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Lot 519
Group of mid century furniture items to include: Ercol type standing corner cupboard, teak fall front desk with similar corner cabinet, 1920s oak mirror back sideboard, Stag type bedside chest of four drawers and a free standing white and gilt triple dressing table mirror. (6) (B.P. 21% + VAT)
Lot 9
Royal Doulton bone china figurine, 'Ko-Ko' HN1286, together with Royal Worcester porcelain cabinet plate hand painted with Pike by W H Austin 23cm diameter approx. Together with a continental ceramic hand painted vessel with single handle of cylinder form. (3) (B.P. 21% + VAT) Ko-Ko is a bit grubby, but no obvious damage.
Lot 687
A scarce and fine Hardy "The Unique" salmon fly cabinet - mahogany rectangular cabinet with fall front door to ten sliding drawers with ivorine handle and twin aide memoirs, fitted with nickel spring clips with base for mothballs. Rectangle maker's trade mark, top with recessed brass handle with 126 named salmon flies
Lot 741
Vintage wooden tool chest measuring 18" x 11" x 8.5", made by Emir, London, dove tail joints, 5 slide out drawers with black handles (one missing), holding a selection of vintage floats, hooks, metal spinners and general accessories. Cabinet front is cut down to 14" wide, fitted with lock but no key present.
Lot 2312
Italië, tafelkabinetje, omgeving Milaan, ca. 1560-1580; De buitenzijde bekleed met rood fluweel, de randen met gehaakt goudbrokaat. De voorzijde met schanierende klep met aan de binnenzijde een deels vergulde stalen plaat met gegraveerde voorstelling van stadsgezicht. Het interieur voorzien van tien laden waarvan de fronten met gedamasceerde reliëfscenes uit de Romeinse geschiedenis o.a. allergorie van rivieren, de figuren Lucretia, Cleopatra en Marcus Antonius. Verder een front van zuilen, maskers en bieswerk van fruit. Twee verguld bronzen handgrepen en escutcheon met grotesk maskers. Aan de bovenzijde verguld bronzen wapenschild, mogelijk Borghese. NB. in het Victoria & Albert Museum London bevindt zich een tafelkabinet van mogelijk dezelfde maker, item/O377028/cabinet. h. 35 cm, b. 40 cm, d. 27 cm Provenance: Collectie Professor Ingenieur D. A. A. Koolen. [1]
Lot 146
A fine Louis XVI ormolu mounted tulipwood and purplewood occasional tableMade by Pierre Garnier, third quarter 18th centuryThe three-quarter balustraded gallery above a grey-veined white marble top and a frieze drawer flanked by upswept acanthus leaf chute mounts to the corners, on square tapering legs united by an under-tier terminating in ormolu caps and wooden barrel castors, stamped P. GARNIER, 49cm wide x 39cm deep x 72.5cm high, (19in wide x 15in deep x 28.5in high)Footnotes:ProvenanceCollection Jeanne Demarsy, sold Galerie Charpentier, Paris, 17 December 1937, lot 87;Collection Etienne Ader, sold Mes Ader, Tajan, George V Paris, 15 December 1993, lot 100;Me Antoine Ader, Hôtel Drouot, Paris, 24 November 1995, lot 71 and again 10 November 1999, lot 90; Jean-Marie Rossi, Aveline, Paris, 2000, where acquired.LiteratureBibliothèque des Arts Décoratifs, UCAD, Paris, Album Maciet, no.358bis, 4, Meubles signés Ebénistes XVIIIe siècle, F-H. Christophe Huchet de Quénetain, Pierre Garnier, Paris, 2003, no.53, ill. p.66.Pierre Garnier (circa 1725-1806), maître ébéniste in 1742.The son of the Parisian ébéniste François Garnier, Pierre, who in 1742 became maître-ébéniste at the early age of 16, went on to play a role in the early development of Neo-Classical furniture equally remarkable as those of the famous German-born Jean-François Oeben and Joseph Baumhauer. As a result of his early and highly-publicised collaboration with De Wailly and through Madame Geoffrin's recommendation, Garnier caught the attention of one of the most influential protagonists of the new style, Madame de Pompadour's brother, the Directeur des Bâtiments, the Marquis de Marigny. As a remarkable series of letters from Marigny to his cabinet-maker testifies, he held Garnier in high esteem and entrusted him with a variety