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As we look back over the past twelve months, there have been many new opportunities for us to explore. Access to antique objects has evolved through the power of technology, and we continually attempt to distinguish ourselves through our collection of rare and exceptional quality 18th and 19th century English and Continental furniture and decorative objects. It is certain that now is the best time for acquiring antiques from the UK. Compared to the past 30 years, the Dollar and Euro exchange rates have significantly strengthened, presenting buyers from around the world a rare opportunity. We have been exploring interior design backdrops and collaborating with modern-day fabric and wallpaper companies to contribute to the redecoration of our showroom. Most significantly a large library space (see inside the back cover) demonstrates how various pieces from different periods can be brought together to create an office or library environment. Our large window that overlooks Kensington Church Street currently displays a decorative paisley wallpaper inspired by the UK-India year of culture, as can be seen on the page opposite. It prompts a reminder that a modern print with a historical motif can surprisingly serve as a fresh backdrop for an interesting assembly of antique furniture and decorative objects. A new and exciting venture is our permanent gallery space at the recently developed Palm Beach Art, Antique & Design Center in Lake Worth, Florida. This opened its doors last November, with over 25 European and American dealers showcasing art, antiques and decorative objects from classical to contemporary. Keep your eyes open for the launch of our much anticipated new website this summer which has been designed to inspire, taking you on a journey through the luxury interiors we have helped to create. We will be unveiling a number of new collections online, which we hope will make browsing easier and more interesting. We are very excited to be returning to the 8th edition of Masterpiece, and 9th edition of the LAPADA Art & Antiques Fair at Berkeley Square in London, both fairs we have exhibited at from the very beginning. We are also delighted to announce that for the very first time we will be coming to the San Francisco Fall Art & Antiques Show this October, and are looking forward to exhibiting on the West Coast. We will be also returning to the sunshine state for the Palm Beach Jewelry Art & Antique Show in February 2018. Our constant searches for the finest and extraordinary pieces of furniture and decorative objects have led to us find some exceptional pieces, which we are proud to present to you here. Amongst these pages you will find: - an Aesthetic movement side cabinet attributed to English furniture makers, Jackson & Graham, which displays exceptional quality marquetry (pages 60-61); - a rare and monumental ormolu mirror by Henry Dasson, which demonstrates outstanding quality casting and at almost 9ft or 270 cm tall, on a scale and size we have never seen before (pages 88-89); - a Royal Cabinet made by Holland & Sons for The Prince of Wales following his marriage to Princess Alexandra, and the refurbishment of Marlborough House in 1863 (pages 96-99) - an elegantly carved Regency period armchair after a design by Thomas Hope (pages 52-53); and - a truly remarkable Pair of French SecrĂŠtaires Ă Abattant that are inlaid with beautiful Florentine pietra dura panels and which has provenance to the 1st Duke of Buckingham and Stowe House in Buckinghamshire (pages 72-75). We hope you will find may other treasures within that peak your interest and excitement. With very best wishes,

Ian, Adam & James

AN

T IQUE DE

A

T

LE

&

AR

RS

KENSINGTON A

N

CHURCH STREET

S

O SO CIATI

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

ButchoffAntiques

@Butchoffboys

@Butchoffboys 3


A Rare Monumental Centre Table of the late Georgian Period Attributed to William Trotter of Edinburgh Circa 1830

Constructed in a finely figured oak, with ebony banding, to the platform; the castor shod tripartite base terminating in scrolled and winged toes, the truncated pyramidical column having a tilt-top arrangement for the circular thumbnail edge inlaid platform.

DIMENSIONS: H: Dia:

4

REFERENCE:

29.5 in

75 cm

80 in

203 cm

8632

William Trotter (1772-1833) The Trotter Family were associated with the Edinburgh Merchant Company since 1691, and the esteemed William Trotter (1772-1833) established himself in his sole right, after various partnerships, in 1805 in Princes Street. He was the most important, and successful Cabinet Maker in Scotland, and his extensive premises were described in Thomas Dibdin’s ‘Tour in the North Countries of England and Scotland’, quoting, in part ‘The locality of this great ...warehouse is rather singular. It is on the ground floor, lighted by a skylight. Of great length, and vistas filled with Mahogany and Rosewood objects of temptation. Of all styles, including the modern form’. The use of restrained and understated decoration, including the reeding, paterae and re-entrant moulding utilising designs after the Antique is seen on many of Trotter’s documented works.


5


A Pair of Window Seats of the William IV Period Circa 1835

Constructed in a well patinated oak; rising from castor shod inverted baluster legs, turned, tapering and dressed with lobes, conjoined with channelled and shaped seat and side rails; the swept ends of scrolled form, carved with foliates; button upholstered, and having end bolsters.

DIMENSIONS: H:

6

32.5 in

REFERENCE: 82.5 cm

W:

61 in 155.5 cm

D:

17 in

43 cm

8639


7


An Oak Pedestal Desk After a design by Thomas Chippendale Circa 1860

Of freestanding serpentine form, rising from a plinth base, the pedestals each house four ‘S shaped’ front drawers with canted corners and carved fluted pilasters, a central drawer on top, all fitted with silver plated handles; the obverse with two shelved cupboards; the writing surface is fitted with a green leather.

Thomas Chippendale was the first cabinet-maker to publish a book of his designs, titled The Gentleman and Cabinet Maker’s Director. Three editions were published, the first in 1754, reissued in 1755, and again in 1762 with new designs. Designs included library tables and dressing tables with serpentine form, canted corners and bowed handles, similar to this pedestal desk.

Image Reference: Ward-Jackson, Peter, Victoria and Albert Museum. English Furniture Designs of the Eighteenth Century. Victoria and Albert Museum, Her Majesty’s Stationary Office, London, 1958. Plate 108.

DIMENSIONS:

8

REFERENCE:

H:

31 in

78 cm

W:

52.5 in

133 cm

D:

28 in

71 cm

8550


9


A Pair of Mirrors in the George III Style Circa 1880

The elliptical mirror plates enclosed by gesso and gilt wood frames, exuberantly carved with scrolling acanthi, foliates and scrollwork in the Rococo manner, the surmounts having cabochons issuing acanthus spray crests. Graham Child’s ‘World Mirrors 1650-1900’ published by Sothebys, 1990 illustrates a similar mirror on Plate 201, as seen below.

DIMENSIONS:

10

REFERENCE:

H:

47.5 in

120 cm

W:

24 in

60 cm

8797


11


A Pair of sixteen light Electroliers in the Gothic Revival Manner Circa 1920

Constructed in gilt bronze, each light with eight pairs of ten sided urn sockets with imbricated laurel edged drip pans, four of the pairs in each case rising from rams’ mask mounts, arranged around sixteen sided circlets, applied with relief cast mounts representing the Twelve signs of the Zodiac, and surmounted with owls, representative of the goddess Athena and Knowledge, above eight arching supports of inverted conical form, mounted with feather quills, rising from leaf clad pine cone terminals, each circlet with eight suspension linking chains, of angled square forms, cast with Ducal crowns to the upper crown coronas.

DIMENSIONS:

12

REFERENCE:

H:

72 in

183 cm

Dia:

51 in

130 cm

8807


13


An Irish Looking Glass in the Rococo Manner of Thomas Johnson Probably by Butler of Dublin Circa 1890

Constructed in carved giltwood, the mirror plates housed within a typical exuberant and florid Johnsonian medley of Chinese, naturalistic, symbolic and mythical motifs, with vertical dividing glazing bars; pagodas, a squirrel, a Ho-Ho bid, a dolphin, a cornucopia, vines and foliates co-mingle with icicles, C-scrolls and scallop shells. Irish.

