141 new bond street, london w1 929 madison avenue, new
TRANSCRIPT
141 New Bond Street, London W1929 Madison Avenue, New York 10021
4
FiNe FurNiture A timeline in woods
�
FiNe FurNiture
A timeline in woods
the purpose of this summer’s catalogue is to show some exceptionally beautiful pieces within their
historical context. On this occasion we thought it would be interesting to outline briefly the line of
development and styles that shaped the basic forms, different woods, ornamental features and the
numerous themes such as rococo, classical, gothic, chinoiserie and other fantasies that enlivened the
main story in the progression of design.
Here then is a basic outline of furniture history, seen largely through a progression of lovely woods
from many parts of the world, with illustrations relating to each period. We hope you find it
interesting and entertaining.
Lanto Synge
Chief executive
Opposite: A watercolour by Shirley Slocombe published in Percy Macquoid’s ‘The Age of Walnut’
�
FiNe FurNiture A timeline in woods
Louis XiV r. 1�43 – 171�
Queen Anne r. 1703 - 1714
Battle of Blenheim 1704
turning point of the War of the
Spanish Succession
George i r. 1714 - 1727
John Harrison, 1�93-177�, invented
the portable clock, which enabled
the navigation that was so crucial
to world trading.
Louis XV r. 171� – 177�
regence (171� – 1723)
George ii r. 1727-�0
Bach’s St. Matthew Passion 1727
William Hogarth’s A Rake’s Progress
1732
Handel’s Messiah 1741
William Kent c. 1�8� - 1748
the central architect of the revived
Palladian style in england, including
classical interiors.
Josiah Wedgwood 1730 – 179�
the industrialization of the manufacture
of pottery
thomas Chippendale 1718-1789
The Gentleman and Cabinet-Maker’s
Director 17�4
George Hepplewhite 1727-178�
The Cabinetmaker and Upholsterer’s
Guide (1788, revised 1789)
thomas Sheraton 17�1–180�
The Cabinetmakers and Upholsterer’s
Drawing-Book (issued in parts 1791-4)
George iii r. 17�0-1820
Henry Fielding’s Tom Jones 1749
7
American Declaration of independence
177�
Adam Smith, Wealth of Nations 177�
the regency 1790-1820
the royal Pavilion at Brighton was
remodelled in indian style by John
Nash, 181�-1823, for George iV
when Prince regent
ironbridge 1779
Birthplace of the industrial revolution
Steam train 1804
richard trevithick, 1771-1833, built the
first steam engine tramway locomotive
Napoleon i r. 1804 – 1814
Battle of trafalgar 180�
Matthew Boulton 1728-1809
Maker of gilt metal ormolu objects
to rival French production.
Mozart’s Don Giovanni 1787
French revolution 1789
Battle of Waterloo, 181�
Lord Byron’s Childe Harold’s Pilgrimage 181�
George iV r. 1820-1830
Beethoven’s 9th Symphony, The Choral 1824
William iV r. 1830-1837
Jane Austen’s Jane Eyre 1847
Queen Victoria r. 1837-1901
the Great exhibition 18�1
Charles Dickens’ Great Expectations 18�0
Cutty Sark 1880the epitome of the great age of merchant sailing ships
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FiNe FurNiture A timeline in woods
9
tHe AGe oF WALNut
1700 – 1730
english furniture history can be divided into periods when particular woods were fashionable.
these highly prized and expensive timbers mark out the crucial phases of Georgian cabinetmaking
through the 18th century.
Walnut was the cherished wood of the first decades of the century, 1700-1730, the time of the
monarchs Queen Anne and George i. Furniture made with simple lines, perfectly proportioned
and veneered with highly grained and carefully selected walnut, or crisply carved in the solid was
greatly prized and has never been much out of fashion over the ensuing 300 years. in fact the safer
‘good taste’ characteristics of walnut furniture seem to reflect the traditional non-pretentious, high
quality, upper middle class that represents the best of england and englishness over the centuries.
Good walnut furniture is notably well proportioned and wonderfully made. there is no sparing
of craftsmanship either in the complex veneering (with cross bandings, herringbone inlay or
contrast of grain) or in the use of well drawn carved ornament. the spectacular is avoided while
well-mannered quality is easily evident on closer inspection. this was not a period of celebrities
in furniture making or design books. Giles Grendy however became a famous name as a supplier
and several clock makers such as Daniel Quare were well known and produced movements for
magnificent clock cases.
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FiNe FurNiture A timeline in woods
A SMALL SiZeD QueeN ANNe WALNut CHeSt oF DrAWerS
A magnificent and rare small sized Queen Anne walnut chest of drawers, finely veneered in
characterful burr walnut, of unusual proportions and with two tiers of small drawers above two
long drawers; each retaining original brasswork with drop handles and stamp-decorated backplates.
the drawers are framed with mouldings and the top and front crossbanded with herringbone inlay;
standing on bun feet (of a later date); the side with large brass carrying handles. F2H0079
english, circa 1710
Height: 30in (7�.2cm)
Width: 2�in (�3.�cm)
Depth: 1�¼in (41.3cm)
11
the age of WALNut
A Burr WALNut KNeeHoLe DeSK
An exceptional George I small kneehole desk in highly figured burr walnut of very fine colour,
the quarter-veneered top with indented corners, crossbanding and herring-bone inlay, with one
long drawer above three small drawers at each side, all with engraved brass handles and lock
escutcheons, the kneehole recess with a shallow drawer and a sliding cupboard unit. F2A0�72
english, circa 1720
Height: 30½in (77cm)
Width: 28in (71cm)
Depth: 17¾in (4�cm)
The perfect compact proportions of the pieces on these two pages epitomise the charming ‘neatness’ of Queen Anne furniture at its best.
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FiNe FurNiture A timeline in woods
A WiLLiAM AND MArY Verre eGLoMiSé Pier GLASS
A rare William and Mary pier glass with arched
top and bevelled mirror plates, the borders of
red and gold verre eglomisé with decoration of
strapwork, scrolling foliage and arabesques in the
manner of Jean Bérain, within a carved giltwood
frame, the sides carved with stylised foliage.
F2e041�
english, circa 1700
the engraved top plate possibly later
Height: ��½in (143.�cm)
Width: 24½in (�2cm)
the art of engraving on gold under glass has
origins which date back to ancient Damascus
and rome and which enjoyed a revival during
the italian renaissance. At various times this
process has been used to embellish looking
glasses and in the late 17th century, when
mirrors with glass borders were coming into
fashion, some were decorated with what has
become known as ‘verre eglomise’. the fashion
emanated from France where the designs of
Jean Bérain were proving so influential. In
england such mirrors were produced during the
reigns of William and Mary and Queen Anne.
the borders would be inscribed with elaborate
patterns of strapwork and arabesques, the gold
leaf being set against a red, black or sometimes
green background.
examples of great eglomisé mirrors and pier
glasses are in the Victoria and Albert Museum,
at Chatsworth in Derbyshire, at Penshurst
Place in Kent and in the Gerstenfeld Collection
in Washington DC. the descriptive term
‘verre eglomisé’ is derives from the name of
Jean-Baptiste Glomy who popularised a similar
process for framing pictures. He died in 178�.
13
the age of WALNut
AN iMPortANt QueeN ANNe GiLt GeSSo DreSSiNG tABLe
A highly important and very rare Queen Anne gilt gesso dressing table, retaining most of is original
gilding, the rectangular top centred by an acanthus spray and issuing further foliate sprays within
a moulded border surrounded by strapwork and foliate scrolls, above three short drawers over
a shaped apron, the front and sides also decorated with scrolling foliage and acanthus, raised on
cabriole legs with acanthus at the knees and on the pad feet, both at the front and back. F2G0033
english, circa 171�
ring handles replaced
Height: 28¾in (73cm)
Width: 30¼in (77cm)
Depth: 20in (�1cm)
Literature:
Percy Macquoid, The Age of Mahogany, p27, fig 23
Percy Macquoid & ralph edwards, The Dictionary of English Furniture, 1927, Vol III, p216, fig 7
14
FiNe FurNiture A timeline in woods
1�
the age of WALNut
A PAir oF QueeN ANNe WALNut SiDe CHAirS
A pair of Queen Anne walnut side chairs, the backs with scroll moulded top rail above a vase
shaped splat veneered in burr walnut of fine colour and patination, carved at the top with a stylised
shell with pendant harebells and at the sides with scrolling acanthus, the seats covered in period
needlework with foliage and flowers on a dark blue ground, on cabriole front legs with similar shell
and harebell carving on the knees, all four legs ending in diamond toes. F2e0481
english, circa 1710
Height: 39¾in (101cm)
Width: 22½in (�7cm)
Depth: 23in (�8.�cm)
Provenance:
Formerly in the collection of Mary Guthrie Mitchell (d.18�4), the sister of Sir William Burrell
Sir William Burrell was one of the greatest British collectors of the 20th century. He was born into
a Glaswegian shipping family and had made his fortune while still a young man. Burrell had already
begun collecting avidly as a teenager and after he retired he devoted the rest of his life to forming
his collection. His taste was eclectic and the collection encompassed a wide variety of furniture,
works of art and paintings. Also a philanthropist, the collection, which by his death had risen to
some 8,000 items, was bequeathed to the City of Glasgow and is now on public display. it is highly
likely that Sir William advised his ‘ favourite sister’ on her own acquisitions and he would himself
have appreciated the quality, colour and form of this pair of chairs.
