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5 Ryder Street St James's London SW1Y 6PY Telephone: +44 (0)20 7839 5671 | Mobile: +44 (0)7725 332 665 | Email:
Mackinnon Fine Furniture


Welcome to our tenth printed catalogue. We are delighted to share this selection of pieces from our current inventory.

Particularly noteworthy pieces include the important George III neoclassical marquetry side table attributed to John Cobb from the collections of Lady Sackville of Knole, the wonderful Carlton House writing table attributed to Gillows, and the superlative satinwood secretaire attributed to Thomas Chippendale. Pieces with great provenances include the rare padouk side table from Ickworth, the highly important pair of mahogany armchairs from Warwick Castle and the magnificent pair of lion carved giltwood armchairs from Bramshill. Other provenances, collectors and makers include Hales Place, Montacute, Chrysler, Wright & Elwick, Lovelace and Langlois. The six fold Chinese Export lacquer screen is a particularly good example and the extraordinary pair of George III rolled paper demi-lune side tables must rank amongst the very best known examples of their kind.

I would like to again thank Isabelle Vaudrey for her help in the gallery and in compiling this catalogue and also Christopher Coles for his help with our research. Please let us know if you find something of interest in the catalogue. Do come and visit us in St. James’s if you happen to be in the area.


Detail of George II Side Table from Ickworth, pp. 12-13.

Cover: George III Chinese Chippendale Armchair, pp. 10-11.

Inside Covers:

Detail of the Pair of George III Rolled Paper Tables, pp. 46-49.

Charlie Mackinnon Mackinnon Fine Furniture


England, circa 1730

An exceptionally fine George II period walnut and pollard oak kneehole desk with brushing slide and secret compartments. The moulded top veneered in book-matched panels of pollard oak, and feather-banded and cross-banded with walnut detailing.

The oak lined drawers similarly veneered, each with original locks and gilt-brass back plates and handles. The central recessed cupboard door with original hinges and escutcheon below a hidden frieze drawer. The cupboard secured in place but removeable, pulling forward to reveal the hidden compartments behind.  The sides veneered in book-matched walnut. Raised on shaped original bracket feet.

Superb colour and patina throughout.

Height: 31¼ in (79 cm)

Width: 29¼ in (74 cm)

Depth: 18¾ in (48 cm)



Attributed to Ince & Mayhew England, circa 1770

A highly important pair of George III giltwood armchairs, each with a shaped oval upholstered and gilt framed back centred by a carved lion mask, the drapery-form armrests with lion-head terminals on foliate-carved supports flanking a damask upholstered seat, the front seat rail centred by a satyr mask, raised on square tapering legs with trailing husks, block and ball feet.

Height: 40 in (101.5 cm)

Width: 26½ in (67.5 cm)

Depth: 27½ in (70 cm)


Part of a suite presumably commissioned by Sir John Mordaunt Cope, 8th Bt. (d.1779) or his cousin and heir the Rev. Sir Richard Cope (1719-1806) for Bramshill Park, Hampshire – part of the suite photographed in situ

Thence by descent to Sir Anthony Cope, Bt., Eversley Manor, Hampshire

A set of six sold by Sir Anthony M.L. Cope, Bt., Sotheby’s, London, 27 April 1956, lot 99

The collection of Lord Astor, Cliveden, Berkshire Acquired from Partridge Fine Arts, London (1981) Private Collection, USA


‘Bramshill Park, Hampshire: The Seat of Sir Anthony Cope, Bt.’,  Country Life, 11 July 1903, p. 56, ‘The State Drawing Room’; and 23 June 1923, p. 886, figs. 1 - 2

H. Avray Tipping, ‘English Homes: Period III Vol. II Late Tudor and Early Stuart 1558-1649’, Country Life, London, 1927, p. 303, ‘The Drawing Room’ fig. 383 Country Life, ‘Eversley Manor, Hampshire – I’, 19 March 1943, p 518-519, pl. 3

L. Wood, The Upholstered Furniture in the Lady Lever Art Gallery, 2008, vol. II, pp. 617-629


This exceptional pair of giltwood armchairs is part of a large suite of seat-furniture, comprising at least twelve chairs, formerly at Bramshill Park, Hampshire, seat of the Cope family (illustrated, ‘Bramshill Park, Hampshire: The Seat of Sir Anthony Cope, Bart.’,  Country Life, 11 July 1903, p. 56, ‘The State Drawing Room’; and 23 June 1923, p. 886, figs. 1, 2). The set was probably commissioned by Sir John Mordaunt Cope, 8th Bt. (1731-79) for his London residence, or for Bramshill.

From this set, three of the chairs were acquired by the great collector Sir William Lever, 1st Viscount Leverhulme (18511925) from the dealer D.L. Isaacs, before 14 September 1905, and are now in the Lady Lever Art Gallery, Port Sunlight (L. Wood,  The Upholstered Furniture in the Lady Lever Art Gallery, New Haven and London, 2008, vol. II, pp. 617-626). A single chair but with replaced cabriole legs was with the dealer Jacques Seligmann, then gifted by Archer M. Huntington to the Metropolitan Museum of Art, New York, in 1936. These four chairs may have been part of a group of six as indicated by the pencil numbers on the frames of the Lever chairs, and disposed of following the death of the Rev. Sir William Henry Cope, 12th Bt., in 1892. Six further chairs were sold by Sir Anthony M.L. Cope, Bt. from Bramshill after having been transferred to Eversley Manor, Sotheby’s, London, 27 April 1956, lot 99.

The latter six chairs were subsequently in the Astor collection at Cliveden; two chairs remain in the possession of Lord Astor (photographed by Country Life, 6 October 2005, p. 94) and were previously photographed on loan in the Boudoir at Berrington Hall, Leominster (NTPL 50470). A further two are the present pair of chairs, and the final two from this group were probably those recently sold by us in 2021. A number of sofas of related design are also recorded, including a pair with Mallett at Bourdon House in 1993 (advertised Country Life, 24 June 1993, p. 45). A sofa of this design is depicted in the painting, The Sofa, by R.T. Lonsdale (fl. 1826-46), that was exhibited at the Royal Academy in 1846.

showing two of the chairs in situ, in 1903. (Credit: Country Life / Future Publishing Ltd.)

Sir William Chamber and Ince & Mayhew

The lion-pelt motif has led to consideration that these chairs may have been designed by Sir William Chambers (1723-96), based on the decoration of a Chambers chimneypiece (Avery Library, Columbia, reproduced in J. Harris, Sir William Chambers, Knight of the Polar Star, London, 1970, fig. 185). The chairs are attributed to the Golden Square firm of John Ince and William Mayhew, one of the leading cabinet-making firms of the period and perhaps the most accomplished rivals to Thomas Chippendale. There is a connection between Chambers and Ince and Mayhew; Chambers subcontracted work to craftsmen, and acted as paymaster on projects he was involved in (see: H. Roberts and C. Cator, Industry and Ingenuity: The Partnership of William Ince and John Mayhew, London, 2022, p. 149). The ledgers for Chambers at Drummonds Bank show he was regularly employing the same craftsmen including Ince and Mayhew. Certainly, Mayhew was engaged in the period during Chambers’ extensive commission for the 4th Duke of Marlborough at Blenheim Palace beginning in late 1769.

The distinctive arched back, with hollowed base-rail, corresponds to a form adopted by Ince and Mayhew; see the suite supplied in the 1780s for Chirk Castle, Wrexham (C. Hussey, ‘Chirk Castle, Denbighshire, IV’,  Country Life, 12 October 1951, p. 1149, fig. 4 and G. Beard & C. Gilbert (eds.), The Dictionary of English Furniture Makers, Leeds, 1986, p. 596). In addition, these chairs exhibit the characteristic Ince and Mayhew paneled leg that relates very closely to those found on chairs supplied to the Earl of Darnley at Cobham Hall, Kent, one of the firm’s most enduring clients (C. Cator, ‘The Earl of Kerry and Mayhew and Ince: The Idlest Ostentation’,  Furniture History, 1990, pp. 2729; H. Roberts and C. Cator, ibid., p. 362, fig. 319). In addition, Ince and Mayhew notably incorporated idiosyncratic zoomorphic motifs to enhance their furniture – see the ram’s head masks on a pair of urns supplied by the partnership for Lord Kerry’s Dining Room at Portman Square, now in the Lady Lever Art Gallery, Port Sunlight, the carved giltwood dolphins, originally part of the cresting of one of the pier glasses in the Oval Drawing Room, part of the partnership’s 1785 commission for James Alexander, 1st Earl of Caledon (H. Roberts, ‘Unequall’d Elegance…’, Furniture History, 2009, fig. 8); and on a pair of marquetry tripod stands, with ivory ram’s head capitals, attributed to Ince and Mayhew, sold Christie’s, London, 5 July 2012, lot 32.



The Gentleman and Cabinet-Maker’s Director, 1762, plate XXVII


England, circa 1760

An exceptional mid 18th century George III Chippendale period mahogany chinoiserie armchair. The shaped C-scroll and stylised acanthus carved pagoda top rail above a finely pierced rectangular Chinese fretwork back, the outcurved arms on moulded downswept supports, the seat upholstered in superb 18th century needlework with brass button detailing, standing on square chamfered legs headed by pierced angle-brackets and with blind fretwork panels. The back legs slightly outswept.

The mahogany with excellent colour and patina. Outstanding needlepoint.

Height: 40¼ in (102 cm)

Width: 28 in (71 cm)

Depth: 24 in (61 cm)

The back and leg designs of this chair are taken directly from Thomas Chippendale’s The Gentleman and Cabinet-Maker’s Director (1762), plate XXVII.

Thomas Chippendale, The Gentleman and Cabinet-Maker’s Director, 1762, pl. XXVII



England, circa 1740- 1750

A rare George II period walnut side table. Impressively carved in the centre of the moulded deep frieze with a superbly detailed animated lion mask in high relief, on bold cabriole legs with acanthus leaf detailing to the knees and scrolled ears, the legs terminating in wonderful lion paw feet.

With a finely figured antique alabaster top.

Superb colour and patina to the walnut.

Height: 33¾ in (86 cm)

Width: 45¼ in (115 cm)

Depth: 22¾ in (58 cm)


Montacute House, Somerset Christie Manson & Woods,  The Property of Gerard Phelps, Esq. from Montacute House, Somerset, 28 November 1929, lot 30


Burlington Magazine, November 1929, p. xx (Christie’s Advertisement) Country Life, 9 November 1929, p. xlii (Christie’s Advertisement)

Montacute is a magnificent Grade I listed house in Somerset, England. In the English Renaissance style, and one of the few prodigy houses to remain basically unaltered since the Elizabethan period, it was built around 1598 by Sir Edwards Phelps, Speaker of the House and Master of the Rolls to King James I and the prosecutor during the trial of the Gunpowder Plotters. The Phelps family descendants occupied the house until the early 20th century. In 1931, it was acquired by the National Trust. Of exceptional architectural interest throughout, the Long Gallery on the top floor spans the full width of the buildingthe longest surviving example in England.

