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
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IMPORTANT ENGLISH FURNITURE
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Welcome to the Apter Fredericks catalogue, Important English Furniture V. Once again, we have scoured the globe to bring you some of the best treasures from the eighteenth and early nineteenth centuries which are currently available on the market. We hope that they may excite and intrigue you. Here at Apter Fredericks, the atmosphere is a positive and forward-thinking one. We are a tight-knit team which operates professionally, smoothly and efficiently. When appropriate, we can see the less serious side of life and we love it when this can apply to what we’re doing on a day-to-day basis because we like to have fun. We have been described as open, honest and direct and we aim to be accessible and approachable. Indeed, one of Apter Fredericks’ most characteristic traits is the importance we place on the relationships we form with our clients. So, if you would like to make an appointment to view anything in our stock or would like to just come in and have a general chat and a cup of coffee in our showroom in Chelsea, please don’t hesitate to contact us. We would love to see you. Harry, Guy & Alice
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IMPORTANT ENGLISH FURNITURE
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51889
A George II Carved Side-Table Attributed to William Linnell, The Design Possibly by John Linnell On occasion it can be difficult to express the beauty, the importance and the value of a piece in words. How can one succinctly explain why the design and execution of this particular table is the epitome of mid eighteenth century craftsmanship where others may well have all the elements of a great table but actually be a collection of different parts rather than a coherent and successful piece of art? Perhaps it is simply that this table was designed by an artist. After all, not only did John Linnell train at Hogarth’s St. Martin’s Lane Academy, but he is considered to be one of the most innovative cabinet makers of the eighteenth century. Certainly, this table is outstanding in every aspect, it is robust, dynamic, finely detailed and commands attention. The table would in all likelihood have started life with a white paint finish and there is evidence remaining in small areas of carving. It is likely that when the table moved from Beechwood to Cheverells, a decision was made to either remove the paint finish or that the paint had deteriorated to such an extent that the remainder was removed. When we acquired the table, the pine surface had patinated and aged and we considered that the natural wood showed off the splendour of the table to such a level that to re-finish it would be detrimental to its wonderful appearance. English Circa 1750 Width 70½” 180cm Depth 31½” 81cm Height 33” 85cm
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PROVENANCE
William Chambers who was re-designing
Lt-Gen Sir John Saunders Sebright, 6th
the dining room and drawing room
Baronet, (1725-1794) and thence by descent at
during the 1750s and may serve to explain
Beechwood Park, Flamstead, Hertfordshire
the Kentian elements of the table (a style favoured by Chambers) which are combined
ATTRIBUTION
with a more contemporary rococo style.
Elements of the design of the table offered here correspond closely to the John Linnell
WILLIAM LINNELL & A NEWLY ESTABLISHED
pen and ink design for a side table which
LINK TO FLAMSTEAD AND BEECHWOOD PARK.
forms part of the collection of designs that
The Sebright family are previously known
were bequeathed by Linnell to Thomas
to have been patrons of the cabinet-maker
Tatham(1762-1818) who it appears passed it
William Linnell through their multiple
on to his brother C.H Tatham(1772-1842)
appearances on the 1763 Abstract of Debts
who titled them ‘a miscellaneous collection
(Public Record Office C107/69) compiled on
of original designs, made and for the most
William’s death. Amongst William’s debtors
part executed during an extensive practice of
are Sir Thomas Sebright, 5th Bart who died
many years in the first line of his profession,
in 1761 (£26 10s 4d). Sir Thomas Sebright’s
by John Linnell, upholsterer, carver and
brother Sir John Sebright, 6th Bart also
cabinet maker. Selected from his portfolios
appears on the list (£3 10s 0) and also Lady
at his decease by C.H Tatham, architect
Sebright (7s 0d).
A.D 1800’. The V&A design for a sidetable employs the same hairy foot and lion’s
While Pat Kirkham records William Linnell
mask utilised on the lot offered here. The
as being born in 1703 in Hemel Hempstead,
carved detailing reflects the early carving
the son of yeoman John Linnell, it would
style of William Linnell seen in the carved
appear that William is likely to have been
‘twisted ribbon and flower’ and the ‘raffle
baptized in 1703 but was born in 1702 in
and leaf’ details for the mouldings at the
Flamstead. Most significantly it would
Radcliffe Camera in Oxford and illustrated
appear that by this date William’s father
in H.Hayward and P.Kirkham, William and
John Linnell Snr, a yeoman farmer, was
John Linnell, London 1980, p.18-19, pl.30 &
already the lessee of Beechwood Farm on
32. The original setting for the Beechwood
the Beechwood Park Estate. Extant copies
table is not known as it does not appear in
of leases in Hertford Records Office show
the 1938 photographs taken for Country Life
him as a co-lessee as early as 1694 when an
and may well have already been moved to
agreement between Ellen Saunders, widow
Cheverells, the Sebright Dower house where
of Thomas Saunders, Esq., and John Linnell
the family were living by the end of the 19th
of St Michael’s for a lease to Beechwood
century. If indeed it formed part of the 1750s
Farmhouse and land in Flamstead was
scheme for the drawing room or dining
granted (Hertford Records Office DE/
room then it may well have been supplied by
FL/17652 18 Dec 1694). There are three
Linnell working under the direction of Sir
further extant leases to John Linnell Snr of
IMPORTANT ENGLISH FURNITURE
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IMPORTANT ENGLISH FURNITURE
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Plate 1. Design for a side table by John Linnell. The Victoria & Albert Museum Collection.
Beechwood Farm dating to July 1698, Dec
WILLIAM AND JOHN LINNELL
1714 and July 1720. It may well be that his
William Linnell was apprenticed as a joiner
tenancy went on past this date as his death
in 1717 and was admitted to the freedom of
was recorded in Flamstead in 1754. This
the Joiners Company on 3 June 1729. Linnell
may well indicate that William Linnell
began his career as a carver but by the 1760s
was raised on the Beechwood Park estate.
he had developed the business sufficiently to
On establishing himself as a carver and
cover all areas of cabinet-making. The 1763
later a cabinet-maker in London he would
valuation of William Linnell’s household
have been well appointed to secure work
goods and stock-in-trade show a specialist
at Beechwood Park and from the Sebright
room for carving and gilding. Pat Kirkham
family with whom he seems likely to have
notes in her 1967 article for Furniture
been acquainted from childhood.
History that this highlights an interesting contrast between the Linnell workshop
THE SEBRIGHTS AND WILLIAM LINNELL -A
and that of Thomas Chippendale Jr who
NEWLY IDENTIFIED ESTIMATE AND INVOICE
according to the plan of their workshop
Fresh research into the furnishing of
from 1803 where they have a specialist room
Beechwood Park has uncovered previously
for veneering thus highlighting the differing
unrecorded correspondence from William
focus of the two firms. Linnell’s position
Linnell. Most notably these include a 1744
amongst the London cabinet-makers may
estimate for Lady Sebright and an invoice
therefore have been established by retaining
from 1750 (Hertford Records Office Ref/
their early carving and gilding specialism.
Acc 5333) placing the Sebrights amongst his
After William’s death in 1763, the valuation
earliest and most long-standing clients. The
of household goods and stock in trade
family presence on the 1763 list of debtors
amounted to £1603, 0s 6½d comparing
compiled on William’s death document
favourably to that of Thomas Chippendale
a professional relationship lasting nearly
which after the death of James Rannie in
twenty years.
1766 was valued at £1,900 indicating that William Linnell left a business in good
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shape that was certainly amongst the
cast about for new combinations of form
most prominent in London. John Linnell’s
and ornament. While running the design
apprenticeship as a cabinet-maker was
side of the firm John Linnell would have
unusual; in addition to training with his
come into contact with many of the most
father William’s firm on Long Acre he
prominent architects of the period. Lancelot
also attended Hogarth’s St Martin’s Lane
‘Capability’ Brown, who was also engaged by
Academy where he studies drawing and
Sir Thomas Saunders Sebright at Beechwood
design in an international, intellectual
Park, was entrusted by Lord Coventry to re-
environment. John Linnell’s artistic talent
build Croome Court and entrusted the task
had an immediate impact upon the firm,
of designing chimney pieces and overmantels
being an artist by both training and
to John Linnell demonstrating how architects
inclination. Linnell joined his father full
would sometimes entrust the design of these
time in 1753, specialising in rococo design.
elements to the specialist craftspeople that
Linnell’s talent combined with his St
they engaged. By 1762 Linnell was working
Martin’s Lane connections meant that, far
with Robert Adam at Kedleston Hall, followed
in advance of most cabinet-makers, he was
by Osterley Park in 1767. Through his direct
aware of Delafosse and was experimenting
contact with Adam, the eclectic designs of
with neo-classicism by 1760. His designs
Linnell were gradually replaced with an
from this period show that Linnell was
increasingly refined, pure neo-classicism that
experimenting with the new style and the
was fully established by 1775.
results were both novel and eclectic as he
IMPORTANT ENGLISH FURNITURE
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51687
A Nineteenth Century Blue John Urn The urn of unusually large size
English Circa 1830
with a striking purple vein
Height 18½” 47cm
running through the stone.
Diameter 5½” 14cm
The urn stands on a square plinth with Ashford marble and alabaster mouldings.
