MACKINNON FINE FURNITURE
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MACKINNON FINE FURNITURE
Mackinnon Fine Furniture 5 Ryder Street St James's London SW1Y 6PY Telephone: +44 (0)20 7839 5671 | Mobile: +44 (0)7725 332 665 | Email: charlie@mackinnonfineart.com
www.mackinnonfineart.com
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INTRODUCTION We are delighted to present our third annual printed catalogue highlighting a selection of the fine antique furniture currently available in our collection. Putting these catalogues together is a wonderful opportunity for us to share with you the discoveries of our full research and study of these exceptional pieces. The monumental walnut bureau made for the Duke of Chandos is an outstanding piece of furniture both historically and in terms of quality. Other highlights include the exquisite pair of scarlet japanned armchairs by Giles Grendey from Lazcano Palace and the chinoiserie armchair from the Leopold Hirsch collection. The white painted mirror attributed to John Vardy is a tour de force of carving whilst the fabulous serpentine commode attributed to Ince & Mayhew is a true masterpiece of marquetry. The pair of commodes attributed to Pierre Langlois are also quite exceptional. We have filled the pages with wonderful pieces of furniture all chosen for their individual merits – and whether it be the colour, patina, inlaid work, fascinating makers, or illustrious provenances – we hope you might find something to tempt you. Fine antique furniture continues to capture the imagination, and we are delighted with the growing response and enthusiasm over the past year. We aim to reach as many of you as possible with a comprehensive programme of gallery exhibitions and antiques fairs, as well as our blog, newsletter, website, and several social media platforms. As always, you are welcome to visit the gallery at any time, and we would be delighted to show you the collection. In the meantime, we hope you enjoy the catalogue. Our summer exhibition will be entitled The Age of Walnut. Focusing on this particularly wonderful era of English cabinetmaking, the exhibition will encompass not only walnut but also superlative examples of marquetry, gilt-gesso, and japanned furniture. Bearing this in mind, please do remember that we are also always interested in acquiring fine pieces of furniture. Thank you once again to May Geolot for her continual support and assistance.
Charlie Mackinnon Mackinnon Fine Furniture
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A PAIR OF GEORGE II MAHOGANY HALL CHAIRS England, circa 1750 A very fine pair of George II mahogany hall chairs in the traditional sgabello form. Each chair with an elaborate cartouche shaped moulded back of concave form above a similarly shaped seat with dished roundel, the shaped front and rear legs joined by a stretcher. Exceptional examples of their kind. The mahogany of particularly fine colour and patina, and of very impressive weight. Height: 42 in (107 cm) Width: 19 in (48 cm) Depth: 20 in (51 cm)
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The inspiration for the basic form of the hall chair comes from the Italian Renaissance sgabello seats, which were stools with a back support often carved and decorated with heraldic imagery and placed in the hallways of grand palazzos. In England, by the mid 18th century, designs for hall chairs had appeared in Chippendale’s Director as well as other contemporary design books including Robert Manwaring’s The Chair-Maker’s Real Friend and Companion. The plain backs of these chairs were often decorated with armorials or family crests. A closely related set of chairs was supplied to the Earl of Dumfries for Dumfries House by Alexander Peter in 1758 and remain in situ today. The painted decoration, in their case the Crichton crest encircled by the Collar of the Order of the Thistle, is known to have been completed by John Bonnar in 1759.
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A PAIR OF GEORGE I GILT GESSO TABLES Attributed to Elizabeth Gumley England, circa 1720 An exceptional and very rare matched pair of George I gilt gesso tables attributed to Elizabeth Gumley. The tops with re-entrant corners and carved with elaborate strapwork, above a shaped frieze similarly decorated and centred by a shell, raised on cabriole legs with bold scrolling acanthus leaves to the knees and particularly rare inverted scroll feet. Of identical size, one a side table and the other a centre table, the side table having gilt gesso decoration on three sides of the frieze while the centre table is decorated on all four sides. The tops, following the same overall pattern, are different in their decorative carving, and the side table has carved beading to the legs. The side table stamped E.G. to the underside. Height: 30¼ in (77 cm) Width: 20¼ in (51 cm) Depth: 31¼ in (79 cm)
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Elizabeth Gumley The stamped ‘E.G.’ on the underside of the side table almost certainly refers to Elizabeth Gumley (1647-1751), who was part of a renowned family of cabinetmakers in the late 17th and early 18th centuries. She worked in partnership with her husband, Peter (1674-1702), and son, John (1691-1727), producing tables, chests, japanned cabinets, and with a particular speciality in looking glasses. Dudley Ryder, a law student, commented on the impressive Gumley workshop in 1715 saying, ‘Went into the glass warehouse over the New Exchange. There is indeed a noble collection of looking glasses, the finest I believe in Europe.’ Their premises were at the Exeter Exchange on the Strand, in London. The Gumleys collaborated with the cabinetmaker James Moore in their commissions for the Royal family, including the magnificent pair of gilt gesso side tables and candlestands supplied to Hampton Court. Moore carried out commissions for a number of other prominent patrons, including the Duchess of Marlborough, the Duchess of Buccleuch, the Duke of Montagu, and the Earl of Burlington, some of which almost certainly were carried out in partnership with the Gumley firm.
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A GEORGE I BURR WALNUT BUREAU CABINET England, circa 1720 A very fine George I burr walnut bureau cabinet. The moulded broken arched cornice with carved giltwood finials above two mirrored doors, opening to reveal pigeonholes, niches, and drawers, centred by a small cupboard with a bevelled mirrored door that conceals secret drawers, the slant front of the bureau section opening to reveal a silk velvet lined writing surface and interior with further drawers, secret drawers and pigeonholes, all above three short and three long graduated feather banded figured drawers, the whole supported on bracket feet. Retaining original handles. The walnut of particularly beautiful colour and figuring.
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Height: 97 in (246.5 cm) Width: 40½ in (103 cm) Depth: 22½ in (57 cm) Provenance The collection of Ruth and Theodore Baum, USA
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A GEORGE I GREEN JAPANNED DRESSING MIRROR In the manner of John Belchier England, circa 1720 A very rare George I green japanned dressing mirror. Of grand proportions, the adjustable arched bevelled mirror plate supported by turned finial mounted pilasters, above a bombé base section with a fall front opening to reveal a suede writing-surface and a variety of drawers and pigeon-holes, above a curved deep drawer fitted with open compartments. Standing on small stylised cushion feet. Extremely finely decorated throughout with wonderful gilt chinoiseries on a dark green ground. Height: 35 in (89 cm) Width: 19 in (48.5 cm) Depth: 12¼ in (31 cm)
Provenance Partridge Fine Art, New Bond St., London The fashion for japanning arose in England following the publication of John Stalker and George Parker’s publication, A Treatise on Japanning and Varnishing, in 1688. This guide offered a thorough description of the japanning technique as well as decorative schemes to use. There were recipes and instructions on how to make japanned varnishes in a variety of colours, including green, white, blue, red, chestnut, lapis lazuli, and tortoiseshell hues.
J. Stalker and G. Parker, A Treatise of Japanning and Varnishing, Oxford, 1688, pl. 18.
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A GEORGE III MARQUETRY PEMBROKE TABLE Attributed to Henry Hill of Marlborough England, circa 1765 An exceptionally rare George III amboyna and marquetry Pembroke table attributed to Henry Hill of Marlborough. The serpentine top, having butterfly shaped flaps, of outstanding figured and beautifully patinated amboyna. The front and back frieze decorated with floral neo-classical marquetry inlay flanked by inlaid paterae. The turned tapering legs with fluted shafts divided by a gadrooned collar and standing on a plain turned foot, with castors. Height: 28 in (71 cm) Width with flaps down: 20½ in (52 cm) Width with flaps open: 41 in (104 cm) Depth: 32½ in (83 cm)
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Comparative Literature L. Wood, Catalogue of Commodes, 1994, pp. 64-73, figs. 46-50. Mallett & Son (Antiques) Ltd., Annual Catalogue 2001, pp. 42-43. There is a small group of Pembroke tables of this unusual form, but with differences in the inlaid decoration, all of which are attributed to Henry Hill of Marlborough. In her Catalogue of Commodes, Lucy Wood refers to one of these tables supplied to Alice Calley, for Burderop Park, who was a regular customer of Henry Hill. For more information on Henry Hill of Marlborough please refer to pp. 24-25 of this catalogue.
