Butchoff Volume X

2

Details make perfection, and perfection is not a detail – Leonardo da Vinci

As the global art & antiques market is reaching new heights, traversing unprecedented horizons, and garnering global momentum, our devotion to the pursuit of excellence in antiques remains unwavered. This past year has shown the global reach, appreciation, and status of Western art skyrocket beyond our borders, concluding with the sale of Leonardo da Vinci’s Salvator Mundi for $450 million, which ultimately found a permanent home in the Louvre Abu Dhabi. Still, at the core of an international antiques market is a pure loyalty to the historical artists, artisans, and cabinetmakers who dedicated themselves to accomplishing beauty in every sense.

We are pleased, therefore, to pay tribute to Thomas Chippendale in this year’s catalogue on his 300th anniversary; his bespoke commissions for magnificent properties such as Dumfries House and Harewood House remain National Treasures today, whilst his seminal book The Gentleman and Cabinet Maker’s Director became the most influential source in design and cabinet making for the next 150 years.

This past year we continued expanding our international presence, exhibiting coast-to-coast in the United States with fairs in San Francisco and Palm Beach. We likewise maintain our reputation for excellence in Europe, exhibiting at Masterpiece and the LAPADA Fair in London.

We continue to be at the forefront of fashion and style, marrying our timeless antiques with wellcrafted contemporary design. The 2018 Butchoff collaboration with Hauser & Wirth, presented at Masterpiece, recognises the importance of a contemporary alliance between art & antiques.

The launch of our new website has been very rewarding and showcases our elegant furniture and objets d’art in an outstanding fashion. Our continuous ambition is to grow with our discerning clients and devoted collectors, as we develop and take on new challenges. Our online presence at www.butchoff.com echoes the strength of our inventory, complementing our dynamic London showroom and the various curated art fairs.

After nearly fifty-five years in business, the increasing rarity of well-crafted and refined antique furniture has encouraged us to keep our pulse on the market, and we are pleased to highlight some of this year’s exceptional acquisitions, including a remarkable Boulle Bureau Plat by Toms and Luscombe shown at the 1862 International Exhibition, London and used exactly a century later in Sean Connery’s first foray as James Bond, Dr No (1962); a Grand Tour Micromosaic Centre Table of breath taking quality on an unusually large scale; the very best piece of black forest wood carving we have ever owned – a larger than life size Great Dane and a very elegant pair of Ebony and Ivory Inlaid Display Cabinets firmly attributed to Jackson & Graham.

This past year, we have cultivated relationships with new and existing clients, friends, and collectors, designing and completing a number of luxury residences around the globe. We are always keen to help you find your ideal antiques that are suitable for any space, be it classical or contemporary. As ever you will find a selection of our stock on our regularly updated website www.butchoff.com. If you are unable to find what you are looking for, either in this catalogue or on our website, do contact us with your specific needs as we carry many more pieces in our warehouse facility that do not appear online. Our search for the very best eighteenth- and nineteenth-century antiques has lead us around the world, and we hope the selection presented within these pages peak your interest, excitement, and desire.

Ian, Adam & James AN

T IQUE DE

A

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LE

&

AR

RS

KENSINGTON A

N

CHURCH STREET

S

O SO CIATI

Butchoff Antiques 154 Kensington Church Street, London W8 4BN Tel: +44 (0)20 7221 8174 Fax: +44 (0)20 7792 8923 Email: enquiries@butchoff.com Web: www.butchoff.com

ButchoffAntiques

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@Butchoffboys 3

A Grand Tour Centre Table The Top in the Manner of Domenico Moglia Circa 1850

The carved gilt wood base in the manner of George Smith having four monopedia supports, each depicting leopards’ heads atop, with paw feet below, and conjoined by an incurved stretcher base having carved stiff leaf decoration, and raised on castors; the circular platform of marmoro nero, with a stylised Greek Key border within double Malachite reserves; the central micromosaic roundel depicts the Vatican from St Peter’s Square, surrounded by eight separate roundels of the Pantheon of the Gods; the smallest of Rome’s seven hills, the Capitoline; the Mauseoleum of Hadrian on the Tiber; the Roman Forum, with the remanants of the Temple of Vespasian; the Colosseum; the Temple of Vesta; the Arch of Titus, and the Tomb of Cecilia Metella.

English/Italian.

DIMENSIONS:

4

REFERENCE:

H:

30.5 in

77 cm

Dia:

35.5 in

90 cm

8841

Provenance: From a Noble family, the 6th Earl of Macclesfield (1811-1896) then by descent.

The base is similar in design to designs published

by George Smith’s ‘A Collection of Designs for Household Furniture and Interior Decoration’, 1808. The taste for monopedia supports was of fashion in the Regency period and models of such were displayed in the 1851 Great Exhibition. The Macclesfield coat of arms depicts a shield with a central chevron and three leopards’ faces.

Views of Roman monuments was the most popular theme used by mosaicists in Rome in the beginning of the nineteenth century, supplying the flow of wealthy Grand tourists from Northern Europe. From small gold boxes, plaques to tabletops, mosaics were among the most sought after souvenirs from Italy. Tabletops were the most prized and expensive items, either acquired on tour or commissioned by English aristocracy and those of wealth.

5

A Very Fine Davenport

By Holland & Sons of London Circa 1865

Designed in the Anglo-French manner, and constructed employing excellent examples of rare woods, including harewood, kingwood, West Indian satinwood (inter alia), with cross-banding and sumptuous marquetry work in specimen woods and ivory, and extensively dressed with splendid ormolu mounts; rising from oblate bun feet, the shaped, canted and lockable writing slope having an inset Morocco leather, with flanking compartments with engraved hinges and hand cut screws; recto, fitted for pens and ink; verso as a container, with guard ormolu edges with stiff leaf castings; once raide, the interior has four drawers with fine dovetails and cedar linings, and a padded Morocco trellis banded letter board; two marquetry panelled hinged doors to the body, verso, set with velvet lined shelves: recto, four line inlaid drawers; the kneehole having a bold marquetry panel, flanked by quadrant spandrel supports, with velvet lined slides over; the superstructure having a three quarter arcaded ormolu gallery, and the central cartouche in the marquetry panel having the initials of the person to whom it was gifted ‘AE’ - Alice Ernestine (Hawker) the wife to be of Alfred, son of R.N. Thornton, of Sidmouth (q.v.). English.

Literature ‘Victorian Furniture’ co-authored by Symonds & Wineray, published London 1962 documents and discusses the relationship between R.N. Thornton, of Knowle Cottage, Sidmouth, Devon and Holland & Sons, whilst illustrating very similar pieces of Holland furniture de luxe to our davenport, which were commissioned circa 1868.

‘Holland & Sons and its clients, 1835-1885’ by Amanda Girling-Budd, published for the Royal College of Art, September 2006.

‘Masterpieces of Industrial Art... at the International Exhibition 1862’ published by J.B. Waring in 1863 illustrates Holland & Sons furniture in the Anglo-French manner, with direct affiliations to our davenport. Other similar pieces, including Royal commissions for Marlborough House, made on behalf of the Prince of Wales, (later Edward VII) may be accessed in our ‘sold’ archives.

R.N. Thornton, a London barrister, furnished Knowle Cottage, Sidmouth, Devon with many pieces from Holland & Sons, and his son, Alfred James, married Alice Ernestine Hawker, the grand daughter of Lucy Ford, the illegitimate daughter of William the Fourth’s mistress, the actress Mrs Jordan.

DIMENSIONS:

6

REFERENCE:

H:

45.5 in

115 cm

W:

32 in

81 cm

D:

27.5 in

70 cm

8832

7

An Exhibition Quality Cabinet Firmly Attributed to Holland & Sons Circa 1865

Constructed in a well figured and patinated satinwood, with specimen woods and ivory used in the complex and masterfully executed inlay work, and having extensive usage of finely made bronze dorÊ mounts; of gentle breakfront form, rising from tapering ormolu mounted feet set below the everted radiused angles, the lower apron set with a central rectangular tablet with an ormolu cartouche; over, the door, of arcaded form is richly inlaid with a horned goat’s head issuing swags, and below, a richly inlaid musical trophy, with pendant tassels, encloses a shelved interior, flanked by panels decorated with trellis form inlay within three-quarter decorated reserves; over the ceinture has conformingly rich inlay; the whole enclosed by turned, tapering and ormolu mounted columns. The shaped platform is cross banded, and has two shelf tiers supported by ormolu columns and brackets, and surmounted with an arcaded three quarter ormolu gallery.

The Louis Seize manner, modified to the restrained English taste enjoyed great popularity in the mid 19th century, and two leading exponents, the companies of Holland & Sons and G.J. Morant, both lauded exhibitors at the 1851 Crystal Palace Exhibition, and later excelled at combining breath-taking workmanship and design. On unsigned or unprovenanced pieces it is almost impossible to differentiate between their work, but our fifty years experience in handling such pieces comes down on the side of Holland & Sons.

