Antique Sideboard

An Art Nouveau oak Sideboard, Victorian carved walnut framed Sofa, Queen Anne oak boarded Box, Queen Anne-style walnut Dining Chairs

An Art Nouveau oak Sideboard, circa 1905, the galleried back with an embossed copper panel and pierced sides, the pair of frieze drawers above inverted tapered square legs

joined by stretchers, 126cm. high by 111cm. wide.

A William and Mary walnut and featherbanded Chest, circa 1690, now in two parts, the moulded crossbanded top above two short and three long graduated drawers, on later bracket

feet, 96cm. high by 86cm. wide.

A George III mahogany and
crossbanded bow-front Sideboard, circa 1790,
inlaid throughout with stringing, the central
frieze drawer above a pair of small panelled
doors flanked by deep drawers, the tapered
square legs on brass spade feet and castors,
90cm. high by 138cm. wide.

A matched set of eight Regency
rail-back Dining Chairs, circa 1815,
comprising: a pair of armchairs with gadrooned crestings and stuffed seats, on ring turned legs, and a set of six rail-back standard chairs, on turned legs, re-railed and

restored.

A Victorian carved walnut framed Sofa, circa 1860, covered in button upholstered gold dralon, the arched pierced back with a foliate scroll cresting, the bowed arms above scroll

facings carved with fruit, on cabriole legs, 196cm. wide.

A George III mahogany Occasional Table, circa 1770, the square moulded tilt-top with a galleried border, with a baluster turned pillar and tripod supports, altered, 61cm. wide.

A Chinese carved hardwood Armchair, circa 1900, the dragon mask cresting above a panel back carved in relief with a stylised dragon, the serpentine solid seat with dragon arms,

on cabriole legs.

A George III mahogany Pembroke Table, circa 1790, the oval top with two fall leaves and chequered inlay above one real and one dummy frieze drawers, the fronts with rosewood

crossbanding, on square tapering legs with spade feet, restored, 76cm.

A Louis XVI walnut miniature
Commode, circa 1790, the later grey marble
top above three drawers with brass mouldings,
the fluted sides on tapered square feet, 31cm.
high by 31cm. wide.

An Edwardian oak pedestal Writing Desk, the tooled leather-inset top above an arrangement of nine drawers, on tapered square feet, 153 cm. wide, bears trade label of Robson &

Sons, Newcastle-on-Tyne.

A Queen Anne oak boarded Box, with hinged cover, faults, 61cm. wide.

A George IV mahogany Tea Table, with a rectangular top, on a turned pillar.

A George IV mahogany tripod Table, the circular tilt-top above a turned column a reeded legs, faults, 56cm. diam.

A George III mahogany Chest, of two short and three long graduated drawers, on bracket feet, 106cm.

A Victorian Chaise Longue, the scrolled; end and seat upholstered in green dralon, on turned feet, 162cm.

A pair of Queen Anne-style walnut Dining Chairs, with vase-shaped splats, the drop-in needlework seats above shell carved cabriole legs with ‘H’-shaped stretchers.

An Edwardian mahogany Armchair, the
oval cane panel back and serpentine seat above
turned legs; together with another Edwardian
mahogany Armchair, on stop-fluted turned
legs.

An Edwardian mahogany Writing Desk,
the galleried leather-inset top with two small
drawers, below is an arrangement of nine
drawers, 122cm. wide, now on plinth bases.

A George III mahogany Side Table,
fitted with two frieze drawers, on chamfered
square legs, 100cm. wide.

A George I-style walnut Card Table, the eared fold-over top with counter recesses, on shell carved cabriole legs and pad feet, 80cm. wide.

Regency gilt-gesso convex Wall Mirror, Victorian mahogany oval Sutherland Table, Louis XVI-style carved elm Fauteuil, Victorian rosewood revolving Piano Stool

A walnut and gilt painted triple Dressing Table Mirror, faults, 110cm. wide.

A George III mahogany tray-top Bedside Commode, with a tambour front above a pull-out base, on moulded square legs, 52cm. wide.

A George Ill-style large mahogany and crossbanded break-front Sideboard, 19th Century, the three frieze drawers flanked by a deep drawer and a cellaret drawer, the bell flower

carved terminals above tapered square legs and spade feet, 274cm. long.

