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Lot 1251
An Imposing Carved Walnut Display Cabinet, circa 1880, the upper section surmounted by laurel leaves and a hawk with carved crown cresting below, the arched glazed door enclosing later metal apertures, all between fluted pilasters, the base with an arrangement of drawers with conforming carved columns, on a platform base, 155cm by 65cm by 316cm
Lot 423
Judy Kensley McKie (American, b. 1944). Large "Owl Vessel" in the form of an owl. Initialed, dated 2000, and numbered 3/16 along the underside of the top rim.McKie began to hone her skills in the 1960s while in the cooperative workspace "New Hamburger Cabinet Works." While there she worked with other furniture makers such as Michael Hurwitz. In the 70s she began incorporating her own ideas and designs, usually inspired by animal and plant motifs. Though these designs started on flat surfaces she quickly moved on to structural and sculptural elements such as the lovely owl offered here. Her work has been exhibited at the American Craft Museum in New York City, the Pritam & Eames gallery, and the Museum of Craft and Design in San Francisco. Additionally, her works are also in the collection of the Smithsonian American Art Museum.Height: 43 1/2 in x diameter: 13 1/2 in.
Lot 514
Danish mid-century modern rosewood sideboard cabinet with three drawers, two sliding doors, a mirrored backing along the back of one cabinet along with two felt-lined low drawers along the interior. Circa 1960s. Similar to works by Knud Nielson and E.W. Bach.Height: 45 in x width: 65 in x depth: 18 in.
Lot 128
PAIRE DE TORCHERES LOUIS XVI EN BOIS SCULPTE ET DORE DANS LE GOUT DE GEORGES JACOB FIN XVIIIe - DEBUT XIXe SIECLEA PAIR OF LOUIS XVI CARVED AND GILTWOOD TORCHERES IN THE MANNER OF GEORGES JACOB LATE 18TH - EARLY 19TH CENTURY The stop-fluted baluster foliate shaft surmounted by a circular tray with beaded and lappeted border above water leaves and gadrooned support, on a hexagonal recessed panelled base with delicate scrolling foliate sprays, the lower section composed of three addorsed sirens holding the reeded vase shape apron, on a concave fronted triangular plinth centred by rosette and edged with tip-leaf moulding, on bun feet, partly regilt, differences to carving , 52cm wide, 161cm high (20in wide, 63in high). Footnotes:These finely carved torcheres, or tripods for vases reflect the late 1770's fashion for decorating the grand 'Salons' of the last quarter of the 18th century in Paris. They are related to four stands commissioned for every corner of the 'Salon de Musique' of Comtesse Marie-Léopoldine Pàlffy, Princesse Kinsky (d.1794) following the building of her hôtel in rue St-Dominique in Paris in 1770. The Kinsky torchères, slightly earlier in dating, were designed by the sculptor and designer Gilles-Paul Cauvet (1731-1788), carved by Pierre Gontier and gilt by F. Mathon. The commission included also a music stand carved in the same manner, so to have a coherent designed suite to the newly furbished room. The music stand is now conserved at the Château de Versailles, illustrated in Pierre Arizzoli-Clémentel, Le Mobilier de Versailles. XVIIE et XVIIIE Siècles, Tome 2, Dijon, 2002, p.237. A pair of Kinsky torchères were sold Christie's London, 22 November 2007, lot 100, from the Collection of the Marquis and Marquise de Ravenel, (sold GBP 558.100 inlcuding buyer's premium). The torcheres here offered are stylistically reminiscent to the designs brought in by ornemanistes such as François Joseph Bélanger (1744-1818), and by Jean-Demosthène Dugourc, his brother-in-law. Belanger was the first architect of Comte d'Artois as from 1777, while Dugourc was appointed in 1780 'dessinateur du Cabinet de Monsieur, frère du Roi' for who he looked after the remodeling and embellishments of the various interiors owned the Comte d'Artois.In 1782 Dugourc published an album of ornaments entitled 'Arabesques', which opened the door to a new fashionable taste of the early 1780's. A new taste composed of mainly delicate female figures ending in lavish acanthus motifs, reminiscent of the bases carved on