A George III Mahogany and Ebony-Inlaid Serving Table in the Manner of Thomas ChippendaleCirca 1775Height 36 x width 72 x depth 26 1/8 inches.This lot is located in Chicago.Provenance:Hotspur Ltd., London, 1980Overall well-conserved condition without significant alteration. With a red wash noted on the underside. The top with wear including fading, darker discolorations and old scratches.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
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A George III Giltwood Bergere Attributed to Thomas Chippendale, Circa 1775Height 38 x width 29 inches.This lot is located in Chicago.Provenance:Hotspur Ltd., London, 21 June 1986 (with invoice)Note:This bergere can be attributed to Thomas Chippendale based on two virtually identical bergeres which were part of the documented suite supplied to the actor David Garrick (1717-1779) for his London townhouse on Adelphi terrace in 1772 (C. Gilbert, The Life and Work of Thomas Chippendale Vol. II, London, 1978, p. 98, fig. 160). The only apparent difference is the laurel leaf-carved apron which is on another bergere supplied to the Duke of Gloucester and is now in the Royal Collection at Clarence House, London (RCIN 100205).Seat height 18 inches. Originally painted, not gilded. Re-blocked. Small tipping repairs to the bottoms of two feet. The underside of the seat rail with cramp cuts and traces of an earlier green-painted scheme. Small additions of wood to the underside rail to repair upholstery tack damage.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A Matched Pair of George III White-Painted and Parcel-Gilt ArmchairsOne Attributed to Thomas Chippendale, Circa 1775; The Other Possibly Supplied in the Early 19th Centurywith minor differences in scale, carving and construction; redecorated.Height of larger 38 1/4 x 28 inches.This lot is located in Chicago.Provenance:Hotspur Ltd., London, 15 August 1990 (with invoice)Note:The design of this pair of armchairs presents another variation of Chippendale" repertoire of Neoclassical ornament for chairs produced in the 1770s which are considered to be among the most expressive of his oeuvre. Their 'French' form is clearly evident with their guilloche-carved backs, laurel leaf-carved frames and the vertical cross strut on the back of one chair. Although they are almost identical to the other pair of chairs in the Krehbiel collection (Lot 57), differences in the treatment at the tops of the legs as well as the scale and handling of both the carved medallions and the borders on the backs and seatrails indicate they were a separate commission.Moreover, the differences in the carving, construction and scale between the two present chairs may indicate the larger chair was supplied afterwards; the side chairs in the set attributed to Chippendale supplied to the Duke of Gloucester are one documented example (RCIN 100201, 100202) of Chippendale enlarging an earlier commission. The set of seat furniture supplied to Sir Penistone Lamb for the Saloon at Brocket Hall is the most closely related documented example to the present lot (C. Gilbert, The Life and Work of Thomas Chippendale Vol. II, London, 1978, p. 109, fig. 186) but the guilloche border and medallion back is also seen on the set for the Saloon at Nostell Priory around 1778 (Ibid., p. 108, fig. 184).Seat height 17 inches. Overall sturdy and usable, well-conserved condition. Re-painted and re-gilded. Though there are differences in scale, carving and construction between the two, this would not be immediately apparent when placed in an interior. However, Chair B is of a larger scale and its carving and construction show a different hand; it also has a cross strut to the back. Chair B's seatrail has several replaced strips to the top, particularly to the center back and left rail. The proper left side rail does not have a cramp cut and the rails do not have the same tool marks. The proper right front leg has a canted corner and stain, possibly to accommodate the block. The feet of chair B have more elongated ends with wood different from chair A (Chair B has possibly later legs). Its front legs have later blocks and one foot probably tipped. In the underside photos available upon request, chair "A" has more refined carving with more 'life.' Its rails are all consistent with cramp cuts in the same places. Scattered wood worm, chipping and wear on the feet. The foliate carving is more sculptural and the carved husks are better delineated. Chair A does not have a cross strut on its seat back. There is a pattern of holes from upholstery on chair B that do not appear on chair A. Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.
A PAIR OF GEORGE III MAHOGANY GAINSBOROUGH ARMCHAIRS in the manner or Thomas Chippendale with padded scroll arms and serpentine seats, the hipped and moulded cabriole legs terminating in scroll toes and leather-clad castors, 58cm wide (2)Provenance: One from the collection of the Hon. Stephen Tennant, Wilsford Manor, Wiltshire. Bt. at Sotheby's sale on the Premises, 15th October 1987, Lot 185.The other from Richard Courtney, Bt. at the BADA Fair, March 2004. The Courtney chair bears the label of “Sir B.R. Graham Bart”.
