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Lot 70
A 1960s retro bar of shaped form with brass and black moulding, marble effect top, above curved glass and lower padding and stood on cast metal spindle legs, the reverse fitted with shelving and a cupboard and lined in veined marble effect, with matched wall mounting open cocktail cabinet with mirrored back having vintage drink designs, two glass shelves and mirrored sides, bar length 145cm, depth 60cm & height 99.5cm.
Lot 8
An early Victorian mahogany cabinet bookcase, the top section with cornice, glazed doors and faux rectangular columns with ionic capitals, the base with slide out writing slope drawer, panelled doors and columns with ionic capitals, platform base and standing on turned feet, width 122.5cm, 56.5cm & height 215cm.
Lot 639
A 19th Century mahogany bookcase cabinet with astragal-glazed doors enclosing adjustable shelving, raised on a single-drawer side table basis on fluted square tapered legs (together with associated plinth so that bookcase and table may be separated) CONDITION REPORTS Approx in inchs 81" (h) x 50" (w) x 51" (d)
Lot 619
An early 20th Century mahogany bonheur du jour or bureau cabinet, the upper section with central door and drawer flanked by two glazed doors over a sloping fall front compartment, flanked by two small drawers and one long drawer by J B Van Skiver Co of Camden New Jersey, bears label to drawer
Lot 337
Ï’A North European, Pietra Dura, Alberese Limestone and ebony cabinet on associated Japanned stand, the cabinet, mid-17th century, the stand English, circa 1770, with a moulded cornice above an arrangement of ten panelled drawers surrounding a door with inlaid green marble and gilt-metal mounted pilasters enclosing a burr walnut interior with three drawers, below are three deep drawers inlaid with an elephant flanked by a two cloven-hoofed animals, the gilt-decorated stand with chamfered square legs headed by later pierced metal angle brackets 169cm high, 116cm wide, the pietra dura panels possibly Florentine A related cabinet with provenance from Drayton House, is illustrated in Jonathan Harris, Works of Art, 1991, pp. 2-3. It belongs to a group of cabinets all incorporating Italian hard-stone panels. These include a cabinet at Corsham Court Wiltshire, an example at Burghley House, Lincolnshire and further cabinet in the collection of the Victoria & Albert Museum which has provenance from John Evelyn and dates from 1644 (Dee Anthony Radcliffe and Peter Thornton, 'John Evelyn's Cabinet, The Connoisseur, April, 1978, pp. 254-262). Ï’ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.
Lot 248C
A pair of carved bronzed wood panels by Anton Leone Bulletti, Florence, dated 1864, in the baroque style, featuring baskets of flowers, Satyrs, , grotesque masks each with elaborate foliate scroll carving and ivory painted grounds, each 290cm high and of varying widths between 80cm and 89cm Provenance: Lartington Hall, Co. Durham Literature: Rosamond Allwood, `The Eminent Italian Artist, Signor Bulletti', Furniture History Vol. 25 (1989), pp. 250-256, figs. 2 and 3. Following a visit to Rome in 1854 the fourth Duke of Northumberland decided to redecorate the interiors of Alnwick with wood carvings in an Italianate seicento manner, under the direction of the architect Anthony Salvin. This was in contrast to Salvin's chosen mediaeval style for the exteriors and rather than import the wood-work from Italy, Salvin saw this as an opportunity to set up a school of Italian style carving at the castle. It was on this basis that he invited the Tuscan carver Anton Leone Bulletti (b.1824), to be its director with the Alnwick carver John Brown acting as foreman. A total of twenty-one carvers were engaged from London, Newcastle, Sunderland, Edinburgh and Glasgow in advance of the carving studio's opening in 1855. It was here that the ornately carved doors, shutters and ceiling panels were produced for the castle. By 1860, the majority of the interior work was complete at which point Bulletti left his post at Alnwick to set up a business as a carver and draftsman at 30 High Bridge, Newcastle. One of his first commissions was for the Rt. Revd. Monsignor Witham, at Lartington Hall, Co. Durham. This followed Withham's decision to embark on an ambitious programme of building works under the direction of the architect Joseph Hanson. These included a grand entrance corridor and port cochere completed in 1863, for which Witham commissioned Bulletti to make a twelve foot high mirror frame and a series of carved wall panels including the present lot. Further carvings are thought to have been supplied by Bulletti for Thomas Witham's private suite above the servant's hall. Unlike the style of his work at Alnwick, Bulletti's work at Lartington was heavily influenced by the carvings of Giuseppe Maria Bonzanigo who produced carvings for the Royal palaces in Turin during the 1780s. In contrast to his English contemporaries such as Gerard Robinson and the Warwick school of carvers, who worked in a more three dimensional style, Bulletti's mounted his carving on panels of contrasting colour. The entrance hall mirror frame was described in the Teesdale Mercury in 1863 ... A Splendid specimen of wood carving of the highest order. In