Antwerpener Kabinett mit mythologischen Szenen63 x 71 x 34 cm. Antwerpen, 17. Jahrhundert.Weichholzkorpus mit Schildpattbeschlag und ebonisierten Flammleisten sowie ebonisierter Außenerscheinung. Einschübiger, von Flammleisten begleiteter Unterbau, den kastenförmigen Korpus tragend, welcher durch zwei Schwingtüren geschlossen ist, die außen durch Flammleistenkartuschen dekoriert sind und an den Seiten zwei Tragebügelhenkel aufweisen. Die Türen innen mit großen Bildfeldern geschmückt. Inneneinrichtung mit acht Schüben und einer zentralen Tür, welche innen einen Spiegel zeigt und mit einem Schachbrettboden und gekanteten Spiegeln als Spiegelkabinett hinterfangen ist, die Spiegel teilweise blind. Die Schubfächer durch rot hinterfangenen Schildpatt getrennt und durch Flammleisten gegliedert. Die Schubfächer und auch die Tür mit mythologischen Szenen geschmückt, besonders fein die in den Türen eingesetzten Malereien, welche sicherlich von einem weiteren Maler stammen. Der Schanierklappdeckel ebenfalls mit großformatiger innwandiger mythologischer Darstellung. Alters- und Gebrauchssp., minimal besch. Zwei Schlüssel vorhanden. (13013216) (13)Antwerp cabinet with mythological scenes 63 x 71 x 34 cm.Antwerp, 17th century.Softwood with tortoiseshell-mountings, ebonised ripple moulding frame and ebonised outside appearance. Lower section with ripple moulding and a single drawer carrying the box-shaped main structure with two doors. Signs of ageing and wear, with minimal damage. With two keys.Export restrictions outside the EU.
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Louis XVI-Pendule „au lion“44 x 27,5 x 14,5 cm. Zifferblatt in Purpur signiert „Pochon A PARIS“ (Meister um 1770). Paris, um 1770.Funktionen: Schlossscheibenschlagwerk mit Schlag auf Glocke zur vollen und halben Stunde. Werk verglast. Ein Pendel und ein Schlüssel vorhanden.Gehäuse: Über vier vergoldeten gedrückten Scheibenfüßen die rechteckige weiße Marmorbasis mit umlaufendem Stabbündeldekor mit ziseliertem Eichenlaub. Gehäuse als gesockelter kannelierter Basenansatz mit plastischem Eichenlaub und polychrom staffierter arkadischer Miniatur. Darauf ein feinst ziselierter Löwe mit einer Satteldecke und einem Werkkasten mit bekrönender Flammenvase mit Blattfestons und seitlichen Louis XVI-Schleifen. Zifferblatt: Weiß emailliert mit schwarzen römischen Stunden und arabischen Minuten. Aufzugslöchlein über der IIII und der VIII. Anmerkung I: Die Entwurfszeichnung der hier angebotenen Pendule ist heute Bestand der Sammlungen der Bibliothèque Doucet, Paris (Inventarnr. VI E 15, Rès., fol. 22) und abgebildet in: H. Ottomeyer/P. Pröschel, Vergoldete Bronzen - Die Bronzearbeiten des Spätbarock und Klassizismus, München 1976; I, S. 192 (Abb. 3.11.6). Zwei modellgleiche Pendulen sind bekannt; die eine ist Bestand der Sammlungen von Pawlowsk und stammte ursprünglich aus dem Cabinet des Prince de Condé. Die zweite ist heute Bestand der Sammlungen des Ministère des Finances, Paris, und war ehemals Besitz von Marie Antoinette. Anmerkung II:F. Vion, einer der bedeutendsten Hersteller von Kaminpendulen während der Transition, arbeitete mit Caffieri, Saint-Germain und Osmond zusammen. Die Bibliothèque d'Art et d'Archéologie Jacques Doucet in Paris bewahrt ein Buch mit Zeichnungen von Pendulen auf, die wahrscheinlich dem Uhrenhändler Antoine Foullet gehörten. (12818110) (13)Louis XVI pendule "au lion"44 x 27.5 x 14.5 cm.Purple dial signed „Pochon A PARIS“ (Master ca. 1770).Paris, ca. 1770.
Außergewöhnliches Barock-KabinettHöhe: 94 cm. Breite: 115 cm. Tiefe: 54 cm. Italien oder Augsburg, 17. Jahrhundert.Nadelholz und Eiche, teils geschnitzt, teilweise in Nussbaum furniert, teilweise gegenfurniert, intarsiert in Zwetschge und anderen Hölzern, teilebonisiert, teils polychrom gefasst und teilweise vergoldet sowie Einlagen in Marmor sowie Ruinenmarmor und Scagliola. Auf vier vollplastischen und vergoldeten Greifen das Kabinett in Form eines antikisierenden Tempels. Die mehrfach getreppte, ebonisierte Zarge mit großer Schublade und zentral schließendem Schloss. Darüber zweitüriges, gegenfurniertes Kabinett mit verspiegeltem Eingericht, dies durch Halbsäulen, verdeckte Gemälde sowie in Marmoroptik gemalten Boden und Decke, einen Spiegelsaal imitierend. Flankiert von vier Marmorsäulen mit vergoldeten Basen und korinthischen Kapitellen sowie acht kleinen Schüben. Abschließender gesprengter Giebel mit erhabenem, abnehmbarem Podest und seitlicher Galerie, teils verspiegelt. Verdecktes Eisenschloss und Eisenbänder. Leichte Alterssp. Rest. Erg. (†) (12821134) (13)Extraordinary baroque cabinetHeight: 94 cm.Width: 115 cm.Depth: 54 cm.Italy or Augsburg, 17th century.Carved, partly gilded, partly ebonized softwood and oak veneered in walnut partly inlayed in plum a.o. polychrome painted and inlays in marble and scagliola. Behind two doors mirror glassed cabinet with hidden paintings. Covered central lock and door hinges in iron. Smaller damages due to age. Rest. Add. (†)
Zweiteiliges Louis XIV-KabinettGesamthöhe: 165 cm. Breite: 112 cm. Tiefe: 51,5 cm. Paris, um 1720 oder später.Auf gedrückten Kugelfüßen gedrehte ebonisierte Beine, die durch eine geschwungene Stegform verbunden sind, der wiederum zwei gedrehte Beine aufliegen, welche in einem Blumenmarketerieoval zusammengeführt werden. Die Stege umrandet durch plastische Akanthusblatt-Ausformungen, welche vergoldet sind. Die Zarge mit teils gefärbter brandschattierter Blütenmarketerie auf schwarzem Fond. Aufliegendes Oberteil mit zentralem, risalitartig hervorspringendem Architekturmotiv mit kannelierten Lisenen und überkragenden ziselierten Bronzekapitellen korinthischer Art, diese eine Mitteltür flankierend mit darin befindlicher Kabinetteinrichtung. Spiegelkabinett und zwei Scheinsäulen, deren Entnahme den Blick auf die dahinterliegenden Schübe möglich macht. Oben mit zwei versteckten Schüben abschließend. Über der Tür ein gesprengter Giebel mit ziseliertem Bronzemaskaron und gemuschelter Marketerie mit Blütenflankierungen, als Schub gebildet. Flankierend zu beiden Seiten fünf Schübe sowie ein zentraler Mittelschub. Die Seitenwangen des Möbels mit hochrechteckiger Kartusche und teils gefärbter Blütenmarketerie. Überkragende ebonisierte Deckplatte. Ein Schlüssel vorhanden. (1280281) (13)Two-part Louis XIV cabinetTotal height: 165 cm. Width: 112 cm. Depth: 51.5 cm.Paris, ca. 1720 or later.
