Ronald Philips 2020

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FOREWORD I hope that you are well and surviving in these difficult and unprecedented times that we are all living through.

I am sending our latest catalogue on or around the date that the Masterpiece Fair would have opened in London. Sadly and inevitably the Fair had to be cancelled this year, but you now have a chance to see in the following pages many of the items that would have been shown there, as well as many other beautiful, unique and previously unseen pieces. These amazing objects and items of furniture have survived through hundreds of years of history and continue to bring beauty and pleasure into our lives.

Some of you may remember this photograph of me with my dog Rolo from last year’s catalogue. It has been challenging putting this catalogue together remotely and, more recently, without a photographer, so we had little choice but to repeat the picture – it was either that or not including Rolo at all this year!

I would like to draw your attention to the incredible pair of tables on page 24 that we have been fortunate enough to reunite after many years apart. These are really staggering, and an example of English furniture at its very best.

As always I would like to thank all my staff for all their continued support and loyalty.

I very much look forward to hearing from you at simon@ronaldphillips.co.uk or on +44 (0)20 7493 2341.

Please stay safe.

With my best wishes,

Simon Phillips June 2020 Please note our new website address: www.ronaldphillipsantiques.co.uk

Left: Simon Phillips with Rolo

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Illustration from Nicholas Goodison, Matthew Boulton: Ormolu, 2002, p. 245, fig. 198

1 A GEORGE III ORMOLU MOUNTED MILLERS VEIN BLUE JOHN EWER

BY MATTHEW BOULTON Note: The top of the spout and the handle have been restored.

This exceptionally rare ewer is so far the only known example that precisely follows Matthew Boulton’s design and has the central horizontal ormolu band applied to the blue john body.

According to Goodison, a further seven similar ewers by Boulton are known to exist. A documented pair made for the Earl of Sefton in 1772 is in the Gerstenfeld Collection in Washington, DC, a further pair is in the collection of the Birmingham Museum and Art Gallery at Boulton’s former home, Soho House, and the remaining three are in private collections.

English, circa 1775 Height: 19 in; 48.5 cm Width (across handle): 8 in; 20.5 cm Depth (diameter of blue john): 5¼ in; 13.5 cm Provenance: Private collection, England.

Literature: Connoisseur, November 1973, p. 3, ‘The Earl of Sefton Ewers’; advertisement with Simon Redburn Ltd., London, England.

Nicholas Goodison, Matthew Boulton: Ormolu, 2002, pp. 243–6.

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2 AN IMPORTANT GEORGE III SERPENTINE MAHOGANY COMMODE ATTRIBUTED TO WILLIAM GOMM & SON & CO. Note: The commode retains all the original ornate brass handles and escutcheons to the drawers. The ornate brass lifting handles to the sides are of later date and have been reinstated.

English, circa 1765 Height: 35½ in; 90 cm Width: 53¾ in; 136.5 cm Depth: 27¾ in; 70.5 cm William Gomm (1698–1780) is one of the lesser-known cabinet-makers of 18th century London. He started business at Peterborough Court in Smithfield, London, in 1725, and quickly expanded; by 1736 he had moved to Newcastle House in Clerkenwell, London, formerly the residence of the Dukes of Newcastle.

It was during this time that Abraham Roentgen, a young German cabinet-maker who travelled to Paris and Rotterdam to perfect his craft, worked alongside William Gomm to gain experience of high quality English cabinet-making. Roentgen later supplied furniture to the aristocracy of Europe and Russia, and is today considered to be the finest German cabinet-maker of the 18th century.

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Gomm’s eldest son Richard started to become involved in the business in 1756, and he also subscribed to Chippendale’s Director.

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Despite the apparent high status of the Gomm workshop within the cabinet-making profession, relatively little is known about its output.

A sketchbook with the title ‘Sundry Drawings of Cabinet Wares & c’, dated 1761, is probably the work of William Gomm’s grandson, also William. This sketchbook, now in the collection of the Winterthur Museum, Switzerland, provides the vital link in the form of a drawing of a commode chest that is clearly related to our outstanding commode.

Willam Gomm’s extensive commission for the 5th Lord Leigh of Stoneleigh Park, Warwickshire, forms another link. Between 1763 and 1764 Gomm supplied furniture to the value of £819 9s. He made no fewer than five commode chests for the house, costing between 12 and 15 guineas each. At least three of these can be identified, all bearing strong similarities to our commode.

Other known similar examples include a commode with four long drawers from Moccas Court, Herefordshire; another, with three short drawers above three long drawers, from the Frederick Howard Reed Collection; and a third, with twelve drawers, which was sold by Hotspur in 1964.

Literature: R. W. Symonds, ‘The fine points of mahogany commodes’, International Studio, March 1931, pp. 21–3.

R. W. Symonds, ‘The varying design and quality of mahogany commodes’, Antique Collector, June 1952, pp. 128–33, figs. 9 & 10.

Connoisseur, December 1953, p. xlvii; advertisement with Phillips of Hitchin, Hertfordshire, England.

The Connoisseur Yearbook, 1956, p. 128, fig. 43.

Connoisseur, June 1957, no page no.; advertisement with Phillips of Hitchin.

Connoisseur, June 1964, p. xv; advertisement with Hotspur Ltd., London, England.

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The design drawing on the back board

3 A GEORGE III GILTWOOD AND CARTON PIERRE PIER MIRROR Note: The mirror retains the original mercury silvered mirror plate. The frame has been re-gilded.

The design drawing in white pen for the chinoiserie canopy was discovered on the internal side of the back board during restoration of the mirror. This was a rare and important find, as original 18th century drawings of mirrors are extremely scarce.

The mirror belongs to a small group of very similar mirrors, all of which share the same combination of carton pierre and giltwood.

English, circa 1770 Height: 6 ft 4 in; 193 cm Width: 3 ft 8½ in; 113 cm Daisy Fellowes is often described as one of the great style icons of the early 20th century. Her substantial fortune allowed her to entertain on a grand scale in France and the Mediterranean and at Donnington Grove, her country seat in Berkshire, which she furnished in an opulent way.

She was notorious for her many indiscretions with married men, but her eccentric reputation, combined with her wealth, lavish hospitality, sharp tongue and dry humour, made her one of the most socially influential women of her time.

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THE DONNINGTON GROVE MIRROR

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Provenance: Mallett & Son Ltd., London, England; Daisy Fellowes, Donnington Grove, Berkshire, England; Private collection, England.

Illustrated: Christopher Hussey, ‘Donnington Grove Berkshire II’, Country Life, 25 September 1958, p. 655, fig. 4.

Geoffrey Wills, English Looking-glasses: A Study of the Glass, Frames and Makers (1670–1820), 1965, p. 96, illus. 85.

Literature: R. W. Symonds, ‘English furniture in the Chinese taste’, Connoisseur, February 1936, pp. 89–94.

Will Bennett, ‘Daisy Fellowes’, Daily Telegraph, 28 January 2002, Art & Culture section, no page no.

Ronald Phillips Ltd., ‘Mirrors’, catalogue, 2010, p. 256; a mirror from the same workshop.

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THE WIMPOLE HALL LIBRARY ARMCHAIRS

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Part of the suite in situ at Wimpole Hall, Cambridgeshire. Courtesy of Country Life Picture Archive

4 A PAIR OF GEORGE II WALNUT LIBRARY ARMCHAIRS ATTRIBUTED TO WILLIAM VILE English, circa 1750 Height: 40½ in; 103 cm Height of seat: 17½ in; 44.5 cm Width: 30½ in; 77.5 cm Depth: 32 in; 81.5 cm This outstanding pair of chairs were originally part of a suite of ten chairs and four settees. The suite would have been very expensive at the time; walnut was subject to prohibitively high import duties in order to promote the use of mahogany from the British colonies, and was therefore very seldom used. The quality of the carving is second to none, and supports the attribution to the London-based firm of William Vile. Vile was a cabinet-maker who had close connections to William Hallett (who had by this date retired; he and John Cobb later formed the partnership of Vile & Cobb). All three companies are also known as the St. Martin’s Lane Syndicate.

Provenance: Supplied to Philip Yorke, Viscount Royston and Earl of Hardwicke, for Wimpole Hall, Cambridgeshire, England, until sold with the house by the 5th Earl in 1894; Thomas, 2nd Baron Robartes and 6th Viscount Clifden;

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Moved by the 6th Viscount or his son, Francis Gerald, 7th Viscount Clifden, to Lanhydrock, Bodmin, Cornwall, England; 7th Viscount Clifden, KCVO, Lanhydrock, Bodmin, Cornwall, and sold at Christie’s, London, 10 December 1953; Walter P. Chrysler Jr., New York, USA, until 1960; E. T. Biggs & Sons, Maidenhead, Berkshire, England, in 1960; Frank Partridge Inc., New York, USA, until 1961; Martin Gersh, New York, USA, until 2006; Private collection, New York, USA. Illustrated: Charles Latham, In English Homes, 1909, vol. III, p. 279; the suite shown in situ in the Long Drawing-Room at Wimpole Hall, Cambridgeshire, England.

Christopher Hussey, ‘Wimpole Hall, Cambridgeshire, II’, Country Life, 28 May 1927, p. 846.

‘Furniture at Wimpole Hall’, Country Life, 28 November 1931, p. 591, figs. 4–6.

John Cornforth, ‘Victorian Lanhydrock, II’, Country Life, 23 February 1978, p. 461, fig. 9.

Literature: Antique Collector, January–February 1947, pp. 2–8.

Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, pp. 923–8.

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5 A GEORGE III CUT GLASS EIGHT LIGHT CHANDELIER ATTRIBUTED TO WILLIAM PARKER & SON Note: Some nozzles and drip pans have been replaced and some of the spires have been repaired.

English, circa 1790 Height: 6 ft 5 in; 195.5 cm Diameter: 3 ft 3½ in; 100.5 cm Provenance: Private collection, USA. The glass manufacturing company William Parker & Son was founded in the mid 18th century. The firm had the highest reputation and many prestigious clients, ranging from William Beckford to the Royal households of George III and the Prince of Wales.

The best documented of Parker’s commissions were for the Dukes of Devonshire for their London residence, Devonshire House, and for their country seat at Chatsworth House in Derbyshire. Another important and well documented commission was the chandeliers for the Assembly Rooms in Bath, Somerset.

Parker & Son’s showroom was at 2 Fleet Street, London, and later at 69 Fleet Street. The company merged with William Perry in 1817, becoming Parker, Perry & Co., and remained in business until 1936.

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6 A PAIR OF GEORGE II MAHOGANY SIDE TABLES ATTRIBUTED TO BENJAMIN GOODISON, EACH WITH A SCAGLIOLA MARBLE INSERT, PROBABLY BY PETRUS ANTONIUS DE PAULINUS The table bases conform to the oeuvre of Benjamin Goodison. There are a number of tables with virtually identical frieze decoration at Kedleston Hall, Derbyshire, which were supplied by Goodison.

The scagliola tops are richly decorated with strapwork, flowers and birds as well as exquisitely detailed Italian harbour scenes including Medina, Palermo and Naples with a view of Mount Vesuvius. Each top is of slightly different design. One central panel features a drawing depicting Rinaldo and Armeda, after Tasso’s Gerusalemme Liberata, published in 1581, and the other a resting Venus.

Both tops relate to another table top signed by Petrus Antonius de Paulinus, a monk active in Tuscany in the early 18th century. This top also has a central oval panel, featuring a drawing after Titian.

The tops are intended for centre tables. Although the bases are conceived as side tables, they are finished all round, lacking carved detail only on the reverse side.

We are delighted to be able to reunite these two spectacular tables after many years of separation. Their first owner remains unknown, but we can confidently assume that the scagliola tops were acquired in Italy and most probably during the Grand Tour. This educational trip through Europe to study the classical antiquities of Greece and Italy took several months, and sometimes years. It was very popular amongst England’s elite and was seen as the finishing stage of a gentleman’s education.

Many young aristocrats returned to England laden with art and other objects acquired during the tour.

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Terence Rodrigues, Treasures of the North, 2000, item 95; one of the pair

The table bases: English, circa 1740 The scagliola inserts: Italian, circa 1735 Height: 30¼ in; 77 cm Width: 39 in; 99 cm Depth: 26½ in; 67.5 cm Provenance: One table: Private collection, Staffordshire, England.

The companion table: Ronald A. Lee Ltd., London, England; Private collection, England.

Illustrated: Terence Rodrigues, Treasures of the North, 2000, item 95; one of the pair.

Ronald Phillips Ltd., ‘Fine Antique English Furniture’, catalogue, 2017, pp. 216–17; one of the pair.

Ronald Phillips Ltd., ‘Fine Antique English Furniture’, catalogue, 2018, pp. 178–9; one of the pair.

Literature: Antique Collector, December 1951, p. xv; advertisement with Ronald A. Lee Ltd., London, England.

Christie’s, London, anonymous sale, 17 July 1975, lot 143.

Anna Maria Massinelli, Scagliola: l’arte della pietra di luna, 1997, p. 23, illus. 10.

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THE NOSTELL PRIORY MIRRORS

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A comparable mirror at Hamilton Palace, Lanarkshire, in 1919. Courtesy of Country Life Picture Archive

One of the mirrors in situ at Nostell Priory, West Yorkshire.

Courtesy of Christie’s

7 A PAIR OF GEORGE II GILTWOOD MIRRORS ATTRIBUTED TO ISAAC ODELL Note: The mirrors retain virtually all the original gilding. One of the bevelled mirror plates is an 18th century replacement. The candle arm sockets are original, while the brass arms are of later date.

A comparable mirror almost certainly by Isaac Odell is recorded at Chicheley, Buckinghamshire.

The carved plumed head on lambrequin support and the acanthus scroll carvings to the corners are identical to the Chicheley mirror and strongly support the attribution to Odell.

