The Pedestal | Fine Furniture & Objects | October 18 2016 by The Pedestal

at Moor Park Fine Furniture & Objects Tuesday October 18 2016

Enquiries: The Pedestal Limited PO Box 61367, London N19 9DU Tel: 0207 281 2790 Email: info@thepedestal.com

Fine Furniture & Objects 2pm Tuesday October 18 2016

Fine Furniture & Objects 2pm Tuesday October 18 2016 Sale number: 181016 The Pedestal at Moor Park Moor Park Mansion Rickmansworth Hertfordshire WD3 1QL

Specialists:

www.thepedestal.com 020 7281 2790 Guy Savill Email: guy@thepedestal.com Viewing 10am-4pm Saturday October 15 2016 11am-4pm Sunday October 16 2016 9am-5pm Monday October 17 2016 9am-12pm Tuesday October 18 2016 Catalogue: ÂŁ10

Sally Stratton Email: sally@thepedestal.com

Front cover: Lot 19 Inside front cover: Lots 25 and 115 Inside back cover: Lots 150, 130 and 67 Back cover: Lot 153

Client Manager: Jackie Brown Email: info@thepedestal.com Studio Photography: Gavin Macdonald Location Photography: Andrew Urwin

Company no. 10159639

Registered for VAT no. 244 7137 09

Location Moor Park Mansion is located at the heart of the exclusive Moor Park golf course, easily accessible from the M25, M40 and M1. Moor Park is served by Metropolitan Line tube stations at both Moor Park and Rickmansworth (followed by a short taxi ride) and is only 22 miles from Central London. There is plenty of on-site car parking available.

Symbols  These lots are zero rated for VAT, no VAT will be added to the hammer price or the buyer’s premium. ¥ These lots are subject to CITES regulations.

English Furniture & Objects 1 A small William and Mary walnut crossbanded and featherbanded chest The rectangular moulded quarter-veneered top with central oval, above two short and two long drawers, on a plinth base and later bun feet, 74cm wide, 53cm deep, 71cm high. ÂŁ4,000-ÂŁ6,000

thepedestal.com

2 A William & Mary walnut, olivewood oyster veneered, sycamore and green stained horn floral marquetry candlestand Inlaid with ebonised lines, the octagonal moulded top with a central circular panel of a bird within a wreath of flowerheads and leaves, on a spirally turned shaft and floral marquetry base, on downswept tripod legs and later turned feet, 33cm diameter, 84cm high. ÂŁ4,000-ÂŁ6,000

3 A William & Mary walnut and oyster veneered, ebonised and sycamore marquetry lace box The rectangular hinged lid with moulded edge inlaid with a central bird amongst leaves and flowers within an oak leaf marquetry oval banding within further leaves and flowerheads inlaid to each corner, the front and sides similarly inlaid with floral marquetry ovals on an oyster veneered ground, 48cm wide, 37cm deep, 11m high. £2,500-£3,500

4 A large William & Mary oyster veneered lace box The rectangular moulded hinged lid inlaid with concentric circles enclosing a later interior, with later sliding tray, on a moulded base, 53cm wide, 40cm deep, 12cm high. £1,000-£1,500

thepedestal.com

5 A William and Mary cocus wood oyster veneered cabinet on stand The rectangular moulded edge top above a pair of drawers and a pair of cupboard doors enclosing a fitted interior comprising of a central cupboard door and twelve short drawers with original silk linings, the later ebonised stand with a plain moulded frieze on twist legs and stretchers on turned feet, 103cm wide, 47cm deep, 138cm high. £3,000-£5,000

6 A pair of Gothic style cast iron andirons Each cast as a knight holding a shield within a niche, on downswept legs, 32cm wide, 74cm high. (2) £600-£800

7 A William and Mary olivewood, oyster veneered, walnut and oak chest The moulded rectangular top decorated with a geometric circular pattern and inlaid with boxwood lines above two short and three long graduated drawers, on bun feet, 97cm wide, 56.5cm deep, 88cm high. ÂŁ3,000-ÂŁ5,000

thepedestal.com

8 A William & Mary walnut, crossbanded, featherbanded and pollard oak side table The rectangular top with moulded edge and central radiating veneers, within featherbanded borders; above a frieze drawer on spiral baluster turned legs joined by a wavy platform stretcher, on bun feet, 87cm wide, 60cm deep, 69cm high. ÂŁ4,000-ÂŁ6,000

9 A William & Mary olivewood oyster veneered and crossbanded cabinet on stand Inlaid with sycamore concentric circles, the rectangular ogee moulded cornice above a cushion frieze drawer and a pair of cupboard doors enclosing a small central cupboard door, surrounded by ten short drawers, further enclosing three ‘secret’ drawers, the stand with moulded edge top above a frieze drawer on six spiral and baluster turned legs joined by a wavy flattened stretcher, on turned feet, labelled twice inside the stand drawer, ‘Athill Court Collection, no A3 £SL’, 109cm wide, 48cm deep, 165cm high. £5,000-£7,000 Provenance: Athill Court Collection Presumably Athill Court, Adel, West Yorkshire.

thepedestal.com

10 A large William & Mary olive oyster veneered mirror The later rectangular plate within a cushion moulded frame, 74cm high, 87cm wide. £2,000-£3,000

11 A George II walnut and parcel gilt mirror The later rectangular bevelled plate within a stiff leaf carved slip and shaped frame, surmounted by a swan-neck pediment and centred by a carved gilt spread eagle, with scrolls and trailing fruits and flowers to the side, with a shaped apron below, with a 19th century picture frame maker / dealers label to the reverse for H.WATSON, 141 WARDOUR ST, OXFORD ST, 137cm high, 67cm wide. £2,000-£3,000

12 A pair of early 18th century Batavian (Indonesian) lacquered teak carved side chairs The serpentine leaf and shell carved top rails above caned seats and pierced scrolling leaf and shell carved seatrails, on similarly carved cabriole legs, joined by block and reel turned ‘H’ stretchers, on paw feet. (2) £2,000-£3,000 The pair of chairs offered here are of a type found in Indonesia in the first quarter of the 18th century and were influenced by both Dutch and Chinese models. A related lacquered teak model is in the collection of the Rijksmueum, Amsterdam and is illustrated in Jan Veenendaal, Furniture from Indonesia, Sri Lanka and India During the Dutch Period, Delft, 1985, p.99, pl.105. Other Indonesian chairs from this period are in the collections of the Museum Sejarah, Jakarta and the Tropenmuseum, Amsterdam and are also illustrated Veenendaal, ibid., p.99.

13 A George I burr walnut, crossbanded and featherbanded chest The rectangular moulded edge top banded with a large central medallion and segmented corners above two short and two long drawers, on later bun feet, 105cm wide, 60cm deep, 83cm high. £4,000-£6,000

thepedestal.com

14 ¥ A William & Mary stained field maple, rosewood banded and pewter line inlaid bureau attributed to Coxed & Woster The rectangular top above a sloping fall enclosing a later velvet lined fall, eight pigeonholes and seven short drawers, above a sliding well enclosing three ‘secret drawers’; above a shaped kneehole with three recessed drawer flanked by three drawer to each side, on a moulded plinth base and six later turned feet, 97cm wide, 60cm deep, 98cm high. £20,000-£30,000 Although unlabelled, this rare kneehole desk can be attributed to the firm of Coxed and Woster on stylistic grounds. Although Coxed and Woster were in production until 1736, the firm only made ‘mulberry wood’ furniture from c.1690 to 1720. Giving the appearance of exotic tortoiseshell, it is now known that the so called ‘mulberry wood’ used on early case furniture is in reality is veneers of ash, elm, sycamore or maple stained with Aqua Fortis (nitric acid) with metal filings, which was then rubbed with ‘lampblack’ (soot). This technique is described in Stalker and Parker’s 1688, A Treatise of Japanning and Varnishing and is discussed in A. Bowett, Myths of English Furniture History: Mulberry Wood Furniture by Coxed and Woster, Antique Collecting, October 1998, pp. 32-35. Adam Bowett and Laurie Lindey discuss in-depth Coxed and Woster’s output in Labelled Furniture from the White Swan Workshop in St Paul’s Churchyard (1711-35), Furniture History 2003. Figures 8, 9,15, 16, 17 illustrate bureau bookcases (deskand bookcases), with stained burr maple veneers, with rosewood crossbanding and white metal stringing. They all lack a true surbase moulding, perhaps indicating that the desk could be made with or without a bookcase as an upper section. The above lot appears to be a rarity in that it is a kneehole bureau rather than having short and long drawers below the bureau midsection. The unusual large moulding behind the well cover in the above lot appears to be another Coxed and Woster characteristic and can be seen in the interior of the desk-and-bookcase illustrated in figure 15 (ibid).

thepedestal.com

15 A George II walnut wing armchair The arched rectangular padded back, shaped side and scrolling arms above a rectangular seat, on cabriole legs joined by a baluster turned ‘H’ stretcher, on pad feet, with castors, 69cm wide, 62cm deep, 131cm high. £3,000-£4,000

16 Miniature Furniture: A George II walnut bureau Inlaid with sycamore lines, the rectangular top above a sloping fall enclosing eight pigeonholes and three short drawers above a chequered surface, above a frieze drawer, two short and two long drawers, on shaped bracket feet, 24.5cm wide, 13cm deep, 26.5cm high. £2,000-£3,000

17 A George II burr yew, walnut and parcel gilt toilet mirror With chequerbanding throughout, the rectangular plate within a shaped swing frame, above a scrolling pierced fret cross support the rectangular moulded base with three short drawers, on shaped ogee bracket feet, 46cm wide, 19cm deep, 63cm high. £2,000-£3,000

18 A William and Mary walnut, sycamore, oyster veneered and marquetry chest on stand The upper part with a rectangular top with a moulded edge and decorated with a central reserve of scrollwork and foliage within an oyster veneered band and with similar foliate scroll work spandrels to each corner, above two short and two long drawers all with similar marquetry reserves, the sides oyster veneered with square marquetry panels, the lower part with a long drawer, on twist legs joined by an undulating stretcher, on bun feet, 95cm wide, 55cm deep, 111cm high. ÂŁ5,000-ÂŁ7,000 thepedestal.com

19 A fine George I walnut, crossbanded and featherbanded bureau bookcase in the manner of Coxed & Woster The broken arched moulded pediment with later gilt flame finial, above a pair of bevelled mirrored doors enclosing a central concave double door enclosing three small drawers; flanked by turned pilasters, eight shaped folio divisions and ten small short drawers, with nine arcaded pigeonholes above six short drawers below, above a pair of candleslides, the sloping fall with moulded rest enclosing a gilt tooled leather fall enclosing a pair of concave central cupboard doors enclosing three short drawers, flanked by a pair of sprung ‘secret’ columnar drawers, six pigeonholes and two arcaded drawers, with fleur-de-lys fret divisions, above a sliding well; the lower part with two short and two long graduated drawers, with undulating apron, on later bun feet, 100cm wide, 60cm deep, 237cm high. £60,000-£80,000 Provenance: Frank Partridge, 1 August 2009 Bequeathed to the current owner. Between 1698 and 1711 the bureau bookcase or desk-andbookcase emerged. In 1716 the cabinet-maker and looking-glass manufacturer, John Gumley supplied ‘a Wallnnuttree Desk & Bookcase with a glass Door’ for the Princess’s Dressing Room at St James’s Palace (see A.Bowett, English Furniture 1660-1714, From Charles II to Queen Anne, p.220). Bowett illustrates a japanned desk-and-bookcase (fig 7:53) by W. Price, dated 1713 which is the earliest recorded example showing the rapid progression of the bureau bookcase from the type with an overhanging bureau, to a neater more stable version where the bookcase fits into the moulding on the top of the bureau. It also is the first time candle slides are in evidence and is the earliest documented example of its type with a double-dome cornice. The Price example shows the appearance of a waist moulding, being an example of the more unusual form of the three part bureau bookcase (as in the above lot). The moulding serves as a way to position the desk section into the lower drawer part. This form of three part bureau bookcase can be seen up until the 1730s, it was 16

traditionally thought to have reflected an earlier date. It has been suggested, even though it was more expensive, the three part desk-and-bookcase was produced because it allowed different workmen to construct the parts simultaneously, which was a more efficient method of production. In Early Georgian Furniture, Bowett discusses and illustrates the development of the raised rebated drawer bottom with slips on four sides. Dating from 1720 to 1730 and used in the construction of the above lot, it was a sophisticated and timeconsuming method of drawer construction which indicates high quality manufacture, where the cabinet-maker was concerned with quality rather than cost. This bureau bookcase relates to various examples of this popular form of furniture produced by a number of cabinet makers working in St Paul’s Churchyard in the early 1700s. Surviving pieces from the firm of Coxed & Woster at the White Swan against the South-Gate in St Paul’s Churchyard provide good comparables, they were known to produce and sell: ‘Cabinets, Scutoires, Desks and Book-Cases, Buro’s Chests of Drawers, Wisk, Ombre, Dutch and Indian Tea-Tables; All sort of Looking Glasses, Large Sconces, Dressing Sets and WainscotWork of all sorts, at Reasonable Rates. Old Glasses New polished and Made up fashionable’ (see G.Beard & C.Gilbert, Dictionary of English Furniture Makers 1660-1840, p.205). Several labelled examples exist and are fully discussed in A.Bowett & L.Lindey, Labelled Furniture from the White Swan Workshop in St.Paul’s Churchyard (1711-1735), Furniture History, 2003, pp.71-98. Figure 22 illustrates a labelled Coxed and Woster walnut bureau bookcase of the 1730-35 period with similar carcase mounted cockbeading, moulded waist and double panels on the fall and on the long drawer fronts. (See also R.Edwards & M.Jourdain, Georgian Cabinet-Makers, fig 157 where its was stated as being with M.Harris & Sons). Figure 10 illustrates a desk-and-bookcase of c.1715-1718, labelled by John Coxed with very closely related shaped door mouldings. The Chinese type engraved gilt brass decorative strapwork hinges seen on the above lot can be found on various deskand-bookcases of this period of the japanned and walnut variety and on labelled stained burr maple Coxed and Woster examples ranging from the 1720-1730 period (see Bowett & Lindey, figs 15-17).

