Antique European Furniture
Brazilian Rosewood Davenport: leafy scroll
19th Century, English, Brazilian Rosewood Davenport, the timber showing typical, absolutely stunning grain pattern. Lockable, panelled, door with beaded cavetto surround, topped by leafy scroll to centre over a bank of drawers, mirrored on the opposite side by a faux door to match. Concealed over the bank of drawers, a pull-out pen drawer that pivots forward to sit flush to the lower right to the writing surface. Gilt tooled leatherette inset, lockable writing slope with cresting wave form gallery to the blind flat top. Six drawers with ebony handles to the Satinwood inside below the writing slope, three of which are faux to accommodate the pull-out pen drawer. The top compartment over deeply carved C scroll supports with Acanthus leaf to the over and up turn at the lower end. Scrolled leaf fretwork to rear. The whole on, concealed beneath leafy carved caps, castors. 86 cm high, 62 cm deep, 61 cm wide
Brazilian Rosewood Davenport: Acanthus leaf and scroll concealing castor
19th Century, English, Brazilian Rosewood Davenport, the timber showing typical, absolutely stunning grain pattern. Lockable, panelled, door with beaded cavetto surround, topped by leafy scroll to centre over a bank of drawers, mirrored on the opposite side by a faux door to match. Concealed over the bank of drawers, a pull-out pen drawer that pivots forward to sit flush to the lower right to the writing surface. Gilt tooled leatherette inset, lockable writing slope with cresting wave form gallery to the blind flat top. Six drawers with ebony handles to the Satinwood inside below the writing slope, three of which are faux to accommodate the pull-out pen drawer. The top compartment over deeply carved C scroll supports with Acanthus leaf to the over and up turn at the lower end. Scrolled leaf fretwork to rear. The whole on, concealed beneath leafy carved caps, castors. 86 cm high, 62 cm deep, 61 cm wide
Brazilian Rosewood Davenport: fretwork and C scroll
19th Century, English, Brazilian Rosewood Davenport, the timber showing typical, absolutely stunning grain pattern. Lockable, panelled, door with beaded cavetto surround, topped by leafy scroll to centre over a bank of drawers, mirrored on the opposite side by a faux door to match. Concealed over the bank of drawers, a pull-out pen drawer that pivots forward to sit flush to the lower right to the writing surface. Gilt tooled leatherette inset, lockable writing slope with cresting wave form gallery to the blind flat top. Six drawers with ebony handles to the Satinwood inside below the writing slope, three of which are faux to accommodate the pull-out pen drawer. The top compartment over deeply carved C scroll supports with Acanthus leaf to the over and up turn at the lower end. Scrolled leaf fretwork to rear. The whole on, concealed beneath leafy carved caps, castors. 86 cm high, 62 cm deep, 61 cm wide
Brazilian Rosewood Davenport: blind side
19th Century, English, Brazilian Rosewood Davenport, the timber showing typical, absolutely stunning grain pattern. Lockable, panelled, door with beaded cavetto surround, topped by leafy scroll to centre over a bank of drawers, mirrored on the opposite side by a faux door to match. Concealed over the bank of drawers, a pull-out pen drawer that pivots forward to sit flush to the lower right to the writing surface. Gilt tooled leatherette inset, lockable writing slope with cresting wave form gallery to the blind flat top. Six drawers with ebony handles to the Satinwood inside below the writing slope, three of which are faux to accommodate the pull-out pen drawer. The top compartment over deeply carved C scroll supports with Acanthus leaf to the over and up turn at the lower end. Scrolled leaf fretwork to rear. The whole on, concealed beneath leafy carved caps, castors. 86 cm high, 62 cm deep, 61 cm wide
Brazilian Rosewood Davenport: back
