Page 1


As we are putting the finishing touches to our latest catalogue, Pablo Picasso’s ‘Women of Algiers’ and Alberto Giacometti’s life size sculpture ‘Pointing Man’ have both fetched world record prices at auction in New York. This is resounding proof, if ever it was needed, that the appetite for the truly unique, exceptional and rare pieces remains undiminished. This is the criteria that we try to exact when scouring the world looking for pieces to buy and present in our showroom, at International Art & Antiques Fairs, and within the pages of this catalogue. Here you will find a number of examples of pieces by some of the very finest English furniture makers of the 19th century – including Royal Furniture makers Morel & Seddon and Holland & Sons, along with Gillows and Wright & Mansfield amongst others. The last twelve months have seen us cross the pond to exhibit at fairs in both Palm Beach and New York, where we have been very well received by both old and new clients. We were honoured to have acclaimed interior decorator Scott Snyder curate our stand in New York last September, which won the ‘best stand design’ award. Both fairs are now part of our annual programme – please be sure to have a look on our website to see forthcoming fairs, and do get in touch if you would like tickets for any event. This year has also brought us a new and exciting collaboration with de Gournay, who produce the most exquisite hand painted wallpapers, which complement our furniture beautifully. Not only do we currently have a striking window display featuring their wallpaper (which can be seen on the opposite page), but they are designing a paper exclusively for our exhibition stand at this summer’s forthcoming Masterpiece London. We have also recently finished a redesign of our Kensington showroom, creating room settings and allowing the ability to highlight and isolate pieces in a more contemporary setting. You can see some examples of this on the inside back cover, or better still, pop by when you are next in the area and be assured of a warm welcome. We trust that you will enjoy viewing our latest catalogue and hope that you will find something of interest within these pages. We remain committed to excellence.

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


A Magnificent Pair of Console Tables Circa

Of arc-en-arbalette form, constructed in giltwood, with marble platforms. The swept and channeled legs rest on oblate bun feet, the toes and shoulders being adorned with oak leaves and a comprehensive imbricated pattern, terminating in eagle’s heads. The birds’ beaks hold a running garland of fruit and flowers, issuing from centred scallop shells, the allegorical representations of regeneration, and the divine feminine principle of creation. The friezes are adorned with addorsed Vitruvian scrolls; over, ovolo mouldings frame and support the platforms of shaped Rouge Royale marble.

DIMENSIONS:

2

REFERENCE:

H:

40 in

102cm

W:

59 in

150 cm

D:

25 in

62.5 cm

8310


in the Manner of William Kent 1880

References A similar pair of consoles of this markedly Kentian design are to be found at Longford Castle, near Salisbury home of the Earls of Radnor for almost half a millennium. ‘William Kent, Designing Georgian Britain’, Yale University Press, pub. 2014 shows an almost identical console table on pp 495, designed for the Blue Room of Chiswick House, commissioned by the Fourth Earl of Burlington, circa 1727-1732 from Mr Kent, which can be seen opposite.

3


A Near Pair of Looking Glasses Circa

Constructed in giltwood, the portrait form rectangular frames holding bevelled mirror plates enclosed by foliate carved inner and outer reserves, each with strapwork angles, and surmounted by a shouldered and domed cresting plate, with the feather fan apex flanked by scallop shells. French.

DIMENSIONS:

4

REFERENCE:

H:

26 in

66 cm

W:

35 in

89 cm

8195


in the French RegĂŠnce Manner 1880

5


A Pair of Jardinières In the Exotic Regency ‘Brighton Pavilion’ Taste Circa 1920

Of free standing circular form, extensively hand decorated in black and giltwork, depicting Chinoiserie genre scenes; rising from block footed incurved quadripartite bases which issue central tapered and fluted columns with lotus leaf capitols, with tapered square section legs in the Egyptian manner, surmounted by Pharoanic and lion masks; the wells having metal liners, contained within brass edged rims. English.

DIMENSIONS:

6

REFERENCE:

H:

21 in

53 cm

Dia:

33 in

83 cm

8237


7


A Chinese Export Lacquer Centre Table Circa 1820

Quadripartite gilt feet support the lower platform base of the ring turned centre column, which terminates in a birdcage frame, secured by a peg, thus permitting rotation of the circular platform. Decorated in black lacquer with relievo highlights of the avian subjects, and gilt work foliate and genre scenes. Chinese.

DIMENSIONS: H: Dia:

8

REFERENCE:

32.5 in

82 cm

36 in

92 cm

7870


9


A Cabinet in the Louis XVI Manner Circa

Of gentle breakfront form, constructed in rosewood, dressed with gilt metal mounts and hand decorated polychrome panels; rising from swept cabriole legs shod with gilt metal animal hoof toes; enclosing a shelved interior, above a carved apron with foliates around a central rosace the lockable central cupboard has a panel depicting musical attributes suspended from an arched garland capped by flambeaux, and is flanked by panels decorated with arabesque garlands, quivers and addorsed swans – all panels enclosed within stiff leaf cast gilt metal frames; a single shelf to the interior; the side panels dressed with trellis work, and turtle doves enclosed within a chain of marguerites; carved rams heads to the angles, and the frieze housing a scroll and foliate carved drawer having an elliptical ring handle; the Carrara mable platform having everted angles, and enclosed within a giltwork frame. Stamped with the maker’s name ‘Jas Shoolbred & Co 8344’. London. James Shoolbred & Co started life in Tottenham Court Road as a linen drapery business in the 1820s, but expanded rapidly to embrace all aspects of home furnishings. In about 1870 the company branched out into the furniture trade as cabinet manufactures, and by 1879 they had added to and enlarged their premises to include specialist centres for upholstery and bedding, sun blinds, carpets, carpentry, decorating and ironmongery. By 1900, as well as being one of the largest and most successful retailers of furniture and furnishings, they had launched into groceries, provisions and drink, china and glass. They exhibited at the 1878 Paris Universal Exhibition, and by mid-1880s Shoolbred & Co received a Royal Warrant for the supply of furniture to Queen Victoria and supplied high-quality pieces to wealthy and important clients throughout the Empire, and to other grand houses in Scotland such as the home of Sir George Bullough, Kinloch Castle on the Isle of Rhum.

DIMENSIONS:

10

REFERENCE:

H:

42 in

107 cm

W:

48.5 in

123 cm

D:

26 in

65 cm

7569


By James Shoolbred & Co. of London 1880

11


A Side Cabinet in the Louis XVI Manner Circa

Of concave sided form, constructed in rosewood, having gilt bronze accents and hand painted polychrome panels; rising from tapering, waisted and stop fluted legs, shod with gilt bronze foliate cast toes; facing, triple stop fluted stiles, draped with garlands and capped with lions masks, with carved guilloché panels betwixt, frame the two lockable cupboard doors dressed with polychrome panels depicting ribband tied musical attributes, enclosing a shelved interior, and smaller conforming panels over, separated by a floral garlanded thrysus; the concave sides have fielded panels delineated by stiff leaf gilt bronze frames, and over, a shaped Carrara marble platform. Stamped by the maker on the back ‘Jas Shoolbred & Co 8344’. London. James Shoolbred & Co began in business in Tottenham Court Road as a linen drapery business in the 1820s, but expanded rapidly to embrace all aspects of home furnishings.

DIMENSIONS:

12

REFERENCE:

H:

43 in

108 cm

W:

48 in

121 cm

D:

22.5 in

57 cm

7568

In about 1870 the company branched out into the furniture trade as cabinet manufactures, and by 1879 they had added to and enlarged their premises to include specialist centres for upholstery and bedding, sun blinds, carpets, carpentry, decorating and ironmongery. By 1900, as well as being one of the largest and most successful retailers of furniture and furnishings, they had launched into groceries, provisions and drink, china and glass. They exhibited at the 1878 Paris Universal Exhibition, and by mid-1880s Shoolbred & Co received a Royal Warrant for the supply of furniture to Queen Victoria and supplied highquality pieces to wealthy and important clients throughout the Empire, and to other grand houses in Scotland such as the home of Sir George Bullough, Kinloch Castle on the Isle of Rhum.


