Ronald Phillips Ltd 2022

RON A L D PHILLIPS PHI L L I PS RONALD FINE ANTIQUE ENGLISH RFURNITURE FINE G R EANTIQUE A T E N G ENGLISH L I S H F UFURNITURE NITURE

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FOREWORD As always, it gives me great pleasure to send you our latest catalogue.

You will see in these pages a few old friends which we have been fortunate to be able to repurchase. Within this group I draw your attention to the amazing pair of huge Chinese ‘nodding head’ figures on page 90, which are the best examples we have ever had, and to the exceptionally rare pair of George IV chairs commissioned for Liverpool town hall on page 38.

The scarlet japanned Langlois commode on page 10 is unique and a major discovery, and its japanning and metalwork are both of the very highest quality. I have only ever seen black japanned examples of this kind before. The gilt gesso table on page 152 is another major discovery, which is not only highly important in itself but also comes with Royal provenance.

We are delighted to announce that we will once again be participating in Masterpiece London at the Royal Hospital Chelsea from Thursday 30 June to Wednesday 6 July 2022. After two years of the fair being suspended due to the pandemic, this will be a most welcome return.

We very much look forward to seeing you there.

During the run of the fair, from Monday 27 June to Saturday 2 July, we will be hosting in our gallery a selling exhibition of wonderful porcelain objects by Clare Potter. An example of her work is on page 219. Clare has had various successful exhibitions around the world over the years.

We are also embarking on a collaboration with Fromental wallpapers.

You will see examples of their stunning papers on our stand at Masterpiece London. We are in the process of updating two of our large showrooms in Bruton Street with other examples of their paper.

Once again, but particularly in these unusually challenging times, I would like to thank all my loyal staff for their hard work and dedication.

I very much look forward to hearing from you at simon@ronaldphillips.co.uk or on +44 (0)20 7493 2341.

Very best wishes,

Simon Phillips May 2022

Left: Simon Phillips with Rolo

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THE STANSTED PARK SETTEE

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1 A GEORGE III GILTWOOD SETTEE ATTRIBUTED TO JOHN LINNELL Note: The settee has been re-gilded.

English, circa 1770 Height: 3 ft 7¾ in; 111 cm Height of seat: approx. 1 ft 7 in–1 ft 9 in; 48.5–53.5 cm Length: 6 ft 10¾ in; 210.5 cm Depth: 3 ft 2¼ in; 97.5 cm The suite to which this settee belonged was commissioned by the 2nd Earl of Halifax after he inherited Stansted Park, Sussex, England, in 1766. The Earl’s London residence at 7 Grosvenor Square was only a stone’s throw from the Linnells’ workshops at 28 Berkeley Square. A drawing by the Linnell firm for an exceptionally similar chair is in the collection of the Victoria and Albert Museum in London.

On the Earl’s death in 1771, the estate passed to his daughter Anna, who subsequently sold the property after George III and Queen Charlotte visited but declined to purchase it.

In 1900 the house, by then owned by George Wilder, was largely destroyed by fire. It was rebuilt in 1903. The suite of seat furniture, along with other contents from the house, was sold at Christie’s in 1911. The suite was bought by the highly influential art dealers Duveen Brothers and was then split up. Six chairs and a settee remained in England and were eventually sold by Crowther of Syon Lodge to the Ministry of Works. One chair went to the Victoria and Albert Museum, and the remaining five chairs and a settee were installed in the newly refurbished private rooms at 10 Downing Street where they have been used by British prime ministers ever since.

A single armchair was purchased by H. H. Mulliner and is illustrated in his book on the collection.

The rest of the suite crossed the Atlantic and was sold first to Edward T. Stotesbury, an investment banker and partner in Drexel & Co. and J. P. Morgan & Co., who installed it at Whitemarsh Hall, Pennsylvania. The suite was then bought by Anna Thompson Dodge for her new house, Rose Terrace, in Michigan.

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During Dodge’s ownership, one settee was split from the remainder of the suite. After her death in 1970, eleven chairs and one settee were put on public display at the Huntingdon Library, San Marino, California, where they remained until they were sold in 2005.

Our settee reappeared on the American market a little while ago, thus completing the original set.

Provenance: George Montagu-Dunk, 2nd Earl of Halifax, Stansted Park, Sussex, England; By descent to his daughter Anna Donaldson, until 1778; Various owners until 1900; sold to; George Wilder, Stansted Park, until sold; Christie’s, 13 May 1911, lot 96; Duveen Brothers, London, England; Edward T. Stotesbury, Whitemarsh Hall, Wyndmoor, Pennsylvania, USA; Anna Thompson Dodge, Rose Terrace, Grosse Pointe Farm, Michigan, USA; Private collection, USA. Literature: H. H. Mulliner, The Decorative Arts in England 1660–1780, 1923, fig. 27.

Desmond Fitzgerald, Georgian Furniture, 1969, fig. 96.

Ralph Edwards, English Chairs, 1970, illus. 90.

Helena Hayward and Pat Kirkham, William and John Linnell, Eighteenth Century London Furniture Makers, 1980, vol. II, figs 84–5.

Maurice Tomlin, Catalogue of Adam Period Furniture in the Victoria and Albert Museum, 1982, pp. 112–13, illus. 9.

Geoffrey Beard and Judith Goodison, English Furniture 1500–1840, 1987, p. 176, fig. 2.

John Charlton, No. 10 Downing Street, 1990, pp. 16–17.

Michael C. Kathrens, American Splendor: The Residential Architecture of Horace Trumbauer, 2002, p. 145.

Charles G. Zwicker, Whitemarsh Hall: The Estate of T. Stotesbury, 2004, p. 56.

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Ronald Reagan and Margaret Thatcher seated on armchairs from the suite at 10 Downing Street, London, 5 June 1984.

Courtesy of Getty Images Hulton Archive

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2 A GEORGE III ORMOLU MOUNTED SCARLET JAPANNED COMMODE ATTRIBUTED TO PIERRE LANGLOIS Note: The commode retains all the original external and internal ormolu mounts and virtually all the original decoration. Extensive paint analysis has revealed that an external extension at the rear of the carcass is a contemporary change and original. The depth extension of the drawers, however, was carried out at some later stage, retaining the original drawer fronts, backs and bottoms. The sides of the drawers were replaced during this later alteration.

English, circa 1765 Height: 34 in; 86.5 cm Width: 38½ in; 98 cm Depth: 24¾ in; 63 cm The work of Pierre Langlois has been examined and discussed in great detail in a series of articles

by William Rieder and Peter Thornton. The exceptionally broad spectrum of decorative techniques used by Langlois in his commissions includes plain veneer, floral marquetry, parquetry, Florentine pietra dura panels, Chinese lacquer and japanning, and his pieces are usually mounted with fine ormolu mounts supplied by his son-in-law, Dominique Jean.

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A comparable commode formerly with Ronald Phillips Ltd.

This commode is to date the only known example of a scarlet japanned commode of the early transitional period between the rococo and neoclassical styles, not only by Langlois, but by any cabinet-maker in England. Scarlet lacquer and japanning continued to be used in France, but were little used in England from around 1740 until they came back into fashion during the Regency period.

Other features characteristic of Langlois on this commode are the typical brass mounts, the construction of the carcass and the doors, the black wash of the double panelled back and the outline of the shaped apron. The most striking detail is the embellishment of the japanned corners with leaf decoration, which is consistent with virtually every piece made in the Langlois workshop apart from a few exceptions, the plain design of which did not allow ornamentation.

Provenance: Private collection, New York, USA. Literature: Public Advertiser, 19 February 1771, p. 3.

Public Advertiser, 20 February 1771, p. 3 Edward T. Joy, ‘A pair of early neo-classic commodes’, Connoisseur, July 1963, pp. 28–9.

Peter Thornton and William Rieder, ‘Pierre Langlois, Ébéniste’, Part I, Connoisseur, December 1971, pp. 283–8.

Peter Thornton and William Rieder, ‘Pierre Langlois, Ébéniste’, Part II, Connoisseur, February 1972, pp. 105–12.

Peter Thornton and William Rieder, ‘Pierre Langlois, Ébéniste’, Part III, Connoisseur, March 1972, pp. 176–87.

Peter Thornton and William Rieder, ‘Pierre Langlois, Ébéniste’, Part IV, Connoisseur, April 1972, pp. 257–65.

Peter Thornton and William Rieder, ‘Pierre Langlois, Ébéniste’, Part V, Connoisseur, May 1972, pp. 30–35.

William Rieder, ‘More on Pierre Langlois’, Connoisseur, September 1974, pp. 11–13.

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3 A GEORGE III FUSTIC DECAGONAL TRIPOD TABLE ATTRIBUTED TO HENRY HILL Note: The top is veneered with ten segments of figured fustic, crossbanded with gonçalo alves and banded with satinwood.

English, circa 1775 Height: 27½ in; 70 cm Diameter: 35½ in; 90 cm Provenance: Private collection, England.

The cabinet-making workshop of Henry Hill of Marlborough (active between 1740 and 1778) is known for its superior furniture and use of fine exotic timbers, often in contrasting combinations. The ebonised edge of the table is a characteristic feature, and many pieces made by Hill feature an ebonised or part-ebonised edge moulding. The same moulding as well as the same inverted scroll legs to the base can be seen on a table sold at Bonhams in 2015.

Hill’s successful business supplied mainly landed families in England, including the Duke of Somerset for Maiden Bradley, Wiltshire, and the Methuen family at Corsham Court, also in Wiltshire.

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THE MILTON ABBEY VARDY MIRROR

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One of the designs for a carved mirror or picture frame for Milton Abbey, Dorset, by John Vardy, 1761. Copyright RIBA Collections

4 A GEORGE II GILTWOOD MIRROR BY JOHN VARDY Note: The mirror retains the original bevelled centre mirror plate and most of the marginal plates, as well as some of the original gilding. The leaf tips of the cresting have been reinstated.

English, circa 1750 Height: 6 ft 7 in; 201 cm Width: 3 ft 10 in; 117 cm Provenance: Commissioned by Joseph Damer, 1st Earl of Dorchester, Milton Abbey, Dorset, England.

Joseph Damer, 1st Earl of Dorchester, bought the ancient former Benedictine foundation of Milton Abbey, Dorset, in the 1750s and then set about remodelling the entire valley by relocating the village and church and razing the original village and parts of the existing abbey complex to the ground.

Damer engaged a series of architects, starting with John Vardy. Vardy was followed by Sir William Chambers, and the buildings were completed by James Wyatt. The Royal Institute of British Architects holds a collection of drawings by John Vardy for Milton Abbey, including the designs for this mirror. The drawing shows two alternative versions, both of them suitable for either a mirror or a picture frame. Our mirror derives from a combination of both drawings. It is not known if any picture frames were made to the design.

The Damer family sold Milton Abbey in the 1850s to Carl Joachim Hambro, whose descendants in turn sold it in the 1930s. Today Milton Abbey is an independent day and boarding school with over 220 students.

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5 A GEORGE III MAHOGANY PEDESTAL DESK ALMOST CERTAINLY BY THOMAS CHIPPENDALE Note: The desk retains the original ornate brass handles. The concealed castors to the pedestals are replacements and there are alterations to the frieze drawer formation. The leather insert is of later date.

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English, circa 1765 Height: 2 ft 7½ in; 80 cm Height of kneehole: 2 ft; 61 cm Width of kneehole: 2 ft; 61 cm Width: 5 ft 2 in; 157 cm Depth: 3 ft 2½ in; 98 cm The similarities between this desk and the documented pedestal desk at Dumfries House, Ayrshire, Scotland, are compelling and leave little doubt about the maker.

The design of the desk is based on plate LIV of the first edition of Thomas Chippendale’s The Gentleman and Cabinet-maker’s Director.

As one would expect, only superior mahogany has been used, for both the veneer and the solid parts, and the fine brass handles are of the traditional type often used by the firm.

As with the Dumfries desk, the frieze originally had working drawers at the sides only, with dummy drawers to the front and back. These side drawers, one containing a rising reading rest and the other, shorter one a plain drawer, were at some stage turned into dummies and working drawers were fitted to the front of the desk only. The original drawer fronts were all retained.

At this stage, even if the side drawers were reinstated, the drawer formation would no longer be original. For this reason it was decided to retain the current, more practical drawer arrangement.

Provenance: Private collection, New York, USA. Literature: Thomas Chippendale, The Gentleman and Cabinet-maker’s Director, 1754, pl. LIV. Christie’s, ‘Dumfries House – A Chippendale Commission’, sale catalogue, 12–13 July 2007, vol. 1, pp. 124–9, lot 30.

Ronald Phillips Ltd., ‘The Legacy of Thomas Chippendale’, catalogue, 2018, pp. 104–11.

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Drawer detail of the Dumfries library table

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6 A GEORGE III GILTWOOD SEMI-ELLIPTIC SIDE TABLE ATTRIBUTED TO THOMAS CHIPPENDALE, WITH A SCAGLIOLA TOP ATTRIBUTED TO BARTOLI & RICHTER, DESIGNED BY ROBERT ADAM Note: The table frame has been re-gilded.

English, circa 1775 Height: 34 in; 86.5 cm Width: 48½ in; 123 cm Depth: 20¾ in; 52.5 cm Provenance: Partridge Fine Arts Ltd., London, England; Private collection, New York, USA. Dominic Bartoli was born around 1740 in the city of Livorno, Italy. By the early 1760s he had emigrated and settled in London, training as a stonemason. He was employed by William Constable in the 1760s for work at Burton Constable, Yorkshire, England. It was during this commission that he first met Robert Adam, with whom he worked for many years. In 1767, Bartoli entered into a short partnership with John Richter, but after only a decade he was once again working on his own.

Bartoli’s distinctive style is evident in this statuary marble top. Black marble or slate were more traditional materials. The pattern, with floral roundels and decorated borders, derives directly from Robert Adam’s repertoire.

Tops made by Bartoli are in the collections at Nostell Priory in Yorkshire and Syon House and Osterley Park, both in west London. They and the present example all follow the same template: a central fan on the back edge, with running bands of decoration radiating from it.

A table top made for Charles Agar, 1st Earl of Normanton and Archbishop of Cashel (later Archbishop of Dublin), closely relates to our top.

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THE POWDERHAM CASTLE ARMCHAIR

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Two chairs from the suite in situ in the Banqueting Hall at Powderham Castle, 18 July 1963.