A further mirror featuring an identical plumed head on a lambrequin support was recorded by Country Life in the collection of the Dukes of Hamilton at Hamilton Palace, Lanarkshire, shortly before the collection was dispersed in 1919.

English, circa 1730 Height: 5 ft 5½ in; 166.5 cm Width: 2 ft 9 in; 84 cm Depth: 8¾ in; 22 cm Literature: R. W. Symonds, ‘English looking glasses’, Connoisseur, June 1950, pp. 82–7, illus. XII. Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, p. 661.

Adam Bowett, Early Georgian Furniture 1715–1740, 2009, p. 296.

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THE ASHBURNHAM PLACE LACQUER COMMODES

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8 A PAIR OF GEORGE II ORMOLU MOUNTED CHINESE LACQUER COMMODES ATTRIBUTED TO PIERRE LANGLOIS Note: The commodes retain the original jasper and statuary marble tops, each with finely carved guilloche edges, and the original ormolu mounts. The interior of each commode is fitted with a single shelf.

English, circa 1760 Height: 2 ft 11½ in; 90 cm Width: 5 ft; 152 cm Depth: 2 ft 3½ in; 70 cm

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Provenance: John, 2nd Earl Ashburnham (1724–1812), either for Ashburnham Place, Sussex, England, or Ashburnham House, Dover Street, London, England; By descent until 1953; Mallett & Son Ltd., London, England, 1953; Private collection, England, formed under the guidance of R. W. Symonds, until sold anonymously in 1995; Sir J. Paul Getty, KBE, London, England, until 2009; Private collection, England.

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Illustrated: H. Avray Tipping, ‘Ashburnham Place I’, Country Life, 22 January 1916, p. 115, illus 5 & 6.

Christopher Hussey, ‘Ashburnham Place, Sussex’, Country Life, 23 April 1953, p. 1247, illus 3 & 4.

Christie’s, ‘Ashburnham Collections, part II, Important French and English Furniture’, sale catalogue, 26 June 1953, pl. XVII, lot 123.

David Linley, Charles Cator and Helen Chislett, Star Pieces – The Enduring Beauty of Spectacular Furniture, 2009, p. 94.

THE ATTRIBUTION TO LANGLOIS Pierre Langlois established himself as one of the leading London cabinet-makers in the 1760s and 1770s, producing furniture in the French taste. His use of marquetry and brass mounts is comparable to that of the German-born Paris ébéniste Jean-François Oeben, with whom Langlois probably trained.

The use of Chinese lacquer limits the cabinet-maker to two-dimensional serpentine shapes only, as lacquer will not bend in two directions to form bombé shapes. In London, Langlois produced commodes mostly in the bombé form, curved in three dimensions and veneered with exotic woods, but also some serpentine models veneered with lacquer.

Similar commodes attributed to the Langlois workshop include examples at Uppark, West Sussex, which originally had two pairs, of which one remains at the house; a commode formerly at Ragley Hall, Warwickshire; a commode at Polesden Lacey, Surrey; and another formerly in the collection of Lady Agnes Peel.

THE CHINESE LACQUER The vogue for exotic lacquer surfaces on furniture made in England in the mid 18th century led to cabinet-makers removing the lacquer decoration from export pieces from Japan and China, such as chests, coffers and screens. The lacquer was generally re-used in ways that took the original decoration into account, but in some cases the decoration played no part in the design of the new piece. One example of the latter is the well-documented Japanese lacquer mirror from Althorp, Northamptonshire, now in the collection of the Victoria and Albert Museum, London, where the lacquer panels are used with the original pattern appearing upside down and sideways.

The lacquer on the Ashburnham commodes forms a continuous picture across the doors on each commode. These lacquer panels are framed by japanned decoration in geometrical patterns. The leg trusses and the aprons are decorated with floral husks and are also japanned. Japanning is the European imitation of Oriental lacquer.

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One of the commodes in situ at Ashburnham Place, Sussex, 1916. Courtesy of Country Life Picture Archive

The size and type of decoration of the lacquer panels suggest that they were cut from larger vertical panels such as the ones used on folding screens. These screens were supplied to England from the 17th century onwards and were often repurposed in this way.

Interestingly, the lacquer used on the Uppark commodes shares many characteristics with the lacquer used on the Ashburnham commodes, and it is entirely possible that the lacquer in both groups is from the same folding lacquer screen.

THE ORMOLU MOUNTS Pierre Langlois shared his workshops at 39 Tottenham Court Road, London, with his son-in-law, the metal founder and gilder Dominique Jean. It is more than likely that the angle mounts on these commodes were produced by Jean.

THE VENEERED JASPER AND WHITE MARBLE TOPS Langlois may have worked with Thomas and Benjamin Carter, who supplied marble tops for commodes at Strawberry Hill, Twickenham, London. At Ashburnham, a Benjamin Carter also supplied a carved marble chimneypiece, and it is possible that these tops were also supplied by the Carter family.

ASHBURNHAM PLACE John, 2nd Earl Ashburnham became Lord of the Bedchamber in 1748, in the inner circle of the King’s courtiers. In 1765 he was appointed Master of the Great Wardrobe and in 1775 Groom of the Stole. Other positions held by him were the Keeper of Hyde Park and St. James’s Park, Lord Lieutenant of Sussex and Vice Admiral of Sussex. Ashburnham’s many honorary titles paint a picture of a man of the utmost importance to the King and his Government.

His position and ancestral wealth allowed him to set out and furnish Ashburnham Place, Sussex, and Ashburnham House, his London residence in Dover Street, in the most lavish way, employing many leading craftsmen and artists of the day, including John Cobb, Vile & Cobb, John Linnell and Pierre Langlois as cabinet-makers.

Many of the pieces supplied to the 2nd Earl were still in the collection almost two centuries later, when lack of heirs and crippling death duties meant that the house and its contents had to be sold.

The house, once one of the jewels of southeast England, was partially demolished in 1959, and today is a mere shadow of its former glory.

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M. Harris & Sons, ‘A Catalogue and Index of Old Furniture and Works of Decorative Art’, Part II, circa 1930s, p. 263

9 A GEORGE II MAHOGANY CONCERTINA ACTION CARD TABLE English, circa 1755 Height: 28½ in; 72.5 cm Width: 36 in; 91.5 cm Depth (closed): 19 in; 48.5 cm Depth (open): 34 in; 86.5 cm Provenance: M. Harris & Sons, London, England; Hotspur Ltd., London, England; Private collection, England; Private collection, New York, USA. Illustrated: M. Harris & Sons, ‘A Catalogue and Index of Old Furniture and Works of Decorative Art’, Part II, circa 1930s, p. 263.

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A SUITE OF GEORGE III GILTWOOD SEAT FURNITURE CONSISTING OF A SETTEE AND A PAIR OF ARMCHAIRS ALMOST CERTAINLY BY THOMAS CHIPPENDALE REGISTERED IN ENGLAND NO. 511581

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Note: The suite has been re-gilded. The back of the settee was reduced in height shortly after manufacture. Surface analysis has revealed that the alteration shares exactly the same history of gilding layers as the rest of the settee.

English, circa 1780 The settee: Height: 2 ft 10½ in; 87.5 cm Height of seat: 1 ft 3 in; 38 cm Width: 5 ft 7½ in; 171 cm Depth: 2 ft 9 in; 84 cm The chairs: Height: 3 ft ½ in; 93 cm Height of seat: 1 ft 5½ in; 44.5 cm Width: 2 ft 1½ in; 65 cm Depth: 2 ft 2 in; 66 cm Provenance: M. Harris & Sons, London, England; Collection of Robert J. Dunham, New York, USA, until 1947; Sotheby’s, London, 9 March 1961; J. A. Pearson; Private collection, Lancashire, England.

The design of the suite overall corresponds to the output of Chippendale’s workshop. The sinuous curve of the back and the serpentine front as well as the exceptionally high quality carving point to a leading London cabinet-maker, whilst the anthemion cresting, husk carved tablet, typical scroll arm finial, blocked tapering legs with finely leaf carved toes and clamping notches leave no doubt about the authorship of this suite.

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Alterations to furniture were not uncommon. An alteration carried out

by Chippendale to a ‘sofa’ is recorded in the Harewood archives: 1797, Feb. 7, Altering your large Sofa by lowering the Back and making the Seat Shallower, finishing Do in burnish’d Gold and White, double stuffing in fine Linen in the French manner, with a Squab, 3 back Cushions, border’d & 2 Bolsters covering with your Blue Stripe Taberay and finishing with Blue Silk Gimp and Silk Cord £15 12 -.

The Harewood sofa would have been part of a suite of furniture from Harewood House in London, which was purchased by Edwin Lascelles from the Duke of Roxburgh in 1795. The house was sold partially furnished and it is therefore possible that the sofa was acquired with the house. A new room layout with tall paintings on the walls perhaps made it necessary to lower the back of the sofa.

Circumstances of this kind, although entirely speculative, would provide a plausible explanation for the alteration in height of our settee.

Illustrated: F. Lewis Hinckley, A Directory of Antique Furniture, 1953, p. 186, fig. 575.

Burlington magazine, February 1962, supplement page xiii.

Sotheby’s, ‘Catalogue of Works of Art, Oriental Rugs and Carpets, English Carpets, Tapestries, English Clocks and Fine English Furniture’, sale catalogue, London, 9 March 1962, pp. 26–7, lot 135.

F. Lewis Hinckley, Metropolitan Furniture of the Georgian Years, 1988, p. 145, illus. 228.

Literature: Judith Goodison, The Life and Work of Thomas Chippendale Junior, 2017, p. 135.

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11 A PAIR OF GEORGE III SEMI-ELLIPTIC SATINWOOD AND PURPLEHEART MARQUETRY SIDE TABLES ATTRIBUTED TO MAYHEW & INCE The quality of the marquetry and the remarkable condition of the surface speak for themselves on this pair of tables.

The exceptionally fine inlay work is highlighted with very fine engraved lines to give the ornamental design a three-dimensional effect. These lines are in some instances so fine that they only score the varnish on top of the veneered surface. Fine engraving of this kind can all too often be lost by later careless removal of the original surfaces.

English, circa 1780 Height: 34 in; 86.5 cm Width: 58 in; 147.5 cm Depth: 20¾ in; 53 cm Provenance: Private collection, New York, USA.

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12 A PAIR OF IRISH GEORGE III OVAL MIRROR GIRANDOLES Note: The mirrors retain the original silvered brass candle arms and one of the original mirror plates. One mirror plate is an 18th century replacement.

It is extremely rare to find single candle arms attached to the frame, which is of unusually small scale in this example. Most Irish oval mirrors of this type are considerably larger in scale and either have a suspended half chandelier in front of the mirror or are left without lighting.

Irish, circa 1780 Height: 23 in; 58.5 cm Width: 15 in; 38 cm Depth: 6 in; 15 cm Provenance: Private collection, USA. Illustrated: Graham Child, World Mirrors 1650–1900, 1990, p. 146, illus. 241.

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13 A REGENCY ORMOLU MOUNTED AND PARCEL GILT OCTAGONAL ROSEWOOD CENTRE TABLE ATTRIBUTED TO MARSH, TATHAM, BAILEY & SAUNDERS Note: The table retains all the original metal mounts and some of the original gilding.

There are similar tables recorded, one formerly at Normanton Park, Rutland, and illustrated in The Dictionary of English Furniture. The Normanton table differs by incorporating a book compartment in the frieze. A table at Woburn Abbey, Bedfordshire, (illustrated overleaf in black-and-white) is almost identical apart from an ebonised moulding, which on our table has been executed in brass instead.

A table formerly in Queen Victoria’s bedroom at Windsor Castle shares the same winged giltwood paw feet as the previous examples, but resting on a triform base instead of a quatrefoil base. Its column, like that of all the other examples, is fluted and parcel gilt. The Windsor table is circular, with eight drawers in the frieze.

All four tables are veneered with richly figured Brazilian rosewood.

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A comparable table at Woburn Abbey, Bedfordshire. Courtesy of the Duke and Duchess of Bedford

English, circa 1815 Height: 30 in; 76 cm Width: 50¾ in; 129 cm Depth: 50½ in; 128 cm Provenance: Private collection, Spain.

Literature: ‘Normanton Park, Rutland, the seat of the Earl of Ancaster’, Country Life, 8 February 1913, p. 202.

Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. III, p. 245, fig 38.

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14 A GEORGE II CONVENT SIENNA MARBLE CHIMNEYPIECE The chimneypiece has survived in remarkable condition, with only a single repair to the top shelf.

It is rare to find such a piece without additions or extensive repairs despite having been moved to new homes several times since it was first installed, and it is a sign of quality that it has survived these moves without damage to or loss of the individual elements. The statuary marble used for the main structure is pure white and of the highest quality, while the Convent Sienna marble has a wonderful rich colour. These two types of marble are no longer available. The carving has been spared unnecessary polishing and overzealous cleaning, and as a result is still as crisp and well defined as the day it was completed.

English, circa 1740 Height: 4 ft 10 in; 147.5 cm Width: 7 ft 1 in; 216 cm Height of opening: 3 ft 9 in; 114 cm Width of opening: 4 ft ½ in; 123 cm Depth: 8½ in; 21.5 cm A virtually identical chimneypiece differing only in the carved end blocks in the frieze was advertised by T. Crowther & Son in Connoisseur magazine in May 1955.

Provenance: T. Crowther & Son Ltd., London, England; Nigel Bartlett Antiques Ltd., London, England.

Literature: Connoisseur, May 1955, no page no.; trade advertisement with T. Crowther & Son Ltd.

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W. D. John and Katherine Coombes, Paktong: The Non-tarnishable Chinese Silver Alloy used for Adam Fire-grates and Early Georgian Candlesticks, 1970, pl. 3 15 A VICTORIAN PAKTONG FIRE GRATE English, circa 1880 Height: 35 in; 89 cm Width: 34 in; 86 cm Depth: 16½ in; 42 cm Paktong, a silvery alloy sometimes also called ‘white copper’, was very popular during the second half of the 18th century for a range of domestic applications, and Robert Adam often stipulated that it was to be used for his chimneypieces.

