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Click here to subscribeA 16th century style Gothic livery cupboard, with a decorative wrought iron lock, flanked by pierced panels, above a drawer, above a cupboard door and pierced panels, 137 cm high x 108 cm wideSome alterations, some losses, variation of colour, due to size and nature will have replaced parts, some timbers possibly 19th century
A Chinese hardwood cabinet, the top with stepped shelves, on a base with two cupboard doors, profusely carved with floral forms, 210 cm high x 100 cm wideThe top is slightly warped, and cornice does not correctly sit, the cornice is also split. some of the decorations on the shelves are loose. Variation of colourWe would recommend Martin Brothers for shippingFrom a deceased estate
Castilian school. 16th century.‘Temperance’ and “Justice”.Pair of carved, walnut wood reliefs. 47,5 x 42,5 cm. each. This pair of incredible quadrangular white walnut wood reliefs representing Temperance and Justice must have originally belonged to a liturgical piece of furniture which would also have contained the other two Cardinal Virtues, i.e. Fortitude and Prudence. It is most likely that they were part of a set of Renaissance pews - without categorically ruling out their belonging to a cupboard or a door - as representations of the Virtues were quite common in the pews of this period due to their moralising character, as we must bear in mind that the moral conduct of the Human Being rested on them.Given the technical characteristics of both reliefs, the remarkable skill and finesse with which they are carved, and the fact that sculpting in walnut and the making of pews and other ecclesiastical furniture were not commissioned from just any master, it seems clear that their sculptor was a relevant sculptor of the Castilian school and that they were carved around the second third of the 16th century.Both Virtues have been depicted, as is often the case, as women of classical appearance, almost like Roman matrons or noble maidens with sophisticated headdresses. They wear wide, fine garments completely covered with small pleats that make the edges of the garments extremely faceted.The wet cloth technique is simulated in some areas, with which not only the plastic and volumetric values of the reliefs are highlighted but also the voluptuousness of the women, since through these fine garments the rounded forms of their bodies are suggested. As a general rule, they are worked in bas-relief, but in the most relevant areas, such as the heads, hands and attributes, the relief acquires greater volume, close to being in the round, but never quite reaching it.The heads are small, round and have expressive faces, serious in the case of Justice and more serene in that of Temperance. They have slanting eyes, carved with great detail both in the iris and the eyelids, and above them, sharp curved eyebrows that give them personality, as well as a chiaroscuro in the area of the eye sockets that enhances their volume. The facial features comprise smooth foreheads, broad, elongated noses, marked nasolabial folds, small open mouths with thick lips and bulging cheekbones. The ears are not visible due to the elaborate headdresses that almost completely obscure their hair. In the case of Justice, we can see a scarf that leaves free a couple of snaky locks that slide down her temples, and a ribbon that the anonymous sculptor models with great skill, creating a series of curves and counter-curves while displaying it from different profiles with multiple folds. For her part, Temperance also wears a kind of veil that leaves free a pair of locks of similar characteristics to those of Justice. Above the veil, the end of which seems to be moved by the wind, is a winged head of a putti, one of the most characteristic elements of Renaissance vocabulary. This same putti is found on Justice's neckline, almost like a brooch. Finally, Temperance wears a kind of cloth hanging from the ends of the buckles that cover her ears.Both women are perfectly identified both by the Latin signs carved on the upper part of the panels - ‘TEMPERATIA’ and ‘IVSTICIA’- and by the attributes they hold in their hands. Thus Justice elegantly holds a scale in her right hand - the allegory of the equality with which she must act - while in her left hand she wields a sword - the symbol of the strength with which she imposes herself - whose long blade occupies the entire height of the panel. Temperance, on the other hand, is seen pouring water from a jug over a wide goblet filled with wine in order to temper what is too stimulating.The conception of the two figures differs from each other, for while Temperance presents a closed composition, withdrawn in on itself, as well as having a calmer character as it embodies the Virtue it is representing, Justice is conceived with an open composition -see the arms- and shows a more decisive and dynamic spirit. Both differences in state, tranquillity and impetuosity, can be seen in another specific detail that they both share: the way in which the wind moves or waves the scarf or ribbon that covers their hair. We would like to thank Dr. Javier Baladrón, doctor in Art History, for the identification and cataloguing of this work.