our torchères. A design for a project of decoration of a 'cabinet à la française' for the Pardo, project which was never executed, shows in prominent position a pair of torchères of similar style with closely related tripod bases. The fashion for the 'turqueries' or 'goût turc' was initiated by the comte d'Artois in Paris during the mid-1770's with the creation of his boudoir turc in the Palais du Temple in 1776. Georges Jacob (1739-1814) was actively carving suites of seat furniture to the new exotic designs of Etienne-Louis Boullée, a stylistic revolution was taking place at the time in Paris, characterized by the celebrated console table for the second cabinet turc of comte d'Artois at Versailles, carved with addorsed sirens at the top of the supports by the talented Georges Jacob in 1781.For further information on this lot please visit Bonhams.com
Lot 67
IMPORTANTE HORLOGE DE PARQUET D'EPOQUE REGENCE EN BOIS SATINE ET AMARANTE, ORNEMENTATION DE BRONZE CISELE ET DORE, D'APRES UN DESSIN DE JUSTE-AURELE MEISSONNIER, ESTAMPILLE DE E.J.CUVELLIER DEUXIEME QUART XVIIIe SIECLEAN IMPORTANT REGENCE ORMOLU-MOUNTED BOIS SATINE AND AMARANTH LONGCASE CLOCK, AFTER A DESIGN OF JUSTE-AURELE MEISSONNIER, THE CASE STAMPED E.J.CUVELLIER SECOND QUARTER 18TH CENTURY The lyre-shaped case fitted with a bust of Louis XIV depicted as a Emperor, before seven gilt bronze cords simulating that of a lyre, flanked by scrolling upswept acanthus sprays, the sides with parquetry ornated with ribbon-tied musical trophies, surmounted by the circular enamelled and brass dial, with Roman and Arab chapters, surmounted by a figure of Diana holding an arch flanked by a cherub and a dog, with floral swags on both sides, the lower shaped section with ribbon-tied foliate husks and centred by a large sea-monster mask headed by a pierced stylised shell motif, above a further socle mounted with delicate oak foliate branches, C-scrolls and shaped sabots surmounted by acanthus, the case overall banded with brass and ebony filets, the back of the case stamped 'E. J. CUVELLIER', the later associated movement signed 'J. P. Du Commun à Paris', regilt, partly remounted , 85cm wide, 39cm deep, 220cm high (33in wide, 15in deep, 86 1/2in high). Footnotes:Provenance:Private French Collection;Weschler's Auctioneers, Rockville, Maryland, 20 February 2015, lot 213, (USD 76,000);Estate of Guy Martin, Jr., by inheritance from:Edith Kingdon Gould (1920-2004); Kingdon Gould, Sr. (1887-1945);George Jay Gould I (1864-1923).Related Literature:Peter Fuhring, Juste-Aurèle Meissonnier, Un génie du rococo 1695-1750, 1999, pp.175-179.J.Aronson, Encyclopedia of Furniture, 3rd Edition, 1965, p.220A. Pradère, Les ébénistes Français de Louis XIV à la Révolution, Paris, 1989, p.134, fig. 96.The horloge de parquet presented here belongs to a small group of at least two other related horloges de parquet called 'à la lyre' known at the present time. The most celebrated one being originally in the collection of the 18th century painter Charles-Antoine Coypel, who became premier peintre du roi after his father's death in 1722, and Director of the Académie Royale in 1747. In the sale following the death of Charles-Antoine Coypel in 1753, lot 579 was recorded as : 'Une pendule à secondes qui donne l'heure du temps vrai, la course du soleil, le jour et la date de la semaine, le mouvement est de Monsieur Claude Martinot et la caisse de Monsieur Meissonnier'. During that sale, it was purchased by the eminent French horologist Julien LeRoy, who then resold it a few years after. This horloge is presently conserved in the collection of the French group AXA, in the Hôtel de la Vaupalière in Paris. It is interesting to note that the case is described as being conceived by Juste-Aurèle Meissonnier (1695-1750) who must have designed this horloge de parquet circa 1725-27. The complicated astronomical movement of the Coypel horloge de parquet is signed 'Claudius Martinot / invenit, et fecit.' and dated 1727. The second related horloge de parquet, stamped by François Duhamel was sold on 9 July 1931 at Christie's London. Very much similar in form, the Christie's