Mackinnon Fine Furniture Catalogue I

MACKINNON FINE FURNITURE

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MACKINNON FINE FURNITURE

Mackinnon Fine Furniture 5 Ryder Street St James's London SW1Y 6PY

Telephone: +44 (0)20 7839 5671 | Mobile: +44 (0)7725 332 665 | Email: charlie@mackinnonfineart.com

www.mackinnonfineart.com

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INTRODUCTION We are delighted to present our first printed catalogue highlighting a selection of the fine English antique furniture currently available in our collection. The pieces range predominantly from the late seventeenth century and the reign of William & Mary through to the early nineteenth century Regency period. The names of some of the most celebrated eighteenth century English craftsmen, including James Moore, Gerrit Jensen, John Cobb, Thomas Sheraton, George Hepplewhite and, of course, Thomas Chippendale can be found in the following pages.

The pieces in this catalogue have all been chosen for their individual attributes that make English antique furniture so inherently interesting and appealing. In particular, we have concentrated on provenance and attribution, as well as fantastic decoration, design, colour, and patina. These are the characteristics that bring antiques to life and that make them a timeless addition for any interior, old or new.

We have been very encouraged with growing levels of interest once again and we hope that you will enjoy browsing through this catalogue. You are welcome to come and see any of the pieces in person in our St. James’s gallery in London. In the meantime, please do not hesitate to get in contact with us, should you require any further information at all.

Charlie Mackinnon Mackinnon Fine Furniture

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MACKINNON FINE FURNITURE

A PAIR OF GEORGE I GREEN JAPANNED SIDE CHAIRS In the manner of Giles Grendey England, circa 1725

A very fine pair of George I green japanned and gilt chinoiserie decorated side chairs in the manner of Giles Grendey. The caned high backs surmounted with a gilded cresting, the moulded square seats also caned, standing on cabriole legs to the front and raked rear legs, all joined by a turned and moulded shaped stretcher, with stylised transitional feet combining both the pad and the claw and ball designs. Each chair fantastically decorated with gilt chinoiseries throughout on a green background.

The seats now with yellow silk squab cushions.

Width 23 in (58.5 cm) Depth 21 in (53.0 cm) Height: 46½ in (118.0 cm)

Giles Grendey Giles Grendey (1693-1780) was a leading London cabinet-maker, born in Wooton-under-Edge in Gloucestershire, and was apprenticed 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, moving to St. John’s Square, Clerkenwell in 1772 where he developed a thriving export trade. His labels advertised that he ‘makes and sells all sorts of cabinet goods, chairs, and glasses.’ It was reported in various newspapers on August 7, 1731, including the Daily Post and Daily Advertiser, that a fire which started on adjacent premises to Mr Grendey ‘a Cabinet-maker and Chairmaker’ caused him to lose furniture to the value of £1,000, which he ‘had packed for Exportation against the next morning.’

Throughout his career, Grendey provided furniture for Sir Jacob de Bouverie at Longford Castle, Lord Scarsdale at Kedleston Hall, and Henry Hoare at Stourhead. His most famous recorded commission came from the Duke of Infantado, Lazcano, northern Spain, who acquired from Grendey a suite of some seventy pieces of scarlet japanned furniture, which included cabinets, tables, torcheres, mirrors and chairs.

Grendey’s daughter Sukey married John Cobb, a cabinet-maker who partnered with William Vile and also served as a cabinetmaker for George III.

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Comparative Literature R. W. Symonds, ‘Giles Grendey (1693-1780) and the Export Trade of English Furniture to Spain,’ Apollo, 1935, pp. 337-342.

R. W. Symonds, ‘In Search of Giles Grendey,’ Country Life, 1951, pp. 1792-1794.

C. Gilbert, ‘Furniture by Giles Grendey for the Spanish Trade,’ The Magazine Antiques, April 1971, pp. 544-550.

S. Jervis, ‘A Great dealer in the Cabinet Way: Giles Grendey (1693-1780),’ Country Life, 1974, pp. 1418-1419.

C. Gilbert, The Pictorial Dictionary of Marked London Furniture 1700-1840, Leeds, 1996, pp. 31-32 & figs. 442-451.

L. Synge, Mallett Millennium, 1999, London, p. 85, pl. 82.

A. Bowett, Early Georgian Furniture, 2009, p. 158, pl. 4:29.

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MACKINNON FINE FURNITURE

A GEORGE III KINGWOOD AND ORMOLU MOUNTED COMMODE Attributed to Henry Hill of Marlborough England, circa 1765

A magnificent George III sabicu and kingwood ormolu mounted serpentine commode, in the French taste, attributed to Henry Hill of Marlborough. The serpentine top cross-banded with kingwood and a kingwood moulded border frame around central panels of book-matched sabicu veneers above three graduated serpentine drawers similarly veneered in sabicu with kingwood detailing and cross-banding, each drawer with its original ormolu foliate handles, the leading corners of the commode similarly mounted in outstanding ormolu corner mounts leading down to scrolls on the outswept feet.

Of superb colour throughout.

Height: 34½ in (88 cm) Width: 57 in (145 cm) Depth: 24 in (61 cm)

Comparative Literature L. Wood, ‘Furniture for Lord Delaval: Metropolitan and Provincial,’ Furniture History, vol. 26 (1990), pp. 198-234.

Henry Hill of Marlborough Henry Hill, based in Marlborough, was one of the predominant cabinetmakers of his day. In addition to cabinetmaking and furnishing, Hill offered a wide range of services including as a coachmaker, estate agent, and auctioneer. He enjoyed success in his career and one of Hill’s most prominent clients was Sir John Delaval of Doddington in Lincolnshire as well as at Ford Castle and Seaton Delaval in Northumberland. Hill is also known to have supplied items for Paul Methuen of Corsham Court and the Duke of Somerset at Maiden Bradley.

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A GEORGE II BURR WALNUT AND PARCEL GILT MIRROR England, circa 1730

A magnificent and very rare George II parcel gilt and burr walnut architectural pier mirror. The rectangular bevelled plate within a moulded-edge and paneled burr walnut frame, the inner edge decorated with delicate gilt gesso strap work decoration, the gilded swan-neck cornice with broken pediment, cartouche and egg-and-dart moulding, the sides with gilded scroll highlights, the shaped base with a beautifully moulded lower edge.

The walnut of outstanding colour and figuring.

Height: 64½ in (164 cm) Width: 28ž in (73 cm)

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Provenance With Mallett & Son (Antiques) Ltd.

The use of the highly figured burr walnut veneers together with the gilt detailing relates to the magnificent suite of seat furniture supplied by the Roberts family for Sir Robert Walpole (16761745), later 1st Earl of Oxford, at Houghton Hall.

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A GEORGE II WALNUT SIDE CHAIR In the manner of Giles Grendey England, circa 1730

A very fine George II carved walnut side chair in the manner of Giles Grendey. The seat and back upholstered in very fine French eighteenth century needlepoint which is in excellent condition and still retains very strong colours. The chair standing on four very fine carved legs, of cabriole form to the front and outswept to the rear, each terminating in animal paw feet.

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Beautifully carved detail and a lovely colour walnut.

