As we write this introduction to our 2012 catalogue Munch’s The Scream has just sold for near $120 million and we have been watching the drama pan out live over the Internet. An extraordinary sum, which shows how the very best fine and decorative art continues to be in huge demand worldwide regardless of financial uncertainty. However, sourcing these items becomes ever more difficult. Over the last fifty years of business we are fortunate to have made loyal contacts who alert us to potential discoveries. Our latest catalogue presents, as always, great pieces, chosen to meet our exacting standard of excellence, including two pieces almost certainly by Gillows: the finest long set of twenty dining chairs we have ever had the honour to own, and a extraordinary monumental Gothic eight door breakfront bookcase. We are quite sure you will share our enthusiasm for some, and perhaps all of the pieces in our catalogue, discovered during the worldwide searches we conduct on a daily basis. You will see the high standards we set ourselves. Great works from Italy, France and England are within these pages; exquisite carved work from Siena: a chair, made by the renowned master carver Angiolo Barbetti and a remarkable mirror carved in 1850 by his one-time apprentice, Pietro Giusti, for Lord Walshingham, a descendant of the spymaster of Queen Elizabeth the First; here are examples signed by some of the greatest French names in the art of cabinetmaking; a stunning pair of gilt wood armchairs made by Fourdinois, a medal winner at the Crystal Palace Exhibition of 1851; François Linke, Paul Sormani, Guillame-Edmond Lexcellent and Prosper-Guillame Durand are all represented, as ever along with a number of other masters. We are also delighted with our newly redesigned website, www.butchoff.com, which now also shows videos, made with the co-operation and invaluable assistance of Christopher Payne, the worlds leading 19th century furniture expert, along with examples of design projects in which we have placed fine antiques in modern settings, as well as an enhanced glossary section. We trust you enjoy seeing the results of our endeavours, as we would enjoy seeing you, at our premises in Kensington Church Street, the Olympia Antique Fair in June, or the Masterpiece Fair later the same month and Lapada, Berkeley Square in September. We are here to assist, help, inform and share our 50 years of experience in the Antiques Business.
Ian, Adam & James
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
A Wonderful Regency Period Library Bookcase Almost Certainly Made By George Oakley Circa 1810
Constructed in the Grecian taste, of inverted four door breakfront form, using San Domingo mahogany, with fine inlays executed in ebony, and dressed with gilt bronze adornments; rising from Grecian flower petal feet supporting a plinth base, the vertical stiles with thyrsus form inlays framing the brass trellis grilled doors, and housing shelved interiors; the upper section of conforming configuration, and having a triangular central pediment flanked by inlaid block ends, with Grecian petal finials over a row of ebony bosses in the form of roundels. George Oakley (c. 1760-1840) was established at 22 Southside, St Pauls Churchyard, and 8 Old Bond Street in 1786, with a partner, Henry Kettle; in 1800 the firm attracted the patronage of the Prince of Wales, and discussed by Memnich in his idiosyncratic ‘English Travels’ written in 1807; Papworth Hall, Cambridgeshire, the estate of Charles Madryll Cheere commissioned Oakley to furnish the building, and a bookcase of virtually identical form was supplied, as were wardrobes of a similar design to this bookcase; the Papworth Hall bookcase is illustrated in Frances Collard’s ‘Regency Furniture’ published by the Antique Collectors Club in 1985. References; Frances Collard, ‘Regency Furniture’, published 1985 by the Antique Collectors Club, pp.107. Dictionary of English Furniture Makers (16601840), published by the Furniture History Society pp.659-660. The ‘Morning Chronicle’ of 12 & 16 May 1799 records a visit by the Royal Family, and the Prince and Princess of Orange to the Oakley premises at New Bond Street. In 1802 they were granted the Royal Warrant.
Bookcase mahogany with ebony, supplied by George Oakley for the library at Papworth Hall, Cambridgeshire in 1810. The bookcase, cost £47.5s, originally had two bronzed plaster busts and a plaster urn on the top.
DIMENSIONS:
REFERENCE:
H:
84.5 in
214 cm
W:
69.5 in
176 cm
D:
15.5 in
39 cm
7846
An Elegant Regency Circa Constructed in mahogany, with the sides, back and seat double caned; rising from castor shod brass toes on the four front sabre form legs, reeded; the rear legs of ‘kickaway’ shape; the seat rails dressed with cock bead mouldings of rectangular form; the reeded shepherd’s crook arms having turned and wrythen supports; upholstered in suede.
DIMENSIONS:
REFERENCE:
H:
33.5 in
90 cm
W:
76 in
192 cm
D:
30 in
75 cm
7800
Period Settee 1810
A Fine Pair of Late Circa
Constructed in gonçalo alves, the rectangular bases dressed with beaded edges, issue circular turned columns, having square brass plinths below, and brass capitols above, decorated with a wrythen design. The platforms are in ‘Swedish Green’ marble, from Jankoping, Sweden. ‘Swedish Green’ marble was used extensively in the interior of the Opera Garnier, Paris. Provenance; The estate of Lady Anne Cowdray, daughter of the 10th Earl of Bradford, and wife of Viscount Cowdray.
DIMENSIONS:
REFERENCE:
H:
32.5 in
82 cm
W:
42 in
107 cm
D:
15 in
38 cm
7501
Georgian Console Tables 1820
An Attractive Drum Top Library Table Circa The design of this centre table is drawn from the noted work of Richard Bridgens, and constructed in pollard oak, and gilt bronze; rising from a quadripartite scroll footed base, shod with castors, flowing into the upswept, incurving column, adorned with foliate gilt bronze guard strips; the circular top incorporates alternately lockable, and false drawers, dressed with line inlay: the top having a gilt tooled leather inset writing surface, and a gilt bronze guard strip to the lip. Richard Bridgens exhibited at the Royal Academy between 1812 until 1835, and the initial issue of his influential book, ‘Furniture with Candelabra, & Interior Decoration’ was first published in 1833, with a revised edition re-issued in 1838. The design of our table is taken from one of the plates ‘Marquetrie (sic) Centre Table’ as seen below. William Freeman is recorded on pp.321 of the ‘Dictionary of English Furniture Makers 1660-1840’, published by the Furniture History Society, as being made a freeman on 24 February 1811, and licensed as a cabinet maker; pieces of his furniture, stencilled with his name, are noted.
DIMENSIONS:
REFERENCE:
H:
30 in
76.5 cm
Dia:
48 in
121 cm
7759
By William Freeman of Norwich 1835
An Extraordinary Pair of Library Globes of
Matched Terrestrial & Celestial Monumental Size
A Celestial Globe by Thomas Malby & Son of London
A Terraqueous Library Globe By John Addison and G. & J. Cary
Circa 1845
Circa 1840
Enclosed within a mahogany framework, the tripartite incurved base, with scrolled terminals, and incorporating a compass, supports the horizon ring; this is marked with the months of the year, the astrological house and their sigils, and the azimuth and amplitude scales: rotating within the brass engraved meridian ring: the globe having twenty four paper gores, with the limits of each constellation delineated and decorated with their representative astrological symbols, mythological animals and figures: the maker’s cartouche reads:
Supported on a San Domingo mahogany stand, with curved scroll shaped legs, and a turned and spirally lobed central column, raised upon a concave sided trefoil platform: enclosed within a brass meridian ring graduated in four quadrants, and having an hour dial, marked twice I-XII, the twenty four hand coloured gores are laid onto the hollow sphere, which had been coated with prepared plaster, the equatorial both graduated in degrees and subdivided to two minutes; the Greenwich meridian ungraduated,with the equinoctal colure graduated in degrees, and subdivided into two minutes labelled every five degrees; the ecliptic graduated for individual days, and labelled with the months, five day intervals and the twelve Zodiacal sigils; having the engraved horizon paper graduated in degrees of amplitude and azimuth, and labelled with thirty two compass points. A cartouche on the globe proclaims:
‘Malby’s Celestial Globe Exhibited the whole of the stars contained in the catalogues of Piazzi, Bailey, Hevelius, Mayer LaCaille & Johnson; corrected from Bailey’s edition of Flamsteed’s British Catalogue. Together with the nebulae observed by W. Herschel, Sir J. Herschel, Messier & Dunlop.
‘Published under the Immediate Patronage of, and dedicated by permission to His Most Gracious Majesty George IVth by John Addison, London; Manufactured and Sold by G&J Cary, 86 St James’s Street London’.
Published by Malby & Son, manufacturers and publishers of the globe, and, of the Society for the Diffusion of Useful Knowledge. 37 Parker Street, Little Queen Street, Holborn, London’.
DIMENSIONS:
GLOBE DIAMETER:
REFERENCE:
DIMENSIONS:
H:
52 in 132.5 cm
Dia:
7548
H:
53 in
135 cm
Dia:
45 in 114.5 cm
Dia:
46 in
117 cm
36 in
91.5 cm
GLOBE DIAMETER:
REFERENCE:
Dia:
7268
36 in
91.5 cm
The globes are 36 inches in diameter, an extraordinary and rarely seen size. Not even the British Museum of Globes, at the National Maritime Museum possesses globes of this size.