horloge shares the same if not identical sea monster pierced stylised shell motif to the lower section as our horloge, as well as the lyre ormolu cords, but with a few other differences in the ormolu scheme, and without the bust depicting Louis XIV found on our horloge. Both ormolu groups to the top of the movement cases differ from each other, our horloge is headed by a group depicting Diana the huntress, while the Coypel's example is mounted with a group depicting 'Amour et Psyche' and the Christie's clock stamped by the ébéniste Duhamel (maître ébéniste in 1750) is headed by a group of cherubs playing. It is conceivable that Duhamel was fascinated by the earlier and very innovative Meissonnier's lyre-shaped design and decided to reproduce it a few decades after, since his maîtrise dates from 1750. Christie's 1931 horloge was most probably later on in the French & Co. collection, as illustrated in J.Aronson, Encyclopedia of Furniture, 3rd Edition, 1965, p.220. The horloge was subsequently sold at Sotheby Parke Bernet, New York, 9 October 1971, lot 147. And most probably the same one sold again at Bonhams New York, 24 April 2013, lot 1143. The Duhamel stamp is equally present alongside that of Balthazar Lieutaud on a related régulateur conserved in the Musée des Arts et Métiers in Paris. However, more Louis XV in treatment, another two almost identical models as the one in the Musée des Arts et Métiers are stamped respectively Jacques Dubois and attributed to Jacques Pierre Latz, showing the difficulties of attributions and of the paternity of the designs and makers. An 18th century engraving reproduced here (Bibliothèque de l'Ensba, 22620, f.43) depicts the model of our horloge de parquet, with only minor differences. Unfortunately, the border of this design is slightly cut out, therefore no inscription, signature nor engraver is visible. It is however plausible to assume that the engraving could be that of Juste-Aurèle Meissonnier, before 1727, as his name is mentioned in the sale description of the horloge sold from the Coypel sale. Juste-Aurèle Meissonnier (1695-1750), born in Turin, was a goldsmith, sculptor, painter, architect and most of all a furniture designer. He owes his extravagant decorative style to his italian origins and mastered the flamboyant style of rococo like no one else. Meissonnier worked his whole life in Paris where he became appointed by Louis XV as Dessinateur de la chambre et du cabinet du roi. His books of design: Livres d'ornements en trente pièces, and Ornements dela carte chronologique are conserved in the collection of the Cooper-Hewitt, National Design Museum. The ormolu group of Diana the huntress which is on our horloge above the clock case appears to be a group often used by Charles Cressent (1685-1768) on other pieces of furniture he has executed, as on the pendule Crozat, and on various cartonniers attributed to him. Cressent was known to have designed and produced his own ormolu mounts for his furniture; this upset some of his fellow ébénistes as well as the corporation of the fondeurs-ciseleurs and for this reason, he had constant problems with the corporations and was sued various times.Known to excel in the manufacturing of longcase clocks, Cressent produced related cases to the horloge de parquet here presented, such as the Régulateur de parquet veneered in bois satiné, amaranth and parquetry, with its ormolu Chronos cresting in the English Royal Collection (RCIN30035), illustrated in A. Pradère, Les ébénistes Français de Louis XIV à la Révolution, Paris, 1989, p.134, fig. 96. The only present estampille on our horloge de parquet is that of E.J.Cuvellier. A rather unknown ébéniste whose stamp is found only on a few pieces of furniture, some of them being important. Not mentioned in 1953 on the Salverte book of Les ébénistes du XVIIIème siècle, Cuvellier has been more recently discovered to have worked d... This lot is subject to the following lot symbols: TPTP Lot 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 342
