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Archives de Catégorie: English Furniture

2015 Winter Antiques Show in New York showcases 3,000 years of timeless art and design

23 vendredi Jan 2015

Posted by alaintruong2014 in 19th Century European Paintings, 20th Century Design, American Art, Ancient Egypt, Chinese Paintings, Chinese Porcelains, Decorative Art & Folk Art, English Furniture, European Ceramics, European Sculpture & Works of Art, Modern Art

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Étiquettes

'Maximilian' lounge chair, 1880, “bouquetière”, Candelabrum, circa 1630, circa 1690, circa 1740, circa 1942, Desk and Chair, Egyptian bronze, England, George II Mahogany Windsor Chair, George III Satinwood and Marquetry inlaid secretary bookcase, Harlem Street Scene, Heart-and-Hand Love Token, Herter Bros., Hiram Powers, Jacob Lawrence, John Singer Sargent, John Vesey, King Willem III, marble bust, Mayhew & Ince, Proserpine, Queen Mary II, seated cat, Turner’s-Thrown Fruitwood Armchair

Winter Antiques Show Side Chair

Herter Bros., NY. Desk and Chair, 1880. Maple, at Associated Artists. 

NEW YORK, NY.– Ancient Egyptian bronze sculpture, gilded Herter Brothers side chairs owned by John Pierpont Morgan, and paintings by celebrated American artists William Merritt Chase, John Singer Sargent, and Childe Hassam, will gather for the 61st year of the Winter Antiques Show from January 23-February 1, 2015 at the Park Avenue Armory in New York City. The Show is America’s most prestigious antiques show, providing museums, collectors, dealers, design professionals, and first-time buyers with opportunities to see and purchase exceptional pieces showcased by 73 renowned experts in American, English, European, and Asian fine and decorative arts, from antiquity through the 1960s. Every object exhibited at the Show is vetted for quality and authenticity.

“The Winter Antiques Show offers unparalleled access to the world’s most exquisite and astounding historical objects—and this year is no different,” said Peter Pennoyer, the renowned classical architect who together with his wife Katie Ridder, the celebrated interior designer, are the Show’s 2015 Honorary Co-Chairs. Ms. Ridder continued, “We both feel that timeless pieces with history add a distinctive character to today’s interiors, whether the spaces are designed to evoke a period of yesterday or even something a bit more contemporary. We’re thrilled to be part of the Show, and look forward to seeing all of its remarkable design opportunities.”

Exhibitor Highlights:

• Fine English furniture will reign supreme as the Winter Antiques Show welcomes four new UK-based leaders in the field: a pair of commodes (c. 1775-80) by Mayhew & Ince at Apter-Fredericks Ltd.; an early Turner’s armchair (c. 1630) and a George II Mahogany Windsor Chair (c. 1740) at Thomas Coulborn & Sons Ltd.; and a George III Satinwood and Marquetry inlaid secretary bookcase (c. 1790) at Hyde Park Antiques.

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Pair of commodes, circa 1775-80 by Mayhew & Ince at Apter-Fredericks Ltd.

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Early Turner’s-Thrown Fruitwood Armchair, England, circa 1630 at Thomas Coulborn & Sons Ltd.

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Rare George II Mahogany Windsor Chair, England, circa 1740 at Thomas Coulborn & Sons Ltd.

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George III Satinwood and Marquetry inlaid secretary bookcase, circa 1790 at Hyde Park Antiques.

• Museum quality paintings by famed American masters will be prevalent at the 2015 Show: Boy in Red: Portrait of Josiah Lasell (c. 1895) by William Merritt Chase and Royal Palms, Melena, Cuba (c. 1895) by Childe Hassam at Hirschl & Adler Galleries, Inc.; The Candelabrum (1885), an impressionist portrait study by John Singer Sargent at Adelson Galleries; Sunrise at Mid-Ocean (1907), a significant seascape by Thomas Moran, at Schwarz Gallery; and Harlem Street Scene (c. 1942) by Jacob Lawrence at Jonathan Boos, LLC.

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John Singer Sargent, Candelabrum. Oil on canvas, 1885. Signed lower left by John S. Sargent at Adelson Galleries.

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Thomas Moran, Sunrise at Mid-Ocean. Oil on canvas, 1907 at Schwarz Gallery.

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Jacob Lawrence, Harlem Street Scene, circa 1942 by  at Jonathan Boos, LLC.

• Showcasing the breadth and diversity of the show are a dozen exhibitors in early to mid-20th century design. This year’s highlights include a pair of iconic leather, aluminum, and steel Maximilian lounge chairs (c. 1958) designed by John Vesey at Liz O’Brien; colorful Italian glass at Glass Past; and a French desk and armchair (c. 1925), made of fine mahogany and leather, by Louis Süe and André Mare at Maison Gerard.

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John Vesey (1925-1992), pair of iconic leather, aluminum, and steel ‘Maximilian’ lounge chairs, circa 1958 at Liz O’Brien.

• Maintaining the Show’s strong American core are more than 15 Americana dealers, and important folk art pieces will be exhibited by many: a paper and watercolor Heart-and-Hand Love Token (c. 1820) at Olde Hope Antiques, Inc.; a vibrantly decorated Pennsylvania cornercupboard (1863) at new exhibitor Kelly Kinzle; a handsome pair of portraits of a young couple seated in red chairs, attributed to George G. Hartwell of the esteemed Prior Hamblen School, at Frank & Barbara Pollack American Antiques & Art; and an early ambrotype if a calls of students and their teacher (c. 1855) at David A. Schorsch-Eileen M. Smiles American Antiques.

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A group of nine colorful and charming love tokens. One with associated note dated ‘1848’, and two noted as Philadelphia origin, at Olde Hope Antiques, Inc.

• Sculpture from all ages will be especially prevalent in 2015, due to the addition of two new exhibitors specializing in the medium: an Egyptian bronze seated cat (c. 715332 BC), perhaps used as a vessel for a mummified cat, at Rupert Wace Ancient Art Limited; a marble bust of Proserpine by famed American sculptor Hiram Powers at new exhibitor Conner • Rosenkranz, LLC; Tete de Femme (1929), a bronze art deco bust by Gustave Miklos at The Fine Art Society; and Saul Bazerman’s mid-century Self-Portrait (c. 1952) at Gerald Peters Gallery.

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An Egyptian bronze seated cat (c. 715332 BC), perhaps used as a vessel for a mummified cat, at Rupert Wace Ancient Art Limited.

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A marble bust of Proserpine by famed American sculptor Hiram Powers at Conner.

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A bronze art deco bust by Gustave Miklos at The Fine Art Society.

• Exhibitors in Chinese and Japanese material add to the Show’s eclectic mix: a rare Chinese export porcelain tureen and cover modeled as a goose (c. 1750) at Cohen & Cohen; a Yayoi Neolithic earthenware vessel (c. 2nd -3rd century AD) at Joan B. Mirviss, Ltd.; a pair of paintings depicting Chinese women accompanied by pipes and pets (c. 18th century) at Martyn Gregory; and a pair of green and yellow Fu Lions (c. 1662-1722 AD) at Ralph M. Chait Galleries, Inc.

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A pair of paintings depicting Chinese women accompanied by pipes and pets, circa 18th century, at Martyn Gregory.

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Pair of Chinese Green Glazed Biscuit Porcelain Fu Dogs, Kangxi period, AD 1662-1722, at Ralph M. Chait Galleries, Inc.