Courtesy of Country Life / Future Publishing Ltd

7 A GEORGE II MAHOGANY ARMCHAIR English, circa 1755 Height: 42½ in; 108 cm Height of seat: 19 in; 48.5 cm Width: 31 in; 79 cm Depth: 28¼ in; 72 cm This chair once belonged to a larger set commissioned for the newly installed Marble Hall at Powderham Castle in 1755. The suite was photographed by Country Life in 1963, but the image was not published at the time. Today two chairs from the original set remain at Powderham.

Provenance: William Courtenay, 1st Viscount Courtenay, Powderham Castle, Devon, England; Private collection, England.

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A GEORGE III MAHOGANY KETTLE STAND

A GEORGE II SILVER KETTLE ON STAND

BY BENJAMIN GODFREY

Note: The top retains the original fret gallery and pull-out slide.

English, circa 1770 Height: 22¾ in; 58 cm Diameter: 13¾ in; 35 cm

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English, hallmarked for London 1739 Height of kettle overall: 15½ in; 39.5 cm Diameter: 8¼ in; 21 cm Provenance: Private collection, England.

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A related design; Martin Mortimer, The English Glass Chandelier, 2000, p. 151, pl. 90

10 A GEORGE III CUT GLASS TWELVE LIGHT CHANDELIER ATTRIBUTED TO PARKER & PERRY Note: Two lower candle arms and the receiving bowl are replacements, and the smaller canopy is repaired.

A drawing of this type of chandelier by Parker & Perry is in the collection of the Victoria and Albert Museum, London.

English, circa 1780 Height: 5 ft 3 in; 160 cm Diameter: 3 ft 4 in; 101.5 cm Provenance: Private collection, Amsterdam, The Netherlands; Jeremy Ltd., London, England; Private collection, England; Private collection, Switzerland.

Literature: Martin Mortimer, The English Glass Chandelier, 2000, p. 151, pl. 90.

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11 A PAIR OF GEORGE III GILTWOOD GIRANDOLES Note: The mirror plates are 18th century replacements.

English, circa 1770 Height: 43½ in; 110.5 cm Width: 16¾ in; 42.5 cm Depth: 10½ in; 26.5 cm A related girandole was photographed by Country Life at Compton Park, Wiltshire, England.

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12 A PAIR OF GEORGE III SEMI-ELLIPTIC SATINWOOD AND PURPLEHEART MARQUETRY SIDE TABLES ATTRIBUTED TO MAYHEW AND INCE The quality of the marquetry and the remarkable condition of the surface speak for themselves on this pair of tables.

English, circa 1780 Height: 34 in; 86.5 cm Width: 58 in; 147.5 cm Depth: 20¾ in; 53 cm 32

Provenance: Private collection, New York, USA.

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Christie’s, 17 April 1980, lot 55

One of the mirrors in the H. J. Joel collection

13 A PAIR OF GEORGE III GILTWOOD AND COMPOSITION MIRRORS Note: The mirrors retain their original centre plates. One mirror has replacement 18th century border glasses. Both mirror frames have been re-gilded in the past, but still retain some of the original gilding.

English, circa 1780 Height: 5 ft 7 in; 170.5 cm Width: 3 ft 4¾ in; 103 cm Provenance: One mirror Frank Partridge & Sons Ltd., London, England; Private collection, Surrey, England.

The other mirror Collection of H. J. Joel, London, England, until 1980; Private collection, France; Private collection, England.

Illustrated: Christie’s, ‘The H. J. Joel Collection’, sale catalogue, London, 17 April 1980, lot 55.

Ronald Phillips Ltd., ‘Fine Antique English Furniture’, catalogue, 2016, pp. 172–3.

Ronald Phillips Ltd., ‘Fine Antique English Furniture’, catalogue, 2017, p. 45.

Literature: Herbert F. Schiffer, The Mirror Book: English, American & European, 1983, p. 182, fig. 473.

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THE LIVERPOOL TOWN HALL SALOON CHAIRS

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One of the chairs; Furniture History, vol. 25 (1989), p. 139

14 A PAIR OF GEORGE IV BRASS MOUNTED ROSEWOOD ARMCHAIRS DESIGNED BY JOSEPH GANDY AND MADE BY RACHEL EDMUNDSON & SONS English, 1825 Height: 36¾ in; 93.5 cm Height of seat: 20 in; 51 cm Width: 24¾ in; 63 cm Depth: 24¾ in; 63 cm Provenance: Commissioned for Liverpool town hall.

Illustrated: June Dean, ‘Furniture in Liverpool Town Hall’, Furniture History, vol. 25 (1989), p. 139; one of the chairs.

Liverpool town hall was partly destroyed in a fire in 1795. Following its refurbishment, thirty-seven of these chairs were supplied by the Liverpool cabinet-making firm of Rachel Edmundson & Sons.

An inventory of the town hall in 1835 records twelve chairs in the west drawing room, thirteen in the east drawing room and the remaining twelve in the saloon. The chairs were originally covered in crimson cloth which was also supplied by Rachel Edmundson & Sons.

The architect Joseph Gandy was a former student of James Wyatt. He had also worked in partnership with the sculptor, cabinet-maker and designer George Bullock, whose influence can be seen in the design of the chairs.

Today thirty-three chairs from the original set remain at the town hall.

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THE EASTON NESTON REVOLVING BOOKCASE

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The bookcase in situ at Easton Neston, Northamptonshire, in 1991. Photograph by Derry Moore

15 A REGENCY BRASS MOUNTED PARCEL GILT ROSEWOOD CIRCULAR REVOLVING BOOKCASE Note: The bookcase retains much of the original gilding and the original brass gallery.

English, circa 1820 Height: 59 in; 150 cm Diameter: 25 in; 63.5 cm Provenance: Frederick, 2nd Baron Hesketh (1916–1955), Easton Neston, Northamptonshire, England; Private collection, England; Apter Fredericks Ltd., London, England.

Illustrated: Christian, Lady Hesketh, ‘Easton Neston, Nicholas Hawksmoor’s Baroque Creation in Northamptonshire’, Architectural Digest, January 1991, p. 143.

Apter Fredericks Ltd., ‘Important English Furniture’, catalogue, 2013, p. 11.

Literature: Thomas Hope, Household Furniture & Interior Decoration, 1807, pl. IX. Margaret Jourdain, Regency Furniture 1795–1820, 2nd revised edition, 1949, fig. 172.

Pauline Agius, Ackermann’s Regency Furniture & Interiors, 1984, p. 48.

Frances Collard, Regency Furniture, 2nd edition, 1985, p. 16.

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THE HOUGHTON HALL PORPHYRY SIDE TABLES

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Unpublished photograph of a longer table at Houghton Hall, 1921.

Courtesy of Country Life Picture Archive

16 A PAIR OF GEORGE II GILTWOOD SIDE TABLES WITH ORMOLU MOUNTED PORPHYRY TOPS, DESIGNED BY WILLIAM KENT

tables are listed in the Coffee Room, for example, but with no details of what they were used for or what materials they were made from.

Note: Both porphyry tops and the metalwork on one table are of later date.

By 1792, only three tables are listed in the Coffee Room: one larger and one smaller table of the same design, both with slab tops, and a games table. The larger table is described in detail:

English, circa 1730 Height: 33¼ in; 84.5 cm Width: 45½ in; 115.5 cm Depth: 23½ in; 60 cm The tables appear to be en-suite with another slightly longer table photographed by Country Life in 1921 at Houghton Hall, Norfolk, England. The frieze design of both tables is repeated in the plasterwork decoration of the ceiling of the Great Marble Hall at Houghton. William Kent replaced the architect Colen Campbell in 1725, following Lord Burlington’s recommendation of Kent to Houghton’s owner, Sir Robert Walpole. Kent is responsible for the design of most of the ground floor at Houghton, where he used craftsmen including James Richards, Benjamin Goodison and Thomas Roberts. Any one of them could have been responsible for these tables.

Houghton Hall has undergone many changes over the centuries, and it is possible that the tables were originally intended for Walpole’s London residence, 10 Downing Street, a gift from George II: Walpole stipulated that it should belong to the nation for the use of future prime ministers.

The Houghton inventory of 1745, prepared on Walpole’s death, provides only vague descriptions and very basic information. Seven

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One Table foot [supports] a most beautiful and highly polished Granite slab with or molu border The smaller table of the same design is less precisely described, as its top was probably covered in leather. The inventory lists protective leather covers for some of the tables with more precious tops, and it separately mentions items of particularly high value, mostly sculptures and paintings.

No other tables with fine ormolu borders are mentioned in the remaining rooms, perhaps because the tops were concealed under leather covers or because they were in one of the other Walpole family properties.

Provenance: Sir Robert Walpole, Earl of Orford, Houghton Hall, Norfolk, England.

Literature: John Cornforth, edited by Tessa Murdoch, Noble Households, 2006, pp. 169–205.

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THE NOSTELL PRIORY MIRRORS

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A comparable mirror at Hamilton Palace, Lanarkshire, in 1919. Courtesy of Country Life Picture Archive

One of the mirrors in situ at Nostell Priory, West Yorkshire.

Courtesy of Christie’s

17 A PAIR OF GEORGE II GILTWOOD MIRRORS ATTRIBUTED TO ISAAC ODELL Note: The mirrors retain virtually all the original gilding. One of the bevelled mirror plates is an 18th century replacement. The candle arm sockets are original, while the brass arms are of later date.

English, circa 1730 Height: 5 ft 5½ in; 166.5 cm Width: 2 ft 9 in; 84 cm Depth: 8¾ in; 22 cm A comparable mirror almost certainly by Isaac Odell is recorded at Chicheley Hall, Buckinghamshire, England. The carved, plumed head on a lambrequin support and the acanthus scroll carvings to the corners of this example are identical to the Chicheley mirror and strongly support the attribution to Odell.

A further mirror again featuring an identical plumed head on a lambrequin support was recorded

by Country Life in the collection of the Dukes of Hamilton at Hamilton Palace, Lanarkshire, Scotland, shortly before the collection was dispersed in 1919.

Provenance: Nostell Priory, Yorkshire, England.

Literature: R. W. Symonds, ‘English looking glasses’, Connoisseur, June 1950, pp. 82–7, illus. XII. Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, 1986, p. 661.

Adam Bowett, Early Georgian Furniture 1715–1740, 2009, p. 296.

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The side table in situ at John D. Rockefeller Jr.’s apartment, 740 Park Avenue, New York, 1938

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THE ROCKEFELLER SIDE TABLE

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18 A GEORGE III SATINWOOD AND PURPLEHEART ORMOLU MOUNTED SEMI-ELLIPTIC SIDE TABLE ATTRIBUTED TO MAYHEW & INCE, THE MOUNTS ATTRIBUTED TO MATTHEW BOULTON Note: The table retains the original ormolu mounts. The toes are restorations.

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English, circa 1775

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Height: 2 ft 9¾ in; 86 cm Width: 5 ft 1¾ in; 157 cm Depth: 2 ft 2½ in; 67.5 cm The mounts on this table are of exceptional quality compared with traditional furniture mounts, and they show the superior craftsmanship of the Boulton manufactory at Soho House in Birmingham, England. Mayhew & Ince was one of the few cabinet-making workshops in London which frequently used ormolu mounts by Boulton. One example of such work is the welldocumented pietra dura cabinet made for the Duchess of Manchester, now in the collection of the Victoria and Albert Museum, London.

Extensive correspondence between Boulton and Mayhew & Ince has been preserved, documenting the difficulty of manufacturing these high quality mounts in the 18th century: they were expensive and took a long time to produce. The guilloche band on the top edge of the table, for example, was produced in ten short sections, each about twelve inches long. The sections were individually chased, burnished and then joined together to produce a seamless finish before being mercury gilded. In this process, gold is applied in a mercury paste and the mercury is then evaporated over fire, leaving the gold adhering to the surface. The finishing touch is fine burnishing of some areas while leaving others dull, emphasising the three-dimensional effect of the band. The result is a dazzling gold band of fine guilloche pattern.

Dupplin Castle in Perth and Kinross, Scotland, was rebuilt as a country house between 1828 and 1832 on the site of the original castle, which had already been rebuilt several times since it was first constructed in the 13th century. The new castle burned down during Lord Forteviot’s occupancy in the 1930s, probably prompting a sale of furniture which included the satinwood table.

The more recent history of this table is documented in letters between John D. Rockefeller Jr., Rockefeller’s office and the antique dealers Mallett & Son in 1938.

Provenance: John Dewar, 1st Baron Forteviot, Dupplin Castle, Scotland; Mallett & Son Ltd., London, England; John D. Rockefeller Jr., New York, USA; Private collection, New York, USA; Rolleston Antiques, London, England.

Photographed: In situ at John D. Rockefeller Jr.’s residence, New York, USA.

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19 A PAIR OF GEORGE II MAHOGANY SIDE CHAIRS English, circa 1750 Height: 39 in; 99 cm Height of seat: 20¼ in: 51 cm Width: 24 in; 61 cm Depth: 23½ in; 59.5 cm The carving on the dense mahogany of these chairs is particularly crisp and fine. An armchair of the same design and probably from the same set was exhibited by Ronald Phillips Ltd. at the Grosvenor House Art and Antiques Fair in 2000, and is illustrated in the handbook.

Provenance: Mackinnon Fine Art, London, England.

Illustrated: Mackinnon Fine Furniture, catalogue V, pp. 54–5.

Literature: The Grosvenor House Art and Antiques Fair handbook, 2000, p. 137.

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Above: The port of Shanghai (detail). Opposite: The hongs at Canton (detail)

20 A PAIR OF GEORGE III PERIOD CHINESE EXPORT MIRRORS INCORPORATING LANDSCAPE PAINTINGS ON CANVAS OF CANTON AND SHANGHAI Note: The underlying structure of the paintings has been restored where necessary.

Chinese, circa 1800 Height: 45 in; 114.5 cm Width: 25¼ in; 64 cm One painting depicts a view of the stretch of river frontage known as the Bund at Shanghai on the Yangtze river. The Bund was originally the Shanghai trading port, and it later developed into a leading Chinese financial centre for international trade.

The second painting depicts a view of the thirteen hongs, or warehouses, at the Chinese port of Canton on the Pearl River. Canton was the first port at which China allowed Europeans to trade. At this time only six countries were allowed to trade with China, represented in the painting by their flags: from left to right, Denmark, Spain, the United States, Sweden, Britain and Holland.

