Le Dix

A CHARLES X ELM AND AMARANTH CARTONNIER
CIRCA 1825

With two columns of seven gilt-tooled red leather boxes numbered 1-14, with side locking flaps, on bun feet, with paper label inscribed '1101', inscribed to the back





A CHARLES X BIRD'S-EYE MAPLE BUREAU PLAT
CIRCA 1825-35

Line-inlaid, with gilt-tooled red leather writing surface, the shaped kneehole with drawer flanked by two drawers to left and a deep drawer simulated as two drawers to right with coffre-fort, with a slide to each end, on scroll legs joined by stretchers






A CHARLES X BIRD'S-EYE MAPLE AND MARQUETRY FAUTEUIL DE BUREAU
CIRCA 1825-30

With scrolled back and large scroll arms on lotus-leaf headed scroll legs, upholstered in black patterned horsehair, with pencil inscription; together with a side chair with ladder back and green cotton upholstered drop-in seat, with pencil inscription 'Martin' and branded '8'


Christie's Sale 7746



Le autre Le Dix





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The name is Baas

Maarten Bass

Clay Furniture

Introduced at Salone del Mobile, Milan, 2006.

Made of a synthetic Clay on a metal skeleton. Each piece is modelled by hand. As no moulds are used in the production, each piece is unique. Available in eight standard colours: black, white, brown, red, yellow, blue, orange and green.


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Mother necessity

Judd Foundation


I rented a small house on the edge of the town. The house was quartered into eleven by eleven foot rooms. There was no furniture and none to be bought, either old, since the town had not shrunk or changed much since its beginning in 1886, or new, since the few stores sold only fake antiques or tubular kitchen furniture with plastic surfaces printed with inane geometric patterns of flowers...I designed a bed... so that the lumberyard could cut the few different lengths to size and I could nail them together in place. I liked the bed a great deal, and in fact the whole house, for which I made other furniture. - Donald Judd (1928-1994)



Corner chair



Bookshelf



Single bed



Desk



Chair


I’m very touchy about it being considered art. To me the chairs and benches are perfectly comfortable, not hard and uncomfortable as people sometimes seem to think they are. I have nineteenth-century wooden chairs from Sweden and I’ve sat on them for years. I think the thing to do is to either sit up or lie down or stand up: I’m not sympathetic to in-between positions. - Donald Judd




In Donald Judd's last interview he discusses his unique aesthetic, his dislike of contemporary architecture, and his passionate quest for the perfect exhibition setting for his large works of art.




Donald Judd furniture is available from Artware Editions and London's Louisa Guinness Gallery; with each supplying different pieces from his catalogue of designs.

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Round and round we go

Circleback Chair by Edwin Lutyens

This chair was designed in 1930 for two of the smaller bedrooms in the north west wing of Government House in New Delhi. Authoritative sources indicate that the original pieces do still survive and that they are now in the President of India's private apartment.

It is a good example of the paradoxical nature of much of Lutyens's work. While, on the face of it, we have a fairly conventional chair, there are certain aspects of the design that are surprising. The extravagant sweep of the semicircular arm is a case in point, as is the narrow void at the front of the seat. The degree to which the geometrical relationship between the circles of the back is precisely worked out is also of some interest. The reducing size of the voids is predetermined by a mathematical formula, as is the thickness of the rings which lessens as the circles become smaller. - Candia Lutyens

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In the round

A large Regency giltwood convex mirror with an ebonised reeded border surrounded by moulded sides studded with gilt balls. The winged eagle surmount holding a double tassel chain in its beak and standing upon a fluted pedestal.




Victorian carved ebonised salon chair with turned and fluted supports - the raised upholstered seat and back re-covered in Lee Jofa's Althea glazed cotton.




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Pure theatre

Christian Dior
Haute Couture Collection
Spring-Summer 2009

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Handbags at dawn

Maison21's obsessive compulsive decorating disorder challenge - the objective is to take disparate elements (in this case the tusk dining table base, the cerused oak flooring and the beige colour scheme) and make them work.


Contemporary alabaster ceiling light from Antiquario. Hand carved from a solid block by a Bay Area artisan.



Maison21's tusk dining table base, which would be done with a composite stone top (as I positively loathe glass topped dining tables) to match the base in colour and mirror its profile.



Billy Baldwin dining slipper chair with raffia body.


Lee Jofa's Zephyr in granite for the seat cushions and the curtains.



Pair of French industrial steel cabinets from Briggs House Antiques.



Zoffany's Paper-White for woodwork and ceiling, and Barley for the walls.



Cerused oak flooring.



Spider Diptych, 2004, watercolour on paper (480 x 300cm) by Alf Löhr.


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George ous

A George II giltwood mirror, the replaced bevelled rectangular plate to an eared frame with a punched ground and egg and dart carved border, the sides hung with oak leaves and acorns, the broken swan neck pediment with rosette terminals above acanthus swags.




A George III mahogany and floral marquetry inlaid linen press, with pierced swan neck pediment enclosing three oak slides, the base with two short and one long drawer, raised upon bracket feet.


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Bearable lightness

An early 19th Century Pennsylvania Sheraton cherry and mahogany games table.


Along with Thomas Chippendale and George Hepplewhite, Thomas Sheraton ( 1751 - 1806) was one of the most influential English furniture designers. His designs were distinctive in their grace and delicacy, and noted for their extensive use of satinwood and elegant inlays. His furniture design manuals, published between 1791 and 1803, set the fashion of English furniture.




Thomas Sheraton style (1780 -1820) dining chairs with pierced lattice work backs, stud upholstered seats and supported on turned and tapering front legs.


The Edwardian movement owed much to the neo-classical Sheraton style.



An Edwardian satinwood Sheraton revival console table with painted foliate decoration on square tapering legs.








The Cabinet-Maker and Upholsterer's Drawing-Book: Frontispiece and title page (vol. 1), plates 33 and 35 (vol. 2), 1793
Thomas Sheraton (British, 1751–1806)
London

From The Metropolitan Museum of Art




Thomas Sheraton-Cabinet-maker and Upholsterer's Drawing Book and Repository

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More green

A Victorian oak Gothic revival sofa, circa 1880.


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