thepedestal.com

20 A William and Mary walnut, oyster veneered, ebony, stained bone and floral marquetry side table The rectangular moulded edge top with a central oval medallion of bird, urn and twin cornucopia surrounded by flora and foliage surrounded by geometric banding and spandrels of further floral marquetry, the cross banded drawer on ash twist legs joined by scrolling stretchers forming a pierced central platform, on turned bun feet, 90cm wide, 60cm deep, 74cm high. £2,000-£3,000

21 A George I style green japanned, carved giltwood and composition stool The frame with scrolling acanthus leaves, strapwork and shells, with shell carved aprons, on cabriole scrolling acanthus leaf carved legs, with paterae and trailing bellflowers, on leaf carved hoof feet, seat lacking, frame with small old paper label ‘219’, 69cm wide, 44cm deep, 42cm high. £1,500-£2,000

thepedestal.com

22 A George I green japanned kneehole desk in the manner of John Belchier Heightened with gilt chinoseries, the rectangular moulded top with re-entrant corners, decorated with Chinese figures amongst buildings and landscapes, above a slide with later velvet insert; above a frieze drawer and shaped kneehole with recessed cupboard door enclosing a shelf, flanked by three short drawers to each side decorated with exotic birds, animals and figures above a shaped apron, on bun feet, 79cm wide, 51cm deep, 77cm high. £40,000-£60,000 The lacquered objects and screens which were imported to Europe in the late 17th century by the East India Company generated a demand for functional furniture which reflected this taste and employed the same highly colourful, decorative surfaces of the imported wares. In London, the St Paul’s Church Yard cabinet-maker John Belchier (d.1753) owes his reputation partly to the series of labelled bureau cabinets in both green and red japan and the extensive suite of scarlet japanned furniture (comprising approximately

eighty items) supplied to Duke of Infantado’s castle at Lazcano in northern Spain remains possibly the best known commission of the Clerkenwell cabinet-maker Giles Grendey (1693-1780). John Stalker and George Parker's 1688 Treatise of Japanning and Varnishing became a key reference work for the recreation of the rich and highly finished effect of oriental lacquer work. The treatise contained recipes for producing the various different colours but also patterns of Chinese figures, plants and gardens. These highly decorated wares were expensive and only within the means of more affluent patrons and like their eastern counterparts would have been perceived as luxurious high status items. In Europe this 'japanning' as it became known remained fashionable until the end of the eighteenth century. ‘Japanning’ was considered to be particularly suitable for bedroom apartments, in the decoration of mirrors, as well as on desks and bureau cabinets such as reflected here. Green japanning has traditionally been considered to be rarer than those on a black or red ground.

thepedestal.com

23 ¥ A George I green japanned and gilt chinoiserie decorated toilet mirror Decorated with figures on horseback, buildings, landscapes and exotic birds with sprays of foliage and flora, the shaped arched rectangular bevelled plate within a moulded swing frame between tapered uprights with elongated finials, the hinged sloping fall with a mother of pearl escutcheon enclosing a fitted interior of three pigeonholes above a long drawer and flanked by two short drawers with ivory handles, all above an arc-en-arbalette shaped lower part with a fitted drawer comprising of a divided interior containing six various lidded japanned and chinoiserie decorated boxes, on turned flattened bun feet with drop pendant finials, 45cm wide, 32cm wide, 91cm high. £4,000-£6,000 These early toilet mirrors were referred to as ‘Union Suites’ or ‘Setts’, the term denotes a dressing mirror bureau fitted with boxes, brushes and other paraphernalia associated with dressing and are discussed by Adam Bowett in Early Georgian Furniture 1715-1740, Suffolk, 2009, p. 269, pl. 6:4, 6:5. A red japanned toilet mirror with an almost indentical bureau section and uprights, possibly by the same maker, is illustrated in R.Edwards, The Dictionary of English Furniture, Vol.II, London, 1924, p.362, pl.16.

thepedestal.com

24 A late George II carved mahogany tea table The rectangular top with projecting corners and a riband and rosette carved border, above a frieze drawer and gadroon carved apron, on acanthus and cabochon carved cabriole legs and claw and ball feet, 82cm wide, 40cm deep, 73cm high. A concertina action tea table example of the same model as that offered here was sold Christie’s London, 11 September 2008, lot 210 (£67,250 inc premium). The Christie’s table was previously in the collections of two of the 20th centuries most important collectors of English furniture Percival D. Griffiths (d.1938) and Joseph Sasson Sykes both of which were formed under the guidance of Robert Wemyss Symonds (1889-1958). £10,000-£15,000 Literature: A further mahogany table seemingly identical to that offered here but with a different escutcheon is illustrated in A History of English Furniture: the Age of Mahogany, fig 213, pp.231-32. The Christie’s table is illustrated R.W Symonds, English Furniture from Charles II to George II, London, 1929 p.164, fig 156 and in Masterpieces of English Furniture and Clocks, London 1940, p.33, fig.23.

thepedestal.com

25 A pair of George II style Kentian carved gilt wood eagle consoles The rouge marble tops within riband and rosette carved border and a palm frond and rosette friezes, supported on spread eagles on rocky outcrops, the plinth bases with bead and reel and Vitruvian scroll borders, early 20th century, 91cm wide, 40cm deep, 83cm high. (2) £2,500-£3,500

thepedestal.com

26 A small George II carved mahogany card table in the manner of James Fordham, The rectangular hinged top with rounded projecting corners above a later baize lined slide enclosing four dished counter wells and four candlestands, above a shaped frieze drawer, on cabriole shell and bellflower carved legs, on pad feet, 63cm wide, 33cm deep, 72cm high. £4,000-£6,000 The proudly carved shell and bellflower on the knees of this table can be closely compared to a drop flap walnut dining table stamped ‘Fordham/LONDON’ which is illustrated in C.Gilbert, Pictorial Dictionary of Marked London Furniture 1700-1840, fig.361. James Fordham is listed in G.Beard & C.Gilbert, Dictionary of English Furniture Makers 1660-1840, p.309 as working at Carpenters’ Hall, London Wall, near Moorgate as cabinet maker and upholsterer from 1727 to 1745

27 A George III mahogany chest of shallow proportions The rectangular moulded edge top above three long drawers, on bracket feet, 87cm wide, 40.5cm deep, 87.5cm high. £1,500-£2,000

28 A George III mahogany spider leg drop-flap table The rectangular hinged top with a small frieze drawer to each end, on double gate-leg action ring turned legs joined by stretchers, on pad feet, with paper depository label to the underside, ‘Major Qui...’, 66cm wide, 76cm deep, 71cm high. £1,000-£1,500

29 A George II mahogany silver table The dished top with re-entrant corners above a moulded frieze, with a frieze drawer to one side, on lappet carved cabriole legs and pad feet, the frieze drawer added at a later date, 78cm wide, 51cm deep, 71cm high. £2,000-£3,000

30 An unusual George III carved mahogany tripod table The circular moulded deep galleried top above a fluted and wreathed turned shaft, on cabriole acanthus carved legs, on scroll carved pointed pad feet, 36cm diameter, 65cm high. £2,000-£3,000

thepedestal.com

31 An early George III mahogany chest on chest The upper part with an overhanging moulded cornice above three short drawers and three graduated drawers, the lower part with three long graduated drawers on shaped bracket feet, 117cm wide, 55cm deep, 182cm high. £1,000-£1,500

32 A George III mahogany secretaire bookcase possibly attributable to Thomas Chippendale The rectangular ogee and dentil moulded cornice above a blind fret carved frieze and a pair of astragal glazed doors enclosing four adjustable shelves, the lower part with rectangular moulded top above a double panelled secretaire drawer applied with turned roundels enclosing a later baize, nine pigeonholes and five short drawers; above a pair of panelled doors with applied roundels enclosing two short drawers and a shelf on shaped bracket feet, 110cm wide, 60cm deep, 233cm high. £3,000-£5,000 The above secretaire bookcase displays certain features that can be found on documented Chippendale furniture. The shaped moulded panels with roundel decoration appear on a secretaire cabinet formally at Paxton, Northumberland and supplied to Ninian Home circa 1775 and illustrated in C.Gilbert, The Life and Works of Thomas Chippendale, Bristol, 1978, p.59, pl.91. The configuration of drawers and pigeon holes seen on the lot offered here is the same as on a small secretaire chest also formerly at Paxton also illustrated by Gilbert, ibid., p.60, pl.92-3. The use of this pattern of plain swan neck handle was also favoured by Chippendale for some of the plainer furniture supplied to commissions such as Paxton and Aske Hall, North Yorkshire as well as on the group of plainer cabinet furniture now thought to be by Chippendale at Dumfries House, Scotland, see Christie’s proposed contents sale of Dumfries House, 12-13 July 2007 30

33 A George III mahogany kneehole bureau dressing table attributed to Thomas Chippendale The rectangular moulded top above a flame figured frieze drawer enclosing seven divisions above a recessed kneehole with panelled door enclosing a shaped shelf, flanked by three short drawers to each side, on ogee bracket feet, with laminated blocks behind the feet and a thin red wash, 117cm wide, 57cm deep, 80cm high. £3,000-£5,000 Provenance: The late Hon. Mrs. B. Bruce (1921-2012) wife of the late Hon. Bernard Bruce, the only son of Victor Bruce 9th Earl of Elgin, 13th Earl of Kincardine of Culross Abbey House. Considered to be one of the earliest classical buildings in Scotland it is the dower house to Broomhall, the seat of the 11th Earl of Elgin. See Country Life, Culross Abbey House, Fife : The home of the Earl of Elgin and Kincardine, 16 May 1957, pp 981-983. This lot may be closely compared with a George III mahogany 'buroe' table by Thomas Chippendale supplied to Ninian Home for Paxton House, Berwickshire, at a cost of £6.12s. It recently appeared on the market at Christies, London, 14 May 2003, lot 140 (realised £77,675 including premium). It can also be seen illustrated in C.Claxton Stevens & S. Whittington, 18th Century English Furniture, The Norman Adams Collection, p.108. Another version of the same item, but without the entre-lac moulded border was made for the Buff Bedroom at Paxton thepedestal.com

House, presumably also by Chippendale (see C. Gilbert, The Life and Work of Thomas Chippendale, fig.417) and is illustrated alongside the aforementioned Paxton bureau, together with a design for a bureau dressing table from The Director (1754) PL.XLI (figs 415 & 416). A George III mahogany kneehole possibly by Thomas Chippendale was sold Christies, London 22 January 2009, lot 29 which can be closely compared with the above lot having a part-fitted mahogany lined frieze drawer, laminated corner blocks behind the feet and a thin red wash. The thin red wash appeared on a number of pieces of mahogany furniture at Dumfries House, Ayrshire, which were attributed to 'The Dumfries House Cabinet-Maker' possibly Thomas Chippendale (included in the Christie’s proposed Dumfries House sale catalogue, 12-13 July 2007, among them lots 106, 236, 251 and 252). Each of the chests examined had a distinctive 'thin red wash' painted on the underside and sometimes on the backboard. The wash is seen on many lesser pieces of Chippendale furniture in the house and to other pieces thought to be by Chippendale. Chippendale wrote to Sir Ronald Winn of Nostell Priory in August 1767 regarding 'the bottle of red stain for the meddal case' and instructed him to apply the stain two or three times to ensure depth of colour (Royton, L. and Goodison, N., Thomas Chippendale at Nostell Priory, Furniture History, 1968, p.21). The laminated block feet are also a feature that came under discussion at the time of proposed Dumfries House sale and are discussed in the catalogue note for lot 39. 31

34 A George III carved mahogany dining room pedestal cupboard The square top with a leaf carved edge and an egg and dart and dentil moulding and blind fret carved frieze above a cupboard door enclosing two shelves, flanked by fluted and leaf carved chamfered angles and apron door enclosing a drawers, on leaf moulded base, labelled to the interior upper door, ‘Hardy’, 43cm wide, 43cm deep, 91cm high. £1,800-£2,200

35 A George III carved mahogany side table The rectangular top with a stylised rosette carved border above a frieze drawer above a beaded moulding, on square section legs, 86cm wide, 42.5cm deep, 74cm high. £1,000-£1,500

36 A George III mahogany oval dropflap dining table The hinged top on turned tapering legs and disc feet, 135cm wide, 121cm deep, 69cm high. £800-£1,200

37 An unusual late George III mahogany drop flap metamorphic deception/cellaret table The rectangular moulded top with reeded edge, the centre section with spring catch opening to reveal a lead lined interior with fifteen bottle divisions, on square tapering legs with square brass cappings and castors, 97cm wide, 52cm deep, 80cm high. £4,000-£6,000 The idea of a ‘deception’ table was to disguise a piece of furniture as something else. Other items of furniture more commonly seen are tables which conceal a night commode. It is thought to have originated with the firm of Gillows, as a design for a deception table appears in the Gillow Estimate Sketch Books for June/July 1787 (Westminster City Archives 94/44-5). Another design is also recorded in Sheraton’s, Cabinet Dictionary of 1803.

