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Lot 1
A pair of Louis XVI gilt bronze candlestickscirca 1780, in the manner by Etienne Martincourt (French, act. 1762-1800)of flared torchiere and quiver of arrows form, the detachable drip pans with beaded edges, the wreath cast circular bases with fluted dished centres, the milled sides with applied rosettes, the swept tripod bracket supports cast with pendant fruiting laurel leaves, on bracket feet, 18.5cm high approximately Footnotes:A comparable pair of candlesticks, attributed to Etienne Martincourt with additional foliate wrapped garlands to the stems and stepped circular platform bases with varying decoration to the side panels which were formerly with the Seligmann Gallery, New York, later in the collection of George Blumenthal, later sold Galerie Georges Petit, Paris, December 2, 1932, lot 117, possibly sold, Palais Galliéra, December 13, 1962, lot 179 were subsequently sold Sotheby's, Les Dillée: A Dynasty of Experts And Collectors, Paris, 18 March 2015, lot 120. The design of these comparable candlesticks can be referenced to designs of the ornamentalist Jean-François Forty including two drawings kept in the drawing cabinet of the Museum of Decorative Arts (specifically inv. CD 5493), taken up by the engraving P. Gélis-Didot, which depict a base structured around three consoles. Another engraving published by Forty has greater stylistic similarities, including the winding of a garland of leaves around an axis. The three part openwork base is also reminiscent of the base of a pair of Martincourt torches at the Wallace Collection (F 166-7). For a near identical pair of unattributed candlesticks excepting the bases which are decorated with roundels rather than rosettes, see Sotheby's London, Louis XVI and Empire Furniture from the Estate of the late Giuseppe Rossi (Vol III), 12th March 1991, lot 1326.For further information on this lot please visit Bonhams.com
Lot 56
A Regency rosewood and brass 'buhl' (or Boulle) marquetry card tableCirca 1820, possibly by Louis Constantin Le GaigneurWith premiere and contrepartie inlay, the swivel hinged top and octagonal column each inlaid with chevron surrounds and 'Greek-key' type borders, the top with conforming edging, enclosing a red baize playing surface, with a mahogany interior, above a scrolled foliate frieze, on an octagonal column with similar inlay interspersed by foliate spray pendants, the column joined by an X-form support comprised of four large S-scrolls, the concave quadripartite base inlaid with stylised foliage and surmounted by four honeysuckle and rosette inlaid scrolled corbels, terminating in gilt bronze scrolled and stiff-leaf hipped hairy lion paw feet, 97cm wide x 54cm deep x 73cm high, (38in wide x 21in deep x 28 1/2in high)Footnotes:Related furniture to the present lot includes: a small 'Buhl' inlaid centre table attributed to Louis Le Gaigneur which sold Sotheby's, London, 20 September 2011, Fine Furniture, lot 217; a brass inlaid rosewood centre table, dated circa 1820, which sold Sotheby's, London, 12 November 2019, Style: Private Collections, lot 17; a rosewood and brass inlaid sofa table, circa 185, sold Christie's, London, 19 January 2021, Apter-Fredericks: 75 Years of Important English Furniture, lot 85; and an important writing table attributed to Le Gaigneur, from circa 1815, features on the website for David Foord-Brown Antiques.This marvellous card table is typical of the revived taste for 'Buhl' or Boulle furniture among the wealthy and fashionable elite in Britain of the 1820s, as favoured by such influential collectors as the Prince Regent, later to become George IV, and William Beckford (1760-1844). The demand for 'Buhl', as it was then known, was provided for by various antiquarian dealers based in London who not only dealt in old furniture but would also adapt 18th century Boulle pieces, or even make examples in the Boulle style. Such dealers and cabinet makers included Louis Constantin le Gaigneur, who described himself as a 'French Buhl Manufacturer' and worked predominantly for the Prince Regent and his circle (a pair of Louis XIV-style 'Boulle' bureaux plats were delivered to the Royal Pavilion, Brighton in 1815, RCIN 35289). Another figure producing similar 'Buhl' inlaid furniture at that period was Thomas Parker of Air St., Piccadilly, who in 1813 supplied a pair of Boulle marquetry coffers-on-stands to the Prince Regent, which remain in the Royal Collection (RCIN 21624).The cabinet maker Louis Le Gaigneur established his 'Buhl' Manufactory at 19 Queen Street, Edgware Road, circa 1815, and from there specialised in brass inlaid furniture in the then newly revived Louis XIV style. His clients included such important and prominent figures as the Prince Regent and the 3rd Marquess of Hertford, and library tables bearing Le Gaigneur's signature remain at Windsor Castle and the Wallace Collection.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 58
