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Click here to subscribeChina, hardhouten gueridon, 19e eeuw; Uitgevoerd met gestoken archaïsche decoratie. De poten verbonden met vier stijlen. h. 81 cm, b. 42 cm Sotheby's New York, Ariane Dardois: European Furniture, Paintings & Asian Art, 25 october 2007, lot 352. [1] A Chinese carved hardwood stand; 19th century
ASIAN AND INDIAN ART INTEREST: 5 Titles: MULK RAJ ANAND, LOTIKA VARADARAJAN ET AL: HOMAGE TO KALAMKARI (WITH REFERENCE TO THE PAINTED CLOTHS OF INDIA, Bombay, Marg publications, 1979 reprint, with decorative cloth boards; CHEWON KIM AND G ST G M GOMPERTZ: THE CERAMIC ART OF KOREA, london, faber and Faber, 1961; W ZALF (Ed): BUDDHISM - ART AND FAITH, London, British Museum Publications, 1985; THE ART OF THE CH'ING DYNASTY FURNITURE, Taipei, national Museum of History, ND. Held within original slipcase; T C LAI: CHINESE PAINTING - ITS MYSTIC ESSENCE, Kowloon, Swindon Book Company, 1974. inscribed to half title by author (5)
A very large Chinese powder blue vase and cover, Kangxi, painted in gilding with pavilions and a landscape scene, 83cm highProvenance:Richard Timewell , Sotheby's, Senior Director and Head of the Furniture Department until 1967. Villa Léon L'Africain à Tanger, Property of Pierre Berge and Yves Saint Laurent The Spirit of the English Country house, Dreweatts, 4th November, 2020, lot 234清康熙 藍地描金將軍罐拍品來源：蘇富比前董事Richard Timewell舊藏，後為法國時裝設計師皮埃爾·貝爾傑及聖勞倫所購 Condition Report: restoration to lid 12cm x 4cm lacquer filled chip to vase rim and extended crack from chip extensive wear to gildingCondition Report Disclaimer
A Chinese huanghuali 'Dragon' balance stand, tianpingjia, 17th or 18th century, the rectangular case set to either side with a rectangular section post joined by an openwork rail and crossbeam, supported at the base by two pairs of openwork spandrels, the stand with one long drawer, with metal scales, 80.5cm high x 70.5cm wide (2)Balance stands with scales were widely used as measures when silver was the common currency and were used both domestically and commercially. The Ming dynasty novel Amazing Tales-Second Series, illustrates a balance stand in a Ming home, and a balance stand is shown in use in a shop in the 16th century novel The Gold Lotus, Jin Ping Mei Cihua in vol. 1, chapter 60.For a similar example see Wang Shixiang and Curtis Evarts, Masterpieces from the Museum of Classical Chinese Furniture, Chicago and San Francisco, 1995, pl. 90. A related example with a carved openwork panel from the Dr. S. Y. Yip Collection was sold in at Sotheby's Hong Kong, 7th October 2015, lot 113.十七/十八世紀 黃花梨鏤雕螭龍紋天平架 Condition Report: generally in very presentable condition but with signs of old splits and cracks manly to sides and with overall polished appearance and the drawer with old repairs and the runners sticking and worn making the drawer difficult to slide in and out Condition Report Disclaimer
FURNITURE MAKING -- CHIPPENDALE, Th. The Gentleman and Cabinet-Maker's Director. Being a large Collection of the most Elegant and Useful Designs of Household Furniture in the Gothic, Chinese and Modern Taste. 2n ed. London, J. Haberkorn, 1755. x, 27 pp. W. engr. dedicatory leaf and 161 full-p. engr. plates (incl. plate 25a), engr. after the author by M. Darly and I.S. & T. Müller. Lge-fol. Later hcf. w. marbled paper sides. (Bind. worn, several prelim. lvs. loose (plates 73-87 also loose), the loose plates frayed/chipped along borders, some (damp) staining in places, age-toned, traces of use). NOTE: Second and unchanged edition of one of the most important works on furniture designs in England to that point which created a mass market for furniture. With small blind stamps in places, indicating that this book once belonged to the Groningen furniture factory of J.A. Huizinga. - O'Neal 26. - Sold w.a.f., not subject to return.
A Chinese blue and white ‘precious objects’ censer and cover, Kangxi period (1662-1722), of bombé form, painted with antique vessels and furniture, ribbon tied precious objects, the domed cover with a rabbit on an artemisia leaf, and ribbon tied objects, button shaped finial, 11cm diameter, fritting and hairline crack There is some fitting and glaze loss to two areas on the edge of the cover. There is a hairline crack extending from the rim to the widest point of the body. There is a small firing crack to the rim of the censer which only appears approximately 2 to 3 mm on the exterior, typical minor glaze imperfections and minor scratching to the glaze, otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese blue and white 'Four Beauties' drum-shaped jar and cover, Kangxi period (1662-1722), finely painted with four ladies and furniture in a garden, some playing instruments or holding gifts, the body applied with a pair of beast head looped handles, the domed cover surmounted by a gilt lion finial, raised stud borders, 22.3cm high, minor restoration to lion finial Some minor restoration and retouching of the gilt to the lion dog finial, otherwise in good condition with typical minor glaze imperfections and occasional minor scratches to the glaze.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A tall Chinese famille rose square section vase, 19th century, finely painted with ladies and boys with objects, furniture and a banana plant in the background, the neck with boys, the shoulder painted with flowers and leaves, 48.5cm highHigh quality restoration to the edge of the rim, the join of the trumpet shaped neck to the shoulder and on a couple of the vertical edges, typical minor glazed imperfections, no chips cracks or cracks detected, in good condition. PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
λ A RARE CHINESE HUANGHUALI CORNER-LEG WAISTED STAND, PERHAPS AN INCENSE STANDLATE MING DYNASTYThe top with a mitre, mortise and tenon frame construction with a flush, tongue-and-grooved single board floating panel supported by two dovetailed stretchers underneath. The recessed waist and the apron made of one piece is mitred to the leg which in turn is double lock mortise and tenoned to the top and end in elegantly drawn hoof feet. The top and legs joined by giant’s arm braces (bawangcheng) underneath, 73.5 cm x 67cm x 33.4cm.Provenance: property from the estate of Mr David Pike dec’d, London, purchased from Grace Wu Bruce Co Ltd, 10th November 1993, a copy of the original invoice is available.Cf. G Ecke, Chinese Domestic Furniture, 1978, pl.6, for a similar square incense stand with base stretchers; Christie's Hong Kong, 30th May 2024, lot 2915, for a slightly taller example.This stand, with its simple and classic proportions, exemplifies the ideal aesthetic of its time. Stands of this type are characteristic of classic Ming furniture design. They were typically used to display rock sculptures, penzai (bonsai), flower vases, or incense burners, and were occasionally placed outdoors for worship. 'Bawangcheng' also known as the giant's arm braces, were crafted by artisans to reinforce the table legs, ensuring they could support the weight of the tabletop. The term references the legendary 3rd century BC hero Xiang Yu, who is said to have supported the heavens with his arm.明晚期 黃花梨束腰馬蹄足霸王棖香几來源: 英國倫敦已故David Pike 先生私人收藏，1993年11月10日購於香港嘉木堂 (附發票複印件)。
Chinese Furniture- Cescinsky, Herbert: Chinese Furniture: A Series of Examples from Collections in France. Benn Brothers, 1922, 1st Edn 4to Original cloth gilt; Plus: Wang, Shih-Hsiang: Classic Chinese Furniture, Ming & Early Qing Dynasties. Joint Publishing, Hong Kong, 1994, 4th. Impression, DW, 4to, Fine (2)Condition ReportChinese Furniture - Original cloth gilt; corners and edges tired.Classic Chinese Furniture - Fine.
