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Page 1: 141 New Bond Street, London W1 929 Madison Avenue, New
Page 2: 141 New Bond Street, London W1 929 Madison Avenue, New
Page 3: 141 New Bond Street, London W1 929 Madison Avenue, New
Page 4: 141 New Bond Street, London W1 929 Madison Avenue, New
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141 New Bond Street, London W1929 Madison Avenue, New York 10021

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FiNe FurNiture A timeline in woods

Page 7: 141 New Bond Street, London W1 929 Madison Avenue, New

FiNe FurNiture

A timeline in woods

the purpose of this summer’s catalogue is to show some exceptionally beautiful pieces within their

historical context. On this occasion we thought it would be interesting to outline briefly the line of

development and styles that shaped the basic forms, different woods, ornamental features and the

numerous themes such as rococo, classical, gothic, chinoiserie and other fantasies that enlivened the

main story in the progression of design.

Here then is a basic outline of furniture history, seen largely through a progression of lovely woods

from many parts of the world, with illustrations relating to each period. We hope you find it

interesting and entertaining.

Lanto Synge

Chief executive

Opposite: A watercolour by Shirley Slocombe published in Percy Macquoid’s ‘The Age of Walnut’

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FiNe FurNiture A timeline in woods

Louis XiV r. 1�43 – 171�

Queen Anne r. 1703 - 1714

Battle of Blenheim 1704

turning point of the War of the

Spanish Succession

George i r. 1714 - 1727

John Harrison, 1�93-177�, invented

the portable clock, which enabled

the navigation that was so crucial

to world trading.

Louis XV r. 171� – 177�

regence (171� – 1723)

George ii r. 1727-�0

Bach’s St. Matthew Passion 1727

William Hogarth’s A Rake’s Progress

1732

Handel’s Messiah 1741

William Kent c. 1�8� - 1748

the central architect of the revived

Palladian style in england, including

classical interiors.

Josiah Wedgwood 1730 – 179�

the industrialization of the manufacture

of pottery

thomas Chippendale 1718-1789

The Gentleman and Cabinet-Maker’s

Director 17�4

George Hepplewhite 1727-178�

The Cabinetmaker and Upholsterer’s

Guide (1788, revised 1789)

thomas Sheraton 17�1–180�

The Cabinetmakers and Upholsterer’s

Drawing-Book (issued in parts 1791-4)

George iii r. 17�0-1820

Henry Fielding’s Tom Jones 1749

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American Declaration of independence

177�

Adam Smith, Wealth of Nations 177�

the regency 1790-1820

the royal Pavilion at Brighton was

remodelled in indian style by John

Nash, 181�-1823, for George iV

when Prince regent

ironbridge 1779

Birthplace of the industrial revolution

Steam train 1804

richard trevithick, 1771-1833, built the

first steam engine tramway locomotive

Napoleon i r. 1804 – 1814

Battle of trafalgar 180�

Matthew Boulton 1728-1809

Maker of gilt metal ormolu objects

to rival French production.

Mozart’s Don Giovanni 1787

French revolution 1789

Battle of Waterloo, 181�

Lord Byron’s Childe Harold’s Pilgrimage 181�

George iV r. 1820-1830

Beethoven’s 9th Symphony, The Choral 1824

William iV r. 1830-1837

Jane Austen’s Jane Eyre 1847

Queen Victoria r. 1837-1901

the Great exhibition 18�1

Charles Dickens’ Great Expectations 18�0

Cutty Sark 1880the epitome of the great age of merchant sailing ships

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FiNe FurNiture A timeline in woods

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tHe AGe oF WALNut

1700 – 1730

english furniture history can be divided into periods when particular woods were fashionable.

these highly prized and expensive timbers mark out the crucial phases of Georgian cabinetmaking

through the 18th century.

Walnut was the cherished wood of the first decades of the century, 1700-1730, the time of the

monarchs Queen Anne and George i. Furniture made with simple lines, perfectly proportioned

and veneered with highly grained and carefully selected walnut, or crisply carved in the solid was

greatly prized and has never been much out of fashion over the ensuing 300 years. in fact the safer

‘good taste’ characteristics of walnut furniture seem to reflect the traditional non-pretentious, high

quality, upper middle class that represents the best of england and englishness over the centuries.

Good walnut furniture is notably well proportioned and wonderfully made. there is no sparing

of craftsmanship either in the complex veneering (with cross bandings, herringbone inlay or

contrast of grain) or in the use of well drawn carved ornament. the spectacular is avoided while

well-mannered quality is easily evident on closer inspection. this was not a period of celebrities

in furniture making or design books. Giles Grendy however became a famous name as a supplier

and several clock makers such as Daniel Quare were well known and produced movements for

magnificent clock cases.

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FiNe FurNiture A timeline in woods

A SMALL SiZeD QueeN ANNe WALNut CHeSt oF DrAWerS

A magnificent and rare small sized Queen Anne walnut chest of drawers, finely veneered in

characterful burr walnut, of unusual proportions and with two tiers of small drawers above two

long drawers; each retaining original brasswork with drop handles and stamp-decorated backplates.

the drawers are framed with mouldings and the top and front crossbanded with herringbone inlay;

standing on bun feet (of a later date); the side with large brass carrying handles. F2H0079

english, circa 1710

Height: 30in (7�.2cm)

Width: 2�in (�3.�cm)

Depth: 1�¼in (41.3cm)

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the age of WALNut

A Burr WALNut KNeeHoLe DeSK

An exceptional George I small kneehole desk in highly figured burr walnut of very fine colour,

the quarter-veneered top with indented corners, crossbanding and herring-bone inlay, with one

long drawer above three small drawers at each side, all with engraved brass handles and lock

escutcheons, the kneehole recess with a shallow drawer and a sliding cupboard unit. F2A0�72

english, circa 1720

Height: 30½in (77cm)

Width: 28in (71cm)

Depth: 17¾in (4�cm)

The perfect compact proportions of the pieces on these two pages epitomise the charming ‘neatness’ of Queen Anne furniture at its best.

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FiNe FurNiture A timeline in woods

A WiLLiAM AND MArY Verre eGLoMiSé Pier GLASS

A rare William and Mary pier glass with arched

top and bevelled mirror plates, the borders of

red and gold verre eglomisé with decoration of

strapwork, scrolling foliage and arabesques in the

manner of Jean Bérain, within a carved giltwood

frame, the sides carved with stylised foliage.

F2e041�

english, circa 1700

the engraved top plate possibly later

Height: ��½in (143.�cm)

Width: 24½in (�2cm)

the art of engraving on gold under glass has

origins which date back to ancient Damascus

and rome and which enjoyed a revival during

the italian renaissance. At various times this

process has been used to embellish looking

glasses and in the late 17th century, when

mirrors with glass borders were coming into

fashion, some were decorated with what has

become known as ‘verre eglomise’. the fashion

emanated from France where the designs of

Jean Bérain were proving so influential. In

england such mirrors were produced during the

reigns of William and Mary and Queen Anne.

the borders would be inscribed with elaborate

patterns of strapwork and arabesques, the gold

leaf being set against a red, black or sometimes

green background.

examples of great eglomisé mirrors and pier

glasses are in the Victoria and Albert Museum,

at Chatsworth in Derbyshire, at Penshurst

Place in Kent and in the Gerstenfeld Collection

in Washington DC. the descriptive term

‘verre eglomisé’ is derives from the name of

Jean-Baptiste Glomy who popularised a similar

process for framing pictures. He died in 178�.

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the age of WALNut

AN iMPortANt QueeN ANNe GiLt GeSSo DreSSiNG tABLe

A highly important and very rare Queen Anne gilt gesso dressing table, retaining most of is original

gilding, the rectangular top centred by an acanthus spray and issuing further foliate sprays within

a moulded border surrounded by strapwork and foliate scrolls, above three short drawers over

a shaped apron, the front and sides also decorated with scrolling foliage and acanthus, raised on

cabriole legs with acanthus at the knees and on the pad feet, both at the front and back. F2G0033

english, circa 171�

ring handles replaced

Height: 28¾in (73cm)

Width: 30¼in (77cm)

Depth: 20in (�1cm)

Literature:

Percy Macquoid, The Age of Mahogany, p27, fig 23

Percy Macquoid & ralph edwards, The Dictionary of English Furniture, 1927, Vol III, p216, fig 7

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FiNe FurNiture A timeline in woods

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the age of WALNut

A PAir oF QueeN ANNe WALNut SiDe CHAirS

A pair of Queen Anne walnut side chairs, the backs with scroll moulded top rail above a vase

shaped splat veneered in burr walnut of fine colour and patination, carved at the top with a stylised

shell with pendant harebells and at the sides with scrolling acanthus, the seats covered in period

needlework with foliage and flowers on a dark blue ground, on cabriole front legs with similar shell

and harebell carving on the knees, all four legs ending in diamond toes. F2e0481

english, circa 1710

Height: 39¾in (101cm)

Width: 22½in (�7cm)

Depth: 23in (�8.�cm)

Provenance:

Formerly in the collection of Mary Guthrie Mitchell (d.18�4), the sister of Sir William Burrell

Sir William Burrell was one of the greatest British collectors of the 20th century. He was born into

a Glaswegian shipping family and had made his fortune while still a young man. Burrell had already

begun collecting avidly as a teenager and after he retired he devoted the rest of his life to forming

his collection. His taste was eclectic and the collection encompassed a wide variety of furniture,

works of art and paintings. Also a philanthropist, the collection, which by his death had risen to

some 8,000 items, was bequeathed to the City of Glasgow and is now on public display. it is highly

likely that Sir William advised his ‘ favourite sister’ on her own acquisitions and he would himself

have appreciated the quality, colour and form of this pair of chairs.