Victor Paillard (French 1805-1886): A pair of important and impressive First Universal 'Great Exhibition' gilt bronze and Sèvres style 'Bleu Céleste' turquoise glazed porcelain ground vases and coversin the Louis XV style, the mounts to each vase stamped Victor Paillard Paris 1851 and with printed at 6 Rue Saint-Clarde manufacturers / retailers paper labels for Victor Paillard to the inner sectional components, circa 1851each of inverted pear shape form with a pair of elaborate applied fruiting vine entwined scrolling figural handles formed as twin pairs of nude putti picking grapes above grotesque animal masks, united by fruiting oak twin garlands, beneath pierced gadrooned galleried rim mounts and raised on strapwork and formalised acanthus and pierced foliate scroll and flowerhead footed bases, the porcelain bodies with twin acanthus and rocaille moulded shaped oval cartouches, each finely enamelled to one side with classical figural scenes in the manner of Francois Boucher (French, 1733-1770) depicting resting female nudes and putti, possibly emblematic of Spring/Summer and Autumn, the former with three reclining female nudes and a sleeping putto within a garden setting beneath floral garlands, the later with two sleeping female nudes and a baby satyr, a winged cupid looking on, surrounded by fruiting vines and an upturned ewer or urn within a garden setting beneath similar floral garlands, the opposing sides enamelled with bouquets of colourful garden flowers and fruit including roses, convolvulus, daisies, chrysanthemums, dahlias, honeysuckle, auricular/primroses and grapes, the acanthus clasped, fluted and oval cabochon moulded swept lower sections on moulded strapwork pedestals with twin small cartouches further enamelled with grapes and flowers, the lobed domed figural covers with gilt bronze circular collars surmounted by white glazed groups, one depicting a putto feeding grapes to a recumbent panther clad in fringed saddle, the other of a similar putto holding aloft a fruiting garland whilst seated on a similarly saddled recumbent goat, the porcelain bodies and covers all with gilt bandings and enrichments, 103cm high (panther and putto cover), 97cm high (goat and putto cover)Footnotes:Victor PaillardThe son of Charles Paillard, a small landowner, Victor Paillard's artistic talents were first noticed by the Count of Guzmán, who sent him to hone his skills in Paris. After attending the Royal School of Drawing and training as a chiseler, he became the pupil of Jean-François Denière and a collaborator of Ferdinand Barbedienne. By 1830, Paillard had quickly established himself as a maker of 'bronzes of art and furnishing', first at 105 Boulevard Beaumarchais Paris and later at 6 Rue Saint-Claude, Paris. Although he initially specialised in producing small objects including candelabra and statuettes he began exhibiting at the Exposition des produits de l'industrie in 1839 and this led on to him experimenting with gilt and silvered bronze in the 1840s.The 1851 Great ExhibitionIn 1851 his refined techniques in metal finishing caused great admiration at the London Great Exhibition where a Mr E. Beres commented 'Mr. V. Paillard excels in the novel art of oxidising bronze. His silver hues are perfect and, at first glance, deceive even an expert eye...'. In the Art-Journal Illustrated Catalogue for the first universal exhibition, Paillard's entries are listed as including a Louis XV style gilt bronze clock and a group of tableware and sculptures. Additionally on page 289, a near identical single vase with goat and putto finial to the cover is shown in a black and white outline along with other decorative pieces which bears almost exact similarities to one of a pair of vases offered. The accompanying text for the illustration reads as follows:'In an early page of the catalogue we introduced two single examples of the BRONZES of MR M (sic?) PAILLARD of PARIS. We now bring forward a GROUP composed from his numerous contribution's in the exhibition. In the centre is a Noble VASE, of porcelain, in the Louis style, with bronze ornaments, festoons of flowers and figures. To the right is the well known group of THE CUPIDS STRUGGLING FOR THE HEART'. The remainder of the composition is made up of statuettes, candelabra, vases and other objects.'Commissions and ClientsVictor Paillard amongst others worked for the cabinet maker Alexandre-Georges Fourdinois, Honoré de Balzac, the Prince of Galliera, Abel Laurent, Louis-Constantin Detouche, Officer of the Legion of Honour, and Knight of the Iron Crown in Austria and numerous Russian nobility. He was appointed a member of the jury of the 1855 Universal Exhibition and in 1874, a Councillor of Paris and Mayor of the 3rd arrondissement. He also received many official commissions, notably during the decoration of the hotel of the Minister of Foreign Affairs at the Quai d'Orsay (French Foreign Ministry) in Paris.Palliard is perhaps best remembered for his work the Quai d'Orsay which was located on the left bank of the Seine River. In the Ministry, the Salon du Congrès and the Salon de l'Horloge in particular display his great artistic and technical brilliance. Originally called the Salon des Attachés, the former was later renamed in memory of the 1856 Congress of Paris which ended the Crimean War. Dominated by an impressive Renaissance style chandelier decorated with putti and arabesques, the room also featured a patinated and gilt bronze clock resting on a green marble plinth emblematic of architecture and painting, two pairs of candelabra - one depicting The Three Graces, the other pair decorated with putti and bouquets of flowers and a pair of torchieres in the form of chimera, with flowers and garlands. Paillard also produced the famous clock in the Salon de l'Horloge from which the room takes its name along with bronze mounts for the impressive chimneypiece. As well as undertaking his own commissions Paillard also undertook the casting for a number of the most famous sculptors of the day including Barye, Carrier-Belleuse, Feuchère, Pradier, Preault and Klaggmann. As such he was to run one of the most successful and admired foundries in FranceRelated Liberature:Kjellberg, Pierre, Les Bronzes du XIX siècle, Dictionnaire des Sculpteurs, Les Editions de l'Amateur, (Paris), 1989; p.662.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 59