38 A George III ‘plum pudding’ mahogany and ebony banded chest possibly attributable to Thomas Chippendale The rectangular moulded top above two short and three long graduated drawers on incised bracket feet, 109cm wide, 57cm deep, 89cm high. £1,500-£2,000 The above chest has features linked to the workshop of Thomas Chippendale, notably the laminated block feet and red wash that features on the group of cabinet furniture at Dumfries House, Scotland which was linked to Chippendale at the time of the proposed Christie’s house sale in 2007, see lot 35 in this sale for a catalogue note. The handle used on the lot offered here is also of a type favoured in the Chippendale workshop and illustrated in C.Gilbert, The Life and Works of Thomas Chippendale, Bristol, 1977, p.146, pl.263. The distinctive greek key pattern to the bracket foot seen here is also a feature recorded on documented Chippendale furniture notably on the secretaire press cupboard at Paxton, Northumberland, see C.Gilbert, ibid., p.61, pl.95. thepedestal.com

39 A George III mahogany serpentine chest possibly attributable to Thomas Chippendale The shaped moulded overhanging top above four long graduated drawers and shaped bracket feet, with laminated block feet and red wash to the underside, 107cm wide, 58.5cm deep, 86.5cm high. £8,000-£10,000 The commode offered here shares similar features to a group of documented chests believed to be by Thomas Chippendale supplied to Dumfries House, Ayrshire and which were catalogued for Christie’s proposed contents sale of Dumfries House, 12-13 July 2007, lots 106, 153, 213, 242, 251, 252. Although there are extant bills from Chippendale for furniture at Dumfries house, the above mentioned group of chests do not feature but are tentatively attributed to him on the grounds of certain constructional features which can be seen on the lot offered here and include the laminated blocking behind the bracket foot, the red wash to the underside. The case for the Dumfries chests being by Chippendale is supported by the linen press at the house which shares these features with the aforementioned group of chests. A Chippendale bill dated 1763 is thought to refer (see Christies proposed contents sale of Dumfries House, 12-13 July 2007, lot 236) to the linen press and thus establishes the link to Chippendale. Notably the distinctive red wash as well as the use of packing nails appear on many of the pieces at Dumfries House supplied by Chippendale and notably not on those items with a documented link to other cabinet-makers. Although Chippendale’s plainer mahogany furniture is traditionally more difficult to firmly attribute, commissions including the furniture supplied to Ninian Home for Paxton, Northumberland and to Lord Pembroke for Pembroke House, London have been key to identifying a workshop style, see C.Gilbert, The Life and Work of Thomas Chippendale, Bristol, 1978, p. 271-272.

thepedestal.com

40 A George III mahogany serving table in the Chippendale style The later rectangular top above a blind fret carved frieze to all side, on moulded square section legs headed by pierced spandrels on bifircated block feet, with restoration, 121cm wide, 61cm deep, 85cm high. £1,000-£1,500

41 A small George III mahogany and plum pudding mahogany centre table The rectangular top above a channelled frieze, on moulded slender square section tapering legs and moulded block feet, 54cm wide, 45cm deep, 71cm high. £1,200-£1,800

42 A late George III mahogany, satinwood banded and ebony line inlaid pedestal cabinet The rectangular crossbanded top above a drawer inlaid with a lozenge shaped medallion above an oval inlaid panel door enclosing an adjustable shelf, on short ring turned tapering legs, 48.5cm wide, 33cm deep, 88cm high. £1,500-£2,000

43 An early George III mahogany concertina action card table The rectangular hinged top with a moulded edge enclosing a baize lined interior, above a blind fret carved frieze, on square section moulded legs headed by pierced spandrels on block feet, the hinges stamped H.Tibats, 91cm, 45cm deep, 73cm high. £2,000-£3,000 Peter Thornton discuses hinged bearing the stamp of H.Tibats in ‘A Signed Hinge’ in the Furniture History Society Journal, 1966 (pp. 44-45) Hinges with this stamp have been recorded on various good quality tables from the third quarter of the 18th century. Tibats is believed to have been a London or Birmingham based supplied of iron work to cabinet makers and was either based in London or Birmingham.

44 A George III mahogany and crossbanded low linen press possibly attributable to Thomas Chippendale Inlaid with boxwood lines, the rectangular moulded top above a pair of shaped panelled doors enclosing two slides with marbled paper lining and two apron drawers, on shaped bracket feet, 120cm wide, 62cm deep, 115cm high. £2,000-£3,000 The press cupboard offered here relates to some characteristic features on several documented pieces by Thomas Chippendale; the shaped moulded panels relate to those on the secretaire press cupboard supplied by Chippendale to Ninian Home for Paxton, Northumberland, circa 1775. This pattern of bracket foot is also seen at Paxton, notably on the bureau dressing table supplied by Chippendale for the Buff Bedroom also around 1775. The distinctive marbled paper lining on the slides is also recorded on the trays of the commode press supplied by Chippendale to Nostell Priory, West Yorkshire, in 1766 and illustrated in C.Gilbert, The Life and Works of Thomas Chippendale, Bristol, 1978, p.137, pl.247.

thepedestal.com

45 A George III carved giltwood mirror The rectangular bevelled plate within a channelled frame with acanthus carved corners and a beaded outer frame, re-gilt, the plate 18th century and re-used, 95cm high, 62cm wide. £1,000-£1,500

46 A late 17th century carved limewood wall bracket The shaped moulded top above a lapetted frieze and scroll bracket support flanked by opposing eagle heads, with trailing flowers and acanthus leaves, possibly French, originally painted and gilt, 36cm wide, 16cm deep, 36cm high. £2,200-£2,500

47 A George III carved giltwood marginal wall mirror in the Adam style The rectangular plate surrounded by small marginal plates with beaded divides, surmounted by a cresting of a central urn with floral swags dropping to smaller flaming urns, the sides hung with trailing husks and oval medallion paterae, the apron below with drapery swags, tassels and a central oval paterae medallion, re-gilt, 163cm high, 71cm wide. £3,000-£4,000 38

48 An interesting George III carved elm treen gingerbread mould/board One side depicting the Royal family, in riband tied intaglio busts, probably George III, Queen Charlotte, Princes George & Frederick & Princess Charlotte, the reverse with naive intaglio moulds of a boar, a sheep with a milkmaid and four riders on a horse, 68cm wide, 5cm deep, 18.5cm high. £1,800-£2,200 Gingerbread boards or moulds became larger during the 17th and 18th century, often showing images of the gentry or nobility. In France and Germany, under the guild system, the male gingerbread bakers had to learn to carve moulds during their apprenticeship. The dough at that time was left for 2-3 months so that it became soft, rubbery but dry, so strength was required to work the dough and it had to be ‘beaten out’. This literally meant that the baker had to hit the mould on the dough until the imprint came out.

49 A pair of George III mahogany bottle stands Each with shaped sides, on a plinth base, 23cm wide, 12.5cm deep, 11cm high. (2) £800-£1,200

50 A pair of 17th century style red wax figures Of a standing male and female in 17th century costume, both holding their hands in prayer, the female with a rosary around her waist, the male 33.5cm high, the female 32cm high. (2) £1,500-£2,000

thepedestal.com

51 ¥ An unusual late George III rosewood, tulipwood crossbanded and sycamore marquetry centre canterbury on removable stand in the manner of Ince & Mayhew The removable upper part with four spindle turned divisions and pierced carrying handle, above a guilloche inlaid frieze and a frieze drawer, on square tapering legs and spade feet, 48cm wide, 37cm deep, 77cm high. £2,500-£3,500

52 A pair of George III carved mahogany side chairs in the manner of Robert Adam The arched pierced backs with foliate and husk decoration, the pierced splats with anthemion and foliate carving flanked by inswept uprights, the serpentine padded seats with patterns close-nailed upholstery, on moulded square section legs joined by stretchers. (2) £1,500-£2,000 A chair of very similar design but of simpler form was previously part of the Massey-Mainwaring Collection and is now in the V&A collection (5031907), see R.Edwards, English Chairs, HMSO, fig 85. The V&A armchair has arms terminating in a ball partially enclosed in leaves which is a motif commonly associated with John Linnell, see M.Tomlin, Victoria and Albert Museum, Catalogue of Adam Period Furniture, London, 1972, p.136, pl.Q/1.

thepedestal.com

53 ¥ A George III fiddleback mahogany, satinwood and chequerbanded architectural writing cabinet attributed to John Okely in the style of David Roentgen Inlaid with boxwood and ebonised lines and applied with ebonised roundels, the stepped superstructure with a central cupboard and hinged top enclosing a 42

mirror above a tambour door enclosing a stepped drawer flanked by pilasters and single drawers with galleries, above a sloping fall enclosing a green tooled and gilt leather lined fall, four pigeonholes, flanked by secret columnar drawer above a sliding well, enclosing short drawers, above a panelled frieze flanked by drawers to each side above a cupboard door enclosing two adjustable shelves, on

square tapering legs joined by a shaped undertier, on square tapering cappings and castors, 70cm wide, 45cm deep, 125m high. £4,000-£6,000 Provenance: By repute the actor David Garrick (1717-1779), Hendon Hall, London. Purchased by Stephen Taprell Holland J.P. (1843-1923) of Otterspool, Aldenham, near Watford, Herts, son of James Holland of the cabinet makers Holland & Son Purchased at the auction of Stephen Taprell Holland's effects by his brother R.C.Holland, Humbert & Flint, Watford, 21 March 1923, lot 259 for £9 2s. Described in the catalogue as: 'A 2ft.3in mahogany Bonheur de jour table with tambour'. Thence by decent through the Holland family to the late owner. Hendon Hall was sold by the executors of William, Marquis of Powis, in 1757 to James Clutterbuck, a financier, who acquired it for his friend the celebrated actor and manager of the Drury Lane Theatre, David Garrick. Although Garrick apparently never lived at Hendon, he was Lord of the Manor 1765-79 and did arrange for his nephew the Rev. Carrington Garrick live to there, which was left with his estate to him in trust on David Garrick’s death. In 1790 the house was sold to a John Bond, then in 1822 it was sold to Brian Scotney and shortly afterwards it was acquired by Samuel Ware. In 1852 it became a school and in 1911 a hotel. Stephen Taprell Holland (1843-1922) was a partner in the building firm of Winslow and Holland, based in Bloomsbury and a director of the London & North Western Railways company. He had the Callowland Halt at North Watford on the St Albans line built for his own convenience, driving there in his coach, where a special train would convey him to London. Stephen Taprell Holland was the son of James Holland (b.1815) and Hannah (nee Hall) who ran the cabinet making firm of Holland & Sons. James Holland’s father had founded the firm with his business partner Stephen Taprell (d.1847) as

Taprell & Holland and the partners traded together between 1803 -1843. Stephen Taprell remained close to the Holland family and is recorded as living with them on the 1841 census and was buried in the Holland family vault in Kensal Green. Another of Stephen Taprell Holland’s brothers, George, was also given the middle name Taprell reflecting the high regard in which Stephen Taprell was held within the Holland family. Holland & Sons rose to become one of the most celebrated of the 19th century London cabinetmakers showing their furniture at various Internation al Exhibitions including London in 1862, Vienna 1873, and Paris 1867 and 1872, the client list reading like a who’s who of 19th century society. This writing cabinet or bonheur du jour, is attributed to the little known cabinet maker John Okely (or Oakely) due to its very close parallels to writing cabinet recently sold at auction, Christies, 19 November 2015, lot 554, (realised £37,500 including premium) which was previously with Norman Adams Ltd. Okely (b.1752-c.1772) was born in Bedford, although of Moravian descent. In 1766 he was apprenticed to Abraham and David Roentgen at Neuweid, a Moravian settlement near Cologne at the age of fourteen, remaining there until 1772. When he returned to England c.1775-93 he is recorded as being at 13 Dean St, Soho. It has been suggested that the Okely who subscribed to Sheraton’s Drawing Book in 1793 and was at St. Paul’s Churchyard may be the same person. (See G.Beard & C.Gilbert, Dictionary of English Furniture Makers 1660-1840, p661). According to Hans Huth in Roentgen Abraham und David Roentgen und ihre Neuwieder Mobelwerstatt, p91, the German Journal des Luxus und der Moden, published in 1801 in Weimar noted “that everybody of taste and discrimination [was] now making their purchases at Oakelys, the most tasteful of London’s Furniture Upholsters”. It can’t be doubted that Garrick was a

thepedestal.com

man of ‘taste and discrimination’, it is recorded that he commissioned numerous items of furniture from Thomas Chippendale for his villa at Hampton in 1768-9 and for his house in The Adelphi, 1771-2, much of which is now in the V & A Collection. It is possible to speculate that this lot did once belong to the great actor. Alongside Samuel Johnson and Joshua Reynolds he formed a supper club in

1764 at 67 Dean Street. Known as ‘The Club’, it was formed to discuss the issues of the day with fine food and wine, it was extremely close to Okely’s premises at 13 Dean St where he was known to be working from, only eleven years later.

54 A pair of Regency mahogany carved hall chairs The oval panelled and shaped backs with scrolling reeded toprails above rectangular seats, on downswept moulded legs. (2) £1,200-£1,800

(Detail, open)

55 A Regency mahogany metamorphic library stool/steps The hinged top upholstered in close-nailed buttoned brown leather opening to reveal two treads to the reverse and a further three treads rising up on a ratcheted support, the top tread with a brass aperture for a screw-in grab, now lacking, on square section slightly tapering legs, closed 67cm wide, 49cm deep, 57cm high. £2,000-£3,000 44

56 A tall Regency mahogany four tier whatnot The top three rectangular tiers with three quarter galleries above a further tier with a frieze drawer supported on square section uprights with over-scrolled roundel decorated terminals, on hipped outswept legs, brass sabots and castors, 55.5cm wide, 41cm deep, 149cm high. £2,000-£3,000 Provenance: According to a pencil inscription to the drawer: A.W Greaves, Nether Broughton Grange 1924-1939. Fanny Greaves, Orchard Lea, Upper Broughton, 1939-97.

