Apter-Fredericks 2012 Brochure by Apter-Fredericks

Important EnglIsh FurnIturE

265-267 Fulham Road, London SW3 6HY, United Kingdom Tel: +44 20 7352 2188 Fax: +44 20 7376 5619 Email: antiques@apter-fredericks.com www.apter-fredericks.com

Important EnglIsh FurnIturE

pter-Fredericks are pleased to present our latest brochure. We are absolutely delighted to offer for sale some truly outstanding examples of English furniture

by some of the most important cabinet makers of the eighteenth century. We would particularly like to draw your attention to the commode by Pierre Langlois on page 4. It is one of seven commodes of this pattern produced by Langlois, four of which are owned by the Royal family, and represents the very pinnacle of his work. The Spencer House sofa on page 50 also demands to be highlighted. Its tremendous provenance notwithstanding, it is an outstanding example of neo classical furniture design. Rather than continuing to draw your attention to particular pieces, we would suggest that you feast your own eyes on the broad range of important, carefully selected, decorative, stylish and charming objects that we have included. We hope that there is something for everyone in our brochure but if not, we would stress that this is a small selection from our extensive inventory and if you have particular requirements, we would be delighted to help. Harry Apter & Guy Apter

Front and back cover: An Exceptional Commode by Pierre Langlois Opposite: A detail from The Kirchoffer Bookcase from page 26-27

Important EnglIsh FurnIturE

an Exceptional Commode attributed to pierre langlois This magnificent commode is of the most innovative and compelling design in the accredited output of Pierre Langlois. It is one of seven commodes of the same form that includes a set of four commodes in the Royal Collection, one of which is inscribed with the date, 1763. Implicit in the design is a clear collaboration between metal-worker and cabinet maker to integrate the two mediums. The result is the finest commode we have had the privilege to offer for sale. Width: 65” (165cm) Depth: 26” (66cm) Height: 32¾” (83cm)

Important EnglIsh FurnIturE

a pair of george III Carved giltwood girandoles Carved giltwood girandoles, mirrored so as to reflect candlelight back into a room, are one of the iconic forms of the rococo style. Often made, like these examples, in a ‘Chinese’ idiom, they are usually asymmetrical in themselves but paired with a near-matching companion piece, to form a balanced duo on the wall. The form appealed especially to carver-designers, such as Matthias Lock, Thomas Johnson and Thomas Chippendale, who between them published numerous designs for girandoles in the 1750s–60s. Width: 21" (53.5cm) Height: 41" (104cm)

Important EnglIsh FurnIturE

lord newborough's Exceptional Cabinet The status of this cabinet is emphasised by the quality of the mahogany used in its construction. The broad surfaces of the door fronts are largely undecorated, allowing for the uninterrupted display of the mahogany, with its extraordinary veneers redolent of marble. The imposing nature of its architectural form is softened by the superbly carved and pierced swan-neck pediment. Width: 49Â˝" (126cm) Depth: 23Â˝" (60cm) Height: 94" (238.5cm)

a george III satinwood Console table The rise of neo classicism in England brought with it lighter designs, and coupled with the opening up of trade with the West Indies, satinwood became far more available. Presumably because it suited the new forms, satinwood very rapidly became the wood of choice for people of taste. Considering the striking difference between mahogany and satinwood, one can't help wonder what people thought of this bright new wood. But so far, we have found few contemporary accounts other than a comment made by no less a cabinet maker than Thomas Sheraton; 'no instance in nature yet discovered does exceed the beauty of the richest sort of it.' Width: 57" (145cm) Depth: 23Âź" (59cm) Height: 35Âž" (145cm)

Important EnglIsh FurnIturE

a george III mahogany rent table Prior to the Industrial Revolution, wealth in the Eighteenth century was largely derived from land ownership. Grand estates were formed; for example it is said that the Spencer family could travel from Althorp, their house in Northamptonshire, all the way to their house in London without stepping off their land, a distance of 65 miles. The farms and buildings on these estates were let out to tenants and it has been suggested that the ‘Rent table’ was developed for managing the collection of payments. The ‘estate agent’ would sit at the table, take the tenant’s payment and put it in the central well whilst noting the amount in the tenant’s rent book which would be kept in the drawer bearing his initial, hence the requirement that the top should revolve. The estate account books would be kept in the pedestal below. This is one of the only examples we know of where the pedestal is octagonal to match the shape of the top. Height: 31¾” (80.5cm) Diameter: 59” (150cm)

an Important giltwood mirror Designed by matthias lock and signed by the Carver James hill The mirror bears the pencilled signature of James Hill, and it is the potential connection between Hill and Matthias Lock which endows it with such significance. In the collection of Matthias Lock’s drawings in the Victoria & Albert Museum is a notebook containing sketches for furniture made for Hinton House, Somerset. These record the cost of materials and labour, and list the days worked on each piece by the craftsmen involved. The name ‘Hill’ is written against three of the seven pieces sketched. Height: 86” (218.5cm) Width: 48” (122cm)

Important EnglIsh FurnIturE

the hochschild Commodes in the manner of Christopher Furlogh This graceful pair of commodes, veneered in rosewood which has faded to a golden colour and inlaid in a particularly light and unusual manner, would have stood on the window piers of a three-bay dressing room or, more probably, drawing room, surmounted by a pair of pier glasses reflecting their marquetry tops. Although in principle designed for storage, their primary function was always decorative. Width: 35Â˝" (90cm) Depth: 18" (45.5cm) Height: 33Âź" (84.5)cm

