Butchoff vol I by Masterart

Since our last catalogue was prepared, great changes in the global economic landscape have occured. We have seen that the supposed solidity of stock markets, property prices and fiscal growth has proven frail, and crumbled. However, the market for the finest in traditional art and antiques has remained a constant, and we have noted that even in these times of troubled economies, the price for pieces of great quality is ever escalating. The traditional insistence of the great craftsmen and designers of the past, of using only the very finest materials available, and creating objects for posterity, underscores the critical distinction between the ephemeral, and the permanent. Our philosophy of questing for excellence highlights, once more, that in times like these, the very best remains, whilst the lesser is washed away. We are proud to present a selection of some of the best of our latest finds in our current catalogue. Herein may be found a rediscovered, long lost masterpiece by Friedrich Ludwig Hausburg of Liverpool, a cabinet, that was seventeen years in the making; a collection of furniture by Gillows of Lancaster & London, including two pieces recorded in Susan Stuart’s recently published two volume exegesis; furniture by Holland & Sons, including a remarkable table virtually identical with their table exhibited at the Great Exhibition of 1862; a collection of furniture of the highest quality by Edwards & Roberts; a wonderful table by Jackson & Graham, a Library Bookcase by William Trotter of Edinburgh; an exuberant partners desk by Bohman of Stockholm, suppliers of furniture to the Swedish Royal Family; a long set of dining chairs of superb quality by Waring & Gillow; a suite of Aubusson tapestry covered furniture from the Chateau de Grosbois, made for Marechal Berthier, Count of Wagram, one of Napoleon’s generals, by Pierre-Antoine Bellangé; a Month Regulator Clock by Lund & Blockley; a fine secretaire cabinet firmly attributed to John McLean; a collection of fine Satinwood furniture in the Adam Manner, and other pieces which conform to our rigorous critique. Many other pieces are to be found on our regularly updated website, but if you cannot locate exactly that which you are looking for, contact us with your needs, for we have a large collection of pieces in our storage facility which do not appear online. We trust you will enjoy viewing our latest catalogue, and will find something within of interest to you. We are committed to excellence.

Ian Butchoff, Adam & James Kaye

Butchoff Antiques 154 Kensington Church Street, London W8 4BN Tel: +44 (0)20 7221 8174 Fax: +44 (0)20 7792 8923 Email: enquiries@butchoff.com Web: www.butchoff.com

An Exhibition Quality Centre Table Firmly Attributed to Edward Holmes Baldock Circa 1840

Constructed primarily in Amboyna with Ebony, and having many other specimen and stained woods, bone and pearl shell used in the marquetry work, and the extensive use of finely cast and planished gilt bronze mounts. The table rises from tripartite feet of inwardly scrolling form, fitted with concealed brass castors and substantial foliate bronze mounts, flowing into a tapering, and concave triangulated central column, inlaid with flower filled cartouches, framed within conforming bronze foliate mounts terminating in a block fitted with bolts and a tilt-top mechanism. The top is of circular form, with a guard rim of foliate cast bronze, and the shell inlaid serpentine frieze is adorned with bronze accents, also scallop shell based; the inner running circular reserve is in Ebony, inlaid with a design of continuous complex marquetry foliate work interspersed with leopards, putti and snakes in hatched bone inlay. The wonderful centre bouquet presents a rich variegated bouquet in marquetry, counterpointed with butterflies, caterpillars and a snail in bone and nacre.

DIMENSIONS:

REFERENCE:

29 in:

74 cm

DIA:

53 in:

135 cm

7023

Edward Holmes Baldock Edward Holmes Baldock (1777-1845), established in 1805 in Hanway Street, Tottenham Court Road, describing his business in the Post Office directories as ‘buying, selling, and manufacturing furniture, and supplying bronzes, porcelain and haberdashery, and chinaman to Her Majesty’, he counted amongst his clients the members of the Royal Family, and a documented sale in 1840 to the Duke of Buccleuch includes a library centre table of very similar form to ours. This form of table, evidently inspired by a design published in 1838 by Richard Bridgens, in ‘Furniture with Candelabra’ of a ‘Marquetrie Centre Table’. Very similar tables are to be seen in Charlecote Park, Carlton Towers, and the Victoria & Albert Museum.

An Imposing French Mantle Clock in the Louis XVth Manner signed F. Berthoud Paris Circa 1880

Constructed in finely cast and planished gilt bronze and Rouge Griotte marble; the stepped ormolu base with a running trefoil ormolu band, and over, an ormolu entrelac band with flower head insets; the fluted column draped with cloth, and girt with roses, held suspended bu a dark brown patinated figure of a youthful Cupid, with his quiver of loves’ darts surmounted by a dove. The white circular enamel dial, signed in script ‘F. Berthoud, Paris’, and having the hours marked in Roman numerals, and Arabic numerals for the inner day date band; the shaped hands for the hours and minutes in pierced ormolu, and the day date in blued steel. The eight day movement having twin barrels, with a Brocot escapement, and striking the hours on a bell. France.

DIMENSIONS:

REFERENCE:

20 in:

50 cm

16 in:

41 cm

8.5 in:

22 cm

7235

A Rare Drawing Room Suite from the Restauration Period by Pierre-Antoine Bellangé from the Château de Grosbois, Marne Valley, France Circa 1825

Constructed in Cuban Mahogany, with Aubusson tapestry coverings; consisting of a canape, with eight attendant fauteuils, rising from swept front legs, the seat fronts of convex form, the downscrolled arms delicately carved with anthemions, chanelling and volutes, the fauteuil backs of square form with reeding to the toprails: the period Aubusson tapestry, with designs based on Les Fables de La Fontaine having close nailed brass tacking set into the padded seats and backs. Four fauteuils and the canape stamped P. Bellangé. Paris.

Provenance Purchased from the estate of Comte Guillaume Toulouse-Lautrec, great-greatgreat-great grandson of the original purchaser. The Chateau de Grosbois and its’ extensive grounds, are located in the Marne Valley, a mere 15 kilometres from the centre of Paris, and had its’ origins in the first quarter of the thirteenth century, when it was constructed as a fortified manor house. In 1562 it was purchased by the Finance Minister of Charles IXth, Raoul Moreau, who enlarged the house to a grand size, and in 1625, sold it to the Duc d’Angouleme, Charles de Valois, son of Charles IXth. In 1805, after a succession of owners, it was purchased and totally refurbished by LouisAlexander Berthier (1753-1815) Prince de Neuchâtel, and Prince de Wagram, and, although a nobleman, an ally and General in the army of Napoleon Bonaparte. The chateau was sold by the family in 1962, and is now a stud farm, albeit of some size.

DIMENSIONS (Sofa):

DIMENSIONS (Chairs):

REFERENCE:

40 in:

102 cm

38 in:

97 cm

7061

72 in:

183 cm

24 in:

61 cm

27 in:

69 cm

21 in:

53 cm

Pierre-Antoine Bellangé (1758-1827)

Aubusson

Received as a Master Ebeniste in 1788, he became of of the major Imperial and Royal Court suppliers, working from the Rue Neuve St Denis; he was appointed ‘ebeniste brevete du Garde Meuble de la Couronne’, and executed orders on the direction instruction of Napoleon. The journal ‘Bazar Parisien’ in 1821 commented on the ‘quality, richness and variety of decoration of the House of Bellangé, his reputation being sealed by the wonderful refurnishing of the Pavillon de Saint Ouen’. Denise Ledoux-Lebard notes in her ‘Mobilier Français du XIXe’ that James Monroe ordered a quantity of furniture for the White House, and also refers a length to Marechal Berthier’s orders for the Chateau de Grosbois. Examples of Bellangé’s work may been seen in the Chateau de Compiegne, Hotel de Beauharnais, Fontainebleau and Versailles.

Situated in south west central France, in the Creuse, Aubusson was established as a centre of weaving in the mid sixteenth century, with the arrival from Flanders of Hugeonots, who had fled their homeland after religious persecution. The soft colour palette of Aubusson tapestries were well suited to the interior decoration tastes of the eighteenth and nineteenth century.

A Very Rare Month Regulator Longcase Clock by Lund & Blockley Circa 1890

The case constructed in San Domingo Mahogany, rising from a plinth base, the lower section panelled, the door glazed, with foliate carvings atop and below: the hood of domed form, housing the arcaded form silvered dial, signed by the makers, ‘Lund & Blockley, 42 Pall Mall, Perpetual Calendar Month Regulator’. The movement drives subsidary dials, which indicate hours, minutes and seconds, as well as days of the week, a self correcting ‘days of the month’, a leap year indicator, a remaining power indicator and a moon phase. The mercury pendulum has a fine adjustment to ensure total exactitude, and the backboard has the nameplate of Herbert Blockley, sole maker. London. ‘Regulator’ is the name given to clocks which were designed to be extremely accurate. They are usually non-striking. The name derives from the fact that such clocks were used like a master to regulate other less accurate timepieces. These could be checked and adjusted to bring them into line with the regulator.

Lund & Blockley ‘Watchmakers to the Queen’, and makers of very fine and accurate timepieces, they provided the Royal Geographical Society with forty of their patented ‘Explorers Watches’. A suggestion from Queen Victoria occasioned them to open an office in Bombay, and their Turret clock, overlooking the Bombay Royal Dockyard is still working, over 100 years later.

