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A PAIR OF GILTWOOD AND GESSO WALL MIRRORS, IN GEORGE III STYLEIN THE MANNER OF THOMAS CHIPPENDALE, 20TH CENTURYPierced and carved frame with chinoiserieseach 135cm high, 88cm wide, 9cm protuberance  Provenance: Private Collection, Lancashire Estate  Condition Report: PLEASE NOTE: ALL LOTS ARE LOCATED AT SACKVILLE WEST STORAGE IN ANDOVER (SP10 3SA) AND ARE NOT AVAILABLE TO VIEW.With wear, marks, knocks and scratches commensurate with age and handling Some loss, but present with lot, see images Surface deposits to reverseThe gold leaf is bright in colourADDITIONAL IMAGES: Please 'Ask a Question' to request additional images for this lot.Condition Report Disclaimer

A GREEN AND CREAM-PAINTED `GARRICK' FOUR POST BED OF GEORGE III STYLE 20TH CENTURY, AFTER THE ORIGINAL MADE BY THOMAS CHIPPENDALE FOR DAVID GARRICK The tester with carved lappets above reeded front posts with guilloche collars and square bases painted with sunflower paterae and husk swags, hung with cream cotton and silk drapes, with headboard and boxspring 242cm high, 138cm wide, 208 cm long This well-crafted copy of "The Garrick Bed" takes its name from the celebrated actor and theatrical manager David Garrick (d.1779). He commissioned the original bed for his Thames-side villa at Hampton, Surrey from the workshops of the Thomas Chippendale (d.1779) whom Garrick engaged for some 10 years from 1768. The original bed is now on display in the British Galleries at the Victoria & Albert Museum, London. An early 20th century copy of the Garrick bed attributed to Druce & Co., of very similar proportions to the present bed was sold (together with other bedroom furniture) Christie's London, 19th November 1992, lot 102, another was sold Christie's New York, 17th October 2003, lot 93.   Condition Report: County of origin: EnglandCondition Report Disclaimer

A PAIR OF GREEN AND CREAM PAINTED FOLDING TOWEL RAILS OF GEORGE III STYLE EARLY 20TH CENTURY, IN THE MANNER OF THOMAS CHIPPENDALE 91cm high, 64cm wide (folded) Together with two ends of a George III style green and cream painted single bed, of similar Chippendale design, decorated with landscapes with pagodas, approximately 140cm high, 110cm wide  

IN THE MANNER OF THOMAS CHIPPENDALE: AN ANTIQUE MAHOGANY CANDLE STAND70cm x 24cm x 24cm

A PAIR OF GEORGE III CREAM PAINTED AND PARCEL GILT POLE SCREENS IN THE MANNER OF THOMAS CHIPPENDALE THE YOUNGER, CIRCA 1790 Each with a circular banner with pleated silk damask roundel, on tripod base with ram's-heads each 136cm high Provenance: Private Collection from an historic townhouse, Wimpole Street, London

A PAIR OF GEORGE III CARVED GILTWOOD MIRRORS IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1760 103cm high, 60cm wide Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use.The mirror plates with significant depletion, foxing and bloom - these plates have significant age but are old replacementsVarious old repairs to the frame and carved elementsSome later tape securing backboardsSome shrinkage cracks.The gilded surface appears to have been refreshed at some point - it has the expected cracking, wear and fragmentary lossPlease see all additional images as a visual reference to condition.Condition Report Disclaimer

A GEORGE III CARVED GILTWOOD MIRROR AFTER DESIGNS BY THOMAS CHIPPENDALE, CIRCA 1760 111cm high, 45cm wide Provenance: Phillips of Hitchin Antiques Ltd., exhibited 'The Grosvenor House Antiques Fair, June 1973 Private Collection, Moor Park, Hertfordshire Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.The mirror plate is later with some spots of de-silvering. There are some losses and repairs with some fine cracks and repaired tips of scrolls for example. The gilding is pleasingly worn revealing in places hints of the underlying terracotta bole and white gesso.The back has a later section of hardboard inserted, there is later tape.It would be usual to perhaps see some evidence of old worm and though there could be there are no obvious signs. Some vacant holes to the back presumably from previous wall fixings.Exceptional design, with deep and fluid carving.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer

A GEORGE III MAHOGANY CHEST OF DRAWERS IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1765 101cm high, 104cm wide, 54cm deep Provenance: Christie's, South Kensington, The Country House Sale - Newton Hall (5984), 20th January 2010, Lot 294 (£3,000) Private Collection, Wiltshire Literature: Inventory and Valuation of the contents of Newton Hall, Felton, Morpeth, Northumberland, The Property of Brigadier General B. F. Widdrington, C.M.G., D.S.O., 1925, p. 53. Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions.Observations include: with some scratching and cleaned at some stage so it is a little thin on patina, though the design and timber are of good quality; oak drawer linings; there is a key that operates the locks that are of some age but possibly not the original locks; there is some evidence of old worm notably to the concealed blocks behind the feet.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report.Condition Report Disclaimer

A GEORGE III MAHOGANY HANGING SHELF IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1780 With turned feet possibly also for use on a tabletop 60cm high, 77cm wide, 28cm deep

A GEORGE III CARVED GILTWOOD MIRROR IN THE MANNER OF THOMAS CHIPPENDALE OR MATTHIAS LOCK, CIRCA 1770 200cm high, 111cm wide Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use. The frame with some old chips, splits and fragmentary losses. Some areas of more significant splitting to carved elements. See images. Some glued repairs to carved frames. The mirror plate with the expected foxing and bloom, with some areas of loss to the silvering. Part of the backboard could be original the top half has been replaced with a later board. The gilding has been refreshed at some point and has some fragmentary losses. Please see all additional images as a visual reference to condition.Condition Report Disclaimer

A GEORGE III MAHOGANY FRET CARVED STOOL IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770 The drop in seat upholstered with an 18th century French Aubusson tapestry depicting the Aesop fable 'The Tortoise and The Eagle' 50cm high, 43cm wide, 37cm deep Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.The aubusson part of a larger tapestry, with some wear and later stitching. There is evidence of old worm to the drop in seat rails.A neat small stool with good fretwork.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition - they are a vital part of this report. Condition Report Disclaimer