Montacute, photographed in 1915 (Credit: Country Life / Future Publishing Ltd.)


Attributed to John Cobb England, circa 1770

A very fine 18th century George III mahogany and satinwood marquetry commode. In the French neo-classical taste, the elegant serpentine crossbanded top with a central oval panel inlaid with a bouquet of flowers within a trellis and rosette parquetry surround. The curved doors, similarly inlaid with floral arrangements within oval panels, opening to reveal a mahogany shelf, the plain side panels fitted with wonderful ormolu foliate handles, the whole standing on refined splayed feet.

Height: 36¼ in (92.5 cm)

Width: 45¼ in (115 cm)

Depth: 23¾ in (60 cm)


With Moss Harris (1948)

Anonymous sale, Christie’s London, 23 May 1968

The Collection of Michael P. Knapp, London

Sotheby’s London, 11 April 1975, lot 142 Private Collection, UK

With Ronald Phillips Ltd., London (2017) Private Collection, London


Connoisseur, March 1948 (Moss Harris advertisement)

Sotheby’s, Fine English Furniture, Tapestries, Clocks, Rugs and Carpets, Ship Models and a Collection of Blue John, 11 April 1975 (illustrated) Lucy Wood, Catalogue of Commodes, 1994, p. 96, fig. 91 (illustrated) Ronald Phillips, Fine Antique English Furniture, 2017, pp. 104 - 105 (illustrated)

This wonderful commode in the French taste is part of a group of furniture attributed to the celebrated 18th century Royal cabinet-maker John Cobb and discussed in Lucy Wood, Catalogue of Commodes, 1994, pp. 88 - 97. In particular, the parquetry inlaid decoration to the top and the spray of flowers to the ovals of the doors have close affinities to a commode supplied to Thomas Villiers (1709 - 1786), Baron Hyde of Hindon and latterly the 1st Earl of Clarendon, illustrated in Lucy Wood,  op. cit.,  pl. i - ii, p. 88. Comparisons can also be made to another commode with a similar trellis design, illustrated op. cit., p. 94, pl. 84 and another with similar floral inlay illustrated op. cit., pl. 90. For further comparisons see C. Streeter, The Journal of Furniture History, ‘Marquetry Tables from Cobb’s Workshop’, vol. X, 1974, pp. 52-53, pl. 28a - 30b.

Moss Harris Advertisement (1948)


Attributed to Thomas Chippendale England, circa 1775

An important and very rare George III Chippendale period neoclassical satinwood secrétaire. The top with tulipwood cross-banding and boxwood stringing, with a long single drawer in the frieze above a weighted fall-front inlaid with a marquetry vase within an oval fan-shaped border, the interior with a series of small satinwood drawers below pigeon-holes and a leather lined writing surface. The lower door with a similar inlaid vase and border, opening to reveal three graduated long drawers with ring pull handles. The whole cabinet crossbanded and inlaid with tulipwood and boxwood and supported on tapering reeded legs on block feet.

Height: 49¼ in (125 cm)

Width: 31¼ in (79 cm)

Depth: 16¼ in (41 cm)


With Partridge Fine Arts, London (1991) Private Collection, USA

With Mallett & Son (Antiques) Ltd., London (2000) Private Collection, Chicago


Mallett London,  The Age of Matthew Boulton: Masterpieces of Neo-Classicism, 2000


Partridge Fine Arts, Recent Acquisitions, 1991, pp. 62 - 63 (illustrated)

Mallett,  The Age of Matthew Boulton - Masterpieces of NeoClassicism, 2000, pp. 26 - 29 (illustrated)

Comparative Literature

Christopher Gilbert,  The Life and Work of Thomas Chippendale, 1978, vol. I, p. 62, fig. 97

Christopher Claxton-Stevens and Stewart Whittington, 18th

English Furniture: The Norman Adams Collection, 1983, p. 125 Antique Collector, November 1988, Norman Adams Ltd., trade advertisement

Christopher Gilbert in Jane Sellers (ed.),   The Art of Thomas Chippendale - Master Furniture Maker, 2000, p. 30

Jeremy Musson, English Country House Interiors, 2011, p. 140

Ronald Phillips Ltd.,  The Legacy of Thomas Chippendale, 2018, pp. 88 - 93 (the Earsham Hall example)


The wonderful restraint and neo-classical detailing of this beautiful secrétaire are reminiscent of the late work of Thomas Chippendale and it would appear to belong to a group believed to have been supplied from his workshops. In around 1772, Chippendale produced a secrétaire with a marquetry dressing commode  en suite  to his great patron Edwin Lascelles (17121795) for Harewood House, Yorkshire. On 12 November 1773 a further celebrated example in Chinese black and gold lacquer was also supplied to Harewood by Chippendale at a cost of £26 - this example is now in the collections at Temple Newsam, Leeds, and was described on the invoice as a ‘Lady’s Secretary’ with ‘the front of the Secretary to rise with Ballance Weights’. A further lacquer example was supplied for Mr Robert Child’s dressing room at Osterley Park, Middlesex.

Chippendale’s mention in the original invoice of the Harewood secrétaire’s “ballance weights” is particularly relevant as it was his own invention and allowed for the seamless rising and falling of the fall front. Hidden within the construction of the case, the weights allow the writing surface to appear as if it was suspended in the air with no distracting brackets. Our secrétaire as well as the others in the group have this unique feature. Further constructional hallmarks of Chippendale’s workshop are the hardware used on the drawers whose construction bears the typical finely executed details such as the mitered corners to the undersides, the triangular stoppers to the interior of the carcass for the drawers and the distinctive red wash visible in areas on the case.

These secrétaires all share similarities of form and construction with the secrétaire à abbatants found in France at the same time. Although the form was not widely embraced by the English patrons, it allowed the cabinet-maker to exploit the expansive surface of the secretaire’s front to display rich veneers and skilled marquetry.

In our example, the beautiful and lustrous satinwood is used as a splendid background for the two meticulously inlaid central ovals with twin-handled urns framed with a fan-patterned border. The absence of any carved or gilt metal ornament only emphasises the restraint of the neo-classical design. When first supplied the strong contrast between the various woods would have been dramatic. The very pale satinwood acted as a foil for the dark purpleheart medallions and the tulipwood crossbanding emphasised the linearity of the piece. The attention to detail is followed through to the beautifully weighted fall front writing surface which opens to reveal a neatly fitted interior with the cupboard below containing three long drawers still bearing the original gilt lacquered handles.

An almost identical secrétaire of exactly these dimensions and marquetry was formerly in the collections of the Hon. Lady Fry at Oare House, Wiltshire (ref. Christie’s  Yearbook, 1966). Another with ebonized pilasters and square tapering legs supplied to William Windham (1708-1789) for Earsham Hall, Norfolk is illustrated in Ronald Phillips,  The Legacy of Thomas Chippendale, Exhibition Catalogue, 2018, no. 19, pp. 89-93.


England, circa 1720

A superb early 18th century George I period walnut bureau bookcase, the double dome top section with bold moulded arched cornice, the twin doors with star-cut bevelled mirror plates, opening to reveal a series of shelves, folio divides, pigeon holes and drawers, the lower section with fold-over writing slant, and further drawers and pigeon holes, all above two short drawers and two long graduated drawers, above a shaped lower frieze, and standing on bun feet. With feather-banding.

Original engraved metalwork.

The walnut of very fine colour and patina throughout.

Height: 91¼ in (232 cm)

Width: 41 in (104 cm)

Depth: 24¼ in (62 cm)


England, circa 1725

An exceptional and particularly rare George I gilt gesso pier mirror of impressive tall proportions. The bevelled mirror plates within a frame crested by a broken swan neck pediment and central cartouche with acanthus decoration above a carved lambrequin, with eagle heads to the sides, the mirror plates immediately framed with a stylised Greek key pattern border.

The carving and composition of the decorative detailing of the finest quality.

Height: 76¼ in (194 cm)

Width: 30¼ in (77 cm)

The Greek key pattern around the frame is a particularly rare feature. A related mirror with similar cut gesso decoration, a cartouche flanked by a swan neck pediment and egg and dart mouldings was in the collections of Viscount Clifden at Wimpole Hall and illustrated ‘Furniture at Wimpole Hall’, Country Life, 28 November 1931, fig. 1.



England, circa 1760

An exceptional George III Chippendale period mahogany side table, the figured serpentine fronted top with boldly carved egg and dark detailed edge above a conforming frieze, raised on four moulded diamond profile legs with egg and dart edges and carved foliate brackets.

Of outstanding colour and patination throughout.

Height: 31¾ in (81 cm)

Width: 43¼ in (110 cm)

Depth: 20¼ in (51.5 cm)


With Norman Adams, Knightsbridge (1997) Private Collection, England




Attributed to John Sandeman of Perth Scotland, circa 1760

An exceptionally rare Scottish George III broomwood chest of drawers.

This remarkable and rare example of a Scottish chest of drawers is almost certainly by George Sandeman (1724-1803), a Perth cabinet maker. It is veneered entirely in Scots broom; the only other known examples of furniture in this timber are those by Sandeman supplied to the 3rd Duke of Atholl at Blair Castle, Perthshire in the mid 18th century. The chest’s carcase is made of oak, consistent with known pieces by Sandeman, and the drawers still retain their original blue sugar-paper linings, a feature specified in the Edinburgh Cabinet Makers’ Book of Prices, 1805. The chest’s form with three short drawers above others is also a characteristic typically associated with Scottish furniture.

Handles, escutcheons and locks original. Wonderful colour and patination to the timber.

Height: 35¾ in (91 cm)

Width: 48¾ in (124 cm)

Depth: 24 in (61 cm)


Likely supplied to John Murray, 3rd Duke of Atholl (1729-1774), circa 1760


Anthony Coleridge,  Connoisseur, ‘George Sandeman of Perth: Cabinet-Maker’, March 1960

Scots broom (Cytisus scoparius) is a deciduous shrub rarely growing beyond three meters in height, with its stems generally being about five centimetres thick. When properly treated, the wood is beautifully grained with notable contrast between the heart and sap woods, but because of the limitations in size, it was used primarily for decorative borders and banding. Pieces veneered entirely in broom are exceptionally rare.

