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A GEORGE III MAHOGANY SECRETAIRE BOOKCASE England, circa 1770 A George III mahogany secretaire bookcase, the moulded and fluted cornice above two glazed arched doors with geometric astragals and mirrored lozenges in the center, the corners with carved paterae and the lower section with four graduated drawers, all standing on bracket feet. Height: 92.0 in (233.7 cm) Width: 53.9 in (137.0 cm) Depth: 20.0 in (50.8 cm) $47,500 F3C0364

CHARLES X EGLOMISE MARQUETRY CIRCULAR CENTRE TABLE France, circa 1830 A rare Charles X rosewood circular centre table, the top inlaid with a stylised floral vitruvian scroll. Height: 29.1 in (74.0 cm) Diameter: 38.2 in (97.0 cm) $65,000 F3D0074

A REGENCY ROSEWOOD BREAKFAST TABLE England, circa 1815 A Regency period tilt top rosewood breakfast table, the well figured rectangular crossbanded top with ebony and boxwood stringings, the edge with further boxwood stringing, supported on a turned colum base with four outswept legs in rosewood inlaid with stylised boxwood stringing, each leg terminating in gilt brass hairy paw feet and castors. Height: 27.6 in (70.0 cm) Width: 55.9 in (142.0 cm) Depth: 40.9 in (104.0 cm) $32,500 F2F0263

A GEORGE III STEEL FIREGRATE England, circa 1790 A particularly fine Adam period firegrate; the box surmounted by urns with pierced aprons and paterae on tapering legs with turned toes. Height: 34.0 in (86.4 cm) Width: 35.0 in (89.0 cm) Depth: 14.0 in (35.6 cm) $22,500 F3D0158

A GEORGE III SERPENTINE STEEL FENDER England, circa 1780 Height: 6 in (15.2 cm) Width: 44.1 in (112. cm) Depth: 14 in (35.5 cm) $9,000 F3D0159

A GEORGE III REVIVAL SIENA MARBLE CHIMNEY PIECE England, late 19th century A George III white statuary and siena marble fire surround, the frieze having a central entablature of a boat shaped vase hung with swags of husks and flanked by draped urns at either side, the jambs inlaid with trompe l'oeil fluting in siena. Height: 58.7 in (149.0 cm) Width: 70.5 in (179.0 cm) Depth: 7.1 in (18.0 cm) $37,500 F2G0402

A GEORGE III GILTWOOD PIER MIRROR In the manner of John Linnell England, circa 1770 With a rectangular mirror plate flanked by stylized columns with Ionic capitals flanked by a border of foliate S-scrolls entwined with husk-swags, the cresting centered by a large feathered honey-suckle flower flanked by S-scrolled foliage, the apron centered by a stylized acanthus leaf flanked by foliate-carved S-scrolls hung with pendant husk swags. This beautiful pier mirror with its overtly neoclassical attributes and form is similar to the work of the great 18th century cabinet-maker, carver and designer John Linnell. The form is nearly identical to a group of frames and mirrors attributed to him which were made for Henry Dillon, 11th Viscount Dillon and his wife Lady Charlotte Lee, daughter of George Lee 2nd Earl of Litchfield for Ditchley Park. In 1776, Lady Charlotte inherited Ditchley from her uncle as she was the only surviving heir of the Lee family; however, she did not inherit the title. The only difference between the present mirror and the group of frames from Ditchely is the cresting: the present frame having a honeysuckle flower and the group having an owl. Looking at Linnell's corpus of works, there are a number of designs which relates to the present frame. The overall foliate S-scrolled sides and cresting are almost identical to a drawing of a pier mirror, circa 1774, (Hayward, fig. 97) which has very similar proportions and overall composition. Other drawings which are similar include a long mirror frame, circa 1771, (Ibid, fig. 96) and another mirror frame, circa 1773, illustrated, (Ibid, fig. 89). There are elements of the present mirror which are strikingly similar to a pier glass and pelmets which Linnell made for William Drake at Shardeloes, circa 1768. (Hayward and Kirkham, pp. 78-79) Literature Helena Hayward, 'The Drawings of John Linnell in the Victoria and Albert Museum', The Journal of the Furniture History Society, vol. V, 1969. Helena Hayward and Pak Kirkham, William and John Linnell, London, 1980 Height: 56.7 in (144.0 cm) Width: 31.5 in (80.0 cm) $65,000


