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FOREWORD

For this year’s catalogue, we have made the descriptions much shorter, concentrating instead on provenance, date, sizes, maker and wood/medium, and pointing out any faults rather than stating what is obvious in the photographs. Once again, there are some very famous makers and collections represented here. I would like to draw your attention to a few of my personal favourites in the following pages. The writing table on page 22 faithfully follows the Chippendale drawing illustrated alongside it. The pair of Siena marble tables from Bantry House on page 28 are extraordinary. The pair of side chairs from Grimsthorpe Castle on page 32 are probably quite simply the finest and most important side chairs ever made. The pair of candelabra to a design by Robert Adam on page 50 are of exceptional quality. And last, but certainly not least, the Percival Griffiths card table on page 59 is by far the most important and well-documented walnut card table known. There are a number of items here which we have been fortunate to be able to buy back in the last year and to offer for sale again. Notably the Chippendale oval desk on page 72, the pair of Chippendale period mirrors on page 40, which we owned in my early days at Ronald Phillips Ltd., and the Warwick Castle blue john candle vase by Matthew Boulton on page 204, as well as the Percival Griffiths card table mentioned above. Followers of Downton Abbey may be particularly interested in the library chair out of Highclere Castle – the location of the television series – on page 264. This year we are exhibiting at four fairs: the Winter Antique Show in New York in January, the Spring Masters in New York in May, Masterpiece London in June, and again in New York for the Fine Art and Antique Show in October. We look forward to offering many interesting and previously unseen items there to both new and existing clients. As usual I would like to thank my loyal staff for all their hard work and help throughout the past year, at fairs, compiling catalogues, assembling exhibitions, and handling the everyday running of our extensive showrooms in Bruton Street. I look forward to receiving your enquiries by telephone (+44 (0)20 7493 2341) or email (simon@ronaldphillips.co.uk) about anything illustrated in the catalogue, or any other specific request.

Simon Phillips May 2015

Right: Simon Phillips with Rolo


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1 A VICTORIAN 36-INCH TERRESTRIAL ‘COLOSSUS’ GLOBE BY THOMAS MALBY The globe consists of 24 hand coloured engraved segments on a plaster coated sphere and bears the label of Edward Stanford, who took over the Malby business and updated the papers in 1873. Very few 36-inch Malby colossus globes can be located, and most are in national collections. Of the others, two are in the collection of the University of Utah, three are in private collections elsewhere in the USA and three are in private collections in Great Britain. English, circa 1850, with updates by Edward Stanford in 1873 Height: 62 in; 157.5 cm Diameter: 50 in; 127 cm Literature: Elly Dekker, Globes at Greenwich: A Catalogue of the Globes and Armillary Spheres in the National Maritime Museum, 1999, pp. 404, 500 & 525.

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

2 AN IMPORTANT GEORGE II GILTWOOD SIDE TABLE 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 compares 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 Literature: Connoisseur, vol. 152, January–April 1963, p. 228, illus. 9.

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3 AN EXCEPTIONALLY RARE GEORGE II MAHOGANY OVAL TRIPOD TABLE The under bearers of the table top have been replaced at some stage. The underside bears the paper label of Phillips of Hitchin. This is the only known example of an oval tripod table with a dished top, and it is probably unique. English, circa 1755 Height: 26½ in; 67 cm Width: 27¼ in; 69 cm Depth: 22½ in; 57 cm Provenance: Hotspur Ltd., London, England, 1970; Phillips of Hitchin, Hertfordshire, England, 1970; Private collection, Texas, USA. Exhibited: The Antique Dealers’ Fair and Exhibition, London, 1970; with Phillips of Hitchin.

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The Antique Dealers’ Fair and Exhibition, 1970. Phillips of Hitchin photo archive

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4 A GEORGE II GILTWOOD OVAL MIRROR This most unusual mirror retains the original mirror plate and has replaced candle arms and sockets. A comparable mirror designed by William Kent with applied drapery was formerly at Chiswick House and is illustrated in English Lookingglasses by Geoffrey Wills. English, circa 1740 Height: 47 in; 119.5 cm Width: 33 in; 84 cm Depth: 8ž in; 22.5 cm Literature: Geoffrey Wills, English Looking-glasses: A Study of the Glass, Frames and Makers (1670–1820), 1965, p. 85, illus. 57.

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THE ETTINGTON PARK LIBRARY CHAIRS

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Ettington Park, Warwickshire. Courtesy of English Heritage

5 A PAIR OF GEORGE II WALNUT LIBRARY ARMCHAIRS BY GILES GRENDEY The chairs retain all their original rails, but the leather castors have been replaced. Each chair is marked ‘WF’ to the underside, referring to an apprentice in Grendey’s workshop. The practice of marking with initials to distinguish between workmen is a common feature with Grendey seat furniture. Originally part of a larger set, a suite of eight chairs was mentioned as being in the Drawing Room at Ettington Park in the probate inventory of 1882. When Ettington Park was sold in 1946, a set of ten chairs was sold from the house. Chairs of this model, and probably from the same original set, have enriched some of the most important collections formed in the last century, including those of Percival D. Griffiths, Henry Hirsch and the Hon. Sir John Ward, KCVO. English, circa 1745 Height: 38¼ in; 97 cm Height of seat: 16 in; 41 cm Width: 31½ in; 80 cm Depth: 31¾ in; 80.5 cm Provenance: The Hon. George Shirley, Ettington Park, Warwickshire, England, until 1947; Private collection, USA. Literature: Percy Macquoid, A History of English Furniture, vol. III, ‘The Age of Mahogany’, 1906, pp. 122–3, figs 104–5. Herbert Cescinsky, English Furniture of the Eighteenth Century, vol. II, 1910, p. 86, fig. 82; a chair from the set. Herbert Cescinsky, ‘The Collection of the Hon. Sir John Ward, KCVO’, Connoisseur, March 1921, p. 142, fig. 5. R. W. Symonds, English Furniture from Charles II to George II, 1929, p. 155, fig. 102; a chair from the set, formerly in the Percival D. Griffiths Collection. Christie, Mason & Woods, ‘English and French Furniture, The Property of Henry Hirsch’, London, 22 March 1934, p. 18, lot 84. Antique Collector, August 1953, p. xvii, advertisement; a pair from the same set, with Charles Lumb & Sons Ltd., Harrogate, England. Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, pp. 371–2.

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Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1754, plate LII

6 A GEORGE II MAHOGANY WRITING TABLE AFTER A DESIGN BY THOMAS CHIPPENDALE AND ATTRIBUTED TO WRIGHT AND ELWICK This important writing table belongs to a small group of similar pieces inspired by Thomas Chippendale’s first edition of The Gentleman and Cabinet-maker’s Director. One such table is in the Noel Terry Collection in York. The attribution to the Wakefield cabinet-makers Wright and Elwick is based on the idiosyncratic carving of the legs and the pilasters at either side of the doors. As subscribers to Chippendale’s Director, Wright and Elwick had early access to his designs, and often used them for their commissions with their own carved adaptations. The long frieze drawer is fitted out with compartments and has a swivel pen compartment to the side, beneath a sliding gold-tooled tan leather lined writing surface. The central door opens to reveal a single fixed shelf, while the two doors flanking the centre each have two drawers behind, with their original brass ring handles. English, circa 1755 Height: 31½ in; 80 cm Width: 53¼ in; 135.5 cm Depth: 24¾ in; 63 cm Provenance: Ronald Lee Ltd., London, England; Mallett & Son Ltd., London, England. Literature: Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1754, pl. LII. Peter Brown, The Noel Terry Collection of Furniture and Clocks, 1987, pp. 106–7.

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7 A GEORGE III GILTWOOD MIRROR The mirror retains the original bevelled mirror plate. Upright rectangular frames with an internal oval frame are extremely unusual. English, circa 1765 Height: 5 ft 5 in; 165 cm Width: 3 ft 4他 in; 103 cm Provenance: F. J. McCarthy, Nottinghamshire, England; Private collection, England.

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THE BANTRY HOUSE SIENA MARBLE TABLES

8 A HUGE AND RARE PAIR OF GEORGE III SIENA MARBLE SIDE TABLES The column supports are made of black marble and retain the original paint to simulate Siena marble. English, circa 1765 Height: 2 ft 8 in; 81 cm Width: 6 ft 1½ in; 186.5 cm Depth: 3 ft 1 in; 94 cm Provenance: Bantry House, Dublin, Ireland; Private collection, Dublin, Ireland.

The tables in situ in the Entrance Hall, Bantry House, Dublin, Ireland, late 19th century. Collection of University College Cork

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THE GRIMSTHORPE CASTLE CHAIRS

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The chairs in situ in the Tapestry Bedroom, Grimsthorpe Castle, Lincolnshire, 1924. Country Life Picture Archive

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9 A HIGHLY IMPORTANT PAIR OF GEORGE II PARCEL GILT MAHOGANY SIDE CHAIRS ATRIBUTED TO WRIGHT AND ELWICK The 1813 inventory of Grimsthorpe mentions ‘6 mahogany chairs carv’d backs / and stuffd seats cover’d with Drab / emboss’d Velvet in suite with the / Bed Furniture’. The chairs were converted from stuff-over seats to drop-in seats at some time prior to 1924, when they were photographed in situ at Grimsthorpe; the bed en suite with the chairs can be seen in the 1924 photograph of the Tapestry Bedroom. The chairs: English, circa 1755 The needlework: English, circa 1755 Height: 47¼ in; 107.5 cm Height of seat: 18 in; 46 cm Width: 23¼ in; 60.5 cm Depth: 24½ in; 62 cm Provenance: Peregrine, 3rd Duke of Ancaster (1714–1778) for Grimsthorpe Castle, Lincolnshire, England; Gilbert, 2nd Earl of Ancaster (1867–1951); H. Blairman & Sons Ltd., London, England, 1946; Collection of Mr. and Miss Clariça Davidson, England, until 1988; Mallett & Son Ltd., London, England, until 1999; Collection of Mr. & Mrs. Saul P. Steinberg, New York, USA; Private collection, New York, USA. Illustrated: ‘Grimsthorpe Castle III’, Country Life, 26 April 1924, pp. 650–56, fig. 10. H. Avray Tipping and Christopher Hussey, English Homes, Period IV, vol. II, 1928, p. 320, fig. 475. Antique Collector, July 1946, advertisement; with H. Blairman & Sons Ltd. Margaret Jourdain and F. Rose, English Furniture, the Georgian Period 1750–1830, 1953, p. 72, illus. 32. Lanto Synge, Mallett’s Great English Furniture, 1991, p. 48, fig. 41. Mallett & Son Ltd., A Noble Art, Historic Needlework, 1999, pp. 54–5. Nicholas Goodison and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, 2004, p. 135, illus. 7. Literature: Yvonne Hackenbroch, English Furniture with Some Furniture of Other Countries in the Irwin Untermyer Collection, 1958, figs. 143–7, pls. 116–20.

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JAMES CRAGGS THE ELDER’S TRIANGULAR GAMES TABLE

10 A RARE GEORGE I CHINESE LACQUER TRIPOD TABLE This exceptional table is one of only three examples known. One was formerly in the Leigh Block Collection, Chicago, and the third, illustrated in The Dictionary of English Furniture, was made for the Tower family of Weald Hall, Essex. This unusual table was especially designed for the three-player card game ‘hombre’, a trick game that originated in Spain and was very popular throughout Europe at the end of the 17th century and the beginning of the 18th. James Craggs the elder (baptised in 1657) possessed considerable wealth through his connection to the Duchess of Marlborough. He was a member of Parliament between 1702 and 1713, and was subsequently made Postmaster General in 1715. His son James also achieved high office, becoming Secretary of State to the King and a Privy Counsellor, but sadly he died shortly before his father. Craggs the elder invested heavily and disastrously in the South Sea Company, losing vast amounts of money as a result. He died in disgrace shortly afterwards in 1721, only a month after his son. After his death, his property was confiscated by act of parliament to pay off his debts incurred in the South Sea Bubble, and this table may have been seized together with his other belongings at the time. English, circa 1720 Height: 28¾ in; 73 cm Width: 41¾ in; 106 cm Depth: 36 in; 91.5 cm Provenance: James Craggs the elder, England; Private collection, England. Literature: William Ince and John Mayhew, The Universal System for Household Furniture, 1762, pl. LIII. Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. III, p. 198, fig. 20.

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The mirrors with M. Harris & Sons, London, 1965

11 A PAIR OF GEORGE III GILTWOOD MIRRORS These well documented mirrors retain the original mirror plates. The pagoda tops and the pendent aprons have been restored. The earliest record of these mirrors is in a photograph taken circa 1924 by Sydney Newbery of Brixton, London, a highly regarded art photographer whose work is today in several museums in the UK. All the other items in the photograph are Hotspur Ltd. stock items, and it is safe to assume that it was taken for Hotspur. An inscription on the back lists everything shown, including the wall panelling, which appears to have been installed temporarily, suggesting that the photograph may have been taken at an exhibition, possibly the monumental British Empire Exhibition of 1924, in which several London antique dealers took part. English; circa 1765 Height: 5 ft 1Ÿ in; 155.5 cm Width: 3 ft 1 in; 94 cm Provenance: Hotspur Ltd., London, England, circa 1924; M. Harris & Sons, London, England, 1965; Ronald Phillips Ltd., London, England, 1992; Private collection, New York, USA. Illustrated: Geoffrey Wills, English Looking-glasses: A Study of the Glass, Frames and Makers (1670–1820), 1965, p. 92, fig. 74. Grosvenor House Art and Antiques Fair handbook, 1992, p. 273, advertisement; with Ronald Phillips Ltd. Photographed: Sydney W. Newbery, 37 Cowley Road, Brixton, London SW9, circa 1924, in an exhibition set-up, perhaps at the British Empire Exhibition.

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Photographed by Sydney W. Newbery, 1924


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12 A GEORGE II MAHOGANY LIBRARY ARMCHAIR DESIGNED BY WILLIAM KENT AND ATTRIBUTED TO WILLIAM LINNELL The upholstered side and back rails have been restored, retaining the original front rail. A suite of chairs designed by William Kent features identical legs and is in the collection at Rousham House, Oxfordshire. English, circa 1740 Height: 39¼ in; 100 cm Height of seat: 17½ in; 44.5 cm Width: 27½ in; 70 cm Depth: 29 in; 74 cm Provenance: Private collection, Yorkshire, England. Literature: Francis Lenygon, Furniture in England from 1660 to 1760, 1914, p. 55, fig. 72. Helena Hayward and Pat Kirkham, William and John Linnell, Eighteenth Century London Furniture Makers, 1980, vol. II, pp. 35–6, figs. 66–7. Susan Weber, William Kent: Designing Georgian Britain, 2013, p. 458, figs. 17 & 18.