Important EnglIsh FurnIturE

a george II Carved mahogany side table with an Extremely rare Diaspri di sicilia Quartz top This imposing table relates to the furniture at Langley Park which has been attributed to William Hallett. It is superbly proportioned and of exceptional quality. Indicative of this is the rear legs being carved to the same extent as the front but it is also clear from the density of the timber and the quality of the carving. English circa 1750 Width: 6' 2" (186cm) Depth: 34Â˝" (88cm) Height: 36Âź" (92cm)

Important EnglIsh FurnIturE

a regency period Cruet set The word cruet is thought to derive from the French word crue (an earthen pot) and although originally said to have ecclesiastical connotations, by the mid seventeenth century, Cardinal Mazarin had at his table a pair of salad cruets for dispensing vinegar and oil. Width: 8" (20cm) Depth: 5Âź" (13cm) Height: 7" (17.5cm)

Important EnglIsh FurnIturE

a pair of Chinese gouache paintings in their original padouk Wood Frames The scenes are in all possibility, Houqua's Garden and painted by the eminent Chinese artist Tinqqua. Tingqua (or Guan Lianchang) was the best known and the most capable of all the Canton watercolourists. He worked predominantly in watercolour or gouache. Many examples of his prolific work are in the Collection of the Peabody Museum, Salem, Mass. In 1720, the Emperor Kang Hsi granted licenses to a group of Canton merchants to conduct trade with foreigners. A century later, Houqua was one of the most important and powerful of these traders. He acquired property and his portrait and gardens were painted by both Tingqua and his brother. Width: 29” (74cm) Height: 23¾” (60cm)

a george III Carved gilt-Wood Chippendale mirror This is a delightful example of a mideighteenth century giltwood mirror. The open design provides a sense of lightness and the scrolling patterns of the carving lead the eye around the mirror frame. The combination of the oval within the rectangle is quite rare. Height: 49â&#x20AC;? (124.5cm) Width: 32â&#x20AC;? (81cm)

Important EnglIsh FurnIturE

a george III hepplewhite period mahogany Cabinet A wonderful use of different woods and an exemplary illustration of how warm and inviting wood can become as it changes colour over time. The commode combines boxwood and ebony stringing with tulipwood bandings and two different types of mahogany; fiddle-back and flame-figured. Where originally the difference in colour between the various woods would have created great contrast, over the years the contrast has faded and the difference is now found in the various grain patterns of the woods. It is far more subtle than it would have originally been but the commode is better for it. With just a small amount of light cast on to the surface the wood positively glows. Width: 48" (122cm) Depth: 21Âž" (55.5cm) Height: 33Â˝" (86cm)

a pair of regency period Ebonised and parcel gilt Day Beds The day bed or chaise longue was a popular form of seating in the seventeenth century but largely disappeared in the eighteenth. However, with the resurgence in interest in ancient Greek architecture and interior design early in the nineteenth century, the daybed became a very popular item. This pair of daybeds, with their cornucopia shaped legs, are very much in the Greek tradition and are exceptionally well drawn. The scrolling arms and the shape of the back are particularly pleasing to the eye. Length: 78" (198cm) Depth: 25" (63.5cm) Height: 38Â˝" (98cm)

Important EnglIsh FurnIturE

a george II period Walnut Bureau Bookcase attributed to the Kirchoffer Family In Irish Furniture by Glinn and Peill, a number of bookcases by or attributed to the Kirchoffer family are illustrated. Each one of them is easily identifiable as Irish and none of them look like this bookcase. However, there are numerous motifs on these bookcases that may be seen on the present example which are so idiosyncratic that they indicate a common authorship. This poses a couple of interesting questions; did the cabinet maker see English examples of the period and decide to make one in that form but with his particular design motifs? Or was he satisfying an English client demanding something more apparently English? Width: 39” (100cm) Height: 90½” (231cm) Depth: 22½” (58cm) See detail on page 2

Important EnglIsh FurnIturE

a pair of Chippendale period mahogany Concertina action Card tables Card playing, which in many ways reflected the prevailing spirit of commercial speculation, became the height of fashion in the early eighteenth century. By 1713, the Guardian was denouncing female players, stating that 'there is nothing that wears out a fine face like the vigils of the card table…' During Queen Anne's reign a tax was placed on playing cards and dice as a revenue stream for the treasury. By the 1760's George III & Queen Charlotte tried to discourage gambling by banning card games from the royal palaces. Unfortunately, it had little effect and Horace Walpole reported that 'gaming was worthy of the decline of our Empire', young men losing between five and ten thousand pounds in an evening. One can only wonder how many thousands of pounds were won and lost at these tables but judging by their quality it is safe to assume they would have graced an important house where shortage of funds would not have limited the stakes! Width: 35" (89cm) Depth: 17¾" (45cm) Height: 28½" (72.5cm)

Important EnglIsh FurnIturE

the houghton hall red lacquer Bachelor’s Chest This celebrated piece of furniture may very well be by the same hand as three other noteworthy bachelor’s chests. One is inlaid with seaweed marquetry and is illustrated in The Dictionary of English Furniture. The second is in black japanning and was sold at auction in April 2003, while the third was one we handled a number of years ago and is in walnut. This example was once the property of Sir Philip Sassoon Bt. of Trent Park Hertfordshire, then of the Marquess of Cholmondeley, Houghton Hall, Norfolk before being sold at auction. It was then acquired by an English collector. Width: 37 ¾” (96cm) Depth: 28½” (72.5cm) Height: 38¾” (99.5cm)