of commissions (S. Eriksen, 'Some letters from the Marquis de Marigny to his cabinet-maker Pierre Garnier', in Journal of Furniture History, no.8, 1972, pp. 78-85). For instance, Marigny asked Garnier to design various items of furniture in ebony including their mounts; this includes a pair of meubles d'appui designed by him, most probably supplied to the marquis de Marigny, sold at Sotheby's, Paris, 13 November 2018, lot 30.Interestingly, de Quénetain, op.cit. p.66, notes that the present lot could possibly be the 'une joly table plaqué de bois de rose' delivered by Pierre Garnier on 19 December 1776.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 196
A FRENCH GILT AND PATINATED BRONZE MANTEL CLOCK DEPICTING A PAIR OF LOVERSParts early 19th century, parts 20th century.The later figures each wearing a headdress and feather skirts, the man with a bow and arrow, his companion holding a pineapple and wearing beaded necklaces and standing with her back to him, leaning into his embrace and gazing into his eyes, both standing on a patinated rocky outcrop with applied gilt foliage and flowers, raised on a bow-ended plinth with cast panel depicting a burning torch, on six turned feet. The signed 5 inch white enamel Roman dial with minute track including Arabic quarters and good matching gilt hands framed by an engine turned bezel. The twin spring barrel movement with circular plates, silk suspension and outside countwheel strike on a bell, the pendulum bob in the form of a pair of flaming hearts pierced by an arrow. Ticking and striking. Together with a winding key. 55cms (21.5ins) high.Footnotes:ProvenanceSegoura Antiquaires, Paris 1996. The drawing for this model by De Verberie dated 1799 is held in the Cabinet d'Estampe of the Bibliotheque Nationale, Paris. Comparative literatureH. Ottomeyer and P. Proschel, Vergoldete Bronzen, 1986, ill. 5.15.29P. Kjellberg, La Pendule Française, 1997, pp.356-357, fig. B - C.J-D. Augarde, Les Ouvriers du Temps, Antiquorum and the Trustees of the Wallace Collection, p. 158, fig.125.Ramon Colon de Carvajal, Catalogo de Relojes del Patrimonio Nacional, (1987), Madrid, p. 120.Saleroom notices:Please note, the estimate of this lot is £8,000 - 12,000.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 28
An important Italian Baroque ormolu mounted pietra dura inlaid ebony casketAttributed to the Grand Ducal Workshops, Florence, and probably under the direction of the sculptor Giovanni Battista Foggini, early 18th centuryThe five pietra dura panels each inlaid with lapis lazuli, Siena and other hardstone and marble foliate scrolls issuing flowers, including tulips and carnations mounted with a polished slate ground and framed with an ormolu moulding, the corners of the hinged cover mounted with pierced acanthus scroll cartouches, the pietra dura panels to the sides further framed with trailing foliate scrolls, the angles mounted with acanthus scrolls headed with bellflowers and raised on ormolu scroll feet, the interior opening to reveal a walnut lined compartment, with key, 31cm wide, 41cm deep, 27cm high (12in wide, 16in deep, 10 1/2in high) Footnotes:ProvenancePrivate European Collection.Kollenburg Antiquairs BV, where purchased 6 July 2020.ExhibitionKollenburg Antiquairs BV, TEFAF Maastricht, 2020.Related LiteratureWolfram Koeppe and Annamaria Giusti, Art of The Royal Court, Treasures in Pietre Dure from the Palaces of Europe, exhibition catalogue, The Metropolitam Museum of Art, New York, July-September 2008, Yale University Press, New Haven, n.54; Jewellery box, pp.198-199.Alvar Gonzàlez-Palacios, Il Tempio del Gusto, Milan, 2000, pp.467-493.Alvar Gonzàlez-Palacios, Las Colecciones Reales Espanolas de Mosaicos y Piedra Duras, exhibition catalogue, Museo Nacional del Prado, pp.107-118.Simon Swynfen Jervis, Pietre Dure Caskets in England, Furniture History Society, XLIII, 20079, pp.245-265.Annamaria Giusti, Pietre Dure and the Art of Florentine Inlay, London, 2006, n.64, p.83.This magnificent Florentine casket, richly mounted with