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




Welcome to the Apter Fredericks catalogue, Important English Furniture V. Once again, we have scoured the globe to bring you some of the best treasures from the eighteenth and early nineteenth centuries which are currently available on the market. We hope that they may excite and intrigue you. Here at Apter Fredericks, the atmosphere is a positive and forward-thinking one. We are a tight-knit team which operates professionally, smoothly and efficiently. When appropriate, we can see the less serious side of life and we love it when this can apply to what we’re doing on a day-to-day basis because we like to have fun. We have been described as open, honest and direct and we aim to be accessible and approachable. Indeed, one of Apter Fredericks’ most characteristic traits is the importance we place on the relationships we form with our clients. So, if you would like to make an appointment to view anything in our stock or would like to just come in and have a general chat and a cup of coffee in our showroom in Chelsea, please don’t hesitate to contact us. We would love to see you. Harry, Guy & Alice





A George II Carved Side-Table Attributed to William Linnell, The Design Possibly by John Linnell On occasion it can be difficult to express the beauty, the importance and the value of a piece in words. How can one succinctly explain why the design and execution of this particular table is the epitome of mid eighteenth century craftsmanship where others may well have all the elements of a great table but actually be a collection of different parts rather than a coherent and successful piece of art? Perhaps it is simply that this table was designed by an artist. After all, not only did John Linnell train at Hogarth’s St. Martin’s Lane Academy, but he is considered to be one of the most innovative cabinet makers of the eighteenth century. Certainly, this table is outstanding in every aspect, it is robust, dynamic, finely detailed and commands attention. The table would in all likelihood have started life with a white paint finish and there is evidence remaining in small areas of carving. It is likely that when the table moved from Beechwood to Cheverells, a decision was made to either remove the paint finish or that the paint had deteriorated to such an extent that the remainder was removed. When we acquired the table, the pine surface had patinated and aged and we considered that the natural wood showed off the splendour of the table to such a level that to re-finish it would be detrimental to its wonderful appearance. English Circa 1750 Width 70½” 180cm Depth 31½” 81cm Height 33” 85cm



William Chambers who was re-designing

Lt-Gen Sir John Saunders Sebright, 6th

the dining room and drawing room

Baronet, (1725-1794) and thence by descent at

during the 1750s and may serve to explain

Beechwood Park, Flamstead, Hertfordshire

the Kentian elements of the table (a style favoured by Chambers) which are combined


with a more contemporary rococo style.

Elements of the design of the table offered here correspond closely to the John Linnell


pen and ink design for a side table which


forms part of the collection of designs that

The Sebright family are previously known

were bequeathed by Linnell to Thomas

to have been patrons of the cabinet-maker

Tatham(1762-1818) who it appears passed it

William Linnell through their multiple

on to his brother C.H Tatham(1772-1842)

appearances on the 1763 Abstract of Debts

who titled them ‘a miscellaneous collection

(Public Record Office C107/69) compiled on

of original designs, made and for the most

William’s death. Amongst William’s debtors

part executed during an extensive practice of

are Sir Thomas Sebright, 5th Bart who died

many years in the first line of his profession,

in 1761 (£26 10s 4d). Sir Thomas Sebright’s

by John Linnell, upholsterer, carver and

brother Sir John Sebright, 6th Bart also

cabinet maker. Selected from his portfolios

appears on the list (£3 10s 0) and also Lady

at his decease by C.H Tatham, architect

Sebright (7s 0d).

A.D 1800’. The V&A design for a sidetable employs the same hairy foot and lion’s

While Pat Kirkham records William Linnell

mask utilised on the lot offered here. The

as being born in 1703 in Hemel Hempstead,

carved detailing reflects the early carving

the son of yeoman John Linnell, it would

style of William Linnell seen in the carved

appear that William is likely to have been

‘twisted ribbon and flower’ and the ‘raffle

baptized in 1703 but was born in 1702 in

and leaf’ details for the mouldings at the

Flamstead. Most significantly it would

Radcliffe Camera in Oxford and illustrated

appear that by this date William’s father

in H.Hayward and P.Kirkham, William and

John Linnell Snr, a yeoman farmer, was

John Linnell, London 1980, p.18-19, pl.30 &

already the lessee of Beechwood Farm on

32. The original setting for the Beechwood

the Beechwood Park Estate. Extant copies

table is not known as it does not appear in

of leases in Hertford Records Office show

the 1938 photographs taken for Country Life

him as a co-lessee as early as 1694 when an

and may well have already been moved to

agreement between Ellen Saunders, widow

Cheverells, the Sebright Dower house where

of Thomas Saunders, Esq., and John Linnell

the family were living by the end of the 19th

of St Michael’s for a lease to Beechwood

century. If indeed it formed part of the 1750s

Farmhouse and land in Flamstead was

scheme for the drawing room or dining

granted (Hertford Records Office DE/

room then it may well have been supplied by

FL/17652 18 Dec 1694). There are three

Linnell working under the direction of Sir

further extant leases to John Linnell Snr of






Plate 1. Design for a side table by John Linnell. The Victoria & Albert Museum Collection.

Beechwood Farm dating to July 1698, Dec


1714 and July 1720. It may well be that his

William Linnell was apprenticed as a joiner

tenancy went on past this date as his death

in 1717 and was admitted to the freedom of

was recorded in Flamstead in 1754. This

the Joiners Company on 3 June 1729. Linnell

may well indicate that William Linnell

began his career as a carver but by the 1760s

was raised on the Beechwood Park estate.

he had developed the business sufficiently to

On establishing himself as a carver and

cover all areas of cabinet-making. The 1763

later a cabinet-maker in London he would

valuation of William Linnell’s household

have been well appointed to secure work

goods and stock-in-trade show a specialist

at Beechwood Park and from the Sebright

room for carving and gilding. Pat Kirkham

family with whom he seems likely to have

notes in her 1967 article for Furniture

been acquainted from childhood.

History that this highlights an interesting contrast between the Linnell workshop


and that of Thomas Chippendale Jr who


according to the plan of their workshop

Fresh research into the furnishing of

from 1803 where they have a specialist room

Beechwood Park has uncovered previously

for veneering thus highlighting the differing

unrecorded correspondence from William

focus of the two firms. Linnell’s position

Linnell. Most notably these include a 1744

amongst the London cabinet-makers may

estimate for Lady Sebright and an invoice

therefore have been established by retaining

from 1750 (Hertford Records Office Ref/

their early carving and gilding specialism.

Acc 5333) placing the Sebrights amongst his

After William’s death in 1763, the valuation

earliest and most long-standing clients. The

of household goods and stock in trade

family presence on the 1763 list of debtors

amounted to £1603, 0s 6½d comparing

compiled on William’s death document

favourably to that of Thomas Chippendale

a professional relationship lasting nearly

which after the death of James Rannie in

twenty years.

1766 was valued at £1,900 indicating that William Linnell left a business in good


shape that was certainly amongst the

cast about for new combinations of form

most prominent in London. John Linnell’s

and ornament. While running the design

apprenticeship as a cabinet-maker was

side of the firm John Linnell would have

unusual; in addition to training with his

come into contact with many of the most

father William’s firm on Long Acre he

prominent architects of the period. Lancelot

also attended Hogarth’s St Martin’s Lane

‘Capability’ Brown, who was also engaged by

Academy where he studies drawing and

Sir Thomas Saunders Sebright at Beechwood

design in an international, intellectual

Park, was entrusted by Lord Coventry to re-

environment. John Linnell’s artistic talent

build Croome Court and entrusted the task

had an immediate impact upon the firm,

of designing chimney pieces and overmantels

being an artist by both training and

to John Linnell demonstrating how architects

inclination. Linnell joined his father full

would sometimes entrust the design of these

time in 1753, specialising in rococo design.

elements to the specialist craftspeople that

Linnell’s talent combined with his St

they engaged. By 1762 Linnell was working

Martin’s Lane connections meant that, far

with Robert Adam at Kedleston Hall, followed

in advance of most cabinet-makers, he was

by Osterley Park in 1767. Through his direct

aware of Delafosse and was experimenting

contact with Adam, the eclectic designs of

with neo-classicism by 1760. His designs

Linnell were gradually replaced with an

from this period show that Linnell was

increasingly refined, pure neo-classicism that

experimenting with the new style and the

was fully established by 1775.

results were both novel and eclectic as he




A Nineteenth Century Blue John Urn The urn of unusually large size

English Circa 1830

with a striking purple vein

Height 18½” 47cm

running through the stone.

Diameter 5½” 14cm

The urn stands on a square plinth with Ashford marble and alabaster mouldings.


