Antique Cupboard

OAK REFECTORY TABLE, 18th Century style, DISTRESSED MAHOGANY TRIPOD TABLE, MARQUETRY AND WALNUT FRAMED WALL MIRROR, WALNUT DINING CHAIRS

A SMALL MAHOGANY CUPBOARD, Edwardian, enclosed by a panelled door, locked, wide.

AN OAK REFECTORY TABLE, 18th Century style, with a cleated top, on shaped solid end-supports joined by a single stretcher, the top long by wide.

A SET OF SIX OAK DINING CHAIRS, George III, including an armchair, with pierced splats, solid seats and square legs

A TEAK COFFER, Dutch-East Indies, 18th Century, with a rectangular hinged top and engraved pierced brass mounts, on bun feet, wide.
TWO MAHOGANY RECTANGULAR WASHSTANDS, Regency,with ring turned legs, wide. and wide.

AN ANTIQUE GENTLEMAN’S
DRESSING TABLE, George III, including a
hinged top, a pair of doors and apron
drawer, wide.

A WHITE PAINTED WARDROBE, Edwardian style, including triple panel doors and sliding travs. wide., and a pair of similar stvle single door wardrobes. wide.’i   ‘

TWO MAHOGANY CIRCULAR OCCASIONAL TABLES, William IV, the tilt-tops above pedestal supports, one with triform base, the other with quatreform base, diam and diam

AN ANTIQUE CIRCULAR SHAPED OCCASIONAL TABLE, Edwardian, with cabriole legs and undertier, diam., and a distressed mahogany and beechwood adjustable bed table by Alfred Carter,

on platform base, stamped and bearing labels Alfred Carter, London.

AN UPHOLSTERED ARMCHAIR, Edwardian, with floral loose cover and an oak metal bound silver chest,
wide

AN ANTIQUE BLANKET CHEST,
George III, with two restored apron drawers
and later bracket feet, wide.

A DISTRESSED MAHOGANY TRIPOD TABLE, George III, on a baluster pillar, diam., and a distressed oak butler’s tray on associated mahogany folding stand, wide.

AN ANTIQUE PEDESTAL DESK, George III style, with green leather inset top and nine drawers, wide.

AN ANTIQUE CORNER ARMCHAIR, George III, with claret hide slip-in seat and square legs, restorations

AN ANTIQUE CABINET
BOOKCASE, George III, made-up, with a
pair of astragal doors, the base with a pair of
concave panel doors flanking a central door,
high by wide.

A MARQUETRY AND WALNUT FRAMED WALL MIRROR, Dutch, 18th Century, with later rectangular plate, marquetry probably later, high by wide.     ”

AN ANTIQUE CHEST, George III, with two short and two long drawers, wide.

AN ANTIQUE RECTANGULAR SIDE TABLE, George III, with two drawers and square legs, wide.

A SET OF FIVE PAINTED RUSH SEAT CHAIRS, late George III, with stick splats and turned legs, distressed

AN ANTIQUE DRAWING ROOM SUITE, Edwardian, comprising: a settee and two armchairs, each with pierced and carved back splats, on tapered spade feet, upholstered in red and gold

striped fabric.

A SET OF FOUR WALNUT DINING CHAIRS, Victorian, with pierced and carved balloon backs above an upholstered serpentine seat, on cabriole legs faults

MAHOGANY DISPLAY CABINET, VERNIS MARTIN VITRINE, SCULPTURAL MANTEL CLOCK, GILTWOOD SIDE CABINET, KINGWOOD VENEERED OCCASIONAL TABLE, ITALIAN PIETRE DURE MARBLE CHESS BOARD OR TABLE TOP

A MAHOGANY DISPLAY CABINET, Paris, circa 1900,
with a bow-fronted glazed door and serpentine sides on cabriole legs with gilt-bronze mounts, 151cm high, 65cm wide.

A VERNIS MARTIN VITRINE, Paris, circa 1900,
the arched serpentine glazed door with glazed sides
above a painted Vern’s Martin scene,
176cm high, 71cm wide.

A PAIR OF WALNUT STOOLS, circa 1900,
in Louis XV manner, the molded leaf-carved frames with padded open arms, sprung serpentine seat and ‘X’ legs,
66cm wide .

A FRENCH ROSEWOOD AND VERNIS MARTIN
VITRINE,
circa 1890,
the double serpentine door with convex glazed sides and rustic scenes below, with gilt-bronze mounts,
175cm high, 90wide .

A   LARGE   NAPOLEON    III    SCULPTURAL MANTEL CLOCK, Paris, circa 1855,
the movement contained in a carfare marble breakfront plinth surmounted by a gilt-bronze figure of a sleeping lady, loosely draped in a chit on; with key, pendulum and pendulum

adjustment key, 59cm high, 63.5cm .

A CARVED GILTWOOD SIDE CABINET, Paris, circa 1890,
in Louis XVI manner, with a marble top above a frieze drawer and a Vern’s Martin panel, flanked by bevel-glazed doors and sides, divided by twist-turned columns, with six

shelves and key,
125cm high, 131cm wide, 51.5cm deep.

