A Collection of Georgian Furniture in the Manner of Thomas Chippendale

MACKINNON fine furniture and works of art

CHIPPENDALE: A Collection of Georgian Furniture in the Manner of Thomas Chippendale & His Contemporaries

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" (&03(& *** .")0("/: $)&45 0' %3"8&34 England, circa 1760 A fine George III Chippendale period mahogany chest of drawers, the moulded serpentine top above four graduated shaped drawers with gilt bronze foliate handles and escutcheons, the top drawer fully fitted with dressing compartments and a fold-away mirror under a brushing slide, standing on four exaggerated ogee bracket feet.

Mahogany serpentine chests of drawers have become synonymous with 18th century English furniture of the Chippendale period. Whilst there is no immediate design for them offered in Chippendale’s 1754 Director, there are plates which show much grander variations from which this more utilitarian form of furniture wouldhave derived: plates LXII – LXX. By 1762 and in line with the prevailing taste, Ince and Mayhew in their Universal System of Household Furniture had produced a much closer and more recognisable design (plate XLIII).

Close comparisons can be made to examples known to have been supplied by Thomas Chippendale. A rosewood example was supplied in 1768 to Sir Edward Knatchbull for Mersham-le-Hatch, one in mahogany probably supplied circa 1770 to Lord Pembroke for Wilton House and a pair supplied to Ninian Home to Paxton House, Berwick in 1774. The

pronounced angular bracket feet of this chest relate closely to the Mersham-le-Hatch example.

The type of escutcheon and handles used also link this chest to pieces known to have been supplied by Thomas Chippendale. The gilt metal handles can be seen on the breakfront bookcase supplied to Lord Dumfries for Dumfries House in 1759, with closely related variations being shown on Lord Pembroke’s ‘Violin’ Bookcase, and a secretaire-bookcase supplied in 1764 to Sir Lawrence Dundas. The same escutcheon can be found on a chest of drawers at Dumfries House.

Height: 32¼ in (82 cm) Width: 38½ in (97.5 cm) Depth: 23½ in (23.4 cm) AD.42

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" (&03(& *** .")0("/: 1"35/&34 %&4, England, circa 1760 A very fine George III Chippendale period mahogany partners desk, the rectangular top with original leather writing surface above three frieze drawers to each side, on pedestal each with three further drawers with swan neck handles, standing on bracket feet, and with heavy brass carrying handles to the sides.

The mahogany of particularly fine colour throughout.

Height: 33½ in (85 cm) Width: 55 in (141 cm) Depth: 39½ in (100 cm) L01.11

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A GILTWOOD GIRANDOLE Attributed to Thomas Chippendale England, circa 1765 An exceptional George III giltwood girandole attributed to Thomas Chippendale. This girandole is characteristic of the exuberance of English rococo design found in the work of Thomas Chippendale and Thomas Johnson; a ho-ho bird with outstretched wings stands on a scrolled acanthus support, the asymmetrical frame composed of conjoined C-scrolls, acanthus leaves, flowering branches and a rockwork bottom with flowerheads, the pierced apron composed of conjoined ruffle-carved Cscrolls, the ancient overgrown pilasters, the whole retaining most of the original gilding.

Provenance See also the pair of girandoles supplied by Thomas Chippendale in 1759 to the Earl of Dumfries for the Dining Room of Dumfries House. Christie’s sale 12 July 2007 – lot 60, which were designed to embellish the chimneypiece and flank the overmantel portrait of the 5th Earl of Dumfries by Thomas Hudson displayed in the Dining-Room.

Chippendale is known to have supplied a number of pairs of girandoles included documented examples to Merhsam-le-Hatch for Sir Edward Knatchbull, Nostell Priory for Sir Rowland Winn and Harewood House for Edwin Lascelles.

Literature For related designs see Thomas Chippendale, The Gentleman and Cabinet-Maker’s Director, 1762, 3rd ed., pl. LXXVIII.

Height: 53 in (134.5 cm) Width: 25 in (63.5 cm) E10.98

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A GEORGE III PINE CHIMNEYPIECE In the manner of Robert Adam England, circa 1765 A rare and important large George III Chippendale period pine chimneypiece possibly designed by Robert Adam for Harewood House.

