ronald phillips - 2015

26 BRUTON STREET, LONDON W1J 6QL

Tel: + 44 (0)20 7493 2341Fax: + 44 (0)20 7495 0843

[email protected]

MEMBER OF THE BRITISH ANTIQUE DEALERS’ ASSOCIATION


Tel: + 44 (0)20 7493 2341Fax: + 44 (0)20 7495 0843

[email protected]

£50


Tel: + 44 (0)20 7493 2341Fax: + 44 (0)20 7495 0843

[email protected]

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RONALD PHILLIPSFINE ANTIQUE ENGLISH FURNITURE

R O N A L D P H I L L I P SFINE ANTIQUE ENGLISH FURNITURE




RO N A L D P H I L L I P SFINE ANTIQUE ENGLISH FURNITURE

RONALD PHILLIPS LTD.26 BRUTON STREET, LONDON W1J 6QL

Tel: +44 (0)20 7493 2341Fax: +44 (0)20 7495 0843

[email protected]


FOREWORD

Right: Simon Phillips with RoloSimon PhillipsMay 2015

For this year’s catalogue, we have made the descriptions much shorter,

concentrating instead on provenance, date, sizes, maker and wood/medium,

and pointing out any faults rather than stating what is obvious in the

photographs.

Once again, there are some very famous makers and collections represented here.

I would like to draw your attention to a few of my personal favourites in

the following pages. The writing table on page 22 faithfully follows the

Chippendale drawing illustrated alongside it. The pair of Siena marble tables

from Bantry House on page 28 are extraordinary. The pair of side chairs from

Grimsthorpe Castle on page 32 are probably quite simply the finest and most

important side chairs ever made. The pair of candelabra to a design by Robert

Adam on page 50 are of exceptional quality. And last, but certainly not least,

the Percival Griffiths card table on page 59 is by far the most important and

well-documented walnut card table known.

There are a number of items here which we have been fortunate to be able to

buy back in the last year and to offer for sale again. Notably the Chippendale

oval desk on page 72, the pair of Chippendale period mirrors on page 40,

which we owned in my early days at Ronald Phillips Ltd., and the Warwick

Castle blue john candle vase by Matthew Boulton on page 204, as well as the

Percival Griffiths card table mentioned above.

Followers of Downton Abbey may be particularly interested in the library chair

out of Highclere Castle – the location of the television series – on page 264.

This year we are exhibiting at four fairs: the Winter Antique Show in New York

in January, the Spring Masters in New York in May, Masterpiece London in

June, and again in New York for the Fine Art and Antique Show in October.

We look forward to offering many interesting and previously unseen items

there to both new and existing clients.

As usual I would like to thank my loyal staff for all their hard work and help

throughout the past year, at fairs, compiling catalogues, assembling

exhibitions, and handling the everyday running of our extensive showrooms

in Bruton Street.

I look forward to receiving your enquiries by telephone (+44 (0)20 7493 2341)

or email ([email protected]) about anything illustrated in the

catalogue, or any other specific request.

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RO N A L D P H I L L I P S

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A VICTORIAN 36-INCH TERRESTRIAL ‘COLOSSUS’ GLOBE BY THOMAS MALBY

The globe consists of 24 hand coloured engraved segments on a plaster coated sphere and bearsthe label of Edward Stanford, who took over the Malby business and updated the papers in1873.

Very few 36-inch Malby colossus globes can be located, and most are in national collections. Of the others, two are in the collection of the University of Utah, three are in private collectionselsewhere in the USA and three are in private collections in Great Britain.

English, circa 1850, with updates by Edward Stanford in 1873

Height: 62 in; 157.5 cmDiameter: 50 in; 127 cm

Literature:Elly Dekker, Globes at Greenwich: A Catalogue of the Globes and Armillary Spheres in theNational Maritime Museum, 1999, pp. 404, 500 & 525.

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AN IMPORTANT GEORGE II GILTWOOD SIDE TABLE

The ‘Yellow Siena’ marble top is an 18th century replacement.

Matthias Lock was one of the first designers and craftsmen in Britainto introduce rococo design, and several of his publications appearedbefore Thomas Chippendale’s The Gentleman and Cabinet-maker’sDirector of 1754. Little is known about Lock himself, but it is believedhe worked alongside Chippendale on some of his larger projects. As aresult, the distinction between Lock and Chippendale is sometimes alittle blurred. The distinct cabriole leg boldly carved with acanthus leafcompares to a drawing by Lock preserved in the Victoria and AlbertMuseum, London.

English, circa 1750

Height: 35½ in; 90 cmWidth: 57 in; 145 cmDepth: 31¾ in; 80.5 cm

Literature:Connoisseur, vol. 152, January–April 1963, p. 228, illus. 9.

A design for a table, by Matthias Lock, between 1740 and 1756.Victoria and Albert Museum, London

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AN EXCEPTIONALLY RARE GEORGE II MAHOGANY OVAL TRIPOD TABLE

The under bearers of the table top have been replaced at some stage.The underside bears the paper label of Phillips of Hitchin.

This is the only known example of an oval tripod table with a dishedtop, and it is probably unique.

English, circa 1755

Height: 26½ in; 67 cmWidth: 27¼ in; 69 cmDepth: 22½ in; 57 cm

Provenance:Hotspur Ltd., London, England, 1970;Phillips of Hitchin, Hertfordshire, England, 1970;Private collection, Texas, USA.

Exhibited:The Antique Dealers’ Fair and Exhibition, London, 1970; with Phillips of Hitchin.

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The Antique Dealers’ Fair and Exhibition, 1970.Phillips of Hitchin photo archive

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A GEORGE II GILTWOOD OVAL MIRROR

This most unusual mirror retains the original mirror plate and hasreplaced candle arms and sockets.

A comparable mirror designed by William Kent with applied draperywas formerly at Chiswick House and is illustrated in English Looking-glasses by Geoffrey Wills.

English, circa 1740

Height: 47 in; 119.5 cmWidth: 33 in; 84 cmDepth: 8¾ in; 22.5 cm

Literature:Geoffrey Wills, English Looking-glasses: A Study of the Glass, Framesand Makers (1670–1820), 1965, p. 85, illus. 57.

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THE ETTINGTON PARK LIBRARY CHAIRS

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A PAIR OF GEORGE II WALNUT LIBRARY ARMCHAIRS BY GILES GRENDEY

The chairs retain all their original rails, but the leather castors have been replaced. Each chair ismarked ‘WF’ to the underside, referring to an apprentice in Grendey’s workshop. The practice of marking with initials to distinguish between workmen is a common feature with Grendey seat furniture.

Originally part of a larger set, a suite of eight chairs was mentioned as being in the DrawingRoom at Ettington Park in the probate inventory of 1882. When Ettington Park was sold in 1946,a set of ten chairs was sold from the house.

Chairs of this model, and probably from the same original set, have enriched some of the mostimportant collections formed in the last century, including those of Percival D. Griffiths, HenryHirsch and the Hon. Sir John Ward, KCVO.

English, circa 1745

Height: 38¼ in; 97 cmHeight of seat: 16 in; 41 cmWidth: 31½ in; 80 cmDepth: 31¾ in; 80.5 cm

Provenance:The Hon. George Shirley, Ettington Park, Warwickshire, England, until 1947;Private collection, USA.

Literature:Percy Macquoid, A History of English Furniture, vol. III, ‘The Age of Mahogany’, 1906, pp. 122–3,figs 104–5.Herbert Cescinsky, English Furniture of the Eighteenth Century, vol. II, 1910, p. 86, fig. 82; achair from the set.Herbert Cescinsky, ‘The Collection of the Hon. Sir John Ward, KCVO’, Connoisseur, March 1921,p. 142, fig. 5.R. W. Symonds, English Furniture from Charles II to George II, 1929, p. 155, fig. 102; a chairfrom the set, formerly in the Percival D. Griffiths Collection.Christie, Mason & Woods, ‘English and French Furniture, The Property of Henry Hirsch’, London,22 March 1934, p. 18, lot 84.Antique Collector, August 1953, p. xvii, advertisement; a pair from the same set, with CharlesLumb & Sons Ltd., Harrogate, England.Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840,1986, pp. 371–2.

Ettington Park, Warwickshire. Courtesy of English Heritage

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A GEORGE II MAHOGANY WRITING TABLE AFTER A DESIGN BY THOMAS CHIPPENDALEAND ATTRIBUTED TO WRIGHT AND ELWICK

This important writing table belongs to a small group of similar pieces inspired by ThomasChippendale’s first edition of The Gentleman and Cabinet-maker’s Director. One such table is inthe Noel Terry Collection in York. The attribution to the Wakefield cabinet-makers Wright andElwick is based on the idiosyncratic carving of the legs and the pilasters at either side of thedoors. As subscribers to Chippendale’s Director, Wright and Elwick had early access to hisdesigns, and often used them for their commissions with their own carved adaptations.

The long frieze drawer is fitted out with compartments and has a swivel pen compartment to theside, beneath a sliding gold-tooled tan leather lined writing surface. The central door opens toreveal a single fixed shelf, while the two doors flanking the centre each have two drawersbehind, with their original brass ring handles.

English, circa 1755

Height: 31½ in; 80 cmWidth: 53¼ in; 135.5 cmDepth: 24¾ in; 63 cm

Provenance:Ronald Lee Ltd., London, England;Mallett & Son Ltd., London, England.

Literature:Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1754, pl. LII.Peter Brown, The Noel Terry Collection of Furniture and Clocks, 1987, pp. 106–7.

Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1754, plate LII

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A GEORGE III GILTWOOD MIRROR

The mirror retains the original bevelled mirror plate.

Upright rectangular frames with an internal oval frame are extremely unusual.

English, circa 1765

Height: 5 ft 5 in; 165 cmWidth: 3 ft 4¾ in; 103 cm

Provenance:F. J. McCarthy, Nottinghamshire, England;Private collection, England.

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A HUGE AND RARE PAIR OF GEORGE III SIENA MARBLE SIDE TABLES

The column supports are made of black marble and retain the original paint to simulate Siena marble.

English, circa 1765

Height: 2 ft 8 in; 81 cmWidth: 6 ft 1½ in; 186.5 cmDepth: 3 ft 1 in; 94 cm

Provenance:Bantry House, Dublin, Ireland;Private collection, Dublin, Ireland.

The tables in situ in the Entrance Hall, Bantry House, Dublin, Ireland, late 19th century. Collection of University College Cork

THE BANTRY HOUSE SIENA MARBLE TABLES


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THE GRIMSTHORPE CASTLE CHAIRS

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The chairs in situ in the Tapestry Bedroom,Grimsthorpe Castle, Lincolnshire, 1924.Country Life Picture Archive

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A HIGHLY IMPORTANT PAIR OF GEORGE II PARCEL GILT MAHOGANY SIDE CHAIRSATRIBUTED TO WRIGHT AND ELWICK

The 1813 inventory of Grimsthorpe mentions ‘6 mahogany chairs carv’d backs / and stuffd seatscover’d with Drab / emboss’d Velvet in suite with the / Bed Furniture’.

The chairs were converted from stuff-over seats to drop-in seats at some time prior to 1924,when they were photographed in situ at Grimsthorpe; the bed en suite with the chairs can beseen in the 1924 photograph of the Tapestry Bedroom.

The chairs: English, circa 1755

The needlework: English, circa 1755

Height: 47¼ in; 107.5 cmHeight of seat: 18 in; 46 cmWidth: 23¼ in; 60.5 cmDepth: 24½ in; 62 cm

Provenance:Peregrine, 3rd Duke of Ancaster (1714–1778) for Grimsthorpe Castle, Lincolnshire, England;Gilbert, 2nd Earl of Ancaster (1867–1951);H. Blairman & Sons Ltd., London, England, 1946;Collection of Mr. and Miss Clariça Davidson, England, until 1988;Mallett & Son Ltd., London, England, until 1999;Collection of Mr. & Mrs. Saul P. Steinberg, New York, USA;Private collection, New York, USA.

Illustrated:‘Grimsthorpe Castle III’, Country Life, 26 April 1924, pp. 650–56, fig. 10.H. Avray Tipping and Christopher Hussey, English Homes, Period IV, vol. II, 1928, p. 320, fig. 475.Antique Collector, July 1946, advertisement; with H. Blairman & Sons Ltd.Margaret Jourdain and F. Rose, English Furniture, the Georgian Period 1750–1830, 1953, p. 72,illus. 32.Lanto Synge, Mallett’s Great English Furniture, 1991, p. 48, fig. 41.Mallett & Son Ltd., A Noble Art, Historic Needlework, 1999, pp. 54–5.Nicholas Goodison and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, 2004, p. 135,illus. 7.

Literature:Yvonne Hackenbroch, English Furniture with Some Furniture of Other Countries in the IrwinUntermyer Collection, 1958, figs. 143–7, pls. 116–20.

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A RARE GEORGE I CHINESE LACQUER TRIPOD TABLE

This exceptional table is one of only three examples known. One was formerly in the Leigh BlockCollection, Chicago, and the third, illustrated in The Dictionary of English Furniture, was made forthe Tower family of Weald Hall, Essex.

This unusual table was especially designed for the three-player card game ‘hombre’, a trick gamethat originated in Spain and was very popular throughout Europe at the end of the 17th centuryand the beginning of the 18th.

