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ATMOS-TISCHUHR Atmos-Tischuhr von Jaeger-LeCoultre, allseitig verglastes, prismatisches, vergoldetes Messinggehäuse mit geschnittenen Ecken, Ziffernring mit applizierten Ziffern und Keilbalkenindizes, Messingzeiger, Rotationspendel mit Stellhebel zur Transportfixierung, Kaliber: 519, orig. Karton und "Certificat d`authenticité" anbei, HxBxT: 24/21/17 cm. Leichte Alters-und Gebrauchsspuren. ATMOS TABLE CLOCKAtmos table clock by Jaeger-LeCoultre, all sides glazed, prismatic, gilded brass case with cut corners, ring with applied numerals and wedge bar indices, brass hands, rotating pendulum with adjusting lever for transport fixation, original box and "Certificat d`authenticité" enclosed, HxWxD: 24/21/17 cm. Slight signs of age and wear.
BIEDERMEIER-BEISTELLTISCH Bayern, 19./20. Jh., Nussbaum, auf vier konischen Beinen, gerade Zarge mit quadratischer Deckplatte, HxBxT: 79/43/31 cm. Rest. BIEDERMEIER SIDE TABLE Bavaria, 19th/20th century, walnut, on four conical legs, straight frame with square top plate, hxwxd: 79/43/31 cm. Rest.
JAEGER LECOULTRE ATMOS TISCHUHR, Bj. zw. 1967 und 1984, Kaliber 528-8, Uhrwerk und allseitig verglastes Gehäuse aus vergoldetem, gebürstetem Messing. HxBxT: 23,5/21/16 cm. Leichte Alters- und Gebrauchsspuren, im Kurztest funktionstüchtig. JAEGER LECOULTRE ATMOS TABLE CLOCK, Built between 1967 and 1984, caliber 528-8, clockwork and case made of gold-plated, brushed brass, glazed on all sides. HxWxD: 23.5 / 21/16 cm. Slight signs of age and use, functional in a short test.
Konvolut 3 Teedosen u.a. MEISSEN, 20. Jhd.: MEISSEN Teedose 'Tischchendekor', H. ca. 12cm, TEICHERT Teedose mit Metallmontur und -deckel 'Indischer Dekor', H. ca. 16,5 und 1 Teedose ungemarkt mit indischem Dekor, H. ca. 13. Alters- und Gebrauchsspuren. Convolute 3 tea boxes a.o. MEISSEN, 20th century: MEISSEN tea box 'table decoration', h. approx. 12cm, TEICHERT tea box with metal mount and lid 'indian decoration', h. approx. 16.5 and 1 tea box unmarked with indian decoration, h. approx. 13. Signs of age and use.
PAAR ELEGANTE TISCHLEUCHTEN Messing vergoldet, Stand in Form einer Säule mit korinthischem Kapitell. H (mit Schirm): 57 cm. Guter Zustand mit geringen Alters- und Gebrauchsspuren, funktionstüchtig. PAIR OF ELEGANT TABLE LAMPS Gilded brass, stand in the shape of a column with Corinthian chapter. H (with umbrella): 57 cm. Good condition with small traces of age and use, working.
HEREND Kaffeeservice f. 11 Personen 'Apponyi purpur', 20. Jhd.. 11 Kaffeetassen, 12 Untertassen, 2 Mokkatassen/U-Tassen, 2 große Tassen/U-Tassen, 12 Kuchenteller, 1 Kaffeekanne, 1 Sahnekännchen, 1 Zuckerdose (Deckelröschen mimimal bestoßen), 1 Kuchenplatte (D. ca. 33cm), 2 unterschiedliche Vasen (H. ca. 14-23,5), 1 Mini-Väschen, 1 Korbschälchen (D. ca. 12), 1 Cachepot (H. ca. 14,5, D. ca. 16,5), 1 Bonbonnière Deckel, Knauf in Form eines Delfins, 2 unterschiedl. Tischglocken (H. ca. 5,5-10,5), 3 Becher (H. ca. 10, 1x beschädigt, umgedreht auch als Eierbecher nutzbar), 5 Untersetzer (D. ca. 8-10) und 1 Ovalschale (L. ca. 22). Alters- und Gebrauchsspuren. HEREND coffee set for 11 persons 'Apponyi purple', 20th century. 11 coffee cups, 12 saucers, 2 mocha cups/saucers, 2 big cups/saucers, 12 cake plates, 1 coffee pot, 1 creamer, 1 sugar bowl (lid floret slightly bumped), 1 cake plate (d. approx. 33cm), 2 different vases (h. approx. 14-23.5), 1 mini vase, 1 basket bowl (d. approx. 12), 1 cachepot (h. approx. 14.5, d. approx. 16.5), 1 bonbonnière with lid, handle in the shape of a dolphin, 2 different cachepots (h. approx. 14.5, d. approx. 16.5) 2 different table bells (h. approx. 5.5-10.5), 3 cups (h. approx. 10, 1x damaged, upside down also usable as egg cups), 5 coasters (d. approx. 8-10) and 1 oval bowl (l. approx. 22). Signs of age and use.