Literature: ‘The Longcase Clock’ by Tom Robinson Britten’s ‘Old Clocks and Watches and their makers’

DIMENSIONS:

REFERENCE:

75 in:

190 cm

22.5 in:

57 cm

13 in:

33 cm

7028

An Important Pedestal Library Table after a Design by Thomas Chippendale Circa 1860

Of free standing form, constructed in a well patinated Cuban Mahogany, and fitted to the sides with substantial gilt rococo form gilt bronze carrying handles; the pedestals having ogee plinths, with re-entrant corners, each surface having carved cartouches of floral design, and the lockable cupboards opening to reveal fitted and removable folio sections, each concealing hidden compartments, fitted either with drawers or voids: the frieze with two lockable drawers to each side, seperated by a shaped well and adorned with a strongly carved running foliate garland. The writing surface having its’ original morocco leather. Provenance Purchased from M. Harris & Sons at the Grosvenor House Antique Fair 1938. A Library Table of similar form is to be seen in Thomas Chippendale’s ‘The Gentleman and Cabinet makers Directory’ of 1762, under plate number LXXXIV.

DIMENSIONS:

REFERENCE:

32 in:

81 cm

60 in:

152 cm

36 in:

91 cm

7231

A Fine Pair of Gainsborough Armchairs Circa 1890

Constructed in Mahogany with extensive use of skilfully executed carving in the high rococo manner: rising from animal paw footed front cabriole legs, the knees and ears carved with foliate designs; the rear legs canted, and similarly carved: the arms of serpentine form, chanelled and carved with foliates and addorsed â&#x20AC;&#x2DC;Câ&#x20AC;&#x2122; scrolls, the arm supports of concave form, and similarly carved; the seat and back of square form, with contemporary upholstery. Concordances with the design of these chairs are to be found amongst the designs of Thomas Chippendale, Ince & Mayhew, and Robert Manwaring, and the exuberant carving reflects the period of 1750 to 1765.

DIMENSIONS:

REFERENCE:

38 in:

97 cm

31 in:

79 cm

28 in:

71 cm

7189

A Regency Period ‘Patent Sympathetic Self-Acting Circa

Seating twelve diners when fully opened, and constructed in a wonderfully patinated San Domingo Mahogany, rising from a quadrapartite swept foot base, having square form brass toes and castors; the top having radiused corners, and a reeded edge: one end having a fitted pull, by which the ‘rising leaf’ action is effectuated. Fitted with the maker’s engraved brass plaque marked ‘Pocock Sympathetic Dining Table’ Southampton Street Covent Garden, Number 45’.

DIMENSIONS:

REFERENCE:

28 in:

71 cm

52 in: 132 cm

L (open): 109 in 276 cm L (closed): 60 in 153 cm

7223

William Pocock of Covent Garden Born 1750, and initially a carpenter by trade, he moved from Essex to London and in 1801 had showrooms at 26 Southampton Street, Covent Garden. Evidently a man of a creative nature, he noted the public’s interest in mechanical furniture, a fashion espoused and promulgated by Rudolph Ackermann in his monthly magazine ‘The Repository of Arts’, and in 1805, took out a Patent for the ‘Patent Sympathetic Self-Acting Dining table’. It was remarked that only one person was needed to increase or decrease the length. Other patents were applied for, and granted, including the extraordinary ‘Pocock’s Reclining Patent Chair’, illustrated in Ackermann’s magazine, and a broadsheet advertisement of 1814 notes a patented sideboard, easy chair, invalid chair and sofa. Joined in the business by his John in 1809, the business eventually closed in 1825.

Dining Table’ by William Pocock of Covent Garden 1810

Literature; Ackermann’s Repository of the Arts’ published between 1809 until 1828 Christopher Gilbert’s ‘Pictorial Dictionary of Marked London Furniture’ published by the Furniture History Society shows an identical table The history of Pocock is discussed at some length in ‘The Dictionary of English Furniture Makers’, published by the ‘Furniture History Society’ pp 703 & 704.

Gillows Collection

The founder of the Gillows dynasty, Robert (17041772) rose from humble beginnings as a provincial joiner, and evolved into a consummate businessman following a pursuit of excellence throughout his life. Founding his business in 1730 he expanded his furniture making activities to include the direct import of quality West Indian timbers especially the finest Mahogany. His talents as both a cabinetmaker as well as innovative designer brought him early success, and, bringing his two sons, Richard & Robert, into the business, he expanded his Lancaster showroom, to include another in London’s Oxford Street. The clientele now included the Government, the aristocracy and the burgeoning middle classes. His furniture had gained its’ reputation for excellence of workmanship, and materials employed, and coupled with his insistence on being at the cutting edge of design kept the company to the fore throughout its’ one hundred and seventy year history from 1730 until its’ amalgamation with Messrs S.J. Waring in 1900. Throughout this period it was the largest manufactory of furniture in England. The fortuitous survival of the Gillows records in their Estimate Sketch Books show over 20,000 designs and are preserved in the City of Westminster Library. Furniture made by Gillows is to be found in Royal collections and museums throughout the world. The recent publication of Susan E. Stuart’s scholarly and invaluable study on the company, published by the Antique Collectors Club is a masterpiece of its’ type, and a wonderful exegesis of the company. We are proud to present the following examples of their craftsmanship.

Circa 1815

Constructed in Mahogany, rising from an end support base of scrolled ‘X’ form, with a tapering and turned stretcher, having exterior reeded bosses, the whole rising from oblong platforms, supported on ball feet: the cupboards of square radiused form, with fielded panel sides, and reeding to the angles, and a gallery above the door, which has brass repousee pulls. George Smith’s ‘A Collection of Designs for Household Furniture’ originally published in 1808 has a virtually identical base, designed for use as a stool, shown on plate 53.

Provenance: Probably acquired by Sir John Gladstone for Seaforth House, Liverpool.

DIMENSIONS:

REFERENCE:

31 in:

78 cm

16 in:

41 cm

14 in:

36 cm

7013

gillow collection

An Attractive Pair of Bedside Cupboards of the Regency Period

A Rare & Recorded Library Desk By Gillows of Lancaster Circa 1790

Of freestanding form, constructed in a particularly well figured Cuban Mahogany, of excellent patination. Rising from incurved tapering feet, shod with square form brass castor capped toes: each pedestal having four graduated lockable drawers, dressed with the original rectangular brass handles; the bottom right drawer being fitted with a secret compartment; the original tooled leather writing surface is of rectangular form with radiused corners and a concave centre section, within a thumbnail moulded edge, and houses an integral easel book rest. Below, a conforming open shelf. The obverse having a faux cupboard to the left and shelved interior to the right. Stamped to the carcass is the makers mark ‘HG’ – which almost certainly refers to Henry Gibson (1736-1797) who is referred to in Susan Stuart’s book Gillows of Lancaster and London as a Cabinetmaker and Gillows’ ‘Best Carver’. Gillows Lancaster.

DIMENSIONS:

REFERENCE:

31 in:

79 cm

58 in:

147 cm

28 in:

71 cm

7137

Susan Stuart’s recently published comprehensive and seminal work on Gillows of Lancaster, shows on pp 31 a watercolour of our desk; many small and important details verify this.

References: Gillows of Lancaster and London 1730 – 1840 by Susan E Stuart, Antique Collectors Club 2008

gillow collection

A Magnificent Pair of George IVth Library Armchairs Circa

Constructed in Mahogany: the front legs of addorsed ‘C’ scrolls, confidently and exuberantly carved with foliates, conjoined by a boldy reeded front rail; the outswept arms carved with further foliates; the moulded back legs of canted scroll form, resting atop compressed bun feet, with the original inset castors. Susan E. Stuart’s scholarly work. ‘Gillows of Lancaster & London’ of 2008, published by the Antique Collectors Club, shows a virtually identical armchair, designed for G. Bamford Esq., taken from a room setting planned by Gillows circa 1820/30, Plate E5, Volume 11, and in Plate E22, two sofas from a suite of seat furniture that is now in situ at Nostell Priory, Wakefield. Pier tables with similar legs are also shown under Plate E24.

DIMENSIONS:

REFERENCE:

40 in:

102 cm

32 in:

82 cm

33 in:

85 cm

7229

1825

gillow collection

Firmly Attributed to Gillows of London & Lancaster

A Good Kidney Kneehole Desk Attributed to Gillows Circa 1860

Constructed in burr Oak, rising from a plinth base, with nine Oak lined quadrant moulded drawers fitted with lobed handles: the obverse having a set of three inset bookshelves: the top with a tooled hide writing surface, and the back has a pierced brass gallery. This desk is delineated in a number of drawings in the Gillows Archives.

DIMENSIONS:

REFERENCE:

29 in:

73 cm

47.5 in:

121 cm

21 in:

54 cm

7102

gillow collection

A Pair of Superlative Display Cabinets Circa

Constructed in Mahogany, ebonized Mahogany, Purpleheart, burr Oak, Harewood, Tulipwood and Boxwood; with well cast brass grillwork and Carrara marble accents. Of gentle breakfronted outline, rising from oblate spherical feet, the baseboards of concave form, with the backs having rectangular mirrored plates housed in a gilt framework within pilasters; the fronts show ring turned and lotus leaf carved, brass dressed columns with composite capitols; the friezes housing lockable drawers, with inlay of interlaced geometric form, and surmounted by marble platforms.