57 A large Regency mahogany octagonal wine cooler The moulded edge above sloping panelled sides with ring tamed leopards mask handles, on lion paw feet, the lead lined interior with a later brass removable liner, 79cm wide, 56cm deep, 51cm high. £2,500-£3,500

58 ¥ A Regency mahogany carved window stand Of trapezoidal form, the shaped rectangular top with wavy edge gallery above a frieze applied with three rosewood crossbanded panels, with a beaded edge and scroll apron flanked by beaded tablets, on ring turned reeded legs, with brass cappings and castors, possibly Scottish, 139cm wide, 30cm deep, 55cm high. £2,000-£3,000

thepedestal.com

59 A Regency mahogany library bergere The rectangular caned back and sides with padded and close-nailed green leather arms on baluster turned reeded arm supports, above a rectangular caned seat with green buttoned leather loose squab cushion, on baluster turned reeded legs, with brass cappings and castors, the castors stamped S.DOBBINS & CO. BRISTOL PATENT, 65cm wide, 64cm deep, 86cm high. £2,000-£3,000

60 A Regency mahogany oval drum top library table With green and gilt tooled leather inset top above two frieze drawers, with opposing simulated drawers and two further simulated drawers to each end, on a vase shaped shaft with quadripartite reeded legs on square brass cappings and castors, 153cm wide, 76cm deep, 73cm high. £3,000-£5,000

61 A Regency mahogany breakfront library bookcase attributed to Gillows The rectangular ogee moulded cornice above a pair of Gothic astragal glazed doors enclosing three shelves, flanked by single Gothic astragal glazed doors to each side each enclosing four shelves, the lower part with fours short drawers and four panelled doors enclosing shelves, on turned feet, 233cm wide, 37cm deep, 245cm high. ÂŁ6,000-ÂŁ8,000 The lower part of the bookcase offered here reflects the typical Gillow low press cupboards which featured on multiple commissions by the firm in the in the 1820-40 period, most notably six low press cupboards which were supplied to Tatton Park. One of the Tatton Park press cupboards is illustrated in N.Goodison and J.Hardy, Gillows at Tatton Park, Furniture History, 1970, pl.10A. A similar example was sold Bonhams, London, 4 June 2104, lot 100.

thepedestal.com

62 A late George III satinwood, tulipwood banded, ebonised and line inlaid bowfront side cabinet The shaped rectangular top with projecting corners above a plain frieze and a pair of grille panel doors with pleated silk backing enclosing velvet lined shelves flanked by tapering fluted columns and with similar columns to the back corners on ebonised turned toupie feet, 95cm wide, 37cm deep, 75cm high. £3,000-£4,000

63 A George III carved giltwood sofa The moulded frame with an undulating back with carved foliate and scroll motifs above a padded back, the downswept arms with flower-head scroll terminals above a serpentine shaped seat with a fluted seat rail, on square section moulded legs headed by paterae on block feet, 159cm wide, 76cm deep, 88cm high. £4,000-£6,000

64 ¥ A George IV burr elm, rosewood crossbanded, parcel gilt and gilt bronze mounted card table in the manner of Morel & Seddon The rounded rectangular top with leaf and dart moulded edge enclosing a tooled red velvet interior, above a panelled frieze flanked by gilt bronze lotus leaf scrolling mounts, on a quadripartite spreading base, and scrolling lotus leaf carved feet, with castors, 89cm wide, 45cm deep, 73cm high. £2,000-£3,000 Morel and Seddon’s partnership was primarily formed to carry out the re-furnishing of Windsor Castle in 1827, Nicholas Morel having been chosen by George IV as the furniture maker in charge of the project. Morel made the major artistic decisions and George Seddon III’s extensive workshops provided experienced draughtsmen managers and skilled workmen, Seddon himself also ran the business side of the project. The furniture designed for George IV by the firm uses extensively figured rosewood, satinwood birch amboyna and contrasting veneers, both in the solid and decoratively. The use of parcel gilding and applied gilt bronze mounts reflecting the French fashion of the day is another distinctive feature of the furniture produced by the firm.

65 ¥ A Regency rosewood library table The rounded rectangular top above two frieze drawers with opposing simulated drawers, on lyre shaped ends with brass strings joined by a ring turned stretcher on downswept legs with square brass cappings and castors, 122cm wide, 65cm deep, 76cm high. £3,000-£5,000

thepedestal.com

66 ¥ A Regency rosewood three-tier whatnot/etagere The rectangular tops with turned finials and ring turned supports, with gilt brass cappings and castors, 46cm wide, 31cm deep, 97cm high. £1,500-£2,000

67 A pair of Regency carved mahogany hall chairs The arched fluted backs on ‘C’ scroll shaped supports and rectangular dished seats on fluted seatrails and turned tapering reeded legs, on spool feet. (2) £2,000-£3,000

68 A Regency carved oak and ebonised hall seat in the manner of George Bullock The rectangular panelled seat with reeded edge and turned reeded arms with lotus leaf carved supports, with lunette and ball carved apron, on reeded turned tapering legs and spool feet, 76cm wide, 47cm deep, 62cm high. £3,000-£4,000 The design of this window seat is often attributed to the workshop of George Bullock (1777/8 1818). Bullock had a varied career, having various partners and cabinet works both in Liverpool and London until his death; although, it is clear that he was originally trained as a sculptor and modeller. The above lot relates to the pair of window seats in holly and oak by George Bullock supplied in 1817 to M.R Boulton (died 1842) and thence by descent to Major Eustace 50

Robb, Tew Park, Oxfordshire which were sold at Christie’s Tew Park Sale, 27-29 May 1987 and then subsequently at Christie’s London Fine Furniture, 27 November 2003, lot 179. A set of three window seats of this form from the Lily and Edmond Safra collection sold Sotheby’s. London, November 3, 2005, lot 354 ($48,000) and a further example, Sotheby’s New York, Kentshire: A Legendary Collection, October 18, 2014, lot 328.

69 ¥ Travel Furniture: An interesting Regency carved mahogany, rosewood crossbanded, brass inlaid and gilt bronze mounted cylinder bureau bookcase The rectangular cavetto moulded cornice above a pair of shaped glazed doors enclosing three adjustable shelves with red leather dust covers; above a pair of candleslides; the lower part with a cylinder fall and tooled gilt red leather slide, with seven pigeonholes and seven short drawer; above an applied red leather apron fringe, on lion carved monopodiae legs, with paw feet and castors, 115cm wide, 63cm deep, 206cm high. £3,000-£5,000 This remarkable cylinder bureau would appear to have been conceived as a piece for either travel or made with the specific need to be transported some distance. The highly unusual features of construction include: The use of bolts to attach the cornice to the bookcase section; The shelves stacking on pins and sliding into the base of the bookcase where they can then be bolted into the sides to secure them; The cylinder fall bolting into the desk section and being removable; The pull out writing slide having the feature of bolting in the close position; The cylinder section being bolted to the stand and thus having the option to dismantle; Carrying handle apertures to the reverse for moving the stand; The four independent sections to the reverse all bearing brass holders for name or destination cards; While the trade in campaign furniture in the 19th century is well documented with beds, desks, secretaires, dining tables and even whole suites of furniture being produced for those in military service overseas, see N.Brawer, British Campaign Furniture, Elegance under Canvas 1740-1914, New York 2001, the cylinder bookcase offered here reflects a more design led and high style approach to furniture designed for travel. The use of the lion monopodiae would have made this an expensive commission for an educated patron looking to make a statement at their destination. The Regency designer George Smith in particular made extensive use of animal monopodia on pieces ranging from tables and sideboards to chairs and sofas. The monopodia reflect the 'antique' taste dominant in England at the close of the 18th and

thepedestal.com

during the early decades of the 19th century which had been fostered by Charles Heathcote Tatham's Etchings of Ancient Ornamental Architecture drawn from the originals in Rome...1794-6, published in 1801. Although there are few details known relating to the professional career of George Smith, he remains a well known name through his A Collection of Designs for Household Furniture and Interior Decoration of 1808 and his Cabinet-Maker and Upholsterer's Guide (1826). He is thought to have been a practising craftsmen and claimed, without known documentation, to be an upholsterer to the Prince of Wales and Smith's Household Furniture certainly has a very strong emphasis on upholstery and interior detailing. Smith made extensive use of the forms of classical furniture and his Household Furniture along with Tatham's Etchings... (1810) and Thomas Hope's, Household Furniture and Interior Decoration (1807) all helped to maintain the fashion for classical furniture. 51

70 A Regency kingwood tripod table The circular tilt top with reeded edge above a ring turned baluster shaft, on downswept tripartite legs, on block feet with turned roundels and ebonised panels, on ball feet, 51cm diameter, 72cm high. £2,000-£3,000

71 A narrow Regency mahogany chest with superstructure in the manner of Gillows With reeded edges, the rectangular shaped superstructure with a shelf above a rectangular top above two short and three long graduated drawers on turned brass cappings and castors, 57cm wide, 46cm deep, 127cm high. £2,500-£3,500

73 A George III figured oak serpentine chest probably North Country The shaped moulded edge top above three short and three graduated drawers, flanked by reeded canted angles, on bracket feet, 108cm wide, 53cm deep, 95cm high. £4,000-£6,000

74 ¥ A Regency rosewood D-shaped side cabinet The top of broken outline above a pair of grille panel and pleated silk doors enclosing two adjustable shelves flanked by a bowed panel door to either end each enclosing a further adjustable shelf, on a moulded plinth concealing a central drawer on flattened bun feet, 107cm wide, 34cm deep, 93cm high. £2,000-£3,000

thepedestal.com

75 A Regency mahogany, ebonised and brass marquetry sofa table The rectangular hinged top with canted corners and reeded edge above one short freize drawer and one simulated drawer to each side, on reeded ‘X’ form legs joined by a ring turned stretcher on hairy paw feet, 163cm wide, 65cm deep, 72cm high £2,000-£3,000 The earliest published designs for furniture in the Regency style are in Thomas Sheraton's Cabinet Dictionary of 1803. The design for this sofa table can be compared to plate 62 in the Dictionary for 'A new design for a Pembroke table’. The inspiration of the ‘antique’ style can be seen in the work of major designers of the period and in the published works such as Thomas Hope’s, Household Furniture and Interior Decoration (1807) and George Smith’s Collection of Designs for Household Furniture and Interior Decoration (1808). The use of the Xframe support in the ‘antique’ manner can been seen on the Regency rosewood writing table supplied to Southill,

Bedfordshire and attributed to Marsh and Tatham, illustrated in Southill, A Regency House, pl.42 London, 1951, pl.46. The influential designs of Charles Heathcote Tatham, which are encapsulated in his 1806 work Etchings representing Fragments of Grecian and Roman Architectural Ornaments is evident in the architect Henry Holland’s work at Southill where Holland was known to have worked with C.H Tatham’s brother Thomas and his partner William Marsh. The X-frame support was also extensively employed by Thomas Hope on the tabouret in the Indian Room at Duchess Street and on the chairs in The Flaxman Room at Duchess Street, both appearing in engravings in Hope’s 1807 publication.

76 ¥ A narrow Regency mahogany side cabinet Inlaid with ebonised lines, the rectangular top with rounded projecting corners above a pair of cupboard doors with red pleated silk panels enclosing two adjustable shelves flanked by similar single doors, in turn flanked by reeded uprights, on hairy paw feet, 173cm wide, 40cm deep, 78cm high. £4,000-£6,000 54

77 ¥ A Regency carved rosewood library bergere Upholstered in black leather, the over-scrolled buttoned back and arms supported by acanthus and scroll carved uprights above a cushion seat, on outswept lotus and scroll carved legs with claw and ball feet on concealed castors. £5,000-£7,000

thepedestal.com

78 A Regency mahogany and gilt brass candlestick with glass storm shade The tall cylindrical glass shade etched with Etruscan heads and Greek key decoration, the gilt brass nozzle on an urn turned shaft and circular socle base, 23cm diameter, 59.5cm high. £500-£800

79 An early 19th century Grand Tour onyx sarcophagus shaped box Modelled after the ‘Tomb of Agrippa’, in three parts, the ogee moulded lid above a half barrel body on reeded end supports and lion paw feet, on a rectangular portor marble plinth base, 23cm wide, 11cm deep, 22.5cm high. £1,000-£1,500 A similar siena marble model was sold Bonhams, Los Angeles, 30 March 2009, lot 1050.

80 A set of three 19th century polished steel spirally turned fire tools Comprising a poker, a pair of tongs and a pierced shaped shovel, the shovel 16cm wide, 76cm long. (3) £600-£800

81 A set of three 19th century brass fire tools Comprising a poker, a pair of tongs and an engraved and pierced shaped shovel, the shovel 17.5cm wide, 89cm long. (3) £500-£700

82 ¥ A large William IV blonde tortoiseshell tea caddy Of octagonal form, inlaid with ivory bands, the ogee moulded stepped lid with turned knop enclosing twin lidded tin lined compartments, the faceted sides on a plinth base, with turned feet, 18cm diameter, 17cm high. £2,000-£3,000

83 A Regency burr elm and mahogany double sided book carrier attributed to Gillows The rectangular top with a turned spindle filled division and similar ends surmounted by ring turned carrying handles, above a frieze drawer to one side with a bead and reel moulding below, on flattened bun feet, numbered to the underside of the drawer in pencil, 8541, 41cm wide, 31.5cm deep, 23cm high. £1,500-£2,000 Gillows of Lancaster designed very similar book carriers in 1823 and 1825 which are illustrated in their Estimate Sketch Books, pp. 3236 and 3408 at Westminster City Archives. See also Gillow of Lancaster’s design of the same model supplied to the firm’s London partners Ferguson and Co. on October 16th, 1830. See Christies, West-East-The Niall Hobhouse Collection, 22 May 2008, lot 94 for another example attributed to Gillows of Lancaster, also Sotheby’s, London, 23 November 2005, lot 5 and 8 for more similar carriers and another sold Sotheby’s, London 24 November 2004, lot 49 attributed to Williams and Gibton.

