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Lot 149
The signed and numbered movement with frosted, silvered lever platform escapement with push repeat and alarm striking on a blued steel coiled gong, to a gilt engine turned mask enclosing a Roman and Arabic enamel dial with outside minute track and blued steel spade hands over an alarm subsidiary at 6, in a frosted gilt and lacquered case with hinged carry handle and five bevelled glass panels and raised on bracket feet. Together with its original numbered and fitted Morocco covered outer travel case, compete with dial cover and containing its numbered winding key.Height with handle raised 18.5cmQty: 1Condition report: Case- All over wear to guilding on high points from use, some spotting top. Chip to top left hand corner of front glass panel.Dials- FineMovement- Clean, free and running at present.Travel Case- All over age related wear to Morocco, fraying to carry strap.
Lot 498
A WILLIAM & MARY OAK PEDESTAL TABLECIRCA 1690The dodecahedral top above a barley twist stem68cm high, the top 37.5cm diameterCondition Report: Marks, knocks, scratches, abrasions consistent with age and useOld splits and cracks, some chips and losses, the corners of the top especially appearing to have suffered old bashes and lossesOne of the legs has an old split through which has had pinned repairs and a metal bracket, also signs of filler disguising some of these - overall appears solid and stable however at time of report Please refer to additional images for visual reference to conditionCondition Report Disclaimer
Lot 658
A GEORGE II CARVED OAK WALL BRACKET CIRCA 1730Of winged grotesque mask form21.5cm high, 16cm wide, 13cm deepCondition Report: The bracket has marks, chips, knocks, scratches and abrasions consistent with age and use. There are some losses and restorations including chips to the tips of some of the scrolls and a repair, possibly with a later carved section, to the lower tip of the front central pendent leaf. The bracket is essentially of two sections: the top shelf and upper central small scrolls and pendent leaf, and the support with side scrolls and mask. These two sections are later fixed with a steel screw visible to the top of the shelf. The upper section has been split and repaired. There are holes from old fixings to the back of the bracket. Please see the additional photographs for a visual reference of condition. Condition Report Disclaimer
Lot 474
A George III ebonized repeating bracket clock, by James Smith, London, the brass dial with roman silvered chapter ring with subsidiary date aperture within, under strike/silent marker, with brass leaf scroll spandrels, fitted a double fusee movement with verge escapement, striking on a bell, the back plate signed and decorated with floral scrolls, in ebonised case, the dome top with brass handle above brass pierced scale panels and repeater cord, 26.5 x 17.0 x 44.0cms high.
Lot 480
G. Chambers, Gateshead; an oak eight-day longcase clock, the brass dial with silvered roman chapter ring and engraved centre with scrollwork design and subsidiary seconds and date aperture, anchor escapement, the case with dentil cornice on a cavetto frieze above an arched glazed door flanked by turned columns, arched waist door with fluted canted cornice, panelled base, on bracket feet, with weights and pendulum, 205cms high.
Lot 554
A George III mahogany bureau bookcase, the upper section with dentil cornice above a blind fret frieze, a pair of glazed astragal doors below enclosing adjustable shelves and drawers, candle-slides below, the lower section with rectangular writing slope opening to reveal a fitted interior of drawers and pigeon holes around a cupboard, two short and three long graduated drawers below on ogee bracket feet, 122 x 56 x 233cms high.
Lot 473
A 19th Century inlaid mahogany dome-top bracket clock, the silvered roman dial fitted 8-day movement striking the hours and half hour on a coil gong, the case with lacquered brass ball finials, boxwood stringing and inlaid butterfly motif, raised on brass ball feet, 22.5 x 16.0 x 38.0cms high.
Lot 569
A George III mahogany chest on chest, the upper section with cavetto cornice above two short and three long drawers with fluted angles, the lower section with three graduated drawers, all with pierced brass escutcheons and swan necked handles, stained soft wood sides, on bracket feet, 104 x 50 x 176.5cms high.
Lot 475
James Allen, London: a handsome George III eight-day quarter chiming musical mahogany longcase clock, the brass dial with roman hours and arabic minutes, subsidiary seconds and date dials, with chime/silent dial to the arch, the movement with anchor escapement striking on a bell and chiming on a graduated nest of eight bells, the pagoda style hood with tapering columns and surmounted by finials, above an arched and moulded trunk door, flanked by quarter pilasters, raised on a box and panel base with bracket feet, 257cms high.
