MACKINNON FINE FURNITURE
MACKINNON FINE FURNITURE
Mackinnon Fine Furniture
INTRODUCTION
Welcome to our printed catalogue for 2025. It gives us great pleasure to be able to share this selection of pieces from our current collection.
We are delighted to have acquired some outstanding pieces of 18th century English furniture this year. Highlights include the magnificent black and gilt chinoiserie lacquer and japanned commode supplied by Thomas Chippendale to Harewood House, the Countess of Hardwicke’s extraordinary gilt gesso side tables with their Grand Tour specimen marble tops, and the pair of carved giltwood pedestals attributed to Benjamin Goodison from Longford Castle. A number of pieces we have always hankered after have come our way including not just one but two pairs of the celebrated lacquer and japanned side chairs likely made to celebrate the marriage of William Heathcote to Lady Elizabeth Parker daughter of the 1st Earl of Macclesfield, the pair of George I walnut side chairs with the remarkable water lily and red needlework and the pair of gilt gesso sconces with silkwork panels. Other notable provenances include the Duke of Manchester at Kimbolton Castle, the Marquess of Rockingham at Wentworth Woodhouse, the Earl of Derby at Knowsley Hall and the Earl of Shrewsbury and Waterford at Ingestre.
I would like to again thank Isabelle Vaudrey for her help in the gallery and in compiling this catalogue and also Christopher Coles for his help with our research. Please let us know if you find something of interest in the catalogue. Do come and visit us in St. James’s if you happen to be in the area.
Charlie Mackinnon
Mackinnon Fine Furniture
Left:
Detail of the Countess of Hardwicke’s pair of George I Gesso Side Tables, pp. 90-93.
Cover:
George III Chinese Lacquer and Japanned Commode, pp. 16-19.
Inside Covers:
Detail of George III Chinese Lacquer and Japanned Commode, pp. 16-19.
A WILLIAM AND MARY MARQUETRY MIRROR
England, circa 1680
An exceptional late 17th century William and Mary period walnut and marquetry cushion frame mirror with superb pierced and arched cresting. The frame profusely inlaid with floral and foliate decoration some of which still showing the original colours. The rectangular mirror plate bevelled. Superb colour and patination throughout.
An outstanding example.
Height: 44¾ in (114 cm)
Width: 30¼ in (77 cm)
A SCARLET JAPANNED BUREAU
England, circa 1680-1700
A magnificent late 17th century William and Mary period bureau, decorated throughout with superb gilt chinoiseries on a scarlet japanned background. The fold over top opening to reveal a silk velvet writing surface, paper well, pigeon-holes and drawers, above three long graduated drawers with brass ring pull handles and escutcheons. Standing on turned bun feet typical of the period.
Height: 40 in (101.5 cm)
Width: 38 in (96.5 cm)
Depth: 22 in (56 cm)
Provenance
With Mallett, New Bond Street Private Collection
The various elements of the chinoiserie decoration are derived from A Treatise of Japanning and Varnishing , published by Stalker and Parker in 1688, in which they declared in the introduction ‘The Epistle to the Reader and Practitioner’, that ‘We have laid before you an Art very much admired, and all those who hold any commerce with the Inhabitants of Japan’. The following chapters include ‘How to Make Varnishes’, ‘To make raised work in imitation of Japan, and of the Paste’, and instructions ‘To take off any Japan-patterns in this Book, upon any piece of work whatever’. The treatise contains some twenty-three plates showing illustrations of flowers, birds, figures and pavilions, all in the oriental manner which relate closely to the decoration found on this bureau.
J. Stalker and G. Parker, A Treatise of Japanning and Varnishing, 1688, pl.18
CRICHEL, DORSET
AN ALABASTER CENTRE TABLE
Rome, circa 1820
An outstanding large early 19th century Egyptian alabastro cotognino circular centre table, supported on a cylindrical column base on a Rosso di Levanto plinth.
Height: 31¾ in (81 cm)
Width: 50¼ in (128 cm)
Depth: 50¼ in (128 cm)
Provenance
The collections of the Lords Alington at Crichel House, Dorset By descent to the Hon. Mrs Mary Anna Marten, Crichel House, Dorset
Private Collection, the Channel Islands
The table top, with its distinctive figuring, is almost identical, both in size and the veining, to another in the Sculpture Gallery at Chatsworth. It is not inconceivable that the alabaster tops could have come from the same piece of stone, acquired in Italy in the late eighteenth century, on respective Alington and Cavendish Grand Tours.
It is unclear when the table entered the collections of the Alington family at Crichel House, Dorset but many members of the family were inveterate collectors, including Humphrey Sturt (1724-1786). The latter was responsible for the remodelling of Crichel from the 1770s, including designs by James Wyatt, a painted interior by Biagio Rebecca, and significant furniture commissions. The collecting at Crichel continued into the 20th century with both the last Lord Alington (1896-1940) and his daughter The Hon. Mary Anna Marten adding to the collections.
England, circa 1730
An exceptional pair of early 18th century George II period burr walnut concertina action card tables. Of outstanding colour and patina throughout. The shaped hinged fold over tops with superb book-matched burr walnut veneers bordered with herringbone inlay and cross-banding, each opening to reveal a green baize playing surface with burr walnut circular candlestands and sunken counter wells. The finely figured concertina action frieze above extremely elegant and particularly well carved acanthus and rosette detailed cabriole legs terminating in superb claw and ball feet.
Height: 28¼ in (72 cm)
Width: 33½ in (85 cm)
Depth: 16½ in (42 cm)
Provenance
Presumably commissioned by Sir Thomas Dyer, 5th Baronet (1694-1780) for Spains Hall and sold to Samuel Ruggles (d.1764) with the purchase of Spains Hall, 1760 By descent at Spains Hall, Essex Private Collection UK Private Collection USA
A PAIR OF GEORGE II WALNUT CARD TABLES
A PAIR OF JAPANNED ARMCHAIRS
In the manner of Giles Grendey England, circa 1720
A very fine pair of early 18th century George I japanned armchairs, in the manner of Giles Grendey. Of generous scale with fine gilt chinoiserie decoration and detailing on a black japanned background, the seats and backs with canework of exceptional quality, and with silk damask upholstered fitted cushions. With high rounded backs, impressive outswept scrolled arms, and standing on stretcher united cabriole legs.
One chair with stamped journey-man’s initial ‘RP ’ to the rear seat rail.
Height: 47¼ in (120 cm)
Width: 27¼ in (69 cm)
Depth: 25¾ in (65 cm)
Giles Grendey (1693-1780), a leading London cabinetmaker, was born in Wotton-under-Edge in Gloucestershire. He was an apprentice to the London joiner William Sherborne before becoming a freeman in 1716. Taking his own apprentices by 1726, Grendey was elected to the Livery of the Joiners’ Company in 1729. His first workshop was at St. Paul’s, Covent Garden, and he subsequently moved to St. John’s Square, Clerkenwell in 1772. He developed a thriving export trade. Grendey’s chair makers are known to have often stamped pieces with their initials and japanned furniture was a particular speciality of his workshops.
Grendey’s most important recorded commission was the celebrated Lazcano Palace scarlet japanned furniture from the collections of the Dukes of Infantado – arguably the most elaborate suite of English furniture made during the 18 th century. Commissioned specifically for export to Spain, the ensemble comprised at least seventy-seven pieces including tables, chairs, daybeds, looking glasses, tripod stands, and several desks and bookcases. Pieces from this suite can be seen in leading institutions including the Victoria & Albert Museum in London and the Metropolitan Museum of Art in New York.
THOMAS CHIPPENDALE FOR HAREWOOD HOUSE
A HIGHLY IMPORTANT GEORGE III CHINESE LACQUER AND JAPANNED COMMODE
Supplied by Thomas Chippendale for Harewood House England, circa 1770-1772
The breakfront top with guilloche-carved giltwood banded edge above a conforming case with three frieze drawers over three deep drawers flanked by cabinet doors, opening to reveal further drawers, on a moulded plinth base. Decorated throughout with exceptional Chinese lacquer and japanned surfaces.
Height: 35¼ in (89.5 cm)
Width: 51¾ in (131.5 cm)
Depth: 22 in (56 cm)
Provenance
Supplied by Thomas Chippendale to Edwin Lascelles (1713 – 1795), 1st Baron Harewood, for Harewood House, Yorkshire circa 1770 – 1772
Thence by descent to George Henry Hubert Lascelles (1923-2011), 7th Earl of Harewood
Until sold, by orders of HRH The Princess Royal and The Rt. Hon. The Earl of Harewood, Christie’s London, 28 June 1951, lot 75
With Mallett, London, 1953
The collection of Sir James Horlick, Bt., Achamore House, Gigha, Scotland
Christie’s London, 22 November 1973, lot 56
With Partridge, London, 1976
Supplied by Parish-Hadley, New York to Ann and Gordon Getty, California, 1976
Literature
Connoisseur , May 1953, advertised by Mallett
The Grosvenor House Antiques Fair Handbook, 1953, illustrated with Mallett
C. Gilbert, The Life and Works of Thomas Chippendale , New York, 1976, vol. I, p. 197 and 205, vol. II, p. 123, fig. 218
L.G.G. Ramsay, ‘Chinoiserie in the Western Isles, The Collection of Sir James and Lady Horlick’, Connoisseur , June 1958, p. 6, fig. 13
Harewood House (Credit: Future Publishing Ltd.)