By James Shoolbred & Co. of London 1880

13


A Late Georgian Centre Table Circa

Constructed using amboyna, purpleheart and bird’s eye maple, having very fine gilt bronze mounts, and inlaid with cross banding in the Boulle marquetry manner; rising from castor shod oblate feet, supporting scrolled sled form platform bases; the end supports waisted, with gilt lobed collars, and the ormolu framed stiff leaf cast top having a rectangular reserved of tortoishell and mother-of-pearl Boulle work. Nicholas Morel, in his appointed role of artistic designer worked with the large and well established furniture manufactory, Seddon and Sons to furnish Windsor Castle to the exotic taste of George the Fourth. Hugh Robert’s exegesis is recorded in his ‘For the King’s Pleasure’, published by the Royal Collection in 2001, illustrating many pieces of furniture using amboyna, bird’s eye maple and giltwork, so similar to our piece, notably the Boulle marquetry inlaid pair of centre tables, from the Large Drawing Room at Windsor. The Victoria & Albert Museum possesses seemingly the pair to our table (stock number W19.1962). Margaret Jourdain’s ‘Regency Furniture’ London, revised edition 1965 shows this very table, acquired from an auction in 1962 under colour plate 2. George Seddon (c.1727-1801) The largest furniture manufactory in London, founded in 1753, by the end of the 18th century it employed more people, held larger stocks and produced a wider range of pieces than any other furniture making business, occupying a two acre site in Aldersgate until 1826. A visit to the factory is discussed in her book ‘Travels in England’ by Sophie Von La Roche, published in 1786; she mentions he was a ‘foster-father’ to 400 apprentices, and speaks at length of the carvers, gilders, locksmiths, bronze casters etc as well as wood, materials, curtains & etc. He took his sons into the partnership, in turn taking in their sons and grandsons, undertaking many Royal Commissions including Windsor Castle. The company ceased to trade in 1868. Literature Hugh Roberts ‘For the King’s Pleasure’: Margaret Jourdain ‘Regency Furniture’ British Furniture Makers 1660-1840, Furniture History Society Furniture History Society 1982 & 1988

Illustration taken from ‘For The King’s Pleasure’ by Hugh Roberts

DIMENSIONS:

14

REFERENCE:

H:

30 in

76 cm

W:

40.5 in

103 cm

D:

25 in

63 cm

8252


Firmly Attributed to Morel & Seddon 1825

15


A Pair of Blue John Cassolettes By Matthew Boulton Circa 1775

Constructed in gilt bronze and Derbyshire Blue-John fluospar; the square bases are supported on ball feet, the ovoid bodies enwrapped with swags and garlands, with conical covers; reversible to form a pair of candlesticks. Matthew Boulton (1728-1809) is rightly recognised as the pre-eminent English manufacturer of ormolu and objects de luxe in the late 18th century. Often incorporating highly prized specimens of bluejohn or ‘radix amythisti’, his production of ormolu flourished throughout the 1770s, attracting many notable clients and patrons and making his ‘manufactory’ a place of pilgrimage for fashionable society. DIMENSIONS: H: Dia:

16

REFERENCE:

8.5 in

21 cm

3 in

7 cm

8368

Illustration taken from ‘Matthew Boulton’ by Nicholas Goodison


17


A Rare & Highly Decorative Georgian Chimney Piece in the Manner of George Brookshaw Circa 1790

The frame carved part gilded and polychrome decorated, with the inverted breakfront top shelf having a running carved foliate decoration; the frieze having to the centre a rectangular neo-classical copper panel, painted in the manner of Angelica Kauffman of Apollo and his Muses, and being flanked by further panels of bouquets of ribband tied roses, and, to the extremes, panels of classical females allegories of Comedy and Drama; the vertical uprights painted with panels of climbing flower wreaths.

George Brookshaw (c. 1751-1823) A London cabinet-maker specializing in painted furniture, mostly in muted pastel colours, with Neo-classical counterpoints; working from his premises at 48 Great Marlborough Street, Regent Street, his trade card describes himself as ‘Peintre-Ebeniste par Extraordinaire’. He was employed in the interior decoration of Carlton House by Henry Holland at the behest of the Prince of Wales. Brookshaw also published drawing manuals on fruit, flowers, and birds.

DIMENSIONS:

REFERENCE:

H:

60 in 152.5 cm

7844

W:

71.5 in 181.5 cm

D:

18

6.5 in

16.5 cm


A Circular Regency Dining Table of Impressive Size Circa 1820

Table without leaves

Of circular form, primarily constructed in mahogany; rising from an incurved quadripartite base, carved with foliates, set with a central carved finial, supported by oblate lobed and reeded bun feet; the platform having a running ovolo moulding to the edge; by the addition of either one or two of the sets of arc shaped leaves of mahogany and inlaid ebony, the diameter and the circumference may be enlarged considerably to accommodate up to twelve diners.

Table with small leaves

Table without leaves DIMENSIONS:

Table with small leaves DIMENSIONS:

H:

H:

30.5 in

77 cm

Dia:

77.5 in

197 cm

Dia:

30.5 in

77 cm

62 in 157.5 cm

REFERENCE: 8369

19


Table fully extended DIMENSIONS: H: Dia:

20

30.5 in

77 cm

95 in 241.5 cm

REFERENCE: 8369


Table fully extended

21


An Important Regency Dish Light Of Exceptional Size Circa 1825

The main ring supporting a flute cut glass dish terminating with an ormolu leaf decorated corona and flower head finial. The main scrolled decorated knurled ring surmounted with flower rosettes and a leaf and vine pierced band the central colza oil reservoir with the same band terminating with ormolu finial. The central reservoir surmounted by eight colza oil burners (stamped Cosmos Brenner) these terminating with leaf and flower engraved frosted shades. The main ring supported on four ormolu and bronzed chains terminating with a flute cut dish and a double palm corona. For similar examples see ‘The English Glass Chandelier’ by Martin Mortimer Plate 15.

DIMENSIONS:

22

REFERENCE:

H:

64 in 162.5 cm

Dia:

32 in

82.5 cm

8314


23


A Double Partners Desk By Circa

Of octagonal form, being constructed in pollarded oak, and dressed with line inlays of angular geometric form; the four separate pedestals having fielded panels, are fitted with large brass castors, and rise from ogee plinth bases, housing lockable doors enclosing shelved interiors; the platform is fitted with seven lockable drawers in the frieze, with turned and lobed wood knobs, and a tooled leather writing surface. One drawer is stamped ‘Johnstone & Jeanes / 67 New Bond St London’. John Johnstone of Bond Street came to prominence after his collaboration with Robert Jupe, ‘upholder’ of 47 Welbeck Street, Cavendish Square, London, remembered for his remarkable design for a circular, expanding dining ‘Capstan’ table having a segmented top in 1835. After Jupe’s retirement in 1840, the firm traded as ‘Johnstone and Jeanes’ from 1842 until 1880, thereafter trading as Johnstone and Norman. As ‘Johnstone & Jeanes’ they were exhibitors at the Great Exhibition of 1851, and 1862 in London, and 1878 in Paris.

DIMENSIONS:

24

REFERENCE:

H:

29.5 in

74 cm

W:

66 in

167 cm

D:

54.5 in

138 cm

8320


Johnstone and Jeanes of London 1880

25


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.

26


Holland & Sons

A Linen Press In the Manner of Holland & Sons Circa 1860

Constructed using a finely grained walnut inlaid with tulipwood cross banding and finely cast ormolu enhancements; rising from foliate carved oblate bun feet, the lower section having two long, and two short drawers, with mahogany linings and quadrant mouldings, and fitted with ornate loop handles; over, a foliate carved spacer supports two lockable fielded panelled doors adorned with a stiff leaf running ormolu trim, which enclose four sliding trays; capped by a leaf carved ogee cornice. Provenance: bearing a paper label ‘Mrs Hume-Gore 413’. Jean Marie Hume –Gore was elevated to the peerage by marriage to Lady Backhouse.

DIMENSIONS:

REFERENCE:

H:

91 in

230 cm

W:

57.5 in

146 cm

D:

25 in

63.5 cm

8273

27


A Mid-Nineteenth Century Vitrine Cabinet Attributed to Holland & Sons Circa 1860

Constructed in satinwood, with kingwood cross banding, marquetry inlay in specimen woods, and dressed with ormolu mounts; rising from swept cabriole legs, having foliate sabots to the toes, and espagnolettes to the shoulders; the shaped frieze and platform housing a hinged glazed lockable display section; the upper part having a pair of glazed doors having everted angles, with a stiff leaf ormolu running trim, flanked by canted sides, dressed with ormolu mounts; over, a caddy top, surmounted by a three quarter arcaded ormolu balustrading enclosing a Carrara marble platform.

DIMENSIONS: H:

28

REFERENCE:

60 in 152.5 cm

W:

41.5 in

105 cm

D:

23 in

58.5 cm

8318


Holland & Sons

29


A Library Table Firmly Circa

Of free standing form, constructed in a well patinated walnut, ebony and fruitwoods, and dressed with fine quality bronze mounts; rising from ring turned and tapering legs, incorporating carved swagged drapery, dressed with gilt bronze and ebony collars, and terminating in brass castors; the apron housing two panelled frieze drawers, and extensively inlaid with interlocking ellipses, centred about honeysuckle motifs; the platform of rectangular form, inlaid with a running band of berried acanthi leaves, with everted radiused angles, and inset with a tooled leather writing surface.

