Important English Furniture
2
Important English Furniture
2
012 was certainly an exciting year to be British and in London. The Queen's Jubilee and the Olympics were made all the more poignant by the success of the British
athletes and, of course, who can forget the Queen's daredevil moment with James Bond and Thomas Heatherwick’s magnificent Olympic flame. It seems like 2013 has only just begun but we are already three months in. After a very good year for Apter-Fredericks in 2012, this year started with an outstanding first quarter and the signs suggest it will continue. Demand for very good pieces of eighteenth century English furniture continues to be strong. This year’s brochure has seen a slight change in format. All the information now appears with each picture but we continue to present all the items in the same clean, clear and concise manner that we began four years ago. The examples illustrated have been carefully selected, researched and included to provide a diversity of articles from Queen Anne to George IV, from walnut to rosewood. We could highlight a number of the pieces but that would be a shame. We would rather you looked for yourself.
You might even find a surprise or two! It just remains for us to thank everybody who contributed to producing this brochure and of course our clients who very kindly make the purchases that allow us to continue to do something we love and take so much pride in. We look forward to hearing from you. Harry Apter & Guy Apter
Front cover: A Gilt-wood Eagle Console Table Attributed to William Bradshaw (see p.108) Opposite: Detail of one of a Pair of Adam Period Gilt Torcheres (see p.4) Back cover: Benjamin Vulliamy’s ‘Long Black Marble Clock with Bronze Lions’ Numbered 408 (see p.63)
3
4
A Pair of Adam Period Gilt Torcheres The design of these tripod candle-stands
English Circa 1775—80
may derive from a considerably earlier
Height 56¼” 143cm
drawing in the V&A, which has been
Diameter 13¾” 35cm
attributed to Thomas Chippendale. The 1
drawing includes the same basic elements
Provenance
– three foliate S-scroll uprights ending in
Sold at Christie’s London, the property of a
ram-head finials and voluted terminals,
lady, 24 June 1976, lot 114
supporting a tray top and raised on a plinth
With Mallett’s in 1977 (advertised in Country
with splayed legs. The Chippendale design,
Life, 21 April 1977, Supplement, p. 29)
however, is for a shorter candle-stand and is
Acquired for Crichel, Dorset by the Hon. Mrs.
more naturalistic in treatment, so probably
Marten, OBE, D.L. (probably from Mallett,
dates from the 1760s. The present stands,
circa 1982)
taller, more attenuated and more formal, reflect the mature taste of Robert Adam,
Marks
and may indeed be indebted to a design for
Both stands stamped on the underside of
‘a Tripod and Vase for Candles’ published
bottom shelf, respectively, ‘3206’ and ‘3207’
in The Works in Architecture of Robert and
Top panels possibly replaced.
James Adam in 1773 (Fig. 1). The Adam 2
design, produced for the Earl of Coventry,
Reference
also shows a three-branch candelabrum on
1
top, such as could originally have been used
Gilbert, The Life and Work of Thomas
with the present stands too.
Chippendale (1978), Vol. II, fig. 376 (and fig.
V&A, Museum no. 2609. See Christopher
377, one of a pair of candlestands executed Adam’s design includes a turned central
from this design, latterly at Denton Hall,
stem like these candle-stands (in place of
Yorkshire).
the flaming urn in the Chippendale design),
2
but it differs in other respects. In particular,
James Adam (1773), Vol. I, No. I, plate 8.
the scrolling uprights taper downwards
See Elizabeth White, Pictorial Dictionary
rather than upwards and they end in paw
of British 18th Century Furniture Design
feet rather than volutes. They are raised on a
(1990), pp. 307, 345.
The Works in Architecture of Robert and
deep plinth base rather than the splayed legs of the Chippendale design and the present candle-stands.
51666
Fig. 1 © Victoria & Albert Museum, London
Important English Furniture
5
6
A Chippendale Period 'Breakfast Table' Thomas
Chippendale
used
the
term
Reference
T. Chippendale, The Gentleman and Cabinet-
Breakfast Table in 1762, to describe a table
1
with fretwork sides and shaped under-
Maker’s Director, 3rd edn (1762), pl. 53.
tier, which may be compared to this table.
1
Breakfast tables vary widely in form, but having a pierced gallery makes this example extremely rare. English Circa 1765 Width 24" 61cm Depth 18¼" 46.5cm Height 27½" 70cm
51596
Important English Furniture
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8
Important English Furniture
9
10
Previous page:
A George II Period Carved Mahogany Side Table with a Breccia Rosato Marble Top This handsome mahogany side table is
known commissions it has been possible to
PROVENANCE
stamped with the journeyman’s initials
build up a known body of work.
The Phipps Family Trust Henry Phipps, Jr. emigrated to the U. S. in
‘W H’, a stamp that occurs on a number of chairs that are thought to come from the
Possibly his best known commission
the early part of the nineteenth century and
workshop of Giles Grendey. Grendey may
was for a suite of red japanned furniture
settled in Pittsburgh. As Andrew Carnegie's
well therefore be the maker of this table.
supplied to the Duke of Infantado at the
business partner in the Carnegie Steel
Castle of Lazcano, Spain. This consisted of
Company he became very wealthy and bought
Giles Grendey was an extremely successful
approximately eighty items. Two further
some exceptional pieces including this table.
cabinet maker with a substantial business.
pieces have been discovered in Norway
By 1731 when fire damaged his workshop
suggesting that he had an international
Literature
‘an easy chair of such rich and curious
business.
F. Lewis Hinkley, Metropolitan Furniture of the Georgian Years (1988), p. 119. Illustrated
workmanship, that he had refused 500 Marble replaced.
with later mahogany top.
were destroyed. Although few bills from
English Circa 1755
51233
country houses have surfaced, a number of
Width 72¾” 185cm
his pieces bear one or another of the two
Depth 35½” 90cm
labels he produced and with these and
Height 35½” 90cm
guineas for it…together with furniture to the value of £1000 packed for exportation…’
Important English Furniture
Lord Hesketh's Circular Bookcase from Easton Neston In many ways a testament to the value of books, this bookcase has vertical divisions that are locked to hold retaining bars in place to secure the books. Each tier revolves independently from the others. A ‘circular movable table’ of this type was published in Ackermann’s Repository of Arts in 1810.1 A strikingly similar example is recorded, bearing the label of cabinet makers Mack, Williams and Gibton.2 It differs principally in having a tripod support, where our bookcase has a Frenchinfluenced, fluted and gilded column. This columnar treatment is reminiscent of the furniture supplied to Southill, Bedfordshire for the Whitbread family, much of it to the design of Henry Holland.3 English Circa 1820 Diameter 27" 68.5cm Height 4’11½" 150cm Provenance
Frederick, 2nd Baron Hesketh (1916-1955) Easton Neston, Northamptonshire. Sold Sotheby’s House Sale, Easton Neston, 1719 May 2005, lot 61. Reference 1
P. Agius, Ackermann’s Regency Furniture
and Interiors (1984), pp. 48–49, pl. 13. 2
R. Edwards, Dictionary of English Furniture,
revised edn (1954), Vol. I, p. 97, fig. 42. 3
M. Jourdain and R. Edwards, Regency
Furniture 1795-1830, revised edn (1965), fig.172 50528
11
12
Two Painted Plaster Figures of George II and George III Modelled wearing blue coats and each with the Garter Star embroidered onto the coat. Both figures stand holding a cane. The plinth of George II with the text 'Published May 8th 1820 by F Hardenberg, 19, Mount Street, London'. The Plinth of George III with indecipherable text. However another example, from the collection of Simon Sainsbury (sold Christie’s, 18th June 2008, lot 146) was engraved ‘L. Gahagan’ (either Lawrence Gahagan or his son Lucius), so this figure may be by the same maker. English Circa 1820 George II 12" 28cm George III 11" 31cm 51716
Opposite:
A George III Satinwood Drum Table By the 1790s the circular 'drum' library
English Circa 1810
table had become extremely popular, and
Diameter 39¾" 101cm
numerous examples were produced in a
Height 28¼" 72cm
variety of styles and woods. Over the course of twenty years they changed from having
Provenance
simple down-swept legs supporting a 'gun-
Private collection, UK
barrel' column to a much heavier form with brass or gilt metal enrichments. This table is an early example, and its lightness is emphasised by the use of pale satinwood – which is more unusual for tables of this type than mahogany or rosewood.