A CARVED AND WHITE PAINTED CONSOLE TABLE PROBABLY GEORGE III, MID 18TH CENTURY, IN THE MANNER OF MATTHIAS LOCK The rectangular Brocatello marble top above a pierced frieze of foliage, C-scrolls, and trellis, the cabriole legs carved with flower garlands and with foliate and block feet, redecorated, the marble replaced 86cm high, 141cm wide, 67cm deep The table relates to patterns by Matthias Lock, in particular, plate 5, as published in Six Tables (1746). Along with his other publications, these designs epitomise the advanced early rococo style of English furniture, some ten years before Chippendale's first edition (M. Heckscher, 'Lock and Copland: A Catalogue of the Engraved Ornament', Furniture History, vol. 15, 1979, plate 9). Several designs by Chippendale, for example in his Director, 3rd ed. 1763, pl. CLXXV and by Messrs Ince and Mayhew pattern book Universal System of Household Furniture, 1762, pls. LXXIII and LXXIV, served to popularise the pattern, called 'frames for marble slabs' or simply `slab frames'. Lock, of Long Acre, London, was one of the outstanding carvers and designers in the rococo style, and was acclaimed by the upholder James Cullen as 'reputed the best draftsman in that way that had ever been in England'. The first of his several published works was issued in 1740, he collaborated with Henry Copland in 1752, and then apparently worked in some form of partnership with Thomas Chippendale. Many of Lock's designs, including furniture for Earl Poulet at Hinton House, Dorset, are preserved in the Victoria and Albert Museum, London and in the Metropolitan Museum, New York. Condition Report: Good, structurally secure with wear and tear consistent with age and use. The catalogue illustration is accurate. The table has been previously stripped and freely white-painted. In places where the white paint has chipped the pine carcase wood looks grey and dry consistent with stripping. There are minor small chips and repairs to the carving including glued repairs to the central cartouche. There is a section of moulding loose to the front left foot. The marble top is associated but with some age, it is about 5cm too shallow, a strip of wood simulated as marble has been attached to the back edge of the table to make up the shortfall. While the table has the design and spirit of the 18th century, it might be noted that the construction of frieze and legs is unconventional but with the amount of white paint used it is not possible to be entirely confident in the dating. Condition Report Disclaimer

A PAIR OF GEORGE III MAHOGANY HALL CHAIRS IN THE MANNER OF THOMAS CHIPPENDALE JUNIOR, CIRCA 1800 92.5cm high, 45cm wide, 47.5cm deep

A GEORGE III MAHOGANY HALL OR SERVING TABLE IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1780 79.5cm high, 153.5cm wide, 64.5cm deep Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use Some minor old chips and splits The top with some additional scratches and ring marks The height of this table is slightly lower than other examples Some small old repairs, and glued repairs to spandrels Of solid and stable structure, the top with good figuring.Please see all additional images as a visual reference to condition.Condition Report Disclaimer

A PAIR OF GEORGE IV MAHOGANY HALL CHAIRS IN THE MANNER OF THOMAS CHIPPENDALE JUNIOR, CIRCA 1820 88cm high, 42.5cm wide, 41cm deep

After Thomas Chippendale - a mahogany and parcel-gilt wall mirror, having fret carved frieze and apron, h.107cm, w.56cmFrame complete, no losses.Gilding good.Glass very good.Good clean example.

A George V silver cream jug, having a Chippendale style rim with a generous flat spout, opposed by a decorative scroll handle, raised on three cabriole style legs, marks for Birmingham 1915, maker Thomas Jones, 76g

An intricately carved mahogany settee and two matching armchairs in the Chippendale style, featuring lavish detailing and finely executed craftsmanship. Each piece is adorned with a pierced and scrolling crest rail, floral and foliate motifs, and deep relief carving along the frame, arms, and cabriole legs. The armrests are particularly distinctive, terminating in carved dolphin or mythical fish heads, adding a unique and whimsical element to the set. The cabriole legs are richly ornamented with carved acanthus leaves at the knees, ending in ball-and-claw feet, a hallmark of 18th-century Chippendale design. The seating is upholstered in an elegant red and gold brocade fabric with floral and lattice patterns, complementing the richness of the dark wood frame. The padded seat and backrest provide comfort while maintaining an opulent aesthetic. This set is a striking example of revival furniture, inspired by the Georgian period and Thomas Chippendale's 18th-century designs. It merges classic British elegance with exotic decorative elements, making it an exceptional addition to both traditional and eclectic interiors. Settee dimensions: 53"L x 27"W x 43"H. Each chair dimensions: 34"L x 24"W x 43"H.Issued: Late 19th-Early 20th CenturyDimensions: See DescriptionCondition: Age related wear.

GEORGE III STYLE PARCEL-GILT PARTNER'S DESK, after the Nostell Priory desk by Thomas Chippendale, carved with lion bosses and shaped panels, hairy lion's paw feet, fitted with drawers and cupboards, triple leather inset writing surface, 86 (h) x 184 (w) x 96cms (d)Comments: one cupboard door missing, bearers for three other drawers lacking, losses, inspection advised.Provenance: The Cornelia Bayley Collection from Plas Teg, an important Jacobean house in Flintshire, North Wales Plas Teg: Once in a Generation Welsh House Clearance — Rogers Jones CoNote: the auction lots are contained in a warehouse near Wrexham. Viewing can be arranged by appointment by calling Richard Hughes on 07593 181017. Purchased lots require collection by appointment once invoices are settled and strictly within ten days (maximum) from the auction date. Purchases which are not collected by this time will incur a charge of £50 per item per day. Please note that most HGV vehicles can enter the warehouse for convenient collection, but we do not offer assistance for heavy and large objects, please be prepared.