19th Century, English, Brazilian Rosewood Davenport, the timber showing typical, absolutely stunning grain pattern. Lockable, panelled, door with beaded cavetto surround, topped by leafy scroll to centre over a bank of drawers, mirrored on the opposite side by a faux door to match. Concealed over the bank of drawers, a pull-out pen drawer that pivots forward to sit flush to the lower right to the writing surface. Gilt tooled leatherette inset, lockable writing slope with cresting wave form gallery to the blind flat top. Six drawers with ebony handles to the Satinwood inside below the writing slope, three of which are faux to accommodate the pull-out pen drawer. The top compartment over deeply carved C scroll supports with Acanthus leaf to the over and up turn at the lower end. Scrolled leaf fretwork to rear. The whole on, concealed beneath leafy carved caps, castors. 86 cm high, 62 cm deep, 61 cm wide
Brazilian Rosewood Davenport: concealed drawers
19th Century, English, Brazilian Rosewood Davenport, the timber showing typical, absolutely stunning grain pattern. Lockable, panelled, door with beaded cavetto surround, topped by leafy scroll to centre over a bank of drawers, mirrored on the opposite side by a faux door to match. Concealed over the bank of drawers, a pull-out pen drawer that pivots forward to sit flush to the lower right to the writing surface. Gilt tooled leatherette inset, lockable writing slope with cresting wave form gallery to the blind flat top. Six drawers with ebony handles to the Satinwood inside below the writing slope, three of which are faux to accommodate the pull-out pen drawer. The top compartment over deeply carved C scroll supports with Acanthus leaf to the over and up turn at the lower end. Scrolled leaf fretwork to rear. The whole on, concealed beneath leafy carved caps, castors. 86 cm high, 62 cm deep, 61 cm wide
Brazilian Rosewood Davenport: pen drawer emerging
19th Century, English, Brazilian Rosewood Davenport, the timber showing typical, absolutely stunning grain pattern. Lockable, panelled, door with beaded cavetto surround, topped by leafy scroll to centre over a bank of drawers, mirrored on the opposite side by a faux door to match. Concealed over the bank of drawers, a pull-out pen drawer that pivots forward to sit flush to the lower right to the writing surface. Gilt tooled leatherette inset, lockable writing slope with cresting wave form gallery to the blind flat top. Six drawers with ebony handles to the Satinwood inside below the writing slope, three of which are faux to accommodate the pull-out pen drawer. The top compartment over deeply carved C scroll supports with Acanthus leaf to the over and up turn at the lower end. Scrolled leaf fretwork to rear. The whole on, concealed beneath leafy carved caps, castors. 86 cm high, 62 cm deep, 61 cm wide
Brazilian Rosewood Davenport: top open
19th Century, English, Brazilian Rosewood Davenport, the timber showing typical, absolutely stunning grain pattern. Lockable, panelled, door with beaded cavetto surround, topped by leafy scroll to centre over a bank of drawers, mirrored on the opposite side by a faux door to match. Concealed over the bank of drawers, a pull-out pen drawer that pivots forward to sit flush to the lower right to the writing surface. Gilt tooled leatherette inset, lockable writing slope with cresting wave form gallery to the blind flat top. Six drawers with ebony handles to the Satinwood inside below the writing slope, three of which are faux to accommodate the pull-out pen drawer. The top compartment over deeply carved C scroll supports with Acanthus leaf to the over and up turn at the lower end. Scrolled leaf fretwork to rear. The whole on, concealed beneath leafy carved caps, castors. 86 cm high, 62 cm deep, 61 cm wide
Brazilian Rosewood Davenport: pen drawer in position
19th Century, English, Brazilian Rosewood Davenport, the timber showing typical, absolutely stunning grain pattern. Lockable, panelled, door with beaded cavetto surround, topped by leafy scroll to centre over a bank of drawers, mirrored on the opposite side by a faux door to match. Concealed over the bank of drawers, a pull-out pen drawer that pivots forward to sit flush to the lower right to the writing surface. Gilt tooled leatherette inset, lockable writing slope with cresting wave form gallery to the blind flat top. Six drawers with ebony handles to the Satinwood inside below the writing slope, three of which are faux to accommodate the pull-out pen drawer. The top compartment over deeply carved C scroll supports with Acanthus leaf to the over and up turn at the lower end. Scrolled leaf fretwork to rear. The whole on, concealed beneath leafy carved caps, castors. 86 cm high, 62 cm deep, 61 cm wide
