ROLLESTON THE WINTER SHOW 2024
ROLLESTON E S T. 1 9 5 5
ROLLESTON FINE ENGLISH FURNITURE WORKS OF ART
104a Kensington Church Street, London, W8 4BU Tel: +44(0) 207 229 5892 rollestonantiques.com advice@rollestonantiques.com
ROLLESTON
THE WINTER SHOW THE PARK AVENUE ARMORY 1 9 – 2 8 J A N U A R Y, 2 0 2 4 STAND B4
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WELCOME We take great pleasure in showcasing the carefully curated items featured in this year's Winter Show Catalogue, each chosen with precision to embody the essence of our collection. A few personal highlights amongst these exceptional pieces is the striking pair of brackets on page 10 by Thomas Johnson, a true manifestation of his artistic vision, directly following one of his sketches. The commode featured on page 34 stands out for its wonderful quality, impeccable condition and meticulous documentation. Pages 40 and 84 introduce a set of shelves and a breakfront bookcase, both of which are attributed to Thomas Chippendale. These pieces boast designs that captivate with their sophistication and exhibit exceptional execution. We are passionate about the pieces we offer and, as many of our friends and clients know, helping to build and shape great collections for our clients is something we relish and take enormous pride in. Creating a collection can seem daunting, but advising our clients on acquisitions as well as taking care of all other administrative and logistical concerns is our expertise. Collecting can be a lifelong pursuit and is extremely rewarding, both for the fabulous items discovered and the personal relationships made. We would be delighted to go on this journey with you. As we look forward, we are excited about the future and the wonderful pieces we have assembled. If you have any inquiries about a particular item or are interested in creating a collection, I would be very pleased to hear from you at james@rollestonantiques.com and +44 (0) 207 229 5892. With best wishes,
January 2024 London
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I. A QUEEN ANNE BLACK AND GILT-JAPANNED SECRETAIRE-CABINET Magnificently decorated in fine gilt detail, this cabinet, retaining almost all the original japanning, would have provided a vivid glimpse into the mythical world of the Far East to early eighteenth-century viewers. Of double-dome form, it is a pure, early example of this classic type of English furniture. The bun feet and finials are of late date. ENGLISH, 1710-15 Height: 94.5” / 240cm Width: 42” / 106.5cm Depth: 22” / 55.5cm LITERATURE Bowett, A., Early Georgian Furniture (Woodbridge: 2009), pp. 138-9, figs. 3:82-3 Macquoid, Edwards, Dict. of Eng. Furniture, V. I (Ldn.: 1924), p. 161, figs. 19-20
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II. A PAIR OF GEORGE III GILTWOOD BRACKETS By Thomas Johnson Symbolising the fancy of his imagination, these brackets are the essence of Johnson’s rustic world and symbolise his unique style. Carved with prodigious fluency, they directly follow a 1756-7 design by the master drawer, the most prolific and influential designer of carvers’ pieces of the eighteenth century and, alongside Thomas Chippendale, one of the most important forces in the formation and spread of the English Rococo. ENGLISH, 1760-65 Height: 61.5cm / 24.25” Width: 40.5cm / 16” Depth: 14.5cm / 5.75” LITERATURE Aesop’s Fables, 1687 translation, illustrated by Francis Barlow, p. 161 Thomas Johnson, Collection of Designs (London: 1760), pl. 42 Thomas Johnson, Twelve Gerandoles (London: 1755) Coleridge, A., ‘Chippendale, The Director and some Cabinet-Makers at Blair Castle’, The Connoisseur (Dec. 1960), pp. 252-256 Gilbert, C., ‘Matthias Darly’, Furniture Hist., Vol. 11 (1975), pp. 33-9 Girouard, M., ‘Curraghmore, Co. Water. – III’, CL, Feb. 1963 