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265-267 Fulham Road, London SW3 6HY, United Kingdom Tel: +44 20 7352 2188 Fax: +44 20 7376 5619 Email:



Apter-Fredericks is a fourth generation business, able to draw on a wealth of experience to view the trade in long-term cycles and especially the manner in which the market for antiques dealing has changed over the last twenty years. Markets always evolve, and it is the strength of a business to recognise this and to evolve with them, and perhaps even be a part of the catalyst for change. While it is true that there are fewer people currently acquiring antique furniture, that does mean that in monetary terms there has never been a better time to buy! We view certain pieces of our inventory as great works of art - and to start a collection now, while they are relatively reasonable (especially when compared with well-publicised results from contemporary art auctions) is a great idea. But how do we encourage a new audience to take an interest? Education is essential. What makes a piece more desirable? What do we look for in form and detail? What is patina? How can we confirm authenticity? With regard to provenance – who commissioned the piece? Who made it? Was it planned for a specific room or occasion? We can advise on the answers to all of these questions. Of course, sometimes academic conjecture is the best solution we have if documentation is missing. But putting the pieces of the puzzle together and discovering the story behind our furniture is something we enjoy and take pride in doing. We try to write information that is of interest, amusing and sometimes unexpected. Most importantly we are always happy to spend time discussing this with visitors to our showroom. Our showroom has stirred up a frenzy of interest and chatter over the last few months. We recently took the decision to undertake a major refurbishment because we recognised that lifestyles have changed, and our furniture now needed to be viewed in a more contemporary setting (to make it easier for clients and decorators to imagine in a new home). The results have been fantastic, and in some ways quite surprising. Neighbours who used to walk past the shop daily have stopped, rung the doorbell and asked to have a look around. We also decided to have some fun with our windows throughout the year (as anyone who has seen our Christmas or Easter displays will testify) and exploring this creativity with our pieces has allowed us to view them in a completely different light. We want our furniture, mirrors and objects to continue their journey with new homes and new patrons. In this year’s collection of some of the finest pieces on the market today, we are proud to present a selection of items we are confident are versatile enough to be used and loved in 2014 and beyond. We hope you enjoy them and thank you for your ongoing support. Harry & Guy Apter & Alice Freyman




A Marquetry Commode Attributed to Pierre Langlois This stylish marquetry commode, which had

that famous artist Mr. Peter Langlois, and

been in a private collection since its purchase

finished since his decease …’.

from the dealer Moss Harris in 1968, was considered important enough to be

In the last few years of his life Langlois’s career

included among the canon of work that Peter

had been rapidly advancing. A measure of

Thornton and William Rieder attributed to

his success is the marked increase in his

Pierre Langlois (1718–1767) in their ground-

insurance cover between 1764 and 1766: in

breaking articles published in 1971–72.

July 1764 he took out a policy for £400, the greater part of this for his stock. Exactly two

As discussed by Thornton and Rieder, Pierre

years later this figure had risen to £1,100, of

Langlois was extraordinarily successful,

which his stock accounted for £1,000. At the

working for some of the most distinguished

same time we find him engaging in quite

patrons in the country. Examples of his work

diverse activities, including lending support

may still be seen in several great country

to a French quack trying his luck in London.

houses, as well as at Buckingham Palace and

‘Dr Fernel’ advertised his services, seemingly

Windsor Castle. The quality and elaboration

on no-win no-fee terms, in July 1766:

of this commode declares a client with no “A French Physician, lately arriv’d from

cause to spare expense.

Paris, by a particular Treatment, restores remains

and augments the natural Beauty of Ladies:


Women of Thirty, and even forty years old, in

features of his furniture – in profile and

less than three Months, are restored to their

marquetry – strongly suggest that he spent

primitive Youth; and young Ladies become

some formative years in Paris, most likely

more handsome and sprightly by his Method,

in the workshop of Jean-François Oeben.

which is founded on the best Physical

On establishing his practice in London,

Principles. – He takes no Money till after the

Langlois deliberately exploited his French

Experiment, and the strictest Secrecy may

credentials, most showily in his bilingual

be depended upon. Letters directed for Dr.

trade card. He presumably also supplied the

Fernel, at Mr. Peter Langlois, Cabinet-maker,

account of himself for Thomas Mortimer’s

in Tottenham Court Road, near Percy-street,

Universal Director of 1763: ‘Langlois

shall be duly answered.”





training the


performs all sorts of curious inlaid work, particularly commodes in the foreign taste

English Circa 1765–70

…’. The present commode is likely to date

Width 49.5” 126cm

from near the end of his life, or may even

Depth 24” 61cm

have been completed after his death, under

Height 34” 86.5cm

the direction of his widow Tracy. In 1772 she sold by auction ‘Some most elegant and

For the full report on this commode,

matchless Pieces of inlaid work, begun by

please contact us.





A Pair of Chinese Mirror Pictures “Art is the magic mirror you make to reflect

But in the case of this pair of beautiful

your invisible dreams in visible pictures.

Chinese Reverse Mirror Paintings you can

You use a glass mirror to see your face:

do both simultaneously!

you use works of art to see your soul.� Or so said George Bernard Shaw.



Unusually, the sitters here are depicted

An unconventional addition to a dressing

in an interior environment – birds or

room perhaps?

exterior scenes being more typical. They are dated circa 1760 although the frames

Chinese Circa 1760

have been replaced. The subjects are rather

Width 16” 41cm

on the seductive side with their delicately

Height 18” 46cm

transparent clothing and innocent yet inviting expressions.




A Chippendale Period Carved Mahogany Pier Side Table The table is an example of Chinese-inspired

English Circa 1750

Chippendale furniture. Still early enough

Width 39” 99cm

that the design retains the cabriole leg,

Depth 22” 56cm

which in this case is a very well drawn shape,

Height 35” 89cm

it also features ‘blind’ fretwork decoration to the frieze. The elegance of this table is


further enhanced by the golden colour of

Apter-Fredericks, Ltd.

the mahogany and the depth and crispness

Private collection, Long Island, USA.

of the carved detail.




A Pair of George III Gilt-Wood Torcheres The torcheres are comparable to a number of other pairs supplied by Chippendale, with which they share a common language of motifs and form. The triangular tapered base with chamfered corners decorated with trailing bell flowers, as seen here, may also be seen on a pair supplied by Chippendale to Edwin Lascelles for Harewood House and another pair to Lord Melbourne for Brocket Hall. A further pair, which follow designs by Robert Adam and include these motifs, are in the Victoria and Albert Museum; a similarly decorated pair are at Clovelly Court, Devon. English Circa 1780 Diameter at top 12½” 32cm Diameter at Base 20½” 52cm Height 62” 157.5cm



A George III Satinwood Free Standing Commode The form of the commode may be described as ‘french Hepplewhite’ but its construction, including the extensive use of mahogany (veneered with satinwood), confirm that it is indeed English. However, it is highly unusual to find such a small example and for it to be finished on all four sides. A comparison is worth making between this commode and another English example in the Rienzi Collection at The Museum of Fine Arts, Houston. It too is of the same diminutive size, finished on all four sides and follows a similar French form. English Circa 1770 Width 19½” 49.5cm Depth 14¼” 36.5cm Height 29” 74cm REFERENCE

K.S. Howe, Rienzi, European Decorative Arts and Paintings. The Museum of Fine Arts, Houston, p. 88, fig, 29






A Regency Period Centre Table by the Cabinet Maker, William Potts of Chenies Street, London, Dated 12th March 1809 The information on the maker of this table

& Son were listed by Thomas Sheraton in

She set about furnishing her homes with an

is detailed on a handwritten note on the

his Cabinet Dictionary as one of the leading

eye for quality and with superb taste. Two

back of a piece of sandpaper. It states that it

cabinet makers, and fire insurance records

examples of her discernment are illustrated

was ‘made at Mr Pots, Chenies St March 12,

indicate that the business was substantial.

in this brochure: the sensational mirror on page 72 and this centre table.

1809. Repaired at Mr Backly’s of Torquay on the 24th June 1851 by D.Casey’.[sic].

Just over 100 years later the table had certainly changed hands as it was then

Lady Rootes’ father-in-law, Billy Rootes,

This note was hidden within the base and

happily sitting in the library of Lady Rootes

supplied cars to the rich and famous. It was

was only discovered when the table was

at Ramsbury Manor and was photographed

his car and chauffeur that were used by

taken apart for restoration. If it is accurate,

in situ by Country Life Magazine in 1961.

the Duke of Windsor upon his abdication. Later that same vehicle, a Humber known

and there is no reason to doubt it, it poses the question: where did the information

English Dated 12th March 1809

as Old Faithful, was used by Field Marshal

come from? It seems most likely that the

Diameter 39” 99cm

Montgomery throughout the Second World

restoration workshop was owned by Backly

Height 28½” 72cm


If so, how did Casey know the exact date



of manufacture which was some 40 years

A Private Collection in the Torquay Area of

Country Life, 21st December 1961 where

earlier? One possible suggestion is that the


illustrated in the Library at Ramsbury Manor

information was provided by the owner or

The Collection of the Late Marian Lady


that he found a previous note or bill and

Rootes and the Rootes Family.

and the work was carried out by Casey.

handed it in whilst writing his own note. Described as the most beautiful woman of her The cabinet maker, Mr Pots, is certainly the

age, Lady Marian Rootes married the son of

Potts & Son of Chenies Street. In 1803 Potts

Billy Rootes, England’s answer to Henry Ford.