DIMENSIONS:

30

REFERENCE:

H:

29 in

72.5 cm

W:

54.5 in

138 cm

D:

27 in

68 cm

8166


Holland & Sons

Attributed to Holland & Sons 1850

31


A Rare Library Circa

Constructed in a finely grained and well marked San Domingo mahogany; of rectangular form, rising from a plinth base, with radiused and everted angles, from which issue turned, tapering and fluted columns with Doric bases and capitols; having pairs of lockable glazed doors to the front and back, opening to reveal five sliding folio trays; the frieze houses a lockable fall front folio drawer fitted with turned wooden knobs; the top being glazed, permitting chosen documents to be examined; the sides with double fielded panels dressed with egg and dart mouldings; the back frieze fitted with a bequest plaque with a brass plaque having the following dedication: “Ex dono EHMT in memoriam sui George Smith auctorum libroumque amatoris 1824-1901” “A gift from EMHT in memory of George Smith, a true bibliophile 1824-1901” Provenance The London Library, St James’s Square, Piccadilly. London Open to all, its’ collection of over a million books, including the drafts of the oeuvres of T.S. Eliot and George Washington.

DIMENSIONS:

32

REFERENCE:

H:

39 in

98.5 cm

W:

54 in

137 cm

D:

37 in

94 cm

8202


Folio Cabinet 1860

33


A Pair of Late Circa

Constructed in burr yew, with ebony contrasts, bronze trellis work grills and carrara marble; rising from plinth bases of rectangular form, with addorsed gadrooning over; the lockable double doors fitted with trellising enclose shelved interiors; carved and fluted ebony pilasters flank the sides and having marble platforms over.

DIMENSIONS:

34

REFERENCE:

H:

42.5 in

107 cm

W:

33.5 in

85 cm

D:

16 in

39.5 cm

8256


Georgian Side Cabinets 1820

35


A Library Table of the Regency Period Circa

Of rectangular form, constructed using amboyna, with ormolu accents; rising from ring turned and tapering lobed legs, with ormolu stiff leaf collared feet and shoulders, terminating in ormolu Ionic capitols; the apron housing a long single drawer, and the top having an ormolu guard band with gadroon decoration.

DIMENSIONS:

36

REFERENCE:

H:

30 in

75 cm

W:

51 in

129 cm

D:

29 in

74 cm

8330


in the Manner of Marsh & Tatham 1810

37


A Good Pair of late Georgian Library Circa

Rising from castor shod tapering, turned and lobed front legs, with sabre legs to the rear; the arms faced with fluted uprights terminating in Grecian rosaces; the backs of square form and the show wood frames having conforming fluting, decorated in an ebonised and gilt. The armchairs have very marked affinities with designs shown in Peter & Michael Angelo Nicholson’s ‘Practical Cabinet Maker, Upholsterer and Complete Decorator’, the highly regarded 1827 publication, and also Plate 116, published 1821, and shown in ‘Ackermann’s Regency Furniture & Interiors’, edited by Pauline Agius. See illustration below.

DIMENSIONS:

38

REFERENCE:

H:

37 in

94 cm

W:

25 in

64 cm

D:

24 in

61 cm

7202


Armchairs In the Grecian Taste 1825

39


A Side Cabinet of the French Second Empire Period In the Manner of Befort Jeune Circa 1850

Constructed in bois norçi, inlaid with brass fillets, extensively dressed with gilt bronze mounts, and pietra dura panels. Of rectangular form, rising from turned oblate bronze mounted feet, the lower part having three doors enclosing shelved interiors, mounted with rectangular panels depicting detailed floral bouquets in hardstones (including Lapis Lazuli, Yellow Sienna marble and Malachite), interspersed with gilt bronze female caryatids, and flanked by torsade columns wrapped with spirals of a ‘running pearl’ form; three drawers in the apron, conformingly bronze mounted; the platform having arced everted angles, adorned with a running ovolo bronze mount; the upper part having a mirror backed open centre, flanked by cupboards, with shelved interiors, and decorated with bronze enclosed elliptical hardstone panels and further caryatids; dressed with three-quarter arcaded bronze galleries. French. Befort Jeune (Mathieu, 18101880) is recorded in ‘Le Mobilier du XIXe Siècle’ by Mme. Denise Ledoux-Lebarre as the son of Jean-Baptiste Befort, a noted cabinet maker, and she illustrates a pair of cabinets by Befort Jeune with conforming hardstone inlays.

DIMENSIONS:

40

REFERENCE:

H:

59 in

149 cm

W:

54.5 in

138 cm

D:

22.5 in

57 cm

8297


41


A Fine Centre Table Firmly Attributable Circa

Of octagonal form, being constructed in ebony, with extensive and comprehensive inlays of fruitwood and mother-of–pearl pictorially depicting foliates, urns, flora, and birds; rising from quadripartite scrolled feet, dressed with paterae, which support the central platform of truncated pyramidical form, in turn flanked by four faux fluted columns having lotus capitols: the top having a central inlaid Grecian flower-filled urn, with eight radially laid reserves, containing further complex inlay work of great finesse. Florence. This centre table is an important example of the detailed naturalistic marquetry work executed by the Florentine brothers Luigi (1794-1861) and Angiolo Falcini (fl. 1836-69) in the second quarter of the nineteenth century. Renowned for their elegant designs, and superbly executed inlay work, which they displayed to great acclaim at the 1851 Crystal Palace Exhibition.

Literature: Enrico Colle ‘Il Mobile dell’Ottocento in Italia’, published Electa 2007, Simone Chiarugi, ‘Botteghe di Mobilieri in Toscana 17801900’, Firenze, 1994. Alvar González-Palacios, ‘Il Tempio del Gusto, La Toscana el Italie Settentrional’, Vol. II, Milan, 1986.

DIMENSIONS:

42

REFERENCE:

H:

30 in

76 cm

Dia:

62 in

157 cm

8269


to the Falcini Brothers of Florence 1845

43


A Finely Executed Secrétaire a Violinné Attributed to Henry Dasson Circa 1870

Constructed in quarter veneered kingwood, decorated with high quality floral marquetry work, and dressed with finely cast and chased gilt bronze mounts; rising from scrolled ormolu feet, the cabinet in the form of a violin, having a shaped serpentine door to the lower part, enclosing a shelved interior; over, the drop front reveals the fitted interior, pigeonholes and a bank of three drawers, flanked by side drawers, all of which are mahogany lined; over, a single shaped drawers, with a flowerhead gilt knob, and capped by an inset Brèche d’ Alep marble top. French. This celebrated model, made by Jean-François Debut in the late 18th century, has been made with a sensitivity and skill mirroring the original. Reference; Illustrated and discussed at length in ‘L’ameublement d’art français’ by Camille Mestdagh, published by Les Éditions de l’Amateur, Paris 2010. See illustration below.

Henry Dasson (1825-1896) Established at 106 Rue Vielle du-Temple, Dasson was one of the most highly celebrated Parisien bronzier ébénistes. His work is renowned for the fine quality of the metalwork, utilising the designs of the ancien régime, and adapting them to conform to the needs of the times. He participated at the Expositions Universelle in 1878, receiving the laudatory critique of Louis Gonse, the Parisian arbiter of bon ton and quality, ‘nouveau venu dans le carrière industrielle Henry Dasson, s’est rapidement créé par la perfection de ces oeuvres une très haute situation a laquelle nous applaudisons chaleureusement’, at which he exhibited a bureau in the Louis XVI manner decorated with Japanese panels; and 1889, he was awarded the ‘Grand Prix Artistique’, and examples of his work were purchased by the English Royal Family. Made a chevalier of the Légion d’honneur in 1883, he was elevated to an officier in 1889, following his success at the Paris Exposition of the same year.

DIMENSIONS:

44

REFERENCE:

H:

47 in

120 cm

W:

26 in

65 cm

D:

12 in

31 cm

8141


45


A Bureau Plat in the Circa

Constructed in mahogany, Carrara marble, and extensively dressed with fine ormolu mounts; of free standing rectangular form, rising from fielded panel tapering legs terminating in foliate chased toupie feet, and having a stretcher of stylised ‘X’ form issuing from an elliptical central boss, and dressed in the quadrants with floral ormolu mounts; the apron housing two oak lined drawers, having quadrant mounts, and two faux drawers, all, most unusually, faced with marble panels, and a running ormolu arcaded mount set about central tablets depicting putti; the platform having everted angles, and dressed with a gilt tooled writing surface. English.

DIMENSIONS:

46

REFERENCE:

H:

29 in

74 cm

W:

39 in

98 cm

D:

24 in

61 cm

8302


Louis XVI Manner 1840

47


A Pair of Pedestals in the Louis XVI Manner Circa 1870

Constructed in kingwood, and dressed with ormolu gilt bronze mounts; rising from stepped rectangular plinths, dressed with bronze stiff leaf ormolu mounts, the columns of tapered and shouldered form, having musical and martial trophies in ormolu, within bronze laurel wreath arms, enclosing polychrome painted elliptical porcelain plaques of 18th century court ladies; the upper platforms having quarter veneered panels, and further ormolu beadings. French.