Thomas Johnson (1714 - d. after 1778) A London based carver, gilder and author of influential design books relating to both mirrors and girandoles; ‘Twelve Girandoles’ (pub 1755): ‘One Hundred and Fifty New Designs’ (pub 1758) and ‘The Book of the Carver’ (pub 1758); the squirrel motif appears in many of these books, and is not to be found in other design books of the period. Literature; ‘Thomas Johnson and the English Rococo’ by Helena Hayward pub 1964. The Butler company, established in the second quarter of the 19th century specialised in making copies of fine 18th century furniture, and were noted for their carving work, and latterly post 1900 as furniture dealers.

DIMENSIONS:

14

REFERENCE:

H:

90 in

229 cm

W:

58.5 in

148 cm

8706


15


An Astonishing Musical ‘Black Forest’ Floor Standing Clock of Monumental Size Circa 1880

The sculptor has created this whimsical and magical statue of a mother and father bear supporting a tree stump upon which their three cubs sit playing. The statue also incorporates a musical clock, playing six airs, including rather unusually ‘God Save the Queen’. Brienz Area. Literature; ‘Swiss Carvings, The Art of the Black Forest’ by Arenski, Daniels and Daniels, published by The Antique Collectors Club 2004 in which this piece is illustrated, on pp 155. The authors suggest that this clock was “almost certainly made as a special commission” due to its’ size and rarity, and “may well have been a royal commission for Queen Victoria”.

DIMENSIONS: H:

16

79 in

REFERENCE: 201 cm

8822


The Arts of the Black Forest

17


A Monumental ‘Black Forest’ Sculpture of a Bear Circa 1900

A. Constructed in Linden wood, naturalistically carved and having glass eyes. This astonishing work of art, has, in our considerable experience, no compeer. The standard reference work on the subject ‘Swiss Carvings 1820-1940’ by Arenski, Daniels and Daniels, published by the Antique Collectors Club in 2004, shows no Bear model of comparable size. Brienz Area. DIMENSIONS:

REFERENCE:

H:

30.5 in

77 cm

W:

18 in

45 cm

L:

53 in

135 cm

8762

B. A Finely Carved Black Forest Bear of Important Size, carved from walnut, and with glass eyes. Literature; ‘Swiss Carvings, The Art of the Black Forest’ by Arenski, Daniels and Daniels, published by The Antique Collectors Club 2004 for similar examples. DIMENSIONS:

REFERENCE:

H:

21 in

53.5 cm

W:

29 in

74 cm

7705

C. Constructed in carved linden wood, the naturalistically carved bear, with glass eyes grasps a brass spill pot, the hinged head disclosing the interior. Brienz, Bernese Oberland. Literature; ‘Swiss Carvings, The Art of the Black Forest’ by Arenski, Daniels and Daniels, published by The Antique Collectors Club 2004 shows similar pieces p62-64 71-71. We have a catalogue of a selection of works by Peter Trauffer of Lucerne, which shows and almost identical tobacco pot under item 2083. DIMENSIONS: H:

13 in

REFERENCE: 33 cm

8585

C

18


The Arts of the Black Forest

A

B

19


A Fine Life Sized ‘Black Forest’ Eagle Circa 1880

The raptor stands on a rocky outcrop, naturalistically and finely carved in walnut, the sculptor having used poker work to highlight the feather markings; the glass eyes add an intensity to the stare. Brienz 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 for similar examples.

DIMENSIONS:

20

REFERENCE:

H:

26 in

66 cm

Dia:

12 in

30 cm

8777


The Arts of the Black Forest

21


A ‘Black Forest’ Jardinière of Substantial Size Circa 1880

Constructed in a well carved lindenwood, rising from quadripartite feet, naturalistically, representing branches, supporting a tree form central column dressed with two storks, and supporting a carved rope dressed rectangular plant trough, profusely carved with fruiting vines, pears, oak leaves and doves, having an eagle surmount. Brienz. Brienz, Bernese Oberland, Switzerland Literature; ‘Swiss Carvings, The Art of the Black Forest’ by Arenski, Daniels and Daniels, published by The Antique Collectors Club 2004 for similar examples.

DIMENSIONS:

22

REFERENCE:

H:

50 in

127 cm

W:

30 in

76 cm

D:

28.5 in

72 cm

8582


The Arts of the Black Forest

23


An Italian Carved Walnut Vitrine Circa 1875

Constructed in carved walnut, rising from a serpentine ogee edged plinth base with a mirror back, having a central mythological winged figure flanked by turned columns supporting the glazed vitrine canted upper part, having a carved apron, and a single door enclosing a shelved interior; capped by a central figure of an amorino, flanked by winged hippocamps. Italian.

DIMENSIONS:

24

REFERENCE:

H:

103 in

262 cm

W:

42 in

106 cm

D:

18 in

46 cm

8513


25


A Fine Marquetry Centre Table by James Plucknett of Warwick Circa 1890

Of rectangular bow ended form, constructed in satinwood, and inlaid with specimen wood marquetry work on the platform; rising from toupie feet, the four finely carved caryatid female supports have a conjoined stylised ‘X’ form stretcher with a dished bowl at the centre; the apron housing a series of foliate carved entablatures, and the platform extensively inlaid with neo-classical designs of trophies, flambeaux and floral arabesques. Bearing a label underneath the platform with the makers’ name.

DIMENSIONS:

26

REFERENCE:

H:

30.5 in

77 cm

W:

50 in

126 cm

D:

26 in

66 cm

8817

James Plucknett, having had various partners in his company, operated as a sole trader from 1886-1905, the year of his death. He advertised his work as ‘manufacturers of rich carved furniture’, trading as ‘James Plucknett & Co Art Furniture Manufacturers’. His commissions included The Royal Pavilion for the Royal Warwick Show of 1892, and The Urquhart Commission, details of which are recorded in considerable detail of the Furniture History Society annual report of 1996 (pp159-179), which contains images showing close similarities between the caryatids of our table and those of the Urquhart Commission.


27


A Fine Escritoire After a design by Adam Weisweiler Circa 1870

Constructed in amboyna, dressed with ‘Sèvres’ porcelain plaques and gilt bronze mounts; rising from tapering circular legs, inlaid with brass, having bronze bases and capitols, and conjoined with an interlaced stretcher; the shaped apron, having a circular porcelain plaque and bronze foliates, houses a single cedar lined drawer, spring released by a concealed button; over, the secretaire, the drop flap fitted with a French lock, has a square bronze framed Sèvres plaque, hand painted with roses within a ‘bleu celeste’ and gilt reserve, and extensive entrelac foliates, opens to reveal a fiddle back satinwood interior, fitted with an arrangement of three upper short drawers, and a lower single drawer, fitted with ring pulls; gilt bronze caryatids, in the form of festooned Grecian maids bearing baskets of flowers flank the fall-front, and the panelled sides are set with stiff leaf gilt bronze castings, and over, a thumb nail moulded white marble top is dressed with a three quarter arcaded bronze gallery. French. Provenance Christie Manson & Wood sale of pieces from the late Edward Huntley Walker and Edward Wertheimer collection, 1932, lot 43. The Metropolitan Museum of Art has in its collection a similar secrétaire à abattant attributed to Weisweiler, circa 1787. It is presumed that this was piece was originally located at Versailles and owned by Marie-Antoinette. After the angry mobs stormed Versailles in 1789, the royal family lived under house arrest in the Chateau des Tuileries. During this time the queen consigned her treasured possessions for safekeeping. An inventory of 1794 indicating royal seized furniture records a ‘secretary with drop front, mounted with a large Sèvres plaque and ten medallions forming garlands.’ Our escritoire is of similar form to the model in the Metropolitan Museum of Art, particularly with the loop form stretcher and gilt cluster colonettes, and decorative design of the central large blue Sèvres plaque and ten gilt medallions. Another very similar escritoire is illustrated on pp 29 of Segoura’s ‘Weisweiler’, cf.

