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Arthur Gaskin (1862-1928) 'Farmyard in the Cotswolds', pastel, monogrammed and dated 1923 in pencil lower right, 21cm x 25cmProvenance:Hartnoll, 14 Mason's Yard, London SW1Y 6BU, purchased in 2001The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Minimal scuffs and display wear to the frame, otherwise seems ok.

Attributed to William De Morgan (1839-1917) Near pair of ewers or jugs with tulip necks, decorated with flowers and leaves, unmarked, 23.5cm high overall (2)Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Each with damage, restoration and hairline cracks. Most notably to the top rim and handles. Crazing to the glaze. Layer applied to the base, unknown substance which we cannot remove.

Louis Comfort Tiffany (1848-1933)glass vase, signed and numbered 'L. C. T K1562' to the base, with original paper label, 19cm highProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Minimal display wear, some scratches to the base as expected. Otherwise seems ok.

Miriam MacGregor (b.1935) 'A lament', wood engraving, numbered 21/60, signed in pencil lower right, 23cm x 14cmProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Minimal display wear and some scuffs to the frame. Otherwise seems ok.

Arts and Crafts study for a stained glass window, graphite sketch, unsigned, 55cm x 22cmProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Minimal display wear and scuffs to the frame. Otherwise seems ok.

Cotswold School oak, open bookcase, with inlaid decoration and height adjustable shelves, unmarked, 158cm wide x 132cm high x 36.5cm deep overallProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall marks, wear, scuffs and some scratches, most notably to the surface, and around feet/base as expected, consistent with age and use.

Christopher Williams (b.1949) studio glass chalice with cut decoration, signed 'Christopher Williams, 175, Glasshouse 1982' to the base, 16.5cm highProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, some marks and scratches, otherwise seems ok.

Arthur Gaskin (1862-1928) 'Figures working in a field', pastel, unsigned, 21cm x 31cmProvenance:Hartnoll, 14 Mason's Yard, London, SW1Y 6BU, purchased in 2001The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection. Minimal scuffs and display wear to the frame, otherwise seems ok.

Liz Allchin (Contemporary) 'Patchwork houses', oil on panel, signed lower right, 15cm x 15cmProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Minimal display wear and scuffs to the frame, otherwise seems ok.

20th Century English School Oak topped stool with handle cut out, stamped 'C.L' with 'British made' mark to the underside, standing on splayed legs, 30cm wide overall x 68cm highProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, marks, scratches, scuffs. Signs of age and use. Some stains to the top.

Pair of side or occasional tables standing on decorative metal bases with square glass tops, the bases measure 57cm high x 36.5cm wide excluding the glass, the glass tops are 45cm x 45cm (2)Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.

Pair of Mintons pottery vases with blue foliate designs on yellow ground, decorated in the Chinese taste, with Kensington Gore factory marks, painted and impressed marks to the base, 26cm high overall (2)Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Some damage and restoration. Both with minimal glaze and firing faults. Overall wear and some scratches.

Aesthetic movement light oak, bedside cupboard or occasional cupboard, with galleried back, metal handle, standing on a plinth base, 38cm wide x 80cm high x 34.5cm deepProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, marks, minimal signs of age and use as expected. Tiny scuffs to corners and edges. Minor marks to the top, please refer to images.

Cotswold School pair of brass terminals for a pair of fire dogs, of pierced design, 20th Century, unmarked, 16cm across (2)Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report.

Edward Porter for William De Morgan (1839-1917) pottery vase, decorated with peacocks and leaves, signed with initials 'E. P' and impressed tulip mark to the base, 20cm high overallProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.The lip/neck of the vase has damage and restoration. Some hairline cracks. Crazing throughout. Overall wear, display marks and some scratches.

Nigel Ramsey Newton (1903-1976)'Untitled house in the wood', oil on canvas, unsigned, 49cm x 59cmProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, scuffs and marks to the frame. Crazing to the paintwork. Creases and particular marks to the lower corners.

Attributed to Spode Aesthetic movement framed tile, with gilded decoration, 28.5cm x 28.5cm overallProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, scuffs and scratches. Some minor losses to painted decoration in places. We have not removed this from the frame to examine.

French wheel engraved glass vase 20th Century, decorated with flower and leaves with repeating decoration to the rim, unsigned, with silver mount to the foot, marked 'Saint Yyves, Paris' with indistinct hallmark, 13cm highProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, marks and scratches. Tiny fleabites to the top rim of the vase. Tiny dent to silver footrim. Otherwise seems ok.

Cotswold School oak, side table or cupboard with galleried top, fielded panelled door and carved handle, unsigned, 55.5cm wide x 96cm high x 43cm deepProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, marks and scratches, consistent with age and use. Minor marks to the top as expected, otherwise seems ok.

After Fra Filippo Lippi (1406-1469)'The Annunciation study', watercolour with gilded detail, unsigned, 26cm x 36cmProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.With overall wear and some losses to the frame. The painting is slightly loose in the frame. The picture itself seems ok.

Attributed to William Birch for Liberty & Co oak, card table, the fold over top with baize lining on splayed legs, unmarked, 50cm wide x 73cm high x 38cm deepProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall wear, some marks, scratches and scuffs. Baize not original. Some light water marks in places.

Louis Gueule at Elge pottery vase with mottled glaze, marked to the base, 21.5cm highProvenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Overall display wear and minor scratches. Minor glaze faults as expected. Marks to the base partially concealed by the glaze.

Pair of Persian brass converted lamps previously vases,with engraved foliate designs, unmarked, with later Kelim pattern shades, 60cm high to the top of the fitting, approx 79cm high including the shades (2)Provenance:The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Please note these are untested and would require rewiring. Overall wear, some scuffs and marks, consistent with age and use. Small dents in places, nothing major.