The carving throughout of exceptional quality, in the neo-classical taste, with carved laurel wreaths and bell flower swags and classical urns.

Provenance By repute, the collections of the Earls of Harewood, Harewood House, Yorkshire.

Gifted by Princess Mary, Princess Royal and the Countess of Harewood to Dr Cook, circa 195060 who was her physician and lived on the estate.

Robert Adam Robert Adam was the pioneer of the classical revival in English interiors in the late 18th century with the introduction of neo-classical taste.

Adam spent three years in Rome between 1754 and 1757, where he collaborated with Piranesi and created extensive drawings that later inspired his English interiors.

Adam’s extensive collection of drawings and designs for interiors from his workshop are housed at the Soane Museum in London. There are over one hundred designs for chimneypieces not including the designs that are part of a larger interior scheme. These chimneypieces reflect some designs that were executed, but also represent those that were never created.

There are two designs in particular that bear an affinity to the present example. The first is an unexecuted design for a chimneypiece for a dressing room on the first floor for a Charles Rogers Esqr.

The second is another chimneypiece design for a drawing room from 1766 for Mr Macken/Mr Mackenzie Esq that was also not executed.

Harewood House Harewood House is home to the Lascelles Family, originally built between 1759 and 1771 by architects Robert Adam and John Carr for Edwin Lascelles, 1st Baron Harewood. Carr was responsible for the exterior architecture while Adam designed the interiors in the fashionable neo-classical taste.

Princess Mary married Viscount Lascelles on February 28, 1922 at Westminster Abbey. In the early years of their marriage, Princess Mary and Viscount Lascelles lived at Chesterfield House in London and Goldsborough Hall in Yorkshire with their two sons, George and Gerald. In 1929, Viscount Lascelles’ father died and he became the 6th Earl of Harewood, at which point the family moved to Harewood House.

Princess Mary, who was given the title Princess Royal, modernized the interiors in the 1930s to the designs of Sir Herbert Baker, a protégé of Edward Lutyens, executed by Brierley and Rutherford of York. In addition to designing a new private apartment for Princess Mary and modernizing the interior with additional bathrooms and central heating, Baker also redecorated most of the main rooms. Again, at this time, further of Adam and Chippendale’s original features were removed, stored, sold, and even destroyed.

Being made of pine, this chimneypiece would have been more economical than the grandest ones of the period that were made in marble.

The surface would have been gilded or painted to simulate stone During Princess Mary’s stay at Harewood House, Dr Henry Burness Cook took up residency at Harewood and served as one of the family’s doctors starting in the 1930s through to 1961.

Princess Mary had a fondness for Dr. Cook and in the 1950s she is understood to have gifted him this pine chimneypiece that was removed from the original Harewood House interiors after either Barry or Baker’s refurbishments. At that point the chimneypiece was stripped of its paint and installed in the Cook’s family house in the village of Harewood.

Height: 62½ in (158 cm) Width: 92¼ in (234.5 cm) Depth: 13 in (33 cm) H10.108

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" 1"*3 0' (&03(& *** (*-5800% "3.$)"*34 In the manner of Ince & Mayhew England, circa 1740 A magnificent pair of George III Robert Adam inspired neo-classical giltwood armchairs, possibly by Ince & Mayhew. The shield shaped giltwood framed backs are surmounted by tied ribbons, the serpentine seat frame with fluted frieze centred on a sunflower above fluted legs headed by paterae, the arms and back legs outswept, with exposed back uprights, cramp marks and pin-holes to the underside of the seat frames. Of very generous proportions, these chairs have been recently re-upholstered.

Height: 40¼ in (102 cm) Width: 25¼ in (64 cm) Depth: 23¼ in (59 cm) I06.73

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" (&03(& *** .")0("/: $"3% 5"#-& England, circa 1760 A superb quality George III mahogany serpentine card table, the rectangular moulded hinged top opening to reveal a green-baize playing surface, above a deep plain frieze on super blind-fret-carved chamfered legs, each with pierced fret brackets, and standing on block feet.

Of magnificent colour. The leading edge of the front legs beautifully inlaid.