James Craggs the elder (baptised in 1657) possessed considerable wealth through his connectionto the Duchess of Marlborough. He was a member of Parliament between 1702 and 1713, andwas subsequently made Postmaster General in 1715. His son James also achieved high office,becoming Secretary of State to the King and a Privy Counsellor, but sadly he died shortly beforehis father. Craggs the elder invested heavily and disastrously in the South Sea Company, losingvast amounts of money as a result. He died in disgrace shortly afterwards in 1721, only a monthafter his son.

After his death, his property was confiscated by act of parliament to pay off his debts incurred inthe South Sea Bubble, and this table may have been seized together with his other belongings atthe time.

English, circa 1720

Height: 28¾ in; 73 cmWidth: 41¾ in; 106 cmDepth: 36 in; 91.5 cm

Provenance:James Craggs the elder, England;Private collection, England.

Literature:William Ince and John Mayhew, The Universal System for Household Furniture, 1762, pl. LIII.Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954,vol. III, p. 198, fig. 20.

JAMES CRAGGS THE ELDER’S TRIANGULAR GAMES TABLE

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A PAIR OF GEORGE III GILTWOOD MIRRORS

These well documented mirrors retain the original mirror plates. The pagoda tops and the pendent aprons have been restored.

The earliest record of these mirrors is in a photograph taken circa 1924 by Sydney Newbery ofBrixton, London, a highly regarded art photographer whose work is today in several museums inthe UK. All the other items in the photograph are Hotspur Ltd. stock items, and it is safe toassume that it was taken for Hotspur. An inscription on the back lists everything shown, includingthe wall panelling, which appears to have been installed temporarily, suggesting that the photograph may have been taken at an exhibition, possibly the monumental British EmpireExhibition of 1924, in which several London antique dealers took part.

English; circa 1765

Height: 5 ft 1¼ in; 155.5 cmWidth: 3 ft 1 in; 94 cm

Provenance:Hotspur Ltd., London, England, circa 1924;M. Harris & Sons, London, England, 1965;Ronald Phillips Ltd., London, England, 1992;Private collection, New York, USA.

Illustrated:Geoffrey Wills, English Looking-glasses: A Study of the Glass, Frames and Makers (1670–1820),1965, p. 92, fig. 74.Grosvenor House Art and Antiques Fair handbook, 1992, p. 273, advertisement; with Ronald Phillips Ltd.

Photographed:Sydney W. Newbery, 37 Cowley Road, Brixton, London SW9, circa 1924, in an exhibition set-up,perhaps at the British Empire Exhibition.

The mirrors with M. Harris & Sons,London, 1965


Photographed by Sydney W. Newbery, 1924

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A GEORGE II MAHOGANY LIBRARY ARMCHAIR DESIGNED BYWILLIAM KENT AND ATTRIBUTED TO WILLIAM LINNELL

The upholstered side and back rails have been restored, retaining the original front rail.

A suite of chairs designed by William Kent features identical legs and isin the collection at Rousham House, Oxfordshire.

English, circa 1740

Height: 39¼ in; 100 cmHeight of seat: 17½ in; 44.5 cmWidth: 27½ in; 70 cmDepth: 29 in; 74 cm

Provenance:Private collection, Yorkshire, England.

Literature:Francis Lenygon, Furniture in England from 1660 to 1760, 1914, p. 55,fig. 72.Helena Hayward and Pat Kirkham, William and John Linnell,Eighteenth Century London Furniture Makers, 1980, vol. II, pp. 35–6,figs. 66–7.Susan Weber, William Kent: Designing Georgian Britain, 2013, p. 458,figs. 17 & 18.

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A RARE PAIR OF GEORGE IIIMAHOGANY PEDESTAL CUPBOARDSATTRIBUTED TO VILE & COBB

One pedestal interior is lined with zinc andhas three grille shelves and a compartmentfor hot coal in the bottom: it was originallyused as a plate warmer. The second pedestalis fitted out with three fixed shelves.

A very similar pair of pedestals, also fittedout as cupboards and attributed to Vile &Cobb, was exhibited by Hotspur Ltd. at the Grosvenor House Antiques Fair, London,in 1950.

Vile & Cobb, cabinet-makers to George III,employed some of the finest carvers fortheir commissions, and these pedestals aretypical of their work.

English, circa 1780

Height: 52¾ in; 134 cmWidth: 15¼ in; 39 cmDepth: 16¾ in; 42.5 cm

Provenance:Upshire Hall, Waltham Abbey, Essex, England.

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A MAGNIFICENT PAIR OF GEORGE III THREE LIGHT ORMOLUCANDELABRA TO A DESIGN BY ROBERT ADAM

The quality of workmanship on these candelabra is superior to otherormolu pieces and suggests the work of a silversmith or goldsmith,although a firm attribution has not yet been possible. The statuarymarble bases are of later date. A drawing by Robert Adam dated 1773for a candlestick for Sir Watkin Wynn, Bart. is preserved in the Sir JohnSoane Museum in London. Though slightly different, there is no doubtthat Adam’s drawing is the inspiration for these outstanding candelabra.

English, circa 1775

Height: 18 in; 46 cmDiameter: 18¾ in; 48 cm

Literature:Christopher Hartop, The Classical Ideal: English Silver, 1760–1840,2010, pp. 28–9.

Drawing by Robert Adam, 1773, at the Sir John Soane Museum, London

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A GEORGE II MAHOGANY COMMODE

This fine quality commode retains all the original handles and has acquired an outstanding colour and patination. The carving to the angles is a sign of superior quality. Very few commodesfeature carved elements.

English, circa 1755

Height: 32¾ in; 83 cmWidth: 43¼ in; 110 cmDepth: 25 in; 63.5 cm

Provenance:Private collection, England;Norman Adams Ltd., London, England;Private collection, California, USA.

Illustrated:Geoffrey Wills, English Furniture 1760–1900, 1979, p. 53.

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A GEORGE II GILTWOOD PIER MIRROR

The mirror has replaced 18th century mirror plates, and is probably unique. No other comparableexample has come to light.

English, circa 1755

Height: 5 ft 7¼ in; 171 cmWidth: 2ft 8 in; 81.5 cm

Provenance:H. W. Keil Ltd., Worcestershire, England, 1951;Needham’s Antiques, New York, USA;The Walter P. Chrysler Jr. Collection, New York, USA, until 1960;Hyde Park Antiques Ltd., New York, USA;Private collection, USA.

Illustrated:Antique Collector, December 1951, advertisement; with H. W. Keil Ltd.Parke-Bernet Galleries Inc., ‘The Walter P. Chrysler Jr. Collection of English Furniture’, New York,vol. 2, 6–7 May 1960, p. 109, lot 510.Grosvenor House Art and Antiques Fair handbook, 1989, p. 246, advertisement; with Hyde ParkAntiques Ltd.Patrick Broome, The Hyde Park Collection 1965–1990, 1990, pp. 144–5.Emily Eerdmans, Classic English Designs and Antiques, Period Styles and Furniture, The Hyde ParkAntiques Collection, 2006, p. 91.

Literature:Thomas Johnson, A Collection of Designs, 1758; title page.

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THE WALTER P. CHRYSLER JR. ‘BRITANNIA MIRROR’

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The card table in situ in the Percival D. Griffiths Collection,Sandridgebury, Kent, 1912. Country Life Picture Archive


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THE PERCIVAL D. GRIFFITHS CARD TABLE

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A MAGNIFICENT GEORGE II WALNUT CONCERTINA ACTION CARD TABLE

The inside of the table is lined with a faded green velvet playing surface.

Percival D. Griffiths was advised by R. W. Symonds on the purchase of most of his pieces, and his collection of English furniture is still regarded as the finest ever assembled. After Griffiths’ssudden death following a hunting accident, however, his collection was dispersed, and Symondssupervised the distribution of his treasures elsewhere.

Griffiths collected predominantly carved furniture of the early to mid 18th century. He preferredpieces with lion masks. This table is exceptional and is to date the finest example of its kind known.

English, circa 1735

Height: 29¼ in; 74.5 cmWidth: 39 in; 99 cmDepth (closed): 19 in; 48 cmDepth (open): 40 in; 101.5 cm

Provenance:Percival D. Griffiths, Sandridgebury, Kent, England, purchased circa 1908;Geoffrey Blackwell, Esq., England;Sir James Caird, Bart., sold Christie’s, London, England, 8 July 1993, lot 75;Theodore and Ruth Baum, New York, USA;Private collection, England.

Illustrated:Herbert Cescinsky, English Furniture of the Eighteenth Century, vol. III, 1911, p. 55, fig. 47.Percy Macquoid, ‘Furniture of the XVII & XVIII Centuries, Mr. Percival Griffiths’ Collection’,Country Life, 27 January 1912, pp. 139–44, fig. 3.R. W. Symonds, The Present State of Old English Furniture, 1921, fig. 45.Frederick Litchfield, Illustrated History of English Furniture, 1922, fig. 281.R. W. Symonds, Old English Walnut and Lacquer Furniture, 1923, pl. XXXII.R. W. Symonds, English Furniture from Charles II to George II, 1929, p. 63, fig. 34 and p. 118,fig. 72.R. W. Symonds and T. H. Ormsbee, Antique Furniture of the Walnut Period, 1947, pl. XXXII.Edward Lennox-Boyd (ed.), Masterpieces of English Furniture: The Gerstenfeld Collection, 1998,p. 25, fig. 13.

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A PAIR OF GEORGE II BLUE JAPANNED ARMCHAIRS ATTRIBUTED TO GILES GRENDEY

The yellow discoloration of a protective varnish has caused the original blue japanning to appear green. The original blue can be seen underneath the seat, where it has been protected from sunlight.

The chairs retain their original caned seats.

Giles Grendey had workshops in Clerkenwell, London, and was wellknown for his japanned furniture and mirror frames. His companyexported much of his highly fashionable japanned furniture abroad,including the well-documented suite of red japanned furniture to theDuke of Infantado for his castle in Lazcano in Spain. The style of golddecoration on the Spanish suite is comparable to the decoration onthese chairs.

Most japanned furniture has a black, red or sometimes green ground.Pieces with a white or blue ground are amongst the rarest.

English, circa 1750

Height: 42½ in; 108 cmHeight of seat: 19 in; 49 cmWidth: 25¾ in; 65.5 cmDepth: 22½ in; 57 cm

Provenance:Private collection, Italy.

Literature:Christopher Gilbert, A Pictorial Dictionary of Marked London Furniture1700–1840, 1996, pp. 245–8.

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A RARE COLONIAL GEORGE II PARCEL GILT EBONY TRIPOD TABLE

Very few examples if any of ebony tripod tables of this period areknown to exist.

Ceylonese, Galle district, circa 1755

Height: 27¼ in; 69 cm Diameter: 26 in; 66 cm

Literature:Amin Jaffer, Furniture From British India and Ceylon, 2001, pp. 370–83.

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A PAIR OF GEORGE III GILTWOOD TRIPLE BRANCH WALL LIGHTS

The wall lights retain much of their original gilding; the brass nozzlesare of later date.

English, circa 1805

Height: 35½ in; 90 cmWidth: 17½ in; 44.5 cmDepth: 10 in; 25.5 cm

Provenance:Lord Burnham, Hall Barn, Buckinghamshire, England;Norman Adams Ltd., London, England;Private collection, Surrey, England.

Illustrated:Christopher Claxton Stevens and Stewart Whittington, 18th CenturyEnglish Furniture: The Norman Adams Collection, 1983, p. 450.

THE HALL BARN WALL LIGHTS

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AN IRISH GEORGE III OVAL MIRROR CHANDELIER

This wonderful large oval mirror has a replaced 18th century mirrorplate. The size of this mirror chandelier is larger than usual, adding toits rarity.

Irish, circa 1790

Height: 35¾ in; 91 cmWidth: 22¾ in; 57.5 cmDepth: 12½ in; 32 cm

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A RARE GEORGE III MAHOGANY OVAL PEDESTAL DESK

The desk retains the original blind-tooled leather insert and has replaced ornate swan-neck brasshandles. Every alternate drawer in the frieze is a dummy drawer; one end drawer is fitted outwith compartments and retains a paper label from the Kent Gallery Ltd., London. Each pedestalhas three doors; the end doors each reveal a further three graduated drawers, which retain theoriginal swan-neck handles.

There are very few 18th century examples of oval pedestal desks in existence.

English, circa 1790

Height: 2 ft 8 in; 81.5 cmWidth: 5 ft 9¾ in; 177 cmDepth: 3 ft 10¾ in; 118.5 cm

Kneehole:Height: 25¼ in; 64 cmWidth: 22¼ in; 56.5 cm

Provenance:Kent Gallery Ltd., London, England;Mallett & Son Ltd., London, England;Private collection, Los Angeles, California, USA;Ronald Phillips Ltd., London, England;Private collection, New York, USA.

Literature:Thomas Sheraton, The Cabinet Maker and Upholsterer’s Drawing Book, 3rd edition, 1802, no. 1, pl. 2.Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, vol. 3,1954, p. 252, fig. 27.Christopher Claxton Stevens and Stewart Whittington, 18th Century English Furniture: TheNorman Adams Collection, 1983, p. 113.

Thomas Sheraton, The Cabinet Maker and Upholsterer’s Drawing Book, 3rd edition, 1802, no. 1, plate 2

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A PAIR OF GEORGE III CARVED MAHOGANY ARMCHAIRSATTRIBUTED TO JOHN LINNELL

The chairs have caned seats beneath the squab cushions.