A Pair of George II Walnut Stools The stools are of unusually large size and are

English Circa 1730

boldly carved with acanthus leaves to the

Width 27” 69cm

knees and stand on ball and claw feet. They

Depth 22” 56cm

were once part of a suite of furniture which

Height 17” 44cm

certainly included a pair of open armchairs, now at Clandon Park, Kent.


Broomhill Park, Kent



A Pair of Regency Period Candelabra An elegant pair of candelabra attributed

English Circa 1810

to John Blades, ‘The Great Glass Man of

Height 19¼” 49cm

Ludgate Hill’, and one of the foremost

Width 12½” 32cm

glass manufacturers in England during the

Depth 5” 12.5cm

Regency period. With this pair of candelabra a perfect balance is struck between the


use of ormolu and glass, the ormolu being

The Harry Z Isaacs Collection from

just enough to visually lift the candelabra

Historic Long Branch Estate, Virginia.

without becoming ostentatious.




A Pair of Commodes Attributed to Mayhew & Ince This grand pair of commodes was made

cabinet work to the plainest of tables. Rather

by one of the most important and longest-

impressively – and presumably reflecting

running partnerships of the eighteenth-

the quality of their output and their service

century London furniture trade. Responsible

– their clients were often very loyal. In the

for many of the grandest commissions of the

case of Lord Darnley, for example, patronage

period, Mayhew & Ince offered their clients

continued for 42 years.

a comprehensive service. They carried out everything from the most expensive inlaid



It is exceptionally rare to find a pair of

some exceptional woods for the marquetry,

commodes of this scale by one of the most

including a remarkable ‘marbled’ wood

important firms of London cabinet-makers.

in the gadroons of the central urn. This combination prompts us to speculate about

Their softly curving form gives these

the original context for which the commodes

commodes an elegance rarely found in such


large pieces, and prevents them from over-

trellis motif suggests that they may have

imposing. The unusual design, with lobed

been for a garden room, and the uncommon

corners punctuating the trellis panels to the

woods could perhaps indicate a botanical

front and sides, is matched by the choice of

enthusiast as the patron.





Opposite: 51243

The Weald Hall Satinwood Breakfront Bookcase Attributed to Mayhew & Ince To have one major piece by Mayhew & Ince is quite something, for us to have a bookcase with the same attribution is exceptional. Moreover, It is really rather wonderful to be able to say that a piece is as good an example of its type as one could hope to see. The satinwood bookcase displays a number of features closely associated with the Golden Square, Soho, partnership of Mayhew and Ince. The same muse image features in a painted medallion embellishing a tambour THE ATTRIBUTION

The makers declare themselves plainly – by the design, decoration and several technical features – as Mayhew & Ince. The ‘antique’ urn is a constantly recurring motif in their work, and the rich scrolling foliage is also highly characteristic. The form is paralleled in a pair of commodes at Broadlands, Hampshire, with comparable ‘antique’ vases, which were probably delivered by Mayhew & Ince in 1788. Other examples of a similar type include a pair of commodes now in the Philadelphia Museum of Art and a commode in the Lady Lever Art Gallery. In functional terms, the most distinctive feature of these commodes – almost unique to Mayhew & Ince – is the placing of the doors in the ends, leaving the front panel as a solid façade.

Most unusual of all, the feet were found, during conservation, to have been secured originally with integral screw-threaded extensions. Exactly the same technique is used on the Chesterfield Commode in the Lady Lever Art Gallery, one of the closest relatives of the Derby House commode and firmly accredited to Mayhew & Ince. English Circa 1775-80 Width 54½” 138cm Height 35” 89cm Depth 27¼” 69cm For the full report on this pair of commodes, please contact us.

writing-table that was formerly at Durdans, Epsom (L. Wood, Catalogue of Commodes, p.229, fig.215) and Mayhew and Ince also favoured the use of richly figured yew veneer, such as feature on a bureau-writing-table at Burghley, Lincolnshire and seen here in the oval panels. Width 81½” 207cm Depth 24” 61cm Height 100” 254cm PROVENANCE

Christopher Tower, Weald Hall, Brentwood, Essex and by descent. The bookcase is inscribed in pencil with the family name ‘Tower’ and is likely to have been commissioned by Christopher Tower (d.1810) for his wife Elizabeth (née Baker of Elmore Hall, Durham) at the time of his inheritance in 1778 of Weald Hall, Essex. The bookcase was offered in the Alfred Savill & Sons house sale, Weald Hall, 1-13 July 1946, lot 431 and retained by the family following the sale.





The Marquis de Belbeuf’s Rather Impressive Armchair A great deal of time is spent carrying out


research to try to establish the maker or the


provenance of a piece. This work can be like a

Marquis de Belbeuf (1791-1872), Chief Judge

good detective story with one clue leading to

of the Royal Court, Château de Belbeuf.

another, with red herrings, disappointment

The Marquis de Belbeuf was a prominent

and very occasionally success.

magistrate under the Bourbon Restoration,



filling a number of administrative positions On this occasion, we really didn’t have to

before becoming Premier President de la

try too hard. Guy’s son was stripping the

Cour Royale (Chief Judge of the Royal Court)

chair of its old upholstery. Half way through

of Lyon, during the reign of Louis Philippe.

the job, he discovered that on the back rail

Napoleon III appointed him a senator in 1852

was detailed exactly who made the chair,

and he retired from public life after the fall

who upholstered it, who supplied it and

of the Second Empire in 1870. The inscription

for whom. Indeed, we can even tell you the

indicates that the chair was supplied by the

month, August, that this chair was made!

merchant, Perronin from Lyon, who described

And what an exceptional chair. High quality

himself as an upholsterer but who functioned

mahogany has been selected and deeply

more as an all-purpose dealer. It continues

carved in the boldest manner. The wood

to state that he subcontracted the making

has developed the colour variation that

of the chair to the cabinet makers Morrel,

only comes about over time, enhancing the

father and son, who are un-recorded and

vitality of the carving.

the upholsterer, Auguste Schweighaeusser, originally from Strasbourg where he is

French Signed and Dated August 1855 Width 31” 78.5cm Depth 34” 86.5cm Height 46¼” 117.5cm

recorded as an upholsterer.





A George III Chippendale Period Kettle Stand This rather choice table was intended to be used as a stand for the kettle during the serving of tea.This example is somewhat unusual in having a Chinese inspired pagoda top to the column, a motif seen on a pair of torcheres in the Noel Terry Collection at Fairfax House in York.The similarities are so striking that the same maker is certain and one wonders whether they may have been made en-suite and in which case, are there any other pieces from this suite that may come to light? The table has been in a private collection since being purchased from the dealer Quinney’s in Chester in the mid 1960’s.We are pleased to say it has been allowed to develop a rich patina and a golden colour. English Circa 1760 Diameter 11” 28cm Height 21½” 55cm REFERENCE

The Noel Terry Collection of Furniture & Clocks. Publ. York Civic Trust, p.127 Fig. 125



A George III Side Cabinet This highly functional piece of furniture

English Circa 1790

dates to the Sheraton period at the end of

Width 62” 158cm

the eighteenth century but has something

Depth 21¾” 55.5cm

of a contemporary feel to it. The sharp

Height 34½” 88cm

lines and clean look would sit happily in the modern home, blending perfectly with contemporary, art deco and mid-century but still retaining the quality of period cabinet making.




Lady Mary Baillie’s Fine Regency Period Mahogany Writing Table by John Syers This table provides us with a salutary lesson in making hasty attributions. The table is one of four known examples that had traditionally been attributed to Gillow, the renowned cabinet-making firm. Of these four, one is at Broughton Hall. Although the four tables are a few years later, there is a similarity between their design and a drawing for a library table by Gillow dated 1792. Considering that when Broughton was enlarged between 1810 and 1813 by the architect William Atkinson, and the house, including the library, was furnished by Gillow, the attribution seems reasonable. However, a more recent examination of the house accounts revealed that John Syers of Broad Street, London, had supplied Stephen Tempest with the table at Broughton Hall, Yorkshire at a cost of £34 18s in 1813. With regards to its provenance, this superb writing table graced Leeds Castle, the home of Lady Mary Baillie. Lady Baillie became renowned as a hostess with a wide-ranging circle of friends. During the 1930s, members of Royalty - including the Prince of Wales with Mrs Simpson, Queen Elizabeth (the future Queen Mother) - and politicians such as Sir Anthony Eden all attended her parties. Being a great lover of the cinema, her guests also included the film stars Douglas Fairbanks Senior and Junior, Charlie Chaplin, Errol Flynn and James Stewart. English Circa 1815 Width 72½” 184cm Depth 40¼” 102cm Height 31” 79cm PROVENANCE

The Hon. Lady Mary Baillie, D.B.E. Leeds Castle, Kent LITERATURE

C. Claxton Stevens & S Whittington, 18th Century English Furniture, The Norman Adams Collection. p.164





A Pair of ‘Chinese’ Display Cabinets Attributed to Vile & Cobb, the Royal Cabinet Makers One of the rarest pieces of furniture we

This light-and-dark palette is seen in a

have had the honour of handling, these

number of pieces attributed to Vile and Cobb.

breathtakingly beautiful cabinets are made of the finest materials by the most skilful

Among the most refined technical features,

craftsmen, and were clearly commissioned

the three pierced friezes in the stand are

by a patron of the utmost discernment.

made so as to float in the surrounding frame; and the corner brackets in the angles of the

Their exceptional quality rules out all but the

stands are each made in three parts, tenoned

grandest patrons, and the firm evidence for

together, then tenoned at four points to the

Vile & Cobb’s authorship invites comparison


with their most celebrated commissions for George III and Queen Charlotte. They would


stand proudly in this company.