A SMALL HUANGHUALI TAPERING ROUND-CORNER CABINET, YUANJIAOGUIQing DynastyThe floating panel top set into a standard mitre, mortise and tenon, tongue and groove frame with rounded corners, the four main stiles gently splayed and double-tenoned into the top, rounded on the exterior edges, each door inset with a well-figured panel, the interior fitted with two shelves, the door frame members and the central stile fitted with two curved rectangular metal plates with a lock receptacle. 72cm (28 2/8in) high x 50cm (19 5/8in) wide x 28cm (11in) deep.Footnotes:清 黃花梨圓角櫃Provenance: Klas E Böök (1909-1980), Sweden, acquired during his service as Swedish Ambassador to Beijing, 1956-1961, and thence by descent来源： Klas E Böök (1909-1980)，瑞典，在擔任瑞典駐北京大使期間獲得，1956-1961，並由後人保存迄今。A Swedish diplomat and civil servant, Mr Böök first had a career in banking, that led up to the position of Governor of the Swedish National Bank from 1948 to 1951. His diplomatic career began when he was appointed head of the Commercial Department of the Swedish Ministry for Foreign Affairs and envoy from 1947 to 1948. He was Minister in Ottawa from 1951 to 1956, Ambassador in Beijing from 1956 to 1961, and also accredited as envoy to Bangkok from 1956 to 1959. Böök was the Swedish Ambassador to New Delhi, India, and also accredited to Colombo and Kathmandu from 1961 to 1965 and in Bern from 1965 to 1972. He had special assignments for the Swedish Foreign Ministry from 1972 to 1975.The present cabinet epitomises the elegant design of classical Chinese furniture, achieved through a harmonious blend of flat surfaces and rounded elements. Particularly noteworthy are the four recessed stiles, gently sloping outward from the top corners, and the slight outward splay of the four square legs, conveying a sense of upward movement and adding to the overall aesthetic appeal of the cabinet.Round-corner cabinets are one of four distinct styles of cabinets with shelves crafted by Chinese furniture artisans, alongside open-shelf stands jiage, cabinets with open shelves liangegui, and square-corner cabinets fangjiaogui; see Wang Shixiang, Connoisseurship of Chinese Furniture: Ming and Early Qing Dynasties, Hong Kong, 1990, vol.1, pp.82 and 85.Historically, the tapered cabinet evolved from the form of large chests with panelled doors, which were utilised for storing silk cloths during the Song period; see S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, p.244, pl.15.5. These cabinets, such as the present examples, later found a place in scholars' studios, where they were used to store books, scrolls and writing instruments. A depiction in a hanging scroll from the Ming dynasty illustrates a scholar standing beside a small cabinet, poised to select a work from the shelves stocked with books and scrolls; see L.Lin, Catalogue to the Special Exhibition of Furniture in Paintings, Taipei, 1996, pl.9. Compare with a similar small huanghuali round-corner tapered cabinet, Ming dynasty, illustrated by G.Wu Bruce, Two Decades of Ming Furniture, Beijing, 2010, p.220. A pair of related huanghuali, burlwood and fruitwood cabinets, 17th/18th century, was sold at Bonhams London, 13 May 2021, lot 17.This lot is subject to the following lot symbols: * TP Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A HUANGHUALI MARBLE-INSET STAND18th centuryThe mottled white and grey marble top set within a mortise and tenon frame with rounded corners above waisted section and curved plain apron with beaded edge extending to curved cabriole legs joined by stretchers. 39.4cm (15 1/2in) wide.Footnotes:十八世紀 黃花梨嵌大理石小几 Provenance: acquired from Ho Cheung Antique Furniture, Hong Kong, circa 1995-2006A Danish private collection來源:從香港Ho Cheung Antique Furniture處獲得，約1995-2006年丹麥私人收藏Compare with a related zitan stand but inset with burr wood, 18th century, of very similar shape, illustrated by M.Flacks, Custodians of the Scholar's Way: Chinese Scholars' Objects in Precious Woods, London, 2014, p.229.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A RARE ZITAN MEDICINE CHEST AND COVER, YAOXIANG18th centuryThe rectangular box mounted with a humpback handle at the top and ruyi-shaped metal fittings at the edges, one side opening to reveal three tiers with five drawers with metal handles, the cover with a locking mechanism on the exterior. 31.2cm (12 1/4) wide.Footnotes:十八世紀 紫檀藥箱Provenance: Ho Cheung Antique Furniture, Hong KongA Danish private collection, acquired from the above on 20 September 1997來源： 香港Ho Cheung Antique Furniture丹麥私人收藏，於1997年9月20日從上處獲得 Although called 'medicine' chests for herbs etc, boxes such as these were also likely used for containing seals, ink sticks and other scholar's objects. A woodblock illustration from Stories to Caution the World (Jingshi tongyan), 1621-1627, is illustrated in Classical Chinese Furniture from the Haven Collection, Hong Kong, 2016, p.258. See a related huanghuali chest and cover, mid-17th century to early 18th century, illustrated in Ibid., no.60. Compare with a similar zitan medicine chest, late Ming/early Qing dynasty, which was sold at Bonhams New York, 12 September 2016, lot 6007.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A HUANGHUALI SINGLE-DRAWER ALTAR COFFER, MENHUCHUQing DynastyThe single-panel top set within the wide rectangular frame with raised edges above plain spandrels on the front and back, the top supported on recessed, slightly splayed legs, enclosing the single drawer centred by a square lock-plate and pull above a plain apron and spandrel. 84cm (33in) high x 85cm (33 1/2in) wide x 49.5cm (19 1/4in) deep.Footnotes:清 黃花梨翹頭單屜悶戶櫥Provenance: Klas E Böök (1909-1980), Sweden, acquired during his service as Swedish Ambassador to Beijing, 1956-1961, and thence by descent来源： Klas E Böök (1909-1980)，瑞典，在擔任瑞典駐北京大使期間獲得，1956-1961，並由後人保存迄今A Swedish diplomat and civil servant, Mr Böök first had a career in banking, that led up to the position of Governor of the Swedish National Bank from 1948 to 1951. His diplomatic career began when he was appointed head of the Commercial Department of the Swedish Ministry for Foreign Affairs and envoy from 1947 to 1948. He was Minister in Ottawa from 1951 to 1956, Ambassador in Beijing from 1956 to 1961, and also accredited as envoy to Bangkok from 1956 to 1959. Böök was the Swedish Ambassador to New Delhi, India, and also accredited to Colombo and Kathmandu from 1961 to 1965 and in Bern from 1965 to 1972. He had special assignments for the Swedish Foreign Ministry from 1972 to 1975.Compare with a recessed-leg low table with single drawer, Ming dynasty, of similar form, but made of oak, illustrated in Chinese Furniture: One Hundred and Three Examples from the Mimi and Raymond Hung Collection, Hong Kong, 2005, pp.88-89. Another two single-drawer coffers are illustrated by Wang Shixiang, Connoisseurship of Chinese Furniture, vol.II, Hong Kong, 1990, E7 and E8. See also another tielimu single-drawer coffer, Ming dynasty, illustrated in The Chuang Family Bequest of Fine Ming and Qing Furniture in the Shanghai Museum, Hong Kong, 1998, no.47.See a related huanghuali single-drawer altar coffer, dantichu, 18th/19th century, which was sold at Christie's New York, 20 September 2013, lot 1560.This lot is subject to the following lot symbols: * TP Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A HUANGHUALI RECTANGULAR CORNER-LEG LOW TABLE, AIZHUOQing DynastyThe rectangular panelled top set within a wide border above a recessed waist and a plain apron, supported on four legs of square section terminating in hoof-feet and joined with four humpback stretchers. 93.5cm (36 3/4in) wide x 51.5cm (20in) high x 46.5cm (18 1/4in) deep.Footnotes:清 黃花梨有束腰羅鍋棖馬蹄足矮桌Provenance: Klas E Böök (1909-1980), Sweden, acquired during his service as Swedish Ambassador to Beijing, 1956-1961, and thence by descent来源： Klas E Böök (1909-1980)，瑞典，在擔任瑞典駐北京大使期間獲得，1956-1961，並由後人保存迄今。A Swedish diplomat and civil servant, Mr Böök first had a career in banking, that led up to the position of Governor of the Swedish National Bank from 1948 to 1951. His diplomatic career began when he was appointed head of the Commercial Department of the Swedish Ministry for Foreign Affairs and envoy from 1947 to 1948. He was Minister in Ottawa from 1951 to 1956, Ambassador in Beijing from 1956 to 1961, and also accredited as envoy to Bangkok from 1956 to 1959. Böök was the Swedish Ambassador to New Delhi, India, and also accredited to Colombo and Kathmandu from 1961 to 1965 and in Bern from 1965 to 1972. He had special assignments for the Swedish Foreign Ministry from 1972 to 1975.This simple, elegant form is one of the most frequently employed in Chinese furniture construction. Whilst the spare strong lines conveyed the rigor and discipline required of the scholar, the rich graining and warm color of the dense resinous hardwood add a sumptuous touch, alluding to the luxuries available to the elite of the time.Tables such as the present one would most likely have been used as side tables in a scholar's studio to support art objects, such as incense burners, table screens and other antiques. See, for example, a side table featured in 'Self Portrait of Wang Xizhi', of the Song dynasty (960-1279), depicting the scholar seated at the centre of the composition in his studio flanked by a small rectangular side table laid with boxes and other objects, illustrated in Classical Chinese Furniture from the Haven Collection, Hong Kong, 2016, p.206. Compare with a related huali table, late Ming dynasty, illustrated by C.Clunas, Chinese Furniture, London, 1988, p.88, no.33, and another huanghuali table, 16th-17th century, illustrated by G.W. Bruce, Living with Ming - the Lu Ming Shi Collection, 2000, p.110, no. 23.Compare with a related huanghuali corner-leg table, 17th century, which was sold at Christie's Hong Kong, 30 May 2022, lot 2906.This lot is subject to the following lot symbols: * TP Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A RARE PAIR OF HUALI DOUBLE 'VASE SPLAT' CORNER CHAIRSCirca 1750Each with a yoke-shaped top rail extending into outswept scrolled arms supported by turned balusters, the back featuring two vase-shaped splats above a solid seat, one cabriole leg adorned with a shell at the top and terminating in a claw and ball foot, three additional cylindrical legs ending in pad feet, joined by a baluster-turned X-frame stretcher, all legs terminating in pad feet, pegged construction. 