A 19th Century Irish mahogany Partners or Estate Desk, in the Thomas Chippendale manner, the leather inset top (damaged) over a frieze with three opposing drawers with brass drop handles on square tapering legs, with brass castors, 206cms long x 124cms wide (81" x 49"). (1) 

An attractive Georgian style mahogany Chest, of two short and two long drawers in the manner of Thomas Chippendale, with blind chinoiserie frieze and uprights with lion mask brass handles on ogee bracket feet, approx. 122cms wide x 91cms high x 56cms deep (48" x 36" x 22"). (1)

A GEORGE III MAHOGANY SECRETAIRE BOOKCASE CIRCA 1770, IN THE MANNER OF THOMAS CHIPPENDALE With a replaced pierced swan neck cresting, above two glazed doors enclosing adjustable shelves, the secretaire drawer enclosing a fitted interior, above three graduated long drawers, with short grain kickers, one foot retaining laminated blocks 240cm high, 109cm wide, 49cm deep Condition Report: Marks, knocks, scratches, abrasions consistent with age and useThe cornice is a replacement element, the colour match is good to the remainder of the bookcaseThe shevles appear to be later timber, they also have later additional beading to hold plates or similar on display The glazing putty is of various dates - probably indicating some replacement of glass has occuredHandles and locks appear to be original, the handles have knocked and impacted the drawer fronts, there are also plugged repairs/reinforcements to the fall where these have need resecuring probably from over vigorous opening of the fall The fitted drawer with worn and cracked leather inset writing surface Please see additional images for visual reference to condition Additional measurements: The bookcase section measures: 110cm high The base section measures: 103cm high (including the lip to support the bookcase The cresting cornice measures: 28cm high Condition Report Disclaimer

A George II-style giltwood mirror, c.1850, in the manner of Thomas Chippendale, the ornate crest flanked with a ho-o bird and scrolling foliage, 88cm wide144cm high

Art Books - Sculpture Taschen, Henry Moore 'The Arts Council' 1968, Thomas Chippendale, John Kimberly Mumford 'Oriental Rugs' 1902, H. Avray Tipping 'English Furniture' Jonathan Cape 1922, etc, approximately twenty-seven :- One Box

A PAIR OF GEORGE III CARVED GILTWOOD WALL SCONCES. in the manner of Thomas Chippendale, both 18th century wall sconces with an acanthus-formed backplate, with finely carved foliate decoration mainly roses, both with two metal candleholders, 26cm high. *Condition: Generally good condition, minor losses and breaks with general wear.

A Regency giltwood fire screen in the manner of Thomas Chippendale the Younger, first quarter of the 19th century, the uprights with Egyptian herm finials and carved with stylised harebells, holding an adjustable frame enclosing a pile fabric panel, probably Savonnerie, depicting a golden pheasant and parrots in a wooded landscape and indistinctly signed, raised on splayed end supports united by a shaped anthemion and rosette-carved stretcher, and terminating in claw feet and castors,65cm wide55cm deep152cm high This is almost certainly one of the pair illustrated in the Drawing Room and the Green State Room at Holkham in H A Tipping and C Latham, 'English Homes', 1909, pp.394 and 396 respectively.In Holkham's archives, the earliest possible mention of the pair of fire screens is in an 1842 inventory, described as 'two carved and gilt fire screens, embroidered centres'. In the 1909 inventory, they are described as 'Aubusson pile tapestry, exotic birds after Buffon' and both were together in the South Dining Room at this point.Further still, the 1967 inventory mentions 'A Regency gilt framed cheval fire-screen, in the Egyptian taste...the rectangular panel filled with parrots and a golden pheasant in a wooded landscape in Savonnerie pile fabric signed ‘Cant’ the screen bearing a trade label inscribed to Jo [sic.] Smith, apprentice and successor to the late Mr Harewood [sic.] of Conduit Street, carver and gilder and looking glass and picture frame maker'. In 1794, John Smith was apprenticed to William Hurwood (fl.1780-92), carver and gilder of 18 Conduit Street, London, for a premium of £20 ('A Memoir of the author [John Smith] by his grandson', 'Connoisseur', 1903, vol.5, p.214). He set up in business soon after the end of his apprenticeship in 1801. His early trade label simply described him as 'J. Smith, Carver & Gilder, Looking Glass Manufacturer, and Picture Frame Maker, 98 Swallow Street, near Conduit Street' (example on John Hoppner's 'George IV as Prince of Wales', Wallace Collection, London).The pile fabric panel of exotic birds was probably based on a cartoon made for the Savonnerie manufactory in Paris, based on a similar panel housed in the Metropolitan Museum of Art, New York. The panel, attributed to Thomas Moore (c.1700-1788) was - according to the museum - woven in England and probably by Thomas Whitty (1713-1792) at Axminster (accession number 64.101.1155).Condition ReportSmall areas of loss to the gilding the carpet panel in good order, free from damages and still in strong colour, small areas of loss to the gesso harebells, chips to the feet, adjustable sash mechanism oporational. Please see additional images for reference.

A GEORGE III MAHOGANY AND CROSSBANDED CHEST OF DRAWERS IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1780 With gilt metal handles to each side 122cm high, 107cm wide, 55cm deep Condition Report: PLEASE NOTE: ALL LOTS IN THIS AUCTION ARE NOT AVAILABLE TO VIEW Please note the below condition report is the only one available. Marks, knocks, scratches and abrasions commensurate with age and use The locks appear to be later, with some drawers lacking locks, and no keys present - hardware? Discolouration, notably to one side Historic signs of old worm Some old signs of restoration, including to reverse Some losses to drawer edgingThe above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly. PLEASE NOTE: ALL LOTS WILL BE AVAILABLE TO COLLECT FROM SACKVILLE WEST STORAGE IN ANDOVER, SP10 3SA, TWO DAYS AFTER THE AUCTION. Condition Report Disclaimer

A GEORGE III STYLE MAHOGANY OCCASIONAL TABLE IN THE MANNER OF THOMAS CHIPPENDALE the square top with a raised and pierced gallery over a relief carved frieze, on conforming legs with pierced corner brackets and joined by a single shelf, 79cm high x 41cm squareProvenance: Wabey House, Upwey, Weymouth.

OLIVER BRACKETT: THOMAS CHIPPENDALE - A STUDY OF HIS LIFE, WORK AND INFLUENCE, London, Hodder and Stoughton, ND

Nantgarw Porcelain by W.D. John 1948 folio with 185 illustrations (42 in colour) SIGNED by author and printed on hand-made paper and a collection of books on furniture to include The Dictionary of English Furniture by Percy Macquoid & Ralph Edwards 1924 in 3 folio cloth bound volumes. English Furniture of the Eighteenth Century by Herbert Cescinsky (c.1910) in 3 half leather bound volumes. Ellwood English Furniture & Decoration 1680-1800. Symonds The Present State of Old English Furniture 1927. The Practical Decoration of Furniture by Shapland. Pictorial Dictionary of British 19th Century Furniture Design. History of English Furniture by Percy MacQuoid. English Furniture Design by Percival Hildesley 1923. Cassell’s Cabinet Work & Joinery 1912 with Thomas Chippendale, catalogues etc together with The Royal Guide to Wax Flower Modelling by Mrs. Peachey 1851 with 4 hand-coloured plates and a Batsford book on Architecture 1925 (26)