A PAINTED PANEL, mid 19th century,
centered by a dancing female figure in a painted
frame of ribbons and flowers,
198cm high, 120cm wide.

A NAPOLEON III KINGWOOD SECRETAIRE A
ABATTANT,
circa 1855,
with a white marble top above three dummy drawers  enclosing  a writing  surface  and  four serpentine  drawers  below,   the  whole  quarter-veneered and cross banded, 127cm

high, 66cm wide.

A VERNIS MARTIN DISPLAY CABINET, Paris, circa 1900,
in Louis XVI manner, with a bevel-glazed door above a panel painted with a young couple, flanked by convex doors on columnar supports with toupee feet
149cm high, 85cm wide.

A KINGWOOD CARTONNIER, Paris, circa 1930,
in Louis XV manner, of serpentine outline, quarter-veneered with tulipwood cross banding, enclosing four pigeon-holes, with gilt-bronze mounts,
35cm high, 75cm wide.

A GERMAN MAHOGANY CARD TABLE, possibly Altoona, circa 1840,
the   rectangular   hinged   swiveling   top   on   a hexagonal baluster support with scrolled legs and ceramic castors, 86.5cm wide.

A NAPOLEON III  KINGWOOD VENEERED OCCASIONAL TABLE, Paris, circa 1860,
the circular top formerly with a liner from a jardiniere or incorporating a porcelain dish with a gilt-bronze gallery on square cut cabriole legs and brass castors,
73cm high, 34cm diameter.

AN UNUSUAL SMALL NAPOLEON III WRITING TABLE,
Paris, circa 1860,
the superstructure with three drawers above a leather-lined writing slide and a drawer, on cabriole legs joined by a platform X-stretcher, the whole inlaid with a kingwood

three-dimensional trellis centered by flowers, with gilt-bronze mounts, 85 cm high, 99cm wide .

A MAHOGANY AND GILTWOOD MOUNTED DISPLAY CABINET, Paris, circa 1890,
of architectural form, the cresting above a bevel-glazed door and sides with five drawers below, the whole fluted and paneled and set with leaf-cast gilt-bronze mounts, with key

and two shelves, 194cm high, 95cm wide, 48cm deep

A CARRARA MARBLE MANTEL CLOCK, made by Bendy of Paris, circa 1890,
the white enamel dial with the retailers name, Ellington in a wasted case with a verse antic marble banding, 32cm high.

AN ITALIAN PIETRE DURE MARBLE CHESS BOARD OR TABLE TOP, early 20th century,
inlaid with pink roses on a white marble ground, 30cm square.

A BOULLE SIDE CABINET, Paris, circa 1855,
in Louis XV manner, ebony veneered with a brass and tortoiseshell inlaid drawer and two cupboards on cabriole legs, with key, 135cm high, 76cm wide (4ft 5in, 2ft 6in).

A PAIR OF EBONISED BEECHWOOD FOLDING
ARMCHAIRS,
possibly French, circa 1880,
each with simulated bamboo folding frame now
with applied velvet seats.

A FRENCH MAHOGANY DISPLAY CABINET, circa 1900,
with a bowed glazed door and serpentine glazed sides, enclosing two glass shelves with a gilt-metal gallery on cabriole legs, 141cm high, 68.5cm wide .

AN AUSTRIAN PARCEL-GILT LIT A BALDEQUIN,
by Fohr of Vienna, circa 1880,
in French Louis XVI style, the canopy and side rails carved with guilloche, the arched headboard with scallop-shell, parcel-gilt on a grey ground, extensively repainted with

gold paint, with an Austrian metal label O.F6hr, Vienna 170cm wide (5ft 7in)
By repute this bed was used by ‘Sissi’, Empress Elizabeth of Austria during her prolonged stay in Ireland in the first half of 1879. The bed was part of the refurnishing for the

Empress at Summerhill, Co. Meath, the property of Lord Longford. Her visit to Ireland is mentioned in a supplement to the Irish Times, Saturday, 29th April, 1978 ‘When Royalty

Came to Dublin’.

LOUIS-PHILIPPE ‘BOULLE’ INKSTAND, PAINTED IRON SINGLE BEDSTEADS, MALTESE FRUITWOOD CENTRE TABLE, ALPINE CARVED PINE HALL STAND, ITALIAN TRIPOD TABLE

A LOUIS-PHILIPPE ‘BOULLE’ INKSTAND, Paris, circa 1830,
in Louis XIV manner, with two hobnail glass bottles and convex sides inlaid with figures from the
Commedia del’Arte.

A PAIR OF PAINTED IRON SINGLE BEDSTEADS,
probably French, circa 1890,
the arched tubular frames with a dragon cresting,
the head and footboards painted with rococo
foliage applied with abalone, with side-rails,
90cm wide, 206cm long .
.
A GERMAN MAHOGANY DECANTER SET, late 18th/early 19th century,
the exterior inlaid with tassels and pattered, the interior with six decanters, two flasks and a tray all decorated with gilding,
23cm high, 30cm wide, 19cm deep.