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THE HAGLEY HALL CHAIRS Attributed to Vile & Cobb England, circa 1760 An outstanding pair of George III carved mahogany and upholstered side chairs attributed to the Royal cabinetmakers William Vile and John Cobb. The serpentine-shaped upholstered backs and seats above wonderful carved seat frames and exaggerated cabriole legs terminating in scroll feet. The carving of exceptional quality and crispness. Height: 38½ in (98 cm) Width: 26¾ in (68 cm) Depth: 26¾ in (68 cm)
Provenance Commissioned by Sir George Lyttelton, 5th Bt. and 1st Baron Lyttelton for the Saloon, Hagley Hall, Worcestershire Literature ‘Hagley Park, Worcestershire. The seat of Viscount Cobham,’ Country Life, 16 October 1915, p. 521. H. A. Tipping, ‘The Passing of the Lyttelton Home,’ Country Life, 2 January 1926, p. 28, fig. 2. O. Brackett, Thomas Chippendale, A Study of His Life and Influence, London, pl. XVII. C. Hussey, English Country Houses, Early Georgian 1715-1760, 1955, p. 198, fig. 353. M. McCarthy, ‘The Building of Hagley Hall, Worcestershire,’ The Burlington Magazine, vol. 118, no. 877 (April 1976), ill. p. 220.
The chairs photographed in situ in the Saloon at Hagley Hall, Worcestershire.
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A GEORGE III MAHOGANY SIDE CHAIR In the manner of Thomas Chippendale England, circa 1760 A very fine George III mahogany side chair in the manner of Thomas Chippendale of exceptional quality. The back with partially stop-fluted side columns and a superb anthemion crested interlaced splat with floral and foliate carvings to the top rail centered by a deep-carved foliate clasped cabochon, the upholstered saddle-seat above chamfered moulded front legs joined to the slightly splayed back legs by a sophisticated shaped H-stretcher. Of excellent colour throughout.
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Height: 38 in (96.5 cm) Width: 23½ in (59.5 cm) Depth: 23 in (58.5 cm)
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A GEORGE II IRISH MAHOGANY DROP LEAF TABLE Ireland, circa 1750
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A magnificent George II period Irish mahogany drop leaf table. The table standing on four wonderful acanthus and flower carved cabriole legs each terminating in exaggerated animal paws.
Height: 29 in (73.5 cm) Width: 60 in (152.5 cm) Depth: 54 in (137 cm)
The mahogany of the finest colour, figuring, and patina throughout. With exceptional quality carving. An outstanding table.
Comparative Literature The Knight of Glin and J. Peill, Irish Furniture, 2007, p. 242, pl. 148.
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A PAIR OF GEORGE III SATINWOOD DEMI-LUNE SIDE TABLES England, circa 1780 A very fine pair of George III Sheraton period satinwood and polychrome decorated demi-lune side tables. Each with a crossbanded top above a conforming frieze decorated with painted scrolling foliage tied by ribbons, standing on square tapering legs and toupie feet. The central panels of satinwood of particularly fine colour and figuring.
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Height: 34½ in (88 cm) Width: 47 in (120 cm) Depth: 21½ in (54.5 cm) Provenance Pelham Galleries, London Private Collection, USA
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A PAIR OF LOUIS XV GILTWOOD FAUTEUILS France, circa 1750 A fine pair of mid 18th century Louis XV period carved giltwood fauteuils upholstered in verdure tapestry. The impressive show frames with superb quality carving throughout including shells, scrolling acanthus leaves, and hatchwork, standing on elegant scroll toed cabriole legs.
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Height: 37¾ in (96 cm) Width: 27¼ in (69.5 cm) Depth: 22 in (56 cm)
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A GEORGE III MAHOGANY SERPENTINE COMMODE In the manner of Henry Hill of Marlborough England, circa 1770 A fine George III mahogany and ebonised serpentine commode in the manner of Henry Hill of Marlborough. The crossbanded serpentine top above a brushing slide and three graduated long drawers, above a shaped serpentine apron, and standing on splayed feet. Of exceptional colour and patina throughout. Height: 33 in (84 cm) Width: 46 in (117 cm) Depth: 23 in (58.5 cm) Comparative Literature G. Beard and C. Gilbert (eds.), The Dictionary of English Furniture Makers, 1660-1840, p. 430. L. Wood, The Lady Lever Art Gallery Catalogue of Commodes, London, 1994, pp. 64-73. L. Wood, ‘Furniture for Lord Delaval,’ Journal of the Furniture History Society, 1990, vol. XXII, pp. 198-222. Henry Hill This fine commode bears the characteristic features of Henry Hill, an accomplished cabinetmaker working in Marlborough, Wiltshire from the 1740s until 1778. Hill occupied himself not only as a cabinetmaker but also as a decorator, auctioneer, and estate agent, benefiting from his strategic location in Marlborough as it was a convenient stopping point on the Great West Road between London and the fashionable town of Bath. His major documented clients included Lord Delaval, as well as the 9th Duke of Somerset at Maiden Bradley, Paul Methuen at Corsham Court, and Henry Hoare at Stourhead. Hill’s obituary in the Reading Mercury on 20 July 1788 read, ‘On Sunday night died, Mr. Henry Hill, of Marlborough, one of the most eminent cabinetmakers and upholsterers in the kingdom; who passed through life with the strictest integrity, on the most benevolent principles; and with every disposition, the most friendly to human nature, advanced with happiness of his fellow creatures.’
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A GEORGE I WALNUT STOOL England, circa 1720 A very fine George I walnut stool of generous proportions. The stool standing on four cabriole legs, each with fine carved detail, and standing on square moulded pad feet. The stool upholstered in 18th century floral needlepoint. The walnut of particularly good colour and patina.
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Height: 19¼ in (49 cm) Width: 24 in (61 cm) Depth: 19 in (48 cm) Provenance Private Collection, Spain
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A PAIR OF GEORGE I WALNUT HIGH BACK CHAIRS Attributed to Richard Roberts England, circa 1720 A superb and rare pair of George I high back walnut side chairs attributed to the Royal cabinetmaker Richard Roberts. The intricately carved back splat in the Berainesque style, with carving also to the cabriole legs and cross stretchers. With drop-in upholstered seats. Height: 47 in (120 cm) Width: 21½ in (54.5 cm) Depth: 21½ in (54.5 cm)
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Richard Roberts This exceptional pair of chairs relates extremely closely to a set of ten at Hampton Court Palace, which are likely part of the original set of eighteen chairs supplied by Richard Roberts, a Royal cabinetmaker working for Queen Anne and George I. In 1717-18 he issued an invoice that read, ‘For 18 Chairs made of the best Walnuttree bended backs finely carved and pollisht and silk lace Seats for his maties [Majesty’s] Dining Room … £36.0..0.’ Both the Hampton Court set of chairs and the present pair reflect design influences from the earlier William & Mary period with the carved backs drawing inspiration from patterns by Daniel Marot, designer to the King and Queen at the turn of the 18th century.
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THE DUKE OF CHANDOS BUREAU Attributed to Peter Miller England, circa 1720 A highly important monumental George I figured walnut, crossbanded, and feather banded bureau attributed to Peter Miller. In two parts, the top with a pair of hinged sloping doors, lined with silk velvet, which open outwards. The interior fitted with a sliding velvet lined writing surface, and a combination of drawers and pigeon holes. The lower part fitted with a pair of projecting panelled doors flanked by gilt carved and gesso decorated walnut Corinthian pilasters concealing hidden compartments and three short concave drawers to each side, above a long shaped apron drawer with projecting plinths, the sides with wonderful carrying handles. On shaped bracket feet with castors. With solid walnut lined drawers throughout. Of exceptional quality throughout. A masterpiece of 18th century walnut furniture. Twice inscribed in ink on the inner backboards, ‘To His Grace The Duke of Chandos at Shaw Hall, near Newbury, Barks(sic).’ Height: 46½ in (119 cm) Width: 48 in (123 cm) Depth: 29½ in (75 cm)
Detail showing the engraved escutcheon cover.
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Provenance Supplied to James Brydges, 1st Duke of Chandos (1673-1744) As Paymaster-General of the Duke of Marlborough’s army, James Brydges had amassed an immense fortune by the time he resigned his position in 1713. Rising through the ranks of the aristocracy he became the 1st Duke of Chandos, extravagantly commissioning works from leading artists and architects along the way to suit his elevated position. Chandos, alongside Sir Robert Walpole and Sir Hans Sloane, is considered today one of the most important patrons of the 18th century. His fortunes however were unfortunately short-lived having suffered severe losses when the financial disaster of the South Sea Bubble struck in October 1720. By 1747 the majority of the estate and collections had been auctioned. Full details and literature upon request.