The attribution to Vile & Cobb rests on several comparisons, each individually

It is worth looking again at the images we

highly suggestive and combining together to

have reproduced, which in no way replicate

present a compelling case. The most closely

the extraordinary beauty and charm of

related piece is a single cabinet of very similar

these cabinets when viewed in person,

form (Figure 1). This cabinet, now at Clandon

but do at least give an impression of how

Park in Surrey, was formerly at Langley Park,

wonderful they are. They are an exceptional

Norfolk, together with other mid-Georgian

opportunity to own a great work of art .

furniture with a strong family resemblance, all of which was probably supplied to Sir

The cabinets are distinguished by their

William Beauchamp-Proctor, 1st Baronet

fastidious choice of materials and their

(1722–1773). Three solitary furniture bills

consistently superior technical execution.

survive in Sir William’s papers – one from

They are manufactured almost entirely from

William Hallett, dated 1748, and two from

two expensive exotic woods, chosen for their

Vile & Cobb, of 1754–61, reflecting a long

striking contrast to each other: padouk,

association with this furniture-making

originally bright purple (as may still be seen

dynasty. Besides its stylistic similarities, this

where the shelves meet the backboards), and

cabinet also shares some of the technical

manchineel, a light yellow colour.

refinement of the present pair.

Figure 1




Abbey, where they remained until 2012. Her husband William Tofield Makeig-Jones (1890–1939) was a younger son of the doctor. A Naval Captain, he drowned with his ship, HMS Courageous, the first British warship to be sunk by a U-Boat in the Second World War. Dorothy’s bequest, made ‘in memory of my Husband’s family long resident in

Figure 2

Torquay’, implies that the cabinets had belonged to the family since his lifetime and

The distinctive light and dark palette and refined rococo carving also find other revealing parallels, including the Saloon tables from Hagley Hall, Warwickshire. (Figure 2). Newly discovered accounts for George, 1st Lord Lyttelton (1709–1773), the builder of Hagley, record payments to Vile & Cobb amounting to over £200 between 1758 and 1763 – endorsing the attribution of these tables to their workshop. A child-size ‘Chinese’ elbow chair in the Victoria & Albert





contrasting palette, in comparable key-fret, zigzag and banded marquetry. Plainer versions of this chair are known from at least two houses with Vile & Cobb connections, Longford Castle and St Giles’s House. The distinctive abstracted angle-brackets feature on a mahogany stand at Longford Castle, traditionally attributed to Vile, and on a highly refined dressing-case-on-stand in the Victoria & Albert Museum, London (W.261962), for which Vile & Cobb’s authorship

very likely since his childhood. They may well have been presented by Dr William Makeig-Jones to his son and daughter-inlaw on their marriage in 1921, which was also the year when he himself moved out of Beaumont and sold off the less valuable furnishings. Investigation of the cabinets’ history before the 1920s has proved more open-ended. Research into the family background suggests little likelihood that William Makeig-Jones acquired the cabinets by direct inheritance. His most prominent ancestor was the romantic figure Thomas Makeig (1721–1766), by tradition a Jacobite ‘Mackay’ who fled from Scotland to west Wales, but he did not have the means to commission these cabinets. The forebears of William’s wife, Anne Tofield Reeder (1857–1943), were more prosperous. Her great-grandfather was the botanist and civil engineer Thomas Tofield (1730–1779), who planted ambitious gardens

might also be considered.

at Wilsic Hall, Doncaster. However, it is


to commission these cabinets.

The cabinets appear to have belonged to Dr William Makeig-Jones (1852–1925) at Beaumont, a fashionable villa in Torquay, to which he moved in 1899, bringing his family down from Yorkshire. In 1979 they were bequeathed by his daughter-in-law, Dorothy Makeig-Jones, to the local museum at Torre

unlikely that he would have had the means

With inheritance of the cabinets unlikely, most probably William and Anne MakeigJones bought the cabinets as antiques. So our only clues to their origins are in the cabinets themselves – the glass front and sides, clearly intended to show off a collection; and




their ‘Chinese’ style and distinctive purple and yellow palette, doubtless reflecting the character of the room in which they were placed. The room must have excited comment when first revealed to the fashionable world, so we may still hope to find some record of it, perhaps in a letter or journal written by a contemporary witness. English Circa 1755-1765 Width 293⁄8” 74.5cm & 29¼” 74cm Depth 15¼” 39cm Height 79½” 202cm For the full report on this pair of cabinets, please contact us. Description of porcelain 1. R9032-4 Middle Left A set of three Chinese porcelain blue and white sprinklers of barrel shape Kangxi, 1622-1722 2. R7861 Middle Right An usual pair of Chinese porcelain openwork double walled blue and white wine ewers and covers Kangxi, 1662-1722 3. R8668/8730 Bottom Left A pair of Chinese porcelain blue and white baluster shape vases Double ring mark, Kangxi, 1662-1722 4. S2405 Bottom Right A pair of Chinese porcelain blue and white small ovoid jars and original covers Kangxi, 1662-1722 5. S2262 Top Right and Top Left A Chinese porcelain blue and white ewer of helmet form Kangxi circa 1700




A Pair of Matthew Boulton Candle Vases The ovoid shaped alabaster vases with

English Circa 1775


ormolu mounts conform to designs by

Height 9ž� 25cm

N. Goodison, Ormolu, The Work of Matthew Boulton, London, 1974, pl.163, fig.m.

Matthew Boulton and relate to other known examples. Highly regarded and valued since


N. Goodison, Matthew Boulton Ormolu,

Matthew Boulton first started producing

The Edward Sarofim Collection

London, 2002, p.305, pl.278

these candle vases, this pair would have no

A related pair is illustrated in Goodison, op.

doubt graced a mantelpiece of a fashionable

cit., 1974, pl.141 and op. cit., 2002, pl. 279

connoisseur in eighteenth century London.



A Regency Period Blue John Campana Vase This outstanding example in purple Blue John, which is the rarest of colours, is of a very large size and is in superb condition. The vase stands on an Ashford marble plinth. Its rarity cannot be emphasised enough. Even in the eighteenth and early nineteenth centuries when Blue John was being mined, it was rare to find large enough pieces from which to turn a vase of this size. Coupled to this rarity is the vulnerable nature of Blue John and the resulting lack of good surviving examples. English Circa 1800 Diameter 9¼” 23.5cm Height 12¾” 32.5cm




A Regency Period Inkwell The inkwell is of generous size and combines


golden coloured rosewood with exceptional

The Regency Festival, Brighton Pavilion,

ormolu mounts which are very much in the

1951, Item 166

style of Thomas Hope. English Circa 1810 Width 14½” 37cm Depth 11½” 29cm Height 8½” 22cm





A Pair of George II Carved Mahogany Chairs The chairs have acanthus leaves superbly

for Ditton Park to George Brudenell, 4th

carved in relief on a background of

Earl of Cardigan (d.1790), who was created

‘dolphin’ scales. The dolphin scales were a

3rd Duke of Montagu in 1766.

motif favoured during the first half of the eighteenth century by the country’s top

Exactly which cabinet-maker was responsible

architects and designers and may be seen in

for these chairs is not clear (at the moment),

the work of John Vardy and William Kent

but the leaf carved moulding at the bottom

(he employed them on no less a commission

of the front legs is such an unusual feature

than the Royal Barge).

that it may well enable us to identify a maker should this feature appear again.

The principal cabinet-makers on whose work one sees these scales are Benjamin

English Circa 1755

Goodison, where they appear on his work

Width 24” 61cm

at Hampton Court Palace, Longford Castle

Depth 25” 64cm

and Windsor Castle, and John Gordon, who

Height 38½” 98cm

supplied a suite of approximately 24 chairs






A Chinese Coromandel Lacquer Eight Panel Folding Screen Bursting with colour, drama and movement,

which translates as ‘incised colours’. It is

China Circa 1840

the mock battle scenes depicted on one side

this technique of cutting the images into the

Each panel

of this screen are a feast for the eye. By way

surface that adds to the three-dimensional

Width 15½” 39.5cm

of contrast, the scenes on the reverse depict

nature of this type of screen.

Height 81½” 207cm

figures in a landscape and seem serene and contemplative by comparison.

Although the screens came from China, it was the Coromandel coast in India that gave






Coromandel screens is known as ‘kuancai’,

them their name, as it was from here that the screens were transported to Europe.



A Satinwood and Tulipwood Banded Étagère by Howard & Sons The two tier étagère, which for convenience

English Circa 1860


was made with castors, is a most delightful

Width 30¾” 78.5cm

Apter-Fredericks, Ltd.

example. The lightness of the wood perfectly

Depth 18” 46cm

Private collection, Kensington, London

mirrors the open nature of the design and

Height 26½” 67.5cm

the extensive use of spindles in the galleries.