A GEORGE II MAHOGANY CHEST OF DRAWERS
England, circa 1750
An exceptional mid 18th century carved mahogany chest of drawers of outstanding colour and patination. With a serpentine shaped top with finely carved gadrooned edge above four long graduated drawers, each retaining their superb original ornate brass handles, flanked by carved canted corners and standing on shaped ogee bracket feet.
Height: 38 in (96.5 cm)
Width: 46¼ in (117.5 cm)
Depth: 23 in (58.5 cm)
Provenance
With Charles Lumb & Sons, Harrogate Private Collection, England
With Ronald Phillips, London
Literature
Ronald Phillips, Antique English Furniture, 2012, pp. 236 -237
A GEORGE II GILTWOOD MIRROR
England, circa 1740-1750
A magnificent large George II giltwood mirror, in the manner of Matthias Lock. The shaped rectangular frame with foliate cresting centred by a mask and pierced acanthus spray, the sides carved with sweeping foliate fronds and flowers, the apron carved with pierced rocaille detailing.
Height: 69¾ in (177.5 cm)
Width: 47 in (119.5 cm)
A REGENCY ROSEWOOD CENTRE TABLE
England, circa 1810
A very fine and elegant early 19th century Regency period rosewood centre, breakfast or dining table. The circular top veneered in particularly well figured rosewood with a lovely patina. Supported on a part ribbed single pedestal support with four hipped outswept legs terminating in finely cast stylised brass animal paw feet and castors.
Of very useful size - this table stands very well. The rosewood of very good colour.
Height: 28¼ in (72 cm)
Width: 48 in (122 cm)
Depth: 48 in (122 cm)
A SET OF PAINTED ARMCHAIRS
England, circa 1775
An exceptionally fine set of four George III Hepplewhite period armchairs with white painted and parcel-gilt decoration throughout. The shield shaped backs having carved and gilded central floral motifs and a guilloche border, the elegant shaped arms similarly decorated, the front seat rails with a central oval carved patera and trailing husks of garrya swags, supported on elegant shaped carved and moulded front cabriole legs and outswept back legs.
Height: 37 in (94 cm)
Width: 23 in (58.5 cm)
Depth: 20½ in (52 cm)
Provenance With Jeremy, Belgravia, 2001 Private Collection, England
CHINESE EXPORT
A REVERSE GLASS MIRROR PAINTING
China, circa 1760
An exceptionally fine and rare large mid 18th century Chinese reverse glass mirror painting. Depicting two wonderfully dressed noblewomen seated on a riverbank with a landscape across the water and a large tree behind them. Glorious colours and detailing to their clothing.
The mirror glass in very good condition with a rare bevelled edge and mounted in a later Chippendale type giltwood frame.
Framed dimensions:
Height: 23½ in (59 cm)
Width: 32½ in (83 cm)
Unframed dimensions:
Height: 17¾ in (45 cm)
Width: 27¼ in (69.5 cm)
Provenance With H. Blairman and Sons
Literature
Thierry Audric, Chinese Reverse Glass Painting 1720 - 1820
A MAHOGANY BOMBÉ COMMODE
Attributed to Matthijs Horrix Holland, circa 1775
An outstanding late 18th century Dutch mahogany and ormolu mounted serpentine bombé commode attributed to Matthijs Horrix. The serpentine moulded bleu tarquin marble top above three graduated panelled drawers with foliate cast handles and pierced rocaille escutcheons, the apron centred by a pierced rocaille mount, on elegant outswept cabriole legs with foliate chutes and acanthus-cast sabots. The metalwork of superb quality.
Height: 34¾ in (88 cm)
Width: 54¾ in (139 cm)
Depth: 26¾ in (68 cm)
Provenance With Hotspur, Belgravia Private Collection, London
WENTWORTH WOODHOUSE
A GEORGE II CARVED MAHOGANY STOOL
Attributed to Wright & Elwick England, circa 1755
Almost certainly from the collections of the Marquesses of Rockingham and the Earls Fitzwilliam, Wentworth Woodhouse
An exceptionally finely carved George II solid mahogany stool. The rectangular padded seat covered in close-nailed damask above a serpentine apron carved with C-scrolls and centred on the front and reverse with acanthus, on cabriole legs headed by tied acanthus, on scrolled feet carved with an acanthus cabochon, with batten carrying-holes.
Height: 17¾ in (45 cm)
Width: 25¾ in (65 cm)
Depth: 17¾ in (45 cm)
Provenance
Likely part of the suite of seat furniture supplied to Charles, 2nd Marquess of Rockingham (d. 1782) for Wentworth Woodhouse, Yorkshire By descent to William, 4th Earl Fitzwilliam (d. 1833) With Hotspur, Belgravia, 1996 Private Collection, UK
Wentworth Woodhouse, near Rotherham, in South Yorkshire was, until it ceased to be privately owned, considered to be the largest private residence in the United Kingdom with the principal facade measuring 618 feet (the longest in Europe). The original Jacobean house was rebuilt by Thomas WatsonWentworth, 1st Marquess of Rockingham, (1683 - 1750) and vastly expanded by his son, the 2nd Marquess, who was twice Prime Minister and established Wentworth Woodhouse as a Whig centre of influence. In the 18th century, the house was inherited by the Earls Fitzwilliam and the family of the last earl owned the property until 1989. The family collections were extensive and included wonderful paintings by celebrated artists including Van Dyck and George Stubbs - in particular the main hall housed Stubbs’ sublime Whistlejacket (now in the National Gallery), furniture by Gillows and Wright & Elwick, and fabulous bronzes, silver, and books.
THE DUKES OF MANCHESTER - KIMBOLTON CASTLE
A PAIR OF QUEEN ANNE SIDE CHAIRS
England, circa 1710 – 1715
F rom the collections of the Dukes of Manchester, Kimbolton Castle
An exceptional and highly important pair of Queen Anne upholstered high back giltwood side chairs. The arched backs and seats upholstered and supported on gilded trumpet-shaped legs with domed capitals and panelled square blocks where the moulded curved cross frame stretchers meet. The back legs raked.
Height: 52¾ in (134 cm)
Width: 22¼ in (56.5 cm)
Depth: 27½ in (70 cm)
Provenance
Charles Montagu 4th Earl and 1st Duke of Manchester (1662 - 1722), for Kimbolton Castle, Huntingdonshire
By descent to the 10th Duke of Manchester
Until sold Knight, Frank & Rutley, 18 - 21 July 1949, lot 436 With Hotspur, London, 1999
Private Collection, UK
Literature
“Country Homes - Gardens Old & New: Kimbolton Castle - II Huntingdonshire, A Seat of the Duke of Manchester’, Country Life , vol. XXX, no. 769, 30 September 1911, fig. 478 and 483
Carlton Hobbs, Richly Furnish’d - Baroque Furniture in England 1660-1735 , pp. 66 - 69 (illustrated)
R. Edwards, The Dictionary of English Furniture, rev’d edition, 1983, vol. I, p. 254 insert, pl. XIII (two chairs and one stool illustrated)
Knight, Frank & Rutley, Kimbolton Castle , 18 - 21 July 1949 (illustrated)
These magnificent chairs come from a suite of seat furniture commissioned by Charles Montagu (1662 – 1722), 1 st Duke of Manchester, for Kimbolton Castle, his country estate in Huntingdonshire. Two chairs from the suite appear in an illustration of the Saloon at Kimbolton in a 1911 issue of Country Life (see overleaf). Another photograph shows two chairs in the Red Drawing Room. A group of six chairs, and one stool, was sold during the three-day sale at Kimbolton in 1948 by order of the 10 th Duke of Manchester. Two chairs and one stool significantly are colour illustrated in Ralph Edwards’ The Dictionary of English Furniture
Kimbolton Castle, Huntingdonshire (Credit: Look and Learn)
The Saloon at Kimbolton Castle (1911) showing chairs from the suite. (Credit: Future Publishing Ltd)
A GEORGE II WALNUT BUREAU
England, circa 1730
An exceptional and very rare George II walnut bureau. Of very small proportions, measuring only 22 in wide, and exhibiting magnificent colour and patina throughout. The fall front opens to reveal a sophisticated lay-out of small drawers and a beautifully veneered hinged writing surface and paper-well, over three graduated drawers, and standing on elegant bracket feet and with brass carrying handles to the sides. The top, fall and drawers all with wonderful bookmatched veneers and herringbone inlay. Retaining the original feet, handles, locks and escutcheons.