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A REGENCY ROSEWOOD DRUM TABLE England, circa 1810 A very fine Regency rosewood circular drum table of very impressive scale and proportion. The table with a gilt tooled leather top crossbanded with rosewood, above eight drawers, four true and four false, supported by a triform pedestal and tripartite ormolu-mounted platform base with bold cast bronze lions paw feet and castors. The rosewood of particularly good colour throughout. Height: 30¼ in (77 cm) Diameter: 53¼ in (135 cm)
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THE LAZCANO SUITE A PAIR OF GEORGE II SCARLET JAPANNED ARMCHAIRS By Giles Grendey England, circa 1730 A highly important and exceptionally rare pair of George II scarlet japanned armchairs by Giles Grendey from the Lazcano suite. Each chair with a vase-shaped back splat decorated with chinoiserie figures in landscape scenes with scrolling foliage, birds, and strapwork. The seat frames similarly decorated and with original cane-work. Raised upon cabriole legs joined by a serpentine stretcher. One chair with the original trade label to the underside of the seat frame reading ‘GILES GRENDEY, St John’s Square, Clerkenwell, LONDON, Makes and Sells all Sorts of CABINET GOODS, Chairs, Tables, Glasses, &c.’ Each with the journeyman’s initials ‘HW’ impressed to the back of the chair frame.
Provenance Supplied to either Don Juan Raimundo de Arteaga-Lazcano y Chiriboga (d. 1761), II Marqués de Valmediano, for Lazcano, San Sebastián, Spain, circa 1735-1740, and by descent at Lazcano, or to Don Juan de Dios de Silva Mendoza y Sandival, X Duque del Infantado (1672-1737), or his daughter, Dona Maria Teresa de Silva y Mendoza, XI Duquesa del Infantado (1707-1770), and thence by descent at Lazcano Acquired with the majority of the suite by Adolfo Loewi, 1930 Walter Rosen for his house Caramoor, in Katonah, New York Literature A full bibliography is available upon request.
Height: 44 in (112 cm) Width: 30¼ in (77 cm) Depth: 24 in (61 cm)
Photograph of the suite at Lazcano Palace. C. de Arteago, La Casa del Infantado, Cabeza de Mendoza, vol. II, 1944.
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The Lazcano Suite by Giles Grendey These iconic armchairs form part of the most celebrated and elaborate suite of English furniture made during the 18th century. Commissioned from the esteemed cabinetmaker Giles Grendey, of London, this extensive suite comprises of at least seventyseven pieces including tables, chairs, daybeds, looking glasses, tripod stands, and several desks and bookcases. The significance of this palatial collection of furniture is unprecedented, and it has been the subject of numerous publications on furniture history. Historian R.W Symonds described pieces from the suite as ‘the best English cabinet-work’ in 1935 and Christopher Gilbert further emphasized the suite’s ‘outstanding importance’ in 1971. Today, much of the suite is now held in major museums around the globe, including the Victoria and Albert Museum, London; the Metropolitan Museum of Art, New York, Temple Newsam House, Leeds; and the Museo de las Artes Decorativas, Madrid. Giles Grendey Giles Grendey (1693-1780) was a leading London cabinetmaker, born in Wotton-under-Edge in Gloucestershire. He was the apprentice to the London joiner William Sherborne, becoming a freeman in 1716. Taking his own apprentices by 1726, Grendey was elected to the Livery of the Joiners’ Company in 1729. His first workshop was at St. Paul’s, Covent Garden, and he moved to St. John’s Square, Clerkenwell in 1772 where he developed a thriving export trade. According to R. W. Symonds, Grendey is the only English furniture maker of whom definite evidence exists of his thriving export trade. One record of his exportation of goods was reported in various newspapers on August 7, 1731 after a fire
started on adjacent premises to Mr Grendey ‘a Cabinet-maker and Chair-maker.’ This devastating fire caused him to lose furniture to the value of £1,000, including one particular piece which was described as: ‘among other rich and valuable Goods was burnt a Chair of such rich and curious Workmanship… it being intended, to be purchas’d by a person of Quality who design’d it as a Present to a German Prince,’ which he ‘had packed for Exportation against the next morning.’ The Dukes of Infantado The suite is recorded in a nineteenth century photograph of an interior of the Palace of Lazcano which was later reproduced in La Casa del Infantado cabeza de los Mendoza by Cristina de Arteaga (Vol II, Madrid, 1944). The Palace of Lazcano was built between 1620 and 1640 in Guipúzcoa, Northern Spain. The Dukes of Infantado, one of the grandest families in Spanish history, who could count amongst them seven knights in the Order of the Golden Fleece and one Prime Minister of Spain, inherited the palace in 1891. Adolph Loewi and Walter Rosen In 1930, the German dealer Adolph Loewi (1888-1977) visited the palace and acquired a great deal of the collection, including fifty side chairs, twelve armchairs, two daybeds, two pairs of mirrors, a pair of candlestands, a card table, and a tripod tea table. From his shops in Venice and later in America, Loewi sold the collection to clients internationally. His great patron was Walter Tower Rosen (1875-1951), an avid art collector, who acquired thirty pieces for his Caramoor estate in Katonah, New York, all of which is understand to now have been dispersed.
A pair of scarlet japanned side chairs from the Lazcano Palace suite also currently offered by Mackinnon Fine Furniture. 38
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A GEORGE II MAHOGANY TALLBOY England, circa 1750 An exceptional George II Chippendale period carved mahogany secretaire tallboy. The top section comprising two short over three long oak lined, cock beaded drawers, flanked by canted corners with exquisitely carved trailing vines and flowers, surmounted by a shaped cornice with a dentil moulding. The lower section comprising three long graduated drawers, the top being a secretaire, opening to reveal an arrangement of drawers and pigeon holes. The bottom moulding again with expressive carved acanthus corners, joined with a carved egg and dart moulding. Standing on bold cabriole legs with carved hairy paw feet. The handles original. This piece was featured in the 1953 Queen Elizabeth II Coronation edition of the Connoisseur magazine.
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Height: 76 in (193 cm) Width: 44½ in (113 cm) Depth: 22½ in (57 cm) Provenance With Jeremy Ltd., London, 1953 Literature Connoisseur, Coronation Edition, 1953, ill. p. XLVIII.
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A PAIR OF GEORGE III BOMBÉ COMMODES Attributed to Pierre Langlois England, circa 1765 A highly important and very rare pair of George III ormolumounted padouk and rosewood bombé serpentine commodes attributed to Pierre Langlois. Each with a quarter veneered serpentine top above a shaped drawer fitted with a leather writing slide, above a pair of doors, standing on splayed feet. The doors opening to reveal a shelved interior, previously fitted with drawers. Retaining their original rococo ormolu handles and mounts. Of exceptional colour and quality throughout. Height: 32¾ in (84 cm) Depth: 21¼ in (54 cm) Width: 39 in (99 cm) Provenance Blairman and Sons, London, 1958 Literature P. Thornton and W. Rieder, ‘Pierre Langlois, Ebéniste – Part 3’ Connoisseur, 1972, vol. 179, nos. 719-722, p. 178, fig. 6. These superlative commodes can be confidently attributed to Pierre Langlois as they relate closely to known documented pieces which exhibit the same overall design, similar accomplished veneer work and also the same ormolu mounts. The metalwork is attributed to Dominique Jean, Langlois’s son-in-law. Pierre Langlois was a cabinetmaker of Huguenot origin who found favour in both the Royal Court and within the aristocracy. His name is now synonymous with some of the greatest English furniture, made in the French taste, during the second half of the 18th century. His work can be seen in the Royal Collection at Buckingham Palace and Windsor Castle today, and he is also known to have supplied furniture to, amongst others, the Duke of Bedford, now at Woburn Abbey. A magnificent commode supplied to the Earl of Coventry for Croome Court by Pierre Langlois is now in the collections of the Metropolitan Museum of Art in New York.
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A GEORGE II CARVED AND PAINTED MIRROR In the manner of John Vardy England, circa 1750 An outstanding and highly important George II carved and white painted mirror in the manner of John Vardy. The exceptional frame flanked by female terms emanating from scrolling palms above fantastical bearded masks, the top surmounted by a wonderful mask surrounded by scrolling foliage and C-scrolls, the base of the frame with a waterfall pouring from a grotto, the whole profusely carved with flowers and foliage.
This rare and fantastical mirror reflects the transitional emergence of the rococo style in England, which developed in the wake of the restraint of the classical Palladian revival earlier in the 18th century.
