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Lot 1197
A Victorian walnut desk top stationery cabinet, the fitted interior with a pair of square glass inkwells, the gilt metal screw off covers centred by a crown, enclosed by a pair of divided hinged sloping doors, with a drawer below, originally with a perpetual calendar, 40cm wide x 28cm deep x 35cm high.
Lot 204
A Japanese black lacquer table cabinet, Meiji period, of rectangular form, the curved top with a carrying handle, fitted with three drawers enclosed by a door with foliate engraved hinges and lockplate, decorated in gold lacquer with birds in flight in mountainous water landscapes, 21cm wide, 15cm deep, 18.5cm high. Illustrated
Lot 1018
An Edwardian mahogany satinwood crossbanded boxwood and ebony strung breakfront display cabinet, inlaid with flowers, leaf scrolls, fan paterae and classical urns, enclosed by a glazed tracery door with flanking glazed elliptical panels, on square tapered legs and spade feet, 135cm wide x 37cm deep x 170cm high.Illustrated
Lot 117
A large George III satinwood, mahogany, tulipwood and harewood marquetry line inlaid pembroke table attributed to Henry Kettle The rectangular top with hinged leaves centred by a large fan medallion, on square section tapering legs, spade feet and castors, 100cm wide extended, 96cm deep, 70.5cm high The design of this pembroke and the drawing of the panels to the hinged leaves relate to a labelled Kettle pembroke at Saltram House, Devon. The use of an over-sized marquetry fan appears on a labelled Kettle serpentine chest formerly with the Pelham Galleries, both pieces are illustrated in C.Gilbert, Pictorial Dictionary of Marked London Furniture 1700-1840, Leeds, 1998, p.289, nos. 543 & 544. Henry Kettle, the St Paul's Churchyard cabinet maker, upholder and undertaker (c.1773-97) was originally in partnership with William Henshaw from around 1770 and whom had been established at St Pauls Churchyard since at least 1754. Kettle took over the business of the cabinetmaker Philip Bell at 23 St Pauls Churchyard and in 1796-97 Kettle entered into a short lived partnership with the cabinetmaker George Oakley.
Lot 125
A George III figured mahogany chest on chest attributed to George SpeerThe rectangular Greek key carved cornice with blind fret carved frieze above two short and three long drawers with blind fret carving below flanked by reeded canted angles, the lower part with a slide on three long graduated drawers and ogee bracket feet, with Norman Adams label, 115cm wide, 56cm deep, 192cm high.George Speer (1736-1802) is listed as cabinet-maker and upholsterer working at 'The Seven Stars' 2 Great Tower Street, London from 1777 (see G.Beard & C.Gilbert, Dictionary of English Furniture Makers 1660-1840, 1986, p.842). Speer is discussed in detail by Anthony Coleridge, George Speer: A Newly Identified Georgian Cabbinet-maker, Apollo, October 1970, p274-283.A chest on chest, dated 1766, labelled and with a pencil inscription, 'Made by George Speer Joiner and Cabinatt (sic) Maker at the Seven Stars in Tower Street, London 1766', which sold Christie's, London 11 April 1991, lot 162, exhibits similar features. In particular the shaped ogee bracket feet, the almost identical blind fret carving and comparable handle and escutcheon patterns (see C.Gilbert, Pictorial Dictionary of Marked London Furniture 1660-1840, 1996, pl. 880).
Lot 118
A George III mahogany serpentine chest possibly by Thomas Chippendale The rectangular moulded top above a baize lined slide and four long graduated drawers, on shaped bracket feet, 106cm wide, 61cm deep, 88cm high. The above lot displays characteristics seen on furniture by or attributable to Thomas Chippendale and his workshop. Beyond the finely book-matched veneers to the front and high timber quality used on the top, other elements of construction and design relate to documented Chippendale cabinet furniture. The handles, feet, central slide pull, drawer construction as well as use of a red wash to the back and underside are all features commonly seen on Chippendale workshop output. The above lots employs Chippendale’s ‘standard’ handle, his favourite early neo-classical handle pattern, illustrated in C.Gilbert, The Life and Works of Thomas Chippendale, Bristol, 1978, p.146, pl.263. Although Chippendale's plainer mahogany furniture has been historically more difficult to attribute, the furniture supplied to Lord Pembroke for Pembroke House around the same time as he was supplying furniture for Dumfries House and furniture to Ninian Home for Paxton House which have all been key in the study of this part of the workshop’s output, see C.Gilbert, ibid., p. 271-272. A group of chests linked to Chippendale at Dumfries do not appear in his extant bills but are tentatively attributed to him on the grounds of certain constructional features. The argument for the Dumfries chests being by Chippendale is backed up by the existence of a linen press at the house which bears many of the features of the group of chests and for which a Chippendale bill of 1763 is thought to relate (see Christie's proposed contents sale of Dumfries House, 12-13 July 2007, lot 236) and the accompanying introduction by Rufus Bird in the aforementioned catalogue. The chest offered here is links to a documented group of serpentine chests at Mersham-le-Hatch, Wilton and Paxton all of which are illustrated in C.Gilbert, ibid., pp.116-117. The Paxton chest is of very similar dimensions and drawer configuration, the Mersham chest has the same rounded moulding around the base and a brushing slide and the Wilton chest employs the ‘standard’ handle pattern.
Lot 204
A Regency rosewood work table attributed to Gillow and retailed by Mary Wilson, LondonThe rectangular top above a frieze drawer with divisions, on moulded stile end supports joined by a turned stretcher, on scroll decorated block supports and lions paw feet with concealed castors, the original sliding workbox removed but present and with a removable later baize lined slide, 66cm wide, 43cm deep, 72.5cm high.Thomas Wilson is recorded as a furniture broker and appraiser (1821-1829) and is probably the same Thomas Wilson recorded as an auctioneer at 28 Great Queen Street (1799-1825). It is thought that Wilson was a dealer in second hand furniture who used his stamp as a mean of identification and it has been been found on pieces also stamped by the firm of Gillows as well as pieces with a clear 18th century origin. One labelled piece has been recorded and suggests that the firm may well have had a cabinet making division. The business was continued by Mary Wilson after Thomas' death in 1838.NB: Requires a CITES license if exported outside the EU
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