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BUTCHOFF ANTIQUES

www.butchoff.com

www.butchoff.com


Welcome to our latest catalogue - we hope you will enjoy the treasures within. As Butchoff Antiques approaches its 50th year we are proud to attest that our appetite for the finest in great furniture and decoration remains unabated, and that this enthusiasm coupled with the excellent service brought to our clients ensures that our family business continues to go from strength to strength. Every year we say it, and this year is no exception; it is becoming increasingly difficult to source furniture and decorative items that we consider to be of sufficient quality to offer to our clients. The advice that these items provide an alternative financial resource is being heeded worldwide. Within this catalogue you will find a monumental silver and enamel Nef made by the celebrated Viennese Goldsmith Herman Böhm who is known for having created magnificent enameled objects of the highest quality in the Renaissance revival style; a section on Queens Victoria’s Cabinet Maker of choice, Holland & Sons including a superb Library Desk and remarkable Longcase Clock; and two spectacular première-partie “Boulle” pieces including a commode in the Louis XIV style modeled on the original displayed at The Wallace Collection, London. Whatever your tastes may be we are sure that you will discover something of interest within these pages. We will be exhibiting this summer at London’s Olympia International Art and Antique Fair, “Masterpiece” in Chelsea and in the Autumn the LAPADA fair in Berkeley Square, where at each we would be delighted to see you on our stand. Equally you can be assured of a warm welcome in our Kensington Church Street showroom. As ever you will find a selection of our large stock on our website www. butchoff.com. Do make contact if you are looking for something specific as we may hold it in one of our many warehouses. We are also able to source items for clients through our international contacts and naturally we are happy to organise delivery and shipping worldwide. With very best wishes

Ian, Adam & James

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


A Superlative Commode in the Louis XIV Taste Circa 1870

Within an ebony framework, the première-partie boulle style marquetry has tortoiseshell fields inlaid with cut brass, in designs following the oeuvre of Jean Berain (1637-1711); rising from four gilt bronze cleft hoof feet, the serpentine front with two long and two short drawers, dressed with fine gilt bronze loop handles, with mascarons to the centre, and a shaped apron below; the rectangular top having a bronze guard strip, and housing a complex arabesque design, with Asiatic motifs, with conforming marquetry work on the raised fielded panels to the side. French. Our commode is similar in form and design to a commode in the Wallace Collection, illustrated and discussed at length in volume 2 of the contents catalogue, pp 638-643, and comparable to commodes supplied to Louis XIV for the Grand Trianon by AndrÊ-Charles Boulle (1642-1732) between 1708-1709.

DIMENSIONS:

REFERENCE:

H:

34 in

86 cm

W:

48.5 in

123 cm

D:

26.5 in

67 cm

7785

Top of Commode


A Superb Pair of Vases in the Louis XVI Manner Circa 1870

Constructed in Carrara marble and two colour ormolu of the finest quality; each of the circular bases supporting three female herms, rising from scrolls, dressed with running guilloches, and encasing shaped marble urns, dressed with foliates, and capped with everted gilt bronze collars with running lobes edges. French.

DIMENSIONS: H: Dia:

REFERENCE:

20.5 in

52 cm

12 in

30.5 cm

7964


A French Musical Automata Diorama Circa 1875

The cased and glazed Diorama of a southern European riverside village painted in gouache, heightened with stipple engraving, is signed Ch. Riviere, and shows the life of the village, with the church campanile housing an enamel faced, two train gong striking movement, signed on the front plate ‘Janvier a Paris’ incorporating a two air cylinder music box movement, and seventeen separate automaton movements, including the farm girl feeding the pecking chickens, the windmill, the blacksmith at his anvil, the watermill rotating, a milkmaid at work, a bobbing duck inter alia, all driven by a spring driven motor fitted inside the case, and operating a complex system of levers and pulleys, operated by a stop/ start lever. French. Brian Loomes ‘Watchmakers and Clockmakers of the World’ lists a Janvier, operating from the Louvre district in the mid 19th Century.

DIMENSIONS:

REFERENCE:

H:

32 in

81 cm

W:

39 in

99 cm

7978


A Superb Equestrian Statue of a Musketeer, By Isidore-Jules Bonheur Circa 1870

Beautifully cast and planished by Hippolyte Peyrol, the fondeur, and bearing his signature, the mounted musketeer, wearing a uniform of the 1690-1710 period is astride his mount, with minutely observed details of the harness and tack. Signed by the sculptor, ‘I. Bonheur’. French.

Isidore-Jules Bonheur (1827-1901) Bordeaux born, son of the established painter, Raymond Bonheur, and brother to Rosa & Juliet, both of whom achieved great success as painters and sculptors; studied under his father at the Ecole des Beaux-Arts; exhibited at the Paris salon in 1848 the first of the animalier works which established his fame; Gold Medal winner at the Paris Universelle Exposition of 1899; elected to the Legion d’Honneur in 1895; A monumental pair of lions, cast by Hippolyte Peyrol, his father-in-law, stand on the pillars of the staircase at the Palais de Justice, Place Dauphine, Paris; his statue of Rosa Bonheur may be seen in Fontainebleau; the Bordeaux & Toulouse Museums of Fine Arts show many of his ouevres. His clients included Edward VII of England and His Imperial Majesty, The Sultan Abdülhamid II, Emperor of the Ottomans, Caliph of the Faithful.

DIMENSIONS:

REFERENCE:

H:

41 in 104.5 cm

W:

10 in

26 cm

42.5 in

108 cm

L:

7929


A Near Pair of Occasional Tables By François Linke Circa 1880

Designed in the Transitional manner, and constructed in a mahogany that has acquired a wonderful colour and patination, adorned with gilt bronze accents of the highest quality; rising from four cabriole legs, dressed with foliate sabots and chutes, enclosing undertiers of serpentine form; the platform of conforming shape with moulded edges, and having a pull-out slides and drawers. Signed, to one chute ‘F. Linke’. France. Christopher Payne’s excellent reference work, ‘François Linke, The Belle Epoque of French Furniture’, published by the Antique Collectors Club 2003, illustrates on pp.66, two tables of similar form.

François Linke (1855-1946) François Linke 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:

REFERENCE:

H:

30.5 in

77 cm

W:

16 in

41 cm

D:

16 in

41 cm

7750


An Ormolu Mounted Easel Circa 1880

Constructed in satinwood with tulipwood crossbanding, with gilt bronze mounts of the highest quality; the ‘A’ form frame having gilt bronze shod swept feet, an adjustable foliate bronze shod painting holder, and swept, gilt bronze dressed upper terminals. French.

DIMENSIONS: H:

67 in:

REFERENCE: 170 cm

7972


A Superb Jardinière in the Louis XVI Manner Circa 1870

Of free standing form, constructed in thuya wood, with kingwood crossbanding, being richly dressed with gilt bronze mounts of the highest quality; rising from tapering, turned and fluted legs girt with helical bronze laurel mounts, and terminating in bronze foliate cast toes, and capped with bronze flowering Lotus columns, having a shaped bronze mounted cross banded stretcher issuing from the central ellipse; the jardinière having central bronze mounts, one side representative of floral and musical attributes, the obverse with addorsed cornucopia, flanked by trellised inlaid panels, with foliate trailing rose swags to the sides; a running arcaded bronze gallery to the top, enclosing the removable zinc liner. French.