The waterfront changed when the warehouses were burned down, first, by accident, in 1822, and again in 1841 and 1856 during the first and second opium wars. The hongs were rebuilt twice, but after the second opium war they were relocated to Henan Island, across the Pearl River, and then to Shamian Island, which is now part of Guangzhou National Park.

Provenance: Tom Devenish & Co., New York, USA; Collection of Bob Johnson, New York, USA.

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21 A LARGE GEORGE III BLUE JOHN AND ALABASTER URN English, circa 1800 Height: 16½ in; 42 cm Diameter: 7¼ in; 18.5 cm Provenance: Private collection, USA.

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22 THE HAREWOOD HOUSE COMMODE A GEORGE III ORMOLU MOUNTED SATINWOOD AND MARQUETRY SERPENTINE COMMODE ALMOST CERTAINLY BY CHIPPENDALE English, between 1770 and 1772 Height: 2 ft 10¾ in; 88.5 cm Width: 5 ft ¾ in; 154 cm Depth: 2 ft 1½ in; 64.5 cm

23 THE DONNINGTON GROVE MIRROR RONALD PHILLIPS LTD

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A GEORGE III GILTWOOD AND CARTON PIERRE PIER MIRROR DIRECTOR: SIMON PHILLIPS

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English, circa 1770 Height: 6 ft 4 in; 193 cm Width: 3 ft 8½ in; 113 cm Depth: 1 ft 1 in; 33 cm

24 A PAIR OF GEORGE III PARCEL GILT MIRRORS English, circa 1770 Height: 5 ft 1¼ in; 155.5 cm Width: 3 ft 1½ in; 95.5 cm

25 AN IMPORTANT GEORGE II SERPENTINE MAHOGANY COMMODE ATTRIBUTED TO WILLIAM GOMM & SON & CO. English, circa 1760 Height: 35½ in; 90 cm Width: 53¾ in; 136.5 cm Depth: 27¾ in; 70.5 cm

26 A PAIR OF GEORGE II MAHOGANY SIDE TABLES ATTRIBUTED TO BENJAMIN GOODISON, EACH WITH A SCAGLIOLA MARBLE INSERT, PROBABLY BY PETRUS ANTONIUS DE PAULINUS The table bases: English, circa 1740 The scagliola inserts: Italian, circa 1735 Height: 30¼ in; 77 cm Width: 39 in; 99 cm Depth: 26½ in; 67.5 cm

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27 A PAIR OF REGENCY POLYCHROME DECORATED CAST METAL SEATED NODDING HEAD CHINAMEN CANDELABRA Note: The figures retain most of their original decoration.

English, circa 1815 Height: 11½ in; 29 cm Width: 8¾ in; 22.5 cm Depth: 8 in; 20 cm Similar Chinamen in seated positions dating from the beginning of the 18th century feature in the Porzelankabinett in Schloss Charlottenburg in Berlin, Germany, where the figures are placed on platforms mounted on a wall entirely decorated with chinoiserie figures and porcelain objects.

A chandelier with four very similar seated figures was sold by Ronald Phillips Ltd. to a private collection in Europe, and it is possible that the chandelier and these figures originally formed part of the same suite.

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28 A GEORGE III MAHOGANY ROYAL PATTERN BAROMETER

BY JOHN RUSSELL Note: The barometer retains all the original brass mounts. The top and bottom verre églomisé panels are of later date.

Scottish, circa 1810 Height: 47 in; 119.5 cm Width: 13½ in; 34.5 cm Depth: 3½ in; 9 cm RONALD PHILLIPS LTD

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This barometer belongs to a small group of nearly identical banjo wheel instruments of exceptional quality made by the Scottish clockmaker John Russell. This type is referred to as the ‘Royal Pattern’ following Russell’s enterprising gift of one such barometer to the Prince of Wales, later Prince Regent and then George IV. Two mahogany examples and a rare gilded version are still in the Royal Collection at Buckingham Palace, London, inscribed on two of the dials ‘Watchmaker to his R H the Prince of Wales’, indicating manufacture prior to 1811. The third is inscribed ‘Watchmaker to his R H the Prince Regent’.

A contemporary account in the Edinburgh Evening Courant of 6 July 1812 states: On Monday, Mr. Russell of Falkirk, waited on his Royal Highness at Carlton House, when he had the honour of delivering a superb gold chronometer of his making, according to R.H. gracious order.

His Royal Highness, with his usual condescension, was pleased to declare his satisfaction with this specimen of Mr. Russell’s workmanship.

An invoice from John Russell in the Royal Archives for a chronometer and two barometers amounts to £153 6s.

Provenance: Private collection, Ireland; Private collection, England.

Literature: Nicholas Goodison, English Barometers 1680–1860: A History of Domestic Barometers and their Makers, 1969, pp. 233–5, pls 160–62.

Cedric Jagger, Royal Clocks: The British Monarchy and its Timekeepers, 1300–1900, 1983, p. 217, pl. 285.

Nicholas Goodison and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, 2004, no. 10, pp. 255–6.

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29 A PAIR OF GEORGE II MAHOGANY BOOKCASES RONALD PHILLIPS LTD

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Note: The open lattice cornice is a restoration and the locks have been replaced. Some of the shelves are original, with some later additions.

The mahogany on these bookcases has acquired an outstanding colour and patination. A similar bookcase, without doubt from the same workshop, is in the collection of the Duke of Beaufort at Badminton House in Gloucestershire, England.

English, circa 1755 Height: 7 ft 6½ in; 230 cm Width: 3 ft 4 in; 101.5 cm Depth: 1 ft 3¾ in; 40 cm Literature: Percy Macquoid, A History of English Furniture, vol. III, ‘The Age of Mahogany’, 1906, p. 170, fig. 148.

Ralph Edwards and Margaret Jourdain, Georgian Cabinet Makers, 3rd revised edition, 1955, p. 184, fig. 124.

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30 A PAIR OF GEORGE II MAHOGANY LADDER BACK ARMCHAIRS English, circa 1760 Height: 37½ in; 95 cm Height of seat: 19 in; 48.5 cm Width: 22¼ in; 56.5 cm Depth: 24 in; 61 cm

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31 A GEORGE III MAHOGANY PEDESTAL DESK ALMOST CERTAINLY BY THOMAS CHIPPENDALE Note: The library table retains the original brass handles and probably the original dark green leather insert.

This desk was a special commission. Unlike the standard model, one of its pedestals had dummy drawers to front and back and was fitted with two doors and sliding trays to the side. One door was at some later stage permanently fixed shut, and drawers were fitted to one side of the pedestal, resulting in front drawers in both pedestals. The converted pedestal, however, retained half the cupboard space, with one door now fixed. The original sliding trays within were now too big and were removed completely.

This conversion has now been reversed, and the pedestal has been returned to its original form, with two opening doors to the side and dummy drawers at front and back. Fortunately the original drawer fronts had been retained, allowing them to be reinstated as dummies as intended. The sliding trays, however, have not been replaced. The pedestal has instead been left as one single compartment, accessed from the side. For today’s office use this allows space for computer equipment or other electronics to be concealed behind two fine original Chippendale doors.

English, circa 1770 Height: 2 ft 7¼ in; 79.5 cm Height of kneehole: 1 ft 11¾ in; 60.5 cm Width of kneehole: 2 ft ½ in; 62 cm Width: 6 ft 5 in; 195.5 cm Depth: 3 ft 10¼ in; 118 cm Provenance: HRH Prince George, the Duke of Kent, Belgrave Square, London, England; Stair & Company, London, England; Private collection, USA.

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HIS ROYAL HIGHNESS PRINCE GEORGE THE DUKE OF KENT’S LIBRARY TABLE

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Sadly it has not yet been possible to find out when this desk entered the Royal Household. The Duke of Kent’s mother, Queen Mary, was an avid collector of antiques and added much to the Royal Collection in her time, possibly including this desk, but it may alternatively have been part of the original Chippendale commission for the Duke of Gloucester in the 18th century. The surviving accounts from the Duke of Gloucester for 1764–6 show payments to the firm of Chippendale & Haig for a total of £134 15s 6d, while the fact that Chippendale dedicated the second edition of his The Gentleman and Cabinet-Maker’s Director to the Duke also suggests a commission of some importance.

The other pieces attributable to the firm in the Royal Collection include a sofa and two matching armchairs, to which George IV added two bergères and thirteen side chairs of two different sizes.

Six large and seven smaller side chairs were supplied by Thomas Chippendale the younger. The style of the first part of the suite dates it to between 1770 and 1775. The closest comparisons are chairs supplied to Harewood House and Nostell Priory, both in Yorkshire, England. The payments of 1764–6 must have been for some other pieces, which may include the pedestal desk.

For comparison, the writing table at Dumfries House, Ayrshire, Scotland, that was invoiced by Chippendale in 1759 cost £22 0s 0d. The payment from the Gloucester account therefore must have been for a considerable amount of furniture.

Following the Duke of Kent’s death on active service in 1942, his widow Princess Marina had to sell of much of their personal collection, including this desk, to pay death duties. The Christie’s sale catalogue for 13 and 14 March 1947 contains a number of pieces that could have belonged to the Duke of Gloucester’s Chippendale commission.

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32 A GEORGE II CARVED MAHOGANY ARMCHAIR ATTRIBUTED TO GILES GRENDEY English, circa 1735 Height: 38 in; 96.5 cm Height of seat: 18½ in; 47 cm Width: 30¼ in; 77.5 cm Depth: 28½ in; 72.5 cm This chair, with upholstery on the back as well as the seat, is unusually luxurious and would therefore have been correspondingly more expensive than usual. The carving on the front legs is typical of the Grendey workshop’s output. Models in walnut were produced between 1725 and 1730, and the use of mahogany here indicates slightly later manufacture.

Chairs by Grendey with similar shell-carved knees are in the collection at the Lady Lever Art Gallery in Port Sunlight, Merseyside.

Provenance: Ronald Phillips Ltd., London, England; Private collection, New York, USA.

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The kettle stand in a Mallett & Son Ltd. exhibition at Newman House, St. Stephen’s Green, Dublin. Illustrated in a 1995 Mallett catalogue

33 A GEORGE II MAHOGANY KETTLE STAND English, circa 1755 Height: 22¼ in; 56.5 cm Diameter of top: 14½ in; 37 cm Provenance: Mallett & Son Ltd., London, England.

Illustrated: Mallett & Son Ltd., catalogue, 1995; as part of an exhibition in Newman House, St. Stephen’s Green, Dublin, Ireland.

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J. & W. Cary’s price list of 1828

34 A PAIR OF REGENCY 18-INCH GLOBES

BY J. & W. CARY ON MAHOGANY STANDS Note: The globes have been preserved in outstanding condition; the compasses are restorations.

English; the terrestrial globe dated 1816 with corrections and additions dated 1818, and the celestial globe dated 1816 Height: 44¼ in; 112 cm Diameter: 24¼ in; 62 cm Provenance: Private collection, Wales.

Illustrated: ‘88 Fulham Road Fine Antique Furniture’, catalogue, no date, pp. 38–9.

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35 AN IRISH REGENCY BRASS BOUND MAHOGANY LOG BUCKET Note: The bucket retains the original brass lifting handles, while the brass liner is of later date.

Irish, circa 1815 Height: 37 in; 94 cm Diameter: 25½ in; 65 cm (at top) Provenance: Ronald Phillips Ltd., London, England; Private collection, Canada.

Literature: The Knight of Glin and James Peill, Irish Furniture, 2007, p. 257.

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Vase with lid inverted as a candlestick

36 A PAIR OF GEORGE III ORMOLU MOUNTED BLUE JOHN GOAT’S HEAD CANDLE VASES BY MATTHEW BOULTON English, circa 1775 Height (closed): 8 in; 20.5 cm Height (lid inverted as candlestick): 8½ in; 21.5 cm Diameter: 3 in; 7.5 cm Provenance: Private collection, USA. Literature: Nicholas Goodison, Matthew Boulton: Ormolu, 2002, p. 333, fig. 335.

Design drawing from Nicholas Goodison, Matthew Boulton: Ormolu, 2002, p. 333, fig. 335

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37 AN IRISH GEORGE II MAHOGANY MIRROR Note: The mercury silvered and bevelled mirror plate is an 18th century replacement, and the carved cartouche is of later date.

Irish, circa 1750 Height: 53½ in; 136 cm Width: 31 in; 79 cm Provenance: Private collection, USA. Architectural mirrors of this period without any gilded elements are extremely rare. A comparable example, formerly with Hotspur, is now in a private collection in Illinois, USA. As in this case, the central cresting is often a cartouche carrying the family crest. The family crest could then be removed, either by the family selling the mirror or the dealer buying it, in order to be replaced by the crest of the new owner.

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38 A PAIR OF GEORGE III PERIOD CHINESE EXPORT POLYCHROME DECORATED CLAY NODDING FIGURES Note: The figures retain most of their painted surface decoration. One of the knurled staffs is of later date. Some glass panels on the stands are restorations.

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These extraordinary figures are recorded twice in the collection of Count Liljenkrantz (1730–1815), a Swedish finance minister who was also a stockholder of the Swedish East India Company, first in 1788 at Sturehof Castle, Sweden, and again in 1815 at Norsborg, Sweden.

Similar Chinese figures can be seen in Johann Zoffany’s 1764 portrait of Queen Charlotte, demonstrating the vogue for Chinese figures at court in England as well as in mainland Europe.

The figures are placed on a fine pair of mid 18th century Chinese export polychrome enamel pedestals.

The figures: Chinese, Qianlong period, circa 1780 The stands: Chinese, Qianlong period, circa 1800 The stands: Height: 10 in; 25.5 cm Width: 15 in; 38 cm Depth: 12¼ in; 31 cm Female figure: Height: 28 in; 71 cm Width: 11½ in; 29 cm Depth: 9¾ in; 25 cm Male figure: Height: 27 in; 68.5 cm Width: 11½ in; 29 cm Depth: 9½ in; 24 cm Provenance: Count Johan Liljenkrantz, Stockholm, Sweden; Ronald Phillips Ltd., London, England; Private collection, London, England.

Literature: Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. II, p. 364, fig. 21.

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39 A PAIR OF GEORGE III MAHOGANY SIDE TABLES Note: Two brackets have been replaced.