9F264
Important English Furniture
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14
A Rococo Gilt-wood Pier Glass Possibly by George Cole of Golden Square This pier glass may have been carved in
The squirrel motif recurs in a remarkable
the same workshop as a distinctive group
set of pier glasses at Blair Castle, Perthshire,
of furniture from St Giles’s House, Dorset,
which were supplied to the Duke of Atholl
notably a pair of pier glasses that each have
by the upholsterer George Cole of Golden
a similarly idiosyncratic group of sheep in
Square in 1761 and 1763.8 It has generally been
an open cartouche at the bottom.1 This pair
assumed that these mirror-frames could not
of mirrors, though rather more lavishly
have been manufactured in Cole’s workshop,
carved, also has comparable trailing flowers,
and they have been tentatively attributed to
C-scrolls and inner vertical sides formed
Johnson himself, again on the analogy of his
as vestigial pillars with capitals. A picture-
Collection of Designs.9 However, they also
frame clearly from the same workshop as
relate, and may be indebted, to a design by
the pier mirrors was sold from St Giles’s
Matthias Lock, which is of similar profile
House in 1980, together with another less
and likewise displays a full-length human
closely related picture-frame and a side-
figure in the cresting – a highly unusual and
table with a larger cluster of sheep in the
ambitious treatment.10 This relationship to
apron cartouche.4 The St Giles’s mirror-
the publications of two different designers
and picture-frames also feature vivacious
is entirely consistent with production in yet
pelicans (or imaginary birds) at the upper
a third London workshop. The reluctance
corners – although these, like the sheep,
of historians to credit Cole as the maker
have no armorial significance for the Earls
seems to arise chiefly from the fact that little
of Shaftesbury (whose crest and arms chiefly
is known of his career or output. However,
boast bulls). The sheep motif recurs in a pier
it must be significant that he was also paid
glass of unknown origin, somewhat similar
substantial sums for work at Corsham Court,
in composition to the present example
where the State Bedroom houses a pair of
though more densely carved.
oval pier glasses – again with squirrels – that
2
3
5
closely correspond to a design by Thomas A similar repertoire of ornament appears
Johnson.11 The likelihood is that Cole
on a pier glass formerly at Hall Barn, near
supplied the Corsham mirrors too. He may
Beaconsfield but this shows a squirrel in the
of course have subcontracted these and the
apron cartouche, rather than sheep. Neither
Blair mirrors to Thomas Johnson, or he may
the maker nor a distinct designer has been
himself have supervised their production
firmly identified for this group of furniture,
in his own workshop, taking inspiration
although there are evident connections with
from published designs. If he ran a more
designs published in the late 1750s by Thomas
ambitious workshop than has so far been
Johnson. The present mirror has elements in
realised, he is also a candidate for the maker
common with all three frame designs in the
of the present mirror.
6
first plate of Johnson’s Collection of Designs (1758), including the console-scrolled sides
This mirror-frame houses a single, full-
(in the left design), the inner vestigial pillars,
height bevelled glass plate, which may have
and the playful depiction of animals.
been redeployed from an early eighteenth-
7
Important English Furniture
15
16
century mirror. The re-use of expensive
Dorset’, Country Life, 23 June 1934, pp. lxvii–
8
mirror plates was by no means uncommon
lxx (p. lxviii, fig. 3).
mirror was supplied by Cole for Dunkeld House
in the eighteenth century, and some frame
3
designs indeed appear to have been devised
(framing a seventeenth-century portrait of Lord
9
specifically for this purpose.
Keeper Coventry); also illustrated at the end of
cit. 1761 (note 7), plate 211; White, op. cit.
account for the fact that certain designs
the 26 June 1980 sale catalogue (see note 2).
(note 7), p. 332.
for Rococo mirror-frames have strictly
4
rectilinear inner edges, while others have
71. Previously used with a different marble top;
for Looking Glass Frames, 1st ed. c. 1752,
scrolled edges like the outer frame. Examples
see Jourdain, op. cit. (note 2), p. lxx, fig. 5, and
reissued by Robert Sayer in 1769; see White,
12
This may
Christie’s London, 27 June 1980, lot 139
Christie’s London, 26 June 1980 (see note 2), lot
of both types are often combined by Johnson
Coleridge, op. cit. (note 1), p. 209 and fig. 365.
on the same plate.
5 6
G. Wills, English Looking Glasses (1965), fig. 86. Sold
Hall
M. Lock, A New Book of Ornaments
op. cit. (note 7), pp. 342–43). 11
J. Cornforth, Early Georgian Interiors
house
(2004), pp. 199–200, figs 263–64. See Johnson,
28.
op. cit. 1758 (note 7), plate 10; op. cit. 1761
Height 72” 183cm
This mirror also has birds at the top corners,
(note 7), plate 55; White, op. cit. (note 7), p.
Width 36” 91.5cm
but much less finely executed than those in
333. For George Cole see G. Beard and C.
the St Giles’s frames. These and some other
Gilbert (eds), Dictionary of English Furniture
A. Coleridge, Chippendale Furniture (1968),
p. 204 and 317.
1969,
10
Johnson, op. cit. 1758 (note 7), plate 6; op.
sale,
Reference
September
Barn
in 1761, the other three for Blair Castle in 1763.
English Circa 1760–65
1
29
Christie’s,
Wills, op. cit. (note 5), p. 93, fig. 78. The first
lot
elements of the carving may be replaced. 7
T. Johnson, Collection of Designs (1758),
Makers (1986), p. 187. 12
This is especially evident in a manuscript
plate 1; reissued as One Hundred and Fifty
design by John Linnell for a narrow, arch-
Christie’s London, 19 June 1980, lot ????,
New Designs (1761), plate 34. See Elizabeth
topped
also illustrated on front cover of Christie’s
White, Pictorial Dictionary of British 18th
scrolls and swags at either side to rest on a
sale catalogue, Highly Important English
Century Furniture Design (1990), p. 331.
considerably wider pier table (V&A, Museum
Furniture and Scuplture from St Giles’s
Animals are similarly treated in Johnson’s
no. E.248-1929).
House, Dorset, 26 June 1980. See also M.J.
designs for pier tables (op. it. 1758, plate 19;
[Margaret Jourdain], ‘Furniture at St Giles,
op. cit. 1761, plate 40; White, op. cit., p. 269).
2
51711
mirror,
extended
with
carved
Important English Furniture
A Regency Blue John Vase The urn shaped body with acorn finial above an ormolu foliate mount to the base and raised on a circular pedestal with an ormolu garland around the top rim. English Circa 1800 Height: 14" 35cm Diameter: 4.25" 11cm 51770
17
18
A George I Burr Walnut Armchair In eighteenth-century bills and inventories
shaped back. The legs are of a fashionable
English Furniture From Charles II to George
certain chairs are described as ‘dressing
model, carved with a stylized shell on the
II (2nd Ed. 1980), p.121, fig.93
chairs’. In the first quarter of the century,
knee and a ball-and-claw foot. The burr
H. Cescinsky, The Old World House (1924),
such chairs appear to have had lower
veneer on the back, carefully selected for its
Vol. II, p.18
backs than were otherwise typical for the
figure, has acquired a rich golden colour.
period, so as to allow a servant to dress
1
L. Wood, The Upholstered Furniture in the
the occupant’s hair from behind. This low-
The needlework is contemporary with the
Lady Lever Art Gallery, 2 vols (2008), Vol. I,
backed chair, with widely spaced arms
chair but not original to it.
pp. 38–40, figs 47–48.
made for this purpose. Dressing chairs were
English Circa 1725
51653
usually made as singletons or in pairs, but
Width 24” 61cm
in the very grandest apartments they were
Depth 24” 61cm
sometimes made in sets of up to six.
Height 35½” 90cm
This chair is a particularly fine example,
Literature
with an unusual circular seat and cartouche-
Similar Chairs illustrated in R.W. Symonds,
inviting relaxation, may well have been
1
Important English Furniture
19
20
A Pair of Ormolu-Mounted Satinwood and Amaranth Side-Tables Amaranth is more commonly referred to
English Circa 1850
in England as purpleheart. When freshly
Width 55" 140cm
cut it is bright purple but fortunately the
Depth 19" 48.5cm
purpleheart banding on these tables has
Height 36" 91.5cm
faded! The tables, which are very good quality, retain their original ormolu mounts.
51743
Important English Furniture
21
22
Important English Furniture
23
24
Fig. 2 © Victoria & Albert Museum, London
Fig. 3
Previous page:
A Pair of George III Papier Mâché Mirrors from Freston Lodge, Ipswich, possibly by John Linnell pier
These conflicting sentiments are embodied
English Circa 1775
glasses relate very closely to a number of
in the life and work of Thomas Johnson,
Height 70" 178cm
designs by the Berkeley Square cabinet-
one of the principal English proponents of
Width 41½" 105.5cm
maker John Linnell (1729–1796), dating
the French Rococo style, who nevertheless
from the mid-1770s, which variously show
dedicated his Collection of Designs (1758) to
Provenance
similar fluting, gadrooning, foliage, crossed
Lord Blakeney, Grand President of the Anti-
Freston Lodge, Ipswich
palms, and urns (Fig. 2). The resemblance
Gallican Association, whose stated aim was
is so close as to warrant at least a tentative
‘to oppose the insidious arts of the French
Reference
attribution to Linnell. His workshop,
Nation’. Johnson’s frontispiece featured a
1
however, was renowned for its carving, and
winged putto setting fire to a banner entitled
John Linnell, 2 vols (1980), vol. II, figs 194–98
is not otherwise known to have specialized
‘French Paper Machee’ (Fig. 3). Linnell
2
in the imitative technique of papier mâché.
himself maintained strong links with French
England, exh. cat., V&A (1984), cat. nos C23
This technique, also known as carton pierre,
design and designers. If the attribution of
and L44.
was seen as a French import and a threat to
these mirrors to his workshop is sustained,
British manufactures, which at the same time
they form an important addition to our
carried the seductive caché of Parisian style.
knowledge of his repertoire.
These
refined
Neo-classical
oval
1
2
H. Hayward and P. Kirkham, William and Rococo: Art and Design in Hogarth’s
51112
Important English Furniture
25
A Rare George II Mahogany Bottle Carrier Sometimes known as a 'wine waiter', this
Reference
type of bottle carrier seems to have been
1
a distinctively Irish form. Intended for
revised edn (1954), Vol. III, pp. 374–75,fig. 1.
