Ronald Phillips 2017 by Masterart

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RO N A L D PHILLIPS FINE ANTIQUE ENGLISH FURNITURE

MEMBER OF THE BRITISH ANTIQUE DEALERSâ&#x20AC;&#x2122; ASSOCIATION

RO N A L D PHILLIPS FINE ANTIQUE ENGLISH FURNITURE

RONALD PHILLIPS LTD. 26 BRUTON STREET, LONDON W1J 6QL Tel: + 44 (0)20 7493 2341 www.ronaldphillipsantiques.com advice@ronaldphillips.co.uk

FOREWORD This year seems to have gone by extremely fast, and I cannot believe that we have been so fortunate in assembling a huge collection of interesting and mainly unseen items for your consideration. It should be noted that this collection consists of purchases from all around the world, from America to Australia, along with some wonderful pieces from private collections in England. There are many spectacular pieces on the following pages that are worthy of your attention, but I will single out just a few here. At the time of going to print, they are all still available. The giltwood mirror by Thomas Chippendale on page 6 is a huge discovery, and the companion pair from Harewood House were sold many years ago. The pair of documented and illustrated side chairs on page 14 have after many years been reunited with their original needlework. This achievement is little short of a miracle, and was immensely satisfying. The chairs should end up in either a museum or a great collection. The writing table on page 18 with a lift-up top for hiding a collection of miniatures or gold boxes was purchased in Australia. The only other known example by William Vile is in the Royal Collection at Windsor Castle and is illustrated in various books. The six pillar dining table on page 46 seats up to 34 people; it has wonderful figured tops and perfectly splayed legs, and has never been on the open market. I must also point out two amazing scagliola pieces, on pages 214 and 216, the last two items in the catalogue. Both are spectacular. I would like to thank Thomas Lange for all his endless research and dedication, and Alexandra Neill for taking extra responsibility this year and working so hard to produce this catalogue. My thanks also go to the outside team whose skills make our catalogues possible, and as always to my loyal staff for their commitment and invaluable work throughout the year. Please do visit us in London at our Bruton Street showroom or at the Masterpiece Fair from 29 June to 5 July. We will also be at TEFAF in New York from 27 to 31 October. I am always happy to try and locate items and help form a collection. Please feel free to contact me on + 44 (0)20 7493 2341 or by email at simon@ronaldphillips.co.uk.

Simon Phillips May 2017

Right: Simon Phillips with Rolo

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A HIGHLY IMPORTANT MIRROR BY THOMAS CHIPPENDALE FROM THE EDWIN LASCELLES OF HAREWOOD COMMISSION

1 A GEORGE III GILTWOOD MIRROR This mirror, a remarkable discovery, is identical in many carved elements and in construction to a pair of mirrors sold from Harewood House in 1987. That pair, now in a private collection, differs in not having sphinx platforms. It was evident that our mirror had lost its ribbon tied roundel, and we were fortunate enough to be able to use photographic evidence and the experience of Carvers & Gilders Ltd. of London to reinstate it. The mercury silvered mirror plate is a replacement. Chippendale always adjusted his designs for each client, so it is highly likely that this mirror was part of the Lascelles commission. Thomas Chippendale was first recorded working for Edwin Lascelles of Harewood House as early as 1768, and after Chippendale’s death the commission continued with his son, also Thomas, until the early 1800s. This remarkable commission therefore spanned more than thirty years, furnishing Harewood and other Lascelles family homes, including that in London. Many of the Harewood papers relating to Chippendale’s work have been preserved, making it possible to identify some of the pieces by the master at Harewood. There are some gaps, however, and records of Chippendale’s early work at Harewood and the other houses have been lost. Harewood House underwent extensive refurbishment in the 19th century under Charles Barry, and many Chippendale features and fittings including the sphinx mirrors were removed, dismantled and stored in the attic of the house. Entire walls were removed and the layout of rooms was changed drastically. The furniture was moved around the house over the years, making it almost impossible to ascertain which piece originally belonged where. Christopher Gilbert, whilst researching Chippendale for his seminal work on the master cabinetmaker, visited Harewood in the late 1970s and photographed the storage boxes containing Chippendale fragments. It was not until the late 1980s that the boxes were emptied and recorded systematically, and some mirrors were re-assembled where possible by Carvers & Gilders Ltd. Interestingly this mirror does not appear in the inventory of 1795. There is however no doubt that the mirror is from the same hand and the same commission. Either it was created for Harewood and removed before the 1795 inventory, or it was intended for another Lascelles home, perhaps in London. English, circa 1780 Height: 6 ft 7¼ in; 201.5 cm Width: 4 ft ½ in; 123.5 cm Provenance: Edwin Lascelles, Harewood House, Yorkshire, or another Lascelles home, perhaps London, England; Collection of Chalmers Benedict Wood, US Foreign Service Officer and Ambassador, Wellington, New Zealand (1972–1974). Literature: Christopher Gilbert, ‘Chippendale’s Harewood Commission’, Furniture History, 1973, vol. 9, pp. 27–31.

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THE DISCOVERY OF A CHIPPENDALE GEM by Christine Palmer, Carver & Gilders Ltd.

Having been separated from an elaborate 18th century decorative scheme for centuries, and during that time subjected to extreme conditions and treatments, the mirror, though disguised, was instantly recognisable when presented to Carvers & Gilders Ltd. as relating to Chippendale’s work at Harewood House. Carvers & Gilders Ltd. have had a long association of over thirty years with Harewood House, after restoring the State Bed and mirrors there. Our work also involved the discovery of long-lost pairs of mirrors that had been displayed in the house. The extensive neoclassical green gold and regular gold scheme to which this mirror belonged was dismantled prior to major alterations in the 19th century. From the fragments available to us in the late 1980s, we were able to reconstruct a pair of circular mirrors surrounded by intricate carving. The carving and water gilding had survived remarkably well. Sadly the pair no longer had a context in the house, and were sold to help raise money for the restoration of pieces that were to be reunited with the collection. One of the pair of mirrors sold from Harewood House on 25 June 1987. Christie’s Images

From our experience at Harewood and information gathered from the discovered mirror we knew how it should look. With reference to our comprehensive notes and photographs from our earlier work we were able to reinstate the original design intention. Like the other pieces which were part of this scheme, the mirror is carved in lime wood, and the fine and detailed carving thinly gessoed and water gilded. During treatment we found small traces of the original gilding in the deeper recesses. It was identical to the gilding on the pair of mirrors that we had previously restored. There were enough gilding traces to establish the original scheme for the sphinx bases. The original 18th century gilding scheme in this suite was quite definite. The foliage and some of the flower centres were gilded with a green gold leaf to contrast with the warmer regular gold leaf on the flowers and stalks. The flat sections in the frame and base elements are green gold. The original matt and burnish scheme, with the burnished areas treated with dragon’s blood, was evident on the pair and was identified on the discovered mirror. The interplay between the different gold colours and the matt and burnished elements creates a subtle and yet lively effect. The carving required extensive cleaning to remove stain and wax before reinstating the gesso and gilding. This was achieved without further abrasion to the fine edges. Carving losses were all replaced with reference to the previously restored mirrors, so none was speculative. From a carver’s point of view, the original carving is the same as the pair, and probably from the same hand. The circular frame has exactly the same profile and depth of carving, which strongly suggests the three mirrors are from the same template.

Some of the Chippendale carvings stored after Barry’s refurbishment of the 1850s, photographed in the late 1970s

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2 A CHARLES II COCUS WOOD AND PIETRA DURA CABINET ON STAND The construction of the cabinet compares to several similar cabinets attributed to Pierre Cole, cabinet-maker to Louis XV of France. The mirrored central pull-out interior is a restoration. Retaining a paper label on the back, reading ‘Aus dem Besitz der Dalton Familie, England’ (‘formerly in the possession of the Dalton family’). The pietra dura: Florentine, circa 1660 The cabinet: English, circa 1660 Height: 5 ft 6½ in; 169 cm Width: 4 ft 1 in; 124.5 cm Depth: 1 ft 8¾ in; 52.5 cm Provenance: The Dalton family, England; Private collection, USA.

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The chairs with Simon Redburn Fine Arts Ltd. in 1972

3 A PAIR OF GEORGE II PARCEL GILT MAHOGANY NEEDLEWORK SIDE CHAIRS ATTRIBUTED TO PETER ALEXANDER The chairs retain their original needlework covers and most of the gilding. They belong to a well-known suite of chairs, many of them in public collections and museums in England and the USA. One pair is in the Metropolitan Museum in New York, and another pair is in the Lady Lever Art Gallery in Liverpool, while a single chair without needlework is in the Parker Knoll collection at the Metropolitan University in London. Two chairs photographed by R. W. Symonds cannot be traced at the moment. The chairs: English, circa 1735 The needlework: English, circa 1735 Height: 38¾ in; 98.5 cm Height of seat: 17 in: 43 cm Width: 24 in; 61 cm Depth: 25¾ in; 65.5 cm Provenance: Catherine Gordon of Gight; Mallett & Son Ltd., London, England; Simon Redburn Fine Arts Ltd., London, England, 1972; Gerald Hochschild, 96 Cheyne Walk, London, England, until 1978; Private collection, England. Exhibited: Northern Antique Dealers Fair, Harrogate, 1972, with Simon Redburn Fine Arts Ltd. International Art Treasures Exhibition, Bath, 1973, with Simon Redburn Fine Arts Ltd. Illustrated: Northern Antique Dealers Fair handbook, 1972, p. 62; with Simon Redburn Fine Arts Ltd. International Art Treasures Exhibition handbook, Bath, 1973, pl. 7; with Simon Redburn Fine Arts Ltd. Sotheby’s, ‘The Hochschild Collection of Highly Important English Furniture’, 1 December 1978, lot 24. Literature: Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, 1927, vol. 1, p. 227, fig. 70; a chair from the set formerly in the Sir George Donaldson Collection. R. W. Symonds, ‘The British Antique Dealers’ Association Exhibition’, Old Furniture – A Magazine for Domestic Ornament, vol. 4, May–August 1928, p. 28, fig. 2; a chair from the same set, formerly in the collection of Percival D. Griffiths. Herbert Cescinsky, English Furniture from Gothic to Sheraton, 1929, p. 280; a chair from the set. Bernard Hughes, ‘Chairs for Georgian Exquisites’, Country Life, 7 July 1966, pp. 47–8.

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4 A GEORGE III MAHOGANY WRITING TABLE ALMOST CERTAINLY BY WILLIAM VILE The table retains all the original ornate brass swan-neck handles and brass castors. The lockable hinged top folds over to reveal a green baize lined writing surface. The frieze has two short drawers and one long drawer to the front, and two short drawers and one long dummy drawer to the reverse side. The writing table is ideal for storing a collection of gold boxes, which can be covered up and hidden. A very similar writing table, supplied by William Vile to Queen Charlotte in 1763, is in the Royal Collection at Windsor Castle. English, circa 1765 Height: 33 in; 84 cm Height of writing surface: 29½ in; 75 cm Height of kneehole: 24¾ in; 63 cm Width: 51¼ in; 130.5 cm Depth: 33½ in; 85 cm Provenance: Private collection, Australia. Literature: Anthony Coleridge, Chippendale Furniture: The Work of Thomas Chippendale and his Contemporaries in the Rococo Style, 1968, illus. 17.

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THE BRYNKINALT HALL TABLES

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One of the tables in situ at Brynkinalt Hall, 1980. Crown copyright, Royal Commission on the Ancient and Historical Monuments of Wales

5 A PAIR OF GEORGE III GILTWOOD CONSOLE TABLES ATTRIBUTED TO JOHN LINNELL WITH JAPANESE LACQUER TOPS These amazing tables retain much of the original gilding. The removable black marble socles are of later date. The Japanese lacquer tops, although original to the bases, are of much earlier manufacture and were originally intended for centre tables rather than console tables; they are therefore finished at their back edges. One table retains a paper label to the underside of the frame inscribed ‘Brynkinallt’ (for Brynkinalt Hall, Wales), and the companion table retains fragments of a label. The tables: English, circa 1770 The tops: Japanese, circa 1650 Height: 36 in; 91.5 cm Width: 33½ in; 85 cm Depth: 22½ in; 56.5 cm Provenance: Viscount Dungannon, Brynkinalt Hall, Wales; Private collection, England. Photographed: In situ at Brynkinalt Hall in the 1940s; one of the pair.

Design by John Linnell for a related console table. Victoria and Albert Museum, London

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Design by John Linnell for an oval mirror. Victoria and Albert Museum, London

6 A PAIR OF GEORGE III GILTWOOD OVAL MIRRORS BY JOHN LINNELL An unpublished drawing by John Linnell, now in the collection of the Victoria and Albert Museum, London, and dated September 1773, clearly shows the design for these mirrors with a slight variation of the urn finial. Slight deviations from the drawing can often be seen in other documented commissions by Linnell that are still in their original homes. Both mirrors retain the original mirror plates and most of the original gilding. English, 1773 Height: 5 ft 3 in; 160 cm Width: 3 ft 1 in; 94 cm Provenance: Michael Hughes Ltd., London, England. Illustrated: Michael Hughes Ltd., ‘Fine Antique Furniture’, catalogue, no date, pp. 12–13.

