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Welcome to our latest catalogue. It has been a very busy twelve months since our last publication. The search for items of the highest quality to offer to our discerning clients, and opportunities to exhibit our carefully selected stock, has taken us worldwide. As in all specialist fields education is key. We are open to learning more about this business of infinite possibilities each and every day, and happy to share our knowledge. As such we were honoured to be invited by the Time Museum, Beijing to present a lecture in April of this year on “Royal & Noble Furniture”. We were greeted by an audience of enthusiastic new collectors keen to increase their understanding of European furniture, indicative of the burgeoning new market in China. As always our biggest challenge will be to find quality goods to satisfy this demand. Once again we exhibited both here in the UK, at Masterpiece and at the LAPADA Fair in Berkeley Square, and also in New York and Palm Beach. At each fair new friends and clients were made. We are often quizzed on where best to view furniture of exceptional quality and when in London we would highlight the amazing new European Gallery in the Victoria & Albert Museum and the newly refurbished Wallace Collection, both of which are must sees. You will also find furniture of exceptional quality within these pages. Amongst them we have discovered a number of very special pieces; including a highly important marquetry cabinet by Holland & Sons made specifically for Marlborough House following the marriage in 1863 of The Prince of Wales and Princess Alexandra, which was displayed in the reception room used for entertaining leading foreign dignitaries thus showcasing the very best of English Cabinetmaking; a “Diploma of Honour” winning Cabinet from the Vienna 1873 Great Exhibition by Maison Guéret – the highest distinction awarded at the Exhibition; and an Ivory Chandelier almost certainly designed by Philip Perron, following the design of one he created for King Ludwig the Second of Bavaria for Schloss Linderhof, the only other Ivory Chandelier we have discovered during our research. As ever you will find just 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. We are also able to source items for clients through our extensive contacts and naturally we are happy to organise delivery and shipping worldwide. Finally, we hope that within these pages you find items that inspire your interest, appreciation and desire.

With very best wishes,

Ian, Adam & James

AN

T IQUE DE

A

T

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


An Ivory Chandelier Almost certainly designed by Phillip Perron Circa 1880

Issuing from a vasiform dressed central column, adorned with foliate carved spheres, a pine cone finial atop and a fleche finial below, two tiers, conjoined by interlinked ivory chains, one of six and the other of three swept leaf carved arms, terminate in petal form sconces. Bavaria. Schloss Linderhof Created for King Ludwig the Second of Bavaria, (18451886), who was criticised for the huge expenditure in creating this ‘fairy tale’ castle, opened on 1878, he had Perron (1840-1907) design many of the ornamental and architectural features, including an ivory chandelier of a similar concept to ours. References; Benezit, Editions Grund 2006 Volume 10.

Chandelier in-situ at Linderhof.

DIMENSIONS: H: Dia:

2

REFERENCE:

39.5 in

100 cm

31 in

79 cm

8558


3


A Vizagapatam Games Table Circa 1830

Constructed in sandalwood, and engraved ivory typical of the work from Vizagapatam; rising from a extensively carved quadripartite incurved claw footed base, dressed with a running lobed band, which supports the shaped square section foliate carved centre column; the ivory veneered hinged circular drum top has a removable chess board, with a tortoiseshell and ivory inlaid backgammon board inside the well. Vizagapatam, India. Vizagapatam, a port city situated on the northern stretches of the Coromandel Coast, was visited regularly by Europeans, and the native Kamsali caste allied their ivory cutting and working skills to Asian furniture forms to provide articles for sale as ‘tourist souvenirs’. James Grant’s ‘Political Survey of the Northern Circars’ published in 1786, discuss the ‘high quality’ of the local work, of inlaid and engraved ivory. Later, Ackermann’s ‘Repository of the Arts’, 1810 issue, discusses the ‘excellence of the workmanship’.

DIMENSIONS:

4

REFERENCE:

H:

30 in

75 cm

Dia:

24 in

61 cm

8512


5


A Remarkable 18th Century Indian Model of a Bureau Cabinet Circa 1790

The case work constructed in sandalwood, veneered with engraved ivory, with lac highlights, and, most unusually, English Hall Marked silver hinges, locks and pulls, London, dated to 1791/2 made by Edward Robinson & Thomas Phipps of 40 Gutter Lane, Cheapside. Rising from shaped bracket feet, with a long frieze drawer; over a hinged drop front, supported by extensible lopers; the interior of the lower section is fitted with a central situated pigeon hole flanked by two ‘secret’ sliding compartments, and two banks of three drawers; and above, an arrangement of ‘pigeon holes’ and three banks of three drawers, and a upper long drawer enclosed by two lockable blind fielded panel double doors with Ionic ivory fluted columns. The upper cornice has a faux dentil form moulding. The finely drawn engraved decoration comprises flowers, foliates, European views, and ‘Lover’s Knots’. Vizagapatam, India. Vizagapatam, a port city situated on the northern stretches of the Coromandel Coast, was visited regularly by Europeans, and the native Kamsali caste allied their ivory cutting and working skills to Asian furniture forms to provide articles for sale as ‘tourist souvenirs’. James Grant’s ‘Political Survey of the Northern Circars’ published in 1786, discuss the ‘high quality’ of the local work, of inlaid and engraved ivory. Later, Ackermann’s ‘Repository of the Arts’, 1810 issue, discusses the ‘excellence of the workmanship’. Phipps and Robinson Phipps (d.1823) and Robinson (d.1816) recorded items include small household articles, strainers, vinaigrettes inert alia. 40 Gutter Lane is in the shadow of St Paul’s cathedral, and is now the site for the headquarters of the Worshipful Company of Saddlers, whose guild has been extant since the 12th Century.

Literature: Amin Jaffer’s books, ‘Furniture from British India and Ceylon’ and ‘Luxury Goods from India’ both published by the Victoria & Albert Museum show comparable Vizagapatam Bureau Cabinets.

DIMENSIONS:

6

REFERENCE:

H:

34 in

86 cm

W:

25 in

64 cm

D:

12.5 in

31 cm

8470


7


8


9


A Display Cabinet By Collinson & Lock Circa 1880

Constructed in rosewood, with extensive and complex finely executed engraved ivory marquetry work in the Italianate Neo-renaissance manner, depicting putti, cornucopia, urns and sinuous foliates; rising from oblate bun feet supporting the arc-en-arbalette base, having four upright tapered columns dividing the triple panelled backboard, a single drawer in the centre frieze, bearing the maker’s stamp, ‘Collinson & Lock London’, supporting the display case, the vertical stiles framing glazed and lockable doors enclosing a shelved interior; surmounted by an ogee shaped cornice.

Collinson & Lock The firm of Collinson & Lock, successors to John Herring, an upholsterer and cabinet maker of Fleet Street, est 1782, was established in London in the third quarter of the 19th century, firstly at their old master’s premises, and thereafter at the premises of the recently closed firm of Jackson and Graham. They quickly achieved both commercial success and a leading position in the field of design. In 1871 the firm issued an impressive illustrated catalogue of ‘Artistic Furniture’, with plates by J. Moyr Smith, assistant to Christopher Dresser, and in 1873 was trading from extensive newly built premises in St Bride Street, designed by T.E. Collcutt, who was retained as an advisor. E.W. Godwin was also employed, between 1872-1874. The firm continued to produce very high quality items of furniture and soon began to experiment with new materials and designs, becoming especially renowned for their distinctive combinations of rosewood and ivory and their intricate Italianate arabesques, chimeric figures and scrolling foliage. This form of decoration clearly points to the involvement of Stephen Webb, Collinson & Lock’s chief designer who was later appointed Professor of Sculpture at the Royal College of Art. The company was merged with Gillows in 1897, just prior to their own merger with S.J. Waring of Liverpool.

DIMENSIONS:

10

REFERENCE:

H:

57 in

145 cm

W:

55.5 in

141 cm

D:

16 in

41 cm

8588


11


‘Amor Della Terra’ By Cesare Lapini (1848-1888) Circa 1885

Standing on a turned Verte de Mer circular pedestal, the subject, sculpted in white Carrara marble, the ‘Love of the Land’ Cupid emerges from a sylvan cocoon, adorned with foliage and foliates. Entitled to the front, and signed and dated 1885 Firenze, to the reverse. Italian. Cesare Lapini Cesare Lapini (1848-1888) is listed in volume 8 of Benezit’s ‘Dictionary of Artists’. Published by Editions Gründ, 2006, he is noted as being born in Florence, and exhibiting in Rome in 1888, shortly before his death.