A George II Mahogany Wing Chair This is a particularly fine and rare wing chair

needlework, are two ladies who are crossing

which, importantly, also happens to be an

their fingers. When we noticed this, and we

outstanding example. The rarity of the chair

have never seen it before, it prompted us to

is in the choice of mahogany rather than

do a little research. Obviously, we all know to

the more common walnut examples of this

cross our fingers for luck but in earlier times

period. The shape and carving of the front

it was regarded as a way of invoking God’s

legs, the splay of the back legs and the profile

help. However, the most interesting reference

of the wings are perfect. The depth, height

found was in “A Provincial Glossary, with a

and the width of the chair are in perfect

Collection of Local Proverbs, and Popular

proportion, ensuring the seat and back are

Superstitions” by Francis Grose, dated 1787,

generous and allow one to sit comfortably.

which records the recommendation to keep one’s fingers crossed until one sees a dog

The chair is upholstered in fine needlework

to avert the bad luck attracted by walking

of the same period. Antique needlework

under a ladder.

has become, like the furniture, increasingly difficult to source and panels large enough

English Circa 1730

to cover a wing chair including the outside

Width 34” 86.5cm

arms, are exceptional.

Depth 36” 91cm Height 44½” 113cm





hoho birds and people portrayed in the

Seat Height 20” 51cm








An Important Regency Period Commode Attributed to William Marsh to Designs by Henry Holland The design of this commode represents

The Southill pieces were most probably

single commode at Southill – thus forming

a combination of two models used in the

supplied by William Marsh, cabinet-

a further link between this furniture and

furnishing of Mrs Whitbread’s Drawing

maker to the Prince of Wales, who also

reinforcing the attribution of the whole

Room at Southill Park, Bedfordshire, the

collaborated with Holland at the Prince’s

group to the same workshop, almost

masterpiece of the Regency architect Henry

miniature palace Carlton House. Marsh

certainly that of William Marsh.

Holland. Between the windows was placed

was named as the maker of much of the

a rectangular pier commode of almost

furniture at Southill by a visitor to the house

English Circa 1800

identical design to the central section of this

in 1800. Marsh also collaborated with Henry

Width 73” 185cm

piece (but with a solid front and with doors

Holland in the furnishing of Carlton House

Depth 17¼” 43.5cm

to the ends). Opposite the windows and

for the Prince of Wales, and with his partner

Height 37” 94cm

flanking the fireplace stood a pair of shelved

Thomas Tatham he continued to work for

chiffoniers, with round-cornered open

the Prince after his succession as George IV.


F. J. B. Watson, in S. Whitbread et al.,

ends and a shallow shelved superstructure. The round-cornered form, in the height of

Another closely related commode, from

Southill: A Regency House (London, 1951),

French fashion, is repeated in the present

Headfort in Ireland, has the same highly

pp. 23–24, pl. 35–36

example. The Southill pieces also have feet

distinctive large brass patera on the front,

F. Collard, Regency Furniture (1985), pp. 40

of the same distinctive faceted tapered form,

framed with wide rosewood bandings and

(ill.), 42 (ill.), 49.

the same highly figured rosewood veneer,

shaped recessed panels, and is fitted with a

Watson (1951), pp. 23–24.

and details in dark red japanning set off by

brass and marble gallery on top. This piece

M. Jourdain, Regency Furniture, 4th edn,

gilding, as on the present commode.

has divided front doors as on the present

revised by R. Fastnedge (1965), fig. 3.

example but is of rectangular form like the



A Pair of Cream & Gilt Decorated Tole Lamps This highly decorative pair of oil lamps (now fitted for electricity) are decorated with their original neoclassical motifs which are in remarkable condition. French Circa 1820 Height 24” 61cm Diameter 9½” 24cm




A Queen Anne Gilt Gesso Table with Carved Decoration How extraordinary it must have been to

maker to the Royal Household in 1714.

have arrived at a house one evening at the

Indeed, there are a number of magnificent

beginning of the eighteenth century to find

pieces - signed by Moore - still in the Royal

a room furnished with a golden table which

Collection today.

would have glistened in the candlelight. Where before there was dark wood, now

This fine example is distinguished by the

there was an exciting play of light over the

carved decoration on the legs, particularly

carved and gilded surface. What warmth it

on the inside of the legs, which is an unusual

would have added to a room.







English Circa 1710

responsible for gesso tables were James

Width 22¼” 56.5cm

Moore and his partner John Gumley,

Depth 16” 40.5cm

who worked for numerous prestigious

Height 30” 76cm

and aristocratic clients, becoming cabinet





George, 1st Marquess Townshend’s Set of Sixteen Decorated Chairs from Raynham Hall We were delighted to discover the original

Thence by descent at Raynham Hall, Norfolk

surface was still there and after many

until sold by the trustees of the late 7th

hours spent removing the grey paint, we

Marquess Townshend.

returned the chairs to the scheme intended

George, 1st Marquess Townshend served as

by the cabinet maker and clients who

a brigadier in Quebec, under General James

commissioned them.

Wolfe; when the latter died, and his second-incommand, Robert Monckton was wounded,

English Circa 1790

Townshend took command of the British

Width 23” 58cm

forces during the siege of Quebec. He received

These refined and elegant chairs, which

Depth 24½” 62cm

Quebec City’s surrender on 18 September

according to the inventory of 1811 and the

Height 34” 87cm

1759. However, he regarded General Wolfe with a great deal of contempt and was heavily

handwritten labels attached to the underside of each chair, have been used in various


criticised on his return to England for having

rooms in the house, including the dining

George, 1st Marquess Townshend (d.1807),

drawn Wolfe in caricature thereby creating

room. They were supplied to the 1st Marquess

Raynham Hall, Norfolk and thence by

Canada’s first cartoon.


descent to his son




Although the chairs were painted grey when

George, 2nd Marquess Townshend (d.1811),


we purchased them, encouraged by the gold

recorded in an inventory of 1811, and thence

C. Latham, In English Homes, vol. III,

we could see under the chipped surfaces and

by descent to

London, 1909, pp. 106, 108. C. Hussey,

the labels fixed to each chair - which

Captain John Townshend R.N., M.P. between

‘Raynham Hall - I, Norfolk. The Seat of the

described them as formerly ‘Gilt’ and ‘White’

1847 - 55 (as labelled), and later 4th Marquess

Marquess Townshend’, Country Life, 14

- we set about discovering what was

Townshend (after 1856).

November 1925, p. 747, fig. 11.

underneath the later decoration.




51805 & 51873

Two Victorian Cast Iron Stick / Umbrella Stands Probably by the W.H. Micklethwait Foundry. Both cast iron stick stands, which are available separately, have painted decoration, with one cast as a sailor and the other as a huntsman.

English Circa 1878 THE HUNTSMAN

Width 17¼” 44cm Depth 9½” 24cm Height 28” 71cm THE SAILOR

Width 17½” 44cm Depth 10½” 27cm Height 27” 69cm The designs relate to another numbered 325329, which was registered and patented by WH Micklethwait, Clough Works, Rotherham, South Yorkshire at the Public Records Office on 24th August 1878



A George III Carved Gilt-Wood Mirror The movement and inventiveness in the design of this mirror are indicative of an important London maker and there are a number of possibilities, including Thomas Chippendale and Thomas Johnson. In 1687, Francis Barlow had published an illustrated version of Aesop’s Fables which was to capture the imagination of designers in the late seventeenth and eighteenth centuries. The stories became quite common subject matter in needlework and tapestry and by the mid-eighteenth century designers such as Chippendale, and more particularly Johnson, included animals from the tales in their furniture and mirror designs. Johnson published his ‘Twelve Gerandoles’ in 1755 and then a further 53 designs between 1756-7, many of which included animals. These were published designs intended for other makers to use, so one has to be careful in automatically assuming that if a mirror matches a design it must be by Johnson. However, when the mirror is as inventive and as well carved as this one, and when it doesn’t compare directly to a particular published design, it becomes more likely to be from his own unpublished designs. English Circa 1760 Height 60” 153cm Width 30” 76cm




A George III Adam Period Cut Glass 12 Light Chandelier Elegant and dramatic, this chandelier which

English Circa 1780

is attributed to William Parker from Fleet

Diameter 39” 99cm

Street, perhaps the most famous of the

Height 60” 152.5cm

Georgian chandelier makers, is sure to be central to any impressive room. Lighting


pieces of this size were usually made for

Bought by Sir Michael Sobell from Partridge

music rooms of great houses or large public

on 22 November 1961 for £2,000.

spaces such as assembly rooms.

The Collection of Sir Michael Sobell.

It should not be underestimated quite how rare fine eighteenth century chandeliers have become. For obvious reasons, they are incredibly vulnerable and consequently finding examples of this quality has become increasingly difficult.





A Pair of Moirée Metallique & Decorated Vases The most extraordinary examples of Moirée

brought the invention with him, though it

Metallique decorated vases we have seen. The

has not been established whether it was with

quality of this decoration and its condition

Allard’s permission. The date of the English

are exceptional. As described below, this

patent suggests that 1814 is the more likely

pair of vases have gone through a two stage

date of Allard’s patent. This technique was

process to achieve their decorative finish.

also used in Germany by the Stobwasser

Firstly, they have been treated with acid to

family in Berlin and Brunswick who were

create the crystalline background and then

noted for the quality of their work.1

hand painted with decoration. As the decoration could be applied only to French Circa 1820

pure tin or tinned metals, it was undertaken

Width 9½” 24cm

prior to any other form of ornamentation.