Albert Chevallier Tayler, RBC (British, 1862-1925)The caricature signed and dated 'A. CHEVALLIER TAYLER. 1887.' (lower left)oil on canvas53.5 x 76.5cm (21 x 30 1/8in).Footnotes:ProvenanceWith Williams & Son, London.Private collection, UK (acquired from the above the present owner, circa 1950s).'It is in their studies of interiors no less than in their open-air work that the Newlyn school prove their love of truth'1. So wrote Alice Meynell, the first serious chronicler of the painters in the west Cornwall fishing village in 1889, when addressing the work of Albert Chevallier Tayler. The artist had achieved a notable success at the Royal Academy in 1887, with Bless, Oh God, these Thy gifts to our use (sold Bonhams New York, 4 May 2016, lot 88) portraying a humble mealtime in a fisherman's cottage – a painting that was sometimes referred to as 'Grace before Meat'. Predating Frank Bramley's A Hopeless Dawn (1888, Tate) and Stanhope Forbes's A Village Philharmonic (1888, Birmingham Art Gallery), the telling details and subtilties of light and space made Tayler's work a classic for Mrs Meynell. She noted the singular beauty of the young mother and the accurate observation of the baby 'as it turns its head to sleep'. The Academy painting was immediately purchased by the dealer, Arthur Tooth, who clearly made visual connections between this work and his current stock of contemporary Venetian pictures, headed by those of Cecil van Haanen, Luigi Nono and Ettore Tito2. And while Italian comparisons were made at this time with Bramley's paintings, had Tooth delved deeper into the contents of Tayler's studio, the general affiliation would have been confirmed. In the summer of 1887, the dealer was prepared to sponsor Tayler's trip to Venice. Although, in the following exhibition season, pictures such as A Council of Three (sold in these rooms 23 January 2013, lot 96) and A Dress Rehearsal (Lady Lever Art Gallery, Port Sunlight) were sometimes thought to have been painted during his few months in Venice, the discovery of the present canvas tends to discount this3. While The Caricature shares the same setting as these two later paintings, it is likely to predate the artist's Venice expedition4. Furniture, crockery and prints differ in all three paintings; the samovar and drop-leaf table, seen in the present work, reappear in A Dress Rehearsal, while other details such as stick-back chairs, relate it more closely to earlier works – particularly Bless, Oh God, these Thy gifts to our use5. There are good reasons, therefore, for regarding the present canvas in which the eye is led into the space of the room by a seated figure on the left and debris placed on the floor, as a highly satisfactory prototype. Clearly what appealed to Tooth was Tayler's mastery of such naturalistic details. Few painters were more talented than he in orchestrating the mise-en-scène.The son of a solicitor, Tayler received a scholarship to the Slade School of Fine Art in 1879 where he met Henry Scott Tuke and Thomas Cooper Gotch. Like his classmates he spent the academic year 1881-2 in Paris at the atelier Julian and, in later expeditions to Devon and Normandy, became a summer painting companion of Tuke. In the autumn of 1884, he was one of an important group of painters who congregated in Newlyn and although he did not remain for more than a month, his subsequent arrivals and departures were logged with enthusiasm by Stanhope Forbes6. One other aspect of the present work is, however, both obvious and intriguing. Where other Newlyn maids and fishermen's wives are shown reading a letter or dressmaking, the figure on the right in the present painting is drawing a profile on the wall - perhaps that of her sailor husband, or boyfriend. In her left hand she holds a folded sheet of paper that has been removed from its envelope. The thought behind her drawing is probably contained in the primitive graphic representation on which she is engaged. She could almost be saying to her companion – 'this is what he looks like'. While one Newlyn painter, Fred Hall, was renowned for such simplified profiles of his comrades, Tayler's painting alludes directly to the impact this school of young image-makers must have had on an otherwise, unremarkable Cornish village. Yes, it supported one of the largest fleets on the south coast; yes, it had good access to markets by rail from Penzance and, yes, throughout the halcyon days of the Newlyn painters, its piers were constantly being extended and its harbour deepened to take the draught of steam trawlers, but the record of its life in the domestic sphere it owed to artists like Tayler. In this respect, the picture of an innocent unschooled draughtswoman, watched by her workmate, is both prescient and precise. 1Alice Meynell, 'Newlyn', The Art Journal, 1889, p. 102.2See for instance 'Messrs Tooth's Exhibition', The Era, 15 March 1884, p. 13; 'Mr Tooth's Gallery', The Graphic, 8 November 1884, p. 12. Tooth's interest in Tayler's work is reported by Stanhope Forbes (letter to Elizabeth Armstrong, dated 26 April 1887, Hyman Kreitman Archive, Tate).3A Council of Three and A Dress Rehearsal were shown at the New English Art Club and the Royal Academy respectively. Tayler's departure from Newlyn for his Venetian adventure and his return are reported by Stanhope Forbes (letters dated 14 June 1887 and 24 December 1887, Hyman Kreitman Archive, Tate).4It will for instance be noted that the present work contains a vase of what appear to be small narcissi – i.e. spring flowers. 5Exotic or foreign artefacts brought back by mariners were not uncommon in coastal dwellings – as are the double-page engravings from publications such as The Graphic, that are pinned to walls.6Letters written by Stanhope Forbes (dated 21 September 1884, 26 October 1884, Hyman Kreitman Archive, Tate, plus undated letters) include references to the difficulty Tayler was having in selling his work prior to 1887. It is clear from these that there was a close bond of friendship between Forbes and Tayler.We are grateful to Professor Kenneth McConkey for compiling this catalogue entry.For further information on this lot please visit Bonhams.com

An impressive pair of turned oak pricket candlesticks Probably 15th century North European, circa 1450-1500 Each topped by an oak pricket (originally iron), within a wide, dished, collared sconce, on a knopped and ring-turned pillar, and a large moulded spreading base, 21cm base diameter x 44.5cm high, (2) Provenance: Former Herman Baer Collection, Belgravia, London. Old label to underside, probably referring to a film/television rental. A significant part of Baer's business involved the regular hiring of early furniture and works of art for film productions in the 1950s/1960s. Literature: For a comparable single pricket see Victor Chinnery, ‘Oak Furniture: The British Tradition’, p. 81, fig 2:57, dated to early 16th century

A rare Charles II boarded oak and stained box, Dorset, circa 1660The frieze carved with two bold lunettes, each filled with stylised foliage stained black and red, 58cm wide, 37cm deep, 18cm highLiterature: For a comparable boarded oak box, formerly in the Michael Gray Collection, see Victor Chinnery, ‘Oak Furniture: The British Tradition’, (2016), p.316, fig. 3: 380b.One side frieze professionally replaced,

A rare Elizabeth I oak and polychrome-decorated child's doll, circa 1580Carved out of the solid, designed as a two-sided well-dressed standing lady, hands drawn across her waist, one face smiling, the other sad, retaining a substantial amount of original polychrome, 30cm highLiterature: See Victor Chinnery, ‘Oak Furniture: The British Tradition’ p. 397, fig. 3:496, for a very similar single-sided doll