DIMENSIONS:

8

REFERENCE:

H:

59.5 in

151 cm

W:

32 in

80.5 cm

D:

16 in

39.5 cm

9028

9

A Mid-Nineteenth Century Centre Table

By Johnstone & Jeanes of London Circa 1850

Constructed in walnut, with detailed marquetry inlay work, and brass and gilt highlights; rising from a castor shod tripartite knurled and scrolled cabriole legged base issuing turned, tapering and carved columns supporting the tilt-top platform; the circular top of finely figured Circassian walnut inlaid with floral arabesques. the lower rim having a bronze running pearl border. Stamped to the underside ‘Johnstone & Jeanes’.

DIMENSIONS: H: Dia:

10

REFERENCE:

30 in

76.5 cm

53.5 in

136 cm

8142

Johnstone, Jeanes & Co John Johnstone of Bond Street came to prominence after his collaboration with Robert Jupe, an ‘upholder’ of 47 Welbeck Street, Cavendish Square, London, who patented a remarkable design for a circular expanding dining table with a segmented top in 1835. After Jupe’s death, the firm traded as ‘Johnstone and Jeanes’ from 1842 until 1880, moving to Bond Street and continuing the tradition of producing high quality furniture.

They exhibited at the Great Exhibition in 1851, The International Exhibition of London in 1862, and The Paris Exhibition of 1878. Both the Royal Collection Trust and the Victoria & Albert Museum own stamped pieces of furniture in their collections.

The firm later became ‘Johnstone & Norman’, trading until the early years of the twentieth century.

Literature; Furniture History Society (1972/9) ‘A Pictorial Dictionary of Marked London Furniture 1700-1840’, Maney & Co 1996, Christopher Gilbert.

11

A French Second Empire Bracket Clock

By Berthoud of Paris In the Manner of André-Charles Boulle Circa 1870

Constructed in tortoiseshell and brass in première-partie Boulle work, the decoration drawing inspiration from Jean Bérain, and adorned with bronze mounts.

Upon a bracket of inverted shaped bombé triangulated form, terminating in a berried finial, and dressed with a central cartouche of a stylised Louis XIV and flanked by grotesque masks, sits the clock, having an eight day movement striking on a bell; the serpentine form case, rising from bronze toupie feet having a kettle form base, dressed

DIMENSIONS:

12

REFERENCE:

H:

49 in

125 cm

W:

18 in

46 cm

D:

8 in

20.5 cm

8300

with caryatids, flambeau finials and surmounted by a bronze winged figure holding a trumpet, and proclaiming the hours; the foliate engraved brass face having the hours delineated by Roman numerals on enamel shields, and bearing the maker’s name ‘Berthoud a Paris’. French.

Brian Loomes ‘Watchmakers & Clockmakers of the World’; published 2006 by NAG Press, lists several Berthouds working in nineteenth Century Paris, to whom this clock’s authorship might be ascribed.

13

A ‘Boulle’ Marquetry Guéridon Circa 1870

The whole of tortoiseshell inlaid with pewter and brass marquetry or première-partie mounted with finely cast gilt bronze mounts, the circular top decorated with designs of arabesques, foliage and butterflies of mother-of-pearl, raised by a baluster form shaft supported by a three cast gilt bronze winged dragons resting on a plinth. French.

DIMENSIONS:

14

REFERENCE:

H:

32 in

80 cm

Dia:

28 in

70 cm

8827

15

A Bureau Plat in the Louis XIV Manner

By Toms and Luscombe Shown at the 1862 International Exhibition, London Circa 1862

DIMENSIONS:

16

REFERENCE:

H:

31 in

78 cm

W:

91 in

230 cm

D:

45 in

114 cm

8857

Constructed in the manner of André-Charles Boulle, using complex arabesque premièrepartie inlays on an ebony ground: the whole richly dressed with bronze doré mounts; of serpentine form, rising from strongly modelled swept cabriole legs dressed with foliate entwined chutes, capped with cartouches and terminating in scrolled sabots, the apron of bombé form

enclosing the kneehole, housing three lockable drawers flanked by ormolu clasps, and three similarly dressed faux drawers to the obverse, having complex loop handles; the platform having a tooled Morocco leather writing surface, with the complex arabesques in the reserve, and having an outer foliate cast ormolu guard edge.

English.

17

Toms and Luscombe Successors to, and working from the same premises as Town & Emanuel, which they took over between 1840 and 1851, they traded from the same address at 103 New Bond St. and also specialised in fine quality Boulle or “Buhl” marquetry as it was often referred to in England.

They appear in the 1851 census. (Inlay, Marquetry and Buhl Workers in England c. 1660-1850, Pat Kirkham, The Burlington Magazine, Vol. 122, No. 927 {Jun., 1980}, pp. 415-416 and 419). They exhibited at the Great Exhibition of the same year

18

and are recorded as showing ‘A pair of pedestals in buhl and ormolu and pair of tulipwood stand and cabinets ornamented with china and ormolu’. An article in the Illustrated London News comments on our bureau plat, which it also illustrates.

At the time of the 1862 Exhibition in London they can be found in the catalogue as exhibitors 5839 and were awarded a medal for “Buhl cabinets and tables for good design and workmanship”. John Burney Waring in ‘Masterpieces of Industrial Art and Sculpture 1862’ includes a chromolithograph of their work (Plate 252) which shows a Table and

Cabinet, commissioned by the Earl of Craven.

(Reproduced Jonathan Meyer, Great Exhibitions, London, New York, Paris and Philadelphia 18511900, Woodbridge, 2006 p.15).

This bureau plat model appears in the inventories of Clandon Park, the Duke of Buccleuch collection at Bowhill, and the Earl of Normanton at Somerley. Christopher Payne’s ‘European Furniture of the 19th Century’, published by the Antique Collectors Club 2013 shows images of similar bureau plats.

19

A Pair of Pedestals in the Manner of Befort Fils of Paris Circa 1860

Constructed in bois noirci, dressed with gilt bronzes, and hardstone inlays; rising from incurved serpentine stepped bases, the inverted tapering columns having central hardstone panels depicting birds amidst fruiting trees, with smaller paired panels above, all within gilt bronze frameworks; pairs of female paired gilt bronze herms flank the upper column sections, with the shaped platforms dressed with conforming black marble tops. French.

Denise Ledoux-Lebard’s ‘Le Mobilier Français du XIXe Siècle’ remarks on the speciality of the Befort Family, father and his two sons, being ‘Meubles de Boulle avec mosaique et bronzes’ and shows images of similar pieces.

DIMENSIONS:

20

REFERENCE:

H:

49 in

124 cm

W:

21.5 in

54 cm

D:

14 in

36 cm

7998

21

A Pair of Samson Fish Bowls in the Oriental Manner on Giltwood Stands Circa 1880

DIMENSIONS: H: Dia:

22

REFERENCE:

37 in

94.5 cm

26.5 in

67 cm

9024

Of typical Canton circular everted form, decorated in the Famille Rose palette with cranes, phoenix and foliage on the porcelain bodies, with applied Lion-Dog masks to the sides. Set upon carved giltwood stands in the early Georgian manner, with ‘C’ scrolls and acanthus carving, each with animal masks and paw feet.

The highly skilled Samson Factory, based in Paris, operated until 1891, making excellent copies of European and Oriental pieces.

23

A Good Pair of Mirrors in the Louis XV Taste Circa 1860

Of rectangular portrait form, constucted in carved giltwood and gesso, the serpentine form frames dressed with foliates, and enclosing double mirror plates. French.

Graham Child’s ‘World Mirrors’ published by Sotheby’s 1995, shows a similar mirror on pp.196, illustrated below.

DIMENSIONS:

24

REFERENCE:

H:

57 in

145 cm

W:

31 in

79 cm

7843

25

A Good Pair of Meuble d’Hauteurs d’Appui

By Henri Picard of the Napoleon III Period Circa 1870

DIMENSIONS:

26

REFERENCE:

H:

48 in

122 cm

W:

30 in

76 cm

D:

15 in

37 cm

8911

Henri Picard, Paris Constructed using fine kingwood, thuyawood and amaranth veneers laid in complex book matched and chevron parquetry, and dressed with excellent gilt bronze mounts stamped on the reverse ‘HPR’ for Henry Picard of Paris; of breakfront form with everted angles, each rising from six tapering ormolu toupie feet supporting shaped, and ormolu dressed plinths, with three lockable doors enclosing shelved interiors, interspersed with ormolu swag and stiff leaf decorated fluted, ring-turned and tapering

columns; the central doors with ormolu stylised Grecian urns within leaf cast ormolu frames set with paterae at the inverted angles: the flanking doors dressed with ormolu interwoven branches issuing flambeaux; the sides with further conforming parquetry and ormolu mounts, with the upper aprons set with Vitruvian form ormolu friezes, and having Portoro marble inset platforms with everted angles. Bearing an old paper label reading ‘Roux No.49, 1 Bahal’. French.