A PAIR OF GEORGE II INLAID BURR AND FIGURED WALNUT SIDE CHAIRS England, circa 1730 A fine and rare pair of George II walnut side chairs, the serpentine cresting rail centered by a vaseform splat with paper-scrolled sides flanked by a pair of S-scrolled stiles, the shaped drop-in seat with rounded corners and concave front and sides upholstered with contemporary needlework within a conforming frame centered by a satyr’s mask to the front apron and raised on cabriole legs headed with shells and continuing to hipped feet. These highly sophisticated walnut side chairs were originally part of a suite of seat furniture (including a settee subsequently in the collection of Percival Griffiths). Each backrest has a scrolled cresting rail as well as scrolled sides and is inlaid with burr and figured walnut. Each seat rail is of concave compass form which was only introduced sometime in the mid-1720s as seen in a japanned suite of seat furniture at Erddig. The seats are then centered by a satyr mask and flanked by stylized scallop shells, motifs used on a suite of giltwood side chairs at Houghton Hall, circa 1732 which were possibly made by William Bradshaw and Benjamin Goodison for the Velvet Drawing Room, Bedchamber and Dressing Room. The chairs are carved with scallop shells, lion’s masks and hairy paw feet, all overtly Palladian motifs. Interestingly, the legs and stylized ‘hoof’ feet of the present chairs relate to another suite of chairs made for Houghton located in the Wrought Bedchamber and Cabinet, circa 1725. This suite is nearly identical to a suite of chairs made for Sir John Chester for Chicheley House circa 1722. (see Adam Bowett, Early Georgian Furniture, 1715-1740, Woodbridge, 2009, pp. 171-175, plates 4:55, 4:60, 4:63 Provenance Dr. Lindley Scott, by 1929 Ronald Phillips, London Private Collection, U.S.A. Literature Adam Bowett, ed., 100 British Chairs, Woodbridge, 2015, p. 41, no. 23 R.W.Symonds, "Dr. Lindley Scott's Collection of Furniture I", Old Furniture, London, 1929, vol. VIII, pp. 6-10, fig. 4 Comparative Literature R.W. Symonds, Old English Walnut and Lacquer Furniture, 1923, pl. XXI, the settee from the suite photographed in the Percival Griffiths Collection at Sandridgebury. R.W. Symonds, Old English Furniture, Charles II – George II, London, … pl. 31 Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, rev. ed. P. 82, fig. 25 Height: 40.2 in (102.0 cm) Width: 22.8 in (58.0 cm) Depth: 23.6 in (60.0 cm) $195,000


A PAIR OF REGENCY MAHOGANY CANED BERGERES England, circa 1815 Height: 35.4 in (90.0 cm) Width: 26.0 in (66.0 cm) Depth: 29.9 in (76.0 cm) $38,500 F3C0357

A PAIR OF GEORGE III MAHOGANY GAINSBOROUGH CHAIRS The Chairs English, circa 1760 The Needlework, French circa 1730 A very fine pair of Chinese Chippendale mahogany library armchairs with arched backs flanked by padded arm rests with foliate and blind fret carved supports, raised on square chamfered legs similarly carved with blind fret and joined by pierced stretchers; the chairs upholstered in very fine yellow silk needlework with flowers and foliage in vibrant greens, reds, blues and pinks. The pierced stretcher and blind fret carving on this pair of armchairs reflect the 18th century taste for Chinoiserie that was popularised by Thomas Chippendale's 'The Gentleman and Cabinet-Maker's Director', with a first edition in 1754 and two more in The 1755 and 1762. The term 'Gainsborough' was introduced in the 20th century to describe armchairs of grand proportions that typically would have been commissioned for a drawing room. These chairs, with their comfortable and deep seat, reflect the relaxed yet grand mood captured in the portraits of 18th century British nobility by Thomas Gainsborough. The French needlework with large stylised flowers in shades of red and pink with bluegreen foliage on a gold ground combine the most expensive colours of the period. The needlework is in a remarkable state of preservation and with strong, fresh colouring. Height: 40.2 in (102.0 cm) Width: 28.0 in (71.0 cm) Length/Depth: 22.0 in (56.0 cm) $340,000