Lot 74
DICKENS (CHARLES)The Posthumous Papers of the Pickwick Club, FIRST EDITION, IN THE 20 ORIGINAL PARTS IN 19, half-title, additional etched title and 42 plates by R. Seymour, R.W. Buss and Hablot K. Browne ('Phiz'), a few plates with a little light foxing, publisher's pictorial blue wrappers, one or two parts soiled, many spines expertly restored (along with some covers, predominantly of the earlier parts, mostly at edges), each part preserved in Collis's annotated paper wrapper, preserved in maroon cloth solander box with gilt lettered spine, worn at joints [Eckel, Prime Pickwicks in Parts; Hatton & Cleaver pp.3-88; Miller & Strange, A Centenary Bibliography of the Pickwick Papers], 8vo, Chapman & Hall, April 1836-November 1837Footnotes:A NEAR-PRIME SET OF 'PICKWICK' IN ORIGINAL PARTS, CAREFULLY ASSEMBLED IN THE 1930S BY THE LIVERPOOL COLLECTOR W.H. COLLIS. The set is probably as complete as any that has appeared at auction, and surpassed only by the likes of the Dexter copy in the British Library, with nearly all text and plates in first issue or state, all but one of the advertisements called for by Hatton & Cleaver, and with one rare variant advertisement not recorded elsewhere.The letterpress is virtually perfect with all points listed in Hatton & Cleaver except part 8, p.233, line 8, where there are no quad marks in 'I ever'. The addresses are as called for in parts 2, 3, 10, 15, 17, 18, 19/20.The plates are all without captions (parts 1-11 have only page numbers), and all in the first state recorded by Hatton & Cleaver. The two plates by Buss are present in part 3; and the two plates in part 6 are in the FIRST STATE, with page numbers interchanged ('THE RAREST ITEMS IN THE WHOLE REALM OF 'PICKWICK''--Hatton & Cleaver). All the advertisements, 'Pickwick Advertisers', slips and addresses listed by Hatton & Cleaver are present, with the exception of the 'Phrenology Made Easy' slip in part 7, and the very rare 'George Mann' leaflet which Hatton & Cleaver say 'cannot be accepted as a definite unit in the construction of Part 9', having been found pasted into the Dexter copy. The wrappers are all dated 1836 and first issues except for part 2 (see below). The inner wrappers on parts 1 and 3 are blank, and the front wrappers of parts 1-3 have a bracket following the part number, reading respectively: 'With four illustrations/ by Seymour', 'With illustrations/ by Seymour' and 'With illustrations by R.W. Buss'. Parts 16 to 19/20 have the imprint of 'Bradbury and Evans, Printers, Whitefriars' added at foot.In terms of completeness, issue and rarity, W.H. Collis's 'best set' would certainly have found a place in Eckel's 1936 Prime Pickwick in Parts, surpassing for example the McCutcheon-Suzannet copy in all those aspects, and meeting and in one case exceeding all the following criteria demanded by his contemporary bibliographers and collectors: (i) For Eckel it was essential that 'the three insets essential to the perfect 'Pickwick' were present, namely the Chapman and Hall catalogues in parts 1 and 3 and especially the four-page 'Pigot's Views in the Isle of Wight' in part 13 ('almost an unknown quantity'). Hatton & Cleaver list the five copies known at the time, of which 'the fifth [our copy] is owned by a Liverpool collector'.(ii) Dexter viewed the two mis-paginated plates in part 6 as 'the greatest rarity known to me', a sentiment echoed by Hatton & Cleaver who called them 'the rarest items in the whole realm of 'Pickwick''. (iii) Hatton & Cleaver refer to a very rare textual issue point in part 9, where p.261 is signed N2 instead of X2: 'This 'point' is an extremely rare one and has not been previously recorded. Only twice has it come under writer's [sic] notice'.(iv) Amongst the advertisements of Collis's set appears something of perhaps even greater rarity, deemed by him to be 'the only known copy'. Titled 'Adventures of an Oil Bottle', it appears in part 6, being one of four variants listed by Hatton & Cleaver. Narrative adverts on four pages for either Rowland's 'Kalydor' or 'Genuine Macassar Oil', they represent the first paid advertisements to appear in Pickwick. Hatton & Cleaver state that they are indicative of the earliest issue of Pickwick, ours being listed as 'No. 1c', an entry presumably based on Collis's set. Collis's copy of a note from Thomas Hatton written in June 1933 is included: 'I quite agree that 'Adventures of an Oil Bottle' is earlier than 'Autobiography' [the version found in Dexter's and other copies]... it was the earliest printed and soon superseded by 'Autobiography', with slight textual differences'. For good measure