Height: 30 in (75 cm) Width: 37 in (94 cm) Depth: 18Âź in (46 cm)

L03.15

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" (&03(& *** .")0("/: 1&%&45"- In the manner of William Vile England, circa 1765 A very fine George III mahogany pedestal in the manner of William Vile, with canted corners superbly carved with scrolls and trailing foliage with leaves and flowers; the front and sides with fielded panels of superbly figured mahogany of wonderful colour; the front incorporating a door opening to reveal a shelved interior above a pull out drawer fitted with a lead lined tray; with a later slate top.

Presumably intended for use in a dining room, this superb pedestal may well have been surmounted by an urn or a brass bound bucket; the lead lined lower drawer presumably intended to hold ice for use at the table.

A closely related pair of pedestals were sold, Property from a Private Collection, Sotheby's New York, 16 - 17 April 1993, lot 315.

Height: 31ž in (80.5 cm) Width: 18½ in (47 cm) Depth: 15ž in (40 cm) AD.14

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" (&03(& *** .")0("/: $&--"33&55& In the manner of Thomas Chippendale England, circa 1765 A very fine George III Chippendale period mahogany six bottle wine carrier or cellarette, in the manner of Thomas Chippendale, of excellent colour and patina throughout; with fluted canted corners; on a square-legged stand.

Provenance Private Collection, Scotland.

Private Collection, Litchfield Connecticut.

County,

Height: 26ž in (68 cm) Width: 19 in (48.3 cm) Depth: 15 in (38 cm) G12.120

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A GEORGE III MAHOGANY WINE COOLER In the manner of William Hallett England, circa 1760 Of octagonal canted corner form with twin brass-bandings and a moulded lip to the top, with brass carrying handles and fitted with a later removable brass liner, on a stop-fluted frieze stand, the moulded chanelled slightly splayed legs terminating in barrelled castors, and with pierced C-scroll brackets.

Provenance Almost certainly supplied to the 2nd Earl Poulett for Hinton House, Somerset.

With Norman Adams Ltd. London, 1969.

The 2nd Earl Poulett made alterations to Hinton House in the mid 18th century, most likely under the supervision of his architect Matthew Brettingham and refurbished the house in a grandeur befitting the family seat. He employed the most fashionable London cabinet-makers of the day, including Matthias Lock and William Hallett.

Unfortunately, the records are incomplete but attributions can be made on the basis of documented designs and similarities to known recorded pieces.

A very closely related wine cooler octagonal form, but with blind fret carving to the stand and legs, was sold at Christie’s London, 31 October 2012, lot 85. This may well have been the same one that was sold at Christie’s London by the Rt. Hon. The Earl of Shaftesbury on 23 June 1949, lot 84 for £126. In 1915, it was illustrated in Country Life in the Dining-Room at St. Giles’s House, Dorset. In the St Giles 1732-57 Household Account Book there is mention of: ‘Paid Mr Hallet for Mahogany Cisterns 5.15.0’.

This is undoubtedly the William Hallett (d. 1781) described by furniture historians, Ralph Edwards and Margaret Jourdain, as ‘probably the most fashionable cabinet-maker of George II’s reign’.

Hallett played a prominent role in the provision of fashionable ‘Modern’ furniture in mid-18th century London, as the time that Thomas Chippendale was establishing his St. Martin’s Lane workshops. From the 1730s, his name features at many significant houses including Holkham Hall and Uppark. At St. Giles, according to existing records, Hallett was the sole recorded London craftsman to receive significant payments from Anthony AshleyCooper, 4th Earl of Shaftesbury (d. 1771), supplying furnishings over a seven year period.

Pairs of related brass-bound wine coolers, although oval in shape, were supplied by Thomas Chippendale to the 5th Earl of Dumfries for Dumfries House in 1759 and 1763. A Chippendale connection to Hinton House was put forward by Constance Simon who stated that ‘documents have been preserved which prove the great cabinet-maker was present in person to supervise the work’ – this is further strengthened by the existence of the Lock drawings as Matthias Lock is reputed to have worked under Chippendale’s supervision.

Height: 22½ in (57 cm) Width: 25¼ in (64 cm) Depth: 17 in (43 cm) AD.27

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" (&03(& *** 4*/(-& %3"8&3 4*%& 5"#-& England, circa 1760 With a rectangular top above a frieze drawer with a single brass drop-ring pull-handle, on slender ring turned legs joined by a squareblock attached conforming stretchers, standing on elongated bulb feet.

