RONALD PHILLIPS FINE ANTIQUE ENGLISH FURNITURE
RO N A L D PHILLIPS FINE ANTIQUE ENGLISH FURNITURE
MEMBER OF THE BRITISH ANTIQUE DEALERS’ ASSOCIATION
RO N A L D PHILLIPS FINE ANTIQUE ENGLISH FURNITURE
RONALD PHILLIPS PHILLIPSLTD. LTD. RONALD 26 W1J6QL 6QL 26 BRUTON BRUTON STREET, STREET, LONDON LONDON W1J Tel: 74932341 2341 Tel:++44 44(0)20 (0)20 7493 www.ronaldphillipsantiques.com www.ronaldphillipsantiques.com advice@ronaldphillips.co.uk advice@ronaldphillips.co.uk
FOREWORD The challenge to find wonderful, interesting and unseen pieces gets greater every year, particularly as so few fine pieces of English furniture are appearing on the market. I feel that we have yet again risen to the challenge, and I would like to draw your attention to a few of my personal favourites. We have just purchased back the tripod table on page 16 after a short time, and the pair to this great table is on display in all its glory in the Victoria and Albert Museum in London. The pair of stools on page 70 are a great rarity and definitely from the same celebrated workshop that made the suite at Houghton Hall in Norfolk; the bookcase on page 106, which is illustrated in The Dictionary of English Furniture, is of outstanding quality; and finally the walnut chest of drawers on page 68, out of a private collection, may not be the most important piece, but it has amazing colour and is in virtually untouched condition. You will also see amongst these pages some spectacular items which have been hidden for many years, as well as others which have appeared relatively recently but for which new research has been undertaken and additional provenance established. Prime examples include the pair of wine coolers on page 30, which now have their original invoice from Vulliamy to Lord Anson at Shugborough Hall in Staffordshire, and the photograph of the desk attributed to William Hallett showing it in situ at Dingley Hall in Northamptonshire on page 47. I would like to thank all my loyal staff for their hard work and dedication which make this production possible, but especially Thomas Lange, who heads up the research, and Caroline Martin, who manages the process of putting this catalogue together. We look forward to seeing you in the gallery in Bruton Street or at the Masterpiece London Fair at the end of June, where we will be celebrating the tercentenary of Thomas Chippendale’s birth and holding a major selling exhibition of his work. Please feel free to call me on +44 (0)20 7493 2341 or email me at simon@ronaldphillips.co.uk.
Simon Phillips May 2018
Right: Simon Phillips with Rolo
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1 A GEORGE II PARCEL GILT SIDE TABLE ATTRIBUTED TO WILLIAM KENT A design by William Kent for a sideboard, published between 1725 and 1726, shows a table of similar outline, with a central female mask flanked by oak leaf swags. The central mask depicts Diana, goddess of hunting, with the crescent moon above her hair. The hounds to either side and the oak leaf swags reinforce the hunting theme. Note: The table has an 18th century replacement marble top. The paint surface is original and the gilding has been refreshed. English, circa 1735 Height: 35¾ in; 91 cm Width: 54¼ in; 138 cm Depth: 27¾ in; 70.5 cm Provenance: Private collection, Germany. Literature: Alexander Pope, Odysse, 1725–1726, vol. 5, book 22, p. 136. Francis Lenygon, The Decoration and Furniture of English Mansions in the 17th and 18th Centuries, 1909, p. 38. Susan Weber, William Kent: Designing Georgian Britain, 2013, p. 422, fig. 16.14.
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The top drawer open showing the fitted interior
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2 A LARGE GEORGE II MAHOGANY SERPENTINE CHEST OF DRAWERS The top drawer is fitted with lidded compartments and a central sliding and folding writing surface with a mirror beneath. Note: The chest retains all the original handles. English, circa 1755 Height: 33¼ in; 84.5 cm Width: 52½ in; 134 cm Depth: 25 in; 63.5 cm Provenance: Gilbert Morris Ltd., Pfynnongroew, Wales. Exhibited: The Antique Dealers’ Fair and Exhibition, London, 1957; with Gilbert Morris Ltd. Illustrated: The Antique Dealers’ Fair and Exhibition handbook, 1957, p. 64.
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The mirror in the collection of Lord Plender in 1931, Apollo magazine
3 AN IRISH GEORGE II MIRROR The inspiration for this mirror comes from Matthias Lock’s designs, and in particular from the title page and plate 6 of his A Book of Ornaments. The mirror was discussed by R. W. Symonds in an article in Apollo magazine in the 1930s. Symonds was at that time the leading adviser to some of the most important collections of English furniture. Note: The mirror plate is an 18th century replacement; the frame has been re-gilded. Irish, circa 1755 Height: 5 ft 9¾ in; 177 cm Width: 3 ft 9¼ in; 115.5 cm Provenance: Collection of Lord Plender, Ovenden, Kent, England; Private collection, England. Illustrated: R. W. Symonds, ‘Seventeenth and Eighteenth Century Mirrors in the Collection of Lord Plender’, Apollo, October 1931, pp. 193–204, fig. IX. Literature: Matthias Lock, A Book of Ornaments, 1747, title page & pl. 6. John Weale, Old English and French Ornament, 1846. Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, pp. 521–2. The Knight of Glin, Irish Furniture, 2007, p. 263, illus. 232–5.
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The companion table. Courtesy of Victoria and Albert Museum
4 A GEORGE II BRASS INLAID MAHOGANY TRIPOD TABLE ATTRIBUTED TO FREDERICK HINTZ The table belongs to a group of furniture associated with German émigré workers in the mid 18th century who used brass and mother-of-pearl inlay. This table is linked to the workshop of Frederick Hintz, who specialised in fine engraved brass and mother-of-pearl as seen here. The feature of Manx legs, associated with the Isle of Man, is very unusual. An identical table, probably the pair to this one, is in the collection at the Victoria and Albert Museum, London, England: it was formerly in the collection at Elcho Castle in Scotland. English, circa 1750 Height: 28 in; 71.5 cm Diameter: 28½ in; 72.5 cm Provenance: Collection of Edward James, West Dean Park, Sussex, England, until sold; Christie’s, 2, 3 & 6 June 1983, lot 205; Anonymous sale, Sotheby’s, 1989; Pelham Galleries Ltd., London, England, 1994; Saul P. Steinberg collection, New York, USA, until 2000; Private collection, New York, USA; Ronald Phillips Ltd., London, England; Private collection, London, England. Illustrated: Christopher Gilbert and Tessa Murdoch, John Channon and Brass-inlaid Furniture 1730–1760, 1993, p. 40, illus. XXII. Ronald Phillips Ltd., catalogue, 2011, pp. 210–11. Ronald Phillips Ltd., 18th Century Tripod Tables (catalogue), 2014, p. 52, illus. A6. Literature: Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. III, p. 207, fig. 15. Christopher Claxton Stevens and Stewart Whittington, 18th Century English Furniture: The Norman Adams Collection, 1983, p. 289.
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Chauntry House, demolished circa 1918. Courtesy of Newark Chauntry Group
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A PAIR OF GEORGE II GILTWOOD MIRRORS WITH BRACKETS
A PAIR OF GEORGE III PERIOD POLYCHROME PAINTED CHINESE FIGURES
The frames retain virtually all the original gilding and their mercury silvered mirror plates. The title page, drawn by William Kent, of Some Designs of Mr. Inigo Jones and Mr. William Kent, published by John Vardy, relates in some aspects to the design of these mirrors. This type of mirror with bracket is extremely rare. A similar example was photographed by A. E. Henson on 28 November 1934 for Country Life magazine at Browsholme Hall, Lancashire, England. The Browsholme mirror is now in a private collection in London, England. Note: The shell crestings are a restoration. English, circa 1740 Height: 49½ in; 125.5 cm Width: 29 in; 73.5 cm Depth: 10¼ in; 26 cm Provenance: Joseph Sikes, Chauntry House, Newark, Nottinghamshire, England. Literature: John Vardy, Some Designs of Mr. Inigo Jones and Mr. William Kent, 1744, title page. National Art Galleries Inc., ‘Period English Furniture, French and Flemish Tapestries, Decorative Paintings etc., The Surplus Stock of Charles of London owing to removal from 2 West 56th Street, New York’, sale catalogue, 24–25 April 1931, pp. 26–7, lot 109.
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The figures retain most of their original paint surface. 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 Provenance: Clifford Wright Antiques Ltd., London, England; Partridge Fine Arts Plc, London, England; Private collection, London, England.
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7 A GEORGE III CUT GLASS SIX LIGHT CHANDELIER ATTRIBUTED TO PARKER & PERRY Note: The top canopy, the container and one drip pan are restorations. English, circa 1780 Height: 4 ft 9 in; 145 cm Diameter: 3 ft ¼ in; 92 cm
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The chairs in the collection of Mrs. Morton F. Plant, New York, in 1927
8 A PAIR OF GEORGE II MAHOGANY OPEN ARMCHAIRS The chairs originally had two companion pairs and a matching settee, which were sold separately in the Rovensky sale in 1957. The entire suite was upholstered in the same fine early English needlework. The needlework is probably original to the suite, but was produced some 25 years earlier. Note: The claw feet have been restored. The armchairs: English, circa 1745 The needlework: English, circa 1720 Height: 36¾ in; 93.5 cm Height of seat: 16½ in; 42 cm Width: 26½ in; 67.5 cm Depth: 27 in; 68 cm Provenance: Arthur Vernay Ltd., New York, USA, 1927; Mrs. Morton F. Plant, New York, USA; Collection of Mae C. Rovensky, New York, USA, until 1957; Private collection, Washington, DC, USA, until 1995; Private collection, New York, USA. Illustrated: Arthur S. Vernay, Decorations and English Interiors, 1927, pl. 37; one of the chairs and another from the set. Parke-Bernet, ‘Notable English and French Furniture of the XVIII Century belonging to the estate of the late Mae C. Rovensky’, sale catalogue, January 1967, pp. 298–9, lot 987. Sotheby’s, New York, 12 October 1995, lot 296.
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9 A GEORGE III MAHOGANY URN STAND Note: The pierced gallery is a restoration. English, circa 1760 Height: 28½ in; 72.5 cm Width: 13½ in; 34 cm Depth: 13½ in; 34 cm Provenance: Richard Courtney Ltd., London, England. Exhibited: The Grosvenor House Antiques Fair, London, 1996; with Richard Courtney Ltd.
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Engraving of the Anson coat of arms beneath the bowl
10 A PAIR OF GEORGE III ORMOLU ICE PAILS FROM THE SHUGBOROUGH SUITE BY BENJAMIN VULLIAMY Each ice pail bears the Anson family coat of arms engraved in the platform beneath the bowl: originally part of a suite of six, they are numbered 1 and 2 respectively. When commissioned, the cost of each pail was £133; this was an enormous amount, equivalent to around £140,000 today. The shop ledgers from Vulliamy & Son are preserved in the National Archives in Kew, England. Lord Anson was a regular client at Vulliamy, and his name appears many times in the ledgers. One of Anson’s larger commissions, dated 20 December 1811, included a set of six ice pails. Lord Anson made and suggested alterations to their design, in which he was actively involved.
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Vulliamy & Son shop ledger cover
The entry for the ice pails in the shop ledger is as follows: ‘For making six very Magnificent Ice pails to correspond with the silver [illegible] Stand. The necks of the Ice Pails are ornamented with chased water Leaves and the bodies with a rich border of Vine Leaves + grapes + three highly chased Masks of Silenus taken from the Antique, the bodies of the pails are supported with three Eagles with their wings extended highly chased sitting on blockings placed on a circular Base. The whole executed in the very best manner from original designs and Models amended + altered according to Lord Anson’s directions + very strongly Gilt in chased burnished Gold at 500 Gs pr agreement.’ English, 1811 Height: 12 in; 30.5 cm Diameter: 8¾ in; 22 cm Provenance: Commissioned by Thomas, 1st Viscount Anson, Shugborough Hall, Staffordshire, England, until sold; Christie, Manson & Woods, 27 November 1941, lot 124; Sotheby’s, 23 November 1979, lot 26; Private collection, Alabama, USA. Literature: Vulliamy & Son, shop ledger 34, commencing 17 May 1809 and ending 30 August 1814, p. 89. Nicholas Goodison and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, 2004, pp. 256–7.
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Vulliamy & Son shop ledger entry for the ice pails 35
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The cabinet in the collection of the Reverend J. O. Stephens in 1905
11 A GEORGE I BLACK JAPANNED BUREAU CABINET ATTRIBUTED TO JOHN BELCHIER When Herbert Cescinsky photographed the cabinet open in 1931, it was already in the collection of the Metropolitan Museum of Art in New York. The attribution to the workshop of John Belchier is based on the construction of the cabinet and the style of japanning. A black japanned bureau cabinet by Belchier and formerly in the Royal Collection shares the same outline with a broken arched pediment and virtually the same interior. Similarities in the japanned decoration of both cabinets further support the attribution. Note: The cabinet retains all the original brass handles, with some replaced knob handles to the interior. The giltwood finial is original. The turned feet are faithful restorations. The shaped and bevelled mirror plates are 18th century replacements. The central door to the upper section is a faithful restoration. Two small and two long drawers to the upper interior and two long drawers in the bureau section are restorations. The japanned decoration is virtually all original, with minor refreshments. English, circa 1715 Height: 7 ft 11 in; 241.5 cm Width: 3 ft 4½ in; 103 cm Depth: 1 ft 11 in; 58.5 cm Provenance: Rev. J. O. Stevens, Wiltshire, England; Annie C. Kane, USA, until 1926; Metropolitan Museum of Art, New York, USA. Illustrated: Percy Macquoid, A History of English Furniture, vol. II, ‘The Age of Walnut’, 1905, p. 149, fig. 134. Herbert Cescinsky, The Gentle Art of Faking Furniture, 1931, pl. 131.