DIMENSIONS:

REFERENCE:

88.5 in:

224 cm

52.5 in:

133 cm

22.5 in:

57 cm

7110

1865

The superstructures have ranges of three drawers, and over, glazed central sections, dressed with brass grillwork of interlaced lentil form, with decorative foliates, which enclose shelved interiors, and the lower flanking side cupboards have blind doors, set with four octagonal porcelain plaques depicting the Four Seasons, within brass running pearl borders, on inlaid grounds of conforming geometric inlay, and framed within four ebonized wrythen columns, with composite capitols. The upper sections are adorned with exuberant brass galleries, with scrolled insets, and capped by ball finials. Specific features in the construction suggest an attribution to Gillows, as well as there being a precedent for pieces of porcelain and brass dressed furniture.

gillow collection

Attributable to Gillows of Lancaster

A Magnificent Set of Twelve Circa

DIMENSIONS (Carver):

DIMENSIONS (Single):

REFERENCE:

40 in:

102 cm

38.5 in:

98 cm

7131

32 in:

81 cm

25 in:

64 cm

27 in:

69 cm

25 in:

69 cm

1900

Constructed in a well coloured Honduras Mahogany, conceived and strikingly well carved in the early Georgian composite manner, and consisting of eight side chairs, and four armchairs. The front legs rise from lions paw feet to hipped top blocks, carved with double scallop shells, and flanked by ‘C’ scrolls, and foliates, and the rear legs being angled, and having toes; the front and side rails having running carved flowerhead motifs, both above and below. The back uprights are channeled, foliate carved, and terminate in ‘revealed scroll’ ears, and are conjoined with a serpentine toprail of ‘pagoda roof’ form, and house a confidently executed complex central splat of interlaced strapwork. The elbowed arms terminate in carved eagle heads, emanating from strongly carved feathered talons, which grasp the uprights. The drop in seats retain their original hide. Nine chairs bear the makers label, ‘Waring & Gillow’ to the back seat rails.

Provenance By family tradition, purchased in 1950 from the Antiques Department of Harrods, Knightsbridge, having previously been in the boardroom of ICI.

Waring & Gillow In 1897 in preparation for a joint collaboration to exhibit at the 1900 Paris Exhibition, Gillows of Lancaster merged with S J Waring of Liverpool to form the company of Waring and Gillow. Both companies had a long history of excellence, and being at the leading edge of furniture design, in the case of Gillows, for almost two hundred years. Along with the manufacture and retailing of domestic furniture, the company undertook to provide the interiors to many of the great ocean liners of the day.

gillow collection

Dining Chairs by Waring & Gillow

A Remarkable George IVth Circular Table Circa 1825

Of a size most unusual in circular tables, constructed in various specimen woods on a San Domingo Mahogany ground. The trefoil form platform base, supports a column of truncated incurved pyramidical shape that has knurled feet carved in the Roman manner, with spandrels at the angles. The tilt-top is of circular form with a thumbnail edge, and is inlaid with eight different identifiable specimen woods (qv) that delineate a vortex; a shape that nature naturally creates in whirlpools and tornados. Dr Adam Bowett, the leading expert in the world on matters of wood identification has been kind enough to assist in the identification of these exotic woods, and his findings are appended, although one of the woods defied his expertise. We thank him for his efforts.

DIMENSIONS: H: DIA:

REFERENCE:

29 in:

74 cm

60.5 in:

154 cm

6917

Rio Rosewood

Russian Maple

Unknown

West Indian Satinwood

Russian Maple

Partridgewood

Poplar

Bois Satine

Birdâ&#x20AC;&#x2122;s Eye Maple

10 Unknown

1 2

7 8 9 10

A French Commode in the Louis XVth Manner after a Model by Leonard Boudin Circa 1880

Constructed in Kingwood, with extensive foliate inlay in Tulipwood and Bois Violette, of serpentine and bombe form, risng from cabriole legs shod with gilt bronze sabots and epaules: the two drawers having shaped gilt bronze handles, and a shaped apron below; the Breche d’Alep marble top has a thumbnail moulding. France. ‘Le Mobilier Français du XVIIIe Siecle’, by Pierre Kjellberg, published 1989 illustrates the exemplar Boudin commode on page 94.

DIMENSIONS:

REFERENCE:

33 in:

84 cm

56 in:

143 cm

21.5 in:

55 cm

1750

A Pair of Elegant Bronze Mounted Rotating Marble Columns by Ferdinand Barbedienne Circa 1860

In brecciated Alicante pêche marble, the square form stepped and ogee shaped base, with a lobed lower collar of egg and dart form, the circular column terminating with a pierced bronze stylised Corinthian capital, decorated with masks. The upper platform rotates to allow all round examination of the object thereon. Signed to the base, F. Barbedienne, Paris.

The Barbedienne Foundry commenced in 1838 under the leadership of Ferdinand Barbedienne and Achille Collas, casting high quality models for the leading sculptors of the age, including Barye, Fremiet and Clesinger, as well as ‘mechanical reductions’ of statuary from the Classical period, and individual commissions from clock & furniture makers. The factory, situated in Rue de Lancry, Paris, employed over 300 craftsmen; in the Franco-Prussian war of 1870, the French government had the company cast cannons to serve in the defence of Paris. The company eventually closed in 1952.

DIMENSIONS:

REFERENCE:

42 in:

107 cm

13 in:

32 cm

13 in:

32 cm

6279

A Fine Pair of Thuya Wood Cabinets Mounted with â&#x20AC;&#x2DC;Sevresâ&#x20AC;&#x2122; Plaques Circa 1860

Rising from a plinth base with a foliate bronze mount, these single door cabinets are flanked on the side pillars by bronze herms: the doors have centrally mounted porcelain plaques painted in the taste of Watteau contained with bronze foliate frames: in the quadrants further floral decorated plaques are situated, again with bronze frames.

DIMENSIONS:

REFERENCE:

43.5 in:

111 cm

32 in:

82 cm

18 in:

46 cm

6278

A Highly Decorative Wine Cooler in the Graeco-Roman Taste Circa 1850

Of cylindrical form, constructed in well figured Oak, supported by tripartite feet, of complex winged form, with brass castors under: the body with a lobed lower rim, with a running anthemion design over, and surmounted by a pattern of running studded bosses in the upper reserve. The hinged cover with a carved Greek key motif, further further anthemions above, and capped with a lotus bud finial. The interior is now baize lined. The four lever lock indistinctly marked, and there is an old storage label on the base.

DIMENSIONS:

REFERENCE:

25.5 in:

65 cm

DIA:

24.5 in:

62 cm

6898

A Fine and Rare Occasional Table Circa 1840

Constructed in Kingwood, with gilt bronze accents, rising from a tripartite base, decorated with foliate bronzes at the angles: the central column of shaped form, supporting a rectangular top having a serpentine apron, with a gilt bronze gadrooned edge, housing a very fine penwork drawing after ‘The Concert’ by Gerrit van Honthorst. Gerard van Honthorst (1590-1656) was born in Utrecht into an artistic family. Following a sojourn in Italy in the 1610s, he became a prominent representative of a group of painters that became known as the Utrecht Caravaggists’ Dutch followers of the Italian artist Caravaggio. His works are to be found in the National Gallery, Louvre, Vatican, Rijkmuseum inter alia. The original of ‘The Concert’ was destroyed in an air raid on Berlin in 1944.

DIMENSIONS:

REFERENCE:

30 in:

76 cm

23.5 in:

60 cm

19 in:

48 cm

7132

A Remarkable Pair of Tables by John Isaac Hicks of London Circa 1855

In the Louis XVth taste, constructed in Circassian Walnut, Kingwood, Sycamore, and other stained and exotic woods, with gilt bronze mounts: rising from bronze sabot toed cabriole legs, with bronze mask spandrels atop; the surfaces of serpentine form, the aprons decorated with complex marquetry reserves and cartouches housing floral bouquets, and containing single drawers with Mahogany linings and having quadrant mouldings: the tops in highly complex marquetry work, depicting virtually identical landscape designs, of Renaissance geographers measuring globes of the world, in a classical background of columns, obelisks, putti, vast flower filled urns and a sweeping staircase, with asymmetrical floral quadrants at the angles, and housed within bronze stiff leaf cast edges.

DIMENSIONS:

REFERENCE:

28 in:

72 cm

25.5 in:

66 cm

18.5 in:

48 cm

7176

Provenance; the maker, John Isaac Hicks (1826-1898), thence by descent to the prior owner. John Hicks, a Cambridgeshire carver came to London to work on the reconstruction of the Houses of Parliament, also known as the Palace of Westminster, which was destroyed in the great fire of 1834, and John Isaac Hicks joined his father in business as a carver, initially setting up premises of workshop and accomodation in 3-5 Kendal Mews, Blandford Street, Mayfair, after his fatherâ&#x20AC;&#x2122;s death in 1864. He was joined by William Lumbus, his son in law, and the output were items in the fashionable French taste, in the manner of the ancien regime. Hicks retired in 1880, and after the death of Lumbus in 1885, the firm ceased to trade.

A Fine Display Cabinet in the Sheraton Manner Circa 1890

DIMENSIONS:

REFERENCE:

87.5 in:

223 cm

74 in:

189 cm

18 in:

46 cm

7144

Constructed in Satinwood, rising from ring turned legs with toupie feet; of arc-en-arbalette form, the lower section having blind doors, with quartered book veneers framing ellipses with contrastingly figured Satinwood, housing a shelved interior: the upper section having eleven pane windows, with shaped astragal glazing bars to the centre, and eight pane conforming windows flanking, with plate glass shelves within. Over, an ogee form cornice of shaped form.

A Demi Lune George IIIrd Style Satinwood and Inlaid Commode Circa 1900

The top with a deep Rosewood crossbanding to a gadrooned edge enclosing an inlaid Satinwood fan radiating to concave stringing, above a deep frieze with a central drawer decorated with inlaid ancathus leaf and trailing foliage and oval inlaid patera heading four faux pilasters inlaid with rosewood, to similar tapering feet. The three cupboards between with quincunx pattern surrounded by trailing foliage. The central roundel with an acanthus leaf narrow border to a deep rosewood field terminating in bead decoration enclosing palm leaf to a fan surrounded sunburst motif.