A NAPOLEON III MARBLE INSET SMALL BOX, by Giroux, Paris, circa 1860,
the rectangular casket with five black marble panels inset with red black and green mother-of-pearl and scalable, the lock-plate signed MaisonAlph. Giroux Paris; with key,
21cm wide.

AN ENGLISH PORCELAIN MOUNTED SMALL CASKET,
Victorian, circa 1860,
of rectangular form, the lid inset with a porcelain panel, the gilt-bronze casket engraved with flowers; with key.

A MALTESE FRUITWOOD CENTRE TABLE, circa 1825,
the top inlaid with an ebonized Maltese cross, with four drawers and four dummy drawers in the frieze, on a turned leaf-carved support and triangular base,
72cm high, 54cm diameter An almost identical table is illustrated, Antique
Maltese Furniture, by Joseph Galea-Naudi and Denise
Micallef.

A MAHOGANY CENTRE TABLE, probably French, late 19th century,
the oval white and grey-veined carfare marble top, a milled gilt-bronze border, the paneled frieze set with two circular jasper plaques, on ribbon-tied gadrooned tapering legs,

75cm high, 87cm wide.

A SORRENTO PARQUETRY CENTRE TABLE, circa 1840,
the top inlaid with a Neo-classical chariot within a radiating geometrical design supported on a turned tripod base with herringbone base, 75cm high, 80cm wide.

A FRENCH IVORY MIRROR, circa 1880,
the arched cresting with an armorial device flanked by sea horses, plumed helmets and the monogram
CR,
85cm high 57cm wide.

AN ALPINE CARVED PINE HALL STAND, German or Swiss, circa 1880,
in the form of a bear at the bottom of a tree with a cub in the upper branches
203cm high (6ft 8in).

A GERMAN HISTORISMUS INLAID CABINET, circa 1890,
in Renaissance Revival manner, the inlaid doors flanked by caryatids with a projecting lower part above a pair of cupboard doors the whole inlaid with parquetry foliage and

masks, on a walnut ground with ebony banding and red tortoiseshell panels,
230cm high, 150cm wide.

AN ITALIAN ENGRAVED GLASS MIRROR, Venice, circa 1900,
the canted beveled frame with an outer border etched with flowers below a pierced cresting, 140cm high, 90cm wide (4ft 7in).

A SMALL GILT-BRONZE CHANDELIER, Paris, circa 1880,
the tri-form cage with three seated cherubs supporting nine acanthus cast candle arms, the top stamped H Beau,
80cm high, 70cm diameter.

A FRENCH VERNIS MARTIN DISPLAY CABINET,
provincial, circa 1900,
the arched cresting above a serpentine glazed door and sides and a vermin martin panel on cabriole legs, with gilt-bronze mounts and enclosing two shelves; with key,
166cm high, 82cm wide .

A VERNIS MARTIN VITRINE, Paris, circa 1900,
in Louis XV manner, the arched serpentine door and sides with glazed panels above painted scenes, veneered in rosewood with gilt-bronze mounts, 190cm high, 84cm wide (6ft 3in,

2ft 9in).

A PATINATED AND GILT-BRONZE WALL-LIGHT,
Paris, circa 1890,
in Louis XV manner, with a naked female figure holding a dolphin below four scrolling candle-arms, fitted for electricity,
69cm by 54cm.

AN ITALIAN TRIPOD TABLE, probably Florence, circa 1860,
the circular black marble top inlaid with white roses, on parcel-gilt and ebonized tripod support, 76cm high, 61cm diameter.

AN   UNUSUAL  NAPOLEON   III   COMBINED WORK AND WRITING TABLE, Paris, circa 1850,
the fitted writing drawer with a writing slide operating in conjunction with a sliding top and a workbox below, on ebonized in swept legs with gilt-bronze mounts, the whole

inlaid with a brass flower-head trellis,
77cm high, 57cm wide.

A NAPOLEON III BOULLE DRESSING TABLE, by Vader of Paris, circa 1855,
in Louis XV manner, with a serpentine hinged lid enclosing two trays and a mirror with a work box below, on cabriole legs, the lock signed Vader a Paris, the woodwork stamped CD

700, 71cm high, 61cm wide.

AN ITALIAN PIETRA DURA AND GILTWOOD TRIPOD TABLE, circa 1875,
the circular top inlaid with flowers, raised on a fluted stem and flower and piaster-carved scroll feet,
78cm high, 51cm diameter.

IBERIAN MAHOGANY DISPLAY TABLE, BIEDERMEIER MAHOGANY SOFA, MAHOGANY CONSOLE TABLE, BIEDERMEIER BIRCHWOOD BED, CARVED GILTWOOD CONSOLE TABLE

A   RESTAURATION   BRONZE   AND   GILT-BRONZE CLOCK, circa 1820,
the circular dial contained in a plinth surmounted by a seated figure of a huntress, 45cm .

A COLONIAL TEAKWOOD CUPBOARD, early 19th century,
with a pair of paneled doors above two short drawers flanked by further paneled doors, 195cm high, 137cm wide, 53cm deep.

AN IBERIAN MAHOGANY DISPLAY TABLE, circa 1825,
with hinged oval glazed top and dolphin support, 86cm high, 70cm wide, 49cm deep.