The alloy was originally imported from China at considerable cost. Its silver-like appearance and resistance to tarnishing are due to a specific combination of copper, nickel and zinc. Chinese paktong of the 18th century contains 8 to 10 per cent nickel, with copper and zinc in roughly equal proportions. Its composition remained a secret for many years, but the alloy was eventually copied by European countries and by 1820 European paktong had superseded the original Chinese version.

The composition of the later European paktong does however differ significantly from the Chinese formula. The amount of zinc is reduced by half, and the amount of copper and nickel is correspondingly increased by half.

Metal testing of the fire grate has revealed that its composition matches the later European paktong, but not samples of the 18th century Chinese import. The earlier date suggested by W. D. John and Katherine Coombes in 1970 is therefore incorrect, and a date of circa 1880 is highly probable.

Provenance: Mallett & Son Ltd., London, England; Private collection, USA. Illustrated: W. D. John and Katherine Coombes, Paktong: The Non-tarnishable Chinese Silver Alloy used for Adam Fire-grates and Early Georgian Candlesticks, 1970, pl. 3.

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THE CHESTERFIELD HOUSE LIBRARY TABLE WITH ROYAL PROVENANCE

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16 AN IMPORTANT GEORGE II MAHOGANY LIBRARY TABLE English, circa 1750 Note: The brass handles and the leather insert are of later date.

The table is fitted with five working drawers, two short and one long to the front, and two short with a dummy central drawer to the reverse side. The drawers at each end are dummies also.

Height: 2 ft 6½ in; 77.5 cm Width: 7 ft 4½ in; 225 cm Knee height: 1 ft 10¾ in; 58 cm Depth: 4 ft 4 in; 132 cm Provenance: Commissioned for Philip Dormer Stanhope, 4th Earl of Chesterfield; by descent until 1869; Charles Marginac, until 1891; Sir Michael Arthur Bass, 1st Baron Burton; Harriet Georgina, Dowager Lady Burton, until 1919; Henry George Charles Lascelles, 6th Earl of Harewood, and Mary, Princess Royal and Countess of Harewood, until 1932; Sotheby’s, ‘The Remaining Contents of Chesterfield House’, London, 7 April 1932, lot 303; Sold to Mr. Budge, according to Sotheby’s auctioneers book; Private collection, USA; Tony Ingrao Inc., New York, USA; Private collection, USA. Exhibited: The Morgan Library, New York, USA, 1968.

Photographed: Image taken for Lord Burton, 17 August 1886, Historic England Archive.

Illustrated: E. Beresford Chancellor, The Private Palaces of London, 1908, no page no.

Country Life, 25 February 1922, title page.

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H. Avray Tipping, ‘Chesterfield House, Mayfair I – a residence of Viscount Lascelles’, Country Life, 25 February 1922, p. 240.

Sotheby’s, ‘Catalogue of the Remaining Contents of Chesterfield House’, sale catalogue, London, 7 April 1932, p. 40, lot 303.

Literature: ‘The estate market – Chesterfield House and other properties’, Country Life, 20 September 1919, p. 374.

Tancred Borenius, ‘The Chesterfield House collection of pictures’, Country Life, 25 February 1922, pp. 257–9.

H. Avray Tipping, ‘Chesterfield House Mayfair II – A residence of Viscount Lascelles KG’, Country Life, 4 March 1922, pp. 308–14.

‘The estate market – future of Chesterfield House’, Country Life, 18 November 1933, p. xxx.

Chesterfield House, built between 1747 and 1752 for Philip Dormer Stanhope, 4th Earl of Chesterfield, was one of London’s great mansions. The house stood on the north side of Curzon Street, and was demolished in 1937 to make room for a block of flats.

Stanhope was an influential British statesman, a diplomat and a man of letters. He was known for his great oratorical skill and wit, and he lent his support as a sponsor to publication of Samuel Johnson’s Dictionary of the English Language in 1755.

The opening party at Chesterfield House was attended by Horace Walpole. It was said that the mansion rivalled great mansions in France for its beauty. The most important room in it was the library, housing the Earl’s important collection of books and his library table.

The table remained in the house until the contents were sold off in 1932 by the then owner, Henry George Charles Lascelles, 6th Earl of Harewood. Lord Harewood had purchased the house in 1919 for himself and his wife, HRH Mary, Princess Royal and Countess Harewood, as their London residence.

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The table in situ in the library at Chesterfield House, London, in 1922.

Courtesy of Country Life Picture Archive 67

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17 A GEORGE II MAHOGANY CORNER CHAIR This exceptional and well-carved chair has acquired an outstanding patination. The carving reflects the style of the period between 1745 and 1765, with a mixture of Gothic and Chinese ornamentation.

The chair: English, circa 1755 The needlework: French, circa 1750 Height: 32 in; 81 cm Height of seat: 17½ in; 44.5 cm Width (across the arms): 29 in; 73.5 cm Depth: 26 in; 66 cm Provenance: Private collection of Ronald A. Lee, The Manor House, Byfleet, England; Private collection, New York, USA. Illustrated: Sotheby’s, ‘The Ronald A. Lee Collection’, sale catalogue, London, 28 November 2001, pp. 124–5, lot 195.

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THE RONALD A. LEE CHAIR

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Adrian Heath photographed by Ida Kar, 1959. © National Portrait Gallery, London

18 TALGARTH, AN ABSTRACT PAINTING BY ADRIAN HEATH (1920–1992) Works by the 20th century British painter Adrian Heath are in a large number of public collections around the world, including those of the Arts Council of Great Britain; the Arts Council of Northern Ireland; Brooklyn Museum, USA; the Hirschhorn Museum, Washington, DC, USA; the National Gallery of Victoria, Melbourne, Australia; Southampton City Art Gallery, England; Tate Modern, London, England; and the Victoria and Albert Museum, London, England.

Acrylic on canvas.

English, dated on reverse 1979 The canvas: Height: 5 ft; 152.5 cm Width: 4 ft 5¾ in; 136.5 cm The frame: Height: 5 ft 10¾ in; 179.5 cm Width: 5 ft 4½ in; 164 cm Provenance: The estate of the artist.

Illustrated: Jane Rye, Adrian Heath, 2012, no. 144, illus. p.175.

The artist’s signature, dated, with part of the title on reverse of canvas

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19 A PAIR OF GEORGE II GILTWOOD MIRRORS WITH BRACKETS (one illustrated here) English, circa 1740 Height: 49½ in; 125.5 cm Width: 29 in; 73.5 cm Depth: 10¼ in; 26 cm

20 A REGENCY SATINWOOD AND CALAMANDER DRUM TABLE ATTRIBUTED TO GEORGE OAKLEY English, circa 1815 Height: 28¼ in; 72 cm Diameter: 48 in; 122 cm

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21 A GEORGE III GILTWOOD MIRROR English, circa 1765 Height: 5 ft 5 in; 165 cm Width: 3 ft 4¾ in; 103 cm

22 A GEORGE II GILTWOOD OPEN ARMCHAIR ATTRIBUTED TO MAYHEW & INCE The chair: English, circa 1755 The needlework: French, circa 1750 Height: 41¼ in; 105 cm Height of seat: 17 in; 43 cm Width: 32½ in; 83 cm Depth: 30¼ in; 77 cm

23 A GEORGE I GREEN JAPANNED BUREAU CABINET ALMOST CERTAINLY BY JOHN BELCHIER English, circa 1715 Height: 7 ft 6 in; 228.5 cm Width: 2 ft 5¼ in; 74.5 cm Depth: 1 ft 11 in; 58.5 cm

24 A GEORGE II PARCEL GILT SIDE TABLE ATTRIBUTED TO WILLIAM KENT English, circa 1735 Height: 35¾ in; 91 cm Width: 54¼ in; 138 cm Depth: 27¾ in; 70.5 cm

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25 A GEORGE II GILTWOOD SIDE TABLE RONALD PHILLIPS LTD

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Note: The table retains the original marble top and virtually all of the original gilding.

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The table and its companion, which is thought to be lost, were both mentioned in two inventories for Longleat House, Wiltshire. Each inventory gives the tables different positions within the house. The descriptions are so vague, however, that it is not conclusive that the table had a companion.

English, circa 1735 Height: 35¾ in; 91 cm Width: 49 in; 124.5 cm Depth: 31½ in; 80 cm Provenance: Thomas, 2nd Viscount Weymouth, for Longleat House, Wiltshire, England; By descent until 2002; Private collection, England.

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THE LONGLEAT TABLE

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The table in situ at Longleat House, Wiltshire. Courtesy of Christie’s

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26 A GEORGE I GESSO AND GILTWOOD MIRROR ATTRIBUTED TO JOHN GUMLEY Note: The mirror retains virtually all the original gilding. The mirror plate has been re-silvered at some stage, and the glass candle arms with their brass sockets are of later date.

This mirror is an excellent example of virtuoso carving during the height of English gesso work in the early 1700s. The firm of Moore & Gumley held the Royal Warrant jointly, with James Moore being responsible for furniture and John Gumley for mirrors.

The attribution to Gumley is based on stylistic grounds and the high quality of the workmanship.

Mirrors signed by Gumley can be found in the Royal Collection at Windsor Castle.

English, circa 1715 Height: 57¾ in; 146.5 cm Width: 37 in; 94 cm Depth: 10¼ in; 26 cm Provenance: Private collection, Paris, France; Private collection, England.

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William Cadogan, 1st Earl Cadogan, oil on canvas, after 1716, artist unknown. © National Portrait Gallery, London

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27 A GEORGE I GESSO SIDE TABLE ATTRIBUTED TO JAMES MOORE Note: The table retains most of the original gilding.

Giltwood and gesso furniture became fashionable throughout the courts of Europe following its use by Louis XIV of France in the lavish decoration of his new palace at Versailles.

Gesso tables were never intended to be functional pieces of furniture.

The extremely delicate table tops were made only to be admired, not to be used. These tables were therefore purely status symbols, conceived in the latest style, to proclaim the wealth and importance of the owner.

This table is no exception.

James Moore (1670–1726), who was one of the best known cabinetmakers of the time and held a Royal Warrant, signed some of these pieces in the gesso, thus providing the means of direct comparison.

The style of the straight, square legs with carved bulbous toes and of the cross stretcher place the table’s date of manufacture no earlier than 1705 (before this, table legs would be heavily decorated and carved in figural forms) and no later than 1720–1725, when cabriole legs and lion paw feet became fashionable.

The table top is incised with the baron’s monogram CWMC. George I raised a number of his favoured subjects to the rank of baron, but only the barony of Cadogan matches these letters, for William Cadogan, Baron Cadogan, and his wife Margaret. The table is likely to have been ordered from Moore to celebrate Cadogan’s elevation to the peerage on 21 June 1716, when he was made Baron Cadogan of Reading. Two years later, in 1718, he was created 1st Earl Cadogan of Oakley, making the baron’s coronet in the table top out of date, but placing the date of manufacture precisely between 1716 and 1718, and most probably in 1716.

A comparable table in the Royal Collection at Windsor Castle and bearing the monogram of George I is incised ‘Moore’ into the strapwork at the back of the top. The entwined leaves and flowers carved into the outer border of the top are strikingly similar on both tables.

A gesso table attributable to Moore, of similar form and also with X cross stretcher, was recorded at Windsor Castle in the Rubens Room in 1927. Another table, also featuring straight, square legs, but

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highly ornamented, was advertised by Edwin H. Herzog Antiques Ltd., London, in 1970. A table in the collection of the Duke of Buccleuch and Queensberry at Boughton House, Northamptonshire, features plain square legs, X cross stretcher and very similar leaf carved ball feet.

Blenheim Palace in Oxfordshire, which was built between 1705 and 1722 for John Churchill, 1st Duke of Marlborough, features many pieces

by James Moore. Sarah, Duchess of Marlborough, sought Moore’s help in a dispute about the quality of workmanship at Blenheim Palace. As a result, the architect John Vanbrugh was dismissed and Moore was given control of the building works. Moore then supplied much furniture to the house, and some pieces remain at Blenheim today.

The Duke of Marlborough was largely on campaign overseas in the Spanish War of Succession while Blenheim was being built, and at his side was his close friend and ally William, Baron Cadogan. It is easy to understand why Cadogan would have engaged James Moore for his table, and Moore may well have been recommended by Marlborough himself.

English, between 1716 and 1718 Height: 30¼ in; 77 cm Width: 39½ in; 100 cm Depth: 21¾ in; 55 cm Provenance: William Cadogan, Baron Cadogan of Reading until 1718, and then 1st Earl Cadogan of Oakley, Caversham Park, Berkshire, England; Private collection, England.

Literature: E. F. Strange, ‘Furniture at Windsor Castle’, Old Furniture, June 1927, p. 16.

Ralph Edwards and Margaret Jourdain, Georgian Cabinet Makers, 3rd revised edition, 1955, figs 24 & 33.

Country Life, 23 September 1970, supplement 12; advertisement with Edwin H. Herzog Antiques Ltd., London, England.

Christopher Gilbert, A Pictorial Dictionary of Marked London Furniture 1700–1840, 1996, pp. 339–42.

Tessa Murdoch, ‘The King’s cabinet-maker: the giltwood furniture of James Moore the Elder’, Burlington magazine, June 2003, pp. 408–20.

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28 A GEORGE I WALNUT WING CHAIR Note: The needlework cover is original to the chair.

The top covers of the arms have been repaired.

The chair: English, circa 1715 The needlework: English, circa 1715 Height: 45 in; 114.5 cm Height of seat (without cushion): 14 in; 35.5 cm Width: 32¼ in; 82 cm Depth: 30½ in; 77.5 cm Provenance: French & Co., New York, USA; Private collection, New York, USA; Private collection, England.