Very unusually, the reverse of the bureau is also veneered in fine walnut - suggesting the piece was originally intended to be either free-standing or used as a travelling piece.
Of exceptional colour and patination throughout.
Height: 35¾ in (91 cm)
Width: 22½ in (57 cm)
Depth: 13 in (33 cm)
A GEORGE II PARCEL-GILT MIRROR
England, circa 1730
A particularly fine George II figured walnut and parcel gilt pier mirror. With carved and gilded broken swan neck pediment and a central carved cartouche, and a bevelled mirror plate, the sides flanked by carved gilded foliate detailing.
Height: 58¼ in (148 cm)
Width: 33½ in (85 cm)
THE KNOWSLEY HALL ARMCHAIRS
A PAIR OF GEORGE II ROCOCO ARMCHAIRS
After a design by Matthias Lock England, circa 1755
A highly important pair of large mid 18th century George II period rococo giltwood armchairs. After a design by Matthias Lock, the serpentine top rails with foliate enclosed cabochon crestings above cartouche shaped, upholstered backs with leaf and ‘C’ scroll carved mouldings, the upholstered arm rests with accentuated outward scrolling hand rests, the serpentine seat rails with leaf and stylised shell decoration and raised on foliate carved cabriole legs terminating in scroll toes.
Height: 42¼ in (107 cm)
Width: 31¾ in (80.5 cm)
Depth: 30¼ in (76.5 cm)
Provenance
Presumably supplied to Edward, 11th Earl of Derby (16891776) for Knowsley Hall, Lancashire
Thence by descent at Knowsley Hall
The collection of the Rt. Hon. The Earl of Shrewsbury and Waterford, Ingestre Hall, Staffordshire
Presumably those sold Catalogue of Highly Important Antique and Modern Furniture etc, Ingestre Hall, 13 - 14 December 1960, lot 167
With Mallett, London, 1963
Acquired from Mallett in 1964 by John Fowler for Notley Abbey With Mallett, London, 2005
Private Collection, France
These magnificent armchairs are amongst the grandest known examples of mid 18th century English seat furniture conceived in the French ‘Rococo’ taste. Of particularly generous bold proportions and having broad, cartouche shaped backs, they are robust and yet their lines are sinuous and flowing throughout, the wonderful downward and outward scroll of the arm being particularly well accentuated. Their form is derived from French fauteuils à la reine of the Louis XV period, the ‘picturesque’ style interpreted so eloquently by Thomas Chippendale in his Gentleman and Cabinet-Maker’s Director. Chippendale used the image of one of his ‘French chairs’ on his own trade label, highlighting such designs as the epitome of sophisticated fashionable taste.
These chairs were part of a suite most likely commissioned by the 11th Earl of Derby for Knowsley Hall, near Liverpool. Originally a medieval hunting lodge, Knowsley was extensively remodelled by the 11th Earl in the 18th century. To this day, the family remain in residence and the house contains a notable collection, including a pair of these chairs. The remainder of the suite of seat furniture appears to have been dispersed. A pair of the chairs appear in a Country Life photograph of the Yellow Drawing Room at Ingestre Hall – seat of the Earl of Shrewsbury and Waterford in 1957 –and maybe well have been purchased for the house after the remodelling and redecoration following the fire there in 1882. Six of the armchairs can be seen today in the collections of the Dukes of Roxburghe at Floors Castle, Roxburghshire.
Knowsley Hall showing one of the suite in situ. (Credit: Future Publishing Ltd.)
A GEORGE I BURR WALNUT BUREAU CABINET
England, circa 1720
A George I walnut and parcel gilt bureau cabinet. The moulded broken arched cornice with carved giltwood finials above two conforming mirrored doors, opening to reveal pigeonholes, niches and drawers, centred around a small cupboard with a bevelled mirrored door that conceals secret drawers, the lower section with a slant font opening to reveal a writing surface and interior with further drawers and pigeonholes, the base with three short and three long feather-banded figured drawers and supported on bracket feet. Retaining the original metalwork.
Superb colour walnut and craftsmanship throughout.
Height: 97 in (246.5 cm)
Width: 40½ in (103 cm)
Depth: 22¼ in (57 cm)
Provenance
With Hotspur, Belgravia, London
Private Collection, London
With Stair and Company, London
The Collection of Theodore and Ruth Baum, USA
Literature
M. Pick, Antique Furniture, Collins Gem, 1999, p. 208
This cabinet features burr walnut veneers of the finest quality with feather banding and fine cross mouldings. The interior is constructed of wainscot oak, a particular type of oak noted for its fine grain and lack of imperfections, imported from the Baltic.
A GEORGE II HALL CHAIR
England, circa 1740
A very rare George II period solid mahogany carved armchair. The cartouche shaped back with scrolled sides, the outswept arms with bold scrolled supports above a dished saddle seat, standing on elegant shell and harebell carved cabriole legs.
The mahogany of great colour and patina throughout.
Height: 37¼ in (95 cm)
Width: 24 in (61 cm)
Depth: 21 in (53.5 cm)
SUPERB CHINOISERIE JAPANNING FROM THE CELEBRATED HORLICK COLLECTION
A WILLIAM AND MARY JAPANNED CABINET ON STAND
England, circa 1680-1700
A magnificent and very rare late 17th century William and Mary black and gilt japanned cabinet on an elaborate carved silvered Baroque stand. The cabinet decorated throughout with gilt chinoiserie scenes, the twin doors with elaborate engraved strapwork hinges and lock-plate, opening to reveal a similarly decorated fitted interior with an arrangement of small drawers. Supported on a superb silver gilt Baroque stand, profusely carved throughout with stylised foliage and motifs, with tapering architectural form legs united by an elaborate stretcher complete with carved dishes for displaying porcelain.
Height: 70 in (177.8 cm)
Width: 42½ in (108 cm)
Depth: 21 in (53.5 cm)
Provenance
With Frank Partridge, London, 1935
The Horlick Collection
Thence by descent
Exhibited
BADA Art Treasures 1932
Literature
Connoisseur, ‘B.A.D.A. Art Treasures’, October 1932, fig. XXII (illustrated)
Country Life, ‘For the Connoisseur - Some English Furniture’, 13 April 1935, p. xliii, fig. 1 (illustrated)
Sir James Horlick, 4th Baronet (1866-1972) was a renowned collector and noted connoisseur who acquired many exceptional pieces for his home, Achamore House, on the Isle of Gigha in the Scottish Western Isles. These included wonderful Chinese reverse painted mirror pictures and superlative lacquer commodes supplied to Harewood House by Thomas Chippendale. Horlick’s collection of English japanned furniture from the eighteenth century was particularly notable and became the subject of an article in the Connoisseur entitled, ‘Chinoiserie in the Western Isles, the Collection of Sir James and Lady Horlick’ (June 1958).
We have a number of pieces from the Horlick collection in our current inventory. One of the mirror paintings and one of the lacquer commodes by Chippendale are included in this catalogue.
THE GENTLEMAN AND CABINET-MAKERS DIRECTOR
A GEORGE III CARVED MAHOGANY SIDE CHAIR
England, circa 1765
A superb George III Chippendale period carved mahogany side chair. With a carved serpentine crest rail above slightly curved detailed uprights, the foliate and pierced carved back splat with C-scrolls and ruffled detailing, flanked by further elongated C-scrolls, centred above the shoe by foliate carved stylised gothic-form pierced strapwork, above silk damask upholstered stuff-over seats with brass button detailing, standing on elegant cabriole legs profusely carved to the knees and terminating in exaggerated ball and claw feet, the back legs elegantly outswept.
Height: 37¼ in (94.5 cm)
Width: 25¼ in (64 cm)
Depth: 24½ in (62 cm)
This exceptional mid 18th century side chair successfully combines both gothic and rococo decoration, two of the predominant styles that informed The Gentleman and CabinetMaker’s Director first published by Thomas Chippendale in 1754. The design follows almost exactly Chippendale’s pattern issued in the first edition, pl. XII, and it proved to be one of his most popular and long-lived designs, being reproduced twice in the third edition of the Director in 1762, pls. XIII and XIV. The carving on these chairs is of a quality commensurate with Chippendale’s work. A set of chairs supplied by Chippendale survives at Nostell Priory with a similar back pattern but much plainer, simpler legs, one of which was exhibited at Thomas Chippendale 1718 - 1779 - A Celebration of British Craftsmanship and Design in Leeds, celebrating Chippendale’s tercentenary.