a copy of one of the other variants ('The Toilet', H & C's no. 1) is supplied loose along with a spare of the rear wrapper.Notes on individual parts:Part 1: the 4 plates all H & C's 'first state of first Seymour plate'; with 8pp. Chapman & Hall catalogue.Part 2: 'The Dying Clown' in Miller & Strange's second state, after the signature, 'Mr Pickwick in Chase of His Hat' in [?]second state, 'The Refractory Steed' in first state; early issue wrappers, front wrapper reading 'With Illustrations/ By Seymour' (according to Collis 'even more elusive' than the variant with the word 'Four', a loose copy of which is also supplied), inner and both rear wrappers as H & C's part 4 wrappers.Part 3: with the 2 Buss plates in Miller & Strange's first state; Chapman and Hall 4pp. slip at front, and rare variant 4pp. 'Adventures of an Oil Bottle' at rear ('The Toilet' variant supplied loose).Part 4: both plates H & C's 'first state of original plate' (Collis states 'hitherto unrecorded').Part 5: plates in Miller & Strange's first state.Part 6: plates in the rare mis-paginated state.Part 7: plates in first state.Part 8: p.233, line 8 without quad marks after 'I'; wrappers with original setting as per H & C, 'cleaned by Morrell April 1933. Wrapper IV altered to VIII March 1937... by Morrell'.Part 9: p.261 mis-signed N2 instead of X2.Part 10: H & C's 'first plate'; Advertiser with second state of p.10 (with 'The Poetic Wreath'); Address in second setting (with dash).Part 11: H & C's 'first plate'.Part 12: H & C's 'first plate, first state'; 'as received by WHC was untouched. Cleaned etc all through by Morell Aug 1935.. but nothing added or exchanged... Ex Hatton'.Part 13: H & C's 'first plate'; with the rare Pigot advertisement at front.Part 14: H & C's 'first plate'.Part 15: H & C's 'first plate'; Address bound before plates and with variant headed '186 Stran D,June 30, 1837' supplied loose; the Royal Beulah Spa advert on green paper; 'Remade up Nov:1932 by Riviere'.Part 16: H & C's 'first plate'.Part 17: H & C's 'first plate'; last leaf of Walter Scott advert slightly cut down.Part 18: H & C's 'first plate'; Tea advert the issue with prices in small type (last line shaved, a copy of the other issue supplied loose); wrappers dated 1837.Part 19/20: H & C's 'first plate'; earlier printing of Advertiser with '1388' for '1838' on p.7.Provenance: Part 1, 'FSR Villiers 1836' and part 5, 'With the publisher's compts', inscriptions on front wrappers; part 12, Thomas Hatton; remainder mostly noted by Collis as being from 'lot 84' or 'Coumin'.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 128
A SILVER-GILT AND PLIQUE-À-JOUR ENAMEL IMPERIAL PRESENTATION TANKARDPavel Ovchinnikov with Imperial Warrant, Moscow, circa 1889the body enriched with scrolling floral cloisonné enamel motifs within twisted wirework panels, flaring to octagonal arched segments delineated by beadwork and spiral columns, raised upon conforming base with interlacing strapwork, the underside inscribed 'Souvenir DE S.A.I. Le Grand Duc Georges Alexandrovitch de Russie to Col. W.F.Cody, Paris 1889', the base revealing plique-à-jour Imperial Eagle within foliate ground, bracket handle with scaling joined to trefoil thumbpiece at hinge, the lid with smaller plique-à-jour panel within border of butterflies and birds within floral ground, 88 standard height: 16cm (6in).Footnotes:ProvenancePresented by Grand Duke Georgii Aleksandrovich (1871-99) to William Cody ['Buffalo Bill'] (1846-1917), according to inscription on base.Architectural in form and featuring brightly coloured filigree enamel panels, granulation and interlacing strapwork, the current tankard is an adaptation of the Turkish seventeenth century prototype featured in the Drevnosti Gosudarstva Rossiiskogo (Antiquities of the Russian State), compiled by Fedor Solntsev in 1850s and instantly adopted by Russian silversmiths as their favourite source of the artistic inspiration. The firm of Pavel Ovchinnikov made several identical tankards, a few of which were acquired by the Imperial Cabinet and members of the Romanov family to be used as diplomatic gifts and presentation pieces. In 1897, during the official visit of the French President Félix Faure to Saint Petersburg, one of the officers of the French squadron received a very similar tankard as an official gift. (Fig 1). In 1889 an identical tankard was presented to an anonymous official by G. Netchaev-Maltsov (Sotheby's, Geneva, 13-15 November 1995, lot 446).The Hillwood Museum and Gardens in Washington, DC has in its collection another example identical to the current tankard but without an inscription