Chinoiser Halbschrank124 x 80 x 45 cm. Frankreich, 19. Jahrhundert.Auf von ziselierter Bronze als Blattwerk umgebenen Füßen der kastenförmige Korpus, eintürig, nach rechts zu öffnen. Zu allen drei Schauseiten hochrechteckige Bildfelder von ziselierten Bronzen umgeben. Mit chinoiser Lackverzierung auf olivgrünem Fond mit Ranken und stilisierten Ruyi-Kartuschen gefüllt mit Lotusblüten und Ranken. Das Sichtholz kontrastreich in verschiedenen Hölzern in Spiegelfurnier marketiert. Leicht überkragende grün-weiß geäderte Marmordeckplatte. Ein Schlüssel vorhanden.Provenienz: Prince André Poniatowski & Comtesse Constance de Louvencourt. (13004050) (13)Chinoiserie cabinet124 x 80 x 45 cm.France, 19th century.Provenance:Prince André Poniatowski & Comtesse Constance de Louvencourt.
Victor Raulin, 1867 – 1925KABINETTSCHRANK IM LOUIS XIV-STIL Höhe: 106 cm. Breite: 147 cm. Tiefe: 54 cm. Auf fein ziselierten Bocksbeinen auf trapezförmigem Grund das kastenförmige Möbel mit an drei Seiten bombierter Front. Spiegelfurnier mit Maskaronzier in ziseliertem Ormolu und das Maskaron umrandende Intarsienarbeit. Die Seiten mit Ormolu-Rankendekor in rechteckiger Kartusche. Die beiden frontalen Türen überspannt von einem Maskaron auf liegender Rechteckkartusche sowie flankiert durch feine Ormolu-Arbeiten mit gegossenen Voluten. Überkragende, den Zügen des Möbels folgende Deckplatte in grün-weiß-rot geädertem Marmor. Ein Schlüssel vorhanden.Provenienz: Prince André Poniatowski & Comtesse Constance de Louvencourt. Anmerkung: Die Firma wurde von Victor Raulins Vater in der 93 Rue de Turenne in Paris gegründet, wo er zusammen mit Meyer firmierte und bereits 1867 auf der Exposition Universelle ausstellte. Er war auf Marketerien spezialisiert, wie auch sein Vater auf Lackarbeiten im Stil des 18. Jahrhunderts. Victor Raulin selbst stellte 1878 und 1889 auf den Expositions Universelles in Paris aus und gewann dort Silbermedaillen auf beiden Ausstellungen. (13004070) (13)Victor Raulin, 1867 – 1925CABINET IN LOUIS XIV STYLE Height: 106 cm. Width: 147 cm. Depth: 54 cm.Provenance:Prince André Poniatowski & Comtesse Constance de Louvencourt.
Y A WILLIAM & MARY WALNUT OYSTER, KINGWOOD AND ROSEWOOD VENEERED CABINET ON STANDCIRCA 1690The doors opening to an arrangement of drawers, some fitted with lift-out trays, around a central door166cm high, 108cm wide, 51cm deepProvenance: The estate of a titled gentleman, London Condition Report: There are some marks, scratches, knocks, chips, cracks and abrasions consistent with age and use.Overall of polished appearance. Sun fading to the right side.The top dark stained and of gnarled appearance.There are losses and restorations including to the tips of the cornice, side hinges (now with metal pin hinges to the corners of the doors); veneer patches, some filler; repairs to the spirally turned legs and elsewhere.Some cracks along the construction lines of the doors.The handles are later; the drawer linings are oak.The escutcheons and lock are later. There is a key, which operates the drawer to the stand.Key also present which operates central inner door - opening to three smaller stacked drawers.The interior darker in colour.The backboards stained and with hessian tape, the back of the stand and underside of the stand drawer stained.There is evidence of worm including to the top, legs and feet.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
A GEORGE III MAHOGANY BACHELOR'S CHEST OF DRAWERSIN THE MANNER OF HENRY KETTLE, CIRCA 1780Incorporating a brushing slide87cm high, 84cm wide, 51cm deepProvenance: Private Collection, St Peter Port, GuernseyThe chest shown here incorporates many of the features seen on known pieces by Henry Kettle, including the shape of the bracket feet, the use of swan neck handles and the cockbead moulding to the drawers. For a mahogany linen press bearing a label for Kettle and incorporating the aforementioned features to the lower section, see Bonham's, London, Fine English Furniture and Works of Art, 2nd March 2011, Lot 105 (£7,200). Henry Kettle was one of a group of cabinet makers based in St Paul's Church Yard, London, from the early to late 18th century. In 1754 he took over the business of famous cabinet maker Philip Bell and is know to have worked in partnership with a number craftsmen of the period, including William Henshaw (in around 1770) and George Oakley (in 1796-97). Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, Some marks, indentations and stains to the slideThe top with some old scratches and marks, there is an old chip and repair to the rear left corner - this is slightly raised and it may be possible to effect a cleaner repair if required. The top with signs of darker stain/polish Some old splits and cracks to the drawer liningsThe handles and escutcheons appear to be original, as do the locks, there is one key present that only appears to operate the topmost lock - whether the other locks require a clean and an oil to operate or a different key Dreweatts has no opinion Please refer to additional images for visual reference to conditionCondition Report Disclaimer
A RARE GEORGE III MAHOGANY TRAY TOPPED SIDE TABLECIRCA 177078.5cm high, 116cm wide, 38.5cm deepThe design and style of this table shares similarities with the restrained furnishings at Dumfries House, Ayrshire. Dumfries contains documented furnishings by Chippendale as well as undocumented pieces that may have come from the same workshops or from the workshops of Alexander Peter or William Mathie. (see Dumfries House: A Chippendale Commission, vol. I, Christie's London, 12 July 2007 and R.Bird, 'Who was the Dumfries House Cabinet Maker?, vol II introduction). For a near identical table, see Christie's, London, 13th November 2014, The English Collector, lot 222 (£35,000). The Christie's table had provenance to Thomas Osborne, 4th Duke of Leeds (d.1789) and was supplied for Kiveton Park, and subsequently moved to Hornsby Castle, Yorkshire.