Thomas Chippendale, The Gentleman and Cabinet-Maker’s Director, 1754, pl. XII
THE LONGFORD CASTLE PEDESTALS
A PAIR OF GEORGE II GILT PEDESTALS
Attributed to Benjamin Goodison England, circa 1740
An outstanding and highly important pair of George II carved giltwood and gilt-gesso pedestals attributed to Benjamin Goodison made for Longford Castle, Wiltshire. Each square top with a gilt-gesso carved foliate spray and cartouche border above a swag-draped oak leaf frieze, the tapering pedestals with sanded panels mounted with ribbontied fruit and flower sprays, the sides with C-scrolls and acanthus, and standing on plinth bases.
Height: 53½ in (136 cm)
Width: 13 in (33 cm)
Depth: 13 in (33 cm)
Provenance
The pair, originally from a set of six, presumably supplied by Benjamin Goodison to Jacob Bouverie, 1st Viscount Folkestone (1694-1761) for Longford Castle, Wiltshire, between 1737 and 1743
The collection of Lady Anne Tree ( née Cavendish), Mereworth Castle, Kent Christie’s London, Important English Furniture, Clocks and Objects of Art , 23 May 1968 including the property of the Lady Anne Tree removed from Mereworth Castle, Kent With Christopher Gibbs, London, 1979, as ‘ascribed to Benjamin Goodison, from Longford Castle’ Private Collection, USA
With Mackinnon Fine Furniture, London, 2018 Private Collection, New York
The other four pedestals remain in the collection of the Earl of Radnor at Longford Castle, Wiltshire.
Literature
C. Hussey, ‘For the Connoisseur: Furniture at Longford Castle-I’, Country Life , 12 December 1931, p. 682, fig. 8
C. Hussey, ‘Longford Castle-II’, Country Life , 19 December 1931, p. 699, fig. 7
J. Cornforth, ‘Longford and the Bouveries’, Country Life Annual , London, 1968, fig. 13 - 14
A. Smith, “Acquisition, Patronage and Display: Contextualising the art collections of Longford Castle during the eighteenth century”, Doctoral Thesis, Birkbeck, University of London, 2017
A. Smith, Longford Castle: The Treasures and the Collection , London, 2017, fig. 26 & 28
P. Macquoid, History of English Furniture , vol. III, p. 77 Country Life , vol. CXXXXIX, no 3605 (advertisement for Mereworth Castle), 7 April 1966 (illustrated)
C ountry Life, 2 May 1968, Christie’s advertisement (illustrated)
Longford Castle, Wiltshire, 1811 (Credit: Yale Center for British Art, Paul Mellon Collection)
Longford Castle
Situated in the banks of the River Avon near Salisbury, Longford Castle was originally built in the late 16 th century for Sir Thomas Gorges (1536 – 1610), a courtier to Queen Elizabeth I, by the architect John Thorpe (1565 – 1655). The structure was built in the form of a triangle with three rounded towers, which gave it the appearance of a feudal castle. It is possible that the three towers, which are labelled in contemporary plans of the house as Pater , Filius and Spiritus , were meant to represent the Holy Trinity.
The castle became the residence of Sir Edward des Bouverie (1688 – 1736) in 1717. According to legend, Sir Edward was riding past the castle and fell in love with it, and having enough money in his saddle bags he purchased the property on the spot. The des Bouverie family was descended from a Huguenot silk weaver, Laurens des Bouverie (1536 – 1610), who had fled from religious persecution during the Reformation and settled in London. Sir Edward was a member of the City of London merchants.
His brother, Sir Jacob des Bouverie, 1 st Viscount Folkestone (1694 – 1761), succeeded the title in 1736 and set about altering the castle and its grounds. He created a new twostorey Palladian entrance hall in around 1740, transformed the old Winter Parlour in the east tower into a library, and converted the Matted Gallery into the Picture Gallery. Sir Jacob sought the advice of several notable architects of the time, including Roger Morris, who had worked at nearby Wilton, and John Wood the Elder and John Wood the Younger, both of whom were influential in shaping the architecture of Bath throughout the 18 th century.
In addition to the architectural work, Sir Jacob focused his efforts on the interiors of the castle. He commissioned some of the finest cabinet-makers of the time, including Benjamin Goodison, William Hallett, William Vile and John Cobb, William Bradshaw, William Ince and John Mayhew, and Thomas Chippendale. Longford has also been home over the centuries to fabulous old master paintings, including works by Holbein, Claude and Velazquez.
Benjamin Goodison
These pedestals were likely commissioned for the Picture Gallery at Longford – the remaining four from the suite remain in situ there today – and can be confidently attributed to Benjamin Goodison (1700 – 1767). Goodison is mentioned frequently in Sir Jacob’s House Book , which provides an itemised list of his household and personal expenses between 1723 and 1745. Goodison received numerous large payments for significant commissions that totaled a sum of £872.11.6 between 1737 and 1743.
The pedestals echo the motifs seen throughout the rest of the house with classical designs, including acorns and oak leaves. The oak leaf motif serves as a symbol of longevity, endurance, strength and success from humble beginnings. Sir Jacob was also known as a great tree-planter. A magnificent table supplied by Goodison for Longford, now in the Victoria and Albert Museum in London, is also carved with oak leaves.
Percy Macquoid described the pedestals as ‘contemporary with specimens at Houghton, but altogether superior in style’.
Interior of Longford Castle – showing the other pedestals (Credit: Future Publishing Ltd)
A GEORGE II CORNER CHAIR
England, circa 1740
A very fine George II mahogany corner chair. The chair with a curved top rail and outswept arms supported by three fluted columns and interlaced back splats decorated with flowers and C-scrolls. The central front leg of cabriole form with shell decoration and terminating in a bold ball and claw foot, the remaining legs terminating in pad feet. The seat upholstered with superb mid 18th century French needlepoint retaining remarkably fresh original colours.
Height: 31½ in (80 cm)
Width: 28¾ in (73 cm)
Depth: 27¼ in (69 cm)
Provenance
With Mackinnon Fine Furniture, 2018 Private Collection
A CHIPPENDALE PERIOD PEDESTAL DESK
England, circa 1760
A superb George III Chippendale period mahogany pedestal desk. The gilt-tooled leather inset top with a leaf carved moulding around the edge, above three frieze drawers on one side and the reverse with a false drawer in the centre, all the drawers with rope carved pattern edges, with ormolu handles and escutcheons in the rococo manner, the pedestals with drawers on one side and cupboards the other. With a moulded plinth base and concealed wooden castors.
Height: 31½ in (80 cm)
Width: 57¼ in (145 cm)
Depth: 35 in (89 cm)
Provenance
The Grosvenor House Antiques Fair, London 1998 where acquired by Mallett, New Bond Street, London, W1
Literature
Mallett, Annual Catalogue, 1999, p. 26 (illustrated)
L. Synge, Mallett Millennium, 1999, p. 21, fig. 11 (illustrated)
Comparative References
Christopher Gilbert, The Life and Works of Thomas Chippendale, 1978, 2 vols., vol. II, p. 236, figs. 431 and 432
Ronald Phillips Ltd., The Legacy of Thomas Chippendale, 2018, pp. 104 -111
The form and quality of cabinet work exhibited on this desk are typical of that of the St. Martin’s Lane syndicate of cabinetmakers whose output is epitomised by the leading 18th century furniture designer Thomas Chippendale. Its configuration, handles and dimensions are similar to those on a library table supplied to William, 5th Earl of Dumfries for Dumfries House, Ayrshire, circa 1759. The pierced gilt-brass rococo handles are a variant of the rococo design frequently used by Chippendale and his contemporaries.
Thomas Chippendale’s account, on 5 May 1759, describes the Dumfries House desk as: ‘a Mahogany Library-Table of very fine wood the top cover’d wt. best black leather, a Writing drawer at one End wt. a double rising slider cover’d, & drawers & Cupboards in the sides & strong triple castors £22 —’.
A related desk, without the carved moulded edges and detailed beading on the drawers, was sold Christies London, Important English Furniture, 3 July 1997, lot 50 (£139,000).
A GEORGE II GILT GESSO MIRROR
England, circa 1730
A very fine George II carved giltwood and gilt gesso pier mirror. The bevelled rectangular plate within a foliate and strapwork border against a punched ground, surmounted by a cartouche within a broken pediment, with a shaped apron centred by a stylised shell cresting, with two lacquered brass candle arms.
Height: 52¼ in (132.5 cm)
Width: 30¼ in (78.5 cm)
INCE & MAYHEW
A PAIR OF GEORGE III PAINTED ARMCHAIRS
Attributed to Mayhew & Ince England, circa 1780
An exceptionally fine pair of George III blue and cream painted neoclassical armchairs. Each with oval shield backs painted with myrtle leaves and centred by a carved plume of feathers and channelled arm-supports, above a curved seat rail interspersed with painted foliate paterae, on a round tapered part fluted legs. The backs and seats upholstered.