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FiNe FurNiture A timeline in woods

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the age of WALNut

A GeorGe i LoNGCASe CLoCK BY QuAre AND HorSeMAN

An important George i walnut longcase clock by Daniel Quare and

Stephen Horseman, the arched dial flanked by brass mounted columns

and surmounted by a stepped hood with fretwork frieze and brass ball

finials, the whole case in walnut of superb colour, grain and patination.

The dial with silvered chapter ring and brass filigree spandrels, enclosing

roman and Arabic numerals and date and seconds subsidiary dials,

inscribed ‘Dan Quare Ste Horseman London N199’. the two-train

movement of eight day duration and striking the hours. o2B02�8

english, circa 1720

Height: 110in (279cm)

Width: 19¼in (49cm)

Depth: 10in (2�cm)

Daniel Quare (1�48-1724), watch and clockmaker to George i and

inventor of the repeating watch, was admitted to the Clockmaker’s

Company in 1�71 and became Master in 1708. A celebrated maker,

he worked from two London addresses, St Martins-le-Grand and the

Kings Arms, exchange Alley.

Stephen Horseman was apprenticed to Quare in 1702. He later became

his business partner and joined the Clockmaker’s Company in 1709.

Provenance:

the Marjorie Wiggin Prescott Collection.

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the age of WALNut

Opposite:

A PAir oF GeorGe i WALNut SiDe CHAirS WitH NeeDLeWorK SeAt CoVerS

A fine pair of George I walnut side chairs

upholstered with indian needlework, the

upholstered seats and high backs standing on

cabriole legs carved in the solid and joined

by stretchers; the needlework covering being

indian made for the export market, in a

meandering floral pattern and retaining bright

natural colouring. re-backed and conserved by

the royal School of Needlework. F2H02��

the chairs english, circa 1720.

the embroidery, late-18th century

Height: 17in (42cm)

Width: 8in (21cm)

Depth: 7in (17cm)

Above:

AN eArLY NiNeteeNtH CeNturY DutCH BrASS CHANDeLier

of Queen Anne revival form, this extremely

attractive chandelier is cast in brass, in sections,

and held by an iron bar wedge at the top. the

upper shaft with bulbous turning and the base

with ball and inverted finial. The six scrolling

arms with ring turned drip pans and nozzles.

F2H0233

Probably Dutch, circa 1840

Height: 2�in (�4cm)

Depth: 24in (��cm)

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FiNe FurNiture A timeline in woods

A PAir oF GeorGe i WALNut SiDe CHAirS

A pair of early 18th century George i walnut side chairs, the backs with burr walnut veneers of very

fine colour, with central vase shaped splats carved with scrolls and acanthus and flanked by shaped

side rails, surmounted by an unusual shell carved cresting on a pounced ground, having drop-in

seats covered in deep green silk velvet, raised on boldly carved cabriole front legs with a scrolling

acanthus at each knee and ending in claw and ball feet, the back legs of curved and tapering form

with pad feet. F2B0�84

english, circa 172�

Height: 41in (103cm)

Width: 22in (��cm)

Depth of seat: 18in (4�cm)

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the age of WALNut

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FiNe FurNiture A timeline in woods

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the age of WALNut

Opposite:

A WALNut LoWBoY

A fine early 18th Century Queen Anne

walnut lowboy, the finely figured top quarter-

veneered and with herringbone stringing

and cross-banded shaped edge, above three

drawers in the frieze retaining their original

brass handles and supported on circular

tapering legs terminating in pad feet. F1J02�4

english, 1710

Height: 28½in (72cm)

Width: 28in (71cm)

Depth: 18in (4�cm)

Above:

AN oYSter VeNeereD StroNG BoX

A late 17th century oyster veneered kingwood

strong-box the entire exterior profusely bound

with brass foliate strapwork and borders and

having brass hinges, carrying handles and lock

escutcheon. the box which opens to reveal

numerous compartments and drawers, stands

on a Queen Anne style country pollard oak

lowboy. F2H00�9

english, circa 1�90

Height: 11in (29cm)

Width: 19in (49cm)

Depth: 11in (29cm)

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FiNe FurNiture A timeline in woods

AN eArLY 18tH CeNturY BLACK AND GiLt JAPANNeD BureAu CABiNet

An early 18th century black and gilt japanned bureau cabinet, the arched upper section with a pair

of mirrored doors with replaced plates, enclosing a fitted interior of doors and simulated nashiji-

lined drawers between painted pilasters; the bureau section with a flap enclosing a fitted interior

of pigeon holes and drawers around a reversible section with an arch flanked by pilasters and with

chequered parquet floor, the reverse of this section with a japanned panel flanked by three drawers

on each side, above two oak secret drawers; above a bombé base with three graduated drawers,

on claw and ball feet; the sides of the upper and lower sections with carrying handles. Minor

restorations to the decoration and regilding of mouldings and feet. the cresting is a replacement,

copied from an original in Dresden (see below). F2G0383

German, circa 1720

Height: 102in (2�9cm)

Width: 42½in (108cm)

Depth: 24½in (�2cm)

this superb black and gilt japanned bureau cabinet is part of a group traditionally thought to be

German, based on a red and gilt japanned cabinet formerly at Schloss Pillnitz, Dresden, that has

been attributed to the Dresden workshops of Martin Schnell. the latter was responsible for the

embellishment of Dresden’s Hollandischen (Dutch) Palais and Schloss Pillnitz’s Wasserpalais

(Water Palace) (G. Hasse, Dresdner Möbel, Leipzig, 1983, no. 141).

that another cabinet of exactly the same type was sold in Madrid, 1�th May 1974 (illustrated in

Christie’s Review, 1974, p. 41�) suggests the possibility of an iberian commission, if not manufacture.

Further confirmation of this theory is endorsed by two magnificent gilt gesso cabinets (Mallett

1977 and 2003) which share many features with this japanned bureau bookcase. one of these

gilt cabinets had remained in Portugal with an unproven royal Portugese provenance. the design

shape, many features of the construction and the hardware appear to be indictative that these

pieces came from the same workshop.

our cabinet has very close similarities to one illustrated in Dresdener Möbel des 18. Jahrhunderts,

Seemann Leipzip, e.A., Germany 1993, which was the model for the reconstructed cresting.

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the age of WALNut

2�

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FiNe FurNiture A timeline in woods

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the age of WALNut

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FiNe FurNiture A timeline in woods

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the age of MAHoGANY

tHe AGe oF MAHoGANY

1730 – 1770

Mahogany became dominant as a wondrous imported timber from the West indies and was at its

height in fashion throughout the middle part of the eighteenth century. George ii’s reign dominates

the period. this extraordinary noble timber was hugely treasured for its rich, red-brown colour in

solid carved pieces and flaming grain patterns in veneers on flat surfaces. Its use for strong shaped

elements, as in chair making or crisply carved ornament equalled its other great virtue, that it could

be polished to a glorious finish. Mahogany dominated furniture for 150 years, and its high point

is marked by certain great furniture designers, such as thomas Chippendale who published his

Gentleman and Cabinet-Maker’s Director in 17�4.

the variety of mahogany furniture is almost unbounded in both style and in invention, in useful or

simply decorative furnishing items. earlier forms owe their origin to relatively sober shapes with

features such as architectural pediments, fielded panels, stiffly carved shells and the ubiquitous

carved claw and ball foot. Later, much more fanciful rococo scrolls and floral carving pervade

designs with a florid lightness and increase of both movement and ornament.

Alongside all this carved giltwood in the same lively forms, the use of other special woods and

painted furniture added richness and variety to create and furnish rooms that above all had to be

spectacular and entertaining. in this respect nothing has changed over 2�0 years.

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FiNe FurNiture A timeline in woods

A PAir oF iriSH MAHoGANY MArBLe toPPeD SiDe tABLeS

A very fine pair of mid 18th century Irish mahogany side tables with marble tops, the frames having

deep shaped sides with large scallop shells on the front and each carved with acanthus leaves at

the corner with a stamped background and terminating in fluted spanish toes; the mahogany of

excellent colour and patination and one table with an inventory number 3�2 and a cloth label; the

marble tops being original of grey colour with white vein cut in symmetrical form. F2H0190

irish, circa 17�0

Height: 30in (7�cm)

Width: ��in (142cm)

Depth: 2�in (�7cm)

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the age of MAHoGANY

irish furniture shows some of the most interesting use of mahogany which was probably unloaded

off ships from the West indies at Cork. it was often extravagantly used in thick pieces. Notable

features in design and construction include bold and deep carving, somewhat mannerist and the

use of patterning on surfaces, such as the stamping here.