1�
FiNe FurNiture A timeline in woods
17
the age of WALNut
A GeorGe i LoNGCASe CLoCK BY QuAre AND HorSeMAN
An important George i walnut longcase clock by Daniel Quare and
Stephen Horseman, the arched dial flanked by brass mounted columns
and surmounted by a stepped hood with fretwork frieze and brass ball
finials, the whole case in walnut of superb colour, grain and patination.
The dial with silvered chapter ring and brass filigree spandrels, enclosing
roman and Arabic numerals and date and seconds subsidiary dials,
inscribed ‘Dan Quare Ste Horseman London N199’. the two-train
movement of eight day duration and striking the hours. o2B02�8
english, circa 1720
Height: 110in (279cm)
Width: 19¼in (49cm)
Depth: 10in (2�cm)
Daniel Quare (1�48-1724), watch and clockmaker to George i and
inventor of the repeating watch, was admitted to the Clockmaker’s
Company in 1�71 and became Master in 1708. A celebrated maker,
he worked from two London addresses, St Martins-le-Grand and the
Kings Arms, exchange Alley.
Stephen Horseman was apprenticed to Quare in 1702. He later became
his business partner and joined the Clockmaker’s Company in 1709.
Provenance:
the Marjorie Wiggin Prescott Collection.
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FiNe FurNiture A timeline in woods
19
the age of WALNut
Opposite:
A PAir oF GeorGe i WALNut SiDe CHAirS WitH NeeDLeWorK SeAt CoVerS
A fine pair of George I walnut side chairs
upholstered with indian needlework, the
upholstered seats and high backs standing on
cabriole legs carved in the solid and joined
by stretchers; the needlework covering being
indian made for the export market, in a
meandering floral pattern and retaining bright
natural colouring. re-backed and conserved by
the royal School of Needlework. F2H02��
the chairs english, circa 1720.
the embroidery, late-18th century
Height: 17in (42cm)
Width: 8in (21cm)
Depth: 7in (17cm)
Above:
AN eArLY NiNeteeNtH CeNturY DutCH BrASS CHANDeLier
of Queen Anne revival form, this extremely
attractive chandelier is cast in brass, in sections,
and held by an iron bar wedge at the top. the
upper shaft with bulbous turning and the base
with ball and inverted finial. The six scrolling
arms with ring turned drip pans and nozzles.
F2H0233
Probably Dutch, circa 1840
Height: 2�in (�4cm)
Depth: 24in (��cm)
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FiNe FurNiture A timeline in woods
A PAir oF GeorGe i WALNut SiDe CHAirS
A pair of early 18th century George i walnut side chairs, the backs with burr walnut veneers of very
fine colour, with central vase shaped splats carved with scrolls and acanthus and flanked by shaped
side rails, surmounted by an unusual shell carved cresting on a pounced ground, having drop-in
seats covered in deep green silk velvet, raised on boldly carved cabriole front legs with a scrolling
acanthus at each knee and ending in claw and ball feet, the back legs of curved and tapering form
with pad feet. F2B0�84
english, circa 172�
Height: 41in (103cm)
Width: 22in (��cm)
Depth of seat: 18in (4�cm)
21
the age of WALNut
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FiNe FurNiture A timeline in woods
23
the age of WALNut
Opposite:
A WALNut LoWBoY
A fine early 18th Century Queen Anne
walnut lowboy, the finely figured top quarter-
veneered and with herringbone stringing
and cross-banded shaped edge, above three
drawers in the frieze retaining their original
brass handles and supported on circular
tapering legs terminating in pad feet. F1J02�4
english, 1710
Height: 28½in (72cm)
Width: 28in (71cm)
Depth: 18in (4�cm)
Above:
AN oYSter VeNeereD StroNG BoX
A late 17th century oyster veneered kingwood
strong-box the entire exterior profusely bound
with brass foliate strapwork and borders and
having brass hinges, carrying handles and lock
escutcheon. the box which opens to reveal
numerous compartments and drawers, stands
on a Queen Anne style country pollard oak
lowboy. F2H00�9
english, circa 1�90
Height: 11in (29cm)
Width: 19in (49cm)
Depth: 11in (29cm)
24
FiNe FurNiture A timeline in woods
AN eArLY 18tH CeNturY BLACK AND GiLt JAPANNeD BureAu CABiNet
An early 18th century black and gilt japanned bureau cabinet, the arched upper section with a pair
of mirrored doors with replaced plates, enclosing a fitted interior of doors and simulated nashiji-
lined drawers between painted pilasters; the bureau section with a flap enclosing a fitted interior
of pigeon holes and drawers around a reversible section with an arch flanked by pilasters and with
chequered parquet floor, the reverse of this section with a japanned panel flanked by three drawers
on each side, above two oak secret drawers; above a bombé base with three graduated drawers,
on claw and ball feet; the sides of the upper and lower sections with carrying handles. Minor
restorations to the decoration and regilding of mouldings and feet. the cresting is a replacement,
copied from an original in Dresden (see below). F2G0383
German, circa 1720
Height: 102in (2�9cm)
Width: 42½in (108cm)
Depth: 24½in (�2cm)
this superb black and gilt japanned bureau cabinet is part of a group traditionally thought to be
German, based on a red and gilt japanned cabinet formerly at Schloss Pillnitz, Dresden, that has
been attributed to the Dresden workshops of Martin Schnell. the latter was responsible for the
embellishment of Dresden’s Hollandischen (Dutch) Palais and Schloss Pillnitz’s Wasserpalais
(Water Palace) (G. Hasse, Dresdner Möbel, Leipzig, 1983, no. 141).
that another cabinet of exactly the same type was sold in Madrid, 1�th May 1974 (illustrated in
Christie’s Review, 1974, p. 41�) suggests the possibility of an iberian commission, if not manufacture.
Further confirmation of this theory is endorsed by two magnificent gilt gesso cabinets (Mallett
1977 and 2003) which share many features with this japanned bureau bookcase. one of these
gilt cabinets had remained in Portugal with an unproven royal Portugese provenance. the design
shape, many features of the construction and the hardware appear to be indictative that these
pieces came from the same workshop.
our cabinet has very close similarities to one illustrated in Dresdener Möbel des 18. Jahrhunderts,
Seemann Leipzip, e.A., Germany 1993, which was the model for the reconstructed cresting.
the age of WALNut
2�
2�
FiNe FurNiture A timeline in woods
the age of WALNut
27
28
FiNe FurNiture A timeline in woods
29
the age of MAHoGANY
tHe AGe oF MAHoGANY
1730 – 1770
Mahogany became dominant as a wondrous imported timber from the West indies and was at its
height in fashion throughout the middle part of the eighteenth century. George ii’s reign dominates
the period. this extraordinary noble timber was hugely treasured for its rich, red-brown colour in
solid carved pieces and flaming grain patterns in veneers on flat surfaces. Its use for strong shaped
elements, as in chair making or crisply carved ornament equalled its other great virtue, that it could
be polished to a glorious finish. Mahogany dominated furniture for 150 years, and its high point
is marked by certain great furniture designers, such as thomas Chippendale who published his
Gentleman and Cabinet-Maker’s Director in 17�4.
the variety of mahogany furniture is almost unbounded in both style and in invention, in useful or
simply decorative furnishing items. earlier forms owe their origin to relatively sober shapes with
features such as architectural pediments, fielded panels, stiffly carved shells and the ubiquitous
carved claw and ball foot. Later, much more fanciful rococo scrolls and floral carving pervade
designs with a florid lightness and increase of both movement and ornament.
Alongside all this carved giltwood in the same lively forms, the use of other special woods and
painted furniture added richness and variety to create and furnish rooms that above all had to be
spectacular and entertaining. in this respect nothing has changed over 2�0 years.
30
FiNe FurNiture A timeline in woods
A PAir oF iriSH MAHoGANY MArBLe toPPeD SiDe tABLeS
A very fine pair of mid 18th century Irish mahogany side tables with marble tops, the frames having
deep shaped sides with large scallop shells on the front and each carved with acanthus leaves at
the corner with a stamped background and terminating in fluted spanish toes; the mahogany of
excellent colour and patination and one table with an inventory number 3�2 and a cloth label; the
marble tops being original of grey colour with white vein cut in symmetrical form. F2H0190
irish, circa 17�0
Height: 30in (7�cm)
Width: ��in (142cm)
Depth: 2�in (�7cm)
31
the age of MAHoGANY
irish furniture shows some of the most interesting use of mahogany which was probably unloaded
off ships from the West indies at Cork. it was often extravagantly used in thick pieces. Notable
features in design and construction include bold and deep carving, somewhat mannerist and the
use of patterning on surfaces, such as the stamping here.
32
FiNe FurNiture A timeline in woods
33
the age of MAHoGANY
A PAir oF GiLtWooD MirrorS
An extremely fine pair of George II carved giltwood architectural mirrors, the later rectangular
plates within an eared giltwood frame adorned with lion’s masks and rosettes beneath a broken
pediment of triangular form. The inner matt-finished borders are of sand gilding. F2H0167
english, circa 174�
Height: 38in (9�.� cm)
Width: 2�½in (�7cm)
Depth: 22in (��.�cm)
Depth of seat: 1�½in (42cm)
34
FiNe FurNiture A timeline in woods
3�
the age of MAHoGANY
Opposite:
A GeorGe iii MAHoGANY SerPeNtiNe CHeSt
A mid 18th century mahogany serpentine front
chest of drawers, the finely figured top with
moulded edges and canted corners, above
four graduated drawers, all with brass swan’s
neck handles, raised on shaped bracket feet.