Height: 64½ in (164 cm) Width: 39½ in (100 cm)
Frontispiece for Some Desigsn of Mr Inigo Jones and Mr William Kent, 1744, engraved and published by John Vardy. 44
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John Vardy & Thomas Vardy The Palladian movement was characterized by the work of William Kent, a renowned English architect who looked to antiquity for inspiration. The architect and designer John Vardy began working for the Royal Office of Works in 1736 where he served under Kent. Vardy published a book of Kent’s designs in 1744 entitled Some Designs of Mr. Inigo Jones and Mr. William Kent. This publication included designs that epitomized the Palladian style with architectural renderings and designs for furniture. The satyr mask cresting on this mirror relates closely to a drawing from the publication for a table that Kent designed for Houghton Hall. A 1743 publication by Isaac Ware, another Palladian architect, entitled Designs of Inigo Jones and Others, features a design that is very similar to the female terms that flank either side of the mirror (plate 51). Vardy achieved acclaim in his own right as an architect and designer, and one of his most notable projects was Spencer House in St. James’s, London. John, 1st Earl Spencer commissioned Vardy to design the facades for the house as well as the interiors and some of the furniture. The most celebrated room is the Palm Room which serves as the architectural climax to the ground floor suite of rooms. The palm trees reflected the contemporary interest in classical architecture and the connection to nature. The palm motif appears prominently in this mirror with the palm fronds climbing up either side of the frame.
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While Vardy’s designs incorporated Palladian principles, he was also innovative in introducing rococo themes into his design. The rococo movement developed in England largely due to the rise of the St Martin’s Lane Academy, which formed in 1735 under the direction of William Hogarth. This circle of artists and designers promoted the rococo for its association with the natural world. This mirror reflects the burgeoning rococo fashion with the cascading waterfall from a grotto at the base of the mirror along with the dramatic C-scrolls and floral garlands found throughout. The two magnificent bearded masks on either side of the mirror also reflect rococo designs with their playful expressions and facial hair that morphs into wings. While the design can be attributed to John Vardy, it is likely that his brother, Thomas Vardy, was responsible for the carving. Thomas Vardy worked alongside his brother John at Spencer House and maintained a workshop on Park Street, Grosvenor Square.
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A GEORGE III BURR YEW-WOOD BUREAU CABINET Attributed to Ince & Mayhew England, circa 1775 A very fine George III burr yew-wood and mahogany marquetry bureau cabinet attributed to Ince & Mayhew. Of excellent proportions, the broken arched cresting inlaid with feathered husks and a paterae above a dentilled and faux-fluted frieze, with a pair of astragal-glazed doors and a moirĂŠ silk-lined interior, the base with kingwood crossbanding, and a secretaire-drawer enclosing a beautiful fully fitted interior, above three graduated drawers, and standing on bracket feet. Of outstanding quality.
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Height: 102ž in (261 cm) Width: 41 in (104 cm) Depth: 20 in (51 cm)
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A PAIR OF GEORGE II WALNUT SIDE CHAIRS Attributed to Giles Grendey England, circa 1730 A very fine pair of George II burr walnut side chairs attributed to Giles Grendey. Each chair with a scrolled top-rail above a vase-shaped splat flanked by serpentine stiles, standing on fine cabriole legs terminating in pad feet. The shaped drop-in seats upholstered with English 18th century period floral needlepoint. The burr walnut of magnificent colour and patina. The chairs with journey-man stamp ‘IK.’ Height: 40 in (102 cm) Width: 20 in (51 cm) Depth: 21½ in (55 cm)
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These chairs relate very closely to a known design by Grendey that retains his trade label. There are other directly related examples, including a single chair at Temple Newsam, a chair from the collection of the Duchess of Wellington, and an example at the Carnegie Museum of Art, which also retains its original Grendey label.
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A PAIR OF GEORGE II GREEN JAPANNED BUREAU BOOKCASES Attributed to Giles Grendey England, circa 1740 A highly important and extremely rare pair of George II green japanned bureau bookcases attributed to Giles Grendey. Each with a broken swan neck pediment cresting surmounted by a turned golden finial, the upper section with two doors fitted with bevelled mirror plates which open to reveal, on the reverse, panels of floral chinoiserie decoration, and an interior fitted with pigeonholes and folio shelves of varying sizes, with a central door decorated with chinoiseries, standing above a fall front bureau section enclosing further drawers and pigeon holes, below is a single drawer in the frieze above two short and two long drawers, the whole standing on bracket feet. Each bureau decorated throughout with outstanding gilt chinoiseries on an incredibly rare olive green ground. Height: 96 in (244 cm) Width: 40 in (101.5 cm) Depth: 22½ in (57 cm) Provenance Private collection, Northern Spain Comparative Literature F. Davis, A Picture History of Furniture, London, 1958, ill. 217. G. Wills, English Furniture 1550-1760, London, 1971, p. 135, fig. 105. C. Gilbert, A Pictorial History of Marked London Furniture 17001840, Leeds, 1996, p. 86, ill. 68.
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Japanning John Stalker and George Parker’s publication, A Treatise on Japanning and Varnishing, in 1688 was a seminal moment for the development of japanning in English decorative arts. These bureaus draw direct inspiration from this treatise. This guide offered a thorough description of the japanning technique as well as pictorial decorative schemes to use, including recipes and instructions on how to make, amongst the more regular colours, olive japanned varnishes. This olive hue, as used on this pair of bureaus, is one of the rarest colours seen on japanned furniture today. To achieve it, the treatise instructs the artisan to use the dye ‘English Pink’ and to ‘grind it with common size, and when it has attained the consistency of butter, convey it to a pottinger, and there Lamblack and White lead mixt with it, produce the Olive-colour.’ The Pair It is highly unusual to see pairs of bureau bookcases made in England in the 18th century, and the few that exist are generally known to have been commissioned for the export market, in particular for Spanish and Portuguese clients. One of the most celebrated pairs, made for the Portuguese Royal Court, is attributed to James Moore and decorated entirely in gilt gesso. Originally two pairs of these extraordinary gilt gesso cabinets were made, but only one pair, now separated, survives today. In another rare instance, two pairs of bureau bookcases, this time with scarlet japanned decoration, formed part of the magnificent Lazcano suite of furniture supplied by Giles Grendey for the Dukes of Infantado. Examples can be seen in the Museo de Artes Decorativas in Madrid.
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A GEORGE III ROSEWOOD SOFA TABLE England, circa 1780 A very fine George III rosewood and partridge-wood banded sofa table. The table with a beautifully figured rosewood top with numerous inlaid lines of stringing and broad partridgewood banding. The frieze below with two drawers on one side and matching false drawers to the other. The table stands on elegant tapering end supports above down-swept legs which, united by a high arched stretcher, terminate in bold brass box castors. Of particularly fine quality with superb colour and inlaid work. Height: 28½ in (72 cm) Width with flaps down: 39 in (98.5 cm) Width with flaps up: 62 in (157.5 cm) Depth: 27ž in (70.5 cm)
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A GEORGE II GILT GESSO MIRROR In the manner of John Belchier England, circa 1730 A very fine large George II gilt gesso mirror in the manner of John Belchier. The original rounded rectangular bevelled plate within a foliate-carved moulded frame, the cresting centred by feathers and flanked by eagles’ heads on a pounced ground, the apron centred by a winged cherub mask. With twin brass candle arms. Height: 52¾ in (134 cm) Width: 31 in (78.5 cm)
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John Belchier John Belchier was a Huguenot immigrant who worked in London as a cabinetmaker between 1687 and 1753. In 1712, he established a workshop at Nottingham Court, Short’s Gardens in the parish of St. Giles-in-the-Fields, London. In 1717, he moved his business to ‘The Sun’ in St. Paul’s Churchyard. Belchier is one of the few cabinetmakers of the time who affixed trade labels to some of his work. At Erddig, Belchier supplied an exceptional carved giltwood lit à la duchesse featuring similar carved eagle heads as the ones that appear on the present mirror. Belchier is also known to have supplied japanned and walnut bureau cabinets.
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A PAIR OF GEORGE I MARQUETRY SIDE CHAIRS Attributed to Thomas and Richard Roberts England, circa 1715 An outstanding pair of George I walnut and seaweed marquetry side chairs attributed to Royal chairmakers Thomas and Richard Roberts. Each chair with an arched upholstered and close-nailed back and seat, standing on extravagantly shaped cabriole legs with square hoof feet, the legs and central cartouche to the front seat rail beautifully inlaid with seaweed marquetry decoration. Height: 43¼ in (110 cm) Width: 22¾ in (58 cm) Depth: 25¾ in (65.5 cm) Provenance With Charles of London and New York (described as ‘the Hampton Court Chairs’) Gifted by Mrs Leonard A. Cohn to the Metropolitan Museum of Art, 1945 Exhibited AngloMania: Tradition and Transgression in British Fashion, Metropolitan Museum of Art, New York, 3 May - 4 September 2006. Previously on permanent view at the Metropolitan Museum of Art, New York.