Imposing carved and polychromed wooden cupboard. Viceregal work. Peru. 18th century.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.210 x 152 x 60 cm.Structurally, it has two front doors that close with a large original wrought iron bolt. It is topped with a cornice and supported by a long continuous base. The entire cabinet is completely carved with rich ornamentation of flat carving and moulding in square ribbed sections.The decoration on the doors is divided into three segments, the upper one shows the keys and the Mitre of St. Peter (elements that are repeated in the cornice), the central one shows two Eucharistic pelicans among branches and flowers, and the lower one is formed by a single large rose window, similar to a cathedral stained-glass window.The same decoration, somewhat smaller due to there being less space, can be found on the sides.An example comparable to this is the one in the Museo de Arte de Lima, and as María Campos Carlés points out in her book on Viceregal Peruvian furniture ‘Un legado que pervive en Hispanoamérica. El mobiliario del Virreinato del Perú de los siglos XVII y XVIII": it is ’a dazzling and majestic cabinet for civilian use. This piece was built in the last quarter of the 17th century by anonymous artisans from Cusco with Italian influence.Another example comparable to this cupboard is the one in the Vivian and Jaime Liébana collection in Lima, dating from the 18th century.Regarding the origin and style of this type of baroque furniture, we highly recommend reading chapter VI of the aforementioned book by Compos Carlés (Wooden, baroque style furniture with flat carving, bare, gilded and polychromed. Civil and religious, utilitarian and ornamental use. Lima, Cusco, Arequipa, Puno and Trujillo) in which it is explained how: ’the local craftsman extracted artistic patterns from books of engravings and drawings of European art. This valuable data allowed them to ornament a piece of furniture with Europeanising morphology while inserting juxtaposed autochthonous elements. The Spanish Baroque underwent changes in the Viceroyalty of Peru as a result of the added ornamental fantasy of a typically Andean identity, avid for creativity...The three-dimensional volumetry was achieved by means of bevelled roughing on hard and ductile woods...It is relevant that on some occasions the carved wood was totally or partially gilded with gold leaf, and patinas and polychromy were also used.
A figured rosewood room divider, designed by AH. McIntosh, c1960s/70s, the upper section with shaped open shelves and fall front cocktail compartment above a base fitted with two frieze drawers and a further long fall front cupboard below, supported by simple short turned legs united by a shaped apron. 102 cm wide x 46 cm deep x 162 cm overall height. CITES Article 10 Certificate No. 24GBA1060JRP6A private estate
A pair of Napoleon III tulipwood banded caddy topped night cupboards, search with gilt metal galleried pagoda tops above single cupboard doors set with Sevres stle porcelain placques painted with 18th century beauties, fitted with gilt metal mounts throughout on angular cabriole legs united by a shaped apron. 37 cm x 37 cm x 85 cm overall height.
A pair of Napoleon III marble-topped mahogany pedestal night cupboards with brass inlaid decoration each fitted with one frieze drawer supported by turned columns above a single panel cupboard door and turned feet, 41 cm wide x 41 cm deep x 89 cm high. A private estate One stand is faded and shows perhaps some old repairs to natural fault lines in the marble top.Some of the brass infills on the fluted columns are a little loose but are all present.The faded cupboard has two veneer bubbles to the door panelGenerally good structural order but may need some cosmetic work to rectify the fading.Please see the extra images taken
A Regency pollarded oak partner's kneehole writing desk in the manner of Gillows, with an established tooled inset leather top fitted three frieze drawers to each side and a further six short drawers to the pedestals and two figured cupboard doors to the opposing side, supported by simple moulded plinth feet and castors. 153 cm long x 90 c.m deep x 74 cm overall height, 59 cm knee clearance
A good quality George IV mahogany cupboard bookcase the upper section with triple reed Lancet glazing, above a pair of figured cupboard doors. on shaped bracket feet. 123 cm wide x 58 cm deep x 237 cm height.The bookcase is in good order, all glazed panels are intact without cracks or breaks.The only thing I would mention is that the lower carcass right hand door springs open, this could be remedied with a new lock or key.
ARNE HOVMAND OLSEN FOR MOGENS KOLD: A DANISH MID-CENTURY 'SHORT MODEL 511' TEAK SIDEBOARD, designed circa 1964, the four cupboard doors opening to reveal a shelved interior, the left hand side fitted with sliding tray shelves, raised on twin square supports, dual makers and Dansk Møbelkontrol label to the underside, 160cm wide x 45cm deep x 71cm high
A pair of Art Deco style mahogany bedsides, each of oval form with brushing slide, single drawer and cupboard below71.5 x 60.5 x 46cmWith a few scuffs and marks from use, two deeper scratches to one - one to door, the other to right side. Sticky residue where there had once been pads for a glass top.