Fine Art
‘Lady Driving a Gentleman’ By George Elgar Hicks (1824-1914)
‘Summer Reflections’ By William Stephen Coleman (1829-1904)
Dated 1865
Circa 1880
Oil on canvas, signed by the artist, and dated 1865, centre left. The painting is listed in the artist’s account books, (a copy of which is in our possession) as sold to a Mr Fores for £45 in 1865, and was exhibited at the 1983 exhibition of paintings at the Geffrye Museum. George Elgar Hicks Born on March 13, 1824 in Lymington, Hampshire; in 1843 Hick’s attended Sass’s Academy and by 1844 had entered the Royal Academy Schools. In 1859, Hicks exhibited his first large genre painting at the Royal Academy, continuing to paint genre scenes to much acclaim throughout the 1860’s before shifting to historical scenes, literary scenes, and portraiture in the 1870’s and 1880’s. Paintings of his can be found in the Tate Gallery in London.
SIGHT SIZE: H:
15.5 in
39 cm
W:
25 in
63 cm
Oil on canvas, signed lower left, bearing a Frost and Reed label to the reverse for April 1939. William Stephen Coleman Book and magazine illustrator, providing the iconic 1893 image ‘Goldfish’ for Pears magazine; the Victoria & Albert Museum, and the Glasgow Museum possess his works. Ref: Benezit.
REFERENCE:
SIGHT SIZE:
7811
H:
16 in
40 cm
REFERENCE:
W:
25.5 in
65 cm
7673
Fine Art
‘Still Life with Roses’ By Edward Ladell (1821-1886) Circa 1870
The gilt framed Oil on canvas, depicting a Blue and White Chinese Vase containing cabbage roses, and a Hock Glass. Signed with his monogram, EL. Edward Ladell born in Colchester, and before his calling as an artist, worked for his father, a coach builder. Entirely self-taught, his still lives follow the Dutch tradition, having a richness of colour. He exhibited at the Royal Academy from 1856 to 1886. Examples of his work can be seen today in art museum galleries of Bristol, Colchester, Exeter, Harrogate, Reading and Sheffield. SIGHT SIZE:
REFERENCE:
H:
13 in
33.5 cm
W:
17 in
43.5 cm
7812
Fine Art
A Very Decorative Pair of French Panels
‘Blonde Dancer’ By Sir Claude Francis Barry (1883-1970)
Circa 1860
Circa 1940
Oil on canvas, signed lower left. Painted polychromatic oil on canvas, depicting a pair of ‘Fete Galantes’, with lovers and their swains in asymmetrical cartouches. French.
SIGHT SIZE: H:
64 in
162 cm
W:
34 in
86 cm
Self-taught, though later becoming a pupil of Sir Alfred East, and Frank Brangwyn; exhibiting at the Royal Academy, Royal Society of British Artists and the Salon de Paris from 1906.
REFERENCE:
SIGHT SIZE:
7863
D:
23.5 in
60 cm
REFERENCE:
W:
18.5 in
47 cm
7674
‘In Training for the Derby’ By William Henry Knight (1823-1863)
A Rare & Highly Decorative Georgian Chimney Piece in the Manner of George Brookshaw
Dated 1858
Circa 1790
The frame carved, part gilded and polychrome decorated, with the inverted breakfront top shelf having a running carved foliate decoration; the frieze having to the centre a rectangular Neo-classical copper panel, painted in the manner of Angelica Kauffman of Apollo and his Muses, and being flanked by further panels of bouquets of ribband tied roses, and, to the extremes, panels of classical female allegories of Comedy and Drama; the vertical uprights painted with panels of climbing flower wreaths.
George Brookshaw (c. 1751-1823) A London cabinet-maker specialising in painted furniture, mostly in muted pastel colours, with Neo-classical counterpoints; working from his premises at 48 Great Marlborough Street, Regent Street, his trade card describes himself as ‘Peintre-Ebeniste par Extraordinaire’. He was employed in the interior decoration of Carlton House by Henry Holland at the behest of the Prince of Wales. Brookshaw also published drawing manuals on fruit, flowers, and birds.
Oil on panel, signed and dated lower centre, ‘W. H. Knight, 1858’ within a swept gilt frame, with the name plate recording the painting as being exhibited in the 1859 Royal Academy exhibition. Inscribed to the reverse ‘Number 2, W. H. Knight, The Vicarage, Thorpe, Near Chertsey’; bearing the remnants of an old dealer’s label, ‘Knoedler’, and the title ‘In Training for the Derby’. William Henry Knight Volume 6 of Benezit records Knight as born in Newbury, Berkshire, and exhibiting at the Society of British Artists in Suffolk Street, and elected a Royal Academician from 1844 until 1863. Knoedler & Company were established in 1846 by Michael Knoedler, who was associated with Goupil et Fils. Since its inception they espoused the cause of contemporary artists. He is favourably commented upon by no less a figure than the eminent art critic, John Ruskin, and is discussed at some length in Mary Cowling’s work ‘Victorian Figurative Painting’ published by Papdakis in 2000.
SIGHT SIZE: H:
11.5 in
29 cm
W:
15.5 in
39 cm
DIMENSIONS:
REFERENCE:
REFERENCE:
H:
60 in 152.5 cm
7844
7696
W:
71.5 in 181.5 cm
D:
6.5 in
16.5 cm
A Magnificent Pair of Circa
DIMENSIONS:
REFERENCE:
H:
44.5 in 113.5 cm
7746
W:
60 in 152.5 cm
D:
19 in
48.5 cm
Of Arc-en-Arbalette form, constructed in ebony, with extensive ivory inlays in the Neo-Renaissance manner, fine gilt bronze mounts throughout, and three colour bronze allegorical plaques to the centre doors; rising from ormolu shod toupie feet, the central doors, framed by columns with gilt bronze Corinthian capitols and bases, with helical bands of foliate ivory inlay, have bronze plaques of the Muses of Music and Dance, with attendant putti, housed within a stiff leaf carved ivory framework, with foliate and grotesque ivory inlays in the quadrants; the glazed ends are of bowed form, with velvet lined shelved interiors; having shaped Carrara marble platforms. French.
Meubles Hauteur d’Appui 1860
The mounts signed HPR are by Henri Picard, founder and gilder, who worked in Paris from 1831 to 1884, notably for the Emperor Napoleon III. He is listed as bronze maker and gilder in the National Archives because of his participation to the jointure of the Tuilerie and the Louvre from 1853 to 1865. The “Musée du Louvre” has a pair of twelve gilt-bronze lights candelabras by Picard. Henri Picard, Freres company was founded in La Chaux de Fonds Switzerland in 1857 and is still in business today.
A Striking Nineteenth Century Circa Constructed in ebony, with ormolu bronze mounts and splendidly executed foliate and fantastical ivory inlays in the Neo-Renaissance manner; rising from turned oblate bun feet, the four legs having ivory inlaid having circular Corinthian ormolu capped columns issuing from square sectional bases, and being braced by conjoined demi lune stretchers dressed with finials; the frieze conformingly inlaid, and having a single lockable drawer; the bow ended rectangular top having a bronze edge guard, and extensive ivory inlay work. French.
DIMENSIONS:
REFERENCE:
H:
31.5 in
79.5 cm
W:
59.5 in
151 cm
D:
34.5 in
87 cm
7773
French Centre Table 1860
A Grand Pair of Pedestals Circa 1850
Constructed in bois noirci, with brass inlay work, splendid gilt bronze mounts, and Pietra Dura panels and having Carrara marble platforms; rising from plinth bases, with radiused angles, dressed with female masks to the centres and paterae to the angles; the columns of canted form, incorporating cupboards, with shelved interiors, behind the lockable Pietra Dura panelled doors; strong stiff leaf spandrels to the shoulders, and the platforms housed within running gilt bronze gadroons. Labelled with the owners name inside the cupboard doors. French. Provenance Olantigh Towers The Olantigh Estate was granted to the Kempe family by William the Conqueror. Olantigh House, whose origins were in 1508, was modified and extended, and passed into the hands of the Sawbridge dynasty. It was further modified, enlarged and furnished by the immensely rich Samuel Sawbridge Erle Drax in the mid 19th Century, passing to his son on his death in 1887. The house was largely destroyed in a disastrous fire in 1903.
DIMENSIONS:
REFERENCE:
H:
59 in
150 cm
W:
26 in
65 cm
D:
19 in
47 cm
7775
A Stunning Drawing Room Cabinet Circa Of arc-en-arbalette form, constructed in bois noirci; supported on a plinth base, having brass line inlays, with the four stiles fixed with rosette clasps to the lower part, and atop, bearded satyrs, issuing pendant leaf wrapped gilt bronze canellures: the central door, with a stiff leaf gilt bronze trim houses three Florentine pietra dura panels, depicting a parrot, and floral motifs, with further rosettes at the angles, a shelved interior within; the two flanking glazed doors having a conforming stiff leaf trim, and with foliate spandrels to the angles. The apron has seven Florentine pietra dura panels, contained within gilt bronze wreaths cast with oak leaves and acorns; six of the panels depict floral and fauna arrangements, the central panel, comical dwarves (see below). The variagated marble top has a double thumbnail moulded edge. The carcase stamped ‘EHB’, for Edward Holmes Baldock. The images of the dwarfs are taken from designs by the noted French engraver, Jacques Callot (c.15921635), whose celebrated series of engravings show a 16th century travelling troupe of performing dwarfs who were at the court of Cosimo II, the Grand Duke of Tuscany. The two figures depicted here also appear in a table from the Gilbert Collection, formerly in the collections of Edmond and Alfred de Rothschild at Halton House, Bucks. See Anna Maria Massinelli, Hardstones, London, 2000.