Overall Height: H:

12

61 in

Sculpture Height: 155 cm

H:

26.5 in

REFERENCE: 67 cm

8571


13


A Carved Mirror By Valentino Panicera Besarel Circa 1880

Constructed using a finely carved pine frame; of rectangular form, with a putto surmount, shown lowering drapes, to two lower putti, within a Bellflower swagged border, and housing a beveled mirror plate. Signed by the maker ‘Valentino Besarel Venezia’. Italian. Valentino Panciera Besarel (1829–1902) Born in Zoldo, near Bellune, home town of the great carver of the Seventeenth Century, Andrea Brustolon, he 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 and the King of Italy. He exhibited at the 1878 Paris Universelle Exposition, and won a Gold Medal. The churches of Este and Conselve, near Padua possess groups of saints executed by him; armchairs in the manner of Brustolon signed by Besarel are recorded. Provenance: Robert Windsor-Clive 1st Earl of Plymouth (1857 to 1923) Robert Windsor-Clive was the grandson of the Hon. Robert Clive and Harriet, 13th Baroness Windsor, daughter of Other Windsor, 5th Earl of Plymouth. In 1869 he succeeded his grandmother in the barony of Windsor.

DIMENSIONS:

14

REFERENCE:

H:

46 in

116 cm

W:

33 in

84 cm

D:

7 in

17 cm

8617

As Lord Windsor he served under Lord Salisbury as Paymaster General between 1890 and 1892 and was sworn of the Privy Council in 1891. Under Arthur Balfour he was First Commissioner of Works between 1902 and 1905, during which period he was responsible for the transformation of The Mall into a processional carriageway and passed the plans for the Queen Victoria Memorial outside Buckingham Palace. In 1903, Lord Windsor gave the mirror to Hugh Allan Pettigrew as a wedding gift for his marriage to Alice Southwell Cardell. Thence by family descent. Literature; Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs; Librairie Grund, 1976, and Guiliana Ericani’s ‘Scultura Lignea Baroccanel Veneta’, Cariverona 1997.


15


A Fine Italian Console Table and Mirror Circa 1870

Constructed in walnut, richly and finely carved; rising from a serpentine base supported by shaped and scrolled feet, with an spread wing eagle, with one talon aloft, holding a shield shaped cartouche, over a grotesque mask, with an architectural background of a brickwork wall, adorned with tendrils and foliates; the shaped and carved platform with upturned scrolls has a complexly and finely carved mirror frame over, comprehensively adorned with foliates, vines, grapes, lovebirds, and an eagle contending with a snake atop, enclosing an elliptical bevelled mirror. Italian.

Console Table: H:

43 in 109.5 cm

W:

45 in 114.5 cm

D:

17 in

43.5 cm

H:

55 in

140 cm

W:

38 in

97 cm

Mirror:

16

REFERENCE: 4629


17


An Imposing Pair of Circa

Constructed in Honduras mahogany, standing on swept lappeted gentle ‘S’ shaped legs to the front, and sabre shaped to the rear, the padded arms, leaf carved, terminate in lions heads. The balloon form of the back is crowned by facing eagles. The seat shape an incurved undulate, is most unusual. French. The tablets, palmettes, lappeting, laurel wreathes, and lions heads were designs that were given prominence by Percier and Fontaine, the Emperor Napoleon’s decorators, and used extensively in the decorative scheme for the palace at Compiegne. The crisp carving, eclectic usage of motifs, and the tight design of this pair of chairs have strong affinities with the firm of Jeanselme Frères, who were working between 1824 until 1840.

DIMENSIONS:

18

REFERENCE:

H:

45 in

114 cm

W:

25 in

64 cm

D:

22.5 in

57 cm

6074


Louis Philippe Fauteuils 1830

19


A William IV Circa

DIMENSIONS (Fully Extended):

20

REFERENCE: 8332

H:

30 in

75 cm

W:

50.5 in

128 cm

D:

155 in

394 cm


Extending Dining Table 1835

Constructed in mahogany; the triple pedestals dressed with lions paw feet having concealed castors supporting the incurved platform bases, which issue octagonal collared tapering columns; arranged to incorporate two additional leaves, secured with ‘U’ form clips, the rectangular platform has a thumbnail moulded edge and radiused corners.

21


A Pair of William IV Circa

Constructed in rosewood, rising from hidden castor shod plinth bases; of ‘Wellington’ type construction, utilising two lockable and hinged pilasters, with their lotus capitols concealing the locks framing the thirteen vitrine drawers in each cabinet, which exhibit finely preserved examples of specimens from the Butterfly families; the platforms have lockable and glazed, lift top display cabinets.

DIMENSIONS:

22

REFERENCE:

H:

40 in

101 cm

W:

21.5 in

54 cm

D:

21 in

53 cm

8520


Specimen Cabinets 1835

23


A Secrétaire Cabinet of the Regency Period, Firmly Attributed to George Oakley Circa 1810

Constructed in a finely faded and patinated gonçalo alvez, having holly and purpleheart stringing; with satinwood to the secretaire interior; rising from tapered square section collared legs, the lower section, having an pair of enclosed fielded panel doors, houses a shelved interior flanked by Pharonic Herms; the lockable drop-down writing secrétaire drawer is opened using elliptical gadrooned wood handles, and supported by brass quadrants; fitted with an arrangements of pigeon holes and drawers, holly inlaid; over, the two mirrored doors have Gothic astragals, enclosing a shelved interior; the triangulated pediment is adorned with palmettes, and the shaped acroteriae at the angles are conformingly decorated. George Oakley George Oakley (c.1760-1840) was established at 22 Southside, St Pauls Churchyard, and 8 Old Bond Street in 1786, with a partner, Henry Kettle; in 1800 the firm attracted the patronage of the Prince of Wales, and is discussed by Memnich in his idiosyncratic ‘English Travels’ written in 1807; Papworth Hall, Cambridgeshire, the estate of Charles Madryll Cheere commissioned Oakley to furnish the building, and a bookcase of very similar form was supplied, as were wardrobes of a similar design to this bookcase; the Papworth Hall bookcase is illustrated in Frances Collard’s ‘Regency Furniture’ published by the Antique Collectors Club in 1985. References Frances Collard, ‘Regency Furniture’, published 1985 by the Antique Collectors Club, pp.107. Dictionary of English Furniture makers 1660-1840, published by the Furniture History Society pp.659-660. The ‘Morning Chronicle’ of 12 & 16 May 1799 records a visit by the Royal Family, and the Prince and Princess of Orange to the Oakley premises at New Bond Street. In 1802 they were granted the Royal Warrant. Jourdain & Fastnedge, ‘Regency Furniture ‘ London 1965, as illustrated below. An Oakley cabinet (ref no. W15:14-1930) in the Victoria and Albert Museum, London.

DIMENSIONS: H:

67 in

170 cm

W:

31 in

77.5 cm

D:

17 in

42 cm

REFERENCE: 8460

24


25


A Regency Period Daybed Circa

Constructed in gonçalo alves; rising from castor shod tapering lobed legs; the long front rail intricately decorated with cut brass inlaid arabesques; the swept and foliate carved ends of differing heights, conjoined by a running ovolo carved toprail. Re-upholstered in leather. William Trotter (1772-1833) The Trotter Family were associated with the Edinburgh Merchant Company since 1691, and the esteemed William Trotter established himself in his sole right, after various partnerships, in 1805 in Princes Street. He was the most important, and successful Cabinet Maker in Scotland, and his extensive premises were described in Thomas Dibdin’s ‘Tour in the North Countries of England and Scotland’, quoting, in part ‘The locality of this great ..warehouse is rather singular. It is on the ground floor, lighted by a skylight. Of great length, and vistas filled with mahogany and rosewood objects of temptation. Of all styles, including the modern form’. The use of restrained and understated decoration, including the reeding, paterae and re-entrant moulding is seen on many of Trotter’s documented works.

DIMENSIONS:

26

REFERENCE:

H:

34 in

86 cm

W:

89.5 in

227 cm

D:

29 in

73 cm

8442


Attributed to William Trotter of Edinburgh 1825

27


A Regency Period Drum Table Circa 1820

Constructed in mahogany, with holly inlays; the triangulated incurved pyramidical base, fitted with wooden castors, set within winged paw feet has inlaid laurel wreaths encircling paterae; the circular rotating top, inset with a gilt tooled leather writing surface houses four lockable cedar lined drawers with quadrant mouldings interspersed with four faux drawers, all fitted with leopard head ring pull handles. Designs concordant to this table are to be found in the works of Thomas Hope’s ‘Household Furniture’, published in 1807, and the oeuvre of George Bullock.