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FiNe FurNiture A timeline in woods

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the age of MAHoGANY

A PAir oF GiLtWooD MirrorS

An extremely fine pair of George II carved giltwood architectural mirrors, the later rectangular

plates within an eared giltwood frame adorned with lion’s masks and rosettes beneath a broken

pediment of triangular form. The inner matt-finished borders are of sand gilding. F2H0167

english, circa 174�

Height: 38in (9�.� cm)

Width: 2�½in (�7cm)

Depth: 22in (��.�cm)

Depth of seat: 1�½in (42cm)

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FiNe FurNiture A timeline in woods

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3�

the age of MAHoGANY

Opposite:

A GeorGe iii MAHoGANY SerPeNtiNe CHeSt

A mid 18th century mahogany serpentine front

chest of drawers, the finely figured top with

moulded edges and canted corners, above

four graduated drawers, all with brass swan’s

neck handles, raised on shaped bracket feet.

F2H0102

english, circa 17�0

Height: 33¼in (8�cm)

Width: 37¼in (9�cm)

Depth: 24in (�1cm)

Above:

A reGeNCY MiNiAture MAHoGANY CABiNet

An early 19th century miniature cabinet, the

flame veneered mahogany doors with reeded

brass edge and lock, opening to reveal 24

numbered small drawers above one long

drawer with a fitted interior (see p.29), the

drawers retaining their original button handles,

the cabinet ending in topie feet. F2H0103

english, circa 1810

Height: 19in (48cm)

Width: 19¼in (49 cm)

Depth: 8in (20.�cm)

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FiNe FurNiture A timeline in woods

A PAir oF GeorGe iii MAHoGANY ArMCHAirS WitH NeeDLeWorK SeAtS

A pair of mid 18th century Chippendale

period carved mahogany open armchairs, each

having a shaped and carved top rail ending in

outswept scrolls above a pierced trefoil back

splat, the dished arms ending in scroll hand

rests, the drop-in seats within moulded rails

and raised on square chamfered legs joined

by stretchers. the seats upholstered in period

needlework decorated with flowers including

carnations and tulips amongst scrolling foliage

on a deep blue ground. F2H010�

english, circa 1770

Height: 38in (9�.�cm)

Width: 2�½in (�7cm)

Depth: 22in (��.�cm)

Depth of seat: 1�½in (42cm)

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the age of MAHoGANY

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FiNe FurNiture A timeline in woods

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the age of MAHoGANY

A LArGe GeorGe ii MAHoGANY PieCruSt triPoD tABLe

A very fine mid 18th century mahogany tripod table of grand scale, the circular tilt top with

moulded piecrust edge on bird cage support, raised on a fluted and acanthus carved baluster stem

above a band of egg and dart moulding, on boldly curved tripod supports with strapped acanthus

leaf carving on the knees, ending in claw and ball feet inset with brass cup castors. F2D0412

english, circa 17��

Height: 29in (74cm)

Diameter: 33in (84cm)

tripod tables were primarily made for holding tea and coffee equipage. tea had been introduced

to english from Holland in the early 17th century and in spite of the high prices and heavy duty

imposed, it gradually became a fashionable drink around which great ceremony revolved. towards

the middle of the 18th century there was a shift from the former fashion of drinking in tea gardens

to drinking at home. Consequently cabinetmakers turned their attention to the making of suitable

ornamental tables, often for a special tea-room. in the ‘Female Spectator’ of 174�, a contributor

writer: ‘the tea-table costs more to support than would maintain two children at nurse’.

William ince and John Mayhew illustrated designs for ‘tea Kettle Stands’ in their The Universal

System of Household Furniture, 17�2, as did thomas Chippendale in his The Gentleman and Cabinet

Makers Director, London, 3rd ed., 17�2, p.LV.

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FiNe FurNiture A timeline in woods

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the age of MAHoGANY

Opposite:

A GeorGe iii MAHoGANY DuMB WAiter WitH DroP SiDeS

A rare George iii mahogany circular two-tier

dumb waiter with unusual drop sides, the

turned central stem leading to an elegantly

downswept tripod base, ending in brass

castors. F2H0149

english, circa 17�0

Height: 34½in (88cm)

Diameter: 23¾in (�0.�cm)

Above left:

AN APPLe teA CADDY

A very fine example of a late 18th century

fruitwood tea caddy in the form of an apple

retaining remains of its original lead lining.

o2B0044

english, circa 1790

Height: �in (13cm)

Above centre:

A PALe CoLoureD MeLoN teA CADDY

An extremely fine late eighteenth century tea

caddy in the form of a melon, of fine colour

and patination. o2H019�

english, circa 1790

Height: �in (13cm)

Above right:

A FruitWooD teA CADDY iN tHe ForM oF A PeAr

A late 18th century George iii fruitwood

tea caddy in the form of a pear of fine colour

and patination. o2H0277

english, circa 1800

Height: �in (1�cm)

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FiNe FurNiture A timeline in woods

MAHoGANY PoLe SCreeN WitH DouBLe SiDeD NeeDLeWorK PANeL

A very good early 18th century mahogany pole screen with finely carved tripod base, the legs with

scallop shells and the toes carved with acanthus leaves; the adjustable screen panel having very fine

needlework panels on both sides, the back panel being extremely unusual. F2H011�

english, circa 1730

overall height: �1in (130cm)

Height of panel: 24½in (�2cm)

Width of panel: 20in (�1cm)

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the age of MAHoGANY

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FiNe FurNiture A timeline in woods

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4�

the age of MAHoGANY

Opposite:

A GeorGe iii MAHoGANY Settee or LoVe SeAt

A mid 18th century Chippendale period

mahogany settee or love seat, the shaped

upholstered back and arms raised on square

front legs with concave fluting joined by a ‘H’

stretcher and ending in square block toes.

F2H0083

english, circa 17�0

Height: 37æin (9�cm)

Width: 43æin (111cm)

Depth: 31½in (80cm)

Depth of seat: 22æin (�8cm)

Right:

A GeorGe iii MAHoGANY urN / KettLe StAND

the square top with solid waved gallery above

a slide, on square chamfered legs headed by

pierced brackets, with concave-sided undertier,

on brass castors, two angle brackets replaced.

F2H0289

english, circa 1780

Height: 11½in (29cm)

Width: 11½in (29cm)

Depth: 2�in (��cm)

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the age of MAHoGANY

Opposite:

AN ADAM PerioD MAHoGANY Settee

An extremely fine mahogany George III settee

standing on seven legs, the moulded serpentine

back carved with beading and flat acanthus

leaves, the rounded hand rests with acanthus

and bellflowers, the square legs headed by

paterae and carved with swags of bellflowers

and ending in their original brass castors.

F010209

english, circa 1770

Height: 38in (97cm)

Length: 72in (183cm)

Depth of seat: 2�in (�3cm)

Above:

A MAHoGANY MAGAZiNe rACK

A modern three tier mahogany magazine

rack designed by the Dowager Duchess of

Devonshire and made in the cabinetmaker’s

workshop at Chatsworth, Derbyshire.

F2H0292

english, circa 2000

Height: 42in (107cm)

Width: 42in (107cm)

Depth: 18in (4�cm)

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the age of MAHoGANY

Opposite:

AN iNDiAN DYeD AND PAiNteD CottoN PANeL

A rare and charming panel of early 18th century

dyed and painted cotton, depicting a vase of

flowers beneath branches of exotic flowers and

foliage, all in shades of red and blue. Almost

certainly a fragment of a very rare much larger

Palampore, this textile represents the many

of its kind that enlivened english interiors with

colour and the exotic, especially bedrooms.

P2e0�18

indian, circa 1710

Framed height: �2¼in (133cm)

Framed width: 37in (94cm)

Above:

A LAte 18tH CeNturY LACQuer teA CADDY

A rare late 18th Century Chinese export black

lacquer tea caddy, decorated throughout with

gilt chinoiseries depicting lakeside pavilions

within oriental landscapes, the shaped and

moulded lid painted with a stylised foliate

border, opening to reveal rectangular caddies,

the central canister with a sliding lid used for

blending, each elaborately veneered with panels

of mother of pearl, incised with decorative

motifs of birds and flowers. 02F0167

China, circa 179�

Width: 10½in (27cm)

Depth: 7in (18cm)

Height: �in (1�.�cm)

a fascination for the East

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FiNe FurNiture A timeline in woods

Above:

AN eMPire GueriDoN

An early 19th century mahogany gueridon, the

top of finely faded colour with moulded edge,

the frieze with gilt bronze mounts of alternating

dolphins and rose garlands, supported on

three column legs with finely chased gilt bronze

capitals and feet, ending in a three pointed star

plinth with flattened bun feet. F2G0387

French, circa 1820

Height: 28½in (72.�cm)

Diameter: 27¼in (�9cm)

Opposite:

A VerY FiNe eArLY 18tH CeNturY SCArLet JAPANNeD BureAu

A very fine early 18th century scarlet japanned

bureau. the fall front, drawer front’s, top

and sides are all richly decorated with gold

chinoiserie on a red background. the fall

front opens to reveal numerous drawers and

compartments, while the drawers below are

further enriched with engraved brass handles.