F2H0102
english, circa 17�0
Height: 33¼in (8�cm)
Width: 37¼in (9�cm)
Depth: 24in (�1cm)
Above:
A reGeNCY MiNiAture MAHoGANY CABiNet
An early 19th century miniature cabinet, the
flame veneered mahogany doors with reeded
brass edge and lock, opening to reveal 24
numbered small drawers above one long
drawer with a fitted interior (see p.29), the
drawers retaining their original button handles,
the cabinet ending in topie feet. F2H0103
english, circa 1810
Height: 19in (48cm)
Width: 19¼in (49 cm)
Depth: 8in (20.�cm)
3�
FiNe FurNiture A timeline in woods
A PAir oF GeorGe iii MAHoGANY ArMCHAirS WitH NeeDLeWorK SeAtS
A pair of mid 18th century Chippendale
period carved mahogany open armchairs, each
having a shaped and carved top rail ending in
outswept scrolls above a pierced trefoil back
splat, the dished arms ending in scroll hand
rests, the drop-in seats within moulded rails
and raised on square chamfered legs joined
by stretchers. the seats upholstered in period
needlework decorated with flowers including
carnations and tulips amongst scrolling foliage
on a deep blue ground. F2H010�
english, circa 1770
Height: 38in (9�.�cm)
Width: 2�½in (�7cm)
Depth: 22in (��.�cm)
Depth of seat: 1�½in (42cm)
37
the age of MAHoGANY
38
FiNe FurNiture A timeline in woods
39
the age of MAHoGANY
A LArGe GeorGe ii MAHoGANY PieCruSt triPoD tABLe
A very fine mid 18th century mahogany tripod table of grand scale, the circular tilt top with
moulded piecrust edge on bird cage support, raised on a fluted and acanthus carved baluster stem
above a band of egg and dart moulding, on boldly curved tripod supports with strapped acanthus
leaf carving on the knees, ending in claw and ball feet inset with brass cup castors. F2D0412
english, circa 17��
Height: 29in (74cm)
Diameter: 33in (84cm)
tripod tables were primarily made for holding tea and coffee equipage. tea had been introduced
to english from Holland in the early 17th century and in spite of the high prices and heavy duty
imposed, it gradually became a fashionable drink around which great ceremony revolved. towards
the middle of the 18th century there was a shift from the former fashion of drinking in tea gardens
to drinking at home. Consequently cabinetmakers turned their attention to the making of suitable
ornamental tables, often for a special tea-room. in the ‘Female Spectator’ of 174�, a contributor
writer: ‘the tea-table costs more to support than would maintain two children at nurse’.
William ince and John Mayhew illustrated designs for ‘tea Kettle Stands’ in their The Universal
System of Household Furniture, 17�2, as did thomas Chippendale in his The Gentleman and Cabinet
Makers Director, London, 3rd ed., 17�2, p.LV.
40
FiNe FurNiture A timeline in woods
41
the age of MAHoGANY
Opposite:
A GeorGe iii MAHoGANY DuMB WAiter WitH DroP SiDeS
A rare George iii mahogany circular two-tier
dumb waiter with unusual drop sides, the
turned central stem leading to an elegantly
downswept tripod base, ending in brass
castors. F2H0149
english, circa 17�0
Height: 34½in (88cm)
Diameter: 23¾in (�0.�cm)
Above left:
AN APPLe teA CADDY
A very fine example of a late 18th century
fruitwood tea caddy in the form of an apple
retaining remains of its original lead lining.
o2B0044
english, circa 1790
Height: �in (13cm)
Above centre:
A PALe CoLoureD MeLoN teA CADDY
An extremely fine late eighteenth century tea
caddy in the form of a melon, of fine colour
and patination. o2H019�
english, circa 1790
Height: �in (13cm)
Above right:
A FruitWooD teA CADDY iN tHe ForM oF A PeAr
A late 18th century George iii fruitwood
tea caddy in the form of a pear of fine colour
and patination. o2H0277
english, circa 1800
Height: �in (1�cm)
42
FiNe FurNiture A timeline in woods
MAHoGANY PoLe SCreeN WitH DouBLe SiDeD NeeDLeWorK PANeL
A very good early 18th century mahogany pole screen with finely carved tripod base, the legs with
scallop shells and the toes carved with acanthus leaves; the adjustable screen panel having very fine
needlework panels on both sides, the back panel being extremely unusual. F2H011�
english, circa 1730
overall height: �1in (130cm)
Height of panel: 24½in (�2cm)
Width of panel: 20in (�1cm)
43
the age of MAHoGANY
44
FiNe FurNiture A timeline in woods
4�
the age of MAHoGANY
Opposite:
A GeorGe iii MAHoGANY Settee or LoVe SeAt
A mid 18th century Chippendale period
mahogany settee or love seat, the shaped
upholstered back and arms raised on square
front legs with concave fluting joined by a ‘H’
stretcher and ending in square block toes.
F2H0083
english, circa 17�0
Height: 37æin (9�cm)
Width: 43æin (111cm)
Depth: 31½in (80cm)
Depth of seat: 22æin (�8cm)
Right:
A GeorGe iii MAHoGANY urN / KettLe StAND
the square top with solid waved gallery above
a slide, on square chamfered legs headed by
pierced brackets, with concave-sided undertier,
on brass castors, two angle brackets replaced.
F2H0289
english, circa 1780
Height: 11½in (29cm)
Width: 11½in (29cm)
Depth: 2�in (��cm)
4�
FiNe FurNiture A timeline in woods
47
the age of MAHoGANY
Opposite:
AN ADAM PerioD MAHoGANY Settee
An extremely fine mahogany George III settee
standing on seven legs, the moulded serpentine
back carved with beading and flat acanthus
leaves, the rounded hand rests with acanthus
and bellflowers, the square legs headed by
paterae and carved with swags of bellflowers
and ending in their original brass castors.
F010209
english, circa 1770
Height: 38in (97cm)
Length: 72in (183cm)
Depth of seat: 2�in (�3cm)
Above:
A MAHoGANY MAGAZiNe rACK
A modern three tier mahogany magazine
rack designed by the Dowager Duchess of
Devonshire and made in the cabinetmaker’s
workshop at Chatsworth, Derbyshire.
F2H0292
english, circa 2000
Height: 42in (107cm)
Width: 42in (107cm)
Depth: 18in (4�cm)
48
FiNe FurNiture A timeline in woods
49
the age of MAHoGANY
Opposite:
AN iNDiAN DYeD AND PAiNteD CottoN PANeL
A rare and charming panel of early 18th century
dyed and painted cotton, depicting a vase of
flowers beneath branches of exotic flowers and
foliage, all in shades of red and blue. Almost
certainly a fragment of a very rare much larger
Palampore, this textile represents the many
of its kind that enlivened english interiors with
colour and the exotic, especially bedrooms.
P2e0�18
indian, circa 1710
Framed height: �2¼in (133cm)
Framed width: 37in (94cm)
Above:
A LAte 18tH CeNturY LACQuer teA CADDY
A rare late 18th Century Chinese export black
lacquer tea caddy, decorated throughout with
gilt chinoiseries depicting lakeside pavilions
within oriental landscapes, the shaped and
moulded lid painted with a stylised foliate
border, opening to reveal rectangular caddies,
the central canister with a sliding lid used for
blending, each elaborately veneered with panels
of mother of pearl, incised with decorative
motifs of birds and flowers. 02F0167
China, circa 179�
Width: 10½in (27cm)
Depth: 7in (18cm)
Height: �in (1�.�cm)
a fascination for the East
�0
FiNe FurNiture A timeline in woods
Above:
AN eMPire GueriDoN
An early 19th century mahogany gueridon, the
top of finely faded colour with moulded edge,
the frieze with gilt bronze mounts of alternating
dolphins and rose garlands, supported on
three column legs with finely chased gilt bronze
capitals and feet, ending in a three pointed star
plinth with flattened bun feet. F2G0387
French, circa 1820
Height: 28½in (72.�cm)
Diameter: 27¼in (�9cm)
Opposite:
A VerY FiNe eArLY 18tH CeNturY SCArLet JAPANNeD BureAu
A very fine early 18th century scarlet japanned
bureau. the fall front, drawer front’s, top
and sides are all richly decorated with gold
chinoiserie on a red background. the fall
front opens to reveal numerous drawers and
compartments, while the drawers below are
further enriched with engraved brass handles.