A Pair of George III Blue John Columns Designed in the Roman fashion

second half of the eighteenth

and intended to be placed on a

century, at which time it was

mantel piece, the superbly veined

used for both decorative and

blue john columns are contrasted

architectural purposes. One of

with the alabaster and black

the first pioneers of this type

marble plinths and capitals.

of work was Robert Adam who used ‘Blue John’ for inlay

English Circa 1780

in the interiors of Kedleston

Height 19” 48cm

Hall for Lord Scarsdale, whose collection includes a pair of

The use of this wonderfully

columns similar in form to the


ones offered here.


mineral popular

became in






A George III Landscape Mirror Intended to sit above a mantelpiece these mirrors, where the width is greater than the height, are always harder to find than others. This example is of a superior quality than most and this is clearly illustrated by the depth of the carving and the detailed nature of the design. This is particularly evident in the vine climbing up the columns that divide the three plates and it is exactly this three dimensionality that marks out a good mirror. English Circa 1765 Width 63½” 161cm Height 33½” 85cm PROVENANCE

Private Collection, Canada



A George II Carved Mahogany Armchair The chair is an exceptional example of mid eighteenth century chair making. The intricately carved back is a pattern seen in a number of examples, including a set of six side chairs from Pallinburn, Northumberland and a side chair from the Leisdorf Collection. However, there are also other variations of this pattern illustrated in various textbooks. In 1951, as part of the Festival of Britain, The Leeds Art Collections Fund held an exhibition devoted to Thomas Chippendale, England’s most famous cabinet maker. This particular armchair was exhibit number 57. The needlework is eighteenth century but not original to the chair. English Circa 1755 Width 28½” 72cm Depth 24” 61cm Height 39” 99cm PROVENANCE

Sir Gervase Beckett, Kirkdale Manor, N. Yorkshire By Descent to Mrs J. Egerton, Cornborough Villa, N. Yorkshire. EXHIBITED

Temple Newsam House. Thomas Chippendale, A Festival of Britain Exhibition. June 1951.

Paper label to inside seat rail


A Fine Collection of Blue John Objects Dating to the late eighteenth and early nine-

English Circa 1790-1830

teenth centuries, this collection comprises


tazzas of various shapes and sizes and a pair

Height 14" 35.5cm

of columns of smaller scale than the pair on

Largest tazza

page 11. All items in excellent condition.

Diameter 7½" 19cm




An Exceptionally Rare Pair of Gilt-Wood Girandoles Mimicking the form of larger mirrors,

English Circa 1740

this delightfully small pair include all the

Width 9¾” 25cm

features and motifs so typical of the period.

Height 24¾” 63cm

The carved cartouche sits between the swan neck pediment above a bevelled mirror plate


framed by a bead and reel moulding, incised

L. Loewenthal Antiques, Chawton, Hants

gesso decoration and egg and dart border.

1968 £540 with original receipt

With trailing foliage to each side and an apron with brass candle arm.





A George III Carved Mahogany Tripod Table The table has a rectangular top with a

are of outstanding quality and certainly

‘Chinese’ fretwork gallery supported on a

London made. The cabinets have been

fluted column above an acanthus carved

confidently attributed to Vile & Cobb and

vase and tripod base with scroll feet. The

whilst extending the attribution to this table

exceptional colour of the top marks this

based only on the design of the gallery would

table out. The mahogany has been allowed

be presumptuous, it should not be dismissed.

to fade and build up a wonderful patination that causes the top to glow in the light.

English Circa 1760 Width 29½ “ 75cm

The design of the fretwork gallery may be

Depth 20¼” 51.5cm

seen in the pierced fretwork panels on the

Height 29¼ “ 74cm

pair of pagoda top cabinets illustrated on the front cover of Apter-Fredericks, Important


English Furniture, Volume IV.

Apter-Fredericks Ltd., Important English Furniture, vol IV.

It may be seen again on a candlestand

R.W. Symonds, English Furniture from

illustrated by Symonds in English Furniture

Charles II to George II. p.193, fig.198

from Charles II to George II. All three items



A Superb Pair of Regency Period ‘Temple’ Candelabra The candelabra bases are modelled on

of over £1,000. It was completed in 1808 and

miniature temples, in this case with the

was fourteen feet high and six feet six inches

finest ormolu we have seen on candelabra

in diameter. William Pyne, whose great work

of this period. The lemon coloured glass

on the Royal Palaces was published in 1819,

columns and drops increasing their rarity.

considered this chandelier to be one of the finest in Europe. Many of Parker and Perry’s

A pair of candelabra with temple bases

chandeliers were removed at the dismantling

is illustrated in M. Mortimer, The Glass

of Carlton House, and placed in Buckingham

Chandelier, Plate 53 in which he attributes

Palace where they remain today.

them to Parker & Perry. Both were leading manufacturers before their partnership but

English Circa 1800

together were commissioned to produce a

Diameter 5¼” 13.5cm

fifty-six light chandelier for the Crimson

Height 14¼” 36cm

Drawing Room in Carlton House at a cost





A Satinwood Commode Attributed to Mayhew & Ince This fine commode bears all the hallmarks

sided uprights like this commode, but

of the workshop of Mayhew & Ince, in form,

usually with a solid front faรงade and with

construction and decoration. The semi-

doors in the ends.

circular shape is an combination of two types from their workshop: one model with




a single front door and solid end panels, as


here, usually has tapering front uprights in

flanked by classical vases, surrounded by

between; while the other model has parallel-

floral swags, ribbon bows, husks, laurel







and other marquetry motifs, may be compared to the famous Derby House Commode designed by Robert Adam for the Countess of Derby, and manufactured in 1775 by Mayhew & Ince – who thereafter adopted and adapted the design, in countless variations, for other clients. The extensive use of engraving, filled with black, white and red mastic, to enliven the stained marquetry, is also highly characteristic of Mayhew & Ince, and this decoration is exceptionally well preserved on the present commode. The decoration of the top was designed to be reflected in a mirror, resting on the plain band at the back – so creating a fully circular composition. The present commode is particularly closely related to two other versions attributed to Mayhew & Ince, and indeed the top of one is almost identical to the top of this commode. On one of these the central medallion is painted on paper, as on this example. These paintings would have been portable, so may well have been subcontracted outside the workshop. This portrayal of Venus and Cupid is loosely in the style of Angelica Kauffman and Antonio Zucchi, many of whose works were engraved and so adapted by other decorative painters. However, no engraving has been identified as the direct source for the present medallion, which is therefore more likely to be an autonomous composition by an unknown artist. English Circa 1775–80 Width 43¼” 110cm Depth 23” 58.5cm Height 34½” 77.5cm REFERENCE

R. Symonds. The Present State of English Furniture, fig.106 P. Macquoid, A History of English Furniture, vol.4, p.177



Previous spread and above: 51669

A Pair of George III Satinwood Armchairs to a Design by Thomas Sheraton The design for the back of these chairs can be found in Thomas Sheraton’s Drawing Book. (Published 27th October 1793) It is rare to find exact designs for any eighteenth century piece. The rarity and attractiveness of these chairs is further enhanced by the use of satinwood rather than the more typical use of mahogany. English Circa 1790 Width 22" 56cm Depth 22½" 57cm Height 36” 92cm

The Cabinet-Maker & Upholsterer’s Drawing Book, T. Sheraton, pl.28



An Exceptional Urn Stand This is an excellent example from the Hepplewhite period with inlaid decoration, original gallery and of great colour. The table may be the one formerly at Godmersham Park before being sold in the early 1980s and is also identical to another table in the Norman Adams Collection. Intended for a samovar or tea urn, it has a slide which may be pulled out to take the tea-pot. Width 11” 28cm Depth 11” 28cm Height 27¼” 69cm






A Pair of Regency Period Chinese Nodding Figures In Zoffany’s painting of Queen Charlotte at

not the first time we have seen this model

Windsor in 1764, two nodding head figures

but they are certainly far rarer than the

are depicted. If they waned in popularity in

plaster examples.

the latter half of the century, they certainly made a resurgence in the Regency period

English Circa 1800

when a number of them were installed in the

Width 9½” 24cm

corridors of Brighton Pavilion.

Depth 7½” 19cm Height 12” 30cm

However, whilst these figures were made of plaster, this pair are made of lead. This is







Previous spread and above: 51896

Lady Craven’s Pair of George III Inlaid Card Tables Whilst the various woods would have

English Circa 1795

originally created a kaleidoscope of colour,

Width 38” 84cm

they have mellowed over the years. There

Depth 17” 43cm

is still variation, but it is far softer and the

Height 29¾” 75cm

patination which has built up over time lends the tables a warmer and vastly more


appealing appearance.

Lady Craven. Possibly Hamstead Park, Berkshire





A George III Rococo Period Carved Gilt-Wood Mirror In 1689 Sir Charles Duncombe, a London

Interestingly, in searching our reference

goldsmith, purchased the Helmsley Estate

library for comparable mirrors, it became

from the Duke of Buckingham, a court

apparent that when we found either of

favourite but serial over-spender. The

these motifs, they were on mirrors of a very

purchase price of £90,000 was said to be the

high standard, which would support an

largest ever made by a “commoner”.

attribution to Johnson.

Sir Charles Duncombe’s mansion was

English Circa 1760

completed in 1713 and his nephew Thomas,

Width 27½” 70cm

for whom this mirror was presumably

Height 52¼” 133cm

made, was the first occupant. In 1774, Anne Duncombe, his daughter married


Robert Shafto, of Whitworth Hall, near


Spennymoor, County Durham, the famous

Helmsley, North Yorkshire

“Bonny Bobby Shaftoe” of the folk song.