The firm of Linnell supplied many pieces of furniture to Castle Howardin Yorkshire, including a huge number of giltwood side tables, somefine carved mahogany furniture and a well-documented mahoganycard table.

Chairs of identical design and probably from the same set are still inthe collection of Castle Howard today. A chair probably from the sameset but with probably later stuff-over upholstery was photographed byCountry Life magazine in the 1920s or 1930s.

Castle Howard suffered a devastating fire in 1940, and many items of furniture had to be moved to safety. Some of the fire-damagedparts of Castle Howard were not restored to their former glory untilthe 1980s.

English, circa 1775

Height: 38 in; 96.5 cmHeight of seat: 17¼ in; 44 cmWidth: 25¼ in; 64 cmDepth: 23 in; 58.5 cm

Provenance:By repute, Castle Howard, Yorkshire, England.

Literature: Percy Macquoid and Ralph Edwards, The Dictionary of EnglishFurniture, 1924–7, vol. I, p. 293, fig. 214.Helena Hayward and Pat Kirkham, William and John Linnell,Eighteenth Century London Furniture Makers, 1980, vol. II, p. 39.

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A chair from the set in situat Castle Howard, Yorkshire. Country Life Picture Archive

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A PAIR OF GEORGE III GILTWOOD ANDSATINWOOD PIER TABLES

There is a minor difference in size betweenthe tables. The tops have at one stage been fitted into an alcove, but have beenreinstated to their original shape.

English, circa 1780

Height: 33 in; 84 cmWidth (table 1): 31½ in; 80 cmWidth (table 2): 31 in; 79 cmDepth: 15¼ in; 38.5 cm

Provenance:Norman Adams Ltd., London, England;Private collection, Surrey, England.

Illustrated:Connoisseur, April 1955, inside back cover,advertisement; with Norman Adams Ltd.

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A PAIR OF GEORGE III GILTWOOD GIRANDOLES

The girandoles retain their original candle arms andhave 18th century replaced mirror plates.

English, circa 1765

Height: 29 in; 74 cmWidth: 23 in; 58.5 cmDepth: 11 in; 28 cm

Provenance:Private collection, New York, USA.

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Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1754, plate CVI

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AN IMPORTANT GEORGE II MAHOGANY CHINA CABINET TO A DESIGN BY THOMAS CHIPPENDALE

The cornice is a restoration following traces of the original cornice and adhering to the originalChippendale design. The internal divisions have been reinstated. The doors in the lower sectioneach reveal two adjustable shelves.

The china cabinet has acquired an outstanding colour and patination.

English, circa 1755

Height: 8 ft ¾ in; 246 cmWidth: 6 ft 10 in; 208 cmDepth: 2 ft ¼ in; 61.5 cm

Provenance:M. Harris & Sons, London, England, 1930s;Private collection, USA.

Illustrated:M. Harris & Sons, ‘Catalogue and Index of Old Furniture and Works of Decorative Art’, Part II1730–1780, circa 1930s, p. 298.

Literature:Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1st edition, 1754, pl. CVI.

27

A SET OF SIXTEEN MEISSEN DINNER PLATES

German, circa 1750

Diameter: 9½ in; 24.5 cm

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88


28

A LARGE GEORGE II GILTWOOD CONSOLE TABLE ATTRIBUTED TO MATTHIAS LOCK

The drawing for this most important and imposing table was first published by Matthias Lock in 1746. The unusual jasper top is original.

A very similar table with slight differences in the carved apron, alsoretaining the original jasper veneered top, was exhibited by Asprey &Co. at the Grosvenor House Art and Antiques Fair, London, in 1993.Both tables are very likely to be from the same workshop.

English, circa 1755

Height: 2 ft 11½ in; 90 cmWidth: 6 ft 2¼ in; 189 cmDepth: 2 ft 9 in; 84 cm

Literature:Matthias Lock, Six Tables, 1746, pl. 5.Elizabeth White, Pictorial Dictionary of British 18th Century FurnitureDesign: The Printed Sources, 1990, p. 266, pl. 5.Grosvenor House Art and Antiques Fair handbook, 1993, p. 63, advertisement by Asprey & Co., London.

Matthias Lock, Six Tables, 1746, plate 5

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90


29

A MASSIVE CONTINENTAL REGENCY PERIOD GILTWOOD FOURLIGHT GIRANDOLE

The mirror plate is a 19th century replacement, and the glass drip pansare of later date.

Continental, probably Italian, circa 1815

Height: 5 ft 9¼ in; 176 cmWidth: 3 ft 9 in; 114 cmDepth: 1 ft 3 in; 38 cm

Provenance:Corporate collection, Alabama, USA.

00


92


30

A GEORGE III PADOUK TRIPOD TABLE ATTRIBUTED TO THOMAS CHIPPENDALE

The design of the base, the use of padouk and the brass catch to theunderside correspond to the Chippendale oeuvre.

One comparable piece is the well-documented padouk bookcase atDumfries House in Scotland.

Drawings by Chippendale for a related table base and legs are preserved in the Harewood House archives, Yorkshire.

English, circa 1770

Height: 29¼ in; 74.5 cmDiameter: 40¼ in; 102.5 cm

Literature:Christopher Gilbert, The Life and Work of Thomas Chippendale, 1978,vol. II, pp. 254–5, illus. 464–7.

00


94


Thomas Chippendale, drawings for a tripod table base and legs, Harewood House archive

00


96


31

A MASSIVE GEORGE III ‘MILLERS VEIN’ BLUE JOHN VASE

Blue john is mined in Derbyshire, the only place in the world where itis to be found. The mines have been used since Roman times, and verylittle of the stone is left today. Most of the ores are very small, andlarger pieces are therefore rare. This vase is of exceptionally large size,and the colour of the stone is extremely rich and varied.

English, circa 1800

Height: 16 in; 40.5 cmDiameter: 8¼ in; 21 cm

Provenance:Private collection, California, USA.

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32

A PAIR OF GEORGE II OVAL GILTWOOD MIRRORS

The mirror plates are 19th century replacements.

A very similar mirror was at Alnwick Castle,Northumberland, and was photographed there for Country Life in 1929.

English, circa 1740

Height: 48 in; 122 cmWidth: 31¼ in; 79.5 cm

00


THE BRUTON STREET SHOWROOM

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102


33

A GEORGE III TWELVE LIGHT CUT GLASS CHANDELIER ATTRIBUTED TO PARKER & PERRY

A drawing of this type of chandelier by Parker & Perry is in the collection of the Victoria and Albert Museum, London.

Two lower candle arms and the receiving bowl are replacements, andthe smaller canopy is repaired.

English, circa 1780

Height: 5 ft 3 in; 160 cmDiameter: 3 ft 4 in; 101.5 cm

Provenance:Private collection, Amsterdam, The Netherlands;Jeremy Ltd., London, England;Collection of Edward Sarofim, England;Private collection, Switzerland.

Literature:Martin Mortimer, The English Glass Chandelier, 2000, p. 151, pl. 90.

Drawing of a Parker & Perry chandelier. Collection of Victoria and Albert Museum, London

104


34

A VICTORIAN MAHOGANY RADIALLY EXTENDING DININGTABLE BY JOHNSTONE JUPE & CO., NO. 1073

The patented mechanism by Robert Jupe allows the table to beextended radially by rotation of the frieze. Two original sets ofextra leaves of two different sizes have been retained with thetable. It can be used closed without leaves in its smallest setting,or with leaves added in the intermediate or large setting.

The table is stamped in the centre ‘Johnstone Jupe & Co, NewBond Street, London, 1073’ and has an ivory plaque to the friezeengraved with ‘Jupe’s Patent, Johnstone Jupe & Co, New BondStreet’ and a Royal Warrant. The underside of the top has fourbrass thread housings, possibly for extra legs to be attached.

English, circa 1840

Height: 2 ft 4¾ in; 72.5 cmDiameter (smallest setting): 5 ft 2¼ in; 158 cm Diameter (intermediate setting): 6 ft 3¾ in; 192.5 cmDiameter (largest setting): 7 ft 4¾ in; 225.5 cm

Provenance:Private collection, Paris, France;Private collection, England.

107


The table at its intermediate setting

The table at its largest setting

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110

35

A SET OF TWELVE GEORGE III MAHOGANY DINING CHAIRS

One chair is inscribed ‘Mr. Slayter 1812’, probably referring to a cabinet-maker or upholstererwho refurbished the chairs in 1812. There are several cabinet-makers listed of that name andat that time. Richard Slayter, who worked for Gillows in Lancaster at that time, signed otherpieces with his name.

Similar chairs were formerly in the dining room at Croome Court, Worcestershire, and are nowon display at Kelmarsh Hall, Northamptonshire.

English, circa 1775

The armchairs:Height: 37 in; 94 cmHeight of seat: 18½ in; 47 cmWidth: 25 in; 63.5 cmDepth: 23¾ in; 60.5 cm

The side chairs:Height: 37 in; 94 cmHeight of seat: 18½ in; 47 cmWidth: 23 in; 58.5 cmDepth: 21½ in; 55 cm

Provenance:Mr. R. Moss Harris, London, England.

Literature:Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers1660–1840, 1986, pp. 820–21.

112

36

A GEORGE III MAHOGANY THREE PILLARDINING TABLE

This table, which has not been reduced inwidth, retains an original leaf, and one converted leaf, formerly the top of a fourthpillar. The brass cap castors are original.

English, circa 1790

Height: 2 ft 3¾ in; 70.5 cmWidth: 4 ft 8 in; 142 cmLength (with leaves): 11 ft 6½ in; 352 cmLength (without leaves): 7 ft 10 in; 239 cm

114


37

A GEORGE III MAHOGANY SIDE TABLE ALMOST CERTAINLY BY GILLOWS

The table retains the original ornate brass ring handles, typical of theGillows commissions, and has two replaced 18th century locks tomatch the remaining original.

A drawing by Gillows for the side table dated 1790 is preserved in theWestminster City Archive and is published in Lindsay Boynton’s bookon Gillow furniture design.

English, circa 1790

Height: 35 in; 89 cmWidth: 55¾ in; 141.5 cmDepth: 18¼ in; 46.5 cm

Literature:Lindsay Boynton, Gillow Furniture Designs 1760–1800, 1995, illus. 15.

Gillows drawing for a pier table, dated 1790. Westminster City Archive

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38

A PAIR OF GEORGE III GILTWOOD HO-HO BIRDS

English, circa 1765

First bird (with spread wings):Height: 24 in; 61 cmWidth: 30 in; 76.5 cmDepth: 8 in; 20 cm

Second bird:Height: 25 in; 63.5 cmWidth: 23 in; 58.5 cmDepth: 9 in; 23 cm

Provenance:Mallett & Son Ltd., London, England;Private collection, England.

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39

A PAIR OF GEORGE II MAHOGANY SERPENTINE COMMODES ATTRIBUTED TO WRIGHT AND ELWICK

One veneered top has been reinstated. Some brass swan-neck handles are18th century replacements.

The unusual Gothic trefoil corners as well as the crossgrain moulded plinthcorrespond to the work of the Wakefield firm of Wright and Elwick. The design, though simplified, relates to a drawing by Chippendale for a French commode.


English, circa 1755

Height: 34 in; 86 cmWidth: 52¼ in; 132.5 cmDepth: 32 in; 81 cm

Literature:Thomas Chippendale, The Gentleman and Cabinet-maker’s Director,first edition, 1754, pl. XLVIII.Christopher Gilbert, ‘Wright and Elwick of Wakefield’, FurnitureHistory, 1976, pp. 34–50.

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122


40

A HUGE PAIR OF GEORGE II CARVED GILTWOOD GIRANDOLESTO A DESIGN BY THOMAS CHIPPENDALE


The design for these enormous girandoles derives from plate CLX ofChippendale’s first edition of The Gentleman and Cabinet-maker’sDirector, published in 1754.

English, circa 1755

Height: 5 ft 4 in; 162.5 cmWidth: 3 ft 4 in; 101.5 cmDepth: 1 ft; 30.5 cm

Literature:Thomas Chippendale, The Gentleman and Cabinet-maker’s Director,1754, pl. CLX.

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Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1754, plate CLX


126

41

A GEORGE III MAHOGANY SIDE TABLE

The brèche d’Alep marble top is of later date. The carving is of superior quality and the mahogany has acquired a beautiful patination.

English, circa 1760

Height: 2 ft 10½ in; 87 cm Width: 5 ft 6½ in; 169 cmDepth: 2 ft 7¼ in; 79 cm

Provenance:Private collection, Florida, USA.

128


42

A GEORGE III GILTWOOD OVERMANTEL MIRROR ATTRIBUTED TO JOHN LINNELL

The mirror retains much of the original gilding and most of the originalmirror plates, with some replaced 18th century mirror plates.

It belongs to a small group of important overmantel mirrors associatedwith the Linnell workshop which all feature chinoiserie pagodas andplatforms for the display of china objects. One such mirror is in thecollection of the Israel Museum in Jerusalem; another was formerly atBadminton House, Gloucestershire. Badminton was one of Linnell’smajor commissions, thus supporting the attribution to Linnell.

English, circa 1765

Height: 5 ft 2¼ in; 158 cmWidth: 4 ft 8 in; 142.5 cm

Provenance:Leonard Knight, London, England, 1959;Private collection, Southampton, USA, until 2000;Private collection, New York, USA.

Illustrated:Antique Collector, April 1959, advertisement; with Leonard Knight.