A pair of Empire giltwood fauteuils by Georges Jacob (1739-1814) and Francois-Honoré-Georges Jacob (1770-1841), a partnership often referred to as 'Jacob-Desmalter'1810-1815Each with a square back and flute-channelled surrounds, the arm supports and front legs comprised of two winged lion bust monopodiae each with upscrolled wings terminating in animalistic legs and lion paw feet, with a plain bowed seat frame, on splayed and scrolled square section rear legs, each fauteuil stamped: 'INV.e' within a tablet surround (the 'INVe' almost certainly standing for 'INVENTAIRE'), one fauteuil also with the now partially obscured stamp: 'JACOB D.R. MESLEE', each approximately: 79cm wide x 74cm deep x 102cm high, (31in wide x 29in deep x 40in high) (2)Footnotes:Provenance Purchased Koller, Zurich, 16 September 1994, Collection Dino Fabbri, Paris, lot 583.A related pair of Empire armchairs by Jacob-Desmalter sold Christie's, London, 7 July 2005, Important European Furniture, lot 449. These latter examples incorporate similar winged lions, albeit in the form of self-contained figural arm supports rather than the larger winged lion busts terminating in monopodiae as on the offered lot. However it is notable that the upwards scrolling element of the wing tips on all of these carved winged lions are certainly closely comparable. Another fauteuil with this same self-contained figural winged lion arm support is the Imperial example made in 1804 by Jacob-Desmalter for Napoleon's Throne Room at the Palais de Tuileries, which sold Sotheby's, London, 7 July 2009, Important Furniture, lot 66. The bold carving of the wings with their up-scrolled tips on the present chairs also recall the sphinx supports on a suite of seat furniture, which includes six fauteuils, supplied by Jacob-Desmalter for the Chambre à Coucher of Empress Joséphine in 1809. These are now located in the Chambre de la Reine des Belges at the Grand Trianon, which was redecorated by Louis-Philippe in 1845, D. Ledoux-Lebard, Le Grand Trianon, Paris, 1975, p. 186. This set is illustrated in P. Arizzoli-Clementel & J-P. Samoyault, Le Mobilier de Versailles, Chefs-D'Ouevre du XIXeme Siecle, 2009, Dijon, fig. 58, pp.'s 186-189.Included among the four Imperial thrones made by the Jacob-Desmalter partnership, on behalf of Napoleon for various politically significant locations, is the one supplied to the Palais du Corps Legislatif in Paris (now the Assemblee Nationale). This particular throne chair, which is housed today at the Parisian Musee des Arts Decoratifs, was executed circa 1805 by Jacob-Desmalter following designs by Bernard Poyet. Its massive winged lion bust supports terminating in monopodiae are arguably closer in both spirit and proportions to those on the offered model than any of the previously referenced versions. The three other thrones are located at Fontainebleu, the Palais des Tuileries and the Senate, inside Luxembourg Palace. However the throne provided by Jacob-Desmalter for the Senate employs again the distinctive up-scrolling to the wing tips of its sphinx supports which are evident on most of the former comparables, but is nonetheless a feature notably absent from the Corps Legislatif example. 'Jacob-Desmalter'Georges Jacob (1739-1814), renowned cabinet maker active during the late 18th century, sold his business in 1796 to his two sons, who then renamed the firm Jacob Freres. The Jacob brothers, Georges II (1768-1803) and Francois-Honore-George, produced furniture directly inspired by Greek, Etruscan and Roman antiquity following the fashionable Neoclassical taste of the period established by Charles Percier and Pierre Fontaine in their 1801 publication, Recueil des Decorations Interieures.Francois-Honore-Georges, who added Desmalter to his family surname in 1803, provided over 330 pieces for Napoleon including most importantly the imperial throne in advance of Napoleon's coronation, which took place the following year. Throughout the reign of Napoleon (1804-15), Jacob-Desmalter was the predominant and favoured cabinet maker to the Imperial Garde-Meuble, responsible for supplying furnishings at Fontainebleau, Grand Trianon, Saint Cloud, Rambouillet and of course the Tuileries. In fact, it is noted in D. Ledoux-Lebard, Le Mobilier Francais du XIXeme Siecle, 1989, Paris, that between 1803 and 1813, the cost of works produced by Jacob-Desmalter for the Palais des Tuileries alone amounted to 541,765 Francs.The stamp found on the present lot, 'JACOB.D.R.MESLEE', is one recorded as being used during the period 1803-1813 by the unique 'Jacob-Desmalter' combination of François-Honoré-Georges Jacob-Desmalter and Georges Jacob, D. Ledoux-Lebard, Ibid, p.268.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 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 64
