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Click here to subscribeAN EDWARDIAN MAHOGANY AND INLAID ENVELOPE CARD TABLE, enclosing a green baize playing surface, with a single frieze drawer, on cabriole legs, united by an undershelf, open squared 78cm x closed squared 56cm x height 74cm, along with a mahogany pedestal sofa table, with green tooled leather inlay, with a single drawer (condition - surface scratches to card table) (2)
Louis XVI-SalonRückenlehnenhöhe: 96 cm.Sitzhöhe: 41 cm. Frankreich, um 1800. Bestehend aus einem Sofa sowie zwei Fauteuils. In Weichholz gearbeitet und vergoldet. Konisch auslaufende kannelierte Beine mit kubischen Blütenkapitellen und umlaufenden Profilrahmen. Offen gearbeitete Armlehnen, gepolstert. Mit lachs- und apricotfarbem gestreiftem Seidenbezug. (1321011) (13))
Henri Baptiste Lebasque, 1865 Champigné – 1937 Le ConnetHOCKENDER FRAUENAKT AUF BLAUEM SOFA Öl auf Leinwand. 38 x 47 cm. Rechts unten signiert. (12821037) (11)Henri Baptiste Lebasque,1865 Champigné – 1937 Le ConnetCROUCHING FEMALE NUDE ON BLUE SOFAOil on canvas.38 x 47 cm.Signed lower right.)
A MATCHED PAIR OF MAHOGANY AND UPHOLSTERED SOFASIN GEORGE III STYLEthe larger sofa 92cm high, 215cm wide, 72cm deep overall, the smaller sofa 89cm high, 204cm wide, 69cm deep overall Condition Report: As catalogued these are in George III style, they are more likely to be mid 20th century frames which have been more recently upholstered, they are a close pair and not a true pair - one is slightly larger and has four supports the smaller on three supports - they have been upholstered 'as a pair'. The legs and frames with marks, knocks, scratches, abrasions consistent with age and useThe frames appear to be solid and stable overall, the upholstery is later applied, Dreweatts can make no comments or give any guarantees as to the condition or originality to the frame beneath this later upholstery. This is in a condition that reflects its lack of significant age and light use in a domestic settingPlease refer to additional images for visual reference to conditionCondition Report Disclaimer
A PAIR OF GEORGE III PAINTED AND PARCEL GILT SOFAS IN THE MANNER OF JOHN LINNELL, CIRCA 1780each 94cm high, 200cm wide, 77cm deepProvenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: There are some marks, scratches, knocks, chips and abrasions consistent with age and use.The later paintwork and gilding has some wear, craquelure, scratching and knocks.There is evidence of worm; there are recessed clamp marks to the underside of the seat rails either side of the legs; the bottom of the back legs show less sign of wear and age than the underside of the front legs; the frames have holes from upholstery tacks and some marks and stains.The top layer upholstery fabric is removed other than the padded arm ovals. The remaining upholstery is linen covering horsehair; the linen to the sides and back is removed or only partially fixed to the frame. The linen to the back of one sofa has a stamped bale mark in red ink '66 87' and with an ink inscribed monogram 'A ?m'. One sofa has the corner of the inner seat upholstery revealed showing the multiple layers of seat upholstery to the wood frame in sequence: wood frame/ hay / linen / coarse horsehair / linen / horsehair / linen / second layer of linen. There are vestiges of green damask to some of the padded arms, and smaller remains of red fabric.We are unable to inspect some areas covered in upholstery and so cannot comment on the condition and originality of these areas we are unable to see.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
A LOUIS XVI GILTWOOD SOFA OR CANAPECIRCA 1780Upholstered in woven grey brown silk fabric110cm high, 235cm wide, 67cm deepProvenance:An Important Collection from a Cadogan Square HouseCondition Report: Some later braces, brackets and supports to the underside. Later gilding.Condition Report Disclaimer
Y A REGENCY ROSEWOOD SOFA TABLEEARLY 19TH CENTURYWith two frieze drawers opposing two false drawers72cm high, 148cm wide, 69cm deep Provenance: Property from the Kingshott CollectionCondition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.Sun fading to the top giving it a slightly milky hue when compared with the darker base.There are losses and restorations including possible later ebonising to the underside of the drop flaps and the hinged supports; some cracks and possible repairs to the legs, a fillet insert to the top of one leg.There is one key that operates both locks. The drawers have mahogany linings.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
A George III mahogany serpentine sofa, later re-covered in damask fabric, the arched shaped back extending to padded scrolled arms, enclosing the three loose seat cushions and serpentine front, raised upon six legs of chamfered square section, united by plain cross stretchers, 91cm H x 208cm W x 68xm D, seat height 51cmCondition reportThe width cross stretchers are a later modification, the RH stretcher is detached but present, both front right and left legs have a splice repair although both are solid with no play in the joints.Overall there is little or no play in the joints and the fabric is in good condition with very little wear.