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7 A GEORGE III ORMOLU MOUNTED CUT GLASS EIGHT LIGHT CHANDELIER ATTRIBUTED TO PARKER AND PERRY Because of their fragility, chandeliers from the 18th century rarely survive. We have taken great care in this case to preserve the original as much as possible, but five nozzles, four drip pans, two candle arms and the small canopy are of later date. English, circa 1770 Height: 5 ft 11 in; 180 cm Diameter: 3 ft 2 in; 96 cm Provenance: Partridge Fine Arts Ltd., London, England; Mallett & Son Ltd., London, England; Private collection, England. Illustrated: ‘Mallett Lighting’, catalogue, 2002, pp. 16–17.

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8 A GEORGE III MAHOGANY COMMODE ATTRIBUTED TO THOMAS CHIPPENDALE The commode retains the original ornate brass swan-neck carrying handles. The matching handles on the drawers also appear to be original. Metal analysis has revealed that the brass composition of both sets of handles corresponds. An attribution to John Cobb can be ruled out. Although similar in design, commodes from the Cobb workshop tend to feature far more elaborate handles. Chippendale handles are usually more restrained in design, with the visual emphasis on choice of timber and overall shape. Here, for example, the back legs match the front legs with their lively movement. The back legs on Cobb commodes appear stiff in comparison. A similar commode with identical handles and also attributed to Chippendale was formerly at Ham Court in Worcestershire. Thomas Chippendale’s design of 1753 for a ‘French Commode Table’ is probably the design source for this commode. English, circa 1770 Height: 34 in; 86.5 cm Width: 52½ in; 133.5 cm Depth: 27 in; 68.5 cm Provenance: Mallett & Son Ltd., London, England; Private collection, New York, USA. Illustrated: Connoisseur, 7 March 1953, no page number; trade advertisement with Mallett & Son Ltd. Literature: Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1st edition, 1754, pl. XLV. Christopher Gilbert, The Life and Work of Thomas Chippendale, vol. II, 1978, p. 146, illus. 263.

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Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, first edition, 1754, Plate CXLVI

9 A GEORGE III GILTWOOD OVAL MIRROR TO A DESIGN BY THOMAS CHIPPENDALE, ATTRIBUTED TO WILLIAM MATHIE The mirror retains the original mirror plate, which was re-used from an earlier frame. The high cost of mirror plate in the 18th century meant that re-use was common practice at the time. The design for this finely carved mirror was published in the first edition of Thomas Chippendale’s The Gentleman and Cabinet-maker’s Director of 1754. The execution of the carving is of very high quality, yet somewhat stiffer than comparable London carved mirror frames. William Mathie was apprenticed to Alexander Peter, one of the leading Edinburgh cabinet-makers in the 18th century. Both men worked independently at Dumfries House in Scotland, where Mathie carved several documented mirror frames to designs by Chippendale, which are similarly stiff yet exceptionally well executed. Scottish, circa 1760 Height: 5 ft 6½ in; 169 cm Width: 3 ft 6½ in; 108 cm Provenance: Private collection, Scotland. Literature: Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1st edition, 1754, pl. CXLVI. Christie’s, ‘Dumfries House – A Chippendale Commission’, sale catalogue, 12–13 July 2007, vol. II, pp. 72–3 & 86–7.

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10 A GEORGE II MAHOGANY KETTLE STAND English, circa 1750 Height: 20½ in; 52 cm Diameter: 12¼ in; 31 cm Width (across legs): 18 in; 45.5 cm Provenance: Phillips & Rixson Ltd., London, England; Private collection, England. Exhibited: The Antique Dealers’ Fair and Exhibition, London, 1956; with Phillips & Rixson Ltd. Illustrated: Connoisseur, June 1956, p. xxxix; advertisement with Phillips & Rixson Ltd.

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One of the related torchĂ¨res by Thomas Chippendale at Harewood House, Yorkshire

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11 A PAIR OF GEORGE III GILTWOOD TORCHÈRES ATTRIBUTED TO ROBERT ADAM AND THOMAS CHIPPENDALE The torchères retain some of the original gilding. The statuary marble inserts are later replacements. A suite of six torchères with concave triform bases with many related features was supplied by Chippendale to Edwin Lascelles at Harewood House circa 1779. Characteristic elements like the rams’ heads, guilloche bands and acanthus carving are virtually identical. Robert Adam designed similar stands with concave sides for the Earl of Derby’s house on Grosvenor Square in London and for William Weddell of Newby Hall, Yorkshire, England. English, circa 1780 Height of torchères: 62¼ in; 158 cm Height of torchères with candelabra: 79 in; 200.5 cm Width: 18¼ in; 46.5 cm Depth: 15½ in; 39.5 cm Provenance: Private collection, USA. Literature: Robert Adam, Works in Architecture, vol. I, 1773, pl. VIII, nos. 1–3. Desmond Fitzgerald, ‘Chippendale’s Place in the English Rococo’, Furniture History annual journal, 1968, pl. 4; a drawing for a pedestal with rams’ heads. Christopher Gilbert, The Life and Work of Thomas Chippendale, vol. II, 1978, p. 209, illus. 382. Jill Low, ‘Newby Hall – Two Late Eighteenth Century Inventories’, Furniture History annual journal, 1986, fig. 1.

12 A PAIR OF GEORGE III GILTWOOD THREE LIGHT CANDELABRA The brass candle nozzles, brass drip pans and white marble socles are of later date. English, circa 1780 Height: 21 in; 53 cm Width: 18¾ in; 47.5 cm Depth: 7 in; 18 cm

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13 A GEORGE II MAHOGANY THREE SEATER SETTEE ATTRIBUTED TO WRIGHT & ELWICK This extraordinary settee is comparable to a group of seat furniture of almost identical design: a suite supplied by Wright & Elwick to Wentworth Woodhouse, Yorkshire, and a further suite at Hackwood Park, Hampshire, which is also attributed to the same makers. English, circa 1755 Height: 3 ft 5½ in; 105.5 cm Height of seat: 1 ft 11½ in; 59.5 cm Width: 9 ft 1 in; 277 cm Depth: 3 ft 7 in; 109 cm Provenance: Private collection, Chicago, Illinois, USA. Literature: Christopher Gilbert, ‘Wright & Elwick of Wakefield, 1748–1824: a study of provincial patronage’, Furniture History, 1976, vol. XII, pp. 35–50. Christie’s, ‘Hackwood’, sale catalogue, 20–22 April 1998, lots 119–20. Christie’s, ‘Wentworth’, sale catalogue, 8 July 1998, p. 178, lot 67.

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14 A PAIR OF IRISH GEORGE III OVAL GILTWOOD AND CUT GLASS MIRROR CHANDELIERS The mirrors retain all the original cobalt and opaque white cut glass studs and have one replaced 18th century mirror plate. Some of the glass elements of the chandeliers have minor repairs. The combination of giltwood with glass studs on Irish mirror chandeliers is exceedingly rare, and very few examples are known to exist. Irish, circa 1785 Height: 32¼ in; 82 cm Width: 20¼ in; 51.5 cm Depth: 9 in; 23 cm Provenance: Private collection, England. Literature: Martin Mortimer, ‘The Irish Mirror Chandelier’, Country Life, 16 December 1971, pp. 1741–2. Martin Mortimer, The English Glass Chandelier, 2000, p. 167, pl. 105. Nicholas Goodison and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, 2004, pp. 168–9.

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From Matthew Boulton and John Fothergill’s ‘Pattern Book I’; design for a candlevase

15 A PAIR OF GEORGE III ORMOLU MOUNTED ‘CLIFF BLUE VEIN’ BLUE JOHN CANDLE VASES BY MATTHEW BOULTON Each vase retains the original gilding. The lids are reversible, turning each lidded vase into a candlestick. The drawing for the vase can be found in Boulton and Fothergill’s ‘Pattern Book I’. This pair of vases is one of only a handful of pairs known to exist. Two pairs are in a collection in Ireland, and one is in a collection in California, USA. English, circa 1775 Height (closed): 8¾ in; 22 cm Height (as a candlestick): 9 in; 23 cm Width: 5¼ in; 13.5 cm Depth: 2¾ in; 7 cm Literature: Nicholas Goodison, Matthew Boulton: Ormolu, 2002, p. 318, illus. 309.

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16 A PAIR OF GEORGE III MAHOGANY AND BOXWOOD BREAKFRONT LIBRARY BOOKCASES English, circa 1790 Bookcase 1: Height: 9 ft 9¼ in; 298 cm Width: 6 ft 8 in; 203 cm Depth: 1 ft 7½ in; 49.5 cm Bookcase 2: Height: 9 ft 8¾ in; 296.5 cm Width: 6 ft 8¾ in; 205 cm Depth: 1 ft 8½ in; 52 cm

17 A GEORGE IV BRASS MOUNTED PARCEL GILT AMBOYNA CENTRE TABLE BY WILLIAM RIDDLE English, circa 1825 Height: 28½ in; 72.5 cm Diameter: 58½ in; 148.5 cm

18 A REGENCY ‘NEW CAVERN VEIN’ BLUE JOHN URN English, circa 1815 Height: 17 in; 43 cm Diameter: 6½ in; 16.5 cm

19 A GEORGE III TWELVE LIGHT CUT GLASS CHANDELIER ATTRIBUTED TO PARKER & PERRY English, circa 1780 Height: 5 ft 3 in; 160 cm Diameter: 3 ft 4 in; 101.5 cm

20 A GEORGE III GILTWOOD AND COMPOSITION MIRROR English, circa 1780 Height: 5 ft 7 in; 170.5 cm Width: 3 ft 4¾ in; 103 cm

21 A LARGE GEORGE II GILTWOOD CONSOLE TABLE ATTRIBUTED TO MATTHIAS LOCK English, circa 1755 Height: 2 ft 11½ in; 90 cm Width: 6 ft 2¼ in; 189 cm Depth: 2 ft 9 in; 84 cm

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THE CROSBY HALL DINING TABLE

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22 A GEORGE III QUILTED MAHOGANY SIX PILLAR DINING TABLE Six pillar dining tables are exceptionally rare. The quilted mahogany veneer is also highly unusual. Most dining tables of this form are of solid wood without decorative exotic veneers. The table has never been reduced in width, and retains the original castor boxes. It has at some stage been fractionally reduced in length. It will seat 24 people without leaves, and a further 10 by adding leaves if required. The wheels and forks are faithful restorations. English, circa 1780 Length (without leaves): 20 ft 9 in: 632.5 cm Length (with leaves): 29 ft 1 in: 886.5 cm Height: 2 ft 4Â˝ in; 72.5 cm Width: 4 ft 11Âź in; 150.5 cm Provenance: Crosby Hall, Lancashire, England, until May 1954; Private collection, St Helens, Merseyside, England.

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THE LEOPOLD HIRSCH DINING CHAIRS

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Two chairs from the set illustrated

23 A SET OF TEN GEORGE II MAHOGANY DINING CHAIRS Some of the chairs have walnut components which are original. Related chairs were formerly in the collection of Viscount Lever, and other related examples are in the collection at Temple Newsam in Leeds. Leopold Hirsch originally had sixteen chairs in his collection. Frank Partridge sold sets of ten and six chairs separately, perhaps because of slight differences between the two sets. A set of six side chairs, with minor differences but without doubt from the same workshop, is available with this set, extending it to sixteen chairs in all. It is possible that these six chairs were originally part of the Hirsch set. English, circa 1750 Height: 38 in; 96.5 cm Height of seat: 18 in; 46 cm Width: 23 in; 58.5 cm Depth: 22 in; 56 cm Provenance: Leopold Hirsch, Esq., 10 Kensington Palace Gardens, London, England, until 1934; Frank Partridge & Sons Ltd., London, England, 1934; Private collection, England. Illustrated: Christie, Manson & Woods, ‘The Important Collection of English and French Furniture, Porcelain, Objects of Art and Tapestry – The Property of the late Henry Hirsch’, sale catalogue, 7 May 1934, pp. 20–21, lot 46. R. W. Symonds, ‘The Migration of the Chippendale Chair’, Connoisseur, May 1955, pp. 228–35, fig. 15; one illustrated. Literature: Percy Macquoid, A History of English Furniture, vol. III, ‘The Age of Mahogany’, 1906, p. 135, fig. 118. Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. I, p. 274, fig. 151. F. Lewis Hinckley, Georgian Furniture and Looking Glasses, 1992, p. 26, illus. 13. Christopher Gilbert, Furniture at Temple Newsam House and Lotherton Hall, 1998, vol. I, pp. 82–3.

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Robert Jupe’s patent drawing of 1835 for an extending round dining table

24 A VICTORIAN MAHOGANY RADIALLY EXTENDING DINING TABLE BY JOHNSTONE & JEANES, NO. 5107 Robert Jupe originally took out Patent No. 6788 for his ‘Improved Expanding Table’ on 11 September 1835. At this time he was in partnership with John Johnstone at 67 New Bond Street, London, trading under the name of Johnstone & Jupe. By 1842, however, Jupe had left the partnership to form his own company at 47 Welbeck Street, Cavendish Square, London, and Johnstone subsequently formed a new partnership, trading under the name Johnstone & Jeanes, while retaining the patent rights to Jupe’s invention. The table retains all the original leaves. The central receiving platform is stamped: ‘JOHNSTONE & JEANES – 67 NEW BOND STREET – LONDON – 5107’. The central brass boss is engraved: ‘JOHNSTONE & JEANES – PATENTEES – 67 NEW BOND STREET’. English, circa 1845 Height: 2ft 4¼ in; 72 cm Diameter (without leaves): 5ft 7½ in; 171.5 cm Diameter (with small leaves): 6ft 10 in; 208.5 cm Diameter (with large leaves): 8ft 1¼ in; 247 cm Provenance: Private collection, New York, USA.