Brazilian Rosewood Davenport: front
19th Century, English, Brazilian Rosewood Davenport, the timber showing typical, absolutely stunning grain pattern. Lockable, panelled, door with beaded cavetto surround, topped by leafy scroll to centre over a bank of drawers, mirrored on the opposite side by a faux door to match. Concealed over the bank of drawers, a pull-out pen drawer that pivots forward to sit flush to the lower right to the writing surface. Gilt tooled leatherette inset, lockable writing slope with cresting wave form gallery to the blind flat top. Six drawers with ebony handles to the Satinwood inside below the writing slope, three of which are faux to accommodate the pull-out pen drawer. The top compartment over deeply carved C scroll supports with Acanthus leaf to the over and up turn at the lower end. Scrolled leaf fretwork to rear. The whole on, concealed beneath leafy carved caps, castors. 86 cm high, 62 cm deep, 61 cm wide
Mahogany Elbow Chair: foot
Early Georgian, pre 1740s, mahogany elbow chair with lovely untouched patina. Stout cabriole legs terminating in restrained DRAKE’s feet at the front, a little straighter at the rear. Drop in balloon shaped seat with younger covering.
Wonderfully sinuous, curved and scrolled uprights below the arms with generously comfortable angled flats to the rear. Typically shaped back splat resting in a raised, shaped socket to the rear of the seat. Shaped, humped with roll over to top rail accentuated by a double “scratched in” line terminating in snails to the side of the roll over.
The whole with competently executed lines indicating not only the work of a master chair-maker but also a chair-maker who was able to make a chair of gorgeous proportions.
Mahogany Elbow Chair
Early Georgian, pre 1740s, mahogany elbow chair with lovely untouched patina. Stout cabriole legs terminating in restrained DRAKE’s feet at the front, a little straighter at the rear. Drop in balloon shaped seat with younger covering.
Wonderfully sinuous, curved and scrolled uprights below the arms with generously comfortable angled flats to the rear. Typically shaped back splat resting in a raised, shaped socket to the rear of the seat. Shaped, humped with roll over to top rail accentuated by a double “scratched in” line terminating in snails to the side of the roll over.
The whole with competently executed lines indicating not only the work of a master chair-maker but also a chair-maker who was able to make a chair of gorgeous proportions.
Mahogany Elbow Chair
Early Georgian, pre 1740s, mahogany elbow chair with lovely untouched patina. Stout cabriole legs terminating in restrained DRAKE’s feet at the front, a little straighter at the rear. Drop in balloon shaped seat with younger covering.
Wonderfully sinuous, curved and scrolled uprights below the arms with generously comfortable angled flats to the rear. Typically shaped back splat resting in a raised, shaped socket to the rear of the seat. Shaped, humped with roll over to top rail accentuated by a double “scratched in” line terminating in snails to the side of the roll over.
The whole with competently executed lines indicating not only the work of a master chair-maker but also a chair-maker who was able to make a chair of gorgeous proportions.
Bergere Chairs
A pair of circa 1870/80, giltwood framed, Bergere chairs in Louis XVI style; bergère à oreilles (with ears), or bergère confessionale, as if the occupant were hidden from view, as in a confessional. In the English speaking world Wingback Chairs. Canted entrants to wings carved with scrolling Acanthus, continuous husk and bead along the flats and sides of arms; the uprights augmented by palmetto leaf; the corners with carved rosettes.
The frames carved with Acanthus scroll and leaf to knees and hand rest; a central Rococo scroll, deeply carved and standing proud of the flat top rail.
Showing lovely patina and age appropriate wear with just the right amount of bole visible where hands have rested and on corners. With turned, tapering bulb and peg to lower and Acanthus lappets to upper legs separated by spiral flutes. The Aubusson inspired needlework upholstery “close nailed”; the padded elbow rests and fitted, loose squab all with appropriate age consistent wear but still very liveable and, we think, probably original to the chairs.