identifying the occasion for which the gift may have been presented. In addition to their traditional shape and décor, each tankard was decorated with plique-à-jour panels depicting the Russian Imperial Eagles amidst floral fields. The presence of the Imperial symbols further underscored the importance of such gifts as an official expression of friendship and appreciation. Among this group of presentation tankards, the current example stands out as the most historically significant. According to the inscription, Grand Duke Georgii Aleksandrovich presented it to William Cody, one of the most famous and popular Americans of the late 19th century.William Cody (1846-1917), who earned his nickname 'Buffalo Bill' by hunting 4,280 buffalo in eighteen months, was a soldier during the Civil War, a scout, a Pony Express rider, an invaluable tracker and experienced gunman, who at the end of his life had come to symbolize the American frontier and the nation's spirit of adventure. Cody's frontier experience and positive public image was particularly helpful during official visits of foreign dignitaries to the Western territories. During the highly publicised visit of Grand Duke Aleksei Aleksandrovich to the USA in 1871-1872, Cody was instrumental in organising a hunting adventure on a scale that surpassed anything that the Russian Grand Duke, an experienced hunter and sportsman himself, had experienced before. When the Grand Duke Aleksei, the third son of Tsar Alexander II, arrived at the hunting camp in Nevada, 'Buffalo Bill' was waiting mounted on a splendid horse. Over six feet tall, Cody cut an impressive figure in his spangled buckskin suit, a coat trimmed with fur, and a black slouch hat. Cody's leadership and assistance during the hunt was later kindly acknowledged by the Grand Duke who presented Buffalo Bill with gifts that are now part of the collection at the Buffalo Bill Historical Center in Cody, Wyoming, USA. It was probably with the encouragement and at the recommendation of his royal uncle that twenty years later, while vacationing in Paris, Grand Duke Georgii met William Cody.In the summer of 1889, William Cody was on his second tour of Europe with Buffalo Bill's Wild West show, a highly successful circus-like attraction that included horseback parades, re-enactments of famous Civil War battles, Indian attacks on wagon trains, and stage coach races. The show was enormously popular and propelled Cody to worldwide fame. Queen Victoria and Prince Albert, Crown Prince Rudolf of Austria, Russian Grand Duke Michael, and the King of Denmark were among the guests who attended the show during the tour of England two year earlier. In 1889 the Wild West show became the main attraction of the Paris Exposition Universelle and a 'must see' venue for many foreign visitors flocking to the French capitol that summer. Grand Duke Georgii Aleksandrovich (1871-99), the son of Emperor Alexander III and the brother of the Russian Emperor Nicholas II, arrived in Paris on August 26 for a few days of sightseeing. Very bright and capable, he was seen by many of his contemporaries as 'intellectual and magnanimous, with an engaging personality', and 'the one who could have become a strong and popular tsar' (1). Sadly, in the early 1890s Grand Duke Georgii was diagnosed with tuberculosis and spent most of his time travelling in pursuit of the proper medical treatments, eventually settling in the small town of Abas-Tuman in the Caucasus. Two days after his arrival in Paris the Grand Duke noted in his dairy: 'We had visited the Exposition today. Afterwards we went to see Buffalo Bill [show]. It was most interesting' (2). The scale of the performance and larger than life personality of its founder must have left an unforgettable impression on the eighteen year old Grand Duke, who arranged to have this very special gift delivered to William Cody on his behalf.1. Suzanne Massie, 'A Royal Visit: The Grand Duke Alexis in the United States,' in The Tsar and the President, Alexander II and Abraham Lincoln Liberator and Emancipator, the American–Russian Cultural Cooperation Foundation, 2008, p. 62.2. The Diaries of Grand Duke Georgii Aleksandrovich, State Archive of the Russian Federation, fund 675, unit 1, file 6, 16/28 of August 1889.We would like to thank Larisa Kriachkova, Chief Curator of Archival Depository of the State Archive of the Russian Federation and the staff of the Buffalo Bill Historical Center for their research assistance.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Lot 142