Description: A George III North Country mahogany and chequerbanded dressing chest possibly by Thomas Chippendale The rectangular top above a hinged slide with replaced baize, enclosing four drawers; above three long graduated drawers, with reeded quarter columns to the angles; on bracket feet, 102cm wide, 53cm deep, 79cm high. This dressing chest shares similar features to a group of documented chests believed to be by Thomas Chippendale which were supplied to Dumfries House, Ayrshire - catalogued for Christie’s proposed contents sale of Dumfries House, 12-13 July 2007, lots 106, 153, 213, 242, 251, 252. Although there are extant bills from Chippendale for furniture at Dumfries house, the above mentioned group of chests do not feature, but are tentatively attributed to him on the grounds of certain constructional features which can be seen on the above which includes the laminated blocking behind the bracket feet, packing nails and a red wash to the underside. The case for the Dumfries chests being by Chippendale is supported by the linen press at the house which shares these features with the aforementioned group of chests. A Chippendale bill dated 1763 is thought to refer to the linen press and thus establishes the link to Chippendale (see Christies proposed contents sale of Dumfries House, 12-13 July 2007, lot 236). The distinctive red wash as well as the use of packing nails appear on many of the pieces at Dumfries House supplied by Chippendale and notably not on those items with a documented link to other cabinet-makers. Although Chippendale's plainer mahogany furniture is traditionally more difficult to firmly attribute, commissions including the furniture supplied to Ninian Home for Paxton, Northumberland and to Lord Pembroke for Pembroke House, London have been key to identifying a workshop style, see C.Gilbert, The Life and Work of Thomas Chippendale, Bristol, 1978, p. 271-272. The same handle  and escutcheon pattern can be found on a small serpentine dressing chest by Chippendale at Erdigg Wrexham (NT 1147326.1) and a small dressing chest by Chippendale & Rannie for Nostell Priory, West Yorkshire (NT 960201). Buyers premium: All lots are subject to 25% Buyer's Premium plus VAT

A GEORGE III MAHOGANY 'BREAKFAST TABLE'AFTER A DESIGN BY THOMAS CHIPPENDALE, C.1770-80the drop-leaf top above a concave frieze drawer, fitted with a velvet lined writing surface, hinged and on a ratchet and with divisions for pens and ink, above a compartment with grille doors on stop-fluted tapering legs and brass castors75cm high, 50cm wide, 68cm deep

A RARE PAINTED PINE DOG GATE PROBABLY 18TH CENTURY In 'Chinese Chippendale' taste, the fretwork gate with remnants of old ironmongery, previously blue painted 90cm high, 91cm wide overall Provenance: Arabesque Antiques For a comparable example of a dog gate- please see these rooms, Drew Pritchard: The Collection, 05 Mar 2024, lot 279 (sold £1550 hammer). So-called 'dog gates' were fitted to the staircase newel post, either at the bottom to prevent dogs coming up the stairs, or at the top to stop children falling down. The earliest recorded 'dog gate' is a Jacobean oak example still at Haddon Hall, Derbyshire (Gervase Jackson Stops, The English Country House, London, 1985, pages 64-5). Another, of vernacular form, dating from the Charles II period, with an oak frame and pine wriggle work splats, is likely to have matched the fretted sides of the staircase to which it was once attached (Christie's London, Interiors, 26 June 2016, lot 370). The 'Chinese paling' fretwork follows patterns popularised by the publications of architects and cabinetmakers of the period, notably Thomas Chippendale's The Gentleman & Cabinet-Maker's Directory of 1754 and Sir William Chambers' Designs of Chinese Buildings, Furniture, etc. of 1757. Another related 'paling' example remains visible behind a staircase window in Rivers Street, Bath. Condition Report: Overall the painted surface is distressed, this has layers of paint and in areas (notably the top rail) this has been lost entirely and the pine surface below is visible - the wood here is 'sick' and spongey to the touch, the tops of the upright timber has holes and signs of rot to the ends - in other places the wood remains solid and stable, the metal hinge remnants have surface corrosion and losses, pitting.Overall with various knocks, marks, scratches, abrasions, flaking and paint lossPlease see additional images for visual reference to condition and appearance Condition Report Disclaimer

Society of Upholsterers. The IId. Edition of Genteel Houshold Furniture, In the Present Taste with an addition of several Articles never before Executed, by a Society of Upholsterers, Cabinet-Makers, &c. Containing Upwards of 350 Designs on 120 Copper Plates ... printed for Robt. Sayer, [1765], engraved title-page (dusty) and 120 copper engraved plates, contemporary blue wrappers, crude brown paper reback, some soiling and wear, 8voQTY: (1)NOTE:There appear to be several issues of this rare 18th-century pattern book, which was first published in 1760 with 60 plates. Little appears to be known about the Society, but it is thought to have been a group of the most fashionable furniture makers and designers in London. Robert Manwaring probably contributed most of the chair designs (the first 28 plates were reprinted in his Chair-Makers Guide in 1766). Other designs have been attributed to Thomas Johnson, William Ince and John Mayhew, Thomas Chippendale, Matthias Lock and Matthias Darley.

A set of four mahogany dining chairs, 19th century, in the manner of Thomas Chippendale, each with carved splat backs, pink floral upholstered drop-in pad seats, width 54.5cm

A set of six Irish mahogany dining chairs, by James Hicks, in the manner of Thomas Chippendale, last quarter 19th century, the splat backs to velour upholstered seats, on carved legs joined by fret work stretchers, each with makers plaque James Hicks, antique warehouse, 5 lr pembroke st, Dublin (6)Footnotes: Note: James Hicks set up his business in Lower Pembroke Street in 1894, having worked previously in Tottenham Court Road, London. He described himself as 'Cabinet Manufacturer, Collector and Restorer of Chippendale, Adam and Sheraton furniture'.Condition Report: all with scratches, stains and old gouges, three with repairs to the front cross stretcher, all structurally sound 