1
R. Edwards, Dictionary of English Furniture,
use in a dining room, it was fitted with compartments for bottles and with castors to allow it to be circulated amongst the guests. Irish Circa 1755 Width 28" 72cm Depth 16" 41cm Height 22" 55cm Internal spaces 5¾” 14.5cm
51693
26
Important English Furniture
27
28
A George III Three Pedestal Dining Table ‘Dinner is one of the most wearisome of
and also by a new range of exotic foods,
English experiences lasting, as it does four
sometimes imported at great expense.
or five hours.’ So wrote François de La Rochefoucauld (1613–1680). It was little
The table has original brass box castors and
changed in the following century, when
original fittings to allow each top to tip for
Mary Granville (1700–1788) remarked, ’I
storage. The two insertion leaves are an
have not seen less than fourteen dishes of
excellent match although not original.
meat for dinner, and seven for supper during my peregrinations‘. Dinner in eighteenth-
English Circa 1810
century England was a formal affair – still
Width 56" 142cm
served à la Française – and an obvious
Length 177" 450cm
opportunity to display one's wealth. Host
Height 28" 71cm
and hostess could impress their guests by the display of silver on the table
51702
On the table (previous page) are:
A Fine and Rare Set of Four George III Cut Glass Candelabra These candelabra are Neo-classical in form, graceful, elegant and simply adorned with drops and chains. English Circa 1790 Height 23¼" 59cm Width 16" 41cm
Important English Furniture
29
A Set of Twelve late Eighteeenth-Century Mahogany Dining Chairs The backs of these chairs, with their pierced
He set great store on gradual patination in a
Provenance
bar splats, serpentine top rail and in-curved
piece of furniture, giving it a colour and glow
Norman Adams Antiques, Knightsbridge
sides, are clearly indebted to late Rococo
that was lost in re-polished pieces. These
Trevor Antiques, Mayfair and Brighton
models, as reflected in the designs of
chairs – one of very few to be illustrated in
Dr Norman Keevil, Vancouver, Canada
Thomas Chippendale. However, the refined
colour in the book published to celebrate
and attenuated form, the turned legs, and
the firm’s history – fully exemplifies the
Literature
the finely carved Neo-classical anthemion
qualities he valued so highly.
C. Claxton Stevens & S. Whittington, 18th Century English Furniture, The Norman
and husks reveal their slightly later date. The columnar form of the front legs – with
English Circa 1775
round plinth feet, husk-wrapped reeded
Arm
shafts and turned and waisted capitals – is
Width 23¼" 59cm
particularly stylish. A further refinement
Depth 19" 48cm
is seen in the saddle seats, which allow for
Height 38¼" 97cm
greater comfort. Single
Norman Adams, who once had these chairs
Width 22½" 57cm
in his stock, was one of the most highly
Depth 18" 46cm
regarded dealers of the twentieth century.
Height 38¼" 97cm
Adams Collection (1983), pp. 59 and 69 51727
30
A Matched Pair of George III Satinwood Chests of Drawers Attributed to Gillows The design for these chests survives as a
makes
coloured drawing in Gillows’ pattern book,
watertight. The silver-plated handles are
and another similar example banded in
another feature characteristic of the firm,
1800 (1995), colour pl. 11
purpleheart appears in their Estimate Sketch
and the overall quality of the chests is also
2
Books, dated 24 October 1789.
consistent with their work.
1
attribution
to
Gillows
fairly
Reference 1
L. Boynton, Gillow Furniture Designs 1760– S. Stuart, Gillows of London & Lancaster, 2
vols (2008), Vol. I, p. 352, fig. 412 3
D. Jones and J. Urquhart, ‘Gillows in
A pair of chests was supplied to Sir John
English Circa 1800
Scotland 1770-1830’, Regional Furniture, Vol.
Shaw Stewart for Ardgowan, Renfrewshire
Width 45" 114.5cm / 44½" 113cm
12 (1998), p.138, fig. 21
in 1801 , and an identical commode chest
Depth 24½" 62cm / 23¾" 60cm
was supplied to Lord Eglington in 1798.
Height 34¼" 87cm / 33¾" 86cm
2
3
The close resemblance of these chests to the
Provenance
drawings and the documented examples
The McCarthy Collection
51700
Important English Furniture
31
32
Important English Furniture
33
34
A Green Japanned Bookcase Formerly in the Fogg Art Museum The bookcase is one of several examples
Provenance
that appear to come from a single
Grenville Lindall Winthrop (d. 1943), at 15
workshop, and it is among the finest
81st Street, New York (in the bedroom of his
examples of japanning (the historic
brother, Beekman Winthrop).
European imitation of East Asian lacquer).
Bequeathed by G. L. Winthrop in 1943 to
At least three other bookcases can be
to the Harvard Art Museums
identified as part of this group: one that
The collection of the Fogg Art Museum and
was acquired by Queen Mary, which was
the Busch Reisinger Museum, Harvard
subsequently in the collection of the Duke
University; by whom sold
of Windsor; a second that was formerly 1
handled by Apter-Fredericks;2 and a third
Reference
that was published in 1971.
1
3
O. Brackett, English Furniture Illustrated
(1950), p.136 Apter-Fredericks, Important English
This example belonged at one time to
2
the famed collector Grenville Lindall
Furniture, Vol. I [2011], p. 30
Winthrop (1864–1943), a contemporary
3
of J. Pierpont Morgan, William Clay Frick
59 & 60
and Paul Mellon. He assembled one of the
4
H. Huth, Lacquer of the West (1971), figs New York Times, 17 October 1943
most important art collections in America in the early twentieth century, ranging widely across different cultures and eras. At his death Winthrop was hailed as 'the most discriminating eclectic that America has ever known amongst collectors'.4 English Circa 1725 Width 39½ " 100cm Depth 23½ " 60cm Height 92" 234cm
51628
Important English Furniture
35
A Regency Bench This bench is decorated on the frieze with the
a time when the market was depressed,
crest of the celebrated collector and author
Beckford and his son in law, the Duke of
William Beckford and was probably made
Hamilton, bought back a considerable
for his palatial folly in Wiltshire, Fonthill
number of pieces, many of them for less than
Abbey. Having run through the fortune left
the price he originally paid.
to him by his Father, he was forced to sell the house, along with his art collection, for
English Circa 1800
£330,000, the equivalent of approximately
Width 54½" 138cm
£26 million today.
Depth 15¾" 40cm Height 18½" 47cm
Some time later, when the new owner arranged an auction of the contents, at
51752
36
A Rare Regency Campagna Vase in Blue John The vase made of Blue John from the Bull
English Circa 1815
Beef vein from the upper level, including
Width 7ž" 20cm
some of its famous "Double Stone" pattern
Height 12½" 31.5cm
and sections of "Winnats Five Vein". The base in black Ashford marble and with rarely seen low relief etched decoration on each side of the plinth. An outstanding example.
51718
Important English Furniture
A George III BrassBound Octagonal Cellaret The architect Robert Adam remarked that the English were ’accustomed by habit, or induced by the nature of our climate to indulge more largely in the enjoyment of the bottle’ than the French. The wide variety of forms of wine cooler produced in the eighteenth century tends to endorse this comment. Perhaps the most common form adopted at this time was an octagonal box on stand with a flat lid. The example shown here has a much more unusual lid, in the form of a pagoda or concave-sided dome. English Circa 1760 Width 18½" 47cm Depth 18" 46cm Height 37" 94cm Provenance
Exhibited by Norman Adams at the Grosvenor House Antiques Fair, 1955. Illustrated in the handbook, p.9. Literature
C. Claxton Stevens and S. Whittington, 18th Century English Furniture, the Norman Adams Collection (1983, revised 1985), pp. 248–49 51724
37
38
Important English Furniture
39
A George III Marquetry Shield-back Settee Marquetry
seat
furniture
has
always
John Linnell – for instance in the Library
comparable suites. It represents a luxurious
been uncommon, probably because the
suite at Osterley Park, and in a suite formerly
and highly unusual variation on the shield-
marquetry itself is liable to be damaged by
at Culham House, Berkshire, probably in
back type of the 1780s–90s, which was
snagging clothes. There was a select vogue
the drawing room. An anonymous set of
normally executed in carved mahogany or
for marquetry chairs in the early eighteenth
Neo-classical chairs from Sheringham Hall,
with painted decoration. Both treatments are
century – particularly for chairs decorated
Norfolk, has oval splat backs with semi-
suggested in Hepplewhite’s Cabinet-Maker
with monograms or armorials, which were
naturalistic Neo-classical marquetry.
and Upholsterers’ Guide, in which numerous
2
3
undoubtedly intended for display more than
variants of the type were published (in three
practical use. In the late eighteenth century
The present settee, which formed part of an
editions of 1788, 1789 and 1794).4 Mahogany
the practice was even more unusual, but in
original set with another settee and eight
was the more conventional treatment, but
the 1770s it was occasionally adopted by
elbow chairs, is still later than any of these
the Hepplewhite commentary notes that
1
40
‘a new and very elegant fashion has arisen
Provenance
pp. 631–38, cat. no. 59). The rest, comprising
within these few years, of finishing them
Arthur Leidesdorf collection; sold Sotheby’s,
two elbow chairs, eight plain chairs and an
with painted or japanned work, which gives a
London, 28 June 1974, lot 146 (part)
urn table, were sold from Sheringham Hall,
rich and splendid appearance to the minuter
Sold Christie’s, London, 9 April 1981, lot 29
Christie’s house sale, 22–23 October 1986, lots 78–79; and re-sold (except for the urn
parts of the ornament’. The type was also 5
table), Christie’s London, 20 May 2010, lot
much favoured by Gillows, who were already
Reference
producing both carved and painted versions
1
L. Wood, The Upholstered Furniture in the
105. Only three chairs in the entire suite are
by the time Hepplewhite’s pattern book was
Lady Lever Art Gallery (2008), Vol. I, pp. 68,
of the original manufacture, c. 1780; the other
first published.