A GEORGE III MAHOGANY AND UPHOLSTERED STOOL IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1780 44cm high, 53cm wide, 39cm deep Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses,The frame appears to be solid and stable overall, the upholstery is later applied and this is in a condition that reflects its lack of significant age and light use in a domestic setting. the upholstery has been removed to the underside to one corner and the rails are visiblePlease refer to additional images for visual reference to condition Condition Report Disclaimer
Furniture History Interest, a collection to include Lengyon, The Decorations & Furniture of English Mansions, 1909; Brackett, Thomas Chippendale CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection
A SET OF FOUR GEORGE III MAHOGANY OPEN ARMCHAIRSIn the manner of Thomas Chippendale The oval backs above scrolled moulded arms and stuff-over seats with a fluted frieze on turned tapering and fluted front legs, restored, 63cm wide x 63cm deep x 90.5cm high, (24 1/2in wide x 24 1/2in deep x 35 1/2in high) (4)Footnotes:Provenance: Christie's, New York.This lot is subject to the following lot symbols: TPTP 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 further information on this lot please visit Bonhams.com
Drayton (Michael), Poly-Olbion, A Chorographicall (sic) Description of all the Tracts, Rivers, Mountains, Forests, and other Parts of this Renowned Isle of Great Britain, second edition, but first edition thus with its second part, London: Printed for John Marriott, John Grismand, and Thomas Dewe, 1622, lacking frontispiece and all maps, title-page and explanatory frontispiece leaf repaired, some internal gutter repairs, split and with movements, very occasional contemporaneous ink MS annotations, sadly affected by former cropping, late 19th century brown half-morocco gilt over marbled boards, preserving an 18th century Chippendale armorial bookplate: J.B. Barrett, folio.
NO RESERVE Furniture.- Gilbert (Christopher) The Life and Work of Thomas Chippendale, 2 vol., 1978; Pictorial Dictionary of Marked London Furniture 1700-1840, 1996; Furniture at Temple Newsam House and Lotherton Hall, 2 vol., Leeds, 1978 § Goodison (Judith) The Life and Work of Thomas Chippendale Junior, 2017 § Bowett (Adam) Woods in British Furniture-Making 1400-1900, 2012 § Glin (Knight of) & James Peill. Irish Furniture, New Haven and London, 2007 § Boynton (Lindsay) Gillow Furniture Designs 1760-1800, Royston, 1995 § Goodison (Nicholas) Ormolu: The Work of Matthew Boulton, 1974, illustrations, original cloth or boards, the first with slip-case, the rest dust-jackets; and c.30 others on furniture, mostly English (c.35)
A 19th century mahogany pedestal tripod low occasional table, in the manner of Thomas Chippendale, having a piecrust top with birdcage undertier, over spiral turned and acanthus carved column, to further conforming hipped supports with claw and ball feet, h.58cm, dia.45.5cmIn our opinion, this is late 19th century, not Georgian as originally catalogued.Stands well.Top rotates and tilts freely.Colour good and rich throughout.No breaks or losses.Some minor surface scuffs and light age wear only.
A GEORGE III MAHOGANY AND CROSSBANDED SERPENTINE FRONT COMMODE IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 177084cm high, 93cm wide, 50cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: There are knocks, scratches, scuffs, cracks and abrasions consistent with age and use.There are losses, restorations and observations including:Later sections of veneer including some with contoured outlines; replacement and repaired crossbanding veneers.The top with marks, repairs to the corners, some later staining.There is some evidence of worm.The sides with some fading; some cracks including some with filler.The front left top corner missing a section; the top drawer recessed slightly; drawer fronts with replacement contour outline veneers; the baize lining of the slide and the ring handles probably later; The feet repaired incorporating later sections and blocks, some paint splashes to the underside.The back with various later paper layers.The drawers lacking some locks, there are no keys and the locks are open; some cracks to the drawer linings, some with later glue.Please see the additional photographs as a visual reference.Condition Report Disclaimer
AN EARLY GEORGE III 'FLAME' MAHOGANY TEA CADDY IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1760 With all over chequer banding 15cm high, 25.5cm wide, 14.5cm deepProvenance: Property from the Phillip Lucas Collection, Spitalfields HouseCondition Report: some scuffs and knocks, looks to have been cleaned in last 30 years, vacant triple compartmented interior - red baize to interior worn and old insect damage. Some veneer liftingWear, marks, knocks and scratches as per age, handling, use, and cleaning. Please see additional images for visual references to condition which form part of this condition report.All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items.We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so, and satisfy themselves as to condition and accuracy of descriptionAll lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection.Condition Report Disclaimer
A GEORGE III MAHOGANY 'COCKPEN' ARMCHAIR IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1790 96cm high, 67cm wide, 59.5cm deep overall Provenance: Property from the Phillip Lucas Collection, Spitalfields HouseThe design for this chair relates to Chippendale's drawings for Chinese Chairs, 1753, featuring the re-entrant corners and trellis back and sides, combined with design features of 'Cockpen' chairs.For a comparable chair see Christie's, London, Property from two Ducal Collections, Woburn Abbey, Bedford, 21st September 2004, lot 146, (£5,019).