DIMENSIONS: H:

28

54 in

REFERENCE: 137 cm

W:

32 in

81 cm

D:

17 in

43 cm

8732

Drop-front desk (secretaire a abattant or secretaire en cabinet), Attributed to Adam Weisweiler, Circa 1787. Photo Credit: The Metropolitan Museum of Art; accession number 58.75.57


29


A Centre Table in the Manner of Adam Weisweiler stamped by Wright and Mansfield Circa 1870

Constructed using very fine matched mahogany veneers and gilded bronze; of circular form, having four pairs of cluster faux bamboo column legs, with ringed capitols over, and tapering toupie castor shod feet dressed with a conjoining looped ‘X’ form stretcher, emanating from a central circular boss supporting the bronze edged platform; the radially laid veneers to the top have a central circular reserve. Stamped with a marque de fer to the underside by Wright and Mansfield. London. Wright and Mansfield Wright and Mansfield swiftly rose to prominence after their exhibition at the London 1862 International Exhibition, The Art Journal Catalogue DIMENSIONS:

30

REFERENCE:

H:

29 in

74 cm

Dia:

36 in

91.5 cm

8723

of the International Exhibition, and J.B. Waring’s ‘Masterpieces of Industrial Art and Sculpture’ of 1862 illustrate examples of their work, two bookcases, and a fireplace in the manner of Brookshaw. At the 1867 Paris Universelle Exposition, their remarkable satinwood, marquetry, bronze and Wedgwood mounted cabinet won a Gold medal, which was presented personally to Wright & Mansfield by the Emperor Napoleon III. This cabinet was purchased by the South Kensington Museum (later the Victoria and Albert Museum) for the extraordinary sum, in those days, of £800. Adam Weisweiler Born in Neuwied, and believed to have served his apprenticeship under the tutelage of one the greatest of all German cabinet makers, David

Roentgen, from whom he incorporated the fashionable combination of brass and mahogany, each counterpointing the other. He established himself at 67 Rue du Faubourg-Sainte-Antoine in the reign of Louis XVI, obtaining Royal Commisions from the Queen for the Chateau St. Cloud. Madame de Pompadour and her brother, the Marquis de Marigny, encouraged his adoption of the restrained gout anglais. Features that were repeated in his oeuvres were the loop form stretcher, and the cluster colonettes. Weisweiler’s work is located at various international museums, such as the Metropolitian Museum of Art, Getty Museum, Victoria and Albert Museum, Royal Collection, The Wallace Collection, and the Louvre. Maurice Segoura’s ‘Weisweiler’, published by Editions d’art Monelle Hayot Vilo, Paris 1983 illustrates the source image of our table on page 94.


31


A Pair of Pedestals in the Louis XVI Manner Circa 1870

Constructed in harewood, dressed with boxwood line inlays, bleu celeste ‘Sèvres’ style plaques decorated with foliates and martial trophies, and having bold, finely cast and chased ormolu mounts; rising from bracket footed bases, of inverted tapering square section form; female figural ormolu mounts to the sides, with elliptical ‘Sèvres’ style plaques to the fascias enclosed within ormolu cartouches; further plaques in the friezes, enclosed within chased ormolu frames. French.

DIMENSIONS:

32

REFERENCE:

H:

47 in

119 cm

D:

13 in

33 cm

8658


33


A Pair of Urns in the Louis XVI Manner signed by Ferdinand Barbedienne Circa 1880

Constructed in carved white Carrara marble, and ormolu; rising from square stepped bases, the baluster form urns dressed with running laurel leaf bands in ormolu: addorsed pairs of putti clasp laurel garlands and swags, set against Vitruvian scrolls; the circular lids have ormolu foliate caps, with torsade and berried finials. Each urn signed by the maker, F. Barbedienne. French. Barbedienne The Barbedienne Foundry commenced in 1838 under the leadership of Ferdinand Barbedienne and Achille Collas, casting high quality models for the leading sculptors of the age, including Barye, Fremiet and Clesinger, as well as ‘mechanical reductions’ of statuary from the Classical period, and individual commissions from clock & furniture makers. The factory, situated in Rue de Lancry, Paris, employed over 300 craftsmen; in the FrancoPrussian war of 1870, the French government had the company cast cannons to serve in the defense of Paris. The company eventually closed in 1952.

DIMENSIONS:

34

REFERENCE:

H:

18 in

46 cm

Dia:

8.5 in

22 cm

8403


35


A Fine Console Table in the Early Louis XV Manner Circa 1870

Of serpentine form, constructed in gilt wood and Carrara marble; four female caryatids bearing flowers issue from scrolled foliate adorned scrolled bases which are conjoined by a swept stretcher having an addorsed ‘C’ scroll arrangement to the centre; the frieze having pendant foliate swags originating from the central inverted scallop shell, supporting the shaped marble platform. French.

DIMENSIONS:

36

REFERENCE:

H:

37 in

94 cm

W:

72 in

183 cm

D:

23.5 in

60 cm

8413


37


A Pair of Empire Period French Fauteuils Firmly Attributed to François-Honoré-Georges Jacob-Desmalter Circa 1810

Constructed in carved gilt wood, rising from stepped block front feet supporting vasiform legs and arm fascias, being carved with acanthus motifs, having carved serpentine seat rails; the padded arms having carved lotus leaf collars, with lotus carved brackets conjoining the channelled back uprights, which frame the upholstered backs; the toprails with scroll carved triangulated pediments. French. Provenance: Estate of the Gretton Family, late Moncorvo House, Knightsbridge, London, and Stapleford Park. The house, demolished in 1964, was constructed in 1878 for George Sandman, a future Governor of the Bank of England, and named after his wife’s father, the Viscount Da Torre de Moncorvo. The property was sold to Henri, fourth son of King Louis Philippe of France, the Duc d’Aumale in 1886, who brought over furnishing and paintings, including works by Raphael, Ingres and Mignard from the Chateau de Chantilly. The chateau was bequeathed by Henri to the French nation in 1897.

Two similar armchairs stamped Jacob D./R. Meslee and documented to be by Jacob-Desmalter were made for Napoleon and furnished the Salon of the Emperor at the Grand Trianon, Versailles in 1809. Bibliography; Le MobilierFrançais du XIXeSiecle, Denise LedouxLebard pp 267-352, which shows an almost identical fauteuil on pp330, from the Grand Trianon. Le Mobilier de Versailles Chefs d’Oeuvre du XIXeSiecle, Arrizoli-Clementel et Samoyaut, pp 32/202/206/135. Le Mobilier du Chateau de Chantilly, Edition Fanton pp19/110/117/122/123/125/132/151/152 et seq. Furniture Collections in the Louvre, Alcouffe,DionTenenbaum and Lefebure, pp298/302/306. http://www.british-history.ac.uk/survey-london/ vol45/plate-89 (Moncorvo House history)

In 1890, Moncorvo House and many contents were sold to John Gretton (d. 1899), and passed to his son the 1st Baron Gretton. The remaining house contents were moved prior to demolition to Stapleford Park, the family house in Leicestershire. François-Honoré-Georges Jacob-Desmalter (1770-1841) One of the most celebrated families of French ébénistes, the Jacob dynasty was begun by Georges Jacob (1739-1814) and reached its apogee under his second son, F-H-G Jacob–Desmalter, who took over the running of the company in 1796. The clientele included Napoleon Bonaparte, his sister, Pauline Borghese, the Empress Josephine, MarieLouise, the Duchess of Parma, inter alia. Furnishing were ordered for the Chateaux de Malmaison, Fontainebleau, Compiegne, Le Grand and Petit Trianon, the Tuileries & etc. At the Chateau de Chantilly may be seen the extraordinary coronation bed made for the Empress Josephine and Napoleon. Numerous museums show their work including the above chateaux, and, amongst others, The New York Metropolitan, The Musée des Arts Décoratif, the Louvre, The Victoria & Albert Museum, London.

DIMENSIONS:

38

REFERENCE:

H:

41 in

104 cm

W:

26.5 in

67 cm

D:

23 in

58.5 cm

8490

Photo Credit: Le Mobilier Français du XIXe Siécle, dictionnaire des ébénistes et menuisiers, Denise LedouxLebard, L’amateur, 2000. pg. 330. - shows an almost identical fauteuil from the Grand Trianon.