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Literature ‘Recent Accessions of European Decorative Arts,’ Metropolitan Museum of Art Bulletin, vol. 6, no. 8, April 1948, p. 227. Comparative Literature A. Bowett, Early Georgian Furniture 1715-1740, pl. 4.19, 4.53-54. G. Beard and J. Cross, ‘Thomas and Richard Roberts’, Apollo, September 1998, pp. 46-48. G. Beard, Upholsterers and Interior Furnishing in England 1530–1840, London 1997, p. 149, fig. 167. Thomas Roberts & Richard Roberts These chairs relate closely to those supplied by Thomas Roberts to Sir Robert Walpole, later 1st Earl of Orford (d. 1745) for Houghton Hall, Norfolk, with similar shaped cabriole legs and ending in stylised hoof feet. Thomas and Richard Roberts both held the warrant as ‘joiner to the Royal Household’ for over thirty years, from 1686 until 1729, and supplied furnishings for Whitehall, Kensington Palace, Hampton Court and Windsor Castle. Three related pairs of chairs, commissioned by Sir John Trevor (c. 1637-1717) for Trevor House, later Powis House, Knightsbridge and then removed in the mid 18th century to Brynkinalt, Denbighshire, were sold Sotheby’s London, Of Royal and Noble Descent, 19 January 2017, lots 333-335. These chairs feature similar construction, similar inlaid marquetry panels, and near identical feet. A further set of walnut and marquetry chairs featuring the similar leg pattern and hoof foot was supplied to Thomas Watson-Wentworth, 3rd Earl of Stafford, for Wentworth Woodhouse, Yorkshire.
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A GEORGE III SERPENTINE CHEST OF DRAWERS In the manner of Thomas Chippendale English, circa 1760 A very fine George III mahogany serpentine chest of drawers in the manner of Thomas Chippendale. The beautifully figured and patinated serpentine moulded top with canted corners above four graduated serpentine drawers, each with elaborate Rococo ormolu handles. The top drawer opening to reveal a baize-lined brushing slide and a fitted interior with an elaborate configuration of lidded compartments and storage areas. The canted corners with superb carved blind-fret detailed decoration. Of excellent colour.
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Height: 33 in (84 cm) Width: 41 in (104 cm) Depth: 23½ in (60 cm)
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A PAIR OF GEORGE III GILTWOOD ARMCHAIRS Attributed to John Cobb England, circa 1770 An important pair of George III giltwood armchairs attributed to John Cobb. In the French taste, these exceptional chairs have magnificent gadrooned show-frames. The elegant cabriole legs similarly gadrooned and terminating in scroll toes with pad feet. The legs and arms further decorated with distinctive carved C-scroll motifs. The seat, back, and armrests are upholstered with silk damask. Height: 35¾ in (91 cm) Width: 27 in (69 cm) Depth: 20 in (51 cm)
Comparative Literature Partridge Fine Art, Catalogue of Summer Exhibition 1974, pp. 106-107 offered an identical suite, comprising six armchairs and a settee, with the provenance of the De Souza Collection, Lisbon. L. Synge, Great English Furniture, 1991, pp. 8-9 for a related pair of chairs. The distinctive gadrooned frames and finely carved knees of these chairs relate to a group of seat furniture traditionally attributed to the celebrated cabinetmaker John Cobb of St. Martin’s Lane, ‘upholsterer’ to George III from 1761. Cobb was known to have supplied a closely related suite of six mahogany chairs together with a matching settee to Philip Yorke for Erddig, near Wrexham, which may still be viewed in the house today.
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A GEORGE I BURR WALNUT CHEST OF DRAWERS England, circa 1720 A very fine George I richly figured burr walnut chest of drawers of rare small proportions. The rectangular moulded quarterveneered top with re-entrant corners and feather crossbanding, above a brushing slide with two short and three long graduated drawers retaining their original handles and escutcheons, standing on bracket feet. Of outstanding colour. Height: 32 in (81 cm) Width: 27¾ in (70.5 cm) Depth: 14½ in (37 cm)
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Provenance Ronald Phillips Ltd., London Private Collection, UK Literature Ronald Phillips, Antique English Furniture 2005, pp. 36-37.
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A GEORGE II MAHOGANY CHINOISERIE ARMCHAIR In the manner of Thomas Chippendale England, circa 1755 An outstanding and important George II carved mahogany armchair of the finest quality. Designed in the chinoiserie taste, the back splat carved with a pagoda cresting and a highly detailed lattice-work back and sides, with a silk upholstered seat above turned legs. The mahogany of exceptional colour throughout. Height: 36½ in (93 cm) Width: 22 in (56 cm) Depth: 24 in (60 cm) Provenance The Leopold Hirsch Collection, until sold 1934 Exhibited The Loan Exhibition of English Decorative Arts, 1929. The Loan Exhibition of Georgian Art, 1931.
Literature P. Macquoid & R. Edwards, The Dictionary of English Furniture, vol. I, p. 246, fig. 123. Comparative Literature R. Edwards & P. Macquoid, The Dictionary of English Furniture, rev. ed., London, 1954, vol. III, p. 84, fig. 33. Georgian Furniture in the Victoria & Albert Museum, London, 1969, pl. 78. H. Avray Tipping, ‘Padworth House–II,’ Country Life, 23 September 1922, pp. 372-77. This magnificent chair with its chinoiserie design reflects the influence of Sir William Chambers and his publication Designs for Chinese Buildings, Furniture, Dresses, Machines and Utensils of 1757. These ideas in turn influenced craftsmen such as Thomas Chippendale who published nine designs for exotic ‘pagoda’ chairs in his The Gentleman & Cabinet-Maker’s Director, 3rd ed., London, 1762. This chair is of almost identical pattern to the celebrated suite which had probably been commissioned by the 2nd Earl of Bessborough shortly after his purchase of Ingress Abbey in 1748. It was almost certainly Chambers who provided the design, as he is known to have carried out improvements at Ingress up until and beyond 1760. Further related suites of chinoiserie seat furniture include that supplied to Lytham House, Lancashire, a suite supplied to Sir John Mordaunt Cope, 9th Baronet for Bramshill, Hampshire, and a suite commissioned by Christopher Griffin for Padworth House, Berkshire.
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A GEORGE IV BURR OAK CENTRE TABLE In the manner of George Bullock England, circa 1825 A fine George IV burr brown oak, elm, and ebonised centre table in the manner of George Bullock. The moulded circular top above a plain frieze with a reeded edge, the central shaft with a gadrooned collar on a carved foliage and tripod base above scrolled feet and castors. Height: 28¾ in (73 cm) Diameter: 39¼ in (99.5 cm)
George Bullock George Bullock was one of the most accomplished cabinetmakers of the early 19th century. Held in high esteem, he secured prominent commissions including at Cholmondeley Castle for Lord Cholmondeley, Abbotsford for Sir Walter Scott, and almost certainly at Scone Palace for the Earl of Mansfield. Bullock particularly liked to use local materials. He supplied a superlative series of cabinets to the 4th Duke of Atholl for Blair Castle, Perthshire. In their construction, he made use of larchwood and Glen Tilt marble, both materials sourced from the Duke’s own estate. In his obituary he was praised as one ‘who carried taste, in design of furniture, to a higher pitch than it was ever carried before in this country.’ The burr brown oak and ebonised detailing of the present table, together with the overall classical form, is characteristic of Bullock’s work.
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A GEORGE III YEW-WOOD SERPENTINE COMMODE Attributed to William Gomm English, circa 1760 A very rare and important George III yew-wood serpentine commode attributed to William Gomm. The serpentine top with bold gadrooned edging to the front and sides, above two short drawers over three crossbanded graduated drawers each with fine brass swan neck handles and roundel back plates, all above an elaborately carved lower frieze of elongated horizontal C-scrolls and foliate decoration which is also repeated on the sides. The canted corners similarly decorated with carving of outstanding quality, with impressive scrolls, acanthus leaves, harebells, and further foliate detailing. Standing on beautiful carved short cabriole legs with scroll toes. The yew-wood of the most exceptional colour and patination throughout. Provenance Stair & Company, The Grosvenor House Art & Antiques Fair, 1999 Height: 33 in (84 cm) Width: 44 in (112 cm) Depth: 21 in (54 cm)
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William Gomm Gomm was born around 1698, the son of Richard Gomm, a yeoman farmer of Chinnor in Oxfordshire. He served as an apprentice to Hugh Maskall, a leatherseller in London, starting in 1713. In the 1730s, Gomm moved his workshop to Newcastle House in Clerkenwell Close. This workshop was very close to Giles Grendey’s business in Clerkenwell Square. Gomm worked in collaboration with Abraham Roentgen in the 1730s. Three Gomm manuscript books survive at the Winterthur Library in Delaware, including a number of designs for furniture. Gomm’s furniture designs draw inspiration from Thomas Chippendale’s Director with the incorporation of gothic, rococo, and chinoiserie elements. Of note is a serpentine fronted commode in the first manuscript book: this design features rococo carving on the apron and bold scrolls on the corners, similar to the present example. Gomm’s earliest known commission was to Richard Hoare of Barn Elms between 1731-33, which included a large number of pieces. Gomm also supplied a ‘fine Mahogany Compass Cutwork Tea Table on Castors’ and a ‘Mahogany BedChair Stuff ’d & finish’d’ to Richard Weddell for his Pall Mall, London house. One of Gomm’s most prominent patrons was the 5th Lord Leigh for the furnishings of his home at Stoneleigh Park, Warwickshire, beginning in 1763, for a total sum of £818 9s, which included a number of serpentine commodes.