85cm (33 1/2in) high x 75cm (29 1/2in) wide x 71cm (28in) deep. (2).Footnotes:約1750年 花梨木三角椅一對Provenance: Richard Milhender, Boston, MassachusettsAcquired from the above by Martyn Gregory, London來源： Richard Milhender，波士頓，馬薩諸撒州由倫敦古董商Martyn Gregory從上處獲得This pair of chairs forms a set with a chair which was sold at Bonhams New York, Chinese Works of Art Including The Richard Milhender Export Furniture Collection, 21 March 2022, lot 150, which is published and discussed in detail by Kee Il Choi Jr., The China Trade: Romance and Reality, De Cordova Museum, Lincoln, MA, 1979, p. 21. Despite being based on English prototype the construction is typically Chinese.This lot is subject to the following lot symbols: TP YTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A PAIR OF HUANGHUALI 'MEDITATION' CHAIRS, CHANYIEach with an elegant plain frame forming a low back and slender arms supported at right angles on straight front posts, the large hard-mat square seat above humpback stretchers with pillar-shaped struts.86cm (33 7/8in) high x 74cm (29 1/8in) wide x 74cm (29 1/8in) deep. (2).Footnotes:黃花梨禪椅一對Provenance: a distinguished European private collection來源：歐洲顯赫私人收藏Notable for their understated elegance conveyed by their linear beauty and geometric simplicity, the present chairs are clearly inspired by an earlier prototype in the Ming dynasty. Chairs of similar form had been used since the sixth century. The low-back armchair serving as seat for the abbot or high prelate depicted on a mid-sixth century stele on the wall of a Buddhist cave in Dunhuang, for example, has a similar design to the present chairs, except for the higher back; see S.Handler, The Austere Luminosity of Chinese Classical Furniture, Berkeley and Los Angeles, 1992, p.14, fig.1.6. Surviving literature dating from the sixth century refers to these 'meditation' chairs as 'woven seats' shengchuang or shengzuo. According to the 'Record of Buddhist Monasteries', completed in AD 547, Buddhist monks practiced stillness, eating the wind and submitting to the Way as they sat cross-legged on rope seats shengzuo, in quiet meditation rooms nestled amidst luxurious gardens containing exotic fruit trees and fragrant azaleas; see W.J.F.Jenner, Memories of Loyang, Yang Hsuan-chich and the Lost Capital', Oxford, 1981, pp.493-534. A devotional handscroll of Buddhist images by Zhang Shengwen, executed between AD 1173 and 1176, depicts Bodhidharma, the first patriarch of the the Chinese Chan Buddhist sect, seated on a similarly-shaped chair but fashioned from gnarled branches.Because of their deep seat and horizontal back rails, 'meditation' chairs made it difficult to sit comfortably on them, therefore, they were often used with separate backrests. In addition, judging from the contexts in which they were depicted, these chairs could be used in religious as well as secular contexts. See a woodblock illustration to 'Efficaceous Charms from the Tianzhu' Tianzhu lingqian, and 'Ximen Encounters a Barbarian Monk', a woodblock illustration to 'The Plum in the Golden Vase', dating to the Ming dynasty, depicting a scholar meditating in his garden in the lotus position, illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley and Los Angeles, 1992, p.33, figs.2.8 and 2.9.A similarly-shaped huanghuali 'meditation' chair, 17th century, formerly in the Museum of Classical Chinese furniture in Renaissance, California, is illustrated by S.Handler, The Austere Luminosity of Chinese Classical Furniture, Berkeley and Los Angeles, 1992, p.26, fig.2.2.This lot is subject to the following lot symbols: TP YTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A ZITAN MIRROR STAND, ZHEDIESHI JINGJIA18th/19th centuryThe central support formed from a square lattice frame enclosing a square reserve of spandrels above an adjustable mirror stand, all supported on a long hinged brace extending from the bottom cross bar, the wood of dark-chocolate tone. 36cm (14 1/8) long.Footnotes:十八/十九世紀 紫檀折疊式鏡架 Provenance: a Danish private collection來源： 丹麥私人收藏See a similar huanghuali folding mirror stand, late 16th/early 18th century, illustrated by Chu-Pak Lau, Classical Chinese Huanghuali Furniture: from the Haven Collection, Hong Kong, 2016, pp.298-299, no.78. Such mirror stands can be seen in a woodblock printed edition of Jin ping mei (Plum in the Golden Vase), Chongzhen edition, 1628-1644.Compare with a related zitan mirror stand, 17th/18th century, which was sold at Christie's New York, 22 March 2012, lot 1336. An earlier late Ming example was also sold at Sotheby's Hong Kong, 7 October 2015, lot 108.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
A HUANGHUALI MIRROR STAND, ZHEDIESHI JINGJIA17th centuryThe lattice panel divided into nine sections by stretchers of various sizes joined together, above a shaped ledge to support a mirror or a book, all below protruding stylised cloud-shaped motifs carved to each end of the top rail. 31cm (12 1/4in) long.Footnotes:十七世紀 黃花梨折疊式鏡架Provenance: a Danish private collection來源： 丹麥私人收藏See a similar huanghuali folding mirror stand, late Ming dynasty, illustrated by Grace Wu Bruce, Chan Chair and Qin Bench, The Dr S.Y.Yip Collection of Classic Chinese Furniture II, Hong Kong, 1998, pp.148-149; which was later sold at Sotheby's Hong Kong, 5 April 2017, lot 3506.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A HUANGHUALI TIERED PICNIC BOX AND COVER, TIHE18th centuryOf rectangular form comprising a shallow upper tray above three stacked trays, the cover secured with a long metal pin, each tier with a beaded lip around the circumference, all supported on a stepped tielimu base set with a handle formed of a humpbacked top rail and openwork spandrels on the sides. 34cm (13 3/8in) wide. (5).Footnotes:十八世紀 黃花梨提盒Provenance: acquired from Ho Cheung Antique Furniture, Hong Kong, circa 1995-2006A Danish private collection來源: 約1995-2006年從香港Ho Cheung Antique Furniture處購得丹麥私人收藏The design of tiered boxes appears to have remained consistent since at least the Song dynasty (960-1279), with slight variations in size and material. During this period, they were likely larger and primarily crafted from bamboo or softer woods, serving as containers for food and beverages during transportation. An illustration found in 'The Golden Lotus' (Jin Ping Mei), from the Ming dynasty, housed in the National Museum of History, Taipei, depicts a man carrying a sack over his shoulder while holding a picnic box in his right hand, indicating their historical usage. See Wang Shixiang, Connoisseurship of Chinese Furniture, vol.1, Hong Kong, 2016, pp.95-96. See also a related huanghuali two-tiered box, Ming dynasty, illustrated by G.Wu Bruce, Living with Ming: The Lu Ming Shi Collection, Hong Kong, 2000, p.203, no.65.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A RARE HUANGHUALI RETICULATED 'FU AND SHOU' RECTANGULAR BOX AND COVER17th/18th centuryThe cover with rounded edges pierced with a diaper-pattern, fu and shou characters in semi-cursive script carved within shaped cartouches, the sides similarly pierced with diaper-pattern, the box supported on four bracket feet. 39.5cm (15 1/2in) long. (2).Footnotes:十七/十八世紀 黃花梨福壽紋蓋盒Provenance: acquired from Ho Cheung Antique Furniture, Hong Kong, circa 1995-2006A Danish private collection來源： 約1995-2006年從香港Ho Cheung Antique Furniture處購得丹麥私人收藏The present lot showcases an extraordinary rarity coupled with excellent craftsmanship. The pierced cover might indicate that the present lot is a perfumer or diffuser of incense. See for example, a rectangular zitan box and cover with pierced designs on the cover and sides, 18th century, illustrated by M.Flacks, Custodians of the Way: Chinese Scholar's Objects in Precious Woods, London, 2014, p.298. See also a related but taller huanghuali box and cover with reticulated wan pattern, late Ming to early Qing dynasty, described as a quail cage, illustrated by G.Wu Bruce, The Best of the Best: The MQJ Collection of Ming Furniture, vol.2, Beijing, 2017, p.481.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A RARE HUANGHUALI RECESSED-LEG 'GIANT'S ARM' BRACES TABLE17th/18th centuryThe table with a finely-grained single-panel top set within rounded corners within the wide, rectangular frame with gently grooved sides, above a plain waist and a plain, beaded apron, the legs of slightly grooved square section and joined to the frame by giant's-arm braces, the wood of warm honey tone. 118cm (42 1/2in) long x 77.3cm (30 1/2in) deep x 84cm (33in) high.Footnotes:十七/十八世紀 黃花梨霸王棖半桌Provenance: Ever Arts Classic Furniture Ltd., Hong KongA Danish private collection, acquired from the above on 24 June 2002來源： 香港恆藝古董家具有限公司丹麥私人收藏，從上處獲得於2002年6月24日The subtle yet elegant features of the present table, such as the rounded corners of the top panel, as well as the gently grooved sides and legs, make it particularly rare and encapsulate the essence of literati taste which has been admired since the late Ming dynasty. Despite the dominance of straight lines, the smooth table top harmoniously complements the linear legs; in addition, the subtle curves gracing the S-shaped braces convey an overall sleek design.Side tables, known as banzhuo, were often made in pairs and placed on either side of a hall for displaying objects, or used alone in rooms. For example, an illustration from a woodblock printed edition of 'The Monasteries of Luoyang' Luoyang Qielan Ji, written between 1573 and 1619, shows a scholar standing in front of a similar table as the present lot, which is laid with ritual objects; see Chu-Pak Lau, Classical Chinese Huanghuali Furniture from the Haven Collection, Hong Kong, 2016, pp.164, no.36.The 'giant's arm braces' beneath the current table serve as crucial components in its construction, offering the furniture-maker the flexibility to forgo the more common stretchers typically required for structural integrity. Additionally, these braces provide added space for seating underneath the table, enhancing its practicality.See a similar huanghuali table with 'giant's arm' braces, late 16th/early 17th century, illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, London, 2001, p.190, fig.12.10. Another related huanghuali square table with 'giant's arm' braces, is illustrated by G.Ecke, Chinese Domestic Furniture, Hong Kong, 1962, p.11, pl.10.Compare with a similar and rare huanghuali rectangular side table with 'giant's arm' braces and rounded corner top panel, 17th/18th century, which was sold at Bonhams London, 16 May 2019, lot 79, and another huanghuali table with 'giant's arm' braces, 17th century, which was sold at Christie's Hong Kong, 30 March 2023, lot 2703.This lot is subject to the following lot symbols: * TP Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A FINE HUANGHUALI DISPLAY STAND17th/18th centuryOf rectangular form, the top panel set within a mitred, mortise and tenon frame with rounded corners, all above a recessed waist and gently curved plain apron extending to the curved and lobed legs joined to stretchers. 