The central receiving platform

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Diameter without leaves: 5ft 7Â½ in; 171.5 cm

Diameter with small leaves: 6ft 10 in; 208.5 cm

Diameter with large leaves: 8ft 1Âź in; 247 cm

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The Borghese Vase, F. & P. Piranesi, 1778

The frieze of the Borghese Vase, F. & P. Piranesi, 1778

25 A GEORGE III CHASED BRONZE AND ORMOLU MODEL OF THE BORGHESE VASE ATTRIBUTED TO RUNDELL, BRIDGE & RUNDELL This vase is a scaled down model of a monumental marble bell shaped krater vase dating from about the 1st century BC. It is named after its last private owners, the Borghese family in Rome. It was discovered in a Roman garden in 1566 and acquired by the Borghese family, who retained it until the early 19th century. In 1808, Napoleon bought it from the Borghese family and soon afterwards had it displayed in the Louvre in Paris, where it remains today. The frieze depicts a procession of what appear to be musicians and dancers. One figure, looking rather the worse for wear, and spilling a flagon of wine and being held upright by another, is that of Dionysus, the Greek god of wine. Three scale copies of the vase were produced in the 18th century for the gardens of Versailles, France. Piranesi copied the frieze of the vase and published it in 1778. In England an alabaster pair can be found at Houghton Hall, Norfolk, and a virtually identical bronze model is at Osterley Park, Middlesex, which is probably from the same workshop. One bronze model belonging to the Earl of Radnor of Longford Castle is illustrated in A History of English Furniture by Percy Macquoid. Rundell, Bridge & Rundell frequently used decorative elements from one of Piranesi’s 29 publications on ancient Rome for their pieces. These include amongst others the Medici Vase, often as the companion to the Borghese Vase, and the Buckingham Vase. English, circa 1810 Height: 20 in; 51 cm Diameter: 14¾ in; 37.5 cm Literature: Giovanni Battista Piranesi, Varie Vedute di Roma Antica e Moderna, 1745. Giovanni Battista Piranesi, Avansi degli Edifici di Pesto, 1777–1778. Percy Macquoid, A History of English Furniture, vol. III, ‘The Age of Mahogany’, 1906, p. 75, fig. 68. Christopher Hartop, Royal Goldsmiths: The Art of Rundell & Bridge, 1797–1843, 2005.

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Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, first edition, 1754, Plate XXXXVIII

26 A PAIR OF GEORGE II GILTWOOD SIDE TABLES The design for the tables is inspired by plate XXXVIII of Thomas Chippendale’s first edition of The Gentleman and Cabinet-maker’s Director of 1754. A similar single marble topped table based on the same design was with Phillips of Hitchin, Hertfordshire, England, in the 1920s, and another is illustrated in English Furniture of the Eighteenth Century by Herbert Cescinsky. The Skyros marble tops are of later date. The tables have restorations to the back legs. English, circa 1755 Height: 3 ft 1¾ in; 96 cm Width: 5 ft ½ in; 154 cm Depth: 2 ft 6 in; 76.5 cm Literature: Thomas Chippendale, The Gentleman and Cabinet-maker's Director, 1st edition, 1754, pl. XXXVIII. Herbert Cescinsky, English Furniture of the Eighteenth Century, vol. II, 1910, p. 285, fig. 317. Connoisseur, March 1970, p. 17; T. Crowther & Son, advertisement. Country Life, 2 June 1988, p. 120; Phillips Fine Art Auctioneers, advertisement. Phillips of Hitchin archive, image no. 04277.

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27 A PAIR OF GEORGE III GILTWOOD MIRRORS These exceptionally well carved mirrors are in the manner of Thomas Chippendale and take their inspiration from a design for a pier glass frame published in 1754. The spirit of the drawing is apparent in these mirrors. The conception of the ho-ho birds relates in much detail to the well documented girandoles with ho-ho birds at Dumfries House in Scotland. The mirror plates are mercury silvered replacements. English, circa 1765 Height: 6 ft 4¼ in; 193.5 cm Width: 3 ft 6 in; 106.5 cm Provenance: Vyse Millard Ltd., Amersham, Buckinghamshire, England, until 1957; David Style, Esq., Wateringbury Place, Maidstone, Kent, England, until 1978; Private collection, London, England. Exhibited: The Antique Dealers’ Fair and Exhibition, London, 1957, with Vyse Millard, Amersham, Buckinghamshire. Illustrated: The Antique Dealers’ Fair and Exhibition handbook, 1957, p. 63; one of the pair illustrated. Literature: Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1st edition, 1754, pl. CXLIII. Christie’s, ‘Dumfries House’, sale catalogue, 12 July 2007, vol. I, pp. 209–15, lot 60.

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28 AN IRISH GEORGE II MAHOGANY SIDE TABLE The table has acquired an outstanding colour and patination. Irish, circa 1750 Height: 30¼ in; 77 cm Width: 55½ in; 141 cm Depth: 28 in; 71.5 cm Provenance: Private collection, England; Private collection, Dublin, Ireland.

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THE HAWARDEN CASTLE MIRROR

29 A GEORGE II GILTWOOD PIER MIRROR This mirror survives in a virtually untouched state of preservation and retains almost all the original oil gilding and the original mercury silvered mirror plate. The crispness of the carving relates to work by Luke Lightfoot for Claydon House in Buckinghamshire. English, circa 1750 Height: 5 ft 2¼ in; 158 cm Width: 3 ft 1¾ in; 96 cm Depth: 6¼ in; 16 cm Provenance: Commissioned by Sir John Glynne, 6th Baronet, for either Broadlane House, Flintshire, Wales (now named Hawarden Castle) or the family’s London house on Berkeley Square; By descent to Sir Stephen Glynne, 9th Baronet, Hawarden Castle, Flintshire, Wales; By descent to his sister Catherine, married to Sir William Gladstone, Prime Minister, Hawarden Castle, Wales; By descent within the Gladstone family at Hawarden Castle until sold. Literature: Matthias Lock, Six Sconces, 1744, title page, pl. 4. Matthias Lock and Henry Copland, A New Book of Ornaments for Looking Glass Frames, 1752, pl. 3. Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1754, pl. CXLII. Thomas Johnson, One Hundred and Fifty New Designs, 1761, pl. 7. Terence Davis, Rococo: a Style of Fantasy, 1973, pp. 28–29, figs. 14, 16, 17 & 18. Ronald Phillips Ltd., ‘Mirrors’, catalogue, 2010, pp. 114–15.

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30 A GEORGE III BRASS MOUNTED MAHOGANY COMMODE The commode belongs to a group of almost identical outline, with the same unusual brass husk handles. The veneers used are generally of the finest quality, with relatively sparse use of brass mounts. The outline is of French origin, suggesting a cabinet-maker who had either worked in France for some time or had worked with a French cabinet-maker in England. Recorded examples include one made for the Duke of Norfolk for Norfolk House, London, and another, now in a private collection in São Paulo, is illustrated in 18th Century English Furniture: The Norman Adams Collection. The commode retains all the original brass handles and mounts. English, circa 1765 Height: 35 in; 89 cm Width: 53¾ in; 136.5 cm Depth: 26¾ in; 68 cm Provenance: Private collection, USA. Literature: Anthony Coleridge, Chippendale Furniture: The Work of Thomas Chippendale and his Contemporaries in the Rococo Style, 1968, fig. 234. Christopher Claxton Stevens and Stewart Whittington, 18th Century English Furniture: The Norman Adams Collection, 1983, pp. 388–9. Lucy Wood, Catalogue of Commodes, 1994, p. 332.

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THE UNTERMYER LIBRARY ARMCHAIRS

One of the chairs in the Untermyer Collection illustrated

31 A PAIR OF GEORGE II WALNUT LIBRARY ARMCHAIRS Judge Irwin Untermyer assembled one of the most important collections of English furniture in New York in the 20th century. Almost the entire collection was bequeathed to the Metropolitan Museum in New York, where it formed an important part of the museum’s collection of English furniture. Some of the items have since been released from the Metropolitan Museum and from other museums. The chairs: English, circa 1750 The tapestry: English, circa 1750 Height: 42¾ in; 108.5 cm Height of seat: 18 in; 46 cm Width: 28¾ in; 73 cm Depth: 32 in; 81 cm Provenance: Judge Irwin Untermyer, New York, USA; Metropolitan Museum, New York, USA; Museum of Fine Art, San Francisco, California, USA. Illustrated: Yvonne Hackenbroch, English Furniture with Some Furniture of Other Countries in the Irwin Untermyer Collection, 1958, pl. 109, fig. 113.

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A design for a torchère, from Robert and James Adam, Works in Architecture, 1778, plate XXV

32 A SMALL PAIR OF LOUIS PHILIPPE I ORMOLU MOUNTED BLOODSTONE VASES French, circa 1830 Height: 7½ in; 19 cm Depth: 2½ in; 6.5 cm

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33 AN IRISH GEORGE II MAHOGANY SILVER TABLE The carving to the frieze has acquired a beautiful patination, characteristic of desirable Irish furniture of this period. A similar example is in a private collection in New York. Irish, circa 1745 Height: 28½ in; 72 cm Width: 32 in; 81 cm Depth: 21½ in; 54.5 cm Provenance: Private collection, USA. Literature: The Knight of Glin, Irish Furniture, 2007, pp. 239–41.

THE BRIDGEWATER HOUSE PORPHYRY DOLPHIN TABLES

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One of the tables in situ at Bridgewater House, 1896. Copyright The Historic England Archive

34 A PAIR OF GEORGE III GILTWOOD SIDE TABLES BY MARSH & TATHAM, DESIGNED BY CHARLES HEATHCOTE TATHAM These outstanding tables were once part of a suite of at least twelve tables commissioned for George Granville Leveson-Gower, Marquess of Stafford and 1st Duke of Sutherland, for Cleveland House, later renamed Bridgewater House, in London. When George inherited Cleveland House in 1744 he also inherited from his uncle a very large collection of paintings from the Orléans collection, which would later be housed in a vast picture gallery there. The suite of dolphin tables formed part of the furnishings for this gallery. The stone slabs for these tables had been bought some fifty years earlier by George’s father. The slabs were of various different stones, and five different widths, from 85 inches at the widest, through 76, 56 and 54¼ inches, to the smallest at 45 inches. The largest pair of tables, with pink granite tops, is still in the collection of the Duke of Sutherland at Mertoun on the Scottish borders, whilst the other tables are in collections around the world, including a pair with veneered stone tops at the Museum of Fine Arts in Boston, USA, a single with an African Breccia top at the Fishmongers Hall in London, England, and a single with a porphyry top at the Fitzwilliam Museum in Cambridge, England, to name but a few. English, between 1803 and 1806 Height: 32¾ in; 83 cm Width: 45 in; 114.5 cm Depth: 23½ in; 59.5 cm

Provenance: Commissioned by George Granville Leveson-Gower, Marquess of Stafford and 1st Duke of Sutherland for Cleveland House, London, England; M. Harris & Sons Ltd., London, England; H. Blairman & Sons Ltd., London, England; Private collection, England. Literature: John Cornforth, ‘Mertoun, Berwickshire: II’, Country Life, 9 June 1966, fig. 3. F. Herman, ‘Collection Classics’, Connoisseur, June 1966, p. 103. Christopher Proudfoot and D. Watkin, ‘The Furniture of C. H. Tatham: II’, Country Life, 8 June 1972, pp. 1481–6. David Pearce, London’s Mansions, 1986, fig. 135. Christie’s, ‘John Harris, Treasures of the North’, exhibition catalogue, 2000, p. 138, item 102. Tania M. Buckrell Pos, ‘Tatham and Italy: Influences on English Neoclassical Design’, Furniture History, 2002, pp. 58–82. Katherine S. Howe, Rienzi: European Decorative Arts and Paintings, 2008, pp. 91–2, 203 & 211. Susan Weber, William Kent: Designing Georgian Britain, 2013, p. 604, fig. 21.17.

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35 A PAIR OF GEORGE I GESSO MIRRORS The feature of carved dolphin crests on the mirrors is extremely rare in this period. A label on the reverse refers to a company called H. Smart who restored these mirrors in the early 19th century. The mirrors retain most of the original gilding. One mirror has a replaced bevelled mirror plate, and the other retains the original plate. English, circa 1720 Height: 56 in; 142.5 cm Width: 30½ in; 77.5 cm Depth: 9¾ in; 25 cm Illustrated: Christopher Gilbert, A Pictorial Dictionary of Marked London Furniture 1700–1840, 1996, p. 432, illus. 867. Literature: Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. II, p. 332. Herbert F. Schiffer, The Mirror Book: English, American & European, 1983, p. 68. Graham Child, World Mirrors 1650–1900, 1990, p. 78.