A pair of Restauration giltwood fauteuils by Pierre-Antoine Bellangé (1758-1827) or Louis-Alexandre Bellangé (1799-1863)1815-1820Each with a scrolled dished top and an opposing volute scroll, anthemion and acanthus spray toprail centred by a flowerhead, the bowed seat frame with similar decoration centred by an elongated scrolled tablet, with lotus-leaf clasped and scroll capped arm supports, on two acanthus and stiff-leaf wrapped lion-bust headed monopodiae terminating in animalistic legs and lion paw feet, with splayed square section rear legs, each side applied with scrolled stylised foliage interspersed with anthemia and paterae, each fauteuil stamped: 'L.BELLANGE' and one fauteuil stamped: 'CH', approximately: 71cm wide x 72cm deep x 100cm high, (27 1/2in wide x 28in deep x 39in high) (2)Footnotes:Provenance Purchased Koller, Zürich, September 2005, Collection Dino Fabbri, Monte Carlo, lot 1276. An identical pair of fauteuils, which along with the offered lot, likely formed part of an extensive set apparently made by the cabinet maker Louis-Alexandre Bellangé, sold Christie's, London, 23 March 2017, Robert de Balkany Rome and the Cote d'Azur, lot 494. Both pairs have the same 'L. BELLANGE' and 'CH' stamps which prove that they were originally from the same commission. The Christie's armchairs previously belonged to Aladar Zellinger de Balkany (1900-1983), and passed thence by descent.A further pair of fauteuils of this same type were offered, together with a matching sofa, Sothebys, Paris, 23 June 2021, Important Mobilier, lot 156. However, interestingly these Paris examples were attributed to the workshop of Pierre-Antoine Bellangé, who was the father of Louis-Alexandre.The design for the present armchairs is based upon a watercolour entitled 'Deux Projets de Fauteuils' (1817-1820), bearing the signature of Louis-Alexandre Bellangé. It forms part of a collection of illustrations, taken from 'l'Atelier Bellangé', which are at the Metropolitan Museum of Art in New York, S. Cordier, Bellangé, Ebenistes: une Histoire du Gout au XIX Siecle, 2012, Paris, fig. 4. However the antecedent, which incorporates similar lion monopodia to those of the above, was one of a number of drawings for related seat furniture and tables which first appeared in Charles Percier and Pierre-Francois Leonard Fontaine, Recueil de Decorations Interieures, originally published in 1812. It is notable that these Percier and Fontaine examples had in fact been sourced themselves from antiquity.Another closely related design for fauteuils, one attributable to Pierre-Antoine Bellangé (Louis-Alexandre's father), was executed during the period 1815-1820 and corresponds well with a set of chairs and sofas supplied to the Comtesse du Cayla for the Chateau of Saint-Ouen of Zoe, Ibid, p. 489, PAB107. This strong association or interrelationship between father and son implies that at an early stage the much younger figure of Louis-Alexandre must have undertaken a thorough analysis of his father's oeuvre.Indeed between 1820 and 1825, towards the end of their contractual arrangement during their co-operation based at the family workshop on Rue Neuve-Saint-Denise, various pieces of seat furniture made at this time are either stamped: 'L. BELLANGE', such as appear on the offered lot, or: 'P. BELLANGE'. Some of the models that have the 'L. BELLANGE' stamp feature in Ibid, p. 500, LAB1 and a pair of such fauteuils also sold Sotheby's, New York, 25-26 October 2007, Ariane Dandois Collection, lot 523.Furthermore, an assortment of designs dating to circa 1818, which were completed by Louis-Alexandre, are today with the Metropolitan Museum in New York. Interestingly this particular portfolio even includes an engraved plate depicting a near conforming armchair to the present ones, which was itself evidently made in Pierre-Antoine's workshop at some point during 1815-1820.Pierre-Antoine Bellangé became maitre in 1788. But despite working as a cabinet maker throughout the Revolution (1789-1799), it appears that his career really flourished during the Empire period and the initial part of the Restauration, or restoration of the monarchy. Pierre-Antoine developed into one of the principal suppliers of furniture to Napoleon and also to those closest to the Emperor, before in due course serving as cabinet maker to the Garde-Meuble de la Couronne (basically the Royal furniture repository) during the reign of Louis XVIII.Louis-Alexandre Bellangé, who ran his own atelier and shop at 33 Rue des Marais-Saint-Martin, established himself and his firm as specialist in the production of furniture incorporating porcelain, lacquer and hardstones, as well as Boulle-inspired pieces. In 1833 he tried unsuccessfully to get a place at the Garde-Meuble de la Couronne restoring earlier works. However, disappointment at this rejection must have been tempered by his subsequent appointment as a supplier to the Duc d'Orléans. His gold medal-winning contribution to the Paris exhibition of 1839 won him significant praise from the jury at that event. Although fairly early on in his career Louis-Alexandre supplied furniture to Charles X, subsequently at the 1844 Exposition des Produits de l'Industrie Française Louis-Philippe (when King) acquired a Boulle table from the illustrious cabinet maker. Later on, at the 1851 Great Exhibition, he was awarded a second class medal for the Boulle objects his firm had produced for Crystal Palace. Examples of his oeuvre, made either independently or in collaboration with his father, may be found in the Wallace Collection, London and in the collection of Her Majesty the Queen at Windsor Castle.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 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 76