A PAIR OF NEAPOLITAN BRONZE HANGING OR STANDING OIL-LIGHTS, mid 19th century,
in antique style, hanging from two dolphins and each with two oil-spouts and two lion torsos, 30cm high, 32cm wide.

A BIEDERMEIER MAHOGANY SOFA, circa 1825,
with simple frame and stuffed back and seat, 214cm wide (7ft).

A SCANDINAVIAN BIEDERMEIER MAHOGANY PIER-GLASS AND TABLE, circa 1830,
the arched plate with gothic cresting carved with leaves, the table with gothic frieze and leaf-carved supports,
301cm high, 95cm wide, 45cm deep.

A     GERMAN     MAHOGANY     SECRETAIRE
CABINET,
mid 19th century,
with arched cresting above a drawer, a paneled fall-front and three further drawers, 183cm high, 99cm wide, 49cm.

A MAHOGANY CONSOLE TABLE, ITALIAN OR
FRENCH,
circa 1825,
with mottled yellow marble top, beaded frieze and two receded and leaf-carved scroll legs ending in paw feet.

A BRASS-INLAID ROSEWOOD SOFA, circa 1825, probably Iberian colonial,
with arched leaf-carved back, paneled over scroll arms and winged paw feet,
183cm wide .

A CONTINENTAL CHINOISERIE FIGURE possibly Italian, circa 1900,
the paper mace Mandarin standing on a pine plinth,
89cm high .

A BIEDERMEIER MAHOGANY SOFA TABLE, circa 1820,
the rectangular top with two hinged panels, with two drawers in the frieze, scroll legs and arched stretcher,
76cm high, 142cm wide, 63cm deep (2ft 6in, 4ft 8in).

A PAIR OF LOUIS-PHILIPPE BRONZE AND GILT-BRONZE CANDELABRA, circa 1835,
each with four candle-nozzles held aloft by a troubadour style figure, 49.5cm high (192in).

AN ITALIAN WALNUT X-FRAME STOOL, 19th century,
the support in the form of lion masks with hairy paw feet, each side centered by a lion mask.

A   SCANDINAVIAN   MAHOGANY  VENEERED CENTRE TABLE, circa 1870,
the twelve-sided top with concave borders segment ally veneered on a flower-carved tripod base,
123cm diameter.

A PAIR OF FRENCH BRONZE, GILT-BRONZE AND MARBLE CANDELABRA SUPPORTS, first half 19th century,
each in the form of a winged cherub standing on a drum-shaped base, 75cm high (29in).

A BIEDERMEIER BIRCHWOOD BED, circa 1825,
the paneled headboard with pediment cresting, the footboard faced by two pairs of columns, 176cm wide, 195cm long.

AN    UNUSUAL    PAIR    OF    BIEDERMEIER MAHOGANY CACHEPOTS, circa 1820,
the octagonal bell-shaped tops raised on bulbous soles and flared bases,
48cm high, 27cm wide.

A FRENCH KINGWOOD CENTRE TABLE, Napoleon III, Paris circa 1850,
the oval serpentine top in kingwood with tulipwood cross banding, the concave support on quadruple down swept legs,
142cm wide.

A FRENCH GILT-BRONZE AND FRUITWOOD
LYRE CLOCK SET,
by Kinable of Paris, circa 1900,
in Louis XVI manner, the dial signed, with an oval base and a bimetallic pendulum with a moving circlet of brilliants, flanked by a pair of conforming candelabra,
the clock 46cm high.

AN UNUSUAL CARVED GILTWOOD CONSOLE TABLE,
late 18th/early 19th century,
with rectangular grey marble top, guilloche frieze, the scroll legs headed by scallop shells and carved with piaster’s and leaves, the stretcher centered by a large scallop

shell,
95cm high, 91.5cm wide
A PAIR  OF NAPOLEON  III  SMALL  GILT-BRONZE CANDLEABRA, Paris, circa 1870,
each with a boy and a girl sitting in a two-light rose
candleabra.

ITALIAN PAINTED CHAIRS, LOUIS XVI GILT-BRONZE MANTEL CLOCK, RESTAURATION GILT-BRONZE FENDER, ROSEWOOD MARQUETRY DOUBLE SECRETAIRE, LOUIS XVI PAINTED PROVINCIAL BATHING CHAIR

A SET OF TEN ITALIAN PAINTED CHAIRS, six late 18th century, four later,
with molded frames, stuffed rectangular backs, stuffed drop-in seats and fluted tapering legs, repainted with trailing flowers and leaves on a creamy yellow ground.

A   SWEDISH   PAINTED   AND   PARCEL-GILT SMALL CYLINDER BUREAU, late 18th century,
the roll-top with a ribbon-tied spray of flowers, concealing a fitted interior with six drawers and an arched door, on square fluted tapering legs, 109cm high, 82cm wide, 50cm

deep
A very similar table is in the collection of Gustavo, 7th Due d’Otrante at Elghammar House, Sweden, illustrated in Hakan Groth, Neoclassicism in the North, London, 1990. Another

is illustrated in Sigurd Wallin, Nordiska Museets mobler Svenska Herremanshem, 1979.