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13 A RARE PAIR OF GEORGE III MAHOGANY PEDESTAL CUPBOARDS ATTRIBUTED TO VILE & COBB One pedestal interior is lined with zinc and has three grille shelves and a compartment for hot coal in the bottom: it was originally used as a plate warmer. The second pedestal is fitted out with three fixed shelves. A very similar pair of pedestals, also fitted out as cupboards and attributed to Vile & Cobb, was exhibited by Hotspur Ltd. at the Grosvenor House Antiques Fair, London, in 1950. Vile & Cobb, cabinet-makers to George III, employed some of the finest carvers for their commissions, and these pedestals are typical of their work. English, circa 1780 Height: 52¾ in; 134 cm Width: 15¼ in; 39 cm Depth: 16¾ in; 42.5 cm Provenance: Upshire Hall, Waltham Abbey, Essex, England.

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Drawing by Robert Adam, 1773, at the Sir John Soane Museum, London

14 A MAGNIFICENT PAIR OF GEORGE III THREE LIGHT ORMOLU CANDELABRA TO A DESIGN BY ROBERT ADAM The quality of workmanship on these candelabra is superior to other ormolu pieces and suggests the work of a silversmith or goldsmith, although a firm attribution has not yet been possible. The statuary marble bases are of later date. A drawing by Robert Adam dated 1773 for a candlestick for Sir Watkin Wynn, Bart. is preserved in the Sir John Soane Museum in London. Though slightly different, there is no doubt that Adam’s drawing is the inspiration for these outstanding candelabra. English, circa 1775 Height: 18 in; 46 cm Diameter: 18¾ in; 48 cm Literature: Christopher Hartop, The Classical Ideal: English Silver, 1760–1840, 2010, pp. 28–9.

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15 A GEORGE II MAHOGANY COMMODE This fine quality commode retains all the original handles and has acquired an outstanding colour and patination. The carving to the angles is a sign of superior quality. Very few commodes feature carved elements. English, circa 1755 Height: 32¾ in; 83 cm Width: 43¼ in; 110 cm Depth: 25 in; 63.5 cm Provenance: Private collection, England; Norman Adams Ltd., London, England; Private collection, California, USA. Illustrated: Geoffrey Wills, English Furniture 1760–1900, 1979, p. 53.

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16 A GEORGE II GILTWOOD PIER MIRROR The mirror has replaced 18th century mirror plates, and is probably unique. No other comparable example has come to light. English, circa 1755 Height: 5 ft 7¼ in; 171 cm Width: 2ft 8 in; 81.5 cm Provenance: H. W. Keil Ltd., Worcestershire, England, 1951; Needham’s Antiques, New York, USA; The Walter P. Chrysler Jr. Collection, New York, USA, until 1960; Hyde Park Antiques Ltd., New York, USA; Private collection, USA. Illustrated: Antique Collector, December 1951, advertisement; with H. W. Keil Ltd. Parke-Bernet Galleries Inc., ‘The Walter P. Chrysler Jr. Collection of English Furniture’, New York, vol. 2, 6–7 May 1960, p. 109, lot 510. Grosvenor House Art and Antiques Fair handbook, 1989, p. 246, advertisement; with Hyde Park Antiques Ltd. Patrick Broome, The Hyde Park Collection 1965–1990, 1990, pp. 144–5. Emily Eerdmans, Classic English Designs and Antiques, Period Styles and Furniture, The Hyde Park Antiques Collection, 2006, p. 91. Literature: Thomas Johnson, A Collection of Designs, 1758; title page.

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THE WALTER P. CHRYSLER JR. ‘BRITANNIA MIRROR’

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The card table in situ in the Percival D. Griffiths Collection, Sandridgebury, Kent, 1912. Country Life Picture Archive

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THE PERCIVAL D. GRIFFITHS CARD TABLE

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17 A MAGNIFICENT GEORGE II WALNUT CONCERTINA ACTION CARD TABLE The inside of the table is lined with a faded green velvet playing surface. Percival D. Griffiths was advised by R. W. Symonds on the purchase of most of his pieces, and his collection of English furniture is still regarded as the finest ever assembled. After Griffiths’s sudden death following a hunting accident, however, his collection was dispersed, and Symonds supervised the distribution of his treasures elsewhere. Griffiths collected predominantly carved furniture of the early to mid 18th century. He preferred pieces with lion masks. This table is exceptional and is to date the finest example of its kind known. English, circa 1735 Height: 29¼ in; 74.5 cm Width: 39 in; 99 cm Depth (closed): 19 in; 48 cm Depth (open): 40 in; 101.5 cm Provenance: Percival D. Griffiths, Sandridgebury, Kent, England, purchased circa 1908; Geoffrey Blackwell, Esq., England; Sir James Caird, Bart., sold Christie’s, London, England, 8 July 1993, lot 75; Theodore and Ruth Baum, New York, USA; Private collection, England. Illustrated: Herbert Cescinsky, English Furniture of the Eighteenth Century, vol. III, 1911, p. 55, fig. 47. Percy Macquoid, ‘Furniture of the XVII & XVIII Centuries, Mr. Percival Griffiths’ Collection’, Country Life, 27 January 1912, pp. 139–44, fig. 3. R. W. Symonds, The Present State of Old English Furniture, 1921, fig. 45. Frederick Litchfield, Illustrated History of English Furniture, 1922, fig. 281. R. W. Symonds, Old English Walnut and Lacquer Furniture, 1923, pl. XXXII. R. W. Symonds, English Furniture from Charles II to George II, 1929, p. 63, fig. 34 and p. 118, fig. 72. R. W. Symonds and T. H. Ormsbee, Antique Furniture of the Walnut Period, 1947, pl. XXXII. Edward Lennox-Boyd (ed.), Masterpieces of English Furniture: The Gerstenfeld Collection, 1998, p. 25, fig. 13.

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18 A PAIR OF GEORGE II BLUE JAPANNED ARMCHAIRS ATTRIBUTED TO GILES GRENDEY The yellow discoloration of a protective varnish has caused the original blue japanning to appear green. The original blue can be seen underneath the seat, where it has been protected from sunlight. The chairs retain their original caned seats. Giles Grendey had workshops in Clerkenwell, London, and was well known for his japanned furniture and mirror frames. His company exported much of his highly fashionable japanned furniture abroad, including the well-documented suite of red japanned furniture to the Duke of Infantado for his castle in Lazcano in Spain. The style of gold decoration on the Spanish suite is comparable to the decoration on these chairs. Most japanned furniture has a black, red or sometimes green ground. Pieces with a white or blue ground are amongst the rarest. English, circa 1750 Height: 42½ in; 108 cm Height of seat: 19 in; 49 cm Width: 25¾ in; 65.5 cm Depth: 22½ in; 57 cm Provenance: Private collection, Italy. Literature: Christopher Gilbert, A Pictorial Dictionary of Marked London Furniture 1700–1840, 1996, pp. 245–8.

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19 A RARE COLONIAL GEORGE II PARCEL GILT EBONY TRIPOD TABLE Very few examples if any of ebony tripod tables of this period are known to exist. Ceylonese, Galle district, circa 1755 Height: 27¼ in; 69 cm Diameter: 26 in; 66 cm Literature: Amin Jaffer, Furniture From British India and Ceylon, 2001, pp. 370–83.

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THE HALL BARN WALL LIGHTS

20 A PAIR OF GEORGE III GILTWOOD TRIPLE BRANCH WALL LIGHTS The wall lights retain much of their original gilding; the brass nozzles are of later date. English, circa 1805 Height: 35½ in; 90 cm Width: 17½ in; 44.5 cm Depth: 10 in; 25.5 cm Provenance: Lord Burnham, Hall Barn, Buckinghamshire, England; Norman Adams Ltd., London, England; Private collection, Surrey, England. Illustrated: Christopher Claxton Stevens and Stewart Whittington, 18th Century English Furniture: The Norman Adams Collection, 1983, p. 450.

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21 AN IRISH GEORGE III OVAL MIRROR CHANDELIER This wonderful large oval mirror has a replaced 18th century mirror plate. The size of this mirror chandelier is larger than usual, adding to its rarity. Irish, circa 1790 Height: 35¾ in; 91 cm Width: 22¾ in; 57.5 cm Depth: 12½ in; 32 cm

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Thomas Sheraton, The Cabinet Maker and Upholsterer’s Drawing Book, 3rd edition, 1802, no. 1, plate 2

22 A RARE GEORGE III MAHOGANY OVAL PEDESTAL DESK The desk retains the original blind-tooled leather insert and has replaced ornate swan-neck brass handles. Every alternate drawer in the frieze is a dummy drawer; one end drawer is fitted out with compartments and retains a paper label from the Kent Gallery Ltd., London. Each pedestal has three doors; the end doors each reveal a further three graduated drawers, which retain the original swan-neck handles. There are very few 18th century examples of oval pedestal desks in existence. English, circa 1790 Height: 2 ft 8 in; 81.5 cm Width: 5 ft 9¾ in; 177 cm Depth: 3 ft 10¾ in; 118.5 cm Kneehole: Height: 25¼ in; 64 cm Width: 22¼ in; 56.5 cm Provenance: Kent Gallery Ltd., London, England; Mallett & Son Ltd., London, England; Private collection, Los Angeles, California, USA; Ronald Phillips Ltd., London, England; Private collection, New York, USA. Literature: Thomas Sheraton, The Cabinet Maker and Upholsterer’s Drawing Book, 3rd edition, 1802, no. 1, pl. 2. Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, vol. 3, 1954, p. 252, fig. 27. Christopher Claxton Stevens and Stewart Whittington, 18th Century English Furniture: The Norman Adams Collection, 1983, p. 113.

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23 A PAIR OF GEORGE III CARVED MAHOGANY ARMCHAIRS ATTRIBUTED TO JOHN LINNELL The chairs have caned seats beneath the squab cushions. The firm of Linnell supplied many pieces of furniture to Castle Howard in Yorkshire, including a huge number of giltwood side tables, some fine carved mahogany furniture and a well-documented mahogany card table. Chairs of identical design and probably from the same set are still in the collection of Castle Howard today. A chair probably from the same set but with probably later stuff-over upholstery was photographed by Country Life magazine in the 1920s or 1930s. Castle Howard suffered a devastating fire in 1940, and many items of furniture had to be moved to safety. Some of the fire-damaged parts of Castle Howard were not restored to their former glory until the 1980s. English, circa 1775 Height: 38 in; 96.5 cm Height of seat: 17¼ in; 44 cm Width: 25¼ in; 64 cm Depth: 23 in; 58.5 cm Provenance: By repute, Castle Howard, Yorkshire, England. Literature: Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, 1924–7, vol. I, p. 293, fig. 214. Helena Hayward and Pat Kirkham, William and John Linnell, Eighteenth Century London Furniture Makers, 1980, vol. II, p. 39.

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A chair from the set in situ at Castle Howard, Yorkshire. Country Life Picture Archive 00


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24 A PAIR OF GEORGE III GILTWOOD AND SATINWOOD PIER TABLES There is a minor difference in size between the tables. The tops have at one stage been fitted into an alcove, but have been reinstated to their original shape. English, circa 1780 Height: 33 in; 84 cm Width (table 1): 31½ in; 80 cm Width (table 2): 31 in; 79 cm Depth: 15¼ in; 38.5 cm Provenance: Norman Adams Ltd., London, England; Private collection, Surrey, England. Illustrated: Connoisseur, April 1955, inside back cover, advertisement; with Norman Adams Ltd.

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25 A PAIR OF GEORGE III GILTWOOD GIRANDOLES The girandoles retain their original candle arms and have 18th century replaced mirror plates. English, circa 1765 Height: 29 in; 74 cm Width: 23 in; 58.5 cm Depth: 11 in; 28 cm Provenance: Private collection, New York, USA.

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Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1754, plate CVI


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26 AN IMPORTANT GEORGE II MAHOGANY CHINA CABINET TO A DESIGN BY THOMAS CHIPPENDALE The cornice is a restoration following traces of the original cornice and adhering to the original Chippendale design. The internal divisions have been reinstated. The doors in the lower section each reveal two adjustable shelves. The china cabinet has acquired an outstanding colour and patination. English, circa 1755 Height: 8 ft ¾ in; 246 cm Width: 6 ft 10 in; 208 cm Depth: 2 ft ¼ in; 61.5 cm Provenance: M. Harris & Sons, London, England, 1930s; Private collection, USA. Illustrated: M. Harris & Sons, ‘Catalogue and Index of Old Furniture and Works of Decorative Art’, Part II 1730–1780, circa 1930s, p. 298. Literature: Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1st edition, 1754, pl. CVI.

27 A SET OF SIXTEEN MEISSEN DINNER PLATES German, circa 1750 Diameter: 9½ in; 24.5 cm

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Matthias Lock, Six Tables, 1746, plate 5

28 A LARGE GEORGE II GILTWOOD CONSOLE TABLE ATTRIBUTED TO MATTHIAS LOCK The drawing for this most important and imposing table was first published by Matthias Lock in 1746. The unusual jasper top is original. A very similar table with slight differences in the carved apron, also retaining the original jasper veneered top, was exhibited by Asprey & Co. at the Grosvenor House Art and Antiques Fair, London, in 1993. Both tables are very likely to be from the same workshop. English, circa 1755 Height: 2 ft 11½ in; 90 cm Width: 6 ft 2¼ in; 189 cm Depth: 2 ft 9 in; 84 cm Literature: Matthias Lock, Six Tables, 1746, pl. 5. Elizabeth White, Pictorial Dictionary of British 18th Century Furniture Design: The Printed Sources, 1990, p. 266, pl. 5. Grosvenor House Art and Antiques Fair handbook, 1993, p. 63, advertisement by Asprey & Co., London.

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29 A MASSIVE CONTINENTAL REGENCY PERIOD GILTWOOD FOUR LIGHT GIRANDOLE The mirror plate is a 19th century replacement, and the glass drip pans are of later date. Continental, probably Italian, circa 1815 Height: 5 ft 9Âź in; 176 cm Width: 3 ft 9 in; 114 cm Depth: 1 ft 3 in; 38 cm Provenance: Corporate collection, Alabama, USA.

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30 A GEORGE III PADOUK TRIPOD TABLE ATTRIBUTED TO THOMAS CHIPPENDALE The design of the base, the use of padouk and the brass catch to the underside correspond to the Chippendale oeuvre. One comparable piece is the well-documented padouk bookcase at Dumfries House in Scotland. Drawings by Chippendale for a related table base and legs are preserved in the Harewood House archives, Yorkshire. English, circa 1770 Height: 29¼ in; 74.5 cm Diameter: 40¼ in; 102.5 cm Literature: Christopher Gilbert, The Life and Work of Thomas Chippendale, 1978, vol. II, pp. 254–5, illus. 464–7.