• After an intense search, Aronson of Amsterdam (a 134 year old family firm specializing in Dutch Delftware) has recently reunited a pair of unusual bouquetieres depicting Their Majesties King Willem III and Queen Mary II (c. 1690). The figures are attributed to The Greek A Factory, where Queen Mary ordered many magnificent pieces of Delft for Hampton Palace. The pair will be exhibited together for the first time at the 2015 Winter Antiques Show.

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Pair of unusual bouquetieres depicting Their Majesties King Willem III and Queen Mary II, circa 1690, at Aronson of Amsterdam.

• Objects with noteworthy provenance include a Herter Brothers “Pompeian” side chair (c. 1880) that was probably commissioned for John Pierpont Morgan’s lavish Madison Avenue mansion at Associated Artists, LLC; an English Palace Wall Regulator (c. 1770) by John Arnold that was commissioned by a member of the Russian royal family for Catherine the Great at Thomas Coulborn & Sons Ltd.; a Chinese Famille Verte quandrangular vase (1662-1722 AD) from the collection of Henry Clay Frick at Ralph M. Chait Galleries, Inc.; and a grand scale Chippendale looking glass (c. 1760) that was part of the Benjamin Franklin Tercentenary project and was discussed in correspondence between Franklin and his wife at Bernard & S. Dean Levy.

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An English Palace Wall Regulator (c. 1770) by John Arnold that was commissioned by a member of the Russian royal family for Catherine the Great at Thomas Coulborn & Sons Ltd.

‘Houghton Hall: Portrait of an English Country House’ at Legion of Honor, San Francisco

22 lundi Déc 2014

Posted by alaintruong2014 in Costume and Textiles, English Furniture, Interiors, Modern Art, Old Master Paintings

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Étiquettes

and S. Garrard, Anthony van Dyck, Augustus Welby Northmore Pugin, Cecil Beaton, Charles Jervas, Cholmondeley Coronet, Cholmondeley Family, Coronation robe and train, David Cholmondeley, Diego Velazquez, Frans Hals, George James, Houghton Hall, J., John Singer Sargent, John Wootton, Lady Sassoon, Marquess of Cholmondeley, Pope Innocent X, R., Robert Walpole, Sir Robert Walpole, Throne of the Prince of Wales, William Hogarth, William Kent

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Exterior view of Houghton Hall, Norfolk, England. Photo: Nick McCann

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David Cholmondeley, 7th Marquess of Cholmondeley, and his wife Rose.

SAN FRANCISCO –  The Fine Arts Museums of San Francisco present Houghton Hall: Portrait of an English Country House, an exhibition drawn from the collections of a quintessential English country house. Built in Norfolk in the 1720s for England’s first prime minister, Sir Robert Walpole, Houghton Hall features suites of grand rooms conceived by architect William Kent as settings for Walpole’s old-master paintings, furniture, tapestries and Roman antiquities.

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William Hogarth, The Cholmondeley Family, 1732. Oil on canvas, Marquess of Cholmondeley Houghton Hall.

“Houghton Hall brings to San Francisco a wonderful array of objects from one of Britain’s great country houses, and reflects the history of this magnificent estate across nearly 300 years, from the 18th century to the present day. It is particularly fitting that this exhibition is being displayed at the Legion of Honor, complementing our recently reinstalled collection of British paintings and decorative arts,” said Colin B. Bailey, director of the Fine Arts Museums of San Francisco.

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Robert Walpole’s library at Houghton Hall, Norfolk, England. Photo: Nick McCann

Houghton Hall: Portrait of an English Country House tells the story of the structure and its inhabitants through displays that convey key architectural spaces, such as the impressive double-height Stone Hall of marble, stucco and silver limestone; the grand state Saloon, upholstered in red velvet; and the more restrained wood-paneled library, which served as Walpole’s office away from London. Kent’s architectural drawings, also on view, will reveal the geneses of these interiors, which were inspired by both Renaissance architect Andrea Palladio and the style of Baroque-era Rome.

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John Singer Sargent, Portrait of Sybil, Countess of Rocksavage, 1913. Oil on canvas. Marquess of Cholmondeley, Houghton Hall. Photo: Pete Huggins, by kind permission of Houghton Hall

William Kent was the first British architect to design furnishings in concert with architectural interiors, and a selection of pieces that he created specifically for Houghton Hall will be exhibited. In addition there will be porcelain and silver objects and family portraits and other pictures by notable English painters such as William Hogarth, Thomas Gainsborough and Sir Joshua Reynolds that reflect the aesthetic and historical significance of the house. Other works of art on view will include portraits by Pompeo Batoni, an Italian artist popular among British travelers on the Grand Tour (the traditional journey through Europe undertaken by members of the upper classes), and old master paintings, such as Sir Anthony van Dyck’s Philip, Lord Wharton (1632) and Carlo Maratta’s The Rest on the Flight into Egypt (1650s).

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One of a pair of armchairs, ca. 1730. Designed by William Kent; probably made by James Richards. Partially gilded mahogany; beech and oak; original upholstery. Marquess of Cholmondeley, Houghton Hall. Photo: Pete Huggins, by kind permission of Houghton Hall, EX.2013.HH.044.1.2

Walpole’s death, in 1745, preceded a sharp decline in family fortunes. Houghton became occupied intermittently, and many of its old-master paintings were sold in 1779 to Catherine the Great of Russia. The Walpole inheritance passed to the Cholmondeley family and Houghton was rarely used. The house came alive again in the early 20th century when Sybil Sassoon, Marchioness of Cholmondeley, took charge of Houghton in 1919, and worked to restore the house to its former splendor. Sassoon had connections with many artists, most notably the American painter John Singer Sargent, whose paintings she added to the collection along with art works and furniture inherited from her brother, Philip, and pieces of Sèvres porcelain collected by her husband, George Cholmondeley. More recently, the current inhabitants of Houghton have added further works of art such as Sir Edward Coley Burne-Jones’s The Prince Enters the Briar Wood (1869), from the Legend of the Briar Rose series.

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A view of the Saloon at Houghton Hall, Norfolk, England. Photo: Nick McCann

The Cholmondeleys’ hereditary role as Lord Great Chamberlain, the officer of state in charge of the Palace of Westminster, is shown through several objects, including the gold-embroidered uniform of the marquess, dating from 1900, and the gilded throne of the Prince of Wales, designed by Augustus Welby Northmore Pugin, the architect who created the great Gothic Revival interiors of the Palace of Westminster. These objects, along with others featured in the exhibition, afford a rare glimpse into the ceremonial traditions that have survived in Britain and remain part of the culture reflected in great English country houses such as Houghton Hall.

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William Kent, architectural drawing for the Marble Parlour at Houghton, ca. 1730. Black and brown ink and brown wash on paper. Marquess of Cholmondeley, Houghton Hall. Photo: Pete Huggins, by kind permission of Houghton Hall, EX.2013.HH.132

“This is a wonderful opportunity for audiences in the United States to experience the delights of Houghton Hall,” says Martin Chapman, curator in charge of European Decorative Arts and Sculpture at the Fine Arts Museums of San Francisco. “Here the visitor can see the early work of the groundbreaking designer, painter and architect William Kent, as well as the art treasures that fill this great English house.”

October 18, 2014 – January 18, 2015. Legion of Honor

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John Singer Sargent, Portrait of Lady Sassoon, 1907. Oil on canvas, Marquess of Cholmondeley, Houghton Hall.