A highly important Beilby enamelled armorial light baluster wine glass, circa 1765The round funnel bowl finely decorated in polychrome with the arms of Yeoman, a red heart pieced by two arrows on a white ground, within an elaborate rococo scrollwork cartouche painted in shades of purple, pink and cream, flanked by long green palm fronds, the reverse with a crest of a winged red heart, resting on a scrollwork bracket flanked by foliate sprays, traces of gilding to the rim, on a stem with an angular knop over an annular knop, beaded inverted baluster and small basal knop, over a conical foot, 18.1cm highFootnotes:ProvenanceMrs W D Dickinson CollectionCommander Sir Hugh Dawson CollectionWith Sheppard and Cooper LtdPrivate British CollectionLiteratureW A Thorpe, A History of English and Irish Glass (1929), pl.CXXXII, fig.B3R J Charleston, English Glass (1968), no.56Delomosne and Son, Gilding the Lily (1978), p.26, no.64L M Bickerton, Eighteenth Century English Drinking Glasses (1971), no.739 and (1986), p.330, no.1071Christopher Sheppard and John Smith, Glass from the Restoration to the Regency (1990), pp.78-9, no.113ExhibitedEnglish Glass, Victoria and Albert Museum, 4 July-31 August 1968In the historic literature the arms on this glass have been presumed fictitious but were identified at those of the Yeoman family of Dryburgh in Berwickshire, Scotland, see Sheppard and Smith (1990), p.79. The crest of the winged heart on the reverse was used by several families, but may be that of either Constant or Peake. Sheppard and Smith suggested that this may be a marriage glass.The Beilby workshop specialised in armorial decoration and their most celebrated productions are a series of royal wine glasses and goblets. Understandably, many proudly bear the Royal arms of George III, King of Great Britain while other specimens show Dutch royal armorials. The British royal glasses mostly have bucket-shaped bowls and opaque twist stems, forms that were popular in England at the time.Once known as 'Newcastle' balusters, glasses of this distinctive form are now known to have been manufactured in Holland as well as England. It is possible that the Beilbys imported undecorated light-baluster glasses from Holland, as most surviving examples of this shape with Beilby decoration have identical stems. The Beilbys will have been aware that the best glass engravers working in Holland, such as Jacob Sang, favoured the light-baluster shape for their most prestigious commissions. Fourteen Beilby-decorated wine glasses or goblets of similar shape are recorded including the present lot. Eleven of these bear armorials or crests, while three are painted with vine in opaque white enamel. The latter include one in the Victoria and Albert Museum (inv. no.c.625/1936), one in the Kunstmuseum Den Haag (inv. no.1005203) and one in the Fitzwilliam Museum (inv. no.C.513-1961).Of the crested and armorial examples, eight have direct Dutch connections. They include the magnificent Prince William V goblet from the A C Hubbard Jr. Collection sold by Bonhams on 30 November 2011, lot 142, a smaller wine glass also bearing the arms of Prince William V sold by Bonhams on 1 May 2013, lot 116, two wine glasses with the arms of Prince William V and Princess Wilhelmina accollé, including one from the Julius and Ann Kaplan Collection sold by Bonhams on 15 November 2017, lot 33 and one in Museum Rotterdam (inv. no.17), together with three glasses in private collections bearing the crest of the Tilly family of Haarlem, including one in the Durrington Collection, see Roger Dodsworth's catalogue (2006), p.35, no.29. A goblet attributed to the Beilby workshop from the Buckley Collection bearing the arms of the Van Dongen family of Amsterdam, now in the World of Glass Museum in St. Helens, is the only other heraldic goblet with a Dutch connection.A further signed Beilby wine glass enamelled with a presumably fictitious coat of arms, again from the Buckley Collection, is in the Victoria and Albert Museum (inv. no.C.623-1936) and was originally acquired in Holland. The only other light baluster wine glass with a Scottish family connection is in the Museum of London (inv. no.34.139/334) and bears the arms accollé of the Paton family of Ferrochie, Fifeshire. The cartouche on the present glass bears a number of close similarities in style and palette to that on a goblet bearing the arms of Anderson impaling Consett from the Julius and Ann Kaplan Collection, sold by Bonhams on 15 November 2017, lot 32.For further information on this lot please visit Bonhams.com
Lot 360