39


A Pair of Display Vitrines in the Early Georgian Manner Probably by Lengyon & Morant Circa 1920

Constructed in gilt and gesso work decorated with entrelacs, strapwork, scallop shells and acanthi; partially japanned; each rising from four cabriole trifid toes legs; three lockable drawers in each frieze, with japanned scenes to the drawers fascia’s and the sides; the upper glazed sections have double side doors, accessing the three glass shelves inside. The cornices are surmounted by scallop shells, emblematic of purity and knowledge unfolding. English.

DIMENSIONS:

40

REFERENCE:

H:

81 in

205 cm

W:

43 in

109 cm

D:

22 in

56 cm

8742

Francis Lenygon and Jeanette Morant joined forces in 1912, and were the doyennes of interior decorators for both the English Royal Family and consultants to Nelson Rockfeller in the creation of Colonial Williamsburg, Virginia. As authors, interior decorators and furniture designers they enjoyed an unparallelled reputation.


41


A Fine Quality Centre Table Firmly Attributed to Maple & Co. Circa 1890

Constructed in very finely figured mahogany and satinwood, and having excellently executed marquetry inlays; turned and tapering castor shod legs, conjoined with entrelac stretchers support the circular top; a central reserve houses a marquetry figure of Minerva, the goddess emblematic of wisdom, music and poetry, and sacred to Athens, set within an anthemion adorned guard band, itself radiating twelve issuances to the wider world; the outer guard band set with a running Vitruvian wave scroll.

DIMENSIONS: H: Dia:

42

REFERENCE:

30 in

76 cm

35.5 in

90 cm

8738

Maple & Company Founded in 1841 by John Maple, manufacturing and retailing from the hub of the furniture centre in London’s Tottenham Court Road, and through the founder & his son’s drive and excellence of the products of the company, expanded greatly, to have further workshops and points of sale in both Paris and Buenos Aires, and later, a shop in Smyrna. Clientele included Queen Victoria, King Edward VII, members of the Royal Household, the King of Siam, and the Nicholas, Tsar of Russia. Later, Maples would furnish the Royal yachts, the QE1, QE2 and the Queen Mary, as well as hotels in Nice, London, Paris and Siam.


43


A Pair of Demi Lune Commodes in the Adam Manner Circa 1885

DIMENSIONS:

44

REFERENCE:

H:

40 in

101 cm

W:

35.5 in

89.5 cm

D:

16 in

40 cm

8801

Constructed in a finely figured satinwood, which has been hand decorated in polychromes, and highlighted in gilt work; rising from turned, tapering feet, each with a central lockable door, enclosing a shelved interior; elliptical ribband tied cartouches adorn each door, painted with subjects of ‘Motherhood’, having affinities to the

work of Angelica Kauffman, with butterflies to the angles; trophies emblematic of the arts, music and literature adorn the sides, and overall is a conjoined and exuberantly executed extensive floral decoration; the platforms have classic mythological scenes, with cherub led chariots and cornucopia, issuing radials of bouquets and foliates


hand painted in polychromes. Adam Brothers James & Robert Adam were the first English designers to advocate an integrated style for architecture and interiors; with walls, ceilings, fireplaces, furniture, fixtures, fittings and carpets

as a single uniform scheme. Their espousement of the Palladian style defined the Neo-Classism of the last quarter of the 18th Century. Sir John Soane’s Museum in Lincoln’s Inn, London, houses some four thousand of their watercolour designs.

45


A Tallboy in the Neo-Classical Adam manner Circa 1880

Constructed in satinwood, with extensive hand decorated polychrome work in the style and palette of Angelica Kauffman; rising from inverted bulbous ring turned feet, the six drawers fitted with quadrant mouldings have pairs of cast brass loop pulls, decorated with a cartouche of a lady of quality, and foliate tendrils, and above, a cornice similarly decorated.

DIMENSIONS:

46

REFERENCE:

H:

75 in

190 cm

W:

32 in

81 cm

D:

22 in

56 cm

8693


47


A Fine Console Table in the Manner of Robert Adam Circa 1860

Constructed in gilt wood, with painted accents; the inverted Carrara marble top having outswept sides, and a thumbnail moulded edge, supported by four tapering and waisted legs having Ionic capitols, and recessed panels dressed with pendant Bellflowers, and terminating in spade feet; over, tablets having a Greek key background are adorned with lion masks within cartouches, holding ribbands; betwixt, the apron has a running swag motif; below, a gilt wood panel frames the mirrored back. Of typical strong Adam design, this console has consonances with his original designs, although the use of lion masks is unusual.

DIMENSIONS:

48

REFERENCE:

H:

37 in

94 cm

W:

72 in

183 cm

D:

21 in

53.5 cm

7375


49


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

Constructed in a well figured mahogany, with fine carved detailing; of inverted four door breakfront form, rising from a plinth base with a stiff leaf carved ogee edging; the lower section having lockable fielded panel doors dressed with shaped urns, ribbands, garlands, and curlicues separated by stiles carved with pendant bellflowers, opening to reveal shelved interiors; over, the apron carved

DIMENSIONS:

50

REFERENCE:

H:

102 in

258 cm

W:

102.5 in

260 cm

D:

19.5 in

49 cm

7593

with vertical torsades set about a central elliptical flower petal cartouche, set with lambrequins; the upper section having lancet astragals with anthemion terminals to the lockable doors, with shelved interiors, betwixt carved stiles; the cornice carved with running foliate roundels set about a central profile ram’s head.


51


A Fine Octagonal Library Desk stamped by H. Samuel of London Circa 1880

Constructed in a well figured mahogany, adorned with applique rocaille scroll work rising from foliate carved and shaped plinth inset feet, the pedestals separated by reeded stiles capped with inverted scallop shells; four cupboards at the angles, each with shaped fielded panels, with ‘c’ scrolls at the quadrants, and having two banks of four cock beaded drawers, with stylised swan neck handles. The stiff leaf carved thumbnail moulded edged top having an inset tooled morocco leather. the apron having two diametrically opposed long drawers, with hinged quarter drawers, all with conforming brasses.

DIMENSIONS:

52

REFERENCE:

H:

31 in

78 cm

W:

57 in

145 cm

D:

54 in

137 cm

8731

Signed to the pedestal by ‘H. Samuel, 484 Oxford Street W’. H. Samuel are recorded at this address from 1872 onwards, trading as ‘dealers in works of art and furniture’. This desk was probably made for a client, as they are not noted as makers of furniture. The company exists today, and is known mostly for watches and jewellery. The desk is based on a desk acquired by George IV for the Octagon Library at Buckingham Palace, then Buckingham House.


53


A Thomas Hope Armchair Circa 1803

Constructed in a well patinated mahogany, the design as illustrated on Plate 11 of Thomas Hope’s ‘Household Furniture and Interior Decoration’ published 1807. Thomas Hope (1768-1831) To give its’ full title and entitlements, ‘Household Furniture and Interior Decoration executed from Designs by Thomas Hope’ served fundamentally as a guide book to the collection at his Duchess Street house, all pieces meticulously following his own designs, whose inspiration he drew from his lengthy study of antiquity in the Mediterranean basin. Both in Duchess Street, and his country estate at Deepdene near Dorking served as showplaces for his art collection. Widely travelled, having a penchant for Ottoman tastes, he was painted in Ottoman attire by Sir William Beechey, now to be seen in the National Portrait Gallery; his talents encompassed poetry, and, he was considered by many contemporaries the equal of George, Lord Byron, for his opus ‘Anastasius’ a view of the exotic sensuality of the East, and also, architecture. After his death, at the end of the Georgian period and the beginning of the more sanctimonious moral views of the Victorian age occasioned his obscurity at the time. His houses were demolished, and his works forgotten. We are fortunate to possess very rare examples of his personal correspondence (with Flaxman), written in a bold, cursive hand. Today, his work is lauded as the apogee of English Regency design. Provenance Commissioned by Samuel Rogers Esq. 22 St James’s Place London, 1803.