the centre of the bottom of the frame is the crest of Mr Witham supported on either side by dragons with eagle's heads. From these spring the conventional foliage, which in the present instance consists of the thistle, the convolvulus and the Primrose. About the centre of each side of the frame, the allegorical figures of two storks destroying a serpent are introduced and above these is a panel bearing on one side the date, and on the other side the motto, 'solo virtus victit'...This magnificent work of art arrived at Lartington Hall last week. Bulletti was also commissioned by the Silvertops of Minsteracres, near Consett, Co. Durham - unsurprisingly they had close connections with the Withams and similarly employed Joseph Hanson. In 1865 Bulletti moved to Newcastle's bustling Grey Street where he remained until 1869. His achievements during this period included a carved walnut table exhibited at the Fine Art Exhibition at Newcastle town hall in 1866. This was favourably received....`a magnificent work of art, poetical, vigorous in conception and design whilst manipulative skill displayed in the execution is of the most exquisite character'. However despite the table's great merit it still remained for sale in 1870 at the price of 400 guineas. In the 1871 Newcastle census Bulletti described himself as a designing artist of forty seven and a widower with two sons. He remained in the city until 1878, variously listing himself in local directories as a sculptor, carver, gilder and more intriguingly as a carpet designer. Despite their contrasting styles, Thomas Tweedy, proprietor of Newcastle's leading carving firm, commissioned Bulletti to carve a large panel for Sir Hugh Taylor at Chipchase Castle. It was titled 'The March of Time' and its carving was executed in higher relief than his work at Lartington and stylistically it was more akin to early 17th century Flemish work. At the end of 1878 Bulletti moved to London to take up a position as chief instructor at the newly created `School of Art Wood- Carving' at 3 Somerset Street, Portman Square, before transferring to rooms at the Albert Hall. However the school gained a reputation for attracting titled women students for whom carving was a pleasant hobby rather than a job. Consequently the school was not popular with the trade and furthermore its first exhibition of students' work in 1880 drew criticism from the Cabinet Maker. In 1882 Bulletti left the school due to ill health. However the school continued under the management of Miss Eleanor Rowe, one of his most talented pupils, until 1902. Bulletti continued to produce designs, including an 'Artistical Sideboard' which incorporated elements based on his work at Lartington some twenty years earlier. Bulletti was last recorded at Maude Road, off the Fulham road in 1885 but was no longer listed in directories as a carver. A small Bulletti panel sold Anderson & Garland, 18 June 2019, lot 466 and a further example is in the collection of the National Trust at Hughenden, Buckinghamshire.
Lot 89
A Fine George II carved mahogany, dressing commode, circa 1735, possibly by John Boson and Cornelius Martin or Benjamin Goodison, now with an eared rectangular green marble slab top, the four long graduated drawers with original gilt-brass handles and escutcheons, flanked by a pair of guilloche-carved corbel pilasters headed by acanthus leaves and lion masks holding brass rings, the panelled sides with further conforming pilasters, on paterae-carved bracket feet, 80cm high, 123cm wide, 54cm deep, the drawer retaining a label with ducal coronet above a monogram contained within roundel bearing the motto `honi soit qui mal y pense', the back bearing a small paper label 'LADY LEVER COLLECTION' together with the inventory number 'X3933' and another paper manuscript label 'KENT ROOM S. RIGHT', the back also with chalk inscriptions `518 NX' and 'C185', originally with a fold-over top and pull-out supporting front pilasters; the top drawer probably originally fitted. Provenance: 'M. Harris & Sons, sold 17 June 1920 (£350) to William Lever, 1st Viscount Leverhulme (1851-1925) The Leverhulme Collection.The Lady Lever Art Gallery, Port Sunlight.Sold Christie's London, 27 May 1965, Lot 74 (£472.10s) The architectural form of the present lot, featuring distinctive lion mask pilasters with brass ring handles, relates to a group of documented 18th furniture associated with the furniture makers John Boson (d.1743) and Benjamin Goodison or Cornelius Martin (d.1767). Both makers were associated with the celebrated Royal architect designer William Kent (d.1745) who was the protégé of Richard Boyle, 3rd Earl of Burlington. The group includes the 'Owl' tables supplied by Boson for the Summer Parlour at Chiswick House in 1735 (See. T. Rosoman, 'The decoration and use of the principal apartments at Chiswick House 1727-7-`, Burlington Magazine, October 1985). Another related desk from Viscount Downe's collection at Wynham Abbey, Yorkshire, is illustrated in F. L. Hinckley, Metropolitan Furniture of the Georgian Years, New York, 1988, p. 78, pl. 44, fig. 93. A further library table supplied to 2nd Duke of Montague for Montague House, Northamptonshire, circa 1737-41 has been traditionally attributed to Goodison on the basis