F2H0082

english, circa 172�

Height: 37¼in (94.1cm)

Width: 3�in (91.4cm)

Depth: 19¾in (�0.2cm)

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the age of MAHoGANY

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the age of MAHoGANY

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the age of MAHoGANY

Previous spread, opposite and above detail:

A GeorGe iii MAHoGANY CirCuLAr reVoLViNG LiBrArY tABLe

A magnificent round mahogany library table with a revolving drum top standing on a cove sided

triangular base; the top leathered with reading flaps and swivelling above the drawer section, also

revolving and containing two tiers of drawers, each drawer with ivory number plates and each

alternating in form, rectangular and triangular; some concealing secret drawers; the base with

a cupboard door in one side and with a brass locking mechanism for the top; the angles of the

base with pilasters terminating in scrolls at the bottom. All the woodwork of superb colour and

patination. this wonderful table appears to be unique and unrecorded. its large scale, two tiers

of drawers, book flaps and the elegant triangular base are all features not seen before on such

drum tables. F2H0077

english, circa 1790

Height: 31in (79cm)

Diameter of top: �2½in (133cm)

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the age of MAHoGANY

A PAir oF GeorGe iii MAHoGANY BeDSiDe CuPBoArDS

A fine pair of late eighteenth century bedside tables in figured mahogany, each with a dished

top and a single sliding cupboard door, the sliding shelves below lined with leather and with a

lion-head ring handle. F2H0239

english, circa 1780

Height: 32in (81cm)

Width: 1�in (41cm)

Depth: 13½in (34cm)

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the roCoCo

tHe roCoCo

17�0’s

Following seemingly endless years of war and political struggle in europe, Marlborough’s

victory at Blenheim heralded a new mood of relief, with peace, prosperity and a great desire for

relaxed times, even a period of frivolity. So out went much parade formality and in its place grew

a longing for a happy prettiness in fashion, in furniture, in decoration and in gardens.

The joy of flowers and flower power invaded everything in a spirit of rococo (rockery shapes,

irregular, asymmetric, full of twirls and scrolls, shells, water, flowers and floral motifs). The rococo

period also embraced further decorative fantasies, most notably Chinoiserie and the Gothick.

Chinoiserie was a european playful (not mocking) imitation or parody of Chinese decoration

with figures, pagodas, exotic birds and much else. In furniture terms painted furniture, inspired

by oriental lacquer were referred to as ‘japanned’. the quality varied from the professionally made

to amateur pieces. Chinoiserie also featured in carving, in needlework, in porcelain and all the

decorative arts, and was often exotic and frivolous.

Gothick ornament was derived from Gothic architecture in essence, but was much lighter and

‘Georgian’ in proportion. it was not meant to be in any way religious or ‘churchy’ but wholly

ornamental. its quasi-serious side was as a thoroughly english and properly national style, as

opposed to the grand Classical architecture that was the stuff of roman/Foreign/Pagan Southern

europe! its true French and German origins were transformed to the charmingly decorative.

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A GeorGe iii reD LACQuer AutoMAtoN MuSiCAL BrACKet CLoCK

A rare 18th century japanned musical bracket clock of large scale attributed to Stephen rimbault

(1744-1785), decorated throughout with gold chinoiseries of the finest quality on a deep red

ground with Chinese figures, birds, deer, flowers, fruit and foliage; surmounted by a pagoda

enclosing two ormolu figures with automaton arms, the figure on the right striking the larger

bell on the hour and the figure on the left striking the smaller bell on the half hour, each corner

and the top of the pagoda headed by an acorn finial and hung with bells; the sides with ormolu

carrying handles decorated by a female head flanked by stylised masks, engraved fretwork above

old red silk, with a repeat cord on the right side and a strike cord on the left side, the four corners

with trailing mounts of flowers and scrolls; the enamel dial with Roman numerals within ormolu

spandrels below a painted scene attributed to Johann Zoffany (1733-1810) of musicians with

automaton arms playing instruments in a landscape with a windmill, the two enamel subsidiary dials

indicating the twelve tunes and the strike / silence mechanism; the main body of the clock on a

turntable base with further chinoiseries, the pierced apron ending in ormolu scroll toes; the reverse

with glass back revealing the complicated musical workings playing on 14 bells and a richly engraved

brass backplate. F2H0219

Continued overleaf

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Stephen rimbault (1744-178�) came from an established family of 18th century London

clockmakers of Huguenot descent. rimbault is recorded at Great St Andrew’s Street from 17�0

to 1781. He excelled at making rather complicated clocks, often with musical movements, and

particularly automaton clocks with painted scenes of figures dancing or working on the dials.

The red japanned decoration on this bracket clock with its oriental pagodas, figures and animals

on a rich red ground continues in the tradition of John Stalker and George Parker who published

A Treatise of Japanning and Varnishing - Being a compleat Discovery of those Arts in 1�88. As well as

designs for japanned decoration this publication included specific directions ‘To make Red-Japan’.

The Treatise is a detailed work on the european interpretation of oriental decoration on furniture

and objects, as well as the techniques of gilding and other decorative finishes. Including twenty-

four copper plate engravings of chinoiserie designs, it was written not just for professionals but

particularly to advise and encourage amateurs.

the lacquer on this bracket clock is similar to that seen on traditional Chinese cabinets, but

elaborated with the fantastical pagoda and chinoiserie figures, while the traditional musical bracket

clock form is very much in the english grand manner. the eight-day three-train striking movement

on the hour and half hour, with a verge escapement, and 12-tune musical automata playing every

quarter on 14 bells.

english, circa 177�

overall height: 37in (94cm)

Width: 21in (�3cm)

Depth: 14½in (3�.�cm)

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the roCoCo

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the roCoCo

Opposite:

AN 18tH CeNturY DANiSH GirANDoLe WitH MirroreD BorDerS

A very rare mid 18th century small girandole

with bevelled and engraved mirror plate bor-

ders, the gilded edges decorated with penwork

designs, retaining its original spiral brass candle

sconce at the base. offered together with a

modern copy. F1A02�3

Danish, circa 17�0

Height: 27½in (70cm)

Width: 10¾in (27cm)

Right:

A PAir oF NeeDLeWorK BeLL PuLLS WitH CoLuMNS oF FLoWerS AND BirD

A pair of 18th Century needlework bell pulls of

large scale depicting classical columns entwined

with flowers and birds. The needlework made

into bell pulls in the 19th Century. t2H0282

the needlework english, circa 17�0

Height: 98in (2�0cm)

Width: 12in (30cm)

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A SMALL GiLtWooD WALL SCoNCe

A mid 18th century George ii carved giltwood girandole. the frame with stylised acanthus carving

being entwined with further leaves and seascrolls.

the glass mirrorplate is earlier, perhaps c. 1710. offered together with a modern copy. F2G010�

english, circa 17��

Height: 37in (94cm)

Width: 18in (4�cm)

a profusion of asymmetric scrolls

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the roCoCo

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CHiNeSe ALtAr tABLe

A mid 19th century black lacquer altar table,

profusely decorated with Chinese court scenes

and with a pierced front frieze. F2H0278

Chinese, circa 18�0

Height: 32½in (82½cm)

Width: �1in (129½cm)

Depth: 18½in (47cm)

While european Japanned pieces were a

significant aspect of furnishing throughout

the 18th and 19th centuries equally Chinese

export items were also a feature. this table

is interesting as being of a true Chinese form,

eminently practical in Western houses.

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the roCoCo

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the roCoCo

Opposite:

A CHiNeSe eXPort PorCeLAiN SerViCe CoMPriSiNG 44 PieCeS

A Chinese export porcelain part dinner

service, decorated in famille rose enamels with

the double peacock pattern, comprising 44

pieces, Qing dynasty, Qianlong (173�-179�).

o2H0223

Chinese, circa 177�

Width of tureen: 13½ x 8¼in (34 x 21cm)

Above:

PAir oF CHiNeSe WooDeN StooLS

A splendid pair of Chinese red lacquer

octagonal Chinese stools standing on numerous

legs joined by a stretcher, all surfaces richly

decorated in red, black and gold with floral

patterns. F2H0244

Chinese, circa 18�0

Height: 7in (19cm)

Width: 8in (21cm)

Depth: 8in (21cm)

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the roCoCo

From left to right:

A PAir oF 19tH CeNturY FAMiLLe roSe VASeS WitH HuNDreD BoY PAtterN

L2F0380

the vases Chinese, circa 1840

Height with shade: 28in (71.�cm)

A PAir oF 19tH CeNturY oPALiNe VASeS

L2H00�0

the vases French, circa 187�

Height including shades: 24½in (�1cm)

A PAir oF JAPANeSe FuKAGAWA VASeS DeCorAteD WitH iriSeS MouNteD AS LAMPS

L2G0410

the vases Japan, Meiji period, circa 1880

Height including shades: 30in (7�cm)

A PAir oF JAPANeSe KutANi VASeS

L2e0079

the vases Japan, circa 1880

Height including shades: 24½in (�2cm)

A PAir oF iMAri BottLe SHAPe VASeS MouNteD AS LAMPS

L2H0014

the vases Japan, circa 1880

Height including shades: 30in (7�cm)

A PAir oF iMAri VASeS MouNteD AS LAMPS

L2F0400

the vases Japanese, circa 1870

Height including shades: 24in (�1cm)

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A JAPANeSe LACQuer oCCASioNAL tABLe

An unusual mid 19th century Japanese export black lacquer occasional table. the octagonal tip top

is inlaid with a mother of pearl landscape showing a cart, birds and flowers. The table is supported

on a turned baluster stem standing on a tripod of scroll feet, all decorated in the same style as the

top. the inside bears the inventory label of the Hanoverian royal Collection. F2F03�9

Japanese, circa 18�0

Height: 29in (74cm)

top: 21½in square (��cm)

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the roCoCo

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roYAL AND iMPeriAL

roYAL AND iMPeriAL

the countries of continental europe, more so than Great Britain were dominated by the formal

styles adopted by their Kings, princes and tiers of nobility. the decorative arts were centred on

palaces and grand style furnishing, which was highly sophisticated, closely controlled in design and

invariably extravagantly made, often with magnificent marquetry and with gilt metal (ormolu)

mounts on furniture. this very splendid courtly manner became more or less universal from

Versailles to St Petersburg and was distinctly in contrast to the relatively restrained, though

dignified, achievements of the British Isles.