Private Collection.

and design. Documented in Rogers’ biography, The Early Life of Samuel Rogers, 1887, Hope assisted with the furniture designs, specifically chairs with griffin supports, for Rogers’ new residence at 22 St James’s Place in 1803.

Hope’s designs and patronage existed well before the 1807 publication of Household Furniture. Hope was actively collecting antiquities and creating interior and furniture designs for his Duchess Street residence prior to 1799. Several sources cite that Thomas Hope and poet, Samuel Rogers, were close acquaintances and exchanged ideas of architecture

There are four recorded versions of this armchair all with slight variations and craftsmanship. Two chairs are recorded in a private collection, one in the Fitzwilliam Museum, and the forth is this model. It can be presumed that this chair may be the original chair, prior to Hope’s own collection having been completed, or one of the earliest models.

Christie Manson & Wood Sale 28 May 1856 possibly part of 38, as one of a pair, thence by descent. Christies London 7 June 2006.

DIMENSIONS:

54

REFERENCE:

H:

35.5 in

90 cm

W:

23 in

58 cm

D:

24 in

61 cm

8685

Thomas Hope, Household Furniture, 1807, plate II, no 3.


55


A Splendid Regency Table Firmly Attributed to Gillow With provenance to the Marchioness Dowager of Bath Circa 1815

Constructed in a beautifully marked coromandel: rising from bronze castor shod swept reeded legs, the ends housing vertical frames enclosing triple tapering and turned spindles supporting a shaped rectangular platform with re-entrant corners, and dressed with a bronze edging guard; the underside of the platform has an old inventory label noting the table to be the property of the Marchioness Dowager of Bath. Provenance Elizabeth, Dowager Marchioness of Bath (1735 – 1825), was noted in The Gentlemen’s Magazine, in the January 1826 publication announcing her obituary. She passed at 92 years of age on December 12, at her house in Lower Grosvenor-street, London. She was the eldest daughter of William Bentinck, 2nd Duke of Portland, and Duchess Margaret

DIMENSIONS:

56

REFERENCE:

H:

29 in

74 cm

W:

36 in

92 cm

D:

23 in

59 cm

8696

Cavendish Bentinck, formally Lady Margaret Harley, daughter of Edward Harley, 2nd Earl of Oxford and Earl Mortimer, and who was recorded as the richest woman in Great Britain of her time. Elizabeth was married to British politician, Thomas Thynne, 1st Marquess of Bath (1734-1796), who held office under George III serving as Southern Secretary, Northern Secretary and Lord Lieutenant of Ireland. It has been recorded that the couple had private residences in London and at Longleat House, a country house just out side of Bath, built between 1567 and 1580. The house has been noted for its art collection and its elaborately decorated interiors with architectural Italian influence. A similar model constructed of rosewood with brass details and ‘spindle ends’ is shown on page 30, plate 329, of Gillows: of Lancaster and London 1730 -1840, Susan E. Stuart, ACC Art Books, 2008. Several tables with these distinctive spindles appear in The Estimate Sketch Book during the 1820s, also documented in the Gillows archive drawings.


Gillows of London & Lancaster

Courtesy of Westminster City Archives

57


A George IV Period Writing Table Firmly Attributed to Gillow Circa 1825

Constructed in mahogany; rising from castor shod ring turned and lobed legs, the gadrooned edge platform of serpentine symmetrical form, set with a ratchet and easel book support, the writing surface inset with tan leather; the apron housing a frieze drawer, with further faux drawers to the sides and obverse, fitted with ivory knobs. Gillows of London & Lancaster The founder of the Gillows dynasty, Robert (1704-1772) rose from humble beginnings as a provincial joiner, and evolved into a consummate businessman following a pursuit of excellence throughout his life. Founding his business in 1730 he expanded his furniture making activities to include the direct import of quality West Indian timbers especially the finest mahogany. His talents as both a cabinetmaker as well as innovative designer brought him early success, and, bringing his two sons, Richard & Robert, into the business, he expanded his Lancaster showroom, to include another in London’s Oxford DIMENSIONS: H:

58

30 in

REFERENCE: 75 cm

W:

42.5 in 107.5 cm

D:

26.5 in

67 cm

8702

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


Gillows of London & Lancaster

59


A Fine Marquetry Bureau Plat Stamped by Gillow Circa 1850

Designed in the Louis XV manner, of Arcen-arbalette form, constructed using a finely grained Circassian burr walnut, with kingwood crossbanding and gonรงalo alves moulding, with elaborate foliate gilt bronze mounts; rising from swept cabriole legs, and dressed with gilt bronze sabots. The top adorned with stained floral marquetry of fruitwood around a decorative inlaid central cartouche; with two drawers, one stamped Gillow.

DIMENSIONS:

60

REFERENCE:

H:

30 in

75 cm

W:

54.5 in

138 cm

D:

28 in

71 cm

8551


Gillows of London & Lancaster

61


A Very Fine Enclosed Cabinet of the Aesthetic Period Firmly Attributed to Jackson & Graham of London Circa 1870

Constructed using, befitting the aims of the Aesthetic Period, the very finest and rarest woods and materials, including a beautifully grained coromandel as the ground wood, with, inter alia, ebony, palm, thuya, zebra, and several specimen woods, along with ivory employed in the astonishingly precise marquetry inlays; of bow ended arc-en-arbalette form, rising from a plinth base, the central and flanking end doors are fitted with Chubb locks, opening to reveal shelved interiors of a remarkably fine, high grade mahogany; the fascia is extensively inlaid, yet with great restraint and refinement, in designs drawn from the masterwork of Owen Jones (1809-1874) (qv), ‘The Grammar of Ornament’, first published in 1856. The design motifs employed in the palmette, anthemion and acroteria inlay works have extensive concordances to the drawings in Jones’s book, (qv) The central door bears the initials ‘JSS’, whom we suggest may well be the original owner. Researches into these initials are ongoing. The platform shows off the juxtaposition of the coromandel, ebony and ivory to great effect. Jackson & Graham Established in 1836 by Thomas Jackson and Peter Graham in London, and for the next fifty years produced high quality furniture, representing Great Britain at many of the international exhibitions, including Vienna 1873, 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’. 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 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. In 1885 the company was absorbed by Collinson and Lock, who continued their standard of excellence.

DIMENSIONS:

62

REFERENCE:

H:

40 in

102 cm

W:

73 in 185.5 cm

D:

20 in

51 cm

8698


63


A Good Occasional Table in the Louis XV Manner by Charles Blake of London Circa 1850

Freestanding, and constructed in tulipwood, with amaranth and kingwood strappings and crossbandings, with excellent marquetry inlay work in other specimen woods, and adorned with gilt bronze mounts. Rising from foliate sabot shod cabriole legs supporting a shaped top, with guard straps to the edges, housing a strapwork inlaid frame enclosing a detailed bouquet of flowers; the frieze incorporating a single drawer, and inlaid with kingwood guilloches. Signed ‘Blake’ to the reverse of one of the mounts.

DIMENSIONS:

64

REFERENCE:

H:

27 in

68 cm

W:

22 in

56.5 cm

D:

16 in

40 cm

8614

Charles Blake The Dictionary of English Furniture published by the Furniture History Society, published 1986, lists Robert Blake at 8 Stephen Street, Tottenham Court Road in 1820 and later of 130 Mount Street Berkley Square, was a noted marquetrier and buhl inlayer and supplied many items which were retailed by Edward Holmes Baldock (1777-1845). By 1843 the premises housed he and his four sons, Charles (b1814), Henry, George and James. By 1860, only Charles was at the address, until his death in 1879. Edward Holmes Baldock (1777-1845) one of the ‘leading antique and ornamental furniture dealers’ (as stated on his trade card) was in nearby Hanway Street, and is known to have employed the Blakes, as their very distinctive marquetry work was of the of the highest quality and delicacy. A pair of commodes were made by Blake (now in the Frick Collection, having been sold by Lord Duveen of Millbank in 1916) copying the Andre-Charles Buhl originals made for Louis XIV’s Trianon.