An almost identical pair of mahogany side tables attributed to ‘The Dumfries House CabinetMaker’, possibly Thomas Chippendale, was supplied circa 1760 to Lord Dumfries. A further pair with subtle differences, also at Dumfries House, have been attributed to Alexander Peter on the basis of the white-painted numerals on the underside – these identification marks are found on pieces at Dumfries exclusively by or

attributed to Alexander Peter, and also run chronologically in line with the date of supply. A table of with related spindle legs at The Vyne, Hampshire was described in the 1776 inventory as a ‘spider leg’ table. A related table was sold Christie’s London, 11 November 1999 lot 293.

Similarly tables without the drawers were also made.

Height: 28 in (71 cm) Width: 26¼ in (66.5 cm) Depth: 16½ in (42 cm) AD.48

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" (&03(& *** .")0("/: 4*%&#0"3% England, circa 1770 A particularly fine and rare George III period mahogany side table of elegant small proportions. The serpentine cross-banded mahogany top of superb colour and patina, above three shaped drawers of equally finely figured mahogany and retaining lovely gilt-brass swan-neck handles, the whole standing on six exceptionally elegant and delicate inlaid tapered legs.

Height: 30¾ in (78 cm)

Height: 30¾ in (78 cm) Width: 43¼ in (107 cm) Depth: 23½ in (60 cm) K12.121

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" 1"*3 0' (&03(& *** (*-5800% 4*%& $)"*34 In the manner of Ince & Mayhew England, circa 1775 A very fine pair of George III neo-classical giltwood side chairs in the manner of Ince & Mayhew. With elegant upholstered shield backs and seats, the giltwood show frames finely carved to the back with acanthus leaf detailing, the seat frieze fluted with central paterae and further carved with flowers to the top of the fluted and collared legs, the back legs splayed, with exposed gilded back support, and cramp marks cut into the underside of the rails.

Height: 28 in (92 cm) Width: 26Ÿ in (55 cm) Depth: 16½ in (50 cm) AD.48

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" $)*11&/%"-& 3&7*7"- (*-5800% .*3303 England, circa 1850 A fine large mid-nineteenth century giltwood oval pier mirror after a design by Thomas Chippendale. The large shell motif at the crest and the double twisted rope border to the mirror plate are typically Irish features.

Height: 54½ in (138.5cm) Width: 34 in (86.5 cm) E10.99

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" (&03(& *** .")0("/: "3.$)"*3 In the manner of Thomas Chippendale England, circa 1760 A good George III mahogany Chippendale period armchair, the mahogany of fine colour throughout, the design of this chair is inspired by the drawings in Thomas Chippendale's Director; with a carved splat back above a drop in seat, the cushion with chinoiserie silk cover, standing on square legs joined by a H-stretcher.

Height: 37 in (94cm) Width: 25½ in (65 cm) Depth: 19ž in (50 cm) FB.04

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" (&03(& *** /&0 $-"44*$"- 4&37*/( 5"#-& In the manner of Thomas Chippendale England, circa 1780 A fine George III Adam period neo-classical mahogany serving table in the manner of Thomas Chippendale of very fine colour throughout, the later serpentine fronted top above a fluted frieze apron with a central carved urn and scrolled acanthus leaf decorated plaque, the legs stop fluted and surmounted with beautifully carved paterae, the front legs set on the canted angle.

Height: 34ž in (88.5 cm) Width: 66 in (167.5 cm) Depth: 27½ in (70 cm) AD.40

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A PAIR OF GEORGE III GILTWOOD MIRRORS In the manner of Thomas Chippendale England, circa 1765 A very fine and rare pair of George III giltwood oval mirrors, in the manner of Thomas Chippendale, of particularly accomplished drawing and proportion, the frames superbly carved throughout with borders of foliage and floral entwined C-scrolls, the base of each with a carved sheep and lamb within a C-scroll cartouche, the top of each mounted with a superbly carved ho-ho bird.