Bergere Chairs: angle view
A pair of circa 1870/80, giltwood framed, Bergere chairs in Louis XVI style; bergère à oreilles (with ears), or bergère confessionale, as if the occupant were hidden from view, as in a confessional. In the English speaking world Wingback Chairs. Canted entrants to wings carved with scrolling Acanthus, continuous husk and bead along the flats and sides of arms; the uprights augmented by palmetto leaf; the corners with carved rosettes.
The frames carved with Acanthus scroll and leaf to knees and hand rest; a central Rococo scroll, deeply carved and standing proud of the flat top rail.
Showing lovely patina and age appropriate wear with just the right amount of bole visible where hands have rested and on corners. With turned, tapering bulb and peg to lower and Acanthus lappets to upper legs separated by spiral flutes. The Aubusson inspired needlework upholstery “close nailed”; the padded elbow rests and fitted, loose squab all with appropriate age consistent wear but still very liveable and, we think, probably original to the chairs.
Bergere Chairs: legs
A pair of circa 1870/80, giltwood framed, Bergere chairs in Louis XVI style; bergère à oreilles (with ears), or bergère confessionale, as if the occupant were hidden from view, as in a confessional. In the English speaking world Wingback Chairs. Canted entrants to wings carved with scrolling Acanthus, continuous husk and bead along the flats and sides of arms; the uprights augmented by palmetto leaf; the corners with carved rosettes.
The frames carved with Acanthus scroll and leaf to knees and hand rest; a central Rococo scroll, deeply carved and standing proud of the flat top rail.
Showing lovely patina and age appropriate wear with just the right amount of bole visible where hands have rested and on corners. With turned, tapering bulb and peg to lower and Acanthus lappets to upper legs separated by spiral flutes. The Aubusson inspired needlework upholstery “close nailed”; the padded elbow rests and fitted, loose squab all with appropriate age consistent wear but still very liveable and, we think, probably original to the chairs.
Bergere Chairs: top section
A pair of circa 1870/80, giltwood framed, Bergere chairs in Louis XVI style; bergère à oreilles (with ears), or bergère confessionale, as if the occupant were hidden from view, as in a confessional. In the English speaking world Wingback Chairs. Canted entrants to wings carved with scrolling Acanthus, continuous husk and bead along the flats and sides of arms; the uprights augmented by palmetto leaf; the corners with carved rosettes.
The frames carved with Acanthus scroll and leaf to knees and hand rest; a central Rococo scroll, deeply carved and standing proud of the flat top rail.
Showing lovely patina and age appropriate wear with just the right amount of bole visible where hands have rested and on corners. With turned, tapering bulb and peg to lower and Acanthus lappets to upper legs separated by spiral flutes. The Aubusson inspired needlework upholstery “close nailed”; the padded elbow rests and fitted, loose squab all with appropriate age consistent wear but still very liveable and, we think, probably original to the chairs.
Bergere Chairs: top section angle
A pair of circa 1870/80, giltwood framed, Bergere chairs in Louis XVI style; bergère à oreilles (with ears), or bergère confessionale, as if the occupant were hidden from view, as in a confessional. In the English speaking world Wingback Chairs. Canted entrants to wings carved with scrolling Acanthus, continuous husk and bead along the flats and sides of arms; the uprights augmented by palmetto leaf; the corners with carved rosettes.
The frames carved with Acanthus scroll and leaf to knees and hand rest; a central Rococo scroll, deeply carved and standing proud of the flat top rail.
Showing lovely patina and age appropriate wear with just the right amount of bole visible where hands have rested and on corners. With turned, tapering bulb and peg to lower and Acanthus lappets to upper legs separated by spiral flutes. The Aubusson inspired needlework upholstery “close nailed”; the padded elbow rests and fitted, loose squab all with appropriate age consistent wear but still very liveable and, we think, probably original to the chairs.