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Thomas Chippendale, drawings for a tripod table base and legs, Harewood House archive

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31 A MASSIVE GEORGE III ‘MILLERS VEIN’ BLUE JOHN VASE Blue john is mined in Derbyshire, the only place in the world where it is to be found. The mines have been used since Roman times, and very little of the stone is left today. Most of the ores are very small, and larger pieces are therefore rare. This vase is of exceptionally large size, and the colour of the stone is extremely rich and varied. English, circa 1800 Height: 16 in; 40.5 cm Diameter: 8¼ in; 21 cm Provenance: Private collection, California, USA.

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32 A PAIR OF GEORGE II OVAL GILTWOOD MIRRORS The mirror plates are 19th century replacements. A very similar mirror was at Alnwick Castle, Northumberland, and was photographed there for Country Life in 1929. English, circa 1740 Height: 48 in; 122 cm Width: 31Âź in; 79.5 cm


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Drawing of a Parker & Perry chandelier. Collection of Victoria and Albert Museum, London

33 A GEORGE III TWELVE LIGHT CUT GLASS CHANDELIER ATTRIBUTED TO PARKER & PERRY A drawing of this type of chandelier by Parker & Perry is in the collection of the Victoria and Albert Museum, London. Two lower candle arms and the receiving bowl are replacements, and the smaller canopy is repaired. English, circa 1780 Height: 5 ft 3 in; 160 cm Diameter: 3 ft 4 in; 101.5 cm Provenance: Private collection, Amsterdam, The Netherlands; Jeremy Ltd., London, England; Collection of Edward Sarofim, England; Private collection, Switzerland. Literature: Martin Mortimer, The English Glass Chandelier, 2000, p. 151, pl. 90.

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34 A VICTORIAN MAHOGANY RADIALLY EXTENDING DINING TABLE BY JOHNSTONE JUPE & CO., NO. 1073 The patented mechanism by Robert Jupe allows the table to be extended radially by rotation of the frieze. Two original sets of extra leaves of two different sizes have been retained with the table. It can be used closed without leaves in its smallest setting, or with leaves added in the intermediate or large setting. The table is stamped in the centre ‘Johnstone Jupe & Co, New Bond Street, London, 1073’ and has an ivory plaque to the frieze engraved with ‘Jupe’s Patent, Johnstone Jupe & Co, New Bond Street’ and a Royal Warrant. The underside of the top has four brass thread housings, possibly for extra legs to be attached. English, circa 1840 Height: 2 ft 4¾ in; 72.5 cm Diameter (smallest setting): 5 ft 2¼ in; 158 cm Diameter (intermediate setting): 6 ft 3¾ in; 192.5 cm Diameter (largest setting): 7 ft 4¾ in; 225.5 cm Provenance: Private collection, Paris, France; Private collection, England.

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The table at its intermediate setting

The table at its largest setting

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35 A SET OF TWELVE GEORGE III MAHOGANY DINING CHAIRS One chair is inscribed ‘Mr. Slayter 1812’, probably referring to a cabinet-maker or upholsterer who refurbished the chairs in 1812. There are several cabinet-makers listed of that name and at that time. Richard Slayter, who worked for Gillows in Lancaster at that time, 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. Literature: Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, pp. 820–21.

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36 A GEORGE III MAHOGANY THREE PILLAR DINING TABLE This table, which has not been reduced in width, retains an original leaf, and one converted leaf, formerly the top of a fourth pillar. The brass cap castors are original. English, circa 1790 Height: 2 ft 3¾ in; 70.5 cm Width: 4 ft 8 in; 142 cm Length (with leaves): 11 ft 6½ in; 352 cm Length (without leaves): 7 ft 10 in; 239 cm

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Gillows drawing for a pier table, dated 1790. Westminster City Archive

37 A GEORGE III MAHOGANY SIDE TABLE ALMOST CERTAINLY BY GILLOWS The table retains the original ornate brass ring handles, typical of the Gillows commissions, and has two replaced 18th century locks to match the remaining original. A drawing by Gillows for the side table dated 1790 is preserved in the Westminster City Archive and is published in Lindsay Boynton’s book on Gillow furniture design. English, circa 1790 Height: 35 in; 89 cm Width: 55¾ in; 141.5 cm Depth: 18¼ in; 46.5 cm Literature: Lindsay Boynton, Gillow Furniture Designs 1760–1800, 1995, illus. 15.

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38 A PAIR OF GEORGE III GILTWOOD HO-HO BIRDS English, circa 1765 First bird (with spread wings): Height: 24 in; 61 cm Width: 30 in; 76.5 cm Depth: 8 in; 20 cm Second bird: Height: 25 in; 63.5 cm Width: 23 in; 58.5 cm Depth: 9 in; 23 cm Provenance: Mallett & Son Ltd., London, England; Private collection, England.

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39 A PAIR OF GEORGE II MAHOGANY SERPENTINE COMMODES ATTRIBUTED TO WRIGHT AND ELWICK One veneered top has been reinstated. Some brass swan-neck handles are 18th century replacements. The unusual Gothic trefoil corners as well as the crossgrain moulded plinth correspond to the work of the Wakefield firm of Wright and Elwick. The design, though simplified, relates to a drawing by Chippendale for a French commode.


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40 A HUGE PAIR OF GEORGE II CARVED GILTWOOD GIRANDOLES TO A DESIGN BY THOMAS CHIPPENDALE The mirror plates are 18th century replacements. The design for these enormous girandoles derives from plate CLX of Chippendale’s first edition of The Gentleman and Cabinet-maker’s Director, published in 1754. English, circa 1755 Height: 5 ft 4 in; 162.5 cm Width: 3 ft 4 in; 101.5 cm Depth: 1 ft; 30.5 cm Literature: Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1754, pl. CLX.

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Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1754, plate CLX

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41 A GEORGE III MAHOGANY SIDE TABLE The brèche d’Alep marble top is of later date. The carving is of superior quality and the mahogany has acquired a beautiful patination. English, circa 1760 Height: 2 ft 10½ in; 87 cm Width: 5 ft 6½ in; 169 cm Depth: 2 ft 7¼ in; 79 cm Provenance: Private collection, Florida, USA.

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Antique Collector, April 1959

42 A GEORGE III GILTWOOD OVERMANTEL MIRROR ATTRIBUTED TO JOHN LINNELL The mirror retains much of the original gilding and most of the original mirror plates, with some replaced 18th century mirror plates. It belongs to a small group of important overmantel mirrors associated with the Linnell workshop which all feature chinoiserie pagodas and platforms for the display of china objects. One such mirror is in the collection of the Israel Museum in Jerusalem; another was formerly at Badminton House, Gloucestershire. Badminton was one of Linnell’s major commissions, thus supporting the attribution to Linnell. English, circa 1765 Height: 5 ft 2¼ in; 158 cm Width: 4 ft 8 in; 142.5 cm Provenance: Leonard Knight, London, England, 1959; Private collection, Southampton, USA, until 2000; Private collection, New York, USA. Illustrated: Antique Collector, April 1959, advertisement; with Leonard Knight. Literature: Percy Macquoid, A History of English Furniture, vol. IV, ‘The Age of Satinwood’, 1908, fig. 8. The Eighteenth Century English Dining Room, (no author), The Israel Museum, Jerusalem, no date, p. 17.

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Christie’s yearbook 1970–1971, page 332

43 A PAIR OF REGENCY PARCEL GILT ROSEWOOD SIDE CABINETS ATTRIBUTED TO MARSH AND TATHAM Both cabinets have replaced veined grey marble tops and retain the original brass knob handles and wire grilles. Behind the doors in each cabinet is an adjustable shelf. Similar features such as the distinctive legs and giltwood columns can be found on furniture at Southill Park in Bedfordshire. The house was designed by Henry Holland and furnished by Marsh and Tatham. English, circa 1815 Height: 34¾ in; 88.5 cm Width: 50¼ in; 127.5 cm Depth: 16½ in; 42 cm Provenance: Frank Partridge & Son Ltd., London, England; Collection of Arthur S. Goldberg, USA. Illustrated: Country Life, 10 June 1971, advertisement; with Frank Partridge & Son Ltd. Christie’s yearbook 1970–1971, p. 332. Literature: Southill, a Regency House, (various authors; Furniture and Decoration section by F. J. B. Watson), 1951, pls. 35–6.

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The commode with M. Harris & Sons, 1930s

44 A GEORGE II SABICU AND PADOUK MARQUETRY COMMODE ATTRIBUTED TO HENRY HILL The commode retains all the original ormolu mounts and has survived in remarkable untouched condition, a testament to the high quality workmanship of the Hill workshops. The drawers are now fitted with removable blue paper lined inserts. Blue paper lining of drawers was a common practice with the Hill workshop. Traces of the original blue paper can be found inside the drawers beneath the inserts. Henry Hill ran a thriving business in rural Wiltshire in the town of Marlborough. Hill’s high quality furniture is often compared to and sometimes superior to that of leading London workshops. His ability to adapt to fashionable French bombé shapes and his use of fine marquetry veneering suggests that he either trained in France himself or spent time with a French-trained cabinet-maker. English, circa 1750 Height: 33 in; 84 cm Width: 53¼ in; 135.5 cm Depth: 25 in; 63.5 cm Provenance: Doddington Hall, Lincolnshire, England; M. Harris & Sons, London, England, 1930s; Private collection, England. Illustrated: M. Harris & Sons, ‘Catalogue and Index of Old Furniture and Works of Decorative Art’, circa 1930, Part II 1730–1780, p. 173. Lucy Wood, Catalogue of Commodes, 1994, p. 70, illus. 54.

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45 A WILLIAM IV MARBLE TEA CADDY Tea caddies with stone cases are extremely rare, and very few examples have come to light. The caddy retains all the original brasswork, the canisters and the mixing bowl, and is preserved in virtually untouched condition. English, circa 1835 Height: 6¼ in; 16 cm Width: 12¾ in; 32.5 cm Depth: 6¼ in; 16 cm

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46 A PAIR OF GEORGE III SATINWOOD AND AMARANTH BONHEURS-DU-JOUR ATTRIBUTED TO GILLOWS The folding flaps reveal a blind-tooled green baize lined surface. Each door reveals an open compartment and a single drawer. The long drawers are each fitted with an inkwell drawer to the side. The brass handles are of later date. Each long drawer bears the paper label ‘A. and M. COLERIDGE COLLECTION’. An almost identical single bonheur-du-jour stamped ‘Gillows’ is in the collection of Lancaster City Museum. English, circa 1795 Height: 45¾ in; 116 cm Width: 25 in; 64 cm Depth: 17¼ in; 44 cm Provenance: The Hon. Mrs. M. L. O. Faber, England, 1969; The Marquess of Hamilton, England, 1971; Collection of Anthony and Marietta Coleridge, England. Literature: London Cabinetmaker’s Book of Prices, 1792, pl. 23, fig. 2. Ralph Fastnedge, Sheraton Furniture, 1962, fig. 57b. Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008, vol. I, pp. 297–9, pls. 323–7.

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47 A GEORGE II PARCEL GILT OPEN ARMCHAIR ATTRIBUTED TO ALEXANDER PETER The off-white paint surface is mostly original; the oil-gilded sections have been reinstated following detailed surface analysis. This unusual chair is part of a suite of at least eight chairs. Some are now in private collections, and a pair of chairs with needlework covers is in the Leverhulme Collection at the Lady Lever Art Gallery in Liverpool. Those chairs, however, have been re-gilded entirely. Another pair of chairs from the same set, still retaining the original white parcel gilt scheme, was sold at Christie’s on 24 June 1976. This pair too has subsequently been re-gilded entirely. Very little is known about the history of this important set of chairs. The pair sold in 1976 was from the collection of the Earl of Arran, a family of high standing in Scottish history. Their family seat was originally at Hamilton Palace, now demolished. It is conceivable that the suite once formed part of the collection at Hamilton Palace, but entries in the 1882 Hamilton Palace sale catalogue are too vague to determine the provenance conclusively. The current chair is the only example known with the original parcel gilt surface treatment. Scottish, circa 1745 Height: 42½ in; 108 cm Height of seat: 18¾ in; 47.5 cm Width: 33½ in; 85 cm Depth: 27½ in; 70 cm Provenance: Perhaps the Earls of Arran, Hamilton Palace, Scotland; Private collection, New York, USA. Literature: Art Treasures exhibition catalogue, London, 1932, pp. 20–21, item 103. Christie’s, ‘Fine English Furniture’, London, 24 June 1976, lot 28. Francis Bamford, A Dictionary of Edinburgh Wrights and Furniture Makers, 1660–1840, 1983, pp. 10–13 & 94–100. Geoffrey Beard and Judith Goodison, English Furniture 1500–1840, 1987, p. 98. Grosvenor House Art and Antiques Fair handbook, 1998, p. 125; a chair with Hotspur Ltd., London. Nicholas Goodison and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, 2004, p. 133, item 6. Julian Treuherz, The Lady Lever Art Gallery, 2004, p. 47. Lucy Wood, Upholstered Furniture in The Lady Lever Art Gallery, 2008, vol. I, pp. 407–13.

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48 A GEORGE III MAHOGANY TRIPLE TOP CARD TABLE One of the back legs is hinged to support the open tops, the first top when folded out forming a solid tea table top, and the second top folding out to reveal a green baize lined card table surface. Concealed behind the hinged leg at the back is a void which was at one stage fitted with a later drawer; the drawer is now missing. The table has acquired a beautiful colour and patination and is preserved in virtually untouched condition. A comparable table with similarly carved frieze was formerly in the celebrated Samuel Messer Collection, formed under the guidance of R. W. Symonds. English, circa 1760 Closed: Height: 29½ in; 75 cm Width: 33¾ in; 86 cm Depth: 16¼ in; 41.5 cm Open: Height (as a tea table): 28¾ in; 73 cm Height (as a card table): 28 in; 71 cm Width: 33¾ in; 86 cm Depth: 32¼ in; 82 cm Literature: Christie’s, ‘The Samuel Messer Collection of English Furniture Clocks and Barometers’, London, 5 December 1991, p. 145, lot 110.

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49 A GEORGE II GILTWOOD PIER MIRROR ATTRIBUTED TO MATTHIAS LOCK The mirror plates are 18th century replacements. The design derives from two plates published by Lock in 1752, and for that reason might be the work of the master himself. English, circa 1755 Height: 6 ft 8 in; 203 cm Width: 3 ft 2 in; 96.5 cm Literature: Matthias Lock and Henry Copland, A New Book of Ornaments for Looking Glass Frames, 1752, pls. 4–6. Elizabeth White, Pictorial Dictionary of British 18th Century Furniture Design: The Printed Sources, 1990, p. 343, pls. 4–6.