Similar models are recorded in Christopher Payne’s ‘19th Century European Furniture’ published by the Antique Collectors Club in 1981.

Henri Picard, a notable fondeur and doreur, is recorded as working in Paris from 1831 to 1864, from 6 rue Jarente and later at 10 rue de la Perle.

Their work was highly regarded by the Emperor Napoleon the Third, and they supplied furniture to his apartments in Fontainebleu, now on exhibit in the Louvre.

27

A Pair of Etagérès

By Henri Picard, Paris Circa 1870

Constructed in the Louis XVI manner, constructed in kingwood, with thuya wood cross banding, and well cast and planished doré bronze mounts; rising from tapered feet, the columns turned, tapered are dressed with ormolu, with the lower tiers having cross banded parquetry platforms; the aprons housing single drawers, set with elliptical pictorial mounts showing putti, and flanked by floral paterae; the Cararra platforms of rectangular form with everted angles. The reverse of the mounts stamped ‘HPR’, the sigil for Henri Picard. French.

DIMENSIONS:

28

REFERENCE:

H:

32 in

81 cm

W:

21.5 in

54 cm

D:

14 in

36 cm

8757

Henri Picard, Paris

29

A Vernis Martin Bureau Plat in the Louis XV Manner

By Henri Picard Circa 1880

Constructed in kingwood, extensively dressed with bronze mounts, stamped ‘HPR’ with the shaped apron decorated with bucolic scenes in the style of Vernis Martin; the swept cabriole legs are dressed with ormolu sabots and espagnolettes; three lockable drawers in the apron, with ormolu frames; the serpentine bronze edged platform having an inset gilt tooled tan Morocco leather.

French.

DIMENSIONS:

30

REFERENCE:

H:

30 in

75 cm

W:

48 in

122 cm

D:

28 in

70 cm

8780

Henri Picard, Paris

31

A Fine Side Cabinet

By François Linke Circa 1900

In the Louis XVI manner, of gentle breakfronted form, constructed in violetwood, and adorned with bronze doré mounts of the finest quality; rising from turned and tapering cannelure and leaf cast ormolu clasps, the lockable door, dressed with ormolu lovers’ bow tied triple swags, having a pendant laurel wreath, encloses a shelved interior; the flanking panels with conforming mounts, and the platform of a thumb nail moulded edge brecciated marble. Signed by the maker on an upper right ormolu mount. French.

François Linke Linke (1855-1946) is considered to be one of the finest ebenistes and bronziers of the nineteenth century. He moved from Pankratz, Bohemia where he completed his apprenticeship under the strictest of training, to Paris in 1881, setting

DIMENSIONS:

32

REFERENCE:

H:

45.5 in

116 cm

W:

49.5 in

126 cm

D:

17 in

43.5 cm

8925

up shop in the Place Vendôme, and with his workshops in the faubourg Saint Antoine, he quickly attracted a wealthy clientele, appreciative of the excellence of his work. Specialising in the style of the ancien régime and modifying the proportions of the original works to suit the smaller Parisian apartments, he was an exhibitor at the Paris Exposition Universelles of 1878, 1889, and 1900, and at the last, a Gold Medal winner par excellence for his extraordinary Bureau du Roi. A similar model of this cabinet may be seen on pp.486 of Christopher Payne’s ‘François Linke’, published by the Antique Collectors Club in 2003.

33

A Centre Table in the Louis XVI Manner

By Gervais Durand Circa 1880

Constructed in mahogany, with gilt bronze ornamentation; four tapering legs with ormolu toupie feet, conjoined with an incurved and galleried undertier housing a Bleu de Savoie marble supporting the ceinture, with further ormolu trophy dressings and a single drawer, and having an ormolu galleried platform. French.

Stamped to the underside ‘G. Durand’.

Specialising in the production of eighteenth century style furniture of the finest quality, Gervais-Maximillien-Eugène Durand (b.1839), working at 12 Rue de la Cerisaie, and later 23 Rue Beautreillis exhibited at the Exposition Universelle of Paris in 1889, gaining a silver medal, and the praise of the judges, who compared their work with that of Beurdeley and Dasson. With his son Frederic-Louis joining him around 1890, the firm changed its name to Durand et Fils.

DIMENSIONS:

34

REFERENCE:

H:

31 in

79 cm

Dia:

32 in

81.5 cm

8970

35

A Matched Pair of Side Tables in the Louis XVI Manner

By Paul Sormani Circa 1870

Of rectangular form constructed in mahogany, with gilt bronze ormolu enrichments; rising from truncated conical legs adorned with ormolu sabots, the lower tiers of incurved form, with ormolu guard edgings; the upper legs of tapering square section, with ormolu caps, capitols and collars; the friezes containing oak lined drawers, one bearing the makers plaque, with pierced ormolu foliate moulding to the fascias, with full rectangular ormolu baluster galleries. French.

Paul Sormani, (1817-1877) born Canzo, in the Lombardy area, set up his first workshops in Paris in 1847, finally settling in Rue Charlot in 1867, offering works of ‘a quality of execution of the first order’. Supplying copies of furniture in the style of the ancien régime. They exhibited at the Paris Exhibition of 1849, obtaining a bronze medal, and later, the Paris Expositions Universelles of 1855 and 1867, and in London in 1862 , being awarded medals for their excellence.

DIMENSIONS:

36

REFERENCE:

H:

30 in

76.5 cm

W:

22.5 in

57.5 cm

D:

15 in

38.5 cm

8930

37

A Pair of French Ormolu Wall Lights in the Louis XVI Style By Raingo Frères Circa 1890

Constructed in gilt bronze; the three arms of serpentine form issuing from lentil form backplate urns, chased with torsades, having pendant fruiting garlands, and lovers’ bow terminals, signed by the maker, Raingo Frères.

French.

Raingo Frères Bronzier, and clockmakers Raingo Frères were founded in 1813 in Paris, becoming patronised

by George IV of England, and appointed to the Garde Meuble de France in 1824. In 1834, the company received an honorable mention in the Paris exhibition; noted for their excellence of workmanship of their clocks, adding in the early 1840 household decoration and furnishings to their output, counting Napoleon the Third and Empress Eugenie among their Royal clients, and became suppliers of bronze work to François Linke. Exhibitors at the 1862 Great Exhibition in London, and further international exhibitions in 1867, 1878 and 1889. Examples of their work may be seen in the English Royal Collection, as well as the Louvre, and the Palacio Real de Madrid.

DIMENSIONS:

38

REFERENCE:

H:

38 in

97 cm

W:

18 in

45 cm

8838

39

A Fine Pair of Marble Vases in the RĂŠgence Manner Circa 1870

Constructed utilizing a strikingly marked Grecian Green Marble, dressed with ormolu mounts; the bases of incurved square form, with flower heads at the angles, and rectangular panels with piqure decoration, supporting lions’ paws feet, dressed with foliates clasping the annuli holding the shaped baluster form, fluted marble bodies, having serpentine mask terminal handles, and pine cone finials. French.

The Palace of Versailles exhibits a pair of vases of virtually identical form, (Item VMB 1112), shown in the Madame Victoire Room, which were originally the property of Mme Bellevue (and first recorded in the Versailles inventory of 1824); and, the Victoria and Albert Museum possesses, in the John Jones Collection (item 1137-1882) another pair, as seen in the image below.

Alfred Beurdeley (1808-1889) exhibited another pair at the 1889 Paris Exposition Universelle.

DIMENSIONS:

40

REFERENCE:

H:

19 in

47.5 cm

Dia:

17 in

42 cm

8718

41

An 18 Carat Gold Strawberry Set by Asprey of London After the Original by Paul de Lamerie Circa 1953

Comprising a sugar caster of baluster form, and a helmet shaped cream jug, which set in the double scroll handled frame, with a pierced base and scrolled feet, the whole engraved and chased.

Hallmarked for London 1953 and made by Asprey & Co. Total weight 1485 grams. Complete with the original Asprey invoice and information documents. London.

Discussed at length in ‘Asprey & Co. Ltd Bond Street, 1781-1981’ by Bevis Hillier, Quartet Books Pub 1981, a solid gold table set was made to celebrate the Coronation year of Queen Elizabeth II, to show post-war England to have the same skill set as Masters such as de Lamerie (also of Bond Street), from the eighteenth Century. The set was sent on tour to the United States, and attracted great approbation.

DIMENSIONS:

42

REFERENCE:

H:

8.5 in

21 cm

W:

7 in

18 cm

9022

Founded in 1781, the company, almost 250 years later continues to thrive. Holder of many Royal Warrants, and suppliers over the years of crowns diadems and sceptres to crowned heads all over the world.

Paul de Lamerie (1688-1751) came to England with his parents during the persecution of the Huguenots from France. Due to his extraordinary inventiveness and skill, he has been claimed by the English as one of their own! His best pieces grace museums and collections world wide, including the Royal Collection.