A pair of Regency rosewood, calamander banded, parcel gilt and simulated rosewood card tablesin the manner of Henry Holland, after the model by Marsh and TathamCirca 1810, each with a swivel-hinged top with canted angles and fluted edges, enclosing a baize inset playing surface, concealing a mahogany-lined interior, on a flared ring turned and reeded inset column, with a concave quadripartite base terminating in winged and volute scrolled lion paw feet, with recessed brass castors, 93cm wide x 46cm deep x 75cm high, (36 1/2in wide x 18in deep x 29 1/2in high) (2)Footnotes:A pair of comparable occasional tables to the offered lot sold Christie's, South Kensington, 2nd July 2014, Ronald Phillips Ltd - Making Room, lot 274 while another similar centre table sold Christie's, 20th-21st September 2004, Property from Two Ducal Collections, Woburn Abbey, lot 1150.The model for these tables derives from designs for Roman candelabrum introduced by the connoisseur Thomas Hope (d. 1842) at his Duchess Street mansion museum and illustrated in his major work, Household Furniture and Interior Decoration, first published 1807, pl. IX and L, No. 3.A further pair of tables, likewise derived from Hope's candelabra patterns, formed part of the drawing room furniture designed by Henry Holland (d. 1806), and supplied in circa 1809 by the Mount Street firm of Marsh & Tatham for Southill, Bedfordshire (G. Jackson-Stops, 'Southill Park, Bedfordshire', Country Life, 28th April 1994, pp.'s 62-67, and F.J.B. Watson, 'The Furniture and Decoration', Southill: A Regency House, London, 1951, pp.'s 29-30, pl. 45).Also, the inset reeded spreading column, concave-sided plinth and giltwood lion paw feet of the offered tables relate to a pair of octagonal tripod tables originally at Oakley House, Bedfordshire, which was fitted for The 5th Duke of Bedford by Holland (Henry Holland, Woburn Abbey, exhibition catalogue, 1971, p. 6 and fig. 8). A pair of tables of this design sold from the collection of Lord and Lady White of Hull, Christie's, New York, 30 April 1997, lot 226, illustrated in E. Joy, English Furniture, 1800-1851, London, 1977, p. 65.This lot is subject to the following lot symbols: TPTP Lot 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
An important pair of German late 18th century ormolu and brass mounted mahogany 'mechanical' reading/writing/card/games tables attributed to David Roentgen (1743-1807)Circa 1785, each with a triple foldover top, the first hinged top enclosing an inset baize playing surface, the second inlaid with a chess and draughts board, the third surface on one table inset with a baize surface incorporating a hinged rest and a lever-activated opposing 'pop-up' hinged box, enclosing an ebony and stained fruitwood inlaid backgammon playing surface encompassed by ivory playing discs, flanked by two compartments with line-inlaid tambour sliding lids, the other table inset with a gilt-tooled leather surface incorporating a hinged writing rest and a lever-activated opposing 'pop-up' hinged box, enclosing a void interior, each with panel mounted friezes and flute mounted angles, with a catch-activated release for the rear gateleg and a secret drawer, on four detachable screw-in square tapering legs each with two mille raie outer facings headed by collar mouldings, terminating in moulded block and peg feet, each: 99cm wide x 48.5cm deep x 81cm high, (38 1/2in wide x 19in deep x 31 1/2in high) (2)Footnotes:ProvenanceFormerly with Didier Aaron, Paris.Purchased: Koller Auctions, Zurich, 26th March 2015, Furniture, Porcelain and Decoration, lot 1184.Auction ComparablesA single games table of this same type sold Sotheby's, Zurich, 7th December 1994, lot 257. Another similar Roentgen table, albeit a very slightly earlier model dating to circa 1780, sold Christie's, London, 7th July 2008, Important European Furniture, lot 535.Forerunners and Further ComparablesTwo precursors to the offered lot, in terms of form, Neoclassical design and multifunctionality, feature in W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, 2012, New York, fig.'s 24 & 27, pp.'s 108-9 & 116-119, which was published to accompany the important and hugely successful exhibition of the same title held at the Metropolitan Museum of Art, New York in 2012. The first table is dated circa 1774-1780 and the second 1774-1775, and as a result of their earlier dates of production both of these incorporate marquetry which is totally absent on the offered pair.However the closest comparables to the present tables include