Collectorium on Newcastle

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.  

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.  

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.  

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.

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.

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.

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.

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.

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 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 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.

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

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

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.  

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.  

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.

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.

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.

A 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. 

A 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. 

From door of music cabinet.

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.