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A GEORGE II IRISH MAHOGANY SILVER TABLE Ireland, circa 1750 A very fine Irish George II mahogany carved silver table of small proportions. The solid mahogany rectangular top with dished edging, the frieze profusely carved with a central flower bordered by trailing carved acanthus leaves. The legs carved with a double eagle’s head joined by a large acanthus leaf trailing elegantly down the cabriole leg, which in turn tapers down to a carved square paw foot. A table of rare small proportions, superb colour, and patina. A classic piece of Irish furniture. Height: 27½ in (70 cm) Width: 26½ in (67 cm) Depth: 18 in (46 cm)
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Provenance Private collection, USA Comparative Literature The Knight of Glin and J. Peill, Irish Furniture, 2007, pp. 239-240.
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A GEORGE III OCTAGONAL MAHOGANY LIBRARY TABLE By John Thompson of Durham England, circa 1805 A very fine George III mahogany drum table by John Thompson of Durham. The revolving octagonal top with moulded edge inset with a beautifully patinated elaborately gilttooled dark green leather top, above four true and four false drawers each with drop-ring handles decorated with a neoclassical vase. Standing on a ribbed central pedestal and four splayed legs similarly decorated and terminating in bold brass box castors. The mahogany of a lovely mellow colour throughout. One drawer with the maker’s original trade label, depicting a festooned curtain surmounted by an eagle with a sarcophagus cellaret below, that reads ‘I. THOMPSON, Upholsterer & Cabinet Maker, Sadler Street, DURHAM, Auctioneer & Appraiser.’
Height: 31 in (78 cm) Width: 44½ in (113 cm) Depth: 44½ in (113 cm) Literature Furniture History Society, Dictionary of English Furniture Makers 1660-1840, p. 886. Antique Collector, September 1973, p. 28, fig. 1. John Thompson is recorded as working at Sadler Street in Durham from 1802 to 1819. He subscribed to Thomas Sheraton’s Drawing Book of 1793 and Cabinet Dictionary of 1803. Thompson is known to have supplied Cuthbert Ellison of Hebburn Hall, Gateshead with four wash-hand tables in 1808. In an advertisement of 1814, Thompson noted that he carried out ‘Display of Decoration & Ornaments. Plans of rooms taken and designs of furniture prepared for them.’ Marjorie Stabler in a Furniture History publication of 1976 comments, ‘his billhead... seems extraordinarily up to date with current fashion for a provincial firm.’
Interior of drawer showing the original trade label of John Thompson of Durham.
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A LOUIS XV GREEN JAPANNED CHEST OF DRAWERS French, circa 1750 A charming small mid 18th century Louis XV period chest of drawers decorated with polychrome japanned and gilt decoration on a green ground. With three drawers below a moulded and shaped mottled grey marble top, the fielded panels of the sides similarly decorated and standing on bracket feet. With elaborate ribboned escutcheons and laurel wreath handles.
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Height: 32¾ in (83 cm) Width: 31½ in (80 cm) Depth: 17½ in (44.5 cm)
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A GEORGE III MAHOGANY SIDE CHAIR In the manner of Thomas Chippendale England, circa 1760 An outstanding George III carved mahogany side chair in the manner of Thomas Chippendale. The chair with exceptionally crisp carving to the elaborate pierced back splat and blind fretwork to the legs of the finest quality.
In 1754, Thomas Chippendale published the first edition of The Gentleman and Cabinet-Maker’s Director, advertising a ‘large collection of the most Elegant and Useful Designs of Household Furniture in the Gothic, Chinese and Modern Tastes.’
Height: 37 in (94 cm) Width: 23 in (58.5 cm) Depth: 23 in (58.5 cm)
At 160 engravings, this was by far the most comprehensive catalogue of furniture and design at the forefront of current fashion ever to have been produced and had considerable impact on contemporary designers and craftsmen.
Provenance The Collection of Major Boris S. Mylne Private Collection, UK Hotspur Ltd., London Comparative Literature M. Jourdain and F. Rose, English Furniture – The Georgian Period (1750-1830), 1950, pl. 35, p. 74 for an almost identical chair, from a set of six listed as belonging to HH The Maharani of Baroda.
Design from Thomas Chippendale, The Gentleman & Cabinet-Makers Director, pl. IX.
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A GEORGE III MARQUETRY SERPENTINE COMMODE Attributed to Ince & Mayhew England, circa 1765 An exceptional and highly important George III ormolu and giltwood mounted serpentine marquetry commode attributed to Ince & Mayhew. The serpentine top centred with a rococo cartouche featuring exquisite floral marquetry on a yew-wood reserve, above a conforming frieze with a brushing slide fitted with an inset leather panel, the case centred by a pair of cupboard doors inlaid with a large cartouche surrounding a floral bouquet tied with a bow and flanked by husk swags and trailing foliage on a yew-wood reserve, the case with rounded canted corners featuring carved giltwood foliate C-scrolls, raised on an apron centred by an ormolu rocaille cartouche and standing on rounded bracket feet. A masterpiece of 18th century English marquetry. Height: 33 in (84 cm) Width: 59 in (150 cm) Depth: 23Âź in (59 cm) Provenance Hotspur Ltd., London Private Collection, USA Literature N. Goodison and R. Kern, Hotspur: Eighty Years of Antique Dealing, London, 2004, pp. 224-25 (and illustrated on the cover).
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Ince & Mayhew This rare and magnificent marquetry commode can be attributed to the leading London Georgian cabinetmakers Ince & Mayhew. William Ince and John Mayhew partnered together as ‘cabinet makers, carvers and upholders’ in 1758 and established a workshop in Carnaby Street, Soho before moving to Golden Square. In 1762 they published The Universal System of Household Furniture, which was dedicated to the Duke of Marlborough. It was a folio of drawings and descriptions in both English and French that was produced in direct competition to their biggest trade competitor, Thomas Chippendale. Chippendale’s The Gentleman and Cabinet Makers Director, to which Ince had been a subscriber, had first been published in 1754 and circulated around the country amongst aristocratic subscribers and cabinetmakers alike. Ince & Mayhew were very much influenced by the French taste and they worked closely with Robert Adam, most notably for Sir John Whitwell at Audley End in 1767, for the Duchess of Northumberland in 1771, for the Earl of Kerry in 1771, and in particular for the Duchess of Manchester in 1775, with the celebrated Kimbolton Cabinet amongst their masterpieces. Ince & Mayhew distinguished themselves as exceptional cabinetmakers with particular skill at marquetry. Geoffrey Beard and Christopher Gilbert note that the two were ‘highly proficient and adventurous [in] the use of marquetry, distinguished by a variety of techniques and pointing to a significant number of specialist marqueteurs in the firm’s employ.’
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This outstanding commode belongs to a distinct group of similar serpentine form and with the characteristic use of floral marquetry on a yew-wood reserve. This group is spread amongst prominent public and private collections. The others are as follows: 1. Olaf Hambro, Esq., Linton Park, Maidstone Kent, Christie’s House Sale, 2-3 October 1961, lot 110. Subsequently sold by the late Mrs Charles Mills, Hillborough Hall, Norfolk, Christie’s House Sale, 21-23 October 1985, lot 73. The commode was sold anonymously, Christie’s London, 5 July 1990, lot 141. 2. Martin Summers Esq., Sotheby’s London, 18 March 1966, lot 151. Illustrated in A. Coleridge, Chippendale Furniture, 1968, pl. 45. 3. The collection of Lady Russell. Illustrated in P. Macquoid, The Age of Satinwood, London, 1908, pl. 11. 4. The late Margharita, Lady Howard de Walden, C.B.E., Sotheby’s, London, 2 December 1977, lot 93. 5. The collection of the Metropolitan Museum of Art, New York. Illustrated in P. Maquoid and R. Edwards, The Dictionary of English Furniture, London, 1924, vol. II, p. 136, fig. 15 and illustrated in Coleridge, op. cit., pl. 43. 6. The Sir Michael Sobell Collection, sold Christie’s London, 23 June 1994, lot 77. Previously in the collections of Lillian S. Whitmarsh, Sir Anthony de Rothschild, Bt., Aston Clinton, and Lord Leverhulme, The Hill, Hampstead. 7. An English private collection, Christie’s London, 11 November 1971, lot 91.