84 The complete 6 volumes of the Irwin Untermyer Collection in blue calf leather heighted in gilt lettering Comprising of: English Furniture, Norwich 1958, English & other Needlework, Norwich 1960, Bronze & other Metalwork, Norwich 1962, Chelsea & other English Porcelain, Norwich 1957, Meissen & other Continental Porcelain Faience & Enamel, Norwich 1956 and English and other Silver, Norwich 1963. (6) £700-£1,000

thepedestal.com

85 A pair of late George III gilt bronze and Wedgwood jasperware mounted chimney urns and covers The domed covers with berry finials and lotus moulding and engraved decoration the tapering bodies with foliate cast borders, pierced handles with Greek mask heads and acanthus leaf decoration, on waisted socles and cylindrical pedestals with jasperware panels of classical figures in a garden setting, on moulded plinth bases, stamped WEDGWOOD, drilled for electricity, 31.5cm high. (2) £1,500-£2,000

86 ¥ A George IV, rosewood, tortoiseshell, brass and brass marquetry caddy Of cylindrical form all over decorated with pierced foliate scroll work and flowerhead marquetry, the lid with a brass knop handle, later engraved N.H, 22 April 1926, the interior with a zinc liner and removable weighted zinc lid, on a brass moulded plinth base, 14.5cm diameter, 20cm high. £1,500-£2,000

87 ¥ A Regency rosewood, ebonised and brass marquetry ink stand The rectangular gilt brass bound top with two dished apertures and two ink bottle compartments, with cut glass bottles and turned gilt brass collars, within pierced brass stands, above a frieze drawer, on gilt brass lion paw feet, the stand 40cm wide, 30cm deep, 11cm high. £500-£800

88 A Regency mahogany triple pedestal dining table possibly Scottish The centre section with two hinged leaves and a frieze drawer to one side joined D-shaped end sections, all on square section moulded supports and quadripartite bases with scroll carved lions paw feet and castors, 314.5cm wide, 119cm deep, 74cm high. ÂŁ4,000-ÂŁ6,000

thepedestal.com

89 A Regency mahogany reading table The rectangular adjustable top with twin ratcheted reading rests and a hinged compartment with a pen tray and apertures for ink wells, on a ring and baluster turned column and shaped platform bases with short turned tapering legs, brass cappings and castors, 83.5cm wide, 50cm deep, 77cm high. £1,000-£1,500

90 A William IV laburnum occasional table The rectangular top with rounded corners and radiating veneers on a tapered column with ring turned socle and quadripartite base, with shaped feet, 70.5cm wide, 45cm deep, 74.5cm high. £1,200-£1,800

91 A Regency mahogany bowfront chest The moulded edge top above a brushing slide and four graduated drawers, with a shaped apron and outswept bracket feet, 94cm wide, 58cm deep, 87cm high. £1,500-£2,000 60

92 A large Regency mahogany centre table in the manner of T & G Seddon The rounded rectangular top with reeded edge above standard end supports, the shaped plinth bases headed by scrolling lotus leaves and flowerheads, 182cm wide, 110cm deep, 77cm high. £6,000-£8,000 The use of good quality timber and carved scrolling lotus leaf design is indicative of the work of T & G Seddon. See C.Gilbert, Pictorial Dictionary of Marked London Furniture 1700-1840, fig. 819 for a labelled centre table from the 1815-20 period and another example, twenty years later in date from the 1835-40 period, (fig.829) both using this carved device on the upper part of the end supports.

93 ¥ A Regency rosewood and parcel gilt and gilt bronze mounted centre table attributed to Gillows The circular top above a channeled moulding and rope twist edge mount on a quadripartite base with square section uprights joined by a shaped platform on downswept legs, brass cappings and castors, 112cm diameter, 74cm high. £2,000-£3,000 The same base appears on a Regency rosewood library table in the manner of Gillows formerly with Norman Adams Ltd, and sold Christie’s, London, 24th January, 2008, lot 245.

thepedestal.com

94 A George IV mahogany cheval dressing mirror attributed to Gillows The rectangular mirror plate within a swing frame on spreading moulded supports, on a concave base with a three quarter moulded gallery, 61cm wide, 28cm deep, 48cm high. £500-£700 A very closely related mirror referred to as a ‘ Mahogany Looking Glass frame for plate’ was supplied by Gillows to the 5th Duke of Rutland in February 1821 at a cost of £4.7.10.The design is illustrated in the Gillows Estimate Sketch books (No.3086) now at Westminster City Archives. A related mirror was sold Christie’s London 12 September 2004, lot 31.

95 A George IV mahogany concave fronted dressing table attributed to Gilllows The rectangular top with three-quarter gallery and reeded edge above a concave drawer flanked by two short drawers to each side on ring turned tapering legs with brass cappings and castors, 112cm wide, 59cm deep, 80cm high. £2,500-£3,500 This form of dressing table alongside a straight fronted variant were supplied by Gillows as part of several high profile commissions during the early decades of the 19th century. ‘A Handsome mahogany five drawer Dressing Table with rim and on turned and reeded legs’ was supplied by Gillows in Lancaster to Richard Gascoigne of Partlington Hall, Aberford in 1811 at a cost of £6.16.6’ alongside three similar dressing tables. One of the Partlington dressing tables stamped ‘GILLOWS LANCASTER’ is now in the collection of Leeds City Art Galleries at Lotherton Hall, Leeds and is illustrated in C.Gilbert, Furniture at Temple Newsam House and Lotherton Hall, Leeds, 1978, p 380, fig 500 and also in F.Collard, Regency Furniture, Suffolk 1985, p.84. Versions of the above dressing table have appeared at auction notably four Gillow dressing tables were supplied to the 2nd Lord Bolton for Hackwood Park, Hampshire in 1813 and another four for Bolton Hall (sold Christie’s Contents sale of Hackwood Park, 20-22 April 1998, lots 356-370 and Christie’s London, 1 October 1992, lots 118-121).

96 A Regency mahogany brass inlaid and gilt bronze mounted side table in the manner of James Newton The rounded rectangular top inlaid with a brass line on shaped spreading end supports applied with wreath mounts joined by a shaped platform stretcher on square section supports, scrolling brass sabots and castors, 96cm wide, 53cm deep, 72cm high. £1,000-£1,500

97 ROYAL INTEREST: A 19th century commemorative Gibraltar stone and white metal mounted model of a lighthouse dated 1838 The top of hexagonal form with canted cupola and a pierced gallery, on a stepped square base and mahogany reeded plinth and gilt foliate ball feet, with an inset plaque engraved ‘Placed by ADELAIDE QUEEN DOWAGER of GREAT BRITAIN and IRELAND 17th Oct 1838’, 60cm high. £2,000-£3,000 The above model would appear to represent the The Europa Lighthouse in Gibraltar, the building of which commenced in 1838 conforming to the model of a traditional British lighthouse of the period. Prince George, Duke of Cambrige (1819-1904) was posted to Gibraltar arriving on 9th October 1838 where he was assigned an important role at Staff Head Quarters. Several days later the recently widowed Queen Adelaide (1792-1849) arrived in Gibraltar where she was hosted by the Governor, Sir Alexander George Woodford (1782-1870). Woodford had laid the foundation stone for the lighthouse some six months earlier. Although Queen Adelaide’s exact schedule for the 17th October remains unclear, she is known to have attended the consecration of The Holy Trinity Church on this day and may well have conducted other official visits. Queen Adelaide left Gibraltar destined for Malta on the H.M.S Hastings on the 18th October 1838. The Europa lighthouse was inaugurated on 1 August 1841 in a ceremony watched by over 10,000 people. Gibraltar Stone is a variety of onyx marble with brown bands which is found in the limestone caverns of Gibraltar.

98 A pair of Regency bamboo open armchairs in the Brighton Pavillion taste The square pierced backs divided into various panels, the downswept arms above similar panels above squab cushion seats and moulded and panelled seats rails, on moulded legs joined by stretchers. (2). £1,000-£1,500 These pair of chairs may be compared with an example at the Royal Pavilion, Art Gallery and Museums, Brighton. Bamboo armchairs of this design are visible in the engravings after A.C Pugin of The Blue Drawing Room and the Red Drawing Room at the Royal Pavilion. See John Nash, Views of the Royal Pavilion, published 1826, plates 13 & 30.

thepedestal.com

99 A pair of Victorian mahogany collector’s cabinets The moulded rectangular tops above arched panel doors enclosing six graduated drawers with Bramah type locks and turned handles, on moulded plinth bases, 47cm wide, 66cm deep, 78cm high. (2) £2,000-£3,000

100 A Victorian mahogany, stained pine and verre églomisé apothecary cabinet The rectangular top above thirty six various drawers each with varying inset verre églomisé labels, previously fitted, the sides unfinished, some of the labels later pasted over with paper labels, 162cm wide, 28cm deep, 98cm high. £2,500-£3,500 Provenance: John Cummins, Chemist and Druggist, 21 Mill Street, Alloa, Clackmannanshire.

101 ¥ A late Victorian rosewood and marquetry bookcase by Collinson and Lock, the marquetry designed by Stephen Webb in the Renaissance style The rectangular ogee moulded cornice above a leaf and flowerhead and Vitruvian scroll carved frieze, above a pair of glazed doors enclosing three adjustable shelves; the lower part with dentil moulded waist above a pair of beaded panelled doors each with pairs of seated putti amongst scrolling acanthus leaves within foliate inlaid spandrels flanked by uprights inlaid with ‘Berainesque’ style marquetry, with a beaded plinth on turned feet, 117cm wide, 37cm deep, 190cm high. £2,500-£3,500 Established in Fleet Street in 1870 Collinson and Lock became one of the leading manufacturers of ‘Art Furniture’ and produced furniture by leading designers of the period such as Bruce Talbert and E.W Godwin. In 1882 the firm merged with Jackson and Graham also known for their high quality marquetry some of which was to the design of Owen Jones. Collinson and Lock are perhaps best known for the distinctive style of marquetry formed of scrolling intarsia and cherubs which was introduced by Stephen Webb, a founding member of The Art Workers Guild who designed for the firm between 18851897 and exhibited at the Arts and Crafts Society Exhibitions from 1888 to 1906. Webb is now best remembered for these marquetry designs as seen on the above lot, which were also executed in ivory. A selection of the designs appeared in the ‘Art Workers Quarterly’ in 1902. Much of the furniture decorated with Webb’s designs is thought to have been designed by J.S Lock, one of the firm’s founding partners. Webb was later to become Professor of Sculpture at The Royal College of Art but remained with Collinson and Lock after they were taken over by the firm of Gillows in 1897.

thepedestal.com

102 A Victorian satinwood, sycamore, purplewood and harewood marquetry occasional table in the manner of Edward Holmes Baldock and the Blake family of inlayers The undulating shaped moulded top inlaid with a central floral spray with a butterfly, within a scrolling acanthus border, on a triform shaft and tripartite base similarly inlaid with floral sprays and leaves, on scroll feet with castors, 72cm diameter, 71cm high. £2,000-£3,000 This distinctive form of table is based on a design for a ‘Marqueterie Centre Table’, published by Richard Bridgens in his 1838 publication Furniture with candelabra and Interior Decoration designed by R.Bridgens. Traditionally these marquetry tables were linked to the London dealer Edward Holmes Baldock (1777-1845) as his E.H.B cypher appears of on a table of this type now in the collection at Temple Newsam, see C. Gilbert, Furniture at Temple Newsam and Lotherton Hall, Vol II, London, 1978, no.395. There is now believed to be a link in the production of these marquetry tables to the Blake family of inlayers and this style was popular with the Tottenham Court Road inlayer and buhl manufacturer Robert Blake during the 1820’s. This is discussed in M.P. Levy, Furniture History Society Newsletter, no. 158, May 2005. Levy goes on to explore the connections between Baldock and the Blake family in E.H.Baldock and the Blake Family: Further Evidence in Furniture History Society Newsletter No. 158, May 2005, p.1. The Blake family continued to trade into the mid 19th century and by the 1840s the firm were trading as Blake, Geo. & Brothers, inlayers, etc’ in Tottenam Court Road and Mount Street, Mayfair and were renamed George Blake & Co. sometime in the late 1840’s, see C. Gilbert, Pictorial Dictionary of Marked London Furniture 1700-1840, Leeds, 1996, p.18.

103 A Victorian bird’s eye maple kneehole desk by Gillows The rectangular top above three frieze drawers and a shaped kneehole flanked by three drawers on a moulded plinth base, stamped ‘GILLOW’ to the centre drawer edge, previously fitted with a gallery, 129cm wide, 63cm deep, 75cm high. £2,000-£3,000 The stamp ‘GILLOW’ was used on furniture by the firm of Gillows from c.1850-1870, see S Stuart, A Survey of Marks, Labels and Stamps used on Gillow and Waring & Gillow Furniture 1770-1960, Regional Furniture, 1998, p.65.