DIMENSIONS:

28

REFERENCE:

H:

30 in

76.5 cm

Dia:

42 in

107 cm

8524


29


An Elliptical Library Table after Circa

Constructed in a well figured mahogany; of double sided free standing form, having cupboards adorned with mouldings flanking the kneeholes, set within a series of vertical stiles, and opening to reveal banks of three oak lined drawers dressed with quadrant mouldings, and having swan neck handles; within the kneeholes are lockable cupboards having either shelved or pigeon hole interiors; the frieze houses six drawers, with two faux drawers at either end; the thumb nail edge platform houses a tooled leather writing surface. Thomas Sheraton (1751-1804) One of the triumvirate of great English Cabinet makers and designers, born in Stockton-on-Tees, settling in London in around 1790, he expressed his genius in the ‘The Cabinet Maker and Upholsterer’s Drawing Book’, in 1791, published in Quarto parts, which showed 113 plates of his quintessential designs, which combined delicacy, grace and a beauty unsurpassed in English furniture designs, such as the drawing shown below.

DIMENSIONS:

30

REFERENCE:

H:

29 in

73 cm

W:

72 in

183 cm

D:

48 in

122 cm

7194


a design by Thomas Sheraton 1900

31


A Library Bookcase in the Manner of Sheraton and the Adam Brothers Circa 1890

Constructed in satinwood, line inlaid, and hand decorated in polychrome; of breakfront form, rising from swept bracket feet, the lower part having four lockable cupboards, enclosing a shelved interior; the central fielded panels adorned with Grecian urns issuing springtime flowers; the outer doors painted with two ladies from the ‘Cries of London’ series; the upper section with four lockable glazed doors, with elliptical astragals; over, a running ogee form cornice. DIMENSIONS:

32

REFERENCE:

H:

76.5 in

194 cm

W:

60 in

152 cm

D:

17.5 in

44 cm

8424

Thomas Sheraton (1751-1804) One of the triumvirate of great English Cabinet makers and designers, born in Stockton-on-Tees, settling in London in around 1790, he expressed his genius in the ‘The Cabinet Maker and Upholsterer’s Drawing Book’, in 1791, published in Quarto parts, which showed 113 plates of his quintessential designs, which combined delicacy, grace and a beauty unsurpassed in English furniture designs. Plate 40, design 5 shows glazing bars as seen on this piece.


33


A Folio Cabinet Bearing the Crest of the Norbury Family Circa 1850

Of free standing form, constructed in satinbirch, extensively adorned with engraved brass strapwork, carrying handles to the sides, the initials ‘CN’ and the family crest, a Bull’s Head issuing from a ducal crown; rising from a plinth base, having a lockable rising top, and hinged triple panelled facia opening to reveal a fiddle back mahogany fretwork divider, and a remarkably engineered folio support and display arrangement. Provenance Hooton Pagnell Hall, South Yorkshire. Home of the Warde-Norbury family (motto: Regi et Patriae Fiudelis – Faithful to My King and Country) for over three hundred years, parts of the hall date to the late 13th century. Astute fiscal management prevented ‘death duties’ introduced in 1796, occasioning the dissolution of the estate, as it did with so many others.

Top of cabinet

DIMENSIONS:

34

REFERENCE:

H:

38 in

96 cm

W:

58 in

147 cm

D:

20 in

50 cm

8545


35


A Library Table in the Adam Circa

Constructed in a mellow patinated satinwood, with fine marquetry pictorial and foliate inlays utilising specimen woods including green stained sycamore; of shaped serpentine form with projecting bow ends, rising from castor shod tapering, turned and collared legs, adorned with fluting and lobes: two banks of three drawers flank the arched kneehole, with a longer central drawer - all lockable and having mahogany linings and quadrant mouldings, and being dressed with silver plated looped handles having elliptical backplates; the ends adorned with elliptical cartouches depicting designs of Diana the Huntress with her hounds to dexter, and Leda & the Swan to sinister; extensively and expertly inlaid with marquetry foliates, urns, bellflowers in the neo-classical manner of the Adam Brothers; the platform has a green tooled leather writing surface, and a thumb nail edge. The upper right drawer edged stamped with the maker’s mark ‘Maple & Co’.

DIMENSIONS:

36

REFERENCE:

H:

30 in

76 cm

W:

51 in

129 cm

D:

29 in

73 cm

8487


1890

Maple & Company, London

Manner By Maple & Company

37


An Occasional Table Firmly Attributed to Maple & Company Circa 1890

Constructed in a finely marked satinwood, with rosewood banding and specimen woods used in the inlay work; the platform of rectangular form, with re-entrant angles, having rosewood cross banding and well executed marquetry inlays; the fluted, tapering and carved legs have a conjoining lower tier, with conforming marquetry inlays.

DIMENSIONS:

38

REFERENCE:

H:

27 in

69 cm

W:

24 in

61 cm

D:

16 in

41 cm

8291

Maples Founded in 1841 by John Maple, manufacturing and retailing from the hub of the furniture centre in London’s Tottenham Court Road, and through the founder & 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 the 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.


Maple & Company, London

39


A Long Case Clock By Maple & Company in the Adam Manner Circa 1880

Constructed in a polychrome decorated satinwood, with extensive giltwood highlights; rising from swept bracket feet, the shaped inspection door having a central roundel of Britannia amid foliates; the shoulders dressed with addorsed rams heads; the glazed hood enclosing an eight day, three train movement with a brass faced arched dial, and secondary smaller dials displaying Complin (sic) / Westminster chimes, Strike / Silent; the silvered chapter ring having the hours delineated in Roman numerals, the seconds in Arabic numerals, and signed by the maker, ‘Maples, London’.

Maples Founded in 1841 by John Maple, manufacturing and retailing from the hub of the furniture centre in London’s Tottenham Court Road, and through the founder & 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 the 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.

DIMENSIONS:

40

REFERENCE:

H:

81.5 in

207 cm

W:

19 in

47 cm

D:

12.5 in

31.5 cm

8560


Maple & Company, London

41


A North Italian Commode in the Circa

Of rectangular form, constructed in walnut, with intarsia work in rosewood, olivewood and kingwood, having acquired an overall splendid patination. Rising from square tapering legs, with three graduated drawers, marquetry inlaid with a centrally situated urn, issuing foliates, tendrils and arabesques, the sides and platform conformingly worked, edged with a thumbnail moulding. Italian. Giuseppe Maggiolini Giuseppe Maggiolini (13 November 1738-16 November 1814) was a pre-eminent Milanese cabinet maker favouring the Neo-classical manner, enjoying great repute as a specialist in marquetry inlay (intarsiatore), and supplying many of the European Royal families.

DIMENSIONS:

42

REFERENCE:

H:

36 in

92 cm

W:

53 in

134 cm

D:

24 in

60 cm

8303

Detail of top


Manner of Guiseppe Maggiolini 1780

43


A ‘Grand Tour’ Casket Circa 1870

VATICAN MOSAIC WORKSHOP Studio del Musaico dell Reverenda Fabbrica di S. Pietro (Mosaic Studio of the Reverenced Work Shop of St. Peter’s) was created around 1576 to create architectural mosaics for the new basilica, and was later established as a distinct entity in 1727, supplying these extraordinarily detailed views of Rome to the new industry of ‘tourism’, in the form of table tops, tablets and jewellery. The ‘Doves of Pliny’ were discovered as part of a floor mosaic in 1737, on the site of Hadrian’s villa. In the early 17th century, Gian Lorenzo Bernini was commissioned to design and add two campanile (bell towers) to the Pantheon (All Gods), which was originally constructed in the 1st century BC under the orders of Marcus Agrippa, with 1st century AD modifications at Hadrian’s direction. Called by detractors ‘The Ass Ears of Bernini’, they were removed in 1883. These campanile are depicted in the mosaic in our casket.

Top – ‘Doves of Pliny’

DIMENSIONS:

44

REFERENCE:

H:

10 in

26 cm

W:

16 in

41 cm

D:

12.5 in

32 cm

8414


45


Front – The Temples of Saturn and Vespasian

Reverse – The Colosseum

Side – The Pantheon

Constructed using five Italian polychrome micromosaic plaques incorporated into a lockable casket of pollarded oak of English make; the plaques depict;1.  The Temples of Saturn and Vespasian situated in the Roman Forum to the front. 2. The Colosseum to the reverse 3. The Pantheon to the side 4. St Peter’s Square to the side 5. The ‘Doves of Pliny’ to the top

Side – St. Peter’s Square

REFERENCE: 8414

46


A Table Clock in the Louis XVI Manner By Japy Frères Circa 1890

The finely chased ormolu case is dressed with ‘Sèvres’ style hand decorated polychrome panels to the face and sides, depicting fisherfolk; the case rises from toupie feet, with fluted pilasters framing the face, with ‘jewelled’ borders, and gilt hands indicating the hours, delineated in Roman numerals; the two train movement has a Brocot escapement, enabling the eight day movement, and the hours are struck on a bell; the backplate is marked with the maker’s sigil, and numbered; atop a Triton holding a bident rides a stylised dolphin. French. Frédéric Japy Frédéric Japy (1749-1812) was apprenticed in Montbeliard to his clockmaker uncle, and returned to his home town of Beaucort, setting up as a clockmaker, and an organiser of local clockmakers into a company - the company expanded and were medal winners at many of the International Exhibitions throughout the 19th century under the aegis of his sons, eventually closing after the First World War.