DIMENSIONS:

REFERENCE:

37 in:

94 cm

58 in:

148 cm

24 in:

61 cm

5709

A Lady’s Dressing Table By George Betjeman & Sons Circa 1910

Constructed in quarter veneered Walnut, rising from short cabriole feet, of kneehole pedestal form, with a shaped and moulded apron: the sides with asymmetrical fielded panels, the pedestals having cupboards floridly carved, revealing shelved interiors. The top of rising form, housing an adjustable triptych looking glass; below, two tiers of accoutrements, the top tier laterally hinged, and the whole comprehensively fitted with silver and plated topped bottles and implements, some marked ‘GB’ and dating to 1909.

George Betjeman & Sons George Betjeman (1798-1886), Pentonville Road London, the great grandfather of Sir John Betjeman, the Poet Laureate and broadcaster, was apprenticed to Gilbert Slater, a dressing case maker in 1810, and established himself as a dressing case manufacturer, initially in Clerkenwell, and later in 1859, in the Pentonville Road, where his substantial business employed 119 people. He had expanded into making and selling writing cases, tantulus sets, and tobacco cabinets, inter alia. Detail of interior

DIMENSIONS (Closed):

DIMENSIONS (Open):

REFERENCE:

37.5 in:

95 cm

58 in:

148 cm

7048

40 in:

102 cm

81 in:

206 cm

24 in:

61 cm

32 in:

82 cm

A Fine Pair of Console Tables in the Empire Circa

DIMENSIONS:

REFERENCE:

32 in:

81 cm

29 in:

74 cm

16 in:

40 cm

7183

Constructed in Satinwood, with fine gilt bronze mounts and feet: of demi lune form, framed by tapering legs mounted with pendant bronze acanthi, and terminating in bronze stump feet, with lower platforms, dressed with a bronze hatched guard rail, and having mirrorred backs; the friezes are adorned with lateral acanthi centred around a sunburst, and support breccia marble tops, with thumbnail mouldings. Stencilled with the makers name on one backboard, â&#x20AC;&#x2DC;Andrau & Blanc Toulouseâ&#x20AC;&#x2122;. France.

Manner By Andrau & Blanc of Toulouse 1880

Andrau & Blanc of 10-18 Rue des Arts, Toulouse, are recorded in the ‘Journal de Toulouse’ of 10th June 1883, as being appointed as furnishers of furniture and tapestries to the Theatre du Capitole of Toulouse, the building of which began in 1880. The same journal records on 12 December 1885, their graceful apology for having occasioned any inconvenience to the town’s citizens by their vehicles in the vicinity of the theatre. References: Le Journal de Toulouse Archives de la Ville, and municipal records

A Superb Pair of Berlin Lidded Vases of the Neo Classical Period Circa 1790

Standing on Portor marble bases, of square form; the very finely cast, chased and mercury gilt waisted and circular foot, dressed with pineapples, symbolic of opulence and wealth, supporting the bulbous porcelain bodies, the milchweiss ground decorated with spiral bands of pink tea roses and leaves attached to gilt descending bands; the bronze handles of sinuous foliate form, and the circular collar having domed lids showing a double layer of imbricated leaves, capped with a pineapple finial. Berlin. The major factory of Berlin, founded by Wilhelm Kaspar Wegley in 1757, endorsed and supported by Frederick the Great was the Konigliche Porzellan Manufaktur (KPM), to which this fine pair may be ascribed.

DIMENSIONS:

REFERENCE:

17 in:

43 cm

12 in:

30 cm

7 in:

18 cm

7219

A Fine & Rare Pair of 18th Circa

DIMENSIONS:

REFERENCE:

13 in:

33 cm

14 in:

36 cm

32 in:

81 cm

7030

Century Signal Cannons 1740

Using the â&#x20AC;&#x2DC;field cannonâ&#x20AC;&#x2122; model, the barrels of well patinated cast bronze, with ring turnings, continental coats of arms set betwixt the touch hole and the twinned dolphin sights; the bore 4cms, chamber length 30 cms: the trunnions strapped to the wooden carriages, with iron shod twelve spoke wheels, and brass bosses secured by cotter pins. German.

A Good Pair of Military Bronzes by Etienne-Henri Dumaige Circa 1870

Representing two separate moments in the French Revolution, the uprising against Louis XVIth, and the fall of the monarchy in 1792. One subject being a drummer, marked ‘Avant le combat 1791’, the other an infantryman, marked ‘Apres le combat 1792’, this figure smoking a pipe, relaxing on his musket. Signed by the artist. French. DIMENSIONS:

REFERENCE:

25.5 in:

65 cm

10 in:

26 cm

9 in:

23 cm

6502

Dumaige, (1830-1888) Parisian born, showed at the Paris Salon between 1862 and 1877, and worked in plaster, marble and bronze. His works are exhibited in the Rouen, and also the Tours Museum.

A Finely Carved Pair of Venetian Blackamoors Circa 1870

The realistically carved figures have been polychromed in the Venetian manner, showing gilt and silver highlights; and standing on their original octagonal bases, draped with Turkish rugs, the young male figures, in contraposto stances, clad in tarboosh slippers, rich liveries and turbans, hold lamp trays.

DIMENSIONS:

REFERENCE:

60 in:

183 cm

17 in:

43 cm

16 in:

40 cm

7182

A Whimsical Clock of a Chinaman by J. Vieillard et Cie of Bordeaux Circa 1860

In the orientalist taste, the faience figure of a Chinaman in court dress, well painted in bright polychrome enamels, sits cross legged, on a stool, holding a gong, housing a clock, with striking eight day movement. Impressed marks to the base, J. Vieillard, Bordeaux.

DIMENSIONS:

REFERENCE:

17 in:

43 cm

11.5 in:

29 cm

8 in:

20 cm

7184

The establishment of the company of Jules Vieillard in 1829 was due to the entrepreneurship of an expatriate Englishman, David Johnston, who provided the start up capital, which came in part from the sale of his pottery business in Stoke on Trent: the two sons of Jules, Albert & Charles expanded the company, and made articles initially in pottery, and later in hard and soft paste porcelain. Their early espousal of the orientalist style, and their foray into what became the vogue for japonisme assured their continuing success. Exhibitors at the Great Exhibitions of 1855, and 1878, obtaining a Gold Medal for Excellence in the latter. The company ceased to trade in 1895. Many examples of the creations of the company can be seen at the Museum of Decorative Arts, Bordeaux, and a history of the company has been written by Jacqueline du Pasquier, published by Mollat under the title, â&#x20AC;&#x2DC;Vieillard a History of Fine Faience in Bordeaux, An English Obssession and an Oriental Dreamâ&#x20AC;&#x2122;.

A Fine Statuary Figure of the Empress Josephine as a Dancer, after the original by Antonio Canova Circa 1870

Sculpted in white Carrara marble, the barefoot Empress is clad in a diaphanous gown, and steps lightly on the balls of her feet, with arms akimbo, and head to sinister, crowned with a floral diadem. Italy.

Antonio Canova (1757-1822) Born into a family of stonecutters and masons in Possagno, North East Italy, by the age of thirteen he found a patron, who encouraged his studies, and he undertook his first commission aged sixteen, a monumental statue of Orpheus and Eurydice. Establishing his studio in Rome, he was declared to be the ‘first artist of this age’ by critics. He executed many commissions for the Empress Josephine, after he had sculpted busts, and a gigantic statue of Napoleon, which is now to be seen in Number One London, having been given to the Duke of Wellington by Louis XVIII. Josephine is represented in several of his best known works, which include ‘The Three Graces’ and ‘Venus Vitrix’. Our statue, of Josephine as a Classic Dancer was completed in 1812, and after the disgrace of Napoleon, was purchased by Tzar Alexander the First, and is now on display in the Hermitage Museum.

DIMENSIONS:

REFERENCE:

43 in:

109 cm

18 in:

46 cm

13 in:

33 cm

7206

The Hausburg Cabinet A Lost Masterpiece Rediscovered 1840-1857

Rear of cabinet

Friedrich Ludwig Hausburg (1817-1886) born in Berlin, Prussia, became a naturalized British subject under very unusual circumstances on 23 March 1840. This was the year that Prince Albert of Saxe-Coburg married Queen Victoria, and the construction of the cabinet was begun. The cabinet was completed in 1857, the year Prince Albert became ennobled to the position of ‘Prince Consort’. The naturalization of Hausburg is remarkable for two reasons: the normal time frame from application to acceptance was four years:– Hausburg was naturalized in five weeks, and the Act of naturalization was personally signed by Queen Victoria, which the Clerk of Records at the House of Lords Archives Westminster, advised us was unique in his experience. These facts indicate that Hausburg was the beneficiary of the direct intercession of Queen Victoria, who perhaps acted at the behest of the Prussian Court. Prussia was adjacent to the Duchy of Saxe-Coburg.

DIMENSIONS:

REFERENCE:

17.5 in:

45 cm

15 in:

38 cm

15 in:

38 cm

7215

In partnership with his uncle, August Wilhelm Bernard Promoli, a business selling clocks and watches was opened in the Old Post Office Buildings at 24 Church Street, Liverpool, in 1840. Their prior joint venture was a shop in Paris, and clocks are recorded with their joint names. The new business prospered, and expanded. In 1841, it passed into the sole ownership of Hausburg selling from extensive premises furnishings, both British made, and imported of high quality. The business is spoken of approvingly, and at considerable length in an American publication ‘The Merchant’s Magazine & Commercial Review’ in 1849. The exterior of this jewel of craftsmanship is constructed in Ebony, with the tracery, minute figures, Rose windows, doors and imbricated roof in brass and silver wire, and mother-of-pearl. The turrets have concealed sliding covers, with compartments under, and there is a well hidden spring operated ‘secret drawer’.