Hayward, H., ‘Designs By Tho. Jo.’, Furn. Hist., Vol. 11 (1975) Hayward, H., ‘T. Johnson and Rococo Carving’, Connoisseur (1965) Hayward, H., T. Johnson and the English Rococo (London: 1964) Heckscher, M. ‘Rustic Furniture’, FH, Vol. 11 (1975), pp. 59-65 Kimball, F. and Donnell, E., ‘The Creators of the Chippendale Style (Cont.)’, Met. Museum Studies, Vol. 2, No. 1 (Nov., 1929), pp. 40-59 Lord Methuen, Corsham Court: The Methuen Collection (1971) Mirrors and a Chimney-Piece by T. Johnson , Apollo, Sep. 1956 Simon, J., ‘T. Johnson’s “Life of Author”’, Furn. Hist., Vol. 39 (2003) Ward-Jackson, P., Eng. Furniture Designs of the 18th C. (Ldn.: 1958)
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IV. A PAIR OF GEORGE II WALNUT AND BURR WALNUT SIDE CHAIRS Almost certainly by Giles Grendey The classic Grendey model, this design was the template for more elaborate examples that feature carving to the top rail and flying carved wings that connect the splat and uprights. This pair of chairs, therefore, represents the genesis of the original design of great walnut chairs in the first half of the eighteenth century. Of exceptional colour and patina ENGLISH, 1730-40 Height: 39.25” / 100cm Width: 21.25” / 54cm Depth: 17.75” / 45cm PROVENANCE Mallett Ltd., London, 1982 The Collection of Sir Joseph Hotung LITERATURE Wood, L., The Upholstered Furniture of the Lady Lever Gallery (Ldn.: 2008), vol. I, no. 20, pp. 245-263 Bowett, A., Early Georgian Furniture (Woodbridge.: 2009), p. 178, pl. 4:67
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III. A CHARLES II LIGNUM VITAE WASSAIL BOWL Of rich colour, mounted with a chased silver rim inscribed ‘Antony RINDO + EXETER’ This is a magnificent example, in untouched condition, with no cracks or splits to the timber as often seen. Featuring a silver rim, it is elevated to an exclusive group of Wassail bowls of which very few examples are known. ENGLISH, CIRCA 1680 Height: 10.5” / 27cm Diameter: 10” / 25.5cm PROVENANCE The Maria Baer Collection The Adler Collection LITERATURE Evan-Thomas, O., ‘The Wassail Bowl and The Custom of Wassailing at Christmastime’, Apollo, 1936, pp. 348-52 Jonathan, L., Treen for the Table (Suffolk, 2013) Pinto, E. H., Treen and Other Wooden Bygones (Ldn., 1969) Pinto, E. H., Treen, or Small Woodware Throughout the Ages (London, 1949)
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V. A GEORGE II SWEETMEAT TREE Attributed to Maydwell & Windle One of the most spectacular additions to the English dessert table in the eighteenth century, the sweetmeat tree was an expression of wealth and sophistication. With faceted, serpentine arms and star and petal-cut baskets, this piece is the essence of the Rococo. The present example is one of the very finest to survive. It is exquisitely blown, with every element of glass cut and enriched with silver mounts. It is a particularly elegant and well-balanced design. ENGLISH, 1750-60 Height: 18” / 46.5cm Diameter: 13” / 35cm LITERATURE Bear, J. A., ‘Monticello’, Antiques 102, no. 1 (July 1972), p. 116 Charleston, R. J., English Glass, circa 400-1940 (Ldn., 1984), pl. 49b Charleston, R. J., ‘Glasses for Dessert’, Glass Circle 5 (1986), pp. 2930, 44, fig. 10 Davis, Derek C., English and Irish Glass (London, 1964), fig. 32 Detweiler, S. G., George Washington’s Chinaware (NY, 1982), p. 43 Elville, E. M., Collectors Dictionary (London, 1961), p. 176, fig. 258 Hughes, B., English, Scottish and Irish Glass (Ldn., 1956), pp. 71, 286, 299, fig. 27 Lanmon, D. P., Six Centuries (Connecticut, 1978), pp. 70-1, no. 68 Lanmon, D. P., Age of Eng. Glass (Suffolk, 2011), p. 202-3, cat. 68 Mortimer, M., The English Chandelier (London, 2000), pp. 70-81 Palmer, A., Glass in America (Delaware, 1993), pp. 226-227, no. 191 Shreve, Crump, & Lowe, Ad., Antiques 59, no. 4 (April 1951) Synge, L., Mallet Millennium (London, 1999), p. 321, fig. 417 Thorpe, W. A., History of Eng. and Irish Glass (Ldn., 1929), pl. 141 Wills, Geoffrey, English and Irish Glass (NY, 1970), part 5, pp. 10-11 Winterthur Museum (no. 79.63): Journal of Glass Studies 22 (1980), p. 92, no. 20