Good examples of courtly furniture invariably incorporated highly designed formal patterns

displaying elements of design from the leading artist’s workshops and craftsmen of each phase of

the eighteenth century. Many splendid examples, some very rich, others more approachable and

easier for us to live with today, fit neatly into modern interiors, where a desired formality is sought.

With the French revolution in 1789 europe shook and england shuddered, though survived.

Terrible changes occurred. However, like a forest fire, an Imperial spirit quickly sprouted from

the ashes in France and under Napoleon the empire style dawned and grew to be even more

provocative in its own classical grandeur.

A broad new Greek/roman/egyptian imperial style swept, like the former courtly taste, across

Europe, even to America. In England it was reflected in the very individual Regency fashions

inspired by the wildly extravagant and superbly artistic impetus of the future George iV. the

Georgian imperial grandeur he achieved led to a great range of early 19th century neo-classical

decorative styles, which nevertheless remained somewhat tempered by the elegance of the

Georgian tradition.

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A LouiS XiV BouLLe BureAu MAZAriN

A rare Louis XiV period Boulle bureau Mazarin profusely decorated on the top, front and sides

with finely engraved ebony and brass, in geometric and foliate patterns. The bureau has three

drawers on each side of the kneehole and a single drawer at the centre and a cabinet in the recess.

the bureau stands on eight tapering column legs with brass domed capitals and feet. the whole is

joined by an elaborately shaped stretcher similarly inlaid to the rest of the piece. the back, not as

finished as the front, is however ebony veneered and inlaid with framed lozenges achieved in brass

stringing. F2C024�

French, circa 1�90

Height: 33in (84cm)

Width: 47in (120cm)

Depth: 2�in (�4cm)

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roYAL AND iMPeriAL

A trANSitioNAL CoMMoDe BY StuMPF

A rare small scale transitional two drawer breakfront commode having gilt bronze corner mounts

and feet. the front is inlaid with kingwood panels against a rosewood background ‘sans travers’.

The legs are surmounted by kingwood marquetry flutes and are of cabriole form with a single inlaid

flute on the front edge and kingwood veneer on the inner face. Stamped Stumpf and JME. F2D0394

French, circa 17�0

Height: 33½in (8�cm)

Width: 32in (81cm)

Depth: 17¼in (44cm)

Jean Chrysostome Stumpff (1731-180�) was originally from Schweigern, Souabe, Switzerland. He

was married in 17�0 in Paris at the Swedish embassy, as was typical of other protestant Swedish

compatriots. He was a friend of the cabinet-maker, Ferdinand Schwerdfeger and established

himself in rue Saint-Nicolas where he remained all his life.

He produced pieces in the Louis XV style, the transitional style and the Louis XVi neo-classical

style. His work was always constructed to a very high standard and he had a particularly successful

and prolific output of transitional and neo-classical commodes and neo-classical secretaires.

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roYAL AND iMPeriAL

Opposite:

A SAuNier SeCretAire CoMMoDe

An exceptional satinwood Louis XVi secrétaire

commode having two drawers in the frieze, a

writing slide and two doors below, which open

to reveal shelves. each element is bordered

with a crossbanding of ebony with finely

chased gilt bronze mounts. throughout the

satinwood is of exceptional figuring and quality.

It is arranged in such a way as to make a unified

pattern of the grain across the entire piece. the

commode retains its original brocatelle marble

top and stands on ormolu mounted topie feet.

F2A0�44

Stamped Saunier

Height: 43in (109cm)

Width: 43in (109cm)

Depth: 18in (4�cm)

Above:

A PAir oF LouiS XVi CHeNetS

An outstanding pair of finely chased gilt bronze

Louis XVi chenets, taking the form of a wind

blown flaming vase. The upper section of the

vase is fluted and reeded and is supported

by a tripod, terminating in hoof feet. the

smaller end of the chenet has a finely wrought

pinecone. the joining stretcher is decorated

with applied leaf ornament and on the top edge

with a Vitruvian scroll, supported on major and

minor fluted columns; the former having an oak

leaf band at the base. the identical model is

illustrated in ‘Vergoldete Bronzen’ (ottomeyer

& Proschel, 198� p.274, pl.4.11.10). other

examples are a similar pair from the ‘Barriol

salon’ of the Hotel de Serres now installed in

the Musee des Arts Decoratifs, Paris; at the

Huntingdon Gallery in San Marino and in the

Louis XVi room in the Villa ephrusi illustrated

on p.48 of ‘Villa ephrusi de rothschild’

o2C0390

French, circa 1780

Height: 1�in (41cm)

Length: 17¼in (44cm)

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roYAL AND iMPeriAL

A PAir oF itALiAN GiLtWooD CoNSoLeS

A fine pair of late 18th century North Italian giltwood consoles each profusely carved with neo

classical motifs. they are supported by two bold scrolls carved in high relief on the front edge with

swags of honeysuckle and having further foliate carving within the scroll; they terminate in large

scale dentils. the backs are formed as an arch made from facing scrolls again supported by foliate

carving. the consoles retain their original verde antico tops, bordered with a gilt bronze cable.

F2F0171

italian, circa 179�

Height: 22½in (�7cm)

Width: 2�in (��cm)

Depth: 14in (3�cm)

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Above:

A PAir oF PAriS PorCeLAiN CACHe PotS

A pair of empire parcel gilt Paris porcelain,

trumpet shaped pots. the bodies are

decorated with neo-classical motifs consisting

of leaf and open anthemion. o2H00�9

French, circa 1810

Max Diameter: 9in (22.9cm)

Height: 9½in (24.1cm)

Opposite:

AN eMPire CArD tABLe BY MoLitor

A fine quality Empire period two tier demi-

lune card table by Molitor, the top and the

first tier veneered in densely figured acajou

mouchete, each tier having a brass rolled edge.

the whole standing on octagonal tapering legs

with brass capitals and feet with castors. the

back is finished with recessed panels bordered

with delicately carved mouldings. the centre

back leg pulls out to reveal a drawer for games

pieces and to provide support for the two tiers.

Stamped on the centre back leg, B Molitor.

F2B02�9

French, circa 1810

Height: 29½in (7�cm)

Width: 42½in (108cm)

Depth: 21½in (�4cm)

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roYAL AND iMPeriAL

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A ruSSiAN CoMMoDe

A highly unusual russian small mahogany commode retaining its old

marble top. the top drawer veneered in Cuban mahogany is richly

mounted with ormolu rams heads interspersed with pendant swags each

containing nine finely chased apples with foliate and floral scrolling husks

above. this pierced frieze continues along each side panel and is framed

by a moulded brass border. the two lower drawers are veneered in

contrasting mahogany veneers, framed by a similar border to that above,

with richly engraved ring pulls and central key escutcheon mounts of

classical herms, with bearded philosopher’s masks. the whole stands on

elegantly turned, tapering legs ending in brass collared toes. Attributed to

Christian Meyer. F2B0077

russian, 1780

Height: 34in (8�cm)

Width: 44½in (113cm)

Depth: 22½in (�7cm)

this russian commode is enriched with unusual gilt bronze mounts. in

particular, the frieze drawer which presents material swags holding nine

apples hanging between rams heads. in addition, the escutcheons on

the lower drawers take the form of classical herms supported on plinths,

flanked by an open key pattern element. In Russian Furniture, The Golden

Age 1780-1840, Antoine Cheneviere, there is a commode illustrated

(plate 72) by Christian Meyer

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roYAL AND iMPeriAL

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Left:

A PeNDANt GeorGe iii LiGHt

A mid 19th century pendant glass lantern, having a smoke cowl and

suspended from a lead counterweight eagle. the glass bowl is supported

by a gilt metal ring decorated with a vitruvian scroll motif. the lantern

now has a modern three branch chandelier. F2D0�07

england, circa 1820

Height: �0in (127cm)

Opposite:

AN eMPire MAHoGANY PeDeStAL DeSK

A rare and unusual empire mahogany pedestal desk. the top has slides at

each end and the central leathered surface lifts to create a reading slope.

The front of the desk has a central frieze drawer enriched with finely

wrought gilt bronze classical mounts. The pedestals have five drawers

flanked by column pilasters. The reverse is similarly mounted but has

cabinets. the sides are enriched with a gilt bronze mount in the form of

an oil lamp framed by a border of of laurel. F2G024�

French, circa 1810

Height: 29in (74cm)

Width: �3¼in (13�.�cm)

Depth: 32¼in (82cm)

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roYAL AND iMPeriAL

Opposite:

AN eMPire MAHoGANY orMoLu MouNteD SeCretAire

An unusual empire mahogany secrétaire

abattant, the front face and sides veneered in

a single sweep of flame mahogany. The top

is an unusual secret surmounted coffer, the

lock being hidden behind the central mask.