DIMENSIONS:

REFERENCE:

H:

36 in:

91 cm

W:

33 in:

84 cm

D:

15 in:

38 cm

7953


An Attractive Games Table of the Napoleon III Period Circa 1870

Constructed in thuyawood, with marquetry inlays and cross banding in bois violet, kingwood and several other exotic woods being employed in the complex arabesque inlays, dressed with gilt bronze mounts; rising from turned, bronze collared and tapering cannelure legs, with inset pendant bronze bellflower motifs, conjoined by a shaped stretcher of ‘H’ form, having a central circular boss, with further inlays; the arabesque inlaid apron housing opposing drawers with French double action locks; the shaped serpentine top, with a running foliate gilt bronze guard edge, and a chess board, with squares in abalone shell, and ebony. French.

DIMENSIONS:

REFERENCE:

H:

30 in

77 cm

W:

35 in

89 cm

D:

20.5 in

52 cm

7911


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.


Circa 1860

Of exceptional quality, and utilising beautifully grained woods, including thuya, purple heart, box, & sycamore, inter alia, and richly and exuberantly adorned with finely detailed ormolu bronze mounts; the cross banded case rising from a plinth base, dressed with an ormolu ‘Green Man’ mask; three inverted rectangular glass inspection doors, framed with ormolu beading, with paterae at the angles, showing the mercury compensated pendulum, which drives the eight day movement, regulated with a dead beat escapement; the shouldered domed hood, with glass inspection windows to the sides, mounted with lion masks, and pendant laurel festoons, houses the engraved brass faced, arched dial, with its silver chapter ring, marked with the hours in Roman numerals, and the subsidiary seconds dial marked in Arabic numerals; signed ‘Klaftenberger of Regent Street’ in an upper cartouche.

C. J. Klaftenberger (1795-1874) Vice-President of the British Horological Institute, he operated in both in London and Paris. Klaftenberger was evidently held in high esteem by Prince Albert and Queen Victoria and received regular orders for the supplies of clocks and watches to be presented as gifts. The company was also a contributor to the horological section of ‘The Great Exhibition,’ where they received an honourable mention. During part of his career he was in partnership with Margaine, and Aubert, their names appearing together on fine carriage clocks supplied by the leading French makers, Leroy and Breguet.

DIMENSIONS:

REFERENCE:

H:

77.2 in

196 cm

W:

19.5 in

49.5 cm

D:

13 in

33 cm

7810

Holland & Sons

A Truly Magnificent Longcase Regulator Clock in the French Taste Firmly Attributed to Holland & Sons


A Very Fine Centre Table in the Louis XVI Manner of Holland & Sons Circa 1860 Of exceptional quality, utilising beautifully grained woods, including Circassian walnut, thuya, purple heart and boxwood in the construction, and adorned with very finely cast, planished and gilded ormolu mounts; rising on four tapering turned and inlaid porcelain castor shod legs, conjoined by a shaped and stepped ‘X’ form stretcher, with a central vase stand, inlaid with a circular patera; the symmetrical shaped serpentine cross banded and inlaid top, richly dressed with ormolu running pearl banding and to the edges, a stylised ormolu gadroon; the apron housing two drawers, lined with quadrant mouldings.

Provenance; Whitbourne Hall, Worcester. Family tradition believes the table was supplied by the London decorators, Cowtan & Company, who were absorbed into Colefax & Fowler in the 1970s. Please see Symonds & Whineray, Victorian Furniture pages 169 and 187 illustrations of similar items of furniture.

DIMENSIONS:

REFERENCE:

H:

30 in

76.5 cm

W:

60 in 152.5 cm

D:

32 in

81.5 cm

7874


Holland & Sons

In situ at Whitbourne Hall, Worcester


A Very Fine Occasional Table Firmly Attributed to Holland & Sons Circa 1860

Of Louis XV transitional form, constructed in burr oak of very distinct marking, with extensive and beautifully executed foliate marquetry inlays in maple, stained harewood & other exotic woods; rising from cabriole legs shod with gilt bronze sabots and espagnolettes, the frieze incorporating a single lockable drawer with a fine escutcheon; the serpentine shaped top having a gilt bronze guard edging, housing a complex arabesque foliate marquetry panel, with trellis cartouches, scrolls and husks.

DIMENSIONS:

REFERENCE:

H:

29 in

74 cm

W:

31.5 in

80 cm

D:

17.5 in

44 cm

7847

A table of similar construction is shown in Symonds & Whineray’s ‘Victorian Furniture’, published 1962 by Studio Editions, pp 141, plates 184/185, made for R.N. Thornton of Knowle, Sidmouth, Devon.


A Magnificent Bonheur du Jour of Exhibition Quality, in the Louis XV Manner, Attributed to Holland & Sons Circa 1860

Lovingly constructed in bois citronnier, and purpleheart woods, with extensive usage of finely cast, planished and mercury gilded mounts, and ‘Sevres’ porcelain plaques. Throughout the construction, the bois citronnier ground is cross banded with purpleheart. Rising from sabot shod cabriole legs, with pierced foliate mounts at the knees; the apron, of serpentine form houses three drawers, each faced with foliate form gilt bronze frames housing Sèvres plaques, a ‘fete galante’ to the centre, and the flanking drawers with ladies dressed in the style of the late ancien regime; all drawers accessed by concealed spring operated buttons: the writing surface edged with a gilt bronze guard cast with foliates and gadroons, having espagnolettes to the angles, and the superstructure having a central bank of four concave drawers, with mahogany linings, with a pierced and scrolled gallery over, which, when depressed, allows the drawers to be opened; the flanking cupboards, dressed with stiff leaf gilt bronze running bands, having elliptical gilt bronze plaques housing further Sèvres plaques of courting couples over drawers. The tops of the cupboard are hinged, and are opened by means of concealed spring loaded clips, to reveal velvet lined compartments. The four canted angles of the superstructure, dressed with gilt bronze herms, house ‘pull-out’ secret document containers. A pierced and shaped gilt bronze gallery surmounts both cupboards.

DIMENSIONS:

REFERENCE:

H:

52.5 in:

133 cm

W:

55 in:

140 cm

D:

27 in:

69 cm

7352


Holland & Sons


A Partners Library Desk Circa

Constructed in mahogany, and having splendid gilt bronze accents. Of freestanding pedestal form, rising from plinth bases, dressed with running gilt bronze foliate guard bands; having an arrangement of three drawers in each pedestal, and three long drawers to the apron, all fitted with pairs of semicircular cast bronze handles, the obverse with fielded panel lockable cupboards, of excellent ‘fiddle back’ mahogany, which enclose shelved interiors, and have three faux drawers in the apron; the top dressed with an exterior guard band of gilt bronze, enclosing a tooled leather writing surface. Stamped, by the maker, to the central drawer ‘Holland & Sons’.

Back of desk

DIMENSIONS:

REFERENCE:

H:

30in

76.5 cm

W:

61 in

155 cm

D:

33 in

84 cm

7923


1860

Holland & Sons

By Holland & Sons


A Stately Home Library Folio Cabinet of Circa

Constructed in a finely grained rosewood, and dressed with brass inlay rising from oblate bun feet, enclosed within carved torsade columns, the cabinet having lockable doors with trellised brass grilles; over, the top has everted radiused angles, with conformingly inlaid brass foliates to the border.

DIMENSIONS:

REFERENCE:

H:

33.5 in

85.5 cm

W:

50 in

127 cm

D:

42 in

107 cm

7948


the Regency Period in the Manner of Gillows 1825


A Fine Example of a George III Partners Desk Circa 1780

Constructed in a well patinated San Domingo mahogany: of rectangular form, rising from a plinth base, the pedestals with laterally opposed banks of four oak lined lockable drawers, fitted with internal dividers, and dressed with swan neck brass handles; three drawers of similar construction to each side of the frieze, itself having brass retaining pegs; the top having an inset tooled leather writing surface.