Height: 34ž in (157 cm) Width: 66 in (167.5 cm) Depth: 27½ in (70 cm) AD.40

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A GEORGE III MAHOGANY CARD TABLE England, circa 1780 A very fine George III Hepplewhite period mahogany and satinwood banded serpentine card table, the well figured serpentine fronted and moulded top with satinwood banding, ebony line inlaid edge and retaining excellent colour and patina, the top opens to reveal a baize covered playing surface, below with a serpentine frieze veneered with striking flame mahogany and to each front corner a carved leaf paterae, the table is supported by four turned tapering stop-fluted legs, with lower ring-turning and leaf carved bulbous foot.

Height: 28Ÿ in (72 cm) Width: 36ž in (93 cm) Depth: 17 in (43 cm) J06.82

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A MAHOGANY FRAMED POLESCREEN In the manner of Thomas Chippendale England, circa 1765 The rectangular mahogany framed screen enclosing to the front a panel of 18th century Chinese wallpaper, the reverse now fitted with French silk, the whole supported on a pole surmounted by a turned and gadrooned finial, on a very finely turned and carved tripod base with exaggerated scroll legs terminating in fine scroll and block feet.

Following designs by Thomas Chippendale for fire screens that can be seen in plates CLVI and CLVII of the Director, this sophisticated pole screen relates to examples known to have been supplied by Thomas Chippendale to Edwin Lascelles for Harewood House for William, 5th Earl of Dumfries for Dumfries House and for the Tapestry Room at Newby Hall. The tripod base of the stand also relates closely to that of a pair

of candlestands supplied to Ninian Home for Paxton House, Berwick and to the bases of the hexagonal topped tea or work tables supplied to both Harewood and 19 Arlington Street. The elegant overall restraint of the design together with the scroll toe of the feet designed in the “modern” French taste follows the growing movement and taste for neo-classicism of the period – away from the exhuberance of the Rococo and chinoiserie fashions that preceded it.

Height: 60 in (152.5 cm) Width of screen: 21 ½ in (54.5 cm) Height of screen: 23 in (58.5 cm) AD.46

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A MAHOGANY CASKET-FORM TEA CHEST In the manner of Thomas Chippendale England, circa 1760 A fine George III period mahogany casket-form tea caddy, with lid opening to reveal a typical compartmentalised interior, standing on bracket feet, with carved detail framing both the lid and the plinth, with foliate and rocaille-decorated gilt brass carrying handle and escutcheon.

Width: 10¼ in (26 cm) Height: 7½ in (19 cm) Depth: 6 in (15 cm) AD.32

A MAHOGANY CASKET-FORM TEA CHEST In the manner of Thomas Chippendale England, circa 1760 A fine George III period mahogany casket-form tea caddy, with lid opening to reveal a typical fitted interior, standing on shaped ogee feet, with foliate and rocaille-decorated gilt brass carrying handle and escutcheon.

Height: 6¼ in (16 cm) Width: 10 in (25 cm) Depth: 5½ in (14 cm)

The following two tea chests reflect the influence of Thomas Chippendale. In his 1764 publication, The Gentleman and Cabinet Maker’s Director, Chippendale produced a plate CLIX entitled ‘Six Designs for Tea Chests.’

Taking tea in the 18th century was a ritual and social occasion – both tea and sugar, imported into England, were very expensive and so deserved to be kept not only under lock and key, but also in highly decorative caskets which could be produced at tea, and from which the tea could be dispensed. Tea chests often housed two different types of tea, and also either a container for sugar, or a cut-glass mixing bowl with which to mix the tea varieties before serving. The plainer chests were simply fitted with lead-lined caddy-boxes, the more luxurious with elaborate and extremely costly engraved

silver caddies. Tea chests were made in all sorts of precious materials including ivory, shagreen, porcelain and tortoiseshell.

AD.31

Tea chests in either plain or carved mahogany, in particular in casket form, would have been typical of Thomas Chippendale’s work in providing fashionable high quality accessories to his clients. He is believed to have supplied a fine pair of tea-caddies to Lord Dumfries for Dumfries House.

In both of the following tea caddies, inspiration for the handle on can be clearly seen in the Director plate CXCIV–and also in ‘Designs of Handles for Brass Work’ (plate CXCIX).