A pair of unusual English carved and gilt gesso owl wall bracketsprobably early 19th century, perhaps in the manner of William Kent (British, 1685-1748)the gadrooned circular plateau tops supported on the heads of the birds with outspread and clenched talons, with iron bracket fixings, 28cm high, 52cm wide, 24cm deep (2)Footnotes:The painter, architect and interior designer William Kent was major figure of Palladianism deriving his inspiration from the designs of the 16th century Italian architect Andrea Palladio (1508-1580). Strongly influenced by ancient Roman architecture the motifs of classicism and its motifs of shells, masks and pediments formed the basis of the architectural movement. Beginning as painter, Kent's interest shifted to architecture and interior decoration after meeting the amateur architect and patron, Richard Boyle, third early of Burlington. The pair first met whilst on 'Grand Tour' in Italy where Burlington was studying the architecture of Andrea Palladio. As such he duly engaged Kent to decorate both Chiswick and his London home, Burlington House. The villa at Chiswick was inspired by Palladio's Villa Rotunda at Vicenza and built to Burlington's designs between 1724-1727. The interior was decorated and furnished to the designs of William Kent by a team of craftsmen including cabinet-maker Benjamin Goodison and carver and gilder John Boson. Burlington had married Lady Dorothy Savile in 1721 and during the building works at Chiswick she was made Lady of the Bedchamber to Queen Caroline. Whilst undertaking her position at court she oversaw the decoration in conjunction with Burlington and Kent including choosing fabrics and bed hangings. Pertinently she oversaw the decoration of the Garden Room or Summer Parlour at her own 'expense' which incorporated owl motifs from her family crest to the elaborating painted ceiling and it was this owl theme that is attributed as the influence for Kent supplying a pair of pier tables and matching mirrors decorated with carved and gilded owls Chiswick HouseFor further information on this lot please visit Bonhams.com
Lot 80
A French late 19th century ormolu mounted bois satine and rosewood bombe serpentine commode made by Francois Linke (1855-1946) for Maison Kriegerafter the celebrated model by Charles CressentThe thick marble top with a raised ogee moulded edge, above two long drawers inlaid sans traverse with quarter veneered shaped tablets, mounted with a sans traverse cartouche comprised of foliate and rocaille adorned C-scrolls, the lower shaped drawer mounted with a dressed monkey seated upon a knotted tightrope held aloft by a pair of opposing children, flanked by keeled angles with elaborate volute scroll, beaded, floral, cabochon embedded and acanthus embellished espagnolettes with feathered headdresses, on chute mounted and faceted cabriole legs terminating in foliate wrapped sabots, each end with half veneered shaped panels mounted with a dog walking on its hind legs upon a knotted tightrope below two opposing children each seated on a pedestal, the boy playing a flute and the girl playing a tambourine, the reverse with an ink stamp which reads: 'KRIEGER, 74 RUE DU FAUBOURG-SAINT-ANTOINE, PARIS' 162cm wide x 69cm deep x 97cm high, (63 1/2in wide x 27in deep x 38in high)Footnotes:A virtually identical commode to the offered lot, sold Bonhams, London, 24 September 2014, The Contents of Count and Countess Martignone's Milanese and Genoese Properties, lot 83. Whilst a pair of similar commodes by Francois Linke, circa 1900, sold Christie's, London, 29 November 2016, Opulence: 19th Century Furniture, lot 255. Other comparables of this type include: one offered Sotheby's, Paris, 23 June 2021, Important Mobilier, lot 43; a similar commode sold Christie's, London, 15 April 2011, lot 158; one sold Christie's, London, 28 October 2014, lot 18; and a loosely related variant of rectilinear outline, which was made by Jules Allard et Fils, sold Christie's, New York, 18 April 2013, The Opulent Eye, lot 244. Another closely related commode, albeit one attributed to Joseph-Emmanuel Zwiener, sold Sotheby's, 19th Century Furniture & Decorative Arts, 24 October 2012, New York, Lot 271.An important commode, which is arguably the closest to the present, is illustrated in C. Payne, Francois Linke, 1855-1946, The Belle Epoque of French Furniture, 2003, Woodbridge, pl. 217, p. 201. It is both interesting and significant to note that Payne describes this featured example as: 'most probably an early Linke piece made for Krieger'. This would evidently be of particular relevance since the above is stamped for Krieger whilst being associated (as we have already seen) so unequivocally to the aforementioned Linke models, meaning that it would seem to be highly likely that these are ultimately from the same source.A further conforming version, which appears in P. Kjellberg, Le Meuble Francais et Europeen du Moyen Age a nos Jours, p. 490, fig. 562, is evidently another instance of such a piece having been produced by Linke for the Krieger firm. Kjellberg even goes on to reference an additional copy of this Cressent type which exists in the form of an old black and white photographic print amongst those accumulated in the Francois Linke archives. However unfortunately no glass negative or cliche remains for this specific item.Both Payne and Kjellberg posit that this was not a 'one-off' situation and that Linke, on a number of occasions in fact, provided furniture for what was by that time the renowned, successful and indeed flourishing Maison Krieger