DIMENSIONS:

REFERENCE:

H:

33 in

84 cm

W:

61.5 in

156 cm

D:

43.5 in

110 cm

1826


A Very Fine Metamorphic Circa

Constructed of a Cuban mahogany having especially fine marking and patination; the circular top having the possibility of augmenting the diameter, by the addition of four exterior leaves of quadrant form, being supported by a turned and waisted central column, which issues quadripartite hipped cabriole legs terminating in scrolled toes, carved in the Grecian manner, and shod with brass castors.

DIMENSIONS:

REFERENCE:

H:

29 in

74 cm

Dia closed:

60 in 152.5 cm

Dia extended: 76 in 193.5 cm

7921


Georgian Dining Table 1825


A Set of Eight Dining Chairs Circa

Constructed in San Domingo mahogany of a well patinated and attractive colour, rising from tapering ring turned and close lobed front legs, with channelled sabre legs to the rear; the seat rails of ogival form, with the seats upholstered; the swept and channelled uprights having scrolled and leaf carved terminals, housing centre bars with lotus flower ends, and with the tablet form top rails being carved with addorsed acanthus leaves. One chair is stamped ‘IM’.

DIMENSIONS:

REFERENCE:

H:

33.5 in

85 cm

W:

19.5 in

49 cm

D:

22 in

55 cm

7727


of the Late Georgian Period 1825


An Elegant Example of a Writing Table of the George IV Period Circa 1825

Constructed in mahogany, of exemplary colour and patination; of freestanding end support form, the base platforms dressed with precisely carved spandrels in the Grecian manner, and having inset integral castors; a long central drawer, flanked by smaller drawers, and, unusually, addorsed drawers in the ends, all mahogany lined and with quadrant mouldings, and dressed with circular brass keyhole escutcheons; the writing surface having radiused corners, and fitted with a tooled Morocco leather of mellow colour.

DIMENSIONS:

REFERENCE:

H:

31 in

79 cm

W:

51 in

130 cm

D:

31.5 in

80 cm

7931


A Fine & Highly Decorative Circular Centre Table of the Regency Period Circa 1825

Constructed in goncalo alves, with gilt bronze accents; rising from a tripartite base, the shaped crook form base adorned with carved stylised dolphins, dressed with gilt bronze rose flower heads, and emblematic of England’s great sea power of the period, supporting a spirally turned centre column; the top having a tilt-top action, and dressed with triple bands of running pearls, and a lower band of bound wheat sheaves. Goncalo alves, from South America, is also known as zebrawood.

DIMENSIONS: H: Dia:

REFERENCE:

28.5 in

72.5 cm

47 in

119.5

7908


A Long Set of Fourteen Dining Circa

The set of fourteen chairs, comprising two carver armchairs, and twelve side chairs, are constructed in a softly faded and well patinated mahogany, and upholstered in Burgundy leather; rising from legs of sabre form to both front and rear, the seats of generous proportions, and having swept uprights, with scrolled terminals, having tablet form central bars, and shaped toprails; the arms of serpentine form issuing from truncated pyramidical bases.

DIMENSIONS Carver:

DIMENSIONS Single:

REFERENCE:

H:

32.5 in

82.5 cm

H:

32.5 in

82.5 cm

7880

W:

22 in

56.5 cm

W:

20 in

51 cm

D:

19 in

48 cm

D:

18 in

45 cm


Chairs of the late Georgian Period 1825


A Library Table in Circa

Constructed in amboyna, with cut brass inlay work, and bronze feet; of rectangular panelled end support form, braced by pairs of carved spandrels, rising from porcelain castor shod swept talon feet, having a conjoining ring turned stretcher: the gadroon based apron houses pairs of lockable drawers on either side, with circular turned wood handles, and the platform, of radiused rectangular form with a running guard band of cut brass of geometric pattern, inset onto a rosewood ground.

DIMENSIONS:

REFERENCE:

H:

30 in

76.5 cm

W:

60 in 152.5 cm

D:

37 in

94 cm

7974


the Manner of Gillows 1820


A Fine Bookcase in the Hepplewhite Manner Circa 1880

Constructed in a well marked and patinated satinwood, decorated with tulipwood cross banding; rising from a plinth base with everted angles, the lower cupboards having inlaid tulipwood ellipses, dressed with a running flowerhead band, and enclosing a shelved interior; two cross banded drawers over, with ring handles; the glazed & lockable two door upper section having lenticular astragals, and enclosing an adjustable shelved interior, with an everted ogee cornice decorated with a running dentil moulding. Bearing a suppliers label, ‘The Furniture & Fine Art Depositories Ltd, Park Street, Islington, London, by Royal Appointment to the King of Spain’.

DIMENSIONS:

REFERENCE:

H:

94 in

239 cm

W:

56 in

142 cm

D:

18 in

46 cm

7878


Two Rare Armorial Hatchments Circa 1760

Constructed of carved wood, and finely polychromed, with inscriptions of two Prime Wardens, Richard Percy and David Some Hewson, of the Worshipful Company of Fishmongers. The Fishmongers’ Company is one of the Twelve Great Livery Companies of the City of London and amongst the most ancient of the City Guilds, with an unbroken existence of more than 700 years. The Fishmongers of London are known to have been an organised community long before Edward I (AD 1272) granted them their first Charter. That, and others granted in the reigns of Edward II and Edward III, provided that no fish could be sold in London except by the Misterie* of Fishmongers; they also limited the markets at which fish could be sold in the City and made it the duty of the Wardens of the Misterie to oversee the selling of fish and to ensure that none but sound fish was offered. Later Charters, granted in the reigns of Richard II, Henry V, Henry VI, Henry VII, Henry VIII, Edward VI, Mary, Elizabeth I and James I, formally incorporated the Company and laid down rules for its governance and regulation of the trade. *The word ‘Misterie’ is of Middle English origin, and denotes a ‘Guild’. It is the equivalent of the word ‘company’ today.

The Worshipful Company of Fishmongers has advised that these two Armorials are amongst five that are absent from the chronological sequence of the shields, and assume that they were given to the families of the Prime Wardens for reasons lost in the mists of time. The Chester Herald, from the College of Arms in London advises that the designs on the Percy shield contain vertical fish, the Pike, and the old English word for a Pike was ‘Lucy’, and this female name is a visual pun on the name of the wife of Percy, the first Duke of Northumberland. The Hewson designs include (upper right and lower left quarters) ‘arrowheads’, which are the Armorial representation of the Ermine, the winter coat of the Stoat; Ermine fur sewn together to make coats for Royalty, and represents, according to the College of Arms, ‘Protection from the Cold World’. Both shields have lions, in differing postures. The Lion is a widely used Heraldic device, representing the ‘King of the Beasts’.

DIMENSIONS:

REFERENCE:

H:

46 in

117 cm

W:

28 in

72 cm

7254


An Important Chinese Twelve Fold Dated to the Dingmao Year, Circa


Documentary Lacquer Coromandel Screen corresponding to 1687, and of the period 1687


Finely carved and polychrome decorated with, to the front, scenes probably taken from the novel ‘A Bed-full of Tablets’ depicting Guo Ziyi seated in the reception hall of a palace, surrounded by courtiers, dignitaries and attendants, within a walled garden containing pavilions with musicians, with a bridge from the palace leading to exterior areas, with grooms and horses; to the reverse, a full inscription, (see the content hereunder), including the greeting ‘Congratulations on the birthday of Shang Jihou’, holder of the rank of ‘zhen tai’, a Lieutenant General of the Imperial Army. The borders to both sides incorporate the ‘100 Precious Objects’, floral and landscape decoration. The screen is signed with the seal of the prime donor of the screen, Zhang Xiong, and a list of the seventy seven subscribers to the congratulations follows.