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36 A VICTORIAN STERLING SILVER DOUBLE DECANTER TROLLEY BY JOSEPH & JOHN ANGELL The trolley is on wheels and can be steered by means of a pivoting loop handle. English, hallmarked for London, 1839 Height: 3½ in; 9 cm Width: 16½ in; 42 cm Depth: 7¾ in; 19.5 cm

37 A PAIR OF GEORGE III ENGRAVED GLASS DECANTERS The decanters retain their original facet cut stoppers. English, circa 1780 Height: 11¼ in; 28.5 cm Diameter: 4½ in; 11.5 cm

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38 A GEORGE III MAHOGANY SECRÉTAIRE CABINET ON STAND ATTRIBUTED TO WILLIAM VILE The secrétaire section is fitted with a baize lined writing surface, three pigeon-holes, an open compartment, a long drawer and three small drawers. The cabinet is decorated with exceptionally fine carving to the Vitruvian scroll gallery, mouldings, cluster column stand and, most unusually, the cock-beading to each external drawer, a sign of superior quality and workmanship. Similar secrétaire cabinets with identical Chinese trellis tops were in the collection of the Duke of Leeds at Hornby Castle in Yorkshire. A mirror glazed linen press from the same collection also features carved cock-beading and similarly carved mouldings. The cabinet retains all the original ornate brass handles. English, circa 1770 Height: 5 ft 3 in; 160 cm Width: 2 ft 1¼ in; 64 cm Depth: 1 ft ½ in; 32 cm Provenance: Private collection, Hertfordshire, England. Literature: Herbert Cescinsky, English Furniture from Gothic to Sheraton, 1929, p. 328. Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. I, pp. 151–2, figs. 58–60.

39 A PAIR OF GEORGE III GILTWOOD BRACKETS ATTRIBUTED TO GILLOWS OF LANCASTER The quality of these brackets is outstanding. They retain much of the original water gilt surface. The lower pendent berry carved finials are of later date. A drawing by Gillows from about 1790 illustrates such a bracket. English, circa 1770 Height: 19¼ in; 49 cm Width: 13½ in; 34.5 cm Depth: 8 in; 20.5 cm Literature: Helena Hayward & Pat Kirkham, William and John Linnell, Eighteenth Century London Furniture Makers, 1980, vol. 2, p. 146. Lindsay Boynton, Gillow Furniture Designs 1760–1800, 1995, illus. 210.

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40 A GEORGE II MAHOGANY SIDE TABLE The Skyros marble top is of later date. English, circa 1750 Height: 2 ft 7¾ in; 81 cm Width: 5 ft; 152.5 cm Depth: 2 ft 8¼ in; 82 cm Provenance: Private collection, USA.

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41 A GEORGE III PERIOD CHINESE EXPORT MIRROR PAINTING The mirror painting: Chinese, circa 1770 The giltwood frame: English, 21st century Height: 34 in: 86.5 cm Width: 41 in; 104 cm Provenance: Mrs. Walter Hayes Burns, sister of J. P. Morgan, North Mymms Park, Hertfordshire, England; Private collection, England.

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42 A PAIR OF REGENCY ORMOLU MOUNTED CUT GLASS STORM LIGHTS BY JOHN BLADES The lights are of outstanding quality and retain the original gilding and the original cold painted glass shades. English, circa 1815 Height: 20¾ in; 53 cm Diameter: 8½ in; 21.5 cm

100

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43 A GEORGE II MAHOGANY CARD TABLE WITH NEEDLEWORK PLAYING SURFACE The hinged back legs support the fold-over top to reveal the playing surface with needlework insert. The table: English, circa 1755 The needlework: English, circa 1800 Height: 29½ in; 74.5 cm Width: 36¼ in; 92 cm Depth (closed): 18 in; 46 cm Depth (open): 35½ in; 90 cm Provenance: Property of a lady, sold by order of bankers to liquidate a charge in 1932; Private collection, England. Illustrated: Christie, Manson & Woods, ‘English and French Furniture’, sale catalogue, 23 June 1932, pp. 12–13, lot 55.

102

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44 A GEORGE II RED JAPANNED OCCASIONAL TABLE ATTRIBUTED TO GILES GRENDEY The table retains virtually all the original japanning and the original swan-neck handle to the frieze drawer. The stretcher is stamped ‘I H’ to the underside. The workshop of Giles Grendey often stamped their furniture with the initials of the individual cabinet-maker. The japanning is typical of the Grendey workshop and compares to the well documented red japanned suite of furniture supplied to the Duke of the Infantado in Spain. Some pieces in the Spanish suite are also stamped with a variety of different double initials. English, circa 1740 Height: 27¼ in; 69 cm Width: 23¾ in; 60.5 cm Depth: 16¾ in; 42.5 cm Provenance: Private collection, New York, USA. Literature: Simon Jervis, ‘A Great Dealer in the Cabinet Way’, Country Life, 6 June 1974, pp. 1418–19. Christopher Gilbert, Furniture at Temple Newsam House and Lotherton Hall, 1998, vol. I, pp. 79–80.

104

Stamp to underside of the stretcher

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45 A GEORGE III BRASS MOUNTED SATINWOOD AND PURPLEHEART OPEN SIDE CABINET ATTRIBUTED TO GILLOWS The cabinet retains all the original brass mounts and the original statuary white marble top. The original brass handles have replaced back plates. The internal mirror back is a 19th century replacement. English, circa 1785 Height: 3 ft ¼ in; 92 cm Width: 5 ft 11¾ in; 182 cm Depth: 1 ft 7 in; 48.5 cm Provenance: Collection of Madame de Précourt, France; Private collection, Portugal.

106

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46 A GEORGE III BRASS MOUNTED SATINWOOD CIRCULAR BREAKFAST TABLE The table has a tip-up top and retains the original chased brass edge and castors. English, circa 1790 Height: 2 ft 5 in; 74 cm Diameter: 5 ft 2 in; 158 cm Provenance: Mallett & Son Ltd., London, England; Private collection, Australia. Illustrated: Country Life, 18 December 1975, supplement 25; advertisement with Mallett & Son Ltd. Lanto Synge, Furniture in Colour, 1977, illus. 7b. Lanto Synge, Mallettâ&#x20AC;&#x2122;s Great English Furniture, 1991, p. 149.

108

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Thomas Sheraton, The Cabinet-Maker and Upholsterer’s Drawing Book, 1802, first published 1791, Plate 3

47 A SET OF SIX GEORGE III SATINWOOD ARMCHAIRS English, circa 1785 Height: 36 in; 91.5 cm Height of seat: 19 in; 48 cm Width: 24½ in; 62.5 cm Depth: 24 in; 61 cm Provenance: Collins and Clarke, Cambridge, England, until 1944; Private collection, Bedfordshire, England. Illustrated: ‘Avenue House, Ampthill, Bedfordshire, The Residence of Professor A. E. Richardson, P.R.A., and Mrs. Richardson’, Antique Collector, February 1955, p. 4.

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The Antique Dealers’ Fair and Exhibition, 1965. Phillips of Hitchin photo archive, no. 02089

48 A GEORGE III TULIPWOOD SIDE TABLE WITH A BRASS MOUNTED BLUE JOHN TOP The table displays design features usually associated with the London cabinet-making firm of Mayhew & Ince, which adopted the French forms of the latter years of the 18th century, and it may well have been produced by them. English, circa 1785 Height (including gallery): 29½ in; 75 cm Depth: 16½ in; 42 cm Width: 19¼ in; 49 cm Provenance: Phillips of Hitchin, Hertfordshire, England; Private collection, England. Exhibited: The Antique Dealers’ Fair and Exhibition, London, 1965; Phillips of Hitchin. Photographed: For Phillips of Hitchin, The Antique Dealers’ Fair and Exhibition, London, 1965; Phillips of Hitchin photo archive, p. 1773, no. 02089.

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49 A SMALL PAIR OF GEORGE III GILTWOOD OVAL SUNBURST MIRRORS These exceptionally rare mirrors retain some of the original gesso and have replaced 18th century mirror plates. English, circa 1780 Height: 28Â½ in; 72.5 cm Width: 18 in; 46 cm Provenance: Private collection, USA.

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50 THE NORMAN COLEVILLE GESSO TABLE A GEORGE I GESSO SIDE TABLE ATTRIBUTED TO JAMES MOORE English, circa 1715 Height: 29¾ in; 76 cm Width: 36½ in; 92.5 cm Depth: 22 in; 56 cm

51 A PAIR OF GEORGE III PERIOD POLYCHROME PAINTED CHINESE FIGURES Chinese, circa 1780 The male figure: Height: 15¼ in; 39 cm Width: 6¼ in; 16 cm Depth: 5¾ in; 14.5 cm The female figure: Height: 14¾ in; 37.5 cm Width: 5½ in; 14 cm Depth: 6½ in; 16.5 cm

52 A QUEEN ANNE OVAL MIRROR English, circa 1710 Height: 41¾ in; 106 cm Width: 23½ in; 59.5 cm Depth: 8½ in; 21.5 cm

53 THE EARL HOWE STOOLS A PAIR OF GEORGE II MAHOGANY STOOLS The stools: English, circa 1745 The needlework: English, circa 1745 Height: 16¼ in; 41 cm Width: 25 in; 63.5 cm Depth: 19¾ in; 50 cm 54 A PAIR OF REGENCY ORMOLU MOUNTED CUT GLASS THREE LIGHT CANDELABRA BY JOHN BLADES English, circa 1820 Height: 22 in; 56 cm Width: 13¾ in; 35 cm Depth: 5¼ in; 13.5 cm

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55 A GEORGE III ORMOLU MOUNTED ‘CLIFF BLUE VEIN’ BLUE JOHN CANDLE VASE BY MATTHEW BOULTON This vase is referred to in the 4 November 1809 inventory of Warwick Castle, Warwickshire, which describes in the Yellow Bedroom ‘A Derbyshire Pedestal and urn with four branches’. This item is further mentioned in a December 1924 inventory entitled ‘Articles in Warwick Castle of National or Historical Interest’, which lists in the Cedar Drawing Room a ‘20 in. Ormolu mounted Blue John Vase and Cover surmounted by a brass knob, two terminal female figures supporting two light candelabra, on four knob feet’. The blue john lid has been replaced at some stage, but follows faithfully the original pattern by Matthew Boulton. English, circa 1770 Height: 22¼ in; 56.5 cm Width: 18¾ in; 47.5 cm Base: 8¼ in; 21 cm (square) Provenance: The Earls of Warwick, Warwick Castle, England, and probably supplied to George Greville, 2nd Earl of Warwick (1746–1816); Ronald Phillips Ltd., London, England; Private collection, England. Illustrated: ‘Warwick Castle – II. Warwickshire, The seat of the Earl of Warwick’ (article signed ‘F’), Country Life, vol. XXXV, issue 909, 6 June 1914, p. 848; in situ at Warwick Castle, in the Cedar Room. Antique Collector, December 1954, p. 217. Ronald Phillips Ltd., 2009 catalogue, pp. 198–201. Ronald Phillips Ltd., 2015 catalogue, pp. 204–7. Ronald Phillips Ltd., ‘Masterpieces of English Furniture’, catalogue, 2016, pp. 44–5.

56 A REGENCY MAHOGANY REVOLVING DRUM TABLE ON A BOOKCASE PEDESTAL The combination of bookcase and drum table is very unusual. The frieze is fitted with four drawers and four dummy drawers. One of the drawers has a leather lined rising reading rest on ratchet support. The leather inserts are late 19th century replacements, and the brass handles are of later date. English, circa 1815 Height: 28¼ in; 72 cm Diameter: 38½ in; 97.5 cm Provenance: Private collection, USA.

118

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57 A GEORGE III MAHOGANY AND GONÇALO ALVES BANDED TRIPOD TABLE English, circa 1770 Height: 29 in; 74 cm Width: 30¾ in; 78 cm Depth: 26¼ in; 66.5 cm Provenance: Private collection, New York, USA.

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58 A PAIR OF GEORGE III ‘MILLERS VEIN’ BLUE JOHN OBELISKS Blue john obelisks of identical formation and size and probably by the same hand were formerly in the collection of David Style at Wateringbury Place in Kent, England. English, circa 1800 Height: 13½ in; 34.5 cm Width: 3 in; 7.5 cm Depth: 3 in; 7.5 cm Provenance: Private collection, USA.

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59 A SMALL PAIR OF GEORGE III MAHOGANY TUB CHAIRS English, circa 1770 Height: 33¾ in; 85.5 cm Height of seat: 19 in; 48 cm Width: 24 in; 61 cm Depth: 21¼ in; 54 cm

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The writing table with M. Harris & Sons in 1936

60 A REGENCY MAHOGANY WRITING TABLE ATTRIBUTED TO JOHN LINNELL The table is fitted with three drawers to each side and retains the original lion mask mounts and castors. A very similar writing table was formerly in Osterley Park, Middlesex. English, circa 1815 Height: 2 ft 6½ in; 77.5 cm Knee height: 2 ft 1¼ in; 64 cm Width: 5 ft; 152.5 cm Depth: 2 ft 11¼ in; 89.5 cm Provenance: Lt.-Col. S. G. Goldschmidt, Kerfield House, Ollerton, Cheshire, England; M. Harris & Sons Ltd., London, England; Private collection, England. Illustrated: M. Harris & Sons, ‘A Catalogue and Index of Old Furniture and Works of Decorative Art’, circa 1930s, part III 1770–1840, p. 406.