Important EnglIsh FurnIturE

a george I giltwood & gesso mirror This wonderful mirror is an outstanding example from the George I period. Its design and particularly the strap-work elements are inspired by the work of Daniel Marot, although in terms of attribution, a potential candidate would be John Ody who supplied a pair of mirrrors to Stoke Edith House, latterly in the Sainsbury Collection, with similar motifs employed. Width: 26" (66cm) Height: 47" (120cm)

a nineteenth Century satinwood low Chair The almost sculptural nature of this chair,

foreshadowing

Art

Nouveau

models, is superbly combined with a lightness of design and enhanced by the use of such a light wood as satinwood. Width: 21½” (55cm) Depth: 20” (51cm) Height: 29”(73.5cm)

Important EnglIsh FurnIturE

a regency period satinwood & giltwood Etagere Etageres, or whatnots, as this might be termed are typically made of mahogany. This piece may be singled out as a particularly fine example in excellent condition, being a combination of satinwood, parcel gilt and gilt-metal marks it out as a particularly fine example which is in excellent condition. Width: 20" (51cm) Depth: 15Âź" (39cm) Height: 39" (99cm)

a pair of Vulliamy Vases Benjamin Vulliamy was the son of a Swiss watchmaker who emigrated to London and married the daughter of the King's Watchmaker, Benjamin Gray. Towards the end of the eighteenth century Vuillamy was very successfully competing with French makers supplying ornamental clocks in the neo-classical taste. By the 1800's his success led him to expand his repertoire. Taking advantage of wartime restrictions on the import of French luxury goods, he began producing exquisite ornaments for the wealthiest connoisseurs in Britain; including the Prince of Wales. This pair of vases are a fine example of this work. Height: 11Â˝" (29cm) Diameter: 5" (12.5cm)

Important EnglIsh FurnIturE

a george III Carved mahogany silver table Inspired by the East and made possible by the introduction of mahogany from the West, pierced fretwork furniture had not been seen before 1760 but became very much in vogue and must certainly be considered a testament to the skills of the cabinet makers. This example, which is in excellent condition, compares favourably to examples in the Dictionary of English Furniture. Width: 34Â˝" (88cm) Depth: 21" (54cm) Height: 30Âź" (77cm)

a pair of george III Bedside Cupboards Known at the time rather euphemistically as 'night tables' this pair are a particularly good example. Not just because they are a true pair, which is quite rare, but also for the condition they are in. The mahogany has been allowed to change colour over time, they have built up a very good degree of patination and the handles are original. Width: 21" (53.5cm) Depth: 18" (46cm) Height: 31Âź" (79cm)

Important EnglIsh FurnIturE

a regency period rosewood & parcel-gilt side-Cabinet The quality of this piece is easy to discern by looking at the number of inlaid strings and bandings employed. Furthermore, the sides are treated with the same attention to detail as the front or the top, which is always a good indication of quality, and with the spirally fluted tapering columns softening the corners of the cabinet it is extremely attractive. Particularly noteworthy is the rosewood top which is banded in satinwood, tulipwood ebony and box-wood and has faded from very dark brown to the golden colour it is now. Width: 38" (96.5cm) Depth: 19" (48cm) Height: 34" (86.5cm)

miss ann metcalf's george III period rolled paper hexagonal tea Caddy with Filigree Work Decoration This wonderful rolled paper tea caddy (also referred to as quillwork) is in pristine condition retaining its original colour. The top and all six sides are covered with blue and white panels of coloured paper together with a large amount of gilded paper decoration. In the late eighteenth century the academic education afforded to young ladies was quite limited. Instead they were encouraged to take up activities which were deemed more suitable for the female mind. Amongst these was filigree work. Filigree work involved creating decoration from rolled paper. The paper, the patterns and the piece to be decorated could all be purchased. Indeed, in 1791 Charles Elliott supplied Princess Elizabeth, daughter of George III, with "15 ounces of different filigree paper, one ounce of gold paper, and a box made for filigree work with ebony moldings, lock and key, lined inside and outside and also a tea cadde to correspond with box". Width: 7Âž" (19.75cm) Depth: 4Âź" (11cm)

Important EnglIsh FurnIturE

a george III mahogany Commode of unusual Form This remarkable piece of furniture is on the one hand of wholly typical late rococo style, but on the other hand of an extremely unusual form for this period as is discussed in the appendix. Visually, however, it is a most extraordinary example of the beauty of interestingly grained mahogany. Indeed, the drawer fronts may be compared to the pattern of flames in a fire. Width: 48" (122cm) Depth: 21Â˝" (54.5cm) Height: 42Â˝" (108cm)

a george III Carved mahogany tripod table These tables were primarily made for holding the tea equipage. As a consequence of high duties tea was expensive and it was therefore considered a luxury. By the middle of the eighteenth century, the many tea gardens in and around London had come to be regarded as common and places of ill repute. Instead, it became customary for the fashionable world to invite friends to drink tea in their homes. This gave rise to increased demand for, and greater variety in the design of the tea table. As one contributor to the Female Spectator wrote in 1745, ‘The tea-table costs more to support than would maintain two children at nurse’. Width: 28½" (72.5cm) Depth: 23" (58.5cm) Height 28½" (72cm)

