focal point in the tea-making ritual of the period. Evolved from a tray for silver on a stand, they originated in England where they were popular amongst the elite.Silver tables were used to display the ceramic tea set and as a tea table when it was time to take tea. Tea drinking was a signifier of wealth and of good taste. Because of this, well-to-do families proudly displayed the trappings associated with the ritual. Like tea, ceramics imported from China (the only country to give its name to a product) were expensive, indeed, very expensive. In a classic example of form following function, the precious china was protected from falling off the edge by a fence-like gallery rail that ran around the rim of the tabletop: the swishing of ladies’ petticoats being a particularly high risk factor. Chinoiserie was a style that developed on foot of the influence of exotic porcelain, lacquerware, bronzes and other forms of applied and decorative arts imported from China and Japan. Such was the fascination that Europeans began to create their own fanciful interpretations of oriental styles and motifs. This new style, derived from the French word chinois (Chinese), became known as Chinoiserie.Thomas Chippendale, 1718 – 1779, interpreted oriental motifs and transformed them into fretwork and carved decoration in his Chinoiserie designs. In 1754 he published a book of his designs, titled The Gentleman and Cabinet Maker’s Director, for which he gained fame and renown. He was one of England’s finest furniture makers. Harewood House, near Leeds, in his native Yorkshire represented his biggest commission. He is buried beneath the National Gallery in London.
Lot 345
EDWARDIAN PERIOD MAHOGANY AND MARQUETRY DISPLAY CABINETthe superstructure with a moulded dentil inlaid crown above a satinwood swag decorated frieze, over two Gothic arched glazed doors, enclosing shelves. The projecting base with a serpentine front, over two profusely inlaid panelled doors, terminating on bracket feet182 cm. high; 76 cm. wide; 50 cm. deep
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177908 item(s)/page