F2H0082
english, circa 172�
Height: 37¼in (94.1cm)
Width: 3�in (91.4cm)
Depth: 19¾in (�0.2cm)
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the age of MAHoGANY
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the age of MAHoGANY
Previous spread, opposite and above detail:
A GeorGe iii MAHoGANY CirCuLAr reVoLViNG LiBrArY tABLe
A magnificent round mahogany library table with a revolving drum top standing on a cove sided
triangular base; the top leathered with reading flaps and swivelling above the drawer section, also
revolving and containing two tiers of drawers, each drawer with ivory number plates and each
alternating in form, rectangular and triangular; some concealing secret drawers; the base with
a cupboard door in one side and with a brass locking mechanism for the top; the angles of the
base with pilasters terminating in scrolls at the bottom. All the woodwork of superb colour and
patination. this wonderful table appears to be unique and unrecorded. its large scale, two tiers
of drawers, book flaps and the elegant triangular base are all features not seen before on such
drum tables. F2H0077
english, circa 1790
Height: 31in (79cm)
Diameter of top: �2½in (133cm)
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the age of MAHoGANY
A PAir oF GeorGe iii MAHoGANY BeDSiDe CuPBoArDS
A fine pair of late eighteenth century bedside tables in figured mahogany, each with a dished
top and a single sliding cupboard door, the sliding shelves below lined with leather and with a
lion-head ring handle. F2H0239
english, circa 1780
Height: 32in (81cm)
Width: 1�in (41cm)
Depth: 13½in (34cm)
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the roCoCo
tHe roCoCo
17�0’s
Following seemingly endless years of war and political struggle in europe, Marlborough’s
victory at Blenheim heralded a new mood of relief, with peace, prosperity and a great desire for
relaxed times, even a period of frivolity. So out went much parade formality and in its place grew
a longing for a happy prettiness in fashion, in furniture, in decoration and in gardens.
The joy of flowers and flower power invaded everything in a spirit of rococo (rockery shapes,
irregular, asymmetric, full of twirls and scrolls, shells, water, flowers and floral motifs). The rococo
period also embraced further decorative fantasies, most notably Chinoiserie and the Gothick.
Chinoiserie was a european playful (not mocking) imitation or parody of Chinese decoration
with figures, pagodas, exotic birds and much else. In furniture terms painted furniture, inspired
by oriental lacquer were referred to as ‘japanned’. the quality varied from the professionally made
to amateur pieces. Chinoiserie also featured in carving, in needlework, in porcelain and all the
decorative arts, and was often exotic and frivolous.
Gothick ornament was derived from Gothic architecture in essence, but was much lighter and
‘Georgian’ in proportion. it was not meant to be in any way religious or ‘churchy’ but wholly
ornamental. its quasi-serious side was as a thoroughly english and properly national style, as
opposed to the grand Classical architecture that was the stuff of roman/Foreign/Pagan Southern
europe! its true French and German origins were transformed to the charmingly decorative.
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A GeorGe iii reD LACQuer AutoMAtoN MuSiCAL BrACKet CLoCK
A rare 18th century japanned musical bracket clock of large scale attributed to Stephen rimbault
(1744-1785), decorated throughout with gold chinoiseries of the finest quality on a deep red
ground with Chinese figures, birds, deer, flowers, fruit and foliage; surmounted by a pagoda
enclosing two ormolu figures with automaton arms, the figure on the right striking the larger
bell on the hour and the figure on the left striking the smaller bell on the half hour, each corner
and the top of the pagoda headed by an acorn finial and hung with bells; the sides with ormolu
carrying handles decorated by a female head flanked by stylised masks, engraved fretwork above
old red silk, with a repeat cord on the right side and a strike cord on the left side, the four corners
with trailing mounts of flowers and scrolls; the enamel dial with Roman numerals within ormolu
spandrels below a painted scene attributed to Johann Zoffany (1733-1810) of musicians with
automaton arms playing instruments in a landscape with a windmill, the two enamel subsidiary dials
indicating the twelve tunes and the strike / silence mechanism; the main body of the clock on a
turntable base with further chinoiseries, the pierced apron ending in ormolu scroll toes; the reverse
with glass back revealing the complicated musical workings playing on 14 bells and a richly engraved
brass backplate. F2H0219
Continued overleaf
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FiNe FurNiture A timeline in woods
Stephen rimbault (1744-178�) came from an established family of 18th century London
clockmakers of Huguenot descent. rimbault is recorded at Great St Andrew’s Street from 17�0
to 1781. He excelled at making rather complicated clocks, often with musical movements, and
particularly automaton clocks with painted scenes of figures dancing or working on the dials.
The red japanned decoration on this bracket clock with its oriental pagodas, figures and animals
on a rich red ground continues in the tradition of John Stalker and George Parker who published
A Treatise of Japanning and Varnishing - Being a compleat Discovery of those Arts in 1�88. As well as
designs for japanned decoration this publication included specific directions ‘To make Red-Japan’.
The Treatise is a detailed work on the european interpretation of oriental decoration on furniture
and objects, as well as the techniques of gilding and other decorative finishes. Including twenty-
four copper plate engravings of chinoiserie designs, it was written not just for professionals but
particularly to advise and encourage amateurs.
the lacquer on this bracket clock is similar to that seen on traditional Chinese cabinets, but
elaborated with the fantastical pagoda and chinoiserie figures, while the traditional musical bracket
clock form is very much in the english grand manner. the eight-day three-train striking movement
on the hour and half hour, with a verge escapement, and 12-tune musical automata playing every
quarter on 14 bells.
english, circa 177�
overall height: 37in (94cm)
Width: 21in (�3cm)
Depth: 14½in (3�.�cm)
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the roCoCo
Opposite:
AN 18tH CeNturY DANiSH GirANDoLe WitH MirroreD BorDerS
A very rare mid 18th century small girandole
with bevelled and engraved mirror plate bor-
ders, the gilded edges decorated with penwork
designs, retaining its original spiral brass candle
sconce at the base. offered together with a
modern copy. F1A02�3
Danish, circa 17�0
Height: 27½in (70cm)
Width: 10¾in (27cm)
Right:
A PAir oF NeeDLeWorK BeLL PuLLS WitH CoLuMNS oF FLoWerS AND BirD
A pair of 18th Century needlework bell pulls of
large scale depicting classical columns entwined
with flowers and birds. The needlework made
into bell pulls in the 19th Century. t2H0282
the needlework english, circa 17�0
Height: 98in (2�0cm)
Width: 12in (30cm)
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FiNe FurNiture A timeline in woods
A SMALL GiLtWooD WALL SCoNCe
A mid 18th century George ii carved giltwood girandole. the frame with stylised acanthus carving
being entwined with further leaves and seascrolls.
the glass mirrorplate is earlier, perhaps c. 1710. offered together with a modern copy. F2G010�
english, circa 17��
Height: 37in (94cm)
Width: 18in (4�cm)
a profusion of asymmetric scrolls
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CHiNeSe ALtAr tABLe
A mid 19th century black lacquer altar table,
profusely decorated with Chinese court scenes
and with a pierced front frieze. F2H0278
Chinese, circa 18�0
Height: 32½in (82½cm)
Width: �1in (129½cm)
Depth: 18½in (47cm)
While european Japanned pieces were a
significant aspect of furnishing throughout
the 18th and 19th centuries equally Chinese
export items were also a feature. this table
is interesting as being of a true Chinese form,
eminently practical in Western houses.
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the roCoCo
Opposite:
A CHiNeSe eXPort PorCeLAiN SerViCe CoMPriSiNG 44 PieCeS
A Chinese export porcelain part dinner
service, decorated in famille rose enamels with
the double peacock pattern, comprising 44
pieces, Qing dynasty, Qianlong (173�-179�).
o2H0223
Chinese, circa 177�
Width of tureen: 13½ x 8¼in (34 x 21cm)
Above:
PAir oF CHiNeSe WooDeN StooLS
A splendid pair of Chinese red lacquer
octagonal Chinese stools standing on numerous
legs joined by a stretcher, all surfaces richly
decorated in red, black and gold with floral
patterns. F2H0244
Chinese, circa 18�0
Height: 7in (19cm)
Width: 8in (21cm)
Depth: 8in (21cm)
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the roCoCo
From left to right:
A PAir oF 19tH CeNturY FAMiLLe roSe VASeS WitH HuNDreD BoY PAtterN
L2F0380
the vases Chinese, circa 1840
Height with shade: 28in (71.�cm)
A PAir oF 19tH CeNturY oPALiNe VASeS
L2H00�0
the vases French, circa 187�
Height including shades: 24½in (�1cm)
A PAir oF JAPANeSe FuKAGAWA VASeS DeCorAteD WitH iriSeS MouNteD AS LAMPS
L2G0410
the vases Japan, Meiji period, circa 1880
Height including shades: 30in (7�cm)
A PAir oF JAPANeSe KutANi VASeS
L2e0079
the vases Japan, circa 1880
Height including shades: 24½in (�2cm)
A PAir oF iMAri BottLe SHAPe VASeS MouNteD AS LAMPS
L2H0014
the vases Japan, circa 1880
Height including shades: 30in (7�cm)
A PAir oF iMAri VASeS MouNteD AS LAMPS
L2F0400
the vases Japanese, circa 1870
Height including shades: 24in (�1cm)
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A JAPANeSe LACQuer oCCASioNAL tABLe
An unusual mid 19th century Japanese export black lacquer occasional table. the octagonal tip top
is inlaid with a mother of pearl landscape showing a cart, birds and flowers. The table is supported
on a turned baluster stem standing on a tripod of scroll feet, all decorated in the same style as the
top. the inside bears the inventory label of the Hanoverian royal Collection. F2F03�9
Japanese, circa 18�0
Height: 29in (74cm)
top: 21½in square (��cm)
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roYAL AND iMPeriAL
the countries of continental europe, more so than Great Britain were dominated by the formal
styles adopted by their Kings, princes and tiers of nobility. the decorative arts were centred on
palaces and grand style furnishing, which was highly sophisticated, closely controlled in design and
invariably extravagantly made, often with magnificent marquetry and with gilt metal (ormolu)
mounts on furniture. this very splendid courtly manner became more or less universal from
Versailles to St Petersburg and was distinctly in contrast to the relatively restrained, though
dignified, achievements of the British Isles.