A GEORGE III MAHOGANY DESKIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770On concealed brass casters80cm high, 136cm wide, 60cm deep A GEORGE III MAHOGANY DESKIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770On concealed brass casters80cm high, 136cm wide, 60cm deepCondition Report: There are scratches, knocks, cracks and abrasions.There are losses, restorations and observations including:The shaped tooled leather inset dry, faded and with marks and indentations.The wood and veneers with some tears, cracks, some pitting, repairs.Some fading, pitting, knocks and cracks.The drawers with some splits and tape to the oak linings; the key operates the locks to all the drawers and the door, Some grooves to the carcass from the running of the drawers.The flower in roundel carving of pleasing quality and depth; this carving worn to the kneehole by feet!The doors to the kneehole lacking some beading and with some bowing, possibly rebacked to counter the bow but the timber and hinges look of the period, so perhaps this is not the case.The back of the desk is not veneered. The backboards with some cracks, the outer side of the backboards with vestiges of card.There is some evidence of worm.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
A George III mahogany Pembroke tableCirca 1775The rectangular top with an ovolo moulded edge above an opposing frieze carved to each end with rosette-hung husk festoons centred by a flowerhead, on square fluted tapering legs terminating in block feet, 39cm wide x 47cm deep x 72.5cm high, (15in wide x 18 1/2in deep x 28 1/2in high)Footnotes:The carved element to each opposing end on the frieze of the present lot is similar in design to a manuscript drawing by Thomas Chippendale, which is inscribed: 'Chipindale', and appears illustrated in C. Gilbert, The Life and Work of Thomas Chippendale, Vol. I, 1978, London, fig. 26, p. 15.This lot is subject to the following lot symbols: TPTP Lot 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 SUPPER TABLE, IN THE MANNER OF THOMAS CHIPPENDALE the rectangular top with drop-flaps, above a single frieze drawer, and a shelf beneath, encompassed by a wire mesh surround, on block legs and castors, 75cm high x 62cm wide (flaps down) x 65cm deepA similar table is recorded to have been supplied by Chippendale to Dumfries House. Invoiced on 5 May 1759 - €œA mahog: breakfast table of fine wood wt. a Writing drawer and wirework round and castors etc. £6-8€.
Chippendale style bureau dame / office table, England, XVIII century.In mahogany.Measurements: 77 x 108 x 64 cm.Rococo table in the Chippendale style. With a straight plan, it has a smooth top, with a leather tablecloth, bordered by a moulding. The moulding is decorated with decorative notches. The waist is supported by two drawers with iron handles, and stands on four slender legs with claw-and-ball feet. Foliage-like vegetal carving covers the shoulders of the slender legs.Thomas Chippendale (1718-1779) was one of the most important decorators of Rococo London, and indeed the originator of the English style of the period. The style known as Chippendale developed from about 1750, and although it began to decline in London around 1765, it was only then that it began to spread outside the capital, and indeed it was to enjoy great development in outlying centres for the rest of the century. The Chippendale style is composed of rococo features of French origin, Gothic and Chinese elements, mixed either separately, all together or only two of them.
A GEORGE III MAHOGANY OPEN ARMCHAIRIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1775 With dished and button upholstered seat 94cm high, 66cm wide, 58cm deep overall Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses,Overall solid and stable, some later blocks to the frame to support, signs of old woodworm, some repairs and restorations, the arms with filled plugs and old splits and cracks where these have been broken and repaired. The lower sections of the legs with spliced repairsThe frame appears to be solid and stable overall, the upholstery is later applied and this is in a condition that reflects its lack of significant age and light use in a domestic setting.Please refer to additional images for visual reference to condition Condition Report Disclaimer
° ° A large quantity of works on antique, and later, furniture reference books, to include Howard, Maurice - The Early Tudor Country House, George Phillip, 1987; Riley, Noël - Penwork, Oblong, 2008; Beard, Geoffrey - The National Trust Book of English Furniture, Viking, 1985; Austen, Brian - A Handbook of Styles in English Antique Furniture, W. Foulsham & Co Ltd., 1974; Billcliffe, Roger - Mackintosh Furniture, E.P. Dutton, 1985; Ochsner Karl, Jeffrey - Furniture Studio, University of Washington Press, 2012; Musgrave, Clifford - Adam and Hepplewhite Furniture, Faber and Faber, 1966; Bowett, Adam - Woods in British Furniture-Making, Oblong, 2012; Gilbert, Christopher - volumes I and II of The Life and Work of Thomas Chippendale, Studio Vista, Christie’s; Wood, Lucy - Catalogue of Commodes, HMSO, 1994; Hughes, Bernard and Therle - Small Antique Furniture, Lutterworth Press, 1967; Tomlin, Maurice - Catalogue of Adam Period Furniture, Victoria and Albert Museum, 1972; Hiller, Nancy R. - The Hoosier Cabinet in the Kitchen History, Indiana University Press, 2009, and others
A George III revival mahogany serpentine chest of drawers, in the style of Thomas Chippendale, crossbanded top moulded oversailing edge, above four gradual drawers with brass swan neck handles and foliage keyholes, flanked by three quarter gilt end pilasters canted corners, raised on carved bracket feet. 88cm H x 101cm W x 54cm D