A LOUIS XVI GILT-BRONZE MANTEL CLOCK, circa 1785,
the circular white enamel dial signed Angelino a
Paris, surmounted by the seated figure of Diana and
her hound, the shaped plinth with a frieze of
frolicking cherubs, on tasseled feet.

AN EMPIRE MAHOGANY GUERIDON, circa 1815,
with veered antic marble top, the three columnar
supports joined by cross-bars.

AN    EGYPTIAN    REVIVAL    ENAMEL    AND SILVERED BRASS CASKET, circa 1880,
the cover with a reclining female figure, the whole decorated with Egyptian scenes and symbols, raised on recumbent sphinxes,
23cm high, 32cm wide, 22cm wide.

A   RESTAURATION   BRONZE   AND    GILT-BRONZE MANTEL CLOCK, circa 1820,
the circular dial contained within a sphere flanked
by a standing female figure and a flaming torch,
surmounted by Cupid, the rectangular plinth faced
by posies and garlands, on square feet.

A   RESTAURATION   BRONZE   AND    GILT-BRONZE FENDER, circa 1825,
the plinths surmounted by cornucopia with boars’ heads, the central pole above a line of graduated rosettes,
minimum 110cm wide, maximum 150cm wide .

A RESTAURATION GILT-BRONZE FENDER, circa 1820,
each plinth surmounted by a lion fighting with a snake,
minimum 98cm wide, maximum 150cm wide .

A   RESTAURATION   BRONZE   AND    GILT-BRONZE FENDER, circa 1820,
faced with gilt-bronze masks and rosettes,
minimum 130cm wide, maximum 150cm wide .

A  RESTAURATION   MAHOGANY   DRESSING
TABLE,
circa 1815,
the oval plate with columnar supports, the table stand with white marble top, a drawer in the frieze and scroll front legs,
144cm high, 77cm wide, 45cm deep.

A RESTAURATION PROVINCIAL FRUITWOOD
BUREAU-CABINET,
circa 1820,
the upper part with a pair of glazed doors, the lower part with a sloping front enclosing a fitted interior above two long drawers,
209.5cm high, 107cm wide, 58cm deep.

A RARE ROSEWOOD MARQUETRY DOUBLE SECRETAIRE,
circa 1825, French or Spanish,
the two paneled fall-fronts inlaid with arabesque scrollwork and raised on fluted and scroll supports, 146cm high, 117cm wide, 67cm deep.

A   RESTAURATION   BRONZE   AND    GILT-BRONZE LION, circa 1825,
shown recumbent, the plinth faced by a flower-filled tizzy and bearing a coat of arms, 26cm high The arms are those of Counts Szecheny de Sarvary-Felso-Videk of Hungary (created

Counts on 7th September 1697), ref. J. B. Rietstap, Armorial General. This family played a very important role in the history of Hungary.

A PAJR OF SWEDISH GRANITE COLUMNS,
with Empire style guilloche mounts in gilt bronze,
TWO SIMILAR PAIRS OF GILT-BRONZE WALL-LIGHTS, 19th century,
each with two candle-nozzles supported on a ring issuing from a lions mask, 16cm deep.

A LOUIS XV BEECHWOOD COMMODE CHAIR, mid 18th century,
with caned back and seat, the apron and sides carved with scrollwork; bearing the stamp Hilliard

A PAIR OF RESTAURATION  GILT-BRONZE AND MARBLE TAZZE, circa 1825,
each plinth faced by a palm wreath.

A PAIR OF GILT-BRONZE CHENETS, circa 1810,
with artichoke finials and faced by swans, bearing an inventory mark EL surmounted by a crown .

A LOUIS XVI PAINTED PROVINCIAL BATHING CHAIR,
circa 1785,
the loose caned low back and sliding seat above a tile basin supported on square legs, 70cm high, 59cm wide, 67cm deep .A virtually identical fauteuil blain de siege is at the

Mused
des Arts et Traditions Popularizes in Paris. Nicole De
Reyna’s, he mobile domestique, illustrates this
example. This kind of chair
usually existed in a round or oval shape, while the
rectangular form is considered
rarer.

A    SET    OF    THREE    PAINTED    CHAIRS, PROBABLY VIENNESE, circa 1800,
with arched curved backs, stuffed seats and saber legs, delicately painted with flowers and scrollwork on a pale blue ground.
TWO     VERY     SIMILAR     RESTAURATION MAHOGANY ARMCHAIRS, circa 1830,
with curved backs, scroll arms, stuffed seats and cabriole legs.

A     RESTAURATION     MAHOGANY     DESK
ARMCHAIR,
circa 1825,
the curved back with lion mask terminals, with stuffed seat and turned tapering legs.

FRENCH MAHOGANY BEDSIDE TABLE, DIRECTOIRE MAHOGANY TRICTRAC TABLE, FRENCH GILTWOOD DUCHESSE BRISEE, PAINTED AND PARCEL-SILVERED ARMCHAIRS, ITALIAN OR IBERIAN, FRENCH GILT-BRONZE-MOUNTED WHITE MARBLE VASES

A DUTCH MARQUETRY DUMB WAITER, part 18th century,
with three circular tiers and a tripod base, 115cm high, 63.5cm diameter.