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50 A WILLIAM IV BURR WALNUT PARTNERS’ DESK The desk has the same arrangement of drawers on the opposing side; three in the frieze, and six below. The plinth base conceals castors. The brass knob handles are of later date. The partners’ desk has acquired a beautiful mellow colour. The panelled sides of the desk are a sign of superior quality, and enhance the side view. English, circa 1835 Height: 2 ft 6½ in; 77.5 cm Width: 5 ft 4 in; 162.5 cm Depth: 3 ft 7½ in; 110.5 cm Kneehole: Height: 24 in; 61 cm Width: 24½ in; 62 cm Provenance: Stair and Company, New York, USA; Kentshire Galleries, New York, USA; Private collection, London.

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Advertisement by J. W. Cary, London, 1828. Collection of Guildhall Library, London

51 A GEORGE III SATINWOOD TERRESTRIAL 21-INCH GLOBE BY WILLIAM CARY The compass paper, bezel and needle have been reinstated. The globe is inscribed: ‘Cary’s New Terrestrial Globe Exhibiting The Tracks and Discoveries made by Captain Cook also those of Captain Vancouver on the North West Coast of America and M. De La Perouse on the Coast of Tartary together With every other improvement collected from various Navigators to the present time’. This type of globe base, made in exotic satinwood and retailed by the firm of William Cary on the Strand in London, was by far the most expensive model Cary’s offered. Their 19th century priced advertisement shows the different types and sizes available. It is preserved in the Guildhall Library in London. The stand: English, circa 1790 The globe: English, circa 1790 and updated in 1831 Height: 46½ in; 118 cm Diameter: 28 in; 71 cm Literature: Elly Decker, Globes at Greenwich: A Catalogue of the Globes and Armillary Spheres in the National Maritime Museum, 1999, p. 51, fig. 5.6.

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52 A PAIR OF REGENCY MAHOGANY BOOKCASES These unusually small bookcases have adjustable shelves and retain their original specimen marble tops, which have acquired a beautiful mellow patination. English, circa 1815 Height: 36 in; 91.5 cm Width: 22 in; 56 cm Depth: 10 in; 25.5 cm Provenance: Private collection, London, England; Ronald Phillips Ltd., London, England; Private collection, England.

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53 A RARE PAIR OF GEORGE III ORMOLU MOUNTED COBALT BLUE GLASS STORM LIGHTS Very few examples made of cobalt blue glass are known to exist. The gilding to the bases and the ormolu mounts is original and of exceptionally fine quality. The storm shades are original. English, circa 1790 Height: 22 in; 56 cm Diameter: 7 in; 18 cm

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Maker’s stamp to the underside of the platform

54 A GEORGE IV BRASS MOUNTED PARCEL GILT AMBOYNA CENTRE TABLE BY WILLIAM RIDDLE The table retains most of the original oil gilding and the original chased brass edge moulding. The underside of the platform is stamped twice ‘W. RIDDLE’. A virtually identical example, also by William Riddle, is illustrated in the Pictorial Dictionary of Marked London Furniture 1700–1840. English, circa 1825 Height: 28½ in; 72.5 cm Diameter: 58½ in; 148.5 cm Literature: Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, p. 746. Christopher Gilbert, A Pictorial Dictionary of Marked London Furniture 1700–1840, 1996, p. 390, illus. 767.

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55 A LOUIS XVIII SIX LIGHT GOTHIC BRASS CHANDELIER The chandelier was at one stage wired for electricity. French, circa 1815 Height: 43½ in; 110.5 cm Diameter: 23½ in; 60 cm Provenance: Private collection, Canada.

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The log buckets in situ in the collection of Lilly Pulitzer, Palm Beach, Florida, USA

56 A HUGE PAIR OF IRISH REGENCY BRASS BOUND MAHOGANY LOG BUCKETS These imposing buckets were at some stage fitted on triple paw feet stands, which have been retained with them. The brass liners are of later date. Buckets of this enormous scale are extremely rare. Irish, circa 1815 Height (with feet): 35¼ in; 89.5 cm Height (without feet): 29½ in; 75 cm Diameter (including handles): 29¼ in; 74 cm Diameter (excluding handles): 25¼ in; 64 cm Provenance: Collection of Lilly Pulitzer, Palm Beach, Florida, USA.

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57 A GEORGE III CHINESE EXPORT REVERSE MIRROR PAINTING The Chippendale style frame is of later date. A similar mirror painting in a matching period frame was advertised by Redburn Antiques, London, in 1974. The mirror painting: Chinese export, circa 1765 The frame: English, circa 1900 Height: 32Âź in; 82 cm Width: 22 in; 56 cm Provenance: Edwin H. Herzog Antiques Ltd., London, England, 1976; Private collection, USA. Literature: Connoisseur, April 1974, advertisement by Redburn Antiques Ltd.

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The rent table in situ in the Library, Godmersham Park, Kent

58 A GEORGE III MAHOGANY RENT TABLE ATTRIBUTED TO GILLOWS The table retains the original gold-tooled leather writing surface and has twelve segmental drawers retaining the original brass handles. Some back plates and the engraved lock plate are replaced. The door in the base reveals a single fixed shelf, and the plinth base is a restoration. Richard Gillow of Lancaster invented the first rent table of this kind in 1767. A very similar rent table of almost identical size was supplied by Gillows to Lord George Cavendish of Holkham and is illustrated in the seminal book on the Gillows oeuvre by Susan E. Stuart. The Cavendish table also features the same bespoke well lock with engraved sprung escutcheon. English, circa 1770 Height: 30 in; 76 cm Knee height: 24¾ in; 63 cm Diameter: 44 in; 112 cm Provenance: Godmersham Park, Kent, England; Mallett & Son Ltd., London, England; Private collection, Gloucestershire, England. Illustrated: Christie’s, ‘Godmersham Park’, 6–9 June 1983, p. 164, lot 196. Literature: Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008, vol. I, p. 274, pls. 283–5.

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59 A GEORGE III GILT BRONZE WINE COOLER BY RUNDELL, BRIDGE & RUNDELL TO A DESIGN BY JEAN-JACQUES BOILEAU The wine cooler retains most of the original gilding and is engraved on the side of the platform: ‘RUNDELL BRIDGE & RUNDELL AURIFICES ET PRINCIPIS WALLIA LONDINI FECERUNT’. English, circa 1805 Height: 10½ in; 26.5 cm Width: 12 in; 30.5 cm Depth: 9½ in; 24 cm

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60 A GEORGE III MAHOGANY MINIATURE CHEST ON CHEST The miniature chest on chest is constructed of three components: the cornice, the upper section and the lower section. The ornate Dutch axe handles are of later date. English, circa 1795 Height: 18¾ in; 47.5 cm Width: 12½ in; 32 cm Depth: 9¼ in; 23.5 cm

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61 A MAGNIFICENT PAIR OF GEORGE II MAHOGANY LIBRARY ARMCHAIRS English, circa 1755 Height: 40¼ in; 103 cm Height of seat: 16 in; 40.5 cm Width: 28½ in; 72.5 cm Depth: 27¾ in; 70.5 cm Provenance upon request

62 A GEORGE III GILTWOOD DEMI-LUNE CONSOLE TABLE DESIGNED BY ROBERT ADAM English, 1765 Height: 2 ft 11 in; 89 cm Width: 5 ft 3 in; 160 cm Depth: 2 ft ½ in; 62.5 cm Provenance upon request

63 A REGENCY 'NEW CAVERN VEIN' BLUE JOHN URN English, circa 1815 Height: 17 in; 43 cm Diameter: 6½ in; 16.5 cm

64 A GEORGE III GILTWOOD MIRROR English, circa 1765 Height: 49 in; 124.5 cm Width: 32 in; 81 cm

65 A PAIR OF GEORGE II CHINESE EXPORT QIANLONG PERIOD CANTON ENAMEL WALL SCONCES Chinese, Qianlong period, circa 1750 Height: 16 in; 40.5 cm Width: 9¼ in; 23.5 cm Depth: 9 in; 23 cm Provenance upon request

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ONE OF OUR SHOWROOMS AT BRUTON STREET

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66 A GEORGE I GILT GESSO SIDE TABLE The table retains much of its original gilding. The moulded Belgian Fossil marble top is of later date. A table with very similar cabriole legs, which also terminate in in-scrolled toes of the same type, was formerly in the collection of Louise Melhado in New York. Both tables are likely to originate from the same workshop. English, circa 1720 Height: 30¾ in; 78 cm Width: 32¼ in; 82 cm Depth: 22¾ in; 58 cm Provenance: Mallett & Son Ltd., London, England; Private collection, Dorset, England. Literature: Sotheby’s, ‘Important English Furniture, Decorations and Clocks’, New York, 13 December 1986, lot 256.

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67 A GEORGE II PARCEL GILT WALNUT MIRROR The mirror retains the original bevelled mirror plate and much of the original gilding, and is slightly larger than usual. English, circa 1740 Height: 5 ft 6 in; 168 cm Width: 2 ft 10 in; 86.5 cm

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68 A PAIR OF GEORGE I GILT GESSO TORCHÈRES IN THE MANNER OF JAMES MOORE THE ELDER The torchères retain much of the original gilding. The gesso in the dished base of the tops has been restored, retaining the original surfaces on the moulded edging and underside of the top. English, circa 1725 Height: 37½ in; 95.5 cm Diameter: 12 in; 30.5 cm Provenance: Mallett & Son Ltd., London, England; Private collection, USA. Illustrated: Grosvenor House Art and Antiques Fair handbook, 1985, p. 114, advertisement; with Mallett & Son Ltd. Lanto Synge, Mallett’s Great English Furniture, 1991, p. 43, illus. 33.

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THE FIRST ‘EDWARDS PATTERN’ HALL CHAIRS

69 A SET OF FOUR GEORGE III MAHOGANY SHELLBACK HALL CHAIRS BY MARTIN SHANNON FOR GILLOWS OF LANCASTER A historically important set of chairs made for Mr. Edwards, who lent his name for this type of Gillow pattern hall chairs. Gillows of Lancaster supplied a set of four chairs to the Reverend H. Holland Edwards in 1811. Their account book describes them as ‘4 handsome mahogany hall chairs the backs carved as a shell, shaped front feet reeded £3.6s. 0d. . . .’ The painted crest matches that of a bookplate once belonging to Mr. Edwards, and confirms that the chairs were indeed originally made for him. The distinctive shell pattern of the back was subsequently named after their patron and became known as the ‘Edwards Pattern’. Gillows of Lancaster employed many craftsmen on their premises, but their huge output demanded further expansion. They often engaged other workshops in the area on their commissions in order to meet demand. Furniture made externally for the Gillow workshops was usually not stamped with the Gillow stamp, but was sometimes marked with letters referring to the individual external craftsmen. One of these chairs is marked ‘MS’ to the underside of one of the rails, referring to Martin Shannon, whom Gillows regularly engaged. Martin Shannon is listed as a chair-maker at 15 Bolton Street in Preston, Lancashire. English, 1811 Height: 32¾ in; 83 cm Height of seat: 17 in; 43 cm Width: 16 in; 40.5 cm Depth: 18½ in; 47 cm Provenance: Supplied by Gillows of Lancaster in 1811 to; The Reverend H. Holland Edwards of Pennant, Conway, North Wales; Private collection, USA. Literature: Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, p. 802. Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008, vol. I, pp. 203–4.

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VENUS MOURNING THE DEATH OF ADONIS

A design from Boulton and Fothergill’s Pattern Book I. City Museum and Art Gallery, Birmingham

70 A GEORGE III ORMOLU MOUNTED WHITE MARBLE ‘VENUS VASE PERFUME BURNER’ BY MATTHEW BOULTON Matthew Boulton originally used a slightly different version of the Venus figure. Josiah Wedgwood, with whom Boulton was in close business contact, criticised the quality of the casting and modelling of the first version, which may have prompted Boulton to adjust and remodel it. The Boulton sketchbook, however, shows only one version. The ormolu urn is of later date. A Venus vase perfume burner is in the collection at Syon House, Middlesex. English, circa 1775 Height: 11¾ in; 30 cm Width: 6¾ in; 17.5 cm Depth: 6¾ in; 17.5 cm Literature: Nicholas Goodison, Matthew Boulton: Ormolu, 2002, pp. 354–6, illus. 359–61.

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71 A GEORGE II MAHOGANY ENVELOPE TABLE The table top is fixed to a square revolving platform; once rotated, this supports the hinged flaps, enabling the table to be extended in size. English, circa 1755 Height: 28他 in; 73 cm Width: 21他 in; 55.5 cm Depth: 21他 in; 55.5 cm

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72 A VICTORIAN HEXAGONAL BRASS LANTERN One side of the lantern has a hinged door. It has recently been fitted with a six light candle pendant for electricity. English, circa 1890 Height: 32¾ in; 83.5 cm Diameter: 18½ in; 47 cm

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73 A GEORGE III HAREWOOD OVAL PEMBROKE TABLE BY GEORGE SIMSON The table retains the original leather castors. A virtually identical table, possibly the pair, and labelled ‘George Simson’, is illustrated in the Pictorial Dictionary of Marked London Furniture 1700–1840. English, circa 1790 Height: 29¼ in; 74.5 cm Width (open): 40 in; 102 cm Width (closed): 21 in; 53.5 cm Depth: 30½ in; 77.5 cm Provenance: Mr. Charles Bertram Thomson, Plymouth, England, b. 1875, by descent to his son; Mr. Lewis Charles Thomson, and by direct descent to; Private collection, England. Literature: Christopher Gilbert, A Pictorial Dictionary of Marked London Furniture 1700–1840, 1996, p. 425, fig. 850. John Gloag, A Short Dictionary of Furniture, 1952, p. 502.

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74 A GEORGE I BLUE JAPANNED MIRROR GIRANDOLE The girandole is preserved in exceptional condition and retains the original bevelled mirror plate and the original pierced brass candle socket. The candle arm is of later date. Only a small number of japanned girandoles are known to exist. Blue japanned girandoles are rarer still. English, circa 1720 Height: 27½ in; 70 cm Width: 10ž in; 27.5 cm Depth: 9 in; 23 cm Literature: Wallace Nutting, Furniture Treasury, Mostly of American Origin, vol. II, 1948, illus. 2789. F. Lewis Hinckley, Queen Anne and Georgian Looking Glasses, Old English and Early American, 1987, p. 39, pl. 13.

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75 A GEORGE II GILT GESSO NEEDLEWORK ARMCHAIR The chair retains much of its original gilding. The needlework is of the same period, but is associated to the piece. The chair was already covered with the needlework when in Countess Mona von Bismarck’s collection. The Countess was a famous New York socialite of the 1930s, and the chair came from her home in Monaco, where she lived in her later years. The chair: English, circa 1750 The needlework: English, circa 1750 Height: 36.5 in; 93 cm Height of seat: 15¾ in; 40 cm Width of seat: 26½ in; 67 cm Depth of seat: 19 in; 48.5 cm Provenance: Collection of Countess Mona von Bismarck, Monaco; Hotspur Ltd., London, England; Private collection, Chicago, USA. Illustrated: Nicholas Goodison and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, 2004, p. 76, illus. 2.