A George III mahogany stoolIn the manner of Thomas Chippendale (British, 1718-1779), circa 1764With a curved seat on scrolled legs united by a turned roundel to each side, 60cm wide x 40cm deep x 50cm high, (23 1/2in wide x 15 1/2in deep x 19 1/2in high)Footnotes:This stool is similar in design to that of a hall stool designed by Thomas Chippendale for the Elder to Christ Church College, Oxford, in 1764 for use in their Library. It became a popular design with other versions known by Ince & Mayhew in 1762 and by Robert Manwaring in 1765. It is also recorded in Christopher Gilbert's The Life and Works of Thomas Chippendale that a 19th century cabinet maker, J Lane, is recorded as having supplied a stool of similar design. Similar examples can be found at the V&A (accession number W.5-1963), as well as at Petworth House (NT 485384.2) and of course Oxford University.Literature: Christopher Gilbert, The Life and Works of Thomas Chippendale, fig. 386 and pp. 164-5.This lot is subject to the following lot symbols: TPTP Lot 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 fine pair of George III satinwood, burr elm, and purple heart marquetry commodesThe serpentine tops inlaid with scrolled acanthus leaves, trailing bellflowers, floral filled cornucopia and insects, one with a later burr elm border, the other with an inlaid border, above panelled doors with a central shaded flower head, enclosing a shelved interior, the sides inlaid with urns and ribbon tied garlands of bell flowers, on parcel gilt turned and fluted tapering legs, possible adaptations to the doors, 122cm wide x 55.5cm deep x 88cm high, (48in wide x 21 1/2in deep x 34 1/2in high) (2)Footnotes:The offered lot relates to a group of commodes associated with the London cabinet-makers William Ince & John Mayhew (1758/9-1804) . The principal examples have been identified by the furniture historians Hugh Roberts, in 'The Derby House Commode', The Burlington Magazine, vol. CXXVII, no. 986, May 1985 and L.Wood in The Lady Lever Art Gallery: Catalogue of Commodes, London, 1994, pp. 195, 203, 210, 217, 222, 226 and 236. The repertoire of ornament featured on the commodes here, typified by ribbon-tied husk swags, fan spandrels, urns and bold central medallions are likewise present on the examples discussed in Roberts and Wood ops. cit. The commodes forming the subject of the above cited articles include a notable pair with ribbon-tied swag marquetry, at Broadlands, Hampshire, which are firmly linked to large payments to William Ince in the 2nd Viscount Palmerston's personal accounts between 1765 and 1797 (see Roberts, op. cit., fig. 23); a commode, in The Lady Lever Art Gallery, Port Sunlight (L. Wood, op. cit., pp. 210-16, no. 24) and an unprovenanced commode in the Victoria and Albert Museum, W.10-1917, illustrated in M. Tomlin, Catalogue of Adam Period Furniture, London, 1972, p. 171 and Roberts, op. cit., fig. 19. A biography of Ince and Mayhew is included in Geoffrey Beard and Christopher Gilbert, The Dictionary of English Furniture Makers, 1660-1840, 1996 pp. 589-598.The central 'Venus-shell' medallion here also relates to those featured on a pair of card tables at Newby Hall, Yorkshire which were probably supplied by Thomas Chippendale (d.1779). The marquetry scrolling tendril bordering the tops to the Newby card tables have further affinities with the outer top border retained on one of the present commodes (see C. Gilbert, The Life and Work of Thomas Chippendale, London, 1978, vol. I, p. 267, vol. II, figs. 408 & 496). Other furniture with related inlay was supplied by Gillow of London and Lancaster in 1788 (see L. Boynton, Gillow Furniture Designs, Royston, 1995, figs. 12 and 24 and pl.12 and Susan Stuart, Gillows of Lancaster and London 1730-1840, 2008, vol II, pp 14 – 15). A pembroke table with a closely related shell medallion to its top sold Christie's London, 2 May 2002, lot 181.This lot is subject to the following lot symbols: TPTP Lot 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 FINE EARLY GEORGE III MAHOGANY LIBRARY ARMCHAIR POSSIBLY IRISH, CHIPPENDALE PERIOD, C.1760 the arched back above slightly scrolled and outswept arms with flowerhead terminals and moulded supports, the dished, stuffed-over seat above cabriole front legs and swept and slightly twisted back legs, carved with vines, anthemions and flowerheads, on scroll feet Provenance Henry Spencer & Sons, A Sale at Chatsworth, Derbyshire, 5-6th December 1957, lot 240 where described as: 'A Chippendale mahogany elbow armchair of the most elegant proportions. Grooved & channelled arms terminating in rosettes and supported on slender cabriole legs with scroll ears and carved at the knees with anthemiums ending in volute feet. The seat, back and armpads covered in worn crimson-silk damask.' Bought by R. Shaftoe, 17-18 Regent Parade, Harrogate, from whom bought by the current vendors. Literature D.Cowie (ed.), International Antiques Yearbook Encyclopedia & Directory, 1963-64, p.689 where illustrated covered in the 'worn crimson-silk damask' as mentioned in the Henry Spencer catalogue. Catalogue Note Correspondence with the Curator of Chatsworth suggests this chair may have been brought into the Chatsworth Collection rather than being commissioned by the Devonshire Family. The Henry Spencer sale in which it was sold was described as an 'odds and ends' auction of furnishings of lesser rooms in which the children of the Duke lived. The grapevine decoration on the legs is reminiscent of a suite of chairs made for Thomas and Lady Louisa Connolly for Castletown, Co. Kildare. See The Knight of Glin and James Peill, Irish Furniture, pp.122-123 pls.166 and 167.