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Christie’s, ‘The H. J. Joel Collection’, sale catalogue, 17 April 1980, p. 49

29 A QUEEN ANNE GESSO TABLE Note: The table retains much of the original gilding. The marble top is of later date.

English, circa 1710 Height: 28½ in; 72.5 cm Width: 19 in; 48.5 cm Depth: 13½ in; 34.5 cm Harry ‘Jim’ Joel (1894–1992) was the son of Jack Barnato Joel, who together with his two brothers Solomon and Wolff built up the highly profitable Barnato Diamond Mining Co. founded by their uncle Barney Barnato in South Africa in the 1870s. On Jack’s death in 1940 Jim inherited his father’s estate of Childwickbury, Hertfordshire, including the Childwickbury Stud, from where he continued the family business. He was known as much for his philanthropy as for his racehorse owning and breeding, establishing before his death a charitable trust which continues to support projects in South Africa and elsewhere.

Jim Joel’s collection of furniture was sold after his death and is now dispersed around the world.

Provenance: H. J. Joel Collection (formed under the guidance of R. W. Symonds), London, England; Private collection, London, England; Private collection, New York, USA. Illustrated: Christie’s, ‘The H. J. Joel Collection’, sale catalogue, 17 April 1980, p. 49.

Ronald Phillips Ltd., ‘Antique English Furniture’, catalogue, 2011, pp. 182–3.

Literature: Jacques Dubarry de Lassale, Identifying Marble, 2000, pp. 204–5.

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30 A PAIR OF REGENCY BRONZE AND ORMOLU STORM LIGHTS Note: The lights retain the original shaped glass storm shades.

The athenienne design with triform support is inspired by the Antique.

This style was popularised by Robert Adam from the late 18th century onwards, and well into the Regency period. Two comparable variations on the ‘design of a tripod and vase for candles’ were shown in the Adams brothers’ Works in Architecture, published in 1773.

English, circa 1815 Height: 22½ in; 57 cm Diameter: 6½ in; 16.5 cm Literature: Robert and James Adam, Works in Architecture, vol. I, 1773, pl. VIII.

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31 A HIGHLY IMPORTANT GEORGE II DARK GREEN JAPANNED BUREAU CABINET ATTRIBUTED TO GILES GRENDEY Note: The cabinet retains the original giltwood eagle cresting and finials and all the original ornate brass handles. The mercury silvered and bevelled mirror plates are period replacements. The japanning has been retouched in some areas. The raised decoration is virtually all original.

This japanned cabinet is one of the finest examples known to exist.

The dark green colour is extremely rare and is found on only a handful of pieces, including the pair to this cabinet, formerly in the collection of the Marques de Revilla in Madrid, and now in a private collection in California; a suite of four mirror girandoles, now in a private collection in Germany; a single mirror with Mackinnon Fine Furniture, London; and 19 side chairs, recorded at Chequers, Buckinghamshire, at Ormeley Lodge, Surrey, and at the Neapolitan court of Charles III at Capodimonte in Italy.

The attribution of the cabinet to Grendey is on stylistic grounds. The most striking features are the shape of the door panels, which is typical of Grendey’s work, the broken pediment with characteristic Grendey carved eagle cresting and the ornate brass handles. All of these features appear on documented pieces from the Grendey workshop.

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English, circa 1745 Height 9 ft 2 in; 279.5 cm Width: 4 ft ½ in; 123 cm Depth: 2 ft 4 in; 71 cm Provenance: Private collection, Paris, France; Private collection, Belgium.

Literature: R. W. Symonds, ‘A royal scrutoire – English furniture in Portugal’, Connoisseur, June 1940, pp. 233–6.

Connoisseur, June 1980, no page no.; trade advertisement by Mallett & Son Ltd., London, England.

Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, pp. 372–3.

Christopher Gilbert, A Pictorial Dictionary of Marked London Furniture 1700–1840, 1996, pp. 31–2, 238–49.

Lucy Wood, Upholstered Furniture in The Lady Lever Art Gallery, 2008, pp. 237–43.

Carlton Hobbs, ‘Catalogue Number Six’, New York, 2009, pp. 46–51.

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32 A PAIR OF GEORGE III MAHOGANY WINDOW SEATS English, circa 1780 Height: 30¾ in; 78 cm Height of seat: 18 in; 46 cm Width: 42 in; 106.5 cm Depth: 12½ in; 32 cm Provenance: Private collection, England.

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33 A PAIR OF GEORGE III GIRANDOLES Note: The girandoles retain much of their original gilding and have replacement 18th century mirror plates. The scroll single candle arms are probably original.

English, circa 1765 Height: 37 in; 94 cm Width: 15 in; 38 cm Depth: 7½ in; 19 cm Provenance: Ronald Phillips Ltd., London, England; Private collection, USA. Illustrated: Herbert F. Schiffer, The Mirror Book: English, American & European, 1983, p. 117, pl. 273.

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M. Harris & Sons, ‘A Catalogue and Index of Old Furniture and Works of Decorative Art’, Part II 1730–1780, circa 1930s, p. 205

34 A GEORGE II MAHOGANY KNEEHOLE WRITING DESK Note: The ornate brass handles are later replacements. The carrying handles are original.

English, circa 1745 Height: 33½ in; 85 cm Height of kneehole: 23½ in; 60 cm Width of kneehole: 14 in; 35.5 cm Width: 45 in; 114 cm Depth: 27 in; 68.5 cm Sir James Horlick was born in Gloucestershire in 1844. After qualifying as a chemist he developed a malt drink, but lacking funds to produce it in England he left the country in 1873 to join his brother William in Chicago. Together they founded the business of J. & W. Horlicks, which patented the famous malt drink in the US in 1883.

By 1890 the brothers had returned to England to establish an office in London importing the powdered drink from America. The company expanded further, and by 1906 a factory was established in Slough, Berkshire. The drink proved to be extremely popular in both England and the USA, and in 1914 James was made a baronet.

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Sir James lived at Cowley Manor in Gloucestershire and at 28 Queen’s Gate in London, where he built up a remarkable collection of English furniture of the 18th century. Many of the pieces passed through the hands of M. Harris & Sons and some, including this kneehole desk, are illustrated in their catalogues. Today many of the exquisite examples of English furniture from the Horlick collection form an important part of private and public collections around the world.

Provenance: Collection of Sir James Horlick, 1st Baronet, Cowley Manor, Gloucestershire, England; M. Harris & Sons, London, England; Private collection, New York, USA. Illustrated: M. Harris & Sons, ‘A Catalogue and Index of Old Furniture and Works of Decorative Art’, Part II 1730–1780, circa 1930s, p. 205.

Ronald Phillips Ltd., ‘Fine Antique English Furniture’, catalogue, 2013, pp. 69–71.

Ronald Phillips Ltd., ‘Fine Antique English Furniture’, catalogue, 2014, pp. 76–7.

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THE HORLICK KNEEHOLE DESK

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35 A GEORGE III GILTWOOD AND CARTON PIERRE OVERMANTEL MIRROR Note: The mirror retains much of the original gilding. The mirror plate is an 18th century replacement.

English, circa 1775 Height: 41 in; 104 cm Width: 44½ in; 113 cm

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The Rockefeller inventory number pasted to the inside of one of the back legs

36 A PAIR OF GEORGE III MAHOGANY OPEN ARMCHAIRS English, circa 1785 Height: 36 in; 91.5 cm Height of seat: 15½ in; 39.5 cm Width: 25¼ in; 64.5 cm Depth: 26 in; 66 cm Provenance: Mallett & Son Ltd., London, England; Collection of David Rockefeller, New York, USA (one chair); Private collection, England (the companion chair).

After having been separated for some fifty years in different collections on either side of the Atlantic, these two chairs have now been reunited.

The chairs were originally retailed by Mallett & Son in the late 1940s, and were for some reason sold separately.

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THE ROCKEFELLER CHAIR and companion chair

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37 A GEORGE III MAHOGANY TRIPOD TABLE Note: The table retains the original fretwork gallery.

Height: 28½ in; 72.5 cm Width: 27¼ in; 69.5 cm Depth: 21¼ in; 54 cm Provenance: Partridge Fine Arts Plc, London, England; Private collection, Florida, USA.

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38 A GEORGE II MAHOGANY STOOL English, circa 1755 The bold design and well carved detail of this stool suggest it must have been a special and possibly unique commission, as no other pieces with this very distinctive leg design have come to light so far.

Height: 19½ in; 49.5 cm Width: 22¾ in; 58 cm Depth: 17¾ in; 45 cm Provenance: John Keil Ltd., London, England, until 1981; Private collection, Shropshire, England.

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The candle vase with its central finial reversed for a fourth candle holder

39 A GEORGE III ORMOLU MOUNTED WHITE MARBLE TRIPLE ARM CANDLE VASE BY MATTHEW BOULTON English, circa 1770 Height: 16¼ in; 41 cm Diameter: 12¼ in; 31 cm Provenance: Private collection, USA; Private collection, New York, USA. Literature: Rudolph Lepke’s Kunstauktionshaus,‘Kunstwerke aus den Beständen Leningrader Museen und Schössern – Eremitage – Palais Michailoff – Gatschina und anderen’, sale catalogue, Berlin, 1928, lots 206–7, pl. 57 and p. 60.

The British Antique Dealers’ Association Golden Jubilee Exhibition handbook, London, 1969, pl. 119.

The Grosvenor House Art and Antiques Fair handbook, London, 1975, p. 38; a pair with Hotspur Ltd. Robin Kern, Hotspur Golden Jubilee, 1924–1974, pamphlet, 1974, pls 9 & 10.

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Christopher Gilbert, Furniture at Temple Newsam House and Lotherton Hall, vol. II, 1978, pp. 385–6.

Nicholas Goodison, Matthew Boulton: Ormolu, 2002, pp. 298–9.

Nicholas Goodison and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, 2004, p. 107.

The candle vase belongs to a small group of virtually identical vases, some made of blue john and some of white marble.

A pair of white marble vases with Russian provenance, possibly originally owned by the Empress Catherine the Great, is in the collection at Temple Newsam in Leeds. A further pair in white marble, but having lost the central candle holder and featuring later sprays of ormolu flowers, were sold, again with Russian provenance, in Berlin in 1928.

Their current whereabouts are not known. Another pair in white marble is in a private collection in New York.

A single white marble vase (possibly this one) remained unsold in the Boulton sale at Christie’s in 1771. No other single candle vases of this type in white marble have come to light.

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40 A GEORGE II SERPENTINE MAHOGANY CHEST OF DRAWERS OF SMALL SCALE Note: The ornate brass handles are period replacements.

Serpentine chests of drawers of this small size are exceptionally rare. The original finish has acquired a beautiful rich patina which only centuries of wax polishing can achieve, adding still more to the appeal of this outstanding piece.

English, circa 1755 Height: 33½ in; 85 cm Width: 28¼ in; 71.5 cm Depth: 16 in; 40.5 cm Provenance: Private collection, London, England.

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A GEORGE III WHITE PAINTED OVAL MIRROR

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A similar mirror was advertised in Antique Collector in February 1960 by Biggs of Maidenhead Ltd. Although the two mirrors show slight variations in the carving, both must originate from the same workshop.

The quality of the carving is exceptional and is similar to work by Linnell, Chippendale and Johnson, but a firm attribution is not possible.

English, circa 1775 Height: 47¾ in; 121.5 cm Width: 25½ in; 65 cm Provenance: Private collection, USA.

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The Knight of Glin and James Peill, Irish Furniture, 2007, p. 230, illus. 104.

42 AN IRISH GEORGE II MAHOGANY SIDE TABLE Irish, circa 1750 Height: 31 in; 78.5 cm Width: 46¼ in; 117.5 cm Depth: 26 in; 66 cm Provenance: Phillips & Harris Antiques Ltd., London, England; Glin Castle, Co. Limerick, Ireland; Private collection, England.

Illustrated: The Knight of Glin and James Peill, Irish Furniture, 2007, p. 230, illus. 104.

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THE KNIGHT OF GLIN TABLE

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Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1754, pl. CXX

43 A PAIR OF GEORGE III MAHOGANY TORCHÈRES ATTRIBUTED TO THOMAS CHIPPENDALE Note: The torchères have survived in virtually original condition, with minor repairs to the icicles and some fret gallery repairs.

English, circa 1760 Height: 50 in; 127 cm Diameter of top: 11¾ in; 30 cm Splay of base: 18 in; 46 cm Provenance: Collection of Frederick Howard Reed, London, England, until 1955; H. J. Joel, Childwickbury, Hertfordshire, England, until 1978; Private collection, England; Ronald Phillips Ltd., London, England, until 2004; Private collection, New York, USA. Exhibited: Art Treasures Exhibition, Bath, 1958, no. 276; with Walter Waddingham Antiques, Harrogate and London.

Illustrated: Christie’s, ‘Fine English Furniture of the Eighteenth Century, The Property of the late Howard Reid, Esq.’, sale catalogue, London, 17 November 1955, pp. 48–9, lot 189.

Christie’s, ‘Childwickbury, St. Albans, Hertfordshire, part I’, sale catalogue, 15 May 1978, pp. 60–61, lot 75.

Ronald Phillips Ltd., ‘Antique English Furniture’, catalogue, 2002, pp. 40–41.

Literature: Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1754, pl. CXX. Art Treasures Exhibition handbook, Bath, 1958, p. 29, no. 276; with Walter Waddingham Antiques, Harrogate and London.

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THE H. J. JOEL TORCHÈRES

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44 A PAIR OF GEORGE III GILTWOOD AND COMPOSITION GIRANDOLES AFTER A DESIGN BY JOHN LINNELL Note: The girandoles retain much of the original gilding. The candle arms with their ornate brass nozzles and the mirror plates are original.