enterprise. Consequently it seems logical to assume that the offered commode, as with the two previous, was executed by Linke during his early period, at a time before he is known to have signed his creations from circa 1896 onwards. This argument is reinforced by the absence of any glass negative. The amassing of glass negatives was a modus operandi that Linke only began to develop in the last few years of the 1890s. Up to that point, the sole priorities were the fulfilment of his clients' various requirements and the establishment of his business, so there had been no need for the cabinet maker to take photographs of his output at all. Also this practice would have necessitated more money, more time and, perhaps most importantly, the employment of more personnel at a time when the whole operation, despite its relentless growth, was still relatively small. Alternatively it may be possible that at a later date Linke retrospectively obtained the original photographic print from Krieger, seeing as the former's continued to expand at an even more rapid rate following his successes at the 1900 Paris Exposition Universelle. Although of course there is no way of knowing this for certain.Charles Cressent (1685-1768)All of these comparables represent a masterful interpretation of the original early Rococo 'Commode aux Singes', circa 1745, made by one of the most celebrated cabinet makers working in 18th century France, Charles Cressent. They are indicative of a skilful re-invigoration of this important model. This championing of a major antecedent occurred at a time when such reverence and respect for the past, and in particular for the golden age of French furniture, was arguably at the height of fashion during the final two decades of the 19th century.There are apparently a total of eight 18th century variants of the 'Commodes aux Singes' by Cressent. These include two at Waddesdon Manor, two at Lisbon's Museu Gulbenkian, one housed at the Louvre and another with the Metropolitan Museum of Art, New York, D. Alcouffe, Furniture Collections in the Louvre, 1993, Dijon, fig. 40 and pp.'s 128-9. The sculptural use of ormolu mounts which can be seen on all of these appears to be a recurrent element throughout Cressent's oeuvre and can be explained by an assessment of the early part of his artistic career. He had in fact trained as a sculptor before marrying the widow of a cabinetmaker and subsequently taking over the workshop following the latter's death.Cressent was a vital figure involved in both the dawn and early development of the Rococo in the French decorative arts, and this is evidenced by the design of the present lot which appears to bridge the gap between the Regence and Louis XV styles. Such pieces produced by Cressent served to inspire future cabinet makers, not only in the 18th century but also during the second half of the 19th century, and even into the very beginning of the subsequent century. As already noted, among those most influenced were Francois Linke and Joseph-Emmanuel Zwiener (1849-1895).LiteratureC. Payne, Francois Linke, 1855-1946, The Belle Epoque of French Furniture, 2003, Woodbridge.P. Kjellberg, Le Meuble Francais et Europeen du Moyen Age a nos Jours, 2011.D. Alcouffe, French Collections in the Louvre, Vol. 1, 1993, Dijon.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 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 85
A large and imposing George III mahogany commode attributed to a St. Martin's Lane of London cabinet maker1770-1785, probably the forerunner to a design by Thomas ShearerThe large inverted breakfront central bank of drawers of serpentine form, the overhanging half-veneered top with an ogee moulded edge, above four long graduated oak-lined drawers flanked by two smaller banks totalling eight drawers, each bank comprising four short graduated oak-lined drawers, over a reverse ogee moulded plinth base, on shaped ogee bracket feet, the Rococo handles are 18th century, 164cm wide x 67cm deep x 106cm high, (64 1/2in wide x 26in deep x 41 1/2in high)Footnotes:The present lot appears to be closely comparable to a design by Thomas Shearer from his 1788 publication, 'Cabinet-Makers' London Book of Prices', which is illustrated in R. Fastnedge, Shearer Furniture Designs, 1962, London, pl. 17, fig. 1 & p.22. This same drawing also appears replicated in the Pictorial Dictionary of British 18th Century Furniture Design, compiled by E. White, 2000, Woodbridge, pl. 20 fig. 1, p.185. The offered commode has certain characteristics which have traditionally been solely associated with the documented output of Thomas Chippendale's workshop, especially during the third quarter of the 18th century. Two examples of these elements which are evident on the present chest are the use of red wash to the secondary timbers in parts, as well as the incorporation of 'stacked' or 'laminated blocking' to the bracket feet.However, following research undertaken in more recent years, it appears to have been the case that a number of cabinet makers operating in England during the second half of the 18th century employed many of the same or similar constructional features as Thomas Chippendale. At that time the vast majority of such firms, which were producing fashionable furniture to an extremely high standard largely but not exclusively for a wealthy and/or noble clientele, were located on St. Martin's Lane in London (or at least within its immediate environs). Aside from Chippendale, it is recorded that cabinet makers and 'upholsterers' as prominent and historically important as William Hallett, John Channon, William and John Linnell, William Vile and John Cobb, Benjamin Goodison and James Paine had their businesses located in this historically renowned area of the city. Another aspect of this striking commode is the exceptional quality of its densely grained mahogany timber which is particularly notable with regard to the half veneered top. Whilst the top itself, with its strikingly overhanging rear ends, elegant shaping overall and lovely moulded edge, is certainly reminiscent of some of Chippendale's finest output of the 1760s and 1770s.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 88