Important EnglIsh FurnIturE

a pair of regency period rosewood & ormolu Consoles A most noteworthy feature of these stylish consoles is the quality of the metal mounts. It is really very rare to find metal work which has such depth to the casting as may be seen on the columns supporting each tier. Width: 36" (91.5cm) Depth: 15" (38cm) Height: 47Âź" (120cm)

the middleton park Chinoiserie Cabinets attributed to marsh & tatham These cabinets very clearly illustrate the Regency taste for Chinese design. Unlike the mid-eighteenth century interest in everything Chinese which influenced a substantial amount of furniture, this later resurgence produced far fewer pieces. This fashion was in large part driven by the enthusiasm of the Prince of Wales, later George IV, who first created the Chinese Drawing Room at Carlton House followed by his extraordinary seaside Pavilion at Brighton. Most of the furniture of this form may be found in the Royal collection either at Buckingham Palace or Windsor. Width: 48½” (123cm) Depth: 16¾” (42.5cm) Height: 37¾” (96cm)

Important EnglIsh FurnIturE

the hon mrs a.E. pleydell-Bouverie's Carlton house Desk The Carlton House writing desk is said to have derived its name from the commissioning of one such desk by the Prince of Wales, later George IV, for his residence, Carlton House. He later gave the desk as a present to Admiral Payne, known as ‘Honest Jack', who was the Prince’s private secretary and the man entrusted to go to Germany and collect the Prince’s intended bride, Princess Caroline of Brunswick. Interestingly, in 1796 Gillow supplied a Carlton House desk to the architect John Nash. Nash who would become the Prince’s architect, had recently returned to London to take up a partnership with the celebrated landscape gardener, Humphrey Repton. It was Repton who was credited with introducing Nash to the Prince Regent and it is tempting to think that the Prince might have seen Nash’s desk and decided to order one for himself. The desk illustrated here was owned by the Hon. Mrs Audrey Pleydell-Bouverie, who was described as ‘one of the most romantically fascinating beauties of this or any day, who was a close friend of Queen Elizabeth, the Queen Mother’ and about whose voice Danny Kaye commented that it made Tallulah Bankhead sound like a boy soprano. Width: 54¾" (139cm) Depth: 30" (76cm) Height: 42¾" (109cm)

Important EnglIsh FurnIturE

a george III satinwood Drum table It is quite rare to find these tables in satinwood. This is quite an early example of this form of furniture as illustrated by the 'gun-barrel' column and the simplicity of the drawers and legs. Diameter: 32" (81.5cm) Height: 29" (74cm)

Important EnglIsh FurnIturE

a george III Brass Eight Branch Chandelier attributed to John giles Very few makers of chandeliers are documented but the main centres of manufacture were London, Birmingham, Cheshire and Bristol. This particular example may be attributed to John Giles of London, based in part on the way in which the arms are bolted on to a collar surrounding the globe instead of being hooked onto the stem. Height: 37" (94 cm) Diameter: 41" (104cm)

Important EnglIsh FurnIturE

the 1st Earl spencer’s Carved Fustic & satinwood sofa probably Designed Jointly by James 'athenian' stuart & John gordon, and made by gordon The 1st Earl Spencer employed James ‘Athenian’ Stuart, who had just returned from Greece, to decorate a house that would be the very first example of the accurate application of classical design to interior decoration. Spencer House was intended to be at the very forefront of style and design in mid eighteenth century England and, as such, establish the Spencers as a family of great intellect, sophistication and taste. This settee was part of a suite of seat furniture that is amongst the most successful of Gordon’s work and as the full description in the appendix details, is thought to be the result of a collaboration between Stuart and Gordon. Length: 86" (219cm) Depth: 36" (91cm) Height: 40½" (103cm)

Important EnglIsh FurnIturE

a george III satinwood & marquetry Bonheur du Jour This bonheur du jour first passed through our hands in the early 90's, at which time we illustrated it in the Grosvenor House Antiques Fair Handbook, and we are delighted to have it back for a second time. The serpentine shape of the table section demands to be mentioned as it is superbly executed and further enhanced by the warm colour of the satinwood. Width: 36" (91.5cm) Depth: 19Âź" (49cm) Height: 78Âž" (200cm)

a george III Carved giltwood mirror In the mid eighteenth century the size of mirror plates being produced had increased but the cost was still extremely high. Thus many mirrors, and this is one such example, used more than one smaller plate rather than pay a premium for a single larger piece. This was then disguised by having a carved cross piece to hide the join. Width: 30" (76cm) Height: 66" (168cm)