DIMENSIONS:

REFERENCE:

H:

14 in

35 cm

W:

7 in

18 cm

D:

6 in

14 cm

8406

47


Italian Specimen Marble Top Table Circa 1860

Constructed in carved giltwood, and having a complexly inlaid pietra dura specimen marble platform: rising from a tripartite base with swept legs, carved with foliates, terminating in scrolled feet, which supports a cage centre column, conformingly carved; the moulded edge and foliate adorned frieze with a running ovolo edge trim, housing a white Carrara ground circular marble platform, with a Verte de Mer outer guard band; the inner reserve having a central motif of ‘The Doves of Pliny’ depicted in micromosaic, issuing petal form overlapping lenticular specimen marble inlays, including Malachite, Sienna Yellow and Verona Red, inter alia. Italian.

DIMENSIONS: H: Dia:

48

REFERENCE:

30.5 in

77 cm

36 in

92 cm

8446


49


A Pair of Framed Pietra Dura Circa

The rectangular pietra dura plaques, constructed using agates, lapis lazuli and marbles, depict 17th century gallants in wine cellars, within shaped and carved ebony frames with finialed pediments, inlaid with martial trophies using nacre, marble, malachite and wood. Italian. Evaristo Panducci Evaristo Panducci is recorded as a Florentine artist in mosaics and Pietra Dura in the last quarter of the 19th century

DIMENSIONS:

50

REFERENCE:

H:

25 in

63 cm

W:

14 in

35 cm

8625


Panels By Evaristo Panducci 1890

51


An Italian Occasional Table Circa 1820

Constructed in a good flame-veneer mahogany, with gilt metal mounts; rising from a tripartite incurved base mounted on castors, issuing three entasis form cylindrical columns, gilt metal mounted at their capitols and bases, which support the circular glazed platform, inset with a watercolour painting, of five of the major principal views of Rome, including St Peter’s Square, the Pantheon, the Colisseum, the Spanish Steps and the Arch of Constantine. Italian. Signed by the artist, F. Valenti. DIMENSIONS: H: Dia:

52

REFERENCE:

20.5 in

51.5 cm

29 in

74 cm

8296


53


A French Empire Dressing Table Firmly Attributed to François-Honoré-Georges Jacob-Desmalter Circa 1810

Constructed using a fine Honduras mahogany with gilt highlights, Bleu Tarquin marble and richly dressed with fire gilt ormolu mounts of the highest quality. The table of lyre end support design, rising from ormolu claw feet, conjoined with a rectangular shaped platform stretcher; three lockable mahogany lined drawers are fitted in the apron; the dished rectangular marble platform having an ormolu trimmed octagonal adjustable swing mirror, supported by shaped columns, rising from triangulated bases, each column dressed with double candleholders. French. François-Honoré-Georges Jacob-Desmalter F-H-G Jacob Desmalter (1770-1841) was the second son of the venerated cabinet maker, Georges Jacob, who had supplied the French, Russian & English Royal families; he married the daughter of the celebrated bronzier Martin-Eloi Lignereux; the attendance of Messrs. Thomiere, Percier and Fontaine at their wedding in 1798 attests to the esteem with which they were held; taking the helm of the firmly established Jacob company in 1796, Jacob-Desmalter worked from enlarged premises at Rue Méslee, with a large work force, supplying the Napoleonic court, furnishing the chateaux at Compiegne, Malmaison and the Tuileries Palace inter alia; the company made the throne upon which Napoleon was invested as Emperor; in turn the business was passed to his son, Alphonse, who died in 1870. Literature; ‘Le mobilier Français di XIXe Siecle’ by Denise Ledoux-Lebard, published Paris 1984, revised and enlarged edition published 2000; pp267-350; a dressing table of very similar form is shown on pp 346.

DIMENSIONS:

54

REFERENCE:

H:

56.5 in

143 cm

W:

46 in

116 cm

D:

24 in

61 cm

7764


55


A Napoleon III Secrétaire à Abattant Circa 1870

Constructed in bois noirci, extensively dressed with gilt bronzes, and brass inlays; rising from oblate bun feet dressed with foliate gilt bronzes; two lockable lower doors enclose a shelved interior, the exterior mounted with gilt bronzes representative of summer and winter, in the manner of André-Charles Boulle; the fall front enclosing an interior veneered with tulipwood, rosewood and marquetry, and an arrangement of four drawers; over, a spring operated frieze drawer, with a Rouge Royale marble platform. French.

DIMENSIONS:

56

REFERENCE:

H:

54 in

137 cm

W:

31 in

79 cm

D:

15 in

38 cm

8248


57


An Important Buffet-Cabinet By Maison GuĂŠret, and noted as receiving the highest Circa

DIMENSIONS:

58

REFERENCE:

H:

56 in

142 cm

W:

77 in

195 cm

D:

26 in

66 cm

8563


exhibited in the 1873 Vienna Universelle Exposition, award, ‘Diploma of Honour’ 1873

59


Constructed in kingwood and rosewood, trellis crossbanded, and sumptuously adorned with mercury gilt bronze mounts of the very finest quality, in the forms of female herms, lambrequins, foliates, swags and drapes; rising from toupie feet, of gentle breakfront form, having a blind centre door, dressed with an elliptical bronze plaque depicting Vulcan, Mercury, Minerva and a putto in an Arcadian landscape, and flanked by two vitrine bevelled glass doors, all lockable, and enclosing shelved interiors; two drawers set in the frieze, and surmounted by a fine example of Campagne Rubané marble. Stamped to the back and the locks by the maker. French. Guéret Frères The Messrs Guéret furniture manufactory was founded by Denis Desiré (born in 1828) and Onésimus (born 1830) in 1853 at 7 rue Buffault in Paris trading as “Guéret Frères”. Subsequently trading from 5 bd de la Madeleine in 1863, thence transferring to Rue 216 Lafayette in 1870. From 1877, the company’s title became “Guéret Jeune et Cie” and its activity continued until 1900. Exhibitors and medal winners at the 1855, and 1867 Universelle Expoitions, LeDoux-Lebarre’s dictionary of 19th Century cabinet makers notes the frequency of judges’ praises for their excellence of design and execution. Examples of their work may be seen in the Musée Condé, Chantilly, Musée d’Orsay, San Francisco Museum of Fine Art and the Victorian & Albert Museum, London. The World Exposition of 1873 was held at the command of Emperor Franz-Joseph, in Vienna, the Austro-Hungarian Empire’s contribution to similar expos held in Paris, London, and Baltimore. Its motto was Kultur und Erziehung (Culture and Education). There were almost 26,000 exhibitors housed in The Rotunda, situated in The Prater Park, and designed by the Scottish engineer John Scott Russell. The Rotunda was destroyed by fire on September 17, 1937.

60


61


A Mantle Clock in the Circa

Constructed in white Carrara marble and gilt bronze; the rectangular form base having bowed ends, rises from gilt toupie feet, and has opposed gilt sphinxes and gilt bronze foliate mounts to the facia; the two train clock, with an eight day movement, numbered ‘4522’on the backplate and marked ‘Made in France’, strikes the hours on a bell; the circular enamel face depicts the hours in Arabic numerals and is flanked by addorsed putti holding trumpets, with musical instruments at hand, including a tambourine, Pan pipes and a thyrsus; atop, a third putti wields cymbals. French.