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Related terms by Richards at Raynham Hall, Norfolk, England, in 1908. Country Life Picture Archive
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12 A PAIR OF GEORGE II PARCEL GILT TERMS BY JAMES RICHARDS, THE DESIGN ATTRIBUTED TO WILLIAM KENT The terms retain virtually all the original oil gilding and paint surface. A pair of giltwood terms of almost identical design were illustrated at Raynham Hall, Norfolk, England, by Country Life magazine in 1908. These terms also feature the same unusual wings and shell crestings and gadrooned tops. James Richards supplied virtually all the interior carvings for Raynham Hall between 1729 and 1730. Note: The gadrooned tops and lower part of the bases are restorations. English, circa 1730 Height: 51 in; 124.5 cm Width: 22¾ in; 57.5 cm Depth: 12 in; 30.5 cm Provenance: Possibly Raynham Hall, Norfolk, England; Private collection, USA. Literature: Geoffrey Beard, ‘Kentian Furniture by James Richards and others’, Apollo, CLVI, No. 491 (January 2003), pp. 37–41.
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A GEORGE II MAHOGANY PEDESTAL WRITING DESK ATTRIBUTED TO WILLIAM HALLETT
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A virtually identical pedestal desk also attributable to the Hallett workshop was formerly in the collection of S. B. Joel, formed under the guidance of R. W. Symonds. The Joel desk is illustrated in The Dictionary of English Furniture. Further smaller examples with arched kneeholes are known, including one formerly with Partridge Fine Arts Plc, and now in a private collection in New York. Note: The front of one pedestal was at one stage converted to a filing drawer; it has now been reinstated with drawers retaining the original drawer fronts. The desk retains all the original brass locks, ornate brass handles and concealed castors. The gold tooled leather insert is of later date. English, circa 1740 Height: 2 ft 7 in; 79 cm Width: 5 ft 3¼ in; 160.5 cm Height of kneehole: 2 ft ½ in; 62.5 cm Width of kneehole: 1 ft 10¼ in; 56.5 cm Depth: 3 ft 3½ in; 100.5 cm Provenance: Dingley Hall, Northamptonshire, England; Private collection, England. Illustrated: ‘Dingley Hall II, Northamptonshire, The Seat of Viscount Downe’, Country Life, 23 April 1921, p. 497; in situ in the Tapestry Room. Literature: Christie, Manson & Woods, ‘The Important Collection of French and English Furniture and Meissen Porcelain, formed by the late S. B. Joel’, 29 May 1935, pp. 34–5, lot 133. Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, vol. III, 1954, p. 246, fig. 15.
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THE DINGLEY HALL LIBRARY TABLE
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The writing table in situ in the Tapestry Room at Dingley Hall in 1921. Country Life Picture Archive
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14 A GEORGE III MAHOGANY ARMCHAIR ATTRIBUTED TO ROBERT MANWARING The design of the chair relates to a drawing by Robert Manwaring published in 1765. English, circa 1765 Height: 37¼ in; 94.5 cm Height of seat: 17½ in; 44.5 cm Width: 24½ in; 62 cm Depth: 24¼ in; 61.5 cm Provenance: Private collection, Bath, England. Literature: Robert Manwaring, The Cabinet and Chair-maker’s Real Friend and Companion, or, the Whole System of Chair-making Made Plain and Easy, 1765, pl. 13. Francis Lenygon, Furniture in England from 1660 to 1760, 1919, p. 64. Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. I, p. 286, fig. 192.
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15 A GEORGE III BRASS MOUNTED KETTLE STAND Kettle stands with brass galleries are extremely rare. A silver table from Charlton Park in Kent, England, retaining its original brass gallery is in the Gerstenfeld Collection in Washington, DC, USA. English, circa 1770 Height: 19½ in; 49.5 cm Diameter: 11 in; 28 cm Provenance: Private collection, England. Literature: Moss Harris, ‘A Catalogue and Index of Old Furniture and Works of Decorative Art’, vol. II, 1930, p. 300. Edward Lennox-Boyd (ed.), Masterpieces of English Furniture: The Gerstenfeld Collection, 1998, p. 201, item 19.
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Drawing by John Linnell. Victoria and Albert Museum, London, E 256-1929
16 A PAIR OF GEORGE III GILTWOOD CONSOLE TABLES EN SUITE WITH A PAIR OF GILTWOOD OVAL MIRRORS, DESIGNED BY WILLIAM CHAMBERS AND ATTRIBUTED TO JOHN LINNELL A drawing by Chambers for a table with very similar features is preserved in Sir John Soane’s Museum in London, England. A related drawing by Linnell is preserved in the Victoria and Albert Museum, London. Two photographs preserved in the Hotspur Archive from the 1950s show the mirrors in Johannesburg, South Africa, presumably in a sale room. Note: The mirrors retain virtually all the original gesso preparation with refreshed gilding. The mirror plates are 19th century replacements. The tables retain most of the original gesso preparation with refreshed gilding and the original marble tops. English, circa 1775 The tables: Height: 38 in; 96.5 cm Width: 39½ in; 100 cm Depth: 22¼ in; 56.5 cm The mirrors: Height: 5 ft 10¾ in; 180 cm Width: 2 ft 5¾ in; 75.5 cm Provenance: Private collection, Johannesburg, South Africa; Hotspur Ltd., London, England; Private collection, Switzerland. Photographed: Sherlock Holmes Photographic, Johannesburg, South Africa, 1950s. Literature: Helena Hayward and Pat Kirkham, William and John Linnell, Eighteenth Century London Furniture Makers, vol. II, 1980, figs. 194 & 287. John Harris and Michael Snodin, Sir William Chambers, Architect to George III, 1996, pp. 142 & 166, illus. 249.
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17 A PAIR OF GEORGE III ORMOLU MOUNTED CUT GLASS AND TRICOLOUR JASPER TWO LIGHT CANDELABRA BY PARKER & PERRY English, circa 1785 Height: 26¾ in; 68 cm Width: 16 in; 40.5 cm Depth: 12 in; 30.5 cm Provenance: Crichel House, Dorset, England.
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18 A GEORGE II GILTWOOD SIDE TABLE ATTRIBUTED TO MATTHIAS LOCK 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 19 THE UNTERMYER LIBRARY ARMCHAIRS The chairs and 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 RONALD PHILLIPS LTD
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20 A GEORGE III BRASS MOUNTED MAHOGANY COMMODE English, circa 1765 Height: 35 in; 89 cm Width: 53¾ in; 136.5 cm Depth: 26¾ in; 68 cm
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21 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 22 A PAIR OF GEORGE II PARCEL GILT WALNUT PIER MIRRORS English, circa 1730 Height: 6 ft ½ in; 184 cm Width: 2 ft 10½ in; 87.5 cm 23 A GEORGE IV EIGHT LIGHT BRASS CHANDELIER BY JOHNSTON BROOKES & CO. English, 1821 Height: 41 in; 104 cm Diameter: 37 in; 94 cm 24 A GEORGE III GILTWOOD MIRROR English, circa 1765 Height: 5 ft 5 in; 165 cm Width: 3 ft 4¾ in; 103 cm 25 A GEORGE III SATINWOOD AND HAREWOOD COMMODE ATTRIBUTED TO JOHN COBB English, circa 1765 Height: 36¾ in; 93.5 cm Width: 45¼ in; 115 cm Depth: 23¾ in; 60 cm
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THE BARSHAM HALL CHAIRS FINE ANTIQUE ENGLISH FURNITURE
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26 A PAIR OF GEORGE II WALNUT OPEN ARMCHAIRS The chairs retain the original needlework with the family crest of Robert Suckling (1673–1734) and are dated 1732. Dated pieces with family crests are exceptionally rare. English, dated 1732 Height: 40 in; 102 cm Height of seat: 18 in; 46 cm Width: 23¾ in; 60.5 cm Depth: 23 in; 59 cm Provenance: Robert Suckling, Barsham Hall and later Woodton, Suffolk, England; By descent until 1984; Hotspur Ltd., London, England; Private collection, USA. Illustrated: Adam Bowett, Early Georgian Furniture 1715–1740, 2009, p. 176, pl. 4:65.
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27 A GEORGE II GILTWOOD SIDE TABLE Note: The table retains much of the original gilding. The Breccia marble top is of later date. English, circa 1735 Height: 31¾ in; 80.5 cm Width: 37 in; 94 cm Depth: 17 in; 43 cm Provenance: By repute, Osborne House, Isle of Wight, England; Private collection, London, England. Literature: William Jones, The Gentleman or Builder’s Companion, 1739, pl. 27. Elizabeth White, Pictorial Dictionary of British 18th Century Furniture Design: The Printed Sources, 1990, pp. 262–3.
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28 A GEORGE I GESSO MIRROR Note: The mirror retains much of the original gilding and the original re-silvered shaped and bevelled mirror plate. The brass candle arms are of later date. English, circa 1720 Height: 55 in; 140 cm Width: 29 in; 73.5 cm Depth: 4 in; 10 cm Provenance: William Blair Ltd., Bethesda, Maryland, USA; Private collection, USA.
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29 A GEORGE II WALNUT CHEST OF DRAWERS The chest has been preserved in virtually untouched condition. The figured walnut has acquired an outstanding colour and patination. Note: The chest retains all the original brass handles with one replaced back plate. One lock has been replaced, The original bracket feet have minor repairs. English, circa 1730 Height: 30 in; 76.5 cm Width: 32 in; 81.5 cm Depth: 19¼ in; 49 cm Provenance: Mallett & Son Ltd., London, England; Private collection, London, England.
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A chair from the Chandos suite at Houghton Hall, Norfolk
30 A PAIR OF GEORGE I GESSO STOOLS ATTRIBUTED TO JAMES MOORE The design of the stools is nearly identical to the Chandos suite of seat furniture, some of which is at Houghton Hall in Norfolk, England, and some at Grimsthorpe Castle in Lincolnshire, England. Note: The stools retain virtually all the original gilding. English, circa 1720 Height: 19 in; 48 cm Width: 27¼ in; 69 cm Depth: 21 in; 53 cm Provenance: Private collection, New York, USA. Literature: Percy Macquoid, A History of English Furniture, vol. II, ‘The Age of Walnut’, 1906, p. 35, fig. 31. Francis Lenygon, The Decoration and Furniture of English Mansions in the 17th and 18th Centuries, 1909, p. 19. Mallett & Son, catalogue, 2007, pp. 5–15.
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31 A CHARLES II STUMPWORK MIRROR IN A BLACK JAPANNED FRAME The stump work is virtually untouched. The frame retains a Phillips of Hitchin label to the reverse side. The mirror plate is probably original to the frame. English, circa 1680 Height: 26½ in; 67 cm Width: 22¾ in: 58 cm Provenance: Phillips of Hitchin Ltd., Hitchin, England; Private collection, Pittsburgh, Pennsylvania, USA.
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32 A PAIR OF GEORGE II WALNUT LOW-BOYS Most low-boys would have been made as single pieces; pairs are very rare. Note: The low-boys retain their original ornate brass handles. One of the back legs has been replaced in the 19th century. English, circa 1730 Height: 28 in; 71 cm Width: 33½ in; 85 cm Depth: 19½ in; 49.5 cm Provenance: Private collection, England, until 1996; Private collection, Switzerland.
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The cabinet in the collection of Sir Spencer C. Ponsonby Fane in 1905
33 A CHARLES II BLACK JAPANNED CABINET ON GILTWOOD STAND The cabinet retains virtually all the japanned decoration, with some restored areas, and most of the original gilding. English, circa 1680 Height: 5 ft 5¼ in; 166 cm Width: 3 ft 7 in; 109 cm Depth: 1 ft 10½ in; 57 cm Provenance: Sir Spencer C. Ponsonby Fane, England; M. Harris & Sons, London, England; Private collection, England; Private collection, USA. Illustrated: Percy Macquoid, A History of English Furniture, vol. II, ‘The Age of Walnut’, 1905, p. 144, fig. 131. M. Harris & Sons, ‘An Abridged Introductory Catalogue of Antique Furniture and Works of Art’, 1926, p. 52; illustrated in the Long Gallery in their shop premises. Sotheby’s, ‘Important English Furniture’, sale catalogue, 19 June 1981, p. 38, lot 38.
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34 A GEORGE II MAHOGANY TRIPOD TABLE A mid 18th century mahogany tripod table with a finely carved edge to the tip-up top. English, circa 1755 Height: 26¼ in; 66.5 cm Diameter: 24¾ in; 63 cm Provenance: Private collection, New York, USA.
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35 A GEORGE III BRASS MOUNTED MAHOGANY TAMBOUR ROLL-TOP WRITING TABLE ATTRIBUTED TO GILLOWS Drawings for a tambour writing table and a writing table by Gillows are preserved in the Westminster City Archives in London, England. It is interesting to point out that whilst many pieces by Gillows bear their incised name stamp, some pieces that do not feature this stamp are without doubt from the Gillow workshop due to identical construction and design and choice of metal mounts. A slightly smaller writing table, with identical mounts and without doubt from the same workshop, is illustrated in Mallett Millennium. Note: The feet have been tipped. The writing table retains virtually all the original metalwork, with minor replacements to some banding and replaced pulls to the tambour. English, circa 1785 Height: 42 in; 106.5 cm Height of kneehole: 25 in; 63.5 cm Width: 55¼ in; 140.5 cm Depth: 31¾ in; 80.5 cm Provenance: Acquired under the guidance of R. W. Symonds from M. Harris & Sons, London, England, 1947; Private collection, England. Literature: Norman Adams Ltd., handbook, 1993, pl. 8. Lindsay Boynton, Gillow Furniture Designs 1760–1800, 1995, colour appendix, pls 5–6. Lanto Synge, Mallett Millennium, 1999, p. 177, illus. 219. Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, vol. I, 2008, pp. 296–7, pls 319–22.