Important EnglIsh FurnIturE

a george I Carved giltwood side table Dating to the beginning of George I's reign, the table is a combination of carved giltwood with boldly carved shells to the knees and claw and ball feet, and carved gesso, with leaf and strapwork decoration to the frieze. Width: 39" (99cm) Depth: 24" (61cm) Height: 32" (81cm)

percy macquoid's pair of george I Walnut side Chairs by giles grendey Percy Macquoid, who owned these chairs, was an authority on English furniture at the beginning of the twentieth century. His four-volume History of English Furniture was the first systematic attempt to analyse its stylistic development. Giles Grendey was an extremely successful cabinet maker with a substantial business. By 1731 when fire damaged his workshop ‘an easy chair of such rich and curious workmanship, that he had refused 500 guineas for it… together with furniture to the value of £1,000 packed for exportation…’ were destroyed. Although few bills from country houses have surfaced, a number of his pieces bear one or other of the two labels he produced and with these and documented commissions it has been possible to build up a known body of work. Width: 22½" (57cm) Depth: 22" (56cm) Height: 39¾" (101cm)

a george I Burr Walnut Card table of rare small size This delightful table, which is just 17 inches across, is a pleasure to look at. The soft curve of the half round top is reflected in the curve of the cavetto moulding below the frieze and the slight 'S' shape of the cabriole legs. The question is, what was it used for? Although we have described it as a card table in the heading, in truth it is rather small for that purpose. Possibly, it could have been used for writing. This is supported by its having candle slides to either side and a drawer at the front which may have been used for pens. Width: 17" (43cm) Depth: 11" (28cm) Height: 28½" (72cm)

Important EnglIsh FurnIturE

a rare pair of george III mahogany Buckets During the eighteenth century the considerable distances which separated kitchen and dining room made the carrying of plates a formidable task for servants. Quite who came up with the idea of a bucket specially designed for the task will never be known. It would be nice to think that if it was a servant, if he didn’t make his fortune, then he at least received some remuneration. Diameter: 16” (41cm) Height: 13½” (34cm)

Important EnglIsh FurnIturE

a gillow's regency period games table The Gillow archives provide us with a number of variants to this table that leave little doubt as to their authorship of this example. Not only do the designs correspond but the quality is most certainly what one would expect of their work. Width: 54" (138cm) Depth: 24" (61cm) Height: 28Â˝" (73cm)

Important EnglIsh FurnIturE

a george III satinwood semi-Elliptical Commode The commode is a perfect example of Sheraton period furniture. It is restrained, having no other decoration than that supplied by the richly figured satinwood veneers and, of course, the flame figured mahogany ovals in the doors which are spectacular. Width: 36Â˝" (93cm) Depth: 16Âź" (41cm) Height: 35" (89cm)

Important EnglIsh FurnIturE

a nineteenth Century Chinese lacquer screen The screen is without doubt one of the finest examples to come on to the market in recent years. The condition, and more importantly the quality of the decoration is superb. The range of characters either pursuing their occupation or entertainment is diverse; the buildings, landscapes and foliage are exceptional and the border is particularly elaborate. To the reverse, the screen is more simply decorated with flowering branches, birds and butterflies. Width: 11' (336cm) Height: 82Â˝" (210cm)

an unusual pair of Candelabra by the 'great 'g eat gl glass-man m n of l ludgate dgate hill' John Blades opened his showrooms at 5 Ludgate Hill in 1783 and remained there until his death in 1829. Unusual in that he used an outside designer, the well known architect J. B. Papworth, Blades was also the first English glass company to open a branch in India, in Calcutta. By the time of his marriage in 1789 he had been appointed Cut Glass Manufacturer to George III and was known as 'the great glass man of Ludgate Hill'. Width: 11â&#x20AC;? (28cm) Height: 19â&#x20AC;? (48cm)

Important EnglIsh FurnIturE

a george III Carved mahogany tripod table The table has been made of very dense mahogany which, although it would have been hard to carve, means that the carving retains its sharpness. The legs on this table are quite steeply drawn and the carving at the base of the column and just above the vase is quite unusual. Diameter: 10他" (27.5cm) Height: 24他" (63cm)

a george I Walnut Chest on stand The 'rise' of the chest on stand sometime after 1700 took the humble chest and turned it into a significant piece of furniture by placing it on a stand. This increased its prominence in the room which demanded greater attention to detail and quality. This example incorporates very finely figured walnut veneers, which have faded to a wonderful golden colour, and numerous mouldings to the cornice and surbase which, apart from the additional expense, create a much more interesting piece. We sold this piece in the late 90's and are delighted to be able to offer it for sale for a second time. Width: 40” (103cm) Depth: 22¼” (56.5cm) Height: 63¾” (162cm)

Important EnglIsh FurnIturE

a pair of george III adam period Carved giltwood mirrors Returning to our hands for a second time, these mirrors were sold by us at the Grosvenor House Fine Art & Antiques Fair in 1990. They are finely carved and the satyrâ&#x20AC;&#x2122;s masks are a particularly interesting feature. Width: 24" (61 cm) Height: 57" (145 cm)

Important EnglIsh FurnIturE

an Early regency oval mahogany occasional table It is rather unusual to find oval tables and this one, which is quite small in scale, is one of two that we have owned that are so similar that they were undoubtedly made by the same cabinet maker. With its steeply curved legs, the shape of which is emphasized by the reeds carved into the sides, the table is visually lifted off the ground making it all the more attractive. Width: 29Â˝" (74cm) Depth: 22Â˝" (56cm) Height: 28" (71cm)

mrs tankerville Chamberlayne’s pair of george III parquetry Commodes attributed to pierre langlois This branch of the old Norman family, descended from a younger son of John Comte de Tancarville, found England was to their taste. The Comte was Lord Chamberlain to William the Conqueror. He saw action with him at Hastings and fortunes seemed assured as successive Tancarvilles were appointed to the same high office, to both King Stephen and Henry I. John Chamberlayne, "cutler and citizen of London", bought the Stoneythorpe Estate in the mid seventeenth century and it would remain in the family for another 350 years. He was the great grandson of Sir Thomas Chamberlayne of Princethorpe near Rugby, Ambassador at the court of Emperor Charles V, also Philip II of Spain and the King of Sweden. He had married into the House of Nassau and family tradition has it that he was the first gentleman to wear a pocket watch and to ride in his own carriage in England, a story recorded in the stained glass of the dining room at Stoneythorpe. Width: 42” (107cm) Depth: 21¼” (55cm) Height: 34” (88cm)