A George III mahogany tripod table of 'English Rococo' designThe hexagonal tilt-top with a flowerhead-and-ribbon moulded edge, on a part-cluster column and part-acanthus and bellflower wrapped baluster, each alternating column of the upper part with flowerhead-and-ribbon carving, with three adjoining addorsed twin C-scroll form downswept legs, each leg carved with foliate sprays and bead-and-reel, terminating in scroll feet and brass castors, the top and base possibly associated, 79cm wide x 78cm deep x 69cm high, (31in wide x 30 1/2in deep x 27in high)Footnotes:A mahogany tripod table with a comparable addorsed C-scroll base to the offered lot is illustrated in R. Edwards, The Dictionary of English Furniture, Vol III, 2000, New York, fig. 14, p. 206 and also appears in C.C. Stevens and S. Whittington, 18th Century English Furniture, The Norman Adams Collection, 1989, Woodbridge, p. 302. Edwards dates the table circa 1750 whereas Stevens and Whittington refer to it as circa 1765. Another variant with this distinctive type of base features in L. Synge, Mallett's Great English Furniture,1991, London, fig. 123, p. 111. A tripod table with a twin-scrolled base and carved column similar to those elements on the present model sold Christie's, New York, 16 April 2002, Important English Furniture, lot 329. Further notable related examples include the following tripod tables sold: Sotheby's, New York, 16-17 April 1998, lot 901; Christie's, London, 6 July 2000, lot 104; Sotheby's, London, 26 November 2003, Important English Furniture, lot 49 and Sotheby's, London, 3 December 2013, A Gentleman's Collection, lot 346.Designs for 'English Rococo' candle stands with comparable C-scrolled terminations include various drawings by Thomas Chippendale, The Gentleman and Cabinet-Maker's Director (1763), third edition, pl.'s CXX, CXXII & CXLIV and Genteel Household Furniture in the Present Taste, a Society of Upholsterers (1765), second edition, pl. 72 from Part III. Whilst further designs for candle stands, tripods (then referred to as 'claw tables') and even fire screens with related bases also feature among drawings produced by William Ince and John Mayhew, The Universal System of Household Furniture, 1762, pl.'s XIII and LXVII and Genteel Household Furniture in the Present Taste, (1765), second edition, pl. 38 from Part II & pl. 91 from Part III.LiteratureR. Edwards, The Dictionary of English Furniture, Vol III, 2000, New York.C.C. Stevens and S. Whittington, 18th Century English Furniture, The Norman Adams Collection, 1989, Woodbridge.L. Synge, Mallett's Great English Furniture,1991, London.The Pictorial Dictionary of British 18th Century Furniture Design, compiled by E. White, 2000, Woodbridge, pp.'s 287, 303-306 & 318.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 2093
A late George III mahogany and glazed cabinet bookcase, early 19th century,: the Greek key moulded cornice above twin doors with geometrically arranged astragals, opening to shelves; the projecting lower section with twin panel doors, on splayed bracket feet; 201cm high, 120cm wide, 42cm deep
Lot 2113
An Edwardian mahogany and painted demi-lune side cabinet, in George III Sheraton taste, by the Bath Cabinet Makers Co. Ltd., early 20th century,: the top decorated with flower paterae, flower and ribbon swags and a guilloche border with bellflowers; the blind frieze with anthemia within bellflower arcading; the bowed panel door with a depiction of Classical figures in a central circular reserve beneath a swagged aegicranium; flanked by panels with conforming decoration; the interior with ivorine maker's plaque; on short foliate carved legs to bun feet; 93cm high, 122cm wide, 55cm deep
Lot 2140
A mahogany and glazed cabinet bookcase, second quarter 19th century,: the moulded cornice above twin glazed doors with Gothic arched astragals; flanked by half-round pilasters with carved acanthus capitals; the base section with blind frieze above twin panel doors flanked by scrolling acanthus carved corbels, above a plinth base; 243cm high, 125cm wide, 35cm deep
Lot 2203
A French carved and stained wood dressing table mirror modelled with a dragon, probably by Gabriel Viardot, late 19th century,: the plate of crescent moon form with bevelled edges; the dragon's head with jaws agape protruding to the left; with hinged strut behind; 52cm high, 43cm wide*Biography Viardot (1830-1906) was a Parisian cabinet maker renowned for his interpretations of Oriental themed furniture
Lot 2229
A Victorian walnut, marquetry and glazed pier cabinet, circa 1870,: the rectangular top above a frieze of inlaid foliate arabesques, the door enclosing shelves and flanked by conforming marquetry panels with foliate cast gilt metal mounts above and below; the plinth base with bracket feet; 103cm high, 79cm wide, 32cm deep