one, dated 1780-1783, also illustrated and analysed in W. Koeppe, Extravagant Inventions: The Princely Furniture of the Roentgens, fig. 45, pp.'s 163-5. And another, circa 1785, that is housed at the Palace of Pavlovsk in St. Petersburg features in both Greber, J.M. Abraham und David Roentgen, Mobel fur Europa, 1980, Starnberg, Bd. 1, S. 235, Bd. 2, S. 320, 321 and in D. Fabian, Abraham und David Roentgen, Das noch aufgefundene Gesamtwerk ihrer Mobel- und Uhrenkunst in Verbindung mit der Uhrmacherfamilie Kinzing in Neuwied, 1996, Bad Neustadt/Saale, fig. 103, p. 62. The New Restrained Roentgen StyleThese 'tables a jeu a quatre variations', examples of which are very rare to come across in pairs, display all of the features typically found on those pieces emanating from the workshop of Neuwied-based David Roentgen during the 1780s. By that time Roentgen's output had become increasingly restrained, incorporating the linear forms and antique elements of the new Neoclassicism. Instead of marquetry which had gradually fallen out of fashion, Roentgen took to simple but costly mahogany veneers with sparingly elegant use of gilt bronze ornamentation, thus completing the process of artistic emancipation from his father, Abraham Roentgen (1711-93). And yet arguably the most notable feature of David's works were now their complex mechanisms, in this case the rising box for 'tric-trac', the lateral compartments with tambour covers, the detachable screw-in legs, and the skilfully concealed, or essentially 'secret', drawer.The Development of Roentgen's Mechanical Furniture The earliest mechanical tables of Neoclassical design by David Roentgen were supplied in 1771 for the country house at Worlitz on behalf of Prince Leopold III Friedrich Franz von Anhalt-Dessau, where they are still located, D. Fabian, Abraham und David Roentgen, 1996, No.'s 47a-b. Roentgen provided a further pair to his main client of the mid-1770s, Prince Charles of Lorraine, Governor of the Austrian Netherlands, but these are now housed at the Museum fur Angewandte Kunst in Vienna, D. Fabian, Op. Cit, No.'s 67 & 68. Both sets employ abundant colourful marquetry but by the 1780s Roentgen had rejected this aesthetic in favour of plain mahogany with delicate mounts and this proved to be preferred by the princely patrons throughout that decade, as evidenced by the Pavlovsk model which was delivered along with many other items to the Russian court from circa 1783 onwards, Op. Cit, No. 103. For his most mechanically complicated pieces, Roentgen worked closely with Peter Kinzing, a highly gifted clockmaker likewise from Neuwied, and after they had supplied Marie Antoinette with an automaton in 1785, the position of Ebeniste Mecanicien du Roi et de la Reine was even conferred upon Roentgen. This was a rare and distinguished Royal appointment which one of the most famous cabinet makers of the 18th century, Jean-Francois Oeben (1721-1763), had previously been honoured with in 1760, during the reign of Louis XV.Famous Admirers of RoentgenInterestingly, it was this mechanical element of Roentgen's output that was held in the highest esteem by his peers and various notable contemporary figures. Roentgen was even revered by the literary, cultural and scientific polymath and major German Romantic, Johann Wolfgang von Goethe (1749-1832) who epitomised the zeitgeist. Goethe, author of the seminal Faust, Parts I and II probably encountered a games table similar to the offered examples while working at Weimar Palace as Privy Councillor to Duke Karl August von Sachsen-Weimar-Eisenach. This is believed to be the case due to an 1810 inventory of the assembly room at the Weimar Palace which documents a: 'game table veneered with mahogany, and decorated with brass mouldings. With a hidden 'Tocadille' [backgammon board]', 3 feet 4 inches long, 1 foot 8 inches deep. By Rontchen.', W. Koppe, Idem, p. 164.Analysis of the Offered LotAt first appearance the present tables are misleadingly simple in form and decoration, but it is clear that Roentgen's choice of superb mahogany veneers is perfectly matched and beautifully highlighted by his restrained, yet visually striking, use of both gilt bronze and brass mounts. The natural grain of the mahogany is effectively manipulated so that it runs horizontally along the length of the leaves whereas the flame figuring is vertical on each frieze. The mounts are brilliantly incorporated into the overall scheme to create a visually thrilling sense of depth. In particular, the projecting mouldings are brought out with