of invoices supporting the assertion that Goodison was the principal cabinet-maker to the Duke. However the discovery of payments in the Montagu accounts to John BosonSummer Exhibition Catalogue, 1987) calls this into question. A George II gilt-brass mounted and marble topped commode attributed to either Boson or Goodison, with provenance from the Dukes of Northumberland, sold Sotheby's, London, 'Treasures including selected works from the collections of the Dukes of Northumberland', 9 July 2014, lot 7. Shortly prior to the sale of this lot, a much anticipated exhibition William Kent: Designing Georgian Britain, was held at the Bard Graduate Center, New York in September 2013. This gave rise to certain key items being conserved before being loaned to either the Bard Graduate Center or the Victoria& Albert Museum where the exhibitions were staged consecutively first in New York and followed by London. Included in the conservation was the aforementioned Owl Suite, by John Boson, comprising a pair of mahogany and parcel-gilt dressing commodes and companion gilt pier glasses. The evidence for the suite's attribution to Boson is based on a receipt dated 11 September 1735, made out to Lady Burlington who had commissioned the complete furnishing of her Garden Room (later referred to as the Summer Parlour) at Chiswick House. During the course of the 'Owl' dressing commodes conservation, their Victorian leather-lined tops were removed in order to reveal the original top surfaces of the commodes. Interestingly this revealed fragments of a green textile, likely to have been a silk velvet fabric matching that of the green silk damask decorating the walls of the Garden Room at Chiswick during the 1730s. However the most exciting discovery lay to the underside of one of the commodes in the form of faint pencil signatures with the inscriptions 'W. Kent', 'B' standing for John Boson and lastly that of 'Cornelius Martin / 1735'. The latter may be the same Cornelius Martin who was recorded at Dover Street in 1763 (See Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660-1840, 1986, p. 580). Hence the 'Owl' commodes would represent the first documented examples of his work. The geographical proximity of Dover Street to Savile Row where Boson had taken a lease for a plot since 1733/1734 (from his patron Lord Burlington), makes this collaboration appear highly feasible. (see Matthew Hirst 'Conservation Discoveries: New Insights into Lady Burlington's 'Owl' tables for her Garden Room at Chiswick, Furniture History, 2014, pp. 205-215). John Boson's career was relatively short (See Virtue Note Book, III, Walpole Society, 22, Oxford, 1934, for an obituary recording Boson's death in 1743) dying at 'an age not considerably above middle age'. It was also noted that he was 'a man of great ingenuity and undertook great works in his way for the prime people of quality and made his fortune well in the world'. Tradition has it that Boson's first apprenticeship was as a ship's carver, possibly at Deptford, prior to acquiring his own yard at Greenwich in the early 1720s. His earliest known documented work was for the Duke of Kent in 1727 when he undertook carving at 4 St. James's Square. Significantly the majority of Boson's known commissions were for carved work in wood and marble rather than cabinet-work. His documented furniture is limited to a small group seven surviving pieces. These include the aforementioned 'Owl Suite', now at Chatsworth, and a pair of candle-stands with 'Boys heads' also commissioned by the Burlingtons.
Lot 248
A pair of carved bronzed wood panels by Anton Leone Bulletti, Florence, dated 1864, in the baroque style, featuring baldechins and goats heads each with elaborate foliate scroll carving and ivory painted grounds, each 290cm high and of varying widths between 80cm and 89cm; together with a pair of architectural spandrels, with some losses to carving, 196cm high, 180cm wide Provenance: Lartington Hall, Co. Durham Literature: Rosamond Allwood, `The Eminent Italian Artist, Signor Bulletti', Furniture History Vol. 25 (1989), pp. 250-256, figs. 2 and 3. Following a visit to Rome in 1854 the fourth Duke of Northumberland decided to redecorate the interiors of Alnwick with wood carvings in an Italianate seicento manner, under the direction of the architect Anthony Salvin. This was in contrast to Salvin's chosen mediaeval style for the exteriors and rather than import the wood-work from Italy, Salvin saw this as an opportunity to set up a school of Italian style carving at the castle. It was on this basis that he invited the Tuscan carver Anton Leone Bulletti (b.1824), to be its director with the Alnwick carver John Brown acting as foreman. A total of twenty-one carvers were engaged from London, Newcastle, Sunderland, Edinburgh and Glasgow in advance of the carving studio's opening in 1855. It was here that the ornately carved doors, shutters and ceiling panels were produced for the castle. By 1860, the majority of the interior work was complete at which point Bulletti left his post at Alnwick to set up a business as a carver and draftsman at 30 High Bridge, Newcastle. One of his first commissions was for the Rt. Revd. Monsignor Witham, at Lartington Hall, Co. Durham. This followed Withham's decision