Height: 40 in (51 cm) Width: 27 in (68.5 cm) Depth: 30 in (76 cm)

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MACKINNON FINE FURNITURE

A GEORGE II WALNUT MANTEL CLOCK

By John Ellicott England, circa 1750

A superb George II burr walnut mantel clock, with pull quarter repeat, by the celebrated leading clock-maker John Ellicott. The case with foliate cast brass handle to the inverted bell top, glazed sides, fluted canted angles, the moulded double-footed base on block feet, break arch dial signed Jno: Ellicott London on a silvered oval disc above the mock pendulum aperture in the matted centre, silvered chapter ring with lozenge half-hour markers and pierced blued steel hands, mask-and-foliate spandrels, silvered calendar ring in the arch, the movement with five substantial pillars, single chain fusee and spring barrel, knife-edge verge escapement, pull quarter repeat on six bells with hour strike on a further larger bell, the foliate engraved backplate signed John Ellicott London in the centre within a foliate cartouche surmounted by flowers.

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The attractive burr walnut case of exceptional colour and patina.

Height: 19 in (48 cm) Width: 12½ in (32 cm) Depth: 8Ÿ in (21 cm)

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A JAPANESE BLACK AND GILT LACQUER CABINET ON STAND Japan, circa 1720

An exceptional Japanese Edo period black and gilt lacquer cabinet on stand. Beautifully decorated throughout, including the top, with mountainous landscape scenes, with a pair of doors with copper engraved mounts, hinges, and lock-plates opening to reveal ten drawers of varying sizes similarly decorated with foliage, the inside of the doors decorated with birds and flowers within a nashiji border, the sides of the cabinet decorated with foliage and copper carrying handles. The cabinet now on a modern gilt stand.

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Height: 63¾ in (162 cm) Width: 40¼ in (102 cm) Depth: 21¼ in (54 cm)

Provenance A Private Aristocratic Collection, Scotland

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A PAIR OF GEORGE III GILTWOOD ARMCHAIRS In the manner of Ince & Mayhew England, circa 1770

A magnificent pair of George III period giltwood armchairs in the neo-classical taste, possibly by Ince & Mayhew and inspired by the designs of Robert Adam. The shield-shaped giltwoodframed backs 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 giltwood back upright supports. Of very generous proportions.

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The underside of the seat rails with cramp marks and pin-holes.

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

Provenance With Partridge Fine Arts, New Bond Street, 1980s

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MACKINNON FINE FURNITURE

A WILLIAM AND MARY WALNUT MARQUETRY MIRROR In the manner of Gerrit Jensen Anglo-Dutch, circa 1680

An outstanding and very rare large scale William and Mary walnut and fruitwood marquetry wall mirror with elaborate shaped cresting in the manner of Gerrit Jensen. The rectangular mirror plate within a cushion-moulded border exquisitely inlaid with trailing flowerheads, foliage and scrolling arabesques, with bone-inlaid highlighted floral details.

Of magnificent large size.

Height: 64½ in (164 cm) Width: 41 in (104 cm)

Provenance With Asprey & Co., London, November 1977 An Important Private Collection, Switzerland

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Literature Apollo, November 1977.

Comparative Literature R. Baarsen, ‘Seventeeth-Century European Cabinet-Making at Ham House,’ Ham House: 400 Years of Collecting and Patronage, Yale University Press, 2013, p. 202, fig. 195-196.

A related mirror, circa 1675, with similar floral marquetry and of virtually identical dimensions was in the collection of the 1st Duke and Duchess of Lauderdale, at Ham House, Surrey. The Ham House mirror has recently been attributed to Gerrit Jensen (d. 1715), who was Dutch by birth but worked for the English Royal Family and nobility. The similarity of the present mirror to the Ham House mirror, described as English, demonstrates the close affinity and cross-over between English and Dutch furniture of this period.

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A WILLIAM AND MARY WALNUT WING CHAIR England, circa 1690

A very fine William and Mary walnut wing armchair of lovely colour. With outscrolled arms and baluster front legs joined by a stretcher, upholstered in magnificent nineteenth century Genoese green and gold cut-velvet, with restorations.

Provenance The collection of Irwin Untermyer By whom bequested to The Metropolitan Museum of Art, New York, 1964 The Metropolitan Museum of Art, New York Literature Y. Hackenbroch, English Furniture with Some Furniture from Other Countries in the Irwin Untermyer Collection, Cambridge, Massachusetts, 1958, pl. 46, fig. 69.

Height: 54 in (137.2 cm) Width: 34 in (86.4 cm) Depth: 28 in (71.1 cm)

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A QUEEN ANNE BURR YEW CHEST OF DRAWERS England, circa 1700

A rare Queen Anne burr yew chest of drawers of superb depth of colour and with untouched patination. The quarter-veneered top offset by walnut feather-banding, the drawers likewise feather-banded and with book-matched veneers to the ends.

Original engraved handles and escutcheons.

Width: 38 in (96.5 cm) Height: 35½ in (90 cm) Depth: 22½ in (57 cm)

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A PAIR OF MOTHER-OF-PEARL BOXES AND COVERS China, circa 1860

An exceptional pair of mid-nineteenth century Chinese Qing Dynasty mother-of-pearl and ivory inlaid boxes and covers in the form of seated chickens. Each with an internally fitted tray, with superbly detailed carving and of magnificent quality, resting on their own carved and fitted hardwood bases. The beak, comb and feet modelled in ivory. Of good size.

Height: 4 in (10 cm) Width: 6 in (15.5 cm) Depth: 4Âź in (10 cm)

Provenance The collection of Luigi Anton Laura With Pelham Galleries, London & Paris

Comparative Literature A related pair of quail was exhibited and published in Mother of Pearl: A Tradition in Asian Lacquer, Metropolitan Museum of Art, New York, 2 December 2006-1 April 2007, p. 69. no. 29-30.

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A PAIR OF GEORGE III MAHOGANY CARD TABLES England, circa 1780

A fine pair of George III period mahogany D-shaped card tables. Each with satinwood crossbanded foldover tops, enclosing a green baize playing surface, on square tapering legs.

The mahogany of particularly fine colour throughout.

Height: 29¼ in (74 cm) Width: 36¼ in (92 cm) Depth: 17¼ in (43.5 cm)

Provenance With Mallett & Son (Antiques) Ltd.

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A SET OF FOUR GEORGE III MAHOGANY ARMCHAIRS Attributed to John Cobb England, circa 1770

An exceptional set of four George III armchairs in the French Hepplewhite taste. The mahogany show frames of exceptional depth of colour and magnificently carved throughout with gadrooned detail. With silk upholstered back seats and armrests.

Standing on four elegant cabriole legs carved to the knees with cabochon framed with acanthus leaves, similarly gadrooned terminating in French scrolled toes.

Height: 36 in (91.5 cm) Width: 24 in (61 cm) Depth: 21 in (53 cm)

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Provenance With Mallett & Son (Antiques) Ltd. The Grosvenor House Fair, 1997 (illustrated p. 136) Private Collection, England

Literature L. Synge, Great English Furniture, p. 127, fig. 144 illustrates one of the chairs.

D. Nickerson, English Furniture of the Eighteenth Century: Pleasures and Treasures, London, 1963 p. 80, pl. 83.

In the 1770s, John Cobb supplied a set of six of these chairs together with a matching settee to Philip Yorke for Erdigg, near Wrexham.

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A PAIR OF GEORGE I GILTWOOD TORCHERES In the manner of James Moore England, circa 1715

A magnificent pair of George I giltwood torcheres in the manner of James Moore. Each with a circular dished top with tapering acanthus wrapped underside above a paneled faceted shaft exquisitely carved with foliage, strapwork and husk swags on a double-scrolled tripartite base.