41.1cm (16 1/4) long. Footnotes:十七/十八世紀 黃花梨束腰小几 Provenance: acquired from Ho Cheung Antique Furniture, Hong Kong, circa 1995-2006A Danish private collection來源： 約1995-2006年從香港Ho Cheung Antique Furniture處購得丹麥私人收藏See a similar display stand, but made from zitan and burr, 18th century, illustrated by M.Flacks, Custodians of the Way: Chinese Scholar's Objects in Precious Woods, London, 2014, p.229. Another related huanghuali foot stool, 17th century, is illustrated in Splendor of Style: Classical Chinese Furniture from the Ming and Qing Dynasties, Beijing, 1999, p.198. Compare with a similar huanghuali rectangular display stand, 18th century, which was sold at Sotheby's New York, 28 September 2021, lot 732.This lot is subject to the following lot symbols: * Y* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.Y Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
A ZITAN RECTANGULAR DOCUMENT BOX AND COVER18th centuryThe rectangular case composed of well-figured panels with a hinged cover, the fitted top panel with a finely beaded lip, repeated on the conforming lower section, the corners set with ruyi-metal mounts and with a circular lock plate and hinged cloud-outline clasp. 36.3cm (14 3/8in) wide.Footnotes:十八世紀 紫檀拜匣Provenance: a Danish private collection來源： 丹麥私人收藏The present lot exemplifies a traditional box design, originating from chests utilised for storing garments. Such boxes are frequently portrayed in Ming dynasty woodblock prints, including a sizable box and a slightly smaller one depicted in the scene 'Aunt Yang Angrily Curses Chang the Fourth', from a Chongzhen period edition of the novel Jin Ping Mei (The Plum in the Golden Vase), as illustrated by S.Handler, Austere Luminosity of Chinese Classical Furniture, Berkeley, 2001, fig.15.23. Compare also with a related zitan small box, late Ming to early Qing dynasty, illustrated by G.Wu Bruce, The Best of the Best: The MQJ Collection of Ming Furniture, vol.2, Beijing, 2017, pp.484-485.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Tatlock RR: A Record of the Collections in the Lady Lever Art Gallery, Port Sunlight. Formed by the First Viscount Leverhulme: THREE volumes: 1- English Painting; 2- Chinese Porcelain & Wedgwood Pottery; 3- English Furniture, Tapestry, & Needlework. Batsford, 1928, LIMITED EDITION OF 200 COPIES, with DWs & slipcase. FINE SET. (3)
Chinese Famille Verte biscuit porcelain Guanyin figure group, modelled as a seated crowned Guanyin, goddess of Mercy, flanked by two attendants or devotees, one with top-knots, on rectangular base with ruyi head recesses to front and rear, unmarked, possibly Kangxi, 18.5cm highDeceased estate, North Somerset.Sold with 'Certificate of Identity' export documentation (Form 'C') No. 22636 from 'The Curios Furniture & Miscellaneous Utensils & Hardware Mercahnts & Employees Association, Hong Kong & Kowloon', dated 22nd October 1968, in which a Mr T. Chen declares that "1 Piece Old Porcelain Statue "Faimelle Veate" [sic] 22-558H Size, 7½x4x2" is over 100 years old.
A group of collectables - including a cased meerschaum pipe depicting Bacchus, modern; a late 19th century walnut Bacchus mask carved plaque or furniture mount, 30.5cm high, small loss; a hand made painted wooden perpetual motion parrot toy, probably mid-20th century, 35cm high; a 1960s HMS Sheffield gilt metal and enamel ladies compact; a small leather lidded box; two miniature white metal circus horses; a pair of Chinese soapstone jade-style lotus leaf dishes; a pair of modern Chinese cloisonné vases; a silver plate Ronson table lighter; etc.
AN ANTIQUARIAN GILT BRONZE AND CHINESE LACQUER-MOUNTED BREAKFRONT SIDE CABINET 19TH CENTURY, OF LOUIS XIV STYLE, THE LACQUER PANELS 18TH CENTURY The marble top above a frieze of foliate scrolls and acanthus above three doors displaying re-used lacquer panels enclosing oak shelves, above a raised plinth centred by a panel with bearded mask and with rosette blocks, on tapering feet with acanthus clasps, one lock stamped Comyn Ching & Co 97cm high, 160cm wide, 58cm deepProvenance: The Hon. Claude John Yorke, and thence by descent This imposing cabinet reflects the antiquarian taste prevalent in England in the 19th century, led by London dealer/agents and manufacturers such as Edward Holmes Baldock who was trading from various addresses in of Hanway Street from 1805 and Robert Hume trading from Berners Street from 1829. Indeed the Covent Garden and Soho areas of London witnessed a huge number of businesses engaged in the trade in new, restored and second hand furniture and works of art, from the likes of Baldock and Hume whose clients included royalty and the nobility, to traders who bought and sold `curios' and others who were little more than dealers in scrap. The trade was fanned by enthusiastic and wealthy and collectors of `antiques' such as William Beckford (d.1844) and the Duke of Hamilton (d.1852), historic house refurbishments such as at Hardwick Hall (1839 - 49) and sometimes hare-brained projects such as the Earl of Eglinton's chivalric Tournament of 1839 offered dealers an easy opportunity to make money, while auction sales of eminent collections brought yet more artefacts to the market. Part of this trade saw new furniture created re-using older element, particularly those items deemed precious or valuable, hard stones, Chinese and Japanese lacquer, carved ebony, boulle and tortoiseshell and even old oak. Makers such as Baldock incorporated these in conventional ways, using newly made pieces and the best are superbly executed. A detailed study of the trade was published by Mark Westgarth, Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers, Regional Furniture Society Journal, 2009, vol.23. A Regency cabinet of similar type, black and gilt-japanned and incorporating 18th century Kangxi lacquer was sold from Crichel, Dorset, at Christie's, London, 23 May 2013, lot 152 (£22,500 including premium).The attribution to a London antiquarian manufacturer is reinforced by the use of locks marked by the Seven Dials ironmonger Comyn Ching & Co. Condition Report: Generally good, structurally secure with wear and tear consistent with age and use. There are minor scratches marks and scuffing and some constructional shrinkage cracks. The marble top is in good order but with some repairs, a crack running front to back about 23cm from the left edge and a repaired break to the back right corner. Otherwise some minor edge chips. The ormolu all present, of large scale with good chiselling, overall of reasonable quality. Lacquer panels with typical craquelure and yellowing of surface varnish. but with sensitive conservation they would come alive. Minor lifting to the brass stringing on the left side. There is a 26cm piece of ebonised facing detached to the upright inside the centre door. The carcase made of framed and panelled oak, quite precisely machined and assembled typical of 19th century work. Each door revealing a single shelf. Overall a handsome and robust cabinet. Condition Report Disclaimer
AN IRISH GEORGE II MAHOGANY SIDE TABLE CIRCA 1750, the solid rectangular top with thumb moulded edge and foliate carved frieze, centred with scalloped shell and doves on acanthus carved cabriole leg and paw feet. 79cm high, 175cm wide, 76cm deep See Glin & Peill, Irish Furniture, Yale 2007, cat.170, pg.245 for an example of an Irish mahogany coffer-on-stand, c.1750 - 60, in the which the decoration of the frieze with the scallop shell flanked by two doves is identical to the one on this table.Irish furniture of the mid-18th century can be identified by its specific idiosyncrasies, and in particular with tables and stands, where the frieze and aprons served as the area that furniture makers were able to show off their imagination and skill.Scallop shells were some of the most prominent carvings used as decoration on tables from this period. It emerged as an important part of the lexicon of Irish furniture and decorative arts in the 18th century. The shells, which were used in Greek and Roman architecture, and popularised in the Renaissance period, were a sign of fertility and associated with the Aphrodite, goddess of beauty. The symmetrical and attractive form of the scallop shell suited the elegant and at times restrained order of Irish furniture. The pair of doves which also accompany the shell in the frieze of this table further expressed the symbolism of love, peace and harmony. They are position in opposing directions with wings spread, creating a wonderful balance and sense of movement to the carving. The remainder of the frieze is embellished with fleur-de-lys, foliage and rosettes. It has a gracefully waved and scrolling apron.The example in Glin & Peill Irish Furniture, is of a mahogany coffer-on stand, which has a double scallop shell and bordered on either side by the pair of doves. It is noted on this coffer that the escutcheon on the single drawer is similar to those seen on Chinese-export coffers, further linking Irish furniture with the prevailing interest at the time in Chinese and Japanese decorative works due to the increased trade link with the Far East.
