A magnificent Anton Seuffert parquetry floral pattern card…
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A magnificent Anton Seuffert parquetry floral pattern card table. This table represents one of the more complex and free flowing of the Seuffert 'Standard patterns', the fern & Clematis design, similar to a table presented to Countess Aberdeen in 1887. This top is likely to comprise 5,824 pieces of timber, each one laid with such precision that the pattern flows effortlessly. The practice of inlaying marquetry into detailed parquetry background patterns is an endearing feature of this top. It is extremely difficult process for a marquetarian craftsman, and the interwined nature of the design makes it incredibly challenging to execute accurately. The sectional repeat patterns are perfectly matched at intersection points and the New Zealand iconography incorporated in the design displays the Seuffert's' skill set at their very best. The table has the original Seuffert and Teutenberg base. Original label underneath. Diameter 60 cm. Height 73 cm in our opinion this table is the best example offered to date. This table has not been sold by us before. Illustrated in Bryan Peet's the Seuffert Legacy, p. 116. provenance: Ruth Simon Estate, Sydney

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  • Parquetry - Parquetry is inlay laid in geometric patterns, the contrast being achieved by the opposing angles of the grain and veneers. The herringbone pattern is the most commonly used in flooring, but this is almost never seen in furniture - the patterns used are more complex and unlike flooring, can include several different varieties of timber.
  • Provenance - A term used to describe the provable history of an antique or work of art, and thus an additional aid to verifying its authenticity. Provenance can have an inflating effect on the price of an item, particularly if the provenance relates to the early settlement of Australia, a famous person, or royalty. Less significant are previous sales of the item through an auction house or dealer.
  • Marquetry - In marquetry inlay, contrasting woods, and other materials such as ivory, shell and metal are inlaid either as panels or in a single continuous sheet over the surface of the piece. The design may be straightforward, such as a shell pattern or a basket of flowers, or it may be infinitely complex, with swirling tendrils of leaves, flowers and foliage, such as one finds, for example, in the "seaweed" patterns on longcase clocks of the William and Mary and Queen Anne periods.

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