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EIGHTEENTH-CENTURY CHIPPENDALE SIDE TABLE, CIRCA 1780the rectangular moulded edge top ,above a conforming frieze with drawer, furnished with a brass scroll handles, raised on moulded square chamfered legs, joined by pierced X stretcher rail70 cm. high; 77 cm. wide, 43 cm. deep
REGENCY PERIOD ROSEWOOD LIBRARY TABLE, CIRCA 1820the rectangular rich grained top with rounded corners, above a real and opposing faux drawer, raised on curvaceous X-scroll ends, joined by a turned stretcher rail, terminating on brass cup castors74 cm. high; 136 cm. wide; 71 cm. deep
VICTORIAN PERIOD BURR WALNUT FOLD OVER GAMES TABLE, CIRCA 1870the rich rectangular moulded edged top, opening to a baize lined interior, above a conforming frieze, raised on turned reeded pillar and scroll ends, joined by a stretcher rail74 cm. high; 93 cm. wide; 47 cm. deep
GEORGE II PERIOD MAHOGANY GAMES TABLE, CIRCA 1750 the rectangular inverted break front top, opening to a baize lined interior, above a conforming frieze 73 cm. high; 81 cm. wide; 41 cm. deepKing George II and his consort Queen Caroline were ardent card players. They played each evening for high stakes: a place at the royal card table required a prerequisite minimum entry fund of £200.The Countess of Hartford, in a letter dated 1741, noted: ‘Assemblies are now so much in fashion that most persons fancy themselves under a necessity of inviting all their acquaintances three or four times to their houses, not in small parties, which would be supportable, but they are all to come at once, nor is it enough to engage married people, but the boys and girls sit down as gravely at whist tables as fellows of colleges used to formerly; it is actually a ridiculous, though I think a mortifying sight, that play should become the business of the nation from the age of fifteen to fourscore’The love of gambling remained unabated throughout the eighteenth-century and inspired a morality painting by William Hogarth. ‘The Lady’s last Stake,’ now at the Albright-Knox Art Gallery, Buffalo, NY, USA, painted in 1759, addressed the evils of gambling.
REGENCY PERIOD MAHOGANY AND EBONY STRING INLAID CARD TABLE, CIRCA 1820the rectangular top, with round corners to the fore, opening to a baize lined interior, above a leaf carved and bobbin decorated bateau shaped frieze, raised on a tapered stem and sabre legged pod, terminating on ornate brass castors74 cm. high; 92 cm. wide; 45 cm. deep
NINETEENTH-CENTURY IRISH MAHOGANY GRAND TOUR SPECIMEN MARBLE TABLE, BY MACK, WILLIAMS AND GIBTON the circular chequered marble inset top, raised on a turned stem and platform base, terminating on bun feet with sunken brass castors 72 cm. high; 64 cm. diameterAn aristocrat on the Grand Tour most likely acquired this fine example of a Pietra Dura (hard stone) marble top. It is inlaid with a selection of specimen Italian marbles in checkerboard form. The common practise upon return to Ireland was to commission a bespoke table to showcase the top. The quality of the supporting pedestal is consistent with the work of the outstanding Dublin firm Mack, Williams and Gibton (1810 – 1829), arguably Ireland’s finest ever cabinetmakers. The firm was responsible for furnishing country houses and important buildings including Dublin Castle and the Viceregal Lodge, now Áras an Uachtaráin, the official residence of the President of Ireland. The Grand Tour was an essential part of the education of the Irish and British aristocracy. It was a cultural tour of Europe formally undertaken by young men especially in the eighteenth-century. It was hugely influential in terms of the accrual of the cultural capital of both kingdoms, a development that paved the way for Neo-classicism and with it gave birth to the rich Georgian legacy that is ours today.