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Cholmondeley Coronet, ca. 1902. Made by R., J., and S. Garrard. Gilt metal, ermine, velvet, silk, and metallic thread. Marquess of Cholmondeley, Houghton Hall. Photo: Pete Huggins, by kind permission of Houghton Hall, EX.2013.HH.062

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Cecil Beaton, George and Sibyl, Marquess and Marchioness of Cholmondeley, in their coronation robes, 1937. Gelatin silver print. Marquess of Cholmondeley, Houghton Hall. Photo: Pete Huggins, by kind permission of Houghton Hall, EX.2013.HH.065

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Anthony van Dyck, Philip, Lord Wharton, 1632. Oil on canvas. National Gallery of Art, Washington. Andrew W. Mellon Collection, EX.2013.HH.040

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Frans Hals, Portrait of a Young Man, 1646/1648. Oil on canvas. National Gallery of Art, Washington. Andrew W. Mellon Collection, EX.2013.HH.041

EX-2013-HH-093 - Jervas - Sir Robert Walpole

Charles Jervas, Sir Robert Walpole, ca. 1708–1710. Oil on canvas. Marquess of Cholmondeley, Houghton Hall. Photo: Pete Huggins, by kind permission of Houghton Hall, EX.2013.HH.093

Throne of the Prince of Wales, 1847.

Throne of the Prince of Wales, 1847. Designed by Augustus Welby Northmore Pugin; made by John Webb. Gilded wood and embroidered velvet upholstery. Marquess of Cholmondeley, Houghton Hall. Photo: Pete Huggins, by kind permission of Houghton Hall, EX.2013.HH.059.1

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Coronation robe and train for Sibyl, Marchioness of Cholmondeley, 1937. Velvet, ermine, and silk. Marquess of Cholmondeley, Houghton Hall. Photo: Pete Huggins, by kind permission of Houghton Hall, EX.2013.HH.100

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Uniform worn by the 4th Marquess of Cholmondeley, 1901. Wool and metallic thread. Marquess of Cholmondeley, Houghton Hall. Photo: Pete Huggins, by kind permission of Houghton Hall, EX.2013.HH.060.1

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Diego Velázquez, Pope Innocent X, ca. 1650. Oil on canvas, National Gallery of Art, Washington. Andrew W. Mellon Collection, EX.2013.HH.043

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Cabinet at Houghton Hall, Norfolk, England. Photo: Nick McCann

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A view of the Stone Hall at Houghton Hall. Photo: James Merrell

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John Wootton, Sir Robert Walpole, ca. 1725. Oil on canvas. Marquess of Cholmondeley, Houghton Hall. Photo: Pete Huggins, by kind permission of Houghton Hall

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A view of the Cabinet at Houghton Hall. Photo: James Merrell

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George James, The Three Waldegrave Sisters, 1768. Oil on canvas, Marquess of Cholmondeley, Houghton Hall. Photo: Pete Huggins, by kind permission of Houghton Hall

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A view of the Stone Hall at Houghton Hall. Photo: James Merrell

Nationalmuseum Sweden announces new acquisition: English cabinet in imitation lacquer

18 jeudi Déc 2014

Posted by alaintruong2014 in Chinoiserie, English Furniture

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Étiquettes

circa 1680, English cabinet, imitation lacquer, Nationalmuseum Sweden

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English cabinet in imitation lacquer, circa 1680. Photo: Stockholms Auktionsverk.

STOCKHOLM.- Nationalmuseum has acquired a magnificent English cabinet in imitation lacquer. Manufactured circa 1680, the cabinet had been part of the Biby estate collection since 1788. Nationalmuseum purchased the piece at last summer’s auction of items from the Biby estate.

Nationalmuseum has added a splendid English piece with a proud Swedish heritage to its antique furniture collection. The cabinet had been part of the Biby estate collection, owned by the von Celsing family, since 1788. According to family tradition, it once belonged to the mill owner Johan Lohe (1643–1704). Via Lohe’s daughter and grandson, it passed into Gustaf Celsing’s ownership in 1781 as a result of a purchase. This lengthy Swedish pedigree shows that high-quality English furniture was being imported to Sweden as far back as the late 17th century.

Japanese and Chinese lacquer pieces were the height of fashion and were much sought after in Europe in the latter half of the 17th century. European craftsmen soon started imitating Oriental lacquer, but lacked the proper technical expertise and materials. The Oriental lacquer made from the sap of the urushi tree (Rhus vernicifera) is incredibly hard and water-resistant. European craftsmen had to rely on various shellac-based varnishes. In England, the dominant technique became known as “japanning”, alluding to the style’s geographical origins.

The cabinet acquired by Nationalmuseum is believed to have been made in London around 1680. Its upper part is entirely modelled on Japanese works in its form and ornamentation, while the underframe reflects the European baroque aesthetic with lavishly carved, gilded ornamentation. The square Japanese cabinets were originally intended to sit directly on the floor, but in Europe they were mounted on stands to match local furniture.

Nationalmuseum’s purchase of this English cabinet has been made possible by a generous bequest from Axel and Nora Lundgren. Nationalmuseum has no budget of its own for new acquisitions, but relies on gifting and financial support from private funds and foundations to enhance its collections of fine art and craft.

A life’s passion: Incredible collection of vernacular antiques to sell at Bonhams Oxford

17 mercredi Déc 2014

Posted by alaintruong2014 in Auctions, English Furniture

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Étiquettes

17th Century, bronze mortar, Burford, carved and polychrome-decorated oak heraldic finials, Charles I, Charles II, circa 1520-40, circa 1580-1600, circa 1583, Circa 1610, circa 1620, circa 1625, circa 1630-40, circa 1660, circa 1670, circa 1670-80, circa 1730-60, Edward Neale, Elizabeth I, English, Francis Keble, George II, Henry VIII, James I, Lancashire, late 16th-early 17th century, Mercer, North Wales, oak and inlaid court cupboard, oak and marquetry inlaid tester bed, oak boarded chest, oak joint stool, oak livery cupboard, oak panel-back open armchair, oak refectory table, oak six-leg refectory table, reeded broad-rim pewter charger, Somerset, West Country, Yelford Manor, yew-wood Cwpwrdd tridarn

OXFORD.– A fascinating selection of early vernacular furniture and works of art is to go under the hammer at Bonhams Oxford, in ‘The Oak Interior: including the Collection of Roger Rosewell FSA of Yelford Manor, Oxfordshire’, on 21 January 2015.

An impressive oak and marquetry inlaid tester bed, dating to the late 16th/early 17th century and estimated at £8,000-12,000, is a highlight of the sale, and comes from a 130-strong collection of pieces from Yelford Manor, former property of the medievalist and writer Roger Rosewell.

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An impressive oak and marquetry inlaid tester bed. Elements late 16th-early 17th century. Estimate £8,000 – 12,000 (€10,000 – 15,000). Photo Bonhams.

The tester with six deep recessed panels, each within a carved and dentil-moulded frame and centred by applied geometric inlaid mounts, the headboard with a pair of finely arch-carved panels flanked by figurative terms, headed by delicate floral marquetry, inlaid initials RM over EM and the date 1605, each end-post with a large bulbous cup-and-cover turning supporting a strap-work carved tapering Corinthian pillar, all raised on stiff-leaf carved plinths,(mattress size 5ft x 6ft 2in); 169cm wide x 219cm deep x225.5cm high, (66 1/2in wide x 86in deep x 88 1/2in high) 

Provenance: Purchased Mary Bellis Antiques, Hungerford, Berkshire, 17 September 1986.

Other items from Yelford Manor include:

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A rare and impressive James I oak panel-back open armchair, Somerset, circa 1625. Estimate £6,000 – 8,000 ç€7,500 – 10,00). Photo Bonhams.