to embark on an ambitious programme of building works under the direction of the architect Joseph Hanson. These included a grand entrance corridor and port cochere completed in 1863, for which Witham commissioned Bulletti to make a twelve foot high mirror frame and a series of carved wall panels including the present lot. Further carvings are thought to have been supplied by Bulletti for Thomas Witham's private suite above the servant's hall. Unlike the style of his work at Alnwick, Bulletti's work at Lartington was heavily influenced by the carvings of Giuseppe Maria Bonzanigo who produced carvings for the Royal palaces in Turin during the 1780s. In contrast to his English contemporaries such as Gerard Robinson and the Warwick school of carvers, who worked in a more three dimensional style, Bulletti's mounted his carving on panels of contrasting colour. The entrance hall mirror frame was described in the Teesdale Mercury in 1863 ... A Splendid specimen of wood carving of the highest order. In the centre of the bottom of the frame is the crest of Mr Witham supported on either side by dragons with eagle's heads. From these spring the conventional foliage, which in the present instance consists of the thistle, the convolvulus and the Primrose. About the centre of each side of the frame, the allegorical figures of two storks destroying a serpent are introduced and above these is a panel bearing on one side the date, and on the other side the motto, 'solo virtus victit'...This magnificent work of art arrived at Lartington Hall last week. Bulletti was also commissioned by the Silvertops of Minsteracres, near Consett, Co. Durham - unsurprisingly they had close connections with the Withams and similarly employed Joseph Hanson. In 1865 Bulletti moved to Newcastle's bustling Grey Street where he remained until 1869. His achievements during this period included a carved walnut table exhibited at the Fine Art Exhibition at Newcastle town hall in 1866. This was favourably received....`a magnificent work of art, poetical, vigorous in conception and design whilst manipulative skill displayed in the execution is of the most exquisite character'. However despite the table's great merit it still remained for sale in 1870 at the price of 400 guineas. In the 1871 Newcastle census Bulletti described himself as a designing artist of forty seven and a widower with two sons. He remained in the city until 1878, variously listing himself in local directories as a sculptor, carver, gilder and more intriguingly as a carpet designer. Despite their contrasting styles, Thomas Tweedy, proprietor of Newcastle's leading carving firm, commissioned Bulletti to carve a large panel for Sir Hugh Taylor at Chipchase Castle. It was titled 'The March of Time' and its carving was executed in higher relief than his work at Lartington and stylistically it was more akin to early 17th century Flemish work. At the end of 1878 Bulletti moved to London to take up a position as chief instructor at the newly created `School of Art Wood- Carving' at 3 Somerset Street, Portman Square, before transferring to rooms at the Albert Hall. However the school gained a reputation for attracting titled women students for whom carving was a pleasant hobby rather than a job. Consequently the school was not popular with the trade and furthermore its first exhibition of students' work in 1880 drew criticism from the Cabinet Maker. In 1882 Bulletti left the school due to ill health. However the school continued under the management of Miss Eleanor Rowe, one of his most talented pupils, until 1902. Bulletti continued to produce designs, including an 'Artistical Sideboard' which incorporated elements based on his work at Lartington some twenty years earlier. Bulletti was last recorded at Maude Road, off the Fulham road in 1885 but was no longer listed in directories as a carver. A small Bulletti panel sold Anderson & Garland, 18 June 2019, lot 466 and a further example is in the collection of the National Trust at Hughenden, Buckinghamshire.
Lot 82
A pair of George III mahogany serpentine card tables, circa 1760, in the manner of Wright and Elwick, the folding tops and friezes with cabochon-carved mouldings, on moulded chamfered square legs headed by leaf-carved angle brackets, the 74cm high, 90cm wide, 45cm deep The present card tables have stylistic affinities with a suite of five library armchairs formerly in the collection at Swinton in Yorkshire and now attributed to the Yorkshire cabinet-makers Wright and Elwick who supplied furniture to William Danby for Swinton circa 1775. A pair of armchairs closely related to the Swinton suite sold Christie's New York, 19 October 2000, lot 100.
Lot 246
A George III and later mahogany armchair, based on a design by Thomas Chippendale, the carved pagoda shaped cresting above a pierced 'Chinese fretwork' back and arms, the upholstered seat covered in blue close-nailed damask, on chamfered square front legs with blind fret carving, 101cm high, 69cm wide, mostly re-railed Elements of the present lot, such as the top-rail, back and legs closely relate to a chair design in Thomas Chippendale's Gentleman and Cabinet-Maker's Director, 1754, pl. XXVII
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305988 item(s)/page