205–27 (cat. nos 15 and 16).
pieces may date from c. 1812–19.
6
2
For the Osterley elbow chairs (a set of eight),
4
All three editions were published by Alice
Some anonymous versions in carved
and the the Library desk and writing tables
Hepplewhite, widow of George Hepplewhite who
mahogany
small
en suite, see H. Hayward and P. Kirkham,
died in 1786. See A. Hepplewhite and Co., The
marquetry motifs, but the present suite,
William and John Linnell (1980), Vol. I, pp.
Cabinet-Maker and Upholsterer’s Guide, 3rd edn
decorated in marquetry throughout, is
64, 117, Vol. II, figs 71, 156–57; M. Tomlin,
(1794), pp.1–2 and pl.1–7 and 9; Elizabeth White,
quite exceptional. It must undoubtedly have
Catalogue of Adam Period Furniture,
Pictorial Dictionary of British 18th Century
been prescribed by the original client, who
Victoria and Albert Museum, 2nd edn (1982),
Furniture Design (1990), pp. 86–90.
remains unidentified. This fastidious client
pp. 37–41 (Group E, with Linnell’s design for
5
Hepplewhite, op. cit. (note 4), p.2.
must also have had a very specific interior in
the chairs, E/1a), 299.
6
S. Stuart, Gillows of Lancaster and London,
mind for these intimate two-seater settees,
The Culham House suite, comprising eight
2 vols (2008), Vol.I, pp.158–70 and pl.111–29;
made at a time when three-seaters had
elbow chairs, three window seats and two
L. Boynton (ed.), Gillow Furniture Designs
become the norm.
side tables, is attributed to Linnell on stylistic
(1995), colour pl. 24. In 1801 Gillows informed
grounds; it was sold by Major Phillips,
a customer that they did not own a copy
Another matching settee is available at the
Sotheby’s house sale, 9–11 April 1935, lots
of ‘Habblethwaite’s Publication’ (G. Beard
time of publication.
83–85, and parts of the suite have appeared
and C. Gilbert (eds), Dictionary of English
on the market more recently; see Wood, op.
Furniture Makers (1986), p.422).
English Circa 1785–90
cit. (note 1), Vol. I, p.68, fig. 79, Vol. II, p.638
7
Height 37½" 95.5cm
and n.18.
pp. 677–81, cat. no. 64 and figs 424–25.
Width 51" 130cm
3
Depth 26" 66cm
Lever Art Gallery (Wood, op. cit. (note 1),
are
leavened
with
7
For example, Wood, op. cit. (note 1), Vol.II,
Two chairs from this suite are in the Lady 51712
Important English Furniture
41
A Regency Mahogany Barometer The domestic barometer, or ‘weathered glass’ as it was frequently called, began life late in the seveneteenth century and became increasingly popular throughout the eighteeenth. During the first half of the nineteenth century, the demand for fine barometers grew exponentially, with the expansion of a prosperous middle class market; and manufacturers produced a wide range of decorative, finely worked instruments in response to this demand. This rare and elegant wall-hanging barometer has a most unusual and decorative design. The richly veneered stem, moulded at the top and base, includes an integral semi-circular cross-banded structure to accommodate the paper dial, read through a glazed aperture. The scale registers from 28½ inches to 30½ inches and can be read to one-twentieth of an inch via a single hand. The dial is signed and dated by Thomas Hargraves of Settle, 1832. A barometer maker of this name is recorded as first working in Settle in the last quarter of the eighteenth century.1 It is likely that he was succeeded by a son of the same name. Height 38½” 98cm Width 11¼” 28cm Reference 1
E. Banfield, Barometer Makers and Retailers
1660 – 1900 (1991), p.103 51754
42
A George III Adam Period Carved Mahogany Side Table The table has been constructed from the very finest mahogany. Consequently, the finely executed carving is as crisp today as it was when carved 250 years ago. The design of the leg is similar to that in a design by Chippendale, published in the 3rd edition of the Director (1762), pl. 61 (Fig. 4). English Circa 1770 Width 72¼" 183.5cm Depth 29¾" 75.5cm Height 34¼" 87cm 51223
Fig. 4
Important English Furniture
43
44
Fig. 5
A George I Carved Gilt-wood and Cut Gesso Mirror In the early eighteenth century any mirror
acted as a subcontractor to prominent
with candle arms was known as a sconce.
London cabinet-makers. It is often difficult,
It was still a relatively novel feature of the
therefore, to attribute mirrors to particular
Georgian interior, and became increasingly
makers, but in the present case there are
common as free-standing candle stands
close parallels with a sconce bearing the
went out of use. This example has the
trade label of Thomas Cleare (Fig 5).1 Cleare
double-arched plate and scrolled cresting
was a cabinet-maker, who worked at the sign
typical of the 1720s, and the decoration is
of the ‘Indian Chair’ in St Paul’s Churchyard
a combination of finely cut gesso work and
in the 1720s – thus a contemporary and
boldly carved softwood.
neighbour of John Belchier.
Sconces were generally sold by cabinet-
The plate original, the candle arms replaced.
makers, and examples of this form are associated with some of the best known
English Circa 1725
practitioners of the time, such as John
Width 33” 84cm
Gumley, James Moore and John Belchier.
Height 60” 152.5cm
However, it is possible that much of what they sold was made on other premises by
Reference
specialist ‘looking-glass makers’. One such
1
was Isaac Odell (d.1727) who worked near
p. 281, pl. 6.28.
A. Bowett, Early Georgian Furniture (2009),
the Strand. As well as supplying mirrors on his own account direct to clients, Odell
51656
Important English Furniture
45
46
A Kidney Shaped Desk in Amboyna and Ebony The kidney desk and the Carlton House
English Circa 1860
writing table are two of the most sculptural
Width 50" 127cm
forms of English furniture, both of them
Depth 26" 66cm
designed to be free-standing. This example
Height 29" 74cm
is of an excellent colour and of the very finest quality. The inclusion of shelves on the back is a particularly pleasing feature, which is by no means always adopted; in some cases the kneehole extends through the back.
51227
Important English Furniture
47
48
A Pair of Regency Side Chairs These generously proportioned chairs, with
English Circa 1825
sweeping back legs, wide seats and tall
Width 22" 56cm
backs, are of exceptional quality. They were
Depth 23Âź" 59cm
made towards the end of the Regency period,
Height 38½" 98cm
possibly by Morel & Seddon, cabinet-makers to George IV.
51617
Important English Furniture
A Regency Side Cabinet The cabinet is a classic example of
English Circa 1810
Regency furniture which exploits the
Width 42" 107cm
contrast between a dark wood and bright
Depth 13½" 34cm
gilt-metal mounts to great effect. Its
Height 36" 92cm
opulence reflects the confident mood of the Regency period.
51665
49
50
Important English Furniture
A William IV Circular Dining Table This stylish table will comfortably seat eight
English Circa 1835
people. The concave sides of the plinth keep
Diameter 69" 175.25cm
it out of the way of those seated at it.
Height 29" 73.5cm
When lit by candle-light, the golden-coloured
51729
mahogany takes on a wonderful glow. The top may be tipped for storage and retains its original gilt metal clip.
51
52
An Exceptional Inlaid Urn Stand The fashion for tea drinking was brought to
This urn stand is one of at least three with
the English court in the 1660s by Charles II’s
very similar inlaid decoration, which were
queen, Catherine of Braganza, who had been
clearly made in the same workshop.3 This
a devotee since her childhood in Portugal.
example retains its original gallery and slide
Thereafter the taste for tea quickly spread
and is in very good condition.
among the British aristocracy. English Circa 1780 Whilst tea was drunk by men in the coffee
Width 11½” 29cm
houses where they met to do business and
Depth 11½” 29cm
discuss the events of the day, women were
Height 28” 71cm
excluded from this activity and instead held tea parties in their homes. These parties
Reference
offered the hostess an opportunity to display
1
Jonas Hanway, An Essay on Tea. (1757)
her taste and sophistication. Consequently
2
Dr. S. Johnson, The Literary Magazine 2, no.
a great deal of money was spent on the
13 (1757).
tea equipage. This included the china, the
3
silver and also the furniture. Specific pieces
Godmersham Park, Kent, Christie’s house
of furniture were made for the purpose,
sale, 6–9 June 1983, lot 376; another was
including urn stands to support the tea urn.
formerly in the stock of Norman Adams (C.
Of the other three, one was sold from
Claxton Stevens and S. Whittington, 18th Interestingly, tea drinking had its critics.
Century English Furniture: The Norman
In 1757 the philanthropist Jonas Hanway
Adams Collection, 2nd edn (1985), p. 328);
published an essay on the effects of tea
and the third was recently in our stock (Apter-
drinking, 'considered as pernicious to health,
Fredericks, Important English Furniture, Vol.
obstructing industry and impoverishing
I [2011], p. 83), although it is possible that this
the nation'. He even claimed that it had an
one is the Godmersham example.
especially bad effect on women, such that 'there is not quite so much beauty in this land as there was'. Dr. Johnson, however, 1
poured scorn on Hanway’s views.2
51682
Important English Furniture
53
54
Important English Furniture
55
56
Previous page:
A Pair of George III Mahogany Chests of Drawers The small scale of these chests gives them
century
but
distinctly
a particular charm, which is enhanced by
generation later, when these chests were
their subtly serpentined fronts, with fretted
made. The handles and feet are original.
chamfered front corners, and their simple swan-neck handles. Unusually for this
English Circa 1760
period, the cabinet-maker has decorated the
Height 30他" 78cm
top with quartered veneers (four slices cut
Width 40" 101.5cm
from the same block of wood) of a strongly
Depth 19" 48cm
figured pattern. This decorative device is much more typical of the early eighteenth
51339
uncommon
a
Important English Furniture
A Pair of George III Mahogany & Brass Candelabra Until the beginning of the nineteenth
English Circa 1775
century light came from one of three
Diameter 13¼” 34cm
sources; the sun, the moon and the flame. So
Height 19¾” 50cm
it is not surprising that the variety of forms adopted to hold a candle were so great. On this ingenious example from the latter half of the eighteenth century the candle arms may be moved up and down the column to the desired height.