DIMENSIONS:

48

REFERENCE:

H:

45.5 in

115 cm

W:

15 in

37 cm

D:

12 in

30 cm

8281


49


A Carriage Clock in the Louis XV Manner Circa 1880

The ornate and shaped gilt bronze case having putti at the angles, surmounted by two winged putti, one proffering a laurel wreath; dressed with hand painted dusky rose ‘Sevres’ hand painted panels framed within tied cannelures, and displaying disporting putti; the lever movement driving the clock for eight days, and striking the hours on a bell. The back plate bears a serial number, 44442. French.

DIMENSIONS:

50

REFERENCE:

H:

11.5 in:

29 cm

W:

7 in:

18 cm

D:

6.5 in:

16 cm

8348


It’s About Time

51


A Cartel Clock and Barometer of the Belle Epoque Period By Henri Vian of Paris Circa 1880

Constructed in finely cast, chased and gilt ormolu cases, the convex enamel circular dials of the clock, and also the barometer hand painted with floral swags, and signed by Henri Vian of Paris and the instrument maker, Baudet of Paris; the cases are informed by designs from the Louis XVI period, and of symmetrical serpentine shape, with urn finials, flanked by female caryatids, the pierced trellis work to the lower parts terminating in bold acanthus leaves; the clock having the eight day movement, the hands in gilt filigree work, striking the hours, marked in Arabic numerals, on a bell, and bearing the clockmaker’s name, Baudet; the barometer, of the aneroid type, having the gradations from ‘Très Sec’, through ‘Variable’ to ‘Tempete’. French.

DIMENSIONS:

52

REFERENCE:

H:

39 in

98 cm

W:

16 in

41 cm

8171

The oeuvre of Henri Vian are lighting, cases and furniture mounts, always of very fine quality. The company is recorded as a bronze foundry in Parisian trade directories between 1860 until 1940. He exhibited at the great exhibitions of 1878 and 1889, where he received a Gold Medal and was a juror at the Paris Exposition Universelle of 1900. His premises were at 5 rue de Thorigny in Paris, nowadays the l’Ecole des Métiers d’Art. Baudet is recorded as Paris based in Brian Loomes ‘Watchmakers and Clockmakers of the World’, published 2006 by NAG Press.


It’s About Time

53


A Mantle Clock By Robin of Paris In the Louis XVI Manner Circa 1880

The shaped rectangular Carrara marble base being supported on gilt bronze toupie feet, on which stand two putti holding aloft a cut crystal glass domed cylinder, which houses a twin barrel lever platform escapement movement of eight day duration, striking on a bell; the hours delineated in white enamel ‘cercles tournant’, the minutes in Arabic, and the hours in Roman numerals, with the maker’s name, ‘Robin a Paris’ on an enamel plaque; the surmounted by a gilt bronze bouquet of flowers French. Brian Loomes ‘Watchmakers and Clockmakers of the World’ published by NAG Press, 2006 lists Robin as being based in the Galleries du Louvre from circa 1820-1900.

DIMENSIONS:

54

REFERENCE:

H:

18 in

46 cm

W:

11.5 in

29 cm

D:

5 in

12.5 cm

8299


It’s About Time

A Whimsical Automata Table Clock By Nathan & Co of Birmingham Circa 1880

Housed within a glass dome supported by an ebonised and waisted base of elliptical form, and operated by rods, the mechanical automata movement has a two air musical box providing a sound of fine timbre, whilst exotic birds cavort within a naturalistic setting of trees and rocks, one bird appearing to drink from the moving water fountain, and naturally, an eight day duration, enamelled dial two train clock, striking on a bell, is set within the rock work. Signed by the maker, Nathan & Company, Birmingham. The firm of Nathan & Co, founded in the late 18th century in Corporation Street, Birmingham is extant today, having modified from its origins as a clockmaker (cf Britten’s dictionary of clocks & watchmakers of the world) to a chain of jewellers and pawnbrokers throughout the Midlands.

DIMENSIONS:

REFERENCE:

H:

29 in

73 cm

W:

20 in

51 cm

D:

11 in

28 cm

8333

55


A Fine Quarter Chiming Bracket Clock Circa

The walnut case, of architectural form, is supported on the original bracket, being carved with ribbands, anthemions and pylons in the Egyptian manner, surmounted by a triangulated pediment; the sides have the sound vents dressed with a fretwork sphinx, and a camel; the movement is driven by a complex triple chain fusee with a deadbeat escapement, and the hours struck on a single bell, the quarter hours being struck on 8 bells; the 8 inch silvered dial is signed by the maker, with the address of 65 & 64 Cheapside, dating the clock to 1857-1863, and has the hours marked in Roman numerals, indicated by elaborate blued steel hands. London. John Bennett (1814-1897) was a third generation clockmaker; holder of Royal Warrants between 1847-1895; elevated to the peerage in 1872; Knight of the Royal Legion of Honour; Fellow of the Royal Astronomical Society; Freeman of the City of London; the British Museum possesses one of his minute repeaters, and a bracket clock was purchased by Charles Dickens, which may be seen at the Charles Dickens Museum in Doughty Street, Camden, London.

DIMENSIONS: H:

56

32.5 in

REFERENCE: 82 cm

8268


It’s About Time

By John Bennett of Cheapside, London 1860

57


A Very Fine Georgian Serving Table Circa

Constructed in a Cuban mahogany having richly marked veneers and possessing a deep colour and patination; rising from ‘hairy paw’ feet, the gently tapering torsade legs carved and ring turned, support the arc-en-arbalette shaped platform, with the fielded recessed tablets having running reel mouldings, houses a central drawer; the low serpentine back incorporates well executed Graeco-Roman foliate carvings. Concordances will be noted in this piece with a sideboard design illustrated by George Smith in his seminal 1808 publication ‘A Collection of Designs for Household Furniture’, which interpreted and popularised the somewhat austere designs delineated in Thomas Hope’s earlier publication, ‘Household Furniture’, and Peter & Michaelangelo Nicholson’s work, ‘The Practical Cabinet-Maker, Upholsterer and Complete Decorator’.

DIMENSIONS:

58

REFERENCE:

H:

48 in

121 cm

W:

90 in

228 cm

D:

29 in

74 cm

7819


of the Regency Period 1820

59


A Magnificent Pair of Regency Following a George Circa

Constructed in a beautifully patinated and faded Cuban mahogany; the finely carved swept front legs rise from taloned feet and terminate in leopard heads, draped with pendant anthemion motifs; having conforming rear legs, conjoining front and side rails; the backs of swept form, the terminals carved with reversed leopard heads with pendant anthemions; the seats, sides and backs are double caned.

DIMENSIONS:

60

REFERENCE:

H:

32.5 in

82 cm

W:

22 in

55 cm

D:

35 in

88 cm

8250


Drawing Room Chairs Smith design 1810

61


Provenance:

Wentworth Castle


Commissioned by Frederick Vernon Wentworth (b.1795) for Wentworth Castle, South Yorkshire, then acquired by his granddaughter Frederika Charlotte Louisa Rooke (nee Thelluson, d.1954) and her husband Mortimer Rooke (d.1942) and housed at The Ivy, Chippenham, Wiltshire: thence by family descent. 



Thomas Wentworth, Baron Raby, had been expecting to inherit the great Wentworth Woodhouse estate from the 2nd Earl of Stafford in 1695 when the estate passed to his cousin Thomas Watson when the 2nd Earl died childless. The passing of Wentworth Woodhouse to the Watsons caused intense rivalry with the Watson’s and Thomas Wentworth was determined to surpass the Watsons in splendour of living. Wentworth was a distinguished soldier and diplomat under both William III and Queen Anne with aspirations to establish a claim to the title of Earl of Stafford. When an opportunity to purchase the Stainborough Hall estate, some six miles from Wentworth Woodhouse arose in 1708, Wentworth realised having a country estate would be vital in pursuing his claim to the Earldom and he did indeed succeed with Queen Anne creating him 1st Earl of Stafford (2nd creation) in 1711. Wentworth added a new baroque wing (1709-1715), with designs provided by the military architect Jonann Von Bodt. Wentworth amassed a picture collection in Italy and James Gibbs designed the remarkably picture gallery in 1724 which stretched some one hundred and eighty feet. Nikolaus Pevsner describes the east range “of a palatial splendour uncommon in England”. Originally known as Stainborough Castle, Wentworth changed the name to Wentworth Castle on its completion in 1731. In the late 1730’s Thomas Wentworth’s son William Wentworth, 2nd Earl of Strafford (1722-1791) commissioned Capability Brown to lay out the gardens and created the south facing Palladian wing of the house which was largely his own creation The Stafford title once again became extinct with the death of the 3rd Earl in 1799. The estate passed to the 3rd Earls sister Augusta Wentworth (Mrs Hatfield Kaye) and then to Frederick Vernon-Wentworth in 1802. 