A collection of fifty silver medals, issued by John Pinches, 1977, 'The Genius of Leonardo Da Vinci' fifty silver medals, in an oak collectors cabinet and booklet with certificate of authenticity, each medal is approx. 50g, together with an empty collectors cabinet with fitted drawers Please refer to department for condition report
Lot 216
An exceptional William and Mary oyster laburnum and marquetry inlaid cabinet on stand, covered in specimen wood and green stained ivory marquetry decoration on all sides, a barrel-fronted frieze drawer with 2 drawers enclosing multiple drawer-fitted interior with further elaborate marquetry inlay, on original inlaid stand with chamfered square legs, pediment width 123cm, depth 50cm, height 168cm, original steel coronet design key. This item has been registered as exempt from the UK Ivory Act 2018 on account of it being made before 3rd March 1947 with less than 10% ivory by volume. Ivory declaration submission reference 1GGXAUWGThe fabulous cabinet has come from a local private house where it has been in the same family for several generations, generally in good original condition with signs of some old repairs to splits in the doors, usual very slight movement in the base timbers, a few very small areas of marquetry missing and a few small pieces of veneer missing from the pediment, colours are good and rich and original, interior also in very good condition, stand and legs appear to be the original
Lot 432
A LOUIS XV STYLE KINGWOOD CABINET by Paul Sormani, with ormulu mounts at the back and front, with an inset mottled marble top over a pair of tambour doors enclosing an interior of drawers with tulipwood fronts, over an external slide, on slender ormulu mounted cabriole legs, 82cm wide x 41cm deep x 98cm highProvenance: Private collection, East Dorset, since the 1950's. This exceptional cabinet, designed to stand centrally in a room, is signed on the lock of the central internal drawer 'Paul Sormani, 10, Rue Charlot, Paris'. Sormani moved his workshops to this address in 1867.
Lot 483
A CHINESE RED LACQUER CABINET ON STAND 20th century, with carved and gilt highlighted decoration to the facade, the top section with cupboard doors opening to a fitted interior, the bottom section with cupboard doors opening to a vacant interior, and two single drawers, 192cm high x 92cm wide x 46cm deep
Lot 487
A CHINESE PAINTED CABINET ON STAND 20th century, the top and both sides decorated with birds amongst foliage, the front with relief carved panels highlighted in gilt, against a backdrop of pagodas in a mountainous valley, the cupboard doors opening to a shelved interior, with a single frieze drawer beneath, on carved block legs, 125cm high x 94cm wide x 41cm deep
Lot 458
Edwardian inlaid mahogany credenza, a glazed cabinet between two cupboard pedestals with fine inlay panels, length 192cm, width 55cm, height 130cmCONDITION REPORTOverall the condition is good, some very minor surface blemishes to edges and feet. The gallery is in need of some restoration - see photographs
Lot 461
19th century north European walnut cabinet, decorated with finely carved neoclassical figure panels and applied rectangular marble lozenges, length 146cm, width 49cm, height 174cmCONDITION REPORTSome veneer, moulding and marble missing (some pieces in drawers) woodworm holes, see photographs
Lot 472
Late 19th/early 20th century mahogany dining suite consisting of a telescope dining table, six leaves and a winder, table supported on turned reeded baluster legs, a table leaf holding cabinet and a sideboard, both with lion mask dove fronts, a set of twelve dining chairs raised on turned and reeded baluster legs terminating in castors, table width 145cm, length with six leaves, 470cmEXTRA INFOLeaves appear original
Lot 230
A set of c.1909 Royal Doulton porcelain cabinet plates, comprising eight plates and two tazzas, each hand painted by E. Percy with scenes of various castles: Dumoon; Caerlaveroch; Warwick; Kenilworth; Pembroke; Cawdor; Lewes; Chepstow; Arundel; and Lismore, each plated marked with Rd 72067, the plates 20.5cm diameter, the tazzas each 23cm diameterProvenance: part of the contents of Stepleton House, Blandford, Dorset
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