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36 A GEORGE III MAHOGANY OPEN ARMCHAIR ATTRIBUTED TO JOHN LINNELL English, circa 1790 Height: 35¼ in; 89.5 cm Width: 21¾ in; 55 cm Depth: 24 in; 61 cm Provenance: Private collection, USA. Literature: Lanto Synge, Mallett Millennium, 1999, p. 121, fig. 132.
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THE BRYNKINALT HALL GESSO TABLES
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37 A PAIR OF GEORGE I GILT GESSO TABLES ATTRIBUTED TO JOHN BELCHIER The attribution to John Belchier is based on stylistic similarities in construction and gesso cutting to the well-documented gesso furniture at Erddig in Wales, one of Belchier’s largest and best-known commissions, which cost £62 12s between 1722 and 1726, an enormous sum at the time. Note: The tables retain virtually all the original gesso, with some refreshing to the gilding. English, circa 1720 Height: 29¼ in; 74.5 cm Width: 35 in; 89 cm Depth: 20 in; 51 cm Provenance: Brynkinalt Hall, Wales. Photographed: In situ at Brynkinalt Hall in the Great Stair Hall, circa 1930s. Literature: Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, pp. 59–60.
Opposite: The tables in situ at Brynkinalt Hall in the Great Stair Hall, circa 1930s.
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38 A PAIR OF GEORGE I GILTWOOD AND GESSO PIER MIRRORS Note: The original mirror plates have been re-silvered. Two of the shaped and bevelled border slips have been replaced. English, circa 1720 Height: 6 ft ½ in; 184 cm Width: 2 ft 3 in; 68.5 cm Provenance: Private collection, Italy. 93
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39 A PAIR OF GEORGE II FIGURED WALNUT BACHELOR’S CHESTS Pairs of chests are rare, and bachelor’s chests usually come as singles. Apart from a set of four bachelor’s chests at Stourhead, Wiltshire, England, no other pairs or sets are known to exist.
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Note: Both chests retain the original brass ring handles and have some repairs to the veneer of the feet. The green baize lining is of later date.
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English, circa 1740 Height: 30 in; 76 cm Width: 30 in; 76 cm Depth (closed): 13¾ in; 35 cm Depth (open): 27½ in; 70 cm Provenance: Private collection, England.
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40 A REGENCY ORMOLU MOUNTED CUT GLASS THREE LIGHT CANDELABRUM BY JOHN BLADES English, circa 1815 Height: 25¼ in; 64 cm Width: 18 in; 46 cm Depth: 8¾ in; 22 cm Provenance: Private collection, England.
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41 A GEORGE II ROSEWOOD AND YEW WOOD MULE CHEST ON STAND A mule chest by definition has two drawers to its base: in its original 17th century design, it is the precursor to the later chest of drawers. This chest in beautifully faded yew wood and rosewood is a mid 18th century example. Note: The chest retains the original brass handles. English, circa 1750 Height: 35¾ in; 91 cm Width: 49¼ in; 125 cm Depth: 23½ in; 60 cm Provenance: Hotspur Ltd., London, England; Private collection, England; Michael Hughes Ltd., London, England.
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A pair of shell flower cabinets from the same set. Private collection, Ireland
42 A GEORGE I BLACK AND GOLD JAPANNED CABINET WITH SHELL FLOWER DECORATION BY SARAH NEVENHAM Decorating shell cabinets was an educational exercise for young girls of the English middle and upper classes during the 18th century. A floral arrangement would have taken hundreds of hours to make. The cabinet belongs to a small group of shell cabinets executed by Sarah Nevenham, who married John Dennis of Woodhill, County Cork, Ireland. A further two cabinets from the group, with very similar shell flowers and identical japanned cases, are known. The cabinets are mentioned in the will of Cooper Penrose of 1815, which is retained in the Cooper Penrose records in the Cork Archives. Amazingly, the cabinets stayed within the family at Woodhill until 1933, when the family sold the house and moved to England. The Cooper Penrose collection was only rediscovered by the Knight of Glin in the 1980s, prior to its sale and partial dispersal. A large part of the collection was purchased by John and Helena Mooney for the Crawford Art Gallery in County Cork. Documented cabinets of this quality are exceptionally rare. A comparable undocumented example can be found in the Winterthur Museum in Delaware, USA. A further example was formerly in the Gerstenfeld Collection in Washington, DC, USA. Note: The exceptionally fine japanning is preserved in virtually untouched condition. The turned vase support is a faithful restoration. Irish, circa 1730
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Height: 19¼ in; 49 cm Width: 15¼ in; 39 cm Depth: 7½ in; 19 cm Provenance: Sarah Dennis (née Nevenham), Woodhill, County Cork, Ireland; By descent to Cooper Penrose, Woodhill, County Cork, Ireland, until 1773; By descent to Anne Penrose, until 1827; By descent to Elizabeth Penrose, until 1862; By descent at Woodhill, County Cork, Ireland, until 1933; David Beadle Antiques, Staffordshire, England; Johnston Antiques, Dublin, Ireland; Private collection, Ireland; Johnston Antiques, Dublin, Ireland; Private collection, Dublin, Ireland. Literature: Hannah Robertson, The Young Lady’s School of the Arts, containing a great variety of receipts, 1766. Cooper Penrose, last will, 1815, Cork Archives, Ireland. Lennox-Boyd, Edward (ed.), Masterpieces of English Furniture: The Gerstenfeld Collection, 1998, p. 257, item 129. Ronald Phillips Ltd., catalogue, 2006, pp. 180–81; a pair from the group at Woodhill. Peter Murray, ‘The Cooper Penrose Collection’, catalogue, Cork, 2008. Moore Institute, National University of Ireland, Landed Estates Database, Penrose/Woodhill entry, online. Brooke Baerman, ‘She’ll Work at Shellwork: 18th Century Women’s Education’, Winterthur Program in American Material Culture, online, 2018.
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43 A GEORGE II MAHOGANY OVAL JARDINIERE ON CABRIOLE LEGS Note: The jardinière retains the original brass lifting handles; the brass liner is of later date. English, circa 1750 Height: 16¼ in; 41.5 cm Width: 35¼ in; 90 cm Depth: 25¼ in; 64 cm Provenance: The Earl of Iveagh, Elveden Hall, Norfolk, England; Hotspur Ltd., London, England; Polly Peck International, London, England; Private collection, England. Illustrated: Christie’s, ‘Elveden Hall, The Property of the Earl of Iveagh’, sale catalogue, vol. II, 21–24 May 1984, p. 148, lot 602. Phillips, ‘42 Berkeley Square’, sale catalogue, 19 February 1991, p. 26, lot 28.
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THE ELVEDEN HALL JARDINIERE
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44 A GEORGE III PEDESTAL WRITING DESK 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
45 A GEORGE I GESSO TABLE English, circa 1720 Height: 30¾ in; 78 cm Width: 38½ in; 98 cm Depth: 22½ in; 57 cm
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46 A GEORGE I GESSO MIRROR English, circa 1720 Height: 45 in; 114 cm Width: 25½ in; 64.5 cm Depth: 8 in; 20 cm
47 THE ST. GILES HOUSE COMMODES A PAIR OF GEORGE III CHINESE LACQUER COMMODES ALMOST CERTAINLY BY JOHN COBB English, circa 1765 Height: 38¼ in; 97 cm Width: 48¼ in; 122.5 cm Depth: 26 in; 66 cm
48 A PAIR OF GEORGE III PERIOD CHINESE EXPORT MIRROR PAINTINGS The paintings: Chinese export, circa 1765 The frames: English, modern Height: 29 in; 73.5 cm Width: 33¾ in; 86 cm
49 A GEORGE II MAHOGANY OVAL TRIPOD TABLE English, circa 1755 Height: 26½ in; 67 cm Width: 27¼ in; 69 cm Depth: 22½ in; 57 cm
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The bookcase in the collection of Coppinger Prichard in 1954
50 A GEORGE II MAHOGANY BOOKCASE ATTRIBUTED TO WILLIAM VILE A drawing by William Kent, published in 1744, resembles the top section of the bookcase. Note: The bookcase has at some stage prior to 1931 been reduced in depth. English, circa 1755 Height: 8 ft 2 in; 249 cm Width: 5 ft 5 in; 165 cm Depth: 1 ft 5½ in; 44.5 cm Provenance: Sir Stuart Montagu Samuel, 1st Baronet, Chelwood Vetchery, Nutley, Sussex, England; M. Harris & Sons, London, England; Collection of Bertie Coppinger Prichard, England; Private collection, Scotland. Illustrated: M. Harris & Sons, ‘A Catalogue and Index of Old Furniture and Works of Decorative Art’, 1931, vol. III, p. 340. Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, vol. I, 1954, p. 84, fig. 15. Literature: John Vardy, Some Designs of Mr. Inigo Jones and Mr. William Kent, 1744, pl. 33. Christopher Claxton Stevens and Stewart Whittington, 18th Century English Furniture: The Norman Adams Collection, 1983, p. 187.
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51 A GEORGE II MAHOGANY METAMORPHIC LIBRARY STEP STOOL English, circa 1750 Open: Height: 51¾ in; 131.5 cm Width: 40¼ in; 102 cm Depth: 20¼ in; 51 cm Closed: Height: 20 in; 50.5 cm Width: 36 in; 91.5 cm Depth: 20¼ in; 51 cm Provenance: Private collection, USA.
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52 A GEORGE III GILTWOOD TRIPLE OVAL PLATE OVERMANTEL MIRROR The mirror retains much of the original gilding and the original mercury silvered mirror plates. English, circa 1765 Height: 47¼ in; 120 cm Width: 64 in; 162.5 cm Depth: 4½ in; 11.5 cm Provenance: Norman Adams Ltd., London, England, until 1959; Private collection, England.
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THE MENTMORE TOWERS DRUM TABLE
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Mentmore Towers, Buckinghamshire, England
53 A REGENCY ROSEWOOD AND SIMULATED ROSEWOOD DRUM TABLE The table retains the original gold tooled faded green leather insert and the original ormolu handles. Each drawer is interspersed by a hinged compartment disguised as a dummy drawer. Mentmore Towers was built for Baron Mayer Amschel de Rothschild between 1852 and 1854 by the architect Joseph Paxton, immediately after Paxton’s triumph in designing the Crystal Palace for the Great Exhibition of 1851. The house was filled with an immense collection of treasures assembled by Rothschild, which passed to his only daughter, who married the 5th Earl of Rosebery, prime minister of Great Britain from 1894 to 1895. The house and its contents then passed down by descent within the Earl’s family until the 1970s, when they were put up for sale after failed attempts to save the property for the nation. This fine drum table formed part of the collection. English, circa 1815 Height: 29¾ in; 75.5 cm Diameter: 40 in; 101.5 cm Provenance: The Earl of Rosebery, Mentmore Towers, Buckinghamshire, England; Partridge Fine Arts Ltd., London, England.
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Tripod for Nathaniel Curzon Bart. © Sir John Soane’s Museum, London; Ardon Bar-Hama
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A GEORGE III ORMOLU AND WHITE MARBLE ATHENIENNE, DESIGNED BY JAMES ‘ATHENIAN’ STUART AND ATTRIBUTED TO MATTHEW BOULTON Matthew Boulton collaborated with James Stuart in 1769 on a massive tripod for Shugborough House, Staffordshire, England. It is likely that the design for the considerably smaller athenienne tripod became part of Boulton’s repertoire after this. There were four such athenienne tripods in Boulton’s sale at Christie’s, labelled ‘after a design of Mr. Stuart’. The design drawings by James Stuart are preserved in Sir John Soane’s Museum, London, England. An example of this rare perfume burner is in the collection of the Victoria and Albert Museum, London, and was formerly at Wentworth Woodhouse in Yorkshire, England. A pair with candle branches, but with a different type of marble base, is in the collection at Kedleston Hall, Derbyshire, England; another pair, again with candle arms and with the same type of marble base, were photographed by Country Life magazine at Spencer House in London. Note: The pierced lid is a restoration. English, circa 1775 Height: 20¾ in; 53 cm Diameter: 12 in; 30.5 cm Provenance: Private collection, Denmark. Literature: ‘Mallett at Bourdon House’, catalogue, autumn 1996, pp. 54–5. Eileen Harris, The Furniture of Robert Adam, 1973, pls 1, 2, 3 & 6. Nicholas Goodison, Matthew Boulton: Ormolu, 2002, p. 72, figs 23–4, p. 76, fig. 32.
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The underside of the bowl
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THE ST. GILES HOUSE LIBRARY CHAIRS
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One of the chairs in situ in the library at St. Giles House in 1915. Country Life Picture Archive
55 A PAIR OF GEORGE III MAHOGANY OPEN ARMCHAIRS English, circa 1760 Height: 37 in; 94 cm Height of seat: 18½ in; 47 cm Width: 26¾ in; 68 cm Depth: 23 in; 58.5 cm Provenance: Almost certainly supplied to Anthony Ashley-Cooper, 4th Earl of Shaftesbury, for St. Giles House, Dorset, England; M. Harris & Sons, London, England, until 1953; Private collection, England. Illustrated: Country Life photograph, 1915, unpublished, in situ in the library at St. Giles House. ‘M. Harris & Sons 1868–1968’, centenary catalogue, 1968, p. 114.