DIMENSIONS:

REFERENCE:

H:

112 in

285 cm

W:

156 in 396.5 cm

7989

Inscription Content ‘People have said from ancient times until now, that to be a wise person who has responsibility, experience, support and to be blessed, one must live a long life. In this world, if someone is successful and achieves longevity, that is not just the result of nature: one must do good deeds, contribute to society, and possess a good moral character. Hence, in this country people respect the old, because we hope that their great spirit can help the younger generation – we will remember them, all the time. Shang Jihou is such a person. Now that this country is prosperous and peaceful, the average person can have a good life. If a person makes a contribution to the society of the country, then they deserve a better life. This is also the reason why this country is so prosperous’.


The Manchuanghu’, ‘The Bed-full of Tablets Tale’ Is an episode in the historical novel Romance of the Sui and Tang Dynasties, from the Eight Century AD. Because of his honourable and dutiful services to the Tang emperor during the An-Shi rebellion, Guo Ziyi was made the Prince of Penyang. On his 60th birthday, so many people came to offer their congratulations, each carrying a small tablet as was the custom in those days, the prince’s bed was overloaded with tablets. Guo Ziyi’s sixth son, Guo Ai, was married to the emperor’s daughter, Princess Shengping. The princess, however, felt that she had married someone beneath her and treated her in-laws with great disrespect. All of Guo Ziyi’s other sons and daughters came with their spouses to his birthday celebrations, but Princess Shengping deliberately stayed away and Guo Ai,

standing alone among the couples, became the object of ridicule. Enraged and humiliated, he went home and gave his wife a beating. When the princess reported this to her parents, Guo Ziyi in haste took his son to the palace to be punished. The emperor, however, acted with reason and restraint. Instead of punishing Guo Ai, he promoted him and ordered his daughter to apologize to her in-laws. Thus a family feud was avoided and the husband and wife were reconciled.


A Splendid Vizagapatam Toilet Glass Circa 1790/1800

Constructed of sandalwood, ivory veneered, engraved and highlighted with penwork decoration. Rising from shaped bracket feet, of stepped form with a pagoda form top, containing nine drawers, the lowest of which holds nine removable shaped lidded compartments, with silvered brass handles; above, the elliptical looking glass retains its’ original mercury plate mirror, supported by uprights of lyre form, and having a ribband crested swag atop. The whole is decorated in the neo-classical manner, with floral swags issuing from central vases; floral sprays to the sides. Vizagapatam, Southern India. Vizagapatam, a port on the Coromandel Coast, facing the Bay of Bengal, is a natural harbour, and was one of the earliest bases of the British East Indies Company, who established a base there in 1683. Situated on the trade route from the far east, it had ready supplies of local material in exotic woods, and ivory, and into the traditional crafts of furniture making were soon incorporated the manufacture of furniture

in the English taste, but modified by the local handiwork, much as Chinoiserie was adapted to European cabinet forms. A visitor in 1756, Major John Corneille, remarked of its’ ‘inlay work and they justly do it to the greatest perfection’. This wonderful piece relates very closely to an example that may be seen in the Indian section at the Victoria and Albert Museum; the design for both has been drawn from the ‘Cabinet Maker and Upholsterer’s Guide’ published in 1788 by George Hepplewhite, who illustrates ‘dressing mirrors’ of similar design in plates 70 & 71. Literature; Amin Jaffer’s ‘Furniture from British India and Ceylon’ published by V&A Publications, London 2001, illustrates the V&A mirror, and provides important information on the Vizagapatam furniture trade.

An identical mirror on display at the V & A Museum. Courtesy of the V & Albert Museum.

DIMENSIONS:

REFERENCE:

H:

37 in

94 cm

W:

22.5 in

56.5 cm

D:

13 in

33 cm

6723


A Ladies Vanity Case By Aspreys of London Circa 1890

Constructed in Macassar ebony, with brass line inlay; the rising lid containing a make up mirror, and revealing a fitted interior having its complete range of coiffure and clothes maintenance implements, and cut lead glass containers, complete with their Hall Marked London and engraved silver lids, dating to 1889/1890 housed with a tooled morocco leather. Marked inside the lid, ‘Aspreys of London 166 Bond Street’.

Aspreys Asprey was established in 1781 by William Asprey, as an emporium for articles de luxe. In 1841, the founder’s eldest son, Charles established the business at 166 New Bond Street, advertising their ‘articles of exclusive design and high quality, whether for personal adornment or personal accompaniment and to endow with richness and beauty the table and homes of people of refinement and discernment.’ Asprey crafted traditional cases and designed luggage suitable for the new style of travel ushered in by railways, and was recognised for its expertise when it won a Gold medal for its dressing cases at the London Great Exhibition of 1862. In 1862 Asprey was granted its first Royal Warrant by Queen Victoria and later the Prince of Wales, before he became Edward VII.

DIMENSIONS:

REFERENCE:

H:

8.5 in

21.5 cm

W:

15 in

37 cm

D:

11 in

27 cm

7928


A Highly Decorative Iberian Games Table Circa 1880

Constructed in ebony & rosewood, with extensive floral decoration in tortoiseshell and mother-ofpearl; of square shape, rising from four legs of Solomonic column form; the reversible games boards having playing surfaces for Chess, to one side, and Ten Square European Draughts to the other, housed within a ripple-edge ebony framework.

DIMENSIONS:

REFERENCE:

H:

30 in:

76.5 cm

W:

29.5 in:

75 cm

D:

26 in:

66.5 cm

7327


A Large and Important Viennese Nef By Hermann Böhm Circa 1880

Constructed in silver, bearing the maker’s marks, and exquisitely enamelled; the boat form nef, with a detachable enamelled cover, having enamelled ellipses, polychrome decorated with Classic scenes from antiquity both to the interior and exterior, is supported on a domed foot, having the stem cast with four stylised dolphins interspersed with tritons, and incorporating a pavilion of musicians and spectators, with six oarsmen; a central mast, under sail, and dressed with spirally decorated enamels, and is topped with a flag, rises from the pavilion, itself flanked by ovoid containers. Austrian.

Hermann Böhm Hermann Böhm was one of the best and most well-known representatives of the Neo-Renaissance goldsmiths art, creating precious objects made in 16thcentury style from polychrome enamels, rock crystal, semi-precious stones, pearls and niello. He was inspired by the 16th century Kunstkammer objects in the Kaiser’s collections. In 1866, he founded the “Gold and Silverware Factory”. A characteristic feature of Böhm’s fine enamel works is the meticulous, detailed painting of the reverse sides of objects in delicate colours.

DIMENSIONS:

REFERENCE:

H:

31 in

79 cm

W:

15 in

37.5 cm

D:

8.5 in

21.5 cm

7751


Interior of Nef


A Solid Silver model of the Warwick Vase London Hallmarked, By Barnard & Co Circa 1902

An accurate and detailed reduction of the original Roman vase, weighing 64 ounces, Hallmark dated to 1902, Leopard Head London, and the marker’s mark.

The Warwick Vase The vase was discovered in 1771, at the ruins of Hadrian’s Villa near Tivoli, its restoration being ordered by Sir William Hamilton, husband of Emma Hamilton, Lord Nelson’s mistress, and it passed into the collection of his nephew, George Greville 2nd Earl of Warwick. Copies after it and derivations from it appeared throughout the nineteenth century including a version in silver by Paul Storr. The Roman vase is on display at Warwick Castle.