An Art Deco maple desk, the rectangular top above a pair of frieze drawers and a single cupboard to the left side opening to reveal drawers within73.5 x 150.5 x 70cmThere are several splits/deep scratches on the desk top. However, there are many chips and dents, some of which have had restoration/repairs. These are particularly found along the edges. Please see the condition report images.
A pair of Art Deco walnut bow front bedside cupboards, each with single frieze drawer and cupboard below raised on a plinth base66 x 37 x 40cmThere is some slight bubbling/damage to the varnish on the top of one of the cupboards and slightly to the bottom of the other one (Please see the images)
A pair of Art Deco style birds eye maple side cabinets, each with a pair of cupboard doors opening to reveal shelves within and raised on plinth bases74 x 76 x 45cmBoth with cut-outs to backs, one with a large veneer chip to top of one door, general scuffs, stains and scratches from use, veneer blistering in places.
An Art Deco walnut cocktail cabinet of small proportions, the fall front and simultaneously rising top opening to reveal a gilt decorated mirrored interior above a pair of bow-front cupboard doors with shelves within97 x 61 x 35cmIn generally good, clean condition, general scuffs and wear commensurate with age and use.
Attributed to Collinson & Lock, an Aesthetic period rosewood cabinet, the top section with balustraded back over three central open shelves flanked by a cupboard and two short drawers to either side, the canted base with central frieze drawer above a pair of panelled cupboard doors, open shelves below and to either side raised on ring turned supports170 x 110 x 43cm
An Art Deco walnut cocktail cabinet, the fall front and rising top opening to reveal a fitted peach mirror glass line interior and simultaneously trigger a similarly mirrored brushing slide to either, a central frieze drawer above a pair of scalloped cupboard doors flanked by further cupboard doors to either side raised on a plinth base117.5 x 152.5 x 50cm
A collection of six ink and watercolour Art Nouveau furniture designs for the Owen Jones Furniture Competition, circa 1900, to include: Design for Dining Room Furniture for Country House, 52.5 x 74.5cm; Wardrobe, 48.5 x 66cm; Dressing Table and Washstand, 71 x 49cm; Details in Copper, 74.5 x 50.5cm; Pedestal Cupboard and Chair, 47.5 x 71.5cm; and Design for Fumed Oak Bedroom Suite, 51.5 x 68cmeach sheet unframed and stamped 'ESK (Examined South Kensington)Each sheet stuck down to cardboard support, all cardboard supports with varying degrees of edge damage and knocks. All sheets with discolouration and scattered foxing throughout. Please refer to images.
§ Edward Barnsley CBE (1900-1987) and The Barnsley Workshop, a walnut dresser, the plate rack back above three frieze drawers and two pairs of cupboard doors raised on tapering feet187 x 173 x 44cmWith a number of scuffs and marks from use, particularly to edges, the plate rack a little darker in tone to the base. The plate rack sits on a narrow lip only and requires wall fixing for use.
An Art Deco fruitwood veneered cabinet, circa 1925, designed by Clément Goyeneche (1893-1984), inset with black and white marble top above a pair of cupboard doors with octagonal cast brass escutcheon depicting seated nude figures, signed Goyeneche and Gallé, opening to reveal adjustable shelves within and raised on a curved plinth base 131 x 101 x 45cmA number of scuffs and scratches commensurate with age and use, a split to plinth on front right corner, two splits to plinth on front left corner, a gouge to the rim beside inset marble to top right-hand side. There are two small bolts/threaded rods protruding through the front of the bronze, these appear original but intended purpose is unclear. Finish likely the orininal. (Regrettably, we are unable to provide a weight)
A pair of Art Deco birds eye maple bedside cupboards, the curved cupboard doors opening to reveal a single drawer and shelves within, raised on ebonised plinth base69 x 35 x 48cmPlease see further images In good clean restored condition with only a few chips, abrasions, scratches and signs of wear. Replaced handles possibly - there is a matching tonal shadow on the front of each (see images)pin marks on the tops of both from fixing the top are likely original
A George III figured mahogany secretaire chest on chest, the upper portion with two short and three long drawers with pigeon holes drawers and central cupboard enclosed by a fall front, the lower portion with three long graduated drawers, all with brass ring handles on bracket feet 72" high x 48" wide
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