In 1758-59, George Sandeman of Perth was commissioned by the 3rd Duke of Atholl to make a suite of furniture for Blair Castle, Perthshire using timber from the Atholl estate. Sandeman’s choice of Scots broom was highly unusual and must have come about at the specific request of the Duke. The suite included a number of tables and a spectacular bureau cabinet, which is still on display in the Derby Dressing Room at Blair Castle today. The bureau took five workmen 211 days to make at a cost of £19 10s. 8d. A visitor to Blair Castle in 1769, Thomas Pennant, recorded seeing the collection and remarked ‘A chest of drawers of Scotch broom, most elegantly striped, is a singular curiosity’. There is no such broomwood chest of drawers recorded in the collections at Blair Castle today - making it highly likely that this is it.

The Broomwood Cabinet supplied by John Sandeman to Blair Castle (Credit: Country Life / Future Publishing Ltd.)


England or Continental, circa 1830

An exceptional early 19th century japanned mirror of fantastic scale and with great presence. The elaborately shaped frame decorated throughout with wonderful gilt chinoiseries on a black background, with figures in landscapes, trees, houses and boats in various tones of gold. The inner border surmounting the original mercury plate has a striking pattern of red and silver shaped diamonds and cabochons connected with floral motifs, laid out in a way to make it look as if the border is inset with gemstones. The outer vertical edges flanked with a pair of Chinese figures atop the most wonderful three dimensional silver gilt floral wrapped columns. The cresting with acanthus leaves, C scrolls and fine trellis work flanked by stylised dragon heads.

The decorative shading brilliantly done to create the optical illusion of three dimensionality.

Retaining the original mirror plate.

Height: 66¼ in (168 cm)

Width: 41¾ in (106 cm)




England, circa 1730

A fine and rare early 18th century George II period padouk side table. The finely figured rectangular top with moulded edge and re-entrant corners above a plain finely veneered frieze enclosing a single drawer above a rosette carved moulded border, standing on four straight legs headed by exceptionally well carved scrolling acanthus leaves and terminating in pronounced stylised clawand-ball feet on castors.

Very fine figuring to the padouk veneer on the top and with lovely mellow colour and patina throughout. The reverse also finely finished with well figured veneers, allowing this piece to stand well as a centre table finished in the round.

A rare and beautifully made table.

Height: 28¼ in (72 cm)

Width: 35 in (89 cm)

Depth: 33½ in (85 cm)


The collections of the Marquesses of Bristol, Ickworth, Suffolk and by descent With Mallett, New Bond Street, London (1998) Private Collection, UK

Ickworth is a truly remarkable stately home in Suffolk, England, the ancestral home of the Hervey family, the Marquesses of Bristol, and now owned by the National Trust. An Italianate masterpiece, with its extraordinary unparalleled classical central rotunda, the house was built between 1795 and 1829 for Frederick Hervey, 4th Marquess of Bristol and Bishop of Derry, as a home and a gallery and repository for the family’s extensive art collection.

Today, the house contains wonderful classical old master paintings by Velázquez, Titian, Poussin, and Claude Lorrain, as well as an unrivalled series of 18th-century family portraits by artists such as Gainsborough, Reynolds, Vigee-Lebrun, Batoni, Angelica Kauffman, Ramsay, van Loo, and Hogarth. In addition, the house boasts arguably the best collections of fine Georgian silver in Britain, as well as very good examples of Regency furniture and porcelain.

Ickworth (Credit: Country Life / Future Publishing Ltd.)


England, circa 1780

A very fine George III Sheraton period mahogany breakfast table. Of rare small scale, the oval mahogany cross-banded top of superb colour and patination, with particularly good natural figuring to the timber, with a moulded edge and wide crossbanding. On a turned pedestal with four elegant outswept legs terminating in brass box castors.

Superb colour and natural figuring to the top.

Height: 28¼ in (71.5 cm)

Width: 55¾ in (142 cm)

Depth: 42¾ in (109 cm)



The panels Continental, 19th century

A magnificent pair of painted and glazed coffee or low tables. The tops inset with rare panels of 19th century gilt lacquer decorated throughout with wonderful gilt chinoiserie landscapes on a superb scarlet background, each within a bespoke painted and gilded frame and mounted as a low table with a chinoiserie inspired Cobham leg base. Each with an inset protective glass top.

Height: 15 in (38 cm)

Width: 57¾ in (147 cm)

Depth: 31¾ in (81 cm)



England, circa 1830

An exceptional pair of early 19th century carved mahogany Gainsborough or library armchairs in the manner of Thomas Chippendale. The serpentine shaped backs, seats and armrests upholstered and detailed with antique brass buttoning, the arm supports beautifully carved with C scrolls, scrolling acanthus leaves and extended hand rest terminals. The front cabriole legs magnificently carved with C scrolls and further acanthus leaf foliage and terminating in inverted scroll toes, the back legs also and unusually extremely well carved and elegantly outswept.

Exceptional quality carving, superb colour and patina.

Height: 42¼ in (107 cm)

Width: 27¼ in 969 cm)

Depth: 31½ in (80 cm


With French & Co. Inc., New York

The collection of Walter P. Chrysler Jr., North Wales, Virginia, USA

Sold Parke-Bernet Galleries Inc. Madison Avenue, New York, 29 - 30 April 1960

Possibly the chairs advertised by Fernandes & Marche (April 1980)

Private Collection, UK


Helen Comstock, The Magazine Antiques, ‘North Wales - A Georgian Country House in Virginia’, October 1951, p. 307 (illustrated) Parke-Bernet Galleries Inc.,  The Walter P. Chrysler Jr. Collection of English Furniture Decorative Objects Paintings and Rugs Part 1, New York, 29 - 30 April 1960, lots 266 - 267 Country Life, 10 April 1980 - Fernandes & Marche advertisement.

Two pairs of armchairs of this model, including these, were sold from the celebrated collection of Walter P. Chrysler Jr. (ParkeBernet Galleries Inc, Madison Avenue, New York, 29 - 30 April 1960, part I, lots 266 - 267) and were described as ‘Beautiful examples of small scale carved furniture, in a free adaptation of Thomas Chippendale’s ‘French style’, c. 1760, notable for the crisp flowing detail of the rococo ornament, and the fact that the rear legs are fully carved. A similar chair was in the James W. Barney collection’. They had been acquired from French & Co., Inc. of New York. The Chrysler collection was long considered one of the finest holdings of exceptional English antique furniture assembled in the USA in the early 20th century.

‘more fit for the residence of a monarch than for a simple country gentleman’


England, circa 1780

A fine and rare pair of late 18th century mahogany hall chairs, the elaborate scrolled interlaced shield shaped backs centred with a carved armorial, with upholstered seat above a carved seat framed and tapered square cut legs.

The arms are of those of the Hales Baronetcy.

Height: 38 in (96.5 cm)

Width: 21¾ in (55 cm)

Depth: 18¼ in (46.5 cm)


Presumably commissioned by Sir Edward Hales Bt., for either Hales Place, Kent or his London residence


Lanto Synge, Mallett Millennium, 2000, p. 116, fig. 125 (a pair from the same set illustrated)

Sir Edward Hales is known to have employed the Chippendale firm from at least 1776 until 1783 when he ran out of funds. Lavish furniture was delivered for the vast mansion Hales Place that he built near Canterbury, with a few more modest pieces for his London house at 7 Albemarle Street. Vouchers and four bills survive: April 1776–November 1780 for £564 18s.7d., including three years interest of £72 18s., February-December 1781 £495 8s. 4d., March 1782-August 1784 £38, and October 1782-September 1783 £366 4s.7d. As the interest payments suggest, Sir Edward was notoriously bad at paying. To date, none of this furniture has been identified.

The contents of Hales Place were sold by Phillips & Son in 1880 - extensive articles describing the sale and the results were published in The Kentish Gazette in August 1880. Although the descriptions are typically tantalisingly vague, there is a possibility that these chairs might be identifiable within the lots described.

In his Tour through the Isle of Thanet of 1793, Zechariah Cozens described Hales Place as:

‘more fit for the residence of a monarch than for a simple country gentleman’




England, circa 1765

An exceptional and very rare George III Chippendale period mahogany silver table. Of outstanding quality, the serpentine shaped top surmounted by a fretwork gallery on a moulded edge with a lambrequin carved frieze standing on four fretwork legs with diamond shaped voids and carved trefoil decoration – the legs surmounted by pierced brackets.

The mahogany of outstanding colour and patination.

Height: 29½ in (75 cm)

Width: 35½ in (90 cm)

Depth: 20¾ in (53 cm)


Cuerden Hall, Preston

The Townley Parker Heirlooms, and by descent to The collections of Capt. T. A. Tatton, M.C. at Cuerden Hall, Preston

Christie, Manson & Woods, London, The Property of Capt. T. A. Tatton M.C., 13 December 1928, lot 123


Country Life, Messrs. Christie, Manson & Woods, ‘Fine English Silver and Decorative Furniture, also Important Pictures and Old Masters, The Property of Capt. T. A. Tatton’, 24 November 1928, p. xli (advertisement)



England, circa 1830

A superb pair of large scale William IV rosewood bergères, each with curved back and bow-front padded seat covered in fawn velvet, with scrolled arm terminals, on leaf-moulded legs with brass caps and castors.

The rosewood of particularly good colour throughout. Bold proportions.

Height: 37¼ in (95 cm)

Depth: 27 in (68.5 cm)

Width: 24¼ in (62 cm)


Christie’s London, 500 Years: Decorative Arts Europe, 27 May 2010, lot 104

Private Collection, UK




In the manner of William Kent

England, circa 1730

An exceptional George II carved giltwood table in the manner of William Kent. With a boldly gadrooned edge above a central mask flanked by scrolling acanthus leaves and trailing harebells, with swags of carved flowers, and standing on bold cabriole legs surmounted by superbly carved shells and stylised flowers and foliage which terminate in magnificent ball and claw feet, with a Portoro Nero marble top.

Height: 34½ in (88 cm)

Width: 43¾ in (111 cm)

Depth: 24¾ in (63 cm)


The Earls of Lovelace, presumably Ockham Park, Surrey and later Horsley Towers, Surrey

Thence by descent

Comparative Literature

C. Gilbert, ‘The Temple Newsam Furniture Bills,’  Furniture History, 1967, vol. 3, pp. 16-28

William Kent and William Jones

This magnificent table reflects the influence of William Kent (1685-1748) and his circle with its incorporation of Palladian motifs, including the central mask and draped floral garlands. A drawing by Kent in the Victoria & Albert Museum shows his design for a side table at Houghton Hall, Norfolk, which was published in John Vardy’s Some Designs of Mr. Inigo Jones and Mr. William Kent (1744, pl. 41). This design features the prominent central carved mask and dramatic floral swags.