An impressive Charles II oak coffer front, in the Elizabethan manner, Lancashire, dated 1669With four slender panels, each carved with a gadrooned-urn issuing flowering vine and pomegranates, the short central muntin rail carved with the initials 'SN' above the date '1669', all below a meandering vine-carved top rail, above a lozenge and roundel flower-filled rail and five panels, each carved with a similar urn filled with leafy-sprays, floral stiff-leaf stem carved front stiles and leafy scroll-carved spandrels, 163cm wide, 77cm highFor a comparable large settle, dated 1677, formerly in Moller Collection, Thornecombe Park, almost certainly from the same workshop, see Sotheby’s, 28 May, 1982 and illustrated R. W. Symonds. ‘Furniture Making in Seventeenth and Eighteenth Century England’ (1955), p. 76, fig. 116-117

A rare Henry VIII oak joined and boarded livery cupboard, circa 1520-40The top of two boards with simple narrow chamfered edge, over an early 16th century arrangement of two cupboards centred by drawers, the upper cupboard with a pair of boarded doors, with applied edge rails to simulate panelled construction, and centred by a fixed panel, all carved to the centre with a cross highlighted with punched-decoration, the lower cupboard with a single door, flanked by fixed panels, all framed with similar applied rails, but left plain, the middle tier with two drawers, carved in high relief with a stylized fleur-de-lys issuing fancy scrolls with highlighted punch-work, and centred by a wide rail carved to simulate a small panel centred by a boss whorl, on extended stile supports, the boarded sides each originally with a small ventilated aperture, probably a tracery, now splice-filled and with evidence of a former 'cheese-cloth’ cover, 148cm wide, 130cm highProvenance: Private Collection, Winchester.  The rarity of this cupboard is enhanced by the presence of drawers. Drawers are seldom found on early 16th century English furniture, and when present their construction could be comparatively crude, with the drawer simply running on its bottom, supported by the carcass rails and/or a simple underside bearer/board. The boards to this cupboard were supported not only by the frame, but also originally by the baseboard side edges, which extended beyond the drawer linings and engaged with grooved rails joined to the frame of the cupboard. This allowed for smooth operation of the drawers. For examples of English 16th century cupboards with a similar three-tier arrangement of cupboards centred by drawers see Murray Adams-Acton, Apollo, ‘Early Oak Cupboards and Hutches’, May 1933, pp. 181-6; The Burrell Collection, Glasgow, one illustrated Murray Adams-Acton, ‘Domestic Architecture and Old Furniture’ (1929), p.46a, fig,82a; Ralph Edwards. ’The Dictionary of English Furniture’ (1996), p.184; The Victoria & Albert Museum Collection, London, (no. W.11-1986); The Adler Collection Henry VIII lozenge-carved livery cupboard, sold Bonhams, London, 28 September 2016, Lot 364 (£74,500)17th century hingesOriginal drawer linings, drawer base board cut where it would have extended and later outer braceThe peg to the central fixed upper panel and fixed middle rail originally for central dividersOriginal base boardsAll back boards old period board replacement

A rare pair of James I oak joint stools, Salisbury, circa 1620 In the manner of the Beckham family workshop Each having a double-reeded top, cable and run-moulded rails, and slender columnar-turned legs, joined all round by plain stretchers, 43cm wide, 28cm deep, 52cm high (2) Literature: See Victor Chinnery, ‘Oak Furniture: The British Tradition’ (2016), p. 407 and Appendix III, for Humphrey Beckham (1588-1671) biographical details

An unusual Charles II oak, elm and snakewood side table, East Anglia, circa 1660Having a twin-boarded end-cleated top, a mitre-moulded freeze drawer with snakewood-veneered drawers, centred and flanked by corbels, bold scroll-profiled spandrels, on prominent ball-turned legs, joined all round by upper edge-moulded stretchers, on turned feet, 90.5cm wide, 58cm deep, 71.5cm highProvenance: The Moller Collection. The private collection of William Stokes.Literature: Illustrated R. W. Symonds. ‘Furniture Making in Seventeenth and Eighteenth Century England’ (1955), p. 61, fig. 93.

A good and documented mid-17th century oak six-leg refectory table, Trough of Bowland, North Lancashire, circa 1640-60 Having a highly impressive matching two-board top, with cleated ends, the frieze carved with regional tightly-curled scrolls, centred by the marriage initials 'TP' over 'MP', all remaining frieze rails channel run-moulded and all with integral scroll-profiled spandrels, on six cup-and-cover bulbous-turned legs, joined by bold rectangular-section peripheral stretchers and a central cross stretcher, inscribed line at right end of top indicating use as a shuffleboard, indication of catch box under right-hand end of the top, typical regional amber colour, good surface, 434cm wide, 80cm deep, 77.5cm high Provenance: Mitton Hall, Whalley, Lancashire. Literature: This table is illustrated Margaret Jourdain, ‘English Decoration & Furniture of the Early Renaissance 1550-1600’ (1924), p. 237, fig. 327. Listed as with Messers C H F Kindermann, Arlington Street, Mayfair, London.

An important, documented, Elizabeth I oak and inlaid overmantle, Gloucestershire, circa 1580Designed in three-tiers, each with triple reserve, headed by three panels carved with scaly-dragons, atop a prominent Romayne-type male bust, with beard and flat cap, within a leafy-carved circular surround, flanked by an angel mask carved arch, on figural columns, enclosing Nonsuch-style inlay, representing towers and arcades above a pair of 'swans at the watergate', all spaced by male and female terms, the lower three panels carved with framed guilloche, gadrooned-carved cushion-moulded base rail, 170cm wide, 97cm high, 29cm deepProvenance: Prinknash Abbey, Gloucestershire. Removed 1953Installed by Mary Bellis, Charnham Close, Hungerford, Berkshire, in the principal guest bedroomAfter the Dissolution of the Monasteries Prinknash Abbey was rented from the crown by Sir Anthony Kingston and used as a hunting lodge. In 1544, Henry VIII granted the Abbey to Edmund Brydges (d.1573). In 1557 Edmund succeeded his father as Lord Chandos of Sudeley, and Sudeley Castle become the families' principal residence, however, Prinknash continued to be used by the family until c.1628. During a period of remodelling at Prinknash the overmantle was probably installed by either Giles Brydges, 3rd Baron Chandos (1548-1594) or William Brydges, the 4th Baron Chandos, (1552-1602)Literature: The central panel, well-carved with a Romayne-type male bust, is illustrated in Victor Chinnery, “Oak Furniture: the British Tradition’, p.427, fig. 4:28, where the author notes ’This picturesque little portrait may be of the original owner’, namely Baron ChandosSee Lot 131 for a quantity of Elizabethan panelling also from Prinknash Abbey