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VI. A GEORGE III GILTWOOD MIRROR This mirror stands out for its fluent carving and particularly large scale. The design demonstrates not only the carver’s painstaking attention to detail, but his masterful apprehension of the Rococo style. Sumptuously decorated with a writhing abundance C-scrolls and fronds, fruits, berries and cornucopias, this example embodies the exuberant character of mid-eighteenth-century design. ENGLISH, 1760-65 Height: 80.5” / 204cm Width: 43.5” / 110cm PROVENANCE Hotspur Ltd. Stair & Company Private Collection: New York, US LITERATURE Child, Graham, World Mirrors 1650-1900 (London 1990) Schiffer, Herbert F., The Mirror Book (New York, 1983) Wills, Geoffrey, English Looking Glasses (1670-1820) (London, 1965)
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VII. A PAIR OF CHINESE EXPORT NODDING-HEAD FIGURES Retaining nearly all their original, spectacular polychrome-painted surface, this pair is finished to a particularly high quality. CHINESE, 1790-95 Height: 13” / 34cm PROVENANCE Private Collection: London, UK LITERATURE J. Morley, The Making of the Royal Pavilion, Brighton (Boston, 1984) pp. 169-176
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VIII. THE GEORGE IV CORONATION URN By Perrin & Geddes Standing on a Garter star-cut foot, supporting a most deep scale, swirlcutting design, the corresponding lid is equally rare and unusual, mounted with a crown finial, suggesting this was a special Royal commission. Although cut-glass crown scent bottles of this period are known, the urn cover is possibly unique in this form. ENGLISH, 1820 Height: 17.75” / 45cm Diameter: 10.5” / 27cm PROVENANCE Jeremy Ltd., London Private Collection: USA
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IX. A PAIR OF GEORGE II MAHOGANY STOOLS Standing well, these stool have great presence. They are crisply-carved and of fine dense timber and covered in a rouge silk damask. ENGLISH, 1745-50 Height: 17” / 43cm Width: 26” / 66cm Depth: 20.5” / 52cm
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X. A GEORGE III ORMOLU-MOUNTED MARQUETRY COMMODE Almost certainly by Pierre Langlois An incredibly well-documented example, this marvelous commode, vibrantly veneered in contrasting tones of cocus wood and rosewood, laid diagonally to striking effect, exhibits the wonderful synthesis of Rococo and Neoclassical design, the French curvilinear form and brassware combined with flowing marquetry depicting ribbon-tied wreaths of husks. The marble top is similarly spectacular, inlaid with specimens of Spanish brocatelle, giallo, rouge griotte, and vert de mer in the forms of anthemia and floral roundels and sprays. ENGLISH, 1765-70 Height: 36.25” / 93cm Width: 62” / 157cm Depth: 24” / 63cm
PROVENANCE Temple Williams Ltd., 1958 Frank Partridge Ltd., before 1968 The Collection of Lord and Lady Weinstock ILLUSTRATED Temple Williams Ltd., Advertisement, Country Life, 4th Dec. 1958 F. Davis, ‘A Page for Collectors’, Illustrated Ldn. News, 3rd Jan. 1959 E. T. Joy, ‘Serpentine Line of Grace’, Connoisseur, 1959, pp. 72-74 The Grosvenor House Handbook (London, 1959), p. 96 A. Coleridge, Chippendale Furniture (London: 1968), p. 35, pl. 47 LITERATURE Thornton, Rieder, ‘P. Langlois, Ebén.’, pts. 1-5, Connoisseur, 1971-2 W. Rieder, ‘More on P. Langlois’, Connoisseur, Sept. 1974, pp. 11-3 L. Wood, ‘New Light on Pierre Langlois’, Furniture History, No. 196, Nov. 2014
