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Lot 1508
A Georgian Mahogany bow fronted Corner Washstand having boxwood beading, a central cupboard door and drawer below, three recesses to the top having an upstand and small corner shelf and standing on splay feet united by a "T" shaped stretcher, 21 3/4" wide x 39 3/4" high approx. A label within states "Royal County Depositary Reading, Brig GenKoe".
Lot 12014
Intarsiertes Schmuckkästchen, 19. Jh., verschiedene Hölzer, Perlmutt, etc. Art Modellkommode. Im Deckel ein Spiegel, das obere Fach unterteilt, drei Schubladen, ein Ausziehbrett, zwei Türen, Schloss mit Schlüssel (schließt nicht) Altersspuren, 34 x 35 x 30 cm. Inlaid jewellery box, 19th century, various woods, mother-of-pearl, etc. Like a model chest. The lid with a mirror, the upper compartment divided, three drawers, a pull-out shelf, two doors, lock with key (does not close), signs of age, 34 x 35 x 30 cm.
Lot 10
A late Louis XV ormolu mounted kingwood, stained sycamore, amaranth, fruitwood marquetry and parquetry secretaire a abattant by Francois Rubestuck (c.1722-1785)Circa 1770With illusionistic cube inlay, the marble top with a reverse ogee moulded edge above one long cavetto frieze drawer, over a shaped fall inlaid with assorted flowers and foliage within a central scrolled and shaped cartouche, enclosing shelves, four short drawers and a central pigeon hole, flanked by angles mounted with ribbon tied olive leaf pendants, over a pair of doors enclosing one shelf, the shaped apron below mounted with a ribbon tied oak leaf branch entwined and oak leaf adorned lion mask surmounted by a incense burner, on sabot mounted squat cabriole supports, stamped: 'F. RUBESTUCK, JME'. 78cm wide x 35cm deep x 140cm high, (30 1/2in wide x 13 1/2in deep x 55in high)Footnotes:Francois Rubestuck, recu maître ébéniste in 1766.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 147
A late Louis XV ormolu mounted tulipwood, amaranth, sycamore and stained fruitwood parquetry secretaire à abattant 'à la Grecque' by Jean-Francois Oeben (1721-1763)Circa 1765Of unusually small size, the brèche d'Alep marble top with canted corners above a secretaire fall enclosing a fitted interior with four drawers and three pigeon holes above a tambour drawer all inlaid with geometric parquetry enclosing a shelf, a drawer and a hinged strong drawer, flanked by inlaid fluted canted corners, above block feet with ormolu mounts and sabots 'à la grecque', the carcass top stamped three times: 'J.F.OEBEN', 77cm wide x 36cm deep x 96cm high, (30in wide x 14in deep x 37.5in high)Footnotes:ProvenanceFormerly with Adriano Ribolzi, Monaco, where it was purchased in 1996.From the collection of the late Cornelis Paulus van Pauwvliet.ExhibitedAdriano Ribolzi, TEFAF, Maastricht, 1996.Jean-Francois Oeben, ébéniste du Roi (in 1754), recu maître ébéniste in 1760.This elegant petit secrétaire 'à la grecque', probably conceived for a child, with its elaborate cube parquetry pattern, first evolved in the workshop of Jean-François Oeben around 1755-1760 (see F.J.B. Watson, Louis XVI Furniture, 1960, p. 68). The design, with its stylized Greek-key ormolu encadrement framing mounts, clearly characterizes the nascent Neo-Classicism of the goût grec style of the late Louis XV period.Jean-François Oeben (1721-1763) was born in Germany and must have moved to France before 1749, when he married the daughter of the ébéniste François Vandercruse, himself father of the celebrated Roger Vandercruse known as Lacroix (RVLC). Oeben was trained by the son of André-Charles Boulle from whom he rented workshop space at the Galeries du Louvre.When the latter died, Jean-François Oeben was granted a Royal warrant on 15 December 1754, enabling him to move into the Manufacture des Gobelins, as well as receiving the title of ebéniste du Roi. At that point, he employed his younger brother Simon as a journeyman. During the same year, his name appeared in the Journal du Garde-Meuble de la Couronne, having delivered a commode for the apartment of the Dauphin in Versailles. In 1756, he moved to the Arsenal when a Royal brevet granted him and his wife the life tenancy of a workshop. In 1760 he began work on the famed bureau du Roi, later completed by Jean-Henri Riesener who until then had been his principal assistant. In 1761, Oeben became a maître without requirement to pay the fees generally demanded. When he died in 1763, his widow took over his business and choose Riesener to run it, who she would eventually marry.Oeben was both an ébéniste and a mécanicien. It is only because he enjoyed Royal protection that he was able to combine two activities that guild regulations prohibited any craftsmen from practicing at the same time. Therefore, he was able to specialize in luxurious pieces of furniture incorporating elaborate mechanisms such as tables à la Bourgogne, tables de toilette or à écrire fitted with sliding tops.A nice feature of this petit secrétaire is the construction of the panelled back, which has three screws to the base, which when removed allows the back to slide down, should the keys ever be lost and the owner needs to access the inside.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 60