With notable back rack, the arch-enclosed ornately floral-carved back-panel below a characteristic deep and similar carved top-rail, the carved and pierced cresting of two well defined scrolls, the back-uprights each carved with a single stylized stiff-plant above the downswept arm, the boarded seat with moulded edges wrapping around the underarm supports, the seat-rails typically carved with lunettes, raised on inverted-baluster turned legs joined by plain stretchers,72cm wide

Provenance: Purchased Mary Bellis Antiques, Hungerford, Berkshire, 15 November 1982.

Literature: A near identical chair illustrated Victor Chinnery,Oak Furniture: The British Tradition, (1993), p. 455, fig. 4:81; and a similar example, fig. 4:82. The author makes reference to the enriched arch found here and in general the high-quality carved furniture to be found in the area, which may be attributed to the cathedral city of Wells, or more likely to nearby larger regional centres such as Bristol. See pages 454 – 457.

See also Oak Furniture from Gloucestershire and Somerset, exhibition catalogue, St. Nicholas Church Museum, 2 April – 1 May 1976 and Stable Court Exhibition Galleries, Temple Newsam, Leeds, 12 May – 12 June 1976, (nos. 20 & 21).

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A James I oak and inlaid court cupboard, circa 1620 and later. Estimate £3,000-5,000 (€3,800 – 6,300).  Photo Bonhams.

The strap-work carved frieze to three sides, raised on Ionic capital cup-and-cover turned column supports each profusely leaf carved, enclosing a pair of cupboard doors each with complex geometric line inlaid decoration within a deep cushion moulded S-carved frame, the conforming central fixed panel centred by an ebonized boss, a pair of triple-panelled cupboard doors below, each with lunette-filled carved upper panel and two knot-pattern inlaid panels, the knot-pattern design repeated on the top side panels, restorations 141.5cm wide x 54.5cm deep x 167.5cm high,(55 1/2in wide x 21in deep x 65 1/2in high)

Provenance: Purchased Mary Bellis Antiques, Hungerford, Berkshire, 18 October 1984.

Literature: This cupboard is illustrated Percy Macquoid, A History of English Furniture – The Age of Oak, (1925) p. 153, fig. 127. It is noted as the property of Messrs. Gill and Reigate, and dated to 1618.

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A large, finely cast and important Commonwealth leaded bronze mortar, dated 1659, made for Francis Keble of Burford, Mercer [1637 – 1686], by Edward Neale of Burford [fl. c. 1640 – 1695]. Estimate £8,000 – 12,000 (€10,000 – 15,000). Photo Bonhams.

The rim with wire mouldings above a band of delicate ‘S’-scrolls and crosses, above the maker’s mark for Edward Neale, a chevron between three bells, flanked by the initials ‘EN’, between a pair of angular bead-embellished lug handles, above further wire mouldings and the inscription ‘I WAS MADE FOR FRANCIS KEBLE 1659’, all spaced by a line of three triangular pellets, two cord mouldings below, the foot with recessed flange, 36.5cm rim diameter x 27.5cm high (14 3/8in rim diameter x 10 13/16in high)

Provenance: – Francis Keble of Burford [1637 – 1686]
– Thence to the collection of J. H. Fitzhenry, Esq. [d. 1912]
– Sold Christie’s, 18th – 24th November 1913, Lot 603, and purchased by a Mr Sutton
– Thence acquired by Arthur G. Hemming, chemist and scholar of English mortars, before 1929
– Sold Sotheby’s, 22nd April 1988
– Thence to the collection of John Fardon, and soldChristie’s, 1st May 1996, Lot 239
– Thence to the collection of Michael Finlay
– Purchased by the current vendor in November 1997

(one of six named and dated 17th century English mortars in Mr. Rosewell’s collection)

Exhibited: – With the Victoria & Albert Museum, 1892 – 1902 (on loan from the Fitzhenry Collection)

Illustrated: – Arthur G. Hemming, ‘Dated English Bell-Metal Mortars’, in Connoisseur (March, 1929), 166, No. IX.
– P. Hornsby, Collecting Antique Copper & Brass (1989), p. 14, Figure 6.
– M. Finlay, ‘Who was Francis Keble?, in The Journal of the Antique Metalware Society Volume 7 (June, 1999), 35 – 38.
– M. Finlay, English Decorated Bronze Mortars & their Makers (2010), Colour Plate 6a.

Francis Keble of Burford: Francis Keble’s biographical details are discussed in Michael Finlay’s 1999 article (cited above). Francis Keble is believed to have been born to Toby and Mary Kibble and baptised on 24th August 1637 at All Saints, Gloucester. His parents were probably the Toby Kibble and Mary Purnell who married on 21st August 1636 in Gloucestershire, parish unknown. Given that Francis Keble was buried at Eastleach in 1686, and left a bequest to the poor of that parish by his will, it is likely that he was born and/or raised there, and was thus a member of the Keble family who resided in that parish, and the surrounding parishes of Lechlade, Southrop and Fairford. John Keble, after whom Keble College, Oxford is named, was born at Fairford, and would later become curate of St. Michael’s and St. Martin’s Church in Eastleach Martin.

Francis Keble married Sarah Bartholomew, the daughter of one of Burford’s leading citizens and mercers, in February 1658. They lived in what is now called Wysdome House on the main street in Burford. Apparently childless, Francis Keble willed the bulk of his property – after bequests – to his wife, Sarah, who survived him by some seventeen years, dying in 1703. Her name is recorded on the Bartholomew memorial tablet in the church at Burford.

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A rare Henry VIII oak boarded chest, circa 1520-40. Estimate £3,000-5,000 (€3,800 – 6,300). Photo Bonhams.

The lid and frieze with applied edge moulding to imply panelled construction, whilst taking account the position of the lock-plate, the pointed-arched apron with leaf-and-berry carved spandrels, 147.5cm wide x 48.5cm deep x 74.5cm high, (58in wide x 19in deep x 29in high)

Provenance: Purchased Mary Bellis Antiques, Hungerford, Berkshire, 12 September 1990.

Literature: A virtually identical, but smaller example, from the Lygon Arms, Broadway, Worcestershire, illustrated R. Edwards, Dictionary of English Furniture, (1986), Vol. II, Fig. 15.

An English mid-16th century oak boarded chest with leaf-carved frieze, comparable to the spandrel carving found here, sold Sotheby’s, ‘The Clive Sherwood Collection’, 22 May 2002, Lot 70, (£8,460).

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A Charles I oak six-leg refectory table, possibly West Country, circa 1630-40 and later. Estimate £4,000-6,000 (€5,000 – 7,500). Photo Bonhams.

Having a triple boarded cleated top, the front frieze carved with lunettes and with integral scroll shaped spandrels, raised on bulbous and flattened ball-turned legs, joined by plain stretchers, each front upper leg block unusually carved and with the turned feet still partly intact, replacements, 287cm wide x 72.5cm deep x 80cm high, (112 1/2in wide x 28 1/2in deep x 31in high)

Provenance: Purchased Mary Bellis Antiques, Hungerford, Berkshire, 22 February 1983.

Literature: Cescinsky & Gribble, Early English Furniture and Woodwork, (1922), Vol. II, p. 115, illustrates a refectory table of similar date with carved upper leg blocks to each front leg, (fig. 143), and another refectory table, (fig. 144), with a comparable carved frieze as found here.