WILLIAM IV PERIOD MAHOGANY TEA TABLE, CIRCA 1830the rectangular shaped top, with rounded corners to the fore, opening to a polished interior, above a bateau shaped frieze, raised on a chamfered stem and platform base, terminating on leaf draped bun feet75 cm. high; 92 cm. wide; 45.5 cm. deep
NINETEENTH-CENTURY FRENCH KINGWOOD AND MARQUETRY GAMES TABLE the profusely inlaid serpentine shaped top opening to a baize lined interior, above a similarly inlaid frieze raised on cabriole legs, terminating on brass sabots 76 cm. high; 76 cm. wide; 40 cm. deep
NINETEENTH-CENTURY ORMOLU MOUNTED SATINWOOD LADIES WRITING TABLE, CIRCA 1890the inverted breakfront serpentine shaped top, above two frieze drawers, raised on cabriole legs, terminating on scroll sabots. The lock inscribed R. Langebear & Co. Birmingham73 cm. high; 80 cm. wide; 46 cm. deep
GEORGE III PERIOD MAHOGANY AND SATINWOOD INLAID WORK TABLE, CIRCA 1790the oval shaped lift up top, opening to a silk lined work basket, above a conforming frieze, raised on square tapered legs, joined by stretcher rails, terminating on spade feet72 cm. high; 46 cm. wide; 39 cm. deep
EIGHTEENTH-CENTURY PERIOD FRENCH TRANSITIONAL SIDE TABLE, CIRCA 1760the heavy rectangular veined grey marble top, with chamfered corners, above a series of three drawers, furnished with brass ring handles, raised on cabriole legs, terminating on leaf scroll sabots82 cm. high; 115 cm. wide; 34 cm. deep
IRISH EIGHTEENTH-CENTURY PERIOD SILVER TABLE, CIRCA 1760 the rectangular dished top, above a conforming frieze and serpentine apron, centred by a scallop shell, raised on acanthus leaf carved cabriole legs, terminating on claw feet 67 cm. high; 77 cm. wide; 55 cm. deep
GEORGE III PERIOD SATINWOOD, ROSEWOOD AND BOXWOOD INLAID GAMES TABLE, CIRCA 1790the paterae and segmented sunray semi elliptical shaped top opening to a baize lined interior, above a conforming frieze, raised on square tapered legs74 cm. high; 116 cm. wide; 50 cm. deep
REGENCY PERIOD WALNUT AND MAHOGANY WRITING TABLE, CIRCA 1820the rectangular tooled leather inset top, above a scroll cornered frieze with egg and dart moulded decoration, raised on turned pillar and sabre legs, joined by an anthemion leaf carved turned stretcher rail, terminating on brass feet and castors76 cm. high; 100 cm. wide; 56 cm. deep
LARGE WILLIAM IV PERIOD MAHOGANY DINING TABLE, CIRCA 1830the rectangular shaped top with rounded corners (five extending leaves) raised on two telescopic turned legged stands, terminating on brass cup castors. Provenance: Property of the late Elizabeth O_Kelly, formerly of The Dower House, Emo Court73 cm. high; 360 cm. long
Attributed to Rundell, Bridge & Rundell, London (1778-1845). Possibly supplied by Alexis Decaix (fl. 1778-1811). The surtout de table is adorned with finely chased, draped armorial plaques: the whole divided in five mirrored sections with an anthemion frieze pierced gallery punctuated by related anthemion supports on paw feet each below a cast double-coronet and interspaced by plaques each bearing the coat of arms for the Walter Butler, 1st Marquess of Ormonde KP (1770-1820). 10 cm. high, 255 cm. long, 46 cm. deep
GEORGE III PERIOD SATINWOOD, FRUITWOOD, CROSSBANDED AND PATERAE INLAID GAMES TABLE, CIRCA 1790the rectangular top with serpentine sides and front, opening to a baize lined interior, above a conforming frieze, raised on square chamfered and tapered legs73 cm. high; 96 cm. wide; 43 cm. deep
EDWARDIAN PERIOD SATINWOOD AND CROSSBANDED OCCASIONAL TABLE, CIRCA 1900the cherub and floral painted oval shaped top, above a conforming frieze, raised on portrait miniature headed square tapered legs, terminating on spade feet75 cm. high; 86 cm. wide; 60 cm. deep