Height: 39¼ in (100 cm)
Width: 26 in (66 cm)
Depth: 22½ in (57 cm)
Literature
C. Hussey, ‘Chirk Castle’, Country Life , 5 October 1951, fig. 7 (chairs from the suite illustrated in situ in the Bow Drawing Room)
National Trust, Chirk Castle Guide Book , 1983 and 2003, chairs from the suite illustrated in situ in the Saloon
M. Hall, ‘Chirk Castle, Denbighshire’, Country Life , 16 July 1993, illustrated in situ in the Cromwell Hall
H. Roberts and C. Cator, Industry and Ingenuity -
The Partnership of William Ince and John Mayhew , 2022, p. 364 (fig. 326) and p. 376 (fig. 363)
These wonderful neoclassical armchairs relate extremely closely to those supplied by Ince & Mayhew to Richard Myddleton, circa 1782, for Chirk Castle, near Wrexham, North Wales.
THE HORLICK COLLECTION
A REVERSE GLASS MIRROR PAINTING
An extremely charming and very rare mid 18th century Chinese reverse glass painting - of unusual proportions quite possibly intended for use as an overmantel or overdoor. Beautifully painted throughout with wonderfully dressed figures in a chinoiserie landscape with trees, pagodas and houses. Held in a carved gilt gesso frame.
Height: 16 in (40.5 cm)
Width: 41 in (104 cm)
Provenance
The Horlick Collection
Thence by descent
Literature
Thierry Audric, Chinese Reverse Glass Painting 1720 - 1820
China, circa 1760
A GEORGE I WALNUT BACHELOR’S CHEST
England, circa 1720
A very fine early 18th century George I period walnut bachelor’s chest. The turnover top with finely figured veneers, herringbone inlay and re-entrant corners above slide supports with two small drawers and three long graduated drawers, all supported on bracket feet.
Height: 29¼ in (76 cm)
Width: 29½ in (75 cm)
Depth: 13 in (33 cm)
Provenance
Mallett, New Bond Street, 1998 Private Collection, London
EXCEPTIONAL RARITIES
A PAIR OF QUEEN ANNE GESSO SCONCES
England, circa 1710
An important and very rare pair of Queen Anne gilt gesso sconces, the arched acanthus-carved crestings and foliate mouldings enclosing early-18th-century silkwork panels, between oak- and acorn-carved uprights, with a scrolled apron supporting a brass candle arm.
Height: 25¾ in (65.5 cm)
Width: 10¼ in (26 cm)
Provenance
Marc Haas, 1967
Clifford Wright Antiques, London, 1996
The Collection of William F. Reilly, New York
Ronald Phillips Ltd., London Private Collection, New York
Comparative Literature
Parke-Bernet Galleries, New York, Art Treasures Exhibition , 1967, ill. 229
H. H. Mulliner, The Decorative Arts in England 1660-1780 , 1923, fig. 61
R. W. Symonds, English Furniture from Charles Il to George II , 1929, p. 136, fig. 83
Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture , 1954, vol. Ill, p. 50, fig. 15
Yvonne Hackenbroch, English and Other Needlework
Tapestries and Textiles in the Irwin Untermyer Collection , 1955, pl. 110
Lanto Synge, Art of Embroidery , Woodbridge 2001, fig. 223
A PAIR NEEDLEWORK SIDE CHAIRS
English, circa 1725
An exceptional and very rare pair of George I period walnut side chairs. Each with a curvilinear padded back and seat covered in the original floral needlework with a waterlily design of blue, green, yellow, ivory and beige flowers and foliage on a red ground, raised on front C scroll carved cabriole legs and pad feet and curved back legs.
Height: 39¾ in (101 cm)
Width: 23¾ in (60 cm)
Depth: 24¾ in (63 cm)
Provenance
The collection of Frank Green, Treasurer’s House, 1930 With Mallett, London, 1998
Private Collection, England With Mallett, London, 2009 Private Collection, Switzerland
Literature
The Age of Walnut, 1932, p.35 (exhibition catalogue) T. Hughes, Old English Furniture, 1950, ill. pl. 11 L. Synge, Mallett Millennium, 1999, p. 52-54, ill. fig. 47 Mallett, Catalogue, 2009, pp. 37 - 39 and 60 - 61 Country Life, June 2009 (Mallett advertisement)
Exhibited
The Age of Walnut, 25 Park Lane, London, 1932 (one from the set)
These chairs, originally from a larger suite, were part of the celebrated collections of Frank Green at the Treasurer’s House in York. The property was built on the site of what had originally been the official residence of the Treasurers of York Minster – an office that was abolished in 1574 as a result of the Reformation. Frank Green, a member of a rich industrialist family and an antiquarian, bought the property in 1897 and restored it back to its former glory and filled it with his collection. On his retirement in 1930 he left the house and much of its contents to the National Trust.
THE BOYNTON HALL TABLE
A GEORGE III NEO-CLASSICAL SIDE TABLE
England, circa 1770
A highly important late 18th century Chippendale and Adam period neo-classical mahogany side table. The frieze decorated with applied carvings, the central tablet decorated with winged griffins, their paws resting on ram’s heads with a central flaming torchere. Flanked on each side with panels embellished with vases, household utensils, bucrania and paterae. The side friezes are carved with husk festoons and sphinx-like heads. The tapering legs are panelled and carved with bands of fluting and the headers carved with urns, terminating in square toes carved with palm leaves. With an exceptional 18th century Italian varicoloured specimen marble top composed of hexagonal panels with black banded borders.
Height: 32¾ in (83.5 cm)
Width: 60 in (152 cm)
Depth: 30 in (76 cm)
Provenance
The collections of the Strickland Family, Boynton Hall Yorkshire Listed in the 1938 Inventory of Boynton Hall: “Adam mahogany side table, the frieze decorated with applied carvings, with centre tablet decorated winged griffins, the paws resting on rams heads with centre flaming torchere. The sides are decorated with vases, household utensils, skeleton masks and paterae. The side friezes are carved with husk festoons and sphinx like heads. The tapering legs are panelled and carved with bands of fluting and the squares carved with urns, terminating in square toes carved with palm leaves. There is a vari-coloured marble top composed of hexagonal panels. 5ft wide by 2ft 6in deep”. By family descent at Gouray Lodge, Jersey With Jeremy Ltd., Belgravia London
Sotheby’s New York, The Collection of Mr. and Mrs. Edwin H. Herzog, 12-13 April 1985, lot 335 Private Collection, USA
Related Literature
Arthur Oswald, ‘Boynton Hall, Yorkshire’, Country Life, 22 and 29 July 1954
B. Wragg and G. Worsley, The Life and Works of John Carr of York, 2000, p. 119
Sir George Strickland, 5th Bt. (1729 -1808) commissioned Carr of York to make alterations to Boynton Hall, Yorkshire between 1765 and 1780. Drawings for an impressive Palladian mansion show that as a young man Strickland had grand ideas for a new house on the site. Instead, he modernised the existing Tudor house, which Lord Burlington had previously improved. There are unsigned drawings, probably by Carr, for most of the work carried out. The newly designed hall in the mansion was also to serve as a Sculpture Gallery. Tantalisingly vague records of payments to leading cabinet-makers including Chippendale and Cobb survive in the family archives.
Sir George travelled to Italy on the Grand Tour with his wife Elizabeth (née Winn, of Nostell Priory) and his two daughters arriving in Genoa in November 1778. They were in Naples in January and later visited Paestum with John Soane in February of that year. They left Rome in 1779, where Sir George had purchased an inlaid marble table from James Byres, a dealer in antiquities and paintings, and various other objects from Thomas Jenkins, an agent for many English collectors and a dealer in antiquities, paintings and sculpture. Strickland’s correspondence concerning his Grand Tour acquisitions and their dispatch to Boynton Hall is probably one of the most complete of its kind. The archive includes a receipt from Francesco Piranesi for prints of statues and the Antichita di Pesto, by his father G.B. Piranesi.
The outstanding carving on the frieze of this unique table is taken directly from the Temple of Vespasian and Titus, also known in the 18th century as the Temple of Jupiter Tonans (Thundering Jove), in the Roman Forum - it was reproduced in Les edifices antique de Rome dessinés et mesurés très exactement (Paris 1682) by the French artist Antoine Babuty Desgodetz who had been sent to Rome by Louis XIV to record the city’s ancient monuments. The Strickland family are known to have owned a copy of this publication in their library - and it is conceivable that they chose the design for the table when ordering the base to display the magnificent specimen top they had likely acquired on their Grand Tour.