Height: 39½ in (100 cm) Diameter of top: 12 in (31 cm)

Provenance The private collection of Moss Harris

This pair of torcheres would have formed part of an early eighteenth century pier set supplied en suite with a table and mirror by an accomplished cabinet-maker such as James Moore (d. 1726). The design for these torcheres, which would have been used to support either vases or candelabra, was first introduced at the French court in the late seventeenth century and then popularized by William III’s ‘architect’ and ornamentalist Daniel Marot (d. 1752) in his Oeuvres, 1703.

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These torcheres have marked affinities with a torchere in the Royal Collection at Hampton Court supplied by James Moore, circa 1710-15 (R. Edwards and M. Jourdain, Georgian CabinetMakers, London, 1955, p.135, fig. 30). A virtually identical pair of torcheres attributed to James Moore, but with associated plinths, were sold anonymously Sotheby’s London, 5 July 1996, lot 16.

James Moore specialized in finely carved gilt-gesso work embellished with strapwork and scrolling foliage in a rich baroque manner. Little is known of Moore’s early life and apprenticeship.

However, from 1714 he worked in partnership with London’s most prominent glass-maker John Gumley, and in 1715 they succeeded Gerrit Jensen as Royal cabinet-makers. Aside from his Royal commission with Gumley, Moore was also independently employed by Sarah, Duchess of Marlborough, eventually supervising the building work at Blenheim Palace after Vanbrugh’s dismissal in 1716. She later referred to Moore as her ‘Oracle.’

Moore’s other distinguished private clients included the Earl of Burlington and the Duke of Montagu at Boughton House.

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A GEORGE I GILT GESSO CARD TABLE In the manner of James Moore England, circa 1725

An exceptional and very rare George I gilt gesso concertinaaction card table. The shaped fold-over top decorated throughout with deeply carved scrolling foliage centred by a raised flower head on a pounced ground, the top opening to reveal a silk velvet lined playing surface with counter wells and candle stands, the whole standing on slightly cabriole legs terminating in claw and ball feet.

Gilt-gesso games tables are extremely rare

Height: 29 in (74 cm) Width: 33¾ in (86 cm) Depth: 16½ in (42 cm)

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Comparative Literature Only a few other examples are known: 1. L. Synge, Mallett Millenium, London, 1999, p. 145, pl. 164 .

2. The Collection of the Metropolitan Museum, New York (reputedly from Highclere Castle) D.O. Kisluk-Grosheide, W. Koeppe and W. Rieder, European Furniture in the Metropolitan Museum of Art – Highlights of the Collection, Yale University Press, 2006.

3. Highly Important Chinese Porcelain and French Furniture – Property of Winston Guest, Parke-Bernet Galleries Inc., New York, 2 December 1967, lot 148.

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A GEORGE I BURR WALNUT CABINET ON CHEST England, circa 1715

A magnificent George I period burr walnut and walnut cabineton-chest of exceptional quality with the walnut throughout being of the most wonderful colour and patina. The lower section, standing on bracket feet, has two short drawers over three long graduated oak-lined drawers each herringbone inlaid and with original brass handles of a very rare form. The upper section with a cornice and two paneled doors of magnificent walnut similarly inlaid with herringbone detailing, the doors opening to reveal a series of drawers around a central cupboard, each drawer beautifully veneered once more in superb walnut, the central cupboard door again opening to reveal a further series of sunken drawers behind which is hidden a secret compartment.

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An outstanding piece of early Georgian furniture.

Height: 79½ in (202 cm) Width: 40½ in (103 cm) Depth: 22½ in (57 cm)

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A GEORGE III GILTWOOD MIRROR In the manner of John Cobb England, circa 1775

A very fine George III giltwood mirror in the manner of John Cobb. The rectangular plate with a moulded gilt border with rocaille decoration at the base corners and stylised acanthus on the top corners, the glass flanked by extremely elegant elongated C scrolls of a particularly light and airy design. The sides further decorated with scrolling foliage and carved flowers. The top of the mirror surmounted by a magnificent carved anthemion with trailing harebells. Restoration and replacements to carved decoration.

Height: 78¾ in (200 cm) Width: 37½ in (95 cm)

Provenance The collection of Lady Nutting, Chicheley Hall, Buckinghamshire

The mirror closely relates to the work of the cabinetmaker John Cobb who worked in partnership with William Vile. Together they undertook a number of important commissions as Royal cabinet-makers on behalf of King George III and Queen Charlotte. Cobb’s work epitomized the neo-classical taste for restrained silhouettes, while he also incorporated decorative embellishments in the form of C-scrolls, acanthus leaves, and other classic design elements that created a remarkably light and delicate effect to the overall appearance of his work. The lightness is apparent in the use of the elongated C-scrolls framing this simple rectangular mirror plate. The unusual presence of the hanging acanthus decoration is repeated in a pair of giltwood pier glasses likely supplied by Cobb to John, 2nd Baron Monson for Broxbournebury, Hertfordshire. This pair of mirror similarly features a rectangular mirror plate embellished with elongated, stylised C-scrolls.

This mirror also bears comparison to the work of William France and John Bradburn, who in turn carried out work for Cobb and Vile. Like their employers, France and Bradburn were highly successful in their own right with a number of prominent patrons, including Sir Lawrence Dundas at 19 Arlington St and Moor Park, the 6th Earl of Coventry at Croome Court, the 1st Duke of Northumberland at Syon House, and the 1st Earl of Mansfield at Kenwood House. The distinctive use of the elegantly formed anthemion crowning the mirror is similar to the motif used on the pair of substantial girandoles created for Sir Lawrence Dundas at 19 Arlington Street.

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A SET OF FOUR GEORGE III MAHOGANY ARMCHAIRS Attributed to Gillows of Lancaster & London England, circa 1790

An exceptional set of four George III carved mahogany armchairs attributed to Gillows of Lancaster & London. The magnificent shield back splats carved with wheatsheaf motifs, paterae and leaves, the exquisitely shaped moulded arms on scroll supports, with an upholstered seat, all on square tapering legs and spade feet. One chair stamped ‘RE.’ A superbly fluid design and exceptional craftsmanship with excellent carved detail and fine colour throughout.

Height: 38½ in (97.5 cm) Width: 23½ in (60 cm) Depth: 19¼ in (49 cm)

Provenance With Norman Adams Ltd., Knightsbridge, 1990s Private Collection, England

Comparative Literature Sotheby’s London, Mallett at Bourdon House, 9 March 2007, lot 565 (a single example).

L. Synge, Great English Furniture, 1991, p. 126, fig. 143 (a pair).

C. Claxton Stevens, ‘A group of Seat Furniture stamped RE,’ The Journal of the Regional Furniture Society, Vol. XII, 1998, pp. 156-159.

These chairs contain elements from a series of design drawings from Gillows’ Estimate Sketch Book, illustrated in L. Boynton, Gillow Furniture Designs 1760-1800, pl. 272-275, which suggest that they may be made by that firm.

A chair from a suite of almost identical design, formerly in the collection of the Harvey family at Ickwell Bury, Bedfordshire is illustrated in Christopher Claxton Stevens and Stewart Whittington, 18th Century English Furniture, The Norman Adams Collection, London, 1983, p. 82. The Harvey suite is also known to have been stamped ‘RE’. One possible explanation for the stamp, which provides a link with the Gillows firm, suggested

by Christopher Claxton Stevens is that it may refer to Richard or Robert Edmudsen (or Edmonson). Edmonson’s was a Liverpool cabinet-making firm which started in 1781. Richard and Robert are both recorded as freemen of Lancaster and are known to have worked for Gillows on a number of occasions.