English, circa 1765 Height: 2 ft 10 in; 86 cm Width: 5 ft 8¼ in; 173 cm Depth: 2 ft 5 in; 73.5 cm The rectangular well figured tops have a wonderful patination.

An almost identical pair of tables are illustrated in the Roden collection at Tollymore Park, County Down, Ireland, in the late 19th century.

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40 A GEORGE III GILTWOOD BORDER-GLASS MIRROR ATTRIBUTABLE TO WILLIAM AND JOHN LINNELL Note: The mirror retains the original plates; the centre plate has been re-silvered.

English, circa 1765 Height: 6 ft 4 in; 193 cm Width: 3 ft 3½ in; 100 cm Provenance: Ronald Phillips Ltd., London, England; Private collection, London, England; Ronald Phillips Ltd., London, England; Private collection, London, England.

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THE WENTWORTH CASTLE BERGÈRES

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41 A PAIR OF REGENCY MAHOGANY BERGÈRE CHAIRS The design of the monopodia legs is inspired by Greek and Roman antiquity. Drawings of Greek and Roman ruins executed during the Grand Tour and published by Thomas Hope in 1807, George Smith in 1808 and Charles Heathcote Tatham in 1826 fuelled the popularity of such designs in the early part of the 19th century.

English, circa 1815 Height: 32¾ in; 83.5 cm Height of seat: 22 in; 56 cm Width: 26¾ in; 68 cm Depth: 35½ in; 90 cm Provenance: Commissioned by Frederick Vernon-Wentworth (1795–1885) for Wentworth Castle, South Yorkshire, England, and then acquired by his granddaughter;

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Frederika Charlotte Louisa Rooke (née Thellusson, 1861–1954) and her husband Mortimer Rooke (1854–1942) at The Ivy, Chippenham, Wiltshire, England; Private collection, England.

Literature: Thomas Hope, Household Furniture and Interior Decoration, 1807.

George Smith, A Collection of Designs for Household Furniture and Interior Decoration, 1808, pls C (drawing room chairs) & B (library table).

Charles Heathcote Tatham, Etchings Representing the Best Examples of Grecian and Roman Architectural Ornament, 2nd edition, 1843, pls 104 & 116.

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Wanstead House, Essex, from Nathaniel Spencer, The Complete English Traveller, 1771

42 A REGENCY PARCEL GILT LACQUER CIRCULAR BOOKCASE Note: The bookcase retains all the original metalwork. The leather insert and the zinc liners in the concealed octagonal well are of later date.

Two large compartments in the lower row of book openings are fitted with later shelves.

English, circa 1815 The lacquer panels: Chinese, circa 1750 Height: 30¾ in; 78 cm Diameter: 27½ in; 70 cm The sale of the contents of Wanstead House, Essex, England, took place over thirty days in 1822, and the bookcase features as either lot 14 of the first day, Monday 10 June, or as lot 51 of the third day. The catalogue descriptions of both bookcases are identical: An Elegant 2-Feet Circular Oriental Japan Rotary Lady’s Bookcase and Work Table, divided into compartments by handsome tablets, top lined crimson Genoa velvet, and octagon work bag in ditto, filled with puckered silk, rich chased mouldings, and gallery round, on carved and gilt lion’s paw feet, plinths, casters, &c and crimson ground chintz case, lined calico, 2-Feet-1 According to the handwritten notes in the sale catalogue preserved in the Wallace Collection, London, the two bookcases were sold for 23 guineas each to a Mr. Monleith.

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We were fortunate to inspect the second bookcase when it was in the possession of Godson & Coles Ltd., London. It still retained some of the red lined octagonal inserts described in the auction catalogue.

The unusual double lion’s paw feet on plinths were identical on both pieces. The quality of the Chinese lacquer was however slightly inferior compared with the choice pieces on our bookcase.

Provenance: Wanstead House, Essex, England, until 1822; H. Blairman & Sons Ltd., London, England; Private collection, England.

Exhibited: The Antique Dealers’ Fair and Exhibition, London, England, 1955; with H. Blairman & Sons Ltd. Illustrated: The Antique Dealers’ Fair and Exhibition handbook, 1955, p. 18; with H. Blairman & Sons Ltd. Frances Collard, Regency Furniture, 1985, p. 204.

Literature: Mr. Robins, ‘A Catalogue of the Magnificent and Costly Furniture of the Princely Mansion Wanstead House’, sale catalogue, Monday 10 June 1822 and 31 following days; Day 1, lot 14; Day 3, lot 51.

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The lamps in situ above the fireplace at Killadoon, Co. Kildare, in The Knight of Glin and James Peill, The Irish Country House, 2010, p. 146

43 A PAIR OF REGENCY ORMOLU MOUNTED BRONZE COLZA TABLE LAMPS BY JAMES SMETHURST Note: The lamps have now been converted to electricity. The glass shades are of later date.

English, circa 1815 Height: 29¾ in; 75.5 cm Width: 14 in; 35.5 cm Depth: 8 in; 20 cm James Smethurst & Company was a retailer of lamps situated in the heart of London’s Mayfair at 138 New Bond Street. The shop is today a fashionable watch dealership. A trade card by James Smethurst is preserved in the British Museum, London.

Provenance: Nathaniel Clements, 2nd Earl of Leitrim, Ireland; By descent at Killadoon, Co. Kildare, Ireland.

Illustrated: John Cornforth, ‘Killadoon, Co. Kildare, II’, Country Life, 22 January 2004, p. 55.

The Knight of Glin and James Peill, The Irish Country House, 2010, p. 146.

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THE KILLADOON COLZA LAMPS

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The chairs in situ in the dining room at Sefton Lodge, Newmarket. Courtesy of The Childwick Trust

44 A SET OF EIGHT GEORGE II MAHOGANY DINING CHAIRS INCORPORATING SIX SIDE CHAIRS AND TWO ARMCHAIRS Note: An extra two side chairs of later date make up a set of ten altogether.

English, circa 1750 The armchairs: Height: 38 in; 96.5 cm Height of seat: 19¼ in; 49 cm Width: 26½ in; 67.5 cm Depth: 24 in; 61 cm The side chairs: Height: 37¾ in; 96 cm Height of seat: 19¼ in; 49 cm Width: 23½ in; 59.5 cm Depth: 22 in; 56 cm Provenance: S. B. Joel, Sefton Lodge, Newmarket, England; Ronald Lee Ltd., London, England; Private collection, Australia.

Photographed: In situ at S. B. Joel’s residence, Sefton Lodge, Newmarket, England.

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THE S. B. JOEL DINING CHAIRS

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THE RONALD D. PHILLIPS DINING TABLE

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45 AN ENORMOUS REGENCY MAHOGANY OVAL BREAKFAST TABLE The table retains the original brass cap castors and has acquired a fine mellow colour. Breakfast tables of this massive size are extremely rare.

English, circa 1815 Height: 2 ft 4½ in; 72.5 cm Width: 4ft 11¾ in; 152 cm Length: 7ft 3¾ in; 223 cm Provenance: H. C. Baxter & Sons, London, England; Private collection of Ronald D. Phillips, founder of Ronald Phillips Ltd., London, England.

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Trade card of Maydwell & Windle, glass sellers, London, 1765.

Copyright The Trustees of the British Museum

46 A GEORGE II CUT GLASS TWELVE LIGHT CHANDELIER ATTRIBUTED TO MAYDWELL & WINDLE Note: The chandelier has survived in remarkable condition. One of the drip pans and one canopy dish have hairline cracks, both of which have been secured.

English, circa 1750 Height: 5 ft; 152.5 cm Diameter: 4 ft 10 in; 147.5 cm Provenance: Private collection, France.

Chandeliers of the mid 18th century are scarce and surviving examples are often very damaged. To find an earlier glass chandelier in such good condition is very rare indeed.

A virtually identical chandelier is in the collection of the Victoria and Albert Museum, London.

A trade card by Maydwell & Windle is preserved in the British Museum, London.

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47 A REGENCY BREAKFRONT SATINWOOD SIDE TABLE ATTRIBUTED TO GILLOWS Note: The feet have been tipped to reinstate the table’s original height.

English, circa 1815 Height: 2 ft 10 in; 86 cm Width: 5 ft 11¼ in; 181 cm Depth: 1 ft 7¾ in; 50.5 cm Gillows had access to the best timber and veneers. The company imported their own materials, which kept the quality up and the price as low as possible.

The exceptional figure of the satinwood in the frieze demonstrates perfectly why the timber is called satinwood. The contrasting ripples of colour in the frieze are caused by the tree’s alternating direction of growth, rotating anticlockwise one year and clockwise the next. As a result, what appears light seen from the left will appear dark seen from the right, so that as one passes the table the figure seems to shimmer like satin in a light breeze.

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The lacquer sections placed together to reveal the original Japanese panel. The patch in the centre of the top section probably fills a keyhole

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48 A CHARLES II JAPANESE EXPORT LACQUER MIRROR Note: The cresting is now missing.

Frame construction: English, circa 1680 Lacquered panels: Japanese, circa 1630 Height: 52¼ in; 132.5 cm Width: 41½ in; 105.5 cm An extremely rare and highly important late 17th century Japanese export lacquer mirror of very large size, retaining the original bevelled mirror plate. The cushion frame is applied with early 17th century Japanese black makume lacquer embellished with gold and mother of pearl inlay, with a decorative scrolled inner border of floral roundels and leafwork in gold and brown on a black background. The cushion moulding is veneered with cut segments of a lacquer panel depicting a Japanese landscape with houses, trees, mountains and a waterfront with boats, within a mother of pearl inlaid shaped border. The original design becomes apparent when the cut segments are placed back together. Adjacent to these convex lacquer sections is a flat, finely executed strip of key pattern motif inlaid with mother of pearl and decorated with gold, and finished with a black japanned thumb moulding on the outside.

The size of the mirror plate is extraordinary; it is about as large as could be produced at this period. Possessing such a large mirror plate would have been a statement of extreme wealth and importance at the time, emphasised by the use of exotic Japanese lacquer.

A mirror of similar size, with identical decorative border and very similar lacquer, and probably from the same workshop, was formerly at Althorp, Northamptonshire, England, and is now on display at the Victoria and Albert Museum, London.

Literature: Joe Earle, Rupert Faulkner, Verity Wilson, Rose Kerr and Craig Clunas, Japanese Art and Design, 1986, illus. 152; a Japanese chest with almost identical scroll border and mother of pearl key strip.

Oliver Impey, Japanese Export Lacquer, 1580–1850, 2005, pp. 153 & 289; examples of Japanese coffers with similar lacquer decoration.

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49 A PAIR OF GEORGE II PAINTED WALL BRACKETS Note: The brackets retain much of the original off-white paint surface.

English, circa 1755 Height: 20 in; 51 cm Width: 12¼ in; 31 cm Depth: 10¼ in; 26.5 cm

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50 A PAIR OF JAPANESE SILVER MOUNTED IMARI PORCELAIN POTS AND COVERS The porcelain: Japanese, circa 1700 The silver mounts: French, hallmarked for Paris 1717–22 Height: 4½ in; 11.5 cm Diameter: 3½ in; 9 cm

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51 A PAIR OF GEORGE II MAHOGANY OPEN ARMCHAIRS ATTRIBUTED TO WRIGHT & ELWICK Note: There are minor differences within the carved detail of the two chairs.

English, circa 1755 Height: 40¼ in; 102 cm Height of seat: 19¼ in; 49 cm Width: 28¼ in; 72 cm Depth: 31½ in; 80 cm 118

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The design of the chairs relates to a suite of seat furniture supplied by the firm of Wright & Elwick to Wentworth Woodhouse in Yorkshire, England.

Illustrated: The Grosvenor House Art and Antiques Fair handbook, 2008, p. 135; one of the pair, with Peter Lipitch Antiques Ltd, London.

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52 A NEAR PAIR OF GEORGE III MAHOGANY URN STANDS Note: The stands retain their original slides.

English, circa 1770 Height: 29 in; 73.5 cm Width of top: 10 in; 25.5 cm Depth of top: 10 in; 25.5 cm

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53 A HUGE GEORGE III MAHOGANY TUB CHAIR English, circa 1780 Height: 38¾ in; 98.5 cm Height of seat: 19 in; 48.5 cm Width: 29¾ in; 75.5 cm Depth: 31 in; 79 cm Provenance: Ronald Phillips Ltd., London, England; Private collection, England.

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Exhibited with Jeremy Ltd. at the Art Treasures Exhibition, Bath, 1958, pl. 22

54 A GEORGE III BRASS AND JASPER MOUNTED SABICU AND TULIPWOOD SECRÉTAIRE À ABBATANT Note: The cabinet retains all the original metalwork, the original Wedgwood jasper plaque and the original grey fossil marble top.

English, circa 1795 Height: 50¾ in; 129 cm Width: 25¾ in; 65 cm Depth: 14¼ in; 36.5 cm Height of fall: 29½ in; 74.5 cm Provenance: Lord William Russell, London, England; The Hon. Mrs. Henry Grey Bennet; Jeremy Ltd., London, England; Private collection, USA. Exhibited: Art Treasures Exhibition, Bath, 1958; with Jeremy Ltd. Illustrated: Art Treasures Exhibition, Bath, 1958, handbook, pl. 22.

Ralph Fastnedge, Sheraton Furniture, 1962, pl. 82.

Alison Kelly, ‘Furniture with Wedgwood Ware’, Country Life, 11 June 1964, pp. 1460–62, fig. 4.

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Inscription pasted to the inside of the top drawer

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55 A REGENCY CUT GLASS AND ORMOLU EPERGNE

BY JOHN BLADES Note: One cut glass dish is a replacement.

English, circa 1815 Height: 17 in; 43 cm Diameter: 16 in; 41 cm An aquatint illustrating the showrooms of John Blades was published

by Rudolph Ackermann in 1823. A similar epergne features in this illustration.

This epergne is the only known example by the Blades workshop to have come to light so far.

Provenance: Private collection, Scotland.

Literature: Rudolph Ackermann, Repository of the Arts, 1 April 1823.

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56 A GEORGE III MAHOGANY SERPENTINE CHEST OF DRAWERS IN THE MANNER OF THOMAS CHIPPENDALE Note: The chest retains the original brass handles. The top drawer is fitted out with compartments beneath a brushing slide.