A GEORGE III MAHOGANY CABINET BOOKCASEIN THE MANNER OF HENRY KETTLE, CIRCA 1770The lower cupboard section opening to three sliding trays234cm high, 136cm wide, 63cm deepThe distinctive heightened 'S' shaped element of the feet is typical of the design of foot adopted by the maker Henry Kettle of London.A secretaire bookcase by Henry Kettle incorporating similar astragal glazing, shaped bracket feet and dentil moulding to the cornice is currently held by the National Trust at Saltram, Devon (NT 871382).Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. Old veneer and moulding repairs - see images. Some filler used in places. There are shadows to the cornice beneath the arcaded moulding where it appears to have had lower tip elements which have been removed - see images. One glazed panel is an old replacement. It is using old glass but the putty used to secure differs from the others. Splits and opening to the backboards of the upper section. Filler has been applied to one split to try and disguise. One sliding tray to the lower section is lacking. The hinges to one lower door are replacements. The lock to the lower doors is also a replacement. Keys are present for both locks and operate them. However both are quite 'sticky'.Some very minor evidence of old worm. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Y A GEORGE III ROSEWOOD SIDE CABINETATTRIBUTED TO GILLOWS, CIRCA 1800With partridge wood, tulipwood and satinwood banding, the fabric pleated doors enclosing adjustable shelves91cm high, 102cm wide, 34.5cm deepThis superbly well made side cabinet is very similar to a rosewood side cabinet supplied by Gillows in 1801 to Luke Dillon, 2nd Lord Cronbrook for Cronbrook, Co, Galway, Illustrated in Frances Collard, Regency Furniture, London, 1985, p.83. A Gillows design from 1803 shows a rosewood side cabinet with pleated silk lined doors, closely related banding to the top and columns, and described as having '..white strings let in to each column'. (Estimate Sketch Books folio no.1715). Condition Report: There are some marks, scratches and abrasions consistent with age and use.Some sun fading so that the left side and other areas are slightly darker in colour.Overall the side cabinet is clean with some small replacements to, for example, line inlay and veneers.The lock is original, but lacking the metal section on the adjacent door in which to engage. There is a key that is probably a replacement, which turns the lock.The interior is painted to simulate rosewood with two adjustable shelves.The back is stained pine of panelled construction.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Y A BRASS AND TORTOISESHELL 'BOULLE' MARQUETRY, AMBOYNA AND EBONY BUREAU PLAT OR WRITING TABLEIN THE MANNER OF THOMAS PARKER, MID-19TH CENTURYThe top with a foliate engraved brass border, lambrequins to the frieze flanked to one side by two morocco leather lined drawers, the locks stamped VR, the top and the inner sides of the legs amboyna veneered 74cm high, 108cm wide, 69cm deepThe brass marquetry to the frieze of stylised symmetrical 'silhouette' form with areas of undecorated brass is in the manner of Thomas Parker, 'Cabinet and Buhl Manufacturer to the Prince Regent and Royal Family'. Parker was one of the leading buhl workers in Regency London, started in Canterbury and was established in London by 1805 where he continued to have a workshop until 1830. Examples of his work are in the Royal Collection.For a bureau plat with related marquetry to the frieze see Sotheby's, Two Great Scottish Collections, 28 March 2017, lot 435 (£28,750)For a bureau plat featuring a related lambrequin see Christie's, London, 19th Century Furniture, Sculpture and Works of Art, 28 September 2006, lot 18 (£10,200)Condition Report: There are some marks, scratches, chips, splits, abrasions consistent with age and use, some to the extremities and edges.Some sections of replacement and losses including to the brass and tortoiseshell marquetry to the top and the legs. The ebony outer border has rubbing to the 'varnish' finish, with some splits along the grain of the timber. The engraving to the brass edge moulding is rubbed and has worn some of the definition to the front side of the table, with some wear to the gilding of this moulding. There is some scratching, to some of the brass of the frieze at the front from use of the drawers, to the sides perhaps from cleaning?The locks are stamped 'SECURE PATENT VR'. There are two keys of different dates for the frieze drawers that operate the locks.The drawer linings are mahogany. The drawer interiors are lined with morocco leather which is scuffed and rubbed, with some areas damaged where sellotape has been stuck. To the underside there is some tape along the sectional joins of timber.Please refer to the additional images for a visual reference of condition. Condition Report Disclaimer
AN UNUSUAL LATE GEORGE III MAHOGANY BOOK TABLE OR BEDSIDE CABINET CIRCA 1800 82cm high, 41cm wide, 30cm deep Condition Report: Please note the books illustrated are not present they are only for display purposes in the photograph - the shelves are empty when purchased and whilst on view at Donnington Priory.Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and lossesThe rear side with false drawer fronts and applied handles, the holes are visible to the interior The flanking carry handles appear to be original, there are old splits and cracks to the sidesOverall the colour of the piece is dark as per the catalogue and online imagesThe top with old marks and stainsPlease refer to additional images for visual reference to condition Condition Report Disclaimer
A CHINESE EXPORT LACQUER CABINET ON STANDLATE 18TH/EARLY 19TH CENTURYThe doors enclosing a stepped arrangement of architectural recesses and drawers155cm high, 92cm wide, 54cm deepCondition Report: There are marks, scratches, chips, splits and abrasions consistent with age and use.Overall the piece has crackelure and lifting lacquer cracks to varying degrees. Repairs with over-painting. There is also some touching up to the gilding and of other paintwork from rubbing. The painting to the top more indistinct by comparison with some wear and later touching up.The lock appears to be original, but is missing one screw, there is no key present, the lock is open.Some sections to the architectural interior are loose, for example some balustrade sections and the round frames. Some splits to the drawer linings. One detached small section to hold balustrade panel in one of the drawers.The back with crackelure and cracks along the panels of construction.Some movement and possible shrinkage, including to the doors so that there is a gap between them and they do not sit flush with the cabinet frame.Please refer to the additional images for a visual reference of condition. Condition Report Disclaimer