51691
57
58
Important English Furniture
59
60
Previous page:
A Pair of George II Gilt-wood Mirrors Attributed to Matthias Lock These mirrors are conceived in the fluent,
likely to be indicative of the work of a copyist,
controlled manner which distinguishes the
relying on Lock’s published engravings.
work of the carver and designer Matthias Lock (c.1710-65), one of the leading figures
Matthias Lock is considered to be one of
of the English Rococo movement.
the greatest draughtsmen of his age. He produced numerous designs which were
The overall form of the mirror is strongly
published and is best known for the table
symmetrical, and the carving of the
and mirror he made for Hinton House,
individual elements emphatic and robust. At
which are now in the Victoria and Albert
each side of the frame, two outward looking
Museum.
heads rise from elongated scrolls. This is a distinctive motif, frequently used by Lock.
English Circa 1750 Width 35” 89cm
The collection of Matthias Lock’s drawings
Height 59” 150cm
in the Victoria and Albert Museum includes a 'sconce' pattern,1 which he published as an
Provenance
engraving in 1744 (Fig. 6). The present pair
Exhibited by Leonard Knight Ltd at the
of mirrors were undoubtedly produced by a
Grosvenor House Antiques Fair, 1949
carver with knowledge of this design. The
(illustrated in the handbook, p. 59)
2
fact that the mirrors differ from the design but retain the fluidity and confidence so
Reference
evident in documented work by Lock is a
1
V&A, Museum no. E.3379-1938
good indication that Lock himself may be the
2
Matthias Lock, Six Sconces, 2nd edn
carver. All too often mirrors are attributed
(1744), pl. 4.
to Lock because they are an exact match for one of his published designs – which is more
51646
Fig. 6 © Victoria & Albert Museum, London
Important English Furniture
61
A Pair of Hepplewhite Period Decorated Armchairs In the full Neo-classical style popular in
tasks, which are necessary of the proper
An additional pair of chairs are available at
the last quarter of the eighteenth century,
furnishing of any house. …All this is
the time of publication.
these armchairs are nicely proportioned
carried out in a building with six wings. In
and superbly decorated. While there is
the basement mirrors are cast and polished.
English Circa 1785-90
insufficient evidence to assign them to
In one of the other departments nothing is
Width 22¼” 57cm
a particular maker, there are striking
produced but chairs, sofas, and stools of all
Depth 19¼” 49cm
similarities between these chairs and a
kinds … One large room is absolutely full
Height 37” 94cm
number of others that have been attributed
up with finished articles in this line, while
to Seddon & Sons & Shackleton.
more rooms are occupied by writing-tables,
1
cupboards, chest of drawers, …from the
Roche at Seddon’s’, Furniture History, Vol. 33
At one time this business was the largest
simplest and cheapest to the most elaborate
(1997), pp. 30–34 (pp. 30–31)
and most successful in London. Seddon's
and expensive."
C. Gilbert and L. Wood, ‘Sophie von La
1
workshop was described by London visitor
51604
Sophie v. La Roche in 1786: "We drove first to
When he died he left an estate valued at
Mr. Seddon's, a cabinet-maker, ...who employs
£250,000, equivalent to about £16,000,000
four hundred journeymen in all sorts of
today.
62
A Pair of Regency Cut Glass Decanters Some antiques are hard to find, either
feature is their wide flat base. This pair are
because few examples were originally made,
very finely cut and in excellent condition.
or because the environment in which they were used and the material they are made
English Circa 1800
from make them particularly vulnerable.
Height 10½" 27cm
This is certainly the case with 'ship's' decanters.
Literature
R. Butler, Great British Wine Accessories The so-called ship’s decanters are otherwise
(2009), p.136 for further examples.
known as Rodneys (after the naval hero Admiral Rodney). Their distinguishing
51635
Important English Furniture
63
Benjamin Vulliamy’s ‘Long Black Marble Clock with Bronze Lions’ Numbered 408 Benjamin Vulliamy was the son of a Swiss
Vulliamy was one of very few clockmakers
English Invoiced by Vulliamy May 30th 1807
watchmaker who emigrated to London
who numbered their work. Fortunately,
Height : 10¾” 27cm
and married the daughter of the King's
two of his work books are still in existence,
Width : 13¾” 35cm
Watchmaker, Benjamin Gray. Towards the
housed with the British Horological Institute
Depth : 3¾ “ 9.5cm
end of the eighteenth century Vulliamy was
at Upton Hall, Nottinghamshire, and clock
very successfully competing with French
number 408 is detailed. The clock was made
Provenance
makers supplying ornamental clocks in the
for Charles Cockrill Esq, at a total cost of
Supplied to Charles Cockrill Esq. on 30th
Neo-classical taste. By the 1800s his success
£29 3s. 6d. This is a fine example of his work,
May 1807.
led him to expand his repertoire. Taking
made all the more interesting for being so
Private collection, Austria.
advantage of wartime restrictions on the
fully documented.
Private collection, UK.
producing exquisite ornaments for the
The back plate signed Vulliamy, London,
51777
wealthiest connoisseurs in Britain, including
408. The pendulum with a steel rod and
the Prince of Wales.
heavy brass bob also stamped 408.
import of French luxury goods, he began
64
A Sheraton Period Sideboard The sideboard, designed to provide a
drawer behind the right-hand door. Its most
surface from which food could be served,
unusual feature, however, is the slide above
was vulnerable to continuous marking,
the left door, which may be used to hold
scratching and staining. Consequently,
serving dishes.
many examples have been re-polished on one or more occasions. This sideboard,
English Circa 1790
unusually, has escaped such restoration and
Width 73" 185cm
has developed a splendid surface in faded
Depth 29½" 75cm
and patinated mahogany.
Height 36" 91cm
It is fitted with a central drawer, a cupboard
51636
behind the left-hand door and a cellaret
Important English Furniture
65
66
Important English Furniture
67
A George I Burr Walnut Tea Table The tea table is veneered in highly figured
The maker has a true affinity with his
burr
walnut
materials and an eye for proportion and
and
cross-banded
with
herring-bone borders,
inlay
consistent
shape. The table is a most understated star.
with the finest walnut furniture of this period. However comparisons with other
English Circa 1720
contemporary pieces stop here. The shape
Width 33½” 85cm
of this table is, as far as we can discover,
Depth 15½” 39cm
unique, and the decoration in relief on each
Height 28” 71cm
leg has no parallels. The resulting table is a classic example of cabinet-making at its best.
51668
68
A Pair of George I Burr Walnut Side Chairs This model of chair is known in both
The Metropolitan Museum of Art, New York,
English walnut
1918; deaccessioned.
1
and Chinese rosewood
(huali) (Fig. 7). The Chinese versions, made 2
for the export market, are so close to the
Reference
English prototypes that they must have been
1
copied from an actual chair, taken out to
London, 26 November 1985, lot 29 – two of
China for the purpose. Some chairs of this
which are now in the Gerstenfeld Collection
model appear in a conversation piece by
(E. Lennox-Boyd, Masterpieces of English
William Verelst, dated 1741 (Fig. 8). This
Furniture: The Gerstenfeld Collection (1998),
shows the family of Sir Henry Gough, a
pp. 80–81, 207 (cat. no. 32).
wealthy merchant who built his fortune on
2
trade with India and China. Whether the
is in the Lady Lever Art Gallery, and several
chairs shown in this picture are English or
others have appeared on the market (L.
Chinese is uncertain, but Sir Henry very
Wood, The Upholstered Furniture in the Lady
probably owned examples in both kinds,
Lever Art Gallery (2008), Vol. I, pp. 429–40
and it may well have been he who sent out
(cat. no. 36); C. Crossman, The Decorative
the English version to be copied. However, it
Arts of the China Trade (1991), p. 233, fig. 85;
appears that at least three Chinese sets were
D. Howard, A Tale of Three Cities: Canton,
made, so they were presumably sold to other
Shanghai and Hong Kong, exh. cat., Sotheby’s
merchants besides Gough.
(1997), p. 168, fig. 217). By kind permission of
3
4
Three more in walnut were sold at Phillips,
A set of two armchairs and four side chairs Fig. 7
Sotheby's. English Circa 1720
3
Width 22” 56cm
and Albert Museum. See Manners and
Depth 21½” 55cm
Morals, exh. cat., Tate Gallery, London
Height 39¼” 100cm
(1987), pp. 124–25 (cat. no.107). 4
Private Collection, on loan to the Victoria
Wood, op. cit. (see note 2), p. 436.