THE HAUSBURG CABINET The interior reveals marquetry work representative of the very finest ability and technique, and is accessed by doors minutely depicting scenes from the interiors of King’s College Chapel, Cambridge, and Wesminster Abbey. These open to disclose a central hall with a tesserated chessboard floor, barred by hinged ormolu gates; with seven marquetry faced drawers to each side;- to the left, Kew Palace, the entrance of the Old House of Lords, Brighton Pavilion, and the castles of Windsor, Dover, and Caernarvon and Kenilworth, and two doors with depictions of Holyrood House and Westminster Abbey with plain drawers behind: and to the right, conforming doors illustrating St. Pauls Cathedral, and St.James Palace with plain drawers behind, with The Tower of London, Hampton Court, the Palaces of Buckingham and Kensington, Virginia Water and Bushy Park as marquetry fascias to the seven further drawers. The cabinet is signed in marquetry inlay ‘F.L. Hausburg Fecit Liverpool Begun 1840, Finished in 1857’. Hausburg died in Cannes in 1886, leaving £180,000, a huge sum for that period.

THE HAUSBURG CABINET

A Magnificent Library Bookcase Firmly Circa

Constructed in a beautifully patinated San Domingo Mahogany, of six door breakfront form, rising from a plinth baseboard, the lower body housing six lockable doors, of fielded panel form, enclosing shelved interiors: above, housed in the ceinture, three fitted writing slides, and an easel operated reading support: the upper section having six glazed lockable doors, of twelve pane right angle latticed form: the cornice of winged ogee form, with a central triangular pediment, flanked by carved outspurs, in the classical Grecian taste.

DIMENSIONS:

REFERENCE:

111 in:

282 cm

145.5 in:

370 cm

25.5 in:

65 cm

7179

Attributed to William Trotter of Edinburgh 1825

View of writing slide

The Trotter Family were associated with the Edinburgh Merchant Company since 1691, and the esteemed William Trotter (1772-1833) established himself in his sole right, after various partnerships, in 1805 in Princes Street. He was the most important, and successful Cabinet Maker in Scotland, and his extensive premises were described in Thomas Dibdin’s ‘Tour in the North Countries of England and Scotland’, quoting, in part ‘The locality of this great... warehouse is rather singular. It is on the ground floor, lighted by a skylight. Of great length, and vistas filled with Mahogany and Rosewood objects of temptation. Of all styles, including the modern form’. The use of restrained and understated decoration, including the reeding, paterae and re-entrant moulding utilising designs after the Antique is seen on many of Trotter’s documented works.

A Very Fine Regency Armchair Firmly Attributed to Marsh & Tatham Circa 1810

Marsh & Tatham Constructed in Honduras Mahogany, in the Grecian taste, rising from tapering and fluted columnar castor shod front legs, with sabre legs carved with collars, to the rear, the seat upholstered, and the partially open back of lyre scroll form, and the arms of shepherd’s crook shape, with circular bosses. Literature: Regency Furniture, by Frances Collard, Antique Collectors Club 1985 Margaret Jourdain, ‘Regency Furniture’ London 1948 Clifford Musgrave ‘ Regency Furniture’ Faber 1961

DIMENSIONS:

REFERENCE:

35 in:

88 cm

24 in:

61 cm

24 in:

61 cm

7059

The company, known as Marsh & Tatham was formed in 1803, supplied furniture to the Prince of Wales, for Carlton House and the Brighton Pavilion, under the aegis of Henry Holland, the notable architect. Thomas Tatham’s brother Charles, worked for Holland, and spent a year in Rome gathering designs for his employer, later to be published as ‘Etchings of Ancient Ornamental Architecture’, first printed in 1799, and reprinted until 1843. Our chair has notable similarities to a suite supplied to Southill, Bedfordshire, for Samuel Whitbread, an oeuvre of Holland that survives to this day.

A Substantial Partners Pedestal Library Desk in the Georgian Manner Circa 1890

Constructed in Mahogany, of serpentine form, rising from a plinth base with ogee mouldings, the quadrant spandrels exuberantly carved with foliates, one side having nine drawers, dressed with repousse swan neck brass handles, the obverse with cupboards, and three drawers. The thumbnail moulded top having the original inset tooled leather writing surface.

DIMENSIONS:

REFERENCE:

30 in:

76 cm

75 in:

190 cm

39 in:

99 cm

7045

A Fine Regency Window Seat in the Grecian Taste Circa 1820

Of freestanding form, and constructed in a finely grained Rosewood, gently faded, and rising from castor shod foliate cast brass feet; the swept legs carved with lapetted lobing; the front rail carved with a full length thrysus, and sweeping up to the reeded and moulded form swan neck ends, terminating with carved paterae. The whole upholstered in a watered silk material.

DIMENSIONS:

REFERENCE:

28.5 in:

73 cm

60.5 in:

154 cm

25.5 in:

66 cm

7186

An Exceptionally Fine Centre Table of the Regency Period Circa 1815

Constructed in a well figured Rosewood, with high quality brass â&#x20AC;&#x2DC;Buhlâ&#x20AC;&#x2122; inlay; the four point star form platform base inset with shaped truncated triangular brass panels, and supported on robustly cast animal paw brass feet: the incurving octagonal centre column having conforming inlaid panels with a stylised anthemion motif: the circular top having a tilting mechanism, and the apron having eight further brass inlaid panels, and a running band in brass. Two English cabinet makers, George Bullock, and Thomas Parker, and a Frenchman, Louis LeGaigneur were to the forefront in the Regency period in the use of this manner of brass inlay. All three counted amongst their client the Prince Regent, and numerous members of the aristocracy.

DIMENSIONS:

REFERENCE:

30 in:

76 cm

DIA:

52 in:

132 cm

7043

A Regency Period Secretaire Bookcase Attributed to John McLean of London Circa 1810

John McLean

Constructed in a well figured Rosewood, with extensive use of gilt brass accents. Rising from oblate ball brass feet, the lower section consists of two blind cupboard doors, which open to reveal a shelved interior, faced with horizontally layered lentil form trellis work, with flower head bosses, and backed with a green silk; these flanked by full turned and knurled gilt brass columns, with anthemions set at angles in the quadrants; above, the frieze contains a secretaire drawer, fitted with pigeon holes and drawers, and a tooled leather writing surface; a quite remarkable secret drawer is concealed in the left reserve, operated by a well hidden release catch; the whole frieze has a running stiff leaf banding, and brass rose backplates with acorn form pulls. The upper cabinet has two glazed doors with nine panel astragals, the interior shelved, and flanked by double ended tapering, knurled and engraved gilt brass half columns, and the domed pediment has a most distinctive sweeping gilt brass accent.

DIMENSIONS:

REFERENCE:

70 in:

178 cm

37 in:

94 cm

20.5 in:

52 cm

7139

John McLean (1770-c1815) of 55 Upper Marylebone Street, is spoken of with considerable approbation by no less a figure than Thomas Sheraton, who described his workmanship on a piece made to one of the master’s designs as ‘..he finishes these articles in the neatest manner’. Both Sheraton and McLean shared a taste for Empire and Louis XVIth designs, and McLean’s trade card, and in the London Times advertises himself as a ‘specialist in Elegant Parisian Furniture’. McLean was a subscriber to Sheraton’s ‘Cabinet Dictionary’, and his name appears in the list of master cabinet makers of the 1803 edition. Simon Redburn notes in his article on McLean published in the Furniture History Society, 1978, Volume XIV, that ‘his constant use of mounts in cast and chased brass, the design and form of which appear unique to his work... I have not been able to trace any of the mounts used by any other cabinet maker’. In our piece, the columns, stiff leaf mouldings and acorn handles appear in other recorded examples of his oeuvre. After John’s death circa 1815, the company was run by his son William, until his death in 1825. Reference Consulted: Dictionary of English Furniture Makers 1660-1840 published Furniture History Society 1986 Margaret Jourdain, ‘Regency Furniture’, Country Life 1965 Frances Collard ‘Regency Furniture’, Antique Collectors Club 1985 Furniture History Society Volumes for 1966 and 1978 Pictorial Dictionary of Marked London Furniture, Christopher Gilbert 1996

A Fine & Rare Pair of Consoles Circa

DIMENSIONS:

REFERENCE:

36.5 in:

92 cm

40 in:

102 cm

14.5 in:

37 cm

7159

of the George IVth Period 1825

Constructed in Rosewood and Giltwood, the radiused angled plinth base having front tapering reeded and carved Giltwood columns, with a mirrored back panel, supporting an apron, with a conformingly shaped Carrara marble top. These pieces have marked affinities with the work of Morel & Hughes, and elements of the design may be noted in Thomas King’s ‘The Modern Style of Cabinet Work Exemplified’ of 1829, and Rudolph Ackermann’s ‘Repository of the Arts’ published monthly between 1808 until 1829.

A Very Fine Centre Table in the Manner of Adam Weisweiler, Signed by Johnstone & Norman of London Circa 1880

Johnstone and Norman Constructed in Gilt Bronze and Mahogany, rising from castor shod toupie feet, conjoined with a cross shaped loop form stretcher centred with a circular boss, having four triple form cluster supports, each headed with a lion’s mask ring handle, the platform having radial flame veneers, with an ebony guard band inlay, and enclosed within a shuttered gilt bronze trim. Stamped to the underside by the makers, ‘Johnstone & Norman, 67 New Bond Street’.

DIMENSIONS:

REFERENCE:

26 in:

66 cm

DIA:

27 in:

68 cm

7107

John Johnstone, cabinet maker, of Bond Street came to prominence after his collaboration with Robert Jupe, upholder of 47 Welbeck Street, Cavendish Square, London, who had patented a remarkable design for a circular expanding dining table with a segmented top in 1835. The partnership of ‘Johnstone, Jupe & Co’ was formed, trading from 67 New Bond Street. After Jupe’s death, the firm traded as ‘Johnstone and Jeanes’ from 1842 until 1880, then becoming ‘Johnstone and Norman’, and trading until the early years of the twentieth century.