By descent to Lady Clarissa Collin, daughter





of the Earl of Feversham The inclusion of a carved swan at the

In 2012, Duncombe Park was used in the

bottom of this mirror and the double ‘C’

filming of Parade’s End starring Benedict

scroll balustrade at the top suggest the

Cumberbatch and Rebecca Hall.

work of Thomas Johnson, possibly the most successful mid eighteenth century mirror designer and carver, whose designs included both of these features.



A Superb Regency Ormolu, Bronze and Glass Chandelier This charming Regency chandelier has great style and elegance. The quality is excellent and its size and scale make it very suitable for the modern home. Enhanced by griffins and satyr masks with guilloche mouldings perfectly set off by the fine glass drops and canopies. English Circa 1820 Height 45” 115cm Diameter 17¾” 45cm PLEASE NOTE

The chandelier can be shortened in height by removing one link from each chain without affecting the design. This would reduce the height to 39” 100cm







A Regency Period Lacquer Centre Table This spectacular table, with its japanned

The early Craces - Edward, John and

iron top and papier mâché apron, belongs to

Frederick - had each trained as coach-

a strikingly decorated and intriguing group


of tables and side-cabinets about which

their trade in Long Acre, where many

surprisingly little is known.

japan workshops were situated. Since it





was fashionable, at the time, for coaches English Circa 1815

to have been japanned and emblazoned

Diameter 42” 106.5cm

with heraldic emblems, the Craces would,

Height 28” 71cm

certainly, have had some knowledge of the japanning process. Nevertheless, in view


of the specialised equipment required, it is

Such furniture has been tentatively linked

unlikely that they would have undertaken to

with the London firm of John and Frederick

japan anything so large as the round panel

Crace, and its iron panels frequently

on this table or, indeed, as the panels in the

associated with John Hanbury’s celebrated

associated cabinets.

Pontypool Japan Works in Monmouthshire. The reasons for these attributions are two-

The japanned panels in question were

fold. First, the Brighton Pavilion-style of

produced in a wholly different way from

these tables and cabinets accords with much

the earlier European furniture decorated

of the furniture and interior decoration

in imitation of oriental lacquer. Instead of a

designed and made by the Craces for George,

shellac-based varnish, later iron and papier

Prince of Wales’ extravagant seaside folly at

mâché articles like this table top, were

Brighton, and second, the name Pontypool

coated with several layers of asphaltum or

is often used as an umbrella term for all

tar-varnish - a substance which hardened

high quality japanned iron of the period.

only if each coat was stove-dried. Baking

However, the painted panels common to all

large sheets, whether made of iron or paper,

such pieces and surely, the most significant

required very large stoves which, as one

and eye-catching part of their decoration,

Birmingham japanner observed in 1794,


accounted for the greatest outlay in setting






contemporary iron and papier mâché trays

up as a japanner.

and tea-boards made by japanners in both the English midlands, and in London, that

Thus, with experienced and specialist

it raises the interesting possibility of their

firms of japanners like Dyson & Benson,

having been made in the same workshops.

or Valentine & Hall in nearby Clerkenwell,


and the London showrooms and workshops

among japanners between about 1812 and

of Midlands japanners like Henry Clay, and

1820. It involved applying various metal

Obadiah and William Ryton, to name but

powders with a soft material such as leather

a few, Messrs Crace, or whomsoever made

or cotton, over a cut-paper or parchment

this furniture, were more likely to have out-

stencil, but as on the ‘oriental’ figures within

sourced the japan-work than they were to

this design, the motifs could be enhanced

have undertaken it themselves.

with transparent washes of colour. It is a style of decoration which again, like the fine

There is a further fact which may prove

and richly coloured chinoiserie scenes found

significant. The bankruptcy sale, following

on similar cabinets and tables, points to a

the closure of Dyson & Benson’s ‘Japan

link with the decoration of contemporary

Tin and Paper Tray Manufactory’, in 1823,

japanned trays.

included ‘ highly finished Salvers, Trays and Waiters, in Sizes, … a superbly painted

It is of course possible that this table

Iron Table Top, 4 Feet 6 Inches Diameter

and other pieces of its type were made

[and] a large Assortment of black japanned

entirely in one workshop. Certainly, their

Paper Panels [and] Skreens.’ This may have

decorative painted and gilt borders have

been too late for such pieces to have been

much in common with those found on

incorporated into the furniture in question,

contemporary trays. However, until such

but it does demonstrate that Dyson &

time as documentary evidence comes to

Benson, and probably other japanners also,

light, we can only speculate about where and

made iron table tops comparable to the one

by whom these distinctive pieces were made.

found on the table under discussion. This is a fine table in its own right but as the The iron top of this table is unusual within

only known piece of its type to be decorated

this category of furniture for being decorated

almost wholly with bronze powders, it could

almost entirely with so-called early bronzing

provide an important link in discovering

– a technique which was at its most popular

where, and by whom, such pieces were made.







A Pair of George III Cabinets During the Regency period, English cabinet

Pavilion, this pair use the same simulated

makers once again looked to the Far East for

bamboo form, in this case the wood is

inspiration. Driven on by the Prince Regent,

actually satinwood. The bamboo furniture

who adopted the style for the decoration

from Brighton is attributed to Crace & Sons

and furnishings of Brighton Pavilion,

who may well have been responsible for

and his great friend Lady Fitzherbert

these cabinets.

whose furnishing of the Chinese room at Middleton Park were exceptional, the style

English Circa 1810

became extremely popular.

Width 36½” 92.5cm Depth 9¾” 25cm

Although somewhat simpler in decoration than comparable cabinets made for Brighton

Height 35½” 90cm



Two Life Size Basso Relievo Paintings of Ducks in their Original Frames by William Hayes The paintings have great charm, are in

William Hayes was one of the principal

excellent condition, and are exceptional for

artists to popularise the technique of basso

being life size representations of a pochard

relievo which used a copper plate to emboss

and a mallard. William Hayes was one of

certain areas of a picture to give a three

the only artists to depict his subject matter

dimensional feel.

at life size. English Dated 1773 & 1774 It is not clear from the photograph, but

Width 19” 48.5cm & 19¾” 50cm

the birds are painted on a raised ground.

Height 14½” 37cm & 15¼” 39cm



WILLIAM HAYES (1735-1802)

ornithological subjects. Like his American

A self-taught artist and illustrator, best

counterpart, Audubon, he also depicted birds

known for his ‘A Natural History of British

life size where possible in fascinating detail.

Birds’ (1775) and ‘Rare and Curious Birds Accurately Drawn and Coloured from their

He is also known to have depicted birds

Specimens from the Menagerie at Osterley

belonging to patrons such as the Earl of

Park’ (1794-1799).

Sandwich and John Montagu. His endeavours were very much a family business, enlisting

He had privileged access to the aviary and

the assistance of seven of his children with

collection of exotic birds at Osterley Park,

the creative and assembly process. He

Middlesex, as well as that of the Duchess

produced illustrations of a wide range of

of Portland’s collection. He drew from life

birds indigenous to Great Britain and Europe

and faithfully and accurately reproduced

as well as exotic and American species.



A George III Carved Mahogany Chippendale Period Card Table This concertina action card table is profusely carved with fretwork to the frieze and the legs. The guttae feet draw comparison to the suite of seat furniture from St Giles House, Dorset which was supplied to the Earl of Shaftesbury probably by Vile and Cobb, one of the most accomplished furniture-making firms of the eighteenth century. Some of the most important examples of carved mahogany furniture from this period were produced by Vile, who specialised in carving. English Circa 1760 Width 36” 91cm Depth 18” 46cm Height 29” 73cm PROVENANCE

Private Collection, Canada.







Previous spread and above: 51745

A Pair of George II Parcel-Gilt Gainsborough Armchairs Attributed to Paul Saunders ‘Mr. Saunders for 10 Elbow chairs with

working at Holkham in the 1740s. It is

Charles Joel Duveen in the early twentieth

carved and gilt frames and covd. Cut blue

certainly possible that he was influenced by

century and subsequently with Phillips of

Turkey leather £74. 0. 5.’ And with ‘two large

Bradshaw’s work, which is strikingly similar

Hitchin in 1948. By 1978 the suite had been

sophas’ en suite.

and may be seen by comparing Saunders’

divided and this pair were sold by the dealer

(Holkham Accounts for the week ending

work with Bradshaw’s set of four armchairs

Trevor in 1978.

11th June 1757)

from Chesterfield House, now in the

Private Collection

Metropolitan Museum of Art in New York. The design of these chairs bears such a


close resemblance to the suite mentioned

English Circa 1755-60

H. Cescinsky, English Furniture of the

in the account above that their attribution

Width 31” 79cm

Eighteenth Century, 1911, vol.II, p.91,

to Paul Saunders, leading cabinet-maker,

Depth 33” 84cm

fig.89 (an armchair from the suite; with

upholsterer and ‘Tapestry Maker to His

Height 41½” 105cm

C. J. Charles, Esq.).


M. Jourdain and F. Rose, English Furniture,

Saunders was likely to have been introduced

This pair of chairs were almost certainly part

The Georgian Period (1750-1830), London,

to Lord Leicester through another cabinet-

of a suite comprising at least eight armchairs

1953, p.71, fig.30 (an armchair from the suite

maker William Bradshaw, who was recorded

and two sofas that were in the possession of

with Phillips of Hitchin).

Majesty’ is extremely plausible.