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A GEORGE II MAHOGANY CORNER CHAIR England, circa 1750 A very fine George II mahogany corner chair. The chair with a curved top rail and outswept arms supported by three fluted columns and interlaced back splats decorated with flowers and C-scrolls. The central front leg of cabriole form with shell decoration and terminating in a bold ball and claw foot, the remaining legs terminating in pad feet.
The exact purpose of the corner chair has always been debated, with modern literature describing the form as ‘writing’ or ‘smokers’ chairs. A sketch for a ‘smokers’ chair is included in the 1787 Gillows Sketch Book. An earlier reference to corner chairs appeared in June 1759 when these armchairs were advertised by the chairmaker and cabinetmaker Catherine Naish of St. Mary-le-Strand in The London Chronicle.
Of excellent colour and patina. Height: 31½ in (80 cm) Width: 28¾ in (73 cm) Depth: 17¼ in (44 cm)
Thomas Hickey, Thomas Graham, circa 1790 depicting Graham sitting in a corner chair. Yale Center for British Art. 86
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A GEORGE III SATINWOOD MUSIC STAND England, circa 1790 A very rare and unusual George III satinwood music stand. The octagonal crossbanded and hinged telescopic ratcheted top inlaid with boxwood and ebony stringing, the lower side with concealed sheet music support, and each side fitted with concealed pivotal supports, on a baluster stem inlaid with ebony stringing, on downswept tripod legs similarly inlaid, and terminating in ebonised paw feet. Height: 25ž in (65 cm) adjustable
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Provenance With Mallett & Son (Antiques) Ltd., London Private Collection, USA Although a firm attribution of this charming and rare music stand remains elusive, the high quality of construction and finish relates to the work of some of the leading cabinetmakers of the day. In particular, the use of the finest quality satinwood with ebony stringing echoes the work of Thomas Chippendale Junior at Stourhead and also that of the esteemed firm of Gillows of London & Lancaster.
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A SET OF SIX GEORGE III MAHOGANY DINING CHAIRS In the manner of Thomas Chippendale England, circa 1765 A fine set of six George III mahogany side chairs in the manner of Thomas Chippendale. Each chair with an elaborate finely carved interlaced back splat above a drop in seat with upholstered cushion, standing on square chamfered legs joined by an H-stretcher. The mahogany of fine colour throughout with crisply carved details. Height: 38 in (96.5 cm) Width: 21 in (53.5 cm) Depth: 20½ in (52 cm) Thomas Chippendale, in his The Gentleman & Cabinet-Makers Director, produced many designs for chair backs from which these chairs clearly draw their inspiration.
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A TORTOISESHELL MIRROR Anglo-Dutch, circa 1720 A fine large early 18th century tortoiseshell and ebony mirror in the Baroque taste. The original rectangular bevelled mirror plate with a cushion moulded bolection frame veneered in stained red tortoiseshell between ripple-moulded bands of ebony. A particularly beautiful mirror plate.
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Height: 44 in (112 cm) Width: 36½ in (93 cm)
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A PAIR OF GEORGE III GILTWOOD ARMCHAIRS In the manner of Ince & Mayhew England, circa 1770 A very fine pair of George III giltwood armchairs in the manner of Ince & Mayhew. With oval giltwood framed backs, and acanthus leaf carved arm supports, the curved seat frame with fluted frieze above stop-fluted tapering legs headed by carved patera. The back, seat and armrests recently upholstered in silk damask. Height: 36 in (93 cm) Width: 23ž in (60 cm) Depth: 20 in (50 cm)
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Ince & Mayhew Ince & Mayhew were leading cabinetmakers in the second half of the 18th century, alongside notable designers including Thomas Chippendale and Robert Adam. Ince & Mayhew were renowned for their elegant neo-classical designs. The present chairs reflect the influence of the fashionable Louis XVI designs as promoted in the 1760s and 1770s by French designers including Jean-Charles Delafosse.
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A GEORGE III MARQUETRY HAREWOOD CARD TABLE England, circa 1770 A magnificent George III Chippendale period marquetry harewood demi-lune card table. The top and frieze with exceptional quality inlaid and engraved decoration. The top opening to reveal a baize lined interior, standing on elegant tapering legs similarly veneered. Height: 29½ in (75 cm) Width: 38 in (96.5 cm) Depth: 19 in (48 cm) Provenance By repute, Harewood House, Yorkshire Comparative Literature Partridge Fine Art Ltd., Recent Acquisitions – Summer 2007, pp. 70-71. J. Herbert, ed., Christie’s Review of the Year 1969/70, London, p. 356. L. Wood, Catalogue of Commodes, The Lady Lever Art Gallery, 1994, pp. 90-94, figs. 75-77, 82, 83, 85. C. Hussey, Clarence House, p. 115, fig. 45. C. Streeter, ‘Marquetry tables from Cobb’s workshop,’ Furniture History Society Journal, 1974.
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A very closely related suite of furniture, comprising a console table and a pair of card tables, almost certainly by the same maker, is recorded. The card tables are almost identical in form to the present example but with tops of marquetry inlay depicting the arms of the family of Smyth of Ashton, Somerset. Also veneered in harewood, the frieze and leg construction and decoration is essentially identical. One of the key features of these tables, and the present example, is the decoration of the frieze with the central paterae framed by the exuberant heavily engraved and detailed inlaid flowing palm fronds. This allows close comparison to a commode supplied by John Cobb to Paul Methuen for Corsham Court in 1772 and also one in the collection of Her Majesty the Queen at Clarence House.
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A GEORGE I BURR WALNUT BUREAU BOOKCASE England, circa 1715 A superb George I burr walnut bureau bookcase of rare small proportions. The convex cornice, with upper and lower moulded edges, over a burr walnut and feathered banded door inset with a bevelled mirror plate with re-entrant top corners. The door opens to reveal a walnut interior and an arrangement of adjustable shelves. The feather banded fall front with bookrest opening to reveal a writing surface together with an arrangement of drawers and pigeon holes, above two short and three long graduated, feather banded, burr walnut veneered, oak lined drawers fitted with original ring handles and escutcheons. The sides of book matched figured walnut. The whole standing on its original bracket feet. Of excellent colour and patina throughout.
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Height: 76½ in (194.5 cm) Width: 24 in (62 cm) Depth: 19ž in (50 cm)
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A GEORGE III MAHOGANY LIBRARY ARMCHAIR In the manner of Thomas Chippendale England, circa 1765 A very fine George III mahogany library armchair in the manner of Thomas Chippendale. The backrest with a serpentine cresting, the upholstered curved armrests raised on blind fret carved down-swept supports headed by scrolled handholds, the upholstered seat raised on blind fret carved square legs joined by a sophisticated diagonal H-stretcher.
Height: 38 in (96.5 cm) Width: 27 in (69 cm) Depth: 28 in (71 cm) Provenance Private Collection, USA Mallett & Son (Antiques) Ltd., London
Examples of fretwork in Thomas Chippendale, The Gentleman & Cabinet-Makers Director, 1754, pl. CL. 100
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A PAIR OF GEORGE III MAHOGANY SIDE CHAIRS Attributed to Thomas Chippendale English, circa 1770 A superb pair of George III mahogany side chairs attributed to Thomas Chippendale. The upholstered arched back and serpentine fronted seat raised on finely carved fluted tapering front legs each surmounted by a domed block paterae and terminating in block capital feet, the rear legs splayed. The mahogany and carving of the highest quality. Height: 38 in (96.5 cm) Width: 24½ in (62 cm) Depth: 24½ in (62 cm) Sir Lawrence Dundas, one of Chippendale’s greatest clients, is known to have commissioned two very closely related suites of seat furniture, one in giltwood with legs headed by scrolls, and one in mahogany without scrolls. The giltwood suite was illustrated in Country Life in the 1930s whilst still at his London residence, 19 Arlington Street, and a stool was sold Christie’s London, 31 January 1999, lot 113. Part of the remainder of the suite was sold by Cicely, Marchioness of Zetland, Christie’s London, 10 May 1973, lot 123.
The mahogany suite remains at Aske Hall, the seat of Sir Lawrence Dundas in North Yorkshire, and comprises library armchairs as well as side chairs virtually identical to ours. Research of the Dundas archives has revealed that these chairs at Aske Hall are the work of James Lawson, a contemporary of Thomas Chippendale. There are notable differences in particular to the construction of the blocks to the underside of the seat frames which suggests that our chairs are by a different cabinetmaker. The extremely high quality of the timber of these chairs, the restrained neo-classical design, and patera-headed herm legs suggest that Thomas Chippendale may well have made these pieces. His inspiration for classical designs derived from ancient sources as well as contemporary designers working in the antique taste, including Batty Langley, who published City and Country Builder’s and Workman’s Treasury of Designs in 1740. A stool of identical form, previously with Norman Adams, was sold Christie’s London, 50 Years of Collecting: The Decorative Arts of Georgian England, 14 May 2003, lot 129.