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A GEORGE I BURR WALNUT BACHELORS CHEST England, circa 1720

An exceptional George I period burr walnut bachelors chest, of magnificent colour and patina. The top quarter-veneered, crossbanded, and with herringbone inlay, folding over to reveal a finely veneered interior surface, above two short and three graduated long drawers, standing on shaped bracket feet, retaining period brass handles and escutcheons. A wonderful example, of excellent proportions.

Height: 31¾ in (80.5 cm) Width: 30½ in (77.5 cm) Depth: 15½ in (39 cm)

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A PAIR OF GEORGE III MAHOGANY GAINSBOROUGH CHAIRS In the manner of Ince & Mayhew England, circa 1765

A particularly fine pair of George III mahogany Gainsborough library armchairs of excellent proportion and generous in size, in the manner of Ince & Mayhew. Each chair with an arched, padded and upholstered back with shaped upholstered arms and with carved mahogany beaded down-curved supports above a similarly padded and upholstered serpentine fronted seat, standing on square channeled and similarly beaded front legs, with splayed back legs, all joined by H-stretcher, and terminating in castors. The mahogany arms with carved roundels to the hand rests. Of very fine colour throughout.

Height: 41 in (104 cm) Width: 28½ in (72 cm) Depth: 32Ÿ in (82 cm)

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A GEORGE III MAHOGANY SERVING TABLE In the manner of Ince & Mayhew England, circa 1770

A very fine George III Chippendale period mahogany side or serving table, in the manner of Ince & Mayhew. The frieze with intricate blind fretwork detailing to the front and sides, the table supported by chamfered legs with further blind fret detailing also incorporating a bell to the front and sides, each ending with a moulded block foot, the legs are linked to the frieze with distinctive C-scroll brackets at the hips.

Of magnificent colour and patina throughout, the rectangular top with well figured veneers and flame veneered edging.

Height: 32¼ in (82cm) Width: 51½ in (130.5 cm) Depth: 24½ in (62 cm)

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A PAIR OF KANGXI FLUTED DISHES China, circa 1700

A very fine pair of Chinese Kangxi period (1654-1722) blue and white porcelain circular dishes. Of large scale and with particularly fine painted decoration typical of the period.

Height: 7 in (8 cm) Depth: 13¾ in (35 cm)

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MACKINNON FINE FURNITURE

A GEORGE III MARQUETRY INLAID COMMODE Attributed to Pierre Langlois England, circa 1765

A magnificent and important George III marquetry and parquetry serpentine fronted commode, in the French taste, attributed to Pierre Langlois. Of exceptional quality, with inlaid trellis pattern decoration to the side panels and two shaped front doors. The top further decorated with the inlaid trellis pattern decoration. All aspects further decorated with diagonal cross-banding, the front doors further inlaid with ribbon decoration. The whole with ormolu mounts of the finest quality, which were almost certainly made by Pierre Langlois’ brother in law, Dominique Jean. The double doors opening to reveal a single fitted shelf.

Height: 33 in (83.8cm) Width: 55½ in (141 cm) Depth: 28 in (71 cm)

Provenance Private Collection, England

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Comparative Literature C. Claxton Stevens and S. Whittington, 18th Century Furniture: The Norman Adams Collection, pp. 396-97.

The Gubbay Collection: Clandon Park, Surrey, National Trust, 1976, p. 6.

Pierre Langlois was a cabinet-maker of Huguenot origin who found favour in both the Royal Court and within the aristocracy.

His name is now synonymous with some of the greatest English furniture, made in the French taste, during the second half of the eighteenth century. His work can be seen in the Royal Collection at Buckingham Palace and Windsor Castle today, and he is also known to have supplied furniture to, amongst others, the Duke of Bedford, now at Woburn Abbey. A magnificent commode supplied to the Earl of Coventry for Croome Court by Pierre Langlois is now in the collections of the Metropolitan Museum in New York.

The distinctive and unusual trellis pattern on this commode can also be found on a pair of commodes previously in the Norman Adam collection as well as a pair from the Gubbay Collection, which had been on display with the National Trust at Clandon Park until the house was tragically destroyed by fire in April 2015.

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A PAIR OF CHINESE EXPORT BUREAUS The bureaus Chinese, circa 1750 The stands English, circa 1750

A very fine and rare pair of mid-eighteenth century Chinese export black lacquer bureaus, each with a similarly decorated George II period black japanned stand. Each bureau beautifully decorated thoroughout with gilt chinoiserie landscapes on a black lacquer background, the fall front of each similar decorated and enclosing a series of drawers and pigeonholes, above two drawers, the drawers inscribed with Chinese characters to the reverse.

Both bureaus standing on bases with chamfered legs, scrolled brackets and x-frame stretchers, again all decorated with japanning, with gilt highlights on a black ground.

Height: 42 in (107 cm) Width: 27Ÿ in (69 cm) Depth: 18½ in (47 cm)

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A QUEEN ANNE BURR WALNUT CARD TABLE England, circa 1710

An extremely fine and rare Queen Anne burr walnut and yewwood concertina action card table. The shaped top cross-banded and with herringbone inlaid borders, the surface lifting to reveal a baize lined interior with candle stands and guinea wells, the frieze similarly cross-banded, standing on circular tapered legs with lappet capitals and pad feet.

The table in is remarkably good condition with its original hinges and oak card drawer on the underside. A magnificent colour and patina throughout. An exceptional table.

Height: 27½ in (70 cm) Width: 35 in (89 cm) Depth: 17ž in (45 cm)

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Provenance Private Collection, USA With Mallett & Son (Antiques) Ltd.

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A PAIR OF GEORGE III IRISH MAHOGANY ARMCHAIRS Ireland, circa 1750

An exceptional pair of George II Irish mahogany armchairs of particularly fine quality. Each with a superb scrolled top rail above a pierced back splat, the scrolling arms with downswept hand grips above an upholstered seat, standing on cabriole legs carved with shells and acanthus leaves and terminating in square block animal paw feet, the rear legs chamfered and outswept, the front and rear legs joined by a shaped stretcher.

The mahogany of very good colour throughout. A superb pair of chairs with typically Irish characteristics.

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Provenance With Ronald Phillips Ltd.

Literature The Knight of Glin and J. Peill, Irish Furniture, p. 209, fig. 17.

Width: 28½ in (72 cm) Depth: 19¾ in (50 cm) Height: 37¼ in (95 cm)

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A GEORGE II GILTWOOD TABLE In the manner of William Kent England, circa 1730

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

Height: 34½ in (88 cm) Width: 43¾ in (111 cm) Depth: 24¾ in (63 cm)

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William Kent & William Jones The table reflects the influence of William Kent and his circle with its inclusion of the central mask and draped floral garlands.

A drawing in the Victoria & Albert Museum by Kent shows his design for a side-table at Houghton Hall, Norfolk, which was published in John Vardy, Some Designs of Mr. Inigo Jones and Mr. William Kent (1744, pl. 41). This design features the prominent central carved mask and dramatic floral swags.

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

The stands for a pair of cabinets, on display at Temple Newsam, bear strong resemblance to overall design of the present table.