A George II Carved Gilt-Wood Console Table Carved and gilt console tables in the form

Both of these examples display the same

of an eagle with splayed wings were highly

degree of carving to the back of the

fashionable in grand neo-Palladian houses

eagle, despite the fact that it would not be

of the second quarter of the eighteenth

seen, and both eagles have outstretched

century. Numerous variations survive, but

wings supporting the table top, which are

the treatment of the present example, with

quite particular features that endorse an

fully splayed wings supporting the frieze,

attribution to Bradshaw.

is relatively unusual and comparisons may be drawn to a table attributed to

English Circa 1740

William Bradshaw and illustrated in Apter-

Width 39¾” 101cm

Fredericks, Important English Furniture,

Depth 20¼” 51.5cm

Volume III.

Height 31¾” 80.5cm



A Pair of Regency Occasional Tables When we purchased these tables they seemed

English Circa 1820

familiar. Looking back over our records we

Width 22¼” 57cm

discovered that we had last owned them in

Depth 16” 41cm

the days of black and white photography!

Height 30½” 77cm

We have now re-photographed them in colour which reveals the contrast between the wood and the ormolu gallery and brass inlay.







The Tyrell Family Mirrors from the Percival Griffith Collection In 1723, Sir Walter Tyrell was appointed High Sherriff

R.W. Symonds, who was advising Griffiths, and a

of Berkshire. In the same year, he purchased Hatford

number of other important collectors at the time,

House, which was to become the principal Tyrell

illustrated one of the mirrors in English Furniture

residence. These mirrors, which date to this era, would

from Charles II to George II.

presumably have been commissioned for the new house. Each of the mirrors has the Tyrell family arms

English Circa 1725

elaborately carved to the crest and it is tempting to

Mirror A:

speculate as to what the inclusion of the family arms

Width 35¼” 89cm

says about Sir Walter. With his elevation in station,

Height 67¼” 171cm

was he merely celebrating or was he flaunting his new

Mirror B:

position? Additionally, is the fine quality of this pair

Width 36” 91cm

of mirrors indicative of the quality of the rest of the

Height 70” 178cm

furniture he commissioned? PROVENANCE

Sir Walter Tyrrell, Rectory House & Hatford House, Stanford in the Vale, Berkshire Percival D. Griffiths FSA, Sandridgebury, Hertfordshire LITERATURE

R.W. Symonds, English Furniture from Charles II to George II, 1929, p.13, fig.6 R.W. Symonds, ‘Sandridgebury: The Country Residence of Percival D. Griffiths’, Antiques, March 1931, pp.193196, ‘The Dining Room’ The Dining Room, Sandridgebury.

‘Percival Griffiths, F.S.A.: A Memoir on a Great

There can be no greater testament to the quality of

Collector of English Furniture’, The Antique Collector,

these mirrors than their inclusion in Percival Griffith’s

November-December 1943, pp.163-169.

collection, widely regarded as the greatest collection of eighteenth century furniture formed in the last


century. Indeed, in his introduction to the Gerstenfeld

E. Lennox-Boyd, ‘Introduction: Collecting in the

Collection, Lennox Boyd discusses Griffith’s collection


as being recognised as a bench mark of excellence in

Furniture, The Gerstenfeld Collection, 1998, pp.14-31).

the arena of collecting early to mid-eighteenth century walnut and mahogany furniture.









Previous spread and above: 52002

A Pair of George III Inlaid Commodes This pair of chests or commodes are

commodes of such small scale. Furthermore,

decorated with inlaid ribbons, swags of bell

rather than simply being bow-fronted, the

flowers, patarae and garlands of flowers.

cabinet maker has improved the design by

Decoration associated with the latter half

cleverly placing the bow-shaped graduated

of the eighteenth century and in this case,

drawers between inlaid pilasters which

finely executed. The colours of the woods

subtly lends the commodes greater presence.

used would have been vibrant and powerful against the plainer sycamore background

English Circa 1775

when these were originally made. Now,

Width 22¾” 58cm

of course, the contrast has faded and the

Depth 20¼” 51.5cm

sycamore has become a ‘room-warming’

Height 30¼” 77cm

golden colour. LITERATURE

Aside from the quality and colour, it should

L. Synge, Great English Furniture, p.154,

be stressed how rare it is to find a pair of




A George III Mahogany Tripod Table A simple and elegant table which is richly patinated, exactly as a table of this age should be. The top has a delightful spindle gallery and sits upon a classic ‘bird-cage’ support, while the column tapers gently and is crisply carved with a spiral flute. English Circa 1760 Diameter 21” 53.5cm Height 28½” 72cm






A Pair of Irish Gesso Side Chairs Originally known as ‘back-stools’ this pair of chairs are of a model that one sees in English furniture but less so in Irish furniture. The cabriole legs are more shapely than on most Irish chairs but it is the treatment of the lion paw feet and the carved ‘fetlock’ above which are particularly distinctive Irish patterns. There are two further features that raise them above other examples, the way in which the back legs have been finished to the same extent as the front legs, and the carved knee encroaching into the seat-rail. Irish Circa 1725 Width 25¾” 65.5cm Depth 25½” 65cm Height 38” 97cm ATTRIBUTION

A comparison may be drawn between these chairs and a pair in the Horace Wood Brock Collection which are attributed to Thomas Roberts and bear striking similarities to a set of chairs made for Houghton Hall which have also been attributed to Roberts. PROVENANCE

By repute, The Earl of Rosse, Birr Castle, Co. Offaly, Ireland. William Parsons, 3rd Earl of Rosse, was responsible for the construction of the great telescope at Birr. When completed in 1845, it was the largest telescope on earth, and capable of capturing more light and seeing further into space than any telescope had done before. Birr therefore became a focus for astronomical observations, and visitors came to visit the observatory from all over the world - including Charles Babbage and Napoléon Eugène, Prince Imperial. REFERENCE

Splendor & Elegance, European Decorative Arts & Drawings from the Horace Wood Brock Collection. pl.21 L. Wood, The Upholstered Furniture in the Lady Lever Art Gallery, pp.15–16, fig.16–17




Above: 51939

A Pair of Chinese Cloisonné Ducks Ducks have been depicted in Chinese art

wedding present to buy, consider these as a

since at least the Han Dynasty (206 B.C.–220

unique and original gift.

A.D.). A pair of ducks symbolise peace and prosperity, and because it was thought that

Chinese Circa 1820

ducks mate for life and will die if separated,

Height 5½”

marital constancy and fidelity. If you have a

Opposite: 51945

A Pair of George III Tables A very unusual pair of tables the likes of

not know exactly what these tables would

which we have not seen before. A great deal

have been used for. Ideas include their being

of English furniture of this period was made

stands for either globes, wigs or plants.

on a commission basis. Consequently, the purpose of some pieces that appear on the

English Circa 1800

market is not always easy to establish. This

Diameter of top 12” 30cm

pair of tables fall into this category and

Diameter of base 13½” 34cm

are an example of what makes the business

Height 31½” 80cm

interesting. We can honestly say that we do





On the table: 51547

A Regency Gilt & Patinated Bronze & Cut Glass Spirit Cask Celebrating Nelson’s Victory at the Nile Numerous pieces of furniture, silver and indeed other forms of decorative art were made at this time to commemorate Nelson’s victory at the Battle of the Nile. This example bears the crocodile so closely linked with Nelson; his captains were referred to as the ‘Crocodile Club’, and along with the Previous spread and above:

numerous nautical motifs, the armorial


plates and the quality of this cask, it is

A Regency Period Mahogany Double Cumberland Dining Table The ‘double cumberland’ table is one of the

By tradition, the first Cumberland-action

more adaptable of dining tables from this

dining-table was made for Henry Frederick,

period. The table may be used with just one

Duke of Cumberland, 4th son of Frederick,

of the pedestals as a large breakfast table or

Prince of Wales and brother of George III. He

with both pedestals but with or without all

is recorded as being a patron of the furniture

of the leaves to provide a range of lengths.

maker John Linnell in the mid-1770s so it is

This example is noteworthy for being in

possible that he was the recipient of the first

original condition. The addition of an extra

‘Cumberland’ table.

leaf allows the table to be further extended. English Circa 1815 Max Length 13’9” 419cm Height 28” 71cm Width 53” 135cm

tempting to believe it might have been made for the Crocodile Club or perhaps Horatio Nelson himself. English Circa 1810 Width 12¼” 3l cm Depth 10½” 27cm Height 11” 28cm 51061

Two from a Set of Four George III Cut Glass Candelabra These candelabra are neo-classical in form, graceful, elegant and simply adorned with drops and chains. English Circa 1790 Height 23¼" 59cm Width 16" 41cm



A Pair of Highly Decorative Figural Candelabra Our fascination with the Orient has existed since the first trading ships returned with the most exotic wares. This pair of candelabra are a celebration of that fascination, having the most charming oriental figures. But they are also in extraordinary condition and retain all their original gilding. French Circa 1830 Height 23½� 60cm




A Set of Twelve Satinwood Dining Chairs The chairs conform to a known model and

The architectural form of the chair’s back, the

House in the County of Brecknock, was

a number of examples are illustrated in

use of satinwood and the painted decoration

created in the Baronetage of Great Britain on

various textbooks indicating that this was an

are all characteristics of their work.