‘CARINA’ by Klauser and Carpenter Carina is an elegant marble dining table, sitting up to twelve guests, designed by Klauser & Carpenter. The table blends the fluid aesthetic of maritime architecture with the sculptural purity of classic Carrara marble. The fusion of these two opposed natural elements, water and stone, graces Carina with a poised and serene sense of poetry. Height: 29.1 in (74.0 cm) Width: 43.3 in (110.0 cm) Length/Depth: 118.1 in (300.0 cm) $144,500 C3A0266

A SET OF FOUR THEATRE CHAIRS Italy, circa 1930 A unique set of four Italian late 1930’s theater chairs in bois clair. The turned legs with carved collars support a shaped seat and coved back with show wood frames. Each chair upholstered in its original vinyl snakeskin with decorative nail heads, retaining their original patinated metal ash trays. Height: 37.0 in (93.9 cm) Width: 23.0 in (58.4 cm) Depth: 25.0 in (63.5 cm) $18,500 F3E0149

‘STAG LIFE SIZE’ by Hamish Mackie Bronze, numbered edition 7 of 12. Signed Hamish Mackie. Dated 2008 Height: 85.4 in (217.0 cm) Width: 72.0 in (183.0 cm) Depth: 26.0 in (66.0 cm) $95,000 O3F0206

MODERN RUSH LOG BASKETS English rush log baskets with four handles and polished brass liners. Height: 23.2 in (59.0 cm) Diameter: 18.9 in (48.0 cm) $1,900 each M3D0203


A fine marquetry longcase clock by Isaac Lowndes, Pall Mall, London, with a square 11-inch dial signed: Isaac Lowndes in y Pall Mall, and with folliate spandrels centered by cherubs surrounding a silvered chapter ring with Roman numerals centered by a matted disk with two molded winding holes and a square date aperture flanked by scrolled engraving and with a subsidiary seconds' dial, the clock with a five pillar, anchor escapement, bell striking three later giltwood finials, the movement, the case with domed hood with whole profusely inlaid with foliate marquetry. Provenance Edward Francis North, the late 9th Earl of Guilford Christie's London, June 14, 2000, lot 71 Height: 96.1 in (244.0 cm) Width: 18.9 in (48.0 cm) Depth: 10.6 in (27.0 cm) $95,000 F3F0245

A CHINESE-EXPORT BRASS-MOUNTED PARCEL-GILT BLACK LACQUER CABINET China, circa 1780 A Chinese-Export brass-mounted parcel-gilt black lacquer cabinet, the fitted with a pair of cupboard doors centered by a large ingraved brass lockplate and each door with four hinges, opening to reveal an arrangement of small drawers, the exterior painted with a mountainous landscape, the interior painted with fowl. The footed base later. Height: 23.0 in (58.5 cm) Width: 27.0 in (68.5 cm) Depth: 16.9 in (43.0 cm) $40,000 F3F0238

A CHINESE EXPORT PARCEL-GILT BLACK LACQUER CABINET ON STAND China, circa 1875 A Chinese Export parcel-gilt black lacquer cabinet on stand lacquered to imitate Japanese lacquer, the pair of doors emblazoned with the crest of Mikado go-shichi no oni-kiri or Paulownia flower, the two doors centered by a brass lock plate opening to four long drawers each with the Paulownia flower; the sides of the cabinet each with carrying handles, the whole raised on a platform base. The present cabinet with its beautiful lacquer palette derives from Japanese lacquer of the time. The use of the go-shichi no oni-kiri flower is a device found in Japanese heraldry and but was also used as the crest of the is currently used as the seal of the Prime minister Mikado. The present flower has jagged edges hence the ‘oni’ prefix of ‘kiri’. Height: 48.2 in (122.5 cm) Width: 37.4 in (95.0 cm) Depth: 19.1 in (48.5 cm) $28,500 F3F0243

A GEORGE I GILT-GESSO CENTER TABLE England, circa 1720 A George I gilt-gesso center table with Chinese mother-of-pearl inlaid lacquer top The table circa 1720, the top 19th century $75,000 F3F0239