Two Royal Crown Derby Mansion House Dwarfs; "Auction of Elegant Household Furniture" signed J Roome and "Theatre Royal Haymarket" signed S Kinsey (2)18cm highGood condition

A PAIR OF MONUMENTAL CARVED GILTWOOD PIER MIRRORS19TH CENTURY255cm high, 150cm wideThe combination of Chinese Ho-Ho birds and the Rocco scrolls and rocaille seen in these mirrors is a style popularised by Thomas Chippendale in his The Gentleman and Cabinet-maker's Director (1754-1762). This 'Chinese Chippendale' style was adopted by many other top London makers of the mid 18th century including Ince & Mayhew, Thomas Johnson and Matthias Lock. For a design for a 'Pier Glass Frame' by Chippendale incorporating these two design sources see, The Gentleman and Cabinet-Makers Director, The Third Edition (1762), Reprint by John Tiranti Ltd, 1939, plate CLXIX. Designs for related 'Pier Glasses' by Ince & Mayhew see The Universal System of Household Furniture, 1759, Reprint by Alec Tiranti, 1960, plate LXXX & LXXXII. For a pair of carved giltwood mirrors of of related form but slightly smaller scale, see Christie's, New York, 500 Years: Decorative Art Europe, 15th April 2011, Lot 497 (£242,500).For examples of similar mid-18th century mirrors incorporating multiple plates and elaborately carved frames, see page 112 and 115.Provenance:Barnwell Manor, NorthamptonshireWindsor House Antiques   Condition Report: Both with the marks, knocks, scratches and abrasions commensurate with age and use. Various old splits and chips. Frame have had the gilding refreshed, this appears to have been executed using gold leaf. The gilt surface with the expected wear, chips, losses and deposits. Mirror plates with some depletion, grey spots and bloom. Some plates appear to be old replacements but have depletion to match the others.Various old glued repairs to carved elements. These including repairs to the neck of one Ho-ho bird and to both pierced surmounts. Some minor gaps between mirror plates and the frame. The expected shrinkage cracks/gaps along the lines of underling construction. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A GEORGE III SATINWOOD AND MARQUETRY INLAID OVAL TRAYATTRIBUTED TO GILLOWS, CIRCA 17806cm high, 77cm wide, 56cm deepA similar tray attributed to Gillows was sold Christies, Important English Furniture, 8th Jan 2006, Lot 66 £5400.Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: the tray has a bow so that it does not sit flush on, for example, a flat marble surface; there are some repairs including some inset patches, stringing, sections of gallery and crossbanding; the tray has some cracks to the top; with some slight kinks to the gallery.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

A GEORGE III MAHOGANY ARMCHAIRATTRIBUTED TO JOHN LINNELL, CIRCA 1780Indistinct pencil inscription to one seat rail90cm high, 59cm wide, 66cm deep, the saddle seat 45cm high John Linnell (1729-1796) supplied much furniture to Adam Houses including Kedleston and Osterley. At Ammerdown House, Kilmersdon, Somerset built by James Wyatt, Linnell provided furniture in 1795 including seat furniture. See Clifford Musgrave, Adam and Hepplewhite and other Neo-Classical Furniture, Faber and Faber, London, 1966, p122, 'An attractive feature of the furniture is the unusual design of the arms. The termination of these is carved with a ball enclosed by a cluster of four bay leaves.'For an identical pair of chairs see Ronald Phillips, Fine English Furniture, 2018, pp 240-241, 'the sophisticated shaped backs with their channelled moulding with floral carving and leaf carved ball terminals correspond perfectly with the later years of the Linnell workshop's output, when the company was headed by John Linnell, William's son.See also Ralph Edwards, A History of the English Chair, 1950, illus 88; Percy Macquoid and Ralph Edwards, The Dictionary of English Furniture, revised edition, 1954, vol I, p293, fig 214; and Helena Hayward and Pat Kirkham, William and John Linnell, Eighteenth Century London Furniture Makers, 1980, vol II, p45, illus 87.  Condition Report: Old marks, scratches and abrasions, old chips and splits commensurate with age and use. The frame is of solid structure.Later upholstery with some stains (see additional images)Some additional old dark scratches and indentations in areas, mainly only noticeably to the top of the reverse of the back. Good colour and patina overall. Constructed from high quality timber. The corner blocks to the seat rails are possibly later additions/ replacements. No breaks to legs detected. Please refer to the additional images for visual reference to condition. Condition Report Disclaimer

A MAHOGANY WINDSOR ARMCHAIRIN MID 18TH CENTURY STYLEIn the Thames Valley style, large proportions124cm highCondition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: there is faded grain filler a treatment/feature seen on furniture made or repolished often in the early 20th century, suggesting that this chair could be early 20th century; there is a crack/repair to the left side of the bow back where it joins with the rectangular section upright; the underside of the chair has a striated grooved finish; some darker staining to one back leg.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

Y A LOUIS XV TULIPWOOD BUREAU PLATMID 18TH CENTURY76cm high, 157cm wide, 76cm deepProvenance:Sotheby's, London, 17th May 2022, STYLE London: Furniture, Clocks, Silver, Ceramics & Works of Art, Lot 72 (£7,216). Property from the Estate of Philip Astley-Jones.   Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Old splits, chips and losses. Various old veneer repairs - see images. Leather top is and old replacement and has the expected scratches, marks, scuffs and ring marks. One side of the top with two areas of what appears to be water damage/fading Bronze mounts are later replacements and have some minor tarnishing. One sabot detached but present. A key is present, the handle is misshapen and it only operates one lock. Some later blocks to the interior of the carcass. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A GEORGE III MAHOGANY CLOTHES PRESSBY GEORGE SIMSON, CIRCA 1810One interior tray bearing makers label titled 'GEORGE SIMSON, UPHOLDER, CABINETMAKER & UNDERTAKER NO19 SOUTH SIDE OF ST PAULS CHURCH YARD....',Solid mahogany drawer and slide linings throughout172cm high, 131.5cm wide, 56.5cm deep George Simson (d1839), was apprenticed to Noah Chivers in 1772 and became free of the Upholders' Company in 1780. By 1787 he was in business at the St Pauls Church Yard where he continued to trade until 1840. Simson subscribed to Thomas Sheraton's Drawing Book and Cabinet Dictionary. For other examples of George Simson furniture and an identical label see Christopher Gilbert, Pictorial Dictionary of Marked London Furniture 1700-1840, Furniture History Society, Leeds, 1996, pl 845, this label was used by Simson after about 1800, Simson ceased to use paper labels in about 1825 when the firm used an impressed mark.Condition Report: Press with the marks, knocks, scratches and abrasions commensurate with age and use. Old splits, chips and and losses - see images for details. Key present and operates lock to door. No key present for drawers but all are open. The timber with some expected sun fading. There are some additional dark marks and water marks to the timber in places - see images. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