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56 A GEORGE III MAHOGANY PEDESTAL DESK Note: The desk retains most of the original ornate swan-neck handles. The leather insert is of later date. English, circa 1770 Height: 30 in; 76 cm Height of kneehole: 24 in; 61 cm Width: 58½ in; 148.5 cm Depth: 37½ in; 95.5 cm Provenance: Norman Adams Ltd., London, England, until 1978; Private collection, Washington, DC, USA. Illustrated: Connoisseur, October 1975, p. 39; advertisement with Norman Adams Ltd.
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57 A PAIR OF REGENCY 18-INCH GLOBES BY J. & W. CARY ON MAHOGANY STANDS Note: The globes have been preserved in outstanding condition; the compasses are restorations. English; the terrestrial globe dated 1816 with corrections and additions dated 1818, and the celestial globe dated 1816 Height: 44 in; 112 cm Diameter: 24½ in; 62 cm Provenance: Private collection, Wales. Illustrated: ‘88 Fulham Road Fine Antique Furniture’, catalogue, no date, pp. 38–9.
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58 A REGENCY NARROW MAHOGANY CHEST OF DRAWERS Note: The chest of drawers retains the original handles and gallery. English, circa 1815 Height: 52¼ in; 132.5 cm Width: 16¼ in; 41.5 cm Depth: 12¼ in; 31 cm Provenance: H. C. Baxter & Sons, London, England; Private collection, England.
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59 A GEORGE III MAHOGANY WHEEL BAROMETER BY GEORGE ADAMS
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This rare barometer belongs to a small group of three known examples by the prolific 18th century English instrument maker to George III. His son, also called George Adams, took over the business after his father’s death in 1772.
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Like the other two known examples, it has a silvered dial with matted brass centre applied with a silvered plaque signed: ‘G Adams, No. 60 Fleet Street, LONDON / Instrut. Maker to His MAJESTY’. The barometer has a glazed panel above the dial, as on one of the other two examples, which contains a chart on paper headed ‘The General State of the Weather’. The third barometer of this group has a thermometer in this space. English, circa 1765 Height: 41½ in; 105.5 cm Width: 11½ in; 29 cm Depth: 4¾ in; 12 cm Provenance: Miss G. M. Phillips, Pennsylvania, USA, until 1971; Ronald Lee Ltd., London, England; Private collection, England. Illustrated: Edwin Banfield, Barometers, Wheel or Banjo, 1985, p. 21, fig. 19. Literature: George Adams, A Treatise describing the construction and explaining the use of new celestial and terrestrial Globes, London, 1769. Nicholas Goodison, English Barometers 1680–1860, 1969, pp. 122–5. J. R. Millburn, ‘Horology and the Adams Family’, Antiquarian Horology, vol. XIII, no. 4, June 1982, pp. 368–76. Christie’s, London, ‘The Samuel Messer Collection of English Furniture, Clocks and Barometers’, sale catalogue, 5 December 1991, lot 14. Gloria Clifton, Directory of British Scientific Instrument Makers 1550–1851, 1995, p. 2. Edward Lennox-Boyd (ed.), Masterpieces of English Furniture: The Gerstenfeld Collection, 1998, p. 243. J. R. Millburn, Adams of Fleet Street, Makers to King George III, 2000.
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60 A REGENCY MAHOGANY CIRCULAR BOOKCASE BY GILLOWS The bookcase retains the original pierced brass gallery. All four compartments have two adjustable shelves each. Gillows manufactured this type of bookcase in the early 19th century in various timbers and sometimes without a gallery. A virtually identical example in rosewood and stamped with the Gillows-Lancaster mark is illustrated in Susan Stuart’s seminal book on the furniture makers. English, circa 1815 Height: 32 in; 81 cm Diameter: 24¾ in; 63 cm Literature: Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008, vol. I, p. 383, pl. 458.
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61 A PAIR OF GEORGE III ORMOLU CASSOLETTES RONALD PHILLIPS LTD
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The pierced lids are reversible to form a candlestick. English, circa 1775 Height: 9½ in; 24 cm Width: 4 in; 10.5 cm Depth: 4 in; 10.5 cm Provenance: Mrs. Robert Tritton, Godmersham Park, Kent, England; Private collection, USA. Illustrated: Christie’s, ‘Godmersham Park’, sale catalogue, 6–9 June 1983, lot 44.
62 A REGENCY BRASS MOUNTED MAHOGANY TWO TIER SIDE TABLE Note: The table retains the original pierced brass gallery, castors and grille back. The leather inserts are of later date. English, circa 1815 Height: 29 in; 74 cm Width: 30 in; 76 cm Depth: 13¼ in; 33.5 cm
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63 A GEORGE III WHITE PAINTED OVERMANTEL MIRROR Note: The mirror retains two of the large original mirror plates and has one replaced 18th century mirror plate. The paint surface is mostly original, with some refreshments. English, circa 1765 Height: 21½ in; 55 cm Width: 59 in; 150 cm Provenance: Private collection, Sussex, England.
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64 A SET OF FOUR REGENCY ORMOLU MOUNTED WEDGWOOD STORM LIGHTS Note: The storm lights retain all the original mounts and the original engraved glass shades. English, circa 1815 Height: 15¾ in; 40 cm Diameter: 6 in; 15 cm
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65 A PAIR OF REGENCY ORMOLU MOUNTED AND PARCEL GILT ROSEWOOD WORK TABLES ATTRIBUTED TO JOHN McLEAN Note: The tables retain all their original ormolu mounts, the original gilding and the original red morocco leather inserts. The rising back mechanisms are restorations. English, circa 1815 Height: 30 in; 76 cm Width: 19 in; 48.5 cm Depth: 13¾ in; 35 cm Provenance: Brynkinalt Hall, Wales.
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66 A GEORGE II WALNUT TRIPLE BACK SETTEE ATTRIBUTED TO GILES GRENDEY Giles Grendey (1693–1780) was one of the leading cabinet-makers of his time, running a highly successful business and employing many craftsmen. The style of the settee’s back shares many similarities with other chairs and settees also attributed to Grendey. This includes a suite of red japanned chairs formerly at Britwell House, Hertfordshire, England, a mahogany double back settee from Wardour Castle, Wiltshire, England, and a suite of six mahogany side chairs supplied to Hinton House, Somerset, England.
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Note: The settee was at one stage fitted with castors, which have now been removed. Two splats have been repaired. Some leg ‘ear pieces’ are faithful restorations. English, circa 1730 Height: 39¾ in; 101 cm Width: 75¼ in; 191 cm Depth: 27¾ in; 70.5 cm Provenance: Private collection, England. Literature: Herbert Cescinsky, English Furniture from Gothic to Sheraton, 1929, p. 275. M. Harris & Sons, The English Chair – Its History and Evolution, 1937, pp. 102–3. F. Lewis Hinckley, A Directory of Antique Furniture, 1953, p. 228, fig. 704. Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. I, p. 277, figs 157–8. Edward Lennox-Boyd (ed.), Masterpieces of English Furniture: The Gerstenfeld Collection, 1998, p. 208, item 34. Lucy Wood, Upholstered Furniture in the Lady Lever Art Gallery, 2008, vol. I, pp. 264–79. Adam Bowett, 100 British Chairs, 2015, p. 48.
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One of the tables in situ in the Green Drawing Room, Ham House, circa 1920. Country Life Picture Archive
67 A PAIR OF GEORGE III GILTWOOD AND POLYCHROME DECORATED CENTRE TABLES Each table is decorated in a parquetry pattern simulating different types of marble, with a central tablet. It is possible that this decoration was carried out by Louisa, Countess of Dysart, (1745– 1840) in person. Both tables retain a pasted-on paper label with the Dysart family crest and a further later paper label reading ‘repaired by Tiller’. A photograph taken by Country Life magazine in circa 1920 shows one of the tables in situ in the Green Drawing Room, Ham House, Surrey, England. Inventories from 1844 and 1884 list ‘A Pair of Handsome wood stands with figures’, which might refer to these tables. The distinctive giltwood base is repeated on various tables with differently shaped tops at Ham House. Two tables with the same type of giltwood base and square tops were photographed by Country Life, circa 1921, at Houghton Hall in Norfolk, England. The sophistication of the giltwood bases and their presence in two houses with no family connection suggest they were not made by the estate cabinet-maker but were bought in, perhaps in both cases with plain tops in order to be decorated as a pastime by the lady of the house. English, circa 1785 Height: 29½ in; 75 cm Width: 17½ in; 44.5 cm Depth: 17 in; 43 cm Provenance: Lionel Tollemache, 5th Earl of Dysart, Ham House, Surrey, England; By descent until 1939; Moved to Stobo Castle, Scotland, until 1972; Norman Adams Ltd., London, England; Private collection, France. Illustrated: Country Life, 3 April 1920, p. 442; one of the tables illustrated in the Green Drawing Room, Ham House. Christopher Claxton Stevens and Stewart Whittington, 18th Century English Furniture: The Norman Adams Collection, 1983, pp. 337–8.
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THE HAM HOUSE OCCASIONAL TABLES
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68 A SMALL PAIR OF GEORGE III MAHOGANY D-SHAPED SIDE CABINETS The cabinets are unusually shallow. Both cabinet tops have a gentle curve to the back. Note: The cabinets retain their original brass wire grilles; the brass handles are of later date. English, circa 1780 Height: 33¼ in; 84.5 cm Width: 22 in; 56 cm Depth: 11¾ in; 30 cm Provenance: Private collection, USA.
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69 A PAIR OF GEORGE III PERIOD CHINESE EXPORT MIRROR PAINTINGS The mirror paintings: Chinese, circa 1780 The frames: English, circa 1960 with 18th century bevelled mirror slips. 144
Height: 21¾ in; 55 cm Width: 17¾ in; 45 cm Provenance: Norman Adams Ltd., London, England; Private collection, London, England.
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70 A LARGE IRISH GEORGE III HAREWOOD MARQUETRY SEMI-ELLIPTIC SIDE TABLE ATTRIBUTED TO WILLIAM MOORE OF DUBLIN William Moore worked for many years for the London cabinet-makers Mayhew & Ince before setting up his own business in Dublin, Ireland, in circa 1782. His marquetry inlay is of superior quality. Irish, circa 1785 Height: 3 ft ¾ in; 93.5 cm Width: 6 ft ¼ in; 183.5 cm Depth: 1 ft 10¾ in; 58 cm Provenance: Private collection, Switzerland. Illustrated: Rosemary Jinks, ‘William Moore’s work in Dublin’, thesis paper, The Cooper-Hewitt Museum, May 1992, no page number. Literature: Desmond Fitzgerald, Georgian Furniture, 1969, item 108. Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, p. 622. F. Lewis Hinckley, Metropolitan Furniture of the Georgian Years, 1988, p. 164, illus. 270. F. Lewis Hinckley, The More Significant Georgian Furniture, 1990, p. 82, figs. 139–40. The Knight of Glin, Irish Furniture, 2007, pp. 162–6.
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Trade card of Francis and John Booker. The Irish Georgian Society, Dublin
71 AN IRISH GEORGE II PIER MIRROR ATTRIBUTED TO FRANCIS AND JOHN BOOKER OF DUBLIN This extraordinary architectural mirror belongs to a group of mirrors by the Booker family that all share similar strong influences of William Kent. A drawing by Kent for an organ case, engraved by John Vardy, relates to the design of the mirror. A mirror formerly at St. Giles House in Dorset, England, shares many similarities and is also attributable to Booker. The pair to this mirror is in a private collection in Ireland. Note: The mirror plates are mercury silvered replacements. Irish, circa 1750 Height: 5 ft 11 in; 180.5 cm Width: 3 ft 8¼ in; 112.5 cm Depth: 6 in; 15.5 cm Provenance: Private collection, Ireland. Literature: Geoffrey Wills, English Looking Glasses: A Study of the Glass, Frames and Makers (1670–1820), 1965, p. 84, illus 52–3. The Knight of Glin, Irish Furniture, The Irish Heritage Series 16, Dublin, 1978, illus. 31. Christie, Manson & Woods, ‘Highly Important Furniture and Sculpture from St. Giles’s House, Dorset’, sale catalogue, 26 June 1980, p. 35, lot 43. The Knight of Glin, Irish Furniture, 2007, pp. 140–46. Susan Weber, William Kent: Designing Georgian Britain, 2013, p. 470, fig. 18.2.