Design from Batty Langley, City and Country Builder’s and Workman’s Treasury of Designs, 1740, pl. CLII. 102
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A FRENCH LOUIS XV KINGWOOD PARQUETRY COMMODE In the manner of François Garnier France, circa 1745 A very fine and impressive French Louis XV parquetry commode of kingwood and tulipwood in the manner of François Garnier. Of en arbalète form, with a serpentine mottled peach, grey, and white marble top above three short drawers and two long drawers, the elaborate ormolu mounts with crowned ‘c’ stamp. The kingwood and tulipwood veneers of exceptional colour. Height: 35 in (89 cm) Width: 58½ in (149 cm) Depth: 26 in (66 cm) Comparative Literature C. Huchet de Quénetain & S. Swynfen Jervis, ‘The Origin of a Parisian Dynasty of Craftsmen and Artists: François Garnier (d. 1760) Maître Menuisier-Ébéniste,’ Furniture History, vol. 48 (2012), pp. 105-139. The crowned ‘c’ stamp was a tax mark used from 1745-49 on any alloy utilising the metal copper, which allows close dating on the mounts on this commode. François Garnier (fl. 1742-d. 1774), maître menuisier-ébéniste, was the figurehead of a dynasty of highly accomplished French craftsmen and artists. Based in Paris in the rue du faubourg Saint-Antoine, he was the father of Pierre Garnier, also maître menuisier-ébéniste, and grandfather of the artist EtienneBarthélémy Garnier.
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A PAIR OF NEO-CLASSICAL MAHOGANY SIDE TABLES Attributed to Archibald Simpson Scotland, circa 1825 A fine pair of early 19th century George IV period neo-classical mahogany side tables designed by Archibald Simpson, and made for Crimonmogate House, Aberdeenshire. Each standing on tapered fluted front legs with finely carved quatrefoil detailing and block feet. The rear legs of similar form but decorated with tapering fielded panels. In the Grecian neo-classical taste. The mahogany of particularly fine quality throughout. Previously fitted with drawers and with replaced marble tops. Height: 36 in (91.5 cm) Width: 63¾ in (162 cm) Depth: 38¼ in (72 cm)
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Provenance Designed by Archibald Simpson for Crimonmogate House, Aberdeenshire The origins of Crimonmogate House date back to the 14th century when the land was part of the estate of the Earls of Errol. The name Crimonmogate is derived from a mix of Gaelic and Old Norse charmingly translated as ‘The road through the cow-pasture by the peat-moss.’ Alexander Milne, a merchant who owned factories across Aberdeen and Donside, purchased Crimonmogate in the early 19th century. His son Patrick commissioned Archibald Simpson (1790-1847) to design a grand house for the estate in 1820. Simpson employed the Greek Revival style for the architecture and built the structure with granite from Kemnay. The present tables with their pure classical form are entirely appropriate for such a grand commission.
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A GEORGE I GILT GESSO CENTRE TABLE England, circa 1720 A rare small George I gilt gesso centre table. The frieze decorated with stylised acanthus leaves, with further decoration to the knees, standing on cabriole legs and terminating in pad feet. The marble top later.
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Height: 27½ in (70 cm) Width: 29½ in (75 cm) Depth: 16¼ in (42 cm)
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A GEORGE III TULIPWOOD AND SYCAMORE MARQUETRY COMMODE Attributed to Ince & Mayhew England, circa 1765 An exceptional George III tulipwood and sycamore marquetry bow-front commode attributed to Ince & Mayhew. The shaped rectangular top inlaid with a magnificent central oval fan paterae flanked by floral sprays, above two short bowed drawers, flanked by two drawers inlaid with oval panels of Diana and Erato, above two long graduated drawers, the whole standing on square tapering legs inlaid with tied bell flower chains and spade feet. With ormolu wreath handles. Of exceptional colour and patination throughout. Height: 34¼ in (87 cm) Width: 44 in (112 cm) Depth: 22 in (56 cm) Provenance Basil and Nellie Ionides, Buxted Park, Sussex Thence by descent Comparative Literature M. Owens, ‘When Good Eye and Goodly Fortune Come Together,’ The New York Times, 3 September 2010. C. Hussey, ‘Buxted Park, Sussex’ Country Life, 21 & 28 April 1934, pp. 404-409, pp. 432-437. C. Hussey, ‘Buxted Park, Sussex,’ Country Life, 4, 11, & 18 August 1950, pp. 374-378, pp. 442-447, & pp. 518-522. This outstanding commode formed part of the collection of Basil and Nellie Ionides. The Ionides lived at Buxted Park, Sussex, and this commode was part of the furnishings of the Saloon. Although there were several auctions of the Ionides’ collection, this commode has remained in the family until now.
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A GEORGE I BURR WALNUT KNEEHOLE DESK England, circa 1725 A very fine George I burr walnut kneehole desk. The front of the top drawer hinges opens to reveal a beautifully veneered secretaire writing surface with pigeonholes and small drawers, above two columns of three graduated drawers each flanking a recessed central cupboard and surmounted by a small shaped drawer. The cupboard door opening to reveal a shelved interior. Of particularly good colour throughout. Height: 31¼ in (79 cm) Width: 30¼ in (77 cm) Depth: 18¾ in (48 cm)
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Provenance The collection of Marjorie Wiggins Prescott, USA Christie’s New York, The Prescott Collection – Objects of Art, English and Continental Furniture, 31 January 1981, lot 337 Norman Adams Ltd., London Private Collection, USA Literature C. Claxton Stevens and S. Whittington, 18th Century English Furniture – The Norman Adams Collection, p. 96.
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A REGENCY MAHOGANY AND PARCEL-GILT SETTEE England, circa 1820 An impressive large Regency period mahogany and parcel-gilt framed settee. The straight padded back and seat flanked by high scroll arms, the mahogany frame carved and detailed with gilded palmettes, beads, rosettes, and anthemions. Standing on bold finely detailed brass castors. Height: 37 in (94 cm) Width: 94½ in (240 cm) Depth: 31½ in (80 cm)
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A PAIR OF VENETIAN GILTWOOD TROPHY MIRRORS Italy, circa 1770 A very fine pair of 18th century Venetian rococo carved giltwood mirrors. The frames carved in fine detail overall with scrolls and military trophies, the aprons with inset glass candle arms.
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Height: 54½ in (138 cm) Width: 34 in (86 cm)
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A GEORGE III MAHOGANY BUREAU England, circa 1760 A fine George III Chippendale period mahogany bureau of small proportions. The bureau with fitted interior, retaining its original rococo handles, locks, and axe-handle drops, complete with hidden compartments. With four graduated drawers standing on original shaped bracket feet. Of exceptional colour and patina throughout. A very useful small size.
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Height: 40½ in (103 cm) Width: 33 in (84 cm) Depth: 19¼ in (49 cm)
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OUR SERVICES We offer a comprehensive service around all aspects of your collection of fine antique furniture. We are particularly well placed in the market to offer advice on matters including sourcing, de-acquisitioning, cataloguing, shipping, restoration, and conservation, as well as interior consultation.
SOURCING We are often asked to source specific pieces on behalf of our clients. Whether this is at auction, or from our extensive access to private collections not readily available on the market, we are ideally placed to facilitate these requirements. An 18th century Chinese Export lacquer bureau on stand sourced for a client.
RESTORATION We provide a comprehensive restoration and conservation service. Our extensive contacts with a wide range of highly skilled and specialist restorers both in the UK and the USA allow us to carry out restoration on behalf of our clients to meet their specific needs, including polishing and waxing, japanning and lacquer work, gilding, decorative painting, framing, and upholstery. Please contact us for a quote. Detail of a George II walnut shepherds crook armchair.
INTERIOR CONSULTATION We continue to work on a number of full-scale interior design projects for our clients in the UK, USA and Continental Europe. Since 2014, we have been particularly privileged to have been invited by The Blair Charitable Trust to advise on the interior schemes, layouts and the outstanding collections at Blair Castle, Perthshire, the ancient seat of the Dukes and Earls of Atholl. A view of the Tapestry Room, Blair Castle, Perthshire.
Copyright All rights reserved. No part of this publication may be reproduced, stored in any retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Terms and Conditions All business transactions are subject to our standard terms and conditions of sale, copies of which are available upon request. Trading as Mackinnon Fine Art Consultancy Limited, Registered in England & Wales, No. 5747760. 120