43

An Elkington & Company Silver Gilt Presentation Casket Circa 1891

Hallmarked for Birmingham, 1891 and the maker; the casket, in the Victorian Gothic manner, with cluster columns at the angles, with fascias of lancet arches dressed with trefoils, and has a canted hinged top, bearing the Manchester coat of arms enamelled on the finial, with the motif ‘Concilio et Labore’ (Diligence and Labour), opening to reveal a silk lined interior; with inscriptions dedicating the box to Alderman Abel Heywood, JP (q.v.), at his being granted ‘Freedom of the City of Manchester’, contained within a glazed case bearing similar inscriptions.

Birmingham, England.

Alderman Abel Heywood (1810-1893) a self-taught striver came from a poor family, possessing typical Victorian zeal to improve the lot of the working class, becoming a bookseller and publisher, notably of ‘Penny Guides’, directing workers to use the newly installed railways to improve their knowledge and vision; he appears to have been a firebrand, often at odds with authority on his chosen mission to educate the poor, and occasionally being jailed for his attempts to upset the status quo; becoming Mayor of Manchester on two occasions (1862/3 & 1866/7); in this capacity he oversaw the construction of the Town Hall, and its clock bell is known as ‘Great Abel’, and his self-chosen motto ‘Ring out the False, Ring in the True’.

DIMENSIONS Casket:

REFERENCE:

H:

7.25 in

18 cm

8890

W:

10.75 in

27 cm

D:

4 in

10.5 cm

DIMENSIONS Case: H:

44

10.5 in 26.67 cm

W:

16 in 40.64 cm

D:

10 in

25.4 cm

45

A Rare Suite of Four Pastille Burners in the Louis XVI Manner Circa 1880

Constructed in bronze dorĂŠ and brecciated Sarrancolin marble; the square base decorated with cast Vitruvian scrolls, the tapering and waisted lobed columns issuing foliate and stiff leaf cast clasps, supporting the lidded ovoid bodies with ormolu swagged banding held by putti, with waisted and pierced pastille burners with knopped finials. French.

DIMENSIONS: H:

46

16 in

REFERENCE: 40 cm

9010

47

A Fine Cased Travelling Drinking Set

By George Betjemann and Sons Circa 1885

Constructed in coromandel, with gilt-brass strapping, with bronze carrying handles to the sides, the top bearing the arms of Congreve, and the initials of the owner, in gilt brass.

The lockable box is of domed form, the hinged lid and gate fascia opening to reveal fitted spirit, wine and cordial glasses, cut glass decanters, a serving tray and ashtrays. Signed by Betjemann on the lock.

General Sir Walter Norris Congreve VC, KCB, MVO, DL (1862-1927) Serving in the Second Boer War, he was awarded the Victoria Cross, for his actions at Colenso, the citation reading: ‘At Colenso on the 15th December, 1899, the detachments serving the guns of the 14th and 66th Batteries, Royal Field Artillery, had all been either killed, wounded, or driven from their guns by Infantry fire at close range, and the guns were deserted. About 500 yards behind the guns was a donga in which some of the few horses and drivers left alive were sheltered. The intervening space was swept with shell and rifle fire. Captain Congreve, Rifle Brigade, who was in the donga, assisted to hook a team into a limber, went out; and assisted to limber up a gun. Being wounded, he took shelter; but, seeing Lieutenant Roberts fall, badly wounded, he went out again and brought him in. Captain Congreve was shot through the leg, through the toe of his boot, grazed on the elbow and the shoulder, and his horse shot in three places’. He later was employed on active service during the First World War, and was later appointed Governer General of Malta.

He is commemorated there, the Congreve Strait; between Malta and Filifa named after him.

DIMENSIONS:

48

REFERENCE:

H:

13.5 in

34 cm

W:

20 in

50 cm

D:

11 in

27 cm

8853

49

A Sculpted Carrara Marble Bust of Lt General Sir Lewis Grant KCB KCH (1778-1852)

By Robert Physick (1815-1865)

Lewis Grant was the son of Duncan Grant of Mulochaird, Strathspey, and the younger brother of Sir James Robert Grant, the chief British Army medical officer at Waterloo. Entering the army as an ensign in the 95th Regiment, and subsequently promoted; he was aboard the HMS Orion at the Battle of Groix in 1795 off the Brittany coast during the French Revolutionary Wars, and fought against the French in both Trinidad and Tobago, under Sir Ralph Abercromby, later the Governor of both, prior to Lewis Grant. Holding various army positions in Tobago and Dominica in the early years of the nineteenth century, and appointed Governor of the Bahamas in 1820, then Governor of Trinidad in 1829, serving during the Abolition of Slavery Act of 1833 with distinction.

Appointed a Knight Commander, and Knight Bachelor.

We have his red Morocco leather document casket, which bears the Royal Cypher thrice, and containing various pieces of documentation on the family Grant, including their tartan, and details of Castle Grant. The portrait bust is signed by the artist, and dated 1852.

Robert Physick (1815-1865) was a member of the West Country family who distinguished themselves in the fields of sculpture and portraiture. A Silver Medallist at the Royal Academy, he exhibited his work between 18371856.

DIMENSIONS:

50

REFERENCE:

H:

31 in

79 cm

W:

22 in

55 cm

8932

51

A Wonderful Pair of Display Cabinets Firmly Attributed to Jackson & Graham of London Circa 1875

Constructed in ebony, with extensive highly detailed ivory inlays and finely cast and chased bronze and brass dressings. Of rectangular gentle breakfront form, each rising from four inverted tapering square section collared legs, having conjoining incurved undertiers; over, shaped aprons, inlaid with foliate festoons frame the glazed vitrines, having central lockable doors, the locks being marked ‘IMPd Patent Lever’, are housed within vertically inlaid Corinthian capped columns; the stepped platforms conformingly inlaid. The fascia panels over have centrally situated carved busts of a male and female in the Neo-Renaissance manner.

The firm of Jackson & Graham established in 1836 by Thomas Jackson and Peter Graham at 37 Oxford Street London, and for the next fifty years produced predominately high quality furniture and represented Britain at many of the international exhibitions, including Vienna in 1873. Their clients included Queen Victoria, Napoleon III, the Grand Khedive at Cairo and the royal palace in Siam. They were particularly noted for their fine marquetry work, the use of Wedgwood plaques, ivory inlay, rare woods, and fine casting of bronze mounts. They engaged the leading designers of the period, inter alia, Owen Jones, Bruce Talbert, Alfred Lorimer and Eugene Prignot. In the mid 1850s the workforce was recorded as 250, and by 1875, the company was employing 600 workers. They were feted exhibitors at many of the Great Exhibitions of the nineteenth century, and frequent prize winners.

At the Paris International Exhibition of 1878, the furniture jury noted of them ‘the workmanship is so perfect that even with the aid of a magnifying glass scarcely the slightest imperfection is to be found’. In 1885 the company was absorbed

by Collinson and Lock, who continued their standard of excellence.

At the Great Exhibitions of London 1862, and Paris 1878, pieces were shown, with designs by Talbert, and Lorimer, having stylistic affiliations to our pieces.

DIMENSIONS:

52

REFERENCE:

H:

55 in

140 cm

W:

46.5 in

118 cm

D:

17 in

42 cm

8849

53

A Games Table Attributed to Maples of London Circa 1900

Constructed in a fine faded mahogany, line inlaid; rising from castor shod square tapered legs, the rear legs extensible to support the double top, itself housing a baize line card table surface, and a roulette wheel flanked by conforming baize lined paired compartments.

Maples Founded in 1841 by John Maple, manufacturing and retailing from the hub of the furniture centre

DIMENSIONS:

54

REFERENCE:

H:

29 in

74 cm

W:

37 in

94 cm

D:

22 in

56 cm

6759

in London’s Tottenham Court Road, and through the founder and his son’s drive and excellence of the products of the company, expanded greatly, to have further workshops and points of sale in both Paris and Buenos Aires, and later, a shop in Smyrna. Clientele included Queen Victoria, King Edward VII, members of the Royal Household, the King of Siam, and Nicholas, Tsar of Russia.

Later, Maples would furnish the Royal yachts, the QE1, QE2 and the Queen Mary, as well as hotels in Nice, London, Paris and Siam.

55

A Pair of Late Georgian Library Armchairs Circa 1825

Constructed in mahogany, upholstered in a buttoned leather hide; rising from castor shod legs, of swept sabre form to the rear, and tapering, ring turned and lobed to the front, conjoined with a concave front seat rail, carved with fluting; fluted rectangular tablets over, issuing lotus leaf dressed stop fluted columns terminating in circular annular turned bosses; serpentine top rails to the backs, and the ears carved with volute foliates.

DIMENSIONS:

56

REFERENCE:

H:

41 in

104 cm

W:

28 in

70 cm

D:

32.5 in

82 cm

8730

57

A Late Georgian Octagonal Library Table Circa 1830

Constructed in mahogany, and having a revolving octagonal top; the base of tripartite incurved form, richly adorned with carved anthemions, lotus flowers, volutes and spandrels, and set on castors; the tapering and incurved truncated pyramidical base conformingly carved; four faux, and four true drawers in the frieze, bearing patent locks from Mordan of Castle Street London, and the platform having an inset tooled Morocco leather, with a running gadroon edge.

