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Lot 1113
Barockschrank, Mitte 18 Jh.Nussbaum und Nusswurzel auf Nadelholz furniert, zweitüriger Korpus, geschweifter Giebel, Brettfüße. die Türfüllungen in Rhombenmarketerie furniert, Originalschloss.. 265 x 190 x 58 cm Baroque cabinet, mid 18th century. Walnut and walnut root veneered on coniferous wood, two-door corpus, curved pediment, board feet. the door panels veneered in rhomboid marquetry. Original lock.
Lot 1525
Großer Schreibschrank, England, 19. Jh.Mahagoni, furniert. Hoher Vitrinenaufsatz mit Kranzgesims und gebogten Sprossen; drei Einlegeböden. Sekretärelement über drei großen Schubladen. Schreibpult mit Lederauflage über zwei seitlich ausziehbaren Rasten aufklappbar, Eingerichte aus sechs Fächern und acht Schubladen unterschiedlicher Größe. 222 x 122 x 55/90 cm. Altersgemäß guter Zustand. Gebrauchsspuren. Large writing cabinet, England, 19th century. Mahogany, veneered. High display case with cornice and curved bars. Secretary's element above three large drawers. Furnishings consisting of six compartments and eight drawers of different sizes. 222 x 122 x 55/90 cm. Good condition for its age. Traces of use.
Lot 1150
Puppenstube, um 1900-1910Holz. Schauseite von zwei Balustersäulen geschmückt. Offene Ein-Raum-Stube mit zwei Fenstern, bemaltem Holzfußboden und mit Blumenmuster tapezierten Wänden (Tapete an der rechten Wandseite eine andere). Dazu ein Konvolut von Puppenmöbeln aus Holz wie einer Sitzbank, einem Spiegelschrank ohne Spiegel, Metallregal, Sitzhocker, Blechofen und mehr. Möbel und weitere Einrichtungsgegenstände aus der Zeit (selbstgebastelte Lampe aus neuerer Zeit). Altersgemäße Gebrauchsspuren, wurde mal renoviert, wenige Möbel reparaturbedürftig, Holzboden min. wurmstichig, Gipsrückstände an der rechten Säule. 66 x 37 x 33 cm Doll's house, around 1900-1910 Wood. The front decorated with two baluster columns. Open one-room parlour with two windows, painted wooden floor and walls wallpapered with floral patterns (wallpaper on the right side of the wall is different). In addition, a collection of wooden dolls' furniture such as a bench, a mirror cabinet without mirror, metal shelf, stool, tin stove and more. Furniture and other furnishings from the period (self-made lamp from more recent times).Signs of use commensurate with age, was once renovated, few pieces of furniture in need of repair, wooden floor min. worm-eaten, plaster residues on the right pillar. 66 x 37 x 33 cm
Lot 943
Unbekannter Künstler, frühes 20. Jh.Chinesischer Opiumraucher vor rotem Lackschränkchen. Öl auf Leinwand auf Pappe, um 1900/10. Unsigniert. In hochwertigem Rahmen. 34 x 25 cm, 42 x 33 cm (Ra). Stellenweise minimal frühschwundrissig. Überzeugendes Werk der frühen Moderne. Leichter Studiencharakter. Unknown artist, early 20th century. Chinese opium smoker with red laquer cabinet. Oil on canvas on cardboard, around 1900/10. Unsigned. In high quality frame. Partially some very fine craquelure. Very convincing portrait of the rising modern painting with study effect.
Lot 1121
Modellschrank, sog. IIter Dresdener BarockNußbaum und Nußwurzelholz auf Nadelholz furniert. Reicher Messingbeschlag, zweitüriger Korpus mit zwei Fächern. Geschweifte Front. 30,5 x 31,5 x 23 cm Model cabinet, so-called IIter Dresden Baroque. Walnut and walnut root wood veneered on coniferous wood. Rich brass fittings, two-door corpus with two compartments. Curved front.
