Butler's Desk and Etagére, New York, Possibly Duncan Phyfe

Pair of oval double Curule benches, circa 1835 New York, possibly Duncan Phyfe and Son Rosewood (secondary woods: ash and poplar), with gilt-brass castors Each, 16 3/8 in. high, 2...

Center Table, about 1818–20 Attributed to Thomas Seymour (1771–1848), working either for James Barker or for Isaac Vose & Son, with Thomas Wightman (1759...

Pair Footed Fruit Coolers, about 1810-20 Stône, Coquerel, and Legros D’Anisy, Paris (active 1808–49) Porcelain, partially transfer printed in sepia and green and gilded Each, 13 1/2 in. high x 10 in. wide x 7 1/2 in. deep Signed and inscribed (on underside of one top and one base, with printed mark): STÔNE / COQUEREL / ET / LE GROS / PARIS / PAR BREVET D’INVENTION: Manufre de Décors sur Porcelaine Faience; variously inscribed with decorators’ initial in green and brown (on underside of one top and one base): M; variously inscribed with incised mark (on underside of one liner and both bottoms): 3; inscribed (in blue script, on the inside of one liner): 615 The Parisian firm of Stône, Coquerel, and Legros d'Anisy is distinguished for the important role that it played in the introduction of transfer-printed decoration on fine china in France. Although the process had been known and used in Great Britain since the eighteenth century, it was, according to Régine de Plinval de Guillebon in her book, Porcelain of Paris 1770–1850 (New York: Walker and Company, 1972), not until 1802 that Potter, Blancheron, Constant, Neppel, Cadet de Vaux & Denuelle took out a patent in France for transfer-printing on earthenware, and it was only on February 26, 1808, that John Hurford Stône, his brother-in-law, Athanase Marie Martin Coquerel, and Francois Antoine Legros d'Anisy not only took out a patent for transfer-printing on china, but also established a Stône, Coquerel, and d'Anisy partnership for the manufacture of transfer-printed ceramics. Their address from 1808 until 1818 was at 9, rue de Cadran, Paris. Prior to this, Stône and Coquerel had been partners at a creamware factory in Creil, France, and Legros d’Anisy had worked at the Sèvres factory, where he had apparently developed the transfer-printing technique for which his own firm became well known. “The process,” notes de Guillebon, was “based upon removing from the engraving a ‘pull’ made on a specially coated filter-paper, which was pressed onto the object to be decorated; this object itself was covered with a film. Firing took...

French. Plateau in the Restauration taste with grape and leaf motifs, circa 1825. Ormolu and patinated bronze, with mirror plate and wood backing. Measures: 15 7/8 in. diameter, 3 11...

Boston, Massachusetts Seven-drawer tall chest, circa 1825. Mahogany (secondary woods: mahogany, pine, and poplar) Measures: 45 5/8 in. high, 27 5/8 in. wide, 14 5/8 in. deep Inscribed (on six drawer locks): SECURE; (on seventh lock): CHUBB’S / PATENT / 57 St PAULS CHY / LONDON / CHUBB & SON / MAKERS TO / HER MAJESTY / 632284; (on one hinge): [BUR?] NE PATENT; (on master lock): 2 LEVER. Although some Boston furniture of the Neo-Classical period is elaborately decorated with ormolu mounts, brass moldings, and carved and gilded elements, other pieces are more simple and are said to reflect the “conservative” taste of many of Boston’s great families. The simplicity evident in these pieces is not an indication of a less-expensive line of furniture or a less-sophisticated patronage, but, like the so-called “Grecian Plain Style” of Duncan Phyfe’s furniture...

Small Settee in the neoclassical taste Boston, Massachusetts (active 1804–17), about 1810 Mahogany (secondary woods: ash) Measures: 35 1/8 in. high, 59 3/4 in. long, 19 1/8 in. deep Although the diminutive scale of this settee places it in a unique category, the piece itself partakes of a vocabulary that is common in Boston furniture of the Late Federal period. Its sabre legs, for example, as seen straight on from the left and right ends, are closely related to the legs, as seen from the front, on a group of chairs of undisputed Boston origin, including a spectacular armchair with scrolled arms (see Stuart P. Feld, Boston in the Age of Neo-Classicism, 1810–1840, exhib. cat. [New York: Hirschl & Adler Galleries, 1999], p. 37 no. 6 illus. in color), as well as a number of side chairs, including a set made for Nathan Appleton (see Page Talbott, “Boston Empire Furniture, Part I,” The Magazine Antiques, CVII [May 1975], p. 887 fig. 12). In all, the legs are ornamented with two bold, somewhat flattened reeds set between corner beads, a pattern which is repeated here on the front and end seat rails as well. The superb quality of the piece is further demonstrated in the finely drawn profile of the arms, as well as the delicately bulbous surface of the fronts of the arms and legs. As in the best of the related chairs, the sabre legs end in delicately carved paw feet. The added refinement of the beautifully carved rosettes at both the fronts and backs of the arms suggests that the piece may have been designed to be used in the round. Stylistically harmonious with these pieces is also a group of larger sofas with frontally set sabre legs and scrolled arms (see Page Talbott, “Seating Furniture in Boston, 1810–1835,” The Magazine Antiques, CXXXIX [May 1991], p. 963 pl. 11) that represent an indigenously Boston form. Although none of the furniture in this group has been effectively attributed, they can certainly be related to various Boston card tables...

An exceptionally fine and rare "French Sideboard Table" in mahogany, attributable to the workshop of the eminent New York cabinetmaker, Duncan Phyfe, circa 1810-1818. This exquisit...

A contemporary take on the butler's desk. A butler's desk is a cabinet that converts into a desk, concealing its function. A desk, standing on its own looks out of place without an accompanying chair and lamp, but a cabinet that functions as a desk looks fine all by itself. This is entirely handmade, down to the desk hardware...

An Italian butler's desk from the 18th century raised on later base. This antique case piece from Italy has the appearance of being a three drawer chest at first glance. However, upo...

American Empire mahogany sideboard with two pedestal cabinets and 4 carved column supports centering a lower mirror under 3 drawers ...

Victorian butler's cabinet, Late 19th century Italian Renaissance-style, in carved walnut with gilt, ebonized, and glazed highlights with central sphere crest atop six opposing gl...

1940s Brunswick Panatrope drum table Sheraton Duncan Phyfe mahogany music radio An extremely rare piece that both fits the aesthetic and musical va...