104 A pair of Victorian birds-eye maple carved fauteuils in the Louis XV style The circular scrolling leaf and scale carved moulded padded backs above padded scrolling arms and serpentine padded seats upholstered in yellow watered silk, on cabriole legs, leaf and flowerhead carved at the knee, on scroll feet, with castors, each 73cm wide, 62cm deep, 93cm high. (2) £1,500-£2,000

105 A Regency maple, satinwood and tulipwood banded marquetry sofa table The rectangular hinged solid maple top inlaid with a harewood line and chequer banding above a pair of frieze drawers divided by a marquetry urn and a similar arrangement of dummy drawers, with marquetry conch shells to the angles, the inswept supports joining a large undertier decorated with a shell, on outswept legs terminating in brass capping and castors, 144cm wide, 79cm deep, 75cm high. £3,000-£5,000

thepedestal.com

106 A Victorian mahogany and ebony banded, gilt brass mounted and parcel gilt occasional table by Wright & Mansfield in the Louis XVI style, after Weisweiler The circular top with radiating flame veneers, with ring cast handles on the frieze above four double cluster gilt bronze turned legs, joined by a pierced ‘X’ frame stretcher, on turned feet with castors, stamped to the underside ‘WRIGHT & MANSFIELD’ and numbered, ‘3635’ and with paper label to the underside, ‘WRIGHT & MANSFIELD, 104 NEW BOND STREET, 69cm diameter, 74cm high. £5,000-£7,000 The firm of Wright and Mansfield were one of the most noted exponents of Revival furniture in the second half of the 19th century. The above lot is a more unusual occurrence of them executing work based on French models and the firm remain best known for pieces in the Adam and Sheraton taste. In July 1886, on the closure of the firm, the magazine The Cabinet Maker & Art Furnisher, summed up their contribution when it said: ‘They must be accounted the leaders of that passing fashion which has happily brought back into our houses many of the charming shapes of the renowned eighteenth century cabinet makers .... the best forms of Chippendale, Hepplewhite and particularly Sheraton have been made to live again under the renovating influence of these able manufacturers’ . The firm was founded by Alfred Wright, a successful cabinet-maker and the decorator Thomas Mansfield and received attention for their work at the International Exhibitions; their satinwood marquetry and Wedgwood mounted cabinet now in the collection of the V&A Museum, London (No.54868

1868) was shown at the Paris Exposition of 1867 where it was the only piece of furniture to receive a gold medal. A pair of side tables were shown at the Philadelphia Centennial Exhibition of 1876 and illustrated in the Art Journal of the same year, together with a satinwood-veneered and painted sideboard which was described at the time as ‘such an objet de luxe as was hardly surpassed of its sort at the Exhibition’. The side tables were subsequently sold at Sotheby’s London 26 November 2003, lot 120.

107 A Louis XIV kingwood crossbanded and parquetry kneehole desk The rectangular hinged top above a secretaire drawer enclosing four short drawers above a recessed kneehole enclosing a shelf, flanked by four short drawer to each side, on six later turned ball feet, 95cm wide, 54cm deep, 77cm high. £3,000-£5,000

108 A late 18th century Italian walnut kingwood banded serpentine marquetry commodino The later basque breccia marble top above three graduated drawers with inlaid bandings and central stellar motifs, the sides similarly decorated, above a shaped apron, on outswept legs with gilt bronze sabots, probably Naples, 73cm wide, 39cm deep, 85.5cm high. £2,500-£3,500

thepedestal.com

109 A Louis XIV kingwood oyster veneered strong box/coffre fort Gilt brass bound and with strapwork hinges, the hinged rectangular lid above swing brass carrying handles to the sides, 31cm wide, 23cm deep, 19cm high. £1,500-£2,000

110 Miniature Furniture: A late 18th century German cherrywood and applewood banded serpentine cabinet The undulating moulded top above a pair of shaped mirrored doors enclosing a mirrored interior flanked by three short drawers to each side, above a sloping drawer and two serpentine long drawers above a plinth base and turned feet, lined in original pink and gilt paper lining, possibly South West Germany, 24cm wide, 12cm deep, 35cm high. £2,000-£3,000 For a similar design full size cabinet see W. Schwarze, Antike Deutsche Mobel 1700-1800.

111 ¥ An 18th century South German kingwood, sycamore, ebony, rosewood and tulipwood parquetry serpentine dressing box In the form of a commode, the shaped moulded hinged top inlaid with a central stellar on a parquetry ground, enclosing a velvet lined interior, above three long similarly inlaid drawers, with parquetry and stellar inlaid sides, on replaced bun feet, 54cm wide, 39cm deep, 36cm high. £2,000-£3,000

112 A 19th century French Regence style walnut, ebonised, sycamore marquetry and parquetry bowfront commode Dauphinoise in the manner of Thomas Hache of Grenoble Applied with gilt bronze mounts, the rounded rectangular gilt bronze bound top inlaid with a central flowerhead with radiating petals of olivewood and citronnier on a thuya ground, within walnut bands and walnut banded trellis parquetry, above two short and two long graduated drawers inlaid with floral sprays with central espagneolette mask mounts, flanked by simulated fluted angles, applied with pierced leaf mounts, the sides with marquetry panels of urn filled flowers, with pierced scrolling leaf sabots, with retailers label to the interior drawer, ‘S & H Jewell, 132 High Holborn, London, W.C’, the marquetry and some elements of the cabinet-work 18th century and reused, 118cm wide, 61cm deep, 83cm high. £6,000-£8,000 The use of indigenous burr veneers, olivewood and scrolling floral marquetry panels, together with a veneered brass bound top are characteristics reflective of the work of the celebrated ebéniste Thomas Hache of Grenoble (1664-1747), founder of the Hache dynasty of cabinet makers. See M.Clerc, Hache Ebénistes à Grenoble, p.31-55. S & H Jewell are listed as cabinetmakers from 1830-40 at 29-31 Little Queen St, Holborn, no pre-1830 directories with entries for the firm have been traced. (See G.Beard & C.Gilbert, Dictionary of English Furniture Makers 16601840, p.488). They are well known for retailing and restoring 18th century furniture, which appears to be the case in this instance.

thepedestal.com

113 A 19th century patinated bronze ewer after Clodion With entwined serpent handles and horned mask to the neck, the sides with neoclassical relief scenes depicting figures in naturalistic settings with satyrs and putti, 48cm high, 29cm wide. £600-£800 Supplied to the Wedgwood factory by John Flaxman snr in 1775, models of this ewer were taken from designs probably copied or cast after examples by Claude Michel Clodion (1738-1814), who possibly derived them from a model by SigisbertFrançois Michel (1728-1811). See London, Royal Academy of Arts, John Flaxman, R.A., 26 Oct-9 Dec. 1979, David Bindman. For a comparable pair of ewers see Christies, London, 22 May 2003, lot 39.

114 A pair of 19th century Belgian black marble and patinated bronze twin-handled urns Each with circular lobed rims above shaped bodies, with entwined serpent twin handles, with a leaf cast applied frieze, on turned socles and square plinth bases, each 20cm wide, 23cm high. (2) £1,000-£1,500

115 Alphonse Van Beurden, Belgian (1854-1938) Le Chanteur (The Singer) The bust of a young boy wearing a cloth tasselled hat and facing sinister, on a plinth base entitled LE CHANTEUR, signed ‘ALPH. VAN BEURDEN’, ‘Cie des Bronzes, cire perdue, Bruxelles’, on a stepped and moulded sienna marble plinth base with gilt metal feet, 62cm high. £1,500-£2,000

116 An early 19th century patinated bronze and gilt bronze burner/lamp Of classical form, the circular lid with a figure of Bacchus above a pierced acanthus leaf cast scrolling handle and with provision for two wicks, on a leaf cast base, 32cm wide, 15cm deep, 24cm high. £1,500-£2,000

118 Adolphe-Jean Lavergne, French (1852-1901) The Snake Charmer The figure of a young man in a turban standing on a rocky outcrop and holding a stick with an entwined serpent, the base signed ‘Lavergne’ and with two foundry stamps, 53cm high. £2,000-£3,000

thepedestal.com

117 A pair of late 19th century French gilt bronze and bronze urns possibly by Maison Millet, Paris The wrythen moulded bodies with scrolling handles surmounted by foliate, floral encrusted fixed stoppers, on pierced scrolling bases decorated with scallop shells, foliage and shells, 17.5cm high, 13cm wide. (2) £2,000-£3,000

119 Etienne Henry Dumaige, French (1830-1888) A pair of gilt bronze figures of winged classical maidens Each flanked by a torchere and raised on rouge marble plinths shaped bases with scroll feet, signed H.Dumaige, each 54cm high. (2) £3,000-£4,000

120 A pair of late 19th century Louis XVI style gilt bronze candlesticks The circular nozzles with beaded drip pans above friezes of classical figures and swagged drapes to the stems, on circular leaf cast and beaded bases with Greek key and paterae cast feet, each 30cm high, 15cm wide. (2) £500-£800

121 A late 19th century Louis XVI style gilt bronze pendule d’officier The circular 4” enamel dial with foliate pierced hands, the lever platform escapement with rack strike, the case with a paterae and tied ribands and pierced engraved back door, surmounted by swing carrying handle, bell missing, 20cm high. £800-£1,200

122 A pair of late 19th century Empire style gilt bronze candlesticks after Piranesi The flame cast nozzles above circular lobed drip-pans and triform shafts, each with three storks standing on rams heads, on winged lions supports and platform bases, on lion paw feet, each 40cm high, 13cm wide. (2) £1,500-£2,000

123 Etienne-Henri Dumaige, French (1830-1888) A pair of patinated bronze figures entitled ‘Avant le Combat’ and ‘Apres le Combat’ £5,000-£7,000 One figure with a drum, the other holding a rifle, on naturalistic square bases, both signed H.DUMAIGE with title plaques to the front inscribed ‘APRES LE COMBAT, GRENADIER DE 1792, PAR DUMAIGE H.C’ and the other ‘AVANT LE COMBAT, VOLANTAIRE DE 1792, PAR DUMAIGE H.C’, 65cm high. (2)

124 Jef Lambeaux (Belgian 1852-1908) A late 19th century bronze bust of a smiling girl facing dexter on a black marble plinth, 47cm high including the plinth. £500-£700

thepedestal.com

125 A late 19th century French Louis XVI style mahogany and gilt bronze mounted table ambulante in the manner of Henri Dasson The rectangular gilt leaf bound top with re-entrant corners above a frieze drawer flanked by fruit and floral cast mount, above turned fluted supports with a platform undertier, on turned tapering fluted legs, with sabots, 40cm wide, 30cm deep, 74cm high. £1,500-£2,000 It is likely that this table would have been manufactured in Paris for the English market as the leg shows a restraint and absence of mounting that would have been more to English than French taste. London retailers such as Maples would have bought stock directly from leading Parisian manufacturers specifically for sale in London catering to the international popularity of the Louis XV and XVI revival styles.

126 A late 19th century mahogany and brass mounted free standing oval bookcase The top with a green leather tooled surface within a moulded brass border above three open shelves to either side and three open shelves to either end, divided by stop fluted uprights, on square section tapering feet and brass sabots, 70cm wide, 54cm deep, 85.5cm high. £1,500-£2,000

127 ¥ A late 19th century French rosewood and gilt bronze mounted serpentine bijouterie table in the Louis XV style, The shaped moulded gilt-bronze bound glazed top enclosing a yellow watered silk lined interior, above a serpentine frieze applied with a ‘C’ scroll and acanthus pierced mount, on cabriole legs headed by double ‘C’ scroll and foliate cast mounts, with leafy sabots, 66cm wide, 48cm deep, 82cm high. £2,500-£3,500 76

128 A late 19th/early 20th century Louis XV style kingwood and bois de bout marquetry serpentine commode by Jansen Applied with gilt bronze mounts, the serpentine Notre Dame moulded marble top, with projecting corners above a pair of serpentine doors, with leafy mounts flanked by pierced leaf and trailing flowerhead scrolled mounts to the angles, on cabriole legs, with acanthus cast lion paw sabots, stamped twice under the marble and on the top of the right hand door, ‘JANSEN’, 100cm wide, 46cm deep, 94cm high. £4,000-£6,000 Jean-Henri Jansen founded Maison Jansen in Paris in 1880, they are often thought to be the first international interior designers. Jansen bought master models for gilt

bronze mounts from the celebrated ebeniste Joseph-Emmanuel Zwiener when Zwiener left Paris and returned to Germany c.1895-1900. The Jansen business was then renamed ‘Zwiener Jansen Successeur’. By the turn of the 20th century the firm made for many of the Royal Families of Europe. See C.Mestdagh & P. Lécoules, L’Ameublement d’Art Français, 18501900, Editions de L’Amateur, Paris; pp. 301-309.

129 ¥ A late 19th century French kingwood parquetry and rosewood crossbanded serpentine card table in the Louis XV style, applied with gilt bronze mounts The shaped gilt brass bound swivel top enclosing a later baize above a shaped apron with central ‘C’ scroll and floral mounts, on cabriole legs headed by scrolling acanthus leaves trailing to sabots, 78cm wide, 46cm deep, 79cm high. £2,000-£3,000

thepedestal.com

130 A large Empire gilt bronze figural mantel clock The rectangular case in the form of a bibliotheque supporting a framed portrait of a young man flanked by a figure of a young woman standing and clasping her breast and reaching out to the portrait, the 3.5” enamel dial within a foliate cast bezel, the drum shaped movement with flat-bottomed plates, silk suspension and outside countwheel strike, the rectangular base decorated with putti, holding various attributes, with applied floral wreaths to either end, on lions paw feet, 36.5cm wide, 15cm deep, 51cm high. £2,000-£3,000

131 A large gilt bronze Empire mantel clock the dial signed V.LaCroix, Paris The arched case surmounted by the figure of a young woman seated with a dove on her lap holding a letter in its beak, and supporting a tablet inscribed ‘Ce Mefsager D’amour, Fait Couler D’heureux Jour’, her foot resting on an x-frame tabouret and flanked to the right hand side by a lion monopodiae gueridon supporting a model encrier and a small bird, the 5” enamel dial within a anthemion decorated and engine turned bezel, the silk suspension with outside countwheel striking on a bell, above a relief panel of a shepherd handing a letter to a dove, the rectangular base with rounded ends decorated with sheep, anthemion, scroll work and a floral urn, on flattened bun feet, 40cm wide, 17.5cm wide, 51cm high. £4,000-£6,000

thepedestal.com

132 A late 19th century French gilt bronze and porcelain mounted Louis XVI style clock garniture The porcelain painted with classical figures in landscape settings, the smaller panels with landscape scenes, the clock with an arched case surmounted by a swagged urn, the painted dial with separate Roman numerals, the movement by Japy Freres, striking on a bell, the garniture urns with porcelain bodies raised on turned columns and pedestal bases, the clock 43.5cm high. (3) £3,000-£4,000