The fall is framed with a finely chased ormolu

border and opens to reveal a blond wood

fitted interior. The lower doors open to reveal

shelves and a strong box. F1J007�

French, circa 1810

Height: ��½in (141cm)

Width: 29in (74cm)

Depth: 1�½in (39cm)

Above:

A LouiS XV GiLtWooD FAuteuiL

A very fine quality and rare early Louis XV

fauteuil, richly carved on all faces with rococo

decoration. the apex of the back is carved with

a cartouche, flanked by a stylised shell motif

and foliate scrolls. the corners of the top rail

are similarly carved in high relief with foliate

elements issuing from a fluted scroll. The arms are

serpentine in outline and have an unusually carved

scrolling element at the join to the back. Similarly,

the end of the arm is carved with a cabochon

framed by ‘C’ scrolls. the chair stands on cabriole

legs, the tops of which are carved with a stylised

floral element. The bold cartouche on the centre

of the seat rail reflects those central elements on

the back frame above. F2A07�0

Attributed to Jean-Baptiste i. tilliard, b. 1�8�

d. 17��

French, circa 174�

Height of back: 40in (102cm)

Height of seat: 17in (43cm)

Width: 31in (79cm)

Depth: 2�in (��cm)

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Above:

A PLuM PuDDiNG MAHoGANY PeMBroKe tABLe

A magnificent and rare mahogany drop leaf

pembroke table in the French taste, the top

with serpentine shaped sides and of superb

colour and figuration, crossbanded and lined

with stringing; standing on cabriole legs

terminating in brass castors with their original

leather wheels; the frieze containing a drawer.

F2H0288

english, circa 1770

Height: 28in (71cm)

Width: 34in (8�cm)

Depth: 28in (71cm)

Opposite:

A reGeNCY roSeWooD SeCrétAire CABiNet BY JoHN MCLeAN

A regency ormolu-mounted rosewood

secrétaire cabinet by John McLean (1770-182�),

the cabinet with a single drawer in the frieze

with a panelled front with lion’s head ring pull

handles, decorated with garlands of flowers

within an egg-and-dart border opening to reveal

a writing surface in front of a series of small

drawers and pigeon-holes, above two panelled

cupboard doors with egg-and-dart moulding

flanked with further drops of giltmetal flowers

headed by lion’s masks below classical terms, all

supporting a superstructure of bookshelves with

inset mirrored glass back, pierced geometric

panelled sides below a pierced gallery, all

supported on turned parcel-gilt feet. F2A00�9

english, circa 1810

Height: �9 in (1�0 cm)

Width: 37 in (94 cm)

Depth: 1� in (37 cm)

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Left:

A NortH GerMAN Pier Mirror

An unusual brass and mahogany North German mid 19th century tall

pier mirror. the top and bottom of the mirror have rectangular panels

of watercolour grisaille, the upper panel depicting Apollo and the lower

a bacchante. each section is bordered with a brass moulding. the mirror

plate is a later replacement. F2F0110

North Germany, circa 1840

Height: 8�in (219cm)

Width: 2�in (�4cm)

Opposite:

A reGeNCY BoiS CLAir oCCASioNAL tABLe

A regency circular bois clair tripod table in the continental style, in the

manner of edward Holmes Baldock, the top with delicate radiating inlay

of flower stems, the triform pedestal also with stylised foliate inlay in

contrasting wood and raised on down-curving scroll supports. edward

Holmes Baldock (b. 1777, d. 184�) F2G01�1

english, circa 1820

Height: 28¼ in (72cm)

Diameter: 23½ in (�0cm)

edward Holmes Baldock was a furniture dealer and restorer known to

operate from premises in Hanway Street, London from 180�. His busi-

ness and specialisation steadily expanded and in 1821 he was described in

the Post Office Directories as an ‘antique furniture and ornamental china

dealer’, this entry was re-defined in 1826 to ‘buying, selling, exchang-

ing and valuing China, Cabinets, Screens, Bronzes etc’. in addition to

restoring existing furniture, he also produced designs for new pieces and

had them made to his specifications. One of his commissions was to

produce designs for a suite of bedroom furniture in 1841 for the Duke

of Buccleuch. A design for a table in the Buccleuch papers is annotated,

‘No. 3 Amboyna wood ground with coloured flowers’ which is almost

certainly the preliminary sketch for a table which was made later. He is

known for a number of well-constructed, and in certain cases, finely inlaid

pieces of furniture marked with his initials, ‘eHB’. Some of these pieces

were pastiches of 18th century French furniture and others are executed

in contemporary english style.

Baldock’s bills survive in many important archives including the Wind-

sor royal Archives, George iV’s papers 1827-28, the Duke of Buccleuch

and Queensbury’s private archives and the Duke of Northumberland’s

private archives amongst many others.

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roYAL AND iMPeriAL

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Opposite:

AN oVAL reGeNCY Mirror

A rare small scale oval regency mirror with

original convex mirror plate ornamented by

bronzed balls and a mahogany fillet and sur-

mounted by an eagle raised on a foliate plinth.

the back retaining two original maker’s labels

for the carver and gilder, J Noel and William

Gould for the mirror plate. F2H02�2

english, circa 1810

Height: 31in (79cm)

Width: 9in (22cm)

Above:

A DruM GAMeS tABLe BY totter

Having a rotating circular top inlaid with a

chessboard of satinbirch and ebony. the frieze

has two drawers fitted with compartments for

the chess set. the table stands on a concave

sided triangular pedestal supported on a

platform terminating in scroll feet. Attributed to

William trotter (1772–1833) F2H0279

Scottish, circa 1810

Height: 30in (7�cm)

Diameter: 32¾in (83cm)

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A PAir oF WiLLiAM iV SiDe CABiNetS

A pair of painted small bookcases, the tops painted to simulate rosewood and

gilt-bordered with a wide freize of scrolling acanthus leaves and contrasting

central scenes, in the one case symbolising War and in the other Peace, the

open fronts each with two shelves and flanked by neo - Egyptian term pilasters

above a frieze painted with Greek key pattern above gadrooned feet. F2H0198

england circa 1830

Height: 33in (8�cm)

Width: 3�in (91cm)

Depth: 12 in (31 cm)

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this charming pair of small painted bookcases, owing something to the designs of thomas Hope,

epitomise the taste for Greco- egyptian neo-classicism with motifs resembling sculpture on the tops

and representing War and Peace, Hope’s wife shown as the latter. (thomas Hope, Costume of the

Ancients, 1809.)

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the age of SAtiNWooD

tHe AGe oF SAtiNWooD AND Neo-CLASSiCiSM

1770 – 1820

SAtiNWooD was the most beautiful and highly valued wood used in the later 18th century.

this was a period closely associated with George iii and a time of extraordinary invention and

prosperity in england. Satinwood came from the colonies, from the West indies and from Ceylon.

together with other precious, newly discovered and interesting timbers it soon represented the

new, rich, light colourful and bright age of neo-classicism, which brought straight edges and clean

lines. the name thomas Sheraton is closely linked to satinwood; his cabinet designs epitomise the

elegant late Georgian taste for finely made, neat and superbly scaled cabinets, which are surely on

that Parnassus with the greatest english furniture.

Following visits made by princes and aristocrats to rome, ‘the cradle of civilisation’, in the 18th

century, just as young back-packers travel the globe today to discover themselves, there was a

craze for everything italian, particularly everything roman, throughout europe.

the adaptation of ancient forms into contemporary ‘classical’ decoration brought about a

tremendously rich injection of ornamental forms based essentially on geometric shapes and

straight lines, strictly in contrast to the frivolities of the rococo. While the taste was sometimes

standardised it brought about a formulaic discipline that was welcomed. the classical rebirth was

most invigorating, especially in provincial places, and in distant parts such as cities far from rome,

from edinburgh to St. Petersburg.

robert Adam was the most famous amongst many great architects in this manner and interestingly

Chippendale’s workshops made the greatest neo-classical furniture (e.g. for Harewood House)

despite the fact that his great Director had been essentially a collection of earlier rococo forms.

He, like many great designers and artists, showed an ability to adapt, develop and expand with

the mood of the times.

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the age of SAtiNWooD

AN iMPortANt MArQuetrY SiDe tABLe AttriButeD to JoHN CoBB

A superb George iii satinwood and marquetry serpentine side table in

the French taste, almost certainly from the workshop of John Cobb; the

top crossbanded with tulipwood and inlaid at the centre with a ribbon-

tied bouquet of flowers within an oval panel with broad rosewood

border inlaid with interlaced roundels and floral motifs, the shaped frieze

with central urn at the front flanked by paterae and with sunflowers at

the sides, all draped with swags of husks, raised on most elegant, tapering

cabriole legs cross-banded with rosewood and ending in ormolu sabots.