An important Dutch late 18th century ormolu mounted kingwood, tulipwood, harewood, amaranth and fruitwood marquetry commode attributed to Matthijs Horrix (1735-1809)The breakfront grey marble top above a veneered mounted dental frieze and a central panelled door inlaid with an olive leaf tied floral medallion flanked by ribbon tied musical trophies surmounted by simulated drawers, the central door enclosing a single shelf, the angled corners fitted with columns, the sides inlaid with Neoclassical urns, above a guilloche frieze, on faceted tapering legs, 117cm wide x 57cm deep x 92cm high, (46in wide x 22in deep x 36in high)Footnotes:ProvenanceFrom the collection of the late Cornelis Paulus van Pauwvliet.Pieter Hoogendijk Antiquairs, Baarn, where probably purchased 1996.ExhibitedPieter Hoogendijk Antiquairs, PAN Amsterdam, 1996.LiteratureAnnigje Hofstede, Nederlandse meubelen: Van Barok Tot Biedermeier 1700-1830, 2004, fig. 234, p. 147.Matthijs Horrix (1735-1819) was the foremost cabinetmaker in Holland during the second half of the eighteenth century. Born in Germany near the Dutch border, he was admitted to the furniture makers' guild in The Hague in 1764 and straightaway set out upon a brilliant career. He quickly became the principal supplier of veneered furniture to the stadholder, Prince William V of Orange, who in 1767 married Princess Wilhelmine of Prussia, and to the aristocratic clients that converged onto The Hague, the city where the court, the government and the embassies were established. But Horrix's workshop, which soon became the largest in the city and which, unusually, he extended to encompass chair-making and upholstery in the manner of the great London furniture firms, also worked for less exalted clients. He was all but unique in acquiring fame throughout the seven United Provinces that together constituted the Dutch Republic: when clients in faraway towns wished to obtain a truly exquisite piece of furniture, they turned to Horrix. Nothing is known about Horrix's training, but it may be assumed that he spent time as a journeyman in Paris, where of course many of the leading ébénistes were of German origin. When Horrix named his shop in The Hague 'In the Commode of Paris', this was most likely intended to keep the memory of an apprenticeship in the French capital alive, as well as highlighting his principal speciality. All over Europe, a floral marquetry commode in the Parisian style became the fashionable piece of furniture par excellence in the early 1760s, and Horrix was undoubtedly the main exponent of this trend in The Hague. For the marriage of the stadholder in 1767, Horrix was commissioned to deliver considerable quantities of marquetry furniture, doubtless all in the latest French manner. Right until William V and his family were forced to flee to England because of the French invasion in 1795, he remained their principal cabinetmaker. Princess Wilhelmine, who mentions him in several of her letters, had a special predilection for his work. She ordered many fine pieces for her private apartments and actively influenced stylistic decisions; for example, in 1780 she supplied Horrix with Japanese lacquer panels to set into commodes.Marquetry furniture inlaid with Chinese or Japanese lacquer is a staple of late eighteenth century Dutch furniture, and Wilhelmine may have played an important role in fostering this taste. In 1790-1791 Horrix provided the panelling, inset with Chinese lacquer, and all the lacquer-mounted furniture for the new Audience Chamber in Huis ten Bosch, the stadholder's palace outside The Hague, which is now the principal residence of King Willelm Alexander and Queen Máxima.It wasn't until the 1990s that part of Horrix's work was identified. Although the French invaders sold nearly all of the stadholder's collections after 1795, a few marquetry commodes in the Dutch royal collection were recognized as