Yelford Manor is a timber-framed, late-15th-century, Grade II listed property that has only had five owners in 500-odd years. Practically derelict by the 1950s, it was sold to and rescued by Oxford professor Bernard Babington Smith OBE. Nowadays Yelford Manor has been extensively renovated by its recent owner, the medievalist and writer Roger Rosewell who, in 1984, heard that Professor Babington Smith was thinking of selling, went to see the house and bought it the very same day.

A staunch supporter of the SPAB (Society for the Protection of Ancient Buildings) and its principles of ‘conservative repair’, Mr Rosewell spent the next 16 years gradually restoring the roof, removing modern partitions to open up the first floor, installing new plumbing and heating systems, and creating an enclosed courtyard with a cloister linking a 19th-century dairy block to the house. Mr Rosewell also laid out Yelford’s exquisite landscaped gardens.

As Mr. Rosewell writes in his introduction to the sale, one of his life’s great passions from a young age has been medieval art, including timber-framed houses and their interiors. Having purchased Yelford Manor, he writes: “Over the next thirty years I scoured antiques shops finding pieces of sixteenth and seventeenth-century furniture which would complement the house and create a marvellously evocative and inspirational atmosphere in which I could write books about medieval wall paintings and stained glass, collect contemporary objects, such as mortars, and design intricate Elizabethan-style knot gardens and parterres.

Despite the age and rarity of many items, the house was always a home, not a museum. We ate at the refectory table daily; I told my children stories in the imposing four poster bed every morning before they went to school; coffers, such as the late medieval and almost sculptural, iron bound ‘standard’ chest housed our library of maps and Michelin guides.”

In the main body of the sale are a further 500-plus lots, ranging from furniture to metalware and textiles. Two rare items dating to the reign of Elizabeth I are on offer; an oak joint stool, circa 1580-1600, is estimated at £7,000-10,000, and an oak livery cupboard, circa 1583 and later, carries an estimate of £4,000-6,000.

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A rare Elizabeth I oak joint stool, circa 1580-1600. Estimate £7,000 – 10,000 (€8,800 – 13,000). Photo Bonhams.

The seat with a double reeded and thumb-moulded edge, the rails carved with lunette-shaped stylized foliate motifs over a gauge-carved lower edge, each leg with deep gadrooned-carved parallel-baluster turning over a plain linear-incised ball, united by stretchers with fine central run-moulding to each outer face, on turned feet, 46cm wide x 27.5cm deep x 57cm high, (18in wide x 10 1/2in deep x 22in high)

his particular design of joint stool belongs to a small select group of other known examples, which all exhibit similar lunette fan or foliate-carving to the frieze-rails, along with the distinctive deep gadrooned-carved legs. One such example sold, Sotheby’s, ‘The Clive Sherwood Collection’, 22 May 2202, Lot 189, (£12,300); another Sotheby’s, ‘Nyetimber Manor’, 27 September 2001, Lot 1080, (£3,600). A further example Sold Sotheby’s, ‘The Shaw Collection’, 13 September, 2006, Lot 42, (£13,800), and was formerly in the ‘Mary Bellis Collection’, sold Christie’s, 21 May, 1987, Lot 205.

Literature: Tobias Jellinek, Early British Chairs and Seats 1500 to 1700, pp. 218-219, pl. 271 and 272. Victor Chinnery,Oak Furniture: The British Tradition, (1993), p. 184, fig. 2:207.

Illustrated: Essentially English: The Renaissance in Tudor, Elizabethan and Jacobean England, Beedham Antiques Ltd., BADA 90th Anniversary Exhibition Catalogue.

34

A rare Elizabeth I oak livery cupboard, circa 1583 and later. Estimate £4,000-6,000 (€5,000 – 7,500). Photo Bonhams.

With six cupboard doors, each typically of boarded construction, with applied heavy edge mouldings to simulate framed panels, further decoration to all upper doors in the form of deep gauge-carving and simple punched-decoration to all mouldings, along with linear interlaced-inlay, which is centred to the left-hand door with the initials F A and to the right with the date 1583, both inlaid in mastic-composition, restorations, 143.5cm wide x 45cm deep x 135cm high, (56in wide x 17 1/2in deep x 53in high)

Further items include: 

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A Charles II oak refectory table, circa 1660. Estimate £5,000-7,000 (€6,300 – 8,800). Photo Bonhams.

Having a removable triple boarded cleated top, each frieze-rail with pairs of stained run-mouldings and all with scroll-cut spandrels, the long frieze also with a conforming centralapron, raised on ring-turned legs, joined by plain stretchers,286cm wide x 81cm deep x 75cm high, (112 1/2in wide x 31 1/2in deep x 29 1/2in high)

Provenance: Purchased Beedham Antiques Ltd., Charnham Close, Hungerford, Berkshire, November 1990, (£18,775). Sold with a copy of the original receipt.

The top of this table appears never to have been fixed in place. Instead, two of the upper leg blocks, at opposing corners, have a small integral raised extension which locates into a cut-out on the underside of the top. It appears to have been unusually made this way.

It is also worth noting how the lower-edge moulding on each frieze takes account the positions of the spandrels and central apron; it stops above each decorative device.

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An exceptionally large and rare 17th century reeded broad-rim pewter charger, English, circa 1670. Estimate £6,000-8,000 (€7,500 – 10,000). Photo Bonhams.

The rim engraved with the mantled arms of BORLASE, ermine, on a bend sable, two arms armed issuing out of the clouds argent, rending a horse-shoe or, the augmentation of a baronet being an inescutcheon, a sinister hand erect couped at the wrist and appaumé, within a mantling, and engraved with the mantled crest of BORLASE, on a wreath a wolf passant regardant argent, in the mouth an arrow or, vulning the neck, hallmarks to the front rim of Stephen Lawrance, London, working (1661-1708), (OP5729, PS5729), rim diameter 4 3/4in., 12cm, overall diameter 28 1/2in., 72.4cm, (33%)

Provenance: Engraved with the arms of Sir John Borlase (1619 – 72), first Baronet of Bockmer, Buckinghamshire, or his son Sir John Borlase (1640 – 89), second Baronet.
Ex. Carl Jacobs Collection.
Possibly Ex. Isher Collection.

Literature: Discussed in an article written by Dr Robinson, Journal of the Pewter Society, Vol. 4, No. 2, Autumn 1983, p. 40. It is described as exceptional. A further Journal article, Vol. 28, Autumn 2008, p. 3 – , co-written by Dr. Robinson, lists all current known chargers with a diameter of 23in., or above. This lot is listed as the joint fifth largest example. It remains the largest recorded charger in private hands, and is possibly the largest 17th century pewter charger which has not been altered.

The survey lists the following larger examples:
36 1/8in example in the Fitzwilliam Museum, Cambridge, made by extending the rim of a 29 1/4in charger.
34 3/8in example in the Colonial Williamsburg Museum, Virginia, again possibly made by extending the rim of a smaller charger.
30in 19th century example, whose present whereabouts are unknown, but is noted in an original list made by Dr. Robinson in 1977.
A 19th century oval example, 36in x 23in.
A Romano-British example, the same size as this lot.
The survey records five other chargers by Stephen Lawrance I; diameters 25 1/4in; 23 1/2in and two 23in.

The Borlase Baronets of Bockmer: The baronetcy of Borlase of Bockmer existed from its creation in 1642 to its extinction on the death of the second baronet without an heir in 1689.