A pair of early 19th Century-style black japanned and gilt ‘X’-framed Armchairs, with pierced trellis backs and button upholstered ivory dralon seats.

A Victorian oak and upholstered revolving tub-shaped Chair, covered in brown leathercloth; together with another tub-shaped Chair in matching upholstery, on turned legs and

castors.

A giltwood Standard Lamp, with a floral embroidered shade, on a fluted stem and carved tripod supports, 185cm. high.

A Regency gilt-gesso convex Wall Mirror, with an eagle cresting, 81cm. high.

A late George III mahogany small Chest, with ebonised stringing and four long drawers, on bracket feet, 80cm. wide.

A Victorian rosewood revolving Piano Stool, with an octagonal stem and triform base, on scroll feet, 50cm. high.

A 17th Century-style oak Joint Stool, with turned and square legs joined by stretchers, 47cm. wide.

A George Ill-style mahogany Armchair, with trellis splat and distressed green striped brocade slip-in seat, on tapered square legs.

A George III mahogany and satinwood banded Card Table, inlaid throughout with stringing, the breakfront top above tapered square legs, 92cm. wide.

A Victorian mahogany oval Sutherland Table, on turned legs with arched feet and castors, 99cm. wide when open.

A Victorian mahogany and beechwood adjustable Bed Table, 76cm. wide.

A gilt-gesso hanging Display Cabinet, 19th Century, with pierced trophy cresting and a pair of glazed doors, 80cm. wide.

A George III mahogany Chair, with
pierced vase-shaped splat and slip-in
pale-green velvet seat, on tapered square legs;
together with a George III mahogany Chair,
with pierced splat, slip-in gold damask seat and
chamfered square legs.

A pair of George III mahogany Dining Table Ends, with ‘D’-shaped tops, on tapered square legs and brass castors, each 98cm. wide.

A pair of Continental painted and parcel-gilt Chairs, late 18th Century, with pierced splats and rush seats, including loose velvet upholstered squabs, on fluted tapered square

legs joined by turned stretchers.

A Louis XVI-style carved elm Fauteuil,
with vellow damask upholstery, on fluted
turned legs.

A Dutch mahogany miniature Secretaire a Abattant of late 18th Century design, inlaid with multiple bandings and paterae, on tapered square feet, faults, 65cm. high by 34cm.

wide.

LOMBARD WALNUT COMMODES, Louis XV/XVI TRANSITIONAL ORMOLU-MOUNTED TULIPWOOD AND AMARANTH COMMODE, LOUIS XV ORMOLU AND BRONZE MANTEL CLOCK, Louis XVI SIDE CHAIRS

AN UNUSUAL SUITE OF GERMAN GROTTO SEAT FURNITURE comprising a three-seat
settee, six armchairs and a rocking chair, the tall carved silvered backs and seats with gilt-
wood dolphin arms on rockwork legs, the rocking chair on scroll dolphin supports and
the rockers with dolphin heads, 18th/19th Century
Provenance: Schloss Rheinsberg
A similar armchair, thought to have been made about 1760/70, is in the Kunst¬gewerbe Museum, Berlin, Schloss Kopenick, and is illustrated by Heinrich Kreisel, Die Kunst des

Deutschen Mobels, vol. II, figure 1111

A PAIR OF LOMBARD WALNUT COMMODES, each with a rectangular top, a drawer in the concave frieze, one also with a slide, with two further drawers in the concave lower part, on

cabriole legs, 2ft. 8in. high by 3ft. 5in. wide (81cm. by 104cm.) circa 1760

A Louis XV/XVI TRANSITIONAL TABLE signed Dusautoy and stamped JME, and with silvered mounts, the oval white marble top with a three-quarter gallery, the frieze inlaid with

flowerhead trellis and with a fitted drawer on one side raised on cabriole legs inlaid with chains of husks and ending in scroll sabots, and joined by a kidney-shaped stretcher

inlaid with a panel of flowers flanked by flowerhead trellis, circa 1780
Jean-Pierre Dusautoy, 1719-1800, was received Master in 1799