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XI. A PAIR OF CHINESE-EXPORT FAMILLE-ROSE FISH BOWLS Employed by Charles Lennox, 2nd Duke of Richmond (1701-50), to house his beloved goldfish, brought from China, fish bowls are often found in the inventories of large English country houses, variously also used as jardinières or wine coolers. Potted in Jingdezhen and finely painted in Canton with images of birds and peonies, the vibrant pink and turquoise colours of this pair are particularly pleasing. CHINESE, YONGZHENG PERIOD (1722-1735) Height with stand: 32” / 82cm Height without stand: 15” / 39cm Diameter: 24” / 57cm PROVENANCE The Collection of Mrs. Maria da Conceição (São) Schlumberger (1929-2007) The Chinese Porcelain Company, New York LITERATURE Williamson, George C., The Book of Famille Rose (Tokyo, 1970), pl. LIII Ferguson, P. F., Ceramics: 400 Years of British Collecting (London, 2016)
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XII. A GEORGE III SET OF PADOUK HANGING SHELVES Attributed to Thomas Chippendale The execution of the sweeping pagoda top on this set of shelves is particularly refined. This feature would have posed significant technical challenges, emphasizing Chippendale’s skill and vision as a master cabinet maker. ENGLISH, 1765-70 Height: 51.5” / 130.5cm Width: 43” / 109.5cm Depth: 7.5” / 18.5cm LITERATURE Thomas Chippendale, The Gentleman and Cabinet-Maker’s Director, 1st ed. (1754) Thomas Chippendale, The Gentleman and Cabinet-Maker’s Director, 3rd ed. (1762) Coleridge, A., Chippendale Furniture (London: 1968), figs. 277-80 Gilbert, C., The Life and Work of T. Chippendale , Vol. II (Ldn., 1978), figs. 340-41 Macquoid, Edwards, The Dictionary of English Furniture, V. III (London, 1927), pp. 115-8
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XIII. A PAIR OF GEORGE III GILT-ENGRAVED DECANTERS Stars and swags of tulips finely engraved in gilt ENGLISH, CIRCA 1780 Height: 11.25” / 28cm Diameter: 4” / 10cm
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XIV. A GEORGE II MAHOGANY TALLBOY Attributed to the St. Martin’s Lane Syndicate With a classical Palladian pediment, Chinese fretwork and pagoda waist moulding and French foliate handles, this tallboy exemplifies the flair and genius of mid-eighteenth-century designers who harmoniously combined the exotic styles composing the English Rococo. This example is of particularly elegant proportions and very finely carved. ENGLISH, 1755-60 Height: 88” / 223.5cm Width: 48.5” / 123cm Depth: 23” / 59cm
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XV. A MIRROR PAINTING OF THE DUKE OF CUMBERLAND After the 1751 engraving of the Duke by Louis Simon L’Empereur (1728-1807) Royal Collection No. 604065 The engraving after the c. 1750 portrait by David Morier (1705-70) Royal Collection No. 406477 Painted in exceptionally fine detail, this is likely a unique execution, completed at the specific request of a client. It retains its original Chinese frame. CHINESE, 1755-60
Width: 26.75” / 68cm Height: 22.25” / 56.5cm PROVENANCE Mallet Ltd., London Private Collection: Rhineland, Germany LITERATURE Jourdain, M., & Jenyns, R. Soame, Chinese Export Art in Eighteenth Century (London, 1950) Audric, T., Chinese Reverse Glass Painting: An Artistic Meeting Between China and the West (Romont, 2020) Giese, F., Thomsen, H. B., Ambrosio, E., Martimyanova, A. (eds.), China and the West: Reconsidering Chinese Reverse Glass Painting , Vol. 1 (Romont, 2023)
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Engraving of the Duke, 1751, Louis Simon L’Empereur
Portrait of the Duke, oil on canvas, David Morier, c. 1750, commemorating his victory at Culloden, 1746
