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Lot 34
A George VI silver bon-bon bowl, Mappin & Webb, London 1937, of circular form of fluted circular foot, applied stylized foliate frieze, 8.4cm wide, together with a George V silver milk jug and sucrier, possibly Barnett Henry Abrahams, Birmingham 1924, each of baluster form with Chippendale borders and scrolling handles on four paw feet, milk jug 8.5cm high, sucrier 6.5cm high, gross weight 9.64ozt (3)
Lot 348B
A collection of silver including silver Old English shell pattern teaspoons by Cooper Brothers Ltd, Birmingham 1919, silver Sandringham pattern teaspoons by Henry Tatton & Son, Birmingham 1934, a silver Chippendale replica cased teaspoon by Francis Howard Ltd, Sheffield, a cased set of silver handled butter knives, by Barker Brothers Silver Ltd, Sheffield 1937, weighable silver 152gms Condition Report:Available upon request
Lot 161
â—† PAIR OF GEORGE III SATINWOOD AND MARQUETRY DEMILUNE CONSOLE TABLES, ATTRIBUTED TO THOMAS the semi-elliptical tops inlaid with fan medallions and wide bands of leaves and anthemion, enclosed by narrow borders of anthemion and leaves separated by inlaid dot banding, the edges in Greek key, above friezes inlaid with conjoined floral paterae between carved leaf tip moulding and Vitruvian scroll inlay, raised on slender square tapering legs headed by carved elliptical paterae and inlaid with pendant husk trails ending in crisp laurel leaf carved square toupie feet(115cm wide, 91cm high, 48cm high)Provenance: Purchased Arthur S. Vernay, Inc., New York, 1920s The Collection of Mrs. John Rovensky, sold Sotheby's New York, 26 January 1957, lot 632 Sotheby's London, 3 June 1977, lot 137, where purchased by the vendor's family and thence by descentNote: This pair of demilune console tables with their fine inlay and marquetry details demonstrate the Neoclassical influence gaining in popularity in the second half of the 18th century. While deceptively simple in appearance, they are of exceptional quality and workmanship. Utilising a design vocabulary based on Greek and Roman antiquity, they eschew the extravagant excesses of the Rococo. Gone are the curvilinear outlines and scrolling embellishments, replaced with ordered repetition and symmetry. The tables bear design similarities to the famed library table by Thomas Chippendale, made for Harewood House, and commissioned by Edwin Lascelles, 1st Baron Harewood, and now in the collection at Temple Newsam. What is most directly related is the marquetry design of the frieze, with its repeat pattern of linked paterae, interspersed with further elliptical carved paterae. In the Parke-Bernet Rovensky sale catalogue of 1957, the tables are listed as ‘parcel-gilded’, however there is no mention of gilding when they re-emerge for sale at Sotheby’s, London, thirty years later. An examination of the black and white image from the 1957 catalogue shows what appears to be gilding on the carved feet and the carved paterae heading the legs. When the tables appeared at Sotheby’s in 1977, they were then attributed to Chippendale, an attribution that remains today. The New York socialite and heiress Mrs. Mae Manwaring Plant Hayward Rovensky [née Caldwell] was married four times, and was one of the richest women in the United States, with homes in New York City; Newport, Rhode Island; Palm Beach, Florida; Hartford, Connecticut; and Groton, New York. A woman of considerable charm, wit, and beauty, she famously persuaded her second husband Morton F. Plant, to negotiate the sale of their lavish Italian Renaissance Revival mansion on East 52nd Street and Fifth Avenue with Pierre Cartier for a rare double strand of one hundred and twenty-eight natural pearls. Maisie, as she was called, and Morton moved to their new, larger Italian Renaissance Revival mansion on East 89th Street and Fifth Avenue, and Cartier turned the 52nd Street mansion into the Cartier New York headquarters and showroom, which it remains to this day. As well as a lover of fine jewels, Mrs. Rovensky was a collector of the fine and decorative arts, and would have been well-known to all the top New York dealers. When she died in 1956, Parke-Bernet conducted the sale of her estate over two weeks in January 1957, with specialist catalogues dedicated to paintings, jewellery, silver, furniture, porcelain, and works of art. The news of her death, and the auction of her estate, was covered in Time magazine, in a story entitled "At The End Of An Avenue". The present pair of tables were offered in Part Two of the sale, which included the contents of Clarendon Court, Newport, and the final portion of the collection from 1051 Fifth Avenue, New York. Sold as lot 632, they are listed in the sale catalogue as a pair of ‘Hepplewhite’ demilune consoles, having been purchased from Arthur