DIMENSIONS: H: Dia:

58

REFERENCE:

30.5 in

77.5 cm

57 in

145 cm

8082

59

A Pair of Armchairs Stamped Veuve Meunier of Paris Circa 1850

Constructed in a well figured mahogany, which has been excellently carved; rising from addorsed feline claw footed legs to the front and rear, the shaped toprails having carved spandrels and side rails, the channelled and ring turned swept arms terminating in leopard heads; the seats and backs upholstered, and stencil signed by the maker to the reverse framework, and stamped underneath the upholstery. French.

Denise Ledoux-Lebard’s ‘Le Mobilier Français du XIXe Siècle’, published in 1984, updated 1989, records the company working between 1850 and 1853 at 8 Cour de la Juiverie, Bastille, Paris.

DIMENSIONS:

60

REFERENCE:

H:

47 in

119 cm

W:

29 in

73 cm

D:

23.5 in

59 cm

8658

61

A Regency Period Games Table Firmly Attributed to Gillows of Lancaster Circa 1815

Constructed in gonçalo alves; of end support form, braced with a central shaped stretcher; the spandrel form leaf carved truss bases terminate with crisply carved cast brass paw feet having inset castors; the platform having radial ends, which incorporated lockable hinged lids, with a reversible sliding plain top, with a chess board inlaid to the obverse within a blue morocco leather border, and when removed, reveals a well having a velvet lined backgammon board with hole peg markers for Tric-Trac to the upper edges.

DIMENSIONS:

62

The panelled frieze has ‘running pearl’ bronze beaded borders, six-point star form handles, and anthemion lock escutcheons.

Susan E. Stuart’s two volume work ‘Gillows of London and Lancaster’, published by the Antique Collectors Club in 2008 shows images and text on pp 265-7, Volume 1, of a virtually identical table, one of two ordered in 1813 by a wealthy Liverpool merchant, John Gladstone.

REFERENCE:

H:

29 in

73.5 cm

W:

55 in

139 cm

D:

24.5 in

61.5 cm

8555

Courtesy of Westminster City Archives.

Gillows of London & Lancaster

63

A Late Georgian Table in the Gillows Manner Circa 1825

Constructed in gonรงalo alves, having an inset Florentine pietra dura platform; of free-standing, turned and tapering end support form, with inset castors to the bipartite scrolled block bases, with claw feet; the apron having two drawers, fitted with turned wood handles, and two faux drawers

DIMENSIONS:

64

REFERENCE:

H:

29 in

74 cm

W:

37.5 in

95 cm

D:

22.5 in

57 cm

8859

to the obverse; the rectangular radiused corner platform has a running gadrooned edge, and houses the Florentine top, set with a central panel showing a bird in a peach tree, and examples of specimen marbles including Lapis Lazuli, Sienna Gallo, Verona Red, and Roman Breccia, inter alia.

Gillows of London & Lancaster

65

A Cabinet Stamped By Gillows of Lancaster Circa 1873

Constructed in thuyawood and walnut, rising from lobed and castored feet: over, a single long drawer, stamped with the maker’s mark ‘Gillows Lancaster L1476’ with brass pulls and above, a cross banded cupboard with panelled double doors decorated with musical trophies in bleu camaïeu opening to reveal a shelved interior; ring turned columns support the crossbanded platform, dressed with an arcaded brass gallery, and having an intaglio carved top edge.

Affixed to the cupboard interior is a letter from Waring and Gillows, the successor to Gillows, dated 1950, advising that the Gillows records advise the cabinet was made in 1873 for William Crossley, purchased for £19.10.

DIMENSIONS:

66

REFERENCE:

H:

42 in

107 cm

W:

28.5 in

72 cm

D:

17 in

42 cm

8594

Courtesy of Westminster City Archives.

Gillows of London & Lancaster

67

A Pair of Cabinets

By Gillows & Company Circa 1875

In the Etruscan Aesthetic taste, and constructed in a well patinated satinwood, with mahogany crossbanding, and ivory etched panels; each rising from tapering ivory inlaid legs and having stylised ‘H’ form stretchers with central carved bosses; the aprons having conforming decorated ivory panels; the lockable blind door cabinets with central roundels with putti rising hippocampi, having fielded reserves with running pearl brass beading, and brass paterae at the angles, opening to reveal shelved interiors, flanked by ivory inset columns; the superstructures having ivory tablets with polychrome decoration in the Etruscan manner with classically robed maidens as allegories of the Arts. One cabinet stamped ‘Gillow & Co 3175’.

The founder of the Gillow’s dynasty, Robert (1704-1772) rose from humble beginnings as a provincial joiner, and evolved into a consummate businessman following a pursuit of excellence throughout his life. Founding his business in 1730 he expanded his furniture making activities to include the direct import of quality West Indian timbers especially the finest mahogany.

His talents as both a cabinetmaker as well as innovative designer brought him early success, and, bringing his two sons, Richard & Robert, into the business, he expanded his Lancaster

DIMENSIONS:

68

REFERENCE:

H:

54 in

136 cm

W:

21 in

53 cm

D:

15 in

37 cm

9012

showroom, to include another in London’s Oxford Street. The clientele now included the Government, the aristocracy and the burgeoning middle classes. His furniture had gained its’ reputation for excellence of workmanship, and materials employed, and coupled with his insistence on being at the cutting edge of design kept the company to the fore throughout its’ one-hundred-and-seventy-year history from 1730 until its’ amalgamation with Messrs S.J. Waring in 1900. Throughout this period, it was the largest manufactory of furniture in England. The fortuitous survival of the Gillows records in their Estimate Sketch Books show over 20,000 designs and are preserved in the City of Westminster Library. Furniture made by Gillows is to be found in Royal collections and museums throughout the world. The recent publication of Susan E. Stuart’s scholarly and invaluable study on the company, published by the Antique Collectors Club is a masterpiece of its’ type, and a wonderful exegesis of the company.

Gillows of London & Lancaster

69

An Oval Marquetry Centre Table After a design by Richard Bridgens and Attributed to Edward Holmes Baldock Circa 1845

Constructed in a well-patinated amboyna, with inlay work in specimen woods and ivory, and dressed with high-quality gilt bronze mounts.

The tilt-top has a thumbnail moulded edge with a gilt guard rim, with an interlocking outer guard running motif of marquetry with foliates, flowers and shells. The table rises from quadripartite feet of inwardly scrolling form, fitted with concealed brass castors and substantial foliate and shell gilt bronze mounts, flowing into a tapering, and concave central column, inlaid on four sides with flower filled cartouches, framed with lower gilt bronze foliate mounts.

Richard Bridgens issued, in 1838, a design book ‘Furniture with Candelabra and Interior Decoration’; the design of our table is taken directly therefrom. The design was utilised often by E. H. Baldock (q.v.); a similar table with Baldock’s stamp is in the Temple Newsham collection; other models have appeared on the art market in recent years.

DIMENSIONS:

70

REFERENCE:

H:

28.5 in

72.5 cm

W:

61 in

155 cm

D:

41 in 104.5 cm

7643

Edward Holmes Baldock (1777 - 1845) Baldock is listed in the London Trade Directories of the early nineteenth century in various capacities. He first appears at 7 Hanway Street, London in 1805 described as a ‘dealer in china and glass’ and by 1821 as ‘an antique furniture and ornamental furniture dealer’. By 1826 the various facets of his business included ‘buying and selling, exchanging and valuing china, cabinets, screens, bronzes etc.’

From 1832 to 1837 he is recorded as a purveyor of earthenware and glass to William IV and later, a purveyor of china to Queen Victoria from 1838 until his death. He is known to have repaired, remodelled and adapted furniture, often eighteenth century pieces, but he also designed furniture both in the eighteenth century style and in more contemporary styles.

Pieces that appear with the E.H.B marque de fer might have been made by Baldock at his workshops but his activities link him more closely with the eighteenth century marchands-merciers such as Daguerre and Poirier. Interestingly, an invoice from him for restoration and repairs exists in the archives of Lord Saumarez of Shrublands Hall, who were supplied with a pair of console tables made by the London makers, Morant & Company; Morant’s name is stamped on a centre table which mirrors a centre table supplied to the 5th Duke of Buccleuch, now at Temple Newsham, stamped with the marque de fer of Baldock.

Marquetry, of similar design to that on our table, appears on an Erard grand piano, stamped ‘EHB’, exhibited in the Metropolitan Museum of Art, and has been connected with a family of marquetry workers, The Blakes, whose workshops were adjacent to Baldock’s retail premises.