DIMENSIONS:

62

REFERENCE:

H:

22 in

56 cm

W:

26.5 in

67 cm

D:

7.5 in

19 cm

8426


Louis XV Manner 1890

63


A Pair of in the Louis Circa

Constructed in gilt bronze, each with four female herms framing the glazed sides, having pendant berried terminals and foliate form ceiling roses conjoined to the bodies by ‘s’ form supports. French. DIMENSIONS:

64

REFERENCE:

H:

39.5 in

100 cm

Dia:

22.5 in

56 cm

8577


Lanterns XV Manner 1880

65


A French Commode Attributed to Circa

Of serpentine fronted, ‘sauteuse’ form, constructed in kingwood with fine marquetry foliate work, and dressed with gilt bronze mounts; rising from cabriole legs, with the swept bronze sabots issuing bound cannellures conjoining the scrolled espagnolettes at the shoulders; a single lockable drawer having a shaped apron, adorned with bronze mounts encloses foliate marquetry work, with conforming adornment and shaping to the sides; having a Brèche d’Alep shaped marble platform, with a double thumbnail moulding to the edge. French. Joseph-Emmanuel Zweiner Joseph-Emmanuel Zweiner (1849-1895) ranks among the best haute luxe Parisian cabinetmakers of the late 19th century. Born in Herdon, Germany in 1849, he arrived in Paris by 1880 and set up his workshop at 12 rue de la Roquette, where he remained until his death in 1895. Working in several styles fashionable in Paris at the time, he copied mainly Louis XV pieces from public collections, adapting them in his own exuberant interpretation of Rococo. At the Exposition Universelle in Paris in 1889, he received the gold medal and a note of high praise from the jurists: “dès ses débuts d’une Exposition universelle, il c’est mis au premier rang par la richesse, la hardiesse et le fini de ses meubles incrustés de bronzes et fort habilement marquetés”. Zwiener almost certainly employed François Linke, who was six years younger and a fellow German-speaker. The Pankraz Gedenkbuch mentions Linke as “working in Paris with a German master”.

DIMENSIONS:

66

REFERENCE:

H:

37 in

94 cm

W:

63 in

160 cm

D:

24 in

61 cm

8570


in the Louis XV Manner J.E. Zwiener 1880

67


A Bureau Plat in the Louis XV Circa

Of serpentine, kneehole form; constructed in kingwood, and dressed with very fine gilt bronze mounts; rising from cabriole legs dressed with bronze sabots, issuing foliate form mounts conjoining the ‘C’ scroll espagnolettes and the front and rear shaped framework; a central long drawer above the central kneehole, and two flanking deep drawers, all lockable, and dressed with gilt bronze handles; the platform having an outer gilt bronze guard rail, and an inset tooled leather writing surface. Signed by the maker on the guard rail. French. François Linke François Linke (1855-1946) is considered to be one of the finest ébénistes and bronziers of the 19th century. He moved from Pankratz, Bohemia where he completed his apprenticeship under the strictest of training, to Paris in 1881, setting up shop in the Place Vendome, 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 Rois.

DIMENSIONS:

68

REFERENCE:

H:

31 in

79 cm

W:

61.5 in

156 cm

D:

35 in

89 cm

8573


Manner By Franรงois Linke 1890

69


An Exceptionally Rare Secrétaire, After the J.H. Riesener example in The Wallace Collection Circa 1900

Of upright rectangular form with canted corners; veneered in thuya-wood, and banded in purple-wood, exuberantly dressed with gilt bronze mounts of the highest quality, and having a Carrara marble top. Rising from bracket feet, the lower apron has a strong gilt bronze mount of stiff leaf acanthus foliates and volutes; the lower section has two lockable doors, with laurel wreathed escutcheons, the recessed panels, with gilt bronze frames, enclosing a shelf fitted interior. Over, the counter weighted lockable fall front has conforming recessed panels, mounted with a stepped gilt bronze indented band, the corners with rosettes of bay leaves, interspersed with berries. At the centre, an elliptical gilt bronze panel, depicting ‘A Sacrifice to Love’, a classically dressed woman presenting an infant to Cupid, who stands on a pedestal, wreathed by the scent from a brazier. The plaque has ribbon tied flowers, including roses, myrtle, narcissi and lilies-ofthe-valley above, and below. The fall front encloses an interior fitted with drawers and pigeonholes. The top frieze houses a drawer, having a centrally posited rectangular plaque, depicting three infants, one playing with a spaniel, one holding an open book, and handing a letter to the third infant, who wears the winged cap of Mercury, and has his caduceus at hand. The plaque issues sprays of roses, pinks, carnations and other flowers, with rosaces at the angles. Over, a gilt bronze egg and dart band frames the shaped Carrara top. The canted front angles are pilasters, mounted with gilt bronze spandrels, cast as stiff leafed acanthus, having attached sprigs of oak leaves, berries and intertwined forget-me-nots, all within a gilt bronze stepped band. Below, smaller acanthus leaf spandrels are dressed with chased volutes. The sides are recessed and housed within running gilt bronze bands as seen on the lower doors, with a guard band betwixt the upper and lower sections. Chubb locks, (marked with their London address, 128 Queen Victoria Street, and ‘Detector’, their special virtually unpickable lock) are fitted. English. Jean-Henri Riesener (1734-1806) born in Westphalia, and arrived in Paris in 1755, gaining employment at the atelier of Jean-François Oeben. After Oeben’s death, he married his widow, Françoise, and took over the workshop, became a ‘maitre ebeniste’ in 1768, and was appointed ‘Furniture Maker to the King Louis XVI’ in 1774. His masterful interpretation of the French Neo-Classical manner, married to sublime workmanship is represented in museums world wide, including, the Victoria and Albert, The Royal Collection at Buckingham Palace, The Wallace Collection, the Metropolitan Museum of Art, Getty Museum, Philadelphia Museum of Fine Art, Chicago Art Institute, the Frick Collection, Chateaux des Chantilly, Fontainebleau and Compiegne, and the Louvre, inter alia. Originally delivered, along with other pieces, in February 1783 for Marie-Antoinette’s private rooms at Versailles, it was confiscated after the Revolution, and re-appeared in Russia in 1865, where it was purchased from Count Koucheleff Bezborodko, by Frederick Davis, and thence resold to the 4th Marquess of Hertford, where it is recorded in his Parisian collection at Rue Laffiite in 1867.

DIMENSIONS:

70

REFERENCE:

H:

54 in

138 cm

W:

40 in

102 cm

D:

17 in

43 cm

8548


71


A Substantial Pair of Girandoles in the Louis XVI Manner Circa 1880

Constructed in carved giltwood, having bronze candle arms; below, baskets of conical form, are decorated with stiff leaf carving, issuing pendant foliates; the mouths issue fruits, flowers and foliates, and the three swept and fluted gilt bronze candle arms; over, on backgrounds of addorsed bagpipes, inverted baskets cascade forth fruit and flowers, and atop, ‘lover’s bows’ and pendant ribbands. French.

DIMENSIONS:

72

REFERENCE:

H:

64 in

163 cm

W:

12 in

30.5 cm

D:

10 in

25.5 cm

8392


73


A Pair of French Console Circa

Constructed in giltwood, carved and decorated, with red griotte marble platforms; of rectangular form, rising from tapering channelled and collared legs decorated with pendant foliates and scrolls; the conjoined shaped ‘X’ form stretchers having octagonal central bosses; the carved, swept and pierced aprons have etched basket weave grounds; the marble platforms have quadrant ogee mouldings. French. DIMENSIONS:

74

REFERENCE:

H:

31.5 in

80 cm

W:

38 in

97 cm

D:

16 in

40 cm

8411


Tables in the RĂŠgence Manner 1880

75


A Neo-Classical Portrait of King Louis XVI Circa 1880

Housed within an exuberantly carved giltwood frame of elliptical form, the conformingly shaped Cararra marble plaque is mounted with the right profile view of the subject, in a patinated bronze, his hair in a chignon. French.

DIMENSIONS:

76

REFERENCE:

H:

41.5 in

105 cm

W:

31.5 in

79 cm

8199


A Fine Pair of Giltwood Footstools in the Early Louis XV Manner Circa 1850

Of elliptical form, constructed in carved giltwood, the swept cabriole legs richly carved with foliates and “C” scrolls, and pendant bellflowers are conjoined by stylised and shaped “X” form entretoises, having extensive foliate carvings. French. The underframes bear old, but illegible inventory/collection labels.

DIMENSIONS:

REFERENCE:

H:

18 in

46 cm

W:

26 in

66 cm

D:

23 in

58.5 cm

8420

77


A Pair of Fauteuils in Circa

Constructed in a well carved giltwood, with later velvet upholstery; rising from turned and tapering legs with toupie feet, the shaped front rails embellished with carved running bellflower bands; the backs of elliptical form, with conforming bellflower carving, having ‘lover’s bow’ knots to the crests, the side rails issuing carved arms, with scrolling terminals. French.

DIMENSIONS:

78

REFERENCE:

H:

40 in

102 cm

W:

25 in

64 cm

D:

22 in

56 cm

7390


the Louis XVI Manner 1870

79


A Grand Canapé in the Louis XVI Manner Circa 1870

Constructed in a well carved giltwood, with later velvet upholstery; rising from turned and tapering legs with toupie feet, the shaped front rails embellished with carved running bellflower bands; the back of elliptical form, with conforming bellflower carving, having ‘lover’s bow’ knot to the crest, the side rails issuing carved arms, with scrolling terminals. French.