A ROCOCO REVIVAL GLASS-MOUNTED GILTBRONZE CHANDELIER Austria, circa 1880 A magnificent and rare two-tier Austrian stained glass and opaline chandelier, the stem and arms are fashioned as gilt metal vines issuing from gilded baskets, all set with boldly modeled glass vine leaves with gold veining. The convolvulus (morning glory) flowers, each finely painted in opaline glass, are naturalistically coloured in blue and pink. Now electrified. Height: 34.0 in (86.4 cm) Diameter: 30.0 in (76.2 cm) $75,000 L3C0161

A PAIR OF 20TH CENTURY GLASS LAMPS Attributed to Romeo Rega Italy, circa 1965 A pair of Italian mid 1960’s lamps taking the form of a glass rectangle with an unusual stippled surface decoration, the whole standing on a rectangular brass plinth. Attributed to Romeo Rega. Romeo Rega was a leading figure of contemporary Italian design. Alongside respective artists such as Gabriella Crespi, Willy Rizzo and Maison Jansen he helped champion Modernist glamour, through an innovative use of glass, chrome and steel. Height: 27.6 in (70.0 cm) Width:18.7 in (47.5 cm) Depth: 8.9 in (22.5 cm) $12,750 L3B0260

A PAIR OF WALL LIGHTS designed by Jules Leleu France, circa 1950 A pair of gilt bronze two branch wall appliques, in the form of opposing, elaborate scrolls joined by a figure of eight scroll motif. Height: 11.0 in (28.0 cm) Width: 9.4 in (24.0 cm) $27,500 M3G0026

A PAIR OF ORMOLU AND GLASS CANDELABRA Attributed to John Blades England, circa 1825 A pair of early 19th century cut glass candelabra attributed to John Blades. The three candle arms with two tiers of rule cut drops beneath flat, diamond cut lozenges, with a fine cross cut bobeche. The original gilded metalwork fitments in fine state. Height: 17.3 in (44.0 cm) Width: 13.0 in (33.0 cm) Length/Depth: 5.1 in (13.0 cm) $37,500 O3C0352

‘Diamonds are a Girl’s Best Friend’ by Matali Crasset Diamonds Are a Girl’s Best Friend takes the traditional hanging lantern and transforms it into a symphony of glass and paktong, an ancient non-tarnishing metal with a seductive golden hue, half way between gold and silver. The lantern is made up of 102 different shapes of paktong which hold the handblown glass panes. This traditional glass was preferred to modern float glass because of its distinctive depth of ‘personality’, a direct consequence of the way it is made. It is lit by an internal pendant made from hand blown milkwhite glass and suspended on a paktong chain with a unique, repeating link, ceiling rose finishes the ensemble specifically designed to obscure the flex. The and is designed to obscure the meeting point between the ceiling and the lantern. Paktong first appeared in China in the 12th century but by the 19th century it had stopped being used. Meta’s 21st century paktong is based upon a rare Chinese candlestick from 1720 because of the particular beauty of its patina. Oxford University’s Archaeological Materials Science Unit analysed the piece and successfully unlocked the extinct formula. Large lantern - C2J0265 Height: 31.5 in (80.0 cm) Width: 23.6 in (60.0 cm) $54,000 Small lantern - C2J0246 Height: 28.0 in (71.0 cm) Width: 13.8 in (35.0 cm) $46,000

‘MNEMOS II’ by Asymptote England, 2008 In the 18th century, boxes from gold and vermeil (gilded silver) were the height of fashion and were given as tokens of love or friendship. An eloquent expression of the skill and creativity of the Parisian goldsmiths, it was the pinnacle of the craft of box making and one which has never been surpassed. The French Revolution destroyed this patronage and many artisans fled Paris to ply their trade elsewhere. Asymptote, in collaboration with a pre-eminent Parisian atelier, draws on this tradition to create a powerful series of 21st century boxes. Mnemos_02 is gift box made in gilded silver, each surface broken by ridges and channels that reflect the fluidity of the molten precious metal. If is as if the gold and silver have literally been frozen at the moment it was poured by the Parisian goldsmith into this contemporary form. The lid lifts to reveal 3 perfectly fitting serpentine shaped compartments made of purpleheart with its characteristic deep chocolate and aubergine colorings. The organic nature of the boxes within the box, again reflect the natural shapes and forms that the architects, Asymptote, have created and which breaks away from the linear rigidity of traditional box forms. Height: 3.0 in (7.5 cm) Width: 8.7 in (22.0 cm) Depth: 5.9 in (15.0 cm) $19,500 C2J0240