A pair of rare tinplate caskets and covers mounted with Birmingham enamel plaques, circa 1755Of rectangular form with shaped bracket feet, the covers mounted with enamel plaques painted with a harbour scene, the borders and bombé sides japanned with rococo scrollwork and flowers, 10.3cm wide (4)Footnotes:ProvenanceSotheby's New York, 13 December 1984, lot 37These rare boxes belong to a small group japanned in similar style and mounted with Birmingham plaques depicting harbour scenes or Italian landscapes. Since the tinplate industry thrived in Birmingham and nearby Wolverhampton, it is likely that the caskets were produced nearby. See Susan Benjamin, English Enamel Boxes, (1978), p.67 and Therle and Bernard Hughes, English Painted Enamels (1967), p.137 for related examples.For further information on this lot please visit Bonhams.com
Lot 152
A GEORGE II MAHOGANY ESTATE CABINET CIRCA 1750 The upper doors opening to various shelves and pigeon holes, the lower doors opening to a shelved interior214cm high, 94cm wide Provenance: Christie's, Hopetoun House, South Queensferry, Edinburgh Scotland, 20th July 1993, Lot 107 (£6,050). The original lot sticker from this sale is present with the lot. Hopetoun House, one of Scotland's finest stately homes, is an important part of European architectural heritage situated in South Queensferry, outside Edinburgh. Home of the Marquess of Linlithgow, Hopetoun is one of the most splendid examples of the work of Scottish architects Sir William Bruce and William Adam. The house was built 1699-1701 and designed by Sir William Bruce. The house was then hugely extended from 1721 by William Adam until his death in 1748, being one of his most notable projects. The interior was completed by his sons John Adam and Robert Adam. The magnificent entrance hall dates from 1752.The Hope family acquired the land in the 17th century and operated lead mines. Charles Hope, the first occupant, was only 16 years old when his mother, Lady Margaret Hope, signed the contract for building with William Bruce, on 28 September 1698.Condition Report: This estate cabinet has marks, scratches, knocks and abrasions consistent with age and use.There are knocks along the edges of the cornice and variable cracks to the sides.There are concealed spherical wood 'casters' behind the bracket feet.The oak shelves have mahogany sections to the front; the brass and steel locks are of unusual form; the interior sliding door locks of decorative form. The pierced brass escutcheons with some wear to the lacquering.The interior with two sliding shelves, one applied with the Christie's label from 1993.Splits to backboards.One shelf recess to the lower section is void.Please see the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 183
A GEORGE III MAHOGANY SERPENTINE COMMODEIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1765The moulded top above four long graduated drawers, on shaped and panel-moulded bracket feet99cm high, 113cm wide, 55cm deepThis commode relates in both form and quality of cabinet-work to documented examples of furniture produced by Thomas Chippendale (1718-1779). Of particular note are the handles which were a 'favourite Neo-Classical loop handle pattern' of Chippendale's. In addition the fielded panel detailing to the bracket feet have affinities to the Greek key motifs used on certain items of case furniture supplied by Chippendale for Paxton House, Berwickshire. However, the distinctive carved running lozenge pattern columns to the corners appear to be unparalleled in Chippendale's known oeuvre (see Christopher Gilbert, The Life and Works of Thomas Chippendale, 1978, Figs. 95, 263 and 415).Condition Report: Marks, scratches, chips, splits and abrasions consistent with age and use.Handles probably later lacquered with various wear and abrasions.Locks replaced.Some splits to cedar drawer linings. Patina variable including some fading, dry areas, marks.Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 227
A GEORGE III MAHOGANY SERPENTINE FRONTED CLOTHES PRESSIN THE MANNER OF THOMAS CHIPPENDALE, CIRCA 1770 The half-hinged top above a pair of doors enclosing four sliding trays112cm high, 100cm wide, 60cm deepThe use of laminated stacked blocks of timber behind the bracket feet on this piece is a technique used by Thomas Chippendale and features on case furniture supplied by him for Nostell Priory, Yorkshire. A red wash has been applied to the underside of this chest, which is a feature of many documented pieces by Chippendale. Although Chippendale was not the only cabinet maker to use these refinements, their presence suggests that this chest was the work of one of the foremost English cabinetmakers of the period, likely in the St. Paul's Church Yard area of London.