It is thought that these were installed at Temple Newsam by the Honorable Charles Ingram and his bride Frances Shepherd after their marriage in 1758. The 1808 Temple Newsam Inventory records the cabinets as being in the Breakfast Parlour. Although there is no record of the stands original invoice, there is a charge of £9 on November 7 1758 to Richard Kerby, cabinetmaker, Sackville Street, London for ‘New Gilding 2 Rich Carv’d frames for cabinets in the Best Burnish’d Gold.’ The stands of these cabinets similarly date to the 1730s. However, the construction of the Temple Newsam pair is notably different than the present example which has a much sturdier frame to perhaps allow for the weight of a substantial marble top.

William Jones, ‘Design for Frames for Tables,’ The Gentlemens or Builders Companion, 1739, pl. 28.

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A PAIR OF QUEEN ANNE SCONCES England, circa 1700

A very fine and extremely rare pair of early eighteenth century gilt gesso girandoles. Each retaining its original double arched beveled mirror plate within a conforming moulded gesso frame.

Each with a single brass candle arm.

Height: 26¾ in (68 cm) Width: 17¾ in (45 cm)

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A GEORGE III SATINWOOD AND PAINTED CONSOLE TABLE In the manner of Thomas Sheraton England, circa 1790

A rare George III Sheraton period satinwood console table, with kingwood cross-banding and painted floral decoration. The shaped top above a 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. The painted decoration refreshed.

Provenance With Hotspur Ltd. Private Collection, UK

Height: 33½ in (85 cm) Width: 47¼ in (120 cm) Depth: 19¼ in (49 cm)

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A PAIR OF GEORGE III SATINWOOD ARMCHAIRS In the manner of George Hepplewhite England, circa 1790

An exceptional pair of George III Sheraton period satinwood open armchairs. Each with a rectangular back with vertical splat carved with the Prince of Wales’s feathers, the caned seats fitted with blue silk cushions, on square tapering legs with painted reserves and collared toes.

Of particularly fine quality.

Provenance With Frank Partridge & Sons Ltd., London, 1939 Sir Henry Price, Wakehurst Place, West Sussex With Mallett & Son (Antiques) Ltd. Private Collection, London

With their vase-carved splats surmounted by Prince of Wales feathers and painted oval panels to the seat rail, the present armchairs related to a 1790 design by Gillows of Lancaster & London, a variant of their ‘canopy top rail’ chairs which were generally carved with drapery swags, and more explicitly to a design published in Hepplewhite and Co., The Cabinet-Maker and Upholsterer’s Guide, 3rd ed., 1794, pl. 1.

Height: 35¾ in (91 cm) Width: 21½ in (55 cm) Depth: 22 in (56 cm)

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George Hepplewhite, ‘Chairs,’ The Cabinet-Maker and Upholsterer’s Guide, 3rd ed., 1794, pl. 1.

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A GEORGE I GILT GESSO AND JAPANNED SIDE TABLE In the manner of James Moore England, circa 1710

A very rare and important George I gilt gesso and black and gilt japanned side table in the manner of James Moore. The top and drawer fronts and sides decorated with panels of black japanned working with gilt chinoiseries.

Height: 27½ in (69 cm) Width: 32 in (81.5 cm) Depth: 20 in (50.2 cm)

This exceptional table with its striking combination of gilt-gesso and japanned decoration bears a great similarity to one at Longford Castle, Wiltshire which was probably supplied for Sir Jacob de Bouverie (created 1st Viscount Folkestone in 1747) when he succeeded his brother in 1736. The Longford Castle dressing-table is illustrated in R. Edwards’ The Dictionary of English Furniture, and P. Macquoid The Age of Mahogany. Lord Folkestone employed many of the leading cabinet-makers of his day, notably Benjamin Goodison.

Goodison was apprenticed to James Moore from about 1720 and succeeded him as cabinet-maker to the Royal household— and it would seem likely that the two collaborated with the supply of furnishings to Longford Castle during this period. A related set of chairs, attributed to Moore, were supplied to Sir Robert Walpole for Houghton Hall, Norfolk.

Comparative Literature J. Cornforth, Early Georgian Interiors, New Haven and London, 2004, p. 54, pl. 63.

P. Macquoid and R. Edwards, The Dictionary of English Furniture, 3rd ed., London, 1954, p. 225, fig. 6.

Provenance With Hotspur Ltd. Private Collection, USA

Drawing Room at Longford Castle, Wiltshire. © Alex Starkey/Country Life Picture Library.

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A GEORGE II SILVER SOUP-TUREEN FROM HAM HOUSE Mark of Paul Crespin, London, 1736 A very fine George II silver soup-tureen designed by Paul Crespin. Of oval bombe form and standing on four mask and rocaille-capped reeded scroll feet, with angular scroll handles issuing from applied foliage and rocaille terminals, the detachable domed stepped cover with similar handle, the tureen engraved twice with a coat of arms, the cover engraved twice with a crest, each below an earl’s coronet.

The arms are those of Tollemache quartering Joyce, Stanhope, Murray and Wilbraham, for Lionel Tollemache, 4th Earl of Dysart K.T. (1708-1770).

Overall width: 16¾ in (42.5 cm) 141 oz. 8 dwt (4,400 gr.)

Provenance Almost certainly the ‘Terrine’ supplied by ‘[Paul] Crespin SylverSmith’ for £70 to Sir Lionel Tollemache 5th Bt. 4th Earl of Dysart K.T. (1708-1770), then by descent to his son By descent to Sir [Cecil] Lyonel Tollemache 5th Bt. (1886-1969) By direction of Sir Lyonel Tollemache Bart, Important Antique Silver, Originally the Property of the Fourth Earl of Dysart Removed from Ham House, Richmond, Surrey, J. Trevor & Sons, London, 12 May 1955, lot 48 The Collection of an Italian Princess

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Literature Buckminster Park Archives Mss. 929, Lyonel Tollemache’s Account Book, many entries relating to the house in Grosvenor Square, 1733/4-1743, ‘to Crespin Sylver-Smith (for a Terrine)/ a bill on Child for /Threescore & Ten Pounds/ 70.’

An inventory of The furniture, Plate, Linen, China, Books, pictures, prints, and farming implements at Ham House, in Surrey; made in duplicate this 13th day of June 1844 – by me John Dawson Kingston on Thames, Plate, folio 82, ‘A handsome silver tureen….’

T. Murdoch, ‘From the Gate to the Hearth: Metalwork at Ham House,’ in C. Rowell ed., Ham House, 400 Years of Collecting and Patronage, London, 2013, p. 240.

Paul Crespin Paul Crespin can be considered to be one of the most accomplished goldsmiths of the second quarter of the eighteenth century. The tureen is almost certainly the one which is recorded in the Earl of Dysart’s Account book for the years 1733 to 1743 (Buckminster Park Archives, Mss 929). The entry dated 29 January 1742 lists, ‘to Crespin SylverSmith (For a Terrine) A bill on Child for Threescore & Ten Pounds 70.’

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A SET OF SIX REGENCY MAHOGANY DINING CHAIRS In the manner of Gillows of Lancaster & London England, circa 1810

A particularly fine set of six early nineteenth century Regency period neo-classical mahogany dining chairs, comprising two armchairs and four side chairs. The mahogany being of extremely fine colour throughout, each chair with reeded curved front seat rail joining similarly decorated sabre legs, each top rail with a superb panel of highly figured mahogany with reeded cresting above a highly decorative cross splat decorated with carved anthemion and scrolled birds head detailing, with upholstered drop-in seats.

Armchair: Height: 32½ in (83 cm) Width: 22 in (56 cm) Depth of Seat: 17 in (43 cm)

These chairs clearly derive from a series of design drawings as published in Gillows’ Estimate Sketch Books, 1810, pl. 194-196.