A GEORGE III MAHOGANY CARD TABLECIRCA 1780, IN THE MANNER OF THOMAS CHIPPENDALE Of serpentine outline, with moulded baize lined twin flap top and plain frieze, on moulded legs headed by carved foliate brackets, a split to the top.72cm high, 91cm wide, 45cm deepCondition Report: Overall scratches, knocks and abrasions consistent with age and use.There are losses, observations and restorations including: the carved ear at the top of one leg is detached and needs to be fixed in place; the beech bearers to the back hinged legs are probably later replacements; there is some evidence of worm; the green baize is later; some filler to the top.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
A GEORGE III MAHOGANY CARD TABLECIRCA 1780, IN THE MANNER OF THOMAS CHIPPENDALE Of serpentine outline,with bead moulded edge, the moulded baize lined twin flap top and plain frieze, on moulded legs headed by carved foliate brackets, a split to the top.75cm high, 91cm wide, 45cm deep Condition Report: Overall scratches, knocks and abrasions consistent with age and use.There are losses, observations and restorations including: a split to the top along the grain of timber; filler to the split and elsewhere; at least one section of beading are discreet replacements; there is evidence of worm to the bearer of one hinged back leg area and elsewhere; some repairs to the carved ears at the top of the legs; some cracks to the hinge area; the green baize later; with cracks visible under the green baize; some later repairs to the underside. Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
A CARVED GILTWOOD MIRROR LATE 18TH/ EARLY 19TH CENTURY, IN THE MANNER OF THOMAS CHIPPENDALE with divided bevelled arched rectangular plate,carved overall with scrolling foliage, acanthus scrolls and flowering branches, the arched c-scroll carved cresting with eagles resting on rockwork, foliage and acanthus leaves, the apron with confronting acanthus and c-scroll carved clasp244cm high x 101 cm (at the widest point)Provenance:The Crawley Boevey Family Sold Flaxley Abbey, Gloucestershire: Catalogue of the Valuable Contents, Bruton, Knowles & Co., 29 March - 5 April 1960, lot 1232, 'A FINE CHIPPENDALE WALL MIRROR IN CARVED GILT WOOD FRAME, fitted two plates with narrow outer borders finely carved with C scrolls, acanthus and flowering trees, a fine carved and shaped pediment set with birds, overall measurements, 8 ft. high, 3ft. 6 in. wide.' Literature: J. Lees-Milne, 'Flaxley Abbey, Gloucestershire - III: The Home of Mr. and Mrs. F.B. Watkins', Country Life, 12 April 1973, p. 982, fig. 5, The Morning Room. T. Messel, Oliver Messel: in the theatre of design, New York, 2011, p. 124, 'the morning room' This mirror is an interpretation of a design for a pier glass by Thomas Chippendale (1718-79) (see plate CLXIX for a related design published in Chippendale's The Gentleman and Cabinet-Maker's Director, 3rd edition, 1763). As Oliver Messel was initially commissioned for the interiors of the Morning Room and Drawing Room, it seems likely that he incorporated this historic mirror from the original Crawley-Boevey family collection into his scheme for Flaxley after it had been bought by Frederick Baden Watkins in the 1960s. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, signs of repair to some elements which have previously broken off and have been stuck back in placeChipping and flaking to the gilt surface and some losses to some elementsThe large bevelled plate is almost certainly a replacement, it has some bloom and depletion and has some age but not period to the frame, other plates with severe bloom are more likely to be original Dirt and discolouration to the gilt surfacePlease refer to additional images for visual reference to conditionCondition Report Disclaimer
Set of four Victorian chairs; England, late 19th century.Carved mahogany wood.Measurements: 93 x 46 x 47 cm.Set of four English Victorian chairs, with a structure in mahogany wood of an intense dark reddish tone, decorated with carvings in several levels of relief. The seat is upholstered and padded, as is the central area of the backrest. The design has historicist roots, inspired by the creations of Thomas Chippendale (1718-1779), the leading English rococo cabinetmaker. Thus, we see a stylised structure that combines the undulating, sinuous profiles typical of rococo with nods to the Chinese furniture that so influenced part of Chippendale's own production. Thus, we see eminently straight lines at the waist, with hollow carved undulations that refer to the tracery of Chinese furniture, and legs with a clearly rectilinear profile, although they curve gently towards the foot (the front ones) or lean backwards like the neoclassical sabre leg (the rear ones). As is usual in English rococo production, the decoration is concentrated on a partially openwork back, with a highly original design. Instead of the more usual vertical openings, we see horizontal recesses, below and above the upholstered back, adorned with carved undulations and, finally, a carved, soft-appearing crest with carved turnings.