English, circa 1775 Height: 47 in; 119.5 cm Width: 23¾ in; 60.5 cm Depth: 10 in; 25.5 cm Provenance: Private collection, London, England.

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45 THE BRIDGEWATER HOUSE PORPHYRY DOLPHIN TABLES English, between 1803 and 1806 Height: 32¾ in; 83 cm Width: 45 in; 114.5 cm Depth: 23½ in; 59.5 cm 46 A PAIR OF GEORGE III PERIOD CHINESE EXPORT MIRROR PAINTINGS The paintings: Chinese export, circa 1765 The frames: English, modern Height: 29 in; 73.5 cm Width: 33¾ in; 85 cm

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47 A GEORGE IV EIGHT LIGHT BRASS CHANDELIER BY JOHNSTON BROOKES & CO. English, 1821 Height: 41 in; 104 cm Diameter: 37 in; 94 cm 48 THE BROCKET HALL SETTEES: A PAIR OF GEORGE III GILTWOOD SETTEES

BY THOMAS CHIPPENDALE English, 1773 Height: 3 ft 7¼ in; 110 cm Height of seat: 1 ft 9½ in; 54.5 cm Width: 8 ft 1 in; 246.5 cm Depth: 2 ft 10 in; 86.5 cm 49 A GEORGE III MAHOGANY LIBRARY DESK

BY THOMAS CHIPPENDALE An identical model by Chippendale is at Dumfries House, Ayrshire, Scotland.

English, circa 1760 Height: 2 ft 7¾ in; 80.5 cm Width: 5 ft ¼ in; 153 cm Depth: 3 ft 2 in; 96.5 cm 50 A LOUIS XVIII BRONZE GREYHOUND ATTRIBUTED TO CHRISTOPHE FRATIN French, circa 1820 Height: 8½ in; 21.5 cm Width: 16½ in; 42 cm Depth: 6¼ in; 16 cm

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51 A PAIR OF GEORGE III MAHOGANY HALL BENCHES ATTRIBUTED TO MARSH & TATHAM Note: The mahogany has acquired an outstanding colour and patination. Three rails are of later date.

William Marsh established a highly influential cabinet-making firm in the late 1770s in Mount Street, London. Over the following decades the name of the company changed many times as partners joined and left the business. During the period when Thomas Tatham was a partner, between 1803 and 1811, it was called Marsh & Tatham.

Thomas Tatham was a cabinet-maker and the brother of Charles Heathcote Tatham, the renowned architect and protégé of Henry Holland. Charles was sent on the Grand Tour by Holland between 1794 and 1797, and his resulting ground-breaking Etchings of Ancient Ornamental Architecture, published in 1799, was followed by second and third editions and several reprints, culminating in the final version 122 of 1843.

Interestingly, both Thomas and Charles were trained in drawing and design by John Linnell before the brothers entered cabinet-making and architecture respectively.

The company of Marsh & Tatham frequently used designs by Charles Heathcote. Sometimes they were copied from the etchings, as can be seen in some of the furniture supplied to the Prince Regent for Carlton House, Marsh & Tatham’s most influential patron and commission, spanning some five decades and the reigns of four monarchs from 1783 to 1840.

The design for the benches is derived from plate 77 of the Etchings of Ancient Ornamental Architecture. This design proved very versatile, as it could be stretched from a single stool to long benches. The carved drapery in the design was largely omitted from its realisations. Painted examples in simulated marble and including the drapery are known, but only of stool size. One such painted stool is in the collection of the Victoria and Albert Museum, London.

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English, circa 1810 Height: 1 ft 7 in; 48.5 cm Length: 5 ft 1 in; 155 cm Depth: 1 ft 4 in; 40.5 cm Provenance: Private collection, England.

Charles Heathcote Tatham, Etchings of Ancient Ornamental Architecture, 1799, pl. 77

Literature: Charles Heathcote Tatham, Etchings of Ancient Ornamental Architecture, 1799, pl. 77.

C. Proudfoot and D. Watkin, ‘A pioneer of English Neo-classicism’ and ‘The furniture of C. H. Tatham’, Country Life, 151 (1972), pp. 918–21 & 1481–6.

Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, pp. 277–9.

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Sotheby & Co., ‘A Collection of English Furniture, Barometers & Clocks formed by a Gentleman residing in New York’, sale catalogue, New York, 27 & 28 June 1974, lot 109

52 A GEORGE III MAHOGANY BOOKCASE Note: The original corner finials have been lost at some stage and replaced by finials of later date. The brass knob handles on the drawers are replacements.

The bookcase’s most prominent feature is the exceptionally well carved pediment, which is decorated with numerous skull and ram’s head motifs between swags of husks entwining finely carved paterea.

Various woods have been used: dark, rich red mahogany, grey harewood, pink and yellow tulipwood, and box and ebony chequered stringing. The original colours have mellowed over the centuries, but if we could see them today we would probably be surprised by their brightness. This almost garish colour combination was highly fashionable in the late 18th century, and was popularised by Robert Adam and other leading architects of the time.

The design is in the Etruscan style, named after the Etruscan civilisation that inhabited northern and central Italy from the 10th century BC to the 1st century AD. The Etruscans were heavily influenced by Greek art, which they imported in great quantities. Etruscan art often depicts everyday items including vases, festive garlands, flowers and sacred offerings to the gods, and it uses striking combinations of colours: red, grey, black, pink, purple and green.

All of these colours (apart from green, which may have been chosen for the original lining) appear in this bookcase, which, together with its carved elements, makes it a notable example of the Etruscan style of the 18th century.

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English, circa 1785 Height: 8 ft 5 in; 256.5 cm Width: 5 ft 5 in; 165 cm Depth: 1 ft 9 in; 53 cm Provenance: Collection of Sam Eckman OBE, London, England; Hotspur Ltd., London, England; Collection of Arthur Leidesdorff, New York, USA; Hotspur Ltd., London, England; Collection of Harris Masterson, Rienzi, Texas, USA; Museum of Fine Arts, Houston, Texas, USA. Illustrated: Burlington magazine, April 1957, p. v; advertisement with Sotheby & Co. Sotheby & Co., ‘A Collection of English Furniture, Barometers & Clocks formed by a Gentleman residing in New York’, sale catalogue, New York, 27 & 28 June 1974, lot 109.

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J. & W. Cary’s price list of 1828

53 A REGENCY 21-INCH TERRESTRIAL GLOBE BY J. & W. CARY Note: The compass bezel and needle are replacements.

J. & W. Cary were one of the leading globe manufacturers in 18th century England, producing a wide range of designs available in at least three sizes, and sometimes more. The price list in their 1828 advertisement gives an indication of the variety on offer. The 21-inch globe was the largest size they produced as stock.

The papers on the globe and the horizon ring have survived in outstanding condition.

English, dated 1 March 1815 Height: 45½ in; 115.5 cm Diameter: 27½ in; 70 cm Provenance: Private collection, USA.

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Lanto Synge, Chairs, 1978, p. 55

54 A GEORGE II OAK ARMCHAIR The chair once formed part of a larger set. Five armchairs from the set, including this example, were sold either separately or as pairs by Mallett & Son. A pair from the set was originally sold to Nancy Lancaster, owner of the influential decorating firm of Colefax & Fowler, and then subsequently repurchased and again sold by Mallett & Son in 2003.

English, circa 1755 Height: 42¾ in; 108.5 cm Height of seat: 18 in; 46 cm Width: 27 in; 68.5 cm Depth: 24½ in; 62.5 cm Provenance: Mallett & Son Ltd., London, England; Private collection, Yorkshire, England.

Illustrated: Lanto Synge, Chairs, 1978, p. 55.

Literature: Mallett & Son Ltd., ‘Mallett London & New York’, catalogue, 2003, pp. 36–9; a pair from the set.

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55 A REGENCY ROSEWOOD BOOKCASE Note: The bookcase has a replaced brass gallery.

English, circa 1815 Height: 34 in; 86 cm Width: 20 in; 51 cm Provenance: Private collection, USA.

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56 A PAIR OF ROCK CRYSTAL LAMPS Italian, 20th century Height: 32 in; 81 cm Diameter: 16¼ in; 41 cm Provenance: Private collection, USA.

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57 A PAIR OF GEORGE III WHITE PAINTED SQUARE PEDESTALS The carving is of exceptionally fine quality.

Note: The statuary marble tops are of later date.

English, circa 1785 Height: 49 in; 124.5 cm Width of tops: 13¾ in; 35 cm

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58 A PAIR OF GEORGE III ORMOLU MOUNTED CUT GLASS TWO LIGHT CANDELABRA BY WILLIAM PARKER & SON Note: The cut glass has minor repairs, and one drip pan has been replaced.

English, circa 1790 Height: 29¼ in; 74 cm Width: 16 in; 40.5 cm Depth: 12 in; 30.5 cm Literature: Martin Mortimer, The English Glass Chandelier, 2000, p. 98, pl. 44.

William Parker produced this model in several variants using either Wedgwood or glass bodies for the pedestals. This cobalt blue glass version with fine gold decoration applied to the delicate cut glass body is particularly striking.

An assembly drawing by Parker for this model of candelabrum is in the collection of the Metropolitan Museum of Art in New York.

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The London Society of Cabinet-Makers, The CabinetMakers’ London Book of Prices, 1793, pl. 21

59 A GEORGE III SMALL SATINWOOD CARLTON HOUSE WRITING TABLE ATTRIBUTED TO GILLOWS Note: The table retains the original handles and castors. The original rising ratchet mechanism is fitted with a faded green leather insert of later date.

The Carlton House style of writing table was made fashionable by the Prince Regent, later George IV, in the last decade of the 18th century.

Carlton House, the official seat of the Prince Regent, was lavishly furnished by several leading London cabinet-making firms including Gillows, who supplied the large table and chairs for the dining room.

The cabinet-maker John Kerr of Pall Mall supplied one mahogany and one satinwood writing table in 1796 to Carlton House for £22 1s 0d and £16 9s 0d respectively. Kerr also supplied this type of table to the Duke of Bedford at Woburn Abbey.

These were not the first writing tables of this design, however. The design was first published by George Hepplewhite in 1792, and was also used in The Cabinet-Makers’ London Book of Prices in 1793, where it is signed Hepplewhite and dated 5 October 1792. (Intriguingly, however, it does not feature in any of the three editions of the book of designs published by Hepplewhite’s widow, Alice, after his death.)

The design was also copied by Thomas Sheraton, who published it in The Cabinet-Maker’s and Upholsterer’s Drawing Book in 1804. The plate is signed T. Sheraton and dated 16 January 1793.

Gillows supplied such a table to the Earl of Derby in 1798.

Gillows used the term ‘Carleton House Table’ as early as 1796. A sketch for the table in their cost book of that year states that a Mr. Becket made the piece for Gillows of London at a cost of £17 8s 8d.

English, circa 1800 Height: 34 in; 86.5 cm Width: 42¼ in; 107.5 cm Depth: 24½ in; 62 cm Provenance: Private collection, New York, USA. Literature: Alice Hepplewhite, The Cabinet-Maker and Upholsterer’s Guide, 1788.

Alice Hepplewhite, The Cabinet-Maker and Upholsterer’s Guide, 2nd edition, 1789.

The London Society of Cabinet-Makers, The Cabinet-Makers’ London Book of Prices, 2nd edition with additions, 1793, pl. 21.

Alice Hepplewhite, The Cabinet-Maker and Upholsterer’s Guide, 3rd edition, 1794.

Thomas Sheraton, The Cabinet-Maker and Upholsterer’s Drawing Book, 1804, pl. 50.

Herbert Cescinsky, English Furniture of the Eighteenth Century, vol. III, 1911, pp. 338–41.

Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, p. 510.

Lindsay Boynton, Gillow Furniture Designs 1760–1800, 1995, illus. 50.

Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008, vol. I, pp. 286–7.

We will probably never know who invented this type of writing table, but it was undoubtedly the tables made by John Kerr for the Prince Regent that led to the style being known by its now familiar name.

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60 A REGENCY MAHOGANY AND SATINWOOD OPEN ARMCHAIR ATTRIBUTED TO WILLIAM TROTTER The distinct lotus carving appears on several documented pieces by Trotter in the collection at Paxton House, Berwickshire, Scotland.

A chair from the same set was formerly in a private collection in London.

Scottish, circa 1815 Height: 34¾ in; 88 cm Height of seat: 18½ in; 47 cm Width: 21½ in; 54.5 cm Depth: 23 in; 58.5 cm Provenance: Dudley Marjoribanks, 3rd Baron Tweedmouth, Scotland (Lord in Waiting 1910–1911); By descent to The Hon. Mrs. Freeman-Thomas, Marchioness of Willingdon, Scotland; Mallett & Son Ltd., London, England; Private collection, Scotland.

Illustrated: Christie’s, ‘Important English Furniture’, sale catalogue, London, 21 March 1968, p. 30, lot 93.

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61 A GEORGE III MAHOGANY TRIPOD TABLE Note: This rare table retains all its original spindles secured by a brass strung moulding and has acquired an outstanding colour and patination. The top is slightly warped.

English, circa 1770 Height: 29 in; 74 cm Width: 29¼ in; 74.5 cm Depth: 24¼ in; 61.5 cm Provenance: Private collection, England.

Illustrated: Ronald Phillips Ltd., ‘18th Century Tripod Tables’, catalogue, 2014, pp. 18–19.

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62 A PAIR OF GEORGE III GILTWOOD OPEN ARMCHAIRS ATTRIBUTED TO THOMAS CHIPPENDALE Note: The chair frames have been re-gilded.

English, circa 1775 Height: 36½ in; 92 cm Height of seat: 17½ in; 44.5 cm Width: 24 in; 61 cm Depth: 24 in; 61 cm Provenance: Private collection, USA. The workshop of Thomas Chippendale produced many variants on this type of chair, which was usually supplied as part of a set including settees and sometimes side chairs.