Y A GEORGE IV ROSEWOOD AND BRASS MARQUETRY BREAKFRONT SIDE CABINETATTRIBUTED TO GILLOWS, CIRCA 1825The grille doors enclosing adjustable shelves89.5cm high, 153cm wide, 44cm deepFor a rosewood side cabinet of related form by Gillows, but of smaller proportions, see Christie's, London, The English Collector & Tapestries - 500 Years Decorative Arts Europe, 31st October 2012, Lot 330 (£22,500). For another closely related side cabinet, incorporating near identical grille doors to the ones on this piece, see Christie's, London, European Furniture, Works of Art, Tapestries and carpets, 15th May 2007, Lot 177 (£18,000)

A PAIR OF GEORGE III GILTWOOD AND NEEDLEWORK UPHOLSTERED ARMCHAIRSIN THE 'FRENCH' HEPPLEWHITE MANNER, CIRCA 1775each 94cm high, 66cm wide, 61cm deep overallProvenance:By repute- Sir Lionel Faudel-Phillips, Balls Park Hertford and thence by family descentFor chairs of related design see Christopher Claxton Stevens and Stewart Whittington, 18th Century English Furniture, The Norman Adams Collection, pp61-64. The chairs share similar 'fan' detail, moulded cabriole legs and scroll feet showing the influence of 'French lightness'. Variations on chairs with similar treatment of legs, were common at this period and were made by Hepplewhite, Chippendale, Cobb and other fashionable makers following the practice in Paris of rococo-style chairs being placed in strictly neo-classical interiors. These scrolled 'French' feet are referred to by Hepplewhite in his Cabinet-Maker and Upholsterer's Guide as a 'desirable' terminal.Condition Report: Both chairs with the marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. Frames have been re-gilded. The gilt surface has the expected cracking, chips, losses and wear. These losses expose the underlying gesso and timber in places throughout. Shrinkage cracks and some opening to joints. Please note, Dreweatts cannot guarantee the originality of elements beneath upholstery. Needlework and the chair frames are associated. The needlework to both chairs with wear, tears, small holes, some old repairs and sections re-woven - see images. The velvet elements also have significant wear, fading, tears, and water marks. The piping to the seats and backs is untidy with various sections lost or loose. One chair with movement within the joints of the front legs. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A FINE AND RARE WILLIAM & MARY WALNUT, FRUITWOOD, OLIVE-WOOD OYSTER-VENEERED CHEST ON STANDCIRCA 1690Incorporating floral marquetry, holly banding and stringing122.5cm high, 104cm wide, 61.5cm deep Provenance: Private collection ScotlandA closely related chest was sold from the collection of Peggy and David Rockefeller, Christies New York, English and Continental Furniture, 9th May 2018, lot 341, ($56,250 including premium).Condition Report: Marks, knocks, scratches and abrasion commensurate with age and use. Old splits, chips and some additional darker scratches.Good colour and surface with the just the expected fading in areas. Some old veneer and moulding repairs. Locks are 18th century replacements. No key present but all locks are open. Handles and escutcheons are replacements but in period taste. Backboards appear original. The expected evidence of old worm, including to the backboards, legs, feet, and interiors of the carcass of the stand. The stand is later constructed using old timbers and some original elements. The colour and form match the chest extremely well. Please refer to additional images for visual reference to condition.  Condition Report Disclaimer

A GEORGE III FIGURED MAHOGANY SERPENTINE FRONTED SERVING OR SIDE TABLECIRCA 177090cm high, 157cm wide, 73cm deepProvenance:A Holland Park Town House, formerly in the collection of Baron Ramsey of Canterbury (1904-1988)A closely related serving table from the Estate of the Duchess of Gordon and retailed by Norman Adams Ltd was sold Christies Important English Furniture 6th April 2000 lot 129 (£9400). Condition Report: Marks, knocks, scratches and abrasions commensurate with age and useSome old chips and splits.Some fading and additional marks to the top (see images)Of solid, stable structure.No obvious breaks to legs, in good original condition.Good original condition, well figured timbers to the top and friezeOne later supporting block to the undersideSome old worm, only mainly visible to the reverse of the frieze.Please see images for a visual reference to condition. Condition Report Disclaimer

                                    A GEORGE II MAHOGANY TRIPOD TABLEMID 18TH CENTURYWith distinctive spindle and oval gallery, shell carving, and lambrequin carving around each foot73cm high, 65cm diameterFor tripod tables with similar spindle and oval galleries see Ralph Edwards, The Dictionary of English Furniture, vol III, p206, figs 11-12.For a table with a related spindle and oval gallery see Christie's, London, 50 Years of Collecting: Decorative Arts of Georgian England, 14th May 2003, lot 60 (£184,500). That same table is illustrated in Christopher Claxton Stevens and Stewart Whittington, 18th Century Furniture, The Norman Adams Collection, Antique Collectors' Club, 1983, p299. 'The turned baluster gallery is strongly made with astragal mouldings above and below and intermittent ovals as part of the design.  Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: the top has marks, stains and some fading; some cracks and repairs to the gallery; the bearers and the tilt top mechanism have a fresher appearance but there are no signs of other fixing holes or indentations from any previous pieces; the top unscrews from the base on a turned wood screw; there is a crack along the grain of the timber to the underside of the table top; there are later screws around the edge of half the table to the underside; one leg with a crack along the grain of timber, possibly a repair, a crack to the top joint section of that leg.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