The present table also shares particularly close affinity to the designs of William Jones as seen in his 1739 publication, The Gentleman or Builder’s Companion, for ‘Frames to Tables’ (pl. 28, 30). These designs include the distinctive use of the carved mask on the central frieze combined with draped garlands and acanthus scrolls. It is notable that the present table features shell carved cabriole legs and ball and claw feet, whereas most of the designs show scrolled canted legs and feet. These features might align this piece with the slightly later designers of the George II era, including Matthias Lock, who incorporated dramatically carved ball and claw feet on a number of designs.

The stands for a pair of cabinets, on display at Temple Newsam, bear strong resemblance to the overall design of the present table. It is thought that these were acquired for Temple Newsam by the Hon. Charles Ingram (1727-1778) and his bride Frances Shepherd (1733-1807) after their marriage in 1758. The 1808 Temple Newsam Inventory records the cabinets as being in the Breakfast Parlour. Although there is no record of their original invoice, there is a charge of £9 on November 7 1758 to Richard Kerby, cabinetmaker, Sackville Street, London for ‘New Gilding 2 Rich Carv’d frames for cabinets in the Best Burnish’d Gold.’ The stands of these cabinets similarly date to the 1730s. However, the construction of the Temple Newsam pair is notably different than our table which has a much stronger frame to presumably allow for the substantial weight of a marble top.

The Earls of Lovelace

Peter King, 1st Baron King (1669-1734) of Exeter, Devon had an illustrious legal career and served as Lord Chancellor from 1725 to 1733. He married Anne Seys, daughter of Richard Seys of Boverton, Glamorganshire in 1704 and purchased Ockham Park, Surrey in 1710 to serve as the family seat. George I granted the title 1st Lord King, Baron of Ockham in 1725. Through successive generations, the family acquired Ashley Combe and Meyners in Somerset and Yarty House in Devon.

William King-Noel, 8th Baron King (1805-1893), married August Ada Byron, the only legitimate daughter of the renowned poet George Byron, which brought the promise of vast estates in the Midlands. In 1838, William became the 1st Earl of Lovelace as part of the elevations made to celebrate the coronation of Queen Victoria. William’s wife Ada was a descendant of the Barons Lovelace of Hurley through her connection to the families of Byron, Milbanke, Noel, and Lovelace.

In 1840, William bought the East Horsley Estate in Surrey along with a great deal of land and property in the surrounding area. The principal house had been built in 1828 by the famed architect Charles Barry (1795-1860) under the instruction of William Currie, a London banker, in the Tudor style. William refashioned the property in the Victorian Gothic style inspired by his Grand Tour on the Continent. He renamed the estate Horsley Towers after he incorporated a stuccoed tower and banqueting hall.




England, circa 1790

A highly important and incredibly rare pair of George III rolled paper tables. The demi-lune tops each with oval painted medallions to the centre, with similar tablets to the central frieze, the painted panels depicting a basket of fruit, a musical trophy, birds with chicks in a nest, and a pair of squirrels. The remainder of the tops, the frieze, and the facets to the legs profusely decorated in coloured rolled paperwork formations of swags and flowers, with giltwood highlights to the frieze and legs, each terminating in gilded spade feet. Minor variations.

Height: 34½ in (87.5 cm)

Width: 48¼ in (122.5 cm)

Depth: 19½ in (49.5 cm)


With King & Chasemore, 12 December 1969

With Partridge Fine Art, New Bond Street, London Private Collection, UK


Antiques for Decoration, Antiques Finder, 1969-1970

Sunday Times, ‘The Year At Auction’, 21 December 1969, p.44, fig. 3

Related Literature

P. Macquoid,  The Leverhulme Art Collections, III, Furniture, Tapestry, and Needlework, 1928, p. 88, no. 397, pl. 98

G. C. Rothery, ‘Rolled Paper Work,’ The Magazine Antiques, July 1929, pp. 21-24

B. Howe, ‘Rolled Paper-Work,’  Country Life, 5 May 1944, pp. 78-79

G. Bernard Hughes, ‘English Filigree Paperwork,’ Country Life, 21 September 1951

J. Field,  Collecting Georgian and Victorian Crafts, Charles Scribner’s Sons, New York, 1973

C. I. A. Ritchie, Art in Paper, A. S. Barnes and Company, New York, 1976

G. Walkling, Tea Caddies, 1985

R. Reif, ‘Paper Filigree: An Art for Leisure,’  New York Times, 8 May 1988

M. F & W. J Papp, Rolled, Scrolled, Crimped and Folded: The Lost Art of Filigree Paperwork, New York, 1988

M. Riccardi-Cubitt, The Art of the Cabinet, 1992, p. 143

J. Ruskin, ‘Paper Filigree: A Woman’s Pastime Becomes Art,’ Antiques Journal, March 2008, pp. 26-29

N. Riley,  The Accomplished Lady-A History of Genteel Pursuits c. 1660-1869, Wetherby, Oblong Creative Ltd, 2017


Scrolled Paper: A History

Paper filigree, paper lace and quilling all refer to the decorative style achieved by rolling hundreds of ribbon-like strips of paper into tiny coils or scrolls and gilding or colouring the paper to create a decorative polychrome mosaic effect. When applied to together the finished surface takes on a honeycomb-like appearance. The art form derives inspiration from the traditional practice of metal filigree work of 15th century Italy and Austria. The technique was highly prized and spread to Asia where it was enthusiastically practiced by local craftsmen. Filigree work became popular in England towards the end of the 17th century. When Charles II (r. 1660 – 1695) married Catherine of Braganza in 1662, she brought a dowry that included a number of precious objects from India, including impressive caskets and jewelry made in a similar manner with silver and gilt filigree.

The diarist Samuel Pepys refers to the art form in 1683 when he noted on 14 May, ‘This day we received a baskett from my sister Pall, made by her of paper, which hath a great deal of labour in it for country innocent work’. The fashion for this decorative style grew steadily in the 18th century and remained popular throughout the Georgian period.

A Genteel Pursuit

The rolled paper decorative technique was often carried out by ladies as a hobby that was considered both refined and artistic. The New Ladies’ Magazine published an account of paper filigree work including patterns for floral motifs and borders. These designs make use of the wide range of techniques to fold and scroll the papers to make complex and elaborate floral decoration. The craft was described as being ideally suited for refined women, as ‘the art affords an amusement to the female mind, capable of the most pleasing and extensive variety; it may be readily acquired and pursued at a very trifling expense.’ In Jane Austen’s Sense and Sensibility, Elinor Dashwood assists in creating a paper filigree basket. Elinor notes, ‘I may be of some use to Miss Lucy Steele, in rolling her papers for her... I should like the work exceedingly’.

A Royal Pastime

Princess Elizabeth, daughter of George III, is believed to have made a pole screen covered with scroll paper work with floral still life decoration for her physician, Dr. Alexander Fothergill. Along with her four sisters, Elizabeth received tuition in a range of artistic skills, including drawing, lithography, and silhouette portraiture. Princess Elizabeth’s interest in scroll paper work was mentioned in an article published in 1785 promoting the art form. The article, written originally in French by a Mr. Styart, notes in the subtitle that paper filigree-work is ‘at present one of the most polite amusements of young ladies of fashion, and even of the Royal offspring.’ In 1791, Charles Elliott (1752-1832), the cabinet maker and upholder of Shepard Street who held the role of ‘Royal Upholsterer and Cabinetmaker’, supplied Princess Elizabeth with a box prepared for decorating with filigree work. The box was fitted with ebony mouldings, lock and key, and featured a lining. Elliott also supplied the Princess with fifteen ounces of different filigree papers and an ounce of gold paper.

The Market for Scroll Paper

There is evidence of a small yet thriving market to support the craft of paper filigree work. As mentioned, the cabinetmaker Charles Elliot supplied materials for scroll paper work to Princess Elizabeth in 1791. Shops offered instruction guides on the technique and accompanying materials, including papers in a rainbow of hues. The stationer and printer William Heath of Well Court, Queen Street Cheapside advertised that it sold ‘Filagree in Colours, Plain/… in Colours, Gilt/ … White do … Card do. / Frosting of different fine Colours, for Filigree work.’ Cabinetmakers in turn created picture frames, boxes, and mirrors fitted with recesses for the paper decoration. S. & J. Fuller at the Temple of Fancy, 34/35 Rathbone Place supplied such frames and boxes to be filled with ‘fancy work,’ which included scroll paper designs. Rudolph Ackermann’s Repository of Arts at 101 The Strand was renowned for its impressive collection of all sorts of artists materials, including ‘various coloured and fancy papers.’


Although scroll paper decoration was mostly confined to smaller pieces, such as tea caddies or picture frames, there are a few exceptional pieces of furniture decorated with this delicate technique, including this rare pair of tables, and a scroll paper cabinet on stand at the Lady Lever Art Gallery, Port Sunlight, Cheshire. In addition to the scroll paper work, the cabinet is fitted with painted panels and freshwater pearls. The Victoria & Albert Museum has a cabinet stand with architectural pediment (W.14:1-1973) which, like the present pair of tables, features square tapered legs with similar vine decoration alternating with trailing harebells terminating in a chequered pattern toward the block feet.

These tables are without doubt amongst the finest examples of this technique known to exist – true masterpieces of this extraordinary art form.




Attributed to John Hodson

England, circa 1745

A highly important pair of George II mahogany armchairs attributed to John Hodson. The serpentine backs, seats and armrests upholstered in their original early 18th century ‘Genoese’ polychrome silk velvet, the scrolled arms carved with leaf and shell motifs, standing on superb carved cabriole legs terminating in pad feet, on castors. Retaining the original webbing.

Photographed in situ in the Cedar Room at Warwick Castle.

Height: 43¾ in (111 cm)

Width: 28¾ in (73 cm)

Depth: 28¾ in (73 cm)


Presumably Francis Greville, 8th Baron Brooke, 1st Earl Brooke and 1st Earl of Warwick for Warwick Castle

Thence by descent at Warwick Castle Private Collection, London

Comparative Literature

A. Coleridge, ‘John Hodson and Some Cabinet-Makers at Blair Castle,’ Connoisseur, April 1963, vol. 152, no. 614, pp. 223-230

P. Thornton, Seventeenth-Century Interior Decoration in England France and Holland, Yale University Press, 1978, ‘The Upholsterer’s Materials’, pp. 107-120

S. Pryke, ‘The Extraordinary Billhead of Francis Brodie,’ Regional Furniture, Vol. 4, 1990, pp. 81-99

G. Beard, Upholsterers & Interior Furnishing in England 1530-1840, Yale University Press, 1997, p. 203

The Cedar Room, Warwick Castle, showing the chairs in situ 1914 (Credit: Country Life / Future Publishing Ltd.)