Lot 214
A SOUTH GERMAN GILT COPPER TABLE CABINET PROBABLY AUGSBURG, LATE 16TH CENTURY with engraved and pierced scrolling leaf mounts and conforming engraved borders, the hinged top engraved with a scene of Adam and Eve beside the Tree of Knowledge in the Garden of Eden, with attendant animals, the underside engraved with a Biblical scene of God in Heaven, a rainbow to one side and an inebriated Noah lying on the ground, revealing an etched Moresque decorated interior above an arrangement of five drawers decorated in relief with panels of classical scenes of processions of chariots and figures, with two hinged doors decorated with maidens in landscape settings, one probably of Diana, revealing gilt copper lined compartments, on later sphinx supports 31.2cm high, 32.2cm wide, 23cm deep Provenance Alfred de Rothschild (1842-1918) the Billiard Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A copper gilt casket, with lifting top and small drawers below, engraved with Adam and Eve, emblematic friezes of Amorini, supported by Sphinx, German, 17th century, £40.0.0.' Catalogue Note Kabinettkaestchen, literally 'cabinet box', of this type were produced in a variety of metals and woods and where often given as gifts for significant events such as betrothals, weddings and baptisms. It is perhaps significant that the example being offered here and the other two referenced below each feature a scene of a baptism on the underside of the top cover. Given the detail of the decoration and the locks to the two small cabinets it is likely that they were meant primarily for the storage of precious objects such as jewellery as described in R. Baarsen, 17th-Century Cabinets, Rijksmuseum Dossiers, Zwolle, 2000. Although perhaps a little tenuous, it is possible to interpret the use of the scenes of Adam and Eve being tempted by the Serpent and Noah a little worse for wear after drinking a bit too much wine as warnings against being tempted to steal what was being stored within the cabinet. The scene of Adam and Eve is after a 16th century German woodcut by an artist referred to as ‘Master SHF’, a version of which is held at The Minneapolis Institute of Art. The engraved depiction of Adam and Eve is very much in the style of Virgil Solis who produced a series of illustrations for the Bible from 1560.Nuremburg and Augsburg were renowned for making small scale and highly decorative objects in a variety of metals and it is highly likely that the example offered here was made in a workshop in one of these two cities. Their history and production is discussed at length in G. Summlung, Kostbar und geheimnisvoll - Miniaturmöbel und Schatzkästchen.. For similar items see Christie's, From Roentgen to Faberge: A European Private Collection, 20th May 2015, lot 9 and The Rijksmuseum, Object Number NK-17523. The casket offered by Christies, as well as the Italian example being offered as part of the Exbury Collection lot 219, are both covered in velvet and it is possible that this example may also have had velvet laid around the scrolled decoration. For similar etched decoration see a 16th century close-helmet in the Wallace Collection attributed to Conrad Richter of Augsburg, inv. A188.
Lot 219
'THE ROTHSCHILD MILANESE ARMOURER'S CABINET' A RARE NORTH ITALIAN DAMASCENED STEEL AND GILT BRONZE ARMOURER'S TABLE CABINET IN THE MANNER OF THE WORKSHOP OF GIOVANNI BATTISTA PANZERI, MILAN, THE PLAQUES LATE 16TH / EARLY 17TH CENTURY, THE CABINET 19TH CENTURY fitted with eleven drawers around a central cupboard hinged door, decorated in relief with scenes from Roman history before cityscapes, with swags of fruit and leaves, soldiers, satyr masks, war trophies and term figures, the cupboard with the story of Gaius Mucius Scaevola, revealing a gilt lined vacant interior, the cabinet with a pierced scrolling leaf silver gilt border and green damask velvet panels, on sphinx supports, on an associated and later French 'Japonisme' stand (2) cabinet: 42.5cm high, 59.8cm wide, 35.5cm deep the stand: 80.8cm high, 65.7cm wide, 42.5cm deep Provenance Alfred de Rothschild (1842-1918) the Red Room at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'An Italian cabinet with architectural front, overlaid with steel plaques chiselled with classical warriors and partly damascened with gold, Milanese, 16th Century, on stand, £300.0.0.' Catalogue Note In Milan during the second half of the 16th century skilled craftsmen who produced damascened armour and weapons for noble patrons began to expand their production into furniture. Creating mainly cabinets with drawers, some of architectural form but also tables, mirrors, picture frames and tabernacles tailored to the tastes of wealthy patrons desiring one-of-a-kind masterworks epitomizing luxury. These objects made by the Milanese armourers were decorated with steel or iron plaquettes, embossed and damascened with gold and silver, depicting subjects inspired by Roman history or mythology. Sometimes they were embellished with small sculptures. One of the prominent makers to capitalise on this luxury market was Giovanni Battista Panzeri, called Zarabaglia, who also specialised in devotional objects. His masterpiece is arguably