Barnard & Company The company has the longest continuous trading record of all English silversmiths.

DIMENSIONS:

REFERENCE:

H:

8.5 in

21 cm

W:

12 in

30 cm

7906


The Nineteenth Century Neo-Classical Revival

Although not the first designer to introduce Classical design into English furniture, Robert Adam was the leading proponent and disseminator of the style, and his return from Italy in 1758, until his death in 1792, coincides neatly with the thirty year period when Neo-Classicism informed bon ton taste. Many of the original Adam designs are housed in the fascinating museum of Sir John Soane, in Lincoln’s Inn Fields, and in an address to the students of the Royal Academy, Sir John observed of Adam that ‘we stand indebted, inasmuch as manufacturers of every kind felt, as it were, the electric power of this revolution in art’. Adam’s designs for the furniture of Osterley House were venerated, and his ideas were espoused by two of the triumvirate of Eighteenth Century English Furniture Design Giants, Thomas Sheraton, and George Hepplewhite, and the taste of the Neo-Classic permeated into the early years of the nineteenth century.

In the last quarter of the nineteenth century, perhaps as a revolt against the wild grotesqueries of later Victorian furniture, the Neo Classical Revival was revived once more. The eminent London cabinet makers, Wright and Mansfield won the only Gold medal ever presented to a firm of English Cabinet Makers at the Paris International Exhibition of 1876 with a magnificent cabinet in the Adam manner. The growth of the middle classes, and the new ‘apartments’ of the major English cities spurred leading London makers such as Maples, Hamptons, Jackson and Graham and Edwards & Roberts to recreate a genre of style and craftsmanship that sometimes rivaled, and sometimes exceeded the masterworks of the English Eighteenth Century English craftsman, examples of which may be seen in the last part of the 1902 publication of Percy MacQuoid’s ‘The History of English Furniture’, titled, ‘The Age of Satinwood’. The following is a selection of some of the pieces we currently hold in stock.


A Superb Quality Side Cabinet in the Neo Classical Circa

Constructed in mahogany of fine colour and richly patinated, extensively adorned with pictorial marquetry inlay of precisely skilled execution; rising from tapering, turned and lotus petal carved toupie feet, of bow fronted form, the lockable double doors finely inlaid with pendant elliptical cartouches suspended by lovers bows and foliates, with anthemion filled reserves, depicting Paris & Helen, flanked by foliate inlaid quadrant columns, enclosing a shelved interior; the sides further inlaid with stylised circuits of bellflower husks, and swagged festoons; the top platform having an elliptical cartouche of the charioted Ares in martial aspect, riding through the cloudy skies presaging the Trojan War.

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 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 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.

Top of cabinet

DIMENSIONS:

REFERENCE:

H:

40 in:

W:

45 in: 114.5 cm

D:

18.5 in:

102 cm

47 cm

7982


1880

The Nineteenth Century Neo-Classical Revival

Adam Manner Firmly Attributed to Maples of London


A Pair of Display Cabinets in the Adam Manner of Exceptional Quality Circa 1885

Constructed in finely marked and patinated West Indian satinwood, harewood and mahogany, enhanced with marquetry inlay work of graceful and delicate execution. Rising from addorsed swept bracket feet, the bases of gentle breakfront form, the lockable central doors having richly inlaid elliptical cartouches, with lovers bows atop, issuing pendant and subordinate foliates, housing musical scores and further foliate inlays, all within harewood fields crossbanded with satinwood, the flanking doors with inlaid foliate tracery: over, the aprons have running inlaid bands of lenticular form: the superstructures have central glazed and shelved cabinets with shaped astragals, set over pairs of small specimen drawers, and surmounted by swan neck pediments, and flanked by shouldered cupboards, the doors conformingly inlaid with foliate tracery.

DIMENSIONS:

REFERENCE:

H:

81.5 in

207 cm

W:

42 in

107 cm

D:

17 in

42 cm

7936


The Nineteenth Century Neo-Classical Revival


A Magnificent Pair of Pier Tables in the Circa

The tops constructed in harewood, satinwood, kingwood and partridge wood, incorporating finely executed marquetry and inlay work, the lower parts in giltwood; of semi-elliptical form, rising from ring turned tapering fluted legs, with foliate capitols, the aprons having running arcaded stopped fluting; the tops having radially laid veneers issuing from bat wing paterae, with stylised anthemions to the points and foliates in the grounds, having cross banded outer reserves within stringing; one table twice stamped ‘J. Hicks 5 Lower Pembroke Street’. Irish. James Hicks was born into a family of Dublin chair-makers and was trained in London in the cabinet making workshops in London. 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’.

DIMENSIONS:

REFERENCE:

H:

33 in:

84 cm

W:

63.5 in:

161 cm

D:

22.5 in:

57 cm

7981


1895

The Nineteenth Century Neo-Classical Revival

Adam Manner By James Hicks of Dublin


A Very Fine Commode Decorated in the Adams Manner Illustrated in a Hampton & Sons Catalogue in our possession Circa 1870

Constructed in ‘mahogany, inlaid with panels of rosewood, and borders of tulip & satinwood. The top is decorated with three rich polychrome painted panels, the centre one painted with two figures of cupids playing musical instruments, scrolls, festoons and sprays of roses; in the two other panels are upright landscapes, in scroll-shaped medallions on rosewood, with border of tulipwood and outer border of satinwood, finely painted with ribbons and flowers interlaced. The cabinet is divided into three divisions, the centre fitted with shelves enclosed by door, painted with a draped female figure seated in clouds, on a panel of rosewood, with outer border of satinwood painted with scroll foliage; the two end divisions are fitted with drawers, with satinwood fronts painted with alternate festoons of drapery and flowers, enclosed by doors, each painted with whole length emblematic figures of Summer and Autumn, with border of painted satinwood. The end panels decorated with musical trophies and spray of laurel leaves with similar border. The whole supported by four straight columns inlaid to represent flutings’. The above text is taken verbatim from the ‘Designs of Furniture and Decoration, Fabric etc. for Complete House Furnishing’, circa 1910, catalogue of Hampton & Sons, Pall Mall East, in our possession, where our cabinet is shown in a photographic illustration, numbered 021, under their listing ‘Antique Furniture’.

DIMENSIONS: H: W: D:

34 in

REFERENCE: 86 cm

54.5 in 138.5 cm 24 in

61 cm

7895


The Nineteenth Century Neo-Classical Revival

Top of Commode


A Dramatic & Decorative Screen Panels Circa 1780

The four fold screen with a hinged frame is carved with ribbands, guilloches and bellflowers, and encloses four vertical canvas panels, expertly painted with a rich and evocative palette, in the manner of Franรงois Boucher, depicting, as is typical of his oeuvre, putti disporting themselves in romantic and stylised pastoral settings. French.

DIMENSIONS:

REFERENCE:

H:

68 in

173 cm

W:

94.5 in

240 cm

7937


A Boudoir Suite Decorated in the Manner of George Brookshaw Bearing a Harrods label Circa 1880

Constructed in mahogany in the Louis XVI manner, of superb quality, and comprising a breakfront triple door clothes press, a pair of night stands with doors and drawers, a three drawer dressing table, a jewellery vitrine with a rising top and a three door commode, opening to reveal banks of drawers, fitted with a moulded edge Fleur de Pêche marble top; the dove blue fields decorated with sinuously painted flowering foliates, and highlighted with the original gilt work. All drawers fitted with quadrant mouldings, and mahogany drawer linings. The brass work is of high quality and detailing.