England, circa 1800

An exceptional pair of late 18th century George III period mahogany card tables. Of D-end form, the fold over crossbanded and line inlaid hinged tops opening to reveal a baize playing surface, the friezes similarly line inlaid and with ebonised carved lion mask detailing, standing on elegant ring collared quatrefoil form tapering legs terminating in stylised ebonised lions paw feet.

Height: 29½ in (75 cm)

Width: 36¼ in (92 cm)

Depth: 17¾ in (45 cm)



England, circa 1760

A fine George III mid 18th Century Chippendale period rococo giltwood oval wall mirror, the frame with pierced border with C-scrolls, foliate palm and acanthus leaf details.

Height: 54 in (137 cm)

Width: 27½ in (70 cm)

An almost identical mirror, possibly the pair, was offered by Anthony James at the Grosvenor House Antiques Fair in 1964 and illustrated in The Grosvenor House Antiques Fair Catalogue, 1964, p. 51.



China, circa 1850

A superb quality mid 19th century Chinese Export black and gilt six fold lacquer screen. Profusely decorated with a fabulous extremely finely detailed Chinese landscape with pavilions, houses, trees and rocky outcrops amidst lakeside scenery, with figures on the shoreline and in boats on the water - the edges of the screen bordered with wonderful scrolling dragons. Each side similarly decorated but with different scenes and composition.

Height: 83¾ in (213 cm)

Width of each panel: 21¼ in (54 cm)

Overall Length: 127½ in (324 cm)


With Apter-Fredericks, London Private Collection, London



In the manner of Thomas Johnson England, circa 1760

An exceptional George III Chippendale period giltwood mirror of the finest quality. In the manner of Thomas Johnson and carved throughout in outstanding detail with chinoiserie decoration. The cresting with a carved pagoda mounted with bells housing an elaborate fountain, the frame with fantastic intertwined foliate branches further decorated with acanthus leaves, C-scrolls, cabochons and icicles. With a bevelled mirror plate.

Height: 55¼ in (140 cm)

Width: 27¼ in (69 cm)

Thomas Johnson (1723-1778) was one of the most skilled carvers and furniture designers in Georgian England. He was a champion of both the rococo movement and chinoiserie taste, and his elaborate designs often wove the two styles together.

Johnson was born in 1723 as one of twelve children to a London builder and developer, Joel Johnson. At 13, he began working as an apprentice to his cousin, Robert Johnson, who was a carver and gilder in Frith Street, Soho. After his apprenticeship he joined the workshop of the carver and gilder James Whittle, which is where Johnson likely first met, in his own words, ‘the famous Matthias Lock, a most excellent Carver, and reputed to be the best Ornament draughts-man in Europe.’ In addition to its relation to Johnson’s designs, this mirror also reflects the influence of Lock. Lock published many sketches and pattern books, including A New Book of Ornaments for Looking Glasses in 1752, which features a design for a mirror with similarly intertwined branches climbing up each side of the frame and a pagoda cresting with hanging bells.

Johnson first produced his designs in 1755 in a publication entitled  Twelve Girandoles. He followed up with a more ambitious set of designs published monthly in 1756 and 1757 entitled A New Book of Ornaments that were fashioned ‘in the Chinese, Gothick, and Rural Taste.’ In addition to his work with Whittle, Johnson also provided a great number of designs to the carver Thomas Vialls of Great Newport Street, who had prestigious patrons including the Earls of Radnor at Longford Castle, William Constable of Burton Constable, and the 3rd Duke of Dorset.

Johnson was widely admired by his contemporaries. In Mortimer’s Universal Director of 1763, Johnson was described as a ‘Carver, Teacher of Drawing and Modelling and Author of a Book of Designs for Chimney-pieces and other ornaments and of several other pieces’.


Illustrated in

18th Century Furniture - The Norman Adams Collection


Attributed to Gillows of Lancaster & London England, circa 1795

An exceptional and very rare small late 18th century Sheraton period mahogany Carlton House Writing Table of outstanding quality.

This superb example with horse-shoe shaped frame with ebony and boxwood stringing, veneered with fiddleback mahogany contrasted with oval panels of flame figured mahogany, the drawers lined with mahogany and cedar wood, with original gilt brass mouldings, pierced gallery and typical Gillows handles. The super-structure fitted with unusual letterboxes on either side with brass swing covers. The drawer in the frieze fitted with additional writing surfaces, lined with the original blue leather, the centre made to adapt for a book rest, all raised on elegant turned and tapered legs, headed by carved tassels and terminating in original brass castors.

Height: 37¼ in (95 cm)

Width: 42½ in (108 cm)

Depth: 23¾ in (60 cm)


Millards Hill House, Frome, Somerset

With Norman Adams, Knightsbridge (1966) Private Collection

With Norman Adams, Knightsbridge With Hotspur Ltd., Belgravia (2005) Private Collection, UK


Frank Davis, A Picture History of Furniture, 1958, fig. 246 Le Style Anglais 1750 - 1850, 1959, p. 104

Connoisseur, The Connoisseur Catalogue to the Antique Dealer’s Fair and Exhibition, June 1966, p. 112

The Antique Dealer’s Fair and Exhibition Catalogue, 1966 The Regent’s Own Writing Table, Country Life Annual, 1969, fig. 6

C. Claxton Stevens and S. Whittington, 18th Century Furniture - The Norman Adams Collection, 1983, p. 137

Susan E. Stuart, Gillows of Lancaster & London 1730 - 1840, vol. I, 2005, pp. 286 -287

H. Cezinsky, English Furniture of the Eighteenth Century, (1911), vol. III, pp 338 - 340 illustrates two examples from the Gillow’s  Cost Books, one titled “Carlton House Table” of 1796, and another with an arched recess in the frieze as made for the Earl of Derby in 1798. Another illustrated in Ralph Edwards, The Dictionary of English Furniture, 1954, vol. III, p, 257, fig. 41 is also very similar and veneered in fiddleback mahogany.


Attributed to James Newton of Wardour Street England, circa 1820

An exceptionally fine George IV card table in the French neoclassical taste. The top with wonderfully figured thuya wood, crossbanded and line inlaid with satinwood, box and ebony opening to reveal a green baize playing surface, the frieze similarly veneered and with very finely cast ormolu mounts. Standing on elegant line inlaid tapering round legs terminating in brass castors.

Height: 30¼ in (76.5 cm)

Width: 37 in (94 cm)

Depth: 18¾ in (47.5 cm)

James Newton of Wardour Street (1760 - 1829)

Newton appears to have been apprenticed to Lawrence Fell and William Turton of Compton Street, Soho. He became free of his apprenticeship contract in 1781 when his name was recorded as one of the suppliers of items to Burghley House. By 1782 he was a partner in his firm of Fell and Turton and by the end of that decade he seems to have effectively taken control of the workshops and the firm’s output. In 1789 Newton established his own firm trading from Wardour Street and it was here that he was to spend the rest of his career.

The workshops were large and allowed Newton to produce most of his work in house, although he is known to have subcontracted carving to specialists and to have had his metalwork made by contractors but then finished and assembled in Wardour Street. Newton’s son followed his father in to the trade and had the honour of supplying pieces to the royal family in 1824, the order coming to some £172.

Newton Snr’s early output appears to have been relatively typical Sheraton period furniture but he was soon to capitalise on the regency taste and develop a highly individual style which clearly appealed to wealthy connoisseurs of the time. Fortunately, several labelled pieces by Newton survive, allowing a convincing picture of his style to emerge. In addition, many other commissions by the firm are documented. Like so many firms of the time, Newton was an upholder, supplying everything from upholstery and carpets to fire grates. The fine furniture he produced ranged from carved to painted but he is perhaps best known for pieces featuring exotic woods and highly original ormolu mounts. These mounts clearly draw their inspiration from the likes of Thomas Hope and Percier and Fontaine but retain an individual style of their own and are brilliantly chased and finished. It is tempting to believe that Newton’s skill in working ormolu is what led Matthew Boulton to commission several pieces from the firm for Soho House in Birmingham between 1797 and 1799 but much of the order appears to have been for satinwood furniture so the shared interest in ormolu may simply have been coincidental. Aside from Boulton, other prestigious clients included the Earl of Exeter at Burghley, whose patronage seems to have effectively established Newton’s career, Sir Gilbert Heathcote at Normanton Park, the 5th Earl of Jersey at Middleton Park and the 4th Earl of Breadalbane for both his Park Lane house in London and Taymouth Castle.



England, circa 1770

An exceptional and extremely elegant George III Hepplewhite period serpentine concertina card table in the French Louis XV taste. Made from superb quality mahogany, the top and the frieze being serpentine both at the front and the sides, and supported on elegant moulded cabriole legs. The legs have carved fan detailing to the tops and terminate in carved C-scrolls, the top when opened supported on a concertina action, the mechanism still retaining the original oak retaining slide with card and counter box.

Outstanding colour and patina to the mahogany.

Height: 28¼ in (72 cm)

Width: 38¾ in (98 cm)

Depth: 19¼ in (49 cm)

Provenance With Jeremy Ltd., Belgravia, London (2000) Private Collection, England




Attributed to Royal Cabinet-Maker John Cobb England, circa 1780

An exceptional and highly important George III satinwood and marquetry neo-classical serpentine side table in the French taste. The top crossbanded with tulipwood and inlaid to the centre with a large ribbon tied bouquet of flowers within an oval panel with broad rosewood border inlaid with interlaced roundels and floral motifs. The shaped frieze with central urn at the front flanked by paterae and with sunflowers at the sides, all draped with swags of husks, raised on particularly elegant tapering cabriole legs crossbanded with rosewood and ending in ormolu sabots.

Height: 33¼ in (84 cm)

Width: 57¼ in (145 cm)

Depth: 28 in (71 cm)


The collections of the Sackville family, Knole Park With Gill & Reigate Ltd., London (1928)

“The Daily Telegraph” Exhibition of Antiques and Works of Art, Olympia, London, July 19th - August 1st, 1928

With Mallett, New Bond Street, London (2007)

Private Collection, UK


J. de Serre, Country Life, 5 February 1927, ‘An Inlaid Satinwood Table’

Advertised in The Sphere, 14 July 1928, p 94 (with Gill & Reigate Ltd.)