A SMALL FRENCH MAHOGANY BEDSIDE TABLE,
probably Paris, circa 1890,
in Louis XVI manner, with a three-quarter gallery above three drawers, veneered in mahogany and applied with gilt-bronze mounts, 73cm high, 44cm wide .

A SET OF SIX DUTCH MARQUETRY DINING
CHAIRS,
circa 1800,
each with a pierced stick splat, stuffed serpentine
seat and square tapering legs inlaid with simulated
fluting.

A DUTCH MAHOGANY SECRETAIRE, circa 1790,
with a white marble top above a drawer and a fall-front enclosing a fitted interior with two cupboards below, inlaid with coequal banding and fluting, 160cm high, 100cm wide,

47cm deep.

A GILTWOOD WINDOW SEAT, probably French, circa 1870,
in Louis XV manner, with padded arm supports and padded sprung seat on leaf-carved cabriole legs.

A PAIR OF FRENCH MARBLE CANDLESTICKS, Paris, circa 1880,
in Louis XV/XVI Transitional manner, each with three rams’ heads hung with chains leading to pied de birches.

A   LARGE   FRENCH   GILT-BRONZE   WALL
CLOCK,
Paris, circa 1880,
in Transitional manner, the case hung with drapery
and laurel leaves surmounted by an urn, with key,
sunburst pendulum and pendulum adjustment key,
105cm high.

A    DIRECTOIRE MAHOGANY TRICTRAC TABLE,
circa 1795,
the rectangular top lined with baize on one side
and leather on the reverse, opening to reveal a
backgammon well with a drawer at either end and
raised on square tapering legs,
73cm high, 113cm wide, 56cm deep.

A FRENCH GILTWOOD DUCHESSE BRISEE Paris, circa 1890,
in Louis XV style, with a large berg ere and smaller
chair   centered   by  a   stool,   with   flower-carved
molded frames on cabriole legs,
190cm long approx.

A GENOESE STAINED WOOD ARMCHAIR, circa 1780,
the carved back surmounted by a leopard’s mask, the caned, loose-cushioned seat raised on fluted tapering legs.

A   LOUIS   XVI   MAHOGANY   AND   BRASS-MOUNTED SIDE CABINET, circa 1785,
with shaped white marble top above three frieze
drawers, with open galleried shelves flanking a
central cupboard, on fluted square tapering legs,
103cm high, 108cm wide, 41cm deep.

A     PAIR     OF     DIRECTOIRE     PAINTED
ARMCHAIRS,
circa 1795,
with scroll backs, fluted arm supports, bow-fronted seats and fluted baluster legs.

A NORTH EUROPEAN CENTRE TABLE, German or Danish, circa 1840,
the molded circular grey marble top on quadruple down swept legs with wood castors, 100cm diameter.

A PAIR OF PAINTED AND PARCEL-SILVERED ARMCHAIRS, ITALIAN OR IBERIAN, circa 1785,
with guilloche-carved frames, oval stuffed backs, stuffed seats and fluted tapering legs
The back of these armchairs is loosely based on a design by Boucher le Jeune, illustrated by Svend Eriksen, Earlo Neo-Classicism in France, fig. 497. Compare also the design by

Jose Francisco de Paiva (1744-1824), illustrated, Jose Francisco de Paiva, Ensemblador e Architecto do Porto

A LOUIS XVI GILT-BRONZE AND MARBLE MUSICAL CLOCK BASE, circa 1785,
with galleried top and rounded ends, filled with fluted pilasters and gilt-bronze balusters, the base with a plaque of cherubs; central plaque replaced, converted to a

jardiniere,
33.5cm high, 56cm wide .
A BRONZE AND GILT-BRONZE SURTOUT DE TABLE, POSSIBLY FRENCH OR VIENNESE, circa 1860,
the flared vase with mythological figures, supported by three winged female monopodia, on a dish with palmettos and leafy motifs,
36cm high, 45cm diameter.

A SET OF THREE FRENCH PARCEL-GILT-BRONZE DESK OBJECTS, circa 1890,
in Empire Revival manner, comprising a pair of bookends each with a seated Egyptian figure and a sphinx presser peppier, on molded red marble bases,
the paperweight 23cm long (9ins).

A   PAIR    OF   LOUIS   XVI    GILT-BRONZE
CASSOLETTES,
circa 1780,
each in the form of a covered urn, the lids also
forming candle-nozzles, flanked by lion masks and
garlands, on fluted columns with square bases,
28cm .

A PAIR OF FRENCH GILT-BRONZE-MOUNTED WHITE MARBLE VASES, circa 1900,
in Louis XVI style, each ovoid body with detachable lid and a pair of loop handles,
26cm high .