IMPORTANT REGENCY PERIOD MAHOGANY TELESCOPIC DINING TABLE, CIRCA 1820the rich reeded edged rectangular shaped top with rounded corners, and four removable extending leaves, raised on turned and fluted legs, terminating on brass cup castors76 cm. high; 365 cm. wide; 148 cm. deep
GEORGE III PERIOD MAHOGANY CHIPPENDALE SILVER TABLE, CIRCA 1780 the rectangular shaped top, below a pierced fretwork gallery rail, above a blind fretwork carved frieze, raised on pierced fretwork bracket headed square chamfered legs, terminating on block feet, with inset brass castors 74 cm. high; 86 cm. wide; 54 cm. deepThe importance of the silver table in the late eighteenth-century is stemmed from the prevailing social hierarchy, and as a focal point in the tea-making ritual of the period. Evolved from a tray for silver on a stand, they originated in England where they were popular amongst the elite.Silver tables were used to display the ceramic tea set and as a tea table when it was time to take tea. Tea drinking was a signifier of wealth and of good taste. Because of this, well-to-do families proudly displayed the trappings associated with the ritual. Like tea, ceramics imported from China (the only country to give its name to a product) were expensive, indeed, very expensive. In a classic example of form following function, the precious china was protected from falling off the edge by a fence-like gallery rail that ran around the rim of the tabletop: the swishing of ladies’ petticoats being a particularly high risk factor. Chinoiserie was a style that developed on foot of the influence of exotic porcelain, lacquerware, bronzes and other forms of applied and decorative arts imported from China and Japan. Such was the fascination that Europeans began to create their own fanciful interpretations of oriental styles and motifs. This new style, derived from the French word chinois (Chinese), became known as Chinoiserie.Thomas Chippendale, 1718 – 1779, interpreted oriental motifs and transformed them into fretwork and carved decoration in his Chinoiserie designs. In 1754 he published a book of his designs, titled The Gentleman and Cabinet Maker’s Director, for which he gained fame and renown. He was one of England’s finest furniture makers. Harewood House, near Leeds, in his native Yorkshire represented his biggest commission. He is buried beneath the National Gallery in London.
EIGHTEENTH-CENTURY LOUIS XVI PERIOD CARVED GILTWOOD CONSOLE TABLE, CIRCA 1780the semi-elliptical shaped rouge royal marble top, above a reticulated frieze draped with bell petal swags, raised on fluted turned legs, joined by stretcher rails, centred by an urn, terminating on bun feet83 cm. high; 127 cm. wide; 60 cm. deep
NINETEENTH-CENTURY FRENCH BRASS MOUNTED KINGWOOD WRITING TABLE, CIRCA 1820the rectangular shaped top with rounded corners, above a series of drawers, furnished with asymmetrical scroll handles, raised on square tapered legs, terminating on castorsProvenance: Property of the late Elizabeth O_Kelly, formerly of The Dower House, Emo Court72 cm. high; 99 cm. wide; 52 cm. deep
EXTENSIVE SUITE OF 123 PIECES OF SILVER CUTLERY Maker: George William Adams, London 1860 Consisting of 24 large dinner forks, 18 small dinner forks , 12 tea spoons, 6 egg spoons, 4 salt ladles, 1 sugar tongs, 24 dessert spoons, 24 table spoons, 4 mustard spoons, 2 sauce ladles, 1 sugar ladle, 2 gravy spoons, 1 soup ladleMaker: George William Adams, London 18606.6 kilosProvenance: Property of the late Elizabeth O’Kelly, formerly of The Dower House, Emo Court
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1181390 item(s)/page