Good examples of courtly furniture invariably incorporated highly designed formal patterns
displaying elements of design from the leading artist’s workshops and craftsmen of each phase of
the eighteenth century. Many splendid examples, some very rich, others more approachable and
easier for us to live with today, fit neatly into modern interiors, where a desired formality is sought.
With the French revolution in 1789 europe shook and england shuddered, though survived.
Terrible changes occurred. However, like a forest fire, an Imperial spirit quickly sprouted from
the ashes in France and under Napoleon the empire style dawned and grew to be even more
provocative in its own classical grandeur.
A broad new Greek/roman/egyptian imperial style swept, like the former courtly taste, across
Europe, even to America. In England it was reflected in the very individual Regency fashions
inspired by the wildly extravagant and superbly artistic impetus of the future George iV. the
Georgian imperial grandeur he achieved led to a great range of early 19th century neo-classical
decorative styles, which nevertheless remained somewhat tempered by the elegance of the
Georgian tradition.
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A LouiS XiV BouLLe BureAu MAZAriN
A rare Louis XiV period Boulle bureau Mazarin profusely decorated on the top, front and sides
with finely engraved ebony and brass, in geometric and foliate patterns. The bureau has three
drawers on each side of the kneehole and a single drawer at the centre and a cabinet in the recess.
the bureau stands on eight tapering column legs with brass domed capitals and feet. the whole is
joined by an elaborately shaped stretcher similarly inlaid to the rest of the piece. the back, not as
finished as the front, is however ebony veneered and inlaid with framed lozenges achieved in brass
stringing. F2C024�
French, circa 1�90
Height: 33in (84cm)
Width: 47in (120cm)
Depth: 2�in (�4cm)
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A trANSitioNAL CoMMoDe BY StuMPF
A rare small scale transitional two drawer breakfront commode having gilt bronze corner mounts
and feet. the front is inlaid with kingwood panels against a rosewood background ‘sans travers’.
The legs are surmounted by kingwood marquetry flutes and are of cabriole form with a single inlaid
flute on the front edge and kingwood veneer on the inner face. Stamped Stumpf and JME. F2D0394
French, circa 17�0
Height: 33½in (8�cm)
Width: 32in (81cm)
Depth: 17¼in (44cm)
Jean Chrysostome Stumpff (1731-180�) was originally from Schweigern, Souabe, Switzerland. He
was married in 17�0 in Paris at the Swedish embassy, as was typical of other protestant Swedish
compatriots. He was a friend of the cabinet-maker, Ferdinand Schwerdfeger and established
himself in rue Saint-Nicolas where he remained all his life.
He produced pieces in the Louis XV style, the transitional style and the Louis XVi neo-classical
style. His work was always constructed to a very high standard and he had a particularly successful
and prolific output of transitional and neo-classical commodes and neo-classical secretaires.
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roYAL AND iMPeriAL
Opposite:
A SAuNier SeCretAire CoMMoDe
An exceptional satinwood Louis XVi secrétaire
commode having two drawers in the frieze, a
writing slide and two doors below, which open
to reveal shelves. each element is bordered
with a crossbanding of ebony with finely
chased gilt bronze mounts. throughout the
satinwood is of exceptional figuring and quality.
It is arranged in such a way as to make a unified
pattern of the grain across the entire piece. the
commode retains its original brocatelle marble
top and stands on ormolu mounted topie feet.
F2A0�44
Stamped Saunier
Height: 43in (109cm)
Width: 43in (109cm)
Depth: 18in (4�cm)
Above:
A PAir oF LouiS XVi CHeNetS
An outstanding pair of finely chased gilt bronze
Louis XVi chenets, taking the form of a wind
blown flaming vase. The upper section of the
vase is fluted and reeded and is supported
by a tripod, terminating in hoof feet. the
smaller end of the chenet has a finely wrought
pinecone. the joining stretcher is decorated
with applied leaf ornament and on the top edge
with a Vitruvian scroll, supported on major and
minor fluted columns; the former having an oak
leaf band at the base. the identical model is
illustrated in ‘Vergoldete Bronzen’ (ottomeyer
& Proschel, 198� p.274, pl.4.11.10). other
examples are a similar pair from the ‘Barriol
salon’ of the Hotel de Serres now installed in
the Musee des Arts Decoratifs, Paris; at the
Huntingdon Gallery in San Marino and in the
Louis XVi room in the Villa ephrusi illustrated
on p.48 of ‘Villa ephrusi de rothschild’
o2C0390
French, circa 1780
Height: 1�in (41cm)
Length: 17¼in (44cm)
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A PAir oF itALiAN GiLtWooD CoNSoLeS
A fine pair of late 18th century North Italian giltwood consoles each profusely carved with neo
classical motifs. they are supported by two bold scrolls carved in high relief on the front edge with
swags of honeysuckle and having further foliate carving within the scroll; they terminate in large
scale dentils. the backs are formed as an arch made from facing scrolls again supported by foliate
carving. the consoles retain their original verde antico tops, bordered with a gilt bronze cable.
F2F0171
italian, circa 179�
Height: 22½in (�7cm)
Width: 2�in (��cm)
Depth: 14in (3�cm)
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Above:
A PAir oF PAriS PorCeLAiN CACHe PotS
A pair of empire parcel gilt Paris porcelain,
trumpet shaped pots. the bodies are
decorated with neo-classical motifs consisting
of leaf and open anthemion. o2H00�9
French, circa 1810
Max Diameter: 9in (22.9cm)
Height: 9½in (24.1cm)
Opposite:
AN eMPire CArD tABLe BY MoLitor
A fine quality Empire period two tier demi-
lune card table by Molitor, the top and the
first tier veneered in densely figured acajou
mouchete, each tier having a brass rolled edge.
the whole standing on octagonal tapering legs
with brass capitals and feet with castors. the
back is finished with recessed panels bordered
with delicately carved mouldings. the centre
back leg pulls out to reveal a drawer for games
pieces and to provide support for the two tiers.
Stamped on the centre back leg, B Molitor.
F2B02�9
French, circa 1810
Height: 29½in (7�cm)
Width: 42½in (108cm)
Depth: 21½in (�4cm)
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FiNe FurNiture A timeline in woods
A ruSSiAN CoMMoDe
A highly unusual russian small mahogany commode retaining its old
marble top. the top drawer veneered in Cuban mahogany is richly
mounted with ormolu rams heads interspersed with pendant swags each
containing nine finely chased apples with foliate and floral scrolling husks
above. this pierced frieze continues along each side panel and is framed
by a moulded brass border. the two lower drawers are veneered in
contrasting mahogany veneers, framed by a similar border to that above,
with richly engraved ring pulls and central key escutcheon mounts of
classical herms, with bearded philosopher’s masks. the whole stands on
elegantly turned, tapering legs ending in brass collared toes. Attributed to
Christian Meyer. F2B0077
russian, 1780
Height: 34in (8�cm)
Width: 44½in (113cm)
Depth: 22½in (�7cm)
this russian commode is enriched with unusual gilt bronze mounts. in
particular, the frieze drawer which presents material swags holding nine
apples hanging between rams heads. in addition, the escutcheons on
the lower drawers take the form of classical herms supported on plinths,
flanked by an open key pattern element. In Russian Furniture, The Golden
Age 1780-1840, Antoine Cheneviere, there is a commode illustrated
(plate 72) by Christian Meyer
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Left:
A PeNDANt GeorGe iii LiGHt
A mid 19th century pendant glass lantern, having a smoke cowl and
suspended from a lead counterweight eagle. the glass bowl is supported
by a gilt metal ring decorated with a vitruvian scroll motif. the lantern
now has a modern three branch chandelier. F2D0�07
england, circa 1820
Height: �0in (127cm)
Opposite:
AN eMPire MAHoGANY PeDeStAL DeSK
A rare and unusual empire mahogany pedestal desk. the top has slides at
each end and the central leathered surface lifts to create a reading slope.
The front of the desk has a central frieze drawer enriched with finely
wrought gilt bronze classical mounts. The pedestals have five drawers
flanked by column pilasters. The reverse is similarly mounted but has
cabinets. the sides are enriched with a gilt bronze mount in the form of
an oil lamp framed by a border of of laurel. F2G024�
French, circa 1810
Height: 29in (74cm)
Width: �3¼in (13�.�cm)
Depth: 32¼in (82cm)
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91
roYAL AND iMPeriAL
Opposite:
AN eMPire MAHoGANY orMoLu MouNteD SeCretAire
An unusual empire mahogany secrétaire
abattant, the front face and sides veneered in
a single sweep of flame mahogany. The top
is an unusual secret surmounted coffer, the
lock being hidden behind the central mask.