133 A late 19th century French gilt bronze Louis XVI style mantel clock With an elaborately scrolling pierced case, the embossed gilt dial with separate enamel Roman numerals, the drum shaped movement with Brocot type rise and fall regulation and outside countwheel striking on a bell, 46cm high. £1,200-£1,800

134 A late 19th century French Louis XV style gilt bronze mantel clock retailed by Maple & Co., Paris The circular 7” enamel dial with engraved and pierced brass hands, the lever platform escapement with rack strike on a gong, within a foliate acanthus scrolled case, surmounted by a putti playing a harp, with musical trophies below, on a shaped scrolling base and cabriole pierced feet, the dial with retailers signature for Maple & Co, Paris, 42cm wide, 65cm high. £3,000-£4,000

135 A fine late 19th century mahogany, parquetry and gilt bronze mounted vitrine in the Louis XVI style The moulded stepped top with a pierced gilt bronze cresting of a floral vase, cornucopiae and acanthus leaves, the arched glazed door with a pendant mount of putti and with a parquetry panel below applied with swag mounts enclosing two glass shelves and a solid shelf, with a velvet lining to the back boards, flanked by trussed angles with floral swags, all above a swag and tassel border and a scrolling leaf apron mount, the sides glazed with similar parquetry panels below, on turned toupie feet, 70cm wide, 39cm deep, 178cm high. £8,000-£12,000 The presence of a stamped 'M' to the reverse of the cresting mount combined with the Louis XVI style employed here is likely to indicate the Paris firm of Mercier Frères. Claude Mercier was established in Paris in 1828, with premises at 15, rue Beautrellis. The firm moved to new premises in 1867 at 100, rue du Faubourg-Saint-Antoine, changing its name to become Mercier Frères. Among their commissions were furniture for the Spanish court in 1855 and the firm participated in many of the major 19th century exhibitions, including the Exposition des produits de l'industrie française in 1844 and 1849 and received medals at London in 1852 and in Paris in 1855. The celebrated cabinet-maker François Linke is known to have produced items of furniture for Mercier Frères.

thepedestal.com

136 A pair of late 19th century French Louis XVI style mahogany open bookcases by Leon Dromard Each applied with gilt-metal mounts, with a rectangular Breche d’Alep marble top and pierced gilt metal three-quarter gallery above a guilloche applied frieze, with four adjustable shelves flanked by fluted angles with gilt metal chandelles and toupie feet, one stamped twice to the reverse ‘L.DROMARD’, 54cm wide, 33cm deep, 102cm high. (2) £7,000-£10,000 Leon Dromard is recorded as working at 18, rue Saint-Lazare from 1874 to 1889.

137 A pair of late 19th/early 20th century white painted fauteuils in the Louis XVI style The rectangular padded backs within guilloche carved frames with downswept padded arms on lotus and spiral turned supports, the cushion seats above guilloche carved seat rails on fluted tapering legs. (2) £800-£1,200

138 ¥ A late 19th century/early 20th century French rosewood parquetry and gilt bronze mounted serpentine secretaire commode in the Louis XV style The serpentine gilt bronze mounted top above a secretaire drawer enclosing a fitted interior comprising of four short drawers around an open recess and inset with a baize lined writing surface with a further long drawer below flanked by foliate, flowerhead scrolling mounts to the angles, on cabriole legs terminating in sabots, 96cm wide, 48cm deep, 97cm high. £4,000-£6,000

thepedestal.com

139 ¥ A rare 19th century French green stained tortoiseshell and brass marquetry carriage clock by Hy. Marc, Paris 19055 The rectangular enamel dial signed and numbered, the rectangular twin train movement with lever platform escapement with blued steel helical spring and rack strike on a bell, 20.5cm high. £1,500-£2,000

140 An early 19th century ebonised and parcel gilt urn shaped tea caddy The circular hinged lid with polished steel swing handle and lobed edge, enclosing a foil lining, above a stop fluted and lobed body with polished steel escutcheon, on a square socle base, 15cm diameter, 23cm high. £1,200-£1,500

141 A pair of 19th century Venetian polychrome decorated and parcel gilt urns converted to lamp bases The bulbous bodies decorated with flowers and carved with foliate and swag decoration on waisted soles, now wired for electricity and with modern fabric shades, 52cm high not including fitting and shade. (2) £1,000-£1,500

142 A late 19th century Parian bust of Madame du Barry after Pajou In Classical dress, her head turned to sinister, on shaped plinth base, inscribed to the reverse, ‘PORTRAIT DE MADAME LA COMTESSE DV BARRY, PAR PAJOU SECVE, DVROY, E.PROFESSEVR DE SON ACAD. DE. PINT. E. SCVL 1773’, with auctioneer’s label to the underside, ‘From the collection of the late Sir Frederick Ashton OM.CH.CBE’, 59cm high, 42cm wide. £800-£1,200 Provenance: Sir Frederick Ashton OM.CH.CBE (1904-1988), the ballet dancer and choreographer. Purchased by the current owner at the house sale contents of Ashton’s home Chandos Lodge, Eye, Suffolk, sold Boardmans Fine Art Auctioneers, Haverhill, Suffolk, 30 June 1993, lot 543.

143 A pair of late 19th century French Empire style patinated bronze and gilt bronze four light candelabra The circular nozzles and drip pans on winged serpent supports, above fruit and flower cast capitals, on fluted turned columns with flowerhead turned and square plinth bases, each 64cm high. (2) £3,000-£4,000

144 A pair of Empire style cut glass and gilt bronze mounted table lamps The diamond cut columns surmounted by corinthian capitals and similarly cut reservoirs, on stepped plinth supports and acanthus cast bases, with pleated silk shades, wired for electricity, 63cm high not including fitting. (2) £1,500-£2,000

thepedestal.com

145 A late 19th century French Egyptian Revival bronze and gilt bronze torchere attributed to George Servant Modelled as a standing pharaoh supporting a central column surmounted by a twin handled urn, the base with panels of Egyptian figures and hieroglyphics, the base with scarab decoration, later wired for electricity, 154cm high. £2,000-£3,000 A torchere of this model attributed to Servant was sold Christie’s London, 29 Jan 2013, lot 215. Egyptian-revival interiors were recorded in Europe as far back as the Renaissance period although the style gained more popularity in the late 18th century. In the 19th century the movement extended beyond an admiration for the style or an interest in Egyptology and became a full blown movement - a key part of the movement now sometimes referred to as Egyptomania. In England in the early 19th century the style was employed to great effect in the Egyptian Hall at Stowe House, Buckinghamshire and in Thomas Hope’s iconic Egyptian Room at Duchess Street, London and featuring in his popular design book Furniture and Interior Decoration, published in 1807. Napoleon Bonaparte’s expedition to Egypt (1798 and 1801) was significant in altering relations between Egypt and the west. Amongst the expedition party were artists who along with scientists and technicians fostered interest in Egypt.The opening of the Suez canal (1869) and of the Cairo Opera house (1871) hugely increased awareness of all things Egyptian across Europe. The Khedive of Egypt commissioned the opera Aida which helped to reinforce notions of ancient Egypt internationally and added fuel to the fashion for all things Egyptian. This movement was to continue in the 20th century with Howard Carter’s discovery of the tomb of Tutankhamun (1922) influencing the merging of the Egyptian and Art Deco styles during the 1920’s.

146 An early 19th century Swedish giltwood and grey painted console table and en suite mirror attributed to Pehr Gustaf Bylander The rectangular plate surmounted by a spread eagle and acanthus leaf carved cavetto moulded cornice, flanked by turned paterae carved columns, the table with a rectangular white and grey veined marble inset top above a stiff leaf and paterae carved frieze, on scrolling dolphin supports, with applied sunburst to the rear panel, on a simulated portor marble plinth base, 79cm wide, 66cm deep, 269cm high. £3,000-£5,000 Pehr Gustav Bylander was active in Gothenburg from 1804 to 1859 and was one of Sweden’s most well known and successful mirror manufacturer. He supplied mirrors with console tables to many great houses in Southern and Western Sweden, including Skottorp, Sperlingsholm and Stjernsund. The Nordislea Museum in Stockholm has several examples of his work. Similar examples of Bylander’s work are illustrated in Neoclassicism in the North, Swedish Furniture and Interiors 1770-1850 p.162,(ill.168), p.207 (ill.9) and specifically p. 175, where a pair of mirrors with similar eagles and carved columns can be seen illustrated in Skottorp built for the Royal Secretary Frans Örnestedt, it was bought by his descendant, Commercial Councillor Peter Möller in 1813. See Christies South Kensington, Style & Spirit, 4 February 2014, lot 33 for a very similar example by Bylander with eagle cresting and dolphin supports to the base, see also Bonhams, London 25 June 2008, lot 95 for a pier glass and console with similar sunburst. Further related examples by Bylander include a pier mirror and console table en suite featuring similar dolphin supports and thyrsus attributes, sold Christie’s, London, 28 March 2006, lot 137 a pair of pier mirrors without the consoles, attributed to Bylander sold anonymously Christie’s London, 12 September 2007, lot 219.

thepedestal.com

147 ¥ A 19th century French Restauration carved rosewood and gilt bronze mounted fauteuil by Jeanselme The scrolling padded back with applied brass bead and reel moulding above padded acanthus carved scrolling arms and arm supports, above a bowed seat on scrolling downswept reeded legs and lion paw feet, with stencil mark ‘JEANSELME’ under the seat, 63cm wide, 53cm deep, 96cm high. £1,500-£2,000 The Parisian manufacturers Jeanselme was founded in Paris in 1824 and closed in 1930. The two sons of Jean-Pierre Jeanselme, Joseph-PierreFrançois and Jean-Arnoux Jeanselme worked together between 1824-1840. Joseph-Pierre-François acted as the Fournisseur du Mobilier de la Couronne under Louis-Philippe and Napoleon III. Literature: Denise Ledoux-Lebard, Le Mobilier Français du XIXe siècle, Paris, 1984, pp.374-384.

148 A Directoire mahogany, brass inlaid and gilt brass mounted card table The hinged top enclosing a baize lined interior above a Greek key brass inlaid and fluted frieze, on turned tapering fluted legs and gilt brass spool feet, 111cm wide, 56cm deep, 71cm high. £1,000-£1,500

149 An Empire mahogany and gilt bronze mounted console table in the manner of Jacob Desmalter The white veined marble top above a frieze drawer with a central Minerva mask head mount with cornucopiae, flora and acanthus surround, above a mirrored glass back plate and rectangular moulded front supports applied with foliate, acanthus, laurel wreath and lightening bolt terminals, on a concave platform base, 122cm wide, 49cm deep, 84cm high. £2,000-£3,000

150 A Restauration mahogany console table The later black and white granite top above a moulded frieze with a leaf carved border on lion monopodia supports with with lotus and acanthus leaf decoration and paw feet, the rear supports of flattened rectangular form, on a concave plinth base, 129cm wide, 55.5cm deep, 91cm high. £4,000-£6,000

151 ¥ A 19th century Italian rosewood, tulipwood crossbanded and specimen wood stellar parquetry centre table The shaped Almond black fossilised marble top with a moulded lip and edge above an undulating frieze and frieze drawer, on cabriole legs joined by an ‘X’ shaped stretcher, with central turned finial, on castors, third quarter 19th century, with indistinct paper label to the underside, ‘... da Lille’, 147cm wide, 84cm deep, 77cm high. £3,000-£5,000 See Christies, European Furniture, Works of Art, and Tapestries: Including Jansen: The Past Reimagined, 7 October 2008, lot 233 for an Italian gueridon of similar date, profusely inlaid with similar specimen wood parquetry. thepedestal.com

152 A late 19th century French kingwood and gilt bronze mounted serpentine circular occasional table attributed to Francois Linke The shaped gilt bronze bound brown onyx top above a serpentine frieze with ‘crab’ type mounts, on cabriole legs headed by ‘C’ scrolls and trailing leaves joined by a scrolling ‘X’ stretcher centred by a leafy finial, on gilt bronze leaf sabots, 60cm diameter, 79cm high. £5,000-£7,000 Francois Linke (1855-1946) was one of the most important Parisian cabinet makers of the late 19th/early 20th century. As early as 1881 he supplied furniture for the more established luxury Parisian makers Jansen and Krieger in the Faubourg Saint-Antoine. Index number 146 was available with either a marble top, usually fleur de pêcher, or a marquetry top (see Sotheby’s New York, October 26, 2006, lots 69 & 70). Those examples appear to have been made by Linke circa 1890 for Krieger. However the Krieger examples have a simple circular top without the expensive and complicated four outset corners. Titled in Linke’s third Daybook as a: ‘Guéridon Louis XV, violette bronzes ciselés dorés’ model 146 came in three or four legged examples and continued to be available in the 1920s and 1930s in at least nine different versions, with marble or marquetry tops. The quality of Linke’s work was unparalleled, it was exemplified in his stand at the Paris Exposition Universelle in 1900, where he won the gold medal. He collaborated with the sculptor Leon Messangé adding incredible, inventive and elaborate mounts to Linke’s high quality furniture. For further information see C.Payne, François Linke, 1855-1946,The Belle Epoque of French Furniture, Antique Collectors Club, Woodbridge, 2003.

