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Lot 934
Encyclopædia of Forms and Precedents, Fourth Edition. London, Butterworths, 1964 - 1973. 24 large hardback volumes (no gaps) in strong dark green cloth with gilt/silver titles. With General Index (volume 24). Two cloth page markers to each volume. Also includes two thick binders (Service 1 and 2) of Forms; and Cumulative Noter-Up volumes for 1977, 1978, 1979, 1980 and 1981. Spines very good. All volumes tight and clean, light shelf wear only and are entirely without marks, annotations or stamps.
Lot 16
A Pair of Rosewood Hanging Shelves England circa 1810, each tier is inset with brass stringing and joined by lavish brass mounts, the top tier having an unusual gallery of acorns, thistles, lilies, anthemia, possibly emblematic of the British Isles, the sides have X frame supports with foliate patera and classical masks, 46cm wide, 72cm high, 97cm deep Two similar pairs have been sold at Christies: The first on 6th April 1995: "Fine English Furniture", Sale 5370, Lot 155: "A matched pair of William IV Mahogany Three-Tier Hanging-Shelves attributed to Gillows of Lancaster, each with three-quarter galleried rectangular top above two further tiers, the ring-turned baluster supports centred by ring-turned X-shaped struts, one with pencil inscription to the reverse: "east wall near piano" and with further inscription "near the fireplace", the other with pencil inscription "east wall" and "east wall near oak door", variations. Provenance: Supplied to the 2nd Earl Manvers, Thoresby Hall, Nottinghamshire. Thence by descent at Thoresby until sold, Sotheby's house sale, 31 May - 2 June 1989, lot 307. There are several references to Lord Manvers in the Gillow archive for the period 1800-1840 but he seems also to have bought furniture from their London retailer. This prevents exact identification of purchases because objects sold in London appear in the Gillow archive by the name of the retailer alone. The Manvers archive itself suggests large scale buying, totalling as much as £3,000. As many as forty pieces by Gillow were included in the Thoresby sale." The second on 21st May 2009 "A West Country Tradition: Avon Antiques". Sale 5969, lot 236 "A Set of Regency Ormolu-Mounted Rosewood Three-Tier Hanging Shelves, In the Manner of John Mclean, Early 19th Century The upper tier with scrolled brackets and urn finials, above x-frame supports to the lower tiers, each shelf with pierced front gallery, on ball feet. These china-railed shelves have golden palm-wrapped brass pillars tied by pateraed braces in the Pompeian tripod-altar fashion that was popularised by Thomas Hope in his guide " Household Furniture and Interior Decoration", 1807.
Lot 160
A Mahogany Console France circa 1815, attributed to Charles-Joseph Lemarchand (1758-1826), the upper shelf supported by two winged terms with finely detailed female heads and ebonised Pompeian neo-classical motifs beneath, each leg ending in a lion's paw foot, the finely grained mahogany has many contrasting ebonised details reflected in the antique mirror plate behind , 76cm wide, 94cm high The Lemarchand dynasty is one of the greatest in French furniture history. Its fame rests on the oeuvre of two men; the father Charles-Joseph, and his son Louis-Edouard. Their business flourished for over 60 years between 1791 and 1852 but their apotheosis came when Louis-Edouard was commissioned to provide Napoleon's tomb for Les Invalides. Charles-Joseph Lemarchand was born in Dieppe in 1759 the son of the postmaster. He had one brother and three sisters one of which married the ebeniste P. Roussel. The next mention of Charles is in 1789 when he became a maitre on the eve of the Revolution. Perhaps he served his apprenticeship with Roussel, unfortunately history does not relate. His business flourished and substantial wealth was recorded at the time of his marriage. He had two sons emil and Louis-Edouard who joined his fathers business in 1815. His supply of pieces to the various Garde-meuble of the period was fitful. He received regular commissions before the revolution and managed to survive both the Revolution and the Terror but during the Empire he was ignored, though things improved after the restoration and he became a patented supplier. Despite the vicissitudes of Garde-meuble commissioning his business seems to have enjoyed a stability of success so seldom found with ebenistes of the period. He appears to have never gone bankrupt which is almost unheard of. He was clearly as good a business man as he was a cabinetmaker and one of his ploys has come down to us. He liked on occasion to give the impression that he was going to retire and he offered his entire stock or substantial parts of it to various clients and discounted prices. He did finally cede his business to his son shortly before his death, which was in 1826 at the good age for the time of 66. Louis-Edouard Lemarchand was born in 1795 and was sent off at the age of 15 to study architecture. This was seen as a useful tool for furniture construction techniques. However he was enticed by the military life and he deserted his studies to sign up for the military academy of Saint Cyr in 1813. He left in order to fight in the battle of Ligny where he did well and was decorated on the battlefield itself. Incidentally he did not actually receive his medal until the reign of Louis-Philippe. Following Waterloo he was released from the army with the rank of sub-lieutenant of the 29th light. He joined the family business having experienced much and as an ardent supporter of Napoleon at the tender age of 20. Despite his youth he immediately played an active role and soon his father ceded complete control to him, indeed it is from this period that the workshops achieved their greatest output. He managed to negotiate for Lemarchand to be patented suppliers to the Restoration Garde-meuble. He supplied the kings Charles x and Louis-Philippe. In 1830 he obtained the title of official ebeniste to the duc de d'Orleans. He passed the business on as a successful going concern in 1852 but lived in good health until 1872. The Lemarchand stamp was used throughout the period of both father and son and was acknowledged as an sign of quality and finesse. Though not renowned for innovation they were famous for the use of exotic woods and the confident application of contemporary style. The reputation rests on fine carving, good design and outstanding cabinetmaking.
Lot 172
A Parcel Gilt Regency Supper Table England circa 1810, of traditional form with a shelf for plates and a compartment for other accoutrements, the table is enriched with a polychrome coat of arms and gilt stringing on a black ground, standing on attenuated baluster column legs terminating in brass casters, 33cm wide, 66cm high, 56cm deep
Lot 358
A Pair of Rosewood Penwork Cabinets England circa 1820, with grisaille penwork composite tops depicting neo-classical scenes, the frieze with a long drawer, above a door with brass grilles, lined with yellow silk, enclosing a single adjustable shelf, flanked at the corners by quarter columns, raised on turned topie feet, 80cm wide, 89cm high, 41.5cm deep This fine pair of rosewood cabinets, owing something to the designs of Thomas Hope epitomise the taste for Greco - Egyptian neo classicism with motifs resembling sculpture on the tops. Figure compositions such as these with highly complex arrangements were almost certainly only taken on by the most skilled professional penwork artists. The present cabinets, not only show the artists skill in the fine and well drawn floral border consisting of blooming flowers and twisting foliage details, but each also has a parade of graceful dancers on one cabinet and a classical military scene on the other; perhaps a reference to war and peace.
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