65


A Chinoiserie Vitrine Circa 1880

Extensively decorated in the Chinoiserie manner in giltwork and polychromes; rising from a plinth base, having canted sides, a central door to the lower section, revealing a shelved interior; the upper section glazed; surmounted by an ogee form cornice, and surmounted by a stylised Chinese motif. Italian.

DIMENSIONS:

66

REFERENCE:

H:

102 in

258 cm

W:

53 in

135 cm

D:

21.5 in

54 cm

8238


67


An Important Pair of Large Micromosaic Plaques From The Vatican Studios of Rome Circa 1924

DIMENSIONS:

68

REFERENCE:

H:

21.5 in

55 cm

W:

15 in

38.5 cm

8697

Gilt frames of portrait form enclose the plaques, which depict male and female Italian villagers in colourful traditional local costume, the Roman Campana in the backgrounds; the remarkable original labels to the obverse detail their origin, the famous Vatican Mosaic Studio, and the date the pieces were sold, 16 July 1924. The male figure portrait bears an indecipherable signature to the lower right. Italian.


Vatican Mosaic Workshop Studio del Musaico dell Reverenda Fabbrica di S. Pietro (Mosaic Studio of the Reverenced Work Shop of St. Peter’s) was created in the Sixteenth Century to create architectural mosaics for the new basilica, and was later established as a distinct entity in 1727, supplying extraordinarily detailed views of Rome to the new industry of ‘tourism’, in the form of table tops, tablets and jewellery.

69


A Good Pair of Rococo 18th Century Northern Italian Console Tables Circa 1750

Constructed in carved giltwood, with shaped marble tops; each with four cabriole legs, ornately dressed with foliates are conjoined by shaped and floridly carved stretchers having stylised flambeaux finials at the centres; the shaped ‘c’ scroll pierced aprons having conforming side rails; surmounted by shaped marble platforms. Italian.

DIMENSIONS:

70

REFERENCE:

H:

38 in

96 cm

W:

53 in

134 cm

D:

24 in

60 cm

8745


71


A Five Fold Screen in the Early Romantic Manner Circa 1880

The gilt wood frames, channelled, with a bound cannellure design, have arched tops, and enclose the five hand painted oil on canvas scenes of a series of bucolic ‘fete galante’ scenes in the manner of Antoine Watteau, within cartouches, depicting young couples, the outer fields decorated with ribband-tied roses and foliage, with arabesques. French.

DIMENSIONS: H: W:

72

72 in

REFERENCE: 183 cm

104 in 264.5 cm

7814


73


A Fine Pair of Secrétaires à Abattant In the Manner of Alexandre-Louis Bellangé Circa 1825

Constructed in ebony, and dressed with twocolour ormolu mounts, made with exceptional refinement, Florentine pietra dura panels, pewter inlay work and Portor marble tops. Each cabinet rising from oblate bun feet below the incurved, pewter line-inlaid lower tiers; the supporting circular columns have ormolu capitols engraved with trellis patterns; the friezes house spring released lockable mahogany lined drawers, each of which are faced with pairs of hardstone plaques, and extensive ormolu foliates. One cabinet has flanking ormolu female caryatids atop fluted columns, the other with torsade columns atop a fluted column; the fall-fronts have centrally sited hardstone plaques depicting bowls of fruit within an ormolu framework, and with ormolu ribbandtied foliates to the sides; the lockable fall-fronts open to revel writing surfaces and fitted interior, with the four small drawers set about the central lockable drawer; the sides have further pewter line inlays enclosing centrally sited ormolu foliates; the Portor marble platforms sit upon the upper friezes of stiff- leaf and Vitruvian scrolls. One cabinet bearing an old circular paper label ‘110/1825/No 1176’. French. Provenance Most probably acquired by Richard, 1st Duke of Buckingham & Chandos (d. 1839), and thence by descent to his son, Richard, 2nd Duke of Buckingham & Chandos (d. 1861), at Stowe House, Buckinghamshire until sold ‘Contents of Stowe House’, Christie, Manson & Woods, Third day’s sale, 17 August 1848, lots 367 and 368 to E.L. Betts, Esq. (for £89.5 and £80.17 respectively). E.L. Betts, Esq. at the Mansion, Petersham Lodge, Petersham until sold Mr. Phillips, 25 January 1865 and Two following Days, lot 111 to ‘Phillips’ for £32.11. Richard, 3rd Duke of Buckingham & Chandos (d. 1889) either at Stowe House or Chandos House, London, and thence by descent.

DIMENSIONS:

74

REFERENCE:

H:

48.5 in

124 cm

W:

30 in

76 cm

D:

14.5 in

37 cm

8664


75


Richard, 1st Duke of Buckingham & Chandos The demise of the family fortune, culminating in the sale of Stowe’s contents had no doubt commenced with the 2nd Duke’s father, also Richard (d. 1839), a prolific collector. The 1st Duke was among the ‘early and considerable purchasers’ at the Orléans sale of Italian and French paintings in 1798, and was also a buyer at the 1823 Beckford/Fonthill sale. In 1827, the 1st Duke was sent to the continent to curb his extravagant spending but managed in three years of exile to accumulate yet more pictures and artefacts in Italy. It is feasible he acquired these secrétaires in Paris on his return journey through the European capitals. Alternatively the secrétaires may have been acquired by the 2nd Duke, as he too developed a partiality for this style of furniture; the 1848 Stowe catalogue reveals that there was a significant amount of Florentine pietre dure furniture in the mansion by this date.

Alexandre-Louis Bellangé (1799 -1863) Denise Ledoux-Lebard, in ‘Le Mobilier Français du19eme Siècle’ Published 2008, by Editions de L’Amateur, records the Bellangé Family of Ébènistes as holding an “elevated place in the history of French 19th c furniture makers’’; Pierre-Antoine (1758-1827) and his brother Louis-François (1759-1827) are both represented in French State Collections, both having worked for the Emperor; (Compiegne and Versailles) - pieces by AlexandreLouis are to be found in the Royal Collection at Buckingham Palace, Windsor Castle and the Wallace Collection, inter alia.

76

Sylvain Cordier’s history and exegisis of the Bellangé family ‘Bellange, ebenistes a history of 19th century taste’ edition Mare et Martin 2012, shows a secretaire with similar foliate mounts on pp 317.


77


A Fine Bureau Plat in the Manner of André-Charles Boulle Circa 1870

Constructed in ebony with arabesque foliate cut brass inlays, with premiere-partie panels set with tortoiseshell grounds and brass inlay work, and having extensive fine quality ormolu mounts; rising from animal paw sabots, mounted with female masks at the shoulders; the apron housing three drawers, with faux drawers to the obverse, the central drawers set with a Bacchic mask issuing foliates, the platform of serpentine form, having a brass guard edge, and inset with a gilt tooled morocco leather. Stamped to the carcass ‘BF’ and ‘Gros’. French. Denise Ledoux-Lebard’s ‘Le Mobilier Français du XIXe Siecle’. Published by les Editions de l’Amateur, 2000, lists a Benjamin Gros, whose enterprise amalgamated with the noted ebeniste Winckelsen in 1871; Gros had received an honourable mention for his ‘Boulle’ furniture in the Exposition Universelle in 1855. Literature Le Mobilier Francais (qv). Seymour de Ricci, Batsford 1929 ‘Louis XIV and Regence Furniture’ pp 123

DIMENSIONS:

78

REFERENCE:

H:

31.5 in

80 cm

W:

61 in

154 cm

D:

33 in

84 cm

8725

Paul Getty Catalogue of the Los Angeles Getty Museum pub 2003 ‘French Furniture & Bronzes of the Louis X12vth and Regence periods’.