the reliquary tabernacle in the form of a church, made for Spain's El Escorial, kept in its Monastery of San Lorenzo. For comparisons to our present cabinet, see the Victoria & Albert Museum for a cabinet with very similar panels and subject matter gifted by Dr. Hildburgh, accession no. M.22:1-1952, dated to 1550-1600. In the Waddesdon Bequest at the British Museum there is an architectural cabinet formerly belonging to Alfred's cousin Baron Ferdinand de Rothschild, reg. no. WB.16. See also three cabinets in the Museo Poldi Pezzoli and a wiring cabinet in the Philadelphia Museum of Art, accession no. 1930-1-187. Literature For a discussion of these cabinets, see Silvio Leydi, Mobili Milanesi in acciaio e metalli preziosi nell'eta del Manierismo, in Fatto in Italia. Dal Medioevo al Made in Italy, ed. by Alessandra Guerrini, with Barbara Brondi and Marco Raino. Catalogue of the exhibition at Reggia di Venaria, 19th March - 10th July 2016. The Iconography The central panel depicts Gaius Mucius Scaevola in front of the Etruscan king, Lars Porsena. Scaevola, a young Roman, formed a plan to save Rome from the intruder Etruscan army by assassinating their king but he mistakenly killed the king's secretary. When Scaevola was captured, he bravely declared "I am Gaius Mucius, a citizen of Rome. I came here as an enemy to kill my enemy, and I am as ready to die as I am to kill. We Romans act bravely and, when adversity strikes, we suffer bravely." Scaevola then thrust his right hand in a fire to prove he meant his words. Lars Porsena was so impressed by his actions that he allowed Scaevola to leave and soon after sought to make a treaty with Rome. Some panels surrounding this legendary scene are also connected to the siege of Rome, depicting Roman heroes standing up to the Etruscan king: bottom left showing Horatius Cocles who, first accompanied by two fellow soldiers, but eventually singlehandedly held off the advancing army at the foot of the bridge over the Tiber. The panel above shows a female figure, standing in front of the king on horseback. The female is probably Cloelia who escaped from the Etruscan camp and led away a group of Roman virgins. Cloelia later voluntarily returned to Lars Porsena who then praised her for her heroism and allowed her to walk away again with half of the Roman hostages. And the bottom right panel depicts the ultimate sacrifice of a Roman hero with the story of Marcus Curtius: when a bottomless chasm mysteriously opened on the Forum, the augur declared it will not close until the most precious possession of Rome was sacrificed. Curtius responded that the the soldiers' courage and arms were what made Rome exceptional, before, on horseback and fully armed, he threw himself into the pit which then promptly disappeared. These panels are consistent with the Renaissance period which saw a shift towards more historic and Biblical themes. A return was made to classical Greek and Roman ethos of society and this also appeared on furniture. Many pieces showcased intricate artwork depicting historic scenes. Similar trends can be observed on parade armour created in the 16th and 17th century for the high nobility.
Lot 14
A VICTORIAN MAHOGANY DINING TABLE C.1870-80 the top with a reeded edge with rounded ends extending with a winder to accommodate five additional leaves, on five lobed and ribbed tapering legs and brass caps and castors, with a leaf cabinet and two winders 74.7cm high, 137cm wide, 424cm long (extended) Provenance Edmund de Rothschild (1916-2009) The Trustees of Exbury House
Lot 39
A SET OF TWENTY-FOUR BEECHWOOD DINING CHAIRS BY CHARLES MELLIER & CO. IN LOUIS XVI STYLE, LATE 19TH CENTURY each with a padded back and seat, covered with brass studded tan leather, the moulded frames carved with guilloche borders and a grapevine, on flower and leaf decorated cabriole legs, some chairs with castors to the front legs, the back rail with branded maker's stamp 'C. Mellier & Co. Margaret St. W.' (24) Provenance Alfred de Rothschild (1842-1918) Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Catalogue Note The Anglo-French firm of Charles Mellier & Company was founded by Charles Mellier in 1868. Mellier originally worked for George Alphonse Monbro but took over the business and despite the award winning reputation of Monbro, he decided to rename the firm: 'C. Mellier & Co.' They advertised themselves as 'specialists in the rich decorative styles of the sixteenth, seventeenth and eighteenth centuries' (J. Cooper, Victorian & Edwardian Furniture and Interiors, p.24) and had premises located on 60 Margaret Street and Cavendish Square, London. Mellier was renowned for his work with the most well-regarded interior designers and leading architects of his day, producing collections of furnishings and decorations for such residences as the Farmleigh House and Estate in Dublin, the Manderston, Berwickshire property of Sir James Miller, and the Grosvenor Square residence of Henry Duveen in London. One of his most famous commissions was for the trans-Atlantic ocean liner, Mauritania, built in 1907. By the end of the 19th century, Mellier & Co was recognised as one of the finest cabinet-making firms in England.