Y A GEORGE III ROSEWOOD, HAREWOOD, SABICU AND MARQUETRY WRITING TABLE IN THE MANNER OF JOHN COBB, CIRCA 1770 The front slide with an inset writing surface, a mahogany lined side frieze drawer, veneered to all sides 77cm high, 72cm wide, 45cm deepProvenance: Private Collection, Phillimore Gardens, London Pierre Langlois, introduced French designs to London, such as this table, in the 1750s and Thomas Chippendale supplied a related 'Lady's ... writing table' to Nostell Priory in 1766, in this French fashion, see Christopher Gilbert, The Life & Work of Thomas Chippendale, Cassell/Christie's, 1978. The marquetry and design of the present table suggests London court cabinet maker John Cobb (1715-1778) who made and supplied such furniture specifically with related floral marquetry in the 1760s.For a table with related woods, diagonal crossbanding, oval of flowers, foliate sprays, apron shape, crossed palms and husk swag marquetry see Christie's, London, Important English Furniture, 8th June 2006, lot 116, (£26,400 incl BP).For another example relating to the present table see Christie's, London, Important English Furniture, 4th July 2002, Lot 49, (£6,573 incl. BP). Condition Report: Table with the marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Various old veneer repairs - see images. Gilt metal mounts appear original. Small handles to the slide are possible old replacements. The inset baize to the slide is a replacement and has some wear and marks. One of the 'stoppers' to a rear corner of the slide is detached. No key is present but lock to side drawer is open. Some later screws to the interior of the carcass securing the base to the top. Two later screws to the underside of one frieze. All feet with small amounts of filler to the tips in the area between the timber and sabots. Top can lift from the base very slightly at one front corner.Please refer to additional images for visual reference to condition. Condition Report Disclaimer

A CARVED GILTWOOD AND CARTON PIERRE MIRROR LATE 18TH OR EARLY 19TH CENTURY 145cm high, 75cm wide The present lot draws inspiration from various 18th century mirror designs from notable 18th century designers such as Ince & Mayhew, John Vardy, Thomas Johnson, Thomas Chippendale, John Linnell and William Duffour. Amongst the contemporary London carvers, gilders and papier-mâché makers, perhaps the most celebrated was William Duffour (d. 1784) of Berwick Street (see G. Beard and C. Gilbert (eds), Dictionary of English Furniture Makers: 1600-1840, Leeds, 1986, p. 258). A sketch for a mirror by Thomas Johnson that shares similar motifs to the present lot is illustrated in E. White, Pictorial Dictionary of British 18th Century Furniture Design, 1990, p.386, pl. 98.

A GEORGE III MAHOGANY AND CROSSBANDED SIDE TABLE IN THE MANNER OF THOMAS CHIPPENDALE, LATE 18TH CENTURY 80cm high, 137cm wide, 67cm deep Provenance: John Thompson Antiques, Knaresborough, April 1993 The Estate of a deceased Gentleman. A copy of the receipt will be made available to the successful purchaser.

A FINE GEORGE III MAHOGANY SERPENTINE COMMODE IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770 The upper drawer fitted with an arrangement of lidded compartments with harewood crossbanding and further storage, below a baize lined slide 83cm high, 173cm wide, 60cm deep Provenance: Purchased from Charles Lumb & Sons Ltd, Harrogate, 27th September 1976 (£4,250). The original invoice and accompanying photograph is available with this lot. The elegant serpentine form of this commode is directly comparable to a number of commodes from some of Thomas Chippendale's most notable commissions, including Harewood House, Nostell Priory and Osterley Park. Further comparisons can be made to commode designs from The Gentleman and Cabinet-Maker's Director, 1762; two particular sketches by Chippendale share close form to the present lot and it can be argued that these two sketches combine to create the outline and drawer arrangement of this commode (V&A Museum D.720-1906; P. Ward-Jackson, English Furniture Designs of the Eighteenth Century, 1958, pl.106). A black lacquer commode attributed to Chippendale that also shares the same outline as the present lot can be seen, Sotheby's London, Important English Furniture, 7th & 14th May 1993, Lot 150. See also The Nostell Priory Commode, Nostell Priory, West Yorkshire, from the workshop of Thomas Chippendale (NT 959751) for a green lacquered example of similar form and outline. Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use Some of the old expected chips Some old moulding and veneer repairs (see images) Key present and operates all locks All metalware, including the handles and locks appears original Baize to the slide of the upper drawer is a replacement The central fitted section to the upper drawer appears to previously had a hinged dressing mirror, which is now lacking One loper is missing its stopper, so it can be completely removed Some possible later securing screws to the backboard The feet to the commode have been reduced in height from their bases. This has been neatly done and the commode stands well. The feet could be 'built up' again with the attention of a qualified restorer to bring the commode back to its previous height and proportions Small section of loss to moulding of base (see images) Please see all additional images as a visual reference to conditionCondition Report Disclaimer

Y A PAIR OF GEORGE III SATINWOOD, EBONY BANDED AND POLYCHROME PAINTED ARMCHAIRS ATTRIBUTED TO THOMAS CHIPPENDALE JUNIOR, CIRCA 1802 The castor backs stamped 'I.W.LEWTY'S PATENT' under a crown 89cm high, 59.5cm wide, 57cm deepFor closely comparable chairs see Judith Goodison, The Life and Work of THOMAS CHIPPENDALE JUNIOR, Philip Wilson Publishers, 2017, p318, pl 114 - one of a set of eight chairs made for the Cabinet Room, Stourhead, 1802. Please note, the painted decoration to both chairs is likely a later addition and is 19th century in date. Condition Report: Marks, knocks, scratches and abrasions commensurate with age and use Some old chips, splits and minor losses Please note, the painted decoration to both chairs appears to be likely later added. This decoration is 19th century and has various areas of wear, craquelure and rubbing The caning appears to be replaced to both chairs and is in good, tight condition, with only some small faults (see images) Some old neat repairs to both chairs (see images) The satinwood of pleasing patina and colour Both chairs structurally solid and stable Please see all images as a visual reference to condition.Condition Report Disclaimer