Provenance
Perhaps Sir Henry Gough, 1st Bart (1708– 1774)
51742
Fig. 8 © Victoria & Albert Museum, London
Important English Furniture
69
70
A Neo-classical Gilt-wood Bracket The form of a Roman tripod altar, with
English Circa 1780
Chippendale, Jnr, 1779’, Furniture History,
sacrificial ram-head finials, engaged the
Width 15¼ ” 38.5cm
Vol. 11 (1975), pp. 56–58 and pl. 1.
attention of several Neo-classical architects,
Depth 6½” 16.5cm
8
including James 'Athenian' Stuart, William
Height 24½” 62.5cm
Chippendale (1978), Vol. I, colour pl. 11 and
1
Chambers, and of course Robert Adam. 2
p. 197; Vol. II, fig. 286.
3
The model was generally adapted for use
Reference
as large, free-standing tripod torchères,
1
as for example in the Drawing Room at
exh. cat. (2006), pp. 458 (fig. 10-73), 598 (no.
Osterley Park – although Stuart’s tripods at
45), a pair of tripod stands at Shugborough.
Shugborough are only 3 feet high. Stuart
2
also designed a number of gilt-bronze
Part of Civil Architecture, 3rd edn (1791),
tripods of similar small scale to the present
'Various
carved bracket, but these were again free-
Middleton, in J. Harris and M. Snodin (eds),
standing and raised up on pedestals of
Sir William Chambers, exh. cat. (1996), p.
varying height .
75 and fig. 104. The heads in this design are
4
5
C. Gilbert, The Life and Work of Thomas
S. Weber Soros (ed.), James Athenian Stuart,
51657
W. Chambers, A Treatise on the Decorative ornamental
utensils';
see
R.
hybrids, satyr-masks with ram horns, the legs Conversely, Adam’s designs for ‘antique’ wall
ending in cloven feet.
brackets for the most part make no reference
3
to the tripod form. The present bracket is
James Adam, Vol. I, No. I (1773), pl. VIII. See
unusual in being a near-direct translation of
E. White, Pictorial Dictionary of British 18th
a free-standing tripod torchère, but reduced
Century Furniture Design (1990), pp. 307, 345.
in scale and vertically bisected, to allow it to
4
be mounted on the wall. Parallels are to be
high. See M. Tomlin, Catalogue of Adam
found in the output of Thomas Chippendale,
Period Furniture (V&A, 1982), cat. no. F/3.
father and son – notably in the frontispiece to
Tomlin suggests a connection to a manuscript
Chippendale junior’s Sketches of Ornament
design by Adam (ibid., fig. F/3a). For the
of 1779 (Fig. 10). This curious confection
Shugborough tripods see note 1.
shows a similar two-dimensional approach to
5
three-dimensional forms, and the design of
11-1–3, 11-6–7. For Stuart’s wider use of the
the present bracket echoes both the tripod at
tripod form see ibid., pp. 427–32.
the centre and the flowers on a splayed dish at
6
the top. Similar motifs appear at the top and
(1773), pl. VIII, Vol. II, No. IV (1778), Pl. VIII;
bottom of a pair of oval pier glasses supplied
White, op. cit. (note 3)., p. 404. Only one of
for Harewood House c. 1778–79 – nominally
these designs is derived, more loosely, from a
by Chippendale senior, but from the period
tripod altar.
when his son increasingly assumed artistic
7
control of the workshop.
1905. See I. Hall, ‘The engravings of Thomas
6
7
8
The Works in Architecture of Robert and
The Osterley tripods are 57 in. (144.5cm) Fig. 9
S. Weber Soros, op. cit. (note 1), figs 10-20,
R. and J. Adam, op. cit. (note 3)., Vol. I, No. I
Victoria and Albert Museum, E.4342Fig. 10 © Victoria & Albert Museum, London
Important English Furniture
71
72
A George III Satinwood Carlton House Writing Table This form of writing desk emerged as a
English Circa 1800
novelty in the 1790s. With a curved back and
Width 41¾” 106.5cm
elegant super-structure, it was designed to
Depth 24½" 62cm
be moved away from the wall into the centre
Height 33½” 85cm
of a room to be admired from all angles. This function accounts for the consistently
Reference
high level of finish on all sides of the present
1
example; and its small scale allows it to be
Desk?’, Furniture History, Vol. 31 (1995), pp.
Hugh Roberts, ‘The First Carlton House
124–28.
placed in almost any room.
2
Exhibited by Glaisher & Nash at the
The type was first described as a Carlton
Grosvenor House Antiques Fair, 1973,
House writing table by Gillows of Lancaster
Illustrated in the handbook, 1973, p.37
and named after the Prince Regent's palace Carlton House. The Prince Regent owned at least one such desk, made by John Kerr in 1791, perhaps to the design of George Hepplewhite.1 Another
mahogany
example
almost
identical to the present one was exhibited at Grosvenor House in 1973.2
51714
Important English Furniture
73
74
Important English Furniture
A George III Hepplewhite Period Chest of Drawers The surface of this chest shows how subtly
English Circa 1780
mahogany can change colour over time. The quarter-veneered top has become a golden
Width 41½" 105cm
colour and the front is rich and well figured
Depth 24ž" 63cm
with a tulipwood banding to each drawer.
Height 33" 84cm
The serpentine front is confidently drawn and the overall shape nicely softened by the canted corners which have been inlaid with simulated fluting.
51708
75
76
Important English Furniture
77
78
Fig. 11
A Pair of George III Sheraton Period Console Tables As with so much English furniture, the
Provenance
original history of these tables is lost, and we
Exhibited by Loewanthal ltd. at the Grosvenor
know nothing of either their maker or their
House Antiques Fair, 1952. illustrated in the
first owners. However, they were clearly
handbook, p.62
made in the same workshop as a group of tables with very similar carved swagged
Reference
ribbons in the frieze. This group includes
1
another pair of tables published in 1911 and
Eighteenth Century, 3 vols (1909–11), Vol. III,
a singleton published in 1922. Our pair of
pp. 30 & 31
tables was exhibited at the Grosvenor House
2
Antiques Fair in 1952.
Furniture of the Later Eighteenth Century
1
2
H. Cescinsky, English Furniture of the
M. Jourdain, English Decoration and
(1922), fig. 381 English Circa 1790 Width 39” 99cm" Depth 16½” 42cm Height 35½” 90cm
51730
Important English Furniture
A Pair of George III Blue John Urns The pair of urns turned from attractively
English Circa 1790 – 1800
striated Derbyshire fluorspar, known as Blue
Diameter 4¼" 10.75cm
John and possibly from the Miller’s Vein seam.
Height 10½" 26.5cm
Finely proportioned and a good colour.
51728
79
80
Important English Furniture
Opposite:
A Dutch Cabinet Veneered in Mahogany and Satinwood with East Asian Lacquer Panels This cabinet is stamped by Gillows. Normally, such a mark could be taken to identify the manufacturers of the piece in question. However, Gillows’ records indicate that they retailed furniture sourced from other makers – as has clearly happened in this instance. This cabinet is Dutch and conforms to a number we have handled over the years, which very successfully combine satinwood with East Asian lacquer panels. Holland Circa 1850 Width 35¼" 89.5cm Depth 16" 41cm Height 33½" 85cm 51705
A Pair of Red and Gilt Decorated Tole Lamps In the past there has been a tendency to
French Circa 1810
attribute all red and gold tinware to France
Diameter 9” 22.5cm
despite evidence that some items were made
Height 23½” 60cm
in Germany. On balance it seems likely that these lamps are French, but the subject requires further research. In any event, they are particularly attractive and the decoration is in very good condition.
51755
81
82
A Regency Period Console Table The superior quality of this console is evident
English Circa 1810
in the particularly fine gallery and ormolu
Width 48" 122cm
mounts. Interestingly, the columns are in
Depth 11" 28cm
rosewood, finished with ormolu capitals and
Height 37" 94cm
bases, creating a very attractive contrast. It is far more common for these columns to be in ormolu throughout.
51649
Important English Furniture
83
A Pair of George III Blue John Candlesticks These candlesticks have ‘Van Dyke’ pans
of the most fashionable houses. The allure of
and nozzles, datable to the late eighteenth
Blue John has been sustained since his time,
century,
and it remains as sought-after now as ever.
and
exceptionally
rare
Blue
John bases, which place these among the finest lustres of the period. The beauty
English Circa 1790
and luminosity of Blue John have long
Height 12" 31cm
been admired. In late eighteenth-century
Diameter 5" 12.5cm
England, Matthew Boulton and his Soho Manufactory produced exceptional ormolumounted garnitures for the chimneypieces
51696
84
An Early George III Mahogany Breakfront Bookcase This superb bookcase, combining Rococo,
by major writers and advisers on English
Gothic, Chinese and Classical motifs,
furniture,
appears to be inspired by more than one
H. Cescinsky and M. Jourdain.
including
R.
W.
Symonds,
design in Thomas Chippendale’s Gentleman and Cabinet-Maker’s Director. The overall
It was also exhibited at the Grosvenor House
form corresponds to a design for a ‘Library
Antiques Fair in 1987, and illustrated in the
Bookcase’, plate 62 in the 1st edition of 1754
companion handbook.
(reissued as plate 90 in the 3rd edition of 1762). Some of the details may be drawn
English Circa 1765
from a design for a ‘China Case’ (plate 137
Width 91" 231.1cm
in the 3rd edition), notably the fretwork and
Depth 26" 66cm
the scalloped cornice of the base section.
Height 103" 261.6cm
A number of stylistic features suggest that
Literature
this cabinet may possibly be by the Wakefield
R. W. Symonds, The Present State of Old
firm of Wright and Elwick, identified as ‘The
English Furniture (1921), fig. 99.