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XVI. A GEORGE I WALNUT & BURR WALNUT BACHELOR’S CHEST The bachelor's chest is a classic piece of English furniture, characterized by its smaller dimension and fold-over top. Made in limited numbers between 1700 and 1740, these chests are highlyprized by collectors, particularly when crafted from walnut and burr walnut, as in the case of this piece. The present example is refined by delicate feather banding and reentrant corners. ENGLISH, 1720-25 Height: 29” / 73.5cm Width: 30” / 76cm Depth: 13.75” / 35cm LITERATURE Bowett, A., Early Georgian Furniture: 1715-1740 (Woodbridge, 2009), pp. 99-111 Macquoid, P., A History of English Furniture: The Age of Walnut (London, 1905) Christie’s, The Parry Collection (London, 1997) Christie’s, Three Woods: A Passion For Walnut, Oak and Yew: The Parry Collection (London, 2010)
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XVII. A GEORGE III IRISH OVAL CUT-GLASS MIRROR In the manner of John Dederek Ayckboum Decorated with cut blue and inlaid white glass, this example has the advantage of retaining its original sparkling plate. IRISH, 1780-90 Height: 24” / 61cm Width: 15.75” / 40cm LITERATURE The Knight of Glin & J. Peill, Irish Furniture (New Haven & London, 2007), p. 269 Child, G., World Mirrors 1650-1900 (London, 1990), p. 146, ill. 241 Wills, Geoffrey, English Looking Glasses (1670-1820) (Ldn., 1965), p. 127, fig. 157 Schiffer, Herbert F., The Mirror Book (New York, 1983), fig. 485
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XVIII. A PAIR OF GEORGE III NAUTICAL INTEREST FLUTED DECANTERS AND SET OF FIVE GLASSES ENGLISH, CIRCA 1795 Height: 11.25” / 28.5cm Diameter: 4” / 10.5cm
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XIX. A GEORGE II MAHOGANY DROP-LEAF TABLE Of classic form, constructed of fine quality figured mahogany of wonderful colour ENGLISH, 1745-55 Height: 28” / 73cm Width: 70” / 178cm Depth: 62” / 157cm PROVENANCE Apter-Fredericks, London Private Collection: London, UK LITERATURE Bowett, A., Early Georgian Furniture (Woodbridge: 2009), p. COMPARE Example standing in the Entrance Hall of Dumfries House, Ayrshire
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XX. A CHARLES II NEEDLEWORK PICTURE The needlework depicting King Charles II and his wife Catherine of Braganza, housed in the original marquetry frame ENGLISH, CIRCA 1680 Height: 19.75” / 50cm Width: 13.75” / 35cm
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XXI. A PAIR OF GEORGE III TRIPLE-RING DECANTERS A pure and classic design, this pair is a particularly pleasing shape and features bull’s eye stoppers. ENGLISH, CIRCA 1790 Height: 10.5” / 27cm Diameter: 4.5” / 11.5cm
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XXII. A GEORGE II MAHOGANY ARMCHAIR Of good colour, the drop-in seat covered in eighteenth-century French needlework ENGLISH, 1745-50 Height: 39” / 99cm Width: 28” / 72cm Depth: 25” / 65cm PROVENANCE Private Collection: North Yorkshire, UK
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XXIII. A PAIR OF GEORGE III MAHOGANY PEAT BUCKETS Of finely graduated ribbed form, constructed of quality mahogany of good colour, the brass liners later replacements IRISH, 1790-95 Height: 18” / 45cm Diameter: 15” / 40cm PROVENANCE Chieveley House, Berkshire
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XXIV. A REGENCY SPECIMEN MARBLE CENTRE TABLE The top attributed to Gioacchino Barberi, the base to Gillows Displaying 122 specimens superbly placed, this marble top is a testament to Barberi's mastery and sings with an irresistible lustre and rich patina, distinguishing this table from examples crafted later in the century. The effect of this spectacular table is enhanced by the micro mosaic harmoniously combined into the center, and the expertly-crafted original base. This union of artistic finesse and craftsmanship adds to the table's historical significance and aesthetic appeal. ENGLISH, 1805-15 Height: 29” / 74cm Diameter: 34.5” / 88cm PROVENANCE Dr J. S. Gordon, London, UK LITERATURE Collard, F., Regency Furniture (Woodbridge, 1986), p. 136