‘MNEMOS III’ by Asymptote England, 2008 The American architects Asymptote, designed a series of exquisite gold boxes, reintroducing the once highly coveted and collectable precious snuff boxes. In the 18th Century, snuff boxes were the height of sophistication, not only for collectors, but also for Parisian goldsmiths. The artisans of the time constantly aimed to outreach each other with new finishes and new mechanisms. the series, also exploring the fluid Mnemos_03 is the third and largest box in movement of molten gold. Part of the centre wave pivot open to reveal a nested puzzle of seven single and double height compartments in satinwood.

Height: 4.7 in (12.0 cm) Width: 9.6 in (24.5 cm) Depth: 9.6 in (24.5 cm) $27,500 C2J0241

A PAIR OF CHINESE EXPORT CHOCOLATE POTS AND COVERS China, circa 1730 A pair of early 18th century Yongzheng conical porcelain chocolate pots and covers richly decorated in the Imari style, the cylindrical body with blue and white trailing flowers with rich orange peonies against a white ground in a stylised garden landscape, the spout in the form of a bird's head, the handle of angular form. One spout restored. Height: 13.8 in (35.0 cm) Width: 10.6 in (27.0 cm) Diameter: 7.5 in (19.0 cm) $37,500 O3E0090

A QING DYNASTY CANTON ENAMEL BASIN China, circa 1725 A Yongzheng period Canton enamel basin profusely decorated with famille rose enamelling of butterflies amongst floral sprays against a white ground, the interior with four vignettes of flowers, the exterior similarly decorated and the rim of alternating coloured bands. Height: 2.8 in (7.0 cm) Diameter: 12.2 in (31.0 cm) $17,500 O3E0038

A BRUSSELS HUNTING TAPESTRY Belgium, circa 1690 Height: 138 in (350.5 cm) Width: 93 in (236.2 cm) $35,000 T3F0272

A FLEMISH FEUILLES DE CHOUX TAPESTRY Belgium, circa 1600 A Flemish Feuilles de Choux wood tapestry depicting birds and beasts within bursting foliage within a landscape with towns and mountains in the background. This wonderful Flemish wool tapestry is part of a group of verdure tapestries made in the late 16th and early 17th centuries which are distinctive from other verdure tapestries because of the composition of the subject matter choux’ refers to the large leafy foliage in the foreground similar to those of cabbage and other leafy greens which are then mixed with fantastical birds and beasts. Often castellated buildings and towns are in the background. The group which is recorded often lack borders, and those which do have borders have scrolling leaves and flower heads. For examples of similar tapestries see D & P. Chevalier, and P.F Bertrand, Les Tapisseries d’Aubusson et de Felletin, Lausanne, 1988, pg.27. Height: 106.0 in (269.3 cm) Width: 77.0 in (195.5 cm) $25,000 T3F0274

A SET OF 12 CHINESE EXPORT PAINTINGS OF SILK PRODUCTION China, circa 1800 A set of twelve Chinese export gouaches of silk production, the complete set illustrating the highly important production of silk for both the export and domestic market, of remarkable details and freshness of colour. Bound originally in a green leather oblong folio binding, with a paper label inscribed ‘Swallow Packet / L95 No.82 / Rt Honble. Lord Grenville / Chinese Drawing H(?) 1803’ The early history of the Chinese silk market has been described as ‘that trade which drew the threads of its exquisite material as a bond of economic unity Pacific to the Atlantic.’ The demand across the whole of the old world from the for the export of raw silk declined during the 16th century after the silk worm was smuggled into Europe, however, the demand for Chinese wrought silk remained high. Chinese woven silks and embroideries were exquisitely crafted, renowned for their unusual floral designs and beautiful colouring, becoming a highly sought after luxury in the courts of 18th century Europe. Height: 21 1/2 in (54.5 cm) Width: 25 1/4 in (64.5 cm) Depth: 1.0 in (2.5 cm) Provenance William Wyndham Grenville, 1st Baron Grenville (1759-1834) Grenville was Foreign Minister during the wars of the French Revolution and became Prime Minister in 1806. He campaigned against slavery and it was during the brief existence of the ‘Ministry of all the talents’, over which he presided, that the Abolition of the Slave Trade Act was passed in 1807. $125,000