Edward Holmes Baldock Edward Holmes Baldock (1777-1845) is listed in London Trade Directories of the early Nineteenth century in various capacities. He first appears at 7 Hanway Street, London in 1805 described as a ‘dealer in china and glass’ and by 1821 as ‘an antique furniture and ornamental furniture dealer’. By 1826 the various facets of the business included ‘buying and selling, exchanging and valuing china, cabinets, screens, bronzes etc.’ From 1832-1837 he is recorded as a purveyor of earthenware and glass to William IV and later, a purveyor of china to Queen Victoria from 1838 until his death. He is known to have repaired, remodelled and adapted furniture, often 18th century pieces, but he also designed furniture both in the 18th century style and in more contemporary styles.
DIMENSIONS:
REFERENCE:
H:
50 in
127 cm
W:
67 in
170 cm
D:
21.5 in
52 cm
6907
from Edward Holmes Baldock 1845
A Very Fine Centre Table in the Manner Circa Constructed in coromandel wood, with gilt bronze adornments and ivory inlays in the aesthetic manner throughout, and having a wonderful inset specimen marble and hardstone top, including Lapis Lazuli, Malachite, Sienna Rosso, Algerian Onyx and Sicilian Jasper, inter alia; rising from swept feet shod with castors, the columnar supports conjoined with a shaped, turned and tapering central stretcher; two lockable quadrant moulded drawers to the apron, rectangular top having radiused ends.
DIMENSIONS:
REFERENCE:
H:
28.5 in
72.5 cm
W:
57.5 in 146.5 cm
D:
29.5 in
75 cm
7743
of Jackson & Graham of London 1870
A Superior Drawing Room Cabinet Circa Constructed in coromandel, and having well executed and designed inlays in ivory, lemon wood, and holly, with gilt wood accents; of arc-en-arbalette form, rising from a plinth base, the central mirrored lockable door housed within inlaid stiles, and enclosing a shelved interior; the open quadrant form shelved ends having plate mirror glass backs. 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, the Grand Khedive at Cairo and the royal palace in 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.
DIMENSIONS:
REFERENCE:
H:
38 in
97 cm
W:
48.5 in
123 cm
D:
18 in
46 cm
7730
in the Manner of Jackson & Graham 1870
An Exceptional Display Cabinet By Hampton & Sons of London Circa 1885
Constructed in a beautifully figured ‘Plum Pudding’ Cuban mahogany, adorned with complex and etched inlay work in the Renaissance Revival manner, utilising ivory, satinwood and bois de rose. Rising from toupie feet, the cabinet is of arc-en-arbalette form, the central panelled lockable doors housing cartouches dressed with putti, and the flanking bow ends decorated with a stylised ‘Tree of Life’ pattern; a bevelled mirror back aperture has a running brass arcaded gallery; the two mahogany lined drawers, constructed with quadrant mouldings, are dressed with highly decorative swan neck handles. The upper section, supported on fluted columns, having two glazed display windows with a vertical brass guard trim, flanked by bevelled mirrors, supported by carved spandrels, housed with a framework of complex conforming inlays, and capped with turned finials, and the whole is surmounted by a domed pediment with addorsed stylised dolphins. One drawer stamped ‘Hampton & Sons L777’.
Hampton and Sons Ltd of Pall Mall East, Trafalgar Square London Established in 1830 in Cranbourn Street, Leicester Square by William Hampton, later being joined by his sons, George and William, the company moved to 8 Pall Mall East, adjacent to Trafalgar Square, in very large premises, trading as builders and surveyors, estate agents, ‘antique and modern furniture dealers’, general furnishers, upholsterers, plumbers and electricians. Their commissions included, inter alia, the furnishing of the Royal Yacht Britannia, the liners Queen Mary and Queen Elizabeth, the Theatre Royal in Drury lane, and the palaces of the Nizam of Hyderabad and the Maharajah of Kashmir. An incendiary bomb destroyed the building in 1940, after which they moved to Kensington High Street, where they traded until 1960.
DIMENSIONS:
REFERENCE:
H:
80 in 203.5 cm
W:
55 in
140 cm
D:
16.5 in
42 cm
7774
A Superb Side Cabinet By George Jetley of London Dated 1883
Constructed in rosewood, with fine ivory inlay work, dressed with gilt bronze ormolu mounts of extraordinary quality, and inspired by the Louis XVIth style; rising from ormolu mounted tapering spade feet, the cabinet is of shaped form: the central door, having a fielded rectangular panel adorned with ormolu mounts and a very finely inlaid female figure in the Classic Grecian taste, encloses a shelved interior; framed within four circular and ring turned ivory inlaid & ormolu Corinthian capped columns, and surmounted by a shaped Yellow Sienna marble with a thumbnail moulded edge. Bearing a plaque to the upper lip of the door, which is engraved ‘1883 Jetley, 8 North Audley Street London Designers Upholsterers and Cabinet Makers’.
DIMENSIONS:
REFERENCE:
H:
42 in
107 cm
W:
38 in
96 cm
D:
17 in
43.5 cm
7772
for us to introduce our striking (!) selection of splendidly exuberant clocks, including the magnificent garniture by Bourdin of Paris, clock maker to Napoleon the Third, as well as one of the most opulent carriage clocks we have ever owned, and presenting the juxtaposition of a delicate ‘grandmother’ clock in the chinoiserie manner to a somewhat larger nine tube ‘Grandfather’ clock; tempus may well fugit, but here, in these examples, Time Flies most gracefully.
Circa 1865 In the Louis XVIth manner, comprising a clock with matching candelabra; constructed in exuberantly cast bronze having two toned ormolu and Roi de Bleu ‘Sevres’ hand painted porcelain work with gilt highlights; the clock platform of shaped elliptical form, rising from toupie feet, the apron dressed with three ‘Sevres’ plaques painted with putti, in the manner of W-A Bouguereau; the waisted porcelain vasiform column capped with a putto holding Pan pipes, and having a central hand painted cartouche, being supported by addorsed mermaids, draped with conjoined garlands, having scrolled handles, with a central stylised fleur de lys pointer indicating the rotating lateral enamel ring, which show the hours in Roman, and the minutes in Arabic numerals, signed ‘Bourdin’: the side pieces, two ten branch candelabra rising from conforming ‘Sevres’ vasiform supports braced with foliate spandrels, have hand painted cartouches, and set upon shaped ormolu plinths on toupie feet. French. Bourdin, successor to Souriau had their premises in the Rue de La Paix, one of the finest retail addresses in Paris, and are recorded as supplying clocks to Napoleon IIIrd.
DIMENSIONS: Clock
DIMENSIONS: Candelabra
REFERENCE:
H:
31 in
78 cm
H:
7682
W:
27 in
68 cm
D:
9 in
23 cm
32 in
81 cm
It’s About Time
It’s about timE...
An Outstanding Garniture de Cheminée By Bourdin of Paris of the Napoleon III Period
It’s About Time
Circa 1880
The ornate and shaped gilt bronze case having putti at the angles, paying homage to the recording angel surmounting the case; hand painted dusky rose ‘Sevres’ hand painted panels show further decorations of putti; the serpentine carrying handle cast with foliates; the lever movement driving the clock for eight days; berried finials at the angles. French.
DIMENSIONS: H:
10 in
REFERENCE: 25.5 cm
7745
It’s About Time
A Sumptious Giant Sized Timepiece Carriage Clock
Circa Constructed in fine quality gilt bronze and lead crystal glass enhanced with silver latticing; in the Louis XVth manner, the side baluster urns rising from circular marble bases, adorned with cupids, and over, four light candelabras, with central flambeaux terminals; the clock supported on an everted elliptical plinth; the eight day silk suspension two train movement having an enamel dial with the hours and minutes in Roman numerals; the case richly decorated with cupids and love birds. Signed by the maker, Prosper Roussel of Paris. French.
DIMENSIONS Clock:
DIMENSIONS Candelabra:
REFERENCE:
H:
H:
7778
18 in
45 cm
19 in
48 cm
By Prosper Roussel of Paris 1875
It’s About Time
A Notable Clock Garniture
Circa Comprising a swept case clock and two lidded side urns, and constructed in a fine quality gilt bronze, with ‘Roi de Bleu’ ‘Sevres’ porcelain panels, hand painted with fete galante scenes; the two train eight day movement striking on a bell, stamped Japy Freres, and ‘GV’. French. Baileys reference book of clockmakers lists Ellis Freres as being based in Exeter and Paris.