Height 16” 40cm

The article, after being cleaned with a solution of potash, soap or any other

The ground pattern beneath the red surface

alkali, was rinsed in water, and heated “to

of the câche pots shows a style of decoration

a temperature which the hand can bear.” It

known as Moirée Metallique, or as it was

was then lightly brushed or sponged with

called by English japanners, crystallised tin.

acid to create the frosted pattern; any acid was suitable, but Vallet recommended a

It was patented in France by M Allard, in

combination of sulphuric and nitric acids.

c1814/16, and in London, by Louis Felix

Further applications could be made until the

Vallet, in 1816. In The Repertory of Patent

desired effect was achieved.2

Inventions and Other Discoveries and Improvements, pub. by Renshaw and Rush, London 1831, Vallet was described as being ‘late of Paris, but now of Wallbrook, London, Gentleman …’. Therefore, it appears that he

1 Dr Monika Kopplin, Director of The Museum fur Lackkunst, Münster. 2 Y. Jones, Japanned Papier Mâché & Tinware. C.1740 – 1940





A Chippendale Period Table Although a great deal of the furniture

This is a combination not seen before and

from the mid-eighteenth century was

does rather prompt the question: was this

commissioned for a particular place or role,

table made for some extremely practical

much of it conformed to standard designs,

client who recognised how handy it would

varying only in terms of decorative detail or

be to have some extra space for the cups and

number and arrangement of drawers.

a drawer, to contain napkins or other such paraphernalia that might be deemed useful

Occasionally one comes across a piece that

to people having tea?

does not conform and can justifiably be described as unique. This table would seem

In any event, it is a most splendid table.

to be for serving tea; it has the dish top seen on early examples of such tables. However,

English Circa 1760

it has a brushing slide, so called because,

Width 27½” 70cm

on the slide, a servant would arrange the

Depth 20¾” 52.5cm

brushes used to dress a gentlemen or lady.

Height 31½” 80cm

Below that is a further shelf with a drawer.





A Coat of Arms of Impressive Scale A rather fine rendering of the Royal Arms as

example suggests it dates from the arts and

used in Scotland, with a particularly vibrant

crafts period of the early twentieth century.

lion, representing Scotland, and unicorn,

It is reminiscent of the carving carried out

representing England. Their traditional enmity

by the Clow Brothers in the Thistle Chapel of

is represented in the famous nursery rhyme:

St Giles Cathedral in Edinburgh, which was completed in 1910.

‘The lion and the unicorn were fighting for the crown

Royal Arms in this form could have

The lion beat the unicorn all around the town.

appeared in a number of places, including

Some gave them white bread, and some gave

business premises of Royal Warrant Holders

them brown;

in Scotland.

Some gave them plum cake and drummed them out of town.’

British Circa 1910 Width 56” 142cm

While the Royal Arms as used in this form came into being in 1837 the carving of this

Height 60” 153cm







A William IV Specimen Marble Topped Centre Table The stunning specimen marble top, which



Major Philip Charles Cavan




marbles, would have been purchased in Italy,

Youlston Park, Barnstaple, Devon

most probably Rome, by a gentleman on a

Youlston Park was the home of the Chichester

Grand Tour. Having shipped the top home,

family from 1516 until it was sold by Sir

the table would have been commissioned

Edward Chichester, 10th Baronet in 1920. It

especially for it.

has not been possible to ascertain whether the table was purchased by the Chichester

English Circa 1830

family or the Cavans but it was certainly in

Diameter 45½” 116cm

situ when it was photographed in the house

Height 29¼” 74cm

for the May 11 1961 edition of Country Life Magazine.



A Satinwood and Amaranth Side Cabinet The cabinet is a most stylish and attractive piece which emulates the grand French furniture admired by so many amongst the English nobility of the eighteenth and nineteenth centuries. This example was certainly made in England, quite possibly by Holland and Sons. It is of exactly the high quality to be expected of a firm patronised by Queen Victoria. Holland & Sons were one of the most successful cabinetmaking firms in England. They were extensively patronised by the Royal Family and were involved in furnishing Windsor Castle, Sandringham, Balmoral, Osborne House and the apartments of the Prince and Princess of Wales at Marlborough House. English Circa 1850 Width 63½” 161cm Depth 17½” 44.5cm Height 37½” 95cm





An Unusual Irish Walnut & Ash Lowboy This very unusual lowboy has two distinctive

historian R.W. Symonds who first noted the

features: the double scroll legs and the inlaid

similarities between a group of three pieces

bell flowers on the legs. Both of these features

and attributed them to an Irish maker. Since

are found on Irish furniture of the early to

then other examples have come to light and

mid-eighteenth century.

the signature of John Kirchoffer has been found on an example at the Art Institute of

The double scrolled legs may also be seen in a

Chicago. Interestingly, the Kirchoffers were

pair of tables from Killruddery, Co. Wicklow

German in origin, which may explain the

in Ireland. They were probably supplied to

table’s slightly Northern European feel .

Chaworth Brabazon, sixth Earl of Meath (1686-1763) and date to approximately 1730.

Ireland Circa 1730

Another pair of tables, probably by the same

Width 32.5” 83cm

maker, also have the double scroll, as does a

Depth 20” 51cm

walnut side-chair.

Height 29” 74cm

The inlay on the legs is a particularly rare


feature which may be compared to another

The Knight of Glin & James Peil,

group of Irish furniture, this time with

Irish Furniture

marquetry decoration. It was the furniture





A Pair of George III Tables The tables are the epitome of Sheraton period


furniture with fine line and proportion

Apter Fredericks, Ltd.

and simplicity of design. The tables are

Exhibited at The Grosvenor House Antiques Fair

principally in satinwood and purple-heart

Private collection, Kensington, London

with leather tops making them perfect to stand beside a bed or sofa. English Circa 1790 Width 18” 46cm Depth 12½” 32cm Height 28¾” 73cm



A George III Decorated Secretaire Bookcase This charming bookcase was possibly made by George Seddon & Sons. At one time this business was the largest and most successful in London and indeed, Seddon left an estate valued at £250,000, equivalent to about £16,000,000 today. The faded rosewood of this bookcase adds to its feeling of lightness. This, coupled with the exquisite decoration which was clearly painted by a specialist artist, allows the bookcase to sit as comfortably in a bedroom as a drawing room. Of note is that an almost identical bookcase was considered worthy enough to be included in the International Art Treasures Exhibition, Bath, 1973. English Circa 1790 Width 33¾” 86cm Depth 17½” 44.5cm Height 81” 206cm




A Viennese Motherof-Pearl Clock This clock may possibly have been made by Karl Schmid, who won a bronze medal for mother-of-pearl novelties at the first Austrian Industrial Products Exhibition held in 1835. Vienna was a centre for the production of mother-of-pearl novelties. It is interesting to note the particular interest of the Spanish court in mother-of-pearl objects and the possibility of two alternative makers. A suite of furniture including a canapé, six chairs, a table, two mirrors and two clocks was supplied to the King of Spain by Johann Tanzwohl of Vienna circa 182030, while a travelling necessaire bearing the cypher of Ferdinand VII, King of Spain between 1814 and 1833, was supplied by Nicolas Rozet probably in 1819 (Christie’s, London, 28 May 1992, lot 177). Either maker might have been responsible for this clock. Also worth mentioning is a suite of motherof-pearl furniture, comprising two side chairs, a canapé, a dressing table and a clock, that is at Rough Point, Doris Duke’s Newport mansion, which may have been part of the suite supplied to the King of Spain by Tanzwohl. Viennese Circa 1825 Height 13¼” 34cm Diameter 7” 18cm




A Rare George II Mahogany Bottle Carrier Described in the Dictionary of English

century to appreciate that it is by no means

Furniture as a ‘wine waiter’, it was intended

a modern phenomenon. Indeed, the famous

to contain bottles or decanters and was used


in a dining room. It was fitted with castors to

“enjoyment of the bottle” has a great deal to

allow it to be circulated amongst the guests.

do with the weather!

An often discussed issue of modern society

Irish Circa 1750

is excessive alcohol consumption. One

Width 26” 66cm

only has to look at the vast range of alcohol

Depth 16½” 42cm

related furniture produced in the eighteenth

Height 20½” 52cm







A Burr Walnut ‘Kidney’ Shaped Desk As Thomas Sheraton ‘delicately’ puts

allowing great flexibility in its use. In the

The kidney shape was first used by

it, the shape is so-called “on account of

past, clients have found homes for such

Chippendale for a commode table in his

its resemblance to that intestine part of

desks in a library, an entrance hall, a bay

1762 ‘Director’, and was later developed

animals.” In his ‘The Cabinet Directory’ of

window in a sitting room and in a bedroom.

by Thomas Sheraton in his Drawing Book

1803, Sheraton writes “some are made for

of 1793. Such was the influence of these

writing and reading at with piers of draws at

The best examples tend to be in burr walnut

publications that the design became quite

either end. Others are made for ladies’ work

and like this one, have shelves on the back.

popular for various forms of table towards

tables with only a shallow draw under the

Although the quality can vary, this desk is

the end of the eighteenth century.

top.” As this suggests, the desk is certainly

amongst the finest. It is stamped with the

versatile and without doubt it is also one of

name James Winter & Son, who were known

English Circa 1850

the most appealing forms of furniture. The

to be retailers rather than cabinet makers so,

Width 52½” 133.5cm

fact that it looks interesting from all angles

bearing in mind its quality, the most likely

Height 29½” 75cm

enables it to be placed in any orientation,

maker is Gillow.