The Vernon-Wentworth family added the west wing in the 19th century. The house was sold in 1949 by Captain Bruce Vernon-Wentworth to the Barnsley Corporation. Captain Vernon-Wentworth sold part of the contents of Wentworth Castle at Christie’s, 20 November 1919.

Frederika owned the chairs until her death in 1954 having been brought up at Wentworth Castle by her Uncle Thomas Vernon-Wentworth (1831-1902) and his family, following the early death of her mother Henrietta Thelluson in 1873, when Frederika was twelve years old. 

 The design of this pair of chairs are based on a design from Plate 56 of ‘Drawing Room Armchairs’ by George Smith, and published in his A Collection of Designs for Household Furniture and Interior Decoration in the Most Approved and Elegant Taste, Upholder Extraordinary To His Royal Highness The Prince of Wales, published by J.Taylor, At the Architectural Library, No.59, High Holborn, 1808. After the publication of Charles Heathcote Tatham’s ‘Etchings of Ancient Ornamental Architecture’ drawn from the originals in Rome...1794-6, in 1801, one of his drawings from the antique, a leopard headed monopodia was incorporated into the design oeuvre of the Regency period, and appears adorning sideboards, tables, consoles and bookcases, inter alia. This design may be seen in the works of Gillows, Morel & Seddon, and in Clifford Musgrave’s ‘Regency Furniture’ - examples will be seen in Plates 4A, 20A, 22A, 22B, 41A, 43A and 68; Frances Collard, the doyenne of the Regency Period, shows in her ‘Regency Furniture’ further examples on Plates 97, 100, 102 and 143. ‘The Dictionary of English Furniture Makers’, published by the esteemed Furniture History Society records George Smith as ‘Upholder Extraordinary to his Royal Highness the Prince of Wales’ and a contributor to the Bible of the Regency period, Rudolf Ackermann’s ‘Repository of the Arts’, a monthly publication, and traded from Dean Street, Soho, London.

62


Plate 56

63


A ‘Black Forest’ Dog Group Probably Dated

The naturalistically carved limewood group shows the dormant bitch and her four playful pups; glass eyes are used in all the figures. Black Forest area.

Brienz, Bernese Oberland, Switzerland Brienz, in the Bernese Oberland, Switzerland was remarked upon in Baedeker’s Travel Guide, as having a population of 2400, of whom 600 persons were employed as woodcarvers, to supply the tourist trade to Switzerland with mementos of the tour. A museum devoted entirely to the art of wood carving may be visited today. Literature; ‘Swiss Carvings, The Art of the Black Forest’ by Arenski, Daniels and Daniels, published by The Antique Collectors Club 2004, shows on page 35, Plate 27, a group in a very similar vein, seen on the left.

DIMENSIONS:

64

REFERENCE:

H:

13 in

33.5 cm

W:

37 in

94 cm

D:

25 in

64 cm

8387


By Walter or Heinrich M채der of Brienz 1881

65


A Carved Marble Statue of ‘Best Friends’ By Enrico Pazzi (1819-1899) Circa 1870

Carved in a virtuoso manner, with corresponding ability, in white statuary marble, of monumental size, depicting a young man in native Italian dress, and his dog, exchanging looks of deep affection. Sitting upon a two colour vertically fluted marble base. Signed by the maker, “E Pazzi fece 1881”. Italian.

Provenance An auction sale of Dunalastair House, Pitlochry, Perthshire, held by Thomas Love & Sons of Perth, in May 1954, from the estate of Major James Sales de la Terriere.

Enrico Pazzi Born in Ravenna on 21st June 1819, and student under Professor Ignazio Sarti (upon whom Benezit comments in volume 10) at the Ravenna Accademia di Belle Arti, completing his studies in Florence under Giovanni Dupre (Benezit volume 4); solo exhibitions are recorded in Florence, Rome & Bologna from 1850 onwards; he settled in Florence in 1853, and there may be seen today, in Florence’s Piazza Santa Croce his monumental statue of Alighieri Dante, Florence’s adopted son, his most celebrated work- and also in the Piazza Savanarola, his seated figure of Giralomo Savanarola, the religious reformer. Pazzi evidently respected his original alma maters, establishing scholarships in his name, extant today, in both Ravenna and Florence. Dizionario degli Artisti Italiani Viventi: pittori, scultori, e Architetti. Milan 1994 Benezit, Editions Gründ, Re-edited 2010.

DIMENSIONS: H:

66

86 in

REFERENCE: 218 cm

8263


67


A Carved Marble Statue of ‘Mary & Her Little Lamb’ By Professor Antonio Bortone (1847-1938) Circa 1870

Carved in a virtuoso manner and ability, the white Carrara statuary marble, of monumental size, depicts ‘Mary’, bonneted, and dressed in the style of an Italian farmer’s daughter, happily laughing at her lamb nibbling at the leaves of cavolo nero (Italian kale) in her woven basket. The statue sits upon an octagonal green marble base, waisted, and carved with flowers. Signed by the maker ‘Prof. A. Bortone’. Italian.

Provenance The Wilson Family of Dale House, Bladford Forum, Dorset, and thence by descent to the late W.H. Wilson, Town Clerk of Blandford Forum.

Antonio Ippazio Bortone Born in Ruffano, southern Italy, he studied at the Academy of Fine Arts in Naples, and after his training, appointed resident teacher; this honour was accorded to him, by the Academies of Florence & Lecce: knighted by both King Umberto the First, and King Emmanuel the Third, after Bortone’s bust of this King was installed in the National Parliament; chivalric orders were granted, including the Order of Santi Maurizio e Lazzaro, and Order to the Crown of Italy; at the 1887 Paris Exhibition, his Fanfulla di Lodi received great acclaim by the critics, and a Gold medal. Dizionario degli Artisti Italiani Viventi: pittori, scultori, e Architetti., Milan 1994 Benezit, Editions Gründ, Re-edited 2010.

68

DIMENSIONS:

REFERENCE:

H:

8261

86 in 218.5 cm


69


An Occasional Table in the Louis XVI Manner By Frédéric-Louis Durand of Paris Circa 1890

Taking inspiration from a design by David Roentgen; constructed in sycamore and fruitwoods, with a central marquetry panel of chinoiserie design, having acquired a splendid patination, and having fine ormolu mounts; of elliptical form, rising from tapering legs mounted with foliate ormolu sabots and garlands; a single lockable drawer to the apron, mounted with an ormolu escutcheon, having the original key; the platform having an ormolu guard rim, and cross banding housing the trompe l’oeil chinoiserie design. Stamped with two marques de fer to the underside ‘F. Durand Fils’. Paris.

F. Durand. Fils Specialising in the production of 18th century style furniture of the finest quality, Gervais-Maximillien-Eugène Durand (b.1839) exhibited at the Universelle Exposition of Paris in 1889, gaining a silver medal, and the praise of the judges, who favourably compared his work to that of Beurdeley and Dasson. His son, FrédéricLouis, joined the company in 1890, now named F.Durand Fils. In 1779, Marie-Antoinette commanded a cylinder front bureau cabinet from David Roentgen, as a gift to Pope Pius VI (now in the Kunstwerbemuseum Berlin), which has identical inlays to our piece. Bibliography; Hans Huth ‘Roentgen Furniture’, published by Sotheby Parke Bernet 1974 plates 55-59, seen to the right. Denise LeDoux-LeBarre, ‘Le Mobilier Français du XIXe Siecle’ Les editions de l’Amateur, Paris 1989.

DIMENSIONS:

70

REFERENCE:

H:

30 in

76 cm

W:

29 in

74 cm

D:

20 in

51 cm

8257


71


A Petite Commode After the original by Circa

Constructed in purpleheart wood, amaranth and kingwood, and dressed with very fine ormolu mounts; rising from gently tapering columnar legs, shod at the bases with ormolu toupie feet, with stiff-leaf upper ormolu mounts; within an ormolu framework, the two drawers in the lower part bisect a diamond shape of contrasting inlays, with ormolu mounts of foliate form in the quadrants being the handles; over, a single lockable drawer, having the lockplate engraved by the maker, ‘Millet à Paris’, forms part of the apron, and is richly adorned with ormolu entrelacs, with swagged bouquets at the radiused angles; the fielded panel sides being inlaid with the Royal ‘Fleur-de-Lys’ motif, denoting the rank and station of Leleu’s original model, the Duchesse de Bourbon; the platform of Rouge Royale marble, with a thumbnail moulding to the edge. Paris. The eminent 18th century French ébenisté Jean-François Leleu (1729-1807) supplied the original commode for the Duchesse de Bourbon, for the Palais Bourbon, across the Seine from the Place de la Concorde, and now home to the French National Assembly.