DIMENSIONS: Bijouterie:

Clothes Press:

REFERENCE:

H:

30 in

76.5 cm

H:

92 in

234 cm

W:

31.5 in

80.5 cm

W:

68 in

173 cm

D:

21 in

53.5 cm

D:

24 in

61 cm

7932

George Brookshaw, Birmingham (1751- 1823), London. George Brookshaw was apprenticed to Samuel Troughton, a Birmingham painter and ‘japanner’, and in 1778 he married the daughter of a wealthy Birmingham gunsmith, and around the same time he established a London workshop at 48 Great Marlborough Street, making painted and stove-japanned furniture for the top ranks of society, including the Prince Regent’s Carlton House, until the end of the 18th century, when he changed direction, and became a professional botanical illustrator.


Dressing Table:

Commode:

H:

30 in 76.5 cm

H:

36 in

W:

56 in 142.5 cm

W:

47 in 119.5 cm

D:

31 in

D:

23 in

79 cm

Pair of Night Stands:

REFERENCE:

H:

32 in 81.5 cm

7932

W:

18 in

D:

13 in 33.5 cm

46 cm

91.5 cm

58.5 cm


A French Clock Garniture of ‘La Compagnie des Marbres Circa

Constructed in onyx, gilt bronze and decorated with champlevé enamel, and comprising the clock, and matching candelabra; the clock, of rectangular form in onyx, rises from lions paw feet, the balloon shaped cased dressed with gilt bronze laurel ribband mounts and a cameo portrait of a young lady clad á la Renaissance; the circular dial having the hours in Roman numerals, and signed by the maker, ‘La Compagnie des Marbres et Onyx d’Algerie, B des Italiens 24 Paris’ and enclosing the key apertures for the time and hourly bell striking movements, itself stamped by the maker, Japy Freres de Paris; atop, a baluster urn on stand: the candelabras carrying four shaped branches, and set with champleve enamels. French. Deposits of Onyx of great clarity were discovered in Algeria in the mid Nineteenth Century, and at the 1878 Universelle Exhibition, La Compagnie des Marbres et Onyx, having sole rights to the mining, exhibited with great success.

DIMENSIONS Clock: H:

18 in:

46 cm

DIMENSIONS Candelabra:

REFERENCE:

H:

7957

20 in:

51 cm


the Napoleon III Period By et Onyx d’Algerie’ 1870


A French Occasional Table Circa 1875

Constructed in Algerian onyx, bronze and with champlevé enamel panels; rising from turned and tapering legs with toupie feet, having a serpentine conjoining stretcher issuing from the central flambeaux capped baluster form urn; the apron having running panels of champlevé enamel interspersed with paterae; the elliptical top with a moulded edge. The bronze mounts are stamped ‘GB’. French. The quarries of Algerian Onyx were utilised in antiquity, and were rediscovered in 1849, and by the third quarter of the 19th century, onyx became particularly fashionable for use in clocks and other decorative household objects. In 1878 the Societe de Marbres Onyx D’Algerie, under the directorship of Eugene Cornu, they exhibited an impressive stand at the Exposition Universelle exhibiting a large selection of clocks and other wares.

DIMENSIONS:

REFERENCE:

H:

30 in

76 cm

W:

26 in

65 cm

D:

19.5 in

49.5 cm

7984


‘A Horse with Character’ By Arthur Jacques LeDuc (1848-1918) Circa 1890

The excellently modelled sculpture is cast in a patinated bronze, and stands on a naturalistically carved stone plinth, and is signed ‘A LeDuc, Torigni’. French.

Arthur LeDuc Arthur LeDuc was born in Torigni-sur Vire, in central Normandy; his training as a sculptor at the Le Nordez Ecole des Beaux Arts under Barye was interrupted by the FrancoPrussian war of 1870, in which he served in the Calvados division of the French Army with distinction. Larousse notes ‘he was a ‘man of horses’ above all else’, and the noted animalier Fremiet commented to LeDuc, ‘I wish I knew horses as you do!’. Winner of numerous medals in the French Salon, and Expositions Universelles, he was a founder member of the Societe Nationale des Beaux Arts; elected to the Legion d’Honneur in 1906, and serving as Mayor of Asnieres-enBessin between 1893 and 1918. Many of his monumental exterior sculptures were lost in the Second World War, and he is represented in the museums of his birthplace, Torignisur-Vire, as well as Cherbourg, Abbeville, Rouen, Bayeux, Versailles and the Luxembourg Paris, and the Royal Botanic Gardens in Sydney, Australia.

References; Larousse, Dictionary of the 19th Century Benezit, Editions Grund 1976, Volume 5 1976 Arthur LeDuc, by A. Le Carpentier, 1998 Auguste Nicholas, Musee Arthur LeDuc, Olivier, Caen 1932

DIMENSIONS:

REFERENCE:

H:

22 in

56 cm

W:

13 in

33 cm

L:

27 in

69 cm

1843


A Magnificent Centre Table in Early Aesthetic Manner Attributed to Trollope & Sons Circa 1870

Constructed in amboyna, ebony, walnut and various specimen woods, counterpointed with foliate cast bronze dressings; rising from a quadripartite base of ‘X’ form, the carved swept toes supporting imbricate carved turned and reeded columns, the circular central platform dressed with a berried finial; the octagonal top having inlaid palmette spandrels, within a laurel and paterae border flamed within an ormolu guard strip, of foliate form in the taste of Owen Jones’ ‘The Grammar of Ornament’ (qv).

Trollope & Sons Having their origins in the last quarter of the Eighteenth Century, in Parliament Street London, George Trollope expanded the company exponentially in 1840, and the company was registered in 1843 as George Trollope and Sons, and their showroom, grandly entitled ‘The Museum of Decorative Art’ in Halkin Street Belgravia, attracted the great and the good. By 1870, they opened at Grosvenor Street, High Street Vauxhall, and the Belgravia Works. They exhibited at the 1851 Crystal Palace Exhibition; in 1867 at the Paris Universelle Exposition they gained a Gold medal, for a centre table, previously owned by ourselves, which has many affinities with the present table.

Owen Jones

DIMENSIONS:

REFERENCE:

H:

28 in:

71.5 cm

W:

57 in:

145 cm

D:

57 in:

145 cm

7965

Published the ‘Grammar of Ornament’ in 1858, illustrating with 112 plates, designs from sources as diverse as Assyria, Pompeii, Persia, India and the Byzantine Empire. This was the Bible of design ornament, never surpassed. On our table, designs from the ‘Greek’ and ‘Pompeiian’ sections have been utilised.


A Magnificent Library Table Firmly Attributed to Jackson & Graham Circa 1870

Of free standing rectangular form, constructed in coromandel, with inlays in thuya, ebony, boxwood, honeysuckle and ivory; the fluted legs rising from square brass castor shod feet; the frieze housing two lockable drawers fitted with rare ‘tamper proof’ Chubb locks, numbered 621825 & 6, and having quadrant moulded cedar lined interiors; the platform having a central panel of beautifully chosen matched coromandel veneers, with an outer guard border of a running pattern of stylised anthemions; the ebony edges having a thumb nail moulding.

DIMENSIONS: H: W: D:

30 in

REFERENCE: 76 cm

54.5 in 138.5 cm 34 in

86.5 cm

7859


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. Their clients included Queen Victoria, Napoleon III, the Grand Khedive of 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 1850’s 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.