A 20TH CENTURY CHINESE HARDWOOD WEDDING CABINET with carved pierced frieze over pair of cabinet doors decorated with brass moth door furniture which slide back to reveal shelved interior over two drawers on square supports joined by shaped aprons, 179cm high x 106cm wide x 58cm deep Condition Report:Available upon request
A VARIETY OF OCCASIONAL FURNITURE, to include a rectangular bevelled edge wall mirror, another wall mirror, a triple dressing mirror, a wall clock, a linen basket, a cupboard with a single drawer and door, a standard lamp, a stool, and an oval Chinese woollen rug (condition report: all with imperfections, such as marks, scuffs, stains, other wear and usage) (9)
A collection of early 20th century & later cigarette cards, including complete sets and part sets. The lot including complete sets Wills Life in the Royal Navy series of 50, Wills Our King and Queen series of 50, Wills Air Raid Precautions series of 50, and John Player & Sons Kings & Queens of England series of 50. Part sets including Lambert & Butler Motor Cars 2nd Series 23/25, Wills Dogs 44/50, Wills Old Furniture 2nd series 8/25, Wills The Sea-Shore 49/50, Wills Radio Celebrities 49/50, Players Dogs from paintings by Arthur Wardle 35 from 1st & 2nd series, Wills The Kings Art Treasures 14/40, Major Drapkin & Co. A Series of 36 Subjects (23 cards only), Player's Characters from Dickens series of ten, R. J. Lea Chairman Miniatures first series (18 only). Further, one Raydex Musical Instruments No. 13 Chinese Musical Instruments, seventeen from Dog Series by Candy Novelty & three Corgi Toy cards presented with Sweet Cigarettes, and a 2016 Cigarette and Trade Card Catalogue. Housed in an album, some loose.
SIX REFERENCE BOOKS OF CHINESE INTEREST. Comprising: Classic Chinese Furniture, by Wang Shixiang, Oriental Lacquer by K. Herberts, The Dragon Empress, by M. Warner, New Perspectives on Chu Culture, Sackler Gallery, The Unearthed Cultural Relics from Lei Gu Dun, Chinese Lacquer, Part I, from the Five Thousand Years of Chinese Art Series (6)
Pair of 18th century Chinese huanghuali wooden horseshoe back jiaoyi armchairs. Each chair with a paneled seat and characteristically shaped top rails. With curved back splats with two carved panels depicting lotus plants and a female figure. With a shaped apron and legs joined by stretchers with a footrest.Provenance: Christie's, Amsterdam, "Chinese and Japanese Ceramics, Furniture and Works of Art," November 4, 1992, Lot 385; The collection of Bruce Dayton and Ruth Stricker Dayton - Selections from The Marsh, Minnetonka, Minnesota.Each, height: 38 1/4 in x width: 25 3/4 in x depth: 21 in.Condition: The chairs are structurally sound and stable. There are some areas where the wood has become slightly loose along joints; the curved rail of one of the chairs the joint has somewhat come apart. Along the front skirt of one chair, both side pieces are missing; one of the side pieces to the other chair is missing; visible in the lot listing. There are a few areas with possible light regluing along the joints to strengthen them. Light wear throughout.
Pair of rare mid-19th century Chinese elm wood horseshoe back quanyi chairs. Each with a U-form crestrail. Each with a carved and bowed paneled splat decorated with a ruyi panel above a panel with a Buddhist lion flanked by pierced fretwork. With newer caned seats and high-arched stretchers. It is unusual to see hardwood chairs with carvings such as this.Provenance: Sotheby's, New York, "Fine Chinese Ceramics, Furniture and Works of Art," November 29 & 30, 1995, Lot 349; The collection of Bruce Dayton and Ruth Stricker Dayton - Selections from The Marsh, Minnetonka, Minnesota.Each, height: 39 in x width: 26 3/4 in x depth: 21 in.Condition: The chairs are structurally sound and stable. Light separation to the joints throughout. There are three losses to the high-arched stretcher bars of one of the chairs where sections are broken off. Along the other chair, there are several cracks along each of the high arched stretcher bars. Along the same chair, one half of the carved design running along the rear vertical rails of the seat is missing. Light wear along the feet. Dust and debris gathered throughout.
FURNITURE ASSORTMENT to include: French style small bedroom chest, dressing table stool, chairs, Chinese nest of three carved coffee tables with curved ends, 35 (h) x 92 (w) x 46cms (d) the largest and a Bombe three drawer chest, reproduction French Kingwood burr walnut with green marble top and brass mounts and handles, 74 (h) x 64 (w) x 35.5cms (d)Provenance: private collection Gwynedd
ˑ A collection of four original catalogues from Sotheby's sales held in 1988 which were previously owned by Freddie Mercury. The lot consists of the following catalogues: The Andy Warhol Collection of Art Nouveau and Art Deco sale held in New York on the 23rd April 1988 Chinese Export Porcelain and Decorative Arts sale held in London on the 10th May 1988 and the 13th May 1988 The Return of Marco Polo Auction in the Forbidden City sale held in Beijing on the 5th June 1988 Post War and Contemporary Art held in London on the 30th June 1988 In the book 'Freddie Mercury: A World Of His Own' which was sold by Sotheby's to accompany their Freddie Mercury auction in September 2023, they note that 'Freddie did not make purchases haphazardly. The collections within Garden Lodge were meticulously assembled... Freddie's collecting was shaped by private visits to auction house exhibitions and an obsession with the auction catalogues that Peter (Peter Freestone, Freddie's assistant) would source for him. "I would always check what auctions were coming up and the things that would interest him. I would then get the catalogue so he could have a look - carpets, furniture, crystal, artworks, everything. He'd mark up the lots he wanted and send me to bid. On the morning of the auction, I would take his tea up at nine o'clock and his cheque book with me, for him to sign, so I could go later on and bid for him." The catalogues measure 21cm x 27cm (8.2 inches x 10.6 inches). The condition is very good. Provenance: previously sold as part of lot 666 from the Freddie Mercury: A World Of His Own, At Home sale held at Sotheby's, New Bond Street, London on the 8th September. This item is accompanied by a certificate of authenticity on Tracks Ltd. letterhead stating the above.