A LATE LOUIS XV GILTWOOD VOYEUSE, indistinctly stamped, probably Chevigny, with padded toprail, stufied lyre-shaped back, stufied saddle-shape seat and ^fluted tapering legs,

circa 1765
Tean Nicolay L’Art et la Maniere des Maitres Ebenistes Francais au XVIIIe Siecle, page 102, fig. C, illustrates a very simUar chair by Claude Chevigny, received Master in 1768

A Louis XV/XVI TRANSITIONAL ORMOLU-MOUNTED TULIPWOOD AND AMARANTH
COMMODE stamped J. C. Stumpf/, with mottled grey and white marble top, the front
with a gently swelling centre section and containing three small and two long drawers, the
rounded corners inlaid to simulate fluting, on cabriole legs, 2ft. Hin. high by 4ft. 4V2in.
wide (89cm. by 134cm.) circa 1775
Jean-Chrysostome StumpfT, 1731-1806, received Master in 1766

A FINE AND RARE MAHOGANY BUREAU attributed to Abraham Roentgen, the top
and shaped fall-front inlaid with a chequer banding, the interior fitted with an arrangement
of shaped rosewood-veneered drawers above a plain frieze drawer and shaped kneehole flanked
to each side by a deep drawer with tambour lid and hinged opening to reveal tulipwood-
veneered drawers, on cabriole legs with brass mounts, 3ft. high by 3ft. 3?2in. wide (91.5cm. by
100.5cm.) circa 1765, Neuwied
Hans Huth, Roentgen Furniture, London 1974, illustrates a very similar bureau, plate 18, in the Neues Schloss at Baden Baden

A Louis XV ORMOLU MANTEL CLOCK, the (later) enamel dial and movement signed Balthazard A Paris, in a waisted case with a reclining cherub cresting, the whole profusely chased

with shellwork, scrolls and leaves, 20in. high (51cm.) circa 1760

A LOUIS XVI ORMOLU CARTEL CLOCK with a 9in. (cracked) enamel dial and pierced
gilt hands, the movement with rectangular plates and outside count wheel, the case sur-
mounted by an urn and with pineapple finials, acanthus flanking the dial and a female
mask below, 37in. high (94cm.) circa 1780

A LOUIS XV/XVI TRANSITIONAL BOIS SATINE COMMODE, the shaped moulded
brown and green mottled marble top above an ormolu-mounted frieze divided as two
drawers above two drawers inlaid with ribbon tied musical instruments, sheet music and
flowers with a moulded ormolu mount flanked by an ormolu moulded panel inlaid with
drapes and above an ormolu-mounted frieze on ormolu moulded cabriole legs, 2ft. lO’Mn.
high by 4ft. 2in. wide (87cm. by 127cm.) circa 1775

AN EARLY LOUIS XVI MARQUETRY SECRETAIRE A ABATTANT with a mottled grey
marble top and a drawer in the frieze, the fall-front inlaid with a spray of flowers and
leaves and enclosing a fitted interior, with a pair of doors below, 4ft. 6in. high by 2ft. 7in.
wide (138cm. by 79cm.) circa 1775

A SMALL LOUIS XVI QUARTER-REPEATING ORMOLU CARTEL TIMEPIECE, the (chipped) 4V2in. enamel dial signed Olin a Paris, the similarly signed movement with circular plates and

repeating on one bell Struck by two hammers, the case surmounted by an um and decorated with scrolls, acanthus and swags of bay, 18in. high (46cm.)        ?800-1200

A LATE LOUIS XV ORMOLU AND BRONZE MANTEL CLOCK, the case stamped St. Germain, the enamel dial signed Charles Le Roy A Paris and with pierced gilt hands, the similarly signed

movement with later escapement and outside numbered count wheel, the case surmounted by a lamp and resting on a fluted column, a cockerel at one side and a bronze seated female

figure at the other, the base with a band of fret hung with swags of leaves, on ebony-veneered base mounted with trefoils, 22in. high (56cm.) circa 1770
Jean-Joseph de Saint Germain is mentioned in L’Almanach General des Marchands in 1747 and 1772, with his address, rue Saint Nicolas in the Faubourg Saint Antoine