Similar chairs were supplied to Egremont House (now the Naval and Military, or ‘In and Out’, Club) in Piccadilly, London, Petworth House, Sussex, and Burton Constable, Yorkshire. A set commissioned by the Duke of Clarence is now in the Royal Collection at Windsor Castle.

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63 A GEORGE III MAHOGANY CHEST OF DRAWERS Note: The chest of drawers has replaced 18th century handles, and the original feet have restorations to the internal blocking.

The colour and patination of this chest are outstanding.

English, circa 1770 Height: 36¼ in; 92 cm Width: 44½ in; 113 cm Depth: 22 in; 56 cm Provenance: Private collection, Kentucky, USA.

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64 A GEORGE III GILTWOOD MIRROR Note: The mirror retains some of the original gilding, with restorations to the bird cresting.

The central plate is a mercury silvered replacement. The marginal glasses are all original.

English, circa 1770 Height: 5 ft 5 in; 165 cm Width: 2 ft 8 in; 81.5 cm Provenance: Private collection, Ireland.

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A design for a table by Matthias Lock, between 1740 and 1756. Victoria and Albert Museum, London

65 AN IMPORTANT GEORGE II GILTWOOD SIDE TABLE Note: The ‘Yellow Siena’ marble top is an 18th century replacement.

Matthias Lock was one of the first designers and craftsmen in Britain to introduce rococo design, and several of his publications appeared before Thomas Chippendale’s The Gentleman and Cabinet-maker’s Director of 1754. Little is known about Lock himself, but it is believed he worked alongside Chippendale on some of his larger projects. As a result, the distinction between Lock and Chippendale is sometimes a little blurred.

The distinct cabriole leg boldly carved with acanthus leaf is comparable to a drawing by Lock preserved in the Victoria and Albert Museum, London.

English, circa 1750 Height: 35½ in; 90 cm Width: 57 in; 145 cm Depth: 31¾ in; 80.5 cm Illustrated: Ronald Phillips Ltd., ‘Antique English Furniture’, catalogue, 2015, pp. 8–11.

Literature: Connoisseur, vol. 152, January–April 1963, p. 228, illus. 9.

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66 A GEORGE III MAHOGANY LIBRARY ARMCHAIR AND STOOL The armchair: English, circa 1765 Height: 42¾ in; 108.5 cm Height of seat: 17½ in; 44.5 cm Width: 28 in; 71 cm Depth: 28 in; 71 cm Provenance: Halnaker Park, Chichester, West Sussex, England.

Halnaker Park was purchased by the Duke of Richmond in 1760.

Halnaker, formerly the leading establishment of the area, then ceded precedence to Goodwood, the newly built seat of the Dukes of Richmond, who used Halnaker for the immediate family.

Similar seating, including side chairs, armchairs and stools, was in the possession of the Dundas family at No. 19 Arlington Street, London.

The stool: English, circa 1765 Height: 18 in; 46 cm Width: 25 in; 63.5 cm Depth: 19¼ in; 49 cm The stool has design features identical to those of the chair, and is made in the same way: without doubt it originates from the same workshop.

Its provenance remains unknown, but it is entirely possible that it is the same as for the chair.

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THE TRAFALGAR LANTERN BY WILLIAM COLLINS

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67 A REGENCY ORMOLU MOUNTED ENAMELLED GLASS LANTERN

BY WILLIAM COLLINS Note: The smoke shade and hanging chains are of later date. The glass is signed ‘Patent Enamel’ beneath the ormolu ring.

English, circa 1815 Height: 39¼ in: 100 cm Diameter: 15¼ in: 39 cm The painting captures a view of the stern of HMS Victory, Admiral Lord Nelson’s flagship at the Battle of Trafalgar in 1805, as she breaks through the French line and engages the enemy vessels to either side of her.

William Collins produced a range of fine enamelled glassware to celebrate British victories in the Napoleonic Wars with France between 1803 and 1815. Suites of tableware for Queen Charlotte, Prince Augustus Frederick, the Duke of Sussex and other aristocratic patrons are also recorded.

The Duke of Wellington, commander of the British forces at the Battle of Waterloo in 1815, attended the opening of Waterloo Bridge in London in June 1817, not far from Collins’s premises at 227 The Strand, where he produced enamelled glass wares like this lantern in celebration of the occasion.

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68 A PAIR OF GEORGE II OVAL GILTWOOD MIRRORS Note: The gilding has been refreshed and the mirror plates are 19th century replacements.

English, circa 1755 Height: 46¼ in; 117.5 cm Width: 26 in; 66 cm Provenance: Private collection, London, England.

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A TRIPOD STAND FROM THE PERCIVAL D. GRIFFITHS COLLECTION

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R. W. Symonds, English Furniture from Charles II to George II, 1929, illus. p. 192, fig. 195

69 A GEORGE II MAHOGANY TRIPOD STAND This unusual tripod table belongs to a very small number of tables of similar height with similar baluster carved supports.

Although its height suggests it is neither a kettle stand nor a candle stand, R. W. Symonds described this tripod first as a ‘tripod coffee table’ in 1921 and later as a ‘tea-kettle stand’ in 1929. Despite this uncertainty, he acknowledged the merit of the exceptionally fine carving in this early use of mahogany.

A single tripod of similar form but constructed in rosewood was recently reunited with its companion at the Noel Terry Collection in York.

English, circa 1735 Height: 29 in; 73.5 cm Width: 19 in; 48 cm Diameter of top: 13 in; 33 cm

Exhibited: French and English Art Treasures of the Eighteenth Century in aid of the A.W.V.S., Parke-Bernet Galleries, New York, 1942.

Art Treasures Exhibition, Parke-Bernet Galleries, New York, 16–30 June 1955, cat. no. 227.

Illustrated: R. W. Symonds, The Present State of Old English Furniture, 1921, illus. fig. 70.

H. Avray Tipping, English Furniture of the Cabriole Period, 1922, pl. XXV. R. W. Symonds, English Furniture from Charles II to George II, 1929, illus. p. 192, fig. 195.

Literature: The Noel Terry Collection of Furniture and Clocks, 1987, no. 122, p. 124.

Woolley and Wallis, sale catalogue, Salisbury, 9 January 2019, lot 145.

Provenance: Percival D. Griffiths Esq., Sandridgebury, Hertfordshire, England; Frank Partridge, New York, USA; Parke-Bernet Galleries, ‘The Collection of J. P. Argenti’, New York sale, 13 December 1947, lot 350; Mr. and Mrs. Jerome C. Neuhoff, New York, USA; Sotheby’s, New York sale, 13 December 1986, lot 212; Private collection, England.

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70 A PAIR OF GEORGE IV 6-INCH TABLE GLOBES

BY J. & W. CARY Celestial globe: English, dated 1 January 1822 Terrestrial globe: English, dated 1 January 1824 Height: 10 in; 25.5 cm Diameter (globe): 6 in; 15.5 cm Diameter (horizon ring): 8½ in; 21.5 cm

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71 A GEORGE III MAHOGANY ARMCHAIR This type of chair is sometimes known as a Bank of England chair, although there is no evidence that such chairs were ever supplied to the bank. Most examples feature only a low back finishing at arm height.

Some rarer examples have a higher upholstered back, but examples with an extended back incorporating a second tier with a second splat in mahogany are very rare indeed.

English, circa 1765 Height: 46¼ in; 117.5 cm Height of seat: 18½ in; 47 cm Width: 28¼ in; 71.5 cm Depth: 25¼ in; 64 cm Provenance: Private collection, USA.

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72 A GEORGE III MAHOGANY WRITING TABLE ATTRIBUTED TO JOHN LINNELL Note: The ornate brass handles to the front are original. The handles to the reverse side are period replacements.

The London cabinet-making firm of Linnell were known for their highly sophisticated furnishings, which rivalled those of other top makers such as Chippendale and Mayhew & Ince.

The legs on this writing table have a characteristically elegant design, in which the fluted leg is reduced in the centre, with bulbous toes above the castors. Virtually identical legs can be seen on chairs supplied by Linnell to the Duke of Argyll.

English, circa 1780 Height: 30¾ in; 78 cm Knee height: 24¼ in; 61.5 cm Width: 41¾ in; 106 cm Depth: 29½ in; 75 cm Provenance: Partridge Fine Arts Ltd., London, England; Private collection, England.

Literature: Helena Hayward and Pat Kirkham, William & John Linnell, Eighteenth Century London Furniture Makers, 1980, vol. II, p. 46, illus. 91.

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73 A PAIR OF REGENCY MAHOGANY BERGÈRE CHAIRS The shaped back with an inward curve is highly unusual and adds elegance to the design of these sophisticated bergère chairs.

English, circa 1815 Height: 35½ in; 90 cm Height of seat: 17½ in; 44.5 cm Width: 25 in; 63.5 cm Depth: 32 in; 81.5 cm Provenance: Pelham Galleries, London, England; Maureen, Marchioness of Dufferin and Ava, London, England; Partridge Fine Arts Ltd., London, England; Ronald Phillips Ltd., London, England; Private collection, New York, USA. 170

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74 A PAIR OF GEORGE III ORMOLU MOUNTED BLUE JOHN CANDLE VASES

BY MATTHEW BOULTON Matthew Boulton produced most vases of this model as perfume burners. Few pairs were fitted with candle arms like this version.

The bodies were usually made of white marble or blue john, whilst the socles were generally made of white marble. A version like this entirely made in blue john is extremely unusual.

English, circa 1770 Height: 13¾ in; 35 cm Width: 8½ in; 21.5 cm Depth: 3½ in; 9 cm Provenance: Maharaja Bahadur, Sir Prodyot Coomar Tagore KCIE, Bengal, India; Private collection, London, England.

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The design for the chimneypiece by Darley. Courtesy of the Royal Irish Academy, Dublin

A comparable example by Darley at No. 4 Merrion Square, Dublin. The Irish Georgian Society Records, vol. IV, pl. LXXXI, 1912

75 AN IRISH GEORGE III INLAID STATUARY MARBLE CHIMNEYPIECE

BY GEORGE AND HILL DARLEY The brothers George and Hill Darley were the fourth generation of one of the most important stone-cutting families in 18th century Dublin.

The long-running Darley family business lasted from the 1660s until well into the 19th century.

Around ninety designs for neoclassical fireplaces by the Darley family have been preserved in the Royal Irish Academy, Dublin. The design drawing for this chimneypiece is annotated with a price of £75, which in the 1780s was a very considerable sum.

Related chimneypieces of this design by the Darley family can be found at No. 4 Merrion Square, Dublin, and at Belgard Castle, Dublin.

Irish, circa 1780 Height: 5 ft 4½ in; 163 cm Width: 6 ft 4 in; 193 cm Height of opening: 4 ft 1½ in; 126 cm Width of opening: 4 ft 3 in; 129.5 cm Depth: 8 in; 20.5 cm Literature: The Irish Georgian Society Records, vol. IV, pl. LXXXI, 1912.

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76 A SET OF FOUR GEORGE III CUT GLASS AND ORMOLU WALL LIGHTS ATTRIBUTED TO WILLIAM PARKER & SON Note: A small number of cut glass drops have been replaced with period glass of similar type.

William Parker & Son had the Royal Warrant for supplying glass to the Prince of Wales, later George IV. The company often supplied lighting for entire houses, and sets of four wall lights were not uncommon in the 18th century, but they have rarely survived.

English, circa 1800 Height: 25¼ in; 64 cm Width: 19 in; 48 cm Depth: 6½ in; 16.5 cm Provenance: Mallett & Son Ltd., London, England; Private collection, USA. Illustrated: Ronald Phillips Ltd., ‘Antique English Furniture’, catalogue, 2011, pp. 210–11.

Literature: Martin Mortimer, The English Glass Chandelier, 2000, p. 40.

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77 A SET OF SIX GEORGE III MAHOGANY OPEN ARMCHAIRS ATTRIBUTED TO GILLOWS English, circa 1790 Height: 36½ in; 93 cm Height of seat: 19 in; 48 cm Width: 23½ in; 60 cm Depth: 23½ in; 60 cm Literature: Susan E. Stuart, Gillows of Lancaster & London, 1730–1840, 2008, vol. I, pp. 164–6, pls 123–4.

Gillows developed the ‘five splat camel back stay rail chair’, as they called it, around 1785, following the design of a similar ‘three splat escutcheon chair’.

The design was later copied by Hepplewhite and published under his name in 1787. There is no known documented piece of furniture that was produced

by Hepplewhite.

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78 AN IRISH GEORGE III MAHOGANY THREE PILLAR DINING TABLE ATTRIBUTED TO WILLIAMS & GIBTON Note: The table has not been reduced in size. It retains the original wax finish. The extending leaves are period replacements.

Irish, circa 1800 Height: 2 ft 5 in; 73.5 cm Width: 4 ft 6¼ in; 137.5 cm Length with leaves: 14 ft 5¼ in; 440 cm Length without leaves: 9 ft 11½ in; 303.5 cm Provenance: Charles O’Hara the younger, Annaghmore, Collooney, Co. Sligo, Ireland.

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79 A SET OF FOURTEEN GEORGE III MAHOGANY DINING CHAIRS RONALD PHILLIPS LTD

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The set comprises twelve side chairs and two armchairs.

One chair is inscribed ‘Mr. Slayter 1812’, probably referring to a cabinetmaker or upholsterer who refurbished the chairs in 1812. There are several cabinet-makers listed of that name and at that time. Richard Slayter, who was working then for Gillows in Lancaster, signed other pieces with his name.

Similar chairs were formerly in the dining room at Croome Court, Worcestershire, and are now on display at Kelmarsh Hall, Northamptonshire.