CLOCK: H:
URNS: 19 in
40 cm
H:
REFERENCE: 14 in
35 cm
7866
XVIth Manner By Ellis of Paris 1870
It’s About Time
A French Clock Set in the Louis
A Very Fine “Exhibition” Long Case Clock, Chiming on Nine Tubes
Circa 1920
Circa 1885
The black lacquer case, with gilt and polychrome decoration, depicting rural and court scenes, rises from bracket feet, the waisted case having a central inspection blind door, the hood, with a fluted pagoda top, housing the arched dial brass face, with the hours shown in Roman numerals, operated by an eight day movement, striking on Westminster chimes.
Constructed in mahogany; the exuberantly cased case supported on ogee bracket feet flanking an apron, the base panel having foliate marquetry inlays; over, the glass fronted lockable inspection door, displaying the weights, tubes and pendulum is adorned with complex stylised lattice and tracery work, with carved spandrels to the canted sides; the serpentine hood houses an engraved brass faced arched dial, with hours delineated in Roman numerals, with a subsidiary dial displaying the seconds; over, two more subsidiary dials show quarter hour and hourly striking for the Westminster and Whittington chimes, driven by an eight day movement; conformingly carved spandrels to the sides, with a shaped and carved cornice.
DIMENSIONS: H: DIMENSIONS: H:
66 in
168 cm
REFERENCE:
106 in 269.5 cm
REFERENCE:
W:
25 in
64 cm
7726
D:
17 in
43.5 cm
7653
It’s About Time
An Unusual ‘Grandmother’ Clock in the Chinoiserie Manner
A Magnificently Carved Display Cabinet of Exhibition Quality Circa 1885
The maker has chosen to use a richly grained satinwood, and executed the carving with extraordinary fluency and precision, foliates, putti and birds are featured; over the open sectioned base, quadrant shelves flank the lower door; above, double bevelled and shaped mirrors have flanking cupboards with richly carved fascias, conjoined by a running gallery, and, surmounted by a serpentine shaped cornice.
DIMENSIONS: H:
99 in
252 cm
W:
62 in
157 cm
D:
18 in
46 cm
REFERENCE: 7761
A Rare & Wonderful Looking Glass By Pietro Giusti, with a Noble Provenance Circa 1850
The minutely carved walnut frame, surmounted by a putto, depicts addorsed birds, chimerae, fruits and foliates, and houses a ‘sorciere’ mirror, within an undercarved running guilloche, over the English Coat of Arms of Thomas de Grey, Baron Walshingham, and the legend, ‘Siena, 1850’. To the obverse, the trade label of Pietro Guisti, Siena gives details of his business. Siena, Italian. Pietro Guisti (1822-1878) Carver and inlayer, born 29 July 1822, apprenticed to the legendary master carver Angiolo Barbetti, and opening his first workshop in 1845, he gained quickly an international recognition for the mastery of his craft; his clients included members of the English aristocracy, including Lord Northesk. He was an exhibitor and medal winner at the International Exhibitions of London, in 1862 & Paris in 1867. Several commissions were executed for Lord Walshingham, a descendant of the spymaster of Queen Elizabeth the First. Simone Chiarugi’s two volume work, ‘Botteghe di Mobilieri in Toscana, 1780-1900 (pp 483-490) and Enrico Colle’s ‘Il Mobile dell’Ottocento in Italia’ gives a full exegesis of the remarkable fame and esteem in which Giusti was held.
DIMENSIONS:
Timothy Duke, The Chester Herald of the College of Arms, London, reported to us, as follows; ‘The arms on this piece are of Thomas (de Grey) Baron Walsingham; the marshalling of arms on the mirror frame correctly identifies Lord Walsingham in 1850, three years after his marriage to Emily Elizabeth Julia Thelluson. The inscription suggests that it was made in Siena. Lord Walsingham’s immediate family also had links with Italy; his niece Henrietta Maria, daughter of Lt. Brownlow North Garnier RN, was born on 16 February 1840 in Florence, and baptised there at the British Embassy (Reference College of Arms ms Norfolk 51, 151)’.
REFERENCE:
H:
23 in
58 cm
W:
17 in
42 cm
7868
The elliptical mirror plate housed within a carved silvered wood frame dressed with incised decoration, the cresting pierced, and trailing acanthus leaves, graduated leaves and berries. Sicilian.
A Fine Eighteenth Century Looking Glass
A Magnificent Florentine Giltwood and Porphyry Side Table Attributed to Francesco Morini
Circa 1780
Circa 1860
The rectangular porphyry top is inset with a lapis lazuli band edged with black and yellow marble. The top sits above a fluted and patera mounted frieze centred by a crown above an armorial which is hung with fruit and leaves and flanked by scrolls and acanthus leaves. The front legs are modeled as putti bearing cornucopiae issuing fruit and foliage and terminating in chimerical heads. The rear legs are headed by scrolls hung with fruit and foliage and like the front legs they terminate in chimerical heads. A shaped and pierced x-frame stretcher joins the legs and is centred by a chimerical head surmounted by a double shell issuing scrolls and acanthus above a trellis work lozenge and shell, on canted rectangular tiered feet. The arms are those of the Capponi family, Florence. Italian.
DIMENSIONS:
REFERENCE:
DIMENSIONS:
REFERENCE:
H:
41 in
104 cm
H:
7769
W:
69 in
176 cm
D:
33 in
83 cm
W:
65 in 164.5 cm 43.5 in
110 cm
7681
Provenance: Supplied to Marchese Gino Capponi, Palazzo Capponi, Florence, Circa 1860. The exuberance and quality of the carving on this remarkable side table is typical of Francesco Morini’s work (1822-1899). He supplied several pieces for the Pitti Palace, Florence including a pair of elaborately carved and gilded mirrors and consoles for the Salotto della Regina (M. Chiarini & S. Padovani, Gli Appatamenti reali di Palazzo Pitti, Florence, 1993, pp. 259-261). A closely related table, now in the museum fur Angewandte Kunst, Vienna and also supplied by Morini to the marchese Gino Capponi for the Palazzo Capponi, Florence, features the same armorial cartouche hung with fruit and swags and legs formed of tritons which bear the carved frieze (S. Chiarugi, Botteghe di Mobilieri in Toscana, Florence, 1994 vol. I). Gino Capponi was an influential figure in Florence’s nineteenth century history, both prior to and under the new regime of the Kingdom of Italy. Although he was blind by 1840, his salon in Florence continued to be a centre for the leading liberal thinkers of Europe and he played an active role in Florentine political life. King Leopold II of Tuscany appointed him Councillor of State in 1847 and, a year later, Minister of State. By 1859 he was serving as Senator in the Tuscan Assembly and in 1860 he was nominated a Senator in the newly created kingdom of Italy. Unfortunately, his failing health prevented him from taking his seat in the Senate and he spent his final years writing his great work, Storia della repubblica di Firenze (1875).
A Rare & Unusual Circa
Milanese Library Desk 1800
Constructed in walnut, with extensive and finely executed foliate and pictorial marquetry work in ivory; of serpentine form, rising from turned bun feet, the shaped pedestals having their cupboard doors enclosing banks of three drawers, the recessed centre having a shaped drawer with a writing slide over; the writing surface having a marquetry tableau of Apollo guiding the Nine Muses through the Heavens; to the back, sides and cupboard facings, Bacchic mask adornments. One drawer having an ink inscription, ‘Venezia 1833 Aprile 3, Giorgio Coruna, pago questo scritorio vuoi conto £33.10.0’ (Venice, 1833 April 3, this desk was purchased from Georgio Coruna for £33/10/0.) Italian.
DIMENSIONS:
REFERENCE: 7740
In early nineteenth century Europe, the English pound sterling, the French livre, and the Italian lira had virtually identical values. The price paid for this piece equates to two years wages for a London workman, working a ten hour, six day week!
H:
30.5 in
77.5 cm
W:
57 in
144 cm
Provenance
D:
34 in
86.5 cm
Cowdray Park
Back of desk
A Fine Micromosaic Plaque Circa 1870
Of elliptical form, enclosed within a carved giltwood rectangular frame; the depiction of a bouquet of flowers issuing from a two handled baluster vase rendered in the manner of a Dutch 17th century painting. Italian. The best known and earliest work, later emulated widely in Rome was the Studio del Mosaico dell Reverenda Fabbrica di S. Pietro (the Mosaic Studio of the Reverend Workyard or Workshop of St. Peter’s) first started around 1576 to create architectural mosaics for the new basilica of St Peter’s, later established as a distinct entity in 1792.
DIMENSIONS:
REFERENCE:
H:
28.5 in
72 cm
W:
24.5 in
62.5 cm
7755
A Pair of Wing Backed Armchairs Circa
Constructed in walnut, rising from front cabriole legs decorated with ‘c’ scrolls, with swept legs to the rear; upholstered in gros point needlework, in ‘country house’ condition.
DIMENSIONS:
REFERENCE:
H:
41 in
104 cm
W:
33 in
83 cm
D:
27 in
68 cm
7817
in the mid-Georgian Manner 1910
A Fine Pair of Circa Constructed in Circassian walnut, ebony and various specimen wood inlays, exuberantly mounted with porcelain plaques and quality gilt bronze mounts; rising from plinth bases, having canted angles, dressed with rams head spandrels issuing pendant bronze entrelacs housing circular porcelain plaques; each cabinet with two lockable doors, with shaped mirror doors housed within a running foliate bronze trim, which enclose shelved interiors; the apron with conforming bronze entrelacs and plaques, and over, cross banded tops.