Burr Walnut Sutherland Table: makers label
Burr Walnut Sutherland Table: completely open
A circa 1850/60, Burr Walnut Sutherland Table of rectangular form when fully open displaying an attractive “bookmatched” grain to the top. On uprights joined by a stretcher base with white porcelain castors and matching swing out gatelegs also on white porcelain castors. Made by the prestigious firm of T. H. Filmer & Sons, London. Supposedly named after Harriet, Duchess of Sutherland, 1806 – 68, a close friend of Queen Victoria. The Duchess was famous for championing of the cause of anti-slavery in the United States of America. In 1853 she hosted the author of “Uncle Tom’s Cabin”, Harriet Beecher Stowe, when she visited Britain.
Height 730 mm; length 905 mm; width when closed 175 mm, the flaps 425 mm each so 585mm or 990mm with one or both sides up.
Burr Walnut Sutherland Table: partially open 1
A circa 1850/60, Burr Walnut Sutherland Table of rectangular form when fully open displaying an attractive “bookmatched” grain to the top. On uprights joined by a stretcher base with white porcelain castors and matching swing out gatelegs also on white porcelain castors. Made by the prestigious firm of T. H. Filmer & Sons, London. Supposedly named after Harriet, Duchess of Sutherland, 1806 – 68, a close friend of Queen Victoria. The Duchess was famous for championing of the cause of anti-slavery in the United States of America. In 1853 she hosted the author of “Uncle Tom’s Cabin”, Harriet Beecher Stowe, when she visited Britain.
Height 730 mm; length 905 mm; width when closed 175 mm, the flaps 425 mm each so 585mm or 990mm with one or both sides up.
Burr Walnut Sutherland Table: partially open 2
A circa 1850/60, Burr Walnut Sutherland Table of rectangular form when fully open displaying an attractive “bookmatched” grain to the top. On uprights joined by a stretcher base with white porcelain castors and matching swing out gatelegs also on white porcelain castors. Made by the prestigious firm of T. H. Filmer & Sons, London. Supposedly named after Harriet, Duchess of Sutherland, 1806 – 68, a close friend of Queen Victoria. The Duchess was famous for championing of the cause of anti-slavery in the United States of America. In 1853 she hosted the author of “Uncle Tom’s Cabin”, Harriet Beecher Stowe, when she visited Britain.
Height 730 mm; length 905 mm; width when closed 175 mm, the flaps 425 mm each so 585mm or 990mm with one or both sides up.
Burr Walnut Sutherland Table: closed
A circa 1850/60, Burr Walnut Sutherland Table of rectangular form when fully open displaying an attractive “bookmatched” grain to the top. On uprights joined by a stretcher base with white porcelain castors and matching swing out gatelegs also on white porcelain castors. Made by the prestigious firm of T. H. Filmer & Sons, London. Supposedly named after Harriet, Duchess of Sutherland, 1806 – 68, a close friend of Queen Victoria. The Duchess was famous for championing of the cause of anti-slavery in the United States of America. In 1853 she hosted the author of “Uncle Tom’s Cabin”, Harriet Beecher Stowe, when she visited Britain.
Height 730 mm; length 905 mm; width when closed 175 mm, the flaps 425 mm each so 585mm or 990mm with one or both sides up.
Cuban Flame Mahogany Extension Dining Table
A mid-19th century, English made, square ended, thumb nail edged, Cuban Flame Mahogany extension dining table after a design from W. Smee & Sons pattern books dating to post 1860.Of good size fully extended 121 cm wide x 241cm long x 76 cm high with two drop in leaves of about 45 cm offering variations of 150, 195 & 240 cm. Extending by single rod winding via a Samuel Hawkins patent of June 6th 1861 screw expander mechanism. The whole on four, gracefully substantial, ring turned and reeded baluster legs over original, brass and brown porcelain castors.
It will comfortably seat eight to ten persons and even twelve might not be too crowded.
Solid, flame mahogany of beautiful grain, figure and lustre in marvellous original condition – unrestored - only gently cleaned and given a lick of wax.