superb pietra dura panels can be firmly attributed to the Grand Ducal workshops, and was most probably made under the supervision of Giovanni Battista Foggini (1652-1725), who was director of the workshops under Duke Cosimo III (1670-1723). The spectacular creations of the Galleria dei Lavori, which was originally founded by Ferdinand I Medici in 1588, were admired in all the courts of Europe, and were often offered as diplomatic gifts by the Medici. Louis XIV even consciously tried to create his own version of the Galleria dei Lavori as he imported Italian craftsmen such as Domenico Cucci when he founded the Gobelins workshops in 1667. Foggini played a remarkably active role as director of the Medici workshops, supervising every detail of the works of art produced. This is demonstrated by a fascinating series of drawings by him in the Giornale of the workshops, for caskets and gilt-bronze mounts, executed towards the end of his career (circa 1713-1718), now in the Gabinetto Disegni e Stampe in the Uffizi, Florence (see González-Palacios, op. cit.,vol. I, pp. 41-4, and vol. II, pp. 54-60, figs. 57-77).A comparable Baroque Florentine pietra dura (in relief) and gilt bronze mounted ebony jewel casket was sold at Bonhams, San Francisco, Fine European Furniture and Decorative Arts, 28 October 2013, lot 1519 and another casket also attributed as coming from the Grand Ducal workshops in Florence, was sold at Sotheby's, Milan, A Milanese Cabinet Collection, 13 June 2016, lot 36 as well as the ebony veneered and pietra dura inlaid casket at the Royal Collection acquired by George IV, collection number 11895 and a jewellery box attributed to Giovanni Battista Foggini held at the Minneapolis Institute of Art, collection number 777 on view in gallery 310.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 44
A Dutch walnut and burr walnut side table or cabinet standLate 17th century and laterThe shaped crossbanded top with a moulded edge above a C- scroll and acanthus leaf carved and pierced apron on turned legs united by a shaped X-stretcher on bun feet, 69cm wide x 50.5cm deep x 69cm high, (27in wide x 19 1/2in deep x 27in high)Footnotes:LiteratureThe Chinese Porcelain Company, 'The Age of Gallantry', Fine Decorative Arts of the Netherlands 1672-1800, exhibition catalogue, October - November 1995, lot 35, p.74, illustrated.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 54
A rare Dutch ormolu-mounted mahogany, rosewood, purplewood, burr walnut, fruitwood and green-stained wood marquetry secretaire à abattantCirca 1765-70The grey marble top above a hinged fall inlaid with a balustrade and a canopy flanked by swags above classical vases, urns and jugs enclosing a fitted interior of six serpentine drawers with scale inlay and open compartments, the base fitted with a cupboard door inlaid with an autumnal tree, swags and Classical urns, enclosing a fitted drawer, flanked by canted sides surmounted by ram's head cast ormolu mounts, the sides inlaid with Classical urns, 88cm wide x 46cm deep x 138cm high, (34 1/2in wide x 18in deep x 54in high)Footnotes:ProvenancePieter Hoogendijk Antiquairs, Baarn, where purchased probably 1993.ExhibitedPieter Hoogendijk, Les Antiquaires Au Grand Palais, XVI Biennale Internationale, Paris, 18 Sept - 4 Oct 1993.LiteratureR. J. Baarsen, 'Le goût français' in Dutch furniture in the second half of the eighteenth century, TEFAF catalogue, 1991, p.153.Annigje Hofstede, Nederlandse meubelen: Van Barok Tot Biedermeier 1700-1830, 2004, fig. 297, p.179.This Dutch secretaire à abattant, with its classical and large scale French-style ram's head garlanded corner ormolu chute mounts and elaborate marquetry with contrasting veneers and engraved motifs, is reminiscent of the much en vogue furniture designed and manufactured 'in the French manner'. This was first advertised in Holland by Dutch cabinet maker Andries Bongen (1732-1792) in December 1766. French neo-classical furniture by ébénistes such as Charles Topino, maître in 1773, who inlaid furniture