51686
A Pair of George III Blue John Columns Designed in the Roman fashion
second half of the eighteenth
and intended to be placed on a
century, at which time it was
mantel piece, the superbly veined
used for both decorative and
blue john columns are contrasted
architectural purposes. One of
with the alabaster and black
the first pioneers of this type
marble plinths and capitals.
of work was Robert Adam who used ‘Blue John’ for inlay
English Circa 1780
in the interiors of Kedleston
Height 19” 48cm
Hall for Lord Scarsdale, whose collection includes a pair of
The use of this wonderfully
columns similar in form to the
coloured
ones offered here.
increasingly
mineral popular
became in
the
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IMPORTANT ENGLISH FURNITURE
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90216
A George III Landscape Mirror Intended to sit above a mantelpiece these mirrors, where the width is greater than the height, are always harder to find than others. This example is of a superior quality than most and this is clearly illustrated by the depth of the carving and the detailed nature of the design. This is particularly evident in the vine climbing up the columns that divide the three plates and it is exactly this three dimensionality that marks out a good mirror. English Circa 1765 Width 63½” 161cm Height 33½” 85cm PROVENANCE
Private Collection, Canada
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51994
A George II Carved Mahogany Armchair The chair is an exceptional example of mid eighteenth century chair making. The intricately carved back is a pattern seen in a number of examples, including a set of six side chairs from Pallinburn, Northumberland and a side chair from the Leisdorf Collection. However, there are also other variations of this pattern illustrated in various textbooks. In 1951, as part of the Festival of Britain, The Leeds Art Collections Fund held an exhibition devoted to Thomas Chippendale, England’s most famous cabinet maker. This particular armchair was exhibit number 57. The needlework is eighteenth century but not original to the chair. English Circa 1755 Width 28½” 72cm Depth 24” 61cm Height 39” 99cm PROVENANCE
Sir Gervase Beckett, Kirkdale Manor, N. Yorkshire By Descent to Mrs J. Egerton, Cornborough Villa, N. Yorkshire. EXHIBITED
Temple Newsam House. Thomas Chippendale, A Festival of Britain Exhibition. June 1951.
Paper label to inside seat rail
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A Fine Collection of Blue John Objects Dating to the late eighteenth and early nine-
English Circa 1790-1830
teenth centuries, this collection comprises
Columns
tazzas of various shapes and sizes and a pair
Height 14" 35.5cm
of columns of smaller scale than the pair on
Largest tazza
page 11. All items in excellent condition.
Diameter 7½" 19cm
IMPORTANT ENGLISH FURNITURE
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51931
An Exceptionally Rare Pair of Gilt-Wood Girandoles Mimicking the form of larger mirrors,
English Circa 1740
this delightfully small pair include all the
Width 9¾” 25cm
features and motifs so typical of the period.
Height 24¾” 63cm
The carved cartouche sits between the swan neck pediment above a bevelled mirror plate
PROVENANCE
framed by a bead and reel moulding, incised
L. Loewenthal Antiques, Chawton, Hants
gesso decoration and egg and dart border.
1968 £540 with original receipt
With trailing foliage to each side and an apron with brass candle arm.
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IMPORTANT ENGLISH FURNITURE
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51976
A George III Carved Mahogany Tripod Table The table has a rectangular top with a
are of outstanding quality and certainly
‘Chinese’ fretwork gallery supported on a
London made. The cabinets have been
fluted column above an acanthus carved
confidently attributed to Vile & Cobb and
vase and tripod base with scroll feet. The
whilst extending the attribution to this table
exceptional colour of the top marks this
based only on the design of the gallery would
table out. The mahogany has been allowed
be presumptuous, it should not be dismissed.
to fade and build up a wonderful patination that causes the top to glow in the light.
English Circa 1760 Width 29½ “ 75cm
The design of the fretwork gallery may be
Depth 20¼” 51.5cm
seen in the pierced fretwork panels on the
Height 29¼ “ 74cm
pair of pagoda top cabinets illustrated on the front cover of Apter-Fredericks, Important
REFERENCE
English Furniture, Volume IV.
Apter-Fredericks Ltd., Important English Furniture, vol IV.
It may be seen again on a candlestand
R.W. Symonds, English Furniture from
illustrated by Symonds in English Furniture
Charles II to George II. p.193, fig.198
from Charles II to George II. All three items
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51829
A Superb Pair of Regency Period ‘Temple’ Candelabra The candelabra bases are modelled on
of over £1,000. It was completed in 1808 and
miniature temples, in this case with the
was fourteen feet high and six feet six inches
finest ormolu we have seen on candelabra
in diameter. William Pyne, whose great work
of this period. The lemon coloured glass
on the Royal Palaces was published in 1819,
columns and drops increasing their rarity.
considered this chandelier to be one of the finest in Europe. Many of Parker and Perry’s
A pair of candelabra with temple bases
chandeliers were removed at the dismantling
is illustrated in M. Mortimer, The Glass
of Carlton House, and placed in Buckingham
Chandelier, Plate 53 in which he attributes
Palace where they remain today.
them to Parker & Perry. Both were leading manufacturers before their partnership but
English Circa 1800
together were commissioned to produce a
Diameter 5¼” 13.5cm
fifty-six light chandelier for the Crimson
Height 14¼” 36cm
Drawing Room in Carlton House at a cost
IMPORTANT ENGLISH FURNITURE
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51962
A Satinwood Commode Attributed to Mayhew & Ince This fine commode bears all the hallmarks
sided uprights like this commode, but
of the workshop of Mayhew & Ince, in form,
usually with a solid front faรงade and with
construction and decoration. The semi-
doors in the ends.
circular shape is an combination of two types from their workshop: one model with
The
decorative
composition
a single front door and solid end panels, as
painted
here, usually has tapering front uprights in
flanked by classical vases, surrounded by
between; while the other model has parallel-
floral swags, ribbon bows, husks, laurel
figurative
front
with
a
medallion
IMPORTANT ENGLISH FURNITURE
and other marquetry motifs, may be compared to the famous Derby House Commode designed by Robert Adam for the Countess of Derby, and manufactured in 1775 by Mayhew & Ince – who thereafter adopted and adapted the design, in countless variations, for other clients. The extensive use of engraving, filled with black, white and red mastic, to enliven the stained marquetry, is also highly characteristic of Mayhew & Ince, and this decoration is exceptionally well preserved on the present commode. The decoration of the top was designed to be reflected in a mirror, resting on the plain band at the back – so creating a fully circular composition. The present commode is particularly closely related to two other versions attributed to Mayhew & Ince, and indeed the top of one is almost identical to the top of this commode. On one of these the central medallion is painted on paper, as on this example. These paintings would have been portable, so may well have been subcontracted outside the workshop. This portrayal of Venus and Cupid is loosely in the style of Angelica Kauffman and Antonio Zucchi, many of whose works were engraved and so adapted by other decorative painters. However, no engraving has been identified as the direct source for the present medallion, which is therefore more likely to be an autonomous composition by an unknown artist. English Circa 1775–80 Width 43¼” 110cm Depth 23” 58.5cm Height 34½” 77.5cm REFERENCE
R. Symonds. The Present State of English Furniture, fig.106 P. Macquoid, A History of English Furniture, vol.4, p.177
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Previous spread and above: 51669
A Pair of George III Satinwood Armchairs to a Design by Thomas Sheraton The design for the back of these chairs can be found in Thomas Sheraton’s Drawing Book. (Published 27th October 1793) It is rare to find exact designs for any eighteenth century piece. The rarity and attractiveness of these chairs is further enhanced by the use of satinwood rather than the more typical use of mahogany. English Circa 1790 Width 22" 56cm Depth 22½" 57cm Height 36” 92cm
The Cabinet-Maker & Upholsterer’s Drawing Book, T. Sheraton, pl.28
IMPORTANT ENGLISH FURNITURE
90228
An Exceptional Urn Stand This is an excellent example from the Hepplewhite period with inlaid decoration, original gallery and of great colour. The table may be the one formerly at Godmersham Park before being sold in the early 1980s and is also identical to another table in the Norman Adams Collection. Intended for a samovar or tea urn, it has a slide which may be pulled out to take the tea-pot. Width 11” 28cm Depth 11” 28cm Height 27¼” 69cm
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IMPORTANT ENGLISH FURNITURE
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51887
A Pair of Regency Period Chinese Nodding Figures In Zoffany’s painting of Queen Charlotte at
not the first time we have seen this model
Windsor in 1764, two nodding head figures
but they are certainly far rarer than the
are depicted. If they waned in popularity in
plaster examples.
the latter half of the century, they certainly made a resurgence in the Regency period
English Circa 1800
when a number of them were installed in the
Width 9½” 24cm
corridors of Brighton Pavilion.
Depth 7½” 19cm Height 12” 30cm
However, whilst these figures were made of plaster, this pair are made of lead. This is
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IMPORTANT ENGLISH FURNITURE
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IMPORTANT ENGLISH FURNITURE
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Previous spread and above: 51896
Lady Craven’s Pair of George III Inlaid Card Tables Whilst the various woods would have
English Circa 1795
originally created a kaleidoscope of colour,
Width 38” 84cm
they have mellowed over the years. There
Depth 17” 43cm
is still variation, but it is far softer and the
Height 29¾” 75cm
patination which has built up over time lends the tables a warmer and vastly more
PROVENANCE
appealing appearance.
Lady Craven. Possibly Hamstead Park, Berkshire
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IMPORTANT ENGLISH FURNITURE
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51932
A George III Rococo Period Carved Gilt-Wood Mirror In 1689 Sir Charles Duncombe, a London
Interestingly, in searching our reference
goldsmith, purchased the Helmsley Estate
library for comparable mirrors, it became
from the Duke of Buckingham, a court
apparent that when we found either of
favourite but serial over-spender. The
these motifs, they were on mirrors of a very
purchase price of £90,000 was said to be the
high standard, which would support an
largest ever made by a “commoner”.
attribution to Johnson.
Sir Charles Duncombe’s mansion was
English Circa 1760
completed in 1713 and his nephew Thomas,
Width 27½” 70cm
for whom this mirror was presumably
Height 52¼” 133cm
made, was the first occupant. In 1774, Anne Duncombe, his daughter married
PROVENANCE
Robert Shafto, of Whitworth Hall, near
Earl
Spennymoor, County Durham, the famous
Helmsley, North Yorkshire
“Bonny Bobby Shaftoe” of the folk song.