Lot 93
A FINE FRENCH LOUIS XV KINGWOOD AND ORMOLU MOUNTED SERPENTINE BOMBE COMMODE ATTRIBUTED TO GILLES JOUBERT (FRENCH 1689-1775), C.1755-60 the rouge griotte marble top with a moulded edge, above parquetry trellis panels and scrolling Rococo mounts, fitted with two drawers, on cabriole legs terminating in lion's paw feet, with alterations 90.7cm high, 125cm wide, 53.4cm deep Provenance Alfred de Rothschild (1842-1918) the Bamfylde Room, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A Louis XV parqueterie commode with two drawers inlaid with panels of trellis and cube pattern, in kingwood borders mounted with ormolu borders and corners chased with scroll work entwined with branches of flowers and with lion's claw feet, surmounted by a veined red marble slab, £2,500.0.0.' Catalogue Note Gilles Joubert (French 1689-1775) was born in Paris to a family of joiners. He was apprenticed at the age of thirteen to a marqueteur and went on to marry Michelle Collet in 1714, the daughter of Edmond Collet, an ebeniste of the Faubourg and also a cousin of Pierre II Mignon who was a favoured cabinet maker of Madame Pompadour. Joubert began supplying furniture to the Garde-Meuble Royal in 1748 and his deliveries to the court became more significant after 1751 when Gaudreaus the Younger ceased to work for the Crown. From this time on Joubert was the principal supplier of furniture for the Royal court and remained so for nearly twenty-three years. To satisfy the high demand from the Crown, Joubert often sub-contracted work to his fellow ebenistes, including Antoine-Mathieu Criaerd, Leonard Boudin and especially Roger Vandercruse. Joubert's work is difficult to identify, as stamping was not mandatory in his early career there are only a dozen or so items with his signature. Once he became ebeniste de la Couronne in 1763, he was free from guild regulations and no longer had to sign his work. As a result, Joubert's work cannot be studied before his first deliveries to the Garde-Meuble Royal in 1748 when he was already nearly sixty. Nothing is known of his production before this date. Joubert's design can be characterised by a restrained Rococo style, with scrolling ormolu mounts in a symmetrical pattern, the marquetry in a geometrical arrangement of lozenges, often tulipwood veneers framed by strips of kingwood. 'The same cartouche is found on the front of several of his commodes, as well as the lacqueur ones made by Marchand for the Queen's Bedchamber at Fontaineblau in 1755 and those produced in the previous year by Criaerd for the Pavilion at La Muette. The corner mounts of these pieces often have large symmetrical motifs, often a pierced bouquet of flowers.' (French Furniture Makers p.212) Joubert retired in 1774 aged 85 and was succeeded in the post of 'ebeniste du Roi' by Riesener. Joubert died in 1775. The attribution to Joubert is based on a recently discovered Royal commode by Joubert now in the collection of the Chateau de Fontainebleau which has almost identical front mounts to our commode. It was originally made for the Louis XV's bedchamber at the Chateau de Fontainebleau and it was installed by Joubert in 1754. Declared a national treasure, it was acquired for the nation at the price of EUR 1,000,000. Literature Alexandre Pradere, French Furniture Makers, The Art of the Ebeniste from Louis XIV to the Revolution, pp.208-215.
Lot 147
A RARE SMALL GOLD MOUNTED AGATE URN IN THE MANNER OF THE MISERONI FAMILY, THE AGATE POSSIBLY ANCIENT BUT CARVED IN THE 17TH CENTURY the 'U' shaped body with reeded bands and carved with acanthus leaves, the cover carved with a petal collar and spiral twist band with a gold finial, the stem with a lobed collar on a spreading foot (detached) with a gold rim 6.4cm high Provenance Alfred de Rothschild (1842-1918) Bedroom no.12 in show cabinet, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring'. 1918. Listed as 'A small vase and cover carved in striated onyx mounted with gold feet £5.0.0.' Catalogue Note The decoration and shape recalls the works in agate by the Miseroni Family the important jewellers and gemcutters from Milan. They specialised in carving rock crystal and hardstones and gained international recognition in the mid-16th century. Imperial patronage from the Hapsburgs prompted the re-establishment in 1588 of the workshop to Prague, where it flourshed until 1684. Girolamo and his brother Gasparo entered the service of Cosimo I de' Medici. Giulio worked in Spain from 1582 and Ottavio worked from 1588 in the court of Rudolf II in Prague and was succeeded by his son Dionysio who became Imperial Treasure Warden in the Prague Castle. For a related agate urn attributed to Gasparo Miseroni, see the Museo del Prado, Tesoro del Delfin, inv. O000015.