A GEORGE II MAHOGANY WRITING OR ARTIST'S CHESTIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1760The top with an edge moulding to all four sides, the top drawer and inverted breakfront legs pulling out as a writing surface with green covered cloth, hinged and sliding to enclose compartments with hidden drawers and a distinctive quadrant hinged side drawer88cm high, 91.5cm wide, 52.5cm deepSee Thomas Chippendale, The Gentleman and Cabinet-Maker's Director, 1762, Plate No LXXIII for a Writing Table drawer with related drawer interior divisions and quadrant drawer.See also Christopher Gilbert, The Life & Work of Thomas Chippendale, 1978, Plate 397 for a related design in pen, ink and grey wash, circa 1760 of an Artist's table by Thomas Chippendale.Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.The top has flame figuring, there are some deep scratches, some filler including to some pits and possible fixings. The back edge moulded as the three other sides.There are losses and restorations including to the banding beside the hinged interior writing slope; the oak hinged slat to hold the writing slope needs re-fixing; there is a crack across the interior base; lacking a section to the side of the left hand pilaster base.The drawer out section is retained by a section of wood which is slightly loose. The baize is of the woven wool style. There is a possibility that the handles might be later as there is some shadowing the the interior and some splitting suggesting that slightly larger screws, however, there are no alternative holes from the handles and the indentations from the front of the handles looks to be only in one place.The locks are later, there is no key, and the locks are open.There is no key, the locks are open.The oak drawer linings are thicker than usual, and have some splits, some with fillets.The backboards of panelled unveneered form, with some horizontal splits along the grain of the timber.The feet have concealed casters.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
A GEORGE II MAHOGANY AND BRASS INLAID BUREAUIN THE MANNER OF JOHN CHANNON, CIRCA 174599.5cm high, 94cm wide, 53cm deepSee Christopher Gilbert and Tessa Murdoch, John Channon and brass-inlaid furniture 1730-1760: a characteristic associated with John Channon and his circle is the use of simple stringing arranged as rectangular frames and the use of plain brass mouldings. See plate 13 for a mahogany and brass strung tea caddy of similar design stamped T. Landall. Plate 12, the trade card of Landall & Gordon, states they are 'Joyners, Cabinet & Chair-Makers At ye Griffin & Chair in Little Argyle Street by Swallow Street. Makes...all sorts of Cabinet Work'. See also colour plates IV and V for more elaborate bureau bookcases by John Channon with the similar use of plain brass mouldings around the sloping bureau front and around the base above the bracket feet.Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOverall with a fairly uniform dark colour to the timberThe metal areas with some discolouration, the handles and escutcheons appear to be original, no significant popping or lifting to the inlays The lock appears to be orignal to the fall, there is a (presumably) later metal bracket fitted to secure this and lock firmly, there is a key present to open this element, the remaining locks also appear original but the keys do not operate these - all are unlocked at time of reportThe interior baize is laterThe bracket feet have possibly been reduced in height The rear boards have been covered with an old paper chart pasted to themPlease refer to additional images for visual reference to conditionCondition Report Disclaimer
A GEORGE III MAHOGANY 'BREAKFASTE' TABLEIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 178074cm high, 71cm deep, the top 56cm wide, 105cm wide when extendedThe design of this table closely related to Thomas Chippendale's design for a "Breakfaste Table" . The Gentleman and Cabinet Maker's Director (1762) plate LX For similar examples see the Christie's catalogue prepared for the contents of Dumfries House (Thursday 12th July 2007) p.169, and an example by Samuel Smith p.191 Provenance: Private Collection of the Bagshawe family, formerly of Ford Hall and Snitterton Hall, Derbyshire, see page 97.Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.The top has two central cracks; a later fixing to three of the four corners of the central section all filled or covered.There are losses and restorations including to the hinge area of the concave doors; there is some movement and shrinkage to the concave doors so that the doors have a gap between them and do not sit quite flush; some replacement and refixed sections of beading; later metal braces to the underside of the stretcher; the door frames slightly lighter in colour than the top and the legs; the base of the caged area with splits and one section of tape to the underside.The handles are later. The lock is later and a little loose. There are two keys one which does not turn the lock to the top drawer (the lock is open), the other which locks the concave door.The drawer linings are oak and have some splits; the drawer divisions have been re-glued.There is evidence of worm including to the loper sections to the sides under the drop leaves.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
A PAIR OF GILTWOOD MIRRORSIN THE MANNER OF CHIPPENDALE, 19TH CENTURY163cm high, 93cm wideSee Thomas Chippendale, The Gentleman and Cabinet-maker's Director, Third Edition (1762), Plate No. CIXXVII for a related design of a 'Gerandole' by Matthias Darly.Condition Report: Please note a condition report is available upon request.Condition Report Disclaimer
A WILLIAM & MARY BLACK LACQUER AND GILT JAPANNED CABINET ON STANDTHE CABINET LATE 17TH CENTURY, THE STAND MID 18TH CENTURY The doors opening to an arrangement of drawers157cm high, 97cm wide, 50cm deep Provenance: The rear panels with two depository labels for 'Lady Howard'. Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Various old splits, chips and losses - see images. The gilt decoration to the cabinet appears to have possibly been refreshed at some point. Evidence of old worm - see images the surface of the cabinet with the expected rubbing, fading and some losses. Some of the nails/tacks securing the hinges are lacking. Some of the hinges to one side of the cabinet are slightly loose and pull away from the cabinet when the door is opened. Some knocks, misshapen elements and losses to metalware. Some patched repairs to the bottom edge at one side of the cabinet. Two handle loops to the interior drawers are lacking. The surface of the stand with the expected cracking, rubbing and losses. Three of the legs with elements of the 'ears' lacking - see images. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Y A REGENCY ROSEWOOD AND SATINWOOD INLAID SIDE CABINETIN THE MANNER OF GEORGE OAKLEY, CIRCA 181585cm high, 90cm wide, 41cm deep Condition Report: There are some marks, scratches, knocks, chips and abrasions consistent with age and use. Overall the side cabinet is clean with a shellac style finish.The top has some small opaque flecks to one corner area and some grain filler. The sides are darker in colour probably due to sun fading.Some of the stringing to the rounded corners and borders is lifting, some patch veneers.The lock is later and is out, but has no metal section into which to engage with the adjacent door. There is no key.The pleated silk fabric has marks and stains and does not sit quite flat.The back is of dark stained panelled construction. The interior is ebonised with a later shelf and shelf fittings.There are sections of line border missing to the lower edge of the cabinet.There is evidence of worm including to the underside.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Y A GEORGE IV ROSEWOOD SIDE CABINETBY GILLOWS, CIRCA 1810The top of one cabinet door stamped 'GILLOWS LANCASTER'136cm high, 94cm wide, 39cm deepClosely related canthus carved terminals can be seen on bookcases made by Gillows & Co for the library at Dallam Tower, Cumbria, in 1829. See Susan E. Stuart, Gillows of Lancaster and London 1730-1840, Antique Collectors' Club, 2008, volume I, page 379, plate 450.For pair of side cabinets by Gillows incorporating similar acanthus terminals, pleated silk doors and gadrooned tapering bun feet, see Christie's, London, Important English Furniture, 8th June 2006, Lot 98 (£18,000).