By descent to Lady Clarissa Collin, daughter
of
Feversham,
Duncombe
Park,
of the Earl of Feversham The inclusion of a carved swan at the
In 2012, Duncombe Park was used in the
bottom of this mirror and the double ‘C’
filming of Parade’s End starring Benedict
scroll balustrade at the top suggest the
Cumberbatch and Rebecca Hall.
work of Thomas Johnson, possibly the most successful mid eighteenth century mirror designer and carver, whose designs included both of these features.
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147
A Superb Regency Ormolu, Bronze and Glass Chandelier This charming Regency chandelier has great style and elegance. The quality is excellent and its size and scale make it very suitable for the modern home. Enhanced by griffins and satyr masks with guilloche mouldings perfectly set off by the fine glass drops and canopies. English Circa 1820 Height 45” 115cm Diameter 17¾” 45cm PLEASE NOTE
The chandelier can be shortened in height by removing one link from each chain without affecting the design. This would reduce the height to 39” 100cm
IMPORTANT ENGLISH FURNITURE
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IMPORTANT ENGLISH FURNITURE
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51998
A Regency Period Lacquer Centre Table This spectacular table, with its japanned
The early Craces - Edward, John and
iron top and papier mâché apron, belongs to
Frederick - had each trained as coach-
a strikingly decorated and intriguing group
makers
of tables and side-cabinets about which
their trade in Long Acre, where many
surprisingly little is known.
japan workshops were situated. Since it
or
decorators,
and
practiced
was fashionable, at the time, for coaches English Circa 1815
to have been japanned and emblazoned
Diameter 42” 106.5cm
with heraldic emblems, the Craces would,
Height 28” 71cm
certainly, have had some knowledge of the japanning process. Nevertheless, in view
ATTRIBUTION
of the specialised equipment required, it is
Such furniture has been tentatively linked
unlikely that they would have undertaken to
with the London firm of John and Frederick
japan anything so large as the round panel
Crace, and its iron panels frequently
on this table or, indeed, as the panels in the
associated with John Hanbury’s celebrated
associated cabinets.
Pontypool Japan Works in Monmouthshire. The reasons for these attributions are two-
The japanned panels in question were
fold. First, the Brighton Pavilion-style of
produced in a wholly different way from
these tables and cabinets accords with much
the earlier European furniture decorated
of the furniture and interior decoration
in imitation of oriental lacquer. Instead of a
designed and made by the Craces for George,
shellac-based varnish, later iron and papier
Prince of Wales’ extravagant seaside folly at
mâché articles like this table top, were
Brighton, and second, the name Pontypool
coated with several layers of asphaltum or
is often used as an umbrella term for all
tar-varnish - a substance which hardened
high quality japanned iron of the period.
only if each coat was stove-dried. Baking
However, the painted panels common to all
large sheets, whether made of iron or paper,
such pieces and surely, the most significant
required very large stoves which, as one
and eye-catching part of their decoration,
Birmingham japanner observed in 1794,
so
accounted for the greatest outlay in setting
closely
resemble
those
found
on
contemporary iron and papier mâché trays
up as a japanner.
and tea-boards made by japanners in both the English midlands, and in London, that
Thus, with experienced and specialist
it raises the interesting possibility of their
firms of japanners like Dyson & Benson,
having been made in the same workshops.
or Valentine & Hall in nearby Clerkenwell,
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and the London showrooms and workshops
among japanners between about 1812 and
of Midlands japanners like Henry Clay, and
1820. It involved applying various metal
Obadiah and William Ryton, to name but
powders with a soft material such as leather
a few, Messrs Crace, or whomsoever made
or cotton, over a cut-paper or parchment
this furniture, were more likely to have out-
stencil, but as on the ‘oriental’ figures within
sourced the japan-work than they were to
this design, the motifs could be enhanced
have undertaken it themselves.
with transparent washes of colour. It is a style of decoration which again, like the fine
There is a further fact which may prove
and richly coloured chinoiserie scenes found
significant. The bankruptcy sale, following
on similar cabinets and tables, points to a
the closure of Dyson & Benson’s ‘Japan
link with the decoration of contemporary
Tin and Paper Tray Manufactory’, in 1823,
japanned trays.
included ‘ highly finished Salvers, Trays and Waiters, in Sizes, … a superbly painted
It is of course possible that this table
Iron Table Top, 4 Feet 6 Inches Diameter
and other pieces of its type were made
[and] a large Assortment of black japanned
entirely in one workshop. Certainly, their
Paper Panels [and] Skreens.’ This may have
decorative painted and gilt borders have
been too late for such pieces to have been
much in common with those found on
incorporated into the furniture in question,
contemporary trays. However, until such
but it does demonstrate that Dyson &
time as documentary evidence comes to
Benson, and probably other japanners also,
light, we can only speculate about where and
made iron table tops comparable to the one
by whom these distinctive pieces were made.
found on the table under discussion. This is a fine table in its own right but as the The iron top of this table is unusual within
only known piece of its type to be decorated
this category of furniture for being decorated
almost wholly with bronze powders, it could
almost entirely with so-called early bronzing
provide an important link in discovering
– a technique which was at its most popular
where, and by whom, such pieces were made.
IMPORTANT ENGLISH FURNITURE
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IMPORTANT ENGLISH FURNITURE
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51915
A Pair of George III Cabinets During the Regency period, English cabinet
Pavilion, this pair use the same simulated
makers once again looked to the Far East for
bamboo form, in this case the wood is
inspiration. Driven on by the Prince Regent,
actually satinwood. The bamboo furniture
who adopted the style for the decoration
from Brighton is attributed to Crace & Sons
and furnishings of Brighton Pavilion,
who may well have been responsible for
and his great friend Lady Fitzherbert
these cabinets.
whose furnishing of the Chinese room at Middleton Park were exceptional, the style
English Circa 1810
became extremely popular.
Width 36½” 92.5cm Depth 9¾” 25cm
Although somewhat simpler in decoration than comparable cabinets made for Brighton
Height 35½” 90cm
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51952
Two Life Size Basso Relievo Paintings of Ducks in their Original Frames by William Hayes The paintings have great charm, are in
William Hayes was one of the principal
excellent condition, and are exceptional for
artists to popularise the technique of basso
being life size representations of a pochard
relievo which used a copper plate to emboss
and a mallard. William Hayes was one of
certain areas of a picture to give a three
the only artists to depict his subject matter
dimensional feel.
at life size. English Dated 1773 & 1774 It is not clear from the photograph, but
Width 19” 48.5cm & 19¾” 50cm
the birds are painted on a raised ground.
Height 14½” 37cm & 15¼” 39cm
IMPORTANT ENGLISH FURNITURE
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WILLIAM HAYES (1735-1802)
ornithological subjects. Like his American
A self-taught artist and illustrator, best
counterpart, Audubon, he also depicted birds
known for his ‘A Natural History of British
life size where possible in fascinating detail.
Birds’ (1775) and ‘Rare and Curious Birds Accurately Drawn and Coloured from their
He is also known to have depicted birds
Specimens from the Menagerie at Osterley
belonging to patrons such as the Earl of
Park’ (1794-1799).
Sandwich and John Montagu. His endeavours were very much a family business, enlisting
He had privileged access to the aviary and
the assistance of seven of his children with
collection of exotic birds at Osterley Park,
the creative and assembly process. He
Middlesex, as well as that of the Duchess
produced illustrations of a wide range of
of Portland’s collection. He drew from life
birds indigenous to Great Britain and Europe
and faithfully and accurately reproduced
as well as exotic and American species.
46
90201
A George III Carved Mahogany Chippendale Period Card Table This concertina action card table is profusely carved with fretwork to the frieze and the legs. The guttae feet draw comparison to the suite of seat furniture from St Giles House, Dorset which was supplied to the Earl of Shaftesbury probably by Vile and Cobb, one of the most accomplished furniture-making firms of the eighteenth century. Some of the most important examples of carved mahogany furniture from this period were produced by Vile, who specialised in carving. English Circa 1760 Width 36” 91cm Depth 18” 46cm Height 29” 73cm PROVENANCE
Private Collection, Canada.
IMPORTANT ENGLISH FURNITURE
47
48
IMPORTANT ENGLISH FURNITURE
49
50
Previous spread and above: 51745
A Pair of George II Parcel-Gilt Gainsborough Armchairs Attributed to Paul Saunders ‘Mr. Saunders for 10 Elbow chairs with
working at Holkham in the 1740s. It is
Charles Joel Duveen in the early twentieth
carved and gilt frames and covd. Cut blue
certainly possible that he was influenced by
century and subsequently with Phillips of
Turkey leather £74. 0. 5.’ And with ‘two large
Bradshaw’s work, which is strikingly similar
Hitchin in 1948. By 1978 the suite had been
sophas’ en suite.
and may be seen by comparing Saunders’
divided and this pair were sold by the dealer
(Holkham Accounts for the week ending
work with Bradshaw’s set of four armchairs
Trevor in 1978.
11th June 1757)
from Chesterfield House, now in the
Private Collection
Metropolitan Museum of Art in New York. The design of these chairs bears such a
LITERATURE
close resemblance to the suite mentioned
English Circa 1755-60
H. Cescinsky, English Furniture of the
in the account above that their attribution
Width 31” 79cm
Eighteenth Century, 1911, vol.II, p.91,
to Paul Saunders, leading cabinet-maker,
Depth 33” 84cm
fig.89 (an armchair from the suite; with
upholsterer and ‘Tapestry Maker to His
Height 41½” 105cm
C. J. Charles, Esq.).
PROVENANCE
M. Jourdain and F. Rose, English Furniture,
Saunders was likely to have been introduced
This pair of chairs were almost certainly part
The Georgian Period (1750-1830), London,
to Lord Leicester through another cabinet-
of a suite comprising at least eight armchairs
1953, p.71, fig.30 (an armchair from the suite
maker William Bradshaw, who was recorded
and two sofas that were in the possession of
with Phillips of Hitchin).