ˑ A collection of four original catalogues from Christie's sales between 1986 and 1988 which were previously owned by Freddie Mercury. The lot consists of the following catalogues: Impressionist and Modern Watercolours and Drawings sale held on 2nd December 1986 and Modern Paintings, Drawing and Sculpture held on the 5th December 1986 Magnificent French Furniture and Sculpture sale held on the 17th June 1987 A Collection of Napoleonic Memorabilia sale held on the 18th June 1987 Chinese Porcelain and Works of Art sale held on the 9th May 1988 In the book 'Freddie Mercury: A World Of His Own' which was sold by Sotheby's to accompany their Freddie Mercury auction in September 2023, they note that 'Freddie did not make purchases haphazardly. The collections within Garden Lodge were meticulously assembled... Freddie's collecting was shaped by private visits to auction house exhibitions and an obsession with the auction catalogues that Peter (Peter Freestone, Freddie's assistant) would source for him. "I would always check what auctions were coming up and the things that would interest him. I would then get the catalogue so he could have a look - carpets, furniture, crystal, artworks, everything. He'd mark up the lots he wanted and send me to bid. On the morning of the auction, I would take his tea up at nine o'clock and his cheque book with me, for him to sign, so I could go later on and bid for him." The largest catalogue measures 20.5cm x 26cm (8 inches x 10.2 inches). The condition is very good. Provenance: previously sold as part of lot 666 from the Freddie Mercury: A World Of His Own, At Home sale held at Sotheby's, New Bond Street, London on the 8th September. This item is accompanied by a certificate of authenticity on Tracks Ltd. letterhead stating the above.
A George I walnut open armchair1720-1725The elongated cartouche shaped back and oval seat upholstered with associated George II close-nailed 'gros' and 'petit-point' needlework depicting assorted ribbon tied flowers and foliage, with scrolled 'shepherd's crook' type arm supports, on ring turned tapering legs each headed by a shaped bifurcated spandrel, the rear legs slightly splayed, terminating in pad feet, the shaped X-form stretcher surmounted by a central scrolled leafy branch carved in high relief, 64cm wide x 53cm deep x 95cm high, (25in wide x 20 1/2in deep x 37in high)Footnotes:A very similar walnut armchair to the offered lot, formerly with Mallett, is illustrated in A. Bowett, Early Georgian Furniture, 1715-1740, 2009, Woodbridge, pl. 4:91, pp.'s 188-189. Another close comparable, which previously formed part of the collection of Sir George Leon, Bt., appears in R. Edwards, The Dictionary of English Furniture, Vol. I, the revised and enlarged edition, 2000, New York, fig. 100, p. 259. A further related version, albeit with an inlaid walnut back as opposed to an upholstered one, features in R. W. Symonds, English Furniture, From Charles II to George II, 1980, Woodbridge, fig. 90, p. 119.Although all of the aforementioned have similar shaped backs, 'shepherd's crook' type arms, oval seats and turned tapering front legs to the present example, it is notable that the latter incorporates a more interesting and idiosyncratic stretcher design than appears on any of the others. The above model has the charming naturalistic element of a scrolled 'folding-over' leafy branch carved in high relief to the centre of its stretcher. However, this same model of lotus leaf carving is also a prominent aspect on the stretchers of a pair of George I armchairs which sold Christie's, New York, 13 April 2000, Important English Furniture, lot 25. The unusual and distinctive leaf ornament on these stretchers is derived from contemporary 'Indian' or Japanese and Chinese lacquer cabinets-on-stands. Another armchair possessing this intriguing characteristic sold Christie's, New York, 21 October 1999, lot 20. Also, a stool from the collection of Marjorie Wiggin Prescott, along with another pair of related chairs in a private American collection, feature similar leaf-carved stretchers. Nonetheless, perhaps one of the most wonderful elements of the offered lot is the beautiful associated needlework used to upholster its back and seat, which appears to be English work that dates to the second quarter of the 18th century.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 'Gothick' mahogany open armchairAfter designs by Robert Manwaring and certainly influenced by a Thomas Chippendale design, with restorationsThe square back with re-entrant upper angles and blind fretwork rails of elongated double-sided cusped arches interspersed with quatrefoils, the open rose form splat comprised of a central rosette encompassed by eight radiating flared cusped arches, with matching arms and with associated gros and petit needlework seat upholstery, on cluster column front legs terminating in block feet, with splayed square section rear legs, largely re-railed, one original section of the railing remains, approximate depth of the seat: 52cm, 68cm wide x 94 cm high.Footnotes:In 1754, a 'Gothick' fretted parlour chair was invented for the author, antiquarian, academic, collector and connoisseur Horace Walpole for his castellated villa, Strawberry Hill, in Twickenham. In the same year Thomas Chippendale issued patterns for related 'Chinese' railed chairs in his seminal publication, The Gentleman and Cabinet-Maker's Director, pl. XXIII. Subsequently, the third edition of Chippendale's Director, published in 1762, features an engraving, itself dating to 1761, of a 'Gothick' chair with a similar cusped 'rose' splat to that on the present lot, pl. XXV. Alongside this design Chippendale notes that it would be 'proper for a library'. This same plate also appears in Pictorial Dictionary of British 18th Century Furniture Design, compiled by E. White, 2000, Woodbridge, p. 67. However, the offered example, with its distinctive rose window form splat and elegant cluster column legs, is arguably more closely related to a 'Gothick' design executed by Robert Manwaring. This Manwaring drawing is illustrated in the c.1765 second edition publication by the London based 'Society of Upholsterers' called Genteel Household Furniture in the Present Taste, pl. 15. Indeed, the latter is replicated in Pictorial Dictionary of British 18th Century Furniture Design, op. cit., pl. 15.Two further comparable models of 'Gothick' chair designs which originally appeared in Robert Manwaring's 1765 publication, The Cabinet and Chair-Maker's Real Friend and Companion, pl.'s 14 and 15, also again feature in the Pictorial Dictionary, op. cit., pl.'s 14 and 15, p. 79.An identical armchair to the offered lot sold Christie's, London, Important English Furniture, 14 June 2001, lot 29. A pair of very closely related chairs, of the same approximate date and likewise evidently after a Manwaring design, sold Christie's, New York, 16 April 2002, Important English Furniture, lot 3. Another chair of this general type sold Christie's, London, 26 February 1981, lot 60. Whilst a set of eight, including two armchairs, which have similar quatrefoil panelling to their frames sold Enniskerry, Co.Wicklow, Ireland, Christie's house sale, 23 January 1978, lot 97.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 Dutch late 18th century ormolu mounted kingwood, satinwood, amaranth, tulipwood and fruitwood marquetry secretaire à abattant attributed to Matthijs Horrix (1735-1809)Of unusually small size, the grey marble rectangular top with moulded edge above a veneered dental mounted frieze and a floral inlaid fall enclosing a fitted interior of four drawers, a central cupboard, with a further drawer and an open compartment, the base fitted with three drawers, flanked by angled corners mounted with columns, the sides inlaid with ribbon tied musical trophies with a guilloche border to the base on faceted tapering legs inlaid with trailing bellflowers, 81.5cm wide x 44.5cm deep x 109.5cm high, (32in wide x 17.5in deep x 43in high)Footnotes:ProvenanceThe present lot was formerly with Pieter Hoogendijk Antiquairs, Baarn, 1996.From the collection of the late Cornelis Paulus van Pauwvliet.ExhibitedPieter Hoogendijk Antiquairs, PAN Amsterdam, 1996.LiteratureAnnigje Hofstede, Nederlandse Meubelen: Van Barok Tot Biedermeier, 1700-1830, 2004, fig. 303, p. 181.Matthijs Horrix (1735-1819) was the foremost cabinetmaker in Holland during the second half of the eighteenth century. Born in Germany near the Dutch border, he was admitted to the furniture makers' guild in The Hague in 1764 and straightaway set out upon a brilliant career. He quickly became the principal supplier of veneered furniture to the stadholder, Prince William V of Orange, who in 1767 married Princess Wilhelmine of Prussia, and to the aristocratic clients that converged onto The Hague, the city where the court, the government and the embassies were established. But his workshop, which soon became the largest in the city and which, unusually, he extended to encompass chair-making and upholstery in the manner of the great London furniture firms, also worked for less exalted clients. Horrix was all but unique in acquiring fame throughout the seven United Provinces that together constituted the Dutch Republic: when clients in faraway towns wished to obtain a truly exquisite piece of furniture, they turned to Horrix. Nothing is known about Horrix's training, but it may be assumed that he spent time as a journeyman in Paris, where of course many of the leading ébénistes were of German origin. When Horrix named his shop in The Hague 'In the commode of Paris', this was most likely intended to keep the memory of an apprenticeship in the French capital alive, as well as highlighting his principal speciality. All over Europe, a floral marquetry commode in the Parisian style became the fashionable piece of furniture par excellence in the early 1760s, and Horrix was undoubtedly the main exponent of this trend in The Hague. For the marriage of the stadholder in 1767, Horrix was commissioned to deliver considerable quantities of marquetry furniture, doubtless all in