79


A Pair of Side Cabinets in the Manner of Andre-Charles Boulle Circa 1860

Constructed in bois noirci, being dressed with bronze mounts, having complex inlaid brass decoration in the later neo-renaissance manner, of arabesques enclosing a scene depicting Cupid in a swing, with anthromorphic animal attendants, in a sylvan setting, after a design by Jean Berain; rising from plinth bases, the panelled doors fitted with locks, and enclosing shelved interiors’. French.

DIMENSIONS:

80

REFERENCE:

H:

41 in 104.5 cm

W:

30 in

76.5 cm

D:

16 in

41 cm

8559

Andre-Charles Boulle (1642-1732) 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 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.


81


A Centre Table in the Manner of Andre-Charles Boulle by Charles-Guillaume Diehl Circa 1860

Of rectangular form, constructed in bois noirci and cut brass, using complex arabesque designs in the manner of Jean Berain; rising from square tapering collared legs conjoined by a stylised stretcher of ‘X’ form issuing from a central tablet; having three drawers to the frieze. French. Charles-Guillaume Diehl (1811-1885) Diehl was a German born cabinetmaker that worked and ran workshops in France from approximately 1840 until 1885, specialising in small decorative cabinets and jewellery caskets, as well as producing a small amount of furniture. His work was characterized as exuberant, incorporating exclusive and fine quality porcelain and bronze and silvered mounts, marquetry, pietra dura and Boulle style inlays, while pioneering a unique and exotic style by combining elements of French eighteenth-century furniture and decorative Greek and Gallic themes. Diehl participated in all of the major international exhibitions of the nineteenth-century and received various medals at 1855, 1861, 1867, 1869, 1873 and 1878. Rare to find on the market, Diehl’s pieces are located in the Musée d’Orsay, Musée de l’Ecole de Nancy, Metropolitan Museum of Art, Philadelphia Museum of Art, and private collections.

DIMENSIONS:

82

REFERENCE:

H:

30 in

76 cm

W:

55.5 in

140 cm

D:

34 in

86 cm

8378


83


A ‘Namban’ Export Cabinet of the early 17th Century Circa 1600/1630

Of rectangular form, dressed with engraved metal guard straps at the angles, being comprehensively decorated with lacquer work, mother of pearl and gilt; having a hinged fall front, with an engraved lock case, a shaped and engraved metal cartouche enclosing the keyhole, the a central panel of an arboreal scene, with an ornamental rooster and chicken below, and birds in flight over, enclosed by an outer reserve of inlaid geometric patterns; the interior having a centrally situated deep drawer with a panelled and arched front, surrounded by an asymmetrical arrangement of nine further drawers, with lacquered metal button handles, with conforming decoration; the top decorated with a mother of pearl cartouche enclosing a pair of mythological shi-shis, in the proscribed arrangement of one with its’ mouth open, the other with a closed mouth; the sides, dressed with metal loop carrying handles, and the reverse, are DIMENSIONS:

84

decorated with conforming foliate and geometric designs. Japanese. ‘Namban’ work, the generic name for ‘export’ wares initially ordered by Portuguese, and later Dutch traders in the 16th and 17th centuries. Religious articles, such as bible stands are to be found with this type of decoration. ‘Namban’ is the dismissive term for ‘Southern Barbarians’, the term used by the indigenous Japanese for their visitors. Literature ‘Japanese Export Lacquer 1580-1850’, compiled by Impey and Jörg, published Leiden; plates 228- 243 depict strikingly similar cabinets. ‘History of Lacquer’ by various contributors, published Phoebe Phillips and Bracken Books 1984, Pages 125/6. ‘Japanese Export Lacquers from the 17th Century’ Martha Boyer published Copenhagen 1959.

REFERENCE:

H:

17 in

43 cm

W:

26 in

66 cm

D:

15 in

38 cm

8541

Plate XXX et seq.


85


A Library Centre Table in the Louis XVI Manner Circa 1875

Constructed in amboyna, with purpleheart banding, with gilt bronze mounts; of elliptical form, with gently everted angles; rising from circular bronze collared fluted legs capped with gilt bronze toupie feet, and conjoined with swept stretcher issuing from a central circular boss; the frieze having a single blind drawer inset with a mythological scene of putti, and a running band of stylised Vitruvian scrolls; the platform having a tooled and gilt leather writing surface. French.

DIMENSIONS:

86

REFERENCE:

H:

28.5 in

72 cm

W:

59 in

150 cm

D:

40 in

102 cm

8329


87


A Fine Garniture de Cheminée Firmly Attributed to Henry Dasson Circa 1880

Constructed in both dark patinated bronze and gilt bronze, with Rouge Griotte marble; the clock case having a stepped platform base decorated with trefoil hearts and entrelacs, upon which a ribband dressed fluted column supports the drum case, with a white enamel painted dial, with Roman and Arabic hour and minute markers and an inner date indicator, signed by the clock maker Ferdinand Berthoud; the twin train eight day movement having a Brocot type escapement, striking the hours on a bell; flanked by a dark patinated figure of a draped Cupid and doves; a pair of standing putti candelabra, each holding six flowering lily of the valley candle fittings stand atop draped marble columns. French. The 18th century model, upon which our garniture is based, is to be seen on pp236 of Pierre Kjellberg’s ‘Encyclopedia of French Clocks’, and was originally made in the 1770’s by Le Paute. An identical clock case, signed ‘Henry Dasson 1881’ recently passed through the art market. 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 (Clock): 22.5 in

56 cm

H:

W:

22 in

55 cm

Dia:

D:

10 in

25 cm

REFERENCE: 8819

88

DIMENSIONS (Candelabra):

H:

35.5 in

90 cm

14 in

36 cm


Henry Dasson et Cie

89


A very rare, possibly unique Ormolu Mirror of monumental size by Henry Dasson et Cie Dated 1889

Constructed in gilt bronze, and signed twice by the maker to the reverse in a marqué de fer and also in the ormolu, dated 1889; of portrait form, having a domed surmount, flanked by winged sphinxes; the outer frame with stiff leaf castings, and an inner reserve of similar form, with Aeolian harps to the quadrants, issuing fruiting tendrils. French.

DIMENSIONS:

90

REFERENCE:

H:

105 in

267 cm

W:

72 in

183 cm

8788

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.


Henry Dasson et Cie

91


An Occasional Table By Henry Dasson et Cie Circa 1890

Of rectangular form, constructed in mahogany, adorned with bronze mounts, a jasperware plaque in the Wedgwood manner, and having an Egyptian sea-green speckled granite platform; rising from tapering torsade feet, the undertier dressed with a pierced bronze gallery, within turned, bronze collared and tapering fluted legs; the shaped apron having a bronze and jasperware dressed single drawer, spring operated by a concealed button, and the Egyptian granite platform enclosed within an engraved bronze trim. Signed with marques de fer, to the underside, and to one side ‘Henry Dasson et Cie 1890’. The drawer contains an old typewritten notice that it was used, and favourably commented upon, by the Queen Mother in 1964. French.

DIMENSIONS:

92

REFERENCE:

H:

29 in

73 cm

W:

23 in

59 cm

D:

16 in

40 cm

8595


Henry Dasson et Cie

93


A Fine Encoignure in the Louis XV Manner Circa 1890

Constructed in kingwood, and dressed with fine gilt bronze ormolu mounts; of bow fronted form, the front feet of lions paw form, terminating in foliate spandrels; the lockable vitrine door, having a gilt trim encloses a shelved and velvet lined interior. with side vitrine windows; having a serpentine pediment, and pendant foliate ormolu espagnolettes. French.