126

THE KERFIELD HOUSE LIBRARY TABLE

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61 A PAIR OF REGENCY MAHOGANY 18-INCH GLOBES BY J. & W. CARY Each globe is inscribed and dated: ‘London: Made & Sold by J. & W. Cary Strand March 1816’. The fragile original compasses have been restored, and the compass papers, needles and bezels have been faithfully replaced. The turned compass supports are previous restorations. English, 1816 Height: 44 in; 112 cm Diameter: 25½ in; 65 cm Provenance: Private collection, South Carolina, USA; Private collection, Chicago, Illinois, USA.

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62 A GEORGE IV ROSEWOOD CIRCULAR BOOKCASE The bookcase has four shallow drawers above four open book sections with four compartments each. The top is fitted with a hinged lid revealing four silk lined containers. The pierced brass gallery and concealed castors are original; the brass knob handles are of later date. English, circa 1830 Height: 37Âź in; 95 cm Diameter: 24Â˝ in; 62 cm Provenance: Private collection, USA. Literature: F. Lewis Hinckley, A Directory of Antique Furniture, 1953, p. 215, fig. 663; a bookcase of almost identical design, and probably from the same workshop.

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63 A REGENCY HEXAGONAL BRASS LANTERN ATTRIBUTED TO WILLIAM COLLINS William Collins supplied a very similar lantern, also with the distinctive foliate glazing bars and crestings, to Burton Constable Hall in Yorkshire, England, where a bill from 1832 for £60 survives. An almost identical model is in the collection of the Metropolitan Museum of Art in New York. The lantern has a Regency replaced glass smoke cowl. The pendent light fitting is modern and is fitted for electricity. English, circa 1820 Height: 35¾ in; 91 cm Diameter: 21½ in; 54.5 cm Provenance: Ronald Phillips Ltd., London, England; Private collection, Germany. Illustrated: Ronald Phillips Ltd., 2011 catalogue, pp. 200–201. Literature: Christie’s, ‘Fine English Furniture’, sale catalogue, 4 July 1991, lot 16. Christopher Gilbert, Country House Lighting 1660–1890, 1992, p. 73. Rupert Gentle, Domestic Metalwork 1640–1820, 1994, p. 189, illus. 9.

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64 A HUGE PAIR OF GEORGE III MAHOGANY LOG BUCKETS The buckets retain the original ornate brass lifting handles and brass rings and have later fitted brass liners. One bucket has a printed paper label to the inside reading: ‘Frances A. Elkins, Monterey, California’. Frances Alder Elkins (1888–1953) was a leading Californian interior decorator in the first half of the 20th century. The paper label indicates that these buckets were not only part of one of her prestigious commissions, but also part of her private collection at Casa Amesti in California. Irish, circa 1800 Height: 31¼ in; 79.5 cm Diameter: 21½ in; 54.5 cm (across the woodwork) Width: 25½ in; 65 cm (across the handles) Provenance: Collection of Frances A. Elkins, California, USA; Private collection, Dublin, Ireland.

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65 A GEORGE III MAHOGANY READING TABLE ATTRIBUTED TO MAYHEW & INCE The top is fitted with a double rising mechanism supported on a brass quadrant with ratchet stop. The leather lined writing surface is of later date. This unusual table is one of a small group of similar writing tables all attributed to the London cabinet-making firm of Mayhew & Ince. One such table was commissioned by the Earl of Kerry and bears the family crest. The Earl of Kerry was one of the firm’s most prolific patrons. With these factors in mind, and the drawing for such a table in their publication The Universal System for Household Furniture, an attribution is justified and almost certain. The Kerry table is basically of the same outline and construction, and differs only in the execution of the legs, an adjustment of design probably to match with other furnishings supplied to the Earl. English, circa 1765 Height (lowered): 3 ft 1 in; 94 cm Height (fully extended): 5 ft 3 in; 160 cm Width: 2 ft 1¼ in; 64 cm Depth: 1 ft 6¾ in; 47.5 cm Provenance: French & Co., New York, USA; Private collection, New York, USA. Literature: William Ince and John Mayhew, The Universal System for Household Furniture, 1762, pl. XXIV. Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. 3, p. 186, figs. 3–4. Peter Brown, The Noel Terry Collection of Furniture and Clocks, 1987, p. 103, illus. 102. The Grosvenor House Antiques Fair handbook, 1993, p. 147. Nicholas Goodison and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, 2004, pp. 204–5.

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66 A GEORGE II MAHOGANY WRITING TABLE The table has acquired an outstanding colour and patination and retains the original ornate swan-neck handles to the drawers, and the original gold tooled dark brown leather insert. The side handles are of later date. Related drawings for writing tables can be found in Chippendale’s third edition of his highly influential drawing book and in a similar publication by the Society of Upholsterers and Cabinet-makers, the latter retailed by the bookseller Robert Sayer. This book, together with the fact that Sayer retailed the first edition of Chippendale’s publication, but not the second and third editions, may suggest some rivalry between the two men. English, circa 1755 Height: 2 ft 7½ in; 80 cm Height of kneehole: 2 ft; 61 cm Width: 5 ft 5¾ in; 167 cm Depth: 2 ft 11 in; 89 cm Provenance: Corporate collection, USA. Literature: Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 3rd edition, 1762, pl. LXXII. Society of Upholsterers and Cabinet-makers, Genteel Household Furniture In the Present Taste, 1762, pl. 62.

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The chair illustrated

67 A GEORGE II MAHOGANY ARMCHAIR ATTRIBUTED TO GILES GRENDEY The front and back rails are restorations. English, circa 1745 Height: 38 in; 96.5 cm Height of seat: 18 in; 46 cm Width: 30¼ in; 77 cm Depth: 26¼ in; 67 cm Provenance: Edwards & Sons Ltd., London, England; Private collection, USA. Illustrated: F. Lewis Hinckley, Metropolitan Furniture of the Georgian Years, 1988, p. 66, illus. 69. Literature: Herbert Cescinsky, The Old World House, vol. II, 1924, p. 86, illus. 5. Herbert Cescinsky, English Furniture from Gothic to Sheraton, 1929, p. 196.

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68 AN IRISH GEORGE III GILTWOOD BORDER GLASS PIER MIRROR The mirror retains the original border glasses and has replaced 19th century centre plates. Irish, circa 1765 Height: 5 ft 9¼ in; 176 cm Width: 3 ft 1¾ in; 96 cm Provenance: Private collection, England.

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69 A PAIR OF VICTORIAN WALNUT TWO TIER ÉTAGÈRES The étagères retain the original brass castors and have acquired a pleasing mellow colour. English, circa 1860 Height: 31¾ in; 80.5 cm Width: 22½ in; 57 cm Depth: 12¾ in; 32 cm

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70 A PAIR OF REGENCY GILTWOOD TWIN CANDLE WALL LIGHTS The brass nozzles are of later date. English, circa 1815 Height: 28 in; 71 cm Width: 12¼ in: 31 cm Depth: 7½ in; 19 cm Provenance: Sir James Montgomery, 2nd Baronet, Stobo Castle, Scotland; By descent to Kinross, Scotland; Peter Lipitch Ltd., London, England. Illustrated: Peter Lipitch Ltd., ‘Fine Antique Furniture’, catalogue, no date, p. 22.

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THE STOBO CASTLE WALL LIGHTS

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71 AN IRISH GEORGE III WHITE STATUARY AND BROCATELLO MARBLE CHIMNEYPIECE ATTRIBUTED TO GEORGE AND HILL DARLEY George and Hill Darley were Dublin stone-cutters. The two brothers, partners in a long established family business that lasted from the 1660s until well into the 19th century, were responsible for a number of designs for chimneypieces, some of which are preserved in the Royal Irish Academy, Dublin. The west front of Trinity College Dublin was built by the Darley family. Irish, circa 1785 Height: 5 ft 2½ in; 158.5 cm Width: 6 ft 6¾ in; 200 cm Depth: 7 in; 18 cm Fireplace opening: Height: 3 ft 8½ in; 113 cm Width: 4 ft 4¾ in; 134 cm Provenance: Private collection, Germany.

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72 A GEORGE III GUNMETAL AND CAST IRON FIRE GRATE John Arlott was a highly revered English journalist and cricket commentator of the 20th century. It is less well known that he was also a poet and wine connoisseur. His private collection was dispersed after his death in 1991. The back plate is a restoration. English, circa 1785 Height: 29½ in; 75 cm Width: 30¼ in; 77 cm Depth: 13¼ in; 33.5 cm Provenance: John Arlott OBE, The Old Sun Inn, Alresford, Hampshire, England; T. Crowther & Son, London, England; Private collection, England.

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73 A PAIR OF RÉGENCE STYLE ORMOLU CHENETS French, circa 1820 Height: 15½ in; 39 cm Width; 12 in; 30 cm Depth: 7 in; 18 cm Provenance: Private collection, England.

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74 A SET OF REGENCY BRASS MOUNTED WROUGHT IRON FIRE TOOLS IN A STAND English, circa 1815 Height: 36 in; 91.5 cm Width: 14 in; 35.5 cm Depth: 11Â½ in; 29 cm Provenance: Private collection, Yorkshire, England.

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75 A GEORGE II WALNUT LIBRARY ARMCHAIR ATTRIBUTED TO GILES GRENDEY Grendey supplied armchairs of this model to Lowther Castle in Cumbria. The back legs are stamped with the journeyman’s initials ‘WF’, which was common practice in Grendey’s workshop. English, circa 1745 Height: 38 in; 96.5 cm Height of seat: 17 in; 43 cm Width: 31¾ in; 80.5 cm Depth: 35 in; 89 cm Provenance: Private collection, USA. Exhibited: The Grosvenor House Antiques Fair, London, 1993. Literature: Christie, Manson & Woods, ‘Old French and English Furniture’, sale catalogue, 9 July 1931, p. 21, lot 113.

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76 A GEORGE II MAHOGANY TRIPOD TABLE The veneered tip-up top has acquired a pleasing mellow colour and patination. English, circa 1755 Height: 28 in; 71 cm Diameter: 26 in; 66 cm Provenance: Private collection, Yorkshire, England.

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77 A GEORGE II MAHOGANY STOOL ATTRIBUTED TO GILES GRENDEY The stool is comparable to a suite of labelled seat furniture that Grendey supplied to Gunton Hall in Norfolk. Its hipped knees and cleft scroll toes are typical of Grendey’s work. The stool: English, circa 1755 The needlework: English, circa 1730 Height: 18 in; 46 cm Width: 26 in; 66 cm Depth: 18½ in; 47 cm Provenance: Ronald Phillips Ltd., London, England; Private collection, Philippines. Illustrated: Ronald Phillips Ltd., 2006 catalogue, p. 130. Literature: Christopher Gilbert, A Pictorial Dictionary of Marked London Furniture 1700–1840, 1996, p. 243, figs. 437–8.

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78 A GEORGE III ORMOLU MOUNTED SATINWOOD CORNER CUPBOARD ATTRIBUTED TO THOMAS CHIPPENDALE This cupboard is of outstanding quality and is fitted with a fixed shelf to the inside. A related commode was supplied by Chippendale for Lady Winn’s bedchamber at Nostell Priory in Yorkshire. A further commode is in a private collection in New York. English, circa 1765 Height: 35½ in; 90 cm Depth: 21¼ in; 54 cm Width: 30 in; 76 cm Provenance: Private collection, England; Private collection, New York, USA. Literature: Christopher Gilbert, The Life and Work of Thomas Chippendale, 1978, vol. II, p. 125, fig. 221.

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79 A REGENCY BRASS MOUNTED PARCEL GILT ROSEWOOD WRITING TABLE ATTRIBUTED TO GILLOWS This highly unusual table retains all the original brass mounts, the original brass feet and the original gold tooled blue morocco leather insert. The hinged top is supported on an adjustable ratchet below. The drawer is fitted with pen compartments and a further baize lined hinged top on a concealed ratchet. English, circa 1815 Height (closed): 31¼ in; 79 cm Height (open): 41 in: 104 cm Width: 24½ in; 62.5 cm Depth (closed): 20½ in; 52 cm Depth (open) 33¾ in: 85.5 cm Literature: Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008, vol. II, p. 96, pl. 643.

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80 A PAIR OF GEORGE III CUT GLASS TWO LIGHT CANDELABRA ATTRIBUTED TO WILLIAM PARKER William Parker supplied a similar pair of candelabra to the Duke of Devonshire for Chatsworth, Derbyshire. A diagram by Parker for a comparable type of candelabra is in the collection of the Metropolitan Museum of Art in New York. The two small canopies each have a hairline crack; one top and one small canopy have been re-spiked. English, circa 1765 Height: 28¼ in; 72 cm Width: 15 in; 38 cm Depth: 10½ in; 26.5 cm Literature: Martin Mortimer, The English Glass Chandelier, 2000, p. 100, pl. 46.