The Temple of Thundering Jove, showing the frieze pattern Vedute di Roma, Giovanni Battista Piranesi (1779)
A VERRE EGLOMISE MIRROR
France, circa 1700
An important and extremely rare early 18th century verre eglomisé mirror. The rectangular bevelled mirror plate held within a thin eglomisé bevelled slip decorated with gilt lambrequins, a carved moulded gilt gesso border, magnificent red eglomisé bevelled border glasses and a further outer gilt gesso moulded frame. The corners with carved gilt spandrels each with scrolling acanthus leaves flanking a corner shell. The eglomisé border glasses superbly decorated with wonderful figures including archers and carpet sellers, animals including rhinoceros and elephant, and birds within oriental fantasy landscapes.
Height: 55½ in (141 cm)
Width: 45¾ in (116 cm)
The term verre églomisé derives from the name of the 18th century Parisian dealer, framer and restorer Jean-Baptiste Glomy (1711-1786). The technique involves applying gold or silver leaf to the reverse of a glass plate into which designs are then engraved with subsequent applications of coloured foils and pigments providing the background colour. Reds or blacks were popular colours, and shades of blue and green were also used but rarer. The technique existed in ancient Rome – and enjoyed a revival in France and Europe during the reign of Louis XIV. Eglomisé border glasses were often engraved with figural and arabesque motifs in the manner of Jean Bérain (1640 – 1711) and Daniel Marot (1661 – 1752) and certainly the arrival of Marot in England in 1694 would have likely promoted this stunning decorative technique here.
An interesting historical note refers to ‘A large old fashioned Glass Sconce, in a Glass Frame, with Gold Flowers painted on the Glass Frame, and a Green Ground’ that was stolen in 1727 from the Long Acre premises of Benjamin Goodison. Goodison’s former ‘Master’ James Moore (d. 1726), in partnership with John Gumley, had provided mirrors for the Royal residences from 1707. In 1707, the Pelletier brothers, René and Thomas (active c. 1680 -1720) are recorded as supplying a pair of eglomisé overmantel mirrors to Ralph, 1st Duke of Montagu for Ditton House, Buckinghamshire. Sometimes of massive proportions, other were supplied to Penshurst Place, Hatfield House, Kedleston Hall and Chatsworth – and examples can now be viewed in Victoria & Albert Museum, London and the Metropolitan Museum, New York.
The figures, animals and pavilions on the present mirror are all derived from contemporary or earlier engravings which would have been available to the craftsmen who made this remarkable mirror. For example, the rhinoceros is clearly taken from the 1515 engraving by Albrecht Durer. Both the elephant and the rhinoceros feature on a 1670 engraving by Wenceslaus Hollar. The carpet sellers, the archers and the pavilions were also well known images of the time evoking the mysticism of the east. The green glitter decorative technique is also extremely rare.
AN AMARILLO DROP LEAF TABLE
England, circa 1770
An exceptional George III Chippendale period ‘amarillo’, or quilted mahogany, drop leaf table of superb colour and natural figuring. The oval top with moulded edge and gateleg mechanism, the circular fluted tapering legs with acanthus leaf feet and beaded collar.
Height: 33 in (84 cm)
Depth: 42½ in (108 cm)
Width with flaps down: 15 in (38 cm)
Width with flaps up: 46½ in (118 cm)
THE HEATHCOTE LACQUER CHAIRS
We are delighted to be able to show two very rare pairs of chairs from this highly important documented suite of armorial seat furniture.
With the coat of arms of William Heathcote (1693 – 1751), these exceptional chairs were almost certainly commissioned to celebrate his marriage in 1720 to Lady Elizabeth Parker, daughter of Thomas Parker, 1st Earl of Macclesfield of Shirburn Castle. Heathcote’s father, Samuel, was a merchant and director of the East India Company; and while William Heathcote followed in his father’s footsteps, his brother Sir Gilbert was the Governor of the Bank of England. William Heathcote later entered politics and served as a Member of Parliament from 1722 until 1741. He was created a baronet in 1733 and as the arms on the chairs are for Heathcote impaling Parker and do not include a baronet’s coronet, the chairs can be dated with some accuracy to between 1720 when the marriage took place and 1733 with his elevation to the baronetcy. The chairs were commissioned for Hursley Park, Hampshire which Heathcote had acquired in 1718.
With Heathcote’s links to the East India Company, it is perhaps not surprising that these chairs offer a fascinating insight into the British obsession with Chinese art and reflect the flourishing trade relationship between these distant nations, a relationship which had a profound stylistic influence on the decorative arts in Britain. The finely lacquered back and seat panels were commissioned from China before making the long and perilous journey to an English workshop where they were mounted on japanned frames and made into chairs – the armorial shields likely being added at this time. Related chairs were supplied to Sir Gregory Page Bt. (1668 –1720) of Wricklemarsh, Kent, and Robert Child for Osterley Park, Middlesex.
The distinctive ‘flying brackets’ of these chairs place them in a specific group of seat furniture made in circa 1715 – 1720. The origin of the form is uncertain, but it is uniquely English. Notable examples of this form include the celebrated Browsholme suite of seat furniture almost certainly supplied to by royal cabinet-maker James Moore to Edward Parker (d. 1728) who was interestingly a distant cousin of Sir William Heathcote’s father-in-law.
James Moore the Elder (1670 – 1726) had premises ‘over against the Golden Bottle in Shorts Gardens’, St Giles-in-the-Fields and became cabinet-maker to George I and the Prince and Princess of Wales, in partnership with John Gumley from 1714. He also received commissions from notable members of the aristocracy including the Duke of Chandos at Cannons and Sir Robert Walpole at Houghton. He became Comptroller of Works at Blenheim Palace in 1716 as successor to Sir John Vanburgh, with the Duchess of Marlborough referring to Moore as her ‘Oracle’.
Until now, the suite was always thought to have comprised eight chairs – the appearance of our second pair, with the Aberconway provenance, now enlarges the suite to at least ten pieces.
THE GETTY HEATHCOTE LACQUER CHAIRS
A PAIR OF GEORGE I LACQUER AND JAPANNED HALL CHAIRS
Attributed to James Moore
England, circa 1720
A highly important pair of George I black, red and gilt-japanned and Chinese lacquer hall chairs. Each rectangular back with reentrant corners decorated in Chinese Export lacquer depicting a watery pagoda landscaped below the arms of Heathcote impaling Parker, the japanned seat with conforming landscape, the seat rail centered by a scallop shell, on hipped square tapering legs with flying brackets on pointed pad feet.
Height: 46½ in (118 cm)
Width: 20¾ in (53 cm)
Depth: 22 in (56 cm)
Provenance
The original suite of chairs, totalling ten chairs, commissioned by William Heathcote (1693-1751), later 1st Baronet, and his wife Lady Elizabeth Parker, daughter of the 1st Earl of Macclesfield, for Hursley Lodge, Hampshire
Thence by descent to Lt. Col. Sir Gilbert R. Heathcote, 8th Bt. of Hursley (1854-1937), Bighton Wood, Alresford, Hampshire
Sold by The Venerable The Archdeacon Sir Francis C.C. Heathcote, 9th Bt. (1868-1961), as part of the Heathcote Heirlooms, Christie’s London, 26 May 1938, lot 118; Alexander Keiller (1889-1955), Avebury Manor, Wiltshire; sold Sotheby’s, London, 21 January 1955, lot 178
Mark Heathcoat-Amory; sold Christie’s London, 19 June 1980, lot 24 (the set of eight)
Anonymous sale, Christie’s New York, 17 October 1981, lot 199 (this pair);
With Mallett, London
Ann and Gordon Getty Collection, San Francisco, Christie’s New York, 22 October 2022, lot 319 (US$ 176,400)
Private Collection, USA
Literature
O. Brackett, English Furniture Illustrated, rev. ed., London, 1950, p. 132, pl. CIV
G. Beard and J. Goodison, English Furniture 1500-1840, London, 1987, p. 58, fig. 1 (one from the set of eight).
L. Synge, Mallett Millennium, London, 2000, p. 34, fig. 25 (two from the set of eight).
F. Mcgill, A Curious Affair: The Fascination Between East and West, San Francisco, 2006, pp. 40-41.
THE ABERCONWAY HEATHCOTE LACQUER CHAIRS
A PAIR OF GEORGE I LACQUER AND JAPANNED HALL CHAIRS
Attributed to James Moore
England, circa 1720
A highly important pair of George I black, red and gilt-japanned and Chinese lacquer hall chairs. Each rectangular back with reentrant corners decorated in Chinese Export lacquer depicting a watery pagoda landscaped below the arms of Heathcote impaling Parker, the japanned seat with conforming landscape, the seat rail centered by a scallop shell, on hipped square tapering legs with flying brackets on pointed pad feet.