Important EnglIsh FurnIturE

a regency period Dining table by gillow of lancaster The design and quality of the table is identical to known Gillow examples. One such table from the Parlington Hall suite of Gillow furniture is now at the Temple Newsam House Museum and is illustrated in the guide to the collection. Width: 60" (152cm) Length: 13' 11" (424cm) Each leaf: 21" (53.5cm) Height: 28" (71cm)

Important EnglIsh FurnIturE

a george III Carved giltwood overmantel mirror Perhaps the most difficult form of mirror to find is the landscape or overmantel mirror. This example is delightfully light and delicate and the scrolling foliage encourages the eye to wander around the frame. Width: 58Âž" (149cm) Height: 37Âź" (95cm)

Important EnglIsh FurnIturE

a george III Chippendale period mahogany Desk This double sided desk retains its original handles and benefits from the golden colour to which the well figured mahogany has faded on the drawer fronts. Width: 56" (142cm) Depth: 35.5" (90cm) Height: 30" (76cm)

Important EnglIsh FurnIturE

a matching pair of regency tables At this time, it was customary to write letters with a similar frequency to the emailing that occurs nowadays. Until the introduction of the penny post system, letters were charged to the recipient according to their weight and the distance travelled. Consequently, envelopes were not used, as this would double the price, and the art of cross letter writing was practised. This involved writing half the letter along the horizontal axis as we would now, then writing the second half over the first but along the vertical axis. With so many letters being written, it is no surprise to find so many different types of writing table being designed of which a great many were multi-purpose as these are. Width: 24" (61cm) Depth: 16" (41cm) Depth with flap: 26" (66cm) & 27Âź" (69cm) Height: 30" (76cm) & 29Â˝" (75cm)

Important EnglIsh FurnIturE

an Important Continental Cut glass Chandelier Chandeliers of this design were mostly made by English glass manufacturers although some continental examples do exist but are extremely rare. This chandelier is the finest example we have seen, with the quality of the cutting comparable to the English manufacture of the late eighteenth century. The main difference being English glass had a high lead content and continental glass a high soda content. Consequently the colour of the glass differs; with continental glass being green to yellow or having purple tints while English glass is predominately grey or with blue tints. In this case, the green tinted glass would suggest that it was made in the Netherlands or Belgium. Height: 72" (183cm) Width: 40" (101.5cm)

a rare george II mahogany side table Furniture from the second quarter of the eighteenth century has a particular appeal. The striking simplicity â&#x20AC;&#x201C; there being no inlay, marquetry, gilding or metal mounts â&#x20AC;&#x201C; means that the attractiveness is entirely down to the design of the piece and the colour and patination of the wood. In this example, the table stands particularly well because all four legs have been finished to the same degree. Width: 25" (63.5cm) Depth: 18Â˝" (47cm) Height: 29" (73.5cm)

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a sheraton period satinwood Cabinet Of the most outstanding colour, this wardrobe conforms to designs by Gillow and is certainly of a good enough quality to have been produced by them. However, no drawing has yet been found for us to be able to prove this. Width: 95” (242cm) Depth: 25” (64cm) Height: 80” (204cm)

a regency gilt & patinated Bronze & Cut glass spirit Cask Celebrating nelson’s Victory at the nile Numerous pieces of furniture, silver and other forms of decorative art were made at this time to commemorate Nelson’s victory at the Battle of the Nile. This example bears the crocodile so closely linked with Nelson; his captains were referred to as the ‘Crocodile Club’, and along with the numerous nautical motifs, the armorial plates and the quality of this cask, it is tempting to believe it might have been made for the Crocodile Club or perhaps Horatio Nelson himself. Width: 12¼” (31cm) Depth: 10½” (27cm) Height: 11” (28cm)

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a pair of mathew Boulton's ormolu & Blue John Candle Vases Mathew Boulton was one of the most important figures of the Industrial Revolution. His Soho Manufactory, was a tourist attraction in its day. Boulton managed the entire manufacturing process, from design to sale, rather than the more typical specialisation in one area of expertise. What is more, each workman had a very limited amount to do on each piece. This meant that his tools were at hand and time was not wasted. Instead the piece would move on to the next workman in the process. This was revolutionary. In the decorative arts, he is perhaps most famous for his Blue John and ormolu cassolettes and candelabra. No one knows how he came to put the two materials together, but in 1768 in a letter to John Whitehurst discussing his acquisition of the rights to several mines, he implores him not mention Blue John and M. Boulton in the same sentence. The design for this pair can be found in Boulton & Fothergill's Pattern Book, p.171, item H. Width: 5” (12.5cm) Depth: 3½” (9cm) Height 7½” (19cm)

a regency period mahogany and Ebony Writing table Always a wonderful combination, the golden mahogany trimmed with ebony mouldings works flawlessly to create a very stylish writing table which has two drawers to the front and back. Width: 58" (147.5cm) Depth: 35Â˝" (90cm) Height: 30Âź" (77cm)