DIMENSIONS:
REFERENCE:
H:
42.5 in
108 cm
W:
36.5 in
93 cm
D:
15.5 in
39.5 cm
7679
Side Cabinets 1860
A Very Fine Occasional Table made in the Louis XVth taste, in the Manner of Holland & Son Circa 1860
Constructed in kingwood, with inlays in bois violette, specimen woods and ivory, having gilt bronze mounts, and adorned with ‘Sevres’ plaques; rising from cabriole legs, having espagnolette bronze mounts, and a conjoining inlaid undertier, supporting the case with three open plush lined sliding drawers, and a closed drawer, with the ‘Sevres’ plaque housed in a foliate bronze cartouche; the tooled leather lined top flanked by trellis inlaid serpentine drop flaps, decorated with ivory inlaid interlaced ‘L’s, the monogram of Louis XVth, which are supported by stiles, and dressed with a bronze guard rail.
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 at the forefront of fashion, Holland & Sons employed some of England’s leading designers and participated in all of the International Exhibitions of 1851, 1855, 1862, 1867, 1872 and 1878.
DIMENSIONS:
REFERENCE:
H:
29 in
72.5 cm
W:
28 in
70 cm
D:
16 in
41 cm
7793
An Exhibition Quality Centre Table Circa
Firmly Attributed to Holland & Sons 1860
Constructed in thuya wood, with sycamore, ebony, bois de violette, boxwood and ivory utilised in the inlaywork, with entensive, finely cast and chased gilt bronze mounts. Created in the fashionable Louis XVIth revival manner, the legs, having squat inverted truncated cone bases, are castor shod, with cannellure centres rising from bronze stiff leaf cups, and having bronze octagonal collars cast with foliates, and bronze foliate swags, with a conjoining double knot stretcher, with a running pearl border in bronze, centralised around a bronze urn in the Grecian taste. The ceinture houses two mahogany drawers with quadrant mouldings, fielded panels and further bronze edgings, with foliate escutcheons, centred around tablet with an agricane (ram head) motif. The reverse has two dummy drawers and repeated motifs, and the sides have foliate bronze plaques. The rectangular top, with everted angles shows finely chosen thuya wood, protected by a guard rim of gadrooned bronze, with an interior band, housing running inlaid and engraved bellflowers, and an interior geometric banding in ebony.
Holland & Sons
DIMENSIONS:
REFERENCE:
H:
29 in
73 cm
W:
52 in
132 cm
D:
30 in
76 cm
7057
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 at the forefront of fashion, Holland & Sons employed some of England’s leading designers and participated in many of the most important international Exhibitions of 1855, 1862, 1867, 1872 and 1878. Amanda Girling Budd’s 2006 thesis on Holland and Sons, and Symonds & Whinery’s 1962 publication, ‘Victorian Furniture’ show tables with many corresponding features.
An Exceptionally Rare Secretaire, after the J.H. Riesener example in The Wallace Collection Circa 1900
Of upright rectangular form with canted corners; veneered in thuya-wood, and banded in purple-wood, exuberantly dressed with gilt bronze mounts of the highest quality, and having a Carrara marble top. Rising from bracket feet, the lower apron has a strong gilt bronze mount of stiff leaf acanthus foliates and volutes; the lower section has two lockable doors, with laurel wreathed escutcheons, the recessed panels, with gilt bronze frames, enclosing a shelf fitted interior. Over, the counter weighted lockable fall front has conforming recessed panels, mounted with a stepped gilt bronze indented band, the corners with rosettes of bay leaves, interspersed with berries. At the centre, an elliptical gilt bronze panel, depicting ‘A Sacrifice to Love’, a classically dressed woman presenting an infant to Cupid, who stands on a pedestal, wreathed by the scent from a brazier. The plaque has ribbon tied flowers, including roses, myrtle, narcissi and lilies-of-the-valley above, and below. The fall front encloses an interior fitted with drawers and pigeonholes. The top frieze houses a drawer, having a centrally posited rectangular plaque, depicting three infants, one playing with a spaniel, one holding an open book, and handing a letter to the third infant, who wears the winged cap of Mercury, and has his caduceus at hand. The plaque issues sprays of roses, pinks, carnations and other flowers, with rosaces at the angles. Over, a gilt bronze egg and dart band frames the shaped Carrara top. The canted front angles are pilasters, mounted with gilt bronze spandrels, cast as stiff leafed acanthus, having attached sprigs of oak leaves, berries and intertwined forget-me-nots, all within a gilt bronze stepped band. Below, smaller acanthus leaf spandrels are dressed with chased volutes. The sides are recessed and housed within running gilt bronze bands as seen on the lower doors, with a guard band betwixt the upper and lower sections. Chubb locks, (marked with their London address, 128 Queen Victoria Street, and ‘Detector’, their special virtually unpickable lock) are fitted. English.
Jean-Henri Riesener (1734-1806) born in Westphalia, and arrived in Paris in 1755, gaining employment at the atelier of Jean-Francois Oeben. After Oeben’s death, he married his widow, Francoise, and took over the workshop, became a ‘maitre ebeniste’ in 1768, and was appointed ‘Furniture Maker to the King Louis XVIth’ in 1774. His masterful interpretation of the French Neo Classical manner, married to sublime workmanship is represented in museums world wide, including, the Victoria and Albert, The Royal Collection at Buckingham Palace, The Wallace Collection, the Metropolitan Museum of Art, Getty Museum, Philadelphia Museum of Fine Art, Chicago Art Institute, the Frick Collection, Chateaux des Chantilly, Fontainebleau and Compiegne, and the Louvre, inter alia.
The Riesener Secretaire in the Wallace Collection Originally delivered, along with other pieces, in February 1783 for Marie-Antoinette’s private rooms at Versailles, it was confiscated after the Revolution, and re-appeared in Russia in 1865, where it was purchased from Count Koucheleff Bezborodko, by Frederick Davis, and thence resold to the 4th Marquess of Hertford, where it is recorded in his Parisian collection at Rue Laffiite in 1867.
See the video by Christopher Payne www.butchoff.com DIMENSIONS:
REFERENCE:
H:
54 in
138 cm
W:
40 in
102 cm
D:
17 in
43 cm
7517
A Lavish Circa Constructed primarily in kingwood and Circassian walnut, with further specimen woods used in the extensive and very excellently executed inlays, and dressed with high quality gilt bronze mounts; of incurved serpentine form, rising from carved foliate feet, with a shaped and inlaid plinth; set between carved foliate stiles, four symmetrically shaped glazed faced doors enclose shelved interiors; the shaped top is florally inlaid, using further specimen woods.
Detail of top of Credenza
DIMENSIONS:
REFERENCE:
H:
41 in 104.5 cm
W:
79 in
210 cm
D:
24 in
61 cm
7676
Display Cabinet 1850
An Outstanding Centre Table labelled James Winter & Sons, Wardour Street, London Circa 1830
Of octagonal form: constructed in a finely marked Circassian walnut, carved, and with arabesque inlays in primarily ebony, and specimen woods; the tripartite platform base shod with castors, the knurled toes scroll carved, and dressed with bosses, with carved arabesques and elliptical lozenges to the upper part; the swept bulbous column having foliate inlays within cartouches; the top having a tilting action, richly, precisely and extensively inlaid with foliate form, within a guard band, and having a central circular medallion. Stamped to the top platform, ‘H Winter, Wardour Street, Soho, London’.
James Winter and Sons The family business commenced at 101 Wardour Street in 1823, and, after 1840, moved to 151/153/155 Wardour Street. The ‘James Winter’ label describes themselves as ‘Brokers, Appraisers & Undertakers, Dealer in Second Hand Household Furniture’. A trade card, recently found, notes ‘A Liberal Price for Second Hand Furniture in Large or Small Quantities’. They offered the service ‘Rents Collected & Legally Recovered’. Much of the furniture stamped by the company is of the very highest quality (see ‘Marked London Furniture 1700-1840’ by Christopher Gilbert, published by the Furniture History Society). The company closed in 1870. References; Dictionary of English Furniture makers, 1660- 1840, published by the Furniture History Society.
DIMENSIONS:
REFERENCE:
H:
30 in
76.5 cm
Dia:
53 in
135 cm
7762
A Finely Carved Desk Chair By Angiolo Barbetti Dated 1863
Constructed in walnut, and carved in the Neo-Renaissance manner; rising from castor shod legs, the rear legs carved with a running guilloche, with the front legs ring turned about lobed ellipses; the front rail having a running Vitruvian scroll pattern, the seat upholstered, with arm rests in the form of winged griffons, conjoining the back, which is carved and pierced with addorsed scantily clad maidens supporting a tablet; the serpentine toprail housing a recessed scallop shell; signed and dated to the back, Barbetti, Firenze 1863. Italian. Angiolo Brabetti, born Siena 1805 trained as an inlayer and sculptor, opening his workshop in Florence in 1842. An exhibitor at the Great Exhibition at the Crystal Palace Exhibition in 1851, and in the 1862 London, gaining a commission for work at the Russian palace of the renowned Prince Demidoff. Literature Chiarugi, ‘Italian published 1985.