The first Baronet, Sir John Borlase, was born at Littlecote House, the son of Sir William Borlase and his wife Amy Popham, daughter of Sir Francis Popham. In April 1640, Borlase was elected Member of Parliament for Great Marlow in the Short Parliament. His re-election as MP for Marlow to the Long Parliament in November 1640 was declared void after a dispute. Instead Borlase was returned as MP for Corfe Castle in 1641. On 4 May 1642, he was created baronet of Bockmer, in the County of Buckingham. He was disabled from sitting for his Royalist tendencies in 1644. In 1645, he was imprisoned by order of Oliver Cromwell, but released for a fine of 2400 £ a year later. After the Restoration, Borlase represented Wycombe in the Cavalier Parliament from 1661 until his death in 1672. Borlase died, aged 52 in Bockmer in Buckinghamshire and was buried in Little Marlow four days later. Borlase married Alice Bancks, daughter of Sir John Bancks, Lord Chief Justice of the Court of Common Pleas, at St Giles in the Fields, London on 4 December 1637. They had seven children, six daughters and one son. He was succeeded in the baronetcy by his only son John.

John Borlase, 2nd Baronet, succeeded his father as Baronet in 1672. In 1673, he entered the House of Commons as MP for Wycombe, representing the constituency until 1681. Borlase died unmarried and was buried in Stratton Audley in Oxfordshire. With his death the baronetcy became extinct.

Both baronets lived at Bockmer in Buckinghamshire, which their family had possessed since the mid-16th century. Their estates included the manor of Stratton Audley, Oxfordshire and Davers in Little Marlow, Buckinghamshire. William Borlase was knighted by James I in 1603, and founded the Borlase School in 1624 as a memorial to his eldest son. Sir John Borlase, First Baronet, was married to Alice (1621 – 1683), eldest daughter of Sir John Bankes. Van Dyck painted her portrait and that of her husband, Sir John. Tradition has it that they entertained Charles II and Nell Gwyn at Bockmer in 1665.

9523060683418f278a6f7df2a266b0e8

A rare George II yew-wood Cwpwrdd tridarn from North Wales, circa 1730-60. Estimate £5,000-8,000 (€6,300 – 10,000). Photo Bonhams.

Typically in three parts, the open-canopy with baluster-silhouette side slats and baluster-turned column-supports, the middle-section having a triple tablet and pendant-hung frieze, enclosing a pair of recessed flattened ogee-arched cupboard doors later centred by an open mirror-backed recess, over three drawers and a pair of conforming cupboard doors centred by a fixed pointed-arched fielded panel, 144cm wide x 52cm deep x 143cm high, (56 1/2in wide x 20in deep x 56in high)

It is exceptionally rare for a Cypwrdd tridarn to be constructed in yew-wood, rather than using traditional oak. Even the drawer-linings and backboards found here are made in yew.

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A rare pair of James I carved and polychrome-decorated oak heraldic finials, circa 1610. Estimate £7,000-10,000 (€8,800 – 13,000). Photo Bonhams.

Each beast modelled as a sejant erect supporter with pricked ears, realistically rendered argent fur with or spots, with delineated ribs and musculature, and erect phallus, seated on a hemisphere, each with tail curved over a haunch, and holding between each paw a scroll-ended cartouche with sunken oval centre, one painted with the coat of arms of WARREN, chequy or and azure, the other lacking paint,51cm high, (2)

These finials – modelled as beasts with square, canine features, and without protruding lower incisors – are not the same as, but bear close relation to, the leopard finials that adorn both the staircase and Great Hall screen at Knole, the home of the Sackvilles in Kent, built between 1605 and 1608, during ‘re-edifying’ works undertaken by Thomas Sackville, 1st Earl of Dorset.

The current decorative scheme of these finials was revealed after the removal of several layers of paint, but it is entirely possible that the paint remaining is not the original. It is thus difficult to determine for whom these finials were made, where they stood or, indeed, exactly which beast they represent. In heraldry, few beasts are tinctured as they are here, with yellow or gold spots [the heraldic tincture or] against white or silver [argent] fur. Leopards, the most likely candidate, are usually tinctured with a non-metallic colour in combination with a metallic one and are often, like the Sackville leopards, more feline in appearance. The panther, more dog-like, is rendered with spots in a variety of colours, and with flames issuing from its mouth and ears.

The painted coat of arms – chequy or and azure – is that of WARREN, earlier DE WARRENE. This family had become extinct by the 17th century, but their coat of arms was quartered by their descendants, most notably the Howards. Thus, chequy or and azure was one of the quarterings of the arms of Anne Boleyn when she was made Marchioness of Pembroke, and her dexter supporter was a leopard. In the later 16th and 17th centuries, the Howard Dukes of Norfolk and the Howard Earls of Surrey and Arundel quartered these arms with their own. If these finials were used as part of a decorative scheme in one of the many Howard properties which were re-modelled or newly built in the 17th century – the most notable of these being Northampton House, Audley End and Arundel House – the other finials would have to have been painted with different quarters, in order for the staircase, taken as a whole, to display the owner’s entire coat of arms. A 19th century Gothic staircase at Arundel Castle, which was razed during the Civil War in 1644, shows different quarters of the Howard arms on different finials. One of them bears the arms of WARREN.

144995-001-60

A rare pair of Charles II oak joint stools, Lancashire, circa 1670-80. Estimate £5,000-8,000 (€6,300 – 10,000). Photo Bonhams.

Of elongated form, each seat with thumb-moulded edge, unusually carved to just one long frieze-rail with interlaced and leaf-filled lunettes, the remaining rails all with channel-moulded lower edge, raised on elongated ball-turned and gently splayed legs, joined by plain stretchers, 60.5cm widex 28.5cm deep x 55.5cm high, (23 1/2in wide x 11in deep x21 1/2in high) (2)

Provenance: Each with former stock label which probably refers to H. W. Keil, Broadway, Worcestershire.

Although the majority of joint stools were possibly made in sets of six or more it is now relatively scarce to find more than a single example from a larger set. This pair are rarer still for their elongated proportions and carving to just one frieze-rail. The fine straw-colour, to the underside of the seat and the rear of the frieze-rails should also be noted; a distinctive feature often found on the underside of late 17th century seat furniture from Lancashire and the surrounding areas.

Cabinet d’époque Queen Anne, travail anglais du début du XVIIIe siècle

13 samedi Déc 2014

Posted by alaintruong2014 in Chinoiserie, English Furniture

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époque Queen Anne, cabinet, chinoiseries, Martin Schnell, travail anglais du début du XVIIIe siècle, vernis européen or sur fond noir

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Cabinet d’époque Queen Anne, travail anglais du début du XVIIIe siècle. Estimation : 100 000 € / 150 000 €.  Photo Artcurial

En vernis européen or sur fond noir, à décor de chinoiseries, la façade ouvrant par deux portes munies de miroirs découvrant dix-sept tiroirs et trois vantaux, l’abattant découvrant une écritoire gainée de velours bleu, six tiroirs et quatre compartiments ; le théâtre orné de miroirs et dissimulant des tiroirs, la partie basse ouvrant par quatre tiroirs sur trois rangs, reposant sur des pieds en griffe enserrant une boule, les côtés munis de poignées. H. : 236 cm (93 in.) – l. : 115 cm (45 ¼ in.) – P. : 51 cm (20 in.)

A QUEEN ANNE JAPANNED CABINET, EARLY 18th CENTURY

Ce cabinet, par son magnifique décor de chinoiseries, son dessin, le sommet en arbalète très probablement anciennement orné d’un élément en bois sculpté et doré (présence de traces au sommet), la répartition des multiples tiroirs et des vantaux, le secret composé d’autres petits tiroirs dissimulés derrière le théâtre en miroirs, est à rapprocher d’un groupe de cabinets traditionnellement rattachés à l’atelier de Martin Schnell (circa 1660-1715), le plus important peintre laqueur de la cour de Dresde au début du XVIIIème siècle.