AN EARLY LOUIS XVI ORMOLU-MOUNTED BLEU-TURQUIN MARBLE VASE of navette shape, the lid surmounted by a pomegranate finial with leaves below, the pierced vitruvian scroll frieze

centred at each side by a mask with swags of oak branches, the leaf-cast fluted handles supported by leafy moustachioed masks, the gadrooned body raised on a waisted socle and

fluted and bead-moulded plinth, Whin. high (31.5cm.) circa 1775

AN UNUSUAL LOUIS XVI GILTWOOD BAROMETER with an oval paper register
plate signed Par Sormanif Rue de L’Arbre sec No. 17 a Paris, with a thermometer in the
centre, the frame with swags of flowers and leaves, an um cresting and a sunburst mask
below, 43V2in. high (110cm.) circa 1780

A Louis XVI ORMOLU-MOUNTED MAHOGANY REGULATOR of long duration, the
dished 13in. enamel dial signed Lepaute A Paris and with pierced engraved gilt hands,
steel centre seconds hand and an enamel calendar ring below VI mounted on a wheel
revolving once a year, the weight-driven movement with shaped plates, piain pillars, four
wheel train with delicate wheelwork and incomplete pin-wheel escapement, the massive
compensation gridiron pendulum with knife-edge suspension from a bracket attached to
the backboard, temperature indication and lenticular bob, the case with a moulded rec-
tangular hood and mounted with bands of petal moulding, flowerheads and a female mask
in the waist door, 7ft. Hin. high (240cm.) circa 1785, plinth lacking

A Louis XVI ORMOLU-MOUNTED KINGWOOD AND TULIPWOOD MARQUETRY CONSOLE DESSERTE, stamped J. Stockei JME, bow-fronted and with a white marble top, the frieze inlaid with an

interlaced geometric strapwork design and containing a central drawer flanked by pivoted segment-shaped drawers, the Supports inlaid to simulate fluting, and with a panelled

back, conforming shelf stretcher, and turned tapering legs also inlaid to simulate fluting, 2ft. Hin. high by 3ft. 4in. wide (88cm. by 102cm.) circa 1775
Joseph Stockei, 1743-1802, was received Master in 1775

A PAIR OF LOUIS XVI GILTWOOD FAUTEUILS, one stamped G. Jacob, each arched
top-rail centred by flowers and with stuffed backs, padded arms with scroll terminais and
stuffed seats on stop-fluted tapering legs, circa 1780
Georges Jacob, 1739-1814, received Master in 1765

A SET OF FOUR Louis XVI PAINTED ARMCHAIRS with rectangular moulded backs,
downswept moulded panelied arms with scroll handles on stop-fluted supports, the stuffed
seats on moulded seatrails and turned tapering fluted and stop-fluted legs headed by
flowerheads, circa 1780, one pair decorated in off-white, the other in off-white and beige,
one reduced in height

A PAIR OF Louis XVI SIDE CHAIRS, similar, but with rounded front corners,
circa 1780

A Louis XVI CARVED GILTWOOD AND GESSO CONSOLE with fleur de peche marble
top, the frieze carved with leafy wave motif and hung with garlands of flowers, raised on
fluted tapering legs, the guilloche-carved stretcher centred by a flower-draped um, 2ft. 9in.
high by 2ft. 11 in. wide (84cm. by 89cm.) circa 1780

LOUIS XVI MARBLE, BRONZE AND ORMOLU PENDULE, DIRECTOIRE ORMOLU-MOUNTED MARBLE MANTEL CLOCK, XVI ORMOLU-MOUNTED MAHOGANY SIDE CABINET, ORMOLU AND BRONZE WALL CLOCK

A RARE AND VERY IMPORTANT LOUIS XVI MARBLE, BRONZE AND ORMOLU PENDULE
A CERCLES TOURNANTS attributed to Thomire, the enamel hour and minute rings decorated in the manner of Coteau with exceptionally finely drawn gilt and polychrome scrollwork, the

pointer at the end of a spray of roses, the movement with inverted anchor escapement and numbered count wheel, the case in the form of a drum-shaped altar faced with a

pro¬cession of well-modelled figures bearing offerings to the sacrifice, one leading a bull, and with a ram’s mask at either side, on the right a priestess stands before a

smoking tripod making libation over the flame, her acolyte kneeling before her between a red marble urn and a bunch of summer flowers spilling from a basket, the base mounted

with a leafy mask between two gryphons and acanthus scrolls enclosing trophies, the curved ends with garlands of fruit and flowers, 2V/2in. high by 24in. wide (54cm. by 61cm.)