Wood
Carvers’
Enrico Colle, ‘Il Mobile Dell’Ottocento in Italia’ published 2007.
Detail of back of chair
DIMENSIONS:
REFERENCE:
H:
45.5 in
115 cm
W:
22.5 in
57 cm
D:
24.5 in
62 cm
7796
The founder of the Gillows dynasty, Robert (1704-1772) 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. A scholarly two volume exegesis of the firm, ‘Gillows of Lancaster & London’ by Susan E. Stuart was published by the Antique Collectors Club in 2008, is masterpiece of its’ type . We are proud to present the following examples of their work.
Gillows of London & Lancaster
GILLOWS OF LONDON & LANCASTER
Circa 1766
Using particularly fine mahogany throughout, and rising from stepped ogee bracket feet, which support the lower part, with one long, and two short drawers, having the drop front secretary over, housing an arrangement of small drawers, pigeonholes and slide cupboards, set about a central lockable cupboard. Secret drawers are within. The press section has two doors, dressed with a carved moulding and housing sliding trays. The everted cornice has a carved blind fret in the ‘Chinese Chippendale’ manner. The brass handles and escutcheons are original to the piece. The Gillows records are precise as to the cabinet makers and carvers, all of whom are recorded in their internal accounts. The Gillows Archives, housed in London, record details of a ‘secretaire press’ made in 1766 for John France, later Lord of Rawcliffe (d1817), for one of his residences, Rawcliffe Hall, Lancashire. These records show an initial sketch of the proposed piece, along with its dimensions. The Rawcliffe Hall Secretaire Press is discussed at considerable length in volume 2, pp.54-60, of Susan E. Stuart’s recently published two volume exegesis of the company, ‘Gillows of Lancaster and London 1730-1840’, published by the Antique Collectors Club.
Published by Permission of Westminster Archive Centre
DIMENSIONS:
REFERENCE:
H:
85 in
216 cm
W:
54 in 137.5 cm
1807
Gillows of London & Lancaster
A Highly Important & Documented Secretaire Press By Gillows of Lancaster
Circa
Constructed in a finely figured and beautifully patinated South American rosewood: the twenty chairs, consecutively numbered in Roman numerals to the frames, from One to Twenty, rise from gently tapering front legs, turned, lobed and carved with inverted lotus flowers; the rear legs of sabre form, channelled, and sweeping into the uprights, themselves carved with scrolled ears, and having circular bosses floral carved, to both sides; the seat rails are of ogee moulded form, and house integral upholstered stuffed and tufted seats; the backs having shaped central splats, carved with addorsed anthemions within a tablet; the top rails housing a fielded panel, framed with finely carved ‘egg & dart’ moulding, and the top edges dressed with a running carved ovolo moulding.
DIMENSIONS:
REFERENCE:
H:
35 in
88 cm
W:
19.5 in
49 cm
D:
24 in
60 cm
7813
Set of Twenty Regency Period to Gillows of Lancaster & London 1815
Gillows of London & Lancaster
A Truly Remarkable Long Dining Chairs Firmly Attributed
Circa
Constructed in a finely figured Cuban mahogany; rising from lobed, tapering and ring turned legs, shod with brass castors; the platform having radiused corners, and a running thumbnail moulded edge; the extensible telescopic action able to house the three separate original leaves, with ‘D’ clips ensuring stability. A similar table is illustrated, along with the original Gillows design, in Susan E. Stuart’s ‘Gillows of Lancaster, 1730-1840’, under plates 244 and 245 in volume 1.
DIMENSIONS:
REFERENCE:
H:
29 in
74 cm
W:
54 in
138 cm
D:
150 in
381 cm
7361
Gillows of London & Lancaster The founder of the Gillows dynasty, Robert (1704-1772) 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
in the Manner of Gillows of Lancaster 1825
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.
Gillows of London & Lancaster
A Very Fine Georgian Dining Table
Circa
Constructed in an exceptionally splendid mahogany in a double inverted breakfront form in the Gothic style; decorated with fine Gothic tracery and rose windows with crocketed spire finials to the angles; the lower pediments with castellated galleries above carved corbels and a blind fret carved frieze, the Gothic arched open fret carved astragal glazed doors enclosing adjustable shelves flanked by cluster columns with acanthus leaf capitals; the central section with a secretaire drawer having a fitted rosewood interior, with a series of lidded compartments with inset engraved brass alphabetic tablets and enclosing a pull out writing slide; above, a pair of cupboard doors flanked by six further cupboard doors all with quatrefoil panels enclosing adjustable shelves on a plinth base, locks stamped GR.
Provenance: purchased from Ronald Lee, Kensington Church Street, London. Writing in March 1827, Rudolph Ackermann, publisher of the Regency’s leading style and fashion magazine The Repository, waxes lyrical about a Gothic library bookcase designed by Pugin the Younger. ‘No style’, he says, ‘can be better adapted for its decoration than that of the middle ages, which possesses a sedate and grave character, that invites the mind to study and reflection. The rays passing through its variegated casements cast a religious light upon the valuable tomes on either side.’ DIMENSIONS:
REFERENCE:
H:
140 in
355 cm
W:
223 in
566 cm
D:
29 in
74 cm
7477
Plate 440. A Gothic bookcase made in November 1811 for Edward Hobson Esq. of Hope, near Manchester. PUBLISHED BY PERMISSION OF WESTMINSTER ARCHIVE CENTRE
with a Secretaire, Attributed to Gillows of Lancaster 1830
Gillows of London & Lancaster
A Truly Magnificent Georgian Library Bookcase fitted
Gillows of London & Lancaster
A Magnificent Monumental Partner’s Desk made in the Gothic Manner Circa 1850
Constructed in a finely patinated oak; rising from a plinth base, the canted corner pedestals having lockable blind doors, carved with lancet arcades, each enclosing four drawers; the running lancet pattern repeats on the ends, and through the kneehole, which is braced with swept foliate Gothic spandrels; three lockable drawers to each side; the inverted shaped writing surface having bold thumbnail mouldings, and fitted with a tooled leather writing surface. A.W.N. Pugin’s endorsement of the Gothic Style, and his books of designs, including ‘Ornament of the 15th & 16th Centuries’ along with the designs of Sir Charles Barry for the new Houses of Parliament informed a generation of the ‘Gothic Revival’.
DIMENSIONS:
REFERENCE:
H:
31 in
79 cm
W:
99 in
251 cm
D:
48.5 in
123 cm
7723
Provenance This magnificent desk was used by Arthur Watts in his office at Watts of Lydney. Founded in 1851, the business started as a general store and bakery. David’s son Josiah borrowed £300 from an uncle and added a small ironmongery shop to the business. With the ironmongery needs of Lydney’s busy docks, railway and tin plate works and through the entrepreneurial skills of Josiah and his wife Clara, the business grew, and by 1905 their son Arthur, and later, John joined the business. Building on success, a Ford Motor Dealership was also added to the business in 1912 and in 1919 Watts opened Lydney’s first garage. Both Arthur and John served in First World War and on their return to Lydney, Arthur converted, repaired and sold surplus war vehicles and Watts grew through the 20th and into the 21st Century and today its interests include a large commercial property portfolio, Polyurethane & Ultrathane manufacturing, and a large truck dealership.
A Very Fine Georgian Serving Circa Constructed in a Cuban mahogany having richly marked veneers and possessing a deep colour and patination; rising from ‘hairy paw’ feet, the gently tapering legs spirally carved, and ring turned, supporting the arc-en-arbalette shaped platform, with the fielded recessed tablets having running reel mouldings, housing a central drawer; the low serpentine back incorporates well executed Graeco-Roman foliate carvings. Concordances will be noted in this piece with a sideboard design illustrated by George Smith in his seminal 1808 publication ‘A Collection of Designs for Household Furniture’, which interpreted and popularised the somewhat austere designs delineated in Thomas Hope’s earlier publication, ‘Household Furniture’, and Peter & Michaelangelo Nicholson’s work, ‘The Practical Cabinet-Maker, Upholsterer and Complete Decorator’.
DIMENSIONS:
REFERENCE:
H:
48 in
121 cm
W:
90 in
228 cm
D:
29 in
74 cm
7819
Table of the Regency Period 1820
A Pedestal Desk of Superb Quality Circa Of free standing double sided form, constructed in a fiddle back mahogany of superb colour and patination; rising from a plinth base with incurved radiused corners; of the four fielded panel lockable doors, two have internally fitted banks of eight drawers, with chased brass handles, and two reveal shelved interiors; the upright stiles at the angles and kneeholes are richly carved with fruiting foliates; three lockable drawers in the frieze, fitted with ovolo and dart mouldings and circular carved wood knobs, and at each end, extensible plan slides; the writing surface is a tooled leather hide. Throughout, shield shaped ivory escutcheons and Hobbs locks have been employed for all keyholes. The central drawer bears an inset circular plaque with the makers name, ‘Hampton of Pall Mall, London’. Hampton and Sons Ltd of Pall Mall East, Trafalgar Square London Established in 1830 in Cranbourn Street, Leicester Square by William Hampton, later being joined by his sons, George and William, the company moved to 8 Pall Mall East, adjacent to Trafalgar Square, in very large premises, trading as builders and surveyors, estate agents, ‘antique and modern furniture dealers’, general furnishers, upholsterers, plumbers and electricians. Their commissions included, inter alia, the furnishing of the Royal Yacht Britannia, the liners Queen Mary and Queen Elizabeth, the Theatre Royal in Drury lane, and the palaces of the Nizam of Hyderabad and the Maharajah of Kashmir. An incendiary bomb destroyed the building in 1940, after which they moved to Kensington High Street, where they traded until 1960.