DIMENSIONS:

80

REFERENCE:

H:

42 in

107 cm

W:

52 in

132 cm

D:

25 in

64 cm

7390


81


A Magnificent Royal Cabinet, By Holland & Sons, for Albert Edward, The Prince of Wales Circa 1865

A Magnificent Royal Cabinet, commanded from Holland & Sons, for Albert Edward, The Prince of Wales (later King Edward the VII), and Princess Alexandra, having a marque de fer, the Royal Inventory mark ‘MH, crowned’ for their residence, Marlborough House. Constructed in thuyawood, Circassian walnut and rare specimen woods, dressed with a porcelain plaque, and extensively inlaid with marquetry work of the very finest quality, engraved ivory, and adorned with finest quality gilt bronze mounts, of swags, paterae, turtle doves, lover’s bows, garlands, martial trophies and lambrequins. Of rectangular form, the central breakfront door, enclosing a shelved interior is elaborately inlaid with engraved ivory and specimen woods, having a central situated ivory inlaid female bust holding a ribbon-tied garland of husks, supporting a bronze framed elliptical plaque depicting a putti waking Cupid, flanked by portrait heads of Chaucer and Shakespeare: the whole design supported by addorsed griffins; the frieze with gilt-bronze cornucopia and foliage, having canted corners, the paneled sides set with elaborate musical and artistic trophies, the whole veneered with a thuya wood ground within sycamore, boxwood and walnut crossbandings: the back stamped M H below a crown and an old distressed label, the top of the door stamped Holland & Sons, the inside with a plaque reading ‘Holland & Sons, 23 Mount St. London’. PROVENANCE Albert Edward, Prince of Wales (later King Edward VII) and Princess Alexandra, for Marlborough House, London; thence by descent. LITERATURE Arthur H Beavan, Marlborough House and its Occupants Past and Present, London, 1896; Arthur Beavan’s description of the Great Drawing Room at Marlborough House states that it included a pair of fine side cabinets which cost ‘£300 a-piece’ (Beavan, op. cit. p. 28)

The Large Drawing Room, Marlborough House. Taken by special permission of H.R.H. the Prince of Wales.

DIMENSIONS:

82

REFERENCE:

H:

58 in

147 cm

W:

65 in

165 cm

D:

20 in

50.5 cm

8433


Holland & Sons

83


The fashion for porcelain mounted furniture was of French inspiration, having been pioneered at Sèvres in the mid-18th century. The porcelain roundel to the front of the cabinet is decorated in a technique known as en camaeu which was a 19th century development of the pâte-sur-pâte process. Involving the layering of tints of a single colour to create an illusion of a higher relief than there is in reality, the process was developed by Louis Marc Solon who defected from Sèvres to Minton at Stoke-On-Trent during the Franco-Prussian war. Modelling maidens and cherubs on plaques and vases, Solon and his apprentices soon perfected the process and Minton became the unrivalled leader in the field. MARLBOROUGH HOUSE Built in the early years of the eighteenth century, Marlborough House was designed by Sir Christopher Wren for the great Duke of Marlborough, whose descendants continued to occupy this palatial London mansion until the early 18th century, when it passed to the Crown. In 1863, the house was occupied by Albert Edward, Prince of Wales, later King Edward VII, and his consort, Princess Alexandra of Denmark, following their marriage on March 10th of that year. The Royal couple continued to live and entertain at Marlborough House until the Prince’s Ascension to the throne in 1901. In anticipation of the Prince and Princess’s arrival, the interior of Marlborough House was extensively remodelled under the direction of the architect Sir James Pennethorne. A suite of fashionable new reception rooms were created, providing the setting for sumptuous entertainments attended by leading figures from British and foreign society. As part of these works, which continued for several years, quantities of furniture were ordered. It was at this point undoubtedly that the present cabinets were commissioned from Holland & Sons. Photographs of the interior of Marlborough House show a closely related cabinet, evidently part of the same commission, in the Large Drawing Room. (Arthur H Beavan, Marlborough House and its occupants Past and Present, London, 1896. pp. 25-5). The commissioning of these pieces and indeed all the Holland and Sons furniture is consistent with the approach taken by the Prince and Princess of Wales to the decoration of their official London residence. They intended for Marlborough House to be a showcase of the highest quality of English craft and design, demonstrating to innumerable foreign dignitaries what England had to offer. As one contemporary commentator wrote of the house ‘in connection with furniture, it has been said that with truth, both the Prince and Princess have ever since their marriage done their utmost to encourage home manufacturers in every department and … everything in Marlborough House may broadly speaking be said to be of British make.’ (Beavan, op. cit., p. 55).

Holland & Sons Originally founded in 1803 by Stephen Taprell and William Holland, a relation of the architect Henry Holland, the firm of Holland & Sons soon became one of the largest and most successful furniture making companies in the 19th Century. The firm worked extensively for the Royal Family, being granted the Royal Warrant early in the reign of Queen Victoria, hence taking a leading part in the decoration and furnishing of Osborne House, Sandringham, Balmoral, Windsor Castle and the apartments of the Prince and Princess of Wales at Marlborough House. Holland and Sons also worked extensively for the British Government, for whom they executed over three hundred separate commissions, including the Palace of Westminster, the Victoria and Albert Museum, and oversaw the State funeral of the Duke of Wellington. Among their private commissions the firm produced a celebrated suite of bedroom furniture for the late Sir Harold Wernher at Luton Hoo. Always at the forefront of fashion, Holland & Sons employed some of England’s leading designers and participated in all of the International Exhibitions of 1851, 1855, 1862, 1867, 1872 and 1878.

84


Holland & Sons

85


An Exhibition Quality Centre Table Circa

Constructed in thuya wood, with sycamore, bois de violette, boxwood and various woods utilised in the inlaywork, with entensive, finely cast and chased gilt bronze mounts. Created in the fashionable Louis XVI revival manner, the legs, having squat inverted truncated cone bases, are castor shod, with cannellure centres rising from bronze stiff leaf cups, and having bronze octagonal collars cast with foliates, and bronze foliate swags, with a conjoining double knot stretcher, with a running pearl border in bronze, centralised around a bronze urn in the Grecian taste. The ceinture houses two mahogany lined quadrant moulded drawers, with fielded panels and further bronze edgings, with foliate escutcheons, centred around tablet with a agricane (ram head) motif. The reverse has two dummy drawers and repeated motifs, and the sides have foliate bronze plaques. The rectangular top, with everted angles shows finely chosen thuya wood, protected by a guard rim of gadrooned bronze, with an interior band, housing running inlaid and engraved bellflowers, and an interior geometric banding.

DIMENSIONS:

86

REFERENCE:

H:

29 in

73 cm

W:

52 in

132 cm

D:

30 in

76 cm

8547


Holland & Sons

Firmly Attributed to Holland & Sons 1860

87


A Louis XVI Centre Writing Circa

Of free standing bow ended rectangular form, constructed in coromandel, with specimen wood and ivory inlays, dressed with gilt bronze accents; rising from toupie feet, having a swept inlaid stretcher conjoining the tapered cannelure grooved legs, inset with pendant gilt bronze bellflowers, having gilt paterae to the capitols; two lockable drawers, with mahogany linings and quadrant mouldings to one side, with faux drawers to the obverse; having a particularly fine gilt tooled leather writing surface. The noted London company of Holland & Sons made a great deal of furniture in the Louis XVI manner including a stamped card table of very similar design, recently sold by us. In 1868 ‘The Grammar of Ornament’ collated by the noted architect Owen Jones, proved a rich source for the Aesthetic movement, championed by Walter Pater and Oscar Wilde, inter alia, and some of the designs in the inlays are to be found in the section of ‘Greek Ornament’.