Majesty’ is extremely plausible.
IMPORTANT ENGLISH FURNITURE
51
51957
A George II Carved Gilt-Wood Console Table Carved and gilt console tables in the form
Both of these examples display the same
of an eagle with splayed wings were highly
degree of carving to the back of the
fashionable in grand neo-Palladian houses
eagle, despite the fact that it would not be
of the second quarter of the eighteenth
seen, and both eagles have outstretched
century. Numerous variations survive, but
wings supporting the table top, which are
the treatment of the present example, with
quite particular features that endorse an
fully splayed wings supporting the frieze,
attribution to Bradshaw.
is relatively unusual and comparisons may be drawn to a table attributed to
English Circa 1740
William Bradshaw and illustrated in Apter-
Width 39¾” 101cm
Fredericks, Important English Furniture,
Depth 20¼” 51.5cm
Volume III.
Height 31¾” 80.5cm
52
51968
A Pair of Regency Occasional Tables When we purchased these tables they seemed
English Circa 1820
familiar. Looking back over our records we
Width 22¼” 57cm
discovered that we had last owned them in
Depth 16” 41cm
the days of black and white photography!
Height 30½” 77cm
We have now re-photographed them in colour which reveals the contrast between the wood and the ormolu gallery and brass inlay.
IMPORTANT ENGLISH FURNITURE
53
54
IMPORTANT ENGLISH FURNITURE
55
51721
The Tyrell Family Mirrors from the Percival Griffith Collection In 1723, Sir Walter Tyrell was appointed High Sherriff
R.W. Symonds, who was advising Griffiths, and a
of Berkshire. In the same year, he purchased Hatford
number of other important collectors at the time,
House, which was to become the principal Tyrell
illustrated one of the mirrors in English Furniture
residence. These mirrors, which date to this era, would
from Charles II to George II.
presumably have been commissioned for the new house. Each of the mirrors has the Tyrell family arms
English Circa 1725
elaborately carved to the crest and it is tempting to
Mirror A:
speculate as to what the inclusion of the family arms
Width 35¼” 89cm
says about Sir Walter. With his elevation in station,
Height 67¼” 171cm
was he merely celebrating or was he flaunting his new
Mirror B:
position? Additionally, is the fine quality of this pair
Width 36” 91cm
of mirrors indicative of the quality of the rest of the
Height 70” 178cm
furniture he commissioned? PROVENANCE
Sir Walter Tyrrell, Rectory House & Hatford House, Stanford in the Vale, Berkshire Percival D. Griffiths FSA, Sandridgebury, Hertfordshire LITERATURE
R.W. Symonds, English Furniture from Charles II to George II, 1929, p.13, fig.6 R.W. Symonds, ‘Sandridgebury: The Country Residence of Percival D. Griffiths’, Antiques, March 1931, pp.193196, ‘The Dining Room’ The Dining Room, Sandridgebury.
‘Percival Griffiths, F.S.A.: A Memoir on a Great
There can be no greater testament to the quality of
Collector of English Furniture’, The Antique Collector,
these mirrors than their inclusion in Percival Griffith’s
November-December 1943, pp.163-169.
collection, widely regarded as the greatest collection of eighteenth century furniture formed in the last
REFERENCE
century. Indeed, in his introduction to the Gerstenfeld
E. Lennox-Boyd, ‘Introduction: Collecting in the
Collection, Lennox Boyd discusses Griffith’s collection
Symonds
as being recognised as a bench mark of excellence in
Furniture, The Gerstenfeld Collection, 1998, pp.14-31).
the arena of collecting early to mid-eighteenth century walnut and mahogany furniture.
Tradition’
(Masterpieces
of
English
56
IMPORTANT ENGLISH FURNITURE
57
58
Previous spread and above: 52002
A Pair of George III Inlaid Commodes This pair of chests or commodes are
commodes of such small scale. Furthermore,
decorated with inlaid ribbons, swags of bell
rather than simply being bow-fronted, the
flowers, patarae and garlands of flowers.
cabinet maker has improved the design by
Decoration associated with the latter half
cleverly placing the bow-shaped graduated
of the eighteenth century and in this case,
drawers between inlaid pilasters which
finely executed. The colours of the woods
subtly lends the commodes greater presence.
used would have been vibrant and powerful against the plainer sycamore background
English Circa 1775
when these were originally made. Now,
Width 22¾” 58cm
of course, the contrast has faded and the
Depth 20¼” 51.5cm
sycamore has become a ‘room-warming’
Height 30¼” 77cm
golden colour. LITERATURE
Aside from the quality and colour, it should
L. Synge, Great English Furniture, p.154,
be stressed how rare it is to find a pair of
fig.174.
IMPORTANT ENGLISH FURNITURE
51891
A George III Mahogany Tripod Table A simple and elegant table which is richly patinated, exactly as a table of this age should be. The top has a delightful spindle gallery and sits upon a classic ‘bird-cage’ support, while the column tapers gently and is crisply carved with a spiral flute. English Circa 1760 Diameter 21” 53.5cm Height 28½” 72cm
59
60
IMPORTANT ENGLISH FURNITURE
61
51908
A Pair of Irish Gesso Side Chairs Originally known as ‘back-stools’ this pair of chairs are of a model that one sees in English furniture but less so in Irish furniture. The cabriole legs are more shapely than on most Irish chairs but it is the treatment of the lion paw feet and the carved ‘fetlock’ above which are particularly distinctive Irish patterns. There are two further features that raise them above other examples, the way in which the back legs have been finished to the same extent as the front legs, and the carved knee encroaching into the seat-rail. Irish Circa 1725 Width 25¾” 65.5cm Depth 25½” 65cm Height 38” 97cm ATTRIBUTION
A comparison may be drawn between these chairs and a pair in the Horace Wood Brock Collection which are attributed to Thomas Roberts and bear striking similarities to a set of chairs made for Houghton Hall which have also been attributed to Roberts. PROVENANCE
By repute, The Earl of Rosse, Birr Castle, Co. Offaly, Ireland. William Parsons, 3rd Earl of Rosse, was responsible for the construction of the great telescope at Birr. When completed in 1845, it was the largest telescope on earth, and capable of capturing more light and seeing further into space than any telescope had done before. Birr therefore became a focus for astronomical observations, and visitors came to visit the observatory from all over the world - including Charles Babbage and Napoléon Eugène, Prince Imperial. REFERENCE
Splendor & Elegance, European Decorative Arts & Drawings from the Horace Wood Brock Collection. pl.21 L. Wood, The Upholstered Furniture in the Lady Lever Art Gallery, pp.15–16, fig.16–17
62
IMPORTANT ENGLISH FURNITURE
63
Above: 51939
A Pair of Chinese Cloisonné Ducks Ducks have been depicted in Chinese art
wedding present to buy, consider these as a
since at least the Han Dynasty (206 B.C.–220
unique and original gift.
A.D.). A pair of ducks symbolise peace and prosperity, and because it was thought that
Chinese Circa 1820
ducks mate for life and will die if separated,
Height 5½”
marital constancy and fidelity. If you have a
Opposite: 51945
A Pair of George III Tables A very unusual pair of tables the likes of
not know exactly what these tables would
which we have not seen before. A great deal
have been used for. Ideas include their being
of English furniture of this period was made
stands for either globes, wigs or plants.
on a commission basis. Consequently, the purpose of some pieces that appear on the
English Circa 1800
market is not always easy to establish. This
Diameter of top 12” 30cm
pair of tables fall into this category and
Diameter of base 13½” 34cm
are an example of what makes the business
Height 31½” 80cm
interesting. We can honestly say that we do
64
IMPORTANT ENGLISH FURNITURE
65
66
On the table: 51547
A Regency Gilt & Patinated Bronze & Cut Glass Spirit Cask Celebrating Nelson’s Victory at the Nile Numerous pieces of furniture, silver and indeed 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 Previous spread and above:
numerous nautical motifs, the armorial
148
plates and the quality of this cask, it is
A Regency Period Mahogany Double Cumberland Dining Table The ‘double cumberland’ table is one of the
By tradition, the first Cumberland-action
more adaptable of dining tables from this
dining-table was made for Henry Frederick,
period. The table may be used with just one
Duke of Cumberland, 4th son of Frederick,
of the pedestals as a large breakfast table or
Prince of Wales and brother of George III. He
with both pedestals but with or without all
is recorded as being a patron of the furniture
of the leaves to provide a range of lengths.
maker John Linnell in the mid-1770s so it is
This example is noteworthy for being in
possible that he was the recipient of the first
original condition. The addition of an extra
‘Cumberland’ table.
leaf allows the table to be further extended. English Circa 1815 Max Length 13’9” 419cm Height 28” 71cm Width 53” 135cm
tempting to believe it might have been made for the Crocodile Club or perhaps Horatio Nelson himself. English Circa 1810 Width 12¼” 3l cm Depth 10½” 27cm Height 11” 28cm 51061
Two from a 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
51950
A Pair of Highly Decorative Figural Candelabra Our fascination with the Orient has existed since the first trading ships returned with the most exotic wares. This pair of candelabra are a celebration of that fascination, having the most charming oriental figures. But they are also in extraordinary condition and retain all their original gilding. French Circa 1830 Height 23½� 60cm
67
68
90197
A Set of Twelve Satinwood Dining Chairs The chairs conform to a known model and
The architectural form of the chair’s back, the
House in the County of Brecknock, was
a number of examples are illustrated in
use of satinwood and the painted decoration
created in the Baronetage of Great Britain on
various textbooks indicating that this was an
are all characteristics of their work.
