AN IMPORTANT PAIR OF MAHOGANY ELLIPTICAL SIDE TABLES, TO A DESIGN BY WYATT, 1776 the plain tops on a moulded frieze with ebonised banding, the apron with continuous inlaid trompe l'oeil fluting with seven inset painted roundels with Bacchante in the style of Biagio Rebecca heads, on square tapering ebony trimmed legs with moulded blocked feet. 213.5cmwide, 86cm high, 76cm deep (2) Provenance: Sir Charles Sedley Baronet , Nuthall Temple; Acquired with the house by R. Holden; Sale, Christies, London 'Important English Furniture', 3rd of July 1997, Lot 96; Private Collection, Ireland Literature: J.M Robinson, James Wyatt, architect to George III, Paul Mellon Centre, London & Newhaven (2011) p 156 & 342 The architect James Wyatt (1746 - 1813) built or altered numerous neo-classical houses, many of which were in Ireland. Not only did he design plasterwork for the interiors but also furniture, silverware and fittings. His was a disciplined, stripped-back style based on classical principles but without the use of repetitive ornament as favoured by the Adam brothers. In 1772 he designed a grand dining room for Sir Charles Sedley 2nd Baronet at Nuttall Temple (Nottinghamshire). This most fascinating house had been built in 1754 to the designs of Thomas Wright inspired by Palladio's Villa Capra and was regrettably demolished in 1929. These tables were delivered in 1776 and were ensuite to a set of 12 dining chairs all of which echo the roundels in the stucco wall panels. As is the case of Robert Adam, the designs would have been executed by a leading London cabinet maker and were traditionally described as 'Hepplewhite'. In 1916 R. Holden published a description of the contents of the house: A Pair of Hepplewhite pier tables with inlaid work and medallions (with) the twelve Hepplewhite chairs were probably made for the room, now called the Music Room, but which was originally the dining room, and were brought (when the house was sold) with the house in 1819 and also The two Hepplewhite pier tables now in the north and south side of the hall were probably made for the spaces now occupied by the large cupboards. Mrs Hepplewhite published many of Wyatts designs in The Cabinet-Maker and Upholsters' Guide 1788 so it is entirely conceivable that Holden's description of the tables is based on fact and that they were indeed made by George Hepplewhite (d.1786) to Wyatt's design.
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AN IRISH MAHOGANY BLANKET CHEST, C.1740 with hinged lid and fitted with two drawers, on a base with undulating frieze and central carved shell, on shell capped cabriole legs and paw feet, with Jones & Son label 'M. Jones & Sons, Cabinet Makers and Upholsterers, 16 Aston Quay, Dublin' 124cm wide, 100cm high, 63cm deep Provenance: Drummin House, Carbury, Co. Kildare
AN IRISH MID-19TH CENTURY ARBUTUS AND MARQUETRY INLAID KILLARNEY WORK DAVENPORT DESK, the wavy gallery back inlaid with a harp and flanked by animals, above a slopefront panel, with leather inset surrounded by a band of trailing shamrocks, with fitted interior, with arched panel doors to the side, enclosing various short drawers, with solid column supports, on platform base and castors. 101 cm high x 71 cm wide, 71cm deep By the middle of the 18th Century Killarney and its hinterland was emerging as a tourist centre and by 1853 Killarney was accessible by rail, allowing even greater numbers to reach the area. By 1830 Jeremiah O'Connor and others started to produce souvenirs such as chessboards, snuffboxes, card cases - even jewellery. The items were made from a variety of local timbers - arbutus, elm, ash, holly, yew, bog oak and bog yew which grew in abundance on the mountainsides surrounding the Lakes of Killarney. Arbutus and bog oak were used prolifically and became particular to the Killarney wares. As mementos of the area, the items mentioned were inlaid with marquetry images of the most popular local sites: Muckross Abbey, Ross Castle, Glena Cottage, Old Weir Bridge, Innisfallen, Aghadoe, Dunloe Castle and Killarney House, several of which can be identified on the present Davenport desk. The images were largely taken from a book of engravings Ireland: Its Scenery, Character &c (1841) by Mr and Mrs S. C. Hall. In addition the wares were decorated with symbolic motifs of shamrock, harp, ivy, ferns, mountain eagles and deer. The sale of these small, portable, often exquisitely carved items was seasonal and by the mid-nineteenth century manufacturers had turned their hand at creating fine quality pieces of furniture such as writing desks, cabinets. Good producers such as James Egan displayed wares at exhibitions as far away as Paris and New York. Around 1860 Egan was commissioned by Lord Castlerosse to manufacture a fine arbutus cabinet and desk as a gift for Queen Victoria which popularised the trade but by 1900 it had declined.