In the manner of Thomas Chippendale - mahogany tripod wine table, moulded pie crust border top on fluted stem with acanthus leaf carved baluster, three splayed acanthus carved supports in the form of c-scrolls, terminating at scroll carved feet with blocks, foliate carvings to knees Dimensions: Height: 55cm Condition Report:Very good condition. Stable and ready to use. Top dimension - D26cm Leg span - 44cm
A fine set of George III style mahogany dining chairs, in manner of Thomas Chippendale, circa 1900, including two armchairs, with architectural gothic moulded splats, the armchairs with leaf capped and scrolled out arms, over leather seats and blind moulded square legs with H-stretchers. (6)
Two chairs, 19th century.One Chippendale style and the other Spanish Baroque style.In walnut and polychrome wood.In need of refinishing.Measurements: 92 x 57 x 56 cm; 102 x 48 x 40 x 40 cm.One of the chairs, in walnut, is inspired by the chairs of the cabinetmaker Thomas Chippendale (1718-1779), the main representative of the British Rococo style. The other chair, in polychrome wood, has a carving in the form of a rosette on the openwork backrest, and turned legs joined with crosspieces.
A George III mahogany hall chair by Thomas Chippendale,c.1775, the circular patera-carved back with beaded detail, above a dished seat and a plain frieze punctuated with floral rosettes, raised on tapering fluted supports, terminating in peg feet,47cm wide51cm deep98cm highThe present example is identical in design to a set of ten supplied to Sir Gilbert Heathcote at Normanton Hall c.1775-1780. For a pair of similar painted examples, see: Christie's, 'Thomas Chippendale: 300 Years', 5 July 2018, lot 7. Literature: C Gilbert, 'The Life and Works of Thomas Chippendale', p.96 fig.154.Condition ReportApparent structural restorations to the back. The seat is possibly replaced. Some fading and wear to back and seat. General marks, knocks and scratches, particularly to the seat. Two small areas of repair to the top edge of the back. Small splits and knocks to the back. Some separation to joints at the back of the seat where it meets the back of the chair. Small knocks and wear to supports. Vacant holes to the underside of each foot. Structurally sound with areas of good colour and deep patination to the legs and edge of the back. General wear commensurate with age and use.
A MAHOGANY SILVER TABLE IN GEORGE III STYLE, IN THE MANNER OF THOMAS CHIPPENDALE, LATE 19TH CENTURYThe pierced gallery above the rectangular top, on blind fretwork legs72cm high, 81cm wide, 55cm deep Provenance: Probably Tabley House, CheshireThe Property of the Trustees of the Davenport Estate The Davenport heirlooms are linked with those of Tabley House Cheshire through the marriage of Hilda Margaret Davenport with Cuthbert Leicester Warren in the early C20th. When both their son Lt. Col. John Leicester Warren and his sister Margaret, who married General Sir Oliver Leese, died without descendants, the Tabley Estate was sold in order to preserve and settle the inheritance tax on the Davenport Estate. Davenport House was built by Francis Smith of Warwick circa 1723-1727 for Henry Davenport on his ancestral property. It was one of Francis Smith's most prestigious commissions incorporating four pavilions as well as an additional service block in an arrangement derived from Palladio's plans for Villa Mocenigo. Tabley House was the creation of John Carr of York 1760-1767 for Sir Peter Byrne Leicester, 4th Bt. Sir Peter disposed of an Estate at Timogue in Ireland to pay for the new house to replace the old hall at Nether Tabley in the Mere which was maintained up to the C20th for historical reasons. Family tradition has it that the sixteen George III dining chairs were covered in merino sheep hide. The skins provided by a flock of merino sheep were washed ashore from the wreck of a Spanish Armada galleon in the C16th. The dining chairs possibly form part of the initial furnishings scheme supplied by Carr's Yorkshire compatriots Wright & Elwick. Some documentation for this exists in the Cheshire County Records. Sir Peter Burne Leicester 4th Bt. died 1770 leaving his widow in charge of their 8 year old son who was to become Sir John Fleming Leicester, 1st Lord de Tabley d. 1827. Sir John a notable collector of C18th and early C19th British School paintings was a close friend of George IV. Lord de Tabley reorganised the rooms behind the west façade creating a glorious picture gallery in 1807 designed by Harrison of Chester. It is possible that the George III cream painted pair of sofas and single armchair were re-allocated at the time of this reorganisation when four pairs of sofas were supplied by the Regency cabinet maker George Bullock. The pair of George III mahogany framed tub chairs are I believe similarly typical of the first phase of Tabley furnishings. The C18th style mahogany silver table can be seen in situ in the 1923 Country Life article in the Drawing Room. The portrait of Princess Amelia with her groom Spurrier is thought to have been one of the pictures illustrated hanging at Nether Tabley (see Dreweatts Old Master Sale 26th May lot 53). Of the original furnishings of Davenport House possibly only the George II carved and off white painted wall bracket and the walnut wing chair lacking upholstery are the only items that are integral to the house. All other items have long been associated with Davenport but may well have originated from elsewhere. Tabley House is well recorded in the Country Life articles 14th, 23rd and 28th July 1923 as one of Cheshire's finest Palladian Manors by John Carr of York and also Hussey C: English Country Houses of the Mid Georgian Period Antique Collector's Club pages 55-60. Davenport House is similarly recorded in Country Life 27th June and 4th July 1952 and Hussey C: Country Houses of the Early Georgian Period, Antique Collector's Club pages 104-108. These sales are required to assist ongoing repairs, improvements and to secure the preservation of Davenport House.Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.There are losses and restorations including some cracks and repairs to the pierced gallery; the underside with some later blocks to minimise the cracks to the top and with later brown wash to the underside; some cracks to the frieze; The casters are leather disc casters. The inside measurement of the top is 78.5cm x 52.5cm.Please refer to the additional photographs as a visual reference of condition.Condition Report Disclaimer