“The Daily Telegraph” Exhibition of Antiques and Works of Art, Olympia, London, July 19th - August 1st, 1928 Catalogue, p. 270

C. Streeter, ‘Marquetry Tables from Cobb’s Workshop’, The Journal of the Furniture History Society, 1974, pl. 30b and pp. 52-53

Mallett,  Fine Furniture - A Timeline in Woods, 2007, pp. 100, 102-103


“The Daily Telegraph” Exhibition of Antiques and Works of Art, Olympia, London, July 19th - August 1st, 1928, with Gill & Reigate, Ltd. of London, stands 38 and 39.


This outstanding transitional table displays the very best features of English and French furniture designs of the period, being a highly refined example of the successful union of the anglicised Louis XV style and the contemporaneous English neoclassical revival. It is one of a very select group of pieces of marquetry furniture that can be confidently attributed to John Cobb and his workshop. They are all designed in the ‘French’ taste and veneered primarily in satinwood, having central panels of marquetry flowers or fruits to the top. They also share the distinctive crossbanded outlines in contrasting timbers and similar neo-classical inlay.

A lavishly inlaid bombé commode, with a pair of torcheres en suite, is recorded as having been supplied by Cobb in 1772 to Paul Methuen at Corsham Court in Wiltshire. The original bill survives at Corsham describing it as an ‘extra neat inlaid commode’ and this has become the point of reference for subsequent attributions. A strikingly similar table, formerly in the Tweedmouth Collection, is now in the Victoria & Albert Museum.

Our table is known to have come from the collections of Lady Sackville at Knole Park, Kent. Knole, one the greatest and largest English country houses, occupies a constructed site of four acres and remains unchanged since the early 17th century. The house is famed for its atmospheric interiors and wonderful collections, particularly of 17th and early 18th century furniture, most of which came to the house as perquisites from the Royal Stuart court. During the 17th and 18th centuries, Knole was a seat of the Earls and Dukes of Dorset. The marriage of Richard, 5th Earl of Dorset in the mid 17th century to Lady Frances Cranfield brought with her the Cranfield estates including Copt Hall in Essex. Charles, 6th Earl of Dorset sold Copt Hall in 1701 from which the fabulous contents were transferred to Knole, substantially enriching the collections. Lionel Sackville, 7th Earl of Dorset was

a key supporter of the Hanoverian Succession and was rewarded by George I with the Garter in 1714 and the dukedom of Dorset in 1720. The 3rd Duke was an avid collector taking part in a Grand Tour in 1770 and becoming a significant patron of Sir Joshua Reynolds – many of whose portraits remain in the house to this day. On the death of the 4th Duke in 1815, Knole had been inherited by the late Duke’s sister, Lady Elizabeth Sackville. She was the wife of George West, 5th Earl De La Warr, who assumed the additional surname of Sackville – with successive generations taking the name Sackville-West. Notable family members included Vita Sackville-West (1892 – 1962) remembered for her writing and her celebrated gardens at Sissinghurst, Kent which she created with her husband Sir Harold Nicolson, and for her relationships with Violet Keppel and Virginia Woolf. Her Knole and the Sackvilles, published in 1922 is considered a classic in the literature of English country houses.

Over the years many items were inevitably sold or removed from Knole. In 1918, Victoria Lady Sackville purchased a house at 40 Sussex Square in Brighton and is recorded as filling it with seven vans of furniture from Knole – in 1923 she moved to White Lodge at Black Rock in Brighton: a seven day auction was needed to clear 40 Sussex Square which included sculptures by Rodin and Epstein, fine furniture and a 42 stone diamond necklace. It is also clear from historical documents that Lady Sackville appears to have been selling heirlooms privately over time – including our table which appears with Gill & Reigate in 1928 possibly after the death of her husband the same year, and another very closely related table, also attributable to Cobb, sold from the collection of Charles of London (Charles Duveen, brother of celebrated art dealer Joseph) in New York 1920, the catalogue introduction of which states the sale included items from the ‘well-known collections of Lady Sackville of Knole Park’.




Attributed to Wright & Elwick

England, circa 1755

An exceptional pair of George II Chippendale period carved mahogany side chairs, attributed to Wright & Elwick. Each serpentine seat and back upholstered and close-nailed, with finely carved scrolled mahogany seat frame, the legs carved with bound acanthus leaf decoration to the knees and cabochons with further acanthus to the inverted scroll feet.

The mahogany of particularly good colour and patina throughout. Exceptionally crisp carving.

Height: 38 in (96.5 cm)

Width: 24 in (61 cm)

Depth: 22½ in (57 cm)


D. Fennimore et al., The David and Peggy Rockefeller Collection: Decorative Arts, New York, 1992, vol. IV, p. 284, no. 291

M. Hall, ‘Powis Castle’, Country Life, 21 October 1993, p. 891, figs. 5 and 6

E. Lennox-Boyd, ‘The Wentworth Cabinet-Maker: Wright and Elwick’, Christie’s London, 8 July 1998, pp. 110-112

S. Goodman, ‘The 9th Earl of Lincoln (1720-1794) and the refurbishment of Exchequer House, 10 Downing Street’, The British Art Journal, Winter 2017-2018, pp. 3-7

These superbly carved chairs relate particularly closely to three suites of documented seat furniture; from Hackwood Park, Wentworth Woodhouse and Powis Castle respectively. These suites include sofas, armchairs, side chairs and stools.

The Wentworth Woodhouse suite was supplied by the celebrated Yorkshire cabinet-makers Wright & Elwick to Charles, 2nd Marquess of Rockingham (d. 1782). The firm of Wright & Elwick provided a significant amount of furniture for Wentworth Woodhouse during the 1750s and 1760s. Wentworth Woodhouse, one of England’s most spectacular stately homes has a principal façade measuring 618 ft – the longest in the UK.

A second suite was supplied by Wright & Elwick to the 5th Duke of Bolton (d. 1765) for either Hackwood Park, Hampshire or the family’s Yorkshire residence, Bolton Hall. The suite does not appear in any 18th century inventories for Hackwood Park, which suggests that these chairs were originally supplied to Bolton Hall – the proximity of location in Yorkshire again making this more likely. The chairs do appear in a 1905 Hackwood Park inventory – probably they had been relocated to Hackwood after a devastating fire at Bolton Hall. The 1905 inventory of Hackwood by Hampton and Sons refers in the Saloon to: ‘The finely carved mahogany Old English suite with shaped seats and backs on cabriole legs & upholstered in crimson flowered cretonne comprising: ‘3 armchairs, 4 ‘occasional’ chairs, and 2 ’24 in shaped stools’ en suite’. Much of the furniture remained at Hackwood after William Berry, 1st Viscount Camrose purchased the estate in 1935. Three of the side chairs were included in the Hackwood Park House Sale, Christie’s 2022 April 1998, lots 119-120.

A further suite of this pattern, comprising settees, armchairs and side chairs was likely to have been commissioned by Henry Herbert, 1st Earl of Powis (d. 1772) for Powis Castle, Wales or Oakley Park, Shropshire. Herbert employed the Cheshire architect William Baker (d. 1771) to carry out improvements on both properties in the 1750s. The National Trust attributes these as in the manner of Paul Saunders (1722 – 1771) or William Bradshaw (d. 1775) –as they share characteristics with a suite supplied in 1757 to the 1st Earl of Leicester at Holkham Hall, Norfolk by the cabinet-maker, upholsterer and ‘Tapestry Maker to His Majesty’ Paul Saunders.



England, circa 1680

A very fine late 17th century William and Mary marquetry side table, the rectangular top with moulded edge and superbly inlaid marquetry panels featuring exotic birds and scrolling flowers and foliage, the central panel bordered with an oval frame of oyster veneer detailing, above a single frieze drawer similarly veneered, standing on four turned tapering legs joined by a stretcher and on bun feet.

Height: 29½ in (75 cm)

Width: 38 in (96.5 cm)

Depth: 25¼ in (64 cm)

Comparative Literature

John Andrews, British Antique Furniture, 2001, p. 373, fig. 841




Attributed to Pierre Langlois

England, circa 1765

A highly important and very rare pair of George III ormolumounted padouk and rosewood bombé serpentine commodes attributed to Pierre Langlois. Each with a quarter veneered serpentine top above a shaped drawer fitted with a gilt-tooled leather writing slide, above a pair of doors, standing on splayed feet. The doors opening to reveal an open interior space, previously fitted with drawers. Retaining their original rococo ormolu handles and mounts. Of exceptional colour and quality throughout.

Height: 33 in (84 cm)

Width: 39 in (99 cm)

Depth: 21¼ in (54 cm)


H. Blairman and Sons, London, 1958

Private Collection, England With Hotspur Ltd. of Belgravia, London


P. Thornton and W. Rieder, ‘Pierre Langlois, Ebéniste – Part 3’, Connoisseur, 1972, vol. 179, p. 178, fig. 6

These superlative commodes can be confidently attributed to Pierre Langlois. They relate closely to known documented pieces which exhibit the same overall design, similar accomplished veneer work and comparable ormolu mounts. The exceptional metalwork is attributed to Dominique Jean, Langlois’ son-in-law.

Pierre Langlois was a cabinetmaker of Huguenot origin who found favour in both the Royal Court and within the aristocracy. His name is now synonymous with some of the greatest English furniture, made in the French taste, during the second half of the 18th century. Examples of his work can be seen in the Royal Collection at Buckingham Palace and Windsor Castle today, and he is also known to have supplied furniture to, amongst others, the Duke of Bedford, now at Woburn Abbey. A magnificent commode supplied to the Earl of Coventry for Croome Court by Pierre Langlois is in the collections of the Metropolitan Museum of Art in New York.

Pierre Langlois’ Trade Card The Trustees of the British Museum


England, circa 1810

A very fine Regency period faux rosewood and parcel-gilt chaise longue, of particularly elegant form with scroll ends and sabre legs terminating in brass castors. In the neo-classical GrecianRoman revival taste with sophisticated gilt detailing.

In the manner of Thomas Hope.

Height: 30¾ in (78 cm)

Width: 78½ in (199 cm)

Depth: 27¼ in (69 cm)


The collection of Lady Cynthia Poston, and reputedly by descent from the Earls of Albemarle, Quidenham Hall, Norfolk

Lady Cynthia Poston (1918 – 2017) was the daughter of Walter Keppel, Viscount Bury, later the 9th Earl of Albemarle, and Lady Judith Sydney Myee Wynn-Carington, daughter of Charles Wynn-Carington, 1st Marquess of Lincolnshire. Quidenham Hall was purchased by the Keppel family in 1800, and it is quite likely that our chaise longue, tying in neatly in date, may have been commissioned for the house around this time as a fashionable piece of furniture for the newly acquired home.