circa 1785
Design for Lot 99 attributed to Thomire, published by kind permission oj the Musee des Arts Decoratifs, Paris
An almost identical clock is shown in a design attributed to Thomire in the Musee des Arts Decoratifs, Paris. The design, which shows alternative arrangements for a chimney

piece, is probably part of a bronzier’s catalogue rather than an actual project for decoration
A similar clock was exhibited The Age of Neo-Classicism, London 1972, catalogue number 1620, it was also attributed to Thomire
Another version is at Longleat House in the Collection of the Marquess of Bath and is illustrated in the guidebook
A third version was sold from the Collection of the Countess Bismarck, Sotheby Monte Carlo, 26th May 1980, lot 656

A Louis XVI ORMOLU-MOUNTED MARBLE MANTEL CLOCK, the enamel dial signed Blanc l’aine et Compe. a Paris and with pierced gilt hands, the movement with silk suspension and outside

count wheel, the case surmounted by an urn and supported between two shaped columns headed by porcelain plaques, the base faced with mounts composed of eagles’ masks and

flowering scrolls, 20V2in. high (52cm.) circa 1790

A GOOD ORMOLU, BRONZE AND WHITE MARBLE MANTEL CLOCK, the enamel
dial signed Polin Vaine A Paris and with pierced engraved gilt hands and calendar
dial with red numerals, the movement with silk suspension and outside count wheel, the
case surmounted by a bacchante and in the form of a litter borne on the Shoulders of two
putti astride seated goats, the breakfront base mounted with infant musicians among
clouds, 20in. high (51cm.), late 18th/early 19th Century    ?2500-3500
For another example of the same model see Tardy, La Pendule Francaise, Volume 2, page 122. A similar clock was exhibited in the 1968 Antique Dealers’ Fair at Grosvenor House

A Louis XVI ORMOLU-MOUNTED GREY MARBLE MANTEL CLOCK, the enamel
dial signed Martinet London and with pierced gilt hands and steel calendar hand, the
movement with outside count wheel and altered suspension, the arched base surmounted
by a fiaming torch and quiver and with fluted pilasters flanked by fruit and flowers below
the dial, the inverted breakfront base faced with foliate mounts, Whin. high (47cm.) circa
1785
Presumably made for the English market

A DIRECTOIRE ORMOLU-MOUNTED MARBLE MANTEL CLOCK, the (chipped) enamel
dial signed Le Cour a Paris, the movement with silk suspension and outside count wheel,
the case surmounted by an um and supported between two verde antico columns of rec-
tangular section headed by vases of flowers, on a stepped rectangular base, 20in. high (51cm.)
circa 1795

A LATE Louis XVI ORMOLU-MOUNTED MAHOGANY SMALL COMMODE, with
Belgian fossil marble top, three long drawers, fluted rounded corners and fluted tapering
legs, 2ft. Hin. high by 2ft. lOin. wide (89cm. by 86.5cm.) circa 1785

A PAIR OF LOUIS XVI ORMOLU-MOUNTED MAHOGANY CONSOLES DESSERTES, the wedge-shaped white marble tops with pierced three-quarter galleries, each with a drawer in the panelled

frieze, raised on fluted supports joined by conforming shelf stretchers, with turned tapering legs, 2ft. 9in. high by 2ft. 7in. wide (84cm. by 79cm.) circa 1785

A Louis XVI GILTWOOD ARMCHAIR stamped P. Gerard, the rectangular back
with a bead moulded frame, the vase-shaped splat hung with laurel swags and trumpets,
the padded arms on downcurved moulded supports, with stuffed seat, on turned fluted
tapering legs headed by paterae, circa 1780
Ponce Gerard received Master 13 May 1778

A PAIR OF LOUIS XVI MAHOGANY SIDE CABINETS, the mottled grey marble tops with three-quarter galleries, the friezes with ormolu bead and petal mouldings, the doors each with

three mirrored panels enclosing shelves, flanked by reeded pilasters, on toupie feet, 3ft. 6in. high by 2ft. 9V4in. wide (107cm. by 84cm.) circa 1785, mirror panels later