Depth 31½” 76cm



On the kidney shaped desk East throughout the eighteenth and into

Height 6½” 16.5cm


the nineteenth centuries, reaching another

Width 3¾” 9.5cm


height during the Regency period and the

Dating to the early part of the nineteenth

decoration of Brighton Pavilion.

century, the gladiators stand poised to fight.

English Circa 1810

One holds a short sword and the other a spear.

Height 6” 15cm

French Circa 1830

Length 6½” 16.5cm

turned from carefully selected blue john which


pattern of striation and the vibrancy of the


colour. They are also of unusually small size.


English Circa 1790

This charming inkwell is of excellent quality,

Height 7¼” 18.5cm

finished on all four sides and with delightful

Diameter 3” 7.5cm



The pair of urns are strikingly striated and has been beautifully matched in terms of the

Height 6½” 16.5cm 51614

A REGENCY CHINOISERIE TABLE BELL The taste for the orient began in the late seventeenth century and first reached a peak in England in the 1750s. Decorative arts continued to draw inspiration from the





overflowing with flowers and dragonflies. French Circa 1820

Books not for sale



An Eighteenth Century Rococo Carved & Painted Mirror This delightful mirror is without doubt one

The mirror’s unique form, quality of carving

of the most theatrical designs to be seen on

and celebratory nature easily suffice in

an eighteenth century mirror and it is this

placing this mirror at the pinnacle of English

theatricality which suggested a possible

eighteenth century rococo design.

connection between the figure at the top of the mirror, who is clearly performing, and

English Circa 1755

the famous impresario, actor and client of

Width 36” 91.5cm

Thomas Chippendale, David Garrick.

Height 54½” 138.5cm

As we detail below, we have covered a great


deal of ground in our research but alas, have

J.W. Blanchard Ltd, Winchester c.1950

not proved Garrick to be the actor depicted.

H. Blairman & Sons Ltd, London, 1952

But thespian he would certainly seem to be

Acquired by Lady Marian Rootes for

and this led us to investigate the possibility

Ramsbury Manor, Wiltshire, c.1958

of its hanging in a public space such as the Drury Lane Theatre. The suggestion that it


was in a public space is further supported

M. Jourdain & F. Rose, English Furniture the

by one of the mirror’s hidden ‘charms’.

Georgian Period 1750-1830, London 1953,

Not immediately apparent, but somewhat

p.169, fig. 136

amusing, is the fact that the tops of the right hand female figure’s breasts have been rubbed until they are now flat. The thought that the actors would touch them for luck before going on stage certainly has merit.





the Second World War, the mirror passed

The mirror was formerly part of the

through the hands of the trade. It was

furnishings of Ramsbury Manor while

first acquired by J.W. Blanchard Ltd of

it belonged to the Rootes family. At the

Winchester (established 1950) and then by

beginning of the twentieth century the

H. Blairman & Sons of Mount Street who

house was the property of Sir Francis

sold it to the Rootes family at the end of the

Burdett until he sold it in 1953 to the Earl

1950s.  Although it has not yet been possible

of Wilton who “required a house of less size

to trace the original provenance of the

than Ditchley Park in Oxfordshire”. With

mirror, we do know that at this period many

the help of Marshall Simon, Lord Wilton

important houses and their contents were

undertook considerable repairs, and to the

being sold to cover crippling death duties

many original contents of the rooms that

and inheritance taxes.  It does seem likely

were included in the sale added pictures

then, that the mirror came from a building

and furniture from Ditchley. When in 1958

which had important carved eighteenth

he decided to leave Ramsbury, Lord Rootes

century Rococo interior decoration. 

bought the house and many of its contents . 1


It has been suggested that the interior

In trying to answer the question of where

designer John Fowler, who was working

the mirror originally came from, several

on the redecoration of Ramsbury Manor

possibilities have been investigated:

between 1953 and 1957 and from 1958 to 1961, was responsible for the repainting of

The original theatre in Drury Lane was

the mirror and perhaps even its acquisition . 

destroyed by fire in 1672. A second theatre

However the new discovery of an illustration

of almost double the size but standing in the

of the mirror in Jourdain’s book (see above)

same location was built by Sir Christopher

reveals that it had already been repainted

Wren soon afterwards. In 1747, the great

by 1952 when it was described as: ‘In pine,

English actor David Garrick took over the

painted grey with gilt details. The carving of

management and spent the next 30 years in

fine quality.  Probably by Thomas Johnson.

the theatre. He introduced better lighting

4ft 6in high. Circa 1755.’

and regular rehearsals.

Furthermore, recent research has also

The musical and theatrical themes depicted

established that shortly after the end of

in the mirror could suggest that it was made





to furnish the Drury Lane Theatre. However,

Further investigation revealed that the

by 1791, the building had fallen into such a

V&A holds a number of sale catalogues and

bad state of decay that rather than going

inventories from the villa and the house at the

through complex refurbishment, it was

Albany3 which had been given to the museum

decided to build another theatre in its place.

by a descendant of the family along with

This time, the new theatre was designed

several pieces of furniture. When these were

by Henry Holland who made the Drury

investigated, it emerged that although there

Lane “worthy of our opulence and taste”.

were several mirrors at the villa, they were all

Unluckily, fifteen years later the theatre

gilded and much simpler in their design than

burned down for the second time.

the present example.

Unable to prove the mirror was at Drury

Another suggestion of the original home of

Lane, the idea that the theatre’s owner, David

the mirror is the Music Room at the Vauxhall

Garrick, could have had it in his villa at

Pleasure Gardens, which was one of the

Hampton seemed a possibility. David Garrick

leading venues for public entertainment in

was a keen collector in his own right and

London from the mid-seventeenth century

owned a house in the Albany in London and

to the mid-nineteenth century. On the face

a villa at Hampton in Middlesex. The house

of it this seems a stronger possibility because

in Middlesex (often referred to as ‘Garrick’s

we know the interiors were both opulent and

Villa’) was furnished with pieces made by

Rococo in taste.

Chippendale and others, much of it designed in a Chinoiserie manner and much of it now

Interestingly, an engraving gives us a clear

in the Victoria and Albert Museum. Given

indication of the style of the painted interiors

the ‘theatricality’ of the mirror and Garrick’s

in the Music Pavilion as well as the mirrors

taste for this type of furniture, the idea that he

which were there. They are a combination of

might once have owned it certainly seemed

small gilded circular mirrors with sconces

likely. According to Rogal (op. cit. p.53) the

and large pier glasses down the corridor.

Victoria and Albert Museum owned a copy

It does not seem likely therefore that an

of the auction catalogue of the sale of furniture

individual white-painted and carved mirror

from Garrick’s Hampton villa on 22 June 1864.

would have fitted into this decorative scheme.


‘The Temple of Asia’, Chinese Room at Claydon House, 1769


The last, and most likely, possibility for the original provenance of the mirror is that it came from one of the richly stuccoed and white-painted rococo rooms made in the eighteenth century and which were found in English country houses such as Kirtlington Park in Oxfordshire, Brightling Park in East Sussex (now destroyed) and the Court Room at the Foundling Hospital in Brunswick Square, London. The most famous of these elaborately carved rooms is the Chinese Room at Claydon House in Buckinghamshire, built between 1757 and 1771 by Earl Verney. The carved plasterwork is by the master carver Luke Lightfoot (1722-1789). Unfortunately, very little is known about Lightfoot and his output other than his work at Claydon, but looking at the decorated detail above, there is an immediate similarity with the central figure in the mirror with its rather naïve style and raised arms of the figures.



The form of the mirror comprises a number

Lindsay Boynton, ‘Luke Lightfoot (1722-1789)

of apparently incongruous elements such

Furniture History Vol II 1966, pp.7-17

as Chinese figures (pagods), a European

Graham Child, World Mirrors 1650 – 1900,

woman in peasant’s clothing, putti with


musical attributes and pitchers of wine, a

Emily Eerdmans, Classic English Design and

dragon, a dog, flowers and carved scrolls and

Antiques, 2006

rocaille decoration. A careful analysis of the

Morrison Heckscher, ‘Lock and Copland:

engraved designs of the eighteenth century

A Catalogue of the Engraved Ornament’,

designers Lock and Copland shows that each

Furniture History, Vol XV 1979, pp.1- 23

of these details appears in one or other of

Hugh Honor, Chinoiserie: The Vision of

their engravings.

Cathay, 1961 Christopher Gilbert, ‘The Early Furniture


Designs of Matthias Darly’, Furniture

Given the fact that this is a unique and

History, Vol XI 1975, pp.33-39

unusual mirror, finding comparisons is

Dawn Jacobson, Chinoiserie, 1993

difficult; however there is one mirror from

Samuel J. Rogal, ‘David Garrick at the

Halanby Hall in Yorkshire - now in the

Adelphi’ The Journal of the Rutgers University

Bowes Museum in County Durham- which

Libraries, Vol 37, No 2, 1974

shares some similar decorations.