England, circa 1765

A superb set of four George III Chippendale period carved mahogany side chairs. Each with a serpentine crest rail rising to foliate clasps above slightly curved detailed uprights, the foliate and pierced carved back splat with confronting moulded C-scrolls with foliate ruffled detailing, flanked by  C-scrolls above further elongated C-scrolls, centred above the shoe by foliate carved stylised gothic-form pierced strapwork, above silk damask upholstered stuff-over seats with brass button detailing, standing on elegant cabriole legs profusely carved to the knees and terminating in pronounced ball and claw feet, the back legs elegantly outswept.

Height: 37¼ in (94.5 cm)

Width: 25¼ in (64 cm)

Depth: 24¼ in (62 cm)

This exceptional set of mid 18th century side chairs successfully combines both gothic and rococo decoration, two of the predominant styles that informed  The Gentleman and CabinetMaker’s Director first published by Thomas Chippendale in 1754. The pattern of these chairs follows almost exactly Chippendale’s design issued in the first edition as pl. XII, and it proved to be one of his most popular and long-lived designs, being reproduced again, twice in the third edition of the Director in 1762, pls. XIII and XIV. The carving of these chairs is of a quality commensurate with Chippendale’s work.

Described in the 1754  Director as ‘new pattern’ chairs, Chippendale offered ‘if you think they are too much ornamented, that can be omitted at pleasure’, perhaps in recognition that the highly carved rococo decoration was becoming slightly oldfashioned, as the clean lines of neo-classicism came to the fore, or else he was simply signalling that he was able to simplify the pattern for clients of a more parsimonious nature. By 1762, he further stated, as with our chairs, that ‘The Seats look best when stuffed over the Rails, and have a brass border neatly chased, but most are commonly done with Brass Nails, one or two Rows’.

A set of chairs supplied by Chippendale survive at Nostell Priory with similar backs but much plainer simpler legs, one of which was exhibited at Thomas Chippendale 1718 - 1779 - A Celebration of British Craftsmanship and Design, Leeds in celebration of Chippendale’s tercentenary in 2018. Further chairs of this pattern but with varying leg designs are recorded: a pair in the Noel Terry Collection in Fairfax House, York is very closely related with minor differences in the carving of the cabriole legs. Another in the collections of the Victoria & Albert Museum in London has cabriole legs with pad feet and another pair at Temple Newsam, Yorkshire has square profile legs.

A closely related set of chairs, but with drop-in seats, scroll feet, and arguably simpler carving, from Winkburn Hall near Newark in Nottinghamshire was sold at Christie’s London,  Thomas Chippendale - 300 Years, 5 July 2018, lot 14, having previously been part of the celebrated US collection of Ruth and Theodore Baum.





China, 19th century

A rare pair of mid 19th century Chinese Export black lacquer and gilt decorated games tables. Of rectangular form, the tables exquisitely decorated throughout with gilt highlights on a black lacquer background. The fold over tops are supported on brackets and reveal playing surfaces, counter wells and candlestands. The central panels each lift by means of a secret button to reveal on the alternate side a chess board with a sunken concealed backgammon board below. With frieze drawers and standing on square tapering legs, similarly decorated.

Height: 29¾ in (76 cm)

Width: 38½ in (98 cm)

Depth: 19¼ in (49 cm)

Interestingly these games tables were apparently shipped to Europe in parts, to be assembled on arrival. The leg joints are inscribed with Chinese characters - presumably instructions for final construction - shipping from the Far East was of course expensive, so to ship deconstructed would have saved cargo space and been more cost effective - it also prevented the delicate legs being damaged in transit.


David S. Howard, A Tale of Three Cities / Canton, Shanghai & Hong Kong – Three Centuries of Sino-British Trade in the Decorative Arts, Sotheby’s, 1997



England, circa 1755

An exceptional George II Chippendale period mahogany dumbwaiter. Each of the three graduated levels of finely figured mahogany with lip moulded edges, the barrel stem tapering and each section with spiral knob detailing, standing on a triform base with elegant cabriole legs carved to the knees with trailing acanthus leaf foliage detailing and terminating in outstandingly well carved scroll toes, on castors.

Height: 43 in (110 cm)

Diameter: 24 in (61 cm)



English, circa 1690

A very fine and rare William III carved silvered and japanned pier mirror, the divided upright arched mirror plates engraved with stylised stars and a scalloped edge, the conforming frame with an inner gadrooned border, the moulded black and gold japanned cushion border with raised chinoiserie decoration with figures, birds, flowers and pavilions, all within a foliate and strapwork carved outer edge.

An exceptionally rare mirror.

Height: 52¼ in (133 cm)

Width: 24¾ in (63 cm)


Christie’s New York, Important English Furniture, Clocks & Objects, The Property of a Lady of Title, 9 October 1993, lot 358 Sotheby’s New York, Tom Devenish: The Collection – Highly Important English Furniture, 24 April 2008, lot 14 With Godson & Coles, London Private Collection, UK

This pier mirror, with its richly japanned frame within carved and silvered mouldings, is a rare survival. The various elements of its chinoiserie decoration are derived from  A Treatise of Japanning and Varnishing, published by Stalker and Parker in 1688, in which they declared in the introduction ‘The Epistle to the Reader and Practitioner’, that ‘We have laid before you an Art very much admired, and all those who hold any commerce with the Inhabitants of Japan’. The following chapters include ‘How to Make Varnishes’, ‘To make raised work in imitation of Japan, and of the Paste’, and instructions ‘To take off any Japanpatterns in this Book, upon any piece of work whatever’. The treatise contains some twenty-three plates showing illustrations of flowers, birds, figures and pavilions, all in the oriental manner which relate closely to the decoration found on this mirror.

J. Stalker and G. Parker, A Treatise of Japanning and Varnishing, 1688, pl.18


Attributed to Royal Cabinet-Maker John Cobb England, circa 1775

A very fine and rare George III kingwood bombé commode attributed to John Cobb. The serpentine top cross-banded in rosewood and centred by an oval panel of amboyna on a quarterveneered kingwood ground, with three similarly veneered drawers. The corners, apron and feet with fine ormolu mounts.

Height: 31¾ in (81 cm)

Width: 37¾ in (96 cm)

Depth: 19¾ in (50 cm)

In the French taste, with its richly figured quarter-veneered top, with ormolu mounts and boldly drawn cabriole form, this rare commode can be confidently attributed to the royal cabinetmaker John Cobb.

An identical pair of commodes was sold from the collections previously at Stowe House, Buckinghamshire, having almost certainly been supplied to George Grenville, Marquess of Buckingham (1755-1813) and thence passed through the family by descent (sold Sotheby’s London, Treasures, 6 July 2016, lot 35).



Possibly by George Simson

England, circa 1795

A superb late 18th century George III satinwood breakfront display or collector’s cabinet. In three sections, the upper two parts with satinwood framed and amaranth banded glazed doors with extremely fine astragals, silk lined interiors and adjustable glass shelves. The lower section with three graduated rows of four kingwood crossbanded satinwood fronted drawers above a plinth base. Retaining its original gilded handles. The satinwood of superb colour and figuring throughout.

An extremely rare piece of furniture. Possibly a unique commission. Of exceptional quality and very shallow depth.

Height: 78 in (198 cm)

Width: 69¼ in (175.5 cm)

Depth: 12 in (30.5 cm)


Dudmaston Hall, Shropshire

Dudmaston Hall in the Severn Valley, Shropshire is a late 17th century country mansion now in the care of the National Trust. The estate has been in the Wolryche and Wolryche-Whitmore families since 1403 and a descendant still lives there today.

George Simson (1780 – 1839) was a cabinet-maker, as well as upholder and undertaker, whose workshops were located at 19 St. Paul’s Churchyard, London. He was the son of a surgeon and apothecary from Chatham, Kent. In 1793, he subscribed to Thomas Sheraton’s Drawing Book and in 1803 was included in the list of master cabinet-makers in the Cabinet Dictionary. Little is known of Simson’s clientele although there are records of payments from the 2nd Viscount Palmerston and the Viscount Grimston at Gorhambury, Hertfordshire.



England, circa 1740

A superb George II Palladian gilt gesso pier mirror of architectural rectilinear form, the bevelled plate held within a profusely carved giltwood frame surmounted by a broken swan neck pediment with paterae and acanthus leaves, flanking a central acanthus carved cartouche above an acanthus carved tablet. The base of serpentine form similarly carved with stylised foliage, scrolling and detailing.

Height: 62¼ in (158 cm)

Width: 34¾ in (88 cm)



England, circa 1710

A very fine and rare pair of Queen Anne period walnut stools, of rectangular form, the upholstered over seats supported by elegant cabriole legs that end in pad feet joined by a shaped stretcher. The walnut with fine colour and patination throughout.  The seats now upholstered in exceptional early 18th century French floral needlepoint retaining magnificent fresh colours.

Height: 17½ in (44.5 cm)

Width: 22½ in (57 cm)

Depth: 16½ in (42 cm)


With Hotspur (1937)

The collection of S. Eckman, Jnr., Esq., C.B.E. Sotheby’s London,  Important English Furniture, Clocks, Rugs, Tapestries and Chandeliers - the Collection of S. Eckman Jnr., Esq., C.B.E., Friday 6th October 1967, lot 123 Acquired by Hotspur, at the above sale, 6th October 1967 Private Collection


The Grosvenor House Antiques Fair Handbook, 1937, p. 51, exhibited by Hotspur Country Life, 21 September 1967, p. 706, Sotheby’s advertisement


The Antique Dealers Fair and Exhibition, Grosvenor House London, 1937

The outstanding needlework on these stools relates very closely to that on a French carpet, illustrated in L. Synge, Mallett Millennium, 1999, p. 229, pl. 293.



Attributed to Gillows of Lancaster & London England, circa 1800

A superb Sheraton period rosewood sofa table. The top with twin drop leaves with rounded corners, partridge-wood banding and ebony lines, two narrow satinwood bandings and outer rosewood crossbanded borders. The frieze with two oak-lined drawers each side with satinwood cross-banded borders flanked by partridgewood panels similarly cross-banded. Standing on standard end supports with double swept legs terminating in brass box castors, the supports united by an arched stretcher, all with inset boxwood lines and box and ebony stringing. With fire-gilt brass knob handles.

Of the finest quality.