F2F0020

english, circa 177�

Height: 33in (84cm)

Width: �7in (14�cm)

Depth: 28in (71cm)

Provenance:

Formerly in the collection of the �th Marquess of Anglesey (187�-190�),

Plas Newydd, Llanfairpwll, North Wales

Literature:

J de Serre, Country Life, � February 1927, ‘An inlaid Satinwood table’

The Journal of the Furniture History Society, 1974, pl 30b and pp�2-�3,

(photograph in the Symonds Collection at the Henry Francis du Pont

Museum, Winterthur)

this beautiful, transitional table displays the very best manners of

English and French furniture design combined. It is a highly refined

example of the successful union of the anglicised Louis XV style and

the contemporaneous neo-classical revival. it is one of a select group of

pieces of marquetry furniture that can be confidently attributed to John

Cobb and his workshop. they are all designed in the ‘French’ taste and

made primarily of satinwood, having central panels of marquetry flowers

or fruits in the top. they share also the distinctive cross-banded outlines

in contrasting timbers and similar neo-classical inlay.

A lavishly inlaid bombé commode, with pair of torchéres en suite, is

recorded as having been supplied by Cobb in 1772 to Paul Methuen

at Corsham Court in Wiltshire. A bill is preserved at Corsham which

describes it as an ‘extra neat inlaid commode’ and this has become the

point of reference for subsequent attributions. A strikingly similar table

formerly in the tweedmouth collection is now in the Victoria and Albert

Museum.

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Left:

A GeorGe iii SAtiNWooD MuSiC StAND BY erArD

An early 19th century satinwood double sided

music stand with brass mounts, raised on a

fluted stem with splayed tripod base ending

in brass box castors and ball feet, bearing the

stamp ‘1��’ on the underside of the music rest.

F2G0399

english, circa 1800

Height adjustable

Opposite:

A SHerAtoN 2 tier SAtiNWooD etAGere SiDe tABLe

A fine and unusual Sheraton period satinwood

side table of unusual form with turned and

square tapering legs terminating in deep brass

toes with castors, the woodwork crossbanded

and inlaid with lines in various woods including

kingwood; the top and the shelf bound with

brass mouldings. (the top surface and the shelf

have been relined). F2H0194

english, circa 1790

Height: 3�in (90cm)

Width: 43in (109cm)

Depth: 1� in (38cm)

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the age of SAtiNWooD

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the age of SAtiNWooD

A reGeNCY roSeWooD BreAKFASt tABLe

A fine Regency period tilt top rosewood breakfast table, the well figured rectangular crossbanded

top with ebony and boxwood stringing, the edge with further boxwood stringing, supported on a

turned column base with four outswept legs in rosewood inlaid with stylised boxwood stringing,

each leg terminating in gilt brass hairy paw feet and castors. F2F02�3

english, circa 181�

Width: ��¾in (142cm)

Depth: 40¾in (103.�cm)

Height: 27½in (70cm)

exotic timbers from the New World

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the age of SAtiNWooD

A FiNe SHerAtoN PerioD SAtiNWooD SeCretAire CABiNet

A fine late eighteenth century secretaire cabinet in Satinwood and Purpleheart, the front profusely

inlaid with marquetry of classical scrolls and anthemions, the base with a fall front drawer fitted with

drawers and pigeon holes, the upper mirrored doors concealing shelving. in the manner of Mayhew

and ince. F2H0073

english, circa 1780

Height: 82in (208.3cm)

Width: 44½in (113cm)

Depth: 19in (48.2cm)

The partnership of John Mayhew and William Ince was one of the most significant, and probably

the longest lived of any of the major London cabinet makers of the 18th century. they were

partners in business from 17�9 until 1804. the highly skilful and adventurous use of marquetry,

constitutes the firms most original contribution to furniture decoration in the 1770’s and 80’s.

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the age of SAtiNWooD

A PAir oF GeorGe iii PAiNteD SAtiNWooD CArD tABLeS

A fine pair of late 18th century Sheraton period satinwood card tables of breakfront outline with

bowed corners, the tops inlaid with broad purpleheart banding within ebonised and boxwood

stringing and painted with a running band of foliate scrolls centred by Prince of Wales feathers, the

frieze with ebonised and boxwood stringing, raised on square tapering legs with double gate-leg

action, painted with pendant swags and headed by purpleheart tablets with painted flowerhead

paterae, ending in collared feet; the interiors of the fold-over tops lined with green baize. F2C029�

english, circa 1790

Height: 29¾in (7�.�cm)

Width: 34in (8�cm)

Depth: 1�¾in (42.�cm)

straight lines and refinement

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the age of SAtiNWooD

Opposite & right:

BACCHuS BY LouiS GArNier

An early 18th century bronze model of Bacchus

having an outstanding original patination, by

Louis Garnier (1�38 – 1728), standing on a

period sienna marble block plinth. o2e0�88

French, circa 1700

Height of bronze: 1�in (38cm)

Height of plinth: �in (13cm)

Louis Garnier was a pupil of Girardon and

made a member of the Academy St Luc in

Paris, in 1�8�, later becoming a dean. He

worked alongside the founders, Jean-Balthazard

and Jean-Jacques Keller and was a protegé of

the Marquis de Louvois. His work can be seen

at the Palace of Versailles and the same model

is illustrated in ‘the French Bronze 1�00-1800’;

M Knoedler & Co, New York, 19�8, illustration

number 19b. An example bought in 1�99 by

Leplat for Augustus the Strong of Saxony, as a

pendant to M. Angier’s ‘Amphritrite’, is in the

Staatliche Kunstsammlungen, Dresden, Grünes

Gewölbe (inv. iX.38). there are several

other bronze examples including two in the

Hermitage and Leningrad museums.

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Above:

A PAir oF SWeDiSH PorPHYrY VASeS

A pair of large scale mid 19th century Swedish

campagna form porphyry vases. o2A0�40

Swedish, circa 18�0

(the base of one repaired)

Height: 19in (48cm)

Diameter: 1�in (38cm)

Opposite:

A LouiS XV LANterN

An unusual Louis XV lacquered brass pen-

tagonal lantern. each panel is surmounted

by a foliate arch in low relief and framed with

applied foliate scrolls. The flat surfaces all

have shaping to the outer edge. the lantern is

supported from a finely wrought canopy with

a smoke cowl, unusually mounted within its

frame. F2C0194

French, circa 17�0

Height: 32in (81cm)

Width: 20in (�1cm)

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the age of SAtiNWooD

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A FiNe SHerAtoN SAtiNWooD SeCretAire CABiNet

An exceptionally elegant Sheraton satinwood

secretaire cabinet of fine proportions, the

upper section with glass shelves and lined with

silk, enclosed by glass doors with moulded

fenestration headed by gothic arches. the

pediment with a gothic cornice, a key pattern

moulding, painted swags and topped with

painted finials; the lower section standing on

splayed feet and with a secretaire drawer

above three further drawers; the whole piece

beautifully veneered with contrasting cuts of

satinwood and with fine crossbanding; retaining

its original brass ring handles. F2H0208

english, circa 1790

Height: 89in (22�cm)

Width: 31in (78cm)

Depth: 18in (4�cm)

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the age of SAtiNWooD

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A Set oF Four oF ADAM PerioD CArVeD GiLtWooD ArMCHAirS

A rare and very fine set of four of Adam period carved giltwood oval back armchairs, the frame

of the curved back carved with beading and scrolling ribbon and raised on acanthus supports, the

arms with carved acanthus and fluting, the bowed seat rail with anthemion frieze and bead and reel

borders, raised on fluted tapering legs headed by paterae. F2B0582

english, circa 177�

Height: 37¼in (94.�cm)

Width: 24½in (�2cm)

Depth: 21in (�3cm)

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A GeorGe iii HePPLeWHite PeMBroKe tABLe

A very fine late eighteenth century Hepplewhite period satinwood and marquetry Pembroke table,

of superb colour, the shaped top richly veneered with classical motifs within a crossbanding of

inlaid pearls, finished with ebony and boxwood stringing, the central panel depicting a classical urn

in marquetry, against a rosewood background within a border of bell flowers. The frieze having a

single drawer flanked by simulated fluting in boxwood, the square tapering legs further decorated

with water leaf marquetry, ending on the original brass castors. F2H0040

english, circa 177�

Height: 2�¾in (�8cm)

Width: 38½in (98cm)

Depth: 27½in (70cm)

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the age of SAtiNWooD

A LAte 18tH CeNturY iNDiAN SiLVer MouNteD PADouK WritiNG BoX oN GeorGe iii StAND

A late 18th century indian silver mounted padouk writing box on a George iii stand, the serpentine

hinged lid enclosing a removable fitted interior with compartments for ink-wells and pens around

a blue leather lined writing slope enclosing further drawers and compartments, above three lidded

wells, on a original stand with patera-headed square tapering legs, with brass caps and castors.

F2H0088

Height: 33in (83cm)

Width: 22in (��cm)

Depth: 14in (3�cm)

Anglo-Indian furniture is a significant aspect of English furniture history; a quantity of finely

made pieces was made in india in more or less english or true indian forms. this piece is a highly

sophisticated example of the first category, and an especially notable Indian features are the wavy

sides and curious and charming starburst silver mounts, perhaps inspired by the stars of the english

noble orders, for example, the Garter and the Bath.