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a george III neo-Classical Demi-lune side table Standing firmly in the neo-classical period of the 1780's, this table displays many of the motifs seen repeated on ceilings, carpets and furniture designed by Robert Adam. The arrangement of the fan medallion, pendant husks and bell flowers may very well mirror the design of the decoration in a particular room. Width: 48” (122cm) Depth: 19” (49cm) Height: 31½” (80cm)

a Victorian "huntsman and hound" Cast Iron stick or umbrella stand, by the W.h. micklethwait Foundry The 1800’s saw a massive expansion of Rotherham's cast iron industry, starting with the opening of the Effingham Ironworks in 1820, later attracting firms like W. H. Micklethwait. Notable works produced in Rotherham included the cast iron armour plating for Isambard Kingdom Brunel's famous steamship the SS Great Eastern, and Joseph Foljambe’s Rotherham Plough, the first commercially successful iron plough. Width: 20½" (52cm) Height: 27½" (70cm)

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a pair of hall Chairs with the Wise Family Crest Henry Wise of Brompton Park, co. Middlesex, (died 1738 aged 85 years) was Master Gardener of all His Majesty’s Gardens. In the reign of Charles I he had an estate of £700 per annum, but in the time of the troubles of that King’s reign and afterwards during Cromwell’s usurpation, was plundered of all his goods and effects, his estate being also sequestered and sold and he and his family reduced to a very low condition. His Grandson, Henry Christopher Wise (died 1804), successfully petitioned for the family to be granted the coat of arms to be seen on these chairs. Width: 17½" (44.5cm) Depth: 17½" (44.5cm) Height: 35¼" (90cm)

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a regency rosewood and Brass-Inlaid side Cabinet attributed to gillow of lancaster The cabinet is amongst a group of pieces that all include the same design of brass inlay. These include a desk at Hackwood Park, a cabinet illustrated in S.Stuart, 'Gillows of London & Lancaster' and the bookcases from Tatton Park. Whilst the cabinet is certainly attributable to Gillow, the brasswork is likely to be by Louis Le Gaigneur, a French cabinet maker based in London who supplied furniture to the Prince Regent for Carlton House. Length: 87Âž" (223cm) Depth: 20Âź" (51.5cm) Height: 36" (91.5cm)

a george III urn shaped tea Caddy Tea, that most quintessential of English drinks, first became available here in the mid seventeenth century. In 1657 Thomas Garway, who owned an establishment in Exchange Alley, sold both liquid and dry tea to the public and issued a broadsheet advertising tea at £6 and £10 per pound. A not inconsiderable sum and a clear explanation for why tea caddies can be of such a high quality and are lockable! Width: 4" (10cm) Depth: 4" (10cm) Height: 9½" (24cm)

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a george II mahogany stool This finely carved mahogany stool is highly likely to have been part of a larger suite. Certainly, other stools, armchairs and a settee all with similarly designed legs have been identified, including an armchair from the Leisdorf collection. Width: 22" (56cm) Depth: 18" (45.5cm) Height: 15" (38cm)

a Week's Cabinet In 1797 Sir Henry Tichborne leased to Thomas Weeks, 'perfumer and Machinest', Nos. 3 and 4 Tichborne Street and an adjacent dwelling house in Great Windmill Street. The lease included 'a large Exhibition or Shew Room' designed by the architect Wyatt. 'This Museum, on the plan of the celebrated Mr. Cox's, when complete, will form an interesting object to the curious. The grand room, which is 107 feet long, and 30 feet high, is covered entirely with blue satin and contains a variety of figures, which exhibit the effects of mechanism in an astonishing manner. The architecture is by Wyatt; the painting on the ceiling is by Rebecca and Singleton.' The Picture of London for 1802. Among the exhibits were two temples nearly seven feet high, supported by sixteen elephants and embellished with seventeen hundred pieces of jewellery. These temples were in fact 'two magnificent clocks, engaged for the Emperor of China, at nine thousand pounds'. The exhibition hall was noted for being filled with movement and sound: 'valuable and superbly ornamented clocks, the striking of the hours of which is followed by the singing of birds, the dancing of peasantry, the flowing of rivers, the passage of boats, the falling of cascades, the revolving of windmills, the fluttering of butterflies, the expanding and closing of flowers, and a number of other musical devices.' In addition, a silver swan with articulated neck swimming on artificial water, a nimble mouse made of oriental pearls, a caterpillar which fed on the foliage of a golden tree and the figure of an old woman who emerged from her cottage walking on crutches. The most famous of the automatons was a tarantula spider. Consisting of 115 pieces of steel it came out of a box and ran backwards and forwards moving its horns and claws. However, the piece of furniture most particularly associated with the museum is this wonderful cabinet. Width: 38Â˝" (98cm) Depth: 21Âź" (54cm) Height: 85" (216cm)

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a Fine pair of late Eighteenth Century Famille rose Canton Enamel Ewers The ewers of a flattened pear shape with an elongated body and a domed lid profusely decorated with foliate design. Designed for the Persian or Turkish markets. This particular pair are of an unusual small size. Width: 6" (15cm) Depth: 2他" (7cm) Height: 10" (25.5cm)

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a nineteenth neteenth Century oak k post st Box in the Form of a sentry Box This charming clinker sided post box modelled as a sentry box was sold by a firm called Lewis on Piccadilly in the late nineteenth century. The painting of the soldier is by the artist Richard Simkin, who made a career from recording the uniforms of the British Empire. Width: 7Â˝" (19cm) Depth: 7Â˝" (19cm) Height: 17" (43cm)