Wentworth Cabinet Maker’ in Christie's
H. Cescinsky, The Old World House (1924), p.
catalogue of the sale from the Wentworth
279
Collection, 8 July 1998. The most notable
M. Jourdain, ’Mr. C. D. Rotch's Collection of
feature is its dependence on designs from
Furniture, Part I,’ Country Life, 7 June 1924,
the two editions of Thomas Chippendale's
p. 237, fig.1.
Gentleman and Cabinet-Maker's Director,
R. Edwards, The Dictionary of English
as detailed above.
Furniture, 2nd edn (1954), Vol. I, p. 87, fig. 24. The Magazine Antiques, October 1995 (trade
A closely related bookcase, without doubt by
advertisement for Hotspur Ltd.)
the same maker, was part of the Leidesdorf Collection (sold Sotheby’s London, 27–28
Provenance
June 1974, lot 78).
Claude D. Rotch, Esq., The Elms, Teddington, Surrey (before 1921)
The present bookcase was once in the
Exhibited by R.A. Lee Ltd. at the Grosvenor
celebrated collection of Claude Rotch,
House Antiques Fair, 1987 (illustrated in the
handled by two major names in English
handbook, p.129)
furniture dealing, Ronald Lee and Hotspur,
Hotspur Ltd. (1995)
and published in The Dictionary of English Furniture, as well as in books and articles
51091
Important English Furniture
85
86
A Pair of George III Pontypool Papier-Mâché Panels Each panel has a central oval with a painted
The source for the second medallion remains
rustic scene, undoubtedly copied from
unidentified
engravings after fashionable paintings. The original source for one medallion has been
The two panels must have been produced
identified as Thomas Barker’s Woodman and
at some point between 1792 (the date of the
his Dog, which was engraved by Francesco
Bartolozzi print) and about 1811 (after which the
Bartolozzi in 1792. Curiously, Barker himself
Pontypool japanning trade went into decline).
came originally from Pontypool, although he spent his working life in Bath. There is no
Welsh Circa 1800
evidence that he had any direct connection
Width 21¼" 54cm
with the Pontypool japanning industry, but
Height 38½" 98cm
his works may have been championed there out of pride in the town’s most notable son.
51722
Fig. 12
Important English Furniture
A Nineteenth-Century Lighthouse This fantastic object was acquired for its
As to the maker or country of origin of this
obvious decorative and amusement value.
possibly unique object, we have only the clue
Only after acquiring it did we discover that
that the light itself was manufactured by the
it is fully functioning electrically. Not only
Carello Brothers, a family-run firm in Turin
does the light at the top turn around as it
supplying lights to the automotive trade. We
would on a working lighthouse, but all the
hope that the publication of this piece here
windows down the column light up.
may bring more information to light.
It is constructed of hundreds if not
Width 16” 41cm
thousands of rectangular pieces of different
Depth 16” 41cm
woods, arranged in a decorative brickwork
Height 99” 252cm
pattern, which must have been a distinctly time-consuming task.
51758
87
88
An Unusual Pair of George III Tables Each table has a writing slide in the central
English Circa 1790
drawer and a cupboard below that does not
Width 35" 89cm
open at the front, but instead is accessed by
Depth 15ž" 40cm
the curved doors at either side. These doors
Height 30" 76cm
are opened by releasing a catch but may also be locked with a key. This placing of the doors
Provenance
makes it possible to sit at each table, with the
The Estate of Henry Luce III (Until 2008)
writing slide out, without blocking access to the cupboard. This consideration also accounts for the curvature of the platform stretcher, which is shaped to accommodate a person’s legs.
51066
Important English Furniture
89
90
A Pair of George III Gilt-Wood Wall Brackets The high Rococo of the mid-eighteenth century is encapsulated in this pair of asymmetric brackets, finely and boldly carved with interlacing ‘C’ scrolls and foliage. English Circa 1765 Width 8½" 21.5cm Depth 6" 15cm Height 13¾" 35cm 51698
Opposite:
A Nest of Tables otherwise known as Quartetto Tables Quartetto tables were novel and versatile
multi-functional furniture for which there
English Circa 1800
objects in the Regency period, lending
was a heightened demand in this period,
Width 22¼" 57cm
themselves to a variety of uses. Sheraton
with the extension of fashionable living
Depth 11¼" 29cm
described their use for needlework in 1803,
to the middle classes, occupying relatively
Height 28¼" 72cm
noting that they are ‘made to draw out of
confined spaces.
each other, and may be used separately,
Reference
T. Sheraton, The Cabinet Dictionary (1803),
and again inclosed within each other when
This is one of the finest sets of quartetto tables
1
not wanted.’ George Smith five years later
that we have handled, being of exceptional
p. 293.
designated them as for drawing rooms,
quality and finished with the greatest
2
where they ‘prevent the company rising
attention to detail. The reeded columns and
from their seats, when taking refreshments.’
peg feet are particularly attractive features.
1
2
These tables were part of the new range of
G. Smith, Household Furniture (1808), p.15
51709
Important English Furniture
91
92
Gillows’ Imperial Pattern Dining Table In 1804, the first ‘Imperial’ pattern dining
English Circa 1804
table was illustrated in Gillows’ Estimate
Length 124½" 316cm
Sketch Book. It would become one of their
Width 56" 142cm
most successful items, and by the late 1820s
Height 28½ " 72cm
almost all the dining tables they sold were of this type.1 The genius of the table is the telescopic action. As Gillows explained, ‘the
Reference
frame slides into the frame under each end
S. Stuart, Gillows of Lancaster and London
and may be used at any size from the two
1730–1840, 2 vols (2008), Vol. I, pp. 243–46.
ends to the fullest extent.’ Fig. 13 reproduced by kind permission of On this example each leg may be unscrewed
City of Westminster Archives Centre
to allow the table to be packed away or easily transported, should the owner need to take it on 'campaign'.
51146
Important English Furniture
Fig. 13
93
94
Fig. 14
A George III Carved Mahogany Commode possibly by Philip Bell This
exceptional
commode
closely
comparison of the two pieces might enable
corresponds in its overall design to a
us to confirm our tentative attribution of the
published piece bearing the label of Philip
present commode to Bell.
Bell (Fig 14) – sharing the same low-slung 1
form, with gently serpentine front and sides,
Philip Bell was probably the son of Henry
canted front corners and large ogee bracket
and Elizabeth Bell, whom he succeeded in
feet, fitted with four graduated drawers and
the business established at the White Swan,
a brushing slide, and picked out with robust
St. Paul’s Churchyard. Interestingly, when he
carving in the same places. However, the
decided to update his trade card he employed
detail of the carving differs on the labeled
Matthias Darly, the engraver responsible for
piece, the current whereabouts of which are
many of the plates in Chippendale’s Director
unknown. Should it reappear, close physical
(Fig. 15).2
Important English Furniture
95
96
English Circa 1760 Width 40” 101.5cm Depth 23¼” 59cm Height 32½” 82.5cm Provenance
Private collection, UK. Reference 1
G. Willis, English Furniture 1760–1900
(1971), pp. 66 (pl. 9), 106 and fig. 83; C. Gilbert, Pictorial Dictionary of Marked London Furniture 1700–1840 (1996), p. 94, fig. 89. 2
G. Beard and C. Gilbert, Dictionary of English
Furniture Makers 1660–1840 (1986), pp. 61, 62 50834
Fig. 15
Important English Furniture
A Pair of French Eighteenth Century Ormolu and Blue John Candle Vases This exquisite pair of vases are mounted
French Circa 1780
with the finest chased ormolu, which still
Width 5" 13cm
retains its original gilded finish. The Blue
Depth 3Âź " 8.5cm
John is a wonderful colour and the striations
Height 8½ " 22cm
of the stone on each vase are a perfect match. This is by no means typical.
51621
97
98
Important English Furniture
99
Opposite:
A NineteenthCentury Bucket of Exceptional Size
A Chinese Low Table
This extraordinarily large coopered oak
The top of the table has been allowed to fade
bucket is also unusual in retaining its lid.
to a golden colour, which glows when the
Probably intended for wood or peat blocks,
light catches it. Perfect for use as a bench at
it could well have stood on a stone floor close
the end of a bed, for use as a coffee table or in
to a suitably grand fire-place.
a hallway, it has a dense timber that makes it eminently functional as well as attractive.
English Circa 1880 Diameter 27" 69cm
Chinese Early nineteenth-century.
Height 42" 107cm
Width 43½" 110cm Height 19" 48.5cm
51654
Depth 15½" 39.5cm 51697
100
A Pair of George II Carved Mahogany Armchairs The curvaceous form of this pair of chairs
English Circa 1750
puts them firmly in the Rococo period. They
Width 27" 69cm
are beautifully shaped – with serpentine
Depth 28" 71.5cm
head-rail, out-swept arms and cabriole legs
Height 38½" 95cm
– and generously sized. The carving is crisp and the wood a golden colour.
51640
Important English Furniture
101
102
Opposite:
A Pair of Regency Occasional Tables
A George II Burr Walnut Kneehole Desk In the eighteenth century desks were
English Circa 1730
A very useful pair of tables of the Regency
described as 'buroes' or dressing-buroes.
Width 30½" 77cm
They were placed in bed-chambers or
Depth 20½" 52cm
dressing-rooms and could be used both for
Height 30" 76cm
period which are light and quirky in design. Each table has a well-figured mahogany top supported on a turned ‘bee-hive’ column above three down-swept legs, which are
dressing and writing. Provenance
fitted with brass mounts and brass ball feet.