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76 A GEORGE II MAHOGANY CENTRE TABLE The front of the table has a single long drawer. Centre tables are rare, and far more versatile in room settings. English, circa 1750 Height: 28¼ in; 72 cm Width: 36 in; 91.5 cm Depth: 23¾ in; 60.5 cm Literature: Percy Macquoid, A History of English Furniture, vol. III, ‘The Age of Mahogany’, 1906, p. 234, fig. 217.

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The Antique Dealers’ Fair and Exhibition, London, 1970. Phillips of Hitchin photo archive

77 A GEORGE II GILTWOOD MIRROR ATTRIBUTED TO BENJAMIN GOODISON The mirror retains much of the original gilding and retains the original re-silvered bevelled mirror plate. Similar mirrors by Goodison are in the Royal Collection at Windsor Castle and at Hampton Court. English, circa 1740 Height: 45¼ in; 115 cm Width: 25¾ in; 65.5 cm Provenance: Jeremy Ltd., London, England, until 1969; Phillips of Hitchin, Hertfordshire, England, until 1971; Private collection, Norfolk, England; Private collection, Oxfordshire, England. Exhibited: The Antique Dealers’ Fair and Exhibition, London, 1970; with Phillips of Hitchin.

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THE ST. GILES’S HOUSE WINE COOLER

The wine cooler in situ in the dining room, St. Giles’s House, Dorset. Country Life Picture Archive

78 A GEORGE II BRASS MOUNTED WINE COOLER BY WILLIAM HALLETT The brass liner is of later date and preserves the original lead lined surface beneath. William Hallett supplied many pieces of furniture to St. Giles’s House in Dorset. An entry in the household accounts book for 1732–57 states: ‘paid Mr. Hallett for mahogany cisterns [£]5.15[s].0.’ Hallett retired in the 1750s and became a silent partner in the business of William Vile and John Cobb. Vile & Cobb carried on supplying furniture to St. Giles’s House, including amongst other pieces the well-documented St. Giles’s House suite of library armchairs and settees, and the celebrated Chinese lacquer commodes, illustrated in The Dictionary of English Furniture by Percy Macquoid and Ralph Edwards. English, circa 1750 Height: 23½ in; 59.5 cm Width: 26 in; 66 cm Depth: 17¾ in; 45 cm Provenance: Anthony Ashley Cooper, 4th Earl of Shaftesbury, for St. Giles’s House, Dorset, England, until 1949; Private collection, England. Illustrated: ‘St. Giles’s House – I’, Country Life, 13 March 1915, p. 337; ‘South side of Dining-room’. ‘St. Giles’s House, Dorset – II’, Country Life, 17 September 1943, p. 509; ‘The Dining-room’. Literature: Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, pp. 387–8.

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THE DUKE OF HAMILTON’S MUSIC CHAIR

The music chair in situ in the Great Hall, Lennoxlove, Scotland. (Guide book, no date)

79 A REGENCY MAHOGANY ADJUSTABLE MUSIC CHAIR This high quality music chair was once part of the important collection of the Dukes of Hamilton at Hamilton Palace in Scotland. Their vast wealth was mainly due to coal mining on their large estate. Their ancestral home fell victim to subsidence caused by mining too close by, however, and had to be demolished. Most of the furnishings were sold off at the time, but some choice pieces were moved to Lennoxlove, a considerably smaller house in the same region of Scotland. This is where the chair remained until the refurbishment of the Great Hall at Lennoxlove some years ago. English, circa 1815 Height: 34 in; 86.5 cm Height of seat: 19¼ in; 49 cm Width: 17¾ in; 45 cm Depth: 19¼ in; 49 cm Provenance: Hamilton Palace, Scotland; Lennoxlove, Scotland; Jeremy Ltd., London, England; Private collection, USA. Illustrated: Lennoxlove guidebook, no date, p. 3; illustrated in the Great Hall.

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80 A REGENCY SATINWOOD BOULLE INLAID AND FAUX BAMBOO LIBRARY TABLE English, circa 1815 Height: 29¾ in; 75.5 cm Width: 54¾ in; 139 cm Depth: 30¼ in; 76.5 cm

81 A PAIR OF GEORGE III GILTWOOD LIBRARY ARMCHAIRS English, circa 1765 Height: 39½ in; 100 cm Height of seat: 19½ in; 49.5 cm Width: 31¼ in; 79.5 cm Depth: 31 in; 79 cm Provenance upon request

82 A PAIR OF GEORGE II OVAL GILTWOOD MIRRORS English, circa 1740 Height: 48 in; 122 cm Width: 31¼ in; 79.5 cm (Appears also as item 32 on page 98.)

83 A GEORGE IV EIGHT LIGHT BRASS CHANDELIER BY JOHNSTON BROOKES & CO. English, 1821 Height: 41 in; 104 cm Diameter: 37 in; 94 cm

84 A GEORGE III ITALIAN EXPORT WHITE STATUARY MARBLE CHIMNEYPIECE Italian, circa 1790 Height: 4 ft 6 in; 137 cm Height of opening: 3 ft 2¾ in; 98.5 cm Width: 6 ft 10¼ in; 209 cm Width of opening: 4 ft 2 in; 127 cm Depth: 8½ in; 21 cm Provenance upon request

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THE WARWICK CASTLE ‘CARYATIC’ CANDLE VASE

85 A GEORGE III ORMOLU MOUNTED ‘CLIFF BLUE VEIN’ BLUE JOHN CANDLE VASE BY MATTHEW BOULTON This vase is referred to in the 4 November 1809 inventory of Warwick Castle, Warwickshire, which describes in the Yellow Bedroom ‘A Derbyshire Pedestal and urn with four branches’. This item is further mentioned in a December 1924 inventory entitled ‘Articles in Warwick Castle of National or Historical interest’, which lists in the Cedar Drawing Room a ‘20 in. Ormolu mounted Blue John Vase and Cover surmounted by a brass knob, two terminal female figures supporting two light candelabra, on four knob feet.’ The blue john lid has been replaced at some stage, but follows the pattern by Matthew Boulton faithfully. Similar examples are in the Metropolitan Museum of Art, New York, and the distinguished collection of Jon Gerstenfeld, Washington, DC. English, circa 1770 Height: 22¼ in; 56.5 cm Width: 18¾ in; 47.5 cm Base: 8¼ in; 21 cm (square) Provenance: The Earls of Warwick, Warwick Castle, England, and probably supplied to George Greville, 2nd Earl of Warwick (1746–1816); Ronald Phillips Ltd., London, England; Private collection, England. Illustrated: ‘Warwick Castle – II. Warwickshire, The seat of the Earl of Warwick’ (article signed ‘F’), Country Life, vol. XXXV, issue 909, 6 June 1914, p. 848; in situ at Warwick Castle, in the Cedar Room. Antique Collector, December 1954, p. 217. Literature: Edward Lennox-Boyd (ed.), Masterpieces of English Furniture: The Gerstenfeld Collection, 1998, p. 178; an example of identical design. Nicholas Goodison, Matthew Boulton: Ormolu, 2002, p. 325.

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The candle vase in situ in the Cedar Room, Warwick Castle, Warwickshire. Country Life Picture Archive


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86 A SET OF FOUR VICTORIAN SILVER MOUNTED ETCHED GLASS CLARET JUGS BY EDWARD JOHN AND WILLIAM BARNARD English, hallmarked for London 1872 and 1873 Height: 12¼ in; 31 cm Diameter: 4¾ in; 12 cm

87 A REGENCY MAHOGANY HUNT TABLE ATTRIBUTED TO GILLOWS The removable demi-lune leaf and the castors are original to the table. The hinged flaps can be folded down. The top has acquired an outstanding colour and patination. Gillows produced horseshoe shaped drinking tables from the 1760s onwards. Their popularity rose in the early 19th century. Their primary use was to dispense drinks after dinner or outside at hunts. On some models the legs could be unscrewed, allowing them to be moved more easily. A strikingly similar table by Gillows is in the collection of Southampton University and is illustrated in Susan E. Stuart’s book on Gillows. English, circa 1815 Height: 30¾ in; 78 cm Width: 57½ in; 146 cm Depth (flaps down): 29½ in; 75 cm Depth (flaps up): 39¼ in; 99.5 cm Provenance: Durnick Towers, Scotland. Literature: Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008, vol. I, pp. 248–9, pl. 247.

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88 A PAIR OF GEORGE III CHINESE EXPORT MIRROR PAINTINGS The mirror paintings have bevelled edges, which is a sign of quality and proof of not having been reduced in size. Most mirror paintings are upright, whereas landscape versions in pairs are rare. Producing mirror paintings in the 18th century was treacherous and time-consuming. The glass was originally made in England. It was ground flat by hand, and then bevelled by hand. The silvering was achieved by immersing silver nitrate in mercury and pasting it on to the prepared reverse side of the glass. The mercury was then evaporated over heat, producing extremely poisonous fumes. Many glass plates were broken and lost in the process. The ready-made mirrors were then packed in crates with straw padding and shipped to China to be painted.


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The mirror plates that arrived intact were prepared for painting by removing a section of the mercury silvering, leaving only the necessary background silvered. Once finished, the paintings were baked in an oven. Again, many paintings cracked in the process. The completed mirror paintings were then shipped back from China to England, in the final stage of a journey that often took years. It is remarkable that any mirrors survived the process. The paintings: Chinese export, circa 1765 The frames: English, modern Height: 29 in; 73.5 cm Width: 33他 in; 86 cm


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Advertisement, M. Harris & Sons, Connoisseur magazine, March 1960

89 A PAIR OF GEORGE II GILTWOOD TORCHÈRES The torchères retain most of their original gilding. There is a possibility that the torchères have been reduced in height at one stage. However, close inspection has been inconclusive, and the 1960 illustration shows them at their current height. English, circa 1745 Height: 43½ in; 110.5 cm Diameter of top: 15½ in; 39.5 cm Depth: 22 in; 56 cm Provenance: M. Harris & Sons, London, England; Private collection, USA. Illustrated: Connoisseur, March 1960, advertisement; with M. Harris & Sons.

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90 A LARGE IRISH GEORGE II MAHOGANY DROP-LEAF TABLE The carving of the legs on this table is of a superior quality rarely seen on examples of this type, and far surpasses the carving of the legs to the drop-leaf table formerly in the Percival D. Griffiths Collection and illustrated in The Dictionary of English Furniture. Irish; circa 1755 Height: 2 ft 4¾ in; 73 cm Width (open): 6 ft 2½ in; 189.5 cm Width (closed): 2 ft ½ in; 62.5 cm Depth: 5 ft 3½ in; 161.5 cm Provenance: Private collection, England. Literature: R. W. Symonds, English Furniture from Charles II to George II, 1929, p. 170, fig. 127. Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. III, p. 219, fig. 25.

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91 A PAIR OF GEORGE III GILTWOOD WINDOW SEATS English, circa 1780 Height: 28 in; 71.5 cm Width: 43½ in; 110 cm Depth: 14½ in; 37 cm Provenance: Collection of Sir Michael Sobel, London, England; Clifford Wright Antiques Ltd., London, England; Private collection, London, England. Illustrated: Christie’s, ‘The Sir Michael Sobel Collection’, London, 23 June 1994, lot 62.

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92 A RARE PAIR OF IRISH GEORGE III LIMESTONE GARDEN SPHINXES A massive pair of mid 18th century Chippendale period carved limestone garden sphinxes in recumbent position, modelled with female heads to opposing sides and embossed saddlecloths; each on an oblong stepped plinth base. These sphinxes are carved in limestone. English models were usually made of sandstone or sometimes of Coade Stone, a fired manmade material simulating sandstone. Irish, circa 1775 Height: 45 in; 114 cm Width: 42 in; 107 cm Depth: 16 in; 40.5 cm Provenance: Private collection, Ireland.

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93 A PAIR OF REGENCY ORMOLU MOUNTED CUT GLASS THREE LIGHT CANDELABRA BY JOHN BLADES The fine quality candelabra retain all their original gilding and glassware, and are preserved in virtually untouched condition. English, circa 1820 Height: 22 in; 56 cm Width: 13¾ in; 35 cm Depth: 5¼ in; 13.5 cm

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94 A PAIR OF GEORGE III SATINWOOD AND AMBOYNA SIDE TABLES BY B. SHEPARD Side tables of such small size are unusual, and the quality of the workmanship is outstanding. Each table is stamped ‘B. the frame.

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to the underside of the top and of

English, circa 1790 Height: 31 in; 79 cm Width: 25¼ in; 64.5 cm Depth: 13 in; 33 cm Provenance: A. & F. Gordon Ltd., London, England.

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Maker’s stamp to the underside of each table

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95 A PAIR OF GEORGE III GILTWOOD GIRANDOLES The girandoles retain most of the original gilding. The mirror plates are 18th century replacements, and the candle arms are of later date. English, circa 1780 Height: 31¼ in; 79.5 cm Depth: 10¼ in; 26 cm Depth: 6½ in; 16.5 cm Provenance: Private collection, USA.

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96 A GEORGE I BURR WALNUT DOUBLE CHAIRBACK SETTEE The settee retains its original drop-in seat frame and is stamped ‘SS’ twice to the back rail. A pair of side chairs with similar fan motif carving and stamped ‘S SHARP’ was in the collection of Ronald Phillips Ltd. It is possible that this settee comes from the same workshop. George D. Widener was a wealthy American industrialist who sadly perished with his son on the Titanic. His wife survived the disaster, and later married Dr. Alexander Hamilton Rice. In their new marriage, and with their combined wealth, they became important philanthropists in the early 20th century. Their impressive art collections were bequeathed to various museums in the United States, including the Cleveland Museum of Art, where this settee formed at one stage part of the English furniture collection. The settee: English, circa 1725 The needlework: French, circa 1730 Height: 41 in; 104 cm Height of seat: 18½ in; 47 cm Width: 56 in; 142.5 cm Depth: 29 in; 73.5 cm Provenance: George D. Widener, Philadelphia, USA; Dr. Alexander Hamilton Rice, Philadelphia, USA; With French & Co., New York, USA; The Cleveland Museum of Art, Cleveland, USA. Literature: F. Lewis Hinckley, A Directory of Queen Anne, Early Georgian and Chippendale Furniture, 1971, p. 62, illus. 62. Ronald Phillips Ltd., ‘Antique English Furniture’, 2005, pp. 146–7.

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97 A REGENCY PARCEL GILT AND WHITE PAINTED OVERMANTEL MIRROR A mirror of fine quality, retaining the original mirror plate, candle arms and gilding. The candle arms are carved like eagle wall lights in a manner typical of the Regency period. They are fixed to the frame and are a very unusual feature. English, circa 1815 Height: 51½ in; 131 cm Width: 61½ in; 157 cm Literature: F. Lewis Hinckley, Queen Anne and Georgian Looking Glasses, Old English and Early American, 1987, p, 226, pl. 200. Lindsay Boynton, Gillow Furniture Designs 1760–1800, 1995, pl. 216.