Martin Schnell (c 1675-1740) travailla à Berlin dans l’atelier de l’artisan laqueur Gérard Dagly (1657-1726) l’une des personnalités majeures au service de l’Electeur Frédéric Guillaume de Brandebourg puis de Frédéric III, avant de rejoindre la Cour de Dresde en 1710. Il entra au service d’Auguste le Fort, avec pour mission, la création d’un atelier pour exécuter les commandes importantes en laque.

Plusieurs des caractéristiques citées plus haut apparaissent sur un certain nombre d’autres exemples :
-Cabinet à décor de chinoiseries or sur un fond de vernis rouge, anciennement conservé au Château Pillnitz, (G Haase, Dresdner Möbel, Leipzig, 1983, n°141)
-Cabinet, livré probablement vers 1730 à la cour de l’Electeur de Saxe à Dresde puis Partridge Fine Arts, London, 1997 et vente Sotheby’s New York, collection de Lily et Edmond Safra, les 18-21 octobre 2011, lot 718
-Cabinet à décor de chinoiseries or sur un fond de vernis rouge, collection Gerstenfeld, Washington, D.C, illustré dans Edward Lennox-Boyd ed., Masterpieces of English Furniture, The Gerstenfeld Collection, London, 1998, pp. 48 and 195, no. 7
-Schloss Moritzburg, Dresden
-Christie’s Madrid, 1974 (Christie’s Review, 1974, p. 415) puis collection Mallett, suggérant une commande ibérique
-Une paire de cabinets, provenant des collections royales portugaises, cette fois entièrement recouvert de gesso doré, l’un avec ses pieds d’origine en forme de griffes de lion vendu par Sotheby’s Londres, le 3 juin 1977, lot 93, l’autre vendu par Christie’s Londres, Important English Furniture, le 4 juillet 2002, lot 100 (pieds en boule d’époque postérieure)
-Cabinet à décor or sur fond noir, Christie’s, Londres, le 23 novembre 2006, lot 100

Plusieurs de ces cabinets semblent avoir un lien avec l’Espagne et le Portugal, d’autres avec Dresde comme celui du château de Pillnitz. Il fait lui-même partie d’un groupe de quatre, dont deux en vernis noir et deux en vernis rouge, inventoriés par Rudolf von Arps-Aubert au Palais de Dresde avant la deuxième guerre mondiale dans son article Sächsische Lackmöbel des 18. Jahrhunderts, Zeitschrift des Deutschen Vereins für Kunstwissenschaft, 1936, vol. 3, 4/5, p. 362. Il est intéressant de noter que l’auteur les mentionne comme nicht sächsisch, c’est à dire non produits en Saxe.

Ceci renforce l’hypothèse selon laquelle ces cabinets, souvent produits en paire et dont la forme dérive directement des modèles anglais de la fin du XVIIème siècle et du début du XVIIIème siècle, auraient été exécutés à Londres en vue d’être exportés en Europe continentale. A cette époque le mobilier anglais jouit d’un immense succès au nord de l’Europe, particulièrement, au Danemark, aux Pays Bas et en Allemagne et notamment en Saxe où Auguste le Fort en importa. Dresde finira d’ailleurs par imiter ses productions quelques années plus tard. En 1731, la guilde des artisans de Dresde permit à l’un de ses apprentis de produire un cabinet anglais pour chef d’œuvre d’accession à la maîtrise. Les princes allemands sont aussi particulièrement amateurs de cabinets indiens , couverts de laque. Ils y exposent des céramiques et des objets en laque chinois. Des pièces entières de palais germaniques sont recouvertes de laque comme au château de Dresde, vers 1718, pour la salle du Trône et la chambre à coucher d’Auguste le Fort.

Au Portugal, le nouveau roi Dom Jao V (1706-1750) profitant de la paix retrouvée après un demi siècle de conflit avec l’Espagne et de nouvelles richesses venant du Brésil, introduisit plus de faste à la Cour. Au cours des premières années de son règne il fut très proche de la cour d’Angleterre, au temps de la reine Anne (1702-1714) et du roi George I (1714-1727). Dom Luis da Cunha, ambassadeur du Portugal à Londres en 1696 et 1715, lui-même collectionneur et amateur de mobilier anglais fut son conseiller en matière artistique. Des traces des commandes royales, notamment d’orfèvrerie, apparaissent dans les journaux anglais de l’époque. R.W. Symonds, dans un article A Royal scrutoire Connoisseur, juin 1940, fait état de commandes de meubles et plus particulièrement de cabinets produits en Angleterre.
L’Angleterre, après les Pays Bas, est le deuxième pays à copier les laques d’Orient. Dès 1688, le Treatrise of Japanning and Varnishing de Stalker et Parker instruit les artisans, donne des recettes et des modèles gravés pour ceux désirant imiter la laque. Les motifs présents sur notre cabinet s’en approchent.

Le maître des cabinets royaux du Portugal
Les grandes similitudes relevées sur les cabinets cités plus haut suggèrent un même artisan, dénommé par certains le maître des cabinets royaux du Portugal . Bien qu’à ce jour il n’ait pas été identifié, plusieurs noms apparaissent dont celui de Peter Miller. Ce dernier réalisa un cabinet en noyer destiné à être exporté en Espagne et dont l’intérieur est similaire (Adam Bowett, Geffrye Museum Symposium, janvier 2002 et C Gilbert, The Pictorial Dictionary of Marked London Furniture 1700-1840, Leeds, 1996, fig 646 et 647). D’autres artisans sont cités comme Giles Grendey (1693-1780), menuisier en sièges, employé à l’époque Queen Ann qui réalisa de nombreux meubles destinés à l’exportation vers l’Espagne, le Portugal et l’Allemagne. Il réalisa notamment une suite de mobilier en vernis rouge et or pour le duc d’Infantado pour son château Lazcano au sud de l’Espagne, aujourd’hui dispersé (C. Gilbert, Furniture by Giles Grendey for the Spanish Trade , Antiques, avril 1971, pp.544-550) ou encore James Moore et John Gumley, établis après 1714 sur le Strand.

ARTCURIAL – BRIEST-POULAIN-F.TAJAN. Important Mobilier et Objets d’Art, le 15 Décembre 2014 à 19h. HÔTEL DASSAULT – 7 ROND POINT DES CHAMPS-ELYSÉES, 75008 PARIS (FRANCE).  Contact: Gabrielle Richardson au +33 1 42 99 20 68.