A stained beech wood bergère sofa, early 20th century, the curved back rail extending to egg and claw terminals, enclosing the pair of deep cushion seats, over the serpentine front, raised upon squat cabriole front legs, ball and claw feet and plain back swept rear legs, 78cm H x 125cm W x 74cm D
VICO MAGISTRETTI (Milan, 1920 - 2006).Two-seater sofa, Maralunga model. Design 1973, for Cassina.Iron and steel frame, upholstered in fabric.Restored tears in the fabric of one armrest on the left side of the sofa. Some stains on the upholstery. Signs of wear and tear.Measurements: 70 x 170 x 75 cm.Legend has it that the Maralunga by Vico Magistretti, arose from a monumental anger of Cesare Cassina, the industrialist who had commissioned him to make a sofa as comfortable as possible. The master of industrial design came up with a prototype that was apparently too rigid. Cassina, in a fit of frustration, punched the back of the sofa, which he overcame and leaned forward. "Right, great, I think it's perfect like that," Magistretti replied. He wasn't pretending or humouring his client, but being completely honest: by bending the backrest, the sofa acquired the precise movement to make it perfect. The designer incorporated an internal mechanism in the backrest and armrests that allowed them to be swivelled inwards by a simple bicycle chain and called Cassina again. This time, the reaction was different: the Maralunga was born, one of the most famous sofas of the 20th century, a landmark of furniture design and, of course, the model that marked a before and after in the industry. Vico Magistretti was an Italian industrial designer, dedicated to furniture and architecture. He graduated from the Milan Polytechnic in 1945, and became a follower of Ernesto Nathan Rogers. During the 1950s he devoted himself to the design of mass-produced furniture. Some of his lamps are famous, such as the so-called Eclisse. Some of his designs can be found in important museums in Europe, the United States and Japan. The MoMA in New York houses objects by Magistretti in its permanent collection.
ARNE JACOBSEN (Denmark, 1902 - 1971) for FRITZ HANSEN."Egg Chair, design 1958.Red wool upholstery. Chrome-plated steel base.Fritz Hansen Editor, 2005.Original Fritz Hansen piece, official publisher of the Egg Chair.With Fritz Hansen label.It has marks of use on the upholstery and some unpicked seams.Measurements: 106 x 86 x 74 cm.The Egg Chair was designed in 1958 by Arne Jacobsen for the Radisson SAS Royal Hotel in Copenhagen, and was published by the Danish firm Fritz Hansen. It soon became a symbol of modern design, starring in some of the scenes of the futuristic film "2001: A Space Odyssey". Among Arne Jacobsen's other designs for SAS Royal are the "Egg Chair", "Swan Chair", "Swan Sofa", "Series 3300" and "Drop Chair", furniture with which Jacobsen has written the history of Danish design all over the world.The Danish architect was one of the pioneers of the time in using new methods in furniture design, the Egg Armchair being a clear example of this. The iconic sofa consists of a one-piece, concave-moulded, glass-fibre reinforced polyurethane shell, which has been covered with an elegant upholstery. The shell has an adjustable tilt mechanism, which can be adjusted to the weight of the individual user. The tilt mechanism is made of steel, while the adjustment handle is made of polished stainless steel. The result, a distinguished, pointed and unique timeless design that will stand the test of time.Architect and designer, Arne Jacobsen studied for four years at the Copenhagen School of Construction, then entered the Faculty of Architecture at the Royal Academy of Fine Arts. His architectural highlights include St. Catherine's College in Oxford, the SAS Hotel in Copenhagen, the headquarters of the National Bank of Denmark in Copenhagen, and the Royal Danish Embassy in London. As a designer, he has created furniture that has become classics, among them the "Ant" chair (1951) and the "Swan" and "Egg" chairs designed for the SAS Hotel. He is also known for his 1955 model 3107 chair, also known as "Chair number 7", of which more than five million were sold, starring alongside Christine Keeler in Lewis Morley's iconic portrait. His other contribution to popular culture in the media is his designer cutlery, with spoons for both hands, which were chosen for the film "2001: A Space Odyssey" for their futuristic look. The key to the success of Jacobsen's work lies in its elegant and essential design, and it can now be found in collections such as the Victoria & Albert Museum in London and the MoMA in New York, among many others.The Danish firm Fritz Hansen, founded in 1872, manufactures original, unique, functional and innovative contemporary design furniture. It manufactures its products in its facilities in the north of Copenhagen, making each piece in close cooperation with internationally renowned designers and architects. Its collection includes the Egg Chair and Swan chair, the Series 7 chair, the Ant chair and the Oxford chair by designer Arne Jacobsen, as well as tables and armchairs designed by Danish designers Piet Hein and Poul Kjaerholm.
A Regency style drop-leaf occasional table, circa 1900, of sofa table design, D-shape leaves with rosewood banding and stringing, fitted with a single drawer, matched by a dummy drawer slender turned, and ringed uprights, conforming cross rails, reeded and splayed legs, width 57cm closed, depth 41cm, height 73cm.Condition report:Condition generally good. Very light surface sratches to top; small indentation below the drawer.