Royal Pavilion and Museums, Brighton & Hove Chinese Whispers: Chinoiserie in

For the full report on this mirror, please contact us.

Britain 1650-1930, Ex. Cat. 3 May – 2 Nov 1 Country Life, Ramsbury Manor III, Dec 21 1961, p.1583. 2 See Martin Wood, John Fowler, Prince of Decorators, 2007, p.282 for a list of the dates that John Fowler was working at Ramsbury Manor. 3 V&A department of Furniture Fashion and Textiles, Ref: I.D.9 (No 403) ‘Garrick’ in the People Files




A Pair of Regency Period Bergère Chairs Good design has longevity and when it can

chairs. Sold by us at the International Fair

Depth 21” 53.5cm

be traced back as far as Ancient Greece, it

in New York ten years ago, they have been in

Height 37½” 95cm

must say something about its quality. These

a very good private collection until recently

chairs are raised above the standard model

coming back to us ready to pass on to a new


by the inclusion of the extended and carved


Apter-Fredericks, Ltd. Exhibited at The International Fine Art &

head-rail with its ‘anthemion’ decoration. We are delighted to say that this is the

English Circa 1810

Antiques Fair, New York

second time we have handled this pair of

Width 29” 73.5cm

Private collection, Carolina, USA



A Regency Period Lantern Attributed to William Collins ‘Glass Manufacturer to His Majesty’ This large scale and high quality lantern

English Circa 1820

exhibits a number of motifs employed by one

Width 31” 79cm

of the most important makers of the period,

Height 57” 145cm

William Collins. The anthemion motifs on the corners and the high scrolling supports


are both features of his work.

David Maher & Sarah Lawson, Ardbraccan House, Navan, Co. Meath

William Colllins is recorded at 227 The


Strand, near Temple Bar, London, describing

historically as Ardbraccan Palace) is a large

himself in 1822 as “Glass manufacturer to

Palladian country house in County Meath,

His Majesty and Their Royal Highnesses The

Ireland. This historic house served from the

Duke of Sussex and Princess Elizabeth” and

1770s to 1885 as the residence of the Church

later as “Glass enameller, lamp manufacturer

of Ireland’s Lord Bishop of Meath.WW

to the Queen and Royal Family”. He was one of the most ambitious chandelier and lamp makers of the early nineteenth century. Besides supplying the Royal family, one of his most expensive and important commissions was to supply chandeliers to the Duke of Northumberland for Northumberland House in 1823 and a magnificent pair of candelabra which are now in the State Dining Room at Syon Park, Middlesex.








A Chinese Export Lacquer Table 2014 is the Chinese Year of The Horse and

detailing on the lances and rather splendidly

Canton in the nineteenth century, but the

what better time to present this incredible

on the tongues of the dragon-modelled feet.

degree to which this table is decorated is at a

lacquer centre table, so finely decorated

level we have not seen before and marks this

with scenes depicting horses. On closer

The classic circular shape lends the table a

table out as an exceptional example.

inspection, one can see the dappled horses

timeless quality and the tripod mechanism

leading the charge in a joust in front of a

allows the table top to be tilted and stored.

Chinese Circa 1840

presiding emperor figure.  In addition to

The intricate lacquer work is a fine, rare

Diameter 45½” 115.5cm

the various shades of gold there is some red

example of a skill which was at its height in

Height 32” 81.5cm








Possibly the Last Expanding Dining Table Manufactured by Johnstone & Jeanes This table was presented by John Parrott to

March of 1835 by Robert Jupe and John

his daughter Noelie Christine Parrott and

Johnstone. The jupe table offered a solution

Joseph Augustine Donohoe II on the occasion

to the inflexibility of rectangular dining

of their marriage in San Francisco. Ordered

tables as leaves could be added and then

from Johnstone & Jeanes, this table came to

removed to accommodate different numbers

San Francisco around Cape Horn and has

of guests. The revolutionary table was

been in the Donohoe family since 1888.

described as “An improved expanding round table so constructed that the sections

The english Regency period is notable, among

composing its surface may be caused to

many things, for a fascination with innovation

diverge from a common centre and that

and the effects of the english industrial

the spaces caused thereby may be filled

revolution produced increasingly versatile

up by inserting leaves or filling pieces”

pieces of furniture. Also known as “patent”

The table top could be expanded “by hand

or “patent metamorphic” furniture, these

or by turning the surfaces and bed of the

designs were created with a mind to saving

table round the pillar” and quickly gained

space and incorporating other clever features.

popularity as Messrs. Johnstone and Jupe established their company, Johnstone, Jupe

One of the most popular of these ‘patent’ designs was the ‘jupe’ table, patented in

& Co., at 67 New Bond Street, London.



In 1840, Johnstone, Jupe & Co. was no longer


trading as Robert Jupe and John Johnstone

John Parrott (1811-1884) was a Virginia

had fallen out. Robert Jupe moved his business

financier and was the U.S. Consul at Mazatlan,

to Welbeck Street and John Johnstone formed

Mexico from 1838-1850. He resigned his

a new business at 67 New Bond Street called

post to avail himself of the opportunities

Johnstone & Jeanes in 1842.

presented by Gold Rush era California, where he made a fortune in shipping, banking, and

Johnstone & Jeanes exhibited their furniture

mercantile ventures. In San Francisco he met

at the Great Exhibition of 1851 and at the

Joseph Augustine Donohoe Sr., who had also

International Exhibitions held in London

arrived in San Francisco in 1850, and enjoyed

in 1862 and in Paris in 1878. In 1885 the

a lasting friendship that resulted in a double

firm became Johnstone and Norman which

marriage between the families. In 1882 John

means that if the family history is accurate

Parrott II married Mary Emilie Donohoe and

then it is quite possible that this table was

John Sr. also presented them with a formal

one of the last tables made by the firm before

dining table on that occasion.

the name changed. English Circa 1884 Diameter 64½” 164cm Diameter expanded 94” 238cm Height 30” 76cm





Three Chinese Nodding Figures of Exceptional Rarity The expressions on the faces of these three

wizened faces suggest great wisdom, perhaps

Chinese ‘nodders’, with their loose weighted

indicating that they were sages. Another

heads, is quite delightful. We have never seen

point to note is that the figures are in a group

such charismatic examples before. Figures

of three, rather than the more customary

of this kind were typically formed standing

male and female pair.

which makes these seated gentlemen rather unusual; perhaps the sculptor felt it was more

Chinese Circa 1800

appropriate given the great age of his models.

Height 11” 28cm

Their dress is rather plain, suggesting that they were not courtiers. Rather, their



A George III Satinwood Cabinet from the Metropolitan Museum, New York This unusual piece appears to be by the same

implies, they would have been purple when

cabinet maker as another table we handled

this cabinet was first made. After two

some years ago and may be compared to

hundred years the colour of the woods or the

the work of George Seddon. In his article

stains used on them have faded. However,

on Seddon, Christopher Gilbert illustrates a

when this piece was made, the colour of the

number of examples of his work. It becomes

satinwood would have been a strong yellow,

clear from looking at these comparisons that

the tulipwood bandings pink, the ebony

Seddon’s furniture exhibited an awareness

black, the aforementioned purple-heart

of architecture. He played with different

purple: add to this the painted decoration,

shapes, and he did this in both two and three

and the cabinet would have been a riot of

dimensions and in two. Thus he combined

colour that would have certainly added life

concave and convex lower sections with

to any interior!

rectangular cabinets above, often with ovals, circles and rectangular decorative panels.

English Circa 1795

Further, as with this cabinet, he included

Width 48½” 123cm

spindles, silk, painted decoration and stepped

Depth 17¾” 45cm

tops in his work.

Height 48” 122cm

Incidentally, the spindles are made of


purple-heart and as the name of the wood

Metropolitan Museum of Art, New York





A George III Ormolu ‘Candlestick Clock’ together with a Pair of Candelabra Attributed to William Parker This outstanding and exceedingly rare clock with accompanying candelabra may be confidently attributed to William Parker, who on the 28th March 1781, had patented a particular type of candelabra and notes that “this was a new method for assembling the pedestals or supports for candlesticks, girandoles, chandeliers, candelabrums, lamps, candle shades, eparns, clocks…” Between 1782-3 he supplied a number of items to the Duke of Devonshire - including a set of four candelabra with this patent base, which remain at Chatsworth, and are recorded in Parker’s bill to the Duke. It is also probable that the gilt decoration was carried out by James Giles, one of the finest eighteenth century glass and porcelain decorators. Giles fabricated gilt and enamelled objects in the neoclassical style but was supplied with glass by Parker. Giles’ ledgers between 1771 and 1774 show purchases totalling £234.7.8 from Parker’s glass. English Circa 1780 Measurements of Clock Width 4¾” 12cm Height 15¾” 40cm PROVENANCE

The Clock was almost certainly with F. Jones, Tavistock Street, Bedford, 25 March 1931, as an 18th century ormolu clock with cut-glass pendants (£121.12). Prof. A.E. Richardson, Avenue House, Ampthill, Bedfordshire





A Late Seventeenth Century Beadwork Mirror of Exceptionally Large Size Young girls at this time would have been

this picture is created. What is particularly

expected to produce at least one ‘sampler’

extraordinary is its large size. The scale

and if proficient would go on to produce

is far greater than any we have seen and

a range of works including needlework

presumably must have been painstakingly

pictures. Most tended to be naïve in nature,

created over a number of years. Remarkably,

but they have great charm and often portray

it retains its original lacquered frame with

a menagerie of animals in landscapes with

an old but replaced mirror plate.