being part of his deliveries in the late 1760s. Comparison with these rare items led to further attributions, and a stylistic development could be traced that culminates in the lacquer mounted room at Huis ten Bosch. Cees Paulus van Pauwvliet was deeply interested in this development, and became very keen to own some of Horrix's work. The large and bulbous Louis XV commodes that are typical of the cabinetmaker's early production seem not to have caught his fancy, or may simply have been too big for his apartment. Instead, he acquired a fine group of two marquetry commodes (tincluding the present lot) and a small secretaire in the Louis XVI manner. These can be securely attributed to Horrix because of close stylistic affinities with documented pieces. Inevitably, there is now a trend to attribute any fine piece of Dutch marquetry furniture to Horrix, especially when it is inlaid with lacquer panels. However, Paulus van Pauwvliet went for the best; typically, he was so interested in the whole issue that he also bought a marquetry secretaire in the French manner that clearly is not by Horrix, but by an anonymous, perhaps slightly less gifted Dutch maker. On Matthijs Horrix and his work, see Reinier Baarsen, 'In de commode tot Parijs tot Den Haag', Matthijs Horrix (1735-1809), een meubelmaker in Den Haag in de tweede helft van de achttiende eeuw, Oud Holland 107 (1993), pp. 161-255.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com
Lot 133
Austen (Jane) Pride and Prejudice, reprint, frontispiece, title, illustrations, head- and tail-pieces, initials and decorations by Hugh Thomson, the odd spot, gutter slightly cracked in places, ink gift inscription to front free endpaper, hinges very slightly cracked but holding firm, original pictorial dark green cloth, gilt, with peacock design on upper cover, spine gilt with peacock feathers, t.e.g., slight shelf-lean, a few small stains to upper cover, joints slightly frayed and split in places, spine a little dulled, spine ends and corners slightly bumped, 8vo, George Allen, 1903.
Lot 168
Nesbit (E.) The Magic City, first edition, signed presentation inscription from the author on front free endpaper, plates and illustrations by H.R. Millar, advertisements at end, bookplate, endpapers lightly browned, upper hinge partially split, original pictorial cloth, gilt, shelf-lean, slightly soiled, a couple of stains, spine darkened, some loss to head, 1910 § Muncaster (Martin) The Wind in the Oak, 2 vol., number 7 of 100 copies, signed by the author on half-title, 12 original etched plates by Claude Muncaster, illustrations, T.L.s. from Martin Muncaster, prospectus and exhibition invitation loosely inserted, contemporary morocco-backed boards, gilt, cloth slip-case, Robin Garton, 1978 § Halcyon. Driemaandelijksch Tijdschrift voor Boek-, Druk- en Prentkunst, no.1 (only, of 9), illustrations, loose as issued in original printed portfolio, Amsterdam, G.H. Bührmann, 1940; and c.65 others, illustrated works, many presentation copies or with signed letters, v.s., (c.70) *** Many of the books bear presentation inscriptions, letters from the authors or other interesting related materials: highlights include a copy of Some Notes on Bookbinding signed by Douglas Cockerel, Lawrence's Sons and Lovers with an original pen and ink drawing bookplate designed by George Mackley for his wife Caroline, and a T.L.s. from S.W. Hayter loosely inserted in his About Prints.
Lot 188
A Creamware Plate, circa 1750, painted in underglaze with a mock Oriental landscape under a moulded border, together with an early 19th century Pearlware figure of a shepherd resting, a commemorative pottery mug ''Wellington as Prime Minister'' and ''Walmer Castle Kent'' , a similar pottery jug decorated with farming scenes and a framed tile depicting a Dutch landscape (one shelf)
Lot 182
Beswick Horses, including large Hunter, all brown gloss; with various others; some foreign models; a resin jockey on racehorse model; hunting dinner wares; an oil depicting pinto ponies with lurchers and bow top wagon, (indistinctly signed); a racing print, etc. (one shelf, one tray and 2 pictures)
Lot 278
Modern Masons Pottery "Mandalay" Pattern, a large quantity of decorative shapes, including octagonal vases, candlesticks, ginger jar, hydra jugs, mantel clock, etc. (one shelf)Condition report not available.After a cursory inspection during cataloguing and sale setup the Masons appears to be in good clean condition but not guaranteed free of fault
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104473 item(s)/page