ITALIAN BUREAU, DUTCH PALISSANDERWOOD COMMODE, WALNUT DESK ARMCHAIR, DUTCH MAHOGANY CHAIRS, ITALIAN WALNUT GAMES TABLE, LOUIS XV PROVINCIAL LOW TABLE

AN ITALIAN BUREAU, part circa 1740,
the curved paneled front opening to reveal a fitted interior with three drawers below and cabriole legs; later decorated with polychrome birds and flowers on an ochre ground,
103ch high, 104cm wide, 51cm deep (2ft2in, 3ft 5in, 8in).

AN ITALIAN PAINTED DISPLAY CABINET, late 19th century,
the triple arched top with carved gilt wood cresting above three glazed doors, the ‘D’ part with cupboards flanking a shelf, painted with flowers on a green ground,
213cm high, 128cm

A DUTCH MAHOGANY ARMCHAIR, circa 1770,
with molded frame, stuffed back, arms and seat and cabriole legs.

A LOUIS XV WALNUT DUCHESSE BRISEE, circa 1750,
the molded frame carved with flower heads, the berg ere section with arched back curving into the padded arms with down-swept supports, on cabriole legs, the end section of

similar form and with lower berg ere end; partly re-railed and foot tips replaced,

A DUTCH PALISSANDERWOOD COMMODE, mid 18th century,
of shallow serpentine form with molded front, three drawers and projecting corners continuing to the bracket feet, 72cm wide (2ft 41Mn).

A DUTCH MARQUETRY TOILET-GLASS, 18th century and later,
in the form of a miniature bureau with shaped front and three drawers and surmounted by a rectangular swing mirror,
87cm high, 43cm wide, 23cm deep.

A PAIR OF DUTCH MAHOGANY CHAIRS, circa 1775,
with molded frames, the stuffed backs headed by crests of figures and the motto Primus e Stripe, the stuffed seats raised on cabriole legs

AN UNUSUAL FRENCH GILT-BRONZE HALL
LANTERN,
Paris, circa 1890,
the five sides divided by a molded cage frame held by scrolled acanthus, with glass panels, 90cm high .

A PAIR OF LOUIS XV GILT-BRONZE WALL-LIGHTS, mid 18th century,
each with two asymmetric candle-branches and a leaf-cast back-plate; drilled for electricity, 41cm high, 36cm .

A PAIR OF LOUIS XV BEECHWOOD LOW
CHAIRS,
mid 18th century,
with padded backs, the molded frames carved with flowers and leaves, on cabriole legs.

A SET OF THREE ITALIAN PAINTINGS ON GLASS,
mid 18th century,
of pastoral scenes with figures and animals; in
gilt wood frames,
23cm high, 30cm wide (9in, 12in).

A LOUIS XV GILTWOOD CONSOLE, mid 18th century,
with serpentine fleur de lecher marble top, pierced scrollwork frieze, double scroll legs and leafy stretcher,
78cm high, 77.5cm wide .

A WALNUT DESK ARMCHAIR, in Louis XV style,
with molded flower-carved frame, arched caned back, loose-cushioned seat and cabriole legs.

A FRENCH PAINTED CANVAS SCREEN IN LOUIS XV STYLE,
the four arched leaves painted with scenes in the style of Parliament on a stone colored ground,
161cm high, width of each leaf 54cm.

MARQUETRY     CORNER

A     PAIR     OF CUPBOARDS, one Louis XV, circa 1770, the other a later copy,
both of serpentine form with fleur de lecher marble top and each with a door inlaid with a ribbon-tied bunch of roses,
91cm high, 93cm wide, 65cm deep.

A PAIR OF LOUIS XV PAINTED AND PARCEL-GILT ARMCHAIRS STAMPED I B BOULARD, circa 1760,
with molded flower-carved frames, cartouche-shaped backs, serpentine-fronted seats and cabriole legs.

AN ITALIAN WALNUT GAMES TABLE, circa 1760,
the hinged box top fitted for chess, draughts and back-gammon, with a drawer in the frieze and cabriole legs,
83cm high, 59cm wide, 52cm deep.

A LACQUER COMMODE IN LOUIS XV STYLE, early 20th century,
of serpentine bombe form, the black marble top
with two slides below, containing two drawers and
decorated with figures and animals, including a
tiger and an elephant, on splayed legs,
84cm high, 81cm wide, 49cm deep .

A LOUIS XV PROVINCIAL LOW TABLE, mid 18th century,
the shaped top above a conforming frieze, on cabriole legs,
59cm high, 42cm wide .

A PAINTED HALL BENCH, in 18th century style,
the arched back painted with a crest
AN      UNUSUAL      ROMAN       GILTWOOD
ARMCHAIR,
circa 1725,
the molded frame carved with leaves and strap work, the arched back with shell cresting, the stuffed seat raised on scroll legs and stretchers; restored