Height: 46½ in (118 cm)
Width: 20¾ in (53 cm)
Depth: 22 in (56 cm)
Provenance
The original suite of at least ten chairs commissioned by William Heathcote (1693 - 1751), later 1st Bt., and his wife Lady Elizabeth Parker, daughter of the 1st Earl of Macclesfield, for Hursley Lodge, Hampshire Henry McLaren, 2nd Bt. Aberconway (1879-1953), for Aberconway House, 38 South Street, and perhaps those illustrated in the Hall at Aberconway House in the 1920s Thence by descent
Literature
O. Brackett, English Furniture Illustrated, rev. ed., London, 1950, p. 132. pl. CIV (illustrating this pair)
Comparative Literature
G. Beard and J. Goodison, English Furniture 1500 - 1840, London, 1987, p. 58, fig. 1
L. Synge, Mallett Milllennium, London, 2000, p. 34, fig. 25
F. McGill, A Curious Affair: The Fascination Between East and West, San Francisco, 2006, pp. 40 – 41
Aberconway House was one of the grandest neo-Georgian houses to be built during the inter-war period. The work started in 1918 and was completed by 1922. The main rooms accommodated Lord Aberconway’s art collection which was set against the striking black and white interiors. It is easy to see how these chairs with their Art Deco lines and glossy lacquer would have suited these fashionable rooms.
England, circa 1765
A very fine late 18th century George III Hepplewhite period mahogany commode in the French taste. With a serpentine top above three serpentine graduated drawers and shaped apron on splayed bracket feet. Inlaid throughout with boxwood and kingwood crossbanding. With ivory keyhole escutcheons, chased gilt classical handles with swags of husks from ribbon tied paterae, with carrying handles to the sides and sabots to the feet.
Of small scale and with outstanding colour and patination.
Height: 33 in (84 cm)
Width: 42 in (108 cm)
Depth: 21 in (54 cm)
FROM THE COLLECTIONS OF THE EARLS OF STRAFFORD
A GEORGE III MAHOGANY STOOL
England, circa 1770
An exceptionally fine George III mahogany X-frame stool, the slightly concave seat of wonderfully thin profile, the frame carved with superbly detailed paterae and central foliate decoration.
With outstanding colour and patination.
Height: 16¾ in (43 cm)
Width: 20¾ in (53 cm)
Depth: 16¾ in (43 cm)
Provenance
The collections of the Earls of Strafford, Wentworth Castle, Yorkshire
Literature
‘The collection of Wentworth Castle’, Country Life, 18 April 1903, p. 506, fig. ‘ The Great Hall’
A very closely related stool in the collections of the Dukes of Northumberland, Syon House, illustrated in The Dictionary of English Furniture, vol. III, p. 182, fig. 69 and Eileen Harris, The Furniture of Robert Adam, 1963, p. 13.
THE COUNTESS OF HARDWICKE’S GILT GESSO TABLES
A HIGHLY IMPORTANT PAIR OF GEORGE I GILT GESSO SIDE TABLES
England, circa 1720 – 25
A magnificent pair of early 18th century George I period gilt gesso side tables in the manner of James Moore with Roman specimen marble tops attributed to Antonio Vinelli, circa 1779.
The gilt gesso tables, of outstanding quality, with foliate carved friezes with a punched ground, supported on cabriole legs headed by plumed masks and scrolling acanthus leaves terminating in scroll feet. The rectangular tops inlaid with a collection of hexagonal marble and hardstone specimens including lapiz lazuli, alabaster, amethyst, porphyry and granites, later enlarged to fit the tables.
Height: 31¾ in (80.5 cm)
Width: 47¾ in (121 cm)
Depth: 30 in (76 cm)
Provenance
The gilt gesso bases probably supplied to Sir Henry Pope Blount, 3rd Baronet (1702 – 1757) for Tyttenhanger House, Hertfordshire or Edward Harley, 2nd Earl of Oxford and Earl Mortimer (1689 – 1741) for Wimpole Hall, Cambridgeshire and possibly those mentioned in the Entrance Hall in the 1835 Inventory. The specimen tops probably those supplied by Vinelli in Rome to Philip Yorke, 3rd Earl of Hardwicke (1757 – 1834) in 1779 for Wimpole Hall.
Thence by descent to Elizabeth Scott Yorke (née Lindsay), Countess of Hardwicke (1763 – 1858) at Tyttenhanger House, Hertfordshire
Thence by descent to the Earls of Caledon until sold Tyttenhanger House: The Contents; Ralph Pay and Ramson, London, 27 – 29 June 1972, lot 405 With Mallett & Son Antiques, London
Sotheby’s London, The Hochschild Collection of Highly Important English Furniture, 1 December 1978, lot 16 With Hotspur, Belgravia Private Collection, USA and thence by descent
Literature
Inventory & Valuation of Furniture, Fixtures and Effects at Tittenhanger [sic] House St Albans, the property of the late Countess Dowager of Hardwicke, 20 July 1858, p. 67
An Inventory of Furniture, China, Glass, Books and other effects at Tyttenhanger House near St Albans, The Property of the Right Honourable Countess of Caledon and let to H. W. Eaton Esq., July 1864
H. Avray Tipping, ‘Tyttenhanger, Hertfordshire, The Seat of the Earl of Caledon – II’, Country Life, 11 October 1919, p. 454, fig. 1
H. Avray Tipping, ‘Furniture at Tyttenhanger’, Country Life, 8 November 1919, p. 590, fig. 1
H. Avray Tipping, English Homes, Period IV – Vol. I, Late Stuart 1649 – 1714, London, 1920, p. 77, fig. 108A
L. Synge, Great English Furniture, London, 1991, p. 86, pl. 90
The magnificent specimen marble tops are probably those referred to in a letter from James Byres to Phillip Yorke, 3rd Earl of Hardwicke, dated 17 April 1779. Byres writes ‘the two tables / studies of the different marble, & alabasters were forgot in the note you gave me, but Sigr. [Antonio] Vinelli call’d upon me the other day to inform me that they were finish’d, I have paid him forty-four Sequins for them’. What is particularly interesting is in the same letter Byres continues saying that ‘Rome begins to be very thin of English. Sir George Strickland went on Thursday’. Strickland, also on the Grand Tour, was the owner of our Boynton Hall table (see pp. 72-75) and the comparison of the marble tops is extraordinary, quite probably suggesting they were made in the same Vinelli workshops at the same time and purchased by Yorke and Strickland on their respective Grand Tours. The carved gilt gesso tables bases are exceptional examples of their kind and on stylistic grounds exemplify the work of royal cabinet-maker James Moore.
With thanks to Iain Stewart, Senior Collections & House Manager at Wimpole Hall for his help with researching these tables.
A GEORGE III HEPPLEWHITE ARMCHAIR
England, circa 1780
A fine George III painted open armchair in the French Hepplewhite taste. The shield shaped back, serpentine seat and armrests upholstered. The chair frame with channelled detailing painted off-white with green highlights. The shield shaped back with curved arm supports, above a serpentine framed seat, standing on turned tapering legs each with foliate decoration below a painted roundel and collared toe.
Height: 37¼ in (95 cm)
Width: 24 in (61 cm)
Depth: 17¾ in (45 cm)
Provenance
With Mallett at Bourdon House, Mayfair, October 1969
Private Collection, London and thence by descent
A GEORGE III GILTWOOD MIRROR
England, circa 1770
An exceptional and very fine 18th century George III Chinese Chippendale giltwood mirror. The carved shaped rectangular frame surmounted by an acanthus carved chinoiserie canopied cresting above a latticework cartouche, with C-scrolls, branches, lattice-work, icicles and pierced foliate carving throughout.
Height: 58¼ in (148 cm)
Width: 28 in (71 cm)
A closely related mirror, with japanned decoration, was previously with Hotspur, Belgravia and subsequently sold Sotheby’s New York, Important English Furniture & Decorations from a Private Collection, 21 October 2005, lot 3.
A SET GEORGE III POLYCHROME PAINTED ARMCHAIRS
England, circa 1790
A very fine set of four George III Hepplewhite period polychrome painted armchairs. Finely decorated in the neoclassical taste with floral bouquets, swags and urns, the seats upholstered with antique linen, on elegant tapering legs.
Height: 35 in (88 cm)
Width: 20 in (50 cm)
Depth: 19 in (48 cm)
A GEORGE I RED JAPANNED BUREAU CABINET
England, circa 1725
A superb George I red japanned and gilt chinoiserie decorated secretaire cabinet. The upper section with a broken arched cornice flanking the original silvered flame finial above two doors with bevelled mirror plates and candle slides. The interior of the upper section opening to reveal decoration to the reverses of the doors and with a central arched door, flanked by gilded pilasters and folio divides, and opening to reveal a compartment with shelving, all above a series of pigeon-holes and small drawers below. The lower section with a decorated fall above an arrangement of two short and two long graduated drawers. The bookcase standing on bun feet. The interior of the bureau section with a central arched door flanked by pilasters, with further pigeon-holes and drawer and a silk velvet lined writing surface.