A DIRECTOIRE BRASS-MOUNTED MAHOGANY COMMODE, the breche violette marble
top with a pierced three-quarters brass gallery and with three long brass-panelled drawers,
the top one with three small panels and with original rectangular loop handles, the pro-
jecting rounded corners inlaid with brass fluting, raised on toupie feet, 2ft. Whin. high
by 4ft. 1 ‘Mn. zoide (88cm. by 126cm.) circa 1790

A A PAIR OF ORMOLU CHENETS, each in the form of a cherub, issuing from boldly
cast leafy scrollwork and warming his hands at a flaming brazier, on fluted and bead-cast
bases, W/nn. high by 15in. wide (34cm. by 38.5cm.) 19th Century

A PAIR OF ORMOLU-MOUNTED GREY MARBLE VASES in Louis XVI style, with
pomegranate fmials, lion mask handles, leafy socles and square bases, 18in. high (64cm.)
19th Century

A Louis XVI ORMOLU-MOUNTED MAHOGANY SIDE CABINET with white marble
top, the panelled frieze with beaded borders above three glazed doors also with beaded
borders and fianked by fluted and stop-fluted pilasters, on fluted tapering legs, the back
with interlaced double V mark, 2ft. Hin. high by 6ft. V2in. wide (89cm. by 185cm.) circa
1785
The double V inventory mark is traditionally associated with Versailles, though it is also recorded as being the mark of the Chateau de Wideville

AN ORMOLU AND BRONZE WALL CLOCK, the circular white enamel dial and
movement signed Planchon a Paris, the case in the form of a drum suspended from ribbons
with an eagle and laurel leaves below, 21 in. high (55cm.) the back stamped MP and
numbered 9572,19th Century

A LOUIS XVI PAINTED HALF-TESTER BED, with waved moulded cornice
supported on two fluted posts, with arched stuffed ends faced by fluted and leaf-carved
columns, raised on fluted tapering feet, 4ft. 9in. wide by 7ft. long (145cm. by 213cm.) circa
1780

A PAIR OF LOUIS XVI BRONZE AND ORMOLU CANDLESTICKS, each with a leafy nozzle held in the arms of a winged bronze cherub who balances on one foot on a cloud, on cylindrical white

marble pillar with square base, 103Ain. high (27cm.) circa 1790

A PAIR OF LOUIS XVI ORMOLU-MOUNTED PORPHYRY VASES of urn shape with
satyr mask handles supporting swags of flowers, the gadrooned leaf-cast socles on rec-
tangular bases, Hin. high (28cm.) circa 1780, on later rectangular ormolu-mounted blocks,
WMn. high overall (39cm.)

A PAIR OF Louis XVI BRONZE, GILT-BRONZE AND WHITE MARBLE CANDELABRA,
each in the form of a cherub with scant drapery holding a flaming torch in each hand
forming the candie nozzles, standing on drum-shaped marble plinths with rectangular
bases, Whin. (42cm.) circa 1780

A LOUIS XVI ORMOLU-MOUNTED BLACK AND WHITE MARBLE MANTEL CLOCK,
the enamel dial signed Piolaine a Paris, and with pierced gilt hands and Arabie chapters,
the movement with outside count wheel and altered suspension, the case surmounted
by an eagle and with fluted columns backed by corbels faced with chains of flowers, ail
headed by urns of flowers, the base mounted with floral scrolls, 21 ‘hin. high (54.5cm.)
excluding later feet, circa 1785

A DIRECTOIRE MAHOGANY SECRETAIRE A ABATTANT, the moulded comice above a frieze set with a brass band, above a drawer and a fall-front enclosing a fitted interior, with three

further drawers and a drawer in the base flanked by fiuted columns, on turned feet, 4ft. IVhin. high by2ft. 6in. wide (151cm. by 76cm.) late 18th Century

EMPIRE ORMOLU MANTEL CLOCK, Louis XVI MAHOGANY SECRETAIRE A ABATTANT, EMPIRE BRONZE AND ORMOLU MANTEL CLOCK, MILANESE MARQUETRY COMMODE