The fall is framed with a finely chased ormolu
border and opens to reveal a blond wood
fitted interior. The lower doors open to reveal
shelves and a strong box. F1J007�
French, circa 1810
Height: ��½in (141cm)
Width: 29in (74cm)
Depth: 1�½in (39cm)
Above:
A LouiS XV GiLtWooD FAuteuiL
A very fine quality and rare early Louis XV
fauteuil, richly carved on all faces with rococo
decoration. the apex of the back is carved with
a cartouche, flanked by a stylised shell motif
and foliate scrolls. the corners of the top rail
are similarly carved in high relief with foliate
elements issuing from a fluted scroll. The arms are
serpentine in outline and have an unusually carved
scrolling element at the join to the back. Similarly,
the end of the arm is carved with a cabochon
framed by ‘C’ scrolls. the chair stands on cabriole
legs, the tops of which are carved with a stylised
floral element. The bold cartouche on the centre
of the seat rail reflects those central elements on
the back frame above. F2A07�0
Attributed to Jean-Baptiste i. tilliard, b. 1�8�
d. 17��
French, circa 174�
Height of back: 40in (102cm)
Height of seat: 17in (43cm)
Width: 31in (79cm)
Depth: 2�in (��cm)
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FiNe FurNiture A timeline in woods
Above:
A PLuM PuDDiNG MAHoGANY PeMBroKe tABLe
A magnificent and rare mahogany drop leaf
pembroke table in the French taste, the top
with serpentine shaped sides and of superb
colour and figuration, crossbanded and lined
with stringing; standing on cabriole legs
terminating in brass castors with their original
leather wheels; the frieze containing a drawer.
F2H0288
english, circa 1770
Height: 28in (71cm)
Width: 34in (8�cm)
Depth: 28in (71cm)
Opposite:
A reGeNCY roSeWooD SeCrétAire CABiNet BY JoHN MCLeAN
A regency ormolu-mounted rosewood
secrétaire cabinet by John McLean (1770-182�),
the cabinet with a single drawer in the frieze
with a panelled front with lion’s head ring pull
handles, decorated with garlands of flowers
within an egg-and-dart border opening to reveal
a writing surface in front of a series of small
drawers and pigeon-holes, above two panelled
cupboard doors with egg-and-dart moulding
flanked with further drops of giltmetal flowers
headed by lion’s masks below classical terms, all
supporting a superstructure of bookshelves with
inset mirrored glass back, pierced geometric
panelled sides below a pierced gallery, all
supported on turned parcel-gilt feet. F2A00�9
english, circa 1810
Height: �9 in (1�0 cm)
Width: 37 in (94 cm)
Depth: 1� in (37 cm)
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Left:
A NortH GerMAN Pier Mirror
An unusual brass and mahogany North German mid 19th century tall
pier mirror. the top and bottom of the mirror have rectangular panels
of watercolour grisaille, the upper panel depicting Apollo and the lower
a bacchante. each section is bordered with a brass moulding. the mirror
plate is a later replacement. F2F0110
North Germany, circa 1840
Height: 8�in (219cm)
Width: 2�in (�4cm)
Opposite:
A reGeNCY BoiS CLAir oCCASioNAL tABLe
A regency circular bois clair tripod table in the continental style, in the
manner of edward Holmes Baldock, the top with delicate radiating inlay
of flower stems, the triform pedestal also with stylised foliate inlay in
contrasting wood and raised on down-curving scroll supports. edward
Holmes Baldock (b. 1777, d. 184�) F2G01�1
english, circa 1820
Height: 28¼ in (72cm)
Diameter: 23½ in (�0cm)
edward Holmes Baldock was a furniture dealer and restorer known to
operate from premises in Hanway Street, London from 180�. His busi-
ness and specialisation steadily expanded and in 1821 he was described in
the Post Office Directories as an ‘antique furniture and ornamental china
dealer’, this entry was re-defined in 1826 to ‘buying, selling, exchang-
ing and valuing China, Cabinets, Screens, Bronzes etc’. in addition to
restoring existing furniture, he also produced designs for new pieces and
had them made to his specifications. One of his commissions was to
produce designs for a suite of bedroom furniture in 1841 for the Duke
of Buccleuch. A design for a table in the Buccleuch papers is annotated,
‘No. 3 Amboyna wood ground with coloured flowers’ which is almost
certainly the preliminary sketch for a table which was made later. He is
known for a number of well-constructed, and in certain cases, finely inlaid
pieces of furniture marked with his initials, ‘eHB’. Some of these pieces
were pastiches of 18th century French furniture and others are executed
in contemporary english style.
Baldock’s bills survive in many important archives including the Wind-
sor royal Archives, George iV’s papers 1827-28, the Duke of Buccleuch
and Queensbury’s private archives and the Duke of Northumberland’s
private archives amongst many others.
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97
roYAL AND iMPeriAL
Opposite:
AN oVAL reGeNCY Mirror
A rare small scale oval regency mirror with
original convex mirror plate ornamented by
bronzed balls and a mahogany fillet and sur-
mounted by an eagle raised on a foliate plinth.
the back retaining two original maker’s labels
for the carver and gilder, J Noel and William
Gould for the mirror plate. F2H02�2
english, circa 1810
Height: 31in (79cm)
Width: 9in (22cm)
Above:
A DruM GAMeS tABLe BY totter
Having a rotating circular top inlaid with a
chessboard of satinbirch and ebony. the frieze
has two drawers fitted with compartments for
the chess set. the table stands on a concave
sided triangular pedestal supported on a
platform terminating in scroll feet. Attributed to
William trotter (1772–1833) F2H0279
Scottish, circa 1810
Height: 30in (7�cm)
Diameter: 32¾in (83cm)
98
FiNe FurNiture A timeline in woods
A PAir oF WiLLiAM iV SiDe CABiNetS
A pair of painted small bookcases, the tops painted to simulate rosewood and
gilt-bordered with a wide freize of scrolling acanthus leaves and contrasting
central scenes, in the one case symbolising War and in the other Peace, the
open fronts each with two shelves and flanked by neo - Egyptian term pilasters
above a frieze painted with Greek key pattern above gadrooned feet. F2H0198
england circa 1830
Height: 33in (8�cm)
Width: 3�in (91cm)
Depth: 12 in (31 cm)
99
roYAL AND iMPeriAL
this charming pair of small painted bookcases, owing something to the designs of thomas Hope,
epitomise the taste for Greco- egyptian neo-classicism with motifs resembling sculpture on the tops
and representing War and Peace, Hope’s wife shown as the latter. (thomas Hope, Costume of the
Ancients, 1809.)
100
FiNe FurNiture A timeline in woods
101
the age of SAtiNWooD
tHe AGe oF SAtiNWooD AND Neo-CLASSiCiSM
1770 – 1820
SAtiNWooD was the most beautiful and highly valued wood used in the later 18th century.
this was a period closely associated with George iii and a time of extraordinary invention and
prosperity in england. Satinwood came from the colonies, from the West indies and from Ceylon.
together with other precious, newly discovered and interesting timbers it soon represented the
new, rich, light colourful and bright age of neo-classicism, which brought straight edges and clean
lines. the name thomas Sheraton is closely linked to satinwood; his cabinet designs epitomise the
elegant late Georgian taste for finely made, neat and superbly scaled cabinets, which are surely on
that Parnassus with the greatest english furniture.
Following visits made by princes and aristocrats to rome, ‘the cradle of civilisation’, in the 18th
century, just as young back-packers travel the globe today to discover themselves, there was a
craze for everything italian, particularly everything roman, throughout europe.
the adaptation of ancient forms into contemporary ‘classical’ decoration brought about a
tremendously rich injection of ornamental forms based essentially on geometric shapes and
straight lines, strictly in contrast to the frivolities of the rococo. While the taste was sometimes
standardised it brought about a formulaic discipline that was welcomed. the classical rebirth was
most invigorating, especially in provincial places, and in distant parts such as cities far from rome,
from edinburgh to St. Petersburg.
robert Adam was the most famous amongst many great architects in this manner and interestingly
Chippendale’s workshops made the greatest neo-classical furniture (e.g. for Harewood House)
despite the fact that his great Director had been essentially a collection of earlier rococo forms.
He, like many great designers and artists, showed an ability to adapt, develop and expand with
the mood of the times.
102
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103
the age of SAtiNWooD
AN iMPortANt MArQuetrY SiDe tABLe AttriButeD to JoHN CoBB
A superb George iii satinwood and marquetry serpentine side table in
the French taste, almost certainly from the workshop of John Cobb; the
top crossbanded with tulipwood and inlaid at the centre with a ribbon-
tied bouquet of flowers within an oval panel with broad rosewood
border inlaid with interlaced roundels and floral motifs, the shaped frieze
with central urn at the front flanked by paterae and with sunflowers at
the sides, all draped with swags of husks, raised on most elegant, tapering
cabriole legs cross-banded with rosewood and ending in ormolu sabots.
F2F0020
english, circa 177�
Height: 33in (84cm)
Width: �7in (14�cm)
Depth: 28in (71cm)
Provenance:
Formerly in the collection of the �th Marquess of Anglesey (187�-190�),
Plas Newydd, Llanfairpwll, North Wales
Literature:
J de Serre, Country Life, � February 1927, ‘An inlaid Satinwood table’
The Journal of the Furniture History Society, 1974, pl 30b and pp�2-�3,
(photograph in the Symonds Collection at the Henry Francis du Pont
Museum, Winterthur)
this beautiful, transitional table displays the very best manners of
English and French furniture design combined. It is a highly refined
example of the successful union of the anglicised Louis XV style and
the contemporaneous neo-classical revival. it is one of a select group of
pieces of marquetry furniture that can be confidently attributed to John
Cobb and his workshop. they are all designed in the ‘French’ taste and
made primarily of satinwood, having central panels of marquetry flowers
or fruits in the top. they share also the distinctive cross-banded outlines
in contrasting timbers and similar neo-classical inlay.