Lot 322
Y A GEORGE IV MAHOGANY AND SIMULATED ROSEWOOD BREAKFRONT LIBRARY BOOKCASE CIRCA 1825The lower moulded panel doors opening to shelved interiors252cm high, 261cm wide, 63cm deep For a near identical bookcase, see Christie's, London, 500 Years Decorative Arts Europe, 9th June 2011, Lot 329 (£12,500). Condition Report: Bookcase with marks, knocks, scratches and abrasions commensurate with age and use. Old splits and chips. Some losses to mouldings and veneers. Some ink stains to shelves. All glass panels appear original. One arched panel to the right side door is cracked. Glass bears the expected minor scratches and some bubbling. Some old vacant nail holes to the back of the glazed doors from where a fabric backing was likely once attached. The interior of the central glazed section with remnants of stuck down red paper lining. Some of the shelves to the side section with old stuck down paper labels to the fronts. One lockplate to the upper doors is a later replacement. One lockplate to the lower doors is lacking and has been replaced by a handle. Two keys present but these only operate two of the lock. One of the other locks is seized in the closed position but all doors can be opened. The central glazed door with later lock catch and a metal bracket to the central shelf on which the doors rest against when closed - see images. Some splits to backboards. This breakfront bookcase comprises five seperate sections: the cornice, three upper display sections (2 x single door and 1 x central two door) and the cabinet base.The base measures 91cm high, 261cm wide, 63cm deep.The central display sections measures: 135cm high, 130cm wide, 47cm deep.Please refer to additional images for visual reference to condition. Condition Report Disclaimer
Lot 40
A RED LACQUER AND GILT CHINOISERIE DECORATED BUREAU BOOKCASEENGLISH OR ANGLO-DUTCH, FIRST HALF 18TH CENTURY AND LATER The mirror panel doors opening to an arrangement of pigeon holes and drawers around a pair of central cupboard doors, the fall opening to an arrangement of drawers and pigeon holes above a slide and well221cm high, 99cm wide, 60cm deep For a similar bureau bookcase but not incorporating period elements see, Bonham's, Los Angeles, Furniture and Decorative Arts from the Burton-Ching Collection Part II, 13th July 2009, Lot 1118 ($6,710). Condition Report: Please note, as catalogued this bookcase is first half 18th century and later. It incorporates some period elements but has been heavily adapted and there are various 20th century elements. The bureau element and the upper section are associated to each other. The bureau is 18th century and the upper section is of 20th century constructionThe red lacquer surface and decoration to all elements is later. There are various small adaptations and later mouldings to the bureau section. The interior of the bureau is also 20th century adaptation. Although the decorated surface is later it has been well executed and the decoration is of high quality. Overall the bookcase has an impressive appearance. All elements with the expected marks, knocks, scratches and abrasions commensurate with age and use. Various old splits and chips. Wear, rubbing and some losses to the chinoiserie decoration in places throughout. The handles and escutcheons are later replacements. Lockplates are period replacements and have later screws securing them. A key is present but only operates the lock to the fall. The interiors of all drawers have a later dark wash applied. The doors use old mirror plates. These have significant depletion, losses and 'bloom'. Some evidence of old worm to bureau section. The bracket feet and shaped apron are later. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
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