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72 A GEORGE I CHINOISERIE SOHO TAPESTRY BY JOHN VANDERBANK This wonderfully whimsical tapestry was almost certainly woven under the direction of John Vanderbank (active 1683–1717) at the Soho tapestry works in London, England, at the beginning of the 18th century. By the end of the 17th century, the tapestry weavers of Soho and its surrounding streets had begun to usurp the dominance of the Mortlake factory that had been established under royal patronage in 1619. English tapestry production was much less prolific than on the Continent, making surviving pieces such as this very rare. Vanderbank was the yeoman arras worker at the Great Wardrobe from 1689 until his death in 1717. He may probably be identified with the John Vanderbank who was naturalised in 1700, having been born in Paris, the ‘son of Arnold Vanderbank by Mary, his wife’. The tapestry workshops of the Great Wardrobe were at Vanderbank’s house in Great Queen Street, Holborn, London, (approximately at the present no. 69) from at least 1698 onwards. He was the leading tapestry weaver in England, and by the introduction of the lighter and less formal style, now referred to as chinoiserie, he exercised a powerful influence on the style of the Soho weavers. He is known to have supplied tapestries to the great houses of Boughton in Northamptonshire, Belton in Lincolnshire and Burghley in Cambridgeshire. The earliest mention of such tapestries is in the 1690s, when Vanderbank supplied a set of nine tapestries ‘in the Indian manner’ to the recently built Kensington Palace in London. A further set of related
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chinoiserie tapestries entitled ‘The Concert’ are in the collection of the Metropolitan Museum, New York (53.165.1). A magnificent set of similar tapestries by Vanderbank, known as the Yale Tapestries, were commissioned by Elihu Yale, the founder of Yale University, and passed by descent with the Earls of Guilford until 1924 before they entered the university’s collection. Note: Restoration to the lower border. English, circa 1715 Height: 7 ft 3½ in; 222 cm Width: 9 ft 9¼ in; 298 cm Provenance: Christie’s, London, 22 February 1922, lot 147; Kende, New York, 16 October 1943, lot 208; Vigo Sterberg Galleries, London, England, by 1970; French & Co, New York, USA; Partridge Fine Arts Plc, London, by whom sold to; Private collection, USA. Exhibited: The Antique Dealers’ Fair and Exhibition, London, June 1970. Vigo Sterberg Galleries, London, 1971, no. 24. Literature: The Antique Dealers’ Fair and Exhibition handbook, 1970, illus. p. 104. The Grosvenor House Antiques Fair handbook, 1994, p. 153.
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73 A REGENCY ORMOLU MOUNTED CUT GLASS DISH LIGHT The dish light has survived in outstanding original condition. English, circa 1815 Height: 41 in; 104 cm Diameter: 20 in; 51 cm Provenance: Hotspur Ltd., London, England; Mallett & Son Ltd., London, England.
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74 A REGENCY BRASS MOUNTED MAHOGANY READING CHAIR Note: The chair retains all the original metalwork. The ratchet supported book rest has been restored. English, circa 1815 Height: 32 in; 81 cm Height of seat: 18½ in; 47 cm Width: 29¼ in; 74.5 cm Depth: 28 in; 72 cm
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75 A REGENCY ROSEWOOD WRITING TABLE ATTRIBUTED TO JOHN McLEAN The table is fitted with three drawers to one side and false drawers to the reverse and the sides. Note: The table retains the original gold tooled black morocco leather and all the original metalwork. Two handles have been repaired. English, circa 1815 Height: 28 in; 71 cm Width: 47¾ in; 121.5 cm Depth: 26 in; 66 cm Provenance: Brynkinalt Hall, Wales.
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THE BRYNKINALT HALL WRITING TABLE
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76 A PAIR OF REGENCY BRASS INLAID ROSEWOOD SIDE CHAIRS Height: 34½ in; 87.5 cm Height of seat: 18½ in; 47 cm Width: 21 in; 53.5 cm Depth: 22½ in; 57 cm English, circa 1815 Provenance: Private collection, Cornwall, England. RONALD PHILLIPS LTD
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J. & W. Cary’s price list, dated 1828
77 A GEORGE III MAHOGANY 21-INCH TERRESTRIAL GLOBE BY J. & W. CARY AND UPDATED BY G. F. CRUCHLEY IN 1859 The longitudinal brass ring is engraved: ‘The Gift of Edmond Sexton, Viscount Pery to his daughter, the Honourable Frances Calvert. 1806’. The firm of G. F. Cruchley specialised in retailing globes with their updated papers. The mahogany stand with original compass by Cary was one of their more expensive models; the retail price of this model in the early 19th century was £19 19s, a considerable sum of money at the time. (The average weekly wage of a skilled worker in 1806 was £1 10s.) Note: The compass is original to the globe; there are restorations to the turned supports. English, 1806 Height: 47 in; 119.5 cm Diameter: 27¼ in; 69 cm Provenance: Edmund Sexton, Viscount Pery, Limerick, Ireland; Frances Calvert, Hertfordshire, England; G. F. Cruchley, 81 Fleet Street, London, England; Private collection, England. Literature: Elly Decker, Globes at Greenwich: A Catalogue of the Globes and Armillary Spheres in the National Maritime Museum, 1999, p. 51.
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The Dictionary of English Furniture, 1927, vol. II, p. 146, fig. 3
78 A GEORGE II MAHOGANY BEDSIDE CABINET The cabinet was photographed by Country Life magazine in 1924 for an article on Leopold Hirsch’s celebrated furniture collection at his home in Kensington Palace Gardens, London, England. Note: The cabinet was at one stage surmounted by a shelf structure. This structure was already missing when it was in the collection of Leopold Hirsch. English, circa 1750 Height: 29½ in; 75 cm Width: 18¼ in; 46.5 cm Depth: 14¾ in; 37.5 cm Provenance: Sir Edward J. Dean Paul, Baronet, Cambridge House, Twickenham, and 7 St. George’s Place, London, England, until 1896; Christie, Manson & Woods, London, England, sale 4–10 March 1896, lot 289; Leopold Hirsch, London, England, until 1934; Christie, Manson & Woods, London, England, 7 May 1934, lot 33; Frank Partridge & Sons Ltd., London, England, 1934; Judge Irwin Untermeyer, New York, USA, until 1964; Metropolitan Museum of Art, New York, USA. Exhibited: Georgian Art Exhibition, in aid of the Royal Northern Hospital, London, 1931. Illustrated: Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, 1927, vol. II, p. 146, fig. 3. Percy Macquoid, ‘Some 18th century furniture belonging to Mr. Leopold Hirsch: II’, Country Life, 15 March 1924, pp. 395–7, fig. 9. Yvonne Hackenbroch, English Furniture with Some Furniture of Other Countries in the Irwin Untermyer Collection, 1958, p. 49, fig. 243, pl. 205.
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79 A GEORGE II WHITE PAINTED PIER MIRROR Note: The mirror retains the original mirror plates and virtually all of the original off-white paint surface. English, circa 1755 Height: 79½ in; 202 cm Width: 38 in; 96.5 cm Depth: 8¼ in; 21 cm Provenance: Private collection, London, England.
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80 A GEORGE II ANGLO-CHINESE HUANG HUALI TRIPOD TABLE This extraordinary table is without doubt influenced by contemporary English models, but differs in its use of pegs and dry joint construction, which were commonly used in Chinese furniture making. It was probably made in the region of Canton, which at the time had the sole trade port for European exports. This table may possibly have been commissioned by an Englishman, either for his residence in Canton or for export direct to England as an exotic addition to his home furnishings. Very few, if any, comparable tripod tables are known to have survived. For comparison, a set of chairs commissioned by the powerful export trade family of Gough are depicted in a painting dated 1741; some of them are preserved in the Metropolitan Museum in New York, USA, and the Lady Lever Art Gallery in Port Sunlight, Liverpool, England. As with the table, the chairs were inspired by an English prototype, but constructed in an entirely Chinese fashion. Chinese, circa 1755 Height: 30 in; 76.5 cm Diameter: 30½ in; 77.5 cm Provenance: Private collection, New York, USA. Literature: Percy Macquoid, The Lady Lever Art Gallery Collection, 1928, vol. III, ‘English Furniture, Tapestry and Needlework of the XVI–XIX Centuries’, item 138, pl. 39. Partridge Fine Arts Plc, ‘English Furniture & Works of Art’, catalogue, 2001, pp. 34–5.
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81 A GEORGE III GILTWOOD SIDE TABLE The design of this table fits perfectly into the oeuvre of Robert Adam, who worked in the neoclassical style in England in the second half of the 18th century. Sadly no drawing of the design has yet come to light. Similar side tables from this neoclassical period and designed by Robert Adam adorned welldocumented houses all over England, including Kedleston Hall in Derbyshire, Syon House in Middlesex, Croome Court in Worcestershire, Osterley Park in Isleworth, Nostell Priory in Yorkshire and Kenwood House and Apsley House, both in London, among many others. Note: The table has been re-gilt and the legs have been tipped. The colourful sample top is of later date. English, circa 1765 Height: 33 in; 83.5 cm Width: 59½ in; 151 cm Depth: 27½ in; 70 cm Provenance: Mr. and Mrs. Jack Warner, Beverly Hills, USA. Literature: Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 3rd edition, 1762, pl. LXI. Eileen Harris, The Furniture of Robert Adam, 1973, pl. 62.
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82 A GEORGE III GILTWOOD BORDER GLASS OVERMANTEL MIRROR Note: The mirror has a replaced 18th century centre plate. English, circa 1765 Height: 44 in; 112 cm Width: 57½ in; 146 cm Provenance: Private collection, London, England.
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83 A GEORGE III MAHOGANY CARD TABLE The quality of the carving to the frieze is second to none, suggesting one of the leading workshops in London as a manufacturer of the table. The fold-over top is supported by a hinged leg. Note: The green baize insert is a later replacement. English, circa 1770 Height: 30 in; 76.5 cm Width: 36¼ in; 92.5 cm Depth: 17¾ in; 45.5 cm Provenance: 2nd Viscount Courtenay (1742–1788), Powderham Castle, Devon, England; Ronald Phillips Ltd., London, England; Private collection, New York, USA. Illustrated: Ronald Phillips Ltd., catalogue, 2012, pp. 104–5. Literature: Christopher Gilbert, The Life and Work of Thomas Chippendale, 1978, vol. II, pp. 80, 88–9, 91 & 154.
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84 A GEORGE II GILTWOOD OVAL MIRROR ATTRIBUTED TO JOHN LINNELL A drawing by John Linnell for such a mirror is preserved in the Victoria and Albert Museum, London, England. Note: The mirror retains the original mercury silvered mirror glass and much of the original gilded surface. English, circa 1760 Height: 44 in; 112 cm Width: 28 in; 71 cm Provenance: Private collection, England; Peter Lipitch Ltd., London, England. Literature: Partridge Fine Arts Plc, ‘Recent Acquisitions’, catalogue, 1992, pp. 20–21.
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85 A PAIR OF GEORGE II MAHOGANY STOOLS The stools: English, circa 1755 The needlework: English, circa 1730 Height: 17¾ in; 45 cm Width: 24¾ in; 63 cm Depth: 19½ in; 49.5 cm Provenance: Private collection, Europe; Private collection, England.
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86 A PAIR OF GEORGE II MAHOGANY LIBRARY ARMCHAIRS English, circa 1755 Height: 40 in; 101.5 cm Height of seat: 17½ in; 44.5 cm Width: 30½ in; 77.5 cm Depth: 32 in; 81.5 cm Provenance: Frank Partridge & Sons Ltd., London, England, 1926; Samuel L. Davis, St. Louis, Missouri, USA; Elita Weaver, Greenwich, Connecticut, USA; Clinton Howell Antiques, New York, USA; Private collection, Paris, France.
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87 A GEORGE II MAHOGANY SIDE TABLE WITH A SCAGLIOLA MARBLE INSERT, PROBABLY BY PETRUS ANTONIUS DE PAULINUS 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
88 THE HAWARDEN CASTLE MIRROR A GEORGE II GILTWOOD PIER MIRROR English, circa 1750 Height: 5 ft 2¼ in; 158 cm Width: 3 ft 1¾ in; 96 cm Depth: 6¼ in; 16 cm
89 A PAIR OF GEORGE III GILTWOOD BRACKETS ATTRIBUTED TO GILLOWS OF LANCASTER English, circa 1770 Height: 19¼ in; 49 cm Width: 13½ in; 34.5 cm Depth: 8 in; 20.5 cm
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90 A PAIR OF GEORGE IV DECANTERS FROM THE LAMBTON SERVICE, BY THE WEAR FLINT GLASSWORKS OF SUNDERLAND English, 1823 Height: 12 in; 30.5 cm Diameter: 5 in; 12.5 cm Provenance: Commissioned for John George Lambton, Lambton Hall, Co. Durham, England; Ronald Phillips Ltd., London, England; Private collection, London, England. Illustrated: Andy McConnell, The Decanter – An Illustrated History of Glass from 1650, 2004, pp. 278–9, pls 391–2. RONALD PHILLIPS LTD
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91 A PAIR OF GEORGE IV CUT GLASS SHIP’S DECANTERS FROM THE LAMBTON SERVICE, BY THE WEAR FLINT GLASSWORKS OF SUNDERLAND English, 1823 Height: 10½ in; 26.5 cm Diameter: 7 in; 18 cm Provenance: Commissioned for John George Lambton, Lambton Hall, Co. Durham, England; Ronald Phillips Ltd., London, England; Private collection, London, England. Literature: Andy McConnell, The Decanter – An Illustrated History of Glass from 1650, 2004, pp. 278–9, pls 391–2. RONALD PHILLIPS LTD
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92 AN UNUSUALLY LARGE REGENCY MAHOGANY DINING TABLE The table has concealed castors within the volute feet. The top is hinged on a platform and has a tilting function. English, circa 1820 Height: 2 ft 4 in; 71 cm Diameter: 6 ft 5 in; 195.5 cm Provenance: Norman Adams Ltd., London, England. Illustrated: Country Life, May 1994; advertisement with Norman Adams Ltd., London.