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98 A PAIR OF REGENCY MAHOGANY HANGING CORNER SHELVES The shelves retain the original wooden knob handles. Each gallery follows a different design. English, circa 1815 Height: 36½ in; 92.5 cm Width: 12¾ in; 32.5 cm Depth: 10½ in; 26.5 cm

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99 A RARE WILLIAM AND MARY BRASS BOUND EBONISED STRONG BOX ON GILTWOOD STAND The stand is original to the strong box and has concealed lopers to the front, which support the fold-down front of the box. The interior of the strong box reveals two drawers beneath a large open compartment and nine secret compartments. English, circa 1690 Height: 48 in; 122 cm Width: 32½ in; 82.5 cm Depth: 17 in; 43 cm Provenance: The Rt. Hon. The Earl of Poulett, Hinton House, Somerset, England; Partridge Fine Arts Plc, London, England; Private collection, Ireland. Illustrated: Colin G. Winn, The Pouletts of Hinton House St. George, 1976, p. 129, fig. 2; photographed in situ in the drawing room of Hinton House, Somerset. Literature: Furniture History Journal, 1980, fig. 68; a similar strong box at Ham House, Surrey.

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The strong box in situ in the Drawing Room, Hinton House, Somerset. In Colin G. Winn, The Pouletts of Hinton House St. George, 1976

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100 A GEORGE II WALNUT CHEST The chest has survived in almost untouched condition and has acquired a beautiful mellow patination. The brass plate handles and escutcheons are all original. The chest is of unusually shallow proportion. English, circa 1730 Height: 29 in; 74 cm Width: 30 in: 76 cm Depth: 15 in; 38 cm

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101 A GEORGE I GESSO SIDE TABLE The table retains most of the original gilding. The fashion for gilt gesso tables was inspired by the celebrated and legendary gold furniture of Louis XIV of France, of which sadly none has survived. Gilt gesso tables were the ultimate status symbol in early 18th century England, and gesso furniture was often carved with ciphers indicating the owner and his status. Gesso tables by James Moore and embellished with the royal cipher are in the Royal Collection at Hampton Court. English, circa 1715 Height: 29¼ in; 74.5 cm Width: 40¾ in; 103.5 cm Depth: 21½ in; 54.5 cm Provenance: The Antique Home, London, England; Private collection, California, USA. Exhibited: Grosvenor House Art and Antiques Fair, London, 1993; with The Antique Home. Illustrated: Grosvenor House Art and Antiques Fair handbook, 1993, p. 59; with The Antique Home. Literature: M. Harris & Sons, ‘A Commemoration of our Seventieth Anniversary 1868–1938’, p. 24. Nicholas Goodison and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, 2004, p. 83.

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102 A GEORGE I GILT GESSO MIRROR The mirror retains most of the original gilding and the original re-silvered bevelled mirror plate. The candle sockets are original, but the candle arms are of later date. English, circa 1720 Height: 43½ in; 110.5 cm Width: 25½ in; 65 cm Depth: 7½ in; 19 cm Provenance: Partridge Fine Arts Ltd., London, England; Private collection, California, USA.

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THE PERCIVAL D. GRIFFITHS WALNUT BUREAU

103 A GEORGE I WALNUT BUREAU This unusually small bureau retains all the original brass plate handles and escutcheons and has acquired a well faded mellow colour. The interior is fitted with four pigeon-holes, four open compartments, four small drawers and a well with sliding lid. Percival Griffiths formed virtually his entire collection under the guidance of R. W. Symonds. After Griffiths’s sudden death, Symonds personally purchased this bureau some time prior to the 1939 sale at Christie’s of the remainder of the collection. English, circa 1715 Height: 35½ in; 90 cm Width: 28 in; 71 cm Depth: 17¼ in; 44 cm Provenance: Percival D. Griffiths, Sandridgebury, Kent, England, until 1938; R. W. Symonds, London, England; Mr. R. H. Turner, Greyfriars, Hog’s Back, Guildford, Surrey, England.

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104 A GEORGE III SATINWOOD BRASS MOUNTED WRITING TABLE The writing table is fitted with two long drawers to the front and dummy drawers to the sides and the reverse, with later brass knob handles. The finely chased brass edge moulding is original. The gold tooled dark maroon leather insert is also original. Writing tables made of satinwood are rare. The shallow frieze allows for plenty of legroom. English, circa 1790 Height: 29¼ in; 74.5 cm Knee height: 24¼ in; 61.5 cm Width: 53¼ in; 135.5 cm Depth: 32 in; 81 cm

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A PAIR OF ‘PRINCE’S PATTERN’ CHAIRS

Prince’s pattern, Richard Gillow, 1787. Westminster City Archive

105 A PAIR OF GEORGE III SATINWOOD OPEN ARMCHAIRS ATTRIBUTED TO GILLOWS The chairs have caned seats beneath the squab cushions. The drawing for the ‘Prince’s Pattern’ was developed by Richard Gillow in London and sent to Robert Gillow in Lancaster. It is preserved in the Westminster Archive in London. Gillows produced the Prince’s Pattern chairs in painted beechwood, in mahogany and in exotic satinwood, which was the rarest and most expensive version. English, circa 1790 Height: 37¼ in; 94.5 cm Height of seat: 17½ in; 44.5 cm Width: 22 in; 56 cm Depth: 16 in; 40.5 cm Provenance: Ronald Phillips Ltd., London, England; Private collection, USA. Literature: Susan E. Stuart, Gillows of Lancaster and London, 1730–1840, 2008, vol. I., p. 161, pl. 114.

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106 A SECOND EMPIRE ORMOLU MOUNTED ‘MILLERS VEIN’ BLUE JOHN CLOCK Blue john ores are restricted in size, and huge pieces like the ones used for this clock are very rare. Blue john was admired by the Romans, and is still mined in Derbyshire, the only place in the world where it occurs. Today a lot of the stone has been used up, and mining is restricted to a very few locations. This makes blue john a very precious and rare material. French, circa 1870 Height: 22½ in; 57 cm Width: 11¼ in; 28.5 cm Depth: 9½ in; 24 cm Provenance: Private collection, New York, USA. Literature: Trevor D. Ford, Derbyshire Blue John, 2005, pp. 34, 66 & 67; two similar clocks illustrated.

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107 A REGENCY BRASS MOUNTED ROSEWOOD REVOLVING BOOKCASE The bookcase retains the original pierced brass gallery and has three tiers of six book compartments with fixed shelves. English, circa 1815 Height: 40½ in; 103 cm Diameter (cylindrical book section): 18 in; 46 cm Width: 21½ in; 54.5 cm Depth: 22 in; 56 cm Provenance: Private collection, Sydney, Australia; Ronald Phillips Ltd., London, England; Private collection, USA.

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108 A GEORGE III MAHOGANY WHEEL BAROMETER BY JOHN WHITEHURST The untouched condition of this barometer is outstanding. The carving and finial are original and the patination is superb. An almost identical barometer is in the collection of the Victoria and Albert Museum, London. English, circa 1780 Height: 43 in; 109.5 cm Width: 14 in; 36 cm Depth: 2¼ in; 6 cm Provenance: Randolph Ltd., Baldock, Hertfordshire, England; Private collection, England; Randolph Ltd., Baldock, Hertfordshire, England; Private collection, London, England. Exhibited: CINOA International Art Treasures Exhibition, London, 1962; with Randolph Ltd. Illustrated: CINOA International Art Treasures Exhibition, London, catalogue, 1962, pl. 128. Literature: M. Harris & Sons, ‘Catalogue and Index of Old Furniture and Works of Decorative Art’, Part III 1770–1840, circa 1930s, p. 477. Desmond Fitzgerald, Georgian Furniture, 1969, item 125. Nicholas Goodison, English Barometers 1680–1860, 1969, p. 260, pl. 158. Edwin Banfield, Barometers, Wheel or Banjo, 1985, p. 30, fig. 24.


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THE EARL OF CARNARVON’S LIBRARY ARMCHAIR

109 A GEORGE II PARCEL GILT MAHOGANY LIBRARY ARMCHAIR ATTRIBUTED TO PAUL SAUNDERS The chair retains virtually all the original gilding. One of a pair of chairs owned by the Earl of Carnarvon and subsequently bought by Viscount Leverhulme. The chairs were later sold off separately in the Leverhulme sale of 1926. A virtually identical suite of seat furniture, with minor variations to the carved elements and probably from the same workshop, was formerly in the collection of the Duke of Leeds at Hornby Castle in Yorkshire. The Earl of Carnarvon’s home, Highclere Castle, has recently achieved international fame as the location for the television series Downton Abbey. English, circa 1745 Height: 37 in; 94 cm Height of seat: 17¼ in; 44 cm Width: 28 in; 71 cm Depth: 34½ in; 87 cm Provenance: The Earl of Carnarvon, Highclere Castle, Newbury, Berkshire, England; Viscount Leverhulme, Thornton Manor, Merseyside, England; Hotspur Ltd., London, England; Private collection, New York, USA. Illustrated: The Anderson Galleries, ‘The Art Collections of the late Viscount Leverhulme’, New York, 9–13 February 1926, p. 235, lot 501. Literature: M. Harris & Sons, The English Chair – Its History and Evolution, 1937, p. 121, pl. LI. Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. I, p. 289, fig. 199.

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110 A NEAR PAIR OF GEORGE II PARCEL GILT MAHOGANY TORCHÈRES These torchères were probably part of a larger set. It is conceivable that two pairs from the same house were mixed up at some stage and subsequently separated. There is little doubt, however, that they both originate from the same workshop. These torchères belong to a group of similar models made of either mahogany or walnut; they all share the same idiosyncratic carved elements, which are generally parcel gilt. A pair of torchères was formerly in the Samuel Messer collection, and another pair was in the Leopold Hirsch collection, dispersed in 1934. Another pair was formerly in the Simon Sainsbury collection, which was dispersed in 2008. English, circa 1750 Height: 42¼ in; 107.5 cm Width: 23½ in; 60 cm Depth: 20¼ in; 51.5 cm Diameter of top: 13¾ in; 35 cm Provenance: Private collection, USA. Literature: Oliver Brackett, An Encyclopaedia of English Furniture, 1927, p. 227. Christie, Manson & Woods, ‘The Leopold Hirsch Collection’, London, 7 May 1934, p. 25, lot 50. Oliver Brackett, English Furniture Illustrated, 1950, p. 196, pl. CLXVIII. Antique Collector, October 1953, appendix VII, trade advertisement by M. Harris & Sons, London. Christie, Manson & Woods Ltd., ‘The Samuel Messer Collection of English Furniture and Barometers’, 5 December 1991, pp. 94–5, lot 69.

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111 A PAIR OF GEORGE III GILTWOOD MIRRORS The mirrors retain their original bevelled plates. English, circa 1765 Height: 55 in; 140 cm Width: 30 in; 76 cm Provenance: Private collection, New York, USA.

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112 A HIGHLY IMPORTANT PAIR OF GEORGE I GILTWOOD SIDE TABLES DESIGNED BY WILLIAM KENT AND ATTRIBUTED TO BENJAMIN GOODISON The tables have replaced 18th century ‘Siena Marble’ tops and the pendent carved decoration is of later date. The tables were once part of a group of tables of at least two different sizes, the tables offered being the smaller version. A pair of tables of identical size is now in the collection at Chatsworth in Derbyshire, after being moved from Devonshire House prior to its demolition in 1924. Devonshire House was the London residence of the Duke and Duchess of Devonshire, and the centre of London society in the 18th century. The celebrated Georgiana, Duchess of Devonshire, entertained there on a grand scale. Fine tables such as these would have complemented the house’s grand interiors. Two photographs taken by Country Life magazine at Devonshire House before its demolition record one of the tables in the suite, together with a longer version in the second image. Slight variations in carved detail indicate that the tables recorded by Country Life are different from the tables at Chatsworth, but belong to the same set. English, circa 1725 Height: 34¾ in; 88.5 cm Width: 52¼ in; 133 cm Depth: 25 in; 63.5 cm Provenance: Devonshire House, London, England; Private collection, New York, USA. Literature: John Vardy, Some Designs of Mr. Inigo Jones and Mr. Wm. Kent, 1744, pl. 41. John Cornforth, ‘Devonshire House, London’, Country Life, 13 November 1980, pp. 1750–53.

A table from the suite in situ at Devonshire House, London. Country Life Picture Archive

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113 A GEORGE II MAHOGANY BUREAU CABINET DESIGNED BY WILLIAM KENT AND ATTRIBUTED TO WILLIAM HALLETT The slender doors in the upper section flanking the central mirror each reveal twelve pigeon-holes. There are two adjustable shelves behind the mirrored central door. The carving on this cabinet is of outstanding quality indicative of the Hallett workshop. The ornate brass swanneck handles are original. The bevelled mirror plate is an 18th century replacement. William Hallett, cabinet-maker to George II, was one of the leading craftsmen of his time. He became a silent partner with William Vile, who was trained by him and carried on as royal cabinet-maker with his other business partner, John Cobb. A virtually identical cabinet, without doubt from the Hallett workshop, was formerly in the celebrated Percival D. Griffiths Collection at Sandridgebury in Kent. A further example, again with slight variations, was formerly in the collection of the furniture historian Helena Hayward OBE. William Kent’s design for the cabinet sadly did not survive, but a fireplace also designed by Kent shares many identical features and is preserved in the Painted Parlour at Rousham House in Oxfordshire. English, circa 1745 Height: 8 ft; 244 cm Width: 3 ft 10½ in; 118 cm Depth: 1 ft 11¼ in; 59 cm Literature: R. W. Symonds, English Furniture from Charles II to George II, 1929, pl. 209; the cabinet from the Percival D. Griffiths Collection. Grosvenor House Art and Antiques Fair handbook, 1998, p. 139; an example with Pelham Galleries Ltd., London. Susan Weber, William Kent: Designing Georgian Britain, 2013, p. 221, fig. 8.46.

A fireplace designed by William Kent in the Painted Parlour, Rousham House, Oxfordshire. Country Life Picture Archive

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THE PERCIVAL D. GRIFFITHS OVERMANTEL MIRROR

114 A WILLIAM AND MARY GILTWOOD OVERMANTEL MIRROR BY WILLIAM GERMAN The backboard retains the chalk inscription ‘W. German’. Very few examples of signed mirrors exist, and those that do mostly date from the 18th and 19th centuries. No other signed 17th century mirror has come to light. Two narrow border plates have been replaced. English, circa 1695 Height: 3 ft 8½ in; 112.5 cm Width: 5 ft 2 in; 157.5 cm Provenance: Percival D. Griffiths, Sandridgebury, Kent, England; Phillips of Hitchin, Hertfordshire, England, 1957; Sir Sydney Barratt, Summerhill, Staffordshire, and later installed at Crowe Hall, Bath, England. Exhibited: The Antique Dealers’ Fair and Exhibition, Grosvenor House, London, 1957; with Phillips of Hitchin. Illustrated: R. W. Symonds, English Furniture from Charles II to George II, 1929, p. 11, fig. 5. The Antique Dealers’ Fair and Exhibition handbook, 1957, p. 73.