Literature:Percy Macquoid, A History of English Furniture, vol. IV, ‘The Age ofSatinwood’, 1908, fig. 8.The Eighteenth Century English Dining Room, (no author), The IsraelMuseum, Jerusalem, no date, p. 17.

Antique Collector, April 1959

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132


43

A PAIR OF REGENCY PARCEL GILT ROSEWOOD SIDE CABINETSATTRIBUTED TO MARSH AND TATHAM

Both cabinets have replaced veined grey marble tops and retain theoriginal brass knob handles and wire grilles. Behind the doors in eachcabinet is an adjustable shelf.

Similar features such as the distinctive legs and giltwood columns canbe found on furniture at Southill Park in Bedfordshire. The house wasdesigned by Henry Holland and furnished by Marsh and Tatham.

English, circa 1815

Height: 34¾ in; 88.5 cmWidth: 50¼ in; 127.5 cmDepth: 16½ in; 42 cm

Provenance:Frank Partridge & Son Ltd., London, England;Collection of Arthur S. Goldberg, USA.

Illustrated: Country Life, 10 June 1971, advertisement; with Frank Partridge & Son Ltd.Christie’s yearbook 1970–1971, p. 332.

Literature:Southill, a Regency House, (various authors; Furniture and Decorationsection by F. J. B. Watson), 1951, pls. 35–6.

Christie’s yearbook 1970–1971, page 332

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134


44

A GEORGE II SABICU AND PADOUK MARQUETRY COMMODE ATTRIBUTED TO HENRY HILL

The commode retains all the original ormolu mounts and has survived in remarkable untouchedcondition, a testament to the high quality workmanship of the Hill workshops. The drawers arenow fitted with removable blue paper lined inserts. Blue paper lining of drawers was a commonpractice with the Hill workshop. Traces of the original blue paper can be found inside the drawersbeneath the inserts.

Henry Hill ran a thriving business in rural Wiltshire in the town of Marlborough. Hill’s high qualityfurniture is often compared to and sometimes superior to that of leading London workshops. His ability to adapt to fashionable French bombé shapes and his use of fine marquetry veneeringsuggests that he either trained in France himself or spent time with a French-trained cabinet-maker.

English, circa 1750

Height: 33 in; 84 cmWidth: 53¼ in; 135.5 cmDepth: 25 in; 63.5 cm

Provenance:Doddington Hall, Lincolnshire, England;M. Harris & Sons, London, England, 1930s;Private collection, England.

Illustrated:M. Harris & Sons, ‘Catalogue and Index of Old Furniture and Works of Decorative Art’, circa1930, Part II 1730–1780, p. 173.Lucy Wood, Catalogue of Commodes, 1994, p. 70, illus. 54.

THE DODDINGTON HALL COMMODE

The commode with M. Harris & Sons, 1930s

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45

A WILLIAM IV MARBLE TEA CADDY

Tea caddies with stone cases are extremely rare, and very few examples have come to light. The caddy retains all the original brasswork, the canisters and the mixing bowl, and is preserved in virtually untouched condition.

English, circa 1835

Height: 6¼ in; 16 cmWidth: 12¾ in; 32.5 cmDepth: 6¼ in; 16 cm

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140


46

A PAIR OF GEORGE III SATINWOOD AND AMARANTH BONHEURS-DU-JOUR ATTRIBUTED TO GILLOWS

The folding flaps reveal a blind-tooled green baize lined surface. Each door reveals an open compartment and a single drawer. The long drawers are each fitted with an inkwell drawer tothe side. The brass handles are of later date. Each long drawer bears the paper label ‘A. andM. COLERIDGE COLLECTION’.

An almost identical single bonheur-du-jour stamped ‘Gillows’ is in the collection of Lancaster City Museum.

English, circa 1795

Height: 45¾ in; 116 cmWidth: 25 in; 64 cmDepth: 17¼ in; 44 cm

Provenance:The Hon. Mrs. M. L. O. Faber, England, 1969;The Marquess of Hamilton, England, 1971;Collection of Anthony and Marietta Coleridge, England.

Literature:London Cabinetmaker’s Book of Prices, 1792, pl. 23, fig. 2.Ralph Fastnedge, Sheraton Furniture, 1962, fig. 57b.Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008, vol. I, pp. 297–9, pls. 323–7.

141


00


47

A GEORGE II PARCEL GILT OPEN ARMCHAIR ATTRIBUTED TO ALEXANDER PETER

The off-white paint surface is mostly original; the oil-gilded sectionshave been reinstated following detailed surface analysis.

This unusual chair is part of a suite of at least eight chairs. Some arenow in private collections, and a pair of chairs with needlework covers is in the Leverhulme Collection at the Lady Lever Art Gallery inLiverpool. Those chairs, however, have been re-gilded entirely. Anotherpair of chairs from the same set, still retaining the original white parcelgilt scheme, was sold at Christie’s on 24 June 1976. This pair too hassubsequently been re-gilded entirely.

Very little is known about the history of this important set of chairs.The pair sold in 1976 was from the collection of the Earl of Arran, afamily of high standing in Scottish history. Their family seat was originally at Hamilton Palace, now demolished. It is conceivable thatthe suite once formed part of the collection at Hamilton Palace, butentries in the 1882 Hamilton Palace sale catalogue are too vague todetermine the provenance conclusively.

The current chair is the only example known with the original parcelgilt surface treatment.

Scottish, circa 1745

Height: 42½ in; 108 cmHeight of seat: 18¾ in; 47.5 cmWidth: 33½ in; 85 cmDepth: 27½ in; 70 cm

Provenance:Perhaps the Earls of Arran, Hamilton Palace, Scotland;Private collection, New York, USA.

Literature:Art Treasures exhibition catalogue, London, 1932, pp. 20–21, item 103.Christie’s, ‘Fine English Furniture’, London, 24 June 1976, lot 28.Francis Bamford, A Dictionary of Edinburgh Wrights and FurnitureMakers, 1660–1840, 1983, pp. 10–13 & 94–100.Geoffrey Beard and Judith Goodison, English Furniture 1500–1840,1987, p. 98.Grosvenor House Art and Antiques Fair handbook, 1998, p. 125; a chair with Hotspur Ltd., London.Nicholas Goodison and Robin Kern, Hotspur – Eighty Years of AntiquesDealing, 2004, p. 133, item 6.Julian Treuherz, The Lady Lever Art Gallery, 2004, p. 47.Lucy Wood, Upholstered Furniture in The Lady Lever Art Gallery, 2008,vol. I, pp. 407–13.

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144


48

A GEORGE III MAHOGANY TRIPLE TOP CARD TABLE

One of the back legs is hinged to support the open tops, the first top when folded out forming a solid tea table top, and the second top folding out to reveal a green baize lined card table surface. Concealed behind the hinged leg at the back is a void which was at one stage fittedwith a later drawer; the drawer is now missing. The table has acquired a beautiful colour andpatination and is preserved in virtually untouched condition.

A comparable table with similarly carved frieze was formerly in the celebrated Samuel MesserCollection, formed under the guidance of R. W. Symonds.

English, circa 1760

Closed:Height: 29½ in; 75 cmWidth: 33¾ in; 86 cmDepth: 16¼ in; 41.5 cm

Open:Height (as a tea table): 28¾ in; 73 cmHeight (as a card table): 28 in; 71 cmWidth: 33¾ in; 86 cmDepth: 32¼ in; 82 cm

Literature:Christie’s, ‘The Samuel Messer Collection of English Furniture Clocks and Barometers’, London, 5 December 1991, p. 145, lot 110.

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146


49

A GEORGE II GILTWOOD PIER MIRROR ATTRIBUTED TO MATTHIAS LOCK


The design derives from two plates published by Lock in 1752, and for that reason might be the work of the master himself.

English, circa 1755

Height: 6 ft 8 in; 203 cmWidth: 3 ft 2 in; 96.5 cm

Literature:Matthias Lock and Henry Copland, A New Book of Ornaments forLooking Glass Frames, 1752, pls. 4–6.Elizabeth White, Pictorial Dictionary of British 18th Century FurnitureDesign: The Printed Sources, 1990, p. 343, pls. 4–6.

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148


50

A WILLIAM IV BURR WALNUT PARTNERS’ DESK

The desk has the same arrangement of drawers on the opposing side;three in the frieze, and six below. The plinth base conceals castors. The brass knob handles are of later date.

The partners’ desk has acquired a beautiful mellow colour. The panelled sides of the desk are a sign of superior quality, and enhancethe side view.

English, circa 1835

Height: 2 ft 6½ in; 77.5 cmWidth: 5 ft 4 in; 162.5 cmDepth: 3 ft 7½ in; 110.5 cm

Kneehole:Height: 24 in; 61 cmWidth: 24½ in; 62 cm

Provenance: Stair and Company, New York, USA;Kentshire Galleries, New York, USA;Private collection, London.

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150


51

A GEORGE III SATINWOOD TERRESTRIAL 21-INCH GLOBE BY WILLIAM CARY

The compass paper, bezel and needle have been reinstated.

The globe is inscribed: ‘Cary’s New Terrestrial Globe Exhibiting The Tracks and Discoveries madeby Captain Cook also those of Captain Vancouver on the North West Coast of America and M. De La Perouse on the Coast of Tartary together With every other improvement collected fromvarious Navigators to the present time’.

This type of globe base, made in exotic satinwood and retailed by the firm of William Cary on theStrand in London, was by far the most expensive model Cary’s offered. Their 19th century pricedadvertisement shows the different types and sizes available. It is preserved in the Guildhall Libraryin London.

The stand: English, circa 1790

The globe: English, circa 1790 and updated in 1831

Height: 46½ in; 118 cmDiameter: 28 in; 71 cm

Literature:Elly Decker, Globes at Greenwich: A Catalogue of the Globes and Armillary Spheres in theNational Maritime Museum, 1999, p. 51, fig. 5.6.

Advertisement by J. W. Cary, London, 1828.Collection of Guildhall Library, London

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152


52

A PAIR OF REGENCY MAHOGANY BOOKCASES

These unusually small bookcases have adjustable shelves and retaintheir original specimen marble tops, which have acquired a beautifulmellow patination.

English, circa 1815

Height: 36 in; 91.5 cmWidth: 22 in; 56 cmDepth: 10 in; 25.5 cm

Provenance: Private collection, London, England;Ronald Phillips Ltd., London, England;Private collection, England.

00


154


53

A RARE PAIR OF GEORGE III ORMOLU MOUNTED COBALT BLUE GLASS STORM LIGHTS

Very few examples made of cobalt blue glass are known to exist. The gilding to the bases and the ormolu mounts is original and ofexceptionally fine quality. The storm shades are original.

English, circa 1790

Height: 22 in; 56 cmDiameter: 7 in; 18 cm

156


54

A GEORGE IV BRASS MOUNTED PARCEL GILT AMBOYNA CENTRETABLE BY WILLIAM RIDDLE

The table retains most of the original oil gilding and the original chasedbrass edge moulding. The underside of the platform is stamped twice‘W. RIDDLE’.

A virtually identical example, also by William Riddle, is illustrated in thePictorial Dictionary of Marked London Furniture 1700–1840.

English, circa 1825

Height: 28½ in; 72.5 cmDiameter: 58½ in; 148.5 cm

Literature:Geoffrey Beard and Christopher Gilbert, The Dictionary of EnglishFurniture Makers 1660–1840, 1986, p. 746.Christopher Gilbert, A Pictorial Dictionary of Marked London Furniture1700–1840, 1996, p. 390, illus. 767.

Maker’s stamp to the underside of the platform

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158


55

A LOUIS XVIII SIX LIGHT GOTHIC BRASS CHANDELIER

The chandelier was at one stage wired for electricity.

French, circa 1815

Height: 43½ in; 110.5 cmDiameter: 23½ in; 60 cm

Provenance:Private collection, Canada.

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162


56

A HUGE PAIR OF IRISH REGENCY BRASS BOUND MAHOGANY LOG BUCKETS

These imposing buckets were at some stage fitted on triple paw feet stands, which have been retained with them. The brass liners are of later date.

Buckets of this enormous scale are extremely rare.

Irish, circa 1815

Height (with feet): 35¼ in; 89.5 cmHeight (without feet): 29½ in; 75 cm Diameter (including handles): 29¼ in; 74 cmDiameter (excluding handles): 25¼ in; 64 cm

Provenance:Collection of Lilly Pulitzer, Palm Beach, Florida, USA.

The log buckets in situ in the collection of Lilly Pulitzer, Palm Beach, Florida, USA

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164


57

A GEORGE III CHINESE EXPORT REVERSE MIRROR PAINTING

The Chippendale style frame is of later date. A similar mirror paintingin a matching period frame was advertised by Redburn Antiques,London, in 1974.

The mirror painting: Chinese export, circa 1765

The frame: English, circa 1900

Height: 32¼ in; 82 cmWidth: 22 in; 56 cm

Provenance:Edwin H. Herzog Antiques Ltd., London, England, 1976;Private collection, USA.

Literature:Connoisseur, April 1974, advertisement by Redburn Antiques Ltd.

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166

58

A GEORGE III MAHOGANY RENT TABLE ATTRIBUTED TO GILLOWS

The table retains the original gold-tooled leather writing surface and has twelve segmental drawers retaining the original brass handles. Some back plates and the engraved lock plate arereplaced. The door in the base reveals a single fixed shelf, and the plinth base is a restoration.