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93 A SET OF TWELVE GEORGE III CARVED MAHOGANY ARMCHAIRS A pair of identical chairs, possibly from the same set, are in the collection at Temple Newsam in Leeds, England. Very similar chairs belong to a suite from Nettlecombe Court, Somerset, England, which includes window seats, settees and library armchairs. The Nettlecombe suite was discussed by R. W. Symonds in an article in Antique Collector in 1958; the current location of this suite is unknown. English, circa 1780 Height: 37¼ in; 94.5 cm Height of seat: 17½ in; 44.5 cm Width: 24½ in; 62.5 cm Depth: 24 in; 61 cm Provenance: Collection of Kenneth Franzheim II, US Ambassador to New Zealand, 1969–1972, Houston, Texas, USA; Mallett & Son Ltd., London, England. Literature: Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, 1954, vol. I, p. 291; a similar chair. R. W. Symonds, ‘Suites of Chairs and Sofas’, Antique Collector, June 1958, pp. 97–102. Christopher Gilbert, Furniture at Temple Newsam House and Lotherton Hall, 1978, vol. I, p. 93; one of a pair of chairs bequeathed by Frank Savery in 1966. F. Lewis Hinckley, Hepplewhite, Sheraton and Regency Furniture, 1987, p. 58; a similar chair. Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008, vol. I, pp. 272–4.
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94 A GEORGE III SERPENTINE MAHOGANY SIDE TABLE The table bears a Norman Adams Ltd. label to the underside. English, circa 1770 Height: 35 in; 89 cm Width: 5 ft 4 in; 162.5 cm Depth: 27¼ in; 69 cm Provenance: Norman Adams Ltd., London, England; Private collection, USA.
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95 A PAIR OF GEORGE III GILTWOOD AND COMPOSITION WALL LIGHTS IN THE MANNER OF ROBERT ADAM Robert Adam’s designs for wall lights for Derby House in Grosvenor Square and Apsley House, Hyde Park Corner, both in London, England, preserved in Sir John Soane’s Museum, London, use similar decorative devices, in particular the central roundel with laurel leaves and the lambrequin with urn cresting. A drawing of ‘The Fete for the Earl of Derby at The Oaks in Epsom, Surrey’, also in Sir John Soane’s Museum, shows a further related wall light. English, circa 1780 Height: 62½ in; 159 cm Width: 44 in; 111.5 cm Depth: 16 in; 41 cm Provenance: Private collection, Herefordshire, England. Literature: Arthur Bolton, The Architecture of Robert and James Adam, 1922, vol. II, pp. 75–7. Eileen Harris, The Furniture of Robert Adam, 1973, pls 93–4. Elizabeth White, Pictorial Dictionary of British 18th Century Furniture Design: The Printed Sources, 1990, pp. 388–9.
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96 A PAIR OF GEORGE III DEMI-LUNE HAREWOOD MARQUETRY CARD TABLES ATTRIBUTED TO JOHN LINNELL The back legs are hinged to support the fold-over baize lined tops. Note: The baize lining is of later date. The block feet of one table have been tipped. English, circa 1780 194
Height: 29 in; 73.5 cm Width: 42 in; 106.5 cm Depth: 20¾ in; 53 cm Provenance: Partridge Fine Arts Ltd., London, England; Corporate collection, New York, USA; Private collection, USA.
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The Blair Castle wine cooler, supplied by Hodson in 1738. Courtesy of Robin Butler
97 A GEORGE II MAHOGANY WINE COOLER ATTRIBUTED TO JOHN HODSON John Hodson was one of the lesser-known 18th century London cabinet-makers. He is recorded as working over a 77-year period, between 1709 and 1786. Following a nine-year apprenticeship with Thomas Arne in London, England, he was admitted freeman in 1718. He succeeded Thomas Hodson, probably a relative, as head of the ‘Hodson’s Looking Glass and Cabinet Warehouse’ business in Frith Street in Soho, London. In 1738, Hodson supplied furniture to the Duke of Atholl at Blair Castle in Scotland, where documentation survives. The items he supplied to Blair Castle include a tripod table, a mahogany claw table with galleried top, a fine carved and painted side table and a wine cooler. The wine cooler can be identified and remains at Blair Castle. This wine cooler, previously in the Neuhoff collection, corresponds closely in design to the Blair Castle wine cooler, supporting the attribution to Hodson. Note: The brass liner is of later date. English, circa 1740 Height: 20 in; 51 cm Width: 28½ in; 72.5 cm Depth: 21 in; 53.5 cm Provenance: Hotspur Ltd., London, England; Collection of Jerome C. Neuhoff, New York, USA; Private collection, New York, USA.
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Illustrated: Sotheby’s, New York, ‘Important English Furniture and Decorations, The Jerome C. Neuhoff Collection’, sale catalogue, 25 January 1986, lot 194. Literature: J. Lee, ‘Lion claw wine coolers’, Apollo, May 1952, p. 133, fig. 1. Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. III, p. 372, fig. 2. Anthony Coleridge, ‘John Hodson and some cabinet-makers at Blair Castle’, Connoisseur, April 1962, p. 225, fig. 4. Christie’s, ‘Childwick Bury, St. Albans, Hertfordshire: Part I, Objects of art, Fine French Furniture, Important English Furniture’, sale catalogue, 15 May 1978, p. 69, lot 84. Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, p. 439. Robin Butler and Gillian Walking, The Book of Wine Antiques, 1986, p. 119, col. pl. 22. Christie’s, New York, ‘Important English Furniture and Objects of Art’, sale catalogue, 17 October 1997, pp. 86–7, lot 395. Lanto Synge, Mallett’s Millennium, 1999, p. 109, illus. 113. Christie’s, New York, ‘500 Years Decorative Arts’, sale catalogue, 15 April 2011, lot 478.
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98 A GEORGE I GESSO TABLE Note: The table retains most of the original gesso and much of the original gilding. English, circa 1720 Height: 29½ in; 75 cm Width: 35 in; 89 cm Depth: 23 in; 58.5 cm Provenance: Private collection, England.
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99 A GEORGE I GESSO MIRROR Note: The mirror retains its original shaped and bevelled mirror plate and virtually all the original gilding. The brass candle arms and sockets are of later date. English, circa 1720 Height: 43½ in; 110.5 cm Width: 27 in; 69 cm Provenance: Ronald Phillips Ltd., London, England; Private collection, London, England. Illustrated: Ronald Phillips Ltd., ‘Mirrors’, catalogue, 2010, pp. 70–71, item 16.
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100 A VICTORIAN FUSTIC VENEERED HALL BENCH English, circa 1880 Height: 30½ in; 77.5 cm Height of seat: 19 in; 48 cm Width: 45 in; 114.5 cm Depth: 21 in; 53 cm
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Gillows Imperial dining table, 1804. Westminster Archive Centre
101 A GEORGE III MAHOGANY ‘IMPERIAL DINING TABLE’ ATTRIBUTED TO GILLOWS The table retains four original gonçalo alves crossbanded extending leaves. Gillows developed their first ‘Imperial dining table’ in 1804. Its special features are an internal extending mechanism for the supporting rails, and removable legs attached to the base by means of high quality brass threads. A design drawing by Gillows for the first ‘Imperial dining table’ is preserved in the Westminster Archive Centre, London, England. Note: The frieze has been repositioned at some stage. English, circa 1810 Height: 2 ft 4½ in; 72 cm Width: 4 ft 6 in; 137 cm Length (smallest size): 4 ft ¾ in; 124 cm Length (fully extended): 10 ft 1 in; 308 cm Extension leaf lengths: 1st: 19¾ in; 50 cm 2nd: 19¼ in; 49 cm 3rd: 19 in; 48.5 cm 4th: 14¼ in; 36 cm Provenance: Partridge Fine Arts Ltd., London, England; Private collection, Gloucestershire, England; Ronald Phillips Ltd., London, England; Private collection, London, England. Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008, vol. I, pp. 243–4, pl. 240.
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102 A GEORGE II GILTWOOD OPEN ARMCHAIR ATTRIBUTED TO MAYHEW & INCE The design of the chair follows plate LV of The Universal System for Household Furniture, published in 1762. This chair was originally part of a larger set, four of which were photographed by Alex Starkey for Country Life magazine at Charleville Castle in Ireland in 1962. The house was empty at the time and Starkey furnished two rooms specially for the photoshoot, using furniture borrowed from nearby Belvedere House, County Westmeath, where two chairs had been previously photographed by Country Life in 1961. Four chairs from the set at Belvedere were sold at auction in 1967. RONALD PHILLIPS LTD
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The same Country Life photograph taken in situ at Belvedere House in 1961 was used in Irish Houses and Castles, published in 1971.
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Another chair from the set is in the collection of the Art Institute of Chicago, USA. A pair of chairs from the set were sold by Frank Partridge Ltd. to a private collection. A suite of seat furniture of very similar form was formerly at No. 45 Berkeley Square, the London residence of Robert Clive, also known as Clive of India. This suite was moved to Powis Castle in Wales when the London house was sold by the descendants of Sir Robert. Part of the suite is still at Powis today. Note: The chair has been re-gilt. The chair: English, circa 1755 The needlework: French, circa 1750 Height: 41¼ in; 105 cm Height of seat: 17 in; 43 cm Width: 32½ in; 83 cm Depth: 30¼ in; 77 cm Provenance: Belvedere House, County Westmeath, Ireland; Symonds Incorporated, New York, USA; Robert J. Dunham, New York, USA, until 1947; Frank Partridge Incorporated, New York, USA; Walter P. Chrysler, New York, USA, until 1960; J. J. Wolff, New York, USA; Mrs. Reuben Trane, USA, until 1964; The Art Institute of Chicago, USA. Illustrated: Parke-Bernet Galleries Inc., ‘Masterpieces of Georgian Furniture and Chinese Porcelain, Property of Robert J. Dunham, New York, USA’, 9 & 10 May 1947, pp. 140–41, lot 370. Parke-Bernet Galleries Inc., ‘The Walter P. Chrysler Collection of English Furniture’, 6 & 7 May 1960, vol. 2, pp. 48–9, lot 372. Anthony Coleridge, Chippendale Furniture, 1968, pl. 185. Desmond Guinness and William Ryan, Irish Houses and Castles, 1971, p. 294. Literature: William Ince and John Mayhew, The Universal System for Household Furniture, 1762, plate LV. Christie, Manson & Woods, ‘Old English Furniture – Fine Chinese Porcelain and Objects of Art, The Property of Henry Hirsch Esq.’, sale catalogue, 10 June 1931, pp. 24–5, lot 55. Antique Collector, April 1957, title page; a chair with G. Jetley. Christie, Manson & Woods, ‘Fine English Furniture’, sale catalogue, 13 February 1975, lot 37, pl. 3. Connoisseur, June 1976, p. 64; advertisement with Glaisher & Nash. Partridge Fine Arts Ltd., ‘Summer Exhibition 1989’, catalogue, pp. 38–9.
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103 A GEORGE III BRASS MOUNTED PARCEL GILT ROSEWOOD CONSOLE TABLE Note: The brass gallery is a restoration, and the mirror is a 19th century replacement. English, circa 1800 Height: 35¼ in; 89.5 cm Width: 37¼ in; 94.5 cm Depth: 16¾ in; 42.5 cm Provenance: Private collection, USA.
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104 A CHINESE KANGXI PERIOD HUANG HUALI SOAPSTONE AND LACQUER POLYCHROME DECORATED WRITING BOX The exterior of the box is clad with carved and decorated soapstone panels within a huang huali frame. The hinged lid reveals a lacquered interior with compartments for writing utensils. Chinese, circa 1690 Height: 6 in; 15 cm Width: 18½ in; 47 cm Depth: 14¼ in; 36.5 cm
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105 A PAIR OF GEORGE III GILTWOOD GIRANDOLES Note: The mirror plates are 18th century replacements, and the scroll candle arms are of later date. English, circa 1765 Height: 38 in; 96.5 cm Width: 20½ in; 52 cm Depth: 9 in; 23 cm Provenance: Private collection, New York, USA. 212
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Connoisseur, June 1963; advertisement with Biggs of Maidenhead Ltd.
106 A PAIR OF GEORGE III DEMI-LUNE GILTWOOD SIDE TABLES Note: The tables retain the original white banded brèche violette marble tops. English, circa 1780 Height: 29 in; 74 cm Width: 27½ in; 70 cm Depth: 14 in; 36 cm Provenance: Biggs of Maidenhead Ltd., Berkshire, England; Private collection, England. Illustrated: Connoisseur, June 1963, supplement p. lxxxvi; advertisement with Biggs of Maidenhead Ltd. Apollo, August 1963, no page number; advertisement with Biggs of Maidenhead Ltd.
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107 A GEORGE II MAHOGANY PIE CRUST KETTLE STAND English, circa 1755 Height: 21½ in; 54.5 cm Diameter: 11 in; 28 cm Provenance: Private collection, England.
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108 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 4½ in; 72.5 cm Width: 4 ft 11¼ in; 150.5 cm
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Provenance: Crosby Hall, Lancashire, England, until May 1954; Private collection, St. Helens, Merseyside, England.
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THE CROSBY HALL DINING TABLE
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109 A SET OF TWELVE GEORGE III MAHOGANY DINING CHAIRS TO A DESIGN BY ROBERT ADAM AND ATTRIBUTED TO THOMAS CHIPPENDALE The set comprises ten side chairs and two armchairs. The distinctive lyre-back design was first introduced by Robert Adam for the dining chairs at Osterley Park, Isleworth, England, and was first used by Chippendale for the dining chairs at Nostell Priory, Yorkshire, England, and the library chairs at Brockett Hall, Hertfordshire, England. A further undocumented set is at Scampston Hall in Yorkshire. Chippendale never completely repeated a specific design, and each set of chairs differs slightly. English, circa 1770 The armchairs: Height: 37½ in; 95 cm Height of seat: 19 in; 48 cm Width: 24½ in; 62 cm Depth: 23¾ in; 60.5 cm The side chairs: Height: 37½ in; 95 cm Height of seat: 19 in; 48 cm Width: 22¾ in; 58 cm Depth: 22¼ in; 56.5 cm Provenance: Corporate collection, New York, USA. Literature: Frederick S. Robinson, English Furniture, 1905, pl. CXXI. Christopher Gilbert, The Life and Work of Thomas Chippendale, 1978, vol. II, pp. 92–3. Helena Hayward and Pat Kirkham, William and John Linnell, Eighteenth Century London Furniture Makers, 1980, vol. II, p. 36, fig. 68. Partridge Fine Arts Ltd., ‘Summer Exhibition 1983’, catalogue, pp. 50–51. Sotheby’s, New York, ‘Important English Furniture, Decoration, Clocks and Carpets’, sale catalogue, 29 October 1983, lot 112.