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The mirror in situ in the Percival D. Griffiths Collection, Sandridgebury, Kent. In R. W. Symonds, English Furniture from Charles II to George II, 1929

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THE EARL HOWE STOOLS

115 A PAIR OF GEORGE II MAHOGANY STOOLS The 1st Earl Howe (1726–1799) was an Admiral of the British Fleet and in charge of blockading the American coast during the American War of Independence. Some years later, while in command of the Channel Fleet, he won the ‘Glorious First of June’, or Fourth Battle of Ushant, against the French in 1794. The stools: English, circa 1745 The needlework: English, circa 1745 Height: 16¼ in; 41 cm Width: 25 in; 63.5 cm Depth: 19¾ in; 50 cm

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THE CLUMBER PARK CHANDELIER

116 AN IMPORTANT GEORGE III ORMOLU MOUNTED 20 LIGHT CUT GLASS CHANDELIER BY WILLIAM PARKER The history of the chandelier can be traced back to its original owners, the Dukes of Newcastle, at Clumber Park in Nottinghamshire. From there it was sold to the Earl of Lincoln, but never installed. It passed through the hands of Delomosne & Son, who sold it to Nancy Lancaster of Colefax and Fowler. She had the chandelier installed at three of her private homes. When her last home, Haseley Court, was destroyed by a fire, the chandelier sustained damage. It has since been extensively repaired and has some replaced 18th century components. English, circa 1780 Height: 7ft 1 in; 216 cm Diameter: 3 ft 8 in; 112 cm Provenance: The Dukes of Newcastle at Clumber Park, Nottinghamshire, England; The Earl of Lincoln, but never installed, and subsequently sold to; Delomosne & Son, London, England; Nancy Lancaster for Ditchley Park, Oxfordshire, England; then moved to Kelmarsh Hall, Nottinghamshire, England; and finally Haseley Court, Oxfordshire, England; Delomosne & Son Ltd., London, England. Illustrated: Martin Mortimer, The English Glass Chandelier, 2000, p. 102, pl. 48.

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117 AN EXTREMELY RARE GEORGE II ANGLO-CHINESE ROSEWOOD TRIPOD TABLE This extraordinary table is without doubt influenced by contemporary English models, but differs in its use of pegs and dry joint construction, which were commonly used in Chinese furniture making. It was probably made in the region of Canton, which at the time had the sole trade port for European exports. This table may possibly have been commissioned by an Englishman, either residing in Canton or exporting it directly to England as an exotic addition to his home furnishings. Very few if any comparable tripod tables are known to have survived. For comparison, a set of chairs commissioned by the powerful export trade family of Gough are depicted in a painting dated 1741; some of them are preserved in the Metropolitan Museum in New York and the Lady Lever Art Gallery in Port Sunlight, Liverpool. As with the table, the chairs were inspired by an English prototype, but constructed in an entirely Chinese fashion. Chinese, circa 1755 Height: 30 in; 76.5 cm Diameter: 30½ in; 77.5 cm Provenance: Private collection, New York, USA. Literature: Percy Macquoid, The Lady Lever Art Gallery Collection, 1928, vol. III, ‘English Furniture, Tapestry and Needlework of the XVI–XIX Centuries’, item 138, pl. 39. Partridge Fine Arts Plc, ‘English Furniture & Works of Art’, 2001, pp. 34–5.

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118 A PAIR OF GEORGE III ORMOLU MOUNTED WHITE MARBLE CANDLE VASES BY MATTHEW BOULTON The candle vases have survived in virtually untouched condition and they retain their original gilding. The swags beneath the loop handles have lost one link each. This minor loss enables them to be identified and traced back to their 1977 provenance with H. Blairman & Sons Ltd. Matthew Boulton had nine different medallions available for this type of candle vase. Most pairs of vases have repeated medallions, but there is only one other pair of candle vases of this type known that also features eight different medallions; this pair is now in a private collection. The medallions are described by Nicholas Goodison as (vase one, from left to right): Achilles Victorious, Neptune, Aesculapius or Moses, Filial Piety, and (vase two, from left to right): Venus Victorious, Pomona, Hygieia or Peace, Heroic Figure. English, circa 1775 Height: 12 in; 30.5 cm Width: 4½ in; 11.5 cm Depth: 4½ in; 11.5 cm Provenance: H. Blairman & Sons Ltd., London, England, 1977; Private collection, England; Partridge Fine Arts Ltd., London, England, 1980; Private collection, Spain; Private collection, London, England. Exhibited: Grosvenor House Antiques Fair, 1977, with H. Blairman & Sons Ltd. Illustrated: Grosvenor House Antiques Fair handbook, 1977, p. 23.

A design from Boulton and Fothergill’s Pattern Book I. City Museum and Art Gallery, Birmingham

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BIBLIOGRAPHY

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Claxton Stevens, Christopher, and Stewart Whittington, 18th Century English Furniture: The Norman Adams Collection, London, 1983. Claxton Stevens, Christopher, and Stewart Whittington, 18th Century English Furniture: The Norman Adams Collection, revised edition, Woodbridge, 1985. Claxton Stevens, Christopher, Norman Adams Seventieth Anniversary, London, 1993. Clifford Smith, Harold, The Complete History of Buckingham Palace: Its Furniture, Decoration and History, London, 1931. Cohen, Michael, and William Motley, Mandarin and Menagerie, London, 2008. Coleridge, Anthony, Chippendale Furniture, London, 1968. Coleridge, Anthony, The Chippendale Period in English Furniture, London, 1966. Coleridge, Anthony, The Cusworth Suite, London, 2008. Coleridge, Anthony, The Work of Thomas Chippendale and His Contemporaries in the Rococo Style, London, 1968. Collard, Frances, Regency Furniture, 2nd edition, London, 1985. Coombs, David, ‘Queen Elizabeth’s Collection’, The Antique Collector, August 1990. Cornforth, John, Early Georgian Interiors, Yale, 2004. Darly, Matthias, A New Book of Chinese, Gothic and Modern Chairs, London, 1751. Davidson, Marshall B., and Elizabeth Stellinger, The American Wing at The Metropolitan Museum of Art, New York, 1985. Davis, Frank, A Picture History of Furniture, London, 1958. Davis, Terrence, Rococo: A style of fantasy, London, 1973 Dawson, Percy G., C. B. Drover and D. W. Parkes, Early English Clocks, Woodbridge, 2003. Decker, Elly, Globes at Greenwich: A Catalogue of the Globes and Armillary Spheres in the National Maritime Museum, London, 1999. Dekker, E., and P. van der Krogt, Globes from the Western World, London, 1993. Devonshire, The Duchess of, Chatsworth – The House, Chatsworth, 2002. Drinkwater, J., (ed.), A Loan Exhibition Depicting the Reign of Charles II, London, 1932. Earle, Joe, Rupert Faulkner, Verity Wilson, Rose Kerr and Craig Clunas, Japanese Art and Design, London, 1986. Edwards, Clive, British Furniture 1600–2000, London, 2005. Edwards, Ralph, Catalogue of English Furniture and Woodwork, 4 vols, London, 1931. Edwards, Ralph, Georgian Furniture, London, 1947. Edwards, Ralph, The Georgian Period, 2nd edition, London, 1958. Edwards, Ralph, A History of the English Chair, London, 1950. Edwards, Ralph, The Shorter Dictionary of English Furniture, London, 1964. Edwards, Ralph, The Victoria and Albert Museum: English Chairs, London, 1951. Edwards, Ralph, and Margaret Jourdain, Georgian Cabinet Makers, London, 1944. Edwards, Ralph, and Margaret Jourdain, Georgian Cabinet Makers, revised edition, London, 1946. Edwards, Ralph, and Margaret Jourdain, Georgian Cabinet Makers, 3rd revised edition, London, 1955. Edwards, Ralph, and L. G. Ramsey, The Connoisseur Period Guides, The Early Georgian Period 1714–1760, London, 1957. Eerdmans, Emily, Classic English Designs and Antiques, Period Styles and Furniture, The Hyde Park Antiques Collection, New York, 2006. Fastnedge, Ralph, Sheraton Furniture, London, 1962. Fergusson, R. S, FSA, Picture Board Dummies, (pamphlet), 1922. Fitzgerald, Desmond, Georgian Furniture, London, 1969. Fleming and Meers, (initials not known), An Exhibition of 18th Century English Chairs, Washington, 1985. Ford, Trevor D., Derbyshire Blue John, Ashbourne, 2005. Garnett, Oliver, Erddig, London, 1999. Gentle, Rupert, Domestic Metalwork 1640–1820, Woodbridge, 1994. Gilbert, Christopher, The Art of Thomas Chippendale, Master Furniture Maker, Harewood House, 2000. Gilbert, Christopher, Country House Lighting, Leeds, 1992. Gilbert, Christopher, English Vernacular Furniture, 1750–1900, New Haven, 1991. Gilbert, Christopher, Furniture at Temple Newsam House and Lotherton Hall, 3 vols, Leeds, 1978 & 1998.

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Gilbert, Christopher, The Life and Work of Thomas Chippendale, 2 vols, London, 1978. Gilbert, Christopher, A Pictorial Dictionary of Marked London Furniture 1700–1840, Leeds, 1996. Gilbert, Christopher, and Tessa Murdoch, John Channon and Brass-Inlaid Furniture 1730–1760, New Haven, 1993. Gloag, John, A Short Dictionary of Furniture, London, 1952. Gloag, John, A Short Dictionary of Furniture, revised and expanded edition, London, 1969. Goodison, Nicholas, English Barometers 1680–1860, London, 1969. Goodison, Nicholas, English Barometers 1680–1860, revised edition, London, 1985. Goodison, Nicholas, Matthew Boulton: Ormolu, London, 2002. Goodison, Nicholas, Ormolu: The Work of Matthew Boulton, London, 1974. Goodison, Nicholas, and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, London, 2004. Gordon-Lennox, Blanche, English Decorative Art at Lansdowne House, London, 1929. Hackenbroch, Yvonne, Chelsea and Other English Porcelain Pottery and Enamel in the Irwin Untermyer Collection, London, 1957. Hackenbroch, Yvonne, English Furniture with Some Furniture of Other Countries in the Irwin Untermyer Collection, London, 1958. Hackenbroch, Yvonne, English and Other Needlework Tapestries and Textiles in the Irwin Untermyer Collection, London, 1960. Hall, Michael, ‘Ham House’, Country Life, 14 August 2003. ‘M. Harris & Sons 1868–1968’, centenary catalogue, London, 1968. M. Harris & Sons, ‘Catalogue and Index of Old Furniture and Works of Decorative Art’, Part I 1560–1740, Part II 1730–1780, Part III 1770–1840, London, circa 1930s. M. Harris & Sons, The English Chair – Its History and Evolution, London, 1937. Harris, Eileen, The Furniture of Robert Adam, London, 1963. Harris, John, Geoffrey de Bellaigue and Oliver Millar, Buckingham Palace and Its Treasures, New York, 1968. Hartop, Christopher, The Classical Ideal: English Silver, 1760–1840, London, 2010. Hayward, Helena, ‘The Drawings of John Linnell in the Victoria and Albert Museum’, Furniture History Journal, 1969. Hayward, Helena, Thomas Johnson and the English Rococo, London, 1964. Hayward, Helena, World Furniture: An Illustrated History, London, 1965. Hayward, Helena, and Pat Kirkham, William and John Linnell, Eighteenth Century London Furniture Makers, 2 vols, London, 1980. Hayward, Helena, and E. Till, ‘Furniture Discovery at Burghley’, Country Life, 7 June 1973. Hepplewhite, Alice, The Cabinet-Maker and Upholsterer’s Guide, London, 1788. Hepplewhite, Alice, The Cabinet-Maker and Upholsterer’s Guide, 3rd edition, London, 1794. Hill, Oliver, and John Cornforth, English Country Houses: Caroline 1625–1685, Woodbridge, 1966. Hinckley, F. Lewis, A Directory of Antique Furniture, New York, 1953. Hinckley, F. Lewis, Georgian Furniture and Looking Glasses, New York, 1992. Hinckley, F. Lewis, Hepplewhite, Sheraton and Regency Furniture, New York, 1987. Hinckley, F. Lewis, Masterpieces of Queen Anne and Georgian Furniture, New York, 1991. Hinckley, F. Lewis, Metropolitan Furniture of the Georgian Years, London, 1988. Hinckley, F. Lewis, The More Significant Georgian Furniture, New York University Press, 1990. Hinckley, F. Lewis, The More Significant Regency Furniture, New York, 1991. Hinckley, F. Lewis, A Directory of Queen Anne, Early Georgian and Chippendale Furniture, New York, 1971. Hinckley, F. Lewis, Queen Anne and Georgian Looking Glasses, New York, 1987. Holden, R., Nuthall Temple, Nottinghamshire, Its History and Contents, London, 1916. Hope, Thomas, Household Furniture and Interior Decoration, London, 1807. Horswell, Jane, Bronze Sculpture of ‘Les Animaliers’, London, 1971. Howard, David S., A Tale of Three Cities: Canton, Shanghai and Hong Kong, London 1997. Hughes, Bernard and Therle, English Painted Enamels, London, 1951. Hussey, Christopher, English Country Houses, Late Georgian 1800–1840, London, 1958. Hussey, Christopher, English Country Houses, Mid-Georgian 1760–1800, London, 1956. Iddon, John, Horace Walpole’s Strawberry Hill, London, 1996.