A GEORGE III PAINTED AND PARCEL GILT ARMCHAIR CIRCA 1780, IN THE MANNER OF THOMAS CHIPPENDALE Upholstered in pale rib woven fabric, the seat rail with carved V shaped notches and stamped 5246 3 92cm high, 62cm wide, 53cm deep overallSee Christopher Gilbert, The Life & Work of Thomas Chippendale, Volume II, pp. 112, 113, pl. 195 and 196 for a related underside of chair. Note the distinctive V-shaped notches to take glue cramps when the members were being assembled.  Condition Report: Overall there are some scratches, marks, chips, cracks and abrasions consistent with age and use.The upholstery is intact, with some depressions and marks (the additional photograph shows strobing).There are some losses and restorations: the painted finish could conceal some repairs, though there are signs to the joints of the oval back, the arm support joints, two leg/seat rail areas with small later inset repairs; later blocks inside the seat rails.The paint and gilt finish is of mellow, distressed appearance, it is unclear how much paint is of a later date. The underside shows the upholstery webbing, no area of the frame under the upholstery has been inspected.The chair of generous width, with fluid shape and carving.Please see all the additional condition report photographs through the link on the condition report email as a visual reference of condition. Condition Report Disclaimer

A GEORGE III MAHOGANY AND BRASS BOUND WINE COOLER OR CELLARET IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770 Opening to a lead lined interior 70cm high, 64cm wide, 48cm deep

A pair of neoclassical mahogany and ormolu pier tables, late 20th/early 21st century, but incorporating earlier elements, each of demilune outline, the stepped top above a frieze, mounted with twenty-three grand tour cameos of emperors, kings and historic figures,138cm wide63cm deep82cm high (2)This pair of tables is believed to have been made by the restorer Dennis Buggins for antiques dealer John Hobbs, for whom Buggins, between 1992 and 2007, adapted or outright fabricated nearly a thousand pieces, using traditional techniques and period elements to pass them off as genuine articles of fine antique furniture. The legacy of this relationship was brought to light in scandalous detail in 2008, when after disagreements and successive lawsuits between the two, Buggins not only revealed the estimated number of forgeries that he had executed for Hobbs, but the extent to which his works - some imitating the likes of Thomas Chippendale, Giles Grendey and the Russian cabinetmaker Christopher Meyer - were accepted by the market. Later that year, Sotheby's withdrew a pair of commodes catalogued as 'German c.1800', which carried a top estimate of $300,000, after Buggins' tip that they had been constructed from old wardrobes. Condition ReportGeneral knocks and wear throughout. Some repaired splits to the veneer, with some cleaning and polishing. A few slightly mishapen pieces of of the metalware, but all mounts are fixed securely. A few cracks to cameos, but all are stable and fixed securely. Joints tight and sound.Each cameo approx 6 x 5cm. We understand that they could possibly be 18th or 19th century. 

A modern George III style mahogany twin-pedestal desk, manufactured by Theodore Alexander after a design by Thomas Chippendale, the gilt-tooled leather inset top above three frieze and two cupboard doors, height 76cm, width 143cm, depth 91cm.