A Magnificent Boulle Side Cabinet of Exhibition Quality Circa 1860

Constructed in ebony and gilt bronze, with extensive première-partie brass inlay work, utilising the designs of Jean Berain; of arc-en-arbalette form, rising from oblate bun feet, the central and flanking doors adorned with the theatrical backdrop based designs of late 17th century France, enclosing shelved interiors, set betwixt fluted gilt bronze dressed columns; over, an apron dressed with gilt bronze interlaced ribbands, with the Belgian black marble platform itself inset into a gadroon edged framework. French. Andre-Charles Boulle (1642-1732) was received as a Maître Ébéniste in 1666, quickly becoming known as ‘the most skilful artisan in Paris’, and was appointed ‘Ébéniste du Roi’ in 1672, when he became a resident of the Louvre Palace, and was granted the especial privilege of being permitted to work in both bronze and wood. Although not the inventor of the method of inlaying the combination of ebony, tortoiseshell and brass, his ability and creative ability in the medium became at once associated with the patrynomic, ‘Boulle’ and many of his masterpieces, which are represented in many museums and prestigious Royal collections throughout the world.

Side Panel DIMENSIONS: H:

REFERENCE:

52.5 in 133.5 cm

W:

72 in

183 cm

D:

23 in

58.5 cm

7918


A Magnificent Exhibition Quality Cabinet in the Manner of Grohé Frères Circa 1870

Constructed in ebony, and richly inlaid with designs in pewter, copper and brass, engraved and shaded; rising from oblate bun feet, the lower section having a central cupboard with an metal inlaid hunt scene set in an arcaded frame, being flanked by cupboards with pendant game birds conformingly inlaid in the doors, which house shelved interiors; over, four fluted inlaid columns house cupboards inlaid with Neo Renaissance motifs of satyrs flanking a Roman urn, and surmounting a cornucopia; the flanking cupboards inlaid with lover’s bow tied tree branches set with fruits and insects. Over, the domed cornice is adorned with a shield, and flanked by fluted finials. French.

DIMENSIONS:

REFERENCE:

H:

100 in

253 cm

W:

88 in

224 cm

D:

26 in

65 cm

7735

Guillaume Grohé (1808-1885) Born near Mainz, Germany, he and his brother Jean-Michel arrived in Paris in 1827, establishing their business under the name, Grohé Freres in 1829. First public exposition of their works was at the ‘Exposition des produits del’industrie Française’ in 1834; they exhibited at the International Exhibition of Paris 1855, and the Philadelphia Exhibition of 1876, where one of his works is catalogued as a ‘masterpiece’ in the catalogue. Clients included Napoleon III and the Empress Eugénie, who entrusted the company to furnish a new suite of apartments in the Louvre, as well as Louis-Philippe, as well as the Duc d’Aumale and Queen Victoria. The Parisian journal Figaro commented in January 1884 of his works ‘veritable grand maître de l’ebénisterie artistique du XIXe siécle’.


An Rare Library Table Stamped by the Maker, George Morant of New Bond Street, London Circa 1840

Constructed in ebony and cross banded in kingwood, having many other specimen and stained woods used in the complex marquetry work. The table rises from quadrapartite feet of inwardly scrolling form, fitted with concealed brass castors, sweeping upwards into a tapering, and concave quadrilateral central column, inlaid with flower filled cartouches. The rotating top is of octagonal form, having a shaped foliate inlaid apron incorporating two long and two short drawers, and dressed with eight asymmetrical cartouches housing scenes of a bucolic nature, interspersed with bouquets of native wild flowers tied with blue ribbon bows in a ‘lovers knot’ and inset with a shaped tooled leather top. Stamped with the makers name and address, ‘G.I. Morant, 91 New Bond Street, London’, in use between 1842 and 1851, and ‘Edwards & Roberts’. Our table was inspired by the 1838 publication by Richard Bridgens, ‘Furniture with Candelabra’ showing a ‘Marquetrie Centre Table’. Very similar tables are to be seen in Charlecote Park, Carlton Towers, Victoria & Albert Museum, the Indianappolis Museum of Fine Art and Temple Newsham. Christopher Gilbert’s 3 volume exegesis, ‘Furniture at Temple Newsham House & Lotherton Hall’, published 1978, shows on pp 318/9 of Volume 2, an almost identical table supplied to the 5th Duke of Buccleuch by the mercier marchand, Edward Holmes Baldock. Provenance Lord & Baroness Beaumont of Glossop Hall, Derbyshire. DIMENSIONS:

REFERENCE:

H:

29 in:

79 cm

W:

56 in:

142 cm

D:

56 in:

142 cm

1783

Glossop Hall


A Fine French Games Table of the Napoleon III Period Circa 1870

Constructed in gilt bronze and richly inlaid, rising from cabriole legs terminating in foliate sabot shod feet, the apron having gilt bronze Satyr masks, the swivelling foldover action serpentine top, finely inlaid with mythological figures and attributes of the hunt and angling, within foliates, and having an interior baize playing surface. French.

DIMENSIONS:

REFERENCE:

H:

28.5 in

73 cm

W:

36 in

91 cm

D:

20 in

51 cm

7402


A Fine Matched Pair of Giltwood Console Circa

Rising from scrolled toe cabriole legs, carved with grotesque ‘Green Man’ masks atop, issuing pendant foliates, and conjoined by serpentine scrolled stretchers with central rectangular platforms; having central female masks within arabesque cartouches to the trellis hatched and carved strapwork decorated aprons, and supporting thumbnail moulded platforms of Rosso Sicilian Jasper. French.

DIMENSIONS:

REFERENCE:

H:

31.5 in:

80 cm

W:

44 in:

112 cm

D:

23 in:

58 cm

7803


Tables in the French RĂŠgence Manner 1870


A Fine Mirror of Ample Proportions in the Mid-Georgian Manner of Thomas Johnson Circa 1870

The mirror frame of serpentine symmetrical shape, being gilded; decorated with exuberant ‘C’ scrolls, naturalistic trees, foliates, and having two turtle doves atop; the triple mercury backed mirror plates divided by decorated vertical spacers.

Thomas Johnson (1714-1782) An esteemed carver and gilder of the Georgian period, and publisher of ‘One Hundred and Fifty New Carved Frame Designs’, published by Robert Sayer of Fleet street, 1761, noted for his use of animals and naturalism.

DIMENSIONS:

REFERENCE:

H:

53 in

135 cm

W:

65 in

164 cm

7898


Born in Yorkshire, his workshop in St Martins Lane, London produced some of the finest English furniture ever produced. His clients included a number of large scale commissions for some of the aristocracy in England & Scotland including Harewood House, Nostell Priory and Dumfries House, where these pieces can still be seen today. In this section we have included several pieces based on the influence of his design, and even a Pair of Mirrors that are a faithful reproduction of one of his designs almost 100 years after the initial publication.

The Influence of Thomas Chippendale

Thomas Chippendale is widely considered as the most influential cabinet maker and designer in the history of English furniture making. His 1754 publication of ‘Gentleman & Cabinet Maker’s Director’ became an essential manual for furniture makers throughout England, Ireland and beyond, and his influence continued until the 20th Century.


An Important Pair of Pier Glasses in the Chinese Chippendale Manner Circa 1860

In carved giltwood, the oval yet asymmetrical frames of ornate rococo form with foliates, ‘C’ scrolls, flanked by Ho Ho birds, with, atop, in a pavilion, a Chinese courtier at her toilet: Surmounted by fronds, with pendant bells. The design is drawn from Plate CLXXIV in Thomas Chippendale’s ‘The Gentleman and Cabinet-Maker’s Director’ of 1754. The legacy of Thomas Chippendale is twofold; firstly, in the actual wonderful pieces produced in his workshops in St. Martins Lane London, and secondarily, his quaintly titled ‘Director’, first published in 1754 which gave a pattern book of his original designs, drawn from the Gothick, Rococo, French and Chinoiserie traditions: a pattern book acclaimed during his lifetime, which simplified for the London and provincial cabinet makers his complex vision, and made these ‘bon ton’ designs accessible to all.; as his preface comments ‘calculated to improve and refine the present taste, and suited to the fancy and circumstances of persons in all degrees of life’. His ability to synthesise and adapt designs; his ability to fluidly move between the rococo and the Neo Classic, without missing a beat place him firmly as the greatest of the great triumvirate of English cabinet makers.