293


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Impey, Oliver, Japanese Export Lacquer, 1580–1850, Amsterdam, 2005. Ince, William, and John Mayhew, The Universal System for Household Furniture, London, 1762. Jackson-Stops, Gervase, Nostell Priory, revised edition, London, 1994. Jackson-Stops, Gervase, The Treasure Houses of Britain, Yale, 1986. Jaffer, Amin, Furniture from British India and Ceylon, London, 2001. Johnson, Peter, Chairs, London, 1989. Johnson, Peter, Collecting Antique Furniture, New York, 1976. Johnson, Thomas, A Collection of Designs, 1758. Johnson, Thomas, One Hundred and Fifty New Designs, 1758. Johnson, Thomas, Twelve Girandoles, 1755. Johnston Antiques, An Exhibition of Irish Georgian Furniture, Dublin, 1998. Jones, William, The Gentleman or Builder’s Companion, 1739. Jones, Yvonne, Japanned Papier Mâché and Tinware c.1740–1940, Woodbridge, 2012. Jourdain, Margaret, Chinese Export Art in the Eighteenth Century, London, 1967. Jourdain, Margaret, English Decoration and Furniture of the Later 18th Century, 1760–1820, London, 1922. Jourdain, Margaret, English Interior Decoration 1500–1830, London, 1950. Jourdain, Margaret, Georgian Cabinetmakers, 3rd revised edition, London, 1955. Jourdain, Margaret, Regency Furniture 1795–1820, 2nd revised edition, London, 1949. Jourdain, Margaret, The Work of William Kent, London, 1948. Jourdain, Margaret, and R. Soame Jenyns, Chinese Export Art in the Eighteenth Century, London, 1950. Jourdain, Margaret, and F. Rose, English Furniture, the Georgian Period 1750–1830, London, 1953. Joy, Edward T., Chairs, London, 1980. Joy, Edward T., The Country Life Book of Chairs, London, 1968. Joy, Edward T., English Furniture 1800–1851, London, 1977. Kendrick, A. F., ‘Old English Furniture, Needlework and Silver’, Old Furniture, London, 1929. Kisluk-Grosheide, Daniëlle O., Wolfram Koeppe and William Rieder, European Furniture in the Metropolitan Museum of Art, New York, 2006. Knight of Glin, The, Irish Furniture, London, 2007. Knight of Glin, The, and James Peill, Irish Furniture: Woodwork and Carving in Ireland from the Earliest Times to the Act of Union, New Haven and London, 2007. Lanmon, Dwight P., The Golden Age of English Glass 1650–1775, Woodbridge, 2011. de Lassale, Jacques Dubarry, Identifying Marble, Dourdan, 2000. Latham, Charles H., In English Homes, Vol. I, London, 1904. Latham, Charles H., In English Homes, Vol. III, London, 1909. Leatham, Lady Victoria, with Jon Culverhouse and Eric Till, Burghley, England’s Greatest Elizabethan House, Stamford, 2009. Lees-Milne, James, English Country Houses: Baroque, 1685–1715, London, 1970. Lennox-Boyd, Edward (ed.), Masterpieces of English Furniture: The Gerstenfeld Collection, London, 1998. Lenygon, Francis, The Decoration and Furniture of English Mansions in the 17th and 18th Centuries, London, 1909. Lenygon, Francis, Furniture in England from 1660 to 1760, London, 1914. Litchfield, Frederick, Illustrated History of English Furniture, London, 1922. Lock, Matthias, Six Sconces, 1744. Lock, Matthias, Six Sconces, 2nd edition, 1768. Lock, Matthias, Six Tables, 1746. Lock, Matthias, and Henry Copland, A New Book of Ornaments for Looking Glass Frames, 1752. Lockwood, Luke Vincent, Colonial Furniture in America, New York, 1926. Lomax, James, The Chippendale Society Catalogue of the Collections, Leeds, 2000. Loomes, Brian, The Early Clockmakers of Great Britain, London, 1981. Macquoid, Percy, ‘Furniture of the XVII & XVIII Centuries Mr. Percival Griffiths’ Collection’, Country Life, 27 January 1912. Macquoid, Percy, A History of English Furniture, vol, I, ‘The Age of Oak’, London, 1904. Macquoid, Percy, A History of English Furniture, vol. II, ‘The Age of Walnut’, London, 1905. Macquoid, Percy, A History of English Furniture, vol. III, ‘The Age of Mahogany’, London, 1906.

294


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Macquoid, Percy, A History of English Furniture, vol. IV, ‘The Age of Satinwood’, London, 1908. Macquoid, Percy, The Lady Lever Art Gallery Collection, vol. I, ‘English Paintings of the XVIII–XX Centuries’, London, 1928. Macquoid, Percy, The Lady Lever Art Gallery Collection, vol. II, ‘Chinese Porcelain and Wedgwood Pottery’, London, 1928. Macquoid, Percy, The Lady Lever Art Gallery Collection, vol. III, ‘English Furniture, Tapestry and Needlework of the XVI–XIX Centuries’, London, 1928. Macquoid, Percy, and Ralph Edwards, The Dictionary of English Furniture, 3 vols, new edition revised by Ralph Edwards, London, 1954. McConnell, Andy, The Decanter – An Illustrated History of Glass from 1650, Woodbridge, 2004. Mallett, W. E., An Introduction to Old English Furniture, Bath, 1904. Mallett & Son Ltd., A Noble Art, Historic Needlework, London, 1999. Manwaring, Robert, Cabinet and Chair-Maker’s Real Friend and Companion, 1765. Manwaring, Robert, The Chair Maker’s Guide, London, 1766. Mason, Shena, Matthew Boulton: Selling What All the World Desires, London, 2009. Mehlman, Felice, The Illustrated Guide to Glass, London, 1982. Metropolitan University, The Frederick Parker Collection, London, n.d. Miller, Judith, Furniture, London, 2005. Morshead, Sir Owen, Windsor Castle, London, 1951. Mortimer, Martin, The English Glass Chandelier, London, 2000. Mortimer, Martin, ‘The Irish Mirror Chandelier’, Country Life, 16 December 1971. Moss Harris & Sons, Old English Furniture, Designers and Craftsmen, London, 1934. Mulliner, H. H., The Decorative Arts in England 1660–1780, London, 1923. Murdoch, Tessa, ‘The King’s Cabinet-Maker: The Giltwood Furniture of James Moore the Elder’, The Burlington Magazine, June 2003. Musgrave, Clifford, Adam and Hepplewhite and Other Neo-Classical Furniture, London, 1966. Musgrave, Clifford, Regency Furniture 1800–1830, London, 1961, revised edition 1970. Musson, Jeremy, English Country House Interiors, London, 2011. Nickerson, David, English Furniture, London, 1963. Noel Terry Collection of Furniture and Clocks, York, 1987. Nutting, Wallace, Furniture Treasury, Mostly of American Origin, New York, 1948. O’Reilly, Sean, Irish Houses and Gardens, London, 1998. Parrott Bacot, H., Nineteenth Century Lighting – Candle Powered Devices 1783–1883, West Chester, Pennsylvania, 1987. Peck, Amelia, Period Rooms in the Metropolitan Museum of Art, New York, 2004. Reade, Brian, Regency Antiques, London, 1953. Renard, Jean-Claude. L’Age de la Fonte, un arte, une industrie 1800–1914, n.d. Riley, Noel, Penwork, Wetherby, 2008. Riley, Noel, Stones’ Pocket Guide to Tea Caddies, Peace Haven, 2002. Roberts, Jane, George III and Queen Charlotte: Patronage Collection and Court Taste, London, 2004. Roberts, Hugh, For The King’s Pleasure: The Furnishing and Decoration of George IV’s Apartments at Windsor Castle, London, 2001. Robinson, Martin, Old Letter Boxes, Princes Risborough, 2000. Rodrigues, Terence, Treasures of the North, London, 2000. Rogers, John C., revised by Margaret Jourdain, English Furniture, revised 3rd edition, London, 1929. Saumarez-Smith, Charles, Eighteenth-Century Decoration: Design and the Domestic Interior, London, 1993. Schiffer, Herbert F., The Mirror Book: English, American & European, Exton, Pennsylvania, 1983. 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.

295


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Snodin, Michael, Horace Walpole’s Strawberry Hill, London, 2009. Sothebys, The Ivory Hammer, London, 1972. Stalker, John, and George Parker, A Treatise of Japanning and Varnishing, London, 1688. Reprinted, Reading, 1998. Storey, Walter Rendell, Thomas Sheraton’s Complete Furniture Works, New York, 1946. 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, 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., The Vernay Collection for the Spring of 1929, New York, 1929. Vernay, Arthur S., Autumn 1952, New York, 1952. Walkling, Gillian, Tea Caddies, London, 1985. Ward-Jackson, Peter, English Furniture Designs, London, 1984. Ward-Jackson, Peter, English Furniture Designs of the Eighteenth Century, London, 1959. Weale, John, Old English and French Ornament, London, 1846. Weber, Susan, William Kent: Designing Georgian Britain, New York, 2013. 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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RO N A L D PHILLIPS

INDEX

BOOKCASES/CABINETS/BUREAUX

A pair of George III white marble candle vases by M. Boulton

A George I walnut bureau

250

A George II mahogany bureau cabinet attributed to W. Hallett

274

A George II mahogany china cabinet to a design by Chippendale

84

288

A pair of George III three light ormolu candelabra to a design by Robert Adam A Louis XVIII six light gothic brass chandelier

50 158

A pair of George III mahogany serpentine commodes

118

A pair of Regency cut glass three light candelabra by Blades

226

A Regency brass mounted rosewood revolving bookcase

260

A George IV brass chandelier by Johnston Brookes & Co.

202

A small pair of Regency mahogany bookcases

152

A Victorian hexagonal brass lantern

186

A pair of Regency parcel gilt rosewood side cabinets

130 MIRRORS/GIRANDOLES

CHESTS/COMMODES A George II mahogany commode

Single 54

A William and Mary giltwood overmantel by W. German

278

A George II marquetry commode attributed to Henry Hill

134

A George I blue japanned mirror girandole

190

A George II walnut chest

244

A George I gilt gesso mirror

248

A George III mahogany miniature chest on chest

170

A George II giltwood mirror attributed to Benjamin Goodison

196

A pair of George III mahogany serpentine commodes

118

A George II giltwood oval mirror A George II giltwood ‘Britannia’ mirror

CLOCKS AND BAROMETERS

16 56

A George II giltwood pier mirror attributed to Matthias Lock

146

A George II parcel gilt walnut mirror

176

A George III mahogany wheel barometer by John Whitehurst

262

A large George III giltwood mirror with internal oval frame

A Second Empire ormolu mounted blue john clock

258

A George III giltwood mirror with internal oval frame

172

A George III giltwood overmantel attributed to Linnell

128

An Irish George III oval mirror chandelier GLASS A set of four Victorian silver mounted etched glass claret jugs

208

26

70

A Regency parcel gilt and white painted overmantel mirror

236

A Continental Regency period giltwood four light girandole

90

Pairs GLOBES

A huge pair of George II giltwood girandoles

A George III satinwood 21-inch globe by William Cary

A pair of George II oval giltwood mirrors with putti heads

A Victorian ‘Colossus’ globe by Thomas Malby

150 6

A pair of George III giltwood girandoles with vase platforms A pair of George III giltwood girandoles A pair of George III giltwood mirrors with carved birds A pair of George III giltwood mirrors with seated figures

LIGHTING A George III blue john candle vase by M. Boulton

204

A George III 20 light cut glass chandelier by W. Parker

284

A George III 12 light cut glass chandelier attrib. to Parker & Perry 102 A pair of George III giltwood triple branch wall lights A pair of George III cobalt blue glass storm lights

68

120 98, 202 82 232 40 268

Chinese mirror paintings A George III Chinese export reverse mirror painting

164

A pair of George III Chinese export mirror paintings

210

154

297


RO N A L D PHILLIPS

MISCELLANEOUS

Window seats/stools

Furniture A pair of George III pedestal cupboards attrib. to Vile & Cobb

46

A pair of George II mahogany stools

282

A pair of George III giltwood window seats

218

Objects A William and Mary brass bound ebonised strong box on giltwood stand A set of sixteen Meissen dinner plates A George III Italian export white statuary marble chimneypiece A massive George III blue john vase of campagna shape

TABLES 240 85 202

Card A George II walnut concertina action card table A George III mahogany triple top card table

58 144

96

A George III white marble ‘Venus vase’ by M. Boulton

182

Centre

A pair of Irish George III limestone garden sphinxes

222

A George II mahogany centre table

194

A huge Regency blue john urn

172

An Irish George II mahogany drop-leaf table

214

A pair of Irish Regency brass bound mahogany log buckets

160

A George III mahogany rent table attributed to Gillows

166

A Regency satinwood boulle inlaid library table

202

A George IV parcel gilt amboyna centre table by William Riddle

156

Wall brackets/shelves A pair of George II Chinese export Canton enamel wall sconces

172

A pair of George III giltwood ho-ho birds

116

Desks/writing

A pair of Regency mahogany hanging corner shelves

238

A George II mahogany writing table attrib. to Wright and Elwick A George III mahogany oval pedestal desk

22 72

A George III satinwood brass mounted writing table

252

SEATING

A pair of George III satinwood bonheurs-du-jour

138

Chairs (single)

A William IV burr walnut partners’ desk

148

A George II gilt gesso needlework armchair A George II mahogany library armchair designed by William Kent

192 44

Dining

A George II parcel gilt mahogany armchair attrib. to P. Saunders 264

An Irish George II mahogany drop-leaf table

214

A George II parcel gilt armchair attrib. to Alexander Peter

142

A George III mahogany three pillar dining table

112

200

A Victorian mahogany table by Johnstone Jupe & Co.

104

A Regency mahogany adjustable music chair

Occasional tables/stands

Chairs (pairs) A pair of George II blue japanned armchairs attrib. to Grendey A pair of George II mahogany library armchairs

62

A pair of George I gilt gesso torchères

172

A pair of George II giltwood torchères

212

A near pair of George II parcel gilt mahogany torchères

266

A pair of George II parcel gilt mahogany side chairs

32

A pair of George II walnut library armchairs by Giles Grendey

18

A pair of George III mahogany armchairs attrib. to Linnell

76

A pair of George III giltwood library armchairs

202

A pair of George III satinwood armchairs attrib. to Gillows

256

A set of four George III mahogany hall chairs by Gillows

180

A set of twelve George III mahogany dining chairs

108

298

A George III harewood oval Pembroke table by George Simson

234

188

Side 246

A George I gilt gesso side table

174

A pair of George I giltwood side tables from Devonshire House

270

A George II giltwood console table attributed to Matthias Lock

88

A George II giltwood side table

Settees A George I burr walnut double chairback settee

Pembroke/sofa

A George I gesso side table

Chairs (sets)

178

8

A George III giltwood console table designed by Robert Adam

172

A George III mahogany side table

124


RO N A L D PHILLIPS

A George III mahogany side table by Gillows

114

A pair of George III giltwood and satinwood pier tables

80

A pair of George III satinwood side tables by B. Shepard

230

A pair of George III Siena marble side tables A Regency mahogany hunt table attributed to Gillows

28 208

Tripod A George I Chinese lacquer triangular tripod table

38

A George II Anglo-Chinese rosewood tripod table

286

A George II mahogany envelope table

184

A colonial George II parcel gilt ebony tripod table

66

A George II mahogany oval tripod table

12

A George III padouk tripod table attributed to Chippendale

92

TEA CADDIES A William IV marble tea caddy

136

WINE COOLERS A George II brass mounted wine cooler by William Hallett

198

A George III gilt bronze wine cooler by Rundell, Bridge & Rundell 168

299


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Ronald Phillips - 2015  
Ronald Phillips - 2015