buildings and people. English Circa 1680 The development of drawn glass in the

Width 38½” 98cm

late sixteenth century had allowed for the

Height 49½” 126cm

manufacture of large numbers of glass beads with a central hole, and it is with beads that






A George II Drop Leaf Table It is surprising that the cabriole leg was


prolific for so long in the first half of the

H. Cescinsky , English Furniture of the

eighteenth century. After all, the wastage

Eighteenth Century, vol. II, p. 167, fig. 157

compared with cutting a straight leg is significant. Regardless, the legs on this table


are beautifully shaped and as Cescinsky says

Apter-Fredericks Ltd.

in Volume II of his most important book

Private collection, New York, USA

on English furniture, (in which this table is illustrated) it “is of exceptionally large size” and “the legs of bold form”. English Circa 1755 Length 61” 154cm Depth (flaps down) 23” 58cm Depth (flaps up) 65½” 166cm Height 28½” 72cm




A Pair of Regency Period Decorated Torcheres Torcheres were an integral part of the furnishings of an eighteenth and early nineteenth century house, each providing a stand upon which to place a candelabra to aid in lighting the room. The pair of candelabra illustrated here are of the same period as the torcheres and are attributed to John Blades. Whilst they certainly looked spectacular when we lit the candles one evening, the torcheres look just as wonderful supporting vases of flowers or sculpture. English Circa 1815 Width 19” 49cm Depth 19” 49cm Height 50” 128cm



A George III Carved Gilt-Wood Mirror An exceptionally well drawn mirror with carved decoration combining ‘C’ scrolls, cabochons, shells and foliage in a flowing design that has the inner frame linking with the outer frame in such a way as to lead the eye around the mirror. The carving is confidently handled and has such depth as to lend the mirror a truly three-dimensional feel. English Circa 1760 Width 36” 91cm Height 71¾” 182cm PROVENANCE

Apter-Fredericks, Ltd. Private collection, Long Island, USA.




A Set of Eight Regency Period Side Chairs The mahogany dining chairs are of the


lightest design with crisply carved classical

Apter-Fredericks, Ltd.

motifs, and with the cane seats and backs

Private collection, Eaton Square, London.

would be perfect at a breakfast table. English Circa 1800 Width 19” 48cm Depth 19¾” 50cm Height 34½” 88cm





A Mahogany Breakfront Side Cabinet We sold this cabinet ten years ago and since then we have spent many an evening as guests of the clients who purchased it. It took pride of place in the entrance hall and was the first thing one saw upon entering the house. The faded mahogany has reached a degree of patination and golden colour that lends the cabinet richness and is reminiscent of a good fire. English Circa 1810 Width 79” 201cms Depth 23½” 60cms Height 37¼” 94.5cms PROVENANCE

Apter-Fredericks, Ltd. Exhibited at The International Fine Art & Antiques Fair, New York, USA Private collection, Carolina, USA





A Burr Walnut Bureau Bookcase of a Magnificent Honey Colour This rare and distinctive example of the English

the upper case, making it appear narrower

desk-and-bookcase combines a restrained

than it really is. This is a trick commonly

but highly original design with exemplary

used by the makers of chests, but rarely

materials and workmanship. A great deal

found on desks-and-bookcases. The whole

of care has gone into the choice of primary

upper case sits within a crisp cavetto surbase

veneers, which are matched both horizontally

moulding whose small scale is typical of the

and vertically across the drawer fronts.

understated nature of this piece.

The layout of the desk interior follows a

In terms of attribution, there are three clear

typical English pattern, and is notable for

comparisons that may be made between our

its sophisticated simplicity. This is clearly a

bookcase and the work of John Belchier.

desk which was meant to be used.

The quality of the craftsmanship coupled with his reputation for selecting finely

The cornice – a shallow arch with horizontal

figured veneers are two indicators but the

wings – is a relatively common classical

particularly unusual feature of the stepped

form (it appears, for instance, in designs for

cornice, which he employed in a labelled

doorcases, fireplaces and windows published

example illustrated in C. Gilbert, Marked

by the architect James Gibbs in 1728).

London Furniture, provides us with a

However, the centre of the cornice breaks

striking similarity that we have not seen in

forward and upward, an unorthodox feature

pieces by other cabinet makers.

which adds greatly to the work and expense involved. This ‘break’ is followed exactly in

English Circa 1730

the mirrors below, again adding detail and

Width 43½” 110cm

expense to design.

Depth 22¼” 56.5cm Height 86½” 219cm

The canted fluted corners are perhaps the most unusual features of the whole object.


Their primary contribution, apart from

Apter-Fredericks, Ltd.

reinforcing the architectural appearance

Private collection, Long Island, USA. 2002

of the piece, is to reduce the visual mass of




The Bureau bookcase with the doors closed



An Unusual Neoclassical Blue John Urn This diminutive urn is superbly striated and unusually the top of the urn may be removed to reveal specimen pieces inside. This is a feature we have not seen before. English Circa 1790 Width 3” 7.5cm Height 10¾” 27cm







A Possibly Unique Pair of Chinoiserie Girandoles These exceptionally rare mirrors are very

from being in the chinoiserie manner, is

these depictions are obviously intended for a

much in the chinoiserie style favoured by

hung with bells and has a similar ‘Greek’ key

European market, and as such the meaning

the Prince Regent, later King George IV.

style arm, as seen on this pair of girandoles.

of this symbolism has become somewhat

Initially, we thought they might have come


from Brighton Pavilion and so approached

Whilst these similarities cannot be taken

the Keeper of the Royal Pavilion, David

as conclusive evidence that this pair of

It is hoped that further research will uncover

Beevers. Whilst he agreed they were in

girandoles came from Carlton House, the

the full history of this fabulous pair of

keeping, sadly he informed us that “The

case is further supported by the set of chairs

girandoles. Certainly, their uniqueness

mirrors are delightful, but Chinese mirror

designed by Henry Holland and thought

would suggest that there must be a record of

paintings like this were not, oddly, used in

to have been supplied by Hervé for the

them somewhere.

the Pavilion. Chinese export paintings were

same room; each of which has a model of a

displayed throughout the building, but I am

Chinaman seated on the head-rail.

English Circa 1800 Width 15½” 39.5cm

unaware of mirror paintings being used.” On our girandoles, the Chinese figures

Depth 10¼” 26cm

Further research has revealed similarities

are wearing European style dress and

Height 30” 76cm

with a number of items made for the Prince

are holding certain items relating to the

Regent’s London palace, Carlton House.

Eight Auspicious Symbols of Buddhism,


Like the decoration at Brighton Pavilion,

namely the conch shell and the parasol.

Private collection, Europe

Carlton House included Chinoiserie themed

The ruyi sceptres held by the male figures

Acquired in the 1950’s and by decent to

rooms. Amongst the furniture in the

are a symbol of office or status. There are

present owner

Chinese Drawing room were a clock referred

various possibilities of interpretation of the

to as ‘The Drummer Boy Clock’, a set of six

symbology, although perhaps we should not


candelabra and a pair of ormolu mounted

put too much emphasis on the attributes

J. Harris, & G. de Bellaigue & O. Millar,

Sèvres vases. Each of these pieces, apart

that the figures are holding or wearing as

Buckingham Palace, 1968.



A ‘Royal’ Barometer by John Russell, Watch Maker to His Royal Highness the Prince Regent These ‘Royal’ barometers were so named because Russell gave one each to the Prince of Wales & George III. They have always been highly sought after and this is reflected by their inclusion in some of the most significant collections. To name but three; The National Gallery of Scotland, Buckingham Palace and The Victoria & Albert Museum all have examples. Russell made a number of these barometers, with little variation between them, so it is difficult to be precise in dating them. We do know that his title changed from Watchmaker to His Royal Highness the Prince of Wales to Watchmaker to the Prince Regent in 1811. This barometer is marked with his latter title. Scottish Circa 1811-1817 Width 13” 33cm Height 47½” 121cm



Acknowledgements Daniel Brooke for photography Jason Hopper from District-6 for the design and production of this brochure For research Lucy Wood, FSA., Elizabeth Jamieson MA., Adam Bowett, Nicholas Grindley, and Yvonne Jones Robin & Antonia Makeig-Jones for their assistance with the Vile & Cobb Cabinets The Court of the Lord Lyon for their assistance with the coat of arms Derry Walker, his team and a host of other cabinet makers, gilders and upholsterers who have worked ceaselessly to get everything ready in time Marchant Asian Art for the Chinese porcelain displayed in the pair of Vile and Cobb Cabinets Detail of ”The Tea Party” carving in the alcove of the Chinese room at Claydon House, Buckinghamshire – National Trust Images Detail of the Dining Room, Raynham Hall, Norfolk. Country Life Picture Library Philippa Gedge Photography for the portrait Alice Freyman, who joined us in the latter half of last year and whose contribution has been invaluable © 2014 Apter-Fredericks Ltd.

265-267 Fulham Road, London SW3 6HY, United Kingdom Tel: +44 20 7352 2188 Fax: +44 20 7376 5619 Email:

Apter-Fredericks 2014 Brochure