A Louis XVI MAHOGANY SECRETAIRE A ABATTANT, the rectangular marble top
above a frieze drawer outlined with brass mouldings, the brass moulded fall front enclos-
ing a fitted interior of drawers and pigeon-holes above three long drawers brass-moulded
and flanked by brass-fluted pilasters, on turned tapered brass-mounted feet, 4ft. 9in. high
by 2ft. 8in. wide (145cm. by 81cm.) circa 1785

AN EMPIRE BRONZE AND ORMOLU MANTEL CLOCK with an enamel dial and
pierced hands, the movement with silk suspension and outside count wheel, the case
in the form of a vase of rectangular section with pineapple finials and square base, 13in.
high (33cm.) finial lacking, circa 1815

A GOOD EMPIRE ORMOLU-MOUNTED LAPIS-LAZULI VENEERED JARDINIERE, the rectangular body with an Egyptian term at each corner, the front with a wreath of flowers, raised on paw feet,

Whin. high by 14in. wide (27cm. by 36cm.) early 19th Century

A GOOD BRONZE AND ORMOLU MANTEL CLOCK with an enamel dial and pierced gilt hands, the movement with circular plates, silk suspension and outside count wheel the case surmounted

by a river God reclining against a gushing urn and with a waterfali and dojphin supports below the dial, the base faced with a shell motif, 21m. high (53.5cm.)

A RARE ORMOLU, TOLE AND MAHOGANY WALL TIMEPIECE with a 4in. enamel
dial signed Bentley & Beck, Royal Exchange, London 781 and with pendulum adjustment
at XII, the similarly signed movement with circular plates and anchor escapement, in an
octagonal case with a moulded mahogany border and inner frame composed of sprays of
bay, the centre of black-japanned tin and inscribed Hiems aestas Longe et prope Mors et
Vita, the dial held by well-modelled figures of Venus and Cupid, 27>/2in. high (70cm.) early
19th Century, probably French

AN EMPIRE ORMOLU MANTEL CLOCK with a (chipped) enamel dial, the movement
with silk suspension and outside count wheel, the backplate bearing the signature Breguet
et fils No. 973, in a rectangular case inscribed Homere Virgile and mounted with a winged
horse above the word Hippocrene, a figure of a Muse holding a pencil at one side, on a rec-
tangular base and turned feet, 17in. high (43cm.) circa 1810

AN EMPIRE ORMOLU MANTEL CLOCK with an engine-turned gilt dial, the move-
ment with silk suspension and outside count wheel, the case surmounted by an urn and
with the figure of a youth standing at one side catching a moving pearl and with scallop-
shells at his feet, the base with a reclining putto and a swag of flowers held by’two
butterflies, lVhin. high (39.5cm.) circa 1810

A PAIR OF PIEDMONTESE CARVED GILTWOOD ARMCHAIRS, the stuffed shield-
shaped backs with eagles’-head terminais, the beaded and leaf-carved arms with lions’-head
terminais, with stuffed bow-fronted seats and fluted sabre legs with carved roundels, circa
1800

A PAIR OF VIENNESE CARVED GILTWOOD AND GESSO STANDS, the circular tops with
anthemion borders, raised on tripod supports hung with chains of flowers and centred
by urns, the tripod feet carved with leaves and husks, 3ft. 21hin. high (97.5cm.) 19th
Century, tops now with mirror panels

A FINE PAIR OF PlEDMONTESE GRAINED WALNUT, PAINTED AND PARCEL-GILT
COMMODES, the semi-circular simulated black marble tops above a shallow frieze drawer decorated with trailing leaves within a beaded border and above a deep drawer similarly

decorated on a blue ground, with a shallow drawer beneath flanked on each side by a door similarly decorated, the square tapering legs headed by carved paterae and decorated

with vases and husks, 2ft. Hin. high by 3ft. lOWn. wide (89.5cm. by 119cm.) circa 1790

ALCIBIADES LEAVING FOR THE WARS. AN EARLY 19TH CENTURY ORMOLU MANTEL
CLOCK with an enamel dial and pierced hands, the movement with silk suspension and
outside count wheel, the case with the figure of the Athenian warrior, the base faced with
a classical scene, on paw feet, 26in. high (66cm.) circa 1825

A RESTAURATION BRONZE AND ORMOLU MANTEL CLOCK with gilt dial framed by a ring of flowers, the movement with silk suspension and outside count wheel, the case surmounted by an

urn and flanked by a figure of a maiden holding a cornucopia, the base mounted with a trophy of leaves and flowers, 20lhin. high (52cm.) circa 1820

A PURPLEHEART- AND TULIPWOOD-VENEERED BUREAU A CYLINDRE in quarter-
veneered wood with green-stained bandings with outset corners on a harewood ground, with a cylinder opening in conjunction with a leather-lined slide and enclosing drawers,

pigeon-holes and an unusually fitted drawer, with two frieze drawers veneered to match the top, cylinder and sides, on circular tapering fluted legs, 3ft. l’hin. high by 3ft.