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A GEORGE III MAHOGANY PEMBROKE TABLE In the manner of George Hepplewhite England, circa 1780 A very fine George III period mahogany Pembroke table, the oval mahogany top beautifully inlaid to the centre with a patera and central conch shell detailed with pen and ink, with satinwood cross-banding further entwined inlay of entwined foliage and berries running around the edge, with a single mahogany crossbanded frieze drawer, standing on dedicate square stop-fluted tapering legs, headed by inlaid paterae, on castors. Of beautiful colour and patina throughout. Retaining original gilt brass handles and castors.

Pembroke table is its inclusion of the marquetry conch shell within the central patera. The incorporation of shells into art is a longstanding tradition dating back to the Greco-Roman times.

For both the Greeks and the Romans, the shell was associated with Aphrodite and Venus, respectively, the goddess of love and beauty, and the shell became a symbol of fertility. By the Renaissance period, exotic shells were highly valued objects of beauty and rarity that would be displayed in Kunstkammers and other Wonder rooms.

George Hepplewhite (c. 1727-d. 1786) Along with Thomas Chippendale and Thomas Sheraton, George Hepplewhite was one of the preeminent cabinetmakers in England of the late 18th century.

Very little is known about Hepplewhite’s life, as Joseph Aronson rather amusingly points out in the introduction to his publication on Hepplewhite where he writes 'The sole documented fact presently know about George Hepplewhite is that he died.' We now know that Hepplewhite ran a workshop in London in the parish of St. Giles, Cripplegate.

The Rococo tradition in France in the early 18th century derived its name from the word rocaille, or rock, and coquille, or shell. The natural beauty of the shell's form inspired designs based on its inherent curivilinear lines. In Georgian decoration, the conch shell appears in the second half of the eighteenth century in a variety of forms, including as inlaid decoration on tea chests, serving trays and, as in our present example, tables.

Hepplewhite’s work reflects the inspiration of the neo-classical style of Robert Adam while also incorporating a number of French stylistic traits with the use of elegant silhouettes and slender lines. Hepplewhite’s furniture often showcases the natural figuring of the woods he used as a stand-alone decorative feature, frequently with elegant marquetry inlay. Our Pembroke table exemplifies that style with the presence of the highly figured flame mahogany veneer accented by the central cartouche and the delicate inlay around the edge.

After Hepplewhite died in 1787 his widow, Alice, continued the business and went on to publish the Cabinet Maker and Upholsterers Guide in 1788 with over 300 of his designs that epitomized his style of light ornamentation and simple, refined silhouettes. Plates 62 and 63 from this publication illustrate very similar tables.

Conch Shell One of the most attractive features of this

Pembroke Table The Pembroke table is a versatile design with its distinctive drop-leaves and smaller proportions.

Although unlikely, it has been suggested that the origin of the design dates back to Mary Herbert, Countess of Pembroke (1561-1621) who allegedly ordered a table in this style. It is more likely that 9th Earl of Pembroke, Henry Herbert (1693-1751), is responsible for, or at least associated with, the origin of this design as he was a notable architect and designer in his own right.

The versatility of the form made it a highly popular item in the 18th century home as it could be used for writing, dining, serving tea, or at bedsides. When not in use, the tables could be discreetly tucked away.

Height: 28½ in (72.5 cm) Width: 19¼ in (49 cm) Depth: 30 in (76 cm) AD.06

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" (&03(& *** .")0("/: $)&45 0' %3"8&34 England, circa 1760 A fine George III Chippendale period mahogany chest of drawers of outstanding colour and patina, with moulded top above two short drawers and then three graduated long drawers, with box wood stringing, original handles and standing on shaped bracket feet, the escutcheons charmingly inlaid with contrasting fruitwood.

A very elegant and simple chest of drawers made wonderful by its extraordinary colour - of very pleasing proportion, it stands very well and is very practical with ample storage. Ideal for a bedroom, dressing-room or in a hallway.

Height: 38½ in (98 cm) Width: 40 in (101.5 cm) Depth: 21 in (53 cm) J08.102

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" (&03(& *** #65-&3`4 53": 0/ 45"/% In the manner of Thomas Chippendale England, circa 1770 The oval tray with extending hinges sides with integral handles, on a mahogany x-frame stand.