Richard Gillow of Lancaster invented the first rent table of this kind in 1767. A very similar renttable of almost identical size was supplied by Gillows to Lord George Cavendish of Holkham andis illustrated in the seminal book on the Gillows oeuvre by Susan E. Stuart. The Cavendish tablealso features the same bespoke well lock with engraved sprung escutcheon.

English, circa 1770

Height: 30 in; 76 cmKnee height: 24¾ in; 63 cmDiameter: 44 in; 112 cm

Provenance:Godmersham Park, Kent, England;Mallett & Son Ltd., London, England;Private collection, Gloucestershire, England.

Illustrated:Christie’s, ‘Godmersham Park’, 6–9 June 1983, p. 164, lot 196.

Literature:Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008, vol. I, p. 274, pls. 283–5.

The rent table in situ in the Library, Godmersham Park, Kent

00


THE GODMERSHAM PARK LIBRARY TABLE

168


59

A GEORGE III GILT BRONZE WINE COOLER BY RUNDELL, BRIDGE & RUNDELL TO A DESIGN BY JEAN-JACQUES BOILEAU

The wine cooler retains most of the original gilding and is engraved on the side of the platform:‘RUNDELL BRIDGE & RUNDELL AURIFICES ET PRINCIPIS WALLIA LONDINI FECERUNT’.

English, circa 1805

Height: 10½ in; 26.5 cmWidth: 12 in; 30.5 cmDepth: 9½ in; 24 cm

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170


60

A GEORGE III MAHOGANY MINIATURE CHEST ON CHEST

The miniature chest on chest is constructed of three components: thecornice, the upper section and the lower section. The ornate Dutchaxe handles are of later date.

English, circa 1795

Height: 18¾ in; 47.5 cmWidth: 12½ in; 32 cmDepth: 9¼ in; 23.5 cm

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172


61A MAGNIFICENT PAIR OF GEORGE IIMAHOGANY LIBRARY ARMCHAIRSEnglish, circa 1755

Height: 40¼ in; 103 cmHeight of seat: 16 in; 40.5 cmWidth: 28½ in; 72.5 cmDepth: 27¾ in; 70.5 cm

Provenance upon request

62A GEORGE III GILTWOOD DEMI-LUNECONSOLE TABLE DESIGNED BY ROBERT ADAMEnglish, 1765

Height: 2 ft 11 in; 89 cmWidth: 5 ft 3 in; 160 cmDepth: 2 ft ½ in; 62.5 cm


63A REGENCY 'NEW CAVERN VEIN' BLUEJOHN URNEnglish, circa 1815

Height: 17 in; 43 cmDiameter: 6½ in; 16.5 cm

64A GEORGE III GILTWOOD MIRROREnglish, circa 1765

Height: 49 in; 124.5 cmWidth: 32 in; 81 cm

65A PAIR OF GEORGE II CHINESE EXPORTQIANLONG PERIOD CANTON ENAMELWALL SCONCESChinese, Qianlong period, circa 1750

Height: 16 in; 40.5 cmWidth: 9¼ in; 23.5 cmDepth: 9 in; 23 cm


00


ONE OF OUR SHOWROOMS AT BRUTON STREET

174


66

A GEORGE I GILT GESSO SIDE TABLE

The table retains much of its original gilding. The moulded BelgianFossil marble top is of later date.

A table with very similar cabriole legs, which also terminate in in-scrolled toes of the same type, was formerly in the collection ofLouise Melhado in New York. Both tables are likely to originate fromthe same workshop.

English, circa 1720

Height: 30¾ in; 78 cm Width: 32¼ in; 82 cmDepth: 22¾ in; 58 cm

Provenance:Mallett & Son Ltd., London, England;Private collection, Dorset, England.

Literature:Sotheby’s, ‘Important English Furniture, Decorations and Clocks’, New York, 13 December 1986, lot 256.

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176


67

A GEORGE II PARCEL GILT WALNUT MIRROR

The mirror retains the original bevelled mirror plate and much of theoriginal gilding, and is slightly larger than usual.

English, circa 1740

Height: 5 ft 6 in; 168 cm Width: 2 ft 10 in; 86.5 cm

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178


68

A PAIR OF GEORGE I GILT GESSO TORCHÈRES IN THE MANNER OF JAMES MOORE THE ELDER

The torchères retain much of the original gilding. The gesso in the dished base of the tops hasbeen restored, retaining the original surfaces on the moulded edging and underside of the top.

English, circa 1725

Height: 37½ in; 95.5 cmDiameter: 12 in; 30.5 cm

Provenance:Mallett & Son Ltd., London, England;Private collection, USA.

Illustrated:Grosvenor House Art and Antiques Fair handbook, 1985, p. 114, advertisement; with Mallett & Son Ltd.Lanto Synge, Mallett’s Great English Furniture, 1991, p. 43, illus. 33.

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180


69

A SET OF FOUR GEORGE III MAHOGANY SHELLBACK HALL CHAIRS BY MARTIN SHANNON FOR GILLOWS OF LANCASTER

A historically important set of chairs made for Mr. Edwards, who lent his name for this type ofGillow pattern hall chairs.

Gillows of Lancaster supplied a set of four chairs to the Reverend H. Holland Edwards in 1811.Their account book describes them as ‘4 handsome mahogany hall chairs the backs carved as ashell, shaped front feet reeded £3.6s. 0d. . . .’ The painted crest matches that of a bookplateonce belonging to Mr. Edwards, and confirms that the chairs were indeed originally made forhim. The distinctive shell pattern of the back was subsequently named after their patron andbecame known as the ‘Edwards Pattern’.

Gillows of Lancaster employed many craftsmen on their premises, but their huge outputdemanded further expansion. They often engaged other workshops in the area on their commissions in order to meet demand. Furniture made externally for the Gillow workshops wasusually not stamped with the Gillow stamp, but was sometimes marked with letters referring tothe individual external craftsmen. One of these chairs is marked ‘MS’ to the underside of one ofthe rails, referring to Martin Shannon, whom Gillows regularly engaged.

Martin Shannon is listed as a chair-maker at 15 Bolton Street in Preston, Lancashire.

English, 1811

Height: 32¾ in; 83 cmHeight of seat: 17 in; 43 cmWidth: 16 in; 40.5 cmDepth: 18½ in; 47 cm

Provenance:Supplied by Gillows of Lancaster in 1811 to;The Reverend H. Holland Edwards of Pennant, Conway, North Wales;Private collection, USA.

Literature:Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840,1986, p. 802.Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008, vol. I, pp. 203–4.

THE FIRST ‘EDWARDS PATTERN’ HALL CHAIRS

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70

A GEORGE III ORMOLU MOUNTED WHITE MARBLE ‘VENUS VASEPERFUME BURNER’ BY MATTHEW BOULTON

Matthew Boulton originally used a slightly different version of theVenus figure. Josiah Wedgwood, with whom Boulton was in closebusiness contact, criticised the quality of the casting and modelling ofthe first version, which may have prompted Boulton to adjust andremodel it. The Boulton sketchbook, however, shows only one version.The ormolu urn is of later date.

A Venus vase perfume burner is in the collection at Syon House,Middlesex.

English, circa 1775

Height: 11¾ in; 30 cmWidth: 6¾ in; 17.5 cmDepth: 6¾ in; 17.5 cm

Literature: Nicholas Goodison, Matthew Boulton: Ormolu, 2002, pp. 354–6, illus.359–61.

VENUS MOURNING THE DEATH OF ADONIS

A design from Boulton and Fothergill’s Pattern Book I. City Museum and Art Gallery, Birmingham

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71

A GEORGE II MAHOGANY ENVELOPE TABLE

The table top is fixed to a square revolving platform; once rotated, thissupports the hinged flaps, enabling the table to be extended in size.

English, circa 1755

Height: 28¾ in; 73 cmWidth: 21¾ in; 55.5 cmDepth: 21¾ in; 55.5 cm

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72

A VICTORIAN HEXAGONAL BRASS LANTERN

One side of the lantern has a hinged door. It has recently been fittedwith a six light candle pendant for electricity.

English, circa 1890

Height: 32¾ in; 83.5 cmDiameter: 18½ in; 47 cm

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73

A GEORGE III HAREWOOD OVAL PEMBROKE TABLE BY GEORGE SIMSON

The table retains the original leather castors.

A virtually identical table, possibly the pair, and labelled ‘GeorgeSimson’, is illustrated in the Pictorial Dictionary of Marked LondonFurniture 1700–1840.

English, circa 1790

Height: 29¼ in; 74.5 cmWidth (open): 40 in; 102 cmWidth (closed): 21 in; 53.5 cmDepth: 30½ in; 77.5 cm

Provenance:Mr. Charles Bertram Thomson, Plymouth, England, b. 1875, by descentto his son;Mr. Lewis Charles Thomson, and by direct descent to;Private collection, England.

Literature:Christopher Gilbert, A Pictorial Dictionary of Marked London Furniture1700–1840, 1996, p. 425, fig. 850.John Gloag, A Short Dictionary of Furniture, 1952, p. 502.

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A GEORGE I BLUE JAPANNED MIRROR GIRANDOLE

The girandole is preserved in exceptional condition and retains theoriginal bevelled mirror plate and the original pierced brass candlesocket. The candle arm is of later date.

Only a small number of japanned girandoles are known to exist. Bluejapanned girandoles are rarer still.

English, circa 1720

Height: 27½ in; 70 cmWidth: 10¾ in; 27.5 cmDepth: 9 in; 23 cm

Literature:Wallace Nutting, Furniture Treasury, Mostly of American Origin, vol. II,1948, illus. 2789.F. Lewis Hinckley, Queen Anne and Georgian Looking Glasses, OldEnglish and Early American, 1987, p. 39, pl. 13.

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A GEORGE II GILT GESSO NEEDLEWORK ARMCHAIR

The chair retains much of its original gilding. The needlework is of thesame period, but is associated to the piece. The chair was already covered with the needlework when in Countess Mona von Bismarck’scollection. The Countess was a famous New York socialite of the1930s, and the chair came from her home in Monaco, where she livedin her later years.

The chair: English, circa 1750


Height: 36.5 in; 93 cmHeight of seat: 15¾ in; 40 cmWidth of seat: 26½ in; 67 cmDepth of seat: 19 in; 48.5 cm

Provenance:Collection of Countess Mona von Bismarck, Monaco;Hotspur Ltd., London, England;Private collection, Chicago, USA.

Illustrated:Nicholas Goodison and Robin Kern, Hotspur – Eighty Years of AntiquesDealing, 2004, p. 76, illus. 2.

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76

A GEORGE II MAHOGANY CENTRE TABLE

The front of the table has a single long drawer. Centre tables are rare,and far more versatile in room settings.

English, circa 1750

Height: 28¼ in; 72 cmWidth: 36 in; 91.5 cmDepth: 23¾ in; 60.5 cm

Literature:Percy Macquoid, A History of English Furniture, vol. III, ‘The Age ofMahogany’, 1906, p. 234, fig. 217.

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77

A GEORGE II GILTWOOD MIRROR ATTRIBUTED TO BENJAMIN GOODISON

The mirror retains much of the original gilding and retains the originalre-silvered bevelled mirror plate.

Similar mirrors by Goodison are in the Royal Collection at WindsorCastle and at Hampton Court.

English, circa 1740

Height: 45¼ in; 115 cmWidth: 25¾ in; 65.5 cm

Provenance:Jeremy Ltd., London, England, until 1969;Phillips of Hitchin, Hertfordshire, England, until 1971;Private collection, Norfolk, England;Private collection, Oxfordshire, England.

Exhibited:The Antique Dealers’ Fair and Exhibition, London, 1970; with Phillips of Hitchin.

The Antique Dealers’ Fair and Exhibition, London, 1970. Phillips of Hitchin photo archive

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A GEORGE II BRASS MOUNTED WINE COOLER BY WILLIAM HALLETT

The brass liner is of later date and preserves the original lead lined surface beneath.

William Hallett supplied many pieces of furniture to St. Giles’s House in Dorset. An entry in thehousehold accounts book for 1732–57 states: ‘paid Mr. Hallett for mahogany cisterns [£]5.15[s].0.’

Hallett retired in the 1750s and became a silent partner in the business of William Vile and JohnCobb. Vile & Cobb carried on supplying furniture to St. Giles’s House, including amongst otherpieces the well-documented St. Giles’s House suite of library armchairs and settees, and the celebrated Chinese lacquer commodes, illustrated in The Dictionary of English Furniture by PercyMacquoid and Ralph Edwards.

English, circa 1750

Height: 23½ in; 59.5 cmWidth: 26 in; 66 cmDepth: 17¾ in; 45 cm

Provenance:Anthony Ashley Cooper, 4th Earl of Shaftesbury, for St. Giles’s House, Dorset, England, until 1949;Private collection, England.

Illustrated:‘St. Giles’s House – I’, Country Life, 13 March 1915, p. 337; ‘South side of Dining-room’.‘St. Giles’s House, Dorset – II’, Country Life, 17 September 1943, p. 509; ‘The Dining-room’.

Literature:Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840,1986, pp. 387–8.

The wine cooler in situ in the dining room, St. Giles’s House, Dorset. Country Life Picture Archive

THE ST. GILES’S HOUSE WINE COOLER

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79

A REGENCY MAHOGANY ADJUSTABLE MUSIC CHAIR

This high quality music chair was once part of the important collectionof the Dukes of Hamilton at Hamilton Palace in Scotland. Their vastwealth was mainly due to coal mining on their large estate. Theirancestral home fell victim to subsidence caused by mining too closeby, however, and had to be demolished.