with marqetry panels of vases and vessels popularised by designs from Vases Nouveau published by Maurice Jacques (1712-1784), was all the rage in France, England and Holland. In particular, the 1771 ban on the importation of French furniture into the Netherlands created a thriving market in which Dutch cabinet makers could create pieces in the French taste. Alongside Andries Bongen, other important Dutch makers included Arnoldus Gerritsen and Joan Lobst Swenebart. (R.J. Baarsen, Andries Bongen (ca. 1732-1792) en de Franse invloed op de Amsterdamse kastenmakerij in de 2de helft van de achttiende eeuw Oud Holland 107 (1993), pp. 42-43 and note 154.This lot is subject to the following lot symbols: * TP Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Lot 58
A Dutch satinwood, tulipwood, ebony and marquetry Pembroke or supper tableIn the manner of Thomas Chippendale, second half 18th century The hinged rectangular top with a chequer strung border above a frieze drawer flanked by ebony veneered panels above pierced spandrels on square tapering and inlaid fluted legs united by a waisted under-tier, 108cm wide x 70.5cm deep x 75cm high, (42.5in wide x 27.5in deep x 29.5in high) (62cm wide with the leaves down)Footnotes:ProvenanceThe Collection of Benjamin Katz, Dieren, sold;Paul Brandt, Amsterdam, 17-18-19 March 1964, lot 266. The offered table has close parallels with English Pembroke tables promoted and manufactured by leading cabinet makers during the second half of the 18th century. Features such as the concave tier stretcher on the table here relate to a 'Breakfast Table' of Pembroke form supplied by Thomas Chippendale for Dumfries House in 1759 (illustrated in Christopher Gilbert, The Life and Work of Thomas Chippendale, 1978, p. 219, pls. 399 and 400). The design for this configuration of Pembroke table was first published by Chippendale in his Gentleman and Cabinet-Maker's Director, 1754, pl. XXXIII. One of two documented Neo-Classical satinwood Pembroke tables supplied by Mayhew and Ince to Viscount Palmeston, circa 1785 for Broadlands, shares characteristics with the offered lot, typified by the contrasting ebony fluting to the tapered square legs and highly figured veneers (see Hugh Roberts and Charles Cator, Industry and Ingenuity: The Partnership of William Ince and John Mayhew, 2022, p. 400, pl. 435).Whilst the design here bears testament to the interchange of influences between British and European furniture makers during the 18th century, subtle idiosyncrasies such as the distinctive dental stringing, double blind flutes to the legs, and square cut top indicate the Dutch origin of this lot.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 90
An important Louis XIV ormolu mounted ebony, fruitwood, sycamore, boxwood and bone inlaid floral marquetry large bureauMost probably by Renaud or Aubertin Gaudron, circa 1690-1700The black embossed leather writing surface enclosed by a profusely inlaid border including grotesque masks, birds, flowers and insects above a central frieze drawer flanked by four drawers with conforming inlay and with bone florettes flanking the ormolu escutcheons, and opposing dummy drawers on eight cabriole legs and gilt bronze cloven hoof sabots, the sides inlaid with floral filled baskets, sold together with the book, Chefs d'Oeuvre des Marqueteurs by Pierre Ramond which discusses the bureau plat in great detail, 180cm wide x 80.5cm deep x 78.5cm high, (70.5in wide x 31 1/2in deep x 30 1/2in high)Footnotes:ProvenanceGalerie G. Sarti, Paris;Salomon Stodel, Amsterdam.LiteraturePierre Ramond, Chefs d'Oeuvre des Marqueteurs, Des Origines à Louis XIV, Paris, 1994, where written up over 3 pages (p.23-25). J.N.Ronfort and J.D.Augarde, Paris, 9 November 1994, Très Exceptionnel Bureau en Marqueterie de FleursAubertin and Renaud GaudronRenaud Gaudron, Menuisier Ebéniste Ordinaire du Roi is the son of Aubertin Gaudron, Maître Menuisier Ebéniste who was working most probably for Philippe, duc d'Orléans, brother of Louis XIV and active from circa 