A GEORGE III MAHOGANY NIGHT COMMODEIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1780 86cm high, 61cm wide, 41cm deep Condition Report: Marks, scratches and abrasions commensurate with age and useSome old chips and splits. Some old dark marks and stains to the top. Some old repairsSome areas of fading. The right side panel and areas of the top drawer are more noticeably faded overall but attention from a qualified restorer would noticeably improve. Otherwise very good original colour and patina. The timber is very good quality. The side panels overall are solid mahogany, as is the floor of the cupboard and the sides of the drawer linings. The floors of the drawer linings are oak. The handles and escutcheons are period replacements. There are dark marks from the previous set of handles around the fittings of the current set. The escutcheons are false and there is no hole or lock associated to them. The feet and rear panels are original. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A CARVED MAHOGANY SIDE TABLE IN THE MANNER OF THOMAS CHIPPENDALE, LATE 19TH CENTURY 80cm high, 111cm wide, 52cm deep Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and lossesThe surface is not sympathetic, it would benefit from a clean and polishThe spandrels with some old breaks and repairs, some joints opened previously by appear to have been stabilised Some later blocks/timber to the underside of the topThe rear portion of the top has some later timber, the colour match is quite good, but the join line can be seen There are some marks and stains to the topOverall solid and stablePlease refer to additional images for visual reference to conditionCondition Report Disclaimer
A GEORGE III FIGURED MAHOGANY SERPENTINE COMMODE IN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770 The panel doors incorporating false drawer fronts and opening to a fitted interior incorporating two small and two sliding trays, bearing label for the Irwin Untermyer Collection83.5cm high, 115cm wide, 60cm deep Provenance:Purchased Christie's, Property of the Metropolitan Museum of Art, New York, 27th October 2015, Lot 54.Colonel H. H. Mulliner (d. 1924), Clifton Court, Rugby, Warwickshire.Robert J. Dunham, Chicago; Parke-Bernet Galleries, New York, 10 May 1947, lot 381.Gift of Irwin Untermyer, 1955.Literature:H. Comstock, 'English Furniture: European Decorative Art at the Metropolitan Museum', Magazine Antiques, May 1955, p. 401, fig. 8.Y. Hackenbroch, English Furniture with some furniture from other countries in the Irwin Untermyer Collection, Cambridge, Massachusetts, 1958, pl. 282, fig. 324.A. Coleridge, Chippendale Furniture, London, 1968, fig. 10.F. L. Hinckley, A Directory of Queen Anne, Early Georgian and Chippendale Furniture, New York, 1971, p. 236, fig. 426.F. L. Hinckley, Metropolitan Furniture of the Georgian Years, New York, 1988, p. 124, pl. 90, fig. 193.Colonel Mulliner was a well-known collector in the early 20th century and owner of the coachbuilders Mulliner Park Ward, creators of some of the greatest Rolls Royce cars. He published The Decorative Arts in England, 1923.A very similar commode was at Chesterfield House, London, the former home of H.R.H. Princess Mary, Viscountess Lascelles and her husband, Viscount Lascelles, later 6th Earl of Harewood, K.G. Condition Report: Commode with the marks, knocks, scratches, abrasions consistent with age and use. Various old splits, chips and cracks. Some additional larger shrinkage cracks to front, top and sides - see images. Top appears to have been re-veneered. However, this has been neatly executed and matched to the rest of the piece. The central drawer has been later fitted/converted to a dressing drawer. The hinged mirror plate to the drawer has significant losses, depletion and foxing but this is artificial to simulate greater age. The ratchet to the mirror has had its hinges replaced. The interior has been fitted with an later arrangement of slides and drawers. Handles are later replacements. There are some small plugged holes visible from previous handles. Larger plugs are visible to the interior of the doors. The escutcheons to the doors are replaced as is the lock. A key is present and operates this lock. Locks to the drawers appear original. No key is present but all locks are open. Evidence of old worm - see images. The backs of the feet fitted with later 19th century concealed castors. These are worn to an uneven shape so do not roll. Backboards are replaced. They have a dark wash, old worm and some losses.Please refer to additional images for visual reference to condition. Condition Report Disclaimer
A GEORGE III STYLE CARVED MAHOGANY MINIATURE EIGHT-DAY LONGCASE TIMEPIECETHE DIAL BEARING A SIGNATURE FOR THOMAS TOMPION, CIRCA 1900 The four pillar single fusee movement with tapered plates and anchor escapement regulated by 16.5 inch lenticular bob pendulum, the 6 inch brass break-arch dial with matted centre within silvered Roman numeral chapter ring, blued steel scroll hands and winged cherub mask spandrels to angles, beneath arch centred with a circular convex boss engraved Tompion, London, in a case well executed in the Chippendale style with rocaille shell centred scroll pediment over acanthus carved scooped angles to frieze, ogee break-arch cornice and hinged glazed dial aperture flanked by Corinthian pilasters to the canted front angles of the hood, the trunk with dentil cavetto throat moulding and Chinese lattice blind fretwork frieze over shaped-top caddy moulded door flanked by fluted canted angles, the tall plinth base with leaf-carved top mouldings and Gillows style applied panel mouldings to front, over generous ogee bracket feet with leaf carved apron between.158cm (62.25ins) high, 30cm (11.75ins) wide, 19cm (7.5ins) deep.