English, circa 1775 The armchairs: Height: 37 in; 94 cm Height of seat: 18½ in; 47 cm Width: 25 in; 63.5 cm Depth: 23¾ in; 60.5 cm The side chairs: Height: 37 in; 94 cm Height of seat: 18½ in; 47 cm Width: 23 in; 58.5 cm Depth: 21½ in; 55 cm Provenance: Mr. R. Moss Harris, London, England.

Illustrated: Ronald Phillips Ltd., ‘Antique English Furniture’, catalogue, 2015, pp. 108–11.

Literature: Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, pp. 820–21.

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80 A GEORGE I GILTWOOD MIRROR ATTRIBUTED TO JOHN GUMLEY Note: The mirror retains the original re-silvered centre plates and the original marginal glasses.

The surface has been re-gilded in areas.

A pair of mirrors signed by Gumley in the Royal Collection are comparable to this mirror.

English, circa 1715 Height: 6 ft 7¾ in; 203 cm Width: 3 ft 4½ in; 103 cm Provenance: Partridge Fine Arts Ltd., London, 1960s; Private collection, England; Private collection, New York, USA. Literature: Ian Caldwell, ‘James Moore and the Bateman Chest’, Antique Collector, September 1988, pp. 74–9.

Ian Caldwell, ‘John Gumley the glassmaker’, Antique Collector, January 1989, pp. 40–46.

Ian Caldwell, ‘John Gumley, James Moore and King George I’, Antique Collector, April 1989, pp. 65–71.

Christopher Gilbert, A Pictorial Dictionary of Marked London Furniture 1700-1840, 1996, p. 252.

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RONALD PHILLIPS FINE ANTIQUE ENGLISH FURNITURE

THE S. B. JOEL SIDE TABLE

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Christie’s, ‘The Important Collection of French and English Furniture and Meissen Porcelain formed by the late S. B. Joel Esq.’, sale catalogue, 29 May 1935, lot 134

81 A GEORGE II MAHOGANY SIDE TABLE Note: The table has acquired an outstanding patina and retains the original ‘Light Greek Antique Green’ marble top.

English, circa 1750 Height: 36 in; 91.5 cm Width: 55¼ in; 140.5 cm Depth: 26 in; 66 cm Provenance: S. B. Joel, London, England, until 1935; Lady Ray Sharp, London, England, until 1937; Norman Adams Ltd., London, England; Partridge Fine Arts Ltd., London, England; Apter Fredericks Ltd., London, England; Private collection, New York, USA. Illustrated: Christie’s, ‘The Important Collection of French and English Furniture and Meissen Porcelain formed by the late S. B. Joel Esq.’, sale catalogue, 29 May 1935, lot 134.

Sotheby & Co., ‘The Fine and Extensive Collections of English Glass, Pottery, Porcelain, Works of Art, Needlework, Etc.’, sale catalogue, London, 18–19 November 1937, lot 273.

Partridge Fine Arts Ltd., ‘Recent Acquisitions 1998’, catalogue, pp. 30–31.

Apter Fredericks Ltd., 2008 catalogue, p. 47.

Ronald Phillips Ltd., ‘Fine Antique English Furniture’, catalogue, 2016, pp. 34–5.

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82 A GEORGE III WHITE PAINTED MIRROR Note: The mirror retains the original bevelled mirror plate, which was re-used from an earlier mirror, and most of the original paint surface.

English, circa 1760 Height: 5 ft 2 in; 157.5 cm Width: 3 ft 6¾ in; 108.5 cm Provenance: Private collection, England.

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83 A LARGE GEORGE II GILTWOOD BRACKET Note: The bracket retains much of the original gilding.

English, circa 1750 Height: 23¾ in; 60.5 cm Width: 17¼ in; 43.5 cm Depth: 10 in; 25.5 cm Provenance: Judge Irwin Untermyer, New York, USA, until 1973; Metropolitan Museum of Art, New York, USA. Literature: Yvonne Hackenbroch, English Furniture with Some Furniture of Other Countries in the Irwin Untermyer Collection, 1958, pl. 315, fig. 359.

Clare Vincent, Highlights of the Untermyer Collection of English and Continental Decorative Arts, 1977, p. 80, no. 167.

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84 A PAIR OF NAPOLEON III CAST IRON SEATED HOUNDS

BY HENRI ALFRED MARIE JACQUEMART French, circa 1870 Height: 37¼ in; 94.5 cm Width: 17¾ in; 45 cm Length: 37¼ in; 94.5 cm Jacquemart was one of the leading animal sculptors in 19th century France. His work was generally cast by Antoine Durenne of Sommevoire. A 19th century catalogue published by Durenne in 1862 and preserved in the Victoria and Albert Museum, London, illustrates the models of both hounds.

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Literature: Antoine Durenne, ‘Fonte de Fer’, catalogue, 1862, no page no.

Jane Horswell, Bronze Sculpture of ‘Les Animaliers’, 1971, p. 292.

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85 A GEORGE II GILTWOOD OVAL MIRROR Note: The mirror retains most of the original gilding and the original 18th century mercury silvered mirror plate.

English, circa 1740 Height: 5 ft; 152.5 cm Width: 3 ft 1½ in; 95.5 cm Provenance: Private collection, England.

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86 A REGENCY BRASS MOUNTED COCOBOLO AND GONÇALO ALVES WRITING TABLE Note: The brass collar above each castor is of later date.

The table is fitted with three drawers to the front, and dummy drawers to the reverse side. The gold tooled red Morocco leather insert is original.

English, circa 1815 Height: 28¼ in; 71.5 cm Width: 58¼ in; 148 cm Depth: 35½ in; 90 cm Provenance: Private collection, England.

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87 A GEORGE III MAHOGANY ARMCHAIR English, circa 1780 Height: 35¼ in; 89.5 cm Height of seat: 17½ in; 44.5 cm Width: 22½ in; 57 cm Depth: 26¾ in; 68 cm Provenance: Mallett & Son Ltd., London, England; Private collection, New York, USA. Illustrated: Mallett & Son Ltd., Chairs – Seated in Splendour, 2001, p. 68.

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A sketch by Charles Le Brun for a table made of solid silver for the Hall of Mirrors, Versailles

88 AN IMPORTANT QUEEN ANNE GILTWOOD AND GESSO TABLE TO A DESIGN BY DANIEL MAROT Note: The table retains virtually all the original gilding.

The quality of the gesso carving on this table is second to none, and it must have been carried out by a highly sophisticated craftsman, probably working in London.

The design of this piece is based on that for a table made as part of the legendary suite of silver furniture commissioned by Louis XIV for the Hall of Mirrors at the Palace of Versailles in the 1680s. Some 200 pieces in solid silver were made to Charles Le Brun’s designs, but they were all melted down on the King’s orders soon afterwards, in 1689, to defray the costs of his military campaigns.

The architect and designer Daniel Marot trained under Jean Le Pautre, Le Brun’s draughtsman, and must have been familiar with the design for the table. He adapted the design by adding his typical arabesque decoration to the top, along with bold gadrooning and a central mask motif, but he retained the striking winged caryatid corner supports that make this design so recognisable.

Marot was a French-born Huguenot who fled France to escape religious persecution. He settled in Holland and found employment there under the Protestant William of Orange, later moving to London in 1694 when William became King of England, alongside his wife Queen Mary.

During the next four years, before returning to Holland in 1698, Marot designed furnishings for the royal residences of Hampton Court, Surrey, and Kensington Palace, London. Although little of his work has survived, Boughton House in Northamptonshire features some elements based on his designs in the form of arabesque wall decoration. Marot’s

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designs were published in a series of books in his own lifetime and were adapted by English cabinet-makers of the time.

The transition from the original design to the finished article makes this table quintessentially English. Dutch, Flemish or French carving of the Baroque period is far more bold and curvaceous in comparison, whereas the leaf carving on the frieze, the scrolls and the caryatid legs of this table are restrained in a way that only English carving of the early 18th century can be. The central carved head of an American Indian with a head dress merging into leaf work features the distinctive pointed lips that appear to be unique to English carving in the portrayal of North American native peoples.

Very few English gesso tables from this period have survived, and examples of comparable quality are extremely rare.

A carved walnut table with similar caryatid supports is in the collection at Ham House, Richmond, Surrey.

English, circa 1710 Height: 30¾ in; 78 cm Width: 36½ in; 92.5 cm Depth: 21 in; 53.5 cm Provenance: Private collection, London, England.

Literature: Daniel Marot, Oeuvres du Sr D Marot Architecte de Guillaume III Roy de la Grande Bretagne Contenante Plussiers pensees utilles aux Architectes, Peintres, Sculpteurs, Orfeures, Jardinieres & autres, 1703.

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Ernst Wasmuth, Das Ornamentwerk des Daniel Marot, 1892, p. 164

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89 A GEORGE I GILTWOOD AND GESSO MIRROR Note: The glass arms, sockets and supports are restorations. The mirror retains the original shaped and bevelled mirror plate and most of the original gesso and gilding.

English, circa 1715 Height: 53 in; 134.5 cm Width: 24½ in; 62 cm Depth: 8¼ in; 21 cm Illustrated: Ronald Phillips Ltd., ‘Fine Antique English Furniture’, catalogue, 2017, pp. 176–7.

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THE UNTERMYER WALL BRACKETS

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90 A PAIR OF GEORGE II MAHOGANY WALL BRACKETS Note: The shelf platforms are of later date.

Carved wall brackets made of mahogany are exceptionally rare, making a pair particularly desirable.

English, circa 1750 Height: 12½ in; 32 cm Width: 6¾ in; 17.5 cm Depth: 5¼ in; 13.5 cm Provenance: Judge Irwin Untermyer, New York, USA, until 1964; The Metropolitan Museum of Art, New York, USA. Illustrated: Yvonne Hackenbroch, English Furniture with Some Furniture of Other Countries in the Irwin Untermyer Collection, 1958, pl. 305, fig. 347.

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91 A PAIR OF GEORGE III ORMOLU MOUNTED CUT GLASS EIGHT LIGHT CHANDELIERS BY MOSES LAFOUNT Moses Lafount, a Huguenot émigré from France, took out a patent numbered 2153 for his unusual chandelier design in 1796. The drawing included with the patent is virtually identical to these chandeliers. The centre receiving plates are stamped ‘LAFOUNT PATENT’ and numbered 1170 and 1171 respectively.

English, circa 1800 Height: 48 in; 122 cm Diameter: 34 in; 86.5 cm Provenance: Private collection, England.

Illustrated: Ronald Phillips Ltd., ‘Fine Antique English Furniture’, catalogue, 2016, pp. 166–9.

Literature: Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. 1, p. 337, fig. 26.

Martin Mortimer, The English Glass Chandelier, 2000, pp. 120–24.

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92 A PAIR OF JAPANESE EXPORT HIGASHIYAMA PERIOD BLACK AND GOLD DECORATED LACQUER CABINETS The decoration on these pictorial black lacquer cabinets is of exceptional quality. They retain the original gilt metal mounts, and are also decorated on the reverse side, which is highly unusual for cabinets of this period.

Each cabinet is fitted with two long, four short and two square drawers, the latter with locks and extra mounts.

A pair of Japanese lacquer cabinets of this period is in the collection of the Duke of Buccleuch and Queensberry at Boughton, Northamptonshire. One cabinet of this pair is illustrated in English Homes, Period III, vol. II. Japanese, circa 1680 Height: 21in; 53.5 cm Width: 28 in; 71 cm Depth: 17 in; 43 cm Provenance: Private collection, England; Private collection, Switzerland.

Literature: H. Avray Tipping, English Homes, Period III, vol. II, ‘Late Tudor and early Stuart, 1558–1649’, 1927, p. 53.

R. W. Symonds, ‘The English japan cabinet’, Country Life, 14 June 1965, pp. 1280–82.

Oliver Impey, Japanese Export Lacquer 1580–1850, 2005, pp. 129–35, fig. 9.3 ‘Cabinet decorated in Pictorial Style’.

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Lacquer decoration to the reverse side of one of the cabinets

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93 A PAIR OF GEORGE II PAINTED OVAL MIRRORS Note: The mirrors retain much of the original paint surface and have some carved replacements. One mirror plate is an 18th century mercury silvered replacement.

English, circa 1740 Height: 42 in; 106.5 cm Width: 26 in; 66 cm Provenance: Spains Hall, Essex, England; Private collection, England.

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THE COMPTON VERNEY COMMODES

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94 A PAIR OF GEORGE III SEMI-ELLIPTIC SATINWOOD COMMODES

BY MAYHEW & INCE Note: The side panels of one commode were at some stage converted to doors and subsequently changed back to panels. A central drawer in the frieze, also created at some later stage, has been retained.

The feet have been tipped, reinstating the commodes to their original height and following a typical Mayhew & Ince design for moulded feet.

English, 1767 Height: 32¼ in; 81.5 cm Width: 45¾ in; 116.5 cm Depth: 18¼ in; 46 cm Provenance: John, 14th Baron Willoughby de Broke, Compton Verney House, Warwickshire, England; Remained at Compton Verney until 1931; Frank Partridge Inc., New York, USA; Private collection, USA; Christie’s, London, 9 July 1992, lot 111; Private collection, England; Christie’s, London, 19 November 1993, lot 186; Private collection, Europe.

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John, 14th Baron Willoughby de Broke married Louisa North, sister of the Prime Minister, Lord North, in 1761. He engaged Robert Adam for alterations to Compton Verney, probably through the connection with Lord North. This was one of Adam’s first commissions.

Robert Adam added a new drawing room to the house. It was for this room that the commodes were supplied by Mayhew & Ince in 1767.

A single payment to John Mayhew for £28 15s 6d is recorded in Hoare’s Bank’s ledgers for the 14th Baron Willoughby de Broke on 29 May 1767 (see illustration on page 230).

The commodes are to date the earliest known pair of demi-lune commodes in the neoclassical style. Robert Adam may well have had influence on the conception of the commodes. His earliest recorded design for a demi-lune commode is only three years later.