English, circa 1770 Height: 32 in; 81 cm Width: 41½ in; 105.5 cm Depth: 24 in; 61 cm The chest is constructed in the typical Chippendale manner using superior mahogany throughout, with laminated blocking of the feet, red wash, and transportation nail holes to the underside. Without further provenance, however, it is not possible to firmly attribute the piece to the famous London cabinet-maker.

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The mirror illustrated in Geoffrey Wills, English Looking-glasses, 1965, p. 99, illus. 89

57 A GEORGE III OVAL GILTWOOD MIRROR TO A DESIGN BY THOMAS JOHNSON AND ATTRIBUTED TO THOMAS JOHNSON Note: The frame has been re-gilded and the mirror plate is a mercury silvered replacement.

English, circa 1765 Height: 5 ft 5 in; 165 cm Width: 3 ft; 92 cm Depth: 10½ in; 27 cm The design of the mirror is based on two drawings for mirrors published in Thomas Johnson’s A Collection of Designs in 1758. Johnson was the master of rococo in his time, and merging the two designs to create a new one is very likely to be his own work.

Provenance: Arthur Cook Ltd., London, England, until 1964; Laurence Olivier and Vivien Leigh, Durham Cottage, London, England; Ronald Phillips Ltd., London, England; Private collection, England.

Illustrated: Geoffrey Wills, English Looking-glasses: A Study of the Glass, Frames and Makers (1670–1820), 1965, p. 99, illus. 89.

Literature: Thomas Johnson, A Collection of Designs, 1758, pl. 8.

Helena Hayward, Thomas Johnson and the English Rococo, 1964.

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A mirror design published by Thomas Johnson in A Collection of Designs, 1758 133

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58 A GEORGE III SATINWOOD MARQUETRY SEMI-ELLIPTIC SIDE TABLE ON A GILTWOOD BASE ATTRIBUTED TO THOMAS CHIPPENDALE Note: The table frame has been re-gilded.

English, circa 1775 Height: 32½ in; 82.5 cm Width: 49¾ in; 126.5 cm Depth: 16½ in; 42 cm Provenance: Ronald Phillips Ltd., London, England; Private collection, USA.

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59 A PAIR OF GEORGE III MAHOGANY WINDOW SEATS Note: The carving on this pair of window seats is of outstanding quality and crispness. Unusually the reverse side has been finished flush.

English, circa 1780 Height: 26 in; 66 cm Height of seat: 17¾ in; 45 cm Width: 40 in; 102 cm Depth: 16½ in: 42 cm Provenance: Ronald Phillips Ltd., London, England; Private collection, England.

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60 A GEORGE II CONVENT SIENNA MARBLE CHIMNEYPIECE Note: The chimneypiece has survived in remarkable condition, with only a single repair to the top shelf.

English, circa 1740 Height: 4 ft 10 in; 147.5 cm Width: 7 ft 1 in; 216 cm Height of opening: 3 ft 9 in; 114 cm Width of opening: 4 ft ½ in; 123 cm Depth: 8½ in; 21.5 cm

61 A GEORGE III PERIOD CHINESE EXPORT MIRROR PAINTING

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The frame: English, 20th century Height: 33¼ in; 84.5 cm Width: 39½ in; 100.5 cm

62 A GEORGE II MAHOGANY LIBRARY TABLE ATTRIBUTED TO WILLIAM HALLETT Note: The library table retains the original gold tooled Morocco leather, all the original locks and lifting handles and virtually all the original drawer handles with two replacements. The concealed castors are of later date. The table has acquired outstanding colour and patination.

English, circa 1740 Height: 2 ft 7 in; 78.5 cm Height of kneehole: 2 ft ½ in; 62.5 cm Width of kneehole: 1 ft 7¾ in; 50 cm Width: 5 ft ¾ in; 154.5 cm Depth: 2 ft 11¾ in; 91 cm

63 A PAIR OF GEORGE III GILTWOOD CONSOLE TABLES EN SUITE WITH A PAIR OF GILTWOOD OVAL MIRRORS, DESIGNED BY WILLIAM CHAMBERS AND ATTRIBUTED TO JOHN LINNELL Note: The mirrors retain virtually all the original gesso preparation with refreshed gilding. The mirror plates are 19th century replacements. The tables retain the original marble tops and most of the original gesso preparation with refreshed gilding.

English, circa 1775 The tables: Height: 38 in; 96.5 cm Width: 39½ in; 100 cm Depth: 22¼ in; 56.5 cm The mirrors: Height: 5 ft 10¾ in; 180 cm Width: 2 ft 5¾ in; 75.5 cm

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A virtually identical mirror photographed at Buckingham Palace, London, in 1927. Courtesy of Country Life Picture Archive

64 A PAIR OF GEORGE II GILTWOOD MIRRORS ALMOST CERTAINLY BY BENJAMIN GOODISON Note: The mirrors retain much of the original gilding and their original mirror plates. The candle arms are of later date.

English, circa 1732/3 Height: 38 in; 96.5 cm Width: 25 in; 63.5 cm Depth: 6¼ in; 16 cm Benjamin Goodison supplied mirrors of this type to Frederick Louis, Prince of Wales, between 1732 and 1733. It is not clear how many were supplied. Today the mirrors that have remained in the Royal Collection are dispersed around various palaces. Some bear Prince of Wales plumes and others, presumably supplied to another member of the Royal family, have shell crestings.

A virtually identical mirror was photographed by Country Life in 1927 at Buckingham Palace, London, and further examples can be seen at Hampton Court Palace and Kew Palace.

Provenance: Ronald Phillips Ltd., London, England; Private collection, England.

Illustrated: Ronald Phillips Ltd., ‘Fine Antique English Furniture’, catalogue, 2012, p. 76.

Literature: Geoffrey Wills, English Looking-glasses: A Study of the Glass, Frames and Makers (1670–1820), 1965, p. 84, illus. 54.

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65 A PAIR OF GEORGE II MAHOGANY STOOLS English, circa 1755 Height: 18½ in; 47 cm Width: 26 in; 66 cm Depth: 20 in; 51 cm Provenance: Private collection, London, England.

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66 A PAIR OF VICTORIAN CAST IRON WHIPPETS BY COALBROOKDALE English, circa 1880 Height: 18½ in; 47 cm Width: 7 in; 17.5 cm Depth: 8¾ in; 22.5 cm An identical cast iron whippet from the collection of Mario Buatta was recently sold in New York.

Literature: Sotheby’s, ‘Mario Buatta – Prince of Interiors’, sale catalogue, New York, 23–4 January 2020, vol. I, lot 7.

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67 A GEORGE III BRASS BOUND AND ORMOLU MOUNTED MAHOGANY CELLARET

BY SAMUEL NORMAN Note: The brass liner is of later date.

English, circa 1770 Height: 25½ in; 65 cm Width: 28½ in; 72.5 cm Depth: 19 in; 48.5 cm A pair of cellarets with identical ormolu mounts and on stands was formerly in the collection of HRH The Duke of Kent and was sold by the Duchess of Kent in 1947.

Provenance: Sir Edward Guinness, 1st Baronet and 1st Earl of Iveagh, Elveden Hall, Norfolk, England; By descent; Christie’s, ‘Elveden Hall’, sale catalogue, London, 21–4 May 1984, lot 497; Christie’s, sale catalogue, London, 30 November 2000, lot 34; Partridge Fine Arts Plc., London, England; Private collection, Florida, USA. Illustrated: Christie’s, ‘Old English Furniture and Fine Porcelain – the property of Her Royal Highness the Duchess of Kent’, sale catalogue, London, 14 March 1947, p. 6, lot 72.

Frank Davis, ‘Odd notions and sawdust’, Country Life, 28 June 1984, p. 1846, fig. 2.

Literature: Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. III, p. 373, fig. 5.

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THE ELVEDEN HALL WINE COOLER

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68 A PAIR OF GEORGE II GILT GESSO TRIPOD STANDS Note: The stands retain much of the original gilding.

English, circa 1720 Height: 36½ in; 93 cm Diameter: 12 in; 31 cm Provenance: Phillips of Hitchin, Hertfordshire, England, 1977; Ronald Phillips Ltd., London, England, 2006; Private collection, Chicago, USA. Literature: Connoisseur, March 1977, advertisement for the Camden Antiques Fair, 26 March – 3 April 1977; with Phillips of Hitchin.

Ronald Phillips Ltd., ‘Antique English Furniture’, catalogue, 2006, pp. 20–21.

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69 A GEORGE II GILT GESSO TABLE BY BENJAMIN GOODISON English, 1742 Height: 30½ in; 77.5 cm Width: 38 in; 96.5 cm Depth: 22½ in; 57 cm This fine gesso table is of particular interest. Two silvered gesso tables of identical design and probably made for the same patron were formerly in the collection of Lord Plender and subsequently in the collection of Geoffrey Hart. Given the different treatments, of silvered and gilded gesso, it is likely that the tables belonged to different room settings within the same house, with one room featuring silvered and the other featuring gilded furniture.

Similar silvered and gilded decorative schemes, although of later date, could be found at Harewood House, Yorkshire, England, where the Circular Dressing Room featured silvered furniture and mirrors, while the State Bedroom featured gilded elements. Sadly the Circular Dressing Room was removed in Barry’s refurbishment in the 19th century, leaving only elements of its former splendour.

The cost of gesso furniture and the existence of three or potentially more identical tables (because the tables identified here would have been part of a suite), together with the Prince of Wales feathers on each table and the monogram on each gesso top, indicate that the only possible patrons for this extraordinary suite of furniture were Frederick Louis, Prince of Wales, and Augusta Charlotte, Princess of Wales, for their newly refurbished London residence at Leicester House. The Prince of Wales rented Leicester House as the rift between him and his parents increased. The absence of a crown above the monogram demonstrates his estrangement from his father, George II. Leicester House became a meeting place for opposition politicians, and the Prince

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THE LEICESTER HOUSE GESSO TABLE

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One of a pair of identical silvered pier tables in the collection of Geoffrey Hart, Connoisseur, July 1942

of Wales feathers their symbol. In furniture design, many pieces were from this time onwards embellished with the plumes to show support for Frederick Louis.

Leicester House was demolished in the 19th century, but the Royal accounts record that most of the rooms in the State apartments featured gilded furniture embellished with Prince of Wales plumes, and that the last room (the grand audience chamber) contained silvered furniture. This furniture was supplied by Benjamin Goodison, who at the time held the Royal Warrant for the Prince of Wales.

Provenance: Frederick Louis, Prince of Wales, for Leicester House, London, England; Collection of Major-General Sir Harold Augustus Wernher, 3rd baronet, GCVO, TD, Minister for the Arts, Luton Hoo, Bedfordshire, England; Private collection, USA. Exhibited: ‘The Age of Walnut’, loan exhibition in aid of the Royal Northern Hospital, London, 1932.

Illustrated: ‘The Age of Walnut, loan exhibition in aid of the Royal Northern Hospital’, exhibition catalogue, 1932, p. 13.

R. W. Symonds, ‘The Craft of the Wood-carver – from examples in the collection of Col. Sir Harold Wernher’, Connoisseur, September 1938, p. 123, No. II / III. Literature: Household accounts of Frederick, Prince of Wales, in the possession of the Earl of Scarborough, Sandbeck Park, RHA/5.

Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, vol. III, revised edition, 1954, p. 281.

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70 A GEORGE I GESSO MIRROR RONALD PHILLIPS LTD

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Note: The mirror retains much of the original gilding. The shaped and bevelled mirror plate is an 18th century replacement.

English, circa 1720 Height: 47 in; 119.5 cm Width: 23½ in; 59.5 cm The mirror is described in the Christie’s sale catalogue for 13–14 March 1947, lot 371, as ‘A mirror in gilt frame with corded and beaded borders, surmounted by shells, a canopy and foliage 4 ft high, 22 in wide’. It sold for 170 guineas.

Provenance: HRH Prince George, the Duke of Kent, London, England, until 1947; G. Jetley, London, England; Private collection, London, England.

Illustrated: Antique Collector, December 1954, p. 173, fig. III; advertisement with G. Jetley.

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HIS ROYAL HIGHNESS PRINCE GEORGE THE DUKE OF KENT’S GESSO MIRROR

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71 A PAIR OF GEORGE II WALNUT SIDE CHAIRS ATTRIBUTED TO GILES GRENDEY Note: The needlework is original to the chairs.

The chairs: English, circa 1730 The needlework: English, circa 1730 Height: 40¾ in; 103.5 cm Height of seat: 18½ in; 47 cm Width: 23½ in; 60 cm Depth: 24½ in; 61.5 cm Two chairs of the same design and possibly from the same set were formerly on loan to Mompesson House in Salisbury, Wiltshire, England. A set of six chairs also with their original needlework was exhibited by Phillips of Hitchin at the Grosvenor House Antique Dealers’ Fair in 1962, and a matching single chair is in a private collection in Canada.

Provenance: Private collection, Washington, DC, USA. Literature: The Antique Dealers’ Fair and Exhibition handbook, London, 1962, p. 70; advertisement with Phillips of Hitchin.

Sotheby’s, ‘Fine English Furniture, Textiles and Reference Books’, sale catalogue, 8 March 1985, lot 54.

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THE HOCHSCHILD WALNUT BUREAU CABINET

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72 A GEORGE II PARCEL GILT BURR WALNUT BUREAU CABINET ATTRIBUTED TO THE WORKSHOP OF GILES GRENDEY Note: The cabinet retains the original handles and some of the original gilding.

English, circa 1730 Height: 8 ft 3 in; 251 cm Width: 3 ft 11 in; 119 cm Depth: 2 ft 2 in; 66 cm Provenance: Private collection, Sweden, until 1973; Glenn Randall Antiques, Ohio, USA; Mallett & Son Ltd., London, England; Gerald Hochschild, Santiago, Chile; Mallett & Son Ltd., London, England; Private collection, USA. Illustrated: Lanto Synge, Mallett’s Great English Furniture, 1991, p. 49.

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THE BROWSHOLME HALL CHAIRS

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Part of the suite in situ at Browsholme Hall, Lancashire, in 1935. Courtesy of Country Life Picture Archive

73 A PAIR OF QUEEN ANNE GESSO SIDE CHAIRS ATTRIBUTED TO JAMES MOORE THE ELDER Note: The backs have been reinstated to their original rectangular shape. The gesso was at one stage silvered.