A REGENCY POLLARD OAK CIRCULAR CENTRE OR DINING TABLETHE DESIGN ATTRIBUTED TO WILLIAM ATKINSON AND PROBABLY MADE BY GEORGE BULLOCK, CIRCA 1815The radial veneered top centred with a brass marquetry roundel72cm high, the top 140cm diameterThis centre or dining table with plinth supported and hollow-sided 'altar' pedestal is designed in the early 19th century Grecian antique manner popularised by Thomas Hope's Household Furniture and Interior Decoration, 1807. The manufacture of related furniture in British oak was popularised by national fervour during the early 19th century wars, It was particularly promoted by the London and Liverpool cabinet maker George Bullock (d.1818). Amongst the purchasers of Bullocks oak furniture was the author and antiquarian Sir Walter Scott of Abbotsford, who mentioned his 'beautiful dining table of Scottish oak clouded in the most beautiful style' in his Reliquiae Trottsciences (A, Coleridge, The Work of George Bullock, cabinet maker, in Scotland: II, Connoisseur, May 1965, pp 16-17). Bullock was also employed to furnish Napoleon's residence on St. Helena, and it was noted in The Times, 25th October, 1815, that this furniture had been designed in, the pure simplicity of the Grecian style by William Atkinson (d.1839). For a very similar but smaller table, see Christie's, Important English Furniture, 24th May 2007, £26,400. Condition Report: Marks, knocks, scratches, chips, splits, abrasions consistent with age and use.Some old repairs, some use of filler.Evidence of old worm to the underlying table support - this has not affected the structural integrity of the pieceThe central brass marquetry roundel is possibly a later addition to the top.Butterfly joints present to the underlying planks to the table top - this is possibly introduced but may have been present during its construction.Please refer to the additional images for a visual reference of condition.Condition Report Disclaimer
Y A REGENCY ROSEWOOD AND GILT METAL MOUNTED SIDE CABINETATTRIBUTED TO GEORGE BULLOCK, CIRCA 1815With grey marble top85cm high, 115cm wide, 31cm deep George Bullock (d.1818) is one of the most recognised names in Regency cabinet making. Bullock was largely admired for his dramatic 'Grecian' forms and inventive ornamental patterns in brass or marquetry. The current bookcase is designed in the early 19th Century Grecian manner, and embellished in the French fashion with festive trophies, evoking bucolic poetry. Ackermann considered that furniture should be 'a source of delightful contemplation' and explained that the artist, who designed the sideboard had bestowed upon it 'the result of his studies amongst the works of the Greeks and Romans, by which his designs have become classical and imposing'. Ackermann had previously illustrated a piece of furniture in this style that was executed by the cabinet-maker John Durham, who had recently succeeded to the Catherine Street workshops of Messrs Morgan and Sanders (P. Agius, op. cit., pl. 136). Condition Report: Please note a condition report for this lot is available upon request.Condition Report Disclaimer
Y A REGENCY ROSEWOOD LIBRARY CABINETATTRIBUTED TO GILLOWS, CIRCA 1815The pair of pleated silk panelled doors opening to an adjustable shelved interior99cm high, 108cm wide, 42cm deepClosely related examples of cabinet displaying virtually identical carved and moulded elements are included in Gillows General and Estimate Sketch Books from circa 1810 to circa 1840. For a related example see Christie's South Kensington, 13th November 2018, Lot 129 (£15,000). A closely related cabinet was also sold in these rooms, 26th June 2019, Lot 214 (£3,000 hammer). Condition Report: There are some marks, scratches, chips, knocks and abrasions consistent with age and use.Some sections of replacement and losses including two patches to the top suggesting that there was originally a raised shelf.One key present.There is one shelf to the interior.The back is of panelled construction.Some sun fading including to the sides.There is evidence of old worm including to the backPlease refer to the additional images for a visual reference of condition. Condition Report Disclaimer
A CHARLES II YEW OYSTER VENEERED AND HOLLY BANDED CABINETTHE CABINET CIRCA 1685ON A STAND INCORPORATING SOME PERIOD TIMBERSThe doors opening to an arrangement of eight drawers, the moulded top with catch released secret drawerthe cabinet 49cm high, 48cm wide, 28.5cm deep the cabinet and stand together 129cm high, 51cm wide, 30cm deep overallCondition Report: Marks, knocks, scratches, abrasions and commensurate with age and use.Some old splits, chips, repairs and losses.Varnish has been applied to the exterior of the cabinet and to the inside of the cabinet doors.Use of filler to disguise veneer losses and replacements.The timber panel secured to the underside of the hinged lid may be a later replacement.The door hinges and lid hinges are later replacements.Key is lacking, lock is open.The handles appear original.The catch mechanism to the hinged lid is a later addition.Some lifting to veneers and moulding.One large split to the right side of the cabinet - see additional imagesOne handle lacking to the inside cabinet drawers.Some sticky residue found in two of the drawers.The later stand with good colour and patina - some old worm to the feet and supporting stretchers though this has not affected the structural integrity of the piece.There is a slight wobble overall to the cabinet.Some later nails to the rear panels.Please see additional images for a visual reference to condition.Condition Report Disclaimer