26 August 1776 for John Hamilton, a Captain
extremely popular form. In most instances,
in the Royal Navy who had distinguished
other examples of these chairs are made of
English Circa 1775
mahogany. In fact, it is extraordinarily rare
Height 37” 94cm
to find a set of satinwood dining chairs and
Side
REFERENCE
to find twelve is remarkable.
Width 21” 54cm
C. Gilbert, Marked London Furniture, 1700-
Depth 22” 56cm
1840. p.238
With regard the maker, a very similar chair
Arm
P. Macquoid, A History of English Furniture,
is illustrated in Marked London Furniture,
Width 22½” 57cm
vol.4 fig.175
which is inscribed and dated ‘Green 1791’.
Depth 23” 58cm
M. Harris, Centenary Book, p.82
The entry for Green states that the chairs
himself at the Battle of Quebec in 1775.
E. Joy, The Country Life Book of Chairs.
‘…are of London quality, but it is impossible
PROVENANCE
to say which of several eligible makers might
Sir Charles John James Hamilton, Bt.
have made them’. If one were to speculate, a
1810-1892, Trebinshun House, Wales.
case might be made for the firm of Seddon.
The Hamilton Baronetcy of Trebinshun
fig.59 p.60
IMPORTANT ENGLISH FURNITURE
69
70
IMPORTANT ENGLISH FURNITURE
71
72
Previous spread and above: 50578
A Pair of Regency Period Side Cabinets Attributable to George Smith The cabinets epitomize the early nineteenth
which includes a design (plate 88) for the
century fascination for Egyptian motifs. In
monopodia seen on this pair of cabinets.
no small part the consequence of Napoleon’s
Although this design was a popular form
campaigns in Egypt in 1798 and in
of the period, the detailing of the drapery
particular, the profusely illustrated ‘Voyage
below the bust is identical to the design in
dans la Haute et dans la Basse Egypte’ by the
Smith’s book and not a feature we have seen
artist Denon, who accompanied Napoleon
before. Also of interest is plate 118, which
to Egypt. The book was published in 1802
illustrates a design of a monopodia above a
and was very quickly translated into English,
lion paw foot. This feature can also be seen
becoming the latest vogue with designers,
on these cabinets.
cabinet makers and their clients. English Circa 1810 published
Width 34” 86.5cm
‘A Collection of Designs for Household
Depth 12” 30.5cm
Furniture
Height 35½” 90cm
In
1808
George and
Smith
Interior
Decoration’
Plate 88
IMPORTANT ENGLISH FURNITURE
51912
A Regency Period End Support Table Like the klismos chairs discussed on the next page, the design of this lyre ended table takes its inspiration directly from ancient Greek art brought back to England by young gentlemen, artists and architects on the Grand Tour of Europe. This example is of a quality and to some extent a design associated with John Mclean, (1770–1825) one of the finest furniture makers of the Regency period. English Circa 1815 Width 24½” 62cm Depth 19¼” 49cm Height 30¼” 77cm
73
74
51877
A Pair of Regency Period ‘Klismos’ Chairs The klismos chair, one of the most enduring
Perhaps most famously, an example is to be
and housed his collection of Greek artefacts
of furniture designs. First known to exist in
seen in Jacques-Louis David’s 1789 painting
mixed with classically inspired furniture
Greece from about 500BC, from there the
‘The Lictors Bring to Brutus the Bodies of
and decoration. In fact, klismos chairs were
style travelled to Rome before disappearing
His Sons’ and in fact a number of klismos
illustrated by Hope in several variations in
for several hundred years until the lure
chairs were supplied to David by Jacob.
Household Furniture and Interior Decoration
of the ancient drew every western noble connoisseur on the Grand Tour.
(1807), which includes numerous elevations of In England, the purest form of the chair is to
the rooms in his house.
be seen in the designs by Thomas Hope which It was the French who first adopted the form.
were made for his mansion in Duchess Street.
English Circa 1810
The chairs were ‘re-interpreted’ by architect
The ultimate connoisseur, Thomas Hope’s
Width 22½” 57cm
Jean-Jacques Lequeu in 1786 for the Hôtel
house was described by Sir George Beaumont
Depth 22” 56cm
Montholon, and supplied by George Jacob.
in 1804 as ‘more a museum than anything else’,
Height 31¾” 80.5cm
IMPORTANT ENGLISH FURNITURE
75
76
IMPORTANT ENGLISH FURNITURE
77
78
Previous spread and above: 51883
A George II Period Carved Mahogany Side-Table Whilst the overall form of Irish side tables
Irish Circa 1750
may reflect English counterparts, it is rare
Depth 30½” 77.5cm
that one can confuse one for the other. This
Width 60” 152.5 cm
table is no exception and the pierced apron
Height 30” 76cm
is a good example of the Irish carver’s skill and imagination. Profusely carved with
PROVENANCE
strapwork, foliage, shells and a central
Private Collection, USA
cartouche with bird, the table stands on gently curving cabriole legs and retains its original wooden top.
IMPORTANT ENGLISH FURNITURE
79
51959
A Nineteenth Century Oak Post Box in the Form of a Sentry Box An oak country house letterbox, the door holding a watercolour of a guardsman by Richard Simkin. Possibly by Lewis of Piccadilly Circa 1890 Width 7½” 19cm Depth 7½” 19cm Height 17” 43cm RICHARD SIMKIN 1851 - 1926
Richard Simkin was responsible for a number of books illustrating the uniforms of the British Army including ‘Simkin’s Soldiers’ (The British Army in 1890) and ‘Uniforms of the British Army’. He also provided colour plates for journals such as ‘Boy’s Own Paper’ and ‘Chums’.
80
IMPORTANT ENGLISH FURNITURE
81
51975
An Ormolu & White Marble Clock Attributed to Matthew Boulton Matthew
Boulton’s
many
enterprises
but with a bronzed rock pool and another in
included the supply of high quality
the 1782 Inventory which indicates it had an
ornaments to the Royal family and nobility
obelisk as opposed to a clock.
of England. Amongst these ornaments were clocks, the designs of which were based on
It is also quite likely that the clock
classical motifs.
movement was supplied to Boulton by John Whitehurst who was based in Derby. He
In this instance, we see Narcissus, together
was one of the leading clockmakers of his
with his dog, leaning forward and looking
day and his proximity to Boulton’s works
into a pool of water to see the beauty of his
at Soho, Birmingham would have made for
own reflection. Behind him, is a white marble
convenience.
column supporting an ormolu urn housing the clock. Boulton produced a number of
Width 7½” 19.25cm
clocks to this design but more typically the
Depth 6¼” 15.5 cm
figures are either Venus or Titus & Minerva.
Height 12” 30.5cm
In Sir Nicholas Goodison’s book, mention is
REFERENCE
made of 4 versions of the Narcissus clock. Two
N. Goodison, Matthew Boulton: Ormolu,
were sold in the famous Chrisites sale of 1778,
2002, p 220-221 & 238-239.
another appears in Boulton’s day book of 1781
82
IMPORTANT ENGLISH FURNITURE
83
51985
A Regency Period Cut Glass & Ormolu Chandelier Of all the pieces in this brochure, without
English Circa 1810
doubt the chandeliers are the hardest items to
Height 43” 109cm
photograph and successfully show just how
Diameter 26” 66cm
wonderful they are. The two dimensional nature of a photograph is not suitable for
REFERENCE
showing the very three dimensional nature
For similar examples see:
of a chandelier. Thus we can only assure
Christie’s Dealing in Excellence, lot 168,
you that this one is very well proportioned,
London 20th November 2008
the cutting of the glass is as good as we
The Metropolitan Museum of Art, New
have seen and when you see it you will not
York, Accession Number 46.67.144
be disappointed. Chandeliers of this type are extremely rare.
84
IMPORTANT ENGLISH FURNITURE
85
51971
A Pair of Étagères of Unusually Large Size by William Bertram The firm of William Bertram & Son was
but what marks them out is their scale, they
established in 1830 and by 1839 was trading
are nearly twice the size of any we have
at 100 Dean Street, London.
seen before.
A number of pieces of furniture with their
English Circa 1850
label have turned up over the years and all
Width 26” 67cm
are of very good quality. This pair of tables
Depth 15” 39cm
are certainly of that same high standard
Height 29¼” 74cm
86
51800
A Pair of Mahogany Candlesticks Now wired for electricity, the candlesticks are of a larger size than is typical. The maker has selected close grained superior quality mahogany and the carved reeds on the columns are finer because of it. They also benefit from very nice quality drip pans with a tassel design apron. English Circa 1800 Diameter 9” 23cm Height 18¾” 47.5cm
IMPORTANT ENGLISH FURNITURE
87
51937
A George III Oval Writing Table This rather elegant mahogany writing table,
and buildings on these estates were let out to
which is rare being oval, retains an old
tenants and the ‘rent table’ was developed for
leather surface and has six drawers to the
managing the collection of payments.
frieze. Each of the drawers is labelled with letters of the alphabet and retains its original
By nature of the fact that there were a limited
swan neck handle.
number of these estates, these tables are quite rare. They are also invariably very well
Prior to the Industrial Revolution, wealth in
made, possibly because they represented the
the eighteenth century was largely derived
wealth of the estate.
from land ownership. Grand estates were formed; for example it is said that the Spencer
English Circa 1800
family could travel from Althorp, their
Width 47½” 121cm
house in Northamptonshire, all the way to
Depth 32¼” 82cm
their house in London without stepping off
Height 28¼” 72cm
their land, a distance of 65 miles. The farms
88
IMPORTANT ENGLISH FURNITURE
89
52018
A Pair of George II Carved Gilt-Wood Torchères An impressive pair of torchères from
This group is reputed to have come from
arguably one of the most magnificent and
Stowe, one of the greatest of England’s
distinctive sets of furniture created in the
country houses. Described by George
early Georgian period. The group includes
Bickham in 1750 as a ‘faire majestic paradise’
chairs, stools, settees and side tables which
and famous for its sumptuous interiors. As
are now dispersed amongst the Victoria &
a guide to the scale of this house, when the
Albert Museum, the Metropolitan Museum,
2nd Duke of Buckingham was forced to sell
Windsor Castle and important private
up to cover his debts, the sale was legendary,
collections. (We have detailed the various
lasting 37 days.
items and their current location below). The story of their acquiring the Stowe English Circa 1730–40
provenance is long and involved but is in part
Diameter 12½” 32cm
attributable to the fact that attending the
Height 60” 153cm
sale and making purchases were, amongst others, W. Selby Lowndes, Lord Ward, (1st
PROVENANCE
Earl of Dudley) and Sir Philip Pauncefort
Reputed; Richard Temple, 1st Viscount
Duncombe. Descendants of these three
Cobham
gentlemen would later sell the various items
(1675-1749)
for
Stowe,
Buckinghamshire.
from the suite.