1641. Talented and successful, Renaud Gaudron inherited a flourishing business in 1691. A few years before, in 1686, Renaud Gaudron had already taken over from the deceased Pierre Golle as one of the main suppliers of the Garde-Meuble de la Couronne. In order to fulfil the demand, he was assisted by his brother, Nicolas (Gaudron le Jeune) who was Menuisier-Ebéniste in Versailles, and had a successful workshop. As a contemporary of André-Charles Boulle producing similar marquetry pieces, Aubertin Gaudron (active circa 1670-1700) is intrinsically linked to him in the production of marquetry furniture. Both cabinet-makers were inspired by the rich Dutch floral designs of artists such as Jean-Baptiste Monnoyer and Nicolas Beaudesson, of which André-Charles Boulle owned many studies of flowers and birds.According to a comprehensive study of the present lot by J.N.Ronfort and J.D.Augarde, the authors interestingly mention that Renaud Gaudron would have delivered 28 different floral marquetry pieces of furniture to the Garde-Meuble de la Couronne between 1688 and 1713. This comprised various types of tables, bureaux, commodes and guéridons. Marqueterie de Fleurs au Naturel It is under the influence of Flemish artists that floral marquetry gradually became the most important decorative style used on furniture during the first half of the 17th century. The initiators of this pictorial art were both Pierre Golle and Léonard van der Vinne in Florence. André-Charles Boulle, established in the galeries du Louvre from 1672 soon became the most sought artist of his time. An interesting description of a marquetry commode delivered by Gaudron for the Château de Compiègne relates closely to the present one, described as: 'marqueterie de bois de plusieurs couleurs fond d'ébène orné au milieu d'un vase rempli de fleurs pose sur un bout de table et un masque grotesque au-dessous, le reste rempli de rinceaux, fleurs, oiseaux et papillons au naturel' (AN 01/3308). The grotesque masks can also be seen on a similar commode in the Musée des Arts Décoratifs in Paris (CLUNY 11762), as well as on another commode possibly by Gaudron, sold at Bonhams, London, 9 July 2015, lot 26 (£52,500 inc. premium).The small contrasting inlays flanking the escutcheons of the present lot can also be found on a commode from the Wildenstein Collection, sold at Christie's, London, 14-15 December 2005, lot 115 (£84,000 inc. premium).For an illustrative comparison of a late Louis XIV floral marquetry and ebony commode, see P. Kjellberg, Le Meuble Français et Européen du Moyen Age à nos jours, Paris 1991, p 92.'Bureau à travailler' The term 'bureau' as we interpret it today appears only a few years after the beginning of Louis XIV's reign. Before that, the term applied equally to what we now refer to as commodes. For example, the celebrated commodes which André-Charles Boulle delivered to Louis XIV's bedroom at Trianon in 1708 (now in Versailles) were then called 'bureaux'. Gaudron delivered various commodes which he called 'grandes tables en bureau garnies de trois grands tiroirs' to the Garde-Meuble de la Couronne in 1695, 1697 and 1698. The bureaux as we conceive them today were first described in the 1670s. The celebrated cabinet maker Pierre Gole delivered 'un bureau en cabinet d'ébène à fleurs et pièces de bois de rapport' on 4 February 1671. Another bureau of closely related form with eight legs, was delivered by the cabinet maker Michel Campe in 1674 as per its description in the Journal du Garde-Meuble. It is described as being veneered in floral marquetry against an ebony ground. Our bureau 'à caissons' is particularly important due to its very large size for the period. Only very few similar bureaux at that time measure between 'cinq et six pieds de long' (162 to 194cm). The bone inlay has been examined by Dickie Zebregs from Zebregs&Röell Fine Art and Antiques who has confirmed it is bone and not ivory.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
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