Y A GEORGE IV MAHOGANY DESK OR WRITING TABLEIN THE MANNER OF GILLOWS, CIRCA 1825Veneered to all sides, the front panel enclosing recesses and drawers, the frieze drawer with a writing slope and fittings125cm high, 110cm wide, 58cm deepSee Susan Stuart, Gillows of Lancaster and London 1730-1840, Volume I, 2008, Plate 6, for the design of this writing table, first published in the Lancaster firm's General Sketch Book 1810 and then reproduced in A C Loudon's Cottage, Farm and Villa Furniture published in 1833.A drawing by Gillows for a closely related 'secretaire-cabinet' or desk from 1818 is held in the Westminster City Archives. Please note: the handles of this item are ivory and therefore this lot should be marked for CITES and may be subject to CITES regulations.Condition Report: Marks, scratches and abrasions comensurate with age and useSome old repairs, some minor old losses. Old splits and chips. Some additional indented marks. There is a partial dark ring mark to the top surface. Careful polishing by a restorer could likely improve the appearance of this. Some of the pigeon holes to the interior bear old ink inscriptions (see images) probably of 19th century date. The leather insets with marks, abrasions and some discoloration. The main central leather panel with some untidiness and losses at the edges and some lifting (see images) Some staining to drawers interiors including some old ink stains(see images) The main writing drawer with evidence of a split to the floor of the drawer. (see image)Some fairly straightforward attention appears likely to be required (by a restorer) to the fitting/ fixture of the sliding top above the writing surface and the section of timber above it. None are damaged or broken but may need simple adjustment/ re-fixing in order to operate entirely satisfactorily. The drawer handles to the interior all appear to match and be original. They are generally in fair original condition. They are ivory. Lacking keys but the lock is open. The lock appears original. The desk/ writing table is finished very well on all sides so can be a free-standing piece of furniture if required. Please refer to all additional images for visual reference to condition. Condition Report Disclaimer
A WILLIAM & MARY BURR WALNUT CABINET ON STANDTHE CABINET CIRCA 1690, THE STAND LATERWith a cushion drawer, the doors enclosing eight drawers around a central door170cm high, 109cm wide, 52cm deep overallCondition Report: There are marks, scratches, knocks, chips, splits and abrasions consistent with age and use. There are some losses and replacements including the stand, sections of moulding to the cornice, crossbanded and other veneers, a central oak fillet to the right hand door and elsewhere.There are cracks to the doors, visible to the exterior and interior.The handles later and are matched.The locks later. There is one key which engages with the distinctive cruciform locks but does not turn either of the locks. The locks are open.The drawer linings are oak.The backboards are dark stained as is the back of the base. There is evidence of worm.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
A REGENCY MAHOGANY LIBRARY BERGERE ARMCHAIRATTRIBUTED TO BANTING, FRANCE & CO., CIRCA 1820-30OF MASSIVE PROPORTIONS138.5cm high, 103cm wide, 68cm deepOf rare oversized form, this chair was possibly designed as a 'show piece', and conforms to the early 19th century fashion combining Grecian and Louis XIV ornamentation, popularised by Thomas King's The Modern Style of Cabinet Work Exemplified (1835). Related furniture was supplied by Messrs Banting France & Co. in 1821 for Frederick William Hervey, 5th Earl and 1st Marquess of Bristol (d.1859) at no.6, St James Square (J. Shurmer, Ickworth, 1998, p.12). For a closely related bergere armchair, also attributed to Banting & France, see Christie's Important English Furniture, 23rd November, Lot 127, £22,800. Condition Report: Marks, scratches and abrasions comensurate with age and useSome old chips and splits. Some old repairs. There is a strip of replaced veneer at each side of the lower edge of the reverse of the back (see additional images) To the side of one front leg the moulded elements are later replacements (see images) Some wear to upholstery as expected for age. The upholstery is a later replacement. All other visible elements are original. We cannot guarantee the originality of the elements beneath the upholstery as it cannot be viewed. Of solid structure overall. The casters are highly polished but appear original. The surfaces of the cappings are very clean. There are a small numbe rof screws lacking from the cappings and several screws are replaced with modern examples. Some of the cappings are slightly loose where screws are lacking.Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Y A REGENCY ROSEWOOD AND BRASS MARQUETRY SIDE CABINET CIRCA 1820 91.5cm high, 158cm wide, 35cm deep Condition Report: Cabinet with marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. Some lifting to brass stringing and inlay in places. Old repairs - see images. Section of moulding to one side of the top is detached but present.Some minor undulation to the timber of the top. Later baize lining to the interior of the drawers. This bears the expected wear, tears and some losses. Some glue residue and later small nails to backboards. Half of the lower shelf to the interior has been removed. Old repair to one rear foot where it has been re-attached. Screws and glue have been used and one of the screws pokes through into the interior of the cabinet. There are various splits, losses and glue residue visible where the foot meets the cabinet. The other rear foot is slightly loose. One front foot has various repairs and sections of replacement timber. Some old worm holes visible. Pleated silk to the doors is later and has wear and discolourations. No key present, lock to door is open. Timber catch to the interior of the doors appears to be later and has a section of loss.There is a gap between doors when closed. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A GEORGE IV MAHOGANY HALL BENCHATTRIBUTED TO GEORGE BULLOCK, CIRCA 182558cm high, 89cm wide, 45cm deepFor an almost identical hall bench, see Christie's, The Collector, 23rd May 2018, Lot 110 (£18,750).This bench compares with a number of related examples by or attributed to George Bullock (d.1818). Foremost among these is the pair supplied in 1817 as part of a fully documented commission to Matthew Robinson Boulton for Tew Park, Oxfordshire, executed in oak and holly at a cost of £23.2s., and sold Christie's Tew Park sale 27 June 1987 lot 31. Another was sold from the collection of Kentshire Galleries, Sotheby's, New York, 18 October 2014, lot 328 ($20,000 including premium) and most recently another was sold Christie's, London, 19 November 2015, lot 581 (£35,000 including premium). All featured the distinctive ring-turned and fluted arms supported by uprights carved as tulip-like flowers.GEORGE BULLOCK AND HIS COLLABORATORSGeorge Bullock was considered by his contemporaries and patrons as one of the most outstanding and progressive makers of his age, though his career was cut short by his sudden death in 1818. Working from premises at Tenterden Street, London, in addition to the extensive commission at Tew Park, Bullock was requested by the future George IV in 1816 to supply suitable furniture for the Emperor Napoleon's residence in exile on the island of St. Helena, while he was also employed at Sir Walter Scott's Abbotsford, Roxburghshire, and at the Duke of Atholl's Blair Castle, Perthshire.Among Bullock's collaborators were the architects Richard Bridgens (d.1846) and Richard Brown (fl.1804-42) who not only provided Bullock with designs during his lifetime, but also did much to publicise his 'antique' taste after his death. Bridgens is credited with the design of the firm's oak parlour chairs supplied in 1818 for Abbotsford and published his Designs for Furniture with Candelabra and Interior Decoration (1824); while Brown published his Cabinet and Upholstery Furniture, 1820 (2nd ed. 1822; 3rd ed. 1835), which featured Bullock's designs for window seats such as the present lot (see Clive Wainwright et al, 'George Bullock and his circle', George Bullock, Cabinet Maker, Exhibition catalogue, 1988, pp. 13 - 39). Bullock's work was here linked with publications such as 'Mr. Hope's mythological work; Mr. [George] Smith's excellent Book of Unique Designs [1808], and [Charles] Percier's splendid French work on Interior Decoration [1801; 2nd ed. 1812]'. Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.The seat is of panelled construction. The spherical finials are applied to the scalloped half roundels and there are some splits from the point where they are fixed, the underside of these have a dark stain.There are some slight variations to the shape of the turned feet. There are some chips to the lotus carved supports and it is likely that the turned end supports have been detached and re-fixed at some stage.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
Y A SINHALESE EBONY AND SPECIMEN MARQUETRY OCCASIONAL TABLE AFTER DESIGNS BY THOMAS KING, CIRCA 1840-60Incorporating ivory, and white metal stringing74cm high, 60cm wide, 52cm deep Provenance: Private Collection, St. Peter Port, GuernseyThe design for these tables is taken from Thomas King's The Modern Style of Cabinet Work Exemplified, pl. 14, first published in 1829 (A. Jaffer, Furniture from British India and Ceylon, 2001, p.372), although the carved ornament is influenced by local Ceylonese tradition. Ceylonese models are distinguishable from their European counterparts by the introduction of a specimen wood top, decoration unique to the Galle district, and for the absence of a suspended pouch for needlework. Renowned for sophisticated craftsmanship, the inlaying of specimen woods from the Galle district was considered to surpass any specimen of English Tunbridge ware. Early references to these tables appear in the second quarter of the 18th century, but their popularity ensured that they continued to be made into the early 20th century. Such tables were made for British colonists in Ceylon and India as well as for export to England.A number of comparable tables with similar inlay of exotic woods and ivory are known, including one formerly at the Royal Commonwealth Society and another table which was on view at the Ceylon Court of the Paris Exhibition of 1855. A closely related table was sold Christie's, London, 31 October 2012, lot 257 (£8,750 including premium)For a further closely related table, see Christie's, South Kensington, Christie's Interiors - Style & Spirit, 1st April 2014, Lot 203 (£7,500). Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.The top has some sections split/opened up and some sections lifting so that, as you might expect, the top is not smooth flush flat. There are some areas lacking the finish (almost as if something like nail varnish removed has been on some irregular areas). Some replacement geometric veneers.There is a frieze drawer with robust ebony drawer lining sides, an exotic timber as the drawer lining base. There is an original brass lock with no key.The feet have some minor chips, with some opening to the joints of the legs.Please refer to the additional photographs as a visual reference of condition.The vendor acquired this table from a private collection in St Peter Port, Guernsey - this was a private acquisition, not in a documented house sale. Condition Report Disclaimer
Y A REGENCY ROSEWOOD AND GILT METAL MOUNTED SOFA TABLE IN THE MANNER OF JOHN MCLEAN, CIRCA 1810-1815 72cm high, 154cm wide (with leaves up), 71cm deep Provenance: Private Collection, St Peter Port, GuernseyChristie's, Important English Furniture, 27th November 2003, Lot 114, (£21,510)An almost identical rosewood sofa table with pearl bordered drawers is at Harewood House, Yorkshire, probably supplied to Edward Lascelles (1740-1820), 1st Earl Harewood. The table is illustrated in Harewood (guide) n.d.{1994}, p.18 in The East Bedroom and is presently displayed in Lord Harewood's sitting room.This sofa table veneered in richly striated rosewood is conceived in the manner of the cabinet-makers, John McLean & Son. John McLean worked from Little Newport Street between 1770 and 1783, and by 1790 was established at 58 Upper Marleybone Street where the firm remained until it ceased trading in 1819/20. Together with his son, William, he also occupied premises in Pancrass Street, Tottenham Court Road, c.1789-1805. Although they identified some of their furniture with a label, the only known documented commission is that for furnishing the London house and Middleton Park, Oxfordshire for the Earl of Jersey, between 1806 and 1807. William McLean took over from his father around 1815 (see S.Redburn, 'John McLean and Son'. Furniture History 1978. pls. 40B, 41A, 41B and C. Gilbert (ed.), Pictorial Dictionary of Marked London Furniture, 1700-1840, London, 1996, p.38.)