Related trays with carrying handles, but with fixed sides, were supplied by both Thomas Chippendale and Alexander Peter to the 5th Earl of Dumfries for Dumfries House. On the 31 May 1760, Peter invoiced ‘To 5 Mahogany choiced bottle boards 1s E’. On the 4 March 1763, Chippendale & Rannie included in their bill: ‘6 neat mahog.y Bottle boards with brass rims…9s’.

Lots 67 and 68 in the Dumfries House Sale show two almost identical trays with hinged sides – these are possibly the ‘2 large mahogany Butler’s Trays, £1.3-‘ supplied by Thomas Chippendale on 4 March 1763..

Height: 32½ in (83 cm) Width: 38¼ in (97 cm) Depth: 33 in (84 cm) AD.45

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" (&03(& *** .")0("/: 53": 5"#-& In the manner of Thomas Chippendale England, circa 1770 A finely figured oval mahogany tray with deep side and turned scroll carrying handles, the mahogany sides with two brass bands running around the circumference, sitting on a later stand with square chamfered legs.

Thomas Chippendale is known to have supplied practical mahogany oval trays to his clients including one to the Earl of Dumfries, for Dumfries House, which has been identified by Christopher Gilbert as ‘To a large mahogany comp Tea Tray wt a neat cut trim 1.16’ supplied on 4 March 1763.

The distinctive deep sides and bold scrolled carrying handles of this tray relate closely to drawings in plate XV of Ince and Mayhew’s 1762 Universal System of Household Furniture.

Height: 21¼ in (54 cm) Width: 25½ in (65 cm) Depth: 17¾ in (45 cm) AD.44

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A MAHOGANY STOOL IN THE GEORGE II STYLE In the manner of Thomas Chippendale England, circa 1900 A fine large scale carved mahogany stool in the George II style, the rectangular padded seat above acanthus scroll and flowerhead carved seat rail on cabochon and acanthus carved cabriole legs and leaf scrolled feet.

Height: 18½ in (47 cm) Width: 26¾ in (68 cm) Depth: 7½ in (19 cm) G03.19

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A GEORGE III MAHOGANY WING CHAIR In the manner of Thomas Chippendale England, circa 1760 A fine George III Chippendale period mahogany wing chair of elegant design and fine proportions, standing on square chamfered moulded legs, with a cross stretcher, and castors. The mahogany of lovely colour.

Upholstered in yellow silk.

Height: 43¾ in (111 cm) Width: 32¼ in (82 cm) Depth: 27¼ in (69 cm) K01.02

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A GEORGE III MAHOGANY TRIPOD TABLE England, circa 1760 A good George III mahogany Chippendale period tripod table, the plain edge circular top sitting on a superbly proportioned turned baluster vase stem with three exaggerated cabriole legs terminating in pad feet with castors. A very elegant table. The mahogany a lovely colour.

Height: 28ž in (73 cm) L04.28

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A PAIR OF GEORGE III GILTWOOD ARMCHAIRS Attributed to Gillows of Lancaster & London England, circa 1780 A very fine and elegant pair of George III period giltwood armchairs, in the neo-classical taste, attributed to Gillows of Lancaster & London. The giltwood shield shaped upholstered back with serpentine fronted upholstered seat and armrests, the giltwood seat frame fluted, the arms beautifully carved with acanthus leaves and the tapered fluted and collared legs surmounted with carved paterae. The rear legs outswept and similarly fluted. A beautiful pair of chairs of superb quality. Recently reupholstered.

These chairs relate very closely to a design in the Gillows Estimate Sketch Book for a set of chairs made for Robert Peel in October 1786.

They also relate closely to set of chairs, also attributed to Gillows, supplied to and formerly in the collections of William Wyndham Grenville,

1st Baron Grenville (1759- 1834) for Dropmore, Buckinghamshire. Dropmore was built in 1795 and designed by the architects Samuel Wyatt (1737-1807) and Charles Heathcote Tatham (1772 - 1842). Although the records for the furnishings of Dropmore are non extant, it is known that Grenville was a client of Gillows as his name appears in the Gillows Estimate Sketch Books for 1796. Added to this the strong connection between Wyatt and the Gillows firm, it would seem likely that the firm would have been involved in the furnishings of Dropmore.

Height: 38¼ in (97 cm) Width: 24½ in (62 cm) Depth: 20¾ in (53 cm) K11.102

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