A Splendid Example of a Games & Work Table Of The Regency Period Circa 1815

Constructed in Rosewood, with brass inlaid accents: rising from scrolled swept legs, capped with ormolu foliate cast toes, set with castors, which support a rectangular platform, edged with a running brass inlaid trim: the twin end supports are of Apollonian lyre form: the top of shaped rectangular form, with the wings, housing drawers with quadrant mouldings, and having radiused corners, dressed with an arcaded brass gallery, and a central sliding removable section, inlaid with a chess board, and revealing a red & fawn tooled leather backgammon well; below, a compartmentalised drawer, with turned wood knob handles, and housing bone spool holders, etui cases and a pincushion. Previously fitted with a sliding work bag for needlework.

Provenance; Purchased from John Keil Ltd. at the Grosvenor House Fine Art & Antiques Fair, June 1963. Thomas Sheraton’s ‘Cabinet Encyclopedia’ published between 1804-1806, shows an ‘occasional table’ of similar form, with ‘Apollonian Lyre’ trestles, and scrolled feet in the Grecian taste. Susan Stuart’s recently published ‘Gillows of London & Lancaster’ shows under Plate 330, a similar lyre support table. Margaret Jourdain’s ‘Regency Furniture’, Country Life Publications 1934, Plate 153, shows a similar Work & Games Table in Calamander, which she dates to 1800.

DIMENSIONS:

REFERENCE:

29.5 in:

75 cm

30 in:

77 cm

19 in:

49 cm

7213

Holland & Sons

Originally founded in 1803 by Stephen Taprell and William Holland, a relation of the architect Henry Holland, the firm of Holland & Sons soon became one of the largest and most successful furniture making companies in the 19th Century. The firm worked extensively for the Royal Family, being granted the Royal Warrant early in the reign of Queen Victoria, hence taking a leading part in the decoration and furnishing of Osborne House, Sandringham, Balmoral, Windsor Castle and the apartments of the Prince and Princess of Wales at Marlborough House. Holland and Sons also worked extensively for the British Government, for whom they executed over three hundred separate commissions, including the Palace of Westminster, the Victoria and Albert Museum, and oversaw the State funeral of the Duke of Wellington. Among their private commissions the firm produced a celebrated suite of bedroom furniture for the late Sir Harold Wernher at Luton Hoo. Always keeping abreast of fashion, and the technology of the age, Holland & Sons employed some of England’s leading designers and participated in all of the most important International Exhibitions of 1851, 1855, 1862, 1867, 1872 and 1878. John B Waring’s three volume work, ‘Masterpieces of Industrial Art & Sculpture of the Great Exhibition 1862’ a critical appraisal, shows on plate 40 in volume 1, a table shown by the company, and the extensive eulogistic text accompanying refers to ‘a beautiful bookcase in the Cinquecento style designed by T.R. MacQuoid’ (father of Percy MacQuoid, author of a four volume work, the first important exegesis of English furniture), that was shown at the Crystal Palace Exhibition of 1851, and a library bookcase that was a medal winner at the Paris Exhibition of 1855, and he speaks with great approbation on the company employing ‘well-qualified designers, and by great excellence in technical processes’ and goes on to aver the 1862 Holland table would indubitably have gained a medal, excepting that Mr Holland was a judge in the furniture section, a very great distinction in itself. Having had a very great deal of first hand experience, examining, buying and selling many fine pieces of Holland & Sons in our forty five years in business, Butchoff Antiques are of the opinion that the technical and artistic merits of the company represent one of the high water marks of English cabinet making in the nineteenth century.

Circa 1860

Of free standing form, constructed in Harewood, with Tulipwood cross banding, and Purpleheart line inlay, with extensive use of gilt bronzework. Rising from square section tapering legs, line inlaid, and capped with acanthus cast sabots, having top mounts of swag form in the Grecian manner. The apron houses two cross banded drawers, separated by a bronze foliate panel, and is decorated with a trellis form inlay which continues on the sides, and foliate bronze escutcheons. The obverse mirrors the front, but with faux drawers. Bronze rosaces adorn the angles. The rectangular tooled leather inset writing surface is housed within a running gadrooned bronze guard strip. The design of this writing table closely follows a model by Jean-Francois Leleu (1729-1807) one of the great ebenistes of the Louis XVIth period. The model on which our table is based is illustrated in Pierre Kjellberg’s ‘Le Mobilier Français du XVIIIth Siecle’ Paris 1989, pp 516.

DIMENSIONS:

REFERENCE:

29 in:

74 cm

42 in: 106.5 cm

25 in:

61.5 cm

7190

HOLLAND & SONS

A Very Fine Writing Table in the Louis XVIth Manner Attributable to Holland & Son

A Fine Quality Centre Table Made and Stamped by Holland & Sons Circa 1860

Constructed in a finely figured West Indian Satinwood, of elliptical form, rising from quadrapartite swept and hipped legs, terminating in scroll and flower decorated block feet, housing castors: the baluster central column turned, reeded and carved with a guilloche band; the top, laid with excellently figured addorsed veneers, has a lipped edge, and a tilt action. Signed by the makers, Holland & Sons to the block.

DIMENSIONS:

REFERENCE:

28 in:

71 cm

48 in:

122 cm

38 in:

97 cm

1748

HOLLAND & SONS

A Very Fine Cabinet Attributed to Holland & Sons Circa 1870

Constructed in well chosen Walnut veneers, with Kingwood cross banding, and complex arabesques in rare woods, of glorious colour and patination, and having extensive bronze accents; of serpentine form, rising from a shaped plinth base, with a running egg and dart bronze moulding above; the two blind lockable doors to the centre, enclosing a shelved interior, having inlaid shields with re-entrant corners enclosing ivory doves or butterflies flanking baskets suspended by ribbands with â&#x20AC;&#x2DC;lovers knotsâ&#x20AC;&#x2122; bows, all housed within vertical drapes of conjoined harebell flowers; above this are complex arabesque line inlays, with interspersed foliates, the whole housed within a leaf decorated bronze framework; the flanking shaped open ends have grounds of trellis inlays to the shelves: four columns frame the facade, the

DIMENSIONS:

REFERENCE:

41 in:

104 cm

74 in:

188 cm

20 in:

51 cm

7050

lotus leaf baluster shaped bases having stiff leaf bronze adornments, and the columns being of part hexagonal, part reeded and part turned form, the upper sections decorated with a spiral bronze running pearl motif; the apron having a very extensive floral marquetry inlay, and above, an ogee edge moulding, with the platform top having tripartite inlaid panels. The style and quality of the inlay work, which has obviously been specifically designed, and the extensive usage of fine bronze mounts of this particular piece are very similar to several pieces of furniture directly attributable to Holland & Son that have passed through our hands over the years.

HOLLAND & SONS

A Pair of Exhibition Quality Stands Firmly Attributed to Holland & Sons Circa 1860

Constructed in Satinwood, with finely executed marquetry and inlay work in Abalone, Ivory, and exotic woods: oblate bun feet support a water gilt edged hexagonal platform, of incurved form, with shield form arabesques, in Kingwood, housing pendant Bellflowers inlaid in Satinwood, Maple, Ivory and Abalone. A gilt ‘egg & dart’ collar supports a tapering double wrythen column, separated by turned gilt collar. The dished top, having a water gilt edge, houses a reserve in the form of a running ‘bats wing’ inlay, with a dotted trellis within, and alternately, engraved scallop shells and masks above, in engraved Abalone and Ivory, issuing pendant husk swags;

DIMENSIONS:

REFERENCE:

30 in:

76 cm

DIA:

13 in:

33 cm

7218

the central panels have variant examples of guard borders, and house different botanical specimens on each stand, one shows a cabbage rose, mounted with a butterfly, the other, Asters in a bouquet. The base bears an old circular label, ‘Heirloom 1889’. The extraordinary quality of this remarkable pair has affinities to the many pieces of furniture by Holland & Son which have passed through our hands over the last forty five years.

HOLLAND & SONS

An Exhibition Quality Centre Table Circa

DIMENSIONS:

REFERENCE:

52 in:

132 cm

30 in:

76 cm

7237

1860

Exhibited at London Exhibition in 1862

Constructed in Thuyawood, with Satinwood and Tulipwood used in the cross banding and inlays, and having finely cast ormolu mounts used in counterpoint; the tripartite downswept legs terminating in recessed castors, with shells and draped leaves to the top surfaces, the toes dressed with acorn finials, and tasselled swags issuing from foliate bosses; the circular pedestal supporting three ormolu mounted fluted columns, and female masks within draped garlands, surmounted by a substantial central ormolu dressed goblet with an acorn atop; the platform circular, with segmentally laid veneers, and a border of berried laurel leaves, above a cross banded frieze with masks of Mercury set within paterae.

HOLLAND & SONS

Firmly Attributed to Holland & Sons

A Fine Low Countries Escritoire from the late Seventeenth Century Circa 1690

Constructed in Walnut, with extensive use of ‘seaweed’ and pictorial marquetry in various timbers, with original hardware in pewter: rising from replacement oblate spherical feet, the lower section housing three graduated drawers, with the original teardrop form pewter handles, and octagonal pewter escutcheons to the locks, also original, the fascias having cartouches housing complex ‘seaweed’ marquetry, this work continuing to the sides and the upper section; a drop fall reveals the fitted interior, with

DIMENSIONS:

REFERENCE:

65.5 in:

166 cm

47 in:

120 cm

21 in:

54 cm

7224

an arrangement of pigeon hole sections to the top, removeable, and having ‘secret’ drawers behind; a central door has a long drawer below, and is flanked by ten drawers, and the recess houses further drawers. Surmounted by an ogee shaped cornice. Low Countries, possibly Schleswig-Holstein. The seaweed marquetry has affinities with the work of Stuart dynasty Royal Cabinet maker Gerrit Jensen.