Millet et Cie Founded in 1853 at 11 rue Jacques-Coeur, and, after 1902, working from 22 Boulevard Beaumarchais, describing themselves as furnishers of ‘meubles, bronzes d’art, genre ancien et moderne’, according to their trade card; they were winners of a Gold Medal at the 1889 l’Exposition Universelle, and at the 1900 show, a Grand Prix for their efforts. Denise Ledoux-Lebard’s ‘Mobilier Français du XIXe Siecle’ published 1989, with a revised edition in 2000, records the company in detail.

DIMENSIONS:

72

REFERENCE:

H:

35.5 in

90 cm

W:

35 in

89 cm

D:

20 in

50 cm

8246


in the Louis XVI Manner J.F. Leleu, By Millet Ă Paris 1880

73


A Pair of Commodes, in Circa

Of rectangular form, constructed in mahogany, dressed with fine bronze mounts and brass inlays; rising from tapering and turned toupie feet, the baluster form legs are brass inlaid, having ormolu beaded collars, conjoined by the incurved front undertiers; each commode has three graduated lockable drawers, flanked by slender ormolu columns of torsade and fluted design, issuing from central bosses; the fielded panel sides have ormolu stiff leaf running mouldings, with fluted stiles to the rears; the friezes dressed with ormolu mounts of neoclassical designs, the central Bacchic masks flanked by addorsed goats, cornucopiae, foliates, and pipe playing fauns; the shaped platforms are fitted with Carrara marbles. English. The Wallace Collection in Manchester Square, London possesses a ‘Table en Chiffoniere’ (item number F328) of virtually identical form to our pair, attributed to Weisweiler, which can be seen below; Maurice Segoura’s ‘Weisweiler’ published by Editions d’art Monelle Hayot, Paris in 1983, shows on pages 28 a Bonheur du Jour with a very similar base, a stamped Weisweiler piece. Adam Weisweiler (c.1750-c.1810), German born, was apprenticed to David Roentgen, who is noted for his furniture oeuvre, blending mahogany, brass inlays and ormolu; received as a Maître Ébéniste in 1778, supplying the ancien regime, including Marie Antoinnette and Louis XVI and later, the French Empire and its successors, as well as the Prince Regent, later George IV of England.

DIMENSIONS:

74

REFERENCE:

H:

40 in

102 cm

W:

27 in

69 cm

D:

18 in

45 cm

8327


the Manner of Adam Weisweiler 1870

75


A Writing Table Firmly Attributed Circa

Constructed in citronnier, ebony and harewood, and dressed with a porcelain plaque in the ‘Sevres’ manner, and adorned with very fine bronze mounts. Throughout, the ‘trellis and dot’ inlay, indicative of Ross’s work, is employed: rising from stylised foliate toupie feet, the tapered and waisted legs have gilt bronze collars, and the apron houses two mahogany lined drawers with quadrant mouldings, with betwixt, an elliptical bronze plaque frames a putti; gilt bronze paterae dress the angles. Stamped to the right hand drawer, ‘Edwards & Roberts’, who almost certainly retailed the piece. London. Donald Ross, of 13 Denmark Street Soho, London, specialised in fine inlaid furniture in the Louis Seize manner, borrowing liberally from the design oeuvre of Jean-Henri Reisener. He was exhibitor number 107 at the Crystal Palace Great Exhibition of 1851, when he was working from 11 Norton Place, Edinburgh prior to his move to London. The Victoria and Albert Museum, South Kensington, London possesses a pair of tables in this distinctive ‘dot & trellis’ inlay work. A similar table is illustrated in Christopher Payne’s book, ‘Nineteenth Century European Furniture’, as seen below.

DIMENSIONS:

76

REFERENCE:

H:

30 in

76 cm

W:

42 in

107 cm

D:

25 in

64 cm

8241


to Donald Ross of London 1860

77


A Cabinet Bookcase By Morant & Co Circa

Constructed in West Indian satinwood, and dressed with mahogany crossbanding, having boxwood line inlays, and marquetry work of excellent quality; rising from turned, tapering and fluted feet, the single glazed lockable door opening to reveal two adjustable shelves, and a splendid satinwood interior; the flanking sides inlaid with pendant bellflowers; the cartouche ellipses to the sides inlaid with Adam style urns, after the original drawings by Pergolesi; the frieze having a centrally placed urn, flanked by addorsed griffins, and inlaid foliate arabesques; the platform being inlaid with a broad reserve band of conjoined bellflowers, inlaid using specimen woods, and, framed with line inlay and barbers pole stringing. Labeled to the reverse (top left) ‘Morant & Co, 91 New Bond Street 145/33’. ‘The Dictionary of English Furniture Makers 1660-1840’, published by the Furniture History Society informs that Morant Snr was a maker of carved and gilded frames from early in the reign of George IV, and his trade card describes the company as ‘Ornamental Painter & Paper Hanging Manufacturer to their Royal Highnesses’. Work was executed for Sir Thomas Lawrence, Sir Robert Peel, the Dukes of Sussex, Cambridge and Sutherland, inter alia. The company exhibited in the Great Exhibition of 1851, the New York International Exhibition of 1853, and the London International Exhibition of 1862. ‘Masterpieces of Industrial Art & Sculpture’, edited by J.B. Waring, published in 1862 illustrates a wonderful sideboard made for Lord Ellesmere, that was shown at this exhibition. A Royal Warrant was granted in 1840, by Queen Victoria. Throughout the Nineteenth Century, they were recognised as one of England’s most eminent cabinet makers.

DIMENSIONS: 42 in

W:

43 in 108.5 cm

D:

78

REFERENCE:

H:

15.5 in

107 cm

39 cm

8249


of 91 New Bond Street, London 1890

79


A Rare Kidney Shaped Desk Circa

Of freestanding form, constructed in gean wood (Highland Black Cherry), dressed with fourteen Wedgwood black basalt plaques of Antique figures (stamped Wedgwood to the rear) and decorated with inlay work of the very finest quality, and part ebonised; rising from a plinth base; the bombe form pedestals having ring turned and reeded columns to the angles, having doors with inset elliptical plaques, enclosed within frameworks suspended by line inlaid stringing and terminating in lovers bows within a rectangular line inlay with re-entrant corners -the left encloses a shelved interior - the right enclosing a bank of three drawers; over, a long centre drawer is flanked by two short drawers, and lockable by ‘Secure Lever’ hardware, and quadrant mouldings, the entire ceinture, having eight circular Wedgwood medallions of classical busts from Grecian originals; further large elliptical Wedgwood plaques adorn the sides and rear; the platform having a Morocco leather writing surface with Greek Key tooling. Provenance: made for Fetteresso Castle, Stonehaven, Aberdeenshire. This wonderful piece has close affiliations to a Wright & Mansfield desk we had the honour to own some while ago, which was, as our research discovered, made for Sir Dudley Coutts Marjoribanks (Lord Tweedmouth) for his London townhouse; a very similar desk, incorporating the distinctive use of gean wood, in combination with Wedgwood ware, (of which he possessed a fine collection), may be seen at Haddo House, Aberdeenshire. Sir Dudley was an amateur of the Adam period, and a major client of Wright & Mansfield; furniture (incorporating Gean Wood) made for him was exhibited at the 1862 Great Exhibition.

DIMENSIONS:

80

REFERENCE:

H:

29 in

74 cm

W:

60 in

153 cm

D:

33 in

84 cm

8336


By Wright & Mansfield 1870

81


An Exhibition Quality Centre Table By Jackson & Graham Circa 1870

Of elliptical form, constructed in amboyna, harewood, inlaid with specimen woods and with ebonized highlights, rising from a quadripartite swept footed base, adorned with a stylised Greek key pattern conjoining a circular platform, inlaid with a running Vitruvian scroll, the ring based circular central column having four exterior inlaid shaft supports: the top having an ebonized moulded thumbnail edge, and fielded guard border enclosing a series of complex symmetrical cartouches, decorated with interlaced strapwork, housing inlaid arabesques and palmette designs in the restrained neo-renaissance manner, with a central border of running ferns. DIMENSIONS:

82

REFERENCE:

H:

29 in

74 cm

W:

59.5 in

152 cm

D:

47.5 in

121 cm

7002

Table made for the 1867 Exhibition


Jackson & Graham 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 at Cairo and the royal palace in Siam. They were particularly noted for their fine marquetry work, the use of Wedgwood plaques, ivory inlay, rare woods, and fine casting of bronze mounts. They engaged the leading designers of the period, inter alia, Owen Jones, Bruce Talbert, Alfred Lorimer and Eugene Prignot. In the mid 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 the standard of excellence. Alfred Lorimer A table, designed by Lorimer, part of the furnishing commission received by Jackson & Graham from Sir Alfred Morrison for his country seal, Fonthill, Wiltshire was shown in the 1867 Exhibition. Illustrated is the close similarities between this and our table in design, and the astonishing quality of workmanship are at once apparent.