English, circa 1710 Height: 42¾ in; 108.5 cm Height of seat: 19½ in; 49.5 cm Width: 24 in; 61 cm Depth: 28 in; 71 cm Provenance: Probably supplied to Edward Parker (d. 1728), for Browsholme Hall, Lancashire, England, or possibly acquired by John Parker (d. 1754) or Thomas Lister Parker (d. 1858); By descent until the 1950s; Temple Williams Ltd., London, England, 1962; Mallett and Son Ltd., London, England; Private collection, London, England; Private collection, Northern Ireland.

James Moore together with John Gumley held a Royal Warrant to supply gesso furniture and mirrors to the Royal Households of Queen Anne and George I. Moore and Gumley also supplied the nobility. The

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fragility of gesso means that only some of their items have survived, and Moore also produced little gesso seat furniture, so these chairs are particularly rare.

Exhibited: Victoria and Albert Museum, London, CINOA Third International Art Treasures exhibition, 1962.

Illustrated: Country Life, 13 July 1935; part of the suite in situ at Browsholme Hall, Lancashire.

Browsholme Hall guidebook, 1950s, back cover; two chairs and a stool of the suite.

Victoria and Albert Museum, London, CINOA Third International Art Treasures Exhibition, exhibition catalogue, 1962, no. 82, p. 12.

Edward T. Joy, The Country Life Book of Chairs, 1968, p. 41, illus. 33.

Literature: Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol. III, p. 280, fig. 19.

Parke-Bernet Galleries, ‘English Furniture, The Walter P. Chrysler Jr. Collection’, sale catalogue, New York, Part I, 29–30 April 1960, pp. 132–5, lot 244; a related gesso suite.

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74 A PAIR OF QUEEN ANNE ENGRAVED GLASS GIRANDOLES Note: The glass candle arms and sockets are of later date.

English, circa 1705 Height: 21½ in; 54 cm Width: 5¼ in; 13.5 cm Depth: 7½ in; 19 cm Examples of glass girandoles from the Queen Anne period are extremely rare. A set of four girandoles intended for use in the corners of rooms was in the celebrated collection of Percival D. Griffiths at Sandridgebury in Kent.

Provenance: Spink & Son Ltd., London, England; Private collection, England.

Literature: R. W. Symonds, English Furniture from Charles II to George II, 1929, p. 291, illus. 236.

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75 A REGENCY MAHOGANY SOFA TABLE Note: The table is fitted with a single drawer flanked by a dummy drawer on each side and retains the original brass handles. Three sides of the platform gallery are original with one side being a faithful copy.

English, circa 1815 Height: 2 ft 4¾ in; 73 cm Width (flaps up): 5 ft 3½ in; 161.5 cm Width (flaps down): 3 ft 4 in; 101.5 cm Depth: 2 ft 2¼ in; 66.5 cm Provenance: Dukes of Newcastle, Clumber Park, Nottinghamshire, England; Ronald Phillips Ltd., London, England; Private collection, England.

Literature: ‘Exhibition of English Decorative Art at Lansdowne House, London’, exhibition catalogue, 1929, exhibit 488.

‘Art Treasures exhibition’, Bath, exhibition catalogue, 1958, pl. 34.

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THE CLUMBER PARK SOFA TABLE

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76 A GEORGE II PERIOD CHINESE RED LACQUER BUREAU ON STAND Note: The lacquer has survived in remarkable condition and is virtually all original. The Chinese brass handles are original. The escutcheons to the drawers are restorations.

Chinese, circa 1750 Height: 38 in; 96.5 cm Width: 29¾ in; 75.5 cm Depth: 17¼ in; 44 cm Provenance: Private collection, London, England.

The bureau is decorated on all four sides and is intended to stand away from the wall, in order to show its exotic beauty to best advantage.

Red export lacquer of the mid 18th century is extremely uncommon. A Chinese scarlet lacquer bureau on stand was formerly with Mallett & Son, and interestingly is virtually identical in design to our example. Its only differences are the legs, which terminate in ball and claw feet, and the drawer fronts, which overlap the frame. Given the rarity and limited supply of such pieces, it is likely that both bureaus came from the same workshop.

The export trade in China during the mid 18th century was highly controlled, and was limited to a few selected European countries through the ports of Canton and Shanghai only. Trade with other countries or in other ports was impossible. These strict controls meant that exported goods such as porcelain and lacquered objects were scarce, and their prices were therefore high.

Most of the lacquer objects imported from China were small items. Larger pieces of furniture, often styled on English examples, were unusual and expensive and had to be ordered in advance.

At least three journeys to China might be needed, and the waiting time could last for several years.

The interpretations of English furniture by the Canton or Shanghai cabinet-makers of the time always have a typical Chinese character, with slightly different outlines of the legs, for example, and slightly awkward hoof feet.

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THE LEOPOLD HIRSCH CHAIR

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Christie’s, London, 7 May 1934, lot 38

77 A GEORGE II CARVED MAHOGANY SIDE CHAIR Note: The period needlework cover is associated.

The chair: English, circa 1750 The needlework: English, circa 1750 Height: 41 in; 104 cm Height of seat: 19¾ in; 50 cm Width: 25 in; 63.5 cm Depth: 21½ in; 54.5 cm Provenance: The Leopold Hirsch collection, London, England; Private collection, England.

Illustrated: Christie’s, ‘The Important Collection of English and French Furniture, Porcelain, Objects of Art and Tapestry, the Property of the late Leopold Hirsch Esq.’, sale catalogue, London, 7 May 1934, lot 38, illus.

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78

79

A GEORGE III MAHOGANY OCCASIONAL TABLE RONALD PHILLIPS LTD

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A GEORGE III SOUTH STAFFORDSHIRE ENAMEL TEA CHEST

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Note: The table retains the original brass castors and all the original brass handles.

Note: The chest retains all the original ormolu mounts and the original silk velvet base cover. The maroon velvet interior is of later date.

English, circa 1795

English, circa 1770

Height: 28¼ in; 71.5 cm Width: 20¾ in; 53 cm Depth: 20¾ in; 53 cm

Height: 5¼ in; 13.5 cm Width: 8½ in; 22 cm Depth: 4¾ in; 12 cm

The table is fitted with a single drawer across the full depth of the table, with a working drawer front on both sides.

The painted enamel wares of South Staffordshire were at their peak between 1765 and 1775. Later work was less elaborate, to compete with cheaper mass-produced and lower-quality wares from Birmingham.

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A drawing for a Pembroke table published in Thomas Sheraton’s The Cabinet-Maker and Upholsterer’s Drawing Book relates to this table.

The drawing features additional hinged flaps which have been omitted on this table. Sheraton’s restrained description of the design gives some idea of the popularity of this type of table during the final decade of the 18th century: Pembroke Table. The use of this piece is for a Gentleman or Lady to breakfast on. The style of finishing these tables is very neat, sometimes bordering upon elegance…

Provenance: Peter Lipitch Antiques Ltd., London, England.

Literature: Thomas Sheraton, The Cabinet-Maker and Upholsterer’s Drawing Book, revised 3rd edition, 1802, No. 26, pl. 2.

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The pastoral scenes depicted on enamel during this high period of Staffordshire enamel were usually inspired by French Sèvres porcelain, the images on which were derived from paintings by artists such as François Boucher (1703–1770), Simon François Ravenet (1706–1774) and – as in this case – Claude Lorrain (1600–1682).

Tea chests of this type are in the collections of the Victoria and Albert Museum, London, and the Cooper-Hewitt Museum in New York.

Provenance: Private collection, England.

Literature: Bernard and Therle Hughes, English Painted Enamels, 1951, p. 69, illus. 32; p. 94, illus. 53; p. 138, illus. 73.

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THE CHESTERFIELD HOUSE LIBRARY TABLE WITH ROYAL PROVENANCE

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80 AN IMPORTANT GEORGE II MAHOGANY LIBRARY TABLE Note: The brass handles and leather insert are of later date.

The table is fitted with five working drawers, two short and one long to the front, and two short and a dummy central drawer to the reverse side. The drawers at each end are dummies also.

English, circa 1750 Height: 2 ft 6½ in; 77.5 cm Knee height: 1 ft 10¾ in; 58 cm Width: 7 ft 4½ in; 225 cm Depth: 4 ft 4 in; 132 cm Provenance: Commissioned for Philip Dormer Stanhope, 4th Earl of Chesterfield (1694–1773); By descent until 1869; Charles Marginac (1827–1891), until 1891; Sir Michael Arthur Bass, 1st Baron Burton (1837–1909); Harriet Georgina, Dowager Lady Burton, until 1919; Henry George Charles Lascelles, 6th Earl of Harewood (1882–1947) and Mary, Princess Royal and Countess of Harewood (1897–1965), until 1932; Sotheby’s, ‘The Remaining Contents of Chesterfield House’, London, 7 April 1932, lot 303; Sold to Mr. Budge, according to Sotheby’s auctioneers’ book; Private collection, USA; Tony Ingrao Inc., New York, USA; Private collection, USA. Exhibited: The Morgan Library, New York, USA, 1968.

Photographed: Image taken for Lord Burton, 17 August 1886, Historic England Archive.

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Illustrated: E. Beresford Chancellor, The Private Palaces of London, 1908, no page no.

Country Life, 25 February 1922, title page.

H. Avray Tipping, ‘Chesterfield House, Mayfair I – a residence of Viscount Lascelles’, Country Life, 25 February 1922, p. 240.

Sotheby’s, ‘Catalogue of the Remaining Contents of Chesterfield House’, sale catalogue, London, 7 April 1932, p. 40, lot 303.

Literature: ‘The estate market – Chesterfield House and other properties’, Country Life, 20 September 1919, p. 374.

Tancred Borenius, ‘The Chesterfield House collection of pictures’, Country Life, 25 February 1922, pp. 257–9.

H. Avray Tipping, ‘Chesterfield House, Mayfair II – A residence of Viscount Lascelles KG’, Country Life, 4 March 1922, pp. 308–14.

‘The estate market – future of Chesterfield House’, Country Life, 18 November 1933, p. xxx.

Chesterfield House, built between 1747 and 1752 for Philip Dormer Stanhope, 4th Earl of Chesterfield, was one of London’s great mansions. The house stood on the north side of Curzon Street, and was demolished in 1937 to make room for a block of flats.

Stanhope was an influential British statesman, a diplomat and a man of letters. He was known for his great oratorical skill and wit, and he lent his support as a sponsor to publication of Samuel Johnson’s Dictionary of the English Language in 1755.

The opening party at Chesterfield House was attended by Horace Walpole. It was said that the mansion rivalled great mansions in France for its beauty. The most important room in it was the library, housing the Earl’s important collection of books and his library table.

The table remained in the house until the contents were sold in 1932 by the then owner, Henry George Charles Lascelles, 6th Earl of Harewood.

Lord Harewood had purchased the house thirteen years earlier, in 1919, for himself and his wife, HRH Princess Mary, Princess Royal and Countess Harewood, as their London residence.

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The table in situ in the library at Chesterfield House, London, in 1922.

Courtesy of Country Life Picture Archive 181

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81 A GEORGE II WHITE PAINTED MIRROR Note: The frame retains some of the original paint surface with some restorations.

The mirror plate is a mercury silvered replacement.

English, circa 1745 Height: 47 in; 119.5 cm Width: 27 in; 68.5 cm Provenance: Private collection, USA.

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Gerald A. Kenyon, The Irish Furniture at Malahide Castle, Dublin, 1994, p. 77

82 AN IRISH GEORGE II LARGE MAHOGANY ARMCHAIR Irish, circa 1735 Height: 39½ in; 100.5 cm Height of seat: 19 in; 48 cm Width: 42½ in; 108 cm Depth: 26 in; 66 cm Provenance: Charles Talbot, 1st Baron Talbot, Lord High Chancellor of Great Britain, Malahide Castle, Co. Dublin, Ireland; By descent until 1974; Private collection, Ireland.

Illustrated: Gerald A. Kenyon, The Irish Furniture at Malahide Castle, Dublin, 1994, p. 77.

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THE MALAHIDE CASTLE CHAIR

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83 A CHARLES II BLACK JAPANNED CABINET ON GILTWOOD STAND Note: The cabinet retains virtually all the japanned decoration, with some restored areas, and most of the original gilding.

English, circa 1680 Height: 5 ft 5¼ in; 166 cm Width: 3 ft 7 in; 109 cm Depth: 1 ft 10½ in; 57 cm Provenance: M. Harris & Sons, London, England; Private collection, USA.

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Illustrated: Percy Macquoid, A History of English Furniture, vol. II, ‘The Age of Walnut’, 1905, p. 144, fig. 131.

M. Harris & Sons, ‘An Abridged Introductory Catalogue of Antique Furniture and Works of Art’, 1926, p. 52; illustrated in the Long Gallery in their shop premises.

Sotheby’s, ‘Important English Furniture’, sale catalogue, 19 June 1981, p. 38, lot 38.

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84 A PAIR OF IRISH GEORGE III OVAL MIRROR GIRANDOLES Note: The mirrors retain the original silvered brass candle arms and one of the original mirror plates. One mirror plate is an 18th century replacement.

Irish, circa 1780 Height: 23 in; 58.5 cm Width: 15 in; 38 cm Depth: 6 in; 15 cm

85 A PAIR OF GEORGE III GILTWOOD OPEN ARMCHAIRS ALMOST CERTAINLY BY THOMAS CHIPPENDALE Note: The frames have been re-gilded.

English, circa 1780 Height: 36½ in; 93 cm Height of seat: 17½ in; 44.5 cm Width: 25½ in; 65 cm Depth: 26 in; 66 cm

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86 A PAIR OF GEORGE III PERIOD CHINESE EXPORT MIRROR PAINTINGS The paintings: Chinese export, circa 1765 The frames: English, of later date Height: 29 in; 73.5 cm Width: 33¼ in; 84.5 cm Provenance: Tom Devenish & Co., New York, USA; Private collection, USA. The mirror paintings have bevelled edges, which is a sign of quality and proof of not having been reduced in size. Most mirror paintings are upright, whereas landscape versions in pairs are rare.

Producing mirror paintings in the 18th century was treacherous and time-consuming. The glass was originally made in England. It was ground flat by hand, and then bevelled by hand. The silvering was achieved by immersing silver nitrate in mercury and pasting it onto the prepared reverse side of the glass. The mercury was then evaporated over heat, producing extremely poisonous fumes. Many glass plates were broken and lost in the process. The finished mirrors were then packed in crates stuffed with straw and shipped to China to be painted.