A Fine Set of Twelve Dining Circa

DIMENSIONS (Carver):

DIMENSIONS (Single):

REFERENCE:

41 in:

104 cm

41 in:

104 cm

6979

30 in:

76 cm

21 in:

53 cm

20 in:

51 cm

18 in:

46 cm

Chairs in the George Ist Manner 1900

Comprising ten side chairs, and two carvers, and constructed in a well patinated Walnut, with cross banding; rising from cabriole legs with pad feet, having carved scallop shells within ‘c’ scrolls atop; the shaped front rails centred about a carved scallop, the rear feet of similar form, fitted with a conjoining stretcher, and an unusual shaped brace to the front frame; the generously proportioned shaped drop in seats being covered in contemporary gros point floral needlework; the shaped centre back splats have protruding parchment scrolling, and the moulded shaped uprights have a sinuous toprail with further ‘parchment’ scrolls. The armchairs are of ‘shepherd’s crook’ form, with scrolling at the knuckles.

A Rare and Very Fine Circa

DIMENSIONS:

REFERENCE:

48 in:

121 cm

60 in:

153 cm

14 in:

36 cm

7121

Pair of Side Cabinets 1850

Constructed in finely marked Circassian Walnut veneers, the plinths of inverted breakfront form, the concealed end blind cupboards having domed top fielded panels, with palm leaf form inlays in Boxwood, the central doors glazed, revealing the shelved interiors; above a dentil moulding under the rectagular tops.

A Fine Library Partners Desk Circa

Constructed in a well figured burr Walnut, and having ebonized highlights; rising from a plinth base with radiused angles, with full herm figures of draped satyrs, carved and ebonised, the pedestals having cupboards, with elliptical central panels each carved with ‘Attributes of Industry’, Metalworking, Farming, World Trade and The Sea, contained within shaped ebonized mouldings. The frieze houses three lockable drawers to each side, all with ivory escutcheons, and separated by ebonized lions’ heads, and with ebonized paterae at the angles.The writing surface having a tooled leather inset. Stamped with the makers mark E.J. Bohman, and with a further paper label showing this mark, and the locks being marked G&H Lagerback of Eskilstuna. Sweden. E.J. Bohman & Co traded from 18 Stora Vattugatan, Stockholm, from circa 1850 until the end of the century and sold retail, as well as supplying the Swedish Parliament & Crown with furniture. G&H Lagerback are recorded as having their origins in Eskilstuna in the 1820s, as metal workers.

DIMENSIONS:

REFERENCE:

30 in:

77 cm

64 in:

163 cm

40 in:

102 cm

7140

by E.J. Bohman of Stockholm 1870

An Exhibition Quality Centre Table Firmly Attributed to Jackson & Graham Circa 1870

Constructed in Coromandel, Macassar Ebony, with extensive use of Amboyna, Harewood, Boxwood and bone in the inlaid decoration, and having ebonised highlights. Of circular form, and rising from a quadrapartite swept footed base, supporting a cruciform platform, with a central circular and ring turned central column, with four similar columns to the extremities. The ebonised thumbnail moulded edge houses two inlaid guard strips. With alternate roundels and bone berried foliates; the starburst central Macassar Ebony panel is enclosed within a running mistletoe swag, with Asters, and pendant foliates. Jackson & Graham The firm of Jackson & Graham established in 1836 by Thomas Jackson and Peter Graham at 37 Oxford Street London, and for the next fifty years produced predominately high quality furniture and represented Britain at many of the international exhibitions. Their clients included Queen Victoria, Napoleon III,

DIMENSIONS: H: DIA:

REFERENCE:

28.5 in:

72 cm

47 in:

120 cm

7193

the Grand Khedive of Cairo and the Royal Palace of Siam. They were particularly noted for their fine marquetry work, the use of Wedgwood plaques, ivory inlay, rare woods, and fine casting of bronze mounts. They engaged the leading designers of the period, inter alia, Owen Jones, Bruce Talbert, Alfred Lorimer and Eugene Prignot. In the mid 1850’s the workforce was recorded as 250, and by 1875, the company was employing 600 workers. They were feted exhibitors at many of the Great Exhibitions of the Nineteenth century, and frequent prize winners. At the Paris International Exhibition of 1878, the furniture jury noted of them ‘the workmanship is so perfect that even with the aid of a magnifying glass scarcely the slightest imperfection is to be found’. In 1885 the company was absorbed by Collinson and Lock, who continued their standard of excellence. ‘The Grammar of Ornament’ compiled by Owen Jones and published in 1856, shows under ‘Greek 3, Plate XVII, under design number 44, the source of the mistletoe border.

A Good Pair of Library Club Armchairs Circa 1840

The frames in Mahogany, rising from castor shod feet, the front legs of cabriole form terminating in swept toes, with pendant foliate carving, the elbows of scroll form, the aprons with raised ogee carved tablets with bellflower ends; the rear legs of swept sabre shape. The whole upholstered in green buttoned hide, dressed with brass studs.

DIMENSIONS:

REFERENCE:

36 in:

91 cm

35 in:

89 cm

34 in:

87 cm

7020

A Fine Pair of Girandoles in the Manner of Thomas Johnson Circa 1850

Asymmetrically constructed, in carved Giltwood, in the form of contrasting architectural arboreal capriccios, with ‘stonework masonry’, balustrading, urns, wall fountains and leafage, with young couples hunting, and fishing, surmounted with a cupid figure as an allegory of pusuit of love, with ‘c’ scrolls, icicles, frozen cascades and carved foliates in the high rococo taste housing shaped mirrors, and issuing four ‘s’ form candle arms, with gadrooned bobeches.

Thomas Johnson (1714-1778)

DIMENSIONS:

REFERENCE:

38 in:

97 cm

21 in:

53 cm

10 in:

26 cm

7220

A highly talented carver & later, designer, and a contemporary of Thomas Chippendale & Matthias Lock, he published to great acclaim in 1755 ‘Twelve Girandoles’, and followed this with, in 1756, ‘53 Designs’, and between 1758 and 1759, ‘A Collection of One Hundred and Fifty Designs’. Drawing inspiration from the Fables of Aesop, the rococo, China, and the idealised rustic life, his work is whimsical, exuberant and witty. Chippendale borrowed freely from his work, and Johnson, a founder member of the ‘Antigallican Society’, a group who excoriated the French taste, from which Chippendale also freely borrowed, refers to the Grand Old Man of English furniture designs, in his autobiography, as ‘that d....d plagiarist’.

The Nineteenth Century Neo-Classical Revival

Although not the first designer to introduce Classical design into English furniture, Robert Adam was the leading proponent and disseminator of the style, and his return from Italy in 1758, until his death in 1792, coincides neatly with the thirty year period when Neo-Classicism informed bon ton taste. Many of the original Adam designs are housed in the fascinating museum of Sir John Soane, in Lincoln’s Inn Fields, and in an address to the students of the Royal Academy, Sir John observed of Adam that ‘we stand indebted, inasmuch as manufacturers of every kind felt, as it were, the electric power of this revolution in art’. Adam’s designs for the furniture of Osterley House were venerated, and his ideas were espoused by two of the triumvirate of Eighteenth Century English Furniture Design Giants, Thomas Sheraton, and George Hepplewhite, and the taste of the Neo-Classic permeated into the early years of the nineteenth century. In the last quarter of the nineteenth century, perhaps as a revolt against the wild grotesqueries of later Victorian furniture, the Neo-Classical Revival was revived once more. The eminent London cabinet makers, Wright and Mansfield won the only Gold medal ever presented to a firm of English Cabinet Makers at the Paris International Exhibition of 1876 with a magnificent cabinet in the Adam manner. The growth of the middle classes, and the new ‘appartments’ of the major English cities spurred leading London makers such as Maples, Hamptons, Jackson and Graham and Edwards & Roberts to recreate a genre of style and craftsmanship that sometimes rivaled, and sometimes exceeded the masterworks of the English Eighteenth Century English craftsman, examples of which may be seen in the last part of the 1902 publication of Percy MacQuoid’s ‘The History of English Furniture’, titled, ‘The Age of Satinwood’. The following is a selection of some of the pieces we currently hold in stock.

A Fine Rare & Decorative Pair of Corner Stamped by the makers, John Circa

DIMENSIONS:

REFERENCE:

37 in:

94 cm

44 in:

112 cm

31 in:

79 cm

1900

Of bow fronted form, and constructed in a finely grained Satinwood, with Kingwood cross banding, Ebony trimming, and extensive polychrome decoration; rising from waisted and tapered spade feet, above, double doors with a brass guard strip, enclosing shelved interiors, with hand painted floral annuli housing figures emblematic of the Four Seasons; above, a range of drawers with ring pull handles, with interlaced floral swags; to the top, from pendant Bellflower swags ellipses are suspended, with painted cartouches depicting the joys of motherhood. Stamped to the door frames with the name and address of the maker.

1880

Adams Revival

Cabinets in the Hepplewhite Manner Watson of Oxford Street, London

A Stylish Secretaire Bookcase in the Hepplewhite Manner Circa 1870

Constructed in Satinwood, with polychrome decoration utilising neo-classical motifs from the oeuvre of Pergolesi: rising from swept bracket feet, the lower section with four graduated drawers fitted with ring pulls, the top drawer having a fall front revealing a secretaire, with a baize writing surface, and pigeonholes; over, thirteen pane astragal doors, the interior with bookshelves; over, a domed cornice flanked by waisted urns. Plate 44 In Hepplewhite’s ‘Upholsterers & Cabinet Makers Guide’ of 1794 shows a bookcase of virtually identical form.