Height: 28¼ in (72 cm)

Width: 60¾ in (154 cm)

Depth: 29¾ in (76 cm)


With Charles Lumb, Harrogate (1989) Private Collection, England

Comparative Literature

Susan E. Stuart, Gillows of Lancaster and London 1730-1840, 2005, pp. 264-265, pl. 268-269

A pair of near identical rosewood sofa tables was supplied by Gillows of Oxford Street to Stephen Tempest of Broughton Hall in 1803. They were invoiced as ‘....2 large rosewood sofa tables with drawers in do. and on claw & castors 14 gns. 29-8-0d’.

At the beginning of the 19th century Gillows introduced a new design of table, specifically to be placed by a sofa. In 1801, they advised their client Lady Gardiner of Clerk Hill ‘the most fashionable form now used are what we call sofa tables’ and enclosed a sketch which showed how ‘the 2 leaves fall down like a Pembroke table’. In July 1801 Gillows included the first sofa table in their Estimate Sketch Book. Sofa tables could be adapted to suit many needs, as games, tea or writing tables. They were often veneered in expensive imported exotic woods and the fitted knobs or handles were supplied in either ivory, exotic timbers or brass.



England, circa 1680

A very fine late 17th century William and Mary period oyster veneered walnut chest of drawers.  The top with moulded edge and particularly well laid out concentric rings of oyster veneer with inlaid contrasting stringing, above two short drawers and three long graduated drawers similarly veneered with crossbanding and ‘oysters’ of graduated diameters. The sides with central panels of quarter-veneered bookmatched ‘oysters’ with deep crossbanded borders. The drawers with engraved brass escutcheons and drop handles. With a moulded lower edge and supported on bun feet.

Overall with superb colour and patination.

Height: 33½ in (85 cm)

Width: 38 in (97 cm)

Depth: 22½ in (57 cm)



England, circa 1785

An exceptionally fine set of four George III carved elbow chairs, retaining wonderful original gilded and blue and ivory painted decoration, with silk upholstered back and seats, carved beading to the arm supports, and standing on elegant tapered acanthus headed fluted legs with spade feet.

Height: 38¼ in (97 cm)

Width: 23¾ in (60 cm)

Depth: 23¾ in (60 cm)

Literature Ronald Phillips Ltd., Antique English Furniture 2008, pp. 216-217



China, circa 1880

A superb late 19th century Chinese lacquer centre table. Decorated throughout with gilt chinoiseries on a scarlet red background to the top, and a blackened red base. The scalloped top divided into sections and decorated with stylised landscapes, pavilions and trees with a floral banding around the circumference above a pierced fretwork frieze. Supported on a similarly decorated bulbous baluster pedestal and raised on a stylised lotus flower base.

Height: 32½ in (83 cm)

Diameter: 34 in (87 cm)



An exceptional pair of George III 21 inch celestial and terrestrial globes by John Cary (1755 - 1835), each raised on superb mahogany stands, the fluted and tapering legs united by cross stretchers with a central mahogany framed compass and ending in brass castors.

The mahogany stands of the finest quality.

The terrestrial globe inscribed: ‘Cary’s New Terrestrial Globe, exhibiting the Tracks and Discoveries made by Captain Cook; Also those of Captain Vancouver on the North West Coast of America and M. de la Perouse, on the Coast of Tartary. Together with every other Improvement collected from Various Navigators to the present time. London’.

The celestial globe inscribed: ‘Cary’s New and Improved Celestial Globe, on which is carefully laid down the whole of the Stars and Nebulae, contained in the Astronomical Catalogue, of the Revd. Mr. Wollaston, F.R.S. compiled from the Authorities of Flamsteed, de la Caille, Hevelius, Mayer, Bradley, Herschel, Maskelyne & c. With an extensive number from the Works of Miss Herschel. The whole adapted to the year 1800, and the Limits of each Constellation determined by a Boundary Line. London’.

Height: 46 in (117 cm)

Diameter: 27¼ in (69 cm)

The emergence of globe making in Britain closely mirrored the great cultural and economic changes in the 16th and 17th centuries. The exploration of previously uncharted continents, the expansion of ocean-going trade and the growing popular interest in science all combined to make desirable a graphic representation of this newly discovered knowledge. Terrestrial and celestial globes provided an ideal medium. By the late 17th century they had become the principal instruments for teaching geography and astronomy. Globes were not only used to teach physical location and the relationship of the various continents and constellations but also to demonstrate the concepts of spherical trigonometry required for navigation.

By the beginning of the 18th century the British globe making industry was concentrated in London. John and William Cary, two brothers who worked in partnership, established themselves as the leading manufacturers. John Cary (1755 – 1835), from Corsley in Wiltshire, was apprenticed to the map engraver William Palmer and was subsequently made a Freeman of the City of London in 1778. He started his globe making business in 1791, when he advertised terrestrial and celestial globes in a variety of sizes, from 3.5 inches to 21 inches in diameter. Library globes were mounted on high stands with turned reeded legs, or on a tripod base. Table globes were also supplied. Cary’s firm was located at 181 The Strand and in about 1820 he moved to 86 St. James’s Street. The business was continued by his sons.

The present globes clearly demonstrate the quality and sophistication of John Cary’s work. The elegant stands are constructed using the finest mahogany and the cradles which house the globes are veneered with figured mahogany now mellowed to a lovely colour with excellent patination, and allow the globes to move freely on their axis. The design of the stands is restrained and simple to create a feeling of lightness.

Of particular note, Captain Cook’s voyages are marked on the terrestrial globe, indicating the sea routes he took on his expeditions.



England, circa 1765

A superb George III period giltwood pier mirror, the finely carved frame is outlined by an exuberant upward swirl of crossed scrolling acanthus leaves, extending up and crossing to form an asymmetric spiral and curve of finely carved leaves and curling foliage, incorporating naturalistic details including a seed head, bell flowers and fruits, the frame further ornamented with sixpetalled flower heads, and a well carved ribbon tie accentuating the crossed acanthus branches beneath.

Original mirror plate. The whole highlighted by an exceptional gilded and richly burnished finish.

Height: 48¼ in (123 cm)

Width: 27 in (68.5 cm)

The scrolling acanthus leaf, the key design of this outstanding mirror is seen to very similar effect in a drawing by John Linnell (1729-1796) held at the Victoria & Albert Museum in London (E.312-1929). Linnell produced a number of designs for oval shaped pier-glasses.

John Linnell (1729-1796) was the son of the celebrated furniture maker William Linnell (ca. 1703-1763). Unlike most furniture makers, John Linnell gained a design education at the St. Martin’s Lane Academy, which had been founded by William Hogarth in 1735. On his father’s death in 1763, John Linnell took over the family firm. During his lifetime John Linnell produced extremely high quality furniture, which rivalled that of other contemporary leading furniture makers such as Thomas Chippendale, John Cobb, William Ince and John Mayhew. Linnell’s work was supplied to great houses including Osterley, Shardeloes, Badminton, Castle Howard and Inverary.

This mirror also relates to one supplied by Thomas Chippendale to Edwin Lascelles for Harewood House that was subsequently sold by the 7th Earl of Harewood at Christie’s London, 10 April 1986, lot 80. What appears to be a manuscript design for this frame dating from  circa 1765 is amongst the Chippendale drawings held at the Metropolitan Museum of Art, New York (ref: I. Hall, ‘Newly Discovered Chippendale Drawings relating to Harewood’,  Leeds Art Calendar, 1971, no. 69 pp. 5-17 and  C. Gilbert,  The Life and Work of Thomas Chippendale, London, 1978, p. 70, fig. 108, and p. 77, figs. 118-119).



England, circa 1780

A very fine George III Hepplewhite period mahogany chest of drawers of particularly good colour throughout. The crossbanded and line inlaid serpentine shaped finely figured mahogany top, above a serpentine inset brushing slide above three corresponding graduated drawers with magnificent book matched flame veneers and elaborate well chased oval ring pull handles and back plates, standing on elegant splayed legs.

Height: 32¾ in (83 cm)

Width: 43¼ in (110 cm)

Depth: 22¾ in (58 cm)



England, circa 1860

A very fine mid 19th century mahogany three tier dumbwaiter or étagère. The solid mahogany shelves with a deep moulded edge, raised on bold well turned column supports with large shaped finials. The turned feet with large bold brass castors.

The mahogany of excellent colour and patina throughout.

Height: 44¼ in (112 cm)

Width: 34 in (86.5 cm)

Depth: 28 in (71 cm)


England, circa 1830

A very good large scale George IV period walnut canterbury attributed to Gillows of London and Lancaster. Of country house proportions with a beautiful rich colour and patina and best quality construction - with four folio compartments with turned leaf carved pilaster corners above a single walnut lined drawer, turned legs and brass castors.

Height: 24 in (61 cm)

Width: 24¼ in (62 cm)

Depth: 18½ in (47 cm)




The vases China, circa 1900

A very fine pair of late 19th century Chinese turquoise glazed vases, each with narrow flared necks and incised with stylised lotus and foliate decoration, now mounted as table lamps with hand gilded turned bases.

Height of vases: 16½ in (42 cm) including giltwood bases, excluding electrical fitments and lampshades


England, hallmarked 1899

A superb large late 19th century silver table lamp. The corinthian capped fluted column supported on a square plinth each side of which applied with a ribbon-tied laurel wreath, on a stepped square base with beaded borders.  One side of the lowest step of the plinth dedicated with engraving: ‘Mr. H. B. Moore, from the Registrars of his District, June 1907’. Hallmarked London 1899.

Height to top of column: 22½ in (57.5 cm)

Base: 7½ in (19 cm) square




The vases Japan, circa 1870

A superb pair of large 19th century Japanese Imari ribbed vases, decorated throughout in the typical Imari palette of dark blues and iron reds on a white background with gilt highlights, the main panels with large floral arrangements in a vase on a table set within a chequered terrace, now mounted as lamps with hand gilded turned bases.

Height of vases: 19¾ in (50 cm) including gilt bases, excluding electrical fitments and lampshades.


The vase Japanese, circa 1720

A magnificent large scale 18th century Imari vase of impressive proportions. The octagonal shaped vase wonderfully decorated throughout in the Imari palette of predominantly blues and iron reds on a white ground, with gilded highlights. With shaped panels filled with exotic flowers and foliage - the intervening panels with stylised floral decoration, now mounted as a lamp with a hand gilded base.

Height of vase: 24 in (61 cm) including giltwood base, excluding electrical fitment and lampshade.



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We are often asked to source specific pieces on behalf of our clients. Whether this is at auction, or from our extensive access to private collections not readily available on the market, we are ideally placed to facilitate these requirements.

An 18th century Chinese Export lacquer bureau on stand sourced for a client.


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Detail of the George II walnut shepherds crook armchair.

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