An important pair of George II walnut library armchairs1750-1755, possibly by William BradshawEach upholstered with associated 18th century gros and petit-point needlework depicting assorted flowers and foliage, with a shaped back and acanthus wrapped and rocaille carved c-scrolled arm supports, above a flared serpentine and shaped seat frame carved with scrolled foliage, pearled ovals and opposing c-scrolls interspersed by central combined lambrequin and shell motifs, on cabochon embedded pierced foliate lambrequin and shell clasped cabriole legs carved with bellflower pendants, terminating in acanthus wrapped and scrolled feet, with recessed leather castors, the reverse with a scroll shaped seat frame, one chair with an old printed paper depository label, each: 79cm wide x 81.5cm deep x 98cm high, (31in wide x 32in deep x 38 1/2in high) (2)Footnotes:ProvenanceThe present pair of armchairs were formerly with Mallett & Son (Antiques) Ltd.Subsequently, they were purchased by the current owner and vendor Sotheby's, London, 17 January 2019, Royal & Noble, lot 181.A pair of virtually identical parcel gilt walnut armchairs, which almost certainly originally formed part of the same suite, sold Christie's, London, 21 January 1960, lot 43. These were then acquired from A. Cook by J. Paul Getty later on that same year. Another pair of giltwood examples, likewise probably from this conforming suite, also sold Christie's, London, 20 November 1986, lot 21.A mahogany and parcel gilt side table attributed to Bradshaw, which shares a closely comparable treatment of certain carved features to that on the present chairs, sold Christie's, London, 23 November 2006, lot 60. Evidently the characteristically bold furling of the acanthus wrapped feet along with the prominent cabochon embedded frieze is executed in a very similar manner on this table as on the current models.The offered chairs also relate to a suite of seat furniture supplied by William Bradshaw for the 2nd Earl of Litchfield, Ditchley Park, Oxfordshire in 1743. A further group of seat furniture, probably by the same maker, sold Christie's New York, 16 April 2002, lots 250-257 and Christie's London, 30 March 2011, lot 35.The Rococo-inspired design of the above chairs, which are comprised of beautiful carved acanthus, cabochon and shell details and foliate motifs, is redolent of the output of the cabinet maker William Bradshaw (1700-1775), whose workshop was located in Soho Square, London. Bradshaw, who flourished during the 1750s, was renowned for producing, among many other pieces, seat furniture which was noted for its similarities to equivalent French patterns, and in particular French chairs, of the period. Bradshaw's furniture designs were generally distinguished by their more direct parallels to French furniture than the more mainstream anglicisation of French designs promoted by his contemporaries ( See J. Cornforth, 'How French Style Touched The Georgian Drawing Room', Country Life, 6 January 2000, pp.'s 52-55). Whereas other English versions of this French Rococo style typically tend to be more restrained and less exuberant in their detailing and execution, essentially more in keeping with the 'Director' aesthetic made fashionable by Thomas Chippendale (1718-1779).This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A George III mahogany serpentine commodeCirca 1770, in the manner of Thomas ChippendaleThe quarter veneered top with a cavetto moulded edge, above four long graduated drawers, the uppermost mahogany lined drawer with a baize inset sliding top, enclosing a central compartment with a later sliding lid flanked by six open compartments and six box-inset compartments, each with a chequer pattern-inlaid lid, over three oak lined drawers, flanked by canted interlaced blind fretwork angles, on shaped bracket feet, the mounts apparently original, with some red wash and laminated blocking to the feet, the central recess of the top drawer almost certainly originally fitted with a sliding hinged adjustable toilet mirror, 105cm wide x 56cm deep x 82.5cm high, (41in wide x 22in deep x 32in high)Footnotes:ProvenanceThe offered lot previously formed part of a private collection in London.Thereafter with Rolleston Antiques, London.Characteristics such as the laminated blocking to the bracket feet and the use of a red wash to some secondary timber surfaces, such as to the back of this commode, have historically been constructional elements closely associated with the output of Thomas Chippendale. In addition to this, the design used for the handles (which appear to be original) are fairly typical of Chippendale's output during the period 1765-1774.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A George III mahogany chest on chest attributed to a cabinet maker based on the historic St. Martin's Lane in LondonCirca 1760, possibly by Thomas ChippendaleThe dentilled segmental triangular and pierced trellis work pediment above an ogee and dentil moulded cornice, over an interlaced blind fretwork frieze comprised of an alternating pattern of rosettes, lozenges and opposing intersecting scrolls, with two short oak lined drawers below, above three long graduated oak lined drawers, flanked by canted interlaced blind fretwork angles, over a pagoda canopy carved waist moulding, with three long graduated oak lined drawers below, on shaped reverse ogee bracket feet, with original brass mounts, red wash and laminated blocking to the bracket feet, 114cm wide x 60cm deep x 201cm high, (44 1/2in wide x 23 1/2in deep x 79in high)Footnotes:ProvenanceThe present lot was formerly with Ronald A. Lee.Subsequently housed within a private collection, London.Thereafter with Rolleston Antiques, London.With a classical Palladian pediment, Chinese fretwork and pagoda canopy waist moulding together with French foliate handles, the offered tallboy epitomises the flair and genius of mid-18th century designers who harmoniously combined the exotic styles composing the English Rococo movement which flourished during the 1750s and early 1760s. This chest on chest is of particularly elegant proportions and very finely carved. The construction is first rate, and the mahogany used is of a particularly high quality. It is a wonderful example of the period and would have been made by one of the leading London cabinet makers undoubtedly located on or very close to the historic St. Martin's Lane.The design echoes patterns found in Thomas Chippendale's Director and shows strong resemblance to the documented work of William Hallett. However, the piece aligns most closely with the distinctive style and designs associated with Vile and Cobb. Many accomplished cabinet-makers had workshop premises in St. Martin's Lane, London, and the area emerged as the centre the London furniture trade. Vile and Cobb, who became Royal Cabinet-Makers to King George III, formed a syndicate with William Hallett in 1753 in St Martin's Lane. Thomas Chippendale and Mathias Lock were among other renowned cabinet-makers and carvers to have workshops in this area.Historically, characteristics which are evident on the above such as s-shaped keyholes, laminated blocking to the bracket feet, the presence of a red wash to some secondary surfaces, fine dovetails, the use of short-grain drawer kickers and a recognisable design of the mounts have been closely associated with the output of Thomas Chippendale. Consequently it is certainly a legitimate possibility that the offered model was made within close proximity to Chippendale's workshop.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A George III mahogany serpentine commodeCirca 1770, in the manner of Thomas ChippendaleWith projecting canted angles, the quarter veneered top with a reverse ogee moulded edge, above four long graduated drawers, the mahogany lined top drawer with a baize inset sliding top enclosing a central recess flanked by six shaped compartments each inset with a lidded box, each lid inlaid with boxwood and ebony chequer pattern stringing, with other compartments, the angles with interlaced blind fretwork, on shaped bracket feet, with a red wash and laminated blocking to the feet, the central recess of the top drawer almost certainly originally fitted with a sliding hinged adjustable toilet mirror, the mounts apparently original, 107cm wide x 58cm deep x 83.5cm high, (42in wide x 22 1/2in deep x 32 1/2in high)Footnotes:Provenance The offered lot was acquired from Bigland Hall, located near Lake Windermere, by Rolleston Antiques, the latter firm being then known as The Antique Home. Subsequently, the present commode was exhibited by Rolleston at the 1991 Grosvenor House Antiques Fair, from where it was purchased at that time.Characteristics such as the laminated blocking to the bracket feet and the use of a red wash to some secondary timber surfaces, such as to the back of this commode, have historically been constructional elements closely associated with the output of Thomas Chippendale. In addition to this, the design used for the handles (which appear to be original) are fairly typical of Chippendale's output during the period 1765-1774.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

A George II or early George III mahogany library armchair1755-1762With a shaped back, scrolled acanthus clasped, cabochon embedded and downswept scrolled arms with foliate wrapped shaped and scrolled terminals, above a shaped and serpentine seat frame carved with rocaille and conforming side aprons, on cabriole front legs with twin cabochon encrusted foliate sprays, opposing c-scrolls, acanthus and rocaille, terminating in inscrolled feet, on splayed rear legs, one rear leg probably a later replacement, 74cm wide x 74.5cm deep x 102cm high, (29in wide x 29in deep x 40in high)Footnotes:A closely related armchair to the present lot, with conforming rocaille carving to its seat frame, is illustrated in A. Coleridge, Chippendale Furniture, 1968, London, fig. 189.A Thomas Chippendale design for 'French chairs', dated 1753, with comparable rocaille carved seat frames and similar c-scroll and foliate Rococo carving to that on the offered example feature in the first edition of Chippendale's The Gentleman and Cabinet Maker's Director, pl. XX. The same drawing is replicated in a reprint of this seminal publication, 1966, New York, pl. XX, whilst also appearing in Pictorial Dictionary of British 18th Century Furniture Design, compiled by E. White, 2000, Woodbridge, pl. XVIII, p. 100.Two other related designs by Chippendale, again described as 'French chairs' in the 'Director', are illustrated in the same book, Ibid, pl. XIX and pl. XX, originally published in the first and third editions respectively. These have similar rocaille carving to that on the present chair with comparable shaped blocks to the base of their arm terminals.A further drawing, which is arguably closest of all to the offered model and described as a 'French Elbow Chair', features in 'The Universal System of Household Furniture' by William Ince and John Mayhew, published in 1762. This also appears in Pictorial Dictionary of British 18th Century Furniture Design, pl. LIX, p. 103.The opposing c-scroll, rocaille, cabochon embedded foliate spray and scrolled acanthus carving on the offered armchair are recurrent characteristics found on much of the finest French Rococo-influenced seat furniture made in England during the 1750s and even into the early 1760s.This lot is subject to the following lot symbols: TPTP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Furniture.- Chippendale (Thomas) The Gentleman and Cabinet-Maker's Director, second edition, title in red and black, engraved dedication leaf, 4pp. list of subscribers, 161 engraved plates, plate 26 bound upside-down, lacking half-title, some foxing and mostly marginal toning and soiling, title and final plate browned at edges, title with marginal repairs, contemporary blind-stamped reversed calf, worn, rebacked, folio, Printed by J. Haberkorn...for the Author, 1755.*** A very good copy overall of this landmark work of funiture design, first published a year earlier. The subscribers form a veritable who's who of contemporary cabinet-makers, joyners, carvers, upholders and enamellers inter alia.