26 August 1776 for John Hamilton, a Captain

extremely popular form. In most instances,

in the Royal Navy who had distinguished

other examples of these chairs are made of

English Circa 1775

mahogany. In fact, it is extraordinarily rare

Height 37” 94cm

to find a set of satinwood dining chairs and



to find twelve is remarkable.

Width 21” 54cm

C. Gilbert, Marked London Furniture, 1700-

Depth 22” 56cm

1840. p.238

With regard the maker, a very similar chair


P. Macquoid, A History of English Furniture,

is illustrated in Marked London Furniture,

Width 22½” 57cm

vol.4 fig.175

which is inscribed and dated ‘Green 1791’.

Depth 23” 58cm

M. Harris, Centenary Book, p.82

The entry for Green states that the chairs

himself at the Battle of Quebec in 1775.

E. Joy, The Country Life Book of Chairs.

‘…are of London quality, but it is impossible


to say which of several eligible makers might

Sir Charles John James Hamilton, Bt.

have made them’. If one were to speculate, a

1810-1892, Trebinshun House, Wales.

case might be made for the firm of Seddon.

The Hamilton Baronetcy of Trebinshun

fig.59 p.60







Previous spread and above: 50578

A Pair of Regency Period Side Cabinets Attributable to George Smith The cabinets epitomize the early nineteenth

which includes a design (plate 88) for the

century fascination for Egyptian motifs. In

monopodia seen on this pair of cabinets.

no small part the consequence of Napoleon’s

Although this design was a popular form

campaigns in Egypt in 1798 and in

of the period, the detailing of the drapery

particular, the profusely illustrated ‘Voyage

below the bust is identical to the design in

dans la Haute et dans la Basse Egypte’ by the

Smith’s book and not a feature we have seen

artist Denon, who accompanied Napoleon

before. Also of interest is plate 118, which

to Egypt. The book was published in 1802

illustrates a design of a monopodia above a

and was very quickly translated into English,

lion paw foot. This feature can also be seen

becoming the latest vogue with designers,

on these cabinets.

cabinet makers and their clients. English Circa 1810 published

Width 34” 86.5cm

‘A Collection of Designs for Household

Depth 12” 30.5cm


Height 35½” 90cm



George and




Plate 88



A Regency Period End Support Table Like the klismos chairs discussed on the next page, the design of this lyre ended table takes its inspiration directly from ancient Greek art brought back to England by young gentlemen, artists and architects on the Grand Tour of Europe. This example is of a quality and to some extent a design associated with John Mclean, (1770–1825) one of the finest furniture makers of the Regency period. English Circa 1815 Width 24½” 62cm Depth 19¼” 49cm Height 30¼” 77cm




A Pair of Regency Period ‘Klismos’ Chairs The klismos chair, one of the most enduring

Perhaps most famously, an example is to be

and housed his collection of Greek artefacts

of furniture designs. First known to exist in

seen in Jacques-Louis David’s 1789 painting

mixed with classically inspired furniture

Greece from about 500BC, from there the

‘The Lictors Bring to Brutus the Bodies of

and decoration. In fact, klismos chairs were

style travelled to Rome before disappearing

His Sons’ and in fact a number of klismos

illustrated by Hope in several variations in

for several hundred years until the lure

chairs were supplied to David by Jacob.

Household Furniture and Interior Decoration

of the ancient drew every western noble connoisseur on the Grand Tour.

(1807), which includes numerous elevations of In England, the purest form of the chair is to

the rooms in his house.

be seen in the designs by Thomas Hope which It was the French who first adopted the form.

were made for his mansion in Duchess Street.

English Circa 1810

The chairs were ‘re-interpreted’ by architect

The ultimate connoisseur, Thomas Hope’s

Width 22½” 57cm

Jean-Jacques Lequeu in 1786 for the Hôtel

house was described by Sir George Beaumont

Depth 22” 56cm

Montholon, and supplied by George Jacob.

in 1804 as ‘more a museum than anything else’,

Height 31¾” 80.5cm







Previous spread and above: 51883

A George II Period Carved Mahogany Side-Table Whilst the overall form of Irish side tables

Irish Circa 1750

may reflect English counterparts, it is rare

Depth 30½” 77.5cm

that one can confuse one for the other. This

Width 60” 152.5 cm

table is no exception and the pierced apron

Height 30” 76cm

is a good example of the Irish carver’s skill and imagination. Profusely carved with


strapwork, foliage, shells and a central

Private Collection, USA

cartouche with bird, the table stands on gently curving cabriole legs and retains its original wooden top.




A Nineteenth Century Oak Post Box in the Form of a Sentry Box An oak country house letterbox, the door holding a watercolour of a guardsman by Richard Simkin. Possibly by Lewis of Piccadilly Circa 1890 Width 7½” 19cm Depth 7½” 19cm Height 17” 43cm RICHARD SIMKIN 1851 - 1926

Richard Simkin was responsible for a number of books illustrating the uniforms of the British Army including ‘Simkin’s Soldiers’ (The British Army in 1890) and ‘Uniforms of the British Army’. He also provided colour plates for journals such as ‘Boy’s Own Paper’ and ‘Chums’.





An Ormolu & White Marble Clock Attributed to Matthew Boulton Matthew




but with a bronzed rock pool and another in

included the supply of high quality

the 1782 Inventory which indicates it had an

ornaments to the Royal family and nobility

obelisk as opposed to a clock.

of England. Amongst these ornaments were clocks, the designs of which were based on

It is also quite likely that the clock

classical motifs.

movement was supplied to Boulton by John Whitehurst who was based in Derby. He

In this instance, we see Narcissus, together

was one of the leading clockmakers of his

with his dog, leaning forward and looking

day and his proximity to Boulton’s works

into a pool of water to see the beauty of his

at Soho, Birmingham would have made for

own reflection. Behind him, is a white marble


column supporting an ormolu urn housing the clock. Boulton produced a number of

Width 7½” 19.25cm

clocks to this design but more typically the

Depth 6¼” 15.5 cm

figures are either Venus or Titus & Minerva.

Height 12” 30.5cm

In Sir Nicholas Goodison’s book, mention is


made of 4 versions of the Narcissus clock. Two

N. Goodison, Matthew Boulton: Ormolu,

were sold in the famous Chrisites sale of 1778,

2002, p 220-221 & 238-239.

another appears in Boulton’s day book of 1781





A Regency Period Cut Glass & Ormolu Chandelier Of all the pieces in this brochure, without

English Circa 1810

doubt the chandeliers are the hardest items to

Height 43” 109cm

photograph and successfully show just how

Diameter 26” 66cm

wonderful they are. The two dimensional nature of a photograph is not suitable for


showing the very three dimensional nature

For similar examples see:

of a chandelier. Thus we can only assure

Christie’s Dealing in Excellence, lot 168,

you that this one is very well proportioned,

London 20th November 2008

the cutting of the glass is as good as we

The Metropolitan Museum of Art, New

have seen and when you see it you will not

York, Accession Number 46.67.144

be disappointed. Chandeliers of this type are extremely rare.





A Pair of Étagères of Unusually Large Size by William Bertram The firm of William Bertram & Son was

but what marks them out is their scale, they

established in 1830 and by 1839 was trading

are nearly twice the size of any we have

at 100 Dean Street, London.

seen before.

A number of pieces of furniture with their

English Circa 1850

label have turned up over the years and all

Width 26” 67cm

are of very good quality. This pair of tables

Depth 15” 39cm

are certainly of that same high standard

Height 29¼” 74cm



A Pair of Mahogany Candlesticks Now wired for electricity, the candlesticks are of a larger size than is typical. The maker has selected close grained superior quality mahogany and the carved reeds on the columns are finer because of it. They also benefit from very nice quality drip pans with a tassel design apron. English Circa 1800 Diameter 9” 23cm Height 18¾” 47.5cm




A George III Oval Writing Table This rather elegant mahogany writing table,

and buildings on these estates were let out to

which is rare being oval, retains an old

tenants and the ‘rent table’ was developed for

leather surface and has six drawers to the

managing the collection of payments.

frieze. Each of the drawers is labelled with letters of the alphabet and retains its original

By nature of the fact that there were a limited

swan neck handle.

number of these estates, these tables are quite rare. They are also invariably very well

Prior to the Industrial Revolution, wealth in

made, possibly because they represented the

the eighteenth century was largely derived

wealth of the estate.

from land ownership. Grand estates were formed; for example it is said that the Spencer

English Circa 1800

family could travel from Althorp, their

Width 47½” 121cm

house in Northamptonshire, all the way to

Depth 32¼” 82cm

their house in London without stepping off

Height 28¼” 72cm

their land, a distance of 65 miles. The farms





A Pair of George II Carved Gilt-Wood Torchères An impressive pair of torchères from

This group is reputed to have come from

arguably one of the most magnificent and

Stowe, one of the greatest of England’s

distinctive sets of furniture created in the

country houses. Described by George

early Georgian period. The group includes

Bickham in 1750 as a ‘faire majestic paradise’

chairs, stools, settees and side tables which

and famous for its sumptuous interiors. As

are now dispersed amongst the Victoria &

a guide to the scale of this house, when the

Albert Museum, the Metropolitan Museum,

2nd Duke of Buckingham was forced to sell

Windsor Castle and important private

up to cover his debts, the sale was legendary,

collections. (We have detailed the various

lasting 37 days.

items and their current location below). The story of their acquiring the Stowe English Circa 1730–40

provenance is long and involved but is in part

Diameter 12½” 32cm

attributable to the fact that attending the

Height 60” 153cm

sale and making purchases were, amongst others, W. Selby Lowndes, Lord Ward, (1st


Earl of Dudley) and Sir Philip Pauncefort

Reputed; Richard Temple, 1st Viscount

Duncombe. Descendants of these three


gentlemen would later sell the various items





from the suite.