Probably sold, lot 806 in the Christie’s auction, August 1848.
Further examination of the construction
Unknown private collection.
and style of carving of each piece would be
Glaisher & Nash, The Grosvenor House
necessary to confirm all the items are part of
Antiques Fair Handbook, Illustrated, p.43
the same suite but from a design perspective
Mallett, London.
they would certainly appear to be. In which
Private Collection, England, until 2014.
case, it is probable that they came from
90
Plate 2. Gilt-gesso settee. The Metropolitan Museum of Art, New York.
the same house and this could well have
with late Baroque carving and rarely found
been Stowe. However, the sale catalogue
after the 1720s. A number of pieces in this
is extraordinarily succinct and cryptic in
technique were delivered to the Royal
its descriptions of the items. For example,
Household by James Moore Senior (died
‘A noble pier table’ and ‘A carved and gilt
1726) and his partner John Gumley (1691–
pier table. This is a very curious old piece of
1727). It has therefore been suggested that
furniture’. Sadly predating photographs, the
the Stowe suite may have been supplied
catalogue entries do not allow us to be certain.
by James Moore Junior (c. 1690 – c. 1734) or perhaps by his one-time apprentice
What is certain is that the quality and
Benjamin
importance of this group is sufficient to
although their firmly accredited gilt-wood
justify its inclusion in the greatest collections
furniture is generally carved in the solid
of English furniture in private and public
wood. The design of the present torchères,
hands. Bearing in mind the torchères and
however, seems to be closely derived from
the pair of pier tables are the only items still
a gilt-gesso set made for George I in 1727
left in private hands, these torchères offer an
by Gumley and his new partner William
exciting opportunity to acquire a part of this
Turing, so an attribution to Moore Junior or
exceptional group.
Goodison is credible.
ATTRIBUTION
THE GROUP
These finely carved torchères are unusual
• Pair of gilt-gesso side tables. After leaving
for their date in having low-relief carving in
Stowe they were almost certainly owned
gilt gesso, a technique generally associated
by W. Selby Lowndes d.1842, until sold
Goodison
(c.
1700–1767),
IMPORTANT ENGLISH FURNITURE
91
IMPORTANT ENGLISH FURNITURE
by Colonel Lowndes at Sotheby’s in 1921.
93
Sotheby’s London 1964 and 1965.
Bought by 2nd Viscount Bearsted they
• Gilt-gesso stool. In the Metropolitan
were sold by a descendent at Christie’s
Museum of Art, New York, Gift of Irwin
London, 9 July 1998, lot 100 (£936,500).
Untermyer, 1964 (64.101.957). Formerly in
Now in a private American collection.
the H.H. Mulliner collection.
• Part of a set of gilt-gesso side chairs. In
• Pair of gilt-gesso stools. At Parham Park,
the Collection of Her Majesty the Queen
Sussex. Formerly in the Collection of
at Windsor Castle. Three chairs are 18th
Col. W. Selby Lowndes of Whaddon Hall,
century, the remainder are accepted to be
Bucks., as was the above pair of tables.
late 19th century, probably commissioned
W. Selby Lowndes is also recorded as a
to supplement the originals inherited
purchaser at the Stowe sale, but again
by Lord Ward, 1st Earl of Dudley for
cannot be identified absolutely.
Dudley House in Park Lane, London,
• Gilt-gesso settee. In the Metropolitan
as noted below. They were acquired
Museum of Art, New York, Purchase, 1924
by Queen Elizabeth, consort of King
(24.136.1). Formerly in the Collection of Sir
George VI, (1900-2002), when Queen
Everard Pauncefort Duncombe of Great
Consort (1936-52), bought from Frank
Brickhill Manor, Bucks. His predecessor
Partridge, previously in the collection of
Sir Philip Pauncefort Duncombe, the
W. R. Hearst, St Donat’s Castle, until sold
1st Baronet (1818-1890), is recorded as a
Christie’s 18 May 1939, lot 52.
purchaser at the Stowe Sale, although it
• Pair of gilt-gesso side chairs. Reputedly from the set of four chairs, lot 1338 in the
cannot be definitely identified as coming from that sale.
1848 sale, sold then for £48.6.0 Acquired by
• Pair of gilt-gesso settees. In the Collection
‘Lord Ward’ (Lord William Ward, 1st Earl
of Her Majesty the Queen at Windsor
of Dudley), they were subsequently sold by
Castle, formerly in the Collection of
his direct descendant, The Earl of Dudley at
William Randolph Hearst.
94
51943
A Pembroke Table Attributed to Henry Clay This table was considered worthy of the 1979
not stamped with his name. Nevertheless,
repeated until the surfaces of the varnish
Art Treasures Exhibition and as such its
on the evidence of reliably documented
and pearl were absolutely level, was spread
rarity and exceptional condition cannot be
examples, it can be reasonably attributed to
over several days and would have made such
over-stated.
his workshop.
pieces very expensive to produce. Similar decoration is found on a privately-owned
It is important to point out the extraordinary
Save for its semi-oval, as distinct from
small square caddy of a type sometimes
level of decoration covering this table. For
rectangular
shape
fitted with silver mounts hallmarked ‘HC’
example, even the rule joints (the joint which
conforms closely to the mahogany ‘ …
for Henry Clay. Clay had been among the
attaches each flap to the table) are decorated.
Pembroke table richly Japanned by Clay’ for
first to register his mark at the Birmingham
The decoration is repeated on the inside of
Robert Child at Osterley Park House, where
Assay Office when it opened in 1773.
the legs and along the frieze, continuing
it still stands today in the Etruscan Dressing
under each flap.
Room for which it was designed. Listed in
The central oval reserve is painted with
the 1782 inventory of the house, it is one
Clotho, one of the three Fates while those
English Circa 1780
of the earliest existing items of furniture
on the drop-sides are painted with classical
Width 14¾” 37.5cm closed
known to have been made by Clay.
urns, very much in the style of the paper
hinged
leaves,
its
30½” 77.5cm open
panels which Clay made in the late l770s
Depth 18½” 47cm
The table-top is veneered with a thin sheet of
for the four doors in Robert Adams’ Marble
Height 26¼” 67cm
papier mâché – a feature common to much
Hall at Keddleston Hall in Derbyshire.
of Clay’s furniture – and decorated all-over
Similar motifs appear in Adams’ designs
EXHIBITED
with finely crushed mother-of pearl to create
for a folding door for the third drawing
The Somerset House Art Treasures
a rich iridescence. This decorative effect was
room at Derby House in London, which also
Exhibition 1979, F.54, p.24
achieved by coating the papier mâché sheet
incorporated panels made by Henry Clay.
with japan varnish, leaving it until tacky,
Moreover, the gilt friezes, and anthemion
PROVENANCE
and sprinkling it with the pearl-shell prior
borders both feature on other pieces of
Blairmans Ltd.
to placing the sheet in a japanners stove to be
furniture associated with Clay.
Private Collection
slowly baked until the varnish had hardened. Once cooled the entire surface, pearl and all,
ATTRIBUTION
was given another coat of varnish, returned
Like most of the japanned furniture made
to the stove, and rubbed down until the
by Henry Clay, this small pembroke table is
pearl was exposed. This process, which was
IMPORTANT ENGLISH FURNITURE
95
96
51940
Opposite:
A Pair of French Bronze Figures of Voltaire and Rousseau
52000
A Regency Period Étagère
These figures of Rousseau and Voltaire are after the model by Jean-Claude Rosset (1706-
A highly versatile piece of furniture which
1786). He trained in the mediums of wood
is just the right height to work well next to
and ivory before establishing his workshop
a sofa. The combination of the goncalo alves
in Paris in 1771. He specialised in busts of
veneers and the fine quality ormolu gallery
Voltaire, Rousseau, de Montesquieu and
give the piece a richness that would enhance
d’Alembert and his bust of Voltaire was
any room.
supplied as a model for Sévres and sold for 60 livres.
English Circa 1825 Width 24” 61cm
French Circa 1800
Depth 15¾” 40cm
Height 18¼” 46cm
Height 28¼” 71.5cm
IMPORTANT ENGLISH FURNITURE
97
98
51768
A Pair of George II Gainsborough Armchairs At Colonial Williamsburg there is an armchair made for the Royal Governor and a set of side chairs made ensuite for the Council Chamber of the Williamsburg Capitol. They share the same design of carving on the knee as is seen on this pair of chairs. Examination of the Williamsburg chairs has determined that they were made in England which offers the possibility that they were all made in the same workshop. Though without closer comparison of the carving and construction we cannot be certain. English Circa 1755 Width 30” 76cm Depth 29” 74cm Height 38½” 98cm
Plate 3. The Governor's Chair & Accompanying Side Chairs. The Colonial Williamsburg Foundation.