The mirror plates that arrived intact were prepared for painting by removing a section of the mercury silvering, leaving only the necessary background silvered. Once finished, the paintings were baked in an oven. Again, many glass plates cracked in the process.

The completed mirror paintings were then shipped back from China to England, in the final stage of a journey that often took years to complete. It is remarkable that any mirrors arrived intact.

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87 A PAIR OF REGENCY ROSEWOOD AND SATINWOOD SIDE CABINETS Note: The cabinets retain all the original mirror plates, feet and brass mounts.

English, circa 1815 Height: 36¼ in; 92 cm Width: 48¾ in; 124 cm Depth: 18 in; 46 cm Provenance: Partridge Fine Arts Plc., London, England; Private collection, London, England.

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88 A REGENCY PARTRIDGEWOOD CIRCULAR DINING TABLE OF LARGE PROPORTIONS Note: The table retains the original brass castors.

English, circa 1815 Height: 2 ft 3¾ in; 70.5 cm Diameter: 6 ft 6 in; 198 cm Provenance: Ronald Phillips Ltd., London, England, 1986; Private collection, England.

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Whiteholme Manor, Lancashire

Sotheby’s, Chester, 2–5 October 1984, lot 947

89 A SET OF EIGHTEEN REGENCY MAHOGANY DINING CHAIRS COMPRISING TWO ARMCHAIRS AND SIXTEEN SIDE CHAIRS Scottish, circa 1815 Armchairs: Height: 34¼ in: 87 cm Height of seat: 18¾ in; 47.5 cm Width: 22 in; 56 cm Depth: 23½ in; 59.5 cm Side chairs: Height: 33½ in: 85 cm Height of seat: 18¾ in: 47.5 cm Width: 19¾ in; 50 cm Depth: 22¾ in; 58 cm Provenance: Whiteholme Manor, Lancashire, England; Private collection, England.

Illustrated: Sotheby’s, ‘Specialist Sales for October’, sale catalogue, Chester, 2–5 October 1984, lot 947.

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A SET OF EIGHTEEN DINING CHAIRS

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90 AN IRISH REGENCY MAHOGANY THREE PILLAR DINING TABLE ATTRIBUTED TO WILLIAMS & GIBTON Note: The table has not been reduced in size. It retains the original wax finish. The extending leaves are period replacements.

Irish, circa 1815 Height: 2 ft 5 in; 73.5 cm Width: 4 ft 6¼ in; 137.5 cm Length with leaves: 14 ft 5¼ in; 440 cm Length without leaves: 9 ft 11½ in; 303.5 cm Provenance: Charles O’Hara the Younger, Annaghmore, Collooney, Co. Sligo, Ireland.

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91 A REGENCY PARCEL GILT ROSEWOOD SIDE CABINET Note: The gilding has been refreshed and the shaped marble top is of later date. The feet have been restored and the handles are replacements.

English, circa 1815 The cabinet has single adjustable shelves.

Height: 3 ft 1½ in; 95 cm Width: 5 ft 6¾ in; 169.5 cm Depth: 1 ft 4¼ in; 41.5 cm Provenance: H. Blairman & Sons Ltd., London, England; Private collection, England.

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92 A REGENCY BRONZE AND GILT METAL SIX LIGHT ARGAND CHANDELIER Note: The shades are of later date and are now fitted for electricity.

English, circa 1820 Height: 48 in; 122 cm Diameter: 33¾ in; 86 cm An impressive early 19th century bronze and gilt metal six light Argand chandelier with a vase shaped reservoir, originally intended for colza oil.

The reservoir sits on a dished top with a gadrooned base centred by an acanthus rosette pendant, with six acanthus leaf clad mythical beasts around the rim, each holding a burner with a lotus shaped frosted glass shade, and grasping entwined snakes with their paws. The snakes are connected to ornate chains and rods which are suspended from an ornate corona with an acanthus rosette finial.

Provenance: Ronald Phillips Ltd., London, England.

Literature: Jonathan Bourne and Vanessa Brett, Lighting in the Domestic Interior, 1991, pp. 132–3.

Christopher Gilbert, Country House Lighting 1660–1890, 1992, p. 85.

John P. Smith, The Art of Enlightenment, 1994, pp. 32–3.

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93

94

A GEORGE III CARVED GILTWOOD OVERMANTEL MIRROR

A PAIR OF GEORGE III POLYCHROME DECORATED CLAY NODDING FIGURES

Note: The mirror retains the original glasses. The frame has been re-gilded.

English, circa 1765 Height: 4 ft 8 in; 142 cm Width: 5 ft; 152.5 cm Depth: 8 in; 20.5 cm

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Note: The figures retain much of the original decoration, with some retouched areas.

English, circa 1775 Height: 14 in; 35.5 cm Width: 5 in; 12.5 cm Depth (arms to the front): 4¼ in; 10.5 cm Depth (arms to the side): 3½ in; 9 cm

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95 A GEORGE III MAHOGANY SIDE TABLE Note: The brèche d’Alep marble top is of later date. The carving is of superior quality and the mahogany has acquired a beautiful patination.

English, circa 1760 Height: 2 ft 10½ in; 87 cm Width: 5 ft 6½ in; 169 cm Depth: 2 ft 7¼ in; 79 cm Provenance: Private collection, Florida, USA.

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96 A GEORGE I GILTWOOD AND GESSO MIRROR ATTRIBUTED TO THE WORKSHOP OF JOHN BELCHIER Note: The frame retains virtually all the original gilding.

The candle arms including their sockets and raised mounting blocks are of later date. The original bevelled mirror plate has been re-silvered at some stage.

Careful dry stripping by hand, removing later gesso and gilding layers, has revealed the frame’s delicate carved detail and the original gilding.

The outlined quarter section in the detail image above has been left unrestored and shows the later gilding and gesso layers clogging up much of the carved detail.

English, circa 1720 Height: 51 in; 129.5 cm Width: 28½ in; 72.5 cm Depth: 5¼ in; 13.5 cm Provenance: Private collection, England.

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97 A WILLIAM AND MARY BLACK JAPANNED CABINET ON CHEST RONALD PHILLIPS LTD

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Note: This extremely rare cabinet retains its original silvered cresting with two finials with restored flame tips and its original engraved and gold lacquered brass mounts. One of the four bun feet is a replacement, and the remaining original three have been tipped.

English, circa 1690 Height: 7 ft 3 in; 221 cm Width: 3 ft 6 in; 107 cm Depth: 1 ft 9¾ in; 55.5 cm Provenance: Ayton Castle, Berwickshire, Scotland; Godson & Coles Ltd., London, England; Private collection, England.

Photographed: In situ at Ayton Castle, Berwickshire.

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The cabinet in situ at Ayton Castle, Berwickshire, in 2010. Copyright Stephen Whitehorne / whitehornephotography.co.uk

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98 A GEORGE III GILTWOOD BRACKET TO A DESIGN BY ROBERT ADAM AND ATTRIBUTED TO THOMAS CHIPPENDALE THE YOUNGER

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3. The White Drawing Room once featured four circular girandoles.

Each girandole was finished with floral garlands of the same type.

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Note: The bracket has been re-gilded five times. Gilding analysis has revealed that the gilding was originally two-tone, with some areas tinted green or blue.

This type of two-tone gilding was popular in the latter part of the 18th century, and Thomas Chippendale used it in several rooms at Harewood House, Yorkshire, England.

English, circa 1775 Height: 25 in; 63.5 cm Width: 15¼ in; 38.5 cm Depth: 6¼ in; 16 cm The design of this extraordinary bracket conforms to Robert Adam’s neoclassical style of about 1775. The finely carved swags are composed of various flowers, and are very striking and different from the usual husk chains. This type of swag decoration is typical of the Chippendale workshop, and in particular of the commission at Harewood House, where floral swags appeared in the following rooms: 1. The Circular Dressing Room (no longer in existence) contained a pair of silvered girandoles which are now in a private collection. The floral swags on these girandoles are almost identical to those on the bracket.

2. The State Bedroom, with its well-documented four poster bed. The bed is decorated with similar carved floral swags of various sizes.

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4. The Dining Room featured large oval mirrors applied with similar floral garlands.

5. The Saloon entry for the 1795 inventory of Harewood House is probably the most compelling: ‘2 Large China Potporee Jars upon blue and gold frames’. The room was furnished with oval pier glasses, again decorated with floral festoons. The ‘blue and gold frames’ would refer to the brackets on which the jars were placed. The blue and gold scheme would have been lost beneath later gilding layers.

Provenance: Apter Fredericks Ltd., London, England; Private collection, Australia.

Illustrated: Apter Fredericks Ltd., ‘Important English Furniture III’, catalogue, London, 2013, pp. 70–71.

Literature: Eileen Harris, The Furniture of Robert Adam, 1973.

Christopher Gilbert, The Life and Work of Thomas Chippendale, 1978, vols I & II. Judith Goodison, The Life and Work of Thomas Chippendale Junior, 2017, p. 132, fig. 170.

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Another chair from the suite; Goodison and Kern, Hotspur – Eighty Years of Antiques Dealing, 2004, p. 133, item 6

99 A GEORGE II GILTWOOD OPEN ARMCHAIR ATTRIBUTED TO ALEXANDER PETER Note: The chair has been re-gilded. The needlework is of the correct type and age and has been recently fitted. It is possible that this needlework is indeed original, as it is an accurate fit and the seat and back are one piece, as on the other known examples of the suite, but without firm confirmation it remains associated.

The chair: Scottish, circa 1745 The needlework: English, circa 1745 Height: 42½ in; 108 cm Height of seat: 17½ in; 44.5 cm Width: 33½ in; 85 cm Depth: 27½ in; 70 cm This unusual chair is part of a suite of at least eight. Some are now in private collections, and a pair of chairs with needlework covers are in the Leverhulme Collection at the Lady Lever Art Gallery in Port Sunlight, England. Another pair of chairs from the same set were sold at Christie’s on 24 June 1976.

Very little is known about the history of this important set of chairs. The pair sold in 1976 were from the collection of the Earl of Arran, a family of high standing in Scottish history. Their family seat was originally at

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Hamilton Palace, Lanarkshire, now demolished. It is conceivable that the suite once formed part of the collection at Hamilton Palace, but entries in the 1882 Hamilton Palace sale catalogue are too vague to determine the provenance conclusively.

Provenance: Perhaps the Earls of Arran, Hamilton Palace, Lanarkshire, Scotland; Private collection, New York, USA. Literature: Art Treasures exhibition catalogue, London, 1932, pp. 20–21, item 103.

Christie’s, ‘Fine English Furniture’, sale catalogue, London, 24 June 1976, lot 28.

Francis Bamford, A Dictionary of Edinburgh Wrights and Furniture Makers, 1660–1840, 1983, pp. 10–13 & 94–100.

Geoffrey Beard and Judith Goodison, English Furniture 1500–1840, 1987, p. 98.

Grosvenor House Art and Antiques Fair handbook, 1998, p. 125; a chair with Hotspur Ltd., London.

Nicholas Goodison and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, 2004, p. 133, item 6.

Julian Treuherz, The Lady Lever Art Gallery, 2004, p. 47.

Lucy Wood, Upholstered Furniture in The Lady Lever Art Gallery, 2008, vol. I, pp. 407–13.

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BIBLIOGRAPHY Ackermann, Rudolph, Repository of Arts, 1809–28.

Agius, Pauline, Ackermann’s Regency Furniture and Interiors, London, 1984.

Avray Tipping, H., English Homes, Period IV, vol. I, ‘Late Stuart, 1649–1714’, London, 1920, second impression 1929.

Bamford, Francis, A Dictionary of Edinburgh Wrights and Furniture Makers, 1660–1840, London, 1983.

Beard, Geoffrey, and Christopher Gilbert, The Dictionary of English Furniture Makers 1660–1840, Leeds, 1986.

Beard, Geoffrey, and Judith Goodison, English Furniture 1500–1840, Oxford, 1987.

Bourne, Jonathan, and Vanessa Brett, Lighting in the Domestic Interior, London, 1991.

Bowett, Adam, Early Georgian Furniture 1715–1740, London, 2009.

Chancellor, E. Beresford, The Private Palaces of London, London, 1908.

Charlton, John, No. 10 Downing Street, London, 1990.

Chippendale, Thomas, The Gentleman and Cabinet-maker’s Director, London, 1754.

Collard, Frances, Regency Furniture, 2nd edition, London, 1985.

Cornforth, John, ed. Tessa Murdoch, Noble Households, London, 2006.

Earle, Joe, Rupert Faulkner, Verity Wilson, Rose Kerr and Craig Clunas, Japanese Art and Design, London, 1986.

Edwards, Ralph, English Chairs, London, 1970.

Edwards, Ralph, and Margaret Jourdain, Georgian Cabinet Makers, 3rd revised edition, London, 1955.

Fastnedge, Ralph, Sheraton Furniture, London, 1962.

Fitzgerald, Desmond, Georgian Furniture, London, 1969.

Gilbert, Christopher, Country House Lighting 1660–1890, Leeds, 1992.

Gilbert, Christopher, The Life and Work of Thomas Chippendale, 2 vols, London, 1978.

Goodison, Judith, The Life and Work of Thomas Chippendale Junior, London, 2017.

Goodison, Nicholas, English Barometers 1680–1860: A History of Domestic Barometers and their Makers, London, 1969.

Goodison, Nicholas, Matthew Boulton: Ormolu, London, 2002.

Goodison, Nicholas, and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, London, 2004.

Harris, Eileen, The Furniture of Robert Adam, London, 1973.

Hayward, Helena, Thomas Johnson and the English Rococo, London, 1964.

Hayward, Helena, and Pat Kirkham, William and John Linnell, Eighteenth Century London Furniture Makers, 2 vols, London, 1980.

Hope, Thomas, Household Furniture and Interior Decoration, London, 1807.

Hughes, Bernard and Therle, English Painted Enamels, London, 1951.

Impey, Oliver, Japanese Export Lacquer, 1580–1850, Amsterdam, 2005.

Jagger, Cedric, Royal Clocks: The British Monarchy and its Timekeepers, 1300–1900, London, 1983.

Johnson, Thomas, A Collection of Designs, 1758.

Jourdain, Margaret, Regency Furniture 1795–1820, 2nd revised edition, London, 1949.

Joy, Edward T., The Country Life Book of Chairs, London, 1968.