‘Valet de Chasse Louis XV avec cinq chiens’ Pierre-Jules Mène (1810-1879) signed P.J. MÈNE (lower right) and dated 1869 bronze, light brown patina France, date 1869 Height: 26.4 in (67.0 cm) Width: 29.1 in (74.0 cm) Depth: 16.9 in (43.0 cm) Literature Pierre Kjellberg, Bronzes of the 19th Century, Atglen, 1994, p. 469 O3E0203

‘La Chasse En Écosse, La Prise Du Renard’ Pierre-Jules Mène (1810-1879) signed P.J. MÈNE and dated 1861 bronze, dark brown patina France, dated 1861 Height: 23.5 in (59.7 cm) Width: 27.2 in (69.2 cm) Depth: 16.0 in (40.6 cm) Literature M. Poletti & A. Richarme, Pierre-Jules Mène: Catalogue Raisonné, Paris, pp. 32-33, no. F5 O3E0204

'Jument Normande et son Poulain' Pierre-Jules Mène (1810-1879) bronze, brown patina Height: 18.5 in (47.0 cm) Width: 24.8 in (63.0 cm) Depth: 9.8 in (25.0 cm) Literature M. Poletti and A. Richarme, Pierre-Jules Mène: Catalogue Raisonné, Paris, 2007, p. 86, no. CHE30 O3E0205

‘Jument Arabe et son Poulain Cabré’ Pierre-Jules Mène (1810-1879) Signed lower left P.J. MÈNE bronze, dark brown patina Height: 12.2 in (31.0 cm) Width: 20.5 in (52.0 cm) Depth: 9.8 in (25.0 cm) Literature Pierre Kjellberg , Bronzes of the 19th Century: Dictionary of Sculptors, Atglen, 1994, p. 481 O3E0206

‘Jument À L'écuire Jouant Avec Un Chien’ Pierre-Jules Mène (1810-1879) signed P.J. MÈNE (lower left) bronze, dark brown patina Height: 10.0 in (25.4 cm) Width: 19.3 in (49.0 cm) Depth: 7.3 in (18.5 cm) Literature M. Poletti & A. Richarme, Pierre-Jules Mène: Catalogue Raisonné, Paris, p. 80, no. CHE 23 Pierre Kjellberg, Bronzes of the 19th Century: Dictionary of Sculptors, Atglen, 1994, pp. 478-479 O3G0037

‘“DJINN”, CHEVAL À LA BARRIÈRE’ Pierre-Jules Mène (1810-1879) signed P.J. MÈNE and dated 1846 bronze, dark brown patina Height: 11.7 in (29.8 cm) Width: 15.2 in (38.7 cm) Depth: 5.5 in (14.0 cm) Literature M. Poletti & A. Richarme, Pierre-Jules Mène: Catalogue Raisonné, Paris, pp. 58-59, no. CHE Pierre Kjellberg, Bronzes of the 19th Century: Dictionary of Sculptors, Atglen, 1994, P. 479 O3G0038

‘Jument Arabe (Nedjibe) Avec Harnachement’ Pierre-Jules Mène (1810-1879) signed P.J. MÈNE (lower right) and dated 1855 bronze, dark brown patina

Height: 11.0 in (27.9 cm) Width: 18.0 in (45.7 cm) Depth: 7.0 in (17.8 cm) O3G0039

‘Le Cheval Libre’ Pierre-Jules Mène (1810-1879) signed P.J. MÈNE bronze, dark brown patina Height: 12.2 in (31.1 cm) Width: 15.5 in (39.4 cm) Depth: 7.0 in (17.8 cm) Literature Pierre Kjellberg , Bronzes of the 19th Century: Dictionary of Sculptors, Atglen, 1994, p. 478 O3G0040

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