Tables of this quality and condition do not appear in the market often as the majority are of lesser make and many have been unsympathetically restored in the C20th.
Cuban Flame Mahogany Extension Dining Table: detail
Wassily Chairs by Marcel Breuer
A pair of the chairs designed by Bauhaus architect Marcel Breuer in 1925-26.
Originally called Model B3, after the artist Wassily Kandinsky became an admirer and acquired one for himself they become more commonly known as Wassily chairs. These were made in Italy in 1984 by Fasem – a name synonymous for nearly 40 years with excellence in the manufacture of furniture which primarily uses leather and steel. For the last few decades this pair have been cherished and used by a talented, Canberra based, amateur painter.
Wassily Chairs by Marcel Breuer: label
A pair of the chairs designed by Bauhaus architect Marcel Breuer in 1925-26.
Originally called Model B3, after the artist Wassily Kandinsky became an admirer and acquired one for himself they become more commonly known as Wassily chairs. These were made in Italy in 1984 by Fasem – a name synonymous for nearly 40 years with excellence in the manufacture of furniture which primarily uses leather and steel. For the last few decades this pair have been cherished and used by a talented, Canberra based, amateur painter.
Victorian Credenza: lower door surrounds
Victorian era, burr walnut, serpentine fronted, marble topped credenza surmounted be a shaped mirror ( some spotting ) with fruiting, leafy vine carvings to the top and sides. The lower consisting of double mirrored doors, decorated with further vine and flower carvings, over a single shelf. Plinth base. Dimensions circa 1550 cm high, 133 cm long, 42 cm deep.
Victorian Credenza
Victorian era, burr walnut, serpentine fronted, marble topped credenza surmounted be a shaped mirror ( some spotting ) with fruiting, leafy vine carvings to the top and sides. The lower consisting of double mirrored doors, decorated with further vine and flower carvings, over a single shelf. Plinth base. Dimensions circa 1550 cm high, 133 cm long, 42 cm deep.
Victorian Credenza: top detail
Victorian era, burr walnut, serpentine fronted, marble topped credenza surmounted be a shaped mirror ( some spotting ) with fruiting, leafy vine carvings to the top and sides. The lower consisting of double mirrored doors, decorated with further vine and flower carvings, over a single shelf. Plinth base. Dimensions circa 1550 cm high, 133 cm long, 42 cm deep.
Victorian Credenza: side detail
Victorian era, burr walnut, serpentine fronted, marble topped credenza surmounted be a shaped mirror ( some spotting ) with fruiting, leafy vine carvings to the top and sides. The lower consisting of double mirrored doors, decorated with further vine and flower carvings, over a single shelf. Plinth base. Dimensions circa 1550 cm high, 133 cm long, 42 cm deep.
Mahogany Library Bookcase
A tall, handsome, mid to late C19th, English, Mahogany, double height library bookcase with a pair of glazed doors at both levels; the shelf to the lower fixed; the shelves to the upper adjustable. Dimensions height 2.54 m x width 1.30 m; external depth 40 cm; shelf depth 31 cm.
Solid Oak Hall Table: mask detail
Late 1800s or early 1900s, substantial, rectangular, solid oak, hall table in the Jacobean manner. Shaped block feet joined by a stepped stretcher. Raised on pairs of deeply turned, Barley Twist columns.
Gadrooned, convex top edge with repeated arches to long sides of skirting.
Grotesque Masks over inverted ball and point finials to the canted corners.
122 cm long x 61 cm deep x 77cm high
Solid Oak Hall Table
Late 1800s or early 1900s, substantial, rectangular, solid oak, hall table in the Jacobean manner. Shaped block feet joined by a stepped stretcher. Raised on pairs of deeply turned, Barley Twist columns.
Gadrooned, convex top edge with repeated arches to long sides of skirting.
Grotesque Masks over inverted ball and point finials to the canted corners.