Most of the furnishings were sold off at the time, but some choicepieces were moved to Lennoxlove, a considerably smaller house in thesame region of Scotland. This is where the chair remained until therefurbishment of the Great Hall at Lennoxlove some years ago.

English, circa 1815

Height: 34 in; 86.5 cmHeight of seat: 19¼ in; 49 cmWidth: 17¾ in; 45 cmDepth: 19¼ in; 49 cm

Provenance:Hamilton Palace, Scotland;Lennoxlove, Scotland;Jeremy Ltd., London, England;Private collection, USA.

Illustrated:Lennoxlove guidebook, no date, p. 3; illustrated in the Great Hall.

The music chair in situ in the Great Hall, Lennoxlove, Scotland. (Guide book, no date)

THE DUKE OF HAMILTON’S MUSIC CHAIR

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80A REGENCY SATINWOOD BOULLE INLAIDAND FAUX BAMBOO LIBRARY TABLEEnglish, circa 1815

Height: 29¾ in; 75.5 cmWidth: 54¾ in; 139 cmDepth: 30¼ in; 76.5 cm

81A PAIR OF GEORGE III GILTWOODLIBRARY ARMCHAIRS English, circa 1765

Height: 39½ in; 100 cmHeight of seat: 19½ in; 49.5 cmWidth: 31¼ in; 79.5 cmDepth: 31 in; 79 cm


82A PAIR OF GEORGE II OVAL GILTWOODMIRRORS English, circa 1740

Height: 48 in; 122 cmWidth: 31¼ in; 79.5 cm

(Appears also as item 32 on page 98.)

83A GEORGE IV EIGHT LIGHT BRASS CHANDELIER BY JOHNSTON BROOKES & CO.English, 1821

Height: 41 in; 104 cmDiameter: 37 in; 94 cm

84A GEORGE III ITALIAN EXPORT WHITESTATUARY MARBLE CHIMNEYPIECEItalian, circa 1790

Height: 4 ft 6 in; 137 cmHeight of opening: 3 ft 2¾ in; 98.5 cmWidth: 6 ft 10¼ in; 209 cmWidth of opening: 4 ft 2 in; 127 cmDepth: 8½ in; 21 cm


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A GEORGE III ORMOLU MOUNTED ‘CLIFF BLUE VEIN’ BLUE JOHN CANDLE VASE BY MATTHEW BOULTON

This vase is referred to in the 4 November 1809 inventory of Warwick Castle, Warwickshire,which describes in the Yellow Bedroom ‘A Derbyshire Pedestal and urn with four branches’. Thisitem is further mentioned in a December 1924 inventory entitled ‘Articles in Warwick Castle ofNational or Historical interest’, which lists in the Cedar Drawing Room a ‘20 in. Ormolu mountedBlue John Vase and Cover surmounted by a brass knob, two terminal female figures supportingtwo light candelabra, on four knob feet.’

The blue john lid has been replaced at some stage, but follows the pattern by Matthew Boultonfaithfully. Similar examples are in the Metropolitan Museum of Art, New York, and the distinguished collection of Jon Gerstenfeld, Washington, DC.

English, circa 1770

Height: 22¼ in; 56.5 cmWidth: 18¾ in; 47.5 cmBase: 8¼ in; 21 cm (square)

Provenance:The Earls of Warwick, Warwick Castle, England, and probably supplied to George Greville, 2ndEarl of Warwick (1746–1816);Ronald Phillips Ltd., London, England;Private collection, England.

Illustrated:‘Warwick Castle – II. Warwickshire, The seat of the Earl of Warwick’ (article signed ‘F’), CountryLife, vol. XXXV, issue 909, 6 June 1914, p. 848; in situ at Warwick Castle, in the Cedar Room.Antique Collector, December 1954, p. 217.

Literature:Edward Lennox-Boyd (ed.), Masterpieces of English Furniture: The Gerstenfeld Collection, 1998,p. 178; an example of identical design.Nicholas Goodison, Matthew Boulton: Ormolu, 2002, p. 325.

THE WARWICK CASTLE ‘CARYATIC’ CANDLE VASE


The candle vase in situ in the Cedar Room, Warwick Castle,Warwickshire. Country Life Picture Archive

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86

A SET OF FOUR VICTORIAN SILVER MOUNTED ETCHED GLASSCLARET JUGS BY EDWARD JOHN AND WILLIAM BARNARD

English, hallmarked for London 1872 and 1873

Height: 12¼ in; 31 cmDiameter: 4¾ in; 12 cm

87

A REGENCY MAHOGANY HUNT TABLE ATTRIBUTED TO GILLOWS

The removable demi-lune leaf and the castors are original to the table.The hinged flaps can be folded down. The top has acquired an outstanding colour and patination.

Gillows produced horseshoe shaped drinking tables from the 1760sonwards. Their popularity rose in the early 19th century. Their primaryuse was to dispense drinks after dinner or outside at hunts. On somemodels the legs could be unscrewed, allowing them to be moved more easily. A strikingly similar table by Gillows is in the collection ofSouthampton University and is illustrated in Susan E. Stuart’s book onGillows.

English, circa 1815

Height: 30¾ in; 78 cmWidth: 57½ in; 146 cmDepth (flaps down): 29½ in; 75 cmDepth (flaps up): 39¼ in; 99.5 cm

Provenance:Durnick Towers, Scotland.

Literature:Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008,vol. I, pp. 248–9, pl. 247.


88

A PAIR OF GEORGE III CHINESE EXPORT MIRROR PAINTINGS

The mirror paintings have bevelled edges, which is a sign of qualityand proof of not having been reduced in size. Most mirror paintingsare upright, whereas landscape versions in pairs are rare.

Producing mirror paintings in the 18th century was treacherous andtime-consuming. The glass was originally made in England. It wasground flat by hand, and then bevelled by hand. The silvering wasachieved by immersing silver nitrate in mercury and pasting it on to theprepared reverse side of the glass. The mercury was then evaporatedover heat, producing extremely poisonous fumes. Many glass plateswere broken and lost in the process. The ready-made mirrors werethen packed in crates with straw padding and shipped to China to be painted.


The mirror plates that arrived intact were prepared for painting byremoving a section of the mercury silvering, leaving only the necessarybackground silvered. Once finished, the paintings were baked in anoven. Again, many paintings cracked in the process.

The completed mirror paintings were then shipped back from China toEngland, in the final stage of a journey that often took years. It isremarkable that any mirrors survived the process.

The paintings: Chinese export, circa 1765

The frames: English, modern

Height: 29 in; 73.5 cmWidth: 33¾ in; 86 cm


212

89

A PAIR OF GEORGE II GILTWOOD TORCHÈRES

The torchères retain most of their original gilding. There is a possibilitythat the torchères have been reduced in height at one stage. However,close inspection has been inconclusive, and the 1960 illustration showsthem at their current height.

English, circa 1745

Height: 43½ in; 110.5 cmDiameter of top: 15½ in; 39.5 cmDepth: 22 in; 56 cm

Provenance:M. Harris & Sons, London, England;Private collection, USA.

Illustrated:Connoisseur, March 1960, advertisement; with M. Harris & Sons.

Advertisement, M. Harris & Sons, Connoisseur magazine, March 1960

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90

A LARGE IRISH GEORGE II MAHOGANYDROP-LEAF TABLE

The carving of the legs on this table is of asuperior quality rarely seen on examples ofthis type, and far surpasses the carving ofthe legs to the drop-leaf table formerly in thePercival D. Griffiths Collection and illustratedin The Dictionary of English Furniture.

Irish; circa 1755

Height: 2 ft 4¾ in; 73 cmWidth (open): 6 ft 2½ in; 189.5 cmWidth (closed): 2 ft ½ in; 62.5 cmDepth: 5 ft 3½ in; 161.5 cm

Provenance:Private collection, England.

Literature:R. W. Symonds, English Furniture fromCharles II to George II, 1929, p. 170, fig. 127.Percy Macquoid and Ralph Edwards, TheDictionary of English Furniture, revised edition, 1954, vol. III, p. 219, fig. 25.

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91

A PAIR OF GEORGE III GILTWOOD WINDOW SEATS

English, circa 1780

Height: 28 in; 71.5 cmWidth: 43½ in; 110 cmDepth: 14½ in; 37 cm

Provenance:Collection of Sir Michael Sobel, London, England;Clifford Wright Antiques Ltd., London, England;Private collection, London, England.

Illustrated:Christie’s, ‘The Sir Michael Sobel Collection’, London, 23 June 1994, lot 62.

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92

A RARE PAIR OF IRISH GEORGE III LIMESTONE GARDEN SPHINXES

A massive pair of mid 18th century Chippendale period carved limestone garden sphinxes in recumbent position, modelled withfemale heads to opposing sides and embossed saddlecloths; each onan oblong stepped plinth base.

These sphinxes are carved in limestone. English models were usuallymade of sandstone or sometimes of Coade Stone, a fired manmadematerial simulating sandstone.

Irish, circa 1775

Height: 45 in; 114 cmWidth: 42 in; 107 cmDepth: 16 in; 40.5 cm

Provenance:Private collection, Ireland.

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93

A PAIR OF REGENCY ORMOLU MOUNTED CUT GLASS THREELIGHT CANDELABRA BY JOHN BLADES

The fine quality candelabra retain all their original gilding and glassware, and are preserved in virtually untouched condition.

English, circa 1820

Height: 22 in; 56 cmWidth: 13¾ in; 35 cmDepth: 5¼ in; 13.5 cm

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A PAIR OF GEORGE III SATINWOOD AND AMBOYNA SIDE TABLESBY B. SHEPARD

Side tables of such small size are unusual, and the quality of the workmanship is outstanding.

Each table is stamped ‘B. SHEPARD’ to the underside of the top and ofthe frame.

English, circa 1790

Height: 31 in; 79 cmWidth: 25¼ in; 64.5 cmDepth: 13 in; 33 cm

Provenance: A. & F. Gordon Ltd., London, England.

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Maker’s stamp to the underside of each table

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95

A PAIR OF GEORGE III GILTWOOD GIRANDOLES

The girandoles retain most of the original gilding. The mirror plates are18th century replacements, and the candle arms are of later date.

English, circa 1780

Height: 31¼ in; 79.5 cmDepth: 10¼ in; 26 cmDepth: 6½ in; 16.5 cm

Provenance:Private collection, USA.

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96

A GEORGE I BURR WALNUT DOUBLE CHAIRBACK SETTEE

The settee retains its original drop-in seat frame and is stamped ‘SS’twice to the back rail. A pair of side chairs with similar fan motif carving and stamped ‘S SHARP’ was in the collection of Ronald PhillipsLtd. It is possible that this settee comes from the same workshop.

George D. Widener was a wealthy American industrialist who sadlyperished with his son on the Titanic. His wife survived the disaster, andlater married Dr. Alexander Hamilton Rice. In their new marriage, andwith their combined wealth, they became important philanthropists inthe early 20th century. Their impressive art collections werebequeathed to various museums in the United States, including theCleveland Museum of Art, where this settee formed at one stage partof the English furniture collection.

The settee: English, circa 1725

The needlework: French, circa 1730

Height: 41 in; 104 cmHeight of seat: 18½ in; 47 cmWidth: 56 in; 142.5 cmDepth: 29 in; 73.5 cm

Provenance:George D. Widener, Philadelphia, USA;Dr. Alexander Hamilton Rice, Philadelphia, USA;With French & Co., New York, USA;The Cleveland Museum of Art, Cleveland, USA.

Literature:F. Lewis Hinckley, A Directory of Queen Anne, Early Georgian andChippendale Furniture, 1971, p. 62, illus. 62.Ronald Phillips Ltd., ‘Antique English Furniture’, 2005, pp. 146–7.

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97

A REGENCY PARCEL GILT AND WHITE PAINTED OVERMANTELMIRROR

A mirror of fine quality, retaining the original mirror plate, candle armsand gilding.

The candle arms are carved like eagle wall lights in a manner typical of the Regency period. They are fixed to the frame and are a veryunusual feature.

English, circa 1815

Height: 51½ in; 131 cmWidth: 61½ in; 157 cm

Literature:F. Lewis Hinckley, Queen Anne and Georgian Looking Glasses, OldEnglish and Early American, 1987, p, 226, pl. 200.Lindsay Boynton, Gillow Furniture Designs 1760–1800, 1995, pl. 216.

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98

A PAIR OF REGENCY MAHOGANY HANGING CORNER SHELVES

The shelves retain the original wooden knob handles.

Each gallery follows a different design.

English, circa 1815

Height: 36½ in; 92.5 cmWidth: 12¾ in; 32.5 cmDepth: 10½ in; 26.5 cm

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99

A RARE WILLIAM AND MARY BRASS BOUND EBONISED STRONGBOX ON GILTWOOD STAND

The stand is original to the strong box and has concealed lopers to thefront, which support the fold-down front of the box. The interior of thestrong box reveals two drawers beneath a large open compartment andnine secret compartments.

English, circa 1690

Height: 48 in; 122 cmWidth: 32½ in; 82.5 cmDepth: 17 in; 43 cm

Provenance: The Rt. Hon. The Earl of Poulett, Hinton House, Somerset, England;Partridge Fine Arts Plc, London, England;Private collection, Ireland.

Illustrated:Colin G. Winn, The Pouletts of Hinton House St. George, 1976, p. 129,fig. 2; photographed in situ in the drawing room of Hinton House,Somerset.