This example has the most desirable
Apter-Fredericks ltd, Chelsea
attributes of furniture of this period. The top
The Albrecht Collection
English Circa 1810
is quarter-veneered and edged with herring-
Private Collection, UK
Width 16¾” 42.5cm
bone and cross-banding, and the same two Another desk with canted front corners
bandings are used on the drawer fronts. The
1
Height 29” 74cm
fluted canted front corners are more typical
is illustrated in R. Edwards, Dictionary of
of the chest-on-chest form, but unusual on
English Furniture, 3 vols (1954), Vol. III,
51641
a kneehole desk. This desk also retains its
p.244, fig.10.
Depth 16½” 42cm
1
original feet and handles (elements that are more often than not replaced), and over time its surface has taken on a golden colour.
51746
Important English Furniture
103
104
A Pair of Old Sheffield Plated Carriage Lamps These exceptionally large carriage lamps were presumably made for a carriage of commensurate size and grandeur. Now wired for electricity, they retain their original brackets and would look very impressive lighting an entrance hall or porch. English, Circa 1850 Height 36" 91.5cm 51725
Important English Furniture
105
A Pair of Nineteenth-Century Cannon from Nanteos Mansion Nanteos is one of the finest Georgian
mechanism. Marked 1 and 2 respectively, the
Provenance
houses in Wales and home to the Powell
two cannon are mounted on oak carriages
William Edward Powell
family for over 250 years. The house has a
with brass and iron fittings on wooden
Nanteos Mansion, Aberystwyth, Cardiganshire.
marvellous claim to fame. It was supposed
wheels, complete with elevation checks and
By Descent to Major & Mrs Mirylees (a
to be the resting place of the Holy Grail.
tompions (tompions replaced).
distant relation of Edward Powell) Private collection from 1967.
The so-called Nanteos Cup was reputed to have healing powers and, according to
Philip Magreth, Curator of Artillery at The
legend, was brought to England by Joseph of
Royal Armouries, Fort Nelson, Fareham has
Reference
Arimathea when he settled in Glastonbury.
remarked on the interesting choice of firing
1
After the Dissolution of the Monasteries,
mechanism which is experimental and
its Families (2001),
it was moved to Strata Florida Abbey near
shows a pioneering taste.
Tregarnon, until finding its way to Nanteos
51747
close by. It is tempting to imagine that the
English Circa 1840
cannon were intended to keep it safe.
Length 24" 61cm
1
Width 14" 35.5cm The 24" bronze tapering five stage barrel has a loop cascabel and pull-hammer
G. Morgan (ed.), Nanteos, A Welsh House &
Height 13" 33cm
106
A George III Wine Cooler of Impressive Proportions The design of this mahogany cistern or
example would have demanded a sideboard
wine cooler is taken from Renaissance urns
of commensurate scale. The whole array
executed in bronze or marble, and these in
would have been impressive to say the least.
turn were based on Roman marble originals. The classical allusion would have been
English Circa 1810
obvious to the first owner of this cooler,
Width 33” 84cm
and to his guests. The traditional form is
Depth 23½” 60cm
nevertheless brought up to date with the use
Height 26” 66cm
of carved Greek-revival motifs on the socle and the corrugations on the square plinth, which are all typical Regency features. Wine cisterns were usually placed centrally beneath the sideboard, and the present
51763
Important English Furniture
107
108
A Gilt-wood Eagle Console Table Attributed to William Bradshaw Carved and gilt console tables in the
similar stylized console brackets at the sides;
form of an eagle with splayed wings were
the gadrooning at the bottom of the frieze
highly fashionable in grand neo-Palladian
(which features in a slightly different form
apartments of the second quarter of the
at the top of the frieze on the Chevening
eighteenth century, in both town and country
tables); and the flower-and-ribbon moulding
houses. Numerous variations survive, but
at the bottom (recurring on a smaller scale
the treatment of the present example, with
at the bottom of the frieze on the Chevening
fully splayed wings supporting the frieze, is
tables). Like the present example, the
relatively unusual. Most versions have half-
Chevening tables are also carved in detail on
spread wings with down-turned tips.
the back face of each eagle – a remarkable treatment of a surface that would rarely
A pair of tables with splayed wings was
be seen. The client for whom the present
supplied by William Bradshaw for the
table was made has not been identified.
Tapestry Room at Chevening House in 1736,
Several prominent patrons of Bradshaw are
‘2 Rich Carved and gilt Eagle Tables with
recorded, however, including Frederick,
Frames and Bracketts fixt in the Country’,
Prince of Wales, to whom he supplied goods
£27 4s (Fig. 16). This difference apart, the
to the value of £1,312 in 1737 for a house in
present table has much in common with
St James’s Square.2
1
the Chevening pair, and it is highly likely that this table too comes from Bradshaw’s
This table was probably also made as one
workshop. Among the shared features
of a pair, with the eagles’ heads turned to
are the style of carving of the eagle itself
face each other, as on the Chevening pair
(the body, feathers, head and talons); very
and numerous other examples. Such tables
Important English Furniture
109
110
Fig. 16
Lucy Wood, The Upholstered Furniture in
were more often than not made in pairs,
Reference
but occasionally they were produced as
1
singletons, the head nevertheless facing
Avray Tipping, ‘Chevening – II. Kent, the seat
296–99 and notes 22, 23 and 34.
sideways. The Edinburgh wright (or joiner)
of Earl Stanhope’, Country Life, 24 April 1920,
5
Francis Brodie, whose billhead features
pp. 548–56 (p. 552, fig. 7).
supplied by John Phillips in 1731 for £40;
an eagle table of this type, supplied single
2
G. Beard and C. Gilbert (eds), Dictionary of
see A. Bowett, Early Georgian Furniture
examples on at least three occasions between
English Furniture Makers 1660—1840 (1986),
1715—1750 (2009), p.228 and n.56, pl.5:55
1738 and 1753 – to the Duke of Hamilton, the
p. 100. The Prince of Wales accounts are in the
(reference not cited but probably Badminton
Duke of Gordon and the Earl of Dumfries.
Duchy of Cornwall Record Office.
Muniments, D2700/QJ3/3).
3
Kent Record Office: U 1590, A20a. See H.
S. Pryke, ‘The extraordinary billhead of
the Lady Lever Art Gallery (2008), Vol. I, pp. The Badminton tables were reportedly
A. Oswald, ‘Hall Place – II, Maidenhead,
A single eagle table was also delivered by the
3
London firm of Bell & Moore, in 1734, to the
Francis Brodie’, Regional Furniture, Vol. 4
Berkshire, the seat of Lady Clayton East’,
Solicitor-General (and later Chief Justice)
(1990), pp.81—99 (p.86 and fig.12, the Dumfries
Country Life, 12 March 1938, pp.272–77
Dudley Ryder, almost certainly for the hall
table of 1753). The Hamilton table may be one
(pp. 273–74, figs 3 and 5); later at Christie’s,
of his house in Chancery Lane. Described as
now in the Royal Collection at Holyroodhouse
London, 23 May 1968, lot 124, ill. (the
‘an Eagle frame & Top Carved and Guilded
(RCIN 28203; see http://www.royalcollection.
property of the Lady Anne Tree, removed
in burnished gold’, it evidently had a carved
org.uk/collection/28203/table). But see also
from Mereworth, Kent).
and gilt top rather than a marble slab. It does
Francis Bamford, A Dictionary of Edinburgh
7
not survive, so we do not know whether
Wrights and Furniture Makers 1660—1840,
– II’, Country Life, 24 November 1988, pp.
the eagle head faced sideways or forwards,
Furniture History, Vol.19 (1983), p.46.
82–85 (p.82, fig.1, the White Drawing Room);
like those on an early pair of eagle tables
Bamford attributes another set of tables to
Ditchley Park, Oxfordshire, Official Guide
at Badminton House (which likewise have
Brodie on the analogy with the Holyrood
(1995), pp.16–17.
carved and gilt tops).
table, but the stylistic resemblance is fairly
4
5
generic (ibid., pl. 24B).
6
J. Cornforth, ‘Ditchley Park, Oxfordshire
Fig. 14 With thanks to the Chevening Trustees
English Circa 1735–40
4
Harrowby Manuscripts, Sandon, Vol. 456,
for permission to reproduce an image of one
Height 36” 91.5cm
Penates A – General, 5A Furniture – 1962.
of the pair of tables from the Tapestry Room.
Width 52” 132cm
The table cost £12 and was supplied with a
Depth 27” 68.5cm
protective leather cover at 6 shillings. See also
51633
Important English Furniture
A George II Walnut & Parcel-Gilt Mirror This type of mirror was known in the 1730's as a 'tabernacle' mirror, a term that originally referred to architectural niches in which to place a statue. As remarked by Adam Bowett, 'the figure of the deity was replaced by that of the viewer, seemingly without any sense of irony.' This example is veneered in the more expensive burr walnut, selected for its highly figured grain which was and is still highly prized, and is now a golden colour. The proportions of this mirror are also noteworthy, for the ratio between height and width and mirror plate to frame are well balanced. The shape of the 'swan-neck' pediment is also well drawn. English Circa 1740 Width 31" 79cm Height 59" 149cm Reference 1
A. Bowett, Early Georgian Furniture 1715-
1740 (2009), pp. 294–95; see also ibid., plate 6:63 (a similar mirror from Apter-Fredericks’ archive). 51723
111
112
Acknowledgements Daniel Brooke for photography Jason Hopper from District-6.com for the design and production of this brochure Adam Bowett for his assistance Phillip Shepherd for all his extra hours Š 2013 Apter-Fredericks Ltd.
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