2in. wide (111cm. by 96cm.) circa 1785, North Italian or South German, drawers re-lined

AN EMPIRE ORMOLU MANTEL CLOCK with an engine-turned gilt dial, the move-
ment with circular plates, silk suspension and outside count wheel, the case in the form
of a chariot driven by a putto and drawn by two poodles, the base mounted with a trophy
of arrows, Whin. high (34.5cm.) circa 1815, pendulum lacking

AN UNUSUAL BRONZE AND ORMOLU MANTEL CLOCK with an engine-turned gilt
dial signed Galle Paris, the movement with silk Suspension and outside count wheel, the
case in the form of an Egyptian pylon supported by four winged lionesses, on a rectangular
base, Whin. high (34cm.) early 19th Century

AN EMPIRE BRONZE, ORMOLU AND MARBLE MANTEL CLOCK with an enamel dial signed Le Sieur a Paris and well-modelled gilt hands, the movement with silk suspension and outside count

wheel, the case faced with two putti and with a maiden led by Cupid at one side, on a rectangular green marble base, 23V2in. high (60cm.) circa 1805

BRONZE AND ORMOLU MANTEL CLOCK, the circular white enamel dial con-
tained within a bronze plinth with winged figures at the front corners and a scene of a
sacrifice below, Whin. high (29cm.) early 19th Century

A FINE MILANESE MARQUETRY COMMODE in the manner of Guiseppe Maggiolini, with mottled apricot marble top, the frieze inlaid with an anthemion band and a drawer and canted

corners, the front with three long drawers slightly recessed and veneered sens travers on a quartered tulipwood ground with a giant foliate roundel enclosing vases and musical

trophies, the canted corners with oval portrait scale medallions and scrollwork, on short square tapering legs, 3ft. high by 4ft. 61hin. wide (91cm. by 139cm.) circa 1785

A PAIR OF EMPIRE BRONZE, ORMOLU AND MARBLE CANDELABRA, each in the
form of an Egyptian term figure supporting three candle nozzles, standing on a rec-
tangular marble plinth, lft. Wiin. high (55cm.) early 19th Century

A LOUIS XVI FAUTEUIL FRAME stamped /. B. Lelarge, the armrest signed by
the upholsterer FAIT PAR LEVESQUE, TAPIR 1778 A PARIS, with moulded frame,
oval back, bow-fronted seat and fluted tapering legs, circa 1780
Jean Baptiste Lelarge, 1743-1802, received Master in 1775

AN EMPIRE ORMOLU AND BRONZE BRULE PARFUM, the pierced lid with anthemion
border raised on three ram’s head monopodia joined by a ring, on ball feet and circular
base, 8Vt in. high (21cm.) early 19th Century

AN ORMOLU-MOUNTED PLUM PUDDING MAHOGANY TOILET AND WRITING TABLE in the manner of David Roentgen, the rectangular top opening in conjunction with the frieze drawer which

contains a rising rectangular toilet glass flanked by wells with tambour lids and with a subsidiary drawer below with a leather-lined slide and ink drawer on one side, the

panelled front with drapery handles and fluting at the corners and raised on square tapering legs, 2ft. 7in. high by 2ft. Hin. wide (80cm. by 89cm.) late 18th Century

A GOOD PAIR OF EMPIRE BRONZE AND ORMOLU CANDELABRA, each in the form of
a winged Female figure who holds aloft a classical lamp with four branches issuing from
masks and with a central nozzle concealed as a cloud of smoke, she stands on a sphere
faced with a cockerel, the rectangular plinth applied with female figures and arabesques
incorporating grifiins, the moulded rectangular bases cast with vines, 34V2in. high (86cm.)
circa 1810