A watercolour painting circa 1790 by an anonymous artist of a garden view seen through a window from an interior includes a depiction of the commodes. The view of the garden with a lake in the background identifies the interior as the drawing room at Compton Verney.

A painting by Johan Zoffany, now in the J. Paul Getty Museum in California, depicts the family taking tea in the drawing room at Compton Verney. A striking Persian carpet and a fire burning in the fireplace next to a window with drawn curtains create a comfortable

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The commodes shown in situ in the Compton Verney drawing room, circa 1790, artist unknown. Reproduced in Lucy Wood’s Catalogue of Commodes, 1994, p. 12, fig. 11

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John, 14th Lord Willoughby de Broke and his family, circa 1766, oil on canvas, Johan Zoffany. The J. Paul Getty Museum, Los Angeles

setting. The drawing room is the only room in the house with a fireplace next to a window. The commodes would have stood on the other side of the room. The window in Zoffany’s painting overlooked the courtyard, which may be why the curtains were drawn.

The Persian carpet in the Zoffany painting also features in the watercolour, linking the two pictures and further indicating that they do indeed both represent the drawing room at Compton Verney.

Illustrated: Frank Partridge Inc., ‘A Group of Fine Specimens Assembled From The New York Collection’, catalogue, New York, 1947, no page no., pl. 4.

Lucy Wood, Catalogue of Commodes, 1994, p. 12, fig. 11.

228

Literature: Norfolk Chronicle, 10 August 1776, no page no.

Arthur Bolton, The Architecture of Robert and James Adam, 1922, vol. I, pp. 216–28; floor plan of Compton Verney with Robert Adam’s additions shown in bold.

R. W. Symonds, ‘Inlaid furniture in the neo-classical style’, Connoisseur, June 1956, pp. 24–9.

Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, pp. 589–93.

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Frank Partridge Inc., ‘A Group of Fine Specimens Assembled From The New York Collection’, catalogue, New York, 1947, no page no., pl. 4

Arthur Bolton, The Architecture of Robert and James Adam, 1922, vol. I; floor plan of Compton Verney with Robert Adam’s additions shown in bold. The drawing room is highlighted here in green

229

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Detail of Hoare’s Bank ledger for the 14th Baron Willoughby de Broke showing a payment on 29 May 1767 to John Mayhew for the Compton Verney commodes (item 94; see page 226). Courtesy of Hoare’s Bank archive

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Sheraton, Thomas, The Cabinet Dictionary, London, 1803.

Sheraton, Thomas, The Cabinet Maker and Upholsterer’s Drawing Book, London, 1791.

Sheraton, Thomas, The Cabinet Maker and Upholsterer’s Drawing Book, revised 3rd edition, London, 1802.

Sievers, Johannes, Karl Friedrich Schinkel Lebenswerk Die Moebel, Berlin, 1950.

Smith, George, A Collection of Designs for Household Furniture and Interior Decoration, London, 1808.

Smith, John P., The Art of Enlightenment, London, 1994.

Snodin, Michael, Horace Walpole’s Strawberry Hill, London, 2009.

Sotheby’s, The Ivory Hammer, London, 1972.

Stalker, John, and George Parker, A Treatise of Japanning and Varnishing, London, 1688. Reprinted, Reading, 1998.

Stern, Robert A. M., Houses and Gardens, New York, 2005.

Storey, Walter Rendell, Thomas Sheraton’s Complete Furniture Works, New York, 1946.

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Stratton, Arthur, The English Interior, London, 1920.

Stuart, Susan E., Gillows of Lancaster and London, 1730–1840, Woodbridge, 2008.

Symonds, R. W., English Furniture from Charles II to George II, London, 1929.

Symonds, R. W., Furniture Making in Seventeenth and Eighteenth Century England, London, 1955 Symonds, R. W., Masterpieces of English Furniture and Clocks, London, 1940.

Symonds, R. W., Old English Walnut and Lacquer Furniture, New York, 1923.

Symonds, R. W., Thomas Tompion, His Life and Work, London, 1951.

Symonds, R. W., The Present State of Old English Furniture, London, 1921.

Symonds, R. W., Veneered Walnut Furniture, London, 1946.

Symonds, R. W., and T. H. Ormsbee, Antique Furniture of the Walnut Period, New York, 1947.

Synge, Lanto, Antique Needlework, London, 1982.

Synge, Lanto, Art of Embroidery, Woodbridge, 2001.

Synge, Lanto, Chairs, London, 1978.

Synge, Lanto, Mallett’s Great English Furniture, London, 1991.

Synge, Lanto, Mallett Millennium, London, 1999.

Tatham, Charles Heathcote, Etchings of Ancient Ornamental Architecture, London, 1799.

Tatham, Charles Heathcote, Etchings Representing the Best Examples of Grecian and Roman Architectural Ornament, 2nd edition, 1843.

Thompson, Francis, A History of Chatsworth, London, 1949.

Thurley, Simon, Hampton Court, London, 2004.

Tom Devenish, New York, 2000.

Tomlin, Maurice, Catalogue of Adam Period Furniture in the Victoria and Albert Museum, London, 1972.

Tomlin, Maurice, English Furniture, London, 1972.

Treuherz, Julian, The Lady Lever Art Gallery, Liverpool, 2004.

Trueblood, Nancy, ‘The Taste for Lacquer’, Connoisseur, May 1987.

Vardy, John, Some Designs of Mr. Inigo Jones and Mr. William Kent, 1744.

Vernay, Arthur S., A Collection of Old English Furniture and Works of Art of the XVIIth and XVIIIth Centuries, New York, 1922.

Vernay, Arthur S., Decorations and English Interiors, New York, 1927.

Vernay, Arthur S., The Vernay Collection for the Spring of 1929, New York, 1929.

Vernay, Arthur S., Autumn 1952, New York, 1952.

Vincent, Clare, Highlights of the Untermyer Collection of English and Continental Decorative Arts, New York, 1977.

Walkling, Gillian, Tea Caddies, London, 1985.

Walton, Karin M., The Golden Age of English Furniture Upholstery 1660–1840, Leeds, 1973.

Ward-Jackson, Peter, English Furniture Designs, London, 1984.

Ward-Jackson, Peter, English Furniture Designs of the Eighteenth Century, London, 1959.

Wasmuth, Ernst, Das Ornamentwerk des Daniel Marot, Berlin, 1892.

Weale, John, Old English and French Ornament, London, 1846.

Weber, Susan, William Kent: Designing Georgian Britain, New York, 2013.

Webster, Mary, Johan Zoffany, London, 2011.

Whitbread, Major S., Southill – A Regency House, London, n.d.

White, Elizabeth, Pictorial Dictionary of British 18th Century Furniture Design: The Printed Sources, London, 1990.

Williamsburg Collection of Antique Furnishings, The, New York, 1973.

Wills, Geoffrey, English Furniture 1550–1760, London, 1971.

Wills, Geoffrey, English Furniture 1760–1900, London, 1979.

Wills, Geoffrey, English and Irish Glass, London, 1968.

Wills, Geoffrey, English Looking-glasses: A Study of the Glass, Frames and Makers (1670–1820), London, 1965.

Winn, Colin G., The Pouletts of Hinton House St. George, 1976.

Witney Antiques Ltd., An Invitation to Tea, Witney, 1991.

Wood, Lucy, Catalogue of Commodes, Liverpool, 1994.

Wood, Lucy, Upholstered Furniture in The Lady Lever Art Gallery, Liverpool, 2008.

Woods, R. A., English Furniture in the Bank of England, London, 1972.

Yates, Simon, Encyclopedia of Tables, London, 1989.

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Detail from item 31, a green japanned bureau cabinet; see page 90

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INDEX BOOKCASES/CABINETS/BUREAUX A pair of Japanese export black and gold decorated lacquer cabinets A George I green japanned bureau cabinet by John Belchier A George II dark green japanned bureau cabinet attr. to Giles Grendey The Leidesdorff bookcase: a George III mahogany bookcase A Regency rosewood bookcase

216 72 90, 237 124 132

CHESTS/COMMODES A George II serpentine mahogany chest of drawers of small scale The Ashburnham Place commodes: a pair of George II lacquer commodes A George III mahogany chest of drawers A George III serpentine mahogany commode attr. to William Gomm & Son The Compton Verney commodes: a pair of George III satinwood commodes

by Mayhew & Ince

108 34 148 10 224

GLOBES RONALD PHILLIPS LTD

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A Regency 21-inch terrestrial globe by J. & W. Cary A pair of George IV 6-inch table globes by J. & W. Cary

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128 164

LIGHTING A George III cut glass eight light chandelier attr. to William Parker & Son A George III white marble triple arm candle vase by Matthew Boulton A pair of George III blue john candle vases by Matthew Boulton A pair of George III cut glass two light candelabra by William Parker & Son A pair of George III cut glass eight light chandeliers by Moses Lafount A set of four George III cut glass wall lights attr. to William Parker & Son A Regency ormolu mounted enamelled glass lantern by William Collins A pair of Regency bronze and ormolu storm lights A George IV eight light brass chandelier by Johnston Brookes & Co. A pair of 20th century rock crystal lamps

22 106 172 138 212 176 158 88 121 134

MIRRORS/GIRANDOLES Single A George I gesso and giltwood mirror attr. to John Gumley A George I giltwood and gesso mirror A George I giltwood mirror attr. to John Gumley A George II giltwood oval mirror The Donnington Grove mirror: a George III giltwood and carton pierre mirror A George III giltwood mirror A George III giltwood overmantel mirror A George III giltwood and carton pierre overmantel mirror A George III white painted mirror A George III white painted oval mirror

78 208 186 198 14 150 73 98 192 110

Pairs The Nostell Priory mirrors: a pair of George II mirrors attr. to Isaac Odell A pair of George II giltwood mirrors with brackets A pair of George II oval giltwood mirrors A pair of George II painted oval mirrors A pair of George III giltwood girandoles after a design by John Linnell A pair of George III girandoles A pair of Irish George III oval mirror girandoles

30 72 160 220 118 94 52

Mirror paintings A pair of George III period Chinese export mirror paintings

120

OBJECTS A George II Convent Sienna marble chimneypiece A George III ormolu mounted blue john ewer by Matthew Boulton An Irish George III marble chimneypiece by George and Hill Darley A Louis XVIII bronze greyhound attr. to Christophe Fratin A pair of Napoleon III cast iron hounds by Henri Alfred Marie Jacquemart A Victorian paktong fire grate Talgarth, an abstract painting by Adrian Heath, dated 1979

60 7 174 120 196 62 70

SEATING Benches A pair of George III mahogany hall benches attr. to Marsh & Tatham A pair of George III mahogany window seats

238

122 92

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Chairs (single) A George I walnut wing chair A George II giltwood open armchair attr. to Mayhew & Ince The Ronald A. Lee chair: a George II mahogany corner chair A George II oak armchair A George III mahogany armchair A George III mahogany ‘Bank of England’ armchair A George III mahogany library armchair and stool A Regency mahogany and satinwood open armchair attr. to William Trotter

84 72 68 130 202 166 156 142

Chairs (pairs) The Wimpole Hall chairs: a pair of George II walnut armchairs attr. to W. Vile A pair of George III giltwood armchairs by Chippendale (part of a suite) A pair of George III giltwood open armchairs attr. to Chippendale The Rockefeller chair and companion: a pair of George III mahogany armchairs A pair of Regency mahogany bergère chairs

18 42 146 100 170

Chairs (sets) A set of six George III mahogany open armchairs attr. to Gillows A set of fourteen George III mahogany dining chairs

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Settees A George III giltwood settee by Chippendale (part of a suite) The Brocket Hall settees: a pair of George III giltwood settees by Chippendale

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Stools A George III mahogany stool Suites A George III giltwood settee and pair of giltwood armchairs by Chippendale

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42 120 104 42

TABLES Card/games A George II mahogany concertina action card table

40

Centre A Regency octagonal rosewood table attr. to Marsh, Tatham, Bailey & Saunders A Regency satinwood drum table attr. to George Oakley

56 72

Desks/reading/writing/low-boys The Horlick desk: a George II mahogany kneehole writing desk The Chesterfield House table: a George II mahogany library table A George III mahogany library desk by Chippendale A George III mahogany writing table attr. to John Linnell A George III small satinwood Carlton House writing table attr. to Gillows A Regency brass mounted cocobolo and gonçalo alves writing table

96 64 120 168 140 200

Dining/breakfast An Irish George III mahogany three pillar dining table attr. to Williams & Gibton

180

Occasional tables/stands The H. J. Joel table: a Queen Anne gesso table 86 The H. J. Joel torchères: a pair of George III mahogany torchères attr. to Chippendale 114 A pair of George III white painted square pedestals 136 Side A Queen Anne giltwood and gesso table to a design by Daniel Marot The Cadogan table: a George I gesso side table attr. to James Moore The S. B. Joel table: a George II mahogany side table The Longleat table: a George II giltwood side table A George II giltwood side table A George II parcel gilt side table attr. to William Kent An Irish George II mahogany side table A pair of George II mahogany side tables attr. to Benjamin Goodison The Bridgewater House porphyry dolphin side tables A pair of George III semi-elliptic marquetry side tables attr. to Mayhew & Ince

204 81 188 74 152 73 112 24 120 48

Tripod A George II mahogany tripod stand from the Percival D. Griffiths collection A George III mahogany tripod table with rectangular top and fretwork gallery A George III mahogany tripod table with shaped top and spindle gallery

162 102 144

WALL BRACKETS A large George II giltwood bracket The Untermyer brackets: a pair of George II mahogany wall brackets

194 210

239

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RROON HIILLLLIIPPSS NAALL D P H F IN U E E GH LIIS S HUFF UN IT E G R E A T FH R INT U RR F I NE EA AN NTTIE IQ QN UG EL E IN NS G L U RRN IT UU R EE

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