153 Dora Gordine ‘La Gordine’ (Estonian 1895-1991) Chinese Head / Kwa Nin (Chinese Lady of Peace) A bronze bust of a Chinese woman looking down, on a stepped wooden ebonised plinth base, unsigned, 41cm high including the plinth. £1,500-£1,800 Literature: The above lot appears to be a slight variant of the edition of eight produced by Gordine in 1930-1931, in this example there is a longer neck giving the face it’s downward stare, see J.Black and B.Martin, Dora Gordine, Sculptor, Artist, Designer, London, 2007, p.228, fig.14. Dora Gordine was born in Latvia around 1895 while the country was under Russian control. Gordon studied in Paris. She exhibited her first bronze in London at the Beaux Arts Society being invited the following year to show at the Salon des Tuileries where her work drew much praise and she held a solo show at the Leicester Galleries in 1928 it was a huge success and all her work was sold, amongst which Javanese Head was bought by Samuel Courtauld for the Tate Gallery collection. She travelled to Singapore to work on a commission for the city authorities to produce six sculpted heads representing people of different ethnic backgrounds living in the Malay Peninsula. The Straits Times (1932) wrote: “Like Byron, one morning Dora Gordine woke up famous”. In 1935, together with her husband, the Hon. Richard Gilbert Hare (1907–1966) Gordine turned to architecture, designing Dorich House in Kingston. Her husband was well connected and introduced her to many society figures who were to sit for her including Sir Kenneth Clark, John Pope-Hennessy and Dame Edith Evans. Gordine exhibited regularly at the Royal Academy and the Society of Portrait Sculptors, becoming a Fellow of the Royal British Society of Sculptors in 1949. She exhibited widely, travelled in the USA, working in Hollywood. Gordine produced ‘Happy Baby’ in 1948 for the new mother and baby unit at Holloway prison and in 1960 the large bas-relief ‘Power’ for Esso.

154 A late 19th century Atelier de Glatigny mottled grey and white glazed stoneware and gilt bronze mounted twin handled vase Of globular form, the circular leaf cast rim issuing foliate cast ‘C’ scroll twin handles, signed to the base ‘Glatigny’, 32cm wide, 28cm high (including handles). £1,500-£2,000 The Glatigny workshop was set up in the 1890’s at Versailles by a group of anonymous artists, potters and glaze chemists. It made stoneware in small quantities and specialised in porcelain with flambé glazes and crystalline effects. The objects were made in small numbers, some silver mounted by the Parisian silversmith and jeweller Lucien Gaillard, whose metal mounts appeared on other objects at the 1900 Exposition Universelle in Paris. 92

155 A late 19th/early 20th century Swiss ‘Black Forest’ carved linden wood hall stand possibly by Louis Meichtry, or Walter Linder of Brienz In the form of a mother bear climbing a tree with her two young cubs, the rustic branches forming an umbrella/stick stand and a shield shaped mirror, with smaller branches as coat hooks, retaining some of the original paintwork, 49cm wide, 215cm high. £7,000-£10,000 The Brienz carvers preferred to carve their large bears or furniture in linden wood, the tree was plentiful in Switzerland and it was easy to carve. Bears were a popular subject and were carved in naturalistic and comical poses, by 1900 there were over thirteen hundred carvers in the locality of Brienz. This lot has close similarities to examples seen in an extract from a Louis Meichtry Catalogue (page 8) and a bear umbrella stand attributed to Walter Linder, both illustrated in J. Arenski, Swiss Carving The Art of the ‘Black Forest’ 1820-1940, figs.162 & 152.

thepedestal.com

Enquiries: The Pedestal Limited PO Box 61367, London N19 9DU Tel: 0207 281 2790 Email: info@thepedestal.com

Post-Sale Information: Payment, Storage and Collection Payment for each lot which you have purchased including all associated fees, charges and taxes, is due no later than 7 calendar days after the auction. Payment can be made only by the registered bidder. Payment instructions will be given on the relevant invoice or invoices. We will charge a buyer’s premium of 24% on the first £50,000 of the hammer price of each lot, and 20% of any portion of such hammer price which is above £50,000. A credit card surcharge will be applied where relevant. All sold lots not collected from Moor Park by 12 noon Wednesday 19th October 2016 must be collected from: Alban Shipping Unit 4, Premier Business Park Dencora Way Luton Bedfordshire LU3 3HP Tel: 01582 493099 Email: info@albanshipping.co.uk Collections may be made between 9am and 5pm, Monday to Friday. You are advised to arrange a collection time in advance to help avoid delays. Alban Shipping would be pleased to quote delivery or shipping of items, if you wish them to do so. Collections must be made within 14 days after the auction (Tuesday 1st November). Storage and handling fees will be charged in relation to lots left uncollected after that date at Alban Shipping’s standard rates. All lots must be paid for in full before collection. Alban’s storage charges: After 14 calendar days charges are as follows:Handling Uplift charges, per lot small item £20.00, medium item £25.00, large item £30.00 Insurance 0.30% +PIT of the buyers invoice Storage charges, per small item per day £3.30, medium item per day £7.50, large item per day £12.50 Further information on payment, insurance, storage and collection is available in our Terms and Conditions for Auction Purchasers at the end of this catalogue and this information is subject to those Terms and Conditions.

TERMS AND CONDITIONS FOR AUCTION PURCHASERS

1. These Terms and Conditions apply to all transactions relating to the purchase of items by a bidder (referred to as “you”) at auction or as an 2. 3.

4. 5. 6. 7. 8. 9.

10. 11. 12. 13. 14. 15. 16. 17. 18.

19.

20. 21. 22.

23. a. b. c.

auction after-sale by The Pedestal Limited, trading as The Pedestal (referred to as “we”), and may not be varied unless agreed in writing in advance by one of our directors. By registering to bid and/or bidding you accept these terms. We act as agent for the seller whose identity we will not disclose, unless otherwise stated. When we offer items for consignment at auction, we will usually include in the auction listing a description of the lot and an estimate of potential sale value. Upon request we may also supply a condition report, which will be based on a visual inspection of each lot without disassembly or further investigation of physical condition, and on information available to us at the time. All information is provided after due consideration and to the best of our knowledge and experience, but cannot be taken as a statement of fact, a guarantee or statement of value or a guarantee or statement that mechanical or electrical parts are functioning correctly or at all. All measurements provided are approximate. Colours of any image depicted in any printed catalogue, on our website or otherwise may not appear the same as colours perceived on physical inspection. Lots offered for sale will be available for viewing in person at such place and times as are advertised before the auction. We always recommend inspection in person. A registration form will be available on our website, at the auction or upon request and must be completed in advance of the auction by anyone wishing to bid. You may also be required to provide proof of identity and proof of address unless you are already known to us. A separate fee may be levied and separate registration may be required for online bidding, whether on our own or a third party platform. Commission bids may be refused unless they have been entered on our registration form and accepted in advance of the auction. We may at our discretion accept bids from someone acting on behalf of a third party, subject to receiving a letter of authorisation which is satisfactory to us. In the event that such a bid is successful we reserve the right to treat either the bidder or the third party as the successful bidder for all purposes including as regards obtaining payment for the lot. Auctions are conducted according to our discretion and that of our auctioneer. We may refuse to allow access to the auction, refuse or accept any bid, alter the order of lots and/or the bidding in such way as we think best, withdraw any lot, reopen bidding after the hammer has fallen, determine who is the successful bidder, cancel the sale of any lot or otherwise regulate the auction and all associated proceedings as we deem most appropriate. Our decision in relation to any dispute relating to bidding which may arise during or after the auction is final. We may (but are not obliged to) offer bidding in person, by commission bids left with us in advance of the auction, by telephone, or online via our own or a third party platform. We will not in any event be liable for any failure to take a bid whether caused by breakdown of communications technology or otherwise. Both the auction as a whole and calls used for telephone bids may be recorded and such recordings may be retained by us and by participating in the same you consent to such recording and retention. Most lots are offered subject to a reserve below which the lot will not be sold. The level of the reserve is confidential between ourselves and our seller but will not be higher than the lower estimate. We may enter one or more bids consecutively or otherwise on behalf of the seller up to but not beyond the level of the reserve. Subject only to the auctioneer’s discretion set out in clause 9 above, when the auctioneer’s hammer falls no further bids will be accepted and a contract for sale is formed between the successful bidder and ourselves as agent for the seller. We will endeavour to send out invoices promptly by mail or email using the contact details supplied to us by the successful bidder. If you believe that you are the successful bidder for any lot but have not heard from us within three working days of the auction we recommend that you contact us to arrange collection and avoid potential storage charges. We will charge a buyer’s fee of 24% on the first £50,000 of the hammer price of each lot, and 20% of any portion of such hammer price which is above £50,000. Payment for each lot which you have purchased including all associated fees, charges and taxes is due no later than 7 calendar days after the auction. Payment can be made only by the registered bidder. Payment instructions will be given on the relevant invoice or invoices. A credit card surcharge will be applied where relevant. No lot will be released and legal title will not pass to you until we have received due payment in full of all sums owed to us by you. Risk in any lot for which you are the successful bidder will pass to you on the earlier of collection of the lot by you or on your behalf, or the due date for payment for such lot. If you fail to make due payment for any lot we may, at our discretion and without limitation to other available remedies, charge you interest at the rate of 12% per annum; bring legal proceedings against you for the unpaid sum and all associated fees and costs including professional fees (“Unpaid Sums”); retain and sell ourselves or otherwise any other lots held by us which are your property or any sums otherwise payable by us to you and use such proceeds or sums to defray the Unpaid Sums; cancel the sale, re-offer the lot and claim any shortfall and any associated costs from you; and/or pass your identity and contact details to the seller so that they can pursue legal remedies against you directly. All lots must be collected from Alban Shipping of Unit 4, Premier Business Park, Dencora Way, Luton, Bedfordshire LU3 3HP or as otherwise notified, within 14 days after the auction. Storage and handling fees will be charged in relation to lots left uncollected after that date at Alban Shipping’s standard rates from time to time. Any lots not collected within 90 days after the auction may be sold by us at our discretion, with the proceeds applied to cover all Unpaid Sums including storage and handling charges. In this event any surplus will be paid over to you, and we will claim any shortfall from you as an Unpaid Sum. A lot which has been collected from our warehouse by you or a shipper acting on your behalf is deemed to have been delivered to you by us at the time of such collection. We are not responsible for advising you on any import/export issues including without limitation CITES or the like, and customs and import fees and the like. We recommend that you acquaint yourself with any relevant issues before bidding, as we cannot accept liability for any information which we may provide you with. Each seller warrants that they are the legal owner of the lot and/or have the unencumbered right to sell the lot at auction and to pass title to the successful bidder. The seller shall not be liable in the event of breach of this warranty for any amount greater than the hammer price of the lot in question. We may be liable only to the successful bidder in the event of fraud or fraudulent misrepresentation by us and exclude all other liability to such bidder and all third parties to the fullest extent permitted by law. Nothing herein shall limit your rights if any under the Consumer Contracts Regulations, or exclude our liability for death or personal injury caused by our negligence. General Terms: These terms are made and must be construed under English law and any disputes arising from them or from the Contract will be subject to the exclusive jurisdiction of the courts of England and Wales. All charges, fees, premiums and any other sums referred to herein or arising herefrom are stated net of Value Added Tax but are subject to VAT or the like at the rate or rates prevailing at the time of any transaction. VAT is not chargeable on the hammer price unless otherwise stated. We will hold your personal data according to the data protection principles which are set out in the Data Protection Act 1998, as such may be amended from time to time. We will retain and use such data for the purposes envisaged by these terms and conditions and in order to keep you informed of our business activities, unless you request us not to do so. We will not pass your details to any third party other than our own bank and/or professional advisers under conditions of confidentiality, unless required to do so by law. Auctions may be recorded by us as may telephone calls. We retain copyright in all images and written and other materials prepared by us, which may not be used by you without our prior written consent.

Sale Title Fine Furniture & Objects

Registration and Bidding Form Please note that you may also register for this sale, request a telephone bid and/or leave a commission bid online at www.thepedestal.com

Date 2pm Tuesday October 18 2016

First Name

Sale number: 181016

Address

Sale venue: Moor Park Mansion Rickmansworth Hertfordshire WD3 1QL Tel: 020 7281 2790 Bidding, purchasing and all matters relating to this sale will be governed by The Pedestal Limited’s Terms and Conditions for Auction Purchasers, which can be found on our website and in the printed sale catalogue. We recommend that you read them before registering to bid. If you have not previously registered with us, please provide photographic proof of your identity and proof of address such as a utility bill or bank statement. If you are not attending the sale in person, please provide details of the Lots on which you wish to bid at least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. The Pedestal will endeavour to execute these bids on your behalf but will not be liable for any errors or failing to execute bids. All sales are subject to a buyer’s premium of 24% plus VAT on the first £50,000 hammer price of each lot, and 10% of any portion of such hammer price which is above £50,000. Additional charges may apply for bidding online via a third party platform. Bidding Increments (subject always to the auctioneer’s discretion)

Up to £500 – 20/50/80 £500-£1000 – 50 £1000-£2000 – 100 £2000-£5000 – 200/500/800 £5000-£10,000 – 500 £10,000-£20,000 – 1000 £20,000-£50,000 – 2000/5000/8000 £50,000-£100,000 – 5000 £100,000 and above – increments at the discretion of the auctioneer Notes Telephone calls may be recorded. Commission bids will be rounded down to the nearest increment where relevant. This form should be completed, signed and delivered together with proof of identity and address as requested above by email to info@thepedestal.com, by mail to PO Box 61367, London N19 9DU or in person at the sale viewing. It must be received by The Pedestal no later than close of business on the day before the sale date. Telephone bids are subject to availability. In any event The Pedestal will not be liable for any failure to register a bidder or bids, or to accept a telephone bid. By signing this form, you are confirming that you accept these terms. Signature ......................................................................... Date .................................................................................

Last Name

Company Name (where applicable)

Postcode Telephone (Landline including country code) Mobile (including country code) VAT registration number (where applicable) Email

❏

Bid in person

Lot no.

❏

Leave commission bid

Description of Lot

❏

Request telephone bid

Telephone/ Commission

Maximum Bid (hammer price excluding premium and VAT, in £s)

at Moor Park Fine Furniture & Objects Tuesday October 18 2016

Enquiries: The Pedestal Limited PO Box 61367, London N19 9DU Tel: 0207 281 2790 Email: info@thepedestal.com

Fine Furniture & Objects 2pm Tuesday October 18 2016