DIMENSIONS:

88

REFERENCE:

H:

29 in

74 cm

W:

44 in

112 cm

D:

23 in

58.5 cm

8627


Holland & Sons

Table in the Aesthetic Taste 1875

89


A Pair of Looking Chippendale Circa

The serpentine form elliptically shaped mirror plates housed within ornate rococo carved and pierced giltwood frames, adorned with busts of male and female Chinese figures, and icicles, interlocking ‘C’ scrolls, tree branches and foliage. DIMENSIONS:

90

REFERENCE:

H:

70 in

178 cm

W:

40 in

102 cm

8478


Glasses in the Chinese Manner 1880

91


An Early Georgian Longcase Clock, the architectural case in the Manner of William Kent Circa 1735

The case, of Kentian architectural form, is constructed in a rich Cuban mahogany, with carved adornments; rising from a breakfront plinth, carved with a running stiff leaf band; the inspection door, of truncated inverted triangulated form is released by a spring catch situated to the rear of the case; the entrelac and leaf carved hood has a scroll dressed broken swan neck pediment, with a central carved bust of Chronos, encloses a brass faced arched dial, driven by an eight day, three train quarter hour striking movement, the quarters being struck on 6 bells, and the hours on a separate bell, with figural spandrels of the Four Seasons to the angles, and showing subsidiary dials with moon phases, seconds and a date aperture; the silvered chapter ring has the seconds in Arabic, and the hours in Roman numerals, indicated by blued steel hands, flanked by spandrels of Mercury and Pan. Dial signed by the maker, ‘Henry Harrison London’. Provenance; with Hotspur, London, and Anthony Woodburn, Sussex Another longcase clocks with Kentian architectural case similar to ours is known to exist (present whereabouts unknown). This was the property of William Hogarth (1697-1764) Sarjeant Painter to the King, satirist and engraver; Hogarth’s Chiswick studio was adjacent to Lord Burlington’s Chiswick House, the grounds, house and furnishings all designed by Kent, who was certain to have met Hogarth. This clock case is illustrated in R. W. Symond’s 1938 publication, ‘English Furniture from Charles II to George II’ and attributed to William Hallet (1707-1781), as illustrated below. Literature: R.W. Symonds, ‘English Furniture from Charles II to George II’ published 1938 Furniture History Society 2012 Yearbook ‘A re-appraisal of William Hallet’ Hotspur ‘Eighty Years of Antique Dealing’ pp 260-61 Antiquarian Horology, Volume 1, December 1953-1956 Brian Loomes ‘Watchmakers and Clockmakers of the World’ NAG Press 2006 R. W. Symonds April 1938, ‘The Connoisseur’ pp 83-89 William Kent ‘Designing Georgian Britain’ Yale Press 2014

DIMENSIONS: H:

97 in

W:

23 in

58 cm

D:

12 in

30 cm

REFERENCE: 8620

92

247 cm


93


A Pair of Late Georgian Armorial Circa

Constructed in a finely patinated Cuban mahogany, dressed with the Royal Coat of Arms, painted in oils; rising from claw footed swept and lapetted legs, with square bossed tablets over, with swept legs to the rear; the side rails adorned with four circular bosses; the front arm supports of tapering cylindrical form, carved with stylised lotus leaves; the arms padded and upholstered, conjoining the channelled back rails, capped by bonnet form scroll and acanthus carved toprails, and housing circular cartouches bearing the Royal Coat of Arms as employed between 1816-1837. The under rails marked ‘Hon Ashton Chase’.

DIMENSIONS:

94

REFERENCE:

H:

43 in

109 cm

W:

27 in

69 cm

D:

30 in

75 cm

8557


Armchairs of Important Size 1825

95


A Pair of Bookcases of the William IV Period Circa 1835

Of breakfront form, constructed in rosewood; rising from plinth bases, the lockable lower triple doors having silk facias, enclosing adjustable shelved interiors; the upper platforms having lobed edges, and the open upper sections each have three adjustable shelves; surmounted by centrally situated triangulated pediments dressed with circular bosses, and set between domed stiles.

DIMENSIONS:

96

REFERENCE:

H:

90 in

228 cm

W:

44 in

112 cm

D:

18 in

45 cm

8540


Attributed to Holland & Sons 1850

97


An Irish Centre Table Attributed to Robert Strahan of Dublin Circa 1850

Constructed in walnut, amboyna, and utilising specimen woods in the high quality marquetry inlays; rising from an incurved quadripartite base, dressed with chimeric mascarons, the scroll feet carved with foliates, and extensively inlaid with cartouches and strapwork, itself supporting the swept central column; the tilt top octagonal platform, in radially laid amboyna has a central complexly inlaid cartouche, and the outer guard band being conformingly inlaid, with the ebonised rim of double ogee form. Irish.

Robert Strahan of Dublin The furniture firm of Robert Strahan and Co was founded in 1776. Operating from premises in 10-11 Chancery Lane, by 1815 it was so successful that two new workshops opened at 24-25 Henry Street and 5 Leinster Street in 1845. They displayed their work at Dublin’s great industrial exhibition of DIMENSIONS:

98

REFERENCE:

H:

29 in

73 cm

Dia:

56 in

141 cm

8441

1853, where the best examples of Irish design and manufacture were on show. In 1870 the firm moved to Abbey Street and continued to trade under the wellestablished family name up until 1969. Patronized by the Office of Public Works, the firm designed and manufactured high quality pieces such as a walnut table exhibited at the second London International Exhibition of 1862, showed the influence of designers such as Thomas Hope (1769-1831) and Richard Bridgens (1785-1846). Illustrated in the Art Journal Illustrated Catalogue for the London exhibition, the table was heavily decorated with intricate marquetry, scrolling foliage, masks, strap work and cartouches. A suite of furniture bearing the stamp of Strahan, with a provenance to Doneraile Court, Ireland, with very similar strapwork and marquetry was recently on the art market.


99


A Pair of Console Tables in the By James Hicks Circa

Constructed in satinwood, with specimen wood inlays, including green-stained sycamore; of demi-lune form, rising from giltwood turned and tapering legs and having ovoid feet; the apron dressed with vertical stop – flutings; the platforms have ‘barber’s pole’ edging, gonçalo alves outer guard bands, with segmented, radially laid veneers, emanating from ‘Bat-wing’ paterae, issuing anthemions and palmettes; delicate inlaid marquetry foliate arabesques sweep around the central ‘Lover’s Knots’. Stamped to the frames by the makers mark, ‘J. Hicks’ Dublin. Irish. James Hicks of Dublin The work of Dublin furniture-maker James Hicks draws on the great English Eighteenth Century masters, Chippendale, Adams and Sheraton. He opened his business in 1894, quickly obtaining Royal patronage from King Edward VII and the Crown Princess of Sweden. He is admired for his use of exotic woods, exceptional marquetry and veneering.

DIMENSIONS:

100

REFERENCE:

H:

33 in

83 cm

W:

64 in

162 cm

D:

22.5 in

57 cm

8427

James Hicks was born into a family of Dublin chair-makers and was trained in London in the cabinet making workshops on Tottenham Court Road. On his return to Dublin he set up businesses in Lower Pembroke Street in 1894 and established what was to become one of the city’s leading cabinet-making firms. His clients included Princess Victoria, the Crown Princess of Sweden, and King Edward VII. The firm specialised in high quality copies of pieces in the styles of Sheraton, Hepplewhite, Chippendale styles as well as pieces in the style of the prominent 18th century Dublin cabinet-maker and marquetry exponent William Moore. Hicks described himself as a ‘Cabinet Manufacturer, Collector and Restorer of Chippendale, Adam and Sheraton furniture’.


Manner of the Adam Brothers of Dublin 1900

101


A Remarkable Table Circa

Constructed in the Louis XV taste, employing finely marked amaranth, tulipwood and kingwood, extensively adorned with fine quality bronze mounts and delicate floral marquetry within bold interlaced strapwork inlay work; of bow ended and shaped rectangular form, rising from six swept cabriole legs dressed with foliate espagnolettes, with gilt sabots to the toes, and conjoined by a stylised ‘H’ form stretcher, centred with a gilt bronze waisted and swagged urn. The shaped apron housing mahogany lined drawers in each end, and having a concealed red velvet writing slide to the facia; the platform having extensive marquetry inlays, housed within a running stiff leaf gilt bronze guard trim. The maker’s marque de fer ‘C. Blake’ is to be found on the underframe, and having an old paper inventory label bearing the legend ‘HJHE’ in one drawer. The Blake Family of London Cabinetmakers The Dictionary of English Furniture published by the Furniture History Society, published 1986, lists Robert Blake at 8 Stephen Street, Tottenham Court Road in 1820. By 1843 the premises housed he and his four sons, Charles (b1814), Henry, George and James. By 1860, only Charles was at the address, until his death in 1879. Edward Holmes Baldock (1777-1845) one of the ‘leading antique and ornamental furniture dealers’ (as stated on his trade card) was in nearby Hanway Street, and is known to have employed the Blakes, as their very distinctive marquetry work was of the of the highest quality and delicacy. A pair of commodes were made by Blake (now in the Frick Collection, having been sold by Lord Duveen of Millbank in 1916) copying the André-Charles Boulle originals made for Louis XIV’s Trianon.