IMPORTANT ENGLISH FURNITURE
99
100
51895
A Set of Late Eighteenth Century Quartetto Tables There are a number of suggestions for their
was a heightened demand as a consequence
use, Sheraton in his Cabinet Directory of 1803
of the fashion for elegant high-design goods
contemplates their being for needle work,
intended for use in confined spaces. Now of
writing that they are ‘made to draw out of each
course, they are perfect for the modern home,
other, and may be used separately’. George
being useful and easily contained within the
Smith in his Household Furniture Directory
largest of the four tables.
of 1808, assigns them to drawing rooms, where they ‘prevent the company rising
English Circa 1800
from their seats, when taking refreshments.’
Width 18¾” 47.5cm
These tables were part of the new range of
Depth 12” 30.5cm
multi-functional furniture for which there
Height 29½” 75cm
IMPORTANT ENGLISH FURNITURE
101
51966
A Pair of George III Tea Caddies The tea caddies, which are veneered in
interior lids and the ‘dog-tooth’ decoration
harewood and inlaid with various woods, are
still retains the original green dye.
of a very rare form and more typically found as single examples. They have a pagoda top
English Circa 1790
with a delicate acorn finial and ‘dog-tooth’
Height 9½” 24cm
banding to the rim and base.
Width 4¼” 11cm
Their condition is truly remarkable. They retain their original linings, locks and
102
IMPORTANT ENGLISH FURNITURE
90227
A Burr Walnut Bureau Bookcase of Rare Small Size This charming bureau bookcase shares a number of characteristics with a ‘small’ group of diminutive bookcases from a common but as yet unidentified source. Although, judging from some of the detailing this example may be a few years later, all of these ‘bureau-and-bookcases’ are of the same form, of the highest quality of manufacture and this example, in burr walnut, is a very good colour. At the time of writing, this group of bookcases number just eleven examples with the majority of them being in important collections or museums. Research into these bookcases is ongoing and in time, it is hoped that a maker will be identified. English Circa 1735 Width 23½” 60cm Depth 15¼” 39cm Height 72” 183cm PROVENANCE
Mr. and Mrs. C. Chaffyn-Grove, Waddon House, Dorset, probably from mid 1960s -2004. Private collection, Jersey, Channel Islands, 2004-2013.
103
104
IMPORTANT ENGLISH FURNITURE
51948
A Highly Decorative Table This unusual table has a most exceptional
N. European Circa 1850
top with a central ebony panel inlaid with
Width 25½” 65cm
seaweed marquetry and bordered by a series
Depth 19” 48cm
of inlaid urns. Standing on four tapering legs
Height 27¾” 71cm
which are united by a shaped stretcher with decoration which reflects that of the top.
105
106
51930
A Pair of George III Satinwood Occasional Tables This extraordinarily rare pair of tables share their distinctive form with a single example formerly in the Irwin Untermeyer Collection. A large part of this collection was bequeathed to the Metropolitan Museum of Art in New York. Unfortunately, the catalogue of the collection offers no insight as to where the table came from nor who made it, but it is fair to say the quality and design favour a London cabinet making firm. The most likely possibility would be Mayhew and Ince, whose work displays similar decorative motifs and a propensity for the sort of inventiveness seen here. English Circa 1780 Width 10½” 27cm Depth 10½” 27cm Height 23” 58.5cm REFERENCE
English Furniture, The Irwin Untermeyer Collection, pl.178, fig.215
IMPORTANT ENGLISH FURNITURE
107
108
The Leinster House Cabinets
IMPORTANT ENGLISH FURNITURE
109
110
Previous spread and here: 51832
The Leinster House Cabinets Made for the 2nd Duke of Leinster A magnificent museum quality example of eighteenth century English cabinet making. English Circa 1775 Width 34” 87cm Depth 24” 61cm Height 33” 84cm
IMPORTANT ENGLISH FURNITURE
PROVENANCE
Almost certainly commissioned for the Gallery at Leinster House, Dublin by William FitzGerald, 2nd Duke of Leinster. Removed to Carton, Co. Kildare by Augustus FitzGerald 3rd Duke of Leinster following the sale of Leinster House to the Royal (Dublin) Society in 1815. Recorded in the Ante-Room at Carton circa 1887. By descent through the family until sold by the Trustees of the Leinster Will Trust.
recently come to light, having been in the possession of the FitzGerald family since the late eighteenth century. The virtuoso detail of the inlaid decoration suggests the work of a leading eighteenth century cabinet maker working to a specific design that was part of a united decorative theme. Close study of the family who commissioned the commodes and of the designers and craftsmen who worked with them, has led to some interesting discoveries including a probable maker and original location. commodes
were
acquired
of the Dukes of Leinster until 1949 when the family sold the house and moved the contents to their other properties. According to the previous owner the commodes had been moved several times in the second half of the twentieth century - after Carton the furniture went to Kilkea Castle in Co. Kildare and then to Ramsden in Oxfordshire. It was clear at the outset that the decorative scheme on the commodes did not match that in any of the rooms at Carton. These
This pair of corner commodes has only
The
111
commodes are decorated in a Classical/ Etruscan style with a fine, light and detailed feel to them – a style which was extremely popular in the last quarter of the eighteenth century and much favoured by patrons who had visited Italy on the Grand Tour. As with most aristocratic Irish families, the FitzGeralds also had a town house in Dublin. Theirs was built in 1745 and named Leinster House. It has been described as the ‘largest and most important eighteenth century townhouse in Ireland.’1 Although there are no original building accounts for the house,
with
provenance from Carton co. Kildare, home
1 David Griffin & Caroline Pegum, Leinster House: 17442000 An Architectural History, The Irish Architectural Archive, Dublin, 2000
112
there is a series of sixty drawings relating to
The only large room still to be finished was
the property. By the 1770s, at the time the
the Great Gallery at the centre of the house
corner commodes would have been made,
and since the 2nd Duke’s new wife had just
Leinster House belonged to the 2nd Duke of
inherited an important picture collection
Leinster and only the great first-floor gallery
from her father the First Baron St George,
remained to be completed.
there was an added impetus to get to work quickly. William FitzGerald engaged the
William FitzGerald, 2nd Duke of Leinster
highly fashionable neo-classical architect
(1749-1804) went on his Grand Tour between
and designer James Wyatt (1746-1813)
1766 and 1768 and by the time he came back
to carry out the task. Wyatt had already
he had developed a taste for the antique. He
worked extensively for William’s uncle, the
succeeded his father in 1773 and married
third Duke of Richmond.
the Hon. Emilia Olivia St. George in 1775. When he took over Leinster House he set
Although Wyatt’s designs for the entire
about the completion and refurnishing of
room do not exist, there is a watercolour for
Leinster House as recorded by Lady Louisa
the end wall of the gallery.
Connelly on October 9th 1775: Looking at these images it is immediately William is fitting up Leinster House, and
apparent that almost all of the decorative
wants to know where to put your glasses. I do
elements in this room are echoed in the
believe it would be better to frame them and
decoration of the corner commodes: the
put them up, for I think that ours suffered
winged sphinxes, the scrolled acanthus
by having so long upon their sides, the silver
decoration and the anthemion topped urns.
ran a little at the edges.
2
A further letter from Leinster to his mother dated 29 September 1776 confirms 2 Brian FitzGerald (ed.), The Correspondence of Emily, Duchess of Leinster, 1731-1814 (3 vols), Irish Manuscripts Commission, 1949-1957 Dublin, Vol III, 1957, p.155
Wyatt’s involvement and also mentions the furniture:
This page: Plate 4. Details of the ceiling and door case and the design for the end wall of the first floor gallery. David Griffin & Caroline Pegum, Leinster House: 1744-2000 An Architectural History, The Irish Architectural Archive, Dublin, 2000
IMPORTANT ENGLISH FURNITURE
113
Mr. Wyatt has sent me …the most beautiful
has revealed that there is an undated copy
finishing for my Gallery at L.House which I
schedule of Heirlooms at Carton buried
shall prepare and hope to do next Spring as
amongst the Leinster archive material
have the furniture ready for it.
at the Public Record Office of Northern
3
Ireland5 . There, listed in the Ante-Room, This reference indicates that the Duke
is a reference to ‘A Pair of Inlaid Satinwood
of Leinster had particular furniture in
Encoigneurs, ormolu mounts …£70’ (PRONI
mind for the room and that the whole was
D/3078/2/10/18, see Appendix 1). Only two
conceived as a united scheme from the
pages of the schedule relates to furniture, the
outset. The two corner commodes would
rest to miniatures, paintings and jewellery
have worked together with the door cases
(the latter ‘belonging to Caroline Duchess
and chimneypieces in the gallery to create a
of Leinster’), books, manuscripts and silver
sophisticated neo-classical space, reflecting
and boxes presented with the freedom of
Leinster’s interest in the antique art and
corporation and guilds.
decoration he would have seen on his Grand
Plate 5. Drawing by Thomas Chippendale Jr. The Collection of the Victoria & Albert Museum
Tour in Italy. Looking at the size of the corner
Although undated, it has now been possible
commodes and the space in the Gallery, it is
to surmise the date of the document.
probable that there was also a larger central
Caroline
commode ensuite with the pair. Together
(1827-1887), was the wife of Charles
with the paintings and sculpture, the room
FitzGerald, 4th Duke of Leinster (1819-
would have created an impressive visual
1887). Based on the reference to jewellery
confirmation of the rank and importance of
belonging to Caroline, the wife of Charles
the premier Irish peer.
the 4th Duke, it is probable the list was made
(Sutherland-Leveson-Gower),
prior to 1888. Caroline and the Duke died in When the second Duke died in 1804, his
1887 and it is very likely that the heirlooms
son Augustus Frederick FitzGerald (1791-
were listed following the Duke’s death6.
1874) became 3rd Duke. In 1815 Augustus FitzGerald sold Leinster House in 1815 to
This discovery firmly places the commodes
the (Royal) Dublin Society and made Carton
at Carton in the latter part of the
House his principal residence. At this time
nineteenth century.
most of the pictures, plate and furniture were removed to Carton including the
DESIGN SOURCES
marble busts of Apollo and Niobe from the
In 1779 Thomas Chippendale Junior (1749-
Gallery.