A GEORGE III MAHOGANY AND GILT BRASS ETAGERECIRCA 178099cm high, 68cm diameter overall A similar 'dumb waiter' from the collection of the Dukes of Argyll at Inverary Castle is illustrated in J. C. Rogers, English Furniture, 1967, p 239. fig 197. Another is illustrated in C. Claxton Stevens and S. Whittington, 18th century English Furniture: The Norman Adams collection, Antique Collectors' Club, 1983, p 273. A closely related example was sold in these rooms 10th December 2020, Lot 786 (£5,460 including premium).Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Timber with the minor old chips and splits. The bras galleries with the expected minor knock. Join between the galleries and the tops is opening slightly in places. The upper sections rotates on the stem but is slightly wobbly. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A SATINWOOD, MARQUETRY, PAINTED AND PARCEL GILT CARD TABLEFIRST HALF 19TH CENTURY 75cm high, 91cm wide, 45cm deepThis table bears similarities to examples attributed to Mayhew & Ince and Seddon, Sons and Shackleton. For a related table attributed to Mayhew and Ince see Lucy Wood, The Lady Lever Art Gallery Catalogue of Commodes, HMSO Publications, 1994, p220, pl 210-211, similarities include the marquetry painted satinwood, the carved reed and tie border to the table top, leaf carved leg capitals and carving to the legs. See also a pair of related tables attributed to Seddon, Sons and Shackleton see Christie's, Fine English and Continental Furniture, London, lot 119, (£12,000). Please note, this lot likely dates from the first half of the 19th century and not as originally catalogued. Condition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. Various lifting and undulation to the marquetry of the top. As illustrated, the painted and git surfaces with wear, chips, flaking, losses and dark deposits. Some losses to sections of moulding. Baize surface to the interior is a replacement. Later supporting blocks to the back of the rear frieze and across the underside of the top. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A GEORGE III BRASS MOUNTED MAHOGANY TABLE TOP WINE COOLER CIRCA 179026cm high, 37cm wide, 25.5cm deepAn Identical cooler was sold Christie's, English Furniture and Works of Art, London, 22nd May 2019, Lot 2 (£6,250). 

AN IRISH GEORGE II CARVED MAHOGANY CENTRE TABLE 19TH CENTURYWith solid figured mahogany book matched top 76cm high, 107cm wide, 67cm deep overall Provenance:Barnwell Manor, NorthamptonshirePlease note, this table is likely 19th century and not as originally dated in the printed catalogue. The form of this table and the elaborate mixture of stylistic carving typifies Irish furniture of the mid 18th century. Many examples of these richly carved motifs and features can be seen in tables illustrated in The Knight of Glin and James Peill, Irish Furniture, Yale University Press, 2007, pages 222-233. For an Irish centre table of similar size and related form but with less intricate carving to the frieze, see Christie's, London, Important English Furniture, 4th July 2002, Lot 70 (£105,650).    Condition Report: Old marks, scratches, knocks, chips, cracks and abrasions consistent with age and use, with some rubbing to dark staining.Good depth of colour and patina overall. The top in particular with a pleasing original surface and 'book matched' figuring to the timber. Some natural fading to the top as expected for age.There is some evidence of old worm but minor overall and not affecting the structure/ strength of any element. Please refer to the additional photographs as a visual reference of condition.Some of the blocks to the underside of the top are likely old replacements. The screws securing the top are possible replacements.  Condition Report Disclaimer

Y A WILLIAM & MARY KINGWOOD BUREAU CABINETIN THE MANNER OF THOMAS PISTOR, CIRCA 1690 The mirror panel doors opening to a shelved interior, the fall opening to an arrangement of small drawers and pigeon holes above a slide covered well and a tooled leather inset writing surface205cm high, 97cm wide, 57cm deep See Geoffrey Beard and Christopher Gilbert, Dictionary of English Furniture, Thomas Pistor (1694-d by 1711) is recorded as 'The Cabinet', Ludgate Hill, London, joiner and cabinet maker'. Pistor was a member of the Joiners' Company. On his death by 1711, his stock to be sold included 'three fine japan'd and walnut cabinets, five walnut, one India scrutore'. A kingwood fall-front cabinet formerly in the collection of the Hon Basil Ionides is inscribed 'Mr Thomos Pistor, Ludgate Hill, London'. See also Furniture History, 2016, Vol 36, 2000, pages 43-60, Adriana Turpin, Thomas Pistor, Father and Son, and Levens Hall, Cumbria.Condition Report: Cabinet with the marks, knocks, scratches and abrasions commensurate with age and use.This is a highly sophisticated and impressive piece of furniture of the period.The expected old chips, splits and losses - see images for details.Various old veneer and moulding repairs.Mirror plates have bloomed throughout (see images).Key is present for the upper door and operates lock.Other keys lacking, all locks openLock to the fall is lacking.Handles and escutcheons are replacements but suit the piece well. There are old plugged holes visible to drawer fronts where previous fixtures sat, these have been highly skillfully disguised.Feet are old replacements and match the piece extremely well. One foot detached.Some evidence of old worm.Please refer to additional images for visual reference to condition.Condition Report Disclaimer

A GEORGE IV MAHOGANY EXTENDING DINING TABLE ATTRIBUTED TO GILLOWS OF LANCASTER, CIRCA 1825Conforming to Gillows design of 'Imperial' dining table, with four additional leaf insertions73cm high, 358cm long (when fully extended), 137cm wideIn 1813 Gillows of London and Lancaster supplied a similar 'Set of mahogany Imperial dining tables on stout twined [sic] reeded legs and brass socket casters' for Broughton Hall, Yorkshire at a cost of 50 guineas. Prior to this, Richard Gillow had taken out a patent in 1800 for an extending table, known as the 'Patent Imperial dining-table' (M. Jourdain, Regency Furniture 1795-1830, London, rev.ed., 1965, p. 64-65, fig. 130).A similar dining-table also attributed to Gillows, was sold by The Lord Brownlow, Belton House, Lincolnshire, Christie's house sale, 30 April-2 May 1984, lot 92. Although no accounts relating to the Brownlow commission appear to have survived, there can be little doubt that much of the furniture at Belton, like this dining-table, was supplied by Gillows.A further closely related dining-table, almost certainly supplied to Peter, 5th Earl Cowper (d. 1836), Panshanger, Hertfordshire, was sold by a descendant, Christie's, London, 7 July 1994, lot 65 and another was sold anonymously, 13 November 1997, lot 133. Two other closely related tables sold Christie's, London, 31 October 2012, lot 113 £34,450 and another The English Collector, 14th Nov 2013 lot 104 £32,500.  Condition Report: Marks, knocks, scratches and abrasions consistent with age and use. Old splits and chips - see images. Some fading to timber and some colour variation between ends of table and leaves. All clips present. The castors to two of end legs are slightly loose. Some looseness to the join between one leg and the table with some splitting above. This could be easily secured by gluing. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A GEORGE III MAHOGANY CONCERTINA ACTION FOLDING CARD TABLEIN THE MANNER OF PAUL SAUNDERS, CIRCA 1765 73.5cm high, 92cm wide, 46cm deep (when closed) Paul Saunders (1722-1771) was recorded in 1761 as 'Cabinet maker, Upholder & Tapestry Worker at the corner of Charlotte and Streatham streets, Bloomsbury'. Throughout his career, Paul Saunders had important clientele, perhaps from his early contacts made in William Bradshaw's workshops, with identifiable commissions to Petworth, Holkham and Uppark.Saunders' cabinet making work has been somewhat overlooked in favour of his tapestry making, he was Tapestry Maker to HM the King from 1757 and his Soho workshop was known as the 'The Royal Tapestry Workshop'.The design of this table shows the influence of the French taste on English furniture in the mid-18th century, the marked curvature of the legs, and the carving to the knee. Saunders, and his then business partner Bradshaw were both subscribers to Thomas Chippendale's The Gentleman and Cabinet-Maker's Director, 1754, which first popularised the French style.