A popular related model, albeit less sophisticated in design, is the Edwards’ Library pattern chair of 1810, which features in plate 195. At least twelve chairs are recorded as being supplied to the Revd. Holland Edwards of Conway, North Wales, with further chairs also being supplied to Wilbraham Egerton of Tatton Park in 1811-12. Related chairs also featured in the Gothic Dining Room at Carlton House designed by John Nash for the Prince Regent.

Comparative Literature S. Stuart, Gillows of Lancaster and London 1730-1840, Woodbridge, 2008, vol. 1, p. 214-218.

Carlton House, Pall Mall, London: the Gothic Dining Room. © RIBA Collection.

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A PAIR OF GEORGE I GILT GESSO TABLES England, circa 1720

A fine and rare pair of George I period gilt gesso side tables with later Rosso Imperial marble tops. Each with a central shell motif and four elegant cabriole legs, decorated throughout with panels of circular punching, hatchwork and acanthus leaves, the legs terminating in pad feet.

Height: 29 in (73.5 cm) Width: 36 in (91.5 cm) Depth: 20½ in (52 cm)

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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 shield-shaped upholstered backs with serpentine fronted upholstered seats and armrests, the giltwood seat frames 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.

Literature S. Stuart, Gillows of Lancaster and London 1730-1840, Woodbridge, 2008, vol. 1, p. 181, pl. 146-147.

Height: 38½ in (97 cm) Width: 24½ in (62 cm) Depth: 20¾ in (53 cm)

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These chairs relate very closely to a design in 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.

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A GEORGE III MAHOGANY SERPENTINE SECRETAIRE COMMODE In the manner of William Gomm England, circa 1760

A very fine George III mahogany serpentine secretaire commode in the manner of William Gomm. The cross-banded top with a foliate-carved edge above a fitted secretaire-drawer with baizelined writing-surface, pigeon holes and four small drawers, with three further graduated long drawers below, the fluted angles carved with acanthus volutes issuing trailing flowering swags, on bracket feet. With foliate gilt brass handles. The top of particularly good colour.

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Height: 39½ in (100 cm) Width: 51 in (130 cm) Depth: 26 in (66 cm)

Comparative Literature L. Boynton, ‘William and Richard Gomm,’ The Burlington Magazine, vol. 122, no. 927 (June 1980), pp. 395-402.

G. Beard and C. Gilbert, Dictionary of English Furniture Makers 1660-1840, pp. 115 & 349-350.

William Gomm & Son & Co, ‘Design of chest of drawers,’ London, England, circa 1761. Courtesy, The Winterthur Library: Joseph Downs Collection of Manuscripts and Printed Ephemera.

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William Gomm William Gomm was a highly skilled cabinet-maker who established his workshop at Peterborough Court around 1725.

In the 1730s Gomm moved his workshop to Newcastle House in Clerkenwell Close, which had been the property of the Dukes of Newcastle. This workshop was also very close to Giles Grendey’s business in Clerkenwell Square. Gomm worked in collaboration with Abraham Roentgen in the 1730s. One of Gomm’s most prominent patrons was the 5th Lord Leigh for the furnishings of his home at Stoneleigh Park, Warwickshire, which included 183 pieces ranging from assorted chairs, a chest on chest, a Pembroke table, and several dressing commode tables similar to this piece. Gomm also provided furniture to Richard Hoare of Barn Elms and William Weddell of Newby Hall.

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Today, three Gomm manuscript books survive at the Winterthur Library in Delaware, which include designs for furniture, an outline of the five orders of architecture, and geographical and mathematical exercises. Gomm’s furniture designs draw inspiration from Thomas Chippendale’s Director with the incorporation of gothic, rococo, and chinoiserie elements. Of particular interest to this secretaire chest is the serpentine-fronted commode in the first manuscript book. This design features rococo carving on the apron and bold scrolls on the corners.

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A BLUE JOHN BOWL England, circa 1810

An exceptional large circular Derbyshire blue john bowl, with gently rounded sides standing on a low foot.

Of fantastic colour and natural figuring.

Height: 2¼ in (5.5 cm) Diameter: 9 in (22.5cm)

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A GEORGE I BURR WALNUT BUREAU BOOKCASE England, circa 1715

An exceptional George I period burr walnut bureau bookcase of rare small proportions. The walnut of a magnificent mellow colour throughout, and with herringbone inlay. In lovely condition with lots of rare features. The upper section with a moulded cornice above a single glazed door and a pull-out candle stand. The lockable door, retaining its original bevelled glass, opening to access the three moulded-edge adjustable shelves. The lower bureau section with a fall front supported by lopers opening to reveal a fitted interior of magnificent colour with a variety of pullout drawers, and a writing surface, all superbly veneered, above four long drawers and a very rare pull-out full-depth walnut slide within the moulding positioned under the first drawer. This top drawer also fitted with a variety of compartments. With later brass ring handles, and standing on bun feet.

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This piece is notable for the magnificent colour of the walnut and the very rare small size.

Height: 76 in (193 cm) Width: 25Ÿ in (64 cm) Depth: 19ž in (50 cm)

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A GEORGE I JAPANNED SIDE TABLE England, circa 1720

A very rare and charming George I black japanned side table.

The panel top with moulded edge and re-entrant corners beautifully decorated with a lakeside chinoiserie landscape with figures on a jetty, birds flying in the sky, and rocky promontories with trees and buildings, above a shaped frieze and standing on four triangular legs with pointed spade feet.

Height: 29 in (74 cm) Width: 33 in (84 cm) Depth: 19 in (48 cm)

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Provenance A Private Aristocratic Collection, Scotland

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A GEORGE III GILTWOOD MIRROR In the manner of William & John Linnell England, circa 1760

A magnificent large George III giltwood mirror of exceptional quality in the manner of William & John Linnell. The central rectangular plate surrounded by numerous smaller borders glasses with a giltwood framework comprised of foliate decoration dominated with C-scrolls and rocaille carving, the top surmounted by basket of carved flowers and foliage.

The glass largely original.

Height: 103 in (262 cm) Width: 52 in (132 cm)

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William & John Linnell The Linnell firm was one of the most prominent firms of cabinet-makers of the second half of the eighteenth century, with commissions for a number of important country houses including Badminton House, Osterley Park, Syon Park, Alnwick Castle, Shardeloes, Bowood House, and Lansdowne House.

The design for this mirror relates very closely to a drawing by the Linnell firm with its distinctive cresting of a basket of flowers, circa 1755-60 for a pier glass, executed as a pair of mirrors, for Sir Molyneux Cope, 7th Bt. for Bramshill, Hampshire. A related overmantel mirror was supplied in 1759 to George William Coventry, 6th Earl of Coventry for ‘Lady Coventry’s Dressing Room,’ Croome Court, Worcestershire.

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A WILLIAM AND MARY JAPANNED GATELEG TABLE England, circa 1700

An extremely rare, possibly unique, William and Mary black and gilt-japanned oval gateleg table with an oval twin-flap top.

Exquisitely decorated throughout with riverscapes including trees, exotic waterbirds, figures and mythical beasts, above a single frieze drawer, the whole supported on stop-fluted columnar legs joined by a moulded decorated stretcher and stylised shaped feet. The base further decorated with gilt highlights.

The exceptional contents of Hinton House were sold by George, 8th Earl Poulett (d. 1973) in sales at Sotheby’s, London 1 November and 8 November 1968, and 28 March 1969.