DIMENSIONS:

REFERENCE:

H:

85 in

216 cm

W:

45 in

115 cm

1687


The Influence of Thomas Chippendale


A Pair of Triple Back Settees in the Circa

Constructed in a richly carved, well patinated mahogany; rising from cabriole front & rear legs, terminating in ‘hairy paw’ shoes, the perforated seat rails carved with festoons, interspersed with scallop shells, centred about a ‘Green Man’ grotesque mask; the triple backs have central hoop shields, flanked by square form interlaced backs, in the Chippendale ‘French’ manner, with profuse berried oak leaves, acorns, birds, and bocage carvings; the slightly swept, dished arms, carved with icicles, terminate in dolphin terminals.

DIMENSIONS:

REFERENCE:

H:

40 in:

102 cm

W:

74.5 in:

189 cm

D:

26 in:

65 cm

7503

The source of these extraordinary settees may be seen in Percy MacQuoid’s ‘The Age of Mahogany’ from the series ‘The History of English Furniture’, Figure 121, originally published in 1907 by Lawrence & Bullen, later revised and updated; MacQuoid takes the view that the original settee dates to circa 1750.


1880

Courtesy of Percy MacQuoid’s ‘The Age of Mahogany’

The Influence of Thomas Chippendale

Mid Georgian Chippendale Manner


A Pair of Elbow Chairs in the Manner of Thomas Chippendale Circa 1890

Constructed in a well patinated Cuban mahogany of rich depth and colour, comprehensively decorated with excellently executed carving; rising from strong hairy paw feet, the cabriole front legs having scallop shell knees, with flower head ears, the rear legs of ‘kick away’ form; the front & side rails gadroon carved, housing drop in upholstered seats; the interlaced backs having shaped, pagoda top and foliate carved toprails, with scrolled ears; eagle head terminals on the dished elbow serpentine arms, with talons grasping the swept uprights.

DIMENSIONS:

REFERENCE:

H:

40 in

102 cm

W:

30 in

76 cm

D:

27 in

68 cm

7894


The Influence of Thomas Chippendale


A Partners Writing Desk in the Circa

Constructed in fine quality mahogany of excellent depth and colour; of free standing pedestal design, and serpentine form, rising from carved ogee bracket feet; four lockable drawers in each pedestal, dressed with well cast rococo swan neck handles, with cupboards with fielded panels to the obverse, decorated with star burst foliates to the angles and centres, enclosing shelved interiors; three drawers in each side of the apron; the angles of the desk have volute and reeded stiles, capped with lions heads; the writing surface fitted with a tooled green leather. The middle drawer stamped with the makers mark, and the Lancaster numbering 55949, dating the piece to 1878.

DIMENSIONS:

REFERENCE:

H:

30 in

75 cm

W:

67 in

170 cm

D:

41.5 in

105 cm

7987


1880

The Influence of Thomas Chippendale

Chippendale Manner By Gillows of Lancaster


A Set of Twelve Dining Chairs Circa

Comprising twelve chairs, and consisting of two Carver Armchairs, and ten side chairs; constructed in mahogany, which has been excellently and comprehensively carved; rising from cabriole front legs, with ball & claw feet, having foliate carved knees adorned with ‘C’ scrolls, and swept cabriole legs to the rear; the drop-in seats are upholstered in close nailed tan leather; the swept uprights, channelled and carved with foliates, terminate in ‘paper scroll’ ears, conjoining serpentine toprails, also richly carved, and housing complex and exuberant interlaced backs; the arms of dished and swept ‘shepherds crook’ form, terminating in scrolls.

DIMENSIONS Carver:

DIMENSIONS Single:

REFERENCE:

H:

39 in

98 cm

H:

38 in

97 cm

7939

W:

25 in

63 cm

W:

23 in

58 cm

D:

18 in

46 cm

D:

17 in

43 cm


1890

The Influence of Thomas Chippendale

in the Chippendale Manner


A Rare Capstan Action Circa

Constructed in mahogany, rising from four ‘lions paw’ feet, which support four reeded and stop fluted columns, having a conjoining stretcher of ‘X’ form; closed, the table is 68 inches / 173 cm diameter, but, when the ingenious capstan action is operated, the frame opens to receive one of two sets of different sized eight segment form leaves, enabling the diameter to be increased to 82 inches / 208.5 cm, or the second set of leaves which give the augmented diameter of 96 inches / 244 cm.

DIMENSIONS: H:

REFERENCE: 30.5 in

77.5 cm

Dia closed:

68 in

173 cm

Dia extended:

82 in 208.5 cm

Dia fully extended:

96 in

244 cm

7980


Circular Dining Table 1880


A Library Bookcase in the Gothic Manner Stamped T. Willson Circa 1840

Of four door Breakfront form, constructed in a well figured San Domingo mahogany, and rising from a running plinth base, with four panelled blind doors above with cross beam gothic tracery, and above four glazed doors with conforming gothic astragal mouldings, and atop, an ogee form cornice. The doors with signed and numbered Chubb of St Paul’s Churchyard locks, dating to 1839/41. The piece having the retailers stamp, ‘T. Willson’. Thomas Willson is listed at 68 Great Queen Street, London as a furniture broker, auctioneer and appraiser (1799-1854). It has been suggested that Willson’s were fine quality second-hand furniture dealers, although there is mention of a ‘Furniture Works’ in the 1838-54 entries, which may be a reference to a repair workshop rather than a manufactory. See G. Beard & C. Gilbert, Dictionary of English Furniture Makers 1660-1840 p.985.

DIMENSIONS:

REFERENCE:

H:

111 in

282 cm

W:

113 in

287 cm

D:

20 in

51 cm

6730


A Good George III Circa

Constructed in mahogany; of free standing and serpentine form, and, rising from a plinth base, the pedestals each house four drawers, dressed with Hobbs locks, and fitted with cast brass swan neck handles, to one side, and, to the obverse, shelved cupboards: the canted corners carved with acanthus scrolls, having the kneehole interior angles reeded; the writing surface fitted with an inset gilt tooled leather.

Back of Desk

DIMENSIONS:

REFERENCE:

H:

30 in

76 cm

W:

65.5 in

166 cm

D:

36 in

92 cm

6851


Style Library Desk 1910


A Dramatic Footstool in the Egyptian Revival Manner Circa 1910

The Black Leopard carved in walnut, of naturalistic form, and inlaid with parquetry and abalone shell isoscelean triangles to the body, with a conforming collar to the animal’s neck. Italian.

DIMENSIONS:

REFERENCE:

H:

26 in

66 cm

W:

15.5 in

39 cm

31 in

78 cm

L:

7955


A Pair of Monumental Vases on Pedestals in the Neo-Renaissance Manner Circa 1870

Constructed in alabaster which has been masterfully carved; rising from octagonal bases, supporting fluted, garland draped pedestals, upon which rest handled ewers, in the neorenaissance manner of Benvenuto Cellini, carved with vine leaves and grapes, maidens and birds; the lips of the ewers are in the form of dragons, with winged seraphs astride, with cascading foliates. Italian.

DIMENSIONS: H:

90 in

REFERENCE: 229 cm

7951


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Butchoff Volume V  

Butchoff Volume V