Probably sold, lot 806 in the Christie’s auction, August 1848.

Further examination of the construction

Unknown private collection.

and style of carving of each piece would be

Glaisher & Nash, The Grosvenor House

necessary to confirm all the items are part of

Antiques Fair Handbook, Illustrated, p.43

the same suite but from a design perspective

Mallett, London.

they would certainly appear to be. In which

Private Collection, England, until 2014.

case, it is probable that they came from


Plate 2. Gilt-gesso settee. The Metropolitan Museum of Art, New York.

the same house and this could well have

with late Baroque carving and rarely found

been Stowe. However, the sale catalogue

after the 1720s. A number of pieces in this

is extraordinarily succinct and cryptic in

technique were delivered to the Royal

its descriptions of the items. For example,

Household by James Moore Senior (died

‘A noble pier table’ and ‘A carved and gilt

1726) and his partner John Gumley (1691–

pier table. This is a very curious old piece of

1727). It has therefore been suggested that

furniture’. Sadly predating photographs, the

the Stowe suite may have been supplied

catalogue entries do not allow us to be certain.

by James Moore Junior (c. 1690 – c. 1734) or perhaps by his one-time apprentice

What is certain is that the quality and


importance of this group is sufficient to

although their firmly accredited gilt-wood

justify its inclusion in the greatest collections

furniture is generally carved in the solid

of English furniture in private and public

wood. The design of the present torchères,

hands. Bearing in mind the torchères and

however, seems to be closely derived from

the pair of pier tables are the only items still

a gilt-gesso set made for George I in 1727

left in private hands, these torchères offer an

by Gumley and his new partner William

exciting opportunity to acquire a part of this

Turing, so an attribution to Moore Junior or

exceptional group.

Goodison is credible.



These finely carved torchères are unusual

• Pair of gilt-gesso side tables. After leaving

for their date in having low-relief carving in

Stowe they were almost certainly owned

gilt gesso, a technique generally associated

by W. Selby Lowndes d.1842, until sold







by Colonel Lowndes at Sotheby’s in 1921.


Sotheby’s London 1964 and 1965.

Bought by 2nd Viscount Bearsted they

• Gilt-gesso stool. In the Metropolitan

were sold by a descendent at Christie’s

Museum of Art, New York, Gift of Irwin

London, 9 July 1998, lot 100 (£936,500).

Untermyer, 1964 (64.101.957). Formerly in

Now in a private American collection.

the H.H. Mulliner collection.

• Part of a set of gilt-gesso side chairs. In

• Pair of gilt-gesso stools. At Parham Park,

the Collection of Her Majesty the Queen

Sussex. Formerly in the Collection of

at Windsor Castle. Three chairs are 18th

Col. W. Selby Lowndes of Whaddon Hall,

century, the remainder are accepted to be

Bucks., as was the above pair of tables.

late 19th century, probably commissioned

W. Selby Lowndes is also recorded as a

to supplement the originals inherited

purchaser at the Stowe sale, but again

by Lord Ward, 1st Earl of Dudley for

cannot be identified absolutely.

Dudley House in Park Lane, London,

• Gilt-gesso settee. In the Metropolitan

as noted below. They were acquired

Museum of Art, New York, Purchase, 1924

by Queen Elizabeth, consort of King

(24.136.1). Formerly in the Collection of Sir

George VI, (1900-2002), when Queen

Everard Pauncefort Duncombe of Great

Consort (1936-52), bought from Frank

Brickhill Manor, Bucks. His predecessor

Partridge, previously in the collection of

Sir Philip Pauncefort Duncombe, the

W. R. Hearst, St Donat’s Castle, until sold

1st Baronet (1818-1890), is recorded as a

Christie’s 18 May 1939, lot 52.

purchaser at the Stowe Sale, although it

• Pair of gilt-gesso side chairs. Reputedly from the set of four chairs, lot 1338 in the

cannot be definitely identified as coming from that sale.

1848 sale, sold then for £48.6.0 Acquired by

• Pair of gilt-gesso settees. In the Collection

‘Lord Ward’ (Lord William Ward, 1st Earl

of Her Majesty the Queen at Windsor

of Dudley), they were subsequently sold by

Castle, formerly in the Collection of

his direct descendant, The Earl of Dudley at

William Randolph Hearst.



A Pembroke Table Attributed to Henry Clay This table was considered worthy of the 1979

not stamped with his name. Nevertheless,

repeated until the surfaces of the varnish

Art Treasures Exhibition and as such its

on the evidence of reliably documented

and pearl were absolutely level, was spread

rarity and exceptional condition cannot be

examples, it can be reasonably attributed to

over several days and would have made such


his workshop.

pieces very expensive to produce. Similar decoration is found on a privately-owned

It is important to point out the extraordinary

Save for its semi-oval, as distinct from

small square caddy of a type sometimes

level of decoration covering this table. For



fitted with silver mounts hallmarked ‘HC’

example, even the rule joints (the joint which

conforms closely to the mahogany ‘ …

for Henry Clay. Clay had been among the

attaches each flap to the table) are decorated.

Pembroke table richly Japanned by Clay’ for

first to register his mark at the Birmingham

The decoration is repeated on the inside of

Robert Child at Osterley Park House, where

Assay Office when it opened in 1773.

the legs and along the frieze, continuing

it still stands today in the Etruscan Dressing

under each flap.

Room for which it was designed. Listed in

The central oval reserve is painted with

the 1782 inventory of the house, it is one

Clotho, one of the three Fates while those

English Circa 1780

of the earliest existing items of furniture

on the drop-sides are painted with classical

Width 14¾” 37.5cm closed

known to have been made by Clay.

urns, very much in the style of the paper




30½” 77.5cm open

panels which Clay made in the late l770s

Depth 18½” 47cm

The table-top is veneered with a thin sheet of

for the four doors in Robert Adams’ Marble

Height 26¼” 67cm

papier mâché – a feature common to much

Hall at Keddleston Hall in Derbyshire.

of Clay’s furniture – and decorated all-over

Similar motifs appear in Adams’ designs


with finely crushed mother-of pearl to create

for a folding door for the third drawing

The Somerset House Art Treasures

a rich iridescence. This decorative effect was

room at Derby House in London, which also

Exhibition 1979, F.54, p.24

achieved by coating the papier mâché sheet

incorporated panels made by Henry Clay.

with japan varnish, leaving it until tacky,

Moreover, the gilt friezes, and anthemion


and sprinkling it with the pearl-shell prior

borders both feature on other pieces of

Blairmans Ltd.

to placing the sheet in a japanners stove to be

furniture associated with Clay.

Private Collection

slowly baked until the varnish had hardened. Once cooled the entire surface, pearl and all,


was given another coat of varnish, returned

Like most of the japanned furniture made

to the stove, and rubbed down until the

by Henry Clay, this small pembroke table is

pearl was exposed. This process, which was






A Pair of French Bronze Figures of Voltaire and Rousseau


A Regency Period Étagère

These figures of Rousseau and Voltaire are after the model by Jean-Claude Rosset (1706-

A highly versatile piece of furniture which

1786). He trained in the mediums of wood

is just the right height to work well next to

and ivory before establishing his workshop

a sofa. The combination of the goncalo alves

in Paris in 1771. He specialised in busts of

veneers and the fine quality ormolu gallery

Voltaire, Rousseau, de Montesquieu and

give the piece a richness that would enhance

d’Alembert and his bust of Voltaire was

any room.

supplied as a model for Sévres and sold for 60 livres.

English Circa 1825 Width 24” 61cm

French Circa 1800

Depth 15¾” 40cm

Height 18¼” 46cm

Height 28¼” 71.5cm





A Pair of George II Gainsborough Armchairs At Colonial Williamsburg there is an armchair made for the Royal Governor and a set of side chairs made ensuite for the Council Chamber of the Williamsburg Capitol. They share the same design of carving on the knee as is seen on this pair of chairs. Examination of the Williamsburg chairs has determined that they were made in England which offers the possibility that they were all made in the same workshop. Though without closer comparison of the carving and construction we cannot be certain. English Circa 1755 Width 30” 76cm Depth 29” 74cm Height 38½” 98cm

Plate 3. The Governor's Chair & Accompanying Side Chairs. The Colonial Williamsburg Foundation.





A Set of Late Eighteenth Century Quartetto Tables There are a number of suggestions for their

was a heightened demand as a consequence

use, Sheraton in his Cabinet Directory of 1803

of the fashion for elegant high-design goods

contemplates their being for needle work,

intended for use in confined spaces. Now of

writing that they are ‘made to draw out of each

course, they are perfect for the modern home,

other, and may be used separately’. George

being useful and easily contained within the

Smith in his Household Furniture Directory

largest of the four tables.

of 1808, assigns them to drawing rooms, where they ‘prevent the company rising

English Circa 1800

from their seats, when taking refreshments.’