1822) published a set of neo-classical
4
DOCUMENTARY EVIDENCE COMMODES AT CARTON
OF
THE
It has long been thought that there were no pre-twentieth century inventories of Carton, something which made the job of identifying furniture from Carton very difficult. However recent research by Dr Alison Fitzgerald of Maynooth University 3 John Martin-Robinson, op.cit. 2012, p.112 4 Anon, op.cit. 1885, p.14
engravings which also appear to correspond with the commodes (see above). The only extant set of the engravings is in the Victoria and Albert Museum and mounted into a folder, so it is not known whether they are complete or whether (since the engravings 5 See P.Cosgrove et al, 2014, p.125, note 22, I am grateful to Dr Fitzgerald for bringing the schedule to my attention. 6 We are grateful to Ruth Thorpe of Queen’s University Belfast who made the connection, and who has been researching Caroline Fitzgerald for her PhD thesis.
114
are unnumbered) there were originally
appear to be consistent with the output of top
other designs .
ormolu workers Boulton and Fothergill who
7
we know worked regularly with Mayhew and There is certainly a strong similarity with
Ince during the 1770s as well as James Wyatt
many of the elements – chains of husks,
(see Lindsay Boynton, ‘An Ince and Mayhew
reeded vases, rams heads, combined with
Correspondence’, op cit p.33). Indeed, John
festoons, a crowning anthemion motif and
Martin-Robinson has suggested in his recent
the winged griffins with tails. We also know
book8 that Wyatt worked as an anonymous
that Chippendale Juniors’ designs were
commercial designer for both Boulton
produced while he was still working with his
and Fothergill and Mrs Eleanor Coade.
father and before he was making furniture
Certainly there are very obvious similarities
in his own right.
in the design motifs used by all three and the Coade engravings look very similar to
ATTRIBUTION
Wyatt’s documented drawings.
James Wyatt was a designer rather than a craftsman so although it now seems very
James Wyatt and Chippendale worked
probable that he designed the two corner
together on the refurbishment of Burton
commodes, it is unlikely that he actually
Constable in Yorkshire and with Robert
made them. Furniture of this quality could
Adam at Harewood House. All the designers
only have been made by one of a small
and craftsmen mentioned would have been
handful of cabinet makers at this period
known to each other and all were producing
namely Mayhew and Ince and Thomas
very similar but extremely high quality work.
Chippendale. The ram’s head mounts are of very high quality and although not exactly comparable to other masks on documented furniture, 7 Ivan Hall, ‘The Engravings of Thomas Chippendale Jnr, 1779’, Furniture History, Vol XI 1975, pp.56-58.
8 John Martin Robinson, James Wyatt (1746-1813) Architect to George III, Yale University Press, London, 2012
Duke of Leinster’s Estate: Copy schedule of Heirlooms at Carton, Kilkea Castle &c. Johnson Raymond-Barker & Co. 9 Lincoln’s Inn (N.D.)
IMPORTANT ENGLISH FURNITURE
115
51902
A George III Carved Mahogany Chest of Drawers An interesting chest of drawers which has
It is far more typical to see the brushing
a serpentine shape and wonderful carved
slide as a separate feature between the top
swags and rosettes on the canted corners.
and the top drawer rather than as part of the moulding as it is here.
The brushing slide would be ‘hidden’ in the cavetto moulding below the top, if
English Circa 1760
it were not for the two ring pull handles
Width 41½” 105cm
giving it away.
Depth 22½” 57cm Height 32” 81cm
116
51916
A Pair of Gilt-Wood Armchairs Attributed to John Linnell John Linnell produced several sets of chairs for different clients which are similar to the design of this pair. Most particularly, the set of six chairs and two settees made for the Duke of Argyll at Inveraray Castle. Furthermore, there are also similarities with a drawing produced by Linnell in 1775 of an armchair which clearly shows the clasped ball arm terminals so typical of Linnell’s work and seen on this pair of chairs. English Circa 1775 REFERENCE
H. Hayward & P. Kirkham, William & John Linnell, vol.2, p.45, pl.87 ibid, vol.2, p.46, pl.89
118
52009
A Pair of George III Carved GiltWood Mirrors In the eighteenth century, before the advent of electric light, mirrors played an essential role in assisting with the lighting of rooms. With this importance, and occupying prominent positions, considerable care was taken to design beautiful examples and to produce them with great attention to quality. Now having said that, it does not mean that all mirrors made at this time were of the same quality, quite the contrary. In looking at the stunning landscape mirror on page 12 we discussed the importance of carving and its depth and crispness. But another defining characteristic of a good mirror which was not touched upon, was the balance between the size of the mirror plate and the size of the frame. Too small a plate and the frame will
IMPORTANT ENGLISH FURNITURE
overwhelm it. Too large a plate combined with a thin frame and the mirror will appear weak. One further characteristic which is worth mentioning is the shape of the mirror plate. In this case, the oval is pleasing to the eye but we have come across many in which the oval is too pointed and thus not as attractive. To put it somewhat more succinctly, this pair of mirrors are a very good example from the second half of the eighteenth century. English Circa 1765 Width 35" 89cm Height 64" 163cm
119
120
IMPORTANT ENGLISH FURNITURE
121
122
Previous spread and above: 51961
A Pair of George III Gilt-Wood Side Tables In the third edition of Chippendale’s
At the time they were made, they would
Director is a design for a table which includes
most likely have been used as pier tables in
a leg with an ionic capital above trailing bell
the space between windows, or as side tables.
flowers, as one sees on these tables. Whilst it is not possible to conclude from this that the
English Circa 1770-80
tables are by Chippendale, one can surmise
Width 36” 91.5cm
from the quality that they were London
Depth 20” 51cm
made. Furthermore, the inclusion of carving
Height 35.5” 90cm
to the back legs indicates that no expense was spared by the client commissioning them.
IMPORTANT ENGLISH FURNITURE
51897
A Queen Anne ‘Japanned’ Chest of Drawers A chest of four drawers with chinoiserie decoration in the japanned manner of the period. Japanning was the term used to describe the work carried out by English craftsmen trying to replicate the oriental lacquer being imported. English japanned chests of this period are seldom seen and this example is in good condition. Its tall and narrow proportions are extremely appealing. English Circa 1710 Width 23¾” 60cm Depth 13¾” 35cm Height 34¾” 88cm
123
124
IMPORTANT ENGLISH FURNITURE
125
126
Previous spread and opposite: 51901
A Highly Important Pair of George III “Wing-Figured” Candle Vases by Matthew Boulton These are without doubt the finest pair of
English Circa 1772
Boulton vases we have had the privilege of
Width 15¼” 39cm
handling. Their large scale is impressive and
Depth 6” 15cm
the quality of the metalwork, as fine as any
Height 14¾” 38cm
we have seen in Boulton’s repetoire. BOULTON’S DESIGN
The ‘winged’ vases were first mentioned by
The pattern for these vase-candelabrum,
Boulton’s partner, Fothergill, in a letter of
with a white body and marble plinth, features
1772 reporting that the Earl of Stamford had
in Boulton’s metal-work Pattern Book (no.1)
visited Soho (their factory) and purchased
preserved in the Birmingham City Museum,
a pair for £12. 12s. 0d. Subsequently, pairs
and bears the number 238. It appears
sold to the Prince of Wales, the Duke of
together with a pattern for a ‘cassolette’
Northumberland and two pairs to Robert
vase, lacking branches but embellished with
Child for Osterley.
a husk-festooned medallion. (N. Goodison, Ormolu: The Work of Matthew Boulton,
Fortunately, the Osterley vases remain in
London, 1974, fig.162, nos. f and b).
situ allowing comparisons to be made. Interestingly, although the form of one of the
PROVENANCE
pairs at Osterley is identical, they have white
Private Collection, London
opaque glass bodies instead of alabaster. REFERENCE
The ormolu mounts on the vases retain
N. Goodison. Ormolu, The Work of Matthew
their original gilding and are in outstanding
Boulton.
condition overall. The only replacement is
N. Goodison. Matthew Boulton: Ormolu.
the draped beading which is rarely original.
S. Mason. Matthew Boulton, Selling What
Certainly, the beading on both pairs at
all the World Desires.
Osterley has been replaced.
IMPORTANT ENGLISH FURNITURE
127
128
Acknowledgements Lucy Wood for her wealth of knowledge and expert guidance. Yvonne Jones for her work on the table by Henry Clay and the lacquer centre table. Adam Bowett for his invaluable advice and expertise. Lizzy Jamieson for her sterling work on the Leinster House Cabinets. Daniel Brooke for the photography and his willingness to turn up at 7pm on a Friday evening to photograph one last piece. Jason Hopper of District-6 for another superbly designed catalogue. Philippa Gedge Photography for our team portrait. Plate 1. Design for a side table by John Linnell. The Victoria & Albert Museum Collection © Victoria and Albert Museum, London Plate 2. Gilt-gesso settee. The Metropolitan Museum of Art, New York © 2015. Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Florence Plate 3. The Governor’s Chair & Accompanying Side Chairs. The Colonial Williamsburg Foundation © The Colonial Williamsburg Foundation. Museum Purchase. © The Colonial Williamsburg Foundation. Museum Purchase, The Friends of Colonial Williamsburg Collections Fund and the TIF Foundation in memory of Michelle A. Iverson. Plate 4. Details and Designs for the First Floor Gallery, Leinster House, Dublin David Griffin & Caroline Pegum, Leinster House: 1744-2000 An Architectural History, The Irish Architectural Archive, Dublin, 2000 Photographs by David H. Davidson Plate 5. Drawing by Thomas Chippendale Jr. The Victoria & Albert Museum Collection © Victoria and Albert Museum, London
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