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the age of SAtiNWooD

AN 18tH CeNturY roSeWooD SoFA tABLe

A very fine late 18th century sofa table in

rosewood of distinctive figuring and rich colour,

the top bordered with burr yew banding and

boxwood and ebony stringing, the frieze with

two drawers at the front and dummy drawers

on the reverse, raised on sabre leg supports

joined by a high arched stretcher and ending in

brass box castors. F2G001�

english, circa 1800

Height: 28in (71cm)

Length: �0½in (1�4cm)

Depth: 27¾in (70.�cm)

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the 19tH CeNturY

19tH CeNturY DiVerSitY

empire and regency classicism faded out in england following the death of George iV. the arts

associated with William iV are a good deal less colourful but often of good quality in craftsmanship.

the 1840’s were certainly a time of woods – rosewood, mahogany, and exotic striped veneers such

as calamander or coromandel, alongside other rarities, even palm tree.

All seemed a preparation for the greater part of the nineteenth century for which one LABeL has

always been used, Victorian. The adventures and confidence of manufacture in the reign of Queen

Victoria were epitomised by the Great exhibition in London in 18�1 which was subsequently

followed by many more exhibitions and today, plenty of shows and fairs.

ornament reached the ultimate in diversity and richness. revivals of many styles were tied

together, the best of each often working well in both design and execution. this was an

extraordinarily rich period of revival and creativity, often wrongly berated but in fact, with much of

great quality produced, always displaying a depth of intellect and extraordinary workmanship.

Highly crafted accessories were made in new materials such as cast iron, challenging the use of wood.

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A PAir oF JAPANeSe oBi PANeLS

A pair of early 20th century Japanese woven panels in the obi style.

these splendid panels of patterned and textured weaving were made for an element of Japanese

costume and display an exuberant reworking of Japanese motifs in an ornate and rich manner, by

this date achievable in modern weaving techniques. t2G0342

Japanese, circa 1910

Height: �9in (1�1cm)

Width: 31in (79cm)

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the 19tH CeNturY

A ViCtoriAN Burr WALNut KiDNeY SHAPeD DeSK

A fine quality early Victorian walnut kidney desk of traditional form. The frieze has a single central

long drawer flanked by columns of five drawers of increasing size; each

drawer has a walnut handle. the sides are locked by means of a winged pilaster with a

sliding panel at the capital which marks the escutcheon. the central drawer is stamped

Gillows and all the locks are Bramah. the back of the desk has shelves for books. F2G0111

english, circa 1840

Height: 28.�in (72.�cm)

Width: �2in (132cm)

Depth: 2�in (��cm)

the kidney desk originated from a table with a kidney-shaped top. this design, often referred to

as an ‘haricot’, first appeared as a writing or dressing-table during the Louis XV period (1715-74) in

France before being introduced into england in the late 18th century. the kidney table evolved to

incorporate drawers and often small shelves for books and thus became the favoured knee-hole

form desk of the Sheraton and Victorian periods. its practicality of shape and design as well as its

pleasing and innovative aesthetics made it very popular.

the design for this form of desk, ‘Gillow’s Estimate Sketch Books’, no. �293.

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Above:

A NiNeteeNtH CeNturY oAK Letter BoX

An unusual oak letter box with brass fitments

and postage instructions signed by thornhill,

144 New Bond St, London and fitted with a

Brahma type lock. o2H0243

english, circa 1880

Height: 8in (20cm)

Width: 1�in (37cm)

Depth: 7in (19cm)

Opposite:

AN AuStriAN LiMeWooD eAGLe

A fine quality late 19th century Austrian lime-

wood carving of an open winged eagle perched

on a rock carved in fine naturalistic detail.

o2G0289

Austrian, circa 1880

Height: 32in (82cm)

Width: 33in (83cm)

Depth: 20in (�0cm)

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the 19tH CeNturY

Opposite:

A CASt iroN CoALBrooKDALe uMBreLLA StAND

A polished cast iron mid 19th century

Coalbrookdale stick stand with open acanthus

within Gothic arches at the sides and Gothic

carrying handles, With space for twelve sticks.

F2H024�

english, circa 18�0

Height: 23in (�9cm)

Depth: 23½in (�0cm)

Width: 14in (3�cm)

Above:

A MiD 19tH CeNturY CLuB FeNDer

A mid 19th century club fender, the leather

upholstered seat on a polished brass frame

with circular rails. o2H011�

english, circa 18�0

Height: 2�in (�4cm)

Depth: �1in (130cm)

Width: 18in (4�cm)

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FiNe FurNiture A timeline in woods

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the 19tH CeNturY

A JAPANeSe LACQuer SCreeN WitH CoCKereLS AND DoVeS

A Japanese large two-fold screen, decorated in high relief, lacquer, gilt and other embellishment,

the interior with two pairs of cockerel and hen amongst chrysanthemum and peony blooms on a

naturalistic wood ground, above panels of dragons in the clouds, the exterior decorated on each

panel with three doves perched on large branches of flowering plum trees, open winged and in

flight, amongst thin branches, all within hardwood frames, decorated with gilt flowers and foliage

with incised metal work corners, frame supports, feet and hinges. F2H0297

Japanese, circa 1900

Meiji Period

Height: each panel �8 in (171.01 cm)

Width: 38 in (9� cm)

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139

the 19tH CeNturY

Opposite:

A Set oF FreNCH BAYoNet Fire iroNS

A set of late 19th century novelty fire irons in

the form of stylised bayonets with brass and

steel mounted wooden handles each with

maker’s stamp. o2H0018

French, circa 1880

Length of poker: 2�¾in (��.�cm)

Above, from left to right:

A MAtCHeD PAir oF BrASS Door StoPS

A matched pair of Victorian brass doorstops

cast in a stylised rope twist pattern, the stem

surmounted with a decorative knot with

tassels. o2F0394

english, circa 184�

Height: 1�½in (42cm)

A BrASS Door StoP iN tHe ForM oF A SeAteD LABrADor

A mid 19th century brass doorstop in the

form of a seated Labrador, with registration

mark on reverse. o2e02��

english, circa 18�0

Height: 13¾in (3�cm)

oNe oF A MAtCHeD PAir oF BrASS Door StoPS

A matched pair of Victorian brass doorstops, the

bell shaped bases with scroll details. o2H023�

english, circa 1840

Height 17in (43cm)

A BrASS Door StoP iN tHe ForM oF A FoX HeAD

A 19th century brass door stop, the base in the

form of a fox head with carrying handle formed

by a hunting crop. o2G0103

english, circa 1890

Height: 1�in (40.�cm)

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Above:

A GrouP oF BALL CLoCKS

A group of late 19th century english and

French ball clocks.

Diameter of largest clock: 4in

(Clockwise from top: 02H0242, o2H0110,

o2H0111, o2H0172, o2H0109)

Opposite:

A PAir oF ProFiLeS oF QueeN ViCtoriA AND PriNCe ALBert

A pair of glass cast profiles of Queen Victoria

and Prince Albert, mounted on oval mirrors

decorated with a band of convex printies,

framed in ebonised ovals surmounted by a

carved giltwood crown. o2e0401

the mirrors english, circa 18�0

Height: 23¼in (�9cm)

Width: 14½½in (37cm)

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141

the 19tH CeNturY

Royal patronage for the arts and industry

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FiNe FurNiture A timeline in woods

Above:

A CArtoN Pierre CouNter BoX

A Louis Philippe carton pierre and gilt metal

casket having a panel of floral needlework set

into the mirrored top the sides are silvered

and of bombé form. they are mounted with

repoussé gilt metal handles and feet. the

casket opens to reveal a pink interior and

an applied engraving of a village scene. the

interior has a removable carrier which retains

four further carton pierre boxes, each with

a mirrored top and an octagonal panel of

needlework illustrating a butterfly. Each of

the boxes contains stained ivory counters.

o2D0212

French, circa 18�0

Height: 3in (7.�cm

Width: 9in (23cm)

Depth: 7in (18cm)

Opposite:

A WiLLiAM iV CALAMANDer etAGere

A fine William IV brass mounted calamander

four tier etagère, the top with a baluster gallery

on three sides, the four shelves bordered with

brass beading, the supports with gilt fluted

columns, brass beading and carved foliate detail,

raised on brass mounted turned legs ending in

brass cup castors. F2B0382

english, circa 1830

Height: 38in (9�.�cm)

Width: 27¼in (�9.�cm)

Depth: 1�in (38cm)

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the 19tH CeNturY

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FiNe FurNiture A timeline in woods

MALLett PLC

Directors

George Magan* Chairman

Lanto Synge Chief Executive

Michael Smyth-osbourne Finance Director

Lord Daresbury*

James Heneage*

Giles Hutchinson Smith

eloy Michotte*

Henry Neville

thomas Woodham-Smith

*Non executive

MALLett & SoN ANtiQueS (LtD)

141 New Bond Street

London W1S 2BS

telephone: 020 7499 7411

Fax: 020 749� 3179

Lanto Synge Chief Executive

Michael Smyth-osbourne Finance Director

Giles Hutchinson Smith Managing Director

James Harvey Director (Gallery)

thomas Woodham-Smith Director

richard Cave Director

Felicity Jarrett Associate Director

Nicholas Wells Associate Director

MALLett iNC.

929 Madison Avenue

New York

NY 10021

uSA

telephone: 001 212 249 8783

Fax: 001 212 249 8784

Henry Neville President

robin Hermanns

Justin evershed-Martin

WeBSite

www.mallettantiques.com

eMAiL

[email protected]

© Mallett 2007Design by District-�.comPrinted by orchid

terMS & CoNDitioNS

All business transactions are subject to our

standard terms and conditions of sale, copies of

which are available on request.

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