VENETIAN HEXAGONAL GILT-METAL LANTERNS, A VENETIAN MIRROR, AN ART NOUVEAU KINGWOOD EXTENDING DINING TABLE
A VENETIAN MIRROR, the frame composed of engraved mirror panels on a deep blue glass ground, 4ft. high by 3ft. 3m. wide (120cm. by 100cm.) circa 1780, with restorations.
A VENETIAN MIRROR, the frame with blue glass borders, shaped cresting with a ciphers surmounted by a coronet, ft. win. high by 3ft.. wide (178cm. by 110cm.) circa 1740, with restorations
Library Passage and Corridor
A PAIR OF VENETIAN HEXAGONAL GILT-METAL LANTERNS, semi-gadrooned and surmounted by pennants, approximately 3ft. high (92cm.) circa 1700.
A VERDE ANTICO MARBLE COLUMN of rather pale color, with a Siena marble base and a verge antic plinth, 27m. high (68.5cm.)
A VERDE ANTICO MARBLE COLUMN, cylindrical, with a molded base and black marble plinth:, 48m. high (122cm.)
A HALL SEAT in the manner of Daniel Marot, with elaborately carved and pierced
back and trestle supports, 4ft.. wide (140cm.) circa 1700, Dutch or English.
Hall seats of this kind are traditionally attributed to the Netherlands though there is a set of four at Dunham Massey Hall, with the crest of the Grey family, which must have either been made in England or in Holland to English specifications.
A VENETIAN GILT-METAL HEXAGONAL LANTERN, circa 1700.
A HISPANO-MAURESQUE IVORY-INLAID WALNUT COFFER, 2ft. 6in. wide (76.2cm.) circa 1840.
A SOUTH GERMAN MARQUETRY PRIE-DIEU, attributed to Johann Georg Nestfell, with a sloping hinged top above a cupboard, the whole inlaid with fruitwood and pewter on a walnut ground, 2ft. sin. high by 2ft. 9m. wide (74cm. by 84cm.) dated 1741.
Kreisel, Die Kunst des deutchen Mobels, Spdtbarock und Rokoko, plate 221, illustrates a music-stand with similar parquetry by Nestfell in the collection of Graf at Schloss Pommersfelden.
AN ART NOUVEAU KINGWOOD EXTENDING DINING TABLE with circular top, the legs and pentagonal plinth with pierced copper mounts, 4ft.. diameter (140cm.) circa 1900, possibly Belgian.
Originally made for the 5th Earl of Rosebery’s yacht Czarina .
AN AUGSBURG ORMOLU-MOUNTED TABLE MECHANIQUE, the serpentine superstructure containing a central cupboard enclosing drawers and with six push buttons operating the spring releases to the remaining drawers, the table stand with two drawers, the whole with elaborate rococo parquetry, partly in ivory and mother-of-pearl, the central cupboard flanked by four Corinthian columns encased in silver-gilt, the door set with a finely wrought silver-gilt plaque of the Triumph of Ceres and Bacchus, attributed Xojohann Andreas Thelot (1654-1734) and on each side a pair of Baroque pearl and gilt metal Cupids on agate bases, 4ft. 6in. wide (137cm.) circa 1830, constructed partially utilizing a mid-i8th Century writing cabinet.
Formerly in the collection of the Duke of Buckingham and Chandos, Stowe, Buckinghamshire, and acquired for Baron Mayer de Rothschild at the sale in 1848 where it was described, lot 1146:
A beautiful cabinet of parquetry of the finest old German work formed as a table supporting a cabinet.
In his annotated catalogue Henry Rumsey Forster, who wrote a commentary on the sale, notes: Of all the exquisite parquetry cabinets distributed throughout the mansion, this was decidedly the most superb . . . This superb piece of furniture was purchased for Baron Meyer Rothschild for 23 guineas after having excited an active competition.