DIMENSIONS:
REFERENCE:
H:
30 in
76 cm
W:
55.5 in
141 cm
D:
28.5 in
72 cm
7462
By Hamptons of Pall Mall 1870
An Imposing Secretaire Bookcase of the Regency Period Circa 1815
Constructed in a well patinated mahogany, with extensive use of scrolling cut brass inlays; rising from ‘cotton reel’ feet, the base of kneehole form, with banks of graduated bow front drawers, fitted with the original oversize ‘lotus bud’ brass pulls, flanking the central cupboard, with its bow front lockable door revealing a shelved interior; the deep pull out secretaire drawer having a hinged fall front flap, revealing a fitted interior with a symmetrical arrangement of pigeon holes and drawers set about a central cupboard, with three concealed compartments, the whole with gean wood facings, and inlaid. The upper section having double lancet astragal glazing bars, which enclose an adjustable shelved interior, and, over, the cornice, with its globe capped blocks housing a hemispherical facia.
DIMENSIONS:
REFERENCE:
H:
108.5 in
275 cm
W:
50.5 in
128 cm
D:
23 in
59 cm
7685
A Superior Pair of Commodes in the Hepplewhite Circa Constructed in fiddleback mahogany, with kingwood crossbanding, and exotic woods, such as satinwood and holly used in the complex inlay work: of arc-en-arbalette form, having tapering spade footed legs inlaid with pendant Bellflowers, housing three graduated drawers, all finely inlaid with floral wreathes, with swan neck pulls; the sides having boxwood strung ellipses housing finely executed inlays of floral bouquets inside straw baskets; the tops having inlaid ellipses with a very complex arrangement of strewn flowers. All the design elements in this rather special pair are to found in George Hepplewhite’s ‘Upholsterers & Cabinet Makers Guide’ published in 1794. 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 importing, retailing, adapting and restoring the finest antique furniture and there are many examples of their earlier furniture with later embellishments bearing their stamp.
Detail of top of console
DIMENSIONS:
REFERENCE:
H:
35 in
89 cm
W:
35 in
89 cm
D:
21 in
53.5 cm
7798
Manner Firmly Attributed to Edwards & Roberts 1890
A Splendid Pair of Cabinets in the Adam Neo Circa
DIMENSIONS:
REFERENCE:
H:
33.5 in
85 cm
W:
38 in
97 cm
D:
14 in
36 cm
7757
Constructed in a beautifully figured satinwood, with finely executed marquetry inlays; of restrained breakfront form, rising from gilt toupie feet, turned and dressed with ‘running pearl’ annuli, the shelved central open display sections, having pleated silk back panels, and flanked by lockable cupboards, decorated with marquetry panels of pendant musical, martial and horticultural designs, issuing from ‘lovers knots’ bows; the platforms having crossbanded reserves inlaid with foliate marquetry inlays. Stamped by the maker, ‘James Hicks, Dublin’. Irish.
Classical Manner By James Hicks of Dublin 1900
James Hicks (1866-1934) The work of Dublin furniture-maker James Hicks draws on the great English Eighteenth Century masters, Chippendale, Adams and Sheraton. He opened his business in 1894, quickly obtaining Royal patronage from King Edward VII and the Crown Princess of Sweden. He is admired for his use of exotic woods, exceptional marquetry and veneering.
A Pair of Pier Glasses of Important Size, in the English Rococo Manner Circa 1870 Of shaped symmetrical form, the extensively carved gilt wood frame having central rectangular columnar framework dressed with pendant helical foliates, with shaped outer reserves, all housing Vauxhall plate mirrors; below, oversized addorsed ‘C’ scrolls are set around ‘frozen waterfall’ and shell work carving; the outer framework, of shaped form is adorned with Ho-Ho birds to the mid parts, with a pair of putti holding draped foliates, in which roses and chrysanthemum flowers predominate; the arched cornices are capped with phoenix.
DIMENSIONS:
REFERENCE:
H:
112 in
285 cm
W:
54.5 in
138 cm
7706
A Fine and Dramatic Console Table Circa Constructed in ebonized and well carved gilt wood; the everted ebonized rectangular base having two gilt wood addorsed statant sphinxes supporting the upper frame, with central scallop shells, and dressed with acanthus carvings, the apron having Vitruvian scrolls; the serpentine rear legs channelled and conformingly carved; the platform of Verte de Mer marble.
William Kent (c.1685-1748) Influenced by the works of Andrea Palladio during a visit to Rome, his dramatic use of the Classic informed his architecture (including Chiswick House for Lord Burlington, and Holkham Hall), furniture designs and garden layouts.
DIMENSIONS:
REFERENCE:
H:
34.5 in
87.5 cm
W:
62 in
157 cm
D:
24.5 in
62 cm
7765
in the Manner of William Kent 1880
French Collection
FRENCH COLLECTION Following the success of the Guild system of the Middle Ages, a proposal to institute a ‘Guild of Master Cabinet Makers’ was put forward during the reign of the ‘Sun King’, Louis XIVth, and, in the second quarter of the Eighteenth Century, the ‘Jurande des MenuisiersEbenistes’ was inaugurated in Paris, under the patronage of Louis XVth.
A Good Gilt Wood Mirror in the Louis XVIth Manner By Lexcellent, Paris Circa 1880
Cabinet makers who had served their apprenticeship, and proved skilful in blending technical excellence to design skills, probity with financial management, and had presented a ‘Masterpiece’ that met the satisfaction of the Guild Masters, were awarded the coveted, and quite necessary ‘JME’ marque de fer, that permitted them to ply their trade. During the French Revolution, in 1791, the ‘Jurande des Menuisiers-Ebenistes’ (JME) was dissolved, but the long established tradition of master cabinet makers proclaiming their excellence and ability, by signing their work continued into the Nineteenth Century. The Crystal Palace Great Exhibition of 1851 introduced contemporary French cabinet makers to the British public; the vanguard, including Durand, Mercier, Tahan, Jeanselme, Krieger and Fourdinois showed ‘autograph’ pieces. ‘Designer Labels’ are not a recent innovation!
The rectangular frame having everted corners, with rosaces at the angles, a central pendant foliate, a laurel wreath tied with ribbands atop, with pendant intertwined bellflowers to the sides, and housing a bevelled plate with inverted angles. French. Guillaume-Edmond Lexcellent Parisian born in 1834, recorded as working from the Rue Charenton in 1867, later at Rue Breguet. He exhibited at the Universelle Expositions of Paris in 1855 & 1867, receiving ‘honourable mentions’ & a bronze medal, and silver at the 1889 Exposition. His trade card records his works as ‘meuble de luxe in diverse styles’. He is recorded in Denise Ledoux Lebard’s ‘ Le Mobilier Francais du XIXe Siecle’.
DIMENSIONS: H: W:
REFERENCE:
61 in 154.5 cm W: 42 in
107 cm
7632
French Collection
An Elegant Parisian Side Cabinet By F. Durand et Fils Circa 1890
Constructed in quarter veneered amaranth, highlighted with citronnier stringing, and dressed with finely cast and chased gilt bronze work, and ‘Sevres’ porcelain plaques: rising from foliate gilt bronze hoof feet, supporting gently swept cabriole legs, and incorporating a shaped bronze galleried undertier: the cabinet having double doors with porcelain plaques of rose and blue trellis work, around central bouquets tied with ‘lovers bow’ knot, mounted in foliate cast gilt bronze frames, and enclosing a fitted interior of pigeon holes and drawers, with brass handles: bronze bouquets to the sides, within inlaid citronnier arabesques. Stamped with the marque de fer of the maker, ‘F. Durand et Fils’ several times to the underside. French. Specialising in the production of 18th century style furniture of the finest quality, Gervais-Maximillien-Eugène Durand (b.1839) exhibited at the Universelle Exposition of Paris in 1889, gaining a silver medal, and the praise of the judges, who compared their work with that of Beurdeley and Dasson. With his son FredericLouis joining him around 1890, the firm changed its name to Durand et Fils.