A lavishly inlaid bombé commode, with pair of torchéres en suite, is
recorded as having been supplied by Cobb in 1772 to Paul Methuen
at Corsham Court in Wiltshire. A bill is preserved at Corsham which
describes it as an ‘extra neat inlaid commode’ and this has become the
point of reference for subsequent attributions. A strikingly similar table
formerly in the tweedmouth collection is now in the Victoria and Albert
Museum.
104
FiNe FurNiture A timeline in woods
Left:
A GeorGe iii SAtiNWooD MuSiC StAND BY erArD
An early 19th century satinwood double sided
music stand with brass mounts, raised on a
fluted stem with splayed tripod base ending
in brass box castors and ball feet, bearing the
stamp ‘1��’ on the underside of the music rest.
F2G0399
english, circa 1800
Height adjustable
Opposite:
A SHerAtoN 2 tier SAtiNWooD etAGere SiDe tABLe
A fine and unusual Sheraton period satinwood
side table of unusual form with turned and
square tapering legs terminating in deep brass
toes with castors, the woodwork crossbanded
and inlaid with lines in various woods including
kingwood; the top and the shelf bound with
brass mouldings. (the top surface and the shelf
have been relined). F2H0194
english, circa 1790
Height: 3�in (90cm)
Width: 43in (109cm)
Depth: 1� in (38cm)
10�
the age of SAtiNWooD
10�
FiNe FurNiture A timeline in woods
107
the age of SAtiNWooD
A reGeNCY roSeWooD BreAKFASt tABLe
A fine Regency period tilt top rosewood breakfast table, the well figured rectangular crossbanded
top with ebony and boxwood stringing, the edge with further boxwood stringing, supported on a
turned column base with four outswept legs in rosewood inlaid with stylised boxwood stringing,
each leg terminating in gilt brass hairy paw feet and castors. F2F02�3
english, circa 181�
Width: ��¾in (142cm)
Depth: 40¾in (103.�cm)
Height: 27½in (70cm)
exotic timbers from the New World
108
FiNe FurNiture A timeline in woods
109
the age of SAtiNWooD
A FiNe SHerAtoN PerioD SAtiNWooD SeCretAire CABiNet
A fine late eighteenth century secretaire cabinet in Satinwood and Purpleheart, the front profusely
inlaid with marquetry of classical scrolls and anthemions, the base with a fall front drawer fitted with
drawers and pigeon holes, the upper mirrored doors concealing shelving. in the manner of Mayhew
and ince. F2H0073
english, circa 1780
Height: 82in (208.3cm)
Width: 44½in (113cm)
Depth: 19in (48.2cm)
The partnership of John Mayhew and William Ince was one of the most significant, and probably
the longest lived of any of the major London cabinet makers of the 18th century. they were
partners in business from 17�9 until 1804. the highly skilful and adventurous use of marquetry,
constitutes the firms most original contribution to furniture decoration in the 1770’s and 80’s.
110
FiNe FurNiture A timeline in woods
111
the age of SAtiNWooD
A PAir oF GeorGe iii PAiNteD SAtiNWooD CArD tABLeS
A fine pair of late 18th century Sheraton period satinwood card tables of breakfront outline with
bowed corners, the tops inlaid with broad purpleheart banding within ebonised and boxwood
stringing and painted with a running band of foliate scrolls centred by Prince of Wales feathers, the
frieze with ebonised and boxwood stringing, raised on square tapering legs with double gate-leg
action, painted with pendant swags and headed by purpleheart tablets with painted flowerhead
paterae, ending in collared feet; the interiors of the fold-over tops lined with green baize. F2C029�
english, circa 1790
Height: 29¾in (7�.�cm)
Width: 34in (8�cm)
Depth: 1�¾in (42.�cm)
straight lines and refinement
112
FiNe FurNiture A timeline in woods
113
the age of SAtiNWooD
Opposite & right:
BACCHuS BY LouiS GArNier
An early 18th century bronze model of Bacchus
having an outstanding original patination, by
Louis Garnier (1�38 – 1728), standing on a
period sienna marble block plinth. o2e0�88
French, circa 1700
Height of bronze: 1�in (38cm)
Height of plinth: �in (13cm)
Louis Garnier was a pupil of Girardon and
made a member of the Academy St Luc in
Paris, in 1�8�, later becoming a dean. He
worked alongside the founders, Jean-Balthazard
and Jean-Jacques Keller and was a protegé of
the Marquis de Louvois. His work can be seen
at the Palace of Versailles and the same model
is illustrated in ‘the French Bronze 1�00-1800’;
M Knoedler & Co, New York, 19�8, illustration
number 19b. An example bought in 1�99 by
Leplat for Augustus the Strong of Saxony, as a
pendant to M. Angier’s ‘Amphritrite’, is in the
Staatliche Kunstsammlungen, Dresden, Grünes
Gewölbe (inv. iX.38). there are several
other bronze examples including two in the
Hermitage and Leningrad museums.
114
FiNe FurNiture A timeline in woods
Above:
A PAir oF SWeDiSH PorPHYrY VASeS
A pair of large scale mid 19th century Swedish
campagna form porphyry vases. o2A0�40
Swedish, circa 18�0
(the base of one repaired)
Height: 19in (48cm)
Diameter: 1�in (38cm)
Opposite:
A LouiS XV LANterN
An unusual Louis XV lacquered brass pen-
tagonal lantern. each panel is surmounted
by a foliate arch in low relief and framed with
applied foliate scrolls. The flat surfaces all
have shaping to the outer edge. the lantern is
supported from a finely wrought canopy with
a smoke cowl, unusually mounted within its
frame. F2C0194
French, circa 17�0
Height: 32in (81cm)
Width: 20in (�1cm)
11�
the age of SAtiNWooD
11�
FiNe FurNiture A timeline in woods
A FiNe SHerAtoN SAtiNWooD SeCretAire CABiNet
An exceptionally elegant Sheraton satinwood
secretaire cabinet of fine proportions, the
upper section with glass shelves and lined with
silk, enclosed by glass doors with moulded
fenestration headed by gothic arches. the
pediment with a gothic cornice, a key pattern
moulding, painted swags and topped with
painted finials; the lower section standing on
splayed feet and with a secretaire drawer
above three further drawers; the whole piece
beautifully veneered with contrasting cuts of
satinwood and with fine crossbanding; retaining
its original brass ring handles. F2H0208
english, circa 1790
Height: 89in (22�cm)
Width: 31in (78cm)
Depth: 18in (4�cm)
117
the age of SAtiNWooD
118
FiNe FurNiture A timeline in woods
A Set oF Four oF ADAM PerioD CArVeD GiLtWooD ArMCHAirS
A rare and very fine set of four of Adam period carved giltwood oval back armchairs, the frame
of the curved back carved with beading and scrolling ribbon and raised on acanthus supports, the
arms with carved acanthus and fluting, the bowed seat rail with anthemion frieze and bead and reel
borders, raised on fluted tapering legs headed by paterae. F2B0582
english, circa 177�
Height: 37¼in (94.�cm)
Width: 24½in (�2cm)
Depth: 21in (�3cm)
119
the age of SAtiNWooD
120
FiNe FurNiture A timeline in woods
A GeorGe iii HePPLeWHite PeMBroKe tABLe
A very fine late eighteenth century Hepplewhite period satinwood and marquetry Pembroke table,
of superb colour, the shaped top richly veneered with classical motifs within a crossbanding of
inlaid pearls, finished with ebony and boxwood stringing, the central panel depicting a classical urn
in marquetry, against a rosewood background within a border of bell flowers. The frieze having a
single drawer flanked by simulated fluting in boxwood, the square tapering legs further decorated
with water leaf marquetry, ending on the original brass castors. F2H0040
english, circa 177�
Height: 2�¾in (�8cm)
Width: 38½in (98cm)
Depth: 27½in (70cm)
121
the age of SAtiNWooD
122
FiNe FurNiture A timeline in woods
123
the age of SAtiNWooD
A LAte 18tH CeNturY iNDiAN SiLVer MouNteD PADouK WritiNG BoX oN GeorGe iii StAND
A late 18th century indian silver mounted padouk writing box on a George iii stand, the serpentine
hinged lid enclosing a removable fitted interior with compartments for ink-wells and pens around
a blue leather lined writing slope enclosing further drawers and compartments, above three lidded
wells, on a original stand with patera-headed square tapering legs, with brass caps and castors.
F2H0088
Height: 33in (83cm)
Width: 22in (��cm)
Depth: 14in (3�cm)
Anglo-Indian furniture is a significant aspect of English furniture history; a quantity of finely
made pieces was made in india in more or less english or true indian forms. this piece is a highly
sophisticated example of the first category, and an especially notable Indian features are the wavy
sides and curious and charming starburst silver mounts, perhaps inspired by the stars of the english
noble orders, for example, the Garter and the Bath.
124
FiNe FurNiture A timeline in woods
12�
the age of SAtiNWooD
AN 18tH CeNturY roSeWooD SoFA tABLe
A very fine late 18th century sofa table in
rosewood of distinctive figuring and rich colour,
the top bordered with burr yew banding and
boxwood and ebony stringing, the frieze with
two drawers at the front and dummy drawers
on the reverse, raised on sabre leg supports
joined by a high arched stretcher and ending in
brass box castors. F2G001�
english, circa 1800
Height: 28in (71cm)
Length: �0½in (1�4cm)
Depth: 27¾in (70.�cm)
12�
FiNe FurNiture A timeline in woods
127
the 19tH CeNturY
19tH CeNturY DiVerSitY
empire and regency classicism faded out in england following the death of George iV. the arts
associated with William iV are a good deal less colourful but often of good quality in craftsmanship.
the 1840’s were certainly a time of woods – rosewood, mahogany, and exotic striped veneers such
as calamander or coromandel, alongside other rarities, even palm tree.