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110 A SMALL PAIR OF REGENCY CUT GLASS SIX LIGHT CHANDELIERS BY JOHN BLADES An assembly drawing by John Blades for such chandeliers is illustrated in Martin Mortimer’s seminal book on chandeliers. English, circa 1815 Height: 37 in; 94 cm Diameter: 21½ in; 54.5 cm Literature: Martin Mortimer, The English Glass Chandelier, 2000, pp. 136–7.
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A PAIR OF GEORGE III SEMI-ELLIPTIC GILTWOOD SIDE TABLES Note: The verde antico marble tops are original. English, circa 1780 Height: 34¾ in; 88 cm Width: 47¼ in; 120 cm Depth: 23 in; 58.5 cm Provenance: Private collection, USA; Ronald Phillips Ltd., London, England; Private collection, Dallas, USA. Illustrated: Robert A. M. Stern, Houses and Gardens, 2005, pp. 218–19; in situ at Preston Hollow, Dallas, Texas, USA.
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A PAIR OF GEORGE III GILTWOOD MIRRORS Note: These well-documented mirrors retain the original mirror plates. The pagoda tops and the pendent aprons have been restored. English, circa 1765 Height: 5 ft 1¼ in; 155.5 cm Width: 3 ft 1 in; 94 cm Provenance: Hotspur Ltd., London, England, circa 1924; M. Harris & Sons, London, England, 1965; Collection of Mrs. E. S. BorthwickNorton, Southwick House, Hampshire, England, 1988; Ronald Phillips Ltd., London, England, 1992; Private collection, New York, USA. Illustrated: Geoffrey Wills, English Lookingglasses: A Study of the Glass, Frames and Makers (1670–1820), 1965, p. 92, fig. 74. The Grosvenor House Antiques Fair handbook, 1992, p. 273; advertisement with Ronald Phillips Ltd., London. Ronald Phillips Ltd., catalogue, 2015, pp. 40–43. Photographed: Sydney W. Newbery, 37 Cowley Road, Brixton, London SW9, circa 1924, in an exhibition setup, perhaps at the British Empire Exhibition.
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113 A PAIR OF GEORGE III MAHOGANY CARD TABLES The fold-over tops are supported by swing-action back legs. The patination and colour of these tables is outstanding. Both tables bear the Norman Adams Ltd. label applied to the under frame. English, circa 1770 Height: 28¾ in; 73 cm Width: 37½ in; 95.5 cm Depth (closed): 18½ in: 47 cm Depth (open): 37¼ in; 94.5 cm Provenance: Norman Adams Ltd., London, England; Private collection, England. Illustrated: Christopher Claxton-Stevens, 18th Century English Furniture: The Norman Adams Collection, 1983, pp. 317–18.
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114 A HUGE REGENCY HEXAGONAL BRASS LANTERN ATTRIBUTED TO WILLIAM COLLINS William Collins supplied a very similar lantern to Burton Constable in Yorkshire, England. Note: The lantern retains some the original glass panels. Height: 46 in; 117 cm Diameter: 26¼ in; 66.5 cm English, circa 1815 Provenance: Cammo House, Edinburgh, Scotland. Literature: Christopher Gilbert, Country House Lighting, 1992, p. 73, fig. 35. Partridge Fine Arts Plc, ‘English Furniture and Works of Art’, catalogue, 2004, pp. 128–9, item 56.
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115 A REGENCY SATINWOOD AND CALAMANDER DRUM TABLE ATTRIBUTED TO GEORGE OAKLEY The frieze is fitted with four drawers interspersed by four dummy drawers. One drawer retains the original red morocco leather lined writing slope on a ratchet support. The design of the table corresponds to one supplied by Oakley to Papworth Hall, Cambridgeshire, England. This table was invoiced by Oakley as: ‘A calamander wood circular loo table upon a pedestal and claws, the top inlaid with a border of stars in brass and ebony £31 10s 0d.’ Loo was a card game popular at the time. Note: The brass handles are of later date. English, circa 1815 Height: 28¼ in; 72 cm Diameter: 48 in; 122 cm Provenance: H. J. Joel, Sefton Lodge, Newmarket, England; Ronald A. Lee. Ltd., London, England; The Hon. Simon Sainsbury, West Sussex, England; Michael Hughes Antiques Ltd., London, England; Private collection, London, England. Literature: R. W. Symonds, ‘Some Aspects of Regency Furniture’, Antique Collector, October 1948, pp. 152–7, fig. 9.
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116 A PAIR OF GEORGE III ORMOLU MOUNTED BLUE JOHN CANDLE VASES BY MATTHEW BOULTON English, circa 1775 Height (candle holder up): 8¾ in; 22 cm Height (candle holder down): 7½ in; 19 cm Width: 4¾ in; 12.5 cm Depth: 3½ in; 9 cm
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The mirror within its original oak travelling case
117 A JAMES II STUMPWORK MIRROR WORKED BY ALICE EDGAR The bright colours of the fine embroidery have been preserved in their original condition due to it being kept within the original brass mounted oak travelling case. The mirror passed down the Edgar family until 2002, when it was purchased by a private collector in New York, USA. English, circa 1685 Height: 22½ in; 57 cm Width: 21¾ in; 55.5 cm Depth: ¾ in; 2 cm Provenance: Alice Edgar, Redd House, Ipswich, Suffolk, England; By descent within the family to; Bury St. Edmunds, Suffolk, England, until 2002; Private collection, New York, USA.
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118 A PAIR OF GEORGE III MAHOGANY ARMCHAIRS ATTRIBUTED TO JOHN LINNELL The sophisticated shaped backs with their channelled moulding with floral carving and leaf carved ball arm terminals correspond perfectly with the later years of the Linnell workshop’s output, when the company was headed by John Linnell, William’s son. English, circa 1780 Height: 34¾ in; 88 cm Height of seat: 18½ in; 47 cm Width: 22¾ in; 57.5 cm Depth: 25½ in; 64.5 cm
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Provenance: Private collection, New York, USA. Literature: Ralph Edwards, A History of the English Chair, 1950, illus. 88. Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. I, p. 293, fig. 214. Helena Hayward and Pat Kirkham, William and John Linnell, Eighteenth Century London Furniture Makers, 1980, vol. II, p. 45, illus. 87.
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119 A GEORGE III ORMOLU MOUNTED SATINWOOD, TULIPWOOD AND COCOBOLO WRITING TABLE ATTRIBUTED TO CHRISTOPHER FUHRLOHG The parquetry veneered frieze houses four drawers to one side and dummy drawers to the reverse side. One drawer has a faux ivory label reading ‘Frank Partridge/Works of Art/26 King Street St. James’s/ and/New York’. Christopher Fuhrlohg was born in 1737 into a Swiss family that had emigrated to Sweden. He came to London via Amsterdam and Paris (where he had worked for Simon Oeben in 1767), and initially worked for Linnell. The influence of the latest French fashion on his work can be found in the collection of Linnell drawings at the Victoria and Albert Museum, London, where a design for a commode is signed with his name. Strong neoclassical lines and skilful parquetry veneering are characteristic of Fuhrlohg’s work. Note: The table retains all the original ormolu mounts and probably the original gold tooled black leather writing surface. The castor wheels and forks are of later date. English, circa 1785 Height: 2 ft 6¼ in; 77 cm Knee height: 2 ft; 61 cm Width: 5 ft 7¾ in; 172 cm Depth: 2 ft 8 in; 81 cm Provenance: Frank Partridge Ltd., London, England, and New York, USA; Partridge Fine Arts Ltd., London, England; Private collection, Switzerland. Illustrated: Partridge Fine Arts Ltd., ‘Recent Acquisitions 1996’, catalogue, pp. 58–9.
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120 A GEORGE III MAHOGANY CABINET ATTRIBUTED TO WILLIAM VILE The cabinet is made entirely of the finest quality dense and richly coloured Cuban mahogany, including its back boards and secondary timbers. It is enriched with the finest carving to the doors of berried laurel leaves. The cock beading around the drawers is pearl carved. The interior is fitted with a bank of three small drawers and three adjustable shelves. A similar cabinet, supplied by Vile to the Duke of Leeds at Hornby Castle, Lancashire, England, and now in a private collection in London, shares many similarities, including the panelled side, leaf carved mouldings, pearl carved cock beading and mirrored doors. Note: The cabinet retains all the original ornate brass handles. The bevelled mercury silvered mirror plates are of later date. English, circa 1775 Height: 7 ft 2¾ in; 220.5 cm Width: 4 ft ¾ in; 123.5 Depth: 1 ft 9¾ in; 55.5 cm Provenance: Alfred Jowett, Hazelcroft, Killinghall, Yorkshire, England; Private collection, Australia; Mallett & Son Ltd., London, England. Illustrated: R. W. Symonds, ‘Provincial Furniture of the XVI to the XVIII Centuries, illustrated by examples in the collection of Mr. Alfred Jowett of Killinghall’, Connoisseur, November 1940, p. 196, no. VIII. Mallett & Son Ltd., catalogue, 2014, pp. 216–19. Literature: ‘Hornby Castle – The seat of the Duke of Leeds’, Country Life, 14 July 1906, pp. 54–64. Christie, Manson & Woods, ‘Fine Old English Furniture – Continental Porcelain – Old English Silver and Pictures by A. Canaletto – The Property of His Grace The Duke of Leeds’, sale catalogue, 10 June 1920.
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BIBLIOGRAPHY
Ackermann, Repository of Arts, 1810. Adam, Robert, Works in Architecture, 1776. 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. 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, 1921. Banfield, Edwin, Barometers, Wheel or Banjo, Trowbridge, 1985. 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. Bolton, Arthur, The Architecture of Robert and James Adam, London, 1922. Boulton, Matthew, Matthew Boulton Pattern Books I and II, n.d. Bourne, Jonathan, and Vanessa Brett, Lighting in the Domestic Interior, London, 1991. Bowett, Adam, Early Georgian Furniture 1715–1740, London, 2009. Bowett, Adam, 100 British Chairs, Chicago, 2015. 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. 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. Claxton Stevens, Christopher, and Stewart Whittington, 18th Century English Furniture: The Norman Adams Collection, London, 1983. Claxton Stevens, Christopher, and Stewart Whittington, 18th Century English Furniture: The Norman Adams Collection, revised edition, Woodbridge, 1985. Claxton Stevens, Christopher, Norman Adams Seventieth Anniversary, London, 1993. Clifford Smith, Harold, The Complete History of Buckingham Palace: Its Furniture, Decoration and History, London, 1931. Clifton, Gloria, Directory of British Scientific Instrument Makers 1550–1851, London, 1995. Coleridge, Anthony, Chippendale Furniture, London, 1968. Coleridge, Anthony, The Chippendale Period in English Furniture, London, 1966. Coleridge, Anthony, The Cusworth Suite, London, 2008. Coleridge, Anthony, The Work of Thomas Chippendale and His Contemporaries in the Rococo Style, London, 1968. Collard, Frances, Regency Furniture, 2nd edition, London, 1985. RONALD PHILLIPS LTD
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Cornforth, John, Early Georgian Interiors, Yale, 2004. Darly, Matthias, A New Book of Chinese, Gothic and Modern Chairs, London, 1751. Davis, Frank, A Picture History of Furniture, London, 1958. Decker, Elly, Globes at Greenwich: A Catalogue of the Globes and Armillary Spheres in the National Maritime Museum, London, 1999. Dekker, Elly, and P. van der Krogt, Globes from the Western World, London, 1993. Edwards, Ralph, Catalogue of English Furniture and Woodwork, 4 vols, London, 1931. Edwards, Ralph, Georgian Furniture, London, 1947. Edwards, Ralph, The Georgian Period, 2nd edition, London, 1958. Edwards, Ralph, A History of the English Chair, London, 1950. Edwards, Ralph, The Shorter Dictionary of English Furniture, London, 1964. Edwards, Ralph, The Victoria and Albert Museum: English Chairs, London, 1951. Edwards, Ralph, and Margaret Jourdain, Georgian Cabinet Makers, London, 1944. Edwards, Ralph, and Margaret Jourdain, Georgian Cabinet Makers, revised edition, London, 1946. Edwards, Ralph, and Margaret Jourdain, Georgian Cabinet Makers, 3rd revised edition, London, 1955. Edwards, Ralph, and L. G. Ramsey, The Connoisseur Period Guides, The Early Georgian Period 1714–1760, London, 1957. Ellwood, G. M., English Furniture and Decoration, 1680–1800, London, 1913. Fitzgerald, Desmond, Georgian Furniture, London, 1969. Gilbert, Christopher, The Art of Thomas Chippendale, Master Furniture Maker, Harewood House, 2000. Gilbert, Christopher, Country House Lighting 1660–1890, Leeds, 1992. Gilbert, Christopher, English Vernacular Furniture, 1750–1900, New Haven, 1991. Gilbert, Christopher, Furniture at Temple Newsam House and Lotherton Hall, 3 vols, Leeds, 1978 & 1998. Gilbert, Christopher, The Life and Work of Thomas Chippendale, 2 vols, London, 1978. Gilbert, Christopher, A Pictorial Dictionary of Marked London Furniture 1700–1840, Leeds, 1996. Gilbert, Christopher, and Tessa Murdoch, John Channon and Brass-Inlaid Furniture 1730–1760, New Haven, 1993. Gloag, John, A Short Dictionary of Furniture, London, 1952. Gloag, John, A Short Dictionary of Furniture, revised and expanded edition, London, 1969. Goodison, Nicholas, English Barometers 1680–1860, London, 1969. Goodison, Nicholas, English Barometers 1680–1860, revised edition, London, 1985. Goodison, Nicholas, Matthew Boulton: Ormolu, London, 2002. Goodison, Nicholas, Ormolu: The Work of Matthew Boulton, London, 1974. Goodison, Nicholas, and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, London, 2004. Guinness, Desmond, and William Ryan, Irish Houses and Castles, London, 1971. Hackenbroch, Yvonne, English Furniture with Some Furniture of Other Countries in the Irwin Untermyer Collection, London, 1958. Hall, Michael, ‘Ham House’, Country Life, 14 August 2003. ‘M. Harris & Sons 1868–1968’, centenary catalogue, London, 1968. M. Harris & Sons, ‘A Catalogue and Index of Old Furniture and Works of Decorative Art’, Part I 1560–1740, Part II 1730–1780, Part III 1770–1840, London, circa 1930s. M. Harris & Sons, The English Chair – Its History and Evolution, London, 1937. Harris, Eileen, The Furniture of Robert Adam, London, 1973. Harris, Eileen, The Genius of Robert Adam: His Interiors, London, 2001. Harris, John, and Michael Snodin, Sir William Chambers, Architect to George III, London, 1996. Hayward, Helena, ‘The Drawings of John Linnell in the Victoria and Albert Museum’, Furniture History Journal, 1969. Hayward, Helena, Thomas Johnson and the English Rococo, London, 1964. Hayward, Helena, World Furniture: An Illustrated History, London, 1965. Hayward, Helena, and Pat Kirkham, William and John Linnell, Eighteenth Century London Furniture Makers, 2 vols, London, 1980. Hinckley, F. Lewis, A Directory of Antique Furniture, New York, 1953. Hinckley, F. Lewis, Georgian Furniture and Looking Glasses, New York, 1992. Hinckley, F. Lewis, Hepplewhite, Sheraton and Regency Furniture, New York, 1987. Hinckley, F. Lewis, Masterpieces of Queen Anne and Georgian Furniture, New York, 1991. Hinckley, F. Lewis, Metropolitan Furniture of the Georgian Years, London, 1988. Hinckley, F. Lewis, The More Significant Georgian Furniture, New York University Press, 1990.