DIMENSIONS:

94

REFERENCE:

H:

76 in 192.5 cm

W:

38 in

97 cm

D:

28 in

70 cm

8678


95


A Library Table by Johnstone, Jeanes & Co. Circa 1870

Of free standing, bow ended rectangular form, constructed in amboyna, with gilt highlights, and specimen wood foliate inlays, dressed with gilt highlights; the slab end supports with scrolled feet, flanked by turned, tapering and reeded columns have a conjoining shaped stretcher, issuing from a distended central boss capped with an elliptical carved ornament; two drawers in the frieze, with faux drawers to the obverse. Stamped on one of the drawers ‘Johnstone, Jeanes & Co, 67 New Bond Street 10851’.

Johnstone, Jeanes & Co John Johnstone of Bond Street came to prominence after his collaboration with Robert Jupe, an ‘upholder’ of 47 Welbeck Street, Cavendish Square, London, who patented a remarkable design for a circular expanding dining table with a segmented top in 1835. After Jupe’s death, the firm traded as ‘Johnstone and Jeanes’ from 1842 until 1880, continuing the tradition of producing high quality furniture. Both the Royal Collection Trust and the Victoria & Albert Museum own stamped pieces of furniture in its’ collections. The firm later became ‘Johnstone & Norman’, trading until the early years of the twentieth century.

DIMENSIONS:

96

REFERENCE:

H:

29 in

74 cm

W:

56.5 in

143 cm

D:

30.5 in

77 cm

8708


97


A Magnificent Royal Cabinet by Holland & Sons, made for Marlborough House. Circa 1865

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

Image right: Arthur H Beavan, Marlborough House and its Occupants Past and Present, London, 1896; Image of the Great Drawing Room at Marlborough House, pg. 25. DIMENSIONS:

98

REFERENCE:

H:

53 in

134 cm

W:

42 in

107 cm

D:

20.5 in

52 cm

8637


Holland & Sons

99


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

100


Holland & Sons

101


A Very Fine Occasional Table Firmly Attributed to Holland & Sons Provenanced to Lord Cornwallis of Linton Park, Kent Circa 1860

Constructed using specially selected examples of specimen woods, including, inter alia, harewood, boxwood, kingwood, stained sycamore, etched ivory inlays, porcelain plaques and gilt bronze work. Of rectangular form, rising from toupie feet, the tapering torsade legs having the bronze effect sheen achieved by using copper sulphate stained sycamore; having an incurved lower tier with a trellis decoration; the gilt bronze draped frieze houses a single drawer, dressed with quadrant mouldings, and the fascias have inset floral hand painted plaques within bronze frames; the platform has a bronze stiff leaf cast guard edge, and is inlaid with guard band reserves housing inlays depicting the arts of literature, music, painting, sculpture

DIMENSIONS:

102

REFERENCE:

H:

29 in

74 cm

W:

22 in

56 cm

D:

15.5 in

39 cm

8758

(in the form of the bust of the Venus de Milo) and etched portraits of Prince Albert and Queen Victoria. The table has two old labels- one ascribing the ownership to ‘Lord Cornwallis’ (qv) and ‘Linton Park’, his residence. Colonel Fiennes Stanley Wykeham Cornwallis, 1st Baron Cornwallis CBE (27 May 1864 – 26 September 1935), was a Conservative politician representing Maidstone. He had inherited Linton Park.


Holland & Sons

103


A Large Marquetry Centre Table in the Manner of Holland & Sons Circa 1860

Constructed in finely marked European & Circassian walnut, with extensive ormolu enhancements and foliate inlays in boxwood; rising from a tripartite swept leg base, the scrolled toes dressed with porcelain castors, with bosses, anthemion and foliate form ormolu mounts, and conjoining the baluster turned central column, set with ormolu cartouches; the circular tilt top platform has an ovolo cast ormolu guard band, housing an inner banding with foliate inlays, enclosing the book-matched Circassian walnut centre field.

DIMENSIONS: H: Dia:

104

28.5 in

REFERENCE: 72 cm

63 in 157.5 cm

8342

Provenance By repute, Bonningtons Castings Ltd. of Edinburgh board room.Â


Holland & Sons

105


An Architectural Model of an Mughal Indian City Gateway Circa 1850

DIMENSIONS:

106

REFERENCE:

H:

18.5 in

47 cm

W:

17 in

43 cm

D:

15 in

37 cm

8770

Constructed in ivory, most finely and delicately carved, set upon a stepped maple plinth, the foursquare building having paired watch towers at the angles, the two mihrab shaped arched doorways of native Indian design, (wide enough to accommodate one elephant at a time); the outer walls are modelled as slab stonework masonry, and a central cupola, with latticed crenellures surmounts the galleried top. English.


107


‘The Snake Charmer’ by Baron Charles Arthur Bourgeois (1838-1886) Circa 1880

Cast in finely sculpted bronze, which has acquired a fine patina; rising from a circular base, the young dancing Nubian, dressed in a loincloth, plays a woodwind instrument, thus charming the coiled snake. Signed by the artist, ‘A. Bourgeois Sculptr’, and the foundry ‘L. Marchand Edt’. French. Baron Charles Arthur Bourgeois was a pupil of Duret and Guillaume at the Parisian Academy, the Ecole des Beaux-Arts, and awarded the Grand Prix de Rome in 1863, the year the Snake Charmer was created; Napoleon the Third saw the plaster maquette, and ordered a bronze, life size version, which is in situ today at the Jardin des Plantes, Paris, adjacent to the reptile house. Further works by Bourgeois are displayed in the Louvre, and the Dahesh Museum of Art, New York. Literature; Benezit, Dictionary of Artists, Editions Gründ, 2006. ‘Bronzes, Sculptors and Founders’, Harold Berman, Editions Abage, 1976.

DIMENSIONS: H:

108

33 in

REFERENCE: 83 cm

8703


‘Two Children’ by Cesare Lapini Circa 1888

Constructed in Carrara marble, the young lovers are reconciling their differences. Signed by the artist, dated 1888, and ‘Firenze’. Italian. Cesare Lapini (1848-1888) is listed in volume 8 of Benezit’s ‘Dictionary of Artists’. Published by Editions Gründ, 2006, he is noted as being born in Florence, and exhibiting in Rome in 1888, shortly before his death.

DIMENSIONS:

REFERENCE:

H:

33 in

84 cm

W:

16 in

41 cm

D:

12 in

30.5 cm

8674

109


An impressive 19th century Equestrian Statue of Louis XIV After François Girardon (1628-1715) Circa 1880

Cast in a dark patinated bronze, the statue depicts the Sun King as a Roman Emperor, and is signed to the side, ‘Louis XIV par Girardon’. The original 7 metres high monumental statue of Louis XIV once stood in the Place Louis-le-Grand (now the Place Vendôme) and was destroyed in 1792 during the turmoil of the post revolution years. French. Designed by the sculptor François Girardon, the statue was conceived as the centrepiece to the square and was commissioned by Louis XIV’s war minister the Marquis de Louvois in honour of the king and created by the architect Jules HardouinMansart. Begun in 1685, the square and the statue were themselves created to outdo the magnificence of the nearby Place des Victoires which had similarly been commissioned (in this case by the Duc de La Feuillade) in honour of the king and created in 1679, this time with an equestrian centrepiece of the King by the sculptor Martin Desjardins. Girardon worked on the model from 1685 to 1687 and depicted Louis XIV as a Roman emperor in the manner of antique classical statues albeit wearing a contemporary voluminous long curling wig. The king with lofty and imperial stance sits astride his mount with no saddle and stirrups to show the mastery of his horsemanship and his saddlecloth is edged with fleurs-de-lis whilst his horse tramples the sword and shield of a defeated enemy.

110

DIMENSIONS:

REFERENCE:

H:

8820

42.5 in 107.5 cm


111


A Six Panelled Screen of the late Baroque Period Circa 1760

112


Oil on canvas, depicting a panoramic view of a capriccio north European landscape, perhaps SchlesweigHolstein, with distant views of the sea, the ruined castles, peasants, and a lady of quality mounted, within a running arched canopy of foliates. German.

DIMENSIONS:

REFERENCE:

H:

100.5 in

255 cm

W:

151 in

384 cm

8771

113


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