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XXV. A CHINESE-EXPORT BLUE & WHITE CRUET A finely potted and painted Kraak oil vessel of elegant ‘pomegranate’ form CHINESE, WANLI PERIOD 1573-1620 Height: 18” / 45cm Diameter: 15” / 40cm PROVENANCE Jorge Welsh, Lisbon Private Collection: Lisbon, Portugal LITERATURE Rinaldi, M., Kraak Porcelain: A Moment in the History of Trade (London, 1989) Welsh, J., Kraak Porcelain: The Rise of Global Trade (Lisbon/London, 2008)
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XXVI. A PAIR OF GEORGE III BURR YEW COASTERS Tightly-figured burr veneers of rich colour and patina ENGLISH, 1800-10 Diameter: 6” / 15.5cm PROVENANCE Apter-Fredericks, London
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XXVII. A PAIR OF CHINESE FAMILLE ROSE PAINTED ENAMEL SCONCES Delicately painted in vibrant enamels, this exceptionally rare pair of sconces, of which very few examples are known, a comparable pair being in the collection of Hermitage, St Petersburg, are in perfect condition, featuring enamel nozzles and drip-pans. Created with a technique believed to have been introduced to China by Jesuit missionaries in the eighteenth century, these prized works of art were made both for the Emperor and for export to the West. This pair shows the Daoist Immortal Magu standing on crashing waves and dressed in long flowing robes with a deer and attendant to her side. CHINESE, QIANLONG PERIOD (1736-1795) Height: 21.5” / 55.5cm Width: 14.5” / 37cm LITERATURE T. B. Arapova, Transactions of the Oriental Ceramic Soc. , Vol. 81, pp. 55-6, fig. 9 Jenyns, S., Watson, W., Chinese Art, The Minor Arts (Ldn., 1963), p. 264, fig. 123 Hodacs, Hanna, Silk and Tea in the North (London, 2016)
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XXVIII. A GEORGE II WALNUT STOOL Of rich colour and patina, the cabriole legs are refined with elegantly drawn C-scrolls and V-shaped mouldings, the drop-in seat covered in eighteenth-century floral needlework. ENGLISH, 1730-40 Height: 16” / 41cm Width: 20” / 50cm Depth: 15” / 39cm
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XXIX. A GEORGE III MAHOGANY BREAKFRONT-BOOKCASE Attributed to Thomas Chippendale The overall form of this bookcase, the Chinese influence in the pagoda waist moulding, astragals and fretwork, the panelled cupboard doors, dentil moulding and rocaille foliate handles are all design elements that appear across Chippendale’s patterns published in the first (1754) and third (1762) editions of his Director. Also of exceptional quality, displaying the finest cabinet-making, the whole coming in eight parts and the secretaire drawer fitted with immaculate precision, this bookcase almost certainly came from the workshop of Thomas Chippendale. This particular example relates very closely to Chippendale’s design for a bookcase featured in Sir William Chamber’s 1760 proposal for a study, later furnished by Chippendale c. 1760-62, at Pembroke House, London. Displaying Chinese, Classical and French design elements, this bookcase demonstrates Chippendale’s genius for combining the exotic styles that made up the English Rococo into a fully harmonised whole and retains its original handles, astragals and panes. ENGLISH, 1755-65 Height: 98.5” / 250cm Width: 74.5” / 190cm Depth: 19.5” / 50cm LITERATURE Gilbert, C., The Life and Work of Thomas Chippendale (NY: 1978), Vol. II, pp. 45-6, figs. 69-70
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HIGHLIGHTS FROM THE GALLERY
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104a Kensington Church Street, London, W8 4BU Tel: +44(0) 207 229 5892 rollestonantiques.com advice@rollestonantiques.com