A PAIR OF FRENCH ORMOLU, BRONZE AND ROUGE GRIOTTE MARBLE SEVEN LIGHT CANDELABRA 19TH CENTURY Each surmounted by baluster-shaped vase issuing trumpet-shaped scrolling branches cast with foliate masks, above a stepped moulding and rectangular base mounted with ribbon-tied oak leaf wreath, drilled for electricity,later plinths127.5cm high, the bases 19.5cm wide, 188cm high overall Provenance: Christie's, London, Furniture, Sculpture and Carpets, 11th September 2008, Lot 193 (£11,250).Property of the Trustees of Lord Gretton

Y A REGENCY FIGURED MAHOGANY AND SATINWOOD CROSSBANDED SOFA TABLEATTRIBUTED TO WILLIAM TROTTER, EDINBURGH, CIRCA 1815On swept supports with leaf and flower head carved decoration and beaded drawers, the outermost banding of the top in kingwood75cm high, 95cm wide (unextended), 68.5cm deep Provenance: Private Collection, ScotlandThe central supports with beaded flowerhead roundels is a characteristic of the Edinburgh furniture-maker William Trotter in the period around 1815, and is particularly close to a stand that he supplied to Paxton House, Berwickshire, in 1814 (F. Bamford, A Dictionary of Edinburgh Furniture Makers, Leeds, 1983, pl. 58).Two near identical sofa tables attributed to William Trotter sold Christies Fine English furniture, London, 18th April 1996 lot 77, £9750 and another at the same venue Important English Furniture 7th July 1994, lot 127 £16,100.Condition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. Various old repairs - see images. The top with repaired cracks using filler, a strip of replacement timber to one side of the central section, and various veneer repairs to the crossbanding. A few isolated areas of old worm to underside of top. Various old repaired splits to base - see images. The hinged lopers beneath the leaves are later replacements. Keys present and operate both locks. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A PAIR OF GEORGE III BEECHWOOD ARMCHAIRSIN THE MANNER OF JOHN LINNELL, CIRCA 178094cm high, 60cm wide, 59cm deep Provenance:A paper label to one seat rail '209 Archer, Cowley & Co., DEPOSITORY, OXFORD HUGH CAWLEY ESQ J'Sir Robert Hugh Cawley, 2nd Baron Cawley of Prestwich 1877-1954 lived at Adderbury House, Oxfordshire from 1904, then Berrington Hall, Hertfordshire from 1937For a Linnell drawing circa 1775 of a related chair see Peter Ward-Jackson, Victoria and Albert Museum, English Furniture Designs of the Eighteenth Century, 1984, pl 241.John Linnell (1729-1796) supplied much furniture to Adam Houses including Kedleston and Osterley. At Ammerdown House, Kilmersdon, Somerset built by James Wyatt, Linnell provided furniture in 1795 including seat furniture. See Clifford Musgrave, Adam and Hepplewhite and other Neo-Classical Furniture, 1966, p122, 'An attractive feature of the furniture is the unusual design of the arms. The termination of these is carved with a ball enclosed by a cluster of four bay leaves.'Condition Report: Provenance:There is a paper label to one seat rail '209 Archer, Cowley & Co., DEPOSITORY, OXFORD HUGH CAWLEY ESQ J'Sir Robert Hugh Cawley, 2nd Baron Cawley of Prestwich 1877-1954 lived at Adderbury House, Oxfordshire from 1904, then Berrington Hall, Hertfordshire from 1937. There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: there are damages and repairs including to the arm and arm support joints some incorporating later timber with traces of glue; the upholstery margins of the back, arms and seat rails with many vacant holes from previous upholstery tacks; one chair with greater old restoration than the other including later front legs (with some variances of carving, for example garrya husks carved to the replacement leg that is a vacant channelled groove to the other) and re-tipped back legs, possibly with later cappings and casters, other sections possibly replacements; later blocks to the seat rails; with different upholstery webbing, both of some age, to each chair; there is some evidence of worm.Please see the additional photographs as a visual reference of condition.    Condition Report Disclaimer

A GEORGE II MAHOGANY LIBRARY READING TABLECIRCA 1755The divided rectangular top with opposing rising reading surfaces with removable book rests, each flanked by two candle slides to each side, one front with two frieze cedar lined drawers, above a brass-bound spreading fluted columnar stem on cabriole legs with pad feet and brass casters76cm high, 72cm wide, 68cm deep Provenance:Private collection LondonAcquired from Christies New York, Important English Furniture, 13th April 2000, Lot 217 ($24,675).This is a particularly sophisticated example having a pair of adjustable slopes, candles slides and drawers with the height also being adjustable by means of a screw-thread that runs the full length of the column. Intriguingly, the top brass band of the column is detachable, inside the band it is finely engraved, Tho: Colton Brewer Norwich 1736. Another related reading table sold Christies, Important English Furniture, London, 24th Nov 2005, lot 18 £28,800.Condition Report: Old marks, scratches and abrasions comensurate with age and use.Some old chips and splits comensurate with age and use. Some minor old repairs. Screws to the hinges of the ratchet arms vary slightly in size and some are white metal/ steel, some are brass and are likely honest old replacements, as the hinges may possibly be also. Some other screws are matched replacements also. No old breaks to legsThe handles to the drawers are likely period replacements. Some old marks adjacent suggest alternate handles with a 'loop' handle have been in position previously. The current handles suit well and match the design of the smaller handles to the slides. The handles to the slides appear original. The drawer locks are likely replacements, of 18th or early 19th century period. Lacking keys. The previous cut out apertures appear larger and there are some 'chipped out' areas adjacent to the current locks. There are later blocks added to the ends of drawers to ensure good running and that they stop in the correct position. Where the removable rests set into the top surface, the inset circular elements set into the top appears to be bone (see additional images)The revolving 'screw' action of the stem that allows the height of the top to be raised appears original. There may possibly be some old honest repairs where the top of the revolving element secure to the underside of the top. When raised up (where it can be used at a standing position) There is some relatively minor movement (as expected for age). The castors to the feet appear original but the casters have not been removed. The brass collars to the stem appear original. They have previously been polished but retain expected old marks and some patina Polished surface overall as expected, the base in particular has an excellent depth of colour and patina. Good original and patina to the upper section also, of a more naturally faded appearance due to positionPlease refer to the additional images for visual reference to condition. Condition Report Disclaimer

