18th Century Pair of Italian Louis XV Walnut Cabinet Secretaires Trumeau 1750s

Fantastic example of cabinet-making in Verona, we are faced with a work of art, a piece of furniture sinuous in shape, completely original in the wooden part; the handles alas have been replaced but it is permissible on a 270 years old piece of furniture! Made of precious walnut wood, this flap has a herringbone wooden game, surrounded by maple wood inlays that in addition to embellish it highlight the wooden games...

Rare Dutch double body cabinet, high window part, very narrow and with four wooden shelves. Walnut wood and completely inlaid with floral motifs in fru...

Bureau of Italian origin, city of Naples, Louis XV, circa 1760, in walnut and olive, inlays in boxwood, maple and walnut. Inlay with floral motifs and with birds. Measures: 110 x 51 ...

Kneeler of Venetian origin, walnut, circa 1750, we find ourselves in front of a beautiful example of Venetian cabinet-making, sinuous shapes, attention to the proportions of the obje...

Lombardy walnut kneeler faldstool, Louis XV era, circa 1750. Fantastic example of Lombard cabinet-making mastery, the furniture is perfect, and we also have a secret drawer at the t...

Dutch Bureau, in walnut root, finely inlaid with floral motifs in fruit wood. Side shapes moved like the front, original hardware. In excellent state ...

We are delighted to offer for sale this very rare one of a kind Pauly CIE Et stamped hand carved walnut armoire made by the genius that was Moses Michelangelo Guggenheim 1837-1910 Where to begin, this cabinet is stamped to the rear “Fabrique De Meubles Pauly & Cie Venise. Pauly & Cie” who were a world famous glass foundry and later equally famous furniture manufacturer. Their grotto furniture has an immense following across the world. This piece was most likely retailed through them as it was made by Moses Michelangelo Guggenheim who is a fellow venetian There is one other known example of his works which is very similar, it is currently retailing for no less than £900,000 however it is accompanied by a few other pieces from a drawing room suite. The suite came from Palazzo Papadopoli, a Renaissance palace on the Grand Canal in Venice built for the Coccini family by Giovanni de Grigi around 1560. I will include some further history below on both Pauly CIE ET and Moses Michelangelo Guggenheium On to the armoire, it is clearly the most ornate tour de force of carving you will ever see, I’m thankful it has managed to survive so long without being broken up by salvagers looking to reclaim the sculptures. You can see in the carving elements of Pauly’s inspiration in the form of shells. You also have Putti’s riding dolphins and so on. We have fully treated it as there were various signs of old worm, it’s then been cleaned waxed and polished. One of the hidden hinges has been replaced, otherwise it is in near perfect condition for the age. The insides houses three wood shelves Dimensions Height 255.5cm top to bottom, without the removable top carving 211cm Width 170cm arm to arm of the chaps on the outside, 172cm at the top, 166cm at the bottom Depth 63cm top, 55cm middle, 59cm bottom Please note all measurements are taken at the widest point Moses Michelangelo Guggenheim Leading expert of decorative arts in late 19th century Venice, Michelangelo Guggenheim (1831-1910) also was one of the greatest antiquarians and a modern furniture producer in the “City of Water”. His collections stored in the Balbi Palace on the Grand Canal were an outstanding sight, that art amateurs would recommend. At the age of 20, he founds a "Stabilimento d’arti decorative e industriali" which purpose is the industrial creation of objects bearing an artistic force. The furniture that made him worldwide famous re-imagines ancient styles, freeing their aesthetic powers to serve modern imagination. Often in walnut, his pieces of furniture sent to World Fairs impress people by the finesse of their sculptures. A prized designer as well, he reorganizes princely interiors in the same spirit. His most famous work is the Palazzo Papadopoli's design about 1874, where he unfolds the vocabulary of several periods. He conceives there a richly furnished Neo-Renaissance Cabinet that relived the Italian golden age. For the exceptional result he is awarded the Gold Medal of merit for science and arts by Ludwig II of Bavaria. Pauly & Cie Venise Since its foundation (1866), Pauly & C. has stood for elegance, creativity and Venetian luxury. The ancient Roman technique known as “murrine”, which today is the symbol of Murano glass, was reproduced for the first time in its workshops and was presented to the world at the Universal Exhibition in Paris in 1878. In 150 years of business Pauly & C. has produced unique works for royal palaces, public buildings, private villas and has served an international client base that includes some of the most prominent names from the world of culture and art, figures from the world of industry and finance, politicians and nobility. Pauly & C. - C.V.M. (compagnia Venezia Murano) works are currently held in many private collections and exhibited in some of the most prestigious museums in the world. In the last years of activity, Pauly has been active with three distinct brands: • Pauly & C. CVM, the time-honoured company that produces classic objects, recreating old designs and collections and offering modern reinterpretations of them. • Pauly Glass Factory, which continues its association with artists and designers to produce artistic works with modern lines. • MVM Interior operates throughout the world with architects, interior designers and design studios for the creation of prestigious personalized projects History Compagnia di Venezia e Murano C.V.M. began as Salviati &C. in London in 1866 under the direction of Vicenza attorney Antonio Salviati and with the backing of two British men: archaeologist Austen Henry Layard and antiquarian Sir William Drake. The company was dedicated to using ancient techniques and utilized master glassblowers in its efforts to do so. It called in specialists from other fields like goldsmithing and engraving to ensure authenticity and employed artist Giuseppe Devers to teach the techniques of enamelling and heat-applied glass gilding to company artisans. Archaeologist Layard was particularly interested in the mosaic glass techniques of Roman and pre-Roman artists, and he spent years personally overseeing the work of the company's technicians and glassblowers in attempting to revive those techniques. In 1872, the company was successful, managing to replicate the type of glass commonly known as "murrina". The company was renamed Venice and Murano Glass and Mosaic Company Limited in 1872, and, in 1877, Layard purchased Salviati's interest so that Salviati could pursue other interests. The company quickly earned a reputation for quality original glass art and reproductions as well as its many mural mosaics in Great Britain and elsewhere in Europe. In 1878, the murrine produced by Compagnia di Venezia e Murano was included in its exhibit at the International Exhibition in Paris, which was the chief attraction in Italian glass. In its observations of the display, the United States Commission to the Paris exposition commented not only on "Roman murrine glass", but also particularly on the mural glass mosaics, the "perfection of which" had "engaged the earnest attention of the company." Mosaics produced by the company during the time period are still in existence in diverse areas such as Gonville and Caius...