Kathrens, Michael C., American Splendor: The Residential Architecture of Horace Trumbauer, New York, 2002.

Kenyon, Gerald A., The Irish Furniture at Malahide Castle, Dublin, 1994.

Knight of Glin, The, and James Peill, The Irish Country House, London, 2010.

Knight of Glin, The, and James Peill, Irish Furniture, London, 2007.

Macquoid, Percy, A History of English Furniture, vol. II, ‘The Age of Walnut’, London, 1905.

Macquoid, Percy, A History of English Furniture, vol. III, ‘The Age of Mahogany’, London, 1906.

Macquoid, Percy, and Ralph Edwards, The Dictionary of English Furniture, 3 vols, new edition revised by Ralph Edwards, London, 1954.

Mortimer, Martin, The English Glass Chandelier, London, 2000.

Mulliner, H. H., The Decorative Arts in England 1660–1780, London, 1923.

Schiffer, Herbert F., The Mirror Book: English, American & European, Exton, Pennsylvania, 1983.

Sheraton, Thomas, The Cabinet Maker and Upholsterer’s Drawing Book, revised 3rd edition, London, 1802.

Smith, George, A Collection of Designs for Household Furniture and Interior Decoration, London, 1808.

Smith, John P., The Art of Enlightenment, London, 1994.

Symonds, R. W., English Furniture from Charles II to George II, London, 1929.

Synge, Lanto, Mallett’s Great English Furniture, London, 1991.

Tatham, Charles Heathcote, Etchings Representing the Best Examples of Grecian and Roman Architectural Ornament, 2nd edition, 1843.

Tomlin, Maurice, Catalogue of Adam Period Furniture in the Victoria and Albert Museum, London, 1972.

Treuherz, Julian, The Lady Lever Art Gallery, Liverpool, 2004.

Wills, Geoffrey, English Looking-glasses: A Study of the Glass, Frames and Makers (1670–1820), London, 1965.

Wood, Lucy, Upholstered Furniture in The Lady Lever Art Gallery, Liverpool, 2008.

Zwicker, Charles G., Whitemarsh Hall: The Estate of T. Stotesbury, South Carolina, 2004.

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CLARE POTTER AT RONALD PHILLIPS Monday 27 June – Saturday 2 July 2022

Without any formal training, Clare Potter began experimenting with porcelain clay over twenty years ago. Her passion for gardening led to her subjects – first fruits and vegetables, and later flowers.

Clare’s contemporary adaptations of these art forms are delicate and detailed arrangements that capture the beauty and imperfections of nature.

Unlike with glazed porcelains, Clare fires each piece to the bisque stage and then meticulously applies layers of colour wash, mixed to penetrate the porous surface of the fired clay, leaving a soft, natural finish.

‘The pieces that I make are not meant to take the place of natural flowers or fruits and vegetables, but rather to give a sense of joy in something else – something special and amusing, unique and handmade that can add to a person’s home.’

Clare’s work has been featured in numerous magazines and in a number of books including Simply Flowers by Barbara Orbach, A Passion for Detail by Charlotte Moss and Floral Style by Vena Lefferts and John Kelsey.

She has had a number of exhibitions, including at the Emmanuel Moatti Gallery in Paris and Mallett in New York. Her work has also been featured in the windows of Tiffany in New York and forms part of many important international collections.

Her work combines the finest craftsmanship with a lifetime of observation, resulting in a mesmerising realism. We very much look forward to exhibiting her new pieces in June.

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100 VASE OF CARNATIONS

BY CLARE POTTER Porcelain; New York, 2021 Height: 9½ in; 24 cm Width: 11 in; 28 cm

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INDEX

BOOKCASES/CABINETS/BUREAUX A Charles II black japanned cabinet on giltwood stand A William and Mary black japanned cabinet on chest The Hochschild walnut bureau cabinet A George II period Chinese red lacquer bureau on stand A pair of George II mahogany bookcases A George III secrétaire à abbatant The Easton Neston circular revolving tall bookcase The Wanstead House circular low bookcase A Regency rosewood side cabinet A pair of Regency rosewood and satinwood side cabinets

186 208 160 170 70 124 42 100 198 190

CHESTS/COMMODES A George II serpentine mahogany commode A George III mahogany serpentine fronted chest of drawers The Harewood House satinwood commode A George III scarlet japanned commode attr. to Pierre Langlois

64 130 64 10

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CLOCKS AND BAROMETERS A George III mahogany Royal Pattern barometer by John Russell

68

GLOBES A pair of Regency 18-inch globes by J. & W. Cary

82

LIGHTING A George II cut glass twelve light chandelier attr. to Maydwell & Windle A George III cut glass twelve light chandelier attr. to Parker & Perry A Regency bronze and gilt metal six light Argand chandelier A pair of Regency bronze colza table lamps by James Smethurst A pair of Regency polychrome cast metal nodding head Chinamen candelabra

MIRRORS/GIRANDOLES Single A Charles II Japanese export lacquer mirror The Duke of Kent’s gesso mirror with heads either side A George I gilt gesso mirror attr. to the workshop of John Belchier The Milton Abbey giltwood mirror by John Vardy A George II white painted mirror An Irish George II mahogany mirror A George III carved giltwood overmantel mirror A George III giltwood border-glass mirror attr. to William and John Linnell The Donnington Grove giltwood mirror A George III oval giltwood mirror attr. to Thomas Johnson Pairs A pair of Queen Anne engraved glass girandoles A pair of George II giltwood mirrors almost certainly

by B. Goodison

220

108 28 200 102 66

112 156 206 16 182 88 202 96 64 132

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The Nostell Priory giltwood mirrors A pair of George III giltwood bell-shaped mirrors A pair of George III giltwood girandoles A pair of George III giltwood mirrors with a pair of console tables A pair of George III parcel gilt oval mirrors A pair of George III period Chinese export mirrors with landscape paintings A pair of Irish George III oval mirror girandoles

48 34 30 138 64 58 186

Mirror paintings A George III period Chinese export mirror painting A pair of George III period Chinese export mirror paintings

138 188

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OBJECTS A pair of Japanese silver mounted Imari porcelain pots and covers A George II Convent Sienna marble chimneypiece A George II silver kettle on stand by Benjamin Godfrey A pair of George II painted wall brackets A large George III blue john and alabaster urn The Elveden Hall wine cooler A George III giltwood bracket A George III south Staffordshire enamel tea chest A large pair of George III clay nodding figures A pair of George III blue john goat’s head candle vases by Matthew Boulton A small pair of George III polychrome decorated clay nodding figures A Regency cut glass and ormolu epergne by John Blades An Irish Regency brass bound mahogany log bucket A pair of Victorian cast iron whippets by Coalbrookdale Vase of Carnations, contemporary porcelain sculpture by Clare Potter

116 138 26 114 62 148 212 176 90 86 202 128 84 146 219

SEATING Chairs (single) A George II carved mahogany armchair attr. to Giles Grendey The Leopold Hirsch mahogany side chair A George II giltwood open armchair attr. to Alexander Peter The Powderham Castle mahogany armchair The Malahide Castle chair A George III mahogany tub chair

78 174 214 24 184 122

Chairs (pairs) The Browsholme Hall gilt gesso side chairs A pair of George II mahogany ladder back armchairs A pair of George II mahogany open armchairs attr. to Wright & Elwick A pair of George II mahogany side chairs A pair of George II walnut side chairs attr. to Giles Grendey A pair of George III giltwood open armchairs attr. to Thomas Chippendale The Wentworth Castle mahogany bergères The Liverpool Town Hall brass mounted rosewood saloon chairs

162 72 118 56 158 186 98 38

Chairs (sets) The S. B. Joel dining chairs A set of eighteen Regency mahogany dining chairs

104 194

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Settees The Stansted Park giltwood settee

6

Stools A pair of George II mahogany stools

144

Window seats A pair of George III mahogany window seats

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TABLES Desks/reading/writing The Chesterfield House mahogany library table with Royal provenance A George II mahogany library table/desk attr. to William Hallett A George III mahogany pedestal desk almost certainly by Thomas Chippendale The Duke of Kent’s library table/desk almost certainly by Thomas Chippendale

178 138 18 74

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Dining/breakfast An enormous Regency mahogany oval breakfast table 106 A Regency partridgewood circular dining table of large proportions 192 An Irish Regency mahogany three pillar dining table attr. to Williams & Gibton 196 Occasional tables/stands A George II mahogany kettle stand with circular top A pair of George II gilt gesso tripod stands A George III fustic decagonal tripod table attr. to Henry Hill A George III mahogany kettle stand with octagonal top A George III mahogany occasional table A near pair of George III mahogany urn stands A Regency mahogany sofa table Side (single) The Leicester House gesso table by Benjamin Goodison A George III giltwood semi-elliptic side table attr. to Thomas Chippendale A George III mahogany side table A George III satinwood and gilt side table attr. to Thomas Chippendale The Rockefeller satinwood semi-elliptic side table A Regency breakfront satinwood side table Side (pairs) The Houghton porphyry and giltwood side tables designed by W. Kent A pair of George II mahogany & scagliola side tables attr. to B. Goodison A pair of George III giltwood console tables with a pair of oval mirrors A pair of George III mahogany rectangular side tables A pair of George III semi-elliptic satinwood side tables

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80 150 14 26 176 120 168

152 22 204 134 52 110

44 64 138 94 32

RONALD PHILLIPS FINE ANTIQUE ENGLISH FURNITURE

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Bamford, Francis, A Dictionary of Edinburgh Wrights and Furniture Makers, 1660–1840, London, 1983.

Beard, Geoffrey, and Christopher Gilbert, The Dictionary of English Furniture Makers by1660–1840, Leeds, 1986.

Beard, Geoffrey, and Judith Goodison, English Furniture 1500–1840, Oxford, 1987.

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Chancellor, E. Beresford, The Private Palaces of London, London, 1908.

Charlton, John, No. 10 Downing Street, London, 1990.

Chippendale, Thomas, The Gentleman and Cabinet-maker’s Director, London, 1754.

Collard, Frances, Regency Furniture, 2nd edition, London, 1985.

Earle, Joe, Rupert Faulkner, Verity Wilson, Rose Kerr and Craig Clunas, Japanese Art and Design, London, 1986.

Edwards, Ralph, English Chairs, London, 1970.

Edwards, Ralph, and Margaret Jourdain, Georgian Cabinet Makers, 3rd revised edition, London, 1955.

Fastnedge, Ralph, Sheraton Furniture, London, 1962.

Fitzgerald, Desmond, Georgian Furniture, London, 1969.

Gilbert, Christopher, Country House Lighting 1660–1890, Leeds, 1992.

Gilbert, Christopher, The Life and Work of Thomas Chippendale, 2 vols, London, 1978.

Goodison, Judith, The Life and Work of Thomas Chippendale Junior, London, 2017.

Goodison, Nicholas, English Barometers 1680–1860: A History of Domestic Barometers and their Makers, London, 1969.

Goodison, Nicholas, Matthew Boulton: Ormolu, London, 2002.

Goodison, Nicholas, and Robin Kern, Hotspur – Eighty Years of Antiques Dealing, London, 2004.

Harris, Eileen, The Furniture of Robert Adam, London, 1973.

Hayward, Helena, Thomas Johnson and the English Rococo, London, 1964.

Hayward, Helena, and Pat Kirkham, William and John Linnell, Eighteenth Century London Furniture Makers, 2 vols, London, 1980.

Hope, Thomas, Household Furniture and Interior Decoration, London, 1807.

Hughes, Bernard and Therle, English Painted Enamels, London, 1951.

Impey, Oliver, Japanese Export Lacquer, 1580–1850, Amsterdam, 2005.

Jagger, Cedric, Royal Clocks: The British Monarchy and its Timekeepers, 1300–1900, London, 1983.

Johnson, Thomas, A Collection of Designs, 1758.

Jourdain, Margaret, Regency Furniture 1795–1820, 2nd revised edition, London, 1949.

Joy, Edward T., The Country Life Book of Chairs, London, 1968.

Kathrens, Michael C., American Splendor: The Residential Architecture of Horace Trumbauer, New York, 2002.

Kenyon, Gerald A., The Irish Furniture at Malahide Castle, Dublin, 1994.

Knight of Glin, The, and James Peill, The Irish Country House, London, 2010.

Knight of Glin, The, and James Peill, Irish Furniture, London, 2007.

Macquoid, Percy, A History of English Furniture, vol. II, ‘The Age of Walnut’, London, 1905.

Macquoid, Percy, A History of English Furniture, vol. III, ‘The Age of Mahogany’, London, 1906.

Macquoid, Percy, and Ralph Edwards, The Dictionary of English Furniture, 3 vols, new edition revised by Ralph Edwards, London, 1954.

Mortimer, Martin, The English Glass Chandelier, London, 2000.

Mulliner, H. H., The Decorative Arts in England 1660–1780, London, 1923.

Schiffer, Herbert F., The Mirror Book: English, American & European, Exton, Pennsylvania, 1983.

Sheraton, Thomas, The Cabinet Maker and Upholsterer’s Drawing Book, revised 3rd edition, London, 1802.

Smith, George, A Collection of Designs for Household Furniture and Interior Decoration, London, 1808.

Smith, John P., The Art of Enlightenment, London, 1994.

Symonds, R. W., English Furniture from Charles II to George II, London, 1929.

Synge, Lanto, Mallett’s Great English Furniture, London, 1991.

Tatham, Charles Heathcote, Etchings Representing the Best Examples of Grecian and Roman Architectural Ornament, 2nd edition, 1843.

Tomlin, Maurice, Catalogue of Adam Period Furniture in the Victoria and Albert Museum, London, 1972.

Treuherz, Julian, The Lady Lever Art Gallery, Liverpool, 2004.

Wills, Geoffrey, English Looking-glasses: A Study of the Glass, Frames and Makers (1670–1820), London, 1965.

Wood, Lucy, Upholstered Furniture in The Lady Lever Art Gallery, Liverpool, 2008.

Zwicker, Charles G., Whitemarsh Hall: The Estate of T. Stotesbury, South Carolina, 2004.

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Hand-Painted and Hand-Embroidered Wallcoverings London | New York | Paris | Hong Kong | Dubai fromental.co.uk | @fromentaldesign I lalique.com Wallcovering: Hirondelles in Lutetia featuring Lalique ‘Dahlia’ & ‘Hirondelles’ Crystals © Frederick Warne & Co. 2022

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