Literature:Furniture History Journal, 1980, fig. 68; a similar strong box at HamHouse, Surrey.

THE HINTON HOUSE STRONG BOX

242

The strong box in situ in the Drawing Room, Hinton House, Somerset.In Colin G. Winn, The Pouletts of Hinton House St. George, 1976


244


100

A GEORGE II WALNUT CHEST

The chest has survived in almost untouched condition and has acquireda beautiful mellow patination. The brass plate handles and escutcheonsare all original.

The chest is of unusually shallow proportion.

English, circa 1730

Height: 29 in; 74 cmWidth: 30 in: 76 cmDepth: 15 in; 38 cm

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101

A GEORGE I GESSO SIDE TABLE

The table retains most of the original gilding.

The fashion for gilt gesso tables was inspired by the celebrated and legendary gold furniture ofLouis XIV of France, of which sadly none has survived. Gilt gesso tables were the ultimate statussymbol in early 18th century England, and gesso furniture was often carved with ciphers indicating the owner and his status.

Gesso tables by James Moore and embellished with the royal cipher are in the Royal Collection at Hampton Court.

English, circa 1715

Height: 29¼ in; 74.5 cmWidth: 40¾ in; 103.5 cmDepth: 21½ in; 54.5 cm

Provenance:The Antique Home, London, England;Private collection, California, USA.

Exhibited:Grosvenor House Art and Antiques Fair, London, 1993; with The Antique Home.

Illustrated:Grosvenor House Art and Antiques Fair handbook, 1993, p. 59; with The Antique Home.

Literature:M. Harris & Sons, ‘A Commemoration of our Seventieth Anniversary 1868–1938’, p. 24.Nicholas Goodison and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, 2004, p. 83.

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102

A GEORGE I GILT GESSO MIRROR

The mirror retains most of the original gilding and the original re-silvered bevelled mirror plate. The candle sockets are original, but the candle arms are of later date.

English, circa 1720

Height: 43½ in; 110.5 cmWidth: 25½ in; 65 cmDepth: 7½ in; 19 cm

Provenance:Partridge Fine Arts Ltd., London, England;Private collection, California, USA.

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103

A GEORGE I WALNUT BUREAU

This unusually small bureau retains all the original brass plate handles and escutcheons and hasacquired a well faded mellow colour. The interior is fitted with four pigeon-holes, four open compartments, four small drawers and a well with sliding lid.

Percival Griffiths formed virtually his entire collection under the guidance of R. W. Symonds. AfterGriffiths’s sudden death, Symonds personally purchased this bureau some time prior to the 1939sale at Christie’s of the remainder of the collection.

English, circa 1715

Height: 35½ in; 90 cmWidth: 28 in; 71 cmDepth: 17¼ in; 44 cm

Provenance:Percival D. Griffiths, Sandridgebury, Kent, England, until 1938;R. W. Symonds, London, England;Mr. R. H. Turner, Greyfriars, Hog’s Back, Guildford, Surrey, England.

THE PERCIVAL D. GRIFFITHS WALNUT BUREAU

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254


104

A GEORGE III SATINWOOD BRASS MOUNTED WRITING TABLE

The writing table is fitted with two long drawers to the front anddummy drawers to the sides and the reverse, with later brass knobhandles. The finely chased brass edge moulding is original. The goldtooled dark maroon leather insert is also original.

Writing tables made of satinwood are rare. The shallow frieze allowsfor plenty of legroom.

English, circa 1790

Height: 29¼ in; 74.5 cmKnee height: 24¼ in; 61.5 cmWidth: 53¼ in; 135.5 cmDepth: 32 in; 81 cm

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105

A PAIR OF GEORGE III SATINWOOD OPEN ARMCHAIRS ATTRIBUTED TO GILLOWS

The chairs have caned seats beneath the squab cushions.

The drawing for the ‘Prince’s Pattern’ was developed by Richard Gillowin London and sent to Robert Gillow in Lancaster. It is preserved in theWestminster Archive in London.

Gillows produced the Prince’s Pattern chairs in painted beechwood, inmahogany and in exotic satinwood, which was the rarest and mostexpensive version.

English, circa 1790

Height: 37¼ in; 94.5 cmHeight of seat: 17½ in; 44.5 cmWidth: 22 in; 56 cmDepth: 16 in; 40.5 cm

Provenance:Ronald Phillips Ltd., London, England;Private collection, USA.

Literature:Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008,vol. I., p. 161, pl. 114.

A PAIR OF ‘PRINCE’S PATTERN’ CHAIRS

Prince’s pattern, Richard Gillow, 1787.Westminster City Archive

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106

A SECOND EMPIRE ORMOLU MOUNTED ‘MILLERS VEIN’ BLUEJOHN CLOCK

Blue john ores are restricted in size, and huge pieces like the ones usedfor this clock are very rare.

Blue john was admired by the Romans, and is still mined in Derbyshire,the only place in the world where it occurs. Today a lot of the stonehas been used up, and mining is restricted to a very few locations. Thismakes blue john a very precious and rare material.

French, circa 1870

Height: 22½ in; 57 cmWidth: 11¼ in; 28.5 cmDepth: 9½ in; 24 cm


Literature:Trevor D. Ford, Derbyshire Blue John, 2005, pp. 34, 66 & 67; two similar clocks illustrated.

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107

A REGENCY BRASS MOUNTED ROSEWOOD REVOLVING BOOKCASE

The bookcase retains the original pierced brass gallery and has three tiers of six book compartments with fixed shelves.

English, circa 1815

Height: 40½ in; 103 cmDiameter (cylindrical book section): 18 in; 46 cm Width: 21½ in; 54.5 cmDepth: 22 in; 56 cm

Provenance:Private collection, Sydney, Australia;Ronald Phillips Ltd., London, England;Private collection, USA.

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108

A GEORGE III MAHOGANY WHEEL BAROMETER BY JOHN WHITEHURST

The untouched condition of this barometer is outstanding. The carvingand finial are original and the patination is superb.

An almost identical barometer is in the collection of the Victoria andAlbert Museum, London.

English, circa 1780

Height: 43 in; 109.5 cmWidth: 14 in; 36 cmDepth: 2¼ in; 6 cm

Provenance:Randolph Ltd., Baldock, Hertfordshire, England;Private collection, England;Randolph Ltd., Baldock, Hertfordshire, England;Private collection, London, England.

Exhibited:CINOA International Art Treasures Exhibition, London, 1962; withRandolph Ltd.

Illustrated:CINOA International Art Treasures Exhibition, London, catalogue,1962, pl. 128.

Literature:M. Harris & Sons, ‘Catalogue and Index of Old Furniture and Works ofDecorative Art’, Part III 1770–1840, circa 1930s, p. 477.Desmond Fitzgerald, Georgian Furniture, 1969, item 125.Nicholas Goodison, English Barometers 1680–1860, 1969, p. 260, pl. 158.Edwin Banfield, Barometers, Wheel or Banjo, 1985, p. 30, fig. 24.

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109

A GEORGE II PARCEL GILT MAHOGANY LIBRARY ARMCHAIR ATTRIBUTED TO PAUL SAUNDERS

The chair retains virtually all the original gilding.

One of a pair of chairs owned by the Earl of Carnarvon and subsequently bought by ViscountLeverhulme. The chairs were later sold off separately in the Leverhulme sale of 1926. A virtuallyidentical suite of seat furniture, with minor variations to the carved elements and probably fromthe same workshop, was formerly in the collection of the Duke of Leeds at Hornby Castle inYorkshire.

The Earl of Carnarvon’s home, Highclere Castle, has recently achieved international fame as thelocation for the television series Downton Abbey.

English, circa 1745

Height: 37 in; 94 cmHeight of seat: 17¼ in; 44 cmWidth: 28 in; 71 cmDepth: 34½ in; 87 cm

Provenance:The Earl of Carnarvon, Highclere Castle, Newbury, Berkshire, England;Viscount Leverhulme, Thornton Manor, Merseyside, England;Hotspur Ltd., London, England;Private collection, New York, USA.

Illustrated:The Anderson Galleries, ‘The Art Collections of the late Viscount Leverhulme’, New York, 9–13February 1926, p. 235, lot 501.

Literature:M. Harris & Sons, The English Chair – Its History and Evolution, 1937, p. 121, pl. LI.Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954,vol. I, p. 289, fig. 199.

THE EARL OF CARNARVON’S LIBRARY ARMCHAIR

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A NEAR PAIR OF GEORGE II PARCEL GILT MAHOGANY TORCHÈRES

These torchères were probably part of a larger set. It is conceivable that two pairs from the same house were mixed up at some stage andsubsequently separated. There is little doubt, however, that they bothoriginate from the same workshop.

These torchères belong to a group of similar models made of eithermahogany or walnut; they all share the same idiosyncratic carved elements, which are generally parcel gilt.

A pair of torchères was formerly in the Samuel Messer collection, andanother pair was in the Leopold Hirsch collection, dispersed in 1934.Another pair was formerly in the Simon Sainsbury collection, whichwas dispersed in 2008.

English, circa 1750

Height: 42¼ in; 107.5 cmWidth: 23½ in; 60 cmDepth: 20¼ in; 51.5 cmDiameter of top: 13¾ in; 35 cm

Provenance:Private collection, USA.

Literature:Oliver Brackett, An Encyclopaedia of English Furniture, 1927, p. 227.Christie, Manson & Woods, ‘The Leopold Hirsch Collection’, London, 7 May 1934, p. 25, lot 50.Oliver Brackett, English Furniture Illustrated, 1950, p. 196, pl. CLXVIII.Antique Collector, October 1953, appendix VII, trade advertisement byM. Harris & Sons, London.Christie, Manson & Woods Ltd., ‘The Samuel Messer Collection ofEnglish Furniture and Barometers’, 5 December 1991, pp. 94–5, lot 69.

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A PAIR OF GEORGE III GILTWOOD MIRRORS

The mirrors retain their original bevelled plates.

English, circa 1765

Height: 55 in; 140 cmWidth: 30 in; 76 cm


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THE DEVONSHIRE HOUSE SIDE TABLES

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A HIGHLY IMPORTANT PAIR OF GEORGE I GILTWOOD SIDETABLES DESIGNED BY WILLIAM KENT AND ATTRIBUTED TO BENJAMIN GOODISON

The tables have replaced 18th century ‘Siena Marble’ tops and thependent carved decoration is of later date.

The tables were once part of a group of tables of at least two differentsizes, the tables offered being the smaller version. A pair of tables ofidentical size is now in the collection at Chatsworth in Derbyshire, afterbeing moved from Devonshire House prior to its demolition in 1924.

Devonshire House was the London residence of the Duke and Duchessof Devonshire, and the centre of London society in the 18th century.The celebrated Georgiana, Duchess of Devonshire, entertained thereon a grand scale. Fine tables such as these would have complementedthe house’s grand interiors.

Two photographs taken by Country Life magazine at Devonshire Housebefore its demolition record one of the tables in the suite, togetherwith a longer version in the second image. Slight variations in carveddetail indicate that the tables recorded by Country Life are differentfrom the tables at Chatsworth, but belong to the same set.

English, circa 1725

Height: 34¾ in; 88.5 cmWidth: 52¼ in; 133 cm Depth: 25 in; 63.5 cm

Provenance:Devonshire House, London, England;Private collection, New York, USA.

Literature:John Vardy, Some Designs of Mr. Inigo Jones and Mr. Wm. Kent, 1744,pl. 41.John Cornforth, ‘Devonshire House, London’, Country Life, 13November 1980, pp. 1750–53.

A table from the suite in situ at DevonshireHouse, London. Country Life Picture Archive

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The bureau cabinet open

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A GEORGE II MAHOGANY BUREAU CABINET DESIGNED BY WILLIAM KENT AND ATTRIBUTED TO WILLIAM HALLETT

The slender doors in the upper sectionflanking the central mirror each revealtwelve pigeon-holes. There are twoadjustable shelves behind the mirrored central door. The carving on this cabinet isof outstanding quality indicative of theHallett workshop. The ornate brass swan-neck handles are original. The bevelled mirror plate is an 18th century replacement.

William Hallett, cabinet-maker to George II,was one of the leading craftsmen of histime. He became a silent partner withWilliam Vile, who was trained by him andcarried on as royal cabinet-maker with hisother business partner, John Cobb.

A virtually identical cabinet, without doubtfrom the Hallett workshop, was formerly inthe celebrated Percival D. Griffiths Collectionat Sandridgebury in Kent. A further example, again with slight variations, wasformerly in the collection of the furniturehistorian Helena Hayward OBE.

William Kent’s design for the cabinet sadlydid not survive, but a fireplace also designedby Kent shares many identical features andis preserved in the Painted Parlour atRousham House in Oxfordshire.

English, circa 1745

Height: 8 ft; 244 cmWidth: 3 ft 10½ in; 118 cmDepth: 1 ft 11¼ in; 59 cm

Literature:R. W. Symonds, English Furniture fromCharles II to George II, 1929, pl. 209; thecabinet from the Percival D. GriffithsCollection.Grosvenor House Art and Antiques Fairhandbook, 1998, p. 139; an example withPelham Galleries Ltd., London.Susan Weber, William Kent: DesigningGeorgian Britain, 2013, p. 221, fig. 8.46.