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Design for a universal table by Gillows, 1760. Westminster City Archive

81 A PAIR OF GEORGE II MAHOGANY AND PADOUK SQUARE CENTRE TABLES ATTRIBUTED TO GILLOWS OF LANCASTER The combination of exotic padouk with mahogany is very unusual, suggesting perhaps that the original owner had a colonial connection, or that the cabinet-maker had access to exotic timber. A further centre table of virtually identical size was formerly in the collection of the Earls of Bristol at Ickworth in Suffolk. All three tables are without doubt from the same workshop, and are possibly a set. The Earls of Bristol travelled extensively around the world. Augustus Harvey, 3rd Earl of Bristol, (1724–1779) was an admiral in the English navy, whilst his brother Frederick (1730–1803) became Earl Bishop of Derry and spent most of his life travelling and amassing a vast collection of souvenirs and art, some of which were confiscated in Italy during the French occupation. The current house at Ickworth was built for Frederick. Gillows of Lancaster numbered the Harvey family among their clients, and many pieces by Gillows are still in the collection at Ickworth today. A closely related drawing for tables of this type by Gillows is preserved in the Westminster City Archives in London. English, circa 1750 Height: 27 in; 68.5 cm Width: 19½ in; 49 cm Depth: 19½ in; 49 cm Provenance: Probably Ickworth, Suffolk, England; Collection of Robert Hatfield Ellsworth, New York, USA. Literature: H. Avray Tipping, English Homes, Period VI, vol. 1, ‘Late Georgian, 1760–1820’, 1926, pp. 321–38. Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. III, p. 195, fig. 9. Geoffrey Beard and Judith Goodison, English Furniture 1500–1840, 1987, p. 52, illus. 3. Lindsay Boynton, Gillow Furniture Designs 1760–1800, 1995, illus. 3. Sotheby’s, ‘The East Wing, Ickworth, Suffolk’, 11–12 June 1996, pp. 10–16, lot 103.

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82 A REGENCY ROSEWOOD LIBRARY TABLE ATTRIBUTED TO GILLOWS English, circa 1815 Height: 2 ft 7¾ in; 81 cm Width: 5 ft 6¼ in; 168.5 cm Depth: 3 ft 9½ in; 116 cm 83 THE WINDSOR CASTLE CABINETS A PAIR OF REGENCY ORMOLU MOUNTED MAHOGANY SIDE CABINETS ATTRIBUTED TO TATHAM, BAILEY & SAUNDERS English, circa 1815 Height: 35½ in; 90 cm Width: 59½ in; 151 cm Depth: 25 in; 63.5 cm 84 A SECOND EMPIRE ORMOLU MOUNTED ‘MILLERS VEIN’ BLUE JOHN CLOCK French, circa 1870 Height: 22½ in; 57 cm Width: 11¼ in; 28.5 cm Depth: 9½ in; 24 cm 85 A GEORGE IV EIGHT LIGHT BRASS CHANDELIER BY JOHNSTON BROOKES & CO. English, dated 1821 Height: 41 in; 104 cm Diameter: 37 in; 94 cm 86 A PAIR OF REGENCY ORMOLU MOUNTED CUT GLASS FIVE LIGHT CANDELABRA BY JOHN BLADES English, circa 1815 Height: 30½ in; 77.5 cm Width: 16½ in; 42 cm Depth: 12 in; 30.5 cm 87 A GEORGE III YEW WOOD COMMODE ATTRIBUTED TO MAYHEW & INCE English, circa 1780 Height: 31¾ in; 80.5 cm Width: 47 in; 119.5 cm Depth: 23½ in; 60 cm

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88 A PAIR OF GEORGE III PERIOD REVERSE GLASS MIRROR PAINTINGS The mirror paintings: Chinese export, circa 1765 The frames: English, circa 1960 Height: 25½ in; 65 cm Width: 20¾ in; 53 cm Provenance: Private collection, London, England.

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89 A GEORGE I GESSO TABLE The table retains virtually all the original gesso and gilding. English, circa 1720 Height: 30¾ in; 78 cm Width: 38½ in; 98 cm Depth: 22½ in; 57 cm Provenance: Private collection, USA; Mallett & Son Ltd., London, England, 1967; Private collection, USA. Illustrated: Apollo, September 1967, appendix LII; with Mallett & Son Ltd. F. Lewis Hinckley, A Directory of Queen Anne, Early Georgian and Chippendale Furniture, 1971, p. 123, illus. 196. Sotheby’s, London, ‘Important English Furniture’, sale catalogue, 19 April 1974, lot 44, pl. 5.

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90 A GEORGE I GILTWOOD AND GESSO MIRROR The mirror retains the original shaped and bevelled mirror plate and most of the original gesso and gilding. The glass arms, sockets and supports are restorations. English, circa 1715 Height: 53 in; 134.5 cm Width: 24½ in; 62 cm Depth: 8¼ in; 21 cm

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91 A QUEEN ANNE EIGHT LIGHT GESSO CHANDELIER The chandelier retains most of the original gesso. One pierced truss, two carved masks and three pendent tassels are restorations. The gadrooned gilded white metal drip pans and nozzles are probably original. Very few examples of early gesso chandeliers have survived. The design of early English gesso chandeliers was heavily influenced by contemporary French examples in either gesso or bronze. Daniel Marot published designs for such chandeliers in 1703. Benjamin Goodison supplied gesso chandeliers for the royal palaces, including an enormous two tier chandelier for the eating room at Hampton Court. English, circa 1710 Height: 28 in; 71 cm Diameter: 30½ in; 77.5 cm Provenance: St. Anne’s Court, Clontarf, Ireland. Literature: Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. I, pp. 331–5. Christopher Gilbert, Country House Lighting 1660–1890, 1992, pp. 40–41.

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THE ST. ANNEâ&#x20AC;&#x2122;S COURT CHANDELIER

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92 AN EXTREMELY NARROW GEORGE I WALNUT BUREAU The bureau retains the original brass plate handles and the original locks. Some of the brass loops have been replaced. The bracket feet are restorations. The very unusual size of this bureau means that it must be a special commission and is probably unique. English, circa 1720 Height: 37½ in; 95.5 cm Width: 12 in; 30.5 cm Depth: 14¾ in; 37.5 cm Provenance: Private collection of Luise Rainer, California, USA; Charles Lumb & Sons Ltd., Harrogate, England.

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93 A QUEEN ANNE VERRE ÉGLOMISÉ AND GILTWOOD OVERMANTEL MIRROR The mirror retains virtually all the original gilding. The bevelled mirror plates and verre églomisé panels are all original. English, circa 1705 Height: 24 in; 61 cm Width: 57½ in; 146 cm

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94 A PAIR OF GEORGE III MAHOGANY WHEEL BACK SIDE CHAIRS Hall chairs of identical design and probably from the same workshop were formerly at Coombe Warren, Kingston Hill, London. A slightly more elaborate version, but without doubt from the same workshop, was formerly in the possession of The Drapers Company in London. The Drapers’ set was by repute designed by Robert Adam. English, circa 1785 Height: 38½ in; 98 cm Height of seat: 18 in; 45.5 cm Width: 20¼ in; 51.5 cm Depth: 20¼ in; 51.5 cm Provenance: H. C. Baxter & Sons, London, England; Ronald Phillips Ltd., London, England; Private collection, Belgium. Literature: Herbert Cescinsky, English Furniture of the 18th Century, vol. III, 1911, p. 46, figs. 36–8. Herbert Cescinsky, English Furniture from Gothic to Sheraton, 1929, p. 342. M. Harris & Sons, The English Chair – Its History and Evolution, 1937, p. 146, illus. C.

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Reverse side of the writing desk

95 A GEORGE III MAHOGANY WRITING DESK The desk retains the original ornate brass handles and an old faded brown leather insert. The feet are faithful restorations. The design of this writing desk is somewhat unusual. It has open bookshelves on three sides in place of the usual bank of drawers to either side of the kneehole. The frieze is fitted with one long drawer and two short drawers to the front and two short drawers and a dummy drawer to the reverse. A virtually identical writing desk was formerly in the collection of Gargrave House in Yorkshire. English, circa 1775 Height: 30¾ in; 78 cm Height of kneehole: 26½ in; 67.5 cm Width: 48¼ in; 122.5 cm Depth: 30¼ in; 77 cm Provenance: Private collection, Chicago, Illinois, USA. Literature: Sotheby’s, ‘The Gargrave House Sale, Yorkshire’, sale catalogue, 26 October 1982, p. 75, lot 571.

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A design for a table in Six Tables by Matthias Lock, 1746; no plate number

96 A GEORGE II GILTWOOD SIDE TABLE ATTRIBUTED TO MATTHIAS LOCK A drawing for a side table with many shared features was published by Matthias Lock in Six Tables in 1746. The veneered jasper top is of exceptionally high quality and an 18th century replacement. The table base: English, circa 1755 The jasper top: English, circa 1730 Height: 32¾ in; 83 cm Width: 51¾ in; 131.5 cm Depth: 27 in; 68.5 cm Provenance: Private collection, England. Literature: Matthias Lock, Six Tables, 1746, no page numbers. Elizabeth White, Pictorial Dictionary of British 18th Century Furniture Design: The Printed Sources, 1990, p. 266, pl. 5.

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THE ROKEBY MIRROR

97 A GEORGE II GILTWOOD BORDERGLASS MIRROR The mirror retains the original 18th century mirror plates. Neither a designer nor a drawing for this unusual mirror has so far come to light. The quality of the carved elements suggests an experienced and perhaps metropolitan workshop. There are similarities to work by Matthias Lock and by John Vardy, both of whom worked around this time. English, circa 1755 Height: 7 ft 3 in; 221 cm Width: 4 ft 10 in; 147.5 cm Provenance: Rokeby Park, Durham, England. Photographed: In situ at Rokeby Park.

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The mirror in situ at Rokeby Park

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98 A GEORGE II MAHOGANY DOUBLE CHAIR-BACK SETTEE English, circa 1750 Height: 40¼ in; 102.5 cm Height of seat: 19½ in; 49.5 cm Width: 52 in; 132 cm Depth: 27½ in; 70 cm Provenance: Stair & Company, New York, USA; Van Cliburn, Fort Worth, Texas, USA; Michael Hughes Ltd., London, England.

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Exhibition label to the underside

99 A GEORGE II MAHOGANY REVOLVING CHEESE STAND The stand has acquired an outstanding colour and patination, and retains a paper label for the Art Treasures Exhibition of 1928, exhibit no. 125. English, circa 1755 Height: 8 in; 20 cm Width: 21Â¼ in; 54 cm Depth: 12 in; 30.5 cm Provenance: Leonard Partridge, London, England; By descent to Marie Partridge, England; By descent to Susan Partridge, London, England; Private collection, New York, USA. Exhibited: Art Treasures Exhibition, London, 1928, exhibit no. 125.

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Patent drawing by Moses Lafount, 1796

100 A GEORGE III CUT GLASS EIGHT LIGHT CHANDELIER BY MOSES LAFOUNT, NO. 426 Moses Lafount patented this unusual design for chandeliers in January 1797. The town assembly rooms of Bury St. Edmunds in Suffolk retain a group of seven chandeliers to the Lafount patent, possibly supplied around 1804. The central receiving plate of the chandelier is stamped ‘LAFOUNT PATENT’ and numbered 426. English, circa 1800 Height: 51 in; 130 cm Diameter: 30 in; 76 cm Literature: Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. 1, p. 337, fig. 26. Martin Mortimer, The English Glass Chandelier, 2000, pp. 120–24. Ronald Phillips Ltd., 2016 catalogue, pp. 166–9.

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101 A PAIR OF GEORGE III GILTWOOD TWO LIGHT GIRANDOLES The girandoles have 18th century replaced mirror plates. The brass nozzles are of later date. English, circa 1770 Height: 46 in; 117 cm Width: 25½ in; 65 cm Depth: 10½ in; 26.5 cm Provenance: Arthur Ackermann & Son, New York, USA, 1975; Private collection, Texas, USA.

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Design for a chimneypiece from Thomas Johnson’s A Collection of Designs, 1758, plate 31

102 A GEORGE II GILTWOOD AND STATUARY MARBLE CHIMNEYPIECE TO A DESIGN BY THOMAS JOHNSON The statuary marble insert is of later date. The mantelpiece compares to two further examples, one sold in London in 1972, the other in New York in 1973. In both cases the design is firmly based on Johnson’s drawing published first in 1758 in his untitled collection of designs and again in the second edition, titled One Hundred and Fifty New Designs, in 1761. English, circa 1760 Height: 4 ft 10¼ in; 148 cm Width: 5 ft 9 in; 175 cm Depth: 7¾ in; 20 cm Height of opening: 3 ft 8 in; 112 cm Width of opening: 3 ft 4 in; 101.5 cm Literature: Thomas Johnson, A Collection of Designs, 1758, pl. 31. Christie’s, ‘Important English Furniture’, sale catalogue, 25 May 1972, lot 12, pl. 2. Sotheby Parke Bernet Inc., ‘Fine English Furniture, Rugs and Clocks, Decorations’, sale catalogue, 27–28 April 1973, p. 32, lot 87. Elizabeth White, A Pictorial Dictionary of 18th Century Furniture Designs – The Printed Sources, 1990, p. 372.