the latest French manner. Right until William V and his family were forced to flee to England because of the French invasion in 1795, he remained their principal cabinet maker. Princess Wilhelmine, who mentions him in several of her letters, had a special predilection for his work. She ordered many fine pieces for her private apartments and actively influenced stylistic decisions: for example, in 1780 she supplied Horrix with Japanese lacquer panels to set into commodes. Marquetry furniture inlaid with Chinese or Japanese lacquer is a staple of late eighteenth-century Dutch furniture, and Wilhelmine may have played an important role in fostering this taste. In 1790-1791 Horrix provided the panelling, inset with Chinese lacquer, and all the lacquer-mounted furniture for the new Audience Chamber in Huis ten Bosch, the stadholder's palace outside The Hague, which is now the principal residence of King Willem Alexander and Queen Máxima.It wasn't until the 1990s that part of Horrix's work was identified. Although the French invaders sold nearly all of the stadholder's collections after 1795, a few marquetry commodes in the Dutch royal collection were recognized as being part of his deliveries from the late 1760s. Comparison with these rare items led to further attributions, and a stylistic development could be traced that culminates in the lacquer-mounted room at Huis ten Bosch. Cees Paulus van Pauwvliet was deeply interested in this development, and became very keen to own some of Horrix's work. The large and bulbous Louis XV commodes that are typical of the cabinetmaker's early production seem not to have caught his fancy, or may simply have been too big for his apartment. Instead, he acquired a fine group of two marquetry commodes including the present lot of a small secretaire in the Louis XVI manner. These can be securely attributed to Horrix because of close stylistic affinities with documented pieces. Inevitably, there is now a trend to attribute any fine piece of Dutch marquetry furniture to Horrix, especially when it is inlaid with lacquer panels. However, Paulus van Pauwvliet went for the best; typically, he was so interested in the whole issue that he also bought a marquetry secretaire in the French manner that clearly is not by Horrix, but by an anonymous, perhaps slightly less gifted Dutch maker (lot 54).On Matthijs Horrix and his work, see Reinier Baarsen, 'In de commode tot Parijs tot Den Haag', Matthijs Horrix (1735-1809), een meubelmaker in Den Haag in de tweede helft van de achttiende eeuw, Oud Holland 107 (1993), pp.'s 161-255.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 Dutch late 18th century ormolu mounted kingwood, tulipwood, harewood, amaranth and fruitwood marquetry commode attributed to Matthijs Horrix (1735-1809)The breakfront grey marble top above a veneered mounted dental frieze and a central panelled door inlaid with an olive leaf tied floral medallion flanked by ribbon tied musical trophies surmounted by simulated drawers, the central door enclosing a single shelf, the angled corners fitted with columns, the sides inlaid with Neoclassical urns, above a guilloche frieze, on faceted tapering legs, 117cm wide x 57cm deep x 92cm high, (46in wide x 22in deep x 36in high)Footnotes:ProvenanceFrom the collection of the late Cornelis Paulus van Pauwvliet.Pieter Hoogendijk Antiquairs, Baarn, where probably purchased 1996.ExhibitedPieter Hoogendijk Antiquairs, PAN Amsterdam, 1996.LiteratureAnnigje Hofstede, Nederlandse meubelen: Van Barok Tot Biedermeier 1700-1830, 2004, fig. 234, p. 147.Matthijs Horrix (1735-1819) was the foremost cabinetmaker in Holland during the second half of the eighteenth century. Born in Germany near the Dutch border, he was admitted to the furniture makers' guild in The Hague in 1764 and straightaway set out upon a brilliant career. He quickly became the principal supplier of veneered furniture to the stadholder, Prince William V of Orange, who in 1767 married Princess Wilhelmine of Prussia, and to the aristocratic clients that converged onto The Hague, the city where the court, the government and the embassies were established. But Horrix's workshop, which soon became the largest in the city and which, unusually, he extended to encompass chair-making and upholstery in the manner of the great London furniture firms, also worked for less exalted clients. He was all but unique in acquiring fame throughout the seven United Provinces that together constituted the Dutch Republic: when clients in faraway towns wished to obtain a truly exquisite piece of furniture, they turned to Horrix. Nothing is known about Horrix's training, but it may be assumed that he spent time as a journeyman in Paris, where of course many of the leading ébénistes were of German origin. When Horrix named his shop in The Hague 'In the Commode of Paris', this was most likely intended to keep the memory of an apprenticeship in the French capital alive, as well as highlighting his principal speciality. All over Europe, a floral marquetry commode in the Parisian style became the fashionable piece of furniture par excellence in the early 1760s, and Horrix was undoubtedly the main exponent of this trend in The Hague. For the marriage of the stadholder in 1767, Horrix was commissioned to deliver considerable quantities of marquetry furniture, doubtless all in the latest French manner. Right until William V and his family were forced to flee to England because of the French invasion in 1795, he remained their principal cabinetmaker. Princess Wilhelmine, who mentions him in several of her letters, had a special predilection for his work. She ordered many fine pieces for her private apartments and actively influenced stylistic decisions; for example, in 1780 she supplied Horrix with Japanese lacquer panels to set into commodes.Marquetry furniture inlaid with Chinese or Japanese lacquer is a staple of late eighteenth century Dutch furniture, and Wilhelmine may have played an important role in fostering this taste. In 1790-1791 Horrix provided the panelling, inset with Chinese lacquer, and all the lacquer-mounted furniture for the new Audience Chamber in Huis ten Bosch, the stadholder's palace outside The Hague, which is now the principal residence of King Willelm Alexander and Queen Máxima.It wasn't until the 1990s that part of Horrix's work was identified. Although the French invaders sold nearly all of the stadholder's collections after 1795, a few marquetry commodes in the Dutch royal collection were recognized as being part of his deliveries in the late 1760s. Comparison with these rare items led to further attributions, and a stylistic development could be traced that culminates in the lacquer mounted room at Huis ten Bosch. Cees Paulus van Pauwvliet was deeply interested in this development, and became very keen to own some of Horrix's work. The large and bulbous Louis XV commodes that are typical of the cabinetmaker's early production seem not to have caught his fancy, or may simply have been too big for his apartment. Instead, he acquired a fine group of two marquetry commodes (tincluding the present lot) and a small secretaire in the Louis XVI manner. These can be securely attributed to Horrix because of close stylistic affinities with documented pieces. Inevitably, there is now a trend to attribute any fine piece of Dutch marquetry furniture to Horrix, especially when it is inlaid with lacquer panels. However, Paulus van Pauwvliet went for the best; typically, he was so interested in the whole issue that he also bought a marquetry secretaire in the French manner that clearly is not by Horrix, but by an anonymous, perhaps slightly less gifted Dutch maker. On Matthijs Horrix and his work, see Reinier Baarsen, 'In de commode tot Parijs tot Den Haag', Matthijs Horrix (1735-1809), een meubelmaker in Den Haag in de tweede helft van de achttiende eeuw, Oud Holland 107 (1993), pp. 161-255.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots 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 rare black-ground Sèvres hard-paste plate, circa 1791Asiette uni, fond noir chinois en or platine, decorated with a black ground over its entire surface in imitation of Chinese lacquer, the chinoiseries after Jean-Baptiste Pillement, in two-tone tooled gold and platinum, the rim with three individual cartouches in the same manner, 24.4cm diam., interlace double L enclosing date letters oo for 1791, painters mark 2000 in gold for Henri-François Vincent (le jeune) and Bn for Nicolas Bulidon, (flat chip inside footrim)Footnotes:The Production and Legacy of Black-Ground Sèvres Porcelain (1778-1794)For a discussion of decoration in imitation of lacquer, see Selma Schwartz, Chinoiserie Decoration on Black-ground Sèvres Porcelain, in M. Köpplin (ed.), Schwartz Porcelain - The Lacquer Craze and its Impact on European Porcelain, vol. III (2003), pp. 98-107.With the rise of Neoclassicism in the 1770s, there was renewed interest in the furniture of André-Charles Boulle (1642-1732) as well as furniture inspired by his designs. Their materials: tortoiseshell, brass, and tin, in their black, gold, and silver appearance matched perfectly with lacquer objects. In fact, the inventories of some of the most prominent lacquer collectors show that their furniture was more often in the Boulle genre rather than made from lacquer. Selma Schwartz (op.cit., pp.98-107) explains the incorporation of lacquer imitation beyond the obvious technical advancements. In the late 1780s, a series of important lacquer furniture was delivered to the French court, including pieces for Versailles, Saint Cloud, Compiègne, and Bellevue; for Louis XVI, his aunt Adelaide, and Madame Victoire. Notably, Jean Henri Riesener created furniture for Marie Antoinette in 1783 (now in the Metropolitan Museum of Art, see catalogue illustration), intended for her Grand Cabinet Intérieur at Versailles. This furniture harmonised with the collection of Japanese lacquer boxes inherited from her mother, Empress Maria Theresa (1717–80) of Austria, by reusing choice fragments of seventeenth-century Japanese lacquer as veneer.The