Charles II walnut and mulberry marquetry cabinet on giltwood stand, c. 1650-1670. Giltwood cresting and stand appear to be from a few decades later. The form of furniture now described as a cabinet developed across Spain and France in the 16th Century. In architecture, a cabinet is a small private room for the housing or display of precious objects, hence the term could be aptly applied to the small, portable pieces of furniture made for the carriage and display of valuable items and able to stand upon a table, trestle stand...

Each piece painted in underglaze-blue and heightened in gilding with an exotic bird perched upon peony branches, comprising: an oval soup tureen, cover and two stands, an 18" oval platter, six 13" oval platters, a 23.5" fish platter, a 21.5" fish platter, four vegetable dishes and covers, two two-handled sauce tureens, covers and stands, a similar smaller sauce tureen, cover and stand, two butter dishes and one cover, two cake stands (one as is), four leaf-shaped dishes, a pierced berry dish, a rectangular stand, two pairs of figural double salts, a shell-shaped pickle dish, a pair of reticulated sweetmeat...

The overhanging foliate cornice above a frieze with reliefs of female and male figures surmounted by ribbon ties and flanked by foliage and laurel leaves, above two pairs of glazed doors divided...

A French Louis XV style ormolu-mounted and end-cut floral and fruit marquetry two-drawer serpentine-shaped bombé commode by François Linke (1855-1946), Index number 720, the mounts...

Comprising an incredible 189 pieces, this impressive Meissen porcelain dinner service is an exceptional example of the firm's prized dinnerware. The bodies are crafted in the New Brandenstein relief pattern designed by Johann Friedrich Eberlein in 1744, which gives this service a distinct Rococo feel. The hand-painted enamel detailing is known as the Flowers and Insects motif and is executed with stunning vibrancy and intricacy. Since each piece is executed entirely by hand, no two pieces bear the exact same adornments.

Similar, single dining pieces are featured in Meissen Domestic Porcelain by Günther Sterba, 1991, figures 83 through 86.

The pieces bear the Meissen blue crossed swords that date this service between 1850/60-1924.

97 dinner plates, 9 1/2" diameter
44 luncheon plates, 8" diameter
21 soup bowls, 9 1/2" diameter
13 dessert plates, 5 3/4" diameter
2 oval serving platters, 22 1/4" wide x 16 3/4" deep
2 vegetable dishes with lids, 11" diameter
a round bowl, 15 1/4" diameter
a round serving platter, 13 1/4" diameter
an oblong serving platter, 21 1/2" wide x 10 1/4" deep
an oblong platter, 23" wide x 11" deep
an oval platter, 18 1/4" wide x 14" deep
an oval platter, 20 1/4" wide x 15 1/2" deep
a large soup tureen
a large soup tureen platter
a small soup tureen
a small ladle