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103 A GEORGE III CARVED GILTWOOD OVERMANTEL MIRROR ATTRIBUTED TO JOHN LINNELL The design of the frame, incorporating an anthemion cresting flanked by scrolling foliage, relates to a drawing for an overmantel mirror by John Linnell preserved in the Victoria and Albert Museum, London. Other elements of the design can be seen in a pier glass and pelmets made by him for Shardeloes, Buckinghamshire, for William Drake. The mirror plate is a 19th century replacement. English, circa 1770 Height: 36½ in; 93 cm Width: 47 in; 119.5 cm Illustrated: Ronald Phillips Ltd., ‘Masterpieces’, catalogue, 2008, pp. 52–3. Ronald Phillips Ltd., 2009 catalogue, p. 56, item 28. Ronald Phillips Ltd., ‘Mirrors’, catalogue, 2010, pp. 200–201. Literature: Helena Hayward, ‘The Drawings of John Linnell in the Victoria and Albert Museum’, Furniture History, 1969, fig. 154. Helena Hayward and Pat Kirkham, William and John Linnell, Eighteenth Century London Furniture Makers, 1980, vol. II, pp. 78–9 & 112.

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Design for a frame by John Linnell. Victoria and Albert Museum, London 00

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104 A GEORGE III SATINWOOD AND HAREWOOD COMMODE ATTRIBUTED TO JOHN COBB The commode retains the original ornate brass lifting handles and has a fixed shelf behind the doors. It belongs to a group of commodes attributed to John Cobb, all sharing a virtually identical outline and oval panels to the doors, sides and top. They differ only in timber and varying metal mounts. A commode with matching pedestals that also fits into this group was supplied by Cobb to Paul Methuen of Corsham Court in Wiltshire in 1772. The marquetry on the Corsham commode is more neoclassical. English, circa 1765 Height: 36¾ in; 93.5 cm Width: 45¼ in; 115 cm Depth: 23¾ in; 60 cm Provenance: Anonymous sale, Christie’s, 23 May 1968; Collection of Mr. Michael P. Knapp, London, England, until 1975; Private collection, England. Illustrated: Sotheby’s, ‘Fine English Furniture, Tapestries, Clocks, Rugs and Carpets, Ship Models and a Collection of Blue John’, sale catalogue, 11 April 1975, pl. 25. Lucy Wood, Catalogue of Commodes, 1994, p. 96, fig. 91.

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105 A MASSIVE PAIR OF REGENCY ORMOLU THREE LIGHT CANDELABRA ATTRIBUTED TO WILLIAM COLLINS The candelabra were originally colza oil lamps, with an oil reservoir within each urn, positioned slightly above the lamps in order to feed them by gravity. The lamps have now been electrified. The design is inspired by the ‘Antique’ and taken from a drawing by George Smith. The glass shades are of later date. Related twin light candelabra are illustrated in Norman Adams’s 1995 catalogue. William Collins was one of the leading manufacturers of 19th century cast brass lighting devices. He supplied the royal household and much of England’s nobility with fine candelabra and lamps. Similar candelabra can be seen in a watercolour of the staircase at Buckingham Palace by W. H. Pyne. An identical candelabra base was photographed by Country Life in 1939 at Badminton House in Gloucestershire, where Queen Mary stayed during the Second World War. Another identical candelabra base with slightly different lamp top was photographed by Country Life between circa 1910 and 1915 at No. 20, St. James’s Square in London. English, circa 1815 Height: 55 in; 139.5 cm Width: 20 in; 51 cm Depth: 17½ in; 44.5 cm Provenance: Private collection, France. Literature: George Smith, The Cabinet-Maker and Upholsterer’s Guide, A Complete Drawing Book, 1826, pls CXV & CXXXIV. David Watkin, The Royal Interiors of Regency England, 1984, p. 80. Norman Adams Ltd., 1995 catalogue, pl. 15.

Design by George Smith for a ‘candelabrum’

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106 A CHARLES II SCAGLIOLA MIRROR ATTRIBUTED TO BALDASSARE ARTIMA The mirror retains the original bevelled mirror plate. English, circa 1675 Height: 53½ in; 136 cm Width: 33½ in; 85 cm Depth: 2¾ in; 7 cm Literature: Peter Thornton and Maurice Tomlin, ‘The Furnishing and Decoration of Ham House’, Furniture History, 1980, vol. XVI. J. Blatchly and G. Fisher, ‘The Itinerant Italian Artist Diacinto Cawcy, and the Genesis of the Barrow Monument at Westhorpe’, Proceedings of the Suffolk Institute of Archaeology and History, 2004, vol. 40, pt. 4. Adam Bowett, ‘New Light on Diacinto Cawcy and the Barrow Monument’, Proceedings of the Suffolk Institute of Archaeology and History, 2012, vol. 42, pt. 4. Christopher Rowell ‘Scagliola by Baldassare Artima Romanus at Ham House and elsewhere’, in Ham House: 400 Years of Collecting and Patronage, 2013.

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107 A GEORGE II MAHOGANY SIDE TABLE WITH A SCAGLIOLA MARBLE INSERT, PROBABLY BY PETRUS ANTONIUS DE PAULINUS The table base conforms to the oeuvre of Benjamin Goodison. The scagliola top is richly decorated in strapwork, flowers and birds as well as exquisitely detailed harbour scenes. The central oval features a drawing depicting Rinaldo and Armeda after Tasso’s Gerusalemme Liberata, published in 1581. The top relates to another table top signed by Petrus Antonius de Paulinus, a monk active in Tuscany in the early 18th century. This top also has a central oval panel with a drawing after Titian. The top is intended for a centre table, and although the base is conceived as a side table, it is finished all round, only differing in carved detail at the reverse side. The table: English, circa 1740 The scagliola insert: Italian, circa 1735 Height: 30¼ in; 77 cm Width: 39 in; 99 cm Depth: 26½ in; 67.5 cm Provenance: Ronald A. Lee Ltd., London, England, 1951; Anonymous sale, Christie’s, London, 17 July 1975, lot 143; Private collection, Staffordshire, England. Exhibited: Treasures of the North, An exhibition to benefit The Christie Hospital, Manchester, Christie’s, London, 2000. Illustrated: Antique Collector, December 1951, p. XV; advertisement with Ronald A. Lee Ltd. Terence Rodrigues, ‘Treasures of the North’, exhibition handbook, 2000, item 95. Literature: Anna Maria Massinelli, Scagliola: l’arte della pietra di luna, 1997, p. 23, illus. 10.

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BIBLIOGRAPHY

Opposite: detail of item 29, the Hawarden Castle mirror

Ackermann, Repository of Arts, 1810. Adam, Robert, Works in Architecture, vol. I, 1773. Adam, Robert and James, Works in Architecture, London, 1778. Adams, George, A Treatise describing the construction and explaining the use of new celestial and terrestrial Globes, London, 1769. Agius, Pauline, Ackermann’s Regency Furniture and Interiors, London, 1984. Aslet, Clive, An Exuberant Catalogue of Dreams, London, 2013. Aslin, Elizabeth, Nineteenth Century English Furniture, London, 1962. Austen, Brian, Irish Furniture, Furniture History Society pamphlet, London, 1999. Avray Tipping, H., English Homes, Period IV, Vol. I, ‘Late Stuart, 1649–1714’, London, 1920, second impression 1929. Avray Tipping, H., and Christopher Hussey, English Homes, Period IV, Vol. II, ‘The Works of Sir John Vanbrugh and his School, 1699–1736’, London, 1928. Avray Tipping, H., English Homes, Period V, Vol. I, ‘Early Georgian, 1714–1760’, London, 1921. Avray Tipping, H., English Homes, Period VI, Vol. I, ‘Late Georgian, 1760–1820’, London, 1926. Bamford, Francis, A Dictionary of Edinburgh Wrights and Furniture Makers, 1660–1840, London, 1983. Banfield, Edwin, The Banfield Family Collection of Barometers, Trowbridge, 1995. Banfield, Edwin, Barometers: Stick or Cistern Tube, Trowbridge, 1985. Banfield, Edwin, Barometers: Wheel or Banjo, Trowbridge, 1985. Barder, Richard, The Georgian Bracket Clock 1714–1830, London, 1993. Beard, Geoffrey, Craftsmen and Interior Decoration in England 1660–1820, London, 1981. Beard, Geoffrey, Georgian Craftsmen and Their Work, London, 1966. Beard, Geoffrey, and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, Leeds, 1986. Beard, Geoffrey, and Judith Goodison, English Furniture 1500–1840, Oxford, 1987. Bell, Munro J., Chippendale, Sheraton and Hepplewhite Furniture Designs, London, 1900. Bence-Jones, Mark, Burke’s Guide to Country Houses, Vol. I – Ireland, London, 1978. Binney, Marcus, Dumfries House, London, 2008. Bly, John, Antiques Masterclass, London, 2005. Boulton, Matthew, and Fothergill, John, ‘Pattern Book I’, unpublished (no date). Bourne, Jonathan, and Vanessa Brett, Lighting in the Domestic Interior, London, 1991. Boynton, Lindsay, Gillow Furniture Designs 1760–1800, London, 1995. Brackett, Oliver, Catalogue of English Furniture and Woodwork, vol. III, ‘Late Stuart to Queen Anne’, London, 1927. Brackett, Oliver, An Encyclopaedia of English Furniture, London, 1927. Brackett, Oliver, English Furniture Illustrated, London, 1950. Brackett, Oliver, Thomas Chippendale, London, 1924. Britten, F. J., Old Clocks and Their Makers, 4th edition, Woodbridge, 1956. Broome, Patrick, The Hyde Park Collection 1965–1990, New York, 1990. Brown, Peter, The Noel Terry Collection of Furniture and Clocks, York, 1987. Buckrell Pos, Tania M., Tea and Taste – The Visual Language of Tea, London, 2004. Butler, Robin, and Gillian Walkling, The Book of Wine Antiques, Woodbridge, 1986. Cescinsky, Herbert, English Furniture from Gothic to Sheraton, London, 1929. Cescinsky, Herbert, English Furniture of the Eighteenth Century, London, Vol. I, 1909; Vol. II, 1910; Vol. III, 1911. Cescinsky, Herbert, The Gentle Art of Faking Furniture, London, 1931. Cescinsky, Herbert, The Old World House, London, 1924. Child, Graham, World Mirrors 1650–1900, London, 1990. Chippendale, Thomas, The Gentleman and Cabinet-maker’s Director, London, 1754. Chippendale, Thomas, The Gentleman and Cabinet-maker’s Director, 3rd edition, London, 1762. Christie’s, London, ‘Important English Furniture’, 18 November 1993. Christie’s, London, ‘The Prescott Collection’, 31 January 1981.

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221

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Jaffer, Amin, Furniture from British India and Ceylon, London, 2001. Johnson, Peter, Chairs, London, 1989. Johnson, Peter, Collecting Antique Furniture, New York, 1976. Johnson, Thomas, A Collection of Designs, 1758. Johnson, Thomas, One Hundred and Fifty New Designs, 1758, 2nd edition 1761. Johnson, Thomas, Twelve Girandoles, 1755. Johnston Antiques, An Exhibition of Irish Georgian Furniture, Dublin, 1998. Jones, William, The Gentleman or Builder’s Companion, 1739. Jones, Yvonne, Japanned Papier Mâché and Tinware c.1740–1940, Woodbridge, 2012. Jourdain, Margaret, Chinese Export Art in the Eighteenth Century, London, 1967. Jourdain, Margaret, English Decoration and Furniture of the Later 18th Century, 1760–1820, London, 1922. Jourdain, Margaret, English Interior Decoration 1500–1830, London, 1950. Jourdain, Margaret, Georgian Cabinetmakers, 3rd revised edition, London, 1955. Jourdain, Margaret, Regency Furniture 1795–1820, 2nd revised edition, London, 1949. Jourdain, Margaret, The Work of William Kent, London, 1948. Jourdain, Margaret, and R. Soame Jenyns, Chinese Export Art in the Eighteenth Century, London, 1950. Jourdain, Margaret, and F. Rose, English Furniture, the Georgian Period 1750–1830, London, 1953. Joy, Edward T., Chairs, London, 1980. Joy, Edward T., The Country Life Book of Chairs, London, 1968. Joy, Edward T., English Furniture 1800–1851, London, 1977. Kendrick, A. F., ‘Old English Furniture, Needlework and Silver’, Old Furniture, London, 1929. Kisluk-Grosheide, Daniëlle O., Wolfram Koeppe and William Rieder, European Furniture in the Metropolitan Museum of Art, New York, 2006. Knight of Glin, The, Irish Furniture, London, 2007. Knight of Glin, The, and James Peill, Irish Furniture: Woodwork and Carving in Ireland from the Earliest Times to the Act of Union, New Haven and London, 2007. Lanmon, Dwight P., The Golden Age of English Glass 1650–1775, Woodbridge, 2011. de Lassale, Jacques Dubarry, Identifying Marble, Dourdan, 2000. Latham, Charles H., In English Homes, Vol. I, London, 1904. Latham, Charles H., In English Homes, Vol. III, London, 1909. Leatham, Lady Victoria, with Jon Culverhouse and Eric Till, Burghley, England’s Greatest Elizabethan House, Stamford, 2009. Lees-Milne, James, English Country Houses: Baroque, 1685–1715, London, 1970. Lennox-Boyd, Edward (ed.), Masterpieces of English Furniture: The Gerstenfeld Collection, London, 1998. Lenygon, Francis, The Decoration and Furniture of English Mansions in the 17th and 18th Centuries, London, 1909. Lenygon, Francis, Furniture in England from 1660 to 1760, London, 1914. Litchfield, Frederick, Illustrated History of English Furniture, London, 1922. Lock, Matthias, Six Sconces, 1744. Lock, Matthias, Six Sconces, 2nd edition, 1768. Lock, Matthias, Six Tables, 1746. Lock, Matthias, and Henry Copland, A New Book of Ornaments for Looking Glass Frames, 1752. Lockwood, Luke Vincent, Colonial Furniture in America, New York, 1926. Lomax, James, The Chippendale Society Catalogue of the Collections, Leeds, 2000. Loomes, Brian, The Early Clockmakers of Great Britain, London, 1981. Macquoid, Percy, ‘Furniture of the XVII & XVIII Centuries Mr. Percival Griffiths’ Collection’, Country Life, 27 January 1912. Macquoid, Percy, A History of English Furniture, vol, I, ‘The Age of Oak’, London, 1904. Macquoid, Percy, A History of English Furniture, vol. II, ‘The Age of Walnut’, London, 1905. Macquoid, Percy, A History of English Furniture, vol. III, ‘The Age of Mahogany’, London, 1906. Macquoid, Percy, A History of English Furniture, vol. IV, ‘The Age of Satinwood’, London, 1908. Macquoid, Percy, The Lady Lever Art Gallery Collection, vol. I, ‘English Paintings of the XVIII–XX Centuries’, London, 1928. Macquoid, Percy, The Lady Lever Art Gallery Collection, vol. II, ‘Chinese Porcelain and Wedgwood Pottery’, London, 1928. Macquoid, Percy, The Lady Lever Art Gallery Collection, vol. III, ‘English Furniture, Tapestry and Needlework of the XVI–XIX Centuries’, London, 1928. Macquoid, Percy, and Ralph Edwards, The Dictionary of English Furniture, 3 vols, London, 1927.