122 cm long x 61 cm deep x 77cm high
Jacob & Josef Kohn Bentwood Chair
A set of six, Austrian, circa 1890-1900, Jacob & Josef Kohn of Teschen, upholstered bentwood chairs with original labels & “burnt in” makers marks below seat; “as found” and ready for re- upholstery.
Jacob & Josef Kohn Bentwood Chair: Kohn marking
A set of six, Austrian, circa 1890-1900, Jacob & Josef Kohn of Teschen, upholstered bentwood chairs with original labels & “burnt in” makers marks below seat; “as found” and ready for re- upholstery.
Jacob & Josef Kohn Bentwood Chair: Teschen Austria marking
A set of six, Austrian, circa 1890-1900, Jacob & Josef Kohn of Teschen, upholstered bentwood chairs with original labels & “burnt in” makers marks below seat; “as found” and ready for re- upholstery.
Jacob & Josef Kohn Bentwood Chair: full label
A set of six, Austrian, circa 1890-1900, Jacob & Josef Kohn of Teschen, upholstered bentwood chairs with original labels & “burnt in” makers marks below seat; “as found” and ready for re- upholstery.
Circa 1930s, English Oak and veneer Art Deco Bar doors open
Dropping the upper door by its original metal and Bakelite handle will raise the top to reveal a Birdseye veneer, mirrored interior.
Nickelled mechanism and bevelled edge mirror surround to serving / mixing platform. Original citrus squeezer, olive picks, cocktail shaker, period light fitting temporarily disabled. Two baize lined drawers with folding pulls over a single shelf behind doors with Bakelite escutcheon. Original lock and key, nickelled bottle holders to inside of doors.
Circa 1930s, English Oak and veneer Art Deco Bar top open
Dropping the upper door by its original metal and Bakelite handle will raise the top to reveal a Birdseye veneer, mirrored interior.
Nickelled mechanism and bevelled edge mirror surround to serving / mixing platform. Original citrus squeezer, olive picks, cocktail shaker, period light fitting temporarily disabled. Two baize lined drawers with folding pulls over a single shelf behind doors with Bakelite escutcheon. Original lock and key, nickelled bottle holders to inside of doors.
Circa 1930s, English Oak and veneer Art Deco Bar
Dropping the upper door by its original metal and Bakelite handle will raise the top to reveal a Birdseye veneer, mirrored interior.
Nickelled mechanism and bevelled edge mirror surround to serving / mixing platform. Original citrus squeezer, olive picks, cocktail shaker, period light fitting temporarily disabled. Two baize lined drawers with folding pulls over a single shelf behind doors with Bakelite escutcheon. Original lock and key, nickelled bottle holders to inside of doors.
Late Regency, English, Mahogany Sideboard
Circa 1820-1830, with classical scroll, Acanthus leaf and shell carved to low back. Two short and one long, cushion moulded frieze drawers (with substantial, solid, figured Mahogany fronts) below the flame figured solid and edge veneered top. NB the thickness of the hand cut veneer. Further long and deep drawer to the rear of the central skirt. Flame figured, panelled doors flanked by solid round pillars with deep gadrooning to lower edge. The doors over shelves, one deep drawer and one cellarette. The whole on eight, carved in the round Acorn shaped feet. Original condition revived by copious waxing; otherwise “as found”.
Art Nouveau Leadlight Door
From door of music cabinet.
Burr Walnut Canterbury
Late C19th.
Jugendstiel Chair Detail
Part of a Jugendstiel suite comprising a Walnut settee and four chairs, dating from 1890 – 1900, German “Art Nouveau”, very rare to find for sale this style of suite and in top condition in Australia.
Jugendstiel Settee Detail
Part of a Jugendstiel suite comprising a Walnut settee and four chairs, dating from 1890 – 1900, German “Art Nouveau”, very rare to find for sale this style of suite and in top condition in Australia.
Jugendstiel Settee
Part of a Jugendstiel suite comprising a Walnut settee and four chairs, dating from 1890 – 1900, German “Art Nouveau”, very rare to find for sale this style of suite and in top condition in Australia.