DIMENSIONS:

REFERENCE:

83 in:

212 cm

37 in:

94 cm

19 in:

49 cm

7154

Adams Revival

An Unusual Pair of Commodes in the Neo-Classical Adam Manner Circa 1880

Of free standing elliptical form, polychrome decorated, on a yellow ochre ground: rising from tapering square legs with stiff leaf toupie gilt feet supporting the body housing three drawers, each with pearl banded cartouches, housing grisaille representations of disporting putti, and flanked with thrysus rods, with pendant garlands, and floral swags. Similar motifs adorn the sides.

DIMENSIONS:

REFERENCE:

30 in:

77 cm

24 in:

61 cm

18 in:

46 cm

7114

Adams Revival

A Good Carlton House Writing Table Circa 1890

Of free standing form, constructed in Satinwood, with line inlays, cross banding and having extensive polychrome decoration: rising from brass square section tapered legs, terminating in brass castor shod toes, and decorated with pendant Bellflower husks: the apron having a long central drawer with floral swag decoration, flanked by deeper drawers adorned with laurel wreathes; the sliding leather mounted writing surface flanked by hinged letter boxes of serpentine form, decorated with figures emblematic of summer, bearing garlands, set into cartouches; concave cupboards at the angles, with an upswept central cupboard with six flanking stationery drawers, similarly decorated. All drawers fitted with turned ivory handles. DIMENSIONS: H:

40.5 in:

REFERENCE: 103 cm

45 in: 117.5 cm

21 in:

53.5 cm

7169

A Fine Winged Wardrobe in the Adam Manner Circa

Constructed in a particularly well figured West Indian Satinwood, of exceptional colour, with finely executed marquetry, and ormolu accents: of breakfront form, rising from square cross section tapering legs; the centre section having four graduated & cross banded drawers below, fitted with finely cast pulls, and two blind doors over, dressed with elliptical inset jasper plaques in the Wedgwood manner, and extensive tendril marquetry inlay, opening to reveal a fitted interior; flanked by rectangular bevelled glass doors, over deep drawers, with conforming pulls: the dividing pilasters having ormolu swags at the capitols; a running cornice of ogee form is surmounted by a fan inlaid swan neck pediment, centered and flanked by urn shaped finials.

Wright & Mansfield Alfred Thomas Wright first came to notice in 1856 as a junior partner in the firm of Samuel Hanson, a cabinetmaker and upholsterer trading from 16 John Street (later Great Portland Street), and 106 Oxford Street. The company was joined by George Needham Mansfield, son of the old established builders and decorators George Mansfield, of Grays Inn Lane and Wigmore Street, and the firm is recorded in Post Office journals as Hanson, Wright and Mansfield at the above addresses until 1861, when Hanson died. Thereafter the company traded as Wright and Mansfield, and swiftly rose to prominence after their exhibits at the 1862 International Exhibition held in London, on the site of what is now the Natural History Museum, South Kensington. Attended by over six million visitors, despite the death in 1861 of Prince Albert, and the absence of Queen Victoria, who was still in mourning. The Art Journal Catalogue of the International Exhibition, and J.B. Waring’s ‘Masterpieces of Industrial Art and Sculpture’ of 1862 record their work, and two bookcases, and a fireplace constructed of ‘Ginn’ or ‘Gean’ wood, with inset Wedgwood plaques were illustrated, along with a piano, painted in the manner of George Brookshaw, and commented upon and favourably compared to the Eighteenth Century work of ‘Adelphi’ Adams. The progress and incredible quality presented by the exhibitors occasioned Eugene Rouher, the prominent French statesman, after the exhibition to form a committee, taking as a premise ‘the results of the Exposition prove, that if rapid progress is not made in France, we will quickly be outstripped by our rivals’. At the 1867 Paris Universelle Exposition, a remarkable satinwood, marquetry, bronze and Wedgwood mounted cabinet won a Gold medal, the only time such an honour was bestowed upon an English cabinet maker, by the judges, presided over by M. du Sommerard director of the Cluny Museum, and M Wilkinson, Administrator de Mobilier de la Courrone. The Gold medal was presented personally to Wright & Mansfield by the Emperor Napoleon the 3rd. The cabinet was purchased by the South Kensington Museum (later the Victoria and Albert Museum) for the extraordinary sum, in those days, of £800. It remains in their possession today. Their showing at the 1876 Philadelphia Centennial Exhibition attracted wide admiration, and was most favourably commented upon in the journals of the day.

DIMENSIONS:

REFERENCE:

93 in:

237 cm

84 in:

214 cm

24.5 in:

62 cm

7060

1870

Adams Revival

Attributed to Wright & Mansfield of Bond Street

A Substantial Mirror in the Adam Manner Circa 1870

Primarily Giltwood, and having an the elliptical mirror plate housed within a continuous band of stiff leaf moulding, enclosing a running pearl band, with a striking and large ramâ&#x20AC;&#x2122;s head motif to the base, which issues seeding campanula, and continuing around the frame to the capitol, a vase with pendant drapes, in turn surmounted with an oversized honeysuckle.

DIMENSIONS:

REFERENCE:

75.5 in:

192 cm

38 in:

97 cm

7173

The Adam Brothers often included the use of the ramâ&#x20AC;&#x2122;s head in their decorative oeuvre, as it signified the triumph of Jason, in his successful quest for the Golden Fleece, as well as the apogee of the Egyptian pantheon, the father of the gods, Amon Ra, who was represented as a ram headed sphinx.

Circa 1870

The suite comprises of a central cabinet, a pair of flanking cabinets, and a cylinder writing bureau, all constructed in a richly patinated West Indian Satinwood, and extensive usage of Kingwood crossbanding, and each piece having finely executed conforming inlays in rare, exotic and tinted woods.

Adams Revival

A Very Fine & Rare Suite of Library Furniture in the Adam Taste, by Edwards & Roberts

The cabinets, rising from inverted pyramidical legs, capped with brass oblate feet; each cabinet having three adjustable shelves, the stiles having inlaid pendant Bellflower husks, all sides with recessed fielded panels with everted angle running inlays, enclosing inlaid and line etched flower heads: the tops having three quarter cast brass baluster pillar galleries, each framing wreath tied Adam urns, with rams head handles, utilising Harewood, Sycamore and Maple, further line etched: the pair of flanking cabinets having Cedar lined drawers, and featuring hand cut dovetails, with shaped brass pulls, and floral adorned paterae to the centres. Bearing the makers label to the reverse of one cabinet, Edwards & Roberts, Wardour Street, London. The cylinder bureau, constructed after a variation of a model taken from Thomas Sheraton’s ‘Cabinet maker and Upholsterer’s Drawing Book’ of 1802, rises from square section tapering legs, inlaid with pendant Harewood bellflowers, capped with brass castors; two lockable drawers, each inlaid with a garland tied around a quiver and a flambeau, issuing floral tendrils; above, the cylinder front, raised by a pair of repousse brass handles, has a fielded panel, with everted Kingwood crossbanding, is inlaid with a central elliptical wreath, housing musical instruments, which in turn is flanked by Adam urns with rams head handles housed within

DIMENSIONS (Central):

DIMENSIONS (Flanking):

DIMENSIONS (Bureau):

REFERENCE:

39.5 in:

100 cm

39.5 in:

100 cm

43 in:

109 cm

7187

48 in:

122 cm

20 in:

51 cm

42 in:

107 cm

12 in:

30 cm

13 in:

34 cm

24 in:

61 cm

garlands of bellflowers, and with ‘lovers bow’ knots above. Sunflowers are inlaid at the angles in Purpleheart wood. The interior has a pull out writing slide, with an easel ratchet operated tooled leather surface framed within a Kingwood border, with pigeon holes and drawers to the rear. The platform top has a conforming central Adam urn with rams head handles, with a curtain festoon of draped bellflowers and tendrils, with a conforming three quarter cast brass gallery with conforming baluster pillars. The sides have Kingwood crossbanding, housing interwoven floral designs, inlaid in Purpleheart, Sycamore and Harewood. The firm Edwards & Roberts was founded in 1845, and had premises at 21 Wardour Street London. By 1892 they occupied more than a dozen buildings in Wardour Street, where they continued to trade until the end of the century. They became one of the leading London cabinet makers and retailers working in a variety of styles, both modern and revivalist. Their business also involved retailing, adapting and restoring the finest antique furniture and there are many examples of their earlier furniture with later embellishments bearing their stamp.

Adams Revival

A Fine & Rare Pair of Twelve Light Chandeliers in Circa

Constructed of excellently cast and chased gilt bronze, with lead crystal accents: of cage form, the lower tier consisting of four bifurcated sinuous arms, each issuing two lights, with the upper tier having four conforming lights; a further light to the apex, enclosed within a glass leaf; the corona as a bronze spray of starburst form, each spray having a cut and faceted lead crystal peardrop pendant; the cage and arms hung with many conforming pendants, and dressed throughout with oversize glass finials of waisted and stepped shape. Signed to the frame, Raingo Freres, Paris.

DIMENSIONS: H: DIA:

REFERENCE:

49 in:

125 cm

29.5 in:

75 cm

1758

the Louis XVth Manner by Raingo Frères of Paris 1880

Raingo Frères The Raingo business was founded in 1813, and around 1830 appeared at eight Rue de Touraine. The four Raingo brothers were first recognized as clockmakers, but in 1841, they added art bronzes and furnishings to their repertoire. In 1860, the Raingo house furnished bronzes to the Emperor and Empress, and owned an important store of exhibition pieces as well. At first they made reproductions of antiques, and then proceeded to works by contemporary artists, casts a small number of models. Among the artists whose work was cast by Raingo Frères are Pradier, Carrier-Belleuse, and Auguste Moreau.