THE HIGHLY IMPORTANT DRESDEN ORMOLU-MOUNTED AND MOTHER-OF-PEARL-INLAID KINGWOOD PARQUETRY BUREAU CABINET attributed to Michael Kummel, Kabinett-Tischler (Cabinet-maker) to AUGUSTUS HI, KING OF POLAND AND ELECTOR OF SAXONY. The upper part with a pair of arched doors, the interior with an elaborate gilt wood cartouche with the initials AR beneath an enclosed crown supported by seated gilt wood female figures, flanked by an elaborate pierced gilt-metal balustrade, with a door below enclosing a mirrored interior with an ivory parquetry floor and flanked by four drawers and with three drawers below; the lower part with a sloping front, the concealed keyhole opening to reveal an interior with a swiveling box centre containing twelve shallow drawers on one side, mirrored side panels and an elaborate mirrored open section with a trellis centered by the initials AR, worked by a concealed button below, flanked by three drawers, including two narrow fitted pen and ink drawers, the front sections of each swiveling outwards, with a shallow well below containing three drawers; the shaped lower part with four long drawers, the top one with a concealed key locking the top two drawers, and the bottom drawer with a keyhole for the two lower drawers; the interior and exterior with a kingwood parquetry and elaborately inlaid with engraved mother-of-pearl flowers and leaves, with brass line borders and finely chiseled rococo ormolu mounts, including flowers on the cornice, elaborate rococo capitals to the pilasters and carrying handles to the upper part in the form of branches, 9ft. high by 4ft. 2in. wide (274cm. by 127cm.) circa 1755, some of the mounts, possibly replacements.
Bought by Baron Mayer de Rothschild as a very young man on 27th March, 1835, for ?1,000
Kreisel, Die Kunst des deutschen Mobels, illustrates three Dresden Bureau-Cabinets of similar but simpler type, of which one is attributed to Michael Kummel. These cabinets were a Dresden speciality and were the set master-piece there. Kummel was possibly responsible for some of the well-known Dresden lacquered bureaux: he had a high reputation and in 1729 was described as ‘a young man highly skilled in working bronze and exotic woods and experienced in the decorative French and English designs’.
A number of comparable bureau-cabinets are known to have been made in the Dresden royal workshops about 1750
The History of Furniture, 124 illustrates a bureau-cabinet of similar feeling made for King Frederick of Denmark in 1755 by C. F. Lehmann
The lightness of the rococo decoration also has affinities with the designs of Johann Michael Hoppenhaupt (1709-C.1755), who worked in Berlin where he became Directeur des Ornements for Frederick the Great in 1746. He retired in 1750, returning to his home in Merseburg and his engraved designs were published between 1751 and 1755.
Grand Staircase
A PAIR OF VERDE ANTICO MARBLE COLUMNS of slender form, the white marble capitals with a gilt bronze egg-and-dart molding and with molded gilt bronze bases, on square white marble plinths, 75m. high (191cm.)
A PAIR OF TALL MARBLE COLUMNS, the slender cylindrical stems in mottled pink and white marble with Ionic white marble capitals carved with scrolling foliage, on white marble bases, 90m. high (228cm.) Italian, 18th Century, capitals early 16th Century.
A SET OF FOUR ITALIAN GILTWOOD MIRRORS, with shaped plates, 3ft. 6in. high.
A PAIR OF FLEMISH MARQUETRY BREAKFRONT TABLES, each containing a frieze drawer, with Spanish style shaped trestle supports with iron stretchers, 5ft. 6in. wide (168cm.) the tops circa 1690.
A PAIR OF DUTCH WALNUT SIDE TABLES of late 17th century form, the tops inlaid with musical trophies, on spiral twist legs, 3ft. in. wide (104cm.) circa i8yo, the late tops with their original parquetry on the underside.
A CYLINDRICAL MARBLE COLUMN of grey marble with pink striation, on white marble base, 32m. high (81cm.) 19th Century.
AN ITALIAN IVORY AND MOTHER-OF-PEARL-INLAID WRITING-CABINET with recessed superstructure and kneehole, containing numerous small drawers and cupboards, all profusely inlaid, partly in brass and copper, ft. 4in. wide by 4ft.. high (163cm. by 140cm.)
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