Width 18¾” 47.5cm

These tables were part of the new range of

Depth 12” 30.5cm

multi-functional furniture for which there

Height 29½” 75cm




A Pair of George III Tea Caddies The tea caddies, which are veneered in

interior lids and the ‘dog-tooth’ decoration

harewood and inlaid with various woods, are

still retains the original green dye.

of a very rare form and more typically found as single examples. They have a pagoda top

English Circa 1790

with a delicate acorn finial and ‘dog-tooth’

Height 9½” 24cm

banding to the rim and base.

Width 4¼” 11cm

Their condition is truly remarkable. They retain their original linings, locks and




A Burr Walnut Bureau Bookcase of Rare Small Size This charming bureau bookcase shares a number of characteristics with a ‘small’ group of diminutive bookcases from a common but as yet unidentified source. Although, judging from some of the detailing this example may be a few years later, all of these ‘bureau-and-bookcases’ are of the same form, of the highest quality of manufacture and this example, in burr walnut, is a very good colour. At the time of writing, this group of bookcases number just eleven examples with the majority of them being in important collections or museums. Research into these bookcases is ongoing and in time, it is hoped that a maker will be identified. English Circa 1735 Width 23½” 60cm Depth 15¼” 39cm Height 72” 183cm PROVENANCE

Mr. and Mrs. C. Chaffyn-Grove, Waddon House, Dorset, probably from mid 1960s -2004. Private collection, Jersey, Channel Islands, 2004-2013.





A Highly Decorative Table This unusual table has a most exceptional

N. European Circa 1850

top with a central ebony panel inlaid with

Width 25½” 65cm

seaweed marquetry and bordered by a series

Depth 19” 48cm

of inlaid urns. Standing on four tapering legs

Height 27¾” 71cm

which are united by a shaped stretcher with decoration which reflects that of the top.




A Pair of George III Satinwood Occasional Tables This extraordinarily rare pair of tables share their distinctive form with a single example formerly in the Irwin Untermeyer Collection. A large part of this collection was bequeathed to the Metropolitan Museum of Art in New York. Unfortunately, the catalogue of the collection offers no insight as to where the table came from nor who made it, but it is fair to say the quality and design favour a London cabinet making firm. The most likely possibility would be Mayhew and Ince, whose work displays similar decorative motifs and a propensity for the sort of inventiveness seen here. English Circa 1780 Width 10½” 27cm Depth 10½” 27cm Height 23” 58.5cm REFERENCE

English Furniture, The Irwin Untermeyer Collection, pl.178, fig.215




The Leinster House Cabinets




Previous spread and here: 51832

The Leinster House Cabinets Made for the 2nd Duke of Leinster A magnificent museum quality example of eighteenth century English cabinet making. English Circa 1775 Width 34” 87cm Depth 24” 61cm Height 33” 84cm



Almost certainly commissioned for the Gallery at Leinster House, Dublin by William FitzGerald, 2nd Duke of Leinster. Removed to Carton, Co. Kildare by Augustus FitzGerald 3rd Duke of Leinster following the sale of Leinster House to the Royal (Dublin) Society in 1815. Recorded in the Ante-Room at Carton circa 1887. By descent through the family until sold by the Trustees of the Leinster Will Trust.

recently come to light, having been in the possession of the FitzGerald family since the late eighteenth century. The virtuoso detail of the inlaid decoration suggests the work of a leading eighteenth century cabinet maker working to a specific design that was part of a united decorative theme. Close study of the family who commissioned the commodes and of the designers and craftsmen who worked with them, has led to some interesting discoveries including a probable maker and original location. commodes



of the Dukes of Leinster until 1949 when the family sold the house and moved the contents to their other properties. According to the previous owner the commodes had been moved several times in the second half of the twentieth century - after Carton the furniture went to Kilkea Castle in Co. Kildare and then to Ramsden in Oxfordshire. It was clear at the outset that the decorative scheme on the commodes did not match that in any of the rooms at Carton. These

This pair of corner commodes has only



commodes are decorated in a Classical/ Etruscan style with a fine, light and detailed feel to them – a style which was extremely popular in the last quarter of the eighteenth century and much favoured by patrons who had visited Italy on the Grand Tour. As with most aristocratic Irish families, the FitzGeralds also had a town house in Dublin. Theirs was built in 1745 and named Leinster House. It has been described as the ‘largest and most important eighteenth century townhouse in Ireland.’1 Although there are no original building accounts for the house,


provenance from Carton co. Kildare, home

1 David Griffin & Caroline Pegum, Leinster House: 17442000 An Architectural History, The Irish Architectural Archive, Dublin, 2000


there is a series of sixty drawings relating to

The only large room still to be finished was

the property. By the 1770s, at the time the

the Great Gallery at the centre of the house

corner commodes would have been made,

and since the 2nd Duke’s new wife had just

Leinster House belonged to the 2nd Duke of

inherited an important picture collection

Leinster and only the great first-floor gallery

from her father the First Baron St George,

remained to be completed.

there was an added impetus to get to work quickly. William FitzGerald engaged the

William FitzGerald, 2nd Duke of Leinster

highly fashionable neo-classical architect

(1749-1804) went on his Grand Tour between

and designer James Wyatt (1746-1813)

1766 and 1768 and by the time he came back

to carry out the task. Wyatt had already

he had developed a taste for the antique. He

worked extensively for William’s uncle, the

succeeded his father in 1773 and married

third Duke of Richmond.

the Hon. Emilia Olivia St. George in 1775. When he took over Leinster House he set

Although Wyatt’s designs for the entire

about the completion and refurnishing of

room do not exist, there is a watercolour for

Leinster House as recorded by Lady Louisa

the end wall of the gallery.

Connelly on October 9th 1775: Looking at these images it is immediately William is fitting up Leinster House, and

apparent that almost all of the decorative

wants to know where to put your glasses. I do

elements in this room are echoed in the

believe it would be better to frame them and

decoration of the corner commodes: the

put them up, for I think that ours suffered

winged sphinxes, the scrolled acanthus

by having so long upon their sides, the silver

decoration and the anthemion topped urns.

ran a little at the edges.


A further letter from Leinster to his mother dated 29 September 1776 confirms 2 Brian FitzGerald (ed.), The Correspondence of Emily, Duchess of Leinster, 1731-1814 (3 vols), Irish Manuscripts Commission, 1949-1957 Dublin, Vol III, 1957, p.155

Wyatt’s involvement and also mentions the furniture:

This page: Plate 4. Details of the ceiling and door case and the design for the end wall of the first floor gallery. David Griffin & Caroline Pegum, Leinster House: 1744-2000 An Architectural History, The Irish Architectural Archive, Dublin, 2000



Mr. Wyatt has sent me …the most beautiful

has revealed that there is an undated copy

finishing for my Gallery at L.House which I

schedule of Heirlooms at Carton buried

shall prepare and hope to do next Spring as

amongst the Leinster archive material

have the furniture ready for it.

at the Public Record Office of Northern


Ireland5 . There, listed in the Ante-Room, This reference indicates that the Duke

is a reference to ‘A Pair of Inlaid Satinwood

of Leinster had particular furniture in

Encoigneurs, ormolu mounts …£70’ (PRONI

mind for the room and that the whole was

D/3078/2/10/18, see Appendix 1). Only two

conceived as a united scheme from the

pages of the schedule relates to furniture, the

outset. The two corner commodes would

rest to miniatures, paintings and jewellery

have worked together with the door cases

(the latter ‘belonging to Caroline Duchess

and chimneypieces in the gallery to create a

of Leinster’), books, manuscripts and silver

sophisticated neo-classical space, reflecting

and boxes presented with the freedom of

Leinster’s interest in the antique art and

corporation and guilds.

decoration he would have seen on his Grand

Plate 5. Drawing by Thomas Chippendale Jr. The Collection of the Victoria & Albert Museum

Tour in Italy. Looking at the size of the corner

Although undated, it has now been possible

commodes and the space in the Gallery, it is

to surmise the date of the document.

probable that there was also a larger central


commode ensuite with the pair. Together

(1827-1887), was the wife of Charles

with the paintings and sculpture, the room

FitzGerald, 4th Duke of Leinster (1819-

would have created an impressive visual

1887). Based on the reference to jewellery

confirmation of the rank and importance of

belonging to Caroline, the wife of Charles

the premier Irish peer.

the 4th Duke, it is probable the list was made


prior to 1888. Caroline and the Duke died in When the second Duke died in 1804, his

1887 and it is very likely that the heirlooms

son Augustus Frederick FitzGerald (1791-

were listed following the Duke’s death6.