222

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223

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Society of Upholsterers and Cabinet-makers, Genteel Household Furniture In the Present Taste, London, 1762. Sothebys, The Ivory Hammer, London, 1972. Stalker, John, and George Parker, A Treatise of Japanning and Varnishing, London, 1688. Reprinted, Reading, 1998. Storey, Walter Rendell, Thomas Sheraton’s Complete Furniture Works, New York, 1946. Stratton, Arthur, The English Interior, London, 1920. Stuart, Susan E., Gillows of Lancaster and London, 1730–1840, Woodbridge, 2008. Symonds, R. W., English Furniture from Charles II to George II, London, 1929. Symonds, R. W., Furniture Making in Seventeenth and Eighteenth Century England, London, 1955. Symonds, R. W., Masterpieces of English Furniture and Clocks, London, 1940. Symonds, R. W., Old English Walnut and Lacquer Furniture, New York, 1923. Symonds, R. W., Thomas Tompion, His Life and Work, London, 1951. Symonds, R. W., The Present State of Old English Furniture, London, 1921. Symonds, R. W., Veneered Walnut Furniture, London, 1946. Symonds, R. W., and T. H. Ormsbee, Antique Furniture of the Walnut Period, New York, 1947. Synge, Lanto, Antique Needlework, London, 1982. Synge, Lanto, Art of Embroidery, Woodbridge, 2001. Synge, Lanto, Chairs, London, 1978. Synge, Lanto, Furniture in Colour, London, 1977. Synge, Lanto, Mallett’s Great English Furniture, London, 1991. Synge, Lanto, Mallett Millennium, London, 1999. Tatham, Charles Heathcote, Etchings of Ancient Ornamental Architecture, London, 1799. Tatham, Charles Heathcote, Etchings Representing the Best Examples of Grecian and Roman Architectural Ornament, 2nd edition, 1843. Thompson, Francis, A History of Chatsworth, London, 1949. Thurley, Simon, Hampton Court, London, 2004. Tom Devenish, New York, 2000. Tomlin, Maurice, Catalogue of Adam Period Furniture in the Victoria and Albert Museum, London, 1972. Tomlin, Maurice, English Furniture, London, 1972. Treuherz, Julian, The Lady Lever Art Gallery, Liverpool, 2004. Trueblood, Nancy, ‘The Taste for Lacquer’, Connoisseur, May 1987. Vardy, John, Some Designs of Mr. Inigo Jones and Mr. William Kent, 1744. Vernay, Arthur S., A Collection of Old English Furniture and Works of Art of the XVIIth and XVIIIth Centuries, New York, 1922. Vernay, Arthur S., The Vernay Collection for the Spring of 1929, New York, 1929. Vernay, Arthur S., Autumn 1952, New York, 1952. Walkling, Gillian, Tea Caddies, London, 1985. Ward-Jackson, Peter, English Furniture Designs, London, 1984. Ward-Jackson, Peter, English Furniture Designs of the Eighteenth Century, London, 1959. Watkin, David, The Royal Interiors of Regency England, London, 1984. Weale, John, Old English and French Ornament, London, 1846. Weber, Susan, William Kent: Designing Georgian Britain, New York, 2013. Webster, Mary, Johan Zoffany, London, 2011. Whitbread, Major S., Southill – A Regency House, London, n.d. White, Elizabeth, Pictorial Dictionary of British 18th Century Furniture Design: The Printed Sources, London, 1990. Williamsburg Collection of Antique Furnishings, The, New York, 1973. Wills, Geoffrey, English Furniture 1550–1760, London, 1971. Wills, Geoffrey, English Furniture 1760–1900, London, 1979. Wills, Geoffrey, English and Irish Glass, London, 1968. Wills, Geoffrey, English Looking-glasses: A Study of the Glass, Frames and Makers (1670–1820), London, 1965. Winn, Colin G., The Pouletts of Hinton House St. George, 1976. Witney Antiques Ltd., An Invitation to Tea, Witney, 1991. Wood, Lucy, Catalogue of Commodes, Liverpool, 1994. Wood, Lucy, Upholstered Furniture in The Lady Lever Art Gallery, Liverpool, 2008. Woods, R. A., English Furniture in the Bank of England, London, 1972. Right: detail of item 48, a George III tulipwood side table with brass mounted blue john top Yates, Simon, Encyclopedia of Tables, London, 1989.

224

INDEX

BOOKCASES/CABINETS/BUREAUX A Charles II cocus wood and pietra dura cabinet on stand An extremely narrow George I walnut bureau A George III mahogany secrétaire cabinet on stand attr. to William Vile A pair of George III mahogany breakfront library bookcases A George IV rosewood circular bookcase CHIMNEYPIECES/GRATES/CHENETS/FIRE TOOLS A George II giltwood and marble chimneypiece, design by T. Johnson A George III gunmetal and cast iron fire grate An Irish George III statuary and brocatello marble chimneypiece attr. to G. & H. Darley A set of Regency wrought iron fire tools in a stand A pair of Régence style ormolu chenets

10 180 92 44 130

204 150 148 154 152

COMMODES A George III brass mounted mahogany commode A George III mahogany commode attr. to Thomas Chippendale A George III satinwood corner cupboard attr. to Chippendale A George III satinwood and harewood commode attr. to John Cobb A George III yew wood commode attr. to Mayhew & Ince

72 28 162 208 170

CLOCKS A Second Empire ormolu mounted ‘Millers Vein’ blue john clock

170

GLOBES A pair of Regency mahogany 18-inch globes by J. & W. Cary

129

LIGHTING A Queen Anne eight light gesso chandelier A George III ormolu mounted blue john candle vase by M. Boulton A George III cut glass eight light chandelier attr. to Parker & Perry A George III twelve light cut glass chandelier attr. to Parker & Perry A pair of George III cut glass two light candelabra attr. to William Parker A pair of George III ormolu mounted blue john candle vases by M. Boulton A Regency hexagonal brass lantern attr. to William Collins A massive pair of Regency ormolu three light candelabra attr. to W. Collins A pair of Regency giltwood twin candle wall lights A pair of Regency cut glass five light candelabra by J. Blades A pair of Regency ormolu mounted cut glass storm lights by J. Blades A pair of Regency cut glass three light candelabra by J. Blades A George IV eight light brass chandelier by Johnston Brookes & Co.

178 118 26 44 166 42 132 210 146 170 100 116 170

MIRRORS/GIRANDOLES Single A Charles II scagliola mirror attr. to Baldassare Artima A Queen Anne oval mirror

214 116

225

RO N A L D PHILLIPS

A Queen Anne verre ĂŠglomisĂŠ and giltwood overmantel mirror A George I giltwood and gesso mirror A George II giltwood border glass mirror A George II giltwood pier mirror A George III carved giltwood overmantel mirror attr. to John Linnell A George III cut glass eight light chandelier by M. Lafount, No. 426 A George III giltwood and composition mirror A George III giltwood mirror by Thomas Chippendale A George III giltwood oval mirror attr. to William Mathie An Irish George III giltwood border glass mirror

182 176 192 70, 218 206 200 44 6 30 142

Pairs A pair of George I gesso mirrors A pair of George III giltwood oval mirrors by John Linnell A pair of George III giltwood mirrors A pair of George III giltwood two light girandoles A small pair of George III giltwood oval sunburst mirrors A pair of Irish George III oval giltwood and cut glass mirror chandeliers

86 24 64 202 114 40

Chinese mirror paintings A George III period Chinese export mirror painting A pair of George III period reverse glass mirror paintings

98 172

OBJECTS A George II mahogany revolving cheese stand A George III bronze and ormolu Borghese Vase attr. to Rundell, Bridge & Rundell A pair of George III engraved glass decanters A huge pair of George III mahogany log buckets A pair of George III blue john obelisks A pair of George III period painted Chinese figures A Regency blue john urn A small pair of Louis Philippe I bloodstone vases A Victorian sterling silver double decanter trolley by Joseph & John Angell

58 90 134 122 116 44 78 90

SEATING Chairs (single) A George II mahogany armchair attr. to Giles Grendey A George II walnut library armchair attr. to Giles Grendey

140 156

Chairs (pairs) A pair of George II mahogany needlework side chairs attr. to Peter Alexander A pair of George II walnut library armchairs A small pair of George III mahogany tub chairs A pair of George III mahogany wheel back side chairs

14 74 124 184

Chairs (sets) A set of ten George II mahogany dining chairs A set of six George III satinwood armchairs

50 110

Settees A George II mahogany double chair-back settee A George II mahogany three seater settee attr. to Wright & Elwick

196 38

Stools A George II mahogany stool attr. to Giles Grendey A pair of George II mahogany stools

160 116

198

RO N A L D PHILLIPS

SIDE CABINETS A George III satinwood open side cabinet attr. to Gillows A pair of Regency mahogany side cabinets attr. to Tatham, Bailey & Saunders

106 170

TABLES Card A George II mahogany card table with needlework playing surface

102

Centre A George I gesso table An Irish George II mahogany silver table A pair of George II mahogany and padouk centre tables attr. to Gillows A George IV parcel gilt amboyna centre table by William Riddle A Regency mahogany drum table on a bookcase pedestal

174 80 168 44 118

Desks/reading/writing A George II mahogany writing table by William Vile A George II mahogany writing table A George III mahogany reading table attr. to Mayhew & Ince A George III mahogany writing desk A Regency brass mounted rosewood writing table attr. to Gillows A Regency rosewood library table attr. to Gillows A Regency mahogany writing table attr. to Linnell

18 138 136 186 164 170 126

Dining/breakfast A George III satinwood circular breakfast table A George III quilted mahogany six pillar dining table A Victorian mahogany dining table by Johnstone & Jeanes, No. 5107

108 46 54

Occasional tables/stands A George II red japanned occasional table attr. to Giles Grendey A pair of George III giltwood torchères attr. to Chippendale A pair of Victorian walnut two tier étagères

104 36 144

Side A George I gesso side table attr. to James Moore A large George II giltwood console table attr. to Matthias Lock A George II giltwood side table attr. to Matthias Lock A George II mahogany side table A George II mahogany side table with scagliola insert An Irish George II mahogany side table A pair of George II giltwood side tables A George III tulipwood side table with a blue john top A pair of George III giltwood tables attr. to Linnell with lacquer tops A pair of George III giltwood side tables by Marsh & Tatham Tripod A George II mahogany kettle stand A George II mahogany tripod table A George III mahogany and gonçalo alves banded tripod table WALL BRACKETS A pair of George III giltwood brackets attr. to Gillows of Lancaster

116 44 188 96 216 68 60 112, 225 20 82

32 158 120

RO N A L D PHILLIPS FINE ANTIQUE ENGLISH FURNITURE

RONALD PHILLIPS LTD. 26 BRUTON STREET, LONDON W1J 6QL Tel: +44 (0)20 7493 2341 www.ronaldphillipsantiques.com advice@ronaldphillips.co.uk

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