A fireplace designed by William Kent in thePainted Parlour, Rousham House,Oxfordshire. Country Life Picture Archive

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114

A WILLIAM AND MARY GILTWOOD OVERMANTEL MIRROR BY WILLIAM GERMAN

The backboard retains the chalk inscription ‘W. German’. Very few examples of signed mirrorsexist, and those that do mostly date from the 18th and 19th centuries. No other signed 17thcentury mirror has come to light. Two narrow border plates have been replaced.

English, circa 1695

Height: 3 ft 8½ in; 112.5 cmWidth: 5 ft 2 in; 157.5 cm

Provenance:Percival D. Griffiths, Sandridgebury, Kent, England;Phillips of Hitchin, Hertfordshire, England, 1957;Sir Sydney Barratt, Summerhill, Staffordshire, and later installed at Crowe Hall, Bath, England.

Exhibited:The Antique Dealers’ Fair and Exhibition, Grosvenor House, London, 1957; with Phillips ofHitchin.

Illustrated:R. W. Symonds, English Furniture from Charles II to George II, 1929, p. 11, fig. 5.The Antique Dealers’ Fair and Exhibition handbook, 1957, p. 73.

THE PERCIVAL D. GRIFFITHS OVERMANTEL MIRROR

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The mirror in situ in the Percival D. Griffiths Collection, Sandridgebury, Kent.In R. W. Symonds, English Furniture from Charles II to George II, 1929


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THE EARL HOWE STOOLS

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A PAIR OF GEORGE II MAHOGANY STOOLS

The 1st Earl Howe (1726–1799) was an Admiral of the British Fleetand in charge of blockading the American coast during the AmericanWar of Independence. Some years later, while in command of theChannel Fleet, he won the ‘Glorious First of June’, or Fourth Battle ofUshant, against the French in 1794.

The stools: English, circa 1745


Height: 16¼ in; 41 cmWidth: 25 in; 63.5 cmDepth: 19¾ in; 50 cm

00

Provenance:The Earl Howe, Penn House, Buckinghamshire, England, until 1933;Frank Partridge & Sons Ltd., London, England, until 1936;The Colonial Williamsburg Foundation, USA, until 1996;Hyde Park Antiques Ltd., New York, USA, until 1997;Private collection, Surrey, England.

Exhibited:Colonial Williamsburg, The Governor’s Palace, Supper Room,1936–1981.

Illustrated:Hyde Park Antiques, vol. III, 1997, p. 14.

Literature:Christie, Manson & Woods, ‘Important English and French Furniture,Porcelain and Tapestry, The Property of The Right Honourable The EarlHowe, PC, CBE’, December 1933, p. 30, lot 87.

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THE CLUMBER PARK CHANDELIER

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AN IMPORTANT GEORGE III ORMOLU MOUNTED 20 LIGHT CUTGLASS CHANDELIER BY WILLIAM PARKER

The history of the chandelier can be traced back to its original owners,the Dukes of Newcastle, at Clumber Park in Nottinghamshire. Fromthere it was sold to the Earl of Lincoln, but never installed. It passedthrough the hands of Delomosne & Son, who sold it to NancyLancaster of Colefax and Fowler. She had the chandelier installed atthree of her private homes. When her last home, Haseley Court, wasdestroyed by a fire, the chandelier sustained damage. It has since beenextensively repaired and has some replaced 18th century components.

English, circa 1780

Height: 7ft 1 in; 216 cmDiameter: 3 ft 8 in; 112 cm

Provenance:The Dukes of Newcastle at Clumber Park, Nottinghamshire, England;The Earl of Lincoln, but never installed, and subsequently sold to;Delomosne & Son, London, England;Nancy Lancaster forDitchley Park, Oxfordshire, England; then moved toKelmarsh Hall, Nottinghamshire, England; and finallyHaseley Court, Oxfordshire, England;Delomosne & Son Ltd., London, England.

Illustrated:Martin Mortimer, The English Glass Chandelier, 2000, p. 102, pl. 48.

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117

AN EXTREMELY RARE GEORGE II ANGLO-CHINESE ROSEWOODTRIPOD TABLE

This extraordinary table is without doubt influenced by contemporaryEnglish models, but differs in its use of pegs and dry joint construction,which were commonly used in Chinese furniture making. It was probably made in the region of Canton, which at the time had thesole trade port for European exports. This table may possibly havebeen commissioned by an Englishman, either residing in Canton or exporting it directly to England as an exotic addition to his home furnishings.

Very few if any comparable tripod tables are known to have survived.For comparison, a set of chairs commissioned by the powerful exporttrade family of Gough are depicted in a painting dated 1741; some ofthem are preserved in the Metropolitan Museum in New York and theLady Lever Art Gallery in Port Sunlight, Liverpool. As with the table,the chairs were inspired by an English prototype, but constructed in anentirely Chinese fashion.

Chinese, circa 1755

Height: 30 in; 76.5 cmDiameter: 30½ in; 77.5 cm


Literature:Percy Macquoid, The Lady Lever Art Gallery Collection, 1928, vol. III,‘English Furniture, Tapestry and Needlework of the XVI–XIX Centuries’,item 138, pl. 39.Partridge Fine Arts Plc, ‘English Furniture & Works of Art’, 2001, pp. 34–5.

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A PAIR OF GEORGE III ORMOLU MOUNTED WHITE MARBLECANDLE VASES BY MATTHEW BOULTON

The candle vases have survived in virtually untouched condition andthey retain their original gilding. The swags beneath the loop handleshave lost one link each. This minor loss enables them to be identifiedand traced back to their 1977 provenance with H. Blairman & Sons Ltd.

Matthew Boulton had nine different medallions available for this type of candle vase. Most pairs of vases have repeated medallions, but there is only one other pair of candle vases of this type knownthat also features eight different medallions; this pair is now in a private collection.

The medallions are described by Nicholas Goodison as (vase one, fromleft to right): Achilles Victorious, Neptune, Aesculapius or Moses, FilialPiety, and (vase two, from left to right): Venus Victorious, Pomona,Hygieia or Peace, Heroic Figure.

English, circa 1775

Height: 12 in; 30.5 cmWidth: 4½ in; 11.5 cmDepth: 4½ in; 11.5 cm

Provenance:H. Blairman & Sons Ltd., London, England, 1977;Private collection, England;Partridge Fine Arts Ltd., London, England, 1980;Private collection, Spain;Private collection, London, England.

Exhibited:Grosvenor House Antiques Fair, 1977, with H. Blairman & Sons Ltd.

Illustrated:Grosvenor House Antiques Fair handbook, 1977, p. 23.

Literature:Clive Aslet, An Exuberant Catalogue of Dreams, London, 2013, p. 182; a pair of this model in situ at 5 Belgrave Square, London.Christie’s, New York, ‘The Prescott Collection’, New York, 31 January1981, lot 76, a pair of this model.

A design from Boulton and Fothergill’sPattern Book I. City Museum and ArtGallery, Birmingham

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291


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297

BOOKCASES/CABINETS/BUREAUX

A George I walnut bureau 250

A George II mahogany bureau cabinet attributed to W. Hallett 274

A George II mahogany china cabinet to a design by Chippendale 84

A pair of George III mahogany serpentine commodes 118

A Regency brass mounted rosewood revolving bookcase 260

A small pair of Regency mahogany bookcases 152

A pair of Regency parcel gilt rosewood side cabinets 130

CHESTS/COMMODES

A George II mahogany commode 54

A George II marquetry commode attributed to Henry Hill 134

A George II walnut chest 244

A George III mahogany miniature chest on chest 170

A pair of George III mahogany serpentine commodes 118

CLOCKS AND BAROMETERS

A George III mahogany wheel barometer by John Whitehurst 262

A Second Empire ormolu mounted blue john clock 258

GLASS

A set of four Victorian silver mounted etched glass claret jugs 208

GLOBES

A George III satinwood 21-inch globe by William Cary 150

A Victorian ‘Colossus’ globe by Thomas Malby 6

LIGHTING

A George III blue john candle vase by M. Boulton 204

A George III 20 light cut glass chandelier by W. Parker 284

A George III 12 light cut glass chandelier attrib. to Parker & Perry 102

A pair of George III giltwood triple branch wall lights 68

A pair of George III cobalt blue glass storm lights 154

A pair of George III white marble candle vases by M. Boulton 288

A pair of George III three light ormolu candelabra to a design

by Robert Adam 50

A Louis XVIII six light gothic brass chandelier 158

A pair of Regency cut glass three light candelabra by Blades 226

A George IV brass chandelier by Johnston Brookes & Co. 202

A Victorian hexagonal brass lantern 186

MIRRORS/GIRANDOLES

Single

A William and Mary giltwood overmantel by W. German 278

A George I blue japanned mirror girandole 190

A George I gilt gesso mirror 248

A George II giltwood mirror attributed to Benjamin Goodison 196

A George II giltwood oval mirror 16

A George II giltwood ‘Britannia’ mirror 56

A George II giltwood pier mirror attributed to Matthias Lock 146

A George II parcel gilt walnut mirror 176

A large George III giltwood mirror with internal oval frame 26

A George III giltwood mirror with internal oval frame 172

A George III giltwood overmantel attributed to Linnell 128

An Irish George III oval mirror chandelier 70

A Regency parcel gilt and white painted overmantel mirror 236

A Continental Regency period giltwood four light girandole 90

Pairs

A huge pair of George II giltwood girandoles 120

A pair of George II oval giltwood mirrors with putti heads 98, 202

A pair of George III giltwood girandoles with vase platforms 82

A pair of George III giltwood girandoles 232

A pair of George III giltwood mirrors with carved birds 40

A pair of George III giltwood mirrors with seated figures 268

Chinese mirror paintings

A George III Chinese export reverse mirror painting 164

A pair of George III Chinese export mirror paintings 210

INDEX


298

MISCELLANEOUS

Furniture

A pair of George III pedestal cupboards attrib. to Vile & Cobb 46

Objects

A William and Mary brass bound ebonised strong box on

giltwood stand 240

A set of sixteen Meissen dinner plates 85

A George III Italian export white statuary marble chimneypiece 202

A massive George III blue john vase of campagna shape 96

A George III white marble ‘Venus vase’ by M. Boulton 182

A pair of Irish George III limestone garden sphinxes 222

A huge Regency blue john urn 172

A pair of Irish Regency brass bound mahogany log buckets 160

Wall brackets/shelves

A pair of George II Chinese export Canton enamel wall sconces 172

A pair of George III giltwood ho-ho birds 116

A pair of Regency mahogany hanging corner shelves 238

SEATING

Chairs (single)

A George II gilt gesso needlework armchair 192

A George II mahogany library armchair designed by William Kent 44

A George II parcel gilt mahogany armchair attrib. to P. Saunders 264

A George II parcel gilt armchair attrib. to Alexander Peter 142

A Regency mahogany adjustable music chair 200

Chairs (pairs)

A pair of George II blue japanned armchairs attrib. to Grendey 62

A pair of George II mahogany library armchairs 172

A pair of George II parcel gilt mahogany side chairs 32

A pair of George II walnut library armchairs by Giles Grendey 18

A pair of George III mahogany armchairs attrib. to Linnell 76

A pair of George III giltwood library armchairs 202

A pair of George III satinwood armchairs attrib. to Gillows 256

Chairs (sets)

A set of four George III mahogany hall chairs by Gillows 180

A set of twelve George III mahogany dining chairs 108

Settees

A George I burr walnut double chairback settee 234

Window seats/stools

A pair of George II mahogany stools 282

A pair of George III giltwood window seats 218

TABLES

Card

A George II walnut concertina action card table 58

A George III mahogany triple top card table 144

Centre

A George II mahogany centre table 194

An Irish George II mahogany drop-leaf table 214

A George III mahogany rent table attributed to Gillows 166

A Regency satinwood boulle inlaid library table 202

A George IV parcel gilt amboyna centre table by William Riddle 156

Desks/writing

A George II mahogany writing table attrib. to Wright and Elwick 22

A George III mahogany oval pedestal desk 72

A George III satinwood brass mounted writing table 252

A pair of George III satinwood bonheurs-du-jour 138

A William IV burr walnut partners’ desk 148

Dining

An Irish George II mahogany drop-leaf table 214

A George III mahogany three pillar dining table 112

A Victorian mahogany table by Johnstone Jupe & Co. 104

Occasional tables/stands

A pair of George I gilt gesso torchères 178

A pair of George II giltwood torchères 212

A near pair of George II parcel gilt mahogany torchères 266

Pembroke/sofa

A George III harewood oval Pembroke table by George Simson 188

Side

A George I gesso side table 246

A George I gilt gesso side table 174

A pair of George I giltwood side tables from Devonshire House 270

A George II giltwood console table attributed to Matthias Lock 88

A George II giltwood side table 8

A George III giltwood console table designed by Robert Adam 172

A George III mahogany side table 124


299

A George III mahogany side table by Gillows 114

A pair of George III giltwood and satinwood pier tables 80

A pair of George III satinwood side tables by B. Shepard 230

A pair of George III Siena marble side tables 28

A Regency mahogany hunt table attributed to Gillows 208

Tripod

A George I Chinese lacquer triangular tripod table 38

A George II Anglo-Chinese rosewood tripod table 286

A George II mahogany envelope table 184

A colonial George II parcel gilt ebony tripod table 66

A George II mahogany oval tripod table 12

A George III padouk tripod table attributed to Chippendale 92

TEA CADDIES

A William IV marble tea caddy 136

WINE COOLERS

A George II brass mounted wine cooler by William Hallett 198

A George III gilt bronze wine cooler by Rundell, Bridge & Rundell 168


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