Lot 226
λ AN IMPORTANT NEAR PAIR OF FRENCH ROSEWOOD AND ORMOLU MOUNTED TABLES DE MILIEU IN LOUIS XVI STYLE, ATTRIBUTED TO LOUIS-AUGUSTE-ALFRED BEURDELEY, C.1850-60 each with a rectangular Sarrancolin opera marble top with a moulded edge, above a breakfront frieze, one mounted with two 17th century Florentine pietra dura tablets inlaid with figures after engravings by Callot, the other mounted with a pair of micromosaic plaques, decorated with scrolling foliage and flower mounts, on tapering column legs with Ionic capitals, laurel leaf bands, on acanthus toupie feet, damages to marble tops (2) 87.5cm high, 138.2cm wide, 76cm deep and 88.2cm high, 143.5cm wide, 76cm deep Provenance Alfred de Rothschild (1842-1918) the Central Hall / Salon, Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Literature Rothschild Archive, London, Manuscript: 000/174/C/3, Christie, Manson & Woods Probate Valuation of 'The Estate of Alfred C. de Rothschild, Esq. C.V.O. Deceased, Halton House Tring', 1918. Listed as 'A pair of side tables, of Louis XVI design, mounted with ormolu friezes richly chased with foliage and with mosaic plaques in the centre, the tops formed of fleur-de-peche marble'. Catalogue Note These impressive tables were potentially bespoke made for the hardstone and mosaic plaques found on their friezes. They were displayed pride of place in the Central Hall / Salon at Halton Hose, see the photographs of them in-sitU C.1888. The quality of their ormolu mounts and their 'improved look' point to an attribution to the Paris firm of cabinet makers, Beurdeley. The business was established in 1804 by Jean Beurdeley who was noted as a 'marchand de curiosites'. Louis-Auguste-Alfred Beurdeley (French 1808 - 1882) took over the firm in 1840 and relocated the business to rue Louis-Legrand where he elevated the quality of their manufacture. Not only did they produce grand furniture but they became prominent dealers in French furniture and objets d'art. According to Christopher Payne in his book 'Paris Furniture: the luxury market of the 19th century', the Beurdeley dynasty was 'one of the best makers, their work is always of a very high quality, technically superb'. The Pietra Dura The two Italian pietra dura panels mounted on one of the tables depict dwarf caricatures taken from designs by Baccio del Bianco (1604-1657) based on engravings by Jacques Callot (1592-1635) from his book, titled 'Varie Figure Gobbi' (1612-1622). Del Bianco worked extensively for the Medici, designing objects in various media and organising spectacles. Callot's book, which was published in 1616, depicts a 16th century travelling troupe of performing dwarfs who were at the court of Cosimo II. Similar plaques can be found on a table formerly in the collection of Alfred de Rothschild and now in the Gilbert Collection in the Victorian & Albert Museum. It stood (with its pair) in the glass domed Salon opposite our present tables at Halton House, Buckinghamshire. Four plaques can be found on the Hume / Beckford cabinet at Charlecote Park, Warwickshire and further examples can be seen on a tabletop at Versailles. Alvar Gonzalez-Palacios in his book 'The Art of Mosaic: Selections from the Gilbert Collection', originally dated these pietra dura plaques to the 18th century of Opificio manufactory but more recently in his work 'Il gusto dei Principi' he has attributed them to the first half of the 17th century. Annamaria Giusti noted in her book 'Pietre Dure: L'arte europea del mosaico negli arredi e nelle decorazioni dal 1500 al 1800', most of the 17th century plaques with this subject matter are mounted in 18th and 19th century furniture. The Micromosaic The other table is mounted with a pair of early micromosaic plaques, worked with scrolling foliage on a black ground. The colouring of the mosaic matches the colouring employed on the magnificent micromosaic table top by Don Giacomo Pellicea of poultry that stood opposite it at Halton House.