DIMENSIONS:

102

REFERENCE:

H:

27 in

68.5 cm

W:

56.5 in

143 cm

D:

21.5 in

54.5 cm

8615


By Charles Blake of London 1865

103


A Giltwood Mirror in the Mid-Eighteenth Century Manner Circa 1870

Enclosed within a carved and gilded swept and shaped symmetrical frame, adorned with ‘C’ scrolls, foliated and floral ornamentation, with a central divider separating the two large mirror plates, with subsidiary outer mirror plates, with an etched trellis design to the upper pediment. Provenance; Squerryes Lodge, Westerham, Kent. The main house, Squerryes, was built in 1681 for the 1st Earl of Jersey; set in some 2500 acres of Kent countryside, the property adjoins Chartwell, home to Sir Winston Churchill.

DIMENSIONS:

104

REFERENCE:

H:

118 in

300 cm

W:

48 in

122 cm

8367

Squerryes Lodge


105


A Pair of Georgian Stools Circa

Constructed in a well patinated and very finely carved mahogany; of rectangular, but lightly canted form, rising from swept legs, profusely carved with acanthus motifs, and terminating in scrolled toes, with concealed castors; the undersides of each central stretcher stamped with the workman’s initials, ‘HH’, a mark to be found on many other pieces of seat furniture created by Gillow; one stool marked ‘I & II’ (cf Susan E Stuart’s book, outlined opposite) the other ‘V & VI’, suggesting they were part of a longer set of stools. Re-upholstered. ‘HH’, Susan Stuart suggests, could either be Henry Howard, or Henry Holmes, both of whom were prolific chairmakers at Gillows. Similar legs on our stools may be seen on Vol 1; pp227, 229, 291, and Vol 2; pp243.

DIMENSIONS:

106

REFERENCE:

H:

18 in

46 cm

W:

50.5 in

128 cm

D:

22 in

56 cm

8518


1825

Gillows of London & Lancaster

Firmly Attributed to Gillows

GILLOWS OF LONDON & LANCASTER The founder of the Gillows 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 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. A scholarly two volume exegesis of the firm, ‘Gillows of Lancaster & London’ by Susan E. Stuart was published by the Antique Collectors Club in 2008. 107


An Important Mahogany Library Circa

Of outstanding quality and breakfront form, rising from a plinth base; the lower part with four pairs of lockable fielded panel blind doors dressed with rectangular fielded panel reserves, having foliate carving to the angles, and enclosing shelved interiors, all separated by vertical stiles with swept and carved corbels; over, four pairs of conforming glazed lockable doors, with the middle section have wonderful fitted drawers and the outer sections with adjustable shelves, separated by fluted stiles with carved capitols; over, the ogee cornice has the facia having gilt numbering ‘XX’, ‘XXI’, ‘XXII’ and XXIII’; the piece stamped by the retailer ‘James Winter & Son, 101 Wardour Street Soho London’
. The ‘Dictionary of English Furniture Makers 16690-1840’ edited by Christopher Gilbert and Geoffrey Beard, and published by the Furniture History Society in 1986 lists Winter as working as a furniture broker in Wardour Street from 1823 until 1840, although the company ceased to trade in 1870.

Courtesy of Westminster City Archives DIMENSIONS:

108

REFERENCE:

H:

119 in

303 cm

W:

192 in

490 cm

D:

20.5 in

52 cm

7119


1825

Gillows of London & Lancaster

Bookcase Firmly Attributed to Gillows

109


A Games Table of the George IV Circa

Constructed in a finely figured rosewood; the end supports having square uprights, each enclosing three tapering and turned ‘triple spindles’, with ‘running pearl’ adornments, and terminating in incurving carved scroll toes; the platform having re-entrant corners, and a centrally situated removable and reversible slide, revealing the baize lined backgammon and cribbage well, and reverses to provide a chess board, and having a small drawer in the frieze.

DIMENSIONS:

110

REFERENCE:

H:

29 in

74 cm

W:

39 in

99 cm

D:

22 in

56 cm

7934


Gillows of London & Lancaster

Period Firmly Attributed to Gillows 1825

Courtesy of Westminster City Archives

111


A Magnificent Pair Library Armchairs Firmly Circa

Constructed in mahogany: the front legs of addorsed ‘C’ scrolls, confidently and exuberantly carved with foliates, conjoined by a boldy reeded front rail; the outswept arms carved with further foliates; the moulded back legs of canted scroll form, resting atop oblate bun feet, with the original inset castors. Susan E.Stuart’s scholarly work. ‘Gillows of Lancaster & London’ of 2008, published by the Antique Collectors Club, shows a virtually identical armchair, designed for G.Bamford Esq., taken from a room setting planned by Gillows circa 1820/30, Plate E5, Volume 11, and in Plate E22, two sofas from a suite of seat furniture that is now in situ at Nostell Priory, Wakefield. Pier tables with similar legs are also shown under Plate E24.

Image courtesy of Westminster City Archives

DIMENSIONS:

112

REFERENCE:

H:

40 in

102 cm

W:

32 in

82 cm

D:

33 in

85 cm

6890


1825

Gillows of London & Lancaster

of George IV Attributed to Gillows

113


A Near Pair of Card Tables Circa

Designed in the Louis XV manner, and constructed using a finely grained Circassian burr walnut, with kingwood cross banding and boxwood stringing, with gilt bronze adornments; rising from swept cabriole legs, dressed with foliate gilt bronze sabots, and female espagnolettes, the hinged and rotating serpentine tops, reveal playing surfaces of inset red baize within gilt tooled morocco leather.

DIMENSIONS:

114

REFERENCE:

H:

29 in

72.5 cm

W:

36 in

92 cm

D:

21 in

53 cm

8552

Table open


1860

Gillows of London & Lancaster

Firmly Attributed to Gillows

115


A Shaped Centre Table Circa

Constructed in Circassian walnut, with specimen woods inlays, and gilt metal adornments; rising from a castor shod scrolled leg quadripartite base, carved with foliates; a central shaped baluster form column is enclosed by four reeded upright supports at the cardinal points; the platform of serpentine shape, having a specimen wood guard band, depicting foliates and flambeaux, within the splendid book-matched walnut veneers.

DIMENSIONS: 30 in

W:

54 in 137.5 cm

D:

116

REFERENCE:

H:

42.5 in

76.5 cm

108 cm

8453


1870

Gillows of London & Lancaster

By Gillows & Co.

117


An Equestrian Statue of the young Queen Victoria By Thomas Thornycroft Circa 1855

Cast in bronze, with a dark brown patination by the Art Union of London; Her Majesty riding side saddle on a prancing Arab Stallion; mounted upon a base of naturalistic form; signed ‘T.Thornycroft Fecit London 1853’, and bearing the mark of the Art Union of London. This piece, one of a limited edition of 50 commanded by Her Majesty to be presented as Royal prizes, has a most interesting history. The weekly newspaper, the Illustrated London News, published, on the 2 July 1853 an engraving showing Her Majesty reviewing her troops at Chobham, Surrey. Thornycroft’s work was highly esteemed by the Royal Family, and they held other bronzes depicting Her Majesty, and he was commanded to create a life size statue from the event DIMENSIONS:

118

REFERENCE:

H:

22 in

55 cm

W:

26.5 in

67 cm

D:

6 in

15.5 cm

8376

at Chobham. (On her return from reviewing the troops with the Duke of Cambridge she was attacked at Cambridge House by a lunatic with a cudgel). A sculpture of similar form had been exhibited at the entrance to the Great Exhibition of 1851. Thomas Thornycroft (1815-1885) Born into a family of artists, a pupil of the eminent sculptor John Francis (whose daughter he married). A member of the Royal Academy (exhibiting 42 times) and the British Institution (5 exhibits). Conceived the large bronze group of Boadicea and her daughters now situated on the Victoria Embankment at Westminster Bridge. Reference; Benezit, Editions Gründ, 2006, Volume 13 The Art Union of London, founded in 1837 was created to promote the Arts, and members were regularly entered into a lottery, the prizes being contemporary works of art.


119


An Important Pair of Torchères in the Louis XV Manner Circa 1890

Constructed in patinated and silvered bronze, and rouge brecciated marble; rising from serpentine marble bases, trimmed with silvered bronze tied cannelures, the tripartite scrolled legs issue columns incorporating addorsed syrinxes, holding reeded Pan pipes, supporting the coronas, having six candle branches, fitted with bulb holders. Bearing serial numbers to the backs, 3059 & 29126. French.

DIMENSIONS:

120

REFERENCE:

H:

89 in

226 cm

Dia:

22 in

56 cm

8572


Butchoff 2016  

Welcome to our latest catalogue. It has been a very busy twelve months since our last publication. The search for items of the highest quali...