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Hinckley, F. Lewis, The More Significant Regency Furniture, New York, 1991. Hinckley, F. Lewis, A Directory of Queen Anne, Early Georgian and Chippendale Furniture, New York, 1971. Hinckley, F. Lewis, Queen Anne and Georgian Looking Glasses, New York, 1987. Hope, Thomas, Household Furniture and Interior Decoration, London, 1807. Hussey, Christopher, English Country Houses, Late Georgian 1800–1840, London, 1958. Hussey, Christopher, English Country Houses, Mid-Georgian 1760–1800, London, 1956. Jones, William, The Gentleman or Builder’s Companion, 1739. 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, and F. Rose, English Furniture, the Georgian Period 1750–1830, London, 1953. Knight of Glin, The, Irish Furniture, The Irish Heritage Series 16, Dublin, 1978. 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. 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. Lock, Matthias, A Book of Ornaments, 1747. 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. Lomax, James, The Chippendale Society Catalogue of the Collections, Leeds, 2000. 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. Macquoid, Percy, and Ralph Edwards, The Dictionary of English Furniture, 3 vols, new edition revised by Ralph Edwards, London, 1954. McConnell, Andy, The Decanter – An Illustrated History of Glass from 1650, Woodbridge, 2004. Manwaring, Robert, Cabinet and Chair-Maker’s Real Friend and Companion, or, the Whole System of Chair-making Made Plain and Easy, London, 1765. Manwaring, Robert, The Chair Maker’s Guide, London, 1766. Millburn, J. R., Adams of Fleet Street, Makers to King George III, London, 2000. Mortimer, Martin, The English Glass Chandelier, London, 2000. Mortimer, Martin, ‘The Irish Mirror Chandelier’, Country Life, 16 December 1971. Moss Harris & Sons, Old English Furniture, Designers and Craftsmen, London, 1934. Musgrave, Clifford, Adam and Hepplewhite and Other Neo-Classical Furniture, London, 1966. Musgrave, Clifford, Regency Furniture 1800–1830, London, 1961, revised edition 1970. Pope, Alexander, Odysse, London, 1725–1726. Reade, Brian, Regency Antiques, London, 1953. Robinson, Frederick S., English Furniture, London, 1905. RONALD PHILLIPS LTD
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Rogers, John C., revised by Margaret Jourdain, English Furniture, revised 3rd edition, London, 1929. Saumarez-Smith, Charles, Eighteenth-Century Decoration: Design and the Domestic Interior, London, 1993. Schiffer, Herbert F., The Mirror Book: English, American & European, Exton, Pennsylvania, 1983. Stern, Robert A. M., Houses and Gardens, New York, 2005. 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., 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, Mallett Millennium, London, 1999. 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., Decorations and English Interiors, New York, 1927. Vernay, Arthur S., The Vernay Collection for the Spring of 1929, New York, 1929. Vernay, Arthur S., Autumn 1952, New York, 1952. Ward-Jackson, Peter, English Furniture Designs, London, 1984. Ward-Jackson, Peter, English Furniture Designs of the Eighteenth Century, London, 1959. Weale, John, Old English and French Ornament, London, 1846. Weber, Susan, William Kent: Designing Georgian Britain, New York, 2013. White, Elizabeth, Pictorial Dictionary of British 18th Century Furniture Design: The Printed Sources, London, 1990. 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. Wood, Lucy, Catalogue of Commodes, Liverpool, 1994. Wood, Lucy, Upholstered Furniture in The Lady Lever Art Gallery, Liverpool, 2008.
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INDEX
BAROMETERS A George III mahogany wheel barometer by George Adams 126 BOOKCASES/CABINETS/BUREAUX A Charles II black japanned cabinet on giltwood stand A George I black japanned bureau cabinet attr. to John Belchier A George II mahogany bedside cabinet A George II mahogany bookcase attr. to William Vile A George III mahogany cabinet attr. to William Vile A small pair of George III mahogany D-shaped side cabinets A Regency mahogany circular bookcase by Gillows RONALD PHILLIPS LTD
78 36 162 106 246 142 128
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CHESTS/COMMODES A large George II mahogany serpentine chest of drawers 10 A George II rosewood and yew wood mule chest on stand 98 A George II walnut chest of drawers 68 A pair of George II figured walnut bachelor’s chests 94 A George III brass mounted mahogany commode 58 A George III satinwood and harewood commode attr. to John Cobb 58 A pair of George III Chinese lacquer commodes by John Cobb 104 A Regency narrow mahogany chest of drawers 124 GLOBES A George III mahogany 21-inch globe by J. & W. Cary, updated by Cruchley 160 A pair of Regency 18-inch globes by J. & W. Cary on mahogany stands 122 LIGHTING A George III cut glass six light chandelier attr. to Parker & Perry 22 A pair of George III giltwood wall lights in the manner of Robert Adam 190 A pair of George III ormolu and blue john candle vases by Matthew Boulton 236 A pair of George III cut glass two light candelabra by Parker & Perry 56 A Regency hexagonal brass lantern attr. to William Collins 232 A Regency ormolu mounted cut glass dish light 152 A Regency ormolu mounted cut glass three light candelabrum by John Blades 96 A small pair of Regency cut glass six light chandeliers by John Blades 224 A set of four Regency ormolu mounted Wedgwood storm lights 134 A George IV eight light brass chandelier by Johnston Brookes & Co. 58 MIRRORS/GIRANDOLES Single A Charles II stumpwork mirror in a black japanned frame 74 A James II stumpwork mirror worked by Alice Edgar 238 A George I gesso mirror with shaped bevelled mirror plate 66 A George I gesso mirror 104 A George I gesso mirror with wonderfully aged mirror plate 200 A George II giltwood oval mirror attr. to John Linnell 174 A George II giltwood pier mirror 178 A George II white painted pier mirror 164 An Irish George II mirror 14 An Irish George II pier mirror attr. to Francis and John Booker of Dublin 148
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RONALD PHILLIPS FINE ANTIQUE ENGLISH FURNITURE
A George III giltwood border glass overmantel mirror 170 A George III giltwood mirror 58 A George III giltwood triple oval plate overmantel mirror 110 A George III white painted overmantel mirror 132 Pairs A pair of George I giltwood and gesso pier mirrors 92 A pair of George II giltwood mirrors with brackets 18 A pair of George II parcel gilt walnut pier mirrors 58 A pair of George III giltwood girandoles 212 A pair of George III giltwood mirrors 228 A pair of George III giltwood mirrors and pair of console tables attr. to Linnell 52 Chinese mirror paintings A George III period Chinese export mirror painting 58 A pair of George III period Chinese export mirror paintings 104 A pair of George III period Chinese export mirror paintings 144
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OBJECTS A Chinese Kangxi period huang huali soapstone and lacquer writing box A George I black japanned shell flower cabinet by Sarah Nevenham A George I chinoiserie Soho tapestry by John Vanderbank A George II mahogany metamorphic library step stool A George II mahogany oval jardinière on cabriole legs A George II mahogany wine cooler attr. to John Hodson A George III ormolu and white marble athenienne attr. to Matthew Boulton A pair of George III ormolu cassolettes A pair of George III ormolu ice pails by Benjamin Vulliamy A pair of George III period polychrome painted Chinese figures A pair of George IV cut glass decanters from the Lambton service A pair of George IV cut glass ship’s decanters from the Lambton service SEATING Benches A Victorian fustic veneered hall bench
210 100 150 108 102 196 114 130 30 18 180 181
202
Chairs (single) A George II giltwood open armchair attr. to Mayhew & Ince 206 A George III mahogany armchair attr. to Robert Manwaring 48 A George III mahogany open armchair attr. to John Linnell 86 A Regency brass mounted mahogany reading chair 154 Chairs (pairs) A pair of George II mahogany library armchairs 178 A pair of George II mahogany open armchairs 24 A pair of George II walnut library armchairs 58 A pair of George II walnut open armchairs 60 A pair of George III mahogany armchairs attr. to John Linnell 240 A pair of George III mahogany open armchairs 118 A pair of Regency brass inlaid rosewood side chairs 158 Chairs (sets) A set of twelve George III carved mahogany armchairs A set of twelve George III mahogany dining chairs attr. to Chippendale
184 220
Settees A George II walnut triple back settee attr. to Giles Grendey
138
Stools A pair of George I gesso stools attr. to James Moore 70 A pair of George II mahogany stools 176
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RONALD PHILLIPS FINE ANTIQUE ENGLISH FURNITURE
TABLES Card A George III mahogany card table 172 A pair of George III demi-lune harewood marquetry card tables attr. to Linnell 194 A pair of George III mahogany card tables 230 Centre A pair of George III giltwood and polychrome decorated centre tables A Regency rosewood and simulated rosewood drum table A Regency satinwood and calamander drum table attr. to George Oakley
140 112 234
Desks/reading/writing/low-boys A George II mahogany & ormolu pedestal writing desk attr. to William Hallett A pair of George II walnut low-boys A George III brass mounted mahogany roll-top writing table attr. to Gillows A George III mahogany pedestal desk A George III pedestal writing desk A George III satinwood and ormolu writing table attr. to Christopher Fuhrlohg A Regency rosewood writing table attr. to John McLean A pair of Regency rosewood and ormolu work tables attr. to John McLean RONALD PHILLIPS LTD
44 76 84 120 104 242 156 136
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Dining/breakfast A George III mahogany ‘Imperial dining table’ attr. to Gillows A George III quilted mahogany six pillar dining table An unusually large Regency mahogany dining table
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204 218 182
Occasional tables/stands A George II mahogany pie crust kettle stand 216 A pair of George II parcel gilt terms by James Richards, attr. to William Kent 40 A George III brass mounted kettle stand 50 A George III mahogany urn stand 28 Side A George I gesso table 104 A George I gesso table 198 A pair of George I gilt gesso tables attr. to John Belchier 88 A George II giltwood side table 64 A George II giltwood side table attr. to Matthias Lock 58 A George II mahogany side table with scagliola marble insert probably by Petrus Antonius de Paulinus 178 A George II parcel gilt side table attr. to William Kent 8 A George III brass mounted parcel gilt rosewood console table 208 A George III giltwood side table 168 A George III serpentine mahogany side table 188 A large Irish George III harewood marquetry side table attr. to William Moore 146 A pair of George III demi-lune giltwood side tables 214 A pair of George III giltwood console tables and mirrors attr. to John Linnell 52 A pair of George III semi-elliptic giltwood side tables 226 A Regency brass mounted mahogany two tier side table 130 Tripod A George II Anglo-Chinese huang huali tripod table 166 A George II brass inlaid mahogany tripod table attr. to Frederick Hintz 16 A George II mahogany tripod table 82 A George II mahogany oval tripod table 104 WALL BRACKETS A pair of George III giltwood brackets attr. to Gillows 178
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