71

An Irish Pier Glass in the Manner of Matthias Lock Circa 1750 and later

Of rectangular portrait form, constructed in gilt wood, flamboyantly, exuberantly and expertly carved; below, a Pan mask, symbolising the joys of a bucolic life; and atop, a large scallop shell, emblematic of birth and unity, having the asymmetric frame adorned with scrolling foliage, enclosing a mercury plate glass. Irish.

DIMENSIONS:

72

REFERENCE:

H:

57 in

144 cm

W:

31 in

80 cm

8803

‘Irish Furniture’ published by the Yale University Press on 2007, by The Knight of Glin and James Peill, illustrates similar carved mirror frames on pp.80 (plates 98 & 99) and pp.260 (plate 221).

Matthias Lock’s ‘Six Sconces’, published in 1744, the very first pattern book of rococo designs; strong concordances showing the influence of Lock can be seen, especially on Plate 3 of this revolutionary work.

73

A Good Lombardy Bureau Cabinet of the Eighteenth Century Circa 1750

Constructed in a well patinated walnut; rising from scrolled feet, supporting a bombe form base with three inset shaped long drawers; the lockable drop front fall encloses two banks of three shaped small drawers with a sliding well to the centre, having engraved steel hinged supports; the upper part having two candle slides and a pair of doors inset with mercury plate mirrors, which enclose three shelves, surmounted by a shaped cornice; the whole comprehensively decorated with shaped and swept ebonised mouldings. Italian.

DIMENSIONS:

74

REFERENCE:

H:

102.5 in

260 cm

W:

47.5 in

120 cm

D:

23 in

58 cm

8835

‘L’Arte del Legno e del Mobile in Italia’ by Silvano Colombo, published by Branante Editrice in 1981 shows on plates 389-394, very similar Lombarby bureaus and bureau cabinets.

See also ‘Il Mobile Lombardo’ by Andrea Disertori, published De Vecchi Editore 1992 pp.163-199 for similar examples.

75

A Finely Carved Library Armchair Circa 1850

Constructed in oak, and upholstered in green buttoned leather; rising from castor shod animal paw front feet, the swept arms, pierced and carved with foliates, lappets and rope twists, having an oak framed hooped back.

DIMENSIONS:

76

REFERENCE:

H:

38 in

96.5 cm

W:

27.5 in

70 cm

D:

33 in

84 cm

8961

77

A Good Regency Period Serving Table in the Manner of George Smith Circa 1815

Constructed in mahogany, the design source being Plate 92 from Smith (q.v.). Rising from animal claw footed ring turned, tapering and reeded legs, with carved stiff-leaf capitols; the fielded panelled platform of breakfront form, housing an oak lined lockable central drawer, now baize lined, with quadrant mouldings, having swept ends, with lion masks holding annuli.

George Smith dedicated his ‘Collection of Designs for Household Furniture’, published in 1808, to His Royal Highness the Prince of Wales, to whom he claimed to be ‘Upholder Extraordinary’. The many concordances of our piece to plate 92, as illustrated below, are readily acknowledged.

DIMENSIONS:

78

REFERENCE:

H:

36.5 in

92 cm

W:

84 in

213 cm

D:

29.5 in

74 cm

7966

79

A Pair of Regency Card Tables Circa 1820

Constructed in gonรงalo alves, and dressed with extensive brass marquetry work; rising from quadripartite swept legs terminating in brass anthemion decorated toes with inset brass castors, conjoining incurved rectangular plinths having gadrooned mouldings; the tapering swept rectangular columns support the swivelling hinged radiused corner tops, opening to reveal green baize playing surfaces, with raised tablets to the fascias.

DIMENSIONS:

80

REFERENCE:

H:

29.5 in

74 cm

W:

36 in

91 cm

D:

18 in

45 cm

8949

The prolific usage of brass marquetry work in England was employed by various distinguished cabinet makers including Thomas Parker and Louis le Gaigneur of London, both of whom supplied items to the Prince Regent for Carlton House and the Brighton Pavilion.

81

A William IV Cabinet Attributed to Town & Emanuel Circa 1830

Constructed in a strongly grained olivewood, and dressed with brass inlays and an etched and engraved brass panel; rising from a plinth base, the lockable single door having an inset panel in the manner of Jean Bérain, enclosing a shelved interior, and flanked by narrow vertical conforming panels; the apron being dressed with three bronze rosettes, and the Jura Jaune marble is dressed with a three quarter arcaded brass gallery.

Town & Emanuel Recorded in the ‘Dictionary of English Furniture Makers 1660-1840’, published by the Furniture History Society, as being situated at 103 New Bond Street between 1830 and 1840, and apart from being manufacturers of furniture, also dealt in ‘curiosities and antiques’. The late renowned connoisseur Christopher Gilbert records in his ‘Pictorial Dictionary of Marked London Furniture’, London 1997, also published by the Furniture History Society, a writing table in the Transitional manner with similar plaques. Their label reads ‘Town and Emanuel, manufacturers of Buhl Marquetrie, Resner (sic) & Carved Furniture, tripods, screens & c. of the finest and most superb designs of the Louis 14th. Splendid cabinets and tables inlaid with fine Sevres and Dresden china &c. old paintings and bronzes, carvings, oriental and other china, jewellery & curiosities bought and exchanged. Buhl and antique furniture repaired. By Appointment to Her Majesty’.

They supplied a bureau plat to Queen Adelaide, wife of William IV, their label bearing her coat of arms and being recorded in E.T. Joy’s ‘English Furniture 1800-1850’. This piece is reported in the V&A archives, as having been sold by Sotheby’s in July 1948. A porcelain inset occasional table from the Duke of Beuccleuch’s collection was sold in 1948 by Christie’s. A fine pair of commodes with the label were with the Butchoff Collection in 2006.

DIMENSIONS:

82

REFERENCE:

H:

46 in

117 cm

W:

33.5 in

85 cm

D:

17 in

42 cm

8761

83

A Table Clock

By Brockbank & Atkins of London Circa 1830

The finely marked rosewood case adorned with ormolu mounts, having foliate scroll feet, the top arched, and dressed with further ormolu scrolls and columns to the fascia, with glass side panels; the eight day movement driven by a double chain fusee, and striking the hours on a gong; the silvered circular dial having Roman numerals within an engraved giltwork ground, and inscribed atop with the maker’s name, Brockbank & Atkins, and numbered 2087; glazed inspection windows to the sides, with a glazed rear door.

Brockbank & Atkins The Brockbank family business was commenced

by John and Miles Brockbank circa 1780, and were joined by George Atkins (1767-1855), the Clerk of the Worshipful Company of Clockmakers, circa 1815. The celebrated company of Brockbank & Atkins are recorded as working from 6 Cowpers Court, in the Leadenhall ward of the City of London from 1815-1835.

DIMENSIONS:

84

REFERENCE:

H:

33 in

84 cm

W:

10 in

25.5 cm

D:

7.5 in

19 cm

8726

85

A Library Table in the Manner of Morel & Seddon Later Retailed By Edwards and Roberts Circa 1830

Of kidney form, the sled bases, standing on oblate bun feet having spandrel blocked end supports which terminate in swept palm leaves; constructed in well patinated amboyna, with gilt accents; stamped to the central underside ‘Edwards & Roberts’, as retailer.

The unusual combination of amboyna and gilt work appears in many of the Windsor Castle furnishings, including a documented Library Table stamped for Windsor Castle currently in our possession. See Hugh Roberts ‘For the King’s Pleasure’ published by Royal Collection Enterprises 2001 for similar examples.

DIMENSIONS:

86

REFERENCE:

H:

29 in

74 cm

W:

54.5 in

138 cm

D:

24.5 in

62 cm

8917

Morel & Seddon of 13 Great Marlborough Street London The partnership of Nicholas Morel, who had formerly worked for the Prince of Wales, later George IV, on his residences at Carlton House and the Brighton Pavilion since the cusp of the 18th/19th Centuries, and George Seddon, of the large and established cabinet makers Seddon and Sons of Aldersgate Street came into being in 1827, when Morel, of French extraction, was awarded by George IV the monumental task of refurbishing the apartments at Windsor Castle; his partner of choice was Seddon, whose expertise was coupled with a large workforce, as they were noted as the largest cabinet makers in London in the eighteenth century, thus having the capacity to process large orders. The Windsor Castle commission was worth almost £200,000 to the company. Hugh Roberts book, ‘For the King’s Pleasure’, published by Royal Collection Enterprises in 2001 illustrates many of the pieces made for the commission, and concordances may be noted between these, and our Library Table.

The firm seemed to have had the Crown as their main clients, with further work being carried out for William IV, although a large commission was carried out for the Marquess of Stafford in 1830 worth £15,000. Morel’s name disappears from the records in 1831, and the company of G & T Seddon, although awarded the Royal Warrant in 1832, had great difficulty in extracting the £200,000 from the Crown for the Windsor commission, which led to a near bankruptcy in 1840. The firm eventually closed in 1868.

87

A Pair of Gainsborough Library Armchairs After a design By Thomas Chippendale Circa 1840

These armchairs draw on plates XIX & XX from The Chippendale Director, as illustrated below.