Konvolut BlechmöbelRock & Graner, Biberacher Blechspielzeug, um 1880, 1x gr. Sofa geschweift, rote Sitzfläche, L: 23,5 cm, 2 passige Stühle, rote Sitzfläche gerundete Lehne mit Griffloch, H: 12 cm; 2x Stühle mit roter Sitzfläche, gelb gerahmt, ausgestellte Beine, durchbrochen gearbeitete Rückenlehne, H: 9,8 cm; 1x Stuhl mit Lochblech-Sitzfläche, H: 9,5 cm; 2x Nachtkästchen je mit Türe und imitierter Schublade, H: 7,5 cm; 1x Platte geknickt; 1x Einzelbett, L: 14,5 cm. Part. Altersspuren, part. Lackausbesserungen.
Biedermeier-Sofa und 3 Stühle2. Viertel 19. Jh., Kirschbaum furniertes Sofa, HxBxT: 84/195/72 cm, auf seitlich auswärts geschwungenen Füßen in Form großer Voluten, die ungepolsterten Armlehnen an der Front in Form stilisierter Füllhörner, gerade Rückenlehne mit gebogten Enden, Sitz und Lehne gepolstert sowie mit aufgelegtem Polster als Rolle in den Aussparungen der Armlehne, dazu 3 sog. Schaufelstühle Nussbaum, H: 89 cm, spitz zulaufende Vierkantbeine (die hinteren geschwungen, trapezförmiger Polstersitz, sogenannte Schaufel-Lehne mit 2 Querstreben, Polsterbezüge mit Streifenmuster. Rest., kl. Furnierabplatzer, alte Wurmstichspuren.
Zimmer im Biedermeierstil modernum 1910, auf Plakette im Schreibtisch gemarkt "J GROSCHKUS/Hof-Tischlermeister Sr. Maj. d. K. u. K. Ihrer Maj. d. Kaiserin und Königin/Berlin Landsbergstr. 25-26", Birke furniert mit geflammter Maserung, mit ebonisierten Zierleisten und Säulen sowie aufgemaltem Dekor aus Blättergirlanden an Zierschleifen, das Ameublement bestehend aus Schreibtisch (HxBxT: 94/110/65 cm) mit gepolstertem Schreibtischstuhl (H: 81 cm), ovaler Tisch (HxBxT: 75/97/72 cm) mit 4 gepolsterten Stühlen (H: 94 cm), Vertiko (HxBxT: 195/105/42 cm) und zwei Pfeilerschränke (HxBxT: 191/36/32 cm). Die Postamente des Schreibtischs mit je 1 Schrankfach (links 3 Innenschubladen, rechts 1 Einlegeboden), die Zarge mit 1 breitem und 2 schmalen Schubladen (abschließbar/Schlüssel fehlt), die Arbeitsfläche mit Kunstleder, die Schreibtischrückblende mit 1 Ablage gestützt auf Doppelsäulen, der ovale Tisch mit 4 Doppelsäulen auf vierseitig konkav ausgesägter Bodenplatte, das zweitürige Vertiko mit ovalen und facettierten Türfenstern, verspiegeltem Aufsatz und Flachdachabschluss auf Doppelsäulen, die Pfeilerschränke (ehemals wohl mit einem Sofa verbaut) mit ovalen und facettierten Türfenstern, 3 Einlegeböden (1 Schrank verschlossen/Schlüssel fehlt) und Flachdachabschluss auf Säulen. Mit Rep., Altersspuren und Besch./Fehlstellen, Flecken, tlw. verblichen, Verspiegelung mit Blindstellen.
PuppenstubeGehäuse um 1900, Holzkonstruktion, 2 Zierhalbsäulen, orig. Tapete, 1 Sprossenfenster ohne Füllung, bestückt mit Rock & Graner-Blechmöbeln: 1x geschweiftes Sofa, L: 20 cm, rote Sitzfläche, gelbe Umrandung, dazu 6 passende Stühle mit 3-passiger geschwungener Rückenlehne; 1x Dreibein-Esstisch, L: 14 cm; 1x Kinderwiege mit Baldachin, L: 8,3 cm; 1x Nachtkästchen mit Türe und Schublade, H: 8 cm; 1x Einzelbett, L: 14,5 cm; 1x Armlehnsessel mit Samtbezug, schwere Ausführung, H: 13 cm; 1x runder Blumentisch mit geschweiften Beinen, H: 9,2 cm; dazu 3 ungedeutete Blechmöbel: 1x Aufsatzofen in Kacheloptik, braun/schwarz; H: 21 cm; 1x Einzelbett in leicht irisierender Lackierung, L: 18 cm; 1x Kleiderständer aus Metalldraht, H: 10 cm; 2x Wandspigel aus geprägtem Goldblech, Vorhang, Geschirrteile aus Metall, 3 gegliederte Püppchen, um 1920; LxTxH: 64,5/45/39,5 cm. Altersspuren, Sofa mit Best., part. Lackausbesserungen, beide Betten mit stärkeren Lackverlusten.
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