All seemed a preparation for the greater part of the nineteenth century for which one LABeL has
always been used, Victorian. The adventures and confidence of manufacture in the reign of Queen
Victoria were epitomised by the Great exhibition in London in 18�1 which was subsequently
followed by many more exhibitions and today, plenty of shows and fairs.
ornament reached the ultimate in diversity and richness. revivals of many styles were tied
together, the best of each often working well in both design and execution. this was an
extraordinarily rich period of revival and creativity, often wrongly berated but in fact, with much of
great quality produced, always displaying a depth of intellect and extraordinary workmanship.
Highly crafted accessories were made in new materials such as cast iron, challenging the use of wood.
128
FiNe FurNiture A timeline in woods
129
the 19tH CeNturY
A PAir oF JAPANeSe oBi PANeLS
A pair of early 20th century Japanese woven panels in the obi style.
these splendid panels of patterned and textured weaving were made for an element of Japanese
costume and display an exuberant reworking of Japanese motifs in an ornate and rich manner, by
this date achievable in modern weaving techniques. t2G0342
Japanese, circa 1910
Height: �9in (1�1cm)
Width: 31in (79cm)
130
FiNe FurNiture A timeline in woods
131
the 19tH CeNturY
A ViCtoriAN Burr WALNut KiDNeY SHAPeD DeSK
A fine quality early Victorian walnut kidney desk of traditional form. The frieze has a single central
long drawer flanked by columns of five drawers of increasing size; each
drawer has a walnut handle. the sides are locked by means of a winged pilaster with a
sliding panel at the capital which marks the escutcheon. the central drawer is stamped
Gillows and all the locks are Bramah. the back of the desk has shelves for books. F2G0111
english, circa 1840
Height: 28.�in (72.�cm)
Width: �2in (132cm)
Depth: 2�in (��cm)
the kidney desk originated from a table with a kidney-shaped top. this design, often referred to
as an ‘haricot’, first appeared as a writing or dressing-table during the Louis XV period (1715-74) in
France before being introduced into england in the late 18th century. the kidney table evolved to
incorporate drawers and often small shelves for books and thus became the favoured knee-hole
form desk of the Sheraton and Victorian periods. its practicality of shape and design as well as its
pleasing and innovative aesthetics made it very popular.
the design for this form of desk, ‘Gillow’s Estimate Sketch Books’, no. �293.
132
FiNe FurNiture A timeline in woods
Above:
A NiNeteeNtH CeNturY oAK Letter BoX
An unusual oak letter box with brass fitments
and postage instructions signed by thornhill,
144 New Bond St, London and fitted with a
Brahma type lock. o2H0243
english, circa 1880
Height: 8in (20cm)
Width: 1�in (37cm)
Depth: 7in (19cm)
Opposite:
AN AuStriAN LiMeWooD eAGLe
A fine quality late 19th century Austrian lime-
wood carving of an open winged eagle perched
on a rock carved in fine naturalistic detail.
o2G0289
Austrian, circa 1880
Height: 32in (82cm)
Width: 33in (83cm)
Depth: 20in (�0cm)
133
the 19tH CeNturY
134
FiNe FurNiture A timeline in woods
13�
the 19tH CeNturY
Opposite:
A CASt iroN CoALBrooKDALe uMBreLLA StAND
A polished cast iron mid 19th century
Coalbrookdale stick stand with open acanthus
within Gothic arches at the sides and Gothic
carrying handles, With space for twelve sticks.
F2H024�
english, circa 18�0
Height: 23in (�9cm)
Depth: 23½in (�0cm)
Width: 14in (3�cm)
Above:
A MiD 19tH CeNturY CLuB FeNDer
A mid 19th century club fender, the leather
upholstered seat on a polished brass frame
with circular rails. o2H011�
english, circa 18�0
Height: 2�in (�4cm)
Depth: �1in (130cm)
Width: 18in (4�cm)
13�
FiNe FurNiture A timeline in woods
137
the 19tH CeNturY
A JAPANeSe LACQuer SCreeN WitH CoCKereLS AND DoVeS
A Japanese large two-fold screen, decorated in high relief, lacquer, gilt and other embellishment,
the interior with two pairs of cockerel and hen amongst chrysanthemum and peony blooms on a
naturalistic wood ground, above panels of dragons in the clouds, the exterior decorated on each
panel with three doves perched on large branches of flowering plum trees, open winged and in
flight, amongst thin branches, all within hardwood frames, decorated with gilt flowers and foliage
with incised metal work corners, frame supports, feet and hinges. F2H0297
Japanese, circa 1900
Meiji Period
Height: each panel �8 in (171.01 cm)
Width: 38 in (9� cm)
138
FiNe FurNiture A timeline in woods
139
the 19tH CeNturY
Opposite:
A Set oF FreNCH BAYoNet Fire iroNS
A set of late 19th century novelty fire irons in
the form of stylised bayonets with brass and
steel mounted wooden handles each with
maker’s stamp. o2H0018
French, circa 1880
Length of poker: 2�¾in (��.�cm)
Above, from left to right:
A MAtCHeD PAir oF BrASS Door StoPS
A matched pair of Victorian brass doorstops
cast in a stylised rope twist pattern, the stem
surmounted with a decorative knot with
tassels. o2F0394
english, circa 184�
Height: 1�½in (42cm)
A BrASS Door StoP iN tHe ForM oF A SeAteD LABrADor
A mid 19th century brass doorstop in the
form of a seated Labrador, with registration
mark on reverse. o2e02��
english, circa 18�0
Height: 13¾in (3�cm)
oNe oF A MAtCHeD PAir oF BrASS Door StoPS
A matched pair of Victorian brass doorstops, the
bell shaped bases with scroll details. o2H023�
english, circa 1840
Height 17in (43cm)
A BrASS Door StoP iN tHe ForM oF A FoX HeAD
A 19th century brass door stop, the base in the
form of a fox head with carrying handle formed
by a hunting crop. o2G0103
english, circa 1890
Height: 1�in (40.�cm)
140
FiNe FurNiture A timeline in woods
Above:
A GrouP oF BALL CLoCKS
A group of late 19th century english and
French ball clocks.
Diameter of largest clock: 4in
(Clockwise from top: 02H0242, o2H0110,
o2H0111, o2H0172, o2H0109)
Opposite:
A PAir oF ProFiLeS oF QueeN ViCtoriA AND PriNCe ALBert
A pair of glass cast profiles of Queen Victoria
and Prince Albert, mounted on oval mirrors
decorated with a band of convex printies,
framed in ebonised ovals surmounted by a
carved giltwood crown. o2e0401
the mirrors english, circa 18�0
Height: 23¼in (�9cm)
Width: 14½½in (37cm)
141
the 19tH CeNturY
Royal patronage for the arts and industry
142
FiNe FurNiture A timeline in woods
Above:
A CArtoN Pierre CouNter BoX
A Louis Philippe carton pierre and gilt metal
casket having a panel of floral needlework set
into the mirrored top the sides are silvered
and of bombé form. they are mounted with
repoussé gilt metal handles and feet. the
casket opens to reveal a pink interior and
an applied engraving of a village scene. the
interior has a removable carrier which retains
four further carton pierre boxes, each with
a mirrored top and an octagonal panel of
needlework illustrating a butterfly. Each of
the boxes contains stained ivory counters.
o2D0212
French, circa 18�0
Height: 3in (7.�cm
Width: 9in (23cm)
Depth: 7in (18cm)
Opposite:
A WiLLiAM iV CALAMANDer etAGere
A fine William IV brass mounted calamander
four tier etagère, the top with a baluster gallery
on three sides, the four shelves bordered with
brass beading, the supports with gilt fluted
columns, brass beading and carved foliate detail,
raised on brass mounted turned legs ending in
brass cup castors. F2B0382
english, circa 1830
Height: 38in (9�.�cm)
Width: 27¼in (�9.�cm)
Depth: 1�in (38cm)
143
the 19tH CeNturY
144
FiNe FurNiture A timeline in woods
MALLett PLC
Directors
George Magan* Chairman
Lanto Synge Chief Executive
Michael Smyth-osbourne Finance Director
Lord Daresbury*
James Heneage*
Giles Hutchinson Smith
eloy Michotte*
Henry Neville
thomas Woodham-Smith
*Non executive
MALLett & SoN ANtiQueS (LtD)
141 New Bond Street
London W1S 2BS
telephone: 020 7499 7411
Fax: 020 749� 3179
Lanto Synge Chief Executive
Michael Smyth-osbourne Finance Director
Giles Hutchinson Smith Managing Director
James Harvey Director (Gallery)
thomas Woodham-Smith Director
richard Cave Director
Felicity Jarrett Associate Director
Nicholas Wells Associate Director
MALLett iNC.
929 Madison Avenue
New York
NY 10021
uSA
telephone: 001 212 249 8783
Fax: 001 212 249 8784
Henry Neville President
robin Hermanns
Justin evershed-Martin
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