Height: 29 ½ in (75 cm) Width: 57 ½ in (146 cm) when open Depth: 47 ½ in (121 cm)

Provenance Almost certainly supplied to The Earl Poulett for Hinton House, Somerset until sold Sotheby’s, 1 November 1968 With Mallett & Son (Antiques) Ltd. The Collection of Marjorie Wiggin Prescott, USA until sold Christie’s, New York, 31 January 1981 With Mallett & Son (Antiques) Ltd. Private Collection UK

Literature C. G. Winn, The Pouletts of Hinton St George, 1976.

Lacquer and Japanning Oriental lacquer-ware was first imported into Europe by the Portuguese from Japan at the end of the sixteenth century, but was prohibitively expensive—and so European craftsmen sought to emulate these foreign wares. Although they were not able to master the techniques exactly, high quality japanning soon became exceedingly popular and in high demand by the end of the seventeenth and beginning of the eighteenth centuries in Europe.

In England, Stalker and Parker published in 1688 their seminal work: Treatise of Japanning and Varnishing which provided a huge number of motifs and pattern illustrations—such as the figures and creatures seen on this table—for craftsmen to copy.

Interestingly, often these motifs were a figment of the European imagination of the East—and in fact seldom appear on Oriental works themselves.

Hinton House There has been a Hinton House on the same site since 1490 but very little of the original building remains. With the family’s newly elevated status in 1627, the 1st Baron Poulett (d. 1649) improved and enlarged the house accordingly. A new south wing, built following the design principles of Inigo Jones, was completed by 1636. Just a few years later in 1650 the estate ledgers show extensive building work was carried out, resulting in two further wings. In the early eighteenth century, John, 1st Earl Poulett (1663-1743) remodelled the Long Gallery. It is quite probably that during this refurbishment the present table was acquired perhaps to compliment the two extensive suites of ebonised and parcel-gilt seat furniture that were also commissioned at this time for the parade of the Long Gallery.

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The West Gallery at Hinton House, Somerset, July 1968. © Crown copyright. Historic England Archive.

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A WILLIAM AND MARY FIGURED ASH AND ELM CHEST OF DRAWERS England, circa 1700

A very fine William and Mary figured ash and elm chest of drawers of exceptional colour and patina. The segmented veneered top with moulded edge above two short drawers and three graduated long drawers standing on turned bun feet, the sides veneered with burr oak, with drop handles and escutcheons typical of the period.

Height: 35 in (89 cm) Width: 38 in (96.5 cm) Depth: 22 in (56 cm)

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A GEORGE I GILT GESSO MIRROR England, circa 1720

A rare George I mirror with its original bevelled glass plate. The gilt gesso frame surmounted by a flattened shell motif decorated with flowers, with a pair of brass candle arms.

Height: 42½ in (107.5 cm) Width: 22½ in (57 cm)

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A HEPPLEWHITE PERIOD MAHOGANY CHEST OF DRAWERS England, circa 1790

A very fine and elegant compact George III period bow fronted chest of drawers, in the elegant restrained Hepplewhite taste.

Of the finest fiddleback mahogany, with four graduated oaklined drawers each with beautiful original handles, the drawers flanked by reeded vertical pilasters and standing on exceptional reeded baluster feet.

Of particularly good colour.

Height: 33½ in (85 cm) Width: 36 in (92 cm) Depth: 21 in (53 cm)

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A GEORGE III GILTWOOD GIRANDOLE Attributed to Thomas Chippendale England, circa 1760

An exceptional George III carved giltwood girandole attributed to Thomas Chippendale of outstanding quality. This girandole is characteristic of the exuberance of English rococo design found in the work of Thomas Chippendale and Thomas Johnson. A magnificent 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 C-scrolls, with an ancient overgrown pilaster. Retaining much of the original gilding.

Height: 53 in (134.5 cm) Width: 25 in (63.5cm)

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Comparative Literature Thomas Chippendale, ‘Pier Glass Frame,’ The Gentleman and Cabinet-Maker’s Director, 3rd ed., pl. CLXIX.

Thomas Chippendale supplied a pair of girandoles in 1759 to Lord Dumfries for Dumfries House, 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 also known to have supplied a number of related pairs of girandoles includingto to Merhsamle-Hatch for Sir Edward Knatchbull, Nostell Priory for Sir Rowland Winn and Harewood House for Edwin Lascelles.

Thomas Chippendale, ‘Pier Glass Frame,’ The Gentleman and CabinetMaker’s Director, 3rd edition, pl. CLXIX.

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AN EXCEPTIONAL CARVED WALNUT WINE COOLER England, circa 1850

A magnificent monumental mid-nineteenth century carved walnut wine cooler of immense scale and magnificent quality.

Carved throughout in great rococo detail, the hinged lid opening to reveal a fitted lead-lined interior, with compartments for six magnums and twelve standard bottles, on castors.

Width: 39 in (99 cm) Height: 24 in (61 cm) Depth: 27 in (66.6 cm)

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A ROSEWOOD BREAKFAST TABLE

By Gillows of Lancaster England, circa 1790

A very fine George III Sheraton period rosewood breakfast table

by Gillows of Lancaster. The oblong top with finely figured rosewood of wonderful colour cross-banded with a thin satinwood and boxwood inlaid border and then a larger calamander cross-banding of particularly fine figuring, and with a moulded edge. The tilt-top supported on a central turned pedestal base, with four reeded and splayed legs terminating in brass box castors.

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Stamped Gillows Lancaster.

Height: 27½ in (71 cm) Width: 59 in (150 cm) Depth: 47½ in (121 cm)

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A GEORGE I SCARLET JAPANNED BLANKET CHEST England, circa 1720

An exceptionally rare George I period scarlet japanned trunk.

The lifting top decorated with various scenes of oriental figures in landscapes, the front similarly decorated with islands, bridges and fishing boats with an elaborate chased central escutcheon plate, over two short and one long drawer similarly decorated and retaining their original brass handles and escutcheons. The sides decorated with sprigs of flowers and with original engraved lifting handles. The whole raised on four turned bun feet.

Glorious japanned decoration inspired by the designs of Stalker & Parker.

Height: 30 in (76.2cm) Width: 43½ in (110.5 cm) Depth: 23 in (58.4 cm)

Stalker & Parker John Stalker and George Parker were responsible for publishing, in 1688, the earliest book in English on the subject of European lacquer entitled A Treatise of Japanning and Varnishing. This influential publication offered recipes, technical advice, and ‘above an Hundred distinct Patterns for Japan-work in Imitation of the Indians, for Tables, Stands, Frames, Cabinets, Boxes, &c.’ In the treatise they explain that the high gloss finish of lacquer has such an effect that ‘no amorous Nymph need entertain dialogue with her glass or Narcissus retire to a fountain.’ The publication listed eight possible ground colours for lacquer furniture, including red.

Japanned work had several advantages over imported lacquer pieces as it was often less expensive and provided an opportunity to create designs that conformed to European taste and fashion.

Nevertheless, japanning was still a costly process and these objects tended to found in only the wealthiest households.

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A PAIR OF WALNUT CURULE ARMCHAIRS England, circa 1860

A charming and rare pair of mid-nineteenth century walnut curule-form armchairs. Each with a rounded back, arms and seat cushion, on curved legs, upholstered in worn green silk velvet.