Lot 184
A PAIR OF FRENCH ORMOLU AND SWEDISH GREEN PORPHYRY BRULE-PARFUMS IN LOUIS XVI STYLE AFTER A MODEL BY FRANCOIS-JOSEPH BELANGER (1744-1818) AND PIERRE GOUTHIERE (1732-1813) , C.1830 each decorated with a grapevine, with a domed cover with a pierced frieze, above satyr monopodia supports centred by an entwined serpent, on a circular base (2) 46.7cm high Provenance Alfred de Rothschild (1842-1918) the Red Room at Halton House, Buckinghamshire Lionel de Rothschild (1882-1942) Edmund de Rothschild (1916-2009) The Trustees of Exbury House Catalogue Note This model is based on the celebrated ormolu mounted jasper vase recorded in the sale catalogue of Louis-Marie-Augustin, Duc d'Aumont, of the 12th December 1782, which is now in the Wallace Collection. The Duc d'Aumont was the First Gentleman of the King's Bedchamber and commissioned his architect, Belanger, to design many of the fixtures and fittings for his houses. These incorporated hardstones and porcelains, many of which were mounted in gilt bronze, often by Gouthiere. The design of the jasper vase and hence the brule-parfums is thought to be based on a marble bas-relief at the entrance to the Cesi Chapel in the Church of Santa Maria della Pace in Rome. In the 18th century, it was believed that the chapel was designed by Michelangelo and as such was a building frequently studied, drawn and referenced in designs. Swedish or Dala porphyry was mined at Alvdalen, around 350km north of Stockholm, and was discovered by a vicar in around 1730. Excavations at a commercial scale, however, didn't start until later in the 18th century at a period when the Antique, as a source of artistic inspiration, was on the rise. It was known that Egyptian porphyry was much prized in ancient Rome where it was seen as a symbol of power and hence was in great demand in the 18th century. However, the shortage in supply of porphyry to satiate the fashion of the times led to a search for alternative supplies which coincided with the discovery of porphyry in Alvdalen and the establishment of an industry in the 1790's. One of these fine brule-parfums can be seen in the photograph of Alfred's Red Room, it sits on a French cabinet below the Geroge Romney portrait of Lady Hamilton.
Lot 3
λ AN ITALIAN BAROQUE EBONY AND TORTOISESHELL CABINET ON LATER STAND LATE 17TH CENTURY inlaid with brass stringing and fitted with an arrangement of eight drawers, with ebonised ripple mouldings and grotesque mask handles, around a conforming hinged fall with gilt bronze mounts revealing six further drawers, on a later ebonised stand cabinet: 46.3cm high, 75.5cm wide, 27.3cm deep overall: 119.5cm high, 81.8cm wide, 31.2cm deep Provenance Edmund de Rothschild (1916-2009) The Trustees of Exbury House
Lot 185
A FRENCH KINGWOOD AND ORMOLU MOUNTED BUREAU PLAT IN REGENCE STYLE AFTER THE MODEL BY CHARLES CRESSENT, LATE 19TH / EARLY 20TH CENTURY the rectangular top inset with a gilt tooled tan leather writing surface within a moulded border and shell mounts to the corners, above three frieze drawers with substantial leaf cast handles interspersed with bearded male masks concealing secret drawers, with espagnolette chutes, the ends with satyr masks and on lion's paw feet 80.9cm high, 202.2cm wide, 100.5cm deep Provenance Edmund de Rothschild (1916-2009) The Trustees of Exbury House Catalogue Note This fine bureau plat is based on two known examples by the ebeniste Charles Cressent (1685-1768) who ranks with Boulle, Riesener and Gouthiere as one of the most famous craftsmen of the 18th century. He was recorded as the official cabinet maker to the Duc d'Orleans who served as Regent to the young Louis XV from 1715-23. One of his specialities was the bureau plat, a new form of writing table thought to have been invented by Andre-Charles Bulle at the beginnig of the 18th century. One example is in the J.P. Getty Museum Collection (67.DA.10) and the other was formerly in the collection of Alfred de Rothschild and by descent to Edmund de Rothschild. It can be seen in the photograph of the Central Hall at Halton House. Literature Alexandre Pradere, Charles Cressent: sculpteur, ebeniste du Regent.
Lot 67
A small Chinese red lacquer counter top cabinet, early 20th century, with gilt butterflies and meandering foliage to framing the central doors decorated with figural scenes of children playing, enclosing two central drawers, above a thin drawer,51.5 cm high, together with a calligraphy wooden panel
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