S. Vernay, Inc. New York. Based on the order of the sale and catalogue notes, it is believed the tables came from the Fifth Avenue mansion. Arthur Stannard Vernay (1877-1960) was one of the most successful and influential dealers in English antiques in the United States in the first decades of the 20th century. An Englishman, Vernay was born Arthur Avant but changed his name and came to America as a young man in 1904. By 1906 he had opened his first shop in New York City, called Arthur S. Vernay, Inc. on East 45th Street, near Madison Avenue. From the 1920s he had moved premises to East 54th Street, as well as having a shop in London at 217 Piccadilly, and a summer shop in Newport, Rhode Island. Catering to an elite clientele of New York clients, his roster of customers reads like a who’s who of early 20th century society with names like Vanderbilt, Guggenheim, and Morgan among others. Vernay retired from his eponymous antiques business in 1942, but it continued to operate, undergoing a name change in 1978 to Vernay & Jussel, and continued until 1994, when it ceased trading. Vernay’s extensive sales archives are in the Winterthur library. Literature: Gilbert, Christopher The Life and Work of Thomas Chippendale, pp. 201-2, 215 Mauchline, Mary Harewood House, One of the Treasure Houses of Britain, pp. 86-103 Vernay, Arthur Stannard Decorations and English Interiors, 1927
Lot 164
GEORGE III 'CHINESE CHIPPENDALE' MAHOGANY ARMCHAIR, IN THE MANNER OF THOMAS CHIPPENDALE MID 18TH the square back above a wide square seat flanked by fret carved arms, raised on square fret carved fore legs with pierced corner brackets, and squared slightly splayed rear legs, the blue patterned faille upholstery with close nail trim(69cm wide, 93cm high, 46cm deep)Note: The open fretwork of these chairs is typical of the 'Chinese manner' popularised by Thomas Chippendale and derive from Plates XXIII, XXIV and XXV of the First Edition of his Gentleman and Cabinet-maker's Director (1754). The fret-carving of the present chair relates to a design seen in Plate XXV. Chippendale's designs included open lattice-work backs, here though, the chair back has been fully upholstered. A pair of identical chairs to the present lot, sold Parke-Bernet Galleries, New York, The Walter P. Chrysler Collection, Part One, 29 and 30 April, 1960, previously the Collection of Mrs. John E. Rovensky, Parke-Bernet Galleries, 1957
Lot 77
GEORGE III MAHOGANY SIDE CHAIR 18TH CENTURY in the Chippendale style, the serpentine top rail above a pierced and carved splat and wide stuff-over seat covered in yellow damask with close nail trim, raised on square straight legs joined by stretchers and with leather castors(59cm wide, 96cm high, 43cm deep)
Lot 74108
A Tiffany & Co. Silver Chased Repoussé Covered Vegetable Tureen in the Chinese Chippendale Taste, New York, circa 1880Marks: TIFFANY & CO., 6045, MAKERS, 2163, STERLING-SILVER, 925-1000, M6-1/2 x 13-3/4 x 6-1/2 inches (16.5 x 34.9 x 16.5 cm)1698 grams (weighable) The tureen having a foliate handle on a paneled domed cover resting on a shaped oval dish, raised on a conforming foot, high relief peony and foliage decoration throughout, two open handles to sides decorated with crane head and cloud scroll motifs, the handle removeable to convert lid into second serving dish, with original silver-plated liner. HID12701242017
Lot 424
A George III period (c.1770) Chippendale-style country elm carver - Gothic-style tracery to the splat, later drop-in seat, shaped arms and square-section chamfered legs moulded to the outer edge in the Marlborough style (61cm wide x 100cm high)Condition Report: There is strengthening on the legs, the arms have been strengthened on the back and basically the two back legs have been 'tipped' (4/5cm extensions applied) and there is an iron strengthening bracket on the inside of the front legs.
Lot 92
Two matched Finnish .813 silver 'Chippendale' pattern six setting canteens of flatware various dates c.1960, marked for KultakesKus Oy Hameeenlinna first, comprising six table forks, six silver handled table knives with stainless steel blades, six dessert forks, six teaspoons, pair sugar spoons with gilt bowls and a serving spoon, initialled CC, second comprising six table forks, six table forks, six dessert forks, six dessert knives, six dessert spoons, initialled together with two matched serving ladles, (64)weight excluding knives approx. 45.26 ozt.Condition: Good condition
Lot 182
A Chippendale style giltwood mirror,circa 1920s, with rich chinoiserie decoration, modelled as a temple archway, with a scrolling surround, surmounted by a seated buddha, 58 x 31cmWith some chips and losses to the frame. A section of the railing to the lower-left corner has been re-glued. With some cracks and marks throughout.
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