A wonderful example of the eighteenth century English obsession with the Orient and chinoiserie decoration. Although English in form, and a very good example of the interesting interiors these bookcases can have, the decoration is entirely oriental in inspiration.
Height: 95¼ in (242 cm)
Width: 41 in (104 cm)
Depth: 22½ in (57 cm)
A PAIR OF GEORGE II HALL CHAIRS
Attributed to Ince & Mayhew
England, circa 1770
An extremely fine pair of George III carved mahogany hall chairs attributed to Ince & Mayhew. Of exceptional colour and patina throughout, the oval backs with an outstanding carved fan pattern centred on a panel painted with heraldic motifs and initials. The shaped dished seats above fluted and tapering legs headed by roundels.
Height: 36¼ in (92 cm)
Width: 15½ in (39.5 cm)
Depth: 17¾ in (45 cm)
Literature
H. Roberts and C. Cator, Industry and Ingenuity - The Partnership of William Ince and John Mayhew, 2022, p. 355 - 356
The design of these chairs relates very closely to examples supplied by the leading London firm of Ince & Mayhew, with their magnificent fan carved backs and elegant restrained seats and tapering legs in the neo-classical taste. A virtually identical pair of chairs is photographed in the entrance hall of Powerscourt, Co. Wicklow, Ireland, seat of the Viscounts Powerscourt, and subsequently the Slazenger family. A very closely related set of four chairs was supplied to Richard Myddelton, circa 1782, for Chirk Castle, North Wales.
THOMAS SHERATON
A GEORGE III SATINWOOD CONSOLE TABLE
England, circa 1780
A rare George III Sheraton period satinwood console table, with kingwood cross-banding and painted floral decoration, the shaped top above an ebony-strung satinwood breakfront frieze, standing on square tapering legs with spade feet. The whole beautifully decorated with flowers and foliage.
The satinwood particularly well figured and a beautiful colour.
Height: 33½ in (85 cm)
Width: 47¼ in (120 cm)
Depth: 19¼ in (49 cm)
Provenance
With Hotspur, Belgravia Private Collection, England
THE GLENDON HALL DINING CHAIRS
A SET OF GEORGE II DINING CHAIRS
England, circa 1745
A magnificent and important set of ten George II dining chairs. The acanthus and rosette carved pierced splat backs with bold paper scroll crest toprail, above a close nailed upholstered seat and carved seat rails. The shoe and the front seat rail with further fine foliate carving. Standing on superb bold carved cabriole legs terminating in claw and ball feet. One chair of a late date.
Of superb colour and patination throughout.
Height: 39¾ in (100 cm)
Width: 25¼ in (64 cm)
Depth: 17½ in (44.5 cm)
Provenance
Probably supplied to Sir John Booth (d.1782), Glendon House, Northamptonshire
Thence by descent until sold Christie’s London, Property of Mrs Vincent Gompertz, Glendon Hall, Northamptonshire, 23 April 1953, lot 84
Literature
J. A. Gonne, ‘Glendon Northamptonshire - The Seat of Mrs. Richard Booth’, Country Life, 25 November 1922, pp. 680 - 681, illustrated in situ at Glendon House, Northamptonshire
These magnificent chairs with their bold backs and convex aprons came from Glendon Hall, Northamptonshire. Originally in the Lane family, Glendon came into the possession of Sir John Booth, a member of the Duke of Marlborough’s militia, some time between 1720 and 1745. It is possible that his marriage to Phoebe Wilkinson, an heiress, enabled the purchase. The house remained in the Booth family through 1922, when it was the feature of a Country Life article. The chairs are illustrated in situ
An additional close-up of one chair is captioned ‘Chippendaletype chair of remarkably fine workmanship’.
Glendon Hall, 1922, showing two of the chairs (Credit: Future Publishing Ltd)
A GEORGE III HEPPLEWHITE DRESSING TABLE
England, circa 1775
A very fine George III period dressing table in the French Louis XV taste in superbly figured mahogany. The serpentine crossbanded top lifting to reveal an interior fitted for dressing and having a removeable central mirror surrounded by lidded compartments, above a serpentine frieze containing a simulated brushing slide and a simulated drawer, the slide and drawer still retaining their original bone inlaid ebonised handles, the whole supported on particularly elegant cabriole legs.
An extraordinarily refined piece of furniture.
Height: 29¼ in (75.5 cm)
Width: 27½ in (70 cm)
Depth: 19 in (48.5 cm)
Provenance
Phillips of Hitchin, 1966
With Hotspur, Belgravia, 1967
Private Collection, USA
With Jeremy, Belgravia, 1999
Private Collection, England
Literature
Connoisseur , June 1966 - Phillips of Hitchin advertisement
Designed in the French taste promoted by leading English cabinet-makers such as John Cobb (d.1778) and Thomas Chippendale (d.1778), who supplied a writing-table of similar character to Sir Rowland Winn for Nostell Priory as early as 1766 (illustrated in A. Coleridge, Chippendale Furniture, London, 1968, pl. 354), this form with a serpentine hinged table-top concealing dressing compartments and a mirror subsequently featured as a ‘Lady’s Dressing Table’ pattern in Messrs. A. Hepplewhite & Co.’s The Cabinet-Maker and Upholsterer’s Guide, 1788, pl. 2.
A PAIR OF ORMOLU MOUNTED BOOKCASES
England, circa 1840
A very fine pair of early 19th century gonçalo alves and ormolu mounted open bookcases. Each with a marble top above a frieze centred by neoclassical ormolu mounts, the adjustable open bookshelves flanked by pilasters mounted with extremely finely chased ormolu corbels. Each shelf has a bead and reel moulding in ormolu and the plinth base has a crisp running acanthus moulding.
These bookcases retain their original ormolu mounts and the interior of each bookcase is simulated to match the graining of the gonçalo alves veneers.
Height: 36¼ in (92 cm)
Width: 53½ in (136 cm)
Depth: 13¼ in (34 cm)
A MALLETT LOW TABLE
England, the book bindings early 19th century
A superb painted and glazed coffee or low table by Mallett of New Bond Street. The top inset with a rare panel of early 19th century gilt tooled leather book spines of graduated sizes, possibly originally used as a false door in a library, within a bespoke stipple gilded frame mounted as a low table with a chinoiserie inspired Cobham leg base. With a protective glass top.
Height: 15¼ in (39 cm)
Width: 49¼ in (125 cm)
Depth: 52¼ in (132.5 cm)
Provenance
With Mallett, New Bond Street, 2000 Private Collection, England
ANTIQUE TABLE LAMPS
Below:
A NEVERS LAMP
The vase French, circa 1680
A magnificent late 17th century French faience Nevers vase, of baluster form, decorated throughout with wonderful chinoiserie details in tones of blue and manganese on an off-white blue background. Now mounted as a lamp with a hand gilded turned base.
Height of vase: 16¼ in (41 cm) including giltwood base, excluding electrical fitment and lampshade.
Right: A PAIR OF BERLINWARE CHINOISERIE LAMPS
The vases German, 19th century
A very fine pair of large 19th century Berlinware chinoiserie vases, decorated throughout with gilded chinoiseries on a scarlet red japanned background, now mounted as lamps with turned hand gilded bases.
Height of vases: 21 in (54 cm) including giltwood bases, excluding electrical fitment and lampshades.
ANTIQUE TABLE LAMPS
Below:
AN IMARI LAMP
The vase Japan, circa 1860
A superb large 19th century Japanese Imari vase, with ribbed body form, decorated throughout in the typical Imari palette of iron reds and blues with gilded highlights on a white background, with two large panels depicting wonderful garden scenes with flowering trees with exotic birds and objects on a terrace including decorative tables and vases, now mounted as a lamp with a hand gilded turned base.
Height of vase: 21½ in (54.5 cm) including giltwood base but excluding electrical fitment and lampshade.
Right: A PAIR OF MAGNIFICENT IMARI LAMPS
The vases Japan, early 18th century
A pair of magnificent large scale 18th century Imari vases of impressive proportions. The octagonal shaped vases wonderfully decorated throughout in the Imari palette of predominantly blues and iron reds on a white ground, with gilded highlights. With shaped panels filled with exotic flowers and foliage - the intervening panels with stylised floral decoration, now mounted as lamps with hand gilded bases. Minor variations.
Height of vases: 24 in (61 cm) including giltwood base, excluding electrical fitment and lampshade.
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An 18th century Chinese Export lacquer bureau on stand sourced for a client.
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Detail of the George II walnut shepherds crook armchair.
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