A RARE AMERICAN SPECIMEN WOOD BOX BY ADOLPH SINNING MID 19TH CENTURYWith single drawer containing a handwritten note, signed by Sinning detailing the various Yosemite woods used to make the box,12.5cm wide, 4.5cm high, 10cm deepThe very little we know about Adolph Sinning (1813-1889) is derived from the early history of The Sierra Club- the American environmental and conservation club established in 1892 under the presidency of the American-Scottish John Muir. The club's earliest headquarters was established in "Sinning's Cottage" in Yosemite Park with the former owner described in the literature of the time as a German woodworker who sold "beautiful and dainty souvenirs in California woods". Very few examples of work by him seem to have survived with this being seemingly the second only example to be offered at auction- the other being offered at Dreweatts Tunbridge Wells, lot 101, 24th February 2001 "American specimen wood tea caddy, the octagonal body with concealed drawer with letter of Provenance signed Adolph Sinning, Yosemite, California, 5.75in".The handwritten note that accompanies this box details the woods used in its construction and are testament not only to the broad arboreal diversity within the park- but also to his skill at utilizing their timbers for elegant effect;No 1. Description of a cabinet inlaid with different woods from Yosemite, the inside of the draw are the wood of the big tree and the bottom of the box are of laurel.Front Top border; Splicewood, Manzanila, Mt Mahogany, Buckeye- panel LeilakFront Border; Manzanila, Mt Mahogany, Buckeye, drawer Curly ManzanilaRight side border; Manzanila, Arrow Panels Indian Arrow, Manzanila, BuckeyeRear end panel; Juniper, Ceanothus, BuckthornLeft side panels; laurel, Alpus Viridus, Blak OakA Sinning, Yosemite Cal."Condition Report: Generally good condition- later baize roundels to the base, which shows some polish or oil marks, small loss to knot of timber below drawer handle.Condition Report Disclaimer
A GEORGE I GILT GESSO GIRANDOLE WALL MIRRORIN THE MANNER OF JOHN BELCHIER, CIRCA 1720With a paper label verso inscribed in ink 'Willi... Gilt Mirror... Given by Right Honble... Bought June 19th 1917', the gilt brass candle arms are detachable91cm high, 50cm wideJohn Belchier (d.1753) is first listed in 1717 as a cabinet-maker at 'The Sun' on the south side of St. Paul's Church yard and described himself as 'a cabinett and lookinf glafs-maker' who 'grinds and makes all sorts of fine peer and chimnet glafses and glafs sconces.... at reasonabel rates'. His most significant commission was for John Mellor at Erddig, Wales, a commission which included a state bed, pier tables, and numerous pier glasses, along with an impressive bureau-cabinet. Significantly it is Belchier's bureau cabinets that are most frequently labelled, and due to his ability to work with glass all have mirrored doors to the cabinet sections. His work at Erddig is discussed by Martin Drury, 'Early Eighteenth Century Furniture at Erddig', Apollo, July 1978, pp. 46-48, in which many of the pier-mirrors are illustrated. A closely related girandole was sold Sotheby's, Bond Street, London, Important Furniture, Silver & Ceramics, 6th July 2010, lot 8 (£42,050). A further similar mirror was sold Christie's, London, The Property of a Gentleman, 22nd November 2007, lot 652 (£42,500) and another Christie's, London, Property of Anne, the late Lady Hollenden, 23rd November 2006, lot 31 (£50,400). Condition Report: There are some marks, scratches, chips, splits, abrasions consistent with age and use.The back with later fixings for hanging and various holes from previous fittings. Later backed with oak boards, traces of paper, dark wash and a partial label with indistinct inscription as per the catalogue description, some evidence of old worm.The gilding is variably rubbed and bright, revealing some underlying gesso and terracotta and in some places small knocks showing the base timber, for example to the tip of the crest.Please refer to the additional images for a visual reference of condition. Condition Report Disclaimer
A GEORGE II MAHOGANY HALL CHAIRPOSSIBLY IRISH, CIRCA 1730Of 'saddle seated' type95cm high, 65cm wide, 58cm deepProvenance: Howth Castle, County DublinHowth Castle was the ancestral home of the St. Lawrence family. Picture reference: Francis Elrington Ball, A History of the County Dublin: Howth, Alex. Thom & Company (Limited), Abbey-St., 1917.Thomas Chippendale's Gentleman and Cabinet Maker's Director (3rd edition 1762, pl. XVIII) illustrates patterns for saddle-seated hall chairs. The present chair also relates in character to hall chairs supplied for Hartwell House, Oxfordshire. (one sold Christie's, London, 6th April 2000, lot 154 (£35,250). A further related pair of armchairs were sold Christie's, Important English Furniture, 14th June 2001, Lot 38 (£58,750). Chairs with related pierced vertical splats were supplied to Rousham Park, Oxfordshire and are illustrated in the Great Parlour, Rousham Park, Guide Book, n.d. A closely related set of twelve chairs (to the set at Rousham) was offered Christie's, London, 6th July 2000, lot 57 (£190,750).Condition Report: Please note: The main title of this lot should read 'A GEORGE II MAHOGANY HALL CHAIR, POSSIBLY IRISH, CIRCA 1730' There are some marks, scratches, chips, cracks and abrasions consistent with age and use.The chair has a clean appearance including to the saddle seat which has pitting.There is evidence of old worm including to the blocks behind the leg/seat joints.There are some repairs including to the seat that has two cracks across the grain of the timber, the underside now with two inset braces and one applied rectangular brace. There is some related repair incorporating some filler to some areas of the arms and supports, cracks to the tips of the arms. Many of these comments are apparent only on close inspection.Please refer to the additional images for a visual reference of condition. Condition Report Disclaimer
Y A GEORGE II ROSEWOOD AND BRASS MOUNTED TEA CADDYIN THE MANNER OF ABRAHAM ROENTGEN, CIRCA 1750 Of bombe form, the hinged top opening to three lidded compartments16cm high, 24cm wide, 13cm deep After briefly working with various cabinet makers in Holland, in 1731 Abraham Roentgen began work in London, possibly working under William Gomm. He found his niche creating elegant, small furniture, often with brass inlay and mounts which could be bought from the metalwork pattern books and sales catalogues or Birmingham foundries. A related example of tea caddy attributed to Abraham Roentgen is currently held at the Met Museum, New York (Accession Number: 1999.147). For a further related example, see Christie's, Amsterdam, Furniture, Clocks, Sculpture and Works of Art, 27th September 2001, Lot 687 (€9,988). A related tea caddy of bombe form (but with additional engraved brass plaques) attributed to the firm Landall & Gordon exists in the collection of the Victoria & Albert museum, London (accession number W.11:1 to 2-1965). The firm published a trade card that illustrates a very similar tea chest to the example held in the collection.Literature:Helena Hayward and Sarah Medlam, The Continental Context: Germany, in John Channon and Brass-Inlaid Furniture 1730-1760, by Christopher Gilbert and Tessa Murdoch, pp. 24-36. Exh. cat. Temple Newsam House, Leeds; 1993. New Haven, 1993, pp. 122-25, pls. 161-69. Wolfram Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, Metropolitan Museum of Art, Yale University Press, pages 52-53.Condition Report: Caddy with marks, knocks, scratches and abrasions consistent with age and use. Old splits, chips and some losses to veneers - see images for extent. It is possible that some sections of veneer to the cavetto moulded element of the lid have been re-glued. Metal elements with the expected wear, knocks and some misshapen elements. Later baize applied to the underside of the lid. This has wear and some losses. The hasp and lock plate are old replacements. Small section of replacement timber has been inset around the hasp. A key is present and fits the lock. However, it spins in place and does not operate the lock. The lead lining to the interior compartments with the expected wear, losses, tears, creases and discolourations. Some dark filler used in places, including to the joins between the sides of the caddy and the joins between the base and the sides - see images. The lid does not sit completely flush to the main body of the caddy when closed. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
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