A selection of books on antique furniture, art pottery, art and collectables, and others to include A History of English Furniture by Percy Macquoid, London 1904-1908; Thomas Chippendale - 'The Gentleman and Cabinet Maker's Director' reprint of the 3rd edition of 1762, and others Location:If there is no condition report shown, please request

A George III carved mahogany silver tablethe rectangular top with fretwork above a carved frieze on four foliate carved legs with scroll feet, c.1765An attribution to Thomas Chippendale (1718-1779) has been suggested

A large collection of furniture reference books and catalogues to include Oak Furniture, English Barometers, George Bulock Cabinet-Maker, French Furniture and Interior Decoration in the 18th Century, The Life and Works of Thomas Chippendale, The Work of Robert Adam, Sotheby's November 1993 Moller Collection sale catalogue, and October 1994 Stokesay Court sale catalogue (qty.)Provenance: The Estate of the Late Jackie Mann

A Chinese Chippendale style display cabinet on stand early 20th Century, the upper cabinet sections with fretwork galleries, carved finials and a pagoda carved crest with pendant 'bells', above astragal glazed cabinet doors enclosing shelves, the console base with a rectangular moulded edge top over a blind fret carved frieze, on pierced fret carved legs, 162cm wide, 64cm deep, 236cm high The design for this cabinet is taken from Thomas Chippendale's 'The Gentleman & Cabinet-Maker's Director, third edition, plate 102 (CXXXII) China Case

REFERENCE BOOKS ON FURNITURE, INTERIORS, ART (qty)REFERENCE BOOKS ON FURNITURE, INTERIORS, ART, ETC - A collection of reference books including William Bliss Sanders' Examples of Carved Oak Woodwork in the Houses and Furniture of the 16th and 17th Centuries (London, 1883, folio, illustrations, cloth), J. Munro Bell's Chippendale, Sheraton and Hepplewhite Furniture Designs (London, 1900, 4to, illustrations, cloth), Thomas Arthur Strange's An Historical Guide to French Interiors, Furniture, Decoration, Woodwork & Allied Arts (London, [1900], illustrations, cloth), Fairbairn's Book of Crests of the Families of Great Britain and Ireland ... Fourth edition (London, [c.1900], 2 vols., 4to, illustrations, original cloth), Francis Lenygon's Decoration in England from 1660 to 1770 (London, 1920, folio, illustrations, cloth, dust-jacket, second impression), Arthur Stratton's The English Interior. A Review of the Decoration of English Homes from Tudor Times to the XIXth Century (London, [1920], folio, illustrations, original buckram-backed cloth gilt), M. Jourdain's English Decoration and Furniture of the Later XVIIIth Century (London, [1922], folio, illustrations, original cloth, dust-jacket, jacket tatty), A. D. Dubuisson's Richard Parkes Bonington. His Life and Work (London, 1924, 4to, illustrations, original buckram-backed boards, NO. 371 OF 1,000 COPIES), Algernon Tudor-Craig's Armorial Porcelain of the Eighteenth Century (London, 1925, 4to, illustrations, original cloth, dust-jacket, NO. 453 OF 1,000 COPIES), Arthur L. Humphreys' Old Decorative Maps and Charts (London, 1926, 4to, tipped-in coloured plates, original red buckram gilt, NO. 342 OF 1,500 COPIES), Flemish & Belgian Art 1300-1900 (London, 1927, folio, illustrations, some staining, original reverse calf, NO. 102 OF 1,000 COPIES), A Commemorative Catalogue of the Exhibition of Italian Art Held in the Galleries of the The Royal Academy ... Plates (London, 1931, ?plate vol. only, 4to, illustrations, original green buckram gilt) and Christopher Claxton Stevens & Stewart Whittington's 18th Century English Furniture. The Norman Adams Collection (London, 1983, 4to, illustrations, contemporary quarter tan morocco gilt, NO. 7 OF 50 COPIES SPECIALLY BOUND BY ZAEHNSDORF for Kenneth King). Sold as a collection of books, not subject to return. (qty)

OLIVER BRACKETT: THOMAS CHIPPENDALE - A STUDY OF HIS LIFE, WORK AND INFLUENCE, London, Hodder and Stoughton, ND

Max Beerbohm, Book Of Caricatures, The Gentleman and Cabinet Makers Director by Thomas Chippendale etc.

A Sheffield silver circular Salver, c. 1937, with a Chippendale border and supported on three scroll leaf wrapped feet, by Thomas Bradbury & Sons, 10 1/4"; 20 ozs. (1)

A CARVED MAHOGANY CONSOLE TABLE LATE 19TH CENTURY, IN GOTHIC TASTE The polished stone top above a frieze decorated with quatrefoils and fluting, on square section legs decorated with further Gothic tracery 78cm high, 152cm wide, 59cm deepThe carved fretwork decoration on the present table demonstrates the influence of 'Gothick' designs featured in the influential design books by leading London cabinet-makers, such as Thomas Chippendale and Ince and Mayhew, in the mid to late 18th century. For a design of side table by Thomas Chippendale that illustrates some of the 'Gothick' attributes shown on this table, see Thomas Chippendale's, The Gentleman and Cabinet Maker's Director, The Third Edition (1762), printed John Tiranti ltd, London, 1939, pl.LVII. For a centre table of the period incorporating related fretwork carving, see Christie's, New York, The British Interior, 25th January 2001, Lot 290 ($16,500).  The collection from Trethill House, Cornwall Saleroom Notice: Please note that the cataloguing has been updated and now reads as follows: A CARVED MAHOGANY CONSOLE TABLE LATE 19TH CENTURY, IN GOTHIC TASTE Condition Report: Good condition, structurally secure with wear and tear consistent with age and use. The catalogue illustration is accurate. There are dents marks and scratches throughout. The stone top is a later replacement, the screw pockets in the backs of the frieze rails suggest it originally had a wood top. The fret carving throughout is shallow and the decoration on the frieze is carved in thin sections of timber, laid onto the frieze rails , a technique mot associated with the 18th century. Condition Report Disclaimer