Constructed in mahogany, rising from cabriole legs terminating in carved scrolled feet, with pad footed cabriole legs to the rear; the scrolled and knuckle carved swept arms, padded elbow rests, conjoin bow fronted seats and outswept domed top backs.

Thomas Chippendale the Elder (1718-1779) Yorkshire born, a highly skilled cabinet maker and designer, published in 1754 his ‘Gentleman & Cabinet Maker’s Director’, a volume of instantly recognisable and idiosyncratic designs, that was reprinted time and again, serving as an essential manual for cabinet makers the length and breadth of England. Working from 60-62 St Martins Lane, London his output is regarded as the pinnacle of eighteenth century English cabinet making. His company furnished inter alia, Harewood House and Nostell Priory.

DIMENSIONS:

88

REFERENCE:

H:

40 in

101 cm

W:

27 in

69 cm

D:

25 in

64 cm

8759

The Influence of Chippendale

89

A Giltwood Mirror After a Design By Thomas Chippendale Circa 1880

With an elaborately carved frame with free scrolling lappet branches in the rococo style, the base with inverted cabriole legs and a central shell and leaf cartouche, the plate divided by a floral garland and the whole surmounted by an intricate foliate leaf spray.

DIMENSIONS:

90

REFERENCE:

H:

101.25 in

257 cm

W:

58.75 in

149 cm

D:

11.5 in

29 cm

8806

Mirrors of this style were prevalent in the early 1760s to the 1770s or George III style with a number of notable makers producing designs, such as John Linnell, Ince and Mayhew, and Thomas Johnson. This particular mirror closely follows the designs of Thomas Chippendale’s drawing of a console table and mirror from approximately 1760 depicted in ‘English Furniture Designs of the Eighteenth Century’ published by the Victoria and Albert Museum, 1958 as illustrated here.

The Influence of Chippendale

91

A Fine Set of Twelve Dining Chairs After a Design By Thomas Chippendale

By Hindley and Wilkinson Circa 1890

Consisting of ten Side Chairs and two Carvers, constructed in a richly coloured and well carved mahogany; rising from front acanthus and foliate carved cabriole legs terminating in scrolled feet, with sabre legs to the rear; the side rails richly

92

carved with foliates, having upholstered seats; the complex intertwined and pierced ribband band backs housed within shaped uprights, with triple domed toprails; the two armchairs having swept dished arms, adorned with acanthus

DIMENSIONS Carver:

DIMENSIONS Single:

REFERENCE:

H:

H:

8280

41.5 in 105.5 cm

41 in 104.5 cm

W:

26 in

66.5 cm

W:

24.5 in

62.5 cm

D:

25 in

63.5 cm

D:

23.5 in

60 cm

carving. Several chairs are stamped ‘Hindley and Wilkinson’ and one ‘Wilkinson’.

This very design is an exact copy of the original model conceived by Thomas Chippendale in his ‘The Gentleman & Cabinetmaker’s Director’ of 1754, on Plate XV, as illustrated here. Chippendale has given high praise to his design noting these “Ribband Back chairs… which, if I may speak without vanity, are the best I have ever seen (or perhaps have ever been made).”

The Influence of Chippendale

Literature: Chippendale, Thomas. ‘The Gentleman and Cabinet-Maker’s Director’. London: Printed for the Author, 1754 & 1762 [reprint 1966]; pl. XV. White, Elizabeth. ‘Pictorial Dictionary of British 18th Century Furniture Design: The Printed Sources’. Woodbridge: Antique Collector’s Club, 1990; p 63.

Joshua Wilkinson & Co. were established in London in 1766, in Moorfields London, and then are recorded in Ludgate Hill; Charles Hindley, of Berners Street since 1844, and exhibitors at the Great Exhibition of 1851 merged with Wilkinson in 1872, subsequently operating from Welbeck Street, until their absorption by Marshall & Snellgrove in circa 1918.

93

A Very Fine Bibliothèque in the Empire Taste Circa 1890

Constructed in splendid book matched Cuban mahogany veneers, and extensively dressed with ormolu mounts made to designs drawn from the works of Percier and Fontaine; rising from a shaped plinth base, the two lower lockable panelled doors housing a shelved interior with cupboards, with large ormolu mounts of Nike, Goddess of Victory, encircled with cornucopias; the platform over having an ormolu engraved guard band; over two glazed doors enclosing the shelved interior; the ogee shaped cornice has an ormolu female mask to the centre. French.

DIMENSIONS:

94

REFERENCE:

H:

108 in

274 cm

W:

72 in

183 cm

D:

28 in

70 cm

8837

95

An Important Garniture de Cheminée in the Manner of Henry Dasson Circa 1880

Constructed in well cast and chased gilt bronze, with ‘Sèvres’ type ‘jewelled’ gilded porcelain with a Bleu Céleste field, hand painted with polychromes, and comprising a mantle clock of important size, and a pair of eight light candelabra, all in the Louis XVI manner.

Rising from laurel wreathed oblate bun feet, the inverted breakfront plinth base has a running boss pattern, with paterae at the intersterces, and rectangular plaques with mythological subjects; over, putti with horns flank the Montgolfier form, gilt bronze girt urn, cast as strapwork, set on an elliptical gilt bronze torsade plinth, housing the circular enamel clock face, with the hours delineated in Roman numerals, and gilt hands.

Surmounted by a putto finial on the dome cap.

The twin train clock eight day movement strikes on a bell. The matching candelabra side pieces each have seven lights set about a central taller light. French.

DIMENSIONS Clock:

REFERENCE:

H:

30 in

76 cm

8957

W:

17.5 in

45 cm

D:

17.5 in

45 cm

DIMENSIONS Candelabra: H: Dia:

96

27 in

69 cm

14.5 in

37 cm

97

A Pedestal Desk in the French Empire Manner Circa 1890

Of freestanding breakfront form with everted angles, constructed in birchwood, and burr birchwood, having bronze accents drawn from the oeuvres of Percier & Fontaine; rising from bronze lions’ paw feet, each pedestal having book-matched burrwood ends, and housing three lockable drawers, dressed with bronze escutcheons, and flanked to the angles with Pharaonic herms, with bronze male masks wearing the nemes headress, with feet to the bases, capped with laurel wreaths and two writing slides over; the obverse having large ormolu laurel wreath dressed faux cupboards, and dummy drawers above; the platform having a triple inset tooled Morocco leather. French.

DIMENSIONS:

98

REFERENCE:

H:

32 in

81 cm

W:

73 in

185 cm

D:

42 in

106 cm

8496

99

A Fine Commode in the Louis XV Manner After a model by Jacques Dubois

By Maison Rogié of Paris Circa 1870

Constructed in book-matched kingwood veneers, inlaid with floral motifs, and richly decorated with fine ormolu mounts; of bombe serpentine form, having the two drawers framed within a foliate ormolu cartouche, with conforming ormolu scrolled sabots and espagnolettes; the sides having conforming ormolu cartouches enclosing the quarter veneers, dressed with foliate marquetry, and having a Breche d’Alep platform with a thumbnail moulded edge. Stamped ‘Rogié’ to the reverse of the ormolu mounts.

French.

DIMENSIONS: 35 in

W:

47 in 119.5 cm

D:

100

REFERENCE:

H:

21.5 in

89 cm

55 cm

8916

101

A Garniture de Cheminée in the Louis XVI Taste

By Arnold & Lewis (late Simmons) Circa 1880

Set on velvet covered gilt wood shaped bases, the mantle clock, and its two matched vases, are constructed in jewelled ‘Sèvres’ style porcelain, hand and polychrome decorated, with gilt highlights and finely gilt bronze. The clock, rising from toupie feet, supports a rectangular base frame with rounded ends, set with cast stiff leaf decoration, and having inset Roi de Bleu and gilt work panels; over, the circular porcelain dial, signed by the maker (q.v.) has Roman numerals and blued steel hands, and is set over a central porcelain panel with a bucolic scene, and flanked by elliptical female portraits; the ends are curved and conformingly polychrome and gilt decorated; the whole is surmounted by a decorated twin handled urn, having a pine cone finial, set on an addorsed acanthi gilt bronze base. The two train clock movement strikes the hours on a bell.

The two matched twin handled circular vases, of baluster form are decorated in a manner conforming to the clock decoration. English.

Arnold & Lewis, of 7 St Anne’s Square Manchester are recorded as working as clockmakers from 1870 onwards, being the successors to Isaac Simmons (est 1834); they supplied the movement for the Manchester Town Hall clock (see Abel Heywood, Mayor), and in keeping with the Royal Observatory Greenwich, installed a time-ball outside their premises, to signal daily at 1pm.