1874) became 3rd Duke. In 1815 Augustus FitzGerald sold Leinster House in 1815 to

This discovery firmly places the commodes

the (Royal) Dublin Society and made Carton

at Carton in the latter part of the

House his principal residence. At this time

nineteenth century.

most of the pictures, plate and furniture were removed to Carton including the


marble busts of Apollo and Niobe from the

In 1779 Thomas Chippendale Junior (1749-


1822) published a set of neo-classical





It has long been thought that there were no pre-twentieth century inventories of Carton, something which made the job of identifying furniture from Carton very difficult. However recent research by Dr Alison Fitzgerald of Maynooth University 3 John Martin-Robinson, op.cit. 2012, p.112 4 Anon, op.cit. 1885, p.14

engravings which also appear to correspond with the commodes (see above). The only extant set of the engravings is in the Victoria and Albert Museum and mounted into a folder, so it is not known whether they are complete or whether (since the engravings 5 See P.Cosgrove et al, 2014, p.125, note 22, I am grateful to Dr Fitzgerald for bringing the schedule to my attention. 6 We are grateful to Ruth Thorpe of Queen’s University Belfast who made the connection, and who has been researching Caroline Fitzgerald for her PhD thesis.


are unnumbered) there were originally

appear to be consistent with the output of top

other designs .

ormolu workers Boulton and Fothergill who


we know worked regularly with Mayhew and There is certainly a strong similarity with

Ince during the 1770s as well as James Wyatt

many of the elements – chains of husks,

(see Lindsay Boynton, ‘An Ince and Mayhew

reeded vases, rams heads, combined with

Correspondence’, op cit p.33). Indeed, John

festoons, a crowning anthemion motif and

Martin-Robinson has suggested in his recent

the winged griffins with tails. We also know

book8 that Wyatt worked as an anonymous

that Chippendale Juniors’ designs were

commercial designer for both Boulton

produced while he was still working with his

and Fothergill and Mrs Eleanor Coade.

father and before he was making furniture

Certainly there are very obvious similarities

in his own right.

in the design motifs used by all three and the Coade engravings look very similar to


Wyatt’s documented drawings.

James Wyatt was a designer rather than a craftsman so although it now seems very

James Wyatt and Chippendale worked

probable that he designed the two corner

together on the refurbishment of Burton

commodes, it is unlikely that he actually

Constable in Yorkshire and with Robert

made them. Furniture of this quality could

Adam at Harewood House. All the designers

only have been made by one of a small

and craftsmen mentioned would have been

handful of cabinet makers at this period

known to each other and all were producing

namely Mayhew and Ince and Thomas

very similar but extremely high quality work.

Chippendale. The ram’s head mounts are of very high quality and although not exactly comparable to other masks on documented furniture, 7 Ivan Hall, ‘The Engravings of Thomas Chippendale Jnr, 1779’, Furniture History, Vol XI 1975, pp.56-58.

8 John Martin Robinson, James Wyatt (1746-1813) Architect to George III, Yale University Press, London, 2012

Duke of Leinster’s Estate: Copy schedule of Heirlooms at Carton, Kilkea Castle &c. Johnson Raymond-Barker & Co. 9 Lincoln’s Inn (N.D.)




A George III Carved Mahogany Chest of Drawers An interesting chest of drawers which has

It is far more typical to see the brushing

a serpentine shape and wonderful carved

slide as a separate feature between the top

swags and rosettes on the canted corners.

and the top drawer rather than as part of the moulding as it is here.

The brushing slide would be ‘hidden’ in the cavetto moulding below the top, if

English Circa 1760

it were not for the two ring pull handles

Width 41½” 105cm

giving it away.

Depth 22½” 57cm Height 32” 81cm



A Pair of Gilt-Wood Armchairs Attributed to John Linnell John Linnell produced several sets of chairs for different clients which are similar to the design of this pair. Most particularly, the set of six chairs and two settees made for the Duke of Argyll at Inveraray Castle. Furthermore, there are also similarities with a drawing produced by Linnell in 1775 of an armchair which clearly shows the clasped ball arm terminals so typical of Linnell’s work and seen on this pair of chairs. English Circa 1775 REFERENCE

H. Hayward & P. Kirkham, William & John Linnell, vol.2, p.45, pl.87 ibid, vol.2, p.46, pl.89



A Pair of George III Carved GiltWood Mirrors In the eighteenth century, before the advent of electric light, mirrors played an essential role in assisting with the lighting of rooms. With this importance, and occupying prominent positions, considerable care was taken to design beautiful examples and to produce them with great attention to quality. Now having said that, it does not mean that all mirrors made at this time were of the same quality, quite the contrary. In looking at the stunning landscape mirror on page 12 we discussed the importance of carving and its depth and crispness. But another defining characteristic of a good mirror which was not touched upon, was the balance between the size of the mirror plate and the size of the frame. Too small a plate and the frame will


overwhelm it. Too large a plate combined with a thin frame and the mirror will appear weak. One further characteristic which is worth mentioning is the shape of the mirror plate. In this case, the oval is pleasing to the eye but we have come across many in which the oval is too pointed and thus not as attractive. To put it somewhat more succinctly, this pair of mirrors are a very good example from the second half of the eighteenth century. English Circa 1765 Width 35" 89cm Height 64" 163cm






Previous spread and above: 51961

A Pair of George III Gilt-Wood Side Tables In the third edition of Chippendale’s

At the time they were made, they would

Director is a design for a table which includes

most likely have been used as pier tables in

a leg with an ionic capital above trailing bell

the space between windows, or as side tables.

flowers, as one sees on these tables. Whilst it is not possible to conclude from this that the

English Circa 1770-80

tables are by Chippendale, one can surmise

Width 36” 91.5cm

from the quality that they were London

Depth 20” 51cm

made. Furthermore, the inclusion of carving

Height 35.5” 90cm

to the back legs indicates that no expense was spared by the client commissioning them.



A Queen Anne ‘Japanned’ Chest of Drawers A chest of four drawers with chinoiserie decoration in the japanned manner of the period. Japanning was the term used to describe the work carried out by English craftsmen trying to replicate the oriental lacquer being imported. English japanned chests of this period are seldom seen and this example is in good condition. Its tall and narrow proportions are extremely appealing. English Circa 1710 Width 23¾” 60cm Depth 13¾” 35cm Height 34¾” 88cm






Previous spread and opposite: 51901

A Highly Important Pair of George III “Wing-Figured” Candle Vases by Matthew Boulton These are without doubt the finest pair of

English Circa 1772

Boulton vases we have had the privilege of

Width 15¼” 39cm

handling. Their large scale is impressive and

Depth 6” 15cm

the quality of the metalwork, as fine as any

Height 14¾” 38cm

we have seen in Boulton’s repetoire. BOULTON’S DESIGN

The ‘winged’ vases were first mentioned by

The pattern for these vase-candelabrum,

Boulton’s partner, Fothergill, in a letter of

with a white body and marble plinth, features

1772 reporting that the Earl of Stamford had

in Boulton’s metal-work Pattern Book (no.1)

visited Soho (their factory) and purchased

preserved in the Birmingham City Museum,

a pair for £12. 12s. 0d. Subsequently, pairs

and bears the number 238. It appears

sold to the Prince of Wales, the Duke of

together with a pattern for a ‘cassolette’

Northumberland and two pairs to Robert

vase, lacking branches but embellished with

Child for Osterley.

a husk-festooned medallion. (N. Goodison, Ormolu: The Work of Matthew Boulton,

Fortunately, the Osterley vases remain in

London, 1974, fig.162, nos. f and b).

situ allowing comparisons to be made. Interestingly, although the form of one of the


pairs at Osterley is identical, they have white

Private Collection, London

opaque glass bodies instead of alabaster. REFERENCE

The ormolu mounts on the vases retain

N. Goodison. Ormolu, The Work of Matthew

their original gilding and are in outstanding


condition overall. The only replacement is

N. Goodison. Matthew Boulton: Ormolu.

the draped beading which is rarely original.

S. Mason. Matthew Boulton, Selling What

Certainly, the beading on both pairs at

all the World Desires.

Osterley has been replaced.




Acknowledgements Lucy Wood for her wealth of knowledge and expert guidance. Yvonne Jones for her work on the table by Henry Clay and the lacquer centre table. Adam Bowett for his invaluable advice and expertise. Lizzy Jamieson for her sterling work on the Leinster House Cabinets. Daniel Brooke for the photography and his willingness to turn up at 7pm on a Friday evening to photograph one last piece. Jason Hopper of District-6 for another superbly designed catalogue. Philippa Gedge Photography for our team portrait. Plate 1. Design for a side table by John Linnell. The Victoria & Albert Museum Collection © Victoria and Albert Museum, London Plate 2. Gilt-gesso settee. The Metropolitan Museum of Art, New York © 2015. Image copyright The Metropolitan Museum of Art/Art Resource/Scala, Florence Plate 3. The Governor’s Chair & Accompanying Side Chairs. The Colonial Williamsburg Foundation © The Colonial Williamsburg Foundation. Museum Purchase. © The Colonial Williamsburg Foundation. Museum Purchase, The Friends of Colonial Williamsburg Collections Fund and the TIF Foundation in memory of Michelle A. Iverson. Plate 4. Details and Designs for the First Floor Gallery, Leinster House, Dublin David Griffin & Caroline Pegum, Leinster House: 1744-2000 An Architectural History, The Irish Architectural Archive, Dublin, 2000 Photographs by David H. Davidson Plate 5. Drawing by Thomas Chippendale Jr. The Victoria & Albert Museum Collection © Victoria and Albert Museum, London

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