DIMENSIONS:
REFERENCE:
H:
51.5 in
131 cm
W:
31.5 in
80 cm
D:
18 in
46 cm
6810
Back of cabinet
Circa 1870
In the Transitional manner, constructed using kingwood, and having bois violette cross banding, highlighted with finely cast gilt bronze mounts; the elliptical ‘Sevres’ porcelain platform having a polychrome, hand painted central motif of a rich bouquet of flowers, set in a bleu celeste, rose decorated guard band, with gilded highlights, all enclosed within a gilt bronze frame; the apron containing a mahogany lined drawer, with the lock inscribed by the maker ‘Paul Sormani, 10 Rue Charlot’; the swept cabriole legs having gilt bronze spandrels, a rognon form undertier, cross banded, and dressed with an arcaded gallery, and gilt bronze animal paw sabots.French. Paul Sormani, (1817-1877) born Canzo, in the Lombardy area, set up his first workshops in Paris in 1847, finally settling in Rue Charlot in 1867, offering works of ‘a quality of execution of the first order’. Supplying copies of furniture in the style of the ancien regime. They exhibited at the Paris Exhibition of 1849, obtaining a bronze medal, and later, the Paris Universelle Expositions of 1855 and 1867, and in London in 1862, being awarded medals for their excellence.
DIMENSIONS:
REFERENCE:
H:
29 in
73 cm
W:
20.5 in
52 cm
D:
15 in
37 cm
7754
French Collection
An Excellent Table de Salon By Paul Sormani
Circa Carved and gilded, of the very highest quality work befitting a medal winner at the Crystal Palace Great Exhibition of 1851, a gold medal winner at the Paris Exhibition of 1855, and the cabinet maker of choice to the Empress Eugenie; constructed in the taste of the furniture of the Louis XIV/XVth époques; rising from cabriole legs with swept toes, the front rails carved with foliate arabesques; the seats upholstered, and the padded arms decorated with further foliate carving, whilst the arm supports are entwined with carved dragons; the back frames conformingly carved with foliates, and the serpentine top rails having mascarons to their centres. Stamped to the seat rails by the maker. French.
DIMENSIONS: H:
REFERENCE:
43 in 109.5 cm
W:
29.5 in
75 cm
D:
31 in
79 cm
7752
By Alexandre-Georges Fourdinois 1850
Alexandre-Georges Fourdinois (1797- 1871) a native Parisian, established his company in 1835, and quickly became the eminent maker-furnisher to the Second Empire. Exhibiting at, and a medal winner at the London 1851 & 1862 Great Exhibitions, and the Paris Exhibition of 1855 and 1867; Created an ‘Officer of the Legion d’Honneur’ in 1863, he ceded the running of the company to his son in 1867, who had joined his father 6 years earlier. Examples of their work may be seen at the Chateau of Compiegne, and the Victoria & Albert Museum. Reference; Denise Ledoux-Lébard,‘Les ébénistes du XIXe siècle’, published by Les Editions de l’Amateur, Paris, 1965.
French Collection
A Magnificent Pair of Armchairs
Circa 1880
Constructed in kingwood, adorned with gilt bronze mounts of the very finest quality, and having a Sienna Brocatelle marble platform; rising from gently swept cabriole legs, mounted with bronze espagnolettes and sabots; the single shaped door mounted with a fine bronze plaque depicting putti, and the sides glazed, within a channelled bronze frame work, and enclosing a shelved interior; bronze spandrels to the sides, and a running pendant swag supported by disporting putti, and surmounted with the marble platform. Signed by the maker, François Linke. French. François Linke (1855-1946) is considered to be one of the finest ébenistes and bronziers of the 19th century. He moved from Pankratz, Bohemia where he completed his apprenticeship under the strictest of training, to Paris in 1875, setting up shop in the Place Vendome, and with his workshops in the faubourg Saint Antoine, he quickly attracted a wealthy clientele, appreciative of the excellence of his work. Specialising in the style of the ancien regime and modifying the proportions of the original works to suit the smaller Parisian apartments, he was an exhibitor at the Paris Exposition Universelles of 1878, 1889, and 1900, and at the last, a Gold Medal winner par excellence for his extraordinary Bureau du Rois.
DIMENSIONS: H:
REFERENCE:
58.5 in 148.5 cm
W:
26 in
66.5 cm
D:
15 in
38 cm
7852
French Collection
A Splendid Transitional Display Cabinet By François Linke
Circa 1870
The lockable case constructed in finely detailed foliate cast gilt bronze, having inset ‘Sevres’ panels with the typical ‘Bleu Celeste’ field colour, decorated with paintings within cartouches in the manner of Bougereau; the interior fitted with four stoppered decanters and sixteen wines, all in soda glass with gilt decoration. French.
DIMENSIONS:
REFERENCE:
H:
13 in
32 cm
W:
16 in
39.5 cm
D:
12 in
30.5 cm
7818
French Collection
A Superb Decanter Set of the Napoleon IIIrd Period
A Fine Bureau Plat in the Louis XVth Taste, in the Manner of François Linke
A Large French Eighteen Light Chandelier in the Louis XVIth Manner
Circa 1880
Circa 1880
Constructed in gilt bronze, having twelve scrolled arms, of alternate paired and single candle holders, of ‘S’ form, depicting male herms projecting the candle holders, issuing from a shaped central column, terminating in berries below, with a stylised corona above. French.
Constructed in kingwood, with very fine gilt bronze mounts; rising from gilt bronze paw feet, the cabriole legs having spandrels of foliate form; supporting the body, of serpentine form, the apron housing a long central drawer, flanked by pairs of drawers, all adorned with sinuous gilt bronze mounts, and having an inset leather writing surface, housed within a bronze guard band. French.
DIMENSIONS:
REFERENCE:
H:
29 in
W:
52 in 132.5 cm
D:
29.5 in
74 cm
75 cm
7703
DIMENSIONS: H: Dia:
REFERENCE:
55 in
140 cm
35.5 in
90 cm
7767
A Dramatic & Highly Decorative Pair of Statues in the Classical Manner
A Very Fine Display Cabinet in the Manner of Jackson & Graham
Circa 1870
Circa 1885
In cast metal; the male figure, emblematic of Spring, presents a youth disrobing and emergent, and the counterpart female figure, covering herself, and retiring, representing Autumn; standing on a pair of octagonal marbled wooden bases. French.
Constructed in amboyna and ebony with gilt bronze and inlaid ivory accents; rising from toupie feet with brass bands, having a shaped plinth with rounded everted angles, the lower cabinet having a shelved and mirror backed interior, with glazed doors with thirteen pane astragal mouldings flanked by turned and fluted columns with gilt Corinthian capitols; the apron with a central gilt bronze tablet depicting a scene from the antique, flanked with ivory arabesques; the upper cabinet of conforming style, but incurved, supported by columns, and two glazed doors with further ivory arabesque inlay, a running gallery over, with an inlaid swan neck pediment.
STATUES: H:
52.5 in
133 cm
STATUES including plinth:
DIMENSIONS:
H:
H:
72.5 in
184 cm
REFERENCE:
W:
33 in
83 cm
7695
D:
15 in
38 cm
77 in
196 cm
REFERENCE: 7655
A Lady’s Dressing Table By George Betjemann & Sons Circa 1910
DIMENSIONS:
REFERENCE:
H:
31.5 in
80 cm
W:
71 in
180 cm
D:
47 in
119 cm
7865
Constructed in a finely grained mahogany, with line inlays; of metamorphic form, rising from brass castor shod tapering legs, the kneehole flanked by a pair of drawers with bronze loop handles; the lockable hinged paneled top housing an adjustable beveled glass triptych mirror, and fittings for the integral electric lights to assist Madame with her maquillage; in the case are a pair of laterally swiveling fitted trays, housing make up accoutrements, and revealing further compartments with necessary articles for the toilet and dressing, including hand mirrors, glove stretchers, scissors, powder jars, brushes, combs, etc; stamped to the underside by the makers, ‘George Betjemann & Sons’, and the top with an ivorine plaque stating “Edward, Silversmiths to H M The King, 92 Buchanan Street, Glasgow”.
George Betjemann & Sons, Pentonville Road London George Betjemann (1798-1886), the great grandfather of Sir John Betjemann, 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 case, tantulus sets and tobacco cabinets, inter alia.
An Art Deco Table Circa Constructed in ash and laminate, on a Deco-style base, with players and handles constructed of painted wood, and with chrome rods. Harold Searles Thornton took out a patent in 1921 on the Table Football game, having invented the idea after visiting a game in North London, and using a matchbox, and matches for the prototype.
Provenance SIR WILLIAM BRIAN PIGOTT-BROWN, 3RD BT, of Broome Hall, Holmwood, Surrey. Who’s Who lists Sir William Pigott-Brown Bt, 47 Eaton Mews North, London SW1X 8LL; born 20 Jan 1941; succeeded to title 1942; educated Eton; champion amateur jockey, night club proprietor. The Daily Mail once referred to him as ‘Britain’s Most Debauched Peer’.
DIMENSIONS:
REFERENCE:
H:
33.5 in
W:
57.5 in 145.5 cm
D:
42 in
85 cm
107 cm
7806
Football Game 1930
A Rare Pair of Early Eighteenth Century Venetian Cannons Circa 1720 Cast in bronze, with the insignia of the Lion of St. Mark on the barrels bearing the winged lion motif, emblamatic of Venice. Mounted on later carriages. Italian. The Venetians organised the production of cannons in the fourteenth century primarily at Clanezzo, near Bergamo, taking their designs from the Ottoman Empire, who brought the art of cannon making to a peak.
CANNON: L:
41 in
103 cm
O/A CARRIAGE: L:
71 in
REFERENCE: 180 cm
7808
www.butchoff.com