83


A Pair of Unusual Circular Display Cabinets Circa 1890

Constructed in mahogany; rising on four channelled cabriole legs terminating in scrolled toes, dressed with pierced foliate angle brackets; the reeded uprights encasing plate glass panels, surmounted by hemispherical domed tops capped by turned and foliate carved urn finials; the hinged doors fitted with brass hardware by E. Pollard & Co of London.

DIMENSIONS:

84

REFERENCE:

H:

84 in 213.5 cm

Dia:

28 in

71.5 cm

8242


85


A William IV Circa

Constructed in oak, and rising from brass caster capped tapering ring turned and lobed feet; the shaped end supports having tablets, with Greek revival carving above; the toprail with a conforming central crest; the front rail of ogee form. The back and seat upholstered in leather. Following a design by Thomas King.

Thomas King shows a settee of virtually identical form in his ‘Modern style of Cabinet Works Exemplified’ of 1829.

DIMENSIONS:

86

REFERENCE:

H:

36.5 in

93 cm

W:

80 in

204 cm

D:

26 in

66 cm

6614


Period Settee 1835

87


A Serving Table in the Regency Period Neo-Grecian Manner Circa 1825

Of rectangular form, constructed in a finely patinated and figured San Domingo mahogany; rising from a plinth base, capped by a running pearl beading; the front columns, stop fluted, lobed and carved with lotus leaves and acanthi having a conjoining central shelf with upright stiles to the rear; the frieze has carved rosace paterae flanking the central fielded panel drawer.

DIMENSIONS:

88

REFERENCE:

H:

36 in

92 cm

W:

43 in

109 cm

D:

18 in

46 cm

8374


89


A Pair of Library Armchairs Circa

Constructed in mahogany, enhanced with crisp and detailed foliate carving; rising from square section tapering and collared front legs terminating in block feet, having swept legs to the rear; the seat fronts of serpentine form, the backs of a gentle waisted design with ‘shepherd’s crook’ arm, dressed with conforming foliate carving. These elegant library armchairs reflect the lasting influence of the Royal architect William Kent (1685-1748) who supplied a suite of chairs with the same distinct leg profile to General James Dormer-Cottrell for Rousham, Oxfordshire, between 1739-1741 (H. Hayward and P. Kirkham, William and John Linnell, London, 1980, vol II, p. 36, fig.67). Three years later, Kent’s pupil, John Vardy (d.1765), published ‘Some Designs of Mr. Inigo Jones and Mr. William Kent’ of which plates 42 and 43 show two other variations of this model. However, the arm design on this pair of chairs suggests a later date and an interesting possibility for the maker of these chairs is the London cabinet-makers William and John Linnell. They were commissioned by James West to execute one of Kent’s designs for a table to be supplied to Alscot Park and the Linnell’s own designs also show an obvious familiarity with Kent’s work. Two drawings of chairs from 1768-1770 are clearly updated versions of Kent’s design and their similarities with this pair of library armchairs, notably the scrolled arm support and the distinctive leg profile, could indicate they might have made them (op cit, p. 43, figs. 82-3). Related examples include four pairs sold from Mary, Duchess of Roxburghe, Sotheby’s, London, 6 December 2011, lots 28-31, and a single chair sold anonymously at Sotheby’s, New York, 18 October 2006, lot 199. A related set of library armchairs with carved seat moldings and attributed to Wright and Elwick were sold by the Earl of Swinton and the Hon. Nicholas Cunliffe-Lister, Swinton House, Masham, Yorkshire, Christie’s house sale, 20-21 October 1975, lot 17, and a virtually identical pair of library chairs, attributed to Wright & Elwick were sold by Christies New York, October 2014.

DIMENSIONS:

90

REFERENCE:

H:

39 in

98 cm

W:

27 in

68 cm

D:

29 in

74 cm

7920


of the George III Period 1760

91


A Georgian Circa

Constructed in Honduras mahogany of attractive figuring; of circular form when closed, the underside housing pull-out extending runners, with four drop-down turned and tapering legs fitted with castors, to house its integral four leaves; the quadripartite base of four reeded swept legs, terminating in block form lions paw terminals, having castors inset; the central column turned and waisted, with lobed decoration. Complete with the original leaf cage.

92

DIMENSIONS (fully extended):

REFERENCE:

H:

30 in

75 cm

7983

W:

58.5 in

148 cm

D:

184.5 in

468 cm


Dining Table 1825

Table closed

93


A Fine Long Set of Fourteen Dining Chairs of the Circa

Constructed in mahogany, comprising two carvers and twelve side chairs; rising from ring turned and lobed front legs shod with brass castors, with sabre legs to the rear ; the front and side seat rails of moulded form, housing upholstered drop-in seats; the backs upholstered, housed in shaped and moulded frames, with serpentine top rails, dressed with palmettes to the centres and the angles. Susan E.Stuart’s recent scholarly publication, ‘Gillows of Lancaster and London, 1730-1840’ illustrates a chair of very similar form (Volume 1, pp221) on plate 204, which is recorded in the Gillows archives as dating to 1823 and can be seen to the right.

94

DIMENSIONS Carver:

DIMENSIONS Single:

REFERENCE:

H:

37.5 in:

95 cm

H:

32.5 in:

82 cm

7362

W:

24 in:

61 cm

W:

19 in:

48 cm

D:

28 in:

71 cm

D:

20 in:

51 cm


1825

Gillows of London & Lancaster

Georgian Period attributable to Gillows of Lancaster

95


A Library Bookcase By Gillows of Lancaster Circa 1810

Constructed in mahogany, of breakfront form, rising from a plinth base, the lower section having four blind lockable doors dressed with re-entrant rectangular cock bead mouldings, being flanked by reeded and turned columns; the shelved upper section having two pairs of brass trellis fitted lockable doors, enclosing a shelved interior; the shaped cornice adorned with a carved running Greek key pattern, with raised scrolled ends. Inside a lower door is pasted an old label, on which is written ‘The large bookcase was the property of the Sudell family of Woodfold Park near Blackburn, and was purchased at the great sale of Woodfold about 1840. It was, I believe made by the famous firm of Gillow of Lancaster (Sheraton Period). It came into my possession at the death of my mother Mary H. Whittaker in 1871. Edmund J. Wemyss, Feb18, 1918’. The Gillows Archives in the Westminster City Library have, for the 12 November 1805, under drawing number 1776, a virtually identical bookcase.

Dated 1805, image courtesy of Westminster City Archives

DIMENSIONS:

96

REFERENCE:

H:

89 in

225 cm

W:

92 in

233 cm

D:

18 in

46 cm

8304


Gillows of London & Lancaster

97


A Late Georgian Side Cabinet Firmly Attributed to Gillows of Lancaster Circa 1825

Constructed in a finely grained Cuban mahogany; rising from ring turned and lobed oblate bun feet: over, housed between two stiles having stylised carved lotus leaf bases and acanthus capitols, with a running carved gadroon above and below, and rosaces above, the two lockable doors, with re-entrant mouldings, enclose a shelved interior with three inset and adjustable shelves; the platform dressed with a three quarter brass pierced gallery. Provenance; Wentworth Woodhouse, South Yorkshire. Both the 4th & 5th Earls Fitzwilliam are recorded as major clients of Gillows.

Courtesy of Westminster City archives DIMENSIONS:

98

REFERENCE:

H:

45 in 114.5 cm

W:

48 in

122 cm

D:

24 in

60 cm

8319


Gillows of London & Lancaster

99


A Gentleman’s Library Chair Firmly Attributed to Gillows of Lancaster Circa 1825

Constructed using a Cuban mahogany of good colour and depth, boldly and confidently carved, the front feet depicting eagle’s talons grasping balls, with a serpentine front rail carved with foliates, and terminating in florid scrolls; the swept rear legs terminating in scrolls; having a back of shaped form, with roll-over arms, all upholstered in deep buttoned leather. Stamped with a later retailers mark “Holden”. Volume 2 of Susan E Stuart’s ‘Gillows of London & Lancaster 1730-1840’ published by the Antique Collectors Club 2008 has on pp 349 of Volume two an armchair of very similar form incorporated into a room design executed for G Bamford in circa 1820.

Courtesy of Westminster City Archives

DIMENSIONS:

100

REFERENCE:

H:

40 in

102 cm

W:

35 in

89 cm

D:

32 in

82 cm

8307


Gillows of London & Lancaster

101


A William IV Period Side Cabinet Circa

Of four door breakfront form, and constructed in a fine Honduras mahogany, rising from carved oblate and lobed feet; set within upright reeded stiles terminating in spandrels, the two lockable centre doors are dressed with brass trellis grills, having raised flowerheads at the intersections which open to disclose an adjustable shelved interior; the flanking cupboards having fielded panels with rectangular mouldings, which, unusually open from the sides to reveal shelved interiors.