Y A GEORGE III SATINWOOD, MARQUETRY AND PAINTED SERPENTINE FRONTED COMMODEIN THE MANNER OF INCE & MAYHEW, CIRCA 178092.5cm high, 143cm wide, 61cm deepThe distinctive and heavily engraved neoclassical marquetry combined with the use of satinwood, sycamore and pear is characteristic of Mayhew and Ince's work.For commodes with related features see Lucy Wood, The Lady Lever Art Gallery Catalogue of Commodes, HMSO Publications, 1994, p128-129, pl 125, Lucy Wood refers to 'a distinctive group of marquetry furniture ... which is characterised by the use and disposition of highly figured veneers, especially harewood and the most unusual watered ash'. Whilst this lot being offered is satinwood, rather than ash, the veneers to the doors are unusually cut in the manner of Hungarian ash to give the distinctive grain figuring 'like watered silk'.For related 'back to back' leaf scrolls and husk marquetry see ibid p231, pl 220, a pair of corner cupboards, Badminton House, Gloucestershire.Condition Report: Marks, knocks, scratches and abrasions commensurate with age and useSome chips and splits, some minor losses to veneers.Some historic repairs and leg repairs incorporating some elements of later timber. visible cracks to the front leg veneers. One back leg with a clean split through it requiring re-gluing. (see images)With attractive figuring of the satinwood and of pronounced serpentine form. Good colour and patina overall. The top being lighter in colour as most often seen.The mounts complete and attached. One short mount section loose at one end. Minor evidence of old worm, including to the legs and backboard.Some minor lifting to veneers in areas throughout and expected cracking and minor loss to the corresponding painted decoration (see images)The central leg is a later replacement, there is clear evidence of an older/original leg positioned on the central timber block to the underside.. The later central leg has been applied to provide stability to the carcass, though there is still some movement or 'rocking' to the commode. This central leg has been fixed and glued from within the lower board. A later timber section has been attached to the backboard, this was most likely for affixing the commode to a wall when in situ to secure and could easily be removed.Lock is open, key is lacking.The right door does not sit entirely flush when closed, with a tapering gap appearing towards the base due to expected shrinkage over time. The lock escutcheons are not exactly level when the doors are closed due to the relatively minor movement of the doors. The previous catch fixed to the inside of the right door does not engage.Later glued down blue baize to the top surfaces of the interior shelves. Some screws to the door hinges vary in date and size. The expected shrinkage cracks/gaps along the lines of underling construction, evidenced by lifting and cracks to veneers. Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A REGENCY CALAMANDER, BRASS MARQUETRY AND GILT BRONZE MOUNTED SIDE CABINET ATTRIBUTED TO GEORGE OAKLEY, CIRCA 1815 146cm high, 160cm wide, 46cm deep This fine side cabinet is of the highest quality, its geometric brass ornament and exotic calamander veneers relates to the work of George Oakley (d.1841), who produced furniture in the Grecian style for the Prince Regent among other distinguished patrons during his long career which lasted from 1789 to 1819. The firm was granted a royal warrant in 1799 after receiving a visit from Queen Charlotte and other members of the royal family upon which '...her MAJESTY, the Duke and Duchess of YORK, and the PRINCESSES, &c., highly approved of the splendid variety which has justly attracted the notice of the fashionable world' (Morning Chronicle, May 1799). The design closely relates to a suite of furniture probably supplied by Oakley for Sir Arthur Grey Hazlerigg, 11th Baronet, upon his succession in 1817, at which time he refurbished his estate Noseley Hall in Leicestershire employing many fashionable suppliers of the day (see Noseley Hall, Sotheby's house sale, 28-29 September 1998, lots 146 and 147). Another well-known commission supplied to Charles Madryll Cheere for Papworth Hall includes a variety of furniture forms executed in calamander with stylized star brass-inlaid borders (a card table from this commission is illustrated in R. Edwards, ed., The Dictionary of English Furniture, rev. edn., vol.III, 1954, p. 202, fig.42). An almost identical cabinet was sold, Christies Important English Furniture, New York, 23rd October 2002, lot 17 $35,850 and another, 19 October 2000, lot 245 ($37,600).  

A GEORGE IV MAHOGANY WINE COOLERSTAMPED 'M. WILLSON 68 GREAT QUEEN STREET', CIRCA 1830Hinged to enclose lead lined divisions52cm high, 84cm wide, 48cm deepThe well-regarded furniture retailer, broker and appraiser Thomas Willson is first recorded in directories at 68 Great Queen Street, London in 1821. After his death in 1829 the firm was continued by his wife Mary and son Matthew until it ceased in 1854Condition Report: There are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are losses, observations and restorations including: the keyhole replaced; recessed casters to the paw feet; some veneer cracks; the front and sides panelled; splits to the underside; the zinc lining is partially disintegrated.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer

A GEORGE III MAHOGANY AND GILT BRASS MOUNTED WINE COOLER OR CELLARETIN THE MANNER OF DESIGNS BY CHIPPENDALE THE YOUNGER, CIRCA 1800The top with radiating fluting and berried finial above a brass bound and lion mask mounted body, on well carved lion paw feet70cm high, 86cm wide, 61cm deepA related form of wine cooler was supplied by Thomas Chippendale the Younger to Stourhead, Wiltshire as part of a notable commission completed there. One of the earliest designs for an oval cistern features in the Gillows 1787 Estimate Sketch Book of 1787 (see: L. Boynton, Gillow Furniture Designs 1760-1800, Royston, 1995, fig. 178). A similar wine-cooler was designed by James Wyatt in the 1790s for Henham Hall, Suffolk, seat of the Earls of Stradbroke.