Provenance The collection of Irwin Untermyer By whom bequested to The Metropolitan Museum of Art, New York, 1973 The Metropolitan Museum of Art, New York

Height: 33½ in (85 cm) Width: 27 in (68.6 cm) Depth: 17 in (43.2 cm)

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A BLACK LACQUER SCREEN China, circa 1860

A magnificent Chinese parcel-gilt, black and polychromedecorated eight-leaf screen. Profusely decorated to the front and reverse with chinoiserie scenes and padogas with figures amidst trees and foliage, within a foliate decorated surround and a border with shaped reserves depicting further scenes, on castors.

Height: 84 in (213.5 cm) Width: 14 ft 2 in (432 cm) Width of each panel: 21Âź in (54 cm)

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A PAIR OF GEORGE III GILTWOOD SOFAS In the manner of William & John Linnell England, circa 1770

A superb pair of George III period neo-classical carved giltwood sofas in the manner of William & John Linnell. The extremely elegant serpentine show-frames magnificently carved throughout with neo-classical leaf motifs, the arms further detailed with a line of carved beading, standing on fluted collared and tapered legs, now upholstered in pale blue silk damask.

Height: 37½ in (95 cm) Width: 80 in (203 cm) Depth: 33½ in (85 cm)

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A GEORGE III MAHOGANY PEMBROKE TABLE In the manner of George Hepplewhite English, circa 1780

A very fine George III period mahogany Pembroke table in the manner of George Hepplewhite. The oval mahogany top beautifully inlaid to the centre with a large elongated patera and central conch shell detailed with pen and ink, with satinwood crossbanding further entwined inlay of entwined foliage and berries running around the edge, with a single mahogany cross-banded frieze drawer, standing on delicate square stop-fluted tapering legs, headed by inlaid paterae, on castors. Of exceptional colour and patina throughout. Retaining original gilt brass handles and castors.

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

George Hepplewhite (d. 1786) Along with Thomas Chippendale and Thomas Sheraton, George Hepplewhite was one of the pre-eminent cabinetmakers in England of the late eighteenth century. Very little is known about Hepplewhite’s life except that he maintained a workshop in London in the parish of St. Giles, Cripplegate.

Hepplewhite’s work often reflects the inspiration of the neoclassical style of Robert Adam and his contemporaries while also incorporating a number of French stylistic traits with the elegant silhouettes and slender lines. His furniture is also characterized by its use of the beautifully figured wood and delicate inlay rather than an overabundance of carving. This Pembroke table exemplifies that look with its highly figured flame veneer accented with the central inlaid decoration.

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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. The publication included two models for Pembroke tables on plate 62 of its third edition, published in 1794. The lower table on this plate bears great similarities with this Pembroke table in the overall form and incorporation of the central patera with satinwood cross-banding around the edge.

Pembroke Table Tradition suggests that the form of the Pembroke table with its smaller proportions and distinctive drop-leaves originates from Mary Herbert, Countess of Pembroke (1561-1621) who allegedly ordered a table of this design. However, it is more likely that Henry Herbert, 9th Earl of Pembroke (1693-1751) was responsible, 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 eighteenth 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.

George Hepplewhite, ‘Pembroke Tables,’ The Cabinet-Maker and Upholsterer’s Guide, 3rd ed., 1794, pl. 62.

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A PAIR OF REGENCY CUT GLASS CANDELABRA In the manner of John Blades England, circa 1810

An exceptionally fine pair of Regency twin-light cut glass and ormolu-mounted candelabra in the neo-classical taste.

Width: 14 in (35.5 cm) Height: 18 in (45.7 cm) Depth: 4½ in (11.4 cm) Provenance With Hotspur Ltd.

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A GEORGE III MAHOGANY CARD TABLE England, circa 1765

A superb quality George III period mahogany serpentine card table. The rectangular moulded hinged top opening to reveal a green-baize playing surface, above a deep plain frieze on superb blind-fret-carved chamfered legs, each with pierced fret brackets, and standing on block feet.

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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)

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A REGENCY AMBOYNA AND ROSEWOOD SIDE TABLE Attributed to Morel & Seddon England, circa 1830

A very fine Regency amboyna and rosewood side table with rounded rectangular top cross-banded in rosewood with a shallow frieze veneered in amboyna and a rosewood moulding.

Below, the facetted stretcher is contrasted in rosewood with a reeded and ring-turned centrepiece, the elegant trestle ends with crisply carved rosewood rosettes and parcel gilt foliate scrolls.

The stepped plinths support the original gilt brass paw feet that stand on concealed castors.

Height: 28½ in (72 cm) Width: 48 in (122 cm) Depth: 21¾ in (55 cm)

Morel & Seddon George Seddon (1796-1857), in partnership with cabinet-maker and upholsterer Nicholas Morel, was commissioned to re-furnish Windsor Castle. The company worked almost exclusively for the crown at Windsor and other royal residences, and employed many designers including the young A.W.N. Pugin. In 1830 George’s brother, Thomas, joined the partnership. After 1833 the name of the business reverted to Seddon & Sons. The firm finally closed in 1868.

A number of writing tables currently in the Royal Collection bear very close similarities to this table.

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A GEORGE III RED JAPANNED EIGHT DAY BRACKET CLOCK

By Robert Wood England, circa 1780

A particularly fine George III period red japanned eight day bracket by Robert Wood. The case beautifully decorated throughout with red japanning and gilt chinoiserie highlights, with a brass carrying handle and pineapple finials to the inverted bell top, the sides with elaborate silk lined pierced sound frets.

The dial with foliate spandrels to a silvered chapter ring with a silvered centre and concentric date ring and signed Rob.t Wood/London, with blued steel hands showing the time and the date, with strike/silent ring in the arch.

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The movement is in excellent working order with five pillars, twin line fuses and verge escapement, strike and trip repeat on bell, the back plate engraved with foliate scrolls. With a case key and a winding key.

Inscribed: Rob.t Wood/London Height: 21¼ in (54 cm) Width: 12½ in (32 cm) Depth: 7¾ in (20 cm)

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MACKINNON FINE FURNITURE

OUR SERVICES

We offer a comprehensive service around all aspects of your collection of fine antique furniture. We are particularly well placed in the market to offer advice on matters including sourcing, de-acquisitioning, cataloguing, shipping, restoration, and conservation, as well as interior consultation.

SOURCING

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

A pair of George III mahogany armchairs from the collection of the Earls of Shaftesbury for St Giles House, Dorset sourced for a client.

RESTORATION

We provide a comprehensive restoration and conservation service. Our extensive contacts with a wide range of highly skilled and specialist restorers both in the UK and the USA allow us to carry out restoration on behalf of our clients to meet their specific needs, including polishing and waxing, japanning and lacquer work, gilding, decorative painting, framing and upholstery. Please contact us for a quote.

Detail of the gilt gesso and japanned side table featured on p. 66.

INTERIOR CONSULTATION

We continue to work on a number of full-scale interior design projects for our clients in the UK, USA and Continental Europe. Since 2014, we have been particularly privileged to have been invited by The Blair Charitable Trust to advise on the interior schemes, layouts and the outstanding collections at Blair Castle, Perthshire, the ancient seat of the Dukes and Earls of Atholl.

A view of the Drawing Room, Blair Castle, Perthshire.

Copyright All rights reserved. No part of this publication may be reproduced, stored in any retrieval system or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers.

Terms and Conditions All business transactions are subject to our standard terms and conditions of sale, copies of which are available upon request.

Trading as Mackinnon Fine Art Consultancy Limited, Registered in England & Wales, No. 5747760.

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