Harewood Furniture

Quirky and diminutive Pembroke table having profuse inlay on harewood (stained sycamore) ground. Charming and somewhat naïve, but sincere nonetheless.

Stunning 19th century French Empire, neoclassical/Rococo Revival style Marquetry vitrine or display cabinet, of large proportions!! A real statement piece! Made of a fabulous variety of veneers, including kingwood, satinwood, tulipwood, harewood and walnut with quality classical ormolu mounts. It has ebonized pillars in the Empire style, with walnut and exotic hardwood friezes in the Rococo style. Double glass doors to middle section and single glass doors on either side. The glass on the doors are framed in ormolu banding. Floral Marquetry panels on front and parquetry on the sides. The front central section is a pullout / pull-out drawers with gorgeous walnut frieze panel and original carved walnut knobs. Scrolling pelmet on the top in 3 sections banded in ormolu beading. Scrolling base with cabriolet feet and ormolu mounts on base. Various ormolu mounts, floral mounts, mounts of Baachus and mounts of neoclassical female figures. In 3 sections. with 2 side cabinets and large central section with 3 section pelmet, stunning piece!!! The quality ormolu mounts are marked with the letter “R” and what appears to be “FR 678”. We were originally of the belief that this piece might have been made at the very end of the 19th century, but having regard to the quality of workmanship throughout this piece we are of the opinion that it was most likely made in the third quarter of the 19th century, circa 1870 and by an obviously top quality Parisienne maker with a surname beginning with “R”. It is definitely in the style of David Roentgen who was known for his Rococo/neoclassical styles. David Roentgen, (born Aug. 11, 1743-died Feb. 12, 1807, Wiesbaden, Duchy of Nassau), cabinetmaker to Queen Marie-Antoinette of France; under his direction the family workshop at Neuwied (near Cologne), founded by his father, Abraham Roentgen, became perhaps the most-successful firm of furniture production in the 18th century. After succeeding his father as head of the Neuwied workshop in 1772, Roentgen strove to broaden their clientele, an ambition that brought him first to Hamburg and ultimately to Paris (1774), where in 1779 he was spectacularly successful in selling his finest furniture to King Louis XVI of France for £3,300 to £4,000, an unprecedented sum for the time. Appointed cabinetmaker to the queen, Roentgen was granted admission (1780) as maître-ébéniste (master cabinetmaker) to the trade corporation of Paris cabinetmakers, making it possible for him to keep in Paris a stock of the furniture manufactured at Neuwied. Thus he was able to compete with such great cabinetmakers as Jean-Henri Riesener and Adam Weisweiler, reputedly his former pupil at Neuwied. After his first visit to St. Petersburg, Empress Catherine II the Great bought huge quantities of his furniture; King Frederick William II of Prussia was also his client. When in 1795 the French Revolutionary armies threatened to cross the Rhine, Roentgen evacuated his establishment and moved his stock farther inland. Unfortunately, he lost everything in his Parisian salon and in his Neuwied workshop, both of which were sacked by Republican troops. He was crushed, despite his appointment as court furnisher to the king of Prussia. Although he never succeeded in starting production again, former apprentices of his whom he helped to establish in the German cities of Berlin (David Hacker...

Highly important and palatial Napoleon III Louis XV Revival Ormolu-Mounted Marquetry Bonheur Du Jour by Charles Guillaume Diehl, Designed by Jean Brandely, The Marquetry by E. Varlot, Paris. The rarity & importance of this magnificent piece cannot be overstated, it is without question one of the finest examples you will see. Originally commissioned for European nobility as a statement of love and marital grandeur. Incorporating the finest & rarest veneers and timbers of the time, including Harewood, Thuya, Purpleheart, palm wood and tulipwood. The beautifully shaped ormolu gallery on the top, gracefully curving outwards inset with fretted heart shapes highlight the incredible attention to detail that flow throughout this majestic piece. The upper section set either side with ormolu mounted fluted pilasters, aside two doors both individually set with masculine & feminine central marquetry panels of the most supreme quality, as you would expect from the master E. Varlot. The colors incorporated in the inlay are outstanding to behold, simply perfection. Opening to reveal the double top & bottom lock, engraved with Diehl's mark and address. Internally veneered in Rosewood of the richest color with one shelf. With two drawers below the doors, both veneered on the inside with Sycamore, one fitted for inkwells. The ormolu edged writing flap again centrally set with both a male & female figure now seated, holding hands with the lady holding a Mandoline, a true sign of happiness & love. The writing flap opening to reveal the original richly tooled velvet leather surface. The stand with one central frieze drawer, again lined inside with rosewood and with a top and bottom lock. On ormolu-mounted fluted legs. This grand Museum Quality masterpiece is in excellent condition for its age. Charles Guillaume Diehl (1811-1885) was of Germanic origins, he is considered among the most important & influential of cabinetmakers of the 19th century. He was born in Steinbach, Germany later moving to France, establishing his atelier in Paris in 1840, at the 3, Rue de Thorigny and then at the 170, Rue Saint...

Rare pair of original table illuminators from the 1930s made by the Fontanarte company is designed by designer Pietro Chiesa in the era that together withL Arch, Gio Ponti performed ...

The table top in the form of a rectangular box finely inlaid with an oval flowerhead centered by bellflower spray spandrels; the sides inlaid with bellflower garlands and brass carry...

A fine late 18th century Hepplewhite period harewood commode, green boxwood strung and padouk wood crossbanded throughout, having serpentine top with padouk wood central inlaid oval ...

Claudio Salocchi Rare container table in wood and aluminum alloy From the ELISSE series. SORMANI production 1966.

A fine and rare George III centre table in the manner of Ince & Mayhew. In harewood with fine marquetry inlay. The shape is similar to some of the serpentine commodes of the 18th cen...

Attributed to BAROVIER & TOSO , Murano glass tourchon frame, although not signed , from the quality, design and era (1940s), can be attributed to Barovier & Toso. La cornice è in pe...

A striking fusion of nature and sculptural design, this one-of-a-kind artist-made floor lamp transforms a single preserved leaf into a luminous work of art. Rising from a slender, ha...

Sideboard made of ebonized wood and inlaid in different woods, England, 19th century, rounded body with glazed side doors and central door with medallion inlaid with dense whorls th...

Baia is a chair in which the design intention was to soften the visual weight of the upholstered shell seat whole, to soften the profile. Upholstered seating is certainly of great co...

A rare pair of tables attributed to Donald Ross of London Constructed in citronnier, ebony and harewood, and dressed with a porcelain plaque in the 'Sevres' manner, and adorned wi...

A fine corner cabinet in the neoclassical revival taste firmly attributed to Maples & Co Constructed using the very finest timbers and workmanship, the lustrous satinwood counterpointed by inlays in specimen woods including sycamore and harewood; rising from turned and knopped legs, the single lockable blind door quarter veneered about a central roundel depicting with great depth and clarity a meeting between Cupid and Euterpe, the goddess of music...

Venetian table that is carved with a floral and Foliate design in gold background and highlighted With silver edges. The foliate design is green with pale rouge flowers. The legs ar...

An exceptional pair of Russian panoramic marquetry commodes by Nikifor Vasilyev, St. Petersburg, circa 1780. Each with it’s original eared and moulded bardiglio marble top. The fr...