interest in creating porcelain that resembled lacquer and related experiments seem to have started in Sèvres around 1769, shortly after the manufactory began producing hard-paste porcelain. This was driven by the new technical possibilities and the ongoing fascination with East Asian lacquer. Two documents in the Sèvres archives (Archives, Cité de la céramique, C2/9) suggest that the manufactory explored the process of producing lacquer, possibly for applying lacquer decoration to already fired pieces. In one letter, a Parisian manufacturer of vernis (imitated lacquer) describes his recipes and the process of using black and white lacquer on porcelain. The second document, signed by the director of the manufactory, Melchior François Parent (1772-78), specifies the mixture ratios for black and red lacquer and the application of gold. However, it would take another ten years before the first lacquer imitations were produced.Between 1778 and 1782, the Sèvres manufactory produced a remarkable series of porcelain decorated in imitation of lacquer. This included a notable series from 1779 with black ground colours, achieved using a combination of iron oxide, cobalt, and manganese. These black backgrounds were often adorned with gold and silver decorations, echoing the renewed taste for lacquered furniture. However, the production was marred by technical difficulties related to the tarnishing nature of silver. Platinum, which does not tarnish, quickly replaced silver.In April 1790, the Comte d'Angiviller, Director-General of the King's Buildings and in charge of the Sèvres Manufactory, wrote to Antoine Régnier , the new director of the manufactory (1778-93), congratulating him on acquiring 3.5 pounds of platinum:It was an acquisition not to be missed, and I strongly approve of it. For I rely heavily on this new kind of decoration that no other manufactory will certainly achieve(Archives, Cité de la céramique, H5 vol.1, sincere thanks to Cyrille Froissart who first published this reference).Notable Productions and SalesBetween 1790 and 1793, Sèvres created around forty pieces with black grounds, decorated with coloured gold and platinum. These included vases, flower bowls, water pots, candlesticks, tea services, and table services. The first of these services, though with a sparser decoration of polychrome flowers on the cavetto, was sold on May 6, 1791, to the Marquis de Sémonville (1759-1839), Louis XVI's ambassador to Genoa. A second service was purchased on 4 April, 1792, by James Milmes (sic), consisting of 48 plates at 48 livres each. Some plates featured enamel flowers, while others had entirely black backgrounds with Chinese figures in gold and platinum, similar to our plate. James Milmes, as listed in the Sèvres archives, likely refers to James Milnes (1755-1805), heir to a wealthy Wakefield woollen merchant and member of Parliament. Milnes was an inconspicuous Member. He joined Brooks's Club, sponsored by Fox, on 17 May 1803 and a week later voted with the Whigs on the failure of negotiations to prevent the resumption of war with France.In late 1794, Citoyen Empaytaz & Compagnie, a company acting as agents for the King of Prussia, bought part of a black-ground service produced in 1791 that remained in stock. This service, composed of 71 pieces including 21 plates, a mix of black ground pieces with others featuring polychrome flowers on a white background. Provenance and LegacyIn the 19th century, specifically in 1844, Prince Nicolay Borisovich Yusupov (1750-1831) owned 107 pieces of the black-ground service. By 1887, the Yusupov family possessed only 32 pieces. Fifteen of these are now housed at the Hermitage Museum in Saint Petersburg, including five plates with entirely black backgrounds (see Nina Birioukova and Natalia Kazakevitch 'La porcelaine de Sèvres du XVIII siècle' The Hermitage Museum (2005), pp. 189-193, nos. 946-954). Twelve plates are in the Metropolitan Museum of Art, New York (Christian Dauterman, Sèvres (1969), p. 52, pl. II); and two others are in the Nelson-Atkins Museum of Art, Kansas City (cat.no. 33-1369 and 33-1370). Two 'seau à demi bouteille' dated 1791 are in the Getty Museum, Malibu (Adrian Sassoon, The J. Paul Getty Museum, Vincennes and Sèvres Porcelain (1991), no. 30, pp. 152-157). A jug and two hexagonal double-gourd bottles are in the collection of Belton House, Lincolnshire, NT 433527 (Patricia F. Ferguson, Ceramics: 400 Years of British Collecting in 100 Masterpieces (2016), p..). Two plates were sold at Christie's in New York in 2010 (Christie's, New York, 22 October, 2010, lot 639) and another plate was sold in 2018 from the collection of Christophe Perlès, Pescheteau-Badin, 18 June, 2018, lot 120). The source for the central scenes on the plate can found in the work of Jean-Baptiste Pillement (1728-1808). The prints after Pillement used at Sèvres can be found in Jean Avril's 'Cahier de Balançoires chinoises' of circa 1770, and the image used for this plate is on the title page (see catalogue illustration). For a study on Sèvres black-ground dessert services, see David Peters, Sèvres Plates and Services of the 18th Century (2015), Vol. IV, no. 91-4, pp. 943-945; no. 92-4, pp. 965-968, and vol. V, no. 94-11, pp. 1075-1078.For further information on this lot please visit Bonhams.com
A GEORGE III GILTWOOD AND GESSO WALL MIRROR CIRCA 1770, AFTER DESIGNS BY THOMAS JOHNSON OR MATTHIAS LOCK The two piece plate within moulded slip and cross stretcher surmounted by a figure of a huntsman with rifle and pheasants within a pagoda on "C" scroll foliate supports, above pierced foliate sides in the chinoiserie taste, mounted with figures of hounds, the apron centred by a hare 205cm high, 100cm wide Provenance: Abbotswood House, Stow-on-the-Wold, Gloucestershire Grosvenor House Antiques Fair, June 1971, Mallett The combination of Chinese Ho-Ho birds, Rococo scrolls and rocaille carving is a style popularised by Thomas Chippendale in The Gentleman and Cabinet-maker's Director (1754-1762). This 'Chinese Chippendale' style was adopted by many other top London makers of the mid 18th century including Ince & Mayhew, Thomas Johnson and Matthias Lock. A mirror frame design incorporating pagodas and a seated Chinese figure, as seen in the present lot, can be found in Thomas Johnson's Collection of Designs, 1758, plate 32 and One Hundred and Fifty New Designs, 1761. For a related 'Pier Glass' by Ince & Mayhew, see The Universal System of Household Furniture, 1759, Reprint by Alec Tiranti, 1960, plate LXXXII.For a similar mirror of the period, see Christie's, London, Julians Park and Six Private Collections, 8th June 2021, Lot 123 (£37,500). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Various minor splits and chips to frame. Some hairline cracks following the underlying joints of the frame. Some minor old repairs. Including small tack repair to secure the bird in the man's hand. Some chips of loss to carving in places. One slightly larger chip of loss to the carved leaf detail at the top of the cresting. The gilt with areas or rubbing and surface wear throughout. The frame appears to have been cleaned and the gilding sympathetically refreshed in areas overall (but retaining its antique appearance). Any skillfully replaced elements to the frame would be virtually impossible to detect due to the cleaned/ restored finish. Mirror plates with depletion, sparkle and some areas of losses. Mirror in restored/retail condition from when it was last purchased. There is a plywood panel of recent manufacture secured to the reverse of the mirror plate. The underlying panel is therefore not visible and we cannot comment on the originality of the underlying panel. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A RARE PAIR OF CHINESE EXPORT BLACK LACQUER AND GILT DECORATED FOLDING CARD TABLES EARLY 19TH CENTURY Each with D-shaped hinged top enclosing a baize-lined playing surface, decorated overall with Chinoiserie trellis and scrolling vines, the top, frieze and sides centred by oval medallions decorated with Chinese landscape and architectural scenes each 77cm high, 91cm wide, 44.5cm deep Provenance: Purchased Christie's London, 3rd December 1970, Lot 96 These elegant games tables demonstrate the success of the Chinese export trade in combining Asian art with Western forms to appeal to the European market during the 18th and 19th centuries. Lacquered furniture was being made in such centres as Nanking, Tonking and Canton, following Western forms copied from examples sent to China or from printed European designs. It reached a high point of production and popularity with the Western trade during the early 19th century, when these examples were made. While Western designs were being copied, these games tables are unusual in their demi-lune form. Carl Crossman in his The Decorative Arts of The China Trade describes a pair of tables that may be this very pair, although unfortunately they are not illustrated. A related pair of tables with similar decoration was sold, Christie's, London, Wilton Crescent, A Robert Kime Interior, 23rd July 2020, Lot 121 (£27,500) Condition Report: Both with the marks, knocks, scratches and abrasions commensurate with age and use. Surfaces with flaking, marks, losses and cracks - see images. Various old repairs where the legs meet the friezes - see images. Various old metal supporting brackets between the backs of the legs/undersides of the tables. Some fragility to the joints of the legs/movement within the frames. Some later timber batons to the undersides of the tables/interior of carcasses. Later baize surfaces to the interiors of the tables. These have the expected minor wear.Please refer to additional images for visual reference to condition. Condition Report Disclaimer
2 Chinese plates cherry red with 4 white panels containing floral, furniture and vase designs, white underside with floral designs, Chia Ch'ing reign mark in red to base with wooden stands - approx. 24.5cm dia. - slight chips to both plates, both showing one slightly more obvious chip - no signs of cracks
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