Total height with mirror: 383 cm (151 in.) Console : Height : 97 cm (38 in.) ; Length : 291 cm (114 in.) ; Depth : 47 cm (18 in.) Height with pedestals : 178 cm (70 in.) – Width of pedestals tops : 36 x 23 cm (14 x 9 in.) Provenance: Hôtel de Bourbon-Condé, for the Conte de Chambrun, 12 rue Monsieur, 7th arrondissement, Paris. This magnificent white carrare and bleu turquin marble Louis XVI style console is embellished with carved and gilded bronze ornaments. The belt, adorned with a fluted frieze, masks of Bacchus and rosettes, is standing on six spirally fluted feet with foliage on the extremities. The part meant to be placed against the wall is divided in several pannels framed with moulded and beaded bronze. Above the console stands a giltwood and white-painted mirror, richly decorated at its top with a carved head of Apollo flanked by acanthus leaves and treillis. The mirror is framed by two patinated bronze female figures, each holding seven-light candelabra and standing on pedestals richly adorned with laurel garlands and bronze frames. These are casts by F.Barbedienne, after models by J.A.J. Falguière and P.Dubois (they are signed to the base, one ‘FALGVIERE and F.BARBEDIENNE. FONDEUR’, the other ‘P.DUBOIS’ and ‘F.BARBEDIENNE’). The original models of these bronzes were shown at the 1867 Exposition Universelle before being installed at the Château de Compiègne for the enjoyment of Napoleon III and Empress Eugénie. The masterful console was commissionned to Barbedienne around 1880 to garnish the interiors of the Conte de Chambrun at the Hôtel de Bourbon-Condé, 12 rue Monsieur, 7th arrondissement, Paris. This console was part of the sale of the count’s art and furniture collections that took place on the 18th of June 1900 after the count’s death (listed as lot n°52 in the sale catalogue). Born in 1810, died in Paris in 1892, Ferdinand Barbedienne, the most important caster of bronze pieces of art during the second half of the 19th Century, created and directed in Paris one of the major artistic founderies of his time. Barbedienne specialised in classical reproductions, whose models were exposed in famous European museums. Their illustrated catalogues included many diverse objects such as busts, ornemental sculpture (clocks, candelabras, cups) sometimes even life-sized and also bronzes for furniture. Apart from his own production, Barbedienne worked for the most renowned sculptors such as Barrias, Clésinger and Carrier-Belleuse. All his works were highly esteemed and he, himself honoured by contemporary critics. At the London exhibition in 1851 Barbedienne's firm won two « Council medals ». At the 1855 Universal Exhibition, he won a medal of honour. The success of Barbedienne's firm brought him many official commissions. At the London Universal Exhibition of 1862 Barbedienne won medals in three different categories : Furniture, Silversmith work and Artistic bronzes. Barbedienne was made an officer of the Légion d'Honneur in 1867 and Commander in 1878 when he was compared with « a prince of industry and the king of bronze casting ». His glory did not decline with the passage of the time for at the Universal Exhibition of 1889 the critics thanked Barbedienne for the example he set for other bronze-casters by the perfection of his bronzes. Paul Dubois (1829-1905) studied law before entering the workshop of Toussaint, then the School of Fine Arts. After travelling in Italy, he participated to the Salon of 1863 and won the third medal for the sculpture category. He won several other medals : the Medal of Honour with his Florentine Singer...

Russian malachite and silver table by Imperial silversmiths the Grachev Brothers Russian, 1884 Measures: Height 85cm, width 113cm, depth 63cm This beautiful silver table was man...

An exceptional and highly important Louis XV style astronomical regulator clock, attributed to François Linke, after the model by Passe...

This elegant Louis XVI secrétaire à abattant was crafted by the master ébéniste André Gilbert, a craftsman renowned for his extraordinary talent for m...

Exceptional trumeau with chest of drawers, flap, shelf and side cupboards. Richly equipped with drawers, doors, compartments and secrets. The chest of drawers is characterized by...

Baroque top secretary with Fine marquetry Brunswick walnut etc. Baroque around 1750 Dimensions: H x W x D: 215 x 119 x 56 cm Description: Beautiful slender writing cabine...

Elegant chest with secretaire of the early 18th century, beautiful from the quality that can only be obtained from workshops of great cabinet-making. The limelight comes in front of drawers moved entirely in solid walnut. Spectacular interior castle...

Elegant chest with secretaire of the early 18th century, beautiful from the quality that can only be obtained from workshops of great cabinet-making. The limelight comes in front of drawers moved entirely in solid walnut. Spectacular interior castle...

Of unusually large scale; the upper section with arched cornice over a pair of wire-inset doors opening to fabric lined interior fitted with shelves; the lower section with a slant f...

The desk is from the time around 1730 and covered with a beautiful marquetry of different walnut / walnut root wood on a pine body. All three locks are original from that time as wel...