Antique Italian Commodes

The Italian states retained their separate identities during the late 18th century These rival regions assimilated the Neoclassical style at different times: Rome, Naples, Turin, and Genoa gradually moved towards Classical forms, while Wince was much slower and only embraced cupboards of the 18th century.
INFLUENCES
France, and to a lesser extent Britain, provided the main sources of Neoclassical cupboard. However, the Neoclassical style was also directly influenced by Italy’s ancient sites and contemporary archeological discoveries.
In 1757, the first volume of eight, Le antichita di Ercolono esposte, was published in Naples, describing the discoveries at Herculaneum.
The illustrations of ancient motifs and decorations such as palmettos, heading, ribbons, cameos, lion’s heads, pelts, and feet
subsequently appeared in painted decoration and cupboards. The colours seen at Herculaneum – red, green, blue, and white – also became very popular in painted cupboards.
Giovanni Battista Piranesi’s Diverse Maniere d’Adornare i Cammini illustrated a more sumptuous version of Neoclassic is in. His designs were not only influential in Rome, where they
were refined and used by the architects furnishing several rooms at the Vatican, but also throughout the rest of Europe.
TYPES AND MATERIALS
Cupboards had rectangular cases, inspired by Louis XVI shapes, but their legs were distinctly Italian, with their sharply tapered shape in an exaggerated triangle, and recessed necks.
Vernacular wardrobes or armadios were made in plain walnut, but more decorative versions were painted and gilded, or inlaid with intarsia marquetry in rare woods including rosewood. The French encoignure or three-cornered cabinet also appeared in Italian cupboards for the first time. Desks were heavily influenced by French design and writing tables were the most popular form.
The secretaire abattant was often inlaid with Classical scenes or panels and the slant-top
secretary, although similar to English models, was also decorated with inlay or figured veneers.
Table tops were specimen marble, pietra dura, or scagliola in Neoclassical designs. Sometimes they were made from Roman marble or material
painted to resemble marble. The legs and aprons of pier and console tables were carved in low relief and usually painted and gilded.
Late 18th-century console tables generally had four legs and were round, rectangular, or demi-lune in shape and no longer had serpentine fronts.
Many Italian chairs were based upon French and English designs, such as the open-splat back chair and the fauteuil. However, sculptural, throne-like chairs were still made. The main features that distinguished Italian chairs from other European chairs were their painted decoration, the contours of the chair back, which usually had a pronounced outward curve, the flaring arms, and the overall proportions, which were generally more exaggerated. The interlacing circular splat, asunburst rosette decoration, was another Italian feature. Sofas had either all-over upholstery open backs with an upholstered seat, or were caned.
Native woods such as walnut, olive, and pine Were Used for cupboards, but the scarcity of good-quality timber meant that much Italian cupboards was painted and had decoration inspired by Neoclassical designs.
REGIONAL DIFFERENCES
In Turin, cupboards for the royal palaces was made by Giuseppe Maria Bonzanigo, who was inspired by the French forms of the 1770s.
Bonzanigo’s work is said to represent the best Italian
Neoclassical cupboards ever made, and he is celebrated for the quality of his wood carving, particularly of light wood and ivory, which is known as microsculpture.
In Rome, bold, highly sculptured cupboards was produced. The Roman Neoclassical architect and craftsman Giuseppe Valadier restored many of the city’s ancient monuments as well with thick marble ttops, veneers, and gilded edges.
Lombardy was renowned lot cabinetmaking. One of the regions most talented ebenista was Giuseppe Maggiolini (see p.205) who decorated
items with marquetry parquetry, carved medallions and flower-heads, and inlays. Venice still produced the largest, most lavish, and expensive mirrors. While the frames became rectilinear, the scrollwork remained Rococo. Here, bulbous forms remained popular, but painted pieces incorporating Neoclassical motifs, show the gradual acceptance of the style.
GENOESE CUPBOARD
With a design derived from the Frenchcupboard, this painted and gilded example is one of a pair designed for the Palazzo Saluzzo. The shaped top sits on a case with two drawers, sans transverse. The four cabriole legs are also painted and gilded. c.1760.
ROLL-TOP CUPBOARD
This transitional roll-top cupboard is made of indigenous walnut and fruit woods. The lower section is rectangular in shape and has one central drawer flanked on either side by three shorter drawers. The desk is supported on short, tapering legs. Similar to French examples, it was probably made in Piedmont or Lombardy. c. 1780.
NORTH ITALIAN CUPBOARD
This early fruitwood and ebonized cupboard has a divided and hinged top and a false top drawer, with a fitted and veneered interior.
The drawers have elaborately carved handles and escutcheons, and bone and ivory stringing; parquetry panelling decorates the top, sides, and front. The bracket feet have leaf cast mounts. 1700-50.
LOUIS XV CUPBOARD
This gilt-bronze mounted tulipwood, kingwood,
amaranth, and parquetry desk has a curved jail front, which opens to reveal an interior fitted with an arrangement of compartments cued drawers. c.1765.
SOUTH ITALY CUPBOARD
Attributed to John Seymour, this cupboard mahogany cupboard has inlaid pilasters and two tambour doors concealing pigeonholes and drawers. The hinged writing surface with a handed edge is above two drawers, and the square legs terminate in tapering feet. 1785-95.
MAHOGANY CUPBOARD
This mahogany cupboard has a fall front lid that opens to reveal a fitted interior. The oxbow-shaped case has four graduated drawers above base moulding with a central, concave, carved-shell drop. The cupboard stands on short, cabriole legs with clawand-ball feet. c.1770.