Cabinet « Aux paysages », Angleterre, première moitié du XVIIIe siècle

08 lundi Sep 2014

Posted by alaintruong2014 in Chinoiserie, English Furniture

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Angleterre, Bois doré, Bronzes dorés, cabinet, Cabinet « Aux paysages », première moitié du XVIIIe siècle, vernis à l’imitation de la Chine

Cabinet « Aux paysages », Angleterre, première moitié du XVIIIe siècle. Photo Marc-Arthur Kohn SVV

Vernis, bronzes dorés et bois doré. H. 160 cm, L. 108 cm, P. 70 cm. Estimation : 50 000 € / 70 000 €

Ce cabinet de forme rectangulaire s’agrémente d’un superbe décor réalisé en vernis à l’imitation de la Chine. D’un fond rouge se détachent des paysages lacustres, de montagnes et de végétation peuplés de plusieurs personnages vêtus selon la mode de l’Orient.
Un décor similaire se prolonge sur les deux faces latérales du meuble.
Les vantaux s’ouvrent à l’aide de charnières en bronze doré finement gravé de rinceaux ; motifs que l’on retrouve sur l’entrée de serrure et aux angles.
Le piètement en bois sculpté et doré est caractéristique du style baroque anglais de la fin du XVIIe siècle.
La ceinture ajourée est ornée de putti encadrant un buste. De larges feuilles d’acanthe se propagent tout autour de la ceinture centrée sur les côtés d’une coquille.
Les quatre pieds, à la fois raides et cambrés, sont sculptés de visages et de feuillages.
Ce grand style théâtral s’observe notamment dans un cabinet conservé au Victoria and Albert Museum de Londres.
La forme et les ferrures du cabinet sont similaires aux nôtres et le piètement ajouré reprend les mêmes motifs. Dans une vue de l’intérieur de la prestigieuse demeure anglaise de Burghley House, on retrouve un cabinet au style de piètement identique et un décor de paysages lacustres proches du nôtre.
Cet intérieur révèle notamment la grandiloquence de l’ameublement en Angleterre en cette fin de XVIIe siècle, fortement influencé par le go »t de français de Louis XIV.

Marc-Arthur Kohn SVV. Paris, hôtel Le Bristol, mercredi 10 septembre, à 15 h. Tel: +33 (0) 1 44 18 73 00.

Ronald Phillips reveals highlights to be presented at the International Fine Art and Antique Dealers Show

18 lundi Août 2014

Posted by alaintruong2014 in English Furniture

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Chinese export, Chinese lacquer, circa 1750, circa 1765, circa 1775, desk armchair, English, Gainsborough armchair, George II, George III, Gillows of Lancaster, giltwood mirror, Glemhall Hall, mahogany, Matthias Lock, Ormolu mounted, Qianlong, Robert Adam, St. Giles House, Thomas Chippendale, three-light candelabra, wine cooler

A George III Ormolu mounted white painted oval wine cooler. English, circa 1775, Price: £100,000+. 

LONDON.- Ronald Phillips Ltd, one of the world’s leading antique galleries handling some of the most important pieces of English Antique Furniture and Works of Art has released some of the finest examples of craftsmanship and design that will be displayed on the company’s stand at the International Fine Art and Antique Dealers Show. 

Prices will range between £38,500 and over £2,000,000, many of which have notable provenance, with some offered for public sale for the first time. The collection for the exhibition promises to be a magical history of narcissism and decoration- and a celebration of England craftsmanship which are a testament to Simon Phillips’ exceptional eye and expertise. Simon’s interest in and knowledge of English decorative arts is wide-ranging enabling him to successfully source the very finest furniture and works of art, which are invariably united by his unerring and intuitive sense of what makes them special. The booth of over 40 lots presents a wealth of opportunities for international collectors and interior designers and the rich and varied array of items will suit many tastes; tailored to meet the sustained and growing interests of collectors intent on acquiring works of the highest calibre. 

Highlights of the exhibition include a pair of George III three light ormolu candelabra designed by the Scottish neoclassical architect, interior designer and furniture designer Robert Adam, English circa 1775; the drawing by Robert Adam for the design of the candelabra is now preserved in the Sir John Soane Museum in London.

A pair of George III three light ormolu candelabra designed by Robert Adam. English, circa 1775, Price: £100,000+.

Ronald Phillips has long championed mirrors, whilst pairs of mirrors are the ultimate finds. This exhibition boasts several pairs of mirrors including a pair of George II giltwood mirrors, English circa 1750. Retaining most of their original gilding with a distinctive Rococo design following a drawing published by Matthias Lock in his book ‘Six Sconces.’ Having recently come out of a private collection in Florida, the mirrors once belonged to Walter P. Chrysler in New York. Mr. Chrysler, whose father, Walter Sr., founded the Chrysler Corporation, devoted much of his life to building a multimillion-dollar collection of art works that was housed at the Norfolk Museum of Arts and Sciences in Norfolk, which was later renamed the Chrysler Museum. 

The Walter P. Chrysler Jr. mirrors. A pair of George II giltwood mirrors, English circa 1750, attributed to Matthias Lock, Price: £100,000+.

Ronald Phillips also hold a number of the finest Chinese reverse painted glasses, painted in China and sent to England to be sold. The earliest was from 1760 and in New York there will be a stunning pair from 1765. This pair of mirrors formed part of the collection assembled by H.J. (Jim) Joel. Like many other collectors of the middle years of the 20th century, Joel was advised by R.W. Symonds, the collection bearing his distinctive imprint. Unlike some of his contemporaries, Jim Joel’s collection encompassed a wide variety of genres that was sold in a monumental two-part Christie’s house sale, at Childwick Bury, St. Albans on 15-17 May 1978.

Photo

A  George III period Chinese export  mirror painting in original lacquer frame, Chinese, Qianlong, circa 1770. Price range: £10,000-£50,000.

Other highlights include, a George II walnut card table, English circa 1735, with concertina action, its notable provenance includes Percival D Griffiths who purchased the table in 1908. Under the wise counsel of R. W. Symonds, Percival D. Griffiths, amassed arguably the greatest collection of English Furniture formed in the 20th century, a collection which is unlikely to bettered any time soon. The table reached over $700,000 at Sotheby’s in 2004, after leaving another significant collection of Theodore and Ruth Baum. 

The most expensive pieces documented are a stunning pair of Chinese lacquer commodes commissioned for the Earl of Shaftesbury of St Giles House Dorset, English circa 1765, estimated over £2,000,000; whilst some of the most exciting finds revealed are the seat furniture which includes a mid 18th century desk armchair, almost certainly made by Thomas Chippendale, priced at £235,000 and The Glemhall Hall Gainsborough armchairs, English circa 1755. Commissioned under Dudley North of Glemhall Hall, Suffolk, the chairs were originally part of a larger suite of which nine armchairs can be traced. Each chair depicts a different bird made by Lady Barbara, the wife of Dudley North. A pair of chairs is in the collection of Colonial Williamsburg. Two further chairs formerly in the Colonial Williamsburg Collection are now in a private collection in New York, a single is recorded in the Gerstenfeld collection in Washington, whilst another single chair was sold at auction in 1954 with current whereabouts unknown. Also on display will be a set of twelve George III mahogany armchairs by Gillows of Lancaster, English, circa 1795. Some of the original webbing, significantly stamped ‘Gillows Lancaster’ has been preserved with the chairs. 

The St. Giles House commodes, a pair of Chippendale period Chinese lacquer commodes, English, circa 1765. Price range: £100,000 +.

A George III mahogany desk armchair almost certainly by Thomas Chippendale, mid 18th century. Price range: £100,000 +.

The Glemhall Hall Gainsborough armchairs. Price range: £100,000 +.

A set of twelve George III mahogany armchairs by Gillows of Lancaster. Price range: £100,000 +.

Simon Phillips, who took over the Mayfair firm from his father Ronald over fifteen years ago says: “It has become increasingly difficult in recent years to find great pieces of English furniture, but within this exhibition there is a wonderful cross-section of important and rare English furniture and objects. United by the common themes of rarity, provenance, craftsmanship and beauty, I have invested in each of these items because they had the attributes I look for in fine English Antique Furniture, but the time has come for them to find new homes and enjoy the next chapter in their histories; whilst providing collectors with an opportunity to acquire the very best.” 

Alain R. Truong

Alain R. Truong
janvier 2023
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