Christie's announces the autumn series of The Collector Sales X Rita Konig

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Christie's announces the autumn series of The Collector Sales X Rita Konig
The Collector Sales X Rita Konig, all photographs from the Burghley House shoot © Paul Raeside, © Christie's Images Ltd 2019.

LONDON.- Christie’s Autumn edition of The Collector sales in London will collaborate with internationally renowned interior designer Rita Konig on 13 and 14 November, 2019. The series of two Collector sales comprises a wealth of 17th, 18th and 19th century decorative arts and furniture spanning: European and English Furniture, Ceramics, Portrait Miniatures & Works of Art (13 November) and Silver and 19th Century Furniture, Sculpture, Ceramics & Works of Art (14 November), with estimates ranging from £600 to £150,000. Rita styled the pre-sale photo shoot for the collaboration at Burghley House, the home of Christie’s UK Chairman Orlando Rock, juxtaposing characterful antique pieces from different periods to create inviting spaces which are both liveable and packed with personality. Collectors, enthusiasts and admirers can explore the in-situ room that Rita styles at Christie’s headquarters, along with the overall pre-sale view, in person between the 9 and 12 November.

Known for her relaxed style, Rita Konig believes the best kind of rooms are those which make you want to come in, sit down and stay for a while. Specialising in residential interiors, Rita’s approach sees her deftly layer pattern, texture and colour to create soft, intimate spaces for her clients. She regularly hosts workshops at her London residence, guiding guests through the interior design details that make a home.

Rita Konig explains: “Something that I find amazing and exciting about antique objects, like houses, is that they have all these stories; with each generation there’s a different way of living. I love old things, and new beautiful things too, but just not new ordinary things. It’s about mixing - you need a couple of pieces that are really good, the real deal, basically the anchors of yesterday. Using things is also really important, objects can’t be so revered that nobody goes near them, everyone has to live their lives with and amongst them. It’s about being comfortable and enjoying the place you live in. With this collaboration, I hope that people will see how these pieces - which can look very rarefied in a catalogue - can actually be soft and gentle and be part of your life and part of living.”

Among the many highlights, some of those selected by Rita and captured within the Burghley House Christie’s shoot which she styled are as follows: From The Collector: European and English Furniture, Ceramics, Portrait Miniatures & Works of Art sale, a Victorian oak country house letter box, by Henry Rodrigues, circa 1880 (estimate: £1,500-2,500); a Regency oak and ebony-inlaid dressing-table, attributed to George Bullock, circa 1815 (estimate: £3,000-5,000); a pair of Regency giltwood open armchairs, circa 1800 (estimate: £3,000-5,000); a Dutch colonial silver-mounted ivory-inlaid ebony document box, circa 1730, (estimate: £40,000-60,000) and one of a pair of ormolu and delft parrot three-branch candelabra (estimate: £3,000-4,000).

One of a pair of Japanese gilt-metal mounted, gilt and black lacquer coffers, first half 19th century (estimate: £4,000-6,000) and a Howard & Sons 'Bridgewater' easy armchair, late 20th century (estimate: £800-1,200).

A German brass-inlaid ebony and ‘Boulle’ marquetry secrétaire-on-chest possibly by Anton Lüchtenstein, early 18th century (estimate: £25,000-40,000); one of a pair of Louis XV ormolu-mounted Chinese and French porcelain ‘parrot’ candelabra from the collection of James de Rothschild, circa 1745 (estimate: £40,000-60,000); a pair of Russian ormolu and green-painted bronze candlesticks, early 19th century (estimate: £4,000-6,000); a pair of Regency ormolu-mounted Chinese porcelain cachepots, circa 1720 (estimate: £10,000-15,000); one of a set of eight cream and green-painted armchairs, probably supplied by Colefax and Fowler (estimate: £2,500-4,000); and one of two George III mahogany kettle stands, circa 1760 (estimate: £3,000-5,000). One of a pair of North Italian bois citronnier, amaranth and marquetry commodes, late 18th century (estimate: £30,000-50,000).

From The Collector: Silver and 19th Century Furniture, Sculpture, Ceramics & Works of Art: a pair of Meissen porcelain flower-encrusted vases and covers, mid-19th century (estimate: £12,000-18,000), a marble bust emblematic of summer by Albert-Ernest CarrierBelleuse (estimate: £5,000-8,000): a Swedish parcel-gilt silver large beaker, mark of Rudolph Wittkopf, Stockholm, 1704 (estimate: £2,500-3,500); a Danish Art Nouveau silver vase, Copenhagen, 1904, retailed by Michelsen (estimate: £1,000-1,500); a Polish parcel-gilt silver tankard, mark of Hieronymus Holl II, Danzig, 1689-1699 (estimate: £5,000-7,000); two pairs of Arts And Crafts silver candlesticks, mark of James Dixon and Sons, London, 1905 and 1908 (estimate: £3,000-5,000); and a Scandinavian parcel-gilt silver tankard maker’s mark only possibly VD and Russian marks for Saint-Petersburg, 1742 (estimate: £3,000-5,000). A George II silver coffee pot by Samuel Wastell, circa 1717 (estimate: £5,000-8,000), one of a pair of French ‘Arabesque’ silvered bronze lamps, circa 1880 (estimate: £4,000-6,000) and two Meissen porcelain models of parrots, 20th century (estimate: £3,000-5,000).

Rita Konig notes: “I think very often the reason that some people are afraid of buying at auction is that the rooms on view are just made up of beautiful lots - that’s not what makes a room. And I think even on our shoot it's when you put the fern in and the Coca-Cola cans and the lemons, it’s the ‘all’ of it that makes it work. So it's not just a roomful of pieces. It can be quite sharp, with sharp edges and then you soften it with all these ‘things’ - I think that is the ‘gel’.

Speaking about her early inspiration, Rita recalls: “Early on it was usually my bedroom being redecorated. We moved quite a lot so that was fun, especially once my mother, Nina Campbell, started to have her own fabrics and wallpapers; so I loved all of that. I used to work in her shop when I was quite little and used to go with her to the trade fairs before going back to school. I have early memories of shopping with her and being taken to the place that made all the china and the place that made all the tassels and the fringes. I suppose that was all quite formative and magical. Quite magical. And even a Sock shop in Florence was very exciting: the socks with a sheet of tissue between each sock so they crinkled; and the sweet shop in Paris, Fouquet, where you’d get all the tins and different colours. My mother definitely inspired the magic of shopping: the shopping bag and something being wrapped for you.”

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