A GEORGE III MAHOGANY SECRETAIRE CABINET, C.1770, with pierced fret gothic shelved superstructure, the chest base with a pair of dummy drawers forming a secretaire above four further drawers, on moulded slightly outset base and bracket feet, with the trade label of Moss Harris, Oxford St, London. 62cm wide, 33cm deep, 180cm high
VARIOUS ENGLISH PORCELAIN PLATES, early 1800s, including a pair Coalport, heavily gilded and with crests, Royal Worcester plate, green border and centre paint with castle ruins, Derby plate painted in Imari colours, various cabinet cups and saucers and other itemsProvenance: private collection Gwynedd
ATLASES: STARLING, T: Geographical Annual or Family Cabinet Atlas. Bull, 1833, with 51 hand coloured maps. Full leather, rubbed. One map with a small stain; [Depping & Perret]: ATLAS, consisting of 58 hand coloured Maps from "L'Angleterre-ou description historique et topographique..". No title page, ma0s dated 1823. Maps measure 12 x 8 cm. Full leather binding; STOW, John: A school Atlas of physical Geography. Blackwood, 1861, new edn. with colour maps. Cont. half leather; rubbed & torn. (3)From the Paul Bentley collection of maps and atlases.
A Victorian walnut and gilt metal mounted pier cabinet; of slight recessed breakfront outline, the top with an applied foliate band and frieze decorated with Rocaille and floral foliate stems, enclosed by moulded panel door, flanked by moulded stiles, each with applied paterae, on a shaped plinth base with central moulded lozenge; 115cm high, 84cm wide, 32cm deep
A burr walnut veneer cocktail cabinet, in early 18th century style, 20th Century; with a moulded cornice and a mirrored interior, enclosed by a pair of crossbanded panel doors, containing two short drawers in the shaped apron below, on cabriole legs and pad feet; 148cm high, 80cm wide, 41cm deep
A George I walnut and feather banded cabinet on chest, the upper part with a moulded cornice, fitted with an arrangement of twelve small drawers, enclosed by a pair of mirror panel doors with ogee cresting corners, having a candle slide below, the lower part with a partly fitted frieze drawer and three long drawers below, on bracket feet, 196cm high, 106cm wide, 55cm deep
An assortment of 19th century and later mostly British porcelain and ceramics to include a Victorian Ware Ironstone gents shaving moustache mug with accompanying pitcher, a Denby Rockingham lidded pot, a Crown Derby 'Red Aves' plate, a Minton 'Haddon Hall' dish, two Haviland Limoges trays, an Edwardian ribbon plate and a Royal Worcester 'Green Dragon' cabinet teacup and saucer. Also accompanied by a Japanese Noritake gilded sweet dish. Measures 22cm tall.
A collection of twelve collector cabinet / wall plates for Winnie The Pooh from The Bradford Exchange Plate Collection. Each plate in relief depicting Winnie and his friends in various playful poses, based on the 'Winnie The Pooh' works copyright by AA Milne & EH Shepard. All plates hold unique individual plate No's and subjects to include Happy Windsday, A tub of Fun, A Wish for Friends, Fall is for Friends, Hip Hip Poohray, Sharing a Ride, It's Just a Small Piece of Weather, Fishing for a Little Something, a Poo-hish sort of Picnic, Friendship makes a Star Shine Brighter, Fishin for Fun and Tiggers Tangle.
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