Courtesy of Westminster City archives

DIMENSIONS:

102

REFERENCE:

H:

38 in

97 cm

W:

72 in

183 cm

D:

19 in

48.5 cm

8276


1830

Gillows of London & Lancaster

Firmly Attributed to Gillows of Lancaster

103


A Gillows Cabinet in the Renaissance Manner Circa 1870

Constructed in walnut, part ebonised, and dressed with convex en grisaille porcelain plaques; rising from oblate bun feet, having a shaped lower shelf, with an elliptical porcelain plaque depicting Mercury, caduceus aloft, to the rear panel, within a carved interlaced strapwork frame; two reeded circular columns carved with spiral foliates, terminate in grotesque masks, conjoined by a swept arcading support the single panelled door upper section, and an elliptical porcelain plaque depicting Cupid & Psyche, enclosing a shelved interior, is within a ribband carved frame; the angles carved with ram heads, flanked with martial trophies, and surmounted by a scrolling broken arch pediment, centred about a cartouche with Mercury’s caduceus; further plaques with mythological affiliations, including Tritons, Neptune, and Hippocampi, inter alia are to the sides and cornice. The top edge of the drawer stamped by the maker ‘Gillows’, and numbered 2029.

DIMENSIONS:

104

REFERENCE:

H:

69.5 in

176 cm

W:

23 in

59 cm

D:

13 in

33 cm

8323


Gillows of London & Lancaster

105


A Pair of Baltic States Console Tables Circa 1880

Constructed using a well figured flame mahogany, and rising from rectangular plinth bases, having fielded panel backboards trimmed with a ‘running pearl motif; the columns, rising from stepped and lobed bases support the platforms, whose aprons are dressed with central carved sunbursts issuing anthemia and flanked by paterae; the mirrors being housed in cushion frames of concave form, and having stepped and everted cornices. Scandinavia.

106

DIMENSIONS (Consoles):

DIMENSIONS (Mirrors):

REFERENCE:

H:

33 in

84 cm

H:

7947

W:

26.5 in

67.5 cm

W:

28.5 in 72.5 cm

D:

14.5 in

37 cm

D:

4.5 in 11.5 cm

59 in

150 cm


107


A Library Armchair in the Mid Eighteenth Century Manner Circa 1880

Constructed in mahogany; rising from cabriole front legs, boldly carved with ball and taloned claw feet, issuing carved acanthus foliates, to conjoin with swept eagle head motifs at the shoulders; the ‘kick-away’ rear legs carved with running pearl collars around the toes; the back and seat upholstered in close brass studded buttoned leather; the arms terminating in horizontal eagle heads, with the arm uprights carved with foliates. Percy MacQuoid’s seminal exegesis of English furniture, ‘The Age of Mahogany’ shows a similar armchair on page 225, which he dates to around 1750.

DIMENSIONS:

108

REFERENCE:

H:

40 in

102 cm

W:

29 in

73 cm

D:

29 in

73 cm

8362


109


A Partners Desk of Circa

Constructed in mahogany, with two double sided pedestals rising from plinth bases, having radiused angles, with each side incorporating three lockable drawers, fitted with brass swan neck handles and brass title frames housing alphabetical leather inserts; the platform houses four further lockable drawers to each side, and the thumbnail moulded edges house a leather writing surface.

DIMENSIONS: 32 in

81 cm

W:

96 in

244 cm

D:

110

REFERENCE:

H:

47.5 in 120.5 cm

8306


Substantial Proportions 1880

111


A Pair of Giltwood Manner of Thomas Circa

Constructed in carved gilt wood, the frames, of asymmetrical form, the carving incorporating ‘C’ scrolls, tree trunks, icicles cascades, and surmounted by addorsed ‘Ho-Ho’ birds enclose two mirror plates.

DIMENSIONS:

112

REFERENCE:

H:

60 in 153.5 cm

W:

23 in

58.5 cm

8245


Mirrors in the Chippendale 1880

113


An Exceptional Cut Glass Chandelier Firmly Attributed to F & C Osler Circa 1860

The flat diamond cut baluster stem surmounting by six thumb cut Sheppard crooks terminating with trumpet shaped top piece, the flat diamond cut turnover drop hung receiver bowl surmounted a lapidary cut finial, the thumb cut hollow pipe arms are arranged on two levels, terminating with drop hung drip pans, the chandelier all hung with flat back spangles round and pear shaped finial drops, the draping pan with chains of tent drops unique to Osler. For similar examples of F&C OSLER Chandeliers see Chapter fourteen The English Glass Chandelier by Martin Mortimer
John P Smith Osler’s crystal for Royalty and Rajahs
Mallet at Bourdon House Ltd 1991.

DIMENSIONS:

114

REFERENCE:

H:

58 in 147.5 cm

Dia:

36 in

91.5 cm

8315

Courtesy of the Winterthur Library: Printed Book and Periodical Collection


115


A Fine Pair of Early Victorian By Elkington & Mason Circa

Fully Hallmarked, with assay marks for Birmingham 1844, with cartouches containing the makers marks, Elkington & Mason, and the head of the young Queen Victoria; of campana form rising from pleated serpentine bases, trimmed with pearls; the fluted base with vine leaves, the bodies adorned with naturalistic vine branches and bunches of grapes, the upper rims dressed with draped bunches of grapes and tendrils; the liners bearing identical assay and Hallmarks. Inscribed with a dedication reading ‘Presented to George Barker Esq. FRS, of Birmingham, by Fellow Townsmen and Friends in token of attachment and respect for public services and private worth AD 1844’, coats of arms, and the motto ‘Manners Maketh Man’. Birmingham. Total Silver Weight 292 ounces. George Barker is in the archives as a Fellow of the Royal Society, and waselect secretary for Birmingham from 1841-2.

Elkington & Company George Richard Elkington, born in Birmingham in 1801, joined the family firm, and in the late 1830s opened a large factory for the manufacture of ‘electro-plated wares’ in expectation that his experiments with a revolutionary method of electroplating. In the early 1840’s his experiments with an electrolyte incorporating potassium cyanide succeeded, and the Great Exhibition of 1851 assured his fame and posterity, as he was allowed to make reproductions of the Royal silverware; he opened shops in Glasgow, 380Birmingham, Liverpool, and initially in Cheapside London, and extended to premises in Regent Street. Elkington worked in silver as well as electroplate, and exhibited at every International Exhibition between 1851 and 1900.

DIMENSIONS:

116

REFERENCE:

H:

13 in

32 cm

W:

10 in

25 cm

D:

8.5 in

21 cm

8380


Solid Silver Wine Coolers of Birmingham 1844

117


A Nineteenth Century Automata Signed By Henri Marc of Paris Circa 1870

Housed within a swept gilt rectangular frame, the mountain and lake hand painted diorama incorporates a rolling ship, bearing the white saltire on red flag of St. Patrick, a train, a windmill, a water wheel, a horse and cart, inter alia, as well a stonework tower with an integral white enamel dial clock atop, below the crenellations, being signed by the maker, and a music box. The automata is operated, and set into motion by pulling a cord to the right hand side. French. Ref; Brain Loomes’s ‘Watchmakers & Clockmakers of the World’ published by N.A.G Press lists Henri Marc as a Parisian maker from the early to late 19th century.

DIMENSIONS:

118

REFERENCE:

H:

34 in

86.5 cm

W:

47 in 119.5 cm

8384


119


A Pair of Gilt Bronze Mounted Urns In the Louis XVI Manner Circa 1870

Constructed in Carrara marble and gilt bronze; rising from square bases, having stiff leaf foliates on the upper quadrants; the urns of baluster form, adorned with swagged drapes of flowering roses, conjoined with lovers’ bows; the handles of intertwined double serpents, with pine cone finials. French. A similar pair, possibly even from the same workshop, are illustrated in ‘Ottomeyer & Pröschel. Vergoldete Bronzen: Bronzearbeiten des Spätbarock und Klassizismus’, pl. XLVIII, p.315, circa 1870 and from the collection at Schloß Haimhausen. DIMENSIONS: H:

120

20.5 in

REFERENCE: 52 cm

8275

The model follows Louis XV/XVI patterns from the third quarter of the eighteenth-century, whilst the entwined snakes were used extensively in the second half of the eighteenth-century, notably by Jean-Guillaume Moitte, who supplied designs for use by William Beckford at Fonthill Abbey, as well as designs published by Ennemond Alexandre Petitot and Gilles-Paul Cauvet.

Illustration taken from ‘L’ameublement d’art français’ by Camille Mestdagh


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