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a george III tripod piecrust table Tripod tables are considered more highly collectable if they have the â&#x20AC;&#x2DC;bird-cageâ&#x20AC;&#x2122; support, as in this example. However, it is of great importance that the proportions, colour and crispness of the carving are also evident. This table has a superb golden colour, whilst the dense timber has ensured that the carving has retained its crispness. Diameter: 25" (63.5cm) Height: 28" (71cm)

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a regency Brass-Inlaid rosewood Writing table An early Regency period piece which, as a consequence, is still very refined and graceful. Very much in the style of the pre-eminent cabinet maker, George Oakley who was granted a Royal Warrant in 1799, after receiving a visit from Queen Charlotte and other members of the royal family upon which "…her MAJESTY, the Duke and Duchess of YORK, and the PRINCESSES, &c., highly approved of the splendid variety which has justly attracted the notice of the fashionable world." Width: 32¾" (83cm) Depth: 21¼" (54cm) Height: 28½" (72.5cm)

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a george III satinwood & marquetry pembroke table attributed to henry hill of marlborough This piece exemplifies one of Henry Hill’s most successful and distinctive designs, for a Pembroke table with serpentine sides on turned tapering legs. Others survive in both marquetry and mahogany (a less luxurious option), in each case displaying large lozenge-shaped veneers, evoking a garden trellis. However a unique feature of this pembroke table not paralleled on Hill’s other recorded tables or commodes is the carved (intaglio) patera at the top of the legs. Perhaps this motif may provide a link to more of Hill’s repertoire not so far identified. Width: 41" (104cm) Width flaps down: 21" (53.5cm) Depth: 32" (82cm) Height: 26 " (67cm)

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a pair of george III mahogany stools This charming pair of stools have angled stretchers uniting the legs which places them firmly in the Chippendale period. Their lightness, the broad frame of cross-banding around each seat and the unusual feet are not features one would normally expect to see but they ensure the stools are all the more appealing. Width: 22Âž" (58cm) Depth: 19" (48cm) Height: 16Â˝" (42cm)

Important EnglIsh FurnIturE

a nineteenth Century amboyna Etagere Amboyna, so called because it was shipped from the port of Amboina in the Spice Islands, came in small pieces. For this reason and because it was so expensive, it was generally used as a veneer on smaller pieces of furniture. In appearance it is similar to the burr wood of our native yew tree but tends to be a more golden colour and the curling grain pattern is more regular. This is certainly true of the veneer on this table which is also enhanced by the contrast with the ebony used. Width: 16" (41cm) Depth: 16" (41cm) Height: 30Â˝" (77cm)

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a matched pair of george III mahogany Commodes attributed to henry hill of marlborough Henry Hill was described in his obituary as ‘one of the most eminent cabinet-makers and upholsterers in the kingdom’, a rare tribute to a tradesman operating outside London. He secured the patronage not only of some of the most prominent landowners of Wiltshire – such as the Duke of Somerset at Maiden Bradley and Henry Hoare at Stourhead – but also of customers with no local connections. These commodes are fine examples of Henry Hill’s most luxurious model of mahogany ‘French commode’. Width: 48” (122cm) & 50” (127cm) Depth: 25” (63.5cm) & 24” (61cm) Height: 33¼” (84.5cm) & 34½” (87cm)

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a george I Burr Walnut Card table Walnut furniture of this period is rarely carved so it is certainly exceptional to find the depth and crispness of carving exhibited here. Whilst concertina action tables are more highly prized than the simpler gate leg tables, what really marks this table out is that the rear legs are carved to the same extent as the front legs. Couple this with the golden coloured burr walnut veneers and one is looking at a great table. Width: 34" (86cm) Depth: 17" (43cm) Height: 28Âź" (72cm)

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a george III Carved mahogany settee Like the silver table discussed on page 36, the settee is another example of the strength of mahogany influencing design. In this case, the raised carving on the fretwork makes it very unusual. Width: 55½" (141cm) Depth: 29½" (75cm) Height: 36½" (93cm)

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a langley park Bookcase One of four bookcases made for Langley Park. There were originally two pairs, with one pair larger than the other. This bookcase is one of the larger. Records indicate that three of the most important cabinet makers of the eighteenth century supplied furniture to the house. As discussed in the further notes at the rear of the book, it is difficult to determine which of them was responsible for the bookcase but suffice to say, this bookcase is a superb example of carved mahogany furniture from the first half of the century. Width: 152½” (387.5cm) Depth: 17” (43cm) Height: 99” (251.5cm)

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a selection of Blue John ornaments The use of this wonderfully coloured mineral became increasingly popular in the second half of the eighteenth century, at which time it was used for both decorative and architectural purposes. One of the first pioneers of this type of work was Robert Adam who used 'Blue John' for inlay in the interiors of Kedleston Hall for Lord Scarsdale, whose collection also happens to include a pair of columns almost identical in form to the ones offered here. Columns Height: 20" (51cm) Obelisks Height: 14" (36cm) Urn Height: 11" (28cm)

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265-267 Fulham Road, London SW3 6HY, United Kingdom Tel: +44 20 7352 2188 Fax: +44 20 7376 5619 Email: antiques@apter-fredericks.com www.apter-fredericks.com