A GEORGE III MAHOGANY EIGHT-DAY QUARTER-CHIMING LONGCASE CLOCK WITH CENTRE SECONDS AND MOONPHASETHOMAS RICHARDSON, WEVERHAM, CIRCA 1780The substantial five pillar triple train movement chiming the quarters on a graduated nest of eight bells and sounding the hour on a further larger bell, the going train with anchor escapement planted low-down for the centre seconds and regulated by seconds pendulum, the 13.5 inch brass break-arch dial signed to an oval reserve Thomas, Richardson, WEAVERHAM to the recessed scroll engraved centre incorporating annotations for the concentric calendar to outer edge, within applied silvered Roman numeral chapter ring with scallop-shell half hour markers and Arabic five minutes beyond the outer minute track, with pierced blued steel hands and richly cast rococo scroll cast spandrels to angles, the arch with rolling moonphase incorporating mounts cast as putti riding eagles to lunettes and annotations for the age of the moon to the circumference of the lunar disc beneath curved silvered plate fitted with a central fixed pointer for the lunar calendar and engraved That man is yet unborn, that duly weighs an Hour to outer margin, the case executed in the manner of Gillows of Lancaster with architectural dentil moulded open swan neck pediment centred with a pierced upstand and fronted with gilt scroll decorated verre eglomise infill, over break-arch mouldings centred with a keystone and hinged glazed dial aperture flanked by free-standing Corinthian columns with brass caps and bases, the trunk with concave throat moulding and 'Chinese Chippendale' style blind fret frieze over shaped-top caddy moulded flame figured trunk door flanked by fluted quarter columns with further blind fret panels beneath, the plinth base with stepped ogee top mouldings over ogee-arch shaped raised caddy moulded panel flanked by canted angles applied with architectural quoin detailing, on ogee bracket feet.221cm (87ins) high, 61cm (24ins) wide, 28cm (11ins) deep. Thomas Richardson is recorded in Baillie, G.H. Watchmakers & Clockmakers of the World as working in Weaverham (Cheshire) circa 1795.Condition Report: Movement is in relatively clean working condition having been well maintained by the vendor since purchase in the 1980's; however, a precautionary light clean/service is advised. The movement shows no evidence of alteration or significant replacements although some of the wheels within the trains may have been pinioned at some point in the past (a few collects vary very slightly from the others - only noticeable on very close examination as all collects are essentially of the same form). The movement therefore survives in good operational condition and entirely in its original form/specification. The dial is generally in very good condition however the lower left-hand corner of the plate has a section (triangular in shape approx. 2cm across) missing from the plate. This appears to be a break across a casting weakness however a good clock restorer should be able to let in a new piece of appropriate yellow brass without a great deal of difficulty. All the dial functions are connected and are operational; the moon disc has some slight wear/rubbing and some very slight historic re-touching otherwise is in fine original condition. The silvering is now a little tarnished with some spotting hence now has a slightly mellow appearance; the engraving is strong with minimal wear. The movement retains what appears to be its original seatboard which rests directly onto the cheek uprights of the case which appear essentially untouched. From this we are of the opinion that the movement and dial are most likely original to the case.The case is generally in good original condition. The hood is missing two of the small scroll-shaped 'dentils' to the cornice and the verre-eglomise panels have either been repainted or are replacements. The hood otherwise is in fine condition although there are two vacant sockets for finials (no longer present) to the top. The trunk door retains its original lock and hinges, the lower margin has some shrinkage cracking but no apparent losses. Faults to the case are otherwise limited to relatively minor age-related bumps, scuffs, shrinkage and other blemishes commensurate with age and use.Clock is complete with pendulum, three cast iron weights, winder and case key. Condition Report Disclaimer
CHIPPENDALE STYLE MAHOGANY BUREAU CABINET LATE 19TH/ EARLY 20TH CENTURY of small proportions, the superstructure with a pair of shaped and leaf-and-bead moulded doors opening to pigeon holes; the base with a secretaire drawer with pigeon holes, drawers, and a baize writing surface, over a pair of conforming panel cupboard doors opening to an adjustable shelf, raised on foliate carved ogee bracket feetDimensions:72cm wide, 150cm high, 41cm deepNote: Note: The present secretaire cabinet relates in style to one supplied by Thomas Chippendale to Paxton House for Patick Home of Billie.
A GEORGE III MAHOGANY URN STANDIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1780With slide to one side 64cm high, the top 30 x 30xm Condition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, especially to the top, also marks and stains and some bowing/warping here alsoSome spandrels appear original, some are replacements,There are no castors, nor any sockets or holes where they may have been placed Indentations around the lower portion of one leg look like 'puppy' chew marksPlease refer to additional images for visual reference to conditionCondition Report Disclaimer
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