DIMENSIONS Clock:

REFERENCE:

H:

26 in

65 cm

8955

W:

16 in

40 cm

D:

7 in

18 cm

DIMENSIONS Candelabra: H: Dia:

102

19. in

49 cm

9 in

23 cm

103

A Marquetry Table in the Manner of J-F Oeben Circa 1880

Constructed in kingwood, tulipwood, amaranth and specimen woods, with finely cast gilt bronze mounts; rising from foliate sabot shod cabriole legs, with pierced bronze espagnolettes at the shoulders; the apron of serpentine form; the wonderful marquetry hinged platform delineates a stylised naturalistic panorama, with architectural capriccios and martial trophies, rising to reveal an interior compartment. French.

DIMENSIONS:

104

REFERENCE:

H:

28.5 in

72 cm

W:

28 in

70 cm

D:

19.5 in

49 cm

8828

Jean-Franรงois Oeben (1721-1763) created some of the great masterpieces of furniture during the reign of Louis XV; the original model of the table, photographed in the bedroom of Madame de Pompadour at Versailles has virtually identical marquetry, and two very similar tables by Oeben may be seen in the Louvre and the Metropolitan Museum of Art, NY.

105

A Vitrine Cabinet in the Louis XV Vernis Martin Manner Circa 1870

Constructed in kingwood, richly dressed with finely cast and chased ormolu mounts, and having Vernis Martin style panels; of serpentine form, rising from ormolu sabot shod cabriole legs with espagnolettes, the four Vernis Martin panels enclosed within rococo ormolu frames, depicting young gallants and their ladies, in eighteenth century costumes; the two central panels as lockable doors, enclosing shelved interiors; over, the two glazed lockable doors are flanked by shaped glazed panels, and dressed with further ormolu, having four velvet lined shelves within; the shaped bonnet top having a stylised ‘C’ scroll issuing foliates. French.

DIMENSIONS:

106

REFERENCE:

H:

89 in

225 cm

W:

61 in

154 cm

D:

19 in

48 cm

8514

107

A Fine Pair of Interior Scenes

By Giacomo Mantegazza 1853-1920

Depicting ‘Introduction to Court’ and ‘The Dancing Lesson’, two oil on canvas paintings, in the eighteenth century manner, signed and inscribed ‘G. Mantegazza Milano’, lower left.

SIGHT SIZE:

108

REFERENCE:

H:

30 in

76 cm

W:

45 in

114 cm

8290

Giacomo Mantegazza (Italian, 1853-1920) Benezit, ‘Dictionary of Artists’, published Grund 2006, Volume 9 pp.186 records the artist as being born in Saronno, Lombardy, and died in Cernobbio, near Milan; he studied at the Accademia di Belle Arte Brera, under the tutelage of Guiseppe Bertini, who was noted for his detailed paintings of Renaissance life.

109

A Pair of Exhibition Quality Carved Figures on Plinths Firmly Attributed to Valentino Panciera Besarel Circa 1875

Of monumental proportions, in carved Italian walnut, the figures representing a hunter and a fisherman, dressed in the ‘troubadour’ manner, both with cockaded hats, doublets and jerkins; the hunter with his dog, and bag of game; the fisherman holding a net in his left hand, surrounded by his catch. Both stand on shaped square pedestals. Italian.

DIMENSIONS Figures:

REFERENCE:

H:

8711

61 in

154 cm

DIMENSIONS Overall:

110

H:

97.5 in

W:

21 in

247 cm 53 cm

D:

21 in

53 cm

Valentino Besarel (1829-1902) Born in Zoldo, near Bellune, hometown of Andrea Brustolon, the great carver of the seventeenth century. Besarel was encouraged by his father to study under Professor Federici, and worked as a carver for a noted architect, Guiseppe Segusini.

Later, he received private commissions, and in 1861 his trade card listed amongst his clients Edward, Prince of Wales, the British Consul, Layard, and the King of Italy. He exhibited at the 1878 Paris Exposition Universelle, and won a Gold Medal. The churches of Este and Conselve, near Padua possess groups of saints executed by him.

Literature; Benezit, Dictionnaire des Peintres, Sculpteurs, ‘Dessinateurs et Graveurs’; Librairie Grund, 1976, and Guiliana Ericani’s ‘Scultura Lignea Barocca nel Veneta, Cariverona’, 1997.

111

A ‘Black Forest’ Bear Armchair Firmly Attributed to Peter F. Trauffer of Luzern Circa 1890

Constructed in a very well patinated and carved lindenwood, his head to dexter, having glass eyes, with monochrome naturalistic highlights; the seat scratch etched. Swiss.

Brienz, in the Bernese Oberland, Switzerland was remarked upon in Baedeker’s Travel Guide, as having a population of 2400, of whom 600 persons were employed as woodcarvers, to supply the tourist trade to Switzerland with mementos of

DIMENSIONS:

112

REFERENCE:

H:

39 in

98 cm

W:

21 in

53 cm

D:

22.5 in

57 cm

8944

the tour. A museum devoted entirely to the art of wood carving may be visited today.

Literature; ‘Swiss Carvings, The Art of the Black Forest’ by Arenski, Daniels and Daniels, published by The Antique Collectors Club 2004 shows similar examples on pp 134/135, and notes the article under item 1774 of their catalogue.

The Arts of the Black Forest

113

A Rare Oversized ‘Black Forest’ Armchair Circa 1880

This huge sculpture is constructed in walnut; the two kneeling bears, naturalistically carved and having glass eyes support a large lily pad. Brienz, Bernese Oberland, Switzerland.

Literature; ‘Swiss Carvings, The Art of the Black Forest’ by Arenski, Daniels and Daniels, published by The Antique Collectors Club 2004 for similar, but less important examples.

DIMENSIONS:

114

REFERENCE:

H:

40 in

101 cm

W:

41 in

104 cm

D:

24.5 in

61 cm

8982

The Arts of the Black Forest

115

A Substantial ‘Black Forest’ Mantle Clock In the manner of Ed Binder of Brienz Circa 1900

Constructed in carved lindenwood, having a trapezoidal form naturalistically carved base; over, a deer and a fawn, standing on a rocky outcrop, are viewed by an eagle, with outstretched wings; the clock having an eight day movement, striking on a bell. Brienz, Bernese Oberland, Switzerland.

Literature; ‘Swiss Carvings, The Art of the Black Forest’ by Arenski, Daniels and Daniels, published by The Antique Collectors Club 2004 for similar, but smaller examples.

DIMENSIONS:

116

REFERENCE:

H:

43.5 in

110 cm

W:

30 in

76 cm

D:

14 in

35 cm

8889

The Arts of the Black Forest

117

A Carved ‘Black Forest’ Group Circa 1890

The naturalistically carved walnut group of an eagle, with glass eyes, stands aloft from its prey, a chamois with red tinted highlights, and stands on an elliptical plinth. Perhaps by the Rueff Brothers.

Swiss.

DIMENSIONS: H: Dia:

118

REFERENCE:

28.5 in

72 cm

25 in

63.5 cm

8768

Literature; ‘Swiss Carvings, The Art of the Black Forest’ by Arenski, Daniels and Daniels, published by The Antique Collectors Club 2004 for similar examples on pp 88-90.

The Arts of the Black Forest

119

An Astonishing and Surely Unique ‘Black Forest’ Carving of a Great Dane Circa 1880

Constructed in lindenwood, naturalistically and expertly carved and having realistic glass eyes; of monumental life size proportions, he is seated on his haunches. Brienz Area.

Literature; ‘Swiss Carvings, The Art of the Black Forest’ by Arenski, Daniels and Daniels, published by The Antique Collectors Club 2004 for similar and lesser examples.

Our considered opinion is that this piece, due to its remarkable fidelity to life was a bespoke order for a client’s actual dog.

DIMENSIONS:

120

REFERENCE:

H:

48 in

122 cm

W:

27 in

69 cm

D:

25 in

63.5 cm

9035

The Arts of the Black Forest

121

Mannequins of The Great Laurel and Hardy “Another fine shop you’ve got me into!!”

Third Quarter of the 20th Century

Provenance; Private Collection, France.

The son of a British showman, Stan Laurel had been raised in British music halls. In 1910 he made his first trip to America as a member of the Fred Karno musical-comedy troupe, which also included Charlie Chaplin. Laurel stayed in the United States, touring in vaudeville and landing an occasional movie job.

Oliver Hardy had been destined for a military career, but opened a movie theatre in Milledgeville, Georgia, instead. He next found work as an actor in Jacksonville, Florida, home of the Lubin film company. Hardy later moved to Hollywood, and by the mid 1920s, he was working as an all-purpose comic at the Hal Roach studio.

Laurel and Hardy’s partnership at the Hal Roach studio began in 1926. Within a year of their first joint appearance, they were being touted as the new comedy team. After collaborating on many silent films, they took the transition to the talking film in stride. As their success spread throughout the world, they began making feature films as well and won an Oscar for their short subject entitled “The Music Box” (1932).

Their film careers continued until 1951, and they made almost a hundred films together.

DIMENSIONS:

122

REFERENCE:

H:

75 in 190.5 cm

W:

25 in

63.5 cm

D:

11 in

28 cm

8856

123

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