bronze applications, the mille raie fields on the front and outer side facings of the legs are gilded, and the classical fluting to the angle blocks are lined with brass.In relation to the mounts, evidently Roentgen was influenced by the practice of contemporary Parisian ebenistes, who ordered their mounts directly from specialists working solely within that field. By 1779 Roentgen was employing the same process and in fact many of his mounts from that date onwards were supplied by the renowned maitre-doreur, Francois Remond (1747-1812) who was also based in Paris, C. Baulez, David Roentgen et Francois Remond, Une Collaboration Majeure dans l'Histoire du Mobi... This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com
An Italian early 19th century 'Grand Tour' specimen marble and hardstone table top on a George IV mahogany and parcel gilt console tablethe specimen marble top circa 1810, the console table circa 1825The rectangular marble top inset with a grid of one hundred and thirty six squares each inlaid with a different marble or hardstone including malachite, breche violet, alabastro, porphyry, lapis lazuli, Sicilian jasper, Spanish brocatello, onyx, portor and verde antico, on two acanthus clasped and C-scroll carved lion bust-headed front monopodia terminating in paw feet, with panelled rear stiles, on a concave plinth base, 134cm wide x 67cm deep x 90cm high, (52 1/2in wide x 26in deep x 35in high)Footnotes:A comparable specimen marble and pietra dura table top to the offered lot, which was dated late 18th/early 19th century, sold Christie's, New York, 17th October 2003, Important English Furniture, lot 21.This type of specimen marble table top is characteristic of the taste for Italian slabs, often collected by British gentlemen whilst undertaking their 'Grand Tour' of Europe. In the eighteenth century, Palladian architects were influenced by the Italian fashion for marble topped pier tables. Many of these items were ordered by English collectors and returned to their homeland where they had the bases made for these highly prized tops.One of these patrons of the Italian workshops was the connoisseur Patrick Home (d.1808) of Wedderburn Castle and Paxton House, Scotland, who appears to have purchased a quantity of high quality tops in around 1771 in the first year of his Grand Tour. A similar marble table top, inset on a stand made by the Edinburgh cabinet-maker William Trotter, is illustrated in F. Bamford, A Dictionary of Edinburgh Furniture Makers, 1660-1840, Furniture History Society, 1983, pl. 55A. A further related example is believed to have been acquired by Edward, Viscount Lascelles (d.1814) for Harewood House, Yorkshire and subsequently sold, The Humphrey Whitbread Collection, Christie's London, 5 April 2001, lot 412.This lot is subject to the following lot symbols: TPTP Lot 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
A George III mahogany writing table after a design by Thomas ChippendaleCirca 1760, of rectangular form with canted front angles, with a 'Chinoiserie' blind fretwork frieze incorporating one long drawer, with a baize-lined sliding top inset with an adjustable hinged ratcheted writing surface, enclosing six compartments and a swivel hinged stationery drawer to one side, on twinned columnar front legs and two square section rear legs each headed by interlaced scrolled spandrels, terminating in block feet, on castors, 118cm wide x 66cm deep x 79cm high, (46in wide x 25 1/2in deep x 31in high)Footnotes:The offered lot closely follows a design, originally published in 1754, which was produced by Thomas Chippendale and features in his groundbreaking work, The Gentleman & Cabinet-Maker's Director, No. LXXIII. Although the present lot is virtually identical to this drawing it has not been possible to attribute this table to Chippendale's workshop. This is due to there being no available provenance for the table, combined with an absence of easily identifiable Chippendale characteristics such as S-shaped keyholes, short grain kickers or a thin red wash to give a few relevant examples.Also, because of the huge popularity and influence of all three editions of the 'Director', Chippendale's designs from that publication were widely copied and imitated across Great Britain, particularly during the period 1755-70 making the task of attribution even more arduous.This lot is subject to the following lot symbols: TPTP Lot 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
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1181390 item(s)/page