Lot 2230
A Victorian walnut and marquetry pier cabinet, circa 1870,: the rectangular top above a scrolling foliate and floral frieze, the glazed shallow arched door and flanking pilasters with conforming marquetry and gilt bronze mounts; with velvet covered shelves within; on a plinth base with serpentine apron; 104cm high, 79cm wide, 30cm deep
Lot 2270
An Edwardian mahogany and marquetry bowfront display cabinet, early 20th century,: the three-quarter gallery top with moulded arched cornice above scrolling foliate arabesques; above a chequer strung frieze and twin bowed glass doors; flanked by panels with trailing bellflowers; on cabriole legs, with a shaped undershelf; 172cm high, 123cm wide, 41cm deep
Lot 2282
A hardwood shop cigar cabinet, early 20th century,: the moulded cornice above twin panel doors, each stamped H.UPMANN HABANA, the door interiors further stamped and inscribed 'Specially imported for W.Ariel Gray & Co. Ltd.; with subsidiary interior glass doors opening to shelves; 159cm high, 80cm wide, 30cm deep
Lot 2285
A late Victorian or Edwardian walnut and glazed cabinet bookcase in Arts and Crafts style, by James Shoolbred & Co, circa 1900,: the moulded cornice above twin doors, each with a rectangular pane above a shallow arched Gothic pane, all with vertical and horizontal astragals; the base section with three short drawers, one stamped for the maker, with gilt brass swing handles; above twin double panel doors, flanked to each side by recessed reeded panels from top to bottom; the sides also panelled; on turned feet; 217cm high, 112cm wide, 52cm deep
Lot 2293
A walnut and crossbanded double arch topped cabinet bookcase in Queen Anne style, 20th century,: the moulded cornice with twin carved scallopshell finials; the two glazed doors with rectilinear astragals, above twin panel doors; on short cabriole legs to pad feet; 202cm high, 108cm wide, 38cm deep
Lot 1631
Myford ML7 model engineering or similar lathe with 3 & 4 jaw chucks, W68 milling attachment, cutting tools, spare gear wheels, cabinet and other accessories. Please note this lot is not located at our saleroom but at a property in Cheltenham, from where the lot must be collected by the buyer by arrangement with the vendor, within two weeks of the auction. There is good road access but the buyer will be responsible for removal from within the garage which leads straight onto the drive.
![GALLO-BELGIC, Stater, series E [Gallic War Uniface type], blank, rev. disjointed horse right, pellets and ornament above, pel](https://cdn.globalauctionplatform.com/5419fd62-a676-4cb4-ac5d-aeb000ab3a6b/c9640177-6cd7-42ad-8122-aebc00bc4859/468x382.jpg)
Lot 1
GALLO-BELGIC, Stater, series E [Gallic War Uniface type], blank, rev. disjointed horse right, pellets and ornament above, pellet below, 5.93g (ABC 16; VA 52; S 11). Good fine, dumpy flan £300-£360 --- Provenance: Found in East Hertfordshire, January 2017 (PAS BM-E507F3) The owner of this small collection of Iron Age coins, who wishes to remain anonymous for personal reasons, received his first metal detector from his parents as a schoolboy on Christmas Day, after showing a keen interest in fossils and those bits of scrap metal which can regularly be found as field finds within Hertfordshire. The machine’s initial deployment came that afternoon following the festive lunch. A local farmer’s field yielded a worn Halfpenny of George III; a modest and unremarkable find, but one that instilled a sense of wonder and enthusiasm that has fuelled a lifelong passion for the hobby. In the succeeding weeks and months more finds followed; from crotal bells and thimbles to copper halfpennies to hammered silvers, all of which were met with glee and excitement. In April the enthusiastic youngster struck gold; excavating a Whaddon Chase Stater, a moment which was to leave an enduring and lasting impression. The allure of gold is obvious, particularly to a schoolboy. That first Iron Age coin was sold several years later when its finder, then a young man, felt he could derive more excitement from cash in hand than coins in a cabinet. However, as maturity came so did a renewed appreciation for coins of the Iron Age communities. Despite the commitments of family and work, trips out searching remained a weekly event, planned with thought and care as to which sites might prove the most fertile. The coins offered for sale below represent the results of that renewed interest and over three decades of endeavour. Almost all the coins offered below were found by the owner himself, often in the fields of Hertfordshire. Those that were not were excavated by family members sharing in the hobby who, aware of the collector’s passion for the subject, have made contributions to his collection.
![George III (1760-1820), New coinage, Pattern Sixpence, 1816, by T. Wyon [after a cameo by B. Pistrucci], laureate bust right,](https://cdn.globalauctionplatform.com/5419fd62-a676-4cb4-ac5d-aeb000ab3a6b/a77e4f3e-9ad9-447f-b9fe-aebc00baf04a/468x382.jpg)
Lot 218
George III (1760-1820), New coinage, Pattern Sixpence, 1816, by T. Wyon [after a cameo by B. Pistrucci], laureate bust right, rev. crowned arms in Garter, edge plain, 2.66g/12h (Davies 110E; ESC 2227). Reverse die-crack, good extremely fine with old cabinet tone, extremely rare [slabbed NGC PF 62] £3,000-£4,000 --- Provenance: M. Gietzelt Collection, DNW Auction 151, 14 November 2018, lot 274
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